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Library of Congress Cataloging-in-Publication Data 1937Moore, Mary B. Attic black-figuredpottery. (The Athenian Agora ; v. 23) Includes bibliographicalreferencesand indexes. 1. Agora (Athens, Greece)-Catalogs. 2. Vases, Black-figured-GreeceAthens-Catalogs. 3. Greece-Antiquities-Catalogs. 4. Athens (Greece)Antiquities-Catalogs. I. Philippides, Mary Zelia Pease, 1906- . II. Von Bothmer, Dietrich, 1918- . III. American School of Classical Studies at Athens. IV. Title. V. Series. DF287.A23A5 vol. 23 938'.5 s [938'.5] 86-20615 ISBN 0-87661-223-0





This volume contains the Attic black-figuredpottery found in the Agora excavationsbetween 1931 and 1967 during the directorshipsof T. Leslie Shear and Homer A. Thompson. Many of these vases and fragments have already appeared in various excavationreports or in special studies. In this volume, however, all of them are presentedtogether for the first time in order to give as full a recordas possible of this richly varied material. We wish to thank most Homer A. Thompson for the opportunityto publish these vases and no less for his unfailing support of the projectand his interest in it. We remembergratefully the late Lucy Talcott for all kinds of invaluable adviceand help as well as for establishingthe Agora system of recordkeeping, which enabled us to retrieveinformationso easily. Our special debt to the work of Sir John Beazley and our dependence upon it during all phases of our collaborationwill be apparent throughoutthe entire volume. We invited Dietrich von Bothmer to tollaborate with us. He read the manuscript and offered numerous helpful suggestions for improvementand changes that saved us from many errors. During her three-term leave from Hunter College in New York, he gave MBM the use of an office in the Greek and Roman Department at the Metropolitan Museum of Art as well as access to his photographicarchive, personal notes on vases, departmentbooks and offprints. These ideal working conditions enabled the research to proceed with much greater speed than would have been possible otherwise, and the special material made availablehas greatly enrichedthe contentsof this volume. We wish to express special thanks and gratitude to the staff of the Agora excavations for its friendly and cheerful cooperationduring all phases of this study:T. Leslie Shear, Jr., Field Director; John McK. Camp II, Assistant Field Director;Lucy Krystallis and Helen Townsend who, as successive secretaries,coped uncomplaininglywith our requests and questions;William B. Dinsmoor, Jr., for the plan indicating the deposits; Alison Frantz for the majority of photographs; Robert K. Vincent, Jr. for much of the new photography;Nicholas Restakisand KyriakeMoustaki for their care in printing the photographs;and Stephen Koob for restorationwork. We also thank the following colleagues and friends for various kinds of help and support: Peter H. von Blanckenhagen, Andrew Clark, Poly Demolini, Charles Edwards, Evelyn B. Harrison, Caroline Houser, Henry Immerwahr, David Jordan, Phyllis Williams Lehmann, Mary Aiken Littauer, Joan R. Mertens, Martin Robertson,Gerhard Schmidt, Evelyn Lord Smithson, Eugene Vanderpool, and Marjorie Venit. During the time we shared the work on this volume, we were separatedby a considerablegeographic distance. It was, therefore, necessary to divide our labors in a manner that would not impede our progress. MZP wrote a preliminary description of all the entries. These were then rewritten to conform to the format we had decided upon, and for some the content was revised. Most descriptionsare basically hers. She set up a picture file, made a detailed check list (typed in duplicate and meticulously checked by Ann Brownlee), and gathered and organized the deposit



informationfrom the excavationrecords.MBM is primarilyresponsiblefor the comparandain the and Catalogue, the discussionof all the shapes, the chapteron pottersand painters,the concordance andto large extent, for the selection of vases to be illustratedas well as for the layout of indexes, and, the plates. The profile drawings are by Helen Townsend; the other drawings are by MBM. During the three years that MBM worked on the project, she was the fortunate recipient of financial support from the following sources: a stipend from the American School of Classical Studies, Octoberto December, 1978; an NEH Fellowship for 1979; two summer grants, one from the American Philosophical Society, the other from the Faculty Research Award Program of the City University of New York. During the summers 1977 and 1980, she enjoyedthe hospitalityand facilities of the American School of Classical Studies and wishes to thank its staff for helping to make her visits to Athens both comfortableand productive.MZP wishes to thank the Agora for fellowships granted in 1957/1958 and in 1966/1967. New York and Athens September, 1985 MBM and MZP

. FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . vii xii
xiv . 1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISTOF ILLUSTRATIONS
ABBREVIATIONS. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SHAPESTUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pis. 1-15 ......................... ONE-PIECE AMPHORAE 1-127 Decorated on neck and body; figures not set in panels 1-6

4 4

Panel amphorae 7-116 Special one-piece amphorae 117-119

Scheme of decoration uncertain 120-127 NECK-AMPHORAE 128-225 Pls. 16-26 ......................... 7

Late 7th century 128-137 Non-standard:first half of the 6th century 138-164 Ovoid neck-amphorae165-177 Panel neck-amphorae178-182
Neck-amphorae of Panathenaic shape 183-188

Standardneck-amphorae189-205 Small late neck-amphorae206-225

PANATHENAIC AMPHORAE226-338 Pis. 26-34 ...................... 12

Prize vases 226-318

Non-prize vase 319

Uncertain if prize or non-prize vases 320-337

Miniature Panathenaic amphora 338

Pis. 34-36


18 18

P1. 36 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pls. 36-38 ..........................

Hydriai 373-376 Amphora 377 Type uncertain 378-389


PI. 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P1. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pis. 39-41 .........................

20 20 22


Bowls 399-403 Lids 404-413


Pls. 41-46 . .........




Pls. 46 and 47.......

Pls. 47 and 48 ............... Pis. 48 and 49 ......

25 ....... ... 26 . . 27 29 29


P1. 50 ..............

STANDS 526-602 Pls. 51-56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conical supports 526-560 Cylindricalsupports 561-586 Supports, type uncertain587-601 Sosian stand 602 LOUTERIA 603-607

Pls. 56 and 57.....................

32 33

Pls. 57 and 58 ........... Bowls 608-614 Stands 615-617

HYDRIAI 618-669 Pls. 59-63 . Round-bodiedhydriai 618-624 Shoulderedhydriai 625-649 Kalpides 650-669 OINOCHOAI 670-786 Pls. 64-73. 670-722 Olpai Oinochoai 723-776 Olpai or oinochoai 777-786

. . . . . .......... 35 . . . . . . . . . . . . .... . . . ... . . . ...



LEKYTHOI ........... 787-1256 Pls. 73-87 .. Earliest 787-791 The lekythos painters, I: chiefly earlier 792-868 The lekythos painters, II: the Gela Painter 869-883 The lekythos painters, III: the Edinburgh Painter 884-886 The lekythos painters, IV: the Class of Athens 581 887-1124 Unattributed lekythoi:late 6th or 5th centuryB.C.1125-1159 The lekythos painters, V: the Sappho Painter and the Diosphos Painter 1160-1180 The lekythos painters, VI: the Theseus Painter and the Athena Painter 1181 The lekythos painters, VII: the Haimon Group 1182-1237 Unattributedlekythoi: 1238-1256
ALABASTRON 1257 P1. 88 ............ P1. 88 ...........


47 48 49 .. ..
.. . . . .. . 49

PHORMISKOI 1258 and 1259

KOTHONS 1260-1264 PYXIDES 1265-1296

Pls. 88 and 89 ........ Pls. 89-91 . ............

Corinthian type 1265 and 1266 Tripod-pyxides 1267-1278

Type A 1279-1286
Powder pyxides 1287-1289

Lids 1290-1296
LEKANIDES 1297-1360 Pls. 91-93 .................. 51

Lidless 1297-1329 Lidded 1330-1355 Uncertain if lidless or lidded 1356-1360

TABLE OF CONTENTS LIDS1361-1387 Pls. 94 and 95 .............. .............. 53 53


PLATES 1388-1426 Pis. 95-97 Type A 1388-1410 Type B 1411-1424 Other 1425 and 1426 PHIALAI 1427-1439

Pls. 97 and 98


56 57 57 58

P1. 98 ................ P1S. 98 and 99 .............

1441-1450 CHALICES

SKYPHOI 1451-1657 Pis. 99-107 ............. Corinthian type 1451-1471 Attic type 1472-1656 Special 1657 CuPs 1658-1846 Pis. 108-118 . Komast cups 1658 and 1659 Siana cups 1660-1684 Little Master cups 1685-1745 Cassel cup 1746 Droop cups 1747-1752 Type A and Sub-A 1753-1779 Type B 1780 Stemless cups 1781-1800 Cups, type uncertain 1801-1846 BOWL 1847 P1. 118 . ............... PI. 118. ........................... .............


68 69 69
Pls. 119-121 Pls. . 121-123.
* . . . .

EPINETRA 1848-1850

P1. 119 .............. ........


70 70 71 71 72


PLAQUES 1936-1946

P1. 123 . .

Pls. 123 and 124

DISKS 1947-1949

PI. 124 ....

. . . . .



99 329 337 355 359 363






368 371 382



1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

. . . . . . . . . . . One piece amphora 1 (P 6155 a) ...... . 6 . . . . . . . . . . One-piece amphora (P 15088) ... . 34 . . . . . . . . . . One-piece amphora (P 1250), graffito . . . . . . . . . ....... . . 139 (P 13113) Neck-amphora ...... . . . . . . . . . 140 (P 17966) Neck-amphora . . . . . . . . . . ...... . 179 (P 25013) Neck-amphora . .. . . . . . . . . . ...... Amphora 341 (P 20678) . . . . . . . . . . . ...... Amphora 342 (P 26642) . . . . . . . . . . . Amphora 347 (P 25338) ........ . . . . . . . . . . . Amphora 358 (P 22999), dipinto. ..... . . . . . . . . . . . Psykter 398 (P 27885) ........ . . . . . . . . . . . Skyphos-krater400 (P 6577) ...... Dinos stands 615 (P 26619), 616 (P 21708), and 617 (P 13271) . . . . . . . . . . . . . . . . . . . . . . Olpe 698 (P 6457) ........ ..... . . . . . . . . . . . 1150 (P 24411), dipinto Lekythos . ...... . . . . . . . . . . lid 1293 (P 15545) Pyxis . . . . . . . . . . . Lid 1382 (P 15387) ....... . . . . . . . . . . . Skyphos 1559 (P 1270), graffito ...... ... . . . . . . . . . . . . 1615 (P 23175), graffito Skyphos ... . . . . ...311 ... . 1793 (P 6552), graffito Cup . . . . . . . . . . . .. . 1833 (P 4928), graffito Cup . . . . . . . . . . ...... vase 1931 (P 21186) Open

99 100 104 118 119 125 143 144 145 146 151 152 180 192 241 257 267 287 293 315 324


1-15 16-25 26 27-33 34 35 36 37 38 39 40 41 42-45 46 47 48

One-piece Amphorae Neck-amphorae Neck-amphorae.PanathenaicAmphorae PanathenaicAmphorae PanathenaicAmphorae.Amphorae,Type Uncertain Amphorae,Type Uncertain Amphorae,Type Uncertain. Amphora Lids. Loutrophoroi Loutrophoroi Loutrophoroi.Pelikai Psykter. Skyphos-kraters Skyphos-kraters Skyphos-kraters.Column-kraters Column-kraters Column-kraters.Volute-krater Volute-kraters.Calyx-kraters Calyx-kraters.Lebetes Gamikoi

LIST OF ILLUSTRATIONS 49 50 51-55 56 57 58 59-63 64-72 73 74-87 88 89 90 91 92-93 94 95 96 97 98 99 100-107 108-117 118 119 120 121 122 123 124 Lebetes Gamikoi Kraters, Type Uncertain Stands Stanlds.Louteria Louterion. Dinoi Dinoi Hydriai Oinochoai Oinochoai. Lekythos Lekythoi Alabastron. Phormiskoi. Kothons Kothons. Pyxides Pyxides Pyxides. Lekanides Lekanides Lids Lids. Plates Plates Plates. Phialai Phialai. Mastoid. Chalices Chalices. Skyphoi Skyphoi Cups Cups. Bowl. Epinetra Thymiateria. Closed Shapes Closed Shapes Closed and Open Shapes Open Shapes Open Shapes. Miscellaneous. Plaques Plaques. Disks


PLAN The Athenian Agora showing the Location of Deposits

* "p." and"no." in references understood

AA AAA ABL *ABV AC Agora VIII Agora XII Agora Picture Book AJA AK Albizzati Arias ArtBull *ARV2 'ApX'ED AthMitt BABesch Bakir, Sophilos BCH Beazley, Development Beazley, EVP BJb BMFA Boardman,ABFV Boardmanand Hayes, Tocra, 1963-1965 Bohr, Schaukelmaler Bothmer,Amazons Bothmer,Amasis Painter Brann. See Agora VIII Brijder,Siana Cups I Brommer,Heldensage3 BSA Buitron, New England Collections Callipolitis-Feytmans, Les plats attiques

Archdologischer Anzeiger Athens Annals of Archaeology C. H. E. Haspels, Attic Black-figuredLekythoi,Paris 1936 J. D. Beazley, Attic Black-Figure Vase-Painters,Oxford 1956 Archeologiaclassica E. T. H. Brann, The Athenian Agora, VIII, Late Geometricand ProtoatticPottery, Princeton 1962 = B. Sparkes and L. Talcott, The Athenian Agora, XII, Black and Plain Pottery of the 6th, 5th and 4th CenturiesB.C., Princeton 1970 = Excavationsof the AthenianAgora Picture Books = AmericanJournal of Archaeology
= Antike Kunst

= = = = = =

= C. A. Albizzati, Vasiantichi dipinti del Vaticano,Rome 1925-1939 = P. E. Arias, M. Hirmer, and B. Shelton, A History of Greek VasePainting, New York 1963
= Art Bulletin

= J. D. Beazley, Attic Red-Figure Vase-Painters,2nd edition, Oxford 1963

= 'ApXaLoAoytcK'E7,epls E

= = = = = = = = = =

Instituts,AthenischeAbteilung Mitteilungen des DeutschenArchdologischen Bulletin van de Vereenigingtot Bevorderingder Kennis van de antieke Beschaving G. Bakir, Sophilos.Ein Beitrag zu seinem Stil, Mainz 1981 Bulletin de correspondance hellenique J. D. Beazley, The Developmentof Attic Black-figure,Berkeley 1951, corr. ed. 1964 J. D. Beazley, Etruscan VasePainting, Oxford 1947 BonnerJahrbiicher Bulletin of the Museum of Fine Arts, Boston J. Boardman,Athenian Black Figure Vases,London 1974 J. Boardmanand J. Hayes, Excavationsat Tocra, 1963-1965, The Archaic Deposits, London 1966 = E. Bohr, Kerameus,IV, Der Schaukelmaler,Mainz 1982 = D. von Bothmer,Amazons in GreekArt, Oxford 1957 = D. von Bothmer, The Amasis Painter and his World,New York and London, 1985 = = = = H. A. G. Brijder,Siana Cups I and KomastCups, Amsterdam1983 F. Brommer, Vasenlistenzur griechischenHeldensage, 3rd ed., Marburg 1973 British School at Athens, Annual D. Buitron, Attic VasePainting in New England Collections,Cambridge,Mass. 1972

= D. Callipolitis-Feytmans,Les plats attiquesafigures noires, Paris 1974



= D. Callipolitis-Feytmans, Les "louteria" attiques,Athens 1965 Callipolitis-Feytmans, "Louteria" = C. Clairmont, Das Parisurteilin der antiken Kunst, Zurich 1951 Clairmont, Parisurteil Cristofani, VasoFranqois = M. Cristofani,Materialiper servirealla storiadel vaso Franqois[Bolletinod'Arte,Serie Speciale 1], Rome 1980 = Corpus VasorumAntiquorum CVA = Deutsches ArchaologischesInstitut, Athen D.A.I. = 'ApxaloXoyLKbvoLAerTo AEAT = Enciclopedia dell'arteantica, classicae orientale EAA = FestschriftfiirFrank Brommer,Mainz 1977 FestschriftBrommer = A. Furtwangler, K. Reichhold, et al., GriechischeVasenmalerei,Munich 1904-1932 FR = J. Frel, Panathenaic Prize Amphoras,Athens 1973 Frel, PPA = E. Gerhard, Auserlesenegriechische Vasenbilder,Berlin 1840-1858 Gerhard,A V = Greek,Roman and Byzantine Studies GRBS = B. Graef, Die antiken Vasen von der Akropoliszu Athen, Berlin 1925-1933 Graef = A. Greifenhagen, Eine attischeschwarzfigurigeVasengattungund die Darstellungdes Greifenhagen Komosim VI. Jahrhundert,Konigsberg1929 = Greek Vasesin the J. Paul Getty Museum, OccasionalPapers on Antiquities Greek Vasesin the J. Paul Getty Museum Hoffmann, Ten Centuries = H. Hoffman, Ten Centuriesthat Shaped the West, Houston 1971 = IllustratedLondon News ILN = Jahrbuchdes deutschenarchiologischenInstituts JdI = Journal of Hellenic Studies JHS = Jahresheftedes bsterreichischen Institutes JOAI archiiologischen = Jahrbuchdes Rimisch-GermanischenZentralmuseumsMainz JR-GZM Karouzou, Amasis Painter = S. Karouzou, The Amasis Painter, Oxford 1956

'Avayvpovvros KerameikosVI, ii Kurtz, Athenian White Lekythoi Langlotz MadrMitt Mertens, Attic White-Ground MJb MMSt Mommsen, Affecter MonAnt MonPiot Moon, Midwestern Collections Muller, L6wen und Mischwesen NC Noble, Techniques Notable Aquisitions 1975-1979 OCD

= S. Karouzou, BLt/3AoL07K r ^js v 'AOrvaLs 'ApXaroAoyCLKl 'EEraLplas, XLVIII, 'Ayyeia rov 'Avayvpov^ros, Athens 1963

= K. Kubler, Kerameikos.Ergebnisseder Ausgrabungen,VI, ii, Die Nekropoledes spiten 8. bisfrihen 6. Jahrhunderts,Berlin 1970 = D. C. Kurtz, Athenian White Lekythoi,Patternsand Painters, Oxford 1975 = E. Langlotz, GriechischeVasen in Wiirzburg,Munich 1932 = Mitteilungen des deutschenarchdologischen Instituts, MadriderAbteilung = J. R. Mertens, Attic White-Ground.Its Developmenton Shapes Other than Lekythoi, New York 1977 = Minchener Jahrbuchder bildendenKunst = MetropolitanMuseum Studies = H. Mommsen, Kerameus,I, Der Affecter,Mainz 1975 = Monumenti antichi = Fondation E. Piot, Monuments et me'moires publies par l'Academiedes Inscriptionset Belles-Lettres = Greek Vase-Paintingin Midwestern Collections,W. G. Moon, ed., Chicago 1979 = P. Miiller, Lbwen und Mischwesen in der archaischen griechischenKunst, Zurich 1978 = H. Payne, Necrocorinthia.A Study of Corinthian Art in the Archaic Period, Oxford 1931 = J. Noble, The Techniquesof Painted Attic Pottery, New York 1965 = MetropolitanMuseum of Art, Notable Acquisitions 1975-1979, New York 1979 = OxfordClassicalDictionary

xvi 01. Ber. *Paralip. RA REA Richter and Milne, Shapes and Names Roberts,Pyxis Studi Misc. Tiverios Ure, Sixth

ABBREVIATIONS = Bericht iiber die Ausgrabungenin Olympia = J. D. Beazley, Paralipomena.Additionsto Attic Black-Figure Vase-Paintersand Attic Red-Figure Vase-Painters,Oxford 1971 = Revue archeologique = Revue des etudesanciennes = G. Richter and M. Milne, Shapesand Names of Athenian Vases,New York 1935 = S. Roberts, The Attic Pyxis, Chicago 1978 Athens 1980 = ?r7AJ T70 uPl.rv NLKoAdov KoYroAeovros, sroo fs i = Studi Miscellanei
= M. Tiverios, tO Avbos KaLTrOEpyo rov, Athens 1976

= P. N. Ure, Sixth and Fifth CenturyPotteryfrom Rhitsona, London 1927

The Attic black-figuredpottery found in the Agora spans the entire periodof the productionof this fabric and provides a nearly complete picture of the developmentof its shapes and the style of its painters. Many of the vases, especially the smaller ones, are complete or retain enough of their original characterto allow plaster restorationof the missing parts, but by far the larger proportion of the material consists of fragments. Making sense and order of these small scraps has been a particularly stimulating challenge, though not without many pitfalls; thus, we have kept in mind that "fragmentsare dangerous allies, and extra care must be taken in finding the whole shape to which they belong."' Attic black-figuredpottery has been found all over the Agora, but most of it comes from dumped fillings associated with houses, shops, or civic buildings, in particular from wells and cisterns located around the bordersof the square.2A few cremationand inhumationburials, chiefly from the Archaic Cemetery on the west slope of the Areopagus, also yielded Attic black-figuredmaterial, primarily lekythoi. The dating of these various findspots,whether wells, graves, or other kinds of deposits, is based to a large extent on the figuredpotteryfound in them. Some of these deposits,such as the upper fill of the Rectangular Rock-cut Shaft (G 6:3) or the large well found beneath the gutter of the Stoa of Attalos (Q 12:3),3probablyindicate the presenceof potters'workshopsin the area; the Stoa Gutter Well may also reflectthe massive clean-up operationafter the Persian Sack. Thus, the latest pottery in such deposits is of particular importance for the light it sheds on the characterof late Attic black figure in relation to its historicalbackground. The Plan following the Plates shows the Agora around 300 B.C., and on it the wells, cisterns,and burials useful for this volume are indicated.We have retainedthe four symbols used in Agora XII for wells and cisterns, since very many of these deposits containedblack figure, and we have added one for burials:

O Wells

which went out of use by or before 525


{ Wells in use between 525 and 480 B.C. * Wells dated between 480 and 400 B.C.
B.C. ) 0 Wellsandcisterns of the 4th century

A Burials of the 6th century B.C.

On pp. 329-336, there is a list of these deposits that includes all those indicatedon the plan as well as many others. If a deposit has been describedin a previousAgora volume, the informationis not repeated. For each of these we give only its grid location, type (i.e., well, burial, pit, etc.) and date, followed by the pertinent catalogue numbers;for the descriptionof such deposits, the appropriate referenceis given, and if a deposit has been publishedseparately,this sourceis also included. In the case of deposits that have not previouslybeen described,a summaryof the general character
For the characterand contents of a typical well, cf. Agora VIII, pp. 107-108; also, Agora XII, p. 44. 3 The material from the Rectangular Rock-cut Shaft was published by E. Vanderpool in Hesperia 7, 1938, pp. 363-411

IAgora XII, p. 2.

and Hesperia 15, 1946, pp. 265-336. The potteryfrom the Stoa Gutter Well is published by S. R. Roberts (Hesperia 55, 1986, pp. 1-72) who has studied its workshop implications. All the Attic black figure from these two deposits is included in this volume.


appears before the catalogue numbers. In the Catalogue itself, we give a deposit or grid reference for all entries except those that are sporadic or stray finds and therefore have no reference. For these, we use the term "No grid".Whenever possible, the level is indicatedby the following letters: POU = Period Of Use; L = Lower; M = Middle; U = Upper. Range and quality of the Agora black figure offer importantevidencefor the characterof decorated pottery associated with an ancient civic and industrial center or used in domestic quarters. Shapes mass-producedin the late 6th or early 5th centuries B.C., chiefly small lekythoi, cups, and skyphoi, naturally representthe largest amount of Attic black figure. But noteworthyis the quantity of material datablebetween 625 and 580 B.C., the period when Attic potterywas not yet exported to other parts of the Mediterranean.4Besides the Agora, only the Akropolis,the Kerameikos,and the cemeteryat Vari have yielded very early Attic black figure in any quantity. In addition,we have includedseveral of the thelatest vases published in the volume of Geometricand Protoatticpottery (AgoraVIII) since they illustrate well the transitionfrom Protoatticto black figure. Nearly every shape decoratedin black figure has been found in the Agora, although of course some are known only from small fragments. Of the pots, the largest number are amphorae:onepiece panel amphorae;neck-amphorae,including several variants of the shape; and Panathenaic amphorae,for which there is an uninterruptedsequence,beginning with the very earliest of about 560 B.C.and lasting until the late 4th century B.C.,the period when this study stops.5 Only one amphoraType A, 1934 (PI. 123), has been identifiedin the Agora material,and it is perhaps ironic that one cannot determine if it was decoratedin black figure or in red igure, because all that remains of the decoration is the lotus-palmette chain above the panel. Next in quantity after the amphoraeare the column-kraters,and there are also a good numberof stands, includingone of the rare Sosian type, 602 (P1. 56). There are not very many hydriai, yet examples of each type, the round-bodied,the shouldered,and the kalpis, have been found. Missing among the large shapes are stamnoi, which are mainly decoratedin red figure,6and neck-amphoraewith figures on both the shoulder and the body. The latter, to judge by the known provenancesof the attributedexamples, may have been intended mainly for export.7Among the smaller vases, lekythoi are by far the most numerous, particularly those of the Class of Athens 581 and those from the Haimon Workshop. These are followed in quantity by skyphoi, cups of various types, including severalof the Segment Class, and oinochoai. Missing are two shapes rarely found in Attic black figure: aryballoi and kantharoi;also absent are kyathoi and mastoi, although in the Agora, examples of the latter are known in black pattern as well as in plain black and of the former,only in plain black.8 Examples of less commonshapes in Agora black figure include loutrophoroi(both the hydria and the neck-amphoravarieties), pelikai including 391 (PI. 38), the unique one with rays above the foot, skyphos-kraters,volute-kraters,chalices, calyx-kraters,lebetes gamikoi, louteria, dinoi, and pyxides. Among the rare shapes, the Agora excavations have producedthe earliest known Attic black-figuredalabastron,a psykter,two phormiskoi,four kothons,a few epinetra,thymiateria,and phialai. The section on shapes concludeswith plaques and disks.
The earliest exported Attic black-figuredvase is still the fragment by the Nettos Painter found at Cervetri and once in Leipzig, but it seems to be an isolated example. Cf. ABV 5, 3; Paralip. 2, 5; W. Herrmann, Wissenschaftliche Zeitschriftder UniversitdtRostock,XVI, Die griechische Vase, Rostock 1967, pp. 455-456. 5 For Panathenaicamphoraeof the Hellenistic and Roman periods, cf. footnote7 below, p. 13. 6 For stamnoi, cf. B. Philippaki, The AtticStamnos,Oxford 1967, especially chapter 2 for the black-figuredexamples;also,

C. Isler-Kerenyi,Stamnoi, Lugano 1977, pp. 18-28. 7 Footnote 2 below, p. 8. 8 Agora XII, p. 143. For mastoi, the inventorynumbersare P 1217 and P 24556, both in black pattern;P 25277, the knob reserved,the rest black. Although publicationof the black-patternedvases fromthe Agora was plannedfor this volume(Agora XII, p. 57, note 11), owing to the large quantityof black-figured material, we decidedto exclude the patternedpieces. They will be the subjectof a separate study by MZP.


Many of the Agora vases were already attributedby Beazley and appear in the pages of AB V or Paralipomena. Quite a few more have been attributed,and for these, following Beazley's example, the name of the scholar attributing the vase appears in brackets after the name of the painter. During the course of the work on this volume, the painters of a good many other vases were detected, and here the pertinent comparisons are cited, except for many of the late lekythoi where the attribution is based on comparisonwith the plentiful examples in the Agora. Some of the painters, such as Kleitias or the Antimenes Painter, are representedin the Agora only by one or two small sherds;the work of others, such as those decoratinglekythoi of the Class of Athens 581, the Haemonians, or the painters of the CHC Group, is so well representedthat one is temptedto suggest that their workshops were very close to the Agora, perhaps even within its boundaries. As rich as the Agora black figure is with regard to the variety of shapes and the large number of painters who decoratedthem, this volume is not intended to be a history of Attic black figure, but instead it tries to show how the black figure from the Agora fits into the existing chronologicaland stylistic framework for shapes and artists and how, in certain cases, it increases our knowledge of their development. The organization of our material and the format of the catalogue entries are modeled on those of two previous Agora pottery volumes, VIII and XII, with small changes made to accommodatethe features of black figure not found in Protoatticor in plain black. The sequence of shapes is based on that in the index of ABV for the Agora and other Athenian collections. For each shape or its variants, the arrangementis generally chronological,with painters or groups of painters and contemporarythough unattributedpieces appearing together. In the Catalogue, we have cited as much comparativematerial as necessary, not only to increase the usefulness of the study but in the case of small fragmentsto renderthem more intelligible in shape and decoration. It has been impossible to illustrate all the Agora black-figuredpottery in this volume, but the selection we have made gives a comprehensiveview of the material. All the important pieces are shown, whether previously published or not, and all whole vases or fragmentsthat present unusual or puzzling features are illustratedas well. In the case of the large quantity of late lekythoi,many of which are virtually duplicatesof one another,we have let a few examples stand for very many. The chronologicalorganizationof the material within each shape has meant that very often large, wellpreservedpots or even big fragmentsappear together on the same plate with very small ones, and, for each piece to be intelligible to the reader,there was no way in which the scale of reductioncould be kept consistent within a single plate. Thus, on the same plate, there are sometimes as many scales as there are figures. This procedureof selectionand illustrationdiffers considerablyfrom the presentationof pottery in Agora volumes VIII and XII, where all the vases describedin the catalogue were picturedand where in most cases the characterof the materialpermitteda single scale to be used for a given plate. Therefore, to visualize the size of the pot or fragment,the readerwill have to rely on the measurements given in the Catalogue. Since the discussion of each shape is not a monographic study but only a brief sketch, we have included profile drawings only of those vases that present odd featuresor whose contoursare not easily understoodin a photograph.In the case of certain fragments, we have attempted full or partial reconstructiondrawings to help clarify the figure or the composition.All measurementsare given in meters.One furthernote. Since references to the CVA appear constantly, it was necessaryto devise a formula for citing it that would be both brief and intelligible. Thus: CVA, Boston 1 [USA 14], pl. 12 [624]:1 CVA, M.F.A. Boston, fascicule 1 [USA fascicule 14], pl. 12 [USA plate 624], fig. 1.

ONE-PIECE AMPHORAE 1-127 Figs. 1-3 Pls. 1-15

The one-piece amphora, distinguished primarily by the continuous curve of its profile between mouth and foot, is a favoriteshape among Attic black-figurepainters. Three varietiesare known in figured ware: Type A with flanged handles, flaring mouth, and foot in two degrees;Type B, the oldest of the three, with round handles, flaring mouth, and echinus foot; and Type C, like Type B but with torus mouth.1 In Attic black figure, Type B is preferred,and all but one of the Agora fragments, even the later ones, come from amphorae Type B, rather than the larger and showier Type A, which was probably introducedinto the repertoryof Attic shapes by Exekias during the late third quarter of the 6th century B.C.2Type A seems to have been intendedmainly for export.3 The only certainamphoraType A fromthe Agora is 1934 (PI. 123), a late 6th-centuryone with the figureddecorationnot preserved,and no example of the rare Type C has been identifiedamong the black-figuredfragments,although this variety appears in plain black.4 The largest number of one-piece amphoraefrom the Agora date in the secondand third quarters of the 6th century B.C., the years when the shape enjoys its greatest popularity. The earliest onepiece amphoraehave separate subjectson the neck and body, a decorativearrangementthat is soon given up in favorof one with the figuresset in panels, a schemewhich becomesthe normalone from the beginning of the 6th century on. 117-119 (Pls. 13-15), three large fragmentaryamphorae, which preservespecial schemesof decoration,help to roundout the picture. 120-127 (P1. 15) come from one-piece amphoraeof normal size, but they do not preserveenough of the figures for us to be certain of the systems of decoration.
The three types were distinguished by Beazley, JHS 42, 1922, pp. 70-71. Cf., also, Beazley, AK 4, 1961, pp. 49-50; R. Lullies, AK 7, 1964, pp. 85-88, especially for Type B. For Types B and C, cf. Mommsen, Affecter,pp. 48-51. 2 Vatican 344 (ABV 145, 13; Paralip. 60, 13) is still the earliest example of the canonicaltype. Its antecedentsare to be found in Group E: Louvre F 53 (ABV 136, 49; Paralip. 55, 49), which is Type B except for its flaring foot; Berlin 1699 (ABV 136, 53; Paralip. 55, 53), Berlin 1698 (ABV 136, 54), London, B.M. B 205 (ABV 136, 55), and London, B.M. B 194 (ABV 135, 56; Paralip. 55, 56), which have Type A handles and a flaring foot without base fillet; Kassel T. 384 (ABV 137, 57; Paralip. 55, 57; CVA, Kassel 1 [Germany35], pls. 21 [1701]:1, 22 [1702]) and Budapest 9132 (ABV 137, 58; Paralip. 55, 58), which have an echinus foot. Canonicalamphoraeof Type A are usually well over 0.50 m. in height, thus considerably larger than most amphorae Type B, although exceptions in this variety exist, e.g., Berlin, inv. no. 4823 by the Painter of Acropolis606: 0.80 m. (ABV 81, 4; Paralip. 30, 4; CVA, Berlin 5 [Germany45], pls. 1 [2146]:2, 3 [2148]); New York, M.M.A. 51.11.3, related to Lydos: 0.557 m. (ABV 119, II, 6; Paralip. 48, II, 6); Boston, M.F.A. 89.257, by the Swing Painter: 0.52 m. (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]; Bohr, Schaukelmaler,pl. 2); New York, M.M.A. 12.198.4, the Bateman Group: 0.555 m. (ABV 258, 5; Paralip. 114, 5); and New York, M.M.A. 41.85, the Group of Toronto 305: 0.542 m. (ABV283, 13 and 391, 1; Paralip. 124, 13). 3 Among the attributed amphorae Type A with known provenances,very few come from Greeceand the East. Four are known to us, none from Athens. One, by the Amasis Painter, is from Samos (ABV 151, 18; Paralip. 63, 18; Bothmer, Amasis Painter, p. 109, fig. 67); another, in the mannerof the Antimenes Painter, was found on Cyprus (ABV 279, 48); and two come from Kamiros, London, B.M. B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip. 128, 1) and Rhodes 14093 by the Swing Painter (ABV 307, 57; Bohr, Schaukelmaler, pls. 79, 80). The last two are close in date and may even have been part of the same shipment. 4 AgoraXII, p. 48.


5 1-6

P1. 1

A small number of early one-piece amphoraeare decoratedaccordingto the principleestablished for neck-amphorae,the large area of figured or ornamental decorationon the neck being clearly separatedfrom the figures on the body and the body decorationnot framedat the sides. On the onepiece amphorae, one or two lines of glaze divide neck from body decoration.The area below the main body decorationmay be supplementedby an animal frieze or a pattern and by rays above the foot, or it may be left in plain black glaze. The earliest known examples are four early works by the Nettos Painter that have figures on both neck and body.51 (PI. 1) is near the Nettos Painter in style, 2 is not far from him, and both were probably decoratedas those by the painter himself. Slightly later than these is 3 (P1. 1), which has a frieze of rosettes on the neck with the body decoration ending at about the level of the handle root, comparableto the lower limit of the earliestAttic blackfigured panels (cf. below, p. 6). Later examples of these amphorae,such as the one by the Gorgon Painter, Louvre E 817,6 have an ornamentalpatternon the neck and figureddecorationon the body that continues well below the maximum diameter. This manner of decoratingthe one-piece amphora disappears by the second quarter of the 6th century. 6 (P1. 1) by Sophilos with its three animal friezes on the body and the lotus-palmettefestoonon the neck is one of the latest examples,7 and it looks ahead to the type of ovoid neck-amphorawith the figureddecorationon the body set in friezes (below, pp. 9-10).
PANEL AMPHORAE 7-116 Pis. 2-12

In Attic black figure, the one-piece amphoramost often has the figureddecorationset in reserved panels, and in the Agora, the panel amphora is one of the most numerousof the large shapes. This variety does not develop from the one-piece amphora with separate areas of decorationon the neck and body, for the type exists already in the first half of the 7th century B.C., one of the earliest examples being one from the Agora that has ornamentaldecorationin a small panel set high on the vase.8It is not certain who was the first to decorateAttic potterywith figuredpanels, but examples are known by the third quarter of the 7th centuryB.C., and aroundAthens the idea may have begun with the Ram-jug Painter who decorated each of two olpai with a lion protome set in a broad panel.9 One of the earliest Attic black-figured panel amphorae is the Siren amphora, which has been linked with the Nettos Painter, although not firmly attributedto him.10With its exceptionally
5Aigina 565 (ABV 3, 1; Paralip. 1, 1); London, B.M. 1874.4-10.1, formerlyA 1531 (ABV3, 2; Paralip. 2, 2); Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Kerameikos,inv. no. 658 (AB V 3; Paralip. 1; KerameikosVI, ii, no. 116 and pls. 89-91; for the attribution, cf. footnote 11 below, p. 74). The fragment recently acquired by the J. Paul Getty Museum is from an amphora probably decorated according to this scheme (81.AE.114.30: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 36, figs. 1, 2). One may also mention the one-piece amphora in Berlin (1961.7), decoratedon one side only (neck:confronted panthers; body: confronted griffins), the reverse being plain black glaze (CVA, Berlin 5 [Germany 45], pls. 1 [2146]:1, 2 [2147]). This amphora has been comparedwith the work of the Nettos Painter by F. Brommer (Jahr. Berl. Museen 4, 1962, pp. 1-16), but he rightly concludesthat it is not by this artist. A further argument is the stiff symmetrical composition, a decorativearrangementnot found on the four amphoraeby the painter himself. This type of amphora and its decorationhave been discussedbriefly by I. Scheibler (JdI 76, 1981, pp. 40-42) and by K. Kubler (KerameikosVI, ii, pp. 153-156). 9, 7; Paralip. 6, 7. 7 Later still are the versions by the Polos Painter (ABV 44, 1-4) and Berlin 31139 by the Prometheus Painter (CVA, Berlin 5 [Germany 45], pi. 4 [2149]:1, 2). Boardman(JHS 95, 1975, p. 7) suggests that the figured frieze above the panel on Reggio 4001 in the manner of Exekias (ABV 147, 6; Paralip. 61, 6) may have extended to the mouth of the vase. 8 P 6463 (Agora VIII, p. 32, no. 21, pl. 2); also P 12582 (AgoraVIII, p. 89, no. 514, pl. 82) and the amphora found on Piraeus Street (AeAT 17, 1961/62 [1963], pl. 26:a). 9 So, Karouzou,Amasis Painter, p. 42; see also, AgoraVIII, no. 578 (here, 7) and p. 24. It is surely no accidentthat the idea of a decorativepanel surroundedby black glaze was first tried out on one-piece amphorae and olpai, for their continuouscurvedshapes lend themselveswell to this schemeof decoration, as rightly emphasized by Scheibler (JdI 76, 1961, pp. 32-33). Recently, Sarah Morris has argued that the Black and White Style of Protoattic pottery, to which the work of the Ram-jug Painter belongs, is the productof an Aeginetanworkshop,not a mainland one (The Black and White Style, New Haven 1984). 10Athens, N.M. 221 (ABV 6: "The pictures are already in


broad panels framed very near the handles, it stands a little apart from the other early panel amphorae, which have somewhat small panels often placed rather high on the vase emphasizing the incurvingcontourof the shoulderand neck, e.g. 10, 14, 17 (Pls. 2, 3). On these, the pictorialarea is very limited, filling ornament is sparse or omitted altogether, and there is no pattern above the panel. The appearance is rather somber and subdued. The subjects in these early black-figured panels are single or confrontedanimals and monsters, or else they are protomes, which may be human, subhuman, or animal. 7-10 are the examples from the Agora. 8 (PI. 2) gives some of the forepartsof an animal, surely one of a confrontedpair; 7 (PI. 2) is the earliest preservedAttic blackfigured example of a human head in the panel of an amphora;tIthe odd beardedhead terminating in a truncatedsnaky form on 10 (P1.2) still awaits an interpretation. The Gorgon Painter is the first Attic black-figurepainter to favor decorationset in panels and to explore the possibilities of this scheme of decoration,particularlyon his one-piece amphoraeand olpai.'2 12 (PI. 2), attributedhere, is the only panel amphoraby him found in the Agora, but another, 11 (PI. 2), is in his manner. During the first quarter of the 6th century, the panel becomes considerablywider, and it often extends below the maximumdiameterof the body, which results in a more unified appearanceof shape and decoration,e.g. 12, 33 (PI. 4), 34 (PI. 5). In this period, an ornamentalfrieze may appear abovethe panel, and there are often rays abovethe foot, two features that become standard.'3The ornament may be simple rosettes or a more intricate lotus-palmette pattern, either a chain or a festoon, e.g. 34. 4 In the panels new subjectsare introduced,perhaps by the Gorgon Painter, in particularan animal moving to right (not simply standingstill) and a single horseman on a galloping mount.1511 and 12, 24 (PI. 3), and 29 (PI. 4) are the earliest examples from the Agora. The largest numberof panel amphoraein the Agora (35-96) come fromthe middledecadesof the 6th century, i.e., 560-530/20 B.C., the period when the shape is most popular, particularlyin the work of Lydos and his companion, the Painter of Louvre F 6 (49, 50, 54-59: Pls. 6-8), also the painters of Group E (74: PI. 9), and the Swing Painter (77: PI. 9). During these decades,the onepiece amphora tends to become much taller in proportionto its width, although there is considerable variationfrom potterto potter. The size of the panel is governedby the proportionsof the vase, and there are usually areas of contrastingblack surroundingit. 47 (P1.6) with its very broadpanels that reach almost to the handles is an exception. In additionto the lotus-palmettefestoonor chain
panels";Paralip. 6). J. M. Cook (BSA 35, 1934/35, pp. 199200), followed by Karouzou ('Avayvpovvros, pp. 129 and 134), thought that this amphora might be an early work of the Nettos Painter, but this attributiondoes not seem quite convincing. To be sure, there are similarities, but the drawing is less skillful and somewhat sketchycomparedwith the firm drawing of the painter himself. Equally unconvincingis the attribution of 7 (P1.2) to the Nettos Painter, and the Woman Head amphora in Munich also ought to be kept apart (ABV 16, 2; Paralip. 9, 2), although H. Diepolder (Festschriftfur Carl Weickert, Berlin 1955, pp. 111-120) and Karouzou ('AvayvpoVvTos!, p. 135, no. 23) thought it, too, might be by the Nettos Painter. Panels may also be seen on the neck-amphoraeby the Lion Painter and the Bellerophon Painter. These are very broad, reaching almost to the handles. Lion Painter: Athens, N.M. 16393 (ABV 2, 1); Athens, N.M. 16392 (ABV 2, 2); Bellerophon Painter: Athens, N.M. 16389 (ABV 2, -, 1); Athens, N.M. 16391 (ABV 2, -, 2; Paralip. 1, 2). Add also, Athens, N.M. 16380, an unpublishedone that bears resemblancesto the work of the Nettos Painter: on the neck: A, woman's head in outline; B, the like; on the body:A, boar; B, the like. 11See catalogue entry below.
12 For a panel neck-amphora by the Gorgon Painter, cf. Richmond62.1.10, attributedby Bothmer (H. C. T. Reed and P. Near, AncientArt in the VirginiaMuseum, Richmond1973, no. 86, wrongly called Corinthian). 13 Ornamental friezes appear at about the same time on olpai (see below, p. 40). 14Rosettes: e.g., Louvre C 10620 by the Gorgon Painter (ABV 9, 9; Paralip. 7, 9) and Louvre CA 3327 in his manner (ABV 9, 8; Paralip. 7, 8; 8). Compare also the contemporary amphora in Leipzig, T 3299 (CVA, Leipzig 2 [DDR 2], pl. 1 [62]:1, 2) that looks like a panel amphora except for the lack of side frames:on each side is a lion to right; above, five rosettes. The earliestfestoonabovethe panel of an amphorais very likely the one by Sophilos on the Jena amphora (ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12). An oddity is the lotus-palmette chain abovethe panel of a Horse-head amphorafound in Athens, Ephoria F, no. 1144 (M. Piccozzi, Studi Misc. XVIII, Rome 1971, p. 15, no. 9), for these panels are normallywithout ornament. Here, the thick units are similar to the Gorgon Painter's use of this ornament on his namepiece (ABV 8, 1; Paralip. 6, 1).

15 See

below, p. 76.


above the panel, other types of ornamentappear, in particularivy leaves (e.g. 55 and 57: PI. 7) and hanging lotus buds (e.g. 69: P1. 8, 77, 81). Most of the Agora panel amphoraeare too fragmentary to illustrate the entire shape very well, and not many are attributed,but three of them preserveodd or unusual ornamental features that deserve mention. The widely spaced units of the lotus-palmette festoon on 76 (PI. 9) are uncommonand comparebest with some examples in the Princeton Group. The palmette chain without lotuses on 41 (PI. 5) is an odd ornamentbest paralleled in the work of the St. Audries Painter. 96 (PI. 11) has a net pattern above the panel, an ornamentthat is more at home above the panels of other shapes, e.g. kalpides (657, 658 and 663, 664: Pls. 62, 63), olpai (687-689: Pls. 66, 67), or choes (755-757: PI. 72) than it is on amphorae. From 530 B.C.on, the best of the black-figuredpanel amphorae are of the larger and more impressive Type A rather than Type B. Exekias may have introducedthe new type, for the earliest canonical example is by him, the famous one in the Vatican with the double signature.l6 1934 (PI. 123) is the only certain amphora Type A from the Agora, but since we cannotbe sure whether the figured decorationwas in black figure or in red figure, we have included it in the small miscellaneous category at the end of this chapter (p. 71). The rest of the Agora panel amphorae are too fragmentaryto determinethe type they are, for none preservestracesof a flangedhandle or a foot in two degrees, and the size of each comparedwith the thicknessof its wall suggests a vase of modest proportions.


Pls. 13-15

Three one-piece amphorae stand somewhat apart from those with separate decorationon body and neck and from those with panels. 117 (P1. 13) by the Nettos Painter is the earliest of the three, and it shows a single subjectextending over both neck and body without framing ornament at the The two fragments118 (PI. 14) sides,17the only Attic black-figuredexample to do so for certain.18 and 119 (PI. 15) come from large amphoraewith the decorationprobablyset in several friezes, an unusual arrangementof both figures and ornament.They could perhaps be includedwith the onepiece amphorae discussed above that are decoratedaccordingto the principle establishedfor neckamphorae (1-6), but because so little of the decorationremains, it is difficultto be sure of the complete arrangement, and it is best to keep them apart. 118 is decoratedon one side only and very likely was a tomb marker.19 NECK-AMPHORAE 128-225 Figs. 4-6 Pls. 16-26

The neck-amphorais distinguishedfrom the one-piece amphorachiefly by having its neck sharply set off from its shoulderand body.' In Attic black figure, neck-amphoraeare very common,particularly in the second half of the 6th century. In the late 7th and early 6th centuries, they are outnumberedby one-piece amphoraeand large kraters,but by about 560 B.C. they are being produced
above, p. 4. area given to the figured decoration,the Siren amphora,Athens, N.M. 221 (ABV6; Paralip. 6), is similar to 117 (PI. 13), except that the figure on each side is set in a very broad panel, the sides of which appear next to the handles. 18 120, 121, and 123 (PI. 15) may come from amphoraedecorated as 117, but too little is preservedto be certain. 19 For Protoattic and earlier black-figured amphorae and
17 In the amount of

16Cf. footnote 2

kraters used as grave markers, cf. Miiller, Liwen und Mischwesen, pp. 112-117; for some decoratedon one side only, cf. ibid., p. 116. 117 was probablyalso a grave marker. 'Cf. Agora XII, p. 47, note 1; also K. Stahler, JOAI 49, 1968-1971, pp. 87-97; Mommsen, Affecter,pp. 8-11.


in quantity by various workshops, and many painters, such as those of the Tyrrhenian Group, specialize in the shape. Neck-amphorae come in more varieties of shape and size than any other type of pot in the Attic repertory,and their schemesof decorationalso vary considerably.The neckamphorae from the Agora, although for the most part quite fragmentary,illustrate this range in both size and shape, as well as in decoration.2
LATE7TH CENTURY 128-137 P1. 16

The earliest Attic black-figured neck-amphoraeare large pots, close in size to their one-piece counterparts,and, like them, they probablyhad a funeraryuse. Some, such as the Piraeus Painter's amphoraor the namepieceof the Nettos Painter,3are decoratedwith figureson one side only.4This scheme of decorationis not found for certain among the Agora neck-amphorae,owing largely perhaps to their fragmentarystate, but it occurs on 118 (PI. 14), a large one-piece amphora of ca. 560-550 B.C. 136 (PI. 16), though decoratedon both sides, seems in size and style to be a direct ancestorof the Piraeus Painter's namepiece,5and 131 is probablyfrom a neck-amphoraof similar size.6 The handles providea natural frame for the decorationon the necks;on the bodies, the decoration may be set in panels like two from Vari by the BellerophonPainter,7or it may extend to the handle zone without limits, as it does on the Piraeus Painter's neck-amphora.8

Early 6th-century black-figuredneck-amphoraeare smaller than those of the late 7th century. There are not very many examples, yet there is considerablevariety within the shape. Some have a flaring mouth, usually decoratedwith a frieze of geese on the sloping inner surface, with a molded verticalexterior that may have an ornamentalpattern.The handles are concave,the body is ovoid:9 141-144 and 147 (P1. 18) are good, though fragmentary,examples from the Agora. Sophilos may have introduceda long-neckedversionwith flaring mouth and foot that is very likely inspiredby the loutrophoros,'0 but it lacks mourning figures, hence it is not classed by Beazley as a loutrophoros but as a neck-amphora.140 (P1. 17) may come from such a neck-amphora,and perhaps also 152 and 153 (P1. 19), which are fragmentsof tall, slender necks decoratedwith animals. The version used by the Polos Painter is a variantof the one with groovedrim, concavehandles, and ovoidbody.
Among the varietiesof large size, the type with the figured decorationon the shoulder and body is not known among the neck-amphoraefrom the Agora. It is the type used by Exekias and by painters close to him, including some of Group E. It was also used by the Princeton Painter and his companion, the Painter of Berlin 1686, as well as by the Amasis Painter. Its period of productionis the third quarter of the 6th century B.C. It may be pure chance that all the attributed examples with known provenances come from sites outside Greece, mainly from Italy with exception of the fragmentaryone by Exekias in Narbonne (ABV 144, 2), but it may also indicate that this type of neck-amphorawas intendedmainly for export. Cf. also footnote 37 below, p. 12. 3 Athens, N.M. 353 (ABV 2; Paralip. 1, 1); Athens, N.M. 1002 (ABV4, 1; Paralip. 2, 6). 4 The Piraeus Painter's neck-amphorahas loopworkon the back, which recalls such well-known Protoatticexamples as the New York Nessos amphora and the Polyphemos amphora at Eleusis, which have mere ornament on the reverse. For

these and other vases used as grave markers, cf. footnote 19 above, p. 7. 5 R. Young, Hesperia, Suppl. II, Athens 1939, p. 119. 6 E. Brann, Hesperia 30, 1961, p. 361, H 9. 7 Cf. footnote 10 above, p. 6. 8AB V2;Paralip. 1,1. 9 The shape of the foot is less certain. Two examples, 141 (PI. 18) in the mannerof the Gorgon Painter and Florencen.n., by Sophilos (ABV38, 3; Baklr,Sophilos,pl. 25), do not preserve the foot. The namepieceof the Painter of Eleusis 767 (ABV 21, 1;Paralip. 13, 1) has a flaringfoot, and those by the Polos Painter (ABV 44, 5 and 9), which are later, have an echinus foot. 10Athens, N.M. 991 (ABV 38, 1; Bakir, Sophilos, pls. 4951) and Warsaw 138537 (Paralip. 18, 1 bis; Baklr, Sophilos, pi. 71: here [p. 72] the vase is considereda workshop piece). Athens, N.M. 1036 (ABV 38, 2) is similar but with a shorter neck, ribbed rather than flat handles, and a more ovoid body. The namepiece of the Anagyrus Painter (ABV 20, 1) is a less able version of these.


It is squatter and less elegant than those of his predecessors.1 160 (Pl. 20) is his best preserved example from the Agora, but 161 is from the same type. Akin to these is the small one relatedto the Swan Group, 164 (P1. 20), the latest vase in this section. The decorationon early 6th-centuryblack-figuredneck-amphoraeas a rule is set in friezes,12 and 138 (PI. 17) in the manner of the Gorgon Painter may be the earliest example of this schemeon this shape. Normally the figures are animals and monsters,although human figures appear occasionally on the shoulder,13sometimes on the neck,14but rarely in a mythologicalnarrativecontext. 141 (P1. 18), with the figure of Aristaios on the neck, is the only Agora example of a mythologicalfigure on a neck-amphoraof this period. The scheme of decorationon 164 is odd:two zones of ornament on the neck, figures on the shoulder, the rest of the body black. Superficiallyit resemblesthose by the Camtar Painter discussedbelow.

Pls. 20, 21

The type of neck-amphoracharacterizedby an ovoid body, echinus mouth and foot, and round handles is preferredduring the secondquarterof the 6th centuryB.C.15 One of the earliest examples is the fragmentary one in Oxford attributed to Sophilos,16which should belong to the late first quarter of the century. Since the four neck-amphoraepainted by Sophilos vary considerablyand since Sophilos was probably both a potter and a painter,17it is possible that he may have played a role in creatingthis type of neck-amphora.The generationafter Sophilossees the adventof painters who specialize in decorating ovoid neck-amphorae:the painters of the Tyrrhenian Group, the Camtar Painter, and the Painter of Vatican 309, a companion of Lydos. Three early works by and 172 (PI. 21) is perhaps by him. Lydos are ovoid neck-amphorae,18 The decorationon the bodies of ovoid neck-amphoraemay appear in friezes, as it does on most Tyrrhenians,19or it may be set in panels like those by the Painter of Vatican 309 and by the Painter of Louvre F 6, another companionof Lydos. Lydos, himself, tried out both schemes.20 A variant of the panel type is the one preferredby the Camtar Painter, which allows the figured decorationto reach the handles without a framing device and usually has no decorationbelow the figures, not even rays.21On this type, the decoration on the neck varies. Most frequently, it is ornamental,
An exception is the neck-amphora in Richmond by the Gorgon Painter (footnote 12 above, p. 6). Here, the decoration on the body is in a panel complete with framing lines that is similar to those on contemporaryone-piece amphorae:A, panther to right; B, the like. On the neck:A, rosette;B, the like. Just below the panel, three lines that continue round the vase;below that three more lines. No rays above the foot. For others, cf. footnote 10 above, pp. 5-6. 13 Cf., e.g., two by Sophilos:Athens, N.M. 1036 (ABV38, 2; Baklr, Sophilos, pi. 30, fig. 53) and Florence n.n. (ABV 38, 3; Baklr, Sophilos, pl. 25). 14 The best example is the namepieceof the Painter of Eleusis 767 (ABV 21, 1; Paralip. 13, 1). 15The ovoid neck-amphorasurvives in the work of the Affecter who fashioned his own version that does not seem to depend upon the type used by his precedessors.Cf. Mommsen, Affecter, pp. 8-9. An odd late example is Boston, M.F.A. 01.8052, which is like those by the Affecter in shape and ornamental decoration,but its figureddecorationis in the mannerof

1 Brussels R 219 (ABV 44, 5); Louvre E 814 (ABV 44, 9).

the LysippidesPainter (ABV 242, 35 and 259, 26; Paralip. 110; Mommsen, Affecter,p. 109, no. 102). 16Oxford G.128.20 (ABV 38, 4; Baklr, Sophilos, pl. 65, fig. 127). 17Cf. Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos, pi. 6, fig. 10), which very likely has a double signature. Cf. footnote 53 below, p. 79 and also Beazley, Development, pp. 18-19. Without a potter'ssignature, it is always difficultto be certainwho shaped a vase, but the varietyof shapes decoratedby Sophilos suggests that he took considerable interest in shapes as well as decoration. 18 ABV 110, 30-32. 19For exceptions,cf. Mommsen, Affecter,p. 8, note 30. 20 Friezes: Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23). Panels: Louvre E 868 (ABV 110, 30; Tiverios, pl. 3) and Louvre C 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, 11:a). 21 The examples are given by Mommsen (Affecter,p. 8, note 30). Exceptions to this scheme of decorationin the work of the Camtar Painter are Louvre C 10521 (ABV 84, 4; Paralip. 31,



usually a lotus-palmette cross (166: PI. 20; 171), occasionally a festoon or, more rarely, a star Neither of these last two appearsamong the preservedovoidsin the Agora. Rare, too, are pattern.22 ovoids with animals on the necks (175: PI. 21).23 There are not too many ovoid neck-amphorae from the Agora, but the two main systemsof body decoration,panels and friezes, are representedby fragmentaryexamples. This section includes all the ovoid neck-amphoraethat cannot be shown with certainty to come from the panel type. With exception of the neck-amphoraeof Panathenaic shape, all panel neck-amphorae,whether ovoid or not, are presentedin the next section as a separate variant.


Pls. 21, 22

Neck-amphoraewith their decorationset in very broad panels, known in late 7th-centuryAttic black figure and on the early 6th-century ovoid panel neck-amphorain Richmond, have already been noted (p. 6, footnotes 10 and 12). These few are, however, exceptional for their time. In the second quarter of the 6th century, many ovoid neck-amphoraeare decoratedwith panels, a tongue pattern appears above the panel at the junction with the neck, and on the neck itself there is a male head to left, usually between wavy lines. Ovoid neck-amphoraeby the Painter of Vatican 309, who prefers this type of neck-amphora,and the Painter of Louvre F 6 are decoratedin this manner. Earlier painters of ovoid panel neck-amphoraeoccasionallyglaze the area between the top of the panel and the ring, and they usually omit the wavy lines on the neck.24179 (P1.21) was decorated accordingto this principle and perhaps also 180 (PI. 21), for there are no lines next to the face, but without some of the shoulderof the vessel it is difficultto be certain. 178 (PI. 21) is unusual, for the head faces to right.25Sometimesthe neck is decoratedwith a lotus-palmettecross,and at least once during the secondquarter of the century, it was left black.26 After the middle of the 6th century,it becomesunusual for neck-amphoraeto have the decoration set in panels. 181 (PI. 22) with its squat proportions,rilled mouth, and torus foot with groove is a special example that seems to have no exact parallel. 182 (Pl. 22) is probablya neck-amphoraof standardshape.

These neck-amphoraetake their shape from the prize vase, but their schemes of decorationand
4), band of lotus-palmette festoon below the figures; Laon 371017 (Paralip. 31, 9), frieze of upright lotuses and below that, animals. 22 For the festoon, cf., e.g., most of the ovoids by the Camtar Painter. For the much rarer star pattern, cf., e.g., Madrid 10929 (CVA, Madrid 1 [Spain 1], pl. 1 [17]:6); New York, M.M.A. L.1985.5. 23 Cf. also the following: Tiibingen D 7 (S./715), by the Camtar Painter (Paralip. 31, 8; CVA, Tiibingen 2 [Germany 44], pl. 34 [2135]); Florence 70995 by Lydos (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); and an unattributedexample in the Bareiss Collection once on loan to the Metropolitan Museum (L.69.11.7) that is decoratedwith figureson the neck only:A, panther;B, the like; tongue patternon shoulderatjunction with neck;rays abovefoot. Perhapsadd also, the ovoidneckamphora that has a horse protomewith forelegs in each panel and a dolphin to left on the neck (Paralip. 10; Moon, Midwestern Collections,Chicago 1979, pp. 48-50, no. 29). Later examples of this system of decoration,but not necessarilyon ovoids, are given by H. Hoffmann, CVA, Boston 1 [USA 14], pp. 14-15. Cf. also the brief discussionby Mommsen, Affecter,p. 31. 24Glaze between top of panel and ring: New York,M.M.A. 56.171.16 by the Painter of London B 76 (ABV 87, 14;Paralip. 32, 14; CVA, New York 4 [USA 16], pl. 12 [740]:1, 2); Munich 1449, unattributed (CVA, Munich 7 [Germany 32], pl. 328 [1542]:3,4). No lines next to head on neck:New York, M.M.A. 56.171.16; Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4); one near him, Munich 1447 (ABV 81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany 32], pl. 328 [1542]:1, 2); Munich 1448, near the Painter of London B 76 (ABV 88; CVA, Munich 7 [Germany 32], pl. 329 [1543]:2, 3) and Florence 3770 near the Painter of Vatican 309 (ABV 122, 1). Munich 1448 is unusual in that the panel reaches to the ring at the junction of the neck, as it does on the Richmondneck-amphora,p. 6 abovewith footnote 12 and footnote 12 above, p. 9). 25 Cf. Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4) and one near him, Munich 1447 (ABV81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany32], pl. 328 [1542]:1, 2). 26New York, M.M.A. 06.1021.29, unattributed (CVA, New York 4 [USA 16], pl. 12 [740]:3, 4).



their subjects are, as a rule, very different. Not many examples are known, and nearly all are productsof the second half of the 6th century. The earliest preservedexample, Oxford 1920.107,27 belongs, however, to the Burgon Group, which producedthe earliest known prize vase.28On the Oxford piece, the figures (the Return of Hephaistos) appear on the shoulderonly, the one example decoratedin this manner. On its neck is the rare star pattern. Examples of these neck-amphorae after the middle of the century may show the figured decorationcontinuing round the vase,29or it may be set in the more conventionalpanels,30184, 185, and 188 (P1. 23) being certain panel examples from the Agora. The other three, 183 (P1.22), 186, and 187 (P1.22), do not preserveany of the edge of the panel, so one may not be certain of the system of decoration.Normally, there is a tongue pattern at the junction with the neck and on the neck, a lotus-palmette chain. On those where the figured decorationcontinues round the vase, an ornamentalfrieze often appears below the figure zone,31as is customaryon standardneck-amphoraeof the time. The subjectsare usually mythologicalones, occasionallyunidentifiednarratives.A few vases show Athena as she appearson true Panathenaics but with accompanyingfigures, instead of alone.32188 comes from such a vase; 183 is more likely from a Gigantomachy,as Beazley suggested,33 especially since Athena strides to The other not to are too left. right, Agora examples, 184-187, fragmentaryto allow a precise interpretation of the subjectmatter. Although no painter may be said to have specialized in decorating neck-amphoraeof Panathenaic shape that are not true Panathenaics,three are by the Princeton 183 is close to the Swing Painter, and Painter and two others by his colleague, the Swing Painter;34 187 by the Rycroft Painter adds a new artist to those known to have decoratedthis rather rare type of neck-amphora.35
NECK-AMPHORAE STANDARD 189-205 Pls. 23, 24

From about 540-530 B.C.on, the favoritetype of neck-amphorahas a ratherovoid body, echinus mouth, triple handles, and torus foot. A configurationof palmettes and buds under each handle separates the figured decorationon the two sides, a tongue pattern on the shoulder at the junction with the neck outlines it above, and ornamentalbands, most frequentlyupright lotus buds that may or may not be accompaniedby the key pattern, terminateit below. The neck usually has the lotuspalmette chain. This is the main arrangement,but the sequence of patterns below the figures and
ABV 89, 2; Paralip. 33, 2. London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1). 29 Tarquinia RC 1061 by Group E (Paralip. 56, 58 bis); London, B.M. B 208 in the manner of the Lysippides Painter (ABV 260, 29); Princeton 169 by the Princeton Painter (ABV 298, 6); Rhodes 12174 by the Bucci Painter (ABV315, 5); London, B.M. B 206 of the Leagros Group (ABV 369, 120; Paralip. 162, 120); five unattributedexamples, London, B.M. B 207 (CVA, London 4 [GB 5], pl. 47 [192]), Naples, inv. no. 81103 (CVA, Naples 1 [Italy 20], pl. 11 [955]), Boston, M.F.A. 01.8059 (CVA, Boston 1 [USA 14], pls. 36 [658], 38 [660]:1, 2), Munich 1437 (CVA, Munich 7 [Germany 32], pls. 339, 340 [1553, 1554]), and Munich 1438 (CVA, Munich 7 [Germany 32], pl. 341 [1555]). Although the figured decorationon these amphorae continues under the handles, only the one in Boston and the two in Munich show continuity of subject.The others have different subjectson each side. 30 Two by the Princeton Painter, New York, M.M.A. 53.11.1 (ABV298, 5; CVA, New York 4 [USA 16], pl. 13 [741]) and Swiss, private (Paralip. 130, 5 bis); two by the Swing Painter, Copenhagen 3672 (ABV 307, 58; Bohr, Schaukelmaler, pl. 88) and Brooklyn L.68.155.1 (ABV 307, 61; Paralip. 133, 61; Bohr, Schaukelmaler,pl. 172 and p. 110, no. P 5 where
28 27

the attributionis removedfromthe Swing Painterand said to be near the Princeton Painter); three by the Acheloos Painter, London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1), Florence 3871 (ABV 383, 2), and Toledo 58.69 A (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 14 [794]);two unattributedexamples, Liverpool56.19.27 (Gerhard,AV, pl. 66) and Vatican 356 (Albizzati, pl. 46). 31 Two, Boston, M.F.A. 01.8059 and London, B.M. B 208, have ornamentalfriezes similar to those on standardneck-amphorae. Two others, Naples, inv. no. 81103 and Rhodes 12174, have upright lotus buds with dots, and London,B.M. B 207 has the same but without the dots. Princeton 169 has a chain of upright lotuses and palmettes. The three by the Acheloos Painter have upright lotus buds with dots. 32 On Liverpool 56.19.27, she stridesto left toward Hermes, the two gods between columns surmountedby cocks. On New York, M.M.A. 53.11.1, she faces an aulos player;behind her is a young girl carryinga folded peplos on her head and holding a fillet in her right hand. For these, cf. footnote30 above. 33ABV693. 34 Cf. footnotes29 and 30 above. 35 For other artists, cf. footnotes27, 29, and 30 above.



details of the handle ornamentvary a good bit from painterto painter and even within the work of a painter. Three early examples of this schemeof decorationappear on neck-amphoraeby Exekias,36 who perhaps played a role in determiningthe canonical scheme of late Archaic neck-amphorae.37 Unfortunately, the examples from the Agora are too fragmentaryto illustrate very well the basic of this shape and the variationsin decoration. characteristics


Pls. 24-26

In details of shape, these neck-amphorae are by and large diminutive, often hastily worked counterpartsof standardneck-amphorae,and frequently they exhibit the same decorativescheme as well. 209 (PI. 24) is the best preservedexample from the Agora, and 215 (PI. 25) by the Edinburgh Painter is similar except for the up-and-down palmetteornamenton its neck, a patternthat frequently occurs on small late neck-amphoraeand may have been borrowedfrom the painters of lekythoiwho often used this ornamenton the shouldersof their vessels. The up-and-downpalmette ornament, instead of the normal lotus-bud frieze, below the figures on 223 (PI. 26) seems to be unparalleled on neck-amphorae. It appears, however, below the panel of the Rycroft Painter's and is well known on shoulderedhydriai. amphoraType A in Worcester38 PANATHENAIC AMPHORAE 226-338 Pls. 26-34

Panathenaic amphoraetake their name from the festival held every four years in Athens, for they contained the oil that was awarded as prizes in the games.1 According to historical tradition, the Panathenaic festival was reorganized around 566 B.C., and at that time new competitions, The earliest preserved especially athletic contests and perhaps also horse races, were introduced.2
One of these, Berlin 1720 (ABV 143, 1; Paralip. 59, 1; Bothmer,AmasisPainter, p. 29, fig. 16), bearsthe doublesignature of Exekias and is probablyhis earliest preservedwork. The other two, London, B.M. B 209 (ABV 144, 8; Paralip. 60, 8) and Dublin 1921.97 (Paralip. 61; AJA 72, 1968, pl. 122:7), are later and belong with his signed neck-amphora in London (ABV 144, 7; Paralip. 60, 7). See footnote 37 below. 37There is considerablevariation in shape and in scheme of decorationamong the ten neck-amphoraeby Exekias (ABV 143144, 1-8; Paralip. 59-60, 1-8 and 1 bis;also 61). Stahler (JOAI 49, 1968-71, p. 93) has suggestedthat the shape of the late Archaic neck-amphorais based to a large extent on the potting of Exekias, but he does not make enough of a distinctionbetween the type with very broadshouldersoften decoratedwith figures, which enjoys a brief vogue in the third quarterof the 6th century, and the more slender ovoid type, which becomes the standard shape in the late 6th centuryB.c. Exekias signs both types as potter, Berlin 1720 and London, B.M. B 210, and on four unsigned neck-amphoraeincludes figureson the shoulder:Narbonne (ABV 144, 2); New York, M.M.A. 17.230.14 (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744747]); Boston, M.F.A. 89.273 (ABV 144, 4; Paralip. 59, 4; CVA, Boston 1 [USA 14], pls. 29-32 [651-654]); and Munich 1470 (ABV 144, 6; CVA, Munich 7 [Germany 32], pls. 351354 [1565-1568]). The configurationof palmettes and lotuses appears under each handle of the early signed neck-amphorain Berlin (1720). London, B.M. B 210, his other signed neck36

amphora,is a reworkingof the shape and becauseof its slender proportions is closer to the late 6th-century type than to its predecessors.Its ornamentaldecoration,but for the handle configuration which consists of elegantly drawn spirals, is that of the normal scheme. London, B.M. B 209 and Dublin 1921.97, both contemporarywith London, B.M. B 210, are particularly close to the standardtype in shape and ornament. 38 Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17. The literatureon Panathenaicamphoraeis vast. Cf., particularly, Beazley, Development, chap. VIII (with bibliography); also, D. A. Amyx, Hesperia 27, 1958, pp. 178-186 (the listings of Panathenaicamphoraein the Attic stelai); Frel, PPA; AEAr 29, 1974 [1977], pp. 142M. Tiverios, <<navaOqva'iKc?,, della Libia, 8, Cirene 153; M. Luni in Quadernidi archaeologia e la Grecia, 1976, pp. 259-264; Brandt, Acta Norvegiae 8, 1978, pp. 1-23 (Brandt's article appeared after this section of our text was written, and many of his observationsabout the development of the Panathenaic amphora were made independently by us); A. Stenico,Studiesin Honourof ArthurDale Trendall, Sydney 1979, pp. 177-180 (the Euphiletos Painter). In addition, cf. J. Frel, AAA 5, 1972, pp. 245-248 (Panathenaics used as dedications) and "Noms d'archontes," RA, 1972, pp. 285-290; J. Davison,JHS 78, 1958, pp. 23-42 (inscriptions and literatureregardingthe Panathenaicfestival). 2 J. Davison, JHS 78, 1958, p. 26.



Panathenaic amphorae may be stylistically placed so soon after this date that it is tempting to suggest that they were given as prizes when the games were reorganized.3The size of the prize vases from the middle of the 6th centuryB.C. to the middle of the 5th seems to vary between 0.60 and 0.65 m. in height and between 0.40 and 0.45 m. in width.4The amount of oil that they held is more difficult to calculate since so few are well enough preserved to allow a test to be made, but the capacities for six of them range from 38 to 39 liters when filled to the brim.5 The Panathenaic amphora resemblesa storage amphorawith a foot added. It has a very narrow neck and an echinus or flaring mouth that is flat on top, sometimes with glaze. The body tapers sharply to a narrow echinus or disk foot that is comparablein diameterto the width of the mouth. The shape has a very long history, beginning just before the middle of the 6th century B.C. and lasting until the 4th century after Christ,6but only those of the 6th to 4th centuriesB.C. will be discussed here.7 The earliest Panathenaic amphorae are rather squat, heavy, very sturdy-looking vases. Gradually, they become taller and slimmer until they reach the exaggerated proportions characteristicof the shape in the late 5th and 4th centuriesB.C.By the middleof the third quarterof the 6th century B.C., the canonical scheme of decorationfor Panathenaicshas been established.It is a simple and unchangingone, owing no doubt to the officialpurpose for which the vase was intended. The figures are set in a panel on each side. A statue of Athena Polias appears on the obverse, placed between columns on all but the earliest Panathenaics.Here, the panel reachesto the tongue pattern on the shoulder at the junction with the neck. On the reverse,the scene representsthe event for which the vase was awarded as a prize. On this side, the panel is separated from the tongue pattern by a band of glaze. On the neck there is a lotus-palmettechain;abovethe foot are rays. The effect is neat, tidy, rather elegant and sober, especially before 450 B.C.8 Throughout the history of the shape, the figure of Athena retains its archaicstylistic character,and in the 4th centurybecomes quite mannered-looking.The drawing on the reverse,however, keeps abreastof the stylistic development of Greek sculpture and painting and thus offers a good criterionfor dating the vases. The Panathenaic amphorae from the Agora, though very fragmentary, provide a continuous series for the period under discussion. A significant number of them, 226-318 (Pls. 26-32), are prize vases. Included in this section are the following: all those with part of the prize inscriptionor an archon'sname; all those that may be dated after 450 B.C. when Panathenaicswere the only large Attic vases being decorated in the black-figure technique; 226 (PI. 26), which has a potter's
Beazley, Development, p. 88; Frel, PPA, p. 5. For undersizedbut prize Panathenaics,cf. M. Vos, "Some Notes on Panathenaic Amphorae," OudheidkundigeMededelingen uit het Rijksmuseumvan Oudhedente Leiden 62, 1981, pp. 33-46, esp. pp. 38-46. Add to the list on p. 40, these two: London, B.M. B 144 by the Swing Painter, which lacks the canonical prize inscriptionbut tells us that the horse of Dysniketos wins (ABV307, 59; Brandt[ActaNorvegiae 8, 1978, p. 12] calls this a non-prize vase; Bohr, Schaukelmaler,pls. 170, 171 and p. 110, no. P 4 where the vase is reattributedto near the Princeton Painter); Madrid 10901 (CVA, Madrid 1 [Spain 1], pl. 27 [45]:2). Our Panathenaic of the Robinson Group, 256 (PI. 29), was of prize size; other Panathenaics of the group are shorter than the standard prize vase (ABV 410, 2-4). Bothmer has suggested orally that these undersized but inscribedPanathenaics could be test vases instead of prizes awarded in the games. Vos offers another explanation, namely that in times of "waror financial stringency, the Festival was held on a more moderate scale with reducedprizes" (p. 42). M. Tiverios (loc. cit. [footnote 1 above, p. 12]) notes that the full-size uninscribed Panathenaics are far fewer in number than the inscribedvases and believes that they are competition

samples producedby the workshops eager to receive the commission (for a possible competitionsample from the Agora, cf. 274: PI. 31). Other possible explanations are that these vases are the result of a slight overrun or oversight in productionor even that a few extra amphorae were made as a precaution against breakage, and when they were not needed, they were simply fired uninscribedand sold off. Here are good examples of uninscribed,full-size vases: Boston, M.F.A. 01.8127 in the mannerof the Lysippides Painter, 0.60-0.62 m. (ABV 260, 28; CVA, Boston 1 [USA 14], pl. 56 [6781)and an unattributedone, London, B.M. B 135, 0.624 (CVA, London 1 [GB 1], pl. 3 [27]:2); also Liverpool 56.19.23 and Naples n.n. (Brandt, Acta Norvegiae 8, 1978, p. 12, f, g, and note 2: "Size like a prizeamphora",no measurementsgiven). 5 Cf. Agora X, p. 59. 6 Frel, PPA, p. 3 and passim. 7 For Hellenistic and Roman Panathenaics, cf. G. R. Edwards, Hesperia 26, 1957, pp. 320-349, with bibliography. 8 For a well-preservedexample to serve as an illustrationof the canonicalschemeof decoration,cf. the namepieceof the Euphiletos Painter, London, B.M. B 134 (ABV 322, 1; Paralip. 142,1).



signature;229-236,239-243, and 246-253 (Pis. 27, 28) becauseof their large size and quality, and 228 (Pis. 26, 27) because of its size and subject,the Pentathlon.To estimate the original size of the vases from which these uninscribed fragments come, we used a tracing of the prize vase in New York by the Euphiletos Painter as a standardagainst which the comparablefigured part of each Agora fragment could be measured.9Some of these fragmentsmay indeed come from uninscribed vases of prize size, but given the paucity of this type,'0 we decidedto include in the prize category the fragmentsfrom full-size vases. The rest of the Agora Panathenaicsare groupedas follows:nonprize vase, 319 (PI. 32); uncertain if prize or non-prize vases, 320-337 (Pls. 33, 34). The latter group includes severalof good quality which may be undersizedbut inscribedvases, yet without the inscription it is best to keep them apart from the prize vases. Oddly enough, no obverse fragment may be matched with a reverse fragment for either the prize vases or the non-prize vases. In addition one fragment,338, comes from a miniature Panathenaic.

Pls. 26-32

In the 6th and 5th centuries B.C., the prize vase may be distinguished from the non-prize vase mainly by the inscriptionthat names it as one of the awards in the games. The inscriptionappears on the obverse,written verticallyfrom left to right on the right-handside of the left column, so that Athena faces it." The earliest preservedPanathenaic prize amphoraelack columns, and on these the inscriptionis placed next to the left side of the panel. The Burgon amphoraand the one in New York signed by the potter Nikias, who is otherwise unknown, are well-preservedexamples of this but 228 (Pls. 26, 27), which is surely a prize vase, may have been similar. Other arrangement,12 early Panathenaics, besides the one in New York just mentioned, preserve the signature of the potter. A fragmentary Panathenaic from the Kerameikos,PA 443, gives in addition to the prize inscriptionthe name of the potter Hypereides and his patronymic,Androgenes.l3Frel has seen that 226 (PI. 26), which preservesthe verb and the last three letters of the patronymic,is by the same hand, and it too ought to be a prize vase, even though the prize inscriptionis not preserved.After 550 B.C.,the signaturesof the potters cease to appear on Panathenaicamphorae,probablybecause of their official use, although they reappearoccasionallymuch later, in the first half of the 4th century B.C. On the earliest Panathenaics,i.e. those before 550 B.C.,the ornamenton the neck is usually a lotus-palmettecross,not the lotus-palmettechain of the vases decoratedaccordingto the canonical
9 New York, M.M.A. 14.130.12 (ABV 322, 6; Paralip. 142,6). 10Cf. footnote4 above, 13. p. 1An exception is the prize vase by Lydos, Florence n.n. (ABV 110, 33; Tiverios, pls. 66:4, 67). Here, the inscription appears on the reverse above the chariot team. Normally the inscriptionis written in blackglaze, but on some early examples the letters are in added red:Agora P 10353 and P 10361, omitted from this study because they were found outside the Agora grid (cf. C. Boulter, Hesperia 32, 1963, pp. 113-137, esp. p. 135); London, B.M. B 130, the Burgon amphora(ABV 89, 1; Paralip. 33, 1); Oxford G 141.45 (CVA, Oxford 2 [GB 9], pl. 2 [403]:26); Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis); Acropolis 1086 (Graef, pl. 63). Add also an early fragmentary one in a Swiss private collection signed by Kallikles as potter. The prize inscriptionon this vase is not preserved. 12 London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 7975-1979, p. 14; Bothmer,Amasis Painter, p. 44, fig. 37). 13 Cf. Frel, PPA, p. 7, fig. 4, and p. 10. Here are some examof other kinds of inscriptionson 6th-centuryprize Panatheples naics: Acropolis 921: AIAYAA[OAPOMO...], retrograde (Graef, pl. 59); Athens, N.M. 2468 (CC 761): AIAYAOAPOMOEIMI (Athleticsin Ancient Greece,I. Douskou, ed., Athens 1976, p. 166, fig. 73); Halle 560: AN]APON (ABV 120, -); the namepieceof the Euphiletos Painter, London, B.M. B 134: EYIAETOE : KAAOt (ABV 322, 1; Paralip. 142, 1); London, B.M. B 144 by the Swing Painter: AYNEIKETY: HIIOE:: NIKAI (footnote4, p. 13 above);Munich 1451: ETAAION ANAPONNIKE (Brandt, Acta Norvegiae 8, 1978, p. 4, no. 26, and pl. 2:b); New York, M.M.A. 1978.11.13: NIKIAlEHOIElEN on A and ANAPONETAAIO[N] on B (Notable Acquisitions, 1975-1979, p. 14); Naples 112848: YIKEAOIEFPA4YEN (ABV 403, -, 1); Swiss, private: KALIKLE[?]EFOIE[IEN (footnote 11 above).



arrangement and type of embellishment. On the preservedexamples, there is no tongue pattern above either panel. On these early vases, Athena has both feet flat on the ground,as on 228 (PI. 26) not the more elaborate and on 320 (P1.33), and her helmet is a simple cap with the crest attached,14 head coveringcompletewith cheekpiecesthat will appear later. Her garmentsare simple, although and the heads of the snakes on the aegis are frequently often decoratedwith ornamentalpatterns,15 seen from above instead of in profile and intertwinedas is customarylater. The earliest known Panathenaic amphorawhere Athena appears between columns surmounted by cocks occurs on the prize vase in Karlsruhe attributedto Exekias, which is an early work of about 540 B.C.16 It is not certain if Exekias introducedthe conventionof placing Athena between columns on prize Panathenaic amphorae,but he may have. On the Karlsruhevase, oddly enough, the inscriptionappears behind Athena next to the column on the right, the only 6th-centuryexample where it does, although at least one later example is known, 279 (P1. 31). On the Karlsruhe Panathenaic, the lotus-palmette chain now decoratesthe neck, and there is a tongue pattern above the obversepanel. Here, for the first time, the heel of Athena's right foot is raised slightly, an innovation that is retained, although with time the heel is raised higher and higher until only the ball of the foot and the toes touch ground. This conventiongives Athena's pose new energy and a dramatic force. 236 and 237 (PI. 27) are the earliest prize vases from the Agora that show Athena between columns. 236 preservespart of the cock above the left column, and 237 gives the top of the shaft of the left column. Here, the prize inscription (the first two letters remain) is written in the normal place. This small fragment is later than Exekias' Panathenaic and ought to date between 530 and 510 B.C. Thus, it is contemporarywith the prize vases by the Euphiletos Painter who is the first artist known to have painted many Panathenaics.17 Unfortunately, no Agora fragment of a prize vase may be attributedto the Euphiletos Painter, but of the next group of painters known to have decoratedmany Panathenaics (the EucharidesPainter, the KleophradesPainter, the Berlin Painter, and his pupil, the Achilles Painter18)251 (PI. 28) may be by the Kleophrades Painter, 250 (PI. 28) compareswith vases in his manner,252 (PI. 28) is by the Berlin Painter, and 254 (P1.29) is probably by the Achilles Painter. This brings us to the high Classical period, for which our only certain attributedexample is the rather well preservedone, 256 (Pl. 29), belonging to a painter of the Robinson Group. Part of the initial letter of the inscriptionconfirmsthis as a prize vase. 257 (PI. 29) may belong to this group. Many of the Panathenaics from this period are glazed on the inside, apparentlybecause the clay at that time was not sufficientlymaturedbefore it was used and thereforewas too porous.19254, 257, and 261-263 are examples from the Agora. The largest numberof prize Panathenaicsfrom the Agora belong to the 4th centuryB.C., 271-318 (Pls. 30-32). Most of them are very small fragments, but together they illustrate the various important innovationsthat appear during this time. The first is another inscription,which is written verticallynext to the shaft of the column on the right, usually on the left side of it to complementthe prize inscription next to the opposite column. This inscription names the archon who held office
4 Cf., e.g., the Burgon amphora, London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); Kerameikos PA 443 (Frel, PPA, p. 7, fig. 4); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 1975-1979, p. 14); and Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis). 15 Cf. the examples given in footnote 14 above. 16 Karlsruhe 65.45 (Paralip. 61, 8 bis). 17 Beazley, Development, p. 91; ABV 322, 1-12; Paralip. 142. For a brief discussion of these vases, cf. most recently,

Brandt (Acta Norvegiae 8, 1978, pp. 13-14 and 20) who suggests that they may have been part of the lot commissionedfor the games of 522 B.C.. To these, Stenico (loc. cit. [footnote 1 above, p. 12]) adds anotheronce in the Milan Market. 18 Eucharides Painter: ABV 395-396, 1-20; Paralip. 173. KleophradesPainter:ABV 404, 1-16; Paralip. 175-176. Berlin Painter: ABV 408, 1-11; Paralip. 177. Achilles Painter: ABV 409, 1-5; Paralip. 177. 19 Frel, PPA, p. 9.



during the year in which the oil was collectedthat would in the next year be awardedto victors in the games. Thus, these vases may be dated to a given year.20Archons' names appear on Panathenaics late in the first quarter of the 4th century B.C.,21 and the earliest sure example is 271 (Pl. 30) which names Pythias, 380/379, as archon. Other sure names are Kallimedes, 360/359 (286: PI. 31); Themistokles, 347/6 (289); and Demokleides, 316/5 (296: PI. 32). 273 (PI. 30) probablynames Phrasykleides,371/0, as archon,278 (PI. 31) either Charikleides,363/2, or Theophrastos, 340/9, and 290 (Pl. 31) gives either Aristodemos,352/1, or Pythodeles,336/5, probably the latter. 297 and 298 preserveonly part of the word, archon.During the secondquarterof the 4th century, the names of two potters of the same family, Bakchiosand Kittos, appear three times on Panathenaic amphorae. 274 (PI. 31) probably bore the potting signature, too, for it gives some of the prize inscriptionon the right side of the left column and on the left side of the same column, a X, which very likely is the last letter of Bakchiosor Kittos. An inscriptionon each side of one column seems paralleled only on the fragment in Istanbul signed by Bakchios,22and this may be an argumentin favor of restoringthe name on 274 as Bakchios. In the second quarter of the 4th century B.C., four new features appear, which accompanythe names of the archons. From now on, there are no rays above the foot, and the cocksthat surmount the columnsare replacedby small-scalefigures, which sometimesreproducesingle statues or statue groups.23Among the Agora fragments, 287 (Pl. 31) and 288 preserve small parts of Eirene and Ploutos, which reproducethe famous group by Kephisodotos.Another,302 (P1.32), gives part of a seatedAphroditewith Eros standingbeside her. Two others, 280 and 298, preservethe lower parts of figures, but the type may not be identified for certain. These small figures atop the columns of the archonwho held officethe change from year to year and thus may be understoodas "symbols" small that the same time figures replace the cocks, the artists year the vase was made.24About the begin to write the inscriptions columnlike, kionedon,that is with the letters horizontal instead of lengthwise. Up until this time, all inscriptionsare written from left to right. The earliest preserved kionedoninscriptionson Panathenaicsseem to be those that date from 367/6, the year that Polyzelos was archon. These vases belong to the Kittos Group.25The earliest kionedoninscriptionon an Agora Panathenaicoccursvery soon after this, on 286 (PI. 31), which preservessome of the name of Kallimedeswho was archon in 360/359. From this time on, all Panathenaicinscriptionsare written kionedon,and all those from the Agora that may be dated after 360 B.C. conformto this new convention. About 360 B.C., the figure of Athena is reversed,and from now on she stridesto right insteadof to left.26No one knows the reason for this change, but one of its results is that on many vases one no longer sees the device on her shield,27which in the case of certain earlier artists is an identifying The earliest examples of the change in directionseem to be from the year that Kallimedes symbol.28
Beazley, Development, pp. 96-97, with bibliography, The earliest example is Berlin 3980, which preservesthe letters ]E EPXEN (A. Smets, L'antiquite classique 5, 1936, p. 97, no. 98; Frel, RA, 1972, pp. 285-286 where Siisserot'sattributionto the archonshipof Philokles [392/1] is discussedand rejected). 22 Istanbul L. 3149 (ABV413, 2). 23 Beazley, Development, p. 97; Frel, PPA, pp. 19-21 and 23. 24 Beazley, Development,p. 97; Frel, PPA, p. 21. 25 London, B.M. B 604 (ABV 413), the namepiece,does not have a prize inscription and may have been a competition
21 20

sample (Beazley, Development, p. 97). For the Kittos Group, cf. ABV 413-414, 1-5; Paralip. 177. 26The Panathenaicsfrom Eretria that name Kallimedesas archon (360/359 B.c.) are the earliest preserved examples (P. Themelis, AAA 2, 1969, pp. 409-416 and Ir7jX, pp. 265271). 27 On some of the 4th-century B.c. Panathenaicsthat show Athena to right, her shield appears in profile so that part of the device may be seen. Cf., e.g., two from Eretria (footnote 26 above). 28 This is especially so with the Kleophrades Painter, who uses the deviceof a Pegasos, and with the Berlin Painter and his



was archon, 360/359.29 Oddly enough, the one fragmentfrom the Agora that preservespart of his name shows Athena to left, not to right, 286 (PI. 31). The earliest inscribedexample fromthe Agora that depicts Athena to right is 290 (PI. 31), which may date from either 352/1 or 336/5 depending upon how the archon's name is restored. If the later date is correct, as suggested in the Catalogue, then 276, which ought to date about 350 B.C.,is the earliest Agora example. From the middle of the 4th century B.C.,Athena wears a long shawl over her shouldersthat hangs down ending in a kind of swallowtail, and her skirt has very many narrow folds. No doubt, this style of dress is intendedto representan old-fashionedarchaistictype of Athena. No well-preservedexample of this type of dress occurson the Agora fragments,but 293 (PI. 32) gives a good idea of how close together the folds of the skirt are, and 295 is a good example of the shawl ending in a swallowtail. One last innovationremains to be discussed.In 403 B.C., the Ionian alphabetwas officiallyadopted in Athens.30Three Panathenaic amphorae inscribed in this alphabet must date from just this time, for the shield device of Athena on all three representsthe bronze statues of the Tyrant Slayers The use of the by Kritios and Nesiotes and very likely symbolizes the restorationof democracy.31 Ionian alphabet on Panathenaicsdoes not becomestandarduntil 336 B.C.,32but it is used frequently during the first half of the century for both the prize inscription,e.g. 265 and 274 (PI. 31), and the name of the archon, e.g. 278 and 286 (PI. 31).

Only one certain example of a non-prize vase may be included in this section, a well-preserved amphora that gives all of both panels. Like many non-prize vases, it is rather small (only 0.277 m. in height), but its scheme of decorationconformsto that of the prize vase.33On the obverse,Athena strides to left between two columns surmountedby cocks;on the reverse, the event for which the vase would be awardedis depicted.Aboveeach panel is a tongue patternwith the customaryarea of black glaze on the reverse that separas the pattern from the panel. On the neck is the lotus-palmette chain; above the foot are rays. 319 is perhaps a little unusual, for its neck and foot are much larger in proportionto the body when comparedwith other Panathenaicamphorae,whether prize or non-prize vases.

Most of these fragmentsbelong to the last years of the 6th centuryB.C. and to the first years of the thus to the when both and Panathenaics are 5th, period prize non-prize produced.Therefore, in spite of the very high quality of some of these fragments, without part of the inscription it is impossible to determine if any is a prize vase. Two, 320 and 321 (P1. 33), may be dated around the middle of the th century B.Of the. se, 320 is worth mentioningfor it shows part of the very early of Athena that has both feet flat on the ground,and it may be one of those Panathenaicamphotype rae that does not show the goddess between columns. Among e later fragments,one (325: P1.33) ths may be a new attributionto the Group of Copenhagen99.
pupil, the Achilles Painter, who show the gorgoneion.Cf. Beazley, Development,pp. 94-95. 29 Cf. the two from Eretria (footnote 26 above, p. 16). 30 In the archonship of Eukleides. Cf. Price and Jeffery, OCD, p. 47. 31 London, B.M. B 605 (ABV 411, 4); Hildesheim 1254 (ABV 412, 1); Hildesheim 1253 (ABV 412, 2). Beazley, Development, p. 96. 32 Frel, PPA, p. 15. 33Their use was probablyan unofficialone. For general remarks about the small size of non-prize Panathenaicsand exceptionsthat are large, cf. Brandt,ActaNorvegiae 8, 1978, p. 3, note 1 and pp. 11-12; also, T. B. L. Webster,Potterand Patron in Classical Athens, London 1972, pp. 64 and 159-160, who suggests that these may have held the wine at the victor'ssubsequent celebration. In this discussion (p. 64) he also includes London, B.M. B 144 by the Swing Painter (footnotes4 and 13 above, pp. 13, 14).



AMPHORAE, TYPE UNCERTAIN 339-366 Figs. 7-10 Pls. 34-36

A numberof amphorafragmentsdo not preserveenough of the curveof the wall or other characteristic featuresthat would identify the exact shape. Most of these may be dated in the late 7th century or early 6th. Among them, one (341: PI. 34) may have been very like the namepieceof the Piraeus Painter.1Some (343 and 344, 351 and 352, and 354 and 355: PI. 35) are from amphoraewith the figured decorationset in friezes. 358, with part of an inscriptionon the top side of the mouth, may come from a Panathenaicamphora, and 363 (P1.36) is perhaps a neck-amphora.

AMPHORA LIDS 367-372 P1.36

None of these six lids may be connectedwith any of the one-piece amphoraeor neck-amphoraein the Agora, and it is difficultto be certain which kind of amphoraeach covered.1 Thus, they appear in this small separatesection.367-369 (P1.36) have figureddecorationand seem to have been without ornamentalpatterns, which is unusual. 370 has rays at the base of the knob and ivy round its brim, a combinationof patterns that is frequent on the lids of amphorae(cf. comparisonswith 370 in the Catalogue).

LOUTROPHOROI 373-389 Pls. 36-38

Both varietiesof loutrophoros,the hydria and the neck-amphora,are known as early as the late 8th century B.C., as attested by the work of the Analatos Painter.1Examples from the 7th century are few.2 The shape has a long history, but it was never exportedto Etruria. Most of the black-figured loutrophoroicome from Attic cemeteriesor from sacredplaces such as the Shrine of Nymphe on the South Slope of the Akropolis,which produceda significantquantity.3 In general, the loutrophorosis recognizedby its ovoid body and tall flaring neck. Early blackfiguredexamples have a flaring mouth and an echinus or flaring foot. Later ones may have a similar but more flaring mouth in one or two degrees,and the foot may also be flaring or in two degrees, often a vertical member above a torus. The two varieties are distinguished by the handles. The
R. Ginouves, Balaneutike: recherchessur le bain dans l'antiquitegrecque, Paris 1962, pp. 254-264. 2 Karydi,op. cit., p. 90. 3 T "Epyov, 1957, p. 11, fig. 9 (whence BCH 82, 1958, p. 664, fig. 11; J. Travlos, Pictorial Dictionary of Ancient Athens, London 1971, p. 363, fig. 466). This material is being prepared for publication by Charikleia KanellopoulouPapadopoulou.

'Athens, N.M. 353 (ABV2; Paralip. 1). 'For lids of amphorae, cf. Agora XII, p. 48, with bibliography. 'For early loutrophoroi,cf. E. Karydi, AthMitt 78, 1963, pp. 90-103 with bibliography and emphasis on examples from the Kerameikos. For the significance of the shape, cf.



hydria type shares with the hydria the disposition of the handles:the tall, vertical strap handle in back reaches from the shoulder to the top of the neck, and two small, horizontalupright handles on the shouldercurve upward at each side. The neck-amphoratype has two strap handles, one on each side of the neck; they are often strengthenedby partly filling the space between them and the neck with a slab of clay decoratedwith an ornamental pattern. The handles themselves are frequently decoratedwith ornament. The hydria type is more commonin the first half of the 6th centuryB.C., the neck-amphorain the second half. In the Agora, both types are to be found, but only 373-376 (Pls. 36, 37) may be identifiedas hydriai and 377 (PI. 36) as a neck-amphora,for each preservesall or part of the handles. The rest are too fragmentaryto be certain of the type or even to give a good idea of the original appearance.Yet, if the later 6th-centurydate for most of these fragmentsmay be used as an indicatorof shape, then 378-389 (Pls. 37, 38) are probablyof the neck-amphoratype. In Attic black figure, the earliest attributedloutrophoroiare the unpublishedones by the Nettos Painter and the Gorgon Painter found in the Sanctuary of Nymphe. Slightly later are the very fragmentary hydria by the Ceramicus Painter and the well-preserved neck-amphoraby the KX with these.5The Painter.4Two unattributedhydriai from the Shrine of Nymphe are contemporary same system of decorationis used for both types of loutrophoroi.On the body, there are friezes of animals and above the foot, a zone of rays; on the neck appear a processionof mournersand below them a frieze of animals or a band of ornament.6The earliest black-figuredloutrophoroifrom the Agora, 373-376 (Pls. 36, 37) are of the hydria type and are later than these (ca. 560-540 B.c.). Here, the friezes of animals on the body are given up in favor of a single zone with human figures. Also new is the tongue pattern on the shoulderat the junction with the neck, which is to be found on nearly all contemporaryand later examples.7The neck of 373 (P1. 36) is decoratedin the standard manner;the necks of 374 and 375 (Pls. 36, 37) have just a single row of mourners.From now on, human figures appear on the body as well as on the neck. From about 540 B.C.on, black-figuredloutrophoroiare taller and more slenderthan those of the earlier decades of the 6th century.8Frequently, a prothesis scene appears on the body, sometimes with a frieze of horsemenor animals below, sometimeswith a single band of ornament.When other themes appear, such as a wedded pair in a chariot, one cannot be certain whether such a scene is mythologicalor reflects daily life.9 On the necks, there are usually mourners,often with a frieze of White ornamenton black glaze becomes animals or ornament at the junction with the shoulder.10 the customary manner of decoratingthe mouths and handles of later loutrophoroi,although it is
wish to thank Charikleia Kanellopoulou-Papadopoulou for allowing us to mention these earliest examples. Ceramicus Painter: New Jersey, private (Paralip. 12); KX Painter: Kerameikos,inv. no. 2865 (Paralip. 15). 5 To "Epyov,1957, p. 11, fig. 9: first row, secondfrom right and third row, center (whence BCH 82, 1958, p. 664, fig. 11; Travlos, op. cit. [footnote3 above, p. 18], p. 363, fig. 466). 6 Cf. Kerameikos,inv. no. 2865 by the KX Painter (Paralip. 15) and those in footnote 5 above. 7 Exception:Athens, once private (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 52:3 and 53). 8 Compare, e.g., 373 (PI. 36) and 375 (P1. 37) or Eleusis 765 (ABV 88; Paralip. 33) and Athens, Benaki 7676 (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 50, 51). 9 With exception of the loutrophoroi from the Shrine of Nymphe, mythological themes do not normally appear on black-figured loutrophoroi. We wish to thank Charikleia Kanellopoulou-Papadopouloufor showing us the photographs
4 We

of her material from this Sanctuary.For a mythologicaltheme, cf. also the fragment by the Painter of London B 76, also from Athens, which shows the Departure of Amphiaraos (Paralip. 32, 6 bis). 10For well-preserved examples, cf. four unattributed late 6th-century B.C. ones: Athens, Benaki 7676 (Karydi, op. cit. [footnote1 above, p. 18], Beil. 50, 51); Cleveland27.145 (CVA, Cleveland 1 [USA 15], pls. 15, 16 [695, 696]); Berlin 1888 (Ath Mitt 53, 1928, Beil. 13); and New York, M.M.A. 27.228 (Noble, Techniques,fig. 169). For the weddedpair in a chariot, cf. Athens, once private (Karydi, op. cit., Beil. 52:3 and 53). Noteworthy exceptions to the prothesis scene on the body are two from the Kerameikosdating 540-530 B.c.: inv. no. 1682 by a painter of Group E, which shows two rows of men and youths with tripods (ABV 137, 66; Paralip. 55, 66); inv. no. 1680, near Group E, which has wrestlers in the main zone on one side, mourners on the other (ABV 139, 15; Karydi, op. cit., Beil. 44-46).



used sparingly as early as the third quarter of the 6th century B.C.375 (PI. 37) is the earliest example from the Agora.1IMost commonof these white patternsis the wavy line, as on 377 (PI. 36), or 383 and 385 (PI. 37), which are very likely the painted counterpartsof the plastic snakes on late Geometric and Protoattic loutrophoroi.'2Other patterns include the key (375: PI. 37) and the zigzag, the latter unknown on Agora black-figuredloutrophoroi.The effect of the amount of white is colorful and lively. PELIKAI 390-397 P1.38

The pelike is a shape invented by the Pioneers, and, therefore,all the known black-figuredexamples are later than the introductionof red figure. The shape derivesfromthe amphoraType C, and it is characterizedby a rather sagging body with its maximum diameter close to the foot, a torus mouth, segmental handles, and an echinus or spreading foot. In Attic black figure, the figured decorationis set in panels, framed by a variety of patterns that are combinedrather freely, for in this shape there is no standardizationof ornamentas there is with many other Attic black-figured shapes.2Only a few Attic black-figuredpelikai have been found in the Agora, and all of them may 391 (PI. 38) is the best preservedand is unique for be dated in the late 6th or early 5th centuriesB.C. black of solid foot instead the above glaze.3 having rays

PSYKTER 398 Fig. 11 P1.39

The psykter, or wine-cooler, like the pelike, is a shape invented in the late 6th century. It first appears about 530-520 B.C.and, although never very popular, continues until shortly before the middle of the 5th centuryB.C. The earliest known black-figuredexample seems to be the one in the Menil Collection signed on the top side of the mouth by Nikosthenes and attributedby Bothmerto the Antimenes Painter,2who, togetherwith painters in his circle, has left us other examples of the
shape.3 When filled with wine, the psykter was placed in a krater containing iced water or snow,

I1 For other early examples from the third quarter, cf. those from the Kerameikos cited in footnote 10 above, p. 19; also Oxford 1930.619 (CVA, Oxford 3 [GB 14], pl. 25 [640]:9). 12Karydi, op. cit. [footnote 1 above, p. 18], p. 91.

For the shape, cf. Agora XII, pp. 49-51, with bibliography; more recently, R.-M. Becker, Formen attischer Peliken von der Pioneer-Gruppebis zum Beginn der Friihklassik,Ttibingen 1977. 2 For the variety of ornamental patterns and their various combinations,cf. Bothmer,JHS 71, 1951, pp. 42-44. 3 Bothmer,op. cit., p. 44. On psykters, cf. Agora XII, p. 52, esp. note 1, with

bibliography; most recently, the monograph by S. Drougou, Der attische Psykter, Wurzburg 1975. For the psykteramphora, a rare double-walled vessel, cf. H. Hoffmann in CVA, Boston 1 [USA 14], p. 25. 2 Hoffmann, Ten Centuries, fig. 175. For the attribution, cf. M. B. Moore, Etudes delphiques [BCH, Suppl. IV], Paris 1977, p. 314, note 38. 3 Antimenes Painter: Louvre C 12296 (ABV 275, 136); manner: Leipzig T 367 (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]); Louvre F 319 (ABV 280, 58); Louvre F 320 (ABV 280, 59); related:Louvre F 321 (ABV282, 22; Drougou, op. cit. [footnote 1 above], pl. 14:1); Group of Wurzburg 199: Villa Giulia 50674 (ABV 289, 28).



which chilled the wine,4 and it may be no accidentthat both the psykter and the calyx-kraterfirst appear at about the same time, for the flaring shape of the krater accommodatesthe psykter very well.5 This is not to suggest, however, that the calyx-kraterwas invented for the psykter, for there can be no doubt that the krater was used independently,although occasionallyboth a calyx-krater and a psykter may have been made and sold as a set. The shape of the psykter is well suited to its use. It has a broad,bulging body that curvesinward sharply to the tall, thick stem supported by a torus foot or sometimes by one in two degrees, a vertical member above a torus. The cylindrical stem serves as a keel, allowing the psykter to float upright in the krater.6The mouth is usually flat on top,7similar to that of the amphoraType A or B or the standardneck-amphora.Two varieties of psykter are known. The first has two small loops on the shoulder through which a string or thong may be passed so that the vessel may be carried.8 This type also has a lid that slips over the mouth. The secondtype of psykterhas neither loops nor a lid. 398 (P1. 39) belongs to this variety. The scheme of decorationis a simple one. There is a tongue pattern on the shoulderat the junction with the neck, which is sometimesaugmentedby a secondpattern between it and the figures.9 The neck and mouth are usually black.10 On psykterswithout loops, the figurescontinueroundthe body without interruption;on those with loops, it is dividedinto obverseand reverse.Occasionally, the figures are set in panels, but this arrangementis rare.11Normally, the area below the figures
See particularly Bothmer,Bull. Metr. Mus. 19, 1960-61, pp. 141-142; A. Greifenhagen, Jahr. Berl. Museen 3, 1961, p. 126; most recently, J. Boardman, ABFV, p. 188. Drougou (op. cit. [footnote 1 above, p. 20], pp. 31-35) argues, however, that the psykter held the snow or iced water, for its closed shape would preserve the coolant longer than the open shape of the krater would. This conclusion, refuted by Bothmer (AA [JdI 91], 1976, p. 487), ignores the fact that a containerof liquid is cooled more quickly if it is surroundedby cold water than if the reverse method is used. Furthermore, some of the representations of psykters in vase painting lend support to our opinion that the psykter held the wine and the kratercontainedthe iced water or snow. For a list of 19 illustrations, cf. Drougou, op. cit., pp. 38-39. In 13 of these scenes (Drougou, nos. 1, 2, 5, 7, 8, 10, 11, 13, 15-19), there is a ladle, which makes sense only if used with the psykter. In three scenes, the ladle is in the psykter: Heidelberg 279 (CVA, Heidelberg 1 [Germany 10], pl. 42 [476]:7); Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1); Vienna 137 (CVA, Vienna 1 [Austria 1], pl. 1 [1]:2). In five scenes, the ladle and the psykter appear without the krater: Vienna 137: psykter on ground, youth about to ladle wine; Berlin, inv. no. 3251 by the Thalia Painter: psykter being carried; ladles suspended from stands (AR V2 113, 7; Paralip. 332, 3); Berlin 1960.32 by the Cerberus Painter: woman stands before psykter, holds up ladle (ARV2 1630); Florence 8 B 17 by Myson: ladle held just above psykter (AR V2 238, 8); Greifswald 316 in the manner of the Antiphon Painter: ladle held just above psykter (ARV2 342, 2). Those who wish to believe that the psykter held the coolant would argue that in scenes, such as those on Heidelberg 279 or Bonn, inv. no. 574, where the psykter with its ladle stands in the krater, cold water is being ladled from the psykter into the drinking vessel to be mixed with the wine it already contains. But this view is extremely difficultto support when the psykter and the ladle appear in a symposionor revel without the krater,

for in these illustrations, only the psykter can be the source of the wine. 5 Two good illustrations:Athens, N.M. 1045 by Kleisophos (ABV 186;Jahr. Berl. Museen 3, 1961, p. 123, fig. 8) and Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1). 6 Cf. Bothmer,AA (Jd 91), 1976, p. 487. 7E.g. the Menil psykter (Hoffmann, Ten Centuries, fig. 175). 8 A good example: Brussels A 1652 in the manner of the Acheloos Painter (ABV 387, 19; Drougou, op. cit. [footnote 1 above,p. 20], pl. 13:1). This type is more commonin plain black than it is in figured. Drougou (pp. 18-25) lists 24 examples in black, 6 in black figure, and 9 in red figure. The bronze psykter in New York illustrates the purpose of the loops, for it has two swinging handles which pass through them (M.M.A. 60.11.3: Bull. Metr. Mus. 19, 1960-61, pp. 138-139, figs. 7, 8). 9Cf. the Menil psykter by the Antimenes Painter, which has a ribbon pattern (Hoffmann, Ten Centuries,fig. 175), and Heidelberg 215, an unusual key pattern (CVA, Heidelberg 1 [Germany 10], pi. 32 [466]:8). Leipzig T 367 in the manner of the Antimenes Painter has a narrow black band (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]). 10Exceptions:the Menil psykterwhich has a frieze of horsemen on the neck and ivy with dots on the side of the mouth (Hoffmann, Ten Centuries, fig. 175); Brussels A 1652 which has a ribbon pattern on the neck (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1); Bloomington, Indiana University Art Museum 75.102.1 which has ivy on the side of the mouth (Moon, Midwestern Collections, pp. 112-113, no. 64). ' Examples: Brussels A 1652 (ABV 387, 19; Drougou, op. cit. [footnote1 above,p. 20], pl. 13:1);Jena (JdI 80, 1965, p. 83, fig. 7).



and the entire stem are glazed, although on some psyktersthere may be a narrow reservedbandor a zone of ornament.'2 The foot is usually glazed but occasionally may be reserved.13 398 (PI. 39) seems to be unique for having its stem unglazed except for a black band above the foot. SKYPHOS-KRATERS 399-413 Fig. 12 Pls. 39-41

The skyphos-kraterhas a very long history in Attic pottery, reaching back to the Late Geometric period, but it is not a very common shape.' All the examples with known provenancescome from and the largest Athens and its environs.In Attic black figure,there are less than 40 skyphos-kraters, number of attributed examples are by the Nettos Painter or close to him. The skyphos-krater disappearsby the end of the first quarter of the 6th century,the four examples by the Group of the Dresden Lekanis being the latest.2 As the name implies, the skyphos-krateris a very large, deep bowl. It has two horizontal strap handles with returns, and its rim is flanged or incurvingto receive a domed lid. The bowl may be supportedby an echinus foot,3or joined to a conical stand. The inside may be unglazed or banded. The Agora skyphos-kratersare very fragmentaryand do not illustrate the shape very well. The majorityof fragments, 404-413, are from lids, but none may be joined with the bowl it once covered. 399, 401, and 403 (Pls. 39, 40) are rim fragments;400 and 402 (PI. 39) preservepart of the bottom of the bowl and the top of the stand. It is possible that some of the fragmentsof very early but without part of conical stands from the Agora (e.g. 526-530: PI. 51) belong to skyphos-kraters, the bowl preserved,there remains a measure of uncertainty,and they are best kept apart. On both the bowl and the stand, the figures appear on the obverseonly, in keepingwith the use of the skyphos-krateras a grave marker.The reverseof the bowl is decoratedwith large ornamental patterns or loopwork,4and in this respect the scheme of decorationrecalls that of large grave amphorae.5On the three well-preserved skyphos-kratersby the Nettos Painter, which illustrate the shape best, there is a palm tree on the backof each stand.6On the bowl of the 7th-centuryexamples, the figures are large and extend over the entire surface.The formatis not yet dividedinto friezes as as well as on many other large vases of the early 6th cenit will be on the later skyphos-kraters,7 the bowl, there is sometimesa band of ornament and below that a tury B.C. Below the figures on zone of rays. Often at the sides, next to the handle return, there is a vertical framing pattern, and beneath the handle itself, a figure such as a bird or an ornamentalpattern.On the preservedstands, the which are all early, the figures are large, but presumablyon the standsof later skyphos-kraters
12 Narrow reservedband:Louvre C 12296 by the Antimenes Painter (ABV275, 136); Villa Giulia 73655 (M. Moretti, Villa Giulia. Nuove scopertee acquisizioni nell'Etruriameridionale, pl. 16:5); London, B.M. B 299 (Jdl 80, 1965, p. 88, fig. 14). Ornament: Brussels A 1652: upright lotus buds below figures; invertedrays on stem (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1). 13E.g., Louvre F 321 in the mannerof the Antimenes Painter (ABV 282, 22; Drougou, op. cit. [footnote 1 above, p. 20], pl. 14:1); Munich SL 461 (Drougou, op. cit., pl. 27:1); Vienna IV 3069 (Jdl 80, 1965, p. 91, fig. 18). On Brussels A 1652, which has a foot in two degrees,the verticalmemberis reserved (ABV387, 19; Drougou, op. cit., pi. 13:1).

For the shape, cf. KerameikosVI, ii, pp. 150, 156-158. 2ABV 22, 3-6.

3 For example, Athens, N.M. 16399 by a follower of the Nettos Painter (ABV 7, -). 4 Three by the Nettos Painter:Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10);Athens, N.M. 16383 (ABV7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 6; Paralip. 3, 13); also Kerameikos,inv. no. 801 by the Painterof Berlin A 34 (ABV 1, 2; KerameikosVI, ii, no. 115, pl. 88); Kerameikos,inv. no. 153 (KerameikosVI, ii, no. 62, pl. 61); Kerameikos,inv. no. 129 VI, ii, no. 96, pl. 79); Athens, N.M. 16400: spirals. (Kerameikos 5 Footnote 19 above, 7. p. 6 Footnote4 above. 7 Examples: Athens, N.M. 907 by the Ceramicus Painter (ABV 19, 4); Akropolis496 from the Group of the Dresden Lekanis (ABV 22, 3); probablytwo others in this group, but little remains: Akropolis 497 (ABV 22, 4); Akropolis 498 (ABV 22, 5).



figures appeared in friezes just as they do on the bowls. At the top of the stand, just below the junction, there may be three or four lines (400: P1.39) or a black band (402: P1.39), andjust above the torus molding at the bottom,there is usually a zone of rays. Contraryto the system of decoration which may be either ornament on the bowl and stand, the decorationon the lids of skyphos-kraters, or figures, continues aroundwithout interruption.On the 7th-centurylids, the figuresare large and cover the entire surface except for a zone of ornament at the rim and around the knob, 404-411 (Pls. 40, 41);8on those of the 6th century,beginning with the Gorgon Painter,9the decorationis set in friezes, 412, 413 (P1.41).

COLUMN-KRATERS 414-490 Pls. 41-46

The column-krateris the most commontype of krater in Attic black figure,1and the Agora examples range in date from the early th to the early 5th centuriesB.C. Although the column-krateris mainly a shape of the Archaic and Classical periods, it may have been known to Late Geometric artists, for a handle-plate from that period was found in the Agora.2Some have contestedthat this fragmentprovides firm evidence for the existence of the column-kraterin so early a period, mainly becauseonly the handle-plate remains, no telling fragmentsof rim, neck, and body,but also because nearly a century elapses before the next example is known.3 Still, since Late Geometric and Protoatticpotters produce many innovativechanges in shape, ornament,and subjectmatter, there seems to be no good reason to rejectthe Agora handle-plateas evidencefor the column-kraterbefore the beginning of Attic black figure. The earliest undisputed Attic black-figuredcolumn-krateris Athens, N.M. 16388 from Vari.4 Bakir connected it with the workshop of the Nettos Painter,5and thus it should date in the last quarter of the 7th century B.C.,perhaps a little earlier than 414 (PI. 41), the earliest black-figured example from the Agora. The Vari krater has a short, broad, spherical body and no handle-plate, the handle columns being attached directly to the rim. Its shape is paralleled best in Corinthian,6 but its ornament, subject,and style of drawing are pure Attic. Attic black-figured column-kratersof the first quarter of the 6th century B.C. are influencedby Corinthian examples. Those by painters of the Komast Group are direct imitations of the Corinthian shape, and these painters are also strongly influenced by Corinth in their choice of subjects and in their style of drawing. The shape now is taller, and the columnssupportingthe rectangular plate are almost vertical.The Agora examples of this period are particularlyfragmentary,and thus they do not shed much light on the appearanceof the shape as a whole at this time, but they are importantfor the schemeof decorationand for the subjects.The figureddecorationmay still appear in panels with solid black glaze below the figures, 417 (P1.41) being the one certain example from
examples: the three by the Nettos Painter (footnote 4 above, p. 22); Athens, N.M. 16399 by a follower (ABV7, -). 9 Cf. Agora A-P 1734 by the Gorgon Painter (ABV 8, 6). 1 For the shape, cf. Agora XII, p. 54, with bibliography; also, T. Bakir, Der Kolonnettenkraterin Korinth und Attika zwischen 625 und 550 v. Chr., Wurzburg 1974; P. Zaphiropoulou, BCH 94, 1970, pp. 380-398; and M. Tiverios, IpoSr arT77rKj KEpa,uiLK?, Thessaloniki i,Xqi'JAara 7rjs UeXAavopLopp

8 Good

is NC, pp. 300-301. 2 P 7006 (AgoraVIII, p. 85, no. 487, pl. 29). 3 Cf., particularly, Bakir, op. cit. (footnote 1 above), p. 60. 4 Tiverios, op. cit. (footnote 1 above), pl. 44. The figured decorationis set in panels: A, two eagles devouringa snake; B, sirens. On the top side of the rim, rosettes. 5 Op. cit. (footnote 1 above), p. 60.
6 Cf. ibid. 7 Cf., particularly,ibid., pp. 61-63.

1981, passim. For Corinthianexamples, the best discussionstill



the Agora.8But more often, Attic black-figurepainters prefer the new schemeof decorationadopted by Corinthianartists shortly after 600 B.C. Here, the figureddecorationof the main zone extends to the columnsof the handles without framingornament;beneaththe handlesthere is often a figure, usually a bird or a monster,sometimesan ornament.Most important,however, is the additionof a subsidiaryfrieze of animals below the main zone. 421 (PI. 42) preservespart of this zone, and 416 may give just the start of it, for the area below the groundline is unglazed. 420 (PI. 42), to judge by its scale, very likely had a frieze below the symposionscene. The decorationon the top side of the rim is normally ornamental,most often rays or rosettes,9and the vertical overhangis plain black. 422 with its frieze of horsemenon top and incised rosetteson the overhangis most unusual for the period.10On the handle-plate, there may be an animal, such as the feline on 418 (PI. 41), or a floral.11The tongue pattern appears on the shoulderat the junction with the neck, except on those kratersthat are decoratedaccordingto the principleused by Corinthianpaintersduring the late 7th and early 6th centuriesB.C., which allows the figuresof the main zone to extend to the junction with the neck.12426 is the best example from the Agora.13The tongue pattern on 417 (PI. 41) is an exception among column-kratersby the Komast Group.14 Most of the Attic black-figuredcolumn-kratersdatedin the middledecadesof the 6th centuryB.C. come from the workshop of Lydos and his companion,the Painter of Louvre F 6. Comparedwith earlier column-kraters,the ones in this period are taller in proportionto their width, the necks are not so short and they flare slightly; the columns of the handles slant outward a little.15A new scheme of decoration appears in which the subsidiary frieze of animals is given up in favor of allowing the main zone to extend fartherdown the bodyof the vase. 436 (PI. 43), the best-preserved example from the Agora, illustrates well the effect of simplicity achievedby this new system. Beneath each handle is a figure, usually a bird as on 436. Rarely are the figures on each side set in a panel.16On the top side of the rim, rays are the normal decoration,as on 436, 437, and 447; the The lotus-palmettefestoonon the top side of 428 (PI. 42) and the lotus buds on overhangis black.17
8 Other examples: Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); two unattributedones: Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2) and London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3). 9 Rays: e.g., Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); Louvre E 623 by the Ptoon Painter (ABV 83, 1; Paralip. 31, 1). Rosettes:e.g., two by the KY Painter, Conservatori212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); Louvre 12251 by Sophilos (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124, not illustrated). 10 Louvre C 12251 by Sophilos is also unusual for it has a frieze of Z's on the overhang (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124). 11Animals or monsters:Conservatori212 (panther) by the KY Painter (ABV 31, 2; Paralip. 16, 2); three by Sophilos: Athens, N.M. 12587, a sphinx (ABV 40, 24; Baklr, Sophilos, pl. 20, fig. 38); Aigina 1175 a, a swan (ABV 41, 25; Bakir, op. cit. [footnote 1 above, p. 23], p. 21, A 7; Baklr, Sophilos,pl. 77, fig. 150: here [p. 42] the vase is considereda workshop piece), and Louvre CA 1750, a sphinx (Paralip. 19, 24 bis; Baklr, Sophilos, pl. 63, fig. 121); two by the Ptoon Painter, each with a swan: Louvre E 623 (ABV 83, 1; Paralip. 31, 1) and Athens, N.M. 1001 (ABV 83, 2). Floral:three by the KY Painter:London, B.M. 1928.1-17.39 (ABV31, 1); Athens (ABV31, 3); and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4: the number incorrectly given as C 12249). 12 Baklr, op. cit. (footnote 1 above, p. 23), pp. 57-58 and 61.

An exception among Early Corinthian column-kraters is Louvre E 635, which has a lotus-palmettefestoonon the shoulder at the junction with the neck (NC 780; Baklr, op. cit., p. 12, K 20; Arias, pls. 32 and IX). The tongue patternon the shoulder is normal in Corinthian from about 590 B.C. on.
13 For others, cf., e.g., two by the KY Painter, Conservatori 212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); one connected with the Komast Group, Athens, N.M. 441 (ABV 36, 3); one by Sophilos, Louvre C 12251 (ABV 40, 23; Paralip. 18, 23; Bakir, Sophilos,pl. 82: here [p. 42] the vase is considereda workshoppiece);one by the Ptoon Painter, Louvre E 623 (ABV 83, 1; Paralip. 31, 1); and two unattributed, London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3) and Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2). 14Also unusual for the Komast Group is the checkerboard patternon the shoulderof the London/Oxfordfragments(AB V 33,4). 15Compare, e.g., 436 (PI. 43) with Conservatori212 by the KY Painter (ABV31, 2; Paralip. 16, 2). 16For example, Louvre C 11252 (ABV 119, 2: related to Lydos; Paralip. 50, the number wrongly given as 12252: the Painter of Vatican 309). 17 Some exceptions show the zigzags on the overhang, undoubtedlyinspiredby Corinth.Cf., e.g., Berlin, inv. no. 3763 by the Painter of London B 76 (ABV87, 17); three by Lydos:London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 8; Bothmer,Amasis Painter, p. 42, fig. 29:b:zigzags also on the top side of the rim); Harvard 1925.30.125 (ABV 108, 9;



On the handle-plate there is usually the head of a man to 459 (PI. 44) are oddities for the period.18 left (439-441, 446-448: Pls. 43, 44) or a bird to right, preening (442 144: P1.43).19From now on, a row of tongues nearly always appears on the shoulder at the junction with the neck, 437 (P1.43) Abovethe foot and the reverseof 436 in the manner of Lydos being the exceptionsfrom the Agora.20 are rays. On column-kratersof this period, there is a distinct lessening of Corinthianinfluence. From about 540 B.C. on, the Attic black-figuredcolumn-kraterbecomestaller and more elegant than before, and the figured decorationis most often set in panels framedby ivy at the sides and by at the junction with the On the top side of the rim, there is usually a rneck. tongues on the shoulder chain of lotus buds, often with dots in the interstices,on the overhangthere is more ivy, and on each handle-plate appears a palmette with volutes. 474, a late 6th-century column-krater,is the bestpreservedexample of this system from the Agora;461 is an earlier one but more fragmentary.This is the normal scheme of decorationfor late Archaic black-figuredcolumn-kraters,but a number of exceptions are known. Occasionally,the figured decorationcontinuesround the vase. 462 (PI. 44), which shows an amphora painted in the area beneath the handle, is probablyone of these.21A few Attic black-figured column-kraters of the late 6th and early 5th centuries B.C. have a frieze of animals on the top side of the rim, instead of an ornamentalpattern,476 (PI. 46), 477, 478, and 490 being examples from the Agora. Most unusual is 479 (PI. 46) which has a frieze of animals on the overhang of the rim, a variation that does not seem to have a parallel. Other variations, such as ornament on the neck of the obverseor figured decorationon the handle-plate, are not to be found on the Agora examples, owing perhaps to their extremely fragmentarycondition. VOLUTE-KRATERS 491-500 Pls. 46 and 47

The volute-krater is a rather rare shape in Attic black figure, and most of the known examples, including all those from the Agora, date after 530 B.C. The body of the volute-krateris shaped like that of the column-krater,but its neck is taller and in two degrees,and the side of its rim is narrow and flaring with no overhang. The handles are composedof two elements, a loop on the shoulder and a flanged part that rises above the rim and terminatesin a volute after it is attachedto the rim. Early volute-kratershave an echinus foot, later ones a foot in two degrees,a verticalmemberabove a torus, like the foot of the amphora Type A and the calyx-krater.
Tiverios, pl. 19; and Athens (Paralip. 45); two unattributed examples in Salonica (P. Zaphiropoulou, BCH 94, 1970, p. 372, fig. 6 and p. 375, figs. 12, 13). 18 Other exceptions to the normal decorationon the top side of the rim appear in the work of Lydos: New York, M.M.A. 31.11.11, animals (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, lotus buds (ABV 108, 9; Tiverios, pl. 20:a). 19Three exceptions by Lydos: New York, M.M.A. 31.11.11, gorgoneion (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, siren on one, sphinx on the other (ABV 108, 9; Tiverios, pl. 20:a). 20 Around the middle of the 6th century B.C. a few other exceptions appear on column-kraters in the manner of Lydos, e.g., Louvre C 11253 (ABV 117, 29; Paralip. 47, 29) and Louvre E 677 (ABV 117, 28; Paralip. 47, 28) where the presence or absence of the tongue pattern helps to distinguish between obverseand reverse. Cf. also two others in his manner without a tongue pattern on either side: Louvre C 11257 (ABV 117, 30; Paralip. 47, 30) and Louvre C 11256 (ABV 117, 31; Paralip. 47, 31). 21 For the figures continuing round the vase, compare also one by the Rycroft Painter, Scarborough-on-Hudson, Vanderlip (Paralip. 149, 235), and an unattributed example, New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, 18). Two by a painter of the Leagros Group are an odd variation for the pictures continue past the side frames: Paris Market (ABV 376, 226) and Villa Giulia (ABV 376, 227). A fragmentfrom the Loeb Collectionwas probablyfrom a similar krater (J. Sieveking, Bronzen, Terrakotten,Vasender Sammlung Loeb, Munich 1930, pl. 45:1). For the shape, cf. S. Karouzou, BCH 79, 1955, pp. 192204; K. Hitzl, Die Entstehung und Entwicklung des Volutenkratersvon derfriihestenAnfangen bis zur Auspriigungdes kanonischen Stils in der attisch schwarzfigurigen Vasenmalerei, Frankfurt-am-Main 1982, also, Agora XII, p. 54.



The earliest Attic black-figuredvolute-kraterseems to be the one by Sophilosin the Metropolitan Museum.2 Here, the flanges rise only slightly abovethe rim, and their ends are not tightly curledas they will be on the next volute-krater,the famous one signed by Kleitias and Ergotimos.3Between these two and the next, there is a time gap of more than 30 years.4All the later black-figuredvolutekraters,unlike the earlier ones, have black bodies that are decoratedwith only a tongue patternon the shoulder at the junction with the neck. This new scheme of decorationmay derive from bronze volute-kraters.5On Attic black-figuredexamples, an ornamentalpattern, most often ivy, appears on the handles. On the side of the rim, there is usually a key pattern;the top may be plain or decorated with ornament, although the latter is rarer. The Agora volute-kratersare extremely fragmentary, and only 491 (Pl. 46) gives a good idea of the appearanceof the shape. The rest are neck fragments,some with part of the rim, e.g. 495 (PI. 47) and 496. The arrangementof the decorationon the necks of Attic black-figuredvolute-kratersvaries. On some, the figured decorationappears on the upper zone, and the lower one is left black. 492 and 495-497 (PI. 47) may be examples, although without part of the lower zone, one may not be absolutely certain. Others have an ornamentalpattern on the upper zone and figures on the lower one. 491 is our one sure example. The third variation has figures on both zones of the neck on the obverse, resulting in a double-deckereffect. No example of this decorativearrangementmay be identified for certain among the Agora fragments. CALYX-KRATERS 501-509 Pis. 47 and 48

Calyx-kraters are more numerous in red figure than they are in black figure. 1 The earliest preservedexample is the well-known one attributedto Exekias, found in the North Slope excavations,2 which also producedanother early, although very fragmentary,one that has stylistic affinitieswith it.3 The calyx-kraterhas a flaring wall, an offset rim ending in a thick torus, a cul to which the upturned handles are attached,and a foot in two degrees (a verticalmemberabove a torus). Between the cul and the foot, there is a fillet. In several respectsthe shape of the calyx-kraterresemblesthat of the earlier chalice.4The earliest black-figuredcalyx-kratersare somewhatbroaderthan they are
M.M.A. 1977.11.2, attributed by Bothmer (Notable Acquisitions, 1975-1979, p. 14). Accordingto Bothmer,this is the earliest preservedvolute-kraterof "Chalcidian"shape (for the type, cf. A. Rumpf, ChalkidischeVasen, Berlin/Leipzig 1927, pp. 122-124 and NC, p. 330; also, Agora XII, p. 54, note 1). Karouzouhas suggestedthat the Nettos Painter may have decorated a volute-krater.Akropolis391 (ABV 5, 10;Paralip. 4, 16) preservespart of the neck and rim of a krater,and, accordingto Karouzou, what remains is intelligible only if there was once some kind of volute handle attachedto the rim (Karouzou, op. cit. [footnote 1 above, p. 25], pp. 195-196). 3 Florence 4209 (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Francois, passim). Bothmer suggested orally that the fragment in Moscow (ABV 77, 2) comes from a volute-krater,and recently he joined it to a volute-krater fragment in the Cahn Collection, Basel HA 1418 (AK 24, 1981, pp. 66-67). 4 Fragments by the Painter of Acropolis 606, Akropolis 625, may belong to a volute-krater(ABV 81, 3). They preserve part of the neck with figureddecorationand a bit of the rim, but without more to go on, it is difficult to be absolutely certain of the shape.

5 Cf. Karouzou, op. cit. [footnote1 above, p. 25], pp. 194197. For the shape, cf. P. Jacobsthal, MMSt. 5, 1934-1936, esp. pp. 117-121, 133-134, 136. For other bibliography, cf. Agora XII, p. 54, note 1. 2 Agora A-P 1044 (ABV 145, 19; Paralip. 60, 19). Exekias may have signed this vase as potter,just as he signed others that are either new shapes, such as the Munich eye-cup (ABV 146, 21; Paralip. 60, 21), or that offer new and innovativetreatment of existing shapes, such as two of his neck-amphorae,Berlin 1720, which has a double signature (ABV 143, 1; Paralip. 59, 1), and London, B.M. B 210 (ABV 144, 7; Paralip. 60, 7). For signatures of Exekias in relation to the shapes that bear them, cf. K. Stahler,JOAI 49, 1968-1971, pp. 79-113. 3 Cf. C. Roebuck, Hesperia 9, 1940, pp. 153-158, no. 8. Eleven fragmentsfrom the same calyx-krateras Akropolis 615 a-p. All the known fragmentsare given on pp. 154-155. 4Jacobsthal, op. cit. (footnote 1 above), p. 117, with bibliography.



tall. Later examples are just the opposite, and the trend toward a taller, more slendershape continues in red figure.5Examples of calyx-kratersin the Agora are very few and are so fragmentarythat their proportionsmay not be determined. The main figured decoration on calyx-kraters appears on the body. The figures are not set in panels as they are on so many column-kraters,but those on the obverseare separatedfrom those on the reverse by a vine, often laden with grapes, which is painted above each handle. The earlier kraters, including the one by Exekias, also have figures on the cul, usually extending to each handle,6 or, as on one in the manner of Exekias and on another related to the Antimenes Painter, framed by a palmette on each side.7 On late black-figuredexamples, the cul is solid black. The calyx-krater by Exekias has a lotus-palmette chain on the offset part of the rim below the torus. This is the pattern favoredby Exekias who uses it abovethe panels of his one-piece amphoraeand on the necks of his neck-amphorae.In the last quarter of the 6th century B.C., the lotus-palmette chain is a very common ornament on amphorae, but elsewhere on the rims of calyx-kraters it appears only on the one from Pharsalos attributedto the mannerof Exekias.8The rest, but for one exception,9have the ivy pattern, including one in the manner of Exekias.10The use of ivy on the offset part of the rims of calyx-kraters recalls its use on the overhang of rims of many columnkraters,1 and there may well be a link in the similar use of the same pattern. Usually the rows of ivy leaves are separatedby a wavy black line, although occasionallythe line is red, as on 504, on one by the Rycroft Painter in Toledo, or on an unattributedone in the Louvre.12The earliest blackfigured calyx-kratershave a zone of rays on the bottom of the cul just above the fillet. On the later ones, small narrow tongues take the place of rays,13whether the cul is decoratedor left black.

LEBETES GAMIKOI 510-518 Pls. 48 and 49

The lebes gamikos is a standed and lidded vase that is associatedwith marriage, probablyto hold the water for the bridal bath.' The body of the lebes gamikos is shaped somewhat like that of a
5 For comparative measurements of both Attic black-figured and Attic red-figured calyx-kraters, cf. ibid., p. 136; for additions, cf. E. Vermeule, AJA 70, 1966, p. 22. 6 E.g., Volos, now in the National Museum in Athens, in the manner of Exekias (ABV 148, 9); Vienna 3618 in the manner of the Antimenes Painter (ABV 280, 56). For a red-figured example, cf. Louvre G 163 by the Eucharides Painter (ARV2 227, 12; Paralip. 347, 12). 7 Manner of Exekias: Louvre C 11298 (Paralip. 62, 9 bis); related to the Antimenes Painter: Syracusen.n. (AB V 281,18). For a cul decoratedwith encircledpalmettes, cf. Louvre F 316, also related to the Antimenes Painter (ABV 281,19). An oddity on a calyx-krater by the Antimenes Painter himself is the key pattern below the figures on the body of Louvre C 11292 (ABV 275, 135; Paralip. 119, 135). 8 ABV 148, 9. 9 The fragmentarycalyx-kraterfrom the North Slope (footnote 3 above, p. 26) has a high rim in two degrees,recallingthat of a volute-kraterthough the two parts are not equal in height. The upper zone is narrowerthan the lower one and is decorated with a tongue pattern. On the lower part is a chariot race to right, with the top of the goal post on one fragment (d). This occurrence of figured decoration on the rim of a calyx-krater appears to be unique. Also unknown to us on other black-figured calyx-kratersis the tongue pattern on the bodyjust below the rim. The appearanceof the tongue pattern here recalls its similar use on the two chalicesby Lydos, 1446 (PI. 99) and 1447 (PI. 99), where its appearanceon this shape is also unparalleled. 10 Louvre C 11298 (Paralip. 62, 9 bis). It also occurs on some early red-figuredcalyx-kraters:Berlin 2180 by Euphronios (ARV2 13, 1; Paralip. 321, 1; AA [dI 91], 1976, pp. 500501, figs. 17-20); Leningrad, inv. no. 1843 by Phintias (ARV2 23, 5); Louvre CA 5950 (A, Amazonomachy;B, Dionysos between a maenad and a satyr); London Market (Cat. Sotheby, 1 July, 1969, no. 93); Kiel, Schauenburg. " P. 25 above. 12Toledo 63.26 (Paralip. 149, 23 bis; CVA, Toledo 1 [USA 17], pls. 17-19 [797-799]) and Louvre F 315 (CVA, Louvre 2 [France 2], pl. 7 [79]:1, 2). 13An exception is the rather small, unattributedexample in the Louvre, which retains rays in this area (CVA, Louvre 2 [France 2], pi. 7 [79]:1, 2). For the shape, cf. Richter and Milne, Shapesand Names, p. 11; also, J. Boardman, BSA 47, 1952, pp. 31-32 and BSA 53-54, 1958-1959, pp. 160-162.



column-krater.It has two upright double handles on the shoulder, a short neck, and a groovedor rilled rim. The stand has a flaring or straightwall, a torus foot, and a sharplyoutturnedmolding at the top that separatesbowl from stand. The stand is usually piercedtwice near the top at a point in line with the handles above, as on 516 (PI. 49).2 Stand and bowl are not separate pieces but are joined. The lid may be flat, as that of 516, or it may be somewhat domed as on London, B.M. B 298.3 There are not very many Attic black-figured lebetes gamikoi, and most of those with known provenancescome from Attica.4Two of the Agora examples, 512 and 516 (Pls. 48, 49), give a good idea of the shape. The rest are fragments.The earliest certain Attic black-figuredlebes gamikos is the one by Sophilos found in the excavationsat Old Smyrna.5The earliest example from the Agora is 510 (P1.48) by the Painter of Louvre F 6, and it probablywas very similar to the painter'swellpreservedlebes gamikos in Houston.6The remainderof the Agora lebetes gamikoi are from the last
two decades of the 6th century B.C.

The bowl and stand of the lebes gamikos are decoratedwith both figures and ornamental patterns; the lid has ornament only. On the bowl the figures may continue round the vase, as on 514 and 516 (PI. 49), or they may be set in panels, as on 512 (P1.48). On the shoulder, at the junction with the neck is a tongue pattern;at the base,just abovethe moldingat the top of the stand are rays. Lebetes gamikoi with the figures set in panels follow the principle of decorationestablishedfor the one-piece amphora by having black glaze between the panel and the rays, as on 512. Those that have the figures continuingroundthe vase, 514 and 516 (P1.49), have a frieze of upright lotus buds between the figure zone and the rays, which recalls similar use of ornament on neck-amphorae. Within this general scheme of decoration, there is considerablevariation. On the earliest wellpreservedexamples, the one by Sophilos and the one in Houston by the Painter of Louvre F 6,7 there is a frieze of animals below the main scene. The shoulderof the Houston lebes is figured;510 by the same painter has both figures and a tongue pattern, the only example known to us to do so. Above the figures on 514 there are two friezes of ornament, hanging lotus buds with dots in the intersticesbelow a tongue pattern, a combinationof ornamentparalleled on an unpublishedfragmentary lebes in New York that is very close in style.8 The same ornament also occurs on 517 (PI. 48). On the stand of the lebes gamikos, there is a zone of figures with an ornamentalpattern above and below. On all the examples known to us, there is a frieze of inverted rays above the torus.9 The lebes gamikos by Sophilos and an unattributed fragmentaryone of about 560 B.c.,
2 Boardman(BSA 53-54, 1958-1959, p. 161) has suggested that the holes were made to allow the gases to escape fromthe stand during firing. An exception to the piercing of the stand is Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4). 3 Boardman,ABFV, p. 166, fig. 293. 4 The main exception is the one by Sophilos found in the excavationsof Old Smyrna and now in Izmir (ABV 40, 20; Paralip. 18, 20; Baklr, Sophilos, pls. 39-45). Another may be the fragment by the Painter of Acropolis 601, London, B.M. B 601.13 from Naukratis, which Beazley thought might be a lebes gamikos, but he left the question open (ABV 80, 2). 5 Footnote 4 above.J. Boardman(BSA 53-54, 1958-1959, p. 160, note 41) has suggested that the fragmentary standed krater by the Gorgon Painter, Akropolis 474 (ABV 8, 2), may be a lebes gamikos, presumably because of the inverted rays above the torus foot of the stand. But this ornamentappears in the same place on three skyphos-kraters from Vari by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 4; Paralip. 3, 10); Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 4; 6; Paralip. 3, 13). Therefore, it is not a sure criterionfor identifyingthe lebes gamikos in the early 6th century B.C.,as it may be later on when the skyphos-kraterhas gone out of fashion. The fragmentsof Akropolis474 lack a feature that identifiesthis vase for certain as a lebes gamikos. 6 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166). The foot is restoredas an echinus one. 7 Footnotes4 and 6 above. 8 New York, M.M.A. 57.12.8. 9 Similar use of this ornament occurs on epinetra. Cf. below, p. 69.



found in the excavations of the North Slope,'0 have friezes of animals. After the middle of the 6th The ornamentabovethe figures century B.C., the normal scheme is a single row of human figures.11 or a frieze of invertedlotus buds, and directlybelow the molding is usually a lotus-palmettechain12
as on 516.13


These fragmentsdo not seem to belong for certainto any of the types of kratersdiscussedabove.520 (PI. 50) is among the earliest of the group and is closest to the mid-7th-centuryegg-shaped krater, Agora P 4948,1 but that 520 is squatter and heavier. These two vessels do not seem to have good parallels. 520 is unglazed on the inside and might thereforebe identifiedas an amphora,were it not for its upright loop handle. 521 (P1.50) may be a skyphos-krater.The rim fragment,523 (PI. 50), is an odd piece. Karouzou called it the handle-plate of a column-krater,Vanderpool more generally the rim of a krater,2but the projectionat the inner edge of the rim does not correspondto what we know of column-kraters. Nor does it find a parallel among other types of kraters. Its best comparison is the unattributeddinos, Vatican 306.3 STANDS 526-602 Pls. 51-56

The distinctionin terminologybetween a stand and a supportthat was made by Richter and Milne and used by Sparkes and Talcott for the Agora plain black glaze will also be used here. The basic differencesare size, shape, and scheme of decoration.
SUPPORTS 526-601

Pls. 51-56

A support is a tubular base with thick walls that bears the weight of the vase. Two types may be distinguished. The earlier of the two is conical in shape, much greater in diameter at the bottom than at the top, and has a thick torus foot. It is unglazed on the inside. 550 (PI. 52) is the best-preserved example of this type from the Agora. The conical support is not freestandingbut is attached directlyto the bottom of the vase. Usually there is a molding that articulatesand perhaps strengthens the area where the two are joined. The appearanceis sturdy and practical.The secondtype of support is cylindrical,with a concavewall terminatingin a thin, slightly projectingmouth and foot.
10A-P 74 a-i, A-P 15, A-P 104, A-P 398, A-P 680, K 4-5 (Hesperia 4, 1935, pp. 255-257, fig. 21). 11An exception is New York, M.M.A. 57.12.8, which has a narrow frieze of animals between the figures and the inverted rays. 12 No example has been found in the Agora. Cf. London, B.M. B 298 (footnote 3 above, p. 28) and Athens, Vlasto Collection (photo D.A.I. Athens, varia 1060-1063). 13 For the key pattern below the molding, cf. Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4) and Kerameikos,inv. no. 79 (Jdl 61-62, 1946-1947, pl. 23). 1AgoraVIII, p. 93, no. 549, pi. 34. Karouzou, AthMitt 62, 1937, p. 134, note 1; E. Vanderpool, Hesperia 15, 1946, p. 129, no. 13. 3 Albizzati, pl. 29.

Richter and Milne, Shapesand Names, p. 31; AgoraXII, pp 179-180.



On the inside there are bands of glaze, varying in width. The cylindrical support is somewhat smaller than the conical one, and it is not attachedto the bottomof the vase but is open at the top, and the vase is set into it. 575 (PI. 55) gives a good idea of this type. In Attic vase painting, conical supports appear in the Geometricperiod and are also well known in Protoatticwhere they may have solid or fenestratedwalls.2 They appear throughoutAttic black figure, mainly as bases for skyphos-kratersin the early period and later for lebetes gamikoi, occasionally for louteria. Most of the Agora examples may be dated in the late 7th century down through the first quarterof the 6th. A small group, 555-560 (PI. 53), comes from the last decadeof the 6th century, and just three of this type, 552-554, belong to the years between 560 and 520 B.C. The conical supportsfrom the Agora are too fragmentaryto be certainwhich type of vase each bore, and for this reason they are groupedunder the general classificationof stands.The late 7th-century examples, 526-530 (P1. 51), may be the stands of skyphos-kraters,since they predate the earliest known Attic black-figuredlebes gamikos, the one in Izmir by Sophilos.3The later examples of esstanded conical supports from the Agora are probably from lebets skyphos-krater gamikoi;the seems to have gone out of fashion early in the 6th century.4The Attic black-figuredmaterial from Menidi, however, contains at least two standed louteria,5and some of the Agora fragments may therefore be from supports of such vases. 533 (PI. 51) preserves the start of the vase, and 553 (PI. 53), which is pierced, may be the support of a lebes gamikos, but without more to go on, it is probablysafer to include these fragmentswith stands. The scheme of decorationon conical supportsvaries a good deal. The late 7th-centuryexamples have large figures, usually confrontedanimals or monsters,that occupy most of the surface, except for a narrow band of glaze or ornamentat the top and a zone of rays at the bottomjust above the torus. The supports of two well-preserved skyphos-kratersby the Nettos Painter offer the best illustrationof this scheme.6528 (PI. 51) is similar, except that the invertedrays are omitted and an ornamentalconfigurationappears between the two sphinxes. The compositionon 527 (PI. 51) may the supportof a the Nettos Painter, othird have been a processionof women as on skyphoskrater by the in friezes, as it is set the decoration have conical 6th in the Athens 16384.7 Early supports century, on many contemporarykraters and amphorae. This remains the preferredarrangementdown to about 550 B.C. 550 (PI. 52) is the best example from the Agora;532 (PI. 51), by the Gorgon Painter, or in his manner, is the earliest. The favoritesubjectsare friezes of animals. Occasionally,a human figure appears, e.g. 536 and 544, but the subject is uncertain.8533 (P1. 51) shows part of a Chimaera, and Bellerophon may have been on the left, since the Chimaera does not usually appear with other animals (cf., however, 402: P1.39), although it may appear alone, as it seems to have on 698 (PI. 67). If the interpretationof the scene on 533 is correct,it is the only sure mythologicalrepresentationpainted on an early Attic black-figuredsupport.After 550, decorationin friezes is given up in favor of large figures in a narrativeor a mythologicalcontext. Above the heads of the figures there is a band of ornament,which varies considerably.On the three Agora fragmentsthat preserve some of this ornament, each pattern is different:rosettes (552); invertedrays (553: Pl. 53); lotuspalmette chain (557: PI. 53).9 Above the torus foot, there is usually a zone of inverted rays. This
VIII, pp. 41-43, nos. 92-96, p. 5 and pp. 90-91, nos. 523-531, pi. 32; also, KerameikosVI, ii, pp. 162-168: standed kraters with protomeson the rims, standed cups, and plates. 3 ABV40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45. 4 Cf. above, p. 22. 5 Callipolitis-Feytmans, "Loute'ria", pp. 43-59. 6 Athens, N.M. 16382 (ABV 3, 4; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12).
2Cf. Callipolitis-Feytmans, "Louteria",pp. 2-4; Agora

Athens, N.M. 16384 (ABV 6; Paralip. 3, 13). 8 Akropolis 584, a fragmentarystand near Sophilos, shows most of a human figure standing to right, but the subjectdoes not appear to be a mythologicalone (ABV 43, 1; Bakir, Sophilos, pl. 83, fig. 169). 9 For four other examples of this patternat the top of a conical support, cf. the one from Menidi that belongs with a louterion, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria", pls. 18-21) and three lebetes gamikoi: Athens, Vlasto



may be the only decorationbetween the figures and the foot, as on 555, or there may be a second pattern, as on 554, which has a frieze of hanging lotus buds. Others may have a frieze of animals or of figures between the rays and the main zone. 558-560 (PI. 53), all with animals, are the examples from the Agora.'1 Cylindrical supports do not appear in Attic black figure until after the middle of the 6th century, and not very many examples are known.11The Agora seems to have yielded the largest number, and all of them date between 510 and 490 B.C. Cylindrical supports were probably used for such shapes as the pointed amphora, which cannot stand unaided, and the Panathenaicamphora,which is prone to tip over.12No cylindricalsupport from the Agora has been connectedwith the vase that rested in it, but elsewhere, two pointed amphorae by the Acheloos Painter have been found with These two supports are not by the Acheloos Painter but by anotherartist who probably supports.13 also decoratedthe cylindrical support in Toronto.14From this admittedly slender evidence, it is tempting to speculatethat painterswho specializedin decoratinglarge pots may have left the task of decoratingcylindricalsupportsto those accustomedto working with the smaller shapes. The examples from the Agora furnish some evidence for this suggestion. The one attributed support, 564 (PI. 54), is by the Edinburgh Painter, or near him, and 575 (Pl. 55) may best be comparedwith the Diosphos Painter. Both are painters of small vases, especially lekythoi and small neck-amphorae. The remaining cylindrical supports from the Agora are unattributed,except for 569-573, which may belong to the Leagros Group. The stylistic characterof most of these supports suggests that they come from late black-figue workshopsspecializing in smaller vases. The drawing on many is rather hasty, and details, such as the pupils of eyes, a, re sometimesomitted (e.g. 579-582: P. 55). The scheme of decorationon cylindricalsupportsis similar to that on contemporaryconicalones. The figures occupy most of the surface, with ornamental patterns painted above and below, alThe ornamental pattern above the though occasionally as on 584 these areas are undecorated.15 was to that as on but this conclusionmay seem hasty in view of below, 575, figures probablysimilar the fragmentarycondition of the Agora supports and the paucity of whole examples elsewhere.16 Yet, the Agora material gives a good idea of the range of patternsthat may appear above and below the figures. 564 (P1. 54), 572, and 574 have rays above the figures; 575 (Pl. 55) has rosettes, 582 (PI. 55) has rosettes above a zone of white maeander on black glaze; 578 (Pi. 55) has a ribbon pattern;and 583 (P1. 55) has upright lotus buds.17Below the figures, a zone of invertedrays is the most commonornament, sometimesby itself as on 569, 571, and 573, at other times with a band of ornament above, such as dots (563: PI. 54) or a wavy line (577) painted in added white on black glaze. The band of chevronson 576 very likely appearedabovea zone of rays. 568 has dots between the tips of the rays. 575 is our only example that has rosettes. A number of fragments, 587-601 (Pls. 55, 56), come from supports,but it is uncertainto which
Collection (photo D.A.I. Athens, varia 1060-1063); London, B.M. B 298 (Boardman, ABFV, p. 166, fig. 293); New York, M.M.A. 57.12.8, fragments. All but the Vlastos fragment are contemporarywith 557 (PI. 53). The Vlastos stand is earlier. For a key pattern at the top of a conical support, cf. the small lebes gamikos, Petit Palais 309 (CVA, Petit Palais [France 15], pi. 9 [6491:1-4);for hanging lotus buds, cf. 516 (PI. 49). 10For animals, cf. also the fragmentarylebes gamikos, New York, M.M.A. 57.12.8. For figures, cf. the louterion from Menidi, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria",pls. 18, 20): chariot race. n For a list, cf. R. Lullies, Die Spitzamphorades Kleophrades-Malers, Bremen 1957, p. 18, note to p. 6. His no. 9 is now Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pi. 16 [7961).
12 Lullies, op. cit., pp.


Toledo 58.69 A-B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pls. 14, 15 [794, 795]:1, 2, and 16 [796]). 14Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6). 15 Also, Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 16 [796]); London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1); Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6); and Athens, N.M. 501 (CC 685), unpublished. 16The only other completeexample with the same ornament above and below the figures that is known to us is Eleusis 1244 (Hesperia 5, 1936, p. 67, fig. 6). 17 For this pattern, cf. also Eleusis 1244 (ibid.).

13London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1) and



type each belongs. 589, 591, and 592, late 7th and early 6th-centuryexamples, have a band of glaze on the inside, characteristicof cylindrical supports which begin only after the middle of the 6th century. 587 (P1. 55), 590 (P1. 55), 594, and 596 are fenestrated,and 593 (PI. 56) may be from a fenestrated support or from a leg. The three late fragments, 599-601 (PI. 56), do not preserve enough of the wall to determinewhether the shape was conicalor cylindrical.

Stands are much smaller than supports. They have a flat or slightly convex top surface surroundedby a thick torus molding and are supportedby a stemmedfoot. The top may be decorated in black figure or in red figure. The rest is plain black. The type is called Sosian after the one in Berlin of about 500 B.C. signed by the potter Sosias and decorated in red figure.18Not many all of them date in the secondhalf examples of Sosian stands are known, and with one exception,19 of the 5th. The of the 6th century and the first two decades only black-figuredexample from the Agora is 602 (P1. 56), which is probably late 6th century, but the type also appears in the Agora The purpose of these small stands is unknown. black pattern, as well as in plain black.20 LOUTERIA 603-607 Pls. 56 and 57

The louterion is a wide, shallow, spouted krater that has a very low rim and upright loop handles attachedto the shoulder.1Like the kraters,it is glazed on the inside. Normally the louterionhas an echinus foot, but in the dromosof a tomb at Menidi, fragmentsof 13 standedlouteria were found. They seem to constitutea special group ranging in date from the Late Geometricperiod to the 4th century B.C. with the largest number dating before 550.2 Two are decoratedin black figure, one of them signed by Sophilos as potter,3the other still unattributedbut having Antimenean features.4 Louteriaoccur in Geometricbut are most commonin Protoattic.Very few are known in Attic black figure, and nearly all those with known provenancescome from Attica.5Most of them date before the middle of the 6th century.Only five very fragmentarylouteria,603-607, have been identifiedin the black-figuredmaterial from the Agora. The shape and scheme of decorationof 6th-centurylouteria are influencedby both the dinos and The low rim and the sharply curvedshoulderrecall the dinos;the echinus foot the column-krater.6 with rays above comes from the column-krater.The rim may be flat on top, like that of the dinos, and decoratedwith a pattern, usually rosettes,7as on 605 and 606 (P1. 56), or the vase may have a
(ARV2 21, -). 19New York, M.M.A. 31.11.4 signed by Ergotimos and Kleitias (ABV78, 12; Paralip. 30, 12; Bothmer,Amasis Painter, p. 152, fig. 93). 20 To the list given in Agora XII, pp. 179-180 add the folall Athens, N.M. 961: rider to left (silunpublished: lowing, houette technique); Eleusis: Herakles running to left, looking back, holding the tripod (Bothmer,FestschriftBrommer,p. 61, no. 169); Oxford, fragment:man (head) to right, with spear or staff. The black-patternedexample from the Agora is P 6575: rosette. On For the shape, cf. Callipolitis-Feytmans, "Louteria". for spoutedbowls, cf. AgoraVIII, the use of the term "louteria" p. 43. 2 pp. 43-65. Callipolitis-Feytmans,"Louteria",
18 Berlin 2315 3 Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36; Baklr, Sophilos, pls. 8-10). The old numbersare 2035.2 and 2035.1, respectively.Callipolitis-Feytmans ("Louteria", p. 54) has suggestedthat this louterionbore a double signature, as that of the dinos Athens, N.M. 15499 (ABV39, 16;Paralip. 18, 16; Baklr,Sophilos,pl. 6, fig. 10), and that Sophilos may have contributedto the developmentof both the louterionand the lebes gamikos. 4Athens, N.M. 15929, 15933, and 15934 (Callipolitispp. 56-59, pls. 18-21). Feytmans, "Louteria", 5 The two main exceptionsare Corfu E 61.09, from Garitsa, close in style to Sophilos (Paralip. 19), and Berlin F 1722, from Chiusi, by the PrometheusPainter (ABV 104, 124; Paralip. 39, 124). 6 Cf. pp. 24-25, 33-34. Callipolitis-Feytmans,"Louteria", 7 Otherswith rosettes:Corfu E 61.09 (Paralip. 19);Athens,



simple roundedrim, as 604. The main figureddecorationappears high on the shoulderand is most often set in unframedpanels,8usually without even a tongue patternon the shoulderat the junction and 605 probablyhad its decwith the rim.9605 and 606 (P1. 56) are unusual for having tongues,10 oration continuing round the vase as on column-kraters.The area between the main figure zone and the rays above the foot may be black, or there may'be one or more friezes of animals or ornament. The Agora louteria are rim and shoulder fragments,so one may not be certainhow this area was treated on them. The main figure zone on the back of the vase is a long narrow panel, usually with a frieze composition. The cavalcadepainted on the louterion found on Corfu that is close to Sophilos in style provides a good illustration,'1and 606 was probablysimilar. On the front of the louterion,the figures may be set in two panels, one on each side of the spout, as on 604, or there may be a single composition that takes into account the position of the spout. Two large confronted animals, with a smaller one or a floral ornament below the spout, is the preferred subject. The louterion in Corfu and the one in Athens attributedto Sophilos offer good examples.'2 603 (P1. 56) very likely was similar, with two confrontedsirens. DINOI 608-617 Fig. 13 Pls. 57 and 58

bowl that sits on a stand. It has a flat rim that may be plain on The dinos is a large round-bottomed Dinoi have very short the side or may have a slight overhang,similar to that of the column-krater.2 necks and no handles, thus allowing the decorationto continueroundthe vase uninterrupted.Their stands suggest a metal prototype.The shape is known throughoutall Attic black figure and continues well down into red figure, but it is never so popular as the more practical column-krater,and not too many examples are known. The earliest attributed Attic black-figureddinos is the wellpreservedone by the Gorgon Painter.3Sophilos has left us the largest number attributedto a single painter, seven in all, mostly fragmentarybut one almost completelypreserved,including its stand.4
N.M. 16385 (ABV 40, 19; Paralip. 18, 19); Athens, N.M. 15920 (Callipolitis-Feytmans, "Louteria",p. 49, no. M 8); Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36). Other patterns on the rims of black-figured louteria: Rays: once Berlin 1682 (ABV 5, 4; Paralip. 2, 8); Kerameikos, inv. no. 1295 (Callipolitis-Feytmans, "Louteria", p. 19, no. 10); Athens, N.M. 19168 (ibid., p. 28, no. 2). Tongues: Athens, N.M. 16386 (ibid., p. 19, no. 11). Guilloche: Athens, N.M. 16387 (ibid., p. 33, no. 1). Step pattern: Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). 8 Louteria with the figures not in panels: Kerameikos,inv. no. 1295 (Callipolitis-Feytmans, "Louteria",p. 19, no. 10); Athens, N.M. 16386 (ibid., p. 19, no. 11); Athens, N.M. 19168 (ibid., p. 28, no. 2); Athens, N.M. 16387 (ibid., p. 33, no. 1); Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). The last two are particularly influenced by the column-kraterin shape and in scheme of decoration. 9 Callipolitis-Feytmans, "Louteria", p. 24. 10For a later louterion with tongues at the junction with the rim, cf. Athens, N.M. 15929, 15933, and 15934 (CallipolitisFeytmans, "Louteria," pp. 56-59). l Corfu E 61.09 (Paralip. 19). 12 Corfu E 61.09 (Paralip. 19); Athens, N.M. 16385 (ABV 40, 19;Paralip. 18, 19; Baklr, Sophilos,pls. 85,86: here [pp. 4546] Baklr, following Scheibler, withdraws the attribution to Sophilos). 'For the shape, cf. esp. Richter and Milne, Shapes and Names, pp. 9-10; Bothmer,BMFA 46,1948, p. 42; R. Lullies, AK 14, 1971, pp. 49-51. For black-bodieddinoi, cf. the list by Bothmerin CVA, Boston 2 [USA 19], pp. 9-10. 2 For the plain rim, cf. Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16); for the rim with overhang, cf. Madrid 10902 by the Antimenes Painter (ABV 275, 133). Difficult to parallel is the tall flaring rim of the namepiece of the Painter of Louvre E 876 (ABV 90, 1). This dinos also has an echinus foot. Two exceptionsto the rim being completelyflat on top: Vatican 306 (Albizzati, pl. 29), which has a small upright projectionat the inner edge, and Akropolis 590 (Graef, p. 64 and pl. 27), which has a small rounded projectionat its outer edge just above the tongue pattern on the shoulder. 3 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). For the 7th-century examples, Attic and non-Attic, cf. Lullies, AK 14, 1971, p. 50, note 40. 4 Louvre E 873 (ABV 39, 12; Baklr, Sophilos, pls. 46-48); London, B.M. B 100 and B 601.26 (ABV 39, 13; Baklr, Sophilos, pls. 66-70: here [p. 39] the dinos is considereda workshop piece); CambridgeN 128 (ABV 39, 14; Baklr, Sophilos,pl. 65, fig. 129); Akropolis 587 (ABV39, 15; Baklr, Sophilos,pls. 3-5, 89-90); Athens, N.M. 15499 (ABV39, 16; Paralip. 18, 16; Baklr, Sophilos, pls. 6, 7); Herakleion (Paralip. 18, 14 bis; Baklr, Sophilos,pls. 80, 81, figs. 158-160: here [pp. 40 and 42] the vase



Not very many Attic black-figureddinoi have been found in the Agora excavations:except for one, 610 (Pl. 58), they are very fragmentary,yet they give an idea of the various schemesof decoration used for this shape. The earliest Attic black-figureddinoi have the decorationon the body set in friezes. Usually, there are human figureson the shoulderin the largest of the friezes and below that zones of animals and ornament.Occasionallythere is a secondzone of human figures below the first, as on 610, the best example of the system among the Agora dinoi. Normally, there are tongues on the shoulderat the junction with the neck and ornamenton the top side of the rim. 610 is unusual in having neither. The ornament on the top side of the rim varies a good bit, just as it does on the rims of columnkraters.On the very bottom of the vessel, there is often a whirligig. Again, 610 is unusual in being reserved.5 This schemeof decorationcontinuesuntil the middleof the century,perhapseven a little past it to judge by the splendiddinos from the Akropolissigned by Lydos that ought to date between 550 and 540 B.C.6In the late second quarter of the 6th century, a new system of decorationappears which reducesthe numberof friezes and leaves a wide band of glaze between the figuresand the whirligig or reservedmedallionon the bottom.7The Agora dinoi are too fragmentaryto be certainif any one of them was decoratedin this mannerinsteadof with friezes. 612 (PI. 57) may have been, for it finds its best parallel with the one in Brussels.8An oddity of the time is the namepieceof the Painter of Louvre E 876, which has a wide flaring neck, a rolled rim, and an echinus foot.9On its shoulderis a narrow frieze of figures and below that two larger zones of figures. The bottomof the vase, including the foot, is black. 613 (P1. 57) may be from a dinos decoratedin a similar manner,although one may not be certain about the shape of the rim or if it had a foot. Very late in the third quarter of the 6th century, the system of decorationof the Attic blackfigureddinos undergoesa final change. From now on, figuresappearonly on the top side and inside of the rim. On the overhangthere is usually ivy, as on column-kraters.The rest of the vase is black, except for the tongue pattern on the shoulderat the junction with the neck and for the whirligig on the bottom. The inside of the rim is nearly always decoratedwith ships,10which would appear to float on the mixture of wine and water when the vessel was filled. The top side of the rim may have 1 figures or ornament. The earliest example of this new scheme of decorationappears on the dinos
is judged to be a workshoppiece;the vase has been mendedsince photography);and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Bakir, Sophilos, pls. 1, 2; D. Williams, "Sophilos in the British Museum," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 9-34). Perhaps add, London, B.M. B 103.14.2 (E. A. Gardiner, Naukratis II, London 1888, pl. 9, 7; Beazley and Payne,JHS 49, 1929, p. 255, fig. 2, no. 3). Also, two dinoidvessels: Akropolis 585 a (ABV 40, 17; Baklr, Sophilos,pl. 35, figs. 64, 65, and pl. 36) and Akropolis 585 b (ABV 40, 18; Baklr, Sophilos,pl. 34, fig. 63). 5 For a reservedmedallion, cf. also Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]). 6 Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, /; most recently, M. B. Moore, AJA 83, 1979, pp. 79-99). 7 For examples, cf. Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]) and Louvre E 738 (CVA, Louvre 12 [France 19], pls. 153, 154 [826, 827]:1). 8 Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1). 9 ABV 90, 1. 10A late example of the older system of decorationseems to be a fragmentary dinos in Tiibingen, S./10 1508, that is attributedto the manner of the Antimenes Painter (CVA, Tiibingen 3 [Germany47], P!. 10 [2225]:1, 2). An exception to ships appears on the small dinos in Copenhagen, inv. no. 4219 (CVA, Copenhagen3 [Denmark3], pl. 124 [126]:3), which has a frieze of vertical dolphins (for this motif, cf. 1353: PI. 93). Ships occuron the insides of rims of other kraters. Cf., for example, Copenhagen, inv. no. Chr. VIII 754 (CVA, Copenhagen 8 [Denmark 8], pl. 322 [325]:3) and Heidelberg S 39 (CVA, Heidelberg 4 [Germany 31], pl. 146 [1485]:6), both volute-kraters;or Basel, Antikenmuseumund Sammlung Ludwig (E. Berger and R. Lullies, Antike Kunstund werkeaus der SammlungLudwig, I, Friihe Tonsarkophage Vasen, Mainz 1977, p. 77), Boston, M.F.A. 68.777 (CVA, Boston 2 [USA 19], pl. 109 [9431:2), Louvre C 11270 (CVA, Louvre 12 [France 19], pi. 173 [846]:1), and New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, also, 1704 (PI. 111), a cup with ships 18), all column-kraters; roundthe rim on the inside. This and the two that go with it are not earlierthan the firstoccurrenceof ships on kratersand dinoi. 1I For a list, cf. the one compiledby Bothmerin CVA, Boston 2 [USA 19], pp. 9-10.



in the Villa Giulia signed by Exekias,12who very likely is responsible for its introduction.His innovativechanges in existing shapes and his inventionof new ones are well attested.13 614 (P1.57) is the only dinos from the Agora decoratedin this manner. Stands for dinoi are slender, metallic-looking supports. They may be plain black or decorated with friezes of ornamentand animals.14 Three fragmentsof stands for dinoi have been found in the Agora, but none may be connectedwith one of the dinoi that has survived.Nor do they illustratethe characterof these stands very well. 615 is a foot fragment with a rilled vertical surface and ornamental decorationon the top side; 616 (P1. 57) has rays on the side and animals on the top side. 617 (P1. 57) comes from the top of a stand that supported a dinos about the size of 610 (PI. 58). It is unusual for having a frieze of human figures below the top molding.

618-669 Pls. 59-63

The hydria, or water jar, is commonin Attic black figure.1Unlike many other shapes it is also well known in bronze,2and many clay examples have rims and handles that suggest metal prototypes.3 In Attic pottery,the hydria appears in the Geometricperiod and is well known in early Protoattic,4 the namepieceof the Analatos Painter being the most completeand the most famousexample.5The hydria seems to go out of fashion in Attic vase painting after about 675 B.C., but it reappearsearly in the 6th century. No Attic black-figuredexample is known among the vases decoratedby the first generation of painters nor does there seem to be an example among the unattributed vases contemporarywith them. The fragmentaryone from Samos by the KX Painter,6which dates about
580 B.C., is still the earliest preserved.

The hydria is characterizedprimarilyby two horizontalhandles attachedto the shoulderor to the body, which are used for lifting and setting down, and a vertical handle at the back, which is used for pouring or for carrying when empty.7 Three types of Attic black-figuredhydriai are known.
M. B. Moore, AJA 84, 1980, p. 432 and notes 125, 126. 14 Examples: Louvre E 874 by the Gorgon Painter (ABV 8, 1;Paralip. 6, 1); London, B.M. 1971.11-1.1 by Sophilos(Paralip. 19, 16 bis; Baklr, Sophilos,pls. 1, 2; Williams, loc. cit. [footnote 4 above, pp. 33-34]; Vatican 306 (Albizzati, p. 102); Wurzburg 453 (Langlotz, pl. 129); Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre E 720 (CVA, Louvre 2 [France 2], pl. 1 [73]:1); Boston, M.F.A. 90.154 (CVA, Boston 2 [USA 19], pl. 65 [899]:2-4); Heidelberg 63/20 (CVA, Heidelberg 4 [Germany 31], pl. 179 [1518]:4, 5). 1 For the shape, cf. esp. E. Folzer, Die Hydria. Ein Beitrag zur griechischen Vasenkunde, Leipzig 1906; Richter and Milne, Shapes and Names, pp. 11-12; E. Diehl, Die Hydria: Formgeschichte und Verwendung im Kult des Altertums, Mainz 1964, which should be consulted along with the review by Bothmer in Gnomon 37, 1965, pp. 599-608; also, Agora XII, p. 53 with further bibliography. 2 Cf. Bothmer, Studies in ClassicalArt and Archaeology.A Tributeto Peter Heinrich von Blanckenhagen,New York 1979, p. 63; also the bibliographyin note 1. 3 Especially corrugated rims and concave horizontal handles. Cf., e.g., the namepiece of the Painter of London B 76 (ABV 85, 1; Paralip. 32, 1); two more by him, New York, M.M.A. 45.11.2 (ABV 85, 2) and Copenhagen 13536 (ABV
12Villa Giulia 50599 (ABV 146, 20). 13Cf. K. Stahler, JOAI 49, 1968-1971, pp. 79-113; also,

714; Paralip. 32, 2 bis). It is tempting to suggest that in representationsof the pursuit of Troilos where Polyxena has dropped her hydria and it lies on the ground intact, as in the illustration on the FranCois vase and in many others,the painterhas in mind a metal vessel. For a broken hydria in Troilos representations, cf., e.g., Leipzig T 49 (CVA, Leipzig 2 [DDR 2], pl. 24 [85]:3); Heidelberg 72/1 (AA [JdI 92], 1977, p. 29, fig. 11); Hanover 1965.30 by the AntimenesPainter (Paralip. 119, 27 ter, formerly in the Bareiss Collection;CVA, Hannover 1 [Germany 34], pl. 19 [1651]:1);Munich 1722 by the Antimenes Painter (ABV 269, 33); London, B.M. B 307 by a painter of the Leagros Group (ABV 361, 17); and New York, M.M.A. 06.1021.50 in the mannerof the Red-line Painter (ABV 606, 21). 4 J. N. Coldstream, Greek Geometric Pottery, London 1968, pp. 59-60; J. Cook, BSA 35, 1934/1935, pp. 165-169, and especially the inventoryon pp. 212-219; also, Agora VIII, pp. 34-35. 5 Athens, N.M. 313. Cf. Cook, op. cit., pls. 38:b, 39. 6 ABV25, 18. 7 On methods of carrying, cf. Folzer, op. cit. (footnote 1 above), p. 10; Richter and Milne, Shapes and Names, pp. 11-12. For illustrationscf., e.g., two by the Priam Painter, Boulogne 406 (ABV 332, 21) and London, B.M. B 332 (ABV 333, 27); also Vatican 417 by the Acheloos Painter (ABV 384, 26). For the pad worn by the women as a cushion for the water jar, called a rv?Xror i7renpa, cf. Bothmer and Moore, CVA, New York 4 [USA 16], p. 45.



The earliest has a roundor ovoid body;the secondhas the shouldersharplyoffset fromthe bodyand is the principaltype in Attic black figure from about 540 B.C. on; the latest, known also as the kalpis, has a neck and a bodythat forma continuous-curve profile, similarto that of the one-pieceamphora and the pelike. All three types of hydria have been found in the Agora, but consideringthe popularity of the shape in the last third of the 6th century,it is surprisingthat there are so few examples from these excavations.It may well be that this shape was mainly one for export or was used more in sanctuariesand tombs than in civic centersand domesticquarters.8

The earliest type of Attic black-figuredhydria has a plain or corrugatedrim, a round or slightly ovoid body, and an echinus foot. The horizontalhandles are attachedto the body at about the point of greatestdiameter.The verticalhandle is shortand does not rise abovethe top of the rim, as it does on many of the later shoulderedhydriai, but its upper part is attachedto the neck itself, occasionally well below the rim. On the neck, there is sometimesa drip ring.9The round-bodiedhydria appears in Attic black figure at just about the same time as the loutrophorosand the ovoid neck-amphora, and it is the preferredtype of hydria untiljust after the middleof the 6th century. i.e. about 580 B.C., Early examples, such as the namepiece of the Painter of London B 76,10tend to be rather squat; later ones, like the one in Boston by the Archippe Painter,11are taller and more elegant. The round-bodiedhydriai from the Agora, 618-624, do not give a good idea of the shape itself, but 618 (P1. 59) and 620 (P1. 59) are importantfor their metallic features. The scheme of decorationfor round-bodiedhydriai varies considerably.The only consistentelements are the tongues on the shoulderat the junction with the neck and the rays abovethe foot. On the neck, there may be an ornamentalpattern,or it may be left black as is the case with the hydriai by the Archippe Painter and with most shoulderedhydriai.'2620 and 622 are unusual for having figures on the neck. On the bodies of the early examples, the figureddecorationis set in friezes,just as it is on so many contemporaryovoid neck-amphorae.618 (PI. 59), 619, and 623 (PI. 59) were probablydecoratedin this manner. 618 has an ornamentalfrieze directlybelow the handles instead of in the handle zone itself as is customary.Later round-bodiedhydriai often have the figureddecoration on the shoulder set in a frieze and that on the body placed in a panel,13 just as it is on the shoulderedhydria. The frieze on the shoulderis normallyunframed.The panel on the bodymay be framedor unframed,and the area below it may have a frieze of animals, or it may be left black.The Agora examples are too fragmentaryto be certain whether any one of them had the figured decoration set in a panel.
8 For ordinarydaily needs, the plain hydria was most commonly used, and many of them have been found in the Agora. Cf. Agora XII, pp. 38-39, 200-201. 9 Cf., e.g., London, B.M. B 76 (ABV 85, 1; Paralip. 32, 1); also New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77). Cf. also, Villa Giulia 22308 that is Lydan in style (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3). o0 ABV 85, 1; Paralip. 32, 1. I Boston, M.F.A. 67.1006 (Paralip. 43; CVA, Boston 2 [USA 19], pls. 69 [903]:2-4 and 70 [904]). 12 For the Archippe Painter, cf. Bothmer, AK 12, 1969, pp. 26-29. Some others with black necks:two by the Painter of London B 76: Swiss, private (Paralip. 32, 1 bis), and New York, M.M.A. 45.11.2 (ABV 85, 2); New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77).

Round-bodied hydriai with black necks seem to appear only after the shoulderedhydria is introduced. 13 Cf., e.g., three by the Archippe Painter: Vienna 3613 (ABV 106, 1); Louvre E 869 (ABV 106, 2); and Basel (AK 12, 1969, pls. 17,18); also, New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77) and New York, M.M.A. 74.51.1331 (G. M. A. Richter,Handbookof the Greek Collection,Cambridge,Mass. 1953, pl. 28:a). Two by the Archippe Painter have a single panel placed high with a frieze of ornamentbelow in the handle zone: Cab. Med. 253 (ABV 104, 127) and Italian Market (ABV 104, 129). For the attribution, cf. Bothmer,AK 12, 1969, pp. 26-29. Most unusual is the unattributedhydria in the Villa Giulia, inv. no. 22308 (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3), that has a frieze of figures on the shouldercontinuinground to the vertical handle.



625-649 Pls. 59-62 This type of hydria differs from the round-bodiedone chiefly by having its shoulder set at an angle to its body so that there is no longer a continuouscurvebetween the two parts when the vase is seen in profile. In Attic black figure, it appears most often from about 530 B.C. on, althoughthe type is known as early as the second quarter of the 6th century B.C.It is not certain who was the first potter to fashion the shouldered hydria,14but the earliest painters to decoratethem are Kleitias, Lydos, and a contemporary,the Painter of London B 76,15 who also painted the round-bodied One by each artist, 625-627 (Pls. 59, 60), has been found in the Agora, and togetherwith variety.16 three unattributedexamples, 628-630 (P1. 60), they comprisethe earliest shoulderedhydriai from these excavations.625 (PI. 59) is of special interest for it adds a new shape to the ones known to be decoratedby Kleitias. has a somewhatflaring neck with a torus mouth The shoulderedhydria fashionedbefore 540 B.C. and a broad body supported by an echinus foot. The shoulder is slightly convex with the angle formed by it and the body not very sharp. 626 (Pl. 59) by the Painter of London B 76 and 632 (PI. 60) by a painter of Group E are the best examples from the Agora. After 540, the shouldered hydria becomes increasingly tall in proportionto its diameter and more elegant in appearance.17 This later type has a torus foot and a wide flaring mouth with torus molding. The horizontal handles often curve upward slightly, and the vertical handle may still be round or oval in section, although sometimesit is ridged. The Agora examples are too fragmentaryto present a good picture of the later type, but 635 (P1. 60) has a decorativefeature that does not seem to appear on other hydriai (see below). The scheme of decorationfor the shoulderedhydria is regulated by the natural divisions of the vase. A friezelike compositionappears on the shoulder,similar to that on the type of neck-amphora On the body of the hydria,the figuresare set having the figureson both the shoulderand the body.18 in a broad panel, which is normally framed at the sides by pattern with an ornamentalfrieze or a figured predella below. On a few examples, such as 628 (P1. 60), the side and bottom edges of the panels are left plain. As on the round-bodiedhydria, the only consistentornamentalelements are the tongues on the shoulder at the junction with the neck and the rays above the foot. At the top of the panel on the turn of the shoulder,there is usually a single line; occasionally,as on 644 and 645 (PI. 61), there is a key pattern. The ornament framing the panel at the sides varies a good bit, although ivy with or without dots or dot clusters seems to be the most frequentpattern, e.g. 626, 627, 632, and 640 (Pls. 59-61). The wavy line with dots on 635 (PI. 60) appears to be unique. Some of the Agora hydriai have figured predellas, 636, 638, and 639 (P1. 61); others, 642 and 643 (PI. 61), have ornamentalfriezes.
The earliest signed examples seem to be the two by the potter Timagoras, which are attributedto the Taleides Painter: Louvre F 39 (ABV 174, 5; Paralip. 72, 5) and Louvre F 38, which also praises Andokides (ABV 174, 7; Paralip. 72, 7). These date about 540 B.C.,roughly two decades later than the shouldered hydriai by Lydos (ABV 108, 12-18), which were decoratedin the early part of his career and thus should not be later than about 560 B.C.,although the one in Gottingen (ABV 109, 19) and the one in the Kerameikos (Paralip. 45) may be about 550 B.C.It is tempting to suggest that Lydos may have potted as well as painted, but it has not yet been shown conclusively that he did (cf. M. B. Moore, AJA 83, 1979, p. 99, note 166). A shouldered hydria contemporarywith these by Lydos, Louvre E 735 (ABV 85, 2), has been loosely connectedwith the

painter of the neck-amphorain Eleusis potted by Kleimachos (ABV 85), but this is a painting connection,not a potting one. 15Kleitias: 625 (PI. 59). Lydos: ABV 108-109, 12-19; Paralip. 45. Painter of London B 76: ABV 86, 4, 5; Paralip. 32, 4. 16 ABV 85-86, 1-3; Paralip. 32, 1-2 bis. 17For a brief study of some late 6th-centuryshoulderedhydriai, cf. H. Bloesch,JHS 71, 1951, pp. 29-39, esp. 35-37. 18 E.g., New York, M.M.A. 17.230.14 by Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744-747]). Two hydriai by the Antimenes Painter have black shoulders, the figures appearing on the neck (white ground) and on the body: Dresden ZV 1779 (ABV 268, 21) and Dresden ZV 1780 (ABV 268, 22).



KALPIDES 650-669

Pls. 62, 63

In Attic black figure, the kalpis, in imitation of the red-figuredkalpides by the painters of the Pioneer Group, appears in the late 6th century and continuesinto the 5th. Not too many examples are known, for the shape is more frequentin red figure than it is in black figure, and in black figure it never competessuccessfullywith the more popularshoulderedhydria.The kalpis is distinguished from the shouldered hydria primarily by the continuous curve formed by its neck, shoulder, and body. It has a torus mouth and a torus or echinus foot. The horizontal handles usually curve upward slightly; the short, vertical handle rises from the shoulderand is attachedto the neck well below the mouth, similar to that of the round-bodiedvariety. 650 (P1. 62), 653, 657 (P1. 62), 658 (P1. 63), 665, and 666 (P1. 63) are the best-preservedexamples from the Agora. Two systems of decoration are used for the kalpis. The first, perhaps the earliest, shows the figures on the shoulder only. The rest of the vase is black, except for a broad band of ornamentin the handle zone. The secondsystem has the figures set in a panel on the body.

The figures appear in a panel, usually with an ornamentalframeat the top and on the sides, as on 650 and 652 (P1. 62).19Occasionally,there is ornamentonly at the top of the panel, and the sides are left plain,20although this is rare, and on those where the panel is particularlysmall, there is often no ornamentat all.21Sometimesall four sides have decorativeborders,22 and there may be no ornamentin the handle zone unless the panel is placed very high. Above the figures, the preferred ornamentsare the key pattern, the net pattern, and the invertedlotus-bud frieze. On the sides, the net pattern is used most often. The type of ornamentin the handle zone varies, but ivy, as on 650 (P1.62), seems to appear most often.23652 (P1.62) is unusual for having simply a narrow reserved line.


Pls. 62, 63

Most of the Agora kalpides are decoratedaccordingto this arrangement.The figuresappear in a panel that extends over some of the shoulderand much of the body of the vase, 657 (P1.62) and 658 (P1. 63) being good though small examples. The panel is decoratedat the top by a band of ornament, most often a frieze of inverted lotus buds as on 655 (PI. 62) or a net pattern as on 657, 658, 663 (Pls. 62, 63), and 664. The sides may be framed as on 665 or unframedas on 653, 657, 658, 663, and 664. Rarely are all four sides without ornament as on 659 and 666 (P1. 63).24 Most unusual is the frieze of upright lotus buds below the figures on 653 for which there seems to be no parallel.
19The appearanceof ornament on the side of the panel on 652 (PI. 62) indicatesthat there was a decorativepattern above, even though this is not preserved. 20 Ornament at the top of the panel only: e.g., Sydney 46.04 in the manner of the Acheloos Painter (ABV 386, 17); Kassel T. 683 (CVA, Kassel 1 [Germany35], pls. 24 [1704]:3,4 and 25 [1705]:1); Princeton 170, near the Madrid Painter (Paralip. 145, ii). 21 Examples: Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Vatican 428, 429, and 430 (Albizzati, pl. 66); Hamburg 1971.987 (CVA, Hamburg 1 [Germany 41], pl. 26 [1992]); Wurzburg 324 (Langlotz, pi. 98); Louvre C 10693 (CVA, Louvre 11 [France 18], pl. 151 [824]:7). 22 Cf., e.g., the Tampa Museum, Tampa, Florida, ex Maplewood, Noble, of the Leagros Group (ABV 695, 83 bis;

Parke-Bernet 9. April, 1953, p. 25, no. 150); Greenwich, Bareiss,once on loan to the MetropolitanMuseum, L.69.11.12 (Greek Vases: Molly and Walter Bareiss Collection [The J. Paul Getty Museum], Malibu 1983, p. 39). 23 Some examples of other ornaments: Key pattern:Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Hamburg 1917.987 (CVA, Hamburg I [Germany41], pl. 26 [1992]). Circumscribedpalmettes:Greenwich, Bareiss, once on loan to the MetropolitanMuseum, L.69.11.12 (footnote22 above). Inverted lotus buds: Vatican 431 (Albizzati, pl. 66). Upright lotus buds: Princeton170, near the Madrid Painter (Paralip. 145, ii). 24 Even rarer seem to be panels with decorationon all four sides. Cf. one near the Nikoxenos Painter, Montreal 39.Cb.1, which has circumscribedpalmettes on all four sides (Paralip. 172,3).



OINOCHOAI 670-786 Fig. 14 Pls. 64-73

The oinochoe is a jug used for pouring wine and other liquids.1The shape is well known in pottery from the Geometricperiod on,2and a significantnumberof bronzeexamples from the 6th to the 4th centuries have come down to us.3 The oinochoe is generally characterizedby a single vertical handle, either high or low, a trefoil or plain mouth, and an echinus or torus foot. The over-all appearance is sturdy and practical looking. There are two basic types of pouring jug, each distinguished by the shape of its body:the olpe, which is rather a slender vessel with a continuous-curve profile between the mouth and the foot, and the oinochoe,which has a much more swelling, sometimes globular, body that usually has the shoulder offset from the neck. One kind of oinochoe, however, the chous, has a continuous-curveprofile. In Attic black figure, both the olpe and the oinochoe appear simultaneouslyin the workshopof the Gorgon Painter, but the largest numberof Attic black-figuredexamples and types belong to the secondhalf of the 6th centuryB.C.
OLPAI 670-722 Pls. 64-69

The olpe has a gently swelling body that forms a continuous curve between the foot and the mouth. The foot may have an echinus shape or simply be a low disk. There are two main categories of olpe: those with a trefoil mouth and those with a plain one. Each is discussedseparatelybelow.
TREFOIL 670-681 Pls. 64-66

This type of olpe has a high handle that rises well abovethe mouth, then curvesdownwardto the rim. The handle is usually double and reservedexcept for the lines of glaze as accents,as 673 or 677 (PI. 64), but it may be concaveand completelyglazed.4The earliest preservedtrefoil olpai in Attic black figure are unattributed and seem to belong to the very late 7th century B.C.,5 although 671 (PI. 64) by the Gorgon Painter, which is the earliest attributedexample from the Agora, is hardly later than these. The Gorgon Painter and the artistsworking in his mannerare the first Attic blackfigure painters to decoratenumerous olpai,6 and although these belong within the larger Group of Early Olpai put together by Beazley,7the chief features of the shape and its system of decoration were probablydevelopedin the Gorgon Painter'sworkshop.The ratherheavy, sagging appearance of the earliest examples soon gives way to a more elegant, refinedform that is retainedthroughout the period during which this type was manufactured.8 672 (PI. 64) in the manner of the Gorgon
For the shape, cf. Agora XII, pp. 58-63, 76-78, with bibliography;ABV, chaps. 28-31; KerameikosVI, ii, pp. 173-181. A dissertationon the shape is being preparedby Andrew Clark under the supervisionof Dietrich von Bothmer. 2 Cf. J. N. Coldstream, Greek GeometricPottery, London 1968, passim; Agora VIII, pp. 35-41 for the Late Geometric and Protoatticexamples from the Agora. 3 Most recently, Bothmer, Studies in ClassicalArt and Archaeology. A Tribute to Peter Heinrich von Blanckenhagen, New York 1979, pp. 63-67. 4 Cf. Copenhagen, inv. no. 8076 (ABV 14, 9); Munich, private (Paralip. 9); and Warsaw 14249 signed by Kriton as potter (ABV 446, 2; Paralip. 192, 2). An oddity is the female mourner attached to the top of the handle of Kerameikos,inv. no. 40 by the CeramicusPainter (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93). 5 Cf. London, B.M. 88.6-1.566 (ABV 15, 22) and Delos 591 (ABV 15, 27; Paralip. 9, 27). Both are includedby Beazley in his Group of Early Olpai without a more specificattribution. Karouzou ('Avayvpoivros, pp. 134-135) suggested that the Delos olpe is the work of the Nettos Painter, close in time to his cf. AgoraVIII, no. 544, namepiece.For Protoatticpredecessors, with bibliography,esp. E. Brann, Hesperia 30, 1961, pp. 348349; also, KerameikosVI, ii, pp. 173-179. 6 Gorgon Painter: ABV 9, 11-13; Paralip. 7, 13 bis-135; manner of the Gorgon Painter: ABV 10-11, 4-7; Paralip. 8. For those with a flat mouth, cf. below, pp. 40-41. Severalothers do not preservethe mouth, so one may not be certainof the type: Gorgon Painter: ABV 9, 14 and 15; manner of the Gorgon Painter:ABV 11, 8-15; Paralip. 8 including 703 (PI. 67), 707, and 708 (PI. 68). For a discussion,cf. I. Scheibler,JdI 76, 1961, pp. 1-47. 7 ABV 14-15, 1-36; Paralip. 9 (including676 [PI. 65]). 8 Scheibler, cit. (footnote6 above), pp. 34-35. op.



Painter is a good illustrationof the canonicalshape. The decorationis usually set in a panel on the right side of the body (the pourer'sright), e.g. 672, 677, or 680 (Pls. 64, 65), often with two reserved triangles (an "eye")on the opposite side in the area of maximum diameter.9This position of the handle enables the guest to see the figureddecorationwhile his host pours wine into his cup. A few examples have the figured decorationcontinuinground the vessel, 671 and 679 (Pls. 64, 65) being the best examples from the Agora.'1 This system of decoration places the focal point of the compositionopposite the handle, instead of on the side. The area above the panel is often plain, as on 672 and 677 (PI. 64), or, as on so many panel amphorae,there may be a frieze of ornament.The only examples from the Agora, 680 and 681 (Pls. 65, 66), have the lotus-palmette festoon. 671 (P1. 64) is unusual for having a figured frieze in this area. The panels of early trefoil olpai often have rosettes or hanging spirals for filling ornament, another link with contemporary panel amphorae.Trefoil olpai are most commonin the first quarterof the 6th century,and nearly all the Agora examples are from that period. Later, the shape is taken up by the Amasis Painter (681: PI. 66) and by painters contemporarywith him, some of them unnamed,e.g. 680 (P1. 65)." 682-694 Pls. 66, 67 The type of olpe with a flat, thin rim, which otherwise is like its trefoil counterpartin shape and decoration, is rather rare in Attic black figure, and no early example of it may be identified for The earliest olpe in this sectionis 682, a "redcertainamong the black-figuredolpai at the Agora.12 bodied"one of special shape with an elongatedbody, a short neck, and a thickenedrim. Although not attributedto a painter, the style of the drawing suggests an artist working aroundthe middleof the 6th centuryor perhaps a little later. It belongs to a group of olpai whose paintersdo not confine the rather few figures to a panel but allow them to spread out over the entire surfaceof the vase.13 Some, like 682, have a wide zone of black glaze at the bottomjust above the foot; others have this area reserved. All the other black-figuredolpai from the Agora included here belong to the years after 530 B.C. when a new type of olpe is introduced.'4This variety also has a gently swelling body, yet it curves inward toward the neck more sharply than that of its trefoil counterpart.But its shape differs from the latter in more essential points: the thickened rim or one that is applied separately forming a torus, 692 (PI. 67), or occasionallyflaring and flat on top, 687 (PI. 66); the low strap handle that often has metallic-lookingprojectionson either side of the rim attachment,686 (Pl. 66) or 692; the low disk foot. The figureddecorationappears in a panel placedoppositethe handle so that the focus is on the front of the vase, not on the side as with the trefoil panel olpe. Above the panel there is almost always decoration,usually more than one band of ornament,and the arrangementof these patternedfriezes varies considerablyfrom painter to painter. 686, 687, and 692 (Pls. 66, 67) with
9 An "eye" sometimes appears below the handles of column-kraters, e.g., Leningrad St. 55, perhaps by the Swing Painter (ABV 310; Bohr, Schaukelmaler, pi. 144: here [pp. 101-102] this detail is overlooked in the description). For remarkson the earliest panels in Attic pottery,cf. above, p. 5. 10Here are examples of three others:Tiibingen 5445/28 by the Gorgon Painter (ABV 9, 11; Paralip. 7, 11; CVA, Tubingen 3 [Germany 47], pi. 18 [2263]); two by the Ceramicus Painter: Kerameikos,inv. no. 40 (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93) and Athens, N.M. 16285 (ABV 19, 3). '1 Amasis Painter: ABV 152-153, 29-31; Paralip. 66 (including 681 [P1.66]); Bothmer,Amasis Painter, passim. Group of Trefoil Olpai: ABV 445, 1-12; Paralip. 192. 12This type of olpe is known only from the workshopsof the

Gorgon Painter, Amasis, and the Kriton Group. Cf. ABV 446, top; also Agora XII, p. 77. The earliest examples are these: Athens, N.M. 19176 by the Gorgon Painter (ABV9, 16;Paralip. 7, 16) and London, B.M. B 32 in his manner (ABV 11,16; Paralip. 8, 16); Boston, M.F.A. 1973.9: helmet between two seated panthers. Each has the decorationcontinuinground the vase. Athens, N.M. 19176 and London, B.M. B 32 have concave strap handles, Boston, M.F.A. 1973.9 a reserveddouble handle normally seen on trefoil olpai. 13ABV450-451; Paralip. 195. 14 There do not seem to be black-figuredexamples of this new type before the beginning of red figure (cf. Agora XII, p. 78).



their combinationsof ivy, net, and key patterns provide a general illustrationof a few of the possibilities. Normally, the sides of the panel are accentedonly by a line of glaze, similar to those of the panel-amphora, but sometimes, as on 684, 686, and 691 (Pls. 66, 67), the panel is framed at the sides by ornament,ivy or net being the most common.Often the mouth is decoratedwith a checkerboard pattern, 686, 687, and 692, or it may be glazed, 683 and 694 (Pls. 66, 67).


Pls. 67-69

or to the first quarterof the 6th. Most of the olpai in this sectionbelong to the late 7th centuryB.C. 703-710 (Pls. 67, 68) are decoratedin the mannerof the Gorgon Painter, and 713-716 (Pls. 68, 69) may be attributedto the Group of Early Olpai. Since many of these fragmentsbelong to olpai with the figures set in a panel, it is tempting to place them in the trefoil-olpe section, not only because there are so few contemporaryolpai with plain mouths but also becausethe three earliest examples of this type have the decorationcontinuingroundthe vase.15But without the mouth, it is impossible to be absolutelycertain to which type of olpe each fragmentbelongs, and thus it is best to keep them apart. OINOCHOAI 723-776 Pls. 69-72 The oinochoe, in contrast to the olpe, has a much more globular body and often a heavyset appearance.But, like the olpe, the mouth of the oinochoemay be trefoil or plain, the handle high or low, and the foot echinus or torus. Often there are one or two rings on the neck, and the handle may have a ridge. Some of the clay varieties with their crisp contoursand sharply articulatedparts are metallic looking, and their potters may have had metal vessels in mind when they fashioned but only Shapes 1, 2, and 3, as well as their clay counterparts.There are many types of oinochoai,16 two special models, the Vraona type and a flat-bottomedone, are known in black figure from the Agora.
1 SHAPE 723-745 Pls. 69-71

This is the most common type of Attic black-figured oinochoe, and the largest number of oinochoai found in the Agora are of this type.17As with the olpai, the earliest examples appear in the workshop of the Gorgon Painter, although none so far is attributedto the painter himself.'8 723 (PI. 69) is in his manner, and 724 (Pl. 69) is contemporary.This type of oinochoe continuesuntil with the greatestnumberof them made duringthe secondhalf the early years of the 5th centuryB.C. of the 6th. Three early fragments,725, 726 (PI. 69), 731, are includedin this section. The curve of each is too strong to be that of an olpe, and it correspondsbest to that of oinochoaiof Shapes 1, 2, and 3. Since Shapes 2 and 3 do not appear until the secondhalf of the 6th centuryB.C.,these three fragmentsought to be Shape 1. Shape 1 is characterizedby a roundedor ovoid body that tapers sharply toward the foot with the maximum diameterset at about the middle or a little above.The shouldermay be rounded,e.g. 734 (PI. 70), or rather flat, e.g. 736 (PI. 70), and it is often offset from the neck. On the neck, there are sometimesone or two rings, e.g. 724 or 734 (Pls. 69, 70), giving the effect of a collar. 736 is unusual for having a double ring just below the start of the mouth. The handle is usually high, and it may be ridged, e.g. 735 (P1. 70) or concave, e.g. 736. The mouth is normally trefoil, but occasionallyit is plain, e.g. 735, and the foot is an echinus or a torus. The figures may be set in a panel opposite the handle, or they may continue round the vase, although the latter is less common.723 (PI. 69), 729,
16ABV, chaps. 28-30.
15 Cf. footnote 12 above, p.


17Cf. Agora XII, pp. 58-59, with bibliography. 18ABV 10, 1-3; Paralip. 8, 1 bis (723: PI. 69).



730, 733 (P1. 70), and the two miniatures,727 and 732, are the examples from the Agora. 729 and 730 have their figures set in friezes, similar to those on many contemporaryneck-amphoraeand The panels may or may not have lateral frames,but normallythere is a tongue patternon hydriai.19 the shoulderat the junction with the neck. Dots or ivy are favoriteframingornaments.The upright encircledpalmetteson 736 seem to have no parallel on oinochoai;their nearestcounterpartsappear on some contemporaryhydriai. The collar may be black, e.g. 723, 724, and 734 (P1. 70), or it may be decoratedwith a pattern,ivy, net, and hanging lotus buds being the types that occuron the Agora examples, 736, 737, 741 (Pls. 70, 71), and 742. 2 746 and 747 SHAPE ofet This type of oinochoeis very similar to Shape 1 in many of ts details shape and its principlesof of two that the are The main differencesbetween the decoration.20 body Shape 2 tapers very little towards the foot and the foot is very low and flat. The over-all effect is rather squat, heavy, and sturdy. Shape 2 begins much later than Shape 1, and it appears mainly during the last thirty years of the 6th t century B.c. The largest number of them belong to the Class of Vatican G. 47.21There are only two certain examples in the Agora black figure, 747 which has lost its mouth and handle, and 746, a miniature one which is very early.
SHAPE 3 (CHOUS) 748-765 Pls. 71, 72

The chous is a squat jug with a continuous-curveprofile between neck and body, similar to the one-piece amphora and the pelike. It has a trefoil mouth, a low handle that is often ridged, and a broad flaring foot.22In many respects, the shape seems to combinethe continuous-curveprofile of the olpe with the round body of the oinochoe of Shape 1. The chous is most common in Attic red figure and in plain black. In Attic black figure, the earliest attributed choes are by the Amasis The Painter and the Taleides Painter;23Boston M.F.A. 10.210 is signed by Taleides as potter.24 but none are of that earliest black-figured choes at the Agora, 748-753 (PI. 71), time, may be attributedto either of these artists. The rest of the Agora examples, 754-765 (PI. 72), belong to the late 6th or the early 5th centuriesB.C. the handle, and th width of the panel varies The figures are normally set in a panel oppositee accordingto the maximum breadthof the chous. Above the panel, there is a band of ornamentthat varies considerably, just as it does abovethe panel of the one-pieceamphora.753 (PI. 71) is unusual for having hanging lotus buds with dots, a rare ornamentabovethe panel of a chous. Sometimesthe panels have lateral frames, most often a net patternor two rows of dots, but more often the sides of the panels are simply accentedby a line of glaze, as they are on all the Agoraexamples. 764 is a rare example where the figures are not set in a panel but continueroundthe vase, and it ought to belong to the Class of Red-bodiedOinochoaiof Shape 3.25

766 and 767

Pl. 72

766 is a miniature vase that resemblesthe larger conical oinochoeof Corinthianmanufacture.26 767 is of the rare Vraona type, which is named after the example in London that was found at
Cf. Agora XII, p. 60, with bibliography, 21 ABV 429-430, 1-27; Paralip. 184-185. 22 Cf. Agora XII, pp. 60-63, with bibliography. 23 Amasis Painter: ABV 153-154, 41-46; Paralip. 64, 4145; New York, M.M.A. 1978.11.22 (Bothmer,AmasisPainter, pp. 154-155, cat. no. 33). Taleides Painter:ABV 174, 3 and 4.

19Cf. above, pp. 9 and 36.

Sparkesand Talcott (AgoraXII, p. 63) have suggestedthat the appearance of Shape 3 is to be linked with these two artists, especially the workshopof Amasis where experimentationwas particularlylively. 24 ABV 174, 3. 25 For the class, cf. ABV 439-440, 1-6 and Paralip. 191. 26 See the catalogueentry for 766.



Vraona (Brauron) near Spata.27It has a short cylindricalbody with slightly concavesides, a rather flat shoulder, and a high double handle. The neck is mostly lost, but the height of the handle indicates that it was long. The mouth is not preserved,but on the few Vraonas where it remains, it is flat. The general effect of the Vraona type is very metallic looking.


P1. 72

All these, except 768 and 769, are late black-figuredoinochoai. 768 and 771-774 preservethe shoulder and therefore can be seen to be Shape 1 or 2, but without the lower part of the body it is impossible to be more specific. The rest of the oinochoai in this section are too fragmentaryto permit identificationof the type.

None of these fragments preserves a feature that would identify it specifically as an olpe or an oinochoe. 777 is by the Gorgon Painter or in his manner, and 778 has certain affinities with Sophilos. LEKYTHOI 787-1256 Fig. 15 Pls. 73-87

The lekythos is the most common of all the shapes decoratedin black figure found in the Agora, particularlyfrom ca. 510-480 B.C.,the period when many artists specializedin the shape.1In general, the lekythos is characterizedby a narrow neck with a flaring mouth, a short vertical handle attached at the shoulder and the neck, and a sturdy foot. The shape of the mouth, body, and foot varies a good deal from period to period and from potter to potter. Most of the Agora black-figured lekythoi are small vessels of the type used to furnish out commongraves.2Only a few, such as 789 (P1.74) and 817 (PI. 75), are of the very highest quality. The Agora lekythoi span the entire period that the shape is decoratedin black figure, and a remarkablylarge number of them from a single deposit are especially well preserved.3 In Attic black figure, there are two main types of lekythos. The earliest is the Deianeira type, named after the subjecton London, B.M. B 30, attributedto the mannerof the Gorgon Painter.4It has a biconical body supported by an echinus foot, a curving mouth roundedon top, a thick drip ring, and a short concave handle. The type derives from the Corinthian alabastron5but is then borrowedby the Corinthiansfor their lekythoi. Most of the known Deianeira lekythoi are from the early 6th century B.C.,although some occur as late as the third quarter, e.g. 798 (P1.75), but these are rather weakened versionsof the earlier examples.6The earliest black-figuredlekythosfrom the Agora, 787 (P1. 73), is a unique variant of the Deianeira type. It is contemporarywith the first generationof Attic black-figurepainters but is difficultto attributeto a specificartist. In shape and date, it stands somewhat apart from the other lekythoi from the Agora.

London, B.M. 1905.7-11.1 (ABV 443, 3).

' For the shape, cf. particularlyABL; Agora XII, pp. 150152; also, Kurtz, Athenian White Lekythoi, pp. 5-22, and 7781 for black figure. For the name, cf. Richter and Milne, Shapes and Names, pp. 14-15. On the origin of the Attic type, cf. J. de la Geniere, BCH 108, 1984, pp. 91-98. 2A good idea of these offerings may be gained from U. Knigge, Kerameikos,IX, Der Siidhiigel, Berlin 1976.

3 The deep well of the late Archaicperiod beneath the gutter of the Stoa of Attalos (H. A. Thompson, Hesperia 24, 1955, pp. 62-63). These and the other vases found with them are the subjectof a separatestudy by S. R. Roberts(Hesperia 55, 1986, pp. 1-74), which focuses on workshopsand potters. 4 ABV 11, 20; NC, p. 191. 5ABL, p. 1. 6 ABL, chaps. 1 and 3.



The second type is the shoulderedlekythos, which is the dominanttype from the second quarter of the 6th century B.C. on. It is a purely Attic shape7 and first appears at just about the time the The sloping shoulderof the lekythosis well set off from the body, shoulderedhydria is introduced.8 which is broad at the top, slightly swelling in contour,and tapering downwardtoward an echinus foot. Early examples retain the mouth, drip ring, and concavehandle of the Deianeira type, but later, these featuresare given up. It is not certainwho was the first potterto fashion the shouldered lekythos, but the earliest examples are decoratedby the C Painter and one or two of his contemporaries.9A large number of shouldered lekythoi are by the Amasis Painter,10although none is 789 (PI. 74), the very signed by Amasis as potter, and all of them are earlier than his signed vases.11 fragmentarylekythosby Lydos, is the earliest example in the Agoraof the shoulderedtype, and it is probablynot very much later than some of the lekythoi by the Amasis Painter. The figures on 789 continuedroundthe vase, as on so many others of the time, including791 (P1.74), an odd piece that is difficultto parallel in shape, although its figure style has some affinitieswith Elbows Out. Both of these lekythoi have figures on the shoulder as well, rather than a floral pattern as is generally the case later. A single line usually separates the shoulder from the body decoration, although occasionally a pattern may appear at the top of the figure zone on the body, e.g. 790 (P1. 74). The mouth and handle and the area below the figures, includingthe foot, are black. Normally, the neck is unglazed, except for those lekythoi with drip rings, which have a black band.'2This rather squat type of shoulderedlekythos becomesthe preferredtype in the third quarter of the 6th centuryB.C., and artists such as those of the Dolphin Group, e.g. 797 and 798 (PI. 75), the Fat-runner Group, e.g. 800-802 (PI. 75), and the Group of Vatican G. 52, e.g. 805-813 (P1.75), preferdecoratingthis shape.13
7ABL, p. 1. 8ABL, p. 7. 9 C Painter: Orvieto 296 (ABV 58, 126; Bothmer, Amasis Painter, p. 38, fig. 20); Kerameikos (ABV 58, 127); Oberlin 41.44 (ABV 58, 128). The Sandal Painter:Athens, N.M. 1056 (ABV 70, 4); Barcelona 52 (ABV 70, 5); Paris, Musee Rodin 237 (ABV 70, 6); Bologna PU 204 (ABV 70, 7; Paralip. 28, 7); Oxford 1934.353 (ABV 70, 8; Paralip. 28, 8). Not far from the Sandal Painter: Athens, N.M. 415 (ABV 70, -); Related to him: Athens, N.M. 371 (ABV 70, -); Near him: Sofia 6285 (Paralip. 28). Recalls the Griffin-bird Painter: Athens, N.M. 413 (ABV 75, -). 10ABV 154-155, 49-61; Paralip. 66; Bothmer, Amasis Painter, pp. 168-191, cat. nos. 39-50. Furthermore,the Amasis Painter also decorated a lekythos of the Deianeira shape (Athens, N.M. 404: ABV 155, 62; Bothmer, Amasis Painter, p. 193, fig. 101) and two of the sub-Deianeira shape (Villa Giulia: ABV 155, 63; Bothmer,Amasis Painter, p. 153, fig. 94; Copenhagen, inv. no. 14067: Paralip. 66; Bothmer, Amasis Painter, pp. 192-193, cat. no. 51). 11 Signedvases:three neck-amphoraeof a special shouldered type: Cab. Med. 222 (ABV 152, 25; Paralip. 63, 25; Bothmer, Amasis Painter, pp. 125-129, cat. no. 23), Boston, M.F.A. 01.8026 (ABV 152, 26; Paralip. 63, 26; CVA, Boston 1 [USA 14], pls. 26 [648], 28 [650]:1, 2; Bothmer, Amasis Painter, pp. 130-133, cat. no. 24), and Boston, M.F.A. 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pls. 27 [649], 28 [650]:3;Bothmer,Amasis Painter, pp. 134-137, cat. no. 25); two olpai with trefoil mouth: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-142, cat. no. 27) and Wurzburg 332 (ABV 152, 30; Paralip. 63, 30; Bothmer, Amasis Painter, pp. 143-144, cat. no. 28); two olpai with flat mouth: London, B.M. B 471 (ABV 153, 32; Paralip. 64, 32; Bothmer, Amasis Painter, pp. 150-151, cat. no. 31) and once Canino (ABV 153, 33); a band cup in Malibu, 79.AE.197 (Bothmer, Amasis Painter, pp. 204-207, cat. no. 55); a cup of special type: Vatican 369 a (ABV 157, 87; Paralip. 65, 87; Bothmer,AmasisPainter, pp. 223-225, cat. no. 62). Add, probably, the small beakerlikevessel from the North Slope, R. 294, which preserves the name but not the verb (ABV 157, -), and the fragmentary tripod-pyxis found at Aphaia (photo D.A.I. Athens, 72. 3409-3415; Bothmer, Amasis Painter, pp. 236-238, Appendix no. 4), which has the last two letters of the verb;also a black-figuredlekythosin the J. Paul Getty Museum attributedto the Taleides Painter and signed by Amasis on the undersideof the foot (76. AE. 48: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 37, fig. 3; B. Legakis, "A Lekythos Signed by Amasis,"AK 26, 1983, pp. 73-76; Bothmer,Amasis Painter, p. 229, Appendix no. 1). In addition, Bloesch has sugin Londonis gested that the potting of Lydos' psykter-amphora by Amasis (ABV 109, 29), but this has been stronglyquestioned (Paralip. 44, 29). D. Callipolitis-Feytmans(Les plats attiques, pp. 87 and 91) believesthat Amasis may have fashioneda plate decoratedby Lydos, Akropolis 2402 (ABV 111, 49; Tiverios, pl. 81:e). Furthermore,Bothmerhas shown that Amasis is very likely the father of the potter Kleophrades (D. von Bothmer, 'AAazobos,"The Journal of the J. Paul Getty Mu"'"AAautrm, seum 9, 1981, pp. 1-4; Bothmer,Amasis Painter, pp. 230-231, Appendix no. 2). 12Cf. ABL, pp. 7-19 for a full discussionof the treatmentof the mouth, neck, and shoulderof early shoulderedlekythoi. 13Dolphin Group (ABL, pp. 193-194, 1-18; ABV 457458, 1-22; Paralip. 199); Fat-runner Group (ABV 459-460, 1-12; Paralip. 201-202); Group of Vatican G. 52 (ABV 460461, 1-37; Paralip. 202). Many of the vases by the Dolphin



Around 530 B.C.,the so-called cylinderlekythos is introduced,a more graceful, elegant versionof the shoulderedlekythos than the earlier one.'4 The shape of the body gives the type its name. The neck and shoulder form a continuous curve, the mouth is flaring or calyx shaped and flat on top. Beneath the figure zone, the body curves downward toward the torus foot and is sometimes separated from it by a fillet. The new shape provides a taller pictorial surface, and, together with a short-livedvariant that slopes sharply toward the foot,15 it becomesthe prevalenttype of lekythosin Attic black figure, although the older shoulderedtype continues,particularlyin the workshopof the Phanyllis Group, 824-836 (PI. 77).16 The scheme of decorationon cylinder lekythoi is a simple one. Normally, there is an ornamental pattern on the shoulder, often hanging lotus buds or palmettes, with a tongue pattern above at the start of the neck. On the body, there is usually a pattern above the figures at the junction with the shoulder. The figures themselvesmay be confinedto the principal view of the vase, or they may continuecompletelyaround,the subjectdeterminingthe use of the format. The area below the figures is glazed black, although often there is a narrow reserved band that serves as a transitionfrom the very light backgroundfor the figuresto the solid black zone below. The sides of the mouth and handle and the top surface of the foot are glazed. As may be expected, there is considerablevariation in details of shape and scheme of decorationaccordingto potter and workshop. There are not very many black-figuredcylinderlekythoi from the Agora that may be datedbefore 500 B.C. The most impressiveof them, if perhapsthe most enigmatic,is the earliest, 817 (PI. 75), the very beautiful fragmentaryone that may be by Psiax. The figured decorationis painted on white ground, an early example of the technique17and the earliest in the Agora. Below the main zone, there is a figured predella, a feature that does not seem to occur elsewhere on lekythoi but may in this case derive from other funerary shapes, loutrophoroi and plaques, where it is well known. Thus, one need not look too far to discoverwhat may be the sourceof inspirationfor the predellaon 817. The best-preservedlekythos of this period from the Agora is 821 (P1.76), which has affinities with the Leagros Group but is difficultto attributeto one of its painters. Both 821 and 822 (P1.77) are unusual for having a band of ornamentbelow the figures. The chief painter of lekythoi during the late years of the 6th century is the Edinburgh Painter whose handsome,elegant cylinder lekythoi are well known. Only two certain examples of his lekythoi have been found in the Agora (884 and 885: P1. 80), although another may be by him (886: P1. 80), but these are too fragmentaryto give an idea of the shape preferredby him. By far the largest number of Agora lekythoi from this time belong to the Phanyllis Group (824-836: P1. 77) and the Cock Group (837-863: P1. 78), whose painters specialize in the shape and whose period of activity lasts beyond the turn of the century, the time when the lekythos begins to enjoy its greatestpopularity. The painters of the Phanyllis Group continue to decoratethe older type of shoulderedlekythos that was the normal shape before the introductionof the cylinder, but their potters modify its appearance somewhat by making it slimmer. The body of the Phanyllis lekythos has a slightly swelling contour, and the tapering toward the foot beginsjust beneath the figure zone, which is set rather high. The foot is disk shapedwithout a fillet between it and the body. The mouth is wide and flaring. 829 and 830 are very broad, rather heavy examples of the type. 827, 831 (PI. 77), and 832 are more typical of the Phanyllis shape. Painters of the Phanyllis shape also decoratea cylinder type of lekythos. This has a rather weak contour, a wide mouth, and a disk foot with or without a
Group have been shown to be Euboean (Paralip. 199; Bothmer, Metr. Mus. Journal 2, 1969, pp. 32-38). Some of the Agora examples may fall into the Euboean category, but since they appear in ABV or Paralip. without a Euboean designation,we have included them here. 14ABL, p. 41. ABL, p. 48. 16 ABL, p. 63. 17For the early use of white ground, cf. Mertens, Attic White-Ground,pp. 27-43.



fillet between it and the body. The body tapers below the figureddecoration.835 (PI. 77), although very fragmentary,is the only example from the Agora. The chief differencebetween the two types of lekythoi used by the Phanyllis Group is that on the cylindertype the figures occupy more of the surface of the body, resulting in a more pleasing relationship between the shape and the figured decoration.The ornamentaldecorationon the shouldervaries but may be the same for each type: palmettes (e.g. 835), invertedlotus buds (e.g. 824, 825: PI. 77), or as in the Group of the Hopliteleaving-home, an upright palmette between draped figures (e.g. 829-834: P1. 77). Above the figures, there is sometimesa key pattern (e.g. 835), but more often there is just a line of glaze at the junction of the shoulderwith the neck. The area below the figuresis glazed black. Closely relatedto the Phanyllis Group are the more numerouslekythoiof the CockGroup, which takes its name from the long-tailed cock painted on the shoulder. The shape is similar to the Phanyllis type, but the quality of the decoration is lower. The examples from the Agora, 837-863 (PI. 78), are good illustrationsof the group. Contemporarywith the majority of lekythoi of the Phanyllis Group and the Cock Group are those by the Gela Painter who deriveshis name from the large number of his vases that have been found at Gela in Sicily.18Very few of the Gela Painter's vases have been excavatedin mainland Greece, but the comparativelylarge numberof his lekythoifrom the Agora indicatesthat there was also a market for his work at home. The Gela Painter's lekythoi are slender cylindersand usually have a top-heavy appearance,for the body is too short for the tall neck and the large calyx-shaped mouth. Between body and foot, there is a fillet. The foot may be a plain torus or one in two degrees, similar to the feet of amphoraeType A and calyx-kraters.869 and 870 (PI. 79) are good examples from the Agora. On the shoulder, there is a configurationof palmettesthat is often combinedwith buds. Above this, there is a tongue pattern.Of the eight variationsdistinguishedby Haspels,19four appear on Agora lekythoi: II a, five palmettes between two buds (869-871: P1. 79); II b, five palmettes between vestiges of buds (873); III a, three palmettes between two horizontal buds (872: P1. 79); III b, three palmettes between two downward buds (874-876). Normally, the neck is reserved.872 (P1.79) is unusual for having patternsand in this respectrecalls the one in Boston.20 The Gela Painter nearly always includes a band of ornamentabove his figures, most often the net pattern (e.g. 869,871, and 874: P1.79), the key patternto right (870,877: PI. 79), and, on his better of which there is no example on his lekythoifrom the Agora.Occasionallyhe pieces, a checkerboard omits the ornament(872,878: PI. 79). The area below the figuresis glazed, either completelyplain, (e.g. 869, 870) or with a reservedband (e.g. 871,874). The top surfaceof the foot is always glazed. Those in two degrees have a reservedvertical member and a glazed torus (869, 870: PI. 79). The side of the plain torus foot may be glazed (874, 875, and 879: PI. 79) or reserved(878: P1.79). During the first three decadesof the 5th centuryB.C., the mass productionof small black-figured lekythoimust have occupiedmany artists in the Kerameikos.The workshopthat fashionedlekythoi of the Class of Athens 581 seems to have been particularlybusy, at least to judge by the very large number of its products that have survived. In the Agora, they are the most numerous of all the lekythoi, 887-1124 (Pls. 80-85), surpassingin numberthose of the Haimon workshop,which was also bursting with activity around the time of the Persian Wars. These small lekythoi of the Class of Athens 581 have a calyx-shapedmouth, and the body tapers below the figures to a simple disk foot. Two variationsmay be distinguished,each accordingto the shoulderdecoration.Lekythoiof the Class of Athens 581, i have hanging lotus buds, often with dots in the interstices, and tongues above. They are usually of slightly higher quality than the second
1sABL, 78. p. 19ABL, pp. 205-212. 20Boston, M.F.A. 93.99 (ABL, p. 206, no. 5 and pi. 23:1).



variation, the Class of Athens 581, ii, on which the buds have been reducedto rays, although the tongues are retained. Both types have a line at the junction of the shoulder, and the black glaze below the figures is usually interruptedby a narrow reservedband. 890 (P1. 80) and 948 (P1. 82) are good examples of each type. Of the other major lekythos workshops, only productsof the Haimon Group have been found in any quantity in the Agora (1182-1237: PI. 87). The Haemonian lekythos is a tall, slender vessel. The contourof its body may be gently convexor slightly concave.It has a calyx-shapedmouth and a foot in two degrees, consisting of a high vertical member above a very low torus. The ornamenton the shoulder recalls that of the Class of Athens 581, ii: a tongue pattern,then lotus buds reducedto rays. Above the figures is an ornamentalpattern, usually a key (e.g. 1182, 1184, 1188: P1.87) or a dot band (e.g. 1187, 1216: PI. 87). Many of the Agora Haemonians are very fragmentary,but 1188 and 1221 (P1.87) are good, well-preservedexamples of the productsof this workshopand illustrate their basic characteristics. One small fragment (1160: PI. 86) may be by the Diosphos Painter, but other than this, the only lekythoi from the workshop of the Sappho Painter and the Diosphos Painter belong to the Littlelion Class (1161-1176: PI. 86), which seems to be an invention of this workshop.21These small lekythoi take their name from the decorationon the shoulder:lions (e.g. 1172, 1173). The shape is characterizedby an echinus mouth, a long neck, a very flat shoulder,and a bodythat curvessharply toward a thin disk foot. Instead of lions on the shoulder,most of the Agora examples have inverted lotus buds with tongues above. The area below the figures is solid black. A number of Little-lion lekythoi belong to the Hound-and-hare Group, named for the subject on the shoulder. Four examples have been found in the Agora, 1177-1180 (P1. 86), two of them almost completely preserved. Only one Agora lekythos comes from the workshopof the Theseus Painter and the Athena Painter, 1181 (PI. 87), a white-ground one attributedto the latter. The mouth, neck, and shoulder are missing, but all of the torus foot is preserved, and enough of the body remains to determine the shape. It is derived from the tall cylinders favoredby the Edinburgh Painter that in turn are preferred by the Athena Painter.22 In addition to the large quantity of mass-producedlekythoi of the early 5th century, the Agora excavationshave also yielded one small example of a squat lekythos, 1256 (P1.87), a variantthat is more familiar in red figure than it is in black figure.23 Attic black-figuredlekythoi continue to be produceduntil the middleof the 5th centuryB.C.,24 but the series from the Agora seems to end by about 460 B.C. ALABASTRON 1257 P1. 88

The alabastron is a small, elongated perfume pot with a rounded bottom, a narrow neck, and a wide-rimmedflat mouth with a small opening much like that of the aryballoswith which it shares a similar function. It may or may not have small lug handles set high on the wall above the figures.1
ABL, p. 98. ABL, p. 147. 23 For the shape, cf. W. W. Rudolph, Die Bauchlekythos. der attischenKeramikdes 5. Ein Beitrag zur Formengeschichte Jahrhundertsv. Chr., Bloomington 1971. 24 Beazley, Development,p. 87.
22 21

For the shape, cf. Richter and Milne, Shapes and Names, p. 17; more particularly,H. Angermeier,Das Alabastron(Ein Beitrag zur Lekythen-Forschung), Giessen 1936 and ABL, pp. 100-104; also E. Vanderpool,Hesperia 8, 1939, p. 251. For



The shape has a long history at Corinth, and it is especiallycommonin Early Corinthianpottery.2 It does not appear in Attic black figure until about the middle of the 6th century B.C.;the earliest example is 1257 by the Amasis Painter who also decoratedone of the earliest Attic black-figured aryballoi, which is of the Corinthian, not the Attic, type.3 1257 is heavier, fuller, and more ovoid than the later type of alabastron, which is somewhat elongated and more cylindrical. It is most unfortunatethat the mouth and neck of 1257 have not survived. After 1257, the next Attic black-figured alabastra are the three examples by Psiax of about with the earliest red-figuredexamples, the Group of 520-510 B.C.,4 which are almost contemporary the Paidikos Alabastron.5Elsewhere in Attic black figure, alabastraappear only in the work of the Diosphos Painter and the Emporion Painter, and thus they continue until the very end of Attic black figure.6Very many of these late alabastrahave the decorationon white ground. The scheme of decorationis a simple one. Usually there is a single zone of figures that continues roundthe vase.7Above,there are bandsof ornamentalpatterns.The rest of the vase is black,but for one or more reservedlines below the figures. 1257 is unusual for being reservedbelow the figures except for the pattern on the very bottom. PHORMISKOI 1258 and 1259 P1.88 The phormiskos has a bulbous, ovoid body with a rounded or flat bottom. The shoulder slopes sharplyto a narrowcylindricalneck that terminatesin a small knobor tapersto a curvedpoint. The top of the neck is often pierced with two holes for suspension.1The decorationis set in friezes of varying widths with a prothesis often depicted in the main zone. Above and below, there may be several friezes of ornament or, occasionally,one or two animal friezes, then ornamentalpatterns. The exact use of the phormiskosis uncertain,but it seems to have serveda funerarypurpose.There are not very many Attic black-figuredphormiskoi,and 1258 and 1259, shoulderfragments,are the only examples from the Agora.

white-ground examples, cf. Mertens, Attic White-Ground, pp. 35-40, 95-100. 2 For a summary, cf. NC, p. 281. 3New York, M.M.A. 62.11.11 (Paralip. 66; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). Cf. also, Bothmer, "Three Vases by the Amasis Painter," MadrMitt 12, 1971, pp. 123-130, esp. pp. 125-127, with bibliography for the shape. Bothmer (p. 130) places this aryballos among the early works by the Amasis Painter. The zigzags on top of the mouth recall their use abovethe figures on 1257, which Beazley places very early in the career of the Amasis Painter (ABV 155, 64). Hence, the two cannotbe far apart in time, and it is temptingto ask if Amasis may have had a hand in forming the two vessels. 4 Leningrad 381 (ABV 293, 12; Paralip. 127, 12) and Munich 2294 (ABV 293, 13), both on white ground;London,B.M. 1900.6-11.1 (ABV 294, 25), in Six's technique. For discussion,

cf. Mertens, Attic White-Ground,pp. 35-40. 5ARV2 98-101, 1-30; Paralip. 330-331; Mertens, Attic White-Ground,pp. 128-129, 131-132. 6 Diosphos Painter: ABL, p. 237, nos. 102-117 bis; ABV 510, 21-24; 703, 24 bis; Paralip. 249-250. Emporion Painter: ABL, pp. 263-264, nos. 1-26; ABV 584-585, 1-14; 709, 2 bis; Paralip. 291; manner of the Emporion Painter: ABV 585, 1 and 2; Paralip. 292; connected with the Emporion Painter: ABL, p. 265, nos. 1-5. Cf. also, Mertens, Attic White-Ground, pp. 95-100. 7 For an alabastron with two friezes of figures, cf., e.g., Athens, N.M. 12768 in the manner of the Haimon Painter (ABL, p. 245, no. 83; ABV 555, 423). For the shape, cf. O. Touchefeu-Meynier, RA, 1972, pp. 93-102 and R. Hampe, AA (Jd 91), 1976, pp. 192-202.



KOTHONS 1260-1264 Pls. 88 and89

The kothon is a vessel used to hold scented liquid. It may not have been called so in antiquity, and there has been a recent attempt to identify it with the exaleiptron,but until its real name has been as in AgoraXII (p. 180) and in AB V agreed upon, we shall retain the conventionalname "kothon", (passim).I The basic characteristicof all kothonsis the curvedshoulderwith deep overhang,which preventedthe liquid from spilling. There are two main types, each known in Attic black figure. The first is multiple-legged, usually tripod,2with each leg attachedto the outside of the receptacle.3 The second has a central support, a flaring foot joined to the bottom of the receptacle.4Occasionally, there are two or three lug handles attachedto the rim. The shape is known from the late 7th century B.C. until the beginning of the 4th.5 In Attic black figure, the earliest are by the Gorgon Painter, Most Attic Akropolis 506, a shoulderfragment,and Athens, N.M. 19172, which is well preserved.6 black-figuredexamples belong to the first half of the 6th century B.C., particularlyto the Komast Group, the Polos Painter, and the C Painter.7Most of these, but for Athens, N.M. 19172, are of the tripod type. Those from the Agora are very fragmentary. 1260-1262 (Pls. 88, 89) are shoulder fragments, including one by Lydos, and one may not be certain to which type of kothon each belonged. 1263 (PI. 88) is the lid of a tripod-kothonby the Polos Painter, and 1264 (PI. 89) is a patterned lid.

1265-1296 Fig. 16 Pls. 89-91

The pyxis is a receptacle for cosmetic powder or jewelry, and it is used mainly by women.1 Although a domesticarticle, pyxides are found mostly in graves, which explains the paucity of examples from the Agora. Most of these are tripod-pyxides, 1267-1278, or pyxides of Type A, 12791286. 1290-1296 are lids, mostly fragments, belonging either to tripod-pyxides or to pyxides of Type A, except for 1295 (P1. 91), which comes from the type having a receptaclethat looks like a variant of the Nicosthenic pyxis. The receptacleis plain black;decorationis confinedto the lid.2
TYPE 1265 and 1266 CORINTHIAN P1. 89

This type of pyxis is identified chiefly by its convex wall that gives the vessel a globular appearance.3 Some are without handles;4 others, as 1266, have two upright cylindrical handles
For the shape, cf. Agora XII, pp. 180-181, with bibliography; ABV 348-349; also B. F. Cook, Bull. Metr. Mus. 21, 1962/63, p. 32; P. Mingazzini, AA (Jdl 82), 1967, pp. 344361; I. Scheibler,AA (JdI83), 1968, pp. 389-397; F. Brommer, AA (JdI 95), 1980, pp. 544-549; J. de la Geniere, MonPiot 63, pp. 31-34. For kothonswith splaying feet, cf. Bothmer,ArtBull 57, 1975, p. 122. 2 Munich 6072 has four legs (CVA, Munich 3 [Germany9] 35, p. fig. 5, and pl. 139 [421]:3-5). 3A good example: Brussels A 3 by the Painter of London B 76 (ABV 87, 21). 4A good example: Athens, N.M. 19172 attributed by Scheibler to the Gorgon Painter (JdI 79, 1964, p. 97, figs. 18, 19; Paralip. 7 where the number is given as 16172). 5

Agora XII, p. 181. Akropolis 506 (ABV 9, 10); Athens, N.M. 19172 (footnote 4 above). Komast Group: ABV 25, 13 and 14; 29; 33, 1. Polos Painter: ABV 45, 23-27; Paralip. 20, 25. C Painter:ABV 58, 122-124; 681, 122 bis; Paralip. 23, 122. For the Lille kothon (ABV 681, 122 bis), cf. MonPiot 63, 1980, pp. 35-38, figs. 2-6.

1 For the shape, cf. Agora XII, pp. 173-178; also, for the earlier examples, KerameikosVI, ii, pp. 182-183, 186-187. 2 For a list, cf. Paralip. 284. 3 NC, pp. 305-307. 4 NC, 306, p. esp. no. 861, fig. 141 (Corinthian).



attachedto the shoulder.The rim is fittedto receivea lid and is either incurving,as 1265 (PI. 89), or upright for a lid that fitted over it, similar to the lid of the powder pyxis but with a knob in the center. 1266 is of the latter type. The foot is an echinus one. The system of decorationon 1266 is unusual, for on each side the figures are set in a panel with a frieze of figures above.5

Pls. 89, 90

The tripod-pyxis has broad, slightly flaring legs that are usually decoratedwith figures. The foot is normally an echinus one and glazed black, as 1267-1270 and 1274 (Pls. 89, 90), although sometimes on the lesser examples, e.g. 1271 or 1272 (PI. 90), the vessel lacks feet and the legs themselves are the supports.The rim is also glazed black and fitted to receivea lid whose diameterequals that of the rim when measuredat the outside. No Agora lid may be matchedwith its pyxis. The interior of the receptacleis glazed black. The earliest preservedattributedAttic tripod-pyxisseems to be the fragmentaryone from the Akropolisby a painter of the Group of the Dresden Lekanis.6The shape is known throughoutAttic black figure, but it neverbecomesvery common,and the greatestnumber of attributedexamples, including 1275 (PI. 90) and 1276, are by paintersof the Swan Group. Most of the Agora tripod-pyxides belong to the second quarter of the 6th century, particularly to the years around the middle of the century.


P1. 90

This type of pyxis is mainly a figuredshape.7Its walls are slightly concaveor nearly straight.The inside of the rim is often flangedto receivea lid with downturnededge, e.g. 1282 and 1286 (P1.90), or it may be plain, e.g. 1280 and 1285. On the latter type, the lid has a flange on its undersideto preventit from slipping off the pyxis. The foot is very low and may be tripartiteor quadripartite,or it may be a simple ring, e.g. 1283 (P1. 90). Occasionally,the vessel lacks a foot, and the floor of the receptacleacts as its base, e.g. 1281 (PI. 90). To judge by 1279, which has a lid with very careless decoration,this type of pyxis in Attic black figure begins early in the 6th century B.c.,8 although most of the examples, including those from the Agora, belong to its secondhalf and to the early 5th.


Pls. 90, 91

The sides This little vessel is characterizedby its lid, which slips completelyover the receptacle.9 may be straightor slightly flaring, and the bottomof the box often protrudesslightly so that the side of the lid rests on a narrow ledge and the profile is not interrupted.1288 and 1289 (P1.91) are good examples. The top edge of the lid is roundedand sometimesprojectsslightly, e.g. 1287 (P1.90) and 1288. Only the lid is decorated;the receptacleis reservedor glazed. Powder boxes appear in Corinthian during the 7th century,but in Attic black figure they are mainly late products,decoratedin a hasty careless manner. A good number of them, including 1287, are by painters of the Swan Group. LIDS 1290-1296 P1.91 See above, p. 49.
5 For another, cf. Princeton 48.54, attributed to the Dolphin Group (ABV 458, 26). 6 Akropolis 510 (ABV 22, 10). A well-preservedbut unattributed example, Kerameikos, inv. no. 44, is probably from about the same time, or even a little earlier (KerameikosVI, ii,

no. 130, pl. 100). 7 For this type, cf. Roberts,Pyxis. 8 Kerameikos VI, ii, p. 183; Roberts,Pyxis, p. 9. 9 Cf. AgoraXII, p. 175. Add:Prague 22.88 (CVA, Prague 1 [Czechoslovakia1], pl. 34:2, 3).



LEKANIDES 1297-1360 Pls. 91-93

The lekanis is a low, rather wide bowl with two horizontal, metallic-lookinghandles. Early examples have a short, conical foot, later ones a flaring ring base. The vessel may be lidless or lidded.1 In Attic black figure, the lekanis is best known in the early period, particularlyin the work of the Nettos Painter and the Panther Painter, as attested by the finds in the cemeteryat Vari.2 About a dozen were decoratedby the KX Painter, including 1336 (PI. 92), and a few others appear in the work of his contemporaries.3Later, more than 60 are known in the work of the Polos Painter, including 12 found in the Agora, 1311-1321 (PI. 92) and 1344 (Pl. 93).4 Elsewhere, the lekanis appears as an isolated example or two in the work of various painters,5and in Attic black figure does not seem to last beyond 500 B.c.6The Agora examples stop well before this date.
LIDLESS 1297-1329 Pls. 91, 92

The largest number of lekanides from the Agora are of the lidless variety, which is characterized by a broad, flat, projectingrim. It appears earlier in Attic black figure than the lidded type, for the gap in time between the beginning of the one and that of the other appears to be a little more than two decades (see below, p. 52). The earliest example from the Agora, 1297 (PI. 91), is by the Gorgon Painter and thus is a bit later than those by the Nettos Painter but about the same time as the ones by the Panther Painter.7The largest numberof lidless lekanidesfrom the Agora attributed to a single painter are the 11 by the Polos Painter, 1311-1321 (PI. 92). 1322 may be by him or his companion,but the surface is too worn to be certain of an attribution. The scheme of decorationis a simple one. In the tondo there is a figure or an ornament.Among the Agora examples, only 1297 with its whirligig(?) preservesthis part, but the lekanidesfrom Vari give a good idea of the range of subjects.8On the outside, there is usually an animal frieze on each side that continues under the handles, e.g. 1300 (PI. 91), 1308, or 1315. Abovethe foot are rays, and between the rays and the figures there is often an ornamentalband, e.g. 1297, 1299, 1301 (PI. 91), or 1323. The figures may reach to the rim, e.g. 1303, 1306, 1309, 1310 (PI. 91), and those by the Polos Painter, 1311-1321 (Pl. 92), but more often there is a band of decorationsuch as the guilloche, rosettes,or verticallines, e.g. 1298 and 1299 (PI. 91) or 1304. Occasionallythere is morethan
For early Attic black-figured lekanides, cf. Kerameikos VI, ii, pp. 188-189; also, Karouzou,'AvayvpogvTros, pp. 1534, 50-73. For the lidded variety, cf. Richter and Milne, Shapes and Names, pp. 23-24. The best discussion is, however, that in latter is unusual in having upright handles attachedto the flat surface of the rim, each surmountedby a seated mourner;compare a similar example but with just the handles, Copenhagen, inv. no. 7327 (CVA, Copenhagen 3 [Denmark 3], pl. 100 [102]:4). 4 ABV 45-46, 29-85; Paralip. 20. 5 E.g., mannerof Lydos f: animal pieces (ABV 118,41-47, including 1350: PI. 93), a large number of examples for the time; also 1351 (P1. 93), or three from the Akropolis near the Ready Painter (ABV 130, 1-3), or the one by the Painter of the Vatican Mourner, Wurzburg 442 (ABV 140, 5). 6 The liddedversion lasts much longer and is well known in later red figure. Cf. Agora XII, pp. 165-167. 7 Nettos Painter: ABV 5, 6-9; Paralip. 4, 17-24; Panther Painter:ABV 18, 1-5; Paralip. 11-12, 1-20. 8 Karouzou, 'Avayvpovvros,pls. 29-74.

AgoraXII, pp. 164-173.

2 Nettos Painter:Paralip. 4, 17-24; Panther Painter:Paralip. 11-12, 1-20. The group is fully discussed by Karouzou, 'Avayvpovvros, locc. citt. 3 KX Painter: ABV 24-25, 1-10; Paralip. 14-15, 1-4 bis; manner of the KX Painter: 1337 (P1.92). For examples by contemporaries of the Komast Group, cf. the namepiece of the Group of the Dresden Lekanis, Dresden ZV 1464 (ABV 21, 1) and three from Vourva by Sophilos, Athens, N.M. 998, 997, 999 (ABV 41, 28-30; Bakir, Sophilos, pls. 58-61); also two by the Ceramicus Painter, Kerameikos, inv. no. 39 (ABV 19, 5; KerameikosVI, ii, no. 105, pls. 93, 97) and Kerameikos, inv. no. 41 (ABV 19, 6; KerameikosVI, ii, no. 106, pls. 94-96). The



one animal frieze, 1301 being the best example from the Agora.9The top of the rim may be glazed or reserved,e.g. 1298 or 1326, but most often it is embellishedwith a simple ornamentsuch as rays (e.g. 1299, 1300), zigzags (e.g. 1301, 1303), or a borderof esses (1310). An odd piece is the whiteground lekanis, 1329, decoratedin silhouette technique that has affinitieswith the Swan Group. It is our only example from the Agora that has its figured decorationpainted upside down so that it may be viewed properlywhen the vessel is hung on the wall.10It is probablyour latest lekanis.
LIDDED 1330-1355 Pls. 92, 93

The earliest certain Attic black-figuredexamples of the lidded lekanis are the four by the KX Painter and the namepieceof the Group of the Dresden Lekanis,11 which date in the middleto late years of the first quarter of the 6th century B.C.and thus more than two decadesafter the earliest lidless examples by the Nettos Painter.12Among the Agora lekanides, only 1330 (PI. 92), a mid6th-centuryexample comparedwith the Ready Painter, preservesboth bowl and lid. The rest are all quite fragmentary,and since none of the lid fragmentsmay be safely matchedwith any of the bowl fragments,the two parts will be discussedseparately,following the model given by AgoraXII, pp.165-168.
BOWLS 1330-1333 P1. 92

The bowl of the lidded lekanis is distinguished from that of the lidless variety chiefly by its flangedrim and its reservedtondo on the inside insteadof one that is decorated.The detailsof shape and the schemeof decorationare the same as that of the lidless type but that there is no ornamenton the rim, which is usually glazed on the side and reservedon the top.
LIDS 1334-1355 Pls. 92, 93

The lid of the lekanis is slightly domed,its profilerepeatingroughlythat of the bowl. The stem of the knob flares a little toward the top. The knob itself is flat on top, and if that of 1330 (PI. 92) is typical, its diameteris about equal to that of the foot.13The undersideof the lid may be glazed, e.g. 1330,14 1336, or 1351, or unglazed, e.g. 1337. The resting surface is reserved,e.g. 1354. As mentioned above, with the exception of 1330, which is somewhat unusual, no black-figured lekanis lid from the Agora has been paired with its bowl. But, to judge from the lids comparedwith the contemporarybowls, the scheme of decorationand the choice of subjectson the lids, like their shape, often reflect those of the bowl, so that when the two are seen together, they form a harmonious unit. Rays emanate from the base of the knob, then there may be a zone of ornament,such as dots, e.g. 1336 (PI. 92), or, particularlyon the later examples, a line or two, e.g. 1330, 1350, and
9 For a well-preserved Dreserved example, . Athens, N.M. 296 by the KX Painter (ABV 24, 7). 10Often skyphoi by painters of the Swan Group have the decoration painted upside down. Compare also, two Proto-A cups, Louvre F 131 bis and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). Each is an eye-cup with a frieze of upside-down animals between the handle zone and the rays at the bottomof the bowl. Similar friezes may also appear on Droop cups (see below, p. 66). 11KX Painter: ABV 24-25, 7-10, including 1336 (PI. 92); den Lekanis:ABV 21, 1. Group of the 12Paralip. 4, 17-24. For the chronologyof the Nettos Painter, cf. Karouzou, 'AvayvpovvTroS, pp. 123-136. 13The diameterof the lid on 1330 is broadenough so that it might even be considereda reversiblelid, that is, one that may also be used as a bowl, were it not that this type of lid does not seem to be known before the 5th century B.C.Cf. Agora XII, p. 168. 14 1330 has a reservedband near the center.



1351 (Pis. 92, 93), that separates the rays from the figures below, which are often animals, arranged in either one or two friezes. 1330 is unusual in having figures on the lid only, its bowl decoratedjust with ornament. 1346 (PI. 93), which preservespart of Herakles and Triton, is the only example from the Agora of a black-figuredlekanis lid with mythologicaldecoration,and 1354 (PI. 93), which preservespart of a chariotto right, is the only other Agora lekanis lid with narrative decoration,15 although it occurs on the lids of other shapes, e.g. 369 (PI. 36), 1382 (PI. 95), or 1385 (PI. 94). The stem of the knob is glazed; on the flat surface of the top, there may be concentric circles, e.g. 1330.


P1. 93

This small section contains a few fragmentsof lekanideswhich do not preservepart of the rim or the tondo so that the type may be identifiedas lidless or lidded.All of them date beforethe middleof
the 6th century B.C.

LIDS 1361-1387 Fig. 17 Pls. 94 and 95

This section includes lids that are too fragmentaryto be certain which kind of vessel each covered. For lids of amphorae, cf. 367-372 (P1. 36), of skyphos-kraters,404-413 (Pls. 40, 41), of pyxides, 1290-1296 (PI. 91), and of lekanides, 1334-1355 (Pls. 92, 93). 1361-1366 (PI. 94), which date from the late 7th or early 6th century B.C.,are fragmentsof large lids and may belong to skyphoskraters,but without more of the curve of the wall preserved,it is difficultto be certain,and they are best kept apart from the skyphos-kraterlids discussedabove, p. 23.-1373 and 1374 are too small to be the lids of skyphos-kraters,at least to judge by the ones known to us, and they seem too large to be the lids of lekanides, although the decorativearrangementis suitable. 1378 is very flat and may be from a tripod-pyxis. 1381 (P1. 95) with its downturnedrim is probablythe lid of a pyxis or a small lekanis, and 1386 (PI. 95) may also come from a lekanis, although it seems a bit flat. 1382 (P1. 95) looks as though it is the lid of a Nicosthenic pyxis. PLATES 1388-1426 Pls. 95-97

The plate is a rather rare shape in Attic black figure.1It was probablynot used during dining, for the unglazed portions would come into contact with the food; more likely, the plate served a religious or a funerary purpose, and the holes for suspension drilled in the rims of many plates, e.g. 1399 (P1. 96), support this suggestion.2There are two main types of Attic black-figured plate,
15For three lids with narrativedecoration,cf., e.g., these by the C Painter: Naples (ABV 58, 119); Akropolis 2112 (ABV 58, 120); Akropolis 2116 (ABV 58, 121). The fullest study of Attic black-figuredplates is D. Callipolitis-Feytmans, Les plats attiques. Here, the evolutionof each type of plate is thoroughly discussed and the individual plates assigned to their respectiveworkshopsand classes or attributed to painters. Most of the Agora black-figuredplates appear in this volume. For Late Geometricand Protoatticplates from the Agora, cf. Agora VIII, pp. 45-46, nos. 113-119. For the shape in the Archaic period, cf. also, Agora XII, pp. 144-145. 2 Callipolitis-Feytmans,Les plats attiques,p. 21.



Type A and Type B. They have a parallel development,but examples of Type B are more common during the last quarter of the 6th centuryB.C. than they are in its earlier decades. TYPEA 1388-1410 Pls. 95, 96 The Type A plate has a convex rim and a flat floor,which may thickenslightly towardthe center. The base is attacheddirectly below the junction of the rim. Both the shape of the base and the curve of the rim vary considerablyfrom workshopto workshop. Plates of Type A may be subdividedinto four categoriesaccordingto size: A I is of normalsize (1388-1397: Pls. 95, 96); A II is small (13981407: PI. 96); A III is miniature (1408 and 1409: PI. 96); and A IV is so tiny that it may even have been a child's toy (1410: PI. 96).3 There are two basic systems of decoration.The first has the figures or ornamentset in concentric friezes on the floor of the plate so that it may be seen from all angles and an intendedviewing point is less apparent. 1390, 1399, 1400, 1403, and 1408 are the best though rather fragmentaryexamples from the Agora. The plate in Baltimoreby the Gorgon Painter is a well-preservedexample of this system.4The secondarrangementof the decorationtreats the floorof the plate like that of the tondo of a cup. The figures are shown vertically, and they may utilize the entire surface, as they surely did on 1392 (PI. 95) and 1397 (P1. 96), or there may be an exergue at the bottomcontaining figures or ornament, e.g. 1396.5 Sometimes, in addition, there is a figured or ornamentalexergue abovethe heads of the main figures so that they are isocephalicwithout changingtheir proportions.6 1391 (P1. 95) seems to have been decoratedin this manner, for there is a small amount of tongue pattern at the very top of the fragment. Occasionally,the figures are placed in registers, but this does not occur very often, and it is primarily an early 6th-centuryconventionthat may be inspired by large vases such as dinoi and neck-amphorae,which have the decorationset in friezes.7 1389 (PI. 95) is one of these rare plates and the earliest known example.8On the rim, there is usually an ornamentalpattern, tongues and lotus buds (1396) being the most commonthroughoutthe period during which the Type A plate is in use, but other patterns, such as the lotus-palmette festoon (1389: P1. 95), rosettes (1399 and 1403: P1. 96), or ivy (1409: PI. 96), may also appear. Occasionally, there may be figures on the rim (1401 and 1402: Pl. 96).9 The undersideof the rim is usually glazed but may also be reserved.1399 and 1401-1403, by the Polos Painter, have rays on the underside.The undersideof the floor normally has concentriccircles, 1390 being a good example where the circles are broad flat ridges or 1391 where the two painted circles are of different thicknesses.Occasionally,particularlyon plates by the Polos Painter, 1399, 1400, 1404, and 1405, the undersideof the floor has figures as well, resulting in a two-sided effect to the plate. The earliest attributedAttic black-figuredplates of Type A are by the Gorgon Painterwho seems
Ibid., p. 149. For the four categories of Type A: A I, pp. 25-148; A II, pp. 149-167; A III, pp. 169-189; and A IV, pp. 191-198. 4 Baltimore48.215 (ABV9, 18; Paralip. 7, 18; CallipolitisFeytmans, Les plats attiques, p. 309, no. 1,pl. 14, fig. 18). 5 For a figured exergue, which may not be attested on the Agora plates owing to their fragmentarynature, cf. Kerameikos, inv. no. 1637 near the Painter of Vatican 309 (ABV 122, 4; Callipolitis-Feytmans, Les plats attiques, p. 310, no. 5,pl. 16, fig. 19) and Athens, N.M. 19758 (ibid., p. 312, no. 18 bis, pl. 20, fig. 21). 6 Figures: cf., e.g., Akropolis 2401, related to Lydos

(Paralip. 48; Callipolitis-Feytmans,Les plats attiques, p. 301, no. 17,pl. 4) and Florence V 102 a by Lydos (ABV 111, 45; Callipolitis-Feytmans,Les plats attiques, p. 315, no. 2, pl. 21, fig. 23; Tiverios,pl. 71:a). Ornament:cf., e.g., Florence 9674 (ABV 118; Callipolitis-Feytmans, Les plats attiques, p. 320, no. 33,pl. 30, fig. 28) and Swiss, private (ibid., p. 321, no. 38, pl. 32 and fig. 28). 7 Cf. ibid., pp. 39-40. 8 Ibid., pp. 39, 81-82. 9 For a well-preserved example, cf. Baltimore 48.215 by the Gorgon Painter (ABV 9, 18; Paralip. 7, 18; Callipolitispl. 14, fig. 18). Feytmans, Les plats attiques,p. 309, no. 1,



to be the first Attic painter to apply himself to decoratingplates.'10 None of the Agora plates is by him or in his manner, but 1389 (PI. 95), one of the earliest examples fromthe Agora, is close in time to his late work, and to judge from what remains of the drawing, it is not far from him in style. The next group of large plates are painted by Lydos, who has left us several handsome examples and whose companionsand followers were also interestedin this shape.111391-1393 (PI. 95) are contemporarywith Lydos but do not seem to be connectedwith him. The platesjust discussedare of the bigger, more impressiveType A I. Of the smaller varieties,the greatestnumberfrom the Agora are Type A II, and most of these are by the Polos Painter, 1399-1405 (PI. 96).121398 is close to him in style but seems a bit earlier. The rest of the Agora plates of Type A belong to the last decadesof the 6th century B.C. and to the beginning of the 5th. 1407 is signed by the potter, Salax, who is otherwise unknown, and also bears an inscriptionthat praises Eumares.This plate is not decoratedwith figures, but since it is cited by Beazley in AB V (p. 351), it is included here. 1406 (PI. 96) is a late 6th-century plate with a gorgoneion painted in the center of its floor, which recalls similar decoration in the tondi of late black-figuredcups (1785-1792: Pls. 114, 115), and thus offers a certain link between the decorationof plates and that on the insides of cups.
TYPE B 1411-1424 Pls. 96,97

The Type B plate is a more articulated variety than its Type A counterpart. It has a flat or slightly convex floor and a curved rim that often has a molding or a ridge at the point where it is attachedto the floor. The edge of the rim may be moldedor plain, although the formeris more common. On many plates, the outer part of the floor curvesupward to the base of the rim. The ring base is not joined to the floor directly beneath the junction of the rim, as on the Type A plate, but is recessedbeneath the floor. Like the Type A plate, the curve of the rim and the shape of the foot of the Type B plate vary considerably,and also like the Type A, the Type B may be subdividedinto four categories.13In the Agora black figure, only two of these, B I (1411-1416) and B II (14171424), appear. For the most part, the Type B plate derivesfrom the Subgeometricplate, particularlythe position of the ring base and the characterof the rim.14The system of decorationon its top side follows that of Type A, while on the underside,the concentriccirclesor large areas of plain blackemphasizethe structure.15 There are not very many Type B plates that may be dated before the beginning of red and there is none from the Agora. This type of plate is associatedprimarilywith red-figure figure,16 painters,17 in the early period particularlywith Psiax, Paseas, and Epiktetos,artistswho painted in both the black-figure and the red-figure techniques.18The decorationof certain late 6th-century plates, especially those of Type B II, is influencedby black-figuredcups, and these plates seem to
10 ABV 9-10, 18-21; Paralip. 7, 18 and 19. For a detailed discussion, cf. Callipolitis-Feytmans, Les plats attiques, pp. 63-67. I1 Lydos: ABV 111-112, 45-57; Paralip. 44, 50-57 bis, 46. For plates by Lydos and their relationship to various potters and workshops,as well as plates by his companions,cf. Callipolitis-Feytmans, Les plats attiques, pp. 87-119; for the wider circle of Lydos, pp. 123-139. 12 Other plates by the Polos Painter: ABV 47, 103-126, including 1399-1404 (PI. 96); Paralip. 20, 103-125, 21 (including 1405); Callipolitis-Feytmans, Les plats attiques, pp. 160-167. 13 For the type, cf. Callipolitis-Feytmans, Les plats attiques,

pp. 201-209, 231-284; for the categories: B I, pp. 257-277; B II, pp. 231-238, 241-255; B III, pp. 238-240; and B IV, pp. 279-284. 14Ibid., pp. 201-203. 15Ibid., p. 206. 16For these, cf. ibid., pp. 201-209. 17 For red-figuredplates of Type B, cf. ibid., pp. 211-229. 18 Psiax: black figure:ABV 292-295; Paralip. 127-128; red figure: ARV2 6-8, 1-12; Paralip. 321. Paseas: black figure: ABV 399-400; Paralip. 160; red figure:ARV2 163-164, 1-14; Paralip. 337. Epiktetos:bilingual cups:ARV2 70-71, 1-4,7, 8, 10, and 12.



come from cup workshops.19 1423, with its large area of glaze surroundingthe central gorgoneion, is an example.20 All the Type B plates from the Agora belong to the late 6th centuryB.C.or to the first half of the 5th. There are not many of them, and most are very fragmentary.1411 (PI. 96) is decoratedin Six's technique, and besides one from the Akropolis,it may be the only example of this techniqueused to decoratea plate.211414 and 1415 (Pls. 96, 97) are attributedto the KleiboulosPainter, the principal decoratorof plates during the first quarter of the 5th century B.C.His known work was put together by Callipolitis-Feytmans, and he takes his name from a white-ground ostrakon found between the Areopagus and the Hill of the Nymphs.221414 (P1. 96), like the ostrakonand many other plates by the Kleiboulos Painter, has its decorationon white ground. PLATES1425 and 1426 P1.97 OTHER 1425 is a floor and rim fragment, and its type may not be identifiedfor certain. It comparesbest with plates by Psiax, and it probablyhad one figure, or at most two, paintedon its floor. 1426 is the leg of a tripod-plate,and there does not seem to be a good parallel for its shape. PHIALAI 1427-1439 Pls. 97 and 98

The phiale is a low, shallow, footless bowl without handles, used mainly for pouring libations, occasionallyalso for drinking. On the inside is an omphalos, and on the undersidethere is a correspondingdepressionthat is essential for holdingthe vessel. The shape is best known in metal;clay examples are not very common. The outside of the black-figuredphiale is unglazed, except for the rim, which is black and slightly outturned,e.g. 1429 or 1437. The inside is glazed except where the decorationappears. The figures surroundthe omphalosand may be set in one or two friezes, 1429, 1431, and 1433 (Pls. 97, 98) being the best examples from the Agora, and usually the ground line for the figures is toward the rim, not toward the omphalos. 1428 (PI. 97) is a rare exception,being also glazed on the outside. Round the omphalosthere is a zone of tongues (1428 and 1433: Pls. 97, 98), although this area may be plain (1427: P1.97). Usually the omphalosis black;1438 (PI. 98) is unusual for having figureddecoration. In Attic black figure, most of the known phialai, including 1428-1439, are late 6th or early 5th centuryB.C. 1427 (P1.97), by a painter of the Swan Group, is the earliest black-figuredphiale from the Agora, and it may even be one of the very earliest in silhouette technique, for it comes from a context with a lower date of the first quarterof the 6th centuryB.C.2 1428 (P1. 97) is one of the very few examples decoratedin true black figure, i.e., with incision, ratherthan in Six's technique,3e.g.
19Callipolitis-Feytmans,Les plats attiques,p. 235. Ibid., p. 255. Callipolitis-Feytmans (Les plats attiques, p. 229) gives Akropolis 1074 and 1411 (PI. 96) as the only examples but goes on to suggest (note 57) that a lost plate reproducedin a drawing by Benndorf (Griechische und sicilische Vasenbilder, Berlin 1869-1883, pl. 8:2) may have been decoratedin Six's technique. 22 p 17970, which preserves the letters ]OAEMO; another ostrakon found in the Agora at the same time, P 17678, preserves the name KAIBOLOL NIKOAEMO, thus permitting the inscriptionon P 17970 to be similarly restored.Cf. Callipolitis-Feytmans, Les plats attiques, p. 267 and p. 396, no. 9. For the painter, cf. ibid., pp. 266-276 and pp. 395-399, nos. 1-40.
20 21

'The basic study is H. Luschey, Die Phiale, Bleicherodeam-Harz 1939, esp. pp. 147-155 for clay examples; cf. also, Agora XII, pp. 105-106, with bibliography;most recently, C. Cardon, "Two Omphalos Phialai," The J. Paul Getty Museum Journal 6-7, 1978-1979, pp. 131-138, esp. p. 133, note 12 for a list of clay examples. 2 E 14:8 (below, p. 331). Other phialai by the Swan Group: ABV 655, 23-25 and 27-30. On the difficulty of dating individual Swan Group vases, cf. ABV655 and Hesperia 13, 1944, p. 57. 3 For other vases in Sixs technique, cf. the catalogue entry for 1175 (PI. 86).



1430 and 1431 (PI. 97), or in plain silhouette. The silhouette phialai may have the decorationin plain black glaze (1427 and 1429: PI. 97), like that of many late lekythoi, cups, and skyphoi, or the decorationmay be applied in white over the black glaze, e.g. 1434-1436 (P1. 98). Very few Attic black-figuredphialai have been attributedto painters,4but the generally small size of many suggests that they are very likely productsof workshopsspecializingin small shapes (lekythoi,skyphoi, or cups), rather than those producinglarge pots.5 MASTOID 1440 PI. 98 The mastoid is a deep, flat-bottomedbowl with a sharply outturnedrim. It may or may not have handles, and on those that have, they are attachedto the bowl at the level of the maximum diameter. On the handleless variety, the figureddecorationcontinuesaround;on the handledtype, it is divided between obverse and reverse, and sometimesthe figures appear between eyes, just as they do on some contemporaryskyphoi and cups. The rim is glazed black, its outer edge reserved;the area below the figures is also black, usually with a narrow or wide reservedband.1 In Attic black figure, the mastoid appears in the late 6th century and continueswell into the first quarter of the 5th.2 Most attributedexamples are decoratedin the mannerof the Haimon Painter,3 and a few others belong to the Leafless Group and to the Caylus Painter,4an artist principally involved with the decorationof cups. In the Agora black figure, 1440 is the only mastoid, a fragment of the rim and bowl with the figures in silhouette on white ground. It is uncertainwhether it had handles.

CHALICES 1441-1450 Pls. 98 and 99

There are not very many Attic black-figuredchalices, and all those known to us come from Athens or near Athens.1 Most of them were found in the Agora.2 The chalice has a flaring wall with a narrow, projecting rim or one that is plain, like that of a kantharos, a cul to which handles are attached, and a conical foot. The Attic shape may have been inspired by the Chian one, which is
4 Three with tongue pattern round the omphalos are signed by Nikosthenes:London, B.M. B 368 (ABV 234, 1); Wiirzburg 429 (ABV 234, 2); Cab. Med. 334 (ABV 234, 3). With these, Luschey (op. cit. [footnote1 above, p. 56], p. 151) connectedtwo others: Delos 640 (Delos X, pl. 52) and London, B.M. B 678 (AZ, 1881, pl. 5:1). On the London phiale and its Nicosthenic connections, cf. also, Mertens, Attic White-Ground,pp. 103104, and C. Cardon, op. cit. (footnote 1 above, p. 56), p. 133, note 12. 5 Cf. Luschey, op. cit., pp. 149 and 151.

[1656]:4-6). 2 For an early special model with a rather roundedbody, a broad flaring foot, and two vertical handles, cf. Louvre F 70 by the Amasis Painter (ABV 156, 76; Bothmer, Amasis Painter, pp. 198-199, cat. no. 53). 3 ABV 557-560, 449-512; 707; Paralip. 271. 4 ABV648-649, 238-246; Paralip. 311, 241, and 313. Other than Agoraexamples, cf. Athens, Vlasto Collection, from Spata, by the Anagyrus Painter (ABV 21, 2); Athens, N.M. 995, from Vourva, by Sophilos (ABV 39, 11; Bakir, Sophilos, pls. 55-57); Louvre CA 2988, from near Menidi (CVA, Louvre 12 [France 19], pl. 193 [866]); and Akropolis 1957NAK 1580 (AcAr 27, 1972 [1973], p. 300, no. 279 and pl. 140). 2 Besides the black-figured ones, cf. also the black-patterned ones: P 2745 (E. Vanderpool,Hesperia 15, 1946, p. 326, no. 296, pl. 66), P 5210, and P 6582.

Here are a few examples that illustrate the shape: Handleless: FrankfurtVF 8 315 (CVA, Frankfurt2 [Germany30], pl. 51 [1442]:7, 8); once Castle Ashby (CVA, Castle Ashby [GB 15], pl. 23 [678]:11-13). Handles: Frankfurt VF 8 313, 314, and 316 (CVA, Frankfurt 2 [Germany 30], pl. 51 [1442]:1-6); Hanover 759 (CVA, Hannover 1 [Germany 34], pl. 24



more commonand appears earlier than the Attic examples.3Very little Chian potterywas exported to mainland Greece, yet fragments of four Chian chalices were found on the Akropolis,4and two small, well-preserved, late 7th-century examples as well as four fragmentscome from the Agora excavations.5 Attic black-figured chalices normally have figures painted on the flaring part of the wall and usually two zones of decorationon the cul. The upper one may containeither figures or ornament; the lower one has rays paintedjust above the junction of the foot.6The verticalpart of a projecting rim is most often decoratedwith a row of dots. A plain rim has a black line. The handles and foot are plain black. The Agora black-figuredchalices are too fragmentaryto give a good idea of the complete appearanceof a single vase, but they do furnish evidencefor the variation in decoration. All of them have figures on the flaring part of the wall. On the three fragmentsthat preservesome of the cul, 1441 has three zones of decoration,one of figures, two of ornament (row of dots above rays), 1444 (PI. 98) shows only part of one figure but probablyhad rays in the lower zone, and 1445 may have had ornamentonly, for the upper part containsverticallines. Four projectingrims have the customaryrow of dots on the vertical part (1441-1443 and 1446: Pls. 98, 99). 1447 (PI. 99) by Lydos has a border of esses. 1445 has a plain rim like that of the chalice by Sophilos.7The two chalice fragmentsby Lydos, 1446 and 1447, have a tongue pattern below the rim at the top of the figure zone. SKYPHOI 1451-1657 Figs. 18 and 19 Pls. 99-107

The skyphos is a popular drinking cup with a deep bowl, two handles attachedjust below the rim, and a broad foot that insures stability when the vessel is filled with wine.1 A large number of Attic black-figuredskyphoi have been found in the Agora excavations,most of them dating from the last years of the 6th century B.C. and the beginning of the 5th. Two main varieties of skyphos, the Corinthianand the Attic, appear in Agora black figure, but examples of the Attic type are far more numerous.


P1. 99

This type of skyphosis a directborrowingfrom Corinth,and while it never becomesvery popular in Attic black figure, in Attic red figure and in black-glazed ware it continues into the 4th
Cf. R. M. Cook, BSA 44, 1949, pp. 155 and 158. For the shape, cf. also Hayes in Boardman and Hayes, Tocra, 19631965, pp. 57-63 and Boardman,Excavations in Chios, 19521955: GreekEmporio, London 1967, pp. 119-122 for the Geometric and 7th-centuryexamples, pp. 156-161 for the 6th. 4 Cook, BSA 44, 1949, pp. 159-160 for the findspotsof exported Chian pottery, and p. 160 for the Akropolis fragments. 5 E. Brann, Hesperia 30, 1961, p. 357, G 54 and G 55. 6 The main exceptionto this general schemeof decorationis the unattributedchalice in the Louvre, CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]). The flaring part of the wall is decoratedinside and outside with figures.On the cul, below the handle zone, there are two wide black bands separated by a narrow reservedstrip, and just above the foot are tongues.

7 Athens 995 (ABV39, 11; Bakir, Sophilos,pls. 55-57). Cf. also, Louvre CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]).

For the shape, the best summary is in Agora XII, pp. 81-87, with bibliography. Cf. also, Richter and Milne, JdI 85, Shapesand Names, pp. 26-28; B. Freyer-Schauenburg, 1970, pp. 20-22. For the series in Attic black figure from Rhitsona, cf. Ure, Sixth, pp. 57-73. For the 7th-century cf. Brann,AgoraVIII, pp. 49-50. For red-figured predecessors, skyphoi of Corinthian type, cf. A. Lezzi-Hafter, Der Schuder Parthenonzeit[Kerawalow-Maler, eine Kannenwerkstatt meus II], Mainz 1976, pp. 35-36 and the additionsby Bothmer in his review, AJA 82, 1978, p. 127.



century B.C.2 The Corinthian type of skyphos has very thin walls that curve inward slightly at the rim, narrow handles, and a ring foot. No complete black-figured example of the type has been found in the Agora, but taken together, the few fragmentsgive a reasonableidea of the shape. The scheme of decorationis a simple one. The figures reach right to the rim with only one or two lines for a border (e.g. 1461 or 1464: P1. 99). Above the foot are very narrow rays (e.g. 1460 or 1465: PI. 99), and between the rays and the figure zone, there may be a band of glaze (1465), a zone of ornament,3or a mere line separating the rays from the figures (1459 or 1460: PI. 99). Beneath the handles there is often an ornamentalconfiguration(1452: PI. 99), or else the figures may continue round the vase (1465). The whole effect is delicate and light. The earliest Attic black-figured skyphoi of Corinthian type are by painters of the Komast Group,4 the same artists who decoratedcolumn-kratersshowing a strong Corinthian influence in both shape and style of drawing. 1452 is by the KX Painter, and 1454 (PI. 99) probablybelongs to the Komast Group but is difficult to attribute to a painter. Contemporarywith these is the unpublished one in Athens by Sophilos,5and a little later than all of them is the well-known one in the Louvre by the C Painter.6Around the middle of the 6th century B.C., the painters of the Group of the Oxford Lid decoratedseveral skyphoi of this type,7including three from the Agora, 1463-1465 (PI. 99), and one that may be compared,1466, to which we have added a second, 1467. From later in the century come the nearly two dozen miniature examples of the Swan Group,8and although some of these were found in Athens, none comes from the Agora. Elsewhere in Attic black figure, this type of skyphos is very rare.
ATTICTYPE 1472-1656 Pls. 100-107

The Attic type of skyphos is adaptedfrom the Corinthianbut has a thickerwall, heavierhandles, and a strong torus foot.9The chief difference,however, is the outturnedrim. The type begins about the middle of the 6th century B.C.but undergoes a long period of experiment before attaining its canonical shape in the early 5th century.10 Throughout the history of the shape, the profile and the scheme of decorationmay vary considerablyfrom workshop to workshop or from potter to potter. The Agora examples give a good illustration of the possibilities. The earliest attributedblack-figuredskyphoi of the Attic type from the Agora are two that belong to the Hermogenian Class,11which is rather light in make with a deep bowl that tapers toward the foot and an offset lip that is glazed black. The decorationis confinedto the handle zone, as on bandcups, and may be either figuredor simply bear a potting signature,as on the Agora examples, 1473 and 1474. At the top of the handle zone there is a black line and at each handle a palmette.The area below this is glazed black except for a reservedband. One of the Agora examples, 1473, is signed by Hermogenes himself;the other also bore a signature,but not enough letters remain to be sure of the
2 Agora XII, p. 83. For the Corinthian type, cf., in addition to Agora XII, pp. 81-83 and to the referencesin note 2, p. 81, Greifenhagen, pp. 20-21; footnote 1 above, p. 58. 3 There is no example from the Agora. Cf. the net pattern on Athens, N.M. 640 by the KX Painter (ABV 26, 21) and the tongue pattern with the net above and below on Louvre MNC 676 by the C Painter (ABV 57, 118; Bothmer, Amasis Painter, p. 202, fig. 105). On the latter, the characteristicornament round the tondi of the painter'sSiana cups has been transferred to the outside of a skyphos (cf., e.g., Athens, N.M. 531 [ABV 55, 92] where it also appears below the figures on the outside). 4 KX Painter: ABV25-26, 19-25 and Paralip. 15; manner

of the KX Painter: ABV 28, 2; manner of the KY Painter: Paralip. 16, 8 bis; KomastGroup:VIII, Unallotted:ABV 35, 1 and 2, and 36, 19; Paralip. 17; connected with the Komast Group: ABV 37, 6-9. 5 Athens, N.M. 19044 (Paralip. 19, 32 bis). 6 Louvre MNC 676 (footnote3 above). 7 ABV 616, 1-10; Paralip. 306, 5 bis. 8 ABV 655, 1-21. 9 Agora XII, pp. 84-85. 10 Agora XII, p. 84. 1' Cf. ABV 166, 1-3 and Paralip. 87-88 for extensive lists, both with bibliography.



name. These two skyphoi are too fragmentaryto illustrate the shape well, but they convey the systemof decoration.Contemporarywith these is 1475 (PI. 100), the very beautifulfragmentwhich may be by Lydos and, if so, adds a new shape to the many decoratedby him. Not very many black-figuredskyphoi from the decadesca. 550-510 B.C.have been found in the Agora, but the few that have come to light furnish evidencefor the experimental attitude of Attic potterstoward the shape during this time. 1476 (PI. 100) is an odd piece with rays abovethe foot as on the Corinthian type but with a slightly flaring rim. Its best parallel is one from Rhitsona,'2 which, however,was not classedby Ure. 1480 (PI. 100) is a fragmentof Ure's Class of SkyphoiA 1, which is identified mainly by its rounded rim glazed black and separatedfrom the body by a re1481 and 1482 belong to Ure's Class of SkyphoiA 2, which differs from Class A 1 servedgroove.13 by having a slightly outturnedrim.14Both types have the same kind of handle decorationas the FP Class of cups:15a very large horizontal palmette at each handle, two small palmettes north and south, and beneath the handle, a flower of very distinct shape. 1481 is a good illustration of this ornamentaldecoration. The most important black-figuredskyphos of this period from the Agora is 1483 (P1. 100), related to the KrokotosPainter, who takes his name from the yellow garment worn by his maenads and dancing girls.16The skyphoi of this workshopbelong to Ure's Class B: large handsomevessels with an outturnedrim, a thick wall, and a heavy torus or flaring foot with a fillet between it and the An ivy pattern embellishesthe rim; the figures occupymost of the space on the body. Above body.17 the fillet is a tongue pattern, and between it and the figures there are lines, usually three. The decorativeeffect is colorful owing to the liberal use of added red and white, and the white is often yellowish. About 500 B.C., this workshop initiated the skyphoi of the Heron Class, so called for the A numberof artists decorated white heron often painted directlyon the clay beneath each handle.18 13 of which were found in the Theseus the those best are The this of Painter, by type. skyphoi Agora, 1484-1496 (Pls. 100, 101). Several are very fragmentary,but others, 1484, 1486, and 1490 (Pls. 100, 101), are well preserved.1484 and 1485 have the characteristicwhite heron beneaththe handle. Others, such as 1486 or 1490, do not, and in the case of the fragmentaryexamples, there is no way to be certain what was beneaththe handles. The Theseus Painter'sskyphoi have much less accessorycolor than others of this type, and their effect is a more somberone. Contemporarywith these is 1657 (P1. 107), a shallow cup-skyphos of special shape, also decoratedby the Theseus Painter. Its rim is flat on top and glazed black. On each side is a single figure and at each handle, a spiral and pomegranateconfiguration.The effect is elegant and delicate, similar to that on 1825 (P1. 117), a cup that recalls the Painter of Nicosia C 975. The decorativescheme of each is similar to that of the special type of cup in Oxford by the Amasis Painter.19 The largest number of Attic black-figured skyphoi from the Agora may be dated in the first quarterof the 5th centuryB.C., the same periodthat producedsuch large quantitiesof lekythoi.The Agora skyphoi come mainly from two workshops, that of the Haimon Painter and his associates and that of the CHC Group, whose painters often decoratedskyphoi of the Heron Class. The skyphoi of the Haimon Group are of various classes.20In general, they are rather small,
12 Ure, Sixth, p. 72 (49.265). 13Ure, Sixth, p. 58. For a list, cf. Paralip. 83-86, 1-51, with bibliography. 14Ure, Sixth, p. 58. For a list, cf. Paralip. 91, 1-12. Some of these have tongues above the foot (7-12). 15 For the class and decoration,cf. Paralip. 80-82. 16On this group, cf., particularly,A. D. Ure, "Krokotos and

White Heron,"JHS 75, 1955, pp. 90-103. Also, ABV 205-209 and Paralip. 93-99. 17 Ure, Sixth, pp. 59-61. 18ABV 617, with bibliography. 9 Oxford 1939.118 (ABV 157, 89; Paralip. 65, 89; Bothmer,Amasis Painter, pp. 227-228, cat. no. 63). 20ABV 565-571, 598-710 and Paralip. 271 and 285-287.



sturdy vessels, well suited to everyday use. 1502 (P1. 102) is a cup-skyphos of the pinchbase type (Ure's Group R21),which gets its name from the sharp inward curveof the body towardthe foot. Its glazed rim is offset, and its foot is in two degrees,a glazed torus beneatha reservedverticalmember. At each handle, next to the hastily drawn figures is a large, upright palmettewith a reservedheart. 1503 is similar to the pinchbase type but lacks the incurve at the base. Most of the Haemonian skyphoi belong to Ure's Class K 2, 1504-1516 (Pls. 102, 103), each a rather shallow, squat vessel with a glazed outturnedrim and a broad torus foot that is also glazed. The figures usually stand on a broad ground line, and at each handle there is an upright palmette with a solid heart that is often decoratedwith a white dot.22On the inside below the rim there is a reservedline as on cups, and on the underside of the floor there are concentriccircles with a central dot. 1512 and 1513 are good, characteristicexamples from the Agora. Three skyphoi in the manner of the Haimon Painter, 1531-1533 (PI. 103), have a deep bowl and an incurving rim, but in other respectsthey recall the K 2's.23The Haemonian skyphoi of this class take with them those by the Painter of Elaious I, 1536 (P1. 104) and two that may be compared, 1537 and 1538. Connectedwith the late membersof the Haimon Group are the painters of the LanicutGroup, whose skyphoi are hastily decorated in silhouette style. Some are minature skyphoi of Hermogenian type (e.g. 1539); others are cup-skyphoi of pinchbase type (e.g. 1540: P. 104). Not far from all of them are a large number of skyphoi of Class K 2, decoratedby differenthands in either silhouetteor incision, of which many have been found in the Agora, 1543-1569 (P1. 104). Akin to the Lancut Group are the miniature whiteground skyphoi of the Lindos Group, 1570-1577 (Pls. 104, 105). These are of ordinary blackfigure shape with an offset rim and diagonal handles. The silhouette figures are sloppily drawn, and the whole effect is rather wretched. Well over 100 skyphoi have been attributedto the CHC Group, a rather rough group of painters.24As mentioned above, these skyphoi are of the Heron Class and are much larger vessels than those of the Haimon Group just discussed. 1578-1603 (PI. 105) are the examples from the Agora, and 1604-1612 (Pls. 105, 106) have been connected with the group. The figured decorationon these skyphoi is placed rather high so that there is a large area of black glaze between it and the tongues above the foot, which are usually reducedto elongatedblobs. There are lines between the figures and the black below, and usually there is a line at the top of the figure zone just below the rim. The figures may extend to the handles, e.g. 1578 or 1588 (PI. 105), or they may be framedby solid upright palmettes at each handle, e.g. 1596 or 1597 (PI. 105). On those connectedwith the group, the figures are often set between eyes, e.g. 1608 or 1610 (PI. 106). The rim may be glazed black, e.g. 1590-1592 (P1. 105), or it may be decoratedwith ivy that has degeneratedto two rows of dots with a line between, e.g. 1588 (PI. 105). Rather elegant skyphoi are those of the Pistias Class, which have plain rims and mastoid bodies.251613-1616 (P1. 106) are the examples from the Agora, and 1617 may also be from a Pistian skyphos. The decorationis simple, only one or two figures between a palmette at each handle, and may be on white ground (1615: PI. 106) or on red (1613, 1614, and 1616: PI. 106). Below the figures there are bands and lines, e.g. 1614, or ornament, 1613 (PI. 106). The crenellationpatternon 1615 (PI. 106) is rare and recalls its use on other white-groundvessels, particularlyin the work of Psiax.26Above the foot are rays. 1614 is unusual for being reservedand undecoratedin this area.

Ure, Sixth, pp. 71-72. Ure, Sixth, p. 68. 23 For others, cf. ABV 570-571. 24 AB V 617-626 and Paralip. 306-308.

25 Ure, Sixth, pp. 69-71; ABV 627-628; Paralip. 309; Mertens, Attic White-Ground,pp. 91-92. 26 Cf. the note under the catalogue entry for 1615.



1658-1846 Figs. 20 and 21 Pls. 108-118

The cup is the most commontype of black-figureddrinkingvessel, and from the second quarter of the 6th century B.C.on, we have the names of many potters who fashion the shape.1 Of all the smaller vessels accountedfor in Attic black figure from the Agora, cups are outnumberedonly by lekythoi and skyphoi. The drinking cup has a wide, rather shallow bowl, with or without an offset lip, and two horizontal handles. The shape of the foot and the height of the stem, as well as the system of decoration,vary accordingto the type of cup. Every majortype of Attic black-figuredcup has been found in the Agora, as well as a few special types.
CUPS 1658 and 1659 KOMAST PI. 108

The Komast cup, which is the earliest type of Attic black-figuredcup, takes its name from the cup has a deep paddeddancersthat decorateeach side of its exterior.2This sturdy,practical-looking bowl with thin horizontalhandles attachedjust below the narrowoffset lip and with a broadconical foot. The shape derivesfrom Corinthian,3but with modifications,mainly that the Attic versionhas longer handles and taller proportions.4The scheme of decorationis a simple one. On each side of the body, there are two or three komasts, and at the handles, a configurationof a lotus and a palmette with tendrils, in contrast to the Corinthian preference for leaving this area undecorated. Above the foot there are thin rays similar to those above the foot of the Corinthiantype of skyphos, and between the rays and the figures, there are three lines. On the rim is a simple ornamental pattern. The interior is plain black, unlike the Corinthianwhich has a decoratedtondo. In Attic black figure, Komast cups first appear in the workshopof the Komast Group, to which belong the two very fragmentaryexamples, 1658 and 1659 (PI. 108), and they are decoratedmainly by the KY Painter (1658).5 The shape does not have a very long history in Athens and lasts only until the early secondquarter of the 6th century,at which time it is replacedby the Siana cup.
CUPS 1660-1684 SIANA Pls. 108-110

The Siana cup is named after the site on Rhodes where two well-known examples now in the British Museum were found.6It is the principal type of Attic cup during the secondquarter of the
'See particularly ABV chaps. III-V, XII-XIV, and XLIII. 2 On the shape, cf. esp. Greifenhagen;Payne, NC, pp. 194, 197-198, 200 and for the Corinthiantype, pp. 310-312; F. Villard, REA 48, 1946, pp. 155-157; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley, Development, p. 20; Brijder,Siana Cups I, pp. 10-12, 17-20, 59-131; P. J. Connor and H. A. G. Brijder, "A Komast Cup," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 1-8. 3 Cf. Brann (Agora VIII, p. 47) who shows that the Subgeometric skyphos, which shares similarities of shape with the Komast cup, particularly the deep bowl and offset rim, can be tracedinto the last quarterof the 7th centuryB.c. and goes on to say, "the shape is well on the way to the black ware cups of komast shape (P 17837), thus showing that this foremost 6th century Attic cup has an Attic ancestry."P 17837 (AgoraXII, no. 381, pl. 18) belongs to the Class of Athens 1104, named after the cup signed by Exekias, and the majorityof examples of this shape, which derives from the Komast Group, date from the second quarter of the 6th century and a little later (Agora XII, pp. 88-89). This leaves a significantgap in time (10 to 20 years) between the end of Brann's Subgeometricseries and the beginning of the 6th-century Attic black-figuredcups. Brijder (Siana Cups I, pp. 17, 39-44), on the other hand, sees a direct line of descent from these late Subgeometricskyphoi through the late 7th-centuryand early 6th-centuryAttic plain-ware vessels of Pre-Komast shape to the Attic black-figured Komast cup. It seems difficult to believe that the black-figuredKomast cup derivedfroma plain-ware version.The truth may lie somewhere in between, especially since this varietyof cup, as well as the skyphos of Corinthian type, begins in the workshop of the KomastGroup (see below); it seems more likely that these very Corinthianizing Attic artists borrowed the shape from their Corinthianneighborsand modifiedit to suit the Athenian taste. 4 Compare the profile drawings given by Greifenhagen, p. 19. 5 AB V 32, 9-28, and top of 33; Paralip. 17 (including 1658 and 1659). 6 London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). For the shape, cf. F. Villard, REA 48, 1946, pp. 157-159; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley,



6th century B.C.The shape derives from the Komast cup but differs in having a deeper bowl, a higher lip, and a taller conical foot, resulting in a lighter, more elegant-looking vessel than its predecessor.The scheme of decorationvaries, and it differs from that of the Komast cup chiefly in that the Siana cup has a decoratedtondo, usually containing one or two figures surroundedby a wide band of ornament. 1669 and 1678 (PI. 109) are two good examples from the Agora. On the outside, there are two schemes of decoration. One maintains the natural division of the cup by keeping the decorationon the lip separate from that on the bowl, thus achieving a double-decker effect. The decorationin the handle zone of the bowl is nearly always figured,7while that on the lip may be either figuredor ornamentalwith a markedpreferencefor the latter.8The kind of ornament varies considerably, although ivy seems to be the most frequent type. 1678 (PI. 109) is the best preservedexample of the double-deckerscheme from the Agora. The second scheme of decoration on the outside allows the figures to extend over both the handle zone and the lip with only a black line defining the junction between the two parts of the bowl. 1662, 1669, and 1671 (Pls. 108, 109) are good but fragmentary examples from the Agora. Siana cups decoratedin the double-decker scheme are more likely to have ornamentalpatterns below the figures on the bowl than those with overlap decoration,which usually have a simple reservedband with lines, e.g. 1660, 1662 (PI. 108), or 1669.9 On a few Siana cups, the two schemes are combined.10 In Attic black figure, the chief painters of Siana cups are the C Painter, the Heidelberg Painter, and the Griffin-birdPainter.111660-1667 (Pls. 108, 109) are by the C Painter;1668 (PI. 109) is in his manner;1669, 1670, and perhaps 1678 (PI. 109) are relatedto him. 1671,1672, 1679, and 1682 (Pls. 109, 110) are by the Heidelberg Painter. No Agora Siana cup has been attributed to the Griffin-bird Painter who, to judge from the large number of his cups found at Taranto and other sites not in mainland Greece, may have worked chiefly for the export market. The Siana cup does not last much beyond the middle of the 6th centuryB.C., after which the Little Master cup becomes the preferred type.12 Most of the Agora Siana cups, except for 1678, are very fragmentary, but examined collectively, they present a reasonable illustration of this shape and its scheme of decoration.

Development, p. 21; Brijder, Siana Cups I, pp. 20-23, 135295; and E. Rhode in Studies in Honour of Arthur Dale Trendall, p. 135. 7 Here are a few exceptions:Three by the C Painter: Hillsborough, Hearst, ivy on the lip and upright lotus buds in the handle zone (ABV 56, 101; Paralip. 23, 101; Brijder, Siana Cups I, pl. 43:a); London, B.M. 1906.12-15.3, ivy on the lip and a black bowl but for a band of tonguesjust below the place where the figures would end (ABV 57, 109); Oxford 1965.120, ivy on the rim and an inscriptionbetween palmettes in the handle zone (ABV 57, 112; Paralip. 23, 112). One by the Painter of Boston C.A.: New York, M.M.A. 12.234.3, black rim; lotuspalmette chain in the handle zone; below that, tongue pattern between net and rays (ABV 69, 3). Two attributedby Bothmer to the Ptoon Painter: New York, M.M.A. 12.234.2, male head between grazing deer on the rim, chain of palmettes in handle zone (CVA, New York 2 [USA 11], pl. 4); Tocra, ivy on the rim, chain of palmettes in handle zone (Boardmanand Hayes, Tocra, 1963-65, pl. 76, no. 1040). Unattributed:Cologne P 5, ivy on the rim, reservedhandle zone with tongues below. 8 For figures on the lip, cf., e.g., two Siana cups by the C Painter, Munich 2121 (ABV 56, 96) and Hamburg 1908.255 (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,Siana Cups I, pl. 49:a, b), each with

hounds pursuing a hare, two fawns; Dijon 1299 by the Griffinbird Painter (ABV 74, 52), swans between drinkinghorns. Occasionally, on the rim, animals are combined with ornament. Here are two, both by the Griffin-birdPainter:Honolulu 3591 (ABV 73, 32), bull between florals, and Baltimore48.36 (ABV 73, 39), deer between florals. 9 For a good example of the more decorativeeffect of the double-decker Siana cups, cf. London, B.M. B 380 by the C Painter (ABV 55, 91). For a double-deckerSiana cup with a reservedband, cf. 1678 or Hamburg 1908.255 by the C Painter (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,loc. cit.). 10Examples: Two by the C Painter: Berlin, inv. no. 4281 (ABV 56, 98) and Athens, N.M. 534 (ABV 56, 105); Kassel T. 663 that is not so like the C Painter on the outside (Paralip. 25; CVA, Kassel 1 [Germany 35], pl. 29 [1709]:2 and 30 [1710]:2). Warsaw 198521 by the Griffin-bird Painter (ABV 72, 22; Paralip. 28, 22). Thera, from Sellada (RA, 1972, p. 75, notes 2 and 3). 11C Painter:AB V 51-61; Paralip. 23-26. HeidelbergPainter: ABV 63-67; Paralip. 26-27. Griffin-bird Painter: ABV 71-75; Paralip. 28-29. 12For late Siana cups influenced by Little Master cups, cf. D. Callipolitis-Feytmans,RA, 1972, pp. 73-82.




Pls. 110-112

The Little Master cup descendsfrom the Siana cup in shape, but it is lighter in make and more There are two main types of Little Master cup, the lip elegant in appearancethan its predecessor.13 and the band. Each derives its name from the scheme of decoration,and of the two, the lip-cup is often of higher quality. Very many Little Master cups, especially lip-cups, are signed by potters, some of whom specialize in this shape. Foremost among them are Tleson, who signs as the son of Nearchos, and two contemporaries,Hermogenesand Zenokles.14 Among the Little Master cups at the Agora, only 1686 by Tleson bears a signaturethat may be restoredcompletely;two others, 1743 and 1744 (P1. 112), preservepart of the potting verb.
LIP-CUPS 1685-1696 PI. 110

The lip-cup has an offset lip, a rather shallow bowl, and a broad, flat foot with a tall stem. The upward swing of the handles often echoes the curve of the bowl resulting in a harmonious relationship of all parts of the cup. The scheme of decorationis a simple one. The inside is glazed, except for the tondo, which may be reservedbut for a centraldot within a circle (e.g. 1685), or, like the Siana cup, it may have figured decorationsurroundedby an ornamental pattern (e.g. 1689: P1. 110). On the outside, the lip is reservedand decoratedwith small figures,often one, seldommore than three.15It is this feature of the decorationthat gives the cup its name. In the handle zone, there is normally an inscription, usually the potter's name, as on 1686, occasionally drinking exhortations or words of praise.16On less careful cups, the inscriptionsmay be imitation (e.g. 1688) or nonsense ones (e.g. 1695: PI. 110), but even these are an integralpart of the decoration.Often there is a palmette at each handle, as on 1685 (PI. 110) and 1686, or this area may be left plain, e.g. 1688. Beazley distinguished four chief types of lip-cup decoration:figured decorationoutside only; figured decoration inside only; figured decorationboth inside and outside; no figured decoration.'7 Among the Agora lip-cups, 1685 has decorationon the outside only, and another, 1686, may have had no figures, only the signature of the potter, Tleson, between the handle palmettes. 1687 (PI. 110) is of particular interest for it comes from a lip-cup decoratedaccordingto the band-cup principle, i.e., with the figures in the handle zone.18The rest of the Agora lip-cups, 1688-1696 (P1. 110), are too fragmentaryfor one to be certain of the schemeof decoration.
BAND-CUPS 1697-1742 Pls. 111, 112

The band-cup differs in shape from the lip-cup mainly by having its lip pass gradually into the bowl without the sharp offset of the lip-cup.19Often there is a fillet between the stem of the foot and the bowl. The chief differencebetween these two types of cup lies in the system of decoration.The lip of the band-cup is black both inside and outside, and the tondo is mostly reserved,usually with a circle and a central dot. The figured decorationis restrictedto the narrow reservedband in the
13 For the type, cf. Beazley, JHS 52, 1932, pp. 167-203; F. Villard, REA 48, 1946, pp. 162-169; G. M. A. Richter, CVA, New York2 [USA 11], pp. xvii, 4 and 8; and Beazley, Development,pp. 52-56. More recently, Bothmer,AJA 66, 1962, pp. 255-258; D. Callipolitis-Feytmans, RA, 1972, pp. 73-82; and K. Schauenburg,AA (Jd 89), 1974, pp. 198-219. 14For these and others, cf. Beazley, JHS 52, 1932, pp. 195202; ABV, chap. XII, 159-197 and Paralip. 67-80. 15 For exceptions, cf. Schauenburg, op. cit. (footnote 13 above). Of particularinteresthere is the unattributedlip-cup in Florence, inv. no. 3897, which is decorated according to the overlap principle established for Siana cups (ibid., p. 212,

fig. 21). 16For the full range, cf. ABV, chap. XII, 159-197 and Paralip. 67-80. 17Cf. JHS 52, 1932, p. 168. 18For others, cf. JHS 52, 1932, p. 183; more recently, K. Schauenburg,AA (Jdl 89), 1974, p. 201, note 11. 19F. Villard (REA 48, 1946, pp. 166-167) has suggested that the curve of the lip of the band-cup may be more suitable for the lips of the drinker and that the glaze both inside and outside may have a practical consideration,namely that the glaze is not porous and will not absorbliquid.



handle zone and is the feature which gives the cup its name. The number of figures may vary greatly, from just a few to very many in a crowded composition.Occasionally,in the handle zone, there are inscriptions,either by themselvesor combinedwith one or two figures, a clear imitationof the lip-cup.20 Below the handle zone, there is usually a reservedband. The general effect of the band-cup is dark, in contrastto the light effect of the lip-cup. As in the case of the lip-cup, Beazley distinguishedfour basic types of band-cup decoration:full decorationon outside;decorationoutside and inside; brief pictures outside; no figured decoration.21 Among the Agora band-cups, seven, 1697-1703 (PI. 111), have full decorationon the outside. 1704 (PI. 111), with its decorationboth inside and outside, is especially important for the rare occurrenceof ships round the rim on the Not enough of the decoration inside, as on dinoi and on a few column-kratersand volute-kraters.22 on the outside remains to identify the subject,but presumablythe compositionwas a full one. Very likely, the tondo of the cup was also figured, as on the comparableexamples with ships round the rim,23but no part of it has survived. 1705 and 1706 (PI. 111) have inscriptionsin the handle zone, but not enough remains to tell if they were combinedwith figures or appearedalone. That on 1706 may be a nonsense inscription.The rest of the Agora band-cups, 1707-1742 (Pls. 111, 112), are too fragmentaryfor one to be able to identify the scheme of decorationwith certainty.
TYPE UNCERTAIN 1743-1745 PI. 112

Each of these fragments preservespart of an inscriptionin the handle zone. Those on 1743 and 1744 (PI. 112) are potting verbs;that on 1745 (PI. 112) may be a nonsense inscription.They probably come from lip-cups, but without part of the lip preserved,it is difficultto be certainof the type, and for this reason we have kept them separate. 1744 may be from a lip-cup decoratedaccordingto the band-cup principle.
CASSEL CUP 1746 P1. 112

The Cassel cup, which takes its name from one in Kassel without figureddecoration,24 retains the but its austere of decoration in favor of a more ornamental band-cup shape gives up system one, which may owe its inspiration to that of the Siana cup.25On the lip there is usually an upright tongue pattern, and on the bowl, bands of ornament of various kinds.26Occasionally,as on 1746 (P1. 112), there may be figures in the handle zone. At the bottomof the bowl, just abovethe stem of the foot, is a zone of rays. There are not very many Cassel cups, and 1746 is the only black-figured one from the Agora.
DROOPCUPS 1747-1752 P1. 112

The Droop cup is named after the scholarwho first examined a series of them within the context of a larger study of Laconian pottery.27Droop recognizedthat these cups were Attic but thought
20JHS 52, 1932, pp. 189 and 191. 52, 1932, pp. 187-191. above, pp. 34-35. 23 Louvre F 145 and Berlin 1800 (see catalogue entry for 1704). 24 Inv. no. A 37 from Samos (J. Boehlau, Aus ionischenund italischen Nekropolen,Leipzig 1898, pl. 10:2). Cf. also, R. Lullies in CVA, Kassel 1 [Germany 35], p. 52 (under T. 487). 25 For the shape, cf. Beazley, JHS 52, 1932, pp. 191-192; F. Villard, REA 48, 1946, p. 169; more recently, W. Hornbostel, Kunst der Antike. Schdtze aus norddeutschem Privatbesitz, Mainz 1977, p. 276, no. 243, with bibliography.
21 JHS 22 Cf.

J. Boardman (ABFV, p. 62) has suggested that the scheme of decoration derives from the Siana cup rather than the Little Masters. One may comparesome of the more lavishly decorated Siana cups, such as the two namepieces:London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). 26 Cf. two well-preservedexamples that illustrate the character of the cup: London, B.M. 90.7-31.30 (CVA, London 2 [GB 2], pl. 16 [74]:8) and New York, M.M.A. X.248.16 (CVA, New York 2 [USA 11], pl. 20:33 a-c). Also, the fragmentsfrom Kavala ('ApX'E4, 1938, pp. 147-149). 27J. P. Droop, JHS 30, 1910, pp. 1-34, esp. pp. 21-27. The



that they might be intentional imitationsof Laconian.The Droop cup resemblesthe Little Master cup in principle but differs from it in a number of details. Its rim is glazed inside and outside, as in the band-cup, but unlike the latter, it is more sharply offset from the bowl, and it has a reserved band on the inside placed well below the rim instead of right at the top as in both types of Little Master cup. The inside of the bowl is either entirelyblackor is decoratedwith a reservedmedallion that often has a centraldot within a single or two concentriccircles.The high stem is reservedat the top and often channeled,and there is a broad black band on the inside, as on 1752 which is signed by Nikosthenes. The lower part of the bowl is occasionallyblack with a reservedband, as on the Little Master cup, but there are exceptions. Normally, there are zones of ornament below the handle zone, either various patternsor patternscombinedwith a frieze of silhouetteanimals drawn upside down, as 1747 and 1748 (PI. 112).28Ure dividedthis class of cups into three groups according to the treatment of the handle zone: I, upright lotus buds; II, lotus-palmettefestoon;III, animals or human figures.29The frieze of inverted animals does not occur on cups that have human figures or animals in the handle zone.30Thus, 1747 and 1748 must belong to either Group I or Group II (without part of the handle zone it is uncertainto which) and 1750 and 1751 (P1. 112) to Group III.
TYPE A ANDSUB-A 1753-1779 PI. 113

This sturdy-looking,rather heavy-set cup displaces the Little Master cup and is the type preon.31The cup Type A has a deep bowl without an ferredby black-figureartists from about 530 B.C. concave offset lip, a low flaring foot with a pronounced edge, and usually a fillet between the thick stem and the bowl.32The inside is black except for a narrow reservedband below the rim and the tondo, which may be left plain but for a central dot within a circle or decoratedwith figures, most often a gorgoneion.On the outside, the figures occupy the entire height of the bowl except for the underside, which frequently has ornamentaldecoration.There are often rays above the foot, and between them and the figureddecorationthere may be lines, bandsof glaze, or simple patterns.The favorite decorationon the main portion of the bowl is a pair of large apotropaiceyes,33sometimes with a nose between, or else figures. Occasionally,there is additional figure work at the handles. The eyes may be drawn in outline and reservedexcept for the iris and pupil, as 1753 (PI. 113), or they may be painted white or black, as 1754 (P1. 113) and 1755, so that they contrastwith the clay ground. The pupil is black;red, white, and black compass-drawnrings comprisethe iris. The earliest preservedAttic black-figuredeye-cup of Type A is the famousone in Munich signed by Exekias as potter.34Exekias did not invent the shape, for there exist precursorscalled Proto-A cups that have very deep, almost hemisphericalbowls, stems that vary in height, and feet with a concaveedge as Type A,35and these providethe backgroundfor the cup by Exekias. But Exekias' cup is the earliest example of the conventionof painting a pair of large apotropaiceyes in the handle zone on each side. The eye-cup becomesvery popular in Attic black figure duringthe last quarterof
basic study of Droop cups: P. N. Ure, JHS 52, 1932, pp. 55-71. Cf. also G. M. A. Richter in CVA, New York 2 [USA 11], p. 12; F. Villard, REA 48, 1946, pp. 171-172; AgoraXII, p. 91. 28 Silhouette animals drawn upside down are not restricted to Droop cups but also occur on two Proto-A eye-cups, Louvre F 131 bis (at each handle, a maenad; beneath each handle, a kneeling satyr) and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). 29JHS 52, 1932, pp. 56-68. 30Ibid., p. 64. 31For the shape, cf., particularly, H. Bloesch, Formen attischer Schalen von Exekias bis zum Ende des strengen Stils, Bern 1940, pp. 1-39; F. Villard, REA 48, 1946, pp. 173-180; Beazley, Development, p. 67; G. M. A. Richter in CVA, New York 2 [USA 11], p. 14. 32 Sometimesthe fillet is omitted. For an early example, cf. New York, M.M.A. 25.78.6 (ABV 116). 3 D. A. Jackson (East Greek Influences on Attic Vases, London 1976, pp. 60-68) has shown that the practiceof painting large eyes on cups may have an Ionian origin. 34 Munich 2044 (ABV 146, 21; Paralip. 60, 21). 35 A large number of these are to be found in ABV, chap. XIII. For a discussion of the precursors,cf. Bloesch, op. cit. (footnote31 above), pp. 2-4.



the 6th century B.C.,but there are very few examples from the Agora, and they are so fragmentary that they do not illustrate the type very well (1753-1756). A number of well-preserved cups, classifiedby Beazley as sub-A, have been found in the Agora, e.g. 1761-1764 and 1769 (P. 113). This type retainsthe generallysquat, heavy-setappearanceand the foot with concave edge of the canonical Type A, but its bowl is somewhat shallower, and the fillet between bowl and stem is given up in favor of a continuous curve between the wo parts. In this respect, the sub-A cup resemblesthe Type B cup, but it lacks the characteristic chamferon the of the foot the surface near The scheme of is more restrained than that of Type decoration top edge. A, for there are no rays or ornamental patterns on the undersideof the bowl but merely a narrow reservedband. The figures on the outside may appear between eyes, althoughthis is not standardas it is for Type A, and none of the Agora sub-A's has eyes. The tondo usually has a single figure, not the gorgoneion of Type A. The Agora sub-A cups are late products, belonging to the 5th century B.C., and most of them are decoratedby painters of the Leafless Group. The fragmentsin this section, 1765-1767 and 1770-1778 (PI. 113), may also be sub-A cups, but without the foot and the stem it is difficultto be certain.
TYPEB 1780 Pl. 113

The bowl of the cup Type B passes directlyinto the stem without an interruption; the shape of the foot is a torus, and there is usually a small chamferon its top surfacenear the edge.36 The schemeof decoration on the black-figured examples follows that for the sub-A. The Type B cup comes in shortly after the invention of the red-figuretechnique and is mainly a red-figureshape. It is never popular in Attic black figure, and most of the known examples are late ones, a good numberof them attributedto the manner of the Haimon Painter.371780 is the only black-figuredexample from the Agora. It is a rather heavy piece, and its deep bowl resembles that of the Type A, but it is chamfer. distinguishedeven from the sub-A by its torus foot which, however,lacks the characteristic
STEMLESS CUPS 1781-1800 Pls. 114, 115

In black figure these are small cups of Type C that belong to the group designatedby Bloesch as conservativein character.38 The bowl of the Type C cup is rather shallow and has a plain or an offset lip. In plain black, the type with the offset lip is the commonestof the stemmedcups, but in black figure, including the examples from the Agora that preserve all or part of the lip, the lip passes into the bowl without interruption.The stem itself is very short with a fillet at its base, and the foot is a thick torus.39In the stemlessvariety, as the name implies, the stem is omitted,and there is simply a fillet between bowl and foot. 1781-1785 (P1. 114) are Top-band Stemlesses.40 These have black rims and a reservedband in the handle zone that may be plain, as 1785, but normally contains figures often set between eyes, as 1781-1784 (PI. 114). Below the figure zone, there is a narrow reservedband. The inside is black except for the tondo,which may be reserved,as 1783 and 1784, or decoratedwith a gorgoneiondrawn in outline, as 1785. 1786-1793 (Pls. 114,115), which preserve parts of tondi with gorgoneia, may be Top-band Stemlesses, but without the rim it is difficultto be certain. 1794 (PI. 114) is unusual for having a figure in the tondo.
36 For the type, cf. Bloesch, op. cit. (footnote 31 above, 66), p. pp. 41-109, esp. pp. 42-44 for the transitionalearly examples; also Beazley, Development, pp. 61-62 for cups by the Amasis Painter, including one signed by Amasis himself, that approximate Type B; Bothmer, Amasis Painter, pp. 223-228, cat. nos. 62, 63. 37ABV 561-562, 531-557; Paralip. 271, 515, and 284. 38 Bloesch, op. cit. (footnote 31 above, p. 66), pp. 113-118.

39The shape as a whole is best discussedby Bloesch (op. cit., pp. 111-136). Cf. also Agora XII, pp. 91-92, with bibliography. In ARV2, p. li, Beazley limits the term "Type C" to those cups with "an offset lip as well as the characteristicstem and foot,"but classifiesas Type C both 1784 (Paralip. 101, 13) and another in the Basel Market (Paralip. 101, 16), which have plain rims. 40 Paralip. 100-102, 1-45.



An interesting group of stemless cups are those of the Segment Class41(1795-1800: PI. 115), which have the same shape as the Top-band Stemlesses.They take their name from the scheme of decorationon the inside where the figures cover the entire surface, which is often divided into a main zone and a small exergue near the bottom, similar to the tondi on the insides of many other types of cups and on plates.42The exergue may be plain,43or figured, as 1798-1800 (PI. 115) which have dolphins, or it may simply contain a few dots.44 Occasionally,the exergue is omitted,as 1797 (PI. 115) and perhaps 1796 (P. 115), and the compositionadapted to the full circle.45The exterior is normally undecorated.46


Pls. 116-118

This section contains fragmentsthat may not be assigned with certaintyto a specifictype of cup, and among them are to be found some pieces of particular interest. 1802 (P1. 116), perhaps the earliest, recalls the C Painter. It preservespart of the potter'sname and the first two letters of the verb. 1811 (PI. 116), which is either a band-cup or a Gordion cup, gives the potting verb, but nothing of the maker'sname remains. 1830-1846 (Pls. 117, 118), the late pieces, are probablycups of Type A and sub-A, but one may not rule out Type B, especially among those by painters of the Leafless Group. BOWL 1847 P1.118 Bowls are well known in plain black from the late 5th century on, and their range in size is considerable.1Figured bowls are particularly rare, and the three attributed black-figuredbowls or "bowl-likevessels",to use Beazley's phrase, are so fragmentarythat they do not illustratethe shape very well.2 In the Agora, one fragmentaryblack-figuredbowl has been found, 1847 (PI. 118). It has a thickened,roundedrim, but since much of the interioris lost, the rest of its appearancemay not be determined.The figured decoration,drawn in silhouette, coversthe entire interior;the exterior is black except for a reservedband below the rim.

41Eleven members of the class were first put together by Bloesch who named them Segment Cups (op. cit. [footnote31 above, p. 66], pp. 118-119). Since then, their number has grown to more than 70. Cf. also ABV 212-215, 1-60; 690, 21 bis, 21 ter, and 46 bis;Paralip. 102-103; and V. Poulsen, "Eine attische Augenschale," Opus nobile. Festschrift zum 60. Geburtstagvon UlfJantzen, Wiesbaden 1969, pp. 125-128; K. Schauenburg, "Zu einer Segmentschale in der Kieler Rivista di Archeologia1, 1977, pp. 16-18. Antikensammlung," 42 The scheme of decoration also recalls that of many Laconian cups, which, although earlier than all the Segment Cups, very often have similar inside decoration. Cf. C. M. Stibbe, Lakonische Vasenmalerdes sechsten Jahrhunderts v. Chr., Amsterdam1972. 43Two examples: Hamburg 1962.171 (Paralip. 103, 22 bis; CVA, Hamburg 1 [Germany 41], pl. 44 [2010]); Heidelberg 285 (ABV 213, 31).

44E.g. Turin 4112, new number 5776 (ABV 214, 50; CVA, Turin 2 [Italy 40], pl. 2 [1786]). 45 An unusual scheme is to show the two figures standing "north-south",so that no matter how the picture is viewed, one of them always appears to be upside down. Cf., e.g., London, B.M. B 458 (ABV 213, 28); two in the Argos Museum (ABV 213, 29, and 214, 48). 46 It may sometimes have a plain band in the handle zone, e.g. Vatican 244 (ABV 213, 30). One is decoratedon the outside as a Top-band Stemless: Milan, Bernareggi (Paralip. 103, 38 ter). 1 For bowls, including saltcellars, cf. Agora XII, pp. 128138. 2 Two by the Amasis Painter: Palermo (ABV 156, 78) and Akropolis 1241 (ABV 156, 79); one by Elbows Out: Villa Giulia (ABV 250, 19).



EPINETRA 1848-1850 P1. 118

The epinetron is used for the preparationof wool for weaving.1It is shaped to fit over the thigh of the worker, for it is wider at the open end where the thigh is thickerand closedat the narrow end to fit over the knee cap. Usually, at the closed end, there is a molded female head. The open end terminates in a torus molding;the side edges are straightand flat. The general appearanceis similar to that of a very elaborate Corinthian cover tile.2 The top of the epinetron is coveredwith an incised scale pattern, which producedthe necessary roughness when the wool was rubbed against it. Directly above the torus molding, there is an ornamentalpattern, such as rays or lotus buds, and often there is a narrowerone at the opposite endjust beforethe start of the curveof the knee. The figured decorationappears in a frieze on each side, and between it and the scale pattern there is usually a narrow band of ornament.3 There are not very many Attic black-figuredepinetra. Nearly all of them were found in Greece, and they come from workshops active around 500 B.C.which specialize in decoratingsmall vessels. Particularly important are the three by the Sappho Painter and the two by his companion, the Diosphos Painter,4as well as the contemporaryones of the Golonos Group, which takes its name from the epinetrononce in Goluchow5and seems to have specializedin the shape. Only three small fragmentaryblack-figuredepinetra have been found in the Agora. 1849 (PI. 118) preservespart of the scale pattern, the wreathed head of a male to right, and some of the key pattern (white on black glaze) separating the two zones. 1848 and 1850 (PI. 118) give only part of the figured area. 1848 (PI. 118) with women working wool is no doubt a referenceto the use of this shape.6

THYMIATERIA 1851-1853 P1. 119

The thymiaterionis an incense burner.1The appearanceis so metallic-lookingthat presumablythe clay examples depend upon metal prototypes.The thymiaterionhas a rather deep bowl fitted with a conical lid pierced to allow the fragranceof the incense to escape. The bowl joins a tall slender stem that flares toward a central molding useful for holding the vessel. The stem is thicker below the molding than above it, and it flares toward the spreadingfoot that has two or three degrees.The
1For the shape, cf. Agora XII, p. 230. Of the references cited, most importantfor Attic black figure is D. M. Robinson, AJA 49,1945, pp. 480-490. An unpublisheddissertationon the subjecthas been completedby Pamela Benbow, Epinetra (diss. Harvard, 1975). 2 Epinetra have been interpreted as elaborate roof tiles or tiles for tombs, as well as for other purposes. Cf. D. M. Robinson, AJA 49, 1945, p. 482, note 10. 3 For two well-preserved epinetra, cf. Athens, N.M. 2184 the by Sappho Painter (ABL, p. 228, no. 53) or Leyden I 1955/1, 2 unattributed(CVA, Leiden 2 [Netherlands4], pl. 68 [162]). Usually the area around the molded head is black, but on Athens, N.M. 2185 (ABV 481, -, y), a fragment, it is coveredwith a pattern of encircled palmettes with black birds in the interstices. This may have been purely a patterned epinetron,not a black-figuredone. 4 Sappho Painter: ABL, p. 228, nos. 53-54 bis; Diosphos Painter:ABL, p. 237, no. 118, Paralip. 250, and probably1850. 5 Warsaw 142454, ex Goluchow 225 (ABV 480,4; Paralip. 220, 4). For the group, cf. ABV 480-481 and Paralip. 220. 6 For other representationson epinetra, cf. catalogue entry for 1848. Cf. Agora XII, pp. 182-183, with bibliography, esp. K. Wigand, "Thymiateria,"BJb 122, 1912, pp. 1-97; C. Roebuck, Hesperia 9, 1940, pp. 181-182, nos. 74 and 75, and p. 180, fig. 21; KerameikosVI, ii, p. 165 for a 7th-centuryexample; for a small plate from the Shrine of Nymphe that is decorated with a thymiaterion, cf. Callipolitis-Feytmans, Les plats attiques, p. 403, no. 4 and fig. 74.



molding may be a concaveband, e.g. 1851 (PI. 119), or it may flare outward terminatingin a crisp edge, e.g., 1852 (PI. 119) or two well-preservedexamples from Eleusis.2 The scheme of decorationhas figures on the stem above and below the molding and occasionally on the top surface of the foot as well.3 Above the figures, there may be an ornamentalpattern or simply a band of glaze, e.g. 1851. On the central molding, there is an ornament,such as ivy (e.g. 1851) or tongues (e.g. 1852). There are very few Attic black-figuredthymiateria, and the few examples from the Agora are parts of stems. Taken together,they illustrate the general appearance and system of decoration. 1851 shows some of the stem above and below the molding, 1852 gives part of the stem directlyabove the flaring molding, and 1853 comes fromjust abovethe foot. CLOSED VASES, SHAPE UNCERTAIN 1854-1908 Pls. 119-121

None of these fragments preserves a feature that will identify the shape with certainty. In some cases, the date of the fragment is helpful, for it preventsthe piece from being identifiedas a shape not yet in the Attic repertoryor as one that has gone out of use. For all the fragmentsin this section, the choice of shape lies between at least two possibilities. 1858 (PI. 119) could be a small one-piece amphoraor an olpe; 1880 (P1. 120) might be an oinochoeor an amphora;1882 (PI. 120) is probably an amphora or a hydria. 1859 (PI. 119), attributedto the Group of the Dresden Lekanis, is probably a neck-amphorarather than a hydria or an oinochoe,for thus far neither of the last two shapes is known in this group. The large number of fragmentsby the Polos Painter, 1862-1868 (P1. 119), are probablyeither hydriai or neck-amphorae.1874 (Pl. 120) comes from a large vessel, and what remainsof the curve does not seem strongenough for either a neck-amphoraor a hydria. The shape may be a one-piece amphorawith the figuresset in friezes, and if so, it will add a new shape to those known to be decoratedby Kleitias, but it is hard to be sure. 1883 (P1. 120) by the Swing Painter is very puzzling. It has a strong horizontalcurve, and at the very top, the surfaceis rough as if it fitted into somethingor was coveredby the downturnedrim of a lid. The verticalcurve indicatesthat the vase widened toward the top. The curveof 1890 (PI. 121) suggestsan olpe, but the wall is too thick. An odd feature is the horsemen drawn to different scales within the same scene. 1906 (P1. 121) comes from some kind of small vessel with a little round hole in the top. OPEN VASES, SHAPE UNCERTAIN 1909-1932 Fig. 22 Pls. 121-123

Like the fragmentsof closed vases in the precedingsection, none of these fragmentsof open vases preservesany sure means of identifying the shape. The early fragmentsof larger vases, e.g. 1909, 1912, or 1915 (Pls. 121, 122), are very likely kraters or dinoi, although 1920 (PI. 122) may be a lebes gamikos. 1913 is a rim fragmentwith figureddecorationon both the inside and the outside, a system of decorationthat recalls later cups with a figuredfrieze running roundthe tondo,as well as exterior decoration.11916 (P1. 122) is a very deep cup or bowl, rather small in diametercompared
K. Kourouniotis, Classical Studies presented to Edward Capps on his SeventiethBirthday, Princeton 1936, opp. p. 204, figs. 1 and 3. The edge of 1852 is very broken, but enough remains to indicate its original appearance.

3 Ibid., opp. p. 204,

fig. 1.

For these, cf. K. Schauenburgin Studienzurgriechischen Vasenmalerei[AK, Beiheft 7, 19701,pp. 33-46.



with its estimated depth. 1923 (PI. 122) preserves some of the tondo of a low bowl with a broad flaring foot. The tondo is divided into two zones of almost equal size, and what remains of the exterior is undecorated. 1924 (PI. 122) is the rim of a Gordion cup or a Hermogenian skyphos. 1928 (PI. 122) preservespart of the rim and flaring wall of a drinkingvessel, perhaps a kantharos, although a black band above and below the figures is unusual and the size seems too small. 1929 (PI. 123) has been recut for use as a stopperor a disk. 1931 (PI. 123) is the most perplexing of all in this section. These fragments come from a vessel with a deeply curved wall, possibly similar in shape to a chalice, and part of its figured decorationmay have been overlappedby the handles. MISCELLANEOUS 1933-1935 PI. 123

The three entries in this small category do not fit into any of the sections above. 1933 (PI. 123) depicts part of a frieze of figures, probably horsemen, and may be a fragment of the mouth of an amphora,1although it seems a bit thin and flares slightly. 1934 (PI. 123) is the only certainexample of an amphoraType A from the Agora, but it is unclear if the figureddecorationwas in black figure or in red figure, for nothing remains of the figures or of the sides of the panels which are plain in black figure and have ornamentalframes in red figure. 1935 (PI. 123), a fragmentof a loutrophoros handle, finds good parallels in both black figure and red figure.

PLAQUES 1936-1946 Pls. 123 and 124

Plaques are slabs of clay used for funerary or votive purposes.1They may be rectangularor have roundedtops. Their clay may be very fine like that used for the best of vases, or it may be coarseand gritty like that used for roof tiles and pithoi. If the latter, the surface of the plaque is coatedwith a thin layer of fine clay before it is painted. 1938 is a good example. Funerary plaques are decorated on one side only, for they were attachedto the exterior of the tomb;2votive plaques may be figured on one or both sides, dependingupon whether they were attachedto a solid surfaceor suspendedin mid-air to hang freely.3 There are two basic types of funerary plaques: single plaques and those that form a series. The plaque series is the earlier and the more elaborateof the two, beginningin black figure,ca. 600 B.C., and lasting to about 530 B.C.,4 those by Exekias being among the latest.5When the manufactureof

1For figureson the mouth of an amphora,cf., e.g., the large amphora in a Swiss private collection attributedto the Painter of Vatican 342 (Paralip. 187, 3) or the unattributedamphora Type A in Bologna (no inv. no.): figures on Side A of mouth only (CVA, Bologna 2 [Italy 7], pl. 6 [305]:1). For funerary plaques, cf. J. Boardman, BSA 50, 1955, pp. 51-66; for votive plaques, J. Boardman, BSA 49, 1954, pp. 183-201. 2 The means of attachmentis not known for certain, for no tomb has been found with a plaque in situ or with a wall that

bears marks of an attachmentfor a plaque. For a discussionof the possibilities, cf. J. Boardman, BSA 50, 1955, pp. 52-53; more briefly, D. Kurtz and J. Boardman, Greek Burial Customs, London 1971, p. 83. 3 Cf. J. Boardman,BSA 49, 1954, pp. 192-193. 4 The earliest example of a plaque series seems to be the two relief plaques in New York, M.M.A. 14.146.3 a and b (J. Boardman, BSA 50, 1955, p. 58, no. 1; E. Vermeule, Aspectsof Death in Early GreekArt and Poetry,Berkeley 1979, p. 11, fig. 6). 5 Berlin 1811-1826 (ABV 146, 22; Paralip. 60, 22) and Athens, N.M. 2414-2417 (ABV 146, 23).



the plaque series comes to an end, the makingof single plaques begins. The reasonfor this changeis not known but may perhaps reflect restrictionsagainst elaborateand costly grave decoration.6 Futhat form of a series are rather uniform in size and in contrast to the thickness, nerary plaques part single plaques which vary greatly in their dimensions.7Although the subjectpainted on both the plaque series and the single plaques is the same, the system of decorationdiffers. In the plaque series, the narrative consists of several scenes having to do with the prothesis and the preparation for the ekphora. Ornamentalpatternsare omittedentirely or limited to a simple frieze near the top or at the bottom of the plaque.8The sides are plain. On single plaques, the prothesis scene is confined to essential elements the bier and some of the mourners.And usually a double or single line, or an ornamental pattern, frames the scene.9 1942 (P1. 124), which shows mourners, is the only sure example of a funeraryplaque from the Agora, and it very likely formedpart of a series. It is on the same scale as the plaques by Exekias. Votive plaques offer a wide range of subjects,they vary more in sie than funeraryplaques, and they last much longer, well into the 4th centuryB.C.10Often there are holes for suspensionor for the attachmentto a wall.11 1943 (PI. 124) has such a hole. It is not always possible to identify votive plaques, particularly when only fragments have survived, an observationrightly emphasized by Boardman.12 Among the Agora fragments,only 1943, with its hole for suspensionand its representation of Hermes, is certainto be a votive plaque. The othersmay be, but without more to go on it is difficultto be certain. DISKS 1947-1949 PI. 124

Disks are flat, circularobjectsthat usually have a slightly thickenededge. They resemblethe floors of plates and may sometimeseven be mistakenfor plates if the smoothedge is not preserved,for the undersideis finished and often decoratedwith concentriccircles. 1948 (PI. 124) is a good example, but since a small portion of the edge remains, it cannotbe a plate. Fragmentarydisks may also even be mistaken for fragmentsof Sosian stands. 1949 (P1. 124) is a disk, for although it has a torus rim, its undersideis smooth and it lacks a stemmedfoot, and so it cannotbe a stand. Disks are decorated accordingto the principle establishedfor plates.2The figuresmay be drawn rounda centralmedallion, 1947 (PI. 124) being a good example from the Agora, or large figures may fill the entire format, as 1948. There are not very many disks, and their purpose is unknown. They may have been small votive objects,or they may have servedas lids.
6J. Boardman,BSA 50, 1955, p. 53. 7 For a discussionof dimensions,cf. J. Boardman,BSA 50, 1955, pp. 52-53. 8 For a simple key pattern at the top, cf. those in Berlin by Exekias (ABV 146, 22; Paralip. 60, 22). For a key pattern at the bottom, cf. Athens, N.M. 2412 and 2413 (ABV 687, top; J. Boardman, BSA 50, 1955, p. 60, no. 11 and pl. 2:c, d). Athens, N.M. 2410 has an inscription at the top, and presumablyAthens, N.M. 2412 and 2413 did also, for they are part of the same series (Boardman,op. cit., p. 60, no. 11). The lotus-palmette festoon at the top and the tongue pattern at the bottom of the plaques by Sophilos seem to be unparalleled (ABV42, 38-40; Boardman,op. cit., p. 59, no. 6; Bakir, Sophilos, pis. 37, 38). 9J. Boardman,BSA 50, 1955, pp. 53-54. 10 J. Boardman,BSA 49, 1954, p. 193. I' Ibid., p. 192. 12 Ibid., pp. 194-195. 'Cf. D. Callipolitis-Feytmans, BCH 79, 1955, pp. 467477 and Les plats attiques, pp. 36, 124, 187, and 241; Agora xiI, p. 178. 2 D. Callipolitis-Feytmans,BCH 79, 1955, pp. 473-474.


The distinction between Protoattic and Attic black figure is not so obvious as the one between black figure and red figure, which is mainly a question of two techniques. The differencebetween Protoatticand Attic black figure rests primarilyon the differencebetween a style of painting on the one hand and a technique on the other. A small numberof vases from the Agora may be datedin the third quarter of the 7th century or in the early part of the last quarter, and they illustrate well the problem of whether to call a piece Protoatticor Attic black figure, for as Brann remarked,"which term one prefers depends on what one is looking for."1Brann includes all these vases in her studies of the Protoatticpottery from the Agora, and in her Agora volume she extendsthe term Late Protoattic to cover the earliest black figure, datable between the Kynosargesamphora and the Nettos Painter.2All these vases, however, were classed as black figure by Beazley during a visit to Athens in the spring of 1958.3 Since they exhibit both Protoatticand Attic black-figurecharacteristics, we have repeated t them here in the back-figure volume and discuss them in this short section of the chapter on attributedAttic black-figuredvases from the Agora. In addition, we have included 128 (P1. 16), a fragment of a neck-amphoracalled transitional-to-blackfigure by Beazley, and 129, a fragment of another called black figure or transitional-to-blackfigure by him during the same visit in 1958. 128 combines bold Protoatticornamentwith silhouette figures enlivened by incision.4The same can be said for 1936 (Pl. 123), a disk cut from a plaque, which preservespart of a chariot horse to right, or 587 (PI. 55), two fragmentsof a fenestratedstand that was probablyconical in shape. 519 and 1854 have ornamentdrawn partly in outline and partly in silhouettewith incision. 132 (PI. 16) is decorated with two confronted horse protomes, a composition that is likely to be of Cycladic origin,5but in Attic black figure becomesthe single protomeknown from many one-pieceamphorae (e.g. below, Catalogue, 13-23). 133 (PI. 16) is decoratedin the full black-figuretechnique, but the shape of the mouth of this neck-amphoraand the style of the figures are Protoattic.1361 (PI. 94), from what is preserved, seems to be in black figure, but the style of the horse is Protoattic.This discussion of the earliest black figure from the Agora concludeswith three fragmentsthat preserve parts of human heads, which have the faces drawn in outline and the hair either solid or incised. 129 may be a male siren6 and, if so, is an early example, slightly earlier perhaps than 133. 1855 (PI. 119) preservesjust the upper part of the face of a woman whose closest kin seems to be the Athena painted on Berlin 1682 by the Nettos Painter.77 (PI. 2) is of special importancefor it is the
1Agora VIII, p. 25; cf. also, the remarks by Beazley, Development, p. 12 and Kubler, KerameikosVI, ii, pp. 311-327. 2 Agora VIII, p. 25. 3 In addition to the early vases mentioned below, the following were also called black figure by Beazley: 130, 131, and 695. 4 One may also cite here P 13279 by the KynosargesPainter (Agora VIII, p. 95, no. 565, pl. 35) and P 22299 by the Pair Painter (AgoraVIII, p. 96, no. 572, pls. 2, 36, 42), which also combine these features, and on P 22299 accessoryred appears as well. 5Agora VIII, p. 97, under no. 573. 6 Agora VIII, p. 97, no. 577, pls. 37, 44. 7 Agora VIII, p. 98, no. 580, pl. 37. For Berlin 1682, cf. ABV 5, 4; Paralip. 2, 8 (d).



earliest example of a human protome in the panel of a one-piece amphora, a decorativeidea that, like the horse protome,may have a Cycladicorigin.8 Painter of Berlin A 34 The earliest attributedAttic black-figuredvase from the Agora is 340 (Pl. 34), a fragmentof an amphoraof uncertaintype by the Painter of Berlin A 34, formerlycalled the Woman Painter after the subjecton his namepiece.He is the first artist to appear in the pages of ABV and Paralipomena, and 340 adds a new shape to the few vases known by him, which until now were all kraters.134 is thought by Brann to come from the workshop of the painter, but without figured decorationit is difficult to be certain. An argument in favor of her attribution is the presence of two shades of accessoryred, a bright hue and a duller one, in addition to white, which gives a rich polychrome effect seen also on 340. The profile of the woman on 588 is close to the Painter of Berlin A 34, and its subject,a woman holding a poppy or a pomegranate,is a forerunnerof the women holding palmettes on the stand of Athens, N.M. 16384 by the Nettos Painter.9Contemporarywith or slightly later than 340 is 341 (P1.34), also from an amphoraof uncertaintype, which may be by the Piraeus but it Painter. The incision does not seem quite so fine or the drawing so firm as on his namepiece,10 is surely close to him. Nettos Painter In the late 7th centuryB.C., Attic black figure is best illustratedby the work of the Nettos Painter, the earliest Attic black-figurepainter whose personality is distinct and who has left us vases sufficiently large in number to make it possible to chart his development.'1The five vases by the Chimaera Painter, who is named after the large grave amphora found on Aigina near the modern No vase fromthe Agora has town,'2 are now consideredto be the early work of the Nettos Painter.13 been attributedto this early phase, but 406 (P1.40), a fragmentof a lid from a skyphos-kraterthat shows a massive, powerful boar striding to left, recalls the Chimaera Painter. Only one vase from the Agora has been attributedwith certaintyto the Nettos Painter, 117 (P1. 13), the famous sphinx amphora,which belongsto the maturework of the painterand ought to date about 610 B.C. On each side is a large seated sphinx which spreads out over the whole surface of the vase, the obverse separated from the reverse only by ornamental configurationsat the handles. Here, the arrangement of the figures relates betterto the shape of the vase than it does on Eleusis Z 21, Aigina 565, or London, B.M. 1874.4-10.1,14 which are earlier one-piece amphoraeby the painter, decoratedaccording to the principle established for neck-amphorae,'5 and the profile of the sphinx on 117 is more developedand betterproportionedthan it is on either Eleusis Z 21 or Aigina 565. 137 (P1. 16)
p. 99 under no. 589. Human protomesmay be seen occasionallyin early black figure, the best known examples being 7 (PI. 2) and the one on Munich 1360, which has a horseheadon the reverse (ABV 16, 2; Paralip. 9, 2; M. G. Picozzi, Studi Misc. 18, 1971, no. 1, pl. 1). Cf. also the confronted male protomeson Copenhagen 13796 (ABV 714, 9 bis;Paralip. 7, 9 bis) and the male protome on the obverse of a horsehead neck-amphorain the Louvre (E 822: ABV 17; Picozzi, op. cit., no. 44 and pl. 37). For a human protome on a lid, cf. 1372 (PI. 94). For a subhuman protome on an oinochoe, cf. 723 (PI. 69). For the subject, cf. 0. von Vacano, Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, Bonn 1973. 9 ABV 6; Paralip. 3, 13. '0 Athens, N.M. 353 (ABV 2; Paralip. 1).
8 Agora VIII,

1 ABV 4-6; Paralip. 1-5; also Karouzou, 'Avayvpoivros, pp. 123-136. For some of the vases by the Nettos Painter and others contemporarywith them, cf. the remarks by Kiibler in his discussionof the early Attic black figure from the Kerameikos (KerameikosVI, ii, pp. 316-323). It is difficultto perceive why KiiblerrejectsKarouzou'sattributionto the Nettos Painter of Kerameikos,inv. no. 658, and even more, of the three skyphos-kraters from Vari, Athens, N.M. 16382, 16383, and 16384. 12 Aigina 565 (ABV 3, 1; Paralip. 1, 1).

Paralip. 1. 14Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Aigina 565 15Above, p. 5.

(ABV3, 1; Paralip. 1, 1); London,B.M. 1874.4-10.1, formerly A 1531 (ABV 3, 2; Paralip. 2, 2).



was originally attributedto the Nettos Painter by Beazley in AB V but judged to be only near him in Paralipomena. Three other pieces, an amphora, a louterion, and a lid, 120 (P1. 15), 603 (P1. 56), and 1362 (PI. 94), were also attributedby Beazley to near the painter, and others,401 (PI. 39), 407 (PI. 40), 527 (P1. 51), and 697 may be added.527, a stand fragment,preservesthe head of a woman to right who is comparableto those on the stand of Athens, N.M. 16384 and may even be by the Nettos Painter himself. 697, two fragmentsof an olpe that show part of a rider and his mount, is also close to the Nettos Painter and belongs with the cavalcadeon Athens, N.M. 16383 and the two horsemenon Kerameikos,inv. no. 658.161 (P1. 1), 121 (PI. 15), 409 (P1.40), and 1363 (P1.94) are perhaps also near the Nettos Painter. The heads of the swans on 1363 are weaker versions of the ones on Athens, N.M. 16382,17the earliest of the three well-preservedskyphos-kratersfrom Vari. The face of the siren on 121 is close to that of the sphinx on 117 (PI. 13), and the wheel rosettes recall those on Athens, N.M. 16383 and Kerameikos,inv. no. 658. 399 (PI. 39), also close to the Nettos Painter, belongs with these. 343 (P1. 35) is by or near the painter. GorgonPainter In the early 6th century B.C., the most prolific Attic vase painter is the Gorgon Painter who takes his name from the dinos in the Louvrethat depicts Perseus fleeing fromthe Gorgons.18 A numberof vases by the Gorgon Painter himself and several in his manner have been found in the Agora. The Gorgon Painter continues the tradition establishedby the Nettos Painter, which is best illustrated perhaps in his early work where the figures may be rather ample and cover large areas of the vase. 671 (Pl. 64) belongs to this early period, thee e only Agora example that does. The somewhat heavy proportionsmark 671 as an early trefoil olpe, and the two large sirens filling the entire surface of the body as well as the use of the dot-wheel rosettefor filling ornament meanalso argue for early date, a conclusion reached by Scheibler.19 The frieze of geese above the sirens on 671 is similar to that near the top of the large lid from the North Slope, also an early work.20Five other fragmentsfrom the Agora are somewhat later: 1297 (PI. 91) is a lekanis; 412 (P1.41) and 1367-1369 (P1. 94) are lids, the last of which is attributedhere. hese lids have their decorationset in friezes, unlike those In Attic by the Nettos Painter, which havejust a few large figures occupyingmost of the surface.21 black figure, animal friezes first appear in the work of the Gorgon Painter and his contemporaries; the idea very likely derivesfrom Corinthianvase painting where it had long been used, particularly the arrangementof the animals in groups,22not just in confrontedpairs, which may be seen, for example, on the Gorgon Painter's namepiece. The faces of the sirens or sphinxes on 1369 (P1. 94) seem to belong stylistically between the sirens on 671 (PI. 64) and the sphinxes and sirens on the 412 (P. 367 (P1.94) are also close 297 (PP. 41), 1and Gorgon Painter's plate in Baltimore.23 91),
16 Athens 16383 (ABV 7, y; Paralip. 3, 12); Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; KerameikosVI, ii, no. 116, pis. 89-91). For the attributionof the Kerameikosamphora,cf. footnote 11 above, p. 74. 7 ABV 3, 4; 4; Paralip. 3, 10. 18 Louvre E 874 (AB , 1; Parali. 6, 1). For the rest of his vases, as well as those in his manner, cf. ABV 8-13; Paralip. 6-9. G. Bakir (AA [JdI 93], 1978, pp. 26-43) has separatedfive of the vases attributedby Beazley to the manner of the Gorgon Painter and added three others to form a new painter, named after the lekythosin Istanbul, inv. no. 7314 (ABV 11, 18). Bakir attributes these eight vases to the same hand as the Bonn amphoriskos by a Boeotian imitator of the Gorgon Painter (ABV 14, 2) and suggests (p. 41) that the painter is an Attic one who may have emigrated to Boiotia. K. Kalinsky, II (AK 21, 1978, pp. 12-16) has argued more cautiously that the Bonn

amphoriskostakes with it only two in Bakir'slist, Istanbul7314 (ABV 11, 18) and LouvreCA 823 (ABV 12, 23), and postulates an Attic artist, the Istanbul Painter, who worked for a time in the circle of the Gorgon Painter, then movedto Boiotia. ' . Scheibler,JdI 76, 1961, pp. 15-16, 18. 20 A-P 1734 (ABV8, 6; Paralip. 6, 6). For the early date, cf. Scheibler,op. cit., pp. 14 and 18. 21 The best examples are those on the well-preserved skyphos-kratersin Athens: N.M. 16382 (ABV 4; Paralip. 3, 10), N.M. 16383 (ABV7, y; Paralip. 3, 12), and N.M. 16384 (ABV 6; Paralip. 3, 13); also 405 (PI. 40) and 407 (PI. 40). 22 Beazley, Development,p. 17. 23Baltimore48.215 (ABV 9, 18; Paralip. 7, 18). For plates from the Gorgon Painter'sworkshop,cf. Callipolitis-Feytmans, Les plats attiques,pp. 63-67.



to this plate. The lions on 412 have the same slender bodies, and the small part of one lion's mouth that remains shows it to have the rectangularcornerstypical of the Gorgon Painter'smature phase, not the roundedones seen on the North Slope lid.24The siren on 1367 and the goat or deer on 1297 also have their counterpartson the Baltimore plate. 1368 (PI. 94), another lid, probably belongs here, although so little remains that it is difficultto be certain. 139 (PI. 17) is the only neck-amphoraby the Gorgon Painter from the Agora, although four others, 138 and 141-143 (Pls. 17, 18), are in his manner or comparedwith it, the last two attributed here. 140 (PI. 17), if not by the painter himself, is certainlyin his manner. 139 very likely had its decorationset in friezes and is close in style to the kraterfrom the Akropolis,a one-piece amphora in the Louvre, and the round-bodiedlekythos in London.25The Gorgon Painter is credited with He may also have been the first introducinga single walking animal in the panel of an amphora.26 to paint a lone horsemanon a galloping mount in a panel, for the earliest preservedexamples are in his manner. The galloping horsemanon 673 (P1.64), perhapsby the Gorgon Painter himself, takes with it 709 (P1. 68), which preservespart of a similar horseman. Severalvases, including some of those alreadymentioned,are in the mannerof the Gorgon Painter: 4 (PI. 1), 11 (PI. 2), 138 (PI. 17), 141 and 142 (Pl. 18), 672 and 673 (Pl. 64), 703 (P1. 67), 705-708 (P1. 68), 723 (P1. 69), and 1857 (P1. 119); 125 (P1. 15), 143 (P1. 18), 531 (P1. 51), 710 (P1. 68), and 1911 (P1. 121) are compared with his manner; and 12 (PI. 2), 123 (PI. 15), 140 (PI. 17), 532 (PI. 51), 704 (P1. 68), 709 (P1. 68), 777 (P1. 73), and 1370 (P1. 94) may be by the painter himself or in his manner. Together they enlarge our picture of the Gorgon Painter's workshop. 138 is a large neck-amphoradecoratedwith horseheadson the neck and two zones of animals on the shoulder and body. The hanging spirals and the stacked rays, as well as the dot rosettes,which are the same as those on Athens, N.M. 19176,27indicate an early date. 140, which preservespart of a very lively lion, is from a similar, contemporaryneck-amphoraof comparable size. 531 and 532 are fragments of two conical stands used to support kraters or bowls and are slightly later, for they compare best with the mature work of the Gorgon Painter. 672, a wellpreservedtrefoil olpe with a single large siren in its panel, belongs with these. Most interesting among these vases is 723, a ring-collaroinochoewith two confrontedsatyr heads of the same type as that of the satyr on the lekythos in Buffalo and probably also on the unpublished oinochoai in Taranto and Berlin.28 The olpai by the Gorgon Painter belong to a larger group of early 6th-centuryolpai that are by 675 and differenthands, although none is far in style from the Gorgon Painter and his followers.29 and three more may be added, 676 (Pls. 64, 65), 713, and 714 (P1.68) were attributedby Beazley,30 677, 678 (Pls. 64, 65), and 715 (Pl. 68). 675, to judge by the hanging spiral and dot rosette, is contemporarywith 138 (P1. 17), an early neck-amphorain the mannerof the Gorgon Painter, and the square corners of the lion's mouth on 714 are comparableto lions on vases of the painter's mature period. Horse-head amphorae first appear around 600 B.C.and continue until at least the middle of the The 11 examples from the Agora, 13-23 (PI. 3), with perhaps the exception of 22, 6th century.31
24 Cf. I. Scheibler, Jdl 76, 1961, p. 15 for this detail as a criterionfor dating. 25 Akropolis474 (ABV8, 2); Louvre E 817 (ABV9, 7; Paralip. 6, 7); London, Russell (ABV 9, 17). 26 I. Scheibler,Jdl 76, 1961, pp. 42-43. 27 AB V 9, 16; Paralip. 7, 16. 28 Buffalo G 600 (ABV 12, 22); Taranto (ABV 10, 2); Berlin (ABV 10, 3). 29ABV 14-15; Paralip. 9.

30 Also 716 (P1.69), which is by the KY Painter (ABV 14, 5; 33, 7). 31 The Group of Horse-head Amphorae has been studied most recently by M. Picozzi (Studi Misc. 18, 1971, pp. 5-64) and by A. Birchall (JHS 92, 1972, pp. 46-63). For a possible imitationof an Attic Horse-head amphorain anotherfabric,cf. R. Lullies, "Eine neue korinthischeAmphora,"Festschrift fir GerhardKleiner, Tiibingen 1976, pp. 21-32, esp. pp. 29-30.



belong to the earlier phase of productionof this species and thereforeare presentedin the catalogue as a group. The type of head goes back to Protoattichorses, especially its shape, the large eye and droopy chin, and the mane divided into long wispy locks.32Protoatticexamples usually include the as do the two on a neck-amphoraby the Lion Painter.34 Horse-head amphoraeshow the forelegs,33 It is not certainwho was the first artist to produce head and neck only and thus are true protomes.35 Horse-head amphorae,but surely it was a painter of the late 7th centuryB.C. with strong Protoattic conventionsof drawing combinedwith a preferencefor the austerity of the black-figuretechnique. Karouzou thought perhaps it might have been the Nettos Painter, since a Horse-head amphora, but so far no panel amphora has been atAthens, N.M. 1003, was found with his namepiece,36 tributed for certain to the Nettos Painter, and the restrainedfigures of early panels producea very different effect from the powerful, animated figures that spred out over the surfacesof his vases.37 Beazley suggested, with reservation,that the Gorgon Painter might be creditedwith the invention of the Horse-head amphora, and Scheiblerfollowed Beazley by agreeing that the Horse-head am138 (P. 17), phorae should in some way be connectedwith the Gorgon Painter and his workshop.38 a neck-amphorain the manner of the Gorgon Painter, strengthensthis suggestionconsiderablyfor it has four horseheadson the neck that are of the same type as those on Horse-head amphorae.That the Gorgon Painter is the first artist to decoratemore than one panel amphorawould also appear to argue in favor of this theory, were it not that his four known panel amphorae seem to be later in And even though the heads of the horseson the Gordate than the earliest Horse-head amphorae.39 the two may gon Painter's namepiece are very similar in type to those on Horse-head amphorae,40 depend upon a commonprototype.Thus, until more substantialevidencelinks the inventionof the Horse-head amphora with a specific painter, it is perhaps best to leave the question open. Panther Painter and CeramicusPainter The work of the Panther Painter and the CeramicusPainter is contemporary with the early work of the Gorgon Painter, dated in the first years of the 6th century B.C.41 The Panther Painter is primarily a painter of lekanides decoratedwith animal friezes, of which all known to us have been found in the cemetery at Vari. 534 (PI. 51), a fragmentof a stand, and 1451 (Pl. 99), the rim of a skyphos, are close in style but may not be attributed to him for certain. More variety of shapes appears in the work of the Ceramicus Painter than in the work of the Panther Painter. Like his contemporaries,he shows a markedpreferencefor animal friezes, but his trefoil olpe from Vari has a rare subjectalso known from 141 (PI. 18), a neck-amphorain the a representationof Aristaios,42 manner of the Gorgon Painter. 535 (PI. 51) is a stand fragment attributedby Philippaki, and we
32 E.g., Agora VIII, nos. 573, 587, pls. 36, 37; Berlin, inv. no. 31 333 (CVA, Berlin 1 [Germany2], pl. 48 [94]:2);compare also the horseson the Piraeus Painter's amphora(AB V 2; Paralip. 1, -, 1), which have a strong Protoatticcharacter.The type may also be seen on horses by the Nettos Painter (e.g. Athens, N.M. 16383: ABV7, y; Paralip. 3,12) and the Gorgon Painter (e.g. Louvre E 874: ABV 8, 1; Paralip. 6, 1). 33Cf. Agora P 22551 (Agora VIII, no. 573, pl. 36); also Kerameikos,inv. no. 74 (KerameikosVI, ii, no. 34, pl. 24, and the brief discussion of horse protomeson p. 222). 34 Athens, N.M. 16393 (AB V 2, 1). 35 For an Attic horseheadneck-amphorawhere the forelegs are included, cf. the one formerly in a Swiss private collection and now in the Indiana University Art Museum, 74.10.1 (Paralip. 10; Moon, Midwestern Collections,no. 29, pp. 48-50). 36 Karouzou,Amasis Painter, p. 42; Picozzi (Studi Misc. 18, 1971, p. 53) gives a summary of the problem. Cf. above, pp. 74-75. ABV 15-16; I. Scheibler,JdI 76, 1961, p. 1. 3912 (PI. 2); Louvre C 10620 (ABV 9, 9; Paralip. 7, 9); Avallon 50 (Paralip. 7, 9 bis); Hanover 1965.13 (Paralip. 7, 95; CVA, Hannover 1 [Germany 34], pl. 5 [1637]:3, 4), all rather late in the firstquarterof the 6th century.For a discussionof the late work of the Gorgon Painter, cf. Scheibler,op. cit., pp. 6-14. 40 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). A further connectionbetween Horse-head amphoraeand the Gorgon Painter may be the manes of his lions which end in long locks that fall loosely over the shoulder. 41 Panther Painter: ABV 18; Paralip. 11-12. Ceramicus Painter: ABV 18-19; Paralip. 12-13; for a discussion of the plates from his workshop, cf. Callipolitis-Feytmans, Les plats attiques, pp. 204-205. 42Athens, N.M. 16285 (ABV 19, 3).
37 38



have added two others, 536 (PI. 51) and 537, which go with the namepieces in the Kerameikos. These three stands add a new shape to the known ones by the CeramicusPainter. 1356 (P1.93) is a lekanis that may be by him, for it is close in style to the one in the Kerameikos.609 (P1. 57) is compared by Beazley with the works of the Ceramicus Painter which recall the KX Painter, a younger contemporarywhose work found in the Agora is discussedbelow. AnagyrusPainter and Painter of Eleusis 767 of the Gorgon Painter are the Anagyrus Painter and the Painter Less well known contemporaries of Eleusis 767 whose work should probablybe dated late in the first quarterof the 6th centuryB.C. or the beginning of the second.43The Anagyrus Painter is named after the ancient deme, where modernVari is now located,and most of his small numberof known vases come from the cemetery there.44Callipolitis-Feytmanshas suggestedthat the Anagyrus Painter may have learned his craft in Athens but practicedit at Vari, for the color of the clay of his vases and the characterof the glaze match the local ware.45If so, then 540 (PI. 52), his only piece from the Agora and the only stand attributedto him, may have been exported to Athens.46The same may be true for 590 (P1. 55), a fenestrated stand by the Painter of Eleusis 767, a man of decidedly less talent than most of his contemporaries.He, too, may have workedoutside Athens, in this case at Eleusis. Groupof the Dresden Lekanis Several fragmentsfrom the Agora belong to the Group of the Dresden Lekanis whose vases have been found mainly on the Akropolis and in the Agora, although the namepiece comes from Corinth.471442-1444 (PI. 98) and 1859 (PI. 119) were attributedby Beazley to the main painterof the group, and he thought that 150 (PI. 19) and 413 (PI. 41) were also by him.48591 (PI. 56), a stand, goes with these and adds a new shape to the painter, although not to the group, for 541 (P1. 52), a stand fragment by another hand, was already attributed.592 (PI. 56), also a stand, may be compared with the Group of the Dresden Lekanis, but it is an inferiorwork, perhaps a workshoppiece. So too for 5 (PI. 1), a one-piece amphora. 610 (PI. 58), the best preserveddinos from the Agora, is connectedwith the Group of the Dresden Lekanis, but it does not seem to be by one of its painters. The liveliness of the figures, as well as the painter's interest in mythologicalrepresentationsand narrative, keeps the vase apart and suggests an artist well acquaintedwith the work of Sophilos. The Painter of the Dresden Lekanis seems to have emigrated to Boiotia, for his vases cannot be separated from a large group of Boeotian vases called the Horse-bird Group after the horse pro1300 (PI. 91) may be compared tome ending in a bird's tail painted on an alabastronin London.49 with this group. The paintersjust discussedstand somewhatoutside the mainstreamof Attic black figure. The most importantartists of the late first quarterof the 6th centuryand the beginningof the secondare those of the Komast Group and Sophilos.50Together, they carry on the tradition established by the
20-21; Paralip. 13; CallipolitisFeytmans, Les plats attiques,pp. 69-75. Painter of Eleusis 767: AB V 21; Paralip. 13. 44 Exceptions: 540 (PI. 52); Athens, Vlasto, from Spata (ABV 21, 2). 45Callipolitis-Feytmans,Les plats attiques,p. 69. 46 Callipolitis-Feytmans,Les plats attiques, p. 70. 47 Dresden ZV 1464 (ABV 21, 1). A neck-amphora has also been found at Taranto (ABV 21, 2) and two lekanides at Smyrna (ABV 680, 1 bis and ter, Paralip. 14, 1 bis and
43 Anagyrus Painter:ABV

ter). For the rest of the group's vases, cf. ABV 21-23 and Paralip. 14. 48AB V 22. 49ABV22-23. 50Komast Group: ABV 23-37; Paralip. 14-17. Sophilos: ABV 37-43; Paralip. 18-19; Williams, op. cit. (footnote 4 above, pp. 33-34), pp. 9-34; Baklr, Sophilos.Add: New York, M.M.A. 1977.11.2, a volute-krater (footnote 2 above, p. 26) and New York, M.M.A. 1977.193, a fragmentof a krateror a dinos (unpublished):a satyr.



Gorgon Painter and lead to the painters of the next generation,in particular Kleitias and the chief painters of Siana cups, the C Painter and the Heidelberg Painter. Komast Group The Komast Group is named after the padded dancers who appear on many of its vases, particularly drinking vessels. 417 (P1. 41) is a good example of one. These cheerful revelers were borrowed from Corinth along with certain shapes, specificallythe column-krater,the Corinthian type of skyphos, and the Komast cup,51which was adaptedfor Athenian use. Generally, the painters of the Komast Group, unlike their predecessors,prefer to decorate rather small shapes, and within the group there is a good variety of them. The two chief artists are the KX Painter (short for Komast X), the abler of the two, and the KY Painter, who is perhaps slightly younger. In the Agora, several vases by the KX Painter himself have been found: 126 (PI. 15), 151 (PI. 19), 351 (PI. 35), 523 (PI. 50), 1310 (PI. 91), 1336 (P1.92), and 1452 (P1.99), as well as two in his manner, 616 (P1. 57) and 1337 (P1.92). Of the KY Painter, there is only 716 (P1.69), a fragmentaryolpe in his manner. In addition, 417 (PI. 41), 1658, and 1659 (PI. 108) were attributed to the Komast Group but not given to a specific painter. 1453 and 1454 (Pl. 99), fragmentsof two skyphoi, the former with two zones of figures, may be added. Besides komasts, the most frequent subjectson vases by the Komast Group are animal friezes or confrontedpairs of animals. Occasionally,mythological scenes appear, including the earliest examples in Attic black figure of the Judgment of Paris and of Achilleus receiving his armor.52126, which preservesthe upper part of a youth holding out his cloak, is surely from a scene of myth or legend. The first four lettersof his name (HEKA)appear next to the right break, and the possible restorationsappear to be either an epithet of Apollo or the name of the eponymous hero, Akademos. Sophilos Sophilos is the first Attic black-figureartist whose name is known from signatures, for twice he signs as painter, once as potter, and very likely once as both potter and painter.53He has given us the earliest Attic black-figuredvolute-krater,funerary plaques, and probablytoo, the lebes gamikos,54and he is the first to make liberal use of inscriptionsto identify the figures in his narrative scenes. Unlike the painters of the Komast Group, Sophilos prefersto decoratelarge vessels, and all his vases found in the Agora are large. 6 (P1. 1) and 29 (P1.4) are one-piece amphorae,the former decoratedwith animal friezes, the latter with the figures set in panels. 419 (PI. 42) is a columnkrater, and 1912 (PI. 121), which may be by Sophilos himself, is from a krater or a dinos. 542 (P1. 52) is a conical stand close in style to the London dinos, and 30 (P1.4), a panel-amphoranear the painter, is a weaker version of his amphora in Jena.55 Although Sophilos paints animal friezes on many of his vases, as on 6 (P1. 1), in keeping with the taste of the time, he is clearly more interested in mythological representationsthan any of his
51 For these shapes, cf. above, pp. 23-24, 58-59, 62. 52Berlin 3987 (ABV 25, 16); Rhodes 5008 (ABV 24, 1; Paralip. 14, 1). 53 As painter, Akropolis 587 (ABV 39, 15; Baklr, Sophilos, pl. 3) and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). As potter, Athens, N.M. 2035, 1 and 2 (ABV 40, 21; 42, 36; Paralip. 18, 21; Baklr, Sophilos, pl. 8, fig. 16): the new numbers are 15918 and 15442 (D. Callipolitis-Feytmans ["Louteria," p. 54] postulates a double signature for this vase,

but only the potting verb remains). As potter and painter, very likely Athens, N.M. 15499 (ABV39, 16;Paralip. 18,16; Bakir, Sophilos, pl. 6, fig. 10). 54 Volute-krater:New York, M.M.A. 1977.11.2 (footnote2 above, p. 26); funerary plaques: Athens, Vlasto (ABV 42, 38-40; Baklr, Sophilos,pls. 37, 38); lebes gamikos:Izmir (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45). Boardman doubts the attribution of the latter (BSA 53-54, 1958-1959, pp. 155-158). 55ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12.



predecessors,and it is probably no accidentthat each of his signed vases has an ambitious mythological scene in the main zone.56Furthermore,he may have introducednew subjectsinto the Attic vase painter's repertory, specifically the Wedding of Peleus, the Funeral Games for Patroklos, Herakles and the Centaurs,and the Weddingof Menelaos and Helen.57And the satyrswho appear on the fragmentin Istanbul and on the one in New York are among the earliest, if not the earliest, in Attic black figure.58Moreover, his scenes are extended narratives with a full complementof 419 (PI. 42), which preservespart participants;they are not restrictedto the main characters.59 of a building in antis, belongs with two of his signed vases, Akropolis 587 and London, B.M. 1971.11-1.1, which show the Wedding of Peleus in the main frieze. The interpretationof the scene on 419 is uncertainbut surely must be mythological. 1912 (PI. 121), which shows part of a frontal chariot team and a grieving old man, goes with these. Painter of Xanthos A 6.3444 and Eridanos Workshop Contemporarywith the late phase of the KomastGroup and Sophilos are three attributedpieces. 127 (PI. 15) is a one-piece amphora by the Painter of Xanthos A 6.3444, whose only other known a column-kraterin Istanbul. 1389 and 1390 (PI. 95) are of more work seems to be his namepiece,60 interest. Both are large plates attributed by Callipolitis-Feytmans to the Eridanos Workshop, named after the river that flows through the Kerameikoswhere two of them were found.61The floor of 1389 is decoratedin registers, the earliest preservedexample of this scheme.62Although little remains of the figures on either plate, the lotus-palmettefestoon on each is a less well drawn version of the one used by Sophilos.63 Kleitias The interest in narrativeshown by Sophilos is continuedby Kleitias, the next Attic black-figure painter whose name is known, for he signed five vases as painter; four of them were potted by Like Sophilos, Kleitias prefersto place his figuresin friezes ratherthan in panels, and Ergotimos.64 usually he inscribestheir names. His drawing is more precise than that of Sophilos, and his love of detail is perhaps greater too, but the figures of the two painters have the same spontaneityof expression. One need only compare the cheering spectatorsat the Games of Patroklos by Sophilos with the joyous Athenians in the Theseus scene on the FranCoisvase to see that the two share a Two vases by Kleitias have been found in the Agora. 625 common interest in visual narrative.65 animal decorationthat finds its nearestkin in the lowest figwith of a is the shoulder (PI. 59) hydria ured frieze on the body of the Frankoisvase.661874 (P. 120), which shows the neck, chest, and hair of a youth, is more puzzling with regardto both shape and subject.It seems to be from an amphora, and the scene is surely mythological,for one letter of the youth's name is preserved,but the precise subjectis uncertain.
Weddingof Peleus and Thetis on Akropolis587 and London, B.M. 1971.11-1.1; Herakles and the Centaursand an unexplained subjecton Athens, N.M. 15918 and 15422; Funeral Games for Patrokloson Athens, N.M. 15499. 57 For the first three, cf. footnote 56 above. Menelaos and Helen appear on the Izmir lebes (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos, pls. 40, 45). 58 Istanbul (ABV 42, 37; Baklr, Sophilos,pl. 35, fig. 66); New York, M.M.A. 1977.193 (unpublished). 59 Compare, e.g., the representationof Thetis giving armor to Achilleus, which is inserted into an animal frieze on the Rhodes lekanis by the KX Painter (ABV 24, 1; Paralip. 14, 1), with any of the works in footnotes 56 and 57. 60 Paralip. 18, 1.

Callipolitis-Feytmans,Les plats attiques,p. 77. Cf. above, p. 54 and footnote8. 63 Examples: 6 (PI. 1); Akropolis 587 (ABV 39, 15; Baklr, Sophilos,pl. 3); London,B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. (footnote 4 above, pp. 33-34). 64 For Kleitias, cf. ABV 76-79 and Paralip. 29-30. The collaborativevases are nos. 1, 12-14. 65 Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16; Baklr,Sophilos,pi. 6, fig. 10); Florence4209 by Kleitias (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Franqois,fig. 63). 66 Best seen in A. Minto, II vaso Franqois,Florence 1960, pls. 31, 32 and Cristofani, VasoFranfois, figs. 97, 98, 101.




C Painter The C Painter (C for Corinthianizing) and his slightly younger contemporary,the Heidelberg Painter, are the two best known painters of Siana cups, the chief type of Attic black-figuredcup in
the second quarter of the 6th century B.C.67

The C Painter draws short, compact figures with large heads, firm stances, and lively gestures. His preferredsubjectsare friezes of standing figures, symposia, duels, and cavalcadesof horsemen to left. Occasionally, he paints mythological scenes, in particular Achilleus and Troilos, Perseus and the Gorgons, Achilleus and Memnon, the Judgment of Paris, and the Birth of Athena, which is one of the earliest representationsof this theme.68His style and his non-mythologicalsubjectsshow a strong Corinthian influence,69 although he is not the first Attic black-figurepainterto be indebted to Corinth.70 On some of his more ambitiouspieces, such as the Louvrepyxis, there also seems to be some influence from Kleitias.71 All the Agora pieces by the C Painter himself, 1660-1667 (Pls. 108, 109), are Siana cups decoratedaccordingto the overlap scheme generally preferredby him. These cups are extremely fragmentary,but the compositionson most of them may be understoodby comparing them with others by the painter that are well preserved.The frieze of standing figures on 1661 (PI. 108) and that on 1662 (P1. 108) were probablysimilar to the one on the cup in Berkeley or the cup in the Villa Giulia;72the symposionon 1667 finds its best parallel on a cup in London.73 The cavalcadeof horsemen on 1660 (PI. 108) and the warriors on 1663-1666 (Pl. 109) have their counterpartson many cups, e.g., London, B.M. B 382, Mainz 89, Corinth CP 552, and Montreal 59.Cb.2.74Besides these cups by the C Painter, seven other pieces belong here. Two other Siana cups, 1669 and 1670, are related to him, 1668 (PI. 109) and 1937 (PI. 123) are in his manner, and 1937, a plaque, adds a new shape to those known to be by the painter and his companions. 1678 (P1. 109) is the best-preservedSiana cup from the Agora, the only one that may be fully restored, and one of the few examples from these excavationsdecoratedaccordingto the double-deckerprinciple (cf. above, p. 63). Of particular interest is 1802 (P1. 116), perhaps a fragmentof a Siana cup, which preserves the last five letters of the potter's name and the first two letters of the verb. The style recalls the C Painter, particularly his best pieces such as the Louvre pyxis and the Naples lekanis.751683 also recalls his work.
67 The C Painter: ABV 51-61; Paralip. 23-26; J. Hemelrijk, BABesch 46, 1971, pp. 110-114. The Heidelberg Painter: ABV 63-67; Paralip. 26-27. 68 Achilleus and Troilos: New York, M.M.A. 01.8.6 (ABV 51, 4). Perseus and the Gorgons: Vatican 335 (ABV 57, 111). Judgment of Paris: Louvre CA 616 (ABV 58, 122; Paralip. 23, 122) and Lille 763 (ABV 681; MonPiot 63, 1980, p. 35, fig. 3 and p. 37, fig. 4). Achilleus and Memnon: Lille 763. Birth of Athena: Louvre CA 616. The Birth of Athena on Akropolis 597 a-e by Kleitias (ABV 77, 3) may be slightly later than the one by the C Painter (Beazley, Development, p. 108, note 55). 69 See particularly Beazley, MMSt 5, 1934-1936, pp. 100102 and Development, pp. 22-23. 70 Corinthian influence on Attic black figure may be detected as early as the Nettos Painter who seems to be the first to use the incised rosette typical of Early Corinthian pottery. The use of animal friezes by the Gorgon Painter, the Komast Group, and Sophilos also seems inspired from Corinth, as noted above. Sophilos and Kleitias both use added white in the Corinthian manner, laying it directly on the clay ground with the details drawn in glaze, instead of applying the white on top of the black glaze and incising details, which is the Attic method. For Corinthian influence on the earliest Attic black figure as well as

problems of chronology, cf. T. Dunbabin, BSA 45, 1950, pp. 193-202; Karouzou, 'Avayvpov^ros, pp. 115-122; for the first part of the 6th century,cf. Payne, NC, pp. 190-202; for the second quarter, cf. H. R. W. Smith, The Hearst Hydria. An Attic Footnote to Corinthian History [University of California Publicationsin ClassicalArchaeologyI, 10], Berkeley/Los Angeles 1944, pp. 241-290 and W. Kleinbauer, AJA 68, 1964, pp. 355-370; also, Zaphiropoulou, BCH 94, 1970, pp. 380398. 71 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); also, Lille 763 (ABV 681; MonPiot 63, 1980, pp. 35-38, figs. 2-6). Compare especially the incised decoration on garments with many of those in the Wedding of Peleus scene on the Francois vase. 72 Berkeley 8.1 (ABV 54, 71); Villa Giulia 16336 (ABV 55, 74). 73 London, B.M. B 382 (ABV 51, 5). 74 London, B.M. B 382 (ABV 51, 5); Mayence 89 (Paralip. 23, 12 bis); Corinth CP 552 (ABV 52, 13); Montreal 59 Cb 2 (ABV 52, 14; Paralip. 23, 14). 75 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); Naples (ABV 58, 119; Paralip. 23, 119).



HeidelbergPainter The Heidelberg Painter, whose work resemblesthe early work of the Amasis Painter, takes his His known output does not rival in quantity that of name from the two Siana cups in Heidelberg.76 the C Painter, but he seems to be the more ambitious artist of the two, at least with regard to the variety of subjectmatter. Like the Agora cups by the C Painter, the four attributedto the Heidelberg Painter are very fragmentary,but what remains of the figures may be better understoodwith the help of his well-preservedworks. The runner on 1671 (PI. 109) with his red chest and a cloak over both arms is similar to the warriorson Munich, inv. no. 7739, and the satyr on 1682 (PI. 110), a rare subjectfor the Heidelberg Painter, was probablylike those on the cup in Copenhagenwho accompanyDionysos.77The woman on 1672 is very likely a spectator,as those on Louvre A 478 who watch Pandareosand the Golden Hound.781679 (PI. 110) probablyshowed a phalanx. Polos Painter The Polos Painter, named for the headdress worn by his women, sirens, and sphinxes, stands considerablyapart from his contemporaries,for he shares neither their drawing ability nor their His modesttalent stands in great contrastto his large output, much of which interest in narrative.79 was exportedto many parts of the Greek world. The Polos Painter decoratesmany shapes, but his range of subjects is limited, consisting of animal friezes, sirens and sphinxes often in confronted pairs, and rows or pairs of women. His style reflects a certain influence from Corinth, and his hastily executed, almost mechanically drawn figures are quickly recognizable. There are more vases from the Agora attributedto the Polos Painter than to any other painter of his time, a circumstancethat may be fortuitous or may reflect civic and domesticpractices.Among these vases, there is a good varietyof shapes, typical for the painter:neck-amphorae,160 (P1.20), 161; columnkrater, 427; stand, 594; hydria, 621 (P1. 59); oinochoe, 733 (P1. 70); tripod-pyxis, 1271 (PI. 90);

1311-1321 (PI.92); lids, 1263 (PI.88), 1344 (PI.93), 1377;plates,1399-1405 (PI.96); lekanides,

and several fragmentsof closed vases which do not preserveenough to be sure of the shape, 18621868 (PI. 119). In addition, one hydria fragment, 622, is near him. All the subjectsare his usual ones. Painter of LondonB 76, Burgon Group, TyrrhenianGroup, CamtarPainter, and Groupof North Slope AP 942 Among the many painters whose work is contemporarywith those just discussed,vases by only three have been found in the Agora:the Painter of London B 76, the PrometheusPainter, and the Camtar Painter. Four of these vases are by the Painter of London B 76,80 whose techniquein some respects,particularlyits colorfuleffects,recalls the C Painter. He is not a cup painter, however,but prefers to decoratepots and has left us a good variety of them. Each of the four from the Agora is a different shape. 611 (PI. 57), 626 (PI. 59), and 1346 (PI. 93), attributedby Beazley, are a dinos, a shoulderedhydria, and the lid of a lekanis, respectively;34 (PI. 5), addedhere, is a panel amphora. 767 (PI. 72) is an oinochoe of the Vraona type, a rare and special shape (see above, pp. 42-43), which belongs to the Burgon Group, whose painters are near the Painter of London B 76 and with 170 (PI. 21) is the only vase from the Tyrrheniwhom the series of Panathenaicamphoraebegins.81 an Group found in the Agora, for normallytheir work was exportedto Italy.82170 preservespart of
76 Heidelberg vi. 29 a (ABV 63, 1) and S 61 (ABV 63, 2). For the rest of his work, cf. footnote 67 above, p. 81. 77 Munich, inv. no. 7739 (ABV 64, 28; Bothmer, Amasis Painter, p. 72, fig. 55); Copenhagen, inv. no. 5179 (ABV 64, 24). 78 Louvre A 478 (ABV 66, 54).

79 ABV 43-50; Paralip. 19-22; Hemelrijk,op. cit. (footnote 67 above, p. 81), pp. 105-110; Callipolitis-Feytmans,Les plats attiques,pp. 160-167. 80 ABV 85-88; Paralip. 32-33. 81 ABV 89-90; Paralip. 33. 82 ABV 94-106; Paralip. 34-43.



a warrior and generally recalls the PrometheusPainter, who takes his name from the subjecton his neck-amphorain Florence.83166 (PI. 20) is by the Camtar Painter whose name is a contractionof Cam[bridge]and Tar[quinia] where his namepieces are located today.84The Camtar Painter is primarily a painter of ovoid neck-amphorae,although he decoratedan amphora Type B and a round-bodiedhydria.85His style recalls somewhat that of the Painter of London B 76,86 but his drawing is strongerand the quality higher. In this respect,he is more akin to other contemporaries, in particularthe Painter of Acropolis627,87 whose four known vases come from the Akropolis.Our last vase here, 375 (P1. 37), belongs to the Group of North Slope AP 942, a small group of loutrophoroi found so far only on the Akropolis, the North Slope, and in the Agora, 375 being a wellpreserved example.88Although somewhat later than the work of the painters just discussed, the style is linked with Eleusis 252 (766) by the Painter of London B 76.89 The next group of painters is active from about 570 to 540 B.C.Thus, in the beginning they are contemporarywith those just discussed, but they continue to work well past the middle of the century. The most importantartists are Lydos and two companions,the Painter of Louvre F 6 and the Painter of Vatican 309. Lydos Lydos, as his ssignatureHO AYdAO suggests, was probably a foreigner who came to Athens from the East.90He signed two of his vases as painter, the one-piece amphorain the Louvreand the splendid dinos from the Akropolis, which although very fragmentary,ranks as one of the masterpieces of all Attic black figure.91Lydos worked for at least two potters, each confirmedby a signature on one of his vases, and probablyfor others as well, yet one may not exclude that he himself also potted on occasion.92 Lydos is chiefly a pot painter, although he decoratedseveral cups, a few other small vessels, and also some funeraryplaques. His career seems to have spanned about three decades,his hydria in Munich being a very early piece (ca. 570 B.C.), the New York column-krater, the signed dinos, and the Naples amphora comprising some of his later works (ca. 540 B.C.).93 Although principally a painter of scenes with human figures, on some of his early vases Lydos paints animal friezes below the figured scenes or occasionallyanimals by themselves,and for one of
Florence 76359 (ABV 97, 28; Paralip. 37, 28). 84ABV 84; Paralip. 31-32. 85 New York,private,once Basel, Bloch (Paralip. 31, 10;Cat. Sotheby 13-14. July 1981, no. 243); Rome, Fondazione Lerici (Paralip. 32, 11; E. A. Arslan and E. M. Menotti, Gli Etruschie Cervetri [Nuove acquisizioni delle Civiche Raccolte Archeologiche], Milan 1980, p. 197, no. 11 [wrongly called Corinthian]). 86 Bothmer, AK 2, 1959, p. 8. 87 ABV 82; Paralip. 30, 1.
89 83

ABV 86, 6; 89; Paralip. 32, 6. 90For Lydos, cf. ABV 107-120; Paralip. 43-49; and the 1976. Also, M. B. Moore, AJA 83, 1979, pp. 79-99 (Akropolis 607). For plates by Lydos and his workshop, cf. CallipolitisFeytmans, Les plats attiques,chap. 3. On the name Lydos as reflecting his origins, cf. J. Boardman, ABFV, p. 52; also, M. Robertson, "Beazleyand After,"MJb 27, 1976, p. 42. The vase referred to by Robertson as indicating that Lydos was a slave is a kyathos in the Villa Giulia that shows an assembly of gods. It is not, however, by the mid-6th-centuryartist but by a later one working around 520 B.C. Cf. F. Canciani and G. Neumann, "Lydos,der Sklave?"AK 21, 1978, pp. 17-22. 91 Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios,
7r monograph by Tiverios, 'O Avtos KaL ripo
o TOy, Athens

pls. 1:,S, 17:/3, 18); Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, ,8; AJA 83, 1979, pls. 11-13, figs. 1-12 and ills. 1, 2 opp. p. 99). 92 For the potting signatures,cf. Berlin 1732 signed by Kolchos (ABV 110, 37; Paralip. 44, 37; and 48 where the attribution is questioned; Tiverios, pls. 57-59); Oxford 1966.768 signed by Nikosthenes (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:3, y). Nikosia C 440 (ABV 109, 28; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) is also madeby Nikosthenesfor it is the same shape as the signed amphora in the Villa Giulia (ABV 229). Berlin 1685 (ABV 109, 24; Tiverios, pls. 46, 47:a) may have been potted by Amasis. That Amasis potted the psykter-amphorain London (ABV 109, 29; Paralip. 44, 29; Tiverios, pls. 51, 52) is doubted by Bothmer. Callipolitis-Feytmans (Les plats attiques,pp. 87-93) postulatesthat Lydos may have decoratedplates for seven differentpotters, a number that seems rather high. For Lydos as potter, cf. AJA 83, 1979, p. 99, esp. note 166. 93 Munich 1681 (ABV 108, 12; Tiverios, pl. 2); New York, M.M.A. 31.11.11 (ABV 108, 5; Paralip. 43, 5; Tiverios, pls. 53-55); Akropolis 607 (footnote 91 above); Naples, N.M. 2770 (ABV 109, 23; Paralip. 44, 23; Tiverios, pl. 56). Berlin 1732 (footnote 92 above), if it is by Lydos, is probably a bit later.



his ovoid neck-amphorae,he adoptedthe decorativescheme used by Tyrrhenian painters.94 Mainly, however, Lydos prefers to paint scenes of myth or of everydaylife. His style of painting is bold; his figuresare large and amply proportioned.On his early vases they tend to be ratherplain looking with a minimum of decorativeincision, especially for garments and hair. In his mature and later work, incised patterns on garments and careful incision for hair or pelts, combinedwith accessory red and white, create a rich tapestryof texture and color that helps to clarify overlappingfigures in his frequently innovativeand sometimescomplicatedcompositions.95 Ten vases by Lydos himself have been found in the Agora, more than that of any other major Attic black-figure artist. Nine of these were attributed by Beazley; 50 (PI. 6) is added here. In additionto the vases surely by his hand, seven others may be by him, but too little remainsto be certain. Although very fragmentary,these vases represent all phases but the very earliest in Lydos' career,and the range of shapes as well as subjectsis quite broad. The five earliest are 378 (PI. 37), 429 (PI. 42), 627 (PI. 60), 1262 (PI. 89), and 1447 (PI. 99). On all these there is economyof incision, and the compositionon each, from what remains, seems to be rather simple without very much overlappingof the figures. 378, the neck of a loutrophorosdecoand rated with pairs of mourners,is the exception. It goes with the other loutrophoroiby Lydos,96 the sphinx or siren in the frieze below the mournersis a less decorativeversion of the sphinxes on The youth finds his counterpartin the men on the neck-amphora the neck-amphorain Florence.97 in the Louvre and on the column-kraterin London, as well as in the youth on the column-kraterin The frontal chariot on 627 (an infrequent subjectfor Lydos who preferredto draw his Salonica.98 horses in profile) compareswith that on Louvre E 868, and the ivy framingthe sides of the panel of + this hydria is simpler and plainer than that on the slightly later hydriai in Gttingen (Gnttingen is close to Siana kothon his the known in the Kerameikos.99 and Cab. Med.) 1262, by Lydos, only of the century. The hair of is nearer to the middle chalice a in Herakleion.100 1447, fragment, cup the figures is still solid, but the X decorationon the inside of the bride'sveil is a precursorof that on Five of the the Kerameikoscup where it is used abundantlyon the garments of the mourners.101 seven vases that may be by Lydos comparebest with his early work: 172 (P1.21), 430 (PI. 42), 628 (PI. 60), 790 (PI. 74), and 1475 (P1. 100). The last, a skyphos, is of special interest, for if it is by Lydos, it adds a new shape to his already wide repertory.The key pattern on 790, a fragmentof a the drawing of the cock is lekythos, is slightly simpler than the one on the lekythos in Riehen;102 closest to the early ones by Lydos. The next two vases by Lydos himself are not much later than thosejust discussed.789 (PI. 74) is an early shoulderedlekythos. Here, the hair of the figures is still solid and the women's flesh left black as it was on 1262 (PI. 89),103 but there is more pattern incised on the drapery,and the composition is more ambitiousthan the one on the kothon, 1262. The scene on 789 depictsa successful hunter returning home with his quarry, welcomed by a man and two women, perhaps his family.
94 Animal frieze:e.g. Louvre F 29

(footnote91 above,p. 83).

pls. 7:,, 8, 9); Salonica, inv. no. 825 (ABV 108, 10; Tiverios,
pl. 70:A3). 99 Louvre E 868 (footnote 98 above); Gottingen + Cab.

Animals by themselves: Harvard, Fogg 1925.30.125 (ABV 108, 9; Tiverios, pl. 19:,B). Tyrrhenian scheme: Florence 70995

(ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23).
95 For examples of the latter, cf. particularly Akropolis 607 (footnote 91 above, p. 83) and New York, M.M.A. 31.11.11 (footnote 93 above, p. 83).
96 Tiverios, p.

Med. (ABV 109, 19; Tiverios, pl. 31); Kerameikosn.n. (Paralip. 45; Tiverios, pl. 29). 100Herakleion 217 (ABV 684, 71 bis; Tiverios, pls. 14:,3, 15-17:a).

109, note 234. 97Florence 70995 (footnote94 above). 98 Louvre E 868 (ABV 110, 30; Tiverios, pls. 3, 4:a); Lon(ABV 108, 8; Paralip. 44, 8; Tiverios,

101 Kerameikosn.n. (ABV 113, 81; Paralip. 45, 81; Tiverios, pls. 42-44). 102 Riehen, Kuhn Coll. (ABV 111, 41; Tiverios, pl. 65:a).

don, B.M. 1948.10-15.1

For this detail, cf. Tiverios, p. 121, note 451.



He is accompaniedby his dog and precededby a chariot.104 1446 (PI. 99) is a chalice fragment, similar to 1447 (PI. 99) but with surer and finer drawing. The woman's hair and the horse'smane are finely incised, even the teeth of the horse are included,and the scale patternembellishesthe skirt of the woman's peplos. 1446 is closest to the lovely fragment from Delphi, probably a columnkrater, that preserves part of the right trace horse of a frontal chariot and a siren flying to left.105 435 (PI. 43), a fragmentof a column-kraterthat may be by Lydos, belongs here. From the little that remains of the two horses, the scene showed either two horsemen or a horseman leading a void horse, similar to the one on the Kerameikoshydria. The rest of the vases are late works. The scene on 49 (Pl. 6), a small panel amphora by Lydos himself, was probably much like the one on the Kerameikoshydria but later, a conclusionreached independently by Tiverios.10650 (PI. 6), two fragments of what must have been a splendid ambut for phora, bore a similar subject.It is almost a replica of the painter'smasterpiecein Naples,107 the absence of ornament above the panel. It has the same monumental quality, refined elegance, and restraineddrawing as the Naples amphora. 1349 (P1.93), the lid of a lekanis, is our latest vase firmly attributedto Lydos, at least to judge by the three-dimensionalfolds of the warrior'schiton.108 It probably had an uninterrupted battle scene, and the compositionwas very likely a more ambitious version of the fight on one of Lydos' Siana cups in Taranto,109 but the amount of overlapThe ping of the warriors'legs on 1349 suggests a much later date than the cup, one of about 540 B.C. last piece in this section on Lydos is 51 (P1. 7), an amphora fragmentthat shows a satyr about to drink from a horn. Many of the details unmistakablyrecall Lydos, but it is not certain if the hand is his. Besides the ten vases firmly attributedto Lydos and the seven that may be by him, seven others, 436,437 (PI. 43), 442-445 (P1.43), and 1350 (P1.93), are in his manner,and three more, 439-441 (Pl. 43), are related. All but one of these, 1350, the lid of a lekanis, are column-kraters. 436, a wellpreserved krater, and 1350 are good examples of the animal style connectedwith Lydos. 437, a shoulder fragment added here, goes with another in his manner in the Louvre. The rest of the kraters in his manner, 442-445, are handle-plates decoratedwith a bird, three of them preening. The three pieces relatedto Lydos are also handle-platesbut are decoratedwith human heads facing to left, a favoritedecorationfor handle-plates (above, p. 25). 439 has a man and a woman; 440 and 441, both attributedhere, have a single male head. Painter of LouvreF 6 and Painter of Vatican309 In Paralipomena (p. 47) Beazley suggestedthat 442-445 might be by the Painter of Louvre F 6, but he kept these four kratersin his list of vases in the manner of Lydos without cross-listingthem. We are inclined to do the same, even though the sketchiness of the drawing seems closer to the Painter of Louvre F 6 than it does to Lydos, but without more to go on, it is perhaps preferableto leave them where they are. The Painter of Louvre F 6 is a conservative,old-fashionedartist who is linked with Lydos chiefly through his animals.1"0 The drawing on his earlier vases is finer and more elaboratethan in his later work, which exhibits marksof hastiness. Throughout his careerhe pays scant attentionto details of anatomyand rarely embellishesgarmentswith patternsother than
104For scenes of hunters, cf. M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 37-38. 105 Paralip. 46; Tiverios, p. 102, note 122 for the interpretation of the scene, and pl. 70:8. The flying siren brings to mind the one on the obverseof Louvre F 53, a nearly contemporary, special one-piece amphora signed by Exekias as potter but attributed to Group E (ABV 136, 49; Paralip. 55, 49).

Tiverios, p. 105, note 176. Naples, N.M. 2770 (footnote93 above, p. 83). 108 Tiverios (p. 122, note 467) also considersthis a late work. 109Taranto 52130 (ABV 112, 67; Paralip. 44, 67; Tiverios, pl. 13). 110 ABV 123-129; Paralip. 50-53.




broad stripes. The Painter of Louvre F 6 decoratesa good variety of shapes, but his subjectsare frequently repetitious. He shows a marked preference for departure scenes and combats, often flankedby spectators. Ten vases from the Agora were attributedby Beazley to the Painter of Louvre F 6: 54-56 (PI. 7), 58 and 59 (P. 8), 447 and 448 (PI. 44), 561 (PI. 54), 768 (P1.72), and 1922 (P1. 122). 449 may be by him, and two others, 57 (PI. 7) and 1351 (PI. 93), are in his manner. These are mostly columnkratersand amphorae. 561 is a stand, 768 an oinochoe.All but one are late in the painter's career. 54 is the exception for it is closest to the painter'slebes in Houston,11 one of his best vases. The late work of the Painter of Louvre F 6 leads on to the Ready Painter, also a somewhat old-fashioned artist. 1330 (P1.92), a lekanis with its cover,is near him. Like the Painter of Louvre F 6, the Painter of Vatican 309, who is the second companion of Lydos, is also linked to the masterchiefly by his animal style." 2 His known output, however,is only about one-third that of the other two painters. The quality of his drawing is frequentlyhigher than that of the Painter of Louvre F 6, and his style is closestto the early phase of Lydos. 13The Painter of Vatican 309 decoratesmainly ovoid neck-amphorae,although he has left us a few hydriai and column-kraters,one of the latter, 446 (P1. 43), from the Agora, two amphorae, and a plate. 176 (P1. 21) may be addedto his ovoid neck-amphorae. In the third quarterof the 6th century,Attic black-figurepaintersachievetheir greatestdistinction. This is the period of the Amasis Painter and Exekias, the two great masters of Attic black figure. Alongside these two are many other able artists who, although not nearly so skilled, have nevertheless left us a good many vases of high quality. They are painters such as the Painter of Berlin 1686, those of the PrincetonGroup, the Swing Painter, and the paintersof Group E, just to mention a few whose work may be dated between 550 and 530 B.C. After them come artists such as the Lysippides Painter, who was probably a pupil of Exekias, the Antimenes Painter and his group, and Psiax, all important artists who begin working between 530 and 520 B.C. but who continue well beyond. In the third quarterof the 6th century,the workshopof the potter Nikosthenes also comes into prominence. Exekias The work of Exekias, who signs as both potter and painter, demonstratesmore clearly than that of any other black-figureartist the brilliant resultsthat may be achievedwithin the strict limitations of this technique, and his accomplishmentremains unrivaledthroughoutall Attic black figure.'"4 Although his known output hardly exceeds 35 vases, from these the mark of his genius is clear. As potter, he fashions new shapes or reworksold ones. As painter, he understandsbetterthan most the integral relationshipbetween the shape of a vase and its decoration,both ornamentand figures. He has an unparalleled sureness of drawing and an unfailing eye for subtle details that enliven his compositions.In Exekias' narratives,a somber mood and a dignified calmness often prevail. Frequently, the moment shown is the one that precedesor follows that of the greatest drama, in contrast to the custom of Archaic artists who prefer lively movementand vigorous gestures instead of understatedemotion or allusion to action past or future. This restraint combinedwith the monumentality of his figures and his sensitivity to human situations will not be seen again in Greek art until the Classical era.
11 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166:a-e). 112ABV 120-123; Paralip. 49-50. 113 Compare,e.g., his namepiece(ABV 121,7; Paralip. 49,7) with Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pis. 22, 23) or Brunswick241 (ABV 122,21) with the hydria in Berlin (ABV 108, 15; Tiverios, pls. 4:/, 5). 14 For Exekias himself, cf. ABV 143-146; Paralip. 59-61; M. B. Moore, AJA 84, 1980, pp. 417-434, with bibliography since Paralipomenaappeared.



Group E and the Lysippides Painter So far, no vase found in the Agora proper has been attributedto Exekias himself or even to his manner. The painters of Group E, who form the backgroundfor Exekias and to whose vases his early work is closely related, are representedby only two vases, 74 (PI. 9), a panel amphora attributedby Beazley, and 632 (PI. 60), a shoulderedhydria addedhere.115 The representationof the Birth of Athena on 74 was probably similar to the one on Berlin 1699, and the frontal chariot without flanking figures on 632 is a favorite subject among painters of Group E.116None of the painters around Group E and Exekias, such as the Painter of the Vatican Mourner, the Towry Whyte Painter, or the Painter of London B 174, seems to appear in the Agora black figure.117 Neither are there any vases by Exekias' follower and pupil, the Lysippides Painter, although two panel amphorae in his manner, 86 and 87 (PI. 10), are attributed here. All this may be purely fortuitous, but it may also indicate that these painters worked for clients outside the Agora. The provenancesof many of their vases are known, and, as is to be expected, the greatest number of them were found in Etruscan Italy, chiefly at Vulci and Cervetri.But of those found in Greece, it is perhaps worth noting that almost all seem to come from dedicatoryor funerarycontexts, in particular the Akropolisand the Kerameikos.118 While any results drawn from such observationsmust be used with extreme caution, they may, however, reflect economicfactors influencing the Athenian ceramicindustry. Amasis Painter With the Amasis Painter we are more fortunate,for three vases from the Agora are attributedto him, and two others may be by him. Amasis signs as potter only, whence the painter takes his The Amasis Painter's career spans at least four decades,beginning in the second quarter name.119 of the 6th century and lasting until ca. 520 B.C. or slightly later.120 Well over 130 of his vases have survived.The Amasis Painter decoratesa wide variety of shapes ranging in size from very small to His early work has its greatestkinship with paintquite large and including some that are rare.121 ers of Siana cups, particularlythe Heidelberg Painter and to a certain extent with Kleitias, espec1257 (P1. 88), the ially with regard to his precise drawing and attention to ornamentaldetails.122 earliest Attic black-figuredalabastron,is one of the Amasis Painter's very early works. The generous amount of space between the figures suggests that it predates slightly another of his small vases, the exquisite aryballos in New York.123 Here, too, the figures are loosely grouped, but they are closer together, and there is more overlapping.An ornamentallink between the two vases is the step pattern above the figures on 1257, which reappearson top of the mouth of the aryballosbut is rare elsewhere.124
For Group E, cf. ABV 133-138; Paralip. 54-57. Berlin 1699 (ABV 136, 53; Paralip. 55, 53); for examples of frontal chariots, cf. New York, M.M.A. 56.171.12 (ABV 134, 22; Paralip. 55, 22) or Munich 1380 (ABV 135, 34). 117 I.e., those painters on pp. 138-143 of ABVand pp. 57-59 of Paralip. 118 A tabulation of the Greek findspotsfor these painters may be of interest. Group E: Copenhagen, inv. no. 7068 (ABV 134, 14), from Thebes accordingto the vendor (C. Blinckenbergand K. Friis Johansen in CVA, Copenhagen 3 [Denmark 3], p. 83); Akropolis 821 (ABV 136, 51); Akropolis 789 (ABV 137, 64); Akropolis 790 (ABV 137, 65); Kerameikos,inv. no. 1682 (ABV 137, 66; Paralip. 55, 66); Akropolis 649 and 650 (ABV 137, 67); Akropolis 648 (ABV 137, 68); Kerameikosn.n. (ABV 138, 70). Near Group E: three loutrophoroi in the Kerameikos (ABV 139, 13-15). Exekias: Agora, North Slope A-P 1044 (ABV 145, 19; Paralip. 60, 19); Berlin 1811-1826, from Athens (ABV 146, 22; Paralip. 60, 22); Athens, N.M. 2414116 115

2417 (ABV 146, 23; Paralip. 60, 23); Brauron, from Myrrhinous (Paralip. 61); Athens, N.M. 1044 (ABV 147, 5), from Corinth (CC 692). Manner of Exekias: Akropolis 853 (ABV 147, 7); Akropolis 926 (ABV 147, 8); Athens, N.M., from Pharsalos (ABV 148, 9); Akropolis 647 (ABV 148, 10). So far, the work of the Lysippides Painter has not been found in mainland Greece. 119 ABV 150-158; Paralip. 62-67; Bothmer,AmasisPainter, passim. On his name, cf. J. Boardman,JHS 78, 1958, pp. 1-3. 120 For the range in time, cf. Bothmer,AmasisPainter, p. 239. 121 The varietyin shape of the signedvases is also large. For a list, cf. footnote 11 above, p. 44. All these are mature or late works. 122 S. Karouzou (Amasis Painter, p. 28) suggests that the Amasis Painter may have been a pupil of Kleitias. 123 New York, M.M.A. 62.11.11 (Paralip. 66-67; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). 124 Later it appears on two lekythoi: London, B.M. B 548



The middle and late works of the Amasis Painter, to which 95 (PI. 11) and 681 (PI. 66) belong, are contemporarywith vases by the painters of Group E, Lydos, and Exekias, but he seems not to be influencedby these artists. The drawing of the Amasis Painter lacksthe vigor and expressiveness of Exekias and Lydos, but always it is delicate and sure, the ornamentalpatternsclear and precise, and the relationshipbetween shape and decorationwell understood.The Amasis Painter's compositions are generally less ambitious than those by Exekias, and sometimesthey may be rather repetitious, but they are never dull. Occasionally,he paints subjectsthat are quite rare, such as Achilleus receiving his armor, horse taming, boisterous satyrs making wine, or the stable of Poseidon, which seems to be unique.'25If the illustration on 681 is mythological,it may representDionysos and Ikarios or Dionysos and Oinopion, both unusual subjects. Two other Agora fragmentsfrom this period may be by the Amasis Painter. 779 (P1.73), a small fragmentof an olpe or an oinochoe,was attributedby H. R. W. Smith. Very little remains,and it is difficultto be certain of the attribution,but if it is by the painter, it is one of his slighter pieces. Of more interest is 1753 (P1. 113), which comes from an eye-cup. It shows part of an eye and on the right the back of a woman's head and neck. Her flesh is reserved,which finds good parallels in the best work of the Amasis Painter, and the careful incision comparesfavorably,yet an attributionis not completelycertain. Painter of Berlin 1686, Swing Painter, Painter of Munich 1410 Other pot painters contemporarywith Exekias and the Amasis Painter are representedin the black figure from the Agora. 73 (PI. 9), a fragmentof a panel amphora,recallsthe Painterof Berlin 1686, whose slightly more than two dozen vases consist mainly of one-piece amphorae and neckamphorae, although he may have decorateda hydria.'26 The quality of his work is about equal to that of the painters around Group E. He paints several differentmythologicalthemes and has also left us two unusual representations,a feast in honor of Athena, which appears on his namepiece, on another amphorain Berlin.'2773 probablyshowed a fight flankedby and a chorus of "knights" spectators,similar to one by the painter himself, once in the Basel Market.'28 A younger contemporaryof the Painter of Berlin 1686 is the Swing Painter who takes his name from the amphora in Boston that shows a girl on a swing.'29His known output numberswell over one hundred vases, most of which are panel amphoraeand neck-amphorae,but he has also left us hydriai, Panathenaic amphorae, a loutrophoros,and perhaps also a column-kraterand a lebes.130 The quality of his work varies considerably,from well-planned compositionswith carefullydrawn
(ABV 154, 58; Bothmer, Amasis Painter, pp. 188-189, cat. no. 49) and Montclair (N.J.), Dusenbery (ABV 155, 59; Paralip. 64, 59; Bothmer,Amasis Painter, pp. 190-191, cat. no. 50). 125 Achilleus receivingarmor:Boston 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pl. 27 [649]:2;Bothmer, Amasis Painter, pp. 134-137, cat. no. 25). Horse taming: Leningrad, inv. no. 161 (ABV 151, 15; Paralip. 63, 15; Bothmer, Amasis Painter, p. 195, fig. 102) and New York, M.M.A. 62.11.11 (footnote 123 above, p. 87). Satyrs making wine: Wirzburg 265 (ABV 151, 22; Paralip. 63, 22; Bothmer, Amasis Painter, pp. 113-117, cat. no. 19) and Basel (Paralip. 65; Bothmer,Amasis Painter, p. 46, fig. 40:a), and also Kavala 983 a (Paralip. 65; Bothmer, Amasis Painter, p. 116, fig. 70) and the new fragment found at Samos (AA [JdI 95], 1980, p. 341, fig. 7; Bothmer,Amasis Painter, p. 116, fig. 71). Stable of Poseidon: King's Point, Schimmel (Paralip. 67; Bothmer, Amasis Painter, pp. 217-220, cat. no. 60). 126 ABV 296-297; Paralip. 128-129. For a hydria that should be by him, cf. LouvreC 10651 (CVA, Louvre 11 [France 18], pl. 135 [808]). Compare with this: London, B.M. B 197 (ABV 296, 1; Paralip. 128, 1); Orvieto, Faina 73 (ABV 296, 2; Paralip. 128, 2); and Munich 1375 (ABV 297, 15). 127 Berlin 1686 (ABV 296, 4; Paralip. 128, 4); Berlin 1697 (ABV 297, 17; Paralip. 128, 17).

Boston, M.F.A. 98.918 (ABV 306, 41; Paralip. 132, 41; CVA, Boston 1 [USA 14], pl. 4 [626]:2; Bohr, Schaukelmaler, pls. 64:1 and 191:e). For the rest of the painter'swork, cf. AB V 304-310; Paralip. 132-135. For a comprehensivemonograph, cf. Bohr, Schaukelmaler. 130 For the column-krater, cf. Leningrad 1524 (St. 55), judged by Beazley as "probablyby the Swing Painter" (ABV 310; Bohr, Schaukelmaler,pl. 144). The lebes is an unpublished fragmentin the Vlasto collectionknown to us from Bothmer's photograph. It depicts the departureof a chariot and in style compares best with these: Vatican G 36 (ABV 304, 1; Bohr, Schaukelmaler, pl. 1); Boston, M.F.A. 89.257 (ABV304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1;B6hr, Schaukelmaler,


Paralip. 129, 14 bis.



figures to those that have a rough and ready character.Three vases by the Swing Painter have been found in the Agora. 77 (PI. 9), a panel amphora, preserves part of a satyr, very likely one that accompaniedDionysos, and it belongs with his other amphoraethat have abovethe panel the same inverted lotus-bud frieze with thick links.'31190 (PI. 23), a neck-amphora,shows a wedded pair, presumably in a chariot (given their high position on the vase), a subject that does not seem to appear again in the work of the Swing Painter. In style, it seems to comparefavorablywith some of his early vases such as one of the amphoraein Boston.32 1883 (P1. 120), a closedvase of uncertain shape, is slightly later. It preserves part of Herakles and the Lion, probablyconfronted,with the lion's head turned around. This scheme offers a variant of the compositionused elsewhere by the Swing Painter, for these have either the hero and beast completelyfacing, or each moving to right with the head of the lion turned around.133 183 (PI. 22), a neck-amphoraof Panathenaic shape, with the and is probably contemporarywith his psykter-neckmay be compared Swing Painter, amphora in Boston where the garmentsof several figureshave the same pattern as Athena's peplos on 183.134 A vigorous artist near the Swing Painter is the Painter of Munich 1410 who has left us scarcelya dozen vases but each one of high quality.135 His panel amphorafrom the Agora, 82 (PI. 10), shows a mounted squire and a warrior dismounting. The next painters to be discussed, Nikosthenes, the Antimenes Painter, and Psiax, are contemporary with the first generationof Attic red-figureartists. Nikosthenes The signature of the potter Nikosthenes appears on nearly one hundred vases, far more frequently than that of any other artist, and his workshop producedmany differentkinds of vases, in Productsby Nikosthenes were mostly exported particular its own special type of neck-amphora.136 to Etruria, as the known provenances indicate; thus, very few of his vases have been found in Athens.'37In view of this, it is not surprising that only one by him, 1752, a fragmentaryfoot of a Droop cup with the first four letters of his name painted on the underside,has been found in the Agora. The painters of the Nicosthenic workshop stand somewhat apart from the mainstreamof
pl. 2); and Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pls. 33-35 [655-657]; B6hr, Schaukelmaler, pls. 132-135). 131 E.g., Vatican G 37 (ABV 305, 13; Bohr, Schaukelmaler, pi. 22); Conservatori 6 (72) (ABV 305, 17; Paralip. 132, 17; Bohr, Schaukelmaler,pl. 31); New York, David Rockefeller (ABV 306, 40; Paralip. 132, 40; Bohr, Schaukelmaler,pl. 48). These are without dots in the top interstices.For two with dots, cf. New York, M.M.A. 41.162.184 (ABV 305, 22; Paralip. 132, 22; Bohr, Schaukelmaler,pi. 41); Orvieto, Faina 52 (ABV 306, 31; Bohr, Schaukelmaler,pl. 7). It is uncertainif 77 (PI. 9) had dots. 132 Boston, M.F.A. 89.257 (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1; Bohr, Schaukelmaler,pi. 2). 133For the two completely facing, cf. Naples, N.M. 2503 (ABV 305, 26; B6hr, Schaukelmaler,pl. 6) and Munich 1395 (ABV 305, 24; Bohr, Schaukelmaler,pl. 34); for the two moving to right, the lion's head turned around, cf. Berlin 1693 (ABV 305, 25; Bohr, Schaukelmaler,pl. 24). To judge from Jahn's description of Munich 1559 (ABV 308, 75), unpublished and destroyed in World War II, the composition of Herakles and the Lion may have been similar to 1883 (PI. 120). 134 Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pls. 33-35 [655-657]; Bohr, Schaukelmaler, pls. 132-135).
135 ABV

311; Paralip. 135.

Cf. ABV 216-235; Paralip. 104-109; ARV2 122-123. For his white-ground work, cf. Mertens, Attic White Ground, pp. 31-33; for his kyathoi, cf. M. Eisman, Attic KyathoiPainters, diss. University of Pennsylvania1971 (availableUniversity Microfilms International,no. 72-17,345), pp. 54-76. 137 All are very fragmentary. Cf. two Little-Master cups: Akropolis 1748 (ABV 230, 2) and Akropolis 1746 (ABV 230, 3); two other cups of uncertaintype: Akropolis 1749 (ABV 232, 17) and Akropolis 1747 (ABV 232, 18); four skyphoi of Corinthian type: Akropolis 1409 (ABV 233, 1), Akropolis 1411 (ABV 233, 2), Akropolis n.n. (ABV 233, 3), and Akropolis 1410 (ABV 234); two lids or the like: Akropolis 1296 (ABV 234) and Akropolis 1297 (ABV 234); and a fragment of uncertain shape: Akropolis 1408a (ABV 234). In addition, an unsigned plate, Akropolis 2414 (ABV 233), has been connected with Nikosthenes on the basis of its similarity to a signed cup Type A, Louvre F 123 (ABV 231, 8; Paralip. 109, 8; Callipolitis-Feytmans, Les plats attiques, p. 305, no. A I, 51, pi. 9 and fig. 14).



Attic black figure, although recently Psiax has been connectedwith Nikosthenes, chiefly through The career of Nikosthenes begins early in the third quarter of the 6th his use of white ground.138 and from the evihis as indicated by signed cup in Oxford that is decoratedby Lydos,139 century, dence of other signed vases, a kyathos painted by Oltos, a cup and a kantharosby Epiktetos,'40he continues to work until roughly 515-510 B.C.His name appears on vases decorated in a wide varietyof techniques:black figure, red figure, bilingual, white ground,and Six's technique.And the subjectsdecoratinghis vases are equally varied. AntimenesPainter The Antimenes Painter, who takes his name from a hydria in Leyden that praisesAntimenes,141 is one of the chief painters of standard neck-amphoraeand hydriai, but he also decoratedpanel amphorae,calyx-kraters,psykters,includingone signed by Nikosthenes,and a dinos.'42His career begins about 530 B.C.and lasts for approximatelytwo decades.The Antimenes Painter may have been a pupil of Lydos,'43for the massiveness and the proportions of his figures bear a certain relationshipto the older artist, but there is less incision, less interestin patternand texture, and less overlapping of figures than in the work of Lydos. In the Agora black figure, only 89 (P1. 10), a panel amphora with Herakles, one of the painter's favorite subjects,is by the Antimenes Painter himself. 90 (P1. 11), another panel amphora,preservespart of the Birth of Athena that in composition is closest to one by the Antimenes Painter and thus may be by his hand, but so little remains that it is difficultto be certain. 361 (PI. 35) is by the painter or in his manner. Psiax Although the Antimenes Painter is contemporarywith the earliest red-figure artists, so far no vase in the new technique has been attributedto him. This is not the case with Psiax, the "brother" who signed two red-figuredalabastrathat also bear the signature of of the Antimenes Painter,144 the potter Hilinos.145Psiax worked for at least two other potters, as the vases signed by Andokides and Menon attest.146 Although the style of Psiax shares many similarities with that of the Anhe is a more experimentalartist, timenes Painter, particularlyon his larger black-figuredvases,147 and his style is more refined, more ornamental. He also decorates a greater variety of shapes, particularlysmall ones, than the Antimenes Painter. But the most importantdistinctionis Psiax's use of varioustechniques in innovativeways. Besides decoratingvases completelyin black figure or
Cf. J. Mertens, AK 22, 1979, pp. 27-30. Oxford 1966.768 (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:/8, y); also the amphora by Lydos in Nikosia, C 440 (ABV 109, 28; 229; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) has the same shape as the one in the Villa Giulia signedby Nikosthenes (ABV 229). 140 Oltos: Florence 2 B 11 (ARV2 54, 8). Epiktetos:Wiirzburg 468 (ARV2 45, 105 and 71, 8) and Odessa (ARV2 77, 87; G. Sokolov,AntiqueArt on the Northern Black Sea Coast,Leningrad 1974, p. 26, figs. 5, 6). 141 Leyden PC 63 (ABV 266, 1; Paralip. 117, 1; CVA, Leiden 1 [Netherlands 3], pls. 13-16 [107-110]:3). 142 For the painter himself, cf. ABV 266-275; Paralip. 117121; M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 34-38; for his use of white ground, cf. Mertens, Attic WhiteGround,pp. 40-43; for the psyktersigned by Nikosthenes, cf. footnote 2 bis above, p. 20. 143 Beazley, Development, p. 79. 144 of the Antimenes Painter, cf. For Psiax as the "brother"
139 138

Beazley, Development,p. 79; AB V 292. 145 Karlsruhe 242 (ARV2 7, 4; Paralip. 321, 4); Odessa (AR V2 7, 5). For the rest of his work, cf. ABV 292-295; Paralip. 127-128; ARV2 6-9; Paralip. 321. For his bilingual work, cf. B. Cohen, Attic Bilingual Vases and their Painters, New York 1978, pp. 195-239; for his black-figuredplates, cf. Callipolitis-Feytmans,Les plats attiques, pp. 376-377; for his kyathoi, cf. Eisman, op. cit. (footnote 136 above, p. 89), esp. pp. 125-174; for his white-ground vases, cf. J. R. Mertens, Attic White Ground, pp. 35-40; also, Kurtz, Athenian White Lekythoi, pp. 9-12; most recently, Mertens, AK 22, 1979, pp. 22-37. 146 Andokides: London, B.M. 1980.11-29.1 ex Castle Ashby, black figure (ABV 293, 7; Paralip. 127, 7; CVA, Castle Ashby [GB 15], pls. 6, 7 [661, 662]:1) and Madrid 11008, bilingual (ABV 294, 24; ARV2 7, 2; Paralip. 321, 2). Menon: Philadelphia 5399 (ARV2 7, 3). 147 Cf. Beazley, Development.pp. 79-80; J. R. Mertens, AK 22, 1979, p. 34.



in red figure, Psiax has also left us two bilingual amphorae,severalvesselswith the figureson white ground, and one example each of Six's technique and coral red. Most importanthere is his use of white ground, for Psiax is the first artist to decoratea significantnumber of vases in this technique and to cover the entire surface with white slip before drawing the figures.148 817 (P1. 75), three is the earliest of a of the preservedexample white-groundtechnique from fragments large lekythos, the Agora and may be by Psiax himself, or at least is near him. In any case, it is the only Agora black-figuredvase linked with this artist. A unique feature of 817 is the predella below the main zone, which finds its best parallel on loutrophoroiand funeraryplaques. The drawing seems closest to that on his very fine white-ground plate in Basel.'49 Contemporary with these pot painters just discussed are those who specialize in small vessels, chiefly cups, lekythoi, and skyphoi, and also oinochoai. Although the names of many potters of small vases working between 550 and 520 B.C.are known from their signatures and numerous artists, groups, and classes have been identified,the work of surprisinglyfew has been found in the Agora. Pottersand painters of Little Master, Proto-A,and Type A cups Among the specialists in Little Master cups, the potting signatures of only two are known for certain in the Agora, both on very fragmentaryvessels. 1473 is a skyphos signed by Hermogenes, and 1686 is a lip-cup by Tleson with only part of the signature remaining,150 but the restorationis Three 1744 and 1811 which be others, 1743, (PI. 112), likely. (PI. 116), may a Gordion cup, give just part of the verb. None of these has any of the figured decorationleft. The most completely preserved, attributed Little Master cup from the Agora is 1708 (PI. 111), the namepiece of the Painter of Agora P 1241. It is decoratedwith satyrs and maenads, as are his other two band-cups, which comprisethe rest of his known work.15' 1924 (P1. 122) is a small fragmentof a Gordioncup or a Hermogenian skyphosthat recalls the Taleides Painter who, besidessmall vases, also decorates amphoraeand hydriai, the most famous being the hydria in the Louvrewhich is signed by Timagoras as potter and praises Andokides.'52 Other contemporarypainters specialize in a different kind of cup, the Proto-A or Type A. These artists are fewer in number than decoratorsof Little Master cups, but like them none has signed his name to a vase, although one potting signature is preserved.153 The work of only one, the Marmaro Painter,'54has been found in the Agora: 1426 the (P1.97), leg of a tripod-plate,with a lively scene of Herakles attackingthree Amazons,a subject also representedon his other vases known to us, two cups. Painters of small lekythoi Around the middle of the 6th century B.C. comes the first of a long series of painterswho specialize in small lekythoi.155 Among the earliest are those of the Dolphin Group which gets its name from the two leaping dolphins that often decoratethe shoulder.156 Two of their lekythoi, 797 and 798 (P1. 75), the latter a well-preservedexample of the rather rare sub-Deianeira type, have been
148Mertens (Attic WhiteGround,p. 42) makes the point that other contemporaryartists who use white ground, in particular the Antimenes Painter, use it to emphasize structuraldetails of their vases, not to furnish a backgroundfor the decorationas a whole. 149 ABV 294, 21; Paralip. 128, 21; Callipolitis-Feytmans, Les plats attiques, p. 377, no. 5, pl. 73, fig. 60; Mertens, Attic White Ground,pi. 4:1. 150 Hermogenes: ABV 164-166; Paralip. 68. Tleson: ABV

179-183; Paralip. 74-76. 151 ABV 191; Paralip. 79. 152 Louvre F 38 (ABV 174, 7; Paralip. 72, 7). 153 Louvre CA 1778, signed by Timenor (ABV 201). 14 ABV 198. '5s ABV, chap. 32. 156 ABL, pp. 14-16, 193-194; ABV 457-459; Paralip. 199200. For the Euboeanaspectof this group, cf. footnote13 above, pp.44-45.



found in the Agora, as well as a third, 796, which is related.Neither of the two shoulderedlekythoi, 796 and 797, has the dolphins on the shoulder, and all three are connectedwith the group by the style of drawing. Linked with the Dolphin Group but more carelessin executionare the lekythoiof the Fat-runner Group, named after the amply proportionedrunner between spectatorsthat ap802 deviates from the usual composition pears on most of them, including 800 (PI. 75) and 801.157 by showing a sphinx between youths. The same representationappears on Vatican 448, which is near the lekythoi in the Group of Vatican G. 52.158 The painters of the Group of Vatican G. 52 descend from the Painter of Louvre F 6 and those immediately around him.159Nine lekythoi, 805-813 (PI. 75), belongingto the Group of Vatican G. 52 have been found in the Agora. These are small vessels with simple decoration often composed of three standing figures, r one figure in motion between spectators.An upright palmettebetween ivy leaves comprisesthe shoulderdecoration. These painters also decorated amphorae, neck-amphorae,hydriai, and small oinochoai of Shape I. Near the Group of Vatican G. 52 is the North Slope Group, also connected with the Painter of Louvre F 6.160 Small size and hasty drawing characterizetheir work, including60 (P. 8) and 748, a small panel amphoraand a chous. Contemporarybut of somewhathigher quality is 683 (PI. 66), an olpe near the Honolulu Class that shows the departureof a warrior. 1409 (PI. 96), a small, late 6th-centuryplate attributedby Callipolitis-Feytmansto the Workshopof Delos 636, is related to the late work of the Painter of Louvre F 6.161 Groupof the OxfordLid Also of mid-century is the Group of the Oxford Lid, a group of painters who decoratemainly Like the small skyphoi of Corinthian type, although the namepiece and one other are pyxides.162 type of skyphos preferredby these painters, their style of drawing is rather old-fashioned,tending toward confrontedpairs of animals or monsters,with rosettesfor filling ornament.Three fragmentary skyphoi from the Agora, 1463-1465 (P1. 99), were attributedby Beazley, and one, 1466, was comparedby him with the group, to which a second, 1467, is addedhere. In the last two decades of the 6th century B.C., the more talented artists turn to the red-figure technique, which gradually becomesthe predominantone, although black figure of high quality is still produced, notably by some of the Antimenean painters, the Priam Painter and the Rycroft Painter, and also painters of the Leagros Group. The work of other, less productiveand less able pot painters helps to round out the picture of large vases decoratedin Attic black figure during this time. Far more numerousand prolificare the painters who specialize in small vessels, in particular lekythoi. Most importantof these are the EdinburghPainter, the Theseus Painter, the Gela Painter, and also painters of the Cock Group and the Phanyllis Group, all of whose work continuesinto the early 5th century B.C. In this period, there are very few signaturesand none in the Agora black figure. Groupof Wurzburg 199 and the Michigan Painter Although a good many pot painters working in the late 6th century are known, very few of their vases have been found in the Agora. One of the earliest is 502 (PI. 47), a calyx-kraterattributedby which belongs to the circle of the Antimenes Painter. Beazley to the Group of Wurzburg 199,163
157 ABL, pp. 16-18; ABV459-460;

Paralip. 201-202.

'58 ABV 460, 12. 159 ABV 460-462; Paralip. 202-203. 160 ABV 129.

Callipolitis-Feytmans, Les plats attiques, p. 329, no. 44, pl. 40 and fig. 44. 162 ABV 616-617; Paralip. 306. 163 ABV 287-290; Paralip. 126.




239 (PI. 28) is a contemporary,prize Panathenaicamphoraattributedhere to the Michigan Paintwho is the only black-figure artist to decoratemany stamnoi,165 a shape known primarily in er,164 red figure. Leagros Group The painters of the Leagros Group, which gets its name from the kalos inscriptionon five blackIts 300-odd known vases consist figured hydriai, produce the last importantblack-figuredpots.166 of and the favorite mainly hydriai neck-amphorae, group's shapes, panel amphorae, and a few column-kraters,as well as about 40 lekythoi. Examples of other shapes also appear but are few in number. Significantly, perhaps, the two known examples of volute-kratersin this group, 492 and 493 (PI. 47), are from the Agora. Each is a neck fragment decoratedwith a chariot and warriors. And if our attributionof 505 (PI. 48) is correct,it adds a new shape, the calyx-krater,to the group. 569-573, fragments of cylindrical stands, also a shape hitherto unknown in the Leagros Group, comparebest with several of its vases and are probablyby one of its painters. Five other vases were attributedby Beazley: 197 (P1. 23), a neck-amphora;392 (P1. 38), a pelike; 654 (PI. 62), a hydria; and 818-820 (Pls. 76, 77), three lekythoi. Bold line combined with limited internal incision for anatomy and texture generally characterize the drawing of the Leagros Group painters and emphasize the heroic proportionsof their figures.Violent subjectsillustratedby rugged figureswith a vigorous gestures are preferredthemes. Of Leagran characteris the Painter of Munich 1519,167 of the Nikoxenos small whose is of standard Painter, companion output composed neck-amphorae and Panathenaics, 328 (P1. 33) being one of the latter. RycroftPainter and Painter of TarquiniaRC 684 7 Contemporarywith the Leagros Group, but very differentin spirit, is the RycroftPainter, who is related to Psiax.'68He decoratesmainly panel amphoraeand neck-amphoraebut also hydriai, and recently calyx-kratersand column-kratershave been addedto his known output of about 50 vases. 195 (P1.23) is a neck-amphoraattributedby Beazley, to which another, 196 (P1.23), is addedhere. Two other vases, also added here, are new shapes for the painter: 187, a neck-amphoraof Panathenaic shape and 513 (PI. 48), a lebes gamikos.470 (P1.45), a column-krater,is probablyby him, at least to judge by the drawing of the horses. A second lebes, 514 (P1.49), is either by the Rycroft Painter or by his close associate, the Painter of Tarquinia RC 6847,169 and a third, 512 (P1. 48), compares with the reverse of the latter's namepiece. The Rycroft Painter's incision is rather thin and sparse, which suggests a certain influence from red figure. He prefers quiet subjects with stately figures to those with violent action, and when he shows scenes of struggle, his figures never exhibit the same degree of intensity as those of the Leagros Group. Three other attributedpots may be dated in the late 6th centuryB.C. 99 and 100 (P1. 12) probably belong to the Hypobibazon Class, which takes its name from the amphora in the Kerameikosthat shows a warrior about to mount his horse.170 This class of amphoraType B has a very thick mouth that gives the vase a slightly top-heavy appearance,and a key pattern to left is the usual ornament above each panel, as on 99 and 100. An oddity of the class is the tongue pattern round the root of
ABV 343-344; Paralip. 156-157. B. Philippaki, The Attic Stamnos, Oxford 1967, pp. 1214,22. 166 ABV 354-382; Paralip. 161-167. 167 ABV 393-394; Paralip. 173. 168 ABV 335-338; Paralip. 148-150; J. R. Mertens, Indiana University Art Museum Bulletin, Bloomington (Ind.) 1979,


pp. 6-15; W. G. Moon, "Some New and Little-Known Vases by the Rycroftand Priam Painters,"Greek Vasesin the J. Paul Getty Museum 2, 1985, pp. 41-70. 169 ABV 338; Paralip. 150. 170 Kerameikos,inv. no. 48 (ABV 339, 2). For the rest of the vases of this class, cf. ABV 338-339; Paralip. 150. Bothmer adds a fragmentaryamphora in Stockholm,inv. no. 2228.



each handle. This ratherspecial shape survivesin red figure.'71100 is unusual for having Panathenaic subjects.Our last pot of this period is 650 (P1.62), a kalpis by the Painter of London B 343.172 EdinburghPainter Stylistically related to the Leagros Group, the Edinburgh Painter is the first artist to decorate many large cylinderlekythoi,'73which becomesthe type preferredby the betterpainters,especially red-figureones. Besides lekythoi, the EdinburghPainter decoratesother shapes, particularlysmall neck-amphorae,e.g. 215, and at least two panel amphorae of standard size are by him.174Two fragmentarycylinder lekythoi, 884 and 885 (Pl. 80), are by him, and a third, 886 (PI. 80), recalls him. 564 (PI. 54), a cylindricalstand with the Judgment of Paris, is by the painteror near him. The but none of his EdinburghPainter often coversthe picture surfaceof his lekythoiwith white slip,175 white-groundwork comes from the Agora. He paints a wide varietyof mythologicalsubjects,ranging from such well-known favoritesas Herakles and the Lion to rarerones such as Herakles in the His figures are lively and vigorous, his Garden of the Hesperides or Odysseus and the Sirens.176 compositionsclear and rather simple without too much overlappingof figures. TheseusPainter The Edinburgh Painter's cylinder lekythoi lead on to those by the Theseus Painter, an imaginative artist who begins his careerslightly later than the EdinburghPainter and continueswell past 500 B.C.177 He takes his name fromthe subjecton many of his vases, the deeds of Theseus. Although included by Beazley in his section on lekythoi painters in AB V and Paralipomena, the Theseus Painter decoratesmany shapes besides lekythoi'78and actually turns to them only ratherlate in his career.His early work is best understoodfrom his handsomelarge skyphoithat belong to the Heron and of his works found in the Agora, all but one, 1657 (PI. 107), a shallow cup-skyphos, Class,179 are skyphoiof this type: 1484-1496 (Pls. 100, 101). 1499 (P1. 102), which may be by him, and 1497 (PI. 102), which recalls him, are also skyphoi of the Heron Class. These take with them 1500, a The elegant spiral decoration slightly later Heron Class skyphos by the Painter of Rodin 1000.180 on 1657 reappears on a similarly decoratedcup, 1825 (P1. 117), that may be by the Painter of Nicosia C 975,181a contemporaryof the Theseus Painter. His other two similar cups, the namepiece in Nikosia and one in the Basel Market, are decoratedaccordingto the same principle as the three special cups by the Amasis Painter and thus offer a link with the older artist. Like the Edinburgh Painter, the Theseus Painter illustrates many mythological subjects and in addition also
Cf. D. von Bothmer,ArtBull 57, 1975, p. 121. ABV 342; Paralip. 154. 173 ABL, pp. 86-89, 215-221; ABV 476-480; Paralip. 217220; Kurtz, Athenian WhiteLekythoi,pp. 13-14. 174 London, B.M. B 170 (ABL, p. 220, no. 87); Wurzburg 266 (Langlotz, pls. 75, 77), an amphora Type A attributedby Bothmer;perhaps also Boston, M.F.A. 89.256 (Paralip. 115, 4 bis; CVA, Boston 1 [USA 14], pl. 10 [632] and the remarkson p. 7). 175 ABL, p. 89. 176 Normally the Edinburgh Painter shows Herakles and the Lion in the standing position (ABL, p. 88). On the lekythos in the Goulandris Collection (Paralip. 218; C. Doumas and L. Marangou, Exhibition of Ancient Greek Artfrom the N. P. GoulandrisCollection,Athens 1978, p. 288, no. 160), however, he shows the hero holding the beast upside down while he beats it with his club. To a certain extent, the compositionrecalls the one by the AndokidesPainter, which shows Herakles about to
171 172

hurl the lion (London, B.M. B 193: ARV 2 4, 8; Paralip. 320, 8), a scheme which recurson a late 6th-centurygem in Boston, M.F.A. 27.674 (J. Boardman,Archaic Greek Gems, London 1968, pl. 17, no. 254). For Herakles and the Hesperides in the work of the Edinburgh Painter, cf. Gela 125/B (ABL, p. 218, no. 46; Paralip. 217, 46; CVA, Gela 3 [Italy 54], pls. 17 [2394]:3, 4 and 18 [2395]:3, 4); for Odysseus and the Sirens, cf. Athens, N.M. 1130 (ABL, p. 217, no. 27; Paralip. 217, 27). 177 For the Theseus Painter, cf. ABL, pp. 141-147, 249-252; ABV 518-521; Paralip. 255-260; Kurtz, Athenian White Lekythoi, pp. 14-15. For his unusual scene of Herakles leading Lamia, cf. E. Vermeule, "Herakles Brings a Tribute," FestschriftBrommer,pp. 295-301. 178 Cf. the references in footnote 177 above. These include rare shapes like the alabastronand the neck-pelike. 179 For the characteristics of the group, cf. p. 60 above. 180 ABV 521-522. 181 Paralip. 99-100.



favors representationsof the komos and occasionally of athletes. His figures are amply proportioned and lively; his drawing is sometimesa bit sketchybut nonethelessattains a simple elegance. Gela Painter, Cock Group,and Phanyllis Group Contemporarywith the EdinburghPainter and the Theseus Painter are the Gela Painter and the painters of the Cock and Phanyllis Groups.'82 All of them specialize in lekythoi, and their careers extend beyond the turn of the century. Their types of lekythoi are discussedabove (pp. 45-46), and numerousexamples of them have been found in the Agora:Gela Painter 869-879 (PI. 79); Phanyllis Group: 824-836 (P1. 77); Cock Group: 793 (PI. 75) and 837-863 (P1. 78). The style of these painters never reaches the level achieved by the Edinburgh Painter and the Theseus Painter, although to some extent the Gela Painter shares the interest of these two in unusual subjects and mythologicalrepresentations.More often, their compositions,particularlythose of the Cock Group and the Phanyllis Group, are stock scenes, and their work signals the beginning of mass production of small lekythoi that will play such a significantrole in late Attic black figure. The Agora examples by these painters are for the most part standardproducts.793 (PI. 75), however,given its date in the third quarter of the 6th century,183 seems to be a very early example from the Cock Group, and the on it runners are to be associatedwith those of the Fat-runner Group. 822 (P1.77), a white-ground cylinder lekythos, may belong to the Capodimonte Group,184which is contemporarywith the paintersjust discussed. The drawing is similar, and it shares the same rare net pattern below the figures. OtherAttic black-figurepainters The largest number of black-figuredvases from the Agora are small lekythoi of poor quality, most of them belonging to the Class of Athens 581.185They are decoratedby numerous painters that form groups within the class. Many of the namepiecesof these groups come from the Agora, chiefly from a large well found beneath the Stoa of Attalos:the Group of Agora P 24340, 976-989 (PI. 83); of Agora P 24366, 990-993 (PI. 83); of Agora P 24377, 994-1001; of Agora P 24402, 1002-1008 (P1.83); of Agora P 24381, 1011-1014 (P1.83); of Agora P 24486, 1022-1026 (PI. 83); and of Agora P 24327, 1027-1029 (P1. 83). A few others belong to the Kalinderu Group, 10741089 (Pls. 84, 85) and 1113-1115, named after a lekythos in the Kalinderu Museum in Bucharest;186 others, 899 (PI. 81), 900 and 1099-1103, belong to the Geron Group which takes its name from the old man who appears on several of them.187 Numerous also are lekythoi in the mannerof the Haimon Painter, 1186-1236 (PI. 87).188 Many other painters who specialize in lekythoi are known, but the work of very few has been found in the Agora. There is an epinetronvery likely by the Sappho Painter, 1850 (P1. 118), and three vases near his companion,the Diosphos Painter.189 1160 (P1. 86) and 1161 are lekythoi; 1501 (P1. 102) is a skyphos. Four other lekythoi, 1177-1180 who are companionsof the Sappho Painter and the (P1.86), are by the Hound-and-hare Group,190
Gela Painter: ABL, pp. 78-86, 205-215; ABV 473-475; Paralip. 214-216; J. Hemelrijk, BABesch 49, 1974, pp. 117158. Phanyllis Group: ABL, pp. 64-66, 199-205; ABV 463466; Paralip. 206-208. Cock Group:ABL, pp. 67-68,108,109; ABV 466-471; Paralip. 208-212. 183 Compare the shape with those discussed by Haspels in ABL, chap. 2. 184 The association is made here. For the group, cf. Paralip. 214. 185 Above, pp. 46-47. 186 ABV 504, 12. For the work of the rest of the group, cf.

ABV 503-504; Paralip. 243-245. 187 Paralip. 224. 188 ABL, pp. 130-141, 241-249; ABV 539-571; Paralip. 269-287. 189ABL, pp. 94-130, 232-241; ABV 508-511; Paralip. 248250; C. H. E. Haspels, RA, 1972, pp. 103-109. Frel has suggested that the Sappho Painter is but a late phase of the Madrid Painter (J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vasesin the J. Paul Getty Museum 1, 1983, p. 35). 190 ABL, pp. 118, 230-231; ABV 514-515; Paralip. 253.



Diosphos Painter. One lekythos, 1181 (PI. 87), is attributedby Beazley to the Athena Painter, and 759 (Pl. 72), a chous, may be by him.19'Our last lekythos,1237 (Pl. 87), is a white-groundwork by Besidesthe archaeological the Pholos Painter who is closely associatedwith the Haimon Painter.192 importanceof these small ubiquitous lekythoi, their chief value lies in the various and sometimes rare subjects that decorate them. Examples from the Agora include Theseus and Prokrousteson 1160, which is near the Diosphos Painter, Theseus fighting a human-headedMinotaur on 1162 (PI. 86), a lekythosof the Little-lion Class, and the Theban Sphinx on 1216 (PI. 87), in the manner of the Haimon Painter. with thosejust discussedare skyphoi.Slightly less than 30, The next group of vases contemporary 1502-1527 (Pls. 102, 103) and 1531-1533 (PI. 103), are in the mannerof the Haimon Painter, and many more are Haemonian in style. 1536 (P1. 104) is a skyphosby the Painter of Elaious I, whose 1780 (P1. 113) and 1830 (PI. 117) are namepiece in the Louvre comes from Elaious in Thrace.193 cups by him, and two more skyphoi, 1537 and 1538, are compared.Connectedwith the late vases of the Haimon Group are miniature skyphoi of the Lancut Group, which have their decorationin silhouette.'94Three have been found in the Agora, 1539-1541 (P1. 104), and 1542, a shallow skyphos of Ure's Class K 2, is connected.Akin to the LanicutGroup are the miniature skyphoi of Their decorationis in silhouetteon white groundand is usually a wretchedly the Lindos Group.195 drawn figure between palmettes. 1570-1577 (Pls. 104, 105) are examples from the Agora. Contemporarywith the Haemonian skyphoi are those of the CHC Group, which often show a war These are large skyphoi of the chariot wheeling around or a courting scene, CHariot-Courting.196 1578-1601 in a Heron Class decorated (P1. 105) offer a goodrepresentationof sketchy,rough style. the characteristicsof the group as a whole. Other groups may be connectedwith the CHC Group, including the Pistias Class discussed above.'97Another of these is the Dog Group, which gets its name from the dogs on 1607 (PI. 105) and on another vase from Thebes.1981606 and 1608 also belong to the Dog Group. Four other skyphoi, 1609-1612 (Pls. 105, 106), are attributed to the Group of Ferrara T.800.199 Almost all the attributed late black-figuredcups from the Agora belong to the Leafless Group, 1761-1765 and 1767-1778 named because its painters usually draw branches without leaves.200 (P1. 113), 1833, and 1834 belong to this group, and severalare attributedto specificpainterswithin 1775 the group. 1768 and 1769 (P1. 113) and 1776-1778 (P1. 113) are by the Caylus Painter.201 (P1. 113) is by or near the Painter of Oxford 236, and 1773 belongsto the Painter of Oxford 237.202 Several black-figuredplates from the Agora have now been attributedby Callipolitis-Feytmans in her monograph on the shape. Of particular interest are 1414 and 1415 (Pls. 96, 97) by the Kleiboulos Painter who takes his name from the inscribedostrakonfound between the Areopagus and the Hill of the Nymphs.2031414 is a large, handsomeplate with the figured scene, Herakles and Amazons, painted on white ground,set off by the glazed rim. 1397 (PI. 96), also large, is by the His Painter of Agora A-P 428, most of whose work consists of plates found on the Akropolis.204
191 ABL, pp. 147-165, 254-262; ABV 522-533; Paralip. 260266.
198 ABV623-624. 199 Paralip. 308-309.

ABL, pp. 137-139,247-248; ABV 571-572; Paralip. 287. Louvre El. 1 (ABV 575, 5); for the rest of his work, cf. ABV 574-576; Paralip. 289. 194 ABV 576-579; Paralip. 289-290. 195 ABV 581-583; Paralip. 290-291. 196 ABV 617-623; Paralip. 306-308. 197 Cf. above, p. 61.
192 193

ABV 632-653; Paralip. 310-313. 650-651; Paralip. 313-314. 202 Painter of Oxford 236: ABV 652; Paralip. 314. Painterof Oxford 237: ABV 651-652; Paralip. 314. 203 Cf. above, p. 56. 204 Cf. Callipolitis-Feytmans,Les plats attiques, p. 335.

201 ABV



favoritesubject,as on 1397, is a woman running to right holding a palmette-tendrilornament.The remainder of our attributed plates are small ones. Two have been attributed as follows: 1418 (PI. 97) very likely to the Snake-and-spotsGroup; 1417 (Pl. 97) to the workshop of the Anavysos Painter.205 A few other painters of small black-figuredvases from the Agora remain. 657 (PI. 62) is a small kalpis attributed to the Red-line Painter who is known primarily as a painter of small neckThree other Agora vases are in his manner, a small neck-amphora,209 (PI. 24), and amphorae.206 two pelikai, 395 (PI. 38) and 396. Another small kalpis, 658 (PI. 63), is connectedwith him. The Red-line Painter gets his name from the two lines drawn in accessoryred insteadof black glaze that frame the ornamentalpattern below the figures. His style of drawing is often rather careless,as it is on all our vases connectedwith him, but occasionallyhe decoratesfull-size pieces with some care, such as his two Leagran neck-amphorae.207 Near the Red-line Painter is the Painter of the Rhodes 737 (PI. 70) is a small oinochoe near him. Another small oinochoe, 754 (PI. 72), is near Pelike.208 the Painter of Villa Giulia M. 482, a minor painter of small neck-amphoraeand oinochoai.209 665 is a small kalpis by a companion of the Haimon Painter, the Painter of Half Palmettes, whose palmettes used as filling ornamentwithin the picture are cut in half, hence his name.210 A few vases do not find appropriateplaces in the above discussion.Two are signed. One of these is a late 6th-century plate, 1407, signed by the potter Salax, which, besides the inscription,is decorated only with concentriccircles. The second is 226 (PI. 26), an early Panathenaicamphorawith some of Athena's shield, most of the potting verb, and the last two lettersof the name with tracesof a third. Other Panathenaicsfollow. The next is 325 (P1. 33), attributedhere to the Group of Copen325 shows parts of two hagen 99, whose few known vases are all Panathenaic amphorae.211 vigorous participantsin a foot race, a favorite subjectof the group. 250 (P1. 28) is a little later and 251 (PI. 28) may be by the painter compares with the manner of the Kleophrades Painter,212 All three show parts of Athena and are probably himself, 252 (Pl. 28) is by the Berlin Painter.213 vases. and 254 attributed here to the Achilles Painter, a pupil of the Berlin 255 (PI. 29), prize Six other prize vases Painter, are very likely prize vases, as are his other known Panathenaics.214 from the Agora may be dated in the 5th century.256 (PI. 29) and perhaps 257 (PI. 29) belong to the Robinson Group, named for the three in the Robinson Collection;215 259-261 (PI. 30) ought to be from the Kuban Group, which takes its name from the one found in the Kuban and whose other Panathenaics with known provenancesdo not come from Athens;216 277 (PI. 31) is probablyby a Nikomachos Series of about the middle of the 4th century B.C.:218 286 (Pl. 31), 291, 293 (PI. 32), and 295.

Snake-and-spots Group: ABV 131-132; CallipolitisFeytmans, Les plats attiques, pp. 385-388. Anavysos Painter: ibid., pp. 388-389. 206 ABV 600-607; Paralip. 300-304. 207 Villa Giulia M. 488 (ABV 603, 64; Paralip. 300, 64); Orvieto, Faina 72 (ABV 604, 65). 208ABV 608; Paralip. 304. 209 ABV 590-591; Paralip. 295-297. 210 ABV 573; Paralip. 287-288. 211 ABV 403; Paralip. 175.

212 For his other Panathenaics, cf. ABV 404-406; Paralip. 175-176. 213For his other Panathenaics, cf. ABV 407-409; Paralip. 177. 214 ABV 409; Paralip. 177. 215ABV410. 216ABV 411-412; Paralip. 177. 217 London, B.M. B 604 (ABV 413). For the rest of their Panathenaics,cf. ABV 413-414; Paralip. 177. 218 ABV 414-417; Paralip. 178.



Our last three vases to be discussed belong to the Swan Group, painters of miniature vessels The decorationis without incision and usually decoratedwith swans often painted upside down.219 often rather sloppy. The Agora Swan Group vases are two oinochoai, 732 and 765, five pyxides, 1275 (PI. 90), 1276, 1281, 1287 (PI. 90), and 1294, and a phiale, 1427 (P. 97), all but 732, 765, and 1294 attributedby Beazley. These little vases are difficult,if not impossible,to date on the basis of style. To judge by the shapes, the range in time for the Swan Group is considerable,reaching back perhaps as early as the first half of the 6th centuryB.C.

ABV 655-660; Paralip. 315-316.


FIG.1. One-pieceamphora1 (P 6155 a)


P6155a E 14:8 1 Fig. 1;Pl. 1 Neck fragment.Max. dim.0.081. Bandof glazeon inside. Slippedon outside. Sphinx (head)to right.On the right, a siren (someof her backhair,one wavy side lock,partof her breast)to left, with her head turned around. Hanging spirals at top of figure zone. Wheel rosettefor filling ornament.Red: face. White: fillet. in ABV, the wall of this Althoughcalleda neck-amphora flares too to from much come a vase of that shape, fragment with a contemporary especiallywhen compared exampleof similar size, such as 138 (PI. 17). The closest parallel in shape, althoughnot in size, to 1 is Aigina 565, a very large early workof the Nettos Painter(ABV 3, 1; Paralip. 1, 1). 0. von Vacano's interpretation of 1 as a male protome
cannot be supported (Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, [Bonn 1973], pp. 15, 34). The composition on 1 probably showed two confronted seated

sphinxes,as on Aigina 565, but with a sirenbetweenthem, her head turned around,similar to the one perchedon a horsemen on Kerameikos, palmettebetweentwo confronted inv. no. 658 by the Nettos Painter (ABV 3; Paralip. 1; Kerameikos VI, ii, no. 116, pls. 89-91) andthe oneon the lid of his skyphos-krater, Athens,N.M. 16382 (ABV 4; Paralip. 3, 10).

Perhapsalso nearthe Nettos Painter(ABV 7, 3; Paralip.

5,4). Ca. 620-610 B.C.

P6155b,c E14:8 Two non-joining fragments. Max. dim. b) 0.078, c) 0.052. Froma vasesimilarto 1 but with clayslightlymore buff in color. Fragmentb givespartof a birdor siren (someof one foot and tail) to right.Fragmentc showspartof a rosetteand on the right,glaze that may be the leg of an animal. Fragment b probably comes from a compositionthat showedtwo confronted birdsor sirens. Cf. the two feeding birds on London,B.M. 1874.4-10.1, formerlyA 1531, by



the Nettos Painter (ABV 3, 2; Paralip. 2, 2). The representationon 2 cannothavebeen feedingbirds,for the tail is in the wrong position:it shouldbe up, not down. Size and bestwith thoseof the Nettos shapeof this amphoracompare Painter;so little of the drawingremainsthat it is difficultto be certainof an attribution, althoughone may comparethe feet of the eagle on the right on Athens,N.M. 16382 (ABV 4; Paralip.3, 10; Karouzou,'Avayvpov7ros,pl. 9).
Ca. 620-610 B.C.

3 P1.1

P 18524 A 17:1 (U) Two non-joiningfragments.P.H. a) 0.256; max. dim. b) 0.17. Mouth, one handle,part of body (a); lower part of body without figureddecoration(b). A whitish slip covers the reserved parts.Glaze has firedbrownand is abradedin manyplaces. On neck, frieze of incised rosettes.On one side, sphinx with elongatedbody,to right. Incisedrosettesfor filling ornament.On the otherside of the vase very little remains.A small amountof glaze may be partof a tail or an ornament. Red: markingon hindquartersof sphinx, wing bow, and alternatefeathers; rosetteson neck;bandjust below figured another lower down (on b). decoration, The internalincision indicatingthe individualleaves of each rosetterecallsthe similarbut neaterincisionin rosettes on the namepieceof the Nettos Painter(ABV 4, 1; Paralip. 2, 6; Karouzou,'Avayvpovoros, pl. 90). Late 7th centuryB.c. 4 P1.1 P 25417 N7:3

FIG.2. One-pieceamphora6 (P 15088). Scale 1:2 a preserves Fragment partsof threeanimalfriezes:I) bird or siren (feet) to left; II) feline (hindquarters, tail), eagle, and goat (head, some of neck, one foreleg),all to left; III) and panther to left. Below III, rays. goat (hindquarters) b Fragment gives part of the mouth and neck: on side of mouth, frieze of rosettes;on neck, lotus-palmettefestoon (partof one palmetteand one lotus).Fragmentc givesmore of the rays abovethe foot. Red:a) ribs, markingson hindwing bows,baron tail;neckof goatandof panther; quarters; two lines above rays; b) heart of palmette;three lines on insidebelowrim, line on outeredgeof rim, line abovelotuspalmettefestoon. For rosetteson the side of the mouth of other one-piece amphorae,cf., e.g., 34 (P1. 5); also Louvre E 817 by the Gorgon Painter (ABV 9, 7; Paralip. 6, 7); New York, private,once Basel, Blochby the CamtarPainter(Paralip. 31, 10; Cat.Sotheby,13-14. July, 1981,no. 243); threeunLouvreE 816 (CVA,Louvre1 [France1], pl. 1 attributed: Louvre E 818 (CVA, Louvre1 [France1], pl. 1 [31]:3,9); Oxford G 128.2 (CVA, Oxford2 [GB 9], pl. 2 11); [31]:5, [403]:24);New York, Bastis, signed by Andokides(ABV 253; ARV2 1; Paralip. 113). Sophilos(ABV 39, 9). Bakir (Sophilos,pp. 40 and 42), without good reason, demotesour fragmentsto those of a late workshoppiece, standingonly on the peripheryof the workof Sophilos.
Ca. 580 B.C.

Fragmentof neck with root of one handle. Max. dim. 0.082. festoon.Red:cuffs and frondsof On neck,lotus-palmette links. and alternate hearts lotuses; petalsof palmettes; Manner of the Gorgon Painter (Paralip. 8): compare LouvreE 817 by the painterhimself (ABV 9, 7; Paralip.6, 7). The Gorgon Painter'sfragmentsfrom the Olympieion (Paralip.7, 9 ter) are probablyfroma similaramphora. First quarterof the 6th centuryB.C. 5 PI. 1 P 6660 R-V 16-19 Wall fragment.Max. dim. 0.10. Siren(hair,someof breast,wing, tail, legs) to left. Incised rosettes for filling ornament. Red: breast, upper part of at break.White: wing, baron tail;line at bottomof fragment dots at basesof wing and tail feathers. Comparethe Groupof the DresdenLekanis,particularly for the incision and for the carelessmanner in which the accessoryred is applied:e.g. 1442-1444 (PI. 98) or 1859 (PI. 119). But the drawingis not quitethe same,andthe use of addedwhite doesnot seemto occurin the knownworkof this group. Late firstquarterof the 6th centuryB.C. P 6 Fig. 2;PI. 1 5088 S21:2 Three non-joiningfragmentsof mouth, neck, and body. Max. dim. a) 0.203, b) 0.108, c) 0.061. Mouth is flat on top and has a slightoverhang.Bakir,Sophilos,pl. 79, figs. 154156.

7 P1.2


M 1:3

Three non-joiningfragments. Max. dim. a) 0.195, b) 0.185, c) 0.08. Mouth and neck (a); body fragments (b, c). Some of the glaze has fired brown on fragmentc. AgoraVIII, p. 97, no. 578, pls. 37, 42. In eachpanel,headof a womanto right,herfacedrawnin outline. Fragmenta gives the crown of one head and the upper right cornerof the panel. Fragmentb (illustrated) showsthe faceandneckof a womanto right,perhapsthe one on fragmenta. Fragmentc comes from the oppositepanel (the glaze misfiredslightly)and preservessome of the hair lying againstthe neck. that 7 is an earlyworkof the NetH. Diepoldersuggested tos Painter (Festschrift fiir Carl Weickert,Berlin 1955, VIII, rejected by Brann(Agora pp. 111-120), an attribution but Karouzou 97-98) acceptedby pp. ('AvayvpovTros, pp. 131-132, 135) who comparedit with the stand of

ONE-PIECE AMPHORAE Athens,N.M. 16384, a matureworkof the painter(ABV 6; Paralip. 3, 13). Althoughthe similaritiescannotbe denied, the drawingon the standis heavierand less elegantthan on 7 (compare the drawingof the mouthand chin), andthe two ought to be kept apart. Furthermore, the restrictions imposedby a panel do not seem suited to the style of the Nettos Painter.
Ca. 620


8 P. 2



Fragmentof mouth, neck, and panel. Max. dim. 0.21; p.H. 0.17. White slip on surface. Some of the glaze is abraded. of an aniUpper left cornerof panel preserving foreparts mal (someof its back,shoulder,and locksof hair alongback and neck)to right. Red:neck. The compositionprobablyshowed two confronted foreparts, a type of representationknown in Protoattic (cf. Agora VIII, pp. 96-97, no. 573, pl. 36). An early Attic black-figured exampleoccurson the Eleusisamphoraby the Nettos Painter(ABV 679, 2 bis;Paralip.2, 3), but here the headsare conjoined. 8 is one of the veryearliestexamplesof in a panel. such decoration P 27324 S16:1 Max. dim. Wall fragment. 0.058. Animal,perhapsa ram (partof hind leg, andat the break, the end of the tail), to right. Incisedrosettefor filling ornament. Red:dotson rosette.
9 Late 7th century B.C.

cf. 0. von Vacano,op. cit. (under 1). He rightly saw that those in the mannerof the Gorgon Painter, includingthe two unpublishedones on oinochoaiin Taranto and Berlin (ABV 10, 2 and 3), were probablyby one hand, and he thoughtperhaps10 mightbe the firstattemptby this painter to deal with this form (p. 37 and pp. 153-154, note 119). use Althoughthe generalstyleof drawingandthe decorative of white recall vases in the mannerof the GorgonPainter, the crosshatching on the snakypart differsfromthe smooth serpenton the Berlin lekythosand from the scaly part of Nereus on the lekythosin the Louvre (ABV 12, 23), and thereforeit probablyshouldbe kept apart. For redfaces,cf. H. R. W. Smith,TheHearstHydria.An AtticFootnote to Corinthian of CaliforHistory[University nia Publicationsin Classical ArchaeologyI, 10] Berkeley/Los Angeles1944, p. 270, note 36.
Ca. 600

11 P. 2

P 14485 G 19

P 24944 Q13:5 Body fragment. P.H. 0.249; diam. 0.24. Mouth, neck, handle,muchof wall, and all of foot missing.H. A. Thompson, Hesperia25, 1956, p. 58, pl. 16:b. set in small panels.A, male head and Figureddecoration neck with start of snaky body to right. B (not illustrated), feline or sphinx (partof one hind leg, a bit of the tail) seated to right. Red: face and pupil; dots on fillet;two lines below panel that continueroundthe vase. White: cornersof eye, ear, dotson neck;claw. The subjecton 10 does not seem to have exact parallels. Althoughrelatedto the satyr heads on 723 (PI. 69) and to otherhumanforepartsin the mannerof the GorgonPainter (beneaththe handle of two lekythoi:Berlin, inv. no. 3764: ABV 11, 19; Nikosia 1958.iv-233: Paralip. 8, 19 bis; E. Gjerstad,GreekGeometric and ArchaicPottery found in Cyprus [Skrifter Utgivna av Svenska Institutet i Athen, in a XXIV], Stockholm1977, pl. 63:1;two pairedforeparts 13796: 9 9 ABV714, bis;Paralip.7, bis; panel:Copenhagen to the left as 8), it differsdistinctlyfromthese by continuing a snakyshapecut off by the edgeof the panel.The othersare truncated forms.The two on the lekythoihaveveryrounded bottoms;those in Copenhagen,and probably1372 (P1.94) also, are only slightly rounded.As a group, these are very differentin conception fromthe simplemale or femaleforepart in a panel that lookslike a figurepassinga windowat shoulderlevel (e.g. Munich 1360:ABV 16, 2; Paralip.9, 2). For humanforeparts on black-figured vasesof all fabrics,

10 PI. 2

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.092. Horseman(partof mount'sheadand mane)to right.The in the locksof maneon the far left at the break interruption is partof the rider'shand. Red:all of the head;pupil of eye. The composition of the horseandriderwas verysimilarto the one galloping to right on the Baltimoreplate by the GorgonPainter(ABV9, 18;Paralip.7, 18);the composition of a mountstandingor walkingdoesnotappearuntilthe late first quarter of the 6th century. An unattributeddinos fragment (London, B.M. B 103.14.2: W. M. F. Petrie, NaukratisII, London1888, pl. 9:7; Baklr,Sophilos,pl. 64, fig. 123) closein styleto Sophilosis oneof the earliest(Baklr attributesthe fragmentto Sophilos).The GorgonPainter's unpublished fragmentin Hildesheim(ABV 10, 29) showsa riderwith his handin the samepositionas the one on 11. Mannerof the GorgonPainter(ABV 13, 43).
Early 6th century B.C.

12 PI. 2

P 12673 P8:5

Mouth,neck,handles,wall to belowhandles.P.H. 0.219; diam.of mouth0.165;est. max. diam.0.272. Missingpieces restored in plaster.Glazehas misfired reddishbrownon half of vase. A (illustrated) and B, ram (mostof eachhead,the forelegs and partof bodymissing)to right.Red:necks;two lines below panelsthat continueroundthe vase. Comparethe ram on the GorgonPainter'solpe in Munich, inv. no. 8757 (Paralip. 7, 135). The drawingof the andthe incisioninside horn,the doubleline forthe shoulder, one ear on 12 are particularly closeto the GorgonPainter's doesnot seemso ram,and what remainsof the hindquarters far fromit either.The shapeof the Agoravase,exceptfor its broader panel,is similarto LouvreC 10620 (ABV9, 9; Pato I. Scheibralip. 7, 9), a late workof the painteraccording ler (Jdl 76, 1961,p. 20). What remainsof the background is void, unusualfor the GorgonPainterbut paralleledon his namepiece,LouvreE 874 (ABV 8, 1; Paralip.6, 1), and on the late amphorain Hanover,inv. no. 1965.13 (Paralip.7, 95;CVA,Hannover1 [Germany34], pl. 5 [1637]:3,4).
Ca. 590-580 B.C.

102 13

CATALOGUE P 12526 R 17:3 17 P1.3 P 18528 A 17:1(U)

Completebut for foot and most of handles(the rootsremain). Rest. H. 0.257; diam. 0.194; diam. of mouth0.109. T. L. Shear,Hesperia8, 1939, p. 229, fig. 25; M. Picozzi, StudiMisc. 18, 1971, p. 12, no. 2, pl. 2:2;A. Birchall,JHS 92, 1972, p. 57, U I, 12. A and B, horsehead"fantastically mannered" (ABV 17, 43). The Horse-headAmphorae(ABV 17, 43).
Early 6th century B.C.

P 290 G 15:3 with the missingpartsreMendedfrommanyfragments storedin plasterand painted.Rest. H. 0.515; max. dim. of body 0.376; at handles 0.39. Restored:half of mouth and neck,lower partsof handles;most of B; all of foot. Someof the glaze has fired red;in places it is abraded.M. Picozzi, StudiMisc. 18, 1971, p. 14, no. 7 and pl. 8; A. Birchall, JHS 92, 1972, p. 54, FIII, 10. A (illustrated)and B, horsehead(missing:A, some of cheek,partof neck;B, all of headbut for partof cheek,much of mane). Red: manes, nostrilon A; two lines below panel that continueroundthe vase. For the red nostril, a rarely seen feature,see the second horsefromthe left on the Nettos Painter'scavalcade krater, Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12) and the Horse-head amphora,Athens, N.M. 16402 (Picozzi, op. cit., p. 19, no. 21, pl. 17; Birchall,op. cit., p. 53, F II, 9); also 18 (P1.3), 22, and 408 (P1.40). The Horse-headAmphorae;Relatedto the New YorkAthensHorse-headGroup[Birchall]. Early 6th centuryB.C. 15 PI. 3 P 25352 S-U 19-21 Wall fragment.Max. dim.0.077. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 86, pl. 64; A. Birchall,JHS 92, 1972, p. 58, U II, 16. Horsehead(top of head with forelockand part of mane). mane. Edgeof panel at right. Red:forelock; The doublelines separatingeach lock of mane are unusual but may be paralleledon two horseheadprotomesby the NettosPainter,Athens,N.M. 16366 (ABV5, 8; Paralip. 4, 19). The Horse-headAmphorae(Paralip.10). Early 6th centuryB.c. 16 P1.3 P 26636 T 18:3 Wall fragmentwith rootof one handleon the right.Max. dim.0.27. Someof the glazefiredbrownish.M. Picozzi,Studi Misc. 18, 1971, p. 16, no. 11, pl. 10;A. Birchall, JHS 92, 1972, p. 59, U II, 19. Horsehead(part of forehead,eye, forelock,and mane). of the halter passesover the locksof mane, The cheekstrap an unusualfeature;the forelockand ear overlapthe edgeof the panel slightly.Red:mane;pupil of eye. The Horse-headAmphorae(Paralip.10).
Early 6th century B.C.

14 P1.3

Four non-joining fragments. Max. dim. a) 0.314, a and b b) 0.304, c) 0.227; diam.of mouth0.20. Fragments are fromthe body,b with one handle;fragment c givesmost of the other handle;fragmentd preservesabouthalf of the mouth. M. Picozzi, Studi Misc. 18, 1971, p. 16, no. 12, JHS 92, 1972, p. 53, F II, 5. pi. 11;A. Birchall, A (illustrated)and B, horsehead.Fragmenta preserves mostof one horsehead but for the top of its headand a bit of its mane. Fragmentb gives about the same amountof the other horsehead.Red: manes; irises; dots at junction of cheekstrapand nosebandof halter on b; two lines below roundthe vase.White:corners of eyes. panelsthat continued The Horse-headAmphorae(ABV 16, 8); Sub-Groupof Athens903 [Birchall].
Early 6th century B.C.

18 Pl. 3

P 13385 T24:3

Preservedto just below the handles. P.H. as restored 0.224;max. diam.0.303;diam.of mouth0.198. Smallparts of wall restored.M. Picozzi, Studi Misc. 18, 1971, p. 17, no. 13, pl. 12;A. Birchall,JHS 92, 1972, p. 54, F III, 12. A (illustrated) and B, horsehead. Paintedon A:

insidesof ears, pupils, nostrils;lines Red:manes,forelocks, framingpanelsat top and sides;line on neckaboveand below attachment of handles;bandsinsideand outsidelip and one at bottomof exterior.White:dot on halter. For the red nostril,cf. 14. The Horse-headAmphorae(ABV 16, 7); Relatedto the New York-Athens Group[Birchall].
Early 6th century B.C.

P 26631 U 19 19 Three non-joining fragments of panel. Max. dim. a) 0.045, b) 0.042, c) 0.03. Verypoorglaze. M. Picozzi,Studi Misc. 18, 1971, p. 44, no. 87, pl. 64; A. Birchall,JHS92, 1972, p. 58, U II, 1. Horsehead: fragmenta preservesmost of the face;fragment b gives the base of the neck with the ends of locksof mane;fragmentc shows someof the mane. It is not certain comefromthe samesideof the vase. thatthe threefragments Red:mane. The Horse-head Amphorae(Paralip.10).
Early 6th century B.C.

P 18529 A 17:1(U) 20 of panel.Max. dim.a) 0.118, Fournon-joining fragments 0.037. M. Picozzi, Studi Misc. 18, 0.048, d) b) 0.124, c) 1971, p. 17, no. 15, pl. 13;A. Birchall,JHS92, 1972,p. 59, in the description). U II, 18 (a and b are reversed A and B, horsehead.Fragmenta preservesmost of the face, some of the neckwith two locksof mane. Fragmentb shows a sectionof mane, probablyfrom the other side, for c the lowercontourof eachlockis doublyincised.Fragment givesthe lowerpartof the mane,someof the panelwith the

ONE-PIECE AMPHORAE framingline, probablyfromthe same side as a; fragmentd givespartof the sideof one panelwith the framingline. Red: manes;line framing side of panel; two lines below panel. White:cornersof eyes;dotson halter. The Horse-headAmphorae(ABV 16, 9). First quarterof the 6th centuryB.C. P 1248 G 6:3 (L) 21 Wall fragment.Max. dim. 0.113. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 3, fig. 5, middle;M. Picozzi,Studi Misc. 18, 1971, p. 17, no. 14, pl. 13; A. Birchall,JHS 92, 1972, p. 51, B 6. Horsehead(neck,mane,lower half of head). Red:mane. The Horse-headAmphorae(ABV 16, 11); probablyby the Painterof the SyracuseHorse-head[Birchall]. Late firstquarterof the 6th centuryB.C. 22 P 26743 T-U 19-20 (II) Wall fragment.Max. dim.0.047. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 88, pl. 64; A. Birchall,JHS 92, 1972, p. 60, U II, 24. Horsehead(mostof head, ends of locksof mane overlapping neck). Red:nostril,lockof mane. For the red nostril,cf. 14. The Horse-headAmphorae. Probablysecondquarterof the 6th centuryB.C. P4217 F 13-14 23 Wall fragment.Max. dim. 0.132. Upper left cornerof panel with start of handle attachmentat left. M. Picozzi, StudiMisc. 18, 1971, p. 18, no. 16, pl. 14; A. Birchall,JHS 92, 1972, p. 58, U II, 5. Horsehead(mane). Red: mane;line framingpanel; two lines abovepanel. The Horse-headAmphorae(ABV 16, 10). First half of the 6th centuryB.C. P 2037 H 8-10 24 PI. 3 Wall fragment.Max. dim.0.095. Bandof glazeon inside. E. Vanderpool, Hesperia 15, 1946, p. 124, no. 5, pi. 16:2. Mounted warrior (his head, chest, right arm with crop; part of his horse's mane) to right. The warrior wears an Attic helmetand a chiton.At the top of the fragmentis the edge of the panel. Red:helmet;chiton;crop.White:corners of eyes;dotsedgingchiton. To judge from the raisedpositionof the rider'sarm, his mountis probablygalloping. First quarterof the 6th centuryB.C. P 15887 D-E 18-19 25 P1.3 Wall fragmentfromupperleft cornerof panel.Max. dim. 0.057. Inscribed:


P4 I9 26 P. 3 Wall fragment.Max. dim. 0.064. Lion (muzzle,someof neck,mane,and body)to left with headturnedaround.Red:mane.White:teeth. of an incisedruffwith a manethatcomThe combination the neck is unusual.We have four parallels: covers pletely one in the mannerof the GorgonPainter,704 (PI. 68); two by the KX Painter(Athens,N.M. 296: ABV 24, 7; Boston, M.F.A. 97.366:ABV 25, 19);one near Sophilos,30 (PI.4). The compositionon 26 probablyshowed two confronted lions with headsturnedaround,similarto thoseon the skyphos in Bostonby the KX Painterand on 30. First quarterof the 6th centuryB.C. P289 G 15:3 27 PI. 4 Wall fragment.Max. dim. 0.172. Swan (tail, mostof wing, and at the far right,a bit of the neck)to right. In the upperleft, the edgeof the panel. Red: two thin verticalstreaksin background. White:neck,cover of wing. The positionof the swan in the left half of the panel sugone of a pair, confronted. geststhat it is probably
Early 6th century B.C.

P 5024 F 12:6 28 Wall fragment.Max. dim. 0.05. Eagle (part of wings missing)flying to right. Red: wing bows. First quarterof the 6th centuryB.C. P 12496 Q18:1 Wall fragment.Max. dim. 0.091. E. Vanderpool,Hesperia 8, 1939, p. 260, fig. 16:17 and p. 261, no. 17; Bakir, Sophilos,pl. 64, fig. 125. Rider (his head;someof the maneand neckof his horse) to right.At the left, partof a rosette; above,top of the panel. Red:neckof horse;two lines at top of panel. Sophilos(ABV 39, 8).
Ca. 580 B.C.

29 P. 4

Red:line framingpanel. First quarterof the 6th centuryB.C.

P 3703 H-I 10:1(?) Wall fragment.Max. dim. 0.266; p.H. 0.20. E. Vanderpool, Hesperia 15, 1946, p. 126, no. 7, pl. 17:4;Baklr,Sophilos, pl. 79, fig. 157. Two lions (head,chest,and forelegof left;all of rightbut for its hindquartersand right forepaw) confronted,with heads turnedaround.Incisedrosettesfor filling ornament. Above figures,chain of double palmettes.At right of palmettes,line markingedgeof panel.Red:manes,eyes,markcores of rosettes,heartsof palmettes; ing on hindquarters; two lines below panel. The chain of doublepalmetteswithout lotusesis an odd ornament.Cf., e.g., 41 (PI. 5); one of Group E, New York, M.M.A. 56.171.12(ABV 134, 22; Paralip.55, 22); andtwo by the St. Audries Painter, New York, M.M.A. 56.171.8 (ABV313, 1;Paralip.136, 1) and Munich 1403 (ABV313,
2; Paralip. 136, 2).

30 P1.4

104 Near Sophilos(ABV 43, 5).

Ca. 580 B.C.

CATALOGUE part of mane; line on inside and outsideof lip, one at its loweredge,and two roundthe vasebetweenlip and handle; line framingpanels.White:dotson innerrow of feathers. For a sirenin a panel,cf. two contemporary ones:Athens, N.M. n.n. (AJA 39, 1935, p. 133, fig. 3) and Louvre C 10627 (CVA, Louvre 11 [France 18], pl. 122 [795]:5), which also has a lion in its reversepanel. Ca. 580-570 B.C.

31 P1.4

P 5300 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.145, b) 0.084. a showspartsof two hunters(torso, Boarhunt. Fragment part of arms and face of one on left; back of head, right shoulderof one on right)to right.The one on the left has his spearpoised;its tip appearsbesidethe left, notthe right,side The pointedobjects of his face. At his waist is a scabbard. behind the hunter on the right, at the break,look like the froma quiver.Sincethis hunter's ends of arrowsprojecting not he arm is raised, was probablyusing a thrusting right the is the edge of the panel with a little of On left weapon. the vertical line. Fragment b shows some of the boar (shoulder,neck, part of loweredhead) to right. Below the neckof the beast,at the break,is partof anotherfigure,perhaps the paw of a dog attackedby the boar. Red:faces;chitons;belly stripe,neck,markingson faceof boar. For a woundedhoundbeneatha boar,cf. Ormenosin the boarhunton the Francoisvase (ABV76, 1;PaCalydonian ralip. 29, 1). For boarhuntersusing thrustingweapons,cf. two on the Boston dinos by the Painter of London B 76 (ABV 87, 18; CVA, Boston2 [USA 19], pi. 64 [898]:1)and two on a Tyrrhenianamphoraby the Fallow-deerPainter (W. Hornbostel, Kunst der Antike. Schiitze aus nordMainz 1977, no. 235). Beazleysugdeutschem Privatbesitz, the Calydonianboar gestedthat the sceneon 31 represents hunt, and if it does, it and 610 (P1.58) would be two of the earliestexamplesin Atticblackfigure.But, withoutinscriptions or the presenceof Atalanta,it is difficultto be certain, the boarusuallyfacesto and in the uncontested illustrations, left andhas its forelegsraisedforthe finalattackas the hunters close in. 610, with all the names inscribed,is an exHelception.For the Calydonianboar hunt, cf. Brommer, also, A. Schnapp, densage3, pp. 310-312 with bibliography; RA, 1979, pp. 195-218. Late firstquarterof the 6th centuryB.C. P 22840 H-K 12-14 32 P1.4 Wall fragment.Max. dim. 0.065. Warrior (head with Corinthianhelmet, torso, start of legs) to left. The crestof his helmetis drawnin outline,an unusual detail. The meaning of the small bit of glaze between the helmet crest and the warrior's shoulder is uncertain.Red:face;corslet.
Ca. 580 B.C.

FIG.3. One-pieceamphora34 (P 1250), graffito.Scale 1:2 P 1250 G 6:3 (L) 34 Fig. 3; P1.5 Mouth, neck,someof one handle,part of wall with a bit of each panel. Rest. H. 0.29; diam. of mouth 0.208. Strengthenedwith plaster. E. Vanderpool,Hesperia 7, 1938, pp. 373-374, no. 5, figs. 7, 8. A, two seatedlions (mane,muzzle,bit of tail of left;some with heads of mane,body,and forelegsof right) confronted turnedaround.Betweenthem, floral(part);abovethem, in eachcornerof the panel,lotus (partof each).Incisedrosette for filling ornament.B, warriors (helmetedhead of one, with a star; neck,partof his spearandhis shieldemblazoned some of another'sshield, back of his helmet crest, both to rim of shieldof anothleft). On the far left (not illustrated), er. Above each panel, lotus-palmettefestoon.On vertical surfaceof mouth,rosettes.On top side of mouthabovehandle B/A, graffito(Fig. 3). Red: manes, ribs, markingson of lions;floralbetweenthem;coresof rosettes; hindquarters helmetcrest,rim of shieldon left;centerof shieldwith star device;hearts of palmettes;cuffs of lotuses, lines framing panel; two lines on neck below mouth; line on inside of mouthand another0.03 belowit. White:star. The Painterof LondonB 76. For rosetteson the side of the mouthof two amphorae by him, cf. Lyons(ABV87, 16) and Louvre (Paralip. 33, 16 bis). For a row of warriors, on sideB, cf. the neckwhichverylikelywas the composition in Cervetri once (ABV 86, 12) and Taranto amphorae 52.148 (Paralip.33, 13 bis). For the shield, cf. New York, M.M.A. 45.11.2 (ABV 85, 2), the hydriain a Swiss private oncein collection (Paralip.32, 1 bis),andthe neck-amphora Cervetri.Lionswith long manesoccuron the top side of the Brusselstripod-kothon (ABV 87, 21). For rosetteson the cf. 6 (PI. 1). side of the mouthof otheramphorae,
Ca. 570-560 B.C.

P 22532 Q 17:2 with some of panel Mouth, neck, and handlespreserved on each side. P.H. 0.19; diam. of mouth0.146. Top side of with a step pattern. mouthdecorated A (illustrated),siren (part of tail and legs missing) to right,with wings outspread.B, lion (someof head)to right. Red: A, face, eye, wing bows, bandon tail; B, eye, muzzle, 33 P1.4

P 1246 G 6:3 (L) 35 Parts of wall and foot restored.H. 0.34; diam. 0.235. Mouth warpedin firing.Dent on reversenearyouth.Some

ONE-PIECE AMPHORAE of the glaze fired red. E. Vanderpool,Hesperia 7, 1938, pp. 376-378, no. 8, figs. 12, 13. A and B, youthfulriderto right. Red: manes;line on top side of mouth at each edge; line below panels continuing roundthe vase.
Ca. 560-550


40 P 24953 Q 13:5 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.12. Dull glaze, cracked in places. Horse (topknotand part of mane) to right. Red: mane; line abovepanel.
Ca. 570-550

P 13387 T24:3 Top half, mostlypreserved.Rest. H. 0.174; diam. as rein plasterand painted. stored0.245. Missing piecesrestored A (illustrated),rider (preserved but for some of the head and neckof horse,its legs and the end of its tail) to right.B, the like (all that remainsis the head and shouldersof the rider,the crestand foreheadof his mount).Red:hair of riders;manesand tail; line insideand outsideof lip; line at top of panel. By the same hand as the three horsemanamphoraewith unframedpanels that were put togetherby Villard (CVA, Louvre 11 [France 18], p. 109): Louvre E 824 (CVA, Louvre3 [France4], pl. 9 [146]:3,6); Villa Giulia, Castellani 468 (P. Mingazzini, Vasi della collezioneCastellani, Rome 1930, pl. 62:3);and LouvreC 10635 (CVA, Louvre 11 [France18], pl. 128 [801]:1).Certainfeaturesof 36 also recallthe Painterof Acropolis606, especiallythe absenceof ornamentabove the panel and the crinkly contourof the mane, but the drawing is different.Compareparticularly, Berlin,inv. no. 4823 (ABV 81, 4; Paralip.30, 4; CVA,Berlin 5 [Germany 45], pls. 1 [2146]:2 and 3 [2148]) and Tubingen D 4 (ABV 81, 5; CVA, Tiibingen 2 [Germany 44], pls. 31 [2132]:1and 32 [2133]:the new numberis S./10 1298). 36 Pl. 5
Ca. 560-550

41 PI. 5 P1229 G6:3(L) Six non-joiningwall fragments. Max. dim. a) 0.137, b) 0.077, c) 0.107, d) 0.065, e) 0.014, f) 0.022. E. Vanderpool,Hesperia7, 1938, pp. 374-376, no. 6, figs. 9, 10. Three fragments comefromone side:warriorand squire to left, bothmounted.Fragment a (illustrated) the preserves headsof the two riders,part of a roundshield;some of the neckand maneof the warrior's horseandthe forelock of the Corinthianhelsquire's.The warriorwears a high-crested met. At the upper left, part of the chain of palmettesthat bordersthe panel at the top. Fragmentc shows someof the horses'tails. Fragmente gives moreof the palmetteborder. Fragmentb comesfromthe othersideof the vaseand shows partof a shield(its rimis widerthanthaton fragment a) and someof the horse'sbody.The placingof the remaining fragmentsis moredifficult.Fragment d preserves partof an uncertainobject,perhapsa horse'sleg. Fragment f shows the upperrightcornerof one panelwith a bit of the ornamental band. Red:helmet,part of crest,squire'shair, main partof shield;maneand tail of warrior's horse;heartsof palmettes. For the chainof palmetteswithoutlotuses,cf. 30.
Ca. 550 B.C.


P 20892 A-D 16-23

Wall fragment.Max. dim. 0.082. Rider (thigh,forearms,handsholdingreins;part of body and mane of horse) to right. Red: mane, markingon hindquarters.
Ca. 570-550 B.C.

P 13026 U 25:2 (U) Preservedbut for mouth, one handle and some of neck, lower part of body,and foot. H. 0.196; diam.0.137. A and B, youthfulriderto right. In fieldon one side, four dots.Red:hair of eachrider;manes,markings on hindquarters. White:chitons;teeth and tails of horses.
Ca. 560-550 B.C.


P25351 T 19 P 26742 T-U 19-20 (II) Two non-joiningwall fragments. Max. dim. P 25351: 0.097, P 26742:0.053. P 25351 comesfromthe lower partof the panel and preservespartsof two hairy satyrs(lowerleg, tail of one; foot, someof buttockand tail of anotherthat appearsto be squatting), both to left. P 26742 shows part of a dancingsatyr (right arm raised, some of hair) to right. Red: hair; line framingpanel;groundline; line abovepanel and two more below that continued roundthe vase.
Ca. 550 B.C.

42 P. 5

43 P1.5

P 22317 07:15

Wall fragment.Max. dim. 0.067. Sirenor sphinx (head,hair, partof wing) to left. In front of her, feline (tail). Red:breast,wing bow.
Ca. 570-550 B.C.

P4251 E 14:11 Wall fragment.Max. dim. 0.043. Glaze firedred on lower part. Two draped males (heads, chests) to left, overlapping. Horizontalline at levelof nose.White:crosseson garment of male on right.
Ca. 570-550 B.C.



P 6070 H 11

Wall fragmentfromtop of panel. Max. dim. 0.066. Youth(top of head)to right. Red:hair.
Ca. 570-550 B.C.


P 444 H 17

Wall fragment.Max. dim. 0.045. Glaze firedred.


and the right knee of a man kneeling to left. On the left are the calf and foot of a man to right. To judge from what remains, the toes of this foot barely touched ground. Behind him at the break (almost completely flaked):

Nude man (beard, arms, body) to left, playing the aulos. Red: beard.
Ca. 560-540 B.C.


P 15452

C 18:11 On the right is the toe of a woman to left. Below the figures, three horizontal lines of dilute glaze. P 26632 f preserves the lower right corner of this panel, assured by the lines of dilute glaze. The last fragment, P 26632 g, may come from either side of the vase and gives some of the black glaze below the panel and the tip of one ray above the foot. Red: alternate roof tiles, possibly to distinguish pan tiles from cover tiles;1 first and third glyphs of most triglyphs, center glyph of one; alternate flutes of columns, lower part of base; panel of door, studs on its frame; cloak of man on P 26632 a; drapery on P 26632 e; line framing panel (all four sides of obverse; top and sides of reverse); two lines below panel and two above rays that continued round the vase. White: rows of dots on borders of garments; woman's foot ? (applied directly on the clay), for the foot is drawn in outline, and all traces of white are gone. The scenes are set in very broad panels separated by a narrow vertical area of glaze above and below the handle. On the obverse, the architecture must have dominated the scene. The door fragment makes clear that the building is not a fountain house but either a temple or an elaborate dwelling like the palace of Peleus on the Francois vase (AB V 76, 1; Paralip. 29, 1; Cristofani, fig. 83). We cannot be certain whether the structure shown was intended to be of stone or of wood, for the use of accessory colors does not always provide reliable criteria for identifying the kind of material the painter had in mind. Variation in color seems to serve more to clarify individual architectural elements than to indicate material.2 But one cannot exclude the possibility that it may reflect the polychromatic stuccoed surfaces of actual buildings. The columns with their flutings, necking rings, and bases are closest to the ones by Kleitias. The metope-triglyph frieze resting directly on the abacus, a misunderstanding of the order, finds a parallel on the London dinos by Sophilos (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). Other details link the style with Kleitias: the door panel (P 26632 c) is similar to the one on the palace of Peleus; the border on the cloak (P 26632 e) is close to the one on Peleus' cloak. 47 is not by either Sophilos or Kleitias but by a slightly later artist painting in a bolder style. The subject of each panel is difficult to understand. On the obverse, the figures are within an architectural setting, and the rather quiet movement of the one figure combined with the staff of another suggests perhaps a scene of homecoming or of a person being greeted. On the reverse, the Microfilms International, Ann Arbor, Michigan, no. 69-21, 269). For an opinionthat coloris an importantfactor,at least in distinguishing the material indicated by certain painted columns, cf. L. Eckhart, "Bemerkungenzu dorischen SauIen auf archaischengriechischenVasen,"JOAI 40, 1953, pp. 6072.

Wall fragment. Max. dim. 0.105. Glaze is abraded in many places. Parts of four figures: from left to right, 1) drapery, perhaps that of a woman to right; 2) male to left in a long chiton, preserved but for head and lower parts of legs; 3) as 2 but that he has a walking stick; 4) also to left (tip of beard, right hand with fold of drapery). Red: beards. First half of the 6th century B.C. T-U 19-20 (II, III) Eight non-joining fragments from both sides of the vase. Max. dim. P 26632: a) 0.14, b + d) 0.131, c) 0.061, e) 0.037, f) 0.048, g) 0.044, h) 0.077, P 26651: 0.116; H. of panel on obverse 0.225-0.23. Three more undecorated fragments belong. H. A. Thompson, Hesperia 29, 1960, p. 365, pl. 80:a (P 26632 a and P 26651). Five fragments come from the obverse. P 26651 (illustrated) preserves the upper left corner of the panel with the start of the handle near the corner. The part of the panel that remains shows a tiled roof, some of the metopes and triglyphs, the upper part of one column of a Doric structure. At the top of each metope, regulae with guttae are also shown. Some of the abacus and echinus of the capital, with the necking rings above and below a crown molding that looks like a tongue pattern, narrow flutes, or ovolos, are also drawn. On the left, overlapping the line framing the panel and some of the black glaze, is a small projection that may be an attempt to show the geison. On the left, beyond the black glaze, is a reserved area, the beginning of the next panel. P 26632 c (illustrated) gives part of the building's door, a panel with some of the decorative frame, and above, part of the lintel. P 26632 a (illustrated) comes from the right side of the panel and shows the lower shaft of a four-fluted column with part of its base. On the far right, beyond the black glaze, is the start of a reserved area, the beginning of the reverse panel, with a trace of the framing line. On the left of the column is a man (legs, ends of cloak) walking to left, perhaps carrying something (the ends of an object may be seen just below the break). On the far left, a narrow line that represents the staff of a person facing. P 26632 e preserves part of a cloak that should belong to this figure, for the two rows of ornament indicate that it is a garment folded over an outstretched arm, a posture suitable for a figure holding a staff. P 26632 h shows a bit of the lower edge of the panel below the ground line. Two fragments come from the reverse. P 26632 b + d (illustrated) give the calf and left foot For bichrome roof tiles on an actual temple of the late Geometric period, cf. H. R. Robinson, Hesperia 45, 1976, pp. 231-234. 2 This problem,particularlyin relation to the columns, has been discussed at length by Philip Oliver-Smith in an unpublished doctoral dissertation:ArchitecturalElements on Greek Vasesbefore400 B.C., New York University, 1969 (University 47 PI. 6 P 26632 and P 26651

ONE-PIECE AMPHORAE positions of the legs on P 26632 b + d indicate an active scene,perhapsa combatwith the victorcomingfromthe left aboutto woundhis opponentwho is downon one knee.Not enoughof the groundline remainsto estimatethe width of the panel; thus, it is not certain how many more figures, otherthan the womanwhose toes appearbehindthe kneeling warrior,this sceneincluded.
Ca. 560-550


48 PI. 6

P 19129 C 18:4 Wall fragmentwith upperleft cornerof panel.Max. dim. 0.112. Warrior(helmetedhead)and companion wearinga petasos (the crown overlapsthe warrior'scheekpiece)to right. On the left, at the break,part of a shield. Red:helmetcrest; crownof petasos;shield. The high position of the two in the panel suggeststhat they were in a chariot,the petasos-wearer beingthe charioteer and the shield probablybelongingto him. It is unusual, to be slightlyaheadof however,forthe headof the charioteer the passenger.For the high positionin the panel,comparea few chariotscenesby paintersof Group E: Tarquinia RC 7170 (ABV 134, 24; Paralip. 55, 24); Wurzburg244 (ABV 135, 36); London,B.M. B 194 (ABV 136, 56; Paralip. 55, 56); Paris, de Larosiere(Paralip.56, 56 bis).
Ca. 550-540

51 PI. 7 P 5895 No grid Wall fragment.Max. dim. 0:042. Satyr (face,beard)to right aboutto drink(the rim of his drinkinghorn appearsat the break).Red: hair and beard. White:row of dotsoversatyr'sforelock. Certainfeaturesof this satyr recall Lydos.For the long, protruding, partedlips, comparethe satyr shield deviceon 607 (ABV 107, 1; Tiverios,pl. 1:a) and some of Akropolis the mourners on the Kerameikos cup (ABV113,81; Paralip. 45, 81; Tiverios,pl. 42). For solid hair with a crinklycontour, cf., e.g., someof the figureson the following:Munich 1681 (ABV 108, 12; Tiverios,pl. 2); LouvreE 804 (ABV 108, 13; Tiverios, pl. 7:a); London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:8, 9:,/).
Ca. 540-530 B.C.

49 Pl. 6 P 16563 No grid Wall fragment.Max. dim. 0.035. Warriorto left, beforetwo horses (mounts).On the left, the nose of one horse;the forehead,mane with forelocktied in a topknotof the other. On the right, the tip of the warrior'snose, some of his chiton,baldric,pommelof sheathed sword,and his right hand holdinga spear. Red:eye of lefthandhorse;chiton.White:end of swordpommel,hilt;teeth of horse;dotson rein. Lydos(ABV 112, 63).
Ca. 550-540

52 PI. 7 P 12669 V 24:2 (U) Wall fragment.Max. dim. 0.08. Warrior(high crestof his helmet,his right forearmwith vambrace and hand holdingthe shaftof his spear)to right. Abovepanel, some of the lotus-palmette chain. Red: vambrace,secondbandon crest;dots in links. White:outerand inneredgesof crest. For the vambrace,an extremelyrare piece of armor,cf. the carved example on the frieze of the Corfu temple (G. Rodenwaldt,Korkyra,II, Die Bildwerkedes ArtemisBerlin 1939, p. 114, fig. 103, pls. 33, tempelsvon Korkyra, 34) and the one worn by Ares on the Berlin oinochoeby Lydos(ABV 110, 37; Paralip.44, 37; Tiverios,pl. 57; best seen in K. Schefold,Gotter-und Heldensagen der Griechen in der spitarchaischen Kunst, Munich 1978, fig. 176). Cf. also Beazley,EVP, pp. 136-137.
Ca. 540-530

50 PI. 6 P26975 T25:2 Two non-joiningwall fragments. Max. dim. a) 0.13, b) 0.215. Two horsemen to right.Fragment a, fromthe upperright cornerof the panel, givesthe headsof the two horses.Fragment b, fromthe left side of the panel, preserves someof the and tail of one horse and the wing and tail of hindquarters an eagle flying to right. Red: markingson hindquarters; Ca. 550-540 B.C. band on wing and tail; two lines abovepanel that continue 54 PI. 7 P 4671 E-F 12-14 roundthe vase. the horses and in each Wall Max. dim. 0.058. Lydos. Compareespecially eagle fragment. Frontalchariot(head,neck,chestof onetracehorse),with panelof the Naples amphora(ABV 109, 23; Paralip.44, 23; betweenthe two vases a male (someof drapery)standingat left. Red:mane,breast Tiverios,pl. 56). The maindifference is that the Naples amphorahas a lotus-palmette chainabove band. each panel. Comparealso the horses on Akropolis607 k Painterof LouvreF 6 (ABV 125, 34). Ca. 550 B.C. (ABV 107, 1; Tiverios, pl. 48), Gottingen+ Cab. Med. (ABV 109, 19;Tiverios,pi. 31), and Akropolis802 a (ABV 55 P1.7 P17800 J18:4(U) 112, 60; Tiverios,pl. 81:/3). Ca. 550-540 B.C. Wall fragment, fromtop of panel. Max. dim. 0.102.

P1684 G 13 Wall fragment.Max. dim. 0.085. Thin wash on inside. Hermes (legs, one boot, lower borderof chiton)to right. To the rightof his knee,part of an objectthat lookslike the end of a horse'stail, for it has severalincisedlines alongthe rightedgeto indicatehair. Red:tail; tongueof boot.White: dotson borderof chiton. For this type of horse'stail overlapping a figure,cf., e.g., two by the Swing Painter:New York, M.M.A. 17.230.8 (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78); Boston,M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pl. 33 [655]:2;B6hr, Schaukelmaler, pl. 132).

53 PI. 7


CATALOGUE P 13027 U 25:2 (U) Preservedbut for lower part of body and foot. Rest. H. 0.25; diam.0.164. A (not illustrated),winged horse,with cloakedyouth in frontof it to right.B, the like but thatthe youthis behindthe horse.Belowthe horse'sbody:on A, two blobsof glaze;on B, four. Above,a single row of uprightivy leaves. Red: wing hair of youths,stripeson bows, markingson hindquarters; their garments;line at each edge of lip; band aroundvase just belowpanel,anotheraboverays.White:manes. North SlopeGroup(ABV 129, 1). Third quarterof the 6th centuryB.C. 61 P8901 N17 Two non-joiningwall fragments. Max. dim. a) 0.14, b) 0.033. Fragmenta showsthe lowerhalf of a drapedmale to left andpartof the body,wings,andlegs of a largesirento right. Fragmentb, perhapsfrom the other side of the vase, preservesa woman'sfoot and the lower part of her draperyto right. White:woman'sfoot;lines on siren'swings and tail; dotson man'sgarment.
Ca. 550-540

Departureof warriors.On the left, foreheadof warrior and the head of another,both to right, then the head of a warriorto left protectedby a high-crested Corinthianhelmet. Behindhim, the headof a warriorand on the far right, the forelockof another.All the warriors,but for the last, holdspears.Abovethe figures,a row of ivy leaves.Red:fillet on helmet;line aboveivy. White:edgeof crest. Painterof LouvreF 6 (ABV 126, 46). Ca. 540-530 B.c. 56 P1.7 P6548 G 1:8 Four non-joining fragments:a) lower wall and foot with fillet at junction;b) mouth and neck;c and d) wall. Diam. of foot 0.10; p.H. of a) 0.79; est. diam. of mouth 0.135; p.H. of b) 0.05; max. dim. c) 0.15, d) 0.104. Glaze verydull. Fragment c (illustrated)preserveson the left a youth (someof head,shoulders) standingto right.In frontof him,a nude male (part of torso and arms) facing a male (hand, d On the far right,the edgeof the panel.Fragment drapery). c. (illustrated) givesthe lowerpartsof the youthon fragment Rays above foot. Red: fillet of youth; panels and dots on cloaks;bandroundneck;fillet. Painterof LouvreF 6 (ABV 127, 64).
Ca. 550.

60 P. 8

P 22177 Q7:1 57 PI. 7 Fragment.P.H. 0.095; diam. of neck 0.10. Parts of both panels,one handle,and someof neck. A (illustrated), upperpart of satyrholdinga branch,betweentwo maenads(the headof the one on the left, the head and shouldersof the one on the right,each with a fillet). B, of a manto rightwith a filleton his head. headandshoulders On the right, at the break,the face and foreheadof another man, also with a fillet. Betweenthe two, a staff, probably held by the first.Abovethe panel on each side, a single row of upright ivy leaves. Red: line above panel on satyr side; beards;fillets;stripeson garment.White:fleshof maenads. Painterof LouvreF 6 (ABV 127, 77).
Ca. 550-540

P 26801 T19:1 62 Wall fragmentfromtop of panel. Max. dim. 0.078. Herakles(head with lionskin)to right. Above,ivy. Red: mouthof lionskin;line abovepanel.
Ca. 550-530

63 PI. 8

P 13844 U 25:2 (L)

58 P1.8

P 26532 T 18:3

of wall, neck,someof one handle.P.H. 0.18. Fragment Two men (heads)to rightand at the break,perhapspart of the head of another.Abovepanel, tongue pattern.Red: alternatetongues;line abovepanel. hair and beards; For tonguesabove the panel of a one-pieceamphora,a rare ornament, cf. these examples; once Riehen, GsellBusse, attributed to the Heidelberg Painter (Bothmer, AmasisPainter,p. 50, fig. 46); Vatican311 by the Painterof LouvreF 6 (ABV 125, 36); two by the Painterof Munich 1393, the namepiece(ABV 303, -, 1; Paralip. 131, -, 1)
and Munich 1370 (ABV 303, -, 3); Munich 1365 (CVA,

Wall fragmentwith startof neck.Max. dim. 0.065. Warrior(helmetedhead) to left. In frontof him, part of an uncertain object.Above,a singlerow of uprightivy. Red: fillet round helmet; line above panel. White: segmentsof crest. Painterof LouvreF 6, later;Manner(Paralip.52).
Ca. 550 B.C. P 25577 M 14 59 PI. 8 Shoulderfragment.Max. dim. 0.062. On the left, warrior(partof helmetcrestand raisedright hand with spear) to left. Behind him, a spectator(head) holdinga staff.Above,ivy. White:sectionsof crest. Painterof LouvreF 6 (Paralip.52). Ca. 550 B.C.

Munich 1 [Germany3], pl. 7 [101]:1,2); Boston,M.F.A. 80.605 (CVA, Boston1 [USA 14], pl. 2 [624]:3,4); Oxford G 128.2 (CVA,Oxford2 [GB 9], pl. 2 [403]:24); Tarquinia RC 3984 (CVA,Tarquinia2 [Italy26], pl. 25 [1174]:2,3); Tocra 1029 (Boardmanand Hayes, Tocra, 1963-1965, p. 98, no. 1029, pl. 73); Tibingen S./706 (CVA,Tubingen Gal3 [Germany47], pl. 4 [2249]);Washington,Corcoran lery 26.664 (A, man seated on an okladias,between two youths;B, warriorto right, lookingaround);Metropolitan Museum Loan, L.66.31 (A/B, man seatedon an okladias, betweena youth and a man and a youth);LondonMarket (Cat. Sotheby,1. July, 1957, no. 173); New York Market
(Cat. Parke-Bernet, 13. XII, 1979, no. 82); Beverly Hills, Summa Galleries (Auction 1, September 18, 1981, no. 3;

ONE-PIECE AMPHORAE Cat. Sotheby,13. December,1982,no. 269); Orvieto,Faina (A: man and youth with dog;B: ?);66.
Ca. 550-540 B.C.


line at each edgeof mouthand aroundneckjust abovehandles, two just below the panel, one above rays. White: chitons;voidhorses;dotsof rosettes.
Ca. 540 B.C.


P 24694 P 17

Wall fragmentfrom upper right cornerof panel, with Max. dim. 0.092. someof handleattachment. Man (backof head,beard,shoulder)to left. Red:hair and beard;line at top of panel. Ca. 550 B.C. 65 P 13782 U 25:2 (U)


P 1234 G 6:3 (L)

Wall fragment.Max. dim. 0.053. Horse (two feet) to right. Red:two lines below panel.
Ca. 550-525 B.C.



E 14:11

Wall fragment.Max. dim. 0.046. Man (head and neck) to right. At the right edge of the fragment,a bit of glaze that looks like part of the back of anotherfigure.Red:fillet.
Ca. 550 B.C.


P 12380 H 12:6

Wall fragmentpreservinglower right cornerof panel. Max. dim. 0.093. Someof the glaze has misfiredgreenish. Departurescene?A woman(lowerpartof garment,feet) to rightfacinga warrior(greaves,legs).At the bottomof the fragment,some of the rays above the foot. Red: stripe on woman'sgarment;edges of greaves;line below panel and anotherabove the rays. White: woman'sfeet; dots on her garment.
Ca. 550-525

Wall fragment.Max. dim. 0.143. Upper right cornerof panel with startof handleon right. Head and shouldersof figureto left. Abovepanel,tongue pattern.Red:alternatetongues. For the tonguesabovethe panel, cf. 63 (P1.8).
Ca. 550 B.C.


P 26533 T 18:3

Wall fragmentwith turn of neck.Max. dim. 0.05. Lion (head,neck,shoulder,forepaw)and spottedpanther (head, neck, forepaw) attackinga bull that is down on its knees (preserved but for the lowerpartsof legs). The drawing is very coarse.Red:line abovefigures.
Ca. 550

68 PI. 8



Wall fragment.Max. dim. 0.045. Partsof two figuresto right:a woman,perhapsAthena(a bit of drapery,hand)holdinga spearor a staff (shaft);a man (right forearm,some of torso and legs, sheath) holding a sword,perhapsHeraklesor Theseus. Red:fold of woman's garment;dots on chiton.White: woman'shand;sword hilt and end of pommel.
Ca. 550-540 B.C.

69 P1.8 P 13036 U25:2 (M) Preserved but for some of mouth and handle A/B. H. 0.227; diam. 0.157. Someof the glaze is abraded.T. L. Shear,Hesperia8, 1939, p. 233 and p. 234, fig. 31. A (illustrated), youthfulridergallopingto right,leadinga voidhorse,followedby a runningyouth. B, the like but that the runner is closer to the horse and his right foot extends beyondthe edge of the panel. Abovethe panel on each side, friezeof hanginglotuses.Those on A havedotsin the interstices. Rays abovethe foot. Red: hair of youthson B and of runneron A; foldof cloakon B; coresof rosetteson garments of each runner;manesand tails, markingson hindquarters;

P 1237 G 6:3 (L) 72 PI. 9 Foot andlowerpartof bodywith bottomof one paneland cornerof the other.P.H. 0.135;diam.of foot0.072. Someof the glaze is abraded.E. Vanderpool,Hesperia 7, 1938, p.376, no. 7, fig. 11. Combat.On the right,a warrior(headmissing)standsto left, holdinghis shield.In frontof him, a figure(lowerpart) in a long garmentto left. Then comesa small figure(torso, the arms,and legs, the latterdrawntwice,onceoverlapping bottomof the panel) runningto right carryinga shield,and on the left, an area of black glaze that looks like drapery. Red: greavesand shield of warrioron right;zigzag line at bottomof chiton,on corsletandshieldof runningfigure;line belowpanelthat continuesroundthe vase;one aboveraysat junctionof footand body. The compositionrecalls illustrationsof Aias pursuing Kassandrawho flees to the statue of Athena, which often resembles the Athenaon Panathenaic vases.In these scenes, Kassandra is a diminutive figureandAias pursuesher from left to right. But on 72, the artist has left the flesh of the small figure black and has equipped him (her?) with a andthe blackglazeon the shield,thus rulingout Kassandra, left cannot be understoodas the pursuing Aias. For the subject, cf. Brommer, Heldensage3,pp. 382-386, with bibliography.
Ca. 550-525 B.C.

P 22216 Q10:l Wall fragment fromrightsideof panel.Max. dim.0.092. Glaze firedred. Warrior(raisedarm, someof back)attackingto left and the upperpartof a man (head,shoulders,righthand),also to left. Red: hair and beard,panel of garment;line along edgeof panel. White:dot rosetteon chitonof warrior. Recallsthe Painterof Berlin 1686 (ABV 297).
Ca. 550 B.C.

73 P1.9


CATALOGUE P 26530 T 18:3 added red. For some unattributed examples, cf. London, B.M. B 166 (CVA,London3 [GB 4], pl. 30 [150]:3);London Market(Cat.Sotheby,18.June, 1962,no. 167);Berkeley 8/60 (CVA, Berkeley1 [USA 5], pl. 19 [200]:2).The figure drawing on 76 recalls the PrincetonGroup but is difficultto attribute to one of its painters.
Ca. 540-530 B.C.

74 PI. 9

Wall fragment.Max. dim. 0.08. Birthof Athena.On the left, the upperpartof a kithara, probablyheld by Apollo.Then comesAthena,almostfully preserved,springingfrom the head of Zeus (top of head, eye, ear). On the farright,at the break,somewhite,perhaps the handor armof an Eileithyia.Red:stripdowneacharm of kithara;stripeson Athena'speplos;Zeus's hair. White: arm supportsof kithara;Athena'sflesh;dots on borderof peplos. For the subject, cf. F. Brommer,JR-GZM 8, 1961, pp. 66-83.
Group E (Paralip. 56, 52 bis). Ca. 550-540 B.C. 75

77 PI. 9


F-G 12:1


E 14:11

Wall fragment,near shoulder. Max. dim. 0.08. Bohr, Schaukelmaler, pl. 82:a. Satyr (head, some of shoulders)to right. On his right shoulder,a fillet. Above,friezeof hanginglotus buds. Red: hair and beard.White:fillet. The Swing Painter(ABV 307, 54; Paralip.133, 54).
Ca. 540-530 B.C.

Neck fragment.Max. dim. 0.05. Lotus-palmettechain. Red: hearts of palmettes;cuffs, centralpetal of lotuses;line aboveornament. Ca. 540-530 B.C. 76 PI. 9 P 19583 A 18-19:1




Wall fragment. Max. dim.0.06. Brownwash on surface. Red:beardand forelock.

Ca. 530 B.C. Man (upper part) carrying a large oblong object to right.

Six non-joiningwall fragments. Max. dim. a) 0.172, b) 0.095, c) 0.052, d) 0.062, e) 0.056, f) 0.057. Fragmenta (illustrated)gives some of the bud-palmette ornament abovethe panel,mostof the headsof threefigures to right:on the left, a malehead,preserved but forthe lower part;then the top and backof a filletedmaleheadwith long locksof hair and part of the man'sshoulder; and third,the head and neck of a man in a petasosand cloakcarryinga spear over his right shoulder.On the far right of the fragment, at the break,are the nose and foreheadof a woman facing. Fragmentc, which shows a cloakedarm, probably comesfromthis side,forthe faintredline framingthe panel a. Fragto the line abovethe panelon fragment corresponds ment b comesfromthe otherside of the vase and preserves one lotusof the ornament, the line edgingthe panel,andthe backof the head of a male to left. Fragmente preserves the rim of a shieldon the left and partof the drapery of a figure
in front of it. Fragment d, which gives drapery and part of a

79 P1.9 Wall fragment.Max. dim. 0.06.

P 20870

D 17:10

Warriors. On the left, the rim of a shield held by someone standing to right. Then comes the pointed cap of a Scythian to left and beside him on his left, the low-crested Corinthian

helmetof his companion. The pair might be Teukrosand

Aias. Above, some of the lotus-palmette chain above the

panel. Red:rim of shield;edgeof helmetcrest;centralpetal

of lotus. White: dots on crest support. The high position of the shield rim compared with that of the two warriors may indicate that the holder stands in a chariot. Compare New York, M.M.A. 17.230.8 by the Swing Painter (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78). Ca. 530-520 B.c. 80 PI. 10 P9730 T-U 23-24 P 12630 0 20

shield(device: wreathandball) heldby someonestandingto left, probablycomesfromthis side. Fragmentfcouldcome fromeitherside of the vase;partsof draperyof two figures: on the left, the folds of a cloak;on the right, more folds, perhapsof a woman'sgarment.Red: lines framingpanel; line aboveornament; a) fillet of 2; beardof 3; b) hair and
beard; c) fold; d) panel of cloak, ball of device; e) panel of cloak, rim of shield;f) borders of drapery. White: a) dots on cloak of 3; flesh of woman; d) wreath of shield, dot clusters on cloak; e) dots on cloak. For a bud-palmette ornament with widely spaced units, a

threeby the Painterof Munich 1379 rarepattern,compare ever,lackinternalincision.For this feature,cf. Vatican346
by the Painter of Berlin 1686 (Paralip. 129, 9 bis) and two (ABV 303, 1-3; Paralip. 131). The lotuses on these, how-

Two non-joining wall fragments. Max. dim. P 9730: 0.072, P 12630: 0.038. P 9730 (illustrated) shows the departure of a warrior with a chariot (the head and body of the youthful charioteer wearing a chiton and a nebris; on his left, the warrior mounting the vehicle, wearing a corslet) to right. The outstretched left arm of the warrior suggests that he gripped the breastwork of the chariot. P 12630 preserves the head and neck of a man to left, holding a staff, a bit of which appears in the upper part of the fragment. Above the man's head, the head of a spear held by someone on the left. The height of the spear head suggests that the man is seated. It is of the vase. Red: chiton of charioteer; beard, neckline of man's garments. White: nebris; dots on borders of corslet. Ca. 540-530 B.C.

by the PrincetonPainter,his namepiece(ABV 298, 6) and

especially New York, M.M.A. 56.171.9 (ABV 299, 15; Paralip. 129, 15), but these examples are embellished with

not clearwhetherboth fragments comefromthe same side

ONE-PIECE AMPHORAE P 13781 U25:2 (U) 81 Two non-joining fragments. Max. dim. a) 0.124, b) 0.092. Upper partsof panels,one with traceof handleat left. Someof the glaze is abraded. Fragmenta preservesthe head and raisedleft hand of a man, the top of the head of a secondfigure,both to right. Fragmentb givesthe top of the head (crownof petasos,part of brim) and traces of anotherfigure, each to left. Above, frieze of hanging lotus buds. It is not certainwhetherthe two fragmentscome from the same side of the vase. Red: a) hair and stripeon garmentof figureon left;fillet of next one; b) hair or cap of figureon right;line at verticaledgeof panel. White:crownof petasos.
Ca. 530 B.C.


for certain,foreachmaybe seatedeitherto rightor to left of the gamingboard.Two pointsin favorof naminghim Aias and his very long beard,two might be his bareheadedness details used by Exekiasto contrastAias and Achilleuson the Vaticanamphora(ABV 145, 13; Paralip.60, 13). The scenemust have been very similarto the one on the namepieceof the LysippidesPainter,London,B.M. B 211 (ABV 256, 14; Paralip. 113, 14). Compareespeciallythe hand holdingthe spears.Butthe drawingon 84 is by another.For the subject,cf. M. B. Moore,AJA 84, 1980, pp. 418-421; H. Mommsen, Tainia. Festschriftfur Roland Hampe, Mainz 1980, pp. 139-152. Ca. 520 B.C. P 1132 G 15:2 Wall fragment.Max. dim. 0.162. Lowerright cornerof panel and someof the rays abovethe foot. Booted foot and end of column shaft. Red: line below panel, anotheraboverays.
Ca. 530-520 B.C.


P7903 T19:1 82 Pl. 10 Wall fragmentfromtop half of panel. Max. dim. 0.083. Horsemanand warriorto right. Mountedsquire (head, torso of rider, mane and neck of his horse). Between the riderand horse,a high-crested helmetwornby a warriorto right, who may be seated. This would explain his low circleson crest positionin the scene.Red:hair of horseman; support.White:crestof helmet. An oddity is the absenceof ornamentabove the panel, which mightsuggesta neck-amphora of Panathenaic shape, but the curve of 82 is not quite right. For nearly contemporaryamphoraeType B with no ornamentabovethe panone in Munich, el, cf. 50 (PI. 6) by Lydosor an unattributed 1402 (CVA,Munich 1 [Germany3], pls. 36 [130]:1and 37 [131]:1). The Painterof Munich 1410 (ABV 311, 5: cited incorrectlyas P 17903). Ca. 530-520 B.C. 83 P1. 10 P22179 Q7:1 Wall fragment from lower part of panel. Max. dim. 0.104. Someof the glaze mottledand misfired. Horse (hindlegs,endof tail) to rightwith fourbeesflying aroundhis legs. Red:line underpanel. Bees flying aroundare not very commonin Attic black figure.For thievesbeing stung by bees when they steal the honeyof Zeus, cf. Bohr,Schaukelmaler, p. 46.
Ca. 550-525

86 P1. 10

P 23622 P 7-8

Two non-joiningwall fragments.Max. dim. a) 0.058, b) 0.049. Chariotto right. Fragmenta gives the foreheadsof the two pole horses and some of the mane of the right-hand trace horse. Fragmentb preservespart of the necksof the right-handpole horse and trace horse. Above the panel, frieze of hanging lotus buds. Red: manes;breast band of tracehorse. Mannerof the LysippidesPainter.Compare: Tarquinia RC 8262 (ABV258, 6); New York,M.M.A. X.21.26 (Paralip. 115, 6 bis); Princeton 166 (Paralip. 115, 6 ter);

Munich 1391 (ABV258, 7); Wtirzburg 267 (ABV258, 10); 192 and (ABV 259, 23); Wurzburg Altenburg216 (Paralip. 116, 31 ter). Ca. 530-520 B.C.

Nogrid Wall fragment.Max. dim. 0.049. E. Vanderpool,Hesperia 15, 1946, p. 134, no. 27, pl. 23:4, 5. Achilleusand Aias Gaming.The fragmentpreserves only part of the hero on the left (most of his head looking downward,his right shoulderand upper arm, and his left hand grippingtwo spears).The shaftsof the spearsmay be seen at the nape of his neck below the hair line and were paintedin glaze acrossthe figure.On the right,at the break, is a small bit of glaze that may be part of one letter of an inscriptionnamingthe hero. The positionof his right arm indicatesthat it is extendedand is aboutto movea playing piece. Red:forelockand beard.White:dot clusters. Whetherthis herois Aias or Achilleusmaynot be known

84 P. 10


P2398 b + P 6078 H8-10 Wall fragment.Max. dim. 0.062. Chariot(neck,mane,andbreastbandof right-hand trace horse;someof neckof right-handpole horse)to right. Red: on breast mane;breastband.White:dotson reins;pendants band. Mannerof the LysippidesPainter.Cf. the comparisons given for 86, especiallyTarquinia RC 8262, New York, M.M.A. X.21.26, Wurzburg267, and Wurzburg192. For the type of mane,cf. Orvieto,Faina 70 (ABV261, 39). Ca. 530-520 B.c. P 2398 a H 8-10 Wall fragment. Max. dim.0.054. H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:c. Man (legs, ends of cloak), standingto right on the lefthand side of a horse (lower part of body,partsof all legs). Red:stripeson cloak;two lines belowpanel.White:dotson cloak.
Ca. 530-520 B.C.

87 P1. 10


112 89 PI. 10

CATALOGUE P 15726 C 18 93 P1.11 P20596 G-H 11-12

Wall fragment.Max. dim. 0.083. Heraklesand Iolaosto right.On the left, the head,neck, and left shoulderof Iolaos;in frontof him, the rightshoulderand armof Herakles,the top of his quiverwith the ends of fivearrowsand hangingflap. Betweenthe two is one end of the hero'sbow, presumably heldforhim by Iolaos.Above the two, some of the lotus-palmettechain. Red: Iolaos' beard;fur flap of quiver;centralpetals of lotuses.White: dots on sleeve of Herakles'chiton;dots borderingcentral panelof quiver. The AntimenesPainter(ABV 274, 130). Ca. 530-520 B.c. 90 P1. 11 P 26650 T-U 19-20 (III)

Wall fragment.Max. dim. 0.085. Chariot(someof the charioteer's draperyon the far left, the goad, reins, and the croupsof two horses)to right. On the left sideof the team,a woman(head,shoulders, arms)to left with armsraised,lookingaroundat a man (long hair, right shoulder), who faces to right. Red: fillets. White: woman'sflesh;dotson garment.
Ca. 520 B.c.


P 6560 E-F 12-14

Wall fragment.Max. dim. 0.04. Birthof Athena:top of Zeus'shead with a fillet;mostof Athenabut for her head,left arm and leg, as she springsto right, her spearpoisedin her raisedright hand.At the left and right, the raisedhand of one of the Eileithyiai.At the verytop, edge of panel. Red:panel on peplos;fillet. White: femaleflesh;dot clusterson peplos. The compositionwith Zeus between two Eileithyiaiis in Londonby the Anticlosestto one on a neck-amphora menes Painter(ABV 271, 74), and 90 may be by him. For the subject,cf. 74.
Ca. 520 B.C.

Wall fragment.Max. dim. 0.085. Woman(lowerdrapery, feet)standingto righton the left side of a horse (its hind legs fromthe hocksto the fetlocks, and on the right, lower part of one foreleg). Behind the woman, lower part of anotherdrapedfigure to left. Red: woman'sfeet. White:dotson garments; stripeson garments.
Ca. 520 B.C.

95 PI. 11

P 7223 and P 7227 T 18:1


P 17779 a, c-f A 18-19:1

Five non-joiningfragmentsfrom both sides of the vase. Max. dim. a) 0.18, c) 0.105, d) 0.054, e) 0.035, f) 0.037. Brownwash on surface. A, chariot to right, precededby Hermes. Fragmenta gives the forelegsof the team, a womanto left dressedin a long chiton and himation,preservedfrom the hips down; behind her, a small youthjumping and on the right, the lower legs of Hermes and the tip of one fold of his cloak, both figures to right. Fragmentd shows part of a shield by ivy), perhaps (device:balls, the centralone surrounded held by someonewho stands to left on the left side of the team. B, Dionysosand maenads.Fragmentc preserves part of two drapedfigures to right, with a grapevinebetween. e andf give moredraperyand vines. Red:lower Fragments himationon a; edges of folds on c and e; of woman's edge balls on shield. White: right-handpole horse;centralball and ivy on shield;woman'sfoot (anklepreserved).
Ca. 520 B.C.

Five non-joiningwall fragments.Max. dim. P 7223: a) 0.097, b) 0.08; P 7227: a) 0.035, b) 0.04, c) 0.041. E. Vanderpool, Hesperia8,1939, pp. 265-266, figs.20, 21; AmasisPainter,p. 32, no. 28, pl. 40:10. Karouzou, the backof A, Dionysosand maenad.P 7223 a preserves the god and behindhim, the torsowith beltedpantherskin and partsof both armsof a maenad,each to left. P 7223 b showsthe fringedbottomof the god'sgarmentand his right foot,the rightfootand lowerdraperyof the maenadwith a paw of the pantherskin, and on the right,at the break,the toesof her left foot.In the fieldon each,ivy. B, threefigures. of a man to P 7227 a showsmostof the headand shoulders left holding a staff. On the right, the edge of the panel. P 7227 b givesthe lower draperyand part of one foot of a the upper preserves figureto left. P 7227 c (not illustrated) of a figureto right. left cornerof the panelwith the shoulder Red:upperpartof maenad's chiton;panelson skirts;hairof Dionysos;borderson garments;cores of rosetteson garments;part of man's garment;line below panel that continued roundthe vase. White: maenad'sflesh;dots round dotsoutliningborderon P 7227 b; dotson drapery. rosettes; The AmasisPainter(ABV 156, 72; Paralip.65, 72).
Ca. 520 B.C.

96 P1. 11

P 24679 R 12:4


P 17779 b A 18-19:1

Wall fragment.Max. dim. 0.075. Chariotto right,with two figuresstandingat the headsof the horses.On the left, the chests of the two trace horses, then facing them, part of a woman (garmentand her left handnearthe top of the fragment).Behindher,the buttocks to right.Red:alternate and calfof a man (draped) stripeson garments.White: woman's hand; dots in crossesand dot clusterson drapery.
Ca. 530-520 B.C.

Rim and foot chipped.H. 0.32; diam. 0.205. Both hanin manyplaces,esin plaster.Glazeis abraded dlesrestored pecially aroundhandle B/A. H. A. Thompson,Hesperia 25, 1956, p. 63, pl. 22:a. A, Dionysosand satyrs.Dionysosstandsto right looking around,betweentwo dancingsatyrs,holdinghis drinking horn in his right hand. In the field, a vine. B, maenadand muleto rightbetween satyrs.A maenadridesan ithyphallic a vine. Abovethe panel on two satyrs.In the background, eachside,net pattern.Abovethe foot,rays.Red:beardsand fillet of the maenadand of the satyr facing her; forelocks; mane;nippleof satyron right stripeson Dionysos'garment; on each side;satyr'stails;line at top of each panel;line below panel that continuesroundthe vase;anotherabovethe

ONE-PIECE AMPHORAE rays. White: Dionysos'chiton;dots on his cloak;rim of his horn; fillet of satyr on right on each side; maenad'sflesh; muzzleof mule;contourof its neckand chest;belly stripe. For the net patternabovethe panel,a veryrareuse of this ornament,cf. Baltimore48.13 (Journalof the WaltersArt Gallery3, 1940, p. 114, fig. 6) and Wiirzburg261 (Langlotz, pl. 72).
Ca. 520


97 PI. 12

P 23164 H 12:15 (L) P 25961 M18

Two non-joiningwall fragments.Max. dim. P 23164: 0.122, P 25961:0.107. Chariotto right. P 25961 givespartof the upperleft corner of the panelwith the headand shoulders of the youthful charioteerand his beardedpassenger.On the right, at the the headsof break,partof an ivy branch.P 23164 preserves the two pole horses,the neckof the right-handone andsome of thatof the right-handtracehorse.Abovethe panel,lotuspalmettechain without incision. Red: fillets;strip on each on breast mane;breastbandof tracehorse.White:pendants band.
Ca. 520-510

in pairs. Nor can p. 11, fig. 7), they raceto left overlapping 100 depictthe foot race in armor,which doesrepresent the runnersto left so that the deviceson theirshieldswill show, becausethe figuredoes not wear a helmet,and the glaze at the bottomof the fragmentcannotbe the rim of a shieldfor its contouris not circular.The subjectmay be a wrestling backof match,and if so, then 100 showspartof the rounded the right-hand The manwhoseheadandarmare opponent. is not a wrestlerbut an observeror a trainer,as preserved indicatedby the small portionof his staff that remains.A good parallelis hardto find,but somethingalong the lines of the namepiece of the Painterof Boulogne441 (ABV290, 1) or of Munich 1461 (N. Gardiner, Athletics in the Ancient World, Oxford 1955, fig. 164) is a reasonable possibility. Class (Paralip.150). May belongto the Hypobibazon
Ca. 520

101 P1.12

P 15059 N21:2

98 PI. 12

P 23730 P9

Wall fragment.Max. dim. 0.062. Youth and man (heads),very likely in a chariotto right. In frontof them,at the break,dots,perhapspartof a vineor wreath.Abovethe panel,borderof hanginglotusbudswith dots in the interstices.Red: fillets; beard. White: youth's chiton.
Ca. 520-510

P20566 P-R6-12 Wall fragmentwith upper right cornerof panel. Max. dim. 0.125. Figure (hair) to left. Abovethe panel, key patternto left. Red:forelock. May comefromthe HypobibazonClass (Paralip.150).
Ca. 520 B.C.

99 PI. 12

Wall fragment.Max. dim. 0.077. Horsemenwith spears (nose of rideron left, face of one on right;head of left-handmount;frontalhead of one on right;headsof spears)to right.Abovethe panel, lotus-palmettechain.Red:maneof right-hand of one horse;forelock on left. White:teethof left-handhorse. For the frontalhead of a profilehorse,a rare detail, cf. threeby the RycroftPainter:Munich 1720 (ABV337, 24); Hamburg1917.476(ABV337,25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2) and New York, M.M.A. 06.1021.67 (ABV 338; Paralip. 148, 5 ter and 150); also: Painter" Boston,M.F.A. 01.8060 by the "Karithaios (ABV 161; CVA, Boston 2 [USA 19], pl. 78 [912]:2);London, B.M. B 303 fromthe Class of Munich 2418 (ABV 342, 2); 56 by the LeagrosGroup(ABV364, 52); PhilaCambridge 2493 fromthe Classof VaticanG. 47 (ABV429, 3); delphia and two unattributedexamples:Leipzig T 49, a hydria (CVA,Leipzig2 [DDR 2], pl. 23 [84]),and Bologna41292, an amphora(CVA,Bologna2 [Italy7], pl. 7 [306]:4).
Ca. 510 B.C.

100 PI. 12

P 5302 F 13

Five non-joiningwall fragmentsfrom both sides of the vase. Max. dim. a) 0.124, b) 0.078, c) 0.08, d) 0.083, e) 0.055. Streakyglaze on inside. E. Vanderpool, Hesperia 15, 1946, p. 123, no. 3, pl. 14:4. Fragmenta comesfrom the upper left cornerof the obverse panel: cock (tail) to right; above,key patternto left. Fragment b (illustrated)belongs to the reverseand preservesthe head, left shoulder,and most of the left arm of a male to left and part of anotherfigureat the bottomof the fragment.The small bits of dilute glaze below the beard look like part of a staff. Fragmentsc and d give someof the left sideof the panel. Fragmente is undecorated. Red:sickle feathers;beard. The eventdepictedis difficultto identifyfor certain.It is not likely to be the footrace,for 6th-century examplesnormally show the runnersto right, althoughon a very early Panathenaicamphora, KerameikosPA 443 (Frel, PPA,

102 P 24643 Q12:3 Six non-joiningwall fragments.Max. dim. a) 0.162, b) 0.037, c) 0.035, d) 0.045, e) 0.055, f) 0.077. Reddish brownwash on ground. A, Dionysos and Ariadne, with satyrs and maenads. Fragmenta shows Dionysos(drapery)sittingto right on a chair, with a trace of some objectbeneath it, holding his kantharos(foot and stem). Fromthe positionof the vessel, he maybe lookingto left. Oppositehim sits Ariadne(knees, draperyfolds). Betweenthe two is a satyr (right forearm, legs, startof tail) to left, and in the field,a vinewith grapes. On the satyr'sforearmis someaddedwhite that maybe the handof Ariadne.On the farleft, moreof Dionysos'drapery. Fragmentc shows a maenad'sfoot to right, the end of her thyrsos, and a foot of Dionysos' stool. B, Herakles and Kerberos. d showsthe headof the dog,partof one Fragment armand the otherhandof Herakles,and,at the top, partof a branch. Fragmente gives a foreleg and the end of a draperyfold. Fragmentf preservesone hind leg and the


CATALOGUE Chariotwheelingaround.Fragmenta preserves part of the wheels and axle of the chariot,the tails, hind legs, and part of the belliesof two horses.Fragmentb showssomeof the head,neck,and chestof the right-hand tracehorse,part of the reinsandbreastband.Fragment fromthe c, probably otherside, preserveson the left the heel and lower part of the calf (greaved) of a warriorto left and,on the right,part of his otherfoot,the heel raisedveryhigh. Red:tail;greave; line framingrightedgeof panel.
Late 6th century B.C.

lower draperyand feet of a figure to right, probablythe same figureas the one on fragmente. Fragmentb is puzzling, andit maycomefromeithersideof the vase,ratherhigh up in the panel to judge by its thickness.The pairsof short incisedstrokessuggesta pelt,perhapsHerakles'lion skinor a nebris.The fragmentmay even depictpart of Herakles' rosetteon leg of quiverand bow case. Red:dotson drapery; chair.White:femaleflesh;teethof Kerberos. For the subjectof B, cf. Brommer, Heldensage3, pp. 91des 97; also W. Felten, Attische Unterweltsdarstellungen VI. und V.Jh. v. Chr. [Miinchener Studien archaologische 6], Munich 1975, pp. 10-22; J. Boardman, JHS 95, 1975, in the iconography pp. 1-12, who sees a politicalconnection of this scene. Ca. 510-500 B.c. P3576 E 14:11 Two non-joiningwall fragments.Max. dim. a) 0.049, b) 0.046. a givespart Warrioror warriorsleavinghome.Fragment of a roundshieldand partof a drapedfigure(cloaked hand to b a left. both Fragment preserves partof a holding spear), roundshield (device:balls), perhapsmore of the one on a, someof a spear,andon the left, the nose,chin,andchestof a draped male to right holding a spear. The spear held diagonallyis sketchedon the shield. White: device;dot on cloakon a. Last quarterof the 6th centuryB.C. 103 104 P4803 E-F12-14



N-O 10

Wall fragment.Max. dim. 0.073. Dionysos and satyrs (lower part of god's garment;legs and tail of one satyrdancing,bothto left;lowerleg and tail of a secondto right). Red: stripe on god's garment;tails; lines belowgroundline. White:dotson drapery.
Late 6th century B.C.



M 17:4

Wall fragmentfrom lower part of panel. Max. dim. 0.091. Chariot(four tails and two hind legs, fromthe hocksto the hoofs)to right.On the left sideof the team,male (lower part of garmentand feet) to right. Red:thirdtail fromleft; two lines belowpanel.White:chiton.
Late 6th century B.C.

Wall fragment.Max. dim. 0.052. On the left, the lower part of a horse'shead, probablya mount;on the right, the right shoulderand upperarm of a drapedfigure;below,the raisedleft handand perhapspart of the headof a squattingor kneelingfigure.White:horse's teeth.
Late 6th century B.C.

P 10845 No grid Wall fragment.Max. dim.0.078. Burnedon inside(clay is gray). Chariot(headsand necksof two tracehorses)to right.In frontof the team,a man (head,shoulder)facing.Red:part of horse'smane;man'shair. 109
Late 6th century B.C. 110

P 17780 A 18-19:1



E 14:11

Three non-joiningwall fragments.Max. dim. a) 0.088, b) 0.067, c) 0.063. a showsmostof the wheel, part Chariotscene.Fragment of the box, with the traceline. Fragmentb givesthe middle of two drapedfiguresto right,the one on the left a woman with right arm outstretched (one in the chariot,the other c mounting?).Fragment preservesthe head and shoulders bit of glaze on the of a youthto right with an unintelligible comefrom left. It is not certainwhetherthe threefragments the same side of the vase. Red: part of the chariot box; filletof youth.White:woman'sflesh;dot stripeson drapery; clusterson drapery; objectbehindyouth. Last quarterof the 6th centuryB.C. P 26799 T19:1 106 Three non-joiningwall fragments.Max. dim. a) 0.115, b) 0.065, c) 0.073. Reddishwash on inside.

Wall fragment.Max. dim. 0.052. Brownish wash on surface. Athena (face, tip of helmetcrest,some of aegis held out overher left arm)to left, her spearpoised.Red:stripon top of helmetcrest.White:face.
Late 6th century B.C.


P 5295 E-F 12-14

Wall fragment.Max. dim. 0.05. Dionysiacscene.On the left, a figureto right holdinga drinkinghorn, probablyDionysos(the top of the horn and on the far left, at the break,a small amountof glaze that may be his hair or wreath), and on the right, a maenad dancing to right, with head turned around (head, right shoulder,raisedforearmand hand).The bit of glaze at the very top of the fragmentis the line at the top of the panel. Red:fillet of maenad.White:woman'sflesh.
Late 6th century B.C.

ONE-PIECE AMPHORAE P 3588 H 8-10 Fragmentfromnear shoulder.Max. dim. 0.06. Woman(face)to rightholdinga spear(Athena?).On the right, an area of glaze that looks like the elbow of a man, perhapsHerakleswieldinghis club.Abovethe panel,lotuspalmette chain. Red: pupil of woman's eye. White: woman'sflesh. 112
Late 6th century B.C.



P 19835 B 19

117 P1. 13 P 1247 G 6:3 (L) Mendedwith manypiecesrestored in plasterand painted. H. 0.457; max. diam. 0.345. Glaze is flaked in many places, especially on Side B, probablyfrom weathering. T. L. Shear,Hesperia2,1933, pp. 457-458, fig. 6; E. Vanderpool,Hesperia 7, 1938, pp. 367-371, no. 1, figs. 1-4; K. Kiibler, AltattischeMalerei, Tiibingen 1950, fig. 83; I. Scheibler, JdI 76, 1961, p. 36, fig. 37 and p. 40; G. M. A. fig. 417; H. A. Thompsonand R. E. Wycherley,The Athenian Agora, XIV, The Agora of Athens, Princeton 1972, Richter, A Handbook of Greek Art, London 1969, p. 302,

Wall fragmentfromnear top of panel. Max. dim. 0.075. Thin wash on surface.Tracesof burningat lower right. Woman(head,rightshoulder)to right,wearinga sakkos decorated with crosshatching and a loop. White:flesh.
Late 6th century B.C. 114

P 25921 M 17:7

Wall fragment from upper part of panel. Max. dim. 0.057. Maenad (head, left hand, some of right) dancingto left. In the field, a vine. Abovethe panel, some of the palmette chain. Red:fillet;eye. White:flesh. Late 6th-early 5th centuryB.C. 115 P 13784 U 25:2 (U) Wall fragment.Max. dim. 0.04. Traces of burningon inside. At top of panel, partof nonsenseinscription:

x 6.
Late 6th century B.C.

p. 15, pl. 25. A (illustrated) and B, sphinxto right,with tail curledup betweenher hind legs. Roundthe headof eachis a fillet. In frontof the sphinx,at the handlerooton each side, a floral ornamentcomposedof palmettes and tendrils. Hanging spiralsbelowmouthbehindsphinx'shead.Dot rosettesand On side of mouth, zigzags with trianglesin the interstices. rosettes. Abovefoot,rays.Red:face,fillet,breast,wing bow, and belly stripe of each sphinx; part of floral ornament; alternatepetalsof rosetteson rim. The weatheredsurfaceof 117 indicatesthat it stoodoutside for quite sometime and verylikelymarkeda grave(cf. ThompsonandWycherley, op. cit., p. 15). For a view thatit may have stood in a sanctuary,cf. Miiller, Liwen und on the sideof the Mischwesen, pp. 115-116. Forthe rosettes mouth,cf. 6 (PI. 1) and 34 (PI. 5). The Nettos Painter(ABV 5, 2; Paralip.2, 4).
Ca. 610 B.C.

118 P1. 14

P 13126 T24:3

P 12752 G11:3 Lower part of wall, half of foot. P.H. 0.168. Foot glazed on underside. Dent in surfacebelowfigureon left on SideA. Someof the glaze is abraded. Achilleus?Preserved arethe feetof three A, Aias carrying figuresto right and the feet of a fourthfacing.One pair of feet is off the ground,and their limp charactersuggestsa foot corpseratherthan a living being. B, uncertainsubject: of a man to left, facinga column.Abovethe foot,rays. Red: line below panel,anotherabovethe rays;two on foot. For the subjectof A, cf. M. B. Moore, AJA 84, 1980, pp. 424-431. It is unusual in black-figurerepresentations of this myth after 530 B.C. for Aias to carryAchilleusfrom left to right. The scene on 116 cannotbe Aeneas carrying Anchises,for the legs of Anchisesmust be bent at the knees and womenare usuallypresent(cf., e.g., Munich 1537with Munich 1496 (CVA, Munich 8 [Germany37], pls. 405 [1823]:2and 406 [1824]:2).Nor can it representan ephedrismos,for the player sits on the bearer'sshoulders,and thereforehis feet appearat aboutwaist level (cf., e.g., London, B.M. B 182 by the Swing Painter:ABV306, 42; Bohr, Schaukelmaler, pls. 76, 197:a) or he may be carriedin a mannersimilarto that of Anchises(e.g., 1490: P1.101).
Early 5th century B.C.


Neck, shoulder,and mouth,all of one handle,startof the other. P.H. 0.22; p. diam. 0.54. Figureddecoration on one sideonly. Glaze is abraded in places,particularly on handle and inside of neck. T. L. Shear,Hesperia8, 1939, p. 232 and p. 233, fig. 30; U. Jantzen,AA (JdI 53), 1938, p. 549 and p. 556, fig. 9; E. Vanderpool,Hesperia 15, 1946, p. 126, no. 8, pls. 17:5, 18. In handle zone, centauromachy. On the left, a Greek, nudebut for a helmetand greaves,with a roundshieldseen fromthe inside,thrustshis spear into a centaurwho turns his head towardthe viewer,his right hand to his head, his left outstretched holdinga stone.Beneaththe centauron the groundis a largestone.Next comesa trio,a Greek(to right) fightinga centaurovera fallen Greek.The fightingGreek wears a corslet, a low-crested Corinthian helmet, and greaves;he attackswith a sword. A sheath is suspended from a baldric over his right shoulder,and he carries a Boeotianshieldon his left arm. His companion (lowerhalf missing) wears a high-crestedCorinthianhelmet and has fallenbesidehis shield (device: eagleappliedupsidedown). The centauris armedwith a largestone.To the rightof this centaurare the upper parts of a Greek (corsletdecorated with pantherheadsandspirals,roundshieldseenin profile) armed with a spear, confrontinga centaur (head, upper



Behindthe centaur's head,at torso,rightarmoutstretched). the break,is part of his right hand and the stumpof a tree (?). Then comesthe last group,a Greek(headprotected by a low-crested Corinthianhelmet,his raisedright arm with spear, and some of his round shield) pursuing a centaur (preservedto his horse parts, a mirror reversal of the centaur on the far left), who flees looking around at his attacker,a small stone held in his right hand. Above the figures, a lotus-palmettefestoon and above that, inverted rays.Belowthe figures,a friezeof hanginglotusbuds.Red: hair andbeardsof centaurs; helmets,shields;greavesof second Greek;circlesround nipples of first and last centaurs and of fallen Greek; marking on horse shoulderof first centaur; stone of second; cuffs of lotuses and hearts of palmettes. on one side only, indicatesthat this vase The decoration, was verylikely a gravemarker,and the ornamentprobably ceased with the frieze of hanging lotus buds, for this is a terminal pattern. The division of the surface into friezes suggests that the artist was accustomedto painting vases in severalzones,suchas thatnormallyhavetheirdecoration or of the TyrrhenianGroup the Painterof London painters B 76. Compare also the one-piece amphora signed by Lydos, Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios, pl. 18), which has its entire surface decoratedin friezesof figuresand ornamental patterns. is one of the earliest examples in This centauromachy Attic black figure, two earlier ones being by Sophilos (Athens,N.M. 15918, formerly2035.2:ABV 40, 21; Para"Louteria", pl. 17; lip. 18, 21; D. Callipolitis-Feytmans, Baklr, Sophilos,pl. 9, fig. 17) and by Kleitias (Florence 4209: ABV 76, 1; Paralip. 29, 1; Cristofani,figs. 66-69, of about 126, 127); also the unattributedskyphos-krater 600 B.C., Athens,N.M. 16400 (Kiibler,op. cit. [under117], centaurs of fur on Atticblack-figure fig. 89). The indication on the humanforeparts is unusual,and its appearance only Die Typologie cf. B. Schiffler, maybe unique.For centaurs, in der antikenKunstvom 10. bis zum Ende des Kentauren des 4. Jhs. v. Chr., Frankfurt-am-Main 1976, esp. pp. 18centaurs. 20 for earlyAtticblack-figure Ca. 560-550 B.C.

120 P1.15


F 13-14

Wall fragment.Max. dim.0.053. Tracesof white slip on outside. Sirenor sphinx(headwith fillet)to right.Smallcross just abovebreakfor fillingornament. Red:faceand ear. White: fillet. Near the Nettos Painter(ABV 6, 1; Paralip.5, ii, 4). Ca. 620-610 B.C. P 18633 D 17 121 Pl. 15 Wall fragment.Max. dim. 0.07. Slippedsurface. Siren (face,someof spreadwing) to right.Wheel rosette for fillingornament. At the verytop of the fragment, partof a horizontalline. Red:face (eye and eyebrowblack). For the position of the siren, comparethe one on 671 (PI. 64) and on AgoraA-P 1734 (ABV 8, 6; Paralip.6, 6). Perhapsalso nearthe Nettos Painter(ABV 6, -, 2; Paralip. 5, 2). Ca. 620-610 B.C.

P365 F16 122 PI. 15 Wall fragment, curvingoutwardat top. Max. dim. 0.05. Buff slip on surface.Glaze firedred. Swan (head,neck)to right.On left, part of rosette.Red: spotson neck.
Late 7th century B.C.

P1235 G6:3(L) 123 PI. 15 Wall fragment.Max. dim. 0.044. E. Vanderpool,Hesperia 7, 1938,p. 371, no. 2 and p. 372, fig. 5:2. someof hairwith fillet)to Sirenor sphinx(eye,forehead, left. Trace of filling ornament(rosette?)at break on left. Red:face,eye (dotat center),fillet and bandbehindear. The GorgonPainteror his manner.Compareespecially the sirenson fourvasesby the painter:LouvreE 874 (ABV 8, 1; Paralip. 6, 1); Akropolis474 (ABV 8, 2); Baltimore 48.215 (ABV9, 18; Paralip.7, 18) and 671 (P1.64).
Ca. 600 B.C.

124 P1.15


G 15

119 P1. 15

P 23158 I 12

glazedon top. Glaze firedbrown. On sideof mouth,ivy leaveswith berries.On neck,lotuspalmette festoon. Red: band on side of mouth above and below ivy; on neck below mouth; central sepal and cuffs of lotuses. indicates that there was more than one frieze of ornament

Fragment of neck and mouth. Max. dim. 0.136. Mouth

Fragmentof neck with handle root on left. Max. dim. 0.052. Siren or sphinx (face) to left. Two verticallines next to handleroot.Red:face. First quarterof the 6th centuryB.C. P 24952 Q 13:5 P 25370 Q 13-14:1 (U) neck fragments.Max. dim. P 24952: Three non-joining a) 0.062, b) 0.03; P 25370: 0.074. P 24952 a and P 25370 125 P1. 15
each preserve some of the handle root.

The position of the lotus-palmettefestoonon the neck

abovethe figures.Compare,for example, LouvreF 29 by Lydos(ABV 109, 21; Paralip.44, 21; Tiverios,pl. 18). citedin Paralip.47; cf. 445. Incorrectly
Second quarter of the 6th century B.C.

Riderto right.P 24952 a showsthe bodyof the rider,one

hand holding the reins, part of the body, neck, and mane of his horse. P 24952 b gives some of the rider's face and the line at the top of this zone. On the right, part of a dot rosette.

NECK-AMPHORAE P 25370 preservesthe head of the horse and some of its chest. On the right, incisedlines and blackglaze, probably the tail of anotherhorse.Betweenthe two, partof an incised rosette.Red:spotson rider'storso;horse'sneck. Comparethe Mannerof the GorgonPainter(Paralip.9: P 24952). First quarterof the 6th centuryB.C. P 10507 No grid 126 P1. 15 Wall fragment.Max. dim. 0.056. E. Vanderpool,Hesperia 15, 1946, pp. 133-134, no. 26, pl. 23:2, 3; J. D. Beazof ley, AJA58, 1954, p. 187;J. Travlos,PictorialDictionary
Ancient Athens, London 1971, p. 47, fig. 58; Lexikon Iconographicum Mythologiae Classicae I, ii, Zurich 1981, p. 335.


beginningof the handle.To the right of the youth,the beginningof his name: Red:face,bandat backof head;cloak;rectangle. for restoring this inscription, For the variouspossibilities cf. the bibliography givenabove. The KomastGroup:I, the KX Painter(ABV 27, 36). Late firstquarterof the 6th centuryB.C. P4596 H11 127 P. 15 Wall fragmentfrom near turn of shoulder.Max. dim. 0.062. Glaze firedbrown. Sphinx or siren (head, a bit of the wing) to right. Red: wing bow. The Painterof XanthosA 6.3444 (Paralip.18, 2). Late firstquarterof the 6th centuryB.C.

Youth(head,left arm)to rightin a chiton,holdingout his cloak. Above his head, part of a linear rectangle. The thicknessof the wall is greaterhere and may indicatethe

NECK-AMPHORAE 128-225 Figs. 4-6 Pls. 16-26



128 P1. 16

P 6481 F-G 12:1

feathersand tail of anotherbird or perhapsa siren. Solid circle surrounded by dots for filling ornament. Red: alternatefeathers.
Ca. 630-620 B.C.

Fragment.P.H. 0.235. Part of mouth, neck, and shoulder, all of one doublehandle.Flaring mouthwith molding below. Some of the glaze is flaked. Agora VIII, p. 94, no. 557, pls. 34, 42. On the neck:A, seatedsphinx (someof wing, hindquarters, and tail) to right;B (not illustrated),partof floral.On the body, rider on a huge mount (most of rider, some of horse'shead and neck)to right. Zigzagsand circlesfor filling ornament.Broadbandsof glaze on handleand mouth. Third quarterof the 7th centuryB.C. P 13323 F-G 12:1 129 Neck fragment, flaringtowardstop. P.H. 0.091. Much of the glaze is flaked.AgoraVIII, p. 97, no. 577, pls. 37, 44. Man (face, beard, long hair, some of shoulder),a protomeor a beardedsiren,to right. Behindhim, retrograde: IVX I OWAl IA Zigzag for filling ornament. Third quarterof the 7th centuryB.C. 130 P 1739 H 17:4 Neck fragment.H. 0.075; W. 0.095. D. Burr,Hesperia 2, 1933, p. 582, no. 171, and p. 583, fig. 43. Neck and head of water bird to right; in front of it,


P 17340 M 11:3

Fragment of neck with beginning of shoulder. P.H. 0.078; max. dim. 0.092. Glaze fired red. E. Brann, Hesperia 30, 1961, p. 361, H 9, pl. 70. Partof a largepalmettewith a volutebesideit. Belowthe heartof the palmette,zigzagandinverted triangle.Red:one petal;heartof palmette.
Ca. 625 B.C.

132 P1. 16


G-H 11-12

Fragment.P.H. 0.11. Partof neckwith startof shoulder, strengthenedwith plaster. Much of the glaze is flaked. AgoraVIII, p. 99, no. 588, pl. 37. On the neck, two confrontedhorse protomes(some of head of one on left; most of head, part of neck of one on for filling.On shoulder,partof right). Maeanderornament decoration: hangingray? Red:mane.
Ca. 620 B.C.

133 P1. 16

P 25392 0 12:2

Neck fragmentwith torusmouthand startof straphandle. P.H. 0.235; diam. of rim 0.026. Much of the glaze is flaked.AgoraVIII, p. 99, no. 590, pls. 2, 38, 42.



FIG.4. Neck-amphora 139 (P 13113) A, male siren to right. B, horsegrazingto right. Dot rosettes, hanging spirals, zigzags, and swastikas for filling ornament. Steppatternon rim. Red:fillet,wing bows,alternate feathers(?); mane(?). For male sirenscf. 1303 (P1.91) and 1357 (PI. 93).
Ca. 620 B.C.


P 6486 E-F 12-14

Six non-joiningfragments of a large neck-amphora, one of dim. with a bit the shoulder. P.H. of max. 0.15; (a) a) b) 0.065, c) 0.06, d) 0.04, e) 0.047, f) 0.052. AgoraVIII, p. 98, no. 583, pl. 37 (fragments a, b, and e). On one sideof neck,a friezeof lotuseswith incisedpetals. Fragmenta comesfromthe rightside and givespartsof the frondsand a bit of the line framingthe ornamentand also some of the shoulderwith part of the decoration(hanging spiral).Fragmentsb and d are fromthe left sideof the neck and preservepartof a frond,the cuff, and petals.Fragment c andf comefrom e givesthe endsof two petals. Fragments the lowerpartof the neck,perhapsevenfromthe otherside, and seemto show partsof a calyx.Wheel rosettesfor filling ornament.Red: fronds,cuff, alternatepetals, part of calyx (?). White:triangulararea betweenfrondson a and b. of the Painterof BerlinA 34, Perhapsfromthe workshop called the Woman Painter [Brann]. formerly
Ca. 630-620 B.C.


P 22418 N 11

of shoulder.P.H. of neck (a + b + e) 0.221; est. diam. of mouth0.27;max.dim.c) 0.175, d) 0.055, f) 0.098, g) 0.058. Glaze has fired red, especially on one side. R. Young, Hesperia,Suppl. II, Athens 1939, p. 119, fig. 85 (sincerestored;R. D. Lambertonand S. I. Rotroff,Birds of the AthenianAgora[AgoraPictureBook 22], Princeton1985, ill. 10). On A and B, cockto rightin a panel.Fragment a + b+ e preservesmost of one cock (someof breastand wing missing), with the start of the handle on the far right at the break. Hanging spirals, zigzags, maeanderornament,dot and wheel rosettesfor filling ornament,and in the upper corners,a fanlikeornament.Below, startof shoulder,with some of the figureddecoration(subjectis uncertain)and three hanging spirals. On the side of the mouth, zigzags. Fragmentsc, d, f, and g (not illustrated)come from the other side of the neck. Fragmentc shows the upper left cornerof the panel with filling ornament: hangingspirals, andfanlikeobjectin the zigzagswith lozenges,ringrosettes, corner,zigzag on side of mouth. On the left, handle root. d showspartof the comb,head,andwattlesof the Fragment cock(compare a + b + e). Fragmentf preserves the breast, part of the neck, and wing feathersof the cock,the zigzag andthe rightsideof the panel.Fragment fillingornament, g the of end the gives wing and part of the tail. Red:combs, beakandwing bow, legs and wattles,stripon mostfeathers; a + b + e. feet on fragment
Ca. 620 B.C.

Neck fragment.Max. dim. 0.095. Whitish slip on surface. Someof the glaze is flaked. Swan (head,partof neckandbody)to right.On the right, the edgeof the panelwith line accentingit. Red:wing bow; stripabovebeak. Last quarterof the 7th centuryB.C. 136 P1.16 P 4626 F-G 12:1 Five non-joining of mouthand neckwith start fragments

137 P1.16

P 5297 E-F 12-14

Wall fragment.Max. dim. 0.093. Glaze almost completelyflaked. On the left, partof palmette; on the right, face of sphinx or sirento left. Red:face,alternatepetalsof palmette.



FIG. 5. Neck-amphora 140 (P 17966)

in a palthe plantterminating For the palmette,compare metteand spiralspaintedbetweentwo sirenson a skyphoswith the Nettos inv. no. 101, compared krater,Kerameikos,
Painter (ABV 7: a; Paralip. 5, -, 1; Kerameikos VI, ii,

a similarplant. no. 181, pl. 111). That on 137 was probably The Nettos Painter(ABV 5, 12); Near the Nettos Painter (Paralip.5, 6).
Ca. 620-610 B.C.

The maincomposition on eachsideof the bodywas problion a a ably facing bull, with a floral ornamentbetween them. It is rare to have two differentanimals confronted that are not partof a frieze,but compare an exampleby the GorgonPainterof a lion and a bull, althoughwithoutthe floral:Athens,N.M. 19176(ABV9, 16;Paralip.7, 16). For the stackedrays,cf. Mommsen,Affecter, pp. 28-31. Mannerof the GorgonPainter(ABV 13, 42: P 10651).
Ca. 600 B.C.


138 P1. 17

P 10195, P 10651, P 10653

B 14:5

P 26810 T 19
Four non-joining fragments, one (P 10195) of neck and mouth, one (P 10651) of shoulder with start of handle, two

(P 10653 and P 26810) of lower wall. Rest. H. of P 10195: 0.237; max. dim. P 10651:0.093, P 10653:0.254, P 26810:
0.185. P 10195 preserves parts of four horseheads to right: 1) all but top of head; 2) mane; 3) some of mane, eye; 4) mane,

part of head, muzzle. On side of mouth, frieze of incised

rosettes. P 10651 gives parts of two animal friezes: I) bull (hind legs, tail) to left, with the handle root on the far right; II) boar (bristles). P 10653 shows a lion (paw) facing a bull (left foreleg and left hind hoof) with a floral ornament (part of tendril) between and some of the stacked rays below. P 26810 comes from the other side of the vase, probably the part opposite that of P 10653, and gives more of the stacked rays and the animal frieze: bull (right forehoof) to left; some of the floral ornament (tendril, frond of lotus). Hanging spirals, dot and incised rosettes for filling ornament. Red: manes and forelocks; eye of 3; nostril of 4; scrotum of bull; core of incised rosette on P 10651, alternate petals of all incised rosettes. White: corners of eyes; dots at ends of incised lines of rosettes.

139 Fig. 4;PI. 17 P 13113 R 17:3 Fragmentof shoulder,with start of neck. Max. dim. 0.12. cross(partof one lotusandone palmette) Lotus-palmette and siren (preserved but for feet and endof tail) to left. Dot rosettesfor fillingornament. Above,tonguepatternatjunction with neck. Red:face, neck,breast,fillet, coverof wing and bar on tail; cuff, sepals, alternate leaves of lotus; alternateleavesof palmette; link;alternatetongues. The composition showedtwo facingsirenswith probably a floralbetween,similarto that on the round-bodied lekythos in London,Russell (ABV 9, 17). Comparealso the reverseof LouvreE 817 (ABV 9, 7; Paralip. 6, 7), which shows sphinxes. The GorgonPainter(ABV 10, 24).
Early 6th century B.C.

140 Fig. 5; P1. 17 P 17966 A 18-19:1 Shoulderfragmentwith start of handle on right. Max. dim. 0.109. Lion (hind legs and tail missing)to right with forepaws raised and head turned around. On the right, lines that markthe areajust belowthe handleroot.Belowthe lion, at the break,a small bit of glaze, probablythe petal of a rosette. Red:mane,belly stripe,ribs, markingson hindquarters;petal.


CATALOGUE P648 I-J 17 of mouth and neck. Max. dim. 0.075. Someof Fragment the glaze is abraded. On top sideof mouth(illustrated), geese (head,neck,and breastof one;wing and tail of another)to right. Incisedrosette for filling ornament.On outsideof mouth,borderof esses.On neck,partof incisedrosette.Red:dotson neck,bar on wing; broadbandon insideof neckbelow geese;line on upperand loweredgesof outsideof lip. Closeto 141 and 142. Perhapsin the mannerof the Gorgon Painter.The useof redanddoublelines is the same,but the drawingseemshastier. First quarterof the 6th centuryB.C. 144 P 31088 I 10:1 Fragmentof mouthas 141-143. Max. dim. 0.073. On top side of mouth, geese (head, breast, leg of one; body, tail, leg of another)feedingto right. On outsideof mouth,row of dots.Red:line on top of mouthat outeredge. First quarterof the 6th centuryB.C. 145 PI. 18 P 6065 1 9:1 Shoulderfragmentwith junction of neck at top. Max. dim. 0.099. Glaze firedred. Lion (preserved but for legs, partof tail) to left with head turnedaround.Incisedanddotrosettes forfillingornament. At the verytop of the fragment, someof the line at thejunction with the neck.Red:mane,belly stripe,ribs. An unusualfeatureof this lion is that its tail is between its legs, then risesaboveits body,curvinggracefully overits Lionswith theirtails betweentheirlegsoccur hindquarters. in the workof the GorgonPainterand his manner,but here the tails remain beneath the belly. Cf. Louvre C 10620 (ABV9, 9; Paralip.7, 9), LouvreE 817 (ABV9, 7; Paralip. 6, 7), Avallon80 (Paralip.7, 9 bis), Berlin, inv. no. 3764 (ABV 11, 19;Paralip.8, 19), Nikosia 1958.iv-223(Paralip. 8, 19 bis; Gjerstad,op. cit. [under 10], pl. 63:1), Copenhagen,inv. no. 13796 (ABV714, 9 bis;Paralip.7, 9 bisand 8). For tails such as the one on 145, compare, e.g., thoseof the two seatedlions on an unattributed Keratripod-pyxis, meikos,inv. no. 44 (Kerameikos VI, ii, no. 130, pl. 100);a pantheron Berlin 1961.7 (CVA, Berlin 5 [Germany45], pls. 1 [2146]:1,and 2 [2147]);a pantherperchedon a palmettecrosson Athens,N.M. 1036 by Sophilos(ABV 38, 2; Baklr,Sophilos,pl. 33, fig. 59). First quarterof the 6th centuryB.C. 146 P 17341 M 11:3 Fragmentof shoulder,with ring at junctionwith neck. Max. dim. 0.056. Beginning of handle attachment. E. Brann,Hesperia30, 1961, p. 366, H 24, pl. 74. Feline (curvingtail, partlyflaked,part of hindquarters) to right. Incisedrosettefor filling ornament.Red:marking on hindquarters. The shortstrokesincisedalong the contourof the hindquartersare a curiousfeature.Comparea lion by Sophilos 143 Pl. 18

The composition probably representedtwo rampant lions, one to left, the other to right, each with head turned around,with a floral between.The curveof the fragment similar suggeststhat it camefroma shapeof neck-amphora to the one by Sophilos, Athens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49, 50), only larger.The drawingon 140 is, however,closestto that of the GorgonPainterand his manner.The full manecovering the entireneckandfallover the is characteristic of the in locks shoulder long ing GorgonPainter:e.g., LouvreE 817 (ABV 9, 7; Paralip.6, 7); Hamburg1960.6 (Paralip.7, 13 bis;CVA, Hamburg1 [Germany41], pl. 28 [1994]:1-3);KasselT. 669 (Paralip. 7, 13 ter;CVA, Kassel 1 [Germany35], pl. 27 [1707]:1-3). For the S-curved ribswith red,cf. LouvreC 10620 (ABV9, 9; Paralip.7, 9), Baltimore48.215 (ABV9, 18;Paralip.7, 18). For the muzzle, comparethe lion on the North Slope lid, A-P 1734 (ABV 8, 6; Paralip. 6, 6). For the lion's eye withouta pupil, a detail difficultto parallelin the Gorgon Painter,cf. one in the friezebelow the sphinxeson Louvre E 817 and two in his manner on Louvre CA 823 (ABV 12, 23). First quarterof the 6th centuryB.C. 141 Pl. 18 P4727 F 12:5

Fragment of neck and mouth. P.H. 0.127; diam. of mouth 0.19. E. Vanderpool,Hesperia 15, 1946, p. 125, no. 6, pl. 17:1-3; Lambertonand Rotroff,op. cit. (under 136), ill. 5. On top side of mouth,friezeof geeseto right.On outside of mouth,borderof esses.On neck:A, Aristaios(headmostly missing),winged,runningto right,lookingaround,with a pick in his right hand. He wearsa short,beltedchiton.B (not illustrated), lotus-palmettecross. Red: breasts and wing bows of geese; face, neck, upper arms, chiton, and cuffsof lotuses,heartsandalternate wing bowsof Aristaios; petals of palmettes,links; band on inside of neck below geese;line aboveand below borderof esses. For Aristaios,cf. L. Burn, AntK 28, 1985, pp. 93-105. The Agora Aristaiosdiffers from the known examplesin that he doesnot carrya sackor a jar in one hand. Mannerof the GorgonPainter(ABV 12, 26).
Early 6th century B.C.

142 PI. 18



Fragmentof offsetmouth,neck,and startof one handle. Max. dim. 0.108. friezeof geese (one)to On top side of mouth(illustrated), right. On outside of mouth, borderof esses. On neck:A, horse(top of head,ear) to right;B, floralornament(partof tendril?).Incisedrosettesfor fillingornament.Red:dotson neck, breast,wing bow; line below borderof esses;mane; partof floral. Mannerof the GorgonPainter(compare141). First quarterof the 6th centuryB.C.

NECK-AMPHORAE (Athens,N.M. 16385:ABV 40, 19; Paralip. 18, 19; Bakir, is removed, Sophilos,pls. 85, 86: here [p. 45] the attribution but without compellingreason)and the one in the manner of the KY Painter(Athens,N.M. 12688:ABV33, 1).
Early 6th century B.C.


147 Pl. 18


G 15

Fragment. Max. dim. 0.147. Most of flanged handle, glazedon underside,and a little bit of wall. On outsideof handle,fiveincisedrosettes.Belowthe handle root, zone of dots. Red: alternatepetals of rosettes; two lines beneathhandle. For rosettes on the handle, cf. the fragmentaryneckamphorain Florenceby Sophilos(ABV 38, 3). First quarterof the 6th centuryB.C. 148 PI. 18 P 143 G-H 5-7 Wall fragment.Max. dim. 0.058. Part of lotus-palmette chain. Below that, panther(top of of some neck, right ear, forehead)to right. Red: forehead, insideof ear, neck;heartsand alternatepetalsof palmettes, sepalsof lotuses,link. The absenceof a cuff on the lotus is an odd feature. First quarterof the 6th centuryB.C. 149 Pl. 19 P825 I17 Fragmentof shoulder.Max. dim. 0.075. Siren (breast,parts of wings, right leg, lock of hair) to left. Red: neck, breast,dots, and coversof wings, alternate feathers. The articulationof the curvedend of each feather,even when it is seen againstthe clay ground,is unusual. Compiecethat parethe sphinxon LouvreA 474, an unattributed belongsto the Groupof the Early Olpai (ABV 14, 10). First quarterof the 6th centuryB.C. 150 PI. 19 P 13864 T24:3 Shoulderfragment.Max. dim. 0.046. Siren or sphinx (head,breast,part of wing) to right. Incisedrosettefor fillingornament.On the rightat the break, traces of another figure (breast of siren or sphinx). Red: part of face,top of head,wing bow. The Groupof the DresdenLekanis(ABV 22, 13). Late firstquarterof the 6th centuryB.C. 151 PI. 19 P22884a N15 P 22884 b M15

Incisedrosettesfor fillingornament. At top,partof a zoneof dots. Red:a) chest of feline in I; forepaw,nose, chest, and belly stripe of panther;b) manes, muzzles, tongues,eyes, of left lion. chests;belly stripeandmarkingon hindquarters Dots on alternatepetalsof rosettes. The KomastGroup:I, the KX Painter (ABV 680, 38); incorrectly given:ABV 48, 143 (Polos Painter);corrected: Paralip.20, 143. Late firstquarterof the 6th centuryB.C. 152 Pl. 19 P 21562 07:9 Fragment.P.H. 0.122. From lower part of tall flaring neckand startof shoulder. On neck, parts of two friezes:I) feline (hind legs) and siren (body,tail), bothto left, and feline (hindlegs) to right: II) siren (tail) to left and feline (body,legs, tail) to right. Incised rosette for filling ornament.On shoulder,sphinx (tip of wing andendof tail) to left. Red:I) wing bow;II) bar on siren'stail.
Ca. 580-570 B.C.

153 PI. 19


M-N 12

Fragment of neck with turn of shoulder. Max. dim. 0.092. Glaze firedbrownishred. Two friezes:I) siren or bird (leg, start of tail) to left; II) siren or bird (wing) to left; feline (body,hindquarters, Red:bandon tail) to right.Blobrosettefor fillingornament. tail; wing bow;markingon hindquarters.
Ca. 580-570 B.C.

154 P. 19



Two non-joiningwall fragments.Max. dim. a) 0.068, b) 0.097. Animal friezes. Fragmenta preservespart of two; I) feline (forelegs,hind paw) to left; II) panther(preserved but for hindquarters and tail) and siren (end of wing and tail), bothto right. Fragmentb also gives partsof the two friezes: lions with headsturnedaround(all of one I) two confronted but for hind legs and part of tail; head, mane,and shoulder of other); II) back of an animal, perhaps a bull, to right.

Three non-joining wall fragments.Max. dim. a) 0.118, b) 0.13, c) 0.089. Animalfriezes.Fragmenta preserves partsof two: I) feline (forepaws),boar (bodyand legs), siren or bird (body, wing, tail, legs), all to right;II) ram (body,hindquarters), panther (tail, right hind leg missing),both to left; below, rays. Fragmentb also gives parts of two friezes: I) goat to left, feline (righthind leg) to right; (body,hindquarters) c showsa feline II) panther(head,neck)to right.Fragment and a hoofed animal both to right;be(hindleg), (forelegs) low, rays. Dot and incised rosettes for filling ornament. Red:belly stripes,scrota,ribs, and markings on hindquarters; neck of boar;necks, foreheads,and muzzles of panof wing, endof tail of thers;coverof wing, alternatefeathers siren;alternatepetalsof somerosettes. Late firstquarterof the 6th centuryB.C. P 3805 F 14 Wall fragment.Max. dim. 0.074. Parts of three friezes:I) hoof; II) feline (forepaw)and ram (body,hindquarters) to right;III) lion (head)and bird or siren (bow of wing) to right. Incisedrosettesfor filling ornament. Red:bellystripe,ribs,markings on hindquarters of deer;maneof lion;bar on wing. Late firstquarterof the 6th centuryB.C. 155

122 156

CATALOGUE P 3434 H 8-10 160 PI. 20 Part of flaringmouth,mostof neckand body,both handles. Rest. H. 0.249; rest. diam. 0.163; diam. of mouth 0.112. Smallfragments preservepartof flaringfoot. On top side of mouth,birdsor sirens(one) to left;on the outsideof the mouth, verticalstrokes.On neck, A and B, siren to left; beneathhandleattachmentB/A, bird to left; underA/B, rosette.On shoulder:A, two sphinxes,facing; B, siren(wing)to left betweensphinxes(body,someof wing of each). On the body, part of one frieze that continued roundthe vase:two pairsof sirensor sphinxes(heads,part of wings)facing,a pairof lions(bodies,someof legs,headof one on left) facing.Incised,blob,and dot rosettesfor filling ornament. On outsideof handles,rosettes by pairs separated of horizontal lines. Betweenthe figurezoneson the shoulder and body,three rows of dots. Abovefoot (not illustrated), rays. Red: hair, part of neck, wings, breastsof sirens and sphinxes;band on tails of sirens;shoulders,markingson of lions;coresand alternatepetalsof rosettes hindquarters on handles. The PolosPainter(ABV 44, 7). Secondquarterof the 6th centuryB.C. P6661 R-V 16-19 Fragmentof offset mouth and part of neck. Max. dim. 0.057. Someof the glaze is abraded. On top side of mouth, frieze of birds (one) to left. On outsideof mouth,verticalstrokes.Red: breast,wing bow; lines on innerand outeredgesof mouth. The Polos Painter(ABV 48, 152). Secondquarterof the 6th centuryB.C. 161 P 13822 U25:2 (M) 162 Two non-joining fragments. Max. dim. a) 0.083, rootof handle of neck,startof shoulder, b) 0.097. Fragment of of lower wall with (a); fragment beginning foot (b). the a Fragment preserves wing bowsandpartof one wing of a sphinx to right. On the right, vertical herringbone pattern.Below, at the junctionof neck and body, vertical strokesin groupsof three. Fragmentb gives two rows of patterns:I) between a line top and bottom,oval shapes by slantingto rightdividedby a centralline, thenseparated a line with three short strokesin the interstices; II) rays. Red: face, neck, breastof sphinx;one line aboveand two belowthe firstpattern. The drawingis veryhasty. Secondquarterof the 6th centuryB.C. 163 P 20851 D 17

P 5008 F 12 Three non-joiningfragmentsof shoulder. Max. dim. a) 0.073, b) 0.09, c) 0.082. Fragmenta with startof neck. Someof the glaze firedred. Much of it is abradedon fragment b. Animalfriezes.Fragmenta shows a lion (someof chest, legs, and tail missing)to left. Fragmentb preservesa lion (body,neck,partof legs) to right;in frontof the lion, a siren or bird (wing). Fragmentc gives partsof two friezes:I) feline (hindquarters, tail) to left;II) animal(back)to left. Ina and b come cisedrosettesfor fillingornament.Fragments that fromone side of the vase and belongto a composition lions with a bird or siren between. showedtwo confronted Fragment c belongs to the other side. Red: manes and chests,ribs,markingson hindquarters; wing bow. First quarterof the 6th centuryB.C. 157 P 4255 F 13 Wall fragment.Max. dim. 0.056. Ram (hindquarters, part of tail at break)to right. Red: belly stripe,scrotum,rib, markingon hindquarters. First quarterof the 6th centuryB.c. 158 PI. 19 P 3579 and P 12379 F 14 Two non-joiningneck fragments.Max. dim. P 3579: 0.096, P 12379:0.068. P 3579 gives the startof the mouth on the right. and handleattachment P 3579 shows birds or sirens (legs and tails of two) to On neck, righton the top sideof the mouth(notillustrated). to left;II) partsof two friezes:I) feline (body,hindquarters) bearded,wingedfrontalfigurein a chitonand nebris(right hand,lowerlegs missing)with headturnedto right,holding he held ana birdby the neckin his left hand. Presumably otherbirdin his right. P 12379 (not illustrated)givesparts of the same two friezes:I) bird or siren (breast,legs, tail) and feline (hind legs) to right; II) frontal winged figure On (head,left wing) probablyas on P 3579 but unbearded. the right,at the break,the tip of the rightwing of a second figure.Incisedrosettesfor filling ornament.Red:markings of felines;breastsand wing bows of birds; on hindquarters hair and wing bows of figures;skirtof figureon P 3579. D. Callipolitis-Feytmans (Lesplats attiques,p. 150, note has seen that 158 1) belongsto the samegroupof Corinthinv. no. 66, once as and Kerameikos, 1398 ianizingpainters attributedto the Polos Painterbut now withdrawn(ABV 46, 95; Kerameikos VI, ii, no. 91, pl. 77; Paralip.20). For
the subject, cf. Miiller, Lbwen und Mischwesen, pp. 129-

154. Late firstquarterof the 6th centuryB.C. P 25324 I 10 dim. 0.073. Max. of mouth. Repairedin anFragment head of one lead with the of two staples tiquity (evidence 141-144. as Same remaining). shape On top side of mouth,birds (wing and tail of one, head On and bodyof another)to left. Blobsfor fillingornament. outside of mouth, verticalstrokes.Red: breast of bird on right. First quarterof the 6th centuryB.c. 159

Shoulderfragment,handleroot,and startof neck. Max. dim. 0.07. Ring at junctionof shoulderand neck. Panther(head, neck) to right with head turnedaround andon the othersideof the handle,a bird(head,topof neck) of panther. Red:forehead to left. Blobsfor fillingornament. White:dotson neckof panther. Secondquarterof the 6th centuryB.C.

NECK-AMPHORAE P 1262 G 6:3 (L) Rest. H. diam. 0.107. A few pieces 0.234; Fragmentary. of mouth,wall, and foot restoredin plaster.Glaze has misfired a reddishbrown. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 4, fig. 6. A and B, each on neck,two zones:I) verticalzigzags;II) blob rosettes,some with reservedcenters;on the shoulder, two swans facing,with groupsof short strokesin the field. Red:stripeson wings of swans;broadbandroundvase below figureddecoration. Relatedto the Swan Group,II (ABV 659). Secondquarterof the 6th centuryB.C.


164 PI. 20

shoulder,arm of other) to right. Red: overfoldsof peploi. White:flesh;dotson edgeof left garment; key pattern. Secondquarterof the 6th centuryB.C. 168 P. 20 P 21693 P7 Wall fragment.Max. dim. 0.072. HeraklesandNessos.Heraklesattacksfromthe left:only his left arm and hand tightly graspingthe centaur'sright arm are preserved.The face, torso, and horse body of Nessos remain.Blood flows fromwoundsin his chest and flank.Inscribed:

Red: beard,wounds,markingson shoulderand hindquarters of Nessos.White:markings on Nessos. Similarin styleto 118 (PI. 14). Compare also,New York, M.M.A. 41.162.103 (CVA, New York,3 [USA 12], pl. 4 cf. Brommer, [536]).For the subject, Heldensage3, pp. 153158.
Ca. 560 B.C.

165 PI. 20

P 6628 H 10

Fragment.Max. dim.0.064. Fromshoulderwith someof ring at junctionwith neck. Satyr (head with fillet) to left. On the left is part of another figure that may be the beardof a facingsatyror one pipe of an aulos with a bit of the player'sfingers(for the latter possibility,cf. London,B.M. B 103.16:AthMitt 59, 1934, Beil. 10:1). The shaggybeardand animalear characterize the figure as a subhumanone, probablya satyr,not a centaur,for the earliestpreserved Atticblack-figured centaurshave human ears and straight noses, sometimes also moustaches(cf. Schiffler, op. cit. [under118], pp. 20-21), whereasfromthe very beginningAttic black-figured satyrsare characterized by snub noses, animal ears, and they lack moustaches(cf. F. Brommer, Satyroi,Wiirzburg1937, pp. 25-28). Ca. 580-570 B.c. P 18612 C 19:5 Fragmentof neck and shoulder,stub of round handle. Max. dim. 0.098. Ring at junction of neck and shoulder. Burned(clay is gray). On shoulder,youth (head,shoulder)to left. On the neck, cross(one palmette,the frondof the inverted lotus-palmette lotus, someof tendrils).Red:heartof palmette; ring. The absenceof a bandof glaze or a tonguepatternon the shoulderat thejunctionwith the neckis an unusualfeature bestparalleledin the workof the CamtarPainter.Cf. Tar44 (ABV 84, 2); quinia RC 5564 (ABV 84, 1); Cambridge Boston, M.F.A. 21.21 (ABV 84, 3; Paralip. 31, 3; CVA, Boston1 [USA 14], pls. 16 [638], 17 [639]:3,4); Leningrad, inv. no. 2417 (Paralip.31, 7); TubingenS./715 (D 7) (Paralip. 31, 8; CVA, Tubingen 2 [Germany 44], pl. 34 [2135]);and Laon 37.1017 (Paralip.31, 9). The lotus-palmette cross on 166 with its very large heart and of tendrilsis similarto that on the Cambridge arrangement and Leningradvases. The subjecton 166 may have been a frieze of horsemenlike the one on the Laon amphora,for the small scale of the head suggestsa rider. Secondquarterof the 6th centuryB.C. 167 PI. 20 P25382 G3 Wall fragment.Max. dim. 0.054. Two women (some of face, neck, chest of one; right 166 P1.20

169 P1.20

P 14498 S 22

Shoulderfragment with someof tonguepatternneartop. Max. dim.0.073. On left, at tongues,holeforancientmend. Hunter and man to right. On the left, the hunter (chest with mantle)carriesa fox (hindquarters missing)suspended froma stickoverhis left shoulder.In frontof him, a man but forhis face wearinga cloakovera longchiton,preserved and feet.On the right,at the break,a smallamountof glaze, perhaps traces of another figure. Above, line and end of tongue pattern (one tongue, line between). Red: cloaks. White:chitonof man. For huntersandtheirquarry,cf. M. B. Moore,TheMetropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 37-38.
Ca. 560 B.C.

170 P1.21 P9358 M 18:8 Wall fragment.Max. dim. 0.072. Warrior(torso, right arm with spear) to right. On the left, tail of an animalskin (?) in diluteglaze. Red:chiton. Attributedto the TyrrhenianGroup [Bothmer].GenePainter. rally recallsthe Prometheus Secondquarterof the 6th centuryB.C. Hll P3074a,b,e Three non-joining fragments. Max. dim. a) 0.103, b) 0.03, e) 0.05. Fromflaringmouth,neck,and body. Fragmentsa and b preservepart of the lotus-palmette crosson the neck.Fragment e givessomeof the tonguepattern on the shoulderat thejunctionwith the neckand a bit of the figureddecoration, Theseus and the Minotaur(forearm and hand of Theseus, a bit of his garment; the face of the monster). Red:cuffsof lotuses,alternate tongues; ringat line at outsideedgeof mouth. junctionof neckandshoulder; White:Theseus'garment. P 3074 c and d do not belongto 171. Neither preserves cf. Brommer, figures.Forthe subject, Heldensage3, pp. 226243; E. Young, The Slaying of the Minotaur: Evidence in



CATALOGUE palmetteornament(part of uprightbud, heart of inverted palmette).Red: star on lotus bud, cuff; heart of palmette. White:belly stripe. The Painterof Vatican309. Compareespeciallythe reverseof his namepiece(ABV 121, 7), Munich 1445 where the floralis quitelarge(ABV 121, 9; CVA,Munich7 [Germany 32], pl. 327 [1541]:3),and Louvre C 10630 (ABV on 176 probably showeda floral 121, 10). The composition betweentwo sphinxes. Secondquarterof the 6th centuryB.C. 177 PI. 21 P 13783 U 25:2 (U) Wall fragment.Max. dim. 0.066. Goat (neck,part of head and foreparts)grazing to left. Red:markingon shoulder. Secondquarterof the 6th centuryB.C.

Art and Literature for the Development of the Myth, 700400 B.C., diss. Bryn Mawr, 1972 (UniversityMicrofilms Ann Arbor,Michigan,no. 73-5903). International, Secondquarterof the 6th centuryB.C. P 25349 J 12 Shoulderfragment.Max. dim. 0.054. Youthful rider (head, torso, right hand; mane) to left. Above,tongue pattern.Red: hair, dots on garment;alternate tongues. For rows of dotson the garment,the best parallelsare to be found in the early works of Lydos, and 172 may be by him. Compare especially London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 9:,/); Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pl. 23:,8); and Naples, Astarita143 (ABV 684, 57 bis;Paralip.44, 57 bis;Tiverios,pl. 75:,8).Comparealso, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Berlin 1685 (ABV 109, 24; Tiverios, pl. 46:,3); and Akropolis 2187 (ABV 111, 44; Tiverios, pl. 73:6). Later examplesoccurin the work of the Amasis Painter: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-141, cat. no. 27) and LouvreF 36 (ABV 150, 6; Paralip.63, 6; Bothmer, op. cit., pp. 81-82, cat. no. 5). Ca. 560-550 B.c. 173 P1.21 P 21371 P7 Wall fragment.Max. dim. 0.031. Partsof two zones:I) Amazon(foot,endof greave)to left; II) Iris (headwith petasos,someof chitonand cloak)to left. Red:greave;cloak.White:flesh. The scale of the Amazon'sfoot comparedwith that of thatthe two figuresweresimilarin size Iris'sheadindicates and thereforethat the two friezes were about the same height, an odd scheme of decorationas noted orally by Bothmer.Usually the uppermostfrieze is the widest, the othersnarrower. For the subject, cf. Brommer,Heldensage3,pp. 7-25 with bibliography.
Ca. 560-550 B.C.

172 PI. 21


178 P1.21

P 2397 H 8-10

Fragment.Max. dim. 0.078. From neck with trace of ring at junctionwith shoulder.H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:a. Male head to right. Red:fillet, face, neck;bandat junction of neckand shoulder. to be It is unusual for the face on such neck-amphorae but morecarecoveredwith addedred. For a comparison, fully applied,cf. Munich 1448, nearthe Painterof London B 76 (ABV 88; CVA, Munich 7 [Germany32], pl. 329 [1543]:2,3).
Ca. 570-560 B.C.

174 P1.21

P 17781 A 18-19:1

Shoulderfragment.Max. dim. 0.038. Man (head,right shoulder,most of raisedright arm) to right. Red:hair and beard.White:dotson sleeveof chiton.
Ca. 550 B.C.

175 PI. 21


L 11-12

Fragment of mouth (flat on top, reserved)and neck. Max. dim. 0.055. Two swans (head, neck, wing of one; part of wing of other)facing.Red:bandon eachwing. White:dotson neck; narrowbandon each wing. Secondquarterof the 6th centuryB.C. P 25315 F 19:4 176 PI. 21 Wall fragment.Max. dim. 0.072. Feline (shoulder,start of foreleg)to left, facing a lotus-

P 25013 0 16 179 Fig. 6; PI. 21 P.H. a + b) 0.143;diam.of mouth0.13; Four fragments. max. dim. c) 0.072, d) 0.09, e) 0.099. From mouth, neck, body,andhandles joinedwith plaster.Echinusmouth.Ring in places. atjunctionof neckandshoulder.Glazeis abraded of the + b a mouth, (illustrated) part preserves Fragment neck,stubof one handle,andsomeof the body.On the neck, head of a man (A, face, hair; B, face) to left. On the body, some of its horseman(backof torso;horse'shindquarters, head and tail) to right. Fragmentsc and d show the upper cornersof the panel on the other side, and fragmente is a handle.Red:line on outerand inneredgesof mouth;ring. at the top of the panel The absenceof framingornament is an unusualfeaturethat recallssomeof the one-pieceamphoraewith a singlehorseman(cf. 36: P1.5). cf. also 166 (PI.20), New York, Forthe lackof ornament, M.M.A. 56.171.16 by the Painter of LondonB 76 (ABV 87, 14;Paralip.32, 14;CVA,New York4 [USA 16],pl. 12 [740]:1,2); Munich 1448, nearthe Painterof LondonB 76 (ABV 88; CVA,Munich7 [Germany32], pl. 329 [1543]:3, 4); StuttgartMarket, Kricheldorf(Auktion VI, 22. Okt. 1958, pl. 15, no. 35); also Munich 1449 (CVA, Munich 7 [Germany32], pl. 328 [1542]:3,4) and Athens,N.M. 673. These last two havea narrowblackbandbetweenthe top of the paneland the ring at thejunctionof neckand shoulder.
Ca. 550 B.C.



form a class, and they are by differentpainters.All these differfrom 181 by havinga flaringmouth, neck-amphorae shortneck with an ornamental pattern,and rays abovethe foot.
Ca. 540-530

179 (P 25013). Scale 1:2 FIG.6. Neck-amphora

180 P1.21 Neck fragment.Max. dim. 0.064. Head of man (face)to left. Secondquarterof the 6th centuryB.C. 181 PI. 22

P 25390 B 19

P 24677 R 12:4

P 19045 and P 19584 A 18-19:1 Three non-joining fragments of wall. Max. dim. P 19045 a + P 19584 a: 0.14, P 19045b: 0.115, P 19584 b: 0.048. A, wedding processionin a chariotto right. Fragment P 19045 a + P 19584 a givesthe head and shouldersof the groomwearinga chiton and cloak;besidehim is his bride holdingout her veil. Behindthe pair, the wreathedhead of Dionysosand, at the left, the left edge of the panel. On the left side of the chariot,the head of Apollowith part of his and strings).FragmentP 19584b kithara(arm,crosspiece, shows (not illustrated) part of the wheel, box, and pole of the chariot,some of Apollo'schiton,and part of two tails. FragmentP 19045 b comesfromthe otherside of the vase. of a mounted the forehead It preserves youthto right,for in the lower part of the fragmentis part of his horse'smane andaboveit, his ridingcrop.On the farright,the edgeof the panel. Abovethe panel on each side, tonguepattern.Red: alternateleaves of wreath;headdressof groom;stripeson his chiton;Apollo'sforelock; part of tail and mane;rider's forelock;alternatetongues;line at edge of panel. White: armsof kithara. bride'sflesh;dotson garments; The scene may representthe Wedding of Peleus and cf. Brommer, Thetis. Forthe subject, pp. 318Heldensage3, 320. 182 PI. 22
Ca. 530-520 B.C.

Mouth slightly chipped. H. 0.378; diam. 0.284. Rilled mouth, concavestrap handles,torus foot with fillet above. H. A. Glaze firedbrownishin places.Someof it is abraded. Thompson,Hesperia25, 1956, p. 62, pl. 21:b. A, man seated to right on an okladias,wearing a long chiton and a himation, his left hand extendedtowards a woman who standsbeforehim wearing a long chiton,her righthandraised.Behindthe seatedman, a nudeyouthand a womandressedas the otherwoman,both to right.Above panel,tonguepattern.B, man seatedto righton an okladias, his right hand extended,under his left arm a scepter.He wears a long chiton and himation. Round his head is a wreath. A woman stands before him, her right hand extendedwith a flower (positionedslightly aboveher palm). She is dressedas those on A. On the wall, two fillets. Red: beards;pupils of women'seyes; fillets roundheads;stripes on garments;one rill, line at inner edge of mouth, ring at of junctionof neck and shoulder,line at upper attachment handle;two lines below panel that continueroundthe vase. White: female flesh; dot clusters on garments;joints of okladiai;chitonof man on A; dotson hangingfillets. The concavehandlesand fat bodyof 181 generallyrecall a neck-amphora by the EuphiletosPainter (ABV 323, 21; Paralip. 142, 21) that takes with it two othersthat are unattributed: Leningrad 284 (ABV 325, -, 1) and Naples, inv. no. 86362 (ABV 325, -, 2). A few others are akin to



183 P1.22


N18:7 or8

Shoulderfragment.Max. dim. 0.081. Bohr, Schaukelmaler,pl. 107:d. Athena (part of head with Attic helmet, Gigantomachy. shoulderwith snakeof aegis, raisedright arm but without spear)to right.On the left, partof anotherfigureor perhaps the foreheadof a horse.Above,tonguepattern.Red:mane or hair at left; edge of helmet crest; earring; alternate tongues;line at top borderof tongues. neckComparethe Gigantomachyon a contemporary amphora of Panathenaic shape, Munich 1437 (CVA, Munich 7 [Germany32], pls. 339, 340 [1553, 1554]). For figurees giants, cf. F. Vian, Repertoiredesgigantomachies dans l'art grec et romain, Paris 1951 and La guerre des Paris 1952; hellenistique, geants. Le mytheavant1'epoque also, M. B. Moore,AJA83,1979, pp. 79-99. Comparethe Swing Painter(ABV 693).
Ca. 530 B.C.

these three in shape (ABV 325-326, 1-6), but they do not

P 10808 No grid Two non-joining of wall. dim. a) 0.135, Max fragments b) 0.107. Weddedpair in a chariotto right. Fragmenta gives the



CATALOGUE The RycroftPainter.The small eye withouta tear duct combined with threeshortstrokesforthe browareespecialof horsesby the RycroftPainter,and the ly characteristic rest of the drawingis his, too. Compare: Oxford 1965.118 (ABV 335, 1; Paralip. 148, 1; CVA, Oxford 3 [GB 14], pi. 35 [650]);Boston,M.F.A. 98.919 (ABV335, 3; Paralip. 148, 3; CVA, Boston1 [USA 14], pl. 14 [636]);New York, M.M.A. 06.1021.67 (Paralip. 148, 5 ter and 150); Worcester1956.83(ABV335, 5 bis;Paralip.148, 5 bis;Buitron,
New England Collections, pp. 44-45, no. 17); Louvre C 11278 (Paralip. 149, 23 quater); Munich 1720 (ABV 337,

hands of the groomholdingthe reins, the veil of his bride beside him held away from her head, then the head and shoulders of a bearded man, a youth with a kithara of the right-hand (Apollo?),and part of the hindquarters horse and the tail of the other horse. pole pole Fragmentb preservessome draperyand the edge of the panel on the are from right. It is not certainwhetherthe two fragments the same side. Red:dotson garmentson a; tail of left-hand pole horse. White: woman's hand; dots on garments of beardedman;left-handpole horse.
Ca. 530 B.C.


P 13425 N 18:7

Two non-joiningshoulderfragmentswith start of neck. Max. dim. a) 0.16; b) 0.166. Ring at junctionof neck and shoulder. Fragmenta preservesthe upper left cornerof the panel with a woman (head)to right and someof the tonguepatternat thejunctionwith the neck.Fragmentb givesmoreof the tonguepatternabovethe right cornerof this panel and abovethe panelon the otherside,as well as partof the lotuspalmette chain on the neck. Red: pupil of woman's eye; alternatetongues;heartsof palmettes,cuffs of lotuses;line at side of panel;ring. The scaleof the woman'sheadand its inclination suggest that she standsin a chariot.
Ca. 530-520 B.C.

24). The attributionof 187 to the RycroftPainteradds a new shape to those knownto be decorated by him. For the inscription,cf. an unattributed fragment,Agora A-P 296, which belongs to Akropolis674 a-d (Hesperia 4, 1935, p. 229, no. 16 and p. 227, fig. 6).
Ca. 510-500 B.C.

188 P1.23


K 17:1

Q8 Wall fragmentfromtop of panel.Max. dim.0.069. Thin brownglaze on inside. Frontalhorseman(headturnedto left, right shoulderof rider;maneof his horse,its headturnedto right).Red:forelockof youth;maneof horse.White:chiton.
Ca. 520 B.C.



Two non-joiningfragmentsof mouth, neck, and body. Max. dim.a) 0.144, b) 0.107. Mendedin antiquity(holeat rim of Athena'sshield). Athenastridingto left. Fragmenta shows the head and shoulders of the goddess with her rightarmraisedholdinga spear,hershieldheldout. In the field,a vine.AboveAthena, someof the tonguepatternoverlapped by her helmetcrest, and a little of the lotus-palmette chain withoutincisionon the neck. Fragmentb (not illustrated)gives some of the mouth and more of the ornamentalchain. Red: rim of shield; crest support;dot on garment;ring at junction of neckand shoulder.White:flesh;dotson border of garment. the Eucharides Painter [Bothmer]. Perhapsby Last quarterof the 6th centuryB.C.


187 PI. 22

P4749 E-F 12-14 P 4823 No grid

189 PI. 23


E-F 12-14

Fournon-joining Max. dim. P 4749 a) 0.088, fragments. b) 0.09, c) 0.075, P 4823: 0.086. Streakywash on surface. Burned(clay is gray). P 4749 a preservessome of a woman'shead and face to right,and on the right,partof an inscription: OLT '[ Above,a bit of the tonguepatternat thejunctionof the neck and shoulder.P 4749 b (not illustrated)gives some of the showsmoreof woman'sskirt,and P 4749 c (not illustrated) the tonguepatternabovethe figurezone and the ring at the junctionof neck and shoulder.P 4823 preservespart of a chariot(headsand necksof pole horses;neck and mane of right-hand trace horse) to right. To left of the horses, the beginningof an a tree with fruit. Abovethe foreheads, inscription: o[ Red: fillet, dot on skirt;strip on each mane. White: flesh; fruit;dotson headstallof right-handpole horse.

Wall fragment, burned(clay is gray). Max. dim. 0.064. Horse(topof head,with forelock tiedin a topknot) to left. Above its mane, the tip of a spear, probablyheld by the rider, and at the lower left, a small bit of glaze that may belongto a figurestandingto right. Abovefigures,tongue pattern.Red:alternatetongues.
Ca. 540-530 B.C.

P9460 C 9:6 190 PI. 23 Shoulderfragment.Max. dim. 0.038. W. B. Dinsmoor, Hesperia,Suppl.V, Baltimore1941,p. 130, fig. 57:5;Bohr,
Schaukelmaler, pl. 145:e.

Man (head,shoulder)and woman Weddingprocession. At lower to the (face) right. right edge, the borderof his cloak and the necklineof her dress.To judge from where this fragmentcomesin the vase,the scenemay havebeen a weddedpair in a chariot.Red: man's hair; woman'sfillet White:wom(smallbit of redjust in frontof his forehead). an's face. The Swing Painter(ABV 310, 105).
Ca. 540 B.C.

NECK-AMPHORAE 191 Pl. 23 P8883 T 19:1


Wall fragmentnear shoulder.Max. dim. 0.054. Four women(the headsand shouldersof two, a bit of the to right;behindthem, the face neck of a third overlapping, of a fourth,who is not quite so tall as the othertwo, and her raisedright hand). The dilute glaze (veryfaint) in frontof the fourthwoman'sface may be a flower. Red: stripeson garments.White:flesh. The decorative character of the drawingis closeto that of some vases in the manner of the LysippidesPainter. Cf. Munich S.L. 458 (ABV 259, 18; CVA, Munich 7 [Germany32], pl. 359 [1573]);London,B.M. B 208 (ABV260, 29; Paralip. 114, 29); Florence3790 (ABV260, 30); Altenburg 216 (Paralip.116, 31 ter);Rimini (ABV 261, 36; Paralip. 115, 36). The close overlappingof the three figures suggestsa divine triad, perhapsone at a weddingor in a ceremonial procession.
Ca. 530-520

pl. 383 [1801]:1);Munich 1557 by the Painterof Boulogne 441 (ABV 290, -, 3; CVA, Munich 8 [Germany37], pl. 395 [1813]:1). Last quarterof the 6th centuryB.C. 194 PI. 23 P 12994 R 16 Shoulderfragment.Max. dim. 0.04. Youth (head) with a veiled woman (head) on his left (being carried),both to right, perhaps in a chariot.The woman'shead is much smallerthan that of the youth. On the right and left, tonguepattern.White:woman'sflesh.
Ca. 520-510

195 PI. 23


H 13

192 P1.23

P 19879 A 20

with ring atjunctionwith neck.Max. Shoulderfragment dim. 0.099. Triptolemos(wreathedhead),with stalksof wheat (most of one, the shaftof another)to right. Behindhim, a branch, probablyheld by Demeter or Persephone.Above, tongue pattern.Red:wreath;alternatetongues;ring. For Triptolemos,cf. particularly, C. Dugas, "Lamission de Triptoleme d'apres l'imagerie athenienne,"Melanges
d'archeologie et d'histoire 62, 1950, pp. 7-31, reprinted in

Wall fragmentfromnear shoulder.Max. dim.0.08. Weddedpairin chariot(withApollo).Two figures(some of garments; armsandhandsof the groomholdingthe reins) standin the box of a chariotto right.On the right,the head and shoulders of Apollo, strings and crosspieceof his kithara.Red:Apollo'swreath.White:dotson garments. The RycroftPainter(ABV 336, 7).
Ca. 510-500 B.C.

RecueilCh. Dugas, Paris 1960, pp. 123-139. Addto his list of black-figured exampleson pp. 23-24 (RecueilCh.Dugas, pp. 132-134) two more:Athens,N.M. 430 by the Beldam Painteror in his manner(ABV 587, -, 1) and Prague1867 by the EmporionPainter(ABV708, 19; Paralip.291, 19). An unbearded Triptolemosis frequentin redfigurebut rare in black. Compareone on a small neck-amphora by the EdinburghPainter (BeverlyHills, Prinzmetal,ex Hearst 9520: ABV 478, IV, 2; Paralip.217, IV, 2). 192 may be by this painter. Compare especially, London, B.M. B 170 (ABL, p. 220, no. 87; ABV 671) and Cleveland29.135 (CVA,Cleveland1 [USA 15], pl. 19 [699]). Recalls the black-figuredneck-amphorae by the KleophradesPainter(ARV2 194[a],2).
Ca. 500 B.C.

P 419 G 13:1 Shoulderfragment.Max. dim. 0.052. Chariot (heads of pole horses;mane and ear of righthand tracehorse)to right.The small bit of glaze abovethe ear of the tracehorseis the end of a handlepalmette.Red: mane. The RycroftPainter (cf. the comparisons given for 187 and 513.
Ca. 510-500

196 PI. 23

193 P1.23

P 20018 C 17

Shoulderfragment.Max. dim. 0.058. Athena(left armholdinga spear;someof aegisandsleeve of chiton)to left. On the right, tracesof anotherpersonor object.White:flesh. That Athena holds the spear in her left hand suggests that she is an onlooker, perhapsat one of the laborsof Herakles. Compare,for example:Munich 1575 by the Lysippides Painter (ABV 256, 16; CVA, Munich 8 [Germany 37], pl. 364 [1782]:1); Munich 1562 attributed to the Mastos Painter by Kunze-Gotte(CVA, Munich 8 [Germany 37], pl. 376 [1794]:1);Munich 1560 by the Longnose Painter(ABV 327, 5; CVA, Munich 8 [Germany37],

P7446 D 12 Wall fragment.Max. dim. 0.056. Dionysos(head)to left. Above,partof a friezeof hanging lotus buds. Red: strip on beard;leaves of wreath. White: dotson necklineof chiton. The LeagrosGroup (ABV 368, 101;Paralip. 163, 242); Recallsthe AcheloosPainter(ABV 377, 242). The pattern above the figures was a frieze of hanging lotus buds below a tonguepattern,a combination of ornament favoredby the Affecterbut seldomseen elsewhereon neck-amphorae.Here are six examples, the first three earlierthan 197, the lastthreecontemporary: two by Exekias, Berlin 1720, lotus flowersalternatingwith lotus buds (ABV 143, 1;Paralip.59, 1) and Berlin1718 (ABV 144, 5); London, B.M. B 273 (CVA, London 4 [GB 5], pl. 67 [212]:3); two by the Antimenes Painter: Munich 1555 (ABV 271, 79; Paralip.118, 79; CVA,Munich8 [Germany 37], pl. 386 [1804]:1)and London,B.M. B 274 (ABV 272, 95); Munich 1481 (CVA,Munich 8 [Germany 37], pl. 424 [1842]:3).
Ca. 510-500 B.C.

197 PI. 23

P 16814 G 15:1 Two non-joining of shoulderand neck. Max. fragments dim. a) 0.068, b) 0.13.



CATALOGUE shoulder,tonguesand some of Athena'shelmetcrestoverlapping them. Athena moves to right. Red: alternate tongues applied directlyon the clay; ring. White: helmet crest;dotson helmet. Late 6th centuryB.C. P11071 D15:1 205 Shoulderfragment.Max. dim. 0.046. Woman(face,partof head,shoulder),probably a dancer to right with head turnedaround,arm outstretched. Red: dot on garment.White:flesh. headdress, Late 6th centuryB.C.

a preserves the headandshoulders of Dionysos Fragment to rightlookingaround,partof his drinkinghorn,a vine in and on the far right, some of the forehead the background, b gives andwreathof a woman,perhapsAriadne.Fragment the top of the head of a figure to left, some of the tongue pattern on the shoulder, and part of the lotus-palmette chain (without incision) on the neck. Red: beard, fold of cloak,alternateleavesof wreath;alternatetongues;ring at junctionof neck and shoulder.White: dots on necklineof chiton;Ariadne'sface. Last quarterof the 6th centuryB.C. 199 P 17223 A-B 19-20:2 Shoulderfragment.Max. dim. 0.077. Horse (head, part of neck) to right, facing a woman (head,righthand)who holdsup a foldof her garment.Red: mane and forelock;top of woman'shead (fillet?). White: woman'sflesh. Late 6th centuryB.c. P 17801 J 18:4 (U) 200 P1.23 Wall fragment.Max. dim. 0.09. holdTwo males(nudelegs of one;drapedlegsof another some of ornament under a to left. On the the right, ing staff) the handle (tendril of palmette);below the figures, key patternto right, then a frieze of upright lotus buds. Red: stripeon garment. Late 6th centuryB.C. 201 P1.24 P 13764 V 24:2 (U) Wall fragment.Max. dim. 0.093. Man (from hips down) to left in a long chiton with a cloakoverit, holdinga staff.In frontof him, partof a figure to right.On the right,oneof (footandshin of male:dancer?) the palmettesof the handle ornament;below, part of the frieze of uprightlotus buds. Red: stripeson cloak.White: dot clusterson chiton. Late 6th centuryB.C. P 24036 K 13-16 202 P1.24 Shoulderfragment.Max. dim. 0.06. Man (bent right arm, shoulder,some of torso) clad in a chiton and cloak to right (in a chariot?playing the kithara?). On the left, part of the palmetteornamentunderthe handle.Red:dotson drapery.White:dot clusterson cloak. Late 6th centuryB.C. P 10782 No grid 203 P1.24 Wall fragment.Max. dim. 0.072. Komast (body, right arm, left hand) with barbiton,to right. Over his left shoulder,a short cloak. White: fillet roundneckand underright arm. Late 6th centuryB.C. 204 P 8538 D 7:2 of neckwith startof mouthand shoulder.P.H. Fragment 0.095. Ring at junctionof neckand shoulder. On neck, lotus-palmettechain without incision. On


P 25932 Q-T 20-22 Wall fragment.Max. dim. 0.036. Warriors(headof one to right in a low-crested Corinthian helmet, probablyin a chariot since his helmet crest at the right,someof the helmet overlapsthe tonguepattern; of another,ornamented with two plumes). Above,tongue pattern.Red: fillet on first helmet. White: feathers;crest supportof firsthelmet. For plumeson helmets,cf. M. B. Moore,AJA84, 1980, p. 428, note 89. Late 6th centuryB.C. 207 P1.24 P9276 M 17:4 Two non-joiningfragmentsof body with start of neck. Max. dim. a) 0.093, b) 0.106. Processionof deities. Fragmenta shows on the left a voluteof the handleornament,the head of Dionysos,then the head and shouldersof Leto and of Apollo holding a kithara,all to right.Facinghim is Artemis(face).Fragment b gives mostof Artemisand the head and neckof her deer standing between her and Apollo. Next comes Hermes to rightbut prob(fromthe waist down)with his kerykeion ably with head turnedaround.On the right, some of the handleornament(palmette,two lotuses).Abovethe heads of the deitieson a, tonguepattern.Red:hair,beard,wreath of Dionysos;filletsof goddesses; dotsandstripeson drapery; tongues of Hermes' boots. White: chitons of Dionysos, Apollo,and Hermes;rim of drinkinghorn,tops of armsof kithara;fleshof goddesses; stripon deer'sthroat. Late 6th or early 5th centuryB.C. P4691 E-F 12-14 208 P1.24 dim. Shoulderfragment.Max. 0.046. Glaze firedred. Peleus and Thetis (the heads and shouldersof each) wrestling. Above, tongue pattern. Red: fillets. White: Peleus'baldric. Thetis' flesh,dotson her drapery; Late 6th or early 5th centuryB.C. P 23200 H 12:15(POU) 209 P1.24 Preservedbut for a few chips. H. 0.268; diam. 0.165. H. A. Thompson,Hesperia23, 1954, p. 51, pl. 15:j. A, fight over fallen warrior.A warrior,wearinga short helmet,rushesin pleatedchiton,a corslet,and a Corinthian

206 P1.24

NECK-AMPHORAE fromthe left, holdingout his shield (device:circleand dot), who is dressed readyto thrustthe spear into his adversary similarlybut for the additionof greaves.The deviceon his shield is an anchor.Each has a scabbard suspendedfroma doublebaldricover his right shoulder.The fallen warrior, dressedas the first,sits on the ground,his spearin his right hand,his shield (device:tripod)held out. B, chariotwheeling around,drivenby a womanin a chitonand cloak;round chain without her head is a fillet. On neck, lotus-palmette incision.Abovethe figures,tongue pattern;below, upright then rays.Undereach lotusbudswith dotsin the interstices, handle, four palmettesand three lotuses with centraldot. Red:A, rimsof shieldsheldby 1 and 3, dotson garments.B, fillet, strips on manes. White: A, devicesof 1 and 3, segments of crests, baldrics,shield of 3, dot clusterson garments. B, flesh, dot clusters on garments;studs on headstalls, stockingsand blazesof horses. with the Mannerof the Red-linePainter(PaCompared
ralip. 302).


213 PI. 25

P 2568 G 6:3 (U) Rest. H. 0.263; diam. 0.17. Most of one Fragmentary. handle, fragmentsof body, all of foot restored.Chips on mouth.E. Vanderpool, Hesperia15, 1946, p. 310, no. 193, pls. 58, 59. A, Dionysosto left, lookingaround,betweensatyrsfacing inwards.In the field, a vine with grapes.B, threewarriors with spearsandshields(devices: femaleleg;leaf) to serpent; left. On the neck,three up-and-downpalmetteswith dots. Tongue patternon shoulderat junctionwith neck. Under of four palmettesand three each handle, a configuration lotuseswith dots.Belowthe figures,uprightlotusbudswith dots in the interstices. Above foot, rays. Red: beards; of satyron right;dotson garment forelock of Dionysos;dots on rims of shields;ring at junction;line at outer edge of mouth. White: fillets of satyrs;dot clusterson Dionysos' cloak;segmentsof helmetcrests;devices.
Ca. 500 B.C.

First quarterof the 5th centuryB.C. P 12382 G-H 11-12


Wall fragment.Max. dim. 0.085. Chariot(forelegs)to right.On the left side of the team,a and a fawn or largehound(legs,body).Befigure(drapery) low the figures, dot band. White: right-handpole horse; belly stripeof fawn or hound.
Early 5th century B.C.

P 4994 a, c-e E-F 12-14 (?) 211 Four non-joiningfragmentsof wall and shoulder.Max. dim. a) 0.133, c) 0.035, d) 0.042, e) 0.061. a gives A and B, chariotto right,with Hermes.Fragment the legs of the chariotteamand on the left, partof the wheel of the chariotand a male foot to right. In frontof the team, Hermes (part of cloak, most of right leg) moves to right, holdinghis kerykeion(part of its staff). In the field, a vine with grapes(endsof two bunches).Fragmentc showsmore of Hermes (headwith brimof petasos,lookingaround,and shoulders),part of his kerykeion,and more of the vine. Fragmentd comesfromthe other side of the vase and preservessomeof Hermes(cloak,partof body,a bit of the shaft of his kerykeion)to right, probablylookingaround,part of the vine, and on the left, the chests and lower necksof the two tracehorses.Fragmente showspartof the bodyandone hind foot of the right-handtrace horse. A small trace of glaze on the left just at the breakindicatesthe hind foot of anotherhorse. In the field, a vine with grapes.Red:stripes on drapery;beard. White: right-handpole horse;dots on drapery.
Early 5th century B.C.

P3566 E14:11 214 Three non-joining fragments. Max. dim. a) 0.075, b) 0.075, c) 0.053. Two fragmentsof wall, one (b) of shoulderand neckwith someof the handleattachment. A, Dionysosand maenador satyr. Fragmentb gives the and top of the god'sheadto rightwith partof his kantharos on the right, the top of the head of anotherfigure to left. Above,tongue pattern.On neck, up-and-downpalmettes. c givesthe legs and partof B, satyrsand maenad.Fragment the armof a satyrrunningto rightwith the drapery andfold of a maenad'sgarmentin front of him. Fragmenta preservesthe lower part of the secondsatyr runningto right, probablywith his head turned around,and, at the right, part of a large leaf under the handle. Below the scene, a broad black band. Red: wreath of Dionysos, forelockof figureopposite,tail; band on ridge at junctionof neckand shoulder,line aboveand belowblackband. The Light-makeClass [Bothmer].
Early 5th century B.C.

P 4994 b E-F 12-14 (?) 212 Wall fragment.Max. dim. 0.047. Chariot(forelegsof horses)to right preceded by Hermes (calf of leg). Red:tonguesof boots.White:one horse,probably the right-handpole horse.
Early 5th century B.C.

P 13013 V 24:2 (L) 215 P1.25 Preservedbut for foot, small piecesof body and mouth, all of one handle.P.H. 0.222;diam.0.15. Much of the glaze misfired.Some of it is abraded.T. L. Shear, Hesperia 8, 1939, p. 232, fig. 29. with chariotto right.A man clad in a long A, departure chiton with a nebris over it and a fillet round his head mountsthe chariot.On the left sideof the teamis a warrior to right, wearinga high-crested Corinthianhelmet,carrytwo a and Boeotian shield. He looks aroundat ing spears the charioteer. In frontof the teamis a dogto right,looking around.B, departure of warrior.The warriorstandsto left, armed with a Corinthianhelmet, greaves,a spear, and a roundshield (device:three balls), and accompanied by his dog. Facing him is a woman wearing a chiton and cloak, andbehindhim, an old manin a chitonandcloak,holdinga the warrior'sparents.Roundthe headof staff, presumably each parent is a fillet. On the neck, three up-and-down


CATALOGUE to right,holdinga drinkinghorn.Behindhim, the headof a crouchingsatyr, or perhapsa satyr-headed goat, and between him and the god, a vine with fruit.Of the mule only maenad's headandraisedleft arm,moreof the vine,someof the tongue pattern above the figures, and one inverted palmetteof the handle ornament.Red: (a) forelocksand beards, stripes on cloak; (b) maenad'sfillet. White: (a) Dionysos' chiton and dot clusters on drapery;drinking flesh. horn;(b) maenad's Late 6th or early 5th centuryB.c. P 17060 L-M 17-18:1 219 P1.26 Shoulder fragment with figured decorationon white ground.Max. dim. 0.056. Satyr (frontalhead, shoulders)to right with lyre (sound box, one arm). Grapes and leaves in background. Above, someof tonguepattern.Red:forelock, beard.
Late 6th or early 5th century B.C. 220 P 9264 R 25 its croup and a bit of its mane remain. Fragment b shows the

palmettes.Tongue pattern on shoulder at junction with neck.At each handle,a configuration of fourpalmettesand threelotuses,with a centraldot. Below the figures,upright lotusbuds,then rays.Red:A, filletof charioteer; manesand tails, breast band; collar of dog; B, fillets, stripes on garments,rim of shield,collarof dog, beardof man;ring at junction of shoulder and neck; lines on inner and outer edgesof lip; filletbetweenbodyandfoot.White:A, chitonof charioteer,segmentsof crest, dots on borderof warrior's chiton and on rim of shield, right-hand pole horse; B, woman'sflesh; dots on crest supportof warrior'shelmet, shielddevice;hair of father,dot clusterson his chiton. Painter[Beazley: notin ABVor Paralip.] The Edinburgh
Ca. 500 B.c.

P 24645 Q 12:3 216 PI. 25 of wall. Max. dim.a) 0.076, Four non-joining fragments b) 0.088, c) 0.047, d) 0.04. Burnedon outside(gray). A, Athenaand Kerberos (illustrated).Fragmentb shows Athena(long hair, backof head,part of body)with a spear overher shoulderstridingto righton the left side of Kerberos (hindquarters and tail). Above,tongue pattern;at the a preserves left, partof handlepalmette.B, fight.Fragment two warriors (upper part of each) to right, the first in a helmetcrouching,the secondin a corsletand high-crested low-crested Corinthianhelmet,chitonand cloak,thrusting downwards with his spear;the edgeof his shieldappearsat the right of his head.The red objectbehindhim is a falling fold of his cloak.Above,tongue pattern(ends of tongues). Fragmentc shows part of the shaft of a spear held horiby the warrioron a, a lotus bud and zontally,presumably below the handle. some of a tendrilfromthe configuration Fragmentd gives moretendrilsand a centraldot. The conwas probably similarto thaton 213. Red:(a) segfiguration mentsof helmetcrests,rimsof shields,dotclusterson corslet of 2; (b) fillet and crest of Athena,lappet on her garment, dotclusterson it;stripson maneof Kerberos. White:fleshof Athena;dots surrounding lappet. For the subject,cf. 102. Ca. 500 B.C.
217 P 3300 F 12:7

Shoulder fragment with handle root at right. Max. dim. 0.06.

Maenad (head, hair tied up with a fillet, shoulders)to left. In the field, a branch.Above,tonguepattern.White:
flesh; fillet.

Late 6th or early 5th centuryB.C. 221

P20393 A 18-19:1 Wall fragment from near shoulder. Max. dim. 0.042.

Glaze firedred. Youthfulcharioteer(head with long hair tied up with a too high to be his. On the right,at the break,a small bit of glazethatmay be partof a figurestandingon the left sideof the team.The youthappearsat the left of the composition, for above his head is the end of the tongue patternon the
shoulder. Late 6th or early 5th century B.C. fillet) to right overlapped by the shaft of a spear that is held


P 2788

G 6:3 (U)

Shoulder fragment. Max. dim. 0.077. Handle attachmentaboveat right. Hermes(headwith petasos,shoulder,partof drapery)to right, lookingaround.Behindhim, under handle,a small beardedfigure,probablyseated.In the field, branches.On the shoulder,tonguepattern.Red: beard,stripeson cloak; fillet on figure under handle. White: chiton of Hermes; crownof petasos;chitonof figureunderhandle.
Late 6th or early 5th century B.C.

Shoulder fragment. Max. dim. 0.055. E. Vanderpool,

Hesperia15, 1946, p. 314, no. 216, pl. 62.

Man (most of head) to right. In the field, branches with fruit. Above, tongue pattern. White: fillet; fruit. Late 6th or early 5th century B.C. 223 P1. 26 P 15920 F 19:5

P9267 M 17:4 218 PI. 25 of wall. Max. dim. a) 0.057, Two non-joining fragments
b) 0.05. Dionysos on a mule with satyr and maenad. Fragment a

the headandbodyof Dionysossittingon the mule preserves

Three non-joining fragments. Max. dim. a) 0.13, b) 0.053, c) 0.047. From wall with start of one handle. Fragment a (illustrated), starting at the handle, shows a goddess mounting a chariot (the goddess, chariot, tails and hind legs of the team remain) accompanied by a draped woman on foot to left. On the left of the handle, Dionysos (back of head, left hand holding his drinking horn, left leg and foot) to right looking around. Below the figures, part of the frieze of up-and-down palmettes linked by volutes.

PANATHENAIC AMPHORAE Fragmentb comesfromthe otherside of the vase and shows the left arm and shoulderof a maenad,with a vine in the Fragmentc gives more of the palmettefrieze background. and the tips of the rays above the foot. Red: wreath and White:flesh of women;right-handpole pupil of charioteer. horse;dots on draperyof Dionysos,rim of his horn;spirals connecting palmettes. The ornamentbelow the figures is difficultto parallel. Encircledpalmettesto left occuron Munich 1587 (J.360), and invertedpalmetteswith links may be seen on London, B.M. B 294 (CVA, London4 [GB 5], pl. 71 [216]:3).The patternappearson the shoulderof a late 6th-centuryneckamphorafromGela that is blackbut for the lotus-palmette configurationon the neck and the rays above the foot (MonAnt 17, 1906, p. 467, fig. 332). The tendrilsof these threeexamplesare black,not white as 223. Late 6th or early 5th centuryB.C.


224 P4953 E-F 12-14 Two non-joining fragments from near the shoulder. Max. dim. a) 0.079, b) 0.044. Glaze wash on surface. a givespartof the head Dionysosand Ariadne.Fragment and body of Dionysos to right holding a drinking horn. Aboveon the left, startof handleroot.Fragment b showsthe of Ariadne to In the branches. Red: field, upper part right. flesh. Dionysos'chiton;dotson his cloak.White:Ariadne's
Early 5th century B.C.

225 P 14809 022:1 Wall fragment.Max. dim. 0.041. Hermes (face, shoulder,left hand holdingkerykeion)to right facinga woman (righthand holdinga staff or spear), probably Athena. Red: beard; stripe on cloak. White: Athena'sflesh. Late 6th or early 5th centuryB.C.



226 P1.26

P 10204 G-H 10-11

Wall fragment.Max. dim. 0.08. Thin wash on outside. Frel, PPA, p. 7, fig. 5. Athena (rim of shield)to left. On the left:

]'E roj-


in two lines, stoichedon, retrograde. Some signed strays (ABV 347). Frel (PPA, pp. 10-11) has shown that this fragment is by Hypereides, son of Androgenes,who signed the fragmentary prize vase found in the Kerameikos,PA 443, which preservesthe potter's name, his patronymic,and most of the prize inscription. Addto this the fragmentfoundin 1885on the Akropolis and sold in 1892 with the van BranteghemCollection(Vases peints et terres cuites antiques, Paris 1892, p. 3, no. 2). Bothmer has rediscoveredthis fragment in the Villa Beaulieu-sur-Mer.For 226 as a prize Grecque"Kerylos", vase, cf. also, Brandt,ActaNorvegiae8, 1978, p. 3, no. 4.
Ca. 560 B.C.

preservethe cornersof panels. Fragmenti is part of one handleand h a small fragmentof the echinusfoot. a + b preserves someof the toesof Athena'sleft Fragment foot and part of her skirt,and fragmentc givesthe headsof two snakes of her aegis. Below the panel, two bands that continueround the vase. Red: Athena'sskirt; ring; bands below panel;line at edgeof foot. The amount of space in front of Athena on fragment a + b suggests that she was not placed between columns. The largesize of the vaseindicates that it was surelya prize reachedindependently vase,a conclusion by J. Brandt(Acta no. 8, 1978, 4, 16). Norvegiae p.
Ca. 560 B.C.

P 13249 H-J 8-10 Thirteennon-joining fragments.Max. dim. a + b) 0.141, c) 0.048, d) 0.295, e) 0.078, f) 0.061, g) 0.171, h) 0.051, i) 0.082,j) 0.146, k) 0.105,1) 0.10, m) 0.056, n) 0.036. Fragmentsd-g and i-n are wall fragments withoutfigureddecoration. Fragmentg comes from the shoulderand preserves partof the ring at thejunctionwith the neck.Fragments d-f


P 2071 H 8-10 P4340 E14:11 P 4340: fragmentof mouthand neckwith part of ring at junction of neck and shoulder.Max. dim. P 4340: 0.114; diam. 0.155. Est. diam. of body 0.48; est. H. of panel on B 0.212. Top of mouth glazed. P 2071 preserves10 nonjoining wall fragments. Max. dim. a) 0.183, b) 0.14, c) 0.075, d) 0.027, e) 0.109, f) 0.195, h) 0.011, i) 0.095, j) 0.047, k) 0.115. Some of the glaze is mottleda reddish brown. E. Vanderpool,Hesperia 15, 1946, pp. 120-122, pls. 13, 14:1 (P 2071 includingP 2071 g, which has been from228: cf. 323). separated P 4340 gives the lotus-palmette cross on the neck (preservedbut for one palmetteand part of one lotus). Tongue pattern on shoulder at junction with neck. P 2071: A, Athenato left. Fragment a showsthe lowerpartof her face,

228 Pls. 26, 27


CATALOGUE overher peplos.For the lotus-palmette crosson the neckof a Panathenaic,cf. Halle, inv. no. 560 and New York, M.M.A. 1978.11.13.Of the two, the ornament on the New Yorkvase is closerto that on 228 than to the other,for each palmettehas a largeheartand the lotusesretainthe central sepal. Other detailsconnect228 with Lydos.Comparethe faceof thejavelinthrowerandthe stipplingof the pubichair andtesticleof the discusthrowerwith the figureof Tityoson Akropolis631 c (ABV 108, 6; Paralip. 44, 6; Tiverios, pl. 77:./). But the drawingon 228 seems to be by another. For the pentathlon, cf. N. Gardiner, Athletics of theAncient World, Oxford 1955, pp. 177-180; Douskou, op. cit., p. 214.
Ca. 560-550

her bodydown to the buttocks, part of her rightarm raised, holdingher spear (its point and part of the shaft appearon the left), and almost half of her shield (device:star). She wears a peplos and the aegis, the snake heads seen from above.Fragmentb givesthe lowerpartof her peplosand, at the top of the fragment,the lower borderof her ependytes. At the bottomof the fragment,part of each foot. P 2071: B, pentathlonof men. Fragmente shows the head, shoulders, i, chest,and armsof a javelinthrowerto right,and fragment which comes from the lower left cornerof the panel, preserveshis right heel. Fragment fgives partsof two athletes: most of a discusthrower,lookingaround(his hair appears betweenhis chestand the discus),and partof a jumperwith halteres.The small bit of glazejust to the left of the discus thrower'sbuttocksrepresentsthe thumb of his right hand (his right arm was bent sharply). Fragmenth comesfrom the lower part of the panel and shows the toes of the discus thrower'sfoot;the small bit of glaze to the left at the break may be the heel of this foot, or more likely, since the scale would be too large,partof the left foot of thejavelinthrower. Fragmentc preserves someof the right edgeof the panel and shows two long thin objects:the ends of two javelins heldby an athleteor the wandsof a trainerto left. Fragment of the glaze, belongs j, to judge by the mottledappearance near fragments f and c, and may representthe forearmof this traineror athlete.The smallbit of glaze in the lowerleft at the break is the continuationof the javelins or wand. a Fragmentd (not illustrated),the smallestof all, preserves little bit of glaze at the upper right, perhapssome of the is shaftof thejavelinon the left. Fragmentk (notillustrated) and comesfromthe lowerpartof the paneland undecorated wall on Side A. Red: Athena'sependytes;petals on shield device;hair and beardsof athletes;line framingpanel on B; alternatetongues;cuffs of lotuses;heartsof palmettes; ring at junctionof neck and shoulder;lines on inside of mouth, one on top at outer edge. White: Athena'sflesh;points on device;alternatedotson rim of shield. Bothmer saw that P 4340 was from the same vase as P 2071. As suggestedby Beazley(Development, p. 90), this size its and by the is surelya prizevaseas indicated by large on which is known other the on reverse, only prize subject Panathenaics, e.g., the two by the EuphiletosPainter:London, B.M. B 134 (ABV 322, 1; Paralip. 142, 1; Athleticsin Ancient Greece, I. Douskou, ed., Athens 1976, p. 215, fig. 119) and Leyden PC 8 (ABV 322, 2; Paralip. 142, 2; CVA, Leiden 1 [Netherlands3], pls. 44, 45 [138, 139]), which show the samethreeeventsas 228. 228 belongswith the other very early Panathenaics:London, B.M. B 130 (ABV 89, 1; Paralip.33, 1); Halle, inv. no. 560 (ABV 120, -, 1); New York,M.M.A. 1978.11.13signedby the potter Nikias (NotableAquisitions,1975-1979, p. 14). On eachof these,the figureof Athenais rathershortand sturdylooking with bothfeet flat on the ground,and thereare no columns. For the type of overfoldon Athena'speplos,unusualat this time, cf. London, B.M. B 130, Halle, inv. no. 560 and 917 (Graef,pl. 60). 228 is the earliestexampleon Akropolis a Panathenaicamphoraof Athena wearing an ependytes

P 20112 D17:9 229 Wall fragment.Max. dim. 0.057. of drapery) to left. White:foot; Athena(foot,lowerborder border.
Ca. 550

P 13338 H 10 230 Wall fragment.Max. dim. 0.091. Wrestleror runner (calf, part of foot) to left. Red: two bandsbelowpanel that continued roundthe vase.
Ca. 550 B.C.

P9529 N18:5 231 PI. 27 Threenon-joining of wall. Max. dim.a) 0.124, fragments 0.078. a with of some the b) 0.09, c) ring at juncFragment tion of neck and shoulder. E. Vanderpool,Hesperia 15, 1946, pp. 122-123, no. 2, pl. 14:2,3. A, Athenato left. Fragmentc gives part of her left foot and the borderof her garment.B, runners.Fragmenta (ilcomesfromthe upperleft cornerof the paneland lustrated) showsthe headandthe fingersof the left handof a runnerto right. Fragmentb preservesparts of two runners:some of the torso and thigh of one; the right hand and part of the torso of the second.Red: hair and beard of runner;ring; verticalline framingpanel;bandbelowpanelthatcontinued roundthe vase.White:fleshof Athena. Athena'sfootwas flat on the ground.For others,cf. 228. The Painterof LouvreF 51 (ABV 314, 5).
Ca. 550 B.C.

P 13847 U 25:2 (L) 232 P1.27 Wall fragment, burned(gray).Max. dim. 0.046. Athena(partof aegis with two snakes;cornerof overfold of peplos)to left. Red:dotson scalesof aegis.
Ca. 550-540 B.C. 233

P 27080 N 10:1

Wall fragment.Max. dim. 0.052. Athena(lowerpartof skirt?). Third quarterof the 6th centuryB.C.

PANATHENAIC AMPHORAE P 24781 Q17 234 PI. 27 Wall fragment.Max. dim. 0.071. J. Brandt,ActaNorvegiae 8, 1978, pi. 12:a. Athena (skirt of peplos;snake of aegis; rim of shield) to left. Red:rim. White:dotson borderof overfold. Third quarterof the 6th centuryB.C. P 13846 U 25:2 (L) 235 PI. 27 0.035. dim. Max. Wall fragment. Athena(snakesof aegis) to left. Red:tongueof snake. Ca. 530 B.C. P3083 I16 236 Wall fragmentfrom upper cornerof panel. Max. dim. 0.066. Cock (part of neck, wattles and comb, tail) to right. Above,tonguepattern.Red:comb,wattles,sicklefeather.
Ca. 530-520


P3858 G11:5 240 Wall fragment.Max. dim. 0.05. J. Brandt,Acta Norvegiae 8, 1978, pl. 12:b. Athena (most of face and neck;cornerof cheekpieceof someof shield;shaftof spear)to helmet;borderof garment; left. Red:dots on shield rim. White:Athena'sflesh;dot rosettes on rim of shield;device (handleof tripod or tail of feline?).
Ca. 510

241 Wall fragment.Max. dim. 0.104. to left. Athena(drapery)

Late 6th century B.C.

P 27081 N 10:1

P 19999 D 17 237 PI. 27 Wall fragment.Max. dim. 0.046. J. Brandt,ActaNorvegiae 8, 1978, pl. 12:c. Part of rim of Athena's shield and on the left, some of the column shaft. Between the two, the start of the prize inscription:

P 27074 No grid 242 Wall fragment.Max. dim. 0.085. someof backof one leaningto right). Wrestlers(buttocks, On the left, part of anotherfigure,probablya spectatoror trainer. The composition may havebeen similarto the one on the reverseof the namepieceof the Painter of Boulogne441
(ABV 290, -, 1), which shows wrestlers between a trainer,

rightand left.
Late 6th century B.C.

Red:rim of shield.
Ca. 530-510

P20111 D17:9 243 Max. dim. red on inside. with thin Wall fragment glaze

238 PI. 28 Wall fragment.Max. dim. 0.054. Part of prize inscription:


P 19585 A 18-19:1

Athena (lower part of skirt, with crenellatedborder). dotson garment. White:border;

Late 6th century B.C.

Secondhalf of the 6th centuryB.C.

P 20236 No grid 239 P1.28 Two non-joiningwall fragments.Max. dim. a) 0.071, b) 0.064. ]A< someof Athenato left:partof neck, Fragmenta preserves The fragmentcomesfromabovethe maximumdiameter one long lock of hair, part of the aegis and the rim of her that is preshield. Fragmentb gives more of the shield:device,an owl of the vase.Therefore,the partof the inscription near the rim of comes on a tendril. Red: served neck and beginning. (head missing) perched dotson Late 6th century B.C. shield;necklineof chiton.White:flesh;shielddevice; edgeof aegis. P 18349 C 19 The owl shield deviceappearson two prize-Panathenaic 245 brown wash on inside.Max. with Painter: Wall streaky fragment amphoraeattributedby Bothmerto the Michigan dim. 0.067. once Havana, Lagunillas (Revista del Instituto Nacional de Part of prize inscription: Cultura 1, 1956, p. 12; AAA 2, 1969, p. 384, fig. 5) and Munich 1454 (J. Brandt,ActaNorvegiae8, 1978, pl. 8:a); ]ENEO[ also Vatican374, where Side B is by the MichiganPainter, Late 6th or early 5th centuryB.C. but Side A is by another (ABV 344; Paralip. 156, 7 bis). 239 is closest in its details to the Lagunillasvase. Perhapsthe P 13766 V 24:2 (L) 246 P1.28 unattributed fragmentAkropolis927 (Graef,pl. 57), which fromlowerleft cornerof panel.Max. dim. Wall fragment also has the owl as shielddevice,belongshere. 0.234. Dull glaze. Someof it misfiredbelow panel. Ca. 510 B.C.

P774 F 17 244 Wall fragment with dull glaze on inside. Max. dim. 0.051. On the left, a small bit of the columnshaft.On the right, part of the prize inscription:


CATALOGUE 252 PI. 28 P 18628 D 17:7 Wall fragment.Max. dim. 0.21. Athena(upperparts)to left, shieldheldout, spearpoised. On the right and left, Doric column (upper part of shaft, neckingrings, and capitalof one on right;part of abacusof other)surmounted by a cock(breastof each;one leg andfeet of one on right). Red: dots on chitonand on rim of shield. White: Athena'sflesh; dot clusterson her chiton;dots on borderof aegis. The BerlinPainter(ABV 408, 9).
Ca. 480 B.C.

Chariot(wheel,mostof box, partof rail with the loop for the traceline;the endsof two tails) to right. Red:line below panelthat continuedroundthe vase. Late 6th or early 5th centuryB.C. 247 P 7218 I 6 Wall fragment.Max. dim. 0.058. Thin glaze and wash on inside. Athena (lower part of face, neck and shoulder,rim of shield;shaftof spear)to left. White:flesh.
Ca. 500-480 B.C.

P 26073 J-L 15-19 Wall fragment.Max. dim. 0.075. Cock (all but breastand legs) to right mountedon a column capital.On the left, edge of panel;above,tonguepattern. Red:comb,wattle,tail feathers. First quarterof the 5th centuryB.C. P 4578 G 13 249 PI. 28 Wall fragmentfromupperrightpartof panel. Max. dim. 0.055. Cock (part of body, legs, tail) to left on a Doric column (capital).On the right,edge of panel. Red:dotson feathers, sicklefeather. For the wavy line incisedon the abacusbeneaththe cock's feet, cf. New York, M.M.A. 56.171.3 by the Eucharides Painter(ABV 395, 3; Paralip. 173, 3) and Munich,inv. no. 8746, which may be by him or near him (ABV 397); also three by the Berlin Painter:252 (PI. 28); Hanover,N.H., DartmouthCollege(Paralip.177, 2 ter);Vatican375 (ABV 408, 3). The drawingon 249 seems hastier than on these and is probablyby anotherhand. First quarterof the 5th centuryB.C. P 19482 D 17 250 P1.28 Wall fragment,burned(gray).Max. dim. 0.072. Athena(neck,one long lockof hair, some of chiton,aegis and shield) to left. The aegis is worn diagonally.Red:dots on rim of shield.White:flesh;dotson edgeof aegis. Comparewith the manner of the KleophradesPainter
(Paralip. 176, -). Ca. 500-480 B.C.

248 PI. 28


P 4303 C-G 13-16

Wall fragment.Max. dim. 0.111. Some of the glaze is abraded. Footrace(waist,buttocks, left thigh thighsof one runner; and genitalsof another)to left. secondquarterof the 5th centuryB.C. Probably 254 P1.29 P 25601 A-D 14-17 Wall fragment with dull blackglazeon inside.Max. dim. 0.117. Athena (head, part of helmet with ends of crest, shoulders,someof raisedrightarm,aegiswith snake)to left, with spear (shaft).In the upperleft at the break,lines indicating the tonguepattern.Red:leaveson helmet;dotson borderof aegis; dots on sleeve. White: flesh; dots edging borderof aegis;dot clusterson chiton. Perhaps by the Achilles Painter. Compare especially Naples RC 184 (ABV 409, 3); also Bologna 11 and 12 (ABV 409, 1 and 2) for details of the helmet,particularly the end of the cresthangingdown in front,a raredetail. Third quarterof the 5th centuryB.C. 255 P1.29 P47 H 5-6 Wall fragment,thinly glazed on the inside. Max. dim. 0.065. Runners(arm of one, slightly raisedand bent at the elbow; outstretched right hand of another;parts of torsosof each)to right. The AchillesPainter[Bothmer].
Ca. 450 B.C.

256 PI. 29

P 10007 B 13:5

P4815 F 12 251 PI. 28 Wall fragment.Max. dim. 0.093. Burned (some of the clay is gray). On the left, the glaze misfiredreddishbrown. A. Ashmead,Hesperia35, 1966, p. 34, no. 7, pl. 8. The fragmentpreserves a portionof Athena'sshield and its device (Pegasos:end of wing, hindquarters, tail). Red: circleson rim. White:Pegasos. Goes with other Panathenaic amphoraewhich belongto the samegroupas thoseby the Kleophrades Painterandone verycloseto him (ABV 406, 6); may be by the painterhimself (Paralip. 176, 6). Ca. 500-480 B.C.

Most of bodypreserved. P.H. 0.50; diam.0.042. Mouth, neck, shoulder,handles,and foot missing,restoredin plaster. E. Vanderpool, Hesperia 15, 1946, pp. 123-124, tothek37, 1981, p. 44, fig. 15. A, Athena (some of aegis, most of skirt, feet) stridingto left holdingout her shield(device: Nike flyingto left holding a wreath).On the left and right,a columnsurmounted by a cock(capitaland cockof one on left;someof shaft and cock of one on right). Next to the capital,the first letter of the prizeinscription: p
pls. 15, 16:1 and 3; Meddelelser fra Ny Carlsberg Glyp-

PANATHENAIC AMPHORAE B, chariot(hands,some of face and bodyof charioteer; part of chariotwheel and rail; some of the tails and backsof the horses;part of the yoke, end of the chariotpole, reins, and pole stay) to right.Above,someof the tonguepattern.At the verybottom,rays. Red:hair of Nike, her wreath;combsand wattles;dotson rim of shield;bordersof Athena'sgarments; belt and shoulder,outline of his chiton.White: charioteer's Athena'sflesh (that of left foot applieddirectlyon the clay with only a glaze outline); Nike; charioteer'schiton (outlined in red beforeapplied). The RobinsonGroup (ABV 410, 1). Secondhalf of the 5th centuryB.C. P454 F-G 16 257 PI. 29 Wall fragment.Max. dim. 0.06. Thinly glazedon inside at loweredge. Capital of Doric column surmountedby a cock (all but head)to right. Red:stripon wing bow; sicklefeather. Perhaps by a painter of the Robinson Group. Cf. especiallytwo in Baltimore(ABV 410, 2 and 3). Secondhalf of the 5th centuryB.C. 258 P1.30 P2989 R 13 Wall fragment.Max. dim. 0.055. Athena(face and neck)to left with spearand shield(part of each). The silhouettewas not applied in full to the area outlined, but the added white no doubt went to the glaze outlinesketch.White:face;dotson borderof chiton. Secondhalf of the 5th centuryB.C. P20110 D17:9 Max. dim. 0.102. with Neck Fragment. ring at junction with shoulderand a bit of the shoulder.At the verytop, start of mouth. On the far right, part of handle root. Reddish wash on ground. On neck, lotus-palmettechain without incision. Below, partof tonguepattern. The KubanGroup. Comparethe ornamenton the necks of Leningrad,inv. no. 17553 (ABV 411, 2); London,B.M. B 606 (ABV 411, 3), and London,B.M. B 605 (ABV411, 4).
Late 5th century B.C.


Athena(headwith cheekpieces of helmetturnedup; part of crestsupport)to left. Above,tonguepattern.White:flesh; cheekpieces. For detailsof Athena'shelmet,cf. London,B.M. 1903.217.1 by a painterof the KubanGroup(ABV 411, 1); also a fragment from the Pnyx, P 492 (Hesperia, Suppl. X, Princeton1956, p. 13, no. 6, pl. 1) attributed by Talcottand to the Kuban Philippaki Group.
Late 5th century B.C.

P 27371 I 13 262 Shoulderfragment. Max. dim.0.13. Dull brownishwash on inside. Sprinter(head, shoulders,raised right arm) to left. On the left and right,tracesof white.
Late 5th century B.C.

P 24750 P 16 263 Wall fragmentglazedon inside.Max. dim. 0.125. Runner(boththighs,calfof left leg) to right.On the right, goal post or turningpost for the diaulos.White:post.
5th century B.C.

259 PI. 30

264 P1.30 P 19215 D 19:1 Wall fragment.Max. dim. 0.09. or boxers(kneeandshankof one to right;torso, Wrestlers upperpartof rightarm,thighsof fallingopponent). The compositionmay have been somethinglike Leningrad,inv. no. 17553by a painterof the KubanGroup(ABV 411,2), only reversed. Here, oneboxerhas fallenbackwards and raises one arm but not so high as on 264, and his attacker is closerto him than on 264.
5th century B.C.?

P66 H6 Wall fragment.Max. dim. 0.068. On the left, partof the sideof the panelandthe line framing it, then some of the shaft of the column.On the right, partof the prize inscription:


Late 5th or early4th centuryB.C. 266 PI. 30 P 19079 C-F 15-19 Wall fragment.Max. dim. 0.081. Athena (hand gripping shaft of spear) to left. On the right,mostof a cockto left (on top of column,now missing). Red:wattles;markings on cock.White:hand. Late 5th or early4th centuryB.C. 267 P 20379 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.11, b) 0.127. Some of the glaze is abraded,especiallyon fragmenta. Boxers.Fragmentb showsone boxer(head,chest,raised left arm) to right. right hand, upper part of outstretched

260 P 5224 a N10:1 Wall fragment.Max. dim. 0.094. Athena(someof shield)to left. The shielddeviceis probably a thunderboltor a bull's head caboshed.On the left, someof the columnand the legs of the cocksurmounting it. Betweenthe two, the firstletterof the prize inscription:

White:dotson rim of shield;device. The KubanGroup.
Late 5th century B.C.

261 P1.30 P 19481 C 17 Wall fragmentglazedon inside. Max. dim. 0.052.


CATALOGUE hands.The small bit of glaze at the bottomof v is probably on the heel of this runner.White:Athena'sflesh;decoration her garment.
380/79 B.C.

Above, line framing panel. Fragmenta preservesanother boxer (side of neck, left shoulder,left arm with thongs)to left. On the right,edgeof panel with framingline. Late 5th or early4th centuryB.C. 268 P 4304 C-G 12-16


P 14626 E 2:3

Wall fragment.Max. dim. 0.06. Athlete(torso;right arm) to right. la 11 by the For a small figure in the panel, cf. Bologr AchillesPainter(ABV 409, 1). 268 seemslaterthan this. Late 5th or early 4th centuryB.C. P2 7794 G 16 269 Wall fragment.Max. dim. 0.091. Reddishwash on inside. G. Lalonde,Hesperia37, 1968, p. 129, pl 37:a. anda) derand Boxeror wrestler(head,someof right shoulh arm) to left. Late 5th or early 4th centuryB.C. P 127 H 6 270 Wall fragment.Max. dim. 0.069. iot team galHorses (foreparts),probablypart of a char lopingto right. Late 5th or early 4th centuryB.C. P 27556 H 15 271 PI. 30 More than 60 non-joiningfragmentsof wall. Mouth, handles,and foot missing. Twenty-six fragmentspreserve part of the figureddecorationfrom both sides of the vase. Max. dim. a) 0.256, b) 0.187, c) 0.127, d) 0.044, e) 0.026, f) 0.057, g) 0.057, h) 0.026, i) 0.03, j) 0.038, k) 0.04, 1) 0.032, m) 0.036, n) 0.047, o) 0.045, p) 0.025, q) 0.049, r) 0.029, s) 0.028, t) 0.025, u) 0.305, v) 0.049, w) 0.081, x) 0.057, y) 0.021, z) 0.032. a-t give partof the obverse: A, Athena,to left. Fragments i shows the lower part of Athena'sface and someof the rim of her shield;e and t give moreof its rim anda bit of drapery; k showsthe raised d,f-h,j, andI are alsodraperyfragments; someof the a (illustrated)preserves forearmof the goddess; lowerpart of her garmentand partof each footand also the lowerpartof the columnshafton the right;b givesthe lower part of the columnon the left, c is some of the statue surpart of a branchheld out mountingit, and m may represent the on on column the the right;n is part of a colfigure by umn shaft. Fragmentr gives the initial letter of the prize inscription:

Five non-joiningwall fragments.Max. dim. a) 0.045, b) 0.062, c) 0.04, d) 0.095, e) 0.053. Nine other unlettered fragmentsbelong but do not preserveany of the figured decoration.Mended in antiquity (holes for lead on fragmenta). A, Athena. Fragment a preserves the lower part of Athenastridingto left and mostof the columnon the right. On the far rightof the fragment, someof the reversepanel, b and c to right. Fragments with part of a figure(drapery?) show more of Athena's drapery. B, trainer and athlete. partof a drapedfigurewith a staffto Fragmentd preserves right, probablythe same figure as the one on fragmenta. Fragmente gives someof the torsoand arm of an athleteto left. White:dotsand fringeon Athena'schiton. Secondquarterof the 4th centuryB.C. P113 H7 273 P1.30 Wall fragment.Max. dim. 0.046. Column (part of shaft). On the left, part of the archon inscription: 371/0 B.C. probably0PA]UIK[AEIAH?APXfNN: For another Panathenaicamphora inscribedwith the name of this archon,cf. Alexandria18239 (Beazley,AJA 47, 1943, p. 455). Other possibilitiesare KTH]IK[AHE.:
334/3 B.C.or AN]TIK[AHZ 325/4 B.C.but neither seems to

Panathenaic. occuron a preserved

371/0 B.C.

274 Pl. 31


F 1:2

Wall fragment.Max. dim. 0.048. Part of shaft of left column. On the right, some of the prize inscription:
I,t Nw [

On the left, partof anotherinscription:

Since the prize inscriptionappearsbetweenAthenaand mustbe the shaftof the column,the columnon this fragment is verylikely part the one on the left. The secondinscription or the last letterof Bakchios of a pottingsignature, probably known Kittos,the onlytwo namesof pottersof Panathenaics in the 4th centuryB.C.To judge from the positionof this fragmentin the wall of the vase and the amountof space estimatedbetweenit and the beginningof the columncapital beneathwhichthe inscriptions began,the nameof either potterwouldfit in this space.For thesetwo names,cf. ABV 413 and Beazley, AJA 47, 1943, pp. 455-457. On vases, their names are known for certainon three Panathenaics.

Fragmentso-q (illustrated)preservesome of the archon's name, which was written to the left of the columnon the f E[ right: rl B, boy runners.Fragmentu (illustrated)preservespartsof the legs of threerunnersto left;x givesthe headand someof the rightarmof one;w is one armof another; v, y, andz are

PANATHENAIC AMPHORAE On each of these, the potting signatureappears alongside one of the columns.On London, B.M. B 604 (ABV 413), the signature of Kittos beside the column on the right balancesthe prize inscriptionnext to the one on the left. This vase is unusualfor not bearingthe nameof the archon and may have been a competitionsample (Development, PA 157 (ABV413, 1; p. 97). One by Bakchios,Kerameikos Frel, PPA, p. 20, fig. 19) preservesonly the potter'ssignature along the right side of the columnon the left. No inscriptionappearsalong the left side of this column,but very likely there was one next to the columnon the right, probably the archon'sname,sinceAthenafacesto left. The fragment in Istanbul signed by Bakchios(ABV 413, 2) gives someof the nameof the potteron the left side of one column and on the right of the same column,part of the name of of who was archonin 375/4 B.c.The presence Hippodamos an inscriptionon each side of one columnon this fragment may favorrestoringthe name on 274 as Bakchios.274 with the name of the potter on one side of the column and the on the othersideof the samecolumnseems prize inscription to be unparalleled.Presumablyon this vase, the archon's name appearednext to the columnon the right. Secondquarterof the 4th centuryB.C. P27079 N 10:1 275 Wall fragment.Max. dim. 0.05. Athena(foldsof drapery)to left. White:borderof folds. It is difficultto be certainwhetherAthenamovesto right for this fragmentis or to left, but since the best comparison Athena on a Panathenaicof the Kittos Group, London, B.M. B 603 (ABV 414, 4) where she movesto left, we have optedfor this direction. Secondquarterof the 4th centuryB.c. P 19531 S 19:3 276 Fifteennon-joining wall fragments fromboth sidesof the vase. Max. dim. a) 0.20, b) 0.102, c) 0.075, d) 0.042, e) 0.064, f) 0.092, g) 0.045, h) 0.045, i) 0.081, j) 0.068, k) 0.069,1) 0.048, m) 0.042, n) 0.109, o) 0.069. Glaze is very worn on the obverse.D. B. Thompson,Hesperia23, 1954, a). pl. 24 (fragment someof the back A, Athenato right.Fragmentb preserves of Athena'sdrapery,and fragmentc the end of a swallowtail fold. Fragmenta shows partsof bothpanelswith partof the shaft of the columnon the right and some of the prize inscription,kionedon: +


glaze at the bottomof this fragmentmay be the top of the breastworkof the chariotwith the hand of the charioteer grippingit andsomeof the pole stay (flaked).The restof the I fragments maycomefromeithersideof the vase.Fragment h mayshowpartof a horse. is a draperyfragment; fragment The othersare undecorated. White (mostlyapplieddirectly on the ground): reins;yoke;pole stay. Ca. 350 B.c. P3798 F 14:1 277 PI. 31 Wall fragment.Max. dim. 0.257. Thin brownwash on inside. Most of one runner (part of head and Hoplitodromos. most of shield missing),the body, part of right arm, right armand left leg, mostof shield(device: star)of another,both to left. White:dotson rims of shields;dotson crestsupport of firstrunner;crestof second; shielddevice. the Kittos For the shielddevice,cf. espeProbably Group. B B.M. 603 London, (ABV 414, 4); also, London, cially B.M. B 604 (ABV413, 1) and London,B.M. B 612 (ABV 414, 5). For the runners,cf. thoseon BrusselsA 1703 (ABV 413, 2) and New York,M.M.A. 56.171.6 (ABV413, 3; Paralip. 177, 3). Secondquarterof the 4th centuryB.c. 278 P1.31 Wall fragment.Max. dim. 0.04. Part of column.On the left: P 18635 C-F 15-19

XAPIKAEIAH]IEH[PXEN: 363/2 B.c. eEO,DPA?TO]IH[PXEN: 340/39 B.c.? For Panathenaicamphoraewith the names of these archons,cf. Beazley,AJA47, 1943, p. 457 and p. 458, nos. 2, 3. Sincethis inscription is fromleft to rightinsteadof kioneto opt for the higherdate. For don, it is perhapspreferable cf. also the three from Eleusis (P. Themelis, Charikleides, AAA2,1969, pp. 409-416 and ?r7XA?1, pp. 265-271). 363/2 B.c. 279 P1.31 P 9457 U 22:5

Wall fragment.Max. dim. 0.065. Part of columnshaft. On the left of it, some of the prize

The positionof the prize inscriptionon the right side of the composition suggeststhat Athenafacedto right, and if shoulddateno earlierthanthe middle so, then the fragment of the 4th centuryB.C. If this is correct, then the inscription shouldbe writtenkionedon.A prize inscriptionwrittenon the rightis difficultto parallelin the 4th century.For a 6th65.45 centuryexample,cf. the one by Exekiason Karlsruhe (Paralip.61, 8 bis). First half of the 4th centuryB.c.



Fragmente gives the lower part of the shaft of this column. B, chariotto left. On the far right of fragmenta is the head of one of the trace horses. Fragmentf gives more of the the one on fragment horses,the neckof one (probably a) and some of the heads of the pole horses;fragmenti shows part of the left-handpole horse,as well as some of the yoke and the reins. Fragmentk shows the outstretched right arm of the charioteerholding the reins (flaked).The small bit of


CATALOGUE 286 P1.31 P31 H7 Six non-joining wall fragments. Max. dim. a) 0.09, b) 0.142, c) 0.047, d) 0.136, e) 0.08, f) 0.055. On part of fragmentb, the glaze has firedred. A (illustrated), Athenato left. Fragment a givesone thigh and drapery.Fragmentb preserves the end of a fold seenon the right of a, someof the shaft of the columnon the right, and betweenthe two, kionedon:
A t(

P 19848 D 17 280 Wall fragment.Max. dim. 0.047. Top of shaftof Doric columnwith capitalsurmounted by a figure(lowerdrapery,foot).On the right,partof the prize inscription:
First half of the 4th century B.C.

First half of the 4th centuryB.


P 2045 I-K 6-8

Wall fragment with thin glaze on inside. Max. dim. 0.044. On the left, partof the columnshaft.On the right,partof the prize inscription:

First half of the 4th century B.C.

P 22989 I 12 282 Wall fragment with thin wash on inside. Max. dim. 0.081. On the far left, tracesof the shaft of a columnon the left side of the panel. On the right,part of the prize inscription:

On the far right,edge of Athena'sshield. The fragmentcomesfrom abovethe maximumdiameter of the vase. This and the presenceof the shieldon the right indicate that the letters are near the beginning of the inscription. First half of the 4th centuryB.C. P 19465 A 19:1 283 Four non-joiningwall fragments.Max. dim a) 0.037, b) 0.042, c) 0.05, d) 0.06. Glazedon the inside. a givespartof the shaftof a columnandthe last Fragment threelettersof the prize inscription:

KAAA]IMHAHZAP[XfIN.On the far right, the edge of the panel.Fragment c showspartof the shaftof the column. the feet of one B, athleteand trainer.Fragmentd preserves athlete,the rightone frontally,the left one in profile,andon the right, the right foot and lower draperyof the trainer. Fragmente showsmoreof the legs of the athlete(calfof one on right;lower thigh, knee, and calf of one on left). Fragmentf givesthe lowerrightcornerof the panel.White:edge of flyingfoldof Athena'scloak. The Nikomachos Series.The Athenaof this vaseseemsto be the only certainexamplein the Nikomachos Serieswhere she still facesto left insteadof to right.Cf. Beazley,AJA47, 1943, p. 457. For the archon's name,cf. in additionto Beazley, A. Smets,L'antiquite classique5, 1936, p. 98, no. 109. Cf. also the five foundat Eretria(Themelis,op. cit., under 278, pp. 409-416 and Ir77TA/, pp. 265-271).

287 P1.31

P 27083 N 10:1

Wall fragment.Max. dim. 0.073. Athena(raisedrightarmandsleeve)to right?On the left, someof the cornucopia of Eireneand Ploutos.White:cornuflesh. copia; For Eireneand Ploutosas columnfigureson a Panathenaic,cf. a fragmentfromEleusis(Frel, PPA, p. 18, fig. 16).
360/59 B.C.


P 27082 N 10:1

Fragmentb preserves partof an athlete(foot),a jumperor a but d runnerto right. Fragmentsc and d are undecorated, givesthe line at the bottomof the panel.
First half of the 4th century B.C.

Wall fragment.Max. dim. 0.066. Athena(raisedrightarmand elbow)to right.On the left, part of a cornucopia, presumablyheld by Ploutos.White: flesh. cornucopia; For the type,cf. 287 (PI. 31).
360/59 B.C.

P 61 19 284 Wall fragment.Max. dim. 0.06. Chariot(part of headsof two horses;some of the neckof another)to right.White:markingon muzzleof horseat left.
First half of the 4th century B.C.


P 1847 J13 Wall fragment.Max. dim. 0.083. On the right,someof Athena'sdrapery.On the left, part of the archon'sname,kionedon:

347/6 B.C.

]A [

P3120 F15 285 Wall fragment.Max. dim. 0.039. Some of column shaft. On the right, part of the prize inscription: ] e[
4th century B.C.

For the archon's name,cf. OEMI[ITOKAHE]A[PXfnN. Beazley,AJA47, 1943, p. 457. P 22916 H-K 12-14 290 P1.31 Two non-joiningwall fragments.Max. dim. a) 0.078, b) 0.062.

PANATHENAIC AMPHORAE Athenato right. Fragmenta gives the crownand crestof her helmet,a bit of her face, and some of the tonguesabove the panel. Fragmentb preservespart of the shaft of a column with threelettersof the archon'snameon the left of it, kionedon:


with a hangingfoldbehind.Fragmentb preserves the endof her cloak(swallowtailfolds)hangingdownin front.White: lowerborders of cloak. the Nikomachos Series. Compare especially Probably London,B.M. B 611 (ABV 415, 7) and Louvre MN 704 (ABV 415, 12).
Ca. 330-320

API1T]OAH[MOL: 352/1
O]OAH[AO:: 336/5


or more probably fY-

White: flesh.

What remains of Athena's helmet seems quite close to that on London,B.M. B 607 of the Nikomachos Seriesthat has the name of the archonPythodelos writtenkionedon on the left (ABV 415, 4; Paralip. 178, 4).
336/5 B.C.

296 P. 32 P2106 J 12:3 Wall fragment.Max. dim. 0.073. Part of columnshaft. On the right, part of the archon's name,kionedon: Z' HMOI For the archon'sname,cf. AHMOK[AEIAHM: 316/5 B.C. Beazley,AJA47,1943, p. 465; A. Smets(op. cit., under286, p. 98, no. 110) suggestsThoudemos(353/2 B.C.) or Aristodemos(352/1 B.c.), but this will not fit with what remainsof the fifthletter,which cannotbe a l.
316/5 B.C.

291 P 27078 N 10:1 Wall fragment.Max. dim. 0.04. Athena(foldsof draperyat centralpartof skirt)probably to right.White:borderof folds. The deeplystackedfolds edgedwith white are best compared with those of the Athenasof the NikomachosSeries. Cf. London,B.M. B 607 (ABV 415, 4; Paralip. 178, 4) in particular. Third quarterof the 4th centuryB.C. 292 P 20381 N-Q 12-14 Wall fragment.Max. dim. 0.101. Clay groundis darkish


P21692 P8 Wall fragment.Max. dim. 0.095. On the far right,partof the shaftof a column,and on the left, kionedon:
After 350


Nike (some of beltedchiton;left arm, wing) frontal.Dilute glaze for braceletand ring. White:flesh. The estimatedheight of this Nike is about 0.20-0.22. Thus, she is too large to be a columnfigureon the obverse and mustbelongto the reverse.For a Nike on the reverse,cf. London, B.M. B 607, which belongs to the Nikomachos Series(ABV415, 4; Paralip. 178, 4). Third quarterof the 4th centuryB.C. 293 P1.32 P22985 H-K 12-14 Wall fragment.Max. dim. 0.085. Athena (someof beltedchiton;rim of shield held out) to right. White: decorationon lower part of skirt; snakes of aegis;two lines at belt. Probably the Nikomachos Series. The details on 293 comparebest with these four: Louvre MNB 3223 (ABV 415, 9); Cab. Med. (ABV415, 11); LouvreMN 704 (ABV 415, 12); LouvreMN 705 (ABV 416, 13).
Ca. 330-320

298 P3631 F 10:1 Four non-joining of wall. Max. dim. a) 0.112, fragments b) 0.076, c) 0.084, d) 0.081. a comesfromthe left sideof the panelon SideA Fragment and showssomeof the framingline, andon the right,the top of an Ionic column surmountedby a small drapedfigure (lower part of garment).In the field, part of the archon's kionedon: inscription,

Fragmentb shows some of the hanging folds of Athena's cloakand partof the rim of her shield.Fragmentc givesthe lower right part of the panel on Side B with tracesof a figd preserves the ure, perhapsthe leg of an athlete.Fragment corner of one upperright panel.
Ca. 340-330




Wall fragment.Max. dim. 0.07. Athena(end of draperyfold). White:border. The Hobble Group.
Ca. 340-330 B.C.

P5224b, c,e N 10:1 Three non-joiningwall fragments.Max. dim. b) 0.078, c) 0.078, e) 0.045. Fragmentb preservespart of the shaft of the columnon the left and threelettersof the prize inscription, kionedon:


c givessomeof Athena'sdraperyfolds,andon the Fragment an area of glaze with incisionthat is unintelligible. right, Fragment e preservesmore of Athena's drapery.White: borderof drapery. Third quarterof the 4th centuryB.C.

295 P 20378 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.09, b) 0.09. Fragmenta gives the lower part of Athena's drapery,

140 300 P4930

CATALOGUE N 10:1 307 P 23033 H-K 12-14

Wall fragment.Max. dim. 0.079. Partof shaftof column.On the right,someof the prizeinscription,kionedon:

Wall fragment.Max. dim. 0.058. Draperyfromthe levelof the knees(Athena?).

4th century B.C.

Third quarterof the 4th centuryB.C. 301 P3557 F 11:2 Two non-joiningwall fragments.Max. dim. a) 0.172, b) 0.073. In the upperleft on fragmenta, part of the prizeinscription, kionedon:


P 22926 I 13

Wall fragment fromlowerleft cornerof panel.Max. dim. 0.216. Brownishwash on insideand outside. Sprinter(torso,rightleg, someof left arm)to left. In front of him, goal post. White (applieddirectlyon the clay):goal post.
Probably 4th century B.C.

]\ EO\C
On the far right, some of Athena's drapery.Fragmentb White:edgeof foldson b. givesa swallowtailof her drapery. Third quarterof the 4th centuryB.C. 302 PI. 32 P 20380 N-Q 12-14 Wall fragment.Max. dim. 0.08. On the right, Athena (arm,fold of drapery)to right. On the left, on a column,Aphrodite(torso,arms) seatedto left holdinga staffwith Erosstandingbetweenher and Athena. Traceof top of column(incisedline). White (applieddirectstaff.Outly on the clay):Eros,armof Athena;Aphrodite's lines of bodyof Eros in diluteglaze. For Aphroditeand Eros, compareCab. Med., which beSeries(ABV 415, 11). longsto the Nikomachos Secondhalf of the 4th centuryB.C. 303 P 27076 N 10:1 Wall fragment.Max. dim. 0.068. rim of her shield) Athena(part of her aegis and drapery; to right. White (part directly on the clay ground):belt; straps;snakes. Secondhalf of the 4th centuryB.C. 304 P27075 N10:1 Wall fragment.Max. dim. 0.075. Athena (drapery folds; part of aegis) to right. White: snakes. Secondhalf of the 4th centuryB.C. 305 P 27077 N 10:1 Wall fragment.Max. dim. 0.057. and Athena (rim of shield on left; aegis with gorgoneion snakes;part of raisedright arm) to left. White:dotson rim of shield;gorgoneion; snakes;straps;loop on sleeve.
4th century B.C.



N 10:1

Wall fragment.Max. dim. 0.062. Chariot(forelegof one horse;partof bodyof another)to left.
4th century B.C.


P 27091 N 10:1

Wall fragment.Max. dim. 0.057. Chariot(rail, upper part of box) with driver(chiton)to right.White (applieddirectlyon the clay):chiton.
4th century B.C.

311 P1.32

P 10432 E4

Wall fragment.Max. dim. 0.108. Chariot (head, neck, some of chest and foreleg of one horse;neck, shoulderof another)to left. White: studs on harness; stripon muzzleof right horse;line markingshoulder of each.
Probably 4th century B.c.

312 PI. 32

P 27090 N10:1

Wall fragment.Max. dim. 0.058. seemsto showthe The fragment uncertain. Interpretation top of one panel, and if so, the absenceof tonguesindicates the reverse.The area of glaze to the left might represent drapery,and the objectin the lowerright is perhapsa palm branch. For figures with palm branches,cf. two in the NikomachosSeries:LouvreMN 706 (ABV415, 3) and London, B.M. B 607 (ABV 415, 4; Paralip. 178, 4); also, London, B.M. B 610 (ABV 417,--).
4th century B.C.


P 19530 S 19:3

306 P31g H7 Wall fragmentfrom near the bottomof the panel. Max. dim. 0.097. Glaze firedred. Lower part of Athena's draperyand some of her foot. White (applieddirectlyon the clay):flesh.
4th century B.C.

Two non-joiningwall fragments.Max. dim. a) 0.085, b) 0.098. D. B. Thompson,Hesperia23, 1954, pi. 24. a showsthe lowerpartof drapery.Fragmentb Fragment gives the drapedshouldersand some of the bent neck of a figureto left, perhapsthe one on fragmenta. Above,top of panel.
4th century B.C.

PANATHENAIC AMPHORAE P 20324 P-R 7-13 314 PI. 32 Wall fragment.Max. dim. 0.083. Wrestlers?The fragmentshows the torso, upper right arm, the thighs, and calves of one who is bent over or crouching.In the lower left, part of the foot of anotherand near the top of the fragment,incision that belongs to this figure,perhapspart of his torso.
4th century B.C.

141 320-337

P 24954 Q 13:5 320 PI. 33 Wall fragment.Max. dim. 0.082. Athena (lower part of drapery;left foot) stridingto left. Red: panel on skirt;two wide bands below the panel that continued roundthe vase. White:foot. For the left footof Athenaflat on the ground,cf. 228 with otherearlyexamples.
Ca. 550 B.C.


P 23034 H-K 12-14

Wall fragment.Max. dim. 0.102. Surfacemuchchipped. Foot race in armor (some of legs, lower part of round shieldof one runner)to left.
4th century B.C.


P 25490 B 19

Fragmentof shoulderwith part of ring at junctionwith neck.Max. dim. 0.087. Glazedon inside.Glaze firedred. Upper left cornerof panelof A. Figure (handwith spear) to right (on top of column,now missing).Above,tonguepattern. Red:line at top of ring. White:flesh of figure.
4th century B.C.

P 13845 U 25:2 (L) 321 P1.33 Max. dim.0.095. Glazeis rathermottled. Wall fragment. Mendedin antiquity(smallhole on rightat break). Athena(someof paneledskirt;partof shieldemblazoned with a star) to left. Red: left side of skirt; rim of shield. Wjiite:device.
Ca. 550 B.C.




Wall fragment.Max. dim. 0.087. Runners(a bit of rightthigh, all of left thigh, and kneeof one;calf of next) to right.
4th century B.C.

318 Wall fragment.Max. dim. 0.095. Thighs and genitalsof runnerto left.
5th or 4th century B.C.

P 27087 N 10:1

P 14049 Q18:1 322 Wall fragment.Max. dim. 0.063. Much of the glaze is flaked. E. Vanderpool,Hesperia 8, 1939, p. 261, no. 13, p. 260, fig. 16. Athena (part of face, neck, and shoulder;cornerof the of her helmetand a bit of her shield:device,dolcheekpiece phin) to left. Red: peplos; helmet;dots on rim of shield. White:face;device. The high positionof the dolphinon the shield suggests that it was one of two as on the prizevaseby Exekias,Karlsruhe 65.45 (Paralip. 61, 8 bis).

Third quarterof the 6th centuryB.C. P 2071 g H 8-10 323 Wall fragment. Max. dim.0.049. Oncethoughtto belong to 228, but the glaze is not quite the same,andthe fragment is difficultto fit intothe pentathlon E. Vandercomposition. pool, Hesperia15, 1946, pp. 120-123, pl. 13 (mispoised). Runner(partsof thighs)to left. 323 is unusualfor showingthe runnerto left (cf. above, 100: PI. 12). 323 cannotrepresent the footracein armor,for the date seemstoo early and at least the rim of the runner's shieldwouldoverlaphis thigh. Third quarterof the 6th centuryB.C. 324 P1.33 P 12670 V 24:2 (U) Wall fragment.Max. dim. 0.107. Athena (helmetedhead with fillet, some of shoulderand aegis; part of shield;shaft of spear) to left. Above,tongue pattern, interruptedby the helmet crest. Red: iris of eye; fillet;dotson aegis;rim of shield;alternatetongues.White: flesh;shielddevice;line on helmetcrest. It is difficult to be certainwhatthe deviceis. It is probably not an eagleforthis doesnot seemto be a devicethat appears on the shield of Athena on 6th-centuryPanathenaics. Nor is it an owl (cf. Munich 1454 by the Michigan Painter: J. Brandt,Acta Norvegiae8, 1978, pl. 8:a) or Pegasos(cf. New York,M.M.A. 07.286.79by the Kleophrades Painter:



319 P1.32



but for one handle,which has been restoredin Preserved plaster.H. 0.277; diam.0.179. Smallchipsfrommouthand foot. Brokenand mended.H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 21:a;J. McK. CampII, Godsand Heroesin the Athenian Agora [Agora Picture Book 19], Princeton 1980,ill. 8; S. Miller, Hesperia,Suppl.XX, Princeton1982, and Rotroff,op. cit., (under136), ill. 25. pl. 14:d;Lamberton A, Athenato left. Her spear is poised;her shield (device: two dolphins) held out. On the right and left, a Doric columnsurmounted by an owl. B, chariotteam gallopingto The wheel's rim is not incised.Above,tonguepattern. right. On neck,lotus-palmette chain without incision.Abovefoot, rays. Red: line on outer edge of mouth; ring; three lines below panel and two above rays that continue round the vase. White:Athena'sflesh;device;edgeof helmetcrest;dot clusterson her garment; charioteer's chiton;right-hand pole horse;pendantson breastbandof tracehorse.
Late 5th century B.C.


CATALOGUE a (illustrated) Fragment givesmostof Athena'shead,part of her shieldwith a bit of its device(partof wing), and some of her spear (shaft) to left. Fragmentb gives more of the shield.White:flesh;device. The devicemay be a Pegasos,althoughthe styleof draw(foranother,cf. 336:PI.34) andthe ing is not Cleophradean wing is too close to the centerof the shield (compareNew York, M.M.A 07.286.79 or New York, M.M.A. 16.71: ABV 404, 6 and8; Paralip.175, 6 and 8). Forothertypesof wingedshield devices,cf. 324 (PI. 33). Add as a possibility here, the dove as on New York, M.M.A. 56.171.5, com99 (Paralip.175, -), paredwith the Groupof Copenhagen but attributed by Brandtto the MastosPainter(ActaNorvegiae 8, 1978, p. 5, no. 30).
Late 6th century B.C.

ABV 404, 6; Paralip. 175, 6) for the shape of the wing is wrong.It maybe Iris as we haveher on New York,M.M.A. 56.171.4 by the Painterof the Warsaw Panathenaic(ABV 291; Paralip. 127, 1) or, morelikely, a sirenas on two from the LeagrosGroup,Taranto,inv. no. 9887 (ABV 369, 113; J. Brandt,ActaNoruegiae8, 1978, pl. 9:a) and New York, M.M.A. 07.286.80 (ABV 369, 114;Paralip. 162, 114). Ca. 520-510 B.C. 325 P1.33 P 13204 020 Wall fragment.Max. dim. 0.116. Sprint:most of one runnerto right except for right arm and leg, lower part of left leg; one arm and part of shin of anotherrunnercomingup. The runnerof whom we have the head and body must be the winner, for there could not havebeen anotherrunnerin frontof him. The Group of Copenhagen99, probablyby the same handas the namepiece (ABV 403, 1), or certainlyverynear. the drawing of the knees and hands, Compareespecially also the small circlesfor the nipples,as well as the energetic character of the runners. Last quarterof the 6th centuryB.C. 326 P1.33 P 25890 M 18 Wall fragment.Max. dim. 0.062. Wrestlersor boxers with both arms raised (most of the bodyof one;tracesof his opponentat right). Comparedetails of the runnerson the namepieceof the 99 (ABV403, 1), especiallythe small Groupof Copenhagen of circle for the nipples and the drawingof the collarbones the runneron the left. Last quarterof the 6th centuryB.C. P 10175 V23:1 327 PI. 33 Wall fragment.Max. dim. 0.146. Thin brown wash on surface. Chariot(headsandnecks;someof reinsandpolestay,end of yoke and pole) to right. On the left, at the break,a thin object,part of the charioteer'sgoad. Red: mane of righthandtracehorse.
Ca. 520-510 B.C.

330 PI. 33 Wall fragment.Max. dim. 0.045. Youth(mostof head)to left.

Late 6th century B.C.



331 P1.34


H 5-6

Wall fragment. Max. dim.0.10. Streaky washon surface. Athena(partof skirt) stridingto left. Red:border; hanging folds of himation.White: dot clusterson skirt;row of dotson lowerborder. Last quarterof the 6th centuryB.C. P 5341 G 12 332 P1.34 Wall fragment.Max. dim. 0.068. Athena (neck,backof helmet,part of aegis with snakes, raisedrightarm)to left. On the right,partof the Doriccapital and the cock(breast,legs). Red:tail of helmetcrest;strip on aegis. White:Athena'sflesh. Late 6th or early 5th centuryB.C. 333 P1.34 P3861 G 13

P6102 E 15:6 328 P1.33 Wall fragment.Max. dim. 0.078. Victor (headwith wreath)to right, a branchin the field, perhaps held by him. Above, black band, then tongue pattern.Red:fillet;bandat top of panel. For similar wreaths, cf. those worn by the revelerson Munich 1416 by a painterof the LeagrosGroup(ABV 367, 90; Paralip. 162, 90); also 484 (P1. 46), 505 (P1. 48), 759 (P1.72), 1486 (P1. 100), and 1489 (P1.100). The Painterof Munich 1519 (ABV 394, 11).
Ca. 500 B.C.

Wall fragmentfrom upper left corner of panel. Max. dim. 0.081. Cock on top of Doric column. Above, tongue pattern. Red:comb,wattles,featherof tail;alternatetongues. Late 6th or early 5th centuryB.C. 334 PI. 34 P25911 M18

Wall fragment.Max. dim. 0.075. Beardedman (top of head, legs missing)to left, holding thongs(ends)in his righthand(now missing).On the right, someof the line framingthe panel. Late 6th or early 5th centuryB.C. 335 P1.34 P6104 E 15:6 Max. dim. 0.052. Tracesof burning. Wall fragment. a Man (mostof head,someof rightarm)to right,carrying largebulkyobject(?). Red:stripon beard. Ca. 500-490 B.C.

P 24699 P 17-18 329 P1.33 Two non-joiningwall fragments.Max. dim. a) 0.09, b) 0.051.



Wall fragment.Max. dim. 0.034. Thin black glaze on inside. and Shield device:Pegasos (part of wing, hindquarters, tail) to left. White:Pegasos. The Pegasosshielddevicesuggeststhat336 oughtto be by the KleophradesPainter who uses this emblemon all his known prize amphorae(ABV 404, 1-9, 15-16; Paralip. 175-176). But the Pegasos on 336 is very differentfrom MINIATURE PANATHENAIC AMPHORA 338 Painter:its tail is not outstretched; thoseby the Kleophrades P 10961 B15:1 338 its bodyis too thinwith the hindlegs notfarenoughunderit. 0.054. Fromshoulderwith ring at Ca. 500-480 B.C. Fragment.Max. dim. with of handles. P. Corbett,Hesperia stubs neck; junction P 27427 T 13 337 PI. 34 no. 80. 1949, 318, 23, 18, p. pl. Wall fragment.Max. dim. 0.062. A, Athena(head,raisedhandwith spear)to left. Above, Athlete (bent knee with part of thigh and calf) to right. on each side, tongue pattern. Behind her, a vertical line handof anotherfigure. On the right,outstretched overlapsthe tongues. Dots on ring. White: flesh (applied The positionof the hand is best paralleledon these four directlyon the clay).Armoutlinedin brown. Late 5th century B.C. vases:two by the BerlinPainter,Vatican375 (ABV408, 3)

and Berlin1832 (ABV408, 4; CVA,Berlin5 [Germany 45], two by pls. 49 [2194]:7,and8, 50 [2195]:2,and 51 [2196]:2); the AchillesPainter,Bologna12 (ABV409, 2) and Harvard 60.309 (ABV 409, 5; Paralip. 177, 5). 337 seemsclosestto the two by the BerlinPainter,but thereis not quite enough to be surethat the fragment is his. preserved Secondquarterof the 5th centuryB.C.

AMPHORAE, TYPE UNCERTAIN 339-366 Figs. 7-10 F7 Pls. 34-36

0.10. Glaze fired red; most of it is flaked.


Fragmentof torus mouth and part of neck. Max. dim. On neck,partsof two incisedrosettes.Red:coresand alternatepetalsof rosettes. Compare133 (P1.16). Last quarterof the 7th centuryB.C. 340 P1.34 P 4993 E-F 12-14 Wall fragment. Max. dim. 0.062. Agora VIII, p. 98, no. 581, pl. 37. Swan (head, neck, and wing) to right. Wheel rosettes. Red: alternatefeathersand wing bow (purplered), bar of wing (brightred). The Painterof BerlinA 34 (Paralip.1, 4).
Ca. 620 B.C.

P 20678 Qll 341 Fig. 7; P. 34 Wall fragment.Max. dim. 0.093. Traces of burningon surface. Chariot (part of box, wheel, pole bound with lashing, traceline;tails, partsof threehind legs) to right. Red:box. Close to the Piraeus Painter'samphora,Athens, N.M. the doubleline at the top 353 (ABV 2; Paralip. 1): compare of the chariot box, the incised decorationon its side, the incisionoverthe boundpole, and the tails with herringbone of tail bone. The latter detail is, however, characteristic

FIG.7. Amphora341 (P 20678) horsesby the GorgonPainter,e.g., LouvreE 874 (ABV8, 1; 474 (ABV 8, 2), Baltimore 48.215 Paralip.6, 1), Akropolis (ABV 9, 18;Paralip.7, 18), and maybe seenon the grazing horse by the Nettos Painter,once Berlin 1682 (ABV 5, 4; Paralip.2, 8).
Ca. 620-610 B.C.


CATALOGUE sirenor eagle (tail) to right;II) head(?)of guillochepattern; a man to right. The carefuldrawingof the guillochepatternis similarto that used by the Nettos Painteron his lekanides,either in the handlezone or below the figures(Paralip.4, 17-24 for the mostcomprehensive of list), and the precisearticulation the tail feathersrecallsthat of the birdon each of the three fromVari:Athens,N.M. 16382 (ABV3, 4; skyphos-kraters 3; 4; Paralip.3, 10), 16383 (ABV7, y; Paralip.3, 12), and 16384 (ABV 6; Paralip. 3, 13). 343 may be by the Nettos Painter,but if not, it is certainlynearhim. Late 7th centuryB.C. 344 PI.35 FIG.8. Amphora342 (P 26642) P 25343 T19:1 Wall fragment.Max. dim. 0.108. White slip on surface (mostlygone). Two geese(beakof one on the left;tail, someof wing and bodyof the other),bothto right.Dot rosettesfor fillingornament.Red:beak;partsof feathers. Compare geese by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10) and 16384 (ABV 6; inv. no. Paralip.3, 13);alsoa sphinxnearhim:Kerameikos, 1365 (ABV 7, ,3; Paralip. 6, 2 [/3]; Kerameikos VI, ii, no. 182, pl. 112). The drawingon 344 is weakerthan on these examples. Late 7th centuryB.C. 345 P1.35 P 26760 T 18:3 Wall fragment.Max. dim. 0.057. Traces of burningon rightside. Uncertainsubject: left handof a man grippingtwo straps of an objectthat looks like the inside of a shield, which is mostlycoveredwith addedred but for some glazedlines in the upperleft. Red:partof object.
Late 7th century B.C.

P 26642 T-U 19-20 (I) 342 Fig. 8; P1.35 Wall fragment.Max. dim. 0.062. Bellerophon attackingthe Chimaera.The fragmentpreservesthe head of the strikingsnake,the shoulderwith the startof the forelegsand wing, somefeathersand partof the belly of Pegasos.The doubleincisionfor the contourof his wing bow continuesinto his foreleg.The diagonalincision below the feathersis the right bootof Bellerophon, and the smallbit of addedred belowthe forelegat the breakmay be partof his left foot.Red:chest,wing bow,alternatefeathers, belly stripe;eye of snake,two dotson its body;boot.White: alternatefeathers. The style of the drawing, particularlythe double lines and the liberal use of red, recalls both the Nettos Painter and the GorgonPainter.The positionof Bellerophon's leg and his feet, one back,the otherforward,recallsthat of the rider on the GorgonPainter'splate in Baltimore,inv. no. 48.215 (ABV9, 18;Paralip.7, 18). of the Chimaera start On Attic vases, representations inv. no. 154 with two by the Nettos Painter, Kerameikos, VI, ii, no. 187,pl. 113) (ABV3, 3; Paralip.3, 9; Kerameikos andAigina 565 (ABV3, 1;Paralip.1, -, 1), andtwo by the BellerophonPainter,Athens, N.M. 16389 (ABV 2, -, 1) andAthens,N.M. 16391 (ABV2, -, 2). The mythdoesnot Heldenoccurveryoftenin Atticblackfigure(cf. Brommer, of the earlyillustrations sage3,p. 292). For the iconography of the myth, cf. H. von Steuben,FriiheSagendarstellungen in Korinthund Athen, Berlin 1968, pp. 11-13 and K. Fittschen, Untersuchungenzum Beginn der Sagendarstellungen bei den Griechen,Berlin 1969, pp. 157-161, both with bibliography; most recentlyS. Karouzou(RA, 1985, pp. 67-76) who separatesthe two vasesby the Bellerophon Painter. Last quarterof the 7th centuryB.C. 343 PI. 35 P 31091 1 10:1 Wall fragment.Max. dim. 0.092. Some of the glaze is abraded. Part of two friezes:I) sirenor eagle (tail) to left;vertical


P 4807 E-F 12-14

Wall fragment. Max. dim. 0.128. Surface slipped, peeling. Two figures(?) facing.At the left, a large area with the contoursdoublyincised,the surfacered. At the right, near the break,the doublyincisededge of a similararea. These two glazed portions might representdraperyof the sort worn by the women on the standedskyphos-krater by the Nettos Painter,Athens, N.M. 16384 (ABV 6; Paralip. 3, could representtwo facing 13), and if so, the composition women. Betweenthe two glazedareasis a largeincisedrosette.Red:left area;alternatepetalsof rosette.
Ca. 600 B.C.

347 Fig. 9; P. 35 P 25338 G-I11-12 Wall fragment.Max. dim. 0.07. Dolphin (eye, forehead,start of snout) to right. On the right,the edgeof the panel. Comparetwo dolphinson an early olpe from Delos, 591 (ABV 15, 27; Paralip.9, 27). Last quarterof the 7th centuryB.C.



The KomastGroup:I, the KX Painter(ABV 27, 37).

Ca. 580 B.C.



E 14

Wall fragment.Max. dim. 0.071. Traces of burningon insideand outside. Partsof two friezes:I) felineor sphinx (two paws) to left; II) geese feeding(bodyof one, headof another)to left. Red: wing bow. First quarterof the 6th centuryB.C. 353 P4339 E14:11

FIG.9. Amphora347 (P 25338) 348 PI. 35 P 2394 H 8-10 (?) Wall fragment.Max. dim. 0.057. Woman (partof one leg, the heel of the other)dancingto right. Incised rosette for filling ornament.At the bottom, part of groundline. Red:alternatepetals of rosette;line on groundline. White:flesh.
Early 6th century B.C.

Wall fragment.Max. dim. 0.049. Much of the glaze is flaked. Boar(head)to left. At the left, tracesof a wing(?). Incised rosettesfor fillingornament. Line at top andbottomof fragment indicatinglimitsof frieze.Red:forehead. First quarterof the 6th centuryB.C. 354 P 26549 S 17:1

Wall fragment.Max. dim. 0.103. Parts of two figuredzones: I) animals (hind hoofs of a boaror a bull andforepawsof a feline),bothto left;II) geese (mostof one; body and tail of another)to right. Red:wing bows;two lines betweenfriezes,anotherbelowgeese. Secondquarterof the 6th centuryB.C. 355 P26460 R15-16 Wall fragment.Max. dim. 0.066. Parts of two friezes:I) goat (head, neck, chest, forelegs) and siren (tail) to right;II) wing of birdor maneof animal. Red:neckof goat;two bandsbetweenfriezes. Secondquarterof the 6th centuryB.C. 356 P 13653 T 19:1 P 26438 T 18:1

349 PI. 35

P 17918 No grid

Wall fragment.Max. dim.0.084. Whitishslip on surface. Siren (threetressesof hair, part of wing, body,legs, and tail) to right. Incised rosette for filling ornament.Below, three lines, ends of rays. Red:wing bow;bar on tail. The direction of the wing feathersindicatesthatthis siren had bow-shapedwings, not sickle-shapedones. Compare the sirenon 671 (P1.64) andon AgoraA-P 1734 (ABV 8, 6; Paralip. 6, 6), both by the Gorgon Painter,or the one on Athens,N.M. 16362 (Paralip.12, 11) by the PantherPainter, or the one on 33 (PI. 4). First quarterof the 6th centuryB.C. 350 P20681 R11:2 Wall fragment.Max. dim. 0.105. Sirenor bird (outspread wing) and lion (head)to left. Incisedrosettesfor filling ornament.In the zone above,bits of glaze (rosettes?). Red: wing bow, alternate feathers of wings;mane. First quarterof the 6th centuryB.C. P 13340 H 10 Wall fragment.Max. dim. 0.078. Animal friezes:I) siren (tail) and goat (head,neck, foreleg, and hoof), bothto left;II) geesefeeding(mostof one, the tail and leg of another)to right. Incisedrosettesfor filling ornament.Below, tips of rays. Red: bar on siren'stail; eye and neck of goat; cover feathersof wings of geese, dots on neck;coreand dotson petalsof large rosette. 351 P1.35

Two non-joiningwall fragments.Max. dim. P 13653: 0.047, P 26438:0.043. Brownishwash on outside. P 13653 shows a goat (some of head, neck, and horns) grazingto left. P 26438 preserves partof an animal(someof neckand shoulder)grazingto left. On the left, at the break, part of a rosette;above,glaze markingtop of frieze. Red: necks. Secondquarterof the 6th centuryB.C. P 13823 U 25:2 (M) Wall fragment.Max. dim. 0.071. Two sphinxes (preservedexcept for hindquartersand Bloband incised tails, someof wings and heads)confronted. rosettesfor filling ornament.Below, rays. Red:breastsand wing bows;dotson rosettes.The drawingis verycoarse. Secondquarterof the 6th centuryB.C. 358 Fig. 10 P22999 I 12 of neck andmouth.Max. dim.0.106;est. diam. Fragment at outeredge0.16. 357


CATALOGUE P 25312 C-G 13-16 Wall fragment.Max. dim. 0.053. Herakles and the Bull (some of head and neck of bull; partof one limb,perhapsa leg of the hero).White:marking on neckof bull. It is not likely that the scene representsHerakles and Acheloos,for the hero does not grasp the monster'shorn. For this theme, cf. H.-P. Isler, Acheloos,Bern 1970. The loweredpositionof the bull'sheadsuggeststhat it may have fallento one kneeas Heraklesbindsit with a cord.Compare a few examples:Munich 1407,compared with the Groupof Wurzburg199 (ABV 290); LouvreF 239, the Painterof Munich 1519 (ABV 394, 7); Louvre F 240, the Leagros Group(ABV370, 129);London,B.M. B 277, the Michigan Painter(ABV 343, 8); and New York,M.M.A. 41.162.193 (CVA,New York4 [USA 16],pl. 35 [763]:5and 7). For the subject,cf. Brommer, Heldensage3, pp. 194-205. Last quarterof the 6th centuryB.C. 363 P1.36 P 27468 H-K 12-14 Wall fragment. Max. dim. 0.098. Brown wash on background. Dionysiac scene. Lower parts of two drapedfigures to right. On the left-hand side of one, the head, neck, and raised paw of a panther.In the background, a vine. Red: borders,dots on cloak. White: dot clusterson draperyof of panther. figureon left;markingon forehead Perhapsfroma neck-amphora.
Ca. 520-510 B.C.

362 P1.35

FIG. 10. Amphora358 (P 22999), dipinto.Scale 1:2

On neck,lotus-palmette chain.Paintedon reserved topof mouth:

Red:outeredge of mouth. The narrowdiameterindicatesthat the shape is eithera Panathenaicamphoraor a neck-amphora of Panathenaic shape,but withoutmoreto go on, it is difficultto opt forone or the other. Third quarterof the 6th centuryB.C. 359 P. 35 P8964 G 14 Wall fragment.Max. dim. 0.05. Herakles and the Hydra (some of the Hydra's scales, mid-rib,and one of its snaky heads;thighs and genitalsof Herakles).Red:dotson scales. For the subject,cf. Brommer,Heldensage3,pp. 79-82, with bibliography. Third quarterof the 6th centuryB.C. 360 P 14050 Q18:1 Wall fragment.Max. dim. 0.048. T. L. Shear,Hesperia 8, 1939, p. 261, no. 16 and p. 260, fig. 16. Rider (left hand holding a spear; reins; part of neck, mane,and shoulderof his horse)to right. Third quarterof the 6th centuryB.C. P 5294 E-F 12-14


P 24690 Q17

361 PI. 35

Wall fragment.Thin wash on inside.Max. dim. 0.148. Frontal chariot (chests of the two pole horses;pole of chariot;some of the charioteer'schiton). On the left, the traceline and reinsof one tracehorse.White:chiton. The thin wash on the inside suggeststhat the fragment comesfroma large panel amphoraor perhapsfroma neckshape. amphoraof Panathenaic The drawing on the chests is characteristic of frontal horsesby the AntimenesPainterand those in his manner. Cf., e.g., these by the painter: New York, M.M.A. 56.171.19 (ABV269, 43;Paralip. 118, 43; CVA,New York VF ,3 326 (ABV271, 4 [USA 16],pl. 24 [752]:2);Frankfurt 82; Paralip. 118, 82); Altenburg212 (ABV 272, 92); Boston, M.F.A. 22.404 (ABV 272, 103; CVA, Boston 1 [USA 14], pl. 43 [665]:1);and Villa Giulia 5195 (ABV273, 105); andthesein his manner:Hamburg1917.473(ABV 278, 40; 41], pi. 16 [1982]:1)and BrusCVA,Hamburg1 [Germany sels A 2951 (ABV 278, 41). Third quarterof the 6th centuryB.C.

Wall fragment.Max. dim. 0.085. Horsemenleading horses to right. On the left, a man wearinga cloakand petasosandcarryingtwo spearsleadsa horse(head,neck,mostof body).On the right,the top of the tail anda bit of the hindquarters of anotherhorse.Red:forelock,maneof horseon left;tail of other;stripeson garment. White:petasos;studson bridle. Perhapsfroma smallneck-amphora. Last quarterof the 6th centuryB.C. 365 P1.36 P4745 E-F 12-14

Wall fragment.Max. dim. 0.07. Thinly glazedon inside with somestreaking. Tracesof burning. Man (hips to knees)in shortchitonto left, holdinga tripod (one leg) horizontally. Sincethe tripodis not held upright,the man is not a victoriousathlete (for such a scene, cf. London,B.M. B 144: CVA,London1 [GB 1], pl. 6 [30]:2).Morelikelythe subject is the strugglebetweenHeraklesandApollofor the Delphic Tripod, in which case, the figure partially preservedis Apolloholdingthe legs of the tripod,while Heraklesgrasps the rings of the cauldron.For the subject,cf. D. von Bothmer,Festschrift Brommer, pp. 51-63. Late 6th or early 5th centuryB.C.

AMPHORA LIDS P 1058 117 366 PI. 36 Wall and shoulder fragment. Max. dim. 0.075. Glaze firedred. Athena(partof neck,aegis,chiton)to left, holdingout her


shield (device: lion or dog). Red:rim of shield.White:flesh; device Late 6th centuryor early 5th centuryB.C.

AMPHORA LIDS 367-372 PI. 36


P 26534 T 18:3

Brimfragmentwith part of flange.Max. dim. 0.058. Gooseto right,probablypart of a frieze. Secondquarterof the 6th centuryB.C. 368 PI. 36 P 10776 No grid Fragmentwith some of flange. Max. dim. 0.133. Brown glaze. Animals:swan or duck(headand breast)to rightfacinga lion (head turnedaround,some of body and forelegs).Blob and incisedrosettesfor fillingornaments. Secondquarterof the 6th centuryB.C. 369 PI. 36 P4992

amphoralid with a horse race, cf. the one now in Berne, Jucker (HesperiaArt, Bulletin22, Nov. 1962, no. 8).
Late 6th century B.C.

E-F 12-14 Fragmentwith some of flange. Max. dim. 0.085; H. of flange0.042. in a chiton Chariotrace:upperpartof beardedcharioteer holding the reins and a goad; some of the breastworkand rail of the chariot,the pole stay, and the croupsand tails of two horses.On the left sideof the horses,a goal post. Behind the charioteer,the muzzle of a horse belongingto another team. Above the figures, rays. Red: hair and beard;tails. White:chiton;goal post. For chariotraceson the lids of amphorae, cf. San Francisco, de YoungMuseum243.24874,nearthe AntiopePainter (ABV367, 92); LouvreF 318 whichbelongsto LouvreG 45 by the Dikaios Painter (ARV2 31, 4; Paralip. 324, 4); two Painter,Wiirzburg297 which belongs by the Kleophrades to Wiirzburg 507 (ARV2 181, 1; Paralip. 340, 1) and Munich2305 (ARV2 182, 4; Paralip.340,4); LouvreF 317 which belongs to Louvre G 46 by the Nikoxenos Painter (ARV2 220, 3; Paralip. 346, 3); also, Rouen 2059, which thinksmaybelongto LondonE 254 by the Dikaios Bothmer Painter (ARV2 31, 3). All of these are amphoraeType A, and by analogy,369 ought to be fromthis type, too. For an

P 1293 G 6:3 (U) for a few Completeexcept fragments.P.H. 0.068; diam. 0.187. Knob chipped. E. Vanderpool,Hesperia 15, 1946, p. 323, no. 269, pl. 66. From knobout: rays;blackband;ivy on brim. Red: line betweenknoband lid; line for vine of ivy. For the combination of rays at the base of the knoband on the cf. New brim, York, M.M.A. 17.230.14 by ivy Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pl. 19 [747]:1);three in Leyden,PC 40, PC 85, PC 76 (CVA, Leiden 1 [Netherlands3], pl. 50 [144]:1-3); and Zurich(ETH) 7 (CVA,Zurich1 [Switzerland 2], pl. 16 [58]:2). 370
Late 6th century B.C.

P 27189 E29:4 of some wall and H. 0.08. Knob, flange. On top near edge, trace of a zone of ivy, set off by a groove. For blackglaze insteadof raysroundthe baseof the knob on an amphoralid, cf. Hanover 752 (CVA, Hannover 1 [Germany34], pl. 30 [1662]:5).
Late 6th century B.C.



P 20780 R 12:1

Preserved exceptfortop of finialof knob.H. 0.056;diam. 0.125. Chip in brim.Slightlydomedlid with flat,offsetrim; round knob with finial (pomegranate?).Reserved on underside. On top of lid, concentric bands.Dot-ivyroundbrim.
Late 6th century B.C.




373 P1.36


No grid

Mended from many fragments.H. 0.296; diam. 0.138. in plaster. Missing piecesof mouth,neck,and bodyrestored Vertical handle missing. D. B. Thompson, An Ancient ShoppingCenter[AgoraPictureBook 12], Princeton1971, ill. 58. On the neck:six cloakedmen to right;below, row of rosettes. On the body, two cloakedmen to right. Under each upright handle, a siren (most of body of left one missing) under B/A to left, under A/B to right. Below the vertical handle,swan to right;on each side of the handlerooton the shoulder,palmette(left one missing).Blobsfor fillingornament. On outsideof each uprighthandle,blobsor solid rosettes. Tongue patternon shoulderat junction with neck. Rays abovefoot. Red:hair of alternatefigureson neckand body;two cloakson neck;foldsof cloakson body;wing bows and bandson tails of sirens;line on outsideedge of mouth, one below figures,one above rays, and anotherat edge of foot.White:on neck,threecircleson cloakof one man;faces, necks,outlinesof breasts,and stripson wings of sirens. Secondquarterof the 6th centuryB.C. 374 P1.36 P 14371 N 10:1 Part of mouth, neck, body, and foot restored.H. 0.253; diam.0.193. Much of the glaze is flakedand abraded.Hole in bottomfor libations. On the neck, three mourningwomen (head of 1, part of bodiesof 2 and 3 missing)to right. On the body,prothesis: the deceased(someof bodymissing)to left on a couch,with a figureon eachside, facinginward;then fourfigures(parts missing) to right with hands raised. Above the foot, rays. Red:stripeson garments.White:flesh? Secondquarterof the 6th centuryB.C. 375 PI. 37 P 1261 G 6:3 (L) Fragmentsof mouth, handles, body, and foot restored. H. 0.366; diam. 0.12. Glaze misfired a reddish brown. E. Vanderpool, Hesperia7, 1938, pp. 398, no. 32 and 397, fig. 34. women to right with fillets On the neck, five "penguin" women to hanging above. On the body, three "penguin" a small a under each man handle, right, facing; upright on the under left to to under B/A; A/B, right drapedyouth, womanto right facleft of the verticalhandle,a "penguin" ing a man; on the right of the handle, a woman to left.

Between the figures on neck and body, imitation inscriptions.Incisedrosetteson each handleand as fillingornament.On the sideof the mouth,key patternto left. Above the foot,rays.Red:fillets;plain cloaksof "penguin" women; pairs of lines top and bottomon band stripeson garments; belowfigures; line at eachedgeof verticalhandle;line at top and at outer edge of foot. White: women's flesh; dots of crosseson cloaks;key pattern. The Groupof North SlopeAP 942 (ABV 89, 1). Third quarterof the 6th centuryB.c. P 25274 R 12:3 of shoulder with the roots of one uprighthanFragment dle. Max. dim. 0.092. Beneathhandle,woman(head)to right.Behindher, part of a box carriedon the head of a figure behind her. Red: fillet. White:face. Late 6th centuryB.C.


377 P1.36

P 12500 N 18:6

Two non-joining of mouth,neck,handles,and fragments Max. dim. 0.055. 0.165, b) a) body. a (illustrated) Fragment preserves partof the mouth,decoratedwith a stylizedsnake(wavyline) on its side,the topof one handle,some of the neck, and the startof the shoulder with the handleroots.On the insideof the mouth,two wide blackbands.On eachside of the neck,man to rightwearing a longchitonandhimation(almostall of one holdinga staff; lowerhalf of the other).On the shoulder,betweenthe roots of the two handles,the top of the headof a womanto left and part of an oblongobject,perhapsa box. Fragmentb gives the head,tail, andpartof the outstretched wingsof a sirento right, lookingaround,and above,the headof a tracehorse. Red:man'sfillet, stripeson his himation;stripson wing of siren. White:snake;siren'sface, alternatestripson her tail and wings. Late 6th centuryB.C.


378 P1.37
Fragment of neck. Max. dim. 0.052.



Partsof two friezes:I) the feet of threepairs of men and the bordersof their garments,to right;II) siren or sphinx

LOUTROPHOROI (head,wing) to left facinga palmettecomplex(frondsof one horizontalpalmette).Red:backof head. Lydos(ABV 110, 36).
Ca. 560-550 B.C.


379 PI. 37

P 20241 D 16

Fragmentof mouth and neck. Max. dim. 0.085. Black bandson inside. On side of mouth,incisedrosettes.Blob of glaze in field. Below, a siren or a sphinx (head,partof wing) and a snake (tail), both to right. Red: fillet, pupil. White: face, part of wings;dotson tail.
Ca. 550 B.C.

384 PI. 37 P 13736 V23:1 Neck fragment.Max. dim. 0.035. Grooveneartop. Band of glaze on insideneartop. Man (headand shoulders) to right.Head overlapsgroove at top. Red:stripeon garment. Third quarterof the 6th centuryB.C. 385 P1.37 P6561 E-F 12-14 mouth of broken Fragment (edge away) and top of neck. Max. dim. 0.065. Mouth glazed black on inside;on neck, diluteglaze belowa narrowreserved band. Head of youth and the upper part of a woman to right. On side of mouth,stylizedsnake (wavy line). Red: hair of youth; fillet and chiton of woman. White: face of woman; snake. Third quarterof the 6th centuryB.C. 386 PI. 38 P 12015 R 19

380 PI. 37


D 15

Wall fragment.Max. dim. 0.10. Partsof two zones:I) man (foot) and woman(feet, lower drapery) to right; II) animals (panther:foreparts;siren: wing, tail, one leg) to right;below, rays. Red:dotson drapery, neckof panther; partof siren'swing, bar on tail. White: feet of woman;eyebrowsand nose of panther,belly stripe; stripson wing, stripon breast.
Ca. 550 B.C.

381 PI. 37



Neck fragmentwith bandon insidenear top. Max. dim. 0.118. Three figures (drapery,hands of woman) standing to in the crookof right. The woman holds a loutrophoros(?) her arm.Red:border anddotson cloak.White:flesh;dotson drapery.
Late 6th century B.C.

Neck fragment.Max. dim. 0.05. Burned(clay is gray). Three drapedfigures(fromleft: left shoulderand arm of 1 holdingsomething; the shoulders and torsoof 2 holdingan objectthat lookslike a stem and the startof a lotus bud;the right elbow and draperyof 3 holdinga fillet)to right.In the field,nonenseinscriptions, vertically: (twice) A XA Red:coresof rosetteson cloakof 2; stripesand dotson garmentof 3; line on inside.White:dotsof rosettes. Third quarterof the 6th centuryB.C. 382 P4837 N 10:1 Wall fragment.Max. dim. 0.107. Parts of two zones: I) man (drapery,foot) and woman (drapery,feet) to right, facing a couch (lower part of leg); II) panther (head, neck, some of back and tail) to right. White: woman'sfeet; dots in some of the circlesincisedon her dress;decoration on leg of couch. Third quarterof the 6th centuryB.C. P 25371 Q 13-14:1 (U) Fragmentof mouthand neck.Max. dim. 0.098. Insideof mouthglazed;bandson neck. On neck,woman(partof filletedhead)to left. On vertical surfaceof mouth,stylizedsnake(wavy line) and incisedtriangles with horizontallines. Red: line above figure and at outeredge of mouth. Third quarterof the 6th centuryB.C. 383 PI. 37

387 PI. 38

P 10192 M 18:8

Neck fragmentwith someof ring at junctionwith shoulder. Max. dim. 0.113. Three women(lowerpartsof two; partof draperyof the third)to right.Below,key patternto right.Red:dotson garments.White:flesh;dot clusterson garments. For the key pattern on the neck below the figures, cf. Cleveland 27.145 (CVA, Cleveland 1 [USA 15], pl. 15 [695]).
Ca. 500 B.C.

P 10262 L-N 16-18 Fragmentof neck.Max. dim. 0.072. On the left, the lower partsof a drapedman and woman to right. In front of the two, part of a couch (one leg with plinth,partof the cushionor mattress)and of a table (some of one leg) in frontof it. The faint imageof a chair may be seen againstthe two figures.White:chair,plinth,and floral decoration of leg of couch;woman'sfeet. Late 6th or early 5th centuryB.C. 389 P 23171 H 12:15 Fragmentof mouthwith startof neck.Max. dim. 0.065. On side of mouth, stylized snake (wavy line). White: snake.
Ca. 500 B.C.

388 PI. 38



390 P1.38

P 24773 P 16

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.056. to left. In Dionysos(mostof wreathedhead,left shoulder) the field,vines.Red:beard;mostleaves;doton cloak.White: dot clusterof cloak. Ca. 530-520 B.C. 391 PI. 38 P 12561 G11:3

her left elbowis a horizontal objectthat lookslike a walking stick, and on the far right, at the break, is the trace of anotherfigure,probably a bit of drapery.In the field,a vine. At the left, edge of panel. Red: fillet;eye; dots on drapery. White:flesh;dotson drapery. Ca. 510-500 B.C. 394 P 7239 D 7:2

Foot missing. P.H. 0.261; diam. 0.19. T. L. Shear,Hesperia 8, 1939, p. 230, fig. 26. A, Theseus and Prokroustes.On the right, Theseus armedwith an axe, wearinga cloakroundhis waist, moves to rightlookingaroundat his bearded opponentwho falls to left, lookingaround,his left handheldout, his rightaboutto is a tree;suspended from pickup a stone.In the background its branches,a cloakand a quiverwith four arrows.A club rests againstthe right side of the panel. B, Dionysoswith a drinkinghorn and two satyrs,all movingto right, the god and the satyr on the right lookingaround.Abovethe panel on each side, invertedlotus budswith dotsin the interstices. Abovethe foot, rays. Red:beards;tails; forelocksof all but satyr on the right;Theseus' fillet;dots on cloakin tree and on god's garment;line on neck;two lines below panel that continueround the vase. White: dot clusterson garments; handle borderof Dionysos'chiton;stone;fruit on branches; dotson quiver. of axe;baldric; AA (Jd 95), 1979, p. 496. 247; also, Brommer, Antimenean [Bothmer]. CompareTiibingen6211 (CVA, Tubingen3 [Germany47], pls. 6 [2251]:6and 7 [2252]).
Ca. 510-500 B.C. For the subject of A, cf. Brommer, Heldensage3, pp. 245-

Two non-joining P.H. a) 0.11; max.dim. wall fragments. 0.11. b) a preserves Fragment partsof bothsides.A, Heraklesand the Lion. Herakles,to right,wrestlesthe lion on the ground. He has his left arm roundthe beast'srib cage;his right is raisedslightlyand sharplybent, his club in hand.The hero wears a short chiton; over his left shoulder is a double baldric.His buttocks and someof his rightarmare missing. B, woman(footto left and tip of drapery)and the lowerleft cornerof the panel. Fragmentb gives more of the woman (drapery)and the left borderof the panel.The sidesof each panel are framedby two rows of dots. Red:Herakles'forelock and beard,lower edge of his chiton;lion'stongue,dots on its mane;line just below panel that continuesroundthe vase.White:baldric; teethof lion, belly stripe;femalefoot.
For the subject, cf. Brommer, Heldensage3, pp. 109-143.

Late 6th centuryB.c. 395 PI. 38

P 2643 G 6:3 (U)

P 10826 No grid Wall fragmentfromleft side of panel. Max. dim. 0.165. Draped man (from waist down) to right, leaning on a stick.In frontof him, a figureseatedon an okladias(foldof boss on leg of okladias),also to right. Red:dotson drapery; boss. White:dot clusterson garments. cloaks; The LeagrosGroup(ABV 377, 241; Paralip. 167). 392 PI. 38
Ca. 510-500 B.C.

Mouth, neck, upper part of body. Rest. H. 0.11; rest. diam. 0.152. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 194, pl. 60. A, Herakles(part of head and body) to right attacksan Amazon(head,partof rimof shield),who is probably down on one knee.B, Dionysos(head,upperpartof body)to right In holdinga drinkinghorn,facinga satyr(head,shoulders). the fieldon eachside,a branchwith fruit.Aboveeachpanel, net pattern.Red:beards; rimof shield;dots beltof Herakles; on Dionysos'wreath and on his garment.White: baldric; fruit. dotson Dionysos'garment;
For the subject of A, cf. Brommer, Heldensage3, pp. 7-25;


P 8798 E 14:5

Four non-joiningfragments,only one of them (a) decorated.Max. dim. a) 0.092, b) 0.087, c + d) 0.068, e) 0.061. Fragmentb is fromjust abovethe foot;c and d, nowjoined, and e fromthe neck.Glaze has firedred in mostplaces. but for part of head, right hand, left Maenad (preserved shoulder,and foot) dancingto right,lookingaround.Below

for the composition, Bothmer, Amazons,p. 43, no. 50. with the Red-linePainterand Class of Pelikaiconnected the Painterof the RhodesPelike (ABV 607, 1); Mannerof the Red-linePainter(Paralip.303, 5). Ca. 500 B.C. 396 P 2644 and P 2645 G 6:3 (U)

Mouth, neck, upper part of body. Rest. H. 0.093; rest. diam. 0.147. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 195, pl. 60.

SKYPHOS-KRATERS A and B, two dancingyouths(heads,raisedarmof one on each side). In the field,brancheswith fruit.Abovepanel:on one side, net pattern;on the other, key patternto left. Red: line on neck.White:fillets;fruit. with the Red-linePainterand Class of Pelikai connected the Painterof the RhodesPelike (ABV 607, 2); Mannerof the Red-linePainter(Paralip.303, 6).
Ca. 500 B.C.


P 2755 G 6:3 (U) Fragmentof neck and upper left cornerof panel. Max. dim. 0.094. Brown wash on surface.E. Vanderpool,Hesperia 15, 1946, p. 311, no. 196, pl. 58. Dionysos (head)to right. In the field, branchwith fruit. Above, net pattern. Red: beard;fillet; line on neck above panel. White:fruit.
Early 5th century B.C.


PSYKTER 398 Fig. 11 P1.39 398 Fig. 11; P. 39 P 27885 H 13:5

Diam. of mouth0.20;diam. Eight non-joining fragments. of foot 0.168; max. dim. b) 0.116, c) 0.061, d) 0.051, e) 0.117, f) 0.051, g) 0.062. Mouth reservedon top (fragment a); wall (b-g); and torus foot reservedon underside g. Glaze has (h). Hole for ancientmendon rightof fragment misfireda grayishcolorin places.Thin wash on inside and outside. Wall reservedbelow figures,except for a band of glaze below the figuresand one abovethe foot (illustrated). Komos. Fragment b (illustrated)preservesthe bearded chin, torso,left arm, and left heel of a komastto left. Fragment c (illustrated)gives the neck with some of the beard, the body,partof the armsand legs of anotherto left, looking around.Fragmentd (illustrated)preservespart of the body of a thirdkomast,and fragmente gives someof the feet of a fourth,both to right. On the shoulderat the junctionwith the neck (a: illustrated),tongue pattern.Fragmentsfandg comefromthe stemjust below the figures.The misfiringof a (therim), b, andd indicates the glazeon fragments thatthe komaston d was directlybelow this portionof the rim and of the that fragmentb was to the left of these.The placement other fragments is uncertain. Red: beards. White: fillet roundneckof komaston fragmentc.
Late 6th century B.C.

F-11 I

FIG. 11. Psykter 398 (P 27885). Scale 3:10

SKYPHOS-KRATERS 399-413 Fig. 12 Pls. 39-41

BOWLS399-403 P 12046 07 of to receive a lid. Max. Fragment incurvingrim, grooved dim. 0.13. Bandedon inside.Rim glazedinsideandreserved at intervalson uppersurface.Slip on outside. 399 P1.39

Lion or Chimaera(someof mane)to right.On the left at the break, part of another object (goat of Chimaera?). Hanging spirals and zigzags at rim. Incised and ring rosettes. Red: mane; core and alternate petals of incised rosette. Locks of mane separated by two lines are unusual.


CATALOGUE Painter (ABV 7, /; Paralip. 6, 2 [/3];Kerameikos VI, ii, no. 182, pi. 112). Compareespeciallythe glazedflange,the direction of the spirals, and the drawing of the wing. Probablyby the samehand.
Late 7th century B.C.

Comparethese four,each in the tondoof a lekanis:the Nettos Painter,horse foreparts: Athens, N.M. 16366 (Paralip. 4, 19); three by the Panther Painter: one lion, Athens, N.M. 16355 (Paralip. 11, 3) and two pairs of confronted horse foreparts,Athens, N.M. 16358 (Paralip. 11, 5) and Athens, N.M. 16361 (Paralip. 11, 7). Comparealso the maneof a Chimaera on an olpe in the mannerof the Gorgon Painter, 708 (PI. 68). 399 is closer in style to the Nettos Painter than it is to either the Panther Painter or the GorgonPainter.For linkedhangingspirals,cf. 117 (P1.13); for the spirals and zigzag, cf. a fragmentin the Lucerne Market,nearthe painter(ABV 7, b; Paralip.6, 3). Ca. 610 B.C.

402 P. 39

Q17:8 Bottomof bowl with start of wall of conicalstand. P.H. 0.13. Hole in the bottomof the bowl. What remainsof the bowl is unglazedon the inside, but it may have had bands higher up, as on the inside of Athens, N.M. 16400 (unpublished). On stand,Chimaera(partof snake,headof goatto left) to right and panther (head, tail, line of back) to left. Spiral On lowerpartof bowljust abovethe stand, fillingornament. rays. Red:eyes;hornof goat. Late 7th centuryB.C. 403 PI. 40 P4277 E 14:11(?) Rim fragmentwith incurvingprojectionfor lid. Max. dim. 0.07. Resting surface of rim glazed. Unglazed on inside. Uncertainsubjectthat looks like the back of an animal with a short, thick tail surroundedby dots. The small amountof glaze in the lower right may belongto this aniwhat kind it is. mal, and if so, it is difficultto understand it is the curled of a tail Below boar. rim, parts of Perhaps two largesolidcirclessurrounded dots, by probably partof a frieze.Three verticalstrokesfor filling ornament.Red (applied directlyon the clay):animal. Late 7th centuryB.C.



12. Skyphos-krater 400 (P 6577)



400 Fig. 12; P1.39 P 6577 F 12:5 Fragmentof standedfoot and bottomof bowl. Max. dim. 0.125. Sphinx(topof headwith fillet,tip of wing). Hangingspirals for fillingornament.Red:fillet;face. The bodyof the sphinx was probablyto left and her head turned around, similar to the siren on the lid of Athens, N.M. 16382 by the Nettos Painter(ABV 4; Paralip.3, 10). Perhapsshe was one of a pair with a floralbetween. Last quarterof the 7th centuryB.C. 401 PI. 39 P 25661 0 12:2 Two non-joining Max. dim. a) 0.107, b) 0.10. fragments. One fragment(a) of bowl and inset rim with flangefor lid, the other (b) of standand bowl. Poor,brownishblackglaze on inside.Much of the glaze is flakedand abraded. Fragmenta (illustrated)preservespart of a wing, probably of a siren or a sphinx, to right. Above,at the junction with the rim, hanging spirals. Fragment b shows three horizontal lines at top of stand.Red:alternatefeathers. Closest to Kerameikos,inv. no. 1365, near the Nettos

404 P1.40


1 14:1

Two non-joining of large domedlid with part fragments of rim. Max. dim. a) 0.145, b) 0.11. Reserved on underside. Fragmenta preservespart of three zones: I) borderof by esses;II) friezeof adorseddiagonalpalmettesconnected volutes, with a vertical border of esses and key pattern; III) step pattern. Fragmentb gives more of the palmette spiral ornamentand the step pattern.Red: alternatepetals of palmettes; links of spirals. Ca. 630-620 B.C. 405 PI. 40 P 7866 B 13 Fragmentof domedlid. Max. dim. 0.095. Whitish slip. Reservedon underside. Boar(cheek,neck,partsof forelegs)to right.Dot rosettes, uprightspirals, linear filling ornament.Below, three lines and tracesof anotherobjectin the samezone, or perhapsa bandof step pattern.Red:neck. For the upright spirals on high bases, comparea late Protoatticamphora,Agora P 25336 (Agora VIII, p. 99, no. 589, pl. 37), and a skyphos-krater, Kerameikos,inv.

SKYPHOS-KRATERS with the Nettos Painter(ABV7, a; Parano. 101, compared lip. 5, -, 1; 6; Kerameikos VI, ii, no. 181, pl. 111).
Ca. 625 B.C.


406 PI. 40



Fragmentwith part of rim. Max. dim. 0.202. Reserved on underside. Boar (partof cheek,neckwith bristles,shoulder,and left foreleg)to left. Spiralfilling ornament.Step patternat rim. Red:neck. For the spiral ornamentand the directionof the step pattern below the figures, cf. the amphora in London, 1874.4-10.1, formerlyA 1531, by the Nettos Painter(ABV 3, 2; Paralip.2, 2). Perhapsrecallsthe ChimaeraPainter(ABV 4, -).
Ca. 620 B.C.

Red:wing bow, Dot rosettesfor fillingornament. outspread. alternatefeathers; bandat edgeof rim. This swan recallsthe preeningswan on the right handle of the Nettos Painter'snamepiece(ABV 4, 1; Paralip.2, 6; best illustratedin Karouzou,'Avayvpoivros, pl. 90), and the dot rosettewith the dot in the center is an ornament favored by this painter,althoughit is also knownon vasesin the mannerof the GorgonPainter(cf. 138: PI. 17).
Late 7th century B.C.


P 21699 07:12

407 Pl. 40

P 21565 07:9

Lower part of knob, open at top, of a very large lid. P.H. 0.082. Traces of white on background. Much of the is abraded. glaze Birdor siren (bodyand feet) to left. On the right,partof another(tail?).Dot rosettefor fillingornament. Red:baron wing bow;alternatefeathersof wing and tail.
Late 7th century B.C.

Fragmentof large domedlid with part of rim. Est. diam. 0.43; max. dim. 0.162. Reserved on underside. H. A. Thompson,Hesperia21, 1952, pl. 30:d. Lion (face;left forepaw)to left. Teeth in outline.Incised rosettesfor filling ornament.At lower edge of lid, zone of diagonallines between a line top and bottom (very faint). Red:nose, upper lip, tongue.White:lower teeth. Not far fromthe ChimaeraPainter(ABV4, -, 1); Near the Nettos Painter(Paralip.5, i, 1).
Ca. 620

412 PI. 41

P 5303 E-F 12-14

408 PI. 40


A 17:1 (U)

Fragment.Max. dim. 0.155. Glaze firedbrown. Partsof two friezes:I) animals:feline (tail) to left; swan and (head, neck, most of body) and feline (hindquarters tail), bothto right;II) animals:lion (mane,partof body)to right. At the top of the fragment,dicing. Ring rosettesfor filling ornament.Red: bands on wing of bird;mane, ribs, belly stripeof lion. The GorgonPainter(ABV 10, 25). First quarterof the 6th centuryB.C. 413 PI. 41 P 5520 and P 17084 N 10

Rim fragment of high domed lid. Max. dim. 0.078; p.H. 0.06; est. diam. 0.40. Reservedon underside. Horse (muzzleandhoof) to right.Aboverim, steppattern overlappedslightly by the horse'smuzzle. Blob rosettesfor filling ornament.Red:nostril,hoof. The horse is probablya grazingone, such as two by the Nettos Painteron the louteriononce in Berlin, Berlin 1682 (ABV 5, 4; Paralip.2, 8 [d]),or 133 (PI. 16), 1361 (PI. 94), and 1678 (PI. 109). For the red nostril,cf. 14 (PI. 3).
Ca. 620

409 Pl. 40

P 7560 D 6-7

Fragment of domed lid with part of rim. Max. dim. 0.077. Reservedon underside. Boar (hind leg) to left. Dot rosettesand zigzag pattern with trianglesfor filling ornament.Red: markingon hindquarter;bandat rim. Perhapsnear the Nettos Painter(Paralip.5, -, 1).
Ca. 620-610 B.C.

410 PI. 41


E 14:11

Fragment of domed lid with part of rim. Max. dim. 0.099. Reservedon underside.Most of glaze has worn off. Swan (beak, breast, left wing) to right with wings

Two non-joining of largedomedlid. H. 0.102; fragments est. rim 0.35; max. dim. P 5520 a + P 17084:0.25, P 5520 b: 0.134. Reservedon underside.Start of knob on P 5520 a + P 17084. Some of the glaze is abradednear rim. P 5520 a+P 17084 gives parts of three ornamental bandsand one figuredfrieze:I) aroundbase of knob,rays; II) dicing;III) rosettes; IV) animalsandsirens:head,breast, and wing tip of siren to right,then a panther(someof hind legs missing) to right, a siren to left with head turned around, and a panther (hindquartersmissing) to left. P 5520 b preservesmore of the animal- and siren-frieze: bull (body,legs) to left; siren (tail, some of wing) to right. Red:alternatepetalsandcoresof rosettesin frieze;alternate petals of some rosettesin figurezone;tops of siren'sheads; breastof sirenon left;bandat napeof neckof sirenon right, bar and alternatefeathersof her wing, band and alternate feathersof her tail; muzzles, eyes, foreheadsbut for black strip, necks,and belly stripesof panthers;belly stripe and ribs of bull. The Group of the Dresden Lekanis (ABV 22, 6: P 17084). Ca. 580-570 B.C.



414 P1.41

P 26289 H 12:21

Handle-plate.P.H. 0.047; max. dim. 0.062. Right half with startof handlebeneath. preserved On top of plate, swan (top of neck, part of wing and tail missing)to right. Ring rosettesfor fillingornament.Border of esseson outeredge.Red:wing bow;sideof handle;border of esses.
Ca. 600 B.C.

415 PI. 41

P 22839 H-K 12-14

Wall fragment.Max. dim.0.125. Whitishslip on surface. Siren (wing, tail, legs) to left. On the right, part of anotherfigure, perhapsa siren or sphinx. Red: wing bow, bandon tail. Late firstquarterof the 6th centuryB.C. 416 P4237 E 14:11 Wall fragment. Max. dim. 0.078. Glaze fired red on inside. Man (feet, lower part of chiton and cloak) standingto rightfacinga siren (partof breast,wing bow). Betweenthe two, at the break,part of a dot rosette.Red:panel of cloak, wing;line. Late firstquarterof the 6th centuryB.C. 417 P1.41 P3015 R 13:3

one white, the otherblack).On the right,a smallbit of glaze belowthe handleroot.Underthe handle,swan (head;some of body) to right with head turned around.Red: band at rightedgeof door(its frame?),outlineand neckingringsof columnon left. White (applieddirectlyon the clay):column on left. two othersby Sophilos: For the house,compare Akropolis 587 (ABV39, 15; Bakir,Sophilos,pi. 3) and London,B.M. 1971.11-1.1 (Paralip.19, 16 bis;Bakir,Sophilos,pls. 1, 2; Williams,op. cit. [footnote4, pp. 33-34 above],pp. 9-34). Both of these depict the Wedding of Peleus. In Attic is knownmainlyon vases painting,the use of redforcontour by Sophilos and on some that may be by him (Beazley, inv. Development, p. 19;ABV43, 1-5); alsoon Kerameikos, rim fragment(Keraunattributed no. 109, a contemporary meikosVI, ii, no. 193, pl. 122);for examplesin otherkinds of painting,cf. A. Rumpf, Gnomon25, 1953, p. 469. The of white directlyon the claygroundis knownin application earlier Attic vase painting,but by the time of Sophilos,it was usually laid on top of black glaze. Sophilos' use of accessorywhite was the method preferredby Corinthian painters(Beazley,MMSt 5, 1934-36, p. 101), and he may the techniquefromthem. haveborrowed our Sophilos(ABV41, 26); Bakir(pp. 43-44) diminishes to a fragment workshoppiece.
Ca. 580 B.c.

Wall fragment.Max. dim. 0.17. Komasts.Beardedkomast (right hand missing) to left; hand of another at the upper left. At the right, tail of a feline, perhapsone of two that flankedthe dancers.Incised rosettesfor filling ornament.Abovefigures,tonguepattern at junctionwith neck, Red:face, neck,tunic fromwaist up; band coresof rosettes,dotson theirleaves;alternate tongues; below figures. The KomastGroup:VIII, Unallotted(ABV 36, 36).
Ca. 585-575 B.C.

418 PI. 41

P 27586 M 16

Fragmentof handle-platewith part of columnon underside. Max. dim. 0.083. Feline (body, one foreleg, hindquarters,tail) to right. sidesof plate. Red:ribs,markingson hindquarters; cf. the pantheron ConserFor a feline on a handle-plate, vatori212 by the KY Painter(ABV 31, 2; Paralip. 16, 2). Late firstquarterof the 6th centuryB.C. 419 P1.42 P 13848 U 25:2 (L) Wall fragmentwith start of handle at right. Max. dim. 0.082. Baklr,Sophilos,pl. 83, fig. 170. House (at the left, partof a door,thentwo Doriccolumns,

P 22330 0 16 420 P1.42 Wall fragment.Max. dim. 0.056. one leg of the couchoverlapped by a counterSymposion: tall table in the one of a decorative with border; leg pane but on the far front of the couch (its top is not preserved, rightof the fragmentis a bit of curvedincisionwhich is the end of a piece of meat hangingover the edge). Beneaththe to right. tableis a dog (hindquarters, tail) crouching of the The longcouchcoveroverlapping leg, the table part in frontof the couch,and the inclusionof the dog are based whichseemsto haveprovidon the Corinthian composition, und ed the modelforAtticartists.Cf. B. Fehr, Orientalische the sub54. For Bonn pp. 28-29, 1971, griechische Gelage, ject, cf., also, J.-M. Dentzer, "Aux origines de l'iconographiedu banquetcouche,"RA, 1971, pp. 215-258. For Greekcouches,cf. H. Kyrieleis,Throneund Klinen,Berlin 1969, pp. 98-149.
Ca. 580-570 B.c.

P 17806 J18:4 (L) 421 P1.42 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.16, c) 0.05. Parts of two zones, the main one and an animal frieze a (illustrated) below.Fragment partof each:I) on preserves

COLUMN-KRATERS the left, at the break, the toes of a foot to left; II) siren or sphinx (head) to right and some of the outspreadwing of a bird, perhapsan eagle flying to right or a siren with wing possiblyfromthe other outspread.Fragmentb (illustrated), side of the vase, also gives some of two zones:I) on the left, toes of a foot to right, four frontal hoofs; II) feline (hindquartersand tail) to left and a goat (tail) to right. Fragment c preservespart of an objectthat looks like the head of a spear or one of the horses'tails. Red:wing bow of siren or sphinx;someof wing of eagle or siren;rib of feline. The composition probably showed a frontal chariot flankedby standingfigures,similarto the contemporary one on LouvreE 873 by Sophilos(ABV 39, 12; Baklr,Sophilos, pi. 46, fig. 83), and 421 is probablynot far from Sophilos, to be certain.For althoughso little remainsthat it is difficult the interpretation of the wing on 421 as that of an eagle, comparethe one on LouvreE 873 (Baklr,Sophilos,pl. 47, fig. 85). Also, for the animals,compareAthens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49-54), Boston, M.F.A. 98.915 (ABV 41, 27; Baklr, Sophilos,pls. 26-29), and 6 (PI. 1). The representationof the frontal chariot seems to be introduced in Atticblackfigureby the GorgonPainter,e.g., 474 (ABV 8, 2) by the painterhimselfand AkroAkropolis 759 (ABV 12, 31) in his manner.The basic study of polis
this scene is G. Hafner, Viergespanne in Vorderansicht.Die reprisentative Darstellungen der Quadriga in der griechischen und der spateren Kunst, Berlin 1938. For the Archaic


Warsaw,ex Goluchow(Bakir,op. cit., K 12) with animals on the mouth,no handle-plate.

Ca. 580-570 B.C.


P 4629 F-G 12:1

Wall fragment.Max. dim. 0.106. R. Young, Hesperia, Suppl. II, Athens1939, p. 119, fig. 86:B 36. Siren (breast,startof wing, partof one leg) to right,facing a grazing goat (head and neck). Cross in field. Red: breast,bar on wing of siren;neckof goat. Secondquarterof the 6th centuryB.C. 424 P 13105 R8 Wall fragment.Max. dim. 0.071. Sirens(headof one;faceof the other)facing,with the bow of a spreadwing between. Above, edge of tongue pattern (guideline).Red:wing. White:faces. Secondquarterof the 6th centuryB.C. 425 P 26811 T 19 Fragment.Max. dim. 0.15. Downturnedrim, neck,convex wall, andthe stubof one handlecolumn.Neck blackexcept underhandle. Underhandle,swan to right.On left, goat (hindquarters, tail) to left. Red:wing bow, stripson breastof siren;markof goat;threebandsbelow figures; two ings on hindquarters insideneck. Secondquarterof the 6th centuryB.C. P 1394 R13:3 Wall fragment,with start of neck. Max. dim. 0.108. Burned(clay is gray). Two heraldicpantherswith heads averted(top of head and neckof one on left;head,neck,startof shoulder,partof tail of one on right). Red:necks. Secondquarterof the 6th centuryB.C. 427 P 21709 0 7:9 Handle-plate.Max. dim.0.085. Inneredgebrokenaway; startof handlecolumnbeneath.Edgesblack. On top of plate, sirento right. Blobrosettes. The Polos Painter(ABV 44, 11). Secondquarterof the 6th centuryB.C. 428 P1.42 P 23543 P 7:5 Rim fragment.Max. dim. 0.08. On top side of rim, lotus-palmette festoon.Red:heartsof cuffsof lotuses;bandon insidebelow rim. palmettes; The appearance of the lotus-palmette festoonon the top side of the rim is unusual, and this one is an odd version becauseonly narrowlinks, not loops,separatethe heartsof the palmettesfromthe cuffsof the lotuses. Secondquarterof the 6th centuryB.C. 429 P 22134 0 15 Fragment of shoulder with start of neck. Max. dim. 0.076. PI. 42 426

period, cf. pp. 3-60. For a review and an appendix, cf. D. Amyx,AJA43, 1939, pp. 164-166. The sceneis also discussedbrieflyby W. Deonna in Genava9, 1931, pp. 126sche Forschungen II), Berlin 1950, pp. 184-185. Ca. 580-570 B.c.
167 and by E. Kunze, Archaische Schildbiinder (Olympi-

422 P 26507 I 17:2 Two non-joiningfragmentsof rim. Max. dim. a) 0.158, b) 0.12. On top sideof rim, friezeof horsemen to right:fragment a givespartsof the legs of a horsegallopingto right;below its belly, a blob;fragmentb preservesthe right leg of a rider, the forelegs and chest of his mount, some of the body of another.On the verticaloverhang, incisedrosettes.Red:ribs of horseson fragment b;coresand stripson petalsof rosettes. The horsesand rosettesmay best be compared with those on two column-kraters 212 by the KY Painter,Conservatori (ABV 31, 2; Paralip. 16, 2) and LouvreC 11249 (ABV 31, 4; Paralip. 16, 4: the numberwronglygiven as C 12249). Unusual on 422 is that the figuresappearon the top side of the mouth (cf. 476: P1. 46), a decorativearrangement that does not seem to occur again in Attic black figure until Lydos, but it does appear in Early Corinthian,although here, too, it is unusual. Cf., for example, Louvre E 635, which has a frieze of animalson the top side of the mouth and on one handle-platea hunt, on the othertwo horsemen
(NC 780; Baklr, Kolonnettenkrater, K 20, pl. 10); and


CATALOGUE some of the torso and neck of Paris). He moves to right, lookingaround,wearinga crinklychitonwith a cloak.The bit of glaze to the left of his forearmmay be the sash of the Red:cloak.White:chiton. instrument. cf. Clairmont,Parisurteil,esp. For the representation, 104 for more Paris; p. recently,I. Raab, Zu den Darstellungen des Parisurteilsin der griechischenKunst, Frankfurt-am-Main1972, esp. pp. 61-68. 433 showsthe flightof Paris, at least to judge by his raised left arm (cf., e.g., Clairmont, Parisurteil, pl. 11). Unusualon 433 is that Paris holdshis lyre in his raisedleft hand. Normallyhe carriesit at thigh level in his right,his left beingempty.But compare a laterexample,Laon37894 by the DiosphosPainter(ABV 703, 15 bis;Paralip.249, 15 bis), where Paris startsto flee looking around,holding his lyre in his slightly raised left hand,a staff in his right. Ca. 560-550 B.C. 434 PI. 42 P 14370 T 18:1 Two non-joining of wall. Max. dim. a) 0.113, fragments fired 0.192. Glaze red. b) a youthfromthe waist up, moving Fragmenta preserves to right lookingaround,dressedin a chitonwith two straps of a sackoverhis raisedright arm. Fragmentb givesa little of his left leg and all of his rightwith the bottomof the sack his thigh.On the left are the lowerpartsof two overlapping males to right, and on the far left are two dots of draped Red:hair; glaze that maybe partof an imitationinscription. bandbelowfigurezone. White:baldric. The runningfigureis The subjectis difficultto interpret. he lack a cap and for not does to be Perseus, only unlikely does not fit what of the scene boots but remains winged within the establishediconography.His arms are in the wrong positionfor the beheading,and in the pursuit, Perseusdoesnotcarrythe kibisisoverhis rightarmbutoverone Helof Perseus,cf. Brommer, shoulder.For representations Another with 272-291, possibibliography. densage3,pp. who carriesa sackoveronearm,but all the bilityis Aristaios examples of him known to us show him winged (cf. the for 141: P1. 18). bibliography
Ca. 550

Youth (head, shoulder, part of chest) to right. Above, tongue pattern. Red: hair, ring round nipple; alternate tongues;bandon insideat junctionof neckand shoulder. Lydos(ABV 112, 61).
Ca. 560 B.C.

430 P1.42

P 5047 N 14

Wall fragment.Max. dim. 0.045. Glaze firedred on inside and outside. Man (some of head and shoulders,part of cloak with to left. Red:dotson garment. elaborateborders) The crinklycontourof the hair and the wide, patterned in the earlyworkof Lydos.Comare bestparalleled borders pare especially, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Florence70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); FlorenceV 102 b andd (ABV 111,46; Tiverios, pi. 71:y); also, London,B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:,8,8, 9); and Leningrad(Paralip. 45; Tiverios, pi. 72:a, y). Compare also, a conto the Ptoon temporarywork that bears some resemblance Painter,New York,M.M.A. 59.64 (Paralip.31; CVA,New York4 [USA 16], pls. 1, 2 [729, 730]). The subjecton 430 may be a symposion,for the fragmentcomesfromaboutthe maximumdiameterof the vase, and the figuremay, therefore,be a recliningone. Abovehis headtheremayhavebeen fillets or utensils hanging on the wall, and at the junction with the neck,a row of tongues. For symposia,cf. 420.
Ca. 560 B.C.

431 P1.42

P 23664 Q8

Wall fragment.Max. dim. 0.105. one leg of the couch, The fragmentpreserves Symposion. some of its cover,part of the table in frontof it, with cakes. On the right, a boy (one leg, part of the other) comes in holdinga smalljug (fingersof righthand,vessel).Red:part of couchleg; alternatecakes.White:partof borderof couch cover. For symposia,cf. 420.
Ca. 560

P 26537 T18:3 432 PI. 42 Shoulderfragment.Max. dim. 0.069. someof body)reclinYouth(head,shoulders, Symposion. a beardedman (head, toward with turned to head left ing the Below also youth,someof the reclining. right shoulder) altercouch.Abovethe two, tonguepattern.Red:garments; nate tongues. For symposia,cf. 420.
Ca. 560 B.C.

435 P1.43



433 P1.42

P 23049 M-N 15:1

Wall fragment.Max. dim. 0.062. Judgment of Paris (most of raised left arm with lyre,

Wall fragment.Max. dim. 0.057. of one, partof maneof the other)to Two horses(forehead right. Above, tongue pattern. Red: mane of horse on left; alternatetongues.White:maneof horseon right. Perhapsby Lydos. The subjectmay have been a horseman leadinga voidhorseas on the Kerameikos hydria(Paralip. 45; Tiverios, pl. 29) or a pair of horsemenas on the Naples amphora(ABV 109, 23; Paralip. 44, 23; Tiverios, for a pl. 56), for the spacingbetweenthe headsis not correct chariotteam (cf., e.g., Berlin 1732:ABV 110, 37; Paralip. 44, 37; Tiverios, pls. 58-59). For the drawing compare the Eleusis fragment(ABV 109, 22; Tiverios, pl. 73:y),

COLUMN-KRATERS Akropolis2546 (ABV 113, 85; Tiverios, pl. 77:8), and the horseheadshield deviceon Akropolis802 b (ABV 112, 59;
Tiverios, pl. 81:8). Ca. 550 B.C.


hair of man; fillet, eye of woman;band on inside of vase below rim. White:woman'sflesh. Relatedto Lydos(ABV 119, II, 5).
Ca. 550

P 24943 Q13:5 436 PI. 43 H. 0.216; diam.0.245. Chips in footand rim;a few small fragmentsof wall restored. Glaze misfired (brownish or greenishcast). H. A. Thompson,Hesperia25, 1956, p. 57, BCH 94, 1970, p. 393, figs. 34, pl. 16:a;P. Zaphiropoulou, 35 and p. 394, figs. 36-39. A, two preening swans facing, with a palmette-lotus floral between. Above, tongue pattern. B, goat grazing to left. Under each handle, swan to right. Incisedrosettesfor birdto rightpreenfilling ornament.On each handle-plate, ing. On top side of rim, rays. Abovefoot, rays. Red:bar on each wing; dots on neck of right swan; heart of palmette, link; alternatetongues;neck, ribs, belly stripe,markingon of goat;two lines inside neck (one at rim, one hindquarters at junctionwith shoulder); fivelines below figures; two lines on foot.White:baron eachwing of swanson A; budof lotus; dots roundheartof palmette. Mannerof Lydos(Paralip.47).
Ca. 550 B.C.

440 P1.43

P 6033 E 15

Handle-platewith part of column on underside.Max. dim. 0.107. Head of beardedman (foreheadmissing) to left. Three parallellines framethe plate on each side. Red:face, neck, fillet. Relatedto Lydos.Comparethe male headon the handlein London(ABV 108, plate of the painter'scolumn-krater 8; Paralip.44, 8; Tiverios,pl. 7:,8),but the drawingon 440 is weaker,the ear too large,andthe facecovered with added red, a detaildifficultto parallelin Lydos,althoughit occurs elsewhere(e.g.,441: PI.43,451: P1.44,453). For morethan one line framingthe plateat the sides,a rarefeature,cf. 439 (PI. 43).
Ca. 550 B.C.

441 PI. 43

437 PI. 43



Fragmentof rim, neck, and body. P.H. 0.094; est. diam. of rim 0.275. Animals:swan (head) to right;goat (mostof head, neck, and back)to left. On top side of rim, rays. Red:goat'sneck; line on insideat junctionof neckand body. The compositionwas probablyvery like that on a column-krater in the mannerof Lydos,LouvreC 11257 (ABV 117, 30; Paralip. 47, 30), and 437 probablybelongsto this group (ABV 117, 26-39; Paralip. 47), for what remainsof the drawing,exceptfor the doubleline indicatingthe goat's shoulder,is similar.
Ca. 550 B.C.

P 23211 M 15 of with start of columnon underFragment handle-plate side. Max. dim. 0.095. Glaze firedbrown.Surfacepitted. Male head (top half missing) to left. Framing line on right. Red:faceand neck. Related to Lydos. Cf. 440 and the comparisonsgiven there.
Ca. 550 B.C.

442 PI. 43

P 23276 M 15

Handle-plate.Max. dim. 0.093. Birdto right,preening.Framinglines on right. Red:dots on neck,bar on wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.

438 P 25278 R 12:3 Wall fragmentwith startof neck.Max. dim.0.113. Some of the glaze on the inside is thin. Siren or sphinx (backof head) to right with head turned around. On the right, a panther (hindquartersand legs missing). Above, tongue pattern without separatinglines. Red:neck,belly stripe,ribs.
Ca. 550 B.C.

443 P. 43

Q13:5 with start of rim and column beneath. Handle-plate Max. dim. 0.091. Inneredgebrokenaway;chip fromlower rightcorner. Birdto right,preening.Red:bar on wing;dotson neck. Mannerof Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.


439 P1.43


G 17



M 11

Handle-plate, completeexcept for outer corners.Max. dim.0.095. Someof the columnsare preserved on the underside. E. Vanderpool,Hesperia 15, 1946, p. 130, no. 16, pl. 21:7. Heads of man and woman to left. Edgesof plate framed by two parallellines. On sidesof plate, borderof esses. Red:

Max. dim. 0.09. Fragmentof handle-plate. Bird(someof neck,endof tail missing)to right,preening. Framingline on right. Red:stripon wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.

158 445

CATALOGUE P 22158 016 Fragmentc gives some of a roundshield (device:foreparts of a horse)held by a warriorto left (partof one greavedleg remains).His shield overlapsthat of anotherthat seems to have a female leg as its device. Fragmentd preservesthe spreadwing and part of the tail of an eagle flying to left, probablybeneath the handle, and, on the far right, the greavedleg of a warriorto left. Red: wing bows;stripeon cloakof drapedman;rim of roundshield;alternate tongues; two bands below the figure zone. White: chitonof draped man, dot clusterson his cloak;woman'sfoot;circleson rim of Boeotianshield;devices. on one side probably showeda birdor a The composition sirenbetweentwo seatedsphinxes,similarto one on an unpublished fragmentarycolumn-kraterin London (B.M. set in panels. B 101), which has the decoration
Ca. 550 B.C.

Handle-plate. Max. dim. 0.105. Some of column prestartof rim. Glaze firedred in part. servedon underside; Swan to left. The painterforgotto put in the tail. On top side of rim, rays. Red:dots on neck;wing bow;bandon inside belowrim. Manner of Lydos,may be by the Painterof LouvreF 6 givenas P 23158). (Paralip.47: numberincorrectly
Ca. 550 B.C.

446 PI. 43

P 13346 H 10:2

Handle-plate.Max. dim. 0.105. Male head (upper part of face missing) to left. Red: beard,fillet. The Painterof Vatican309 (ABV 122, 23).
Ca. 550


P 22176 Q7:1 Rim, neck, start of shoulder, and handle-plates.P.H. 0.36. 0.06; diam.of rim 0.27, with handle-plates On each handle-plate,male head to left. On top side of rim, rays.Abovepanelson eachside,tonguepatternatjuncline on alternate tionwith neck.Red:fillets,beards; tongues; insidebelow rim. The Painterof LouvreF 6 (ABV 125, 26).
Ca. 550-540

451 PI. 44

P 10202 No grid Handle-plate. Max. dim. 0.115. Part of column preserved on underside.E. Vanderpool,Hesperia 15, 1946, p. 129, no. 14, and pi. 21:5. Head of man to left. The tip of the beardand the nose wereoncedrawnlower.Red:face;bandon insidejust below

Hair dividedinto locksis an unusualfeatureof this head. Compare452 and a fragment,Harrogate,Kent (AJA 48, 1944, p. 251), perhapsby the samehandas 451.
Ca. 550 B.C.

448 P1.44

P 14564 No grid

Handle-plate.Max. dim. 0.21. Male head (tip of beard, front of neck missing) to left. Framingline on left and right. Red:fillet;stripon beard. The Painterof LouvreF 6 (ABV 125, 25).
Ca. 550-540 B.C.



G 14

P2399 H8-10 449 Wall fragment.Max. dim. 0.125. Panther(mostof head, neck, some of body and forelegs) and swan (tail, some of wing and leg), both to right. Red: neck. White: strip on nose of panther,belly stripe;dots on wing of bird. Perhaps by the Painter of Louvre F 6. Compareespecially Louvre E 678 (ABV 125, 29; Paralip. 51, 29) and LouvreE 679 (ABV 125, 30; Paralip.51, 30).
Ca. 550

of handle-plate. Max. dim. 0.112. Startof colFragment umn on underside. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 15, pl. 21:6. Head of man (top missing)to left. Red:face,neck,eye.
Ca. 550 B.C.


H5-6(?) Handle-plate. Max. dim. 0.131. Some of column on underside. Head of man (upperpartmissing)to left. Red:face,neck.
Ca. 550 B.C.



P 22335

0 16


P 25378 No grid

Four non-joiningwall fragments.Max. dim. a) 0.195, the stubof a preserves b) 0.093, c) 0.13, d) 0.105. Fragment one column. Fragmenta preservesa sphinx (body,forelegs,wing) to left and in frontof her, partof the wing of a siren.Abovethe sphinx's wing, some of the tongue patternat the junction with the neck, and in the upper right, the start of the handle.Fragmentb shows the lower part of a drapedman to right and, in frontof him, part of the rim of a Boeotian shield, presumablyheld by the woman (foot) facing him.

Handle-plate.Max. dim. 0.089. Head of man (top missing) to left. Red: fillet, strip on beard. Secondquarterof the 6th centuryB.C. 455 P1.44 P26617 T18:2

Fragmentof handle-plate.Max. dim. 0.10. Someof column on underside. Head of youth to left. Red: face, except for eye and
contour. Second quarter of the 6th century B.C.

COLUMN-KRATERS 456 P 3259 E 14 461 PI. 44

159 P 13015 V 24:2 (L)

Fragmentof handle-plate.Max. dim. 0.091. Part of column on underside. Head of manto left. Red:face,neck;bandon insidebelow rim.
Ca. 550 B.C.

P 10785 No grid Wall fragmentfromnear shoulder.Max. dim. 0.048. Warrior(torso,upper parts of arms) drivinga chariotto right; a Boeotianshield (part of its rim) shown in profile hangs down his back; on his left is the shaft of a spear. White:chiton. The positionof the warrior'sarms suggeststhat he is a charioteer. The shafton his left cannotbe that of a goad,for it shouldbe held in his hand, not tuckedunderhis arm. It may be a spear belongingto a warriorwho standsbehind the chariot,aboutto mount. Third quarterof the 6th centuryB.C. 457 PI. 44

P.H. 0.22; diam. of rim 0.46. Half of rim, Fragmentary. of the other,nearlythree-quartone handleand attachment ers of the neck,morethan half of panel on one side. fromthe Boxers,youth,and men. Two boxers,preserved waist up, fight,as a drapedyouthlookson. A cloakappears betweenthe boxers,perhapsdrapedovera stoneor a pillar. On the right,a nude male talks to a drapedman (bothpreservedfromthe kneesup). Above,tonguepatternatjunction with neck.On the right,ivy framesthe panel.On top sideof rim, a chain of lotus buds; on overhang,ivy. On top of handle-plate, lotus-palmette complex.Red:stripesand dots on garments; beards,hair;alternatetongues. Ca. 540-530 B.c. P 16564 No grid Wall fragment with tracesof handlecolumnat top. Max. dim. 0.048. Underhandleroot,the mouth,neck,andone handleof an amphoraType B. On the left, at the break,the end of a fold of drapery.Red:rim, alternatetongueson amphora; line on insideof fragmentneartop. Third quarterof the 6th centuryB.C. 463 PI. 44 P 13332 H 9 Fragmentof shoulder. Max. dim. 0.086. Stubs of one handleand startof neck.Glaze firedred. Below handleroot, the rim, neck, shoulder,and handles of a volute-krater. Red: lip and line on each handleof volute-krater; stripat left of handle. Third quarterof the 6th centuryB.C. 464 P1.44 P2028 H8-10 Wall fragment.Max. dim. 0.088. On the left, a woman (someof her hair, peplos,and left arm) to left, and behind her, a Boeotian shield (device: pantherhead and femaleleg) carriedby a warrior(part of left forearmand a bit of his scabbard on the far right), also to left. Red: rim of shield;belt of woman;line on inside. White:woman'sflesh;femaleleg.
Ca. 530-520 B.C.

462 PI. 44

P 15888 D-E 18-19 (?) Wall fragmentwith startof neck.Max. dim. 0.067. Man and woman(heads)to right.Tongue patternabove. Red:alternatetongues.White:woman'sface.
Ca. 550-540

459 P1.44

P 24956 Q 13:5 Fragmentof rim, overhangbroken.Max. dim. 0.195. On top sideof rim, lotus buds.On side,rosettes.Red:outline of closedbuds; links; line inside rim and one at outer edge. The lotusesare similarto thoseon the overhang of the rim of a large fragmentary column-krater from Samothrace attributed to the Princeton Painter (Hesperia 44, 1975, pl. 54:b,c). Here, however,the outer leavescurl morethan they do on 459. Comparealso the lotus-budfrieze on the neckof the namepieceof the Painterof LondonB 76 (ABV 85, 1; Paralip.32, 1).
Ca. 550 B.C.

460 PI. 44


I 10



R 13:4 (?)

Wall fragment.Max. dim. 0.068. Woman (uppertorso,upperright arm) to right,wearing a peplosand a himation,which she eitherholdsup with her left hand or which crossesover to her left shoulder,more likely the latter. On the right is a bit of glaze that may belong to another figure. Red: part of peplos; outer fold of himation;dot rosetteson peplos. A good parallelfor the suggestedarrangement of the himationis difficultto find. It may have been somethinglike that of the mourningwomanon the namepiece of the Painter of the Vatican Mourner (ABV 140, 1; Paralip. 58, 1), except that the woman on 460 stands up straightand her himationhas morefolds.
Ca. 540 B.C.

Wall fragment.Max. dim. 0.05. Man (heel, anklebone,borderof long garment)standing to right.Red:garment.White:row of dotson border top and bottom. To judgeby the amountof spacebehindthe figure,he was probablythe leftmost one in the composition,perhaps a once in the Lonspectator.Compare,e.g., a column-krater
don Market (Cat. Sotheby, 27. November, 1967, no. 157).

Third quarterof the 6th centuryB.C.

466 P1.44

P 4822 and P 4690 E-F 12-14

Two non-joiningwall fragments.Max. dim. P 4822: 0.081, P 4690: 0.116. One fragment(P 4690) with startof neck.


CATALOGUE Collections, pp. 44-45; no. 17); Rouen447 (Paralip. 148, 5 quater);Oxford 1911.256 (ABV 336, 11). Typical for the painteris the absenceof incisionon the hockjoints;also the mannerof drawingthe tail. Two arcs on the hindquarters are rare but occuron the unpublished amphorain Rouen. Difficult to parallel is the incision on each spoke of the wheel.
Ca. 510 B.C.

P 4822 preservesa satyr (rightleg frombelow knee, end of tail) to left and a maenador Ariadne(heel, someof drapery) to right. P 4690 (illustrated)shows a maenad(head, shoulders,hands) dancingto left. In the background, ivy. Abovethe maenad'sleft shoulder,a line that looks like the shaftof something,perhapsof a staff or a thyrsos.Red:tail (applieddirectlyon the clay ground);fillet;dotson drapery. White:femaleflesh;dot clusterson drapery.
Ca. 520-510

471 PI. 45 467 PI. 44 P6557 E-F 12-14 Wall fragment.Max. dim. 0.047. Clay burnedgray. Youth (head) to left. Above, some of tongue patternat junctionwith neck. Recallsthe RycroftPainterbut not certainlyby him. Ca. 520-510 B.c. 468 P 21180 K-N6-9

P 2612 G 6:3 (U)

Wall fragment.Max. dim. 0.064. Chariot (hindquartersand tops of tails, some of reins, above: pole stay, and goad)to right. Inscribed

Red:stripon tail.
Last quarter of the 6th century B.C.

469 PI. 44

P 26541 T18:4

Wall fragment.Max. dim. 0.078. Nike or Iris? Lowerpartof a womanto rightwith feathers of wing in upperrightat break.Red:somefoldsof drapery. White:feet.
Last quarter of the 6th century B.c.

470 P1.45


G 6:3 (U)

Five non-joiningfragmentsof wall. Max. dim. a) 0.124, Hesb) 0.073, c) 0.076, d) 0.058, e) 0.062. E. Vanderpool, peria 15, 1946, p. 310, no. 191, pl. 58. the hind A and B, chariotto right. Fragmenta preserves of the chariot one some of tails and team, pole and legs wheel, and on the left side,a maleleg and the lowerdrapery of a secondfigure,bothto right.Fragmentb, fromthe other side, gives parts of the hind legs of the horses. Fragmentc the showssomeof the wheelandbox of the chariot,probably one drawnby the horseson fragmentb, becausethe wheel rim is thickerthan the one on fragmenta. Fragmente preservespart of Athena (backof neck,long lock;helmetwith and on the left, the ivy flankingthe L-shapedcheekpieces) the lower rightcornerof the panel from panel. Fragmentd, more of this patternanda malefootto (notillustrated), gives of one of tail on fragment Red: crest a; borders helmet; right. hangingfolds;part of chariotbox; hub of wheel; two lines below panel. White: dot clusters on garments;flesh of Athena. Perhaps by the Rycroft Painter. Compare especially Vienna 3598 (ABV 335, 4); also Worcester1956.83 (ABV
335, 5 bis; Paralip. 148, 5 bis; Buitron, New England

Six non-joiningfragmentsfrom both sides of the vase. P.H. a + d) 0.294; est. diam. of rim 0.311; max. dim. b) 0.117, c) 0.217, e) 0.047, h) 0.031, 1) 0.035. Fragment a + d gives about one half of one panel, the columnsand and plate of one handle.A few othernon-figured fragments some that show part of the framing ornament are not includedhere. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 190, pl. 57. A, chariotscene (weddedpair in a chariot).Fragmenta (illustrated)shows the forepartsof the team, with a youth before it to right, looking around.On the left side of the of a team,partsof threefigures.Fromleft to right:forehead womanwith two torches(ends);then Hermes(petasoswith the brim turned up) to left, and a woman (top of head) carryinga lebeson top of her head.Fragmentb comesfrom the lower left cornerof the panel and shows part of the wheel of the chariotand the right leg of the man mounting it. Fragmente preserves part of the bodyof the right-hand tracehorse,someof the draperyof the womanand Hermes, and a bit of one forelegof the right-handpole horse.Fragment h gives a bit of the feet of the womanand Hermes.B, deities. Fragment d (illustrated), which joins fragment a on the other side of the handle, shows the head of Dionysos to right. Fragmentc (illustrated)gives part of two more deities: a woman (head and feet missing) and a god, probablyHermes (top of head, lower draperymissing), both to right, lookingaround.FragmentI may come from eitherside of the vase and preservesa bit of drapery. bordersand stripesof garRed: beards;Hermes'forelock; tracehorse.White: of right-hand ments;manes;breastband female flesh; Hermes' chiton;right-handpole horse;pendantsof breastband. The rectangular platejust abovethe mouthsof the horses is a bit burr,a devicethat in actualpracticewas attachedto of the bit andpressedagainstthe sidesof the the mouthpiece animal's mouth for greatercontroland perhapsto aid in AncientGreekHorsemanship, turning.Cf. J. K. Anderson, Berkeley1961, pp. 48-49, pis. 20-22; also, P. Vigneron,Le chevaldans l'antiquitegreco-romaine, Nancy 1968, p. 65, pls. 18, 20:c. Ca. 510 B.c. P6136 E 15:6 472 PI. 45 Wall fragmentwith start of shoulder.Max. dim. 0.182. On the right,the hole for an ancientmend. Dionysosand maenad.Dionysos (top of head) standsto horn(topremains),his headturned rightholdinga drinking

COLUMN-KRATERS aroundfacingsomeonewho is not preserved. In frontof the of traces an the On a maenad face, (head) god's object. right, to left, holdinga torch.In the field, a vine. Tongue pattern abovefiguresat junctionwith neck.Red:beard;loopedfillet of maenad; bandon insideof neckat junctionwith shoulder. White:maenad'sflesh;top of drinkinghorn;end of torch.
Late 6th century B.C.



P 23153 H 12:15(U) Wall fragment.Max. dim. 0.055. Horse (upper parts of forelegsand elbow) to right. The blackglaze to left and rightof the left forelegrepresents the draperyof a figurestandingbesidethe horse.
Last quarter of the 6th century B.C.

473 P1.45

P 25916 M17:7

476 P1.46

P 25273 R 12:3

Wall fragment.Max. dim. 0.148. Fight (parts of four warriors).Of 1, all that remainsis and collapses, partof his torsoand legs to right.2 is bearded head averted,holdingout his roundshield,which is seen in profile. He wears a short pleated chiton, a corslet, and greaves,and carriesa spear in his right hand. 3 comes in from the right holdinga roundshield (device:chariotbox). He wears a short chiton and greaves.In the lower right of the fragmentis a leg (greaved)of a warriorto right.The bit of glaze betweenthe head of 2 and the rims of the shields may represent partof the armof 3. It cannotbe a helmet,for the head of 2 is bare. Red: beard;rims of shields;dots on chitons.White:device;baldricof 2. Last quarterof the 6th centuryB.C. 474 PI. 45 P 24123 Q12:3 Preserved but for footand a fragment of side B. P.H. 0.30; rim 0.30. Spallon side B. H. A. Thompson,Hesperia 24, 1955, p. 62, pl. 29:b; Camp, op. cit. (under 319), ill. 31; S. R. Roberts,Hesperia55, 1986, p. 32, no. 70, pl. 9. A, Heraklesand the Lion flankedby Athenaand Iolaos. Athenastridesto left, lookingaround,holdingout her helmet in her left hand. Iolaos moves to right, also looking around,the hero'sclubin his righthand,a cloakoverhis left arm. Herakles wrestles the lion in the horizontalpositon; the lion pushesthe hero'shead with its left hind foot.Above the two is Herakles'sheathedsword and cloak. B, five komasts, beardedand with fillets roundtheir shoulders.The all movingto right, the outer couples are in conversation, one on the right of each pair lookingaround.The central figure dances to left, looking around.The panels on each side are framedby ivy. Abovethe figures,tonguepatternat the junctionwith the neck.On each handle-plate,palmette betweenreversingspirals,with a triangleof space between the inner spiral and the frame of the plate. On top side of On overrim, friezeof lotusbudswith dotsin the interstices. Above Red: all foot, beards; rays. edges of cloaks hang, ivy. of Heraklesand Iolaos;tongue,belly stripe,strip on ruff of lion; fillets of all figureson A; alternateleaves of wreaths; alternatetongues;line insidebelow rim;on outside,one line below scene and one aboverays. White:Athena'sflesh;dot clusterson garments; filletsaroundnecksof komasts. The two incised lines on the right shoulderof Herakles look like the toes of the lion's paw, as if the artist had originally intendedthe hind leg to reach fartherforwardbut changedhis mind. For the subject,cf. 394.
Ca. 510-500 B.C.

Fragmentpreserving partof rim, neck,and shoulder.Silhouettetechnique.P.H. 0.145; est. diam.of rim 0.50. On top side of rim, confronted animals:a lion and a boar, twice (most of boar on left, all of next lion and boar, forepartsof lion on right).On overhang, ivy. Tonguepatternon on the right,indicatshoulderatjunctionwith neck,stopped ing the startof the handlezone. Belowthe tonguepattern,a traceof one of the figureson the body (the top of a helmet crest).Red:line on insidebelow rim. White:edgeof helmet crest. Figureson the top sideof the rim are not too frequent,althoughthreeotherexamplesoccuron Agoracolumn-kraters (422, 477, 490). Others are, e.g., New York, M.M.A. 31.11.11 by Lydos (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); two by the Painter of Louvre C 11266, the namepiece(Paralip.154, 1) and Villa Giulia 50763 (Paralip. 154, 3); one closeto him, LouvreC 11277(Paralip.155, 1); and two related,Villa Giulia M. 447 (Paralip. 155, 1) and Bologna 50 (Paralip. 155, 2); some unattributed two in New York,M.M.A. 07.286.76 (Festschrift examples: Brommer, p. 53) and M.M.A. 24.97.95 (Metr.Mus. Bull., Dec., 1925, pp. 299-300, fig. 8); Basel, Antikenmuseum und SammlungLudwig (E. Bergerand R. Lullies, Antike Kunstwerke aus der Sammlung Ludwig, I, Friihe und Vasen,Mainz 1977, p. 77); two from Tonsarkophage the South Slope of the Akropolis,Athens 1960-NAK 315 (AeAr 27, 1972 [1976],p. 294, no. 258, pl. 133) whichmay be Antimenean,and Athens 1957-NAK 1192 (AeAr 27, 1972 [1976],p. 295, no. 260, pl. 133);two in the Louvre,C 11286 (CVA, Louvre 12 [France19], pl. 185 [858]) and C 11288 (CVA, Louvre12 [France19], pl. 188 [861]:1);Detroit 63.17 (Cat. Parke-Bernet, 5 April, 1963, no. 87); and two in the LondonMarket(Cat.Sotheby,13.July, 1970,no. 131 and Cat. Sotheby, 9. Dec., 1974, no. 279). All these are Louvre C 11266 (frieze of horsemen)and animals,except Athens 1960-NAK 315 (chariot).All the figures use the outsideedgeof the rim as the groundline. A maverick seems to be Athens 1957-NAK 1217 which shows the animals standing on the inside edge of the rim (ACAT 27, 1972 has suggested that [1976],p. 295, no. 259, pl. 133). Bothmer 476 and 490 maybe the rimsof red-figured column-kraters, becausethe rim decoration is in silhouette.
Late 6th century B.C.


P 23169 a, d, f H 12:15(L) Three non-joiningfragmentsof rim and handle-plate. Max. dim. a) 0.098, d) 0.057, f) 0.049. Silhouettetechon white ground. nique. Decoration


CATALOGUE P 21221 Q 10:4 482 Wall fragment.Max. dim. 0.059. Chariotraceto right.The fragment showspartof the rail, wheel, and box of one chariot,the long chitonof the charioteerstandingin it, andthe endof his goad.On his left, some of the pole of the next chariot,the hind legs of the pole horses,and the tails of the tracehorses.White:chiton. The scenemay have been similarto the one on an unattributedcolumn-krater, LouvreC 11285 (CVA,Louvre12 [France19], pl. 184 [857]:1).
Late 6th century B.C.

On top side of rim, animals:fragment a givessomeof the and mostof one boar ornamental spiralon one handle-plate (except for head) to right;fragmentd preservesmore of a handle-platepalmette;fragmentf shows some of the ivy the overhang. decorating For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. 478 P 23169 b, c, e H 12:15(L)

Three non-joiningfragmentsof rim and handle-plate. Max. dim. b) 0.042, c) 0.05, e) 0.038. Silhouettetechnique. On top side of rim, animals.On overhang,ivy. Fragment b givesthe bodyand hindquarters of a pantherto left. Fragof a boarto right. Fragment mentc shows the hindquarters e preserves someof the palmetteof the handle-plate. 478 cannot be from the same vase as 477 because the width of the rim and the height of the overhangdiffer.For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. 479 P1.46 P2571 G 6:3 (U)

483 P1.46

P 5549 E-F 12-14

Wall fragment.Max. dim. 0.088. Glaze firedred. On the left, a maenad(raisedfoot, drapery)dancingto and tail) with right. In frontof her, a donkey(hindquarters a figure,probablya satyr (left leg), seatedbackwards on its In the lower right corner,tracesof another hindquarters. In the field,a vine. White:maenad's foot. figure(drapery?). Late 6th centuryB.C. 484 PI. 46 P 12252 No grid Wall fragment.Max. dim. 0.073. Two men (backof head, right arm, someof backof man on left;head,righthandof manon right)to left. Eachwears a wreath.Red:beard. For similarwreaths,cf. 328.
Ca. 500 B.C.

Fragmentof neck and rim. Max. dim. 0.179; est. diam. 0.25. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 192, pl. 58. On top side of rim, lotus budswith dots in the interstices. On overhang,animalsdrawn in silhouettetechnique:goat to left;lion facinga goat,twice (mostof right (hindquarters) then the startof the handle.On handle-plate, goatmissing); and end of petal). Red: line on inside of (tendril palmette necknear rim.
Late 6th century B.C.



G 13:1

E-F 12-14 Three non-joiningwall fragments. Max. dim. a + b) 0.125, c) 0.049, d) 0.078. Burned(clay is gray). Symposion.Fragmenta + b gives the leg of the couch with its Ioniccrowningpiece,partof the mattress, and some of the framingivy. Inscribed on the right:
/-f NO$



of shoulder and startof neck.Max. dim.0.045. Fragment Warrior(head with Corinthianhelmet pushedback) to left. In the lower left corner,part of round shield. Above, tonguepattern.White:baldric.The scale suggeststhat the warrioris on horseback. Late 6th centuryB.c. 486 P 6587 E-F 12-14 Four non-joiningwall fragments.Max. dim. a) 0.113, b) 0.125, c) 0.052, d) 0.058. A and B, chariotto right.Fragment a preserves a woman (head and shoulders, hands holding the reins), perhaps end of hair) standArtemis,and someof a figure(shoulder, on the left side of the chariot. In the field, a vine with ing Above the grapes. figures,tonguepatternwithout separating lines and on the left some of the framingornament,a verticalrow of dotsbetweenlines. Fragmentb givespartsof the horses(someof theirheads,necks,the bodyof the righthandtracehorse)and part of Apollo(shoulder, neck)holding his kithara.In the field,a vinewith grapes.Tonguepatternaboveas before.This fragment comesfromthe opposite sideof the vase,forthe reinswill not meetwith thoseheldby the charioteeron fragmenta. Fragmentc belongs to the the filletedhead rightsideof one of the panelsandpreserves of a figure to left. In the field, a vine with grapes.Above, tongue patternas before,and on the right, one line of the d preserves the forelegsof one framingornament. Fragment

Fragmentc preservessome of a pillow, with part of the draperyof a recliningfigure.Fragmentd shows the raised left armof a male and someof the framingivy. It may come fromthe otherside of the vase. Red:dot on mattress. White: on leg of couch. outlinesof Ioniccapital,decoration For symposiaand couches,cf. 420.
Late 6th century B.C.

P4673 E-F 12-14 481 Wall fragment.Max. dim. 0.112. Chariot(headsand necksof tracehorses)to right.On the the right,someof the ivy framingthe paneland,overlapping a of manes and forelock. smear Red: White: teeth; ivy, glaze. dots on headstalls and on breastbandof left-hand trace horse. Late 6th centuryB.C.

VOLUTE-KRATERS team, and part of a dog (tail, someof body)on the left-hand side. Red: fillets;stripson manes;dots on Apollo'sdrapery, bar on sounding board of his kithara. White: flesh of outlineof kithara;dot clusterson drapery. charioteer;
Late 6th century B.C.

163 P 4685 E-F 12-14


487 PI. 46

P 26630 U 19

Wall fragmentwith startof neck.Max. dim. 0.06. Man (head)dancing(?)to right, holdinga staff (someof the shaft appearsat the break) in his right hand. Tongue patternon shoulderat junctionwith neck. White: dots on cloak.
Early 5th century B.C.

Two non-joiningfragments of neckand body.Max. dim. 0.148. 0.167, b) a) showsa warriorrunningto right Fragmenta (illustrated) betweentwo standingmale figures.He wears a Corinthian helmetand a shortchitonwith a corsletand carriesa round shield (device:balls) and a spear. A sheath is suspended from a baldric over his right shoulder.The two flanking figureswear chitonsand himatiaand hold staffs. Fragment b, from the other side of the vase, shows a satyr (head) to right. Then come three maenadswearing cloaks and chitons, all movingto right, except that 2 and 3 look around. 1 wears a nebris.Most of 3 is missing.Red:filleton helmet; forelockand beard;dots on nebris;dots and stripeson garments of 2 and 3. White: baldric;shield device;maenad's flesh;dotson garments. Panels withoutlateralframesare ratherrareon late 6thcolumn-kraters. centuryblack-figured Comparethe reverse of the namepiece of the Painterof LouvreC 11266 (Paralip. 154, 1) and one closeto him, LouvreC 11277 (Paralip.155, 1). 487 seemsnear this painter.
Late 6th century B.C.

489 P. 46

P 268 and P 1127 G 15

Two non-joiningwall fragments. Max. dim. P 268: 0.073, P 1127: 0.059. Glaze on inside somewhatmottled. Brownishwash on outside. Jumpers?P 268 shows the lower legs and feet, the contour of the left thigh, and, at the break,someof the buttocks of one, with a darkobjectbelow that is not the groundline, for it slopes upwardto the right. P 1127 gives the calf and footof another. Late 6th or early 5th centuryB.C. 490 P 3650 F 14 Rim fragment.Max. dim. 0.128. Silhouettetechnique. On top sideof rim,animals:deer(headandneck)to right, a lion (one hind leg and tail missing)to left. On overhang, ivy. Red:line on insideat rim. For animalson the top side of the mouth,cf. 476.
Ca. 450 B.C.

VOLUTE-KRATERS 491-500 Pls. 46 and 47

491 P1.46 P18795 B 19:10 Eight non-joiningfragmentsof rim, neck,handles,body, and foot. Est. diam. of rim 0.31, of foot 0.20; max. dim. a) 0.113, b) 0.31, c) 0.087, d) 0.049, e + g) 0.029, f) 0.17, h) 0.123, i) 0.183. Fragmentsc and d are undecorated. On side of rim, key patternto right.On neck:upperpart, chain;lowerpart, figures.On flangesof hanlotus-palmette dles, ivy. Body black except for rays above foot. Fragment e + g (illustrated)gives most of one handleand some of the rim and neck on both sides of it. On one side, on the lower part of the neck,there is the top of a male head (filleted)to left, probablyan onlooker.Fragmenth (illustrated)gives more of the rim and the upper part of the neck, and fragmentf preservespart of the other handle. Fragmenti (ila fight. On lustrated)shows part of the figureddecoration, the left, a chariot(foreparts of the tracehorses)to right,then a warrior(torso,partsof arms), dressedin a shortchiton,a cloak, and a helmet, attackinga falling opponentwith a spear (some of the shaft appears near the top of the

fragment).The opponent(preserved except for lower part of right leg and top of head)wears a shortchiton,a helmet, andgreavesandis armedwith a roundshield(device: female leg) and presumablyheld a spear in his raisedright hand. Behind him is an archer (top of head missing) to right, lookingaround.He is almostdown on one knee and wears an orientalcostume.His quiverhangsat his rightside, and in his righthandhe carriesa spear.On the rightis a woman (head missing)movingto right, lookingaround(her shoulders are frontal),gesticulating. She is the last personin this frieze as indicatedby the reservedarea to the right and the start of the handle attachmenton the shoulder;therefore, fragmenti comes from one side of the vase and fragment e + g from the other, for the male is the last figure in this scene.Fragmentb preserves the lowerpartof the bodywith the rays abovethe foot,and fragment a givesthe full profile of the foot:a reservedverticalmemberabovea torus. Red: breastband of left-handtrace horse, part of mane of righthand trace horse;edges of handleflanges;line on inside of


CATALOGUE 495 PI. 47 P 16633 B 22

rim. White: dots on garmentsof warrior on the left and woman;her flesh;shield deviceand dots on rim; stripeson archer'scostume. For the combination of the key patternon the side of the chainon the upperzone of the neck, rim, the lotus-palmette and figures on the lower, these are the three examples knownto us: London,B.M. B 364 signedon top side of the rim by Nikosthenes(ABV 229, VI; Paralip. 108); Louvre F 198, manner of the AntimenesPainter, on side A only (ABV 280, 55); Copenhagen13110 (CVA, Copenhagen8 [Denmark8], pl. 322 [325]:1).
Ca. 510-500

Neck and rim fragment.Max. dim. 0.157; est. diam. of rim 0.36. On side of rim, key patternto left. On neck, departure with chariot.The team (preserved but for heads,necks,and some of forelegs)standsto left. On the left-handside is an armed warrior holding a spear and round shield (device: threeballs). On the far right,headand shoulderof a figure who appearsto be bent over slightly (puttingon greaves?). Red:rim of shield;bandon top of rim at outeredge.White: chiton. edgeof helmetcrest;shielddevice;charioteer's
Ca. 510-500

492 PI. 47

P 7906 C 8


P 13856 U 25:2 (L)

Neck fragment,upperzone. Max. dim. 0.074. Chariotscene. On the left, the heads and forelegsof the trace horses to right. In front of them, a woman (some of head missing)to right,lookingaround,then a man (left leg, thigh and calf of right) to right holding a spear, probably dotsand lookingaround.In the field,a vine. Red:forelocks; on her clusters on woman's dot White: flesh; stripes drapery. garment. The LeagrosGroup (ABV 377, 238).
Ca. 510-500

Neck and rim fragment.Max. dim. 0.065. On side of rim, key patternto left. On the neck,a warrior hel(head,torso,arm, thigh), nude exceptfor a Corinthian met, attacksto left carryinga spearand a roundshieldseen bandon insidebelow rim. in profile.Red:crestsupport;
Ca. 510-500 B.C.

493 PI. 47

P 5202 E-F 12-14

Neck fragment,lower zone. Max. dim. 0.071. Departureof warriorswith chariot.On the left, a warrior (head and legs missing) overlapped by a round shield (device:forepartsof a panther) stands to left, holding a On his spear. He wears a short chitonand has a scabbard. right, an archer,identifiedby the portionof his quiverthat behindthe warrior.Behindthe pair is a youthholdprojects a ing spear in his left hand, his right raised. He wears a chiton and cloak. On the right, the head of the right-hand tracehorse,the muzzleof the left, and partof their forelegs. Red: rim of shield; fillet, stripes and dots on draperyof youth; strip on mane. White: shield device;dot and dot clusterson cloak;studson headstall. The LeagrosGroup(ABV 377, 239).
Ca. 510-500

P 7442 C 14 497 PI. 47 Neck fragment,upperzone. Max. dim. 0.086. from about On the left, a man and a woman, preserved the waist down,seatedto righton a throne.Facingthemis a malewearinga cloakand boots,holdinga staffor kerykeion (Hermes?),and behindhim are the foldsof a cloakbelonging to anotherfigureand the end of his staff.The small figures beneaththe throne are probablypart of its support. Red: dots on drapery. White: woman's flesh; dots on drapery.
Ca. 510-500 B.C.


P 6753 P-Q 8 Neck fragment,uncertainif upper or lower part. Max. dim. 0.071. Chariot(hind legs of horses)to right. On the left side of the team,a drapedfigureto left. Red:panelon drapery.
Late 6th century B.C.

P7109 C7 494 P. 47 Neck fragment,lower zone. Max. dim. 0.094. Boy boxers.On the left, one handholdinga staffand part of the cloak of a judge, trainer,or spectatorto right. Then but for the top of his head comesa boxerto right, preserved and partof his rightarm,facinghis opponent(face,left arm, left leg, someof torso).Red:stripeand dotson cloak.White: dot clusterson cloak. Near the EdinburghPainter(ABV 480, 7).
Ca. 510-500

P 14940 E 19:7 499 Two non-joining neckfragments, lower zone. Max. dim. a) 0.068, b) 0.052. a showsthe heads,shoulSatyrsand maenads.Fragment to the left of ders,andarmsof a satyranda maenaddancing; the and to of a third the forehead them, right, the figure, trace of a fourth. Fragmentb preservesthe body, left leg, and rightthigh of a satyrrunningto right and the skirtand feet of a maenadstridingto right,holdinga thyrsos(partof bandon inits shaftremains).Red:beard;dots on drapery; side at junctionof neckand shoulder.White:flesh of maea. fillet of satyron fragment nads;dotson drapery;
Late 6th century B.C.

CALYX-KRATERS 500 PI. 47 P 13618 H-I 5


Neck fragmentwith start of shoulder.Max. dim. 0.115. Thin, brownwash on surface. Return of Hephaistos? On the left is a satyr (back of head, right arm, someof bodyand one leg) stoopingto right with head turned around. Then comes a nude rider on an ithyphallicmule (preservedexcept for head), a wreath

suspendedfromits penis. On the right,a satyr(tail, legs) to right, and on the far right, draperyof a reclining figure (Dionysos?).Red: beard,end of hair of satyr;rider'sfillet; mane of mule. White: contourof neck, belly stripe, and of mule;loopof wreath. markingon hindquarters Early 5th centuryB.C.

CALYX-KRATERS 501-509 Pls. 47 and 48

501 PI. 47

P 24647 P-R 7-12

505 PI. 48

P 24693 P 16

Wall fragment.Max. dim. 0.085. Nearly straight,with a bandon insidenear top. reserved Dionysosand Ariadne?On the left is the drapedleft arm and handof the god holdinga drinkinghorn and in frontof him the face, chest, and one cloakedhand of Ariadne.Red: stripes on garments;pupil of Ariadne'seye; line at top of figurezone. White:Ariadne'sflesh, dot rosetteson her garment;line abovefigures. Ca. 520 B.c. P 6090 H 8 502 PI. 47 Wall fragment.Max. dim. 0.046. Hermes (head, shoulder,brim of petasos,shaft of kerykeion) to left. In front of the god, tracesof anotherfigure, perhapsa horse'sforelockand the tip of its ear. Red:brimof petasos, stripe and dot on garment.White: dot clusterson

For Hermeswith his kerykeionheld in his left hand and restingon his shoulder,cf. Hermeson New York,M.M.A. 06.1021.68 A (ABV 289, -; Paralip. 126, 22 bis). The Groupof Wiirzburg199 (ABV 289, 27). Ca. 520-510 B.C. P 12061 O-Q 18-19 Fragmentof wall andcul with startof handleon far right. Max. dim. 0.116. Males (the legs of one fromthe kneesdown;the foot and lowercalf of the other)to left. On the cul, partof a nonsense

Wall fragment.Max. dim. 0.048. Reveler (most of head, shoulders)to left. On the left of of a woman.Red:beardand nipple him, partof the forearm of reveler;alternateleaves of his wreath. White: woman's flesh. Perhapsby a painterof the LeagrosGroup.Compareespecially,Munich 1416 (ABV 367, 90). For the wreathwith long branches,cf. London, B.M. 1926.6-28.7 (ABV 375, 211) and London,B.M. B 271 (ABV 375, 212). For some by otherpainters,cf. 328. The male figureis unlikelyto be Dionysos,for his shouldersare bare;nor is he likelyto be a satyr, for his beardis too short.Comparethe beardsof the of the LeagrosGroup:Brooksatyrson two neck-amphorae 62.147.2 lyn (Paralip. 166, 163 bis) and New York, M.M.A. 41.162.179 (ABV 373, 174; CVA, New York 4 [USA 16], pl. 38 [766]:7).The sceneon 505 probably representeda revel with a woman or women present,similarto the one on a Leagros Group column-krater, Bologna 52 (ABV 376,231). Ca. 510-500 B.C. 506 PI. 48 P7896 E 14:5

503 PI. 47

Red:bandon cul at junctionwith wall. Ca. 520-510 B.C. 504 P 25380 F 5 Rim and wall fragment.Max. dim. 0.095. Man (someof head)to right.Belowrim, ivy pattern.Red: fillet and beard;line betweenivy leaves. Ca. 520-510 B.C.

Wall fragment.Max. dim. 0.112. Beardedmale (preservedbut for head, shoulders,and feet) to right, playinga barbiton,a cloakover his shoulder. On the left, at the break, traces of anotherfigure. In the field, a vine. Red:beard,plectrum,and cord;figureat left. White:dot clusterson cloak;armsof lyre. Ca. 510 B.C. P 31013 Q12:3 Wall fragment.Max. dim. 0.132. Glaze firedbrownish. Return of Hephaistos?Ithyphallicmule (hindquarters, some of body, end of tail) to right, with rider (feet, fold of drapery).On the left, an area of glaze that may be partof a drapedfigure,perhapsDionysosor a maenad.In the field,a
vine. Late 6th century B.C.

507 PI. 48

166 508

CATALOGUE P 31014 Q12:3 Wall fragment.Max. dim. 0.091. Chariot (forefeetof team) to right with woman (lower feet)facing.In the field,a vinewith grapes(theend drapery, of one bunch).White:woman'sflesh. Late 6th or early 5th centuryB.C. 509

P 2789 G 6:3 (U) Wall fragment.Max. dim. 0.038. E. Vanderpool,Hesperia 15, 1946, p. 314, no. 217, pl. 62. Woman (someof drapedtorso and arms) to left. On the left, a bit of glaze, probablypart of anotherfigure.Red:dot on drapery.White:woman'sflesh. Late 6th centuryB.C.

LEBETES GAMIKOI 510-518 Pls. 48 and 49 youths;borderson garments;strips on manes,two tails of each team; breastbands; part of chariot box; upper and lower rills of mouth, line inside mouth, ring at junctionof neck and shoulder,two lines below scene that continued roundthe vase. by Beazleywith the reverseof the Tentativelycompared by the Painterof TarquiniaRC 6847 (ABV338, namepiece

510 P1.48


E 15:6

Three non-joining fragments. Max. dim. a) 0.12, b) 0.165, c) 0.092. One fragment(a) of wall, two (b andc) of handles. Fragmenta (illustrated)comesfrom the shoulderof the vaseandpreserves someof the tonguepatternat thejunction with the neck, parts of two heraldicsphinxes with heads turned around (all of one but for feet and tail; the head, breast,tip of wing of the other),andon the right,the headof a cock to left. Red: fillets, eyes of sphinxes, bar on wing, marking on hindquarters;comb and wattles; alternate tongues.White:faces and necksof sphinxes,row of dots at base of feathers. The Painter of Louvre F 6. Compare especially, the sphinxes on his lebes gamikosin Houston (ABV 125, 32;
Paralip. 51, 32; Hoffmann, Ten Centuries, fig. 166); also

Ca. 520 B.C.

513 P1.48

P 17967 A 18-19:1

Oxford G 190 for the two lines at the top of the forelegs (ABV 124, 16).
Ca. 550 B.C.

511 PI. 48

P 23162 1 12

Shoulderfragment.Max. dim. 0.055. Brownishwash on surface. Wedding scene. Woman (head with stephane, raised hand)to left, holdinga torch.To the left of the torch,at the break,an unintelligiblebit of glaze. Red: stephane.White: flesh.
Ca. 530

Three non-joiningwall fragments.Max. dim. a) 0.056, a and b with rootsof handle. b) 0.04, c) 0.04. Fragments Wedding procession. Fragment a shows the head of Hermesto left, his petasoswith the brim turnedup in the back. In frontof him, part of anotherfigure,probablythe forelockof a trace horse. In the field, a vine. In the upper right, startof handle.Fragmentb gives someof the head of Dionysosto left and on both right and left, the start of the handle root. Fragmentc preservespart of a chariot:the lowerpartsof manesof the pole horses; the endsof the yoke, partof the yokepad,the endof the chariotpolewith the pole stay. On the left side of the team, a woman(neckand chin) to right. Red:stripon mane;beards.White:woman'sflesh. The RycroftPainter.Compareexamplesgiven for 187. Add to these: Vienna 3598 (ABV 335, 4); 195 (P1. 23); Hamburg1917.476(ABV337, 25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2);Madrid:GomezMoreno,attributed by Bothmer (J. Mertens, Indiana UniversityArt
Museum Bulletin, 1979, p. 10, figs. 7, 8). Ca. 510 B.C.

512 PI. 48



Fragmentary. P.H. 0.36; diam. 0.433. About threequartersof the mouth,one handle,half of the other,muchof wall, and all of foot missing.Triple-rilledrim, flat on top; double handles. Figured decorationset in panels. T. L. Shear,Hesperia6, 1937, p. 345, fig. 9 (sideA). A and B, chariotto right,with eagle above,flyingto left. showstwo youthsstandingin the chariot SideA (illustrated) and mostof the horsesexceptfor their forelegs.Side B gives the handsof the charioteer, partof the vehicle,the horsesbut for some of their heads and forelegs.Aboveeach panel, at the junction with the neck, tongue pattern. Red: fillets of

514 P1.49

P 19597 a-h and k-o A 18-19:1 (?)

Thirteen non-joining wall fragments. Max. dim. a) 0.145, b) 0.09, c) 0.09, d) 0.058, e) 0.109, f) 0.063, g) 0.05, h) 0.045, k) 0.031, 1) 0.071, m) 0.068, n) 0.042, o) 0.059. Brownishwash on surface. On eachside,weddedpair in a chariotto right.Fragment a (illustrated)preservespart of a wedded pair, perhaps Peleusand Thetis:headof the groomand his handsholding the reins and goad;the head of his bridewith her veil held out. On the left side of the pair, the head (hair tied up and boundwith a fillet) and upper torso of Apollo playing the

LEBETES GAMIKOI kithara(someof its strings,two fingersof his left hand).The bit of glazeto the rightof Apollo'sneckis the armsupportof his kithara.The glazed area betweenhis shoulderand the brideis the flap of the god'squiver (?). Behindthe wedded pair is a woman (forelock)holding two flaming torches (ends).Abovethe figuresis a row of hanginglotusbudswith dots in the interstices(see below, fragmentd). Fragmentb (illustrated)preservesmore of the torch-bearer(drapery) and of the groom (buttocks,drapery)mountingthe chariot (rail). Fragment e (illustrated)shows more of these two and the figures,the end of a draperyfoldof the torch-bearer left footof the groom;also someof the chariotwheel and the heel of one of Apollo'sfeet. Below, frieze of uprightlotusbudswith dotsin the interstices. c, 1,andm come Fragments fromthe othersideof the vaseforthe glaze is dullerthanit is on fragmentsa, b, and e. Fragmentc preservessomeof the head and forelockof a trace horse, with part of a figure (drapery)on the left side. Fragment1 shows some of the drapedleg of a man mountingthe chariot(rail) with partof a figure(drapery)behindhim, and fragmentm givespartof his calf and more of the draperyof the figure behindhim. two of the handlestubsand the top of Fragmento preserves a wreathedhead to left. Fragmentn (illustrated)probably comesfrombelowone of the handles.It showspartof a man to right holding out a curvedobjectin his left hand, and above it, the hand of another man. To judge from the relationshipbetween the two figures,the man holdingthe objectis seated. Fragmentd (illustrated)gives more of the friezeof hanginglotus buds and someof the tonguepattern on the obverse,and fragmentsf-hand k preserve moreof the lotus-budfriezebelowthe figures.Red:beard,wreath,fillet on fragmenta; bordersof draperyon fragmentsb, c, I, m; stripes on garmentof seated man; horse'sforelock.White: flesh of bird;arm supportof kithara. Near the RycroftPainter,perhapsby the Painterof Tarquinia RC 6847. Comparedetails of the namepiece(ABV 338, 1; Paralip. 150, 1): head of Apollo; draperyfolds of Athena;small arc incisedon the supportof each spoke.But cf. also the following by the Rycroft Painter: Oxford
1965.118 (ABV335, 1; Paralip. 148,1; CVA, Oxford 3 [GB


14], pls. 34 [649]:2-5 and 35 [650]); Worcester 1956.83

(ABV 335, 5 bis; Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17).

Ca. 510 B.c. 515 P 19597 i,j A 18-19:1 (?)

of lebes 0.18; diam. of stand at base 0.142. About threequartersof rim and neck,one handle,and nearlyall of one side of lebes restoredin plaster. Stand (P 7897) complete. Triple rilled rim; ring at junction of neck and shoulder; double handles,round in section;flaring stand with torus foot.Standpiercedat top in line with handles.The lid is flat with a flangeon its underside, which is unglazed.Chipped on edge.T. L. Shear,Hesperia6,1937, p. 372, fig. 36; idem, AJA 40, 1936, p. 412, fig. 9; H. Kenner,JOAI 31, 1939, p. 92, fig. 33; Thompson,op. cit. (under373), ill. 59; Lambertonand Rotroff,op. cit. (under136), ill. 21. On A (not illustrated), all that reA, weddingprocession. mains are the headsof the two trace horsesto right with a fillet hanging above,a woman attendant(torsoand head), and underthe left half of handleA/B, Hermes(all but feet) to right,lookingaround,dressedin a petasosand a chlamys overa shortchitonand boots.In his righthand,he holdshis kerykeion.Under the right half of this handle is Nike (or of three Iris) flying to right, lookingaround.B, procession womento right,eachdressedin a long chitonwith himation and carryinga chest on her head, with a cushionbetween. Under part of handleB/A, anotherwoman (withouta box on her head becausethe handleintrudeshere) and part of anotherdrapedfigure,probablya woman.Tongue pattern on shoulderat junctionwith neck. Below the figures,upright lotus buds with dots in the intersticesand rays. On stand,three pairs of seatedwomen spinningwool. Five sit on okladiai,the sixth on a stool.Betweeneachof two pairsis a wool basket.Behindone womanis a bird. Fillets hang on the wall. At top of stand,inverted lotusbudswith dotsin the interstices.Abovefoot, invertedrays. On lid (not illustrated), tonguesat knob,concentric circles,and at the edge,two rowsof dots.Red:manes;beardof Hermes,brimof petasos; Nike's fillet;some of the folds of her cloak,its border; dots and bordersof women'scloaks;fillets of woolworkers; the alternate rills of rim;ringatjunction; line cushions; tongues; on ring;line betweeninvertedrays and foot;line at base of knob, at outer edge of tongue pattern,and on outer black band. White: female flesh; Hermes' chiton; joints on of woolworkers. okladiai;dotson garments For the chestscarriedby the women,cf. I. Krauskopf, AA (Jd1 92), 1977, pp. 13-28. Late 6th centuryB.c.

517 PI. 48

P 11032 D15:1

Two non-joiningwall fragments.Max. dim. i) 0.079, j) 0.045. Each fragmentpreservespart of the upright lotus-bud frieze below the figures.The buds are slightly largerthan those of 514 and have short strokesinstead of dots in the interstices. Last quarterof the 6th centuryB.c. 516 PI. 49 P 7893 and P 7897 E 14:5 H. without lid 0.313, with lid 0.358;diam. Fragmentary.

Two non-joiningwall and shoulder fragments.Max. dim. a) 0.09, b) 0.062. One fragment(a) shows the handle attachment at the right. a showsa woman(head)holdWeddingscene.Fragment ing a torch(flamesin diluteglaze) anda man (head),bothto left. Abovethe two, someof the friezeof invertedlotusbuds with dots in the interstices.Fragmentb gives more of the lotus-budfrieze and some of the tongue pattern above it. Red: knottedfillet roundwoman'shead;some of her garment;alternatetongues.White:woman'sface. Last quarterof the 6th centuryB.c.

168 518 PI. 49

CATALOGUE P 25967 M 17 the right,partof anotherfigure.Fragmentb showsthe right and handof anotherNike andthe bow of one wing. forearm c andd give the tip of a handand partof a wing, Fragments White:flesh. and the tip of anotherwing, respectively. Late 6th centuryB.

Four non-joiningwall fragments.Max. dim. a) 0.066, b) 0.036, c) 0.033, d) 0.018. Three fragments (a, b, c) preservestartof handle. Nikai. Fragmenta (illustrated)preservesthe head, outstretchedleft arm, and one wing of a Nike to right and on



P 3704 H-I 10:1

Wall fragmentwith some of outturnedrim. Max. dim. 0.085. Much of the glaze is flaked. Agora VIII, p. 97, no. 576, pl. 37. Panther(head,someof neck)to right.On the rightat the break,anotheranimal(someof muzzle)to left. Betweenthe two, a swan (partof neckandwing). Rosetteandzigzagsfor Abovefigures,just belowstartof rim, step fillingornament. pattern. Third quarterof the 7th centuryB.C. P 17486 J18:4(L) 520 Pl. 50 Most of body and about half of one handle. P.H. with handle 0.384; max. diam. 0.34. Mended from many fragmentswith the missingpiecesrestoredin plaster;foot completelyrestoredin plaster.Insideunglazed. A, siren(onefoot,toe of the other,breast,lockof hair,and parts of one wing) to right with wings spread.Incisedrosetteswith the centersreserved.B, loopsand spirals.Under handle,a spiraland diamonddesign.Abovefoot,rays:on A, solid;on B, outline.Red:broadbandon wing;dotsat endsof feathers;alternatepetals of rosettes;two bands under pictures;two aboverays. For the use of solid andoutlineraysabovethe foot,cf. the near the Nettos Painter, Kerameikos,inv. skyphos-krater no. 1365 (ABV 7, t; Paralip. 6, 2 [f8];Kerameikos VI, ii, no. 182, pl. 112). This shape of vase is an odd one, and its Protoattic closestparallelseemsto be a mid-7th-century egg4948 P krater, (R. Young, Hesperia,Suppl. Agora shaped II, Athens 1939, pp. 128-131, no. B 64, figs. 92, 93; Agora VIII, pp. 93-94, no. 549, pl. 34). It may also have been 391 by the Nettos Painter(ABV 5, 10). similarto Akropolis
Ca. 625-600 B.C.

P31089 I10:1 522 PI. 50 Two non-joining fragments. Max. dim. a) 0.122, b) 0.052. One fragment(a) of torusrim and wall, the other of wall. Someof the glaze is flakedand abraded. someof Lion to right. Fragmenta (illustrated) preserves the head,ear, and mane.Fragmentb showspartof the hind legs and belly. Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 13123 U 25:2 (L) 523 P1.50 Rim fragment.Max. dim.0.085. Flat on top with partof at the inneredgeand startof the overhang a smallprojection at the outer. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 13, pl. 21:4. On top side of rim, sphinx (forepart)to right, facing a lotus-palmettecross (one palmette, parts of two lotuses). Red: face, neck, breast,wings, fillet, band at nape of neck; cuff, sepals,alternatepetalsof lotus;hearts,alternatepetals of palmettes; links;bandat top edgesof interior. the rimof (op. cit., p. 129) callsthis fragment Vanderpool a krater;Beazley(Paralip. 15, 15 bis) followingKarouzou (AthMitt62, 1937, p. 134, note 1), the handle-plateof a The fragmentseemstoo wide for a handlecolumn-krater. at the inneredgeof the rim is and the small projection plate, For such a prodifficult to parallel on column-kraters. dinos, Vatican 306 (Albizzati, jection, cf. the unattributed pl. 29), which has a friezeof rosetteson the top side of the as 523 must havehad. rim but no overhang The KomastGroup:I, the KX Painter(ABV26, 30; Paralip. 15, 15 bis, ex 30). Ca. 580 B.C.

P 23159 I 12 521 PI. 50 Wall fragment.Max. dim. 0.16. Two felines confronted (rightforelegof one, left fore- or hind paw of other) attackinganother animal (part of its on the right are preserved bodyand someof its hindquarters abovethe paws). Red:ribsof attackedanimal. Last quarterof the 7th centuryB.c.

P 8788 N 17 524 Wall fragment.Max. dim. 0.049. Raisedarm (?); above,partof an inscription:

and abovethis, blackbands. First half of the 6th centuryB.c.

STANDS P 21834 C 13:2 525 PI. 50 Wall fragment.Max. dim. 0.073. Thin glaze on inside, firedbrownish. *ment with incised Figure(?)standingto right (partof gar


ornamentcomposedof a square maeanderand a lion to right).

Ca. 550 B.C.

STANDS 526-602 Pls. 51-56


526 PI. 51

P 21382 P8:1

Akropolis503 (Graef,pl. 20). The drawingon 528 is not so preciseas it is on these comparisons.
Late 7th century B.C.

Wall fragment.Max. dim. 0.095. Bird (beak, breast) to right, facing a swastika with the armsbent into spirals.Red:wing bow.
Late 7th century B.C.


P 25854 U 26:3

P 26809 U 19 527 P1.51 Wall fragment.Max. dim. 0.117. From near top, preservingsome of the torus molding.M. Lang, Graffitiin the AthenianAgora[AgoraPicture Book 14], Princeton1974,
ill. 10.

Wall fragment.Max. dim. 0.105. Siren or sphinx (part of head with fillet) to left. Line at top of fragmentindicatingupperborder.Red:face;fillet.
Late 7th century B.C.

530 PI. 51

P 671 F 16

Woman (head with fillet) to right. Behindher is a dark the standof object,perhapsthe abacusof a column(compare ABV6; Paralip. Athens,N.M. 16384by the Nettos Painter: 3, 13). Red: fillet. White: dots edging fillet; decorative strokeson upperpart of lower torus. Very close to the Nettos Painter, if not by him. For the best parallels,cf. the woman on the standof Athens,N.M. 16384, especiallythe third one from the left; for the fillet edgedwith dots, comparethose of the two behindthis one. For the corkscrewcurls, cf. 120 (PI. 15), near the Nettos Painter.An oddityof 527 is the incisionfor the iris of an eye drawnin outline.
Ca. 610 B.C.

Wall fragmentfromnearfoot. Max. dim. 0.092. Feline (right hind leg) to right, rosette.Below, inverted the end rays,stoppedbeforeleft edgeof fragment, indicating of this pattern. Compare Athens, N.M. 16382 by the Nettos Painter (ABV 3; Paralip.3, 10). Late 7th or early 6th centuryB.C. 531 PI. 51 P 25375 C 9:6

528 PI. 51

P 23542 P 7:5

Wall fragment.Max. dim. 0.091. Lotus-palmettecross (cuff of lotus, part of palmette). Red:cuff of lotus;heartand alternatepetalsof palmette. The composition was probablya floralbetweentwo animals or monsters, similarto that on LouvreE 817, particularly on the reverse(ABV 9, 7; Paralip.6, 7). the Mannerof the GorgonPainter(Paralip.9). Compare
Early 6th century B.C.

Fragmentof footandwall. P.H. 0.18;diam.of foot0.285. The glaze has fired a brownish color and is abradedin places. Lotus betweensphinx (preserved exceptfor head and tip of wing) to left and siren (feet, part of wing, tail) to right. Behindthe animals,a palm tree. White: dots acrosscuff of lotus; dots along edge of wing and betweenwing bow and feathers. The composition of two confronted sphinxesand a palm but without a tree, lotus, occurs on the stands of two skyphos-kraters by the Nettos Painter:Athens,N.M. 16382 (ABV 3; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, on its cuff, y; Paralip.3, 12). For a lotus with crosshatching cf. Kerameikos n.n. (Kerameikos VI, ii, no. 100, pl. 92) and

532 P1.51 P23215 N16 Wall fragment.Max. dim. 0.078. Two zones:I) part of lotus (end of petals, tip of central sepal at break);II) lion or panther(back,end of tail with tuft) to right; dot rosette. Red: alternate petals of lotus; on hindquarters. markings By the GorgonPainteror in his manner.For the tuft at the end of the tail, compare: LouvreE 874 (ABV8, 1;Paralip. 6, 1); Baltimore48.215 (ABV 9, 18; Paralip. 7, 18); Hamburg 1960.6 (Paralip. 7, 13 bis; CVA, Hamburg 1 [Germany41], pl. 28 [1994]:1);KasselT. 669 (Paralip.7, 13 ter; CVA, Kassel 1 [Germany35], pl. 27 [1707]:1).For


CATALOGUE verticalarcson the face of our panther,an oddity,recuron one pantheron Kerameikos, inv. no. 40. For the feline on those on the vasesgiven above;add to c, fragment compare in Cambridge these,thoseon two fragments (ABV 19, 9 and 10). First quarterof the 6th centuryB.C. 537 P24949 e Q13:5 Wall fragment.Max. dim. 0.075. Parts of two friezes:I) feline (hind leg) to left; II) siren (someof wing, end of tail) to left. The CeramicusPainter(compare the examplesgivenfor

this type of rosette, with a dot in the center, cf. Kassel T. 669; Munich,inv. no. 8757 (Paralip.7, 135);LouvreCA 3327, perhapsa schoolpiece (ABV 9, 8; Paralip.7, 8).
Early 6th century B.C.

P 26638 U 19 Upper part of stand. Max. dim. 0.135. At the top, the insideof the wall curvesslightly,indicating the beginningof the bowl. Chimaera(muzzleof lion, goat, snake)to right, with all headsto left. Red:tongueof lion;neckof goat;lowerjaw and neckof snake.
533 PI. 51 Early 6th century B.C.

First quarterof the 6th centuryB.C. 538 P 23090 I 13 Wall fragment from near top (inside curves inward). Max. dim. 0.111. Glaze firedred. Sirenor sphinx (backof head,wing) to left. Blobrosette. Red:wing bow. First quarterof the 6th centuryB.C. 539 PI. 51 P 22308 N 11 Wall fragmentwith whitish slip on outside. Max. dim. 0.107. Panther(head,neck,part of body)to left. Incisedrosette for filling ornament.Red:eyes, forehead,nose, muzzle,insidesof ears,belly stripe,ribs;alternatepetalsof palmettes. First quarterof the 6th centuryB.C. P5112 H8 Wall fragment. Max. dim.0.081. Burnedon outside(clay is gray). Lion (muzzle, chest, left foreleg)to right, facinga boar (snoutand tusk) to left. Belowboar'shead,goose(headand neck)to left. Red:neckand chestof lion;lockof mane. The AnagyrusPainter(ABV 21, 3). Firstquarterof the 6th centuryB.C. 541 P1.52 P 13345 H 10:2 Wall fragment.Max. dim. 0.096. someof wing) to left. In frontof Sphinx (head,foreparts, of a man or her, part youth (hair, shoulder,arm raised). Red:face,breast,wing bow;garment. The Groupof the DresdenLekanis(ABV 22, 14). Late firstquarterof the 6th centuryB.C. 542 PI. 52 P 8779 C 13 Two non-joiningwall fragments.Max. dim. a) 0.102, b) 0.099. Baklr,Sophilos,pl. 62, figs. 117, 118. a preserves a boar(body,someof hindquarters) Fragment to right;fragment b givespartof two friezes:I) feline (hindquarters,tail), then a hoofedforeleg (boar,goat, or ram), bothto left;II) lotus-palmette complex.Red:a) ribs,markb) heartsand alternatepetals of palings on hindquarters; mettes,cuff and outersepalsof lotus. Sophilos(ABV 40, 22). Ca. 580 B.C. 540 P1.52

P 25368 Q 13-14:1 (U) Wall fragment.Max. dim. 0.10. Two animal friezes: I) hoof to right; II) ram or bull (body, part of forelegs) to right. Red: chest, belly stripe, on hindquarters. sheath,ribs, markings Close to the PantherPainter.Comparethe characterof the incisionof the animalson severallekanides by the painter:Athens,N.M. 16353-16359 (Paralip. 11,*1-6and 10).
Early 6th century B.C.

534 PI. 51

P 20651 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Partsof two friezes:I) feline (feet, rightforeleg)to right; II) lions (head, neck, shoulderof one; some of mane of the with heads turnedaround.Red: muzzle; other) confronted manes. forelocks; The Ceramicus Painter[Philippaki]. Compareespecially the lions on Athens, N.M. 907 (ABV 19, 4); Kerameikos, inv. no. 40 (ABV 19, 2; Kerameikos VI, ii, no. 107, pl. 93); and Kerameikos, inv. no. 39 (ABV 19, 6; Kerameikos VI, ii, no. 105, pl. 93). First quarterof the 6th centuryB.C. P 24949 a-c Q13:5 Three non-joiningwall fragments.Max. dim. a) 0.05, b) 0.129, c) 0.115. Fragmenta preserves partsof two friezes:I) animal(part of leg?); II) man (head and shoulders)to right;in front of showsa him, the tail of an animal?Fragmentb (illustrated) panther(head,neck,some of body)and boar (partof hindquartersand tail) to right. Fragmentc gives parts of two friezes:I) feline (claw)to right;II) feline (partof body,forelegs, tail) to left. Red:man'schiton;neck,forehead,muzzle of panther;markingson hindquarters, belly stripeof boar; of feline. belly stripe,ribs, markingson hindquarters The CeramicusPainter. Panthers that have horizontal eyes with eyebrowsand solid noses coveredwith addedred are unusualdetailsof drawingcharacteristic of this painter: inv. no. 40 (ABV 19, 2; Kerameikos VI, ii, e.g., Kerameikos, no. 107, pls. 93 and 96); Athens, N.M. 907 (ABV 19, 4); Kerameikos,inv. no. 41 (ABV 19, 5; Kerameikos VI, ii, no. 105, pls. 93, 94, and 96); and Kerameikos, inv. no. 42 (ABV 18, 1; Kerameikos VI, ii, no. 108, pl. 98). The long 536 PI. 51

535 P1.51

STANDS P 22471 Q 10:1 543 Max. dim. a) 0.192, b) 0.05; Two non-joining fragments. est. diam. of foot 0.31. The largerfragmentpreservessome of the torusfoot. Glaze firedreddishbrown. Fragmenta showson the righta seatedsphinx (preserved but for her head and neck)to rightand behindher, the hind leg and tail of a feline to left. In the field,an incisedrosette. Fragmentb showspartof an animal,perhapsits hindquarters. Red: band on wing, markings on hindquartersof markingon b;line sphinx;coreanddotson petalsof rosettes; abovefoot. Ca. 580-570 B.c. 544 P 23222 N 16 Wall fragment.Max. dim. 0.064. Projectionat bottom, with invertedrays. the beginningof the foot,decorated Male (feet, lower part of chiton,fold of cloak)to left; incisedrosette.Red: garment;core and alternatepetals of rosette;alternaterays. Late firstquarterof the 6th centuryB.C. 545 P2955 I-J 12


Incisedrosettefor fillingornament. Red:eye, fillet;coreand friezes.White:bordotson petalsof rosette;line separating fleshof monster. der of garment; Secondquarterof the 6th centuryB.C. P 13031 U25:2(U) Wall fragmentfromneartop. Max. dim. 0.137. Lion (head)to left with two horizontallines in the background.Above,a blackband.Red:maneof lion;line at bottom of blackband. Secondquarterof the 6th centuryB.C. 549 550 PI. 52 P 13012 V 24:2 (L)

Wall fragment.Max. dim. 0.088. Feline (shoulder,part of forelegsand neck) to right. Incised rosettesfor filling ornament.Red: neck, belly stripe, markingon shoulder. Late first quarterof the 6th centuryB.C. 546 P 15618 C 18:11

Wall fragment.Max. dim. 0.082. Glaze firedred;much of it is flaked.G. Stamiresand E. Vanderpool, Hesperia19, 1950, p. 383, no. 7, pl. 111. Decoration in friezes, part of one preserved:panther (head,neck,chest) and siren (wing, tail), both to right. Reincisedon inside: used as an ostrakon; /TALILI+S [ A PITO[ Red:neckof panther(?); stripon wing. Secondquarterof the 6th centuryB.C. P 13826 U 25:2 (M) Wall fragment.Max. dim. 0.107. Partsof two zones:I) siren (legs, some of breast)to right facing a feline (forelegs);II) panther (some of head, neck, shoulder,and tail) to left. In the field, incisedrosettes.Red: breast of siren; neck of panther;one line between zones. White:foreheadand stripon nose of panther. Secondquarterof the 6th centuryB.C. 547 548 P1.52 P 24261 O-R7-10

P.H. 0.32; diam. of base 0.34; diam. at top 0.145. A few fragmentsof wall missing. Glaze is abradedin places on foot. Lamberton and Rotroff,op. cit. (under136), ill. 21. Four animal friezes:I) two confronted lions with heads turnedaround;two confronted rams with a swan between, to right;II) floralbetweencocks,betweensirens;pantherto left; swan to right;boar to left; III) boar to right, between panthers; eagle flyingto left, betweenrams;IV) geesefeedRed:I) ing. Incisedrosettesand lotusesfor fillingornament. on hindquarters, manes,ribs,markings bellystripesof lions; necks, markingson shouldersand hindquartersof rams; part of wing of swan; II) cuff of lotus;combs,wattles,neck of cockon left, wing bow of one on right;fillets,wing bows, bandson tails of sirens;dotson neckof panther,ribs,markbandon wing of swan; ings on shouldersand hindquarters; of boar;III) panthers neck,ribs, markingson hindquarters of and boar as II; necks, ribs, markingson hindquarters rams;bandson wings and bar on tail of eagle;IV) bandson wings, barson tails of geese. First quarterof the 6th centuryB.C. 551 PI. 53 P 22321 P 8

Wall fragment.Max. dim. 0.08. Parts of two figuredzones:I) horse (forehoofs) galloping to right, then part of anotherfigure (borderof drapery)at the break; II) siren or sphinx (head, tip of wing) to left.

Wall fragment.Max. dim. 0.056. Parts of two zones: I) lotus and palmette ornament; II) cocks(headand neckof one;beakand combof the other) facing.The bit of glaze at the breakbehindthe cockon the left is probablypart of a lotus and stem. Red:combs,neck, wattle. The ornament above the cocks is very likely a lotuspalmettecross,not a festoon,for if it werethe latter,the part on the far left at the breakwouldbe the frondsof a palmette and would be incised.More likely, this is part of a tendril. Compare, e.g., this ornamenton an unattributeddinos, Vatican 306 (Albizzati, pl. 29); also London, B.M. 1922.6-15.1 by the Painterof LondonB 76 (ABV 86, 9). For confronted cockswith a lotusbud,cf. the lattervaseand one other by this painter, New York, M.M.A. 56.171.16 (ABV 87, 14;Paralip.32,14; CVA,New York4 [USA 16], pl. 12 [740]:2).Eachof these showstwo facingcockswith a floralornament of threebuds.551 was probably a composed but within a frieze. It is by a different similarcomposition


CATALOGUE 555 P4687 E-F 12-14

hand.For the subject,cf. also, C. Boulterand K. Lucknerin CVA,Toledo 1 [USA 17], pp. 4-5, with bibliography. Secondquarterof the 6th centuryB.C. 552 P 24646 Q 12:3 Wall fragment.Max. dim. 0.098. Closed quiver with bow attached,suspended.Above, a row of rosettes.White:centerof rosette.
Ca. 550 B.C.

553 P1.53


G 15:2

Wall fragment.Max. dim. 0.133. Piercedat upperright (the sides of the hole are glazed). On the right side, an ancientlead clamp. Symposion.Two men (heads, shoulders,torsos) recline on a couchlookingaroundat a youthnamed

Three non-joiningwall fragments.Max. dim. a) 0.103, b) 0.14, c) 0.055. Reddishwash on ground. Fragmenta preservesthe lower part of a drapedman walkingto right and a hangingdraperyfold near the right edge. Fragmentb gives the legs and someof the draperyof anothermale to right and behindhim at the break,a small bit of glaze that may belongto anotherfigure.Belowhim, a frieze of invertedrays. Fragmentc shows some drapery. Red: hanging fold on fragment a; crosses and dots on drapery.White:dot clusterson fragmentb.
Ca. 510-500 B.C.

556 P1.53


E-F 12-14

who comesup. One of the symposi(inscribed, retrograde), asts is named Vpyt )?o At the far left, someof the hair and neckof anotheryouthto left, andon the far right,at the break,partof a cup, perhaps held high by anothersymposiast.In frontof the couch,part of the table laden with food;on the wall to the left of the recliningpair hangs a lekanis.Abovethe figures,a zone of cores invertedrays. Red:hair, beards;nipplesof Phrynion; White:dots of rosetteson pillow; couchcover;inscriptions. of rosettes; food (paintedoverred). name is uncertain.The The readingof the symposiast's initial letter may be either kappa or lambda,althoughwe have opted for the latter. The third letter may be a badly written kappa, as suggestedby Henry Immerwahr(in a letterdatedDecember17, 1980) or evena pi as suggested by David Jordan (in a letterof November12, 1980). None of of letters spells a name that is the suggestedcombinations knownto us, and the namemay well be miswritten.For the der name of Phrynion,cf. W. Pape-Benseler,Wirterbuch
griechischen Eigennamen, Ca. 530 B.C. new printing, Graz 1959,

Wall fragment.Max. dim. 0.087. Athena (most of face, L-shaped cheekpieceof helmet, neck,chest)to right,holdingan owl (wing). White:flesh. The subject maybe the Judgmentof Paris.Forthe theme, cf. 433.
510-500 B.C.

557 PI. 53

P 12631 0 19:4 P 14862 A 18

Two non-joiningwall fragments.Max. dim. P 12631: 0.143, P 14862:0.083. Brownishwash on surface. P 12631 shows a woman or a maenad(head except for face, upper torso, parts of arms) movingto right. P 14862 shows a woman (headwith stephane)to left. In the fieldof chainwithout each,a vine;above,someof the lotus-palmette incision.Red:fillets;stripeson himation.White:flesh.
Ca. 510-500 B.C.

558 P1.53

P 24045 P-R 6-12

p. 1651. For the subject,cf. 420. 554 P1.53 P 23014 H 12:14

Wall fragment.Max. dim. 0.113. Parts of two zones: I) male (lower leg, booted)to right, behindanother(long chiton,bootedfoot) stridingto right; on the left sideof the first,a deer(hindlegs) to left;II) feline and tail) to right. Red: tongue of left boot. (hindquarters White:dotson chiton. The two malesmay be Hermesand Apollo.
Ca. 510-500


P 4680 E-F 12-14

of wall. Max. dim. a) 0.118, Two non-joining fragments in abraded Glaze is 0.075. b) places. shows Dionysos(head)standing Fragmenta (illustrated) to left on the left side of chariothorses (mane and neck of right-hand pole horse; end of mane of right-hand trace horse; some of the reins and pole stay). The god faces a woman (forehead,part of drapery)carryinga basketor a box on her head. In the field, a branch. Fragmentb prefriezes:I) hanginglotusbuds; servespartof two ornamental II) invertedrays. Red: beard, alternateleaves of wreath; maneof right-hand pole horse;woman'sfillet.White:woman's flesh.
Ca. 530-520

of torusfootand someof wall. Max. dim.0.16. Fragment Male (bootedfoot)to right. Below,a friezeof duckswith a blobin the fieldand belowthat,inverted rays.Red:line on uppersurfaceof foot.
Late 6th century B.C.

P8995 J18:2 560 PI. 53 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.075, c) 0.058. two women(foot,lowerdraperyof Fragmenta preserves below a sphinx (foreparts)to right with is to each) right; headturnedaround,a goat to left, and on the far right,a bit of an of glaze that may representpart of the hindquarters

STANDS animalto right. At the very bottomare the tops of inverted rays. Fragmentb (not illustrated)gives somedraperyfolds. Fragmentc shows more of the frieze: a lioness or a pantheress(body)to right.White:women'sflesh;sphinx'sface, neck,breast,stripon her wing;teatsof feline;dot clusterson garment. Comparethe Red-linePainter(ABV 605, 85).


P 24721 No grid 561 P1.54 Wall fragment.Max. dim. 0.056. Bandof glaze near top on inside. Man (face, some of body) to right behindanother(some of his back,long hair). Betweenthe two, the endsof a hanghair of secondfigure. ing fillet. Red:beard,fold of garment; The Painterof LouvreF 6 (Paralip.52).
Ca. 560-550 B.C.

P 25977 Q20:1 562 Wall fragment.Max. dim. 0.074. Blackbandon insideat top. Youth (mostof head and bodyclad in a chitonand cloak, left arm)to right,lookingaround.On the right,the elbowof another figure and between the two a hanging fillet or a wreath.Red:youth'sfillet. White:chiton.
Ca. 520 B.C.

Judgmentof Paris. P 3777 shows Paris (middlepart) to rightwith rightarmbentat the elbow.To judgefromthe directionof the upswept folds, his left arm was raised in a gestureof alarm.On the left, at the break,tracesof another figure,probablyHermeswho usuallystandsbetweenParis P 9977 shows Hermes (headwith petaand the goddesses. sos; right shoulder)to right with head turnedaround,preAt the left, a hangingfilsumablylookingat the goddesses. let. Above,some of rays. Red: stripeson drapery;petasos; coresof rosetteson Paris' garment.White:dots of rosettes; dotson cloak. Clairmont(Parisurteil,pp. 28-29) identifiedthe subject and put the fragments togetherbut later (p. 141) separated of the scene.The subthem and gave up the interpretation by Beazley,but he keptthe two fragments ject was accepted apart. The two fragmentscome from the same stand.The colorof the clay is the same;eachhas the samewash applied to the surfaceon the outside;the bands on the inside are irregularin width and appliedrathercarelessly. For the subject,cf. 433. The Edinburgh Painter or near him (Paralip. 219: P 9977).
Ca. 510 B.C.

565 PI. 54


H 12:14

563 PI. 54

P 17888 N21:9

Four non-joining fragments. Max. dim. a) 0.115, b) 0.073, c) 0.078, d) 0.032. Bandsof glaze on the inside. Wedding procession. Fragment a preserves the lower partsof two drapedwomen,one to left, the other,who wears an ependytesoverher chiton,to right.On the far left, traces of a third figure (drapery).In the field, a vine with grapes (no incision). Below the figures, a band with white dots, then a zone of invertedrays. Fragmentb shows the shouldersand armsof a womanto left. In her left hand,she holds a torch. She faces a man (raised left arm, drapery).Fragment c gives some of the horses (the headsand necksof the two trace horses;part of the neck of the right-handpole horse),the elbowof a figureto rightholdinga staffhorizontally, and at the breakbelow, tracesof anotherfigure,perhaps the muzzleof a dog. Fragmentd (not illustrated)preserves more of the invertedrays. Red: bordersof cloaks, crosseson garments;strips on manes;dots on one breastband,line on the other.White:femaleflesh;right-hand pole horse,teethof tracehorses;pendantson breastband;dotson bandbelow figures.
Ca. 510 B.C.

Two non-joining Max. dim. a) 0.13, b) 0.058. fragments. One fragment(b) without decoration preservingthe torus rim, the otherpartof the wall. Fragment a preserves a chariot (forelegs of the four tracehorse,a little horses,mostof the bodyof the right-hand of the neckof the right-hand pole horse)to right.On the left side of the teamis a figure(drapery) standingto left. White: right-handpole horse.
Ca. 510-500 B.C.

564 P1.54

P3777 G 12 P 9977 No grid

P27839a, c,d, H 13:5 Three non-joining of wall. Max. dim.a) 0.063, fragments c) 0.137, d) 0.074. On inside,wide blackbands. Chariotscene.Fragmenta shows the handsof the charioteerholdingthe reinsand goad.On the left sideof him, the head and shouldersof Apollo holding his kithara (his left hand may be seen against the stringson the right). Fragmentc givesthe drapery of two figures(oneis the charioteer on fragment a) standingin the chariot,partof its wheel and box, the tails and hind legs of the horses,and on the left side of the team,moreof the draperyof Apollo.Fragmentd (not illustrated)preservessome of the draperyof two figures fromanotherpart of the scene.The verticalobjectbetween them is probablya staff. Red: stripson tails. White:righthandpole horse. For P 27839 b, see 577.
Ca. 510-500 B.C.

566 Pl. 54

Two non-joiningwall fragments. Max. dim. P 3777: 0.076, P 9977: 0.089. Bands of glaze on inside. Reddish brownwash on outside.Clairmont,Parisurteil,pl. 8.


P 130 H5

Wall fragmentwith black band on inside. Max. dim. 0.052.


CATALOGUE White:woman'sflesh;row of dotson border of her garment; dotson man'sgarment.

Late 6th century B.C.

Woman(head) to right smellinga flower(the tips of the petalsappearjust abovethe break).In frontof her, the back of the head of another figure, perhaps Dionysos, also to right, his hair tied up in a krobylos.Red: fillet. White: woman'sface.
Ca. 510-500 B.C.



G 12

Four non-joiningfragmentsof rim and wall. Max. dim. a) 0.101, b) 0.036, c) 0.102, d) 0.09. Bandsof glaze on the inside.Much of the surfaceis pitted.Clairmont, Parisurteil, pl. 9:b. Fragment a preserves parts of two figures, a male (Hermes?)to left (petasos,backof head,left upperarm)and behindhim a woman (raisedarm, some of cloak). Between the two, a fillet. Fragmentb shows the feet of a womanto c andd left, andthe lowerborderof her garment.Fragments are rim fragmentsand preservesome of the invertedrays Red:coresof rosettesand stripes with dotsin the interstices. on garments;brim of petasos; undersideof rim. White: woman'sflesh;dotson her garment. First thoughtby Clairmont(Parisurteil, p. 29) to reprewas later sent the Judgmentof Paris,but the interpretation givenup (p. 141).
Ca. 500 B.C.

P 4746 e and P 4746 g + P 4689 E-F 12-14 572 Two non-joiningfragmentsof rim and wall. Max. dim. e) 0.066, g + P 4689: 0.111. Fragment e shows the rays below the rim (the very narrow one indicateswhere the artist ended the pattern). Fragmentg + P 4689 gives more of the rays and below them,partsof two youthsfacing(headof one on right;topof head of one on left). Red:edge of rim;top of head of youth on left.
Late 6th century B.C.


P 4746 f E-F 12-14

Wall and footfragment.Max. dim.0.057. Partof zone of inverted rays.Above,traceof figures.

Late 6th century B.C.


P3301 H 13 P4951 E-F 12-14

P 4746 a E-F 12-14 Fragmentof wall and foot. Max. dim. 0.09. Blackbands on inside. Man (someof bootedfoot)to right,preceded by a woman (feet, lower part of drapery).Betweenthe two, a vine. Below, invertedrays. Red:edge of foot. White:woman'sflesh; dotson her garments. The arrangementof the black bands on the inside of comefromfivesepa569-573 indicatesthatthesefragments rate, but similar, stands.They may be by a painterof the Leagros Group. Compareespecially Munich 1406 (ABV 368, 108;Paralip.162,108 and 171, 1), a ratherroughpiece with the Chiusi Painter. connected 569
Late 6th century B.C.

Two non-joiningwall fragments.Max. dim. P 3301: 0.073, P 4951: 0.11. Bands of glaze on the inside. Clairmont,Parisurteil, pls. 9:a (P 3301), 10:a(P 4951). on the left, the drapery P 3301 showspartsof two figures: of one standingto right;on the right, some of the back of anotherseatedon an okladias.P 4951 givesmoreof the seated figure(head)who holdsa lyre (partof one armandcrosspiece) and may be Apollo.He facesa woman(raisedhand, part of garment), perhaps Artemis. On the wall, fillets. Abovethe figures,rays. Red: folds and dots on garments; musician's fillet; woman's garment. White: dots on garments;woman'sflesh.
Late 6th century B.C.

575 PI. 55


M 17:4

Preservedbut for parts of rim, base, and figures. H. 0.134. Missing pieces restoredin plaster.On inside, black
bands. D. B. Thompson, Garden Lore of Ancient Athens


P 4746 b E-F 12-14

Wall fragment.Max. dim. 0.115. Blackbandson inside. Brownishwash on surface. Parts of three figures:drapedelbow of a figure to left; to rightlookingaround; draperyand armsof man, probably woman to of of some right.In the field,a vine. head, drapery White:woman'sflesh;dotson garment.
Late 6th century B.C.

[AgoraPicture Book 8] Princeton1963, ill. 38; Camp,op. cit. (under319), ill. 14. continuesroundthe stand.ArteThe figureddecoration mis, dressed in a long chiton and himation, mounts her chariotto right. On the left side of the team is a palm tree. Facingthe horsesis Apollo, dressedas Artemisis, holding his lyre in his left hand,a flowerin his right. BehindApollo is anotherpalmtree and a deerto left. In the field,nonsense abovethe backsof the horses: inscriptions;


P 4746 c, d E-F 12-14

Two non-joiningwall fragments.Max. dim. c) 0.143, d) 0.041. Fragmentc showsthe middlepartsof two drapedfigures, some of the legs of the one on the left, with a vine between. the feet and lower partof the drapery Fragmentd preserves of a woman to right. Below each, tops of invertedrays.

verticallybetweentheir legs: OPE O betweenApolloand the team: vertically OIEEIO

STANDS Above and below the figures, a frieze of rosetteswithout incision.Red:Artemis'fillet,loweredgeof her cloak,crosses tails and on it; part of chariotbox; reins and breastbands; manesof right-handpole and tracehorses;dotsand borders of Apollo's himation;edge of rim. White: Artemis' flesh; right-hand pole horse; teeth of trace horses, pendants of breastbands;Apollo'swreath and chiton,dots on its lower border;arms of lyre; throat, chest, belly stripe, and tail of deer;heartsof the palm trees;coresof rosettes. use of white, comparesomeof the For the very decorative work by the Diosphos Painter, especiallythe small neckamphora in Hamburg, inv. no. 1927.143 (ABL, p. 239, no. 142;CVA,Hamburg1 [Germany 41], pl. 20 [1986]:1,2) 29. Jan. and one once in the LondonMarket (Cat. Sotheby, 1968, no. 145). For the rosettes,comparethe ones on an epinetron, Akropolis 2599, that is akin to the Golonos Group (ABV 481 8).
Ca. 500-490 B.C.


Dionysos (most of head, part of body) to right, looking around. On the right, a second figure (drapery)to right. Red:beard;leavesof wreath;dots on garments.White:dot clusterson garments.
Ca. 500 B.c.


P 25915 M 18

Wall fragmentwith black band on inside. Max. dim. 0.067. Much of the glaze is abraded. Man, perhapsHermes (preserved except for lower legs and feet), to right, looking around at a horse (head). He and a petasos wearsa chiton,a chlamysoverbothshoulders, with the brimturnedup in the back.On the right,tracesof anotherfigure (shoulderand elbow, draped).Red: dots on cloak.White:chiton;dotclusterson cloak;studson headstall and rein of horse. The rectangular objectat the horse'smouthis a bit burr. For this device,cf. 471 (PI. 45).
Early 5th century B.C.


P 12449 L 18:2

Wall fragment. Max. dim. 0.091. Bands of glaze on inside. Lowerpartsof two drapedfigures:on the left a manmoving to right,a womanfacinghim. Below,a bandof chevrons. Red: border of woman's cloak; border of man's chiton. White:man'schiton;dotson cloaks;woman'sfeet;chevrons.
Late 6th century B.C.

582 P1.55

P 25962 M 18


P27839 b H 13:5

Wall fragmentwith black bands on inside. Max. dim. 0.056. Parts of three zones: I) petals of a palmetteor rosette; on a blackband;III) Dionysos(kantharos) to II) maeander Hermes Red: brim of beard. (head). right facing petasos; White:maeander.
Early 5th century B.C.

Wall fragmentfrom near foot. Max. dim. 0.092. Two bandsof glaze on inside. Woman (feet, lower drapery)to left facinga man (toes). Below, wavy line, and below that, invertedrays. White: woman'sflesh;wavy line.
Late 6th century B.C.

583 PI. 55

P 25968 M 18

578 P1.55 P 25980 Q20 Wall fragment.Max. dim. 0.11. Black band on inside
near top.

Woman (head, most of body) to left facing Hermes (end of kerykeion).On the right, the shoulderand draperyof a figureto right.Above,ribbonpattern.Red:fillet,eye;stripes on garments.White:fleshof woman;dotson drapery.
Late 6th century B.C.

Wall fragment. Max. dim. 0.062. Bands of glaze on inside. Woman (head, fingersof one hand) to left, standingon the left-handsideof a horse(smallbit of manein lowerright cornerof fragment), perhapsa pole horseof a chariotteam. On the far left of the fragment,tracesof an objectthat look like the armsof a lyre. Above,uprightlotus buds with dots in the interstices. White:woman'sflesh, dot clusterson her cloak;objectat left.
Early 5th century B.C.


P 26210 M 17

Wall fragment.Max. dim. 0.087. Blackbandon insideat Chariot(headsof two tracehorses)to right facinga man (end of beard, some of drapery).On the far right, at the break,tracesof anotherfigure.Red:beard;stripon maneof left-handtrace horse;dots on drapery.White: star on forehead of right-handtracehorse;dots on drapery.
Ca. 500 B.C.

P 20299 O-R 7-10 Rim fragmentwith part of wall. Max. dim. 0.08. Black bandson inside. Woman(head)to left. Red:fillet;eye;bandon outsideat edgeof rim. White:flesh.
Early 5th century B.C.



P 13456 N-P 20:1

Wall fragment.Max. dim. 0.107. Two bandsof glaze on insidenear top.

585 PI. 55 P 25914 M 18 Rim fragment with some of wall. Max. dim. 0.05. Brownishwash on outside.Blackbandson inside. Woman(head)to right. Behindher, at the bottom,traces of an objectthat look like the petals of a flower.Red:fillet. White:fleshof woman,partof object.
Early 5th century B.C.

176 586 PI. 55

CATALOGUE P 23311 L-N 16-18 The Groupof the DresdenLekanis(compare: 1442,1443 (Pl. 98), and 1859 (PI. 119). Late firstquarterof the 6th centuryB.C. 592 PI. 56 P 25354 S-U 19-21 Fragmentof wall. Max. dim. 0.05. Band of glaze near top. Glaze firedbrown. Siren or sphinx (head, wing bow) to right. Above,staggeredrows of dots. Red:flesh;fillet, wing bow;bandat top of scene. Comparewith the Groupof the DresdenLekanis. Late firstquarterof the 6th centuryB.C. P 23097 I 14 593 P1.56 supportwith blackglazealong Leg of standor fenestrated edges.Max. dim.0.123. but for left Partsof two friezes:I) lion to right,preserved rosettes for blobs and dot and tail; fillingornament; foreleg II) backof animal.Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 22903 I13-14 Wall fragment.Max. dim. 0.092. Much of the glaze is abraded. someof wings)to left. Sphinx(headwith polos,foreparts, Aboveher head to the right, part of a hole piercedthrough the wall and partly glazed. Blob rosettes.Red: body,wing bow. The Polos Painter (ABV 48, 139, where the numberis given as P 22908, and 681, 11 bis, the number incorrectly Paralip.20, 139, the errorcorrected). correct; Secondquarterof the 6th centuryB.C. 594 595 P 19163 C 18:4 of leg. Max. dim. 0.054. Fragment PotniaTher6nto right,holdinga goosein her left hand,a fox in her right.Incisedrosettesfor fillingornament. Below, Red:hairandwingsof godpartof anotherzone (rosettes?). dess;panelson skirt. Secondquarterof the 6th centuryB.C. 596 P 24755 P 17 stand.Max. dim. 0.083. Surface Fragmentof fenestrated finishedon each side of figuredpanel and on undersideof patternedzone above.Surfacescoveredwith a whitish slip insideand outside. Panel: siren to right; glazed line round edges of panel. Above,row of zigzags;below, part of an animal (bristlesof boar?). Secondquarterof the 6th centuryB.C. P 26770 S-T 18 597 P1.56 Wall fragment.Max. dim. 0.048. Woman(lowerpartof skirt)to right.Below,tonguepattern.Red:alternate tongues.White:feet (laiddirectlyon the dot rosetteson skirt;line of dotson upperand clay ground); loweredgesof border.
Ca. 570-560 B.C.

Wall fragment. Max. dim.0.048. Bandof glazeon inside. Male (head),perhapsDionysos,to left. Roundhis headis a thick fillet held togetherby rings. Red: beard;rings of fillet. Early 5th centuryB.c.


587 PI. 55

P 22695 0 12:1

stand. Two non-joiningwall fragmentsof a fenestrated P.H. a) 0.07, b) 0.10. E. Brann,Hesperia30, 1961, p. 331, F 17, pl. 74. above Fragmenta gives some of the torus base decorated with invertedrays.On the wall, partof a panel framedby a double line. In the panel, a floating swan (some of neck, breast,wing), its tail cut off by the left edge of the panel. Fragmentb gives part of the rays abovethe torus and most of anotherpanel(upperrightcornermissing)thatis slightly wider than the one on fragmenta. It is decoratedwith a St. Andrew'scross. by a superposed largelozengequartered In each of the smallerlozengesresultingfromthe partition, thereis a little diamondwith a dot in the center. Third quarterof the 7th centuryB.C. 588 P 17155 K-N 9-12 Wall fragment. Max. dim. 0.087. Agora VIII, p. 98, no. 579, pl. 37. Woman(mostof face,drawnin outline)to right,holding a pomegranate. Closeto the Painterof BerlinA 34 [Brann].
Ca. 630-620 B.C.

P 10652 B 14:5 Wall fragment.Max. dim. 0.082. Two bandsof glaze on inside. Woman (back of head with fillet, ear, temple) to right. Dot rosettefor fillingornament.Red:fillet.White:flesh. For the solid hair held by a broad,plain fillet, compare the sirenon Athens,N.M. 221 (ABV 6; Paralip.6). 589 PI. 55
Late 7th century B.C.

590 P1.55



Upper partof one leg and someof wall above.Max. dim. 0.10. Sphinx (head, wing) to right. Incisedrosettesfor filling Grooveabovehead,then tonguepattern.Red:filornament. let, wing bow;narrowbandabovegroove. The Painterof Eleusis767 (ABV 21, 3). First quarterof the 6th centuryB.C. P24651 19 591 P1.56 Wall fragment.Max. dim. 0.079. Bandof glaze on inside at bottom. Sphinx (neck,breast,wing bow) to left, facinga palmette (part of lotus-palmettecross?). Incised rosette for filling Red:neck,breast,wing bow. ornament.

LOUTERIA 598 Pl. 56 P 26755 U 19


Wall fragment.Max. dim. 0.073. Male (head)to left, playingthe aulos.Above,friezeof upright lotus buds and above that, part of a tongue pattern. Red:alternatetongues.White:dottedwreathof aulist.
Ca. 560-550 B.C.

right-handpole horse;woman'sflesh;contoursof armsand supportpiecesof kithara.

Early 5th century B.C.


P 25827 A-C 15-21

599 PI. 56

P 26756 U 19 foot and wall. Max. dim. 0.065. Fragmentof projecting Woman (lower drapery,foot) striding to right. On the left, foot of anotherwomanto right. White:feet;crosseson skirt.
Ca. 520 B.C.

Wall fragment.Max. dim. 0.068. Man (head,someof torso,arms)to right,holdinga crook. At the rightedgeof the fragment, tracesof an object.White: crook;object.
Ca. 500-490 B.C.

602 P 13255 H 12:6

602 PI. 56

600 PI. 56

P 23273 Q16

Wall fragment.Max. dim. 0.082. Divinitieswith chariot.On the left sideof the team (hindquartersof right-handpole and tracehorses,someof reins) standsApollo (shoulder,left hand) to rightholdinga kithara. A woman(face,shoulder,raisedhand)faceshim. White:

Top of stand(aboutone thirdmissing)with torusrimand someof stemon underside. Diam. 0.08; p.H. 0.02. On top side of stand, siren to left, preserved but for one wing, standingon the stem of a lotus. Red: fillet, band on wing, doton tail of siren;budof lotus.White:face,neck,and redbandon wing, stripat baseof tail breast,lines bordering feathers.
Late 6th century B.C.

LOUTERIA 603-607 Pls. 56 and 57

P 25364 Q 13-14:1 (U) Shoulderfragmentwith partof handleattachment at left. Max. dim. 0.086. White slip on surface. Sirenor eagle (tail) to right.Crossesand zigzagswith trianglesfor filling ornament.On the left, the edgeof the panel. Red:alternatefeathersof middlesectionof tail. Near the Nettos Painter(Paralip.5, ii, 3).
Late 7th century B.C.

603 PI. 56

the startof the handlezone.An oddityis that this indicating part is unglazed; thus, the figures were not set in the customary round,as they do panelsbut may havecontinued on somecolumn-kraters. 605 cannotbe a column-krater for the rim has no overhang; norcan it be a dinos,forthe tongue patternwould not be stopped. Late firstquarterof the 6th centuryB.C. 606 P. 56

P 16567 No grid Fragmentof flat rim, handle root, and wall. Max. dim. 604 P 26295 A 17:1 (U) 0.207. Callipolitis-Feytmans, "Louteria", pp. 20, 25, 26-27, Fragmentof convex wall and roundedrim with spout. 39, 50-52, and 55, fig. 6:3 and pl. 4:d. Max. dim. 0.115. Glaze fired red. Silhouette technique. Rider (top of his head;head of horse, part of one raised "Louteria", Callipolitis-Feytmans, pp. 12, 14, fig. 4:2. forelegjust abovebreak) to left with head turnedaround. On left of spout,animal(someof headandneck?)to right. Abovethe panel, tonguepattern.On top of rim, incisedroBlob rosettesfor filling ornament. settes. Red: neck, inside of ear, eye, markingson head of The figureddecoration was set in a panel on each side of horse; cores and alternate petals of rosettes; alternate the spout. For a similarlydecorated example,but of minia- tongues.White:cornersof horse'seye. ture size, cf. Athens, N.M. 2341 (Callipolitis-Feytmans, The double incised line between the horse's mane and "Louteria",pl. 4:a-c). neckis characteristic for horsesby Sophilos,e.g., 29 (PI. 4), Early 6th centuryB.C. LouvreE 873 (ABV39, 12; Baklr,Sophilos,pl. 48, fig. 87), N 128 (ABV 39, 14; Baklr,Sophilos,pl. 65, fig. Cambridge 605 P1.56 P5365 F 12:5 129), and Herakleion(Paralip. 18, 14 bis;Bakir,Sophilos, Rim fragmentwith startof shoulder.Max. dim. 0.061. pls. 80, 81, figs. 158-160: calleda workshoppiece, pp. 40, On top side of rim, rosette.On shoulder,traceof tongue 42), but the drawingon 606 is not his. The representation pattern.Red:coreand alternatepetalsof rosette. cannot be a frontal chariot, as deThe tongue pattern terminatesjust below the rosette scribed by Callipolitis-Feytmans ("Louteria", p. 20), for


CATALOGUE 607 PI. 57 P 2709 G 6:3 (U)

some of the head of one pole horse, turned to the right, would have to be visible betweenthe human head and the horse'shead. For a fully preserved exampleof this Archaic cf. E Louvre 873 convention, by Sophilos. What is more our of ridersto left, is that scene likely depicteda cavalcade as as know as we it from the Corfu three, many perhaps louterion,inv. no. E 61.09, not far in style from Sophilos (Paralip. 19) and from Berlin F 1722 by the Prometheus Painter (ABV 104, 124; Paralip. 39, 124), contemporary with 606. Secondquarterof the 6th centuryB.c.

of rimand shoulder.Max. dim.0.115. E. VanFragment derpool,Hesperia15, 1946, p. 313, no. 215, pl. 62. Satyr (head and shoulders)to right. On the right, the raisedrightarmof anotherfacing.Betweenthe two, a hanging cloak. On the far left, a satyr (face, extendedarm) to right. On top of rim, incisedrosettes.Red: beardof satyr; cloak;line at outeredgeof rim. Late 6th centuryB.c.

DINOI 608-617 Fig. 13 Pls. 57 and 58

BOWLS 608-614

P 24312 Q 12:2 608 P1.57 Rim and wall fragment.P.H. 0.045. Parts of two animal friezes:I) feline (part of neck, hind exceptfor her face legs and tail) to left, and siren,preserved and legs, to right;II) wing of sphinx or sirento left. Incised On top sideof rim,SOSpattern. rosettefor fillingornament. Red:bar on tail of siren;half of wing bows and red dot on upperhalf. First quarterof the 6th centuryB.C. 609 P. 57 P 12811 09 Wall fragment,slightlycurving.Max. dim. 0.105. Thinly glazedon inside. Two animalfriezes:I) goator ram(forelegs, partof belly, someof hind legs, on the rightat the break,muzzle)grazing to right; II) boars (heads and shoulders)confronted,the right one tusking the left. Incisedrosettesfor filling ornaand necks. ment.Red:I) belly stripeand neck;II) foreheads Painter which of the Ceramicus with works Compared
recall the KX Painter (ABV 20, -).

Late firstquarterof the 6th centuryB.C. 610 Pl. 58 P334 G 15:3 H. 0.20; diam.of bowl Much of bowl and rim preserved. 0.30. undecorated. Below the Rim diam. at rim 0.342; of vessel with Bottom reserved black band. a friezes, figured scratchesand tracesof wear from restingin a stand.T. L. Shear,AJA36, 1932, p. 387, fig. 6; idem,Hesperia2, 1933, p. 468, fig. 17; R. Young,Hesperia4, 1935, pp. 430-441. Three friezes:I) two scenes. 1) At the far left, the lower parts of two figuresto right, one dressedin a chitonand a festoon.Then comesa cloak.Next, part of a lotus-palmette gap andon the next partof the frieze,the endof the pattern.

One 2) Komasts.Two on the left are completely preserved. movesto left lookingaround,holdinga drinkinghornin his left hand. Behindhim, a companion plays the aulos while a but forhis legsbelowthe knees,comesup to third,preserved fill his kantharosfrom the column-krater standingon the arm with ground.On the right, the torso and outstretched of a horn fourth to komast three scenes.1) drinking right.II) On the veryleft, the muzzleandforelegsof a gallopinghorse and a male hand holdingthe reins,then a large tripodand on the rightof it, a man in a long robewith a knifeor a stick in his righthand. Betweenhis beardand his rightshoulder, the pommelof a sheathedsword.2) Ithyphallicsatyr pursuing a maenadholding a stone in her left hand. 3) The CalydonianBoar Hunt, with the names inscribed.On the left, a man comesin armedwith a small stone and accompaniedby a leashedhounddrawnin outline,its mouthand eye incised.In frontof him, Akastos(a) rushestowardthe boarwith spearpoised,a knifein his left hand,while his dog (b) attacksthe beast,which is aboutto tramplePegaios(c) who has fallen flat on the ground,bloodpouringfrom his fromthe throatof the boar wounds.A brokenarrowprojects which is spearedin the muzzle by Meleager (d). All that remains of this hero is his head and one foot. Behind MeleagercomesAtalanta(e). Only her head remains.Behind her are traces of anothername (f). The rest of this a boarflankedby sirens, sceneis not preserved. III) animals: and a bull flankedby lions (of the right lion, only its face of this zone is not preserved. Red: remains);the remainder I) man'scloak;cuffs,sepals,petalsof lotuses;hearts,someof leavesof palmettes; links;facesand mostbodiesof komasts; handle II) rim, supportsand feet of tripod;face and hair of man; face, shoulders,tail, tip of satyr's penis; neck and shoulders of maenad, her stone; inscriptions;faces and shouldersof hunters;hunter'sstone;arms and buttocksof Pegaios;neck, snout, belly stripe, ribs, and markingson

DINOI of boar;III) faces,wing bowsof sirens;boaras hindquarters II; muzzle, mane, belly stripe, and ribs of lion; neck, ears, of bull. belly stripe,ribs, and markingson hindquarters a ] tASTO5 c .6AA 1o5 b JEPoI d MO[ 611 PI. 57 P3468

179 H 8-10

e ATA.L--[

f --q

For the naming of the second figure in the boar scene Akastos,cf. Young, op. cit., p. 438. Normally, one would to precedethe figureit names,regardexpectthe inscription less of direction,but there was not sufficientroom. The boar'svictimshouldbe Ankaios,not Pegaios,whosenameis otherwiseunknown,but the artistmay have been following a differenttradition,as suggestedby Young(p. 439). There are two odditiesin this scene.The first is the dog drawnin outline with inciseddetails,for which there seems to be no parallel (Young,op. cit., pp. 438-439). The secondis that the boarwalks insteadof rears,as it doesin all othercertain of the CalydonianBoar Hunt, i.e. those in representations which Atalanta appearsor that have the names inscribed. Its directionto right is unusual for the periodbut is paralleled a little later in two examples,both by the Painterof Rouen 531: the namepiece(ABV 88, 1) and one in Rhodes (ABV 89, 2). For the theme,cf. 31. For the shaggysatyr,the bestparallelis the one by Sophilos, Istanbul(ABV 42, 37; Baklr,Sophilos,pl. 35, fig. 66), which shows a satyr pursuinga maenad.For a figurewith red shoulders,cf. Akropolis590 (Graef, pl. 27), which has the same exuberantstyle of drawingas 610 but is by a differenthand. The scene with the tripod remains difficultto explain. the possibilityof the Pursuit Young(p. 436) rightlyrejected of Troilos, for the tripod would have no meaning in this event. Beazley (Development,p. 107, note 32) suggested that the artistmay havehad in mindthe Gamesin Honorof Patroklos,a very rare theme in vase painting (Brommer, Heldensage3, pp. 461-462). In ABV (p. 23) he optedfor the FuneralGamesof Pelias, a themealmostas rare (cf. Brommer, Heldensage3,p. 496). Either of these representations would explain the presenceof the tripod,and perhapseven the man, but not the horse, which is a mount,not one of a chariotteam.For the latter,, the headof the othertracehorse would have to appear as it does in the scene by Sophilos, Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos,pl. 6, fig. 10). The low positionof the rider'shand suggeststhat he restrainsthe horse.Perhapshe hasjust dismounted. For red inscriptions, cf. footnote11 above,p. 14. with the Groupof the DresdenLekanis(ABV Connected 23).
Ca. 580-570 B.C.

Fragmentof rim and wall. Max. dim. 0.154. Traces of Most of glaze firedred. burningon figuredpartof fragment. a warrior On the left, (head protectedby a CoFight. rinthianhelmet,raisedrightarmwith spear)movesto right but lookingaround.Behindhim, anotherwarrior,preserved his to for mostof his legs and left forearm, fights right, spear held high. He wears a corslet,over a short chiton, and a is suspended froma baldric Corinthianhelmet.A scabbard he carriesa roundshieldseen from over his right shoulder; the inside.Abovethe figures,tonguepattern,and on the top sideof the rim,lotusbuds.Red:crests; insideof shield;alternate tonguesand alternatelotuses;bandon innerand outer edgesof rim. White:inneredgeof crest;chitonof warrioron right;dotson his shieldband. Since the head of the warrioron the left is lower in the than that of the one on the right, it indicates composition that he is fleeing,probablywith kneesbent. The Painterof LondonB 76 (ABV 87, 19).
Ca. 570-560 B.C.

P 26758 U 19 612 P1.57 Wall fragmentfromnear startof neck.Max. dim. 0.029. Glaze firedbrownon inside. Stag (antler,ear, part of neck)grazingto left. Red:neck; line near top on insideof fragment. The stag was probablypart of an animalfrieze. For two of dinoi,cf. Wiirzcontemporary exampleson the shoulders burg 453 (Langlotz, pls. 129, 130) and Brussels R 222 (CVA,Brussels1 [Belgium1], pl. 2 [13]:1). Secondquarterof the 6th centuryB.C. P 483 I 17 Shoulderfragmentwith startof rim. Max. dim. 0.077. Woman(head,shoulder)to right.On the right,the raised hand of the woman. Above, tongue pattern. Red: fillet; alternatetongues.White:flesh. stripeon garment; The verysmallfigurescompared with the largesize of the tonguesindicatethat this dinos had a narrowfrieze of figures on the shoulder,probablyabovethe main zone. Compare the namepieceof the Painterof LouvreE 876 (ABV 90, 1). 613 may be by him, but so little of the figuresis preservedthat it is difficultto be certain.
Ca. 550 B.C. 614 P1. 57

613 PI. 57

P 14939 E 19:7

Rim fragment.Max. dim. 0.039. On top side of rim, warrior(head protected by a Corinthian helmet,part of a roundshieldand a spear)to left. On inner side of rim, ship (top of mast,part of sail and yards). Red: rim of shield. White: dot on helmet crest, remainsof shielddevice;sail. The positionof the spearis odd, for it pointsdownward. as on Madrid 10902 Perhapsit is the goad of a charioteer,




13. Dinos stands615 (P 26619), 616 (P 21708), and 617 (P 13271). Scale 1:2 616 Fig. 13, P1.57 P21708 07:9 Fragmentof foot with broadrestingsurface.Max. dim. 0.18; est. diam.0.32. On top surface,animalsto left: feline (hind legs, part of tail), ram (head, legs, body). Below, rays. Ridge decorated with dotsseparates animalfriezefromrays.Red:neck,belly stripeof ram;line aboveraysbelow ridge. The KomastGroup:II, the mannerof the KX Painter (ABV 28, 6). Ca. 585-575 B.C. 617 Fig. 13, PI. 57 P 13271 G-I 11-12 Flaring wall and rim fragment,with ring at junction. in plaster.Two Partsof wall and nearlyhalf of rim restored bandsof glaze on inside. Poor,brownishblackglaze. P.H. 0.117; rim 0.148. of esseson sideof rim; Friezeof "penguin" figures.Border rosetteson flaringinsideof rim. Three wide blackbandson inside.
Ca. 550 B.C.

by the AntimenesPainter (ABV 275, 133). Ships are very commonon the insidesof rims of dinoi after 530 B.c. For a list, cf. CVA,Boston2 [USA 19],pp. 9-10.
Ca. 520 B.C.

STANDS 615-617

P 26619 T 18:2 615 Fig. 13 on underside. Max. dim.0.10; Fragmentof foot,reserved est. diam. 0.22-0.23. Vertical surface has four rills. The glaze has fireda brownishblack. On top surface,ornamentaldecoration.Preserved: parts of two circles,one decorated with incised lozenges.Inside one circle is a wheel rosette;inside the other,bits of glaze. Betweenthe circlesand outeredge of foot, rosette.At outer edge,dots. Red:circlewith lozenges;alternatedotsof wheel rosette; partof objectin othercircle;line betweencirclesand row of dots;rills. Last quarterof the 7th centuryB.C.

HYDRIAI HYDRIAI 618-669 Pls. 59-63




618 P1.59

P 26776 T-U 19-20 (I)

Two non-joining fragments. Max. dim. a) 0.141, b) 0.052. Part of the wall and a horizontal handle (a), fragmentfromthe shoulder(b). partof the friezeof inpreserves Fragmenta (illustrated) cised rosettesthat encirclesthe vase directlybelow the handle zone and some of the rays above the foot. Fragmentb gives a head to left, perhapsthat of a sphinx or a siren,and on the left at the break,part of an uncertainobject,possibly the tip of a wing. Red: head and neck;cores and alternate dot on wing(?);top surfaceof handle;line petalsof rosettes; aboveand below rosettesand at top of rays. Late firstquarterof the 6th centuryB.C. 619 P 20707 R 11:2

in ABV, the curvenear Althoughcalleda neck-amphora that the shapeis a hydria. the top is verysharpandindicates Cf. Eleusis 266 (ABV 44, 12; Paralip. 20, 12) and Delos 589 (ABV 44, 17). The Polos Painter(ABV 44, 8). Secondquarterof the 6th centuryB.C. 622 P2824 H 12:11 Fragmentof neck.P.H. 0.095; max. dim. 0.127. Sphinx (headwith polos,breast,foreleg,partof wing) to right, facing a siren (head, most of body, wing). Blob rosettes for filling ornament.Red: breasts, wings; band on bodyof sphinx. was surelya sirenbetweensphinxesand The composition but would not fit betweenthe handlesof a neck-amphora ratheron the neckof a hydria.Cf. Delos 589 (ABV44, 17). Near the Polos Painter(ABV 49, -). Secondquarterof the 6th centuryB.C. 623 Pl. 59 P5201 F 12:6 Wall fragment.Max. dim. 0.148. Rootof verticalhandle at top. Friezes: I) parts of two incised rosettesnext to vertical lines markingend of handle;II) two confronted sirens;on the left, a wing andon the right,the endof a tail. Incisedand blob rosettesfor filling ornament.Below, rays. Red: wing bows, barson tails;somerosettes. of the Polos Painter(ABV 49, 2). Companion Secondquarterof the 6th centuryB.C. 624 P771 I 17:1 Preserved but for mouth,neck, verticalhandle,and part of shoulder.P.H. 0.06; diam. with handles0.082. Glaze is abradedin manyplaces.Firedred. Traces of figured decoration, but the subject is unintelligible. First half of the 6th centuryB.C.

Wall fragment. Max. dim. 0.118. Root of horizontal straphandleon right. Swan to right; incised rosette under handle. Red: wing bow;blobson rosette;two lines underpicture. Late firstquarterof the 6th centuryB.C. 620 PI. 59 P5467 E 16

Fragmentof rilledrim and neck. Max. dim. 0.15. Riders(headand armof one, headand neckof his mount; of anotherhorse)to right. part of the tail and hindquarters Red:dot on chestof rider;eye and neckof horse;two bands on insideof mouth;rills. It is unusualfor round-bodied hydriaito havethe figured decorationon the neck. Besides 620, here are some other examples:four by the Polos Painter,Eleusis 266 (ABV 44, 12; Paralip. 20, 12), Berlin 1656 (ABV 44, 18), Boston, M.F.A. 76.34 (ABV 44, 19; CVA, Boston 2 [USA 19], pls. 68 [902], 69 [903]:1), Basel Market (Paralip. 20); Oxford 1932.732 attributedto the Ragusa Group (CVA, Oxford3 [GB 14], pl. 36 [651]:1-11);Copenhagen, inv. no. 13536, close to the Painterof LondonB 76 (Paralip.32, 2 bis). Eleusis 266 and Copenhagen13536 also have rilled rims. Secondquarterof the 6th centuryB.C. 621 P. 59 P 12019 P 19


Wall fragment.Max. dim. 0.105. Animalfriezes:I) felineor sphinx (foreleg,someof belly) to left;rosettebelow;II) sphinxes,or sirenand sphinx (face of one, all of one sphinx) facing;at right,tail of birdor siren; incised and blob rosettes for filling ornament. Below II, rays. Between friezes, dicing. Red: I) belly stripe; II) hair, breast, belly stripe, wing bow, and markingson hindquarters.

P 16325 N 18:8 (M) Two non-joining shoulder fragments. Max. dim. a) 0.086, b) 0.074. Fragmenta preservesthe head, neck, and shoulderof a lion to left sinkingits teeth into the hindquarters of a bull. of the lion and the breast Fragmentb givesthe hindquarters of a siren,bothto left. Red:markings on hindquarters; blood flowingfrombite;neck,ribs;wing bow (justtracesremain); line above figures on a. White: teeth of lion, belly stripe; breast. Kleitias(ABV 77, 11).
Ca. 570-560 B.C.

625 P1.59


CATALOGUE Warrior(top of head with high-crested helmet)to right. the line dividingthe The horizontal line probably represents shoulderfromthe body. The high positionof the warrior's headsuggeststhat he is mountedor perhapsstandsin a chariot.
Ca. 560 B.C.

P 5228 N10:1 626 P1.59 Five non-joiningfragmentsof shoulderand wall. Max. dim. a) 0.118, b) 0.102, c) 0.037, d) 0.085, e) 0.06. On the shoulder, lotus-palmettecross between sirens. a showsalmostall of the rightsiren(legsmissing) Fragment and part of the floral. Above,tongue pattern.Fragmentb givesthe top of the head,partof the wings and tail of the left siren. On the body,warriors.Fragmentb shows the upper part of a raisedright arm of a warriorto right, someof his chiton,the tail of his helmetcrest,and partof his scabbard. the On the left, ivy framingthe panel. Fragmentc preserves helmetedhead of a warriorto left, part of the rims of two shields. Fragmentd shows the lower legs (greaved)of two warriors,perhapsthose on c, to left. Fragmente (not illusRed: fillets of sirens;bars on wings trated)is undecorated. and tail; heartsof palmettesand lotuses;alternatetongues; rims of shields;two greaves;two lines below panel. White: flesh of sirens; dot at end of each lotus petal; dots round chitonof warrioron b. heartsof palmettes; The Painterof LondonB 76 (ABV 86, 5).
Ca. 560 B.c.




Wall fragmentwith start of shoulder.Max. dim. 0.076. Glaze worn in manyplaces. Woman (head, part of drapedtorso) to left and behind her, a man (partof head, body,right arm with drapery)to the shoulright.Aboveheads,line in diluteglaze separating der fromthe body. Red:woman'sfillet, dot rosetteson her hair and beardof man, panel on his cloak.White: garment; fleshof woman.
Ca. 560-550 B.C.



A 19:5

P998 I16:4 627 P1.60 Most of bodypreserved.P.H. 0.21. Mouth, neck,shoulder, handles,and foot lost. Glaze has misfiredred in places. Frontalchariot,preserved exceptfor the headand neckof the tracehorseon the left, the mane and part of the headof the one on the right, some of the mane of the pole horseon the right, the top of the charioteer's head, and a bit of the chariot. Framed at the sides by ivy. Above the foot, rays. Red:manes;breastbands;chariotbox;two lines belowpanel and one aboverays that continueroundthe vase. White: chiton. charioteer's Lydos(ABV 108, 18).
Ca. 560 B.C.

Fragmentof shoulderand wall. Max. dim. 0.112. Glaze in manyplaces. is abraded In panel,two drapedyouths(chitonandhimation)facing; betweenthem,two verticalrowsof dotsseparated by a line. A single row of dots flanksthe panel on each side. On the Red:line two haresrunningin oppositedirections. shoulder, roundthe vase. underfiguresthat continued
Ca. 550 B.C.

632 P1.60

P 5226 N 10:1

Many fragments. Max. dim. a + d) 0.193, b) 0.043, preserve c) 0.194, e) 0.062, f) 0.035, g) 0.097. Six fragments traces of decorationon both the shoulderand body. Foot

P26544 T 18:4 628 P1.60 Wall fragmentfrom lower right cornerof panel. Max. dim. 0.183. Departureof warrior.At the left, the toe of a figurefacing right,then the lower part of the warrior'sshield,his legs to left, someof his spear(a verythin line), and two foldsof his with a bee or a wasp. On cloak.The shield is emblazoned the right,the lowerhalf of a drapedmale,also to left. At the bottomof the fragment, tips of raysabovethe foot.Red:fold and stripe on man's garment;line below panel continuing roundthe vase;anotherabovethe rays.White:shielddevice. Perhapsan early work of Lydos. Comparethe drawing on LouvreE 868 (ABV 110, 30; Tiverios, pls. 3, 4:a) and LouvreC 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, ll:a). For the shield device,cf. Akropolis607 r by Lydos (ABV 107, 1; Tiverios,pl. 48). For other examples, cf. M. B. Moore,AJA83, 1979, p. 88, note 77. Ca. 560 B.c. P 22167 Q 15 629 P1.60 Max. dim. 0.037. Wall fragmentwith start of shoulder. Glaze veryworn.

On the body, frontalchariot.On the shoulder,tracesof two horsemen,perhaps flanking a fight. Fragmenta + d partof the neck,shoulder,and bodywith someof preserves handle. On the shoulder,rider (head and horizontal one of shoulders; top mane,someof legs,tail of his mount)to left a holding spear (tip). Tongue patternon shoulderat junction with neck.On the body,the top of the headof the trace horseon the right, and to the right, ivy with berries.Fragmentb givesthe top of the headof the tracehorseon the left and a bit of the ivy patternon the left. Fragmentc shows parts of the legs of both pole horsesand the tracehorseon the left, the axle, one wheel, and partof the chariotbox. Below, someof the rays abovethe foot (not illustrated).Fragthe muzzleof the pole horseon the left;the mente preserves chest of the pole horse on the right;the and muzzle, neck, shows charioteer. the of Fragmentf(notillustrated) drapery a bit of the ivy fromthe upper left cornerof the panel and the end of the tail of the horseon the left on the shoulder. Fragmentg (not illustrated)gives more of the ivy pattern from the lower right cornerof the panel. Red: manes and tails;hair of rider;chariotbox, breastband;two lines below panel;two more abovethe rays;alternatetongues.White: blazeof tracehorseon left. chitonof riderandof charioteer; lines on the chests of the three vertical The E. Group of frontalhorsesby these painters, horsesare characteristic

HYDRIAI and other details such as the long red mane incisedonly at the lower edge are also typical. Compare,e.g., New York, M.M.A. 56.171.12 (ABV 134,22; Paralip.55, 22); Munich 1380 (ABV 135, 34); Tarquinia, inv. no. 617 (Paralip.56, 36 bis);Adolphseck 2 (ABV 686,40 bis;Paralip.55, 40 bis); Boston, M.F.A. 00.330 (ABV 135, 45; Paralip. 55, 45; Vienna3596 (ParaCVA,Boston1 [USA 14],pl. 5 [627]:2); und Sammlung lip. 56, 48 bis), and Basel Antikenmuseum Ludwig (Paralip. 57, 63 ter; Berger and Lullies, op. cit. [under 476], p. 62). For the white blaze, a rare detail, comparethose of the pole horses on LondonB 194 (ABV 136, 56; Paralip. 55, 56). Ca. 540 B.c. 633 P1.60 P 1869 I-K 6-8


Shoulderfragmentwith startof neck. Max. dim. 0.048. Youth (head, most of left arm) to left, with spearpoised. Behind him, a horse (head). Above, tongue pattern. Red: hair, core of rosette on garment;horse's mane; alternate tongues;ring at junction.White:dotsof rosette. Ca. 540 B.c. 634 P 14372c N 10:1

her garments; dotson borders of all garments; belly stripeof feline. The large amount of space behind the man on P 4905 suggeststhat he is the leftmostfigure.To judge fromwhat remains of the composition,the subjectmay have been a group of deities. This would accountfor two men in long robes,for they couldbe DionysosandApollo,or even Poseidon and Zeus. Compareas examples:three by the AntimenesPainter,Toledo 1956.70(ABV 268, 26; Paralip.118, 222 26; CVA,Toledo 1 [USA 17],pl. 23 [803]:1),Altenburg (ABV 268, 27; Paralip. 118, 27), and Hanover 1965.30 (Paralip. 119, 27 ter, no longer in the Bareiss Collection; or HavaCVA,Hannover1 [Germany 34], pl. 19 [1651]:2); na, once Lagunillas88, an unattributed (Gerhard, hydria AV, pl. 14). Difficult to parallel in such a scene is the amountof spacebetweenthe leftmostfigureand the edgeof the panel.
Ca. 530-520

Wall fragment.Max. dim. 0.073. The scaleof drawingis too small to belongto 642. Chariot (foreparts of the horses; drapery of a figure standingat their heads)to right.
Ca. 530

635 PI. 60

P 6564 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.072, b) 0.053. Each fragmentpreservesone root of a horizontal handle.Fragmenta givesthe turn of the shoulder. Komasts. Fragmenta preservesmost of one (face, left arm, and shouldermissing) dancingto right. Fragmentb gives the left arm and someof the chestof another.Framing the panel on each side, a verticalwavy line with dots in the interstices,between lines. On the shoulder,ivy with dots. Red: hair; nipples; two lines below panel that continued roundthe vase. The selectionof ornamentis most unusual.For the wavy line with dots,the only parallelseemsto be an unattributed hydriain Florence,inv. no. 94323 (CVA,Florfragmentary ence 5 [Italy42], pl. 23 [1887]:2,3), wherea similarpattern separatesthe body from the shoulder.Other examples of this patternon hydriaiare unknownto us. Third quarterof the 6th centuryB.C. 636 PI. 61 P 4905 E-F 12-14 P 3256 F 14 Two non-joiningwall fragments. Max. dim. P 3256: 0.101, P 4905: 0.105. Brownishwash on surface. P 3256 preserves the panel and predella.Panel:man and fewoman(feet, lower partsof garments)to right.Predella: line (body,hindquarters, tail) to right. P 4905 showspartof a man (feet; lower part of chiton) to right. Red: stripe on woman'sgarments.White:woman'sflesh;dottedcrosseson

P 26629 T-U 19-20 (III) Shoulderfragment.Max. dim. 0.067. Fight (two warriorsover one fallen). On the left, a warrior (preserved but forbackof head,rightarm,mostof right clad in a Corinthian helmetand a shortchitonwith a leg), corsletover it, comesin from the left, his spear raised,his roundshield held out. Of his opponent,all that remainsis Of balls,one preserved). part of his Boeotianshield (device: the fallen warrior,only part of his legs and round shield Red:stripeson chiton;rimof (device: wreath)are preserved. roundshield;dot on rim of Boeotianshield. White:devices on shields;armbandof roundshield;dot clusterson chiton. 637 P1.61
Ca. 530-520

638 P1.61



Wall fragment.Max. dim. 0.087. Part of paneland predella.Panel:chariot(partof wheel) and woman (footwith loweredgeof drapery)to right. Predella: boar (body, part of hind legs) to right. Red: ribs, White:foot;belly stripe. on hindquarters. markings Third quarterof the 6th centuryB.C. 639 PI. 61 P4634 F-G 12:1 Two non-joiningwall fragments.Max. dim. a) 0.08, b) 0.033. Fragmenta gives part of the panel and predella.Panel: chariotteam (the lowerleft forelegsof the two tracehorses), a warrior(lowerleft leg greaved,left foot,toe of right foot) facing,andbetweenmanandbeast,a birdor siren(tail, part of wing) perched on a plant.Predella: animalfrieze(backof shows partof a leg or animal).Fragmentb (not illustrated) an arm. Red: greave;part of wing. White: forelegof lefthandtracehorse. The forelegsare too closetogetherto be thoseof a mount, which usually has one forelegslightly behindthe other. A left-hand trace horse painted white is particularlyrare. Compareone by the Swing Painter, Rhodes 14093 (ABV 307, 57; Bohr, Schaukelmaler, pls. 79:A, 80:A). The high


643 PI. 61 P 24644 Q 12:3

position of the back of the animal in the predella indicates that it is not a feline but more likely a bovid or perhaps a ram or a goat. Compare, as an example, Louvre C 10660 (CVA, Louvre 11 [France 18], pi. 142 [815]:1).
Ca. 530-520


P1. 61

P 26442

T 19:1

Wall fragment with turn of shoulder. Max. dim. 0.054. Upper right corner of panel: Hermes (head, shoulders, upper part of body) to left, clad in a petasos with the brim turned up in the back, a chiton, and a cloak. On the right, ivy with dots. Red: forelock and beard; stripes on cloak. White: brim of petasos; dot clusters on cloak; baldric. The dark object above the head of Hermes is not a band of glaze across the top of the panel, for there is a line above it that separates body from shoulder decoration. Also, a band of glaze at the top of the panel of a hydria is unlikely. Rather, the glaze represents the roof of a structure. A good comparison is the Palace of Hades in the Kerberos scene on Boston, M.F.A. 28.46, in the manner of the Lysippides Painter (ABV 261, 38; CVA, Boston 2 [USA 19], pl. 79 [913]:2). Here, Persephone stands in the palace. For Hermes standing in the palace, cf. Louvre F 241 by the Acheloos Painter (ABV 383, 5). The scene on 640 may represent Herakles and Kerberos, but without more to go on, it is difficult to be certain. For the subject of Kerberos, cf. 102. Ca. 520 B.C. 641 P281 F 16

Three non-joining wall fragments. Max. dim. a) 0.098, b) 0.05, c) 0.038. S. R. Roberts, Hesperia 55, 1986, p. 47, no. 321, pl. 12. Chariot scene. Fragment a shows the breast and breast bands of the two trace horses to right; in front of them, Hermes (part of chiton, ends of chlamys, legs, boots) also to right, facing a woman (lower part of chiton and cloak, foot). Below the figures, part of the band of up-and-down palmettes. Fragment b gives part of the chariot wheel, the tail and one hoof of the right-hand pole horse, and more of the palmettes. Fragment c (not illustrated) preserves some drapery folds, the hand of a woman, and on the right, part of another figure. Red: tongues of Hermes' boots; dots on the border of his chiton, on his chlamys, and on the woman's chiton; tail; breast bands. White: Hermes' chiton, dot clusters on garments; hub of wheel; right-hand pole horse; pendants on breast band of right-hand trace horse. The subject is probably either a wedded pair in a chariot or the Apotheosis of Herakles. Ca. 510 B.C. 644 PI. 61 P 25920 M 17:7

Wall fragment. Max. dim. 0.058. Man (head) to right. The contour of the head, drawn in dilute glaze, suggests a short curly hairstyle. At the top, traces of a line drawn in dilute glaze. Red: beard. The bent head of the man suggests that the subject may be a warrior putting on greaves or a gaming scene. Ca. 520-510 B.C. 642 PI. 61 P 14372 a, b, d, e N 10:1

Four non-joining wall fragments. Max. dim. a) 0.13, b) 0.152, d) 0.106, e) 0.053. Women with hydriai. Fragment a shows the upper parts of two women to right, the left one with raised arm steadying a hydria on her head (not preserved), the right one lifting her vessel or placing it under a stream of water. Fragment b shows the lower parts of two women to right. The one on the right may be part of the woman on the left on fragment a. Below the figures, frieze of upright lotus buds with dots in the interstices. On the left, part of the ivy framing the panel. Fragments d and e (not illustrated) preserve some of the rays above the foot. Red: two lines below panel; line above rays. White: women's flesh. For fountain houses and fountain scenes on vases, cf. B. Dunkley, BSA 36,1935/1936, pp. 142-204; also, R. Ginouves, Balaneutike. Recherches sur le bain dans l'antiquite grecque, Paris 1962, chap. 1; also, J. Boardman, RA, 1972, p. 68.
Ca. 510 B.C.

Fragment of shoulder and wall. Max. dim. 0.103. Glaze has misfired brown. On the shoulder, man (foot) to right and the end of his staff. On the body, upper left corner of panel: a woman (head, neck, right shoulder and arm) to left, carrying a basket or box on her head. There is a doughnut-shaped cushion between her head and the load. The fold of her cloak has been raised by her left arm and hand (traces of her left hand appear in the upper right corner of the fragment) or else caught against the basket. She is adorned with earrings, a necklace, and a bracelet. The woman may be to right, looking around. In the field, a branch. Above the panel, key pattern to left; on the side, ivy. Red: pupil of eye, earrings, bracelet, dots on garment. White: flesh; dot clusters on garment. Compare Louvre F 52, a hydria attributed to the Eyesiren Group (ABV 287, 14). Here, the Nereid has the same prominent elbow as the woman on 644, which is an unusual detail. Compare also the shoulder composition: the onlooker with staff. Ca. 510 B.C. 645 P1. 61 P 25971 M 18

Wall fragment. Max. dim. 0.067. Fountain house (most of Doric capital, some of necking rings, part of entablature, and on the left, a frontal lion's head spout). In the field, branches. Above, some of the key pattern to left, which separates the shoulder from the body. Red: mane of lion's head. White: metopes; guttae. For a fountain house below a key pattern at the turn of the shoulder, compare Toledo 1961.23 by the Priam Painter (Paralip. 147, 5 ter; CVA, Toledo 1 [USA 17], pl. 23 [803]:2); for a similar fountain house, cf. another by the Priam Painter, London, B.M. B 329 (ABV 334, 1). For a discussion of fountain houses on vases, cf. 642. Late 6th century B.c.

HYDRIAI 646 P1.62 P2093 I-K 6-8 Fragmentof shoulderand wall. Max. dim. 0.078. On the shoulder,warrior (most of head, left foot, right hand missing), runningto left, holdinghis shield horizontally (device:eagle). Behindhim, a man (top of head missing) watching.In the panel, youth (head) to left, holdinga spear (tip); behindhim, part of the frame (ivy). Red:warrior'schiton;fillet of man and youth;stripeon cloak.White: device;baldric;pommelof sword;dotson cloak. The compositionmay have been similar to the one on LouvreC 10661 which shows a fight betweentwo warriors over a third, between flanking figures (CVA, Louvre 11 [France18], pl. 142 [815]:2). Last quarterof the 6th centuryB.c. 647 PI. 62 P 9082 M 19


patternto left;at the side, net pattern.Belowthe panel, ivy. Red:archer'sbeard;belt of charioteer; stripson manesand tails;rim of shield;line on innerand outeredgesof lip; line abovepanel;anotheron neckthat continuesroundthe vase. White:charioteer's chiton;shielddevice(ball). The Painterof LondonB 343 (ABV 342, 2). Late 6th centuryB.C. 651 P6635 E 15:6

Shoulderfragment.Max. dim. 0.066. Chariot(armsand handsof charioteer holdingthe reins, of his of four some of the hindquarchiton; tails, part parts ters of two horses;a bit of the chariotpole, the breastwork, and pole stay) to right. On the left side of the team, there appearpartsof the legs and a bit of the shieldof a warrior standingto left. Red:tails. White:chiton.
Late 6th century B.C.

Shoulderfragment.Max. dim. 0.057. Glaze firedbrown. Two seatedfigures,one, a man (someof head and body) to left on a box seat, the other,a youth (preserved exceptfor his right hand and feet) to right on an okladias.Abovethe figures,tonguepattern.Below, someof the line at the junction of the shoulderand body. Red: hair, beard;stripeson youth's cloak;alternatetongues. White: himationof man; joints of okladias.
Late 6th century B.C.

652 PI. 62

P 24680 R 12:4

of shoulderand wall. Max. dim.0.137. Rootof Fragment horizontalhandleon the left. Lion (preserved exceptfor top of head) to right with left forepawraised.On the right,at the break,tracesof another figure,perhapsthe raisedforepawof a similarlion. On the left, ivy. Below, reservedline. Red: tongue. White: belly stripe;teeth.
Early 5th century B.C.

648 PI. 62

P 4686 E-F 12-14

Shoulderfragment.Max. dim. 0.05. Parts of two horsemen (muzzle, part of neck of one mount; most of the other and his rider) and a standing drapedfigure(back),all to right.
Late 6th century B.C.


P 23232 M 16

Wall fragment,burned(clay is gray). Max. dim. 0.052. Boar(hindquarters missing)to right. Red:line belowfigure zone.
Early 5th century B.C.

KALPIDES 650-669

650 PI. 62

P 7238 D 7:2

Three non-joining fragments. Max. dim. a) 0.264, b) 0.113, c) 0.121. Rim (concave on top), neck, and shoulder,root of horizontalhandle (a); horizontalhandle, part of wall (b); wall with rootof verticalhandle(c). Departureof warriorswith chariot.Only fragmenta (ilOn the lustrated)preservessome of the figureddecoration. left, an archerdressedin a shortchitonand an orientalcap standsto left holdinghis bow in his right hand.Then comes the chariotteamto right,preserved exceptfor the headsand who has alreadymounted forelegs,guidedby the charioteer the vehicle.On the right side of the team,a pair of warriors dressedas hoplitesstandto left. Abovethe figurezone, key

P 12777 G 11:3 Lower part of body, foot preserved.P.H. 0.19; diam. 0.23. Glaze firedred on panel. Peleus (legs, right arm) seizing Thetis (lower drapery), bothto right.On the right,a Nereid (fromthe kneesdown) flees.On the left, behindPeleus,a bit of glaze (loop,perhaps the tail of a feline). Belowthe scene,a friezeof uprightlotus buds with dots in the interstices. White:tip of Peleus'scabbard;fleshof women;dot clusterson garments. For Peleusand Thetis in Atticblackfigure,cf. Brommer, Heldensage3, pp. 321-326. A bandof ornament formingthe lowerborderof the panelof a kalpisis veryrare,althoughit is morefrequenton shouldered hydriai.For an exampleon a kalpis,cf. Montreal39.Cb.1,nearthe NikoxenosPainter (Paralip. 172, 3). Here, all four sides of the panel are framedby circumscribed palmettes.
Ca. 510 B.C.


654 PI. 62

P 16620 L 20

Wall fragmentfromnear shoulder.Max. dim. 0.077. Heraklesand Antaios.Herakles(head,partof chest,left arm) bends forwardand seizes Antaios with his left arm. The giant (most of his head, body, beginningof arms and legs) is down on one knee to left. In the field is a tree, and suspendedfromits branchesare the hero'squiverand baldric. On the right,the outstretched hand of a woman.Red: woman'shand. fillet;stripon beard.White:baldric;


CATALOGUE P 23197 H 12:15(POU) H. 0.231; diam.0.133. Preserved of exceptfor fragments wall that havebeenrestored in plaster. Chariotto right. Two youths stand in the vehicle. The horses are preservedexcept for the forepartsof the righthandtracehorse.On the left sideof the team,a youthto left. In the field, a vine. Abovethe scene,net pattern.Red:dots on draperyof charioteer; manes;line on neckon insideand on outside;lines below panel that continueroundthe vase. White:right-hand tracehorse. The Class of Kalpides associated with the Red-line Painter(ABV 710). Ca. 500 B.C. P 13757 U23:2 (L) 659 PI. 63 Most of body, foot, one horizontalhandle. P.H. 0.202. Glaze has misfiredin places. Octopus(three tentacleswith suckers).Red: line below roundthe vase. panelthat continues For an octopusin the panelof a kalpis,cf. Berlin,inv. no.
3281 (E. Folzer, Die Hydria. Ein Beitrag zur griechischen

The LeagrosGroup(ABV 366, 80).

Ca. 510-500

For the subject, cf. Brommer, Heldensage3, pp. 25-27.

658 P1.63

655 PI. 62

P 13237 G-I 11-12

Shoulderfragment.Max. dim. 0.073. The glaze has misfiredin places. Fountain house. The fragment preservesmost of one Doric capital, a bit of the shaft, and some of the metopetriglyphfrieze. At the right,just abovethe break,part of a water spout.In the field,a branch.Abovethe figurezone, a frieze of invertedlotus buds. White: frieze; part of water spout. For fountainscenes,cf. 642.
Late 6th century B.C.

656 P1.62

P 25966 M 18

Wall fragmentfromnear shoulder.Max. dim. 0.072. Fight. A beardedman (head and shoulders)falls backward to the right, the hand of his attackerpressedagainst his throat.Behindthe falling man on the rightis a woman is a In the background (drapery)with hand outstretched. line of glazethatmaybe the shaftof a spearor a staffheldby the attackedman. White:woman'sflesh;dotson garments. The fragmentcomesfromthe part of the vase that is just below the startof the shoulder.Thus, the beardedman apand is probablyeither pears ratherlow in the composition or sittingon something. falling backward Althoughvaguely reminiscent of the Death of Priam at the handsof Neoptolemos, a subjectthat occursratheroften in late 6th-century Attic vase painting (cf. Brommer,Heldensage3,pp. 466467), it has to be ruled out becausethe beardedman is not old and his aggressorseizes him by the throat,a methodof attackthat does not seem to have a parallelin otherrepresentationsof this theme. One may perhaps comparethe in Bonn,inv. no. 39 sceneon an unattributed neck-amphora (AJA 58, 1954, pi. 58, fig. 17). Here, Neoptolemosgrasps Priamby the arm. The king'shair and beardare red. Late 6th centuryB.c. 657 P1.62 P6180 E 15:6 H. 0.21; diam. 0.164. Preservedexcept for fragmentsof rim, wall, and foot that have been restoredin plaster,one horizontalhandle, and the verticalhandle. Dent in panel. K. Schauenburg, 67, 1960, pl. 15:1. Gymnasium Aineas and Anchises.Aineas, dressedin a high-crested Corinthianhelmet,a chiton,and greaves,and armedwith a sword(scabbard), two spears,and a Boeotianshield,moves to right carryinghis father under his right arm. The old man wears a long chitonand looks around.Streakof glaze in background. Abovethe figures,net pattern.Red:dotson Anchises' of Aineas'chiton,incurving chiton;borders partof shield rim; two lines below the figure zone that continue Airoundthe vase,one on the neck.White:hairof Anchises; neas'baldric; arm bandof shield;circleson rim of shield. S. Woodford and M. Louden,AJA 84, 1980, pp. 25-40. The Red-linePainter(ABV 605, 84; Paralip.301, 84). Ca. 500 B.C.
For the subject, cf. Brommer, Heldensage3, pp. 386-389;

Vasenkunde,Leipzig 1906, pl. 10:197); Munich 1730, which has a dolphin below; InnsbruckII 12 (6); Bonn, Himmelmann(Ars Antiqua II, 14. Mai, 1960, no. 142); Dresden1757 (AA[JdI 171,1902,p. 116,no. 29:described);
New York Market (Cat. Sotheby 8 and 9. Feb., 1985, no.

64); Geneva, Ortiz; Louvre C 12532; and Mykonos986. None of the tentaclesof theseoctopihas suckers. Late 6th centuryB.c. 660 PI. 63 P 2642 G 6:3 (U)

Fragment of neck and wall. P.H. 0.06; diam. 0.075. E. Vanderpool, Hesperia15, 1946, p. 311, no. 197, pl. 61. Fountainscene. Two women (head, shoulders,arms of one; the other preservedexcept for most of legs) fill their hydriai at panther'shead spouts. They wear chitons and himatia;roundthe head of each is a fillet, and on top is the of three cushionfor the hydria.The fountainis constructed Ionic columns supporting a metope-triglyphfrieze and a panpediment(on the neckof the vessel).In the pediment, ther's head flankedby two serpents.On the right and left, abovethe horizontal handle,a palmette.Red:fillets;dotson garment;muzzlesof panthers.White: flesh of women;dot columns(theoneson the left and clusterson theirgarments; the laid on directly clay); details of metopes and right triglyphs. The schemeof decorationis unusualand recallsthat of OinochoaiIII (ABV 439-440) and the groupof Red-bodied that of Red-bodiedOlpai (ABV 450-451 and 682). For anotherred-bodied kalpis,cf. Basel 1906.267. For fountainhouses,cf. 642. Early 5th centuryB.C. 661 PI. 63 P 9459 C 9:6 Shoulderand body fragmentwith thin brown wash on inside.Max. dim.0.116. Glaze firedred. Beardedman (head, most of drapedbody),perhapsDionysos, to right, holding a staff or a thyrsos (?), looking

OINOCHOAI aroundat another(forearm,hand), perhapsa satyrplaying the aulos. Red: strip on forelock, beard; folds of cloak. White:chiton;dotson cloak. What appearsto be a staff or a thyrsosmay actuallybe the line markingthe right edge of the composition, which would havebeen set in a panel,exceptthat the artistdid not This would explain the emptyspace glaze the background. on the right of the fragment.
Early 5th century B.C.


panel, two rows of dots. Above,dicing. Red: beard;stripes on garments.White:maenad'sflesh. The Painterof Half Palmettes(Paralip.287). First quarterof the 5th centuryB.C. 666 PI. 63 P 15956 F 19:4 Preserved except for horizontal handles and part of in plaster.H. 0.091;diam. mouth,whichhavebeenrestored 0.075. Someof the glaze firedbrown. Dionysosand Ariadne.The god, dressedin a chitonand cloak,holdingout his drinkinghorn,is seatedto righton an okladiasfacingAriadne(partof her bodyand legs missing). She holdsa fillet in her hand. Red:dotson Ariadne'sclothing. White: Dionysos'chiton;joints of his stool;fillet;Ariadne'sflesh.
Early 5th century B.C.

662 Pl. 63

P 26182 L 17

Shoulderfragment.Max. dim. 0.045. Man, perhaps Hermes (head and shoulders) to right, lookingaround,wearinga chlamys,a staffin his righthand. On his head, just below the break, is an incised line that the brimof a petasos.The remainsof two vertical represents lines on the right are thosethat framethe panel.
Early 5th century B.C.


P 25840 A 19-20

663 P1.63

P 2625 + P 2658 G 6:3 (U)

Fragment.Max. dim. 0.108. Part of neck and shoulder with upper right cornerof panel. E. Vanderpool, Hesperia 15, 1946, p. 311, no. 198, pl. 62. Satyr (head, raised left arm, part of right) and maenad (head, right shoulder,raisedleft arm, right acrossbody)to right, she looking around.Above,net pattern.Red: fillets; beard.White:maenad'sflesh.
Early 5th century B.C.

Fragmentof neckand shoulder.Max. dim. 0.10. Satyr (head,shoulders,arms) to right, seizing a maenad (head,shoulders)by the hair. Red:satyr'sbeard;maenad's fillet. White:maenad's flesh;satyr'sdottedwreath.
Early 5th century B.C.


P 12966 N 20



M 17:4

Neck and shoulderfragment.Max. dim. 0.079. Chariotteam (onlyhalf shown)to right. Partof an object on the right, at the break,that may be the top of a goal post. In the field, a branch.Above, net pattern. Red: strips on manes;top part of objectat right. White: right-handpole horse;markingon object. Late 6th or early 5th centuryB.C. 665 P 12753 G11:3 Handles, part of neck, much of wall restored.H. 0.181; diam. 0.145. Satyr (legs, arm) pursuingmaenad(someof lower drapery missing)to right, she lookingaroundwith her left arm raised. The satyr's right arm is extended.At each side of

handle.Max. Fragmentof body,foot,and one horizontal dim. 0.07. Woman (preservedfrom the waist down) dressedin a short chiton moving to left. In her outstretched hand she holds somethingthat looks like the end of a torch. Red: stripeson chiton;line below panel. White (applieddirectly on the clay):woman'sflesh;objectat lowerleft.
Early 5th century B.C.


P 8556 D7:2

Fragmentary.Rest. H. 0.288; diam. 0.21. Nearly onehalf of groovedrim, most of neck, aboutone-halfof shoulfor der, most of wall, and flaring torus foot. Attachments vertical handle and right horizontal one. Surface much eroded. In panel, partsof threedrapedfigures,two to left, one of them with outstretched arm, the third to right. Above,key patternto left. Red:line underfigures?
Early 5th century B.C.

OINOCHOAI 670-786 Fig. 14 Pls. 64-73

OLPAI 670-722


P 5398 F 12:5

Two non-joining fragments. Max. dim. a) 0.143, nouth(a); trefoil b) 0.072. Fragmentof wall with start of n mouth(b). Glaze verypoorlypreserved.

of a leopFragmenta preserves part of the hindquarters ardto right(the spotsincised).Its tail projects intothe ornament above.On the left, the edge of the panel. In the field, St. Andrew'scross with triangles;at right, incisedrosette. Below the legs, a floral design resemblinga fleur de lis. Fragmentb showspart of the top of the panel. Red:spots.
Late 7th century B.C.

188 671 PI. 64

CATALOGUE P 997 I 16:4 675 P1.64 P 21531 07:12

Fragmentof trefoil mouth, neck, and body. P.H. 0.28; of the rim at one side indicatesthe diam.0.17. A thickening beginningof the handle. H. A. Thompson,AJA 37, 1933, JdI 76, 1961, pp. 3, 5, fig. 6, and p. 292, fig. 1; Scheibler, p. 18, no. 4. Two sirens with wings spread, facing (head, most of exceptfor one wings, some of breastof left; right preserved leg, tips of wings, and tail). Abovepanel, fourgeese feeding to left. Dot-wheel rosettesfor filling ornament.Red: bills, eyes,wing bows,andtails of geese;the sirensareentirelyred except for their hair, the area betweeneye and brow, legs, feathers,and stripsdividingpartsof wings. The GorgonPainter(ABV9, 15;Paralip.7, 15). Ca. 600 B.C. P 15002 S22:1 672 PI. 64 of the wall restored, A few fragments mainlyon the black part. H. to mouth 0.202, with handle 0.255; diam. 0.133. and T. L. Shear,Hesperia9,1940, p. 269, fig. 5; Lamberton Rotroff,op. cit. (under136), ill. 3. Swan to right with wings outspread.Incisedand dot rosettes for filling ornament.Oppositethe panel, a reserved eye. Red: eye, beak, dots on neck and breast, wing bows; coresand alternatepetalsof rosettes.White:cornersof eye; dotson feathers. Mannerof the GorgonPainter(ABV 10, 5). 600-590 B.C. 673 P1.64 P 18531 A 17:1 (U)

Fragmentof trefoil mouth and part of neck. Max. dim. 0.075. Whitishslip on surface. Boar (bristles)to left. Spiralshangingfromtop of panel; dot rosettefor fillingornament. The Groupof the EarlyOlpai (ABV 14, 16). Ca. 600 B.C. 676 P1.65 P 12686 P8:5

Four non-joining fragments. Max. dim. a) 0.177, b) 0.068, c) 0.089, d + e) 0.112. Two (a and b) are handle with lines as 673. fragments Boarto right. Fragmentd + e givespart of the forehead, eye, and muzzleof the boar,and on the right,a cornerof the c preserves the foreparts of eye oppositethe panel.Fragment the boarandsomeof its chestandbelly. Red:chest,marking on shoulder,belly stripe,eye, stripeson muzzle,forehead. The Groupof the EarlyOlpai (ABV 14, 17;Paralip.9). Early6th centuryB.C. P27749 110:1 for of Preservedexcept much mouth and area below panel. P.H. 0.243; max. diam. 0.167. Handle unglazedexceptfor a line at each edgeand on top of each section. Birdto rightwith headdown,pecking(?).Red:eye, some of neck,wing bow. The Groupof the EarlyOlpai. Early 6th centuryB.C. 678 PI. 65 P 27748 1 10:1 677 PI. 64

Brokenand mendedfrom many fragments.H. to mouth 0.276, with handle 0.34; diam. 0.165. Missing pieces restored in plaster (most of double handle, mouth, some of belowthe panel.Scheibbody).Someof the glaze is abraded ler,JdI 76, 1961, p. 22 and p. 29, figs. 30, 31. Rider (some of body, arms, and legs; part of body, legs, and tail of mount)gallopingto right. In upperleft cornerof panel, a row of three rosettes.Abovepanel, lotus-palmette festoon.Oppositepanel, reservedeye. Handle reservedexcept for two lines. Reservedbandbelow scene. Red: chiton and cloak(?) of rider; hoofs, belly stripe, hock of horse; sepals of lotuses;alternatepetals of palmettesand rosettes, coresof rosettes.White:dotson edgesof heartsof palmettes; bordersof chitonand cloak. Mannerof the GorgonPainter,or perhapsby him (ABV 11, 14;Paralip.8, 14).
Early 6th century B.C.

Fragmentof mouthand globularbody.P.H. 0.103. Lion to right, preservedexcept for small parts of legs. Hangingspiralsandzigzagsat top of panel.Dot, wheel,and blob rosettes for filling ornament.Red: eye, mane, belly
stripe, ribs, markings on hindquarters.

The Groupof the EarlyOlpai. Early6th centuryB.C. P 24946 Q13:5 679 P1.65 A few fragments of mouth,wall (mostlyat the back),and foot restored.H. to top of handle 0.234, to mouth 0.185; max. diam. 0.115. H. A. Thompson,Hesperia 25, 1956, p. 58, pl. 17:c;Lang,op. cit. (under527), ill. 11 (detail). Youthridingto left, leadinga void horse.On the right,a warriorfully armed,to left. Under the belly of the horse,a pantherto left. On the far left, an eagleflies to right.On the far right, an invertedlotus bud. Red: hair, beard,cloak of rider; manes; markingson shoulder and hindquartersof mount;helmet and greavesof warrior;neck, belly stripe, markingson shoulder and hindquarterof panther;wing bows,baron tail;line on top of lip;two linesbelowthe panel that continueroundthe vase. White:void horse;surfaceof shield round the device (compass-drawnstar-rosette); helmet crest;fold of warrior'sdrapery;dots on borderof rider'scloak;dotson wings of birds;bud of lotus.

674 PI. 64

P 25384 B 20

Fragmentof trefoil mouth and part of body. Max. dim. 0.087. friezeof incised Sirenor sphinx(partof wing overlapping crossesor rosettes)to right. Red:alternatefeathers.
Early 6th century B.C.

OINOCHOAI Trefoil Olpai (Paralip.192, the numberincorrectly given as P 24942).

Ca. 550


680 P1.65

P 1227 G 6:3 (L)

Some of mouth, fragmentsof wall restored.H. to top of handle 0.325, to lip 0.263; max. diam. 0.165. Handle as 673. E. Vanderpool, Hesperia7, 1938, pp. 381-384, no. 14, figs. 18-20 and p. 387, fig. 23. Warriorsleaving home. On the left stands a woman to right in a long chiton and a cloak. Then comes a warrior (rightelbow,rim of shield,lowerlegs with greaves)to right. Next, a woman in a long chiton and a cloak with the veil held out stands to right, facing a warrior (head, some of shield emblazonedwith a chariotbox, part of his legs with greaves). Behind him, a man in a long chiton and cloak. festoon.Reservedeye oppositepanel. Above,lotus-palmette Red: cloaks of man and woman on left; coresof rosetteon secondwoman's cloak;hair and beard of man; greavesof warrioron left;rim of his shield;heartsof palmettesand lotuses. White: femaleflesh;man'schiton;deviceand dotson shield;dots of rosetteson woman'shimation. The lotus-palmette festoonis an unusualornament above the figures of an olpe; besides 680, 681 (PI. 66), and 721 (PI. 69), the contemporary examples known to us are the following:five by the Amasis Painter, Louvre F 30 (ABV AmasisPainter,pp. 140152, 29; Paralip.63, 29; Bothmer, 142, cat. no. 27), Wiirzburg332 (ABV 152, 30; Paralip.63, 30; Bothmer,op. cit., pp. 143-144, cat. no. 28); London, B.M. B 471 (ABV 153, 32;Paralip.64, 32; Bothmer, op. cit., pp. 150-152, cat. no. 31), and New York,M.M.A. 59.11.17 (ABV 698, 3 bis;Paralip.66; Bothmer, op. cit.,pp. 147-149, cat. no. 30); Oxford 1929.19 (ABV 153, 38; Bothmer,op. cit., pp. 145-146, cat. no. 29); LouvreF 28 by the Painterof the Nicosia Olpe (ABV 199, 1; Paralip. 196, 1 ter). For an earlierexample,cf. 673 (PI.64) in the mannerof the Gorgon Painter. Trefoil Olpai (ABV 445, 5).
Ca. 550-540

girl (preservedexcept for the top of her head) plays the aulos. She wears a long chiton and a cloak with a fringed border.Abovethe figures,a lotus-palmette festoon.Opposite the panel,a reserved Red: leaves of wreaths; eye. panels, dots, stripes, cores of rosetteson garments;left nipple of youthon right;coreof rosetteon leg of couch,centerbolster on couch;lower part of mattress;hearts of palmettesand lotuses,some of the links. White:flesh of girl; fruit;row of dotson leg of couch;dotsof all rosettes. For the ornamentcf. 680 (PI. 65). For the subject,cf. S. Karouzou(AmasisPainter, p. 41), who suggeststhat if the scene is mythological,the symposiastsmight be Dionysosand Ikarios,andthe youthon the right,Dionysos'son, Oinopion. M. Cremer (AA [JdI 96], 1981, pp. 327-328) is Oinopion. suggeststhat the youthfulsymposiast The Amasis Painter (ABV 714, 31 bis; Paralip. 64, 31 bis).
Ca. 540-530 B.C.


682-694 P2700

G6:3 (U) Rest. Handle,partof mouthandbody,all of footrestored. H. 0.27; rest. diam. 0.13. Much of the glaze fired red. E. Vanderpool, Hesperia15, 1946, p. 311, no. 199, pl. 60. Two boxers(someof hair, chest,arms,legs of one on left; head,extendedrightarm,lowerpartof body,partof legs of one on right). The one on the right attacks;the one on the left tries to defendhimselfbut is aboutto fall to one knee. Other Red-bodied Olpai: Various Models; Various Painters(ABV 451, 11).
Ca. 550


683 PI. 66

P 1263 G 6:3 (L)

P 24673 R 12:4 Preserved for of all of handleand foot, except part mouth, much of body. P.H. 0.26; max. diam. 0.165. Mended in antiquity (the lead remains in three places). Some of the glaze has worn off below the panel. H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 20; AA (Jdl 96), 1981, p. 328, fig. 11; Bothmer,AmasisPainter,p. 149, fig. 89. Symposion.A man (Dionysos?)and a youth with a very short beardreclineon a couch,lookingat each other. Each wears a wreath and a cloak.Dionysosholdsa kantharos on the palm of his hand;the youth holdsa hemispherical bowl that is only partlypreserved. In frontof the couchis a table ladenwith fruit andpiecesof meat.Beneaththe tableis part of an unidentified object.On the right, a youth, also with a shortbeard,faces the pair, dressedin a shortchitonwith a fringedborder.Roundhis headis a wreath,and he holdsan a ivy branchin his left hand.On the left of the composition,

681 P1.66

Fragmentsof mouth,neck, and wall restored.H. 0.225; diam. 0.125. E. Vanderpool,Hesperia 7, 1938, no. 20, p. 386, fig. 22, p. 387, fig. 23, and p. 388. Departureof warrior.The warriorstandsto right holding his shield in profile (device:tripod)and spear. Both in front of and behind him stands a woman, the one on the right holdingout her veil. Above,a chain of upright palmettesand lotuseswithoutincision.Red:stripeon cloaksof women and on chitonof warrior;fillet roundhelmet;band roundedgeof mouth;line abovepanel;line belowpanelthat continuesroundthe vase. White:device;women'sflesh. Near the Honolulu Class [A. Clark]. Cf. Copenhagen V 20 (maenadsbetween two satyrs) and Budapest51.95 Abovethe figures,eachhas a chainof (fight,with spectator). upright palmettesand lotuses without incision.The three are by the samepotterand painter[Clark].
Ca. 530-520

684 PI. 66



of wall andneck,with upperleft cornerof panFragment el. Max. dim. 0.07. Misfiredon outside(glazeis greenish). Aineas carryingAnchises,with an archer.On the left is


CATALOGUE Sarajevo1 [Jugoslavia4], pl. 20 [147]) and BrusselsR 256 (CVA,Brussels2 [Belgium2], pl. 18 [58]:3a, b).
Ca. 510 B.C.

the archer(head, shoulders,right arm) to right, wearinga pointedcap and a corslet.His bow case (visiblebelow his froma baldricovereach shoulder.In forearm)is suspended frontof him is part of Anchises(rightelbow, a bit of drapery, and a very long lock of hair). Abovethe figuresand at on the side, ivy. Red:stripon frontof cap;spiraldecoration of lock of Anchises' hair. White: baldric. corslet; part quiver; is verysimilarto one on an unattributed The composition olpe in the Bareiss Collection,once on loan to the MetropolitanMuseum (L.69.11.14). Fromleft to right:an archer to left, looking around;Aineas carryingAnchisesto right, Kreousa?),also to right, preceded by a woman (Aphrodite? but looking around;an old man facing them, holding a spear.Abovethe figures,ivy, then net pattern;on the sides, ivy. Andrew Clark was the first to see that these olpai go together,that they have the same subject,and are probably by the samehand. For the subject,cf. 657.
Ca. 530-520

P 26953 No grid Fragmentof wall and neck.Max. dim. 0.08. Horseman(head, shoulders,some of left leg of youthful rider;headand neckof mount)to left holdingtwo spears.In front of him, an old man (head and shoulders)facing him holdinga spear. Behindthe rider, tracesof anotherfigure, also with two spears.Abovethe figures,key patternto left. Red: fillet of old man, dot on his cloak;strip on mane of of old man;necklineof horse.White:hair,beard,moustache rider'schiton;someof thirdfigure. 685 PI. 66
Ca. 530-520

P 2647 G 6:3 (U) Handle, much of body, especially in back, all of foot restored.Rest. H. 0.26; diam. 0.135. E. Vanderpool, Hesno. 1946, 15, 312, 200, pl. 61; Bothmer, Amazons, peria p. pl. 39:4. Herakles and Amazons.Herakles attacksto right. His opponentis downon one knee,lookingaround,holdingout her shield(device: bull'shead).On the right,a secondAmazon wearinga leathercapstandsto right,lookingaround.In the field,a branchwith fruit.Abovethe figures,net pattern; above that, key patternto right. On the mouth, checkerboard.Red:Herakles'belt, dotson his chiton;rim of shield; flaps of Amazon's cap; line below panel that continues roundthe vase.White:Amazons' flesh(partapplieddirectly on the clay);segmentof helmetcrest;shield device;mouth, teeth,claws,someof contourof lionskin;fruit. The sequenceof patternswith the key to right is rather rare. Cf. Rhodes 13489 by the Painter of Wurzburg351 (ABV 437, 8); Baltimore42.2 from the Class of Vatican G. 50 (Paralip.191, 11);and Thebesn.n. by the Painterof VaticanG. 49 (ABV536, 38). 688 fromthe Classof Vatican G. 50 may have been similar,but without the mouth it is difficultto be certain. cf. 395. For the subject,
Ca. 510-500 B.C.

687 P1.66

688 P1.66 P 1135 G15:1

P 2646 G 6:3 (U)

686 PI. 66

P.H. 0.225; diam. 0.112. Preserved exceptfor lower part of body and wall and all of foot. A few missing pieces are restoredin plaster. Dent in upper right corner of panel. on each side of rim Ridgedhandlewith metallicprojection attachment. Athenaand Dionysosto left. The goddesswears an Attic helmetand a long chitonand carriesa roundshield (device: a bent female leg) and a spear held horizontally. She overlapsmostof Dionysoswho is wreathedandwearsa long a vine with grapes, chiton and cloak. In the background, probablyheld by the god. By mistake,the artisthas allowed Dionysos' beard to overlap the shield of Athena and the white of Athena's neck to overlap the rim of her shield. Abovethe figures,key patternto right;abovethat, ivy. On Red: the sides,net patternand on the mouth,checkerboard. rim of shield; edge of helmet crest; dots and stripes on garments; beard; alternate leaves of wreath. White: Athena's' flesh;dots on her crest;shield device;dot clusters on garments. The same sequenceof ornamental patternsabovethe figures, but withoutthe net patternat the sides,occurson the followingolpai: Villa Giulia 861 (ABV 382, -); two unattributed contemporaryexamples, Sarajevo 656 (CVA,

Fragmentof neckand wall. P.H. 0.076. E. Vanderpool, Hesperia15, 1946, p. 312, no. 202, pl. 60. Satyr (head)and maenad(mostof head,one raisedarm, shoulder),both to right, she lookingaround.In the field, a branchwith fruitand a vinewith grapes.Above,net pattern hair andkey patternto right.Red:satyr'sbeard,moustache, at nape of neck;fillet overmaenad'sshoulder.White:maenad'sflesh;fruit. cf. 687. For the ornament, The Classof VaticanG. 50 (Paralip.191, 9).
Ca. 510-500 B.C.

P 1557 G6:3(U) 689 PI. 67 Wall fragmentwith upper right cornerof panel. Max. dim. 0.07. E. Vanderpool, Hesperia 15, 1946, p. 312, no. 201, pl. 60. Chariot(headsandnecksof horses)to right.In the field,a vine. Above,net pattern,then a bit of anotherpattern,perhaps a key. Red:manes.White:studson headstall.
Ca. 500


P 5086 F 12

Fragmentof wall and neck. Max. dim. 0.072. Surface pitted. Dionysos(headwith wreath)to left holdinga kantharos.

OINOCHOAI In the field, a vine with grapes.Above,key patternto left. Red:beard;alternateleavesof wreath.
Ca. 500


The Dot-ivy Class (Paralip.194, 1 bis).

Ca. 500

691 PI. 67





Wall fragment.Max. dim. 0.063. Woman(mostof headand shoulder)to right.In the field, branches.Panel framedby two rows of dots betweenlines. Red:fillet;dots on garment.White:flesh.
Ca. 500 B.C.


P 23468 R 8:2

692 PI. 67



Preservedexcept for fragmentsof the wall. H. 0.233, diam. 0.136. A few chips in rim and foot. Two Amazons moving away from each other, looking around.Each wears an Attic helmet, a short chitonwith a cloak, and carriesa spear and a shield. The deviceon the shield on the left is a circle,two arcs and two balls;that on the shield on the right, three balls. Above the figures, net pattern;above that, dot ivy. On the mouth, checkerboard. Red:fillet on right helmet;bordersof chitons;baldrics,rims of shields;line on top of rim; "rivets" on handlesat mouth; two lines below the panel that continue round the vase. White:flesh;shielddevices. For the composition, cf. Bothmer, Amazons,p. 94, no. 41.
Ca. 500 B.C.

Two non-joining wall fragments. Max. dim. a) 0.087, b) 0.05. Someof the glaze is abraded.Brann,Hesperia30, 1961, p. 349, G 6, pl. 75. a preserves the lowerleft sideof the panelwith Fragment some of the line of glaze. On the base, a trefoil flower. Above,at the break,the tail of a birdor a siren to right. In the field, crenellation. Fragment b gives more of the creature,perhapspart of the body. Third quarterof 7th centuryB.C. 696 P1.67 P 26668 No grid Fragmentof neck and wall. Max. dim. 0.09. Glaze fired brownand is abradedin places. Deer (head, neck, part of shoulderand body) to right, looking around. Incisedrosette for filling ornament.Red: insidesof ears,eye, neck,ribs;dotson petalsof rosettes.
Ca. 620-610


P 23451 R 8:2

693 P1.67

P 26798 T19:1

Fragment.Max. dim. 0.095. Neck and wall with upper left cornerof panel. Dionysos(headwith wreath,shoulders)standingto right holding a drinking horn. Behind him is a woman (head, with cloakdrawnup overit, and shoulders), also to right.In frontof Dionysosis anotherfigure(chin,raisedhand)facing him. In the field, a vine. Above the figures, dot ivy. Red: alternateleavesof wreath;beard. stripeson garments; The Dot-ivy Class [A. Clark].
Late 6th century B.C.

Two non-joiningwall fragments.Max. dim. a) 0.057, b) 0.051. Brann,Hesperia30, 1961, p. 349, G 7, pl. 70. Rider to right. Fragmenta preservespart of the rider's torso,righthandholdingthe reins,rightleg with top of boot, and some of the horse'sneck and body. Fragmentb gives more of the horse'sbody and the startof its right hind leg. Red:partof rider'schiton,tongueof boot;neckof horse,rib, markingon hindquarters. Close to the Nettos Painter. Compare the riders on Athens,N.M. 16383 (ABV 7, y; Paralip.3, 12) and Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; Kerameikos VI, ii,

no. 116, pls. 89-91; for the attribution,cf. p. 74, footnote 11).
Late 7th century B.C.

P 23196 H 12:15(POU) Preservedexceptfor half of foot which has been restored in plaster. H. 0.231; diam. 0.133. Two dents, one on Athena'sshield,the otherbelow the lowerattachment of the handle. Glaze is abradedin places;mottledin firing near bottom. DionysosandAthenafacing.The godwearsa wreathand a chitonwith a cloakandholdsa drinkinghorn.Athena,in a chiton, cloak, aegis (snakes), and Attic helmet, holds her shield(device: femaleleg) and spear.In the field,a vinewith grapes. Above the figures, dot ivy. Red: beard; alternate leavesof wreath;dotson Dionysos'cloak;rim of shield;fillet roundhelmet;line abovepanel and two belowthat continue round the vase; "rivets" at handle attachment.White: Dionysos' chiton; dot pattern on his cloak; Athena's flesh; shielddevice;dotson helmetcrest.

694 PI. 67

698 Fig. 14, PI. 67 P 6457 F-G 12:1 Wall fragment.Max. dim. 0.101. Much of the glaze is abraded. R. Young, Hesperia, Suppl. II, Athens 1939, p. 119, B 40, fig. 86. Chimaera (part of neck with mane, back with incised lines that may represent ribs or moremane)to right.Above the back, to the left of the rosette,is the tip of the goat's beard.Incisedrosettefor filling ornament.Red: mane,ribs (or manealongback),bellystripe;alternate petalsof rosette. The locationof the goat's protomeratherfar down the backof the lion, insteadof near its shoulders,suggeststhat this Chimaera didnot havefelinehindquarters as the two by the Bellerophon Painterdo (Athens,N.M. 16389:ABV 2,

hindquarters turninginto a large snake,like the two by the

1; 16391: ABV 2, -, 2) but was the dragon type with its



FIG.14. Olpe, type uncertain698 (P 6457)

Nettos Painter(Kerameikos, inv. no. 154:ABV 3, 3; ParaP 12581 P7:2 700 VI, ii, no. 187, pl. 113;andAigina565: lip. 3, 9; Kerameikos Wall fragment. Max. dim.0.052. Whitishslip on surface. ABV 3, 1; Paralip. 1, -, 1). These four well-preserved Someof the in manyplaces. abraded glaze firedbrownish; Chimaerasshow all three heads early Attic black-figured Part of wing of bird (or sirenor sphinx)to right.Rosette is not present,and facingto the rear,evenwhen Bellerophon for fillingornament.Red:wing bow. 342 probablyalso showed the heads of the goat and lion Late 7th century B.C. turned around facing Bellerophon.The directionof the goat'sheadto righton 698 indicatesthat the lion'sheadalso P 26562 S 17:1 701 P1.67 facedto right,for the headsof the Chimaerafacein the same Fragment.Max. dim. 0.104. Wall with start of neck, direction,insuringa unifiedthreatand attack.Thus, if our with plaster.Someof the glaze is abraded. strengthened of this fragmentis correct, this representation interpretation In panel, a small beardedfigure, draped and cloaked, of the Chimaeradepartsfromcontemporary Atticexamples carryinga crop,standson the backof a horse.Hangingspiby showing the heads of the lion and goat (and surely the snake'sheadtoo) facingforward,and in this one way recalls ral at top of panel;ring and dotrosettesfor fillingornament; non-Atticpredecessors of the 7th century.For this feature, at the bottomof the fragment,part of a lozenge (cf. Kerameikos,inv. no. 658:ABV 3, -; Paralip.1, -; Kerameikos cf. especiallyM. Schmidt,AJA 70, 1966, p. 344. To judge VI, ii, no. 116, pl. 89). Red: hair, beard, cloak of rider; the the scale of was a 698, composition by probably single mane,upperand lower contoursof horse'sbody;line above Chimaerain a panel. panel. Late 7th century B.C. Late 7th or early 6th centuryB.C. 699 P1.67 P 23470 J 14:3 P 26782 T19:6 702 Three non-joiningwall fragments.Max. dim. a) 0.05, on fragments Two non-joiningwall fragments. Max. dim. a) 0.12, b) 0.078, c) 0.043. Someof the glazeis abraded b and c. b) 0.048. Glaze firedbrownish. Lion to right. Fragmenta preservesthe head, foreparts, Eagle to right. Fragmenta (illustrated)gives the head with the edge of the panel on the right. Fragment b mostof the bodyandhindlegs. Fragmentb givessomeof the someof the wing and tail feathersand partof one tail. Below the lion, verticalobjects(plants?)at the ground preserves c the and more of tail feathers. At the line. Dot, plain, and incised rosettesfor filling ornament. fragment gives leg, the Red: eye, mouth, tongue, neck, chest and shoulder,belly bottom,just abovethe break,someof the line bordering panel. Red:beak;stripson feathers. stripe,and ribs. Late 7th century B.C. Ca. 600 B.C.

OINOCHOAI 703 PI. 67 P 23665 Q8 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.054. Lion (ear, ruff, eye, part of mane) to right. Line edging panel at top and right. Red:mane, insideof ear. Manner of the Gorgon Painter (ABV 714, 9 bis; Paralip. 8). Early 6th centuryB.C. 704 PI. 68 P 10650 B 14:5


Wall fragment.Max. dim. 0.077. Lion (head, much of body) to right, lookingaround.Incised rosettefor filling ornament.Red:muzzle,tongue,ear, mane,belly stripe. Manner of the Gorgon Painter;may be by the painter himself(ABV 11, 11).
Early 6th century B.C.

the goat. Incised rosettesfor filling ornament.Red: belly stripe,mane;heartand alternatepetalsof rosettes. For the doubleline separating the locksof mane,an unusual feature,cf. 399. For the incisedmaneof the goat, compare the one by the Nettos Painter,Aigina 565 (ABV 3, 1; a singleone, was probably Paralip.i,-, 1). Our Chimaera in a to the one on withoutBellerophon, similar panel, placed 698, with the heads facing forward, for if they turned around,facingto the rear, someof the lion's muzzlewould be preserved betweenthe breakandthe rosette.For this feature, comparethese two lions by the GorgonPainter:Tubingen5445/28 (ABV 9, 11;Paralip.7, 11; CVA,Tubingen 3 [Germany47], pl. 18 [2263]) and Baltimore48.215 (ABV9, 18;Paralip.7, 18). Mannerof the GorgonPainter(Paralip.8). Early 6th centuryB.c. 709 PI. 68 P3016 R 13:3

705 PI. 68


R 13:3

with plaster. Two joining wall fragments,strengthened Max. dim. 0.115. Feline (hind legs) to right. On left, edge of panel. Traces of a rosettebetweenlegs. In upperleft, at the break,part of reservedeye. Red:hock;rosette. Mannerof the GorgonPainter(ABV 11, 12).
Early 6th century B.C.

Wall fragment.Max. dim. 0.048. Horseman(rightleg and left foot of rider;shoulder,part of forelegsof horse)gallopingto right. Red:chestof horse. The GorgonPainteror his manner.Compare the rideron the Baltimoreplate (ABV 9, 18; Paralip.7, 18), especially his knee and leg, and also the double line for the horse's shoulderand its red chest, and 673 (PI. 64) for the double incision.
Early 6th century B.C.

706 P1.68



Wall fragment.Max. dim. 0.059. Glaze firedbrown. Lion (head and neck) to right. Incisedrosettefor filling ornament.Red: neck, eye, muzzle, tongue;alternatepetals of rosette. Mannerof the GorgonPainter(ABV 13, 40).
Early 6th century B.C.

710 PI. 68

P 25365 Q 13-14:1 (U) Wall fragment.Max. dim. 0.046. Lion (forelegs,a bit of body)andman (rightarm,buttock, and calf), bothto right. Red:belly stripe. Beazleysaw that the compositionis closestto the one on Berlin, inv. no. 3764 (ABV 11, 19; Paralip. 8, 19), which shows a nude man running,flankedby two lions. Compare also Nikosia 1958.iv-223 (Paralip. 8, 19 bis; Gjerstad,op. cit. [under10], pl. 63:1). Both of these occuron lekythoiof the Deianeirashape. For a nude man flankedby a panther and a lion, cf. LouvreE 874 (best illustrated JdI 76, 1961, p. 12, fig. 14). Here the trio appearswithin a friezeof animals. For the subject,cf. Miiller, Liiwenund Mischwesen, pp. 208-217. Mannerof the GorgonPainter(Paralip.8). 707 PI. 68
Early 6th century B.C.

P 25367 Q 13-14:1 (U) Wall fragment.Max. dim. 0.062. Lion (forepartsand mane) to right. Incisedrosettesfor Red:stripson shoulderat top of leg, mane, fillingornament. core and alternate tongue; petalsof rosettes. Comparewith the mannerof the GorgonPainter(Paralip. 9). Early 6th centuryB.C. 711 P. 68 P 20645 Q13

Wall fragment.Max. dim. 0.06. Lion (face,someof neckand mane)to right.At the right, directlyin front of the muzzle at the break,a verticalline framingthe panel. Red:muzzleand neck. The two horizontallocksof mane are difficultto understand, and were it not for the verticalline, one would be temptedto interpretthis lion as one to left with its head turnedaround.
Early 6th century B.C.

P 25649 0 12:2 712 Wall fragment.Max. dim. 0.09. Dull brownglaze. Bull (headand neck)to right.At the right,edgeof panel. Rosettesfor fillingornament.Red:neckandjowl.
Early 6th century B.C.

708 P1.68 P 25366 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Chimaera (body, some of mane and foreleg of lion) to right. On the left, at the break, diagonal incision that continuesabovethe backof the lion and mustbe the maneof

713 P 23528 P 9 Wall fragmentwith root of