The Colors

of Clay

The Colors of Clay

Special Techniques in Athenian Vases

? ? ? ?

? ? ? ? ?

With contributions by
Susan Lansing-Maish
Kenneth Lapatin
Jeffrey Maish
Joan R. Mertens
Marie Svoboda
Marion True
Dyfri Williams

Los Angeles

This catalogue is published in conjunction with the exhibition

The Colors of Clay: Special Techniques

in Athenian

Vases, pre

sented at the J. Paul Getty M u s e u m at the Getty Villa, M a l i b u ,

June 8-September 4, 2006.
2006 J. Paul Getty Trust
Getty Publications
1200 Getty Center Drive, Suite 500
Los Angeles, California 90049-1682
www.getty.edu
T H E CATALOGUE ENTRIES IN THIS BOOK WERE WRITTEN BY
B E T H C O H E N , WITH T H E EXCEPTION OF CAT. NOS. 39 A N D

102,

W H I C H WERE WRITTEN BY K E N N E T H LAPATIN.

Unless otherwise indicated, photographs are provided by
the institutions that own the objects and are reproduced by
permission of the owners.
PAGE i: Statuette-lekythos in the form of Aphrodite and two Erotes
(detail), cat. no. 89
PAGE ii: Red-figured pyxis of type A , cat. no. 48
PAGE iv: White-ground lekythos with second white, cat. no. 59
PAGE 1: Black-figured hydria with white-ground neck and mouth,
cat. no. 53
PAGE 17: Bilingual cup (detail), cat. no. 6
PAGE 43: Black-figured cup of type C (detail), cat. no. 7
PAGE 71: Neck-amphora of Nicosthenic type (detail), cat. no. 15
PAGE 105: Black-gloss calyx-krater (detail), cat. no. 38
PAGE 149: Red-figured cup of type B (detail), cat. no. 46
PAGE 185: Black-figured white-ground plate, cat. no. 52
PAGE 239: Rhyton (cup) in the form of a dog's head, cat. no. 84
PAGE 291: White-ground cup with wishbone handles, cat. no. 92
PAGE 317: Red-figured relief hydria (detail), cat. no. 105
PAGE 372: White-ground and coral-red cup, cat. no. 90

LIBRARY OF CONGRESS

CATALOGING-IN-PUBLICATION

DATA
Cohen, Beth.
The colors of clay : special techniques i n A t h e n i a n vases /
Beth Cohen ; with contributions by Kenneth Lapatin . . .
[et al.].
p. cm.
"This catalogue is published i n conjunction with the exhibi
tion 'The colors of clay: special techniques i n A t h e n i a n vases,'
held at the J. Paul Getty M u s e u m at the Getty Villa, M a l i b u ,
June 8-September 4, 2006T.p. verso.
Includes bibliographical references.
ISBN-13: 978-0-89236-942-3 (softcover)
1. Vases, G r e e k G r e e c e A t h e n s E x h i b i t i o n s . 2. Vasepainting, G r e e k G r e e c e A t h e n s E x h i b i t i o n s . 3. Vases,
A n c i e n t G r e e c e A t h e n s E x h i b i t i o n s . 4. Terra-cotta
GreeceAthensExhibitions. 5.

PotteryTechnique.

I. Lapatin, Kenneth. II. J. Paul Getty M u s e u m . III. Title.

NK4645.C58 2006
738.3'8209385dc22
2006006220

Contents
Lenders to the E x h i b i t i o n

vi

F o r e w o r d Michael Brand

vii

Acknowledgments

viii

Map

Abbreviations

xii

I n t r o d u c t i o n Beth Cohen

Technical Studies of Some A t t i c Vases i n the J. P a u l Getty M u s e u m

Jeffrey Maish, Marie Svoboda, Susan Lansing-Maish

C H A P T E R

C H A P T E R

BILINGUAL

VASES

17

B i l i n g u a l Vases a n d Vase-Painters Beth Cohen

18

Entries 1-6

26

CORAL-RED

GLOSS

43

Coral-red Gloss: Potters, Painters, a n d Painter-Potters

Beth Cohen

Entries 7-14
C H A P T E R

C H A P T E R

C H A P T E R

44
54

Six's TECHNIQUE

71

Six's Technique: Black G r o u n d Beth Cohen

72

Entries 15-26

81

ADDED

CLAY

A N DGILDING

105

A d d e d Clay a n d G i l d i n g i n A t h e n i a n Vase-painting Beth Cohen

106

Entries 27-39

118

OUTLINE

IN BLACK-

A N DRED-FIGURE

VASE-PAINTING

O u t l i n e as a Special Technique i n Black- a n d Red-figure Vase-painting

149

150

Beth Cohen
Entries 4 0 - 4 9
C H A P T E R

C H A P T E R

C H A P T E R

C H A P T E R

WHITE

161

GROUND

185

A t t i c W h i t e G r o u n d : Potter a n d Painter Joan R. Mertens

186

Entries 50-69

194

PLASTIC

VASES

A N DVASES

WITH

PLASTIC

ADDITIONS

239

A t h e n i a n Potters a n d the P r o d u c t i o n of Plastic Vases Marion True

240

Entries 70-89

250

T H E SOTADES

TOMB

291

The Sotades Tomb Dyfri Williams

292

Entries 90-99

300

KERCH-STYLE VASES

Kerch-style Vases: T h e Finale Kenneth Lapatin

317

318

Entries 100-105

327

Glossary

342

Photograph Credits, Catalogue Entries

344

Concordances

344

Index of Painters, Potters, Groups, a n d Classes

345

A b b r e v i a t i o n s for References

346

References

347

Lenders to the Exhibition

Our thanks are extended to all those who have kindly

loaned their works to the exhibition. The list of lenders
below is alphabetized by city, followed by institution.
Basel, A N T I K E N M U S E U M B A S E L U N D S A M M L U N G

Berlin, S T A A T L I C H E M U S E E N

Boston, M U S E U M O F F I N E

Brussels, B I B L I O T H Q U E

Brussels, M U S E S

Z UB E R L I N P R E U E I S C H E R

ARTS

ROYAUX D'ART

ET D'HISTOIRE

M U S E U M

Kansas City, N E L S O N - A T K I N S

MUSEUM

Karlsruhe, B A D I S C H E S

LANDESMUSEUM

London, T H E B R I T I S H

M U S E U M

ARQUEOLGICO

Malibu, J. P A U L G E T T Y

OF A R T

NACIONAL

M U S E U M

N e w York, T H E M E T R O P O L I T A N

M U S E U M OF A R T

Oxford, A S H M O L E A N

UNIVERSITY

MUSEUM,

Paris, M U S E

D U LOUVRE

Paris, M U S E

D UP E T I T

vi

OF OXFORD

PALAIS

St. P e t e r s b u r g , T H E S T A T E

V a t i c a n City, V A T I C A N

KULTURBESITZ,

ROYALE DE BELGIQUE

Copenhagen, N A T I O N A L

Madrid, M U S E O

LUDWIG

HERMITAGE

MUSEUMS

M U S E U M

ANTIKENSAMMLUNG

Foreword

VASES

MADE

OF FIRED

C L A Y are

c o m m o n to

almost every culture o n E a r t h . In ancient Greece,

the red- a n d black-figure vases p r o d u c e d i n the

leagues i n the U n i t e d States and abroad w h o have

generously lent their vases for this e x h i b i t i o n .
The essays prepared for this catalogue have

c i t y of A t h e n s are s y n o n y m o u s w i t h ancient

been w r i t t e n b y leading scholars i n the field of

Greek art a n d culture. D u r i n g the s i x t h a n d fifth

A t h e n i a n vase studies, i n c l u d i n g the guest cura

centuries B . C . , A t t i c potters a n d vase-painters

tor and author of the majority of essays as w e l l as

took their ceramic arts to n e w levels as they

most of the catalogue entries, Beth Cohen; M a r i o n

e x p l o r e d their m e d i u m to the fullest. The Colors

True; Joan M e r t e n s (The M e t r o p o l i t a n M u s e u m

of Clay examines the p r o d u c t i o n a n d decorating

of Art); D y f r i W i l l i a m s (The British M u s e u m ) ; and

techniques that went b e y o n d the w e l l - k n o w n red-

Kenneth L a p a t i n (The Getty M u s e u m ) . T h a n k s are

a n d black-figure p a i n t i n g , a n a l y z i n g processes

due also to the team of Getty M u s e u m conserva

such as the use of coral-red gloss, added clay a n d

tors a n d Getty Conservation Institute scientists

g i l d i n g , Six's technique, outline, w h i t e g r o u n d

w h o w o r k e d w i t h the vase specialists to analyze

a n d pastel colors, a n d mold-made vases. These

materials a n d understand these techniques more

refined methods of decoration a n d manufacture

fully. The results of those investigations led to an

p r o v e d p o p u l a r not o n l y i n ancient A t t i k a but

essay i n this catalogue b y Jeffrey M a i s h , M a r i e

also t h r o u g h o u t the M e d i t e r r a n e a n . E a c h of these

Svoboda, and Susan L a n s i n g - M a i s h .

methods of decoration has been studied before,

M o u n t i n g a major e x h i b i t i o n requires a team

but i n this e x h i b i t i o n they are for the first time

effort from the staff of many departments, a n d I

all e x a m i n e d simultaneously. Some of the finest

w o u l d like to acknowledge the exceptional w o r k

vases p r o d u c e d i n ancient A t h e n s u s i n g these

of everyone i n v o l v e d . In particular, I thank the

techniques have been gathered together from

f o l l o w i n g : K e n n e t h L a p a t i n a n d M a r y Louise H a r t

major museum collections i n the U n i t e d States a n d

from the A n t i q u i t i e s Department w o r k e d closely

Europe. T h i s e x h i b i t i o n also marks the first time

w i t h the guest curator to realize the e x h i b i t i o n

since their discovery a n d dispersal i n 1890 that a

w i t h i n our galleries; Sahar T c h a i t c h i a n edited

specific group of vesselsthose f o u n d i n the so-

the e x h i b i t i o n material; A n n Steinsapir headed

called Sotades T o m b i n A t h e n s w i l l be reunited.

the i n p u t from the E d u c a t i o n Department; A n n

T h e topic of A t h e n i a n vases made w i t h special

M a r s h a l l , D a v i n a H e n d e r s o n , a n d D e b i Van Z y l

techniques is especially appropriate for the first

designed the e x h i b i t i o n and a l l related gallery a n d

large international e x h i b i t i o n to be h e l d b y the

promotional materials; Sally H i b b a r d , N a n c y R u s

J. Paul G e t t y M u s e u m at the recently renovated

sell, a n d Betsy Severance i n the Registrar's Office

a n d e x p a n d e d Getty V i l l a . The M u s e u m ' s a n t i q u i

kept track of every object; Q u i n c y H o u g h t o n a n d

ties collection is especially r i c h i n A t h e n i a n vases,

L i z A n d r e s managed the m y r i a d aspects of a large

many of w h i c h were made i n the special tech

international loan e x h i b i t i o n ; A l i s o n Glazier a n d

niques e x p l o r e d i n this e x h i b i t i o n , a n d the Getty

A n n e M a r t e n s p r o d u c e d the interactive programs

V i l l a is the ideal place to display these r i c h l y orna

w i t h the generous assistance of T o b y Schreiber;

mented objects i n the larger context of the a n t i q

B. J. Farrar a n d M c K e n z i e L o w r y constructed the

uities collection.

mounts for the installation; a n d Bruce M e t r o and

We are greatly i n d e b t e d to Beth Cohen,

the guest curator of this e x h i b i t i o n , w h o first

K e v i n M a r s h a l l headed the crew of preparators

w h o installed the e x h i b i t i o n .

approached M a r i o n True, the Getty M u s e u m ' s for

mer Curator of A n t i q u i t i e s , w i t h the proposal for
this show. M y thanks go also to our museum col

vii

MICHAEL

BRAND

Director, J. Paul Getty M u s e u m

Acknowledgments

uities Conservator at the Getty M u s e u m , for his

long-term help a n d guidance i n regard to t e c h n i cal issues. The J. P a u l Getty M u s e u m p r o v i d e d
f u n d i n g for this e x h i b i t i o n , w h i c h covered most

SOME

TWENTY

Y E A R S A G O , I discussed w i t h

of the necessary travel a n d study photography,

M a r i o n True, former Curator of A n t i q u i t i e s at the

a n d Getty P u b l i c a t i o n s a c q u i r e d the catalogue's

J. P a u l Getty M u s e u m , an idea I h a d for an e x h i b i -

s p l e n d i d photographs of vases i n the e x h i b i t i o n

t i o n o n special techniques of A t h e n i a n vases that

a n d most of the illustrations for the essays. Peter

w o u l d i n v o l v e the disciplines of art h i s t o r y a n d

Evans a n d N o e l W u i n the Getty M u s e u m ' s A n t i q -

archaeology, science a n d conservation. H a v i n g

uities Department h e l p e d w i t h travel arrange-

attended symposia o n ancient Greek marble a n d

ments. I owe t h a n k s to Bndicte G i l m a n of Getty

bronze sculpture at the Getty V i l l a i n w h i c h art

P u b l i c a t i o n s for e d i t i n g this volume, Elizabeth

historians, archaeologists, artists, conservators,

C h a p i n K a h n for overseeing its p r o d u c t i o n , a n d

a n d scientists participated, I was c o n v i n c e d that

Sandy Bell for its beautiful design.

the G e t t y M u s e u m w o u l d be the perfect venue for

M a n y people p r o v i d e d help i n s c h e d u l i n g

this project. A n c i e n t art e x h i b i t i o n s h a d not as

a n d overseeing m y study visits to museums i n

yet taken a s i m i l a r l y i n t e r d i s c i p l i n a r y approach,

the U n i t e d States a n d abroad and/or i n s u p p l y -

a n d e x h i b i t i o n s of vases i n A m e r i c a tended to be

i n g information about vases i n their collections.

organized as displays of private collections, w o r k s

I am grateful to J o h n J. H e r r m a n n , Jr., Christine

d r a w n from collections i n a particular geographic

Kondoleon, M a r y Comstock, Pamela H a t c h f i e l d ,

region, examples of certain iconographic themes,

a n d Brenda Breed ( M u s e u m of Fine A r t s , Boston);

or a monographic survey of an i n d i v i d u a l vase-

M a r i o n True, Janet B. Grossman, K e n n e t h L a p a -

painter. M a r i o n was extremely enthusiastic about

t i n , a n d Carrie Tovar (J. P a u l Getty M u s e u m , Los

the n e w d i r e c t i o n I proposed, a n d we began to

Angeles); Carlos A . Picn, Joan R. Mertens, R i c h -

discuss s c h e d u l i n g such a vase e x h i b i t i o n for the

ard E . Stone, W i l l i a m M . Gagen, J o h n F. M o r a r i u ,

Getty. Needless to say, there have been numerous

Jr., Jennifer S l o c u m Soupios, a n d F r e d A . Caruso

delays. T h e ultimate realization of this dream as an

(The M e t r o p o l i t a n M u s e u m of A r t , N e w York);

international loan e x h i b i t i o n at the Getty V i l l a can

Robert C o h o n ( N e l s o n - A t k i n s M u s e u m , Kansas

be attributed to M a r i o n ' s u n w a v e r i n g belief i n its

City, M O ) ; Jan Jordan (Agora M u s e u m , Athens);

potential. H e r tireless efforts, i n c l u d i n g personally

N i k o l a o s Kaltsas a n d E . Stassinopoulou (National

v i s i t i n g most of the l e n d i n g institutions w i t h me

Archaeological M u s e u m , Athens); Elle Vander-

to explore the p o s s i b i l i t y of major loans, led to the

meijden, Vera Slehofer, O l i v i e r Berger, a n d

panorama of e x t r a o r d i n a r y vases i n c l u d e d i n this

Susanne Drr ( A n t i k e n m u s e u m Basel u n d Samm-

e x h i b i t i o n a n d its catalogue. Finally, a m i d a b u s y

l u n g L u d w i g ) ; U r s u l a Kstner (Staatliche M u s e e n

schedule a n d u n d e r e x t r a o r d i n a r y pressure, she

z u B e r l i n , A n t i k e n s a m m l u n g ) ; Franois de

wrote an essay for the section o n plastic vases, a

Callatay (Bibliothque royale de Belgique, Brus-

theme close to her heart. I am i n d e b t e d to M a r i o n

sels); E r i c G u b e l , Christiane Tytgat, Ccile E vers,

for e v e r y t h i n g described here a n d m u c h , m u c h

a n d Isabella Rosati (Muses R o y a u x d ' A r t et

more; she deserves m y most heartfelt thanks.

I w o u l d p a r t i c u l a r l y like to extend m y t h a n k s

d'Histoire, Brussels); B o d i l Bundgaard Rasmussen a n d Charlotte W i l s b e c h A n d e r s e n (National

to the other contributors of essays i n this cata-

M u s e u m , Copenhagen); M i c h a e l M a a a n d Claus

logue: Jeffrey M a i s h , M a r i e Svoboda, Susan

Hattler (Badisches Landesmuseum, Karlsruhe);

L a n s i n g - M a i s h , a n d K e n n e t h L a p a t i n (J. P a u l

Rdiger Splitter (Staatliche Kunstsammlungen

Getty M u s e u m , Los Angeles); Joan R. M e r t e n s

Kassel); D y f r i W i l l i a m s , N e i l A d a m s , a n d K i m

(The M e t r o p o l i t a n M u s e u m of A r t , N e w York);

O v e r e n d (The B r i t i s h M u s e u m , L o n d o n ) ; Paloma

a n d D y f r i W i l l i a m s (The B r i t i s h M u s e u m , L o n -

Cabrera Bonita (Museo Arqueolgico N a c i o n a l ,

don). K e n n e t h L a p a t i n further c o n t r i b u t e d t w o

M a d r i d ) ; F l o r i a n Knauss a n d R a i m u n d W n -

entries. Special t h a n k s go to J e r r y Podany, A n t i q -

sche (Staatliche A n t i k e n s a m m l u n g e n , M u n i c h ) ;

viii

M i c h a e l V i c k e r s (Ashmolean M u s e u m , Oxford);

Stacey F u n k , a graduate student at the Institute

A l a i n Pasquier, M a r t i n e Denoyelle, a n d A l e x

of Fine A r t s , gathered references at the Institute,

andra K a r d i a n o u (Muse d u L o u v r e , Paris); Y u r i

at Bobst L i b r a r y o f N e w York University, a n d at

P. K a l a s h n i k , L i u b o v U t k i n a , Y u l i a I l y i n a , Elena

the N e w York P u b l i c L i b r a r y at 4 2 n d Street. I am

Khodza, Alexander Kruglov, Nina Kunina, A n n a

deeply i n d e b t e d to them a l l . For help w i t h the

Trofimova, a n d other members of the curatorial

logistics o f finding graduate assistants, I w o u l d

staff of the A n t i q u i t i e s Department (The State

like to t h a n k Clemente M a r c o n i , M e g a n M c C a r

Hermitage M u s e u m , St. Petersburg); a n d M a u r i z i o

thy, a n d Esther Pasztory (Columbia U n i v e r s i t y ) ;

Sannibale (Museo Gregoriano Etrusco, Vatican

and Sharon C h i c k a n z e f f (Institute o f Fine A r t s ) .

City).

D o n n a O r w i n (Toronto) helped w i t h translation of

M u c h of the research for this project was car

Russian a n d Brigitte Norgaard Poulsen (Horsens,

r i e d out at T h e M e t r o p o l i t a n M u s e u m o f A r t , N e w

Denmark) w i t h D a n i s h . Patrick Song (New York)

York. I am deeply i n d e b t e d to Kenneth Soehner,

p r o v i d e d assistance w i t h computer programs a n d

L i n d a Seckelson, Lisa Beidel, R o n Fein, a n d the

equipment.

entire staff o f the Thomas J. W a t s o n L i b r a r y ,

For hospitality, help, a n d advice i n various

where I was g i v e n the use o f a carrel a n d stack

cities, I w o u l d like to t h a n k the f o l l o w i n g friends

privileges. Special t h a n k s are due to R o b y n F l e m

and colleagues: Kathleen Coleman a n d Christine

i n g for securing many v i t a l references for me

K o n d o l e o n (Cambridge, M A ) ; Claire L . Lyons a n d

t h r o u g h i n t e r l i b r a r y loan. I am grateful to Carlos

M a r y L . H a r t (Los Angeles); M a r i a P i p i l i (Athens);

A . P i c o n for access to the Onassis L i b r a r y o f the

A n n i e V e r b a n c k - P i e r a r d a n d Susanna Sarti (Brus

Greek a n d R o m a n Department a n d to the l i b r a r i a n ,

sels); Francois Lissarrague a n d Nassi Malagardis

M a r k Santangelo, for his tireless help. M y thanks

(Paris). E l l e n N . Davis (New York), M a r i o Iozzo

are also due to Sharon C h i c k a n z e f f for access to

(Florence), a n d J. M i c h a e l Padgett (Princeton) have

the Stephen C h a n L i b r a r y o f Fine A r t s o f the Insti

p r o v i d e d invaluable assistance a n d information. I

tute of Fine A r t s , N e w York University, a n d to the

owe a special debt to the late Diana B u i t r o n - O l i v e r

Seminar i n Classical C i v i l i z a t i o n o f C o l u m b i a U n i

for many discussions o n the topic of this e x h i b i

versity for access to the U n i v e r s i t y Libraries a n d

t i o n d u r i n g the 1980s a n d 1990s. A n d r e w J. Clark

Barnard College L i b r a r y . I am i n d e b t e d to Stephen

(Encino, C A ) k i n d l y read m y chapters about coral

V. Tracy a n d Robert A . Bridges, Jr., for an appoint

red a n d added clay i n draft; he has also offered

ment as a Senior Associate M e m b e r o f the A m e r i

valuable insights a n d advice that extend b e y o n d

can School o f Classical Studies i n A t h e n s , w h i c h

the realm o f vase scholarship. Joan R. M e r t e n s

p r o v i d e d access to the Blegen L i b r a r y .

Several assistants p r o v i d e d invaluable help

not o n l y read the drafts o f m y entries for w h i t e g r o u n d vases b u t also r e v i e w e d the page proofs

d u r i n g m y final year o f w o r k o n this catalogue.

for several catalogue sections; her wholehearted

Christine M . Sciacca, a graduate student at

enthusiasm for a n d support of this project, her

C o l u m b i a U n i v e r s i t y , checked citations i n the

wise counsel, a n d her unflagging encouragement

manuscript, obtained references from A v e r y a n d

have c o n t r i b u t e d immeasurably to the succesful

other C o l u m b i a U n i v e r s i t y Libraries, a n d from the

completion of this e x h i b i t i o n catalogue. Finally,

Thomas J. W a t s o n L i b r a r y of The M e t r o p o l i t a n

I w o u l d like to t h a n k m y devoted h u s b a n d , J o h n

M u s e u m o f A r t ; she also masterfully negotiated

F. B u r l e i g h , for reading m y entire manuscript i n

offsite holdings, Columbia's B o r r o w Direct, as

draft a n d for his patience t h r o u g h o u t the various

w e l l as i n t e r l i b r a r y loan resources. Sonia A m a r a l

stages o f w o r k o n this e x h i b i t i o n a n d catalogue,

Rohter, another C o l u m b i a U n i v e r s i t y graduate stu

the p u b l i c a t i o n o f w h i c h coincides w i t h the t w e n

dent, l i k e w i s e secured references from the C o l u m

tieth anniversary of our w e d d i n g .

bia U n i v e r s i t y Libraries; i n addition, she carried

out searches o n the Beazley Archive Pottery Data

BETH

base (BAPD) a n d helped compile the glossary a n d

New York City

references at the back o f this volume. Elizabeth

February 2006

ix

COHEN

Abbreviations

bibl.

bibliography

Celsius

ca.

circa

Cab. M d .

Paris, Cabinet des Mdailles

cat.

catalogue

cf.

compare

cm

centimeter

col./cols.

column/-s

depth

Diam

diameter

e.g.

for instance

esp.

especially

fig./figs. figure/-s
GCI

Los Angeles, G e t t y Conservation Institute

height

interior

inv.

inventory

JPGM

M a l i b u , J. P a u l G e t t y M u s e u m

length

mm

millimeter

n./nn.

note/-s

no./nos.

number/-s

pl./pls.

plate/-s

RMN

Paris, Runion des Muses N a t i o n a u x

suppl.

supplement/supplemental

trans.

translator/translated b y

width

xii

Introduction

Beth Cohen

I N A N C I E N T A T H E N S , pottery developed

w i t h i n a w o r k s h o p t r a d i t i o n that was b o u n d gen

eration after generation b y the practical require
ments for m a k i n g , firing, a n d decorating vases.
A l t h o u g h they may have earned a decent l i v i n g ,
pottery workers do not appear to have h a d an
elite social status; they were considered crafts
men a n d not "artists" i n the m o d e r n sense o f that
w o r d . Nonetheless, w o r k i n g w i t h the i n t r i n s i
cally i n e x p e n s i v e m e d i u m o f clay, these craftsmen
transformed that clay i n w o n d r o u s ways. T h u s
i n W e s t e r n culture, at least since the E n l i g h t e n
ment, A t t i c p o t t e r y p a r t i c u l a r l y the pottery
p r o d u c e d d u r i n g the A r c h a i c a n d Classical periods

Figure 1. Herakles. Detail of red-figured amphora of type A, attributed

to the Berlin Painter, ca. 480 B.C. Antikenmuseum Basel und
Sammlung Ludwig BS 456/Ka 418. (ARV 1634.1 bis; BAPD Vase
275090.) Photographer: Dieter Widmer.
2

i n Greece o f the s i x t h to the fourth c e n t u r y B . C .

has i n d e e d often been considered an art, m u c h
a d m i r e d for a c h i e v i n g a breathtaking balance o f

orange color o f the clay, a n d the g r o u n d a r o u n d

refined shape a n d elaborate surface decoration i n

t h e m is covered w i t h the black gloss. Details are

a figural style.

now painted onto the vase's surface rather t h a n

A t t i c vases are likewise strongly associated

incised. A d d e d colors a n d dilute washes o f gloss

w i t h the t w o w e l l - k n o w n standard techniques

may be employed, t h o u g h their importance varies

employed i n their decoration, b l a c k - a n d r e d -

over time.

figure. Black-figure, adopted from C o r i n t h i a n

pottery i n the late seventh c e n t u r y B . C . , was the

Rather t h a n p l a c i n g a central focus o n standard

black- a n d red-figure for their o w n sake, this e x h i

d o m i n a n t t e c h n i q u e o f vase decoration i n A t h

b i t i o n a n d its catalogue consider fine A t t i c pottery

ens for most o f the s i x t h - c e n t u r y A r c h a i c p e r i o d

from the u n c o m m o n vantage p o i n t o f other dis

(e.g., cat. nos. 40, 53). In black-figure, black-gloss

t i n c t i v e techniques that were e m p l o y e d contempo

silhouettes, detailed w i t h i n c i s i o n a n d red a n d

raneously i n decorating and/or shaping vases. T h e

w h i t e colors, are contrasted against the vase's

vases decorated w i t h special techniques i n this

orange clay body. Red-figure was a n e w technique

e x h i b i t i o n span some 250 years, from ca. 580 to

i n v e n t e d i n A t h e n s herself a r o u n d the b e g i n n i n g

ca. 340 B . C . , a n d they i n c l u d e some o f the greatest

of the last quarter o f the s i x t h c e n t u r y that soon

masterpieces o f A t t i c pottery that have come d o w n

became the p r e d o m i n a n t t e c h n i q u e o f vase deco

to us.

r a t i o n (e.g., cat. no. 27). T h e p r o d u c t i o n o f A t t i c

M o s t o f the special techniques observed o n the

red-figure lasted t h r o u g h the Late Classical p e r i o d

vases i n this e x h i b i t i o n catalogue were first d e v e l

of the fourth c e n t u r y B . C . T h i s t e c h n i q u e (figs. 1

oped d u r i n g the last t h i r d o f the s i x t h c e n t u r y

2) is c o m m o n l y described as the reverse o f b l a c k -

B . C . , an e x t r a o r d i n a r i l y fertile p e r i o d o f e x p e r i

figure. N o w the forms are reserved, i.e., left i n the

mentation i n the A t h e n i a n pottery i n d u s t r y . One

w o u l d like to be able to associate the b e g i n n i n g of

of A t h e n i a n pottery (e.g.,

this time o f i n v e n t i o n w i t h the i n c e p t i o n o f A t h e

cat. no. 36) was challenged

n i a n democracy, s y m b o l i z e d i n A t h e n i a n lore a n d

b y the g r o w t h o f colonial

art b y the assassination o f H i p p a r c h o s , brother

wares from South Italian

of the tyrant H i p p i a s , b y H a r m o d i o s a n d A r i s -

a n d S i c i l i a n fabrics. Never

togeiton i n 514 B . C . (fig. 3), w h i c h was followed

theless, t h o u g h the q u a l i t y

by Hippias's e x p u l s i o n i n 510, a n d Kleisthenes'

of t r a d i t i o n a l red-figured

reforms i n 508. But i n reality, many o f the f u n

pottery had d i m i n i s h e d ,

damental t e c h n i c a l i n n o v a t i o n s o c c u r r e d earlier,

Athenian production con

d u r i n g the final decades o f the Peisistratid t y r

t i n u e d to find n e w markets,

anny, w h e n the potter a n d painter Exekias (chap.

such as Kerch i n S o u t h

2, fig. 1) was still active, a n d he, Nikosthenes (cat.

Russia (ancient P a n t i k a -

no. 15), a n d the younger potter A n d o k i d e s (cat.

paion). Late red-figured,

nos. 1-2) were b u s i l y e x p o r t i n g vases to E t r u r i a .

so-called Kerch-style vases

In the early years o f democracy, the pottery

(e.g., cat. nos. 104-105), a n d

i n d u s t r y c o n t i n u e d to flourish w i t h the rise of the

other n e w l y created types o f

Pioneer G r o u p , w h i c h consisted o f painters, most

l u x u r y vases (e.g., cat. nos. 38, 88,

of w h o m became potters later i n their careers (cf.

89) sometimes employed b r i g h t color,

cat. nos. 10-13, 78), i n c l u d i n g E u p h r o n i o s (e.g.,

mold-made features, a n d g i l d i n g

cat. nos. 10, 29), w h o placed a robust emphasis

and were e x p o r t e d w i d e l y d o w n to

on c a p t u r i n g the h u m a n form. In the early fifth

the end o f the Classical age.

c e n t u r y A t h e n s enjoyed great v i c t o r y i n the

The far-flung markets for A t h e n i a n pottery

Persian Wars, a n d i n a self-assured, e m i n e n t l y

i n the ancient w o r l d have received m u c h schol

A t h e n i a n way, potters adopted the exotic shapes

arly attention. Vases i n this e x h i b i t i o n have been

of the defeated foes metal vessels for their o w n

f o u n d as far afield as V u l c i i n E t r u r i a (e.g., cat.

clay wares (e.g., cat. nos. 83, 9699). T h e arts

nos. 2, 6, 42, 47, 53, 70, 80), Capua i n South Italy

flourished,

(e.g., cat. nos. 38, 50, 77, 83, 85, 86), A g r i g e n t o i n

a n d the rise o f free p a i n t i n g affected

the form a n d color of vase-painting (e.g., cat. nos.

Figure 2. Athena. Redfigured amphora in figure 1.

Photographer: Dieter Widmer.

Sicily (cat. no. 24), Kerch i n South Russia (cat. nos.

32, 49, 61, 65, 92). A t the height o f the Classical

37, 103, 105), a n d M e r o e i n E g y p t (cat. no. 87, see

p e r i o d , u n d e r the great leader Perikles, an i m p o r

M A P ) . However, the substantial home market i n

tant b u i l d i n g program reclaimed the A t h e n i a n

A t h e n s and A t t i k a for vases decorated i n special

A k r o p o l i s from the r u i n s o f Persian destruction.

Here rose the s p l e n d i d Temple o f A t h e n a , k n o w n
as the Parthenon, w h i c h was anticipated a n d
echoed i n the grace o f its h u m a n figures b y classic
w h i t e - g r o u n d vases a n d funerary l e k y t h o i deco
rated b y anonymous masters (e.g., cat. nos. 64,
67). Later i n the century, A t h e n s suffered defeats,
especially i n the Peloponnesian War. Seemingly
i g n o r i n g t r o u b l e d p o l i t i c a l times, the important
p r o d u c t i o n o f pottery c o n t i n u e d . T h e circle of the
M e i d i a s Painter specialized i n vases florid b o t h
i n style a n d t e c h n i q u e that were encrusted w i t h
g i l d e d details (cat. no. 35).
In fourth-century A t h e n s t h e era of P l a t o
democracy, for the male citizen, still managed to
flourish,

t h o u g h it was m a r k e d b y an ever w e a l t h

ier elite class o f private citizens. N o w the p r i m a c y

Figure 3. Sculptural group of

the Tyrannicides. Fragmentary
red-figured oinochoe, ca. 400
B.C. H 16 cm. Boston, Museum
of Fine Arts, Henry Lillie Pierce
Fund 98.936. Photograph
2006 Museum of Fine Arts,
Boston.

techniques is s t r i k i n g (e.g., cat. nos. 10, 19, 20, 26,

Indeed, the decorative silhouette schemes o f

31, 40, 48, 61, 90-99). S u c h home-market vases i n

A t t i c black- a n d red-figured vases, contrasting

this e x h i b i t i o n reveal that potent A t h e n i a n asso

shiny black w i t h the orange color o f clay, resulted

ciations between t r a d i t i o n , r i t u a l , a n d technique

directly from the firing process, d u r i n g w h i c h the

extended b e y o n d the w e l l - k n o w n black-figured

clay slip painted onto the vases' surfaces before

Panathenaic p r i z e amphorae (cat. no. 39) a n d

the firing t u r n e d into black gloss (see Technical

fifth-

c e n t u r y w h i t e - g r o u n d funerary l e k y t h o i (cat. nos.

63, 66, 68, 69).

Studies essay).
T h e m o d e r n u n d e r s t a n d i n g o f the role o f the

Classification a c c o r d i n g to special techniques

three-stage firing process i n creating the clas

invites close observation o f the vases themselves.

sic look o f the A t t i c vase, however, l e d to an

It entails c o n s i d e r i n g not o n l y h o w these u n u s u a l

assumption d u r i n g m u c h o f the t w e n t i e t h c e n t u r y

vases were made a n d decorated but also to what

that all features o f vase-decoration must have

degree their present c o n d i t i o n reflects the w a y

been a p p l i e d before firing. If any part of a vase's

they o r i g i n a l l y were i n t e n d e d to look. A n inte

decoration c o u l d be washed or s c r u b b e d off, or

gral part o f this investigation, therefore, has been

dissolved i n h y d r o c h l o r i c acid, it was thereby

the collaboration o f conservators at the J. Paul

t h o u g h t not to be o r i g i n a l . Unfortunately, a l l vase

G e t t y M u s e u m , w h o present the results o f their

decoration was not necessarily a p p l i e d before fir

technical analyses o f some o f the glosses, p i g

i n g , and, i n d e e d , even some fired decoration can

ments, a n d coatings e m p l o y e d i n vase decoration

u n w i t t i n g l y be removed b y aggressive cleaning.

i n the i n t r o d u c t o r y section (see Technical Studies

A l t h o u g h some evidence has been lost t h r o u g h

essay) o f this catalogue. T h e conservators' essay

i m p r o p e r cleaning a n d m i s g u i d e d efforts at "res

also explains the three-part firing p r o c e s s w h i c h

toration," m u c h more is n o w understood about the

consisted o f an o x i d i z i n g , a r e d u c i n g , a n d a r e o x i -

proper care o f vases, a n d there is still m u c h to be

d i z i n g phasethat was e m p l o y e d i n A t h e n i a n

learned t h r o u g h their close examination.

pottery w o r k s h o p s .

The selection o f vases i n the e x h i b i t i o n has

In ancient A t h e n s , the potter was the i n d i

been g u i d e d b y various p r i n c i p l e s , first a n d fore

v i d u a l w h o o w n e d a n d operated the w o r k s h o p .

most, the q u a l i t y o f the vases a n d their capacity

H i s w o r k s h o p w o u l d have been located i n the c i t y

to illustrate t y p i c a l or i n n o v a t i v e aspects o f one

itselfthe area northwest o f the A t h e n i a n A g o r a

or more special techniques. Naturally, the w i l l i n g

was k n o w n as the Kerameikos (potters' quarter)

ness o f l e n d i n g institutions to part w i t h i m p o r t a n t

or, especially i n earlier times, i n the s u r r o u n d i n g

w o r k s i n their collections has played a significant

l a n d o f A t t i k a . T h e potter either decorated as

role i n the ultimate c o m p o s i t i o n o f the e x h i b i

w e l l as fashioned the vases himself, or he h i r e d

t i o n , a n d I am most grateful for their cooperation.

separate vase-painters. Craftsmen's signatures

In this e x h i b i t i o n , I have preferred to i n c l u d e

e m p l o y i n g different verbs often appear o n A t t i c

vases w i t h secure provenance, and, i n particular,

vases. So-and-so epoiesen (made [me]) is generally

examples from o l d collections. But a few p r e v i

considered either to be the signature o f the potter

ously p u b l i s h e d vases that have been k n o w n o n l y

h i m s e l f or to designate the products of a specific

for the past few decades are presented here: These

potter-proprietor's w o r k s h o p ; so-and-so egraphsen

nonethelss p r o v i d e important data for t e c h n i c a l

(painted [me]) is believed to be the signature o f the

studies a n d offer relevant insights i n t o the prac

vase-painter.

tices of ancient potters a n d painters.

A p p r e c i a t i o n of the potter's significance a n d

I have e x a m i n e d a l l o f the vases firsthand a n d

k n o w l e d g e o f the standard firing process are

have incorporated the results o f this direct obser

essential to u n d e r s t a n d i n g the development o f

v a t i o n i n the i n d i v i d u a l catalogue entries for 103

techniques o f vase decoration. After the vases

vases a n d i n m y essays o n various techniques i n

were formed o n the potter's w h e e l a n d h a d d r i e d

chapters 1 t h r o u g h 5.

to a leather-hard state, they were generally deco

rated before being placed i n the k i l n for

C O H E N

firing.

T h e catalogue is d i v i d e d i n t o nine chapters

each o f w h i c h is i n t r o d u c e d b y an essay o n the

theme o f that chapter.

C H A P T E R 1,

o n Bilingual

small mold-made heads, that were first p r o d u c e d

Vases, features u n c o m m o n vases, mostly ampho

i n A t h e n s d u r i n g the last t h i r d o f the s i x t h cen

rae a n d cups decorated half i n red-figure a n d half

t u r y B . C . I n her essay o n this theme, M a r i o n True

i n the o l d black-figure technique, made at a time

presents n e w interpretations o f several o f these

of t e c h n i c a l transition d u r i n g the last quarter

u n u s u a l vessels as w e l l as evidence for their attri

of the s i x t h century. B i l i n g u a l vases serve here

b u t i o n to potters' w o r k s h o p s .

to introduce these fundamental techniques, a n d

they i n v i t e the v i e w e r to engage i n t e c h n i c a l
comparison.

C H A P T E R 8,

The Sotades Tomb, reunites a group

of exquisite vases, made i n one pottery w o r k

shop, that were f o u n d together i n a Classical tomb

Six catalogue chapters cover i n d i v i d u a l special

i n A t h e n s i n 1 8 9 0 a n d t h e n q u i c k l y dispersed.

techniques. These techniques have been organized

These vases employ most o f the special techniques

r o u g h l y a c c o r d i n g to their order o f i n t r o d u c

considered i n this e x h i b i t i o n a n d catalogue. I n

t i o n and/or their p e r i o d o f greatest p o p u l a r i t y .

the essay for this chapter D y f r i W i l l i a m s presents

CHAPTER 2,

o n Coral-Red Gloss, deals w i t h a rare

evidence for a d d i n g a white-ground-and-coral-red

gloss that fired to a n orange-red color, w h i c h was

cup i n Boston (cat. no. 9 1 ) as the tenth vase i n this

employed instead o f b l a c k gloss to cover large

tomb group. F i n a l l y

areas o f a vase's surface. M o s t p o p u l a r o n d r i n k

i n c l u d e s some o f the finest examples o f the last

ing cups, coral r e d was used o n vases associated

A t h e n i a n red-figured vases, w h i c h were p r o d u c e d

C H A P T E R 9,

Kerch-style Vases,

w i t h w i n e . C H A P T E R 3 deals w i t h the rarest o f the

d u r i n g the fourth c e n t u r y B . C . These vases, named

special techniques, Six's Technique. N a m e d after

after the findspot i n South Russia o f many exam

Jan S i x , the D u t c h scholar w h o first described it,

ples, were generally decorated i n a n elaborate and

this fragile t e c h n i q u e i n v o l v e d p o l y c h r o m e paint

florid

ing o n a black g r o u n d a n d was sometimes further

cial techniques. K e n n e t h L a p a t i n considers some

elaborated w i t h i n c i s i o n .

CHAPTER 4

covers Added

manner that often c o m b i n e d several spe

painters o f Kerch-style vases i n this e x h i b i t i o n ,

Clay and Gilding. These t w o techniques are closely

p l a c i n g their w o r k i n the context o f the arts dur

associated, for clay-relief details sometimes served

ing the Late Classical p e r i o d . (In a d d i t i o n , L a p a t i n

as a basis for embellishment w i t h gold leaf. A d d e d

has c o n t r i b u t e d catalogue entries for t w o o f the

clay was also c o m m o n l y covered w i t h b l a c k gloss,

vasescat. nos. 3 9 a n d 1 0 2 e x a m i n e d b y c o n

a n d it was one o f the longest l i v e d o f a l l special

servators at the J. Paul G e t t y M u s e u m . )

techniques. Inventive uses o f Outline in Blackand Red-figure Vase-painting comprise

CHAPTER

5. W h e n first e m p l o y e d for its o w n sake i n the

Vase scholars are i n d e b t e d to J. D. Beazley

( 1 8 8 5 - 1 9 7 0 ) for establishing order i n the field
t h r o u g h his p r o d i g i o u s attributions to paint

context o f s i x t h - c e n t u r y A t t i c black-figure, out

ers a n d to potters' w o r k s h o p s o f the A t t i c vases

line was a C o r i n t h i a n i z i n g t r a d i t i o n ; later outline

k n o w n to h i m . T h e nicknames for many anony

d r a w i n g was occasionally emphasized i n i n v e n

mous craftsmen employed i n this v o l u m e follow

tive, u n u s u a l ways.

Beazley's system o f nomenclature i n Attic Black-

C H A P T E R 6,

o n White Ground, is one o f the t w o

figure Vase-painters (ABV) a n d Attic Red-figure

largest units. I n this t e c h n i q u e a w h i t e - c l a y slip

Vase-Painters (ARV ). Some vase-paintersfor

fired onto the vessels surface served as a base

example, Sophilos (cat. no. 4 0 ) a n d Epiktetos (cat.

for vase-painting. W h i t e g r o u n d became closely

no. 5 ) s i g n e d their names, b u t many d i d not.

associated w i t h Classical A t h e n i a n funerary

Beazley, therefore, gave anonymous definable

l e k y t h o i . T h e essay b y Joan R. M e r t e n s surveys

artistic personalities nicknames: e.g., the V o u n i

this technique's l o n g a n d important history. C H A P

Painter (cat. no. 6 2 ) , named after the findspot o f

T E R 7 , a n equally large unit, includes b o t h Plastic

one lekythos from his h a n d at V o u n i , C y p r u s ;

Vasesthe s c u l p t u r a l vases fashioned i n molds

the Painter o f L o n d o n E 2 , named after the vase-

i n a v a r i e t y o f h u m a n , animal, a n d even vegetal

catalogue n u m b e r o f a cup i n the B r i t i s h M u s e u m

shapesand Vases with Plastic Additions, vases

(cat. no. 6 ) ; a n d the A m a s i s Painter (cat. no. 4 3 ) ,

embellished w i t h decorative adjuncts, s u c h as

named after the potter whose signature appears o n

I N T R O D U C T I O N

comings are not yet clear, the o l d b l a c k - a n d - w h i t e

w o r l d is still w i t h us. Scholars are accustomed to
" r e a d i n g " b l a c k - a n d - w h i t e photographs o f vases
to d i s t i n g u i s h added-red from added-white color,
added w h i t e from the loss o f a once-painted-on
color, reserved clay from coral-red gloss, coral-red
gloss from added-red color, t h i c k e n e d black-gloss
matter from added clay, an i n c i s e d line from a
painted line or a reserved border, a n d so o n . Yet
all o f these basic features o f vase decoration have
been described i n c o r r e c t l y i n regard to vases i n
this e x h i b i t i o n b y scholars w h o clearly w o r k e d
from photographs. S u r p r i s i n g l y , k e y discoveries
t h r o u g h o u t this catalogue have resulted s i m p l y
from firsthand observation o f vases assessed ear
lier t h r o u g h photographs, b o t h b l a c k - a n d - w h i t e
a n d color. In a d d i t i o n , whenever possible, vases
i n this e x h i b i t i o n have been e x a m i n e d w i t h c o n
servators at the p a r t i c i p a t i n g museums, e m p l o y
i n g microscopes a n d other m o d e r n methods o f
"A red-figure volute krater attributed to a painter of the Syleus
sequence! Maynard, you shouldn't have!"
Figure 4. Cartoon by George

investigation. Because vases that came to l i g h t i n

the nineteenth c e n t u r y a n d the b e g i n n i n g o f the
twentieth have received special emphasis i n the

Booth from The New Yorker,

this painter's vases, w h o may have been the same

present assemblage, o l d direct descriptions have

2 November 1999. The New

person as the painter.

preserved important information. T h u s early, par

Yorker Collection 1999 George

Because o f Beazley's enormous influence, attri

BoothfromCartoonbank.com.
All Rights Reserved.

t i c u l a r l y nineteenth-century, sources are featured

b u t i o n to vase-painters has frequently received

among the ample selected references for i n d i v i d

inordinate emphasis, often at the expense o f look

ual catalogue entries.

i n g at other aspects o f A t h e n i a n pottery. A n emi

Finally, e x a m i n i n g several specific examples

nent scholar's boast about being able to attribute

of the use o f a special technique, i n this case

vases still w r a p p e d i n tissue paper is lampooned

added clay, w h i c h was used i n c o n j u n c t i o n w i t h

b y a Booth cartoon from The New Yorker (fig. 4)

red-figure a n d w i t h w h i t e g r o u n d , can help to

s h o w i n g a w o m a n i n a l u x u r i o u s interior standing

introduce the particular focus o f this study. T h e

over a large gift still i n its box, w h i l e e x c l a i m i n g

magnificent b l a c k - b o d i e d amphora i n Basel attrib

to the pleased-looking m a n nearby, " A red-figure

uted to the B e r l i n Painter (see figs. 12) spotlights

volute krater attributed to a painter o f the Syleus

o n one side Herakles e x t e n d i n g his cup a n d o n

sequence! M a y n a r d , y o u shouldn't have!"

the other the goddess A t h e n a , e x t e n d i n g a w i n e

A far more serious p r o b l e m than obsession

pitcher, facing left t o w a r d the hero. T h e t w o red

w i t h a t t r i b u t i o n for the consideration of vase

figures placed o n short ornamental base lines o n

technique has been the use o f b l a c k - a n d - w h i t e

either side o f this amphora have the majesty a n d

photography as a mainstay o f vase studies i n the

composure o f statues. O n this " s t a n d a r d " r e d -

t w e n t i e t h century. M a n y scholars clearly relied

figured vase the special technique o f raised dots

o n these photographs rather than o n the vases

of added clay o r i g i n a l l y covered w i t h b l a c k gloss

themselves, a n d " h i g h - q u a l i t y " b l a c k - a n d - w h i t e

describe the lower border o f H e r a k l e s ' hair a n d

photographs have remained the reproductions

also his beard. These s c u l p t u r a l dots emphasize

of choice for e n d u r i n g reference w o r k s s u c h as

the head o f the hero b y d i s t i n g u i s h i n g it from the

fascicules o f the CVA. T h u s , even as we enter an

pot's black g r o u n d .

all-color, h i g h - r e s o l u t i o n digital age, whose short

C O H E N

A fragmentary red-figured oinochoe from ca.

400 B . C . i n Boston (see fig. 3) reflects the famous

s c u l p t u r a l group o f the T y r a n n i c i d e s o f the 470s
B . C . that stood i n the A t h e n i a n A g o r a . O n the vase
the tyrant slayers are s h o w n o n a statue base i n
poses o f attack: the y o u n g H a r m o d i o s w i t h his
s w o r d arm d r a w n back over his head and A r i s t o geiton w i t h his d r a w n s w o r d at h i p level. Interest
ingly, this j u g s u n k n o w n painter has enhanced
his r e n d i t i o n o f these bronze sculptures b y a d d i n g
extruded-clay relief details that may o r i g i n a l l y
have been g i l d e d to the swords a n d scabbards as
w e l l as clay-relief wreaths o n their heads.
T h e i n t e r i o r o f a cup i n L o n d o n from ca. 4 7 0 460 B . C . , attributed to the Pistoxenos Painter (fig.
5), contains one o f the finest E a r l y Classical w h i t e -

are no added-clay details at all; thus it is h i g h l y

Figure 5. Aphrodite riding

g r o u n d vase-paintings. Here A p h r o d i t e gracefully

l i k e l y that here the step of a p p l y i n g added clay

on a goose. White-ground

rides sidesaddle o n the back o f a f l y i n g goose.

was accidentally omitted. F a m i l i a r i t y w i t h special

to the Pistoxenos Painter, ca.

T h i s famous image, however, contains several

techniques suggests that the Pistoxenos Painter's

470-460 B.C. Diam 24 cm.

heretofore u n r e c o g n i z e d anomalies. T h e positions

A p h r o d i t e must have been i n t e n d e d to h o l d an

of A p h r o d i t e s hands are curious. H e r left h a n d

added-clay flower a n d a fruit, a n d to wear g i l d e d

has the t h u m b a n d forefinger pressed together as

added-clay jewelry, i n c l u d i n g a beaded necklace

i f h o l d i n g something, a n d her e m p t y extended

that w o u l d have covered those crude black g u i d e

r i g h t h a n d a w k w a r d l y supports a floating t e n d r i l .

lines o n her neck.

Furthermore, i n an u n u s u a l departure for Classi

cal art, the goddess of love wears neither an ear

In c o n c l u s i o n , as w i t h the above examples, it

is h o p e d that t a k i n g a closer look at each of the

r i n g nor a bracelet, a n d her necklace is s i m p l y

special techniques featured i n this e x h i b i t i o n and

a series o f crude b l a c k slashes. O n contempora

at the variety o f vases decorated w i t h them w i l l

neous w h i t e - g r o u n d vase-paintings, the i n c l u

contribute to a broader u n d e r s t a n d i n g o f a l l A t h e

sion o f small details such as flowers, fruit, a n d

n i a n vases. M o r e o v e r , i n betraying the A t h e n i a n s '

j e w e l r y i n added clay that may have been g i l d e d

innately colorful a n d opulent taste, these spe

is a standard feature (e.g., cat. nos. 31, 32, 61).

cial techniques call attention to the strange a n d

S u c h clay details h a d to be a p p l i e d before a vase

u n i q u e l y l i m i t e d palettes o f standard black- and

was fired. O n this famous cup, remarkably, there

red-figure.

I N T R O D U C T I O N

interior of a cup, attributed

London, The British Museum

GR 1864.10-7.77, BM Cat
Vases D 2. (ARV 862.22,
2

1580.bottom.3; BAPD Vase

211350.)

Technical Studies of Some Attic Vases

in the J. Paul Getty Museum
Jeffrey Maish, Marie Svoboda, Susan Lansing-Maish
T h e J . Paul G e t t y M u s e u m , M a l i b u

T H E P R O D U C T I O N of A t t i c pottery i n v o l v e d

converted the red orange c o m p o u n d s of b o t h clay

a broad spectrum o f techniques a n d materials,

a n d slip to black (rich i n the i r o n c o m p o u n d mag

many o f w h i c h are i n c o m p l e t e l y understood. A s

netite). O f critical importance at this stage was the

an integral part of the e x h i b i t i o n The Colors of

fact that the b l a c k - c o l o r e d gloss n o w p r o d u c e d

Clay, research was carried out o n several vases i n

from the slip h a d sintered a n d become imperme

the J . Paul Getty M u s e u m . Specific investigations

able, thereby l o s i n g its ability to be altered b y

focused o n a n u m b e r of ancient c o l o r - p r o d u c t i o n

reabsorption of o x y g e n . Finally, i n the t h i r d a n d

techniquesthe u n u s u a l gloss k n o w n as coral

last stage of

red, g i l d i n g of raised a n d flat ceramic decorations,

conditions were altered b y the r e i n t r o d u c t i o n of

firinganother

oxidizing stagekiln

a n d several distinctive colors f o u n d o n select

air to produce an o x y g e n - r i c h environment that

ancient vases.

allowed still-porous surfaces to reabsorb o x y g e n

A ceramic object's color may be the result of

a n d thus revert to red orange. T h e pots them

not o n l y the clay from w h i c h it is made but also

selves thereby t u r n e d the red-orange clay color

the minerals added at different stages of p r o d u c

once again; however, the sintered gloss, n o w i n an

t i o n (either naturally or b y man), as w e l l as

almost glassy state, remained black because o x y

firing

conditions. Decoration was also done t h r o u g h the

gen c o u l d not penetrate to cause a color shift back

a p p l i c a t i o n of metal leaf, u s u a l l y gold. S u m m a r i z

to red orange. T h u s the characteristic color c o n

i n g p r e v i o u s research efforts as w e l l as presenting

trasts of b o t h b l a c k - a n d red-figure were created

n e w information regarding colorful decorative

i n the same three-stage firing process. Sometimes,

additions to A t t i c vases, this study also provides

however, potters went b e y o n d these basic tech

direction for future w o r k .

niques to produce vases w i t h u n u s u a l decorative

T h e black gloss f o u n d o n A t h e n i a n vases,

features, such as coral red.

i n c l u d i n g those decorated i n the basic blacka n d red-figure techniques, was p r o d u c e d d u r i n g

the firing process itself. Before firing, a m u d d y -

The Characterization of Coral Red

l o o k i n g levigated slip (a suspension of clay par

A n u n u s u a l coral-red color was first developed

ticles i n water) was selectively painted onto the

i n A t h e n s ca. 530 B . C . i n an attempt to create a

surface of the leather-hard pottery. The decorated

red gloss that c o u l d be a p p l i e d to large areas as

pottery was then stacked i n the k i l n a n d sub

an alternative to black gloss. I n general, coral-red

jected to a carefully controlled three-stage fir

gloss is less glassy a n d more fragile than black

i n g process. T h e i n i t i a l o x i d i z i n g stage of

gloss, a n d it appears to have been more carefully

firing,

r i c h i n air, a l l o w e d i r o n minerals i n b o t h the clay

a p p l i e d . Past studies have considered several

pots a n d the clay slip o n their surfaces to form

technical issues i n the p r o d u c t i o n of coral red,

c o m p o u n d s y i e l d i n g a reddish-orange coloration,

i n c l u d i n g firing temperature, firing cycle, n u m b e r

p r i m a r i l y from the i r o n m i n e r a l hematite. The

of firings, relative thickness of the red gloss layer

second, or r e d u c i n g , stage of firing, depleted of

p r i o r to firing, a n d compositional v a r i a t i o n i n the

air, a n d thus o x y g e n , t h r o u g h the i n t r o d u c t i o n of

gloss. A n accidentally p r o d u c e d color similar to

organic materials such as damp leaves a n d w o o d ,

coral red is often seen o n areas of misfired black

o n many vases. Despite many insights and pos

no. 13) as w e l l as color measurements of t w o coral-

sibilities, the nature o f coral red is i n c o m p l e t e l y

red p h i a l a i of ca. 500-490 B . C . (cat. nos. 11-12)

understood a n d merits further investigation.

and a red-figured cup w i t h a coral-red zone and

E a r l y research o n coral red suggested t w o

areas of misfiring o f ca. 510-500 B . C . (cat. no. 9).

The relationship of coral red to areas of mis

methods o f p r o d u c t i o n . M a r i e F a r n s w o r t h c o n
ducted trials that proposed the a d d i t i o n o f the

fired black (that have t u r n e d to red) is i n c o m

m i n e r a l pigment red ocher to form the coral-red

pletely understood, a n d misfired areas of red are

gloss. T h i s proposal was based o n her analysis

sometimes v i s u a l l y identified as coral red (fig. I ) .

suggesting a h i g h e r i r o n content i n coral red than

Iron oxides may produce a w i d e range of colors,

i n black gloss. M o r e recent analysis b y several

from u m b e r to red to black, yet, art historically,

investigators, however, suggests that there is no

the red color i n misfired areas o f black gloss has

significant difference between the i r o n content o f

c o m m o n l y been regarded as distinct from coral

the red a n d the black gloss. Offering an alternate

red. Coral red is a u n i q u e gloss that may appear

(and early) characterization o f coral red, A d a m

i n some examples as l a c k i n g luster or as cool i n

W i n t e r speculated that the difference between

hue. A series o f color measurements were taken to

coral red a n d black gloss resulted from the c o n

define more objectively the v i s u a l appearance of

trolled firing of t w o clay types: k a o l i n i t i c clay for

coral red, especially as compared to red misfires.

coral red a n d i l l i t i c clay for black g l o s s . A l t h o u g h

Coral red p r o v e d to be s l i g h t l y more reflective i n

subsequent experimental trials u s i n g these clays

the blue wavelength range compared to red areas

were successful, there has been no s u p p o r t i n g

of misfired black gloss, but the differences are

analytical evidence to suggest that the t w o clays

almost imperceptible to the h u m a n e y e .

10

This

were employed i n the p r o d u c t i o n o f coral red.

suggests that the p r o d u c t i o n technology o f coral

E a r l y investigators also considered the creation of

red and black gloss that has misfired (to red) may

black a n d red gloss o n the same vessel as result

be related, the former being a controlled a p p l i c a

i n g from t w o firings,

t i o n of the latter. C o n s i d e r i n g that black a n d red

although production w i t h a

gloss may be present o n the same vase, the ques

single firing is quite possible.

T h e p r o d u c t i o n of b l a c k or red gloss appears
to lie i n the extent to w h i c h o x y g e n can perme
ate the surfaces o f different, iron-based glosses
p a r t i c u l a r l y i n the last o x i d i z i n g stage of

firing.

Different i r o n oxides may form at this stage, lead

i n g to some color v a r i a t i o n i n gloss layers. For
example, one study showed that firing o f the
black gloss compositions selectively p r o d u c e d
the i r o n oxides hercynite a n d magnomagnetite,
w h i l e the red gloss c o m p o s i t i o n p r i m a r i l y pro
d u c e d hematite. T h e question, therefore, centers
7

o n h o w a potter deliberately i n d u c e d this color

change. Some studies suggest that the black gloss
fractions ("clay fractions'') may have been h i g h e r
i n a l u m i n u m , potassium, a n d i r o n o x i d e s . These
8

c o m p o u n d s may have acted as

fluxesmaterials

that aided sintering o f glosses.

P r e l i m i n a r y analytical a n d color-measurement
studies were c o n d u c t e d i n order better to describe
the actual color a n d c o m p o s i t i o n a l characteristics
of coral red. These studies focused o n the analysis
of a coral-red volute-krater from 4 8 0 - 4 7 0 B . C . (cat.

t i o n o f p r o d u c t i o n becomes one not o n l y of selec

Figure 1. Exterior areas of black

tive firing but also o f h o w c o m p o s i t i o n a l v a r i a t i o n

gloss misfired to form red.

subtly i n d u c e d a change i n one color a n d not i n

Attic red-figured cup (cat. no.

the other d u r i n g firing. Variations c o u l d i n c l u d e

flux type, g r a i n size, a n d c a l c i u m c o n t e n t .

11

9) unattributed, ca. 510-500

B.C. Malibu, JPGM 86.AE.280.
Photographer: Jeffrey Maish.

P2O5

MgO

Af 0

CI

K O

CaO

Ti0

Red gloss

0.4

1.8

21.3

50.7

1.1

0.8

nd

3.2

1.6

0.9

17.7

Black gloss

1.2

2.1

27.5

42.4

0.6

nd

nd

7.4

1.2

1.1

16.6

Body

0.8

6.8

20.5

49.7

0.5

0.6

nd

4.2

6.3

0.9

9.3

Na2O

Chemical composition
(averages) of gloss and ceramic
from an Attic cup with coral
red and white ground (cat.
no. 91). Higher potassium and
aluminum levels in the black
(as compared to the red) may
have led to increased sintering
of the black. Higher potassium
levels in black have been noted
in other examples of black
glossfound in conjunction with
coral red.

Figure 2. Fragile coral-red

interior surface leads to
superficial damage, such as
scratching. Less sintering
results in poor bond and
flaking from the fired clay
substrate. Attic red-figured
cup (cat. no. 9), unattributed,
ca. 510-500 B.C. Malibu, JPGM
86.AE.280. Photographer:
Jeffrey Maish.

Si0

so

FeO

Note: Standardless (semi-quantitative) analyses were carried out on polished carbon-coated cross-sections in a JEOL JSM-6460LV scanning
electron microscope with an Oxford INCAx-sight energy-dispersive X-ray spectrometer. Multiple areas of each cross-section were analyzed. Results
are given as weight percentages of the oxides (except chlorine, which is given as a weight percent of the element), "nd" indicates that the oxide or
element was not detected (limit of detection is about 0.2%).

A n a l y s i s of coral-red a n d black-gloss samples

of a sample from the coral-red volute-krater (cat.

from objects i n the Getty M u s e u m supports past

no. 13) i n d i c a t e d potassium a n d i r o n enrichment

research i n d i c a t i n g that the i r o n i n coral red c o n

as a diffuse layer above the ceramic surface away

tains hematite, w h i l e the black gloss appears to

from the outer gloss s u r f a c e .

contain magnetite. T h e examination o f an area of

tially b y W . D. Kingery, the formation o f b l a c k

misfired red a n d adjoining black o n a fragment o f

may have been aided i n part b y the a d d i t i o n o f a

an A t t i c coral-red phiale attributed to the F o u n d r y

potassium-based flux (in order to lower the sinter

Painter ( J P G M 97.AE.22.21) suggests no change

ing temperature), w h i l e the u n m o d i f i e d r e d w o u l d

i n elemental chemistry from red misfires o f black

retain a porous structure a n d hence be subject to

gloss. In contrast, however, analysis o f a coral-red

re-oxidation d u r i n g

fragment w i t h adjoining areas o f black gloss from

firing.

12

A s reported i n i

13

Variations i n firing conditions c o u l d have

the same phiale a n d from a k y l i x i n Boston (cat.

resulted i n v a r y i n g compositions a n d m o r p h o l o

no. 91, see table) identified more potassium i n the

gies o f iron-based compounds, b o t h o f w h i c h may

black t h a n i n the areas o f coral red. E n v i r o n m e n

have p r o d u c e d different colors. For example, fir

tal scanning electron microscopy (ESEM) analysis

ing temperature may affect the size a n d n u m b e r o f

oxide particles. One mineralogical study indicates
that hematite o f approximately a micrometer i n
crystal size has a distinct violet tint that differs
from the b r i g h t red color o f submicrometer-size
particles.

14

A s proposed b y Tatyana Smekalova, the

u n i q u e character a n d behavior o f coral red may
also lie i n m i n e r a l a n d organic c o m p o u n d s added
to clay suspensions d u r i n g the preparation o f the
clay for vase p r o d u c t i o n .

15

Suspensions o f clay i n

water are created to separate the finer particles o f

clay from the coarser particles; o n l y the finer par
ticles are used to make the gloss. A range o f mate
rials m i g h t have been added to the suspension to
alter settling properties, i n c l u d i n g w i n e , vinegar,
a n d salt. In the end, some o f these additives may
also, incidentally, have lowered the temperatures
at w h i c h glassy states o f glosses were reached dur
ing k i l n

10

M A I S H ,

S V O B O D A ,

LA N SI N G - M A ISH

firing.

Finally, coral red has been noted for its lack of

stability a n d is often f o u n d i n a deteriorated state
(fig. 2). The reduced level of sintering i n coral red
appears to result i n a less t i g h t l y adhering gloss

Figure 3. Photomicrograph of

layer compared to the black. Less sintering i n the

gilding on the aegis of Athena.

Kerch-style pelike (cat. no.

red may also result i n crack propagation similar to

104), attributed to the Painter

of the Wedding Procession,

that f o u n d i n m o d e r n i n d u s t r i a l t h i n films, even

active about 362 B.C. Malibu,

t u a l l y leading to the coral red detaching from the

vase.

J P G M 8 7 . A E . 1 0 . Photographer:

16

Marie Svoboda.

Past research a n d i n i t i a l investigations of coral

red at the Getty M u s e u m have identified some

i n g is preserved, then i d e n t i f y i n g an adhesive or

characteristic compounds, but further analysis is

b i n d e r used for attaching it is v i r t u a l l y impossible

merited. The sintering p o i n t of black glosses, i n

because of the biological decay of organic adhe-

contrast to the red, appears to have been lowered

sives (fig. 3 ) .

b y the a d d i t i o n of fluxes based i n p o t a s s i u m .

17

18

G i l d i n g t h e technique of mechanically or

Color v a r i a t i o n w i t h i n black a n d red glosses may

chemically a p p l y i n g a t h i n layer of gold over a

be due to variations i n o x i d a t i o n states of i r o n .

surfacedates to the t h i r d m i l l e n n i u m

B.C.

1 9

Observations o n a misfired vessel i n the Getty

The process of fabricating gold leaf has remained

M u s e u m indicate that, i n a practical sense, misfir-

unchanged for over five thousand years. G o l d

ings, influenced to a degree b y the thickness of

leaf is most often f o u n d o n areas of the ceramic

black gloss a n d b y localized k i l n temperatures,

w i t h o u t black gloss, t y p i c a l l y o n raised clay a d d i

can result i n gloss color differences; visually,

tions used to accentuate details of the decorative

the red color i n black-gloss misfires is v i r t u a l l y

p a i n t i n g ; one of the earliest preserved examples

identical to coral red. Black- a n d red-gloss c o m

is f o u n d o n the Boston covered cup of ca. 460 B . C .

positions are quite similar, w i t h slight variations

(cat. no. 3 1 ) .

causing different sintering properties. Observa

feature, the complete g i l d i n g of small objects,

20

W h i l e p r e d o m i n a n t l y a decorative

t i o n of coral-red vases suggests that the added

such as funerary vessels, was probably i n t e n d e d

colors, black gloss, red gloss, a n d both black- a n d

to give the artifact the appearance of being solid

red-figure c o u l d have been obtained i n a single

gold.

three-stage firing. Less sintering of coral-red gloss

the ancient g i l d i n g process o n ceramics, such as

may also result i n poor adhesion to the u n d e r l y i n g

h o w it was applied, whether it was a p p l i e d before

clay, w h i c h , c o u p l e d w i t h environmental b u r i a l

or after firing, and whether this technique was

factors, may have led to further deterioration.

used o n l y for funerary a n d ceremonial vessels.

J. M .

2 1

Technically we still k n o w v e r y little about

Scholars' o p i n i o n s have been d i v i d e d , a n d to date

v e r y little comparative data is a v a i l a b l e .

22

One of the larger questions regarding g i l d i n g

Decorative Gilding

o n vases is whether or not the gold was a p p l i e d

Research o n g i l d i n g has focused o n the few

before or after the vase was fired i n the k i l n .

extant examples of this method a n d the spe

Based o n discussions w i t h Joseph V. N o b l e a n d

cific approaches taken b y the ancient craftsmen,

T o b y Schreiber, g i l d i n g experiments were c o n

w h i c h are not completely understood. In part,

ducted u s i n g ceramic tiles made from A t t i c clay,

this lack of k n o w l e d g e results from the difficulty

w h i c h were g i l d e d pre- or postfiring. Several

of v a l i d a t i n g the g i l d i n g f o u n d o n archaeological

i n i t i a l observations were made that argue against

artifacts a n d the p r o b l e m of sampling w h e n v e r y

the application of g i l d i n g before firing. A d d i t i o n a l

little gold remains o n the object. E v i d e n c e of g i l d

experiments u s i n g different methods of attaching

i n g has often disappeared w i t h time because of its

the gold leaf and m o d i f y i n g the firing e n v i r o n

inherently fragile nature, or because it has been

ment w i l l be e x p l o r e d to further clarify this issue.

tampered w i t h i n an effort to preserve it. If g i l d

The a p p l i c a t i o n of gold after firing is g i v e n

11

T E C H N I C A L

S T U D I E S

3 - 4 % copper content. I n general, the thickness

of the gold leaf measured less t h a n 0.5 m i c r o n . A l l
traces o f g i l d i n g w i t h the e x c e p t i o n o f that o n a
squat lekythos ( J P G M 86.AE.259), whose g i l d i n g
is suspected o f being m o d e r n e x h i b i t e d b u r i a l
accretions over the surface a n d were w o r n a n d
abraded.
O n four of the objects i n this study the g i l d

Figure 4. Silver under gold

leaf. Red-figured dinoid

i n g was a p p l i e d directly to reserved areas w i t h o u t

volute-krater (cat. no. 36),

attributed to the Meleager

the use o f a g r o u n d layer. E x a m i n i n g the Getty's

Painter, ca. 390 B.C. Malibu,

Kerch-style pelike (cat. no. 104) o f ca. 360 B . C .

J P G M 8 7 . A E . 9 3 . Photographer:

u n d e r magnification revealed a s h i n y "halo," or

Marie Svoboda.

outline, a r o u n d some o f the g i l d i n g , w h i c h may

be traces o f the ancient adhesive. A l t h o u g h the
support b y the h i g h potential o f failure d u r i n g the
firing

process due to accidents i n the k i l n , a p r o b

lem that is w e l l d o c u m e n t e d .

23

It seems u n l i k e l y

presence o f an adhesive is rare, D a v i d Scott's

study o f this object d i d i d e n t i f y glucose a n d
fructose u n d e r the g i l d i n g , w h i c h suggests the

that an ancient craftsman w o u l d have decorated

use o f h o n e y or a starchlike adhesive for attach

a vase w i t h gold leaf before firing i f damage was

i n g the l e a f .

possible a n d the benefits questionable. M a k i n g

identification o f pigments a p p l i e d after firing a n d

24

T h i s evidence, corroborated b y the

a c o n c l u s i v e statement regarding h o w a n d w h e n

possibly a g r o u n d layer, supports the assump

a vase w o u l d have been decorated w i t h gold leaf

t i o n that the pelike was decorated after

is, however, still problematic, because variations

N o other artifacts e x a m i n e d i n this study showed

firing.

of well-established w o r k s h o p techniques a n d

evidence o f an ancient g r o u n d or adhesive u n d e r

experimentation b y the craftsmen can never be

the g i l d i n g l a y e r .

completely r u l e d out. I n a d d i t i o n , analytical inter

a n d can be masked b y m o d e r n interventions. T h e

25

S u c h traces are, however, rare

pretations related to one object do not necessarily

d i n o i d volute-krater (cat. no. 36) o f ca. 390 B . C . ,

reflect methods used o n a l l comparable objects.

for example, appears to have a m o d e r n coating

Technical research o n g i l d e d vases i n the G e t t y

a p p l i e d over the entire surface that prevents the

collection began w i t h microscopic e x a m i n a t i o n

accurate identification o f any still extant ancient

followed b y material investigations. S i x vases w i t h

adhesive.

g i l d i n g , four o f w h i c h are i n this e x h i b i t i o n (cat.

G i l d i n g o n the Panathenaic a m p h o r a (cat.

nos. 34, 36, 39, 104) were e x a m i n e d , a n d g i l d i n g

no. 39) is v i s i b l e over b l a c k gloss, reserve, a n d

experiments were u n d e r t a k e n to clarify observa

added-white areas; here, u n l i k e red-figure a n d

tions regarding the surface appearance, c o m p o s i

w h i t e - g r o u n d vases (cat. nos. 35, 31), added-clay

t i o n , thickness, method o f attachment, a n d other

decoration is not present. There is a t h i c k , clear

notable features o f the gold f o u n d o n ancient

resin layer beneath the g o l d leaf, w h i c h has been

vases.

identified as a m o d e r n a d h e s i v e ;

V i s u a l characteristics, c o m p o s i t i o n , a n d t h i c k
ness of g i l d i n g were compared a n d were a l l f o u n d

26

it is unclear

whether this is s i m p l y a m o d e r n consolidant or

adhesive for recent g i l d i n g .
A n a l y s i s o f the d i n o i d volute-krater m e n t i o n e d

to have v e r y similar properties. O v e r a l l the sur

face of the g i l d i n g o n five o f the vases e x h i b i t e d

earlier revealed u n e x p e c t e d results. A g r a y i s h

m i n o r p i t t i n g , folds, creases, a n d lifted edges.

material v i s i b l e underneath the areas o f g i l d i n g

E n e r g y dispersive spectroscopy (EDS) analysis

has been identified as silver c h l o r i d e (fig. 4). T h i s

f o u n d the g o l d to be relatively pure (over 9 9 %

suggests that a layer o f silver leaf may have been

i n composition) w i t h the e x c e p t i o n of that o n a

a p p l i e d i n c o n j u n c t i o n w i t h the g i l d i n g , w h i c h

Panathenaic a m p h o r a attributed to the M a r s y a s

provides an interesting topic for future study.

Painter o f 340/339 B . C . (cat. no. 39), w h i c h h a d

12

M A I S H ,

S V O B O D A ,

L A N S I N G - M A I S H

M . s.

Applied Pigments and Their Grounds

Vase-painters achieved a variety of colors b e y o n d
red a n d black w i t h the creative use of a l i m i t e d
range of m i n e r a l colorants. These added colors
were u s u a l l y inorganic, finely g r o u n d minerals
a n d i n c l u d e d , for example, red, b r o w n , a n d y e l
l o w i r o n oxides. Differences i n the hues of the
added colors can be attributed to particle size,
compositional variations i n pigment combinations,
the amount of m i n e r a l a p p l i e d to the surface, a n d
alteration of the color b y b u r i a l environments and
later restorative treatments.
Pigments are often regarded i n d e p e n d e n t l y of
their backgrounds but i n many examples different
effects were achieved s i m p l y b y u s i n g the same

Figure 5. Photomacrograph

pigment over different b a c k g r o u n d colors such as

of exterior showing traces of

w h i t e g r o u n d , reserved clay, or black-gloss sur

the pigment cinnabar; the

interior surface is enriched by

faces. T h e method of a p p l y i n g a color over w h i t e

the application of hematite.

may have differed t e c h n i c a l l y from the a p p l i c a t i o n

Attic red-figured maskkantharosf ragment, attributed

of the same color over black.

to Euphronios as potter and

Several examples of red colorants f o u n d

to Onesimos as painter, ca.

o n vases i n the G e t t y M u s e u m were studied: a

500-480 B.C. Malibu, JPGM

81.AE.215.9. Photographer:

b r i g h t orange red over the clay surface of a mask-

Susan Lansing-Maish.

kantharos of ca. 480 B.C. (cat. no. 82); a n u m b e r of

related mask-kantharos fragments, w i t h a dark,
matt red o n some interior surfaces; the p u r p l e - r e d

the pigment is hematite; u n d e r h i g h magnification

color (over black gloss) seen o n the A t t i c b i l i n g u a l

v a r y i n g particle sizes give the surface its charac

eye-cup of ca. 515-510 B.C. (see fig. 6 a n d cat. no.

teristic r o u g h , or matt, appearance.

4); a n d the Six's technique s k y p h o s of ca. 5 1 0 -

present i n this material, but o n l y i n sufficient

500

q u a n t i t y to make the material adhere to the clay

B.C.

(cat. no. 21).

The orange-red color that apparently covered

29

Clay is also

body. It is u n l i k e l y that this material c o u l d have

part or a l l of the faces o n the mask-kantharos a n d

been i n t e n d e d as an a i d for attaching the masks

related mask fragments was identified as the p i g

to the b o d y of the larger vessels. It also c o u l d not

ment cinnabar (mercuric sulphide). It has been

have been i n t e n d e d to be black, for it remained

noted since a n t i q u i t y that cinnabar is chemically

porous d u r i n g peak firing t e m p e r a t u r e s .

sensitive a n d w i l l darken even i n s u n l i g h t to

purpose of this matt, dark red colorant is still

form black metacinnabarite.

27

The color w o u l d

30

The

u n k n o w n , but it has been suggested that it may

not have s u r v i v e d the h i g h firing temperature of

have been used as a marker to indicate the proper

a r o u n d 9 5 0 C, therefore the pigment must have

placement of the masks o n their respective vessels

been a p p l i e d to the surface after firing. Cinnabar

d u r i n g assembly i n the w o r k s h o p (fig. 5 ) .

was a valuable a n d h i g h l y p r i z e d p i g m e n t ,

28

so

31

A s mentioned previously, color v a r i a t i o n may

it is l i k e l y that these rare mask-kantharoi were

result from both chemical a n d m o r p h o l o g i c a l

i n t e n d e d for ceremonial use.

differences i n m i n e r a l compounds. The t h i c k l y

M a n y of these mask fragments have an

unusual, t h i c k l y applied, matt, mica-containing,

applied p u r p l i s h red from the o c u l i o n the exterior

of the b i l i n g u a l eye-cup (fig. 6) a n d the t h i n n e r

dark red color o n their i n t e r n a l surfacesareas

p u r p l e red observed o n the beard a n d drapery of

that were never i n t e n d e d to be seen. A strong

the interior tondo figure of the same c u p b o t h

spectroscopic signal for i r o n w o u l d indicate that

colors identified as hematiteare chemically the

13

T E C H N I C A L

STUDIES

application o f a range o f colors. A l l o f the whites

studied thus far appear to be composed largely
of n a t u r a l l y o c c u r r i n g i l l i t i c clay; they have a
low i r o n content compared to the reds, w h i c h is
consistent w i t h their lower i r o n o x i d e c o n t e n t s .

34

Variations i n whites f o u n d o n Greek ceramics must

have originated either at the clay sources, where
different natural i m p u r i t i e s were present, or
t h r o u g h possible i n t e n t i o n a l additions b y the pot
Figure 6. Photomacrograph of
added purple red color. Attic
red-figured bilingual cup of
type A (cat. no. 4), attributed
to Oltos as painter, ca. 515
B.C. Malibu, JPGM 86.AE.276.
Photographer: Susan LansingMaish.

ter. High-magnification scanning electron micros

copy (ESEM) o f w h i t e - g r o u n d samples shows a
melting or sintering o f the whites, i n d i c a t i n g that
these clay-based whites were fired onto the vase,
whether the creamy g r o u n d color o f a lekythos or
the w h i t e o f an eye o n a mask-kantharos fragment.
The presence o f black gloss lines over the w h i t e
on the eye o f the smaller mask-kantharos fragment
same as the redder color observed o n other A t t i c

further supports the c o n c l u s i o n that the various

vases. T h e p r i n c i p a l difference here from the usual

shades of w h i t e were fired onto the v a s e .

red appears to be that the hematite is present i n a

purer form a n d has a v e r y fine a n d u n i f o r m par

35

Trace remains of some pigments from a

w h i t e - g r o u n d lekythos o f ca. 460450 B . C . ( J P G M

ticle s i z e . T h e m a i n component o f the red color

73.AE.41) attributed to the Sabouroff Painter were

of the b o d y o f the reveler o n the Six's technique

studied. T h e Sabouroff Painter was k n o w n for

32

s k y p h o s (cat. no. 21) is hematite. I n t r i g u i n g l y ,

d r a w i n g the lines o f his figures i n black or b r o w n

lead, silver c h l o r i d e , copper, a n d z i n c were also

gloss

detected i n the reds o n the skyphos. It has been

lines o n this lekythos appear s h i n y a n d golden

suggested that these c o m p o u n d s may have been

w h e n h e l d at an angle to a l i g h t source). After the

added to give luster to the colors that were a p p l i e d

figures were o u t l i n e d , the vase was fired, a n d t h e n

36

(identified as i r o n oxide, the b r o w n gloss

over the b l a c k gloss or to make t h e m opaque.

c l o t h i n g a n d other details were added i n more

F u r t h e r s t u d y is necessary i n order to address

fugitive colors. Traces o f red, seen o n the drapery

fully the role o f these e l e m e n t s .

over the a r m o f the male figure, were identified

33

The pitted and

u n e v e n surface o f the reveler can p o s s i b l y be

as c o n t a i n i n g a finely g r o u n d cinnabar because it

a t t r i b u t e d to either the t h i c k a p p l i c a t i o n o f the red

appears almost scarlet, u n l i k e the more orange-red

color and/or alterations d u r i n g or after b u r i a l .

Several applications o f w h i t e were also inves

cinnabar o n the kantharos fragments. N o other

a p p l i e d colors s u r v i v e o n this vase.
The w h i t e pigment from a decorative b a n d o f

tigated: w h i t e g r o u n d w i t h trace amounts o f an

added scarlet red o n a w h i t e lekythos o f ca. 4 6 0 -

small, w h i t e i v y leaves o n a mask-kantharos o f

450 B . C . ( J P G M 73.AE.41), added-white i v y leaves

ca. 480470 B . C . (cat. no. 82) was f o u n d to contain

over black gloss o n a mask-kantharos fragment

c a l c i u m a n d p h o s p h o r u s i n sufficiently h i g h c o n

of ca. 470 B . C . ( J P G M 8 1 . A E . 1 9 5 . A 1 2 ) , the specific

centrations to suggest the presence of bone w h i t e .

w h i t e seen over terracotta i n the eye o n another

It is possible that this pigment was m i x e d i n t o

mask-kantharos i n the G e t t y M u s e u m of ca. 480

the i l l i t i c clay as a brightener p r i o r to a p p l i c a t i o n ,

470 B . C . (cat. no. 82), a n d the w h i t e present o n the

a l t h o u g h the effects o f firing the pigment are not

reveler's d r i n k i n g cup o n the Six's technique s k y

known.

phos (cat. no. 21).

be a possible source for the h i g h concentrations o f

W h i t e grounds, i n contrast to black or red

M A I S H ,

S V O B O D A ,

However, b u r i a l contamination may also

both phosphorus and calcium.

ones, p r o v i d e d a more suitable surface for the

14

3 7

L A N S I N G - M A I S H

A n a l y s i s o f the w h i t e from the reveler's d r i n k -

ing cup o n the Six's t e c h n i q u e s k y p h o s (cat. no.

Current observations a n d analysis, s u c h as the

21) identified the presence o f trace amounts of cal

identification of silver u n d e r gold leaf, p o i n t to

c i u m a n d lead, a l t h o u g h i n insufficient quantities

variations i n ceramic g i l d i n g processes as w e l l as

to suggest either a c a l c i u m - or lead-based w h i t e .

to the creative artistry of A t t i c potters.

The nature of the w h i t e o n this vessel has not yet

The study o f the various hues o f red colorants

been determined, a l t h o u g h one p o s s i b i l i t y is a

on A t t i c ceramics has s h o w n that a range o f effects

more k a o l i n - r i c h c l a y .

c o u l d be achieved w i t h a l i m i t e d palette. T h e

38

The investigation thus far o f w h i t e colorants

identification o f several reds indicates that some

on A t t i c vases is o n l y i n its p r e l i m i n a r y stages.

of these colorshematite reds a n d whiteswere

M a n y more samples w i l l need to be studied before

applied p r i o r to k i l n firing, w h i l e i n other cases

cinnabarthe chemical instability o f the pigment

solid conclusions can be d r a w n .

s.

L.-M.

indicates it was a p p l i e d after firing. It was also

determined that particle size a n d the surface onto
w h i c h pigment was a p p l i e d played significant

Conclusions

roles i n h o w the same m i n e r a l colorant appears.

A l t h o u g h ancient craftsmen relied o n a relatively

The roles o f lead, silver, zinc, a n d copper detected

l i m i t e d range o f raw materials, they developed an

i n some samples o f Six's technique merit further

impressive array of methods for a c h i e v i n g a range

investigation. T h e p r e l i m i n a r y w o r k o n w h i t e

of colors o n clay. T h e t e c h n i q u e o f a l l o w i n g clay

pigments a n d grounds suggests that b o t h creamy

to settle i n water separated smaller particles from

grounds o n l e k y t h o i a n d the " w h i t e r " whites that

the b u l k clay, g i v i n g this part of the clay u n i q u e

d i s t i n g u i s h figures o n vases consisted p r i m a r i l y of

firing

fine illitic clays w i t h possible m i n e r a l additions to

characteristics suitable for use as gloss lay

ers. Color measurements i n this study indicate

achieve a v a r i e t y o f whites for different purposes,

that the color v a r i a t i o n between coral red a n d the

for example, bone-white pigment to l i g h t e n the

red of misfired b l a c k is almost imperceptible. T h i s

color of a creamy slip.

may p r o v i d e a key to the i n i t i a l development o f

coral red i n a n t i q u i t y : A n error i n firing may have

A n c i e n t potters carefully integrated different

decorative methods into a pre- a n d postfiring pro

led to techniques that c o u l d produce coral red

d u c t i o n process, a n d they demonstrated a deep

i n a c o n t r o l l e d manner. T h e p r o d u c t i o n o f black

u n d e r s t a n d i n g of the p h y s i c a l properties o f clay,

gloss appears to have been promoted b y the a d d i

gold, a n d pigments. T h i s investigation h i g h l i g h t s

t i o n o f a potassium flux that allowed the material

the development o f a r i c h assortment o f u n i q u e

to sinter d u r i n g firing and thus become perma

accessory methods. These techniques often d i d

nently black. O f interest i n the current study is

not i n v o l v e the use of different materials but,

the reduced level of potassium i n some examples

rather, the m a n i p u l a t i o n of l i m i t e d materials to

of coral red, w h i c h , i n possible c o m b i n a t i o n w i t h

achieve a special result. Technical challenges of

other fluxes, p r o b a b l y p r o d u c e d a less sintered

A t h e n i a n pottery w o r k s h o p s were faced head o n ,

and more porous material that was able to re-

and failures were e x p l o i t e d to achieve a range of

o x i d i z e to coral red.

decorative effects.

N o firm conclusions can be d r a w n as yet

regarding g i l d i n g o n ancient A t t i c vases because
of l i m i t e d access to well-preserved a n d untreated
or unaltered examples and a lack of comparative
data. Initial e x a m i n a t i o n o f the Getty M u s e u m
objects shows great similarity between the sur
faces of ancient g i l d e d vessels a n d experimental
tiles g i l d e d after firing. T h i s may suggest that
A t t i c vases were c o m m o n l y g i l d e d after

15

T E C H N I C A L

STUDIES

firing.

ACKNOWLEDGMENTS
The authors would like to acknowledge Jerry Podany,
Head of Antiquities Conservation at the J. Paul Getty
Museum, for project support; Beth Cohen for guidance in
research and writing; and the Scientific Department at the
Getty Conservation Institute (GCI), specifically Giacomo
Chiari, Eric Doehne, Karen Trentelman, and Stefan Simon
(Rathgen Laboratory, Berlin) for analytical collaboration.
Additional thanks are due to ceramic researcher Tobi
Schreiber, to Alice Ormsbee and Julie Arslanoglu, and to
Jim Druzik, Herant Khanjian, and David Carson of the GCI.

NOTES

10
11

1 Cohen 1970-1971. Beth Cohen, personal communication,

2005.
2 Farnsworth and Wisely 1958. Firing issues are further
discussed in Farnsworth 1959 and 1960 and in Farnsworth
and Simmons 1963.
3 Tite, Bimson, and Freestone 1982, 124. The authors sug
gest that differences between black and red gloss do not
lie in iron content but in textural differences between
clays.
4 A . Winter 1978, 44.
5 Richter 1924a, 150. Trials by Tite, Bimson, and Freestone
1982, 123, indicate that both red and black gloss could be
achieved in a single firing.
6 It is commonly accepted that an oxidizing, reducing,
oxidizing sequence was used in the firing of Attic vases,
with corresponding temperatures of 8 0 0 / 9 5 0 / 9 0 0 C . This
sequence is incompletely understood, and recent studies
have raised questions about the firing sequence, includ
ing temperatures achieved. Tite, Bimson, and Freestone
1982, 124, indicate that greater grain boundary contact in
black gloss would lead to a greater degree of vitrification.
Kavoussanaki, Maniatis, and Malagardis propose that the
raw material of red gloss is minutely coarser than that of
black (http://www.archaeometry.gr/oldv/symposium2003/
pages en/abstracts/papers/clays/clayl6.htm). Mossbauer
studies by Long worth and Tite 1979 show total vitrifica
tion in the black gloss as compared to red but note no
appreciable differences in oxide particle size between red
core and red gloss. Additionally, Maniatis, Simonopoulos,
and Kostikas 1981 have shown that calcium content of
clays may affect particle size of magnetic iron oxides. This
could conceivably result in color variation.
7
8

Smekalova 1995, 78.

Kingery 1991, 50. In his study of Amaroussi clays Kingery
shows that clay settling can produce a fine fraction that is
substantially higher in K 0 (potassium oxide, or, potash)
content. Williams (in Freestone and Gaimster 1997, 89)
likewise indicates that black had a higher potash content
coupled with a finer grain size. Other compounds may also
act as fluxes, e.g., soda, lime, and magnesia. Higher con
centrations of iron in glosses than in the body may also act
as a strong fluxing agent in reducing conditions.
9 Vanderpool 1946. Red misfiring of black gloss could also
conceivably relate to gloss thickness or dilution. Micro
scopic examination of background gloss and drawing gloss
on red-figured vases sometimes shows a color transition
from black in thick areas of the line, to umber to red in
the thin outer borders of the line. However, this would be
difficult to attain in a controlled manner, such as for coral
red. Miss Talcott, in Vanderpool 1946, comments that both
thin applications (Agora examples) and thicker applica
tions (British Museum E 470) produce red. The British
Museum example can, however, be considered a misfire
(Beth Cohen, personal communication, 2005).
2

16

M A I S H ,

S V O B O D A ,

L A N S I N G - M A I S H

12

13
14
15
16
17
18
19
20
21
22

23
24
25

26
27
28
29

30
31
32
33
34
35
36
37
38

Druzik, unpublished data, 2005.

As proposed by Kingery 1991; Tite, Bimson, and Freestone
1982; and Maniatis, Simonopoulos, and Kostikas 1981.
Doehne, Chiari, and Simon, unpublished data, 2004. Stud
ies of objects from the Getty Museum were carried out
by scientists at the Getty Conservation Institute using
environmental scanning electron microscopy (ESEM),
microprobe, X-ray fluorescence (XRF), raman spectroscopy,
X-ray diffraction, and colorimetry.
Kingery 1991, 52.
Hradil et al. 2002, 230.
Smekalova 1995, 80.
Suo2001,4.
Kingery 1991, 52.
Oddy 1981, 76.
Ibid., 75.
Beth Cohen, personal communication, 2004.
Williams 2003, 232.
For varying opinions, see Richter 1958, 31; Noble 1988,
137; for comparative research, see Scott and Yaniguchi
2002; Williams 2001; and Meeks 2001.
Sparkes 1991b, 20-21, 25; Richter 1924a, 44-45; Schreiber
1999, 242.
Scott and Yaniguchi 2002, 242.
A n example of gilding over a ground layer has been found
on the Boston covered cup (cat. no. 31), and other exam
ples are cited in Williams 2001, 228.
Herant Khanjian, analytical report, 2004.
Wehgartner 2002, 94.
See Pliny Natural History 33.7.111-18.
Twilley, unpublished preliminary analytical report, 1986,
14; Chiari, unpublished preliminary analytical reports,
2005.
Twilley, unpublished preliminary analytical report, 1986,
4.
Lansing-Maish, personal observation, 2004.
Doehne, unpublished preliminary analytical report, 2005.
Trentelman and Doehne, unpublished preliminary analyti
cal report, 17 May 2005.
Trentelman, personal communication, 2005.
Doehne, unpublished preliminary analytical report, 2004.
Wehgartner 2002, 93.
Doehne, unpublished preliminary analytical report, 2004.
Trentelman and Doehne, unpublished preliminary analyti
cal report, 17 May 2005.

CHAPTER 1

Bilingual Vases

Bilingual Vases and Vase-Painters

Beth Cohen

ILINGUAL VASES ARE NOT VASES DECORATED IN

J ) special techniques. Their decoration, rather, is divided

b e t w e e n the two standard techniques of vase-painting:

traditional black-figure and new red-figure. Beazley's eloquent

1

termbilingualevokes the equality of the two techniques as

they are employed on these vases. Produced only during the last
2

quarter of the sixth century B.C., bilinguals comprise a short

lived phenomenon: They went out of fashion as red-figure itself
became more and more sophisticated and as white ground
became the second technique o f choice. D u r i n g

acquaintance w i t h the red-figure a n d black-figure

the fifth century, w h i t e g r o u n d a n d red-figure

basic techniques is necessary i n order to appreci

sometimes share the decoration o f a vase (e.g., cat.

ate other techniques defined here as " s p e c i a l " ; i n

no. 31; chap. 4, fig. 5), but the resulting p r o d u c t is

this catalogue, the vase-painting methodology em

not called " b i l i n g u a l / '

p l o y e d for these basic techniques is described i n

T h e rare b i l i n g u a l s are prime examples o f the

chapter 5, i n the context o f outline d r a w i n g . T h e

experimentation i n the A t h e n i a n pottery i n d u s t r y

several b i l i n g u a l vases i n c l u d e d i n this e x h i b i t i o n

d u r i n g the Late A r c h a i c p e r i o d , w h e n potters,

not o n l y display b o t h techniques but also i n v i t e

painters, a n d patrons aggressively sought change

the v i e w e r to compare a n d contrast them.

a n d , most specifically, change i n technique. A n

18

Bilingual Amphorae of Type A

The

b i l i n g u a l vases i n this e x h i b i t i o n exemplify

the t w o major vase shapes that were decorated

i n this dual-technique fashion: amphorae a n d
cups. Important examples o f b o t h shapes have
been associated w i t h the w o r k s h o p o f the pot
ter A n d o k i d e s (cat. nos. 1-2; figs. 12); t w o bear
his signature (cat. no. 1; see fig. 3). I n general,
4

b i l i n g u a l cups become p o p u l a r s y m p o s i u m ware.

T h e y were made also b y other potters, i n c l u d i n g
H i s c h y l o s (cat. no. 5) a n d N i k o s t h e n e s , a n d deco
5

rated b y painters not employed b y A n d o k i d e s ,

i n c l u d i n g Oltos (cat. no. 4 ) , Skythes (cat. no.
6

8), a n d many engaging m i n o r masters, such as

P h e i d i p p o s a n d the B o w d o i n - E y e a n d Scheurleer
Painters. Large b i l i n g u a l amphorae o f t y p e A ,
7

however, appear to have been special products

a kalos name, a n d a n entire black-figure oeuvre

of A n d o k i d e s w o r k s h o p , t h o u g h , save for one

may

k n o w n example (cat. no. 1), the potter d i d not

has r e v o l v e d a r o u n d the fact that Beazley changed

sign them. O n a b i l i n g u a l amphora o f t y p e A , the

his m i n d more than once about whether one

panel o n side A is executed i n the red-figure tech

h a n d (the A n d o k i d e s Painter alone) or t w o (the

n i q u e a n d the panel o n side B i n b l a c k - f i g u r e .

A n d o k i d e s Painter a n d the L y s i p p i d e s Painter)

One

must w a l k a r o u n d the b i g pot or t u r n it i n

be associated w i t h h i m .

1 0

T h e controversy

decorated the A n d o c i d e a n b i l i n g u a l s . Beazley's

order to appreciate the fact that t w o different

final decision, w h i c h he p u b l i s h e d i n 1963, was i n

techniques have been employed i n the vase's deco

favor o f collaboration b y t w o vase-painters, a sep

ration. T h e t w o A n d o c i d e a n b i l i n g u a l amphorae

arate red-figure A n d o k i d e s Painter a n d a separate

i n this e x h i b i t i o n are discussed i n detail i n the

black-figure L y s i p p i d e s Painter (see cat. no. 2 ) .

catalogue entries (cat. nos. 1-2).

In 1978, I investigated this issue o f one h a n d

E x c e p t for the large amphora i n M a d r i d (cat.

no.

1), b o t h sides o f w h i c h have been i n d i s p u t a b l y

attributed to the experimental b i l i n g u a l vasepainter Psiax, the other A n d o c i d e a n b i l i n g u a l s

have been the focus o f a n a t t r i b u t i o n controversy.
A n d o k i d e s employed a v e r y early red-figure vasepainter i n his shop, whose name is not k n o w n
and w h o , therefore, has been n i c k n a m e d after the
potter, the A n d o k i d e s Painter. T h e A n d o k i d e s
Painter, w h o may w e l l have been the inventor of
the red-figure technique, clearly painted the r e d figure halves o f this important series o f b i l i n g u a l
amphorae (e.g., cat. no. 2; see fig. I ) . Compared to
9

the u n i t y o f Psiax's b i l i n g u a l amphora i n M a d r i d

or his other b i l i n g u a l i n M u n i c h (see cat. no. 1
w i t h R E F E R E N C E S ) , the black-figure halves o f the
bilinguals w i t h red-figure halves attributed to the
A n d o k i d e s Painter are not clearly b y the h a n d o f
the red-figure vase-painter. Beazley named the
black-figure master the L y s i p p i d e s Painter, after

19

1 1

or t w o i n Attic Bilingual Vases and Their Painters,

w h i c h contained separate, comprehensive mono
graphic studies o f b o t h the L y s i p p i d e s Painter a n d

Figure 1. Athena and Herakles.

Red-figure panel, attributed
to the Andokides Painter, of a
bilingual amphora, ca. 520=
515 B.c. Munich, Staatliche
Antikensammlungen und
Glyptothek 2301.
Figure 2. Hermes, Athena, and
Herakles. Black-figure panel,
attributed to the Lysippides
Painter, of a bilingual amphora,
ca. 520-515 B.c. Munich,
StaatlicheAntikensammlungen
und Glyptothek 2301.

the A n d o k i d e s P a i n t e r .

12

O n the basis o f m y o w n

eries or perceptions that w o u l d tip the scale i n

detailed analysis, I came to the c o n c l u s i o n that

favor of a single artist, the controversy may now

Beazley's final decision was correct: T h e b i l i n g u a l

probably be put to rest. Generally, the red-figured

amphorae are i n d e e d painted b y t w o different

side of the bilingual amphora is the more accom

hands. T h e A n d o k i d e s Painter, an i n n o v a t i v e ,

plished and the more inventive, even when the

entirely red-figure vase-painter, w h o carefully

scene is the same, as it is on the one i n M u n i c h

observes the w o r l d a r o u n d h i m , painted the red-

and the two i n Boston [cat. no. 2; see figs. 12].

figure halves. T h e L y s i p p i d e s Painter, a fairly c o n

The A n d o k i d e s Painter simplifies the scene by

ventional, entirely black-figure vase-painter, w h o

making the figures larger and by i n c l u d i n g less

is a major follower of Exekias, painted the black-

detail. By comparison, the pictures by the Lysip

figure halves. A s D y f r i W i l l i a m s has p o i n t e d out,

pides Painter seem d e r i v a t i v e .

17

collaboration o f t w o or more painters o n the same

vase was not u n u s u a l i n A t t i c pottery w o r k s h o p s
(cf. cat. no. 6 ) .

13

Elizabeth S i m p s o n has recently observed an

interesting difference i n the c o n s t r u c t i o n o f the

Nonetheless, vase scholars, r e l i s h i n g a rare

o p p o r t u n i t y to differ w i t h Beazley, c o n t i n u e d to
opt for a b i l i n g u a l A n d o k i d e s P a i n t e r .

14

Beazley

couches o n the r e d - a n d black-figure halves o f

the b i l i n g u a l amphora i n M u n i c h , each o f w h i c h
depicts A t h e n a standing before a r e c l i n i n g H e r a

never e x p l a i n e d the reason for his final decision.

kles banqueting (see figs. 1-2). H e r technical dis

It is interesting that i n 1963 a " n e w " red-figured

cussion o f Greek carpentry is i l l u m i n a t i n g :

a m p h o r a signed b y A n d o k i d e s a n d attributed to
the A n d o k i d e s Painter entered the collection o f
the M e t r o p o l i t a n M u s e u m o f A r t .

1 5

T h i s amphora,

The A n d o k i d e s Painter's k l i n e [see fig. 1]

was clearly constructed by means of mortise-

p a i n t e d i n somewhat a w k w a r d , v e r y early red-

and-tenon joinery. Beyond the ends of the long

figure, suggests that the A n d o k i d e s Painter was

rail, on the faces of the legs, are indications of

not a p u p i l o f Exekias. It further suggests that he

through tenons that served to j o i n the legs to

d i d not b e g i n decorating vases as a black-figure

the short rails at the head and foot of the couch.

vase-painter a n d , thus, m i g h t never have painted

Painted rectangles indicate the ends of the tenons

in black-figure.

extending through open mortises; these rectan

16

N o t h a v i n g h a d an o p p o r t u n i t y to examine

gles are filled i n w i t h a series of vertical strokes.

n e w w o r k s attributed to the A n d o k i d e s Painter

This seemingly insignificant detail is nonethe

that have emerged, I cannot personally add fur

less remarkable, as it shows that the A n d o k i d e s

ther arguments at the present time i n support o f

Painter had an unusual knowledge of w o o d j o i n

m y earlier c o n c l u s i o n i n favor of t w o hands o n

ery. The vertical strokes indicate the end grain

the b i l i n g u a l s . I w o u l d like to i n c l u d e here, h o w

of the wood at the ends of the tenons: this must

ever, passages from relatively recent p u b l i c a t i o n s

have been all but invisible, yet the painter knew

b y other scholars that support m y arguments for

of its existence and chose to represent it. This

separate A n d o k i d e s a n d L y s i p p i d e s Painters.

is an accurate depiction of the grain at the end

In her 1997 p u b l i c a t i o n of the A t t i c red-figured

a n d w h i t e - g r o u n d pottery from the A t h e n i a n

of such a tenon: the grain of the w o o d w o u l d

have r u n lengthwisethe direction of greatest

A g o r a , M a r y B. M o o r e writes, i n the context o f a

strengthalong all four rails of the couch. This

longer discussion o f differences between these t w o

is standard procedure, w h i c h w o u l d have insured

painters:

the strength of the rails and kept the tenons at

the rails' ends from breaking off. This detail also

20

The most persuasive and detailed arguments for

indicates the placement of the short rails w i t h

distinguishing the A n d o k i d e s Painter from the

respect to the long rails on the A n d o k i d e s Paint

Lysippides Painter and demonstrating their col

er's couch; all four rails of the frame were placed

laboration are those of Cohen. Her case for two

at the same height, as w o u l d have been appropri

painters is a very strong one; barring new discov

ate. The mattress follows the upper contour of the

C O H E N

C H A P T E R

kline, rising up and over the h i g h rail at the head

illustrated w i t h b o t h sides o f the Boston Herakles

of the couch. This supports a fine, plump pillow,

b i l i n g u a l (cat. no. 2).

against w h i c h Herakles rests as he reclines i n

comfort on the kline.

Painters seem to have been casting about for

The kline on the black-figured side of the

M u n i c h amphora is the same type [see fig. 2],

new ways to showcase their skills: and it was i n

this situation that red-figure first emerged, as one

w i t h the details of the decoration and joinery

novelty among many. It is significant, however,

indicated by incision and added color

that painters d i d not simply abandon black-figure

Solid white lines indicate the ends of the

i n favor of an innately "superior" way of paint

through tenons that joined the short rails at the

ing. O n the contrary, the new technique makes its

head and foot of the couch to the legs; these

earliest appearance on "bilinguar'vases, half i n

are found i n the same position on the legs as

red-figure and half i n black. O n these early vases,

on the red-figured couch on the other side of

red-figure does not compete w i t h black-figure: it

the amphora. The long rail of the black-figured

complements it. Painters employ new and old i n

couch, however, is not drawn at the level of the

tandem, apparently operating on the logic that

tenons but substantially above them. This w o u l d

two techniques are better than one. Indeed, an

place the long side rails of the couch at a higher

emphasis on technique itselfon virtuosity and

level than the short end rails, an unlikely pos

craftis characteristic of bilingual pots. M a n y

sibility as can be seen from stone examples. More

of these vases actually show the identical scene

probably, the artist d i d not understand the struc

i n black- and red-figure. Between obverse and

tural implications of the placement of the white

reverse, everything is repeated except technique,

lines he used to indicate the ends of the tenons.

w i t h the result that technique alone stands out.

Nor d i d he understand the implications of his

Neither side of a bilingual is necessarily superior

placement of the long rail, w h i c h does not j o i n

to the other; rather, the point seems to be that

the legs at the correct point, but instead runs into

to have both versions, positive and negative, is

the abacus block at the foot and into the side of

desirable. There is a v i r t u a l deadlock i n such

the volute of the Aeolic capital. A l t h o u g h doing

instances, as though technical extravagance

his best w i t h form and detail, the black-figure

mere visual richnesswere an end i n itself.

19

artist d i d not understand the rudiments of kline

construction, let alone such refinements as pro

T h e first c o m m o n m i s c o n c e p t i o n is the

duced by the grain of the wood. N o r is he fully

assumption that the earliest appearance of red-

at ease w i t h the upholstery: although the couch

figure is o n b i l i n g u a l amphorae. In fact, the b i l i n

is furnished w i t h a mattress and pillow, Herakles

gual amphorae do not count among the earliest

forgoes their comforts, resting his elbow instead

w o r k s o f the A n d o k i d e s Painter, w h o must first

on the abacus of the capital. Not only does the

have painted a number o f entirely red-figured

black-figure artist not k n o w how a Greek kline

amphorae.

was madehis hero doesn't k n o w how best to

2) that illustrates Neer's passage contains what

use o n e .

is apparently the A n d o k i d e s Painter's latest pre

18

20

Indeed, the Boston b i l i n g u a l (cat. no.

served w o r k . It is contemporary w i t h the Pioneer

A s i d e from the issue of a t t r i b u t i o n , certain
misconceptions about the b i l i n g u a l amphorae
have tended to be perpetuated i n the p u b l i s h e d
literature, for scholars seem often to employ these

G r o u p i n the m i d - to later teens of the s i x t h cen

t u r y rather t h a n w i t h the earliest r e d - f i g u r e .

21

T h e second important m i s c o n c e p t i o n is the

assumption that many b i l i n g u a l amphorae show

i n t r i g u i n g vases i n elaborate arguments w i t h o u t

b o t h the same subject a n d the same c o m p o s i t i o n

bothering to learn m u c h about them. A couple

o n b o t h sides. In fact, o n l y three b i l i n g u a l s show

of the most c o m m o n misconceptions appear i n

the same subject o n each side (cat. no. 2; see figs.

R i c h a r d Neer's recent, otherwise fine and thought-

1-2),

p r o v o k i n g assessment of b i l i n g u a l s . H i s text is

b i l i n g u a l (cat. no. 2), repeats exactly the same

21

B I L I N G U A L

VASES

AND

V A S E - P A I N T E RS

22

a n d o n l y one o f them, the Boston Herakles

composition o n each s i d e .

23

It is n o t e w o r t h y that

signature appears o n the cup's black-figure side,

exact repetition was not e x p l o i t e d more often o n

a n d the alternating outline a n d black rays o n the

the preserved b i l i n g u a l a m p h o r a e ,

bottom o f the b o w l are a direct translation from

24

w h i c h were

surely c o n c e i v e d as display pieces. A n d it is sur

black-figured cups (cf. cat. no. 74). Traces o f w h a t

p r i s i n g that exact repetition appears o n the last

may have been a gorgoneion appear o n the tondo.

vase rather t h a n the first i n this amazing series.

O n the cup's exterior, w h e n v i e w e d as a w h o l e

from the underside, large red-figure warriors c o n
front t w i c e their n u m b e r o n the black-figure half.
T w o S c y t h i a n archers flanking a tree fill the space

Bilingual Cups
The eye-cup scheme appears to have been invented

between the outline eyes o n the black-figure half,

b y Exekias for the exterior o f his special cup i n

w h i l e a single t r u m p e t i n g archer occupies the

M u n i c h , w i t h Dionysos sailing o n a coral-red sea

space between the silhouette eyes o n the b l a c k

o n the interior (see chap. 2, fig. I ) .

g r o u n d o f the red-figure half. A s o n Exekias's

2 5

In a watered-

d o w n version, this scheme w i t h large eyes became

Figure 3. Detail of handle zone

of a bilingual eye-cup, with
the signature of Andokides

a p o p u l a r format for black-figured cups (cf. cat.

A t the center o f the spaces between the handle-

no. 74), a n d some o f these black-figured eye-cups

roots, the reserved g r o u n d o f the black-figure side

appear to have been p r o d u c e d i n A n d o k i d e s '

a n d the b l a c k g r o u n d o f the red-figure side are

w o r k s h o p , w h i c h also t u r n e d the eye-cup into a

neatly d i v i d e d from each other. I n the Palermo

b i l i n g u a l vase. O n some small cups, the A n d o k i d e s

cup's fight between b l a c k - a n d red-figure warriors

Painter translated the eye-cup exterior directly

at each handle, one o f the black-figure warriors

from a c o m m o n black-figure scheme into the n e w

has fallen so that his extended shield overlaps the

technique: T w i s t e d grapevines g r o w up at the

red-figure side. Remarkably, these shields, w h i c h

handles, a n d a single red figure is placed between

transgress the b o u n d a r y between techniques, are

the eyes. A semi-outline gorgoneion can still

reserved; they have red rims a n d are emblazoned

inhabit the interior t o n d o .

w i t h devices either i n b l a c k silhouette or i n b l a c k -

as potter, ca. 520 B.c.

Palermo, Museo Archeologico

M u n i c h eye-cup, warriors fight at the handles.

26

T h e b i l i n g u a l eye-cup i n Palermo, w h i c h is

figure. "It is not merely that red men a n d black

Regionale "Antonino Salinas"

attributed to the A n d o k i d e s a n d L y s i p p i d e s Paint

men fighton Palermo V 650 (2051) a l l is raised to

V 650 (2051). From Sabatini

ers, is u n i q u e (fig. 3 ) .

the level o f an artistic conceitthe o l d t e c h n i q u e

Moscati and Carmela Angela

vase that approaches or even surpasses the clever

w h e n it falls is transformed into the n e w . "

Archeologico (Palermo,

interpretation of the genre f o u n d o n the Boston

addition, the t i n y segment o f each fallen black-

1991), fig. 121. Reproduced

Herakles amphora (cat. no. 2). Unusually, the exte

figure warrior's reserved shield o n the cup's b l a c k -

Di Stefano, Palermo: Museo

by permission of the Museo

27

T h i s is the o n l y b i l i n g u a l

r i o r o f the fragmentary Palermo eye-cup

Archeologico "A. Salinas,"

is itself d i v i d e d into black- a n d r e d -

Palermo.

figure halves. A n d o k i d e s ' potter-

28

In

figure h a l f is d r a w n i n outline o n the reserved

g r o u n d (cf. cat. no. 47). O f all b i l i n g u a l vases, the
Palermo cup is the one where the use o f t e c h n i q u e
itself is special.
A single fragment o f a cup, dating ca. 520 B.C.,
from the excavations o f the Greek sanctuary at
Gravisca documents a n e w format for a b i l i n g u a l
cup that was p r e v i o u s l y k n o w n from black-figure
(fig. 4 ) .

2 9

Red-figured o n the exterior, the fragment

preserves a fallen archer a n d a greaved legper

haps from an Amazonomachy. T h e interior o f this
cup fragment preserves a black-figured v o l u t e krater from a s y m p o s i u m frieze that once deco
rated the zone a r o u n d its lost cup's t o n d o (cf. cat.
fig. 74.3). T h i s precious b i l i n g u a l cup fragment is
an o d d i t y from the time o f early r e d - f i g u r e .

30

M o s t b i l i n g u a l cups are standard eye-cups,

22

C O H E N

C H A P T E R

w i t h large eyes o n the red-figured exterior a n d

a single b l a c k figure o n the tondo o f the inte
rior. N o r m a l l y red-figure palmettes appear at
the handles, a n d a single red figure occupies the
space between the large eyes o n each s i d e .

31

Their

l i m i t e d decorative format must have been appeal

Bilingual Vase-Painters

Figure 4. Fragment of a

i n g to vase-painters t r y i n g their h a n d at the n e w

After b i l i n g u a l vases passed from fashion a n d

bilingualcupwith red-figureon

technique. There are several interesting models of

w h e n black-figure itself was o n the wane, certain

b i l i n g u a l eye-cups i n this e x h i b i t i o n : a rare exam

fine red-figure vase-painters c o n t i n u e d to paint i n

ple w i t h n a k e d female

the o l d technique i n order to fulfill the require

figureshetairaibetween

the eyes (cat. no. 3), a late cup b y the important

ments o f t r a d i t i o n a n d r i t u a l . T h e b e s t - k n o w n and

b i l i n g u a l master Oltos w i t h a palmette that has

longest-lived use o f black-figure i n red-figure

sprouted an extra t e n d r i l (cat. fig. 4.3), and a mas

times was for the decoration o f the famous Pana-

terpiece w i t h the potter-signature o f H i s c h y l o s

thenaic amphorae. F i l l e d w i t h olive o i l , these

a n d the painter-signature of Epiktetos (cat. no. 5).

monumental vases were awarded as prizes at the

Unusually, Epiktetos s superb black-figure tondo

games i n honor o f the goddess A t h e n a . These

depicts an elite y o u n g c a v a l r y m a n o n a pranc

prize amphorae are discussed b y K e n n e t h L a p a t i n

i n g horse. O n a l l o f these b i l i n g u a l eye-cups, the

i n the context o f the Getty M u s e u m ' s magnificent

red- a n d the black-figure parts have b o t h been

Panathenaic from the fourth c e n t u r y B . C . attrib

executed b y the same h a n d .

the exterior and black-figure

on the interior. From Gravisca,
inv. 76/3739, ca. 520 B.C.
L 4.65 cm. From Huber 1999,
27 top.

uted to the M a r s y a s Painter (cat. no. 39). A s Lapa

t i n indicates, b y the fourth century, black-figure

T h e last b i l i n g u a l cups, w h i c h date from the

final decade o f the s i x t h century, no longer have

was not merely the " o l d t e c h n i q u e " : Indeed, it

Figure 5. Athena. Panel on side

eyes, a n d they reverse the standard d i s p o s i t i o n of

h a d n o w become a special technique, whose sur

A of a Panathenaic amphora,

techniques that characterized b i l i n g u a l eye-cups.

v i v a l was carefully c u l t i v a t e d .

attributed to the Kleophrades

O n the name vase o f the Painter of L o n d o n E 2

Painter, ca. 490-480 B.C.

In the early fifth century, the Kleophrades

New York, The Metropolitan

(cat. no. 6), red-figure youths a n d p o i n t e d ampho

Painter h a d been awarded commissions for black-

Museum of Art, Rogers Fund,

rae, w h i c h were used for transporting w i n e , are

figured Panathenaic amphorae (fig. 5 ) .

s h o w n o n b o t h the interior tondo a n d red-figured

one of the last great b i l i n g u a l vase-painters w i t h

exterior. Significantly, instead o f black-figure

appearing o n the tondo, the black zone a r o u n d
the tondo has been transformed into a b l a c k figure frieze o f sailing ships a n d leaping d o l p h i n s
executed b y a different vase-painter, w h o appears
to have specialized i n s u c h t r a d i t i o n a l f r i e z e s .
The u n u s u a l cups attributed to S k y t h e s ,

32

33

d i s t i n g u i s h e d b y the use o f b r i l l i a n t coral-red

gloss inside a n d out, are the finest late b i l i n g u a l s .
O n his cup i n Basel (cat. no. 8) black-figure owls
confront the v i e w e r o n the coral-red exterior,
a n d a y o u n g red-figure komast drags an e m p t y
w i n e s k i n b e h i n d h i m o n the tondo, w h i c h is
i n s c r i b e d Epilykos kalos. T h e y o u t h o n the tondo
of Skythes' coral-red b i l i n g u a l i n the L o u v r e bal
ances a p o i n t e d amphora (Cohen, chap. 2, fig. 2 ) .

34

These late b i l i n g u a l s , like many of their forebears,

emphasize the time-honored associations o f the
d r i n k i n g cup w i t h w i n e and the w i n e - d a r k sea
(see chap. 2, fig. 1).

23

B I L I N G U A L

VASES

AND

V A S E - P A I N T E R S

35

H e was

1907,07.286.79. Photograph,
all rights reserved, The
Metropolitan Museum of Art.

an i n d e p e n d e n t black-figured
oeuvre, consisting o f neckamphorae, i n a d d i t i o n to his
red-figured v a s e s . H i s mas
36

terpiece, along the lines o f

e m p l o y i n g the t w o techniques
together, is the loutrophorosamphora from A t t i k a i n the L o u v r e
of ca. 480 B.C. (fig. 6 ) . Vessels of
3 7

this shape n o r m a l l y h e l d water for

a n n o i n t i n g the deceaseds body, like
the example carried b y the w o m a n
depicted o n this vase's neck. T h e
huge L o u v r e loutrophoros-amphora,
however, w h i c h is 81 c m h i g h
and has no bottom, w o u l d have
been employed for commemo
rative libations p o u r e d onto
the g r a v e . Here, u n l i k e most
38

standard " t r u e " bilinguals from

the s i x t h century, the w o r k i n
b o t h techniques can be v i e w e d

figure-on-white-ground frieze on its lip: See below, notes

14-15. This combination of techniques was not exploited
on the Late Archaic full-fledged bilingual vases.
Most of Andokides' potter-signatures belong to a special
type incised on an amphora's foot that is represented by
the two examples in this exhibition: on Madrid 11.008
(cat. no. 1) and on the "white-figured" amphora Louvre
F 203 (cat. no. 51); for these incised signatures, also found
on three red-figured amphorae attributed to the Andok
ides Painter, see Cohen 1991, 59-60, figs. 16-20. See Both
mer 1965-1966, for occurrences of the name Andokides,
including the preserved marble base from the joint dedi
cation made with the potter Mnesiades on the Athenian
Akropolis, 202, 206, fig. 7. See Williams 1999, 69, 70, fig.
52b, for the fragment of a black-figured hydria with the
potter-signature of Mnesiades.

5 For Nikosthenes, see esp. the bilingual eye-cup W r z b u r g ,

Universitt, Martin von Wagner-Museum 468, with the
painter-signature of Epiktetos written in red on side A
and the potter-signature of Nikosthenes in red on side B:
ARV 45.105, 71.8; BAdd 160; BAPD Vase 200312; Cohen
1978, 407, no. B 86. Cf. Nikosthenes' red potter-signature
on Louvre F 114 (cat. no. 15) in Six's technique and the red
painter-signature of Epiktetos on London E 3 (cat. no. 6).
For the possible origin of the red inscriptions employed
in early red-figure in Nikosthenes' workshop, see Cohen
1978, 408-409.
6 Denoyelle and Bothmer, 2001, have recently speculated
about Oltos's beginnings as a bilingual vase-painter.
7 Pheidippos, who signed an entirely red-figured eye-cup
along with the potter Hischylos, London, British Museum
E 6 (ARV
49.168, 166.11; BAdd 161, 182; BAPD Vase
200378; Cohen 1978, 455, no. C 57), is a rare minor painter
of bilingual eye-cups whose real name is known. The
Bowdoin-Eye Painter is named after a red-figured eye-cup
in Brunswick, Maine, Bowdoin College: ARV 48.160,
167.5; BAdd 161, 183; BAPD Vase 200369. The Scheurleer
Painter is named after the bilingual eye-cup formerly in
the Scheurleer collection, now Amsterdam, Allard Pierson
Museum 997: ARV 45.112, 168.1; BAdd 160; BAPD Vase
200319; see discussion in cat. no. 3.
8 The Nicosthenic neck-amphora, an Etruscanizing shape
invented by the potter Nikosthenes, which normally was
black-figured, has also been preserved in several techni
cally experimental examples: Louvre F 114 (cat. no. 15) is
in Six's technique; Vienna 3722 and Villa Giulia 50560 are
"bilingual," i.e., red-figure on the body and black-figure
on the neck, handles, and topside of the mouth, see ARV
11.3-4, 1618; Para 321; BAdd 151; BAPD Vases 200050
and 20051; Cohen 1978, 506-508, nos. B 127-B 128. For
Oltos's examples in red-figure, see cat. no. 4, REFERENCES.
9 See ARV 4.7-12, 1617; Para 320-21; BAdd 149-50;
BAPD Vases 200007-12; Bothmer 1965-1966; Cohen 1978,
105-93.
10 See Beazley 1989a, 9, 17-19; the kalos inscription is on
side B of the black-figured neck-amphora London
GR 1851.8-6.15, BM Cat Vases B 211: ABV 256.14, 670;
Para 113; BAdd 66; BAPD Vase 302224; Cohen 1978,
20, no. A 9. For the Lysippides Painter, see
ABV254-57;
ARV 2, 37, 1617, 1700; Para 109, 110, 113-14; BAdd
65-67; BAPD s.v. Lysippides P; Cohen 1978, 9-104.
11 Published both in CB m, 1, and in ARV 2: as Beazley
states, he had also opted for two hands in 1956 in ABV
254.
12 Cohen 1978, 1-193.
13 Williams 1995, 148-49. Cf. Boardman's recent discussion,
2001, 82, of the Andokides Painter: "He decorated some
bilinguals, on which the black-figure sides are taken to be
the work of another, the Lysippides Painter. This is prob2

together at a single glance.

Beneath the p o i g n a n t red-figure
scene o f m o u r n i n g w o m e n at
the prothesis for a dead y o u t h ,
a smaller black-figured frieze of
A t h e n i a n cavalrymen i n T h r a c i a n
dress, w i t h their arms e x t e n d e d i n
a salute, encircles the vessel. Here
the Kleophrades Painter incises the
hair borders o f his r e d figures a n d ,
unusually, also slashes into the vase's
surface fringes i n the hair of the w o m e n
on the loutrophoros-amphora's neck. T h i s
b i l i n g u a l vase-painter understands
the potent traditional associations
of shape a n d t e c h n i q u e , a n d such
associations are further reinforced
on this funerary vase b y w h i t e painted chthonic snakes o n its handles

Figure 6. Attic red- and blackfigured loutrophoros-amphora,

attributed to the Kleophrades

and l i p .

453. Photograph: R M N / A r t

3 9

Painter, ca. 480 B.c. H 81 cm.

Paris, Muse du Louvre CA

NOTES

Resource, NY. Photographer:

1 Cohen 1978 provides a basic survey of these vases.

2 Beazley 1989a, 9.
3 New York, Metropolitan Museum of Art 63.11.6, a very
early red-figured amphora of type A , has a small black-

Herv Lewandowski.

24

C O H E N

C H A P T E R

14

15
16

17
18
19
20
21

22

ably true, though I imagine he was certainly capable of

painting black-figure and surely did, sometimes."
Marwitz's classic article, "Zur Einheit des Andokidesmalers" had actually already appeared in 1963. See Simpson
2002, 304-308, for a recent review of later opinions of
scholars in favor of a bilingual Andokides Painter. Boardman's influential opinions in favor of a single hand deserve
specific citation here: Boardman 1974, 103, 105; and idem
1975, 15-17.
New York 63.11.6: ARV 1617.2 bis; Para 320; BAdd 149;
BAPD Vase 275000; Bothmer 1965-1966.
Cohen 1978, 106, no. D 1, 107-13, 119-31. The red-figured
amphora in New York of ca. 525 B.C. is further distinguished by the black-figure-on-white-ground frieze on its
lip with a depiction of Herakles and the Nemean Lion on
each side. In Cohen 1978, 45-53, no. D 1, and 199-201,
pis. 22.1-3 and 23.1-5, I attributed each side of this
amphora's lip to the hand of a different vase-painter (A,
the Lysippides Painter, and B, Psiax); whether or not one
accepts the separation of the Lysippides Painter from the
Andokides Painter, this amphora with red-figure panels
unquestionably attributed to the Andokides Painter provides important early evidence of collaboration between
vase-painters in Andokides' workshop.
Moore 1997, 83.
Simpson 2002, 313-15. For Munich 2301, see below,
note 21.
Neer 2002, 32-33. For this interpretation of bilinguals, cf.
Hurwit 1985.
Bothmer 1965-1966, esp. 212, chronology; Cohen 1978,
esp. 118, chronology; Pcasse 1990, 25, chronology.
Bothmer 1965-1966, 212; Cohen 1978, 118. See Denoyelle
1992a, who discusses the Andokides Painter in the context
of contemporaneity with Euphronios; however, cf. cat.
no. 27.
Bilinguals with the same subject on each side, attributed
to the Andokides and Lysippides Painters: Achilles and
Ajax playing: Boston, Museum of Fine Arts 01.8037,
ARV 4.7, 1617; Para 320; BAdd 149; BAPD Vase 200007.
Herakles reclining as a symposiast and Athena: Munich,
Antikensammlungen 2301, ARV 4.9; Para 320; BAdd
149-50; BAPD Vase 200009; see figs. 1-2. Herakles driving
a bull to sacrifice: Boston 99.539 (cat. no. 2).
On the cup Palermo V 650 (2051) (see fig. 3) the blackand red-figure sides share a subject and a composition, see
below, at notes 2728.
On the phenomenon of repetition, see Steiner 1997.
Bilingual amphorae of type A with different subjects on
each side:
Attributed to the Andokides and Lysippides Painters: A , red-figure, Herakles and the Nemean Lion; B,
black-figure, Achilles and Ajax playing: London, British Museum B 193, ARV 4.8, 1617; ABV 2543; Para
113, 320; BAdd 149; BAPD Vase 200008. A , red-figure,
Dionysos with maenads and satyrs; B, black-figure, Herakles and the Nemean Lion: Bologna, Museo Civico Archeologico 151, ARV 4.10, 1617; ABV 255.5; Para 113, 320;
BAdd 150; BAPD Vase 200010. A , red-figure, Herakles
and Cerberus; B, black-figure, Dionysos with a maenad
and satyrs: Paris, Muse du Louvre F 204, ARV 4.11,
1617; . 4 W 2 5 4 . 1 ; Para 113, 321; BAdd 150; BAPD Vase
200011.
Attributed to Psiax: A , red-figure, Apollo playing the
kithara with Artemis, Leto, and Ares; B, black-figure,
Dionysos with satyrs and maenads: cat. no. 1.
Unattributed: A , red-figure, Dionysos and maenads;
B, black-figure, Achilles and Ajax playing: Munich 2300,
ARV 11.1, 1618; Para 321; BAdd 151; BAPD Vase
200000.
2

27

28

29

30

31

32
33

35

36
37

25

B I L I N G U A L

38
39

VASES

A N D

34

Palermo, Museo Archeologico Rgionale V 650 (2051):

ABV253A,
256.21; ARV 5.14, 37.1, 1617; Para 114, 321;
BAdd 66, 150; BAPD Vase 20014.
Cohen 1978, 57-58. Neer 2002, 39, incorrectly describes
the fallen warriors as "combining black- and red-figure
in a single body." Cf. Sparkes 1996, 16, "the fallen blackfigure warriors have their shields in red-figure." In the
division between the two techniques on this cup, the
integrity of the human "body" as either a "black" or a
"red figure" is carefully maintained.
Huber 1999, 27, no. 1. Schauenburg 1970 is the classic
discussion of black-figured cups with decorated zones; see
also Martens 1992, 222-27.
See Cohen 1989, 78, fig. 5, for another odditya reclining red-figure symposiast on the interior of a fragment
from the lip of a lip-cup near the Painter of the Vatican
Horseman, London, British Museum E 134.2: ARV 159.2;
BAdd \81;
BAPD Vase 201508. See also Klinger 1997, 351,
fig. 9, 352. See below, note 32, and cat. no. 6 for zones
decorated with friezes of black-figure ships.
For the design elements of standard eye-cups, see ARV
39-40. Sometimes a nose, leaf, tear drop, or trefoil appears
between the eyes instead of a red figure.
On the tradition of such ship friezes, see Martens 1992,
120-27; Lissarrague 1990a, 113-14.
See Mertens 1987, 173-74, figs. 5a-c, for the possibility of
Skythes having been the painter of an early bilingual eyecup of Beazley's A M A Group (cups associated with the potter Amasis), Florence, Museo Archeologico Etrusco AB 1 :
ARV 37.4, 160; cf. 12.8; BAdd 181; BAPD Vase 200056.
For Paris, Muse du Louvre F 129, see also Cohen, chap. 2,
at note 16.
See Bentz 1998, 138-42, for the Panathenaic amphorae
attributed to the Kleophrades Painter and his Workshop;
138, no. 5.008, pis. 41, 4. For New York, Metropolitan
Museum of Art 07.286.79, see Cohen, chap. 3, note 45. For
the Pegasos device of Athena's shield on these Panathenaics, see Cohen, chap. 3.
Kunze-Gtte 1992.
Paris, Muse du Louvre CA 453: ARV 184.22, 1632; Para
340; BAdd 187; BAPD Vase 201675; Lissarrague 2001,
118, 119, fig. 91, color detail of body.
Arias/Hirmer/Shefton 331 and fig. 127, for a detail of
side A of the neck.
Kurtz 1984, 321; see Coldstream 1977, 121, fig. 37a, 122,
for a Late Geometric amphora of the eighth century B.C.
from a family burial plot in the Athenian Agora with plastic funerary snakes on its shoulder, handles, and mouth.
2

See Cohen, chap. 2, at note 8.

Small cups attributed to the Andokides Painter: Budapest, Szpmvszeti Mzeum 51.28, ARV 1617 (near
the Andokides Painter); Para 321.15; BAdd 150; BAPD
Vase 275001; Szilgyi 1966; Cohen 1978, 248-49, no. E 2,
pi. 48.1-3; Cohen 1989, 74-75, fig. 2; Swiss private collection: Pcasse 1990; and Centre Island, NY, red-figured
fragments: BAPD Vase 4476; Cohen 1978, 247, no. C 6, pi.
49.1-2.
The unique cup near the Painter of the Vatican Horseman that is decorated in outline and black silhouette on
reserved ground on the exterior, Adolphseck, Schloss
Fasanerie 29 (on deposit at the Schloss museum in Kassel), appears to be a surprized reaction to the red-figured
cup exteriors of the Andokides Painter, see: ARV 159.1;
BAdd 181; BAPD Vase 201507. This cup was damaged
during World War n; thus old photographs show more of
the cup's fragments than are currently preserved. I would
like to thank Rudiger Splitter for providing an opportunity for me to examine this cup.
2

23
24

25
26

V A S E - P A I N T E R S

The controlled formality o f b o t h the red- a n d

BILINGUAL A M P H O R A OF TYPE A

the black-figure M a d r i d panels, generally l i n k e d

to Psiax's personal preference for a small scale,

Signature of A n d o k i d e s as potter, attributed

may be associated instead w i t h his measured pair-

to P s i a x as painter, ca. 5 1 5 5 1 0 B . C .

ing of A p o l l o n i a n a n d D i o n y s i a n compositions

H 6 1 . 2 cm

to enhance the positive a n d negative effect o f a

M a d r i d , M u s e o Arqueolgico N a c i o n a l

b i l i n g u a l amphora's front a n d back (cf. cat. n o .

11.008

2). O n the amphora's red-figured obverse, A p o l l o

F r o m V u l c i ; formerly M a r q u e s s o f Salamanca

is carefully delineated as a pretty y o u t h w i t h a

s i d e b u r n painted i n dabs o f dilute, his hair b o u n d

collection

up i n a fancy krobylos b y (faded) red fillets, a n d

w i t h lips that may u n u s u a l l y have been enhanced

A , red-figure, Apollo playing the k i t h a r a with

Artemis, Leto, and Ares

w i t h (now-faded) red. Dressed i n a heavy h i m a -

B, black-figure, Dionysos with satyrs and maenads

t i o n a n d a c h i t o n , w h i c h hugs his derrire like the

one w o r n b y his sister A r t e m i s at the left, the god

C O N D I T I O N : A s s e m b l e d from fragments w i t h inte-

plays the kithara, the instrument o f a professional

grated restorations a n d overpaint o n the panels

musician. I n a m o t i f still beloved later i n A r c h a i c

and o n handle-palmettes; much p i t t i n g a n d erosion o f surface, esp., side A : o n A r e s ' head, cock
shield device, upper surface o f panel, a n d b o d y o f

A t t i c vase-painting, the red-figure instrument's

relief-line strings cross over the fingers o f A p o l l o ' s

Artemis; side B : o n c h i t o n o f left maenad, her lower

p l a y i n g h a n d . A r t e m i s , snapping her fingers,

pair o f krotala,

keeps time to A p o l l o ' s music. H e r hair, b o u n d

o n satyrs a n d Dionysos; added red

faded; most o f added white o n maenads flaked a n d

faded; discolorations, esp. o n Apollo's kithara

and

A r e s ' shield; gray deposit o n lower r i g h t o f panel o n

B; black band w i t h i n amphora's m o u t h pitted a n d

by a diadem, is likewise caught u p i n a krobylos. Here a n d elsewhere, Psiax employs reserved

hair borders for his red figures (cf. cat. no. 2 8 ) . A

scratched; interior o f neck eroded; edge o f upper

reserved q u i v e r c o n t a i n i n g b l a c k arrows is s l u n g

degree o f vase's foot abraded.

on Artemis's back, a n d the goddess of the h u n t

wears a panther s k i n over her dress w i t h its paws

THE

M A D R I D

BILINGUAL

AMPHORA

is the

o n l y one k n o w n to bear a craftsman's signature:

ANAOKIAE5EPOESEN

is i n c i s e d o n side A o f

its foot w i t h the letters b e g i n n i n g u n d e r the

god A p o l l o , w h o is depicted i n the red-figure
panel above. W h i l e A n d o k i d e s ' potter-signature
helps document the association o f this potter's
w o r k s h o p w i t h the important u n s i g n e d series o f
b i l i n g u a l amphorae a t t r i b u t e d to the A n d o k i d e s
a n d L y s i p p i d e s Painters (e.g., cat. no. 2 ) , the
p a i n t i n g o n the M a d r i d vase itself is attributed
to the experimental master P s i a x . I n a d d i t i o n to
his b i l i n g u a l w o r k s , s u c h as this pot a n d a n earlier amphora i n M u n i c h , P s i a x decorated smaller
vases i n the special techniques o f black-figure o n
a coral-red g r o u n d (cat. no. 7 ) , black-figure o n a
w h i t e g r o u n d (cat. no. 5 2 ) , a n d Six's technique
(Mertens, chap. 6 , fig. 1). H e also a p p l i e d details
i n added-clay relief (cat. no. 2 8 ) , a n d he has been
associated w i t h vases that have plastic additions
(cf. cat. nos. 7 0 - 7 1 ; T r u e , chap. 7 , fig. 1 ) .
1.2

27

BILINGUAL

VASES

tied over her chest i n a Herakles k n o t (cf. cat. nos.

ing that her hands were described largely b y the

2, 81). Leto, w h o faces her son A p o l l o a n d likewise

n o w - m i s s i n g color alone.

snaps her fingers to his music, wears a diadem like

Both panels o f this b i l i n g u a l amphora are bor

her v i r g i n daughter, but has d r a w n up her h i m a -

dered w i t h elaborate black ornament. Palmette-

t i o n over the back o f her head.

lotus chains i n true black-figure fill the upper hor

Ares, at the far right, intrudes o n the d i v i n e

izontal borders, c i r c u m s c r i b e d addorsed black p a l -

t r i a d . T h e bearded war god wears a C o r i n t h i a n

mettes the lower borders, a n d , o n the red-figure

helmet p u s h e d up atop his head, w h i c h , like A p o l

side, vertical borders o f c i r c u m s c r i b e d , addorsed

lo's kithara, overlaps the panel's upper h o r i z o n t a l

black palmettes separate the panel's black g r o u n d

border. A r e s ' r o u n d shield, d r a w n from the exte

from the pot's black body. Remarkably, under

r i o r parallel to the picture plane, is an i n t e n t i o n

neath the amphora's handles, i n a sharp b i l i n

ally conservative m o t i f for Psiax, w h o elsewhere

gual contrast, Psiax has i n t r o d u c e d avant-garde

enjoys foreshortening shields or s h o w i n g t h e m

red-figure d o w n w a r d - f a c i n g palmettes w i t h red

from the interior, a n d its d e v i c e a cock w i t h a

hearts.

red wattle a n d c o m b i s rendered i n true b l a c k figure. A l t h o u g h fully armed d o w n to his greaves,

A r e s e x c e p t i o n a l l y does not carry a spear, w h i c h
Beazley explains b y c i t i n g P i n d a r : A p o l l o ' s music
warms even the heart of the god o f war [Pythian
Odes 1.10).
In the panel o n side B, five black figures,
detailed w i t h eccentric, sensitive i n c i s i o n , o c c u p y
the same space as the four red-figure deities, a n d
none o f the five overlaps the panel's upper bor
der. T w o satyrs a n d t w o maenads flank the god o f
w i n e , Dionysos, w h o stands at the v e r y center o f
the composition, h o l d i n g his kantharos b y its stem
i n his left h a n d a n d a b r a n c h i n g i v y v i n e i n his
r i g h t . A n elaborately incised w r e a t h w i t h alternate
red a n d black leaves encircles his head. Separate
locks i n his resplendent l o n g beard are incised
w i t h nervous lines, a n d the god has red lips. T h e
last are features o f Psiax's late black-figure (cf. cat.
no. 52). Dionysos's c h i t o n was o r i g i n a l l y decorated
w i t h b r i g h t red dots as w e l l as incised crosses;
incised circles are s p r i n k l e d over his h i m a t i o n .
The god looks back t o w a r d the left where a v i n e h o l d i n g satyr stares out at the viewer, a n d a mae
nad dances alone, c l a c k i n g her krotala, t h o u g h
no one else i n this scene makes music. T h e satyr,
s h o w n i n frontal face, has flamelike red locks a n d

REFERENCES: A B V 253.bottom. 1, 294.24; ARV 1.bottom, 7.2,

1618; Para 128, 321; BAdd 11,
150; BAPD 200022; CVA Madrid
1 [Spain 1] 8-9, pis. 23-26.1; Bullettino dell'Instituto di Corrispondenza Archeologica 1845, 24-25; Klein 1887, 190, no. 3; Norton
1896, 5, fig. 3, 6, fig. 4, 7, 16; Bienkowski 1899, 608-11, pis. 1920; Bienkowski 1900, 69-72; Alvarez-Ossorio 1910, 18, no. 11.008,
70, no. 11.008, pis. 8, no. 11.008, 19, no. 11.008; Leroux 1912,
34-35, 36-37, no. 63, pis. 5-6; Beazley 1913, 143; Beazley 1918, 6;
Hoppin 1919, I, 31, 34, figs., 35, no. 2; Pfuhl 1923, I, 287-88, ill,
figs. 264 and 317; H . R. W. Smith 1929, 51; Richter 1934, fig. 552,
fig. 7; Bloesch 1951, 30, no. 9, 31, 33; Levi and Stenico 1956, [36]
figs. 39-40, 40; EAA VI (1965) s.v. Psiax 533, fig. 617, 534
(E. Paribeni); Olmos Romera 1973, 46, fig. 16, 47, fig. 17, 48, 49,
fig. 18, 50, fig. 19, 51-52; Boardman 1975, 17, fig. 14.1-2; Bianchi
Bandinelli 1976, no. 320; Cohen 1978, 229, no. 10, 233-39, pis.
13.1-3, 14.1-3; LIMC (1984) s.v. Ares 487 no. I l l , pi. 370
(P. Bruneau), and s.v. Artemis 709, no. 1141, pi. 537 (L. Kahil with
N. Icard); Kurtz and Boardman 1986, 43, fig. 7; Korshak 1987, 50,
no. 59; Shapiro 1987, 625, no. 5, 626, fig. 4, 627; Cohen 1991,
62-63, 90nn.77-78; Hedreen 1992, 3, 75, 76, pi. 26.a-b; PelletierHornby 2000, 29, 30, fig. 6, 33, 37; Warden 2004, 107-109, no. 20
(P. Cabrera): identification of sides A and reversed, photographs
reversed.
2

For Psiax's bilingual amphora Munich, Antikensammlungen

2302 (original foot missing and potter not known), see: ABV
294.23, 667.HIPPOKRATES.3; ARV 6.1; Para 128; BAdd 11, 150;
BAPD Vase 200021. Relief-line strings cross over the hand of a
kithara player on the red-figured amphora of type C, ca. 490 B.C.,
attributed to the Berlin Painter, New York, Metropolitan Museum
of Art 56.171.38: ARV 197.3, 1633; Para 342; BAdd 190; BAPD
Vase 201811; Noble 1988, 98, fig. 174, 116, fig. 205, 117-18. For
Psiax's handling of red-figure shields, see New York, Metropoli
tan Museum of Art 14.146.1: ARV 8.9; BAdd 151; BAPD Vase
200029; Bothmer 1994, 30, no. 16. Cf., for Psiax's late blackfigure, the Dionysos panel on the recently cleaned black-figured
amphora of type B, Paris, Petit Palais ADut 323: ABV 331.2, 692
(near the Rycroft Painter); ARV 1618 (Bothmer's attribution to
Psiax accepted); Para 128 (attribution to Psiax doubted); BAdd
92; BAPD Vase 301858; Bothmer 1957, 80, no. 95 (attributed to
Psiax); see also Pelletier-Hornby 2000, 32-37.
2

b o d y hair incised along the edge of his torso onto

the reserved g r o u n d . A snub-nosed satyr w i t h red
lips a n d a fully incised beard o n the r i g h t seems
tame b y comparison. M o s t o f the added w h i t e
a p p l i e d over the black silhouette for the female
flesh of the r i g h t maenad has disappeared, reveal

28

B I L I N G U A L

VASES

BILINGUAL AMPHORA OF TYPE A

A t t r i b u t e d to the A n d o k i d e s Painter (side
A ) a n d to the L y s i p p i d e s Painter (side B),
attributed to A n d o k i d e s as potter,
ca. 515-510 B . C .

d r i v i n g a b u l l to sacrifice, the Boston b i l i n g u a l

amphora most p o i n t e d l y invites comparison o f the
n e w red-figure technique w i t h t r a d i t i o n a l b l a c k figure. In regard to the vases i n a special series o f
bilinguals associated w i t h the potter A n d o k i d e s ,
Beazley h a d changed his m i n d about whether one
or t w o artists painted b o t h pictures, but i n 1963
he reached his final decision: " A t h e red-figure

H 53.3 c m
Boston, M u s e u m o f Fine A r t s 99.538, H e n r y
L i l l i e Pierce F u n d
F r o m Italy; purchased from E . P. W a r r e n ,
1899; formerly W . H . For m a n collection; E .
J o l y de Bammeville collection; b y 1842 w i t h
the dealer G i u s e p p e Basseggio i n Rome
A , red-figure, Herakles driving a bull to sacrifice
B, black-figure, the like

partis b y the A n d o k i d e s Painter, a n d B t h e

black-figure p a r t b y the L y s i p p i d e s Painter . . . "
(CB i n , 1). A n y s u c h d i v i s i o n o f labor w o u l d have
been unusual, for o n most b i l i n g u a l vases the
w o r k i n b o t h techniques is b y the same h a n d (cf.
cat. nos. 1,4). Often c i t i n g this Boston amphora
as evidence, some scholars have opposed Beazley's
final decision, c h a m p i o n i n g u n i t y o f authorship.
The essay i n chapter 1 here h i g h l i g h t s the recent
strong support i n favor o f Beazley's t w o hands

C O N D I T I O N : A s s e m b l e d from many fragments w i t h

(Moore 1997; S i m p s o n 2002) a n d reviews m y o w n

m u c h restoration; missing parts and cracks filled i n

p r e v i o u s l y p u b l i s h e d arguments, based o n m o n o

w i t h plaster and toned or overpainted, i n c l u d i n g ,

graphic surveys i n d i c a t i n g that the A n d o k i d e s

on side A : an upper section of club, crack across

Painter, the probable inventor o f the n e w tech

Herakles' head from under ear of l i o n s k i n t h r o u g h

his lower l i p ; tip of his nose lost; losses on his lower
arm; missing patch on front leg of l i o n s k i n ; resto

n i q u e , painted o n l y red-figure, a n d the L y s i p p i d e s

Painter o n l y black-figure.

ration across Herakles' right calf; his left foot and

The collaboration o f t w o different painters

ankle and bull's r i g h t h i n d foot missing; restored

c a r r y i n g out a predetermined program makes this

diagonal crack t h r o u g h quiver, wineskins, tail, and

b i l i n g u a l amphora a conceptually a n d logisti-

r u m p of b u l l ; losses on bull's body, esp. on shoulder

and neck; diagonal crack t h r o u g h bull's head w i t h

cally fascinating w o r k o f art. P r e l i m i n a r y sketch

loss of rear corner of eye and front of ear; cracks

lines are still v i s i b l e o n b o t h sides, but it is not

r u n t h r o u g h branches of tree w i t h restored sections;

k n o w n h o w the design was transferred from one

and, on side B : diagonal cracks t h r o u g h c l u b and

side to the other. In positive a n d negative ver

Herakles' r i g h t arm, across center of his l i o n s k i n

above belt; Herakles' lower left arm and wrist, heel
of his r i g h t foot, and his left calf missing; losses on
bull's shoulder and neck; restored cracks and losses

sions, the majestic r e d - a n d black-figure panels

present the u n u s u a l theme o f Herakles about to
make a sacrifice (cf. cat. no. 55). T h e hero strides

i n tree's branches; abraded scratches across panel

b e h i n d a large b u l l w i t h a carefully b r a i d e d tail

at level of bull's knees; chips a r o u n d edge of vase's

a n d a red fillet a d o r n i n g its head. H e controls

m o u t h . Large missing section of vase body, extend

the animal w i t h a red tether h e l d i n his left h a n d

i n g from lower right of panel on side B to under B / A

handle, restored; some added w h i t e on side B faded;
black gloss on foot pitted; edge and underside of

along w i t h the b u n d l e of spits for roasting the

sacrifice. Exceptionally, an altar is not i n c l u d e d

foot abraded; Cecil H . Smith (1899) questioned

i n the c o m p o s i t i o n . Herakles drives the b u l l from

whether the attached foot might belong to a differ

b e h i n d rather than leading it. A b r a n c h i n g tree i n

ent vase; grayish-green misfiring on upper degree of

the b a c k g r o u n d fills the space above the animal's

foot and on upper part of vase on side B.

large h o r i z o n t a l form. F u l l w i n e s k i n s for the sac

rifice a n d the famously gluttonous hero's subse

OVER

FORTY

YEARS

A G O , Beazley observed,

" O f a l l the b i l i n g u a l amphorae, this is that i n

quent feast are draped over his arm. Herakles is

formally outfitted w i t h his standard attributes.

w h i c h the t w o designs are most a l i k e / ' T h i s still

The Nemean Lion's s k i n w o r n over a short c h i

holds true: In its t w i n depictions o f Herakles

t o n w i t h its paws tied across his chest a n d its head

29

B I L I N G U A L

VASES

over his o w n like a helmet (cf. cat. no. 81)is

A n d o k i d e s Painter opens the top o f the red-figure

belted, w i t h its tail caught i n the belt. A q u i v e r

l i o n s k i n , revealing the hero's patterned c h i t o n ,

of arrows a n d a s w o r d are suspended at his waist;

a n d moves the c l u b to the side so that the k n o t t e d

o n side B there is also a bow. T h e hero carries his

l i o n paws along w i t h the rest o f the image may be

c l u b . A l t h o u g h this image h a d once been associ

read easily. T h e stiff black-figure tree, w i t h black

ated w i t h the Cretan B u l l labor, n o t h i n g indicates

leaves o n its inorganic branches, is strictly cen

the particular occasion or the specific b u l l for Her

tered, but the red-figure tree, w h i c h has r e d leaves

akles' sacrifice.

a n d grows u p w a r d b r a n c h i n g out sinuously, is

T h e t w o sides o f the amphora are d i s t i n

off-center. W h i l e the red-figure bull's h o r n s u b t l y

g u i s h e d b y s l i g h t l y different placements o f

overlaps the r i g h t vertical border as the creature

compositional elements a n d b y rather different

lumbers toward its fate, o n side B, a space has

renderings o f i n d i v i d u a l details. B e y o n d a simple

been left between the black-figure bull's head a n d

contrast o f technique, these changes betray the

the panel's r i g h t edge.

hands o f t w o artists o f different q u a l i t y a n d differ

There is a self-conscious o p p o s i t i o n i n the

ent sensibilities. In general, the red-figure painter

rendering o f contours o n this vase: M o s t forms

enthusiastically seeks to reflect the details a n d

o n the black-figure side are o u t l i n e d w i t h i n c i

dynamics o f life, w h i l e the black-figure painter

sion, w h i l e o n the red-figure side relief lines are

creates r i g i d , hieratic forms that are t r a d i t i o n a l

employed instead. I n fact, except for i n c i s e d l o c k s

rather t h a n c o n v i n c i n g . For example, the upper

o n a shock o f the lion's mane, the A n d o k i d e s

part o f the L y s i p p i d e s Painter's black-figure l i o n

Painter employs i n c i s i o n o n l y to separate Her

s k i n , w i t h the paws k n o t t e d together a n d over

akles' black hair a n d beard from the b l a c k

l a p p e d b y the hero's c l u b , is a carpet of fussy,

b a c k g r o u n d . H i s hero's hair a n d beard are b o t h

sketchily rendered i n c i s i o n that makes it diffi

composed of raised dots (cf. cat. nos. 27, 29, 30).

cult to d i s c e r n i n d i v i d u a l forms. B y contrast, the

T h e red for one w i n e s k i n has been a p p l i e d over

2.1

30

B I L I N G U A L

VASES

reserve, creating a different coloristic effect than

T r a d i t i o n a l black i v y o n reserve decorates the

the standard r e d over black o f black-figure. T h e

handles' flanks. Significantly, ornament, w h i c h

L y s i p p i d e s Painter's black-figure employs added

was often the potter's concern, does not appear at

w h i t e (some faded) s u c h as for the lion's teeth.

the roots o f the handles, a n d , i n the handle zones,

A n a t o m i c a l details o f the black-figure b u l l are

black gloss was b r u s h e d o n t h i n l y a n d streakily.

heightened b y red, as are details o f the l i o n s k i n ,

Black rays o n reserve g r o w u p w a r d at the bottom

its belt, one w i n e s k i n , a n d H e r a k l e s ' short c h i t o n .

of the body. Traces o f color indicate that o r i g i n a l l y

In general, the A n d o k i d e s Painter prefers reserved

the fillet between b o d y a n d foot, t h o u g h p r e v i

a n d painted patterns to i n c i s i o n a n d added color;

ously said to be b l a c k (Beazley 1963), was r e d .

w h i t e has been suppressed entirely.

N o i n s c r i p t i o n s appear o n the Boston amphora.
O n the basis o f i n c i s e d potter-signatures o n the
feet o f the A n d o k i d e s Painter's early entirely r e d figured amphorae o f t y p e A a n d o f his u n i q u e
white-figured amphora (cat. no. 51), a n d also o n
the foot o f Psiax's b i l i n g u a l amphora (cat. no. 1),
this amphora has been attributed to the potter
A n d o k i d e s . It is the latest preserved b i l i n g u a l
from his w o r k s h o p a n d a late w o r k also i n the
oeuvres o f its painters. T h e red-figure front is
s u b t l y emphasized over the black-figure back.
Ornamental v e r t i c a l borders o f b l a c k net patterns
on reserve flank the red-figure panel, separating
it from the amphora's b l a c k body; the reserved
black-figure panel is s i m p l y defined b y vertical
black lines near the edges. Both panels have an
upper h o r i z o n t a l border c o n t a i n i n g a black-figure
palmette-lotus c h a i n , b u t o n l y o n side A is the
upper border enhanced w i t h added red. O f the
red lines articulating the amphora's shape a n d
design, the t h i c k double lines that r u n a r o u n d the
vase beneath the panels are especially noteworthy.

32

B I L I N G U A L

VASES

REFERENCES: ABV255.6;
ARV 4.12; Para 113; BAdd 66; BAPD
Vase 200012; Bullettino dell''Instituto di Corrispondenza
Archeologica 12 (1842) 187; Bammeville 1854, 5, lot 40; Annual
Report,
Museum of Fine Arts, Boston 24 (1899) 81, no. 36; C H . Smith
1899, 54-55, lot 305, pis. between 54 and 55; Beazley 1918, 3,
no. 2, 4, fig. 1, 5; Herford 1919, frontispiece, 78; Pfuhl 1923,1,
286-89, in, figs. 266, 316; Seltman 1933, 43, pi. 10; Technau 1937,
138; Chase 1950, 52, fig. 62, 53; Levi and Stenico 1956, 34, fig.
37, 36; Schauenburg 1961, 55 at n.18, 67-68 with n.43; Marwitz
1961-1963, 94, 96, fig. 60, 102; Fairbanks 1962, 74, fig. 61, 75;
Robertson 1962, 312; CB m, 7-8, no. pis. 65.1-2, 67; Chase 1963,
57, 83, fig. 75a, 84, fig. 75b; Beazley 1964, 77, pis. 34-35; Knauer
1965, 9, figs. 13-14; Noble 1965, 52, figs. 200-201; Bothmer 19651966, 212; Szilgyi 1966, 20, 25n.38, 28; Schefold 1967, pi. 197,
221 (I. Scheibler); Kron 1971, 140-41, fig. 11; Brommer 1973, 205,
nos. A 3 and B l ; Boardman 1974, 105, fig. 164; Boardman 1975,
16-17, fig. 8; Brilliant [1975], 133, figs. 5-6; Mommsen 1975, 78
with n.379; Robertson 1975, 216, pi. 71a-b; Cohen 1978, 101-103,
no. B 7, 186-91, no. B 7, pi. 35.1-2; Schefold 1978, 103-104, fig.
129, 281, 310; Robertson 1981b, 60-61, 62, figs. 86-87, 63; Vickers 1983, 38; Beazley 1986, 71, pi. 80.1; Durand 1986, 160, fig.
70a-b, 161; LIMC iv (1988) s.v. Herakles 799, no. 1332, pi. 531
(J. Boardman); Noble 1988, 108-109, 110-11, figs. 187-88; Brard
et al. 1989, 56-57, fig. 81; Robertson 1992, 10, figs. 4-5; Peirce
1993, 219; Vickers and Gill 1994, 139, 140, figs. 5.26-27; Xella
1994, 68; Van Straten 1995, 263, no. V 378; Biers 1996, color pi.
13a-b (between 96-97), 185; Moore 1997, 83; Steiner 1997, 166,
figs. 13-14; Ribichini 1998, 102; Vidale 1998, 60; Clark, Elston,
and Hart 2002, 31, 33, figs. 20-21; Gebauer 2002, 50-52, no. P 15;
Neer 2002, 33, figs. 5-6, 35-36; Pedley 2002, 202, 203, fig. 6.78,
204.
2

3.1

and chipped; added white lost on rings of large

BILINGUAL EYE-CUP

eyes' o c u l i ; on B, fronds of left palmette partially

restored, center of hetaira's b o d y and part of her red
krotala

A t t r i b u t e d to the Painter of the Boulogne

Horse, ca. 520 B.C.
H 11.5 cm; D i a m (bowl) 31.2 c m
Basel, A n t i k e n m u s e u m Basel u n d S a m m l u n g
L u d w i g K a 401
Gift of Dr. Robert K a p p e l i , M e g g e n , 1966

THIS

missing; foot's underside abraded.

KYLIX

E X E M P L I F I E S the

standard

disposition of the n e w a n d o l d techniques of

vase-painting o n a b i l i n g u a l eye-cup, w i t h b o l d
red-figure forms e n h a n c i n g the exterior a n d
black-figure w o r k relegated to the tondo inside
the b o w l . The hetairai between the large eyes o n

I, black-figure, youth
A - B , red-figure, between eyes and palmettes: A ,
naked hetaira putting on her boot; B, naked hetaira
with krotala

the Basel cup's exterior not o n l y count among the

few female figures that appear o n b i l i n g u a l eyecups but they are also among the earliest n a k e d
female figures executed i n the red-figure tech
n i q u e . A naked hetaira dances w i t h krotala o n the

C O N D I T I O N : Assembled from fragments; miss

fragmentary early standard b i l i n g u a l eye-cup from

i n g sections and breaks filled i n w i t h plaster and

O l b i a attributed to Oltos, n o w i n St. Petersburg;

toned; part of A / B handle and adjacent rim section

another naked d a n c i n g g i r l appears o n Psiax's

restored; chips i n black gloss, some discoloration

of reserved surfaces; scattered white incrustation,
esp. on top of added red; red i n pupils cracked

33

BILINGUAL

VASES

unusual entirely red-figured eye-cup i n M u n i c h .

The Basel cup's master was inconsistent i n

h a n d l i n g various red-figure details. T h e border o f

t w o relief lines (cf. cat. no. 4). However, the hearts

the d a n c i n g hetaira 's black hair is reserved, w h i l e

of the Basel cup's closed palmettes, w h i c h have

i n c i s i o n defines the hair contour o f the hetaira

never been described fully, do not entirely fol

p u t t i n g o n her boot. For the krotala of the danc

l o w Oltos's formula. Three o f the four hearts o n

i n g hetaira, the painter has reserved the pair h e l d

the outside are black w i t h reserved centers, but

out against the black g r o u n d but colored red the

b o u n d e d above b y o n l y one relief line. Inconsis

pair that overlaps the hetaira's reserved flesh. T h e

tently, the left heart o n side A alone is reserved

s t r i k i n g boots o f the hetaira o n A are likewise red.

w i t h a black drop at the center (fig. 3.2). In a d d i

These entirely red forms are a sign o f the early

tion, the hearts o f the palmettes here have an

date o f the red-figure technique here.

T h e cup's large eyes, w i t h c u r v i n g contours

u n u s u a l feature: T h e petals "pass t h r o u g h " the

relief-line borders. T h i s feature, w h i c h is not

s l i g h t l y p o i n t e d i n their upper outer corners

k n o w n i n Oltos's oeuvre, occurs i n the red p a l

a n d o c u l i w i t h red p u p i l s a n d w h i t e rings, recall

mette hearts o n b i l i n g u a l eye-cups attributed to

Oltos's early eye-cups. L i k e w i s e associated w i t h

the Painter o f the Boulogne Horse, an early m i n o r

Oltos is the so-called "late heart" for the eye-

master related to Psiax.

cup s ornamental palmettea black heart w i t h

a reserved drop at the center, b o u n d e d above b y
3.2

34

B I L I N G U A L

VASES

T h e black-figure tondo o n the interior o f the

Basel cup contains a slender black-figure y o u t h

3.3

w h o wears a h i m a t i o n w i t h its e n d t h r o w n over

his arm. A l t h o u g h bent over, he is a l i g n e d perpen

The Painter o f the Boulogne Horse p r o b a b l y

w o r k e d for the potter Nikosthenes (see cat. nos.

d i c u l a r to the cup's handles. H i s pose a n d gesture

15, 17, 50), w h o h a d e m p l o y e d also the y o u n g

recall the red-figure hetaira o n side A . T h i s b l a c k

Oltos i n his important Late A r c h a i c w o r k s h o p .

figure has erroneously been said to recall the w o r k

N o w - l o s t traces o f an i n s c r i p t i o n o n the underside

of the Scheurleer Painter, w h o decorated later

of the cup's foot, once read as a signature o f the

b i l i n g u a l eye-cups w i t h elegant elongated

potter P a m p h a i o s a n associate o f N i k o s t h e n e s

figures

d u r i n g the mid-teens o f the s i x t h century. T h e his

m i g h t p r o v i d e evidence for p l a c i n g the ecletic

t o r y o f this a t t r i b u t i o n can be reconstructed from

Basel b i l i n g u a l i n the o r b i t o f this competitive

the Basel CVA entry. I n 1963 M a r g o t S c h m i d t o f

shop. Interestingly, the u n u s u a l form o f the cup's

the A n t i k e n m u s e u m must have w r i t t e n to Beazley

foot, w h i c h combines a flat resting surface w i t h

suggesting attributions for the cup's interior a n d

later features, is as m u c h a h y b r i d as the vessel's

exterior, a n d Beazley r e p l i e d , "I agree w i t h y o u

painted decoration.

about it: the inside picture does recall the b l a c k figure w o r k o f the Scheurleer Painter's cups; a n d
the outside reminds one o f Oltos; b u t I s h o u l d not
t h i n k it was from Oltos' h a n d . I do not feel sure
that there are t w o artists here . . . " Schmidt's sug
gestion o f the Scheurleer Painter a n d Beazley's
i n i t i a l confirmation o f that association, however,
are off the mark. (Beazley d i d not subsequently
p u b l i s h a n a t t r i b u t i o n for this cup.) T h e tondo
figure instead recalls b l a c k figures attributed to
the Painter o f the Boulogne Horse, s u c h as the
seated y o u t h i n s i d e this painter's b i l i n g u a l eyecup formerly i n the collection o f M o l l y a n d W a l t e r
Bareiss. T h u s the entire c u p c o u l d w e l l be a later
w o r k o f this c h a r m i n g painter.

35

B I L I N G U A L

VASES

REFERENCES: Para 325.49 bis; BAdd 159; BAPD Vase 352407

(collection incorrectly cited); CVA Basel 2 [Switzerland 6] 13-14,
pis. 2.14, 31.5, 7, 38.2 (attributed to near the Scheurleer Painter
and Oltos); Lucerne 1963, D 5 (B) (M. Schmidt); Lullies 1964, no.
55; Schefold [1967] 75, no. 113.2; Cohen 1978, 342n.l4, 347, no. B
50, 348n.24 (related to early Oltos).
See for St. Petersburg, State Hermitage Museum 5572: BAPD
Vase 4478; Cohen 1978, 341-42, no. B 45, pi. 72.1-2; and for
Munich, Antikensammlungen 8323 (2587): ARV 7.8, 38.9; BAdd
151; BAPD Vase 200028. For the Painter of the Boulogne Horse's
name vase (with a horse between the eyes on one side), Bou
logne, Muse Communale 562, and Florence, Museo Archeologico
Etrusco 6B25, see: ARV 42.2, 160.1; BAdd 159; BAPD Vase
200248; Cohen 1978, 291, no. B 17, 294-95, pis. 59.2-3 and 60.1.
For the cup formerly in the Bareiss collection, see: ARV
1621.43
bis, 1629.4; Para 336; BAdd 181; BAPD Vase 275016 (incorrectly
cited as Malibu, JPGM); Cohen 1978, 292, no. B 19, 296-97, pis.
60.2-3, 61.1. For Pamphaios, see: ABV 235-36; ARV
127-32,
1627-28; Para 109, 333; BAdd 406; BAPD s.v. Pamphaios Potter.
At the time of Cohen 1978, I knew the Basel cup only from blackand-white photographs of parts of its decoration.
2

4.1

BILINGUAL EYE-CUP

THE

M A L I B U

CUP'S

PAINTER,

O l t o s , deco

rated b i l i n g u a l eye-cups r i g h t alongside entirely

red-figured vases. It is l i k e l y that he learned the

A t t r i b u t e d to Oltos, ca. 515 B . C .

red-figure technique from the A n d o k i d e s Painter

H 13.2 cm; D i a m (bowl) 32.4 c m

i n the 520s B . C . and mastered black-figure specifi

M a l i b u , J. Paul Getty M u s e u m 8 6 . A E . 2 7 6

cally i n order to paint bilinguals. T h i s cup begins

Purchased from the M o l l y a n d W a l t e r

his latest group o f b i l i n g u a l eye-cups, w h i c h were

p r o d u c e d w h e n this restrictive formula no longer

Bareiss collection

h e l d the artist's attention. Its decoration must have

I, black-figure, man running, looking round
AB, red-figure, between eyes and palmettes: A ,
runner; B, trefoil

been executed q u i c k l y , e m p l o y i n g simple forms

and little detail. D u r i n g the final phase o f his
career Oltos w o r k e d o n l y i n red-figure.
L i k e most o f Oltos's v e r y last b i l i n g u a l eye-

C O N D I T I O N : . G o o d ; assembled from fragments;

cups, this cup's black-figure t o n d o bears his favor

black gloss c h i p p e d and abraded along edge of

ite i n s c r i p t i o n , Memnon kalo[s] w r i t t e n i n black

b o w l ; traces of root marks, esp. on bowl's interior;

letters. T h e black-figure m a n r u n s toward the

lower part of face and upper right arm w i t h shoul

der and part of chest of figure on tondo missing and

r i g h t i n an angular pose recalling the t r a d i t i o n a l

restored; fragment at top center of right palmette on

Knielauf w h i l e he looks back t o w a r d the left; he

side A missing and restored; some surface abrasion

has no d i s t i n g u i s h i n g attributes, s u c h as a w i n e

on right eye and palmette; black gloss cracked i n

cup, to i d e n t i f y h i m as a komast. H e is nude save

rings of right large eye's oculus; relief line c h i p p e d

for a mantle t h r o w n over his left shoulder a n d

at inner corner of eye and center of brow o f red-

r i g h t arm. Its alternate folds are added i n red, an

figure runner; some c h i p p i n g of black gloss, res

toration along right side of left palmette on side B ;
surface abrasion on right palmette.

old-fashioned m o t i f charateristic o f this painter.

The man's n o w p a r t i a l l y preserved beard a n d the
front o f his hair were likewise covered w i t h this

36

B I L I N G U A L

VASES

p u r p l i s h added color. T h e added r e d o n

this t o n d o was a p p l i e d i n a n e x c e p t i o n
ally t h i n wash, a n d the black gloss for the
black figure is l i k e w i s e a p p l i e d thinly, so
that the orange o f the reserved g r o u n d peeks
through.
The b i l i n g u a l ' s design invites a c o m p a r i s o n o f
the t w o male figures. T h e r e d figure o n side A is a
y o u t h w h o is entirely nude, runs t o w a r d the left
rather t h a n the right, a n d looks straight ahead

4.2

rather t h a n back. Rather t h a n recalling a stale

c o n v e n t i o n , the y o u t h moves f o r w a r d energeti
cally w i t h w i d e s p r e a d legs. Impressed sketch lines
have been preserved at the rear o f his left leg a n d
b u t t o c k . E a c h male figure clenches one h a n d a n d

sprouted a s p i r a l i n g t e n d r i l , a makeshift space

extends the other before h i m . W h i l e the fingers o f

filler that became necessary because, once the

the black-figure m a n are i n d i s t i n c t a n d rubbery,

contours o f the o c u l i were cut i n t o the cup s sur

those o f the y o u t h s extended h a n d are carefully

face, the location o f the eyes c o u l d not be m o v e d .

delineated. T h e border separating his b l a c k hair

Perhaps the painter h a d o r i g i n a l l y i n t e n d e d to

from the black g r o u n d is incised, a t y p i c a l h a n

place between the large eyes a more ambitious

d l i n g i n early red-figure. A l t h o u g h this little r e d

m o t i f t h a n the stark, abstracted leaflike form that

figure has no attribute b e y o n d a p u r p l i s h added-

Oltos used here, a n d that he favored o n his final

red w r e a t h a r o u n d h i s head, his y o u t h a n d n u d i t y

group o f b i l i n g u a l eye-cups, w h i c h has sometimes

suggest he m i g h t be a n athlete, a brother o f the

been called a nose, b u t s h o u l d s i m p l y be called a

runners o n the handles o f Oltos's red-figured

trefoil.

N i c o s t h e n i c amphorae.
The large eyes o n this cup belong to Oltos s
v e r y last t y p e , w i t h r o u n d e d contours, o c u l i
consisting o f a b l a c k r i n g , a reserved r i n g , a n d
another b l a c k r i n g a r o u n d a small r e d p u p i l (all
d r a w n w i t h a compass), a n d elongated tear glands.
The last e x t e n d so far i n t o the central space that
the little red-figure r u n n e r is i n danger o f t r i p p i n g
over them. Originally, the p u p i l s were completely
covered w i t h a t h i c k layer o f red that w o u l d have
obscured the n o w - v i s i b l e compass marks. Fat
palmettes w i t h closed fronds, whose stems s p r i n g
from the roots o f the handles, complete this cup's

REFERENCES: ARV
1621.79 bis; 1623.20 bis (incorrect descrip
tion of side B); BAdd 159, 164 ("side in ARV should read 'nose
between eyes'": incorrect description of side B); BAPD 275025;
CVA Malibu 8 [USA 33] 8, no. 11, pis. 392-93; Bothmer 1969, 431,
figs. 6-7; Bothmer and Bean 1969, 6, no. 70; Matheson Burke and
Pollitt 1975, 44-45, no. 41; Cohen 1978, 385, no. 75, 393-94,
pl. 88; JPGM Bareiss 1983, 40-42, no. 26, 78, no. 143; "Acquisi
tions/1986," GettyMusJ 15 (1987) 160-61, no. 7; Harnecker 1991,
71-72, 226, no. 50.
2

For Oltos's red-figured Nicosthenic amphorae, Paris, Muse

du Louvre G 2 and G 3, see: ABV 320.1314; ARV 53.1-2, 1622;
Para 326; BAdd 163; BAPD Vases 200434-35. For a nose between
the eyes, see side of Oltos's bilingual eye-cup in Altenburg,
Staatliches Lindenau-Museum 224: ARV 44.76, 55.17; BAPD
Vase 200283. For the red color employed on this cup, see further
Lansing-Maish in the Technical Studies essay.
2

standard eye-cup formula. T h e y have canonical

late hearts, i.e., b l a c k w i t h a reserved drop at the
center b o u n d e d above b y t w o relief lines. Oltos's
use o f t r a d i t i o n a l - l o o k i n g palmettes is significant
because b y the mid-teens o f the s i x t h c e n t u r y the
palmettes o n most cups tended to be open, w i t h
fronds that fan out separately (cf. cat. no. 5).
O n side B, rather than being p r o p e r l y cen
tered, the pair o f large eyes are too close to the
r i g h t palmette, a n d the left palmette has, thereby,

37

B I L I N G U A L

VASES

4.3

5.1

C O N D I T I O N : G o o d ; reassembled from fragments

BILINGUAL EYE-CUP

w i t h restoration along cracks; losses o n side A at

r i m o f b o w l , i n c l u d i n g part o f r i g h t b r o w a n d eye,
and o n I near top o f horse's head; chips i n black

Signatures o f Epiktetos as painter a n d o f

gloss o n bowl's interior; added white flaked from

H i s c h y l o s as potter, ca. 520 B . C .

pattern o n horseman's cloak a n d circles i n o c u l i

of the large eyes; side A , p i t t i n g a n d scratches o n

H (to rim) 14 cm; D i a m 30.5 c m

r i g h t palmette a n d eye; crack t h r o u g h p u p i l o f r i g h t

London, The British M u s e u m

eye w i t h loss o f added red; side B , cracks i n black

G R 1842.4-7.23, BM Cat Vases E 3

gloss around satyr's body; white incrustation o n

Purchased from Basseggio i n Rome i n 1842

and around satyr's r i g h t arm; abraded a n d misfired

by the Marquess o f N o r t h a m p t o n o n behalf

stacking r i n g i n black gloss o n bottom o f b o w l ; edge

of the B r i t i s h M u s e u m

of foot's reserved resting surface abraded.

I, black-figure, horseman

THE

A - B , red-figure, between eyes and open palmettes:

Epiktetos neatly i n s c r i b e d the potter's signature,

MASTERFUL

BILINGUAL

vase-painter

A , satyr warrior with keras; B, satyr warrior with

Hischylos epoiesen, i n black letters o n the reserved

oinochoe, trumpeting

field of this w i n e cup's black-figure tondo. I n c o n

trast, he wrote his o w n signature as painter i n the
new red-figure manner, w i t h r e d letters, o n the

38

B I L I N G U A L

VASES

black g r o u n d o f the exterior (fig. 5.2). H i s painter-

tomical m a r k i n g s o f b o t h horse a n d rider. T h e

signature appears alongside the satyrs' heads, w i t h

3/outh's short c h i t o n falls i n avant-garde stacked

name a n d verb d a r i n g l y d i v i d e d between sides A

three-dimensional folds, a n d a fashionable T h r a -

a n d B. [Egraphsen is characteristically misspelled

cian cloak encircles his shoulders, w i t h b o t h l o n g

as egrasphen.) Both named craftsmen must i n d e e d

ends falling to one side. In a d d i t i o n to its incised

have been p r o u d of their w o r k , w h i c h here reaches

lower border, this cloak once bore an exotic pat

the epitome of what may be achieved w i t h i n the

tern of crenellations and patches i n added w h i t e .

l i m i t e d formula o f the b i l i n g u a l eye-cup.

Otherwise, added color has been e m p l o y e d rather

In terms o f p o t t i n g , this mature cup o f t y p e A

has a spreading b o w l offset from the stem a n d foot

j u d i c i o u s l y , w i t h red d e s c r i b i n g o n l y a wreath
o n the youth's head a n d a stripe o n the horse's

b y a fillet bordered b y i n c i s i o n . Its foot is a fairly

mane. T h e shafts o f the youth's paired spears are

streamlined A Y t y p e , w i t h a t h i n foot plate a n d

rendered w i t h the same relief line e m p l o y e d i n

resting surface, a n d a glossy b l a c k underside that

the cup's red-figure, yet their contours have been

curves smoothly into its h o l l o w stem. T h i s u p -

incised across the black-figure horse's body.

to-date m o d e l o f a k y l i x is a s t r i k i n g a c c o m p l i s h

O n the red-figure exterior, the palmettes

ment for a potter w h o began his career fashioning

w i t h o p e n fronds s p r i n g i n g from the handles

black-figured b a n d cups i n L i t t l e - M a s t e r t r a d i t i o n .

defy earlier b i l i n g u a l eye-cup t r a d i t i o n , a n d the

In terms of p a i n t i n g , E p i k t e t o s has elaborated

double-line border of their hearts is u n u s u a l for

u p o n the standard elements o f a b i l i n g u a l eye-

Epiktetos. T h e cup's large eyes have standard

cup's decoration. Instead o f a single black figure,

red p u p i l s a n d (flaked) w h i t e rings i n their o c u l i .

the t o n d o h a r m o n i o u s l y contains an equestrian

A d d e d red alone is e m p l o y e d o n the light-armed

group a l i g n e d p e r p e n d i c u l a r to the cup's handles.

satyr warriors s h o w n i n c o m p l e x poses between

The restive horse, whose feet do not t o u c h the

the large eyes. These i t h y p h a l l i c satyrs have

tondo's border, is more animated t h a n its self-

remarkable red horsetails, w i t h i n d i v i d u a l hairs

controlled, elite y o u n g rider. T h e horse's mane

painted i n separate w a v y strands. T h e crescent-

displays a carefully observed split caused b y the

shaped shields (peltae) have red straps that are

b r i d l e . Black-figure i n c i s i o n describes i n n e r ana

slung over the satyrs' shoulders, a n d they wear

5.2

5.3

red i v y wreaths. C o n t o u r stripes border a l l o f the

red-figure forms.
Satyrs fought alongside Dionysos i n the G i g a n tomachy. T h e satyr o n B (fig. 5.3), w e a r i n g a l i p
b a n d (phorbeia) characteristic o f the late s i x t h
century, b l o w s the battle signal o n a trumpet
[salpinx). H i s upper b o d y is s h o w n i n back view,
but the pose is confused b y the satyr's h i p t i l t i n g
t o w a r d his spine. A l t h o u g h the hair borders o f
b o t h satyrs are incised as i n early red-figure,
the border o f the satyr o n B's l o n g beard is care
fully reserved. T h e b a l d i n g , snub-nosed satyr
on A , h a l f - c r o u c h i n g b e h i n d his pelta, carries a
kerasprobably

a d r i n k i n g h o r n rather than a

t r u m p e t w h i l e the satyr o n B carries a n oinochoe. Epiktetos s satyrs, often associated w i t h

early dramatic performances, t u r n this cup into a
l i v e l y conversation piece appropriate for a d r i n k
ing party.

40

B I L I N G U A L

VASES

REFERENCES: ARV 45.102, 70-71.3, 1623; Para 328; BAdd 160,

166-67; BAPD Vase 200309; Brunn 1859, n, 701, no. 6; Klein
1887, 101, no. 2; Winter 1892, 106, fig. 3; C. H . Smith 1896, 42;
Walters 1909, 109, no. 8, 110, no. 8, 114, pi. 12; Beazley 1918,
15, no. 2; Hoppin 1919,1, 308-309, no. 7; Kraiker 1929, 152, no.
3, 153-58; Swindler 1929, 167, 169, fig. 277; Kraiker 1930, 175;
Hill 1938, 28, 31, fig. 8; Bloesch 1940, 33, Hischylos no. 8, 34, 37,
pi. 8.4; Buschor 1943, 89, figs. 49-50; Schnitzler 1948, 41, pi. 31,
fig. 44; Rumpf 1953, 65, pi. 17.1; Arias/Hirmer/Shefton, 320, pis.
96-97; Arias 1963, 216-17, pis. 61.middle, 63.top; Greifenhagen
1963, 20, 23, fig. 19; Becatti 1965, 96-99; Lcken 1967, 486, pi.
52.1; Boardman 1974, 57-58, fig. 66.1-2; Moore 1975, 40-41, 43,
fig. 13; Robertson 1975, 218, pi. 70c; Folsom 1976, 44-45, pis.
14-15; Simon/Hirmer, pi. 97, 96-97, no. 97; Cohen 1978, 424,
no. B 93, 425-430, pi. 98.2-3; Schefold 1978, 65-66, figs. 74-75;
Paquette 1984, fig. K 1, 74, 78, no. T 7, fig. T 7; Belis 1986, 215,
216, fig. 20, 217; Robertson 1992, 16, fig. 11; LIMC vni (1997) s.v.
Silenoi, 1122, no. 129, 1124, no. 154, pi. 770 (E. Simon); Boardman
2001, 224, fig. 242; Boardman 2002, 152, fig. 129.
2

BILINGUAL CUP
A t t r i b u t e d to the Painter o f L o n d o n E 2

C O N D I T I O N : Assembled from fragments; left root of

B / A handle restored; o n tondo: c h i p missing from
surface of youth's right knee a n d adjacent body of
pointed amphora; added red flaked and faded; i n
zone: head o f a d o l p h i n at upper left missing; black

(red-figure) a n d near the A n t i o p e Painter

r i g g i n g of ships' sails scratched and pitted; edge of

(black-figure), ca. 510-500 B . C .

cup's foot c h i p p e d , a n d resting surface abraded.

H 13 cm; D i a m (bowl) 32 c m
L o n d o n , The B r i t i s h M u s e u m

A L T H O U G H

THIS

LATE

BILINGUAL

drinking

G R 1843.11-3.29, BM Cat Vases E 2

cup is not an eye-cup, its black-figure decoration

F r o m V u l c i ; purchased i n 1843 from the

is nonetheless relegated to the b o w l s interior.

Princess o f Canino, from the collection o f

Here the black gloss that n o r m a l l y fills the zone

L u c i e n Bonaparte, P r i n c e o f Canino

a r o u n d the tondo stops short o f the c u p s l i p : the

gloss has been transformed into a black-figure sea

I, red-figure, youth lifting a pointed amphora; i n

that supports a frieze o f sailing ships a n d leaping

the zone, black-figure, ships and dolphins

d o l p h i n s . T h e gloss i n the zone was a p p l i e d o n the

AB, red-figure, between palmettes, komos: A ,

potter's w h e e l a n d then, at the outer edge, waves

two youths, one holding an oinochoe, dancing around

were painted o n freehand. A s befits the b l a c k -

a pointed amphora; B, two youths, one holding a

figure i d i o m , beneath each ship, the w a v y surface

drinking horn, dancing around a pointed amphora

of the water has been i n c i s e d , a n d the ends o f the

ships' oars have s i m p l y been gouged out o f the

41

BILINGUAL

VASES

black gloss rather than reserved. T h e vessels sails

7

of ships sailing u p o n the sea w i t h i n its b o w l .

are w h i t e , a p o p u l a r black-figure added color. In

The red-figure depictions o n this b i l i n g u a l cup,

the red-figure technique, the sea (cf. cat. no. 44) as

w h i c h also celebrate the power o f w i n e , somewhat

w e l l as ships a n d their sails are generally reserved.

unusually, appear to have been painted b y a dif

These black-figure ships, w i t h rams i n the form o f

ferent h a n d . Beazley named this red-figure master

boars' heads, sail t o w a r d the left. T h e i r helmsmen

after this v e r y cup, the Painter o f L o n d o n E 2.

have been s u m m a r i l y i n d i c a t e d , a n d o n each ves

He appears to have been a member o f the b l a c k -

sel the heads o f the crew have been t u r n e d into

figure Leagros G r o u p , w h o preferred decorating

supports for the ship's r a i l .

vases i n a coarse, but exuberant red-figure style.

T h i s b i l i n g u a l c u p s ship frieze is believed to

The Painter o f L o n d o n E 2 followed the rules o f

have been executed b y a black-figure master w h o

red-figure, e m p l o y i n g relief lines a n d reserve

painted similar ship friezes o n other cups, such as

throughout, save for the i n c i s e d hair borders o f

an entirely black-figured eye-cup i n the M a r i t i m e

the youths o n the exterior. H e also wrote nonsense

M u s e u m o f Haifa. W h e n such cups were

i n s c r i p t i o n s i n red letters o n the black g r o u n d o f

filled

w i t h w i n e , their ships w o u l d i l l u s i o n i s t i c a l l y sail

the red-figure pictures (see Bonaparte 1829). O n

u p o n the l i q u i d , e v o k i n g Homer's " w i n e - d a r k

this late b i l i n g u a l , w h i c h was thus painted b y t w o

sea." T h e black-figure painter a n d potter Exekias

m i n o r masters, the o l d a n d n e w techniques have

famously associated the b o w l o f a w i n e cup w i t h a

been cleverly integrated to suit the vessel's form

sailing ship inside his coral-red eye-cup i n M u n i c h

and function.

(Cohen, chap. 2, fig. 1); he also placed a frieze of

ships w i t h i n the m o u t h of a dinos, a b o w l for m i x
The design o n the red-figure tondo has been
carefully a l i g n e d w i t h the cup's handles. Here a
y o u t h struggles to lift b y its handles a p o i n t e d
amphora that must be filled w i t h w i n e . T h e
youths o n the cup's red-figure exterior, h o l d i n g
vases for d r i n k i n g or s e r v i n g w i n e , dance around
p o i n t e d amphorae set i n the g r o u n d to stand
vertically. Because amphorae o f this shape were
often e m p l o y e d as transport amphorae, they are
especially appropriate for a w i n e cup w i t h a frieze

B I L I N G U A L

ing w i n e w i t h water.

42

REFERENCES: ABV 390; ARV 225.top.l, 1636; Para 346-47;

BAdd 103; BAPD Vase 202287; Bonaparte 1829, 89, no. 792;
C. H . Smith 1896, 41-42; Walters 1905, pi. 37.1; Walters 1909, 111;
Langlotz 1920, 28; Stella 1930, 72-73 and n.12; CVA Scheurleer 2
[Netherlands 2] 75 under pi. 6; CVA Bonn 1 [Germany 1] 8 under
pi. 3.1; R. T. Williams 1957, 315, fig. 4, 316; Morrison and W i l
liams 1968, 107, pi. 18a; Schauenburg 1970, 34, pi. 13.2; Cohen
1978, 521, no. D 4, pi. 129.1-2; De Angelis 1990, 46; Lissarrague
1990a, 113-14, fig. 87.
For Haifa, Maritime Museum 262, see ARV
1636; Para 164,
347; BAdd 198; BAPD Vase 275113. For the black-figured dinos
signed by Exekias, Rome, Museo Nazionale Etrusco di Villa Giulia
50599, see: ABV 146.20, 686; BAPD 310402. On ship representa
tions in general, see Morrison and Williams 1968. On the associa
tion of wine vessels with the sea and the tradition of ships on
dinoi, see Lissarrague 1990a, esp. 112-22, 113, fig. 86, and also
Martens 1992, 120-27.

VASES

Coral-red Gloss

Coral-red Gloss: Potters,.J.

Winters, and Mnter-Pdttbrs
Beth Cohen

H E LUSTROUS O R A N G E R E D A T H E N I A N C E R A M I C GLOSS

k n o w n as coral red was invented during the 430s B . C .

before the Attic fashion for a white ground, before the birth

of red-figure-^and was produced for less than a century i n but

^ a few potters' workshops. Employed on cups more than any
other vase shape, this rare technique was generally used i n Late
Archaic and Classical Athenian pottery workshops as a spectacu
lar alternative to black gloss for covering broad areas of a vases
surface. Having established the history of this special technique
on fine A t t i c decorated pottery over t h i r t y years

tal r e d " t h e red resulting from the misfiring o f

ago i n m y first p u b l i c a t i o n , "Observations o n

black gloss. " R e d , " also employed i n the terms

2

C o r a l - R e d / ' 1 w i l l n o w revisit that history, incor

"red-figure" a n d "added red," is p r o b a b l y the

p o r a t i n g evidence p r o v i d e d b y firsthand observa

most used a n d abused w o r d i n the s t u d y o f vase-

t i o n o f coral-red vases themselves as w e l l as b y

p a i n t i n g . A s any s c h o o l g i r l w i l l tell y o u : F i r e d

several n e w examples.

A t t i c clay looks orange rather than red, a n d

L i k e black-figure, red-figure, a n d w h i t e

"red-figure" m i g h t more appropriately be called

g r o u n d , coral red has been named for a color.

"orange-figure." A t least, " c o r a l red," i.e., orange

Often, o n the basis o f scientific accuracy, coral

red like the color o f coral, the alternative t r a d i

red has been called ' ' i n t e n t i o n a l r e d " a gloss

tional term selected for use i n this study, does

p u r p o s e l y fired to r e d i n contrast to " a c c i d e n

describe the c o m m o n appearance o f this special

44

gloss. E d m o n d Pottier i n his seminal 1903 list o f

vases k n o w n to h i m w i t h this gloss, preferred to
call it " r o u g e - o r a n g e / ' and, i n fact, even among
3

vases from the same w o r k s h o p , there may be v a r i

ety i n the color o f coral red. Moreover, as Jeffrey
M a i s h suggests elsewhere i n this v o l u m e (see
Technical Studies), the current appearance o f coral
red may also have been affected b y b u r i a l c o n d i
tions. B e y o n d the distinctive color, it is important
to remember that coral red is not merely a color
but a gloss that e x h i b i t s a lustrous a n d often
rather s h i n y surface.

The m y s t e r y o f coral red has r e v o l v e d a r o u n d

the issue o f whether or not a gloss resulting from
a levigated clay slip c o u l d have been subjected to
the standard three-stage firing process employed
for ancient Greek pottery a n d yet remain red
instead o f fully sintering a n d t u r n i n g b l a c k

always

because it has lost its ability to reabsorb o x y g e n

applied

(see p. 8). Several different theories about h o w

before the

coral red may have been p r o d u c e d have been pro

red. She, there

posed d u r i n g the last century, a n d the latest data

fore, argued that the t w o

a n d interpretations are discussed i n the Technical

glosses were either clearly separated or that,

Studies essay i n this v o l u m e . W h i l e the scienti

i f there was any overlap, the red always over

fic debate continues about the c o m p o s i t i o n o f

lapped the b l a c k . A s we shall see, however, close

figured eye-cup of type A

coral red a n d the c o m p o s i t i o n of the black gloss

observation o f a variety of coral-red vases does

signed by Exekias as potter,

used w i t h it, coral red does appear to have been

not support R i c h t e r s scenario. In fact, b o t h red-

and attributed to him as

fired i n the familiar three-stage firing process,

over-black a n d black-over-red overlappings a n d

30.5 cm. Munich, Staatliche

t h o u g h p r o b a b l y w i t h some special requirements.

gloss applications may be observed o n coral-red

Antikensammlungen

A l t h o u g h difficulties i n preparation a n d

firing

vases. T h e existence o f b o t h types of o v e r l a p p i n g

must have l i m i t e d the A t t i c p r o d u c t i o n o f coral

indicates that coral-red gloss h a d to have been

red, a n d a l t h o u g h the gloss is n o w often flaked,

applied to the pottery along w i t h the black a n d

it is not clear that coral red was an i m p o s s i b l y

then fired i n the single three-stage firing process.

fragile surface finish at the time o f its ancient sale

Therefore, t h o u g h it may be possible to produce

a n d use.

coral red separately from black i n a m o d e r n sci

T h e results o f an early investigation of coral

entific reconstruction, A t h e n i a n pottery itself

red i n i t i a t e d b y Gisela M . A . R i c h t e r are relevant

indicates that this was not the way coral red was

to subsequent art-historical a n d technical apprais

generally p r o d u c e d i n antiquity.

als. In the 1950s, R i c h t e r consulted Theodore

6

S c h u m a n n about the red gloss. S c h u m a n n was a

G e r m a n ceramic chemist w h o had been the first

Exekias: The Inventor of Coral Red

to reproduce A t t i c black gloss i n m o d e r n times.

The earliest k n o w n use o f coral red occurs o n one

H e c o n c l u d e d that A t t i c coral-red vases h a d to

of the most famous A t h e n i a n vases: the b l a c k -

have been fired t w i c e because, he maintained, the

figured eye-cup o f t y p e A i n M u n i c h from ca.

coral-red areas w o u l d have h a d to avoid the reduc

535 B.C. signed b y Exekias as potter, w h i c h he

i n g stage. O n the basis o f Schumann's theory of

painted as w e l l as potted (fig. I ) . E x p o r t e d from

t w o separate firings, R i c h t e r attempted to d e m o n

A t h e n s i n antiquity, this large cup w i t h a d i a m

strate that o n coral-red vases the black gloss was

eter of 30.5 c m was f o u n d i n an Etruscan tomb

45

Figure 1. Dionysos sailing.

Coral-red interior of a black-

painter, ca. 535 B.c. Diam

Glyptothek 2044.

und

at V u l c i . A n e x t r a o r d i n a r y design fills the bowl's

Psiax and Skythes: Coral Red as a Ground

interior: A t the center, Dionysos reclines o n a sail

The exquisite cup o f t y p e C w i t h o u t a l i p o f ca.

i n g ship as grapevines laden w i t h seven bunches

520 B.C. (cat. no. 7), i n St. Petersburg, attributed

m i r a c u l o u s l y sprout beside its mast, w h i l e seven

to the transitional master P s i a x (cf. cat. nos. 1,

d o l p h i n s s w i m i n a coral-red sea a r o u n d the boat.

28, 52, cf. 71; M e r t e n s , chap. 6, fig. 1), is the o n l y

The vessel's (now-much-restored) b o l d , large w h i t e

other entirely black-figured A r c h a i c coral-red cup.

sail is effective against the coral red, but not so

Small, 22.5 c m i n diameter, a n d low, 6 c m h i g h ,

Dionysos's d r i n k i n g h o r n painted i n matt p u r p l i s h

this vase bears no i n s c r i p t i o n s , a n d thus it is not

added red.

k n o w n whether Psiax, like Exekias, d i d the pot

J. D. Beazley's d e s c r i p t i o n i n The Development

t i n g as w e l l as the p a i n t i n g himself. O n the St.

of Attic Black-figure o f the a p p l i c a t i o n o f coral red

Petersburg cup, coral red n o w covers the exterior

o n Exekias's cup is so far from the mark that it

as w e l l as the interior, a n d it is even a p p l i e d over

c o u l d h a r d l y have been based o n firsthand obser

the edge o f the r i m . Here the gloss is i n d e e d a

v a t i o n . H e writes: " . . . the black-figure design

g r o u n d that underlies the b l a c k figures: T h e coral

inside is p a i n t e d not o n the surface of the vase

red can clearly be seen beneath the delicate i n c i

itself but o n a fine lustrous coral-red slip w i t h

sion that stops at its surface i n the d e p i c t i o n o f

w h i c h the w h o l e picture-space was coated before

Herakles a n d a man-eating horse o f Diomedes o n

the figures were b e g u n . " In fact, the coral red o n

the bowl's interior a n d i n the flying figures o f

Exekias's cup is not an u n d e r l y i n g g r o u n d a p p l i e d

Hermes a n d Perseusescaping from the unseen

o n the w h e e l i n the manner o f slightly later w h i t e

Gorgon sisters of M e d u s a o n the exterior. W h i l e

g r o u n d . Rather, it was painted freehand onto the

Exekias's coral red is a deep red color, Psiax's is

b o w l a r o u n d the b l a c k figures. Exekias first cre

t r u l y orange red, a n d it is extremely shiny. S h i m

ated a protective border a r o u n d forms i n the vase-

mering a n d evanescent, the coral-red surfaces o f

p a i n t i n g w i t h coral-red contour s t r i p e s ,

the St. Petersburg cup suggest unearthly and o t h

10

which

anticipate the black-gloss contour stripes o f the

e r w o r l d l y realms b e y o n d the q u o t i d i a n experience

red-figure technique. Furthermore, the t w o small

of mortal man, thus further dramatizing Psiax's

d o l p h i n s decorating the ship's black h u l l , w h i c h

presentation o f death-defying heroic feats that

appear to be reserved i n photographs, are instead

take place b e y o n d the p e r i p h e r y of the k n o w n

gouged out o f the vessel's surface. A c c o r d i n g to

world.

K a r l R e i c h h o l d , w r i t i n g i n 1904, these recessed

d o l p h i n s were filled w i t h coral red used as an

1 3

Both inside a n d out, the coral red e v i d e n t l y

was a p p l i e d to Psiax's cup o n the potter's w h e e l .

i n l a y a n o t h e r i n d i c a t i o n that Exekias avoided

O n the bowl's exterior, neat reserved patches

u s i n g his n e w gloss as a g r o u n d beneath his black-

have, thereby, been left between the handle-roots

figure.

11

G i v e n this cup's determined separation

of the t w o glosses, it w o u l d be h e l p f u l to be able

(fig. 7.4). A l t h o u g h Psiax's a p p l i c a t i o n o f coralred gloss is more proficient t h a n Exekias's, he was

to ask Exekias whether he was w o r r i e d about

nonetheless clearly w r e s t l i n g w i t h a n e w m e d i u m .

the adherence o f the black to the red gloss a n d

Here a few details have likewise been bordered

whether he fired this cup i n some special way.

w i t h coral-red contour stripes, s u c h as the lower

Broad conclusions like Richter's about the a p p l i

edge of the horse's tail, its r u m p , rear legs, a n d

cation o f coral-red gloss i n A t t i c vase-painting

part of the mane. In a d d i t i o n , the contours o f

s h o u l d not be d r a w n from Exekias's u n i q u e m o n u

Psiax's b l a c k figures, t h o u g h not fully i n c i s e d ,

mental cup. Finally, one can speculate, at least i n

appear to have been crisped w i t h the tool for

the context o f the earliest coral red, that, insofar

incision.

as the appearance o f this gloss has l o n g been asso

ciated w i t h red m i s f i r i n g s , an ancient potter
12

Psiax, like Exekias, has employed b o t h added

w h i t e a n d added red. A d d e d w h i t e , t h o u g h it is so

m i g h t have been i n s p i r e d to attempt to replicate

s t r i k i n g against coral red, has been used s p a r i n g l y

that familiar color.

for small details s u c h as teeth a n d the handles o f

weapons. Yet added red, w h i c h does not contrast

46

C O H E N

C H A P T E R

effectively w i t h the coral-red g r o u n d , describes

significant details, i n c l u d i n g the b l o o d d r i p p i n g
from the h u m a n figure d e v o u r e d b y the horse a n d
the kibisis,

14

i n w h i c h Perseus must be c a r r y i n g

M e d u s a s head. Psiax may not have been pleased

w i t h this lack o f effective red-color contrast; no
other coral red from his h a n d has been preserved.

tondoa youth

In black-figure, this b i l i n g u a l vase-painter went

ful reveler w i t h

o n to specialize i n the use o f a w h i t e g r o u n d ,

an e m p t y w i n e

where, as o n the magnificent plate i n Basel (cat.

s k i n f r e s h l y associ

no. 52), he readily gave up added w h i t e , but not

ates a coral-red cup's

added red.

interior w i t h w i n e (cat.

T h e final well-preserved Late A r c h a i c examples

fig. 8.1). A y o u n g reveler w i t h a

Figure 2. Youth with a pointed

of coral red w i t h black-figure appear o n u n u s u a l

p o i n t e d amphoraa vase shape used for storing

amphora. Interior of bilingual

b i l i n g u a l cups o f t y p e B from the last decade o f

a n d transporting wineappears inside Skythes'

coral-red cup, attributed to

the s i x t h c e n t u r y B.C., attributed to Skythes. T h e

coral-red b i l i n g u a l i n the L o u v r e (fig. 2 ) ,

Skythes. Paris, Muse du

black-figure-on-coral-red exteriors w i t h reserved

on the tondo of this painter's Palermo cup a satyr

patches between the handle-roots o f Skythes' cups

masturbates w i t h a p o i n t e d a m p h o r a .

suggest that Psiax m i g h t have been his master.

These coral-red b i l i n g u a l cups are not canonical

16

and

17

The Basel cup's brilliant, direct j u x t a p o s i t i o n

coral-red zone precludes the need for an inter

n i q u e is outside, the interior t o n d o is red-figure,

mediary ornamental b o r d e r ,

a n d the eye-cup scheme has been d i s c a r d e d .

exterior, there is no reserved b o u n d a r y between

O n the black-figure exterior o f Skythes' coralred cup i n Basel (cat. no. 8), w i t h its frontal-faced

18

Photographer: Herv
Lewandowski.

and, as o n the

the glosses. Remarkably, o n the tondo itself the

i v y wreath encircling the b l a c k - h a i r e d

A t h e n i a n owls, coral red once again serves as a

youth's head a n d the Epilykos kalos

g r o u n d . W i t h microscopic enlargement (cat. fig.

i n s c r i p t i o n o n the black back

8.3), the coral red beneath the i n c i s i o n of many

grounddetails that are n o r m a l l y

of the o w l s ' feathers is v i s i b l e . Significantly, these

rendered i n p u r p l i s h added red

black-figure birds o n top o f the coral-red g r o u n d

i n a red-figure v a s e - p a i n t i n g

have adhered to the cup's surface better than has

are instead painted w i t h

the exposed coral-red gloss. N o purposeful overall

coral-red gloss.

separation of the red a n d black glosses occurs o n

RMN/Art Resource, NY.

of the tondo's black-gloss b a c k g r o u n d w i t h the

(cf. cat. nos. 3, 4, 5): T h e o l d black-figure tech

15

Louvre F 129. Photograph:

L i k e Psiax's coral-red cup,

this cup. In a d d i t i o n to s e r v i n g as a g r o u n d , (well-

Skythes' b i l i n g u a l demonstrates

preserved) coral red precisely meets the black

that the separation of coral-red a n d

lines b o u n d i n g the reserved ornamental b a n d o f

black glosses, evident o n Exekias's

black i v y that forms a g r o u n d l i n e for the owls.

M u n i c h cup, was no longer r e q u i r e d .

U n l i k e the earlier cups of Exekias a n d Psiax, here

A n y separation of gloss was either solely

this special red gloss has been a p p l i e d also o n the

aesthetic, s u c h as the b a n d o f black i v y

underside o f the foot a n d the inside o f the stem,

o n reserve that punctuates the coral-red

an e m b e l l i s h m e n t v i s i b l e w h e n a cup is d r a i n e d

exterior,

at a d r i n k i n g p a r t y or h u n g i n storagethat

of the red-figure technique, w h i c h p r e c l u d e d the

becomes c o m m o n .

p o s s i b i l i t y o f coral red or any other color serv

Archaeological Museum,

i n g as a g r o u n d . M o r e o v e r , u n l i k e the black gloss

Acropolis Collection 2.199.

O n the interior o f Skythes' Basel b i l i n g u a l the

19

or engendered b y the r e q u i r e d reserve

coral-red gloss has been relegated to the zone

canonically e m p l o y e d i n the n e w technique, coral-

a r o u n d the tondo, its standard location w h e n

red gloss c o u l d not effectively s u r r o u n d a reserved

employed i n c o n j u n c t i o n w i t h the n e w red-figure

red figure directly. There is just one example of

technique. T h e m o d e r n genre d e p i c t i o n o n the

a red figure directly bordered b y coral red: the

47

C O R A L - R E D

GLOSS

Figure 3. Seated Athena.

Red-figured coral-red
fragment. Athens, National

other w o r k s h o p s , have been f o u n d o n the A t h e

nian A k r o p o l i s .

2 3

T h e most famous extant Late A r c h a i c example

of coral red is the e x t r a o r d i n a r y M u n i c h G e r y o n o machy cup from V u l c i , w i t h signatures o n the foot
of K a c h r y l i o n as potter a n d o f E u p h r o n i o s a n
other p u p i l o f Psiaxas p a i n t e r .

24

Here the a p p l i

cation o f coral red o n the cup's exterior surface

is l i m i t e d to the foot's stem a n d its underside (cf.
cat. no. 8). Inside the b o w l , 43 c m i n diameter, a
vast coral-red zone surrounds the y o u n g A t h e n i a n
horseman i n T h r a c i a n dress o n the tondo, w h i c h
is i n s c r i b e d Leagros kalos (fig. 4). In itself, the
M u n i c h cup's tondo, w h i c h is 15.7 c m i n diameter,
is larger t h a n the coral-red cups p r o d u c e d d u r i n g
the Classical p e r i o d .

A n a r r o w halo o f reserve separates the t o n d o

Figure 4. Horseman. Interior

from the coral-red zone o f Euphronios's cup, a

of red-figured coral-red cup

with signatures of Kachrylion
as potter and Euphronios

2 5

n o w - p a r t i a l l y preserved A t h e n a , w h o is seated o n

feature that recurs o n several other coral-red

as painter. Diam (bowl)

a b l a c k b l o c k a n d extends her scaly, snake-fringed

cups associated w i t h K a c h r y l i o n (cf. cat. no. 9).

43 cm. Munich, Staatliche

aegis out before her, o n a Late A r c h a i c fragment

Rather than h a v i n g been created for its o w n sake

from the A t h e n i a n A k r o p o l i s (fig. 3 ) .

o n a coral-red cup where no i n t e r m e d i a r y orna

Antikensammlungen und
Glyptothek 2620.

20

mental border was necessary aesthetically or for

requirements o f firing, s u c h reserved separation
Kachrylion and Euphronios: The Dissemination

appears to reflect the manner i n w h i c h the gloss

of Coral Red

was a p p l i e d to the cup o n the w h e e l , w i t h the

T h e major p r o d u c t i o n o f entirely red-figured

craftsman m a k i n g an attempt to avoid the tondo.

coral-red cups o f the Late A r c h a i c p e r i o d , w h i c h

Sometimes, however, the coral-red zone has been

began d u r i n g the second-to-last decade o f the

applied slightly out o f kilter, so that its i n n e r

s i x t h century, is associated w i t h the pot

ter K a c h r y l i o n . A s I have s h o w n

Figure 5. Satyr. Interior of

fragmentary red-figured coral-

i n m y earlier study, a n u m b e r o f

red cup. Antikenmuseum der

late s i x t h - c e n t u r y coral-red

Universitt Leipzig T 497.

perimeter overlaps part or most o f the tondo's

perimeter.

26

T h e p h e n o m e n o n o f s u c h out-of-

k i l t e r a p p l i c a t i o n a n d overlap can be observed,

for example, o n the tondo o f the famous coral-red

cups, i n c l u d i n g w o r k s b y

cup i n Florence w i t h Eros flying over the sea, or

Euphronios, the T h a l i a

even o n the p o o r l y preserved interior o f a frag

a n d Hermaios Painters, as
w e l l as u n a t t r i b u t e d single

tons (cat. figs. 9.12), may be

ascribed either b y potter-signature
or b y similarities i n shape a n d disposi

mentary coral-red cup i n L e i p z i g w i t h a satyr o n

the tondo (fig. 5 ) .

27

T h e fragmentary L e i p z i g cup,

w h i c h lacks a reserved separation o f tondo a n d

zone, is v e r y close to the G e t t y M u s e u m ' s coralred cup (cat. no. 9), w h i c h does have a reserved

H i s products were

r i n g a r o u n d its tondo. E u p h r o n i o s is e x c e p t i o n a l l y

e x p o r t e d w i d e l y i n a n t i q u i t y ; findspots for coral-

neat i n his gloss a p p l i c a t i o n . T h u s his M u n i c h cup

red cups i n c l u d e Thasos, C y p r u s , O l b i a , a n d Sic

also has a fine halo o f reserve a r o u n d the tondo, a

i l y as w e l l as E t r u r i a .

detail the artist must have appreciated. H o w e v e r ,

t i o n o f gloss to K a c h r y l i o n .

22

2 1

In the last decades of the

s i x t h century, however, there is also evidence o f

elsewhere o n the M u n i c h c u p a r o u n d the r i m ,

a market for coral red at home. A n d , signifi

o n the stem, a n d u n d e r the footno space has

48

cantly, fragmentary coral-red cups b y E p i k

been left between the coral red a n d black gloss,

tetos a n d E u t h y m i d e s , w h i c h may come from

w h i c h often accidentally o v e r l a p .

C O H E N

C H A P T E R

28

A most u n u s u a l , heretofore u n n o t i c e d detail

o n Euphronios's coral-red cup i n M u n i c h occurs
i n the red-figure vase-painting o n side A , where
Herakles fights the t r i p l e - b o d i e d w a r r i o r G e r y o n ,
a n d a red-figure w i n g e d boar o n a b l a c k m e d a l l i o n
forms the b l a z o n o f Geryon's r o u n d shield closest
to the picture plane (fig. 6). T h e painted v e r t i
cal lines d e s c r i b i n g the boar's bristles are neither
the p u r p l i s h added red n o r the b r o w n i s h dilute
of black gloss e m p l o y e d elsewhere o n this cup.
Instead these bristles appear to be painted i n coral
red. E v i d e n t l y , the practice of e m p l o y i n g coral-red
gloss as an added color o n a red-figured coral-red
vase was not l i m i t e d to Skythes (cat. no. 8).
T h e coral-red surfaces of the M u n i c h cup
themselves are an u n u s u a l l y pale, creamy orange
tone. A similarly pale gloss color recurs o n b o t h

of t y p e C w i t h coral red inside a n d out that has a

diskos thrower o n the t o n d o .

The figural decoration o f these A t h e n i a n coral-

sides of Euphronios's coral-red cup fragment

red cups favors elite male genre imagery, especiall}/

from O l b i a , n o w i n St. P e t e r s b u r g .

athletes or youths at leisure s h o w n w i t h athletic

29

T h i s pale

coral red is neither generally characteristic o f

accoutrements such as the sponge a n d a r y b a l

los. W h i l e the coral red itself surely enhanced

i n Euphronios's oeuvre. Traces of the more c o m

the appearance o f the d i l u t e d w i n e that filled the

m o n deep orange-red gloss, preserved beneath

cups, their admirable tondo youths w o u l d have

now-deteriorated metal revetments of an ancient

come into focus as the w i n e was drained. T h e

repair, appear o n a fragmentary cup attributed to

erotic undertone surfaces o n the now-fragmentary

E u p h r o n i o s that was f o u n d i n A t h e n s i n 1994 (cat.

cup of t y p e B, A g o r a P 7690 + P 8890, dated ca.

500 B.C., w h i c h is strongly influenced b y E u p h

w h i c h appears to have belonged to an A r c h a i c

ronios a n d related to early Douris, w i t h coral

house near the A g o r a ,

red a n d figural decoration b o t h inside a n d o u t .

3 0

is less t h a n half the size o f

the painter's M u n i c h cup. It was embellished w i t h

Here, o n the fragmentary exterior, appear the

coral red outsidesave for a black stripe a r o u n d

remains o f athletes i n the palaistra and o n the

interior, directly s u r r o u n d e d b y a coral-red zone,

was used o n the foot's underside; its b o w l , w i t h a

an erotic encounter o n the fragmentary red-figure

black i n t e r n a l l i p , has a coral-red zone a r o u n d the

tondo (fig. 7): Still preserved are the legs of a m a n

or y o u t h a n d a boy i n t e r l o c k e d i n the posi

seated, draped male w i t h a k n o b b y w a l k i n g stick

t i o n Beazley termed t y p e y .

a n d an aryballos a n d sponge.

Beazley restored the

T h i s n e w E u p h r o n i o s recalls the relatively

fragmentary graf

small coral-red cups, either l i p p e d inside or w i t h

fito as philotesion

an offset l i p , a n d w i t h red-figure decoration inside

or " l o v i n g c u p " a

only, that were p o p u l a r i n Late A r c h a i c A t h e n s

suitable term for

itself.

this entire A t h e n i a n

31

A n o t h e r fragmentary cup, ca. 21.9 c m

i n diameter, l i p p e d o n the inside w i t h coral red

coral-red s e r i e s .

36

inside and out, f o u n d i n the same A t h e n i a n

Thus, based o n these

deposit as the E u p h r o n i o s cup, has o n its tondo

A t h e n i a n coral-red

a j u m p e r w i t h halteres a n d a diskos h a n g i n g i n

cups, Euphronios's

the

importance may e x t e n d

field.

32

T h i s A t h e n i a n fashion is c o n t i n u e d b y

A g o r a P 2698, of ca. 500 B.C., the w e l l - k n o w n cup

49

C O R A L - R E D

GLOSS

b e y o n d his w o r k a n d

3 5

Indeed,

by Kachrylion as potter and by

Euphronios as painter. Munich,
StaatlicheAntikensammlungen
und Glyptothek 2620.

34

the r i m e x t e n d i n g d o w n onto the foot, a n d more

now-fragmentary red-figure tondo, d e p i c t i n g a

figured coral-red cup signed

Photographer: Beth Cohen.

the potter K a c h r y l i o n nor the o n l y shade f o u n d

no. 10). Ca. 19 c m i n diameter, the A t h e n s cup,

Figure 6. Shield device with a

boar. Detail of exterior of red-

33

Figure 7. Male couple. Interior

of fragmentary red-figured
coral-red cup of type B, related
to Douris, ca. 500 B.c. Athens,
Agora Museum P 7690/8890.

influence as a vase-painter to his a c t i v i t y later i n

w i t h coral red b o t h inside a n d out that was f o u n d

his career as a potter w h o may have specialized i n

i n A t h e n s i n 1967 m i g h t be a p r o d u c t of this

coral red as w e l l as w h i t e g r o u n d .

workshop.

3 7

The routine of

always a t t r i b u t i n g u n s i g n e d coral-red cups to the

potter Kachrylion's w o r k s h o p s h o u l d be broken.
A cup of t y p e C w i t h an offset l i p i n the M e t
r o p o l i t a n M u s e u m of A r t of ca. 500 B.C., bearing

O n its tondo, a draped y o u t h leaning

o n a k n o b b y w a l k i n g stick is accompanied b y a
Maltese dog, w h i l e a sponge a n d aryballos hang i r
the

field.
A l t h o u g h the Late A r c h a i c t r a d i t i o n of coral-

the potter-signature of Hegesiboulos (fig. 8, a n d

red cups comes to an abrupt e n d as the fifth cen

W i l l i a m s , chap. 8, fig. 3 ) ,

t u r y dawns, several vases i n the collection of the

38

was b u r n e d i n a n t i q

uity. Refiring " u n d e r o x i d i z i n g c o n d i t i o n s " i n the

Getty M u s e u m (cat. nos. 1113) p r o v i d e fresh

m i d - t w e n t i e t h c e n t u r y has revealed its ambitious

evidence for the ongoing p r o d u c t i o n of this spe

i n t e r n a l a n d external use o f coral red once again,

cial red gloss. N o w coral red is a p p l i e d to vessels

t h o u g h this gloss is n o w chestnut c o l o r e d .

of considerable size i n shapes developed from the

39

The

scheme of this small cup, 18.4 c m i n diameter,

t r a d i t i o n of metalwork. T h e great M u n i c h cups o f

is u n i q u e l y elaborate w i t h reserved a n d black

Exekias a n d E u p h r o n i o s set a precedent for this

stripes a r o u n d its tondo a n d also beneath the

monumental use o f the gloss. Significantly, the

figural frieze o n the exterior. Its red-figure vase-

vases n o w decorated w i t h coral red are still invari

p a i n t i n g s a n aged Semitic-looking foreigner w i t h

ably associated w i t h w i n e .

a k n o b b y w a l k i n g stick a n d a mangy dog o n the

The Getty M u s e u m ' s t w o e x t r a o r d i n a r y phialai

tondo (see W i l l i a m s , chap. 8, fig. 3) a n d an exotic

mesomphaloi of ca. 500490 B.C. (cat. nos. 11-12),

komos a n d s y m p o s i u m o n the exterior (cf. cat.

w i t h restored diameters of 32 c m a n d 33.2 c m , are

no. 52)seem to parody the usual A t h e n i a n male

slightly larger than Exekias's coral-red cup. The

iconography o f coral-red b y substituting images

entire interiors of their bowls, save for the orna

of Others. Its q u i r k y p a i n t i n g , w h i c h has l o n g

mental friezes s u r r o u n d i n g their (lost) o m p h a l o i ,

been compared to the r i b a l d imagery of Skythes,

were o r i g i n a l l y covered w i t h b r i l l i a n t , deep coral

w h o l i k e w i s e p r o d u c e d distinctive coral-red cups

red. Carol C a r d o n attributed their decoration

(cat. no. 8), also brings to m i n d the later w o r k of

to the early B e r l i n Painter o n the basis of their

Euphronios.

40

The potter H e g e s i b o u l o s d u b b e d

interior ornament, a n d she attributed their pot

Hegesiboulos I b y D y f r i W i l l i a m s i n this v o l u m e

t i n g a n d use o f coral red to E u p h r o n i o s .

because of the Classical potter w i t h the same name

impressive p h i a l a i must certainly have been the

(cat. no. 94)is l i k e l y to have been a shopmate or

w o r k of a master potter capable of p r e p a r i n g a n d

partner of E u p h r o n i o s ,

p r o p e r l y firing this rare gloss.

41

w h o , h a v i n g mastered

the technology of coral red, p r o d u c e d small coralred cups, l i p p e d or l i p p e d inside,

Figure 8. Symposium. Exterior
of red-figured coral-red cup of
type C signed by Hegesiboulos
as potter, attributed to the
Hegesiboulos Painter, ca. 500
B.C. Diam 18.4 cm. New York,
The Metropolitan Museum
of Art, Rogers Fund, 1907,
07.286.47. Photograph
1995 The Metropolitan
Museum of Art.

42

that were p o p u l a r at home

a n d abroad. A small
cup, ca. 22.3 c m i n
diameter, w i t h
a b l a c k offset
l i p decorated

50

43

These

The Getty M u s e u m ' s u n i q u e coral-red v o l u t e krater w i t h Heraclean figural deco

ration of ca. 480 B.C. (cat. no.
13) s h o u l d l i k e w i s e be
associated w i t h the
legacy of the paint
ers i n Beazley's
Pioneer G r o u p

w h o became potters, not o n l y E u p h r o n i o s , but

also P h i n t i a s (cat. no. 78), a n d , especially, E u t h y mides.

44

T h e scientific evidence, i n d i c a t i n g that

b o t h color a n d adhesion o f coral r e d may have

been affected b y b u r i a l c o n d i t i o n s ,

45

suggests that

this gloss, t h o u g h n o w b a d l y flaked a n d mottled

i n color from orange to tan o n this krater, may not
o r i g i n a l l y have been i n a p p r o p r i a t e l y fragile for
use o n the surface o f a pot designed for m i x i n g

several

w i n e w i t h water at a s y m p o s i u m .

unsigned

T h e a t t r i b u t i o n o f the coral-red krater's r e d -

coral-red stem-

figure vase-paintings has p r o v e d problematic;

lesses w i t h w i s h b o n e

their coarse style seems to recall the Kleophrades

handles, generally o f

Painter, but at a distance. T h e p a i n t i n g technique

lower quality, such as the c u p at L e i p z i g U n i v e r

employed here is interesting, nonetheless, for the

sity w i t h a red-figure tondo d e p i c t i n g a w o m a n

dilute used for c o l o r i n g a n d shading, w h i c h is

seated beside an altar (fig. 9 ) , constitute the final

s h i n y a n d rather orange, was l i k e l y prepared from

preserved occurrence o f coral-red gloss o n fine

the coral-red gloss itself. T h i s coral-red dilute

ware. T h e color o f coral r e d is n o w an e x c e p t i o n

grows out o f the use o f coral r e d as an added color

ally deep a n d r e d r e d d i s h orange. T h i s final flow

observed earlier i n the red-figure o f E u p h r o n i o s

ering can be attributed to a single pottery shop

Figure 9. Seated woman. Redfigure and coral-red interior of

cup with wishbone handles,
attributed to the workshop

4 7

handles) 20.9 cm. Acquired

1901. Antikenmuseum der
Universitt Leipzig T 954.
Photographer: Karin Kranich.

together.
It is important to consider possible deletions
Sotades and Hegesiboulos n: Coral Red in a

from a n d additions to the t r a d i t i o n a l corpus

Classical Workshop

of coral r e d from the w o r k s h o p o f Sotades a n d

In contrast to monumental applications o f the late

Hegesiboulos n . I n her seminal study o f cups

s i x t h a n d early fifth centuries, d u r i n g the Classical

from the Sotades Tomb, L u c i l l a B u r n calls appro

p e r i o d coral-red gloss appears o n small, extraor

priate attention to a w h i t e , black, a n d r e d color

d i n a r i l y delicate shapes influenced b y metalwork.

scheme that unifies the vases f o u n d i n this t o m b .

W h i l e coral r e d was used solely i n conjunction

A l t h o u g h B u r n identifies a l l o f the r e d employed

w i t h b l a c k - a n d red-figure d u r i n g the A r c h a i c

as coral red, that is not always correct. O n the

p e r i o d , n o w it p r i m a r i l y enhances cups w i t h

mother-and-baby stemless c u p i n Brussels (cat. no.

4 8

w h i t e - g r o u n d interiors or tondos. T h e most beau

95), the pale r e d o n the underside, w h i c h does not

tiful Classical examples o f coral red, a l l o f ca. 460

look like coral red, m i g h t be miltos. T h e pale r e d

B.C., come from a single tomb discovered i n A t h

o n the exterior o f the B r i t i s h M u s e u m ' s serpent

ens i n 1890 (cat. nos. 9 0 - 9 9 ; W i l l i a m s , chap. 8).

T h e names o f t w o potters have been preserved
o n coral-red vases from this tomb: Sotades a n d
Hegesiboulos (n). Sotades' potter-signature is

stemless (cat. no. 93) needs to be investigated, a n d

it is not clear that any r e d is employed o n the foot
of the G l a u k o s cup (cat. no. 92).
Perhaps the most n o t e w o r t h y deletions from

f o u n d o n the w h i t e - g r o u n d i n t e r i o r o f the delicate

the " c o r a l r e d " o f the Sotades Tomb, however, are

coral-red c u p w i t h w i s h b o n e handles i n the Brit

the four u n i q u e h o r i z o n t a l l y fluted vasestwo

i s h M u s e u m that depicts a h o n e y n y m p h p i c k

phialai, w i t h i n c i s e d signatures o f Sotades as pot

i n g apples (cat. no. 90). T h e potter-signature o f

ter, a n d t w o mastoi-whose design a n d variegated

Hegesiboulos (n) appears o n the w h i t e - g r o u n d

coloration are believed to have been i n s p i r e d b y

tondo that represents a w o m a n s p i n n i n g a top

Persian metalware. T h e color scheme o f their flutes

w i t h i n the stemless cup w i t h a b r i l l i a n t coral-red

has been described as b l a c k gloss, w h i t e g r o u n d ,

zone a n d exterior i n Brussels (cat. no. 9 4 ) .

a n d coral red. I n m y earlier study, I w a x e d elo

46

Cups

from this tomb, k n o w n as the Sotades Tomb, plus

51

C O R A L - R E D

GLOSS

n, ca. 450 B.c. Diam (with

in Athens; gift of E. P. Warren,

i n w h i c h Sotades a n d Hegesiboulos n w o r k e d

(see fig. 4) a n d Skythes (cat. no. 8).

of Sotades and Hegesiboulos

quent about the use o f coral r e d o n these Sotadean

fluted v e s s e l s ;

49

however, they were k n o w n to

a manner similar to that o f the B e r l i n stemless.

me at the time o n l y from b l a c k - a n d - w h i t e p h o

Traces are still v i s i b l e , especially i n the handle

tographs. U p o n seeing the p h i a l a i a n d mastoi

zones. T h u s , p e n d i n g closer examination, the

recently, I f o u n d it s t r i k i n g that o n a l l four, the

H e s i o d Painter's cup, w h i c h was f o u n d i n either

red f l u t e s w h i c h w o u l d be lustrous i f they were

A t t i k a or Eretria i n 1890the same year the A t h e

coral redare matt. O n the basis o f a scientific

n i a n Sotades Tomb was d i s c o v e r e d s h o u l d ten

investigation carried out at the M u s e u m o f Fine

tatively be added to the Sotades-Hegesiboulos n

A r t s , Boston, w h i c h is discussed i n detail a n d

coral-red c o r p u s .

illustrated i n catalogue entries 91 a n d 96 (cat. figs.

51

T h e iconography o f the Sotades-Hegesiboulos

96.34), this matt red is here revealed to be a p i g

II Classical coral-red cups also merits attention. A s

ment w i t h a c r u m b l y consistency that is not coral-

we have seen, coral-red cups o f the Late A r c h a i c

red gloss a n d that h a d to be a p p l i e d to the vases

p e r i o d bear decoration appropriate for the h o m o -

i n question after the firing process.

T h i s matt red brings to m i n d another signifi

centric realm o f the s y m p o s i u m (e.g., cat. figs. 8.1

a n d 9.2). Furthermore, the elaborate repair o f the

cant p r o d u c t o f the potter Sotades, the e x t r a o r d i

A t h e n s coral-red cup attributed to E u p h r o n i o s

n a r y statuette-vases, w h i c h do not figure i n the

(cat. no. 10) confirms that the Late A r c h a i c d r i n k

Sotades Tomb. These masterpieces o f c o r o p l a s t y

i n g cups were i n d e e d used i n life. In contrast, o n

often bearing i n c i s e d potter-signatures like the

the Classical cups there has been a n iconographic

ones o n the p h i a l a i w e r e decorated w i t h a v a r i

sea change to female imagery: N o w a y o u n g

ety o f matt colors i n a d d i t i o n to b l a c k gloss (cat.

w o m a n p i c k s apples i n a paradise garden (cat. no.

nos. 86, 87; True, chap. 7, fig. 4). T h e matt red o n

90), another is seated beside an altar (see fig. 9),

the Sotades T o m b s h o r i z o n t a l l y fluted vessels thus

another spins a top (cat. no. 94), a n d so o n . T h e

l i n k s t h e m w i t h the w o r k s h o p ' s broader range o f

A t h e n i a n t o m b group itself, w h i c h was most l i k e l y

Sotadean products.

assembled for a y o u n g deceased b r i d e or m o t h e r ,

Finally, a small Classical w h i t e - g r o u n d stemless cup i n B e r l i n , ca. 14 c m i n diameter, w h i c h

52

contained i m p o s s i b l y delicate k y l i k e s that c o u l d

never have been used i n life.

shows a w o m a n p l a c i n g a sprig o n an altar (cat.

In c o n c l u s i o n , a l t h o u g h m y assertion more

no. 14), opens the door to possible additions to

t h a n t h i r t y years ago that " t h r o u g h o u t its history,

the Sotades-Hegesiboulos coral-red corpus. Beaz

this glaze has been a f u n c t i o n o f potters rather

ley called this c h a r m i n g stemless cup " i n f e r i o r "

than p a i n t e r s "

i n comparison to the L o u v r e cups o f the H e s i o d

first, that the gloss is also strongly associated

Painter.

w i t h artisans w h o m i g h t be called painter-potters,

50

However, this cup is made memorable

53

remains warranted, I w o u l d add,

not o n l y b y the similarity o f the w o m a n i n its

and, second, that t h o u g h coral red was exported

w h i t e - g r o u n d vase-painting to the top-spinner o f

widely, p a r t i c u l a r l y d u r i n g the Late A r c h a i c

Hegesiboulos's coral-red stemless cup i n Brussels

p e r i o d , this special gloss was also h i g h l y v a l u e d

(cat. no. 94) but b y the heretofore u n n o t i c e d coral

at home i n the c i t y o f A t h e n s herself.

red o n its b l a c k exterior, w h i c h is a p p l i e d w i t h i n

the foot r i n g , i n the patches between the handleroots, a n d o n the handles' interior.
T u r n i n g over the polychrome w h i t e - g r o u n d
stemless i n the L o u v r e , C A 482, likewise 14 c m
i n diameter, w h i c h e v i d e n t l y represents a seated

NOTES
1

Cohen 1970-1971. See also Sparkes and Talcott 1970, esp.

19-20. For other uses of coral red on pottery, see Shefton
1999.

Richter 1951. Gisela M . A . Richter was one of the first

scholars intensely interested in how vases were made; see
Richter 1924a.
Pottier 1903, 52.
The microphoto of the coral-red gloss on the exterior of
the cup Boston, Museum of Fine Arts 13.4503 (cat. no. 91),
illustrated in cat. fig. 96.3 and discussed under cat. no. 96,
reveals the glassy and cohesive surface of coral red. See
also Maish in the Technical Studies essay.

M u s e p l a y i n g the kiihara, is also revealing i n this

context. T h i s is one of the t w o L o u v r e cups that

3
4

Beazley so a d m i r e d , w h i c h he attributed to the

H e s i o d Painter. A l t h o u g h n o w p o o r l y preserved
a n d misfired, it seems l i k e l y that heretofore unrec
ognized coral red was employed o n this cup i n

52

C O H E N

C H A P T E R

As is suggested by Maish in the Technical Studies essay,

6
7
8

the adherence of coral red to a vase's surface was affected

by burial conditions.
Richter 1951, 147-49.
Ibid. 148-49. See also eadem 1954, 127-33, and, for an
assumed separation of glosses, Cohen 1970-1971, 3.
Munich, Antikensammlungen 2044: ABV 146.21, 686;
Para 60; BAdd 41; BAPD Vase 310403; Cohen 1970-1971,
2-3; Sparkes and Talcott 1970, 19.
Beazley 1964, 67; Beazley 1986, 62.
Cf. Richter 1951, 148; Reichhold in FR I, 229.
F R i , 229.
See note by Lucy Talcott in Vanderpool 1946, 285-87.
Cf. Cohen 1970-1971, 3, where I concluded that the coral
red on Psiax's cup is, "only decorative" and that, " . . . the
red color does not stand for anything special: it is the common background, merely enhanced."
Schefold 1978, 84, 85, fig. 99, calls the red kibisis white on
the basis of a black-and-white photograph of the cup.
Cohen 1978, 514, and see Cohen, chap. 1.
Paris, Muse du Louvre F 129: ARV 52, 84.20, 1578.11;
BAdd 170; BAPD Vase 200430. The added color employed
on the Louvre cup's tondo, which is now discolored,
appears to be coral red.
Palermo, Museo Archeologico Rgionale V 651 (2372;
1478): ARV 52, 85.21, 1578.12; BAdd 170; BAPD Vase
200431. On the subject of the tondo, see Cohen and Shapiro 2002, 84-85.
Cohen 1970-1971, 10; Cohen 1978, 518.
Bothmer 1982, 44: this sort of ornament does not survive
beyond the beginning of the fifth century.
Athens, National Archaeological Museum, Acropolis Collection 2.199: BAPD Vase 46677; Graef and Langlotz, n,
pi. 9.199; Pottier 1903, 53, no. 7. I would like to thank
Michael Padgett for bringing the importance of this fragment to my attention. This Athena might have been on an
entirely coral-red cup interior like Psiax's St. Petersburg
cup (cat. no. 7), but red-figured rather than black.
Cohen 1970-1971, 4-6.
Cups from these findspots signed by or possible to associate with Kachrylion include: Thasos: Archaeological
Museum 80.51.21, 80.144.21-22, attributed to Euphronios:
BAPD Vase 30693; Maffre 1988, 380-84, no. 1, figs. 2-4;
Maffre 1992, esp. 61-65, figs. 1-4. Cyprus: Nikosia, Cyprus
Museum C 654 (1652), from Marion: ARV 1626; BAdd
174; BAPD Vase 275054; Gjerstad 1977, 57, no. 548, pi. 73,
figs. 1-3. Olbia (in South Russia): St. Petersburg, State Hermitage Museum O 18181 (attributed to Euphronios): ARV
17.20; BAPD Vase 200083; Berlin 1991, 211, no. 45. Sicily:
Syracuse, Museo Archeologico Rgionale Paolo Orsi 21198,
from Gela: ARV 108.24; BAPD Vase 2000927; Panvini and
Giudice 2004, 275, no. E 5 (A. Ingenuo). A n d Etruria: Florence, Museo Archeologico Etrusco 91456, from Orvieto:
ARV 108.27; BAdd 173; BAPD Vase 200931; Lissarrague
2001, 44-45, figs. 31-32; Shapiro 1989, pi. 65c-d. See
Cohen 1970-1971, 4-6, for other cups that may be associated with Kachrylion.
The coral-red cup fragments from Gravisca should be
compared with the Florence cup: Huber 1999, 27, no. 2;
BAPD Vase 22721.
Epiktetos: Athens, National Archaeological Museum,
Acropolis Collection 62, 65; ARV 73, 25-26; BAPD
Vases 200469, 200470. See also the fragmentary coral-red
cup from Thasos, attributed to Epiktetos: Maffre 1988,
380, fig. 1. Euthymides: Athens, National Archaeological
Museum, Acropolis Collection 2.211; ARV 29.20; BAPD
Vase 200125. For the coral-red cup by Euthymides divided
between the Vatican, Boston, New York, Florence, London,
and Haslemere, see Williams 2005; ARV 29.19; BAPD Vase
156.
2

9
10
11
12
13

14
15
16

24

25
26
27

28
29
30
31
32
33

34

18
19
20

21
22

35
36
37
38
39
40

41
42
43
44

23

45
46
47

48
49
50

51

53

C O R A L - R E D

GLOSS

17

Munich, Antikensammlungen 2620: ARV 16.17, 1619;

Para 322, 379; BAdd 153; BAPD Vase 200080. For the
influence of Euphronios in Kachrylion's Workshop, see
Williams 1992, 82-85, 87.
See the discussion of Classical coral-red cups below and
cat. nos. 14, 90, 94, and see Williams, chap. 8.
Cf. Richter 1951, 148.
For Florence cup, see above, note 23. For Leipzig, Antikenmuseum der Universitt Leipzig T 497, see REFERENCES to
cat. no. 9.
Berlin 1991, 200-201, 203, cat. no. 41.
See above, note 22.
See Lynch, forthcoming, Hesperia suppl.
On small cups, cf. Seki 1985, 70-71.
Agora P 33221: see Lynch, forthcoming, Hesperia suppl.
Agora P 2698: BAPD Vase 31344; Moore 1997, cat. no.
1566, pi. 148. On the subject, see Miller 2004, 62, fig. I l l ,
63.
Agora P 7690 + P 8890: BAPD Vase 43790; Moore 1997,
319, cat. no. 1410, pi. 131. Cf. Agora P 7901, red-figured
cup in the Manner of Euphronios, eadem 340, cat. no.
1556, pis. 146-47; the preserved fragments indicate that
an aryballos, strigil, and sponge are included in the design
of the homoerotic tondo. For the small black-figured coralred nuptial lebes attributed to Douris, Paris, Muse du
Louvre M N B 2042, see: , 4 V 4 0 0 ; BAPD 303021; Richter
1954, 127-31, figs. 1-3.
Beazley 1989, 24, no. y 16. Moore 1997, 319, incorrectly
describes the tondo as depicting two youths.
Beazley 1989, 24.
For Euphronios's shift from painter to potter, see Williams
1991b.
New York, Metropolitan Museum of Art 07.286.47: ARV
175, 1631; Para 339; BAdd 184; BAPD 201603.
See Dietrich von Bothmer in "Appendix" to Farnsworth
and Wisely 1958, 173 and pi. 37.
Cf. esp. the komos on the neck of Euphronios's red-figured
volute-krater, Arezzo, Museo Archeologico Nazionale
G. C. Mecenate 1465: ARV 15.6, 1619; Para 322; BAdd
152; BAPD Vase 200068; Berlin 1991, esp. 130, 135, cat.
no. 13. I wonder whether these depictions, esp. the red
figures on side B of the neck, might be early work of the
Hegesiboulos Painter. Cf. Williams 1992, 92, who suggests
associating side B of the neck with Smikros.
Cf. Williams, chap. 8.
Athens, Ephorate A 5040: BAPD Vase 6101; PapoutsakisSerbetis 1980, pis. 146-47.
Cardon 1978-1979.
For Euthymides as potter, see the red-figured oinochoe
with the potter-signature of Euthymides incised on the
foot, New York, Metropolitan Museum of Art 1981.11.9;
Cohen 1991, 63-64, 65, figs. 24-25. See above, note 23, for
Euthymides' coral red.
See Maish, Technical Studies essay.
For Hegesiboulos n, see Williams, chap. 8.
Leipzig, Antikenmuseum der Universitt Leipzig T 954:
ARV 771.3; BAPD Vase 209538; Paul 1997, 46, no. 19.
Burn 1985, 101-102.
Cohen 1970-1971, 12, pi. 6.11.
For Paris, Muse du Louvre CA 482 and CA 483, see cat.
no. 14 REFERENCES. In CB I, 37, e.g., Beazley calls the Berlin
cup "far inferior in drawing."
Pottier 1895, 41. On Louvre CA 482 there might also be
coral-red stripes around the interior and exterior of the
bowl's rim. Mertens 1977, 177, 192n.40, notes the Berlin
cup's association with the Louvre cups and their similar
diameters of around 14 cm.
Burn 1985, 104-105.
Cohen 1970-1971, 12.

52
53

7.1

C O N D I T I O N : G o o d ; reassembled from two j o i n i n g

BLACK-FIGURED CUP OF TYPE C

fragments w i t h o u t major losses; coral red flaked on

interior and exterior, esp. along break; black gloss
flaked on Hermes' face and legs and on B / A handle;

A t t r i b u t e d to Psiax, ca. 520-515 B . C .

resting surface of cup's foot abraded; chips i n black

H 6 cm; D i a m 22.5 c m

gloss w i t h i n foot.

St. Petersburg, T h e State Hermitage M u s e u m

B 9270

ATTRIBUTED

F r o m N o l a ; acquired 1930; formerly Odessa,

gual vase-painter Psiax, this delicate, entirely

M u s e u m ; Odessa, I. P. Blaramberg collection

TO T H E EXPERIMENTAL

bilin

black-figured cup displays the first k n o w n occur

rence of coral-red gloss used b o t h inside a n d out.

I, o n coral-red g r o u n d , Herakles with a horse of

Here this special gloss was a p p l i e d o n the w h e e l ,

Diomedes

a n d it forms a true u n d e r l y i n g g r o u n d for the

A - B , o n coral-red g r o u n d : A , Hermes; B, Perseus

black-figure decoration. T h e painter's masterfully

54

C O R A L - R E D

GLOSS

controlled i n c i s i o n , i n fact, has cut t h r o u g h o n l y

of figure to g r o u n d are different: Here black-

the b l a c k gloss, specifically revealing the coral r e d

figure miniatures are s u r r o u n d e d b y the impres

beneath the painted forms.

O n the interior, Psiax depicts the Greek hero
Herakles i n a rarely represented labor: s u b d u i n g

sive expanse o f a n exceptionally s h i n y a n d rather

orange coral-red b o w l .
T h i s c u p is made a l l the more w o n d r o u s b y the

one o f the man-eating horses o f Diomedes i n order

inventive use o f coral r e d o n its exterior, where

to b r i n g it back to K i n g E u r y s t h e u s (fig. 7.1). T h e

neither ornament n o r a g r o u n d l i n e detracts from

fiery stallion rears u p o n its h i n d legs as the hero

the lustrous surface. Here Perseus a n d Hermes,

locks his a r m a r o u n d its neck w h i l e threatening it

excerpted from the m y t h o f Medusa's behead

w i t h his c l u b . U n d e r s c o r i n g the fearsome nature

i n g , appear to fly r a p i d l y t h r o u g h the air i n their

of the horse, a b l o o d y head a n d armperhaps

w i n g e d boots. W i t h l o n g hair streaming b e h i n d

the remains o f a groomproject from the beasts

h i m a n d l i m b s spread fore a n d aft, the y o u n g

m o u t h . T h e horse's bared w h i t e teeth are echoed

Perseus carries the harpe (curved knife) used to

i n the w h i t e teeth o f the elaborately i n c i s e d l i o n

behead M e d u s a a n d a r e d kibisis, presumably

s k i n w o r n b y Herakles. I n c i s i o n also describes a

containing her head (cf. cat. no. 56), s l u n g over

b r a n d o n the horses hindquarters a n d its male

his a r m (fig. 7.3). T h e messenger god carries his

genitals. I n this finely t u n e d figural c o m p o s i t i o n ,

kerykeion a n d sports a r e d beard i n a d d i t i o n to

w h i c h has not been a l i g n e d p e r p e n d i c u l a r to the

l o n g streaming hair. Hermes is colorfully dressed

cup 's handles, the w h i r l o f h u m a n a n d a n i m a l

i n a red-bordered chlamys, a red-dotted short

l i m b s is counterbalanced b y the projecting diago

c h i t o n , a n d a nebris w i t h w h i t e patches. I n their

nals o f H e r a k l e s ' long, t h i n c l u b a n d the horse's

flight from Medusa's unseen G o r g o n sisters, the

tail. Rather t h a n being confined to a tondo, this

hero a n d his g u a r d i a n deity are barely contained

m y t h o l o g i c a l d e p i c t i o n has s i m p l y been placed

b y the cup: b o t h their petasoi press against

on a t h i n , black g r o u n d l i n e . W h i l e the scheme

its r i m .

is comparable to Psiax's o w n black-figured a n d

w h i t e - g r o u n d plates (cat. no. 52), the proportions

O n this s u b t l y potted coral-red cup's under

side, the god a n d hero-single black figures i n

7.2

55

C O R A L - R E D

GLOSS

similar poses at the center o f each sideare bal

anced b y the b l a c k exteriors o f the handles. T h e
patches o n the b o w l between the handle-roots
are reserved (fig. 7.4). Coral red extends seam
lessly onto the stem o f this u n l i p p e d cup o f t y p e
C's short foot; an added-red fillet punctuates the
j u n c t u r e o f stem a n d foot. T h e foot's elaborately
profiled resting surface (see fig. 7.2) is reserved,
w h i l e the upper surface o f the foot plate is black.
The vertical i n t e r i o r surface o f the foot is also
black, a n d a t i n y b l a c k n i p p l e , encircled b y t w o
red lines, marks the center o f the b o w l s reserved
bottom.
7.4
REFERENCES: ABV 294.22; Para 128; BAdd 77; BAPD Vase
320368; Richter 1934, 547n.4, 551, fig. 8, 552; Richter 1951,
150n.29, pi. 16a; Cohen 1970-1971, 3; Boardman 1974, 106, fig.
170; Kurtz 1975b; Cohen 1978, 515, no. A 25, pi. 126.2; Schefold
1978, 84-85, figs. 98-99, 105, fig. 130; Gorbunova 1983, 80-81,
no. 56, 82, fig. no. 56; LIMC v (1990) s.v. Herakles 68, no. 2414,
pi. 81 (J. Boardman); Carpenter 1991, 124, fig. 194; Tunkina
2002, 112 fig. with n.38; Piotrovsky 2004, [51] fig., [60] fig., [63],
[68-69] figs.
2

7.3

56

C O R A L - R E D

GLOSS

I would like to thank Joan R. Mertens of the Metropolitan

Museum of Art in New York and Elena Khodza, Head of the
Greek and Roman Section of the Classical Department at the State
Hermitage Museum in St. Petersburg, for investigating this cup's
provenance and the latter also for supplying the reference to
Tunkina 2002. Tunkina publishes a nineteenth-century article by
Blaramberg, which indicates that the cup was found at Nola.

8.1

C O N D I T I O N : Reassembled from fragments; most

of B / A handle restored; black gloss on A / B handle
scratched and pitted; missing parts of b o w l restored
in toned plaster; coral-red surfaces c h i p p e d , pitted,
and cracked; part of owl's w i n g and tail on A and
top of owl's head on B missing; black incrustation
on i v y beneath restored B / A handle; b r o w n discol
oration on red-figure tondo; coral-red color flaked
on komast's wreath and on kalos i n s c r i p t i o n on
tondo; black incrustation on right knee and lower
left leg of komast, and on abraded resting surface of
cup's foot.

BILINGUAL CUP OF TYPE B

A t t r i b u t e d to Skythes, ca. 510 B . C .
H 8.8 cm; D i a m (bowl) 24.5 c m
Basel, A n t i k e n m u s e u m Basel u n d S a m m l u n g
L u d w i g BS 458
Gift o f Dr. H o e k , R i e h e n , 1970
I, red-figure, komast with wineskin and walking
stick; i n the zone, coral r e d
E x t e r i o r , coral red: A , black-figure, owl; B, the

THIS

like

w i t h t r a d i t i o n . First, t h o u g h b i l i n g u a l , it is not

LATE

BILINGUAL

C U P b y S k y t h e s breaks

an eye-cup, a n d , second, it reverses a b i l i n g u a l ' s

standard i n t e r i o r a n d exterior d i s p o s i t i o n o f the

57

C O R A L - R E D

GLOSS

o l d b l a c k - a n d n e w red-figure techniques. E q u a l l y

c o u l d readily have been seen whenever the cup

n o t e w o r t h y is the n o v e l use of coral-red gloss o n a

was h u n g b y a handle i n storage. A t the same

b i l i n g u a l cup.

time, the deep orange-red gloss, a p p l i e d o n the

A lone black-figure o w l stares out at the

potter's wheel, covers most of this cup's exterior,

v i e w e r from the center of each side of the cup's

a n d here the coral-red a n d black glosses were not

lustrous coral-fed exterior. T h e i r frontal faces

always p u r p o s e l y separated. M i c r o s c o p i c photog

w i t h w i d e - o p e n r o u n d eyes were probably c o n

raphy reveals that coral red is clearly v i s i b l e

sidered an appropriate substitute for a standard

beneath a good deal of the o w l s ' carefully i n c i s e d

b i l i n g u a l cup's large eyes (cf. cat. nos. 3, 4, 5) as

plumage (fig. 8.3); this gloss may thus have formed

w e l l as for the masks that often o c c u p i e d the space

a true g r o u n d for the black-figure decoration (cf.

between the eyes o n black-figured eye-cups (cat.

cat. no. 7).

no. 74). These birds may also have been associated

w i t h the owls o n Late A r c h a i c A t h e n i a n coinage.

In contrast, coral red was not c o m m o n l y

employed as a g r o u n d s u r r o u n d i n g reserved red-

Skythes' black-figure owls perch o n an i v y v i n e

figure decoration (cf. Cohen, chap. 2, fig. 3); there

painted i n black silhouette u p o n a reserved band;

fore, o n this b i l i n g u a l cup's interior the s h i n y

this ornament forms a g r o u n d l i n e that encircles

orange-red gloss, once again a p p l i e d o n the pot

the b o w l . T h e cup's handles have black exteriors

ter's wheel, is l i m i t e d to the zone a r o u n d the

a n d reserved patches between their roots. The

tondo, a n d it is bordered b y a black b a n d at the

underside of its foot extends the s t r i k i n g j u x t a

r i m of the b o w l . T h e y o u t h f u l , nude komast o n

p o s i t i o n of reserve, black gloss, a n d coral red that

the red-figure tondo has t h r o w n his mantle over

8.2

58

C O R A L - R E D

GLOSS

8.3

the w a l k i n g stick he rests u p o n his shoulder as he

w o r k s h o p , a j a n i f o r m head vase i n the L o u v r e

drags an e m p t y w i n e s k i n b e h i n d h i m . H i s u n b a l

of the so-called E p i l y k o s Class; the decoration of

anced pose, w h i c h suggests an inebriated state,

plastic vases i n this Class has thus often been asso

is appropriate for the r o u n d picture field inside

ciated w i t h Skythes.

a w i n e cup. T h e y o u t h s i n n e r anatomical mark

ings a n d sideburns are painted i n dilute o n his
reserved flesh, w h i l e the border of his black hair
is i n c i s e d i n the black g r o u n d . Both of these tech
nical features are c o m m o n i n A r c h a i c red-figure,
but t w o other details of the tondo s decoration are
not. Rather than standard p u r p l i s h added red, the
wreath i n the youth's hair has been painted w i t h
coral-red gloss, a n d the i n s c r i p t i o n Epilykos kalos,
on the black g r o u n d to either side of the y o u t h ,
has been w r i t t e n w i t h coral red rather than added
red. These u n u s u a l coral-red embellishments raise
the question of whether Skythes h i m s e l f had a role
i n the p o t t i n g as w e l l as the p a i n t i n g of this spe
cially designed small cup, w h i c h is one of several
coral-red b i l i n g u a l s b y this artist that have come
d o w n to us. T h i s cup's c o m b i n a t i o n of a black o w l
a n d the i n s c r i p t i o n Epilykos kalos occurs also o n
another fancy p r o d u c t from a Late A r c h a i c pottery

59

C O R A L - R E D

G L O S S

REFERENCES: BAdd 394; BAPD Vase 4473; CVA Basel 2 [Swit

zerland 6] 14-15, pis. 3.1-3, 32.1, 5, 38.3; Schefold [1967] 77, no.
113.3; Cohen 1970-1971, 10n.47; Cahn 1971; Cohen 1978, 514, no.
B 132, 515-19, pis. 127.3, 128.1-2; Bothmer 1982, 44.
For the Athenian coinage, see Kroll 1993, 5, with references in
n.6, 17, no. 7, pi. 1.7. Cf. Skythes' coral-red bilingual cup Paris,
Muse du Louvre F 129, see: ARV
52, 84.20, 1578.11; BAdd
170;
BAPD Vase 200430: a normal added red was likewise not used on
the Louvre cup; now a pinkish gray, the added color appears to be
coral red affected by misfiring or burial conditions. For the Epi
lykos Class, see cat. no. 79 and, for a contrasting view, see True,
chap. 7.
2

9.1

RED-FIGURED CUP OF TYPE B

U n a t t r i b u t e d , ca. 510 B . C .
H 11.2 cm; D i a m (bowl) 27.5 c m
M a l i b u , J . P a u l Getty M u s e u m 8 6 . A E . 2 8 0
Purchased 1986; formerly W a l t e r a n d M o l l y
Bareiss collection 242
I, youth with walking stick and cloak (reveler)) i n
the zone, coral red
A - B , youths with walking sticks and cloaks
(revelers)

IMPORTANT

LATE

ARCHAIC

coral-

u n c o n v i n c i n g l y w i t h the Painter of L o n d o n E 2
(cat. no. 6), the A m b r o s i o s Painter (cat. no. 44),
a n d several other hands. U n l i k e the u n a t t r i b u t e d
Eros cup w i t h coral red inside a n d out i n Florence,
signed b y the potter K a c h r y l i o n , the M a l i b u cup
has coral-red gloss o n the inside only. It m i g h t
be a h u m b l e r p r o d u c t of Kachrylion's w o r k s h o p ,
from w h i c h several coral-red singletons have come
d o w n to us, signed b y this important potter b u t
not attributed to a vase-painter. The M a l i b u cup's
closest k i n is a fragmentary u n s i g n e d singleton i n
L e i p z i g w i t h coral gloss b o t h outside a n d i n : Ener

C O N D I T I O N : Assembled from fragments w i t h miss

getic male figures inhabit the exterior, athletes o n

i n g parts restored i n plaster; some flaking o f coral

one side a n d revelers o n the other, w h i l e a satyr

red w i t h i n b o w l ; front o f hair a n d face abraded o n

cavorts o n the tondo (Cohen, chap. 2, fig. 5).

leftmost y o u t h o n side A ; head missing a n d b o d y

abraded o n rightmost y o u t h o n side B; losses o f
black gloss o n B / A handle; many traces o f misfiring

60

THIS

red cup is u n a t t r i b u t e d . It has been associated

O n the M a i l b u cup's interior, its u n k n o w n

painter has carefully set the tondo

figurea

o n exterior, i n c l u d i n g a stacking circle from place

y o u n g reveler w i t h a cloak over his left a r m a n d

ment w i t h i n another vessel d u r i n g firing.

a w a l k i n g stick i n his r i g h t h a n d p e r p e n d i c u l a r

C O R A L - R E D

GLOSS

to the cup's h o r i z o n t a l handles. Separated from

nal muscles are i n d i c a t e d o n some o f the youths,

the tondo b y a n a r r o w reserved stripe, a b r i l l i a n t ,

but not o n others, such as the y o u t h o n the tondo.

deep a n d lustrous coral-red gloss fills the zone.

A l o n g w i t h nonsense i n s c r i p t i o n s o n the g r o u n d ,

T h e coral r e d was a p p l i e d to the b o w l s surface o n

the wreaths a d o r n i n g the revelers' heads were

the w h e e l , a n d it just meets a black b a n d that runs

a p p l i e d i n a standard matt p u r p l i s h added r e d ,

a r o u n d the interior o f the l i p . W h i l e the special

w h i c h is d e c i d e d l y different from the lustrous

red gloss was a p p l i e d too t h i n l y i n places, par

coral-red gloss o f the zone. Finally, abundant,

t i c u l a r l y above a n d b e h i n d the tondo figure, this

accidental splotches o f s h i n y red color o n the

coral-red zone is nonetheless one o f the best pre

exterior that result from the misfiring o f its black

served o n a Late A r c h a i c cup.

gloss form a n interesting contrast w i t h the i n t e n

A n y symposiast w h o d r a i n e d the w i n e from

t i o n a l r e d o n this eye-catching cup's interior.

this c u p w o u l d immediately have recognized the

tondo's reveler as a comrade o f the youths outside.
N o n e o f the cup's n u d e y o u n g revelers h o l d d r i n k
ing cups. A l l b u t t w o have draped their cloaks
over their left arms, like makeshift shields, a n d
many w i e l d their w a l k i n g sticks o n the h o r i z o n t a l
like spears. I n fact, most o f the youths seem to be

REFERENCES: BAPD Vase 8835; CVA Malibu 8 [U.S.A. 33] 21-22,

fig. 9, pis. 404.5, 405-406; Bothmer 1969, 427, 433, fig. 10; Both
mer and Bean 1969, 6, no. 80; Cohen 1970-1971, 6, pi. 3, figs.
4a-b; JPGM Bareiss 1983, 79, no. 146; "Acquisitions/1986," GettyMusJ 15 (1987) 161, no. 7; Fernandez 1990, 53; JPGM Antiquities
Handbook 2002, 66.
For Florence, Museo Archeologico Nazionale 91456: ARV
108.27; BAdd
173; BAPD Vase 200931; Esposito and De Tommaso 1993, 51, color figs. 68-69; and Lissarrague 2001, 44, figs.
31, 32. For Kachrylion's coral-red singletons and Leipzig, Antikenmuseum der Universitt Leipzig T 497 (ARV
109; BAPD Vase
20093), see also Cohen, chap. 2, fig. 5. On the Malibu cup's coral
red, see further Maish in Technical Studies, with figs. 1 and 2.
2

p a i r i n g off i n m o c k duels. O n these simple A r c h a i c

red figures the d r a w i n g is executed entirely i n
relief line save for the i n c i s e d borders separating
their b l a c k hair from the b l a c k g r o u n d . A b d o m i

9.2

61

C O R A L - R E D

GLOSS

THESE

FRAGMENTS,

ORIGINALLY

embel-

lished w i t h coral red b o t h inside a n d out, c o m

prise a n important a d d i t i o n to the
cups decorated w i t h this special
gloss f o u n d i n the c i t y o f A t h
ens herself. T h e c u p s exterior,
w h i c h has n o figural decoration,
was entirely covered w i t h coral
red save for a n a r r o w black stripe
a r o u n d the r i m , b l a c k a n d reserve o n
the handles, a n d a black stripe a r o u n d the
chamfer o n the foot plate. T h e patches between
the handle-roots o n each side o f the b o w l may
have been reserved. T h e foot's reserved resting
surface is bordered b y a black b a n d , and, w i t h i n
the band's perimeter, coral red was also a p p l i e d
at the center o f the foot's underside. T h e b o w l is
l i p p e d o n the inside only, a n d this l i p , covered
w i t h black gloss, framed the lustrous coral-red

10.1

zone a r o u n d the red-figure tondo. A c c o r d i n g to

10

FRAGMENTARY RED-FIGURED CUP

A t t r i b u t e d to E u p h r o n i o s , ca. 515505 B.C.
D i a m 19.15 c m
A t h e n s , A g o r a M u s e u m P 32344
F r o m A t h e n s , f o u n d 3 A u g u s t 1994 i n the
excavations o f the A m e r i c a n School o f
Classical Studies i n the fill (Persian W a r
debris) o f a w e l l (Agora J 2:4) associated
w i t h a Late A r c h a i c house n o r t h o f the
Eridanos R i v e r near the A t h e n i a n A g o r a
[Not i n the e x h i b i t i o n ]

Kathleen M . L y n c h , the cup's shape may have

been a n early example o f a fluid t y p e B rather
t h a n a t y p e C cup (e.g., Cohen, chap. 2, fig. 8).
The red-figure vase-painting's scant remains,
w h i c h have been c o n v i n c i n g l y attributed to the
Pioneer-Group painter E u p h r o n i o s (cat. nos.
29-30, Cohen, chap. 2, fig. 4), e x h i b i t the mas
culine iconography t y p i c a l o f many Late A r c h a i c
coral-red cups. T h e preserved lower section o f
the tondo contains part o f a draped male figure,
perched o n a stool that is s u m m a r i l y i n d i c a t e d b y
one leg; he appears to h o l d or lean o n his w a l k i n g
stick. Familiar athletic accoutrementsa sponge,
w i t h a dotted surface, a n d a n aryballosappear
to be suspended from the male's (missing) w r i s t .

I, seated draped malefigurewith walking stick,

The tondo o f an even more fragmentary coral-

aryballos, and sponge) i n the zone, coral red

red cup, A g o r a P 33221, f o u n d i n the same fill as

Exterior, coral red

this one, preserves part o f a j u m p e r w i t h halteres

C O N D I T I O N : Fragmentary; assembled from nineteen

fragments; missing nearly half o f b o w l , i n c l u d i n g
most o f red-figure tondo, one handle, more than

mended i n antiquity, were p r i z e d possessions o f

half o f foot plate, a n d most o f stem; chips i n pre

the o w n e r o f a Late A r c h a i c private house associ

served edge o f r i m ; coral-red gloss mostly flaked

ated w i t h the w e l l i n w h i c h they were f o u n d .

from zone o n interior a n d m u c h flaked o n exterior

and foot fragment; scratches i n coral red o n top a n d
underside o f foot; black gloss circle o n foot's under
side abraded a n d scratched; broken i n antiquity;

62

beside a diskos suspended i n a sack. L y n c h sug

gests that b o t h cups, w h i c h had been b r o k e n a n d

E q u a l l y as interesting as the E u p h r o n i a n cup's

shape a n d decoration are the remains o f its elabo
rate ancient repair, a d i s t i n c t i v e feature for b r o k e n

five d r i l l holes a n d traces o f lead clamps, plaque,

pottery from A t h e n s , where replacements were

and bands for ancient repair.

readily available. B e y o n d the i n s e r t i o n o f metal

C O R A L - R E D

GLOSS

staples or clamps into d r i l l holes, this b r o k e n cup

the particular interest

was further fortified b y means of lead plaquettes

i n special techniques of

placed over the spots where the pairs of holes

this p a i n t e r w h o u l t i

were d r i l l e d beneath the tondo and near the r i m ;

mately became

between these plaquettes the lead c o n t i n u e d i n

a potter-it

strips a p p l i e d over the ancient crack both inside

is important

a n d out. These n o w mostly disintegrated metal

to consider

revetments fortutiously protected the coral-red

when Euph

gloss u n d e r n e a t h them o n the bowl's interior a n d

ronios m i g h t

exterior surfaces d u r i n g b u r i a l , resulting i n w e l l -

himself have b e g u n

preserved strips a n d patches of a deep-red coral

p o t t i n g cups refined i n

red (figs. 10.2-3).

shape a n d covered w i t h

T h i s modest c u p s coral red is rather different

rare glosses rather than

i n color from the creamy-orange coral-red gloss o n

merely p a i n t i n g models

the famous large cup from V u l c i w i t h signatures

potted b y K a c h r y l i o n .

10.3

of E u p h r o n i o s as painter and K a c h r y l i o n as potter

(Cohen, chap. 2, fig. 4). Its small size, b o w l l i p p e d
o n the inside only, a n d figural decoration l i m i t e d
to the interior, b r i n g to m i n d the M a l i b u semioutline w h i t e - g r o u n d cup that s h o u l d l i k e w i s e
be attributed to E u p h r o n i o s (cat. no. 30). G i v e n

REFERENCES: Camp 1996, 251, no. 36 (attributed to Euphronios

by Christopher Pfaff), pi. 76 no. 36; Lynch, forthcoming Hesperia
suppl.
For Agora P 33221, see Lynch, forthcoming Hesperia suppl. I
would like to thank Kathleen M . Lynch for making relevant por
tions of her manuscript available to me prior to publication.

10.2

63

C O R A L - R E D

G L O S S

11 and

TWO

12

RED-FIGURED PHIALAI
MESOMPHALOI
11

12

A t t r i b u t e d to the B e r l i n Painter a n d to

A t t r i b u t e d to the B e r l i n Painter a n d to

E u p h r o n i o s as potter, ca. 500-490 B.C.

E u p h r o n i o s as potter, ca. 500-490 B.C.

H 3.5 cm; D i a m 33.2 c m

H 3.5 cm; D i a m 32 c m

M a l i b u , J. P a u l G e t t y M u s e u m 76.AE.96.1

M a l i b u , J. Paul G e t t y M u s e u m 7 6 . A E . 9 6 . 2

Gift o f G o r d o n M c L e n d o n

Gift o f G o r d o n M c L e n d o n

C O N D I T I O N : Restored from many fragments; con

C O N D I T I O N : Restored from many fragments; losses

siderable losses filled i n w i t h clay-toned plaster;

filled i n w i t h clay-toned plaster; omphalos miss

omphalos missing; m u c h of coral-red gloss on inte

ing; m u c h of coral-red gloss on interior

rior flaked; interior of one fragment discolored to

scratches i n coral red; traces of root marks and

flaked;

black (from having been burned?); on part of exte

a white deposit on interior; a r i n g o n bottom of

rior some iridescence of black gloss near r i m ; m u c h

exterior misfired to gray ( w i t h some bright orange)

of reserved clay i n tongue pattern a grayish color.

from stacking d u r i n g firing; reserved cla}f g r o u n d

of tongue pattern gray; chips and losses i n tongue
pattern.

THESE

TWO MONUMENTAL

PHIALAI

mesom-

p h a l o i have elegant flat, spreading b o w l s w i t h

quite t h i n walls that curve u p w a r d delicately at

11

the r i m , recalling this shape's d e r i v a t i o n from

metal prototypes (see cat. no. 50). T h e y are fur
ther d i s t i n g u i s h e d b y broad zones o f deep
coral-red gloss o n their b o w l s ' interiors.
Moreover, these are not o n l y the earli
est but also the largest coral-red p h i a l a i
k n o w n . These impressive vessels are
far too large to have been h e l d i n the
p a l m o f the h a n d a n d used for pour
ing l i b a t i o n s t h e shape's t r a d i
tional f u n c t i o n (cf. cat. nos. 18, 19,
50). T h e M a l i b u coral-red p h i a l a i
were thus p r o b a b l y commemora
tive, perhaps s e r v i n g as dedications
to the gods or as funerary offerings.
A l t h o u g h not exactly replicas
i n either shape or ornament, these
t w o p h i a l a i must have been designed
together as a pair. T h e l i p o f 7 6 . A E . 9 6 . 1
is t h i c k e r a n d curves more t h a n the flat
ter l i p of the second phiale. Each phiale
is covered w i t h black gloss o n the exterior
save for a b a n d o f tongues w i t h dots a r o u n d
the r i m . T h i s gloss was a p p l i e d to each vessel
w h i l e it t u r n e d o n the w h e e l . O n its coral-red
interior, each one is adorned w i t h t w o decora
tive friezesone i n red-figure a n d one i n b l a c k

64

C O R A L - R E D

GLOSS

s i l h o u e t t e a r o u n d a (lost) omphalos, w i t h the

raised central frieze offset b y a groove. Differ
ent i n t e r i o r ornament appears o n each phiale.
O n 7 6 . A E . 9 6 . 1 sideways red-figure c i r c u m
s c r i b e d palmettes a n d elaborate lotus buds
r u n c o u n t e r c l o c k w i s e a r o u n d the (lost)
omphalos; this inner frieze is encircled b y
r u n n i n g b l a c k spirals accented w i t h short
black strokes painted o n reserved g r o u n d .
O n 7 6 . A E . 9 6 . 2 a red-figure frieze of
u p r i g h t c i r c u m s c r i b e d palmettes is encir
cled b y a b a n d o f tongues like the ones o n
each phiale's exterior.
O n the basis of their ornamentpar
t i c u l a r l y the d i s t i n c t i v e lotus buds w i t h
d o u b l e leaves a n d the spiralsthese p h i a l a i
have been associated w i t h the early w o r k o f the
B e r l i n Painter (Frel 1977; C a r d o n 1978-1979), one
of the finest Late A r c h a i c

fifth-century

pot paint

ers (Cohen, I n t r o d u c t i o n , figs. 1-2). H o w e v e r , the

r u n n i n g spiral, a design c o m m o n l y associated
w i t h metalwork, may s i m p l y have been considered

appropriate ornament for a phiale. A black r u n

n i n g s p i r a l also appears o n another phiale deco
rated i n a special technique: the B r i t i s h M u s e u m s
v e r y early w h i t e - g r o u n d example (cat. no. 50),
of ca. 520 B . C . , l o n g associated w i t h the potter
Nikosthenes. T h e same potter's signed black-gloss
p h i a l a i (see cat. no. 50, R E F E R E N C E S ) are decorated
w i t h tongues a r o u n d their o m p h a l o i .
M o r e the products of a master potter than a
vase-painter, these early

fifth-century

coral-red

p h i a l a i unfortunately do not bear craftsmen's

signatures. T h e i r large shallow b o w l s b r i n g to
m i n d the great late s i x t h - c e n t u r y coral-red cup
i n M u n i c h potted b y K a c h r y l i o n a n d painted b y
E u p h r o n i o s (Cohen, chap. 2, fig. 4). E u p h r o n i o s
(cat. nos. 10, 29, 30), whose vase-painting i n f l u
enced the early B e r l i n Painter, became a potter
later i n his career a n d has thus been considered a
l i k e l y candidate for the potter o f the e x t r a o r d i n a r y
M a l i b u phialai.

65

C O R A L - R E D

GLOSS

REFERENCES: BAPD Vases 5733 (76.AE.96.1), 5732 (76.AE.96.2);

Frel 1977, 76, nos. 27-28; Cardon 1978-1979; Robertson 1991b,
93-95, 97n.49; Robertson 1992, 86, 304n.255.
Monumental phialai appear to have been an early fifth-century
fashion, see Robertson 1991b; for unpublished fragments of a redfigured coral-red phiale in Malibu, ca. 480 B.C., attributed to the
Foundry Painter, JPGM 90.AE.38: Robertson 1991b, 93 at n.50. Cf.
the quite different small, horizontally fluted Classical phialai with
coral-red exteriors and offset black lips in Berlin, Antikensamm
lung 4499 (BAPD Vase 1008180) and Kassel, Staatliche Museen,
Antikensammlung T 550 (BAPD Vase 1005141). In this volume,
Sotades' horizontally fluted phialai (cat. nos. 96-97) are shown not
to have employed coral red. For the Berlin Painter, named after
the red-figured amphora of type A in Berlin, Antikensammlung
F 2160, see ARV 196-216, 1633-35, 1700-1701; Para 341-45;
BAdd 190-97; BAPD Vase 201809; BAPD s.v. Berlin P. For Euph
ronios as potter, see Williams 1991a; cat. nos. 10, 82, Cohen, chap.
2, and True, chap. 7. Euthymides, another Pioneer Group master
associated with the early Berlin Painter, appears to have worked
as a potter and also to have employed coral red, see Williams 2005
and Cohen,chap. 2.
2

13

pale-colored vessel presents a handsome schema

RED-FIGURED VOLUTE-KRATER
Recalls the Kleophrades Painter, ca. 480 B . C .

of s u b t l y contrasting lustrous a n d matt r e d orange

w i t h b u t l i m i t e d touches o f black. T h e v i s i b l e
misfiring of the black o n its foot suggests h o w

H (to t o p o f volutes) 56.7-56.9 cm; H (to rim)

difficult firing this large a n d h i g h l y experimental

49.7-50.6 c m

coral-red pot must have been. Clay volute-kraters

M a l i b u , J. Paul G e t t y M u s e u m 8 4 . A E . 9 7 4

have often been associated w i t h metal versions o f

E u r o p e a n art market; purchased 1984

the shape. I f b l a c k - b o d i e d models e v o k e d bronze

kraters, a g l i s t e n i n g coral-red krater m i g h t have

A , upper zone o f neck, Herakles and Alkyoneus

B, upper zone o f neck, three Labors of Herakles:
the Ceryneian Hind, the Lernaean Hydra, and the
Nemean Lion
Top o f lip, lower zone o f neck, body, a n d upper

evoked a l u x u r i o u s substance like gold. A t the

same time, the seminal association o f coral-red
gloss w i t h w i n e itself (Cohen, chap. 2, fig. 1)
makes its use h i g h l y appropriate o n a n important
s y m p o s i u m vessel.
The q u i r k y red-figure Heraclean frieze o n

degree o f foot: coral r e d

the neck is just one p a r t a n d , g i v e n the vessels

C O N D I T I O N : A s s e m b l e d from large fragments; much

u n i q u e coral-red body, perhaps not the most

flaking o f coral-red gloss; color variations i n the

important p a r t o f this volute-krater's overall

gloss's surface: tannish o n side A of neck, deeper

orange o n side A o f body; black gloss flaked o n
handles a n d upper zone o f neck, a n d misfired to
gray, green, a n d red o n foot's lower degree; spots

decoration. It brings to m i n d the style o f the

Kleophrades Painter, w h o like the Pioneer E u t h y
mides, decorated necks o f b l a c k - b o d i e d volute-

misfired red o n vessel's black interior; o n side A of

kraters, b u t the mediocre draftsmanship a n d o d d

neck: major crack t h r o u g h vase-painting; surface

details here are h a r d l y w o r t h y o f this supremely

discolorations; c h i p missing from back of Athena's

gifted

head a n d helmet, loss o f relief lines o n her face a n d

the krater's neck one o f H e r a k l e s ' deeds

body, losses o f some added-red leaves o n tree. Traces

of white (gypsum) deposit o n vase-paintings a n d at
handles.

fifth-century

vase-painter. O n the front of

is s h o w n i n a b u c o l i c setting (fig. 13.1).

The hero, backed b y A t h e n a ,
approaches the giant
A l k y o n e u s , w h o is

IT

is A M A Z I N G

TO DISCOVER

fragile coral-red

asleep o n a rock beside

gloss a p p l i e d to the b o d y o f a large pot: Indeed,

a tree w i t h the c h i l d l i k e

the s p l e n d i d M a l i b u coral-red volute-krater is

w i n g e d personification o f

the o n l y k n o w n example. Nonetheless, this red-

sleep, H y p n o s , sleeping o n

b o d i e d vessel is related to the Late A r c h a i c t r a d i

top of h i m . Herakles w i l l

t i o n o f b l a c k - b o d i e d volute-kraters w i t h figural

fight a n d slay A l k y o n e u s ,

decoration o n the neck, w h i c h began i n the s i x t h

a n d his n e p h e w Iolaos

century. T h e d i s p o s i t i o n o f its ornament is famil

w i l l d r i v e off the cattle

iar: A c o m p l e x meander i n black gloss encircles

that the giant stole from

the reserved l i p , a n d a r o w o f b l a c k tongues o n

the S u n . T w o members of

reserve articulates each side of the shoulder at the

this h e r d are s h o w n from

base o f the neck. Black i v y decorates the reserved

the rear, amusingly fore

faces of the w e l l - c h i s e l e d flanged spiral handles,

shortened; however, o d d dis

and, rather unusually, a single reserved red-figure

crepancies occur i n the genitals

palmette adorns each b l a c k handle-root (fig. 13.2).

of the other cattle.

O n l y a black fillet separates the coral-red b o d y

Side B presents a cycle w i t h

from the krater's foot, w h i c h is also covered w i t h

overlapping depictions of three of

coral red o n its upper degree. T h e bottom o f the

Herakles' labors (fig. 13.3). First,

b o d y is not encircled b y rays. T h i s p r e d o m i n a n t l y

he struggles w i t h the C e r y n e i a n

67

C O R A L - R E D

GLOSS

13.2

13.3

H i n d , w h i c h is s h o w n , strangely, as an antlered,
i t h y p h a l l i c mule. T h e n , assisted b y Iolaos, the
hero cuts off the Lernaean H y d r a ' s heads, w h i c h
are, unusually, a f u l l dozen a n d a l l s h o w n i n top
rather t h a n profile v i e w . A t h e n a , seated, looks o n .
Finally, at the r i g h t a n d o n a larger scale, a nude
Herakles fights the Nemean L i o n b y r i p p i n g its
jaws apart, as a seated Iolaos offers encourage
ment.
One distinctive feature o f the red-figure tech
n i q u e o n b o t h sides o f the krater's n e c k is espe
cially relevant i n the present context: T h e dilute
e m p l o y e d for c o l o r i n g a n d s h a d i n g appears to
have been made from coral r e d rather t h a n from
standard black gloss. T h i s shiny, rather orange
dilute, a p p l i e d i n different intensities, enhances,
for example, the cattle, Athena's shield, H e r a k l e s '
l i o n s k i n , a n d A l k y o n e u s ' s beard a n d r o c k o n side
A ; a n d the l i o n s k i n i n each d e p i c t i o n o f H e r a k
les, the H y d r a , a n d the lion's mane o n side B. T h i s
special dilute coral-red gloss, w h i c h harmonizes
the t o n a l i t y o f the vase-paintings w i t h the lus
trous color o f the volute-krater's body, may w e l l
have been p r o v i d e d to the vase-painter b y this
vessel's clever a n d resourceful potter.

68

C O R A L - R E D

GLOSS

REFERENCES: BAPDVa.se
16201; "Acquisitions/1984/'
GettyMusJ
13 (1985) 170, no. 24 (attributed to near the Kleophrades Painter);
Noble 1988, pi. 7; LIMC v (1990) s.v. Iolaos 692 (M. Pipili);
Schleiffenbaum 1991, 368, no. V 289; Froning 1992, 139-41, figs.
10-12; Shapiro 1993, 151, fig. 109, 152, and 254, no. 104 bis;
Gaunt 2002, 178, 213-14n.l28, 222-24, 531, cat. no. 54 (attrib
uted to near the Syleus Sequence or the Circle of the Nikoxenos
Painter); JPGM Antiquities Handbook 2002, 73 (attributed to the
Kleophrades Painter [as painter, side A , and as potter] and to a
pupil, side B).
Cf., e.g., the black-bodied volute-kraters with red-figure
decoration on both zones of the neck: (1) from Morgantina, Sic
ily, late sixth century, attributed to Euthymides: Aidone, Museo
Archeologico 58.2382 (formerly Serra Orlando): ARV 28.10, 1620;
BAdd 156; BAPD Vase 200145; and (2) ca. 490 B.C., attributed to
the Kleophrades Painter, Malibu, JPGM 77.AE.11: JPGM Antiquities
Handbook 2002, 72. Cf. also the black-bodied volute-krater cat.
no. 16. I would like to thank Despoina Tsiafakis, Head of the Cul
tural Heritage Unit, Cultural and Educational Technology Institute
(CETI), Integrated Research for the Information Society (IRIS),
Xanthi, Greece, for making available to me a draft of her entry for
this vase in a forthcoming fascicule of the Malibu CVA.
2

14

C O N D I T I O N : Reassembled from fragments w i t h

joins a n d minor losses filled i n w i t h plaster; ends of

WHITE-GROUND AND CORAL-RED

STEMLESS CUP

handles restored; yellow a n d orange discolorations

of white g r o u n d ; losses of black gloss a r o u n d l i p , o n
bowl's exterior, and o n handles; t w o small sections

A t t r i b u t e d to the W o r k s h o p o f Sotades a n d

of foot r i n g restored; coral red abraded o n resting

Hegesiboulos n , ca. 460 B . C .

surface of foot r i n g a n d scratched or flaked o n other

surfaces; inventory number w r i t t e n i n black o n top

H 3.5 cm; D i a m (bowl) 14 c m

of coral red o n bowl's bottom w i t h i n foot r i n g ; miss

B e r l i n , A n t i k e n s a m m l u n g , Staatliche M u s e e n

i n g c h i p from center o f underside.

z u BerlinPreuischer K u l t u r b e s i t z
V . l . 3408
F r o m A t h e n s ; purchased from Geladakis i n
1898

THE

DECORATION

OF THIS

SMALL,

light

stemless cup employs three special techniques:

w h i t e g r o u n d a n d once-gilded added clay o n the

I, w h i t e g r o u n d , woman placing a sprig on an altar

Exterior, black gloss a n d coral r e d

interior plus a heretofore overlooked use o f coralred gloss o n the exterior. J. D. Beazley s several
appraisals o f the B e r l i n stemless as " i n f e r i o r " i n
comparison w i t h the t w o colorful w h i t e - g r o u n d

14.1

69

C O R A L - R E D

GLOSS

stemless cups i n the L o u v r e attributed to the Hes-

celebration is accented b y touches of red for the

i o d Painter may have c o n t r i b u t e d to b o t h A d o l p h

woman's headband a n d necklace, a stripe o n her

Greifenhagen's inattentive, erroneous d e s c r i p t i o n

c h i t o n sleeve, her himation's border, a n d b l o o d o n

i n the CVA a n d the relative neglect of this c h a r m

the altar. Several details i n w h i t e added clay were

ing cup i n the literature o n vase-painting.

once g i l d e d ( P h i l l i p p a r t 1936): the woman's ear

Inside the b o w l , a r i d g e d spiral that the potter

r i n g , the bracelet o n her r i g h t a r m (not mentioned

d i d not sponge smooth is still v i s i b l e at the center.

i n the CVA or i n Wehgartner 1983), a n d a fruit o n

Creamy w h i t e g r o u n d covers the entire interior

the altar. O r i g i n a l l y these raised golden elements

save for a n a r r o w black stripe a r o u n d the l i p ; a cir

w o u l d have l e d the viewer's eye along the c o m p o

cle o f dark golden-orange dilute gloss, w h i c h was

sition's m a i n axis.

a p p l i e d o n the potter's w h e e l , delineates this cup's

The use o f coral red o n this d a i n t y stemless

large tondo. Here a y o u n g w o m a n adds a leafy

cup's otherwise black exterior is an important

sprig o f m y r t l e to the offerings already placed

feature o f its decoration. T h i s lustrous red gloss

on a blood-smeared altar. A s she bends forward

coats the patches between the handle-roots, the

i n a c o m p l e x pose, intensely focused o n the task

handles' i n n e r surfaces, the underside o f the b o w l

at h a n d , her h u m a n scale is emphasized b y the

w i t h i n the r i n g foot, a n d also the foot's resting

atmospheric e m p t y space o n the tondo above her

surface (fig. 14.2). T h e last location suggests that

head. T h i s sensitive vase-painting is a study i n the

this vessel was p r o b a b l y not i n t e n d e d for practical

definition o f form w i t h dilute gloss a p p l i e d f l u i d l y

daily use. Coral-red embellishment has here been

i n different intensities. T h e woman's hair is b r i g h t

relegated to s u b s i d i a r y areas that are n o r m a l l y

orange w i t h i n d i v i d u a l l o c k s p i c k e d out i n dark

reserved, a n d they have formerly been described

b r o w n . H e r v o l u m i n o u s a n d finely pleated, trans

as reserved o n this vessel. Whereas this special

lucent l i n e n c h i t o n is described b y t h i n orange

gloss was generally a p p l i e d to extensive surfaces

lines; it is t o p p e d b y a w o o l e n h i m a t i o n w r a p p e d

h o r i z o n t a l l y as the vessel t u r n e d o n the potter's

a r o u n d her b o d y a n d left arm i n soft folds s u b t l y

w h e e l , i n the constricted space o f this cup's h a n

shaded w i t h dilute. A p r e l i m i n a r y sketch for the

dle zones, the coral red was b r u s h e d o n v e r t i c a l l y

w o m a n i n shiny, colorless dilute gloss has been

freehand.

preserved. T h i s intimate image o f private cult

L i k e the vases from the Sotades Tomb (cat.

nos. 9099), this delicate cup was f o u n d i n A t h
ens and, accordingly, was another special p r o d u c t

14.2

i n t e n d e d for the home market. T h e c o m b i n a t i o n o f

w h i t e g r o u n d a n d coral-red gloss o n fragile cups
d u r i n g the mid-fifth c e n t u r y is closely associated
w i t h the A t h e n i a n tomb group's potters, Sotades
a n d Hegesiboulos n ; the B e r l i n stemless must l i k e
wise have been p r o d u c e d i n their w o r k s h o p .

REFERENCES: ARV 459; ARV 774 ("compare with these [Hesiod Painter's Louvre cups] an inferior stemless cup"); BAPD Vase
209557; CVA Berlin 3 [Germany 22] 11, pi. 108.1-2; CB I, 37;
Neugebauer 1932, 115; Rumpf 1934, 13n.3; Philippart 1936, 83,
no. 60, pi. 34; Mertens 1977, 172, no. 44, 177, 192n.40; Wehgart
ner 1983, 62, no. 46, 96-97; Heilmeyer 1988, 146-47, no. 8.
1

For the Hesiod Painter's cups, Paris, Musee du Louvre C A 482

and C A 483, see ARV 774.2-3, 1669; Para 416; BAdd
287;
BAPD Vases 209555 and 209556. See also in this volume Cohen,
chap. 2, on the Berlin stemless cup's association with vases from
the Sotades Tomb, and Williams, chap. 8, for Hegesiboulos n.
2

70

C O R A L - R E D

GLOSS

C H A P T E R

s. Technique

Six's Technique: Black Ground

Beth Cohen

N T H E N I N E T E E N T H CENTURY, ALONG WITH

inscriptions,

such as love names and craftsmen's signatures, which

facilitated early attributions to artists and workshops,

techniques of decoration also served as important criteria

for classifying vases. Six's technique was first isolated and
systematically examined by the Dutch scholar and collector Jan
Six i n a seminal article of 1888, "Vases polychromes sur fond
noir de la priode archaque." In the twentieth century, J. D.
2

Beazley appropriately honored Six's scholarship by naming

P o l y c h r o m y o n a black g r o u n d has a rather

after h i m the special technique that employs

p o l y c h r o m y o n a b l a c k g r o u n d . T w o early to

checkered h i s t o r y i n the A t t i c pottery industry.

m i d - t w e n t i e t h c e n t u r y c o n t r i b u t i o n s are also fun-

A t the i n t r o d u c t i o n o f Six's technique d u r i n g the

damental for the study o f Six's technique. C. H .

last quarter o f the s i x t h century, it was an i n v e n -

E m i l i e Haspels, i n her 1936 book Attic Black-

tive alternative to red-figure that was rooted i n

figured Lekythoi, e x p l o r e d this technique i n the

the methodology o f b l a c k - f i g u r e . B y the early

w o r k o f the Sappho a n d Diosphos Painters. Both

fifth century, however, this technique's b r a n d o f

S i x a n d Haspels considered o n l y A r c h a i c vases;

p o l y c h r o m y was unable to compete w i t h the p o p u -

the fifth-century choes w i t h superposed color

l a r i t y o f red-figure a n d the rise o f w h i t e g r o u n d .

decoration, w h i c h ought to be associated w i t h

G i v e n the fragility o f its superposed colors a n d the

Six's technique, were first collected b y Gerard v a n

p a u c i t y o f w o r k s h o p s i n v o l v e d i n its p r o d u c t i o n ,

H o o r n i n his 1951 study Choes and Anthesteria

Six's technique was from the start a r a r i t y a p p l i e d

72

to a relatively n a r r o w range o f vase shapes (e.g.,

figured vases themselves h a d already employed

cat. nos. 17, 18, 21, 22). Nevertheless, w i t h i n sev

a form o f Six's technique for rendering shield

eral special

devices. O n a neck-amphora of Group E i n

fifth-century

contexts (e.g., cat. nos.

26, 49), p o l y c h r o m y o n a black g r o u n d enjoyed a

M u n i c h (fig. 2), o f ca. 540 B . C . , for example, a

limited post-Archaic survival.

w h i t e flying eagle w i t h i n c i s e d details is embla

T h e a p p l i c a t i o n o f different slips or glosses to

zoned o n the black shield o f a hoplitodromos

the surface o f clay vases i n an attempt to p r o v i d e

(armed runner). Finally, i n black-figure vase-

alternatives to the t r a d i t i o n a l reserved g r o u n d o f

p a i n t i n g w h i t e detailed w i t h i n c i s i o n a p p l i e d o n

A t t i c black-figure received particular attention

top o f black silhouettes was generally employed

d u r i n g the last t h i r d o f the s i x t h c e n t u r y B.C., a

for the flesh o f female figures, for animals, a n d for

time o f creative experimentation i n A t h e n i a n pot

selected other forms.

tery w o r k s h o p s . First, a b r i l l i a n t coral-red gloss

appears to have been tested b y the master b l a c k figure painter a n d potter Exekias o n an elaborate

Nikosthenes: The Inventor of Six's Technique

eye-cup (Cohen, chap. 2, fig. 1). Before l o n g , a

The signature o f Nikosthenes as potter appears

w h i t e slip was employed as a true, u n d e r l y i n g

on the black N i c o s t h e n i c n e c k - a m p h o r a i n the

g r o u n d for black-figure decoration i n the w o r k

L o u v r e (cat. no. 15), w h i c h was J a n Six's o w n

shops o f the potters Nikosthenes (e.g., cat. no. 50)

i n i t i a l example o f an A t h e n i a n vase decorated

a n d A n d o k i d e s (see M e r t e n s , chap. 6). A t the same

i n Six's technique a n d w h i c h remains its earliest

time, the major n e w technique o f red-figure was

k n o w n example. T h e painter o f this vase has not

invented, most l i k e l y i n A n d o k i d e s ' shop (e.g.,

been identified, b u t its mode o f decoration must

cat. nos. 1, 2, 27). Red-figure, however, avoided

have been invented i n N i k o s t h e n e s ' w o r k s h o p .

a n d e x c l u d e d the use o f a g r o u n d ; instead, its

T h i s u n u s u a l l y shaped

black-gloss b a c k g r o u n d was laboriously painted

terned after an Etruscan bucchero prototype

a r o u n d forms reserved i n the orange color o f the

a n d surely designed for export to E t r u r i a i s

neck-amphorapat

clay (see C o h e n , chap. 5). W h i l e i n i t i a l l y a l i g n e d

decorated o n l y o n the neck a n d handles w i t h

aesthetically w i t h the red-figure concept o f pale

w h i t e forms painted directly o n top o f its

forms contrasted w i t h a dark b a c k g r o u n d , Six's

black-gloss surface. A s has always been rec

technique differs t e c h n i c a l l y therefrom: (1) b y

ognized, its pale painted decoration w i t h

e m p l o y i n g black gloss as an u n d e r l y i n g g r o u n d ;

delicately i n c i s e d d e t a i l n a k e d

(2) b y u s i n g superposed color i n place o f reserve;

w o m e n greeting eager dogs o n the

a n d (3) sometimes, b y assigning a significant role

neck a n d tripods o n the handles

to i n c i s i o n , w h i c h h a d been a fundamental ele

is entirely i n accord w i t h traditional

ment o f the o l d black-figure technique but is

black-figure uses of added w h i t e .

either marginalized or suppressed entirely i n r e d -

Thus, at the outset, N i k o s t h e n e s '

figure.

n e w technique employs

T h e technology o f Six's technique, i n fact,

black-figure technology

represents a basic choice that was generally avail

to emulate red-figure's

able to craftsmen i n early Greek pottery w o r k

light-against-dark color

shops. A black g r o u n d , for example, characterizes

contrast.

C o r i n t h i a n p o l y c h r o m e ware o f the O r i e n t a l i z i n g

G i v e n the intersecting

p e r i o d . T h e name vase o f the M i d d l e C o r i n t h i a n

technologies employed b y

W h i t e B u l l Painter (fig. 1), an A r c h a i c oinochoe

the various techniques o f

from the first quarter o f the s i x t h c e n t u r y , is

Late A r c h a i c vase decoration,

technically a n d v i s u a l l y comparable to early

it is important to consider h o w

Six's technique, e m p l o y i n g pale painted

certain w o r k s p r o d u c e d at this

figures,

1 0

detailed w i t h i n c i s i o n , u p o n a black g r o u n d .

time o f transition ought to be cat

Furthermore, as J a n S i x recognized, A t t i c b l a c k -

egorized. A n u n u s u a l A t t i c volute-

73

Figure 1. Bull. Corinthian

oinochoe, attributed to the
White Bull Painter, ca. 6 0 0 575 B.c. H 25.5 cm. Berlin,
Antikensammlung, Staatliche
MuseenPreuischer Kultur
besitz F 1117. Photograph:
Bildarchiv Preuischer
Kulturbesitz/Art Resource,
NY. Photographer: Jutta TietzGlagow.

t i n y vase, it is not decorated i n canonical Six's

technique, but it must have been i n s p i r e d b y it.
The iconographic repertory o f Six's technique
proper q u i c k l y e x p a n d e d b e y o n d the forms
appropriate for w h i t e added color i n black-figure,
w h i c h characterize the above examples (cat. nos.
15, 16, 20). I n this respect, the kyathos, a tallh a n d l e d wine-dipper-another E t r u s c a n i z i n g
shape that Nikosthenes adapted from black buccheroplays an important r o l e .

12

Examples i n St.

Petersburg (see cat. no. 17 w i t h R E F E R E N C E S ) a n d

L o n d o n , attributed to the black-figure Painter
of Vatican 4 8 0 ,

1 3

w h i c h are covered w i t h black

gloss, are decorated w i t h w h i t e figures that are

male rather than female! O n each kyathos, a single
w h i t e male figurea satyr or Dionysos himself
is s u r r o u n d e d b y grapevines w i t h w h i t e bunches
s p r i n k l e d w i t h black grapes. T h i s Six's-technique
imagery is certainly suitable for a w i n e vessel.
Figure 2. Hoplitodromoi.
Detail of a black-figured
neck-amphora, attributed to
Group E, ca. 540 B.C. Munich,
StaatlicheAntikensammlungen
und Glyptothek 1471.

krater from O r v i e t o i n the N a t i o n a l M u s e u m ,

Copenhagen (cat. no. 16), of ca. 520 B . C . , associated
w i t h the w o r k s h o p of Nikosthenes, m i g h t be c o n

Psiax: The Experimenter

sidered an entirely black-figured vase. A l t h o u g h

The b i l i n g u a l vase-painter Psiax decorated

it is b l a c k - b o d i e d , here traditional black-figure

k y a t h o i embellished w i t h plastic female heads, a

ornament has not been suppressed i n the manner

genre associated w i t h Nikosthenes, i n black-figure

of the L o u v r e 's black N i c o s t h e n i c neck-amphora

on a w h i t e g r o u n d (True, chap. 7, fig. I ) .

1 4

In the

(cat. no. 15). Instead of spirals, this volute-krater's

d e p i c t i o n of Herakles fighting the Nemean L i o n

u n u s u a l handles terminate i n flat medallions that

on an entirely black-figured amphora i n Brescia,

are painted black a n d embellished w i t h w h i t e

Psiax painted a w h i t e o w l - d e v i c e w i t h i n c i s e d

gorgoneia w i t h i n c i s e d facial features a n d added-

details o n the black shield of the armed goddess

red details. Since the gorgoneionthe

Athena.

abstracted

1 5

True Six's technique is c o m b i n e d w i t h

frontal face of the G o r g o n M e d u s a i s c o m m o n l y

w h i t e g r o u n d o n this i n n o v a t i v e painter's u n i q u e

d r a w n i n outline o n a reserved g r o u n d i n black-

alabastron i n L o n d o n (Mertens, chap. 6, fig. 1),

figure (see Cohen, chap. 5, fig. 3; cat. no. 74), these

of ca. 520-515 B . C . , w h i c h was f o u n d at E r e t r i a .

gorgoneia e m p l o y i n g "female" w h i t e o n a black

T h i s important vessel's central Six's-technique

g r o u n d s h o u l d p r o b a b l y be classified as Six's

frieze contains elite genre imagery of nude youths

technique rather than as traditional black-figure,

w i t h horses. Psiax's lithe little figures, n o w p o o r l y

despite this krater's black-figure o r n a m e n t .

preserved, were painted o n top of black gloss i n

11

M a n y Late A r c h a i c vases, i n fact, employ more

a creamy w h i t e w i t h l i g h t l y i n c i s e d details a n d

than one technique i n their decoration (e.g., cat.

w i t h certain features, such as the y o u t h s ' hair

nos. 1-6, 8, 50, 53).

a n d the horses' manes, painted i n red. O n the

On a small scale, the miniature exaleiptron i n

16

side w i t h a y o u t h steadying a rearing horse, a

B e r l i n (cat. no. 20) from the last quarter of the

v i s i b l e p r e l i m i n a r y sketch documents a change

s i x t h century, w h i c h is said to have been f o u n d

i n the p o s i t i o n of one of the youth's a r m s .

i n A t h e n s , is another Late A r c h a i c o d d i t y that

l i m i n a r y sketch is often readily v i s i b l e i n Six's

employs "female" w h i t e w i t h i n c i s i o n a n d added

technique (cf. cat. no. 23). A r o u n d the rearing

red. Since a reserved g r o u n d rather than a black

horse, kalos names {Karystios, Smikrion, a n d Mory-

one lies beneath the w h i t e birds a n d beasts on this

los) have, quite unusually, been i n c i s e d i n t o the

74

C O H E N

CHAPTER

17

Pre

black g r o u n d of Psiax's alabastron. The picture

means of outline a n d color, this mature version of

o n the vessel's other side is itself quite unusual:

Six's technique anticipates the classic technique of

A y o u t h approaches a m u z z l e d horse that is about

w h i t e - g r o u n d vase-painting.

about to r o l l o n the g r o u n d beneath a spreading

tree.

18

T h e male iconography a p p l i e d here raises

the question of whether the use of this shape as a

Like

fifth-century

white-ground lekythoi,

Late A r c h a i c Six's-technique l e k y t h o i have been

presumed to have served as funerary v a s e s .

24

container for perfumed o i l was l i m i t e d to w o m e n

W h i l e some Six's-technique l e k y t h o i bear themes

(cf. cat. no. 57). Originally, the l i g h t - o n - d a r k

appropriate for funerary imagery, such as a war

Six's-technique frieze w o u l d have been framed b y

rior d y i n g i n battle or Eos c a r r y i n g the b o d y of

d a r k - o n - l i g h t bands of black ornament o n w h i t e

her son M e m n o n ,

g r o u n d at the upper a n d lower portions of the

together o n his list l e k y t h o i decorated w i t h satyrs

alabastron's b o d y .

and maenads,

19

T h i s h i g h l y experimental ves

26

2 5

others do not. S i x grouped

a n d other examples have since

sel, e m p l o y i n g t w o different special techniques,

come to light, some of w h i c h may be attributed

may have been cautiously fired at too l o w a tem

to the Diosphos (cat. no. 25) a n d Sappho Paint

perature insofar as m u c h of the black gloss o n its

ers. The imagery of this group of l e k y t h o i is often

m o u t h has misfired to red. Vases i n Six's technique

especially erotic. A lekythos i n N e w York attrib

frequently e x h i b i t signs of misfiring (cat. nos.

uted to the Sappho Painter, w h i c h has been said to

depict a d a n c i n g satyr, i n fact, depicts an o u t l i n e d

23, 24).

o l d satyr w i t h a w h i t e beard, hair, a n d tail, sitting

w i t h his legs a k i m b o o n r o c k y g r o u n d , masturbat
The Workshop of the Diosphos and Sappho Painters

i n g beside a large w h i t e p o i n t e d a m p h o r a .

Rare preserved examples of alabastra decorated

Diosphos Painter's d e p i c t i o n of an o u t l i n e d black

27

The

entirely i n Six's t e c h n i q u e have been attributed

satyr w i t h an erect red penis chasing a w h i t e

to the Diosphos P a i n t e r .

maenad o n the lekythos from Gela i n Boston is

20

In a late black-figure

workshop, which produced primarily lekythoi,

w e l l k n o w n because of J. D. Beazley's captivating

many of w h i c h were decorated w i t h black-figure

d r a w i n g (fig. 3 ) .

a n d semi-outline o n a w h i t e g r o u n d , the Diosphos

of sexual p u r s u i t may be especially v i o l e n t : O n a

Painter a n d his associate the Sappho Painter c o n

little lekythos i n B e r l i n a satyr, w h o has seized a

t i n u e d the Psiacian t r a d i t i o n of Six's technique

maenad w i t h b o t h hands, pins her d o w n o n r o c k y

d o w n i n t o the early fifth c e n t u r y .

g r o u n d , as she manages to h o l d onto her thyrsos.

21

These painters

28

T h e Six's technique imagery

29

perfected a more elaborate form of the technique

In the time of red-figure vase-painting, where

that e m p l o y e d several colorsflesh tone i n a d d i

b o t h male and female figures were reserved, the

t i o n to w h i t e , cream, a n d r e d a n d , significantly,

d i s t i n c t i o n between the sexes possible i n Six's

also e m p l o y e d i n c i s i o n , not merely for inner

technique must have seemed especially eloquent

details, but also for d r a w i n g forms i n outline o n

the black g r o u n d itself (cat. nos. 24, 25). T h e i r

Figure 3. Satyr pursuing a

emphasis o n d r a w i n g w i t h i n c i s i o n o n a black

maenad. Drawing by J. D.

g r o u n d recalls details i n the late black-figure of

the A m a s i s P a i n t e r .

22

The Diosphos Painter used

Beazley of figures on an
Athenian lekythos in Six's
technique, attributed to the

this mature version of Six's technique to create

Diosphos Painter (Boston,

p o l y c h r o m e images that are more naturalistic

Museum of Fine Arts 98.885).

than red- or black-figure vase-paintings, such as

Archive, Oxford, Vase361413.

the y o u n g hunter o n horseback o n the lekythos

from. A g r i g e n t o n o w i n K a r l s r u h e (cat. no. 24).
Haspels aptly l i k e n e d this form of Six's technique
to the semi-outline technique employed o n w h i t e g r o u n d l e k y t h o i p r o d u c e d b y the same w o r k s h o p
(cat. no. 5 6 ) .

75

23

SIX'S

In terms of its definition of form b y

T E C H N I Q U E :

BLACK

G R O U N D

Drawing in the Beazley

to ancient eyes. Rather than being designed as

flanks are painted o n a w h i t e g r o u n d .

funerary vases, perhaps these erotic l e k y t h o i

partly misfired black surface at its c u r v e d end,

served as personal unguent jars before ultimately

n o w p o o r l y preserved flying Erotes w i t h w h i t e

3 1

O n the

f i n d i n g their w a y into tombs. I n l i g h t of the Late

flesh rendered i n Six's technique flank this elabo

A r c h a i c fashion for Six's-technique l e k y t h o i , the

rate vessel's colorfully painted mold-made female

assumption that a l l w h i t e - g r o u n d l e k y t h o i served

head.

as funerary vases s h o u l d be reconsidered (cf. cat.

no. 59).

The Sappho Painter's famous name vase, the

b l a c k - b o d i e d h y d r i a i n Warsaw o f ca. 500 B.C.

In the Sappho a n d Diosphos Painters' w o r k

w i t h a n i n s c r i b e d d e p i c t i o n i n Six's technique

shop, occasionally, as o n Psiax's alabastron, w h i t e

of the poetess p l a y i n g the barbiton, is a special

g r o u n d a n d Six's technique are employed together

showpiece (cf. cat. nos. 54, 5 5 ) .

o n the same vessel. O n the Diosphos Painter's large

p h o is i n c i s e d i n the black g r o u n d , and, save for

Six's-technique lekythos i n the L o u v r e , w i t h a

the exposed w h i t e female flesh, the outlines o f her

Stamnos in Six's technique,

f l y i n g w i n g e d Iris h o l d i n g a kerykeion a n d a w r i t

form, draped i n a c h i t o n a n d h i m a t i o n , a n d her

ca. 525-500 B.c. H 31 cm.

i n g tablet, the upper ornamental border o f black

barbiton, replete w i t h a l l o f its strings, are also

keys is painted o n a w h i t e g r o u n d .

incised. The use o f Six's technique facilitates this

Figure 4. Nude barbiton player.

Berlin, Antikenmuseum,
StaatlicheMuseenPreuischer

3 0

O n the Sap

32

The name Sap

Kulturbesitz F 4029.

p h o Painter's black-figured A t h e n s epinetron 2184

Photograph: Bildarchiv

(a knee g u a r d e m p l o y e d b y w o m e n for carding

be rendered more v i s i b l e incised into the black

wool), several ornamental borders o n the vessel's

g r o u n d , rather than painted i n black relief lines

Preuischer Kulturbesitz/Art
Resource, NY. Photographer:

depiction: A musical instrument's strings c o u l d

o n a black b a c k g r o u n d , as they were i n contempo

Johannes Laurentius.

r a r y red-figure (cf. cat. fig. 1.1).

Stamnoi: Pots Decorated in Six's Technique

Representations of the b a r b i t o n w i t h i n c i s e d
strings also appear o n A t t i c stamnoi, the most
p o p u l a r large shape decorated i n Six's technique
d u r i n g the late s i x t h century. T h e Six's-technique
stamnos i n Berlin (fig. 4) has a lone male figure
painted onto each side; one of them, wreathed
w i t h i v y a n d sporting a n exceptionally l o n g
beard, plays a b a r b i t o n w i t h i n c i s e d s t r i n g s .

33

These pale figures silhouetted against the black,

w h o do not stand o n a g r o u n d l i n e , are flanked b y
large red palmettes g r o w i n g i n the handle zones.
A komos, consisting of a musician a n d a d a n c i n g
male figure, painted i n orange w i t h i n c i s e d details
a n d flanked b y b i g handle-palmettes, appears
o n a contemporaneous stamnos formerly i n the
Stavros S. Niarchos collection, w h i c h has been
associated w i t h the A n t i m e n e s Painter or the L e a gros G r o u p .

3 4

One musician plays the aulos, the

other a b a r b i t o n w i t h i n c i s e d strings. T h e d a n c i n g
red man opposite the p i p e r o n this fragmentary
stamnos holds a cup, a n d o n a now-fragmentary
contemporaneous large Six's-technique s k y p h o s
i n M a l i b u (cat. no. 21) a n acrobatic red komast
balances as he d r i n k s from a cup. S u c h s y m p o t i c

76

C O H E N

C H A P T E R

imagery is appropriate for these large pots, w h i c h

technique (Mertens, chap. 6, fig. 1). W i t h b r i g h t

were used not o n l y as storage jars for w i n e but

a n d q u i c k l y painted, but not necessarily durable,

also for m i x i n g w i n e w i t h water at d r i n k i n g par

decoration, p h i a l a i i n Six's technique were ideal

ties.

vessels for r i t u a l use of l i m i t e d d u r a t i o n .

35

T h e p r o m i n e n t palmette ornament of the

stamnoi w i t h figural decoration associates them

M o d e r n scholars have split hairs over whether

w i t h the Late A r c h a i c handleless models deco

decoration w i t h superposed color o n a black

rated solely w i t h painted palmettes.

g r o u n d w i t h o u t i n c i s i o n , as is employed o n many

36

Finally,

these stamnoi b r i n g to m i n d the vogue for the

of the p h i a l a i , ought to be considered Six's tech

painted red figures a n d palmettes of Six's tech

nique,

n i q u e o n fifth-century Etruscan p o t s .

restriction. A s e x p l a i n e d above, i n c i s i o n was an

37

4 2

t h o u g h Jan S i x h i m s e l f made no such

A r c h a i c technique that h a d o n l y a l i m i t e d life

b e y o n d black-figure. Furthermore, significant
e x p l o r a t i o n of the decorative possibilits of Six's

Phialai: Vessels for Wine and Ritual

T h e second part of Jan Six's 1888 study deals w i t h

technique i n c o r p o r a t i n g elaborate i n c i s i o n , w h i c h

A t t i c p h i a l a i decorated i n Six's t e c h n i q u e .

appears to have reached the height of its develop

38

This

t r a d i t i o n , w h i c h e n d u r e d into the fifth century,

ment i n the w o r k s h o p of the Diosphos a n d Sap

may have been i n i t i a t e d b y Nikosthenes, whose

p h o Painters, d i d not s u r v i v e the A r c h a i c p e r i o d .

potter-signature appears o n black-gloss p h i a l a i

Surely the rise of w h i t e g r o u n d as the preferred

(see cat. no. 50, R E F E R E N C E S ) . A black-figure-on-

polychrome m e d i u m , associated i n particular w i t h

w h i t e - g r o u n d phiale w i t h h u n t a n d animal friezes

l e k y t h o i , played an important role i n s i d e l i n i n g

i n L o n d o n (cat. no. 50), of ca. 520 B . C . , l o n g asso

Six's technique i n fifth-century A t t i c pottery

ciated w i t h Nikosthenes, is also decorated w i t h

workshops.

polychrome ornament, i.e., Six's technique, o n

the inside of its black r i m . Several Six's-technique
phialai w i t h symposiasts a n d hetairai that have

Oddities of Six's Technique in the Fifth Century B.C.

similar r i m ornament m i g h t l i k e w i s e have been

Six's technique was occasionally pressed into

p r o d u c e d i n this potter's w o r k s h o p .

3 9

The b i r d

service o n fifth-century A t h e n i a n vases. Thus,

attending a s y m p o s i u m o n a Six's-technique

figures a p p l i e d i n superposed colors w i t h painted

phiale i n B e r l i n appears to have hatched from the

details embellish the black r i m of a plastic k a n -

same nest as those o n the L o n d o n w h i t e - g r o u n d

tharos i n the form of a woman's

hunt phiale.

head i n L o n d o n of ca. 480 B . C .

40

T h e s y m p o t i c imagery o n several

Six's technique p h i a l a i raises the question of

(fig. 5 ) .

whether some of these l i b a t i o n b o w l s were actu

woman's head has female flesh

ally employed for d r i n k i n g , as they are s h o w n i n

reserved i n the color of the

Late A r c h a i c vase-painting (cf. cat. fig. 74.3).

clay as is the n o r m o n A t h e

A t the same time, many fragmentary Six's-

43

The kantharos's m o l d e d

n i a n head vases (cf. cat.

technique p h i a l a i have been f o u n d o n the

nos. 79-81). In contrast, o n

A t h e n i a n A k r o p o l i s , a n d they must have been

the front of the black r i m ,

dedicated t h e r e .

a w o m a n w i t h w h i t e flesh is

41

These l i b a t i o n bowls, like the

Louvre's phiale w i t h s w i m m i n g o c t o p i a n d d o l

seated before a colorfully draped

p h i n s from Eretria (cat. no. 18), are often deco

y o u t h w i t h b u f f flesh, w h o leans o n

rated w i t h forms painted onto the black g r o u n d

a staff; a similar buff-painted y o u t h

i n superposed colors w i t h o u t i n c i s i o n . The

appears o n the back. T h u s the p o l y -

superposed-color deer h u n t o n horseback, w h i c h

chromy o n the r i m differentiates male

unfolds i n an u n u s u a l tree-studded forest setting

a n d female flesh color, a feature that is

on a late phiale from A t h e n s n o w i n B e r l i n (cat.

e x c l u d e d from the artistic vocabularly of

no. 19) e x h i b i t s the elite iconography of men a n d

the plastic part of the head vase itself.

horses that P s i a x h a d i n t r o d u c e d to early Six's

77

SIX'S

T E C H N I Q U E :

BLACK

G R O U N D

The d e p i c t i o n of flesh color also plays

Figure 5. Plastic kantharos in

the form of a woman's head
with figures in superposed
colors on the rim, ca. 480 B.c.
London, The British Museum
BM Cat Vases E 794.

c o m m o n l y emblazoned the shield o f A t h e n a w i t h

a Pegasos device o n his Panathenaic amphorae.
T h i s f l y i n g w i n g e d horse, painted i n w h i t e w i t h
delicately i n c i s e d details o n the goddess's black
r o u n d shield, is w e l l preserved o n a Panathenaic
of ca. 4 9 0 - 4 8 0 B.c., w i t h a racing chariot o n the
reverse, i n N e w York (Cohen, chap. 1, fig. 5 ) .

4 5

Pegasos appears once again o n an extraord i n a r y k a l p i s o f ca. 425 B.c. i n the Cabinet des
Mdailles o f the Bibliothque nationale i n Paris
(figs. 6, 7). Here the vase's body, w h i c h is c o v ered w i t h black gloss, evokes the n i g h t sky. Just
below the curve o f the pot's shoulder, Pegasos,
painted i n w h i t e , w i t h h i s l o n g , streaming tail
rendered i n r a p i d brushstrokes, flies near a w h i t e
crescent m o o n , w h i c h glows i n a golden yellow,
s u r r o u n d e d b y (now-faded) t w i n k l i n g stars. T h i s
amazing d e p i c t i o n o f the w i n g e d horse m i g h t w e l l
be i n s p i r e d b y the constellation Pegasos, so named
i n the cosmology o f early Greek p h i l o s o p h e r s .

Figure 6. Pegasos in the sky

beneath the moon and stars.

46

Choes and the Anthesteria

Kalpis, ca. 425 B.c. Paris,

a role i n a most u n u s u a l instance o f polychrome

A n o t h e r A t h e n i a n festival provides the final

Bibliothque nationale de

p a i n t i n g o n a fifth-century red-figured vase: the

fifth-century context for the p r o d u c t i o n o f vases

France, Cabinet des Mdailles

A n d r o m e d a pelike o f ca. 460 B.C. i n Boston (cat.

decorated w i t h a form o f Six's technique l i m i t e d

no. 49), associated w i t h the W o r k s h o p o f the N i o -

to superposed color. B u l b o u s w i n e jugs w i t h tre-

b i d Painter. Here, probably u n d e r the influence

foil mouths k n o w n as choes (plural o f chous) were

of Classical free p a i n t i n g , instead o f rendering the

important for the A n t h e s t e r i a , the annual celebra-

flesh o f the Black slaves or servants i n reserve

t i o n o f the n e w w i n e . O n the festival's second day,

the nonnaturalistic n o r m i n red-figuretheir

w h i c h was k n o w n as Choes after the vases them-

forms were o r i g i n a l l y o u t l i n e d w i t h w h i t e paint

selves, everyone from adults to small c h i l d r e n

o n top o f the pelike's black b a c k g r o u n d so that the

d r a n k w i n e , a l l p r o v i d i n g their o w n w i n e i n their

De. Rid. 449.

black gloss itself c o u l d serve as the color o f their

flesh.

44

These painted outlines have been substi-

tuted for the i n c i s e d outlines o f Late A r c h a i c Six's

technique. I n a d d i t i o n , subtle superposed p i n k i s h cream a n d pale r e d colors have been employed o n
the pelike to describe the exotic garments o f the
Black slaves.
D u r i n g the fifth century, Six's technique also
retained its most venerable A t h e n i a n f u n c t i o n o f
d e s c r i b i n g s h i e l d devices i n the context o f the
t r a d i t i o n a l i z i n g black-figured amphorae that were
awarded as prizes i n the games at the PanatheFigure 7. Detail of Pegasos,
the moon, and stars on kalpis,
fig. 6.

naic festival i n h o n o r o f the city's patron goddess,

A t h e n a (cf. cat. no. 39). T h e Kleophrades Painter,
a b i l i n g u a l master w h o also w o r k e d i n red-figure,

78

C O H E N

C H A P T E R

o w n j u g s (see cat. no. 26 w i t h R E F E R E N C E S ) . These

choes c o u l d be employed, as a l l forms of o i n o c h o a i
n o r m a l l y were, to p o u r d i l u t e d w i n e into d r i n k
i n g cups, but o n this special occasion the potent
l i q u i d must often have been g u z z l e d directly from
the j u g s themselves. C h i l d r e n were i n t r o d u c e d to
w i n e d r i n k i n g d u r i n g this festival, a n d choes i n
smaller sizes, w h i c h v a r i e d a c c o r d i n g to a child's
age, were p r o d u c e d specifically for their use. A
special market was set up where vases r e q u i r e d for
the A n t h e s t e r i a c o u l d be p u r c h a s e d .

47

M o s t extant choes are decorated i n red-figure;

however, A n t h e s t e r i a vases, frequently used

Figure 8. Youth performing a

just once a n d then discarded, also i n v i t e d q u i c k ,

pyrrhic dance. Chous, ca.

t h o u g h not especially durable decoration, i.e.,

425 B.c. H 12.7 cm. Paris,

colors superposed u p o n a black g r o u n d (cat. figs.

Muse du Louvre CA 8.
Photograph: RMN/Art

26.1-2). Choes from the fifth c e n t u r y r u d i m e n -

Resource, NY. Photographer:

tarily decorated w i t h a t h i c k ocher-red hastily

Herv Lewandowski.

a p p l i e d over the black glossemulating the v i s u a l

effect of red-figurehave been associated w i t h

cat. nos. 59, 62, 63) as w e l l as o n contemporaneous

the w o r k s h o p of the H a i m o n P a i n t e r .

red-figured vases (e.g., cat. nos. 34, 35). In a d d i

48

O n these

cheap jugs, a single figure is usually set w i t h i n

tion, like the K a r l s r u h e chous, these small vases

an imprecisely d r a w n panel whose linear borders

are often enhanced w i t h added-clay details that

either do not meet or extend too far, the lines

o r i g i n a l l y were either g i l d e d or painted y e l l o w i n

crossing at the corners. There may be an upper

imitation of g i l d i n g .

h o r i z o n t a l border w i t h a r u d i m e n t a r y tongue pat

v e r y fragile a n d has often suffered from m o d e r n

5 2

T h e i r surface decoration is

tern. The image of r i t u a l o n a chous w i t h super

cleaning a n d restoration. L i k e g i l d i n g , Six's tech

posed color i n the L o u v r e (fig. 8), 12.7 c m h i g h , is

n i q u e is, i n b o t h its A r c h a i c a n d Classical forms,

self-referential: A n a k e d y o u t h w e a r i n g a helmet

one of the most fragile special techniques, and,

thus, important parts of its story have been lost.

w i t h a h i g h crest a n d h o l d i n g a spear performs a

p y r r h i c dance beside a chous set o n the g r o u n d .

4 9

O n a chous i n L e i p z i g , 11.7 c m h i g h , from the last

quarter of the fifth century, a n o w p o o r l y pre
served maenad h o l d i n g a thyrsos dances beside
a large-leafed plant, celebrating the w i n e g o d s
potent beverage.

50

T h e small choes designed for c h i l d r e n are gen

erally more elaborately a n d carefully decorated;
they depict children's activities w i t h great c h a r m
and i n illuminating detail.

51

M a n y late red-figured

examples i n c l u d e w h i t e - p a i n t e d forms, but some

employ solely superposed color instead of redfigure, like the little chous w i t h a boy a n d a dog,
of ca. 400 B . C . , i n K a r l s r u h e (cat. no. 26). Details
on the painted figures are n o w i n d i c a t e d i n golden
dilute gloss. T h i s h a n d l i n g recalls the definition
of forms painted i n second w h i t e o n some earlier
w h i t e - g r o u n d l e k y t h o i of the fifth c e n t u r y (e.g.,

79

SIX'S

T E C H N I Q U E :

B L A C K

G R O U N D

NOTES
1 E.g., Klein 1898; Klein 1887; Hartwig 1893.
2 Six 1888.
3 Beazley 1928, 8.
4 Grossman 1991 and Hunnekins 1991 are two more recent
studies of this technique. Useful summaries include Pfuhl
1923, i, 333-35; Marilena Carabatea in Marangou 1995,
134-35, with references; Kurtz 1975, 116-19; and Boardman 1974, 178. Green 1970 discusses some choes of the
fifth century.
5 Six 1888, 193.
6 See Payne 1931, 315, no. 1104; Amyx 1988, I, 540 on Cor
inthian black-polychrome; n, 232, White Bull Painter no.
1; in, pi. 101.1.
7 Six 1888, 194.
8 Munich, Antikensammlungen 1471: ABV 137.60; Para 55;
BAdd 37; BAPD Vase 310320.
9 Such a use of whitefor female flesh, a horse, and the
arms of a kitharais exceptionally well preserved on side
A of a black-figured neck-amphora attributed to Exekias
in New York, Metropolitan Museum of Art 17.230.14: ABV
144.3, 686; Para 59; BAdd 39; BAPD Vase 310385; Both
mer 1994, 24-25, no. 12.
2

10
11
12

Six 1888, 195.

Cf. Gaunt 2002, 66.
The basic study of this shape is Eisman 1971; for addi
tional bibl., see cat. no. 17, REFERENCES.
13 For London, British Museum GR 1842.4-07.16 and the
Painter of Vatican 480 see cat. no. 17, REFERENCES; see also
Six 1888, 202-203, no. .
14 E.g., Wrzburg, Universitt, Martin von Wagner-Museum
436: ABV 294.16; BAdd 76; BAPD Vase 320362; Mertens
1977, 36, no. 5, pi. 3.4; and Malibu, JPGM 77.AE.102:
BAPD Vase 30359, which, despite Kurtz's arguments in
Kurtz and Boardman 1986, 35-47, should probably be
attributed to Psiax.
15 Brescia, Museo Civico: ABV 292.1, 692; Para 127; BAdd
76; BAPD Vase 320347.
16 London, British Museum 1900.6-11.1: ABV 294.25, 674,
669; ARV 8.13; Para 321; BAdd 77, 151; BAPD Vase
200034; Kurtz 1975, 10-11, 117-18; Grossman 1991, 22,
no. 6.
17 Murray 1903, 253; Corbett 1965, 24, pi. 14.
18 Murray 1903, 251.
19 Mertens 1977, 35-36, no. 4, 37.
20 E.g., San Antonio Museum of Art 86.25.1: Shapiro, Picon,
and Scott, in, 1995, 131-33, cat. no. 66; BAPD Vase 9357;
and Budapest, private collection: BAPD Vase 2712; Szilgyi and Szab 1976, 45-47, no. 9, figs. 35a-b.
21 Established by Haspels 1936, esp. 106-107. See also
Haspels 1969, and eadem 1972, 109. On the workshop, see,
recently, Jubier 1999.
22 See Cohen, chap. 5, at n.41.
23 Haspels 1969, 27-28.
24 On funerary associations, see: for white-ground lekythoi,
e.g., Oakley 2004a; for Six's technique, e.g., Hnnekins
1991, 16; Williams 1999, 63.
25 Warrior and fallen warrior: Columbia, M O , University
of Missouri-Columbia, Museum of Art and Archaeology
58.12, attributed to the Diosphos Painter: BAPD Vase
2933; Haspels 1969; Grossman 1991, 23, no. 39. Eos and
Memnon, attributed to the Diosphos Painter, e.g., London,
British Museum 1910.4-15.2: BAPD Vase 390378; Haspels
1936, 236, no. 80; Grossman 1991, 22, no. 26; Syracuse,
Museo Archeologico Paolo Orsi 23784: BAPD Vase 390382;
Haspels 1936, 236, no. 85; Grossman 1991, 23, no. 37; New
York, Metropolitan Museum of Art 24.97.29: BAPD Vase
31860; Grossman 1991, 22, no. 29.
26 Six 1888, 205-207.
27 New York, Metropolitan Museum of Art 23.160.87: BAPD
Vase 390311; Haspels 1936, 228, no. 43; Grossman 1991,
22, no. 14.
28 Boston, Museum of Fine Arts 98.885, from Gela: Para 248;
BAPD Vase 361413; Haspels 1936, 236, no. 81; Grossman
1991, 22, no. 23; Panvini and Giudice 2004, 289, no. F 32
(A. Mondo).
29 Berlin, Antikensammlung F 2241, attributed to the Dios
phos Painter: ABV 508.Haspels.no. 90; BAPD Vase 305522
(incorrectly cited as black-figure); Six 1888, 205-206, no.
xix; Haspels 1936, 236, no. 90; Grossman 1991, 21.
30 Paris, Muse du Louvre M N B 912: BAPD Vase 6557;
Haspels 1936, 235, no. 76; Six 1888, 204, xxvn bis.
31 Athens, National Archaeological Museum 2184, from
Boeotia: ABV 481A; BAPD Vase 303429; Haspels 1936,
104-106, 228, no. 53, pi. 36.2 (the Six's technique was
better preserved at the time the photograph was taken);
Mercati 2003, 118-19, no. 25, 184-85, pis. 10-11.
32 Warsaw, National Museum 142333: BAPD Vase 510;
Haspels 1936, 228, no. 56; Six 1888, 198, no. vii; Grossman
1991, 20; Boardman 1974, fig. 311.

33

34

35

36

37

80

COHEN

CHAPTER

38
39

40
41
42
43
44

Berlin, Antikensammlung F 4029: ABV 672; BAdd 148;

BAPD Vase 306459; Six 1888, 197, no. vi; Philippaki 1967,
25, no. 4, 27; palmettes at handle side: Jacobstahl 1927,
69-70, 134, pl. 14d; Grossman 1991, 20.
Stavros S. Niarchos collection, no. A 038: BAPD Vase
44109; Grossman 1991, 22, no. 3; Marangou 1995, 136, no.
19 (M. Carabatea).
Clark, Elston, and Hart 2002, 146; Richter and. Milne 1935,
8-9.
E.g., Malibu, JPGM 83.AE.324: BAPD Vase 4892; Gross
man 1991, 13-17, figs, la-e; color: Clark, Elston, and Hart
2002, 144, fig. 136.
See esp. the Praxias Group, named after a Greek who pro
duced vases in Etruria: Cristofani 1987. The question of
whether or not some of the pots in Six's technique, tradi
tionally considered Attic, might instead be Etruscan needs
closer attention: e.g., amphora, Brussels, Muses Royaux
d'Art et d'Histoire R 280: BAPD Vase 10977; Grossman
1991, 23, no. 52. M y thanks to Mario Iozzo for discussing
this amphora with colleagues in Italy, who suggest that it
might be Etruscan.
Six 1888, esp. 281-86.
E.g., Berlin, Antikensammlung F 2311 : BAPD Vase 41707;
Six 1888, 283, no. xxxv; Grossman 1991, 21; Berlin, Anti
kensammlung F 2312: BAPD Vase 41598; Six 1888, 283,
no. xxxvii; Grossman 1991, 21; Munich, Antikensamm
lungen 2753: BAPD Vase 31999. Despite dated techni
cal arguments, this group of Six's-technique phialai are
illustrated together in Juranek 1978-1979, 109, figs. 1-4
(fig. 1, Munich [9030] correct number: 8991 has modern
overpainting).
Cf. Berlin, Antikensammlung F 2311, see above n. 39, and
cat. no. 50.
See REFERENCES for cat. no. 18.
For definition of the technique as necessarily including
incision, e.g., Kurtz 1975, 116-17; Grossman 1991, 13.
London E 794, from Capua: see the detailed description in
Smith 1896, 376-77.
For the depiction of Black slaves or servants with reserved
flesh, cf. the Andromeda depiction on the unattributed
red-figured hydria London, British Museum 1843.11-3.24,
BM Cat Vases E 169: ARV 1062, 1681; BAdd 323; BAPD
Vase 213802.
New York, Metropolitan Museum of Art 07.286.79: ABV
404.6; ARV 192; Para 175; BAdd 105; BAPD Vase
303047.
Yalouris 1977, no. 32; idem 1980, 318-19, pi. 40, fig. 15
(drawing), fig. 17 (reversed).
Simon 1983, esp. 94.
Green 1970. For the Haimon Painter, an early fifthcentury painter of black-figured lekythoi, and his Manner,
see ABV 538-71; Para 269-86; BAdd 133-37; BAPD s.v.
Haimon P; Haspels 1936, 130-41, 241^9, 368.
Paris, Muse du Louvre C A 8: BAPD Vase 15596; Hoorn
1951, 168, no. 821, fig. 180; Green 1970, 478, no. 28.
Leipzig, Antikenmuseum der Universitt T 644: BAPD
Vase 16335; Hoorn 1951, 134, no. 567, fig. 436; Green
1970, 478, no. 14; Paul 1997, 38-39, no. 15.
See, recently, Neils and Oakley 2003, 284-87, and cat. no.
26 with REFERENCES.
Hoorn 1951, 56.
2

45

46
47
48

49
50

51
52

15

NECK-AMPHORA OF
NICOSTHENIC TYPE
S i g n a t u r e o f N i k o s t h e n e s as potter,
ca. 5 2 5 - 5 2 0 B . C .
H 32 c m
Paris, M u s e d u L o u v r e F 114
From Etruria, probably Cervetri; purchased
1863; f o r m e r l y C a m p a n a c o l l e c t i o n

O n each side o f n e c k , naked woman and dog

O n s h o u l d e r o f side A , N I K O S O B N E S B M P O I B 5 B N
O n each h a n d l e , tripod
C O N D I T I O N : Body intact; A / B handle reassembled
from fragments w i t h plaster fill i n cracks; m o u t h
and foot restored; b o d y partly repainted; added
w h i t e partially deteriorated, esp. o n face a n d neck
of female figure o n A , a n d flaked or c h i p p e d o n legs
of dogs a n d tripods, a n d o n calves a n d lower right
arm of female figure o n B; some b r o w n incrustations,
y e l l o w discolorations, a n d traces of root marks o n
the added w h i t e .

81

SIX'S

T E C H N I Q U E

15.1

15.2
T H E

A T H E N I A N

POTTER

NIKOSTHENES

reg

u l a r l y imitated shapes o f E t r u s c a n bucchero i n his

other N i c o s t h e n i c products, must have w r i t t e n the

potter's signature o n the shoulder, Nikosthenes

export ware (cf. cat. no. 17). T h i s characterisitic

made me, i n t h i c k r e d paint, accidentally trans

E t r u s c a n i z i n g shape, a neck-amphora w i t h a flar

posing t w o letters.

i n g m o u t h a n d adjoining broad, flat strap handles,

N o ornament detracts from the stark w h i t e

has been named after h i m i n m o d e r n scholarship.

decoration w i t h i n c i s e d details painted directly

M o s t N i c o s t h e n i c amphorae are black-figured, b u t

o n this neck-amphora's black-gloss g r o u n d . It has

a few are red-figured or b i l i n g u a l . L o u v r e F 114 is

been b o l d l y l i m i t e d to t w o repeated motifs c o n

the sole extant m o d e l embellished w i t h Six's tech

fined to the vessel's neck a n d handles. O n each

n i q u e , a n d it may preserve this special technique's

side o f the neck a y o u n g w o m a n , nude save for

earliest k n o w n occurrence. Moreover, o n l y this

her j e w e l r y a n d a r e d wreath a r o u n d her head,

N i c o s t h e n i c amphora echoes the entirely black

sniffs a r e d flower a n d is greeted b y a dog w i t h

surface as w e l l as the shape o f bucchero; thus here

an u p w a r d - c u r v i n g tail. A t r i p o d appears o n each

the rays that n o r m a l l y encircle a n A t t i c amphora's

broad strap handle. T h i s emblematic imagery

lower b o d y (cf. cat. no. 1) have been omitted. Its

w o u l d have appealed to a male v i e w e r : These

painter, whose h a n d has not been recognized o n

n a k e d w o m a n are p r o b a b l y hetairaiimportant

82

SIX'S

T E C H N I Q U E

early examples o f A r c h a i c n o n m y t h o l o g i c a l female

n u d e s a n d t r i p o d s were often prizes i n ancient
competitions. Significantly, this N i c o s t h e n i c
amphora's repeated images have been consciously
v a r i e d . O n the A / B handle (fig. 15.3), the tripod's
o w n left handle overlaps its r i g h t , w h i l e , o n the
B / A handle, this o v e r l a p p i n g has been reversed.
O n the neck, b o t h w o m e n face r i g h t , but the p o s i
tions o f their l i m b s have been precisely reversed.
T h e d o w n w a r d p o s i t i o n of the w o m a n o n B's near
r i g h t arm exposes her breast. Here the painter was
so concerned about r e n d e r i n g this troublesome
characteristic o f female anatomy i n a correct pro
file v i e w that he has m i s p l a c e d her clavicle.
T h i s craftsman m i g h t have b e g u n his w o r k
p a i n t i n g the female figure o n side A from the head
d o w n : T h e available space has not been calculated
p r o p e r l y so that her feet overlap the j u n c t u r e o f
the vessel's neck a n d shoulder. T h i s woman's hair
is t e c h n i c a l l y u n u s u a l . T h e l o n g l o c k that falls
u p o n her shoulder has not been painted i n black
over her w h i t e flesh; instead a space for it has
been left i n the shoulder's w h i t e so that the lock's
black color is f u r n i s h e d b y the black g r o u n d . In
a d d i t i o n , her b l a c k hair has been d i s t i n g u i s h e d
from the g r o u n d b y an u n u s u a l red w a v y linear
border. T h e w o m a n o n side B, b y contrast, fits
precisely onto the neck, a n d her black hair has an
incised contour, a s o l u t i o n often employed i n early
red-figure. Yet the eye o n her well-preserved face
is t e c h n i c a l l y u n u s u a l . A s i n black-figure, its c o n
tour has been i n c i s e d t h r o u g h her w h i t e flesh, but
its b l a c k p u p i l is not s i m p l y painted o n the eye's
w h i t e surface; instead the w h i t e has been scraped
away, revealing the black g r o u n d . Clearly e x p e r i

15.3

mental, these women's l i g h t forms u p o n a dark

g r o u n d do not merely m i m i c the aesthetic effect
of the n e w red-figure reserve (cf. cat. nos. 3, 28),
but they also present a fresh means for retaining
on p a i n t e d pottery the w h i t e t r a d i t i o n a l for female
flesh i n ancient art. T h i s w h i t e color also i n t r o
duces a n e w naturalism d i s t i l l e d from black-figure
conventions: A l l o f the forms depicted here
w o m e n , dogs, a n d s h i n i n g metal t r i p o d s c o u l d
appropriately be described w i t h w h i t e .

REFERENCES: ABV 226; BAdd 58; BAPD Vase 302837; CVA Lou
vre 4 [France 5] 22, pi. 37.9, 12, 13, 16 and pi. 38.top; Museo Campana, series vm, no. 51; Klein 1887, 65, no. 48; Six 1888, 194-95,
no. 1, fig. 1, pi. 28A; Pottier 1901, 105; Walters 1905, I, 393-94,
pi. 35, fig. 2; Pottier 1906, 751-52, 756, 758; Perrot 1914, 244,
2

83

SIX'S

T E C H N I Q U E

245, fig. 156; Ducati 1922, n, 264, 265, fig. 213; Pfuhl 1923, l, 334;
Hoppin 1924, 253, no. 47; Paris 1936, 294a-95b; Rumpf 1953,
59-60, pi. 16.7; Boardman 1974, 178, fig. 309; Tiverios 1976b, 51,
pi. 20c; Grossman 1991, 20, no. 1, 25n.7; Denoyelle 1994, 90-91,
no. 40; Tosto 1999, esp. 7, 45-46, 49, 52-53, 59, 68, 87, 91, 131,
173-74, 179, 196, 199, 221, no. 81, pi. 25, fig. 49, pis. 64e, 66b,
128.81.
For Nicosthenic amphorae, see also Eisman 1974. See Williams
1999, fig. 48a, for an Etruscan bucchero neck-amphora compared
with a Nicosthenic neck-amphora. Cf. the white tripod as a shield
device on the shoulder of a black-figured Nicosthenic amphora
formerly at Castle Ashby: CVA Castle Ashby [Great Britain 15] pi.
19.(18).5. In Tosto 1999, 174n.802 bis, reasons given for doubt
ing the potter-signature's authenticity are unconvincing. For the
female nudes, cf. the Amasis Painter's black-figured cup-skyphos
of ca. 540 B.c., Paris, Muse du Louvre A 479 (ABV 156.80; Para
65, 90; BAPD Vase 310509), which depicts naked male couples
alongside a naked male and female couple at the center of each
side. The Amasis Painter's earlier white females hold flowers and
wear similar earrings, but their breasts are not clearly differenti
ated from those of the male figures.

16

16

BLACK-FIGURED VOLUTE-KRATER
WITH GORGONEION MEDALLIONS

C O N D I T I O N : Reassembled from many fragments

w i t h cracks and m i n o r losses filled i n w i t h toned
plaster; d r i l l holes for ancient repairs; large chips
missing from one handle and from surfaces of two

P r o b a b l y associated w i t h the W o r k s h o p o f
N i k o s t h e n e s a n d Pamphaios, ca. 520 B.C.

taupish gray incrustation o n one handle, one gor-

H (to rim) 41 cm; H ( w i t h handles) 46.5

goneion, nearby palmette-lotus chain, and krater's

cm

C o p e n h a g e n , N a t i o n a l M u s e u m 3835
F r o m O r v i e t o ; p u r c h a s e d 1891 o n the Italian
art market

84

gorgoneia; small chips missing around edge of r i m ;

SIX'S

TECHNIQUE

interior; orange misfiring on area of lower b o d y

where black gloss applied too t h i n l y ; black gloss
on bottom of interior eroded.

MOST

O F T H E O R N A M E N T on this black-

w h i t e female forms i n black-figure. T h e u n k n o w n

b o d i e d volute-krater is traditional: black rays

painter of these gorgoneia, however, may not

above the foot, black a n d red tongues o n the

have i n t e n d e d them to be perceived s i m p l y as

shoulder at the base of the neck, a c h a i n of

examples of black-figure vase-painting so m u c h as

addorsed black-figure palmettes a n d lotuses o n the

examples of a n e w technique that employed w h i t e

neck's upper zone, a black key pattern a r o u n d the

forms w i t h b o t h i n c i s e d a n d red details o n a black

r i m , a n d black i v y o n the flanks o f the handles.

g r o u n d , namely Six's technique.

T h e m o d e r n name volute-krater for this b i g m i x

i n g b o w l for w i n e a n d water derives from the

Early Six's technique is closely associated

w i t h the w o r k s h o p of the potter Nikosthenes. H i s

volutes i n w h i c h the handles n o r m a l l y terminate

signature appears o n this technique's first k n o w n

at their upper ends. O n this example, however,

example, the black N i c o s t h e n i c n e c k - a m p h o r a i n

these standard spirals have been replaced w i t h

the L o u v r e (cat. no. 15), w h i c h was i n s p i r e d b y

h i g h l y u n u s u a l flat discs that were covered w i t h

black Etruscan bucchero a n d designed for the

black gloss a n d then embellished w i t h painted

Etruscan market. T h i s w o r k s h o p also p r o d u c e d

gorgoneia.

volute-kraters: a potter-signature of Nikosthenes

In the pot's u n i f i e d schema of decoration, the

occurs o n a black-figured b l a c k - b o d i e d volute-

same formula was, of course, repeated for each

krater i n the B r i t i s h M u s e u m of u n k n o w n p r o v

gorgoneion, but the hand-rendered details differ

enance. Black A t t i c cups w i t h gorgoneion tondos

s l i g h t l y from one to the other as does the size of

a n d bearing potter-signatures of Nikosthenes a n d

the discs o n w h i c h they are painted (ranging from

of his associate Pamphaios have been f o u n d at

H 5.5 c m , W 6 c m , a n d H 5.9 cm, W 7 c m o n side

V u l c i , w h i l e an u n s i g n e d example from this w o r k

A to H 5.9 c m , W 6.7 c m , a n d H 5.8 cm, W 6.7 c m

shop was f o u n d at O r v i e t o . A l s o f o u n d at Orvieto,

o n side B). T h e frontal monstrous female faces a n d

Copenhagen's u n u s u a l b l a c k - b o d i e d volute-krater

ears of these G o r g o n heads are painted w h i t e , and

w i t h gorgoneia o n its handles must have appealed

major features, i.e., brows, contours of eyes, b u l

to the Etruscan market for the latest exports from

bous noses, mouths ( w i t h or w i t h o u t teeth), a n d

A t h e n i a n pottery w o r k s h o p s . In general, however,

volutes d e s c r i b i n g the ears, are i n c i s e d u p o n the

A t t i c volute-kraters have more c o m m o n l y been

w h i t e . T h e large o c u l i of their eyes, their t r a d i

f o u n d i n South Italy a n d Sicily, a n d this krater's

tional p r o t r u d i n g tongues, a n d the faces' contours

gorgoneia have l o n g been considered predecessors

are a l l p a i n t e d b r i g h t red. T h e scalloped brows of

to the relief-mask medallions later employed o n

the gorgoneia suggest black hair, but their faces

the handles of fourth-century A p u l i a n pottery.

are s i m p l y s u r r o u n d e d b y the black g r o u n d of

the discs o n w h i c h they are painted, w h i c h is not
detailed b y i n c i s i o n to describe the gorgoneion's
characteristic hair a n d beard.
I n antiquity, as is still the case today, the
u n u s u a l large a n d colorful masks o n the krater's
handles must have been v i s u a l l y arresting. S u c h
apotropaic gorgoneia, w h i c h often graced the
interior tondos of black-figured d r i n k i n g cups
(cat. no. 74), were certainly appropriate decora
t i o n i n the realm of s y m p o s i u m ware. In terms of
their technique, however, h o w were these gorgo
neia c o m p r e h e n d e d i n the s i x t h c e n t u r y B.C., a n d
h o w s h o u l d they be classified n o w ? W h i l e most
A r c h a i c A t h e n i a n gorgoneia are d r a w n i n outline
o n a reserved g r o u n d (cf. cat. no. 74, Cohen, chap.
5, fig. 3), the Copenhagen gorgoneia avoid this
p r e v a i l i n g c o n v e n t i o n and instead employ the
technical v o c a b u l a r y that n o r m a l l y describes the

85

SIX'S

T E C H N I Q U E

REFERENCES: BAPD Vase 2532; CVA Copenhagen, National

Museum 3 [Denmark 3] 102, pi. 124.2; Schauenburg 1977, 203,
fig. 7; Hitzl 1982, 301-302, 472, nos. 41a-42a, 535, pi. 41a-b, 536,
pi. 42a, Beilage 7; Schleiffenbaum 1991, 277-78, no. V 87; Lund
and Rasmussen 1995, 81.upper right, 205.p.81; Gaunt 2002, 66,
87-92, 312, 461, no. 74.
On Gorgons and gorgoneia, see, recently, Padgett 2003, 82-90,
304-29, cat. nos. 81-90; Cohen, chap. 5. For Nikosthenes' blackfigured volute-krater, London, British Museum 1842.4-7.17, BM
Cat Vases 364, see: ABV 229; BAPD Vase 330831; Tosto 1999,
esp. 110-12, 227, no. 136. For black cups with gorgoneia from
the Workshop of Nikosthenes and Pamphaios, see, e.g., Paris,
Cab. Md. 319, from Vulci: 232.14; BAPD Vase 301245;
Compigne, Muse Vivenel 1092, from Vulci: ABV 236.bottom.2;
BAPD Vase 301284; Orvieto, Museo Civico 586, from Orvieto:
ABV 236.bottom.1; BAPD Vase 301283. A fragmentary volutekrater in Reggio di Calabria, Museo Nazionale 15863, was likewise
decorated with gorgoneia on its handle-plates, see Hitzl 1982,
472, no. 42b, pi. 42b. On the association with Apulian pottery, see
Schauenburg 1977; and Gaunt 2002, 312 with n.68. For special
treatment of the volutes on a fourth-century Attic volute-krater,
cf. cat. no. 36.

17.1

17

KYATHOS

THE

DISTINCTIVELY

SHAPED

w i t h t h i n walls, was used as a d i p p e r for l a d l i n g

A t t r i b u t e d to the Painter o f Vatican 480,

d i l u t e d w i n e from a krater. W h i l e kyathos means

ca. 520-515 B.C.

ladle i n Greek, there is no evidence for the vessel's

H (without handle) 6 cm; H ( w i t h restored

actual ancient name. Parallels are f o u n d i n E t r u s

handle) 11 cm; D i a m (bowl) 10.2 c m

can bucchero a n d metalwork, a n d the kyathos is

St. Petersburg, T h e State Hermitage M u s e u m

thus believed to be an A t h e n i a n i m i t a t i o n of a for

eign shape i n t e n d e d for export to Italy. E v i d e n t l y ,

B4474
A c q u i r e d 1928; formerly B o t k i n collection
Satyr reclining beneath grapevines

the delicate b o w l o f an A t t i c kyathos s u c h as this

one c o u l d have been made directly o n the p o t t e r s
w h e e l b y being fashioned along w i t h its foot at
the top of a large cone of clay i n a process k n o w n

C O N D I T I O N : A s s e m b l e d from fragments; upper rear

as t h r o w i n g off the h u m p . T h i s A t t i c shape's cre

section o f handle restored i n plaster; handle's finial

ation a n d p r o d u c t i o n have been associated w i t h

missing; chips missing at r i m and edge of foot; black

the potter Nikosthenes, whose w o r k s h o p special

gloss cracked and c h i p p e d inside b o w l , on handle,

ized i n products for the E t r u s c a n market a n d w h o

and at j u n c t u r e of foot and body; added white pit

ted and flaked, esp. on satyr, vine's stem, and ten

also played an important role i n the early d e v e l

drils of handle florals; incised contours of satyr's

opment o f Six's t e c h n i q u e (cf. cat. no. 15). T h e

eye, brow, and m o u t h abraded; chips missing along

St. Petersburg kyathos, a fine a n d well-preserved

major break across vase's front above the kantharos

example o f this experimental technique, is c o l

and the satyr's left hand; c h i p missing at inner edge

of foot's reserved resting surface.

orfully decorated w i t h red a n d y e l l o w i s h - w h i t e

forms, the latter articulated w i t h b l a c k or i n c i s e d
details, o n a b l a c k g r o u n d .

86

KYATHOS,

w i t h its tall, l o o p e d handle a n d teacuplike b o w l

SIX'S

T E C H N I Q U E

A lone w h i t e satyr reclines beneath grape

vines at the center front of the kyathos's b o w l . H i s
attention is focused o n the large w h i t e kantharos
grasped b y its foot i n his r i g h t h a n d . Vines, w i t h
w h i t e stems laden w i t h heavy w h i t e bunches,
g r o w u p w a r d b e h i n d his b o d y a n d fan out to
the left a n d r i g h t . A pair o f w h i t e lotus buds o n
l o n g t e n d r i l s springs from the lower root of the
handle at the back. T h i s decorative scheme's focus
on a single, large central figure is u n u s u a l i n the
absence o f the b i g flanking eyes c o m m o n l y f o u n d
on k y a t h o i as w e l l as o n c o n t e m p o r a r y w i n e cups
(cf. cat. nos. 3, 4, 5). T h e simple a n d yet m o n u
mental c o m p o s i t i o n here evokes early red-figured
cups related to the A n d o k i d e s Painter as does
the kyathos's early Six's t e c h n i q u e itself, w h i c h
m i m i c s the aesthetic of reserved forms w i t h b l a c k
details o n a black g r o u n d . Details o n the satyr's
17.2

w h i t e form, however, have been delicately incised

w i t h o u t penetrating the b l a c k g r o u n d , i n c l u d
ing his facial features, the contour o f his p o i n t e d

of the M a r q u e s s of N o r t h a m p t o n , Castle A s h b y ,

ear, i n d i v i d u a l hairs along the edges of his beard

w h i c h depicts five satyrs cavorting a m i d grape

and forelock, the arc a n d n i p p l e o f his breast, the

vines w i t h black bunches o n w h i c h grapes have

upper contour o f his r i g h t t h i g h , his preserved

been incised. O n a kyathos i n Six's t e c h n i q u e i n

left kneecap, a n d the fingers o f his h a n d that h o l d

the B r i t i s h M u s e u m , a w h i t e Dionysos sits o n a

the kantharos. A n incised line also articulates

folding stool at the center front, h o l d i n g grape

the j u n c t u r e o f the kantharos's l i p a n d b o w l . T h e

vines i d e n t i c a l to the colorful ones o n the St.

satyr's l o n g hair a n d beard have been painted i n

Petersburg vase. Both of these w i n e - d i p p e r s , w i t h

black a p p l i e d over his b o d y w h i t e , a n d black dots

their appropriate decorative focus o n a single large

indicate grapes o n the w h i t e bunches. T h e vine's

w h i t e Dionysiac figure s u r r o u n d e d b y grapevines,

decorative t r i l o b e grape leaves are p a i n t e d i n red

s h o u l d be b y the same h a n d .

on top o f the b l a c k g r o u n d . T h i s vessel's added

red is an orange-red color rather than the often
somewhat p u r p l i s h red of b l a c k - a n d red-figure.
A g r o u n d l i n e consisting o f a red line, bordered b y
two deeply incised lines, encircles the b o w l , a n d
the figural decoration is b o u n d e d above b y a red
line at the r i m . A n o t h e r red line runs a r o u n d the
rim's interior.
T h i s kyathos's tall handle, t e r m i n a t i n g i n a
m o l d e d i v y leaf o n a central r i b at the front, a n d
its l o w - w a l l e d b o w l mark it as a relatively early
m o d e l . O r i g i n a l l y a conical or disk-shaped

finial

w o u l d have s u r m o u n t e d the handle. A t t r i b u t e d

to the Painter o f Vatican 480 b y K . C. G o r b u n o v a ,
the St. Petersburg kyathos's shape and decoration
are d i r e c t l y related to this painter's best w o r k , a
black-figured kyathos, formerly i n the collection

87

S I X ' S

T E C H N I Q U E

REFERENCES: BAPD Vase 8352; Eisman 1971, 98, 602, 608, no.
183; Gorbunova 1983, 198, no. 173 and color plate; Grossman
1991, 24, no. 93 (kantharos mistakenly called a kylix).
On the potting, see Schreiber 1999, 145-46, ills. 17d-f. On this
shape, in addition to Eisman 1971, see Eisman 1975; Kanowski
1984, 72-75; and Tosto 1999, 95-102, 225-26, nos. 128- 33, esp.
for kyathoi with potter-signatures of Nikosthenes. For early redfigured cups, see Cohen 1989, esp. figs. 2 and 4; Pecasse 1990; see
also, this volume, Cohen, chap. 1, and, for the Andokides Painter,
cat. nos. 2, 27. For kyathoi associated with the Painter of Vatican
480, see ABV 609; and, recently, CVA Malibu 2 [U.S.A. 25] 26-27,
pi. 74; and Iozzo 2002, 11516, under no. 146. For the formerly
Castle Ashby, now New York, Callimanopoulos collection kyathos:
ABV 609.1; BAPD Vase 306106; CVA Castle Ashby [Great Britain
15] pi. 24.1-3, no. 34. For London, British Museum GR 1842.407.16, BM Cat Vases B 693, see: ABV 609.center. 1; BAPD Vase
306110; Eisman 1971, 77-81, 93, 96-98, no. 13; Williams 1985,
35, fig. 40a; Grossman 1991, 20, no. 13; Williams 1999, fig. 48a,
and also for the comparison of the Nicosthenic kyathos with an
Etruscan bucchero kyathos; in addition, see Sinn and Wehgartner
2001, 60-71, no. 23.

18. Prerestoration photo.

18
PHIALE MESOMPHALOS
U n a t t r i b u t e d , ca. 520-500 B.c.

THE

LIVELY, Y E T SYMMETRICAL,

depiction

of sea creatures o n the interior of this shallow

l i b a t i o n b o w l employs three b r i g h t added colors
on top of a black-gloss g r o u n d . T h i s phiale is

H 4.7 cm; D i a m 20.8 c m

decorated entirely i n silhouette w i t h no i n c i s i o n .

Paris, Muse d u L o u v r e M N B 624

A large pair of w h i t e octopi, w i t h s p i r a l i n g ten

F r o m Eretria; purchased 1874

tacleshalf of w h i c h c u r l left and h a l f r i g h t a n d

w i t h their heads oriented i n w a r d toward the cen

I, a r o u n d the omphalos, tongues; i n the zone,

octopi and dolphins
C O N D I T I O N : Reassembled from fragments; miss

tral boss, or omphalos, anchor the c o m p o s i t i o n .

Between them, t w o pairs of large y e l l o w i s h beige
d o l p h i n s j u m p , somewhat unusually, o u t w a r d
toward the r i m . E a c h large d o l p h i n is echoed b y a

i n g fragment from r i m restored i n plaster; several

small red d o l p h i n p e r h a p s farther away from the

chips i n r i m and i n gloss along r i m ; black gloss and

v i e w e r w h i c h j u m p s beneath it a n d also faces

added red on omphalos, y e l l o w i s h beige on tongues

o u t w a r d . T h i s aquatic c o m p o s i t i o n is contained

a r o u n d omphalos, and on line at edge of r i m flaked

and c h i p p e d ; some of black gloss and added white
on bowl's interior r u b b e d and c h i p p e d ; yellow dis-

by a t h i c k , w a v y w h i t e line that r u n s inside the

r i m between t w o t h i n yellowish-beige lines. T h e

colorations and crackle on surface of added white;

b o w l s omphalos is embellished w i t h alternate

w h i t e incrustations on surface of black gloss on

stripes of red a n d black p l u s a t h i n stripe of y e l

interior; white line flaked on black gloss band of

l o w i s h beige o n the black-gloss circle at its center.

exterior at j u n c t u r e of l i p and b o w l .

T h e phiale's u n k n o w n painter was less careful o n

its p l a i n exterior, where his finger accidentally
smeared the lower edge of the broad b a n d of b l a c k

88

SIX'S

T E C H N I Q U E

gloss r u n n i n g a r o u n d t h e lip. Close to this smear,

t w o drill holes pierce t h e lower edge of t h e lip;
on t h e phiale's interior these holes are located
near t h e center of one octopus's tentacles. W h i l e
drill holes in Attic p o t t e r y generally result from
ancient repairs of breaks w i t h metal clamps (cf.
cat. nos. 10, 16, 45), here such holes must have
been employed for s u s p e n d i n g this handleless
vessel from a t h o n g in storage (cf. cat. no. 50).
After t h e masterpiece coral-red eye-cup by
Exekias w i t h Dionysos sailing amid swimming
d o l p h i n s inside its bowl (Cohen, chap. 2, fig. 1),
interiors of late s i x t h - c e n t u r y cups were often
associated w i t h t h e w i n e - d a r k sea of t h e Homeric
epithet (cf. cat. nos. 6, 44). This polychrome
phiale is embellished w i t h denizens of t h e deep
t u r n e d this way and t h a t w h o w o u l d have seemed
to swim w h e n t h e libation bowl was filled w i t h
diluted w i n e . T h u s this vessel belongs to t h e same
p o t e n t iconographic a n d illusionistic Attic t r a d i
tion as t h e cups, w h i c h was often expressed b y
means of special t e c h n i q u e s of p o t t e r y decoration.
Similar small phialai, about t w e n t y centimeters
in diameter a n d decorated in superposed colors
often w i t h o u t incision, have been found on t h e
A t h e n i a n Akropolis, w h e r e these libation bowls
must have been dedicated. T h e Late Archaic A t h e
nian fashion for phialai w i t h polychrome designs
on black gloss is believed to have been influ
enced by earlier s i x t h - c e n t u r y examples from t h e
Aegean island of Chios. Nonetheless, t h e A t h e n i a n
phiale decorated in Six's t e c h n i q u e , a t y p e w h o s e
creation has often been associated w i t h t h e potter
Nikosthenes, is very m u c h at home in t h e climate
of technical e x p e r i m e n t a t i o n t h a t character
ized Attic p o t t e r y w o r k s h o p s d u r i n g t h e closing
decades of t h e sixth c e n t u r y B.C.

89 SIX'S TECHNIQUE

Rayet and Collignon 1888, 331, fig. 124; Six 1888,

285, L bis; Cardon 1978-1979, 133n.l2; Grossman 1991, 21.
Cf. the polychrome phiale with octopi and prows of ships,
Russel 1994, 36, no. 17: Tampa Museum of Art, Joseph Veach
Noble Collection, 86.2. For phialai with dolphins jumping inward,
see Grossman 1991, 19, figs. 3a-b: Malibu, J P G M 82.AE.40.73;
and Vienna, Kunsthistorisches Museum 1923: BAPD Vase 508;
Boardman 1974, fig. 314. For the Akropolis phialai, see Six 1888,
201-207; Graef and Langlotz 1933, 102-12, nos. 1111-1252, pis.
85-89. See Boardman 1968 for the Chiot association, and also
Boardman 1998, 146 and fig. 324. For the metallic origins of this
shape and also its association with Nikosthenes, see cat. no. 50.
Cf. Tosto 1999, 131, who disassociates polychrome phialai from
Nikosthenes.

REFERENCES:

19

19
PHI ALE MESOMPHALOS
U n a t t r i b u t e d , ca. 510-490 B.C.
H 4.9 cm; Diam 19 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche
M u s e e n zu BerlinPreuEischer Kulturbesitz
V.I. 3311
From A t h e n s ; p u r c h a s e d 1894
I, stag hunt on horseback

t h e animals' feet. This scene is framed above b y a

row of t o n g u e s on t h e phiale's offset lip.
The u n k n o w n vase-painter has also m a n i p u
lated t h e phiale's limited color palette in describ
ing t h e horsemen. T h e lead rider on a cream horse
is t a n w i t h a b r o w n spear, t h e central rider on a
t a n horse is cream w i t h a b r o w n spear, a n d t h e
last rider on a w h i t e horse is t a n w i t h a b r o w n
spear. Some of t h e t a n appears to have been laid
over w h i t e a n d has n o w flaked off. Given t h e
coloristic vocabulary of this vase-painting, it is
unlikely that t h e pale central rider is meant to be

C O N D I T I O N : Broken in antiquity; modern fill in drill

female. Here t h e animals' movement has been sug

holes from ancient repairs; large central intact sec

gested b y placing their h i n d legs on t h e g r o u n d

tion with fragments reattached on t w o sides; cracks

a n d elevating their forelegs (cf. cat. nos. 24, 39).

go through t w o riders; added tan and cream colors

The naturalistic silhouette of t h e t a n stag w i t h a

flaked and faded on men, horses, leaves of trees,

full set of antlers is beautifully realized. This h u n t

and tongue pattern; white incrustation over parts of

interior surface; chips in black gloss on exterior and
abrasion around edge of omphalos.

phiale's figural decoration m i g h t be associated

w i t h t h e n a t u r e of t h e libations for w h i c h it was
employed.

S E V E R A L S U P E R P O S E D C O L O R S , in a nar

A l t h o u g h t h e vase-painting that fills t h e zone

row tonal range from cream to t a n a n d b r o w n ,

inside t h e shallow bowl consists of colorful sil

are employed in t h e u n u s u a l landscape depiction

houettes n o t detailed b y incision, t h e phiale's

of three a n o n y m o u s spear-bearing y o u n g horse

omphalos itself is decorated w i t h a black rosette

men p u r s u i n g a stag t h r o u g h a forest on t h e inte

w i t h incised borders inscribed w i t h i n a compass-

rior of this libation bowl. This h u n t frieze r u n s

d r a w n incised circle. This circle is filled w i t h t a n

clockwise, filling t h e zone a r o u n d t h e circular

pigment, a n d there are traces of red a r o u n d t h e

omphalos w i t h an engagingly organized disposi

rosette. T h e black gloss t h a t serves as a g r o u n d

tion of form as well as color. Here four tall, leafy

for t h e interior decoration also covers this phia

trees p u n c t u a t e t h e spaces b e t w e e n t h e riders

le's exterior, save for a reserved line a r o u n d t h e

themselves a n d b e t w e e n t h e first a n d last riders

rim a n d t h e reserved concave u n d e r s i d e of its

a n d t h e r u n n i n g stag. A l t h o u g h t h e trees all have

omphalos.

sticklike t r u n k s a n d similar rows of spreading

branches, t h e variety of leaf shapesivylike,
elongated dabs, or strokessuggests that t h e y
belong to different species. In addition, these
trees are variously described w i t h a t a n t r u n k ,
t a n branches, a n d cream leaves; a t a n t r u n k , t a n
branches, a n d t a n leaves; or a cream t r u n k , t a n
branches, a n d cream leaves. T h e scene's landscape
setting has a remarkable lacelike delicacy, w h i c h
is u n d e r s c o r e d b y t h e sectional ornamental border
a r o u n d t h e omphalos, consisting of cream dots
b e t w e e n t a n lines b o r d e r i n g a t a n dotted zigzag.
This border, w h i c h is intersected by t h e trees,
m i g h t be purely decorative, b u t it m i g h t also be a
stylized suggestion of t h e u n e v e n terrain b e n e a t h

91 SIX'S TECHNIQUE

BAPD Vase 41713; CVA Berlin 1 [DDR 1] pis. 51.6,

52.4, Beilage 8; Furtwangler 1895, 40, no. 43, fig. 17; Neugebauer 1932, 57; Schauenburg 1969, 16 at n.72, 33n.72, 39, pi. 17;
Schnapp 1997, 357, fig. 404, 519, no. 404; Barringer 2001, 68, no.
113.
The reference to a hunt with trees on a polychrome phiale in
Pfuhl 1923, i, 334, probably is to this example. Cf. fragmentary
Six's-technique phialai from the Athenian Agora, Moore and
Philippides 1986, 273-74, esp. nos. 1432 (P 15922) and 1434
(P 24868), pi. 98. On the shape, see cat. nos. 18, 50.

REFERENCES:

20.1

slightly diluted black gloss. A single line of black

gloss, r u n n i n g a r o u n d t h e vessels b o d y at its
broadest point, serves as a g r o u n d l i n e for b o t h
friezes. T h e u p p e r surface of t h e foot a n d short
stem are p a i n t e d black, a n d their dark color b o t h
anchors a n d emphasizes this vase's remarkable
pale body.
This exaleiptron's t e c h n i q u e is n o t s t a n d a r d
black-figure, w h e r e w h i t e forms w o u l d b e laid
over black gloss a n d n o t like here directly u p o n

20
MINIATURE EXALEIPTRON
DECORATED WITH WHITE FIGURES
ON RESERVE

t h e reserved g r o u n d . In c o n t e m p o r a r y early r e d figure, w h i t e forms are generally n o t employed.

In c o n t e m p o r a r y Six's t e c h n i q u e , w h i t e forms
are p a i n t e d o n t o p of a black g r o u n d , b u t , as
here, also often detailed w i t h light incision a n d
added colors (cf. cat. nos. 15, 17). Thus, in terms

U n a t t r i b u t e d , ca. 525-500 B.C.

of excerpting elements from t h e vocabulary of

H 4.8 cm; Diam (of body) 7.5 cm

black-figure a n d employing t h e m differently,

Berlin, A n t i k e n s a m m l u n g , Staatliche M u s e e n

p e r h a p s in reaction t o t h e advent of red-figure,

zu BerlinPreulsischer Kulturbesitz F 2105

this vessel's curious decoration, t h o u g h it lacks

From A t h e n s ; p u r c h a s e d 1882

a black g r o u n d , has its closest k i n s h i p w i t h Six's

technique.

U p p e r frieze, procession to right of three

pantheresses

alternating

with three sirens

Full-sized examples of t h e exaleiptron, a dis

tinctive spreading vase shape, were m a d e w i t h

Lower frieze, three pairs of birds: hen on left facing

a ledge a r o u n d t h e inside of t h e m o u t h (lacking

a swan on right

in this miniature), w h i c h was used t o accommo

date a lid. Like t h e full-sized models, this vessel

C O N D I T I O N : Very good; intact; chips missing from

is painted black inside, a n d it has a n i n w a r d -

sides and bottom of foot; foot's resting surface

c u r v i n g lip, w h i c h probably served t o p r e v e n t

abraded; black gloss around upper edge of mouth

liquid c o n t e n t s p e r h a p s perfumed oilfrom

slightly abraded; upper frieze: loss of added white

on body of one pantheress and on one siren; some

spilling. This shape has also been called a k o t h o n

added red lost; lower frieze: head of one swan lost;

or a plemochoe in m o d e r n scholarship, b u t exa

added white lost on another swan's legs.

leiptron may actually have been its ancient Greek

name. I n vase-paintings t h e large versions are gen

T H E T E C H N I Q U E E M P L O Y E D to decorate this

erally held b y w o m e n , often in scenes associated

Late Archaic miniature exaleiptron is highly

u n u s u a l . In t h e little animal friezes o n t h e u p p e r
a n d lower surfaces of its reserved body, p a n
theresses, sirens, a n d birds are painted in w h i t e
directly o n t o p of t h e clay g r o u n d . These w h i t e
creatures are n o t merely silhouettes b u t are
detailed w i t h incision a n d added r e d as well as

w i t h w e d d i n g s a n d funerals. T h e w h i t e decoration

92 SIX'S TECHNIQUE

of this charming miniature emphasizes aspects

of femaleness w i t h its fearsome pantheresses a n d
w o m a n - h e a d e d birds, a n d , o n t h e u n d e r s i d e ,
domesticated h e n s paired w i t h swans, t h e latter
birds commonly associated w i t h t h e goddess of
love, A p h r o d i t e .

20.2

20.3

R E F E R E N C E S : BAPD Vase 41989; CVA Berlin 7 [Germany 61] 62,

pi. 46.9, 12-15, Beilage L, no. F 2105, with comparanda; Furtwangler 1885, I, 462, no. 2105; Burrows and Ure 1911, 76n.27;
Pfuhl 1923, I, 245, 305, 335; Neugebauer 1932, 76; Gehrig, Greifenhagen, and Kunisch 1968, 179, no. F 2105.
Cf. the white cock on reserved ground on a black-figured
skyphos, Athens, Agora Museum P 8919: Moore and Philippides
1986, pi. 106, no. 1620. For the Berlin vase's shape, see, recently,
Clark, Elston, and Hart 2002, 89-90; Schreiber 1999, 106-109; see
also, as plemochoe, Richter and Milne 1935, 21-22, figs. 146-48;
and for depictions of full-sized versions in vase-painting, see
Reeder 1995, 143, no. 12, 147, no. 14, 167, no. 24. Cf. the minia
ture black-figured exaleiptron with swans recently found in Ath
ens, Parlama and Stampolidis 2000, 318, no. 323.

93 SIX'S TECHNIQUE

21

21
FRAGMENTARY SKYPHOS
A t t r i b u t e d to near t h e Theseus Painter a n d
t h e Heron Class, ca. 510-500 B.C.
H 15.8 cm
Malibu, J. Paul Getty M u s e u m 76.AE.127
Gift of Lynda a n d M a x Palevsky, 1986
Youth drinking from a wine cup while

94 SIX'S TECHNIQUE

balancing

C O N D I T I O N : Assembled from fragments; about

one-third preserved; handles missing; black gloss
abraded and chipped on lip and inside bowl; chips
missing around outer edge of foot near resting sur
face; t w o patches of greenish residue from modern
adhesive tape on bowl's interior; added red pitted
and cracked on youth's body; preservation of red
differs on upper (browner red) and lower (brighter
red) fragments of figure; added white of youth's cup
chipped and scratched.

A S I N G L E M A L E F I G U R E cavorts against a

across t h e g r o u n d above t h e cavorting

black g r o u n d on t h e preserved section of this

W r i t i n g in red on t o p of black gloss is standard in

figure.

large s k y p h o s s body. This y o u t h has b e n t clear

c o n t e m p o r a n e o u s red-figure.

over toward t h e left while d r i n k i n g from his w i n e

W h i l e t h e Malibu s k y p h o s s Six's-technique

cup so t h a t his left h a n d t o u c h e s t h e g r o u n d , a n d

decoration a n d acrobatic y o u n g komast may evoke

he balances himself on t h a t h a n d a n d his securely

c o n t e m p o r a n e o u s red-figure, its shape and orna

p l a n t e d r i g h t foot as h e lifts his flexed left leg u p

ment place it firmly w i t h i n t h e realm of late Attic

high, exposing his genitals. This acrobatic y o u t h

black-figure. A black i v y vine, w i t h a dilute cen

evokes t h e realm of red-figure vase-painting of

tral stem, encircles t h e rim on a reserved b a n d j u s t

t h e late sixth c e n t u r y B.C., w h e r e komasts com

b e n e a t h t h e r o u n d e d lip, a n d a red line r u n s along

monly use a n d abuse d r i n k i n g vessels in depic

t h e p o t t e d articulation at t h e t o p of t h e body. T h e

tions o n d r i n k i n g vessels. A red-figure y o u t h on

fillet m a r k i n g t h e j u n c t u r e of t h e s k y p h o s s b o d y

a palmette eye-cup in Paris balances a large sky-

a n d foot is also red; above it, alternating r e d a n d

p h o s similar t o t h e M a l i b u one o n his midsection.

black t o n g u e s o n reserve, b o u n d e d above b y three

Single figures in eye-catching, active poses also

dilute lines a n d below b y t w o , encircle t h e lower

decorate t o n d o s of red-figured cups. In addition,

p a r t of t h e bowl. Here t h e vase-painter's careless

t h e impressive size of t h e M a l i b u s k y p h o s brings

mistakes before t h e vessel was fired have been

to m i n d t h e m o n u m e n t a l tradition cultivated b y

preserved. Black gloss spattered o n b o t h t h e lower

Oltos a n d Euphronios of spotlighting single red

a n d u p p e r reserved ornamental borders, a n d t h e

figures on either side of black-bodied a m p h o r a e .

painter accidentally smeared t w o black tongues,

Rather t h a n being reserved in t h e color of

one at t h e far right and a n o t h e r directly below t h e

t h e clay, however, t h e red figure o n t h e Malibu

youth's right foot. The last smear has preserved

s k y p h o s has been applied w i t h t h i c k b r i g h t red

t h e artist 's

paint o n t o p of t h e black-gloss g r o u n d . Details

of this y o u t h s form have been incised into t h e

fingerprint.

Janet B. Grossman (1991) associated t h e Mal

i b u s k y p h o s w i t h t h e w o r k s h o p of t h e Theseus

red, i n c l u d i n g his eye a n d brow, t h e overlap

Painter; it also brings t o m i n d t h e Heron Class,

p i n g contours of his limbs, their inner anatomical

from w h i c h that painter arose. A comparable

markings, a n d his genitals. W h i l e t h e use of inci

black-figured s k y p h o s of t h e Heron Class in Hei

sion may recall black-figure, t h e shallow incised

delberg, a t t r i b u t e d t o t h e Group of Walters 48.42

lines o n t h e y o u t h s b o d y pierce only t h e r e d pig

of t h e Krokotos Group, depicts o n either side a

ment, revealing t h e u n d e r l y i n g black gloss. A t

large, a w k w a r d l y reclining drinker h o l d i n g a c u p

t h e same time, t h e c o n t o u r of his black hair h a s

by its stem flanked b y aulos players a n d grape

been emphatically incised directly into t h e black

vines. The Heidelberg s k y p h o s probably exempli

g r o u n d , a m e t h o d of definition common in early

fies t h e milieu of t h e Getty s k y p h o s s artist before,

red-figure vase-painting. His hair is b o u n d b y a

inspired b y red-figure, h e made a bold v e n t u r e

fillet p a i n t e d in t h e p u r p l i s h red that is t h e usual

into Six's t e c h n i q u e .

a d d e d r e d of Attic vase-painting. This p u r p l i s h

a d d e d r e d is also t h e color employed for t h e fine
d o u b l e g r o u n d l i n e o n w h i c h t h e y o u t h balances;
these lines were applied o n t h e wheel a n d encircle
t h e skyphos's body. The y o u t h s cup, w h i c h h e
grasps b y t h e stem of its foot, h a s been painted
on t o p of t h e black gloss in added w h i t e a color
more p o p u l a r in black- t h a n in red-figure. T h e
spatial position of this cup has been carefully con
sidered: Its rim overlaps t h e youth's chin, b u t its
right side is overlapped b y his arm. A nonsense
inscription, p a i n t e d in red (now faded), e x t e n d s

95 SIX'S TECHNIQUE

BAPD Vase 46460; Grossman 1991, 17-19, 18, figs.

2a-c.
For the palmette-eye-cup, near the Scheurleer and BowdoinEye Painters, Paris, Musee du Louvre G 73, see ARV 49.186, 170,
1630; BAPD Vase 200396; and see also, for the iconography of bal
ancing and vase abuse, Cohen and Shapiro 2002, with pi. 19b. On
spotlighted black-bodied amphorae, see Klinger 1993 and Neer
2002, 65-69; for a later example, attributed to the Berlin Painter,
see Cohen, Introduction, figs. 1-2. For the black-figured skyphos,
Heidelberg, Ruprecht-Karls-Universitat 277, see ABV 206.2; Para
93.2; BAdd 55; BAPD Vase 302648; CVA Heidelberg 1 [Germany
69] pi. 42.3-5. On large skyphoi of the Heron Class (named for
the white herons under the handles of some skyphoi), ABV 205,
617, see recently Scheibler 2000. On red color, see this volume,
Lansing-Maish in Technical Studies essay.

REFERENCES:

T H I S W E L L - P R E S E R V E D l i t t l e l e k y t h o s is a

charming example of Six's t e c h n i q u e that, w i t h

its pale decoration on a black g r o u n d , mimics t h e
aesthetic effect of c o n t e m p o r a n e o u s early redfigure. The large, floating apotropaic eyes here,
w h i c h tilt d o w n w a r d from p o i n t e d u p p e r outer
corners t o long p r o n o u n c e d tear glands, recall
eyes o n very early bilingual eye-cups a n d also
on Nicosthenic black-figured eye-kyathoi (True,
chap. 7, fig. 1); b o t h were decorated b y t h e exper
imental vase-painter Psiax, a n early practitioner of
Six's t e c h n i q u e (Mertens, chap. 6, fig. 1). U n u s u
ally, t h e Karlsruhe lekythos's large eyes have n o
brows, and, p e r h a p s because their sclerae have
actually been painted white, there are n o w h i t e
rings in t h e compass-drawn oculi. These oculi, in
fact, are exceptionally small, w i t h only a red ring
a r o u n d a black center a n d a red d o t (preserved o n
t h e right eye) over t h e compass point.
A w h i t e dog, its b o d y facing r i g h t b u t its
head t u r n e d back toward t h e left, fills t h e space
22.1

b e t w e e n t h e eyes. As h e points his muzzle u p w a r d

to howl, all four of his long r u b b e r y feet are
p l a n t e d o n t h e red g r o u n d l i n e , a n d his b u s h y tail

22
LEKYTHOS

curls over his back. He wears a red collar; red also

describes t h e pupil of his eye a n d a n arc o n his
r u m p . Unlike t h e deep compass-drawn circles of
t h e oculi, his other inner anatomical m a r k i n g s are

U n a t t r i b u t e d , ca. 520-515 B.C.

r e n d e r e d w i t h delicate incision that does n o t p e n

H 9.8 cm

etrate t h e lekythos's black-gloss g r o u n d .

Karlsruhe, Badisches Landesmuseum 90/4

Basel a r t market; p u r c h a s e d 1990

This dog seems t o stand at t h e crossroads

b e t w e e n black- a n d red-figure. A n earlier h o w l
ing black-figure dog sits b e t w e e n t h e eyes o n t h e

Dog between

eyes

exterior of a Chalcidian eye-cup in Copenhagen,

Thorvaldsens M u s e u m . On Attic pottery, sev

C O N D I T I O N : Good; intact; black gloss chipped on

exterior of mouth and handle, and at juncture of
body and foot; chips on foot's underside; orangish
misfiring of thinly applied gloss, esp. on lower back
of body; chips in surface, esp. on back; minor losses
in relief-line stems of black lotus buds on shoulder;
some loss of added red on top of mouth, on band
around top of body, on rings in oculi of large eyes,
on pupil of left large eye, and on groundline; some
added white flaked from left large eye, esp. at upper
contour, and from legs of dog; gash in added white
on right large eye.

96 SIX'S TECHNIQUE

eral dogs inhabit black-figured t o n d o s of early

bilingual cups, including examples associated
w i t h t h e innovators of Six's t e c h n i q u e , Psiax a n d

Nikosthenes. In contrast, red-figure dogs generally

do not appear on eye-cup exteriors. T h u s , t h o u g h
t h e Karlsruhe dog evokes red-figure, its closest
k i n may actually have been r e n d e r e d in Six's tech
n i q u e : namely, t h e w h i t e dogs w h o greet naked
w o m e n on t h e Nicosthenic a m p h o r a in t h e Louvre
w i t h t h e potter-signature of Nikosthenes (cat. no.
15). In sum, this slight lekythos by an a n o n y m o u s
minor master showcases an experimental tech
n i q u e t h a t also characterized more ambitious cre
ations at this time of transition.

BAPD Vase 43095; Hunnekens 1991, 8-10, 19, figs.

1, second from left, 2-3.
For the Chalcidian eye-cup in Copenhagen, Thorvaldsens
Museum, see Rumpf 1927, 37, cat. no. 260, pi. 186.1. For compa
rable eyes on early bilingual eye-cups, see Cohen 1978, pis. 57.3,
58.3 and, for black-figure tondos, see 301-302, no. B 21, 304, and
no. B 22, 309, pi. 62.3: Munich, Antikensammlung 2580, ARV
40.13; BAdd 158; BAPD Vase 200222. For kyathoi, see Eisman
1971 and 1975. Cf. also the Amasis Painter's contemporaneous
black-figured cup with an eye-siren, Boston, Museum of Fine Arts
10.651: ABV 157.86; Para 65; BAdd 46; BAPD Vase 310515, on
which dogs defecate beneath the handles; and, finally, an earlier
top-band stemless of ca. 530 B.C. in Copenhagen, Thorvaldsens
Museum H 582, with a black-figure fox between the eyes on each
side: Para 100.5; BAPD Vase 340247; CVA Thorvaldsens Museum
1 [Denmark 9] pi. 82, no. 78. For a dog in red-figure, cf. the tondo
of the cup, Oxford, Ashmolean Museum 1966.447: ARV 96.136,
1625; Para 330; BAdd 171; BAPD Vase 200832.

REFERENCES:

22.2

97 SIX'S TECHNIQUE

23
LEKYTHOS
U n a t t r i b u t e d , ca. 500 B.C.
H (restored) 22.2 cm
N e w York, The Metropolitan M u s e u m of Art
67.11.22, Rogers F u n d , 1967
Purchased 1967
Herakles with the Delphic

tripod

C O N D I T I O N : Neck modern; nonjoining handle and

mouth; mouth composed from fragments; body and
foot intact, save for crack in left side of shoulder;
abrasion and loss of black gloss on left side and
at lower right; losses in red of groundline, lines
around top of b o d y and leaves of Herakles' wreath;
chip of white missing on Herakles' club; losses in
creamy orange color especially on rings and legs of
tripod and on tail and legs of fawn; traces of root
marks and brown incrustation on Herakles' club
and on underside of vase's foot.

I N THIS EXCERPT FROM THE

STRUGGLE

b e t w e e n Herakles a n d Apollo for t h e Delphic tri

pod, a p o p u l a r m y t h in t h e Late Archaic period,
t h e hero does not wear t h e Nemean Lions skin,
w h i c h may signify t h a t t h e t r i p o d incident was
believed to have taken place before his labors.
Here Herakles carries off t h e tripod, looking back
as he r u n s toward t h e right. T h e p u r s u i n g god
is not depicted, b u t Apollo's deer races after t h e
hero. Its forelegs originally overlapped his rear
heel. This energetic a n d colorful vase-painting,
t h o u g h u n a t t r i b u t e d , is a fine example of m a t u r e
Archaic Six's t e c h n i q u e , in w h i c h imagery is
described b y means of incision as well as polychromy u p o n a black g r o u n d .
W i t h o r n a m e n t h e r e t o n g u e s a n d lotus b u d s
in black silhouetterestricted to t h e reserved
shoulder, t h e lekythos is black-bodied. A pair of
red lines r u n a r o u n d t h e b o d y above t h e

figures,

a n d there is a red g r o u n d l i n e below. This formula

for t h e disposition of o r n a m e n t a n d black gloss is
akin to t h e one employed in t h e c o n t e m p o r a n e
ous late black-figure w o r k s h o p of t h e S a p p h o a n d
23.1

Diosphos Painters (cf. cat. nos. 24, 25), t h o u g h

b o t h t h e u n a t t r i b u t e d lekythos's fatter b o d y a n d
t h e r o b u s t h a n d of its painter differ. T h e n u d e

male hero is a black figure, t h a t is, his body's con

t o u r has been incised into t h e black g r o u n d , a n d
t h e color of t h e g r o u n d supplies t h e color of his
flesh. His facial features, locks of curly hair, a n d
t h e anatomical m a r k i n g s on his limbs are likewise
incised.
A l t h o u g h black on black g r o u n d , Herakles'
b o d y has been given greater substance t h r o u g h
t h e clever spatial disposition of t h e tripod's legs.
He holds t h e t r i p o d horizontally in his left h a n d
b y its central orange-painted leg so t h a t this tri
p o d leg overlaps his left arm a n d t h e rear view of
his u p p e r torso. The remaining t w o orange t r i p o d
legs are in t u r n overlapped by Herakles' head a n d
b u t t o c k s . T h e central t r i p o d leg is a d o r n e d w i t h
black dots applied over t h e orange a n d terminates
in an animal-paw foot, t h e toes of w h i c h have been
incised. T h e tripod's cauldron and leg braces are
white; its r o u n d orange h a n d l e s have black attach
ments, w h i c h are p a i n t e d over t h e a d d e d colors
a n d distinguished from t h e black g r o u n d by t h e
incised contours of their tips. Orange a n d black
are also employed for t h e r u n n i n g deer; black
spots on its h i n d q u a r t e r s suggest fawn skin. This
deer's i n n e r anatomical m a r k i n g s a n d t h e contour
of its eye are defined by incision. The tripod's
w h i t e details are balanced b y t h e k n o b b y w h i t e
club Herakles wields in his right h a n d a n d t h e
central w h i t e stem of his b r i g h t red-leaved w r e a t h .
T h e red color of his beard is somewhat faded, a n d
b e n e a t h Herakles' raised right arm are s h a d o w s
of letters from an inscription t h a t was once w r i t
t e n vertically in red. The still legible E suggests it
could have been a name tag for t h e hero.
This lekythos has misfired somewhat, espe
cially w h e r e t h e black gloss was applied in t h i n
streaks, i n c l u d i n g on Herakles' b u t t o c k s and
thighs. In this orangish area of t h e hero's b o d y
m a n y impressed preliminary sketch lines are vis
ible, for t h e black gloss accumulated in these lines
is darker t h a n t h e s u r r o u n d i n g vase surface. These
sketch lines reveal t h e care t h a t was nonetheless
devoted to t h e execution of this minor work,
w h i c h was i n t e n d e d to compete w i t h pioneer
ing p r o d u c t s from c o n t e m p o r a r y red-figure
workshops.

99 SIX'S TECHNIQUE

23.2

BAPD Vase 311; Bothmer 1977, 61, no. 170, pi. 19.4;
LIMC v (1990) s.v. Herakles I, 139, no. 3051, pi. 134 (S. Wood
ford); Grossman 1991, 24, no. 76, and 25n.3 for the preliminary
sketch.

REFERENCES:

24
LEKYTHOS
A t t r i b u t e d to t h e Diosphos Painter,
ca. 500 B.C.
H 19 cm
Karlsruhe, Badisches Landesmuseum B 34
From Agrigento; acquired 1838
Galloping horseman with riderless horse and hound
C O N D I T I O N : Good; body intact; break in neck;
handle reassembled from fragments; foot reattached;
chips around outer edge of foot's resting surface;
brown and black incrustations on underside; losses
of white color on rider's petasos and on void horse;
losses of orange-brown flesh color on limbs of
youth; on limbs, genitals, and tail of hound, and
on tail of black horse; loss of added color, probably
flesh color, for rider's spears; chips in vase surface,
esp. on head of black horse and at top of rider's
petasos; ground misfired red where added color has
flaked, e.g., at the white horse's hind legs; red mis
firing in circle above groundline to right of horses's
forelegs; additional red misfiring behind horses
where black gloss was applied thinly.

WITH

THE NOBLE MALE GENRE

SUBJECT

on this r a t h e r well-preserved Six's-technique

lekythos, t h e Diosphos Painter demonstrates his
inventive technical ability, w h i c h avoids t h e use
of red-figure (cf. cat. n o 25). This is fitting, for
he was an associate of t h e Sappho Painter (cat.
nos. 54, 55) in an i m p o r t a n t late black-figure
w o r k s h o p t h a t also p r o d u c e d black-figured a n d
semi-outline w h i t e - g r o u n d lekythoi (cat. no. 56).
On t h e Karlsruhe lekythos t h e speed of t h e chase
is aptly represented b y a y o u n g h u n t e r w i t h his
horses a n d h o u n d . Shown ideally n u d e save for
24.1

the petasos on his head, he holds (now-faded)

paired spears horizontally in his r i g h t h a n d , while
pulling u p on t h e horses's reins (which are appar
ently omitted) in his left. For t h e youth's b o d y
a n d his h o u n d , t h e painter has i n t r o d u c e d a n a t u
ralistic o r a n g e - b r o w n flesh color, w h i c h echoes
t h e effect of reserve b u t is simply p a i n t e d o n t o p
of t h e black g r o u n d . Anatomical details on these
flesh-colored

forms have been delicately incised

t h r o u g h t h e applied p i g m e n t w i t h o u t p e n e t r a t i n g
t h e u n d e r l y i n g black g r o u n d . T h e genitals a n d tail

100 SIX'S TECHNIQUE

of t h e y o u t h s m o u n t are orange b r o w n as well. In

addition, c o n t o u r s incised in t h e black g r o u n d ,
characteristic of t h e most intricate form of Six's
t e c h n i q u e , describe t h e youth's black hair a n d his
black horse. T h e youth's o r a n g e - b r o w n b o d y has
been p a i n t e d r i g h t over t h e already incised line of
t h e horse's back. Finally, to p r e v e n t t h e large black
animal from seeming insubstantial against t h e
black g r o u n d , t h e Diosphos Painter has cleverly
allowed t h e youth's m o u n t to overlap t h e b r i g h t
w h i t e void horse. T h e t w o horses in this memo
rable e q u i n e image move in t a n d e m , w r a p p i n g
a r o u n d t h e lekythos's b o d y w i t h their tails stream
ing b e h i n d t h e m , their rear hooves still p l a n t e d on
t h e g r o u n d , a n d their forelegs raised high. Their
r u n n i n g position seems more naturalistic t h a n t h e
ancient convention of t h e flying gallop, in w h i c h
all four legs are lifted from t h e g r o u n d at once a n d
spread fore a n d aft (cf. cat. no. 50). This r u n n i n g
position is repeated for t h e h o u n d , w h o eagerly
accompanies his master, filling t h e space b e n e a t h
t h e horses.
Extensive impressed preliminary sketch lines,
characteristic of t h e Diosphos Painter (cf. cat. no.
25), are still visible t h r o u g h o u t t h e composition.
Interestingly, a d d e d r e d i n a r a t h e r b r o w n i s h
h u e h a s been restricted to t h e Diosphos Painter's
standard g r o u n d l i n e a n d t h e pair of lines r u n n i n g
a r o u n d t h e t o p of t h e lekythos's entirely black
body. Black palmettes w i t h tendrils a n d dots deco
rate its reserved shoulder instead of t h e lotus b u d s
common on smaller models (cf. cat. no. 22).

Para 248.Haspels no. 78 (Carlsruhe 231); BAPD Vase

31768; repeated (under acc. no. 231) as BAPD Vase 361415: bibl.
divided between the BAPD nos.; CVA Karlsruhe 1 [Germany 7] 37,
pi. 31.1; Politi 1832, n, pi. 2.6 (reversed); Winnefeld 1887, 56, no.
231; Haspels 1936, 235, no. 78; Agrigento 1988, 26, 153, no. 35;
Grossman 1991, 22, no. 24; Hunnekens 1991, 8, fig. l.left, 14-15,
fig. 11, 16, fig. 12, 18, fig. 13.left, 19-20.

REFERENCES:

101 SIX'S TECHNIQUE

24.2

25

25
LEKYTHOS

of t h e satyr crouching before her. Her w h i t e b o d y

has been p a i n t e d over t h e black g r o u n d . I n n e r
anatomical m a r k i n g s are incised on t h e white,

A t t r i b u t e d to t h e Diosphos Painter,

t h o u g h not necessarily correctly; her right breast

ca. 500-490 B.C.

is h i g h a n d a w k w a r d l y placed. The border of her

H 19.2 cm

black hair has been differentiated from t h e black

Basel, A n t i k e n m u s e u m Basel u n d Sammlung

g r o u n d by incision. Two long, w a v y locks t h a t

L u d w i g BS 423
E u r o p e a n art market; p u r c h a s e d 1965

fall on her w h i t e chest are painted in a b r o w n i s h black dilute, a n d her p u b i c hair is also p a i n t e d
over her b o d y w h i t e in a black dilute.

Woman depilated by satyr

This standing w o m a n is leaning on t h e satyr

for s u p p o r t d u r i n g her depilationa painful

C O N D I T I O N : Poor; handle and neck cracked; body

intact; chips missing at edge of shoulder; abra
sion around edge of resting surface on reattached

beautification ritual of an ancient woman's toi

let. By crouching, t h e satyr has a better vantage

foot; surface pitted and eroded overall with much

point for his task, as he e x t e n d s his right h a n d ,

loss of black gloss; loss of added red from hearts of

w i t h t h u m b and i n d e x finger together, toward t h e

black palmettes on reserved shoulder, lines around

naked woman's p u b i c hair. T h e w h i t e impression-

lekythos's body, and hand mirror; patches of surface

istically applied for t h e black satyr's long beard,

erosion over woman's body result in loss of her eye,

much of her right hand, left breast, and right foot;

fluffy hair, a n d curling tail suggests his advanced

erosion of incised contour of satyr's body; added

age. Copious impressed preliminary sketch lines

white flaked and faded on satyr's beard, pitted on

are still visible w i t h i n t h e incised contours of t h e

his hair and tail.

satyr's b o d y as well as in t h e black g r o u n d a r o u n d

t h e woman's body. The h a n d mirror, filling t h e

DESPITE THE BASEL LEKYTHOS'S ERODED

space above t h e crouching satyr, helps to balance

condition, its u n i q u e depiction of a w o m a n w h o s e

t h e impressive standing n u d e w o m a n . This mirror,

p u b i c hair is being p l u c k e d out b y a satyr, w h i c h

w h i c h h a n g s from a w h i t e loop, is a n o t h e r detail

is r e n d e r e d in t h e most elaborate form of Six's

described naturalistically in t h e vocabulary of

t e c h n i q u e , c o u n t s among t h e masterpieces of

Six's t e c h n i q u e , w i t h a w h i t e h a n d l e suggesting

this colorful t e c h n i q u e s leading practitioner, t h e

ivory, a n d a r o u n d red disk suggesting t h e shiny

Diosphos Painter (cf. cat. no. 24). Forms on this

surface of a bronze Greek mirror. This inventive

substantial lekythos's black b o d y are described

scene is bordered w i t h t h e painter's characteris

w i t h a d d e d red, black gloss, a n d incision in addi

tic red g r o u n d l i n e r u n n i n g a r o u n d t h e lekythos

tion to a d d e d w h i t e . This variety in coloration has

b e n e a t h t h e figures a n d t w o red lines above.

enabled t h e painter to emphasize effectively t h e

In entering t h e woman's q u a r t e r s a n d h e l p

g e n d e r contrast of w h i t e female a n d dark male

ing her w i t h her toilet, t h e bestial satyr appears

flesh, w h i c h is traditional in black-figure b u t not

to take t h e place of a t r u s t e d foreign slave. At

possible in c o n t e m p o r a n e o u s red-figure.

t h e same time, he is a male voyeur witnessing t h e

A h a n d mirror h a n g i n g at t h e u p p e r right

female in an intimate m o m e n t t h a t an A t h e n i a n

places this lekythos's intimate scene indoors, pre

m a n w o u l d never have been allowed to see in daily

sumably in t h e women's q u a r t e r s of a house. The

life, b u t w h i c h t h e Diosphos Painter has g r a p h i

indoor setting precludes t h e possibility that this

cally visualized here.

image depicts a satyr w i t h a m a e n a d . Here a n a k e d

y o u n g female s t a n d s in a sort of c o n t r a p p o s t o
pose, w i t h her w e i g h t on her r i g h t leg, a n d her
left leg b e n t back at t h e k n e e so t h a t t h e heel of
her left foot is raised. She b e n d s her u p p e r b o d y
forward, placing her left h a n d on t h e balding head

103 SIX'S TECHNIQUE

BAPD Vase 7672; CVA Basel 1 [Switzerland 4] 128,

pi. 56.8, 10; Descoeudres 1981, 8-14, fig. 1; Grossman 1991, 22,
no. 21; Veyne, Lissarrague, and Frontisi-Ducroux 1998, 184-85,
fig. 31.
On depilation by plucking, see Kilmer 1993, 137-41.
REFERENCES:

26
MINIATURE CHOUS
WITH SUPERPOSED COLOR AND
ADDED CLAY

entirely covered w i t h black gloss a n d decorated

solely w i t h w h i t e forms detailed w i t h b r o w n
dilute gloss a n d embellished w i t h a d d e d clay. This
showcasing of superposed color o n a black g r o u n d
should be considered a form of Six's t e c h n i q u e .
Such surface decoration is q u i t e fragile, a n d it

U n a t t r i b u t e d , ca. 400 B.C.

often does n o t w i t h s t a n d m o d e r n cleaning or res

H 6 cm

toration. In t h e case of this chous, more preserved

Karlsruhe, Badisches Landesmuseum B 1517

w h i t e a n d added-clay details are visible in a n old

From A t h e n s ; acquired 1879

b l a c k - a n d - w h i t e p h o t o g r a p h taken before t h e res

toration of t h e vessel's m o u t h (fig. 26.2) t h a n on
t h e vase today.

Boy and dog

The little boy at t h e left of t h e superposed

C O N D I T I O N : Body intact; upper front edge of trefoil
mouth restored; handle alien; white vine and stems
connecting i v y leaves around neck of chous faded;
losses of superposed white on face and limbs of
boy and ear, muzzle, legs, and tail of dog; losses
of added clay on corymb of ivy, boy's anklet,

color image o n this chous is naked, save for

(originally) an ankle ring a n d a diadem a r o u n d his
head, b o t h of w h i c h were added in clay (fig. 26.2).
The diadem was once embellished w i t h w h i t e
rays or finials. Anatomical details a n d long w a v y

platform beneath dog, and left ball atop plat

locks of hair have been painted o n t o p of t h e boy's

form.

w h i t e b o d y in g o l d e n - b r o w n dilute gloss. T h e
frisky dog, perched o n a low, added-clay training

T H I S T I N Y J U G , w h i c h h a s a dis

tinctive shape consisting of a trefoil

m o u t h a n d p i n c h e d neck that curve
directly into a fat, r o u n d e d b o d y o n

26.1

platform, j u m p s u p o n his h i n d legs to greet his

master. I n d i v i d u a l hairs in t h e fluffy coat of this
w h i t e Maltese are p a i n t e d in g o l d e n - b r o w n dilute.
Two added-clay balls t h a t may soon be pressed

a ring foot, is o n e of some t h o u s a n d

into service rest atop t h e platform. This scene's

s u r v i v i n g miniature choes (sing, chous)

g r o u n d l i n e , w h i c h r u n s halfway a r o u n d t h e vase,

associated w i t h t h e Anthesteria, a n ancient

is also r e n d e r e d in a d d e d clay. T h e i v y w r e a t h

A t h e n i a n festival t h a t celebrated t h e n e w w i n e .

that encircles t h e vessel's neck, w h i c h may allude

On t h e festivals second day, literally k n o w n as

to w r e a t h s w o r n at t h e Anthesteria, is p a i n t e d in

Choes, adults engaged in a d r i n k i n g contest, g u z

a thick clay slip rather t h a n reserved, a n d , at t h e

zling w i n e from full-sized oinochoai of this shape

center front, relief dots of a d d e d clay describe t h e

w i t h a capacity of several liters. Smaller versions

berries in its c o r y m b . In 1887 there were traces

were given to children, w h o may well have h a d

of red a r o u n d t h e boy's added-clay diadem: A r e d

their first taste of w i n e from these

surface can often be observed o n clay t h a t was

muglike little j u g s , w h i c h varied

once gilded (cf. cat. n o . 48). T h u s , a l t h o u g h n o

in size w i t h t h e recipient's age.

traces of gilding have been preserved o n a n y of

These miniature choes also served

t h e added-clay details, it may originally have been

as grave offerings for children w h o

employed to e n h a n c e this juglet's delightful child

died, a n d t h e y generally depicted

h o o d vignette.

children's activities, like t h e boy

playing w i t h his p e t Maltese dog
s h o w n here.
Most of these small vessels are
decorated in late red-figure tech
n i q u e , employing either standard
reserve alone or else a combina
tion of reserved a n d a d d e d - w h i t e
forms. Occasionally, as o n this
example, red-figure reserve has
b e e n avoided; instead t h e vase is
26.2

104 SIX'S TECHNIQUE

BAPD Vase 12474; CVA Karlsruhe 1 [Germany 7] 37,

no. 3, pi. 37, no. 3; Winnefeld 1887, 70; Hoorn 1951, 121, no. 459,
fig. 323; Hamilton 1992, 216; Fitta 1997, 67, fig. I l l ; Neils and
Oakley 2003, 285.
On choes for children and the Anthesteria, see Hoorn 1951
and, more recently, Hamilton 1992; Clark, Elston, and Hart 2002,
118; Neils and Oakley 2003, 145-49, 284-87. See Neils and Oakley
2003, 146-47, 280, and 286-87 (for color illustrations of redfigured choes); 285, no. 95, the Six's technique chous with a boy
and dog of ca. 420 B.C., on loan to Cambridge, Harvard University
Art Museums, Arthur M. Sackler Museum, 24.1908, is described
incorrectly as having incised details rather than details painted in
dilute gloss.

REFERENCES:

CHAPTER 4

Added Clay and Gilding

Added Clay and Gilding i n Athenian

Vase-painting
Beth Cohen

FORTY

YEARS AGO

J. D.

BEAZLEY DESCRIBED

the three-

dimensional detailing of Helen's hair on the obverse of the

early fifth-century red-figured skyphos in Boston painted by
Makron as follows: "The hair is fair, but over the forehead the
curls are rendered by raised black dotsor rather bubbleson
a light ground. Here and elsewhere many of these bubbles have
1

b u r s t / ' Beazley's technical interpretation, which regards the

black dots as bubbles of gloss (the levigated slip that turned
black during firing, which has commonly been called glaze)
a n d t h u s t h e missing d o t s as b u r s t b u b b l e s
a p p e a r s to have b e e n derived from t h e observa

Eos on Douris's M e m n o n cup in t h e L o u v r e .

Raised black dots, in fact, are commonly used

tion t h a t a r o u n d e d depression remains in t h e clay

by A t h e n i a n red-figure vase-painters of t h e Late

g r o u n d of t h e vessel w h e r e v e r t h e black dots are

Archaic period to r e n d e r t h e i n d i v i d u a l curly

missing. Other w e l l - k n o w n A t h e n i a n red-figure

locks in hair a n d beards a n d also t h e i n d i v i d u a l

vase-paintings likewise display j u x t a p o s i t i o n s of

grapes in b u n c h e s . A well-preserved example

still-preserved a n d entirely missing raised black

of t h e former is found on t h e red-figured n e c k -

dots, i n c l u d i n g for t h e forelocks of Zeus on t h e

a m p h o r a w i t h t w i s t e d h a n d l e s of ca. 490480 B.C.

late s i x t h - c e n t u r y - B . c . p a r a d e cup b y Euphronios

a t t r i b u t e d to t h e Kleophrades Painter in t h e M e t

from t h e A t h e n i a n Akropolis and, from t h e early

ropolitan M u s e u m of A r t (fig. 1): Here all of t h e

fifth century, for t h e hair of t h e w i n g e d goddess

hair a n d beard dots of Herakles s u r v i v e .

106

Joseph V. Noble, in t h e first edition of The

Techniques of Painted Attic Pottery of 1965 a n d in
t h e volume's 1988 revision, p r o v i d e d an assess
m e n t of these raised black dots t h a t differs from
Beazley's, a n d t h a t has become t h e prevailing
explanation. Noble associated t h e dots w i t h relief
lines, w h i c h h e believed were made from t h i c k
ened black gloss e x t r u d e d o n t o t h e surface of t h e
vase b y means of a syringelike " d r a w i n g i n s t r u
4

m e n t . " His conclusion about t h e dots appears to

have been based mainly on t h e well-preserved
hair a n d beard of t h e Kleophrades Painter's Herak

Figure 1. Head of Herakles. Detail

les, a n d Noble illustrated his i m p o r t a n t book w i t h

of a red-figured neck-amphora,
attributed to the Kleophrades

t h e b l a c k - a n d - w h i t e p h o t o g r a p h i c enlargement

Painter, ca. 490-480 B.C. New York,

s h o w n here in figure 1.

The Metropolitan Museum of Art,

Rogers Fund, 1913, 13.233.

Firsthand examination of other red-figured

vases, however, readily reveals t h a t these black
dots are neither hollow b u b b l e s n o r solid globules

of t h e damaged b u n c h h a n g i n g over Dionysos's

of t h i c k e n e d gloss. Telltale evidence is p r o v i d e d

shoulder (cat. fig. 30.2) accentuates chips a n d

b y partially preserved black dots, a sizable sam

scratches t h a t appear to reveal that this cup's

pling of w h i c h survives on vases by Euphronios.

raised black grapes should likewise be dots of

On a calyx-krater fragment of ca. 515 B.C. in t h e

a d d e d clay, simply coated on t h e surface w i t h

J. Paul Getty M u s e u m , for example, t h e hair fram

black gloss.

ing t h e face of t h e painter's helmeted A t h e n a is a

Interestingly, a l t h o u g h t h e d o t s ' clay composi

mass of curls indicated b y raised black dots (cat.

tion is difficult to discern in t h e b l a c k - a n d - w h i t e

no. 29). In t h e catalogue of t h e Euphronios exhibi

p h o t o g r a p h s traditionally employed in vase schol

tion in Berlin, this last feature was described as

arship (see fig. 1 a n d cat. figs. 29.1-2 a n d 30.2-3),

"eine Serie aufgesetzer F i r n i s p u n k t e " " a series

t h e t r u e n a t u r e of t h e damaged black dots is vis

of raised dots of gloss." On t h e Getty Museum's

ible on t h e above t w o E u p h r o n i a n w o r k s t h e m

red-figured Euphronios fragment, however, t h e

selves a n d is readily a p p a r e n t in enlarged color

outermost surface of most of t h e raised hair dots

images.

has c h i p p e d off. Examination of this detail u n d e r

The practice of applying dots in clay relief

a microscope (cat. fig. 29.2) makes perfectly clear

simply coated w i t h black gloss was hardly exclu

w h a t can w i t h a bit of effort also be seen w i t h t h e

sive to Euphronios. Partially preserved, a n d t h u s

n a k e d eye: T h e raised dots are m a d e of added clay.

diagnostic, dot specimens are also found on vases

Evidently, d u r i n g t h e leather-hard clay vessel's

by other Late Archaic masters: for instance, in

decoration in t h e p o t t e r y w o r k s h o p , clay dots

t h e curly black hair a n d beard of Herakles on t h e

were pressed onto its surface in appropriate places

Berlin Painter's magnificent red-figured a m p h o r a

a n d t h e n simply coated w i t h t h e levigated slip

in Basel from t h e early fifth c e n t u r y (Cohen, I n t r o

t h a t became lustrous black gloss in t h e firing.

On t h e semi-outline, w h i t e - g r o u n d interior
of a fragmentary c u p a t t r i b u t e d to Euphronios,

duction, fig. 1). Noble's explanation has become so

utterly canonical, however, that, more often t h a n
not, even w h e n t h e clay fabric of t h e black dots is

w h i c h is also in t h e J. Paul Getty M u s e u m (cat.

visible, t h e y have been described as globules of

no. 30), raised black dots describe t h e i n d i v i d u a l

thickened gloss matter.

grapes in t h e heavy b u n c h e s h a n g i n g from t h e

In sum, raised black dots of t h i c k e n e d black

god Dionysos's vines. Fortuitously, for t h e present

gloss on Late Archaic A t h e n i a n red-figured vases

discussion, this fragmentary c u p has cracked clear

are a fiction: They appear to be an u n e x a m i n e d

t h r o u g h t h e b u n c h e s . Microscopic examination

a s s u m p t i o n of t w e n t i e t h - c e n t u r y scholarship.

107

These dots are actually tiny balls of clay pressed

lovely Early Classical cup in N e w York a t t r i b u t e d

onto t h e surface of t h e unfired clay vessel before

to t h e Villa Giulia Painter that depicts a goddess

standing before an altar, a half-dozen detailsthe

its decoration w i t h t h e levigated slip that fired

black.

goddess's phiale; t h e finial a n d b u t t of her scep

ter; her bracelets, necklace, earring; a n d t h e fillet

b i n d i n g her h a i r a r e r e n d e r e d in n o w - e x p o s e d
Added-clay

Relief and Gilding on Athenian

clay relief t h a t must once have been gilded (or

Vases

possibly covered w i t h tin leaf to imitate s i l v e r ) .

of the Sixth and Fifth Centuries B.C.

13

Perhaps t h e first preserved use in early A t h e

Indeed, raised black clay dots were commonly

nian red-figure or w h i t e g r o u n d of once-gilded

employed on A t h e n i a n Late Archaic red-figured

7

p o t t e r y . In t h e first generation of red-figure dur

or otherwise coated added-clay relief for objects,

ing t h e 520s B.C., for example, t h e A n d o k i d e s

such as camp stools a n d t h e s o u n d box of a lyre,

Painter used t h e m for t h e hair of Herakles, s t r u g

that were not i n t e n d e d to be covered w i t h black

gling w i t h Apollo for t h e tripod, on his very

gloss is on t h e exterior of t h e red-figured cup in

early a m p h o r a in Berlin a n d later in his o e u v r e

t h e J. Paul Getty M u s e u m of ca. 525-520 B.C.,

for Herakles' hair once again, in t h e u n i q u e fight

a t t r i b u t e d to Psiax (cat. no. 28). A shared use

w i t h t h e Nemean Lion on t h e red-figure side of t h e

of added-clay relief that was probably gilded

bilingual a m p h o r a in L o n d o n . A n experimental

s t r e n g t h e n s t h e evidence for Psiax having been

form of relief appears in t h e hair of Herakles on

t h e teacher of Euphronios. T h u s , it is possible to

this painter's early lionfight a m p h o r a in Basel (cat.

conclude that b o t h black a n d originally metallic

no. 27). Here t h e hero's curly black locks take t h e

raised details in A t h e n i a n red-figure a n d w h i t e -

form of long, S-shaped volutes, whose clay compo

g r o u n d vase-paintings share t h e t e c h n i q u e of

sition is e v i d e n t in a microscopic p h o t o g r a p h (cat.

employing a base of added-clay relief.

fig. 27.2).

During t h e fifth c e n t u r y raised black dots for

curly hair gradually w e n t out of fashion a n d were

Black dots for curly hair became t h e n o r m

t h r o u g h o u t s u b s e q u e n t early red-figure, as in

s u p p l a n t e d b y more sophisticated added-clay

t h e forelocks of Zeus, seated among deities in

r e n d e r i n g s of j e w e l r y a n d other objects t h a t were

Olympos, on Oltos's fine cup in T a r q u i n i a .

10

not meant to be black. A red-figured cup of t y p e

Sig

nificantly, on Euphronios's p a r a d e cup from t h e

C of ca. 490480 B.C. in London, signed on t h e

A t h e n i a n Akropolis, in t h e red-figure depiction

foot by t h e potter Brygos a n d a t t r i b u t e d to t h e

of t h e w e d d i n g procession of Peleus a n d T h e

Brygos Painter (cf. cat. nos. 47, 60, 8 4 ) ,

tis, black hair dots occur alongside items a d d e d

fully employs gilded added clay b o t h inside a n d

in raised clay t h a t do not appear ever to have

out. On t h e t o n d o , t h e y o u n g w o m a n Zeuxo is

been covered w i t h black gloss. These clay-relief

about to p o u r w i n e into t h e embossed metal phiale

detailsthe forelocks of Hera a n d A t h e n a , t h e

held in t h e e x t e n d e d right h a n d of t h e warrior

bracelets of A t h e n a a n d Thetis, a n d t h e phiale of

H e p h a i s t o s w e r e most likely originally g i l d e d .

11

14

master

Chrysippos. This phiale is r e n d e r e d illusionistically by means of gilded added-clay relief, a n d ,

Because gold leaf, unlike black gloss, has generally

remarkably, t h e figures' names have been w r i t t e n

flaked off entirely in Late Archaic examples a n d in

on t h e t o n d o w i t h added clay t h a t may also have

most Classical ones, exposed relief u n d e r p i n n i n g s

been gilded. On side A (fig. 2), Hermes a n d Her

for gilding have readily been recognized as a d d e d

akles come to t h e aid of Hera, w h o is t h r e a t e n e d

clay. Unusual examples of exposed clay relief

by satyrs. Here Hera's diadem a n d coiled snake

m o d u l a t e d w i t h incision appear on side A of t h e

bracelet, dots on Hermes' kerykeion,

a n d Herakles'

coral-red cup in N e w York, of ca. 500 B.C., signed

club have all been added in clay. The bits of gold

b y Hegesiboulos as potter (Cohen, chap. 2, fig.

leaf t h a t still cling to t h e club a n d diadem on side

8),

12

for t h e hair of t h e central y o u t h holding an

A, a n d to t h e phiale on t h e t o n d o , comprise t h e

oinochoe a n d t h e s o u n d box of t h e reclining sym-

earliest extant example of gilding on an Attic vase

posiast's lyre. On t h e w h i t e - g r o u n d interior of t h e

k n o w n to me. In addition, here a coating, p r o b -

108 COHEN . CHAPTER 4

ably red miltos, has been preserved on t h e surface

of t h e a d d e d clay b e n e a t h t h e gold.
During t h e Classical period gilded relief ele
m e n t s on vases become ever more prevalent, a n d
traces of t h e gilding are more frequently p r e
served. T h e Late Archaic Brygos c u p (see fig. 2)
was found along w i t h six other vases in a t o m b
at Capua n i c k n a m e d t h e "Brygos T o m b . "

15

One of

t h e later vases from this t o m b , an Early Classical

S p h i n x r h y t o n (True, chap. 7, fig. 4 )

1 6

of ca. 4 7 0 -

460 B.C., has almost perfectly preserved gilding

on t h r e e m o l d - m a d e gorgoneia that embellish t h e
creature's breast, a n d m a n y more traces survive on
t h e hair framing h e r face. This s t u n n i n g r h y t o n
comes from t h e w o r k s h o p of t h e potter Sotades,
w h i c h perfected several special t e c h n i q u e s (cf.
cat. nos. 86, 87, 90-99).
Other Early Classical examples of a d d e d clay
w i t h preserved gilding occur in conjunction w i t h
w h i t e - g r o u n d vase-painting. T h e covered c u p in
Boston of ca. 460 B.C. w i t h a w h i t e - g r o u n d depic
tion of Apollo a n d a M u s e (cat. n o . 31) has n o t
only preserved bits of gilding on its added-clay
details b u t also remains of a p r e p a r a t o r y g r o u n d .
As is explained in t h e catalogue entry, this
g r o u n d , w h i c h consists of g y p s u m a n d carbon,
evidently could n o t have been fired a n d t h u s p r o
vides evidence that t h e gilding on this vase h a d to

clay additions w i t h s u b t l e t y a n d refinement on

have been applied after t h e firing process.

special vases in b o t h red-figure (Cohen, chap. 5,

Figure 2. Hermes, Hera, and

Herakles. Detail of side A of
a red-figured cup of type C

A n o t h e r early preserved trace of gilding on t h e

fig. 8) a n d w h i t e g r o u n d (see fig. 5 a n d cat. n o .

signed by Brygos as potter,

added-clay of a w h i t e - g r o u n d vase is found on t h e

33). By t h e e n d of t h e century, t h e w e l l - k n o w n

and attributed to the Brygos

lid from a p y x i s of t y p e B of ca. 470460 B.C. w i t h

red-figured vases of t h e Meidias Painter's circle

a w e d d i n g procession a t t r i b u t e d to t h e Splanch-

literally sparkle w i t h scores of still-preserved dec

GR 1873.8-20.376, BM Cat

n o p t Painter (cat. n o . 32). T h e color of t h e a d d e d

orative gilded raised details. A red-figured p y x i s

Vases E 65.

clay employed here is orange, as on most of t h e

of t y p e B w i t h a lid in t h e M a n n e r of t h e Meidias

above-mentioned examples (e.g., cat. nos. 27-31)

Painter in L o n d o n (cat. no. 35), t h o u g h only 7.2

a n d also on t h e red-figured name vase of t h e Pen1 7

thesilea Painter (see fig. 4 ) , t h e main painter of

cm h i g h w i t h a diameter of 12.3 cm, has over a

h u n d r e d raised orange-clay details for gilding.

t h e w o r k s h o p in w h i c h t h e L o n d o n p y x i s must

Significantly, here, in addition to t h e u b i q u i t o u s

have been p r o d u c e d . T h e raised additions for

raised clay dots a n d short clay b a n d s for bracelets

gilding of Classical w h i t e - g r o u n d vase-paintings,

and t h e like, long, often curvilinear clay lines

however, are often composed of w h i t e clay, as on

have been employed for such items as t h e straps of

t h e famous double-disk in N e w York a t t r i b u t e d to

necklaces (cf. cat. n o . 33) a n d t h e feathered w i n g s

t h e Penthesilea Painter himself (cat. n o . 61) or on

of Erotes. These details were clearly applied w i t h

t h e delicate w h i t e - g r o u n d cups from w o r k s h o p of

clay e x t r u d e d from a syringelike implement. T h e

Sotades (cat. nos. 14, 90, 92, 93).

p o p u l a r i t y of d r a w i n g w i t h e x t r u d e d clay e x t e n d s

During t h e second half of t h e fifth century,

t h e Eretria Painter employs once-gilded orange

t h e Meidian aesthetic d o w n into t h e fourth cen

t u r y (cat. nos. 36, 100).

109ADDED CLAY AND GILDING IN ATHENIAN VASE-PAINTING

Painter, ca. 490-480 B.C.

London, The British Museum

Spatial Illusion in Athenian

Classical Free

Vase-painting

and

once-gilded j e w e l r y a n d metal vessels, projecting

Painting

in relief from t h e picture plane, literally e m b o d i e d

Does t h e presence of added-clay relief details on

l u x u r i o u s objects or shining forms before their

fifth-century Classical A t h e n i a n red-figure a n d

three-dimensionality a n d their reflective surfaces

w h i t e - g r o u n d vases have broader implications

could be suggested entirely t h r o u g h paint. T h e

b e y o n d t h e realm of p o t t e r y ? M y particular con

ultimate development in such p a i n t e d illusion

cern here is n o t associations b e t w e e n p o t t e r y a n d

is clearly attested on South Italian vases of t h e

metalwork.

18

Added-clay relief, of course, charac

fourth c e n t u r y B . C .

22

In t h e fifth century, h o w

terized t h e traditional p o t t e r y t e c h n i q u e of b a r b o -

ever, while a trompe-l'oeil suggestion of d e p t h of

tine, already employed so masterfully d u r i n g t h e

form came to be mastered t h r o u g h line drawing,

Aegean Bronze A g e .

1 9

W h e n first applied in Late

t h e rendition of shining metal objects solely b y

Archaic red-figure, added-clay details on p o t t e r y

means of paint was n o t yet common. A l t h o u g h

may have reflected a n association b e t w e e n p a i n t e d

gleaming highlights of real gold decoration on a

Greek relief sculpture, originally characterized b y

clay vessel w o u l d surely have appealed to a status-

pale-colored figures against a darker g r o u n d , a n d ,

conscious purchaser, t h e use of gilded elements

as I have discussed elsewhere, t h e invention of t h e

alongside other relief details in vase-painting

20

light-on-dark t e c h n i q u e of red-figure itself. But

also appears to have belonged to a primitive

such initial Archaic associations must have been

stage of spatial illusion in w h i c h d r a w n reces

submerged in p o t t e r y w o r k s h o p s as this practice

sion into d e p t h , w h i c h was generally extremely

Figure 3. Athena modeling a

was h a n d e d d o w n from o n e generation of crafts

limited, was a u g m e n t e d or s u p p l a n t e d b y three-

horse. Red-figured oinochoe,

men to t h e next, a n d as red-figure itself devel

dimensional forms projecting into t h e viewer's

space from t h e picture plane.

attributed to the Group of

Berlin 2415 (name vase),

oped. T h u s , I believe, it is i m p o r t a n t to explore

ca. 470-460 B.C. H 21.5 cm.

t h e possibility t h a t b y t h e fifth c e n t u r y t h e a d d e d -

Berlin, Antikensammlung,

clay relief on A t h e n i a n vases may well have h a d an

b o r n e in mind, it is possible to see h o w t h e a d d e d -

Preuftischer Kulturbesitz

i m p o r t a n t artistic association b e y o n d t h e p o t t e r y

clay relief features of several now-famous fifth-

F2415. Photograph: Bildarchiv

i n d u s t r y in c o n t e m p o r a n e o u s free painting.

Staatliche Museen zu Berlin

Preuftischer Kulturbesitz/Art
Resource, NY. Photographer:
Ingrid Geske.

W i t h this dichotomy of modes of illusionism

c e n t u r y vase-paintings c o n t r i b u t e masterfully to
t h e depiction of space as well as t e x t u r e , color,

Beyond a n y initial associations w i t h relief

and, often, luxury. A closer look at t h e Brygos

sculpture, details in a d d e d clay appear to have

Painter's Late Archaic red-figured cup from Capua

played a role in t h e avant-garde

in L o n d o n (see fig. 2), for example, reveals t h e

> exploration of pictorial space t h a t

subtle intricacy of spatial illusion a t t e m p t e d b y its

characterized A t h e n i a n red-figure
vase-painting b e g i n n i n g in t h e late sixth

gilded added-clay details. On t h e red-figure t o n d o ,

t h e application of clay for t h e relief phiale held

c e n t u r y B.C. Raised black dots or

b y Chrysippos avoids t h e vase surface on w h i c h

spirals for curly hair are eye

t h e warrior's t h u m b is painted; t h u s his red-figure

catching foci t h a t n o t only

t h u m b seems to overlap t h e three-dimensional

describe t e x t u r e b u t also

metal v e s s e l .

exhibit real highlights a n d

23

On side A (see fig. 2), an illusionis-

may even cast shadows

tic supposed overlapping of clay relief b y p a i n t e d

before t h e invention of

red-figure forms appears once again: here Herak

p a i n t e d ones. They t h e r e b y

les' k n o b b y added-clay club seems to pass b e h i n d

a u g m e n t a vase-painting's

t h e tail a n d a leg of t h e hero's lion skin as well as

two-dimensional layers of

his o w n leg.

suggested d e p t h (e.g., cat.

The use of a d d e d clay is self-referential on t h e

nos. 2, 27, 29, 30).

u n i q u e red-figured oinoche in Berlin of ca. 470

Images b y Euphronios h e l p

460 B.C. that depicts t h e goddess A t h e n a , t h e city's

shed light on primitive m e t h o d s

patroness of craftsmen, modeling a statue of a

2 4

of spatial illusion in Greek antiq

uity. On this painter's Akropolis c u p ,

110 COHEN . CHAPTER 4

horse (fig. 3 ) . A m o u n d of r a w clay lies at A t h e

2 1

na's feet, a n d she holds a w a d of it in h e r h a n d as

mental composition.

she w o r k s on t h e

figured cup, attributed to the

lekythos in t h e Met

T h e unfinished ani

ropolitan M u s e u m of

mal sculpture, w h i c h

Art from t h e 420s B.C.

stands on a low base,

(fig. 5), a t t r i b u t e d to t h e

is still missing a h i n d leg,

Eretria P a i n t e r ,

a n d its r o u g h clay surface

27

is a sam

pler of modes of spatial illusion.

has n o t yet been s m o o t h e d a n d

On t h e central w h i t e - g r o u n d frieze

polished. T h e vase-painting's t e x t u r e

Thetis a n d t h e other d o l p h i n - r i d i n g Nereids

a n d three-dimensionality have been achieved lit

erally, b y means of added-clay relief that projects

bring t h e glorious armor w r o u g h t b y Hephaistos

from t h e vessel's surface, r a t h e r t h a n pictorially,

to Achilles, w h o here bows in m o u r n i n g beside

by means of h i g h l i g h t s a n d / o r shading. In this

t h e b o d y of Patroklos. T h e i n d i v i d u a l pieces of

case, leaving t h e a d d e d clay t h e color of clay is an

t h e special p a n o p l y i n c l u d i n g t h e fancy helmet

integral part of t h e illusion.

w r o u g h t w i t h three-dimensional curls of hair a n d

t h e shield w i t h a lion deviceare palpably ren

On t h e w h i t e - g r o u n d interior of a c u p in Reg-

dered in fine, originally gilded, added-clay relief

gio di Calabria of ca. 475 B.C., a t t r i b u t e d to t h e

Pistoxenos P a i n t e r ,

25

projecting forward from t h e picture plane. By

w i t h a satyr attacking a

maenad, t h e three-dimensional details include t h e

contrast, in t h e A m a z o n o m a c h y in t h e red-figure

p e n d a n t s of t h e female figure's necklace, p e e p

zone below, w h e r e n o n e of t h e armor or weapons

ing over t h e neckline of h e r p u r p l e dress; t h e

shines, t h e Greek warriors' shields achieve three-

snake bracelet coiled a r o u n d h e r arm, echoing

dimensionality b y means of masterfully d r a w n

t h e p a i n t e d serpent coiling a r o u n d h e r thyrsos;

foreshortened views t h a t illusionistically recede

a n d t h e bangle encircling t h e satyr's wrist, w h i c h

into pictorial space.

e n h a n c e s t h e three-dimensionality of his form

Finally, on t h e Eretria Painter's e p i n e t r o n

as much as t h e golden dilute gloss employed for

in Athens, t h e red-figure representation of t h e

shading.

bridal c h a m b e r of Alkestis (Cohen, chap. 5, fig. 8)

W i t h i n t h e bowl of t h e very large red-figured

cup w i t h a diameter of 43 cm in M u n i c h (fig. 4 ) ,

employs t h e above-mentioned t w o modes of illu2 6

28

sionism w i t h i n t h e same picture field.

While the

t h e name vase of t h e Penthesilea Painter of ca.

open doors, painted in outline at t h e right, recede

460 B.C., added-clay reliefon w h i c h preserved

into pictorial space, t h e women's jewelry, t h e

gilding h a d been observed as late as t h e m i d -

h a n g i n g wreaths, a n d t h e h a n d mirror, r e n d e r e d

t w e n t i e t h c e n t u r y i s employed for n u m e r o u s

in originally gilded added clay, project forward

details of t h e armor a n d w e a p o n s of t h e Greek

from t h e picture plane.

warriors a n d also for t h e j e w e l r y of t h e t w o Ama

In his a t t e m p t s to envision lost free paint

zons a n d on their h e a d b a n d s . These once-shining

ing, M a r t i n Robertson used Attic vase-painting,

golden raised elements amid t h e sophisticated spa

including examples discussed above, such as

tial w e b of h u m a n forms in this majestic portrayal

t h e w h i t e - g r o u n d covered c u p w i t h once-gilded

of Greek killing Amazon w o u l d have d r a w n t h e

added clay in Boston (cat. n o . 31). In Greek

viewer's eyes a r o u n d t h e vase-painting's m o n u

ing of 1959 Robertson carefully noted these vases'

111 ADDED CLAY AND GILDING IN ATHENIAN VASE-PAINTING

Figure 4. Achilles and

Penthesilea. Interior of red-

The squat

creature's muzzle.

Paint

Penthesilea Painter (name

vase), ca. 460 B.C. Diam
43 cm. Munich, Staatliche
Antikensammlungen und
Glyptothek 2688.

29

gilded e l e m e n t s . Yet, w h e n h e discussed

P a i n t e r s red-figured calyx-krater in t h e Louvre

t h e M u n i c h c u p (see fig. 4), while h e a t t r i b

has frequently been cited as a remarkable reflec

u t e d t h e Penthesilea Painter's powerful

tion of some lost m o n u m e n t a l painting's composi

red-figure composition a n d use of

tion.

33

Line drawings, employing motifs k n o w n

washes of color to t h e influence

from vase-painting arranged u p a n d d o w n t h e

of m o n u m e n t a l painting, h e

picture plane in tiered compositions, have been

related t h e composition's

employed b y scholars, most notably Karl Robert

then-gilded details to t h e

in t h e early 1890s a n d M a r k Stansbury-O'Donnell

influence of w h i t e - g r o u n d

a c e n t u r y later, to reconstruct Polygnotos's lost

vase-painting.

30

In b o t h

paintings in t h e Lesche of t h e Cnidians at Delphi

his History of Greek Art of

on t h e basis of Pausanias's detailed d e s c r i p t i o n .

1975 a n d Art of Vase Paint

Agnes Rouveret has viewed such reconstruction

ing in Classical Athens of

efforts as a sterile p u r s u i t ;

1992, while Robertson

to preserved t o m b - p a i n t i n g in Italy, such as t h e

continued to seek evidence

simple compositions p a i n t e d o n stucco-faced trav

for lost free p a i n t i n g in

ertine slabs from t h e Tomb of the Diver at Paestum

vase-painting, h e n o longer

(Poseidonia) in Magna Graecia, in an a t t e m p t to

m e n t i o n e d t h e gilded relief

evoke that w h i c h has been l o s t .

35

34

instead she t u r n s

36

elements on A t h e n i a n vases
in a n y context at a l l .

31

Such

silence may be symptomatic

A Special Technique in Western

of an aesthetic disinclina

As an aid in interpreting extant evidence for lost

tion to envision lost Clas

sical p a i n t i n g w i t h gaudy,

Greek painting, Early Italian p a i n t i n g a n d Renais

sance art t h e o r y have been p u t to invaluable

projecting gold details similar

use b y m o d e r n s c h o l a r s .

to those common in A t h e n i a n

paintings, b o t h m o n u m e n t a l a n d small, generally

vase-painting. At t h e same

appear to have been executed o n p r e p a r e d w o o d e n

time, Robertson also deemphasized

Figure 5. Red-figured and

Panel-painting

boards,

38

37

Since Classical Greek

it is i m p o r t a n t to consider w h e t h e r t h e y

t h e t e c h n i q u e of employing gilded added clay in

m i g h t have shared technical as well as aesthetic

attributed to the Eretria

vase-painting itself. He has nonetheless a d m i t t e d

affinities w i t h preserved panel-paintings from

Painter, ca. 420 B.C. H (as

t h e possibility t h a t more subtle three-dimensional

later periods of Western art. In t h e present con

restored) 49.5 cm. New York,

details employed in vase-painting also existed in

text, such cross-cultural c o m p a r a n d a may shed

Art RogersFund,1931,31.11.13.

lost free p a i n t i n g a n d specifically in t h e w o r k of

light on t h e broader pictorial significance of t h e

Photograph: 1982 The

t h e r e n o w n e d P o l y g n o t o s s u c h as raised pebbles,

heretofore u n d e r a p p r e c i a t e d gilded added-clay

white-ground squat lekythos,

The Metropolitan Museum of

r

Metropolitan Museum of Art.

w h i c h form t h e floor of t h e t o m b in t h e depiction

details of A t h e n i a n red-figure a n d w h i t e - g r o u n d

of Polyeidos a n d Glaukos on t h e w h i t e - g r o u n d c u p

vase-paintings.

of ca. 460 B.C. a t t r i b u t e d to t h e Sotades Painter

(cat. n o . 92).

T h e use of costly gold leaf in panel-painting to

suggest t h e heavenly sphere of religious images,

In an effort to evoke lost Classical p a i n t i n g s

such as t h e M a d o n n a a n d Child a n d portraits of

of t h e fifth century, m o d e r n scholarship has

saints, h a d been a Christian convention since t h e

t u r n e d to w h i t e - g r o u n d vases a n d has emphasized

icons of Byzantine t i m e s .

u n u s u a l applications of color in vase-painting,

Ages, icons were often further e n h a n c e d w i t h

such as t h e p u r p l i s h a n d p i n k i s h - r e d washes of

embossed precious-metal revetments, a n d cru

39

Later in t h e Middle

garments o n t h e Penthesilea Painter's red-figured

sader icons of t h e t h i r t e e n t h c e n t u r y A . D . h a d

A m a z o n c u p (see fig. 4; cf. cat. n o . 49) or t h e flesh

gesso relief elements t h a t were either gilded, sil

t o n e of a y o u t h on a w h i t e - g r o u n d lekythos a t t r i b

vered, or t i n n e d in imitiation of t h e precious metal

40

u t e d to t h e Achilles Painter (cat. n o . 6 5 ) . T h e

additions.

tiered composition on t h e obverse of t h e Niobid

Byzantine influence, sometimes a panel-painting's

32

112 COHEN . CHAPTER 4

In medieval Italian art, emerging from

p r e p a r e d gesso g r o u n d or even t h e plaster g r o u n d

of a fresco was built u p in relief as well as pat
t e r n e d a n d gilded, particularly for details such as
halos.

41

T h e use of gilded gesso relief in Italian panelpainting, k n o w n as pastiglia,

persisted t h r o u g h

t h e fifteenth c e n t u r y A.D., even after gold itself

could be convincingly suggested b y means of
paint. A l t h o u g h n o w generally regarded as merely
retardataire,

pastiglia,

as in t h e following exam

ples, was sometimes used to e n h a n c e t h e spatial

illusion of three-dimensional form before t r o m p e 1'oeil oil p a i n t i n g on canvas took over completely.
Dramatic examples of a sophisticated use of
three-dimensional additions, i n c l u d i n g gilded
gesso relief, occur in t h e o e u v r e of Carlo Crivelli,
an u n u s u a l painter active in t h e Veneto d u r i n g
t h e second half of t h e fifteenth c e n t u r y A . D .

4 2

In

t h e central panel from Crivelli's Polyptych of S.

Domenico of Carrierino (fig. 6) of 1482, n o w in t h e
Pinacoteca di Brera, Milan, t h e M a d o n n a ' s crown
3

a n d jewels are r e n d e r e d in gilded pastiglia.*

In

t h e polyptych's left w i n g , t h e keys of St. Peter t h e

Apostle, w h i c h are literally three-dimensional,

Figure 6. Carlo Crivelli (Italian,

1430-1494/1495), Detail of

appear to be m a d e of metal, a n d his crozier,

modeled in h i g h pastiglia

Polyptych of San Domenico of

relief against t h e gold

g r o u n d , is s u r m o u n t e d b y a pastiglia

Camerino, 1482. Left panel:

cross, w h i c h

Saints Peter and Dominic;

center panel: Virgin and

is n o t merely gilded a n d raised, b u t also d r a w n

Child. From the Church of

a n d modeled at an angle suggesting perspectival

San Domenico, Camerino.

recession into pictorial space. Pietro Zampetti,

Tempera on wood, H 78 cm.

t h e a u t h o r of a m o n o g r a p h on Crivelli, has called

Milan, Pinacoteca di Brera.

t h e visual play of this panel " a n alternation

Resource, NY.

Photograph: Erich Lessing/Art

in aspects of t r u t h t h a t Pirandello w o u l d have

appreciated."

Figure 7. Sandro Botticelli

44

Illusion-enhancing pastiglia

(Italian, 1444-1510), Portrait

was used also in

secular w o r k s such as Sandro Botticelli's

of a Man Holding a Medal

of Cosimo de' Medici, ca.

Portrait

1475. Tempera on wood.

of a Man Holding a Medal of Cosimo de' Medici

Florence, Galleria degli

(fig. 7) of t h e mid-1470s, in t h e Galleria degli

Uffizi. Photograph: Scala/Art

Uffizi, Florence. This painting's unidentified sitter

Resource, NY.

is strongly modeled in light a n d shade, b u t t h e

gold medal h e holds, r a t h e r t h a n being suggested
illusionistically t h r o u g h paint, is a gilded gesso
cast of an actual medal affixed to a carefully pre
pared raised disc of w o o d on t h e panel's s u r f a c e .

45

Finally, it is i m p o r t a n t also to consider evi

dence from t h e main preserved genre of panelpainting from Classical a n t i q u i t y itselfmummy
portraits from Roman Egypt. According to Marie-

113 ADDED CLAY AND GILDING IN ATHENIAN VASE-PAINTING

France Aubert, "Gold, an incor

t u r y B.C. has generally been visualized as a p u r e

r u p t i b l e metal t h e colour of t h e

a n d subtle medium, judiciously employing color

sun, was t h e 'flesh of t h e gods' for

washes on a flat w h i t e g r o u n d , p e r h a p s o u r mind's

t h e Egyptians; w h e n applied to

eye o u g h t to be redirected to envision Classi

effigies of t h e deceased . . . it was

cal Greek p a i n t i n g s w i t h details raised in relief,

s u p p o s e d to ensure immortality a n d

i n c l u d i n g golden baubles, bangles, a n d beads,

divinity/'

46

T h u s m u m m y portraits,

t h a t served to e n h a n c e b o t h t h e p a i n t i n g s ' deco

generally r e n d e r e d in encaustic

rative splendor, a n d their splendid, if still primi

(pigment in a beeswax medium)

tive, illusion of space. Moreover, as w e have seen,

or else in tempera on w o o d panel,

t h e pictorial tradition of golden raised details,

p r o v i d e e x t a n t examples of t h e use

w h i c h appears to have played a significant role in

of gold in t h e ancient pagan paint

W e s t e r n p a i n t i n g for millennia, may ultimately

ing t h a t preceded Byzantine t r a d i

tion

4 7

be traced back to t h e gilded added-clay details

employed in A t h e n i a n vase-painting.

Gold leaf was sometimes a d d e d

on t h e panel's g r o u n d or even u p o n
48

t h e portrait image itself. Flat gold

Some Fourth-Century-B.c.

leaf could also be applied to a d d a

W i t h w h i t e - g r o u n d p a i n t i n g n o longer being

w r e a t h or j e w e l r y to t h e image of

practiced a n d traditional red-figure vase-painting

49

Figure 8. Head of a woman.

the deceased.

Egyptian mummy portrait,

applied o n t o p of stucco relief, as in t h e case of

illusionism of free painting, Attic p o t t e r y w o r k

wood, with stucco, gold leaf,

t h e raised w r e a t h on a male m u m m y portrait in

shops of t h e fourth c e n t u r y B.C. p u r s u e different

and gold coin. The Detroit

t h e Metropolitan M u s e u m of A r t of t h e late first

Institute of Arts 25.2.

century A . D .

A D . 130-160. Encaustic on

5 0

Elsewhere, however, gold leaf was

Fashions

M u m m y portraits of w o m e n whose

hardly able to compete w i t h t h e sophisticated

directions t h a t involve elaborate technical experi

mentation. T h e resulting A t h e n i a n vases play an

gold j e w e l r y has been a d d e d in gilded stucco

i m p o r t a n t role among t h e various l u x u r y goods

relief are of particular relevance here. Notable

s o u g h t after in foreign markets w i t h i n Greece, in

examples of such reliefwork include t h e large

South Italy a n d Sicily, a n d in centers along t h e

granulated gold-disk earrings a n d crescent-shaped

Black Sea.

necklace p e n d a n t of a woman's portrait in Ber

lin,

51

a n d t h e spectacular t o r q u e bearing a medal

lion, w h i c h houses a real gold coin, of a woman's

5 2

Inspired b y elaborate metal reliefware, impor

t a n t relief vases are n o w also m a d e of clay, their
surface e n c r u s t e d w i t h p a i n t e d a n d gilded mold-

portrait in Detroit (fig. 8 ) . T h e examples w i t h

m a d e a p p l i q u e s t h a t are sometimes employed in

three-dimensional gilded stucco j e w e l r y are con

conjunction w i t h gilded e x t r u d e d added-clay

t e m p o r a n e o u s w i t h other female m u m m y portraits

details. T h e squat lekythos in t h e State Hermitage

w i t h fashionable Roman j e w e l r y t h a t has simply

M u s e u m , St. Petersburg, t h a t depicts an exotic

been p a i n t e d on illusionistically in yellow ocher

h u n t in a Persian paradise park, w h i c h is actu

with white highlights.

53

ally signed in e x t r u d e d clay b y Xenophantos t h e

Beyond their local funerary function in Roman

A t h e n i a n as potter (cat. no. 37), is t h e jewel of

Egypt, m u m m y portraits are preserved represen

such relief creations from t h e early fourth century.

tatives of a broader p h e n o m e n o n : t h e Hellenistic

F o u n d along t h e Black Sea at Kerch (ancient Panti-

tradition of illusionistic p a n e l - p a i n t i n g .

54

These

portraits d o c u m e n t t h e occurrence in Classical

a n t i q u i t y of a distinctive technical feature
gilded raised (stucco) relief (see fig. 8)that, o n e

kapaion), it may have been made b y an A t h e n i a n

w o r k i n g abroad.
A n o t h e r n e w t y p e of vessel t h a t also involves
t h e use of molds consists of a statuette front

may conclude on t h e basis of t h e evidence p r e

affixed to a vase back, w h i c h is decorated w i t h

sented here, must also have characterized earlier

red-figure o r n a m e n t .

ancient Greek p a n e l - p a i n t i n g .

55

A l t h o u g h lost free p a i n t i n g of t h e fifth cen

114 COHEN . CHAPTER 4

56

T h e use of gilding adds to

a statuette-vase's prestige. In t h e case of Berlin's

statuette-lekythos in t h e form of A p h r o d i t e a n d

t w o Erotes (cat. no. 89) of ca. 3 7 5 - 3 5 0 B.C., t h e

m o l d - m a d e front is colorfully p a i n t e d a n d h i g h
lighted w i t h gilded details, such as hair a n d j e w
elry, a n d t h e vase is further a d o r n e d w i t h gilded
m o l d - m a d e terracotta rosettes.
A n o t h e r vase in t h e collection of t h e Hermitage
(fig. 9), t h e great masterpiece of A t h e n i a n gildedrelief vases from t h e t h i r d q u a r t e r of t h e fourth
century, t h e so-called Regina VasorumQueen of
Vaseswas found, n o t at Kerch, b u t at Capua in
Campania, I t a l y .

57

This m o n u m e n t a l tall-necked

hydria, 65.5 cm high, has a relief shoulder frieze

of Eleusinian deities w i t h p a i n t e d clothing a n d
awesome gilded flesh. T h e complex technology of
this frieze features mold-made heads a n d h a n d modeled bodies (cf. cat. no. 105). T h e vessels
black r i b b e d b o d y is encircled b y a smooth b a n d

restrained in

a d o r n e d w i t h elegant facing pairs of animals a n d

style, were

monsters in relief. T h e most i m p o r t a n t genre of

b o t h colorful

f o u r t h - c e n t u r y l u x u r y black-gloss ware has nei

a n d opulent,

t h e r figured scenes n o r animal friezes. Instead,

as Classical art

as on t h e British M u s e u m s magnificent calyx-

ists sought b o t h

k r a t e r found at Capua of ca. 340320 B.C. (cat. no.

to embellish a n d

38), e x t r u d e d clay forming t r o m p e - r o e i l golden

to reflect t h e Greek

w r e a t h s a n d / o r jewelry, seemingly d r a p e d a r o u n d

world. Bronze statues

t h e vessel, takes t h e center stage. Scholars in

were e n h a n c e d b y t h e

earlier generations h a d difficulty believing that

insertion of naturalistic-

o p u l e n t gilded creations such as this calyx-krater

looking artificial eyes

or t h e Regina Vasorum could possibly have been

a n d colored metal inlays;

Athenian.

58

T h e final flourishing of Attic red-figure vase-

marble sculpture was

brightly painted (Mertens,

p a i n t i n g in t h e so-called Kerch style, w h i c h is

chap. 6, fig. 5) a n d fitted w i t h shining metal addi

discussed by Kenneth Lapatin in this volume

tions; a n d colossal cult images were constructed

(chap. 9), has likewise often been viewed w i t h

w i t h ivory a n d gold. T h e different Classical media

disdain. Yet despite m a n y run-of-the-mill vases,

did n o t ascribe to t h e austere b o u n d a r i e s estab

this extravagant a n d colorful late style, n a m e d

lished b y Italian Renaissance paragoni.

after t h e findspot of m a n y i m p o r t a n t examples, is

t h e above exploration of t h e added-clay details

distinguished b y several masterpieces (cat. nos.

a n d gilding in A t h e n i a n vase-paintings and their

Based on

103105)the Marsyas P a i n t e r s magnificent n u p

analogs in later epochs, it is possible to envision

tial lebes gamikos of ca. 360 B.C. among t h e m (cat.

lost

no. 103)that are associated technically a n d aes

participated fully in b o t h t h e rich a n d colorful

thetically by an extraordinarily elaborate, master

aesthetic a n d t h e diverse ensemble of technolo

ful h a n d l i n g of gilded e x t r u d e d clay.

gies that characterized Classical art. Moreover,

fifth-century

free paintings as w o r k s that

it is n o w also possible to c o m p r e h e n d b o t h t h e
integral i m p o r t a n c e a n d ultimate t r i u m p h of t h e
Conclusion
M o d e r n viewers have come to u n d e r s t a n d that
t h e arts of t h e Classical period, t h o u g h often

t e c h n i q u e s of added clay a n d gilding on A t h e n i a n

vases themselves over t h e course of t w o centuries
of their history.

115 ADDED CLAY AND GILDING IN ATHENIAN VASE-PAINTING

Figure 9. Relief hydria with

Eleusinian deities and an
animal frieze, the so-called
Regina Vasorum, ca. 350325 B.C. H 65.5 cm. St. Peters
burg, The State Hermitage
Museum 51659. Photograph:
The State Hermitage
Museum.

NOTES

1 CB in, 35, pi. 76; Boston, Museum of Fine Arts 13.186:

ARV 458.1, 1654; Para 377; BAdd 243; BAPD Vase
204681; Kunish 1997, 191-92, no. 300, pi. 98 (top); Simon/
Hirmer 1976, pi. 166 (top). Earlier versions of parts of this
chapter were given as talks at the Annual Meeting of the
Archaeological Institute of America in 1996 (see Cohen
1997) and at a conference of the Center for the Ancient
Mediterranean at Columbia University in 2002; the latter
was subsequently published, see Cohen 2004. My thanks
go to William V. Harris for permission to publish material
from Cohen 2004.
2 Athens, National Archaeological Museum 15214 (Acropo
lis Collection 2.176): ARV 17.18; BAdd 153; BAPD Vase
200081; Berlin 1991, 210. Paris, Musee du Louvre G 115:
ARV 434.74, 1653; Para 375; BAdd 237; BAPD Vase
205119; Buitron-Oliver 1995, pi. 71.
3 New York, Metropolitan Museum of Art 13.233: ARV
183.13, 1632; Para 340; BAdd 187; BAPD Vase 20166; see
Richter/Hall 36-37, no. 13.
4 Noble's proposed instrument also resembles a pastry bag.
Noble 1965, 66 and 191, caption to fig. 217; on thickened
gloss, relief lines, and the drawing syringe, see 57-58.
In Noble 1988, see 139, fig. 218 and 117-20. There is lit
tle agreement among scholars about how relief line was
produced, see contra Noble, e.g., Seiterle 1976; idem
1987; Kunisch 1994; Boardman 2001, 285-87. In earlier
vase-painting literature "gloss" is commonly referred to
as "glaze." Given the glassy surface of sintered slip, glaze
is, in fact, probably the best term to use. The use of gloss
rather than glaze throughout this catalogue reflects an
editorial policy of the J. Paul Getty Museum.
5 Berlin 1991, 114, no. 7 (K. Wight).
6 That the reliefwork consists of little balls of clay pressed
onto the vessel's surface rather than globules of thick
ened gloss helps to explain two characteristics that may
be observed on vases with black relief details: (1) the
rounded indentations in the clay surface of a vessel where
raised dots are missingBeazley's burst bubbles, see
above, at note 1and (2) cracks in the black gloss on the
vessel's surface around preserved black dots, evidently
caused by shrinkage of the little clay balls during firing
(see fig. 1). Noble 1965, 78 and 213, graph I, estimates a
9 /2% shrinkage of Attic clay during firing; Noble 1988,
200, graph I. Both (1) and (2) appear in the forehead hair of
Zeus on Euphronios's cup Athens, National Archaeologi
cal Museum 15214 (Acropolis Collection 2.176), see above,
note 2.
7 The black-figure master Exekias had already used shal
low raised black details, esp. for locks of hair, e.g., on the
black-figured amphora Vatican, Museo Etrusco Gregoriano 344 (ABV 145.13, 686; Para 60; BAdd 40; BAPD
Vase 310395); see Cohen 1978, l l l n . 2 0 . I have not had an
opportunity to examine the Vatican amphora and other
vases by Exekias out of the case and/or with a micro
scope in order to determine the technique employed. But
Exekias's fine raised strands of hair may be compared with
the Andokides Painter's coarser clay reliefwork on Basel,
Antikenmuseum BS 491 (cat. no. 27). Exekias's interest
in technical experimentation along these lines must have
been handed down to the potter Andokides. On Exekias's
raised details, see Mackay 2002, 206-208 and pi. 54c-e.
The fragment New York, Centre Island, attributed by
Dietrich von Bothmer to the Lysippides Painter, ibid., pi.
55a-c, has low relief curls of hair bounded by incision
that are closer to Exekias's Vatican amphora than to Basel
BS 491. Mackay 2002 assumes that all of the relief details
are globules of thickened black "paint"; earlier, in Cohen
1978, e.g., 28,1 too had assumed them to be composed of
"relief line matter."
2

116 COHEN . CHAPTER 4

8 Berlin, Antikensammlung F 2159: ARV 3.1, 1617; Para

320; BAdd 149; BAPD Vase 200001; detail: Mackay 2002,
pi. 55b.
9 London, British Museum B 193: ARV 4.8, 1617; Para 320;
BAdd 149; BAPD Vase 200008; Boardman 1975, 16 (head
detail), fig. 10; Cohen 1978, pi. 34.2.
10 Tarquinia, Museo Nazionale RC 6848: ARV 60.66,
1622; Para 327; BAdd 165; BAPD Vase 200502; Arias/
Hirmer/Shefton, pis. 101-104, detail pi. 104 (middle).
The Tarquinia cup, which bears the potter-signature of
Euxitheos as well as the painter-signature of Oltos, also
attests to the bond between Oltos and Euphronios, who
both worked with this potter: e.g., Euphronios's redfigured calyx-krater, New York, Metropolitan Museum of
Art 1972.11.10: BAdd 396; BAPD Vase 187; Berlin 1991,
93-105, no. 4.
11 See above, note 3; Berlin 1991, 207, no. 44, color photo
graphs: bracelets 209; hair of Hera 210. See Shapiro 1995,
pi. 73b, for the hair of Athena and phiale of Hephaistos.
See above, note 6. See, recently, Mackay 2002, 208. Cf.
Scheibler 1995, 89.
In Berlin 1991, 207, E. Stasinopoulou-Kakarouganot
comprehending the technical similarity between the two
types of raised details on Euphronios's Akropolis cup-
describes the black forehead locks of Zeus as "kleinen
Firnisbuckeln" and the other relief elements as "in Ton
aufgehoht."
12 New York, Metropolitan Museum of Art 07.286.47: ARV
175, 1631; Para 339; BAdd 184; BAPD Vase 201603;
Cohen 1972, pi. 5.7b; see Richter/Hall 26, under no. 10.
13 New York, Metropolitan Museum of Art 1979.11.5, ca.
470 B.C.: BAPD Vase 5330; color: Noble 1988, color ill. v;
Robertson 1992, cover. For tin leaf, cf. the cup attributed
to the Villa Giulia Painter, Oxford, Ashmolean Museum
1973.1: BAPD Vase 802; Vickers 1974, pi. 17a and 177n.3;
scientific analysis of its relief elements suggested that they
were plated with tin. My thanks for this reference go to
Jasper Gaunt. For tin leaf, cf. also below, at note 40. In this
study I generally refer to bare clay-relief elements as origi
nally gilded, because gilding is the metallic coating that is
still clearly preserved on many Athenian vases.
14 London, British Museum 1873.8-20.376, BM Cat Vases
E 65; ARV 370.13, 398, 1649; Para 365, 367; BAdd 224;
BAPD Vase 203912; CVA British Museum 9 [Great Britain
17] pis. 62-64, no. 45.
15 Beazley 1945.
16 London, British Museum E 788: ARV 764.8; BAdd 286;
BAPD Vase 209465.
17 Red-figured cup, Munich, Antikensammlungen 2688:
ARV 879.1, 1673; Para 428; BAdd 300; BAPD Vase
211565.
18 Vickers and Gill 1994, unconvincingly proposed that
Athenian red-figure vases were inexpensive reflections of
inlaid-metal vases. Among the many opposing opinions,
see esp. Boardman 1987; Williams 1995, 158 with n.90.
19 Betancourt 1985, 83-85, pi. 7A-E.
20 Cohen 1978, 110-17; recently, Boardman 2001, 79.
21 See above, notes 2, 11.
22 E.g., Apollo before a temple with his cult image, fragmen
tary Early Apulian red-figured calyx-krater, Painter of the
Birth of Dionysos, Amsterdam, Allard Pierson Museum
2579: Trendall 1989, fig. 52; in color, Charbonneaux, Mar
tin, and Villard 1972, 311, fig. 361; funeral of Patroklos,
Apulian red-figured volute-krater, Darius Painter, Naples,
National Museum 3254: Trendall 1989, fig. 204; color,
Charbonneaux, Martin, and Villard 1972, 314, fig. 364.
23 See above, note 14.
24 Berlin, Antikensammlung F 215: ARV 776.1, 1669; Para
416; BAdd 288; BAPD Vase 209569.
2

25 Reggio di Calabria, Museo Nazionale (formerly Taranto):

ARV 860.3, 1672; Para 425; BAdd 298; BAPD Vase
211326; Arias/Hirmer/Shefton, pi. 167, and 350, the raised
elements were originally "colored in violet red or gilded";
color: Simon/Hirmer, color pi. XLI; Robertson 1979, frontis
piece. See below, note 26.
26 Munich, Antikensammlungen 2688: see above, note 17;
color, Robertson 1959, 115-16. For the relief elements,
see also Simon/Hirmer, 130 and color pi. XLII. Simon, 129,
views the maenad on the Reggio di Calabria (formerly
Taranto) cup (see above, note 25) as a sister of "Penthe
silea" on the Munich cup and cites both the Pistoxenos
and the Penthesilea Painter's love of plastic additions.
27 New York, Metropolitan Museum of Art 31.11.13: ARV
1248.9, 1688; Para 469; BAdd 353; BAPD Vase 216942;
Lezzi-Hafter 1988, pis. 150-55; see also Lezzi-Hafter 1992;
and Richter/Hall 175-78, no. 139.
28 Athens, National Archaeological Museum 1629: ARV
1250.34, 1688; Para 469; BAdd 354; BAPD Vase 216971;
Lezzi-Hafter 1988, pis. 168a, 169e.
29 Robertson 1959, 117, 134.
30 Ibid., 117. Simon/Hirmer, 130: Simon attributes the use
of special colors to the influence of white-ground vasepainting.
31 Robertson 1975, passim, esp. 261-62; Robertson 1992,
passim, esp. 160, 173. Wehgartner 1983, passim, lists
relief elements on white-ground vases but ne^ver mentions
the possibility that they could have been gilded. KochBrinkmann 1999 never mentions the existence of raised
and gilded elements.
32 Penthesilea Painter's Amazon cup in Munich: see above, at
note 26; see Robertson 1959, 116-17; idem 1975, 263; idem
1992, 160.
33 Paris, Musee du Louvre G 341: ARV 601.22, 1661; Para
395; BAdd 266; BAPD Vase 206954. Recently: Boardman
2001, 272, fig. 300, 316n.6; see also Robertson 1992, 18083; Scheibler 1994, 143-44, fig. 68.
34 Pausanias 10.25.1-31.1. Robert 1893; idem 1892;
Stansbury-O'Donnell 1989; idem 1990; see also Pollitt
1990, 127-40.
35 Rouveret 1989, 135.
36 Ibid., 155-57, 156, figs. 8-9, see also 139, 143-44. Napoli
1970, 9-48 (color), on the painting technique 95-106.
37 Rouveret 1989, e.g., 20, 27, 79-81; Robertson 1975, e.g.,
252, 261, 412, 413, 426, 432, 433; Bruno 1977, 36, 79,
95-97, 101-102. See, recently, Koch-Brinkmann 1999,
103-105, for comparisons with European Late Gothic
panel-painting.
38 Napoli 1970, 96; Robertson 1975, 244-45; Bruno 1977,
105, 107-108. Four Archaic pinakes from Pente Skouphia
(Pitsa), near Corinth, ca. 530 B.C., comprise a rare preserved
example of Greek painting on wood; for a good color illus
tration of the plaque with a procession to an altar, see Pedley 2002, fig. 7.38 and cat. no. 40. Koch-Brinkmann 1999,
84, associates the white ground of Athenian lekythoi with
the white ground of a wood panel.
39 For the tradition of icon painting and its significance, see
esp. Belting 1990.
40 For precious-metal icon covers, see Onasch and Schnieper
1997, 256-59, with illustrations. Crusader icons with
raised gesso relief: e.g., the icon of St. Marina, Houston,
the Menil Collection: Folda 1992, 108-11 and fig. 99; in
color on cover; here the raised gesso elements (halo, cuffs,
figural outline, background ornament) were covered with
tin leaf. The icon of St. George, London, British Museum,
has a raised halo and a background with elaborate gesso
"three-dimensional scrollwork, originally silvered": Buckton 1994, 176-77, no. 191 (R. Cormack); see also Evans and
2

41

42
43
44

45
46
47

48
49

50

51
52

53
54

55

56
57

Wixom 1997, 395, no. 261 (J. Folda). See above, note 13,
for tin in the context of Athenian vases.
Gilded relief halos: in trecento panel-painting, e.g., Ber
nardo Daddi, Madonna delle Grazie, 1347, Orsanmichele,
Florence: Christiansen 1992, 52. For the influence of
imported Byzantine icons in medieval Italy, see Belting
1990, 369-422, and for Byzantine influence in Italian
medieval painting, in general, see Christiansen 1992, 31.
For the biography of Crivelli (ca. 1430-1494) with docu
mentation, Zampetti 1997, 11-17.
Ibid., pis. 61-62, history of altarpiece 279-80, reconstruc
tion pi. 60.
Ibid., 44, " . . . un alternarsi negli aspetti della verita che
Pirandello avrebbe apprezzato."
See Lightbown 1989, 54; Brown 2001, 177, who reminds
us that Botticelli "was trained as a goldsmith."
Walker 2000, 89, no. 49 (M.-F. Aubert).
Doxiadis 2000; sometimes portraits were painted directly
on the stiffened linen shroud. See also Doxiades 1995,
84-85, 91, 94-100. On the association between mummy
portraits and Christian icons, see Belting 1990, 92-116.
E.g., Walker 2000, 88-89, no. 49, 90-91, no. 51, 109-10,
no. 68, 110-11, no. 69; Doxiadis 1995, 114, fig. 86.
E.g., Walker 2000, 64-65, no. 26, 71-72, no. 31, 73-74, no.
32, 90-91, no. 51, 98-99, no. 60, 106-107, no. 66, 109-10,
no. 68, 110-11, no. 69, Doxiadis 1995, 99, 115, fig. 87.
Walker 2000, 61, no. 22: London, British Museum EA
7404, 46-47, no. 9: New York, Metropolitan Museum of
Art 1912.11.139.
E.g., Walker 2000, 41-42, no. 4: Berlin, Staatliche Museen,
Agyptisches Museum 10974, ca. A.D. 70.
The Detroit Institute of Arts 25.2: Thompson 1982, 9
and fig. 11 (with caption); Doxiadis 1995, 112, pi. 84; the
torque was added at the time of burial. This portrait, ca.
A.D. 130-160, is of a type associated with Antinoopolis;
eadem 1995, 147-52, on the necropoli of Antinoopolis, a
town founded by Hadrian. I would like to thank William
H. Peck for providing information about Detroit's mummy
portrait.
E.g., Walker 2000, 39, no. 2, 88-89, no. 49; Doxiadis 1995,
99.
Doxiadis 2000, 30; eadem 1995, 82-85 ("Graeco-Egyptian
artefacts of Roman times"), 94; Onasch and Schnieper
1997, 10-11.
For a contrasting view, Doxiadis 1995, 84-85: "Since there
seem to be no literary references to gilded-background
portraits (epichrysoi) before the time of Alexander's con
quests, gold leaf on paintings is likely to have been an
Eastern influence."
See Paris 2003, 122, 136, cat. nos. 82-83.
St. Petersburg, State Hermitage Museum 51659: Zervoudaki 1968, 36-37, no. 76. Adding reliefs to vases had
already been tried in the sixth century B.C.: see, esp., Hiibner 1993, 326, fig. 3, 32728 for a fragmentary cup from
the Athenian Akropolis, Athens, National Archaeological
Museum 102: ARV 1625; BAdd 171; BAPD Vase 275048.
Rayet and Collignon 1888, 269; Kopcke 1964, 32, no. 42,
38, no. 117. For fourth-century gilded pottery and jewelry,
see, recently, Williams 2001.
2

58

117 ADDED CLAY AND GILDING IN ATHENIAN VASE-PAINTING

27.1

27
FRAGMENTARY RED-FIGURED
AMPHORA OF TYPE A

C O N D I T I O N : Poor; upper part of vase, including

mouth, neck, and handles, missing; remaining por
tion assembled from fragments w i t h missing parts
restored in plaster; upper borders of panels miss
ing; on A, head of Athena and upper front portion

A t t r i b u t e d to t h e A n d o k i d e s Painter a n d to

of Herakles' head missing, and elements drawn

in black gloss project from eroded, now-recessed

A n d o k i d e s as potter, ca. 520 B.C.

reserved areas; on B, heads of listeners and tops of

H (preserved) 39 cm

heads of aulete and singer missing; losses of black

Basel, A n t i k e n m u s e u m Basel u n d Sammlung

gloss on right side of A, under (lost) A/B handle,

L u d w i g BS 491

and on lower vase body on B. The lid is preserved.

Purchased 1992; formerly collection of

T H E A N D O K I D E S P A I N T E R , t h e craftsman w h o

Dr. A. Moretti

may have invented red-figure, has d r a w n attention

A, Herakles fights the Nemean Lion while

Athena

to t h e m o n u m e n t a l n u d e Herakles, s h o w n w r e s

stands by

tling w i t h t h e Nemean Lion o n side A of this par

B, musical contest: aulete and singer on platform,

flanked by standing and seated listeners

tially preserved a m p h o r a , b y r e n d e r i n g t h e hero's

beard a n d hair in relief. W h i l e raised dotsa fea
t u r e that becomes s t a n d a r d in Archaic red-figure

118 ADDED CLAY AND GILDING

(cf. Cohen, I n t r o d u c t i o n , fig. l ) ^ d e s c r i b e t h e

hero's curly black beard, u n u s u a l large S-shaped
coiling spirals form t h e curls in his short black
hair. Short curly hair appears to have been an
i m p o r t a n t a t t r i b u t e of this hero, a n d it is certainly
emphasized on t h e Basel a m p h o r a . These relief
curls, however, have regularly been described
incorrectly as consisting of t h i c k e n e d black gloss.
The microscopically enlarged detail clearly shows
t h e orange clay in t h e cracks t h a t r u n across t h e
black hair spirals (fig. 27.2). T h e Basel a m p h o r a
t h e r e b y d o c u m e n t s that black relief details by
t h e A n d o k i d e s Painter himself are composed of
clay covered w i t h black gloss a n d not gloss alone,
w h i c h places t h e use of a d d e d clay v e r y early in
Late Archaic red-figure.
W h i l e t h e hero's black hair has been distin
g u i s h e d from t h e black g r o u n d by an incised line,
significantly, t h e contours of i n d i v i d u a l relief

27.2

curls are not defined by incision. (Incised hair

borders also appear on side B, b u t there additional

M a r t i n e Denoyelle has suggested that t h e

incised lines a n d incised stippling suggest strands

A n d o k i d e s Painter's still early Basel lionfight was

a n d locks.) Elsewhere on side A, embellishing

inspired by an innovative lionfight on a fragmen

red-figure's dramatic contrast of pale forms against

tary red-figured calyx-krater in t h e Louvre by t h e

a black g r o u n d , t h e A n d o k i d e s Painter e m p h a

y o u n g e r Pioneer Group master Euphronios (see

sizes intricate details d r a w n w i t h black gloss on

cat. nos. 10, 29, 30). W h i l e it is difficult to place

reserve, a n d he does not employ incision. Here t h e

t h e A n d o k i d e s Painter's work, w h i c h probably

armed goddess A t h e n a , w h o wears a scaly aegis

dates ca. 520 B.C., later t h a n that of Euphronios,

on her back, stands at t h e left in t h e b a c k g r o u n d

it is interesting to note that b o t h painters employ

plane a n d t h u s is depicted on a far smaller scale

black-painted relief curls in t h e hero's hair a n d

t h a n t h e Herculean labor she oversees. The apotro-

beard.

paic frontal-faced gorgoneion device on Athena's

shield, w h i c h is d r a w n angled in space, is seen
from a side view (cf. cat. no. 74; Cohen, chap. 5,
fig. 3). T h u s , while t h e A n d o k i d e s Painter was t h e
only red-figure master to employ an old-fashioned
bearded Gorgon's head, h e broke w i t h conven
tion in its depiction. Here t h e goddess's red-figure
shield p r o v i d e s t h e reserved g r o u n d necessary for
traditional black outline d r a w i n g of t h e gorgoneion's facial features. The self-composed, curlyhaired a n d bearded head of Herakles contrasts
w i t h t h e grimacing, bearded gorgoneion and w i t h
t h e head of t h e Nemean Lion, w h i c h gasps for air
in t h e hero's stranglehold, its m o u t h h a n g i n g open
a n d eye bulging as it futilely a t t e m p t s to break
t h e hero's iron grip w i t h its paw.

119 ADDED CLAY AND GILDING

ARV 3.4, 1617; Para 320; BAdd 149; BAPD Vase

200004; CVA Basel 3 [Switzerland 7] 10-13, pis. 1-2; Schauenburg
1961, figs. 1-2 (side A), 3 (side B); Marwitz 1961-1963, 80n.l6;
Bothmer 1965-1966, 212; EAA, Suppl. (1970) s.v. Attici, Vasi,
Andokides, Pittore di, 99, fig. 102 (E. Paribeni); Brommer 1973,
140, no. B 15; Boardman 1975, 27-29, fig. 7; Cohen 1978, 27-29,
118, 129, 150-53, no. C 3, 156, 158-61, pis. 8.2, 28.1-2 (sides
A-B); Berger 1984, 130-31; LIMC v (1990) s.v. Herakles B, I c (i)
23, no. 1851 (W. Felten), pi. 42; Denoyelle 1992, 51-52, fig. 5;
Blome 1999, 43-44, fig. 50; Cohen 2004, 58n.l5, 59n.l8.
For side B, see also: Knauer 1965, 19-20; Shapiro 1989, pi.
20C; Shapiro 1995, 134, fig. 4. On the amphora's lid, see Bothmer
1964, 3940, fig. 3. A similar gorgoneion shield device is better
preserved on the Andokides Painter's red-figured amphora in
Orvieto, Faina 64, see ARV 3.5; Para 320; BAdd 149; BAPD Vase
200005; Cohen 1978, 163, no. C 5, pi. 31.2. For Paris, Musee du
Louvre G 110, by Euphronios, see, in addition to Denoyelle 1992,
ARV 14.3; Para 322; BAdd 152; Berlin 1991, 70-76, no. 2. See
Mackay 2002, 206-207, pi. 54c-e, for earlier relief effects on hair
in Exekias's black-figure work, and Cohen 2004, 58-59n.l5.

REFERENCES:

28

28
RED-FIGURED CUP OF TYPE A

is q u i t e i m p o r t a n t . Long called an experimenter

because of his w o r k in t h e m a n y competing tech
n i q u e s of vase decoration of t h e late sixth c e n t u r y

A t t r i b u t e d to Psiax, ca. 520 B.C.

B.C. (cat. nos. 1, 7, 52; Mertens, chap. 6, fig. 1),

H 11 cm; Diam (restored) 27.5 cm

Psiax also merits this sobriquet because his v e r y

Malibu, J. Paul Getty M u s e u m 86.AE.278

early red-figure t e c h n i q u e is itself u n u s u a l a s

Purchased 1986; formerly collection of

t h e Malibu c u p demonstrates.

Molly a n d Walter Bareiss

This c u p depicts erotically charged e n c o u n t e r s

b e t w e e n y o u t h s a n d m e n , a n d males a n d females,
inside a n d out. Here Psiax paints red figures

I, male couple

w i t h squat p r o p o r t i o n s a n d employs a m u l t i t u d e
A - B , gathering

of men, youths, and women

of black dots to unify his images. These features

C O N D I T I O N : Poor; burned in antiquity and refired

recall eye-cups a n d other w o r k s a t t r i b u t e d to t h e

in twentieth century; restored from fragments;

A n d o k i d e s Painter (cf. cat. nos. 2, 27), w i t h w h o m

many losses, including about half of bowl, both

he must have w o r k e d side b y side in t h e w o r k

handles, and a third of foot; surface abraded; much

added color flaked; brown discoloration on tondo;
some white incrustation on exterior; greenish band

shop of t h e potter A n d o k i d e s (cf. cat. n o . 1). On

t h e fragmentary t o n d o , a himation-clad y o u t h a n d

of misfired black gloss around bottom of bowl from

a male figure walk along together on a g r o u n d -

stacking during firing.

line decorated w i t h Zs t h a t forms o n e of t h e first

k n o w n exergues in red-figure. Their hair borders

D E S P I T E I T S P O O R C O N D I T I O N , this red-

a n d those of t h e other figures o n this c u p are

figured c u p a t t r i b u t e d to Psiax, w h i c h may be

t h e first model w i t h figural friezes on t h e exterior
r a t h e r t h a n an eye-cup scheme (cf. cat. nos. 3, 4),

reserved. On side A, t h r e e facing pairs of red fig

120 ADDED CLAY AND GILDING

ures have been preserved. A figure (head missing)

wearing a chiton w i t h a triple-dot p a t t e r n a n d a

himation e x t e n d s a lyre toward a y o u t h seated on

described w i t h incision a n d a d d e d - w h i t e as well

a camp stool h o l d i n g a staff. The standing figure

as added-red colors r a t h e r t h a n reserve. On t h e

grasps t h e himation's skirt, a n d its fabric cascades

Malibu cup, these u n s u a l r e n d e r i n g s are joined

d o w n w a r d in avant-garde three-dimensional folds.

by an extensive use of added-clay relief. Thus, on

T h e seated youth's dotted himation, w h i c h is

side A, t h e lyre has arms a n d a cross-piece p a i n t e d

w r a p p e d a r o u n d his lower body, likewise falls in

in added color (now flaked), incised strings, a n d

three-dimensional folds. At t h e center, a y o u n g

a raised s o u n d box a d d e d in clay (now chipped);

w o m a n e x t e n d s a dotted w r e a t h (once added in

t h e leftmost y o u t h , w h o holds a (once) red staff,

color) toward a n o t h e r half-draped seated y o u t h ;

sits on a camp stool added in clay relief, w h i c h

fingernails are indicated on her h a n d . In her elab

has w h i t e hinges a n d is t o p p e d by a (once) red

orate coiffure, t h e h a i r s outer border is dotted;

cushion. The stool of t h e rightmost y o u t h also has

u n r u l y b a n g s are p a i n t e d in dilute on a p a t c h of

a (once) red cushion a n d is r e n d e r e d in a d d e d clay

reserve, a n d t w o corkscrew curls fall b e h i n d her

(mixed w i t h a w h i t e r clay or color for t h e legs).

ear. Her chiton is decorated w i t h dot rosettes, a n d

On side B, t h e plants are a d d e d in clay. Except for

her himation w i t h dots. She also wears a dotted

t h e w h i t e legs of t h e r i g h t m o s t stool on side A,

h e a d b a n d , a h o o p earring w i t h dotted p e n d a n t s ,

t h e surface of these three-dimensional elements

a n d a dotted necklace. T h e dot p a t t e r n of her

is n o w simply t h e beige color of t h e clay, t h o u g h

chiton echoes t h e dots employed for t h e y o u t h s '

t h e y m i g h t originally have been e n h a n c e d by

breast nipples. The seated y o u t h before her holds

gilding a n d / o r color. W h i l e P s i a x s u n u s u a l tech

a black oval form, once covered w i t h white, in his

nical features in red-figure have generally been

left h a n d ; his r i g h t h a n d rests atop a staff. The

u n d e r s t o o d as h a r k i n g back to t h e influence of t h e

anatomy of this y o u t h s exposed torso is carefully

older t e c h n i q u e of black-figure, his use of a d d e d -

delineated. At t h e right, a partially preserved

clay relief for forms t h a t are not covered w i t h

w o m a n e x t e n d s a vessel w i t h a dotted foot toward

black gloss stands at t h e b e g i n n i n g of an impor

a fragmentary seated male h o l d i n g a staff. Black

t a n t Attic red-figure tradition.

u p r i g h t circumscribed palmettes w i t h red hearts

a n d black lotuses on a reserved b a n d r a n a r o u n d
t h e exterior of t h e cup b e n e a t h t h e red

figures.

A n i m a t e d now-fragmentary e n c o u n t e r s of
y o u t h s a n d men appear on side B. Here little more
is preserved t h a n t h e heads of a y o u t h and of a
man w i t h a h a n d l e b a r mustache a n d a long beard,
a n d a y o u t h , w h o walked or danced together
toward t h e right. T h e m a n s expressive head w i t h
an o p e n m o u t h is tilted back slightly. Toward t h e
right a partially preserved figure plays an aulos
(once a d d e d in white), its pipes held in e x t e n d e d
n e r v o u s fingers. The musicians hair has a krobylos
at t h e back a n d is tied u p in a dotted b a n d . The
aulos player faces a bearded man in a himation,
w h o probably held out a cup (added-white

flaked).

A n ivy v i n e a n d a dot-leaved plant fill t h e space

b e t w e e n t h e m . A l t h o u g h t h e scene on side A is set
amid stools r a t h e r t h a n couches, t h e Malibu cup
b r i n g s to m i n d later depictions in w h i c h A t h e n i a n
men are entertained by musicians a n d a t t e n d e d to
by hetairai at symposia.
In Psiax's red-figure pictures objects may be

121 ADDED CLAY AND GILDING

BAPD Vase 10142; CVA Malibu 8 [USA 33] 10-11,

no. 13, fig. 5, pis. 394.3-6 and 395.1-2; Mertens 1979, 30-34, pi.
11; Bothmer 1982, 45; JPGM Bareiss 1983, 30, no. 18, 78, no. 143;
'Acquisitions/1986," Getty MusJ 15 (1987) 160-61, no. 7.
For the tondo, see CVA Malibu 8 [USA 33] pi. 395.1 and for
side B see pi. 394.4-6. For the later depiction of symposia, see,
e.g., Munich, Staatliche Antikensammlungen 8935, attributed to
Euphronios: ARV 1619.3 bis, 1705, 1699; Para 322; BAdd 152;
BAPD Vase 275007; Berlin 1991, 90-91, no. 5.

REFERENCES:

A T H E N A T U R N S HER H E L M E T E D H E A D toward

t h e left, while she e x t e n d s h e r left arm, entirely

covered b y t h e scaly, snake-fringed aegis, back
toward t h e right. Her lost right h a n d must have
held t h e reserved spear shaft t h a t is tilted u p w a r d
before h e r face. Part of t h e armed goddess's name,
inscribed retrograde in red letters, is preserved
b e h i n d h e r head. A n o t h e r now-fragmentary retro
grade name tag at t h e far right, w h i c h probably
gives t h e final letters of t h e name Perseus, p r o
vides a key to t h e iconography. Here A t h e n a
stands h e r g r o u n d , protecting t h e
fleeing hero, w h o , after b e h e a d i n g
t h e Gorgon Medusa, was p u r s u e d
b y h e r t w o immortal sisters.
These fragments preserve a fine speci
men of t h e Pioneer Euphronios's richly
t e x t u r e d Late Archaic red-figure. M a n y details,

29.1

i n c l u d i n g t h e scales of t h e aegis a n d Athena's eye

lashes, have been d r a w n w i t h black relief lines.

29
FRAGMENTS OF A RED-FIGURED
CALYX-KRATER

Diluted gloss is employed for a dot at t h e center

of each scale. Full-strength black gloss describes
such details as t h e pupil of Athena's eye, t h e d o t
on h e r earring, t h e design on h e r Attic helmet's

A t t r i b u t e d to Euphronios, ca. 515-510 B.C.

H 12.5 cm; W 16.2 cm
Malibu, J. Paul Getty M u s e u m 77.AE.86.1-2
European art market; p u r c h a s e d 1977

low crest, t h e long w a v y locks that escape b e n e a t h

her helmet's neck g u a r d , a n d t h e b a c k g r o u n d of
t h e curly hair t h a t s u r r o u n d s t h e goddess's face.
The curls themselves, as is common in Archaic
red-figure, are described b y r o u n d e d dots t h a t
project in relief from t h e vase's surface. Fortu

Athena

itously, here t h e shiny black gloss on t h e t o p of

C O N D I T I O N : Grayish black discoloration on Athe

t w e n t y of t h e t w e n t y - s i x preserved hair dots has

na's face and helmet; scratches on her face, helmet,

c h i p p e d off, t h e r e b y revealing t h a t these dots

and aegis; black gloss chipped on surface of raised

are composed of tiny balls of clay r a t h e r t h a n

clay dots in Athena's hair.

globs of t h i c k e n e d black gloss as h a d commonly

been believed. According to t h e Getty Museum's
conservators, t h e red color visible on t h e surface
of these imperfectly preserved hair dots may be

29.2

a t t r i b u t e d to t h e composition of t h e clay itself.

BAPD Vase 7503; Frel 1979, no. 7; Robertson 1981a,

27-28, fig. 11; Frel 1983, 156, fig. 77.AE.86, 157, no. 9; WalterKarydi 1987, 137, fig. 214; Berlin 1991, 114-15, no. 7; Cohen
2004, 56-57, figs. 5.2-5.3.
On the iconography, see also Bothmer 1991, 40. For representa
tions of Perseus without Athena, see cat. nos. 7, 56.
REFERENCES:

122 ADDED CLAY AND GILDING

30
FRAGMENTARY SEMI-OUTLINE
WHITE-GROUND CUP

large w h i t e - g r o u n d vase-painting, s u r r o u n d e d
30.1

by a n internally offset black lip, fills t h e b o w l s

inner surface, unconfined b y a t o n d o . T h e paint
ing on this vase must have been influenced b y t h e

A t t r i b u t e d t o Euphronios, ca. 510-500 B.C.

black-figure a n d w h i t e - g r o u n d compositions for

Diam (restored) ca. 22.6 cm

r o u n d picture fields of Euphronios's master, Psiax

Malibu, J. Paul Getty M u s e u m

(cf. cat. no. 52). T h e M a l i b u c u p combines outline

86.AE.313.1-7

drawing w i t h black-figure silhouettes a n d incision

Purchased 1986; formerly collection of Molly

in a g r a n d version of t h e t e c h n i q u e traditionally

a n d Walter Bareiss

called semi-outline, w h i c h is common on contem

p o r a n e o u s w h i t e - g r o u n d lekythoi (cat. no. 56).

I, w h i t e g r o u n d , Dionysos holding a kantharos and

a satyr playing the aulos

Here Dionysos, s h o w n s t a n d i n g at t h e left dressed

in a flowing chiton a n d himation, is painted in
outline u p o n t h e creamy w h i t e g r o u n d . T h e major

C O N D I T I O N : Broken in antiquity; drilled holes and

channels for ancient repairs. Many losses, includ
ing much of the bowl and rim, the painted figures'
heads, part of one handle, the stem, and foot. Yel
low discoloration and brown and gray incrustations

drawing lines defining t h e w i n e g o d s b o d y a n d

dress are t h e same black relief lines that delineate
reserved forms in red-figure. A d d e d colors have
been avoided. Subsidiary details, such as ana

on the white ground. Black gloss on right handle

tomical inner markings a n d t h e fine linen c h i t o n s

chipped.

folds, are p a i n t e d in dilute gloss. T h e curly locks

of Dionysos's long hair a n d his k a n t h a r o s are b o t h

O N E OF T H E EARLIEST P R E S E R V E D models with

a w h i t e - g r o u n d interior, this technically notewor

painted black.
Contrasting formally a n d iconographically

t h y c u p w i t h a black exterior was convincingly

w i t h t h e ideal w h i t e god, his follower is r e n d e r e d

a t t r i b u t e d t o Euphronios b y Joan R. M e r t e n s . A

in black-figure. T h u s t h e curly black locks of t h e

123 ADDED CLAY AND GILDING

30.3

30.2

satyr's hair have incised contours, a n d anatomical

visual layering of black over orange resembles

m a r k i n g s on his black b o d y are likewise incised.

t h e black-painted clay dots found on other Late

Significantly, this incision is feathery a n d m o d u

Archaic vases (cf. cat. no. 29 a n d Cohen, I n t r o d u c

lated; it also describes hairs in t h e satyr's swirl

tion, fig. 1), w h i c h suggests t h a t even these low-

ing horsetail, w h i c h has been b r u s h e d rapidly

relief grapes m i g h t be dots of added clay t h a t have

onto t h e w h i t e g r o u n d in black dilute. This black

been covered w i t h black gloss on their surface.

figure's execution reveals t h e h a n d of

a red-figure draftsman.
T h e cup's grapevines adapt features of redfigure illusionism to w h i t e g r o u n d . These vines,
outlined b y relief lines a n d colored w i t h golden
dilute wash, have botanically plausible leaves
r e n d e r e d in black silhouette, while their b u n c h e s
contain i n d i v i d u a l grapes r e n d e r e d in low relief
(fig. 30.2). Such three-dimensional grapes, com
m o n in Late Archaic red-figure, are u n p r e c e d e n t e d
in w h i t e g r o u n d . Relief grapes, like relief hair dots
(cat. no. 29), have commonly been assumed in vase
scholarship to consist of t h i c k e n e d black gloss.
The raised black grapes in t h e b u n c h e s here, h o w
ever, h a p p e n to be cracked a n d scratched on t h e
surface, revealing an orange color u n d e r n e a t h that
is clearly visible w i t h magnification. These grapes'

124 ADDED CLAY AND GILDING

CVA Malibu 8 [USA 33] 72, no. 106, pi. 463;

Mertens 1972; Mertens 1974, 96-97, fig. 12; Mertens 1977, 162,
no. 1, 165-66, pi. 26.1; Williams 1982, 37-38 (attributed to
Onesimos); J P G M Bareiss 1983, no. 35, 50-51 with fig., 82, no.
181 (attributed to Onesimos as painter and Euphronios as potter);
Bothmer 1991, 39-46; Williams 1991c, 41, 42, fig. 1 (attributed to
Onesimos); Robertson 1992, 54, fig. 41 (Euphronios?); Cohen 2004,
57, figs. 5.4-5.6.
For relief grapes composed of clay dots covered with black
gloss in Euphronios's red-figure work, see, e.g., the fragment
from a neck-amphora, New York, Metropolitan Museum of Art
2001.563; Berlin 1991, 163, no. 25 (there published as Princeton
University, Art Museum L. 1984.56). A scientific examination to
determine whether or not the dots for the grapes on the Malibu
cup could be entirely composed of gloss, which was initiated by
conservator Marie Svoboda at the Getty Museum, employing
environmental scanning electron microscopy (ESEM) and energy
dispersive spectrometry (EDS), has thus far been inconclusive,
though the exposed interior of the relief work visually resembles
unsintered gloss matter. Ongoing scientific analysis may reveal
whether different techniques for relief work were employed in
black- versus red-figure.
REFERENCES:

31.1

31
RED-FIGURED COVERED CUP
OF TYPE C WITH
WHITE-GROUND TONDO

C O N D I T I O N : Assembled from fragments; surface

losses in white-ground painting, including part
of Apollo's cloak and right knee, part of his lower
left leg and front of Muse's left foot, and her lower
left arm; most of gilding on added-clay details lost;
white deposit on Apollo's cloak; abrasion around

Red-figure vase-painting, resembles later

orifice.

w o r k of Carlsruhe Painter; w h i t e g r o u n d
vase painting, n o t securely a t t r i b u t e d ,

O N E O F T H E M O S T B E A U T I F U L Early Classical

ca. 460 B.C.

w h i t e - g r o u n d vase-paintings, t h e t o n d o o n t o p of

H 7.9 cm; Diam 16.6 cm

this rare covered c u p exhibits, n o t only fine out

Boston, M u s e u m of Fine Arts 00.356, H e n r y

line drawing in b r o w n i s h - o r a n g e dilute a n d well-

Lillie Pierce F u n d

preserved polychromy, b u t also added-clay details

From near Vari, Attika; purchased from

w i t h still-preserved bits of gilding. On t h e basis

E. P. W a r r e n in 1900

of its impressive w h i t e - g r o u n d t e c h n i q u e , w h i c h
delineates a subtle composition showing t h e inter

On cover, w h i t e g r o u n d , Apollo standing before a

seated Muse; a r o u n d this, red-figure, laurel
with

wreath

berries

A - B , red-figure: A, woman running with floral

tendrils; B, t h e like

125 ADDED CLAY AND GILDING

action of s t a n d i n g a n d seated male a n d female

figures in a rocky landscape setting, this t o n d o h a s
long been believed t o reflect lost wall-painting b y
t h e r e n o w n e d Early Classical artist Polygnotos.

31.2

Here we witness t h e god Apollo's e p i p h a n y

clay p u n c t u a t e t h e key p a t t e r n of t h e exergue.

before a charming y o u n g M u s e on M o u n t

Bits of gold still cling to some of these added-clay

Helikon. Apollo, standing at t h e left on a w a v y

features, e.g., t h e t o p m o s t front leaf of Apollo's

line indicating u n e v e n terrain, t h r o w s open his

w r e a t h , t h e central coil of t h e Muse's bracelet,

arms, w h i c h are w r a p p e d in his p u r p l e m a d d e r

a n d t h e lyre's leftmost arm, p r o v i d i n g i m p o r t a n t

mantle, t h u s revealing his slender, yet muscular

evidence t h a t all t h e raised details were originally

b o d y in full frontal nudity. T h e M u s e , w h o wears

gilded. In 1931, Caskey n o t e d s u r v i v i n g gold

a milky b r o w n i s h - o r a n g e peplos w i t h b r o w n

also on t h e earring a n d on one clay blob in t h e

folds, is seated on a rock w i t h her elbow resting

exergue.

on her k n e e a n d her h a n d raised to her chin in a

The Boston covered cup is one of t h e earliest

p o p u l a r artistic gesture denoting contemplation o:

k n o w n Attic vases w i t h still-preserved gilding

uncertainty. These y o u n g male a n d female figures

(cf. cat. no. 32; Cohen, chap. 4, fig. 2; True, chap.

look into each other's eyes, i m p a r t i n g t h e i n t i m a a

7, fig. 4). Moreover, Pamela Hatchfield, Head

of a romantic t r y s t to this remarkable encounter.

of Objects Conservation at t h e M u s e u m of Fine

T h e m a n y impressed preliminary sketch lines

Arts, Boston, in conjunction w i t h scientists at

reveal t h e artist's effort in creating these memo

t h a t museum, has discovered a gray p r e p a r a t o r y

rable figures.

g r o u n d , consisting of g y p s u m a n d carbon par

T h e y o u n g male is clearly identified as Apollo

ticles, u n d e r n e a t h t h e cup's gilding. Richard N e w

b y t h e large clay-relief laurel w r e a t h that b i n d s

man, Head of Scientific Research, a n d Michele

his hair. The M u s e is identified, p e r h a p s less

Derrick, Research Scientist, performed analyses

securely, b y t h e lyre held in her left h a n d . Its

b y Fourier Transform Infrared microscopy (FTIR)

tortoiseshell body, w h i c h is d r a w n in dilute, has

a n d examination b y scanning electron microscopy

a blotch of dark p u r p l e on each h o r n y plate. This

(SEM) a n d X-radiographs. T h e y have concluded

p u r p l e also delineates t h e folds of Apollo's mantle

t h a t this gray g r o u n d layer has clearly not been

T h e lyre's arms a n d t h e e n d s of its crossbar are

fired: Since g y p s u m is h y d r a t e d calcium sulfate

a d d e d in clay relief. T h e M u s e is herself a d o r n e d

(CaS0 -2H 0), if it were fired, it w o u l d lose t h e

w i t h added-clay jewelry: an earring, a spiral

associated water (i.e., t h e water of crystallization).

snake bracelet, a n d a long dress p i n t h a t fastens

The gilding of this cup's added-clay details, there

her peplos at t h e shoulder. Four blobs of added

fore, h a d to have been d o n e after firing. It has not

126 ADDED CLAY AND GILDING

been possible to determine, however, w h e t h e r an

organic b i n d i n g material, either on t o p of or com
bined w i t h t h e g y p s u m m i x t u r e , was originally
employed to secure t h e gold leaf.
This u n u s u a l vessel, w i t h its slightly domed
integral lid, is a trick cup, as t h e X-radiograph
p u b l i s h e d here shows (fig. 31.3). The foot's stem
is hollow, a n d its i n n e r edge rises u p into t h e
bowTs interior. T h e covered cup could t h u s have
been inverted a n d filled from t h e bottom. W h e n
r i g h t side u p , its contents could have come out
only t h r o u g h t h e orifice b e n e a t h t h e t o n d o . A n
arc of teeth or t o n g u e s is p a i n t e d above this aper
ture, a n d below a ridged clay b a n d on t h e bowl
may have served as a d r i p g u a r d or strainer. This
u n u s u a l cup's original function is not k n o w n . It is

31.3

likely t h a t it was a libation vessel in some special

ritual r a t h e r t h a n a common d r i n k i n g cup.
T h e red-figure w r e a t h t h a t encircles t h e lid's
w h i t e - g r o u n d t o n d o is technically n o t e w o r t h y
because most of its berries' stems are incised a n d
because t h e berries themselves have been shaded
w i t h a nearly black dilute. Beazley associated this
covered cup's run-of-the-mill red-figure exterior
w i t h t h e late w o r k of t h e Carlsruhe Painter, b u t h e
was not certain t h a t t h e w h i t e - g r o u n d t o n d o on
t h e lid was b y t h e same h a n d . Associations w i t h
t h e Villa Giulia Painter (Beazley 1918; Robertson
1992) a n d t h e W o r k s h o p of t h e Penthesilea Painter
(Wehgartner 1983) (cf. cat. nos. 6 1 , 32) have also
been proposed, b u t t h e a n o n y m o u s painter of
this w h i t e - g r o u n d masterpiece has not yet been
securely identified.

ARV 741; Para 413; BAdd 283; BAPD Vase

209171; Annual Report, Museum of Fine Arts, Boston 25 (1900)
74, no. 32; Fowler and Wheeler [1909] 508, fig. 400; Swindler
1915, pi. 28, 408-409, no. 12; Beazley 1918, 154; Langlotz 1922,
13, pi. 35; Philippart 1927-1928, 107, no. 27; CB I, 33-34, no.
36, pi. 15; Philippart 1936, 77-81, no. 56, pi. 32; Pfeiff 1943,
96, pi. 40; Chase 1950, 80-81, 82, fig. 91; Rumpf 1953, 102, pi.
31.5; Himmelmann-Wildschutz 1959, 16, pi. 19; Robertson 1959,
132, 134-35; Chase 1963, 119-20, 129, fig. 107; Neumann 1965,
120-21, 125, fig. 59; BAA vn (1966) s.v. Schemata 101, fig. 133
(I. Jucker); Noble 1968, 372-73, figs. 5-7; Walter 1971, 318, 319,
fig. 295; Charbonneaux, Martin, and Villard 1972, 259, fig. 295,
260-62, 392; Mertens 1974, 103-104; Robertson 1975, 261, 275,
pi. 89c; Mertens 1977, 171, no. 32, 175, pi. 30.1; Dover 1978, 70,
R783; Harrison 1979, 91-92, pi. 25; Robertson 1981b, 74, 75, fig.
112; Wehgartner 1983, 162, no. 2, 163-65, pi. 3; LIMC n (1984)
s.v. Apollon 269, no. 689a (G. Kokkorou-Alewras), pi. 239, Apollon 689a; Keuls 1985, 70, 72, fig. 55; Bianchi Bandinelli and Paribeni 1986, no. 451; Beazley 1989b, 36, no. 10; Robertson 1992,
172-73, fig. 183; CAH plates to vols, v and vi (1994) 38, fig. 42;
Kyrieleis 1997, 22; Garrison 2000, photo on jacket, title page, page
opposite preface; Harris and Platzner 2001, 607, fig. 15.5.

REFERENCES:

In regard to the lost painting of Polygnotos, see cat. nos. 61, 90,
92, 93. For the Carlsruhe Painter, see ARV 730-39, 1668; Para
411-12; BAdd 283. For the Villa Giulia Painter, see ARV 618-26,
1662; Para 398-99; BAdd 270-71. See also BAPD s.v. Carlsruhe
P. and Villa Giulia P.
2

127 ADDED CLAY AND GILDING

clay details encircling this w h i t e - g r o u n d lid from

a p y x i s is t h e masterpiece of t h e S p l a n c h n o p t
Painter. A cup-painter in t h e large mid-fifthc e n t u r y p o t t e r y w o r k s h o p in w h i c h t h e P e n t h e
silea Painter (cat. n o . 61) was t h e leading figure,
t h e S p l a n c h n o p t Painter was so named b y Beazley after t h e y o u t h p r e p a r i n g to sacrifice viscera
inside a fragmentary c u p in Heidelberg. W h i t e g r o u n d p y x i d e s like t h e famous p y x i s of t y p e A in
N e w York w i t h t h e J u d g m e n t of Paris, a t t r i b u t e d
to t h e Penthesilea Painter himself, are a specialty
of this w o r k s h o p . P y x i d e s preserved in w h i t e
marble a n d alabaster suggest t h e special affinity
of w h i t e g r o u n d for this shape. These lidded con
tainers were generally used b y w o m e n as cosmetic
boxes, a n d t h e clay models were often decorated
w i t h appropriate subject matter.
On a pyxis of t y p e B, t h e vertical wall of t h e
tall, cylindrical lid itself provides t h e field for t h e
vase-painting. T h e n i g h t t i m e w e d d i n g proces
sion depicted on t h e L o n d o n p y x i s lid, instead
of e n d i n g at t h e bridegroom's house as is nor
mally s h o w n , passes a flaming altar signifying

32.1

t h e h e a r t h of t h e bride's n e w home. T h e groom

32
WHITE-GROUND LID FROM
A PYXIS OF TYPE B

leads t h e veiled bride b y t h e wrist, cheir epi karpo

(fig. 32.1), a traditional gesture signifying t h e
d o m i n a n t male's possession of t h e female, also
employed in scenes of a b d u c t i o n a n d ritual dance.
T h e t w o torch-bearing w o m e n must be t h e mar

A t t r i b u t e d to t h e S p l a n c h n o p t Painter,
ca. 4 7 0 - 4 6 0 B.C.

(fig. 32.3). But t h e t w o regal w o m e n w i t h scepters

H 7.6 cm; Diam 11 cm

L o n d o n , T h e British M u s e u m
GR 1894.7-19.1, BM Cat Vases D 11
Said to be from Eretria; p u r c h a s e d 1894
On t h e wall, wedding

ried couple's mothers, w i t h t h e groom's in t h e lead

procession

C O N D I T I O N : Good; assembled from four large

at either side could be goddesses, a n d this scene

m i g h t depict a m y t h , such as t h e ill-fated marriage
of Paris a n d Helen a t t e n d e d b y Hera a n d A p h r o
dite, s h o w n in t h e guise of e v e r y d a y life.
The figures a n d other forms on this p y x i s lid
are d r a w n w i t h black relief lines u p o n t h e w h i t e
g r o u n d . Here black gloss is used in a painterly

fragments; edges of three spool-shaped handles

fashion also for hair, a n d it describes slender

chipped; fourth handle broken; fragment with

objects, such as t h e scepters' shafts, t h e groom's

face and breast of bridegroom missing; large clay

walking stick, a n d t h e musician's pipes (fig. 32.2).

chip missing near bottom, to right of aulos player's

feet; pale-yellow surface of white ground flaked,
revealing a whiter white beneath; some taupe gray
discolorations on white ground; most of gilding on

The folds in most of t h e women's chitons are like

wise d r a w n w i t h black lines, b u t t h e folds in t h e
pliant cloth of each himation are p a i n t e d a darker

added-clay elements n o w missing; base of pyxis

shade of t h e garment's basic color. T h e himations

lost.

themselves range in color from pale red to red

dish b r o w n a n d pale b r o w n i s h orange as well as

T H E LIVELY A N D C O L O R F U L W E D D I N G p r o c e s

a now-grayish m a u v e . T h e groom wears tall red

sion embellished w i t h originally gilded a d d e d -

boots w i t h darker tops a n d t h e musician short

128 ADDED CLAY AND GILDING

grayish m a u v e boots. A painterly application of

red describes t h e flames rising from t h e torches
a n d t h e altar, as well as t h e gore from sacrifices on
t h e altar's side.
Remarkably, t w e n t y - e i g h t preserved details
carefully applied in relief w i t h a d d e d clay e n h a n c e
t h e w h i t e - g r o u n d vase-painting of this pyxis
lid. These relief features i n c l u d e h e a d b a n d s or
diadems, earrings, bracelets, t h e b u t t s a n d floral
finials of scepters, t h e base of t h e groom's walk
ing stick, t h e r o u n d object held b y t h e w o m a n to
t h e r i g h t of t h e altar, a n d t h e center of t h e altar's
r i g h t volute. T h e bit of gilding still clinging to
t h e back of t h e h e a d b a n d w o r n by t h e torchcarrying w o m a n in a chiton w i t h b r o w n i s h - r e d
borders is one of t h e earliest examples t h a t has
been preserved (cf. cat. no. 31). Originally, all of
t h e added-clay details were gilded. In b o t h of t h e
British M u s e u m ' s publications from 1896just
32.2

t w o years after t h e lid's d i s c o v e r y t h e jewelry

a n d other accessories are simply described as
"gilt." A 1907 letter from Cecil H. Smith to Alfred
Brueckner (Brueckner 1907) identified t h e r o u n d
object in t h e h a n d of one w o m a n w i t h a scepter
(fig. 32.3) as a fig on t h e basis of t h e way t h e t h e n preserved gilding was c o n t i n u e d o n t o t h e w h i t e
g r o u n d . Gilded added-clay relief details on a fifthc e n t u r y w h i t e - g r o u n d p y x i s are unusual; this one
may have been either a special gift for a bride or
destined for t h e t o m b of a deceased m a t r o n or
maiden.

ARV 899.146; BAdd 303; BAPD Vase 211904;

Murray and Smith 1896, 30 and pi. 20; C. H. Smith 1896, 393;
Walters 1905, I, pi. 43, 457; Brueckner 1907, 80-85, 80-81, figs.
1-2; Perrot 1914, 729-31, figs. 400-401; Beazley 1918, 128; Rumpf
1928, viii, xi, fig. 176; CB II, 43; Stobart [1960], xvii, pi. 60, fig. 1,
213; Mertens 1977, 137, no. 8, 139; Jenkins 1983, 139, 141-42, pi.
18a; Wehgartner 1983, 141, no. 14, 146-47, pi. 50.1-3; Robertson
1992, 164; Lonsdale 1993, 214, 215, fig. 24, 217; Oakley and Sinos
1993, 34-35, 104-105, figs. 96-98; Reinsberg 1993, 62, 64, figs.
18a-c; Bonnechere 1997, 83, 89, figs. 15a-c; Woodford 2003, 158,
fig. 121.
For the Splanchnopt Painter's name vase, Heidelberg, RuprechtKarls-Universitat 143, see ARV 898.132, 1674; BAdd 303; BAPD
Vase 211887. On the materials from which pyxides were made, see
Kanowski 1984, 127-29. A marble pyxis was found in a woman's
tomb on Rhodes along with the famous pelike of ca. 360-350 B.C.
attributed to the Marsyas Painter, London, British Museum
GR 1862.5-30.1, BM Cat Vases E 424 (Lapatin, chap. 9, fig. 3); see
Williams and Ogden 1994, 90-91, fig. 43. For the white-ground
pyxis attributed to the Penthesilea Painter, New York, Metropoli
tan Museum of Art 07.286.36, see ARV 890.173, 1673; BAdd
302; BAPD Vase 211736. On the pyxis of type B, see Wehgartner
1983, 136-37; Moore 1997, 52-53.

REFERENCES:

129 ADDED CLAY AND GILDING

32.3

33

WHITE-GROUND SQUAT
LEKYTHOS
A t t r i b u t e d t o t h e Eretria Painter,
ca. 4 2 0 - 4 1 5 B.C.
H 2 1 cm
Kansas City, Nelson-Atkins M u s e u m of A r t
(Purchase: Nelson Trust), 31-80
A r t Market; p u r c h a s e d 1930
On t h e shoulder: Eros and woman
seated on rock in garden

(Aphrodite?)

On t h e body: Woman (Aphrodite?), seated on rock

holding bird, and baby boy named Kephemos(?)
flanked by Antheia, Peitho (Persuasion),
Eunomia
(Good Order), and Paidia (Playfulness) in garden
f

C O N D I T I O N : Conservation work b y J. Paul Getty

Museum 2005-2006; assembled from fragments
with losses restored in toned plaster; mottled losses
in white-ground surface affect all painted figures
and inscribed names, esp. those for baby boy (Kephemos?) and woman behind him (Eunomia); area
missing above seated woman (with her name?); o n
shoulder, most of Eros's head, upper part of seated
woman (and her name?) missing; white incrustation
on underside of foot.

T H I S TALL W H I T E - G R O U N D s q u a t l e k y t h o s ,

whose potting is as exquisite as its painting,

reveals t h e Eretria P a i n t e r s seminal role in estab
lishing t h e charming realm inhabited b y lovely
female figuresmany of t h e m n a m e d personifica
tions^that reigns on later fifth-century A t h e n i a n
vases of t h e Meidias Painter a n d his followers (cf.
cat. n o . 35). Here t h e figural compositions of t h e
vessels b o d y a n d shoulder are sensitively d r a w n
u p o n t h e engobe w i t h lines of dilute gloss v a r y i n g
in intensity from black t o a pale golden b r o w n .
The fine, alternately simple a n d complex linear
dilute folds of t h e women's dresses are particularly
impressive. Like t w o b e t t e r - k n o w n masterpieces
of t h e Eretria Painter'shis name vase, t h e r e d figured epinetron from Eretria (Cohen, chap. 5,
fig. 8), a n d t h e even taller red-figured a n d w h i t e g r o u n d squat lekythos in N e w York (Cohen, chap.
4, fig. 5)the Kansas City lekythos showcases
this painter's embellishment of delicately p a i n t e d

33.1

130 ADDED CLAY AND GILDING

scenes w i t h p r o m i n e n t added-clay details that

open; it serves as a foil for her peplos-clad body.

must originally have been gilded. This vase is one

Antheia's hair is covered by an old-fashioned

of t h e painter's last w o r k s .

sakkos. She too wears an added-clay earring a n d

At t h e center of t h e main frieze, a female fig

beaded necklace. Peitho, s h o w n w i t h her hair in a

ure, seated on a rock, is engrossed w i t h t h e little

s p h e n d o n e , wearing a peplos a n d added-clay j e w

s o n g b i r d perched u p o n her fingertips (fig. 33.1).

elry (a hair ornament, earring, necklace, and t w o

A c h u b b y baby boy, kneeling on a m o u n d of

bracelets on each wrist), stands b e t w e e n Antheia

earth before her, stretches b o t h arms toward t h e

a n d t h e seated w o m a n . She holds a stick(?) a n d

w o m a n , as if desiring either to get t h e bird for

may have been s h o w n picking an added-clay

himself or to attract her attention. This figural

flower from t h e n o w partially preserved plant

frieze's subject m i g h t be clearer were an inscrip

before her.

tion w i t h t h e seated woman's name preserved. She

A rocky garden setting is continued on t h e

is most likely A p h r o d i t e ; b u t she m i g h t be a mor

vessel's shoulder, w h e r e Eros approaches a n o w

tal m o t h e r s h o w n on a vase destined for t h e t o m b

partially preserved female figure, w h o is probably

(Lezzi-Hafter 1988) (cf. cat. no. 95). This female

A p h r o d i t e . She is seated on a rock, w i t h her dark

figures hair is c a u g h t u p in a s p h e n d o n e . T h e

himation w r a p p e d a r o u n d her legs, like t h e cen

h e a v y himation w o r n over her linen chiton has

tral female figure in t h e main frieze. The o r n a m e n

slipped d o w n , encircling only her lower body. The

tal palmettes w i t h tendrils, flanking t h e lekythos's

himation appears to be p a i n t e d black, b u t traces

black h a n d l e w i t h a central vertical ridge, seem

of an u n d e r l y i n g red are also visible. The seated

to continue t h e delicate vegetation of its vase-

female is richly a d o r n e d w i t h added-clay jewelry:

paintings.

an earring, a beaded necklace, t w o bracelets on

each wrist and, unusually, a ring on her raised left
h a n d . Getty M u s e u m conservator J e r r y Podany
has discovered a bit of gold still clinging to one of
her added-clay bracelets. T h e baby boy before her
is naked save for his o w n added-clay a d o r n m e n t s :
a b a n d of hefty amulets slung diagonally across his
b o d y (cf. cat. no. 63), a heavy amuletic bracelet,
a n d an anklet.
Behind t h e little boy, a lovely y o u n g w o m a n
w i t h long curly hair picks added-clay fruit from
a sapling to add to t h e tray she carries (fig. 33.2).
The n o w partially preserved name inscribed above
her, w h i c h has been q u e s t i o n e d in earlier schol
arship, does appear (in a digital enlargement) to
be Eunomia, m a k i n g her t h e earliest preserved
depiction of t h e personification of "Good O r d e r "
in Greek art. At t h e far right, Paidia is s h o w n
as an oddly dignified m a t r o n w h o hardly sug
gests "Playfulness" or "Childish Play." Her hair is
c a u g h t u p in a diadem t o p p e d b y added-clay finials; she wears an added-clay earring a n d necklace,
a n d a black himation over her chiton. W i t h her
o u t s t r e t c h e d right h a n d , she dangles a string of
added-clay beads t h a t resembles her o w n necklace
b u t is much larger. At t h e far left, Antheia's dark
himation is w r a p p e d a r o u n d her arms a n d w o r n
33.2

131 ADDED CLAY AND GILDING

These lyrical w h i t e - g r o u n d vase-paintings are

e n h a n c e d also b y red-figure o r n a m e n t outside t h e
picture field. Circumscribed palmettes encircle t h e
offset black neck, w h i c h s u p p o r t s t h e lekythos's
all-black m o u t h . Egg p a t t e r n s w i t h dots, bordered
b y black lines, r u n above a n d below t h e main
frieze, w i t h t h e u p p e r b a n d of o r n a m e n t p a i n t e d
b e t w e e n grooves u p o n an u n u s u a l c u r v e d clay
molding t h a t articulates t h e b o u n d a r y b e t w e e n
t h e squat lekythos's shoulder a n d body. Visually
balancing t h e black neck a n d m o u t h , t h e body,
below t h e lower egg p a t t e r n , is likewise black.
It nestles u p o n t h e black u p p e r degree of this
charming vessel's otherwise reserved complex
ring foot.

ARV 1248.8; BAdd 353; BAPD Vase 216944;

Jucker 1973; Taggart and McKenna 1973, 37.above-right; Mertens
1977, 211-12; LIMC I (1981) s.v. Aglauros, Herse, Pandrosos
291, Aglauros no. 36, pi. 215 (U. Kron); Schefold 1981, 317, fig.
458; Wehgartner 1983, 107, no. 12, 111, 209n.43, pi. 35; LIMC n
(1984) s.v. Aphrodite 121, no. 1260 (A. Delivorrias); Lezzi-Hafter
1988, 344, s.v. no. 240, pis. 156-57; LIMC iv (1988) s.v. Eukleia
50, no. 13 (A. Kossatz-Deissmann); and s.v. Eunomia 63, no. 1, pi.
26 (A. Kossatz-Deissmann); LIMC v (1990) s.v. Horai 507, no. 38
(V. Machaira); LIMC VI (1992) s.v. Kephalos 4-5, no. 30, pi. 7 (E.
Simantoni-Bournia); Shapiro 1993, 80, 81, figs. 33-34; 82; 181,
182, fig. 139, 203, 204, fig. 164, 237, cat. no. 30, 257, 260; LIMC
VII (1994) s.v. Paidia 141, no. la (A. Kossatz-Deissmann) and s.v.
Peitho 246, no. 28 (N. Icard-Gianolio).
Ines Jucker, 1973, 63, misread the baby boy's name as Kepha
los rather than the more likely Kephemos, and this led to further
incorrect interpretations of the lekythos. Jucker, 64, also believed
incorrectly that the female figures' dark (black) himations were
originally overpainted with red. Irma Wehgartner, 1983, 209n.43,
suggested instead that red draperies were overpainted with
another matt color, such as blue or green, that has turned black. A
preliminary investigation by conservators at the Getty Museum,
however, appears to indicate that the himations are, in fact, a
slightly shiny black painted over red in places. The unusual use
of red on these draperies is undergoing further examination.
REFERENCES:

33.3

132 ADDED CLAY AND GILDING

34

RED-FIGURED SQUAT LEKYTHOS

(TALLBOY)
A t t r i b u t e d to t h e Painter of t h e Frankfort
A c o r n a n d to Phintias t h e A t h e n i a n as
potter, ca. 4 2 0 - 4 0 0 B.C.
H 18.4 cm
Malibu, J. Paul Getty M u s e u m 91.AE.10
From Greece; European art market, b y
e x c h a n g e 1991; formerly M u n c h e n s t e i n ,
p r i v a t e collection; Lausanne, Gillet collection
Loving couple (bride and

bridegroom)

C O N D I T I O N : Neck and mouth reattached; abrasion

around outer edge of mouth; crack in lower body;
black gloss flaked and pitted; white on hands and
arms of woman on left flaked; minor chips in and
losses of added clay; front of hair and diadem of
woman on right lost; white incrustation on upper
surface of vase's foot.

T H I S L E K Y T H O S ' S O R N A T E R E D - F I G U R E vase-

painting, combining traditional reserved forms

w i t h figures p a i n t e d in w h i t e a n d details added
in clay relief, was inspired b y t h e rich style intro
d u c e d b y t h e Meidias Painter in t h e late fifth cen
t u r y (cf. cat. n o . 35). Beazley derived its p a i n t e r s
n a m e from a lekythos in Frankfurt w i t h a lower
b o d y t h a t mimics t h e cap of an acorn. T h e e x q u i
site M a l i b u lekythos is a taller variant of t h e squat
lekythos; its c u r v e d b o d y w i t h n o angular shoul
der was p o t t e d in o n e piece, save for t h e h a n d l e .
T h e painter's name vase bears t h e potter-signature
of Phintias t h e A t h e n i a n , a n d t h e Malibu "tall
b o y " must likewise have come from his shop.
Lekythoi such as these, w h i c h once contained
scented oil, often depict intimate feminine scenes
a n d must have been used b y w o m e n . On t h e
Frankfurt acorn lekythos, a seated w o m a n , w h o
may be a b r i d e , is a t t e n d e d b y Eros a n d other
w o m e n , w h o may be goddesses associated w i t h
love a n d marriage, such as Hera a n d A p h r o d i t e
a n d t h e personification of persuasion, Peitho.
W e d d i n g iconography on A t h e n i a n vases may
t h u s seamlessly intermingle a p p r o p r i a t e super
n a t u r a l beings w i t h e v e r y d a y life, a n d often only
34.1

133 ADDED CLAY AND GILDING

by Erotes; a w o m a n w h o gestures in surprise at

t h e intrusion of a love deity into e v e r y d a y life;
a seated w o m a n w i t h a mirror, a n d a beautiful
w o m a n , wearing a diadem, w i t h a cloak over her
head, w h o recalls representations of A p h r o d i t e .
This romantic composition t h u s appears to be an
assemblage excerpted from larger vases.
The enigmatic love scene on this lekythos is
r e n d e r e d in t h e colorful and elaborate form of redfigure vase-painting p o p u l a r toward t h e e n d of t h e
fifth century. In contrast to earlier red-figure, here
t h e male lover's sex is specially emphasized b y
his being t h e only figure whose flesh is reserved.
T h e female figures a n d Erotes are all depicted
w i t h w h i t e flesh on w h i c h their facial features a n d
anatomical details have been fluidly, yet precisely
sketched in a golden dilute. This t e c h n i q u e recalls
earlier w h i t e - g r o u n d lekythoi w i t h a second w h i t e
for t h e flesh of w o m e n and children (cat. nos. 62,
63). The Malibu lekythos's most striking technical
feature, however, is its extensive use of a d d e d clay relief. The raised details include bracelets,
necklaces and diadems, furniture ornaments, door
bosses, t h e chariot's wheels a n d pole, harnesses,
fillets a n d anklets of t h e Erotes, t h e male figure's
strigil, a n d t h e seated female's sandals a n d mir
ror, as well as hearts of t h e ornamental h a n d l e palmettes. In addition, stray blobs of a d d e d clay
adhere to t h e left arm of t h e rightmost Eros. M u c h
of t h e added-clay w o r k is striated, presumably to
aid t h e a d h e r e n c e of a surface coating, w h i c h , on
34.2

t h e basis of comparison w i t h other Meidian vases,

is generally assumed to have been gold, t h o u g h n o

inscribed names can clearly elevate a depiction to

t h e realm of m y t h a n d legend.
T h e couple falling in love on t h e u n i n s c r i b e d
M a l i b u lekythos is sometimes said to be Helen
a n d t h e Trojan prince Paris in their fateful meet
ing at her h u s b a n d , Menelaos's, palace in Sparta.
However, t h e youthful male, w h o locks eyes w i t h
a n d embraces t h e love-struck seated w o m a n , car
ries a strigil, t h e a t t r i b u t e of an athlete, rather
t h a n t h e spear normally associated w i t h Paris, an
armed visitor from a foreign land. Other compo
sitional elements here are also familiar from stan
dard love a n d w e d d i n g iconography: a p r o m i n e n t
door; a female figureprobably A p h r o d i t e rather
t h a n P e i t h o w h o flies above in a chariot pulled

134 ADDED CLAY AND GILDING

traces have been preserved.

ARV 1317.3; BAdd 363; BAPD Vase 220524; LIMC

II (1984) s.v. Aphrodite 117, no. 1192, pi. 120 (A. Delivorrias);
Burn 1987, 101, no. F3, 113, no. MM 100 (erroneous double list
ing); 'Acquisitions/1991,"GettyMusJ 20 (1992), 146, no. 22; J P G M
Antiquities Masterpieces 1997, 47; Sutton 1997-1998, 37, fig. 16;
Clark, Elston, and Hart 2002, 11, 13, fig. 7; J P G M Antiquities Hand
book 2002, 80.
For the potting of squat lekythoi, see Schreiber 1999, 178-79.
Frankfurt, Liebieghaus 538: ARV 1317.1; Para 477-78; BAdd
362-63; BAPD Vase 220522; for the potter-signature, see Para
477-78; CVA Frankfurt 2 [Germany 30] 33.

REFERENCES:

35.1

35

C O N D I T I O N : Excellent; intact; bronze pin at center

RED-FIGURED PYXIS OF TYPE B

of lid still attached; chips in black gloss esp. around

top edge and along reserved stripe near bottom;
some added-clay details lost, including: on wall of

A t t r i b u t e d to t h e M a n n e r of t h e Meidias

lid, dots on sandal straps of Pothos and Hedylogos

Painter, ca. 4 1 0 - 4 0 0 B.C.

H 7.2 cm; Diam 12.3 cm

and beads from necklaces of Eunomia, Paidia, and

London, T h e British M u s e u m

left arm of maenad with thyrsos,

Eudaimonia; on topside, most of upper bracelet on

t w o beads in her

necklace, earring and t w o necklace beads of maenad

GR 1893.11-3.2, BM Cat Vases E 775

to left of Dionysos, bead in necklace of maenad with

From Eretria; p u r c h a s e d 1893

lyre, dots on perimeter of tympanum; much of gild

ing on added-clay details lost.

On t h e wall of t h e lid, Aphrodite

with her chariot,

drawn by Pothos (Longing) and Hedylogos

Talk), and her entourage: Hygieia (Health),
(Good Order), Paidia (Playfulness),
(Happiness),
(Harmony),

Himeros (Desire),
and Kale

(Sweet
Eunomia,

Eudaimonia
Harmonia

(Beauty)

T H I S C O S M E T I C B O X , W H I C H STILL contains

face powder, is said to have been found in a t o m b

at Eretria along w i t h exotic a n d expensive items
such as an ivory stylus a n d a pair of gold boatshaped earrings w i t h sirens a n d cockleshell p e n

On t h e topside of t h e lid, Dionysos seated and

dants. Elaborately decorated, t h o u g h m a d e of clay,

maenads

this red-figured pyxis, must have been a cherished

135 ADDED CLAY AND GILDING

possession of its fashionable female owner. It has

over a h u n d r e d details r e n d e r e d in added-clay
relief a n d n u m e r o u s preserved traces of gilding.
T h e use of gilded a d d e d clay is characteristic of
t h e florid late fifth-century red-figure style of t h e
Meidias Painter, an influential a n o n y m o u s artisan
n a m e d after t h e potter of a splendid red-figured
h y d r i a in t h e British M u s e u m .
This pyxis's lid contrasts t h e peaceful, allur
ing females in t h e sphere of A p h r o d i t e w i t h t h e
frenzied maenads in t h e entourage of t h e w i n e
god Dionysos. The painter distinguishes t h e A p h
rodite composition from a female genre scene:
Inscribed names in w h i t e letters identify t h e
participants as personifications of abstract con
cepts associated w i t h love a n d t h e good life. T h e
w i n g e d Erotes Pothos a n d Hedylogos, harnessed to
A p h r o d i t e s chariot, are a central focus (fig. 35.2).
As is common in late red-figure, their flesh as well
35.2

as t h a t of Himeros is w h i t e w i t h inner anatomi

cal details p a i n t e d u p o n it in dilute gloss. A d d e d
clay describes their once-gilded radiate crowns,
harnesses, a n d sandals, as well as their feathered
w i n g s . On t h e w i n g s ' surface, a grayish w h i t e
undercoat for t h e gilding is preserved. In this
vase-painting only t h e car of Aphrodite's chariot,
d r a w n in an a w k w a r d t h r e e - q u a r t e r view char
a c t e r i s t i c of t h e late fifth century, has n o gilded
raised detail. The goddess holds an added-clay
goad along w i t h t h e chariot's w h i t e reins. At her
epiphany, A p h r o d i t e wears once-gilded added-clay
jewelry: a beaded necklace, four bracelets, a n d a
tiara.
T h r o u g h o u t t h e rest of this composition oncegilded added-clay objects play as i m p o r t a n t a role
as t h e figures themselves. All of t h e other female
figures wear once-gilded added-clay j e w e l r y a n d
h e a d b a n d s or hair ornaments. On t h e other side
of t h e chariot, a bejeweled Hygieia stands beside
a fruit-bearing tree (fig. 35.3). Eunomia holds an
o p e n beaded necklace. Paidia dangles a beaded
necklace before Eunomia, while h o l d i n g in her
other h a n d a chest w i t h w h i t e a n d once-gilded
items p e e p i n g out of its top. Himeros dangles a

35.3

necklace before Eudaimonia (fig. 35.4), w h o is

balancing on one foot while t y i n g or u n t y i n g her
sandal like t h e famous Nike on t h e relief from t h e
A t h e n i a n Akropolis in reverse. Finally, t h e seated

136 ADDED CLAY AND GILDING

Harmonia holds t h e e n d s of an o p e n laurel w r e a t h

a n d t u r n s toward Kale w h o holds an o p e n beaded
necklace (fig. 35.4).
T h e a d d e d clay on t h e topside of t h e lid dis
plays a red surface w h e r e there was once gilding.
Rosettes w i t h once-gilded added-clay hearts stud
t h e field. The seated n u d e y o u n g Dionysos wears
a gilded radiate crown (fig. 35.1). But t h e frenzied
maenads, dancing to t h e s o u n d of lyre a n d t y m
p a n u m , w h o also wear once-gilded relief jewelry,
are of central interest here. One maenad w i t h her
head t h r o w n back has tossed over her shoulder a
child wearing a raised bracelet a n d anklet. Two
m a e n a d s grasp a fawn, w h i c h is detailed w i t h
e x t r u d e d a d d e d clay, by its limbs: The beast,
upside d o w n a n d helpless, will shortly be r i p p e d
apart in a Dionysiac sparagmos

(rending). The

above-mentioned t w o striking motifs recur later,

in t h e fourth century, on t h e Derveni krater, a
large bronze volute-krater w i t h elaborate relief
decoration found in a M a c e d o n i a n t o m b . Both
vessels probably reflect a common source in m o n u
mental Classical art, p e r h a p s a lost painting in t h e
Temple of Dionysos at A t h e n s .

ARV 1328.92; BAdd 364; BAPD Vase 220648; C. H.

Smith 1896, 367-68, pi. 20; Walters 1905, n, 142, fig. 131; Ducati
1909, 166-68, figs. 15-17; Robert 1919, 62-63, fig. 50; Curtius
1929, 12, fig. 15, 17; BAA m (1960) 516-17, fig. 623, s.v. Eudai
monia (A. Comotti); Richter [1970a] 32, fig. 142; Robertson 1972,
44-46, 48; Robertson 1975, 483, 706n.94; Albert 1979, 39-40, 210,
fig. 57; Green 1982, 241, fig. 5, 242; LIMC n (1984) s.v. Aphrodite
117, no. 1196, pi. 120 (A. Delivorrias); Briimmer 1985, 138, 141,
fig. 34e; Burn 1987, 34, 79-80, 116, no. MM 136, pis. 18a-c, 19a;
LIMC iv (1988) s.v. Eudaimonia I 47, no. 5, pi. 22 (H. A. Shapiro),
and s.v. Eunomia 64, no. 7, pi. 28 (A. Kossatz-Deissmann); LIMC
v (1990) s.v. Harmonia 414, no. 15 (E. Paribeni), and s.v. Himeros
426, no. 14 (A. Hermany); Shapiro 1993, 17, 32, 66, fig. 19, 84, fig.
37, 108, fig. 60, 109, 117, 122, 123, fig. 76, 129, 130, fig. 83, 183,
234, no. 19; LIMC vn (1994) s.v. Pentheus 314, no. 68, pi. 264 (A.
Kossatz-Deissmann); Williams and Ogden 1994, 56; Couelle 1996,
234-38, 235, fig. 95; Carpenter 1997, 115-16, pi. 45A; LIMC vm
(1997) s.v. Mainades 785, no. 33, pi. 529 (I. Krauskopf; E. Simon);
Moraw 1998, 97, 300, no. 466, pi. 23, fig. 57; Grassigli 1999, 112,
fig. 16; Provenzale 1999, 73-81, pi. 12.1; Carpenter 2000, 54, 55,
fig. 5; Osborne 2000, 13, fig. 8, 14.
REFERENCES:

See cat. no. 32 on the pyxis of type B. The name vase of the
Meidias Painter is London, British Museum 1772.3-20.30, BM Cat
Vases E 79: ARV 1313.5, 1690; Para 477; BAdd 361; BAPD Vase
220497. For the contemporaneous relief from the Nike Temple
parapet, see Stewart 1990, n, fig. 420. On the Derveni krater, see
Carpenter 2000, fig. 4, with bibl., and Beryl Barr-Sharrar forth
coming book.
2

137 ADDED CLAY AND GILDING

35.4

36

RED-FIGURED DINOID VOLUTEKRATER AND STAND

A t t r i b u t e d t o t h e Meleager Painter,
ca. 390

B.C.

H (of krater) 54 cm; H (with restored stand)

76.9 cm
Malibu, J. Paul Getty M u s e u m 87.AE.93.1-2
European a r t market; purchased 1987
Neck, A: Adonis reclining with Eros serving him,
between Aphrodite(?)

Persephone(7), a mantle-

dancer, and other women; B:

Symposium

Stand, side: Dionysos reclining, Eros, Apollo, and

Sabazios{7),

satyrs, and maenads; t o p : hare hunt

with hunting dog and animal combats: youth and

bull, youth and griffin, youth and deer with

antlers,

male in oriental dress and griffin

C O N D I T I O N : Good; krater assembled from frag
ments; small losses filled in with plaster; head of
Adonis missing; losses of gilding on added-clay
details of red-figure, on mold-made female heads of
handle-volutes, and on hair of Black men's heads
at sides of handles; several clay-relief berries of
krater's olive wreath lost; black gloss cracked and
chipped on ribs of krater's body; lost top and verti
cal element of stand restored in plexiglass; upper
surface of stand's base scraped and filed around
central broken edge; losses of added white in redfigure on side of stand; red and greenish misfiring
on stand.

T H I S U N I Q U E V O L U T E - K R A T E R , with a squat,

r o u n d e d b o d y like a dinos, has a projecting ring,

rather t h a n a foot, w h i c h was designed t o rest
securely u p o n a separate stand. T h e resulting
m o n u m e n t a l ensemble, w h i c h is strongly i n d e b t e d
to c o n t e m p o r a r y metalwork, counts among t h e
most elaborate preserved examples of A t h e n i a n
p o t t e r y from t h e early fourth century. T h e krater's
basic form was t h r o w n o n t h e wheel a n d t h e n
vertical ribs w i t h arched tops were meticulously
carved b y h a n d a r o u n d its b o d y a n d shoulder.
Such ribbing, w h i c h may first have been a d o p t e d
on fifth-century A t h e n i a n black-gloss p o t t e r y
u n d e r t h e influence of l u x u r i o u s Persian metal
vessels (cf. cat. nos. 96-99), may also evoke t h e

36.1

138 ADDED CLAY AND GILDING

lost ancient art of basket weaving. A n olive w r e a t h

w i t h once-gilded leaves, modeled in clay relief on
a smooth b a n d j u s t b e n e a t h t h e shoulder, encircles
t h e black r i b b e d body. The krater's volute-handles
are themselves masterpieces: Tiny gilded molded
female heads embellish t h e volutes' centers, while
spirals w i t h projecting leaflike forms fill t h e
spaces b e t w e e n t h e neck a n d t h e h a n d l e s ' verti
cal elements. T h e vessel's h a n d l e s are flanked at
t h e bottom by m o l d e d h e a d s of Black men, w h i c h
are covered w i t h black gloss, have w h i t e - p a i n t e d
eyes a n d m o u t h s , a n d gilded hair. T h e red-figure
leaf-and-palmette o r n a m e n t s on t h e volute-krater's
handles, m o u t h , a n d neck have gilded dots of
a d d e d clay for their berries a n d hearts. A n ivy
vine in added-clay relief r u n s above t h e red-figure
scene on t h e front of t h e neck. This opulent,
exotic creation, w h i c h parallels South Italian p r o d
ucts, may well have been designed specifically for
export.
The red-figure scenes on t h e krater's neck are
t h e Meleager Painter's most careful k n o w n w o r k .
This early f o u r t h - c e n t u r y master, n a m e d for his
depictions of Meleager a n d Atalanta, appears to
have been a pupil of t h e Dinos Painter. On side A,

36.2

females assemble to celebrate t h e glorious dying

y o u t h Adonis, w h o here reclines on an elaborately

2002) suggest a hierarchy in t h e relegation of w o r k

p a t t e r n e d fringed t a p e s t r y as he b i n d s a fillet

w i t h i n this Attic p o t t e r y shop.

a r o u n d his (missing) head. He is a t t e n d e d by Eros,

w h o s e w i n g s are r e n d e r e d in once entirely gilded
e x t r u d e d a d d e d clay. On each side of t h e composi
tion, a w o m a n wearing gilded added-clay j e w e l r y
holds a mirror w i t h a gilded pommeled h a n d l e
a n d finial a n d a reserved reflective surface framed
b y a gilded added-clay border. On t h e back, in
a simple s y m p o s i u m composition of three male
couples, details of t h e figures' w r e a t h s or diadems
a n d some fruit or flowers are likewise r e n d e r e d in
gilded a d d e d clay.
A distinction has been m a d e b e t w e e n t h e
splendid decoration of t h e krater's neck and
h a n d l e s a n d t h a t of t h e stand w h e r e n o gilded
added-clay embellishment has been employed. In
t h e stand's Dionysiac scene, however, significant

BAPD Vase 44230; "Acquisitions/1987," GettyMusJ

16 (1988) 143, no. 7; Burn 1991a, with cover; J P G M Handbook
1991, 49; Schauenburg 1991, 187n.42; Schleiffenbaum 1991,
67-68, n.134, 368-69, no. V289a; Sparkes 1991a, 48, 49, fig. 22;
Vallera-Rickerson and Korma 1992, 86, fig. 12; Soldner 1993,
282n.l79; CAH, plates to vols, v and vi (1994) 40, fig. 45; BAA,
suppl. II. 1 (1994), s.v. Attici, Vasi 559, fig. 618 (P. E. Arias);
J P G M Antiquities Masterpieces 1997, 52; J P G M Handbook 1997,
5; Manakidou 1997, 302, fig. 5; Walter-Karydi 1998, 72, fig. 57,
76-77; Barringer 2001, 68, no. 121; Boardman 2001, 167, fig.
193; Curti 2001, passim, pis. 3-7; J P G M Handbook 2001, 52; Salapata 2001, 31, 32, fig. 2; Gaunt 2002, 306, 311-12, 330-31, 615,
no. 8, pi. 38. figs. 137-44; J P G M Antiquities Handbook 2002, 81;
Kathariou 2002, 7-9, 34, 36, 73, 75-77, 92, 213, no. MEL 12,
386, fig. 4a-b, 387, figs. 5a-b, 6a-b; Allen 2003, 229-30, fig. 29,
236nn.ll5-17; Spivey and Squire 2004, 252, fig. 394, 253.
For the association of ribbed and fluted Attic black-gloss vases
with Persian metalware, see M. C. Miller 1997, esp. 145-52, on the
technique 149, figs. 51-64; see also Shefton 1971; and Sparkes and
Talcott 1970, 21-22, 73-74. For the Dinos Painter, see ARV 115155, 1685; Para 457; BAdd 336; BAPD s.v. Dinos P. See Marie
Svoboda's analysis of the gilding on this vase's clay relief details,
this volume, Technical Studies, with figs. 3, 4. For side B of this
dinoid volute-krater, see J P G M Antiquities Masterpieces 1997, 52.
REFERENCES:

use has been m a d e of t h e added w h i t e characteris

tic of late red-figure, such as for t h e b o d y of Eros.
Recent a t t r i b u t i o n s of t h e stand to an associate of
t h e Meleager Painter (Curti 2001 a n d Kathariou

139 ADDED CLAY AND GILDING

37.1

The vase itself was formed on t h e potter's

37

RELIEF SQUAT LEKYTHOS

Signature of X e n o p h a n t o s t h e A t h e n i a n
as potter, a t t r i b u t e d to t h e X e n o p h a n t o s
Painter, ca. 3 9 0 - 3 8 0 B.C.

bination of decorative t e c h n i q u e s . First, red-figure

was employed for o r n a m e n t , i n c l u d i n g t h e floral
on t h e lekythos's neck, t h e palmettes a n d t h e egg
p a t t e r n w i t h dots on its shoulder, t h e configura
tion of palmettes a n d tendrils u n d e r t h e h a n d l e ,

H 3 8 cm
St. Petersburg, T h e State Hermitage M u s e u m
P 1837.2
From D u b r u x near Kerch 1836; acquired
1837

a n d t h e s t o p p e d m e a n d e r i n t e r r u p t e d b y check
erboard squares on t h e lower body. In addition,
traditional red figures appear at t h e sides of t h e
h u n t i n g composition. Next, m a n y details were
a d d e d w i t h e x t r u d e d clay, i n c l u d i n g t h e central

A r o u n d base of neck, E E N O $ A N T O E P O I H S E N
AOHN[AIO*]
On t h e shoulder, Centauromachy
On t h e body, Persians

wheel a n d t h e n embellished w i t h a complex com

and

Gigantomachy

hunting

C O N D I T I O N : Handle reattached; foot cracked;

tall palm tree on t h e body, fruit on other vegeta

tion, t r i p o d s a t o p t h e a k a n t h o s columns, t h e r e d figure h u n t e r s ' bows, spear tips, bracelets, a n d
t o r q u e ; hearts of t h e red-figure palmettes; t h e
necklace of b e e c h n u t p e n d a n t s t h a t h a n g s d o w n
from t h e shoulder o r n a m e n t (cf. cat. fig. 38.3);

otherwise intact save for reattached or lost relief

a n d t h e potter's signature itself. T h e n , m o l d - m a d e

decoration; losses include griffin's beak and breast,

figural reliefs were pressed o n t o t h e surface of t h e

charioteer's head, part of chariot's wheel, forepart

vase's b o d y a n d shoulder, their adhesion probably

of animal attacked by central horseman, forelegs of

aided b y a coat of slip.

his horse, knee of Persian attacking boar at upper

A w h i t e base coat was applied to t h e b o d y

right, forepart of lion monster's body at lower right,

car of the right Nike's chariot, and its horses' heads

reliefs; it is still well preserved a n d may t h u s have

(in shoulder frieze); red, pink, blue, and green paint

u n d e r g o n e t h e firing process along w i t h t h e black

has been lost from relief decoration, exposing a

gloss of t h e vase's g r o u n d . T h e figures' inscribed

white undercoat; loss of much of gilding recorded

in nineteenth century on reserved raised clay ele
ments, including central palm tree, weapons, horses'
manes, shoulder frieze, and potter-signature; black
gloss chipped on mouth and edges of handle and
cracked on lower portion of vase.

T H I S E L A B O R A T E V E S S E L , T H E L A R G E S T of

all k n o w n s q u a t lekythoi, is o n e of t h e earliest

a n d best p r e s e r v e d of t h e f o u r t h - c e n t u r y relief
vases t h a t were p r o d u c e d as t h e q u a l i t y of Attic
red-figure declined a n d t h e influence of metal
relief-vases increased. A n exotic royal Persian
h u n t in a paradise p a r k unfolds on t h e body.
Here, in t w o registers, Persians p u r s u e real beasts
(boar a n d deer) a n d m y t h i c ones (griffin a n d lion
monster) on foot, on horseback, a n d b y chariot.
Inscribed names, such as Dareios, Abrokomos,
a n d Atramis, identify figures as historical person
ages of t h e late fifth century. M i n i a t u r e reliefs on
t h e s h o u l d e r depict contrasting excerpts from t h e
Greek mythological battles of Centauromachy a n d
Gigantomachy.
37.2

141 ADDED CLAY AND GILDING

37.3

names were w r i t t e n in w h i t e on this black g r o u n d .

t e c h n i q u e s are employed together, however, it is

T h e w h i t e n e d b o d y reliefs themselves were color

difficult to assign primacy of place to t h e red-

fully a n d illusionistically p a i n t e d w i t h red, p i n k ,

figure vase-painter or even to determine t h e n u m

blue, a n d green. Gilding was applied to t h e min

ber of craftsmen involved a n d precisely w h a t t h e

iature shoulder reliefs a n d to details of t h e b o d y

division of labor may have beenif there was one.

reliefs, such as men's hair a n d horses' manes a n d

tails, as well as to e x t r u d e d clay elements. Origi
nally, this vase w o u l d t h u s have been far more
r e s p l e n d e n t t h a n It is today.
Xenophantos, w h o signed as potter b o t h on
this relief squat lekythos a n d on a n o t h e r smaller
example in t h e Hermitage, also found at Pantikapaion in t h e Crimea, specifically identified
himself as an A t h e n i a n . This special signature
suggests either that Xenophantos was not w o r k i n g
in A t h e n s at t h e t i m e t h o u g h h e did use Attic
clayor t h a t his fancy Attic vases h a d been cre
ated expressly for export. Beazley a t t r i b u t e d these
relief vases' red-figure to a Xenophantos Painter,
n a m e d after t h e potter. W h e n so m a n y special

142 ADDED CLAY AND GILDING

ARV 1407.1; Para 488; BAPD Vase 217907; Kruse

1841; Gerhard 1856; Jahn 1865, 16n.71; Stephani 1866, 139-47,
pi. 4; Stephani 1869, 310-16, no. 1790; Klein 1887, 202-203;
Reinach 1892, 97-101, pis. 45-46; Ducati 1915, 294-303; Hoppin
1919, II, 474-75, no. 1; Courby 1922, 129-30, no. 3; Pfuhl 1923,
591, 600, 710, 713; Jacobsthal 1927, 99n.l61, pi. 110a; Schefold
1934, 140, fig. 67; Peredolskaya 1945; EAA n (1959) s.v. Crimea
934, 935, fig. 1200 (V. D. Blavatskij); Zervoudaki 1968, 26, no. 35;
Gorbunova and Saverkina 1975, no. 57; Boardman 1989, 169, fig.
340; Borchardt 1990, 123, no. 5 (A. Dinstl); Suslow 1990, 79, fig.
62; Boardman 1993, 132, no. 122, 134, fig. 122; Tiverios 1996, 202,
pi. 187, 337-38, no. 187; M. C. Miller 1997, 167, fig. 81; Tiverios
1997; Boardman 2000, 213-15, figs. 5.93a-d, 250nn. 193-96;
Boardman 2001, 103, fig. 138; Piotrovsky 2004, figs, on 195, 197.
For the second vase signed by Xenophantos, St. Petersburg,
State Hermitage Museum 108i, see ARV 1407; BAPD Vase
217908; Tiverios 1997, 279, fig. 10. Cf. cat. no. 34 for the potter
who signs as Phintias the Athenian.
REFERENCES:

38

BLACK-GLOSS CALYX-KRATER
DECORATED WITH WREATHS,
NECKLACES, AND EARRINGS IN
GILDED ADDED CLAY
U n a t t r i b u t e d , ca. 3 4 0 - 3 2 0 B.C.
H 68.5 cm
L o n d o n , T h e British M u s e u m
GR 1871.7-22.3
From Capua; p u r c h a s e d from Alessandro
Castellani 1871
C O N D I T I O N : Good; assembled from fragments; res
toration in toned plaster along cracks, esp. for miss
ing chains of earring pendants at A/B handle; some
gilding flaked from added-clay decoration; black
gloss on handles, foot, and body slightly chipped;
black-gloss deeply chipped and pitted on bottom of
bowl's interior.

B E G I N N I N G I N T H E S I X T H C E N T U R Y B . C . , in

addition to vases w i t h figural decoration, Attic

w o r k s h o p s also p r o d u c e d p o t t e r y t h a t was sim
ply p a i n t e d black. During t h e fourth c e n t u r y this
o n c e - h u m b l e black-gloss ware was enriched w i t h
decoration in gilded a d d e d clay a n d also enlivened
by potting, often directly inspired b y metal ves
sels, t h a t was generally finer t h a n t h a t of late r e d figured vases. This m o n u m e n t a l f o u r t h - c e n t u r y
calyx-krater bears exceptionally elaborate gilded
clay-relief decoration, combining illusionistic
w r e a t h s a n d jewelry, that r u n s all t h e way a r o u n d
t h e pot.
Side A is embellished w i t h a gilded-clay
w r e a t h composed of t w i n sprigs of myrtle that
i n t e r t w i n e at t h e center a n d a gilded-clay strap
necklace w i t h b e e c h n u t p e n d a n t s t h a t h a n g s
d o w n like a swag. Above t h e gilded necklace on
side B, a delicate flowering grapevine w i t h fanciful
tiny b u n c h e s has been s u b s t i t u t e d for t h e myrtle.
T h e naturalistic conception of this ensemble is
revealed above t h e krater's handles, w h e r e t h e
myrtle w r e a t h is i n t e r t w i n e d w i t h t h e grapevine,
a n d t h e necklaces are s u s p e n d e d from t h e golden
vegetation b y their fastening cords, w h i c h , instead
of being tied a r o u n d a woman's neck, are here

143 ADDED CLAY AND GILDING

looped over myrtle leaves a n d vine tendrils (fig.

38.2). In a seemingly casual asymmetry, t h e cords
of t h e necklace s u s p e n d e d from t h e grapevine
hang slightly lower t h a n those of t h e necklace
s u s p e n d e d from t h e myrtle. Over each of t h e
vase's handles, o n e member of a pair of elaborate
golden earrings h a n g s from t h e foliage's inter
t w i n e d stems. Each earring has a complex p e n d a n t
in t h e form of a rosette disc w i t h a boat-shaped
p e n d a n t from w h i c h smaller b e e c h n u t p e n d a n t s
are s u s p e n d e d b y chains.
These gilded extruded-clay necklaces a n d
earringsa far cry from t h e simple gilded clay
dots that describe jewelry in fifth-century vasepaintings (cf. cat. nos. 33, 34, 35)are precise
imitations of c o n t e m p o r a r y f o u r t h - c e n t u r y j e w
elry (fig. 38.3), a n d t h e krater's golden w r e a t h s
recall t h e freestanding gold w r e a t h s in t h e form
of various plants also p r o d u c e d at this time. T h e
trompe-l'oeil effect of golden jewelry a n d w r e a t h s
s u s p e n d e d about t h e b o d y of this black calyxkrater is e n h a n c e d b y t h e contrasting red-figure
egg-and-dart p a t t e r n that encircles its rim. At t h e
same time, t h e gilded extruded-clay florals t h a t
grow from t h e krater's handle-roots a n d t h e b a n d
w i t h extruded-clay dots that borders t h e edge of
t h e cul reinforce t h e i d e n t i t y of all of this vessel's
gilded features as vase o r n a m e n t .
This calyx-krater, which, t h o u g h m a d e of clay,
surely suggested t h a t its o w n e r possessed wealth,
h i g h social status, a n d refined c o n t e m p o r a r y
taste, w o u l d have m a d e a striking centerpiece for
a d r i n k i n g p a r t y if it h a d been used in daily life
before being consigned to a t o m b . Such blackgloss vessels w i t h gilded decoration were among
t h e most p o p u l a r p r o d u c t s of f o u r t h - c e n t u r y Attic
w o r k s h o p s . (Back in t h e late n i n e t e e n t h c e n t u r y
[Rayet a n d Collignon 1888], however, their l u x u
rious decoration was t h o u g h t to clash w i t h t h e
" s o b e r " taste of A t h e n i a n potters a n d t h u s to
signify t h a t these vases were n o t Attic.) T h e Brit
ish Museum's krater is said to have been found in
a t o m b at Capua, a n d , in addition to South Italy,
where this t y p e of A t h e n i a n p o t t e r y was also cop
ied locally, similar Attic exports have been found
in N o r t h Africa a n d along t h e Black Sea.

38.1

38.2

Rayet and Collignon 1888, 269; Walters 1905, 498;

Zahn 1908-1909, 189; Scheurleer 1936, 139, pi. 43.124; Beazley
1939, 36; Beazley 1945, 153; Kopcke 1964, 32, no. 42, 34, 68,
Beilage 18.4, 19; Williams 1985, 62, fig. 70; Williams and Ogden
1994, 35, 36, fig. 33; Tiverios 1996, 234,fig.221, 359, no. 221.
On Attic black-gloss ware, see Sparkes and Talcott 1970. A
preserved fourth-century bronze calyx-krater is decorated with
a silver vine: Chi and Gaunt 2005, 24, no. 9 (J. Gaunt). For a clay
calyx-krater with comparable gilded relief decoration, see Simon
1982, 107-10, no. 46. A similar Greek gold necklace and similar
earrings are in the State Hermitage Museum, St. Petersburg
BB 32-BB 33; see Williams and Ogden 1994, 190-91, also 165
and 180 for gold wreaths; and see also Williams 2001, 233-34.

REFERENCES:

38.3. Strap necklace with

beechnut pendants, ca.
300 B.C. Gold, L 33 cm. New
York, The Metropolitan
Museum of Art, Harris Brisbane
Dick Fund, 1937, 37.11.8.

38.3
145 ADDED CLAY AND GILDING

39

PANATHENAIC PRIZE AMPHORA

A t t r i b u t e d to t h e Marsyas Painter,
340/339 B.C.
H (with lid) 99.5 cm; m a x i m u m
Diam 39.2 cm
Malibu, J. Paul Getty M u s e u m 79.AE.147
European art market; p u r c h a s e d 1979
A, Athena Promachos between columns
by

surmounted

statues

B, chariot, charioteer, and apobates

C O N D I T I O N : Excellent. The vessel retains its lid and
is intact. Cracked gloss at handle roots; numerous
gashes and scratches on both sides, some inpainted;
minor chipping on lip; added white well preserved
on both sides, though abraded on Athena's right
arm on A and faded on apobates' shield on B. Added
gold largely lost.

P A N A T H E N A I C PRIZE A M P H O R A E h e l d t h e

sacred olive oil awarded to victors at t h e games

held at A t h e n s every four years to h o n o r A t h e n a .
Their p r o d u c t i o n was contracted b y t h e A t h e n i a n
boule (council) a n d t h e t e n athlothetai

(commis

sioners) w h o administered t h e games (see Aristotle

Constitution

of the Athenians

60). T h e vessels hold

some 3 5 - 4 0 k g of oil, a n d a victor m i g h t w i n as

m a n y as 140 a m p h o r a e , or about five tons. T h e
earliest Panathenaics date to t h e second q u a r t e r of
t h e sixth c e n t u r y B.C. A l t h o u g h red-figure effec
tively replaced black-figure b y t h e early fifth cen
tury, as ritual vases, Panathenaics continued to be
painted in t h e traditional black-figure t e c h n i q u e
as late as t h e second c e n t u r y B.C. In t h e fourth
c e n t u r y B.C., w h e n this e x a m p l e a t t r i b u t e d to
t h e Marsyas Painter, one of t h e principal A t h e n i a n
painters of red-figured Kerch-style vases (cf. cat.
no. 103, Lapatin, chap. 9, figs. 23)was deco
rated, black-figure h a d become a special t e c h n i q u e
(see Cohen, chap. 1).
The decoration of Panathenaics was conven
tional as well: one side featured A t h e n a , t h e other
t h e event in w h i c h t h e prize vase was w o n . Here,
fully armed a n d wearing a snakey aegis on h e r
39.1

chest, t h e goddess brandishes h e r spear a n d shield

as she advances to t h e right. Highly m a n n e r e d a n d

appropriately archaistic in style, her peplos a n d

fied t h e figures on t h e columns as representatio ns

himation b o t h have long, swallowtail folds. She

of statues that stood in t h e Sanctuary of Zeus

wears an Attic helmet w i t h raised cheekpiece a n d

Soter in A t h e n s ' port, Piraeus.

a crest t h a t rises h i g h onto t h e neck of t h e ves

The reverses of Panathenaic a m p h o r a e conv en

sel, t o u c h i n g t h e plastic demarcation b e t w e e n t h e

tionally represent t h e event in w h i c h t h e y were

t o n g u e s a n d t h e addorsed palmettes. Placed at t h e

w o n . Side B of this vase depicts t h e

apobates

s h a r p c u r v e of t h e amphora's shoulder, t h e god

(literally " d i s m o u n t e r " ) competition. This

dess's shield is foreshortened, while her right arm,

was a dangerous event, in w h i c h armed war

spear, a n d head overlap t h e t o n g u e s on t h e neck,

riors ran alongside, a n d j u m p e d in a n d out

m a k i n g her still more imposing a n d projecting her

of, coursing chariots. Here four galloping

three-dimensionally from t h e surface of t h e ves

stallions, all w i t h their rear hooves p l a n t e d

sel, an effect also achieved by t h e Marsyas Painter

firmly on t h e g r o u n d , charge forward w i t h

elsewhere (see Lapatin, chap. 9).

their forelegs raised (cf. cat. nos. 19, 24).

A d d e d w h i t e is employed on side A for

The attitudes of their heads differ

Athena's flesh, as is traditional in black-figure for

slightly, b u t all have a d d e d - w h i t e

female figures, as well as for her aegis, for e m p h a

dots a n d harnesses. The bearded

sis at t h e e n d s of t h e folds of her peplos a n d m a n

charioteer leans forward, hold

tle, a n d for t h e u p p e r rim of her shield. Consistent

ing t h e reins w i t h e x t e n d e d arms.

w i t h t h e practice of t h e Marsyas Painter a n d

The traditional, long flowing w h i t e

c o n t e m p o r a r y painters of Kerch-style vases (see

garment of a charioteer, w h i c h bil

Lapatin, chap. 9), dilute yellow is applied over t h e

lows b e h i n d him, is employed bril

a d d e d w h i t e for such details as Athena's bracelets,

liantly for compositional effect (fig.

necklace, earrings, facial features, h a n d s , a n d toes.

T h e goddess is flanked by t w o tall, unfluted

39.3); added yellow indicates t h e

interior folds. Beside him in t h e

columns on rectangular bases. The one b e h i n d her

chariot, w h i c h is depicted

s u p p o r t s a miniature version of t h e goddess her

in three-quarters view,

self. Here, too, she faces right, b u t in a less warlike

w i t h foreshortened

pose. She still wears a crested helmet, b u t holds a

oblique wheels, t h e

stylis (naval flag pole), a symbol of A t h e n s ' mari

apobates,

time power, w h i c h is r e n d e r e d in added w h i t e as

and n u d e b u t for hel

are t h e goddess's exposed flesh a n d t h e crest of her

met and shield w i t h an

helmet. Alongside this column, w r i t t e n vertically,

episema (shield device)

is t h e traditional inscription of Panathenaic prize

in t h e form of a star-

a m p h o r a e : ton athenethen

athlon ("from t h e games

beardless

burst in a d d e d white,
stands calmly w i t h feet

at A t h e n s " ) .
T h e column on t h e right s u p p o r t s a bearded

together, clutching t h e

male figure, probably Zeus, wearing a himation

rail w i t h his right h a n d .

d r a p e d over his left shoulder, leaving most of

His w h i t e helmet crest

his chest bare. He stands in a c o n t r a p p o s t o pose,

nicely echoes t h e balding

h o l d i n g a scepter in his right h a n d a n d a small

charioteer's tuft of hair. Here

Nike in his left. A d d e d w h i t e is employed for his

t h e figures are confined to a

scepter, w r e a t h , a n d t h e Nike. Alongside this col

panel and are somewhat smaller

u m n is t h e inscription Theiophrastos

t h a n t h e imposing A t h e n a on side A.

arche, dating

t h e vase to t h e a r c h o n s h i p of Theophrastos, i.e.,

T h r o u g h o u t this scene t h e incision is

340/339 B.C.: It was manufactured for t h e Pana

masterly. Close examination reveals that

thenaic games of 338/337. F o u r t h - c e n t u r y Pana

for interior details in t h e black gloss

thenaic a m p h o r a e often depict w e l l - k n o w n statue

incisions were made after t h e appli

t y p e s , a n d N o r b e r t Eschbach has plausibly identi

cation of added w h i t e . Short lines

147 ADDED CLAY AND GILDING

39.2

are employed for t h e details of t h e horses' heads,

horses' heads are all located further to t h e r i g h t of

manes, a n d genitals; t h e charioteer's face, hair,

t h e finished image.

a n d arm muscles; a n d t h e ribs a n d neck muscles

Gilding is present on side A over t h e reserve

of t h e apobates. Longer flowing lines are used for

at Athena's shield b a n d , a n d over t h e black gloss

t h e horses' legs, flanks, a n d tail, a n d t h e decora

a n d incision at t h e right sleeve of her garment, as

tive side panel of t h e chariot car. T h e y are echoed

well as on t h e garment of t h e small A t h e n a on t h e

in yellow b y t h e vigorous, swirling folds of t h e

column. On t h e reverse, traces of gold remain on

charioteer's garment at t h e back of t h e chariot (fig.

t h e charioteer's forelock, chest, a n d t h e b o t t o m of

39.3). The Marsyas Painter's use of copious added

his fluttering g a r m e n t (fig. 39.3). This a d d e d gold

w h i t e , w i t h yellow for interior details, is found

is problematic. Gold is not found on any other

also in his red-figure w o r k (see cat. no. 103 a n d

Panathenaic a m p h o r a . It has been applied here,

Lapatin, chap. 9).

not over e x t r u d e d clay, as on other A t h e n i a n vases

Impressed preliminary sketches reveal t h a t t h e

by this a n d other painters (cf. cat. nos. 3 1 , 35,

painter m a d e minor adjustments to t h e composi

104), b u t r a t h e r over ancient reserve, black gloss,

tion (cf. cat. no. 45). On side A t h e original pair

incision, a d d e d white, a n d yellow. Its location on

of vertical strokes delineating t h e goddess's right

t h e vessel, moreover, appears h a p h a z a r d r a t h e r

sleeve have gathered dirt a n d are clearly visible

t h a n d e t e r m i n e d b y t h e composition (except for

t h r o u g h t h e a d d e d w h i t e of her right arm. On side

t h e charioteer's forelock on side B), a n d t h e larger

B, preliminary sketches for t h e outer chariot wheel

pieces of t h e preserved gold strips appear to be

a n d t h e apobates'

rectilinear. Scientific investigation has d e t e r m i n e d

shield as well as some of t h e

that t h e gold lies over a m o d e r n adhesive: polyacrylate mixed w i t h w a x , calcite, a n d silica. But
while t h e gilding of this Panathenaic a m p h o r a
39.3

seems not to have been an original p a r t of t h e

decoration, t h e gold itself is not necessarily a m o d
ern, rather t h a n ancient addition. The gold could
have been affixed b y a m o d e r n restorer (before
entering t h e Getty Museum's collection), having
been a d d e d b y an ancient o w n e r of t h e vessel after
its p r o d u c t i o n , for some Panathenaic a m p h o r a e
clearly h a d s u b s e q u e n t lives as trophies.
KENNETH LAPATIN

BAPD Vase 1493; J P G M Guidebook 1980, 47; Mattusch 1981, 91; Simon 1982, 110; J P G M Handbook 1986, 47; J P G M
Handbook 1991, 51; Valavanis 1991, 69, 252, pis. 85-87; Hamilton
1992, 237; Kyle 1992, 90-91, fig. 57; Frel 1994, 29 (h), fig. 11;
Manakidou 1994, 296, no. 11; Eschbach 1995, 460-61; Hamilton
1996, 154; J P G M Antiquities Masterpieces 1997, 54; J P G M Handbook
1997, 53; Bentz 1998, 175-76, no. 4.080, pls.l 17-18; Cromey 2001,
99; J P G M Handbook 2001, 53; Neils 2001, 138-39, fig. 101; Berlin
2002, 258, no. 156; J P G M Antiquities Handbook 2002, 84; Hadziaslani 2003, 30-31; Valavanis 2004, 373, figs. 537-38; S. G. Miller
2004a, 142-43, fig. 229.
For the text of Aristotle, see S. G. Miller 2004b, 81, no. 119.
For other Panathenaic amphorae made in the archonship of Theophrastos, with identical statues on the columns, see Eschbach
1986, 90-108, pis. 25-27. For the apobates race, see, e.g., Kyle
1992, 89-91; S. G. Miller 2004a, 142-43, etc. For Panathenaics as
status symbols, see Bentz 1998, esp. 89-119; and for the possibil
ity that some late Panathenaic amphorae were not made to hold
oil, but rather served as trophies, see Eschbach forthcoming.
REFERENCES:

148 ADDED CLAY AND GILDING

Outline in Black- and

Red-figure Vase-painting

Outline as a Special Technique i n

- Bla ck- and Red-figure Vase-painting
:

Beth Cohen

ACCORDING

TO P L I N Y

(Natural History 35.151-52), the

daughter of the Corinthian potter Butades, inspired by

her love for a young man about to depart, "drew
an outline of the shadow of his face which was cast from a
1

lamp onto the w a l l / ' Her father filled this outline with clay,
producing a relief that he fired along with his pottery. Thus
outline drawing and pottery are linked in a well-known
ancient Greek anecdote concerned with invention in the arts.
In terms of d r a w i n g o n p o t t e r y itselfas
Attic vase-painting h a s often appropriately been
definedonly occasionally in t h e early histori
cal Greek w o r l d did p u r e outline reign over plain
or detailed silhouettes in t h e final aesthetic of
p a i n t e d p o t t e r y . This may have been t h e case
because outline drawing alone was probably
considered too insubstantial to stand on its o w n
as vase d e c o r a t i o n . In A t h e n s , for example, t h e
impressive Attic Late Geometric figural images
of t h e Dipylon Master a n d his W o r k s h o p , w h i c h
begin a r o u n d t h e middle of t h e e i g h t h c e n t u r y
B.C., favor black silhouettes w i t h little over
2

150

l a p p i n g . By t h e time of t h e p o t t e r y k n o w n as
Protoattic, w h i c h was p r o d u c e d d u r i n g t h e Orien
talizing period of t h e seventh century, lively a n d
expressive outlined figures w i t h p a i n t e d internal
details a n d often painted w h i t e are employed
in conjunction w i t h black silhouettes or semisilhouette figures w i t h outlined h e a d s . This rare
increased p r o m i n e n c e of outline in Attic vasepainting, however, is eclipsed in t h e later seventh
c e n t u r y by t h e a d o p t i o n of t h e black-figure t e c h
n i q u e , w h i c h h a d been invented o n ancient Corin
t h i a n pottery. Black-figure r e t u r n s Attic p o t t e r y to
t h e realm of black silhouettes contrasted against a
5

been reversed: an outlined form w o u l d itself have

been filled in w i t h gloss, t h e r e b y contrasting w i t h
t h e reserved g r o u n d .
Unlike t h e special t e c h n i q u e of w h i t e g r o u n d ,
w h i c h is considered b y Joan R. M e r t e n s in c h a p
ter 6, as indicated above in Attic black- a n d r e d figure vase-paintings, outlined forms generally
did n o t stand on their o w n in a finished p r o d u c t ,
t h o u g h internal line is m u c h used in t h e r e n d e r i n g
of complex red-figure scenes. There are, however,
certain traditional a n d n o n t r a d i t i o n a l exceptions
Figure 1. Unfinished sketch of an Amazon on horseback. Bottom
of a two-handled mug, ca. 450-425 B.C. Diam 16.3 cm. Princeton

to t h e role of silhouettes in black-figure, as well

University Art Museum. Museum purchase, Classical Purchase Fund

as i n d i v i d u a l red-figure images in w h i c h normally

y1987-70. Photograph 1990 Trustees of Princeton University.

h i d d e n or integrated outlines have purposely been

exposed a n d , thereby, emphasized. Some of these

paler clay g r o u n d , albeit n o w these silhouettes are

special instances will be examined here.

e n h a n c e d w i t h a d d e d - r e d a n d -white colors a n d
6

incised interior details. By t h e late sixth century,

t h e n e w t e c h n i q u e of red-figure t h r e a t e n s black-

Corinthianizing

figure s p r e e m i n e n c e a n d soon dominates t h e Attic

Just as A t h e n s a d o p t e d black-figure vase-

p o t t e r y industry. Red-figure, too, is essentially a

painting from Corinth a n d t h e n in a typically

silhouette t e c h n i q u e : Now, however, these pale

A t h e n i a n fashion m a d e t h e t e c h n i q u e h e r o w n ,

silhouettes are reserved in t h e color of t h e clay, set

so early contexts for t h e use of outline on sixth-

off against a black g r o u n d , a n d t h e y have d r a w n

internal details.

Archaic Athenian

Fashions

c e n t u r y Attic vases may likewise be a t t r i b u t e d

to Corinthian inspiration. Sophilos, t h e first

T h e i m p o r t a n c e of outline in t h e genesis of a

A t h e n i a n vase-painter (or potter) k n o w n to have

red-figure silhouette image is d e m o n s t r a t e d b y

signed his name, broke away from t h e early black-

a rare unfinished sketch preserved on t h e bot

figure Corinthianizing tradition of animal friezes

tom of a t w o - h a n d l e d mug of ca. 4 5 0 - 4 2 5 B.C. in

t h e A r t M u s e u m , Princeton University (fig. I ) ,

w h i c h depicts a n exotically dressed Amazon on

a n d began to tell stories from m y t h a n d legend in

lively, colorfully p a i n t e d figural s c e n e s .

11

Sophilos

combines traditional black-figure silhouettes,

horseback (cf. cat. n o . 87), carrying t w o spears. To

detailed b y a n d bordered w i t h incision, w i t h

p r o d u c e a m a t u r e red-figure vase-painting, forms

forms described b y red outlines that are usually

were first sketched o n t o t h e vase, probably w i t h

colored w i t h w h i t e p i g m e n t painted directly o n t o

a stick of charcoal, w h i c h left impressed lines on

t h e p o t s clay g r o u n d . Several of t h e preserved

t h e pot's surface that, as here, are often still vis

fragments of Sophilos's dinos from t h e A t h e n i a n

ible t o d a y . These sketched forms were t h e n out

lined w i t h black-gloss relief l i n e s ,

10

w h i c h have

Akropolis (cat. n o . 40) focus attention on t h e

special aspects of his t e c h n i q u e . T h e procession

been partially completed in t h e Princeton sketch.

at t h e w e d d i n g of Peleus a n d Thetis in t h e dinos's

A broad c o n t o u r stripe of gloss applied w i t h a

main frieze, w i t h a guest list that appears to have

b r u s h , w h i c h appears a r o u n d t h e unfinished

contained more u n a t t a c h e d females t h a n lone

Princeton A m a z o n s profile face a n d cap, w o u l d

males or divine heterosexual couples combined,

t h e n have s u r r o u n d e d t h e entire red-figure form.

is a prime example of t h e vase-painter's u n u s u a l

This stripe p r o v i d e d i n s u r a n c e against mishaps

h a n d l i n g of w h i t e in t h e depiction of female flesh.

while t h e b a c k g r o u n d was filled in w i t h black

In fact, all of t h e figures on t h e largest preserved

gloss, transforming t h e image from an outline

fragment (cat. fig. 40.8) are female: Iris, wearing a

drawing into a pale red-figure silhouette. In t h e

short t u n i c t o p p e d b y a nebris, leads Demeter and

black-figure t e c h n i q u e , this process w o u l d have

Hestia, a n d Leto a n d Chariklo (the wife of Chiron),

151

white.

1 3

The figures o n this small vase are com

parable in size t o t h e figures in t h e friezes of

Sophilos's dinoi. Here A t h e n a looks o n as Herakles
kills t h e multi-headed Lernaean H y d r a . Athena's
outlined flesh a n d dress, reserved in t h e color of
t h e clay, contrast w i t h h e r dark hair a n d h e r hima
tion, w h i c h was once covered w i t h r e d over black.
Like Sophilos's Chariklo, t h e goddess even h a s
Figure 2. Athena with Herakles

outlined fingernails. Outline also describes such

and the Lernaean Hydra.

details as t h e far trace horse of t h e waiting chariot

Corinthian aryballos, ca. 6 0 0 -

b e h i n d A t h e n a , t h e lower borders of her dark

575 B.C. H 11.2 cm. Malibu,

JPGM 92.AE.4. Photographer:

himation, a n d t h e hilt of Herakles' sword. T h e

Ellen Rosenbery.

names of t h e goddess a n d t h e hero are inscribed

in large Corinthian letters: This aryballos's vasepainter b o t h writes a n d draws w i t h t h e same
w h o walk regally in pairs. Here fine red outlines

fairly thick b r u s h . Corinthian r o u n d aryballoi of

are employed for Iris's limbs as well as for t h e

this t y p e commonly have outlined female heads

faces, dresses, h a n d s , a n d feet of t h e female guests

or busts o n t h e clay g r o u n d of their back h a n d l e -

a n d for details d r a w n o n t h e w h i t e , such as facial

plates.

features, sandal straps, a n d Chariklo's

was a much-admired prostitute, a n d such desir

fingernails.

14

A t least o n e of these Corinthian females

These fine r e d lines are emphasized b y t h e copious

able profiled females also appear o n t h e t o n d o s of

use of red elsewhere in t h e vase-painting, for

Corinthian c u p s .

garments, for t h e frieze of o r n a m e n t above, a n d ,

15

T h e greatest painter of Early Archaic Attic

most of all, for t h e inscriptions. T h e characters'

black-figure, Kleitias, w h o s e style is as measured

names, w r i t t e n directly o n t h e clay g r o u n d of this

a n d elegant as Sophilos's is lively a n d d o w n - t o -

fragment in red, r a t h e r t h a n in t h e s t a n d a r d black

earth, continued t h e u s e of m a n y small Corinthi-

of black-figure, have been boldly p a i n t e d onto t h e

anizing black-figure friezes o n t h e m o n u m e n t a l

pot w i t h a far thicker b r u s h t h a n t h e o n e used t o

volute-krater p o t t e d b y Ergotimos of ca. 570 B.C.,

outline t h e w h i t e female figures. On a n o t h e r large

k n o w n as t h e Francois V a s e . T h u s , in t h e w e d

16

fragment of t h e dinos (cat. fig. 40.1), Sophilos's r e d

ding procession of Peleus a n d Thetis, which fills

painter-signature is scrawled b e t w e e n t h e r e d door

this krater's main frieze, Kleitias retains t h e Corin

of Peleus's h o u s e a n d its porch's w h i t e column

t h i a n fashion of outlining female flesh a n d laying

w i t h a fine r e d outline.

its w h i t e color d o w n directly o n t h e pot's clay

W h i l e all of Sophilos's red-outlined forms are

filled in w i t h w h i t e o n t h e Akropolis dinos, o n t h e
painter's well-preserved c o n t e m p o r a n e o u s dinos
a n d stand in L o n d o n , t h e red-outlined chitons of
a n u m b e r of figures, i n c l u d i n g Dionysos a n d t h e
Muses, have been left t h e color of clay. Rather
t h a n this omission of color being a mistake, here
"Sophilos is deliberately t r y i n g to u s e a fourth
colour, in addition t o t h e regular black, r e d , a n d
white."

g r o u n d . Instead of red paint, however, Kleitias

A Corinthian black-figured aryballos in Malibu

from t h e first q u a r t e r of t h e sixth c e n t u r y (fig. 2)
exemplifies this non-Attic fabric's u s e of outline,
w i t h w h i c h Sophilos w o u l d have been familiar,
a n d i n this particular example there is n o u s e of

t h e somewhat later fully e m b o d i e d m o n s t r o u s

12

152 COHEN . CHAPTER 5

appears t o employ a b r o w n dilute of black gloss

for his outlines as well as for t h e n o w mostly v a n
ished details painted on t o p of once w h i t e female
flesh or h o r s e s .

17

In contrast, 127 of t h e 129

inscriptions o n t h e Francois Vase are w r i t t e n w i t h

black gloss, a n d t w o are i n c i s e d .

18

As Humfry Payne demonstrated, t w o impor

t a n t conventions i n Greek a r t t h e apotropaic
gorgoneion (the frontal face of a Gorgon) a n d
Gorgonwere b o t h developed in Corinth. T h e
gorgoneion, as depicted first o n Corinthian pot
t e r y a n d s u b s e q u e n t l y o n A t h e n i a n , is normally
r e n d e r e d largely in o u t l i n e .

19

While running

Gorgons, p a i n t e d in s t a n d a r d black-figure, deco

met a n d wields shield a n d spear, faces toward

rate t h e h a n d l e s of t h e Francois Vase, t h e older

t h e left on side A, confronting t h e Corinthian-

convention of t h e gorgoneion appears on t h e t o p

helmeted giant Enkelados, h e r o p p o n e n t in t h e

of a small r o u n d stand in N e w York of ca. 570 B.C.,

Gigantomachy, w h o is depicted on side B. T h e

w h i c h likewise bears t h e signatures of Kleitias

armed goddess is readily identifiable w i t h o u t an

as painter a n d Ergotimos as p o t t e r (fig. 3 ) . T h e

inscription, b u t Enkelados's name appears on his

gorgoneion of t h e N e w York stand may well be

helmet's reserved crest. T h e busts on t h e Copen

t h e finest drawing from ancient Greece that has

hagen head cup, w h i c h unusually tell a story, are

2 0

come d o w n to us; it is certainly t h e most precise.

especially elaborate. T h e y have been e x t e n d e d to

T h e frontal grimacing bearded Gorgons face that

include t h e spear arms of b o t h figures as well as

fills t h e medallion, d r a w n w i t h a balance of per

t h e u p p e r portions of their shields. Significantly,

fectly painted black lines on t h e clay g r o u n d a n d

t h o u g h details such as armor a n d clothing are

perfectly incised details on areas of black gloss,

in t r u e black-figure that employs incision a n d

is strictly symmetrical. Kleitias has translated a

a d d e d color, t h e flesh parts of b o t h t h e female a n d

Corinthianizing motif in a Corinthianizing outline

t h e male figure have been r e n d e r e d in outline on

t e c h n i q u e into a refined A t h e n i a n image.

t h e reserved lip, fostering a u n i t y of design. T h e

p o t e n t Dionysiac associations of this t y p e of lip-

In s i x t h - c e n t u r y A t h e n s t h e outline gorgo
neion enjoys a long history on t h e t o n d o s of

cup are expressed b y t h e head c u p in N e w York

black-figured d r i n k i n g - c u p s (see cat. fig. 74.3).

p o t t e d b y Epitimos, w h e r e a semi-outline profile

During t h e last t h i r d of t h e century, many of these

head of Dionysos himself a p p e a r s .

cups also employ outline for t h e large eyes a n d

23

The Copenhagen a n d N e w York lip-cups are

b r o w s on their exteriors, following t h e eye-cup

usually a t t r i b u t e d to t h e Epitimos Painter, n a m e d

scheme invented b y Exekias. Frontal Dionysiac

after t h e cup's potter. This vase-painter is very

masks, w i t h their flesh p a r t s delineated in outline,

close to, b u t n o t identical w i t h , Lydos, a painter

may fill t h e spaces b e t w e e n t h e large eyes instead

w i t h a r o b u s t style w h o is t h e most i m p o r t a n t

of black figures (cat. fig. 74.1). T h e outline frontal

Attic master of t h e mid-sixth c e n t u r y .

face alerts t h e beholder to alternative identities

himself probably decorated a black-figured oino-

of Self a n d Other u n d e r t h e dominion of t h e w i n e

choe in Berlin w i t h t h e potter-signature of Kol-

god.

chos, on w h i c h t h e flesh of A t h e n a is d r a w n in

In t h e special realm of s y m p o s i u m ware, out

outline.

line h a d already been associated w i t h t h e exterior

24

Lydos

In t h e formulaic decoration of Little-Master

cups, because t h e potter's signature is a standard

and, at t h e time, t h e y p r o v i d e d t h e d o m i n a n t con

feature, b u t n o t t h e painter's, w e gener

text for Corinthianizing line drawing in t h e A t h e

ally do n o t k n o w their p a i n t e r s '

nian p o t t e r y i n d u s t r y . These w i n e cups are k n o w n

names, a n d w e also d o n o t k n o w

21

a n d in this genre outline

w h e t h e r potter a n d painter

appears on a special model of black-figured lip-

were t h e same person. Some

cup k n o w n as a head cup. Here a profile h u m a n

times, as w e have seen in

b u s t d r a w n w i t h t h e flesh parts in outline, takes

t h e case of t h e Epitimos

t h e place of t h e offset lip's s t a n d a r d black-figure,

Painter, t h e u n k n o w n

a n d t h e lip-cup's decorative handle-palmettes are

painter is n i c k n a m e d after

generally omitted, t h o u g h an inscription, such as

t h e potter; sometimes, as

t h e potter's signature or an invitation to drink,

in t h e case of t h e potters

remains a standard feature of t h e h a n d l e z o n e .

22

The lip-cup in Copenhagen of ca. 550 B.C.

Hermogenes a n d P h r y n o s ,
it is n o t clear w h e t h e r a

signed b y Epitimos as potter (cat. n o . 41) is a

single painter decorated all of

fine, especially elaborate early head cup. On its

t h e potter's w o r k s .

lip, Athena, w h o wears a high-crested Attic hel

tion to this picture is t h e painter

153OUTLINE AS A SPECIAL TRCHNIQUE

of Kleitias as painter and

Ergotimos as potter, ca. 570
B.C. Diam 9.1 cm. New York,
The Metropolitan Museum
of Art, Fletcher Fund, 1931,

25

of Attic w i n e cups b y t h e mid-sixth c e n t u r y B.C.,

as Little-Master c u p s ,

Figure 3. Gorgoneion. Top of

a stand with the signatures

2 6

The excep

31.11.4. Photograph, all rights

reserved, The Metropolitan
Museum of Art.

Sakonides (see cat. n o . 42), w h o signed his name

u p Pliny's accounts associating t h e origin of art

on Little-Master cups a n d finally on an u n u s u a l

black-figured eye-cup in C a m b r i d g e .

w i t h tracing a " m a n ' s " s h a d o w on a wall

27

Sakonides appears to have b e g u n p a i n t i n g head

cups u n d e r t h e influence of t h e Epitimos P a i n t e r .

[Natural

History 35.16, 35.151-52). At Vallauris, France, in

28

1949, Picasso captured t h e h u m a n form in t h i n air

by means of an eloquent, s p o n t a n e o u s line d r a w n

Usually depicting j u s t t h e heads a n d shoulders of

w i t h a flashlight (fig. 4); indeed, this p r e e m i n e n t

virtually identical unidentified w o m e n on b o t h

M o d e r n master has been considered a direct

sides of a c u p s lip, Sakonides helped to reinforce

d e s c e n d a n t of M e d i t e r r a n e a n tradition.

t h a t simple unified convention as t h e d o m i n a n t

formula for t h e head c u p .

2 9

His memorable female

A closer look at t h e outline profiles of Attic

head cups, however, reveals that t h e y are h a r d l y

heads in elaborate sakkoi on t h e fragmentary

u n p r e m e d i t a t e d , instantaneous, fluid sketches.

signed lip-cup in Berlin (cat. n o . 42) emphasize t h e

Evidently, t h e Little Masters of head cups began

black gloss, incision, a n d a d d e d color of black-

by first r o u g h i n g o u t t h e outline profiles in

figure for t h e parts of t h e semi-outline image

impressed preliminary sketches, employing t h e

a r o u n d t h e reserved flesh. As on t h e signed c u p

same methodical preparation described above for

in M u n i c h , t h e painter's simpler t y p e of profile

black- a n d red-figure v a s e - p a i n t i n g .

female head, w h i c h has long hair b o u n d b y a

side A of t h e Berlin cup, there are t w o distinct

h e a d b a n d w i t h incised borders a n d fastened at

preliminary sketches for t h e woman's profile t h a t

t h e bottom back w i t h an incised tie, seems more

appears above t h e potter-signature of Tlenpolemos

modern.

3 0

T h e profiles of head cups bring to m i n d t h e

31

In fact, on

(cat. fig. 42.1). W h i l e t h e outline heads o n Attic

Little-Master cups may n o t exemplify s p o n t a n e

inspiration classic Western art has long derived

ous drawing in t h e m o d e r n sense, t h e y surely

from t h e p u r e draftsmanship of t h e ancient

emphasize t h e affinity b e t w e e n outline drawing

Greeks. For t h e twenty-first-century viewer,

a n d w r i t i n g , w h i c h must have been i m p o r t a n t

these simple outline profiles inevitably conjure

to n e w l y literate s i x t h - c e n t u r y craftsmen in t h e
A t h e n i a n p o t t e r y i n d u s t r y a n d their patrons.

Figure 4. Picasso "drawing"

with a flashlight, Vallauris,
France, 1949. Photographer:
Gjon Mili. From William

The Amasis

Rubin, ed., Pablo Picasso: A

D. A. A m y x in Corinthian

Retrospective. The Museum of

Painter
Vase-painting

of the

Modern Art, New York (1980)

Archaic Period called t h e Amasis Painter's u s e of

385.

outlined female flesh "a Corinthianizing t r a i t . "

32

The Amasis Painter, however, probably explored

outline b y following in t h e footsteps of L y d o s ,

33

a n d t h e later master t r u l y makes this t e c h n i q u e

his o w n . A half dozen k n o w n a m p h o r a e a n d frag
ments employing outline for female flesh have
been a t t r i b u t e d to this black-figure vase-painter,
active from ca. 560 B.C. to t h e teens of t h e sixth
century, n a m e d after a n d p e r h a p s identical w i t h
Amasis, t h e sensitive potter of his vases. T h e
n e c k - a m p h o r a in t h e Cabinet des Medailles w i t h
a pair of maenads dancing " i n s t e p " toward Dio
nysos is t h e most famous of t h e outline g r o u p .

3 4

The a m p h o r a in Basel (cat. n o . 43) is special

because, other t h a n t h e lost a m p h o r a once in Ber
lin,

35

it is t h e Amasis Painter's only k n o w n w o r k

to have employed outline on b o t h sides: for t h e

154

COHEN . CHAPTER 5

m a e n a d in t h e vintage scene of side A a n d for t h e

outline w i t h reserve is b o u n d by incision. On t h e

unidentified females w h o dance a r o u n d Dionysos

painter's late works, w h i c h are c o n t e m p o r a n e o u s

alongside n a k e d y o u t h s on side B. The Amasis

w i t h red-figure, he explores a different special fea

Painter's outline for t h e reserved flesh of female

t u r e of his black-figureintricate drawing w i t h

figures is b o t h assured a n d sinuous, suggesting

incision on areas of black gloss, such as for shield

their alluring a n d unfettered n a t u r e . On one of

devices.

t h e Samos a m p h o r a f r a g m e n t s ,

36

black satyrs w i t h

41

Incised drawing on black has much in

common w i t h m a t u r e Six's t e c h n i q u e (cat. nos.

incised hair a n d pale m a e n a d s w i t h outlined flesh

23-25), b u t it veers sharply away from t h e bold

embrace a n d kiss. Joan R. M e r t e n s has discerned

l i g h t - a n d - d a r k contrast of red-figure.

an iconographic k i n s h i p among t h e Amasis Paint

er's outlined w o m e n : Neither o r d i n a r y mortals nor
Olympian deities, t h e y "were beings w h o m n o one

Drawing Experiments

h a d really seen or studied, so that in depicting

As we have seen, t h e n e w red-figure t e c h n i q u e

t h e m , t h e Amasis Painter could allow his creative

merged t h e outlines of reserved forms w i t h t h e

imagination some latitude. He was not b o u n d to

vase-painting's black g r o u n d (see fig. 1; see also

in Late Archaic

Red-figure

r e n d e r w h a t everyone could observe, a n d he did

cat. nos. 1-5, 27, 29). In m a t u r e red-figure t h e

not have to be totally ' o r t h o d o x ' in using standard

major black-gloss drawing lines are relief lines.

black-figure."

37

Once t h e first generation of red-figure and bilin

T h e Amasis Painter's use of outline w i t h

gual vase-painters h a d fully mastered t h e n e w

reserve for female flesh has been considered an

t e c h n i q u e , certain artists delighted in occasion

immediate a n t e c e d e n t to red-figure, a n d it has also

ally, or even frequently, organizing their vase-

been suggested that he could well have p a i n t e d in

paintings to promote t h e special visibility of

the new technique.

38

According to Dietrich von

outline. For example, on t h e red-figure t o n d o of

Bothmer's chronology, however, all of t h e Amasis

a late s i x t h - c e n t u r y cup in t h e Louvre a t t r i b u t e d

Painter's k n o w n females w i t h outlined flesh date

to t h e bilingual vase-painter S k y t h e s ,

a decade or more before t h e earliest red-figure,

komast crouches beside an oinochoe, w i t h a full

a l t h o u g h this master continued to w o r k until t h e

w i n e s k i n u p o n his left shoulder, acrobatically fill

time of t h e Pioneer G r o u p .

39

T h e Amasis Painter

42

a young

ing a w i n e cup balanced on his e x t e n d e d right

appears to have been concerned w i t h t h e p u r i t y of

h a n d . The youth's profile head a n d u p p e r back

outline itself in a way t h a t was at odds w i t h pale

overlap t h e w i n e s k i n a n d are t h e r e b y transformed

red-figure silhouettes, w h o s e outlines have been

from red-figure into outline drawing. Since t h e

merged w i t h t h e black g r o u n d .
M a r t i n Robertson a t t e m p t e d to describe t h e

youth's black hair is here silhouetted against t h e

reserved wineskin, Skythes has avoided using his

special integrity of t h e Amasis Painter's outline for

usual incised-line border to separate black hair

female flesh: " W h e n h e shows t h e n a k e d b o d y of

from red-figure's black g r o u n d (cf. cat. no. 8).

Elements of settingwater, rocks, architec

a n y m p h in outline against t h e black silhouette of

a satyr's he stops t h e black j u s t short of t h e out
line."

40

Robertson's description is erroneous, h o w

ture, a n d t h e l i k e p r o v i d e ready fields for engag

ing examples of outline drawing in Late Archaic
43

ever; it probably relies on p h o t o g r a p h s r a t h e r t h a n

red-figure v a s e - p a i n t i n g .

t h e vases themselves. Instead, as may be observed

figured cup a t t r i b u t e d to t h e Ambrosios Painter

On t h e t o n d o of a red-

on b o t h sides of t h e Basel a m p h o r a (cat. no. 43) as

in t h e M u s e u m of Fine Arts, Boston (cat. no. 44),

well as on other e x t a n t w o r k s in t h e special out

a y o u t h perched on a rocky o u t c r o p p i n g fishes in

line group, w h e n e v e r one of t h e Amasis Painter's

a reserved sea inhabited by outlined reserved fish.

outlined forms crosses or even e n c o u n t e r s a black

On t h e t o n d o of a red-figured cup in Malibu of t h e

silhouette, t h e outline is bordered by an incised

early fifth c e n t u r y a t t r i b u t e d to Onesimos (cat.

line t h a t r u n s along t h e entire l e n g t h of t h e con

no. 46), a satyr climbs d o w n a delicately shaded

tact. W h i l e innovative early red-figure sidelines

rock in order to plant a kiss surreptitiously on

or suppresses incision, t h e Amasis Painter's use of

t h e lips of a sleeping b l o n d e hetaira or maenad.

155 OUTLINE AS A SPECIAL TECHNIQUE

Figure 5. Theseus and Skiron.

Red-figured cup, attributed
to Douris, ca. 480-470 B.C.

This satyr's

white-

Berlin, Antikensammlung,

outlined

Staatliche Museen

on t h e large

Preuftischer Kulturbesitz
F2288. Photograph: Bildarchiv

ground
works, this

reserved rock,

Preuftischer Kulturbesitz/ Art

his genitals on

Resource, NY. Photographer:

his reserved leg, a n d

Johannes Laurentius.

a few early

limbs are

painter did n o t
again w o r k for a
potter w h o p r o d u c e d

t h e lips a n d contrasting

w h i t e g r o u n d . On t h e

profiles of b o t h figures on t h e

elegant red-figure t o n d o of his

m a e n a d s arm, w h i c h is folded back

b e h i n d h e r head.

late c u p in Berlin of ca. 4 8 0 - 4 7 0 B.C.

(fig. 5), Douris depicts t h e y o u n g Theseus, t h e

One of t h e most u n u s u a l compositions featur

hero of t h e A t h e n i a n democracy, t u r n i n g t h e

ing outline on reserve is t h e t o n d o t h a t depicts

tables on t h e b r i g a n d Skiron b y h u r l i n g h i m over

a city siege inside a c u p in Malibu of ca. 500 B.C.

a cliff into t h e s e a .

a t t r i b u t e d to Apollodoros (cat. n o . 45). Here a city

t h e turtle d r a w n in outline at t h e base of t h e rocky

wall forms t h e reserved field u p o n w h i c h a battle

o u t c r o p p i n g indicate t h e w a t e r y setting. Skiron

b e t w e e n t w o attacking a n d t w o defending war

still clings to t h e rock, a n d m u c h of his u p p e r

46

Shaded scalloped lines a n d

riors unfolds. On a h u m b l e red-figured askos near

b o d y is t h u s outlined u p o n it. In addition, t h e

t h e Tyszkiewicz Painter, of ca. 470 B.C. in Boston,

helpless, doomed Skiron's bearded head is s h o w n

t h e shade of a n armed warrior rises from his burial

in frontal facean i m p o r t a n t motif t h a t entails

mound.

4 4

Pieces of sporting equipmenthalteres,

a diskos, a n d crossed javelinshave been hast

t h e use of outline drawing in Attic r e d - f i g u r e .

The greatest

fifth-century

47

composition w i t h

ily d r a w n o n t h e m o u n d s reserved surface. These

an outline depiction of t h e sea is t h e Selene t o n d o

outlined forms are affixed to t h e m o u n d w i t h red

inside t h e Brygos Painter's Gigantomachy c u p

ties, a n d its reserved surface is further embellished

in Berlin of ca. 4 9 0 - 4 8 5 B.C. (cat. fig. 47.3). Here

w i t h a red a n d a w h i t e s a s h .

45

In t h e late sixth a n d early fifth centuries out

line drawing figures p r o m i n e n t l y in t h e decora

Selene, w i t h t h e outlined moon disk shimmer

ing above h e r head, p l u n g e s h e r frontal chariot
pulled b y w i n g e d horses into t h e sea. This tondo's

tion of w h i t e - g r o u n d vases (cat. nos. 30, 5660),

sophisticated a r r a n g e m e n t of outlined a n d over

a n d some painters w h o p a i n t e d w h i t e g r o u n d also

lapping forms is fully in accord w i t h t h e Brygos

emphasized outline in their red-figure pictures.

Painter's e x t r a o r d i n a r y facility for w o r k i n g in out

A n outline w h i t e - g r o u n d lekythos in Malibu is

line on a w h i t e g r o u n d (cat. n o . 60; Mertens, chap.

a t t r i b u t e d to t h e y o u n g Douris (cat. no. 58). After

6, fig. 4).

156 COHEN . CHAPTER 5

T h e Selene t o n d o is t h e first depiction of t h e

m o o n goddess as a fully e m b o d i e d being s h o w n
in t h e context of a broader image. Earlier in r e d -

Figure 6. Moon disk with

figure, Selene is s h o w n only as a profile head or

Selene in profile. Detail under

B/A handle of a red-figured

b u s t u p o n t h e reserved moon disk itself. Gestur

cup with the signature of

ing w i t h o n e outlined h a n d raised before h e r

Sosias as potter, ca. 500 B.C.

outlined profile face, Selene appears on a reserved

Berlin, Antikensammlung,

m o o n disk u n d e r t h e B/A h a n d l e of t h e Parade

Staatliche Museen
Preuftischer Kulturbesitz

cup in Berlin (fig. 6) w i t h t h e potter-signature of

Sosias.

48

2278. Photograph: Bildarchiv

PreuRischer Kulturbesitz/ Art

S h o w n w i t h a frontal eye a n d outlined

Resource, NY. Photographer:

lips, t h e goddess wears a disk earring w i t h t w o

Johannes Laurentius.

p e n d a n t s ; h e r black hair is b o u n d b y a reserved

fillet. A similar outline image of Selene appears
against a moon disk on t h e t o n d o of a c u p in

t h e loom bearing t h e s h r o u d for Odysseus's father,

Bonn from t h e early fifth century, a t t r i b u t e d to

Laertes, w h i c h Penelope u n w o v e each n i g h t in h e r

Beazley's Elpinikos Painter, probably a p h a s e of

ruse to stave off t h e suitors until h e r h u s b a n d ' s

t h e painter A p o l l o d o r o s ,

49

w h o , as w e have seen

r e t u r n , forms an e x t r a o r d i n a r y b a c k d r o p for t h e

(cat. n o . 45), i n t r i g u i n g l y explored t h e t e c h n i q u e

red-figure vase-painting. Penelope sits at t h e r i g h t

of outline.

cocooned in h e r draperies in abject despair. She

rests h e r head on her outlined arm, a n d her face
is d r a w n in t h r e e - q u a r t e r view. Telemachos stands

Special Effects on Some Classical Athenian

Vases

before his mother. His paired spears, w h i c h form

Unusual uses of outline on Classical A t h e n i a n

t h e composition's central vertical axis, are s h o w n

vases often suggest inspiration from p r o t o t y p e s

above in outline w h e n t h e y overlap t h e loom a n d

in lost free p a i n t i n g , one of t h e major arts d u r i n g

its cloth. Telemachos's u p p e r body, w h i c h also

t h e fifth c e n t u r y

overlaps t h e cloth, is likewise d r a w n in outline

B.C.

5 0

In this regard, a u n i q u e

Figure 7. Telemachos,
Penelope, and her loom. Redfigured skyphos, attributed

use of outline may be observed on t h e red-figured

u p o n it. By t h e mid-fifth c e n t u r y this sort of

pelike in Boston of ca. 460 B.C. (cat. no. 49), asso

overlapping w o u l d hardly be a n e w feature, save

(name vase), ca. 440 B.C.

ciated w i t h t h e W o r k s h o p of t h e Niobid Painter.

for t h e fact t h a t Telemachos's outlined head casts

Chiusi, Museo Archeologico

This pelike famously depicts A n d r o m e d a being

a shadow on t h e cloth. This amazing indication

Soprintendenza Archeologica

b o u n d to a stake b y a Black slave to expose h e r

of space must betray t h e influence of lost free

per la Toscana, Florence.

to t h e sea monster; other Black slaves carry t h e

painting.

Ethiopian princess's dowry. Here p a i n t e d w h i t e

lines have been employed to draw t h e Black slaves
in outline on t h e black-gloss g r o u n d , so t h a t t h e
black gloss may serve as t h e color of their flesh.
W i t h this clever use of outline t h e vase-painter
has avoided t h e red-figure convention of depicting
Black people w i t h reserved flesh.

51

This pelike's

more naturalistic approach c o m b i n e d w i t h t h e use

of u n u s u a l a d d e d colors for t h e slaves' garments,
w h i c h o n one level is related to Six's t e c h n i q u e , at
t h e same time strongly suggests t h e influence of
lost p a i n t i n g .

52

Elements of setting play an i m p o r t a n t role in

t h e use of outline on Classical A t h e n i a n vases
such as t h e name vase of t h e Penelope Painter, a
s k y p h o s of ca. 440 B.C. in Chiusi (fig. 7 ) . Here
5 3

157 OUTLINE AS A SPECIAL TECHNIQUE

to the Penelope Painter

Nazionale 1831. Photograph:

Figure 8. Epaulia after the

wedding of Alkestis. Redfigured epinetron, attributed to

T h e inclusion of architectural elements in

w e d d i n g depictions is a venerable tradition in

t h e far right o p e n diagonally into pictorial space,

challenging t h e integrity of t h e picture plane.

the Eretria Painter (name vase),

Attic vase-painting going back to Sophilos's early

ca. 425 B.C. L 28.7 cm. Athens,

s i x t h - c e n t u r y dinos from t h e A t h e n i a n Akropolis

pete w i t h t h e color a n d spatial richness of free

National Archaeological

(cat. n o . 40), w h e r e t h e colorful porch a n d closed

painting, a n d as t h e fifth c e n t u r y B.C. passes into

door of Peleus's h o u s e are represented parallel to

t h e fourth, vase-painting's time-honored role as

Museum 1629.

As vase-painting a t t e m p t s ever more to com

t h e picture plain. On a red-figured p y x i s of ca.

appropriate surface decoration for a vase declines.

475470 B.C. in London, a t t r i b u t e d to a follower

F o u r t h - c e n t u r y drawing on pottery, examined b y

of Douris (cat. n o . 48), w i t h an inscribed frieze

Kenneth Lapatin in chapter 9, strives for complex

showing Kassandra a n d several Argive heroines

spatiality a n d t h e i n d e p e n d e n t existence of figural

viewed at home as potential brides, t h e half-

form (e.g., cat. n o . 103). Outline, w h i c h at first

seen figure of Iphigeneia in t h e house's frontal,

affirms t h e clay surface of a vase, at last, often

half-open doorway is d r a w n in outline on t h e

combined w i t h shading, is employed illusionisti-

reserved g r o u n d . Finally, o n t h e Eretria Painter's

cally to break t h e surface, either suggesting t h e

red-figured e p i n e t r o n of ca. 425 B.C. in A t h e n s

pictorial space b e y o n d or else describing t h e

5 4

(fig. 8 ) , in t h e depiction of t h e epaulia for t h e

h u m a n form itself as a spatial entity. In this way,

w e d d i n g of Alkestis, t h e shaded outlined doors of

outline brings t h e craft of A t h e n i a n vase-painting

t h e d o u b l e doorway s h o w n in t h e b a c k g r o u n d at

to its e n d .

158
. CHAPTER
CHAPTER 5
5
158 COHEN
COHEN .

NOTES

25 Berlin, Antikensammlung F 1732: ABV 110.37, 685; Para

44, 48; BAdd 30; BAPD Vase 310183.
26 On the question of attribution to painters, see ABV 164-66
for cups potted by Hermogenes, and see ABV 168-69 for
cups potted by Phrynos, some of which are attributed to
the Phrynos Painter. For the works of these craftsmen, see
BAPD s.v. Hermogenes, Phrynos, and Phrynos P.
27 In addition to lip-cups ([cat. no. 42] and see below, note
30), painter-signatures of Sakonides appear on the band
cup with the potter-signature of Kaulos, Taranto, Museo
Archeologico Nazionale 6221 (ABV 171; Para 71; BAdd
48; BAPD Vase 301103), and the black-figured eye-cup
with the potter-signature of Hischylos, Cambridge, Fitzwilliam Museum GR 38.1864 (ABV 172; BAdd 49; BAPD
Vase 301106).
28 E.g., Iozzo 1998, 256-57, with n. 31 and pi. 72.1, Sako
nides' fragmentary head cup from Olbia with a bust of
helmeted Athena: Cf. the Athena of cat. no. 41. Cf. cat. no.
42 with the female head in a sakkos on side B of the New
York cup attributed to the Epitimos Painter, above, note
23: See Haldenstein 1983, 87.
29 For alternative views of beautiful outline female heads as
either aristocratic status symbols, on the basis of a similar
profile head on an Attic horsehead amphora of ca. 600 B.C,
Munich, Antikensammlungen 6070 (1360) (ABV 16.2, 679;
Para 9; BAdd 4; BAPD Vase 300173), or desirable hetairai,
see Vierneisel and Kaeser 1990, 142-43, with figs. 2 1 . 1 21.6. The unusual head cup, Munich, Antikensammlun
gen 2167 (ABV 611; BAPD Vase 306480), ibid. 158, figs.
25.3a-b, is inscribed Kalistantheikale on each side; the
named beautiful hetaira frowns in one of her two images.
See also the head cup Munich, Antikensammlungen 2166,
classified as an imitation of Sakonides: ^4J5V 171; BAPD
Vase 301102.
30 Munich, Antikensammlungen 2165: -ABV 171.1; BAdd
48; BAPD Vase 301088. Cf. the unsigned variant in which
the hair of the woman's head is tied up at the back,
e.g.,Vatican City, Museo Gregoriano Etrusco, Astarita 4,
inv. 34950.2.1: ABV 688.7 bis; BAPD Vase 306561; Iozzo
2002, 142-44.
31 See above, after note 9.
32 Amyx 1988, n, 540n.20.
33 See above, at note 25. Cf. Mertens 1988, 420-21. For other
associations between the Amasis Painter and Lydos, see
Bothmer 1985, 40-41, who does not mention the use of
outline.
34 Paris, Cab. Med. 222: ABV 152.25, 687; Para 63; BAdd 43;
BAPD Vase 310452; Bothmer 1985, 125-29, cat. no. 23. For
the outline group, see Bothmer 1985, 128; Mertens 1987,
esp. 169-71. Other vases in this group include the Basel
amphora (cat. no. 43); fragments of amphorae in New York,
Metropolitan Museum of Art 1985.57 (BAPD Vase 14735);
Kavala, Museum 983 (Para 65; BAdd 43; BAPD Vase
350469); and see below, notes 35-36.
35 Formerly Berlin 3210, present whereabouts unknown:
ABV 151.21, 687; Para 63; BAdd 43; BAPD Vase 310449.
36 Samos, Vathy, Museum K 898: ABV 151.18, 687; Para 63;
BAdd 42; BAPD Vase 310445. See Bothmer 1985, 128.
37 Mertens 1987, 176.
38 E.g., Mertens 1988, 421-22; cf. Robertson 1975, 214-15.
39 Bothmer 1985.
40 Robertson 1992, 7.
41 E.g., black-figured neck-amphora, Boston, Museum of
Fine Arts 01.8026: ABV 152.26, 687; Para 63; BAdd 44;
BAPD Vase 310453; Bothmer 1985, 130-33, no. 24. For a
consideration of special uses of incision in black-figure,
see Mertens 1987, 423-24.
42 Paris, Musee du Louvre CA 2997: ARV 83.9, 1578.3;
BAPD Vase 200670.
2

1 Trans. Pollitt 1990, 29.

2 For vase-painting as drawing, see, e.g., Williams 1991a;
Padgett 1996.
3 Beazley 1989a, 2-3.
4 For Geometric figural vase-painting, see Coldstream 1991;
idem 1977, 109-19; and Boardman 1998, 25-28, 32-46 figs.
40-75.
5 Boardman 1998, 88-90, 108, and 98-107 figs. 188-212.
6 Beazley 1986, 1; idem 1989a, 1; for black-figured Corin
thian pottery, see Boardman 1998, figs, on 92-93, 96-97,
189-202; and Amyx 1988, I, m.
7 Beazley 1986, 2; idem 1989a, 9. The techniques for produc
ing Attic black- and red-figured pottery, and Greek pot
tery in general, have been described many times; see the
recent summary in Sparkes 2000a; see also Sparkes 1991b,
8-27; and Noble 1988, which is still the most detailed
account, though some conclusions are dated. For the firing
process, see also Technical Studies essay.
8 Princeton, Princeton University, Art Museum y 1987-70:
Russell 1994, 40-41, no. 20 (J. M. Padgett); Padgett 1996,
80, fig. 12, 82; and see also Papadopoulos 2003, 267-68, fig.
4.36, "unfinished practice sketch."
9 On preliminary sketch, in general, see, e.g., Corbett
1965; Olmos Romera 1976; and Boss 1997, who says the
impressed lines were made with a wooden stick.
10 For relief lines and the lack of agreement about how they
were produced, see Cohen, chap. 4, note 4; and see also
Boardman 2001, 28687, who believes the relief lines were
applied with a thin brush. Although not currently in
favor, Joseph V. Noble's suggestion that relief lines were
produced with a syringe-like or pastry-bag-like instrument
should not be ruled out: Noble 1988, 118-25.
11 See, recently, Baurain-Rebillard 1999, and cat. no. 40.
12 Williams 1983a, 28; for the dinos London, British Museum
GR 1971.11-1.1, see also cat. no. 40 with REFERENCES.
13 Malibu, J P G M 92.AE.4: J P G M Antiquities Handbook 2002,
55.
14 E.g., Amyx 1988, I, 164-65, Liebieghaus Group, m, pi.
63.2b; Malibu, J P G M 92.AE.4 has such a profile head on its
handle-plate, which is not visible in fig. 2.
15 For the "popular Aineta," see Payne 1931, 162, no. 5, aryballos no. 480, fig. 70. For the cups, see Amyx 1988, I, 195,
no. 3, Boston 12.422, attributed to the Medallion Painter;
ibid, in, pi. 76.1a; ibid. I, 200, no. 1, Athens 992, attributed
to the Klyka Painter; ibid, ill, pi. 83.1a; and see Keuls 1985,
155.
16 For the Francois Vase, see cat. no. 40 REFERENCES; and
Lissarrague 2001, 1021, with color photographs.
17 Cf. Beazley 1986, 25.
18 Cohen 1991, 52.
19 Payne 1931, esp. 79-87; see, recently, Tsiafakis 2003, 85.
See also Winter 1885, cols. 188, 190.
20 New York, Metropolitan Museum of Art 31.11.4: ABV
78.12, 682; Para 20; BAdd 22; BAPD Vase 300735; Bothmer 1987, 18, no. 8.
21 See Beazley 1932; idem 1989a, 48.
22 Beazley 1932, 174-75. On the conversational formulas of
the copious "drinking" inscriptions that appear on LittleMaster lip-cups in addition to the potter-signatures, see
Lissarrague 1990a, 62-67. The use of outline on LittleMaster cups was noted by Winter 1885, col. 189.
23 New York, Metropolitan Museum of Art 25.78.4: ABV
119.9; Para 48; BAPD Vase 310289.
24 Andrew J. Clark, in CVA Malibu 2 [USA 25] 48-49, dis
cusses the attribution of cups to the Epitimos Painter. For
Lydos, see ABV 107-13, 714; Para 43-46; BAdd 29-32;
BAPD s.v. Lydos.
2

159 OUTLINE AS A SPECIAL TECHNIQUE

43 For a consideration of elements of landscape and setting in

both black- and red-figure, see Hurwit 1991.
44 Boston, Museum of Fine Arts 13.169: ARV 188.59; BAPD
Vase 3029; Herrmann, Jr., and Kondoleon 2004, 45, color
fig., 175, cat. no. 47. See Beazley 1918, 55.
45 Because of the variety of athletic equipment shown on the
mound, Hermann and Kondoleon 2004, 45, describe the
deceased warrior as a pentathlete. This red-figure vasepainting is comparable to the imagery of white-ground
funerary lekythoi, cf. cat. no. 62: See Kurtz 1975, 207, pi.
21.1.
46 Berlin, Antikensammlung F 2288: ARV 438.130, 1701;
BAdd 239; BAPD Vase 205176. The turtle may be the
carnivorous one that ate Skiron's own victims, which is
mentioned in later sources, such as Pausanias, 1.44.8; see
Gantz 1993, I 252.
47 See Korshak 1987, 15-16, 62, no. 183; Tsingarida 1991,
15-16. Cf. the female musiciansa nymph and Muses-in
early black-figure depictions of the procession for the
wedding of Peleus and Thetis, who are shown playing the
syrinx in frontal face with their features drawn in outline
on their white faces on Sophilos's Akropolis and London
dinoi, and Kleitias's Francois Vase: See above and cat. no.
1

40 W i t h REFERENCES.
2

48 Berlin, Antikensammlung F 2278: ARV 21.1, 1620; Para

323; BAdd 154; BAPD Vase 200108; Berlin 1991, 244-49,
cat. no. 59 (I. Wehgartner); the painter-attribution of this
cup has been contested. Winter 1885, the outline head
noted without identification. The Berlin cup is also techni
cally unusual because of the added clay used for fruit and
leaves on the branches carried by one of the Horai (Sea
sons) on side B; see Cohen 2004, 60.
49 Bonn, Akademisches Kunstmuseum 63: ARV 119.1, 1576;
BAdd 175; BAPD Vase 200998; LIMC i (1984) s.v. Astra,
B. Selene 913, no. 42, pi. 676. See cat. no. 45 and esp.
Williams 1977 and idem (1993), in CVA British Museum
9 [Great Britain 17] 25, for the joining of the Elpinikos
Painter with Apollodoros. The Munich and Bonn heads
were noted by Winter 1885, cols. 192, 194-95, pi. 12.1.
50 For the influence of lost free painting on vases, see the
discussion with references in Cohen, chap. 4.
51 See the discussion of cat. no. 49 in Cohen, chap. 3, with
note 44.
52 For a comparable use of unusual color, though on top of
reserved clay rather than black gloss, cf. the interior of
the red-figured cup attributed to the Penthesilea Painter
(his name vase), Munich, Antikensammlungen 2688: ARV
879.1, 1673; Para 428; BAdd 300; BAPD Vase 211565. See
Robertson 1959, 117, with the old color photographs on
115-16; and Cohen, chap. 4, fig. 4.
53 Chiusi, Museo Archeologico Nazionale 1831: ARV 1300.2,
1689; Para 475; BAdd 360; BAPD Vase 216789. See above
for the use of outline with elements of setting on Late
Archaic red-figured vases.
54 See also the discussion at note 28. For the subject, see
Oakley and Sinos 1993, 40-42, 46.
2

160
COHEN ..CHAPTER
CHAPTER55
160 COHEN

40

40
FRAGMENTS OF
BLACK-FIGURED DINOS

Wedding of Peleus and Thetis

C O N D I T I O N : Ten preserved fragments; chips and
scratches on surface; some losses of white on female
figures and of red details painted on top of the

Signature of Sophilos as painter, ca. 580 B.C.

white.

H (of main figural frieze) 8.5 cm

A t h e n s , National Archaeological M u s e u m

SOPHILOS,

15165, Acropolis Collection 1.587

Attic vase-painter, was literate a n d liked to write,

A SPIRITED EARLY

ARCHAIC

From t h e A t h e n i a n Akropolis; signed

w h e t h e r labeling characters in his innovative nar

fragment found 1883

[Not in t h e exhibition]

rative depictions from m y t h a n d legend, giving

a scene a titleas on t h e famous dinos fragment

161 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

w i t h t h e funeral games for Patroklos-or p r o u d l y

Muses seem, in fact, to have been associated in t h e

signing his name. One of his masterpieces, n o w

ancient Greek m i n d : Both appear on t h e Phiale

k n o w n only from fragments, was a black-figured

Painter's w h i t e - g r o u n d calyx-krater of ca. 4 4 0 -

d i n o s a r o u n d bowl for m i x i n g w i n e w i t h

435

w a t e r t h a t t h e artist may himself have dedicated

B.C.

(cat. no. 67).

T w o impressive pairs of overlapping female

on t h e A t h e n i a n Akropolis. The i m p o r t a n c e of

figures walk in step on t h e largest fragment (fig.

t h e signed fragment (fig. 40.1), discovered on

40.8). T h e y are formally dressed w i t h their red

t h e Akropolis in t h e late n i n e t e e n t h century,

mantles w o r n over fine w h i t e dresses w o v e n

was recognized immediately: Its fully preserved

w i t h rows of animals in so-called story friezes:

inscription, Sophilos egraphsen (Sophilos

Demeter, goddess of grain, a n d Hestia, goddess

painted

me), provides t h e earliest k n o w n name of an Attic

vase-painter.

of t h e h e a r t h , are followed b y Leto, m o t h e r of

Apollo a n d Artemis, a n d Chariklo, wife of t h e

T h e subject on t h e main frieze of t h e frag

m e n t a r y dinos-the procession of gods arriving

wise c e n t a u r Chiron. At t h e break on t h e right,

t h e fragmentary female figure, s h o w n w i t h a w i n g

to celebrate t h e w e d d i n g of Achilles parents,

p r o t r u d i n g from her ankle, w h o wears a short

Peleus a n d t h e s e a - n y m p h T h e t i s h a s been

t u n i c t o p p e d b y a nebris, must be t h e messenger

identified t h r o u g h comparable depictions on a

goddess Iris, leading t h e procession.

well-preserved dinos a n d stand b y Sophilos in

Other depictions i n c l u d e t h e lame god H e p h a i -

L o n d o n a n d on t h e Francois Vase of ca. 570 B.C.

stos riding on a mule, a n d h e may well have e n d e d

As t h e procession arrives, t h e bridegroom stands

t h e procession here (fig. 40.1). A small fragment,

before t h e door of his h o u s e to greet t h e guests.

w i t h p a r t of a fish-tailed being a n d a walking m a n

Here only Peleus's foot a n d a bit of his w h i t e gar

(fig. 40.9), b r i n g s to m i n d t h e fish-tailed Okeanos

m e n t have b e e n preserved (fig. 40.2). The house's

on t h e L o n d o n dinos. Yet a n o t h e r fragment p r e

closed red door w i t h r o u n d black bosses, w h i c h

serves p a r t of a heavy palmette-lotus chain (fig.

is s h o w n frontally (cf. cat. no. 48), was flanked by

40.10), an o r n a m e n t that, on several of t h e frag

w h i t e columns a n d t h e porch's projecting antae

ments (fig. 40.58), fills t h e frieze above t h e fig

(ends) (fig. 40.1). Thetis, u n s e e n , must be inside.

u r e s ' heads. Scant remains of animals or monsters

Sophilos's painter-signature, w r i t t e n w i t h large

appear in t h e register below t h e figures (fig. 40.1

retrograde red letters (fig. 40.1), is placed verti

2, 4); animal friezes characterized a traditional

cally b e t w e e n t h e door a n d t h e column on t h e

Corinthianizing m e t h o d of decorating vases t h a t

right, w h i c h was originally adjacent to t h e e n d

h a d n o t yet passed from fashion at this time.

of t h e procession that, moving from left to right,

encircled t h e vase.

Sophilos's early black-figure t e c h n i q u e is spe

cial. His copious use of a d d e d red includes n o t

In t h e w e d d i n g procession, as on t h e L o n d o n

only t h e h e a d s a n d n e c k s of male figures b u t also

dinos, all of t h e figures' names w o u l d have been

inscriptions, w h i c h normally are black. In a d d i

inscribed. T h e g o d s ' h o r s e - d r a w n chariots (figs.

tion, red has been employed to draw forms in out

40.34) i n c l u d e d those of Zeus a n d Hera (fig. 40.5)

line. Here these outlined forms are filled in w i t h

a n d Poseidon a n d A m p h i t r i t e (fig. 40.6). NV-cAl

w h i t e applied directly on t o p of t h e clay g r o u n d

is w r i t t e n beside t h e heads of three female

r a t h e r t h a n over s t a n d a r d black silhouettes. At

figures,

t h e leftmost s h o w n in frontal face playing t h e

least one of t h e chariot horses (fig. 40.4), t h e

s y r i n x (fig. 40.7). T h e Nysai were n y m p h s w h o

porch's columns (fig. 40.1), a n d all of t h e female

cared for t h e infant Dionysos in faraway Nysa, a n d

figures (figs. 40.58) are delineated in this fashion.

Sophilos's Nysai on t h e Akropolis dinos surely

Details on t h e w h i t e , r a t h e r t h a n being incised,

belonged to t h e entourage of t h e now-missing

have been d r a w n in red, i n c l u d i n g facial features

w i n e god. This inscription was once w r o n g l y

of female figures, their jewelry, t h e musicmaking

held to be a mistake for Musai, because of these

Nysa's pipes, t h e w a l k i n g women's cross-strapped

females' e v i d e n t similarity to t h e M u s e s on t h e

sandals, a n d t h e elaborate decorative friezes

L o n d o n dinos a n d t h e Francois Vase. Nysai a n d

w o v e n on their w h i t e dresses. Perhaps s u c h details

162 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

s h o u l d be considered t h e first use of w h i t e as a

g r o u n d in Attic vase-painting.
T h e painter s varied coloristic effects, marked

For Sophilos's signed dinos fragment from Pharsalos with the

funeral games, Athens, National Archaeological Museum 15499,
see: ABV 39.16, 681; Para 18; BAdd 10; BAPD Vase 305075. For
Sophilos's dinos in London, British Museum GR 1971.11-1.1, see:
Para 19.16 bis; BAdd 10; BAPD Vase 350099; Williams 1983;
Williams 1999, 51-53, figs. 38-39. For the Francois Vase, the Attic
black-figured volute-krater signed by Kleitias as painter and
Ergotimos as potter, see: ABV 76.1, 682; Para 29-30; BAdd 21;
BAPD Vase 300000. It has been suggested recently that Sophilos's
partial signature on the fragmentary louterion from Menidi, Ath
ens, National Archaeological Museum 15942, 15918, 2035.1-2
(.4W40.21; Para 18; BAdd 11; BAPD Vase 305080), which has
been thought to be a potter-signature, might in fact be a paintersignature, see Kilmer and Develin 2001, 23, 39. See Pedley 2002,
241, fig. 7.38 for a color illustration of the Corinthian wooden
panel with a procession, of ca. 530 B.C., from Pente Skouphia. On
Sophilos's associations with Corinth, see, e.g., Williams 1983.
2

b y an idiosyncratic use of red outline a n d w h i t e ,

have long been associated w i t h t h e influence of

Corinthian art, a n d his free, bold w r i t i n g is like

wise Corinthianizing. Sophilos could readily have
k n o w n Corinthian vases, w h i c h were e x p o r t e d
widely. In addition, his familiarity w i t h wallp a i n t i n g s in Archaic Corinthian temples a n d / o r
w i t h Corinthian p a i n t e d w o o d e n panels has also
been suggested. Even a Corinthian origin for this

master was once entertained. In any event, Sophi

los w o r k e d a n d was surely trained in A t h e n s , n o w
t h e leading Greek artistic center.
2

ABV 39.15, 681; BAdd 10; BAPD Vase 305074;

Benndorf 1869, 23, pi. 11.5; Wiener Vorlegeblatter fiir Archaeologische Ubungen 1889, pi. 2.3a-d; Winter 1889; Studniczka 1893;
Buschor 1921, 95, fig. 86; Pfuhl 1923, I, 246-48, m, fig. 202;
Hoppin 1924, 336-37, no. 2 (reversed); Buschor 1925, 120, fig.
87, 122-23; Graef and Langlotz 1925, i, 64, no. 587a-i, pi. 26;
Bequignon 1933, 55, fig. 10, 56-57; Papaspyridi-Karusu 1937, 112,
133, no. 23, pi. 51; Kraiker 1958, 41, 152-53, no.15.top, pi. 15.top;
Beazley 1964, 17-18, 107nn.26-30; Buschor 1969, 108, fig. 117;
Simon 1969, 269, 270, fig. 259; Charbonneaux, Martin, and Villard 1971, 56, 57, fig. 60, 401, no. 60; Boardman 1974, 19, fig.
25.1-2; Bianchi Bandinelli and Paribeni 1976, no. 269; Bakir 1981,
esp. 1, 5-7, 12-13, 23, 33, 56, 62-63, 64-65, pis. 3-5, 89-90;
LIMC I (1981) s.v. Amphitrite 728, no. 53, pi. 586 (S. KaempfDimitriadou); Stewart 1983, 58-59, figs. 4.4a-j, 61, 62, table 4.1(1);
Williams 1983, 22, 32; Ahlberg-Cornell 1984, 99-100, 105, fig. 36;
LIMC II (1984) s.v. Aphrodite 143, no. 1501 (A. Delivorrias with
G. Berger-Doer and A. Kossatz-Deissmann); Haas 1985, 48, 85, 148,
fig. 6; Beazley 1986, 16-17, 95nn.26-30; Carpenter 1986, 9, pi.
3.A; LIMC in (1986) s.v. Chariklo I 190, no. 1, pi. 150 (U. FinsterHotz); Brownlee 1988, 80, 84; Immerwahr 1990, 21, no. 61, 22;
LIMC vn (1994) s.v. Poseidon 466, no. 182a, pi. 369 (E. Simon);
Brownlee 1995, 363, 366; La Geniere 1995, 39, 42; Valavanis and
Kourmelis 1996, 68; LIMC vm (1997) s.v. Nymphai 894, no. 24b
(M. Halm-Tisserant), and s.v. Nysa I, Nysai 903, no. 2, pi. 598
(U. W. Gottschall); Manakidou 1997, 299, fig. 3; Moraw 1998,
34-36, 67, 141, 147, 214, 273, no. 5, pi. 1, fig.5; Baurain-Rebillard
1999, 156-57, 161, fig. 1; Massa-Pairault 1999, 117, pi. 4.3; Kilmer
and Develin 2001, 12-19, 16, fig. 2, 22, 25, 28, 36, 37, no. B39/15,
pl.l.
REFERENCES:

163 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

41

THE LIP-CUP,

BLACK-FIGURED LIP-CUP WITH

OUTLINE DECORATION
Signature of Epitimos as potter, a t t r i b u t e d
to t h e Epitimos Painter, ca. 550 B.C.

black-figure w o r k a h u m a n b u s t in profile v i e w

its potter, Epitimos, in t h e traditional location of

American a r t market; gift of t h e N y

t h e h a n d l e zone, sports a n exceptionally elaborate

Carlsberg F o u n d a t i o n 1958

pair of semi-outline b u s t s t h a t have been e x t e n d e d

anatomically t o i n c l u d e arms. Here, in a n e x c e r p t

I, black-figure, courting scene: man and boy,

from t h e Gigantomachy, t h e goddess A t h e n a fights

youths

A, o n t h e lip, semi-outline, bust of Athena

with

shield and spear; o n t h e h a n d l e zone, between

t h e giant Enkelados. These mythological figures

t u r n toward each other in a n active narrative t h a t
runs around the cup.

horseman and mounted archer, E P I T I M O S

The armed goddess, placed above t h e potter's

EPOIE5EN
B, o n t h e lip, semi-outline, bust of Enkelados
shield and spear, o n t h e h a n d l e zone,
throwing javelins,

black-figure miniatures. A n i m p o r t a n t variant,

k n o w n as a h e a d cup, substitutes for t h e p u r e

42). T h e Copenhagen head cup, w i t h a signature of

Copenhagen, National M u s e u m 13966

peltasts

for its reserved offset lip, w h i c h normally bears

w i t h its flesh p a r t s d r a w n in outline (cf. cat. n o .

H 19.4 cm; Diam (bowl) 29.8 cm

between

O N E T Y P E O F Little-Master c u p

p o p u l a r in t h e m i d - s i x t h c e n t u r y B.C., is n a m e d

with

between

+ AIP E l< A I P I E I 5 [ V]

C O N D I T I O N : Assembled from fragments; with

signature o n side A, is a n impressive melange

of outline a n d s t a n d a r d black-figure t e c h n i q u e .
Facing left, she wields a spear in h e r outline
r i g h t h a n d a n d bears a black-figure shield o n h e r
outline left arm. T h e visible sliver of h e r u p p e r

plaster fill and inpainting at joins and for losses,

torso should t h u s be seen from t h e back, b u t h e r

including, on tondo, center of male couple's bodies

garment's r o u n d e d shoulder flaps seem t o suggest

and, on side A, breast and most of right horse's legs;

a front view; it has even been p r o p o s e d t h a t A t h e

loss of added white on tunics of archer on A and

na's r i g h t a r m has been attached t o h e r left shoul

of right peltast on B; loss of added red on quiver of

left horseman and on tunic of right horseman on A;

der. H e r fingernails, however, have b e e n r e n d e r e d

general surface erosion on side A; surface scratches

q u i t e carefully. Impressed preliminary sketch

around Athena's and Enkelados's faces; pale lines

lines nearly coincide w i t h Athena's final profile,

on reserved surfaces probably from removal of root

b u t t h e sketches are h i g h e r t h a n h e r large eye,

marks; black gloss flaked on lower part of bowl on

her brow, a n d scalloped forelocks. She wears h e r

side B, perhaps from the vase being stacked dur

ing firing; black incrustation on side A of bowl and
underside of foot; end of A/B handle chipped.

characteristic caplike Attic helmet w i t h a n i m p o s

ing h i g h crest, w h i c h is so tall t h a t t h e lip's u p p e r
edge cuts it off. This engaging w a r goddess's femi-

164

41.1

n i n i t y is u n d e r s c o r e d by
the jewelry painted upon
her reserved flesh: a black coiled
snake bracelet, a dilute zigzag necklace,
a n d a black tri-lobed h o o p earring. The contour
of t h e earring's lobe that overlaps Athena's black
hair is incised, as are t h e b a n d at t h e lower edge
of her helmet and t h e border of her outline ear.
In black-figure fashion, r e d a rather pale, milky
shade h e r e h a s been a d d e d on t o p of black gloss
for her garment, her helmet's casque, and its crest
s u p p o r t . T h e b a n d b o r d e r i n g t h e lower edge of t h e
helmet's crest, however, is reserved a n d decorated
w i t h black dots. A l t h o u g h t h e goddess does not

41.2

wear a snake-fringed aegis on this cup, her shield's

device is a fearsome snake protome, w i t h incised
m a r k i n g s on its b o d y a n d incised hairs in its
beard, t h a t seems to hiss at her o p p o n e n t .
W h i l e Athena's armor alone identifies her

This lip-cup is generally a t t r i b u t e d to an a n o n

definitively, a name tag identifying t h e armed male

y m o u s artist n i c k n a m e d t h e Epitimos Painter after

warrior w h o opposes her as t h e giant Enkelados

t h e potter's signature. He is q u i t e close to b u t not

has been inscribed retrograde on t h e reserved

identical w i t h t h e black-figure master Lydos, w h o

low crest of his Corinthian helmet. This conceal

dedicated a now-fragmentary dinos on t h e A t h e

ing black casque, w i t h an incised b r o w as well

nian Akropolis decorated w i t h a Gigantomachy

as o r n a m e n t a l palmettes, exposes only t h e eye,

t h a t he may also have p o t t e d . Beazley called t h e

p r o m i n e n t nose, a n d m o u t h of t h e giant's outline

Epitimos Painter's drawing "amusing," a n d this

face. Enkelados's profile head is contrasted w i t h

master himself was surely bemused by interpret

t h e m i n i a t u r e black-figure satyr's-head device of

ing t h e lip-cup's limited decorative format afresh.

his shield. No a d d e d color embellishes his sinister

armed form. T h e t h r o w i n g loop of t h e javelin t h e
giant is about to h u r l is w o u n d a r o u n d t w o fingers
of his raised r i g h t h a n d . This long-range w e a p o n
is normally wielded by light-armed warriors. On
t h e h a n d l e zone, black-figure p e l t a s t s s u b s t i t u t e s
for s t a n d a r d lip-cup palmetteslikewise h u r l
javelins. T h e r i g h t - h a n d peltast wears an exotic
p o i n t e d cap, and, on t h e front, t h e black-figure
h o r s e m a n at t h e cup's right h a n d l e is an archer,
w h o may likewise be a foreigner. Here t h e over
arching A t h e n i a n themes of divine a n d h u m a n
combat a n d t h e opposition of Greeks and barbar
ians appear to be contrasted, yet t h e inscription
b e n e a t h Enkelados on t h e h a n d l e zone is inviting,

Para 48; BAdd 33; BAPD Vase 350369; CVA Copen

hagen 8 [Denmark 8] 253-54, pis. 324.1a-b, 325.1a-f; Friis Johansen 1960; Vos 1963, 3-4, 61, 93, no. 11; Akerstrom 1966, 154, 155,
fig. 44.3; Snodgrass 1967, fig. 34, 80; Best 1969, 5-7, figs, la-c;
Vacano 1973, 41, 65, 74-75, 97-99, 117, 229, no. a-128; Boardman
1974, 61, fig. 121.1-2; Tiverios 1976a, 68-71, figs. 62-63; Schefold
1978, 57, figs. 65-66; Gorbunova 1979, 215; Snodgrass 1980, 103,
pi. 14; Haldenstein 1983, 81-83; LIMC n (1984) s.v. Athena, 982,
no. 273, pi. 736 (P. Demargne); Burns 1988, 39; LIMC iv (1988) s.v.
Gigantes 222, no. 207 (F. Vian and M. B. Moore); Blome 1990, 72,
no. 114 (B. Miiller-Huber); CVA Malibu 2 [USA 25] 48-49; Klinger
1993, 187, figs. 4-5, 189, 196, 199; Iozzo 1998, 256-57, 257n.28,
pi. 71.1-2.
For the courting scene on this lip-cup's tondo, see, with refer
ences, CVA Copenhagen 8 [Denmark 8] 253-54, pi. 324.1b; BAPD
Vase 350369. For Lydos's dinos, Athens, National Archaeological
Museum, Acropolis Collection 1.607, see ABV 107.1, 684; BAdd
29; BAPD Vase 310147; and the reconstruction drawings by Mary
B. Moore 1979, ills. 1-2.

REFERENCES:

"rejoice a n d d r i n k well."

165 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

42.1

42
BLACK-FIGURED LIP-CUP WITH
OUTLINE DECORATION
Signatures of Tlenpolemos as potter a n d
Sakonides as painter, ca. 550540 B.C.
Diam (bowl) 22.7 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche M u s e e n
zu BerlinPreuisischer Kulturbesitz
V.I. 3152
From Vulci; p u r c h a s e d 1888; formerly
Fontana collection; Candelori collection
A, o n t h e lip, female head; on t h e h a n d l e zone,
TUENTOUEMO^EPOIESEN
B, o n t h e lip, female head; on t h e h a n d l e zone,
$AKONIAESEAPA<t>S[EN]
C O N D I T I O N : Assembled from fragments w i t h stem,

I N S C R I P T I O N S ARE A P R O M I N E N T

feature

in t h e decorative scheme of lip-cups. T h e y are

always w r i t t e n in black gloss a n d centered, below
t h e figural images, o n t h e reserved h a n d l e zone
on each side of t h e bowl. A potter's signature is
often repeated on b o t h sides of t h e cup; it may
also be combined, for example, w i t h a n invitation
to d r i n k (cf. cat. n o . 41) or w i t h a kalos name. On
t h e Berlin lip-cup, however, while t h e signature
of its potter, Tlenpolemos, appears on side A,
t h e inscription on side B is t h e signature of its
painter: Sakonidesegraphs[en].

Sakonides, in fact,

is t h e only painter k n o w n to have signed lip-cups

or t h e c o n t e m p o r a r y Little-Master b a n d cups.
T h u s , t h o u g h it generally is n o t k n o w n w h e t h e r
a Little-Master cup's p o t t e r a n d painter were t h e
same i n d i v i d u a l , in t h e case of t h e Berlin lip-cup
a n d others p a i n t e d b y Sakonides, t h e y were n o t .
Sakonides' lip-cups, like t h e Copenhagen lip-

foot, part of bowl, and B/A handle missing; excel

cup of t h e Epitimos Painter (cat. n o . 41), are char

lent preservation of extant portion; some chipping

acteristically head cups w i t h semi-outline b u s t s

along edge of lip; gash in surface on neck of head on

on their lips r a t h e r t h a n black-figure miniatures.

A; chip of added red missing from back of sakkos

on B; shadow around bottom of bowl from stacking
during firing, some loss of black gloss along staking

On head cups, as here, o r n a m e n t a l palmettes

at t h e h a n d l e s are often suppressed. T h e Berlin

line; earlier restorations of this cup's lost elements

cup belongs to t h e p o p u l a r genre t h a t depicts a

have been removed.

w o m a n wearing j e w e l r y on each side. Those on

Sakonides' Berlin c u p wear black trilobe earrings
a n d amulet necklaces. As is normal o n head cups,
b o t h w o m e n face left a n d d o n o t look toward each
other a r o u n d t h e c u p . Significantly, each female
b u s t projects a different mood. T h e w o m a n on

166 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

side A, w i t h an u p w a r d - s l a n t i n g m o u t h a n d deli
cate chin, seems b o t h pleasant a n d pleased. The
almost identical w o m a n on side B has a d o w n
w a r d - c u r v i n g m o u t h a n d square chin t h a t make
her r a t h e r d o u r looking. M a n y fashionable w o m e n
r e p r e s e n t e d on d r i n k i n g cups may represent hetairai; if so, subtle differences b e t w e e n t h e paired
heads m i g h t have been t h e b u t t of ribald jokes at
d r i n k i n g parties.
Most of Sakonides' outline female heads have
long black hair b o u n d w i t h an incised h e a d b a n d
a n d either tied near t h e b o t t o m e n d or c a u g h t u p
in t h e h e a d b a n d forming a krobylos. Both of t h e
females on t h e Berlin cup, however, wear sakkoi
t h a t entirely cover their hair save for a row of
black scalloped waves b o r d e r i n g t h e face. Their
sakkoi are composed of red cloth m a t c h i n g their
red dresses, a n d t h e y are b o u n d together w i t h
black strips of n e t t i n g (cf. cat. no. 80) suggested
by incised cross-hatching. T h e red part of t h e
sakkos on A is b o r d e r e d by incision at t h e lower
back, a n d t h e entire u p p e r border of t h e sakkos on
B is incised. T h e black oculi of b o t h women's large
a l m o n d - s h a p e d eyes have pupils w i t h incised bor
ders. This broad interplay of incision a n d outline
gives t h e Berlin females a r a t h e r primitive appear
ance compared to other w o m e n b y Sakonides a n d
emphasizes their b o n d w i t h t h e black-figure tech
n i q u e . The Berlin women's sakkoi w i t h n e t t i n g
also emphasize t h e association b e t w e e n Sakonides
a n d t h e Epitimos Painter, w h o p a i n t e d a w o m a n
wearing a sakkos w i t h outline n e t t i n g on a
slightly earlier head cup, t h e lip-cup in N e w York.

ABV 171.13, 178.2; BAdd AS; BAPD Vase 301100;

Furtwangler 1889, 91, no. 2; Hoppin 1924, 320, no. 1; Beazley
1932, 174.201; Neugebauer 1932, 69; Rumpf 1937, 7-8, 17, 18,
21, 23, pi. 28e-f; CVA Metropolitan Museum of Art 2 [USA 11]
6; Gehrig, Greifenhagen, and Kunisch 1968, 188-89, V.I. 3152, pi.
56.top; Vacano 1973, 74-75, 231, no. A-147; Haldenstein 1983, A
86-88, pi. 12b; Heilmeyer 1988, 66-67, no. 9; Vierneisel and Kaeser 1990, 164, figs. 26.4a-b (B. Fellmann).
Immerwahr 1990, 47, with n.42, 50-52, discusses paintersignatures of Sakonides, but omits Berlin VI. 3152. For other
cups signed by Tlenpolemos as potter, see Berlin 1763: ABV
178.1; BAPD Vase 301353; formerly Basel, Borowski collection:
Para 74.3; BAPD Vase 3505014. On Sakonides and his cups with
outline female heads, see esp. Iozzo 2002, 142-44, no. 191, with
references; also Iozzo 1998, 257, 259, pi. 72.1-4; CVA Munich 10
[Germany 56] 40-41, pis. 22.3, 5-6 and 23.1-2; Boardman 1974,
60, fig. 116; EAA vi (1965) s.v. Sakonides (E. Paribeni). For the lipcup potted by Epitimos, New York, Metropolitan Museum of Art
25.78.4, see ABV 119.9; Para 48; BAPD Vase 310289.

REFERENCES:

42.2

Sakonides employed detailed impressed pre

liminary sketches in his attentive w o r k on t h e
Berlin cup. On side A t w o different sketches are
visible for t h e woman's profile as well as sketch
lines for her eye a n d necklace; side B has a single
sketch for t h e woman's profile as well as for her
eye, ear, a n d necklace.

167 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

43.1

43

BLACK-FIGURED AMPHORA
OF TYPE B

black form o n w h i c h t h e p a t t e r n of w o v e n con

struction is incised, t h e porous r u s h or wicker
basket used for treading t h e grapes consists of
criss-crossed black lines p a i n t e d directly on t h e
reserved g r o u n d . T h e o p e n weave suggested b y

A t t r i b u t e d t o t h e Amasis Painter a n d to
Amasis as potter, ca. 540 B.C.
H 4 4 cm

this line drawing is n o t fully illusionistic, h o w

ever, for n o trace of t h e satyr's lower legs is visible
inside t h e basket. This painter most famously uses

Basel, A n t i k e n m u s e u m Basel u n d Sammlung

L u d w i g Ka 420
Gift of Dr. Robert Kappeli, 1966

outline a n d reserve for t h e flesh of female figures

r a t h e r t h a n t h e black-figure n o r m of a d d e d w h i t e
on black. As in t h e case of t h e dancing m a e n a d o n
side A, facial features, jewelry, a n d other details

A, Dionysos with satyrs at the vintage and a

are d r a w n in black or dilute gloss directly u p o n

dancing satyr and maenad

t h e reserved flesh. W h e r e v e r sections of reserved

B, Dionysos between two dancing female figures and

female flesh overlap or abut black formssuch

two dancing naked

as t h e arms a n d b o d y of t h e satyr's dance p a r t n e r

youths

on side A t h e s e outlined areas are bordered b y

C O N D I T I O N : Reassembled from major fragments
with small losses restored, including the profile of
the right satyr on A and the lower rear of chiton

incised contours.
The Amasis Painter's e n c h a n t i n g rendition of

and right foot of Dionysos on B; black gloss and

sinuous reserved female figures is further e m p h a

added red pitted, chipped, and flaked; losses in

sized o n side B, w h e r e t w o dancing females a n d

black outlines of reserved female flesh on B; t w o

patches of white incrustation on skirt of right
female on B.

t w o dancing naked y o u t h s flank t h e w i n e god. On

b o t h sides of this large Dionysiac amphora, w h i c h
must have been employed t o hold w i n e , t h e u s e
of reserve rather t h a n w h i t e for t h e flesh of t h e

T H E A M A S I S P A I N T E R w a s i n s t r u m e n t a l in

females serves t o focus attention o n t h e vessel's

i n t r o d u c i n g t h e t h e m e of t h e vintage t o Attic

almost identical images of t h e stately god wearing

vase-painting. In his oeuvre, however, this a u t u m

a long w h i t e chiton. Perhaps this vase's association

nal labor has been raised t o t h e level of m y t h

of music a n d dancing a n d w i n e o u g h t t o be asso

by showing t h e w o r k m e n as satyrs a n d also, as

ciated w i t h early dramatic performances. M u c h

here, b y i n c l u d i n g Dionysos a n d a maenad at t h e

innovative Dionysiac imagery a t t r i b u t e d t o t h e

very p r o d u c t i o n of w i n e . A hairy satyr treads t h e

Amasis Painter stands apart from familiar conven

grapes in a h a n d l e d basket set u p o n a t r o u g h , a n d

tions. Here t h e i d e n t i t y of t h e dancing figures on

t h e w i n e , p a i n t e d in red, spills from t h e t r o u g h 's

side B is n o t clear. If t h e females, w h o hold w i n e

s p o u t into a large pithos, set deep into t h e g r o u n d

vessels, ivy, wreaths, a n d a flower, are maenads,

a n d t o p p e d b y a strainer. A n o t h e r satyr, stand

w h y d o t h e y dance alongside naked y o u t h s r a t h e r

ing before t h e t r o u g h , p o u r s water from a hydria

t h a n satyrs? Could t h e n a k e d y o u t h s be sons of

to w e t t h e remaining skins as h e samples t h e n e w

Dionysos? Are all of these figures instead w o r s h i p

w i n e from a kalathos. T h e w i n e god, s t a n d i n g

pers at an A t h e n i a n festival, such as t h e Lenaia?

b e h i n d this satyr, e x t e n d s his k a n t h a r o s e x p e c

A n inscription m i g h t have p r o v i d e d a key t o t h e

tantly. A n o t h e r satyr at t h e far left plays w h i t e

iconography, b u t n o n e appears o n this vase.

pipes t o set a r h y t h m for t h e stamping; a n d at t h e

The Amasis Painter is so named because other

right, a satyr a n d a m a e n a d dance t o t h e music

vases h e decorated bear t h e potter-signature of

in joyous anticipation, each w i t h an a r m locked

Amasis, b u t n o preserved inscriptions indicate

a r o u n d t h e other's shoulder.

w h e t h e r or n o t t h e painter was t h e same indi

Two details distinguish t h e Amasis Painter's

vidual as t h e potter. T h e o r n a m e n t o n t h e Basel

vintage scene from t h e realm of standard black-

amphora, w h i c h consists of a festoon of palmettes

figure vase-painting. Rather t h a n being a solid

a n d lotuses above t h e t w o panels, outline black

169 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

palmettes springing from volutes on patches of

reserve b e n e a t h t h e handles, a n d stacked rays
above t h e foot, is as exquisite as any of t h e Amasis
Painter s pictures.
i

______________
2

Para 65; BAdd 43; BAPD Vase 350468; CVA Basel

1 [Switzerland 4] 86-87, pi. 29.1-4; Bothmer 1957b, 538-39;
Bruckner 1958, 34-36, pis. 17-20; Bothmer 1960, 78-79; Schefold 1960, 20-21, 154-55, no. 138; Lucerne 1963, no. D 2 (M.
Schmidt); Boardman 1967, 146-47, fig. 90; Schefold [1967a] 64-65,
no. 103.1; Schefold 1967b, 220, no. 192 (I. Scheibler); Metzger
1972, 122; AntW 5 (1974) color cover, 1; Boardman 1974, 55, fig.
89; M. Schmidt 1976, 439, pi. n, 440; Sparkes 1976, 49, 57, fig.
REFERENCES:

4; CAHplates to vol. ///(1984) 274-75, fig. 360, 177-78, fig. 7.33;

Bothmer 1985, 43, fig. 32, 47, figs. 40a-b; Hurwit 1985, 252-53,
fig. 108; Carpenter 1986, 86, 88, pis. 20b, 24b; Hamdorf 1986, 59,
fig. 12; LIMC ill (1986) s.v. Dionysos 459, no. 408 (C. Gasparri), pi.
345; Isler-Kerenyi 1990, 59-65, 71-72, pis. 1-2, figs. 1-2, 73, pi. 3,
fig. 4; Perkins and Attolini 1992, 120-21, fig. 23; Lonsdale 1993,
fig. 12a-b; Scheibler 1995, 28-29, fig. 22; Biers 1996, 182-83, 184,
fig. 7.33; Boardman 1996, fig. 92, 106; Osborne 1996b, 230-31, fig.
54; Mommsen 1997, 23, 27, fig. 28; Blome 1999, 32-33; Noel 1999,
157, 158, pi. 2; Bohr 2000, 17, pi. 28.1-2; Noel 2000, 83, 85, pis.
3-4, 86; Boardman 2001, 61-62, fig. 79; Harris and Platzner 2001,
488, fig. 13-2; Isler-Kerenyi 2001, 128-29, 157, figs. 67-68; Voelke
2001, 198, 465, fig. 18; Isler-Kerenyi 2004a, 67, fig. 33, 68-69;
Isler-Kerenyi 2004b, 279-80, fig. 5; Loetscher 2004, 16, 17fig.;
Steinhart 2004, 104-107, pi. 38.

43.2

170 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

44

44
RED-FIGURED CUP OF TYPE B
A t t r i b u t e d to t h e Ambrosios Painter,
ca. 510-500 B.C.
Diam (bowl) 27.7 cm
Boston, M u s e u m of Fine Arts 01.8024,
H e n r y Lillie Pierce F u n d
From Orvieto; p u r c h a s e d 1901; formerly
Alfred Bourguignon collection
I, boy fishing
AB, cavorting

satyrs

C O N D I T I O N : Assembled from fragments with lost

areas restored in plaster, including the central por
tion of the cup foot's stem; overpainting at joins;
losses at rim of bowl, lower part of boy's face and
shoulder, and attachment of fishing line to pole;
center of submerged basket restored.

A M O S T U N U S U A L S U B J E C T decorates the

t o n d o w i t h i n this red-figured c u p : a lone boy

fishing from a rocky o u t c r o p p i n g beside t h e sea.
A l t h o u g h h e is often associated w i t h depictions
of w o r k m e n in rural settings, this n u d e boy wears
a w r e a t h a r o u n d his head instead of a rustic
workman's cap. Rather t h a n lower-class labor, this
charming genre scene may d o c u m e n t a leisuretime activity of t h e u p p e r classes, whose members
a t t e n d e d symposia a n d d r a n k from cups like this
one. In black-figure tradition, t h e wine-filled bowl
of a d r i n k i n g c u p h a d already been e q u a t e d w i t h
t h e sea (cf. cat. no. 6; a n d Cohen, chap. 2, fig. 1).
The modifications of red-figure t e c h n i q u e
employed to portray this aquatic scene are as
i n t r i g u i n g as its subject. T h e sea t h a t fills t h e
lower portion of t h e t o n d o is depicted as a
reserved segment w i t h a wavy u p p e r edge. T h e
water surface's u p p e r border has been carefully

171 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

defined w i t h a relief line a n d a black contour

d r y i n g in t h e s u n while t h e boy snags t h e rest of a

stripe. As if looking t h r o u g h t h e glass in a m o d e r n

seafood dinner.

a q u a r i u m , t h e viewer is a privileged witness to

t h e realm u n d e r w a t e r . The slender boy, readying

This tondo's carefully observed genre scene,

w h i c h has been neatly aligned w i t h t h e cup's h a n

his net w i t h one h a n d , has j u s t gotten a bite on

dles, is a rare treasure from t h e normally coarse

t h e line of his fishing rod. His catch a n d five other

h a n d of t h e Ambrosios Painter. This Late Archaic

r o u n d - e y e d fishes, w h o swim a r o u n d warily, are

cup-painter, w h o , as on this cup's exterior, often

d r a w n w i t h relief lines in t h e reserved water. T h e

represented satyrs, or komasts a n d other lusty

large basketlike object t h a t rests on t h e sea bot

Dionysiac imagery, was named after t h e kalos

tom has likewise been r e n d e r e d w i t h relief lines

inscription on a cup in Orvieto. In antiquity,

t h a t suggest its t r a n s l u c e n t character. This object,

Orvieto was an i m p o r t a n t Etruscan center, a n d

w h i c h has generally been called a lobster trap,

t h e Boston cup itself was found there. This p r o v

appears instead to be a device for keeping c a u g h t

enance brings to m i n d t h a t t h e most r e n o w n e d

fish fresh while fishing (Gallant 1985).

Archaic depiction of fishing is Etruscan: t h e color

Held u p above t h e water, t h e boy's red-figure

ful wall-painting of ca. 520 B.C. from t h e Tomb of

net is reserved against t h e black g r o u n d ; yet its

H u n t i n g a n d Fishing at Tarquinia. T h e Ambrosios

surface is likewise detailed b y relief lines. A black

Painter's remarkable cup, therefore, also exempli

relief line d r a w n directly u p o n t h e black g r o u n d

fies t h e A t h e n i a n e x p o r t ware w i t h w h i c h Etrus

for t h e boy's fishing line has required e n h a n c e

can craftsmen w o u l d have been familiar in t h e

m e n t w i t h a stroke of red. The painter has resorted

latter part of t h e sixth c e n t u r y B.C.

to incision only to differentiate t h e u p p e r contour

of t h e boy's black hair from t h e black g r o u n d . The
boy's body, w h i c h is reserved against t h e black,
is compositionally balanced in t h e negative by an
octopus p a i n t e d in black silhouette against t h e
lower p a r t of t h e reserved rocky perch. The sea
creature's tentacles, following t h e rock's c u r v e d
surface at t h e left, b e n d illusionistically into picto
rial space. Most descriptions of t h e octopus fol
low Emily Vermeule's a s s u m p t i o n (1979) t h a t it "is
h i d i n g u n d e r t h e rock . . . a n d c i r c u m v e n t s " being
t r a p p e d . However, as t h e u n d e r w a t e r contraption
is not a trap, a n d as this part of t h e rock does not
appear to be u n d e r water, t h e u n f o r t u n a t e creature
may already have been c a u g h t a n d w o u l d t h u s be

ARV 173.9; BAdd 184; BAPD Vase 201573;

Hartwig 1893, 54-60, pi. 5; Picard 1930, pi. 6.2; Cloche 1931, 25,
pi. 17.7; A. Klein 1932, 22, pi. 20f; Bonnard 1957, 10, pi. 20a;
Wasowiczowna 1957, 189, no. 10, 195, pi. 6.1; BAA I (1958) s.v.
Ambrosios, Pittore di, 316, 317, fig. 455 (E. Paribeni); Buchholz,
Johrens, and Maull 1973, J 174 at n.662; Sakellarakis 1974, 385,
fig. 25, 388; Beck 1975, 53, pi. 66.337; Boardman 1975, 62, fig.
119; E. Vermeule 1979, 180, fig. 1; Himmelmann 1980, 54, pi. 10;
Gallant 1985, 14, 17, pi. 4; Cerchiai 1987, 122, fig. 16; Sweet 1987,
175, pi. 57; Berard et al. 1989, 30, fig. 29; Buitron-Oliver 1991,
frontispiece; Hurwit 1991, 50, fig. 19, 60n.80; Malagardis 1991,
114, 115, fig. 5a; Holscher 1992, 211-13, pi. 43.1; Reinholdt 1994,
168, fig. 8, 169; Papadopoulos and Ruscillo 2002, 219; S. G. Miller
2004a, 166, 167, fig. 247.
See Holscher 1992, pi. 44.1-2, for the Boston cup's exterior. For
the Ambrosios Painter's name vase, Orvieto, Faina, 62, see ARV
174.17; BAPD Vase 201580. See Cerchiai 1987 for the Boston cup
in the context of the Tomb of Hunting and Fishing. On the setting
of the tondo, see also Williams 199Id, 107-108.

REFERENCES:

172 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

45

45
RED-FIGURED CUP OF TYPE C
A t t r i b u t e d to Apollodoros, ca. 500 B.C.
H to rim 7.7 cm; restored Diam (bowl)
18.8 cm
Malibu, J. Paul Getty M u s e u m 84.AE.38
N e w York art market; p u r c h a s e d 1984

C O N D I T I O N : Assembled from fragments, with

missing sections, including one handle and part of
foot, restored in plaster; extant handle broken off
and reattached in antiquity; five drill holes for the
ancient repair; fragments of tondo variously pre
served, some with reddish discoloration; modern
restoration of warrior and city wall at upper right;
dilute gloss and added red flaked and faded; root
marks and scratches on reserve of tondo.

I, city siege

173 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

T H I S B L A C K C U P ' S P A I N T E D D E C O R A T I O N is

ity. A l t h o u g h these helmets have, heretofore, all

confined to t h e exceptionally large t o n d o , framed

been called Corinthian, only t h e one on t h e lower

b y a n a r r o w reserved border, inside its bowl.

l eft displays t h e characteristic closed form w i t h

Here t w o pairs of warriors respectively attack a n d

l ong p o i n t e d cheekpieces. The other t w o hel

defend a crenellated city wall. The city siege, com

m ets, at lower r i g h t a n d u p p e r left, have cut-off

m o n in t h e Ancient Near East, is rare in Greek art.

r o u n d e d cheekpieces a n d ear openings, features

Visualized primarily b y means of outline drawing

c loser to t h e so-called Chalcidian helmet. The one

in relief line u p o n a reserved architectonic back

w ell-preserved defender, depicted at t h e u p p e r

drop, this cup's remarkable battle scene seems to

l eft w i t h a scaled cuirass, overlaps t h e wall as h e

recall a lost mural, b u t it precedes t h e floruit of

b e n d s forward; his helmeted head a n d shield are,

m o n u m e n t a l painting, a n d t h e battle depicted can

t hereby, d r a w n in outline, while his back a n d

n o t readily be identified. Settings are often mini-

r aised spear arm are contrasted against t h e black

malized in A t h e n i a n vase-painting, yet this city

g r o u n d in standard red-figure fashion. Patches of

wall looks like a stage set. Both its gate a n d com

g r o u n d b e t w e e n him a n d t h e wall, w h i c h should

p o n e n t m a s o n r y have been omitted. Delimited at

h ave been black, have accidentally been left in

either e n d b y t h e tondo's black g r o u n d , this wall

r eserve.

is only t h r e e crenellations w i d e , a n d its low rise

Here t h e relief line drawing of t h e figures has

enables t h e left attacking warrior's spear to e x t e n d

been e n h a n c e d w i t h anatomical markings a n d

clear u p to t h e battlement. At t h e same time, t h e

shaded details in a dilute gloss t h a t has fired a

wall's corners e x t e n d b e y o n d t h e tondo's reserved

charcoal gray; a nearly colorless dilute has been

p e r i m e t e r a sign t h a t here space has been tele

e mployed for a detailed preliminary sketch. The

scoped.
T h e exceptional use of outline drawing en

black dot on t h e battlement at t h e u p p e r left

r ecalls t h e stray drips of gloss t h a t often appear

hances this siege vignette's subtle spatial dimen

i n vase-paintings, b u t its r o u n d form seems too

sion. T h e armed attackers on t h e g r o u n d are larger

r egular to be accidental. A n inscription, d i v i d e d

t h a n t h e partly preserved left defender atop t h e

b e t w e e n left a n d right, Kleome[los] kalos, is w r i t

wall. T h e attackers' shields overlap those of t h e

t en in red on t h e black g r o u n d , t h e only a d d e d

defenders, while b o t h defenders' spears overlap

r ed on t h e t o n d o . The kalos name associates this

t h e shield of t h e r i g h t attacker. This right attacker

cup w i t h Beazley's so-called Kleomelos Painter,

is about to h u r l a stone; t h u s his b o d y is twisted,

w h o , along w i t h t h e Epidromos a n d Elpinikos

w i t h his u p p e r torso in back view, his helmeted

P ainters, should probably be considered an early

head t u r n e d u p a n d a r o u n d , a n d his rear leg over

stage of t h e cup-painter n a m e d Apollodoros.

lapping his comrade. T h e Corinthian-helmeted left

attacker, w h o is n u d e save for a folded chlamys
belted at t h e waist, bears a shield d r a w n in t h r e e q u a r t e r view a n d t h e above-mentioned long spear.
As t h e four shields are foreshortened at dif
ferent angles, t h e receding black devices, w h i c h
w r a p illusionistically a r o u n d their c u r v e d sur
faces, appear to be three dotted circles, a bucran i u m , p e r h a p s d o t t e d circles again, a n d an
octopus. T h e helmets of all three preserved war
riors are w o r n d o w n over their faces, an archaic
motif t h a t underscores this battle scene's a n o n y m

BAPD Vase 16319; "Acquisitions/1984," GettyMusJ

13 (1985) 168, no. 18; Childs 1991; Hurwit 1991, 54, fig. 25, 56;
R obertson 1992, 135, fig. 137; CVA British Museum 9 [Great Brit
ain 17] 25; Erath 1997, 112-13, 295-96, cat. no. G 7, pi. 5.9; J P G M
Antiquities Handbook 2002, 67.
On helmet forms, see Bottini et al. 1988, Corinthian: 65-106,
e sp. fig. 32 (H. Pflug), Chalcidian: 137-50, esp. fig. 2, type n (H.
Pflug). For Beazley's Kleomelos Painter, see ARV 118-19, 1598;
Para 332 ; BAdd 174-75; BAPD s.v. Kleomelos P; for the Epi
dromos Painter: ARV 117-18, 1627; BAdd 174; BAPD s.v.
Epidromos P; for the Elpinikos Painter: ARV 119, 1627; Para
332; BAdd 175; BAPD s.v. Elpinikos P; for Apollodoros: ARV
119-21; Para 332-33; BAdd 175; BAPD s.v. Apollodoros. For the
potting of cups associated with Apollodoros, see Bloesch 1940,
127-28. On the setting, see Williams 1991d, 107-108.

REFERENCES:

174 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

46

46

C O N D I T I O N : Assembled from fragments with miss

RED-FIGURED CUP OF TYPE B

ing parts restored in plaster, including cup's foot,

A/B handle, parts of rim, sections of tondo's
reserved double border; drill hole for ancient repair

A t t r i b u t e d to Onesimos, ca. 500-490 B.C.

Diam (bowl) 23.5 cm
Malibu, J. Paul Getty M u s e u m 86.AE.607
European art market; purchased 1986
I, satyr advancing

upon a sleeping female

(maenad or hetaira)
A - B , each side, cavorting

satyr

figure

on side A; black gloss cracked on beard of satyr in

tondo and flaked on B/A handle; satyr's right foot
and top of rock on tondo, and upper body of the
satyr on B missing.

T H E T O P S Y - T U R V Y C O M P O S I T I O N of t h i s

large t o n d o is oriented to be read perfectly w i t h

t h e w i n e cup's handles aligned horizontally. A t
t h e bottom, a b l o n d e y o u n g w o m a n sleeps peace
fully on a striped mattress placed on t h e g r o u n d
b e n e a t h a rocky ledge; she is unaware of t h e ugly,
snub-nosed satyr stealthily crawling d o w n t h e

175 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

rock, about to plant a kiss u p o n her lips. A n early

of dilute, w h i c h is b r u s h e d on in a streaky w a s h

w o r k b y Onesimos, a first-rate cup-painter whose

for t h e c u r v i n g surface of t h e rock, t h e curly locks

career began in t h e w o r k s h o p of Euphronios (cat.

of t h e maenad a n d her p u b i c hair, or in fine lines

nos. 10, 29, 30), this erotic design is a clever varia

for inner anatomical m a r k i n g s a n d delicate folds

tion on t h e p o p u l a r vase-painting t h e m e of satyrs

in t h e linen cloth.

attacking u n s u s p e c t i n g maenads. The occasional

In m a t u r e red-figure fashion, here t h e use of

inclusion of a couch cushion in these o u t d o o r

added-red color has been limited to t h e w r e a t h in

e n c o u n t e r s a n d t h e omission of a thyrsos, t h e Dio

t h e satyr's black hair, his anklet, a n d an inscrip

nysiac a t t r i b u t e m a e n a d s often wield against lusty

tion, declaring " t h e girl is beautiful"

satyrs, has suggested that t h e desirable females

kale), on t h e black g r o u n d at t h e left. T h e w o r d

(hemais

s h o w n in a m b i g u o u s scenes like this one m i g h t

kalos w r i t t e n in black letters on t h e reserved

r a t h e r be hetairai t r a n s p l a n t e d from t h e realm of

w i n e s k i n underscores t h e tondo's emphasis on

the symposium.

outline. Finally, minor mishapsa smudge of

Onesimos's u n c o n v e n t i o n a l massing of t h e

black gloss on t h e w i n e s k i n a n d a stray dab near

crucial reserved forms toward t h e right in this

t h e t o p of t h e r o c k b e t r a y this m o m e n t a r y

composition favors a reliance u p o n outline a n d

scene's rapid execution.

shading, while t h e standard red-figure contrast

w i t h t h e black g r o u n d found on t h e cup's exte
rior, for satyrs cavorting on short groundlines, is
employed only for t h e w i n e s k i n on t h e left side
of t h e t o n d o . Black relief lines on reserve describe

"Acquisitions/1986," GettyMusJ 15 (1987), 162, no.

11 (mispoised); Williams 1991c, 41, 43, figs. 2a-b; Dierichs 1993,
37, fig. 47 (mispoised); J P G M Handbook 2001, 48; J P G M Antiquities
Handbook 2002, 68.
For Onesimos, see ARV 318-30, 1645-46, 1701, 1706; Para
358-61; BAdd 214-17; BAPD s.v. Onesimos; Williams 1991a, 291,
295; Williams 1991b; Williams 1991c, with references 61-62, n.
5; Robertson 1992, 44-51, 55-56; CVA British Museum 9 [Great
Britain 17] 15, with references (D. Williams); Moore 1997, 97-98;
Williams 1999, 76-77. On associations between maenads and
hetairai, see Neils 2000, with 203n.5 for the Malibu cup. For the
satyrs on this cup's exterior, see Ostergaard 1991, 11, fig. 5; Wil
liams 1991c, 43, fig. 2b.
REFERENCES:

major contours here, such as t h e satyr's limbs out

lined on t h e rock or his bestial profile outlined on
t h e female figure's arm. T h e female's o w n profile is
similarly outlined, a n d her body, clad in a t r a n s
lucent linen chiton, w i t h a cascade of folds, serves
as a foil for t h e rock. T h e composition's outlined

forms are fleshed out b y t h e masterful application

176 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

47.1

47

and Athena; surface worn and abraded on column,

Herakles' raised right arm, and his lion skin; on B,

RED-FIGURED CUP OF TYPE B

part of standing giant's round shield missing; brown

incrustation on Hermes; traces of root marks on

A t t r i b u t e d to t h e Brygos Painter, ca.

black ground; reserved resting surface of cup's foot

4 9 0 - 4 8 5 B.C.

abraded.

H (to t o p of handles) 13.3-13.7 cm;

Diam (bowl) 32 cm

ON

Berlin, A n t i k e n s a m m l u n g , Staatliche M u s e e n

gods defeat t h e giants in a masterfully d r a w n ,

T H E B E R L I N C U P ' S E X T E R I O R , the

zu BerlinPreuEischer Kulturbesitz F 2293

spatially complex a n d powerful p a n o r a m a t h a t

From Vulci, found in 1833 at Camposcala b y

epitomizes t h e w o r k of t h e s u p e r b Late Archaic

Campanari (findspot also recorded as "Ponte

cup-painter k n o w n as t h e Brygos Painter after t h e

dell'Abbadia"); p u r c h a s e d t h r o u g h Bunsen

potter-signature found on a few of his w o r k s . In a

composition entirely encircling t h e cup's elegant

I, Selene in her chariot

A-B,

Gigantomachy

spreading bowl, most of side A is filled b y Zeus's

speeding quadriga. Having alighted t h e vehicle at
t h e gate of Olympos, indicated by a fluted Doric

C O N D I T I O N : Good; assembled from fragments;

small losses filled in with plaster and toned, some
in-painting; crack across tondo's center through

column w i t h spreading capital, t h e k i n g of t h e

gods wields a flame-spewing t h u n d e r b o l t , w h i c h

horses' heads and upper w i n g s of left horse; part of

partially overlaps his b l o n d - b e a r d e d face. His

right horse's front w i n g covert lost; crack through

mortal son Herakles, w h o lends a necessary h a n d

its leg; grayish misfired spots toward upper right

in t h e gods' battle against t h e Earth Ge's sons, can

of bowl's interior; on exterior, esp. side A, blotches

of dark brownish-orange discoloration on reserved
forms; misfired iridescent stacking circle visible,
esp. beneath bodies of chariot horses on A extend

be made o u t on t h e far side of t h e chariot's horses.

Drawing an u n s e e n bow, w i t h his a r m overlapping
his face, t h e hero is distinctively outfitted w i t h his

ing through Hephaistos's left greaved calf on B;

characteristic lion skin a n d short chiton w o r n over

on A, patches of greenish misfiring near Herakles

an exotic long-sleeved a n d trousered garment,

177 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

foot against t h e shield arm of a fallen comrade.

The fallen warriors b e n e a t h t h e cup's handles,
passing from life into death, e m b o d y t h e liminality of those subsidiary spaces. T h e Brygos Painter
characteristically p u t s to clever use t h e spaces
b e n e a t h t h e handles. This cup's black g r o u n d
gives way to t h e standard plain reserved patches
b e t w e e n t h e handle-roots, w h i c h here e x t e n d u p
to t h e lip. At t h e A/B h a n d l e , t h e tail of Enkelados's helmet crest flicks u p o n t o t h e reserve, a n d
its e n d is t h u s transformed from red-figure into
outline drawing (fig. 4 7 . 1 , far left). At t h e B/A
h a n d l e , t h e t o p of t h e fallen giant's helmet e x t e n d s
u p o n t o t h e reserved p a t c h (fig. 47.2). W h i l e his
black casque cleverly contrasts w i t h t h e reserved
g r o u n d , its flipped-up reserved cheekpiece a n d
reserved horsehair crest have likewise been t r a n s
formed into outline drawing.
In t h e Brygos Painter's daring composition
47.2

on t h e cup's t o n d o , t h e moon goddess, Selene,

descends into t h e sea, her chariot d r a w n b y t w o
like those w o r n b y Scythian archers. At t h e head

w i n g e d horses toward t h e viewer (fig. 47.3). T h e

of t h e horses, Zeus's daughter, A t h e n a , advancing

moon's descent places t h e g o d s ' victory in t h e

w i t h her aegis covering her e x t e n d e d arm like a

Gigantomachy at t h e d a w n of a n e w day. A simi

shield, mortally w o u n d s t h e giant Enkelados w i t h

lar cosmological framework recurs in t h e icono-

her spear (fig. 4 7 . 1 , far left; cf. cat. no. 41).

graphic program of t h e P a r t h e n o n . This is t h e

Enkelados has fallen u n d e r t h e cup's A/B

earliest preserved Greek depiction of Selene in her

h a n d l e : In fact, t h r e e of t h e c u p s four giants

chariot, a n d t h e tondo's black g r o u n d , limited to

have already fallen a n d are bleeding profusely

its u p p e r segment, is transformed into t h e n i g h t

from their w o u n d s . T h e only giant still stand

sky. Stars t w i n k l e on b o t h sides of Selene's

ing, at t h e left on side B (fig. 47.1), t u r n s in mid-

covered head. Their tiny reserved elements are

flight, a t t e m p t i n g to w a r d off Hephaistos, w h o

edged b y black contour stripes a n d relief lines.

r u s h e s leftward w i t h a red-hot metal ingot in his

The shaded moon disk, floating directly above

sakkos-

pincers, while t w o other flaming ingots already

Selene's profile head, overlaps t h e tondo's orna

fly t h r o u g h t h e air toward t h e giant. His r o u n d

mental border. It is intersected b y t h e black lines

shield emblazoned w i t h a black serpent, w h i c h

forming t h e inner contours of t h e t o n d o a n d its

has compass-drawn incised borders, contrasts

meander border, w h i c h were laid d o w n before t h e

w i t h t h e foreshortened r o u n d shields t h a t p r o p

vase-painting. On t h e left side t h e disk's relief-

u p t h e fallen giants. At t h e center of side B, t h e

line contour was d r a w n well outside of an incised

b a t t l e s direction shifts toward t h e right. Posei

compass-drawn sketch.

don, wielding his long trident, deploys t h e entire

island of Nisyros, while a fox p a i n t e d in dilute-

Most of t h e Selene composition consists of

intricately overlapped reserved forms described

gloss silhouette r u n s across t h e island's shaded

by outline drawing w i t h relief line. The goddess's

surface. Finally, at t h e far right, t h e bearded mes

arms a n d h a n d s , holding a goad a n d t h e horses'

senger god, Hermes, n u d e save for a chlamys a n d

red reins, overlap her chest. T h e chariot's horses

a petasos h a n g i n g at his back, advances toward

overlap its car, w h i c h is decorated w i t h spirals.

an u n s e e n o p p o n e n t ; h e is partly obscured b y t h e

The horses' heads, one in profile, t h e other fron

c u p s B/A h a n d l e (fig. 47.2). On his torso, as on

tal, overlap, as does one leg of each animal. Their

those of t h e fallen giants, dark b r o w n dilute gloss

spread w i n g s e x t e n d b e y o n d t h e tondo's circum

describes b o d y hair.

ference. The sea's w a v y surface is indicated b y

The giant in t h e B/A h a n d l e zone leverages his

arcs d r a w n w i t h black relief lines t h a t overlap

178 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

47.3

t h e descending horses along t h e lower edge of the

t o n d o . As in earlier Archaic red-figure (cf. cat. no.
44) t h e reserved water itself is t r a n s p a r e n t .
2

ARV 370.10; Para 365, 367; BAdd 224; BAPD

Vase 203909; CVA Berlin 2 [Germany 21] 22-23, pis. 67, 68, 70.3,
71.8; CVA Berlin 3 [Germany 22] pis. 126.1, 126.3, 134.7; Gerhard
1843, 14-16, 20-22, pis. 8.top, 10-11; Lenormant and de Witte
1857, 388-89, pi. 117; Furtwangler 1885, n, 589-93; Swindler
1929, xxx, 168, fig. 289; FR m, 257-28, pi. 160 (R. Zahn); Neugebauer 1932, 89, pi. 50; Bloesch 1940, 82, no. 8, 83, pi. 22.3a, fac
ing page fig. 3b; Diepolder 1947, 36-37, figs. 23-24; Schnitzler
1948, 46-47, 67, no. 59, pi. 43; Vian 1951, 73, no. 334, pi. 35;
Greifenhagen 1966, 50, pis. 68.bottom-70; Boardman 1967, 135,
136, fig. 82; Cambitoglou 1968, 23-26, 34, 36, 37, pi. 10.1; Geh
rig, Greifenhagen, and Kunisch 1968, 139, pis. 73.top, 76.right;
Greifenhagen 1968, 9, 25, 29, 31, 33nn.32,35, 34n.45, figs. 3-4,
32, 35, 45; Simon 1969, 89, fig. 86; Richter [1970a] 25-26, fig. 106;
Charbonneaux, Martin, and Villard 1971, 348, fig. 399, 349, 413,
no. 399; Maffre 1972, 225-32, 227, figs. 3-4; Henle 1973, 47-48,
fig. 28; Wegner 1973, 7-8, 77-81, 190, 192, 195, pi. 21; Lacroix
1974, 98-99, 145, pi. 26; Brommer 1978, 19, 32, 150, 207, pi. 14.2;

REFERENCES:

Schefold 1981, 93-95, 94, figs. 121-22; LIMC n (1984) s.v. Astra,
B. Selene 912, no. 39, p i . 675 (S. Karusu), and s.v. Athena 990,
no. 387, p i . 748 (P. Demargne); Seki 1985, 11, 14, 15, figs. 1-2, 46,
no. 179, 107-109, 123, 135, pis. 18.1-3, 53.6; Seki 1987, 332n.l3,
334, p i . 57; Brandt 1988, 31-32, 35, p i . 9; Heilmeyer 1988, 122.2,
123, no. 2; LIMC IV (1988) s.v. Gigantes 228, no. 303, p i . 139 (F.
Vian with M. B. Moore), and s.v. Hephaistos 647, no. 207, p i . 403
(A. Hermary and A. Jacquemin); Francis 1990, 40-41, fig. 15-17;
Kunze et al. 1992, 273-75, no. 148; Robertson 1992, 96, 154, fig.
159; Brinkmann 1994, 59; Cohen 1994, 703, 704, fig. 14; Dobrowolski 1994, 180, p i . 5, fig. 13; Geroulanos and Bridler 1994, 50,
fig. 44; LIMC vn (1994) s.v. Poseidon 465, no. 181 (E. Simon), and
s.v. Selene, Luna 710, no. 47 (F. Gury); Barbanera 1995, 51, fig. 26;
Fehr 1996, 788, 789, fig. 4; Tiverios 1996, 149, fig. 125, 151, fig.
127, 304; Knittlmayer and Heilmeyer 1998, 66-68, no. 31 (L. Giu
liani); Ehrhardt 2004, 23, 24, fig. 17, 29.
For the Brygos Painter, see ARV 368-85, 1649, 1701; Para
365-68; BAdd 224-29; BAPD s.v. Brygos P; see also Cohen, chap.
4, fig. 2 and, for this painter's use of outline drawing on white
ground, cat. no. 60 and Mertens, chap. 6, fig. 4. For side A, see
CVA Berlin 2 [Germany 21] p i . 67.1. Adolf Furtwangler (1885) was
the first correctly to identify the picture on the tondo as Selene's
descent. Karl Schefold (e.g., 1981) believed that the tondo repre
sents Night (Nyx).
2

179 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

48

RED-FIGURED PYXIS OF TYPE A

AND LID WITH KNOB IN THE
FORM OF AN EXALEIPTRON
A t t r i b u t e d to a follower of Douris, ca. 4 7 5 470 B.C.
H ( w i t h lid) 17.75 cm
London, T h e British M u s e u m
GR 1873.1-11.7, BM Cat Vases E 773
From A t h e n s ; p u r c h a s e d 1873
Women at home: Kassandra,
Helen, and

Iphigeneia,

Danae,

Klytaimestra

C O N D I T I O N : About half of body intact, rest reas

sembled from fragments; small losses filled in with
plaster and toned, esp. part of doorway, areas
around Danae, part of left leg of her chest (restored),
area above Klytaimestra's head; chips and gashes in
surface on lower flaring edge of pyxis wall to left
of doorway, on door at lower left of Iphigeneia's
head, in skirt of Danae's chiton, near Helen's knees;
erosion of black gloss above Danae; losses of added
white for inscriptions, Danae's hair ribbons, Helen's
wool; edge of foot's resting surface abraded; traces
of root marks on surface; black gloss eroded around
edge of lid, knob mended, and tip chipped.

A CLAY C O N T A I N E R often u s e d t o h o l d cos

metics or jewelry, t h e Attic p y x i s is frequently
decorated w i t h w e d d i n g imagery (cf. cat. n o . 32)
or depictions of women's daily lives. This pyxis's
intimate view of t h e g y n a e c e u m , replete w i t h a
b e v y of beautiful potential brides, is elevated
above t h e e v e r y d a y b y inscribed name tags t h a t
identify most of these females as Argive heroines.
The rather ominous female iconography is u n d e r
scored b y deviations from o r d i n a r y red-figure.
Architectural features indicate t h e b o u n d
aries of t h e women's quarters. A lone Doric col
u m n w i t h a spreading capital denotes t h e house's
48

porch. A w o m a n wearing a himation over h e r

chiton a n d shoes has j u s t arrived. She e x t e n d s a
basket filled w i t h w h i t e objects, p e r h a p s fruit, to
t h e barefoot w o m a n standing before t h e house's
door, w h o holds a corner of h e r chiton before h e r
face in a bridal gesture. T h e name Kassandra, t h e
ill-fated d a u g h t e r of King Priam of Troy, w h i c h

180 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

is w r i t t e n in w h i t e u p above, probably belongs to

dered in red-figure r a t h e r t h a n t h e gilded relief

her. Ultimately taken to M y c e n a e by A g a m e m n o n

common for mirrors elsewhere in red-figure vase-

as a c o n c u b i n e , Kassandra was killed b y his a d u l

p a i n t i n g (cf. cat. nos. 34, 36).

terous a n d m u r d e r o u s wife, Klytaimestra.

The plastic k n o b on t h e vessel's lid is encircled

The house's d o u b l e doorway, w i t h t h e left

by dotted black t o n g u e s a n d red-figure circum

half closed a n d t h e right open, marks t h e transi

scribed palmettes t h a t recall t h e w o r k of Douris

tion b e t w e e n exterior a n d interior space. S h o w n

(cf. cat. no. 83). It assumes t h e form of an exaleip-

in front view a n d d r a w n in outline on reserved

t r o n (cf. cat. no. 20), an u n g u e n t vessel associated

g r o u n d , this d o o r w a y is given special t e c h n i

w i t h w o m e n in depictions of w e d d i n g s a n d funer

cal emphasis. Details a d d e d in relief w i t h a pale

als. Given its u n u s u a l iconography, this pyxis,

yellowish clay e n h a n c e t h e closed door: rows of

r a t h e r t h a n being a w e d d i n g gift for a n e w bride,

bosses across t h e top, bottom, a n d center of t h e

may have been p u r c h a s e d for t h e grave of a y o u n g

doorframe as well as a keyhole in t h e u p p e r panel

w o m a n w h o suffered an untimely death.

a n d a r o u n d k n o c k e r below. Traces of red, w h i c h

m i g h t be from a base coat for or discoloration from
now-lost gilding, are preserved a r o u n d t h e bosses'
edges. T h e hinges or metal fittings of t h e o p e n
door as well as t h e bottoms of t h e t r i g l y p h s from
t h e house's entablature above are p a i n t e d in black
silhouette on reserved g r o u n d . The y o u n g w o m a n
t y i n g a fillet a r o u n d her h e a d a dressing motif
often associated w i t h a b r i d e w h o stands, partly
visible, in t h e liminal space of t h e half-open door
way, is d r a w n in outline w i t h relief lines on t h e
reserved g r o u n d . She wears a chiton, not t o p p e d
b y a himation, w h i c h h a n g s vertically in e x c e p

ARV 805.89, 1670; Para 420; BAdd 291; BAPD

Vase 209970; Heydemann 1877, 170; C. H. Smith 1892-1893, 115;
C. H. Smith 1896, 365-66; FR I, 287-88, 291, pi. 57.1; Hoppin
1919, II, 176, no. 3; CB n, 79; Richter 1966, 75, fig. 395; Roberts
1978, 95-96, no. 2, 186-87, pis. 62, 103.1 and fig. lOd; Brummer
1985, 34n.l86, 35, fig. 5c; LIMC iv (1988) s.v. Helene 554, no. 380,
pi. 358 (L. Kahil and N. Icard); LIMC v (1990) s.v. Iphigeneia 716,
no. 32, pi. 472 (L. Kahil); Lissarrague 1992, 195-96, fig. 35; Lissarrague 1995b, 97, 98, figs. 9-12; G. Hoffmann 1996, 263, fig. 100;
Lyons 1997, 41, fig. 3; Sabetai 1997, 329, fig. 12; Ferrari 2002, 7,
18, fig. 2.
The door's clay relief elements were described as gilded by Karl
Reichhold in 1904 (FR I, 291), but not by Cecil H. Smith in 1896.
On the palmette ornament of the lid, see Dinsmoor 1946, 105, fig.
12.2, 110. For the venerable Greek tradition of knobs in the form
of vases, cf. Muskalla 2002.

REFERENCES:

tionally straight architectonic folds. T h e outline of

one ample breast is s h o w n t h r o u g h t h e cloth. This
y o u n g woman's fillet is red, a n d t h e name above
her h e a d is w r i t t e n in red letters. She is Iphigeneia
(I0ITENEIA), t h e d a u g h t e r of A g a m e m n o n a n d
Klytaimestra w h o s e sacrifice was d e m a n d e d by
Artemis. On this pyxis, a d d e d red a n d a d d e d clay
are employed only in t h e reserved realm of t h e
doorway; analogous details in t h e s t a n d a r d redfigure p o r t i o n s of t h e figural frieze are w h i t e or
simply reserved.
Beyond t h e doorway, t h e interior of t h e w o m
en's q u a r t e r s is described in s t a n d a r d red-figure.
Here Danae, w h o was r a p e d by Zeus in t h e form
of a shower of gold a n d t h e n set adrift in a chest
w i t h their son, Perseus, examines a necklace from
a carefully delineated o p e n j e w e l r y chest. Helen,
Menelaos's wife, w h o s e a b d u c t i o n b y Paris led
to t h e Trojan War, is seated beside her wool bas
ket facing her sister Klytaimestra, w h o holds out
an alabastron. The mirror, h a n g i n g on t h e wall
b e t w e e n these t w o less-than-ideal wives, is ren

181 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

49.1

49

at t h e left, b r i n g s u p a folding stool w i t h hoof-

RED-FIGURED PELIKE WITH

WHITE OUTLINE DRAWING AND
SUPERPOSED COLORS

shaped feet, t o p p e d b y a cushion a n d a chestall

of w h i c h is carefully balanced on his head. These
objects are r e n d e r e d in red-figure; interestingly,
t h e h a n d s of t h e Black slave have been p a i n t e d in
black gloss on t h e stool's reserved legs. Standard

Related to t h e Kensington Class a n d t h e

red-figure reserve has been avoided entirely in t h e

W o r k s h o p of t h e Niobid Painter, ca. 460 B.C.

depiction of t h e slaves themselves. Their short,

H 4 4 cm

curly hair a n d remarkable costumescalf-length

Boston, M u s e u m of Fine Arts 63.2663,

fringed t u n i c s h a v e been p a i n t e d o n t o t h e black

A r t h u r Tracy Cabot F u n d

surface of t h e vase in a n u n u s u a l p i n k i s h cream

European art market; p u r c h a s e d 1963

color. This Classical pot's reliance on superposed

color recalls Six's t e c h n i q u e .

A, Andromeda

between two Black servants or slaves

T h e A n d r o m e d a composition continues on t h e
pelike's back. A t t h e left, a n o t h e r Black slave s u p

B, Kepheus and a Black servant or slave

ports a red-figure chest on his head w i t h o n e h a n d

C O N D I T I O N : Reassembled from a few large frag
ments; small segment of lip on side B restored; black

a n d holds a reserved alabastron s u p e n d e d from

gloss on lip, handles, and foot chipped; scratches

painted t h o n g s in t h e other. T h e precious objects

and root marks on surface; chip in surface on

carried b y t h e slaves must form a funereal w e d

Andromeda's breast; white, pinkish cream, and pale

ding d o w r y for Andromeda's p r e s u m e d afterlife

red added colors chipped, faded, and lost.

as a bride of Hades. T h e flesh of t h e Black slave on

B, like t h a t of t h e slaves on A, was once outlined

IN THE RED-FIGURE TECHNIQUE

Black

in white, b u t here t h e w h i t e has mostly flaked

people are normally s h o w n unnaturalistically w i t h

a n d faded, leaving a dark black line on t h e pot's

their flesh reserved in t h e orange color of t h e clay.

g r o u n d w h e r e this a d d e d w h i t e once protected t h e

This pelike's unidentified painter, however, has

thinly applied black gloss, w h i c h elsewhere has

m a d e a u n i q u e d e p a r t u r e from t h e red-figure n o r m

misfired slightly orange. This misfiring has also

in order to represent Black slaves (or servants)

increased t h e visibility of t h e impressed prelimi

w i t h black flesh. Their bodies have been d r a w n

n a r y sketch lines employed for this figure. T h e

in outline w i t h w h i t e paint on t h e pelike's black

slave o n side B wears a short kilt p a i n t e d u p o n t h e

g r o u n d , w h i c h t h e r e b y provides t h e black color

black g r o u n d in pale red; it is striped a n d fringed

for t h e slaves' flesh.

in p i n k i s h cream. W h i t e lines also delineate curls

T h e Black slaves o n side A are s h o w n prepar

in his short, pinkish-cream hair. All three slaves

ing t h e Ethiopian princess A n d r o m e d a for h e r

are d r a w n w i t h Negroid facial features: s n u b

e x p o s u r e to a sea monster sent b y Poseidon on

noses, thick lips, a n d r o u n d e d cheeks.

a c c o u n t of h e r mother, Kassiopeia's, h u b r i s t i c

At t h e right on side B, Andromeda's father,

boasts about h e r o w n beauty. Here, according to

Kepheus, is s h o w n leaving t h e scene. His feet

t h e hierarchy of class in Greek art, A n d r o m e d a ,

point to t h e right, b u t h e t u r n s back to t h e left

w h o must also have been d a r k - s k i n n e d , is ren

in order to give final instructions to t h e chest-

dered w i t h s t a n d a r d red-figure reserved flesh. Her

bearing slave a n d , presumably, to take a final look

foreign race a n d ethnicity are suggested solely b y

at his daughter. His vertical scepter at t h e center

her exotic dress of t h e t y p e usually w o r n b y Ama

of t h e composition on side B balances A n d r o m e

zons a n d Persians in Classical Greek a r t a soft

da's stake on side A. T h e old, white-haired Keph

cap a n d a short t u n i c w o r n over a long-sleeved

eus has a s n u b nose a n d thick lips t h a t suggest his

a n d trousered g a r m e n t p a t t e r n e d w i t h zigzags.

foreign race, b u t like his noble daughter, t h e Ethi

T h e princess stands frontally w i t h h e r right wrist

opian k i n g is r e n d e r e d w i t h standard red-figure

already b o u n d to a stake a n d h e r left a r m held b y

reserved flesh.

t h e shorter Black slave at t h e right. A n o t h e r slave,

183 OUTLINE IN BLACK- AND RED-FIGURE VASE-PAINTING

49.2

This famous story h a d a h a p p y e n d i n g : T h e

exposed A n d r o m e d a was rescued b y t h e hero
Perseus, w h o h a p p e n e d to fly b y after killing
t h e Gorgon M e d u s a (cf. cat. nos. 7, 56). In a lost
play b y Sophokles, w h i c h may have inspired this
vase-painting, A n d r o m e d a was evidently like
wise exposed tied to stakes, r a t h e r t h a n chained
to rocks as in t h e later fifth-century play b y
Euripides. Finally, t h e Boston pelike's colorful
a n d u n c o n v e n t i o n a l r e n d i t i o n of Black slaves sug
gests t h a t a lost free p a i n t i n g of t h e Early Classical
period may have been a n o t h e r source b e y o n d t h e
realm of vase-painting for this friezelike A n d r o m
eda composition.

Para 448; BAdd 325; BAPD Vase 41895; Hoffmann

1963; Schauenburg 1967, 1-7, figs. 1-2; Phillips 1968, 7, pi. 7, fig.
13; Snowden 1970, 158, 231, fig. 90; Trendall and Webster 1971,
5, 63-65, 64, fig. in.2.2; Snowden 1976, 154-55, figs. 175-75;
LIMC I (1981) s.v. Aithiopes 416, no. 19 (F. M. Snowden, Jr.), and
s.v. Andromeda i 776, no. 2, pi. 622 (K. Schauenburg); Snowden
1983, 14, 95, 144n.l72, figs. 17, 59; Berard 1985-1986, 16-17, 16,
figs. 10, 11; Boardman 1989, 63, fig. 169; Stucchi 1990, 67-69,
68, fig. 4, 74; Berard 2000, 402, 405, 403, fig. 15.9, 404, fig. 15.10;
Small 2003, 40, 41,fig.20.
For black gloss used in the differentiation of race and ethnicity,
cf. cat. no. 79. On the Boston pelike's association with Six's tech
nique, see Cohen, chap. 3.
REFERENCES:

OUTLINE
BLACK1184
84
O U T L I N EINI N
B L A C K -AND
A N DRED-FIGURE
R E D - F I G U R E VASE-PAINTING
VASE-PAINTING

CHAPTER 6

White Groung

Attic White Ground: Potter and Painter

Joan R. Mertens
The Metropolitan Museum of Art, N e w York

THE V A S E S I N S P E C I A L T E C H N I Q U E S P R O D U C E D

during the

sixth and fifth centuries B.C. in Athens are manifestations of

the restless, ceaseless creativity among potters and painters of
the Kerameikos. As the exhibition shows and the catalogue elucidates, each of the major categorieswhite ground, bilingual,
outline, coral red, Six's technique, plastic shapes and adjuncts
has its own story. At the same time, all of their stories are inter
twined because these special effects began to emerge in Athens
during the third quarter of the sixth century B.C. Moreover,
t h e y were often used b y t h e same artists, applied

cases, a n d , w h e r e needed, applied a specially

to t h e same shapes, a n d favored b y t h e same clien

p r e p a r e d surface. W h i t e g r o u n d receives t h e larg

t e l e / particularly in Attika a n d Etruria.

est representation in t h e exhibition. T h e reason

T h e w h i t e - g r o u n d t e c h n i q u e is characterized

is twofold: Its d u r a t i o n was t h e longestfrom

b y t h e application of a w h i t e clay s l i p to some

t h e second q u a r t e r of t h e sixth c e n t u r y t h r o u g h

p o r t i o n of a vase, accentuating t h a t p a r t of t h e

t h e e n d of t h e fifthand its application was t h e

shape a n d , often, p r o v i d i n g a surface for decora

most v a r i e d . A commonplace of vase studies is

tion. As Dietrich v o n Bothmer has most convinc

that t h e period of ca. 540-500 B.C. was a time of

ingly m a i n t a i n e d , it was t h e potter w h o n o t only

exceptional artistic ferment a n d creativity. T h e

fashioned t h e vase b u t also allocated t h e o r n a m e n t

potential for t h e black-figure t e c h n i q u e h a d been

a n d decoration, executed t h e o r n a m e n t in m a n y

e x h a u s t e d , as Exekias, t h e potter a n d painter, h a d

186

p u s h e d its possibilities to t h e limit. T h e Amasis

5

Painter's u s e of o u t l i n e h a d p r e p a r e d t h e way
for a d r a w i n g style to replace black silhouettes
articulated w i t h incision a n d a d d e d color. T h e c u p
by t h e p o t t e r Epitimos (cat. no. 41) illustrates t h e
predilection for outline heads on t h e exterior of
6

l i p - c u p s . T h e innovation of red-figure, in w h i c h
t h e figurework was left in reserve against a black
b a c k g r o u n d , is t h o u g h t to have emerged in t h e
7

w o r k s h o p of t h e potter A n d o k i d e s sometime
a r o u n d 530 B.C. (cat. n o . 51).
T h e other t e c h n i q u e s featured in t h e e x h i b i
tion appeared at r o u g h l y t h e same time. Based
on t h e objects preserved, t h e first occurrence of
8

coral red is associated w i t h Exekias; of w h i t e

g r o u n d a n d of relief or plastic e m b e l l i s h m e n t s ,

w i t h A n d o k i d e s (cat. n o . 27), Nikosthenes (cat.

no. 70), a n d Psiax (True, chap. 7. fig. 1); of Six's
technique

1 0

w i t h Psiax (fig. 1) a n d Nikosthenes

(cat. n o . 15). Inscriptions allow for t h e possibil

ity t h a t all of these artists were p o t t e r s .

11

Exekias

a n d Psiax are k n o w n to have been painters also.

For A n d o k i d e s a n d Nikosthenes w e lack t h e evi
dence. T h e i n t r o d u c t i o n of t h e n e w t e c h n i q u e s
p r o v i d e d t h e o p p o r t u n i t y of c h a n g i n g t h e appear

Figure 1. Youth; inscriptions;

ance of a vase's surface for t h e first time since t h e

rearing horse. White-ground

Geometric period. W h i l e t h e Black-and-White

andSix's-techniquealabastron,

style of Protoattic p o t t e r y

1 2

attributed to Psiax, ca. 5 2 0 -

used a light slip, a

515 B.C. London, The British

clay-colored g r o u n d p r e d o m i n a t e d on t h e great

Museum GR 1900.6-11.1.

majority of Attic vases from t h e e i g h t h to t h e m i d sixth century. By t h e 520s B.C. t h e available sur
faces consisted of black gloss (cat. n o . 15 a n d fig.
1), coral red (cat. n o . 7), w h i t e (cat. no. 50), a n d
reserve (cat. n o . 53), either singly or in combina
tion. Moreover, each entailed a different m a n n e r
of decoration.
T h e ramifications for t h e vase shapes a n d their
embellishment were far-reaching. Discussion of
Greek, especially Attic, vases rarely emphasizes
their three-dimensionality a n d t h e interrelation
of t h e volumes of w h i c h t h e y consist. But vases
are fully as complex as w o r k s of sculpture a n d
architecture. T h e earliest preserved incidence of
w h i t e g r o u n d occurs on a fragmentary k a n t h a r o s
datable ca. 570 B.C., signed b y t h e potter-painter
Nearchos a n d found on t h e A t h e n i a n A k r o p o
lis.

13

A b a n d of slip circles t h e lip a n d underlies

alternating black a n d red t o n g u e s . Nearchos was

187

an inspired colorist. On his aryballos in N e w

Y o r k (fig. 2), t h e b o d y is enfolded b y crescents
in four colors: reserve, black gloss, a d d e d red over
gloss, a n d a d d e d w h i t e over gloss; t h e whirligig
on t h e bottom swirls in t h e opposite direction,
w i t h crescents in black a n d a d d e d red a n d w h i t e
over black. Nearchos has been associated also
w i t h three fragmentary skyphoi of fine quality
discovered in t h e Sanctuary of t h e N y m p h s in
A t h e n s a n d similarly decorated w i t h polychrome
crescents.
14

15

Nearchos i n t r o d u c e d color as m u c h to articu

late t h e shape as t h e figural representations. This
dual role of color, often appearing on t h e same
object, is a significant feature t h r o u g h o u t t h e his
tory of Attic vase-painting. T h e innovative use of
color in relation to shape seems to occur at times
w h e n n e w t y p e s of vases were being i n t r o d u c e d

agency of A n d o k i d e s , Nikosthenes, a n d Psiax, it

was used in t w o major ways. Until about 490/480
B.C., it was either applied to specific parts of a
vase, or it covered t h e entire surface available for
pictorial decoration.
The first, selective, approach is informative
because it shows us t h e artist singling o u t p a r t

Figure 2. Battle of pygmies

and cranes; Hermes. Black-

of a vase for special treatment. We see t h e potter

figured aryballos signed by

h i g h l i g h t i n g one of t h e volumes of a shapeocca

Nearchos as potter, ca. 570

B.C. H 7.8 cm. New York, The

sionally severalbefore it was embellished fur

Metropolitan Museum of

t h e r b y t h e painter; initially, t h e decoration was

Art, Purchase, The Cesnola

in black-figure. Certain s h a p e s h y d r i a i , neck-

Collection, by exchange, 1926,

a m p h o r a e , kylikesseem to have been favored.

26.49. Photograph 1986

or existing ones reinterpreted. T h u s , after w h i t e

The Metropolitan Museum of

g r o u n d appeared d u r i n g t h e second q u a r t e r of

The h y d r i a Louvre CA 4716, a t t r i b u t e d to t h e

t h e sixth century, it seems to have lost favor for

Leagros Group (cat. n o . 53), provides a dramatic

about a generation. W h e n it became established in

example, w i t h t h e m o u t h a n d neck slipped a n d

Art. Photographer: Schecter

Lee.

t h e Kerameikos, probably t h r o u g h t h e particular

o r n a m e n t e d w i t h palmettes, birds, a n d apparently

meaningless inscriptions. A pair of hydriai b y t h e
Antimenes Painter, in D r e s d e n ,

16

have slip a n d

m o u r n e r s on t h e neck (fig. 3). On t h e a m p h o r a

t y p e A in N e w York signed b y A n d o k i d e s ,

17

only

t h e lip is w h i t e g r o u n d . On ky likes w i t h blackfigure decoration, slip usually underlies t h e

figurework on t h e exterior. By contrast, t h o u g h
exceptions occur, cups decorated b y red-figure
artists are generally slipped on t h e i n t e r i o r .

18

Moreover, some exceptional cups a t t r i b

u t e d to Onesimos, t h e Colmar Painter,
a n d t h e Brygos Painter show plain zones
1 9

of slip on t h e interior (fig. 4 ) . These are

b u t a few examples of m a n y variations. Cer
tainly one t h e most original appears on t h e alabastron b y Psiax in t h e British M u s e u m (see fig.
1). Bands of o r n a m e n t on w h i t e slip frame a scene
of y o u t h s a n d horses in Six's t e c h n i q u e . T h e t h r e e
inscribed names, t w o of t h e m praised for their
beauty, suggest t h a t t h e piece was already special
in its time.
The Late Archaic vases w h o s e shape is almost
entirely covered w i t h slip a n d decorated t e n d to
Figure 3. Black-figured hydria
with white-ground neck,attrib
uted to the Antimenes Painter,
ca. 520 B.C. H 42 cm. Dresden,
Staatliche Kunstsammlungen,
SkulpturensammlungZV1780.
Photograph Skulpturensammlung, Staatliche Kunst
sammlungen Dresden.

have simpler profiles. Oinochoai, lekythoi, alabastra, a n d containers w i t h a deep o p e n bowl such
as kyathoi, kalathoi, mastoi, a n d s k y p h o i p r e
dominate. Exceptional for its quality a n d artistic
distinctness is a small h y d r i a in t h e Petit Palais
(cat. n o . 71). T h o u g h u n a t t r i b u t e d , it bears t h e
name of Karystios, one of t h e y o u t h s celebrated
on t h e Psiax alabastron in L o n d o n (see fig. 1). In

188

MERTENS

CHAPTER

addition to slip, t h e

decoration of a vase.

h y d r i a is embellished

In this respect it resem

w i t h a plastic l i o n s head

bled coral red. Until t h e

a n d palmette at t h e t o p a n d bot

Pioneer Group of red-figure

tom of t h e vertical h a n d l e . Every aspect

painters d e m o n s t r a t e d t h e potential of

of t h e execution, i n c l u d i n g t h e p a i n t e d decora

t h e n e w means of drawing, t h e direction of vase-

tion, is exquisitely precise. Plastic adjuncts were

painting b e t w e e n ca. 520 a n d 500 B.C. was p r o b

favored b y b o t h Psiax a n d N i k o s t h e n e s .

20

To cite

ably unclear to many artists in t h e Kerameikos.

only some slipped vases, t h e y appear on t h e kya-

Black-figure flourished t h r o u g h t h e e n d of t h e

thos in W i i r z b u r g b y P s i a x

21

a n d on a variety of

oinochoai more a n d less closely connected w i t h

Nikosthenes;

22

a pair in P a r i s

23

show a salient p r o -

sixth c e n t u r y a n d b e y o n d for specific shapes a n d

functions. W h i t e g r o u n d became significant for
t h e decorative aspects of Attic vase-painting a n d

tome of a m a n a n d a w o m a n , respectively, below

t h e painter's art only after red-figure h a d become

t h e trefoil lip. Psiax has also left a very different

established.

k i n d of w o r k in w h i c h t h e potter's role is evident .

From about 470 to 400 B.C., w h i t e g r o u n d

A m o n g t h e plates ascribed to him, t h e example

never challenged t h e primacy of red-figure, b u t it

in Basel (cat. n o . 52) is entirely slipped on t h e

flourished

obverse a n d on t h e rim of t h e reverse. T h e resting

of several factors. T h e combination of outline

in its o w n right d u e to t h e convergence

surface is articulated w i t h beautifully executed

drawingestablished b y red-figureand a w h i t e

concentric rills.

rather t h a n orange clay surface helped to link

T h e preserved w h i t e - g r o u n d vases of t h e

vase-painting w i t h wall-painting, a significant

late sixth a n d early fifth centuries decorated by

m e d i u m after t h e Persian Wars. W h i l e this is too

black-figure a n d early red-figure artists include

large a subject for discussion h e r e ,

m a n y l e k y t h o i especiallythat offer n o clues

bears making. Rather t h a n a t t r i b u t e t h e popular

as to w h y slip was used. Nonetheless, t h e small

ity of w h i t e - g r o u n d vases in t h e fifth c e n t u r y

selection of pieces m e n t i o n e d above illustrates

to wall-painting, it is more a c c u r a t e a n d more

a significant aspect of t h e early development of

i n t e r e s t i n g t o posit t h a t t h e evolution of b o t h

w h i t e g r o u n d . It was a potter 's innovation, more

media from t h e sixth to t h e fifth c e n t u r y b r o u g h t

closely tied, initially, to t h e shape t h a n to t h e

t h e m closer together. During t h e Classical period,

189

ATTIC

WHITE

GROUND:

POTTER

AND

PAINTER

2 4

o n e point

Figure 4. Maenad. Whiteground interior of a cup,

attributed to the Brygos
Painter, ca. 490 B.C. Munich,
StaatlicheAntikensammlungen
und Glyptothek 2645.

w h i t e g r o u n d flourished on three main shapes:

phiale (cat. n o . 50). T h e Jameson lekythos, found

lekythoi (cat. nos. 33, 59, 6 2 - 6 6 , 68-69), cups (cat.

in Greece, revives t h e problem of h o w early w h i t e

nos. 3 1 , 90-95), a n d kraters (cat. n o . 67). It was

lekythoi were considered funerary in A t h e n s .

used elsewhere as well, b u t more rarely.

Since black-figured lekythoi were characteristic

T h e major change from t h e p r e v i o u s Late

t o m b offerings, their slipped c o u n t e r p a r t s could

Archaic phase is that, t h o u g h still applied b y t h e

have performed t h e same function from their first

potter, slip n o w serves t h e pictorial a n d coloris-

appearance. Slipped lekythoi from t h e W o r k s h o p

tic ambitions of t h e painter. A n d here begins t h e

of t h e Beldam Painter are t h e earliest preserved

demise of Attic vase-painting. In black-figure a n d

w i t h funerary iconography. T h e A n t i m e n e a n

early red-figure, reality in space belonged to t h e

hydriai in Dresden (see fig. 3), also from Greece,

shape; t h e decoration was s u b o r d i n a t e . W i t h t h e

suggest t h e complexity of t h e situation, however.

emergence of more realistic means of representa

Their decoration consists of t h e traditional funer

tion, i n c l u d i n g figures in motion a n d foreshorten

ary combination of m o u r n e r s h e r e , in w h i t e

ing, an irreconcilable conflict developed b e t w e e n

g r o u n d , on t h e n e c k s w i t h a chariot a n d horse

t h e vase a n d t h e picture o n its surface. As t h e lat

men. They represent a definite confluence of tech

ter gained in three-dimensional verisimilitude, an

n i q u e , iconography, a n d p u r p o s e .

artistic u n i t y t h a t h a d existed since t h e Geometric

Based on t h e preserved evidence, Psiax's

period disintegrated. Moreover, t h r o u g h t h e Clas

w h i t e - g r o u n d lekythos appears to have h a d n o

sical period, t h e lekythos became an object of dis

lineal d e s c e n d e n t s a n d it is n o t e w o r t h y t h a t

play. This function constitutes a radical d e p a r t u r e ,

n o n e can be surely a t t r i b u t e d to Nikosthenes.

for Attic vases h a d n o t h i t h e r t o been p r o d u c e d to

From ca. 510 to ca. 470/460 B.C., w h i t e lekythoi

be looked at; in large part, their p u r p o s e was con

were p r o d u c e d b y an array of specialized w o r k

nected w i t h an activityfetching water, p o u r i n g

shops whose painters used t h e black-figure tech

w i n e , etc.

n i q u e . Since n o p o t t e r s ' names are k n o w n , t h e

During t h e fifth century, t h e lekythos was

w o r k s h o p s have been identified b y p a i n t e r .

29

b o t h t h e w h i t e - g r o u n d vase a n d t h e funerary vase

Their p r o d u c t s , however, show consistency, n o t

par excellence. It is difficult today to reconstruct

only in stylistic features, b u t also in shape a n d

h o w these elements came together. Yet again, t h e

o r n a m e n t . Clearly, each establishment employed

earliest k n o w n w h i t e lekythos is a t t r i b u t e d t o
Psiax;

25

once in t h e Jameson collection in Paris, it

not only painters b u t also potters. T h e q u e s t i o n

is h o w frequently o n e i n d i v i d u a l fulfilled b o t h

is n o w lost. T h e combination of shape a n d tech

roles; a n d a further consideration is h o w special

n i q u e took hold immediately a n d proliferated

ized these artists were. T h e exhibition includes

among t h e specialized w o r k s h o p s of t h e Keramei-

lekythoi b y t h e Sappho a n d Diosphos Painters

kos.

2 6

Considerations of p r o d u c t i o n quickly raise

in w h i t e - g r o u n d a n d Six's t e c h n i q u e (cat. nos.

those of distribution, a n o t h e r subject too large

2425, 55-56) as well as t h e Sappho Painter's

to p u r s u e here. A l t h o u g h recent scholarship is

w h i t e - g r o u n d column-krater (cat. n o . 54). T h e

p r o d u c i n g a more complex picture of Attic vases

pieces on view also illustrate that t h e iconography

in Etruria, w h i t e lekythoi of t h e fifth c e n t u r y

of slipped lekythoi at this time is n o t specifically

are still seen as a p r e d o m i n a n t l y Greek, specifi

f u n e r a r y n o r is it among t h e red-figure painters

cally Attic, p h e n o m e n o n .

27

During t h e second

half of t h e sixth century, however, other slipped

of w h i t e lekythoi until about 470 B.C. Examples b y

Douris (cat. n o . 58) a n d t h e Pan Painter (cat. n o .

vases, particularly oinochoai a n d kyathoi, h a d

59) have subjects that are indistinguishable from

frequently reached Etruria. T h e possibility that

those of c o n t e m p o r a r y red-figured pieces.

various shapes were grouped into sets for burial

has been gaining a t t e n t i o n .

28

Thus, one wonders

The evolution of Classical funerary iconog

r a p h y d u r i n g t h e 470s a n d 460s has recently

w h e t h e r , in t h e west, there was a funerary role

been reconsidered b y J o h n Oakley, w h o charts a

for slipped oinochoai a n d kyathoi, a n d for certain

gradual progression from domestic a n d m y t h o

special shapes, notably t h e Nicosthenic slipped

logical subjects to depictions of t h e g r a v e . T h e

190

MERTENS

CHAPTER

30

w o r k s o f the V o u n i Painter (cat. no. 62) a n d the

and blue i n a d d i t i o n to red) became more p r o m i

Sabouroff Painter (cat. no. 66) are representative o f

nent. By ca. 430 B.C. a l l o f the decoration was

the second quarter o f the fifth century. The most

executed after firing. I t i n c l u d e d p i n k s and tender

celebrated Classical slipped l e k y t h o i are those

blues never before seen o n A t t i c vases. M o r e

a t t r i b u t e d to the A c h i l l e s Painter (cat. nos. 63-66),

over, the funerary scenes were unprecedented

whose career spans the t h i r d quarter o f the cen

i n t h e i r d e p i c t i o n o f action and e m o t i o n . The

t u r y . H i s subjects i n c l u d e w o m e n i n an i n t e r i o r

much-discussed influence o f w a l l - p a i n t i n g o n

setting w i t h no specific funerary reference (cat.

slipped l e k y t h o i has to do p r i m a r i l y w i t h t e c h n i

nos. 6364). A n y such i n t e r p r e t a t i o n , therefore,

cal features and t h e i r p r o f o u n d ramifications. As

derives e n t i r e l y from the shape and the presence

suggested above, the result created a degree o f

o f a w h i t e g r o u n d , a most n o t e w o r t h y s i t u a t i o n

p i c t o r i a l i l l u s i o n that was i n c o m p a t i b l e w i t h the

i n w h i c h noniconographical factors determine

u n d e r l y i n g shapes and volumes o f the vases and

the meaning o f the representation. The A c h i l

t h e i r t r a d i t i o n a l functions.

les Painter's l e k y t h o i m a r k one o f the last h i g h

The emergence o f p i c t o r i a l n o t to say p a i n t

points o f A t t i c vase-painting. The spare, direct

e r l y d e c o r a t i o n is e v i d e n t also i n k y l i k e s and

images are perfectly disposed o n the cylinders.

kraters, t w o shapes offering expansive surfaces.

The w h i t e surface provides a cool, clear back

Since the t o n d o was l o n g familiar from black-

g r o u n d p a i n t e d stillnessagainst w h i c h the

figured

resonant colors, w h e n preserved, infuse the scenes

as other media such as coins and gems, Classical

w i t h immediacy. The representations from the end

artists used this format easily; the b o b b i n b y the

o f the c e n t u r y continue established themes, b u t

Penthesilea Painter (cat. no. 61) presents a com

i n the hands o f artists o f the Group o f the Huge

positional variant. W h e r e Euphronios's render

L e k y t h o i (cat. nos. 68-69), for instance, t h e y gen

i n g (cat. no. 30) features the gloss line and d i l u t e

erate a different energy o w i n g to great changes i n

a r t i c u l a t i o n , the Pistoxenos Painter handles line

technique.

almost as p i g m e n t (Cohen, I n t r o d u c t i o n , fig. 5).

A l l scholarly discussions o f Classical w h i t e

and red-figured cups and plates, as w e l l

Because w h i t e - g r o u n d cups s u r v i v e i n some n u m

l e k y t h o i stress the technical developments that

ber and because o f t h e i r consistently h i g h q u a l

occur i n the g r o u n d , the line, a n d the colors as the

ity, t h e y complement c o n t e m p o r a r y l e k y t h o i i n

fifth

c e n t u r y progresses.

31

U n t i l about 470 B.C.,

d o c u m e n t i n g the accommodation o f line to color.

the slip a n d decoration were executed i n the

I n a d d i t i o n to t h e i r iconography a n d execution,

t r a d i t i o n a l ceramic materials that were fired i n a

the findspots o f many o f these w o r k s suggest that

k i l n w i t h the vase itself. The g r o u n d , a v a r i e t y o f

t h e y were bespoken, a supposition that is n o t

k a o l i n , was dense and b u f f colored. The gloss line

advanced for w h i t e l e k y t h o i o f comparable refine

and d i l u t e a r t i c u l a t i o n were comparable to those

ment. The p r o d u c t i o n o f w h i t e - g r o u n d cups ends

o f red-figure. The early fifth c e n t u r y saw t w o

ca. 430 B.C., as does that o f the more rarely pre

major i n n o v a t i o n s . The first was the s h o r t - l i v e d

served slipped kraters. The Phiale Painter's c a l y x -

i n t r o d u c t i o n o f a so-called second w h i t e used

krater (cat. no. 67), w i t h second w h i t e and the

especially, b u t n o t exclusively, to d i s t i n g u i s h the

atmospheric effect p r o d u c e d b y the ample space,

fair s k i n o f w o m e n f r o m the slipped b a c k g r o u n d

shows a " p a i n t e r l y " approach o n a large scale,

(cat. nos. 59, 62-63, 67). The second i n n o v a t i o n

probably reflecting the influence o f w a l l - p a i n t i n g .

marked the b e g i n n i n g o f the progressive replace

A l t h o u g h artistic d i v e r s i t y i n the Kerameikos

ment o f ceramic colors b y those applied after

o f the m i d - f i f t h c e n t u r y may n o t have been as

firing.

great as i n the s i x t h , the w o r k s h o p o f the potter

Earth colors such as ocher and i r o n oxide

were being supplemented, for instance, b y c i n

Sotades harks back to the i n v e n t i v e interconnec

nabar and E g y p t i a n blue. By the m i d d l e o f the

tions among A n d o k i d e s , Psiax, and Nikosthenes.

century, second w h i t e had lost favor entirely, the

The Sotadean t o m b group reassembled here (cat.

g r o u n d had become l i g h t e r and more porous,

nos. 90-99) once again associates the presence o f

and matt colors applied after firing (black, green,

slip w i t h creative p o t t i n g . The r i l l e d p h i a l a i and

191 ATTIC WHITE GROUND: POTTER AND PAINTER

mastoi present a use o f color as sensitive as i t is

The technical mastery and artistic c r e a t i v i t y

elegant. T h e y also feature plastic e m b e l l i s h m e n t

manifested i n A t h e n i a n artists' use o f special tech-,

the cicadaand Sotades' precisely incised signa

niques s h o u l d inspire investigators today t o direct

t u r e . These four pieces continue the t r a d i t i o n o f

t h e i r technical and scholarly research more p r o b -

special techniques i n the service o f the shape. To a

i n g l y to the succession o f stages, or processes, i n

lesser degree, so do three o f the six m e r r y t h o u g h t

the creation o f these w o r k s o f art. I t is p a r t i c u l a r l y

cups (cat. nos. 9 1 , 94-95), one associated w i t h

i m p o r t a n t to be aware o f the processes i n other

Hegesiboulos. By contrast, the three m e r r y t h o u g h t

media. I n Bunte Gotter,

cups decorated b y the Sotades Painter (cat. nos.

n y i n g his e x h i b i t i o n o n the p o l y c h r b m y o f Greek

90, 92-93) i l l u s t r a t e the Classical p a i n t e r l y role

sculpture, Vinzenz B r i n k m a n n describes his dis

o f w h i t e slip. We cannot k n o w w h y this selection

coveries regarding the a p p l i c a t i o n o f p a i n t e d geo

o f Sotades' w o r k s was deposited i n an A t h e n i a n

metric and figural patterns to the o r i e n t a l archer

t o m b , b u t , for o u r purposes, i t provides a distillate

i n the west pediment o f the Temple o f A p h a i a

o f the h i s t o r y o f w h i t e g r o u n d a p p l i e d at the h i g h

f r o m A i g i n a . Dated ca. 490480 B.C. and created i n

est level.

immediate p r o x i m i t y to A t h e n s , the w o r k belongs

Figure 5. Modern
reconstruction of an archer
from the west pediment of
the Temple of Aphaia, Aigina,
ca. 490-480 B.c. Munich,
StaatlicheAntikensammlungen
und Glyptothek.

192 MERTENS. CHAPTER 6

32

the p u b l i c a t i o n accompa

to the same c u l t u r a l e n v i r o n m e n t as the vases that

we have been considering (fig. 5). I t is e n l i g h t e n
i n g to t h i n k about the c y l i n d e r o f a lekythos and
the i r r e g u l a r cylinders o f the A i g i n a archer's b o d y
i n terms o f the d i s p o s i t i o n o f the decoration as

6
7
8
9
10

See Cohen, chap. 2, fig. 1.

See cat. nos. 7 1 - 7 3 .
See cat. nos. 16-17.

11

A l t h o u g h no complete potter-signature o f Psiax survives,

his name occurs o n t w o eye-cups, N e w York, M e t r o p o l i t a n
M u s e u m o f A r t 14.146.2, a n d M u n i c h , A n t i k e n s a m m l u n
gen 2603 (ARV
9.1-2), o f d i s t i n c t i v e shape. Pertinent

w e l l as the aesthetic a n d significative i m p l i c a t i o n s

o f the color used. The early decades o f the

See cat. nos. 4 1 - 4 2 .

W i t h i n the extensive l i t e r a t u r e , Bothmer 1965-1966
remains basic. See also Cohen 1978.

fifth

i n t h i s context also is that the artist seems t o have been a

p u p i l o f the Amasis Painter/Amasis a n d a teacher o f E u p h
ronios. Since b o t h o f these masters were potter-painters,
c o n t i n u i t y w o u l d n o t be u n e x p e c t e d .

c e n t u r y saw the emergence o f bronze sculpture,

w i t h its o w n range o f p o l y c h r o m e a n d threedimensional embellishments, as w e l l as o f w a l l 12

See, e.g., M o r r i s 1984; a n d W a l t e r - K a r y d i 1997.

13

A t h e n s , A k r o p o l i s 6 1 1 : ABV 82.1.below; BAPD

300767.

gone b e y o n d the t r a d i t i o n a l subjects o f style,

14

N e w York, M e t r o p o l i t a n M u s e u m o f A r t 26.49: ABV

BAPD Vase 300770.

shape, a n d iconography to h i g h l i g h t special

15
16

Malagardis 2003.
Dresden, A l b e r t i n u m ZV. 1779-80: ABV 268.21-22; BAPD
Vases 320031-32. I w i s h to t h a n k Dr. Kordelia K n o l l for so
generously p r o v i d i n g a p h o t o g r a p h .

17

N e w York, M e t r o p o l i t a n M u s e u m o f A r t 63.11.6: ARV

bis (1617); Para 320; BAPD Vase 275000.

18
19

M e r t e n s 1974.
See, e.g., Paris, Cab. M d . 6 0 4 + L 1 5 5 + L 4 0 + n o no. (ARV
321.15); Florence, M u s e o A r c h e o l o g i c o PD 265 (ARV
322.29); Paris, Cab. M d . 607.2 (ARV
356.55); M u n i c h ,
A n t i k e n s a m m l u n g e n 2645 (ARV
371.15).
See True, chap. 7.
W r z b u r g , M a r t i n v o n W a g n e r - M u s e u m 436: ABV 294.16;
BAPD Vase 320362.

p a i n t i n g o n a large scale.
T h i s e x h i b i t i o n o n A t t i c vase-painting has

chromatic a n d tactile effects. The e x t r a o r d i n a r y

objects gathered here testify to the attainments
o f a specific m e d i u m b u t , even more, t h e y offer
fabulous o p p o r t u n i t i e s to elucidate the crossf e r t i l i z a t i o n among a l l arts i n Archaic and Classi

Vase
83.4;

3.2

cal A t h e n s .

20
21

NOTES

1
2

4
5

Scientific i n v e s t i g a t i o n o f the clay is o n l y j u s t b e g i n n i n g .

See K o c h - B r i n k m a n n 1999, 15; Oakley 2004a, 8.
These ideas were a r t i c u l a t e d a n d elaborated most f u l l y
i n the seminars t h a t D i e t r i c h v o n Bothmer gave for many
years at the I n s t i t u t e o f Fine A r t s , N e w York U n i v e r s i t y .
T h e y e v o l v e d i n the course o f his w o r k o n Amasis a n d the
Amasis Painter, A n d o k i d e s and the A n d o k i d e s Painter,
a n d the a m p h o r a t y p e A . T h e y received f u r t h e r i m p e t u s
f r o m his a t t e n t i o n t o the Pioneer Group, p r e c i p i t a t e d b y
the M e t r o p o l i t a n Museum's purchase o f a c a l y x - k r a t e r b y
E u p h r o n i o s i n 1972.
T h e b i b l . o n A t t i c w h i t e - g r o u n d vases is extensive. T h e
f u n d a m e n t a l w o r k s are J. D. Beazley's w i t h the a d d i t i o n
o f P h i l i p p a r t 1936. W i t h i n the last generation, surveys o f
the subject, w i t h different p o i n t s o f focus, i n c l u d e K u r t z
1975a, M e r t e n s 1977, W e h g a r t n e r 1983, K o c h - B r i n k m a n n
1999, a n d Oakley 2004a.
M o o r e 1997, 7 9 - 8 1 . See also here Cohen, i n t r o d u c t i o n .
M e r t e n s 1987, 168-83; M o m m s e n 1997, 17-34.

22
23

See Clark 1992, esp. 5 6 6 - 7 1 .

Paris, M u s e d u L o u v r e F 117, 116: ABV 230.1-2.above;
BAPD Vase 301231-32. See also Tosto 1999, 118-24.

24

For a useful recent o v e r v i e w , see T i v e r i o s a n d Tsiafakis

2002.
ABV 293.11; BAPD Vase 320357.
Oakley 2004a p r o v i d e s an excellent account.

25
26
27
28
29

30
31

32

Ibid., 9-11.
See, e.g., Reusser 2002, 133-39.
Chaps. 3 3 - 3 9 i n ABV a n d all o f Haspels 1936 r e m a i n the
best accounts o f the black-figure l e k y t h o s w o r k s h o p s . T h e
discussion o f the shapes o f b l a c k - f i g u r e d w h i t e - g r o u n d
l e k y t h o i i n Kurtz 1975a, 7 7 - 9 0 , clearly shows the q u a n
d a r y o f discussing shape i n terms o f painters' w o r k s h o p s .
Oakley 2004a.
The t e c h n i c a l criteria were central to F u r t w n g l e r (see,
e.g., F u r t w n g l e r 1880, 77-80) a n d to Fairbanks 1907 a n d
1914. M o r e recently, see esp. K o c h - B r i n k m a n n 1999, and
T i v e r i o s a n d Tsiafakis 2002.
B r i n k m a n n and W n s c h e 2004, 8 8 - 9 8 .

193 ATTIC WHITE GROUND: POTTER AND PAINTER

50

50
BLACK-FIGURED WHITE-GROUND
PHIALE MESOMPHALOS
Associated w i t h the w o r k s h o p o f
Nikosthenes, ca. 520 B.C.
D i a m 21.6 cm
L o n d o n , The B r i t i s h M u s e u m
GR 1873.8-20.388, BM Cat Vases B 678
Said to be f r o m Capua; purchased 1873;
formerly collection o f Alessandro Castellani
I , A r o u n d the omphalos, o n w h i t e g r o u n d ,
with crosses at their interstices;

figure, hare-hunt frieze; animal frieze with

birds, snakes, and a scorpion

spirals

i n the zone, blackfoxes,

Reassembled from many fragments;

losses filled in with plaster; recent restoration
reveals small losses, including, in inner frieze, upper
right arm of hunter, shoulder of hare, ears of second
hound, and, in outer frieze, head of bird with wings
spread, head and shoulder of bird facing she-fox,
snout of she-fox; added red in black-figure decora
tion and on black rim flaked and faded; much of
added white on rim lost.
CONDITION:

T H E S H A L L O W B O W L k n o w n as a p h i a l e o r i g i
nated as a metal vessel i n the A n c i e n t Near East.
D u r i n g the Archaic p e r i o d , models i n clay as w e l l
as metal were p r o d u c e d t h r o u g h o u t the Greek
w o r l d and used p r i m a r i l y for p o u r i n g libations.
The B r i t i s h Museum's clay phiale is the sole pre
served w h i t e - g r o u n d example w i t h figural decora
t i o n made i n A t h e n s and one o f the earliest A t t i c
w h i t e - g r o u n d vases. I t has l o n g been associated

194 WHITE GROUND

w i t h the w o r k s h o p o f the potter Nikosthenes,

from the pair o f holes d r i l l e d i n its r i m , the hare

whose signature appears o n several black-gloss

w o u l d be u p r i g h t . The decorated r i m is bordered

p h i a l a i mesomphaloi. Nikosthenes is w e l l k n o w n

by a reserved stripe and t h e n b y the black line

for catering to the Etruscan market (cf. cat. nos.

that serves as a g r o u n d l i n e for the animals i n the

15,

outermost frieze.

17). I n the case o f this phiale, however, the

source o f i n s p i r a t i o n , n o t o n l y for the shape, b u t

The incised i n n e r detail o n the black-figure

also for ornament and b l a c k - f i g u r e - o n - w h i t e -

animals is especially broad a n d penetrates o n l y as

g r o u n d decoration appears to have been East

far as the w h i t e - g r o u n d surface, thereby m i m i c k

Greek pottery.

ing

T h i s phiale's exterior has been left the color

inner detail reserved o n the engobe that char

acterizes East Greek F i k e l l u r a pottery. However,

of the clay, save for a black b a n d w i t h a w h i t e

this seemingly exotic phiale betrays its A t h e n i a n

line a r o u n d the r i m , and thus the energy o f its

fabric w i t h copious nonsense i n s c r i p t i o n s i n d i l u t e

u n k n o w n painter has been focused entirely o n the

gloss s p r i n k l e d over its w h i t e g r o u n d and w i t h

i n t e r i o r . A p a i n t e d p a t t e r n o f w h i t e angles and

the figural friezes themselves, w h i c h recall deco

red

rated zones p o p u l a r inside Late Archaic A t t i c cups

dots adorns the black b a n d inside the r i m :

T h i s recalls A t h e n i a n p h i a l a i decorated entirely

(cf.

i n superposed color, a f o r m o f Six's technique (cf.

been considered v e r y special indeed i n Magna

cat. nos. 6, 74). This l i b a t i o n vessel must have

cat. nos. 18-19), some o f w h i c h may likewise have

Graecia, to w h i c h i t was e x p o r t e d i n a n t i q u i t y .

been Nicosthenic products. The w h i t e - g r o u n d

zone a r o u n d the central raised boss, or omphalos
(decorated w i t h black a n d reserved circles), was
carefully a p p l i e d o n the w h e e l . I t is d i v i d e d i n t o
three friezes b y lines o f gloss that v a r y i n i n t e n
sity f r o m d i l u t e orange to black. Ornamental spi
rals a n d l i t t l e crosses p a i n t e d i n s l i g h t l y d i l u t e d
black gloss fill the i n n e r m o s t frieze. T h i s p a t t e r n
is s u r r o u n d e d b y t w o b l a c k - f i g u r e - o n - w h i t e g r o u n d animal friezes, whose small size denotes
t h e i r early and experimental nature. As seen here,
early b l a c k - f i g u r e - o n - w h i t e - g r o u n d technique
characteristically employs added red for details,
b u t n o t r e d u n d a n t added w h i t e .
The central frieze depicts a h u n t , w h i c h i n
A t h e n i a n art n o r m a l l y symbolizes a y o u n g mans
bravery: Here four hounds, each s h o w n i n a fly
ing gallop, chase a hare t o w a r d a n e t l i k e trap that
is d r a w n i n o u t l i n e . The h u n t e r l u r k i n g b e h i n d
the trapa naked y o u t h , w i t h a lagobolon (a stick
to t h r o w at the hare) i n one h a n d a n d drapery
s h i e l d i n g the otheris o d d l y dwarfed b y the
animals. I n the outer animal frieze, foxes confront
large birds, another b i r d spreads its w i n g s , and
a pair o f snakes flank a scorpion. The scorpion
plays a t u n e o n the double pipes: another inver
sion o f the n o r m a l order o f t h i n g s . I f the phiale
is o r i e n t e d w i t h the scorpion at the b o t t o m , t h e n
the h u m a n figure and the net i n the h u n t frieze
are u p r i g h t . However, i f the phiale is suspended

195 WHITE GROUND

R E F E R E N C E S : BAPD Vase 3566; L s c h c k e 1881, cols. 3 4 - 3 9 , p i .

5.1; Walters 1893, 298; H o p p i n 1924, 2 9 5 - 9 6 , no. 96; CB i , 55;
Cloche 1931, 24, p i . 17.2; Luschey 1939, 148, no. v n . 2 , 151;
Schauenburg 1970, 37, p i . 19.2; Jackson 1976, 43, 44, fig. 2 1 ;
M e r t e n s 1977, 103, no. 4, 104, 116, n n . 9 2 - 9 6 , p i . 15.3; Cardon
1978-1979, 133n.2; W e h g a r t n e r 1983, 7 at n n . 4 7 - 4 9 , 1 7 6 n n . 4 7 49; W i l l i a m s 1985, 36, fig. 4 1 ; Schnapp 1989, 72, 73, fig. 99; Keren y i 1994, 42, fig. 18, 308, no. 18; Schnapp 1997, 213-14, fig. 76,
485, no. 76; Grabow 1998, 39, 298, no. 18, p i . 5.K 18; Tosto 1999,
132 (not believed t o be A t t i c ) ; W i l l i a m s 1999, 66, fig. 49.
For Nikosthenes' signed p h i a l a i : L o n d o n , B r i t i s h M u s e u m
B 368; W r z b u r g , U n i v e r s i t t , M a r t i n - v o n - W a g n e r M u s e u m , 429;
a n d Paris, Cab. M e d . 334, see ABV 234.1-3; BAPD Vases 3 0 1 2 6 3 265; H o p p i n 1924, 208, 288, 219; Tosto 1999, 129, 152, 180, p i .
35.72-74, p i . 1 3 6 n o . l 4 0 . For East Greek pottery, see Cook a n d
D u p o n t 1998, esp. 84, figs. 10.6-7, for F i k e l l u r a , a n d also Boardman 1998, 147-48, figs. 3 3 1 - 3 9 . Early b l a c k - f i g u r e - o n - w h i t e g r o u n d vases, w i t h plastic additions, may also be associated w i t h
Nikosthenes, see, i n t h i s e x h i b i t i o n , cat. nos. 70, 7 1 .
Cf., for the p i p i n g scorpion, the crabs w i t h d o u b l e pipes
e m p l o y e d as shield devices o n t w o Late A r c h a i c red-figure vases:
the c a l y x - k r a t e r b y Euphronios, N e w York, M e t r o p o l i t a n M u s e u m
of A r t 1972.11.10 (BAdd
404; BAPD Vase 187) and the v o l u t e k r a t e r a t t r i b u t e d to the K a r k i n o s Painter, N e w York, M e t r o p o l i t a n
M u s e u m o f A r t 59.11.20 (ARV
224.1, 1636; BAPD Vase 202091).
2

51

lotus chains, have been safely separated from the

WHITE-FIGURED AMPHORA
OF TYPE A
Signature o f A n d o k i d e s as potter, a t t r i b u t e d
to the A n d o k i d e s Painter, ca. 520 B.C.
H 40.5 cm
Paris, M u s e d u L o u v r e F 203
Campana collection
preparing

B, women [Amazons?)

to depart for

A l o n g s i d e the panels and i n the zones below the

handles, the black-gloss topcoat has been brushed
o n vertically freehand rather t h a n applied o n the
wheel.
This technically e x t r a o r d i n a r y amphora,
w i t h a characteristic incised potter-signature o f

From E t r u r i a ; purchased 1863; formerly

A , Amazons

unusual panels b y n a r r o w strips o f black gloss.

A n d o k i d e s o n side A o f its foot: A N A O K I A E 5 EiPOE^EN, is a t t r i b u t e d to the so-called A n d o

kides Painter (cat. nos. 2, 27), w h o o n earlier vases

battle

bathing

b y the same potter may have i n v e n t e d red-figure

itself. His special w h i t e - f i g u r e technique here is
e m i n e n t l y appropriate for the carefully selected

Poor; reassembled from fragments;

chips missing along edge of mouth, and on B/A
handle; losses, filled in with plaster, on lower vase
body, on legs and buttocks of female diver, and on
woman at column on side B; surface of panels gener
ally spoiled; black gloss applied over white ground
flaked or worn, esp. around figures; pocked brown
ish discoloration on left and central female figures
on side B; surface misfired orange at right hand and
lower arm of left female figure on side B; black gloss
misfired greenish below B/A handle; cleaned and
restored 1988-1989.
CONDITION:

subject matter depicted i n the L o u v r e amphora's

panels. M o s t o f the i n d i v i d u a l forms, p a r t i c u l a r l y
female figures, b u t also armor, c l o t h i n g , horses,
a n d columns, had a l l been s h o w n as w h i t e i n
earlier black-figure vase-painting. T h u s here the
avant-garde has been cloaked i n t r a d i t i o n .
Side A is devoted to the exotic m y t h i c a l female
w a r r i o r s k n o w n as Amazons (fig. 51.1). A t the left,
one A m a z o n has set aside her shield and scabbard
as she fastens the red ties o f her i n t r i c a t e l y pat
terned l i n e n corslet, w h i c h is w o r n over a short
red c h i t o n . A red w r e a t h encircles her hair. The

THE

SINGULAR

VASE-PAINTING

TECHNIQUE

p u r p l i s h red here and elsewhere is the sole added

employed o n this small amphora o f t y p e A clev

color employed o n the vase. A t the center o f the

e r l y combines w h i t e g r o u n d w i t h the red-figure

composition, a m o u n t e d A m a z o n archer, w e a r i n g

effect o f pale forms set o f f against a black g r o u n d .

a short c h i t o n and a red p o i n t e d Scythian cap,

Here, at the level o f the panels, a broad b a n d all

keeps her fiery w h i t e horse w i t h a red mane i n

the w a y a r o u n d the p o t was covered w i t h a w h i t e

check. This horsetail is an early instance o f mas

g r o u n d over w h i c h black gloss has been p a i n t e d .

t e r f u l d r a w i n g w i t h l o n g , w a v y lines o f b r o w n

W i t h i n the panels themselves black gloss was

d i l u t e . A n impressive C o r i n t h i a n helmet, w i t h

meticulously p a i n t e d a r o u n d the figural forms as

a crest support i n the f o r m o f a b u l l s horns and

i n contemporaneous red-figure. Here, however,

ears, rests o n the g r o u n d beneath the horse. A t

these forms are reserved, so to speak, i n the w h i t e

the far r i g h t , a bejeweled, spear-bearing A m a z o n ,

o f the a p p l i e d g r o u n d rather t h a n i n the red color

w e a r i n g a m a t c h i n g cloak and s k i r t , w i t h a sakkos

o f clay. The black gloss a r o u n d the p e r i p h e r y

and a red w r e a t h o n her head, w a l k s to the r i g h t ,

o f these w h i t e figures has n o t adhered properly,

b u t t u r n s back to look and gesture t o w a r d her

t h e r e b y f o r t u i t o u s l y revealing the o u t l i n e d r a w i n g

comrades.

o f t h e i r forms. These outlines as w e l l as anatomi

A n i n t i m a t e female genre scene fills the panel

cal m a r k i n g s and patterns o n c l o t h and o n i n a n i

o n the reverse (fig. 51.2). Here three naked w o m e n

mate objects have been d r a w n w i t h black gloss or

are s h o w n s w i m m i n g , d i v i n g , and p o u r i n g b o d y

b r o w n d i l u t e rather t h a n w i t h the relief lines o f

o i l from an aryballosa vessel n o r m a l l y used

standard red-figure or later Archaic w h i t e g r o u n d

b y male athletes. A t the r i g h t , t h e i r n o w p o o r l y

(cf. cat. nos. 2, 30). The vase's ornamental h o r i

preserved c o m p a n i o n enters a Doric p o r t i c o , t u r n

zontal borders, c o n t a i n i n g black-figure palmette-

i n g back like the A m a z o n o n side A . T w o sakkoi,

197 WHITE GROUND

51.2

set aside b y the w o m e n , hang i n the field. The

s w i m m i n g female a n d the fish s w i m m i n g beside
her t u r n the b a c k g r o u n d i n t o water. I n a d d i t i o n ,
b r o w n i s h d i l u t e gloss has been sketchily brushed
over the lower part o f the swimmer's nude body,
suggesting its submersion. N a k e d w o m e n b a t h i n g
out-of-doors is a rare theme i n Archaic Greek art,
and these females have thus been called Amazons
or t h e i r h u m a n counterparts, athletic Spartan
girls. O p i n i o n is d i v i d e d o n w h e t h e r t h e y are
b a t h i n g i n a poolbecause o f the d i v i n g p l a t f o r m
a n d c o l u m n o r i n open waterbecause o f the
fish.

198 WHITE GROUND

R E F E R E N C E S : ABV253.middle.3;
ARV 1, 4 - 5 . 1 3 ; BAdd 150;
BAPD Vase 200013; N o r t o n 1896, 2 - 3 , figs. 1-2, 7, 22; Pottier
1901, 115, p i . 78, F 203; S u d h o f f 1910, 67, fig. 54, 68; H o p p i n
1919, 38, no. 4; M e h l 1927, 57, 58, figs. 3-3a, 59; Seltman 1933,
2 9 - 3 0 , p i . 9b; N e u t s c h 1949a, 36, 48, fig. 44; Paoli 1953, 6 1 , fig.
15, 62; Bothmer 1957a, 149, no. 34, 153-54; G i n o u v s 1962, 2 5 26, 113, 2 2 1 ; Charbonneaux, M a r t i n , a n d V i l l a r d 1971, 2 9 8 - 9 9 ,
fig. 343; Boardman 1975, 17, fig. 4; Yalouris 1976, 2 6 1 , fig. 151;
M e r t e n s 1977, 33, no. 2, 3 4 - 3 5 , p i . 2.3^4; Cohen 1978, 153-57,
no. E 1, p i . 29.1-3; Schefold 1978, 108-109, figs. 135-36; LIMC
I (1981) s.v. Amazones 630, no. 710, p i . 516 (P. Devambez a n d A .
Kauffmann-Samaras); A r r i g o n i 1985, p i . 2 1 , 172-73; B r a r d 1986,
198, fig. 6 0 . 1 ; Sweet 1987, 163, 164, p i . 49; Cohen 1991, 60, 62,
fig. 20; V i l l a n u e v a - P u i g 1992, 94-95; K i l m e r 1993, 8 9 - 9 0 , 238,
no. R8, p i . R8; Denoyelle 1994, 9 4 - 9 5 , no. 42; Geroulanos a n d
B r i d l e r 1994, 38, 63, fig. 95; A n g i o l i l l o 1997, 121-23, 122 fig. 67;
Steiner 1997, 163-64, figs. 9-10; Stewart 1997, 117, figs. 6 8 - 6 9 ,
118-20; Boi 1998, 127, p i . 150a-b; Schefold 1998, 2 2 1 - 2 2 , fig. 62;
D ' A g o s t i n o 1999, 114, fig. 3, 115; Denoyelle a n d Bothmer 2 0 0 1 ,
49, 50, fig. 13; S. G. M i l l e r 2004a, 151, fig. 234.
On the amphora's shape, see Bloesch 1951, 30.
2

52
52
BLACK-FIGURED WHITE-GROUND
PLATE
A t t r i b u t e d to Psiax, ca. 520-510 B.C.
H 2.6 cm; D i a m 21.4 cm
Basel, A n t i k e n m u s e u m Basel u n d Sammlung

Upper part assembled from large frag

ments and reattached to lower section; surface
worn; many losses of white ground; black and
brown incrustations; restoration at cracks through
right arm, chiton sleeve, and himation of woman,
and through dancer's raised arm and head; small
restoration in his beard; abrasion along edge of foot
ring on underside.
CONDITION:

L u d w i g K 421
Probably f r o m V u l c i ; gift o f Dr. Robert

ALTHOUGH

K p p e l i , 1966; f o r m e r l y A n d r Jameson

Psiax that s p o t l i g h t a single black figure o n the

collection

recessed medallion w h i l e leaving the r i m w i t h o u t

CLOSE

I N SIZE

t o o t h e r plates b y

ornament, this w h i t e - g r o u n d masterpiece e x h i b i t s

Woman playing pipes and man in Anacreontic
dancing

dress

an elaborate composition executed i n a detailed,

precious black-figure style. Here w h i t e g r o u n d
covers b o t h the upper surface and the rim's

199 WHITE GROUND

underside, a n d the p o t t i n g o f this deep plate is as

costume from L y d i a a n d East Greece (Kurtz and

exquisite as the p a i n t i n g . Its b o t t o m is articulated

Boardman 1986). W h i l e A t h e n i a n men are often

w i t h concentric reserved ridges and black gloss.

represented o n A t t i c vases cavorting at symposia

The broad, projecting reserved resting surface,

and komoi i n such foreign dress, v e r y early lone

w h i c h is also r i d g e d , is circumscribed b y a black

b a r b i t o n players like t h i s one m i g h t have been

line, a n d its v e r t i c a l i n n e r surface is also black.

i n t e n d e d to depict A n a k r e o n himself.

I n the vase-painting Psiax has suppressed

The b i l i n g u a l vase-painter Psiax pioneered

r e d u n d a n t use o f added w h i t e for female flesh and

i n the composition o f t o n d o designs as w e l l as i n

other details, a c o m m o n practice i n black-figure

the use o f an exergue o n the i n t e r i o r o f e n t i r e l y

on w h i t e g r o u n d , w h i l e copiously a p p l y i n g a b r i l

red-figured cups (cat. no. 28). This ambitious

l i a n t added red. Left o f center, a b u x o m female

b l a c k - f i g u r e - o n - w h i t e - g r o u n d t o n d o composi

musician stands t a l l , w i t h her feet p l a n t e d o n

t i o n , therefore, s h o u l d be v i e w e d as i n f l u e n t i a l (cf.

the g r o u n d l i n e , as she plays an aulos h e l d i n her

cat. no. 30) rather t h a n as derivative o f red-figure

l o n g , nervous fingers. The h i m a t i o n w o r n over her

w o r k s b y others, such as the plates b y Paseas. I n

c h i t o n is d o t t e d w i t h red; alternate folds o f the

terms o f its Anacreontic subject matter alone, the

c l o t h t u r b a n , or mitra, w r a p p e d a r o u n d her hair

Basel w h i t e - g r o u n d plate stands at the b e g i n n i n g

are also red. Her aulos case hangs at the far left; a

o f an i m p o r t a n t A t h e n i a n t r a d i t i o n .

delicate campstool w i t h an animal-paw foot that

is t o p p e d b y a red cushion, stands b e h i n d her.
These compositional horizontals and verticals con
trast m a r k e d l y w i t h the t w i s t e d pose o f the male
figure dancing o n his toes at the r i g h t . I n w i n e i n d u c e d abandon, he balances a d r i n k i n g cup
over his head as his front foot overlaps the plate's
c u r v e d r i m . This i n e b r i a t e d dancer clutches a barb i t o n , a f o r m o f l y r e i n v e n t e d i n East Greece, b y
one o f its l o n g sinuous arms, w h i c h terminate i n
swan's heads. The male figure's dress consists o f a
red-dotted c h i t o n , h i k e d up to aid his movement,
a red-striped mantle tossed b a c k w a r d over his
shoulders, boots w i t h red upper borders, and, o n
his head, a mitra c r o w n e d w i t h a red i v y w r e a t h .
His lips, too, are redan unusual detail that
recurs elsewhere i n Psiax's black-figure oeuvre

R E F E R E N C E S : ABV294.21;
ARV
11.30; Para 128; BAdd
77;
BAPD Vase 320367; CVA Basel 1 [ S w i t z e r l a n d 4] 107-108, p i .
43.5; Chabouillet 1861, no. 1395, p i . 17; CB n , 58, no. 1; L e v i a n d
Stenico 1956, [39], fig. 42, 40; Schefold 1960, 156, 158, no. 147;
Lucerne 1963, D3; R c z 1965, p i . 50; Schefold 1965, 5, p i . l b ;
Cahn 1966, 13; Schefold [1967a] 73, no. 112.1; Schefold 1967b,
93, p i . 202a, 222, no. 202a ( I . Scheibler); Franzius 1973, 3 3 - 3 4 ,
43, 124, no. B 57; AntW 5 (1974) cover a n d t i t l e page; C a l l i p o l i t i s Feytmans 1974, 226-29, 377, no. 5, p i . 73, 460, fig. 60.5; Schefold
1974, 17, fig. 20; Richter 1975, 47, fig. 36; M . S c h m i d t 1976, 439,
p i . i i , 440; M e r t e n s 1977, 36, no. 6, 38, p i . 4 . 1 ; F r o n t i s i - D u c r o u x
a n d Lissarrague 1983, 23, fig. 8 . 1 ; Paquette 1984, 178-79, B5;
Kurtz a n d Boardman 1986, 45 fig. 9, 46, 47, no. 3, 54; Maas a n d
Snyder 1989, 124, 126, fig. 2 1 ; F r o n t i s i - D u c r o u x a n d Lissarrague
1990, 222-23, 226n.84, 244, fig. 7.20; T i v e r i o s 1996, 92, color fig.
55, 268-69; S c h f e r 1997, 53, p i . 2 1 . 1 ; Blome 1999, 8 1 - 8 3 , fig.
111.
2

Black-figured plates w i t h single-figure designs a t t r i b u t e d to

Psiax, i n c l u d e L o n d o n , B r i t i s h M u s e u m GR 1867.5-8.941, BM
Cat Vases B 5 9 1 , archer b l o w i n g t r u m p e t : ABV 294.20; BAdd
76;
BAPD Vase 320366; Robertson 1992, 34, fig. 26, a n d B e r l i n , A n t i
k e n s a m m l u n g F 2099, w a r r i o r : ABV 294.18; BAdd
76; BAPD
Vase 320364. O n A n a c r e o n t i c imagery, see, recently, Schfer, i n
B e r l i n 2002, 285-95, a n d S c h f e r 1997, w h o associates t h i s fancy
dress w i t h followers o f Dionysos. For m u l t i - f i g u r e d t o n d o c o m
positions o n r e d - f i g u r e d plates a t t r i b u t e d t o Paseas, see esp. N e w
Haven, Yale U n i v e r s i t y A r t Gallery 1913.170, Dionysos a n d a
satyr: ARV
163.3, BAdd
182; BAPD Vase 201521, a n d 1913.169,
the rape o f Kassandra b y A j a x at the statue o f A t h e n a : ARV
163.4; BAdd
182; BAPD Vase 201522; M a t h e s o n Burke a n d Poll i t t 1975, 4 7 - 5 0 , nos. 43 a n d 44. A negative assessment o f Psiax's
b l a c k - f i g u r e d plates i n l i g h t o f contemporaneous red-figure is
g i v e n b y Robertson 1992, 34.
2

(cf. cat. no. 1).

The d e p i c t i o n o f men i n fancy dress o n A t h e
n i a n vases has l o n g been associated w i t h the
influence o f the I o n i a n poet Anakreon's late s i x t h century-B.c. sojourn i n A t h e n s under the auspices
o f the Peisistratid t y r a n t s . Rather t h a n a f o r m o f
transvestism, for w h i c h i t has sometimes been
mistaken, this f e m i n i n e - l o o k i n g attire has been
c o n v i n c i n g l y demonstrated to be foreign male

200 WHITE GROUND

53
53
BLACK-FIGURED HYDRIA
WITH WHITE-GROUND NECK
AND MOUTH

O n the body, hunters on horseback and hounds

O n the shoulder, chariots,
palmettes
Excellent; intact; added colors well
preserved; traces of brown deposit on white
ground; chips and cracks in black gloss on rim of
mouth, on side handles, on back of rear handle
(along central rib and around base), and on lower
vase body; orange misfiring on foot and on back of
body where black gloss applied thinly.
CONDITION:

A t t r i b u t e d to the Leagros Group,

ca. 510-500 B.c.
H 48.2 cm
Paris, M u s e d u L o u v r e CA 4716
From V u l c i , f o u n d i n the Canino excavations;
Swiss art market; purchased 1969; formerly
Bernus collection

201 WHITE GROUND

seated men, and hounds

O n the neck and m o u t h , w h i t e g r o u n d , birds and

THIS

SUBSTANTIAL

HYDRIA

c a p t i v a t e s the

yet others o n t h i n air. The peopled scroll embel

v i e w e r w i t h a remarkable contrast i n the tech

lished w i t h reverse palmette fronds a n d teardrops

niques and subjects o f the vase-paintings o n its

on the creamy engobe o f this hydria's neck and

t a l l b o d y and o n the c u r v e d neck. The b o l d , mas

m o u t h has l o n g been associated w i t h the influence

culine b o d y presents standard late black-figure

of East Greek p o t t e r y (cf. cat. no. 50). A t the same

scenes o f departure. O n the m a i n panel, w h i c h

time, the circumscribed, d o w n w a r d - f a c i n g black

is t i g h t l y packed w i t h o v e r l a p p i n g black

palmette o n a patch o f reserve at the front end o f

figures

characteristic o f the Leagros Group, a red-bearded

the h i g h , arched rear handle caps t h i s water jar's

man and t w o youths, each w e a r i n g cloaks a n d

composition w i t h a p u r e l y A t h e n i a n note.

petasoi, a n d c a r r y i n g t w o spears, set out for the

Judicious placement o f the standard red and

h u n t o n horseback accompanied b y t h e i r t r u s t y

w h i t e added colors o f A t t i c black-figure f u r t h e r

hounds. A second bearded man w i t h paired

enhances this vessel's u n i q u e design. Red, w h i c h

spears, w e a r i n g boots as w e l l as a cloak and pet-

effectively contrasts w i t h the w h i t e g r o u n d , colors

asos, follows o n foot. Nonsense i n s c r i p t i o n s fill

the sides o f the v e r t i c a l handle's rotellae, alternate

the field, a n d the panel itself can barely contain

tongues at the base o f the w h i t e neck, a n d the

this l i v e l y a n d robust h u n t i n g party, w h i c h over

let between the hydria's b o d y and foot, as w e l l as

fil

laps the ornamental v e r t i c a l i v y borders, w h i l e its

delicate details i n the body's vase-paintings t h e m

horsemen's hats a n d spears e x t e n d u p w a r d onto

selves. A t the same time, the added-white features

the hydria's shoulder. There, i n a taut friezelike

of the black-figured shoulder a n d panel, i n c l u d

composition, t w o chariots, advancing t o w a r d the

ing

lower legs o f horses, the riders' short chitons

r i g h t like the hunters below, take leave o f a man

decorated w i t h l i t t l e crosses, t h e i r petasoi, a n d the

a n d a y o u t h seated o n campstools, and perhaps

l o n g robes o f the charioteers, e l o q u e n t l y resonate

also o f t w o h o u n d s w i t h u p w a r d - c u r l i n g tails.

w i t h the w h i t e - g r o u n d neck and m o u t h . Opinions

The w h i t e g r o u n d that graces the exterior and

have been d i v i d e d about w h e t h e r the b o d y and

i n t e r i o r o f the hydria's neck and the t o p o f its

neck o f this h y d r i a were decorated b y the same

m o u t h is d e l i g h t f u l l y unexpected. Here, c i r c u m

h a n d . This vase's seemingly dissonant elements,

scribed black palmettes w i t h open fronds, w h i c h

however, f o r m a subtle iconographic and decora

recall the black palmettes i n the panel's reserved

t i v e u n i t y : The rustic w h i t e - g r o u n d neck suggests

lower border, have been transformed b y a flock o f

the landscape that the men w i l l enter as t h e y leave

black birds f r o m mere ornament i n t o foliage g r o w

the city.

ing

i n the c o u n t r y s i d e . The birds o n the exterior

of the neck are rendered i n t r u e black-figure,

w i t h incised feathers at the edges o f t h e i r w i n g s
or tails, or t i n y r o u n d eyes. However, the black
birds (accompanied b y nonsense inscriptions)
a m i d the palmettes that s p r i n g from spiraling ten
d r i l s o n the t o p o f the m o u t h are s i m p l y p a i n t e d
i n silhouette. As i n nature, each o f these cheerful
birds does its o w n t h i n g , from w i n g flapping to
s t r u t t i n g or c h i r p i n g . Some perch o n the lower
edge o f the neck, others o n palmette tendrils, and

202 WHITE GROUND

R E F E R E N C E S : BAPD Vase 3018; Musum trusque 1829, no. 1707;

Zahn 1893, 192-93; Biosse D u p l a n 1972; K u r t z 1975a, 10, 13, 20,
94-95, 2 2 6 - 2 7 , pis. 56.4, 57.3; Jackson 1976, 77; M e r t e n s 1977,
49, no. 13, 51-53, pi. 6.2-3; Johnston 1979, 116, T y p e 3D, no. 21
(graffito u n d e r foot); B u r o w 1989, 40n.255; H u r w i t 1992, 67, 70,
fig. 9; Schnapp 1997, 244, fig. 169, 495; Lissarrague 2 0 0 1 , 92, fig.
73, 93.
On the black-figure Leagros Group, named after a kalos name
on some o f the a t t r i b u t e d h y d r i a i , see ABV 3 5 5 - 9 1 , 6 9 5 - 9 6 , 715,
716; BAPD s.v. Leagros Group. For other rare h y d r i a i w i t h w h i t e g r o u n d necks, m o u t h s , or shoulders, see Biosse D u p l a n 1972,
132-34; M e r t e n s 1977, 4 8 - 4 9 ; a n d M e r t e n s , chap. 6, fig. 3.

54.1

54
BLACK-FIGURED WHITE-GROUND
COLUMN-KRATER
A t t r i b u t e d to the Sappho Painter,
ca. 510-500 B.C.
H 34 cm
Karlsruhe, Badisches Landesmuseum B 32
From L o c r i 1834; p a r t o f the f o u n d i n g
purchase o f the A n t i k e n s a m m l u n g 1837;
a r r i v e d i n Karlsruhe 1839

C O N D I T I O N : Drill holes from repair of chipped sur

face near A root of B/A handle; otherwise intact;
black gloss flaked on interior and exterior of neck
and handles, and chipped and cracked on rays at
bottom of body, on fillet and foot; white ground
well preserved save for a few beige and brown
discolorations, orange discoloration around handleroots from slip used for handle attachment; surface
losses and scratches near handles and beneath
Odysseus; gloss chipped and flaked from blackfigure forms, esp. at Odysseus's profile and knees;
horn, neck, and tail of ram; on Amazons overlapped
by chariot horses; and on palmettes' fronds.

A , Odysseus under the ram escaping from the cave of

T H E SAPPHO

Polyphemos

ter o f this pot, was a close colleague o f the Dios-

B, Amazons

setting out with a chariot

P A I N T E R , t h e a n o n y m o u s mas

phos Painter (cat. nos. 24, 25, 56) i n a w o r k s h o p

that generally p r o d u c e d l e k y t h o i i n black-figure,
w h i t e g r o u n d (cat. nos. 55, 56), or Six's technique

202 WHITE GROUND

54.2

(cat. nos. 2425). His m o d e r n name was d e r i v e d

bellies o f the b l i n d Polyphemos's flock o f sheep.

f r o m an i n s c r i b e d d e p i c t i o n o f the Greek poetess

The lone, bearded male figure s h o w n t i e d beneath

rendered i n Six's technique o n a h y d r i a i n War

a r a m here must be the hero Odysseus himself.

saw. O n Karlsruhe's black-figured w h i t e - g r o u n d

The d a r i n g , b i g black-figure forms o f man and

column-krater, the Sappho Painter has likewise

beast fill the front o f the krater. Here an age-old

applied a special technique n o r m a l l y employed o n

m o t i f has been altered significantly b y the hero's

small vases to a pot, thereby creating an impres

b r a n d i s h i n g a s w o r d and t u r n i n g his head i n the

sive display piece.

d i r e c t i o n the r a m is w a l k i n g . The painter has left

The obverse presents an excerpt from the

an eloquent sliver o f w h i t e - g r o u n d space between

Homeric story about the escape o f Odysseus from

the belly o f the r a m a n d the b o d y o f the hero. The

the cave o f Polyphemos (fig. 54.1). T h i s theme,

black figures themselves are enlivened b y careful,

appropriate for a vessel n o r m a l l y employed as

descriptive i n c i s i o n , w h i c h does not penetrate the

a m i x i n g b o w l for w i n e a n d water, w o u l d have

w h i t e g r o u n d , especially for the ram's c u r l e d h o r n

r e m i n d e d symposiasts o f the consequences o f

and w o o l l y neck, and for Odysseus's short c h i

excessive d r i n k i n g : W h e n trapped i n the cave

t o n w i t h three-dimensional folds and his s t r i p e d

o f the cannibalistic Cyclops, Odysseus a n d his

baldric. The o n l y added color, red, is employed

men p l i e d h i m w i t h w i n e . T h e y were t h e n able

for Odysseus's beard and the three pairs o f bonds

to gouge o u t the d r u n k e n giant's sole eye w i t h

securing h i m to the ram, the last o f w h i c h is t i e d

a b u r n i n g stake and escape, h i d d e n beneath the

i n a neat b o w at the t o p .

204202 WHITE GROUND

I n contrast, a l i v e l y m u l t i - f i g u r e d scene fills

the krater's reverse (fig. 54.2): Here six Amazons,
i n c l u d i n g an archer and a charioteer i n a speeding
quadriga, depart for battle. Once again, red is the
o n l y added color employed, describing details o f
hats and helmets, patterns o n shield rims, baldric
straps, stripes o n horses' manes, and the breast
b a n d o f a trace horse. Significantly, as is character
istic o f early w h i t e g r o u n d , a second w h i t e , w h i c h
was p r o b a b l y considered r e d u n d a n t , has n o t been
employed to describe these female w a r r i o r s ' flesh
(cf.

cat. nos. 52, 55). O n b o t h sides o f the pot,

copious black nonsense i n s c r i p t i o n s are s p r i n k l e d

over the p i c t u r e fields.
A l t h o u g h bordered above b y a tongue p a t t e r n ,
these black-figure scenes are not confined to pan
els: A broad w h i t e - g r o u n d b a n d runs clear a r o u n d
the pot. S t r i k i n g , n o n s y m m e t r i c a l configurations
of circumscribed black palmettes w i t h red hearts
fill the spaces beneath the handles a n d s p i l l onto
the side w i t h Odysseus (figs. 54.1 and 3). These
impressive palmettes b r i n g to m i n d side-palmette
l e k y t h o i (cf. cat. no. 56) that were also p r o d u c e d
by the W o r k s h o p o f the Sappho a n d Diosphos
Painters. Yet the Pioneer E u p h r o n i o s s red-figure

R E F E R E N C E S : A W 507, Haspels no. 57, 702; BAdd

126; BAPD
Vase 305504; CVA Karlsruhe 1 [Germany 7] 18, p i . 9.1-3;
G[erhard] 1834, 165-66; U r l i c h s 1843, 6 1 ; Overbeck 1853, 764, no.
16; H e y d e m a n n 1876, 352, g; Karlsruhe 1881, p i . 14.right;
J. E. H a r r i s o n 1883, 248-50, 249, fig. 1, 2 5 1 , fig. 2, chart facing
259, no. 7, 259; W i n n e f e l d 1887, 3 5 - 3 6 , no. 167; M u l l e r 1913,
27n.2, c; W e l t e r 1920, 5-6, no. 24, p i . 7; Jacobsthal 1927, 76, 88,
p i . 50a-b; Scheurleer 1936, 6 1 ; Haspels 1936, 113, 115, 228, no.
57; R u m p f 1953, 62, p i . 16.3; Bothmer 1957a, 107, no. 185, 1 0 8 109, p i . 64.5; Schnellbach I 9 6 0 , figs. 15-16; T o u c h e f e u - M e y n i e r
1968, 4 5 - 4 6 , no. 109, p i . 8.4; Petrasch and T h i m m e 1969, figs.
2 1 - 2 2 ; Charbonneaux, M a r t i n , a n d V i l l a r d 1971, 309-10, fig. 354,
411, no. 354; F e l l m a n n 1972, 88, no. FL 18, fig. 18; Brommer 1973,
439, no. A 32; Stanford a n d Luce 1974, 38, i l l . 23; Kurtz 1975a,
149, p i . 5 5 . 1 ; T h i m m e 1975, 20, figs. 3 1 - 3 2 ; Petrasch 1976, 24, fig.
54; M e r t e n s 1977, 8 0 - 8 1 , no. 1, p i . 11.1; Schefold 1978, 266, fig.
358; Ebertshauser and W a l t z 1981, 98, 99, fig. 116; Brussels 1982,
162-63, no. 94; Van de W i j e r 1982, 85, no. 130, fig. 130; M a a f i
1985, 83, fig. 1 1 , 120; Karlsruhe 1988, fig. 28; B u i t r o n [ - O l i v e r ] and
Cohen 1992, 35, fig. 18, 68-69; LIMC VI (1992) s.v. Odysseus 958,
no. 105, p i . 628 (O. T o u c h e f e u - M e y n i e r ) ; G r i m m 1993, 38, fig. 23;
Andreae 1999, 128, fig. 42; Prestel-Museumsfuhrer 2000, 77-78
(M. Maa).
2

For the Sappho Painter's name vase, Warsaw, N a t i o n a l M u s e u m

142333, see: Haspels 1936, 228, no. 56; Boardman 1974, fig. 3 1 1 .
A n o t h e r d e p i c t i o n o f Odysseus's escape a t t r i b u t e d t o the Sap
p h o Painter appears on a b l a c k - f i g u r e d c o l u m n - k r a t e r i n A t l a n t a ,
M i c h a e l C. Carlos M u s e u m . For E u p h r o n i o s s c a l y x - k r a t e r , Ber
l i n , A n t i k e n m u s e u m F 2180, see ARV
1 3 - 1 4 . 1 , 1619; Para 3 2 1 ;
BAdd
152; BAPD Vase 200063; Jacobsthal 1927, p i . 56; Berlin
1991, 6 1 - 6 9 , no. 1 (D. v o n Bothmer). O n the association between
E u p h r o n i o s and the Sappho a n d Diosphos Painters' w o r k s h o p ,
see, recently, Jubier 1999, 182-83. I have n o t been able to consult
the t w o recent European dissertations b y Cecile Jubier and Sabine
Weber t h a t deal w i t h t h i s p o t t e r y w o r k s h o p .
2

w o r k (cf. cat. nos. 10, 29), w h i c h includes similar

palmettesas o n a c a l y x - k r a t e r i n B e r l i n m a y
w e l l have i n s p i r e d this m o n u m e n t a l effort b y
the Sappho Painter. Here a contrasting reserved
orange stripe beneath the c o l u m n - k r a t e r 's

figural

frieze, along w i t h standard black i v y - a n d - l o t u s bud

patterns o n the reserved l i p and m o u t h and

black rays at the reserved b o t t o m o f the b o d y

underscore the v i s u a l effect o f w h i t e g r o u n d o n an
A t h e n i a n clay pot.

54.3

205 202 WHITE GROUND

BLACK-FIGURED WHITE-GROUND
LEKYTHOS
A t t r i b u t e d to the Sappho Painter,
ca. 500-490 B.C.
H 17.3 cm
N e w York, The M e t r o p o l i t a n M u s e u m o f A r t
41.162.29, Rogers F u n d , 1941
From A t t i k a ; purchased i n 1941 as part o f a
group o f objects from the Gallatin collection
Chariot of Helios rising, chariots of Nyx and Eos
departing,

Her aides sacrificing

at an altar

Excellent; body intact; neck and

handle broken and reattached; black gloss chipped
at edge and top of mouth; abrasion and loss of black
gloss in net pattern at top center of front; some
erosion of white-ground surface around forelegs of
Nyx's chariot horses; original indented gash in sur
face at Herakles' face; chip missing on back in hori
zontal lines above Herakles' spits; added red flaked
and faded on Helios's beard and fillet, on manes of
horses and on three lines around lekythos's lower
body; white incrustation inside mouth and under
foot.
CONDITION:

SPATIALLY

A N D TECHNICALLY

complex

late black-figure scene o f cosmic significance fills

the w h i t e - g r o u n d zone that encircles the b o d y o f
this l i t t l e lekythos. Here, u n d e r the influence o f
early Greek philosophy, astral features have been
represented i n n o v a t i v e l y i n a n t h r o p o m o r p h i c
f o r m . A t the center o f the composition, Helios,
the Sun, d r i v i n g his quadriga, rises from the bot
t o m o f the w h i t e - g r o u n d zone as from the sea
(fig. 55.1). He holds a goad and wears the

finely

pleated l o n g l i n e n t u n i c o f a charioteer, b u t here,

as is t y p i c a l o f black-figure o n a w h i t e g r o u n d (cf.
cat. nos. 50, 52, 54), this garment s characteristic
w h i t e color (cf. cat. no. 39) has been suppressed.
Helios is s h o w n as a mature bearded male w i t h
his l o n g hair b o u n d up i n a krobylos.

55.1

For the last

detail, and t h r o u g h o u t this vase-painting, d i l u t e

black gloss, w h i c h is n o t a central feature o f t r a
d i t i o n a l black-figure, has been employed w i t h
eye-catching results. The radiant d i s k o f the sun,
s u r r o u n d e d b y an aureole o f g o l d e n - b r o w n lines

206 202 WHITE GROUND

55.2

207 202 WHITE GROUND

55.3

o f d i l u t e , floats above Helios's head. The sun's h o t

captures a h u m a n moment d u r i n g the hero's labors

center is itself f u r t h e r enhanced b y golden d i l u t e

on his arduous p a t h t o w a r d i m m o r t a l i t y .

applied o n t o p o f the black gloss.

I n the upper part o f the composition, smaller,
a n d hence f u r t h e r away f r o m the viewer, the char

Rather t h a n the nonsense i n s c r i p t i o n s com

m o n elsewhere i n the w o r k o f the Sappho Painter
(cf. cat. no. 54), here the figures' names have a l l

iots o f N y x ( N i g h t ) and Eos (Dawn) depart t o w a r d

been i n s c r i b e d . This special lekythos was f o u n d

the left a n d r i g h t , respectively. Celestial disks,

i n a grave i n A t t i k a along w i t h four other w h i t e -

g l o w i n g w i t h golden d i l u t e applied over black

g r o u n d l e k y t h o i a t t r i b u t e d to the same painter,

gloss, float above t h e i r heads, overlapping the

one o f whose specialties was funerary products.

ornamental net p a t t e r n at the t o p o f the lekythos's

Its impressive w r a p a r o u n d schema (cf. cat. no. 58)

b o d y (fig. 55.2). The flesh o f these black-figure

does n o t continue as a preeminent fashion o n stan

female astral personifications is n o t colored w i t h

dard f i f t h - c e n t u r y w h i t e l e k y t h o i where

a r e d u n d a n t added w h i t e , and, remarkably, N y x ,

decoration is generally l i m i t e d to the side opposite

Eos, a n d t h e i r chariot horses are s h o w n as p r o -

the handle (cf. cat. nos. 62, 64).

figural

tomes whose bodies disappear b e h i n d s w i r l i n g

streams o f b r o w n d i l u t e gloss articulated w i t h
i n c i s i o n that e x t e n d d o w n to the b o t t o m o f the
composition. I d e n t i f i e d v a r i o u s l y as the ocean's
waves, as clouds, or as the m o r n i n g mist i n this
vast panorama o f sky, sea, and earth, the Sappho
Painter's e x t r a o r d i n a r y streams must visualize an
atmospheric effect associated w i t h the sun's rise.
T h i s early m o r n i n g vista continues w i t h a
landscape o n the vessel's back (fig. 55.3). Under
neath the handle, where the decorative net pat
t e r n at the t o p o f the lekythos's b o d y stops,
Herakles, w e a r i n g o n l y his l i o n s k i n , crouches
on a m o u n t a i n t o p w i t h his q u i v e r and b o w sus
pended b e h i n d h i m a n d his back to the sunrise.
I n a genrelike v i g n e t t e , the hero, s h o w n as a
splanchnopt,

holds t w o spits over a b u r n i n g altar.

The offering o n its surface curls u p w a r d auspi

ciously i n the p a i n t e r l y b r o w n d i l u t e flames r i s i n g
f r o m the altar. Below, a c h u r l i s h dog crouches,
attracted b y the smell o f c o o k i n g . Herakles may
be sacrificing to Helios; i n one i n t e r p r e t a t i o n , the
hero is here seeking help from the Sun i n order
to reach the three-bodied w a r r i o r Geryon b e y o n d
the ocean i n the far West. I n any event, this image

208 202 WHITE GROUND

R E F E R E N C E S : ABV 507.6, 702; BAdd

126; BAPD Vase 305499;
CVA Fogg M u s e u m a n d G a l l a t i n Collections [USA 8] 9 3 - 9 4 , p i .
4 4 . 1 a - d ; Haspels 1936, 96, 9 8 - 9 9 , 113, 120, no. 3, 226, no. 6,
p i . 32.1a-d; Salis 1940, 1 1 3 n . l ; R i c h t e r 1942, 56, 57, 59, fig. 7;
Richter 1952, 1 0 - 1 1 ; Richter 1953, 74, p i . 57c; Rizza 1959-1960,
3 3 1 - 3 2 , 334, fig. 16, 340; Schauenburg 1962, 51 at n . 1 1 , 54n.40;
Brommer 1963, 156n.56; CB m , 8; K r o n 1971, 139, fig. 9, 141;
Boardman 1974, 148-49, fig. 260.1-3; L a c r o i x 1974, 93n.2, 94, p i .
12.2; Folsom 1975, p i . 13b, 136; A l l e n t o w n 1979, 6 6 - 6 7 , no. 30
(G. F. P i n n e y a n d B. S. R i d g w a y ) ; E. Vermeule 1979, 134, 135, fig.
6B; Brize 1980, 145, no. 3; Yalouris 1980, 317, no. B; P i n n e y a n d
R i d g w a y 1981; LIMC n (1984) s.v. A s t r a , A . N y x 906, no. 3, p i .
670.Astra 3 (S. Karusu); D u r a n d 1986, 166, 168, fig. 79; LIMC m
(1986) s.v. Eos 750, no. 1 (C. Weiss); LIMC i v (1988) s.v. Herakles
799, no. 1341 (J. Boardman a n d O. Palagia); Van Straten 1988, 62,
no. 5; I m m e r w a h r 1990, 156, no. 1082; LIMC v (1990) s.v. Helios
1016, no. 105, 1033, p i . 638 ( N . Yalouris), a n d s.v. Herakles 92, no.
2623 (J. Boardman), a n d s.v. Herakles 8 1 , no. 2547, 85 (P. Brize);
H u r w i t 1991, 4 9 - 5 0 , fig. 18; W i l l i a m s 1991d, 109, fig. 44, 11011;
LIMC v i (1992) s.v. Kerberos A . One head, u n c e r t a i n 25, no. 6 (S.
W o o d f o r d a n d J. Spier); Peirce 1993, 233, 240, fig. 8; Van Straten
1995, 136, 2 6 3 - 6 4 , no. V 3 8 0 , fig. 135; A k t s e l i 1996, 9, 10, 28,
105, no. V d 3 , fig. 10; Lissarrague 2 0 0 1 , 168, fig. 129, 169, fig. 128;
Gebauer 2002, 364-66, no. B9, 758, fig. 234; E h r h a r d t 2004, 2 1 ,
fig. 14.
2

P i n n e y a n d R i d g w a y ( i n A l l e n t o w n 1979) a n d (1981) u n c o n v i n c i n g l y suggest t h a t the dog is Kerberos a n d t h a t here Herakles

is about t o descend t o the U n d e r w o r l d . See CVA Fogg M u s e u m
a n d G a l l a t i n Collections [USA 8] pis. 44.2a-c, 45.1a-c, a n d 2 a - b ,
for the Sappho Painter's other l e k y t h o i f o u n d i n the same t o m b .
On his f u n e r a r y p r o d u c t s , see Oakley 2003, 165, fig. 3 (plaque)
a n d 166, cat. 112a-b ( b a i l - h a n d l e d oinochoe).

56
SEMI-OUTLINE WHITE-GROUND
LEKYTHOS
A t t r i b u t e d to the Diosphos Painter,
ca. 500-490 B.C.
H 24.45 cm
N e w York, The M e t r o p o l i t a n M u s e u m o f A r t
06.1070, Rogers F u n d , 1906
Purchased 1906
Perseus flies away with the head of Medusa
Pegasos springs from the decapitated

while

Gorgon's neck

Handle and foot broken off and reat

tached; abrasion and chips on mouth's outer edge;
beige incrustation on mouth's interior; scratches
on reserved neck and shoulder; some loss of black
gloss on mouth, handle, lower body and foot, and in
black-figure decoration; chips and gashes in surface
of white ground: on left uppermost palmette, front
wing of Medusa, below body of Pegasos, and at
center back; crack in vase surface through Medusa's
lower legs; much of added red lost; gray incrustation
at center of underside.
CONDITION:

T R A N S I T I O N A L W H I T E - G R O U N D tech

n i q u e , influenced b y contemporary red-figure,

i n w h i c h o u t l i n e d r a w i n g is c o m b i n e d w i t h tra
d i t i o n a l black-figure, has been employed o n this
famous Late Archaic lekythos a t t r i b u t e d to the
Diosphos Painter. Called semi-outline b y C. H .
Emilie Haspels, this dual h a n d l i n g b r i l l i a n t l y
supports the vase-painting's iconography, w h i c h
reinvents the d e p i c t i o n o f the p o p u l a r m y t h o f
the f l i g h t o f Perseus after he beheaded the Gorgon
Medusa (cf. cat. no. 7). Here the headless b o d y o f
Medusa fills the center f r o n t o f the composition.
The m o r t a l Gorgon has been d r a w n i n o u t l i n e so
that the w h i t e o f the g r o u n d serves as the w h i t e
o f her female flesh, and her short chiton's delicate
folds and pale golden color have been rendered
i n d i l u t e gloss. Her feminine characterization
is m o v i n g rather t h a n monstrous: W i t h fading
strength, her decapitated slender b o d y supports
itself o n its arms, a m o t i f that has been compared
t o d y i n g w a r r i o r s i n the pedimental sculpture
f r o m the Temple o f A p h a i a o n A i g i n a . A t this
v e r y moment, however, the Gorgon gives b i r t h :

209 202 WHITE GROUND

56.1

originally, added red described his boots, cap, and

the edges o f his mantle. S h o w n smaller t h a n the
Gorgon, he flies r a p i d l y away h o l d i n g the harpe
(curved knife) i n his left h a n d , w i t h Medusa's
snake-haired head i n his kibisis.

The kibisis

is

rendered i n o u t l i n e a n d was once covered w i t h

red a p p l i e d d i r e c t l y o n the w h i t e g r o u n d . Early
descriptions o f the lekythos describe Medusa as
w e a r i n g ' V e r m i l l i o n ' ' boots w i t h double tongues
or w i n g s ; n o w this red has also disappeared almost
entirely. Black nonsense i n s c r i p t i o n s are w r i t t e n
on the w h i t e g r o u n d a r o u n d the

figures.

This vessel is k n o w n as a side-palmette

lekythos: Here decorative clusters o f large, black
circumscribed palmettes, o r i g i n a l l y embellished
w i t h red hearts, d e l i m i t the movement o f the
vase-painting's flying figures. I n a d d i t i o n to the
c o m b i n a t i o n o f black-figure and o u t l i n e o n the
w h i t e - g r o u n d frieze, there is a careful d i s p o s i t i o n
o f w h i t e - g r o u n d , black-gloss, a n d reserved areas
on the vase as a w h o l e . The leftward key p a t t e r n
that r u n s a r o u n d the t o p o f the lekythos's body,
j u s t above the w h i t e - g r o u n d frieze at the j u n c t u r e
o f the reserved shoulder decorated w i t h a black
l o t u s - b u d p a t t e r n , is itself p a i n t e d o n reserve. A
reserved stripe r u n s a r o u n d the black lower body,
and a w h i t e - g r o u n d band runs a r o u n d the vertical
element o f the black foot.

R E F E R E N C E S : ABV 702; ARV 301.3, 3 0 3 . b o t t o m . 2 , 1643; BAdd

212; BAPD Vase 203101; Fairbanks 1907, 6 5 - 6 7 , no. 4a, pi. 4;
Richter 1907, 8 2 - 8 3 ; Richter 1917, 108-109, f i g . 67; Jacobsthal
1927, 7 8 - 7 9 , p i . 53b-c; Richter 1927, fig. 85; Beazley 1928, 79;
H a m p e 1935-1936, 297, no. 34; Haspels 1936, 111, 235, no. 7 1 ;
Scheurleer 1936, 108; Besig 1937, 84, no. 98; W o o d w a r d 1937,
6 4 - 6 5 , fig. 19; Richter 1953, 74, pi. 56e; Schauenburg I 9 6 0 , 35 at
n . 2 3 1 , 44; Sparkes 1968, 10n.52, 13n.76; Haspels 1969, 27, fig. 4,
28; Folsom 1975, 136-37, p i . 13c; Kurtz 1975a, p i . 59, fig. 2; R i c h
ter 1975, 75, fig. 7 1 ; M e r t e n s 1977, 200, pi. 36.3; Yalouris 1977, no.
27; Halm-Tisserant 1986, 2 7 8 - 7 9 , p i . 4, fig. 7; LIMC i v (1988) s.v.
Gorgo, Gorgones 313, no. 309 ( I . Krauskopf, S.-C. D a h l i n g e r ) , p i .
184; Schefold a n d J u n g 1988, 102, fig. 123, 103; I m m e r w a h r 1990,
9 1 , no. 573, pi. 25, fig. 108; Robertson 1992, 1 3 0 - 3 1 , fig. 134;
W o o d f o r d 2003, 4 1 , fig. 25, 42; Oakley 2004a, 101, no. 15.
2

56.2

Pegasos, one o f Medusa's c h i l d r e n engendered

b y Poseidon, springs from her bleeding neck.
The w i n g e d horse, replete w i t h male genitals, is
rendered i n f u l l black-figure w i t h i n c i s i o n and
now-faded added-red details. The male hero, at the
left, is l i k e w i s e depicted i n f u l l black-figure, and,

210 202 WHITE GROUND

For d y i n g w a r r i o r s f r o m the west a n d east pediments o f the

Temple o f A p h a i a o n A i g i n a o f ca. 490-475 B . C . , see Stewart
1990, figs. 24546. O n aesthetic associations between decorated
w h i t e - g r o u n d vases a n d the p a i n t e d A i g i n a marble sculptures,
see M e r t e n s , chap. 6. T h e Diosphos Painter also w o r k e d i n Six's
t e c h n i q u e ; see Cohen, chap. 3, fig. 3; and cat. nos. 24, 25. H e was
named b y Andreas R u m p f after an i n s c r i p t i o n o n a b l a c k - f i g u r e d
neck-amphora i n Paris, Cab. M e d . 219: ABV 509, Haspels, no. 120;
BAdd
127; BAPD Vase 305526.
2

57
OUTLINE WHITE-GROUND
ALABASTRON
Signature o f Pasiades as potter, a t t r i b u t e d
to the Pasiades Painter and the Group o f the
Paidikos Alabastra, ca. 510-500 B.C.
H 14.6 c m
L o n d o n , The B r i t i s h M u s e u m
GR 1887.7-801.61, BM Cat Vases B 668
F r o m M a r i o n , Cyprus, 1887; purchased 1887
A b o v e the p i c t u r e , PA5IAAE5 : EPOIE5EN
Woman with phiale, dancing or running
(maenad),

woman

and heron

C O N D I T I O N : Good; reassembled from fragments;

losses in letters of potter-signature; lower portion of
left woman missing; vase surface to her lower right
restored in plaster; loss of relief lines on her phiale;
losses at back of head and body of right woman;
gray discolorations on lower vase body.

THE

TALL,

SLENDER

A L A B A S T R O N was gener

ally employed b y w o m e n as a container for pre

cious perfume or o i l . A n c i e n t examples made f r o m
w h i t e alabaster may have g i v e n the shape its name.
A p p r o p r i a t e l y , soon after the i n v e n t i o n o f a w h i t e
g r o u n d , i t was a p p l i e d to clay alabastra i n A t h e n s
(cf. Mertens, chap. 6, fig. 1). M a n y o f the earliest
belong t o a g r o u p associated w i t h the p o t t e r Pasia
des, w h o may have borne the n i c k n a m e Paidikos.
W h i l e several examples are s i m p l y decorated
w i t h black palmettes, t h i s lovely alabastron dis
plays b o t h a n e w t e c h n i q u e for p a i n t i n g o n w h i t e
g r o u n d a n d an iconography reflecting the realm
o f w o m e n . Its painter, called the Pasiades Painter
b y Beazley, appears to be close t o the Euergides
Painter, w h o has been associated w i t h a u n i q u e
pair o f t e c h n i c a l l y e x p e r i m e n t a l p o t t e r y stands
(cat. nos. 72, 73).
T w o female figures and a herona pet that
c o m m o n l y belonged t o w o m e n f i l l the

figural

frieze e n c i r c l i n g t h i s alabastron. The female i n

a headdress o n the r i g h t , w h o wears a speckled
nebris i n a d d i t i o n to a long-sleeved c h i t o n and
chlamys, appears t o be a maenad. T h i s female
follower o f the god Dionysos moves r a p i d l y ,

211 202 WHITE GROUND

57.1

dancing or r u n n i n g w i t h her legs a n d arms

been almost e n t i r e l y transformed save for several

outstretched, w h i l e c a r r y i n g branches i n

significant details. The reserved t o p o f the alabas-

b o t h hands. The left female, dressed i n

tron's flat disk-shaped m o u t h bears the i n s c r i p t i o n

a c h i t o n and h i m a t i o n , stands quietly,

hopais kalos (the boy is beautiful) i n black letters.

e x t e n d i n g the phiale i n her left h a n d

t o w a r d the l i v e l y maenad. The quiet

Two

reserved clay lugs affixed to the alabastron

at center front a n d back are aligned w i t h the

female's hair is caught u p at the back

upper edge o f the figural frieze; the back l u g pre

i n an elaborate krobylos. She has

serves traces o f ancient

been v a r i o u s l y i d e n t i f i e d as either

potter's. Finally, an alabastron, like an aryballos,

a respectable A t h e n i a n w i f e or a

was designed to be w o r n a r o u n d the w r i s t or neck

fingerprints,

p r o b a b l y the

p r o s t i t u t e (hetaira). A w h i t e - g r o u n d

suspended from thongs (cf. cat. no. 78); thus its

alabastron from D e l p h i , also bear

r o u n d e d b o t t o m w o u l d have been v i s i b l e . Here an

ing

a signature o f Pasiades, depicts

open, r i b b e d red-figure palmette against a black

a maenad, w i t h a snake c o i l i n g

g r o u n d completes this c h a r m i n g w h i t e - g r o u n d

about her r i g h t arm, h o l d i n g out a

vessel's decoration.

hare i n her left h a n d opposite an

A m a z o n armed w i t h a b o w a n d
a r r o w and an ax; a h e r o n stands
between t h e m . Clearly sisters i n
t h e i r design, b o t h w h i t e - g r o u n d
vessels present p o i n t e d contrasts
of female i d e n t i t y .
The p a i n t i n g technique
employed o n the L o n d o n alabas
t r o n has moved b e y o n d b y n o w
t r a d i t i o n a l black-figure o n w h i t e
g r o u n d . Under red-figure influence,
its v i b r a n t female figures have been
d r a w n i n o u t l i n e w i t h black relief

57.2

lines; thus the w h i t e g r o u n d itself

serves as t h e i r flesh as w e l l as the
color o f t h e i r mantles. Both women's
chitons are a b r i l l i a n t , eye-catching
yellow. This early w h i t e - g r o u n d p o l y c h r o m y has
been achieved w i t h a wash o f v e r y d i l u t e black
gloss. Touches o f this y e l l o w d i l u t e also describe
the maenad's branches, a f o l d i n her headdress,
a n d feathery locks atop the left woman's

krobylos.

R E F E R E N C E S : ARV
9 8 . 1 , 102.top.2, 1626; Para 330; BAdd
172;
BAPD Vase 200859; W . K l e i n 1887, 222-23 (misread signature);
M u r r a y 1887, 3 1 7 - 1 9 , p i . 82 (cited i n c o r r e c t l y as p i . 81 i n t h e
list o f plates); C. H . S m i t h 1887, 2 5 - 2 6 ; D u m o n t a n d Chaplain
1888, 371n.6; Walters 1893, 296; M u r r a y a n d S m i t h 1896, 28, p i .
18; Perrot 1914, 6 9 7 - 9 8 , p i . 19; H o p p i n 1919, n , 3 3 0 - 3 2 , no. 2;
D u c a t i 1922, 304, fig. 234, 305; Heuzey 1922, 220 a n d p i . o p p o
site; Demangel 1923, 6 7 - 7 0 , 78, 80, 85, 86, fig. 9, 87, 90, 9 3 - 9 4 ;
P f u h l 1923, I, 460, III, fig. 355; P f u h l 1924, 2 3 - 2 4 , p l . 2 1 , fig. 35;
Beazley 1925, 36, no. 1, 4 6 7 - 6 8 ; P f u h l 1926, 3 6 - 3 7 , p l . 2 1 , fig.
35; S w i n d l e r 1929, 182, p i . 13a; A n g e r m e i e r 1936, 17-20, 2 4 - 2 5 ;
Haspels 1936, 101-104; P h i l i p p a r t 1936, 2 6 - 2 7 , no. 1; Lane 1948,
53, p l . 89C; R u m p f 1953, 79, p l . 22.4; EAA n (1959) s.v. Ceramica
497, fig. 687 ( A . Stenico); Schoder [1961] p i . 35; Picard 1962, 109,
fig. 4, 110; EAA v (1963) s.v. Pasiades 983, fig. 1198 (E. Paribeni);
Richter 1970b, 63, fig. 294; T h i m m e 1970, 15, figs. 11-12; Boardm a n 1975, 6 1 , fig. 107; B. F. Cook 1976, 54, 55, fig. 45; Gjerstad
1977, 58, no. 558, p i . 76, figs. 2a-c; M e r t e n s 1977, 128-29, no. 1,
131-32, p i . 18.3; Cook a n d Charleston 1979, p i . 65, 293, no. 65;
Boardman 1985b, 216 (R. M . Cook); Lissarrague 1990b, 185, 186,
fig. 108; Robertson 1992, 52, 53, figs. 3 9 - 4 0 ; M o o r e 1997, 49, esp.
n.5; Neils 2000, 2 2 1 , fig. 8.9, 222; Clark, Elston, a n d H a r t 2002,
65, fig. 57.
2

See Parlama a n d Stampolidis 2000, 334, no. 352, for an alabas

ter alabastron, a n d 3 7 2 - 7 3 , nos. 4 1 5 - 1 6 , for e n t i r e l y w h i t e clay
alabastra t h a t i m i t a t e stone ones. O n the v a r i e t y o f materials i n
w h i c h alabastra were p r o d u c e d , see W i l l i a m s 2002, 341n.2. For a
w h i t e - g r o u n d alabastron w i t h a signature o f Pasiades a n d b l a c k
palmettes, see Paris, M u s e d u L o u v r e CA 1920: ARV
99.3, 102.
top.4; BAdd
172; BAPD Vase 200861. T h e alabastron f r o m D e l p h i
is i n A t h e n s , N a t i o n a l Archaeological M u s e u m 15002: ARV
98.2,
102.top.3, 1626; BAdd
172; BAPD Vase 200860.
2

Golden plumage issues from the head a n d breast

of the black h e r o n at the center o f the composition
p a i n t e d i n silhouette w i t h o u t i n c i s i o n .
Orange lines o f d i l u t e gloss border the

figural

frieze, a n d above i t , Pasiades' potter-signature,

w r i t t e n i n black gloss, encircles the vase. Tongue
patterns p a i n t e d i n black o n the w h i t e g r o u n d sur
r o u n d the vessel's neck a n d its r o u n d e d b o t t o m .
I n fact, t h i s vase's o w n orange clay surface has

212 202 WHITE GROUND

58
OUTLINE WHITE-GROUND
LEKYTHOS
A t t r i b u t e d t o Douris, ca. 500-490 B.C.
H 33.4 cm
M a l i b u , J. Paul Getty M u s e u m 84.AE.770
European art market; purchased 1984;
f o r m e r l y Swiss p r i v a t e collection
O n the shoulder, maenad between
On the body, warriors

palmettes

arming

Poor; assembled from fragments; sur

face damaged from modern cleaning with acid;
brown incrustations on maenad; taupe incrustations,
esp. around youth greaving and woman; brown
discolorations around boy; losses of relief lines and
black-gloss details, esp. on maenad, greaving youth,
and woman with shield; loss of right hand of war
rior with shield, parts of his helmet, and most of
boy's right foot; losses of dilute-gloss anatomical
inner markings and fold lines on garments; white
incrustations on inside of lekythos's neck, on han
dle, and on foot's underside.
CONDITION:

THE

CREAMY

WHITE

G R O U N D o n t h i s large

c y l i n d r i c a l l e k y t h o s p r o v i d e d the y o u n g Douris
w i t h an extensive surface for o u t l i n e d r a w i n g .
T h i s vase, i n fact, is one o f his three contempora
neous w h i t e - g r o u n d l e k t h o i w i t h s p l e n d i d o u t l i n e
friezes r u n n i n g clear a r o u n d t h e i r bodies. These
unusual l e k y t h o i were p r o b a b l y p r o d u c e d i n the
same potter's w o r k s h o p , and the M a l i b u example,
b y v i r t u e o f its s t r a i g h t f o r w a r d c o m p o s i t i o n con
sisting o f t w o pairs o f quiet, w i d e l y spaced, facing
figures t h a t do n o t overlap, may w e l l be the earli
est among t h e m . A t the far left, a y o u n g w a r r i o r ,
beside a household altar, places a greave o n his left
calf, w h i l e balancing o n his r i g h t leg (fig. 58.1).
His short, translucent c h i t o n reveals the f i r m
curve o f his buttocks. Kalos i n s c r i p t i o n s are s p r i n
k l e d over the vase's g r o u n d : N i l o d r o m o s , Panaitios, a n d others are praised. A w o m a n , standing at
the center front, holds the greaving warrior's spear
a n d his r o u n d shield [hoplori) w i t h a spoked-wheel
device; the last, s h o w n parallel to the p i c t u r e
plane, has been d r a w n w i t h the aid o f a compass.
58.1

213 202 WHITE GROUND

A t the r i g h t , a handsome y o u n g w a r r i o r t u r n s
t o w a r d a nude boy, w h o serves as his squire,
h o l d i n g the warrior's sheathed s w o r d and t a l l
spear, w h i c h is angled to fill the space u n d e r the
lekythos's handle (fig. 58.3). This y o u n g w a r r i o r
extends his left arm so that the i n t e r i o r o f his
r o u n d , compass-drawn shield is exposed. The
(now-fragmentary) magnificent helmet, i n v e r t e d
w i t h its crest d o w n , must have been h e l d b y its
noseguard i n his lost r i g h t h a n d (fig. 58.2).
Here Douris's technique combines the use o f
black relief lines for contours and other major
details, and t h i c k e r lines o f black gloss, especially
for edges o f drapery, w i t h entirely black forms
such as the helmet's casque, the shield band, the
camp stool, and the hair o f the boy and greaving
y o u t h . I n a d d i t i o n , d i l u t e gloss applied i n various
intensities describes the b l o n d warrior's hair and
sideburn, the horsehair helmet crest, fine drapery
folds, i n n e r markings, and other details. A d d e d
red is used q u i t e sparingly, such as for hair

fillets.

The r i c h l y decorated w h i t e shoulder likewise

explores the range o f effects that may be achieved
w i t h different applications o f black gloss. A t
the center front, a maenad w i t h streaming hair,
w h o carries a thyrsos and a flaming t o r c h , r u n s
t o w a r d the r i g h t , l o o k i n g back. She is flanked b y
circumscribed o u t l i n e palmettes w i t h alternate
dilute-colored fronds and fronds c o n t a i n i n g black
tongues; b o t h o u t l i n e and black lotus buds issue
f r o m their spiraling t e n d r i l s . Black tongues border
the base o f the neck. A black net above and black
dot p a t t e r n below border the lekythos's b o d y
frieze.
This w h i t e - g r o u n d lekythos presages the elo
q u e n t draftsmanship o f Douris's mature red-figure
vase-painting and also illuminates his penchant
for organizing red-figure pictures to emphasize
o u t l i n e d r a w i n g against reserve (Cohen, chap. 5,
fig. 5; cf. cat. no. 48). The continuous b o d y frieze
and figural shoulder decoration, features not
adopted o n standard funerary w h i t e l e k y t h o i o f
the Classical p e r i o d , are c o m m o n o n Late Archaic
black-figured w h i t e - g r o u n d l e k y t h o i (cf. cat.
58.2

no. 55). A t the same time, Douris's sophisticated

h a n d l i n g o f black line and d i l u t e along w i t h his
penchant for fancy details, such as the b l o n d war
r i o r whose eye is r i m m e d b y lashes, is i n d e b t e d

214 202 WHITE GROUND

to the later w h i t e - g r o u n d w o r k o f Euphronios,

w h i c h develops b e y o n d semi-outline (cf. cat. no.
30),

such as o n at least one o f the fine fragmen

t a r y cups i n Eleusis. W h i l e Douris's o w n early

cups also employ w h i t e g r o u n d , he m a t u r e d i n t o
a cup-painter, w h o w o r k e d for potters o f redfigured

ware and, thereby, left b e h i n d this impres

sive, albeit s h o r t - l i v e d , venture i n t o a special

technique.

R E F E R E N C E S : BAdd
398; BAPD Vase 16229; D r i g 1975, no. 205
(G. O r t i z a n d J.-L. Z i m m e r m a n n ) ; B u i t r o n 1976, 48, no. 36, p i .
12, no. 36; " A q u i s i t i o n s / 1 9 8 4 , " GettyMusJ
13 (1985) 168-69, no.
19; K u r t z 1989b, 113-25, figs, l a - e a n d f r o n t cover; Lissarrague
1990b, 48, fig. 19, 49; J P G M Handbook 1991, 48; B u i t r o n - O l i v e r
1995, 18, 44, 5 1 - 5 3 , 6 4 - 6 5 , 75, cat. no. 45, 95, fig. 6e, pis. 28-29;
J P G M Antiquities Masterpieces 1997, 37; J P G M Handbook 1997, 47;
J P G M Handbook 2 0 0 1 , 47; J P G M Antiquities Masterpieces 2002, 70;
Spivey and Squire 2004, 202, figs. 3 1 9 - 2 0 .
2

Douris's t w o other o u t l i n e w h i t e - g r o u n d l e k y t h o i are Palermo,

M u s e o A r c h e o l o g i c o R g i o n a l e N I 1886, sacrifice o f Iphigeneia:
ARV
446.266, 425; Para 373; BAdd
2 4 1 ; BAPD Vase 205315;
B u i t r o n - O l i v e r 1995, 75, no. 46, p i . 30; Oakley 2004a, 109, no.
12, a n d Cleveland M u s e u m o f A r t 66.114, A t a l a n t a a n d Erotes:
Para 376.266 bis; BAdd
2 4 1 ; B u i t r o n - O l i v e r 1995, 75, no. 47,
p i . 3 1 ; Oakley 2004a, 100, no. 4, 102-103, color p l . 4 A . For the
fine w h i t e - g r o u n d Gigantomachy cup, Eleusis, Archaeological
M u s e u m 619, see: ARV
315.4 ( a t t r i b u t e d to the Eleusis Painter),
1592, 1645; BAdd
213; BAPD Vase 203232, and, o n the a t t r i b u
t i o n to Euphronios, B u i t r o n - O l i v e r 1995, 59n.396. See esp. Eleusis,
Archaeological M u s e u m 618, w h i c h depicts a T r i t o n w i t h separate
w a v y locks o f h a i r a n d eyelashes: ARV
314.3 ( a t t r i b u t e d to the
Eleusis Painter); Para 358; BAdd
213; BAPD Vase 203231. For
Douris's w h i t e - g r o u n d w o r k on cups, see: Paris, M u s e d u L o u v r e
G 276 (plus CP 973 a n d N e w York 1973.175.1): ARV 4 2 8 . 1 1 ;
BAdd
235; B u i t r o n - O l i v e r 1995, 7 4 - 7 5 , no. 23, p i . 14, and L o n
don, B r i t i s h M u s e u m GR 1888.6-1.757-58, BM Cat Vases D 1:
ARV
429.20, 1652; BAdd
236; BAPD Vase 205064; B u i t r o n Oliver 1995, 74, no. 33, p i . 22, no. 33.
2

58.3

215 202 WHITE GROUND

59
WHITE-GROUND LEKYTHOS WITH
SECOND WHITE
A t t r i b u t e d to the Pan Painter, ca. 490 B.C.
H 38 cm
St. Petersburg, The State Hermitage M u s e u m
B 2363
A c q u i r e d 1901; formerly collection o f
A . A . Abasa
Artemis

and a swan

Body intact; mouth with top of neck

reattached; outer edge of mouth chipped; taupe
and brown discolorations of white-ground sur
face; deep chip in surface about 3.5 cm to right of
Artemis's head; some loss of white ground around
body of swan; loss of dilute fold lines on Artemis's
chiton sleeve; gashes in the sleeve, in lower part of
her nebris, and in her chiton's skirt at lower front;
discolorations of pitted second white on Artemis's
face and arms; second white on swan chipped and
cracked; chips and gashes in reserved vertical edge
of vase's foot.
CONDITION:

THE

PAN PAINTER

A P P E A R S t o have b e e n

the w i n g coverts o u t l i n e d i n d i l u t e , b u t dashes or

especially f o n d o f A r t e m i s , v i r g i n goddess o f the

dots o f d i l u t e also suggest t h e feathered surface

h u n t . O n the obverse o f his name vasea red-

of the bird's b o d y a n d l o n g neck. T h e b o t t o m o f

figured

the swan s head is delineated b y an arc o f orange

bell-krater i n Boston o f ca. 470 B.C. w i t h

Pan p u r s u i n g a goatherd o n the reverseArtemis

d i l u t e o n its neck. Its beak is a b r i g h t y e l l o w i s h

elegantly orchestrates the death o f the h u n t e r

orange, a color p r o b a b l y achieved b y a wash o f

A k t a i o n . O n his early St. Petersburg lekythos,

d i l u t e over the second w h i t e . T h e swans c o n v i n c

the goddess is s h o w n i n a quiet, seemingly i n t i

i n g l y d r a w n legs a n d feet, rendered w i t h orange

mate moment: standing regally w i t h her r i g h t

and b r o w n outlines o n the w h i t e g r o u n d , are a

h a n d extended t o w a r d the beak o f a swan, w h i l e

creamier color t h a n its pure w h i t e body. Delicate

she balances a metal phiale o n her outstretched

d i l u t e lines indicate the tufts o f feathers from

left h a n d , ready t o make a l i b a t i o n . This scene is

w h i c h the legs project. T h e goddess a n d b i r d

p a i n t e d w i t h a b r e a t h t a k i n g tenderness that here

stand u p o n a black l i n e b o u n d i n g the vase's lower

underlies the Pan Painter's often facile styliza-

w h i t e - g r o u n d border o f a meander i n t e r r u p t e d

t i o n . T h e o u t l i n e technique o f early

by saltire squares. A c o n f i g u r a t i o n o f red-figure

fifth-century

w h i t e g r o u n d has been enriched b y a complex

palmettes a n d lotuses graces this lekythos s black

i n t e r w e a v i n g o f relief lines, d r a w i n g lines o f d i l u t e

shoulder.

gloss, a n d nuanced c o l o r i n g w i t h washes o f d i l u t e ,

w i t h black gloss a n d the a d d i t i o n o f a w h i t e r sec
ond

w h i t e u p o n the cream-colored g r o u n d . This

I n early Greek art, A r t e m i s was s h o w n h i e r a t i cally as potnia theron (mistress o f animals), w i n g e d

herself and c a r r y i n g a beast or a b i r d i n each

second w h i t e has been applied t h i c k l y for A r t e -

hand; the contrasting genrelike image o f this Late

mis's flesh a n d the b i r d s body, a n d these features

Archaic lekythos effectively captures the goddess's

are o u t l i n e d w i t h d i l u t e lines r a n g i n g from b r o w n

t r a d i t i o n a l nature. I n contemporary life, A r t e m i s

to orange.
I n this i n t r i c a t e image, A r t e m i s is f o r m a l l y
dressed i n a l o n g orange c h i t o n w i t h a f u l l , b u t

protected u n m a r r i e d girls, especially the so-called

l i t t l e bears w h o served i n her sanctuary at Brauron

i n A t t i k a . Perhaps a maiden's w e d d i n g or her

t o n e d sleeve a n d a h i m a t i o n w i t h a black border

u n t i m e l y death i n s p i r e d Artemis's unusual appear

that hangs i n archaistic stacked folds. These c l o t h

ance o n this Archaic w h i t e - g r o u n d lekythos.

garments are t o p p e d b y a dappled f a w n - s k i n cloak

(nebris) w o r n w i t h the a n i m a l s l i t t l e head a n d
l o n g ears flopping upside d o w n at her back. A
c y l i n d r i c a l q u i v e r decorated w i t h spirals, char
acteristic o f this painter's w o r k , also hangs at
her back. Artemis's facial features, j e w e l r y , a n d
ankle bones have been d r a w n o n her flat w h i t e
flesh w i t h d i l u t e lines o f v a r y i n g intensity. T h e
goddess's head, w i t h its r o u n d e d c h i n a n d classic
profile, is c r o w n e d b y a leaf-trimmed diadem that
is colored b y the w h i t e o f the g r o u n d itself and
d r a w n w i t h relief lines a m i d her l o n g black hair.
Her hair is caught i n an o b l o n g clasp rendered i n
o u t l i n e (cf. cat. no. 60). T h e statuesque goddess
looks d o w n at the swan before her, w h i c h balances
on one leg, b i r d l i k e , a n d is about t o nuzzle her
hand.
The detailed surface-handling o f the swan
e x h i b i t s a s u r p r i s i n g naturalism. N o t o n l y are its
l o n g flight feathers a n d small, scalelike feathers o n

217 202 WHITE GROUND

R E F E R E N C E S : ARV
557.121, 1659; Para 513; BAdd 259; BAPD
Vase 206365; W a l d h a u e r 1906, 58, fig. 3, p l . 1; W a l d h a u e r 1913;
R u m p f 1953, 83, p l . 24.8; L e v i a n d Stenico 1956, 99, fig. 94, 103;
G o r b u n o v a a n d Peredolskaya 1961, 58, fig. 29, 59-60; Peredolskaya 1967, 8 6 - 8 7 , n o . 85, pis. 6 2 - 6 3 . 1 ; F o l l m a n n 1968, 36-37,
45, 53, 55-56, 76, 85, 112, n o . 121; Beazley 1974, 7, 14, no. 70,
pi. 14.1; G o r b u n o v a a n d Saverkina 1975, n o . 33; Kurtz 1975a, 27,
206, p i . 24.2; Richter 1975, 95, fig. 66; M e r t e n s 1977, 207-208,
pl. 4 0 . 1 ; W e h g a r t n e r 1983, 2 0 - 2 1 ; LIMC i l (1984) s.v. A r t e m i s
695, no. 969, p i . 517 ( L . Kahil); Robertson 1992, 146; Z u r i c h 1993,
192-93, no. 99; Suslov 1994, 2 3 8 - 3 9 , no. 209 ( L . U t k i n a ) ; Benson
1995, 7 9 1 , p i . 6; Reeder 1995, 308-309, no. 90; Oakley 2004a, 89,
no. 17, 93; P i o t r o v s k y 2004, [58-59] figs., 7 1 .
2

For t h e Pan Painter's name vase, Boston, M u s e u m o f Fine A r t s

10.185, see: ARV
550.1, 1658; Para 386; BAdd 256-57; a n d
BAPD Vase 206276. O n A r t e m i s as potnia theron, see LIMC n
(1984) s.v. A r t e m i s 6 2 6 - 2 8 , pis. 443-47; esp. 626, no. 23 (Corin
t h i a n alabastron, Paris, M u s e d u L o u v r e A 468) a n d 626, no. 29
( C o r i n t h i a n aryballos, O x f o r d , A s h m o l e a n M u s e u m 1896.42), p i .
444 (L. K a h i l , catalogue w i t h N . Icard).
2

60
OUTLINE WHITE-GROUND
OINOCHOE
A t t r i b u t e d to the Brygos Painter, ca.
490-480 B.C.
H 2 1 . 6 cm
L o n d o n , The B r i t i s h M u s e u m
GR 1873.8-20.34, BM Cat Vases D 13
Said to be f r o m L o c r i ; purchased from
Alessandro Castellani 1893
Woman

spinning

Excellent; intact; a few missing chips at

outer edge of mouth and on handle; cleaned: incrus
tations and discolorations removed from the white
ground.
CONDITION:

THIS

RARE

E X A M P L E OF

WHITE-GROUND

oinochoe decorated i n o u t l i n e preserves one o f the

most famous ancient depictions o f a w o m a n s p i n
n i n g y a r n that has come d o w n to us. Here a lone
female figure stands w i t h her head s l i g h t l y bent,
p a y i n g close a t t e n t i o n to the flow o f y a r n between
her fingers. She has massed the fiber for her w o r k
o n a l o n g , t u r n e d w o o d e n distaff, as the spindle,
t w i r l i n g below, produces the y a r n . Dressed i n a
fine c h i t o n w i t h c r i n k l y d i l u t e folds and a heavy
h i m a t i o n , this elegant w o m a n is d r a w n w i t h black
relief lines. Relief lines o u t l i n e the bands that
secure her r o u n d b u n , w h i l e the engobe itself
provides their w h i t e color. Her fiber, y a r n , and
spindle are painted o n the engobe i n a b r i g h t con
trasting b r o w n i s h red, used also for the woman's
bracelets, hair ties, and sandal straps. She stands
o n a d i l u t e orange g r o u n d l i n e that encircles the
vessel.
Another w e l l - k n o w n depiction of spinning
occurs o n a m i d - s i x t h - c e n t u r y black-figured
lekythos a t t r i b u t e d to the Amasis Painter o n
w h i c h a frieze shows eleven w o m e n m a k i n g c l o t h .
I n the black-figure technique, fiber and y a r n are
readily p a i n t e d i n black gloss u p o n the reserved
g r o u n d . The equivalent red-figure use o f reserved
f o r m is a w k w a r d for representing t h i n p l i a n t y a r n ,
and p a i n t i n g the y a r n i n red u p o n a black g r o u n d
does not afford o p t i m u m v i s i b i l i t y . Thus s p i n -

n i n g is a subject perfectly suited to Late Archaic

w h i t e g r o u n d : Here the long strand o f red y a r n
becomes the v e r y subject o f the w h i t e - g r o u n d
vase-painting. Instead o f a detailed scene s h o w i n g
different phases o f w o o l w o r k i n g , the anonymous
vase-painter has s p o t l i g h t e d a single figure i n
accordance w i t h a p o p u l a r fashion o n contempo
raneous red-figured pots (cf. Cohen, I n t r o d u c t i o n ,
figs. 1-2). T h i s oinochoe has been c o n v i n c i n g l y
associated w i t h the Brygos Painter, w h o p a i n t e d
s t u r d y cups bearing the potter-signature o f B r y
gos, a n d w h o appears to have been the chief h a n d
i n that potter's w o r k s h o p . The Brygos Painter
practices an observant, strong, and expressive r e d figure style (cat. no. 47); another w h i t e - g r o u n d
masterpiecethe maenad w i t h i n a cup i n M u n i c h
(Mertens, chap. 6, fig. 4 ) i s likewise a t t r i b u t e d to
him.

W h i l e the M u n i c h maenad exudes the w i l d

abandon o f Dionysiac frenzy, the L o n d o n spinner

displays focused self-control.
This oinochoe's majestic female figure has been
v i e w e d as a respectable w o m a n rather t h a n one o f
the hetairai w h o are sometimes s h o w n s p i n n i n g
i n A t t i c vase-paintings. D y f r i W i l l i a m s has sug

60.2

gested f u r t h e r that she may be the goddess Clotho,

whose s p i n n i n g determines h u m a n fate. Yet the

palmette o n a patch o f black g r o u n d , along w i t h

i n s c r i p t i o n w r i t t e n i n d i l u t e at the upper r i g h t , he

the reserved and black tongue p a t t e r n a r o u n d the

pais kale, s i m p l y declares, "the g i r l is b e a u t i f u l / '

top

leaving the woman's i d e n t i t y to the viewer's imagi

of its foot; and its glossy black neck, m o u t h , and

n a t i o n . T h i s oinochoe's nearly perfect c o n d i t i o n

handle, s t u n n i n g l y contrast the standard color

suggests not o n l y that i t must have been f o u n d i n

vocabulary o f red-figured p o t t e r y w i t h this clay

a t o m b p r o b a b l y i n the Western Greek colony o f

vessel's unusual w h i t e body.

o f the oinochoe's body; the reserve and black

L o c r i b u t also that i t m i g h t have been purchased

as a grave gift. Its q u i e t genre d e p i c t i o n pres
ages the female iconography o f the w h i t e - g r o u n d

R E F E R E N C E S : ARV 403.38 ( a t t r i b u t e d to the F o u n d r y Painter),

405; BAdd 2 3 1 ; BAPD Vase 204379; N e w t o n and T h o m p s o n
1874, 4, p i . 13; C. H . S m i t h 1896, 394 ( a t t r i b u t e d to Brygos);
Tonks 1904, 114, no. 54 ( a t t r i b u t e d t o Brygos); W i e g a n d 1913, 6,
fig. 4; Beazley 1918, 94 ( a t t r i b u t e d t o the F o u n d r y Painter); H o p p i n 1919, I , 457, no. 12 ( F o u n d r y Painter); Bieber 1928, 2, fig. 4,
6; L o n d o n 1929, 133, fig. 147; Cloche 1931, 70, p i . 29.3; Corbett
1965, 1 8 n . l 3 ; Bieber 1967, 12, 13, p i . 1.2; Z i n s e r l i n g 1973, 26;
M e r t e n s 1977, 126, no. 2, 127, p i . 18.1; W i l l i a m s 1982, figs. 1-3,
8-10 ( a t t r i b u t e d to the Brygos Painter); W i l l i a m s 1983b, 9 4 - 9 5 ,
fig. 7.3; A l f a r o Giner 1984, 76, fig. 38; W i l l i a m s 1985, 44, 50, back
cover; A l f a r o 1986, 176, 177, fig. 66; Robertson 1992, 98, fig. 93,
109; Barber 1994, 37, 38, fig. 1.3; D i V i t a 1998, 174, fig. 6; W i l
liams 1999, 82, back cover; Ferrari 2002, 2 6 - 2 7 , 3 1 , 215, fig. 14;
Pedley 2002, 279, 280, fig. 8.49.
2

funerary l e k y t h o i fashionable i n A t h e n s a b i t later

i n the fifth c e n t u r y (cf. cat. nos. 63, 64).
I n daily life, oinochoai were used as w i n e
pitchers, either at male d r i n k i n g parties or b y
w o m e n i n r i t u a l libations. O f course, such j u g s
were also made i n expensive materials, and this
model's d i s t i n c t i v e shape, i n c l u d i n g its broadshouldered body, offset neck, trefoil m o u t h , and
h i g h handle flanked b y rotellae, may have been
derived from metal versions. The palmette o n the
back at the root o f the vase's s l i g h t l y askew handl e
surely evokes ornament o n metal vases (cf. cat.
no. 71). A t the same time, this reserved red-figure

219 202 WHITE GROUND

For the Amasis Painter's l e k y t h o s d e p i c t i n g the p r o d u c t i o n o f

c l o t h , N e w York, M e t r o p o l i t a n M u s e u m o f A r t 31.11.10, see ABV
154.57, 688; Para 64; BAdd 45; BAPD Vase 310485; a n d see Fer
r a r i 2002, figs. 104-105, and, for w o m e n s p i n n i n g o n red-figured
vases, figs. 107 a n d 113.
2

61
WHITE-GROUND

mostly missing; disk B: intact; losses in pattern on

goddess's sakkos; outline of her lips lost; chip in
ground before her forehead, gash before her left
hand; chip reattached on her left thigh; cylinder
joining disks restored; pairs of ancient drill holes:
1.9 cm apart on A , and 2.5 cm on B.

DOUBLE-DISK

A t t r i b u t e d t o the Penthesilea Painter,

ca. 4 6 0 - 4 5 0 B.C.

Diam, A : 1 2 . 8 cm restored; B: 1 2 . 5 cm
New York, The M e t r o p o l i t a n M u s e u m o f A r t

THE

2 8 . 1 6 7 , Fletcher F u n d , 1 9 2 8

subtle w o r k o n this w h i t e - g r o u n d double-disk,

F r o m near Athens; purchased 1 9 2 8

like that o n his red-figured name vase (Cohen,

PENTHESILEA

PAINTER'S

magnificent,

chap. 4 , fig. 4 ) , surely reflects contemporary

A , winged male figure (Eros?)

and a youth with a

m o n u m e n t a l p a i n t i n g . A handsome pair o f h u m a n
figuresa

lyre

y o u t h or boy approached b y a w i n g e d

B, winged goddess (Nike?) and a boy with a sprig

beinggraces each face, whose surface is t o n e d

of ivy

w i t h a pale y e l l o w wash. O n side A , b o t h

figures

are nude males, d r a w n i n sensitive dilute-gloss

Disk A : left side and lower portion
missing, chip at right edge, otherwise intact; brown
line at edge flaked; surface loss at upper right; loss
in inscription (h[opais] kalos); outline of iris in
youth's eye lost; chips in youth's diadem and on
winged male's thigh, buttocks, and genitals; wings
CONDITION:

lines w i t h t h e i r perfect bodies t u r n e d i n nearly

profile or front views, respectively. (The c u r v e d
line at the break may have belonged t o a n altar's
volute.) P r e l i m i n a r y sketch lines i n nearly color
less d i l u t e gloss are s t i l l v i s i b l e . The y o u t h at
the r i g h t grasps a l y r e w i t h a shaded sound box
and arms i n added-white clay. His m i l k y - b r o w n
mantle w i t h r e d d i s h - b r o w n borders a n d folds
serves as a b a c k d r o p for his body. T h i n w h i t e
lines describe folds i n the r e d d i s h - b r o w n c l o t h o n
b o t h disks. The l o n g c u r l y hair o f the y o u t h o n
A , painted w i t h black gloss and d i l u t e , is b o u n d
by an elaborate diadem the same color as his
mantle. There are shadows o f lost added-clay
projections at the upper front edges o f the
diadems o n b o t h disks. The nude w i n g e d
male, w e a r i n g a similar diadem, has con
trasting l o n g straight hair. A dark b r o w n
fillet adorns his upper r i g h t arm, a n d a
bracelet i n raised w h i t e clay encircles his
r i g h t w r i s t . This double-disk's w h i t e - c l a y
details may o r i g i n a l l y have been g i l d e d .
The w i n g e d male grabs the y o u t h b y t h e
arm, p r o p o s i t i o n i n g h i m w i t h parted lips.
As the y o u t h looks back, t h e i r m a t c h i n g
pale eyes w i t h black p u p i l s l o c k .
Both sides o f this double-disk are i n
scribed hopais kalos (the boy is beautiful). The
beautiful nude boy o n side B is being awarded
a b r o w n sash w i t h w h i t e fringes b y a grace
f u l l y draped w i n g e d goddess. These t w o

figures'

pale eyes do n o t meet; instead the youth's left

61.1

foot, s p o r t i n g an added-clay anklet, overlaps t h e

220 202 WHITE GROUND

female's r i g h t , f o r m i n g a V-shaped composition.

He holds open his m i l k y - b r o w n cloak w i t h dark
borders w i t h his r i g h t h a n d and grasps a sprig
of black i v y i n his left. A nonsense i n s c r i p t i o n
enlivens his elaborate r e d d i s h - b r o w n diadem. The
w i n g e d female's peplos is pale orange; its folds
a n d the v i s i b l e contours o f her breasts and r i g h t
leg are a darker orange d i l u t e . The r e d d i s h - b r o w n
borders o f her garment's overfall and s k i r t are deli
cately embellished w i t h y e l l o w i s h w h i t e , w h i l e a
m i l k y - b r o w n sakkos w i t h a r e d d i s h - b r o w n b a n d
a n d a y e l l o w i s h - w h i t e p a t t e r n covers her hair. A
w h i t e - c l a y bracelet graces her left w r i s t ; beneath
her ear is the shadow o f a lost added-clay earring.
The contours o f her arms and feathered w i n g s
have been reinforced w i t h relief lines, w h i l e inter
nal

details o f the w i n g s ' plumage are a pale orange

d i l u t e . Here p r e l i m i n a r y sketch lines, w h i c h are

impressed rather t h a n clear gloss, reveal adjust

61.2

ments i n the p o s i t i o n o f the youth's sprig and the

edge o f his drapery.
There has been l i t t l e m o d e r n agreement about
the ancient use o f this double-disk. A rarity,

Jenifer Neils (1994) w o u l d i d e n t i f y the boy o n

generally discovered i n and a r o u n d Athens, this

disk B as a w i n n e r o f the euandria, an A t h e n i a n

t y p e o f object has c o m m o n l y been called a b o b b i n

t r i b a l beauty contest for boys.

based o n Gisela M . A . Richter's suggestion that i t

c o u l d have been employed for w i n d i n g y a r n . Use
as a child's toy, like a yo-yo, has also been sug
gested. The double-disk's fragility, however, m i g h t
indicate that i t was a s y m b o l i c version o f a d a i l y life object. A n d erotic iconographic emphases o n
y o u t h f u l male beauty a n d o n a b d u c t i o n scenes
p r o b a b l y signify that double-disks were u n s u i t
able for c h i l d r e n . I n fact, t h e i r discovery i n w o m
en's graves has recently p r o m o t e d the v i e w that
this object was a love charm employed b y y o u n g
A t h e n i a n w o m e n for l u r i n g men o f t h e i r dreams.
This double-disk's iconography has likewise
been d i s p u t e d . I n the p r e d o m i n a n t entirely m y t h
ological i n t e r p r e t a t i o n , the west w i n d , Zephyros,
and Apollo's love, H y a k i n t h o s , appear o n A , and
Eos w i t h a h u m a n paramour (Kephalos or T i t h o nos) o n B. I n a c o m p e l l i n g alternative, a n o n m y t h o l o g i c a l y o u t h or boy is coupled w i t h a
d i v i n e figure o n each side: Eros o n A , N i k e o n B.
E r i k a Simon (1985) suggests the disks' depictions
may celebrate a y o u n g lyre-player's v i c t o r y i n a
d i t h y r a m b i c chorus at an A t h e n i a n festival, w h i l e

221 202 WHITE GROUND

R E F E R E N C E S : ARV 890.175, 1673; BAdd 302; BAPD Vase

211738; Richter 1928; Richter 1930b, 348, fig. 250, 350; Bren
del 1932, 308-309; Seltman 1933, 70; Diepolder 1936, cover,
16-17, p i . 19.1-2; R i c h t e r / H a l l , 103-105, no. 74, pis. 76, 178.74;
Scheurleer 1936, 101-102; Schuchhardt 1940, 204-205, figs. 1 7 0 71; Richter 1945a, 13 fig., 14; Richter 1945b, 17; Richter 1949b,
14; Byvanck-Quarles v a n U f f o r d 1950, 189; G i g l i o l i 1950, 35, p i .
11.1-2; N e w York 1952, 220, no. 3 1 , color p i . ; Richter 1953, 85,
303n.50, p i . 66b; L e v i and Stenico 1956, [ 1 0 8 - 1 0 9 ] , figs. 1 0 0 - 1 0 1 ,
[110]; S i c h t e r m a n n 1956, 119n.77; Greifenhagen 1957, 6 4 - 6 5 , 66,
fig. 50; EAA III (1960) s.v. Giacinto 869, 870, fig. 1084 (C. Caprino), a n d s.v. Giocattolo 908 (J. D r i g ) ; Beck 1975, 42, no. 59, p i .
48; Richter 1975, 98, fig. 69; M e r t e n s 1977, 141-43, no. 2, p i .
21.1; Dover 1978, 75, 78, 93, 2 2 1 , no. R847; E. B. H a r r i s o n 1979,
92, p i . 2 6 . 1 ; K a e m p f - D i m i t r i a d o u 1979, 15-16, 8 1 , no. 53, p i . 7 . 1 ;
R e i n h a r d t 1980, 44; Schefold 1981, 326-27, figs. 4 7 8 - 7 9 ; Neuser
1982, 121-22, 128-29, no. Z 8; W e h g a r t n e r 1983, 157, no. 5, 158,
p i . 5 3 . 1 ; Shapiro 1985; Simon 1985, 7 0 - 7 1 , p i . 62a-b; Maas a n d
Snyder 1989, 89, 2 3 0 - 3 1 n . 6 1 ; I m m e r w a h r 1990, 99, no. 657, p i .
29.119; LIMC v (1990) s.v. H y a k i n t h o s 549, no. 44, 550, p i . 379
(L. and F. V i l l a r d ) ; W e i and B u h l 1990, 5 0 0 n . l 3 3 ; LIMC v i (1992)
s.v. N i k e 877, no. 317, 9 0 1 , p i . 583 ( A . G o u l a k i - V o u t i r a ) ; LIMC v u
(1994) s.v. Thanatos I. I n c o r r e c t identifications o f Thanatos 906,
no. 35 (J. Bazant); Neils 1994, 156, fig. 8 and back cover; P i p i l i
2002, 2 7 7 n . l 0 , 278 w i t h n.13, 279n.27.
2

On the suspension holes, see Boardman 1954, 1 9 3 n . l l l . I

w o u l d l i k e t o t h a n k R i c h a r d E. Stone, Senior M u s e u m Conserva
tor i n the D e p a r t m e n t o f Objects Conservation at the M e t r o p o l i t a n
M u s e u m o f A r t , for e x a m i n i n g the d o u b l e - d i s k b y microscope; no
traces o f g o l d are v i s i b l e o n the surface.

62
WHITE-GROUND LEKYTHOS
WITH SECOND WHITE
A t t r i b u t e d to the V o u n i Painter, ca. 460 B.C.
H 42.4 cm
N e w York, The M e t r o p o l i t a n M u s e u m o f A r t
35.11.5, Purchase, A n o n y m o u s Gift, 1935
Woman and boy at

tombs

C O N D I T I O N : Good; upper portion of body, neck,

and shoulder reassembled from large fragments
with in-painting along cracks; rest intact; scattered
white incrustation on top of mouth, upper mean
der border, and black tomb bases; scratches, chips,
and losses in white-ground surface, including on
woman's chiton sleeve, on boy's face, head, neck,
and arm; scattered losses of black, red, and secondwhite colors; black incrustation and brown discolor
ation of white-ground surface on back; black gloss
cracked on woman's himation and lower vase body;
foot's resting surface abraded and chipped.

THE

RICHLY

L A Y E R E D P O L Y C H R O M Y in

the

v i v i d d e p i c t i o n o f a w o m a n and a boy v i s i t i n g
an A t t i c cemetery o n this Early Classical funer
ary lekythos is e x t r a o r d i n a r i l y w e l l preserved. Its
w h i t e g r o u n d is the creamy y e l l o w color that was
used i n c o n j u n c t i o n w i t h a chalky, so-called sec
o n d w h i t e . This w h i t e r second w h i t e describes n o t
o n l y the flesh o f the female figure at the left, w h o
readies a commemorative fillet, b u t also t w o t a l l
gravestones and one or more b u r i a l mounds

(tym-

boi) that occupy the center o f the composition.

Some o f the many fillets t i e d a r o u n d these grave
stelai are also second w h i t e , w i t h t h e i r borders,
and those o f the vase's other w h i t e forms, o u t l i n e d
i n black or d i l u t e gloss. The rest o f the fillets are
either s i m p l y d r a w n i n o u t l i n e , or painted red
or b l a c k t h e t w o other colors employed i n the
lekythos s four-color scheme. The randomness
w i t h w h i c h the fillets are t i e d and t h e i r frequent
overlappings enhance the naturalism and i m m e
diacy o f this graveyard scene.
The d o w n t u r n e d m o u t h o f the black-haired
boy i n a red h i m a t i o n at the r i g h t denotes his sad
ness. He too holds a fillet (color lost) to bedeck the
m o n u m e n t o f a n o w - u n k n o w n deceased relative or

f r i e n d . The contours o f the boy's f o r m are d r a w n

i n o u t l i n e so that the creamy w h i t e g r o u n d itself
serves as the color o f his flesh. The g r o u n d also
provides the creamy color o f the woman's c h i t o n ,
w h i c h is f u r t h e r detailed w i t h fold lines i n d i l u t e .
The edges and folds o f the boy's red h i m a t i o n
were black; however, m u c h o f the p i g m e n t has
not adhered to the u n d e r l y i n g glossy sketch lines,
leaving pale streaks o f exposed g r o u n d along
p l a n n e d folds i n the c l o t h (cf. cat. no. 64).
On this l e k y t h o s b o t h red and second w h i t e
have been employed for p a i n t i n g details o n t o p o f
entirely black forms. The woman's black h i m a t i o n
has red folds, and her hair is b o u n d w i t h red r i b
bons. The left grave monument's black base is out
l i n e d i n red against that o f the one o n the r i g h t ,
w h i c h i t overlaps. A w r e a t h w i t h red berries and
w h i t e leaves, a pair o f w h i t e halteres, a w h i t e a r y ballos suspended from red thongs, and a red s t r i g i l
a d o r n the base o f the r i g h t monument, w h i c h thus
must have belonged to an athlete.
The gravestones' black finials, embellished
w i t h w h i t e palmettes and volutes, overlap the
broken-meander border m a r k i n g the t o p o f the
lekythos's b o d y and e x t e n d onto its w h i t e shoul
der. This impressive motif, suggesting the tower
ing h e i g h t o f the gravestones, is employed also
by the A c h i l l e s Painter and other masters. Here
the i m p e r f e c t l y preserved p a i n t surface reveals
that these monuments were p a i n t e d d i r e c t l y over
the vase's ornament, w h i c h was applied before
the p i c t u r e was p a i n t e d . For example, the r i g h t
gravestone's second-white shaft o r i g i n a l l y covered
the black l i n e r u n n i n g below the upper meander,

! :

62.2

and this black line was f u r t h e r concealed b y a

row

o f black dots p a i n t e d across the monument's

face. Part o f t h i s black line has n o w been exposed

by the flaking o f the monument's p a i n t surface
t o w a r d the upper r i g h t . Pigment has likewise
flaked from the t o p o f the left monument's finial,
exposing the black lines r u n n i n g above the orna
mental meander. The use o f black o n these w h i t e
gravestones aided i n concealing the vase's under
l y i n g ornament. Finally, the w h i t e palmette and
w h i t e volutes o n the gravestones' black finials
contrast w i t h the black palmette c o n f i g u r a t i o n
( w i t h alternate red fronds) o n the lekythos's w h i t e
shoulder.

223 202 WHITE GROUND

R E F E R E N C E S : ARV
5 8 0 . t o p . l ; ARV
744.1; Para 413; BAdd
284;
BAPD Vase 209194; L e h m a n n 1945, 3 1 ; Richter 1953, 88, p i . 69a;
N o b l e 1965, 65, fig. 220; K u r t z 1975a, 27, p i . 26.2 ; Richter 1975,
114, fig. 83; W e h g a r t n e r 1985, 14, 17, fig. 11; N o b l e 1988, 141, fig.
220; K u r t z 1989b, 127-29, 128, figs. 6 a - b ; Oakley 2003, 168, fig.
9; Oakley 2004a, p i . 7.a-b, 145-46; ( i n Oakley 2004a and Oakley
2003, fillet h e l d b y boy is i d e n t i f i e d i n c o r r e c t l y as a w r e a t h ) .
1

T h e painter's name vase comes f r o m V o u n i , C y p r u s : N i c o

sia, C y p r u s M u s e u m V 453, see ARV
744.2, 1561; BAPD Vase
209195; Beazley 1989b, 34, no. xv, V.453, p i . 14. T w o m o u n d s
rather t h a n one may be depicted; see H u m p h r e y s 1980, 110. See,
recently, Oakley 2004a, 191-203, o n the issue o f w h e t h e r or n o t
gravestones s h o w n o n m i d - f i f t h - c e n t u r y w h i t e l e k y t h o i reflect
contemporaneous A t h e n i a n monuments. For a gravestone overlap
p i n g the shoulder o n a w h i t e l e k y t h o s a t t r i b u t e d to the A c h i l l e s
Painter, see B e r l i n , A n t i k e n s a m m l u n g 1983.1: BAPD Vase 8 9 4 1 ;
Oakley 1997, pis. HOB, 141. For the graffito " N V " o n the under
side o f the foot o f the V o u n i Painter's lekythos, see Alexander, i n
R i c h t e r / H a l l , 222; Johnston 1979, 156-57, T y p e 9F, 226, 247.
2

Reassembled from fragments, with

missing parts and cracks filled in with plaster; those
fragments burned in antiquity have turned gray;
black gloss chipped on handle, neck, and mouth;
some loss of white ground on vase's body and shoul
der at upper back; gray, brown, and peach discolorations of white ground; white deposit on sakkos
and parts of chair; losses of dilute details on second
white of women's flesh; color on women's dresses
lost; ends of central fronds of right black palmette
on shoulder missing.
CONDITION:

THE

BRIGHT

SECOND

WHITE

employed

for

the figures' flesh against a creamy beige g r o u n d

marks this w h i t e - g r o u n d lekythos as an early
w o r k o f the Achilles Painter, the anonymous
master named after a d e p i c t i o n o f the hero o n a
red-figured amphora i n the Vatican w h o is the
preeminent decorator o f these Classical A t h e n i a n
funerary vases (cat. nos. 6 4 , 6 5 ) . Here a standing
w o m a n , w e a r i n g a peplos or a c h i t o n (only the
u n d e r d r a w i n g is preserved), w h o is n o t noticeably
described as a servant, holds o u t a baby boy to
a seated w o m a n w e a r i n g a c h i t o n a n d h i m a t i o n ,
w h o extends her open hands as the infant t u r n s
t o w a r d her and also reaches out. Both the male
c h i l d and the w o m e n have w h i t e flesh. A l t h o u g h
the Berlin lekythos's baby is the o n l y one extant
on his w h i t e l e k y t h o i , t h i s scene anticipates the
l i m i t e d r e p e r t o r y o f q u i e t l y posed standing or
seated figures, often s h o w n i n domestic settings,
that characterizes the Achilles Painter's mature
w h i t e - g r o u n d oeuvre. A comparable three-figure
composition o n later Classical gravestones empha
sizes the p o i g n a n t u n d e r t o n e o f A t h e n i a n funer
ary iconography that relies o n generic vignettes
that evoke daily life and i n w h i c h the dead may be

63.1

63
WHITE-GROUND LEKYTHOS WITH
SECOND WHITE

envisioned as i f alive. T h u s here a male c h i l d , w h o

may or may n o t be deceased himself, is presented
to a w o m a n w h o may w e l l be his mother, w h o may
or may n o t have d i e d i n c h i l d b i r t h . A l t h o u g h i t
may n o t be possible to i d e n t i f y these figures pre

A t t r i b u t e d to the Achilles Painter, ca.

460-450

36.9

cisely, the e m p t y space between t h e m is o m i n o u s l y

B.c.

emphasized (cf. cat. no. 6 5 ) . The t o p central place

cm

ment o f a kalos name w i t h p a t r o n y m i c h e r e

Berlin, A n t i k e n s a m m l u n g , Staatliche Museen

Dromippos, son o f D r o m o k l e i d e s w r i t t e n i n

zu B e r l i n P r e u i s c h e r Kulturbesitz F 2 4 4 3

three lines i n a neatly aligned stoichedon style that

F r o m P i k r o d a p h n i (ancient Halimous),

evokes i n s c r i p t i o n s o n stone, imparts a f o r m a l i t y

A t t i k a ; purchased 1877

and m o n u m e n t a l i t y t o t h i s early lekythos; t h i s

practice w i l l continue i n later phases o f the A c h i l

Standing

woman presents baby boy to seated

woman

les Painter's career w i t h different (cf. cat. no. 6 4 )

kalos names.

224 202 WHITE GROUND

I n a d d i t i o n to the second w h i t e , an abundant

use o f black gloss also marks this w h i t e lekythos
as one o f the painter's early w o r k s . Here black
gloss does n o t merely articulate the vase's m o u t h ,
neck, a n d handle; its lower b o d y and foot; the p a l mettes o n its w h i t e shoulder a n d the ornamental
b a n d o f a stopped meander w i t h saltire squares
at the t o p o f its body; b u t i t also describes forms
w i t h i n the vase-painting itself. The hair o f b o t h
female figures, the seated woman's h i m a t i o n , the
oinochoe, and the handle o f the m i r r o r h a n g i n g
above her are a l l black. Red p a i n t e d o n t o p o f this
black o r i g i n a l l y described the himation's folds
a n d the women's hair bands. A complete loss o f
color o n t h e i r dresses emphasizes the painter's
nearly black d r a w i n g lines and the probable d i v i
sion o f color a p p l i c a t i o n i n t o pre- and p o s t f i r i n g
stages. The second w h i t e for the figures' flesh,
w h i c h was fired o n and is q u i t e t h i c k l y applied,
is also o u t l i n e d i n black to strengthen its differ
e n t i a t i o n from the creamy w h i t e g r o u n d . Details
on t h i s second w h i t e have been q u i t e sensitively
p a i n t e d w i t h a g o l d e n - b r o w n d i l u t e gloss. T h e y
are remarkably w e l l preserved o n the baby boy,
i n c l u d i n g delicate i n n e r anatomical markings, a
cord w i t h a black amulet suspended diagonally
across his body, his concerned facial features, and
his s t i l l - t h i n hair. W h i l e the use o f a second w h i t e
w i t h such descriptive d i l u t e detailing may go out
of fashion o n Classical w h i t e - g r o u n d l e k y t h o i (cat.
nos. 64, 65), i t is adopted as an i m p o r t a n t feature
of later Classical A t t i c red-figure (cf. cat. nos. 34,
35,

100, 101). The seated woman's klismos (chair) is

63.2

o u t l i n e d a n d detailed w i t h a s l i g h t l y d i l u t e d black
a n d p a i n t e d a pale m i l k y b r o w n that suggests a
piece o f w o o d e n f u r n i t u r e . The chair's color is bal
anced at the far left b y a h a n g i n g sakkos that was
o r i g i n a l l y a deep taupe w i t h b r o w n ties. A l t h o u g h
this lekythos was smashed i n t o pieces and b u r n e d
i n a n t i q u i t y , p r o b a b l y o n a funeral pyre, its fine
d r a w i n g , remarkable detail, and p a r t i a l l y extant
p o l y c h r o m y a l l attest to the A c h i l l e s Painter's abil
i t y f r o m the v e r y b e g i n n i n g o f his career to d i s t i l l
a nuanced image o f h u m a n i n t e r a c t i o n from the
colorful w o r l d around h i m .

R E F E R E N C E S : ARV
995.118, 1576; Para 438; BAdd 312; BAPD
Vase 213940; CVA B e r l i n 8 [Germany 62] 2 5 - 2 6 , pis. 9.3-5,
10.1, 11.4-5, Beilage 6; F u r t w n g l e r 1885, n , 6 7 8 - 7 9 , no. 2443;
W e i s s h u p l 1890, 48, no. 3, 6 0 - 6 1 ; W e r n i c k e 1890, 9 3 - 9 4 ; Bosanquet 1896, 165, no. 8, 169, 173, 175, p i . 7; W . K l e i n 1898, 159, no.
8; Fairbanks 1907, 159-60, no. 7; Riezler 1914, 34, 46, 5 1 - 5 2 , 58,
2

225 202 WHITE GROUND

80, 9 1 , p i . 2; Beazley 1928, 49; Picard 1930, 104, p i . 13.2; Neugebauer 1932, 58-59; R o b i n s o n a n d F l u c k 1937, 100; Schuchhardt
1940, 293, 296, fig. 274; Schloss Celle 1954, no. 171; G t t e 1957,
2 1 - 2 2 ; Greifenhagen 1966, 2 9 - 3 0 , 5 1 , p i . 8 1 ; G e h r i g , Greifenhagen, a n d K u n i s c h 1968, 157, p i . 90; Gericke 1970, 160, table 54,
no. 275; Felten 1971, 1 5 n . l 4 , 38, 85, p i . 1.1, 99, p i . 15.3; Green
1972, 9 at n.83, 16n.83, p i . 3e; Z i n s e r l i n g 1973, 80, p i . 33; Kurtz
1975a, 38, 40, 44, fig. 19a, p i . 3 5 . 1 ; H u m p h r e y s 1980, 113, p i .
2b; Havelock 1981, 115, fig. 94; R h f e l 1984a, 108-10, fig. 43;
Gersdorff [1985], 42, fig. 34; Keuls 1985, 139, 141, fig. 123; W a l
ter 1985, 43, fig. 38, 44; W e h g a r t n e r 1985, 14, 20, 23, fig. 17, 24;
Shapiro 1987b, 108, no. 20, 109, 111, 114, p i . 2b; Heilmeyer 1988,
1 4 0 - 4 1 , no. 2; Kurtz 1988, 147, fig. 24.3; Boardman 1989, 132, fig.
261; Reilly 1989, 427, 433, no. 17, p i . 74, fig. 17; Oakley 1990,
52n.356; F r o n t i s i - D u c r o u x and Vernant 1997, 8 0 - 8 1 , i l l . 6; Oakley
1997, figs. 7 A , D, p i . 91C; B e r l i n 2002, 3 0 1 , 306 fig., 309, no. 199;
Oakley 2004a, 36, list 3, no. 47, 47, 48, fig. 2 1 .
For the A c h i l l e s Painter's sensitive d e p i c t i o n o f the male c h i l d ,
cf. the r e d - f i g u r e d neck-amphora w i t h Euphorbos a n d Oedipus:
Paris, Cab. M d . 372; ARV
987.4; Para 437; BAdd 3 1 1 ; BAPD
Vase 213824; Oakley 2003, 178, fig. 17. For a comparable c o m
p o s i t i o n o n Classical gravestones, see L e i d e n , Rijksmuseum v a n
O u d h e d e n I 1903/2.1; Oakley 2004a, 2 2 1 , fig. 174; and A t h e n s ,
N a t i o n a l Archaeological M u s e u m 3790; Kaltsas 2002, 183, no. 362.
2

64
WHITE-GROUND

LEKYTHOS

A t t r i b u t e d to the A c h i l l e s Painter, ca.

445-440 B.C.
H 38.4 c m
Boston, M u s e u m o f Fine A r t s 13.201,
Frances Bartlett F u n d
Said to be from Gela; purchased from
E. P. W a r r e n 1913
Girl brings chest to

woman

Intact; gray incrustation on top of

mouth, outer edge of mouth chipped; black gloss
on handle chipped; leaves missing from palmettes
on white-ground shoulder; white ground pitted on
right back of body; gray, taupe, and beige incrusta
tions on white ground and figure of girl; surface
chips with loss of dilute-gloss outline of girl's nose
and lower rear contour of her upper arm; color lost
on girl's garment, central sections of chest, and
hanging sakkos; red flaked on woman's himation;
this red has bled onto her yellow chiton and the
white ground; fillet at juncture of vase's body and
foot chipped.
CONDITION:

THIS

MATURE

WORK

o f t h e A c h i l l e s Painter is

the paradigmatic Classical A t h e n i a n w h i t e - g r o u n d

On the r i g h t , the p a i n t e d colors are e x t r a o r d i

n a r i l y w e l l preserved, and t h e i r visual effect has

f u n e r a r y lekythos, a t y p e o f vase that is often

been l i k e n e d to lost contemporary free p a i n t i n g .

called s i m p l y a " w h i t e l e k y t h o s / ' The quiet, seem

The t a l l woman's b r i l l i a n t y e l l o w ocher c h i t o n is

i n g l y o r d i n a r y moment f r o m daily life s h o w n here

s t r i k i n g l y j u x t a p o s e d w i t h her deep red h i m a

has been d r a w n from this e x t r a o r d i n a r y painter's

t i o n . As this red d i d not adhere to the dilute-gloss

n a r r o w yet evocative r e p e r t o r y : I n a domestic i n t e

u n d e r d r a w i n g , these d r a w i n g lines, w h i c h have,

rior, denoted b y the sakkos and oinochoe hang

recently, been mistaken for i n c i s i o n , are n o w v i s

ing

ible. Finally, any lines that may once have been

above at left, a g i r l carries a chest that c o u l d

w e l l contain j e w e l r y to a t a l l w o m a n , w h o wears

applied i n t e n t i o n a l l y o n t o p o f the garment's col

a h i m a t i o n over her c h i t o n , as i f ready to leave

ors to indicate folds i n the c l o t h have n o w also

home. These self-composed female figures stand i n

disappeared entirely (cf. cat. no. 66).

contrapposto poses and exchange serious glances.

T h e y approach the gravitas o f contemporaneous
sculpture f r o m the Parthenon. Such pairs o f female
figures were once c o m m o n l y referred to as " m i s
tress and m a i d , " b u t often, as here, n o t h i n g i d e n t i
fies one o f t h e m as a servant or slave rather t h a n
another family member. As is characteristic o f
w h i t e l e k y t h o i a t t r i b u t e d to the A c h i l l e s Painter,
a kalos name w i t h p a t r o n y m i c h e r e A x i o p e i t h e s ,
son o f A l k i m a c h o s , w r i t t e n stoichedon style i n a
centralized three-line inscriptionenhances

the

f o r m a l i t y o f the scene. I n this vase-painting the

i n s c r i p t i o n also helps to offset the difference i n
h e i g h t between the g i r l and the w o m a n . A b o v e
the figures' heads, the A c h i l l e s Painter's classic
stopped meander i n t e r r u p t e d b y saltire squares
r u n s along the t o p o f the vessel's body. I t is note
w o r t h y that this fine, t y p i c a l A t h e n i a n funerary
lekythos, said to have been f o u n d i n Gela, Sicily,
appears to have been e x p o r t e d i n a n t i q u i t y .
T h i s masterpiece's imperfect state o f pres
e r v a t i o n reveals the different aspects o f classic
w h i t e - g r o u n d technique. O n the left, the vasepainting's o r i g i n a l b r i g h t colors have vanished.
T h u s the eloquent o u t l i n e d r a w i n g i n b r o w n to
brownish-orange d i l u t e gloss that is exposed, such
as for the girl's c h i t o n , is largely u n d e r d r a w i n g .
The backswept hair o f b o t h w o m e n , rendered as
sketchy, soft masses i n black gloss, has been f u l l y
preserved. The chest s h o w n , at the center o f the
composition, replete w i t h the k n o b s employed for
fastening i t w i t h a cord, is p a r t i a l l y preserved. Its
borders are p a i n t e d a pale, p i n k i s h - b r o w n , b u t
the color o n its mid-section is lost. N o w seeming
to float above the girl's extended h a n d and arm, i t
has even mistakenly been called a stool.

227 202 WHITE GROUND

R E F E R E N C E S : ARV 997.156, 1568; Para 438; BAdd

313; BAPD
Vase 213978; Annual Report, Museum of Fine Arts, Boston 38
(1913) 92; Beazley 1914, 222, no. 35; Fairbanks 1914, 249-50, no.
32a, p i . 4 1 ; Beazley 1918, 164, fig. 100; L a n g l o t z 1922, 16-17, p i .
37, fig. 54; P f u h l 1923, I I , 5 5 1 , 5 6 1 , m , 207, fig. 538; P f u h l 1924,
42, 44, 64, fig. 89; P f u h l 1926, 68, 64, fig. 89; CB I, 4 6 - 4 7 , pis. 24,
26; G u l l i n i 1951, 12, p i . 6.3; Buschor 1954, 49; Buschor 1959, 32,
36, 39, fig. 32, 4 1 ; Richter 1959, 337, fig. 453; Robertson 1959,
141 fig., 142, 146; T h i m m e 1964, 24, p i . 7 . 1 ; Richter 1966, 75,
353, fig. 392; Charbonneaux, M a r t i n , a n d V i l l a r d 1972, 2 5 1 , fig.
284, 3 9 1 ; K u r t z 1975a, 46n.9; Folsom 1976, p i . 47; C. C. Vermeule
1982, 1 8 0 - 8 1 , 228, 504, fig. 234; W e h g a r t n e r 1983, 22, 186n.21,
pi. 4 . 1 ; K u r t z 1988, 146-47, fig. 24.2; Beazley 1989b, 26, 28, 3 1 ,
33, p i . 17.1; Boardman 1989, 132, 136, fig. 263, 247; K n o l l 1989,
90, 9 1 , fig. 12; Reilly 1989, 4 4 1 , no. 87; I m m e r w a h r 1990, 101, no.
5(d), p i . 31.126; H a d u l l a a n d W a c h s m u t h 1996, 303, fig. 2; Oak
ley 1997, 29, 63, 142-43, no. 210, color p i . 3B, p i . 3a-b; Oakley
2004a, 38, no. 84; Oakley 2004b, 212, figs. 8-9, 214, no. 30; Panv i n i and G i u d i c e 2004, 384, no. L 1 0 .
2

For the Parthenon's I o n i c frieze, see Neils 2001, a n d for the

temple a n d its sculptures, i n general, w i t h references, see H u r w i t
2004. Cf. for a chest w i t h its central color preserved, CVA Basel
3 [ S w i t z e r l a n d 7] 75, p i . 4 9 . 1 - 2 , Basel, A n t i k e n m u s e u m BS 454.
K o c h - B r i n k m a n n 1999, 68, mistakes the exposed gloss sketch lines
for i n c i s i o n .
T h e small i n n e r containers, w h i c h h e l d olive o i l for grave
offerings a n d libations, characteristic o f Classical w h i t e l e k y t h o i ,
are revealed o n examples a t t r i b u t e d t o the A c h i l l e s Painter t h a t
are n o t i n t a c t . T h e neck a n d shoulder o f his l e k y t h o s i n Berlin,
A n t i k e n s a m m l u n g 1983.1 (see cat. no. 62, R E F E R E N C E S ) , have
separated at the j o i n w i t h the b o d y a n d may be l i f t e d off, expos
ing the i n n e r container, w h i c h is i n the g l o b u l a r shape t y p i c a l
of t h i s painter's w o r k s , see W e h g a r t n e r 1985, 14, fig. 7, 15, fig.
9. See Schreiber 1999, 178, 181-82, figs. 20.26-32 o n exposed
g l o b u l a r i n n e r o i l containers o f several w h i t e l e k y t h o i a t t r i b u t e d
to the A c h i l l e s Painter. The association o f these containers' v a r i
ous shapes w i t h different painters was first made b y D i e t r i c h v o n
Bothmer, see N o b l e 1988, 68. For the c y l i n d r i c a l containers associ
ated w i t h the Sabouroff Painter, see cat. no. 66.

65
WHITE-GROUND LEKYTHOS
A t t r i b u t e d to the Achilles Painter, ca.
435-430 B.C.
H 39.4 cm
N e w York, The M e t r o p o l i t a n Museum, o f A r t
07.286.42, Rogers F u n d , 1907
F r o m Eretria; purchased 1907
Seated youth holding out a fruit

to standing

woman

C O N D I T I O N : Intact save for reattached handle; black

gloss chipped on handle, neck, and mouth; brown,
beige, and yellow discolorations of white ground;
surface flaked and pitted, esp. on and around female
figure; vertical scratches in white ground extend
into youth's hair and before his face; raised incrus
tation of pigment surface at back of youth's head;
scratches in stool's seat and between its legs; gashes
run through woman's cheek and center of her body;
red color of youth's himation lost and color on wom
an's chiton lost; modern red fold lines on woman's
chiton were removed; abrasion around edge of foot's
resting surface; gray incrustation at bottom center.

T H E S E A T E D Y O U T H o n t h i s late w o r k b y the
Achilles Painter has e x t r a o r d i n a r y p a l e - b r o w n
flesh and tousled hair i n shades o f black a n d
Venetian red t o p p e d w i t h w a v y strokes o f w h i t e
that may have been influenced b y the p o l y c h r o m y
o f Classical free p a i n t i n g . I n its rare use o f male
flesh color o n w h i t e g r o u n d w e l l before the huge
l e k y t h o i from the end o f the fifth c e n t u r y B.C.
(cat. no. 68), the Metropolitan's vase has l o n g been
65.1

compared to the Thanatos Painter's contemporane

ous w h i t e - g r o u n d lekythos i n the B r i t i s h M u s e u m ,
o n w h i c h H y p n o s is s h o w n as a w i n g e d y o u t h
w i t h p i n k flesh. Significantly, w h i l e Hypnos's flesh
color is contained w i t h i n the o u t l i n e d contour o f
his body, the flesh color o f the Achilles Painter's
y o u t h was o r i g i n a l l y a p p l i e d over the figures matt
b r o w n outlines, w h i c h merely served as under
d r a w i n g . I n t e r i o r details o f the youth's anatomy,
such as his ear, the contour o f his upper a r m , a n d
his eye were once p a i n t e d o n t o p o f the flesh color.
The sclera o f the youth's carefully rendered profile
eye is reserved i n the w h i t e color o f the g r o u n d ;
the p u p i l a n d the contours o f the upper l i d and
iris are black, w h i l e the edge o f the lower l i d is

228 202 WHITE GROUND

b r o w n . Today the A c h i l l e s Painter is lauded for

the e x q u i s i t e l y c o n t r o l l e d draftsmanship and clas
sic understatement o f his p r i m e w o r k s (cf. cat. no.
64) as w e l l as t h e i r r e m a i n i n g color, b u t the N e w
York l e k y t h o s preserves evidence that i n the end
color mattered most o f a l l to the painter himself.
A l t h o u g h the youth's h i m a t i o n has been
described as w h i t e (Oakley 1997), this was not its
o r i g i n a l color. The garment's w h i t e surface n o w is
actually the lekythos s b r i g h t w h i t e g r o u n d itself,
w h i c h had l o n g been protected b y a lost p i g m e n t
that once covered the h i m a t i o n s surface. Scant
traces o f a v i v i d red color at the youth's knees
appear to be the remains o f the Classical color.
( A l t h o u g h some m o d e r n overpaint was removed
from this vase many years ago, a b r i g h t red color
for the h i m a t i o n had been mentioned before, and
more traces o f color are v i s i b l e o n o l d photographs
[Richter/Hall].) A second, deeper red, w h i c h is s t i l l
w e l l preserved, decribes the cushion o f the youth's
diphros.

The sakkos h a n g i n g b e h i n d the w o m a n

is also deep red and f u r t h e r decorated w i t h z i g

zags and a r o w o f dots. A n oinochoe and a m i r r o r
h a n g i n g above the y o u t h as w e l l as the stool o n
w h i c h he sits are s i m p l y d r a w n i n matt b r o w n
(raw

u m b e r ) , w h i c h is t y p i c a l o f this master's

late w o r k s . These h a n g i n g objects set this w h i t e g r o u n d scene indoors, like many others from the
h a n d o f the A c h i l l e s Painter.
The y o u t h holds out a r o u n d f r u i t to the n o w
p o o r l y preserved b r o w n - h a i r e d w o m a n , w h o
stands before h i m i n a contrapposto pose. She
h a l f extends her r i g h t a r m t o w a r d the f r u i t , leav
ing a v o i d at the center o f the composition. O n l y
a faint b r o w n i s h shadow o f the f r u i t remains.

65.2

Beyond s i m p l y being a t o k e n o f affection between

a man and a w o m a n , i f the f r u i t depicted was a
pomegranatestrongly associated w i t h death
and the U n d e r w o r l d i t m i g h t i d e n t i f y the lav
i s h l y p a i n t e d y o u t h as the deceased i n this t y p i
cal,

q u i e t t w o - f i g u r e composition o n a funerary

lekythos.

229 202 WHITE GROUND

R E F E R E N C E S : ARV 1001.209; BAPD Vase 214031; Beazley 1914,

226, no. 42; Fairbanks 1914, 2 6 0 - 6 1 , no. 14a, p i . 39; Richter 1917,
129; Beazley 1918, 164; P f u h l 1923, n , 560-62, i n , p i . 206.536;
Beazley 1925, 379, no. 40 ( M a n n e r o f A c h i l l e s Painter); Richter
1927, 162; R i c h t e r / H a l l , 151, no. 117, pis. 116, 176; B y v a n c k Quarles v a n U f f o r d 1950, 195-96; Richter 1953, 99; Kraiker 1958,
92, 149, pis. 4 6 - 4 7 ; Buschor 1959, 4 1 , 46, fig. 38, 47; Gericke
1970, 159, table 53, no. 267; Folsom 1976, 146, p i . 48; S u t t o n 1981,
321-22, 326, 3 8 1 , table G . l , 419, no. G.146; Oakley 1997, 27, 66,
153, no. 292, color p i . 3 A , p i . 1 5 0 A - B , figs. 5D, 6D; TzachouA l e x a n d r i 1998, 93, 94, fig. 23; Oakley 2004a, 60, list 4, no. 33.
2

66
WHITE-GROUND LEKYTHOS
A t t r i b u t e d to the Sabouroff Painter, ca.
445-440 B.c.
H 31.3 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche Museen
zu B e r l i n P r e u i s c h e r K u l t u r besitz F 2455
Probably f o u n d i n A t t i k a ; purchased 1877
from A t h e n s
Hermes,

Charon, and a youth

C O N D I T I O N : Body intact; foot and handle reat

tached; black gloss chipped and flaked on handle,
neck, and mouth; white incrustation within mouth;
gashes and chips and overall crazing of white
ground; beige and brown discolorations; some
loss of added colors, esp. on Hermes' chlamys and
youth's himation; possible change in color of vegeta
tion from green to brown.

FULL

GAMUT

OF

STATES

OF

C O L O R pres

e r v a t i o n may be observed i n the Charon scene o n

this Classical w h i t e - g r o u n d lekythos, w h i c h rep
resents, i n m y t h i c f o r m , a youth's c o n f r o n t a t i o n
w i t h his o w n death. The deceased y o u t h standing
at the r i g h t , w h o is depicted as i f alive, is the most
p o o r l y preserved figure o n the vase (fig. 66.2).
He was o r i g i n a l l y depicted w r a p p e d i n a heavy,
cinnabar-red h i m a t i o n w i t h black folds, w h i c h ,
save for some remains o f the upper p o r t i o n , has
mostly vanished. The youth's hair and the outlines
o f his face a n d ear are rendered i n matt black.
The pure Classical profile o f his face, formed b y a
straight line r u n n i n g from the b r o w to the t i p o f
his nose, is countered b y the d o w n w a r d t u r n o f
his m o u t h , w h i c h suggests his i n n e r anguish.
Charon, f e r r y m a n o f the dead, and Hermes,
guide o f souls to the U n d e r w o r l d , await the y o u t h .
The messenger god (fig. 66.2), standing i m p a t i e n t
l y at the center w i t h his h a n d o n his h i p and his
b o d y i n w h a t w o u l d have been front v i e w , looks
i n t e n t l y at the y o u t h . Hermes' matt black hair a n d
beard l o o k w i n d b l o w n . His attributeshere a h e l

66.1

metlike pilos, a kerykeion,

and w i n g e d bootsare

d r a w n w i t h well-preserved matt black outlines,

b u t any colored details have vanished. O n l y the
red borders o f Hermes' chlamys are preserved. The

230 202 WHITE GROUND

lost m a i n color o f its c l o t h m i g h t have been E g y p

The anonymous vase-painter o f this w h i t e -

t i a n blue, and t h i s n o w - m i s s i n g color protected

g r o u n d lekythos was named the Sabouroff Painter

the w h i t e surface o f the u n d e r l y i n g engobe, w h i c h

by Beazley after a n u p t i a l lebes i n Berlin, f o r m e r l y

thus s t i l l reflects the chlamys's contour.

o w n e d b y the Russian count Sabouroff. This

I n contrast, the colors o f Charon's garment and

master began as a rather pedestrian red-figure

boat are almost perfectly preserved (fig. 66.1). The

cup-painter, w h o became i n s p i r e d

f e r r y m a n , w h o is n o t s h o w n as o l d or especially

by the p o s s i b i l i t y o f p a i n t i n g i n

ugly, wears an exomis, a short c h i t o n fastened o n

color o n a w h i t e g r o u n d . Later i n

the left shoulder that served as workmen's dress;

his career the Sabouroff Painter

it is a deep cinnabar red. This g a r m e n t s astonish

produced white-ground lekythoi

i n g l y fluid and i n t r i c a t e folds are p a i n t e d w i t h

exclusively, and he appears to

matt black lines u p o n the red fabric. The color o f

have w o r k e d i n the same p o t t e r y

Charon's boat is a b r i l l i a n t y e l l o w ocher applied i n

w o r k s h o p as the A c h i l l e s Painter

broad separate brushstrokes. His boat's w o o d e n

(cat. nos. 63, 64, 65). Depictions o f

pole, a more concentrated hue o f the same yellow,

Charon were one o f his specialties,

is described b y color alone. The b r i l l i a n t colors o n

and he is credited w i t h i n t r o d u c

this p o r t i o n o f the lekythos are so e x t r a o r d i n a r i l y

ing the use o f matt black outlines o n

well-preserved, i n fact, that i n the CVA t h e i r

w h i t e - g r o u n d l e k y t h o i . So great was

a u t h e n t i c i t y is mistakenly questioned. Interest

this painter's interest i n p o l y c h r o m y

ingly, o n l y the front h a l f o f Charon's boat is rep

that he generally d i d not draw con

resented; an impressionistic d e p i c t i o n o f reeds,

t i n u o u s outlines, b u t relied o n color

bullrushes, and other water plants fills the back o f

itself i n the creation o f f o r m .

the vase (fig. 66.3). Charon's boat must o r i g i n a l l y

have been s h o w n as i f emerging from o v e r g r o w n
R E F E R E N C E S : ARV 846.196; Para 423; BAdd 297;
BAPD Vase 212344; CVA Berlin 8 [Germany 62] 3 0 31, pis. 16.1-5, 17.3-4, 6, 8, Beilage 9 . 1 ; F u r t w n g ler 1885, n , 684-85; Fairbanks 1914, 12-13, no. 15, 17,
pi. 3 . 1 ; Riezler 1914, 117-18, p i . 45, 12, 4 6 n . l l 0 , 5 1 , 62,
Neugebauer 1932, 59, p i . 62.center; Schuchhardt 1940,
294, 298, fig. 276; Diepolder 1947, 5 1 , fig. 35, 53; G r e i fenhagen 1966, 29, 30, 52, no. 83, p i . no. 83; G e h r i g ,
Greifenhagen, a n d K u n i s c h 1968, 157-58; Greifenhagen
1968, 23, 3 1 , p i . 4; Brommer 1969, 167, no. 7, 171;
K u r t z 1975a, 35 at n.9; B r u n o 1977, 9 9 - 1 0 0 , p i . 15a-b
(reversed); G e h r i g et al. 1980, 6 6 - 6 7 , no. 26; W e h g a r t n e r
1983, 28, p i . 3.1 ( w i t h w r o n g accession n u m b e r ) ; LIMC i n (1986)
s.v. Charon I 213, no. 7a, 2 1 8 - 2 2 , p i . 168 (C. S o u r v i n o - I n w o o d ) ;
K r a u s k o p f 1987, 73-74n.234, p i . 15b; Heilmeyer 1988, 1 4 0 - 4 1 ,
no. 6; LIMC v (1990) s.v. Hermes 337, no. 611a (G. Siebert); KochB r i n k m a n n 1999, 30, 59, figs. 54-55; Kavvadias 2000, 119, no. 204,
128, 130, p i . 139, no. 204; B e r l i n 2002, 496, 4 9 8 - 4 9 9 , no. 374
(I. Wehgartner); W e h g a r t n e r 2002, 93n.24; Oakley 2004a, 108,
no. 7, 115, figs. 7 0 - 7 1 , 116.
2

banks at the water's edge, a d i s t i n c t i v e m o t i f p r o b

ably d e r i v e d from a n o w - l o s t Classical p a i n t i n g .

W h i l e the b o d y o f the B e r l i n l e k y t h o s is intact, on the Sab

o u r o f f Painter's fragmentary w h i t e - g r o u n d l e k y t h o s i n M a l i b u ,
J P G M 7 3 . A E . 4 1 , the c y l i n d r i c a l l y shaped i n n e r o i l container char
acteristic o f t h i s painter's l e k y t h o i is exposed; a vent hole o n the
shoulder prevented the vase f r o m e x p l o d i n g d u r i n g firing because
the i n n e r container b l o c k e d the o p e n i n g at the vessel's neck, see
Schreiber 1999, 183, 184, figs. 20.36-37. For an X-ray p h o t o g r a p h
of a l e k y t h o s a t t r i b u t e d to the Sabouroff Painter s h o w i n g the
c y l i n d r i c a l container inside a n d o n i n t e r p r e t a t i o n s o f these i n n e r
containers see Oakley 2004a, 7, figs. 2, 8.
Two n u p t i a l lebes i n B e r l i n were f o r m e r l y i n the Sabouroff col
l e c t i o n , the name vase, A n t i k e n s a m m l u n g F 2404 (ARV
841.70;
BAdd
296; BAPD Vase 212249) a n d A n t i k e n s a m m l u n g F 2405
(ARV
841.71; BAPD Vase 212250).
2

66.3

231 202 WHITE GROUND

66.2

67

boots, and kerykeion, t e n d e r l y delivers the d i v i n e

WHITE-GROUND CALYX-KRATER
A t t r i b u t e d to the Phiale Painter, ca.
440-435 B.C.
Vatican City, Vatican Museums 16586
From V u l c i 1835; acquired 1835

Papposilenos

the infant Dionysos

the left as w e l l as o l d Silenos h i m s e l f sit o n rocks,

and the n y m p h l o o k i n g o n at the r i g h t wears an

to central seated

A rustic setting likewise appears o n the

reverse. Here a M u s e sits o n a r o c k atop M o u n t
H e l i k o n as she plays the long-armed b a r b i t o n ,

to

and the nymphs of Nysa

B, two Muses listening

playing

s t r e w n r o c k y landscape. The attentive n y m p h at

animal s k i n over her dress.

H 32.8 cm

A , Hermes bringing

baby to his caretakers, w h o d w e l l i n a rustic, i v y -

Muse

the barbiton

flanked b y t w o other Muses w r a p p e d i n h i m a tions, w h o stand b y l i s t e n i n g . I f Muses were i n

charge o f the y o u n g Dionysos's musical educa
t i o n , t h e n the vessel's t w o sides w o u l d be closely
related to the god thematically. I n any event,

Very good; assembled from large frag

ments; current restoration reveals most cracks and
losses; speckled brown and black incrustation over
white-ground and reserved surfaces; excellent pres
ervation of added colors; on side B, toned plaster
inset at back of left Muse; poor surface condition of
fragment with upper part of seated Muse; scratches
on her brown chiton; losses in her barbiton's strings;
restoration along cracks running through all Muses'
garments.
CONDITION:

the occurrence o f b o t h images together is emi

n e n t l y appropriate o n a vase designed for m i x
ing w i n e w i t h water at the Classical s y m p o s i u m ,
where d r i n k i n g was accompanied b y musical
entertainment.
The w h i t e - g r o u n d t e c h n i q u e o f the Phiale
Painter's c a l y x - k r a t e r differs from that o f contem
poraneous w h i t e - g r o u n d l e k y t h o i , w h i c h employ
c h a l k - w h i t e grounds, matt outlines for figure
d r a w i n g , and an array o f b r i g h t , b u t often f u g i t i v e

THIS

CALYX-KRATER'S

extraordinarily well-

colors applied after firing. I n contrast, here the

preserved colorful w h i t e - g r o u n d p a i n t i n g s appear

g r o u n d is t o n e d to a y e l l o w i s h cream. Black gloss

to have been i n s p i r e d b y sources from outside the

has been employed w i d e l y , especially for most

realm o f pottery. Its u n k n o w n artist, a p u p i l and

figures' hair, and i t has been d i l u t e d for d r a w i n g

w o r k s h o p colleague o f the A c h i l l e s Painter (cat.

lines and shading. The added colors range from

nos. 63, 64, 65), is k n o w n as the Phiale Painter

the p u r p l e red o f the infant Dionysos's s w a d d l i n g

after a red-figured l i b a t i o n dish i n Boston. This

c l o t h to admixtures o f b r o w n , from orange to

w h i t e - g r o u n d calyx-krater, the Phiale Painter's

p i n k i s h red, for other figures' c l o t h i n g . Finally,

masterpiece, must have been created a r o u n d the

a w h i t e r second w h i t e has been used extensively

time o f the Parthenon frieze, w i t h w h i c h i t shares

for female flesh, folds a n d patterns o f c l o t h , the

a subtle v a r i e t y i n movement and pose o f calm,

sakkos and lyre o f the r i g h t - h a n d Muse o n side B,

self-controlled h u m a n figures. The vase's harmo

as w e l l as the t a i l , beard, head, and b o d y hair o f

nious p o l y c h r o m y may w e l l reflect lost Classical

Papposilenos, whose h o a r y d e p i c t i o n may derive

free p a i n t i n g s . I n a d d i t i o n , the memorable m y t h o

from a theatrical costume. W h i l e contempora

logical scene o n the obverse has been t h o u g h t

neous free p a i n t i n g surely differentiated w h i t e

to reflect, perhaps t h r o u g h the i n t e r m e d i a r y o f

female flesh from a darker shade for males, a sec

a lost famous p a i n t i n g , a Classical satyr play b y

ond w h i t e on a creamy g r o u n d had been employed

Sophokles, the

on w h i t e l e k y t h o i o f the previous generation (cf.

Dionysiskos.

The infant Dionysos, w h o was b o r n from his

cat. nos. 62, 63). T a k i n g w o r k s h o p practice i n t o

father, Zeus s, t h i g h after the death o f his mother,

account, one can determine that the Vatican c a l y x -

Semele, is here entrusted for n u r t u r i n g to o l d

krater's w h i t e g r o u n d , its second w h i t e , its black

Papposilenos and the n y m p h s i n faraway Nysa.

gloss and d i l u t e , and its p u r p l e - r e d and b r o w n

Hermes, identified b y his w i n g e d cap, w i n g e d

range o f colors w o u l d a l l have been applied before

233 202 WHITE GROUND

rather t h a n after f i r i n g , along w i t h the red-figure

ornament o n its l i p and c u l . E n t i r e l y fired deco
r a t i o n w o u l d have resulted i n a s t u r d y surface
that c o u l d have have w i t h s t o o d actual use before
placement i n a t o m b , a n d that has s u r v i v e d o n this
large w h i t e - g r o u n d vessel to this day.

R E F E R E N C E S : ARV
1017.54, 1678; Para 440; BAdd
315; BAPD
Vase 214232; B r a u n 1835, 124; Perrot 1914, 7 3 1 - 3 2 , 733, fig. 402;
FR m , 302-306 (E. Buschor), 302, fig. 144, p l . 169; R u m p f 1953,
97, 103, p l . 30.6; R i c h t e r 1956, 265, p l . 17B; Brommer 1959, 53,
fig. 50, 55; Buschor 1959, 4 5 - 4 6 , 50, fig. 40; Robertson 1959, 1 2 3 28; S i m o n 1960, 10, p l . 7.2; S i m o n 1961, 164, 165, fig. 34; A r i a s /
H i r m e r / S h e f t o n , color pls. 4 3 - 4 4 , 367; Devambez 1962, 131; EAA
2

v (1963) s.v. Nyseides or N y s a i 615, fig. 769 (S. De M a r i n i s ) ; H e i b i g

1963, 6 9 4 - 9 6 , no. 966 ( H . Sichtermann); Boardman et al. 1967,
374, p l . 36; Schefold 1967b, p l . x i x , 225-26 ( I . Scheibler); Webster
1967, 148; T r e n d a l l a n d Webster 1971, 5; W a l t e r 1971, 2 7 8 - 7 9 , fig.
254; Charbonneaux, M a r t i n , a n d V i l l a r d 1972, 2 6 0 - 6 3 , figs. 2 9 6 98; B r i l l i a n t [1975], 207, 208, figs. 6 - 5 1 ( a - b ) ; S i m o n / H i r m e r , color
p l . 48, 138-39; M e r t e n s 1977, 122, no. 9, 125-26; J o h n s t o n 1979,
111; W a i b l i n g e r 1980, 146, fig. 4, 147, 149; Schefold 1981, 3 4 - 3 5 ,
fig. 28; N e w York 1982, 190, no. 107 (D. v o n Bothmer); W e h g a r t n e r
1983, 3 6 - 3 7 , no. 9, 3 8 - 3 9 , p l . 5; H e m e l r i j k 1984, 9, fig. 7; Paquette
1984, 182-83, no. B14; H a m d o r f 1986, 74, fig. 35; LIMC m (1986)
s.v. Dionysos 480, no. 686, p l . 378 (C. Gasparri); Boardman 1989,
6 1 - 6 2 , fig. 126; LIMC v (1990) s.v. Hermes 319, no. 368b ( L .
Kahil); Oakley 1990, 6, 15-16, 19, 3 2 - 3 3 , 36, 45, 49, 7 5 - 7 6 , no.
54, w i t h references, p l . 38a-b; B u r a n e l l i 1991, 70n.63, 8 8 - 9 0 , 9 1 ,
fig. 18, 340, no. 6 1 ; LIMC v i (1992) s.v Mousa, M o u s a i 660, no.
12, 675, p l . 384 ( A . Queyrel); T i v e r i o s 1996, 2 2 6 - 2 7 , fig. 213, 355;
Valavanis a n d K o u r k o u m e l i s 1996, 6 2 - 6 3 ; LIMC V I I I S u p p l . (1997)
s.v. Silenoi 1112, no. 19, 1125, no. 161 (E. Simon); Van Keuren
1998, 13-15, 2 5 - 2 6 , figs. 6-7; K r u m e i c h , Pechstein, a n d Seiden
sticker 1999, 254-55, p l . 24b; Clark, Elston, a n d H a r t 2002, 56-57,
fig. 49;

B u r a n e l l i a n d Sannibale 2003, 127, fig. o n 138.

For the Phiale Painter's name vase, Boston, M u s e u m
of Fine A r t s 97.371, see: ARV
1023.146; Para 4 4 1 ;
BAdd
316; BAPD Vase 214328. See Neils 2001 for
the Parthenon frieze. O n the calyx-krater's asso
c i a t i o n w i t h lost Classical p a i n t i n g , see M e r t e n s ,
chap. 6. Cf., for the use o f a second w h i t e o n Clas
sical w h i t e - g r o u n d calyx-kraters, the Phiale Paint
er's o w n earlier krater, A g r i g e n t o , M u s e o A r c h e o l o g i c o
Regionale A G 7: ARV
1017.53, 1579; Para 440; BAdd
315;
BAPD Vase 214231; Oakley 1990, p l . 37; fragmentary exam
ples a t t r i b u t e d t o the V i l l a G i u l i a Painter: Reggio d i Calabria,
M u s e o Nazionale 1 2 9 3 9 A - B : ARV 619.11 bis; BAdd 270; BAPD
Vase 207160; W e h g a r t n e r 1983, p l . 6.1-2; a n d Lausanne, M u s e
H i s t o r i q u e 3700: ARV 619.12; BAdd
270; BAPD Vase 207161.
2

67.2

234 202 WHITE GROUND

68
HUGE LEKYTHOS
A t t r i b u t e d t o the Group o f the Huge
L e k y t h o i , ca. 4 0 0 B.C.
H ( w i t h m o u t h ) 6 9 . 5 cm; ( w i t h o u t m o u t h )
59.5

cm

Berlin, A n t i k e n s a m m l u n g , Staatliche Museen

zu B e r l i n P r e u i s c h e r K u l t u r b e s i t z F 2 6 8 5
F r o m A l o p e k e , A t t i k a ; purchased 1 8 7 2
Deceased youth seated at tomb visited

by two youths

C O N D I T I O N : Broken and burned in antiquity; body

and neck assembled from many fragments; mouth
restored in plaster incorporating original fragments;
many fragments grayed from fire, some bleeding
of color; mutation of blue to violet; color pigments
on white-ground surface flaked and pitted, esp. on
left youth; youths' eyes lost; root marks on cen
tral seated youth's face and chest; youth on badly
burned fragments at right poorly preserved.

vessel's shoulder, neck, m o u t h , and

foot as w e l l as the figural zone o n
its body. A t the same time, the Huge
Lekythos's w h i t e c y l i n d r i c a l b o d y
serves as a field for impressive p o l y
chrome p a i n t i n g that clearly reflects t h e
latest advance i n n o w - l o s t Classical w a l l and p a n e l - p a i n t i n g , namely, the i n t r o d u c
t i o n o f shading b y Apollodoros, w h i c h was
f u r t h e r developed b y his p u p i l Zeuxis. The
pot's colors, w h i c h were a l l a p p l i e d after fir
i n g , must be comparable t o those employed
i n lost free p a i n t i n g .
A t the center front a f r o w n i n g deceased
y o u t h , p a r t l y draped i n a w h i t e h i m a t i o n ,
is seated before his o w n gravestone. His
head and upper b o d y are framed b y t h e
monument's b r i g h t l y colored
a n t h e m i o n c r o w n consist
i n g o f a pair o f o u t w a r d c u r v i n g , o r i g i n a l l y blue
acanthus leaves flanking a

W I T H

T H EFIVE

I M P R E S S I V E white-ground

central green palmette o n

l e k y t h o i i n the so-called Group o f the Huge

an o r i g i n a l l y blue g r o u n d .

Lekythoi, the production of Athenian funerary

This vase-painting's E g y p t i a n

l e k y t h o i a n d also the w h i t e - g r o u n d t e c h n i q u e

blue reacted w i t h the k a o l i n -

itself came t o an end. The t w o examples i n Ber

r i c h w h i t e g r o u n d w h e n the

l i n t h i s vase d e p i c t i n g a v i s i t t o a y o u n g man's

pot was b u r n e d i n a n t i q u i t y ,

grave and another d e p i c t i n g a

t u r n i n g t o violet; however,

prothesiscame

to l i g h t i n A t t i k a i n the late n i n e t e e n t h century.

the earth tones employed

A l l o f these special vases appear t o have been

here for other details have

decorated b y the same painter, a n d t h e y may a l l

remained t r u e . The youth's

have come from the same family b u r i a l g r o u n d .

flesh reflects the suntanned

T h i s Huge L e k y t h o s was fashioned w i t h a char

color employed i n ancient

acteristic separate m o u t h , possible explanations

Greek p a i n t i n g t o differentiate

for w h i c h are: t h e d i f f i c u l t y o f f o r m i n g neck and

males from pale, w h i t e females.

m o u t h together o n such a t a l l vessel; the neces

His face, s u r r o u n d e d b y a close

sity o f f i t t i n g t h e vase i n t o the potter's k i l n ; or

cap o f dark b r o w n hair, is n o w

perhaps a r i t u a l f u n c t i o n for the separate m o u t h .

a pinkish-beige flesh tone flatly

L a c k i n g an i n n e r o i l container (see REFERENCES

applied; unfortunately, the eye

i n cat. nos. 6 4 , 6 6 ) and a b o t t o m , this substantial

is missing. The remarkable pre

clay vessel must have served as a commemorative

served shading o f his form, sug

m o n u m e n t i n s p i r e d b y the great marble l e k y t h o i

gesting its three-dimensionality,

that were n o w often used as gravestones. Here

begins at the back o f his neck and

the use o f black gloss o n subsidiary areas, as was

continues o n t o his exposed torso,

t r a d i t i o n a l o n earlier clay l e k y t h o i (cf. cat. nos.

w i t h separate brushstrokes o f dark

5 9 , 6 2 , 6 3 ) , has been abandoned. I n emulating

b r o w n and orange applied o n t o p

marble, the w h i t e g r o u n d n o w e n t i r e l y covers t h e

o f the flesh tone. I n the rare earlier

235 202 WHITE GROUND

68.1

68.2
instances o f flesh color employed for males o n
w h i t e l e k y t h o i , i t was n o t shaded (cf. cat. no. 65).
S h o w n i n a t r a d i t i o n a l t y p e o f scene f o u n d o n

this m o n u m e n t a l vessel is a testament to the s k i l l

of its potter and its painter, w h o may w e l l also
have w o r k e d outside the realm o f vases, i t is small

funerary l e k y t h o i , the deceased is flanked b y t w o

compared to other Huge L e k y t h o i , w h i c h can rise

y o u n g men w h o have come to v i s i t his grave. The

to a r o u n d a meter i n height.

y o u t h at the left, w r a p p e d i n a pale o r a n g e - b r o w n

h i m a t i o n w i t h b r o w n folds, leans o n his w a l k i n g
stick, w h i c h is overlapped b y the deceaseds legs.
His

exposed l i m b s appear to have been shaded i n

a manner similar to the deceased y o u t h . The head

and upper b o d y o f the otherwise p o o r l y preserved
standing y o u t h at the r i g h t closely resemble
those o f the seated y o u t h (fig. 68.2). The Berlin
lekythos's painter also employed this standing
y o u t h o n the larger Huge L e k y t h o s w i t h a grave
scene i n M a d r i d , w h i c h is 95 cm tall; i n fact, the
p a i n t i n g s o n b o t h vases are nearly replicas.
No t r a d i t i o n a l vase ornament has been
employed o n this Huge Lekythos. Instead, its
shoulder, neck, a n d m o u t h are encircled b y
wreaths o f leaves that suggest the commemorative
wreaths actually employed as grave gifts. W h i l e

236 202 WHITE GROUND

R E F E R E N C E S : ARV
1390.4; BAdd 373; BAPD Vase 217905; F u r t w n g l e r 1885, n , 769, no. 2685; G i r a r d 1892, 2 1 6 - 1 8 , 217, fig. 123;
F. W i n t e r 1895, 3 fig., 4 , 8-10 fig., 13; Fairbanks 1914, 207-208,
no. 3; Riezler 1914, 6 7 n . l 7 2 ; P f u h l 1923, i n , fig. 553; Neugebauer
1932, 6 2 - 6 3 ; R u m p f 1947, 11; K r a i k e r 1950, 14, 15, fig. 3, 16;
R u m p f 1953, 122, p i . 39.4; Brommer 1969, 155-63, p i . 22; K u r t z
1975a, 6 8 - 7 3 ; Robertson 1992, 254-55; Scheibler 1994, 57, fig. 20;
Scheibler 1995, 93, 95, fig. 85; K o c h - B r i n k m a n n 1999, 3 6 - 3 8 , 43,
7 8 - 7 9 , 8 7 - 8 8 , figs. 133-37, Beilage x x i ; B e r l i n 2002, 4 9 7 - 9 8 , 500,
no. 378 (I. W e h g a r t n e r ) ; K o c h - B r i n k m a n n a n d Posamentir 2004,
157, 158, fig. 260, 165.
2

On H u g e L e k y t h o i , see also W e h g a r t n e r 1983, 29; B u r n 1991b,

129-30; a n d W e h g a r t n e r 2002, 95 for the color. For Berlin's H u g e
L e k y t h o s representing aprothesis, A n t i k e n s a m m l u n g F 2684, see:
ARV
1390.3; BAdd 373; BAPD Vase 217904; K o c h - B r i n k m a n n
1999, figs. 142-48; Oakley 2004a, 79, no. 27. For M a d r i d , M u s e o
A r q u e o l g i c o N a c i o n a l 11194, see: ARV
1390.5; BAdd 373;
BAPD Vase 217906; K o c h - B r i n k m a n n 1999, figs. 1 3 8 - 4 1 . O n the
p o t t i n g o f these vases, see Schreiber 1999, 183, 185, figs. 20.38-39.
2

69

WHITE-GROUND LEKYTHOS
Associated w i t h the Group o f the Huge
L e k y t h o i , ca. 400 B.c.
H 75.5 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche Museen
zu B e r l i n P r e u i s c h e r K u l t u r b e s i t z F 2683
F r o m A l o p e k e , A t t i k a ; purchased 1872
Deceased youth seated at tomb visited

by two men,

one with a horse

C O N D I T I O N : Restored in 2005 at the Getty Museum;
assembled from many fragments; handle and part
of mouth and foot missing; broken and burned in
antiquity with graying of some parts, bleeding of
color and mutation of blue to violet; much loss of
visible color and drawing on white-ground sur
face, including shading on flesh of male figures and
horse.

THIS

UNIQUE,

OUTSIZED

WHITE-GROUND

depicted o n the b o d y over

lekythos is best understood i n l i g h t o f the Group

laps onto the p l a i n w h i t e

o f the Huge L e k y t h o i : I t was discovered i n the

shoulder.

same n i n e t e e n t h - c e n t u r y f i n d from A t t i k a as Ber

I n a familiar scene

l i n F 2685 (cat. no. 68). A l t h o u g h t e c h n i c a l l y n o t

h a n d l e d i n an u n t r a d i t i o n a l

one o f the e n t i r e l y w h i t e Huge L e k y t h o i , w h i c h

way, a v e r y sad-looking

have a separate m o u t h and no b o t t o m , i t is the

deceased y o u t h sits before

o n l y A t t i c vase outside o f that Group to employ

his o w n f u n e r a r y m o n u

shading for figures' flesh u n d e r the influence o f

ment (fig. 69.1). His face is

now-lost m o n u m e n t a l p a i n t i n g . W h i l e this sig

s h o w n i n three-quarter v i e w

nificant feature is w e l l preserved o n Berlin 2685,

and framed b y a p a i n t e r l y

here the scant remains o f shading are difficult to

cap o f short b r o w n hair. He is

discern.
Sometimes considered a t r a n s i t i o n a l vase that

s u r r o u n d e d b y the a n t h e m i on's dramatic o r i g i n a l l y blue

led to the creation o f Huge L e k y t h o i , this w h i t e -

volutes and green fronds. Below,

g r o u n d l e k y t h o s is so large that i t is actually taller

several once-blue commemora

t h a n Berlin F 2685. A s is the case w i t h a standard

t i v e fillets are draped over the

w h i t e - g r o u n d lekythos, here black gloss has been

monument's base. On the b r o w n -

employed o n the m o u t h , neck, and (lost) handle

haired male v i s i t o r at the left, w h o

as w e l l as o n the lower part o f the b o d y a n d the

is p a r t l y draped i n blue and holds

upper surface o f the foot (cf. cat. nos. 62-66). The

his n o w - l o s t spear or staff p l a n t e d

w h i t e g r o u n d covers the body's figural zone and

vertically o n the g r o u n d , traces o f a

extends up onto the shoulder a n d lower neck.

b r o w n mustache and beard as w e l l

Here there is neither a b a n d o f ornament a r o u n d

as b o d y m o d e l i n g can be made out.

the t o p o f the b o d y nor ornament o n the shoulder

The v i s i t o r at the r i g h t is a bearded

as there w o u l d be o n a standard lekythos. Instead

cavalryman w i t h paired spears w h o

the impressive palmette finial o f the tombstone

stands beside his horse (fig. 69.2). His

237 202 WHITE GROUND

69.1

69.2

69.3

exotically patterned blue-green t u n i c is t y p i c a l o f

lines employed for shading o n the youth's face,

the T h r a c i a n dress w o r n b y A t h e n i a n horsemen,

neck, shoulders, a n d h a n d are barely detectable.

who

are depicted relatively rarely o n funerary

The o r i g i n a l shaded d e f i n i t i o n o f the

figure's

l e k y t h o i . The s u r v i v i n g details o f the horse are

form, w h i c h appears to have faded, responds dif

impressive. The b r o w n mane and t a i l have been

ferently from the b a c k g r o u n d w h e n i l l u m i n a t e d

p a i n t e d i n q u i c k brushstrokes w i t h loose u n r u l y

using shortwave U V l i g h t , w h i c h enables us t o

hair at the edges. The horse's head and shoulders

see i t once again. Further analysis is under w a y

are s h o w n i n three-quarter v i e w and were m o d

to determine the nature o f the p a i n t i n g m e d i u m

eled w i t h i n d i v i d u a l brushstrokes o f b r o w n p a i n t .

and to understand more f u l l y the image's o r i g i n a l

The outlines o f the horse a n d h u m a n figures are

appearance.

now

a matt y e l l o w i s h o r a n g e - b r o w n d i l u t e : This

m i g h t have been u n d e r d r a w i n g , subsumed b y

color, shading, a n d a final d r a w i n g o f the forms,
or i t m i g h t be the final d r a w i n g that has s i m p l y
faded.
A comparison o f details o f the upper part o f
the central deceased y o u t h (fig. 69.3) taken i n v i s
ible l i g h t (top) a n d shortwave (<280nm) u l t r a v i o l e t
(UV)

l i g h t (bottom) is i n s t r u c t i v e . Under v i s i b l e

l i g h t , as n o t e d above, the d r a w i n g m e d i u m used

to define the figure is v e r y faint and appears to
have a l i g h t , somewhat y e l l o w hue. I n a d d i t i o n ,

238 202 WHITE GROUND

R E F E R E N C E S : F u r t w a n g l e r 1885, I I , 767; Fairbanks 1914, 204-205,

no. 1; Jacobsthal 1927, 191; Neugebauer 1932, 63; Scheurleer
1936, 111-12, p i . 35, f i g . 99; K u r t z 1975a, 69 at n . 9; Robertson
1992, 254-55; K o c h - B r i n k m a n n 1999, 7 6 - 7 7 , pis. 126-32; Oakley
2004a, 186, no. 4.
For earlier instances i n w h i c h p a i n t e d gravestones overlap
shoulders o f l e k y t h o i , see cat. no. 62. M y t h a n k s t o M a r i e Svoboda for e x a m i n i n g the B e r l i n l e k y t h o s u n d e r U V l i g h t a n d for
p r o v i d i n g the p h o t o g r a p h i c details i l l u s t r a t e d here, a n d t o Karen
T r e n t e l m a n , Senior Scientist at the G e t t y M u s e u m , for h e l p i n g t o
i n t e r p r e t the image t a k e n u n d e r U V l i g h t .

CHAPTER 7

Plastic Vases and Vases with

Plastic Additions

Athenian Potters and the Production

of Plastic Vases
Marion True
The J. Paul Getty Museeum, Malibu

HE NATURAL M A L L E A B I L I T Y OF CLAY

lends itself to both

practical and fanciful creations. As early as craftsmen realized

the ease with which clay could be fashioned into service
able vessels to hold liquids as well as dry goods, they also rec
ognized the medium's suitability for sculpting. Unlike stone,
which required the laborious chipping away of material to pro
duce a recognizable image, clay could quickly be modeled into a
detailed replica, usually on a smaller scale, of some familiar form.
T h u s i t is n o t s u r p r i s i n g that potters t r i e d to com

bust o f a y o u n g w o m a n h o l d i n g perfumed o i l , for

bine these t w o aspects and disguise the f u n c t i o n a l

e x a m p l e o r the association o f an image such as

nature o f a clay vessel w i t h a s c u l p t u r a l f o r m .

a b u l l or a pomegranate w i t h some religious or

Artisans o f a l l periods have d e l i g h t e d i n convert

funerary r i t u a l .

i n g containers i n t o identifiable figures or parts

Scholars have t r a d i t i o n a l l y used the w o r d plas

of figures b y a d d i n g heads and l i m b s as w e l l as

tic, as either an adjective or a n o u n , to refer t o

tails, horns, or beaks as appropriate. Similarly,

vases that are s c u l p t u r a l i n f o r m or have modeled

t h e y have fashioned recognizable fruits, nuts,

elements a p p l i e d to t h e m . A d a p t e d from the Greek

shells, a n d even landmarks i n t o containers. W i t h

v e r b plasso,

h u m a n a n d animal forms, this tendency may i n

creates some confusion because o f its association

meaning " t o m o d e l / ' the t e r m n o w

p a r t have been due to the association between the

w i t h m o d e r n petrochemical materials. I t is s t i l l

parts o f a b o d y and the parts o f a vessel. Some

useful, however, since i t encompasses a v a r i e t y

shapes may also have been i n s p i r e d b y a connec

of different p o t t i n g techniquesvases w i t h relief

t i o n between the vase shape and its contentsthe

decoration, vases made separately a n d i n c o r p o -

240

rated w i t h i n larger modeled s c u l p t u r a l composi

from A t t i c potters reflect b o t h the forms and the

tions, and vase parts (usually wheel-made rims

techniques used b y t h e i r C o r i n t h i a n and island

a n d handles) attached to mold-made vessels. Each

counterparts. One o f the earliest, dated b y Sir

of these plastic types w i l l be discussed below.

John Beazley to the t h i r d quarter o f the s i x t h cen

The p r o d u c t i o n o f three-dimensional sculp

t u r y B.C., is the aryballos i n the M u s e u m o f Fine

t u r a l terracotta vessels was already a f l o u r i s h i n g

A r t s , Boston, made i n the shape o f male genitals

i n d u s t r y b y the time A t h e n i a n potters began to

(aidoion) that is signed b y the potter Priapos (see

experiment w i t h figural decoration i n the last

cat. no. 75 REFERENCES). M a n y mold-made ves

decades o f the s i x t h c e n t u r y B.C. Earlier, M i n o a n

sels o f similar f o r m are preserved among the East

and Mycenaean craftsmen h a d fashioned elabo

Greek and C o r i n t h i a n plastic a r y b a l l o i . A frag

rate vases i n the forms o f bulls, ducks, lions, and

mentary aryballos o f this t y p e , l i k e w i s e f r o m the

other creatures from stone, gold, bronze, and

M u s e u m o f Fine A r t s , Boston, is remarkable for

silver as w e l l as t e r r a c o t t a . Near Eastern artists

the black-gloss bull's head i n relief that decorates

had s k i l l f u l l y c o m b i n e d b o t h h u m a n and animal

the scrotum (cat. no. 75). A n o t h e r example o f

forms w i t h vase shapes o f various materials. Late

the small, mold-made vessels similar to the ear

M i n o a n craftsmen had even developed reusable

lier p r o d u c t i o n is the t r i p l e cockleshell aryballos

molds for r a p i d r e p r o d u c t i o n o f t h e i r s c u l p t u r a l

a t t r i b u t e d to the potter Phintias (cat. no. 78), w h o

forms, b u t this t e c h n i q u e was apparently forgot

was a member o f the Pioneer Group. A r y b a l l o i

t e n u n t i l its rediscovery at the end o f the e i g h t h

i n the f o r m o f a single cockleshell, easily m o l d e d

c e n t u r y B . C . Q u i c k l y , craftsmen o n the islands o f

from nature, are k n o w n i n earlier examples,

Crete, Rhodes, Cyprus, and also i n C o r i n t h o n the

the c o m b i n a t i o n o f the three shells j o i n e d to one

Greek m a i n l a n d e x p l o i t e d the rediscovery o f the

m o u t h presents a more balanced and decoratively

but

m o l d to create a broad range o f animal, h u m a n ,

c h a r m i n g p r o d u c t w h i l e also a l l o w i n g the painter

a n d vegetal shapes. These were p r i m a r i l y i n the

to employ the new t e c h n i q u e o f w h i t e g r o u n d

f o r m o f small a r y b a l l o i a n d alabastra used to

to simulate the material o f the o r i g i n a l (see cat.

h o l d perfumed oils, w h i c h were w i d e l y e x p o r t e d

no. 78). Both Phintias and Priapos are otherwise

a r o u n d the M e d i t e r r a n e a n . I n a d d i t i o n , however,

u n k n o w n as potters o f plastic vases. Fortunately,

craftsmen a r t f u l l y adorned basically wheel-made

however, at least t w o o f Phintias's w e l l - k n o w n

pots such as h y d r i a i and p y x i d e s w i t h m o l d e d

contemporaries were, like h i m , excited b y

relief decoration i n the f o r m o f animal and h u m a n

the possibilities o f mold-made decoration and

protomes that seem to have been i n s p i r e d b y s i m i

employed the technique w i t h great o r i g i n a l i t y .

lar attachments o n metal vessels.

I t is perhaps no surprise that, c h r o n o l o g i

cally, the awakening o f interest i n figural m o l d -

Vases with Applied

made vases i n A t h e n s occurred i n the late s i x t h

A l t h o u g h n o t the most refined craftsman,

Relief

Decoration

c e n t u r y B.C. d u r i n g the e x t r a o r d i n a r y p e r i o d o f

Nikosthenes was certainly one o f the most i n n o

i n n o v a t i o n a n d e x p e r i m e n t a t i o n that also saw the

vative and also one o f the most p r o d u c t i v e o f

development o f the w h i t e - g r o u n d technique and

the A t t i c potters. He is generally credited w i t h

the i n t r o d u c t i o n o f the red-figure technique, Six's

i n t r o d u c i n g several d i s t i n c t i v e vase shapes to the

technique, and coral-red gloss. A l l preserved e v i

A t h e n i a n repertoire, i n c l u d i n g the Nicosthenic

dence indicates that this was a p e r i o d o f frequent

neck-amphora (cat. no. 15) and the kyathos (cat.

contact between the Greek m a i n l a n d , the islands,

no. 17 and fig. 1 ) b o t h b o r r o w e d from Etruscan

and countries o f the eastern M e d i t e r r a n e a n . A t h e

prototypes

n i a n w o r k s h o p s were surely i n c o m p e t i t i o n w i t h

C.

other sites o f ceramic p r o d u c t i o n for a share o f the

g r o u n d technique (see cat. no. 50) and superposed

e x p o r t market, and t h e y w o u l d have been l o o k i n g

color or Six's technique (cat. no. 15 and cf. cat.

for ways to d i s t i n g u i s h t h e i r products.

I n fact, the first examples o f mold-made vessels

241

11

10

as w e l l as the kantharos o f t y p e

He b o l d l y experimented w i t h the new w h i t e -

no. 17). I n a d d i t i o n , he employed m o l d e d decora

t i o n to great effect. He began his career as a p o t -

p e r i o d , t h i s suggestion seems most probable. I t

is f u r t h e r supported b y the fact that the shape
is otherwise k n o w n o n l y i n Etruscan bucchero
examples, and Nikosthenes is the o n l y A t t i c p o t
ter k n o w n to have b o r r o w e d shapeshis special
amphorae (cat. no. 15) and k y a t h o i (see cat. no. 17
and cf. fig. 1 ) d i r e c t l y f r o m bucchero models.
Figure 1. Black-figure-onwhite-ground kyathos with
mold-made female head at join
of front end of fragmentary
handle and rim, attributed to
Psiax as painter, ca. 520 B.C.
H (to rim) 7 cm. Malibu, JPGM
77. AE. 102.

Nikosthenes was n o t o n l y prolific b u t his w i l l

i n g e x p e r i m e n t a t i o n also clearly influenced the
n e x t generation o f potters, a n d one o f the best
o f these adopted Nikosthenes

conceit o f a p p l y

i n g a head or face to the spout o f a vessel. The

great Pioneer artist Euphronios has n o t p r e v i o u s l y
been i d e n t i f i e d as a potter o f plastic vases, b u t
the appearance o f his signature o n an unusual

Figure 2. Fragmentary redfigured lidded skyphos with

mold-made head of a Black
man on attached sieved spout,
signed by Euphronios as potter
and attributed to Onesimos
as painter, ca. 500-490 B.C.
Malibu, JPGM 81.AE.214.

ter o f standard b l a c k - f i g u r e d vessels. T w o u n i q u e

fragmentary vessel i n the J. Paul Getty Museum's

oinochoai

collection n o w proves that he was (fig. 2 ) .

12

w i t h his signature i n the L o u v r e are

1 5

This

decorated i n black-figure o n w h i t e g r o u n d and

h y b r i d vasea l i d d e d skyphos w i t h attached

have m o l d e d protomes attached to t h e i r spouts.

sieved spoutis decorated i n red-figure w i t h

Smaller, f r o n t a l heads i n lower relief, such as those

scenes o f athletes and t h e i r trainers. The p a i n t

f o u n d o n the handles o f some Nicosthenic or N i c o -

i n g is a t t r i b u t e d to Onesimos and the attached

sthenic-influenced h y d r i a i (cat. no. 71), oinochoai

l i d is i n s c r i b e d Euph[ronios

(cat. no. 70), and k y a t h o i (see fig. 1), are t y p i c a l o f

adorned the base o f the attached spout w i t h the

epoie]sen. The potter

his w o r k s h o p . He c o n t i n u e d to be p r o d u c t i v e as a

now-fragmentary protome o f a Black man modeled

potter w e l l i n t o the first decades o f the red-figure

i n h i g h relief. Once applied to the c u r v e d surface

technique.

o f the w h e e l - t h r o w n vase, this mold-made head

I t is u n l i k e l y that i n the t r a n s i t i o n to red-figure

was g i v e n a soft o r i e n t a l headdress b y the vase-

Nikosthenes w o u l d have foregone his interest i n

painter. The finely articulated features a n d dot

relief d e c o r a t i o n ,

ted relief treatment o f the hair l i n k this protome

13

yet no k n o w n signed pieces

s u r v i v e to document t h i s statement. A pair o f

unusual stands n o w i n the collection o f the M e t
r o p o l i t a n M u s e u m o f A r t (cat. nos.

d i r e c t l y to the heads o f Black men f o u n d o n head

vases o f the E p i l y k o s Class (represented i n t h i s
e x h i b i t i o n b y cat. no. 79). O n that basis, the heads

7273) that employ a p a t c h w o r k

o f the Black men f r o m this i m p o r t a n t group o f

o f several techniques, i n c l u d i n g

plastic a r y b a l l o i can n o w be firmly l i n k e d to t h i s

red-figure, may w e l l be the w o r k

master.

o f this artist. A delicately m o d

16

I t seems u n l i k e l y that this unusual l i d d e d

eled relief head is a p p l i e d to the

skyphos w o u l d be the o n l y plastic p r o d u c t f r o m

figure o n either side o f each c u r v e d

the E u p h r o n i a n w o r k s h o p , and perhaps another

stand. The s i m i l a r i t y

e x t r a o r d i n a r y vessel w i t h applied relief ornament

o f the heads to those

may likewise be associated w i t h his atelier (cat.

f o u n d o n the handles o f

no. 82). This kantharos f r o m the collection o f the

vessels associated w i t h
Nikosthenes p r o m p t e d Diet
r i c h v o n Bothmer to propose
h i m as one possible potter i n
the o r i g i n a l p u b l i c a t i o n .

1 4

Based

o n the preserved evidence for the

use o f plastic decoration d u r i n g this

242 TRUE. CHAPTER 7

Getty M u s e u m is decorated o n each side w i t h a

large mold-made maskDionysos o n one side
and a satyr o n the o t h e r a n d w i t h red-figure
vase-paintings o f athletes. A t first glance the k a n
tharos presents an uncomfortable c o m b i n a t i o n o f
a w h e e l - t h r o w n vessel and relief attachments. The
concept o f o r n a m e n t i n g the sides o f a vase w i t h

masklike images o f the god o f theater and/or one

master craftsman can n o w be firmly credited w i t h

o f his retinue is best k n o w n f r o m a series o f black-

the creation o f one o r i g i n a l plastic vase t y p e , he

figure vases w i t h the faces d r a w n i n o u t l i n e tech

appears t o be the most l i k e l y candidate for the

n i q u e (see cat. no. 7 4 ) .

k a n t h a r o i w i t h a p p l i e d masks as w e l l .

17

These have been l i n k e d

w i t h a v a r i e t y o f festivals associated w i t h D i o nysos, i n c l u d i n g the Lenaia a n d the A n t h e s t e r i a .

18

But t h e y are perhaps most persuasively associated

Statuette-Vases

w i t h the Greater Dionysia d u r i n g w h i c h the first

into Larger Sculptural

dramatic performances u s i n g masked actors were

A t the same time that Nikosthenes a n d E u p h r o

i n t r o d u c e d a r o u n d 534 B.C.

nios were e x p e r i m e n t i n g w i t h the a p p l i c a t i o n o f

19

G i v e n the delicacy o f the terracotta masks that

are j o i n e d to b o t h the b o w l a n d foot, the vessel

(Wheel-thrown

Vases

Incorporated

Compositions)

relief decoration o n the surfaces o f w h e e l - t h r o w n

forms, another A t h e n i a n p o t t e r was a t t e m p t i n g

c o u l d n o t have been p r a c t i c a l l y used as a d r i n k

something m u c h more audacioushe was incor

i n g cup. Rather, i t must have been i n t e n d e d as an

p o r a t i n g wheel-made vessels w i t h i n mold-made

offering for a sanctuary or t o m b . T h i s s u r p r i s i n g

figural

kantharos is n o t u n i q u e , however, for fragments

examples is the B r i t i s h Museum's figure o f a

o f at least three other examples s u r v i v e i n the

Getty's collection (see Technical Studies, fig. 5 ) .

compositions. One o f the best-preserved

bearded male seated o n a diphros a n d h o l d i n g a

2 0

giant horn-shaped vessel i n his arms (cat. no. 77).

One o f these, m u c h larger a n d more elaborately

This image may represent the god Ploutos, nor

decorated, differs f r o m the Getty's restored k a n

m a l l y recognizable b y his w h i t e hair a n d beard,

tharos (cat. no. 82) i n h a v i n g masks o f Dionysos

a n d the large h o r n is the cornucopia o f this god

a p p l i e d t o b o t h sides o f the large open b o w l . Its

o f w e a l t h a n d b o u n t y f r o m the e a r t h .

red-figure decoration consists o f f r o l i c k i n g satyrs

decorated i n red-figure w i t h images o f four dei

a n d maenads s u r r o u n d e d b y elaborate palmettes.

ties, e v i d e n t l y suffered some damage i n a n t i q u i t y ,

L i k e the smaller version, this cup c o u l d never

a n d its r i m was cut d o w n . I t is carefully formed,

have f u n c t i o n e d as a real d r i n k i n g vessel. Both the

however, a n d w i t h i n the exterior f o r m o f the h o r n

u n g a i n l y shape a n d the exaggerated scale suggest

shape, a separately made, r o u n d - b o t t o m e d cup

a v o t i v e offering.

has been inserted, p r o v i d i n g a shallow black-gloss

I n shape a n d concept, these red-figured k a n -

25

The h o r n ,

surface w i t h i n the deeper mold-made f o r m . T h i s

t h a r o i i m m e d i a t e l y call t o m i n d an equally a w k

complex c o n s t r u c t i o n o f a vase w i t h i n a m o l d e d

w a r d b u t impressive late b l a c k - f i g u r e d kantharos

figure sits o n a simple base formed from a slab o f

w i t h the attached head o f a d o n k e y f r o m the

clay. A t t a c h e d to the h o r n a n d the proper left side

collection o f the B r i t i s h M u s e u m (cat. no. 76).

o f the figure, a single strap handle converts t h i s

A l t h o u g h u n a t t r i b u t e d t o p o t t e r or painter, the

three-dimensional sculpture i n t o a t y p e o f vase

t y p e C profile o f the B r i t i s h Museum's kantharos

that has been called a r h y t o n .

recalls Nikosthenes' association w i t h this p a r t i c u

lar v a r i a n t o f the vase t y p e ,

2 1

a n d t h i s vessel's

Technically, the t e r m r h y t o n , based o n the

Greek w o r d rhuo meaning " t o r u n t h r o u g h , "

d o n k e y head may w e l l be a reflection o f the older

refers t o a horn-shaped vessel t e r m i n a t i n g i n an

artist's interest i n protome a t t a c h m e n t s .

animal head or protome w i t h a spout i n its m o u t h

22

G i v e n t h e i r u n i q u e a n d n o t e n t i r e l y successful

or between its forelegs (the group o f animal-head

design, the k a n t h a r o i w i t h a p p l i e d masks were

r h y t a w i l l be discussed below). I t was a t y p e o f

most l i k e l y a l l the p r o d u c t o f one w o r k s h o p . The

vessel w e l l k n o w n t o the M i n o a n a n d Mycenaean

p a i n t i n g s o f athletes o n the smaller kantharos

Greeks i n the Bronze A g e .

have been a t t r i b u t e d t o the F o u n d r y Painter (cat.

Persia a n d the Near East i n s p i r e d a renewed inter

no. 8 2 ) ;

est i n the shape among A t t i c potters i n the later

23

those o f satyrs a n d maenads o n the

larger vessel have been a t t r i b u t e d t o O n e s i m o s .

24

2 6

Later examples f r o m

s i x t h a n d early fifth centuries B.C.

27

Contemporary

The one p o t t e r for w h o m b o t h o f these artists are

depictions o n vases often show the r h y t o n being

k n o w n t o have w o r k e d is Euphronios. Since t h i s

used i n symposia together w i t h a p h i a l e a n open

243 ATHENIAN POTTERS AND THE PRODUCTION OF PLASTIC VASES

figure, the entire c o m p o s i t i o n stands o n a t h i n

slab o f clay t h a t forms the base.
The n e w Ravanusa vessel remains u n a t t r i b u t e d . A p p a r e n t l y o n the basis o f the p a i n t e d
decoration, the L o n d o n vase has been l i n k e d w i t h
the p o t t e r K a c h r y l i o n ,

3 0

b u t there are no i n d i c a

tions t h a t this p o t t e r ever p r o d u c e d mold-made

vessels.

31

I n fact, no other artist u n t i l Sotades

(cat. nos. 86-87) was confident e n o u g h t o tackle

the complex i n t e g r a t i o n o f wheel-made vase a n d
mold-made terracotta statuette r e q u i r e d for the
p r o d u c t i o n o f such compositions. Perhaps f u r t h e r
excavations w i l l produce a signed example o f t h i s
master coroplast, b u t for n o w his i d e n t i t y remains
an open question.

Figure 3. Red-figured rhyton

(statuette-vase) in the form of
a satyr raping a donkey, from
Ravanusa, ca. 510-500 B.C.
H 26 cm. From Fiorentini
2003, 340.

Both these vases, w h i c h can be dated b y t h e i r

p a i n t i n g s t o the last decade o f the s i x t h c e n t u r y
B.C. (cf. d a t i n g i n cat. no. 77), are separated f r o m
the nearest parallels b y more t h a n h a l f a cen
t u r y . However, one u n u s u a l figural vessel f r o m
the Hermitage (cat. no. 85) provides an i m p o r
saucerlike vessel (e.g., cat. nos. 18-19) t h a t col

tant c o n n e c t i o n between these early examples

lected the l i q u i d f l o w i n g o u t o f the rhyton's spout.

o f statuette-vases a n d the m i d - f i f t h - c e n t u r y

The a p p l i c a t i o n o f the name rhyton to the more

pieces made b y the genius p o t t e r Sotades. The

complex figural vases is actually a misnomer, as

mold-made part o f t h i s object represents a majes

most have o n l y one o p e n i n g a n d no spout for the

tic black-gloss b i r d (identified i n the catalogue

l i q u i d t o escape, a n d t h e y may better be classified

e n t r y as a dove) standing frontally. Similar t o

as statuette-vases (e.g., cat. nos. 8 5 - 8 6 ) .

the Ploutos a n d the Ravanusa donkey, the spaces

2 8

N e i t h e r the p o t t e r nor the painter responsible

between its w e l l - m o d e l e d legs a n d feet are

filled

for the remarkable seated figure o f Ploutos is

w i t h recessed walls t h a t here are covered w i t h

k n o w n , b u t a recent discovery i n Ravanusa, Sic

the same r e d p a i n t used t o define his feathers a n d

ily, appears t o be b y the same master or masters

the scaly r i n g s o n his legs. The base is no longer

(fig. 3 ) .

a simple attached slab, however, b u t a mold-made

2 9

The relief p o r t i o n s o f t h i s vessel v i v i d l y

depict a bearded satyr dressed o n l y i n a black par-

m o u n d that seems t o i m i t a t e the i r r e g u l a r surface

dalis (panther-skin cloak), engaged i n intercourse

o f the g r o u n d . A t t a c h e d to its back is a flaring

w i t h a donkey. W h i l e the satyr is g r i n n i n g lustily,

wheel-made vessel decorated i n the red-figure

the donkey, ears back a n d o p e n m o u t h e d , appears

t e c h n i q u e w i t h Eos c a r r y i n g o f f a y o u t h o n one

to be b r a y i n g at t h i s outrage. M o u n t e d o n the

side a n d a satyr p u r s u i n g a maenad o n the other.

donkey's back l i k e a pannier a n d s u p p o r t e d along

A strap handle has been added at the rear. W h i l e

the animal's neck a n d the satyr's arms a n d chest

t h i s w h e e l - t h r o w n component serves to convert

is a small psykter-shaped vessel. Its offset r i m is

the b i r d i n t o a vase, i t does so abruptly, w i t h

washed w i t h r e d slip, as are the relief astragaloi

o u t any attempt t o u n i f y the t w o aspects o f the

(knucklebones) attached t o the sides as lugs. F r o n t

object as was done i n the L o n d o n Ploutos a n d the

a n d back, the surface is decorated w i t h red-figure

Ravanusa d o n k e y statuette-vases. A l s o u n l i k e the

Dionysiac scenes, a n d o n the recessed panels set

earlier examples, the attached vase has no sepa

between the relief f r o n t a n d back legs o f the d o n

rately made b o t t o m t o prevent its contents f r o m

k e y a n d beneath his w h i t e belly, t w o satyrs are

filling

d r a w n i n red-figure t e c h n i q u e . L i k e the L o n d o n

r i m opens d i r e c t l y i n t o the body, w h i c h is washed

244 TRUE. CHAPTER 7

the h o l l o w c a v i t y o f the b i r d . Instead, the

w i t h a black gloss. The p a i n t i n g o n the r i m is

ject matter, the Sotadean statuette-vases can be

a t t r i b u t e d t o the Painter o f L o n d o n D 15 (an art

d i s t i n g u i s h e d from a l l o f the earlier examples o f

ist f r o m the circle o f the Brygos Painter), and the

t h i s Class b y t h e i r well-crafted bases, w h i c h are

w o r k s h o u l d be dated a r o u n d 470 B.C. (cf. d a t i n g

hollow, straight-sided raised p l i n t h s . Covered w i t h

i n cat. no. 85), a generation or more after the p r o

black gloss, these may be rectangular or i r r e g u

d u c t i o n o f the L o n d o n a n d Ravanusa examples.

l a r l y shaped to accommodate the figural compo

T h o u g h never assigned t o a potter, t h i s vase has

s i t i o n . Some o f the bases are actually pierced t o

often been associated t h r o u g h its painter w i t h the

a l l o w the vessel t o f u n c t i o n as a t r u e r h y t o n (e.g.,

W o r k s h o p o f Brygos and the B r y g a n animal-head

cat. no. 87 and fig. 4), and the signature o f the

r h y t a t h a t w i l l be discussed b e l o w .

potter, where preserved, is neatly incised i n the

32

W h i l e i t may,

i n fact, be l i n k e d t o those special vases, i t s h o u l d

also be seen as the direct predecessor o f the splen
d i d Sotadean figural r h y t a , the final category o f

black surface (e.g., cat. no. 87).

The appearance o f an o p e n i n g i n the bases o f
some Sotadean statuette-vases raises an i m p o r t a n t

large statuette-vases.

q u e s t i o n w h a t was the purpose o f a l l o f these

e x t r a o r d i n a r y figural vessels? L i k e the earlier

The same e x t r a o r d i n a r y inventiveness o f

Sotades as a p o t t e r t h a t l e d h i m to e x p e r i m e n t so

statuette-vases and most o f the vases w i t h elabo

successfully w i t h the w h i t e - g r o u n d and coral-red

rate relief decoration, the Sotadean r h y t a , even

techniques, often i n c o m b i n a t i o n , also i n s p i r e d

w h e n pierced, c o u l d n o t have been i n t e n d e d for

his p r o d u c t i o n o f the most exceptional statuette-

any practical use. These elaborately p a i n t e d a n d

vases t h a t have s u r v i v e d f r o m the w o r k s h o p s o f

g i l d e d figures w i t h extended limbs, w i n g s , and

ancient A t h e n s .

tails w o u l d have been far

3 3

The subjects he chose t o depict

i n the m o l d e d images that f o r m e d the basis o f

too fragile to w i t h s t a n d

these vessels were unusual, exotic images: a Black

any degree o f wear.

y o u t h being attacked b y a crocodile (cat. no. 86);

T h e y c o u l d have served

a camel w i t h a Persian d r i v e r a n d Black g r o o m ;

o n l y a ceremonial f u n c t i o n

a p y g m y d r a g g i n g a dead c r a n e ;
(fig. 4 ) ;

3 6

35

3 4

a seated s p h i n x

and, most impressive o f all, a m o u n t e d

A m a z o n (cat. no. 87). U n l i k e the earliest

and, i n fact, most seem

to have been f o u n d i n
sanctuary deposits or

figural

compositions t h a t had attempted t o integrate the

i n tombs where t h e y

separately made vase component, these

were placed as offer

figural

ings for the dead.

r h y t a have t h e i r red-figured vessel p a r t grafted

o n t o t h e i r backs i n the same i l l o g i c a l manner as

But perhaps the most

the B r y g a n b i r d . Just as i n the b i r d , the w h e e l -

interesting aspect o f the

made p o r t i o n opens d i r e c t l y i n t o the b o d y o f the

k n o w n statuette-vases is t h a t

m o l d e d figure or

t h e y generally have been f o u n d

figures.

L i k e the earlier figural vasesthe one i n L o n

d o n a n d the one f r o m Ravanusathe Soteadean

outside o f Greece. M a n y come

f r o m graves or sanctuaries i n

images are b r i g h t l y p a i n t e d w i t h added colors

I t a l y a n d Sicily, where t h e y

the crocodile a t t a c k i n g the poor E t h i o p i a n is v i v

also i n s p i r e d i m i t a t i o n s b y

i d l y green, and the b e a u t i f u l A m a z o n , dressed i n

local potters that go o n w e l l

b r i g h t l y p a t t e r n e d garments, rides over a l i o n and

i n t o the f o u r t h c e n t u r y B.C.

38

a boar t h a t are added i n matt p i g m e n t beneath

A w e l l - k n o w n painting from

her horse. M o s t astonishing o f all, the b o d y and

the Tomba dell'Oreo n i n

w i n g s o f the seated s p h i n x i n L o n d o n are p a i n t e d

E t r u r i a d e p i c t i n g a table

completely w h i t e , w i t h details p i c k e d o u t i n red

o f offerings that i n c l u d e

and d i l u t e gloss, a n d she wears a necklace o f

a pair o f similar vessels

g i l d e d relief gorgoneia o n her chest (see fig. 4 ) .

3 7

I n a d d i t i o n t o t h e i r unusual and complex sub

(fig. 5) clearly d o c u
ments the Etruscan taste

245 ATHENIAN POTTERS AND THE PRODUCTION OF PLASTIC VASES

Figure 4. Red-figured rhyton

in the form of a sphinx,
attributed to Sotades as potter,
ca. 470-460 B.C. H 29.2 cm.
From Capua. London, The
British Museum BM Cat Vases
E 788.

Figure 5. Vases on a banquet

table. Copy of an Etruscan
wall-painting from Tomba
dell'Orco n, Tarquinia, ca.
350-300 B.c. Copenhagen, Ny
Carlsberg Glyptotek IN 1606.
Courtesy of Mette Moltesen.

Figure 6. Statuette-lekythos
in the form of a sphinx, ca.
380 B.c. H 14.5 cm. St. Peters
burg, The State Hermitage
Museum 3>A-1869.7. Photo
graph The State Hermitage
Museum.

for such u n u s u a l objects. Other statuette-vases

Head Vases and Animal-Head

have been f o u n d even farther afield, such as i n the

The sudden p o p u l a r i t y o f human-head vases

Sudan (cat. no. 87), a n d even i n Persia. Ironically,

a n d animal-head r h y t a i n A t h e n s d u r i n g the last

these remarkable creations t h a t best demon

Rhyta

decade o f the s i x t h c e n t u r y B.C. a n d the first

strate the v i r t u o s i t y a n d o r i g i n a l i t y o f the

decades o f the f i f t h has often been l i n k e d to more

A t h e n i a n potters appear t o have been made

t h a n the interest i n e x p e r i m e n t a t i o n t h a t d i s t i n

almost e x c l u s i v e l y for the e x p o r t market.

guishes this p e r i o d . I t has been a t t r i b u t e d t o the

Except for the South I t a l i a n replicas

increased contacts between Greece, Ionia, a n d the

o f d i m i n i s h e d q u a l i t y a n d size, however,

Persian Empire at t h i s t i m e a n d specifically t o the

the manufacture o f large statuette-vases

Greeks enthusiasm for the l u x u r y metal vessels

ceases w i t h the Sotadean w o r k s h o p . T h e y

used i n o r i e n t a l b a n q u e t s .

are replaced i n the f o u r t h c e n t u r y b y a

series o f plastic l e k y t h o i t h a t pres
ent more i n t i m a t e a n d familiar
subjects, such as A p h r o d i t e
r i s i n g f r o m the sea,

39

on a

m u c h smaller scale (see

But, w h i l e i t is indeed

40

l i k e l y t h a t many o f the earliest examples o f A t h e

n i a n h u m a n - a n d animal-head vases i m i t a t e d such
precious-metal p r o t o t y p e s ,

41

the A t t i c potters lost

no time i n creating d i s t i n c t i v e ceramic vessels,

b o t h large a n d small, w h i c h employed these sub
jects i n n e w a n d i n t e r e s t i n g ways.

cat. no. 89). A l t h o u g h

Small models o f h u m a n heads were made

the best (fig. 6) may

i n t o a r y b a l l o i (e.g., cat. no. 79), w h i l e the larger

recall the Sotadean

human-head vases were usually converted i n t o

statuette-rhyta i n

d r i n k i n g or s e r v i n g vessels w i t h the a d d i t i o n o f

the q u a l i t y o f certain

handles a n d r i m s or spouts (e.g., cat. nos. 8081).

details o f the m o d e l
i n g a n d p a i n t i n g , these

The animal heads generally became r h y t a (e.g.,

cat. nos. 83-84). Occasionally, an early p o t t e r

small, i n t r i c a t e l y con

attached a foot t o the b o t t o m o f the a n i m a l head

structed later vessels

to p r o v i d e a secure resting surface, b u t more

are no m a t c h for the

c o m m o n l y he added o n l y a flaring wheel-made

i m p o s i n g a n d dramatic

r i m to the e n d o f the neck a n d a strap handle or

images signed b y the m i d -

t w o , assuming that the vessel, i f used, w o u l d be

c e n t u r y master himself.

e m p t i e d before being set d o w n o n its r i m . The

second o p e n i n g (usually t h r o u g h the m o u t h ) t h a t
o r i g i n a l l y d i s t i n g u i s h e d animal-head r h y t a as ves
sels t h r o u g h w h i c h l i q u i d c o u l d flow is missing i n

246 TRUE. CHAPTER 7

most A t t i c ceramic e x a m p l e s ,

42

a n d thus the ani-

The best o f this group is the magnificently m o d -

mal heads are more p r o p e r l y d r i n k i n g c u p s k a n -

eled v u l t u r e s head from the B i b l i o t h q u e royale

t h a r o i or m u g s t h a n r h y t a .

i n Brussels (cat. no. 83). A l t h o u g h the red-figure

A v a r i e t y o f potters, i n c l u d i n g Euphronios (as

decoration o n the n a r r o w r i m is l i m i t e d to r u n -

m e n t i o n e d above), experimented w i t h mold-made

n i n g palmettes, Beazley associated these florals

vases i n the f o r m o f h u m a n heads, singly or j a n i -

and the meander p a t t e r n separating t h e m from the

f o r m , a d d i n g various types o f feet, handles, and

bird's head w i t h D o u r i s .

m o u t h s to create a r y b a l l o i , k a n t h a r o i , and o i n o -

4 8

N o potter has been l i n k e d w i t h the r h y t a o f

choai. The artists o f the j a n i f o r m vases often p l a y -

the D o u r i a n Class and no signature o f the potter

f u l l y c o m b i n e d male and female or Caucasian and

Brygos or any other artist appears o n the pre-

Black subjects i n the same vessel (e.g., cat. nos. 79

served r h y t a t r a d i t i o n a l l y assigned to the B r y g a n

and 81) for dramatic contrast. The most impressive

Class.

examples o f this p r o d u c t i o n are the head vases

n o w be assigned to the B r y g a n Classa ram's

signed b y the potter Charinos that combine e x q u i -

head i n R i c h m o n d , V i r g i n i a i s signed i n a most

sitely modeled female heads w i t h fine p a i n t e d dec-

obvious manner d o w n the m i d d l e o f the forehead

o r a t i o n o n the elaborate headdresses and attached

b y Charinos as p o t t e r .

spouts or r i m s (cat. no. 80). Beazley named one

is l i n k e d to the B r y g a n Class, so Charinos is l i n k e d

g r o u p o f head vases the Charinos Class after t h e i r

also to the Brygos Painter t h r o u g h the red-figure

potter,

vase-paintings o n the r i m o f the j a n i f o r m head

43

b u t n o w Charinos has also been l i n k e d

49

However, an exceptional r h y t o n that can

50

A n d j u s t as his ram's head

w i t h a fine specimen o f another Class o f j a n i f o r m

kantharos i n N e w York (see fig. 7) that has n o w

head k a n t h a r o i , the Providence Class, t h r o u g h the

been a t t r i b u t e d to h i m .

s p l e n d i d example w i t h conjoined female heads i n

from other signatures for his mastery o f plastic

the M e t r o p o l i t a n M u s e u m o f A r t (fig. 7 ) .

vessels, i t does n o t seem impossible to suggest that

4 4

5 1

Since Charinos is k n o w n

he also made the rest o f the animal-head r h y t a o f

As Beazley's extensive list shows, the early

the B r y g a n Class.

A t t i c head vases are far more numerous t h a n

animal-head r h y t a . T h e y v a r y greatly i n q u a l i t y

52

The red-figure scene o n the r i m o f Charinos's

and were p r o d u c e d b y a n u m b e r o f different p o t -

ram's head d e p i c t i n g a heroic banquet has been

ters. By contrast, the early animal heads are fairly

a t t r i b u t e d to the Triptolemos P a i n t e r .

rare, o f rather consistently h i g h quality, and t h e i r

i n g to Beazley, the Brygos Painter, Douris, and the

manufacture seems to have been restricted to at

Triptolemos Painter a l l w o r k e d together i n the

53

Accord-

most a h a n d f u l o f potters. M o s t have been l i n k e d

w o r k s h o p o f Euphronios. Perhaps the coroplast

to the w o r k s h o p o f one master, the potter Brygos,

Charinos was part o f this w o r k s h o p as w e l l , learn-

for the figural decoration o n a n u m b e r o f the pre-

i n g the craft o f plastic vases from the older master.

served examples has either been a t t r i b u t e d to the

Brygos Painter h i m s e l f or else to vase-painters i n
his immediate c i r c l e .

45

A p a r t i c u l a r l y fine example

A n i m a l heads o f the n e x t generation i m i tate closely the models o f the so-called B r y g a n

Class, e m p l o y i n g many o f the same animal sub-

of t h i s B r y g a n Class is the h o u n d s - h e a d cup from

jectsrams, hounds, d o n k e y s t h a t had o b v i -

the Hermitage (cat. no. 84). Here the alert, expres-

ously achieved some p o p u l a r i t y i n the market

sive face o f the black-gloss h o u n d makes a n a t u -

w h i l e also a d d i n g such n e w subjects as boar and

ral t r a n s i t i o n to the attached w h e e l - t h r o w n r i m ,

possibly panther. Some heads appear to have

almost like a collar a r o u n d its neck. Beazley a t t r i b -

been cast from reused older, detailed molds, b u t

u t e d the m y t h o l o g i c a l battle between the pygmies

i n general the features o f these heads are b l a n d ,

and cranes p a i n t e d i n red-figure o n the r i m to the

treated more s i m p l y and w i t h less a t t e n t i o n to

Brygos P a i n t e r .

naturalistic d e t a i l s .

46

A n o t h e r small group o f early

fifth-century

Since the Sotades Painter

has been identified as the artist w h o decorated

animal-head r h y t a has been named the D o u r i a n

the w h e e l - t h r o w n r i m s o f many o f these r h y t a ,

Class because the decoration o n most has been

a t t r i b u t e d to the artist Douris late i n his career.

54

the potter Sotades has also been associated w i t h

47

the best examples (Williams, chap. 8, fig. 4 ) .

247 ATHENIAN POTTERS AND THE PRODUCTION OF PLASTIC VASES

5 5

His

fascination w i t h

iconography a n d r i t u a l a n d religious significance

the

o f the A t t i c plastic vases, b u t most remains con

manufacture

o f plastic vessels

jectural.

and his collabora

t i o n w i t h this painter
are b o t h clearly demon
strated b y his statuette-vases
(see fig. 4 here and cat. no. 86).
But w h i l e many o f Sotades' sur

5 7

One hopes that there w i l l be f u r t h e r

archaeological discoveries l i k e the Ravanusa satyra n d - d o n k e y vase (see fig. 3), w h i c h w i l l e x p a n d

our k n o w l e d g e o f b o t h the creators o f these
strange h y b r i d s a n d t h e i r o r i g i n a l purposes. I n the
meantime, the a r t i s t r y o f the preserved examples
w i l l continue to d e l i g h t a n d amuse us.

v i v i n g statuette-vases preserve
his signature (e.g., cat. no. 8 7 ) ,

5 6

NOTES

no signature has yet appeared o n an

1

animal head.
W h o e v e r the potters may have

2
3

H i g g i n s 1959, p i . 15, B r i t i s h M u s e u m 1635, a n d p i . 3 1 ,

B r i t i s h M u s e u m 1679.

4
5

H i g g i n s 1959, pis. 19-20, B r i t i s h M u s e u m 1652-54.

Karo 1911; Vermeule 1960, 1-12, p i . 4, figs. 3 0 - 3 2 ; l i o n
a n d stag r h y t a are p i c t u r e d i n M a r i n a t o s a n d H i r m e r 1960,
pis. 175-77.

6
7

H i g g i n s 1959, 7.
See W i l l i a m s 1999, 4 1 , fig. 29, 44, fig. 32a-b, 48, fig. 35a
for excellent examples.

artists. L i k e the early statuette-vases, discussed

above, the m a j o r i t y o f the Charinos Class head

E.g., H i g g i n s 1959, p i . 23, B r i t i s h M u s e u m 1659 (East

Greek), a n d p i . 29, B r i t i s h M u s e u m 1676 ( C o r i n t h i a n ) .

E.g., H i g g i n s 1959, p i . 19, B r i t i s h M u s e u m 1648-^19, f r o m

Rhodes.

been, the p o p u l a r i t y a n d influence o f

these early h u m a n - a n d animal-head
vessels seem to have been enor
mous. T h e y i n s p i r e d generations
o f variants as w e l l as fine and poor
Figure 7. Janiform kantharos in
the form of conjoined female
heads with red-figure satyrs on
the rim, attributed to Charinos
as potter and to the Brygos
Painter, ca. 480 B.C. H 19.7 cm.
New York, The Metropolitan
Museum of Art, Rogers Fund,
1912, 12.234.5. Photograph
1990 The Metropolitan
Museum of Art.

Archaeologists a n d ceramics scholars alike s t i l l refer t o t h e

neck, shoulder, belly, a n d foot o f a vase.
See H i g g i n s 1959, pis. 5-7, B r i t i s h M u s e u m 1607-12.

copies b y b o t h A t t i c and South I t a l i a n

vases and the B r y g a n Class r h y t a have been f o u n d

i n Italy. A n d , l i k e the Sotadean statuette-vases,
the animal-head r h y t a o f the Sotadean Class and

10

ABV 215: W i l l i a m s 1999, 6 3 - 6 6 , figs. 48a a n d c ( s h o w n

side b y side w i t h Etruscan examples).

11

Boston, M u s e u m o f Fine A r t s 00.334, a t t r i b u t e d t o the

Nikosthenes Painter: ARV
126.27; Para 333; BAdd
176;
BAPD Vase 20155; see CB i n , 10.
2

the later i m i t a t i o n s a n d variants have been f o u n d

i n tombs a n d sanctuaries i n Greece as w e l l , show

12

L o u v r e F 117 a n d F 116: ABV 230.1-2; Para 690; BAdd

59; BAPD Vases 301231 a n d 301232; M e r t e n s 1977, 3 1 - 3 2 ;
Biers 1983, 123, figs. 8.4a-b a n d 8.3a-b.

13

Elsewhere, I have suggested t h a t he may also be t h e p o t

ter responsible for a u n i q u e spouted k a n t h a r o i d vase
f r o m the M u s e d u V i n , Beaune (True 1986, 110-15, figs.
15a-b), a n d an i m p o r t a n t fragmentary k y l i x w i t h relief
figures o f horses a p p l i e d t o the surface (Athens, N a t i o n a l
Archaeological M u s e u m , A c r o p o l i s Collection 102a-f; note
t h a t fragment e no longer exists, a n d fis n o w j o i n e d t o

i n g that the appeal o f these figural vessels h a d

become widespread.

Conclusion
W h e t h e r i n s p i r e d b y vases o f earlier Greek
ceramicists or b y the metal l u x u r y vessels o f

b), a t t r i b u t e d b y Beazley t o t h e Euergides Painter

[ARV
1625; BAdd
171; BAPD Vase 275048; T r u e 1986, 133-35,
fig. 18).
2

I o n i a and the Near East, i n the last decades o f the

s i x t h c e n t u r y some o f the best potters o f A t h e n s
embraced the p r o d u c t i o n o f plastic vases w i t h

14
15

Bothmer 1972.
J P G M 81.AE.214; T r u e 1986, 116-26, 132. A related G e t t y
vase (81.AE.214.B) o f similar shape decorated w i t h scenes
o f the labors o f Theseus lacks its spout (True 1986, 1 2 7 - 3 1 ,
132).

16

I t is i n t e r e s t i n g t h a t already i n 1894, Paul H a r t w i g (1894,

126) h a d a t t r i b u t e d t o E u p h r o n i o s a fine head vase f r o m
Eretria: a plastic aryballos i n the f o r m o f a Black man's
head, n o w i n the N a t i o n a l Archaeological M u s e u m o f A t h
ens (no. 2385 [ N . 1227]; ARV
1594.51; BAdd
389). T h i s
a t t r i b u t i o n was questioned, however, b y E. Pottier (1902,
140), for E u p h r o n i o s was n o t o t h e r w i s e k n o w t o have
made plastic vases.

great enthusiasm. Perhaps t h e i r most o r i g i n a l con

t r i b u t i o n was the statuette-vase, or figural r h y t o n ,
a f o r m that reached its c l i m a x i n the m i d - f i f t h cen
t u r y B.C. u n d e r Sotades w i t h the creation o f his
majestic A m a z o n (cat. no. 87). Earlier vases w i t h

a p p l i e d relief decoration as w e l l as completely

three-dimensional vessels such as the animal-head
r h y t a a n d human-head k a n t h a r o i and oinochoai
also demonstrated the i n g e n u i t y , sensitivity, and
h u m o r o f these exceptional

craftsmen.

M u c h has been w r i t t e n about the complex

248 TRUE. CHAPTER 7

17
18
19

For t h e most detailed discussion o f these vases, see Bell

1977; more r e c e n t l y P i n n e y 1986.
Frickenhaus 1912; B u r k e r t 1983, 2 3 0 - 3 8 ; S i m o n 1983,
1 0 0 - 1 0 1 ; B u r k e r t 1985, 226, 294.
S i m o n 1983, 103-104.

20
21
22

J P G M 8 1 . A E . 1 9 5 a - b , 8 6 . A E . 5 7 6 . 1 - 2 , a n d 81.AE.215. T r u e
1986, 149-62, 2 6 6 - 7 4 , figs. 22a-25f.
See above, note 13.
H o f f m a n (1962, 9, no. 4) n o t e d that the d o n k e y head o f
t h i s kantharos was closest t o the d o n k e y - h e a d r h y t o n i n
Paris, Petit Palais 367, a t t r i b u t e d t o the Colmar Painter
(ARV
357.74; BAPD Vase 203756). Beazley n o t e d t h a t t h i s
artist's " d e v e l o p e d style was f o r m e d u n d e r the influence
o f Onesimos . . . a n d the A n t i p h o n Painter. He p r o b a b l y sat
side b y side w i t h t h e m i n the w o r k s h o p o f E u p h r o n i o s "
(ARV
352).

34

35

26
27

28

29

By J. Robert Guy.
By D y f r i W i l l i a m s . For Onesimos, see cat. no. 46.
O n t h i s i d e n t i f i c a t i o n , see T r u e 1986, 3 0 - 4 0 , w i t h earlier
b i b l . T h e hair and beard o f the L o n d o n statuette-vase's
seated male figure are pale rather t h a n w h i t e : T h e y appear
to have been reserved. I n the standard i n t e r p r e t a t i o n ,
e x p l a i n e d i n cat. no. 77, the seated male figure represents
Dionysos h o l d i n g an outsized d r i n k i n g h o r n . Cf. the Kerchstyle b e l l - k r a t e r f r o m B e r l i n (cat. no. 102), w i t h cat. no. 77
for a later male figure w i t h w h i t e hair a n d beard c a r r y i n g a
cornucopia.
See above, notes 5-6.
See most recently H o f f m a n n 1997, 5-9, w i t h earlier b i b l . ;
see also G u y 1981, 8, stressing the connections between
Greece a n d the Near East before the Persian War. O n A t t i c
adaptation o f the foreign metalware, see also M i l l e r 1997,
141-44 and figs. 4 7 - 5 0 .
I t must be n o t e d here that the p r o d u c t i o n o f the statuettevases appears to have been c o m p l e t e l y separate f r o m the
p r o d u c t i o n o f terracotta statuettes. The clay used for the
vases was m u c h finer i n q u a l i t y a n d capable o f t a k i n g the
impression w i t h m u c h sharper details. Comparisons w i t h
c o n t e m p o r a r y terracottas f o u n d i n A t h e n s a n d elsewhere
i n Greece and I t a l y o n l y p o i n t u p the coarseness o f the
figurines i n comparison w i t h the images attached t o the
vases. See, recently, Paris 2003 for an assessment o f b o t h
terracotta statuettes a n d statuette-vases w i t h excellent
color i l l u s t r a t i o n s .
F i o r e n t i n i 2003. Five other vases s h o u l d also be connected
to t h i s potter. T w o fragmentary vessels similar i n f o r m
to the L o n d o n statuette-vase, b u t w i t h figures o f satyrs
instead o f Ploutos h o l d i n g g i a n t kerai, are preserved i n the
G e t t y M u s e u m (81.AE.216.J. 1-2); also related b y F i o r e n t i n i
to the n e w Ravanusa vase are t w o statuette-vases o f d o n
keys, one i n the M u s e o Civico o f A g r i g e n t o (ARV
29.2;
BAdd
156; BAPD Vase 200121; M a r c o n i 1931-1932) and
another i n M a l i b u , J P G M 8 1 . A E . 2 1 6 . L . The latter is one o f
a pair w i t h 8 1 . A E . 2 1 6 . M . A l l are discussed i n T r u e 1986,
5 8 - 7 4 , figs. 6a-e, 7, 8 a - d , 9, a n d l O a - g .
S m i t h 1896, 372; H . B. Walters, CVA, B r i t i s h M u s e u m 4
[Great B r i t a i n 5], 8.
However, he d i d p o t one o f the greatest cups p a i n t e d b y
E u p h r o n i o s t h a t employs the coral-red t e c h n i q u e to great
effect ( M u n i c h 2620; see Cohen, chap. 2, at note 25 a n d fig.
4 there).
Beazley (1945, 157) mentions that t h i s vase was f o u n d w i t h
the head kantharos o f the Providence Class, N e w York,
M e t r o p o l i t a n M u s e u m o f A r t 12.234.5 (see fig. 7). N o w
assigned to Charinos, the N e w York vase w i l l be discussed
f u r t h e r w i t h the head vases below; see also notes 44, 5 1 ,
a n d cat. no. 85.
For the most recent consideration o f Sotades and these
remarkable vases, see H o f f m a n n 1997. The a u t h o r concen
trates more o n the complex iconography o f the statuettevases t h a n o n t h e i r techniques o f manufacture. He
illustrates most o f t h e m fairly completely, however.
2

36

31

32

33

249

ATHENIAN

POTTERS

AND

THE

L o n d o n , B r i t i s h M u s e u m BM Cat Vases E 788: ARV

764.8; BAdd 286; BAPD Vase 209465; H o f f m a n n 1997,
154, figs. 4 0 - 4 1 ; W i l l i a m s 1999, 84, fig. 62a.
2

37

See Cohen, chap. 4 at note 16: These relief gorgoneia com

prise one o f the earliest preserved examples o f g i l d i n g
on A t h e n i a n p o t t e r y . A f t e r the first quarter o f the fifth
c e n t u r y potters seem to have lost interest i n a p p l y i n g
relief decoration to the surfaces o f red-figure vases. See,
however, the r e d - f i g u r e d fragment w i t h a female head i n
relief o f ca. 4 7 5 - 4 5 0 B.c. associated w i t h Sotades i n Bos
ton, M u s e u m o f Fine A r t s 26.15: ARV 767.21; BAPD Vase
209500.
2

38

For lists o f South I t a l i a n replicas, see H o f f m a n n 1999, 155

(sphinxes), 156 (crocodile a t t a c k i n g a Black man), and 158
( p y g m y a n d crane).

39

E.g., Boston, M u s e u m o f Fine A r t s 00.629: T r u m p f L y r i t z a k i 1969, 3 0 - 3 1 , no. 79, p i . 9, FV 79.

H o f f m a n n 1961, 2 1 - 2 6 , pis. 8-12; i d e m 1997, 6-8; Robert
son 1992, 185; see also the o v e r v i e w i n M i l l e r 1997.

40
41

Vickers, Impey, a n d A l l a n 1986, pis. 23-25; H o f f m a n n

1989, 137; i d e m 1997, 4 - 9 ; note 17 there gives extensive
b i b l . o n the n o t i o n t h a t a l l Greek p a i n t e d p o t t e r y was a
p o o r i m i t a t i o n o f metalware.

42

H o f f m a n n (1962, 4 9 n . l 5 ) cites six examples o f A t t i c r e d figured r h y t a k n o w n t o h i m that were actually pierced;

see also i d e m , 1997, 6n.29, for f u r t h e r references and
discussion.
Beazley 1929, esp. 4 3 - 4 5 ; ARV
1531-32.
N e w York, M e t r o p o l i t a n M u s e u m o f A r t 12.234.5: ARV
1538; see Beazley 1929, 58; a n d G u y 1981, 6, for the a t t r i
b u t i o n . See also above, note 32, a n d below, note 5 1 .

43
44

45
46

H o f f m a n n 1962, 10-12, pis. n - i i i .

ARV
382.188.

47

H o f f m a n n 1962, 13-15, pis. 4 - 5 . 1 - 2 .

48
49

A R V 446.260.
I n d e e d , the signature o f Brygos does n o t appear o n any
plastic vase b u t is l i m i t e d rather to a series o f fifteen
d r i n k i n g cups (ARV
398; Para 369).
V i r g i n i a M u s e u m o f Fine A r t s 79.100: BAdd 402; BAPD
Vase 7537; G u y 1981.
The p o t t e r a t t r i b u t i o n is discussed above at notes 32 and
44. For the a t t r i b u t i o n o f the vase-paintings b y Beazley,
see ARV 382.183; Para 366; BAdd 227; BAPD Vase
204082.
A s is cited above i n note 32 above, Beazley (1945, 157)
mentions t h a t the N e w York head vase (see fig. 7) was
f o u n d together w i t h the so-called B r y g a n b i r d (cat. no. 85).
I f Charinos may be the p o t t e r o f the B r y g a n r h y t a , is i t n o t
possible that he m i g h t also have created the b i r d i n the
Hermitage?
G u y (1981, 2n.9) credits M a r t h a O h l y - D u m m w i t h t h i s
attribution.
One bizarre and n o t p a r t i c u l a r l y a r t f u l i n n o v a t i o n o f t h i s
time was the d i m i d i a t e d animal-head r h y t o n , i n w h i c h the
t w o sides o f the vessel's head belong to different beasts,
a w k w a r d l y grafted together, e.g., r a m w i t h d o n k e y (Hoff
m a n n 1962, 20, nos. 38-40).
H o f f m a n n 1962, 19-25, pis. 6-12.2.
ARV 772-73; Para 416; BAdd 287; BAPD s.v. Sotades.
M o s t recently, H o f f m a n n 1997, w i t h exhaustive earlier
bibl.

50

30

23
24
25

M u s e d u L o u v r e CA 3825: Para 416; BAdd 287; BAPD

Vase 275887; H o f f m a n n 1997, 158, figs. 8 8 - 8 9 , w i t h earlier
bibl.
Boston, M u s e u m o f Fine A r t s 03.799, Black p y g m y (ARV
737.125; BAPD Vase 209117); Basel, p r i v a t e c o l l e c t i o n ,
Caucasian p y g m y (ARV
1669.2 bis; Para 415; BAPD Vase
275371): H o f f m a n n 1997, 3 5 - 3 8 , 157, figs. 13-14, 16-18.

51

52

53
54

55
56
57

PRODUCTION

OF

PLASTIC

VASES

70
BLACK-FIGURED WHITE-GROUND
OINOCHOE OF SHAPE I WITH
PLASTIC FEMALE HEADS
ON HANDLE
A t t r i b u t e d to the Class and Painter o f
L o n d o n B 620, ca. 525-515 B.c.
H ( w i t h handle) 28.6 cm
Brussels, B i b l i o t h q u e royale de Belgique 5,
bequest o f Baron L u c i e n de H i r s c h , 1898
From V u l c i ; formerly Alessandro Castellani
collection; W. W. Hope collection; collection
o f L u c i e n Bonaparte, Prince o f Canino
Lioness attacking

boar, tree, cow suckling

calf

Assembled from fragments with no

losses; glue stains and retouching visible along
cracks; black gloss chipped and cracked around
plastic head on front of handle, on rim of trefoil
mouth, and on vessel's foot; chips in added white on
both plastic heads; graying of white on head at back
of handle; scattered black incrustation on ornament;
indentations on left and right sides of body, probably from stacking in the kiln.
CONDITION:

THE

BLACK-FIGURE

DEPICTION

on

the

creamy w h i t e - g r o u n d b o d y o f this oinochoean

early example o f this special t e c h n i q u e i s
devoted e n t i r e l y to animals i n nature: an unusual
theme i n A t h e n i a n art. A lone tree at the center
front suggests the r u r a l setting; to the left, i n a
ferocious animal fight, a lionness attacks an enormous w i l d boar; to the r i g h t , a w a r y cow, w i t h a
delicately t w i s t e d t a i l , suckles her calf as a falcon
flies overhead.
The a i r y c o m p o s i t i o n is enhanced b y openw o r k black ornament that often reveals the underl y i n g w h i t e g r o u n d : a black checker o n the neck;

70.1

o u t l i n e tongues o n the shoulder, every other one

c o n t a i n i n g a black stripe; a double black g r o u n d line a r o u n d the body; and, below, double lines
b o r d e r i n g a r o w o f u p r i g h t lotus buds and o u t l i n e
rays. Relief lines are employed i n the checker a n d
i n the tongue patterns. A black echinus foot balances the black o n the vessels m o u t h a n d handle.
The c h t h o n i c snakes, w h i c h emerge from the
sides o f the handle i n place o f rotellae and rest o n
the r i m o f the trefoil m o u t h , seem appropriate for
this oinochoe's fearsome black-figure theme o f a n i -

250 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

pair o f raised ridges, that flares o u t w a r d to accom

modate an elongated o v o i d body, has been com
pared to a m o u n t e d o s t r i c h egg. Beazley associated
this vase w i t h a h a l f dozen similar w h i t e - g r o u n d
oinochoai and fragments i n his Class o f L o n d o n B
620,

w h i c h was p a i n t e d b y one painter and made

by a single potter. Three o f these vasesthe pres

ent oinochoe; one s h o w i n g Peleus treed between a
boar and a l i o n (New York, M e t r o p o l i t a n M u s e u m
of A r t 46.11.7); and the Class's name vase, show
ing

Peleus b r i n g i n g the infant Achilles to the

centaur C h i r o n , w h o stands beside a treewere

f o u n d at V u l c i and appear to have belonged to
the collection o f the Prince o f Canino i n the early
nineteenth century. These three remarkable A t h e
n i a n vases may o r i g i n a l l y have been designed
together as a set. T h e i r decoration w i t h a w h i t e
g r o u n d and mold-made additions at the e x p e r i
mental time o f t r a n s i t i o n from black- to red-figure
brings to m i n d the creations o f the potter
Nikosthenes and the vase-painter Psiax (cf.

70.2

mal

life and death i n the c o u n t r y s i d e . The plastic

snakes themselves, however, are n o t rendered i n

a black-figure vocabulary: T h e i r heads and scales
are p a i n t e d w i t h black outlines o n t h e i r reserved
three-dimensional forms. The central section o f the
oinochoes t a l l t r i p a r t i t e handle is also reserved.
The p o t s clay has otherwise been so effectively
h i d d e n beneath its b l a c k - a n d - w h i t e surface
treatments that these contrasting b r i g h t orange
reserved features p r o v i d e an aesthetic surprise.
Here h u m a n imagery has been l i m i t e d to plastic
female heads that grace the front and rear ends o f
this oinochoes t a l l arched handle. Both heads were
made i n the same m o l d , and b o t h were o r i g i n a l l y
p a i n t e d a b r i g h t w h i t e t h e color o f female flesh
i n black-figurerather t h a n the creamy w h i t e o f
the vessels g r o u n d . The features o f these heads
were o r i g i n a l l y p a i n t e d red.
The exquisite Brussels oinochoes plastic a d d i
tions seem to suggest the influence o f metalware;
however, no metal prototypes are k n o w n for sev
eral d i s t i n c t i v e features o f this vase. Its unusual
shape, w i t h the checkered neck, set between a

cat. nos. 7 1 , 50, 52; Mertens, chap. 6, fig. 1;

True, chap. 7, fig. 1).

R E F E R E N C E S : ABV425,
4 3 4 . b o t t o m . 4 ; Para
187; BAdd
111; BAPD Vase 320455; Castellani
1884, p i . 1, 1 1 , no. 62; Hope 1849, no. 49; Caspar
1901, 612-13; Feytmans 1948, 3 1 - 3 6 , pis. 10-14; Lane
1948, 4 0 - 4 1 , p i . 53; B e r n h a r d 1966, 72, 128, fig. 267;
Charbonneaux, M a r t i n , a n d V i l l a r d 1971, 308, 309,
fig. 353, 4 1 1 ; M e r t e n s 1977, 64, no. 14, 6 8 - 7 0 ,
1 1 2 - 1 3 n . 3 1 ; Pollard 1977, fig. 8; Vickers 1984,
97 at n.105; H u r w i t 1991, 52; Malagardis
1991, 107, 108, fig. l c ; Clark 1992, 567,
no. 1311, 6 2 4 - 3 6 .
2

I have been able to consult Gaspar

1901 as the article i n Durendal, b u t
not the abstract version cited b y Feyt
mans 1948 a n d i n ABV 324.bottom.4.
I have also n o t been able t o consult
the Canino sale catalogue o f 1837 (no.
196).
On the representation o f trees i n
vase-painting, see, recently, Ruhfel
2003, esp. 7 6 - 7 8 . For Beazley's Class
a n d Painter o f L o n d o n B 620, see ABV
425, 434; BAPD s.v. L o n d o n . B 620, P
of. N e w York, M e t r o p o l i t a n M u s e u m o f
A r t 46.11.7: A S V 4 3 4 . b o t t o m . 3 ; Para 187.
BAdd
111; BAPD Vase 320454. L o n d o n ,
B r i t i s h M u s e u m GR 1867.5-8.1009, BM Cat.
Vases B 620: ABV 4 3 4 . b o t t o m . 1; Para 187;
BAdd
111; BAPD Vase 320452. For the early his
t o r y o f these vases, see M e r t e n s 1977, 1 1 2 - 1 3 n . 3 1 .
On the association o f Nikosthenes a n d Psiax w i t h
w h i t e - g r o u n d vases a n d plastic additions, see t h i s
v o l u m e , M e r t e n s , chap. 6, and T r u e , chap. 7.
2

251 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

70.3

Good; cleaned and restored; assembled

from fragments with losses on body filled in with
white-toned plaster, including part of Hermes'
upper body and area behind him, ram's upper
forelegs and part of its torso, area to right of back
handle; heads and upper bodies of snakes that once
flanked lion protome on rim broken off; parts of
lion's row of teeth missing; losses of white ground
on body, esp. around figure of Maia and on upper
back; losses in second white on Maia's flesh; chips
in black gloss on Hermes' head and drapery.
CONDITION:

PERHAPS

MORE THAN

A N Y O T H E R indi

v i d u a l Archaic A t h e n i a n vase, this u n i q u e h y d r i a

engagingly imitates m e t a l w o r k . Its most s t r i k i n g
detail is the e x t r a o r d i n a r y l i o n s-head protome at
the front end o f the p o t s t h i c k h i g h a n d arching
handle. The m o l d e d animal head's face and ears
are reserved, suggesting the influence o f r e d figure,

and its details are described or heightened

w i t h paint. The lion's eyes, p a i n t e d a b r i g h t w h i t e ,

are r i m m e d w i t h black a n d have o c u l i consist
i n g o f d o t t e d black circles. Black dots indicate
the w h i s k e r s ' roots o n the beast's muzzle, w h i c h
is w r i n k l e d from g r o w l i n g , and also its n o s t r i l s '
interiors; t w o more black dots embellish the
forehead. The inside o f its open m o u t h , w i t h the
tongue extended, is p a i n t e d red. Its teeth are

71.1

p a i n t e d w i t h separate dabs o f w h i t e o n t o p o f the

red. A s i n the black-figure technique, the waver
i n g , flamelike locks o f the lion's mane have been
incised i n t o the black gloss o n the vessel's handle.

71
BLACK-FIGURED WHITEGROUND HYDRIA WITH PLASTIC
ADDITIONS

This l i t t l e protome recalls the lion's-head water

spouts o f fountains a n d fountainhouses often
depicted o n h y d r i a i , vases c o m m o n l y employed
for fetching a n d s t o r i n g water.
T w o reserved m o l d i n g s e x t e n d i n g u p the
handle at the sides o r i g i n a l l y t e r m i n a t e d i n snake

Recalls the w o r k o f Nikosthenes as potter

heads that rested o n the hydria's r i m ,

a n d o f Psiax as painter, ca. 520-515 B.C.

the lion's-head protome (cf. cat. no. 70). A n o t h e r

flanking

H ( w i t h handle) 24.3 cm; H (rim) 21 cm

plastic feature d e r i v e d f r o m m e t a l w o r k graces

Paris, Petit Palais, M u s e des Beaux-Arts de

the handle's lower end at the back: a mold-made

la V i l l e de Paris A D u t 322

clay a p p l i q u e o f t w o reserved d o w n w a r d - f a c i n g

F r o m V u l c i , f o u n d i n Canino excavations b y

palmettes w i t h black hearts. A l o n g s i d e this pot's

Feoli; p a r t o f the Auguste D u t u i t collection

relief elements, an illusionistic p a i n t e d feature also

bequeathed to the C i t y o f Paris i n 1902;

evokes m e t a l w o r k : tongues encircling the roots

f o r m e r l y Cottereau collection; M a g n o n c o u r

o f the t w o side handles, w h i c h m i m i c appliques

collection

employed to mask the attachment o f metal han

dles. These tongues are d r a w n w i t h black outlines

Hermes and

Maia

and t h e n covered w i t h a d i l u t e wash o f grayish

U n d e r B / A side handle, goat; u n d e r A / B side

black, w h i c h suggests t h e i r three-dimensionality.

handle, ram; u n d e r rear handle, lion

The Petit Palais hydria's shape has itself been

called "a potter's phantasy, for i t combines an

252 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

unparalleled g l o b u l a r b o d y w i t h a neck and han

dle reminiscent o f o i n o c h o a i " (Mertens 1977).
T h i s d i s t i n c t i v e small h y d r i a w i t h plastic a d d i
tions is also an early w h i t e - g r o u n d vase. W h i l e
black gloss has been employed o n its neck, m o u t h ,
a n d handles, a creamy g r o u n d covers most o f its
body, the c u r v e d v e r t i c a l b a n d between the foot's
upper a n d lower degree, and also the sloping
vertical element o f the foot s underside. Blackfigure-on-white-ground

decoration extends a l l

the w a y a r o u n d the pot. The pair o f black

figures

on the front is q u i t e unusual: the messenger god

Hermes, a son o f Zeus, and his mother, M a i a , one
of the Pleiades. T h e i r names are i n s c r i b e d v e r t i
cally b e h i n d t h e i r backs. Hermes, s h o w n here as
a beardless y o u t h (cf. cat. nos. 7, 66), is formally
dressed i n a h i m a t i o n w i t h alternating red and
black folds w o r n over a c h i t o n , his head encircled
by a red fillet. He holds his i d e n t i f y i n g

kerykeion

a n d extends a phiale t o w a r d his mother. M a i a

wears a mantle w i t h red-and-black folds over a red
dress; a red fillet binds her hair i n t o a krobylos at
the back. She holds a w r e a t h , perhaps i n t e n d e d
for her son. Her flesh is described b y a w h i t e r
second w h i t e a p p l i e d over black gloss, an unusual
feature i n early w h i t e g r o u n d .
The theme o f sacrifice informs the pot's iconog
raphy. The goat and r a m beneath the hydria's side
handles are the sacrificial animals associated w i t h
Hermes, the god o f herdsmen. The black-figure
l i o n w i t h an elaborately incised mane and red

R E F E R E N C E S : ABV 668; Para 617; BAPD Vase 306443; CVA Petit

Palais [France 15] 14, p i . 11; Gerhard 1831, 29 (160), 39 (254), 83
(811), 131 (160c), 143 (254), 191 (811); De W i t t e 1839, 1 0 - 1 1 , no.
10; Gerhard 1840, 6 8 - 7 0 , p i . 19.1 (animals reversed);
Panofka 1850, 34, 87, 90, p i . 2.3; L e n o r m a n t and
De W i t t e 1858, i x , 217-18, 2 2 1 , 2 5 1 - 5 2 , p i . 85;
L e n o r m a n t a n d Feuardent 1879, 3 6 - 3 7 , no. 64,
p i . 16; W e r n i c k e 1890, 94, 103; W. K l e i n 1898,
49; Collection Dutuit [1908], p i . 18.2; Robinson
a n d F l u c k 1937, 125-26; Schnitzler 1948, 14,
42, 5 1 , 68, no. 45, p i . 32.45a-b; R u m p f 1953,
p i . 21.8; D i e h l 1964, 58, 229, no. T 222, 2 5 1 ,
p i . 37; M e r t e n s 1977, 49, no. 10, 5 0 - 5 1 ; W e h gartner 1983, 8, 178n.76; Shapiro 1989, 128, p i .
58a-c; LIMC v (1990) s.v. Hermes 310, no. 243,
p i . 220 (G. Siebert); P e l l e t i e r - H o r n b y 2000, 27,
28, figs. 1-3, 29, 30, fig. 4, 3 1 , fig. 8, 32 ( a t t r i b
u t e d to Psiax [ M a r t i n e Denoyelle]).
For a lion's-head water spout depicted on
a b l a c k - f i g u r e d h y d r i a , see Vatican, M u s e o
Etrusco Gregoriano 426, a t t r i b u t e d to the A n t i menes Painter: ABV 266.2; Para 117; BAdd 69;
BAPD Vase 320012; B u r o w 1989, p i . 5 9 . b o t t o m .
See f u r t h e r M e r t e n s , chap. 6, o n the Petit Palais
h y d r i a . For Nikosthenes' oinochoai, Paris, M u s e
du L o u v r e F 117 a n d F 116, see: ABV 230.1-2;
BAdd
59; BAPD Vases 301231 and 301232; W e h gartner 1983, p i . 1.1-2; see also Clark 1992, 569-70,
nos. 1317-18, 624, 635, 6 3 7 - 3 9 .
2

E d u a r d Gerhard 1831, 131 (160a-c), i n p u b l i s h i n g

vases f r o m V u l c i , g r o u p e d (c) the Petit Palais h y d r i a w i t h
t w o similar vases that were i n the collection o f the Prince
of Canino: "(a) Olpe col soggetto d'una vacca, di sublime
disegno," must be the Brussels oinochoe a t t r i b u t e d t o the
Painter a n d Class o f L o n d o n B 620 (cat. no. 70), and "(b)
Soggetti relative all'educazione d'Achille," must be the Class's
name vase (see cat. no. 70, R E F E R E N C E S ) . Perhaps the Petit Palais
w h i t e - g r o u n d h y d r i a w i t h plastic a d d i t i o n s had been used i n
E t r u r i a and/or designed t o be i n the same s e r v i n g set as the w h i t e g r o u n d o i n o c h o a i w i t h plastic additions. T h e decoration o f a l l o f
these vases emphasizes the d e p i c t i o n o f animals a n d the n u r t u r i n g
of the y o u n g . Cf. Clark 1992, w h o discounts a possible association
between the Class o f L o n d o n B 620 and Nikosthenes, w i t h the
c o n t r a s t i n g v i e w i n Biers 1983, 122.

71.2

tongue u n d e r the back handle echoes the l i o n shead protome o n the handle's front.
The i n s c r i p t i o n r u n n i n g across the front o f
the vase above the figures reads "kalos

Karystios',"

this same kalos name appears o n Psiax's w h i t e ground-and-Six's-technique alabastron i n the B r i t

ish M u s e u m (Mertens, chap. 6, fig. 1). A l t h o u g h
the Petit Palais h y d r i a has recently been a t t r i b
u t e d to Psiax (see Pelletier-Hornby 2000), and
its ornament, such as the band o f crenellations
beneath tongues at the neck, recalls this painter's
w o r k , its somewhat sparse and stiff black-figure
decoration is p r o b a b l y not from his o w n h a n d .
T h i s w h i t e - g r o u n d vessels p r o m i n e n t i n d i v i d u a l
ized protome and unusual p o t t i n g readily b r i n g
to m i n d Nikosthenes, w h o signed a pair o f early
w h i t e - g r o u n d oinochoai i n the L o u v r e each o f
w h i c h bears a large protome o f a male or female
head below the l i p at the front o f its r o u n d e d ,
black neck.

253 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

71.3

72
IRIS AND SPHINX STAND
A t t r i b u t e d to Nikosthenes as potter and to
the Euergides Painter, ca. 520 B.C.
H 25.4 cm; W 17.2 cm; D 17.2 cm
N e w York, The M e t r o p o l i t a n M u s e u m o f A r t
65.11.14, Louis V. Bell F u n d , 1965
European art market; purchased 1965
Assembled from fragments with losses
filled in with plaster and toned, including lower left
part of Iris's body and arm, and front of sphinx's
left hind foot; white chipped and worn on both
female faces and also on neck and breast of sphinx;
beige incrustation on Iris's white flesh.
CONDITION:

73
SPHINXES STAND
A t t r i b u t e d to Nikosthenes as potter and to
the Euergides Painter, ca. 520 B.C.
H (restored) 26 cm; W 16.8 cm; D 17.7 cm
New York, The M e t r o p o l i t a n M u s e u m o f A r t
1980.537, Gift o f M r . and M r s . N o r b e r t
Schimmel, 1980
European art market; formerly collection o f
M r . and M r s . N o r b e r t Schimmel
Assembled from fragments with losses
on wing of one sphinx filled in with plaster; lost
stem and foot restored; losses in stand's edges with
black ivy pattern; chips in black gloss on sphinxes'
hair; white chipped on female face of one sphinx;
beige incrustation on white female face of other;
loss of white dots on black feathers of wing coverts.
CONDITION:

72.1
THE

FANTASTIC

CREATION

o f an

Athenian

p o t t e r y w o r k s h o p , these t w o u n i q u e semic y l i n d r i c a l stands w i t h stemmed feet derive f r o m

72 a n d 73
TWO STANDS WITH PLASTIC
FEMALE HEADS DECORATED IN
SEVERAL TECHNIQUES

a simpler p r o t o t y p e f o u n d i n Etruscan bucchero.

Embellished w i t h w i n g e d female beings at either
endthe messenger goddess Iris and a s p h i n x
or a pair o f sphinxesthe stands were surely
designed, and perhaps even commissioned, for
foreign e x p o r t . Sphinxes served as Archaic Greek
t o m b guardians a n d were often s h o w n trans
p o r t i n g deceased y o u t h s to the U n d e r w o r l d ; the
presence o f these monsters may indicate that the

254 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

stands had a funerary f u n c t i o n . A l t h o u g h t h e i r

actual ancient use is n o t k n o w n , i t has often been
suggested that these stands h e l d stalks o f a veg
etable, such as fennel, celery, or asparagus.
Significantly, i n b o t h shape a n d decoration
these stands employ a v a r i e t y o f techniques avail
able i n a Late Archaic p o t t e r y w o r k s h o p at the
time o f t r a n s i t i o n f r o m black- to red-figure. The
potter made the basic f u n c t i o n a l parts o f these
vessels o n the w h e e l . O n the I r i s - a n d - s p h i n x
stand, an elaborate wheel-made and t u r n e d stem
and foot is preserved. I t is p u n c t u a t e d b y t w o
applied r o l l e d a n d tooled beaded s t r i p m o l d i n g s
that echo the large t o o l e d beaded m o l d i n g s r u n
n i n g along or adjacent to the c u r v e d sides o f each
s t a n d s body. These s t r i p m o l d i n g s , the v e r t i c a l
edge o f the foot, a n d an upper element o f the stem
have been carefully reserved rather t h a n p a i n t e d
black. The b o d y element was raised o n the w h e e l
i n a t u b e shape and t h e n slit and opened i n t o a
semi-cylindrical form. Inward-curving wings,
perhaps cut l i k e cookies f r o m r o l l e d - o u t sheets
o f clay, were attached b y h a n d at each end o f
the body. Between the w i n g s , relief appliques o f
female heads and necks were affixed to p r o j e c t i n g
clay tabs. These mold-made relief heads' i n d i v i d u -

alized l o n g beaded strands o f hair

are composed o f added-clay g l o b
ules. A t this early date, perhaps
the potter made the plastic heads
h i m s e l f rather t h a n e m p l o y i n g a
separate coroplast.
Here the vase-painter, employ
i n g several different techniques,
completed the figural forms con
ceived and i n i t i a t e d b y
the potter; i t is n o t
k n o w n whether
potter and painter
were, i n fact, the
same person. The
g r o u n d a r o u n d the figures o n b o t h
stands is p a i n t e d black, and the sphinxes' legs
and bodies as w e l l Iris's short c h i t o n have been
rendered i n an early f o r m o f red-figure, e m p l o y
i n g reserve plus simple black d r a w i n g lines rather
t h a n relief lines. P r i m a r y and secondary feathers
o n a l l o f the figures' w i n g s have been p a i n t e d i n
o u t l i n e o n reserve. These p r i m a r y feathers a l l con
t a i n i n t e r n a l black tongues, and the secondaries
have either been left the color o f the clay, p a i n t e d
black, or filled w i t h black or red i n t e r n a l tongues.
A red l i n e separates the o u t l i n e f l i g h t feathers
from the upper w i n g coverts, w h i c h have scalelike
black feathers rendered w i t h black-figure i n c i s i o n .

72.3

Red has also been employed for Iris's

255 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

kerykeion.

The plastic female heads have been p a i n t e d

w h i t e , a n d t h e i r eyes and brows have been
detailed w i t h black p a i n t rather t h a n black-figure
i n c i s i o n . These facial features appear to suggest
contrasting female personalities. W h i l e Iris and
one o f the sphinxes o n the s p h i n x stand have
s m i l i n g faces w i t h w i d e - o p e n , r o u n d e d eyes, the
s p h i n x o f the Iris stand a n d p r o b a b l y the less
well-preserved second s p h i n x o f the s p h i n x stand
have almond-shaped eyes that peer d o w n w a r d
at the viewer. The w h i t e o f the sphinxes' plastic
heads continues onto t h e i r p a i n t e d breasts, and
Iris has w h i t e - p a i n t e d arms and legs. W h i l e this
w h i t e flesh has been said to f o l l o w black-figure
c o n v e n t i o n , that is n o t e n t i r e l y the case. Iris's
w h i t e l i m b s are, for the most part, contrasted
against a black g r o u n d like that o f red-figure or
Six's technique, rather t h a n against black-figure
reserve. Remarkably, i n n e r details o n her limbs
have been p a i n t e d i n b r o w n d i l u t e rather t h a n
incised as i n black-figure or Six's technique. I n
a d d i t i o n , the stands' female beings a l l wear d e l i
cate zigzag necklaces w i t h t i n y pendants, w h i c h ,

73.2

a l t h o u g h these have earlier been described as

incised, are actually p a i n t e d w i t h b r o w n d i l u t e
gloss o n t o p o f the w h i t e flesh. This Late Archaic
vase-painter s h o u l d be credited w i t h a b o l d
attempt to move b e y o n d black-figure c o n v e n t i o n .
D u r i n g the fifth c e n t u r y details painted i n d i l u t e

(cf.

cat. nos. 70, 71); i n this volume, M a r i o n True

proposes that he must have been the potter o f

these e x t r a o r d i n a r y stands.

gloss on w h i t e flesh w i l l be employed o n the sec

ond

w h i t e o f funerary l e k y t h o i (cf. cat. nos. 59,

63) a n d also i n late red-figure (cf. cat. nos. 34, 35).

D i e t r i c h v o n Bothmer has associated the
painter o f these stemmed stands w i t h the Euergides Painter, an anonymous early red-figure cuppainter f o n d o f decorative handle sphinxes, w h o
is named after a potter for w h o m he w o r k e d . A n d
Bothmer a t t r i b u t e d the stands' p o t t i n g to Sikanos,
who

signed early red-figured stemmed plates

decorated w i t h a kymation

(curved m o l d i n g ) like

the p a t t e r n o n the I r i s - a n d - s p h i n x stand. T h i s

stand's kymation

is p a i n t e d o n a creamy w h i t e o f a

different color t h a n the w h i t e female flesh, w h i c h

must be related to the early use o f w h i t e g r o u n d at
this time. Examples o f early w h i t e g r o u n d and the
p r o d u c t i o n o f special p o t t e r y for e x p o r t to E t r u r i a
as w e l l as the early use o f mold-made plastic heads
have generally been associated w i t h Nikosthenes

R E F E R E N C E S : BAPD Vases 3648 [65.11.14] a n d 3154 [1980.537];

Bothmer 1966, 184; Sparkes a n d Talcott 1970, 1 3 8 n . l ; H o f f m a n n
1971, colorplate 13 [1980.537]; Bothmer 1972; Muscarella 1974,
no. 58 [1980.537] (D. v o n Bothmer); Boardman 1975, fig. 103
[1980.537]; Bothmer 1975, 114, 116, fig. 17 [65.11.14], 117; L a n glotz 1975, 189 at n.62; MMA Notable Acquisitions
1965-1975,
124 [65.11.4] (D. v o n Bothmer); Brommer 1980, 337n.9; MMA
Annual Report 1980-1981, 3 5 - 3 6 (D. v o n Bothmer); MMA
Notable
Acquisitions
1980-1981,
14 [1980.537] (D. v o n Bothmer); M o r e t
1984, 23n.2, 74n.9; T r u e 1986, 133-36, nos. 2 - 3 ; Spivey 1991,
1 4 0 - 4 1 ; M i l l e k e r 1992, 4 3 - 4 4 [1980.537]; Sparkes 2000b, 323, fig.
3, 329n.3; Descoeudres 2001 ( p u b l i c a t i o n o f a fake stand); Padgett
2003, 280-83, no. 71 [65.11.14], 2 8 1 n . l [1980.537]. Accession
numbers i n brackets indicate sources for and images o f one o f the
stands rather t h a n b o t h .
A t m y recent gallery t a l k about plastic vases i n the M e t r o p o l i
t a n M u s e u m o f A r t , a member o f the audience suggested that the
stands m i g h t have been used to h o l d a scroll. Jean-Paul Descoeu
dres (2001, 114) suggested, u n c o n v i n c i n g l y , t h a t the stands were
meant t o be headrests. For the Euergides Painter's handle sphinxes
on a red-figured cup p o t t e d b y Euergides, see L o n d o n , B r i t i s h
M u s e u m GR 1920.6-13.1: ARV 8 8 . 1 , 1625; BAdd
170; BAPD
Vase 200698. For the p o t t e r Sikanos, see ARV 68.13, 69, and
BADP Vases 200581 and 200584; see also Sparkes 2000b. On the
association o f Nikosthenes w i t h plastic a d d i t i o n s as w e l l as w h i t e
g r o u n d , see also M e r t e n s , chap. 6.
2

257 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

74.1
74
CUP OF TYPE A WITH FOOT IN
THE FORM OF MALE GENITALS

is the most famous o f the four k n o w n A t t i c cups

w i t h feet i n the f o r m o f male genitals. Before
the O x f o r d cup was fired, discs were

flattened

o n the undersides o f the phallic foots solid-clay

A t t r i b u t e d to the M a n n e r o f the Lysippides

balls and also near the t i p o f its penis to enable

Painter a n d to the w o r k s h o p o f the potter

the k y l i x to stand securely. A r o u n d hole at the

A n d o k i d e s , ca. 520 B.C.

center o f the foot's underside may have served as

H 12.5-13.8 cm; Diam 34 cm

a vent d u r i n g firing. The unusual plastic foot may

O x f o r d , Ashmolean M u s e u m 1974.344

o r i g i n a l l y have been naturalistically t o n e d w i t h

Purchased 1974; f o r m e r l y collection o f M r .

a pale b r o w n d i l u t e slip rather t h a n reserved. I n

and M r s . James Bomford; B r i t i s h art market

contrast, o n the phallic-footed cup f o r m e r l y i n

Berlin, the plastic foot was p a i n t e d black, thus

I , black-figure a n d o u t l i n e , gorgoneion; i n the zone,

e v o k i n g the conventional black-figure color for

symposium

male flesh as w e l l as the s t u r d y black stem and

in vineyard

AB, black-figure a n d o u t l i n e , satyr

between eyes and

masks

foot o f a standard black-figured eye-cup. W h e n

stored, a w i n e cup was h u n g o n a w a l l b y a

grapevines

handle, b u t i n use i t was generally h e l d b y its

Reassembled from fragments with
overpainting along joins; black-figure decoration
abraded; gloss chipped around incised lines; added
color lost; three drill holes from ancient repair on
side A ; lead from metal clamp preserved in two
lower holes; cup's plastic foot chipped at tip of
penis.
CONDITION:

foot. This c u p s foot w o u l d surely have heightened

the eroticized atmosphere o f a male d r i n k i n g
party.
The elaborate program o f p a i n t e d decoration,
covering a l l o f the b o w l s exterior and i n t e r i o r ,
features Dionysiac and apotropaic imagery, as e m i n i n e n t l y suitable for a s y m p o s i u m as the remark

DUBBED

" A

CURIOUS

EYE C U P "

by

John

Boardman (1976), this impressive d r i n k i n g vessel

able foot. I n the space between the large eyes o n

each side o f this eye-cup's exterior, the v i e w e r is

258 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

confronted b y the o u t l i n e mask o f a satyr w i t h

a l o n g black-figure beard, flanked b y i v y . Inter
t w i n e d black-figure grapevines, laden w i t h heavy
bunches, g r o w up a r o u n d the cup's handles. The
c o m b i n a t i o n o f black-figure and o u t l i n e d r a w i n g
of the p a i n t e d decoration is echoed i n the alter
nate black and o u t l i n e rays that encircle the plas
tic foot. This technically adventuresome eye-cup,
related to the w o r k o f the black-figure Lysippides
Painter, was l i k e l y p r o d u c e d i n the avant-garde
w o r k s h o p o f the potter A n d o k i d e s at the time o f
t r a n s i t i o n from black- to red-figure.
The t r a d i t i o n a l apotropaic gorgoneion, d r a w n
i n a c o m b i n a t i o n o f o u t l i n e and black-figure, o n
74.2

the t o n d o inside the b o w l , reinforces the potency

of the f r o n t a l staring eyes and the phallic foot o n

9 9 - 1 0 0 , 355, fig. 160; D a l b y 1996, 98, fig. 19; Osborne 1996b,

313, 314, fig. 83; Valavanis a n d K o u r k o u m e l i s 1996, 9 0 - 9 1 ; Klinger
1997a, 350-54, 3 5 1 , fig. 10; Osborne 1998, 133-35, figs. 6 8 - 6 9 ;
T. J. S m i t h 1999, 114, 123, fig. 6; Vickers 1999, 36, no. 24.

the cup's exterior. The zone a r o u n d the t o n d o is

filled w i t h a special black-figure s y m p o s i u m a n
open-air celebration i n a v i n e y a r d . Grapevines,
heavily laden w i t h bunches, encircle the b o w l s
interior, and, i n g r o w i n g u p w a r d at the cup's han
dles, they echo the i n t e r w o v e n vines o n the exte
rior. Beneath the vines, the participants recline o n
the g r o u n d . The black band that separates t h e m

For cups w i t h p h a l l i c feet, see Boardman 1976, 287; IslerKerenyi 2 0 0 1 , 214-15, figs. 118-20 (Berlin, A n t i k e n s a m m l u n g
F 2052) a n d 190-92. See f u r t h e r Johansen 1976 and cat. no. 75
for vases i n the shape o f male genitals a n d t h e i r significance. On
associations o f Late A r c h a i c Dionysiac imagery w i t h early t h e a t r i
cal performance, see cat. no. 43, Steinhart 2004, and True, chap.
7. For the p o t t e r A n d o k i d e s , the black-figure L y s i p p i d e s Painter,
and the red-figure A n d o k i d e s Painter, see Cohen, chap. 1.

f r o m the central t o n d o may allude to the mat

tresses c o m m o n l y s h o w n i n o u t d o o r symposia.
Several o f the symposiasts wear mitrai, East Greek
turbans that were an element o f l u x u r i o u s foreign
dress p o p u l a r at A t h e n i a n d r i n k i n g parties b e g i n
n i n g i n the late s i x t h c e n t u r y B.C. (cf. cat. no. 52).
Beneath a lyre h a n g i n g from the vines, a musician
plays the double pipes; a t u r b a n e d man sings, and
another symposiast, i n an erotic gesture, is about
to slap a naked servant boy w i t h his sandal. T w o
men h o l d d r i n k i n g vessels i n shapes n o t n o r m a l l y
f o u n d at o r d i n a r y h u m a n symposia: a kantharos,
often used b y the god Dionysos himself, and a
phiale, n o r m a l l y employed as a l i b a t i o n b o w l (cf.
cat. nos. 18, 50). T h i s curious eye-cup, w h i c h was
b r o k e n a n d mended i n a n t i q u i t y , must have been
used w i t h whole-hearted enjoyment b y its male
owner.

R E F E R E N C E S : BAPD Vase 396; Sotheby & Co., L o n d o n , sale 13

J u l y 1970, no. 134; W i l s o n 1970, 266 left; M o o r e y a n d Catling
1971, 53, p i . 136, 54, no. 136; Boardman 1974, 108, fig. 177;
Boardman 1976; Vickers 1978, fig. 33, 8 5 - 8 6 , no. 33; Shapiro
1981, 140, p i . 27, fig. 11; Vickers 1981, 544-45, no. 5, fig. 5a-c;
W e b e r - L e h m a n n 1985, 2 9 - 3 0 , p i . 3 0 . 1 ; Kurtz a n d Boardman 1986,
53 w i t h n.104; Berard et al. 1989, 12, fig. 3; Johns 1989, 92, 93,
fig. 76; Tsingarida 1991, 9, fig. 3, 13; M a r t e n s 1992, 2 2 2 - 2 4 , figs.

259 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

74.3

75
FRAGMENTARY ARYBALLOS
IN THE FORM OF MALE GENITALS
WITH A BULL'S HEAD IN RELIEF
U n a t t r i b u t e d , ca. 520-510 B.C.
H 11.2 cm
Boston, M u s e u m o f Fine A r t s 95.55,
Catharine Page Perkins F u n d
Purchased 1895; f o r m e r l y A l p h o n s e
v a n Branteghem collection; Eugene Piot
collection; A l b e r t Barre collection
Extant portion intact; vase chipped at
upper, outer edges of body; penis missing; broken
tip of bull's left ear lost; black gloss chipped around
bull's horns and in its ears; patches of beige incrus
tation on surface.
CONDITION:

THIS

F R A G M E N T A R Y VASE

is a n

aidoion,

vase i n the shape o f male genitals. O n l y the scro

t u m is preserved; its now-lost penis w o u l d have
projected from the r o u n d hole o n w h a t was o r i g i
n a l l y the vessel's front, opposite the bull's head
(fig. 75.2). A flasklike plastic vessel, this vase has
the disc-shaped m o u t h o f an aryballos, the o i l
container employed b y male athletes for slick
i n g t h e i r bodies before c o m p e t i t i o n . Its o w n e r i n
a n t i q u i t y w o u l d have carried this aidoion about
conveniently suspended from his w r i s t b y a
75.1

thong.
Earlier i n the s i x t h c e n t u r y B.C. a r y b a l l o i i n
the f o r m o f male genitals were c o m m o n l y p r o
duced b y C o r i n t h i a n and East Greek p o t t e r y
w o r k s h o p s . The first preserved A t t i c example,
w h i c h dates from the m i d - s i x t h c e n t u r y a n d is
also i n the collection o f the M u s e u m o f Fine A r t s ,
Boston, was signed b y the potter Priapos. A blackfigure d e p i c t i o n o f a m a n c o u r t i n g a boy decorates
the handle-plate o f Priapos s aidoion. A s y m b o l o f
f e r t i l i t y a n d fecundity, a vase i n the f o r m o f male
genitals w o u l d surely also have been t i t i l l a t i n g i n
the homoerotic c u l t u r e o f ancient A t h e n s (cf. cat.
no. 74).
Boston 95.55 is an exceptional aidoion because
the frontal head o f a l o n g - h o r n e d b o v i n e is m o d
eled i n relief o n the back o f its scrotum. This
caboshed head, w h i c h must have been t h o u g h t

260 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

to belong to an uncastrated b u l l , w o u l d have

an i n d i c a t i o n o f p u b i c hair appears o n the front o f

underscored the plastic aryballos's association

the scrotum to w h i c h the penis was once attached.

w i t h v i r i l e power, and i t w o u l d have v i e d w i t h

This plastic aryballos was purchased b y E. P.

the phallus o n the front for the viewer's a t t e n t i o n .

W a r r e n i n the June 1892 sale o f the v a n Brante

The l i t t l e b u l l s head is black-figure i n conception,

ghem collection at the H o t e l D r o u o t i n Paris, a n d

w i t h black gloss over its surface; the hairs o f its

W a r r e n sold i t to the M u s e u m o f Fine A r t s , Bos

coat and the contours o f its eyes and nostrils are

ton,

incised.

of Vase and Bronzes" from 1894, preserved i n the

A black l e f t w a r d key p a t t e r n runs across the

i n 1895. Warren's h a n d w r i t t e n "Sending List

archives o f the Department o f Greek and Roman

t o p o f the aryballos's o u t w a r d - c u r v i n g b o d y

Art,

between the bull's horns, and the rest o f this ves

bottle i n f o r m o f a p h a l l u s " : "Part was b r o k e n o f f

says, under e n t r y no. 261 e n t i t l e d "Sent

sel's delicate black ornament is likewise restricted

after the sale a n d lost. This was before I got i t . "

to its uppermost elements. A b r o k e n key p a t t e r n

N i n e t e e n t h - c e n t u r y catalogues, such as W i l h e l m

embellishes the v e r t i c a l edge o f the aryballos's

Frohner's for the 1892 v a n Branteghem sale, also

wheel-made m o u t h between the black handles.

refer to this plastic aryballos as being "en forme

Volutes fill the spaces between the lower ends o f

de phallus." This aidoion, therefore, had appar

the handles a n d the outer ends o f the shoulder.

e n t l y s u r v i v e d intact from a n t i q u i t y u n t i l 1892;

Finally, o n the topside o f the m o u t h , palmettes

its n o w - m i s s i n g penis must be the part that

w i t h lotus buds g r o w at the upper ends o f the

broke o f f before the vase entered the M u s e u m o f

handles, a n d t w o dot rosettes fill the spaces

Fine A r t s .

between these buds. Oddly, save for a black line

along the t o p edge, neither p a i n t e d ornament nor
R E F E R E N C E S : Barre 1878, 4 4 - 4 5 , no. 354; Piot 1890, 32-33, no.
120; van Branteghem 1892, no. 2 6 1 ; E l d r i d g e 1918, 270, fig. 11;
Beazley 1927-1928, 204; Payne 1931, 176; Johansen 1976, 97,
fig. 3 1 , 98; Steinhart 1992, 521n.217; Steinhart 1995, 8 3 - 8 4 ;
H e r r m a n n a n d Kondoleon 2004, 132, 133, fig. I l l , 184, no. I l l
(described i n c o r r e c t l y as " o i l flask [aryballos] i n the shape o f an
ox head").
On the aryballos's suspension, see cat. no. 78. For Priapos's
aryballos, Boston, M u s e u m o f Fine A r t s 13.105, see: ABV 170.1;
BAdd 48; BAPD Vase 301082; H e r r m a n n a n d Kondoleon 2004,
113, fig. 108, 184, no. 108; T r u e , chap. 7. A n o n - A t t i c aidoion
(H 5.68 cm) i n the A r t M u s e u m , P r i n c e t o n U n i v e r s i t y , 2002-169,
is l i k e w i s e decorated w i t h a bull's head i n relief. M y t h a n k s to
J. M i c h a e l Padgett, Curator o f A n c i e n t A r t , for i n f o r m i n g me
about Princeton's vase. For p h a l l i c vases, see also Boardman and
La Rocca 1978, 6 9 - 7 1 . I w o u l d especially l i k e to t h a n k M a r y
Comstock and Christine K o n d o l e o n at the M u s e u m o f Fine A r t s ,
Boston, for s u p p l y i n g the relevant e n t r y f r o m E. P. Warren's
u n p u b l i s h e d "Sending L i s t " o f 1894. O n E. P. W a r r e n , see f u r t h e r
W i l l i a m s , chap. 8.
2

75.2

261 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

76.1

76
DONKEY'S-HEAD RHYTONKANTHAROS

A , Donkey's-head r h y t o n attachment, o n

U n a t t r i b u t e d , ca. 525-500 B.C.

B, o n kantharos's b o w l , black-figure,

H (to t o p o f handles) 21.5 cm; D i a m (bowl)

riding a donkey between satyrs and a maenad

kantharos's b o w l , black-figure, Ariadne{l),

on camp stool, and ithyphallic

14.3 cm
L o n d o n , The B r i t i s h M u s e u m
GR 1876.3-28.5, BM Cat Vases B 378
Perhaps f r o m Athens; purchased 1876

262 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

seated

satyr
Dionysos

Donkey's right ear reattached; small

chips in front surface of donkey's head; rhyton part
otherwise intact; orange color mottled on clay of
donkey's head; kantharos's bowl reassembled from
fragments; B/A handle reassembled; white incrus
tation on rhyton's inner surface and on bottom of
kantharos's foot.
CONDITION:

THIS

WINE

VESSEL'S

EXPERIMENTAL

and

beast o f b u r d e n ,

u n g a i n l y u n i o n o f a mold-made animal-head

who

r h y t o n w i t h a wheel-made kantharos is u n i q u e .

i m p o r t a n t role i n

played an

Its late s i x t h - c e n t u r y donkey's head, moreover,

early s i x t h - c e n t u r y

appears to be the earliest preserved A t t i c r h y t o n ,

depictions o f the w i n e god

and this r h y t o n - k a n t h a r o s as a w h o l e is a rare pre

leading the m o u n t e d H e p h -

served example o f an A t h e n i a n plastic vase w i t h

aistos back to Olympos, came to

black-figure decoration. I n design, the donkey's

be generally associated w i t h the

t a l l , o u t w a r d - f l a r i n g ears are echoed b y the k a n

Dionysiac thiasos. Here the

tharos's t a l l l o o p i n g strap handles.

god

I n order t o assemble t h i s vase, the potter

o f w i n e , his head

w r e a t h e d w i t h i v y , car

cut a hole i n the kantharos's b o w l and precisely

ries a b r a n c h i n g i v y

inserted the donkey's head, thereby f o r m

v i n e , and the kantharos's

ing

offset l i p is itself encircled b y i v y .

a dual-chambered w i n e vessel w i t h a large

capacity. But the r e s u l t i n g r h y t o n - k a n t h a r o s is

Dionysos, r i d i n g to the r i g h t and accompanied

o v e r w e i g h t e d t o w a r d the donkey's head, w h i c h

by satyrs and a maenad, appears to head t o w a r d

extends d o w n so far that the donkey's lips set

a female figure, p r o b a b l y A r i a d n e , w h o is seated

the vessel o f f k i l t e r , and i t rests unstably o n the

beside the plastic donkey's head o n the obverse.

kantharos's foot. The i n t e r i o r o f the kantharos's

She too wears an i v y w r e a t h w i t h alternating red

b o w l is covered w i t h black gloss, w h i l e the i n t e

a n d black leaves and holds a b r a n c h i n g i v y v i n e .

r i o r o f the r h y t o n part is p a i n t e d an orange red.

I n a d d i t i o n , she holds b y its foot a kantharos w i t h

T h i s d i s t i n c t i v e red, also f o u n d o n the interiors

tall strap handles that recalls the vase itself. I n

of later animal-head r h y t a (cf. cat. no. 83), may

ancient A t h e n i a n art a kantharos was often the

have served to enhance the color o f the d i l u t e d

d r i n k i n g vessel o f Dionysos, and i n A t h e n i a n

w i n e contained i n a rhyton's exceptionally deep,

ceramic t r a d i t i o n this special r h y t o n - k a n t h a r o s

n a r r o w cup. The exterior o f this donkey's head

appears to have been an ancestor o f b o t h the mask

is reserved, as i n the red-figure technique, a n d

k a n t h a r o i (cat. no. 82) and the animal-head r h y t a

various details are p a i n t e d i n p o t t e r y colors.

(cf.

The mane, the eyes' contours and o c u l i , and the

thermore, the donkey's importance here brings to

b r i d l e are black. The i n t e r i o r o f the ears, eye area,

m i n d this Dionysiac beast o f burden's p o p u l a r i t y

muzzle b e y o n d the b r i d l e , and teeth are a creamy

i n early statuette-vases (cf. True, chap. 7, fig. 3).

cat. nos. 83, 84) o f the early fifth century. Fur

w h i t e . The i n t e r i o r o f the nostrils are b r o w n i s h

red, a n d the i n t e r i o r o f the m o u t h a n d projecting
tongue are red.
The iconographic u n i t y o f this c o m p o u n d
w i n e vessel's plastic a n d p a i n t e d black-figure
decoration has been carefully p l a n n e d . W h i l e a
b r i d l e d donkey's head has been j o i n e d to the k a n
tharos's obverse, o n its reverse, Dionysos h i m s e l f

R E F E R E N C E S : Walters 1893, 210; A . B. Cook 1894, 99; Buschor

1919-1921, 12, fig. 17; Beazley 1929, 40; CB I, 22 (cited i n c o r r e c t l y
as E 378); M a r c o n i 1931-1932, 68, 69, figs. 6-7; Boardman 1974,
192, fig. 3 2 1 ; H o f f m a n n 1983, 6 9 n . l 2 ; T r u e 1986, 159-60; Hoff
m a n n 1989b, 134, 135, figs. 2a-b; S c h f e r 1997, 46, p i . 17.2, 4;
F i o r e n t i n i 2003, 349n.3.
For the d i s t i n c t i o n between donkeys and mules and these
animal's association w i t h Dionysos, see, recently, Padgett 2000,
esp. 4 9 - 5 6 .

rides u p o n an i t h y p h a l l i c donkey. This i g n o b l e

263 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

76.2

77
RHYTON (STATUETTE-VASE) IN
FORM OF DIONYSOS HOLDING A
RED-FIGURED DRINKING-HORN
U n a t t r i b u t e d , ca. 500-490 B.C.
H 24.4 cm
L o n d o n , The B r i t i s h M u s e u m
GR 1873.8-20.267, BM Cat Vases E 785
F r o m Capua; purchased from Alessandro
Castellani 1873
Intact; broken top of drinking-horn
smoothed in antiquity; heads of figures in vasepainting missing; only shadows of once-red inscrip
tions extant; black gloss cracked toward bottom of
rhyton; chips missing and black gloss cracked on
block of seat; much of matt paint on sculptural form
no longer preserved; remaining vermillion, red, and
blue green flaked; white pitted; gray incrustation on
bottom right edge of male figure's beard.
CONDITION:

THE

BEARDED

MALE

FIGURE

seated o n

camp stool s u p p o r t i n g an outsized d r i n k i n g - h o r n

( r h y t o n ) o n his lap depicted b y t h i s Late A r c h a i c
A t h e n i a n statuette-vase has generally been i d e n
tified as Dionysos, an e m i n e n t l y suitable sub
ject for a u n i q u e w i n e vessel. T h i s unusual vase
displays a complex ensemble o f techniques. Its
f o r m combines mold-made, handmade, a n d p o t
ted parts, w h i l e its surface decoration employs
the familiar black gloss a n d reserve o f p a i n t e d
p o t t e r y alongside several s t a r t l i n g l y b r i g h t , matt
colors. The entire statuette is set u p o n a flat, rect
angular clay base. The male figure's b o d y a n d the
b l o c k o n w h i c h his seat is p a i n t e d must have been
mold-made i n t w o halves that have been j o i n e d
together. H i s beard and p r o b a b l y his head appear
to have been fashioned separately. Dionysos's
77.1

head is t u r n e d to his r i g h t a n d pressed against the

d r i n k i n g - h o r n , recalling figures s h o w n frontal
face i n vase-painting. M o s t o f the h o r n was made
o n the potter's w h e e l a n d t h e n blended i n t o the
sculpted c o m p o s i t i o n . I t curves sinuously over the
r i g h t side o f the god's lap so that its p o i n t e d lower
end appears i n the m a i n v i e w o f the c o m p o s i t i o n ,
that is, the side his head is facing. T h i s d r i n k i n g h o r n has a strap handle at the back. Interestingly,

264 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

Dionysos's lower arms and hands are i n d i c a t e d i n

reserved relief o n the d r i n k i n g - h o r n ' s body. A t the
back, the l o w e r end o f the vessels strap handle,
w h i c h terminates i n red rotellae, is attached to the
mold-made male figures left leg. The vent hole
r e q u i r e d for f i r i n g this ambitious creation is v i s
ible beneath the vessels handle. The h o r n s i n t e
r i o r is l i n e d w i t h a r o u n d e d p o t t e d cup, w h i c h is

R E F E R E N C E S : BAPD Vase 7870; CVA B r i t i s h M u s e u m 4 [Great B r i t

ain 5] m i c, 7, p i . 37 l a - d ; C. H . S m i t h 1896, 372-73 ( a t t r i b u t e d
to school o f K a c h r y l i o n ) ; Buschor 1 9 1 9 - 1 9 2 1 , 18; Beazley 1929, 38
a n d n.2; R u m p f 1936, 63, fig. 1; EAA n (1959) s.v. Ceramica 499,
fig. 690.center; Schuchhardt 1967, 14, 16, figs. 6-8; LIMC I (1984)
s.v. A r t e m i s , 7 1 1 , no. 1165, p i . 540 ( L . Kahil); T r u e 1986, no. B 5:
3 0 - 4 0 ( a t t r i b u t e d to Charinos as p o t t e r ) , 6 8 - 7 4 ; Lissarrague 1995,
7, 9 n . l 0 .
Cf. the satyr c a r r y i n g a k r a t e r w h o is s h o w n i n f r o n t a l face o n
the contemporaneous r e d - f i g u r e d c a l y x - k r a t e r a t t r i b u t e d t o the
Kleophrades Painter, Cambridge, M A , H a r v a r d U n i v e r s i t y , A r t h u r
M . Sackler M u s e u m 1960.236: ARV
185.31; BAdd 187; BAPD
Vase 201683. For the m a r b l e statue o f Dionysos, A t h e n s , N a t i o n a l
Archaeological M u s e u m 3 7 1 1 , see Kaltsas 2002, 7 4 - 7 5 , no. 111.
I n several early i n t e r p r e t a t i o n s the male figure o f the L o n d o n
vase has occasionally been called Silenos; T r u e , chap. 7, suggests
instead t h a t t h i s vase, w h i c h she dates ca. 510-500 B . C . , depicts
Ploutos h o l d i n g a cornucopia.
2

covered w i t h black gloss a n d w o u l d h a n d i l y have

h e l d the w i n e .
The seated w i n e g o d s flesh was p a i n t e d a
v e r m i l l i o n red (cf. cat. no. 82), w h i c h is still w e l l
preserved o n his face. His l i v e l y expression is r e i n

forced b y black arched b r o w s above w i d e - o p e n

b l a c k - r i m m e d eyes w i t h w h i t e sclerae and black
o c u l i . A n y color that may once have covered his
l o n g hair a n d f u l l beard has disappeared entirely.
I n 1896, Cecil H . S m i t h observed " w a v y black
lines" o n the beard. Dionysos wears a red sleeved
c h i t o n , w i t h a w h i t e stripe d o w n the center front,
t o p p e d b y a m i l k y blue-green h i m a t i o n . Folds and
other details o f these garments are p a i n t e d w i t h
m a t t black lines, a n d the soft w h i t e boots o n his
feet are fastened w i t h matt black ties. The r h y t o n
he holds is a red-figured vase w i t h a gathering
of now-headless deities, i d e n t i f i e d b y i n s c r i p t i o n
as A r t e m i s , A p o l l o , A p h r o d i t e , and Hermes. The
vessels p o i n t e d lower p o r t i o n is covered w i t h
black gloss, and an ornamental frieze o f u p r i g h t ,
circumscribed palmettes w i t h black hearts forms
a base for the figures. The statuette's camp stool is
depicted i n red-figure o n the b l o c k support rather
t h a n being p a i n t e d i n matt colors or sculpted.
This stool has legs that terminate i n cat feet, and
its seat is covered w i t h a panther s k i n . The s k i n s
head and forepaws, w h i c h hang d o w n i l l u s i o n i s t i c a l l y at the back, enhance the rear v i e w o f the
statuette. The statuette-vase's t w o - d i m e n s i o n a l
d e p i c t i o n o f a skin-covered stool o n the b l o c k
is comparable to the analogous feature p a i n t e d
o n t o the base o f a Late Archaic marble statue o f
a seated Dionysos o f ca. 510 B.C. i n the N a t i o n a l
Archaeological M u s e u m , A t h e n s . This e x t r a o r d i
n a r y A t t i c vessel, w h i c h was e x p o r t e d to Magna
Graecia i n a n t i q u i t y , must have been f o u n d i n a
t o m b ; however, the salvaging o f its b r o k e n h o r n
may suggest that i t had once been cherished b y its
ancient o w n e r i n life.

265 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

77.2

78
ARYBALLOS IN THE FORM OF
THREE COCKLESHELLS
A t t r i b u t e d to Phintias as potter, ca. 510
500 B.C.
H 6.2 cm
N e w York, The M e t r o p o l i t a n M u s e u m o f A r t
23.160.33, Rogers F u n d , 1923
C O N D I T I O N : Excellent; intact; chips in outer edge
and topside of mouth; white incrustation within
neck; black gloss cracked within mouth, abraded
at edges of handles, chipped on upper body; a few
chips in white-ground surface; chips in black and
red lines on shells; beige incrustation near edge of
one shell.

78.1

THIS

EXQUISITE

OIL FLASK

i n the

f o r m of

three b i v a l v e cockleshells clustered together was

called "astonishingly n a t u r a l i s t i c " b y Gisela M . A .
Richter (1927); indeed, these domed shells w i t h
r a d i a t i n g r i b s may have been made i n molds taken
from real shells. I n f o r m i n g the aryballos, the clay
bivalves are perched o n edge i n a sophisticated
trefoil p a t t e r n w i t h t h e i r k n o b s at the t o p . T h e y
are covered w i t h w h i t e slip o n w h i c h concentric
transverse m a r k i n g s have been p a i n t e d i n delicate
stripes o f black a n d r e d . T h e i r j o i n i n g outer edges
are r i m m e d i n black. O n each side o f the vessel,
the centermost black stripe runs across b o t h h a l f
shells, and o n the underside, the black and red
stripes from a l l o f the shells merge harmoniously.
The w h i t e slip that enhances this t r o m p e - r o e i l
i m i t a t i o n o f shells must be associated w i t h the
avant-garde e x p l o r a t i o n o f w h i t e g r o u n d o n Late
Archaic A t t i c pottery. A l t h o u g h this plastic vase
rests f i r m l y o n the shells' lower edges, its surface
decoration continues a l l the w a y a r o u n d , for
an aryballos was designed to be carried about
suspended b y a t h o n g from the w r i s t o f a male
athlete.
A compact, wheel-made neck a n d m o u t h ,
flanked b y a pair o f angular vertical handles,
w h i c h aided i n the vessel's suspension, rise from
the space between the mold-made shells. The l i t t l e
handles have projections at the b o t t o m charac
teristic o f an A t t i c aryballos. These standard vase

266 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

elements are covered w i t h black gloss, save for

the reserved circular topside o f the m o u t h , w h i c h
bears an appropriate i n s c r i p t i o n " t h e boy is
b e a u t i f u l i n d e e d " w r i t t e n i n u n e v e n l y spaced
black letters w i t h the w o r d s d i v i d e d b y t w o interpoints:
HOPAI5 ! l<AU05NAI

Two

contemporaneous fragmentary cockle

shell a r y b a l l o i have been f o u n d i n sanctuaries i n

A t t i k a itself: o n the A t h e n i a n A k r o p o l i s and at
Eleusis. On the topside o f the m o u t h , each bears a
signature o f Phintias as potter (misspelled o n the
former), w r i t t e n w i t h three i n t e r p o i n t s between
name and ve rb. The similar designs o f the w e l l preserved example i n N e w York and o f another
i n Toronto suggest that these plastic a r y b a l l o i
were a l l p r o d u c e d i n the same p o t t e r y w o r k s h o p .
T h e y p r o v i d e i m p o r t a n t evidence that the Pioneer
Group painter named Phintias, l i k e Euphronios
(cat. nos. 10, 11, 12, 82; True, chap. 7, fig. 2), must

78.2

have become a potter. These P h i n t i a n special a r y

b a l l o i , f u r t h e r m o r e , c o u n t among the early exam
ples o f plastic vases p r o d u c e d i n A t h e n s , and t h e y
were clearly v a l u e d locally.

R E F E R E N C E S : ARV
2 5 . b o t t o m . 1 ; BAPD Vase 200151; Richter
1924,
128 a n d fig. 5; Illustrated
London News, 26 J u l y 1924, 181;
Richter 1927b, 140; Richter a n d M i l n e 1935, fig. 108; Richter
1953, 75 a t n . 9 6 .
2

For the c o n s t r u c t i o n o f a cockleshell aryballos, see Schreiber

1999, 9 0 - 9 1 , figs. 9.2-5. O n the aryballos a n d its use, see Richter
a n d M i l n e 1935, 16; Clark, Elston, a n d H a r t 2002, 69. For its sus
pension, see Haspels 1927-1928. Cf. A t h e n s , N a t i o n a l Archaeo
logical M u s e u m , A c r o p o l i s 873: ARV 25.middle.3; BAPD Vase
200150; Graef a n d L a n g l o t z 1933, I I , 82, no. 873, p i . 75; Eleusis,
Archaeological M u s e u m : ARV 2 5 . m i d d l e . 2 ; BAPD Vase 200147;
H o p p i n 1919, I I , 358-59; T o r o n t o , Royal O n t a r i o M u s e u m 352:
ARV
2 5 . b o t t o m . 2 ; BAPD Vase 200154; Hayes 1992, 80, no. 83; see
also R o b i n s o n , H a r c u m , a n d Iliffe 1930, I , 158-59, no. 352, n , p i .
16, for the i n s c r i p t i o n ' s association w i t h Phintias. Cf. also ARV
26.top. See also, esp. for E u p h r o n i o s as potter, T r u e , chap. 7. For
Phintias as potter, see also t h e r e d - f i g u r e d cup decorated o n the
inside only, A t h e n s , N a t i o n a l Archaeological M u s e u m 1628: ARV
25.1; BAdd
74; BAPD Vase 200146.
2

78.3

267 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

THIS

JANIFORM ARYBALLOS

is one

o f the

ear

liest o f the mold-made vases i n the f o r m o f h u m a n

heads p r o d u c e d i n Archaic A t h e n s . L i k e other
a r y b a l l o i (cf. cat. no. 78), this plastic o i l container
was designed for use b y an athletic Greek male.
W h i l e i t c o u l d have been carried about suspended
from a t h o n g looped a r o u n d its neck and handles,
this m o d e l c o u l d also have been set d o w n o n the
base o f its conjoined heads' neck. Its iconography
e x h i b i t s the selection o f contrasting subservi
ent i n d i v i d u a l s marked as Others o n the basis o f
class, race, and/or gender that also typifies later
head vases (cf. cat. no. 81). Yet here the impres
sively modeled heads o f b o t h the y o u n g W h i t e
w o m a n , p r o b a b l y a prostitute, and the Black man,
p r o b a b l y a slave, are depicted w i t h grace a n d selfpossessed d i g n i t y rather t h a n caricatured. Nearly
e i g h t y years ago Beazley described the Black mans
head as "a dark f r u i t r i p e n e d evenly a n d f u l l y / '
D i s p l a y i n g closely observed N e g r o i d p h y s i o g
nomy, today this mold-made head remains a s t r i k
79.1

i n g ancient Greek study o f foreign e t h n i c i t y .

I n a p o t t e r y w o r k s h o p , the t w o contrasting
heads w o u l d have been fashioned i n separate

79
JANIFORM ARYBALLOS IN THE
FORM OF CONJOINED HEADS OF
A BLACK MAN AND A
WHITE WOMAN

molds, j o i n e d , and fitted w i t h the wheel-made

m o u t h and the handles o f an aryballos. L i k e con
t e m p o r a r y black-figure, red-figure, or b i l i n g u a l
vases, w h i c h m i g h t w e l l have been p r o d u c e d i n
the same shop, this plastic aryballos w o u l d have
been decorated b y a vase-painter before f i r i n g .
U n l i k e the reserve n o r m a l l y employed for the

Head vase assigned to Class B: The E p i l y k o s

flesh o f Ethiopians i n the red-figure technique,

Class, ca. 515-500 B.C.

however, here black gloss has been pressed i n t o

H 11.3 cm

service to color the Black man's flesh n a t u r a l i s t i -

Paris, M u s e d u L o u v r e CA 987

cally. The sclerae o f his eyes are p a i n t e d w h i t e

Said to be from Greece; purchased 1898

over the black, and a w h i t e stripe between his

once-red lips suggests teeth. B r i g h t bluea color

Body intact; mouth reassembled from

fragments, part missing; mouth's top edge chipped;
black gloss within mouth cracked and chipped; loss
of some clay dots in Black man's hair; some chip
ping of black gloss on his face, esp. on brow, around
nostrils, on cheeks, above upper lip; white on his
left eye and pupil of his right eye chipped; white on
woman's eyes chipped; most of bright red topcoat on
woman's lips and red on crimped edge of her sakkos
missing; edge of resting surface abraded; white
incrustation on underside.
CONDITION:

that does n o t belong to the standard r e p e r t o r y o f

vase-paintingis s t i l l preserved o n some patches
of the rows o f e x t r u d e d p o i n t e d clay dots that
suggest his t i g h t l y c u r l e d hair.
The flesh o f the woman's head, w h i c h has
especially delicate features, is reserved, f o l l o w
i n g the c o n v e n t i o n o f contemporary red-figure
(cf. cat. nos. 3, 29), rather t h a n w h i t e , the t r a d i
t i o n a l color o f female flesh for stone and terracotta
sculpture as w e l l as black-figure vase-painting.
She has arched black brows a n d black-contoured

268 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

79.3

79.2

almond-shaped eyes: The black lines employed

the m o u t h . The name for this Class o f head vases

for b o t h precisely f o l l o w the modeled articula

is d e r i v e d from this kalos name. I t is c o m m o n l y

t i o n o f these facial features. As i n the case o f the

employed b y the b i l i n g u a l vase-painter Skythes

Black m a n s head, the w h i t e o f her eyes has been

(cat. no. 8), w h o thus has been associated w i t h the

applied over black gloss, and the iris and p u p i l o f

decoration o f these m i n i a t u r e masterpieces.

each eye are separated b y an incised circle, recall

ing the black-figure technique. The head cloth, or
sakkos,

that covers her hair is l i t e r a l l y decorated

i n red-figure o n a black g r o u n d , w i t h ornamental

palmettes at the sides and a d o m i n a n t cock paired
w i t h a submissive one at the c r o w n o f her head.
I n a d d i t i o n to fighting, cocks served as love gifts
between A t h e n i a n males, and, i n appreciation o f
male beauty, kalos is i n s c r i b e d i n black letters
d o w n the reserved females neck o n each side o f
the vase.
Heads b y the same modeler, some perhaps
p r o d u c e d i n the same molds, occur s i n g l y or
conjoined i n other extant plastic a r y b a l l o i . On a
j a n i f o r m aryballos i n the f o r m o f conjoined female
heads, purchased b y the L o u v r e at the same time
a n d perhaps f o u n d i n the same t o m b as this one,
Epilykos

kalos is w r i t t e n a r o u n d the topside o f

R E F E R E N C E S : ARV
1530.middle.2; Para 501; BAdd 385; BAPD
Vase 231211; Pottier 1902, 138-40, p i . 12; Perrot [and Chipiez]
1914, p l . 24, 751-53; H e r f o r d 1919, 10, p l . 2a; P f u h l 1923, I , 290,
in, fig. 272; Beazley 1929, 4 1 - 4 2 , G r o u p B, the E p i l y k o s Group, no.
2; Paris 1938, 61e-f; Bernhard 1966, 73, 129, fig. 272; S n o w d e n
1970, 25, 44, fig. 13; Bourgeois 1971, 89, 9 1 , fig.; H o f f m a n n 1974,
203, fig. 8, 204; Kurtz 1975a, 123, pis. 64.5, 65.2; Croissant 1983,
2 8 7 - 9 1 , pis. 116-17, L o u v r e CA 987; H o f f m a n n 1988b, 146, 147,
fig. 6; Denoyelle 1994, 1 0 0 - 1 0 1 , no. 45; W i l l i a m s 2004, 113 at
n.79.
2

Cf. other j a n i f o r m a r y b a l l o i o f the E p i l y k o s Class, e.g., Paris,

M u s e d u L o u v r e CA 986, c o n j o i n e d heads o f t w o W h i t e w o m e n :
ARV
1 5 3 0 . m i d d l e . l , 1578; BAPD Vase 231210; Pottier 1902, p i .
11; P f u h l 1923, I , 2 8 9 - 9 0 , m , fig. 270; Boston, M u s e u m o f Fine
A r t s 98.888, conjoined heads o f t w o Black men: ARV 1530.mid
dle.3; Para 501; BAPD Vase 231212; Buschor 1 9 1 9 - 1 9 2 1 , 10, p i . 4;
S n o w d o n 1976, 166, fig. 199, 167, also, i n general, for the p h y s i
ognomic d e p i c t i o n . See T r u e , chap. 7, for n e w evidence that m i g h t
possibly associate the p o t t i n g o f the E p i l y k o s Class w i t h E u p h r o nios: a protome o f a Black man's head w i t h d o t t e d hair o n a vase
w i t h a fragmentary potter-signature o f E u p h r o n i o s (True, chap. 7,
fig. 2). However, the t e c h n o l o g y o f the hair dots appears to differ.
The dots i n the E p i l y k o s Class are p o i n t e d , w h i l e the E u p h r o n i a n
dots are r o u n d e d .
2

269 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

80

OINOCHOE IN THE FORM OF

A WOMAN'S HEAD
Head vase assigned to Class C: The Charinos
Class; signature o f Charinos as potter,
ca. 500-490 B.C.
H 2 7 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche
Museen z u B e r l i n P r e u i s c h e r K u l t u r b e s i t z
F2190
From V u l c i (near Cucumella) 1883;
purchased 1883
Restored from fragments with miss
ing parts filled in plaster toned orange, including
crack through head's right brow, missing fragment
from inner corner of left eye down to left cheek and
crack through base of handle; rotella of left handle
root restored; upper part of pupil on left eye miss
ing; brownish red flaked from corners of lower lip;
black gloss on trefoil mouth and handle's edges
chipped; chips along lower edge of black band at
base.
CONDITION:

THE

MOLD-MADE

HEAD

OF

LOVELY

young

w o m a n that forms the b o d y o f this oinochoe has

been compared to Late Archaic marble k o r a i from
the A t h e n i a n A k r o p o l i s . This jug's palmettecovered shoulder, from w h i c h its wheel-made
trefoil m o u t h a n d t a l l strap handle rise, resembles
the cushion ancient w o m e n employed to soften
a load carried atop the head. The p r o u d potter
o f this exquisite a n t h r o p o m o r p h i c w i n e p i t c h e r
may have incised his o w n signature d o w n the
back o f its glossy black handle, r u n n i n g name
and verb together and w i t h the latter misspelled:
Charinosepoisen.
This oinochoe was f o u n d i n an Etruscan t o m b
at V u l c i together w i t h a replica, n o w i n St. Peters
80.1

b u r g , w h i c h is also signed b y Charinos. M o s t o f

this craftsman's extant signed head vases, shaped
as either an oinochoe or a one-handled kantharos,
take the f o r m o f a woman's head w e a r i n g an elabo
rate sakkos. W h i l e often f o u n d i n E t r u r i a , A t t i c
head vases were conceived as fashionable vessels
for serving or d r i n k i n g w i n e at the s y m p o s i u m ;
however, the A t h e n i a n symposiast himselfthe
male citizenwas e x c l u d e d f r o m t h e i r plastic

270 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

eral rows o f relief dots that frames her face appear

to have been finished b y h a n d .
A sakkos covers the back o f her hair. U n l i k e
the reserved red-figure palmettes o n the oinochoe's
wheel-made shoulder, the details o f the sakkos

are

painted w i t h black gloss o n a reserved g r o u n d .

A black key p a t t e r n frames the woman's face, f o l
l o w e d b y a broad band o f n e t t i n g , described b y
cross-hatched black lines. This n e t t i n g is sand
w i c h e d between sections o f c l o t h decorated w i t h
an elaborate black lozenge p a t t e r n . T w o d o w n c u r v e d projecting points, defined w i t h r a d i a t i n g
lines and black dots at the back o f the head, are
connected b y painted black r i b b o n s or chains. The
sakkos 's sagging and peaked rear profile is also
depicted i n A t t i c vase-painting. The head vase ter
minates at the base o f the woman's neck, w h i c h is
delicately defined b y a black m o l d i n g and serves
as a stable resting surface for this c h a r m i n g w i n e
pitcher.

80.2
iconographic repertory. The female heads o f these
vessels have recently been i n t e r p r e t e d , not as
Greek goddesses or respectable A t h e n i a n w o m e n ,
or even Dionysiac maenads, b u t as the hetairai
w h o w o u l d have served male guests at a d r i n k i n g
party.
The sensitive s c u l p t u r a l f o r m o f this female
head vase is enhanced b y i n d i v i d u a l i z e d painted
d e f i n i t i o n and adornment. Brows and eyelids
have been o u t l i n e d i n black gloss o n the head's
reserved flesh. O n Charinos's earlier kantharos
or mug i n T a r q u i n i a the sclerae o f the eyes are
colored a p p r o p r i a t e l y w i t h added w h i t e , b u t
here t h e y are reserved unnaturalistically. Yet the
u n i q u e h a n d l i n g o f the o c u l i o n Berlin's Charinos
oinochoe suggests the s h i m m e r i n g translucency
o f the h u m a n eye: Each p u p i l is black w i t h an
incised border; the s u r r o u n d i n g iris is r i n g e d w i t h
a l i n e o f black gloss and colored w i t h d i l u t e black
gloss o n t o p o f w h i c h a circle o f dark black dots
has been i n s c r i b e d . The red p a i n t e d o n the female
head's f a i n t l y s m i l i n g lips is a naturalistic b r o w n
ish hue, b u t traces o f a cinnabar topcoat overlap
this color. Her hair is p a i n t e d b r i g h t red. Both her

R E F E R E N C E S : ARV
1531.3; Para 502; BAdd 385; BAPD Vase
231221; H e l b i g 1883, 165-66; F u r t w n g l e r 1885, I i , 511-12; K l e i n
1887, 214, 215, no. 3; Reisch 1890, 3 1 6 - 1 8 , figs. 2 - 3 ; Kekule
v o n Stradonitz 1922, 4 8 - 5 1 , figs, o n 4 9 - 5 0 ; H o p p i n 1924,
6 4 - 6 5 , Charinos no. 1; R o d e n w a l d t 1927, color p i . 10, 673;
Beazley 1929, 4 3 - 4 4 , no. 3, fig. 2; Neugebauer 1932, 115, p i .
39.top; Richter 1949, 137-38, fig. 218; Greifenhagen
1966, 22, 4 8 - 4 9 , pis. 52-53; Schefold 1967b, 93,
color p i . n a - b , 173, no. i i a - b (R. Lullies); G e h r i g ,
Greifenhagen, a n d K u n i s c h 1968, frontispiece,
123; G e h r i g et al. 1980, 52-53, no. 19 (B. Kaeser);
Brussels 1982, 182, no. 107 (K. Van Gelder); LIMC n
(1984) s.v. A p h r o d i t e 109, no. 1080, p i . 109 ( A . Delivorrias); Schuchhardt, Heintze, a n d Flutter 1987,
22, fig. 15, 434; Heilmeyer 1988, 112-13, no. 5;
Cohen 1991, 77-78, figs. 52-53; Reeder 1995,
213, no. 48; R i c o t t i 1996, 97.
2

Beazley 1929, 44, first made the c o m

parison w i t h k o r a i nos. 682 a n d 674; o n the
A k r o p o l i s k o r a i , see n o w Karakasi 2003,
esp. 120, 123, a n d pis. 146-47, 178-79,
252, 2 6 9 - 7 1 . For Charinos, see also Buschor
1 9 1 9 - 1 9 2 1 , 12; G u y 1981, 2, 6; a n d T r u e ,
chap. 7. For St. Petersburg, State Hermitage
M u s e u m B 2103 (686), see: ARV
1531.4;
BAPD Vase 231222; Reeder 1995, 212, no.
47. O n the iconography o f head vases, see
also cat. nos. 79, 8 1 . For T a r q u i n i a , M u s e o
Nazionale Tarquiniese 6845, see: ARV
1531.
b o t t o m . 2 ; Para 502; BAdd 385; BAPD Vase
260209; A r i a s / H i r m e r / S h e f t o n , color p i . 32. For
a comparably shaped sakkos i n vase-painting,
see the left hetaira o n a r e d - f i g u r e d cup a t t r i b u t e d
to Oltos, M a d r i d , M u s e o A r q u e o l g i c o N a c i o n a l
11267: ARV
58.53, 1574, 1622; BAdd
164; BAPD
Vase 200443.
2

ears and the channeled cap o f t i g h t curls w i t h sev-

271 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

80.3

81

JANIFORM KANTHAROS IN THE

FORM OF CONJOINED HEADS OF
HERAKLES AND A WOMAN
Head vase assigned to Class M : The Vatican
Class, ca. 470 B.C.
H 19.1 cm; Diam (rim) 13.9 cm
M a l i b u , J. Paul Getty M u s e u m 83.AE.218
European art market; purchased 1983
Restored from fragments with areas
of fill and inpainting; chips around base; black
gloss abraded and chipped on handles, Herakles'
left brow and eye, his hair and beard; added white
chipped on sclerae of eyes, Herakles' mustache, and
teeth on lower jaw of lion's skin; some white encrus
tation on handles and hair of female head.
CONDITION:

THE

BOWL

OF

THIS

S M A L L janiform

kan-

tharos is composed o f outward-facing mold-made

heads o f Herakles a n d a w o m a n and c r o w n e d b y
a broad and flaring wheel-made l i p (some areas
restored). The neck o f the conjoined heads serves
as the vessels resting surface. A pair o f handmade
l o o p i n g strap handles (one p a r t i a l l y restored),
characteristic o f a kantharos, is attached v e r t i c a l l y
at the sides. The physical j o i n o f the t w o molds
is visible o n the bowl's interior, w h i c h was per
f u n c t o r i l y covered w i t h a t h i n and u n e v e n coat
of black gloss. F o l l o w i n g standard vase-painting
vocabulary, this s t r i k i n g plastic vessels m o u t h
and handles are black, and, as i n the red-figure
technique, the flesh o f b o t h its male a n d female
heads has been reserved, counter to the conven
t i o n a l d i s t i n c t i o n i n ancient art between darkers k i n n e d males a n d w h i t e - s k i n n e d females (cf. cat.
nos. 25, 65).
Kantharoi are capacious w i n e cups, a n d the
imagery o f plastic versions is often associated w i t h
the m y t h i c realm o f Dionysos and w i t h the s y m
p o s i u m . The restorer added a Dionysiac i v y v i n e
w i t h c o r y m b s o f berries i n w h i t e o n the vessels
black l i p . The head o f Herakles is also iconographically appropriate: I n A t t i c vase-painting, the hero
is sometimes s h o w n d r i n k i n g alongside the w i n e
god, and b o t h n o r m a l l y employ a kantharos. I n
Greek art, generally, Herakles often wears the s k i n
o f the Nemean L i o n , a t r o p h y from his first labor,
w i t h its head placed over his o w n serving as a
helmet (cf. cat. no. 2). Here the l i o n s k i n s jaws,
w h i c h frame Herakles black-haired and bearded
7

face, are p a i n t e d b y the restorer as w h i t e over a

red undercoat and decorated w i t h red dots at the
top. The fangs o f the lower j a w (partially restored)
are w h i t e . Four m o l d e d fangs also project f r o m
the upper jaw, b u t here the ancient painter has
neglected to p a i n t t h e m w h i t e , and they b l e n d
w i t h the hero's black hair. I n this t r u n c a t e d image,
the l i o n s k i n s paws, rather t h a n being t i e d across
his chest, are t i e d beneath the hero's c h i n a n d
delineated i n o u t l i n e o n his neck. The so-called
Herakles k n o t , a p o p u l a r design i n Greek j e w e l r y ,
was based o n the conventional artistic tie i n the

81.1

l i o n skin's forelegs; however, the restorer o f t h i s

kantharos has misunderstood the k n o t , a d d i n g an
extra pair o f loops at the left. I n a d d i t i o n , he has

272 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

were an i n t e g r a l p a r t o f these gatherings and

whose duties i n c l u d e d p o u r i n g the w i n e . The
j a n i f o r m head vases, moreover, often present
p o i n t e d contrasts o f gender, class, race, or e t h
n i c i t y . I n the Vatican Class, a woman's head may
also be c o m b i n e d w i t h that o f a satyr. Herakles,
likewise, may be c o m b i n e d w i t h a satyr, or, as i n
this Class's name vase, w i t h a Black man, another
i n d i v i d u a l w h o w o u l d have been best k n o w n to
A t h e n i a n s as a servant or slave (cf. cat. no. 79).
Significantly, w h i l e the intemperate hero Herakles
c o m m o n l y appears o n plastic w i n e vessels, these
vessels never take the f o r m o f heads o f the A t h e
n i a n male citizens, w h o themselves frequented
symposia.

81.2

R E F E R E N C E S : " A c q u i s i t i o n s / 1 9 8 3 , " GettyMusJ

12 (1984) 248, no.
86; BAPD Vase 13374.
For the Vatican Class, see ARV 1538-39; BAdd
387; BAPD
s.v. Vatican Class; see also Beazley 1929, 39, 42, 60, 6 7 - 6 8 . For the
p o t t i n g o f k a n t h a r o i a n d t h e i r artistic association w i t h Herakles
a n d Dionysos, see Schreiber 1999, 124-27. O n the Nemean Lion's
s k i n , see Cohen 1998. For the Herakles k n o t i n Greek j e w e l r y , see
W i l l i a m s a n d Ogden 1994, t i t l e page, 6 4 - 6 5 , no. 18, 8 0 - 8 1 , no.
35, 197, no. 131, 2 5 1 , no. 191. O n the i c o n o g r a p h y o f head vases,
see Lissarrague 1995a a n d B r a r d 2000. For the name vase o f the
Vatican Class, Vatican City, M u s e o Gregoriano Etrusco 16539, see
ARV
1538.4; BAdd
387; BAPD Vase 218432; S n o w d e n 1976,
163, fig. 193. The female head o f t h e M a l i b u kantharos is compa
rable t o Class K: The T o r o n t o Class: ARV
1537-38; BAdd
38687; for the name vase T o r o n t o , Royal O n t a r i o M u s e u m 919.5.25,
see BAPD Vase 218421; a n d cf. B r a r d 2000, 410, fig. 15.13.
2

p a i n t e d the l i o n skin's leaflike paws i n a w a y that

is anatomically impossible, a n d the black dots that
denote the a n i m a l skin's f u r r y surface have errone
ously been c o n t i n u e d b y the restorer o n the s k i n
of Herakles' neck. Herakles h i m s e l f stares straight
ahead w i t h his characteristic b i g , r o u n d e d eyes
beneath arched black brows. The sclerae o f his
eyes are n a t u r a l i s t i c a l l y colored w h i t e , as is the

n o r m i n sculpture and some plastic vases b u t n o t

i n red-figure vase-painting. Herakles' mustache
a n d the t u f t beneath his c h i n are p a i n t e d w h i t e ,
t h o u g h his hair, beard, eyes, and eyebrows are
black.
The mold-made head o f a w o m a n o n
the reverse has comparatively l i t t l e p a i n t e d
detail. Her b l a c k - r i m m e d eyes are a l m o n d shaped and, like Herakles', t h e y have w h i t e
sclerae a n d a reserved r i n g a r o u n d t h e i r black
p u p i l s . The off-center placement o f her p u p i l s
and irises, however, makes the w o m a n look cross
eyed; p a i n t e d eyebrows have been o m i t t e d . Arcs
of d i l u t e gloss frame the corners o f her m o u t h . Her
centrally parted, w a v y hair, w h i c h covers her ears,
is set o f f from her face b y a black contour.
Female heads occur f r e q u e n t l y among the
plastic vases designed for d r i n k i n g a n d serv
ing w i n e at the s y m p o s i u m (cf. cat. no. 80), and
t h e y have been associated w i t h the hetairai w h o

273 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

81.3

82
MASK-KANTHAROS

Restored from fragments with modern

additions and paint. Losses include left side of face
of Dionysos mask; left side pf face and beard, right
cheek, left ear, and part of right ear of satyr mask;
parts of bowl, including rim fragments. Abrasion on
foot's resting surface.
CONDITION:

A t t r i b u t e d to the F o u n d r y Painter and to

Euphronios as potter, ca. 480 B.C.
H (to t o p o f handles) 21.1 cm; Diam (bowl)
17.4 cm

I N

M a l i b u , J. Paul Getty M u s e u m 85.AE.263

kantharos was generally employed b y the hero

European art market; purchased 1985

Herakles or b y the god o f w i n e , Dionysos, h i m

GREEK

ART,

AS

WE

HAVE

SEEN,

the

self (cf. cat. no. 81). I n life, d r i n k i n g from this

A , mask of Dionysos

special model w o u l d have been a w k w a r d : The

B, mask of a satyr
O n the b o w l , A - B , red-figure, athletes
themselves

attached masks h i n d e r e d access to the r i m , and

cleaning

the kantharos's characteristic i n w a r d - c u r v i n g

handles c o u l d h a r d l y have been convenient. Per
haps i n s p i r e d b y a metal p r o t o t y p e , this vessel
surely was i n t e n d e d for r i t u a l or funerary use. I n

274 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

this v o l u m e , M a r i o n True suggests that the M a l i b u

mask-kantharos was fashioned b y Euphronios, the
Pioneer painter (cat. nos. 10, 2930) w h o t u r n e d to
p o t t i n g later i n his career (cf. cat. no. 10).
T h i s masterpiece o f A t h e n i a n p o t t e r y com
bines a b o w l a n d foot that were t h r o w n o n the
w h e e l w i t h handmade concave strap handles and
two

different mold-made masks. These masks are

affixed to the opposite sides o f the b o w l and also

j o i n e d to the foot at the tips o f t h e i r beards. This
vessels l i p and short stem are characteristic o f a
kantharos o f t y p e C. Its p a i n t e d decoration com
bines standard red-figure w i t h the colorful palette
of plastic vases.
The masks present contrasting characters:

82.3

the mature god, p o r t r a y e d w i t h an idealized Gre

cian profile, and his bestial follower, the snubnosed satyr, w h o o r i g i n a l l y w o u l d have had
p o i n t e d horses ears. Dionysos has slender arched

chins. Traces o f p i g m e n t reveal that b o t h faces

brows and a red, b e n i g n l y s m i l i n g m o u t h ; the

were o r i g i n a l l y a b r i g h t v e r m i l i o n . Finally, w h i t e

satyr's black brows are bushy, and his g r i n n i n g

ivy, a p l a n t associated w i t h the w i n e god, forms

red

wreaths o n the black hair o f b o t h masks.

m o u t h exposes t w o p a i n t e d rows o f w h i t e

teeth. I n other details, the h a n d l i n g o f the masks

W h i t e i v y also circumscribes the l i p o f the

underscores the vessels u n i t y o f design. H a i r i n

kantharos, b u t the rest o f its b o w l is decorated

b o t h masks' black beards is described b y w a v y

i n red-figure a t t r i b u t e d to the robust style o f

incised linesan archaizing technical feature b y

the F o u n d r y Painter, an associate o f the Brygos

the second decade o f the fifth century. Both faces

Painter (cat. nos. 47, 60). Rather t h a n Dionysiac

h a d eyes w i t h w h i t e sclerae and black irises and

imagery, four y o u n g athletes, s h o w n cleaning

a r i n g a r o u n d the p u p i l added i n a t h i c k clay slip

themselves after c o m p e t i t i o n , occupy the spaces

that also covered the ends o f t h e i r mustaches and

between the masks and the vessels handles. Each

y o u t h assumes a different, carefully observed
pose: T w o clean themselves w i t h strigils, another
sponges h i m s e l f at a laver, and the f o u r t h readies
the garment he has removed. T h e y are s u r r o u n d e d
by added-red nonsense i n s c r i p t i o n s . These ath
letes stand o n the ornamental stopped meander
that demarcates the upper edge o f the c u l . A t the
sides, adorsed palmettes and t e n d r i l s c u l m i n a t i n g
i n lotus flowers decorate the c u l and the roots o f
b o t h strap handles.

R E F E R E N C E S : " A c q u i s i t i o n s / 1 9 8 5 / ' GettyMusJ

14 (1986), 192, no.
55; T r u e 1986, 138-43, no. 1; J P G M Handbook 1991, 48; ValleraRickerson a n d Korma 1992, 86, fig. 11; J P G M Antiquities
Master
pieces 1997, 42; J P G M Handbook 1997, 49; Badinou [2000], 116;
J P G M Handbook 2001, 49; Clark, Elston, and H a r t 2002, 29, fig. 17,
117, fig. 110; J P G M Antiquities Handbook 2002, 76; Neer 2002, 14,
15, fig. 1.
For iconographic associations o f the masks as w e l l as the a t t r i
b u t i o n to Euphronios, see T r u e , chap. 7. O n the kantharos o f
t y p e C, see Clark, Elston, and H a r t 2002, 101. The F o u n d r y Paint
er's name vase is a r e d - f i g u r e d cup w i t h the d e p i c t i o n o f a f o u n d r y
on its exterior, Berlin, A n t i k e n s a m m l u n g F 2294: ARV
400.1,
1573, 1651, 1706; Para 370; BAdd 230; BADP Vase 204340.
2

82.2

275 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

83
RED-FIGURED RHYTON (CUP) IN
THE FORM OF A VULTURE'S HEAD
A t t r i b u t e d t o Douris as painter and t o the
D o u r i a n Class o f animal-head r h y t a ,
ca. 485-475 B.C.
H 21.8 cm; Diam 11.4 cm
Brussels, B i b l i o t h q u e royale de Belgique 8,
bequest o f Baron L u c i e n de H i r s c h , 1898
From Capua; formerly Alessandro Castellani
collection
Intact, but with cracks above right
ear and through palmette band at top of head; rim
abraded; surface abrasion, esp. on palmette band,
left side of bird's head, and front edge of beak; black
gloss cracked on band between rows of ornament;
gloss on beak chipped and pitted; black incrustations on beak; added color of inscription lost; losses
of added white around eyes; much of interior still
covered with earth.
CONDITION:

THE

MAGNIFICENT

B I R D ' S H E A D o f t h i s early

A t t i c r h y t o n c a l l e d a n eagle i n the n i n e t e e n t h
c e n t u r y s h o u l d p r o b a b l y be identified as a
v u l t u r e . The visible ears, featherless depressions a r o u n d the eyes, a n d elongated beak
all characterize a v u l t u r e , t h o u g h the
scalelike plumage recalls ancient representations o f eagles. Here each o f the
feathers, d r a w n w i t h c u r v e d black relief
lines o n reserved g r o u n d , has a central
r i b o f g o l d e n - b r o w n d i l u t e . The rhyton's
p a i n t e d decoration consists o f sensitive
detailing o f the mold-made bird's head a n d
red-figure ornament against a black g r o u n d :
addorsed palmettes a d o r n the front end o f the
handle, and a r o w o f circumscribed palmettes a n d
a stopped-meander p a t t e r n w i t h saltire squares

83

encircle the shallow, s l i g h t l y flaring wheel-made

r i m . O n the basis o f its ornament, Beazley a t t r i b u t e d the p a i n t e d decoration o f this r h y t o n a n d o f
a simpler version i n the B r i t i s h M u s e u m to Douris.
A u n i q u e kalos name, i n s c r i b e d i n added color
o n the Brussels r h y t o n , extended f r o m the bowl's
black b a n d o n t o the handle: n o w a shadow, i t was
read b y Denise Feytmans as Leosthenes kalos,
t e n w i t h a double first sigma.

276 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

writ-

Several other interesting details o f this rare

b i r d s - h e a d r h y t o n are defined b y added colors or
black gloss. The featherless areas a r o u n d the eyes
contained r a d i a t i n g strokes o f w h i t e , and w h i t e
e n t i r e l y covered the i n n e r eye-lids. The reserved
irises o f the bird's staring eyes each have a r i n g
of black dots. The p r o j e c t i n g ears appear to have
been added b y h a n d to the m o l d e d head; t h e y
are n o t f o u n d o n the B r i t i s h Museum's version.
T h e i r p a i n t e d a r t i c u l a t i o n is best preserved o n

R E F E R E N C E S : ARV 446.260, 1594, 1653; BAPDVase

205307;
Castellani 1884, 22, no. 105, p i . 3; Gaspar 1901, 602, 613; Daremberg a n d Saglio 1919, s.v. Vasa 658, fig. 7328; Buschor 1 9 1 9 - 1 9 2 1 ,
16, fig. 2 1 , 17; Beazley 1925, 209; Feytmans 1948, 4 3 - 4 8 , pis.
18-20; H o f f m a n n 1962, 13, no. 22, 14, p i . 5 . 1 ; T u c h e l t 1962, 148,
no. 1, 149; B u i t r o n 1976, 153, no. 274, 156-57; H o f f m a n n 1989b,
141, 145, 155, 157; B u i t r o n - O l i v e r 1995, 43, 6 9 - 7 0 , 86, no. 247,
p i . 115, no. 247.
2

I have e m p l o y e d the Gaspar 1901 article i n Durendal here, b u t

have n o t been able t o consult the abstract version c i t e d b y Feyt
mans 1948 and ARV
446.260.
2

On f o r e i g n influence a n d the A s s y r i a n a n d Persian o r i g i n o f

t r u e animal-head r h y t a , see esp. M . C. M i l l e r 1997, 141-44; o n the
use o f A t t i c r h y t a , see Lissarrague 1995a, 67.

the bird's r i g h t ear: a black dot and w h i t e central

area s u r r o u n d e d b y r a d i a t i n g lines o f an unusual
pale orange-red hue. This special color is also
used o n the o v o i d depressions at the edges o f the
lower beak's underside, p r e v i o u s l y described as
reserved, and i t reappears o n the irregular i n t e
r i o r o f the rhyton's mold-made part. The inside
of its wheel-made r i m is black. The b i r d s beak
was l i k e w i s e meant to be black, b u t here the
gloss has misfired so that m u c h o f i t is n o w a
b r i g h t accidental red. S c r i b b l y brushstrokes o f
mustard-yellow orange o n the underside o f the
lower beak near the t i p and several heretofore
u n n o t i c e d strokes o f this color preserved o n the
r i g h t side o f the upper beak, also near the t i p ,
w o u l d have been especially s t r i k i n g had the beak
fired black as was i n t e n d e d . T h i s remarkable fea
ture, f o u n d also o n the upper beak o f the D o u r i a n
r h y t o n i n the B r i t i s h M u s e u m , has generally been
i n t e r p r e t e d either as g o r y remains o f the b i r d s
prey or as an anatomical feature o f the beak.
A t t i c animal-head so-called r h y t a , w h i c h are
not

pierced for l i q u i d to r u n t h r o u g h t h e m , are i n

fact s i m p l y zoomorphic d r i n k i n g cups w i t h either

one handle, as here, or t w o . T h e y are believed
to have been i n s p i r e d b y l u x u r i o u s metal vessels
c o m m o n l y employed b y the Persians, w h o m the
Greeks defeated a r o u n d the time these D o u r i a n
examples i n clay were p r o d u c e d . The p a i n t e d
d e f i n i t i o n o f such p o t t e r y r h y t a may w e l l have
paralleled engraved or i n l a i d details o n compa
rable metal versions. W h i l e H e r b e r t H o f f m a n n
(1989b) v i e w s p o t t e r y r h y t a solely as r i t u a l funer
ary vessels employed i n sacrificial libations for the
heroized deadas the w o r n r i m o f this example
may suggestthese A t t i c vessels are more l i k e l y
to have been used i n i t i a l l y as d r i n k i n g cups at
symposia i n daily life.

277 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

84

On the St. Petersburg r h y t o n a broad red

RHYTON (CUP) IN THE FORM OF

A DOG'S HEAD

upside d o w n . The d o g s projecting neck tendons

4 8 0 B.C.

continue u n d e r the p a i n t e d b a n d onto the w h e e l -

cm

St. Petersburg, The State Hermitage M u s e u m

B

g r o u n d l i n e for the vase-painting, w h i c h w o u l d be

collar for the dog w h e n the e m p t y cup is t u r n e d

B r y g a n Class o f animal-head r h y t a , ca.

17.3

runs a r o u n d the b o w l d o i n g double d u t y as a

right-side-up w h e n the w i n e cup is f u l l , and as a

A t t r i b u t e d to the Brygos Painter and the

b a n d articulated w i t h diagonal, w a v y y e l l o w lines

1818

made b o w l , thereby a d d i n g to the collar's i l l u s i o n ism. The solid black gloss that covers the vessels
t w o strap handles and the i n t e r i o r o f the r i m also

A c q u i r e d 1 8 6 2 ; f o r m e r l y Giampietro

describes the dog's coat. The dog's s c u l p t u r a l

Campana collection

f o r m is f u r t h e r enhanced w i t h p a i n t e d anatomi

On the r i m , red-figure, battle of pygmies and cranes

Restored from fragments with overpainting around joins and on parts of vase surface;
abrasion of surface around dog's mouth and right
nostril; edge of rim chipped and abraded; most of
crane facing left and parts of pygmies restored;
black discolorations on depiction of cranes attack
ing pyg yCONDITION:

cal details that are not u n i f o r m l y w e l l preserved.

Its projecting ears' interiors have angular d i l u t e
markings. W h i t e surrounds the animal's w i d e open eyes w i t h black p u p i l s . The stylized tear
ducts and the p o o r l y preserved nose are painted
w i t h an orange that resembles reserve. The i n t e
r i o r o f the nostrils and m o u t h appear to have been
red. Finally, t h o u g h n o w flaked and faded, even

the whiskers o f this appealing dog were described

in paint.

THE

KEEN

A N D ATTENTIVE

DOG'S

HEAD

of

this d r i n k i n g cup is one o f the finest extant animal

A l t h o u g h the

fifth-century

A t h e n i a n vogue for

animal-head cups appears to have been influenced

sculptures f r o m the ancient w o r l d . I t was p r o

by i m p o r t e d Persian metal r h y t a (cf. cat. no. 8 3 ) ,

duced i n a t w o - p a r t m o l d , the j o i n from w h i c h can

here the genre has been Hellenized, not o n l y b y

be seen as a ridge r u n n i n g alongside the i n d e n t e d

the omission o f a pierced hole at the opposite end

t o p o f the animal's c r a n i u m a n d c o n t i n u i n g

f r o m the cup's r i m that w o u l d have enabled l i q u i d

beneath its c h i n . A wheel-made r i m and t w o strap

to flow t h r o u g h the vessel, b u t also b y the selec

handles were added to this mold-made plastic cup.

t i o n o f a home-bred domesticated animal that d i d

W h i l e the i d e n t i t y o f the potter or coroplast w h o

not occur i n the Eastern prototypes. I n Greek life,

modeled the d o g s head is not securely k n o w n , the

a dog was not s i m p l y a faithful pet b u t also the

amusing, exotic v i g n e t t e o n the c u p s r i m o f p y g

n o n h u m a n h u n t i n g companion o f the elite A t h e

m i e s s h o w n as reserved achondroplastic dwarfs

n i a n male, w h o w o u l d have used a r h y t o n like this

w i t h large g e n i t a l s b a t t l i n g cranes is a master

one at a d r i n k i n g party. Fashionable A t t i c r h y t a

piece b y the Brygos Painter (cat. nos. 4 7 , 6 0 ) , w h o

were exported: A similar dog's head i n the Museo

also executed the red-figured decoration o n sev

Nazionale Etrusco d i V i l l a Giulia i n Rome, w h i c h

eral other plastic d r i n k i n g vessels o f h i g h q u a l i t y .

was p r o b a b l y made from the same m o l d a n d was

The egg p a t t e r n w i t h dots r u n n i n g a r o u n d this

likewise decorated b y the Brygos Painter, was

rhyton's r i m is characteristic o f the B r y g a n Class.

f o u n d at Falerii, Italy. The St. Petersburg replica

Later, i n the m i d - f i f t h century, the w o r k s h o p o f

itself, w h i c h was once i n the Campana collection,

the potter Sotades, whose Classical A t h e n i a n p r o d

may also have been e x p o r t e d to I t a l y i n a n t i q u i t y .

ucts often display an iconography o f Otherness

(cat. nos. 8 6 , 8 7 , 9 3 ) , employs a Black p y g m y w i t h
a dead crane for the plastic part o f statuette-rhyta.

278 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

84

R E F E R E N C E S : ARV
382.188, 1649; Para 512; BAdd 228; BAPD
Vase 204087; Campana, sala I, no. 101; Stephani 1865, 143-44,
159, 186; Stephani 1869, 1 8 0 - 8 1 , no. 360, p i . 6, no. 2 6 1 ; Beazley
1918, 92; H o p p i n 1919, I , 138, no. 90; G o r b u n o v a a n d Peredolskaya 1961, 54, fig. 28; H o f f m a n n 1962, 10, n o . 9, 12, p i . 2.4;
T u c h e l t 1962, 149, n o . 2, 150; Peredolskaya 1967, 6 9 - 7 1 , no. 70,
pis. 5 0 . 1 - 2 , 5 1 . 1 - 2 , 172.5-7; S n o w d e n 1970, 28, 98, fig. 76; W e g ner 1973, 185-87, 195, 198, no. 188, 2 0 1 , pis. 10a, 11a; Boardman
1975, 135, fig. 258; G o r b u n o v a a n d Saverkina 1975, n o . 30; Stahl
1986, 353, fig. 2, 354, fig. 3; Francis 1990, 4 - 5 , fig. 1; Dasen 1993,
185-86, 298, n o . 60, p i . 62a-b; LIMC v n (1994) s.v. P y g m a i o i 595,
no. 8, 600, p i . 469 (V. Dasen); Sparkes 2000c, 92, fig. 5.5, 94 a n d
n.37; W i l l i a m s 2004, 100.
2

On t h e Sotadean p y g m y - a n d - c r a n e r h y t o n , see Dasen 1993,

183, 185, p i . 63.3; Lissarrague 1995a, 8; W i l l i a m s 2004, 9 5 - 1 0 3 .
For Rome, M u s e o Nazionale Etrusco d i V i l l a Giulia 867: ARV
382.187, 1649, 1701; Para 366, BAdd 228; BAPD Vase 204086;
A r i a s / H i r m e r / S h e f t o n , p i . 142, 339, no. 142. See T r u e 1983,
7983, figs. 914, for fragmentary B r y g a n dog's-head r h y t a w i t h a
single handle u n d e r t h e c h i n : M a l i b u , J P G M 7 9 A E . 2 2 : BAPD Vase
10025; a n d M e x i c o City, p r i v a t e c o l l e c t i o n : BAPD Vase 10029.
A n o t h e r example is i n A l r i a , M u s e A r c h o l o g i q u e 67/467:
BAPD Vase 9998; Jehasse a n d Jehasse 1973, 4 7 1 , no. 1901, color
p i . 5 a n d p i . 34. T r u e , chap. 7, discusses t h e p o s s i b i l i t y o f a t t r i b
u t i n g t h e entire B r y g a n Class t o the p o t t e r Charinos; that a t t r i b u
t i o n is n o t accepted here.

279 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

85

85
RHYTON (STATUETTE-VASE) IN
THE FORM OF A DOVE WITH AN
ATTACHED RED-FIGURED CUP
A t t r i b u t e d to the Painter o f L o n d o n D 15
a n d the B r y g a n Class o f animal-head r h y t a ,
ca. 480-470 B.c.
H 22.8 cm
St. Petersburg, The State Hermitage M u s e u m
B 1876
F r o m Capua; acquired 1872

A , o n the cup, Eos abducting

Kephalos

B, o n the cup, satyr attacking a maenad

C O N D I T I O N : Intact; tip of bird's beak broken in
antiquity; channel along top of beak and vertical
drill hole for now-lost ancient repair; surface of
bird's eyes worn; black gloss cracked along front
join of halves of mold-made bird; gloss pitted and
abraded on bird's wings and body; surface chipped
and pitted along juncture of cup and bird on left
side; surface chipped and gloss abraded along upper
edge of rhyton's cup; reserved areas of red-figure
decoration abraded and pitted; black gloss abraded
along edges of handle; red on base chipped and
pitted; underside of resting surface abraded and
chipped.

280 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

THIS

UNIQUE

RHYTON

C O M B I N E S a mold-

made b i r d and base w i t h a wheel-made cup (fitted

g r o u n d alabastra. I n the nineteenth century, the

b i r d statuette itself was said to be a raven or a

w i t h a v e r t i c a l strap handle) that emerges from the

crow, p r o b a b l y because o f the black gloss cover

creature's back. The alert, albeit architectonic, b i r d

ing

stands o n bent legs, w h i c h are modeled i n relief

description, this glossy surface appears to be a

on the statuette-vase's base. Because the cup opens

stylistic feature o f B r y g a n r h y t a (cf. cat. no. 84). I n

its body. However, rather t h a n a naturalistic

d i r e c t l y i n t o the h o l l o w i n t e r i o r o f the b i r d s b o d y

terms o f its s c u l p t u r a l f o r m and the p a i n t e d artic

and base, this vessel is a capacious w i n e container.

u l a t i o n o f its w i n g s , this b i r d resembles a pigeon

Black gloss covers the cup 's i n n e r surface b u t not

or a dove, and, g i v e n the erotic iconography o f the

the i n t e r i o r o f the mold-made b i r d and base. A t

vase's cup, i t was surely meant to be Aphrodite's

the front, the v e r t i c a l j o i n between the t w o halves

own

of the b i r d s m o l d is v i s i b l e b o t h inside and out.

dove.
The u n i q u e St. Petersburg b i r d r h y t o n was

Outside, the b i r d s b o d y and the cup, aside from

f o u n d i n a t o m b at Capua i n Magna Graecia that

the reserve o f the red-figure decoration, are b o t h

contained j u s t t w o other A t h e n i a n plastic vessels,

covered w i t h black gloss. W h e r e v e r i t was applied

w h i c h are n o w i n the collection o f the M e t r o p o l i

too t h i n l y , this black gloss has misfired red. A n a

tan M u s e u m o f A r t :

t o m i c a l details, i n c l u d i n g the d i v i s i o n o f the upper

conjoined female heads, w i t h red-figure satyrs

and lower beak, the scalelike feathers o f the w i n g

and w i n e s k i n s o n the r i m a t t r i b u t e d to the Brygos

coverts and l o n g f l i g h t feathers, as w e l l as the s t r i

Painter himself, and a red-figured lobster-claw

ated flesh o f the bird's legs have been d r a w n w i t h

askos, a small, flat vessel w i t h an u p r i g h t m o u t h

red p a i n t o n the black gloss. These o u t l i n e details

that may have been used for p o u r i n g olive o i l .

are the same red as the kalos i n s c r i p t i o n s and hair

Beazley (1945) famously p o i n t e d out that "the

fillets i n the cup's vase-paintings, b u t t h e y have

Capuans had a special fondness for the plastic

been applied w i t h a broader b r u s h . The vessels

vases o f A t t i c a / ' and the sole occupant o f this

base and its recessed walls between the bird's

local t o m b appears to have been f u r n i s h e d w i t h

legs and b o d y are covered w i t h a streaky matt red

grave goods that w o u l d have assured a Capuan a

that is applied o n t o p o f reserve rather t h a n black

fine afterlife.

a kantharos i n the f o r m o f

gloss, and hence i t is s l i g h t l y b r o w n i n t o n a l i t y .

W h i l e the b i r d seems to bear its b u r d e n stoi
cally, the simple, yet s p i r i t e d red-figure depic
tions o n the cup revolve a r o u n d male and female
lust and sexual p u r s u i t . O n the back, i n a familiar
scene, a b a l d i n g satyr attacks a maenad, w h o
fends h i m o f f w i t h the b o t t o m o f her thyrsos. O n
the front, i n perhaps the earliest representation
of the theme, the w i n g e d goddess o f d a w n , Eos,
carries o f f a naked boy, p r o b a b l y Kephalos. As
Eos r u n s t o w a r d the r i g h t , l o o k i n g b a c k w a r d , her
booted feet do not q u i t e t o u c h the g r o u n d . Her
w i n g s are spread and, i n b r i l l i a n t contrast to the
vessel's stable b i r d part, she seems to be t a k i n g o f f

R E F E R E N C E S : ARV
391.(a); Para 512; BAdd 229; BAPD Vases
204198 and 223551 ( w i t h split b i b l ) ; Stephani 1872, 177-79, p i .
4 . 1 - 2 ; H e l b i g 1873, 4 - 5 ; Beazley 1945, 157; Peredolskaya 1967,
72-73, w i t h references, pis. 4 8 . 1 - 3 , 173.3, 5, 9, 10; KaempfD i m i t r i a d o u 1979, 20, 48, 9 1 , no. 193, p i . 10.3-4; T r u e 1986, 7 8 82, no. 2; Osborne 1996a, 70, 7 1 , figs. 3 0 A - B , 72; W i l l i a m s 2002,
345-46; W i l l i a m s 2004, 116n.48.
2

On the red-figure iconography, see also H o f f m a n n 1989b,

1 4 8 - 5 1 . For the Painter o f L o n d o n D 15 (ARV
3 9 0 - 9 1 . 1 - 2 , 1701;
BAPD Vases 204196-97, 275650), see n o w W i l l i a m s 2002. For the
other vases f r o m the Capua t o m b , n o w N e w York, M e t r o p o l i t a n
M u s e u m o f A r t 12.234.5, j a n i f o r m kantharos, see ARV
382.183,
1538; Para 366; BAdd 227; BAPD Vase 204082; a n d N e w York,
M e t r o p o l i t a n M u s e u m o f A r t 23.160.57, lobster-claw askos f r o m
the Class o f the Seven Lobster-Claws, see ARV
971.6; Para 435;
BAdd 309; BAPD Vase 213226; a n d Richter and M i l n e 1935,
17-18, fig. 113.
2

to carry her h u m a n charge heavenward. A black

tongue p a t t e r n w i t h dots encircles the cup's l i p ,
and another forms the lower border for the vasepaintings.
The cup's red-figure decoration appears to be
late w o r k o f the Painter o f L o n d o n D 15, a member
of the Brygan W o r k s h o p w h o also p a i n t e d w h i t e -

281 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

C O N D I T I O N : Excellent; intact save for a crack on the

tail; missing chip on cup's rim; black gloss chipped
on rim; on Black youth's chin; and along side, edge,
and top of base, esp. at back; much of green color
flaked from crocodile's surface; some greenish misfir
ing of black gloss at lower back of cup; white and
brown incrustations on cup's interior and exterior,
and on youth's nose, lower body, and limbs.

T H E E X O T I C S U B J E C T o f this amazing Athe

n i a n statuette-vasea Black y o u t h i n the clutches
of a N i l o t i c c r o c o d i l e t h o u g h far f r o m the realm
of m o n u m e n t a l Classical art, is t y p i c a l o f plastic
r h y t a from the w o r k s h o p o f Sotades (cf. cat. no.
87). This is one o f a dozen, w h o l e or fragmentary,
k n o w n replicas o f the crocodile-group r h y t o n .
A l t h o u g h none bears the potter's signature, r e d figure vase-paintings o n t h e i r attached cups, like
those o n the Petit Palais vase, have been a t t r i b u t e d
either to the p r i m a r y painter i n Sotades' shop, the
Sotades Painter (cf. cat. nos. 90, 92, 93), or to his
Manner. I n a n t i q u i t y these Sotadean plastic vases
were e x p o r t e d w i d e l y , and local versions o f the
crocodile group c o n t i n u e d to be p r o d u c e d d u r i n g
the f o u r t h c e n t u r y B.C. i n South Italy, where this
A t t i c example was f o u n d .
The Petit Palais statuette-vase was fashioned

86

i n a t w o - p a r t m o l d ; the j o i n o f its halves can still

86
RHYTON (STATUETTE-VASE) IN
THE FORM OF A BLACK YOUTH
AND A CROCODILE
A t t r i b u t e d to Sotades as potter and to the
Sotades Painter, ca. 460 B.C.

the j o i n along the central ridge o f the crocodile's

t a i l has been cleverly camouflaged b y one o f the
rows o f e x t r u d e d clay dots that suggest the scaly
edges o f the t a i l . The wheel-made cup was inserted
i n t o a hole cut i n the crocodile's back so t h a t its
lower end opens d i r e c t l y i n t o the b o d y o f the
plastic part. The entire concoction is set u p o n a

H 25.5 cm; L 24.5 cm

Paris, Petit Palais, M u s e des Beaux-Arts de
la V i l l e de Paris A D u t 360
F r o m Capua; part o f the Auguste D u t u i t
collection, bequeathed to the C i t y o f Paris i n
1902; purchased for D u t u i t collection at sale
of H . H o f f m a n n collection i n 1899; formerly
A l p h o n s e v a n Branteghem collection; Count
M i c h e l T y s z k i e w i c z collection

low

flat-bottomed

base. The crocodile's t a i l curls

u p w a r d , a b u t t i n g the cup, to f o r m a handle for

this elaborate d r i n k i n g vessel. W i t h the handle
t u r n e d t o w a r d one's r i g h t hand, the f r o n t

flank

of the statuette's c o m p o s i t i o n faces the v i e w e r as

i t w o u l d have faced an ancient d r i n k e r . A Black
y o u t h , his r i g h t a r m i n the reptile's clenched jaws,
is d o w n o n one knee and t h r o w s o u t his free left
arm. He grimaces, presumably i n p a i n a n d fear; o n

On the cup, i n t w o zones, A - B , red-figure, upper

zone, satyrs and maenads; lower zone,

be seen i n the ridge that runs along the center

t o p o f the crocodile's head. A t the opposite end,

satyrs

this replica the sharp features o f his modeled face

may have been f u r t h e r tooled b y h a n d . The beast's
forelegs g r i p the youth's body. Its feet l o o k a b i t

282 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

like cat paws, b u t t h e n this is the first crocodile i n

achondroplastic dwarfs (cf. cat. no. 84), he may

Greek art, and i t is impossible to say h o w closely

represent an A f r i c a n p y g m y ( W i l l i a m s 2004).
Together the poses o f the t w o red-figure satyrs

Sotades c o u l d have observed one o f these A f r i c a n

creatures.
The crododile group was enhanced w i t h colors
applied b o t h before and after f i r i n g . A t t i c black

retreating from aggressive maenads o n the upper

zone o f the rhyton's cup seem m o c k i n g l y to echo
the Black youth's pose. Beneath the ornamental

gloss a p p r o p r i a t e l y supplies the color o f the Black

band o f meanders alternating w i t h saltire squares,

y o u t h s flesh. I t has been applied t h i c k l y and

i n the cup's lower zone, the red-figure satyr o n

carefully, and i t is exceptionally shiny. The other

each side l i t e r a l l y crawls up the crocodile's back.

colors employed were a l l matt. A well-preserved

Rather t h a n i t h y p h a l l i c , several o f these satyrs

coat o f w h i t e , like the black gloss applied before

are s h o w n i n f i b u l a t e d ( w i t h t h e i r penises t i e d

f i r i n g , covers the spaces between the y o u t h s f o r m ,

up)

the crocodile, and the base. This w h i t e may have

m a n n 1997); this unusual detail p r o b a b l y indicates

served as a g r o u n d for a n o w - l o s t i n d i c a t i o n o f

that an inversion o f the n o r m a l order o f t h i n g s is

a n a t u r a l setting p a i n t e d o n after f i r i n g . W h i t e

i n t e n d e d here.

describes the y o u t h s teeth, w h i c h have been

p a i n t e d over his mouth's red i n t e r i o r as i n d i v i d u a l

like a self-controlled A t h e n i a n man (see Hoff

Fragments o f a terracotta base f o u n d near the

A r t e m i s i o n o n Thasos, w h i c h bear a local graffito

squares w i t h l i t t l e spaces left between them; w h i t e

"O krokodilos

is also used for the b r i g h t sclerae o f his w i d e - o p e n

were associated b y the excavator, Francois Salviat

erath[eis\'

("the crocodile i n love"),

eyes, w h i c h have o c u l i w i t h black and reserved

(1967), w i t h a fragmentary crocodile group from

rings and black p u p i l s . His eyelids are r i m m e d i n

the same site. D y f r i W i l l i a m s (2004) disagrees,

b r o w n , a color used also for his brows, lips, and

m a i n t a i n i n g that the i n s c r i b e d fragments do n o t

s c u l p t u r a l cap o f hair. I n a d d i t i o n , a fringe o f i n d i

belong to the Thasos replica o f the group. Salviat

v i d u a l l y p a i n t e d locks o f b r o w n hair borders the

also made the i n f l u e n t i a l suggestion that the Tha-

youth's temples and brow. Just as eye-catching as

sian responsible for the incised i n s c r i p t i o n had

this vases p o r t r a y a l o f foreign race and e t h n i c i t y ,

interpreted the group as an inversion o f a d i v i n e

is its attempt at a naturalistic r e n d i t i o n o f a croco

rape, such as the Zeus-eagle c a r r y i n g o f f Gany

dile. M a n y traces remain o f the "pistachio green"

mede, i n w h i c h the death o f a y o u t h ravished b y a

(CV^4) that once covered its body. A n a t o m i c a l

d e i t y i n animal f o r m becomes a f o r m o f i m m o r t a l

details were d r a w n o n i n black. The i n t e r i o r o f the

ity. However i t may have been v i e w e d i n Classical

crocodile's m o u t h is red, and its teeth are w h i t e ,

a n t i q u i t y , the exotic Sotadean crocodile group cer

w i t h a r o w o f black zigzags suggesting t h e i r sharp

t a i n l y enjoyed a far-ranging and e n d u r i n g appeal.

jagged f o r m .
How

s h o u l d the m o d e r n v i e w e r i n t e r p r e t

this vessel's imagery? Was the crocodile group

i n t e n d e d to present a r i d i c u l o u s unheroic image
of the barbarian (i.e., foreign) Other, d i s p l a y i n g
his helplessness i n the face o f a gruesome death?
D y f r i W i l l i a m s has recently p o i n t e d out that,
despite ample remains o f color o n several replicas,
there is no i n d i c a t i o n o f b l o o d ; thus, the h u m a n
figure i n the crocodile's jaws m i g h t be p e r f o r m
ing a "dance" w i t h a " p a r t i a l l y tamed" animal
rather t h a n being eaten b y the creature. Further
more, this male figure w i t h his w e l l - p r o p o r t i o n e d ,
muscular b o d y is not, as Beazley called h i m , a
boy.

Rather, i n a b o l d departure from the usual

R E F E R E N C E S : ARV
764.10; BAPD Vase 209467; CVA Petit Palais
1 [France 15] 2 6 - 2 8 , pis. 2 6 - 2 7 ; B u r l i n g t o n Fine A r t s C l u b 1888,
37 and p l . ; Gardner 1888, 220, fig. 2, 2 2 1 ; F r h n e r [1892b] no.
291, p i . 48.291; van Branteghem 1892, 114-15, no. 2 9 1 ; Hoffmann
1899, 34, no. 99; Buschor 1 9 1 9 - 1 9 2 1 , 3, no. 4, 4, fig. 3; Beardsley
1929, 40, no. 58; Schnitzler 1948, 53, p i . 54, fig. 70; Boardman
1989, 40, fig. 104; H o f f m a n n 1992-1993, 140-42, figs. 7-9, 144,
155; T i v e r i o s 1996, 166, fig. 146, 313-14; H o f f m a n n 1997, 22, 23,
figs. 5-6, 30, 155, no. F2.
2

For the various replicas o f the crocodile group, see H o f f m a n n

1997, 155-56, nos. F1-F9; a n d W i l l i a m s 2004, 115n.30, plus 102,
for i n t e r p r e t a t i o n o f the g r o u p . See H o f f m a n n 1997, 156-57, o n
the f o u r t h - c e n t u r y crocodile groups. For the i n s c r i b e d Thasos
fragment a n d the Thasos crocodile group, see Salviat 1967, 97,
figs. 1-4. See also ARV
7 6 4 . 9 - 1 1 , 7 6 5 - 6 6 . 1 - 2 ; Para 415; BAdd
286; BAPD Vases 209468, 209478, 209479 for Sotadean crocodile
groups. O n the iconography, cf. also Snow den, 1976, 150; and
Lissarrague 1995a, 8.
2

f i f t h - c e n t u r y A t h e n i a n d e p i c t i o n o f pygmies as

283 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

87

b y the Sotades Painter (cf. cat. nos. 86, 90, 92, 93),

RHYTON IN THE FORM OF AN

AMAZON RIDING A HORSE WITH
AN ATTACHED RED-FIGURED CUP

the Persians appear to have the upper h a n d .

The A m a z o n r h y t o n is an impressive assem
blage o f wheel-made, mold-made, a n d h a n d modeled parts. The 1930 d e s c r i p t i o n o f the vessel's
c o n s t r u c t i o n b y A s h t o n Rollins Sanborn, w h o was

Vase-paintings u n a t t r i b u t e d ; potter-

present at its discovery a n d witnessed the r h y t o n

signature o f Sotades, ca. 440 B.C.

fall i n t o its constituent parts immediately there

H 3 4 cm

after, is u p h e l d b y a recent X-radiograph, p u b

Boston, M u s e u m o f Fine A r t s 21.2286,

H a r v a r d U n i v e r s i t y - M u s e u m o f Fine A r t s
Egyptian Expedition
F r o m Meroe, P y r a m i d 24; assigned to the
M u s e u m o f Fine A r t s b y the government
of Egypt

lished here b y courtesy o f the M u s e u m o f Fine

A r t s (fig. 87.5). This X-radiograph also reveals the
pins a n d supports employed i n the rhyton's m o d
ern reconstruction. The horse's b o d y and lower
neck together w i t h its h i n d legs and the large sup
p o r t beneath the animal were fashioned i n a t w o part m o l d . Today, the j o i n o f the mold-made halves

On the cup, red-figure, fight between

and Greeks: A , Persian
warrior;

Persians

horseman defeating

is visible i n the vertical central cracks at the f r o n t

Greek

B, Greek hoplite attacked by Persian

peltast

On the support, polychrome, A , boar; B, lion

Good; assembled from predominantly
large fragments without major losses; many breaks
correspond to joins from the original assembly;
horse's right ear and part of left one lost; significant
losses of surface polychromy and white undercoat;
traces of root marks on horse's neck and shoulder;
upper part of rhyton's cup assembled from frag
ments, with its lip abraded and chipped around
edge; some misfiring of black gloss at right end of
base; abrasion of black gloss along upper edge of
base; white incrustation on base.
CONDITION:

and rear ends o f the horse and its support as w e l l

as i n the seam atop the beast's r u m p . The w h e e l made cup w i t h a strap handle was inserted i n t o
the horse's back. The Amazon's head, upper body,
arms, and legs a n d the horse's forelegs were m o d
eled b y h a n d and attached to the cup and/or the
mold-made horse. A small p r o j e c t i o n f r o m the
large support shores u p the horse's r i g h t foreleg.
The upper neck and head o f the horse, w i t h its
flaring

nostrils, parted lips, and an i n d e n t a t i o n

i n the mane caused b y the reins, were likewise

modeled b y h a n d , and the animal's t a i l was made
separately and attached. The c u r v e d cheekpieces
of the Amazon's impressive A t t i c helmet, w h i c h

THIS

EXTRAORDINARY STATUETTE-VASE

d e p i c t i n g an A m a z o n h u n t i n g o n horseback is

are flipped up, have been fashioned from i n d i

v i d u a l pieces o f clay. The helmet's horsehair crest

set o n a l o w rectangular base o n w h i c h Sotades'

flies back against the side o f the wheel-made cup,

incised potter-signature, 5 0 T A A H 5

illusionistically o b s c u r i n g a b i t o f the red-figure

EPOIH^EN,

has been w r i t t e n i n t w o lines at the center o f the

vase-painting; these strands o f horsehair are h a n d

f r o n t flankthe side t o w a r d w h i c h the A m a z o n 's

tooled i n relief o n the cup's surface. The Amazon's

head a n d that o f her m o u n t are i n c l i n e d . E v o k i n g

pierced r i g h t h a n d may once have h e l d a metal or

the realm o f m o n u m e n t a l art, this relatively late

w o o d h u n t i n g spear. The l o w rectangular base was

Sotadean r h y t o n w i t h its s p i r i t e d horse has often

made from t h i c k slabs o f clay a n d pierced w i t h a

been compared to s c u l p t u r a l decoration o f the

small hole at the front end, w h i c h , b e y o n d being

Parthenon. I n the wake o f the Persian Wars, A m a

a v e n t hole for firing, may have been fitted w i t h

zons, w h o figured also i n the Parthenon's iconogra

a spout that enabled l i q u i d to flow o u t (cf. True,

phy, s y m b o l i z e d the Eastern barbarian enemies i n

chap. 7, fig. 4).

Greek art and c u l t u r e . Interestingly, o n this r h y

This m o u n t e d A m a z o n statuette was o r i g i n a l l y

ton's red-figured wheel-made cup, where Greeks

b r i g h t l y p o l y c h r o m e d , a n d many traces o f color

a n d Persians fight i n vase-paintings that are n o t

s u r v i v e . Colors were a p p l i e d o n t o p o f a w h i t e

284 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

undercoat, recalling the w h i t e marble g r o u n d o f

painted Greek m o n u m e n t a l sculpture (cf. Mertens,
chap. 6, fig. 5). The w h i t e itself described the
Amazon's flesh, the crest o f her helmet, a n d the
blue-eyed horse. The horses b r i d l e a n d reins were
i n d i c a t e d entirely b y red p a i n t . Painted lashes
have been preserved o n the upper and lower lids
o f the A m a z o n s r i g h t eye. Her eyes themselves,
w h i c h n o w l o o k b r o w n , were described earlier
as v i o l e t . Traces remain o f red o n the A m a z o n 's
helmet a n d v i o l e t outlines o n its cheekpieces. Her
f o r m - f i t t i n g long-sleeved t u n i c was decorated w i t h
red dots o n a blue g r o u n d . I n early descriptions,
her trousers are called dark p u r p l e , and p i n k i s h
traces o f this color s u r v i v e . A now-faded y e l l o w
panther s k i n w i t h black spots is slung diagonally
over her t u n i c . Her quiver, o r i g i n a l l y red w i t h
blue dots and a wave p a t t e r n , is s i m p l y p a i n t e d
onto the horse's r i g h t flank. Remarkably, the stat
uette's support has been transformed i n t o a green
h i l l o c k h a r b o r i n g this A m a z o n huntress's quarry,
a boar and a l i o n p a i n t e d i n polychrome (now
p o o r l y preserved).
W h i l e plastic r h y t a and other unusual clay
vessels from Sotades' W o r k s h o p (cf. cat. nos. 86,
96-99) generally appear to have been i n s p i r e d b y
l u x u r i o u s metal i m p o r t s from the East, this exotic
large statuette-vase, w i t h its Persianizing imagery
a n d its base pierced like a t r u e r h y t o n , seems b y
contrast to have been i n t e n d e d for e x p o r t to the

87.2

East. The A m a z o n r h y t o n was f o u n d , however,

87.3

286 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

87.4

at Meroe i n the Sudan, where i t was deposited i n

a small fourth-century-B.c. royal p y r a m i d l o n g
after the vessels creation. W h e t h e r Sotades' A m a
zon

r h y t o n , w h i c h c o u l d never have been used

for d r i n k i n g , was a precious h e i r l o o m or a n e w l y

purchased a n t i q u e at the time, u l t i m a t e b u r i a l i n
E g y p t f o r t u i t o u s l y extended its preservation for
millennia.

R E F E R E N C E S : ARV
772.0, 1669; Para 416; BAdd 287; BAPD Vase
209548; Deane 1923, 343, 344, fig. 1; Reisner 1923a, 37, p i . 1; Reisner 1923b, figs, o n 11-12, 25; H o p p i n 1924, 474, no. 1* bis; S w i n
dler 1929, 182, p i . 12; Sanborn 1930; Charbonneaux 1936, 13, p i .
32, f i g . 34; C h a r b o n n e a u x 1942, p i . 58; W. S. S m i t h 1942, 142-43,
162, fig. 107; Chase 1950, 7 1 , 72, fig. 78; L i p p o l d 1952, 8 8 - 8 9 , figs.
9-10; D u n h a m 1953, 9 1 ; Bothmer 1957a, 222, no. 8 1 , p i . 90a-c;
W. S. S m i t h 1960, 182, fig. 120, 183; Schoder [1961], no. 37; Chase
1963, 9 3 - 9 4 , 96, 113, fig. 94; D u n h a m 1963, 383, no. 55, 384, fig.
209, 387, fig. 212, 388, fig. 213, 389, fig. 214, 390, fig. 215; BAA
vn (1966) s.v. Sotades 417, fig. 513 (E. Paribeni); N o b l e 1969, 131,
133, fig. 17; K a h i l 1972, 2 8 1 , 283, figs. 18-19; Richter 1975, 111;
LIMC I (1981) s.v. Amazones 624, no. 589, p i . 507 (P. Devambez
a n d A . Kauffmann-Samaras); N o b l e 1981, 10, fig. 20; Raeck 1981,
124-25, no. P 558, fig. 56; Vermeule 1982, 183-84, 228, no. 237,
508, fig. 237; Scholz 1986, 62, fig. 97, 66; H o f f m a n n a n d M e t z l e r
1990; Cohen 1991, 82, 84, fig. 62; H o f f m a n n 1997, 13, 8 9 - 9 6 , 9 0 91, figs. 50a-c, 94, figs. 52-53, 95, fig. 54, 158, no. H I ; Boardman
1999, 139, 140, fig. 165; B e r l i n 2002, 110, no. 19 (C. Berns); Clark,
Elston, a n d H a r t 2002, 129, fig. 121; W i l l i a m s 2004, 103.
2

87.5

On the Parthenon's s c u l p t u r a l p r o g r a m , see, recently, w i t h

references, H u r w i t 2004, esp. 124, 148-49; see Stewart 1990, n ,
figs. 3 3 3 - 3 6 , 3 3 9 - 4 0 , for Parthenonian horses, and fig. 364 for
reflection o n a Piraeus relief o f an Amazon's helmeted head f r o m
the shield o f the A t h e n a Parthenos, the Parthenon's colossal c u l t
image. For the influence o f l u x u r i o u s Persian metalware o n A t t i c
pottery, see cat. nos. 96, 9 8 - 9 9 a n d T r u e , chap. 7, a n d W i l l i a m s ,
chap. 8.
I w o u l d l i k e to t h a n k Pamela H a t c h f i e l d , Head o f Objects Con
servation at the M u s e u m o f Fine A r t s , Boston, for s u p p l y i n g the
X - r a d i o g r a p h a n d c o r r o b o r a t i n g details o f t h i s vase's c o n s t r u c t i o n .

287 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

The

vessel was designed to h o l d perfumed a l m o n d

oil and w o u l d thus have made a rather l u x u r i o u s

v o t i v e offering. W h i l e an amphoriskos is the most
common shape o f a l m o n d vase, o n b o t h sides o f
this e x t r a o r d i n a r y example the mold-made p i t t e d
surface is f u r t h e r enhanced b y relief appliques
of female dancers. O n side A , a w o m a n , dressed
i n a f l o w i n g c h i t o n and a h i m a t i o n that swirls
b e h i n d her, dances w i t h krotala i n each h a n d .
Her

head is t h r o w n back, recalling depictions o f

maenads i n Dionysiac frenzy (cf. cat. no. 35). The

mantle-dancer o n side B, entirely enveloped i n her
h i m a t i o n , advances across a g r o u n d l i n e w i t h her
booted feet en pointe. These female dancers, w h o
have sometimes been associated w i t h the theater,
b r i n g to m i n d the freestanding terracotta figurines
of w o m e n that characterize the somewhat later,
w e l l - k n o w n Tanagra style.

R E F E R E N C E S : Pottier 1882-1897, 59, no. 38; C o u r b y 1922, 487, f i g .

103, 488; M e r c k l i n 1928, 332; Beazley 1940-1945, 14n.2; Z e r v o u d a k i 1968, 7, 10, 4 1 , no. 93, 58, 65, p i . 2 0 . 4 - 5 ; Paris 2003, 148-49,
no. 96 (V. Jeammet).
On the almond-shaped vases a n d m o l d f o u n d i n t h e A t h e n i a n
A g o r a , see Reeder [ W i l l i a m s ] 1978, 3 7 7 - 7 8 , 397, no. 65, 398, no.
66, p i . 102.65-66. Cf. Paris 2003, 146-47, no. 95, an early figurine
of a veiled dancer f r o m the A t h e n i a n A k r o p o l i s believed t o depict
a nymph.

88.1
88
AMPHORISKOS IN THE FORM
OF AN ALMOND WITH FEMALE
DANCERS IN RELIEF
A t t r i b u t e d to an A t t i c w o r k s h o p , ca.
380-360 B.C.
H 12.7 cm
Paris, M u s e d u L o u v r e M N C 638
F r o m Greece; purchased 1884
Intact; lip chipped; black gloss chipped
on lip, mouth, neck, and handles; chips in rear,
convex curved edge of almond shell; traces of white
ground over vase body; loss of other applied colors
or gilding; cleaned in 2003.
CONDITION:

WHEEL-MADE

MOUTH

A N D NECK

with

the arched handles o f an amphoriskos (miniature

amphora) are attached to this precious l i t t l e m o l d made vase i n the f o r m o f an a l m o n d i n its shell.

288 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

88.2

89
STATUETTE-LEKYTHOS IN THE
FORM OF APHRODITE AND
TWO EROTES
A t t r i b u t e d to an A t t i c w o r k s h o p , ca.
375-350 B.c.
H 2 6 cm
Berlin, A n t i k e n s a m m l u n g , Staatliche Museen
zu B e r l i n P r e u i s c h e r Kulturbesitz F 2905
Said to be f r o m Atalante (Lokris); purchased
1876
Left wing of flying Eros restored; lower
left arm of standing Eros lost; left- and rightmost
plastic rosettes chipped; engobe chipped at protrud
ing edges of forms, e.g., on all figures' left knees, on
tips of their noses, and on vessel's base; outer edges
of base and lekythos's mouth chipped; modern vio
let paint over poorly preserved original dark red;
modern blue on back of flying Eros; gilding lost
save for traces in figures' hair; traces of root marks
on surface; white incrustation on back of lekythos.
CONDITION:

FACING

DECLINE

I N THE

QUALITY

of

standard red-figure, several f o u r t h - c e n t u r y A t h e

n i a n p o t t e r y w o r k s h o p s adapted themselves to
m a n u f a c t u r i n g a n e w p r o d u c t that c o m b i n e d a
mold-made terracotta f i g u r i n e w i t h a vase. These
h y b r i d vessels were dedicated i n sanctuaries and
employed as t o m b offerings. A p p a r e n t l y l u x u r y
items, the vases were e x p o r t e d w i d e l y . The Berlin
statuette-lekythos is one o f the most beautiful,
complex, and finely detailed plastic vases o f this
f o u r t h - c e n t u r y genre.
Here A p h r o d i t e is s h o w n seated i n a relaxed
pose at the center o f an elaborate, asymmetrical
c o m p o s i t i o n . The goddess o f love rests her left a r m
o n the shoulder o f an Eros w h o stands beside a
t h y m i a t e r i o n (incense b u r n e r ) w i t h a t r i p o d base
and feet i n the f o r m o f l i o n paws. W i t h her r i g h t
h a n d , A p h r o d i t e opens the l i d o f the small chest
o n her lap, recalling w o m e n w i t h j e w e l r y boxes
accompanied b y Erotes i n depictions o f w e d d i n g
preparations or daily life o n A t h e n i a n red-figured
vases (cf. cat. nos. 35, 103). Here, at the far left, a
second Eros flies above, h o l d i n g open w i t h w i d e
spread arms his mantle, w h i c h serves as a back
d r o p for his nude body. I n this lovely m i n i a t u r e
89.1

289 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

The entire vessel is set u p o n a r o u n d base w i t h

concave sides, w h i c h is covered w i t h a w h i t e slip
that recalls w h i t e g r o u n d . I n the statuette part, the
figures' flesh is covered w i t h the same w h i t e . A n
upper tier o f the base at the front is edged w i t h
w a v y scallops a n d painted dark blue, e v o k i n g the
sea from w h i c h A p h r o d i t e was b o r n . The l i t t l e
open chest is w h i t e w i t h black p a i n t e d details
and a p i n k i n t e r i o r . The i n n e r p a r t o f b o t h Erotes'
w i n g s and the edge o f the flying Eros's cloak are
p o w d e r blue. Dark red, n o w overpainted w i t h v i o
let,

was employed o n the mantles o f b o t h Erotes,

the g r o u n d b e h i n d the t h y m i a t e r i o n , a n d the bor

der o f Aphrodite's garment. Originally, many parts
were g i l d e d , not o n l y the figures' hair a n d the
decorative rosettes, b u t also areas that n o w dis
play a y e l l o w undercoat, such as the t h y m i a t e r i o n
and the l o n g w i n g feathers o f the flying Eros.
Extensive g i l d i n g w o u l d surely have enhanced the
b r i g h t , contrasting color scheme o f this statuettelekythos and also its prestige value. Reserved
red-figure ornament e x t e n d i n g beneath the handle
on the backa florid c o n f i g u r a t i o n o f palmettes
over an egg p a t t e r n w i t h dotsreveals the orange
clay o f this A t t i c lekythos. The vessel's m o u t h , t a l l
neck, and most o f its r i b b e d handle are covered
w i t h t r a d i t i o n a l black gloss.
89.2

sculpture Aphrodite's h i m a t i o n swirls b e h i n d her,

and her c h i t o n , w h i c h is open at her left shoul
der, swirls d o w n w a r d , revealing her left breast;
she wears a beaded necklace. Each figure has an
upswept t o p k n o t o f w a v y hair. The edges o f the
composition are adorned w i t h rosettes, a common
embellishment o n f o u r t h - c e n t u r y plastic vases.
The coroplast appears to have employed sev
eral matrices to produce the statuette front o f the
lekythos, i n c l u d i n g at least one for A p h r o d i t e and
the standing Eros, a n d another for the b o d y o f the
flying

R E F E R E N C E S : F u r t w n g l e r 1885, n , 805-806, no. 2905; Pernice

1903, 22, p i . 30; S c h a n 1912, 123, no. 8; L i p p o l d 1938,
342-44, 347-48, fig. 5 (P. K n o b l a u c h ) , 355; Kleiner 1942, 172;
H i m m e l m a n n - W i l d s c h t z 1959, 29; T r u m p f - L y r i t z a k i 1969, 19-20,
no. 46, pis. 9, 30, F V 4 6 ; Rohde [1970], 23, 4 4 - 4 5 , fig. 25; B o r b e i n
1995, 442, 462, fig. 4.
A t t r i b u t e d b y T r u m p f - L y r i t z a k i 1969, 3 0 - 3 1 , no. 79, p i . 9, FV
79, to the same A t h e n i a n w o r k s h o p as the A p h r o d i t e - o n - s h e l l
l e k y t h o s i n Boston, M u s e u m o f Fine A r t s 00.629. For c o n s t r u c t i o n ,
color, a n d g i l d i n g , cf. Paris, M u s e d u L o u v r e CA 1131, Ledaand-the-Swan l e k y t h o s , Paris 2003, 136-37, no. 83 (V. Jeammet)
and 310. O n f o u r t h - c e n t u r y A t h e n i a n plastic vases, see recently
Parlama a n d Stampolidis 2000, 384-85, no. 444 (O. Zachariadou);
Jeammet 2003, 126-27; see also Reeder [ W i l l i a m s ] 1978.
I w o u l d l i k e t o t h a n k Ursula K s t n e r at the A n t i k e n s a m m l u n g
i n B e r l i n for p r o v i d i n g details about the c o n s t r u c t i o n a n d c o n d i
t i o n o f t h i s vase as w e l l as a s t u d y p h o t o g r a p h o f the reverse.

Eros, whose w i n g s were fashioned sepa

rately. The rosettes were clearly m o l d e d i n a single

m a t r i x a n d attached. Details o f draperies a n d the
figures'

coiffures appear to have been w o r k e d free

h a n d . The statuette front was j o i n e d to the vase

back b y h a n d , a n d telltale traces o f

fingerprints

have been preserved.

290 PLASTIC VASES AND VASES WITH PLASTIC ADDITIONS

The Sotades Tomb

The Sotades Tomb

Dyfri

Williams

The British M u s e u m , L o n d o n

Il
r-^-L

of Greek pottery is
the investigation of context. Context includes the envicAA^ ronment in which the potter and painter were working,
the mechanics of the onward sale of the piece, its ultimate place
of deposition in antiquity, and its modern collection setting. Pot
tery may be found in controlled excavations or in unrecorded
or uncontrolled circumstances. This essay examines what can be
discovered about some of the contexts of a group of spectacular
vases that are included in this exhibition.
\\ N

IMPORTANT FACET OF T H E STUDY

The so-called Sotades Tomb, the contents

the Department o f Greek and Roman A n t i q u i t i e s

o f w h i c h are reassembled here for the first time

i n the B r i t i s h M u s e u m , reveals that a l l o f the n i n e

t h a n k s to the generous cooperation o f three muse

pieces offered at the sale were f o u n d , n o t o n l y at

ums (cat. nos. 90-99), was discovered i n 1890 i n

the same time, b u t also i n one and the same t o m b ,

A t h e n s a n d i m m e d i a t e l y passed i n t o the a n t i q u i

w h i l e the i n t r o d u c t i o n to the p u b l i s h e d catalogue

ties m a r k e t . The name for the t o m b is s i m p l y a

b y W i l h e l m Frohner notes that t h e y had been

m o d e r n convenience, d e r i v e d from the presence

f o u n d "dans une des rues d ' A t h e n e s . "

o f some four vases signed b y the potter Sotades.

Six o f the pieces from the Sotades Tomb were

I n 1892 the Belgian connoisseur A l p h o n s e v a n

purchased at the v a n Branteghem sale b y the B r i t

Branteghem sold o n nine o f the pieces f r o m the

ish M u s e u m (three cups [cat. nos. 90, 9394]two

f i n d . A manuscript copy o f this sale, preserved i n

signed b y the potter Sotades a n d one too fragmen-

292

Figure 1. Detail of map of

Athensshowingthe location of
tombs found at Odos Stadiou
and Odos Kolokotronis (circle).
From Judeich 1931, plan I.

t a r y to be sure; t w o mastoi [cat. nos. 9 8 - 9 9 ] ; a n d

M e r l i n s b l o c k i n Stadion, opposite the K i n g s

a phiale signed b y Sotades as p o t t e r [cat. no. 97]).

stables/' w h i l e the 1898 "Sending L i s t s " d o c u -

T w o w e n t to the M u s e s Royaux i n Brussels ( t w o

ments that accompanied the objects sent t o the

cups [cat. nos. 9 4 - 9 5 ] , one o f t h e m signed b y the

M u s e u m o f Fine A r t s i n Bostonadd that this was

p o t t e r Hegesiboulos). The n i n t h piece (a phiale

o n the corner o f Odos Stadiou a n d Odos Koloko-

w i t h a cicada i n the center, signed b y Sotades [cat.

tronis, opposite where the Royal Stables used to

no. 96]) was b o u g h t b y the great European dealer

be. T h i s l o c a t i o n can be p i n p o i n t e d o n contempo-

Count M i c h e l T y s z k i e w i c z . He d i e d i n 1897, a n d

r a r y maps o f A t h e n s (fig. 1), where other tombs

b y 1898 the y o u n g A m e r i c a n collector E. P. War-

are also m a r k e d j u s t outside the walls o f the c i t y

ren, w h o l i v e d at Lewes House i n East Sussex,

o n the northeast side.

h a d a c q u i r e d the phiale: I t d i d n o t appear i n the

The p o s s i b i l i t y that the Sotades Tomb actually

T y s z k i e w i c z sale catalogue a n d so h a d presumably

contained more t h a n the n i n e vases that passed

been sold t o N e d W a r r e n before the c o u n t s death.

t h r o u g h v a n Branteghem's collection is raised b y

W a r r e n sold i t o n i m m e d i a t e l y to the M u s e u m o f

a comment o f W i l h e l m F r h n e r ' s i n his sale cata-

Fine A r t s i n Boston.
N e d W a r r e n a n d his c o m p a n i o n , John M a r -

logue o f the T y s z k i e w i c z collection about a further cup o f delicate make w i t h w i s h b o n e handles,

shall, were v e r y careful t o record whatever

w h i t e - g r o u n d i n t e r i o r , a n d coral-red exterior (cat.

i n f o r m a t i o n t h e y c o u l d glean o n findspots, often

no. 91): "Cette l g r e t et cette t n u i t de parois

c o m m e n t i n g o n its degree o f reliability. I t is for

n ' o n t leur analogie que dans les vases de S o t a d s

t h i s reason t h a t f u r t h e r detail can n o w be added

et d ' H g s i b o u l o s d c r i t s au catalogue de la col-

to the c o n t e x t o f the Sotades Tomb. The "Regis-

lection v a n Branteghem (No. 159-167), et q u i

t e r " k e p t b y W a r r e n a n d M a r s h a l l , together w i t h

v i e n n e n t de la m m e t r o u v a i l l e , faite A t h n e s

t h e i r Lewes House team, preserves the i n f o r m a -

en 1890." I n t h i s comment the presence a n d

t i o n t h a t the t o m b was uncovered " i n b u i l d i n g

force o f the w o r d et seems to indicate t h a t the

293

T y s z k i e w i c z cup was actually p a r t o f the same

ter or painter, for t h i s is p r o b a b l y the w a y t h e i r

1890 f i n d . I t is v e r y l i k e l y t h a t b o t h Frohner and

purchaser saw t h e m . T h a t is n o t to say, however,

T y s z k i e w i c z k n e w the f u l l story o f the discovery

t h a t the potters Sotades a n d Hegesiboulos were

o f the Sotades Tomb and t h a t one o f themalmost

n o t connected, for t h e y surely were, nor does i t

certainly T y s z k i e w i c z , for he sold the v a n Bran-

mean that there are n o t i n t e r n a l iconographie con

teghem cicada phiale o n to W a r r e n t r a n s m i t t e d

nections between some o f the pieces b y the same

the i n f o r m a t i o n as to the precise findspot. Conse

painter t h a t are i m p o r t a n t to recognize.

quently, w e can accept w i t h some confidence t h a t

Indeed, b o t h these matters require a l i t t l e

T y s z k i e w i c z s delicate cup was indeed part o f the

discussion. I n an excellent article o n three o f

Sotades Tomb.

the w h i t e - g r o u n d cups f r o m the Sotades Tomb,

The shape o f t h i s cup (cat. no. 91), the t e n t h

L u c i l l a B u r n p o i n t e d to the honeyed connections

vase f r o m the Sotades Tomb a n d n o w i n Boston,

between t w o o f t h e m t h e reanimation o f Glau-

is b o t h extremely delicate a n d v e r y unusual. The

kos, w h o h a d d r o w n e d i n honey (cat. no. 92),

handles, the fillet between b o w l a n d stem, a n d

and Melissa the h o n e y - n y m p h p i c k i n g u p apples

the black r i n g halfway d o w n the stem a l l make

w i t h a c o m p a n i o n (cat. no. 90her c o m p a n i o n

one t h i n k o f later metal cups, especially ones o f

has been i d e n t i f i e d b y E r i k a Simon as [ A ] g r o ) .

bronze. We s h o u l d be severely u n d e r e s t i m a t i n g

B u r n w e n t o n to posit the same connection w i t h

the o r i g i n a l i t y o f the potter, however, were we to

the t h i r d decorated cup (cat. no. 93) b y i n t e r p r e t

imagine t h a t he was s i m p l y c o p y i n g c o n t e m p o r a r y

i n g the scene w i t h a man, a snake, and a falling

metal vessels. The w h i t e - g r o u n d i n t e r i o r o f the

w o m a n as Aristaios, the first beekeeper, w i t h

cup was g i v e n a m o d e r n p i c t u r e , p r o b a b l y b y one

the d y i n g E u r y d i k e , b i t t e n b y the snake. The

o f the A t h e n i a n forgers n o t e d b y T y s z k i e w i c z i n

publication of this interpretation coincided w i t h

his o w n memoirs as being v e r y good at p r o d u c i n g

another b y E r i k a Simon, w h o i d e n t i f i e d the m a n

9

designs o n w h i t e - g r o u n d l e k y t h o i and cups. T h i s

as Aisakos and the g i r l as Hesperie. Aisakos was a

design, however, has n o w been p a r t i a l l y removed,

seer and a son o f Priam, w h o fell i n love w i t h the

a n d there seems never to have been any ancient

n y m p h Hesperie, b u t she was b i t t e n b y a snake

decoration. The p r o d u c t i o n o f such a cup w i t h

and d i e d , leading h i m to t h r o w h i m s e l f i n t o the

special slip b u t no figured decoration has a paral

sea, w h e r e u p o n Tethys t u r n e d h i m i n t o a seabird.

lel o n another Sotadean w o r k , a stemless cup w i t h

Subsequent w r i t e r s o n Sotades' cups, namely A l a n

a coral-red slip inside a n d outside b o u g h t i n A t h

Griffiths and A n n a Collinge, have t e n d e d to prefer

ens i n 1881 for the N a t i o n a l M u s e u m i n Copenha

to i d e n t i f y the h u n t e r figure as either O r i o n or

g e n . I t was most p r o b a b l y the absence o f a t o n d o

design, and t h u s the chance to " i m p r o v e " i t , t h a t

Kadmos.

10

Close e x a m i n a t i o n o f the cup itself, however,

ensured t h a t the t e n t h cup was separated f r o m the

reveals traces o f t w o letters w r i t t e n w i t h the

rest and l e d to i t subsequently being sold d i r e c t l y

expected d i l u t e gloss above and to the r i g h t o f the

to T y s z k i e w i c z .

man's head, across a crack, w h i c h t e n d to s u p p o r t

This, t h e n , was the so-called Sotades Tomb. I t

Burn's i n t e r p r e t a t i o n o f the figure as Aristaios.

contained t e n superb vases, a l l special i n terms o f

The first letter w o u l d seem to be an alpha (not an

the exceptional q u a l i t y o f t h e i r p o t t i n g and the

o m i c r o n or a kappa); the trace o f the second letter

use o f a d d i t i o n a l slips (all e m p l o y a w h i t e slip, a l l

is indeterminate, b u t w o u l d n o t be i n c o m p a t i b l e

a coral-red slip or a m a t t version thereof).

There

w i t h the angled bar o f a r h o (an iota w o u l d be

were three stemmed cups o f delicate make w i t h

u n l i k e l y ) . The fallen female figure may once have

m e r r y t h o u g h t handles, three stemless cups o f

had her name i n s c r i b e d above her, too, m u c h as

delicate make also w i t h m e r r y t h o u g h t handles,

the name o f Glaukos o n the first cup (cat. no. 92) is

t w o h o r i z o n t a l l y fluted p h i a l a i , and t w o h o r i z o n

placed above h i m . The signature o f Sotades as p o t

t a l l y fluted m a s t o i i n other w o r d s , t w o trios and

ter c o u l d also have been presentit m i g h t have

t w o pairs. T h i s is perhaps the w a y to t h i n k o f the

been at the t o p o f the scene (an area n o w b a d l y

groupings, n o t b y scene a n d n o t even b y p o t

r u b b e d ) , as o n the Glaukos cup (there the w o r d

294

WILLIAMS

o CHAPTER

Sotades was surely accompanied b y epoiesen or the

l i k e a g a i n the surface is r u b b e d ) , or i n the miss
i n g area b e l o w the g r o u n d l i n e o n w h i c h Aristaios
stands, as o n the a p p l e - p i c k i n g cup.
Despite the v i e w s o f some eminent Vergilian
Figure 2. Hellenistic silver
emblema from the inside of
a cup. Munich, Staatliche
Antikensammlungen und
Glyptothek SL 661 C.

scholars, Dr. B u r n was surely r i g h t to f o l l o w M a r

cel Detienne i n his belief that Vergil d i d n o t h i m
self i n v e n t the Aristaios e p i s o d e .

11

Indeed, a fine

Hellenistic silver emblema f r o m the inside o f a

cup, said to be f r o m I r a n and n o w i n the Staatliche
A n t i k e n s a m m l u n g e n i n M u n i c h (fig. 2), is most
p l a u s i b l y also to be i n t e r p r e t e d as s h o w i n g E u r y d i k e i n t e r r i f i e d f l i g h t f r o m Aristaios, stepping
back i n h o r r o r at the snake beside the r i v e r b a n k ,
perhaps already b i t t e n o n her exposed r i g h t leg
(a m a t c h i n g silver emblema may have had A r i s
taios o n his o w n ) .

1 2

Furthermore, Sotades' inter

est i n A f r i c a a n d i n N i l o t i c scenes, witnessed b y

7

t a l k i n g to her c h i l d , w h o sits i n a ceramic h i g h

chair, w i t h a w h i t e zone a r o u n d i t ; the other cup

his creation o f the e x t r a o r d i n a r y "plastic' vases

(cat. no. 94) has w i t h i n a coral-red zone a w h i t e -

i n the f o r m b o t h o f a p y g m y and a crane a n d o f

ground tondo showing a girl playing w i t h a spin

an A f r i c a n a n d a crocodile (cat. no. 8 6 ) ,

1 3

may

have led his most talented painter (unless p o t

n i n g t o p . The exterior o f the m o t h e r - a n d - c h i l d

cup is black w i t h a red r i n g (perhaps i n more o r d i

ter and painter were one a n d the same) to set the

n a r y added red rather t h a n coral red); the other

scene o f Aristaios's fateful chasing o f E u r y d i k e

is coral red w i t h a black r i n g . The customer w h o

i n Aristaios's native L i b y a . For he has g i v e n h i m

purchased the w h o l e group o f vases placed t h e m

the w o v e n paille, or papyrus-leaf hat, o f a N o r t h

i n the t o m b o f a deceased relative, most p r o b a b l y

A f r i c a n "marsh d w e l l e r ; " the goatskin cloak o f a

female, perhaps indeed his y o u n g w i f e w h o c o u l d

c o u n t r y m a n ; and the mustache a n d goatee beard

have d i e d i n c h i l d b i r t h , i f one may add together

o f a non-Greek, w h i l e t u r n i n g the snake i n t o a

all the iconographic signals.

g i a n t A f r i c a n r o c k p y t h o n . T h a t i t really is a t a l l

W i t h these cups, however, were also purchased

r o c k f r o m b e h i n d w h i c h the snake rears, n o t a

a pair o f p h i a l a i (cat. nos. 96-97) and a pair o f

c l o u d o f steam or smoke, as is usually claimed, is

mastoi (cat. nos. 98-99). The h o r i z o n t a l f l u t i n g o n

made clear b y the fact that the r o c k was created

the exteriors o f these superb vases seems to have

w i t h raised w h i t e clay and p a i n t e d w i t h a streaky

strong connections w i t h A c h a e m e n i d metalware,

gray-black slip, j u s t l i k e the p e b b l y g r o u n d l i n e

as Margaret M i l l e r has a r g u e d ,

b e l o w the scene.

shapes have a l o n g h i s t o r y i n Greece. One m i g h t

The Sotades Painter, therefore, seems to have

14

although both

imagine that the surface m o d u l a t i o n was i n s p i r e d

p a i n t e d three (or more) cups, o f different shapes,

b y precious-metal examples that a r r i v e d i n Greece

w i t h l i n k e d honeyed themes (cat. nos. 90, 92-93),

as a result o f the Persian W a r o f 480 B.C., or after

w h e t h e r as a speculation or as a commission. One

the subsequent engagements i n the second quarter

customer, however, n o t o n l y purchased t h e m , b u t

o f the century. However, the precise treatment o f

added t w o more cups f r o m the h a n d o f a w o r k

the surface and, especially, the m u l t i c o l o r e d effect

shop c o m p a n i o n , cups o n w h i c h the scenes con

achieved b y Sotades, u s i n g a l t e r n a t i n g bands o f

centrated o n y o u n g w o m e n a n d c h i l d r e n . N o w i n

black, t h i n added red (or matt coral red), as w e l l

Brussels, these t w o stemless cups w i t h w i s h b o n e

as a w h i t e slip inside, were the potter's o w n . N e v

handles are l i n k e d also b y t h e i r inverse decorative

ertheless, leaving aside the metallic f o r m and the

schemes. One cup (cat. no. 95) has w i t h i n a w h i t e -

use o f color, i t is perhaps w o r t h bearing i n m i n d

g r o u n d zone a red-figure t o n d o , s h o w i n g a mother

that the f l u t e d mastoi p r o b a b l y w o u l d have had to

295

THE

SOTADES

TOMB

Figure 3. Old man and dog.

Interior of a coral-red cup
of type C, with signature of
Hegesiboulos (i) as potter, and
attributed to the Hegesiboulos
Painter, ca. 500 B.c. Diam
18.4 cm. New York, The
Metropolitan Museum of Art,
RogersFund,1907,07.286.47.
Photograph 2005 The
Metropolitan Museum of Art.

stemless cup or cup-

be displayed i n the

k o t y l e , i f he was the

potter's shop resting

p o t t e r o f the A k r o p o l i s

upside d o w n o n t h e i r

fragment a t t r i b u t e d b y

rims. C o u l d the purchaser,

r

t h e n , have t h o u g h t t h e y
l o o k e d l i k e beehives?

15

Ernst Langlotz t o the same

painter as the N e w York c u p .

2 0

The figured style o f the Hegesiboulos

W e may n o w t u r n to the ancient

w o r k s h o p c o n t e x t o f these e x t r a o r d i n a r y vases.

Painter has clear connections w i t h late w o r k s o f

I t is i m p o r t a n t t o note that the cup signed b y the

Euphronios as a painter a n d the Proto-Panaetian

p o t t e r Hegesiboulos (cat. no. 94) is o f exactly the

Group. The p o t t i n g o f the N e w York cup suggests

same delicate make as those signed b y Sotades.

t h a t Hegesiboulos i learned his craft alongside

I n d e e d , the s i m i l a r i t y is so close t h a t M a r t i n Rob

Euphronios f r o m the p o t t e r K a c h r y l i o n .

ertson, w h e n t a l k i n g o f the t w o pieces, a d m i t

2 1

I t is interesting to note that there are a n u m b e r

t e d that, i f w e d i d n o t have t h e i r signatures, " w e

o f other examples o f t w o potters being closely

s h o u l d c e r t a i n l y have assigned [ b o t h cups] . . . t o

associated.

one w o r k s h o p , almost c e r t a i n l y t o one p o t t e r / '

1 6

22

Firstly, there is Mnesiades a n d

A n d o k i d e s o n the A k r o p o l i s d e d i c a t i o n a n d Kittos

F o l l o w i n g A d o l f F u r t w a n g l e r , Robertson also

a n d Bakchios o n an i n s c r i p t i o n f r o m Ephesos t h a t

n o t e d t h a t an earlier bearer o f the name Hegesi

awards citizenship o f the c i t y to these t w o A t h e

boulos was a p o t t e r a n d one w h o employed the

n i a n potters. I n the case o f the latter, t h e y were

coral-red t e c h n i q u e , a c o n n e c t i o n t h a t l e d F u r t

clearly related; i n the case o f the former one may

w a n g l e r t o claim i d e n t i t y , a n d Robertson t o argue

have been ceding c o n t r o l o f the w o r k s h o p t o the

more generally a n d p l a u s i b l y for a family r e l a t i o n

other. Secondly, w h e n w e find signatures o f t w o

ship.

1 7

T h i s earlier HegesiboulosHegesiboulos

potters o n the same vase, as w i t h Glaukytes a n d

I as w e m i g h t call h i m i s k n o w n chiefly f r o m a

A r c h i k l e s , A n a k l e s a n d Nikosthenes, a n d Pistox-

remarkable cup i n the M e t r o p o l i t a n M u s e u m o f

enos a n d Syriskos, we may s i m i l a r l y be w i t n e s s i n g

A r t (fig. 3; Cohen, chap. 2, f i g . 8) t h a t has a coral-

either commercial or familial succession. W h e r e

red zone a r o u n d the t o n d o inside a n d coral red o n

seemingly i d e n t i c a l p o t t e r w o r k bears t w o differ

the offset l i p a n d below the scene o n the exterior

ent potters' signatures, as i n the case o f Hegesi

(as w e l l as u n d e r the f o o t ) .

18

W e are now, however,

b e g i n n i n g t o learn more about t h i s p o t t e r t h a n k s

boulos n a n d Sotades, one may perhaps assume

t h a t a similar process was u n d e r way. I f Hegesi

to the appearance o f t w o mugs t h a t also bear the

boulos i was p o t t i n g s h o r t l y before 500 B.C. a n d

remains o f his signature, b o t h f r o m Sicily. One has

Hegesiboulos n f r o m a r o u n d 460 B.C., i t w o u l d be

a w h i t e slip outside, the other, n o t o n l y a w h i t e

j u s t possible for the second bearer o f the name t o

slip outside, b u t also most remarkably a coral-red

have been the grandson o f the first, f o l l o w i n g the

slip i n s i d e .

1 9

He was, therefore, clearly e x p e r i

n o r m a l n a m e - g i v i n g p a t t e r n i n Classical A t h e n s .

mental i n his use o f slips, w h i l e also p r o d u c i n g ,

But the p o t t e r connections between Sotades a n d

n o t o n l y cups a n d mugs, b u t perhaps also a small

Hegesiboulos I are also clear a n d significant, so

296

WILLIAMS

CHAPTER

t h a t we s h o u l d assume t h a t Sotades was always a

member o f the w o r k s h o p , n o t a n e w a r r i v a l . This,
i n t u r n , m i g h t w e l l i n d i c a t e t h a t he, too, was p a r t
o f one a n d the same p o t t e r family, perhaps the
elder b r o t h e r o f Hegesiboulos n .
The remarkable w o r k s h o p o f Sotades a n d
Hegesiboulos n was responsible also for a n u m b e r
Figure 4. Boar's-head rhyton,
attributed to the Sotades
Painter. London, The British
Museum BM Cat Vases E 801.

o f other delicate cups o f e x t r a o r d i n a r y q u a l i t y

e m p l o y i n g special slips. These a l l seem to have
been f o u n d i n tombs i n A t h e n s or i n t h a t c i t y s
ambit.

2 3

I t w o u l d seem possible that t h e i r delicacy

of potting and painting went hand i n hand w i t h

the i n t e n t i o n t h a t t h e y w o u l d serve as special
offerings for the t o m b , a p r a c t i c a l factor that, as
w i t h t h e w h i t e - g r o u n d l e k y t h o s , meant t h e y were
rarely, i f ever, e x p o r t e d far f r o m A t h e n s .
By contrast, the series o f e x t r a o r d i n a r y plastic
vases, or r h y t a p a r t vessel, p a r t h u m a n or a n i
mal f o r m t h a t Sotades, a n d perhaps Hegesibou
los I I , p r o d u c e d is represented best a b r o a d .

24

Such

vessels have been f o u n d i n tombs (Campania [cat.

no. 86], E t r u r i a , a n d A p u l i a ; M e r o e i n the Sudan
[cat. no. 87]), i n sanctuaries (Locri, Paphos), a n d

Figure 5. Rhyton in the form of

a grotesque head. From 1.18 C,
Valle Pega. Ferrara, Museo
Archeologico Nazionale di
Spina 20401. By permission of
the Minestero per i Beni e le
Attivit Culturali. Photograph:
Laboratorio fotografico, Museo
Archeologico Nazionale,
Ferrara.

i n settlements ( G o r d i o n , Susa, Babylon, M e m p h i s ) .

The o n l y examples f o u n d i n Greece a l l come, n o t
f r o m tombs, b u t f r o m sanctuaries (Brauron, Eleusis, A r t e m i s i o n o n Thasos). T h i s w o u l d seem t o
indicate t h a t they, l i k e the delicate special cups,
were n o t o n l y made as special pieces b u t were
also carefully marketed, the special cups being for
A t h e n i a n tombs, the special " p l a s t i c " vases for
foreigners or for the gods.
N o t perhaps as special as t h i s series o f "plas

beard. I t was f o u n d i n a t o m b at Spina i n n o r t h

t i c " vases is t h a t o f animal-head r h y t a , or d r i n k

ern Italy.

i n g vessels, a l t h o u g h the m o d e l i n g o f the a n i m a l

supposed to be, b u t he has often been compared

parts can be e x t r a o r d i n a r i l y p o w e r f u l .

2 5

These

26

W e do n o t k n o w w h o t h i s figure was

w i t h a later Etruscan head vase representing the

are k n o w n f r o m the w o r k s h o p i n the f o r m o f r a m ,

Etruscan death-demon, C h a r u n . The second o d d

donkey, boar (fig. 4), a n d h o u n d heads. T h e y seem

i t y is i n the shape o f a large astragalos, w h i c h was

m o s t l y to have been e x p o r t e d t o I t a l y (Campania,

acquired o n A i g i n a i n 1 8 2 8 .

A p u l i a , a n d Etruria), b u t one is f r o m Kerch o n the

the Sotades Painter, w h o decorated most o f the

n o r t h e r n coast o f the Black Sea (ram) a n d another

vases p o t t e d b y Sotades, a n d i t is most p r o b a b l y

f r o m A t h e n s (ram a n d d o n k e y conjoined). A l l

the p o t t e r w o r k o f Sotades, even t h o u g h the o n l y

were f o u n d i n tombs.

other decorated example o f the shape bears the

T w o more exceptional p r o d u c t s o f the w o r k

shop m i g h t also be m e n t i o n e d . The first (fig. 5) is
a r h y t o n i n the f o r m o f a grotesque head w e a r i n g ,

27

I t is decorated b y

signature o f Syriskos as potter, b u t the construc

t i o n o f the t w o examples is v e r y d i f f e r e n t .

28

The more r u n - o f - t h e - m i l l r e d - f i g u r e d p r o d u c t s

i t w o u l d seem, a Black male mask w i t h a l o n g ,

o f the w o r k s h o p i n c l u d e stemless cups, s k y p h o i ,

p o i n t e d nose, l o n g mustache, a n d short p o i n t e d

a n d a kantharos. The kantharos, however, is

297

THE S O T A D E S

TOMB

2 van Branteghem 1892, x. On van Branteghem, see

Tsingarida 2002.
3 Judeich 1931, plan I , position H 3.
4 Frhner 1892a, pi. 12.1 (drawing) and photograph on
p. 29.
5 Tyszkiewicz 1898, 79.
6 Copenhagen inv. 1635: ARV 771.bottom.2; BAPD Vase
209542; Williams 2004, 108-109, figs. 7.12-13.
7 The use of a matt, miltos-like slip, rather than the glossier
coral-red slip, was first remarked upon by Beth Cohen
during her research trips for the exhibition. Given Sota
des' interest in slips and coatings, whether of white, coral
red, or thick added red (as on the interior of some "plas
tic" vases), it is quite possible that he experimented with
varying amounts of black glaze or dilute glaze matter in
combination with miltos to achieve different effects, both
textural and coloristic.
8 Burn 1985; Simon 1985, 77.
9 See Simon 1985, 78.
10 Griffiths 1986; Collinge 1988. See also Hoffmann 1997,
113-39; and A. C. Smith 1999, 136. The earlier interpre
tation was that the scene showed the nurse Hypsipyle
holding the baby Opheltes, with the figure of Archemoros
totally missing, and the hunter perhaps Hippomedon.
Shortly after the cup was acquired by the British Museum,
the fragment with the falling woman was repositioned, for
it was realized that the toe of a figure could be seen on the
pebbly groundlinesee Murray and Smith 1896, 28, pi.
18b.
11 Burn 1985, 99-100.
12 Munich, Staatliche Antikensammlungen SL 661 C: Oliver
1977, no. 36; Williams 2004, 112,fig.7.16.
13 For these groups, see most recently Williams 2004, 95-103.
14 M . C. Miller 1997, 135-52 (esp. 138-39), who perhaps
minimizes the input of the potter.
15 On beehives, see Crane 1983.
16 Robertson 1992, 185-86.
17 Furtwngler, in FR I I , 180, 184.
18 New York, Metropolitan Museum of Art 07.286.47: ARV
175.bottom; Para 339; BAdd 184; BAPD Vase 201603.
19 Palermo, Museo Archeologico 2139: Wehgartner 1983,
99-101 with pi. 33.1-2. London, private collection (I am
very grateful to Dr. Robert Guy for giving me a report of
this unpublished piece).
20 Athens, National Archeological Museum, Acropolis Collec
tion 538: ARV 175.bottom; BAPD Vase 201604.
21 For a slightly different view of the relationship between
Hegesiboulos i and Euphronios, see Cohen, chap. 2.
22 On double signatures, etc., see Williams 1995, 139-60.
23 See Williams 2004, 106-107 and 108-109.
24 See most recently Hoffmann 1997, 154-59, 172-74;
Williams 2004, 95-106.
25 See most recently Hoffmann 1997, 159-68.
26 Ferrara, Museo Nazionale di Spina t. 18 C VP: ARV 766.5;
BAdd 286; BAPD Vase 209483. See Hoffmann 1997, 103106, for a full discussion.
27 London, British Museum GR 1860.12-1.2, BM Cat Vases
E 804: ARV 765.20; Para 415; BAdd 286; BAPD Vase
209477. See Hoffmann 1997, 107-12, for a full discussion.
28 Rome, Villa Giulia 866: ARV 264.67; Para 351; BAdd
205; BAPD Vase 202749.
29 Madrid, Museo Arqueolgico Nacional 1999/99/85: BAPD
Vase 21845; Warden 2004, 120-23, no. 26 (attributed to
the Hippacontist Painter). I am very grateful to Dr. Paloma
Cabrera for information on this piece and permission to
mention her discovery of the nameshe is to publish it
fully.
30 See Ure 1936, 205-15, esp. 206 (many are in the manner of
the Sotades Painter); one, her no. 4, is by the painter him
self: Naples, Museo Archeologico Nazionale 2628 (see figs.
6-7); ARV 764.5; BAPD Vase 209462; Hoffmann 1997,
98-99, figs. 55-56.
2

Figure 6. Satyr and goat.

Exterior of red-figured stemless
cup, attributed to the Sotades
Painter. Naples, Museo Arche
ologico Nazionale 2628. From
Hoffmann 1997, fig. 55.
Figure 7. Incised underglaze
design of the cup in fig. 6.
From JHS 56 (1936) 207,
fig. 4.

signed b y Sotades as potter, a n d i t has r e c e n t l y

been n o t i c e d b y Dr. Paloma Cabrera t h a t one o f the
stemless cups carries the name o f Sotades i n t i n y
incised letters o n the edge o f the f o o t .

2 9

T h i s piece

is decorated i n s i d e w i t h i n c i s e d floral patterns

u n d e r the b l a c k glaze, a t e c h n i q u e t h a t , together
w i t h s t a m p i n g , seems t o have b e g u n s h o r t l y before
the m i d d l e o f the fifth c e n t u r y . I t is possible t h a t
Sotades was the first t o i n t r o d u c e such an idea t o
the d e c o r a t i o n o f A t h e n i a n fine wares, for a n u m
ber o f Sotadean stemless cups (figs. 6-7) w i t h such
decoration o n the i n t e r i o r are among the earliest
of t h e t y p e .

3 0

Finally, as the y o u n g e r partner, or

even b r o t h e r , Hegesiboulos n may w e l l have been

responsible for c o n t i n u i n g , n o t o n l y the series o f
stemless cups, b u t also, a n d more i m p o r t a n t l y , the
series o f Sotadean " p l a s t i c " vases a n d animal-head
r h y t a t h a t extends d o w n t o w a r d the e n d o f the
fifth

century.

NOTES

1 On the Sotades Tomb, see Burn 1985, esp. 100-102 and

n.36 for the find context; and now, more fully, Williams
2004, 107-13; and Tsingarida 2003.

298

WILLIAMS

CHAPTER

90.1

90
WHITE-GROUND AND CORAL-RED
CUP WITH WISHBONE HANDLES

THE

D I S T I N C T I V E S H A P E o f t h i s small, s h a l l o w

cup, w i t h its elongated w i s h b o n e handles ( w h i c h

the B r i t i s h call " m e r r y t h o u g h t " ) and compara
t i v e l y short, fine stem that curves i n t o a t h i n ,
spreading d i s k l i k e foot, is far w i d e r t h a n i t is t a l l .

Signature o f Sotades as potter, a t t r i b u t e d

to the Sotades Painter, ca. 460 B.C.

Both elegant and i m p o s s i b l y delicate, t h i s design's

d e r i v a t i o n f r o m metalware is clear. The entire

H 7.5 cm; D i a m ( b o w l ) 14 cm; W w i t h

handles 23 cm

exterior o f the b o w l was o r i g i n a l l y enhanced b y

a s h i m m e r i n g coat o f lustrous deep-reddish coral

L o n d o n , The B r i t i s h M u s e u m

red that was a p p l i e d o n the w h e e l a n d even cov

GR 1892.7-18.1, BM Cat Vases D 6

F r o m A t h e n s ; purchased 1892; f o r m e r l y
A l p h o n s e v a n Branteghem collection

ered the area between the handle-roots as w e l l

as the stem a n d the foot's central, s l i g h t l y raised
upper degree. The outer circle o f the foot plate is
covered w i t h well-preserved black gloss, as are

I , w h i t e g r o u n d , young woman {[A]gro)

apples from a tree, and (fragmentary)
female figure {Melissa):

honey nymphs

picking
crouching
and I or the

Hesperides{?)

once covered the edge o f the foot plate as w e l l

as the foot's underside, save for a circle o f black
gloss o n the resting surface. T h i s cup's refined

Exterior, coral red

coral-red exterior embraces an exceptionally pre

C O N D I T I O N : Restored from fragments; large areas o f

cious, t h o u g h n o w fragmentary, vase-painting o n

b o w l missing and filled i n w i t h plaster; about one-

its w h i t e - g r o u n d i n t e r i o r , w h i c h also displays the

fifth o f foot missing and restored i n plaster; much

potter's signature, [ $ O T ] A A E 5

yellow discoloration on w h i t e g r o u n d ; original color

i n t w o lines w i t h careful t i n y letters i n the zone

or g i l d i n g on clay relief f r u i t missing; much coral-

below the p i c t u r e . The bowl's i n t e r i o r is encircled

red gloss has flaked from bowl's exterior and foot's

underside.

300

the handles' exteriors, b u t more coral-red gloss

THE

SOTADES

TOMB

EPOIE5EN, written

b y n a r r o w black a n d coral-red stripes at the r i m .

90.2

The Sotades Painter's e x t r a o r d i n a r y m i n i a t u r e

These female figures i n a paradise garden have

vase-painting, c i r c u m s c r i b e d b y a circle o f orange

often been called Hesperides, b u t no snake g u a r d

d i l u t e gloss w i t h i n the w h i t e - g r o u n d b o w l , is ren

ing the tree has been preserved o n the extant

dered e n t i r e l y w i t h different intensities o f d i l u t e ,

fragments, and t h u s t h i s tree may n o t be the one

f r o m b u r n t sienna to orange and a s h i n i n g golden

that bears the golden apples o f i m m o r t a l i t y . The

yellow. Here t w o y o u n g w o m e n were s h o w n gath

name Melissa means honeybee i n ancient Greek,

e r i n g and p i c k i n g apples i n an a i r y landscape.

and L u c i l l a B u r n has argued a p p r o p r i a t e l y that the

Beyond depictions o n cups f r o m t h i s v e r y t o m b

females depicted here must instead be r u r a l honey

(cf. cat. nos. 92-93), a c o m p o s i t i o n that so har

n y m p h s , and that t h i s cup, thereby, w o u l d share

m o n i o u s l y integrates small h u m a n figures i n scale

an esoteric iconography o f honeyed themes w i t h

w i t h a n a t u r a l setting is e x c e d i n g l y rare i n o u r

other vases f r o m the Sotades Tomb (cf. cat. nos.

experience o f homocentric Classical Greek art. The

92-93, and W i l l i a m s , chap. 8).

apple gatherer, w h o k n e l t or crouched at the lower

left, is n o w almost e n t i r e l y missing, save for the
2

n a m e M e l i s s a w r i t t e n above her. A n apple tree

w i t h a sinuous t r u n k and tender branches grows
t a l l at the v e r y center o f the c o m p o s i t i o n . M u c h of
the graceful apple p i c k e r at the r i g h t has been pre
served, and her name was also i n s c r i b e d , p r o b a b l y
[ A ] g r o . T h i s fair m a i d e n stands o n t i p t o e o n the
c u r v e d perimeter o f the t o n d o ; p u l l i n g her s k i r t
aside d a i n t i l y w i t h her left h a n d , she stretches
her r i g h t a r m up t o w a r d the highest apple o n the
tree, w h i c h is w e l l b e y o n d her reach. The t w o
preserved apples have been added i n relief w i t h
w h i t e clay; no p i g m e n t remains o n t h e i r surface,
b u t t h e y m i g h t o r i g i n a l l y have been either red or
g i l d e d . The l i t h e female figure herself wears a fine
transparent peplos sketched w i t h delicate lines o f
golden d i l u t e . Her golden d i l u t e sphendone sags
d o w n w a r d at the back u n d e r the w e i g h t o f her
b r o w n hair as she t u r n s her head u p w a r d i n her
impossible quest.

301

THE

SOTADES

TOMB

REFERENCES: ARV 763.1, 772a, 1669; Para 415; BAdd 286;

BAPD Vase 209458; Frohner [1892b], no. 164, pi. 39; van Branteghem 1892, 68, no. 165; Hartwig 1893, 501, no. 23; A. B. Cook
1895, 16; Murray and Smith 1896, 27, pi. 17; C. H. Smith 1896,
391-92, no. D 6; Pottier 1903, 53-54, no. 12; Perrot [and Chipiez]
1914, 726-28, 729, fig. 399; Herford 1919, 94, pi. 8d; Hoppin
1919, I I , 430, no. 3; Pfuhl 1923, n, 546, m, 200, fig. 527; Pfuhl
1926, 63, 77, pi. 59, fig. 82; Philippart 1927-1928, 109, fig. 1, 11820, 119, fig. 5; Sanborn 1930, 83-84n.5, no. 5; Richter and Milne
1935, 25, fig. 165; Scheurleer 1936, 100, pi. 32, fig. 89; Philippart
1936, 85, no. 63; Brommer 1942, 112; Neutsch 1953-1954, 73, pi.
21.1; Levi and Stenico 1956, 129, 130, fig. 116; Robertson 1959,
131 fig., 133; Bernhard 1966, 72, 128, fig. 268; EAA vn (1966) s.v.
Sotades, Pittore di, 417-18, fig. 515 (E. Paribeni); Buschor 1969,
200, 201, figs. 211-12, 203; Charbonneaux, Martin, and Villard
1972, 259, fig. 294, 260, 392; Robertson 1975, 264-65, pi. 90b;
Mertens 1977, 172, no. 34, 175, pi. 30.2; Wehgartner 1983, 68, no.
70, 95, pi. 32.1; Burn 1985, 94-95, 101, 102, 104, pis. 23.2, 27.3-4;
Simon 1985, 77; Griffiths 1986, 59, 60, pi. l b ; Osborne 1988, 9,
12-13, fig. 6; Boardman 1989, 40, fig. 102; Hoffmann 1989a, inside
front cover, fig. 1; Robertson 1992, 188, fig. 198; Hoffmann 1997,
127-33, 128, fig. 71, 129, fig. 72, 133, fig. 73, 151, A l ; Shefton
1999, 479, figs. 7a-b; Clark, Elston, and Hart 2002, 62, fig. 56, 63;
Ruhfel 2003, 100-102, 101, fig. 61; Tsingarida 2003, 68, 69, fig. 4;
Williams 2004, 110.

91

DESCRIBED I N T H E NINETEENTH

WHITE-GROUND AND CORAL-RED

CUP WITH WISHBONE HANDLES
A t t r i b u t e d to the W o r k s h o p o f Sotades and

CENTURY

as h a v i n g the thickness o f a sheet o f paper, this

delicate cup was s i m p l y coated w i t h colored
glosses and slip i n Classical a n t i q u i t y rather t h a n
embellished w i t h f i g u r a l decoration. Its bowl's
i n t e r i o r was e n t i r e l y covered w i t h a w h i t e g r o u n d

Hegesiboulos n , ca. 460 B.C.

that must o r i g i n a l l y have been c h a l k y w h i t e l i k e

H 6.1 cm; D i a m ( b o w l ) 14.5 cm

the i n t e r i o r s o f Sotades' p h i a l a i a n d mastoi (cat.

Boston, M u s e u m o f Fine A r t s 13.4503,

nos. 9699) or the zone o f the stemless cup Brus

Gift o f E d w a r d Perry W a r r e n

sels A 890 (cat. no. 95). The Boston cup shares

F r o m A t h e n s ; acquired 1913; f o r m e r l y

the decorative vocabulary and formal association

Count M i c h e l T y s z k i e w i c z collection

w i t h m e t a l w o r k characteristic o f vessels f o u n d i n
the Sotades Tomb, b u t its o w n shape a n d a r t i c u

I , w h i t e g r o u n d . [Fake n i n e t e e n t h - c e n t u r y
decoration, n o w p a r t i a l l y removed: Akamas,
Helle, Phrixos,

Ino,

and Nephele, and potter-signature,

...OEV$EPOIE*EN]

l a t i o n are d i s t i n c t . The exterior is covered w i t h

a deep-reddish coral-red gloss recalling L o n d o n
D 6 (cat. no. 90). O n the Boston cup, however,
the patches between the handle-roots have been

Exterior, coral r e d

reserved rather t h a n covered w i t h red gloss. Its

C O N D I T I O N : Assembled from fragments w i t h losses

well-preserved handle is more stirrup-shaped

i n b o w l , i n c l u d i n g about one-fifth o f the rim's cir

t h a n the usual attentuated, V-shaped w i s h b o n e .

cumference; one handle restored from fragments

As is t y p i c a l o f cups f r o m the Sotades Tomb, its

w i t h missing parts i n plaster; b u t t o n o n w e l l -

handles are black o n the outside a n d terminate

preserved handle broken o f f and reattached; losses

i n b u t t o n finials decorated w i t h r a d i a t i n g black

i n w h i t e - g r o u n d surface; spotted gray and black

incrustations o n w h i t e g r o u n d ; much flaking o f

lines (cf. cat. nos. 92, 94). A n a r r o w b a n d o f black

coral-red gloss o n exterior o f b o w l , stem, and foot;

gloss encircles the exterior o f the l i p a n d c o n t i n

much o f stem w i t h foot broken o f f and reattached;

ues over the r i m . U n l i k e the continuous profile

chip missing from stem.

o f L o n d o n D 6, t h i s cup has a black fillet at the

91.1

302

THE

SOTADES

TOMB

j u n c t u r e o f the coral-red b o w l and stem, and

delicate fabric, small size, fine shape w i t h w i s h

this a r t i c u l a t i o n is reinforced b y a circle o f black

bone handles, and d i s t i n c t i v e c o m b i n a t i o n o f

gloss o n the b o w l s b o t t o m . A n o t h e r line o f black

w h i t e g r o u n d and coral-red gloss have l o n g been

gloss marks the m i d - p o i n t o f the stem itself. The

regarded as features t h a t associate i t w i t h cups

Boston c u p s foot also differs f r o m the w a f e r - t h i n

f r o m the Sotades Tomb. I n this volume, D y f r i

coral-red-and-black foot o f L o n d o n D 6. Here the

W i l l i a m s reconstructs the Boston cup's h i s t o r y

f o o t s u p p e r surface is e n t i r e l y coral red. The foot

and presents d o c u m e n t a t i o n for its h a v i n g been a

plate has a v e r t i c a l edge covered w i t h black gloss

t e n t h vase f o u n d i n this ancient A t h e n i a n t o m b .

that extends onto the underside. The foots nearly

flat underside is covered w i t h coral red save for a
2

black line b o r d e r i n g the resting surface. Fragile i n

its fabric and surface finishes, the Boston cup, l i k e
others f r o m the Sotades Tomb, c o u l d never have
been used i n life.
I n s c r i b e d figural decoration d e p i c t i n g the
story o f Nephele p a i n t e d i n raised b r o w n lines
o n t o p o f this cup's w h i t e - g r o u n d i n t e r i o r was
revealed i n the 1890s to have been a contemporary
fake. A l t h o u g h the Boston cup received relatively
l i t t l e a t t e n t i o n d u r i n g the t w e n t i e t h century, its

303

THE

SOTADES

TOMB

REFERENCES: ARV 771.bottom.1; BAPD Vase 209541; Frohner

1892a, 29, pi. 12; Robert 1894, 421n.l; Furtwangler 1899, 33-36,
34, fig. 24; Robert 1919, 333-37, 334, fig. 257; Pfuhl 1923, n, 548;
Philippart 1936, 86, no. 67, pi. 33c; Paul 1962, 179-82, fig. 66;
Mertens 1977, 172, no. 40, 176 (described incorrectly as stemless),
192n.27; Ramage 1983, 454, no. 39; Wehgartner 1983, 63, no. 50,
96; Burn 1985, 102n. 40; Andren 1986, 94-95; Tsingarida 2003,
67-68, 70, fig. 6, 73n.2; Williams 2004, 107-109, 108, fig. 7.11.
See cat. no. 96 for scientific data provided by the Departments
of Objects Conservation and Scientific Research at the Museum of
Fine Arts, Boston, that distinguish the coral-red gloss employed
on this cup from a quite different red employed on that museum's
phiale (cat. no. 96).

92

T H I S D E L I C A T E C U P I S F A S H I O N E D i n a char

WHITE-GROUND CUP WITH

WISHBONE HANDLES

acteristic metallic Sotadean shape w i t h a t h i n

disk-shaped foot, a shallow b o w l , a n d w i s h b o n e
handles w i t h b u t t o n finials. I t is covered w i t h
black gloss a r t i c u l a t e d w i t h reserve o n the exte

Fragmentary i n s c r i p t i o n o f the name

Sotades; a t t r i b u t e d t o the Sotades Painter,
ca. 460 B.C.

r i o r ; an u n u s u a l w h i t e - g r o u n d p a i n t i n g fills the
entire i n t e r i o r o f the b o w l , b o u n d e d o n l y by
reserved and black stripes inside the r i m . The

H 7.5 cm; D i a m ( b o w l ) 13 c m
L o n d o n , The B r i t i s h M u s e u m
GR 1892.7-18.2, BM Cat Vases D 5
F r o m A t h e n s ; purchased 1892; f o r m e r l y
A l p h o n s e v a n Branteghem collection

names Polyeidos

and Glaukos i n s c r i b e d o n the

engobe near the p a i n t e d figures i d e n t i f y the story.

T o l d i n part b y A p o l l o d o r o s (Bibliotheke

3.23) a n d

the subject o f lost plays b y A i s c h y l o s , Sophokles,

and Euripides, this is its o n l y preserved repre
sentation i n ancient art. A f t e r Glaukos, one o f the

I , w h i t e g r o u n d , Polyeidos

and Glaukos in the tomk

C O N D I T I O N : Reassembled from fragments; handles

broken and restored; missing parts filled i n w i t h

c h i l d r e n o f K i n g M i n o s o f Crete, disappeared, the

seer Polyeidos f o u n d the boy's d r o w n e d b o d y i n
a vat o f honey. M i n o s sepulchred the seer along

plaster, esp. several fragments from r i m and upper

w i t h his dead son, s t i p u l a t i n g t h a t Polyeidos

part o f Polyeidos's body; w h i t e g r o u n d cracked and

w o u l d be released f r o m the t o m b o n l y w h e n Glau

p i t t e d w i t h yellow discolorations and a scattered

kos was r e t u r n e d alive. T h i s vase-painting reflects

black deposit o n surface.

the signal phase of.the narrative: Polyeidos k i l l s a

snake inside the t o m b t o prevent i t f r o m h a r m i n g

92

304

THE

SOTADES

TOMB

the boy's b o d y a n d t h e n observes the dead snakes

hailed as a reflection o f the lost Early Classical

mate r e v i v e i t w i t h a leaf, w h i c h the seer h i m s e l f

m o n u m e n t a l p a i n t i n g o f the r e n o w n e d Polygnotos

employs t o restore Glaukos t o life.

of Thasos.

Here the m o u n d o f the t u m u l u s is s h o w n i n

Since the n i n e t e e n t h century, this w h i t e -

cross-section, w i t h its vast arc seemingly replacing

g r o u n d cup has generally been h e l d to depict

the gloss circle t h a t n o r m a l l y defines the t o n d o o f

simultaneously t w o different n a r r a t i v e moments:

a Classical w h i t e - g r o u n d cup. This arc is shaded

Polyeidos about to k i l l the first snake w h i l e the

w i t h lines o f golden d i l u t e gloss t h a t i l l u s i o n i s t i -

second snake arrives to r e v i v e its already dead

cally suggest the tomb's spatial embrace w i t h i n

c o m p a n i o n . A l t e r n a t i v e l y , a single u n i f i e d moment

the c u r v e d b o w l . The arc is s u r m o u n t e d b y a

m i g h t be s h o w n , namely, Polyeidos, pausing w h i l e

t r i p o d d r a w n w i t h a b r o w n e r shade o f d i l u t e ,

a i m i n g at the second snake, after h a v i n g k i l l e d

beneath w h i c h appears the n o w - f r a g m e n t a r y name

the first, as he comes to realize the value o f the

Sotades, perhaps p a r t o f a potter-signature. Inside

live serpent's mission. I n either event, here the

the t o m b , Polyeidos kneels and the dead Glaukos

key to a miraculous resurrection is discovered i n

crouches o n a p e b b l e d earthen floor, consisting o f

the l i m i n a l realm o f the t o m b i m m e d i a t e l y after a

t i n y raised dots o f w h i t e clay r a n d o m l y colored

death associated w i t h honey. T h i s cup 's d i s t i n c t i v e

gray a n d b r o w n i s h black. (Cecil H . S m i t h [1896]

theme as w e l l as its delicate p o t t i n g and p a i n t i n g

described the pebbles as black, b r o w n , and p i n k . )

associate i t w i t h others f r o m the Sotades Tomb (cf.

The small figure o f Glaukos is shrouded i n a gray

cat. nos. 90, 93).

ish b r o w n garment w i t h darker b r o w n f o l d lines

and w h i t e edges; o n l y the f r o n t o f his head and his
2

feet are exposed. His tousled b r o w n locks contrast

w i t h the y o u t h f u l seer's orange hair. Polyeidos s
pale b r o w n garment w i t h b r o w n and orange folds
has s l i p p e d d o w n a r o u n d his b u t t o c k s and legs,
revealing his naked torso and genitals, as he takes
aim at a snake w i t h the slender shaft o f a stick
or spear. T w o snakes, whose bodies have been
described w i t h g o l d e n d i l u t e a n d p a i n t e r l y black
dots, are s h o w n at the lower edge o f the b o w l . The
snake o n the r i g h t is c r u m p l e d i n death, and its
mate slithers over to help.
I n t h i s b r e a t h t a k i n g m i n i a t u r e vase-painting, a
b r u s h the size o f a h a i r s b r e a d t h must have been
used for w r i t i n g , d r a w i n g , c o l o r i n g , and shad
ing. The golden shades o f d i l u t e gloss and added
b r o w n s are a l l colors n o r m a l l y a p p l i e d before fir
ing a n d are hence e x t r a o r d i n a r i l y w e l l preserved.
A t the same t i m e , w i t h its t o w e r i n g spatial setting
t h a t envelops small, c o m p l e x l y posed figures o n
p e b b l e d earth, this u n i q u e image has often been

305

THE

SOTADES

TOMB

REFERENCES: ARV 763.2, 772(3; BAdd 286; BAPD Vase 209459;

Frohner [1892b], no. 166, pi. 41; van Branteghem 1892, 69-70, no.
166; Hartwig 1893, 501, no. 24; Murray and Smith 1896, 26, pi.
16; C. H. Smith 1896, 391, no. D 5; Walters 1905, 445, pi. 40.2;
Perrot [and Chipiez] 1914, 723-24, 725, fig. 396; Hoppin 1919,
I I , 429, no. 2; Ducati 1922, 370, fig. 269, 372-73; Pfuhl 1923, n,
547-48, m, 199, fig. 526; Pfuhl 1926, 63, 65-66, fig. 84; Philippart
1927-1928, 124-28, no. 38, 125, fig. 6; Swindler 1929, 168, fig.
288; Sanborn 1930, 83-84n.5, no. 4; Beazley 1935, 483; Philippart 1936, 85, no. 65; Rumpf 1953, 96, 100, pi. 29.3; Robertson
1959, 130, 133-34; BAA ill (1960) s.v. Glauco.5, 953, fig. 1192 (A.
Comotti); EAA vn (1966) s.v. Sotades, Pittore di, 417 (E. Paribeni);
Webster 1967, 142; Mertens 1974, 104, 105, fig. 26; Robertson
1975, 265-66, pi. 90a; Mertens 1977, 172, no. 35, 175-76; Robert
son 1981b, 76, fig. 114, 77; Wehgartner 1983, 68, no. 69, 95; Burn
1985, 93-94, 101-104, pis. 23.1, 24.2, 27.1-2; Simon 1985, 77-78;
Griffiths 1986, 58-60, pi. la; LIMC iv (1988) s.v. Glaukos I I 274,
no. 1, pi. 160 (O. Palagia); Osborne 1988, 9-13, fig. 5; Hoffmann
1989a, figs. 6-7; Corsano 1992, 113-14n.5, fig. 4; Robertson 1992,
187, fig. 197, 188; Gantz 1993, I , 270-71; Sparkes 1996, 159, 160,
fig. v.16; Hoffmann 1997, 120-26, 122, fig. 66, 123, fig. 67, 124,
figs. 68-69, 151, A3; Stansbury-O'Donnell 1999, 84, 85, fig. 36,
86; Tsingarida 2003, 68, 70, 71, fig. 7, 73; Williams 2004, 107, 110,
112.
For an evocative description of the lost monumental painting of
Polygnotos, see Robertson 1975, 242-52, 265-70. Burn 1985, 101,
describes a use of coral red on this cup, but there does not appear
to be any.

93

93
WHITE-GROUND STEMLESS CUP

yellow, orange, a n d t a n or pale b r o w n as w e l l as

matt beige, b r o w n , and gray colors. Here a male
figure o f short stature, w h o is n o t r e a d i l y i d e n

A t t r i b u t e d to Sotades as potter a n d to the

tifiable, is about to t h r o w a stone at the gigantic

Sotades Painter, ca. 460 B.C.

snake l o o m i n g at the r i g h t ; the upper coil o f its

H 2.5 cm; restored D i a m ( b o w l ) 14 cm

b o d y overlaps the perimeter o f the p i c t u r e

L o n d o n , The B r i t i s h M u s e u m

The m a n wears a t a l l soft cap w i t h an i r r e g u l a r

field.

GR 1892.7-18.3, BM Cat Vases D 7

hatched t e x t u r e and a goat-skin cloak, w h i c h is

F r o m A t h e n s ; purchased 1892; f o r m e r l y

t i e d a r o u n d his neck and t h r o w n over his left

A l p h o n s e v a n Branteghem collection

shoulder and a r m . T h i s cloak is sensitively d r a w n

w i t h an orange-dilute o u t l i n e a n d shaded w i t h

I , w h i t e g r o u n d , the death of

Eurydike{l)

fine lines o f golden d i l u t e a p p l i e d b y the Sotades

Painter's characteristic hair s-breadth b r u s h . The

C O N D I T I O N : Fragmentary; b o w l and handles

restored i n plaster; yellow discolorations o n w h i t e
g r o u n d ; added color flaked o n clay-relief elements;
w h i t e - g r o u n d surface p i t t e d ; loss o f d i l u t e d r a w i n g
lines, esp. o n b o d y o f male

figure.

man's attire, along w i t h the rustic c l u b i n the

crook o f his left arm, suggests t h a t he is a farmer,
a herdsman, or a hunter. His c l u b is d i s t i n c t i v e l y
rendered i n l o w clay relief covered w i t h m a t t t a n
a n d grayish b r o w n colors. I n the v o c a b u l a r y o f
A t h e n i a n art, t h i s m a n s scraggly c h i n beard a n d

THE

FRAGMENTARY

M I N I A T U R E composition,

mustache, his m o u t h open i n surprise, a n d his

once set w i t h i n a gloss circle about 11 cm i n d i a m

t h i c k k n i t t e d b r o w m a r k h i m as a social Other,

eter inside the w h i t e - g r o u n d b o w l o f t h i s stemless

most p r o b a b l y a foreigner. A l t h o u g h poised to

cup, is masterfully d r a w n and shaded w i t h differ

flee, he t u r n s to h u r l a beige-colored stone at the

ent intensities o f s h i n y d i l u t e gloss i n tonalities o f

threatening r e p t i l e .

306

THE

SOTADES

TOMB

The serpent, l o o m i n g f r o m the reeds and rocks

several w h i t e - g r o u n d cups (cf. cat. nos. 90, 92)

of a w a t e r y n a t u r a l setting, is itself an e x t r a o r d i

f r o m the Sotades Tomb. A n o t h e r i m p o r t a n t issue

n a r y creation. The large t h i c k scales o n its belly,

Is w h e t h e r these cups' atmospheric compositions

w h i c h are o u t l i n e d i n d i l u t e , b u t otherwise left

w i t h small h u m a n figures integrated w i t h i n spa

i n the w h i t e color o f the engobe, have been dif

t i a l settings are indeed our best reflections o f the

ferentiated f r o m the smaller, t h i n n e r scales o n

lost Early Classical m u r a l - p a i n t i n g s b y Polygno-

the snake's t o p and sides, w h i c h are described b y

tos o f Thasos or w h e t h e r t h e i r depictions o f the

aligned ovals o f brownish-orange d i l u t e over a

female, c h i l d , foreigner, and reptile reflect instead

y e l l o w wash. This fearsome creature coils c o n v i n c

the u n c o n v e n t i o n a l v i s i o n o f a m i n i a t u r i s t .

ingly, rearing u p w a r d f r o m b e h i n d an irregular

The underside o f this stemless is articulated

three-dimensional mass, modeled i n h i g h w h i t e -

w i t h a broad stripe o f black a r o u n d the b o w l ,

clay relief a n d t h e n p a i n t e d over w i t h matt beige

black o n the sides o f the foot r i n g , and a fine

a n d gray p i g m e n t . This mass has generally been

black circle at the center b o t t o m . The remains o f

described as smoke breathed b y the snake, b u t i n

a pale orange-red color o n the bowl's exterior sur

this v o l u m e , D y f r i W i l l i a m s suggests i t is a r o c k .

face, p r e v i o u s l y described as coral-red, does n o t

L i t t l e remains o f a second i m p o r t a n t h u m a n

resemble the b r i l l i a n t deep hue o f i n t e n t i o n a l red

figure at the left side o f the composition: a w o m a n

gloss employed i n Sotades' w o r k s h o p (cf. cat. no.

w h o has fallen d o w n below the relief g r o u n d l i n e

90) and warrants f u r t h e r investigation.

on w h i c h the man at the center is standing. O n l y

her c r u m p l e d legs, draped i n a transparent s k i r t
2

w i t h fine d i l u t e folds, have been preserved. Her

physical location a n d pose suggest that she is
either already dead or d y i n g .
As i n the case o f the B r i t i s h M u s e u m s t w o
w h i t e - g r o u n d stemmed cups w i t h w i s h b o n e
handles f r o m the Sotades Tomb (cat. nos. 90,
92), i d e n t i f i c a t i o n o f this stemless cup's u n i q u e
w h i t e - g r o u n d vase-painting w o u l d o r i g i n a l l y
have depended u p o n name tags i n s c r i b e d b y the
Sotades Painter. Some t w e n t y years ago, L u c i l l a
B u r n proposed that the image depicts Orpheus's
beloved y o u n g w i f e E u r y d i k e , m o r t a l l y b i t t e n b y
the snake w h i l e fleeing f r o m the p u r s u i t o f A r i s taios, a son o f A p o l l o w h o was b o r n i n L i b y a a n d
became a farmer and a h u n t e r as w e l l as the

first

beekeeper. Burn's i n t e r p r e t a t i o n is here g i v e n sup

p o r t b y D y f r i W i l l i a m s , w h o has f o u n d traces o f
letters that m i g h t spell the b e g i n n i n g o f the name
Aristaios.
I f this w h i t e - g r o u n d p i c t u r e explores the l i m i n a l realm between life and death t h r o u g h a story
associated w i t h honey, i t lends support to L u c i l l a
Burn's t h e o r y o f a thematic association among

307

THE

SOTADES

TOMB

REFERENCES: ARV 763.3; BAdd 286; BAPD Vase 209460; Frohner [1892b], no. 165, pi. 40; van Branteghem 1892, 68-69, no. 165;
Hartwig 1893, 501, no. 25; Murray and Smith 1896, 28, pi. 18b;
C. H. Smith 1896, 392, no. D 7; Pottier 1903, 54, no. 13; Perrot
[and Chipiez] 1914, 725-27, fig. 397; Hoppin 1919, n, 434, no. 8;
Buschor 1919-1921, 21-22; Pfuhl 1923, I I , 546-48, III, 200, fig.
528; Pfuhl 1926, 65, pi. 59, fig. 83; Philippart 1927-1928, 120-24;
Philippart 1936, 85, no. 64; Rumpf 1953, 96, 100, pi. 29.6; Levi
and Stenico 1956, 129, 131, fig. 117; Robertson 1959, 129 fig.,
133; Robertson 1975, 264-65, pi. 90c; Mertens 1977, 172, no. 36,
175-76; Robertson 1981b, 74-75, 76, fig. 113; Wehgartner 1983,
68-69, no. 71, 95; Burn 1985, 93, 95-105, 96, fig. 1, pis. 24.1,
3-4, 27.5-6; Simon 1985, 77, 78, pi. 73; Griffiths 1986; Collinge
1988, 9-19, pi. 3.1-5; Osborne 1988, 9-13, fig. 8; Boardman
1989, 40, fig. 103; Hoffmann 1989a, front and back covers, inside
back cover, fig. 3; Schefold and Jung 1989, 75-76, fig. 57; LIMC
v (1990) s.v. Hesperie 406, no. 1, pi. 291 (E. Simon); Robertson
1991a, 10-11, fig. 3; Robertson 1992, 186-87, fig. 196; Geroulanos
and Bridler 1994, 58, fig. 72; Lubsen-Admiraal and Hoffmann
1995, 88, fig. 5, 89; Hoffmann 1997, 119, 134, fig. 74, 135, fig. 75,
136, fig. 76, 137, fig. 77, 138-40; Tsingarida 2003, 69-72, fig. 8;
Pache 2004, 115-17, 116, fig. 19, 202nn. 43, 48; Williams 2004,
107, 110, fig. 7.14, 111, fig. 7.15, 112, 117n.70.
On rustic hats worn by social Others in Athenian art, see Pipili
2000. See Williams (chap. 8) for the alternate suggested interpreta
tions of this white-ground vase-painting, including Aisakos and
Hesperie (Simon 1985); the hunter Orion (Griffiths 1986); Kadmos,
founder of Thebes, and the dragon (Collinge 1988); and Frohner's
(1892) inveterate deciphering of the scene as the death of Opheltes
or Archemoros, an incident at Nemea in the legend of the Seven
against Thebes, where the king's baby was lethally bitten by a
snake while left unattended by his nursemaid.

94

94
WHITE-GROUND AND
CORAL-RED STEMLESS CUP WITH
WISHBONE HANDLES

C O N D I T I O N : Assembled from twenty-seven frag

ments; parts o f r i m , handles, and foot r i n g restored
i n nineteenth century; most o f coral red o n exterior
lost; inside, scratches o n lower left o f zone; some
coral red has flaked; w h i t e g r o u n d pocked at lower
left o f tondo; coral-red surfaces cleaned i n 2004.

Signature o f Hegesiboulos as potter,

a t t r i b u t e d to the w o r k s h o p o f Sotades and
Hegesiboulos n , ca. 460 B.C.
H 4.2 cm; D i a m ( b o w l ) 14 cm; restored
W w i t h handles 21.5 cm
Brussels, M u s e s Royaux d ' A r t et d ' H i s t o i r e

ALTHOUGH

BEARING

T H E S I G N A T U R E o f the

potter Hegesiboulos o n its t o n d o , t h i s small stemless cup w i t h delicate wishbone-shaped handles,

clearly i n s p i r e d b y m e t a l w o r k , is closely compa
rable to the vessels f r o m t h i s A t h e n i a n t o m b w i t h
the signature o f the potter Sotades. Hegesiboulos';

A 891
F r o m A t h e n s ; purchased 1892; f o r m e r l y
A l p h o n s e v a n Branteghem collection

stemless cup was surely p r o d u c e d r i g h t alongside

the Sotadean vases i n a single w o r k s h o p , w h i c h ,
as D y f r i W i l l i a m s suggests (chap. 8), p r o b a b l y was

I , w h i t e g r o u n d , woman spinning a top) zone,

a family enterprise.
Sparing touches o f black gloss b e a u t i f u l l y

coral r e d

articulate t h i s coral-red and w h i t e - g r o u n d stem-

Exterior, coral r e d

less cup. The bowl's exterior was once e n t i r e l y

308

THE

SOTADES

TOMB

covered w i t h a b r i l l i a n t , deep coral red save for a

S p i n n i n g tops was a game enjoyed b y w o m e n

black foot r i n g o n the underside. The black gloss

as w e l l as c h i l d r e n i n ancient Greece. The y o u n g

here is so s h i n y and w e l l preserved that the foot

w o m a n or teenage g i r l s h o w n o n Hegesiboulos's

clearly never served as a resting surface employed

cup is t i g h t l y w r a p p e d i n her h i m a t i o n w i t h

i n d a i l y life. The exteriors o f the elongated w i s h

one h a n d and a r m left free to deploy the w h i p .

bone handles are l i k e w i s e black, and t h e i r charac

Intensely i n v o l v e d i n the sport, she bends over

teristic conical b u t t o n s are decorated w i t h black

the t o p i n an angular pose. Recalling the nostalgic

lines r a d i a t i n g f r o m a central dot. On the i n t e r i o r ,

v i e w o f activities f r o m d a i l y life presented o n con

the matt w h i t e t o n d o is set o f f f r o m the lustrous

t e m p o r a r y w h i t e - g r o u n d f u n e r a r y l e k y t h o i , this

coral-red zone b y a n a r r o w black border. A w i d e r

genre scene enhances a fragile w h i t e - g r o u n d - a n d -

stripe o f black, r u n n i n g a r o u n d the i n n e r edge

coral-red cup destined for an A t h e n i a n t o m b .

of the c u p s l i p , effectively contains the b r i l l i a n t

deep orange-red zone itself.
2

The p o t t e r s signature

ETESIBOAO$EPOIE$EN

b o l d l y arcs a r o u n d the w h i t e - g r o u n d t o n d o lead

i n g the viewer's gaze d o w n to the large t o p a
female figure is s p i n n i n g w i t h a w h i p . Rather
t h a n l a n d i n g o n the straight g r o u n d l i n e beneath
the figure's feet, the t o p balances precariously o n
the tondo's c u r v e d perimeter. The i n s c r i p t i o n and
vase-painting are b o t h rendered w i t h a combina
t i o n o f relief lines and d i l u t e gloss and appear to
have been executed b y the same h a n d . Interest
ingly, t w o letters o f Hegesiboulos's namethe
first sigma and the iotahave been r u b b e d o f f
and corrected. Copious, n o w - s h i n y sketch lines
for the simple, o u t l i n e w h i t e - g r o u n d p a i n t i n g
are v i s i b l e , and these reveal s l i g h t changes i n
the final image, such as a lower p o s i t i o n for the
woman's sakkos and a different d i r e c t i o n for folds
i n the chiton's sleeve. There is even a sketch for
the w h i p p i n g t o p , w h i c h has been p o r t r a y e d w i t h
characteristic grooves a r o u n d its body.

309

THE

SOTADES

TOMB

REFERENCES: ARV 771.middle.2; BAdd 287; BAPD Vase 209537;

CVA Brussels 1 [Belgium 1] m J b, pl. 1.2a-b; Frhner [1892b], no.
167, pi. 42; van Branteghem 1892, 70-71, no. 167; FR n, 180-81,
fig. 61 (K. Reichhold); Hartwig 1893, 501, no. 22; Pottier 1903, 54,
no. 14; Perrot [and Chipiez] 1914, 726, 728, fig. 398; Hoppin 1919,
n, 9, no. 1; Pfuhl 1923, n, 545, 548, m, fig. 525; Buschor 1925,
192-93, fig. 140; Pfuhl 1926, 63, fig. 81; Philippart 1927-1928,
100, 108, 10911.1, 110-16, 129, pi. 2; Rumpf 1928, 9, fig. 119; Lon
don 1929, 193, fig. 219 center; Picard 1930, 108, pl. 60.1; Klein
1932, 17, pl. 18a; Verhoogen 1956, 36, fig. 29, 37; Beck 1975, 48,
no. 287, pi. 56, fig. 287; Mertens 1977, 172, fig. 38, 175-76, pi.
30.3; R. Schmidt 1977, 41, no. 72, 144, no. 72; Deubner 1982, 165,
fig. 4, 166; Wehgartner 1983, 66, no. 31, 95-97, pi. 31; Burn 1985,
100-101, pis. 25.2, 27.8; Keuls 1985, 104, 105, fig. 88; Griffiths
1986, 58; Bioul 1989, 10-11, no. 2; Boardman 1989, 40, fig. 108;
Bioul 1990, 5, 8, fig. 27; Robertson 1992, 185; Fitt 1997, 77, 143;
Jurriaans-Helle 2001, 39, fig. 77; Rouillard and Verbanck-Pirard
2003, 330, no. A.i.2.3.b.2 (A. Tsingarida); Tsingarida 2003, 70, 73,
fig. 9, 332-33; Cavalier 2004, 5; S. G. Miller 2004a, 169, 170, fig.
252; Williams 2004, 107, 113.
I would like to thank Isabella Rosati, a restorer and ceramics
expert at the Muses Royaux d'Art et d'Histoire in Brussels, for
examining this cup with me and removing alcohol residue from
a 1983 cleaning from its coral-red surfaces. For tops as toys for
women, see, recently, Neils and Oakley 2003, 270.

i n a h i g h chair or p o t t y . The palpable distance

between mother and c h i l d i n this timeless image
seems f i t t i n g for a w o r k f o u n d i n a t o m b that may
w e l l have belonged to a y o u n g w o m a n w h o d i e d
s h o r t l y after marriage, perhaps i n c h i l d b i r t h .
This famous t o n d o has often been reproduced
silhouetted and b l o w n u p far b e y o n d its t r u e size
or else i n a l i n e d r a w i n g o f its figural composition.
On the cup itself, the bowl's b r i g h t w h i t e zone
d i r e c t l y surrounds the red-figure m e d a l l i o n ,
h

w i t h o u t ornament or even a black l i n e .

v

This stark j u x t a p o s i t i o n distances the

v i e w e r f r o m the m i n i a t u r e genre
v i g n e t t e , w h i c h is the o n l y r e d figure decoration o n a vase f r o m
the Sotades Tomb.

A black stripe r u n s a r o u n d the i n t e r i o r o f the

stemless cup's l i p , and the exterior is likewise
95

black, save for reserved patches between the

handle-roots. On the underside, a circle o f red,
often described as coral red yet more closely

95
RED-FIGURE AND
WHITE-GROUND STEMLESS CUP
WITH WISHBONE HANDLES

resembling miltos, s u r r o u n d s the foot r i n g , and,

w i t h i n the r i n g , the b o t t o m o f the b o w l was
once e n t i r e l y covered w i t h this pale red and t h e n
decorated w i t h black circles. The cup's w i s h b o n e
handles have black exteriors, b u t there appears to
have been red o n t h e i r buttons. Decoration w i t h

A t t r i b u t e d to the w o r k s h o p o f Sotades and

w h i t e , black, a n d red characterizes most vases

Hegesiboulos n , ca. 460 B.C.

f r o m this t o m b . I n its delicate metallic f o r m w i t h

H 4.4 cm; D i a m ( b o w l ) 12.6 cm; D i a m (tondo)

shallow b o w l and t h i n w i s h b o n e handles, the

4.4 c m

m o t h e r - a n d - c h i l d stemless cup is comparable i n

Brussels, M u s e s Royaux d ' A r t et d ' H i s t o i r e

b o t h shape and size to the stemless d e p i c t i n g a

A 890

y o u n g w o m a n s p i n n i n g a t o p p o t t e d b y Hegesi

F r o m A t h e n s ; purchased 1892; f o r m e r l y

boulos (cat. no. 94), w h o m i g h t w e l l have made

A l p h o n s e v a n Branteghem collection

b o t h o f these precious cups enhanced w i t h female

genre imagery.

I , red-figure, mother seated on d i p h r o s and baby in

high chair or potty; zone: w h i t e g r o u n d
2

C O N D I T I O N : Assembled from fourteen fragments

w i t h nineteenth-century restorations, i n c l u d i n g a
large section o f b o w l above tondo and end o f one
handle w i t h b u t t o n ; cracks t h r o u g h profile, body,
and r i g h t arm o f seated w o m a n on tondo.

THE

TINY TONDO

O F T H I S D E L I C A T E stem-

less cup, w h i c h offers a rare glimpse i n t o the

women's quarters o f an A t h e n i a n home, has
charmed m o d e r n viewers since its discovery. Here
a y o u n g mother sits o n a diphros w i t h her r i g h t
a r m e x t e n d e d t o w a r d a naked, c h u b b y baby, w h o
reaches o u t to her w i t h b o t h arms as he squirms

310

THE

SOTADES

TOMB

REFERENCES: ARV 771.middle. 1; BAdd 287; BAPD Vase 209536;

CVA Brussels 1 [Belgium 1] m J b, pi. la-b; Frhner [1892b], no.
163, pi. 38; van Branteghem 1892, 67, no. 163; Hoorn 1909, 5,
fig. 1, 30, fig. 9, 36; Hoppin 1919, n, 424, no. 7; Philippart 19271928, esp. 99-100, 109n.l, 128-32, pi. 3; A. Klein 1932, cover,
frontispiece,A, 4; Philippart 1936, 83, no. 59, pi. 33a; Paoli 1953,
64-65, pis. 27.top, 29; Zinserling 1973, 32, 80; Mertens 1977,
172, no. 37, 176; Riihfel 1984a, 33-36, 34, fig. 18; Burn 1985, 101,
pi. 27.1-2; Keuls 1985, 110, 111, fig. 95; Griffiths 1986, 58; Bioul
1989, 8-9, no. 1; Bonfante 1989, 94, pi. 47; Bioul 1990, 5, fig. 26;
Robertson 1992, 185; CAH plates to vols, v and v/(1994), 131, fig.
133b; BAA Suppl. i i . l (1994) s.v. Attici, vasi, 553, fig. 615 (P. E.
Arias); Sparkes 1996, 76, 77, fig. m: 9; Jurriaans-Helle 2001, 3, fig.
5; Lewis 2002, 7, 8, fig. 0.3; Brul 2003, 158 fig.; Neils and Oakley
2003, 240-41, no. 42; Rouillard and Verbanck-Pirard 2003, 330,
no. A.i.2.3.b.l (A. Tsingarida); Tsingarida 2003, 67-68, 69, fig. 5,
333.
Marie Svoboda kindly provided a description of this cup and
its condition.

96

three s i m i l a r l y f l u t e d vessels o f the Sotades Tomb

HORIZONTALLY FLUTED PHIALE

WITH CICADA ON OMPHALOS

(cat. nos. 97-99). D u r i n g p r o d u c t i o n i n the p o t

t e r y w o r k s h o p , the phiale's basic l i p p e d b o w l
w o u l d first have been formed o n the w h e e l . W h e n
i t had d r i e d to a leather-hard state, the vessel

Signature o f Sotades as potter, ca. 460 B.C.

H 4.7 cm; D i a m 16.5 cm
Boston, M u s e u m o f Fine A r t s 98.886,
H e n r y L i l l i e Pierce F u n d
F r o m A t h e n s ; purchased 1898; f o r m e r l y
A l p h o n s e v a n Branteghem collection
C O N D I T I O N : Assembled from several fragments;

w o u l d have been t u r n e d , that is, placed o n the

w h e e l upside d o w n , i n order for the potter to h o l
l o w o u t its omphalos as w e l l as to t o o l its s l i g h t l y
concave h o r i z o n t a l flutes and the reserved n a r r o w
d o u b l e - c u r v e d m o l d i n g s between t h e m . Slips for
the phiale's black and w h i t e colors w o u l d t h e n
have been brushed onto the flutes as the vessel,

part o f l i p restored; black gloss on l i p chipped and

once again, t u r n e d o n the w h e e l before f i r i n g . A

abraded; most o f incised signature on outside o f l i p

fine, s h i n y A t t i c black gloss has been employed

missing; exterior surface chipped along one major

here o n the phiale s l i p , its omphalos, and every

j o i n ; flaking o f w h i t e and red on exterior; yellow

t h i r d flute, and a t y p i c a l matt and c h a l k y w h i t e

incrustation on w h i t e flutes; w h i t e incrustation on

red flutes and reserved moldings; scratches i n black
gloss on underside o f omphalos; b r o w n depos
its, yellow discolorations, and c r a c k l i n g o f w h i t e
g r o u n d on bowl's interior.

g r o u n d covers the bowl's i n t e r i o r , save for the l i p

and omphalos, and also appears o n every t h i r d
external

flute.

The red employed o n this vessels flutes and

on the other h o r i z o n t a l l y fluted vases f r o m the

CLAY C I C A D A

P E R C H E S o n the b l a c k o m p h a

Sotades Tomb (cat. nos. 97-99) is q u i t e d i s t i n c

los at the center o f the chalky w h i t e - g r o u n d

t i v e . The c o m m o n assumption that this s l i g h t l y

i n t e r i o r o f this exquisite w h i t e , black, and red

orange red is lustrous coral-red gloss is mistaken.

h o r i z o n t a l l y f l u t e d phiale. The naturalistic insect

Solely o n the basis o f v i s u a l observation, the red

distinguishes this l i b a t i o n dish f r o m the other

is clearly matt rather t h a n lustrous. Moreover, at

96.1

311

THE

SOTADES

TOMB

m y request, Pamela Hatchfield, Head o f Objects

as the S E M photographs p u b l i s h e d here show

Conservation at the M u s e u m o f Fine A r t s i n Bos

(figs. 96.3-4), t h a t the r e d o f the phiale is so c r u m

t o n , has examined b y stereomicroscope the Bostoi

b l y a n d particulate t h a t i t was n o t possible t o do a

phiale's r e d a n d the coral-red exterior o f Boston's

cross-section, w h i c h means t h a t i t has clearly n o t

cup w i t h w i s h b o n e handles f r o m the Sotades

been fired. The coral red o f the cup, i n contrast, is

Tomb (cat. no. 91). Based o n her e x a m i n a t i o n , she

cohesive a n d melted l o o k i n g , w h i c h means t h a t i t

too, has suggested t h a t these t w o reds are differen

has been s l i g h t l y sintered d u r i n g f i r i n g . Thus, i t is

substances, w i t h the Boston cup's coral r e d alone

possible to conclude d e f i n i t i v e l y that, rather t h a n

e x h i b i t i n g a glassy-looking surface. F u r t h e r m o r e ,

being coral-red gloss, the Boston phiale's m a t t r e d

R i c h a r d N e w m a n , Head o f Scientific Research,

resembles the reds employed to decorate plastic

performed analysis b y Fourier t r a n s f o r m i n f r a r e d

vases f r o m Sotades' W o r k s h o p after t h e y were

spectroscopy (FTIR) a n d m i c r o p r o b e analysis, thai

fired (cf. cat. nos. 86-87; True, chap. 7, fig. 4).

is, energy dispersive spectrometry (EDS) analy

The Boston phiale's cicada w o u l d have been

sis, i n the scanning electron microscope (SEM);

fashioned separately f r o m the l i b a t i o n b o w l a n d

M i c h a e l D e r r i c k , Research Scientist, l i k e w i s e per

secured u p o n the omphalos w i t h clay slip. W h i l e

formed analysis b y FTIR. T h e i r analyses indicate,

i t has been described as mold-made, the creature's

entire surface is sensitively w o r k e d w i t h h a n d tooled details. T h i s insect is a fine example o f
animal sculpture. A l t h o u g h no trace o f added
color, s i l v e r i n g , or g i l d i n g survives o n the cicada's
surface, i t is u n l i k e l y t o have s i m p l y been left the
color o f clay i n the vessel's o r i g i n a l design.
Sotades' n o w - f r a g m e n t a r y signature,
p r o b a b l y Sotades epoie (cf. cat. no. 97),
was incised o n the exterior o f the p h i a
le's black concave l i p . He may have
w r i t t e n i t h i m s e l f as a finishing t o u c h
o n a vase that c o u l d have been
p r o d u c e d w i t h o u t the i n t e r v e n
t i o n o f a vase-painter. A n incised
signature is t y p i c a l l y e m p l o y e d
o n black architectonic elements
o f statuette vases b y t h i s pottercoroplast (cf. cat. no. 87).
I n the ancient w o r l d p h i a l a i
were c o m m o n l y made o f metal,
a n d i t has l o n g been suggested
t h a t the h o r i z o n t a l l y fluted f o r m
o f the Sotadean v a r i e t y must be an
i m i t a t i o n o f an A n c i e n t Near Eastern
metalware p r o t o t y p e . The phiale's
t r i c o l o r scheme may l i k e w i s e have been
i n s p i r e d b y the variegated c o l o r a t i o n o f
f

ancient metalware, t h o u g h colored b a n d i n g

is also a venerable A t t i c p o t t e r y t r a d i t i o n (cf.
Mertens, chap. 6, fig. 2). I n Classical A t h e n s after
the Greek v i c t o r y i n the Persian Wars, however,

96.2

the a p p r o p r i a t i o n o f eastern l u x u r y items was a

312

THE

SOTADES

TOMB

p o p u l a r fashion, a n d even the t r o m p e - l ' o e i l cicada

o n the omphalos may i t s e l f have been d e r i v e d
f r o m a Persian m o d e l . A t the same t i m e , the cicada
may have h a d p o t e n t local A t h e n i a n associations.
A n c i e n t sources (e.g., T h u c y d i d e s 1.6.3) m e n t i o n
t h a t older A t h e n i a n m e n w o r e g o l d e n cicadas as
h a i r ornaments. F u r t h e r m o r e , d u r i n g its life cycle,
the cicada exists u n d e r g r o u n d i n a l a r v a l state,
before surfacing as a w i n g e d insect. T h i s r e b i r t h
may have been l i n k e d b o t h w i t h the legend o f
A t h e n i a n a u t o c h t h o n y a n d w i t h the hope for an
afterlife a p p r o p r i a t e i n the i c o n o g r a p h y o f t o m b
goods.
96.3. Cat. no. 96: matt red pigment.
2

REFERENCES: ARV 772.8, 1669; BAdd 287; BAPD Vase 209544;

Frhner [1892b], no. 159, pi. 35; van Branteghem 1892, 66, no.
159; Annual Report, Museum of Fine Arts, Boston 23 (1898) 74, no.
53; Walters 1905, i , p. 445, pi. 40; Perrot [and Chipiez] 1914, 722,
723, fig. 395; Beazley 1918, 129; Hoppin 1919, n, 427, 428, no.
1; Swindler 1929, 182; Richter 1930, 41, 86, pi. 64, fig. 225; San
born 1930, 83-84n.5, no. 7; Richter and Milne 1935, 30,fig.181;
Luschey 1939, 148, n . x . l , 153-54; Lippold 1952, 92-93; Levi and
Stenico 1956, 13, 16,fig.17; Zervoudaki 1968, 73n.276; Sparkes
andTalcott 1970, 272; Cohen 1970-1971, 12n.56, pi. 6,fig.11;
Shefton 1971, 109, 111; Lullies 1974, 326 with n.21; Mertens
1977, 145, no. 1, 146; Cardon 1978-1979, 133n.l2, 134n.l9, 13435n.21; Wehgartner 1983, 224n.5; Davidson and Oliver 1984, 13,
under no. 14 (with incorrect accession no.); Burn 1985, 101, 105,
pi. 26.1; D. M . Lewis 1985, 76; Davies and Kathirithamby 1986,
31, 114,fig.26; Griffiths 1986, 58; Pfrommer 1987, 44n.254; CVA
Berlin, Antikensammlung 1 [DDR 3], 80, under no. 5; Hoffmann
1988a; Boardman 1989, 40, fig. 100; Immerwahr 1990, 104; Cohen
1991, 81-82, 83, fig. 59, 94n.l78; Robertson 1992, 185; Hbner
1993, 328; Vickers and Gill 1994, 167, 8; Hoffmann 1997, 113-18,
114, fig. 65, 169-70, no. U l ; M . C. Miller 1997, 138n.l7, 138;
Shefton 1999, 472-73n.35; Tsingarida 2003, 67,fig.2, 68, 70, 73;
Williams 2004, 107, 109, 112.
See below for comparison of the Boston phiale with Sotades'
phiale in the British Museum (cat. no. 97). On horizontally fluted
phialai (sometimes referred to as ribbed), see also Sparkes and
Talcott 1970, 20, no. 2, 105-106, 272, esp. 520, 522, and 526.

313

THE

SOTADES

TOMB

96.4. Cat. no. 91: coral red.

97

97
HORIZONTALLY FLUTED PHI ALE
MESOMPHALOS
Signature o f Sotades as potter, ca. 460 B.C.
H 4.6 cm; D i a m 16.8 cm
L o n d o n , The B r i t i s h M u s e u m
GR 1894.7-19.2, BM Cat Vases D 8
F r o m A t h e n s ; purchased 1894; f o r m e r l y
A l p h o n s e v a n Branteghem collection
C O N D I T I O N : Assembled from fragments; chip miss

on its flutes. The Boston phiales color p a t t e r n ,

b e g i n n i n g w i t h the flute closest to the ompha
los, is: red, w h i t e , red, black; w h i t e , red, black,
and w h i t e . O n the L o n d o n phiale the bands o f
color are more precisely organized. The flute clos
est to the omphalos is w h i t e , a n d the rest o f the
color p a t t e r n reads: black, red, w h i t e ; black, red,
w h i t e ; black, red, w h i t e . O n b o t h p h i a l a i a w h i t e
b a n d has been placed adjacent to the black l i p .
The subtle adjustments i n L o n d o n D 8s a r t i c u l a
t i o n appear to i m p r o v e u p o n the design o f Boston
98.886. Finally, b o t h unusual p h i a l a i transcend

ing from r i m ; black gloss chipped around r i m and

mere i m i t a t i o n o f foreign metalware i n t h e i r dis

on t o p surface o f omphalos; omphalos scratched on

t i n c t i v e r i b b e d schema b y means o f the c u n n i n g

underside; w h i t e flaked esp. on bowl's interior; red

craftsmanship characteristic o f Sotades' Classical

flaked; chips i n outer surface esp. along joins; taupe,

workshop.

yellow, and w h i t e incrustations on colored flutes;

surface o f reserved resting surface abraded.
2

SOTADES

POTTER-SIGNATURE, SOTAAE5

E n O l E , incised i n t w o lines o n the exterior o f t h i s

h o r i z o n t a l l y fluted phiales concave black l i p , has
here been f u l l y preserved. Save for the lack o f a
cicada o n the omphalos w i t h i n its w h i t e - g r o u n d
b o w l , L o n d o n D 8 closely resembles the phiale
Boston 98.886 (cat. no. 96), b u t i t is n o t i d e n t i c a l .
The reserved m o l d i n g a r o u n d the omphalos o n the
b o t t o m o f L o n d o n D 8 is broader and flat: I t was
designed to serve as a resting surface. This phiale
has t e n flutes rather t h a n Boston 98.886's eight,
a n d the profile o f its narrow, reserved intermediate
m o l d i n g s differs, as does the d i s p o s i t i o n o f colors

314

THE

SOTADES

TOMB

REFERENCES: ARV 772.6, 1669; BAdd 287; BAPD Vase 209545;

Frohner [1892b], no. 160, pi. 36; van Branteghem 1892, 66-67, no.
160; C. H. Smith 1896, 392; Perrot [and Chipiez] 1914, 722; Hoppin 1919, i i , 427, 431, no. 4; H. R. W. Smith 1929, 217; Sanborn
1930, 83n.5, no. 3; Luschey 1939, 148, no. x.2; Lane 1948, 53, pi.
88B, right; Lippold 1952, 92-93; Jacobsthal 1956, 45, fig. 203;
Sparkes and Talcott 1970, 272; Cohen 1970-1971, 12n.56; Shefton
1971, 109; Mertens 1977, 145, no. 2, 146, pi. 22.1; Wehgartner
1983, 224n.5; Burn 1985, 100-101, pi. 26.4; Griffiths 1986, 58;
Hoffmann 1988a, 745; Immerwahr 1990, 104; Cohen 1991, 81-82,
83, fig. 60; Robertson 1992, 185; Vickers and Gill 1994, 167, e;
Hoffmann 1997, 170, no. U2, figs. 102-104, right; M . C. Miller
1997, 138-39, pi. 37; Shefton 1999, 472-73n.35; Tsingarida 2002,
256, fig. 3; Tsingarida 2003, 67, fig. 1, 68; Williams 2004, 107,
109, 112.
For this phiale's construction, the nature of its matt red color,
and the association of its shape with metalwork, see above under
Boston 98.886 (cat. no. 96). On Sotades' incised or graffito signa
tures, see Immerwahr 1990, 104; and Cohen 1991, 80-84.

99

98 and 99
TWO HORIZONTALLY FLUTED
MASTOI

A t t r i b u t e d to Sotades as potter, ca. 460 B.C.

H 8.3 cm; Diam (at r i m , as restored) 8.3 cm
L o n d o n , The British M u s e u m
GR 1894.7-19.3, BM Cat Vases D 9

98

From Athens; purchased 1894; formerly

A t t r i b u t e d to Sotades as potter, ca. 460 B.C.

A l p h o n s e v a n Branteghem collection

H 7.5 cm; Diam (at r i m , as restored) 8.5 cm

L o n d o n , The B r i t i s h M u s e u m

C O N D I T I O N : Fragmentary; t w o - t h i r d s restored i n

GR 1894.7-19.4, BM Cat Vases D 10

nineteenth century; yellow discolorations on w h i t e

From A t h e n s ; purchased 1894; formerly

g r o u n d o f interior; chips missing from l i p and edges

A l p h o n s e v a n Branteghem collection

of flutes; red flaked; gray deposits on w h i t e .

C O N D I T I O N : Good; assembled from fragments, w i t h

THE

small losses, esp. t w o r i m fragments, restored i n

cups is k n o w n as a mastos because i t recalls the

plaster and toned; yellow discolorations and taupe

f o r m o f a h u m a n female's breast. I n A t t i c p o t

spots on w h i t e - g r o u n d interior; on exterior, chip on

tery, mastoi, w h i c h were most p o p u l a r i n the late

r i m and chips along edges o f joins; scattered y e l l o w

incrustation on flutes; black gloss on boss abraded.

SHAPE OF THESE SMALL

HANDLELESS

s i x t h c e n t u r y B.C., are n o r m a l l y smooth and fitted

w i t h t w o handles at the sides and a n i p p l e at the
b o t t o m . The Sotadean r e v i v a l o f this shape i n an
i n v e n t i v e v a r i a t i o n d u r i n g the Classical p e r i o d
may have been i n s p i r e d b y p r o t o t y p e s i n Persian
metalware (cf. cat. nos. 96-97). The pair o f mastoi
from the Sotades Tomb are designed according to

the same p r i n c i p l e as the t w o p h i a l a i (cat. nos. 96

97), w i t h a glossy black r i m inside and out, w h i t e
g r o u n d o n the i n t e r i o r , and concentric, h o r i z o n t a l
flutes a r o u n d the exterior that are p a i n t e d red,
w h i t e , a n d black. O n the mastoi, the flutes' j o i n e d
p r o t r u d i n g edges are themselves reserved rather
t h a n h a v i n g d i s t i n c t c u r v e d m o l d i n g s inserted

REFERENCES for D 10: ARV 773.top.2; BAPD Vase 209550; Frofiner [1892b], no. 162; van Branteghem 1892, 67, no. 162; C. H .
Smith 1896, 393; Perrot [and Chipiez] 1914, 722; Hoppin 1919,
I I , 427, 434, no. 10; A. B. Cook 1925, n . l , 346; C. H. Smith 1929,
217; Swindler 1929, 182; Lippold 1952, 92-93; Cohen 1970-1971,
12n.56; Mertens 1977, 145, no. 4, 146; Kanowski 1984, 105; Burn
1985, 100-101, pi. 26.2; Robertson 1992, 185; Hoffmann 1997,
170, V 2, fig. 104, left; M . C. Miller 1997, 138; Tsingarida 2003, 67,
68, fig. 3 (imprecisely identified as D 9 or D 10); Williams 2004,
107, 109, 112.

between t h e m as o n the p h i a l a i .
L i t t l e or no d i s t i n c t i o n was d r a w n between the
t w o mastoi i n t w e n t i e t h - c e n t u r y scholarship, and
t h e y are often n o t i d e n t i f i e d precisely i n p u b l i s h e d
i l l u s t r a t i o n s . Yet D 10 is w e l l preserved, w h i l e o n l y
a small p o r t i o n o f D 9 is ancient: I n t h e i r c u r r e n t
state, there are differences between the t w o . D 10
is smaller t h a n the m u c h restored D 9. D 10 is also
extremely l i g h t . A spiral p a t t e r n f r o m the p o t
t i n g is v i s i b l e beneath the w h i t e g r o u n d o n D 10 s
i n t e r i o r . W h i l e b o t h mastoi have t w e n t y h o r i z o n
tal flutes a r o u n d a small central boss, D 10 has an
o r i g i n a l flat broader m o l d i n g between the r i m and
the adjacent flute. On b o t h mastoi the b a n d o f
color adjacent to the black r i m is red, yet, b e g i n
n i n g at the b o t t o m , the disposition o f color o n the
flutes of the t w o mastoi differs. The black boss o n
D 9 is s u r r o u n d e d b y a w h i t e flute, b u t o n D 10
this flute is black l i k e the boss itself. W h i l e some
differences may result f r o m the i l l u s i o n i s t i c resto
r a t i o n o f D 9, the t w o mastoi, l i k e the p h i a l a i (cat.
nos. 96-97), were p r o b a b l y n o t i d e n t i c a l replicas
originally.
The s l i g h t l y orange red employed o n the

flutes

of the mastoi has been said to be coral-red gloss;

7

however, as i n the case o f Sotades Boston phiale

(cat. no. 96), this r e d appears to be a matt color
a p p l i e d after firing rather t h a n a lustrous gloss. I n
1896 Cecil H . S m i t h suggested that Sotades' signa
t u r e m i g h t have appeared o n the missing p o r t i o n
of each mastos's black r i m . Incised i n s c r i p t i o n s ,
l i k e those o n the p h i a l a i (cat. nos. 96-97), w o u l d
have enhanced t h e i r h o r i z o n t a l l y fluted form's
association w i t h m e t a l w o r k as w e l l as served as
the special trademark o f t h e i r maker.

316

THE

SOTADES

TOMB

REFERENCES for D 9: ARV 773.top.l; BAPD Vase 209549; Frohner [1892b], no. 161, pi. 37; van Branteghem 1892, 67, no. 161;
C. H. Smith 1896, 392; Perrot [and Chipiez] 1914, 722; Hoppin
1919, I I , 427, 434, no. 9; A. B. Cook 1925, n . l , 345; C. H. Smith
1929, 217, fig. 1; Swindler 1929, 182; Lane 1948, 53, pi. 88B, left;
Lippold 1952, 92-93; Jacobsthal 1956, 45, fig. 202; Cohen 19701971, 12n.56; Mertens 1977, 145, no. 3, 146; Kanowski 1984, 105;
Burn 1985, 100-101, pi. 26.3; Griffiths 1986, 58; Robertson 1992,
185; Hoffmann 1997, 170, v 1, fig. 104, center; M . C. Miller 1997,
138; Tsingarida 2003, 67; Williams 2004, 107, 109, 112, fig. 7.17.
A separate list of references has been provided for each mastos in order to help distinguish between the two. For a possible
association between these mastoi and the honeyed iconography of
cups from the Sotades Tomb, see Williams, chap. 8.

CHAPTER 9

Kerch-style Vases

Kerch-stvle Vases: The Finale

Kenneth Lapatin
The J. Paul Getty Museum, M a l i b u

J?^^

If,
tJLL*

as an independenteven
"\\ imperialpower in the fourth century B.C., despite having
J L Y lost the Peloponnesian War in the late fifth century.
T H E N S REGAINED H E R STATUS

During the ascendancy of the Second Athenian Confederacy in

the second and third quarters of the fourth century, Athenian
ceramicists continued to export their products throughout the
Mediterranean and to the shores of the Black Sea. In previously
strong markets of Sicily, Southern Italy, and Etruria, however,
they now faced increasing competition from rival local producers
( i n c l u d i n g A t h e n i a n s w h o i m m i g r a t e d to those

c i t y o f Pantikapaion, the richest c i t y o f the region,

regions and established w o r k s h o p s ) . M a n y o f the

have y i e l d e d a p r o f u s i o n o f A t h e n i a n ceramics.

finest A t h e n i a n vases o f the p e r i o d , therefore,

The capital o f the Bosporan k i n g d o m , Pantikapa

come, n o t from the cemeteries o f Italy, b u t rather

i o n was situated o n the n o r t h e r n coast o f the Black

f r o m those settlements i n the Crimea, w h i c h had

Sea, o n the western side o f the Cimmerian Bos

l o n g p r o v i d e d A t h e n s w i t h an i m p o r t a n t source o:

porus (the m o d e r n Kerch Strait), at the entrance

g r a i n and other raw materials.

to the Sea o f Azov. A c c o r d i n g to a t r a d i t i o n pre

The so-called Kerch vases take t h e i r name from

served b y Stephanos o f B y z a n t i u m ( s i x t h c e n t u r y

the m o d e r n c i t y o n the peninsula e x t e n d i n g east

A . D . ) , one o f the sons o f K i n g Aeetes o f Kolchis,

f r o m the Crimea i n present-day U k r a i n e . There,

the father o f Medea, f o u n d e d the c i t y after receiv

the r i c h tombs s u r r o u n d i n g the ancient Greek

i n g the d i s t r i c t from the Scythian k i n g Agaetes.

318

History

t u r y . The same artists also decorated smaller ves

4.12.87), however, r e p o r t that Pantikapaion was

sels (such as cups, p y x i d e s , oinochoai, and squat

a M i l e s i a n colony. I t was apparently f o u n d e d

lekythoi).

Strabo (7.4 [309-10]) a n d P l i n y (Natural

a r o u n d 600 B.C. o n the site o f an earlier settle

Kerch-style vases represent "the last stage

ment, Panti Kapa. I n the fifth and f o u r t h centuries

i n the development o f A t t i c Red-figure vase-

B.C. i t was the capital o f the Spartocid dynasty,

p a i n t i n g . " The elongated, mannered shapes o f

w h i c h m a i n t a i n e d p a r t i c u l a r l y close ties w i t h

these vases, the languorous, often sensual grace

A t h e n s . Satyros ( r u l e d 407-393 B.C.) is mentioned

o f the figures depicted o n t h e m , and the greater

b y Isokrates, Lysias, and Demosthenes. The A t h e

success i n p i c t o r i a l l y representing the t h i r d

nians v o t e d to h o n o r his son L e u k o n ( r u l e d 3 9 3 -

dimension, all find parallels i n other media, such

353 B.C.) w i t h three statues, and he and his three

as marble relief sculpture and engraved Etruscan

sonsSpartikos I I ( r u l e d 353-349), Parisades (or

mirrors. The dynamic, sinuous, and t w i s t i n g poses

Pairisades; r u l e d 349-311), and A p o l l o n i o s w e r e

o f some figures i n particular seem to be i n s p i r e d

granted A t h e n i a n citizenship. The A t h e n i a n s also

b y contemporary statues a t t r i b u t e d to Praxiteles,

awarded the sons g o l d crowns w o r t h a thousand

Skopas, and Lysippos. Such developments also

drachmas at each Greater Panathenaia.

appear i n terracotta figurines. The images o n

Pantikapaion grew r i c h e x p o r t i n g g r a i n , fish,

Kerch-style vases seem also to reflect some o f the

w i n e , and other commodities f r o m the h i n t e r l a n d .

advances o f lost f o u r t h - c e n t u r y w a l l - p a i n t i n g

The c i t y m i n t e d silver coins i n the s i x t h c e n t u r y

k n o w n from ancient l i t e r a r y sources. A c c o r d i n g

B.C. a n d gold ones i n the f o u r t h : these feature a

to M a r t i n Robertson, " T h e pictures o n the best

satyr head o n the obverse and a g r i f f i n o n the

Kerch vases have a t r u e n o b i l i t y , b u t w i t h i t a cer

reverse. T h r o u g h o u t its history, the c i t y fostered a

t a i n v a p i d i t y , w h i c h one may perhaps a t t r i b u t e to

u n i q u e amalgam o f Greek and local cultures, and

the translation o f a contemporary v i s i o n i n t o an

the aristocratic tombs o f the region have y i e l d e d ,

outmoded style/'

n o t o n l y i m p o r t e d clay vases, b u t also g o l d vessels

Compositionally, scenes are often c r o w d e d ,

a n d j e w e l r y i n b o t h Greek and local styles, i v o

even restless, w i t h a central figure or group,

ries, engraved gemstones, and glass. T h o u g h not

w h i c h , along w i t h subsidiary figures, may "float"

i n s t r i n s i c a l l y valuable, except to the degree they

i n space, creating m u l t i - l e v e l pictures. U n l i k e

were g i l d e d , Kerch-style vases nonetheless seem

Polygnotan compositions o f the fifth c e n t u r y ,

to have f u n c t i o n e d as status symbols. T h e y were

however, o n l y those figures i n the lower regis

ostentatious i m p o r t s and f r e q u e n t l y bore images

ter regularly stand or sit o n groundlines. These

of p a r t i c u l a r significance to t h e i r buyers.

Kerch-style vases were p r o d u c e d i n A t h e n s

a n d A t t i k a , a n d perhaps C h a l k i d i k e . T h e y have

sometimes i n c l u d e such n a t u r a l elements as rocks,

vegetation, or water. The figures themselves are
not o n l y depicted i n strict profile b u t , as time

been f o u n d n o t o n l y o n the shores o f the Black

progresses, f r e q u e n t l y t u r n , t w i s t , or bend and

Sea b u t also o n the Greek m a i n l a n d and islands,

thus are presented from m u l t i p l e points o f v i e w ,

i n Asia M i n o r , Italy, the Levant, E g y p t and N o r t h

i n c l u d i n g profile perdu. This, as w e l l as placement

A f r i c a , Southern France, and the I b e r i a n Penin

o f drapery between l i m b s and b e h i n d or a r o u n d

sula. A l t h o u g h ill-defined as a class, t h e y can

the body, often adds d e p t h to compositions, creat

be dated to the second and t h i r d quarters o f the

i n g a c o n v i n c i n g i l l u s i o n o f three-dimensionality,

f o u r t h c e n t u r y B.C. o n the basis o f style, and

w h i c h is sometimes f u r t h e r e d b y the a p p l i c a t i o n

more precisely b y i n s c r i b e d black-figured Pana-

o f polychromy. Poses o f i n d i v i d u a l figures are, o n

thenaic prize amphorae a t t r i b u t e d to many o f the

the best vases, still closely l i n k e d to the curvature

same painters. The favored shapes o f Kerch-style

vases are kraters (bell and calyx), h y d r i a i , p e l i k a i ,

of the vase, enhancing b o t h shape and decoration.

The d r a w i n g o f Kerch-style vases, i n general,

lekanides, and lebetes g a m i k o i , w h i c h a l l offered

departs from the delicate, meticulous, closely

painters large p i c t o r i a l fields. These shapes became

packed lines o f the " R i c h S t y l e " o f A t t i c vase-

more elongated over the course o f the f o u r t h cen

p a i n t i n g o f the late fifth century. Figures t e n d to

319

be composed o f lines t h a t are shorter, sketchier,

coherent narrative is less i m p o r t a n t to painters

looser, or h o o k e d , b u t t h e y nonetheless often have

t h a n m y t h o l o g i c a l content. S y m p o s i u m and erotic

a greater three-dimensional, or s c u l p t u r a l , q u a l

scenes appear less f r e q u e n t l y t h a n i n earlier p e r i

i t y t h a n t h e i r predecessors. Polychromy as w e l l as

ods. Iconography retains thematic l i n k s to func

g i l d i n g over relief decoration f r e q u e n t l y enhance

t i o n and ( p r e d o m i n a n t l y foreign) clientele, hence

compositions. A d d e d w h i t e , n o t usually a p p l i e d to

the p o p u l a r i t y o f Eleusinian a n d o r i e n t a l motifs,

red-figured vases before the late f i f t h c e n t u r y B.C.,

a l t h o u g h local A t h e n i a n festivals and r i t u a l s seem

is c o m m o n . I t is used for details as w e l l as female

also t o p r o v i d e i n s p i r a t i o n .

flesh b u t is n o t employed u n i f o r m l y . Rather, art

Numerous painters o f Kerch-style vases were

ists use added color, often over details p a i n t e d i n

i d e n t i f i e d b y K a r l Schefold and Sir John Beazley.

black gloss, for emphasis and balance w i t h i n com

These scholars were n o t always i n agreement, and

positions. D i l u t e gloss added to w h i t e often cre

others have refined t h e i r a t t r i b u t i o n s . There is

ates yellow. M a t t p i n k s , reds, and even blues a n d

l i t t l e p r o f i t i n r e v i e w i n g these controversies here,

greenscolors earlier a p p l i e d to w h i t e - g r o u n d

especially as most Kerch-style vases are o f o n l y

l e k y t h o i a r e also used t o e n l i v e n compositions

m i d d l i n g q u a l i t y . Rather, w h a t follows w i l l con

a n d t o emphasize figures i n groups t h r o u g h con

centrate o n some o f the o u t s t a n d i n g artisans rep

trast. Subsidiary figures are often depicted o n l y i n

resented i n this e x h i b i t i o n .

red-figure, t h o u g h details can be h i g h l i g h t e d b y

added w h i t e , or even g i l d i n g . A d d i t i o n a l l y , washes
i n d i l u t e gloss are employed, as i n red-figure, and

The Pourtales

sometimes these even suggest shadows, b u t there

Named after the former o w n e r o f a fine bell-krater

is no evidence o f h i g h l i g h t s b o t h i n n o v a t i o n s

f r o m Sant'Agata de' G o t i i n Campania, n o w i n

a t t r i b u t e d to c o n t e m p o r a r y w a l l - a n d panel-

L o n d o n (fig. I ) , the Pourtales Painter is one o f the

painters.

earliest painters o f Kerch-style vases. I n s c r i b e d

W h i l e many o f the finest Kerch-style vases are

profusely p o l y c h r o m e d , such a t t e n t i o n is rarely

Painter

Panathenaic prize amphorae a t t r i b u t e d to h i m

were p r o d u c e d i n the archonship o f Charakleides

lavished o n more t h a n one side o f a vase. These

(363/362 B.C.), p l a c i n g the painter's a c t i v i t y i n

vessels, recovered m o s t l y b u t n o t e x c l u s i v e l y

the second quarter o f the f o u r t h c e n t u r y B.C. His

f r o m tombs, usually have a readily discernable

name vase, dated a p p r o x i m a t e l y 370-360 B.C.,

f r o n t and back side. (The fine lebes i n the H e r m i t

depicts the i n i t i a t i o n o f heroes i n t o the Eleusinian

age, cat. no. 103, is a notable exception.) Reverses

mysteries. Demeter and Kore occupy the center

are generally cursory, s h o w i n g stock three-figure

o f the scene, the latter seated before her mother,

compositions or cloaked y o u t h s , w i t h m i n i m a l

w h o stands h o l d i n g a b u r n i n g t o r c h . Both have

added w h i t e , p o l y c h r o m y , or other elaboration.

a d d e d - w h i t e flesh, and fine d i l u t e y e l l o w is used

Subsidiary patterned ornament continues the Late

for details o f t h e i r faces, j e w e l r y , sandals, and

Classical repertoire: egg-and-dart, meanders w i t h

Demeter's c h i t o n . Her m a t r o n l y figure and r i p

checkerboard squares or crosses, tongues, waves,

p l i n g , revelatory drapery recall statuary o f the

and, o n the most elaborate vases, lotus-and-

late fifth and early f o u r t h centuries B.C.

palmette, wreaths, and r u n n i n g spirals.

Persephone, T r i p t o l e m o s sits i n his w i n g e d char

As i n the preceding " R i c h S t y l e / ' favored

10

Opposite

iot, w h i c h is d r a w n b y w h i t e snakes w i t h y e l l o w

themes are the w o r l d o f w o m e n and t h e i r lovers

details. T w o torch-bearing attendants i n T h r a c i a n

( m y t h o l o g i c a l as w e l l as m o r t a l ) and especially

garb, apparently Eumolpos and K e r y x , the m y t h i

w e d d i n g scenes attended b y Erotes; D i o n y s i a n

cal ancestors o f the t w o Eleusinian priesthoods,

a n d Eleusinian motifs (Demeter a n d Dionysos

lead initiates f r o m the sides: the t w o D i o s k o u r o i

being especially p o p u l a r i n the g r a i n - and grape-

h o l d i n g sacred m y r t l e wands (bakchoi) that are

g r o w i n g regions o f the n o r t h ) ; and o r i e n t a l themes

rendered i n added w h i t e w i t h y e l l o w detail. F r o m

consisting o f Amazons, griffins, and Arimaspeans.

the viewers' left, b e y o n d Persephone, Herakles

Herakles, too, remains popular, b u t presenting a

approaches w i t h his c l u b , lowered, a n d a raised

320

LAPATIN

CHAPTER

bakchos. The figures a l l wear w h i t e wreaths a n d

stand or sit o n various registers, o v e r l a p p i n g one
another as i f receding i n space, t h u s creating an
elaborate m u l t i - l e v e l scene. I n d e e d , at the t o p o f
the vase, as i f b e h i n d a h i l l represented b y a w h i t e
g r o u n d l i n e , four w h i t e columns w i t h y e l l o w flutes
s u p p o r t the architrave o f a sacred b u i l d i n g , pre
sumably the Telesterion, w h i l e t o the viewer's left
t w o more columns fill e m p t y spaces, again b e h i n d
white groundlines.

11

The reverse o f t h i s vase fea

tures Dionysos a n d his thiasos, a beardless m a n

h o l d i n g a cornucopia (perhaps Hades), the R e t u r n
o f Hephaistos, a n d Eros p l a y i n g w i t h a goose.
A g a i n the figures are collocated o n m u l t i p l e regis
ters, a n d a d d e d - w h i t e a n d - y e l l o w details e n l i v e n
the c o m p o s i t i o n .
Here, a n d i n other w o r k s , i n c l u d i n g the
obverse o f the elegant, i f enigmatic, bell-krater i n
B e r l i n i n t h i s e x h i b i t i o n (cat. no. 102), the Pourtales Painter seems t o revel i n p a i n t i n g overlap
p i n g figures i n expressive, three-quarter poses.
Those t h a t are c l o t h e d often wear m o b i l e d r a p e r y

g i l d e d armor, a s w o r d decorated w i t h Scythian

w i t h b u n c h e d folds t h a t m o d e l the b o d y under

animal motifs, a n d a s p l e n d i d g o l d w r e a t h , a l l

neath (as o n Demeter's c h i t o n a n d Persephone's

placed i n a r i c h w o o d e n sarcophagus decorated

peplos o n the L o n d o n vase). The painter's faces,

w i t h g i l d e d griffins a t t a c k i n g deer. A s Friederike

however, are less d a r i n g : t h e y are always s h o w n i n

Fless has noted, p e l i k a i are n o t c o m m o n l y depos

profile. T h o u g h l i b e r a l w i t h added w h i t e a n d y e l

i t e d as grave goods or c i n e r a r y urns at A t h e n s

l o w a n d i n n o v a t i v e i n the p a i n t e r l y a p p l i c a t i o n

or O l y n t h o s , b u t t h e y appear f r e q u e n t l y i n the

o f b o t h over added r e d to render the scales o f the

graves o f Bosporan elites as symbols o f special

fish on the B e r l i n k r a t e r (cat. fig. 102.2)he does

prestige. T h e i r role as signifiers o f status is f u r t h e r

not e m p l o y the a d d i t i o n a l colors o f later Kerch-

i n d i c a t e d b y the fact that t h e y were copied b y

style painters. He does, however, add architectural

locally p r o d u c e d

elements, such as the abbreviated temple o n his

name vase, elsewhere i n his oeuvre, a n d he seems
to have been p a r t i c u l a r l y f o n d o f H e r a k l e s .

12

14

Aquarellpeliken.

The artist's name vase depicts A p o l l o p l a y i n g

the kithara before the doomed satyr Marsyas (fig.
2); w o m e n at t h e i r toilette decorate the reverse.

15

On b o t h sides the figures, i n a v a r i e t y o f com

p l e x poses, occupy m u l t i p l e levels. A d d e d w h i t e ,
The Marsyas

Painter

e x t r u d e d clay, a n d g i l d i n g e n l i v e n the composi

Perhaps the finest painter o f Kerch-style vases was

tions. A p o l l o , c r o w n e d b y a N i k e w i t h g i l d e d

the Marsyas Painter. He too p a i n t e d the loves o f

extruded-clay w i n g s , stands h o l d i n g a w h i t e

gods a n d mortals, and, l i k e the Pourtales Painter,

kithara

he decorated Panathenaic prize amphorae. These

times a t t r i b u t e d t o Skopas; Marsyas, his g i l d e d

were p r o d u c e d d u r i n g the archonships o f Poly-

aulos at his side, sits cross-legged o n a r o c k ,

zelos (367/366 B.C.), Kallimides (360/359 B.C.),

e l b o w o n t h i g h , c h i n resting i n p a l m . Opposite,

a n d Theiophrastos (340/339 B.C., cat. no. 3 9 ) .

13

i n the pose o f the kitharoidos

t y p e some

his beloved p u p i l Olympos, w e a r i n g a g i l d e d

Schefold named the painter after a pelike, n o w

cap, reclines w i t h his r i g h t a r m t h r o w n over his

i n St. Petersburg, that was recovered f r o m a r i c h

head rather like a more alert B a r b e r i n i Faun or

w a r r i o r ' s b u r i a l at Kerch. The t o m b also i n c l u d e d

a r e c l i n i n g version o f the A p o l l o Lykeios statue

321

KERCH-STYLE

VASES:

THE

FINALE

Figure 1. The Eleusinian

mysteries. Bell-krater,
attributed to the Pourtales
Painter (name vase), 370360 B.c. London, The British
Museum GR 1865.0103.14,
BM Cat Vases F 68.

type.

1 6

T w o femalesone w e a r i n g a

gilded crown, jewelry, and holding a

'
I

small d o l p h i n t o the viewer's r i g h t indicate that

w h i t e flesh, bears t w o torches

t h i s episode takes place o n the shore, w h i l e t o

appear t o be Demeter a n d Kore, b u t

the left, b e h i n d Thetis, a sharp-toothed ketos (sea

scholars have often i d e n t i f i e d t h e m

monster) entwines Peleus s leg a n d bites h i m j u s t

as another mother-daughter pair,

above the knee.

Leto a n d A r t e m i s , Apollo's m o t h e r

I n earlier Greek art Thetis, w h o l i k e many

a n d sister. Despite the v a r i e t y o f

marine deities h a d the a b i l i t y to change shapes,

poses o n this vaseespecially t h a t

was depicted w i t h panthers, lions, snakes, a n d

o f Marsyas, w h i c h is complex a n d

fire as i n d i c a t i o n s o f her transformations w h i l e

d i s t i n c t i v e a n d the additions o f

w r e s t l i n g w i t h Peleus. Here, her protean nature

w h i t e a n d g o l d , Beazley consid-

is more s u b t l y depicted t h r o u g h the monster, a n d

ered the p a i n t i n g "feeble." S t i l l , he

to the same h a n d t h a t created "most
o f the masterpieces o f A t t i c f o u r t h -

century vase-painting."

17

her pose, more complex t h a n the c r o u c h i n g bather

o n the reverse o f the painter's name vase, is s i m i
lar t o the " c r o u c h i n g A p h r o d i t e " statue t y p e (fig.
4).

1 9

Her t w i s t i n g figure achieves the i l l u s i o n o f

three-dimensionality as i n t e r i o r anatomical details

o f her v o l u p t u o u s figure are rendered i n y e l l o w :

The most famous o f the painter's

Figure 2. Apollo
kitharoidos playing before
the satyr Marsyas. Pelike,
attributed to the Marsyas
Painter (name vase), ca.
370-335 B.C. St. Petersburg,
The State Hermitage Museum
St 1795, Kek. 8. Photograph
The State Hermitage Museum.

o f Thetis's arms. A n u n d u l a t i n g g r o u n d l i n e and a

scepter w h i l e the other, w i t h added-

accepted Schefold's a t t r i b u t i o n o f i t

i n t r u d e s o n the b a t h i n g Nereids a n d grabs h o l d

w o r k s is a pelike f r o m a woman's t o m b at
Kamiros o n Rhodes, n o w i n L o n d o n (fig. 3 ) .

1 8

her left t h i g h , distanced f r o m the viewer, is raised

above the r i g h t one, her left a r m is foreshort

Here a t r a n q u i l scene o f w o m e n b a t h i n g , similar

ened, her left breast is depicted i n profile w h i l e

to t h a t o n the reverse o f the name vase, has been

the r i g h t one is frontal, a n d her face, t u r n i n g

i n t e r r u p t e d , a n d w h i l e t h a t vessel seems to depict

back t o w a r d Peleus, is i n three-quarter v i e w . A

mortals, here we are i n the m y t h o l o g i c a l realm.

w i n g e d Eros, l i k e w i s e p a i n t e d w h i t e , hovers above

The c r o u c h i n g central figure, again p a i n t e d w h i t e ,

Peleus, c r o w n i n g h i m , w h i l e b e h i n d h i m , to the

is the sea n y m p h Thetis, daughter o f Nereus a n d

viewer's left, t w o female figures l o o k o n calmly.

the m o t h e r o f Achilles. Zeus desired her, b u t w h e n

These have been p l a u s i b l y i d e n t i f i e d as A p h r o d i t e

Themis revealed t h a t Thetis w o u l d bear a son

and another goddess, perhaps Peitho. Opposite,

greater t h a n his father, Zeus gave her t o the hero

Thetis s three companions, presumably her sisters,

Peleus, w h o , w e a r i n g a petasos a n d chlamys, here

react to the v i o l e n t attack. The w o m a n closest

to Thetis, whose t o p k n o t resembles t h a t o f the
Apollo Belvedere,

Figure 3. Peleus and Thetis.

Detail of pelike, attributed to
the Marsyas Painter, ca. 370335 B.c. London, The British
Museum GR 1862.0530.1, BM
Cat Vases E 424.

20

t u r n s sharply, l o o k i n g back,

the folds o f her peplos a l l aflutter. To the far r i g h t

a naked w o m a n crouches o n a small r o c k , raising
her garment i n f r o n t o f her, w h i l e i n the upper
r i g h t corner o f the scene appears the painter's t o u r
de force: a w o m a n r u n n i n g away, t w i s t i n g spirally,
her d r a p e r y echoing her movement. She is s h o w n
w i t h legs i n profile, b u t t o c k s i n three-quarter
v i e w , shoulders straight, a n d face i n profile

perdu.

Despite the p o w e r f u l t h r e e - d i m e n s i o n a l i t y
o f these figures, the p i c t u r e , as Buschor notes,
"is s t i l l i n h a r m o n y w i t h the flowing line o f the
shape" o f the vessel.

21

Besides the v i r t u o s o d r a w

i n g o f complex poses, the painter has a p p l i e d

a d d i t i o n a l colors b e y o n d the t r a d i t i o n a l w h i t e .
Eros's w i n g s , rendered i n l o w relief, were o r i g i -

322

LAPATIN

o CHAPTER

n a l l y p a i n t e d blue, t h o u g h n o w o n l y traces
remain, w h i l e green was a p p l i e d to the drapery
f a l l i n g over Thetis s knees and to the r o c k b e h i n d
her. G o l d , too, was a p p l i e d to the vase: to Peleus's
hat, Thetis's hair band, and Eross w i n g s . The
reverse side, i n contrast, is less i n s p i r e d , w i t h
a m u c h simpler c o m p o s i t i o n o f Dionysos seated
between a satyr a n d maenad.
The Marsyas Painter's s p l e n d i d lebes gamikos
f r o m Kerch, n o w i n St. Petersburg (15592, cat. no.
103), i n contrast, is p a i n t e d w i t h equal care o n a l l
sides. The lebes gamikos is a special vessel used

Figure4. CrouchingAphrodite.
Roman copy after thirdcentury-B.c.(?) original.
Marble, H 1.15 m. Malibu,
JPGM 55.AA.10.

for marriage r i t u a l s i t is t h o u g h t to have h e l d the

water for the r i t u a l b a t h i n g o f the b r i d e or food
for the m a r r i e d c o u p l e a n d the decoration o f this
one is w h o l l y suited to its f u n c t i o n : i t depicts the
epauliathe

m o r n i n g after the w e d d i n g w h e n

the b r i d e was presented w i t h gifts. N o males are

present, except for numerous Erotes, a l l depicted
i n added w h i t e . The focal p o i n t o f one side is
the b r i d e herself. She presides o n a h i g h - b a c k e d
t h r o n e , rendered i n w h i t e , apparently to represent
i v o r y . I t has elegantly t u r n e d legs and extremely
fine p a t t e r n e d decoration i n relief o n the edge o f
the seat a n d o n the cross-bar at the back, a l l o f
w h i c h reflect the most sumptuous f u r n i t u r e o f the
age. Such pieces s u r v i v e o n l y i n fragments, i f at
all, b u t t h e y are reflected o n numerous vases and
i n other media, such as the stone f u n e r a r y couch
i n the Bella t u m u l u s and the marble t h r o n e i n the
t o m b o f E u r y d i k e at Vergina, o n the grave stele o f
Demetria a n d Pamphile i n the Kerameikos, and o n
the p a i n t e d ceiling o f a t o m b at Kazanluk i n B u l
garia (fig. 5), a l l d a t i n g to the f o u r t h c e n t u r y B . C .

22

Traces o f added w h i t e also s u r v i v e o n numerous

other f u r n i s h i n g s o n the Marsyas Painter's lebes,
where the exposed upper torso o f the half-draped
b r i d e is l i k e w i s e rendered i n added w h i t e , as are
the Erotes t h a t s u r r o u n d her. A d d i t i o n a l w o m e n ,
c a r r y i n g diverse gifts, are s h o w n i n a v a r i e t y o f
poses.

23

P a r t i c u l a r l y s t r i k i n g is a frontal

figure,

swathed e n t i r e l y b y d r a p e r y o n l y her eyes

peek o u t .
The Marsyas Painter, as w e have seen, paints
stately, s c u l p t u r a l figures i n a w i d e v a r i e t y o f
complex poses. His faces as w e l l as bodies are pre
sented i n profile, three-quarter, or frontal v i e w .
D r a p e r y can be q u i t e elaborate and expressive,

323

KERCH-STYLE

VASES:

THE

FINALE

Figure 5. Enthroned bride

and groom on the painted
ceiling of a Thracian tomb at
Kazanluk, Bulgaria. Fourth
century B.C. From Zhivkova,
1973, pi. 20.

pelike n o w i n M a l i b u (cat. no. 104), once a t t r i b

u t e d t o the Marsyas Painter b u t n o w accepted as
the w o r k o f the Painter o f the W e d d i n g Proces
sion. L i k e the painters discussed above, he too
p a i n t e d a n d e x p o r t e d to Kerch elaborate lebetes
g a m i k o i , and he also decorated Panatheniac prize
amphorae.

27

One o f the latter can be dated t o

360/359 B.C., for i t is i n s c r i b e d as being made i n

the archonship o f Kallimedes. N o i n s c r i p t i o n s ,
however, are needed to i d e n t i f y the figures o n the
M a l i b u pelike. I n the center, seated o n a r o c k and
h o l d i n g a massive shepherds staff, is the Trojan
p r i n c e Paris. He wears a P h r y g i a n cap, a t u n i c
w i t h l o n g sleeves, leggings, a n d a cloak. Raised
decoration t h r o u g h o u t his b r i g h t l y colored gar
ments was o r i g i n a l l y g i l d e d . To his p r o p e r r i g h t
stands Hera, p a i n t e d w h i t e , h o l d i n g her scepter
i n her r i g h t h a n d and raising her mantle w i t h
her left. Beyond her, w i t h o u t added color, stands
Hermes. Opposite t h e m stands A t h e n a , i d e n t i f i e d
b y an olive b r a n c h , a w h i t e shield w i t h a Macedo
n i a n star, and a C o r i n t h i a n helmet w i t h a blue a n d
Figure 6. So-called Maussollos
from Halikarnassos. London,
The British Museum 1000.

red crest. She wears a green peplos. A p h r o d i t e , i n

red-figure, is f u l l y draped (not u n l i k e the

figure

o n the Marsyas Painter's lebes) and is i d e n t i f i e d b y

the small w h i t e Eros at her feet. The reverse side,
w i t h c u r v e d and h o o k e d lines used t o convey

d r a w n more cursorily, b u t s t i l l w i t h added w h i t e ,

c r i n k l e d s u b s i d i a r y folds. Bernard A s h m o l e com

depicts an A m a z o n o m a c h y .

pared d r a p e r y o f figures o n the St. Petersburg

28

This vase presents t w o themes p o p u l a r o n

lebes (cat. no. 103) to those o f the Demeter o f K n i -

Kerch-style vases: love scenes (the Judgment o f

dos a n d so-called Maussollos f r o m Halikarnassos

Paris) a n d o r i e n t a l themes (the Amazonomachy).

(fig. 6 ) .

2 4

The painter also f r e q u e n t l y adds color

I f w e were i n c l i n e d to l o o k for deeper meaning,

and g o l d for v a r i e t y and compositional emphasis.

we m i g h t postulate some more complex message

R v a l u a t i o n o f his oeuvre b y Panos Valavanis,

about the proper roles o f behavior for w o m e n o r

based i n p a r t o n careful analysis o f Panathenaic

ways to o b t a i n b r i d e s b u t g i v e n the prevalence

prize amphorae, suggests that he is the same as the

o f such scenes o n Kerch-style vases, t h i s seems

Eleusinian Painter. Beazley considered the Eleusin-

far-fetched, for b o t h themes were p o p u l a r motifs

i a n Painter "connected w i t h the Marsyas Painter/'

i n the f o u r t h c e n t u r y .

b u t w r o t e t h a t "his w o r k is laboured a n d w e a k
all the d i f f e r e n c e / '

25

But Valavanis maintains t h a t

29

Rather, i t is t e m p t i n g t o

see the Judgment o f Paris as a p u n n i n g reference

to the Parisades w h o r u l e d Pantikapaion for most

the master s career lasted more t h a n t h i r t y years,

o f the second h a l f o f the f o u r t h century, a l t h o u g h

f r o m ca. 367/366 t o 335 B.c., a n d t h i s explains the

the scene appears i n earlier w o r k s i m p o r t e d t o

changes i n his s t y l e .

2 6

the r e g i o n , such as the exquisite fragmentary

incised i v o r y plaques f r o m K u l Oba, arguably the
finest graphic w o r k t o s u r v i v e f r o m a n t i q u i t y

Painter

of the Wedding

Procession

(fig. 7 ) .

3 0

A l t h o u g h more accomplished t h a n the

The o r i g i n a l added colors are extremely w e l l pre

vases we have been e x a m i n i n g , the ivories are

served o n the p r i n c i p a l side o f an e x t r a o r d i n a r y

l i k e l y A t h e n i a n i m p o r t s and share m a n y traits o f

324

LAPATIN

o CHAPTER

style a n d t e c h n i q u e : the c o m b i n a t i o n o f profile,

three-quarter, a n d f r o n t a l v i e w p o i n t s o f elegantly
t w i s t e d figures; elaborateand

transparent-

d r a p e r y w i t h exuberant S- a n d omega-folds; a n d
the a p p l i c a t i o n o f p o l y c h r o m y ( n o w largely lost).
One o f the latest datable Kerch vases, a h y d r i a
recovered f r o m A l e x a n d r i a , f o u n d e d b y A l e x a n
der i n 331 B.C., l i k e w i s e depicts the Judgment o f
Paris (fig. 8 ) .

3 1

Its shape is considerably more elon

gated t h a n late

fifth-century-B.c.

examples, such

as the h y d r i a i decorated b y the M e i d i a s Painter,

whose bodies are p l u m p e r , necks shorter, a n d lips
smaller.

32

Beazley d i d n o t a t t r i b u t e the vase, n o w

i n M u n i c h , b u t Robertson associated i t w i t h the

Marsyas a n d Eleusinian Painters. Schefold, i n con
trast, t h o u g h t i t to be a p r o d u c t o f the w o r k s h o p
o f the Painter o f the W e d d i n g Procession, a n d
more recently Valavanis has a t t r i b u t e d i t t o that
painter himself, n o t i n g especially the stylistic a n d
technical similarities i n the r e n d e r i n g o f Paris, o f
Hera's face, a n d o f Athena's shield t o t h e i r c o u n
terparts o n the M a l i b u p e l i k e .

3 3

Heavily poly-

chromed a n d w i t h e x t r u d e d clay for the a d d i t i o n

o f g i l d i n g , i n c l u d i n g a laurel w r e a t h o n the neck,
the M u n i c h h y d r i a also includes t w o w o m e n , one
f u l l y muffled female, a n d a small Pan i n a d d i t i o n
to the usual protagonists. One w o m a n crowns
A p h r o d i t e , a n d Pan sets the scene o n the slopes
o f M o u n t Ida, w h i l e the muffled w o m a n , w h o
attends Hera, seems to be a stock Kerch-style f i g
ure. For Boardman, t h i s elaborate h y d r i a "seems to
represent the e x h a u s t i o n o f a style a n d t e c h n i q u e
w h i c h , b u t a few years before, h a d seen some
r e v i v a l o f p r i d e i n d r a u g h t s m a n s h i p a n d restraint
in decoration/'

3 4

But w h e t h e r we today consider

The conquests o f A l e x a n d e r b r o u g h t n e w
w e a l t h t o the Greek w o r l d . A s a consequence
repousse metal vessels a n d m o l d e d terracotta

t h i s vessel, or any o f the Kerch-style vases, pleas

i m i t a t i o n s became more fashionable t h a n p a i n t e d

i n g , or dismiss t h e m as gaudy objects p r o d u c e d

vases, however ornate. The Painter o f the W e d

for ostentatious foreigners, is a matter o f personal

d i n g Procession, however, adapted t o c i r c u m

taste a n d is h a r d l y relevant to the aesthetics o f the

stances and p r o d u c e d fine relief ware as w e l l as

ancient peoples w h o p r o d u c e d a n d b o u g h t t h e m ,

p o l y c h r o m a t i c red-figured vases a n d black-figurec

or the roles t h e y played i n a n t i q u i t y . As we have

Panathenaic prize amphorae. H i s h y d r i a depict

seen, the painters o f these vases n o t o n l y mastered

i n g the struggle between A t h e n a a n d Poseidon

the d e p i c t i o n o f complex figures m o v i n g con

for patronage o f A t h e n s (cat. no. 105), l i k e the

v i n c i n g l y i n three-dimensional space, a n d added

earlier squat l e k y t h o s o f Xenophantos (cat. no. 37)

profuse p o l y c h r o m y to the more austere t r a d i t i o n s

d e p i c t i n g Persian nobles h u n t i n g , was deposited

o f red-figure, b u t t h e y also seem t o have special

i n a t o m b i n Kerch, a n d i t combines a n u m b e r

ized i n themes that appealed p a r t i c u l a r l y t o t h e i r

o f elements we have seen o n earlier Kerch-style

clients.

325

35

KERCH-STYLE

vases: a complex c o m p o s i t i o n , d y n a m i c poses, anc

VASES:

THE

FINALE

Figure 7. Ivory plaque from Kul

Oba. St. Petersburg, The State
Hermitage Museum KO-116.
Photograph The State Her
mitage Museum.
Figure 8. The Judgment of
Paris. Detail of front panel
of red-figured hydria from
Alexandria. Munich, Staatliche
Antikensammlungen und
Glyptothek 2439.

r i c h p o l y c h r o m y and g i l d i n g . Xenophantos's vase

was certainly made for foreign clients, b u t i t is
h a r d to guess j u s t w h a t those w h o acquired this
p a r t i c u l a r l y A t h e n i a n motif, modeled o n the west
p e d i m e n t o f the Parthenon, made o f i t . A n d w h i l e
i t is, i n a sense, a c u l m i n a t i o n , i t also effectively
signals the end o f fine A t t i c p a i n t e d pottery.

NOTES

79.AE.147: Valavanis 1991, pis. 85-87.

14 Fless 2002, 84-95, pis. 58-65.
15 St. Petersburg, State Hermitage Museum St 1795, Kek. 8:
ARV 1475.3, 1704; BAdd 381; BAPD Vase 230421.
16 Apollo Kitharoidos: Vatican, Museo Pio Clementino, Sala
delle Muse no. 516; cf. a Greek votive relief of ca. 380 B.C.,
Sparta Museum 468: Boardman 1995, fig. 140. Barbarini
Faun: Munich, Glyptothek 218: Stewart 1990, 676; R. R.
R. Smith 1991, fig. 168. Apollo Lykeios: Boardman 1995,
fig. 65; cf. the utilization of this type on the grave stele of
Charitimos of Rhodes: R. R. R. Smith 1991, fig. 219. The
gesture is also employed by Paris on a fragmentary ivory
plaque from Kul Oba, see note 30 below and fig. 7 here.
17 ARV 1474-75.
18 British Museum GR 1862.0530.1, BM Cat Vases E 424:
ARV 1475.4, 1695; BAdd 381; BAPD Vase 230422.
19 For the Crouching Aphrodite commonly, but wrongly,
attributed to the sculptor Doidalsas based on a garbled
passage in Pliny's Natural History, see, e.g., Stewart 1990,
214, pis. 719-20; R. R. R. Smith 1991, 80-81, fig. 102;
Lullies 1954. For close parallels on gems and rings, see
Boardman 1970, pis. 638, 725.
20 Vatican 1015: Stewart 1990, pi. 573; Boardman 1995, fig.
64.
21 Quoted in Arias/Hirmer/Shefton, 384.
22 Ginouves 1994, 150, 154-61, figs. 131, 135-37; Richter
1966, esp. 19-23, fig. 73; Stewart 1990, pi. 584; Zhivkova
1975, esp. pi. 20. For turned ivory legs from ancient Nysa,
see Curtis 1996, 235, pis. 79c-d, 80a.
23 Such variations on a single theme recall the mid-fourthcentury-B.c. "Mourning Women" sarcophagus from the
royal necropolis at Sidon, now in Istanbul. Istanbul 368:
Stewart 1990, pi. 539; Boardman 1995, fig. 227. See also
previous note for other kinds of ancient furniture.
24 Ashmole 1977, 14-15, 16-17.
25 ARV 1476.
26 Valavanis 1991, 268-86, esp. 282-86; see also Robertson
2000, who believes that the fact that the Marsyas Paint
er's "two panathenaics from Eretria with the name of
Kallimedes (archon in 360/359 B.C.) show that the [Kerch]
style had reached a mature phase ten years earlier than we
had supposed . . . and there is therefore no longer any rea
son to imagine it continued far into the second half of the
[fourth] century."
27 Name vase: St. Petersburg, State Hermitage Museum
KAB 81A: BAPD Vase 46587: Valavanis 1991, pi. 146.
Panathenaics and other vases: Valavanis 1991, esp. 292312.
28 See Schefold 1985, 121, fig. 2.
29 Schefold 1934, 153; cf. the following note.
30 Hermitage K-0 116: Minns 1913, 204A-B, figs. 100-101;
Boardman et al. 1967, fig. 176; Piotrovsky, Suslov, and
Piotrovsky 1994, 235, fig. 310.
31 Munich, Antikensammlungen 2439: BAPD Vase 171;
Simon/Hirmer, pi. 240; Boardman 1989, 194, fig. 428; Rob
ertson 1992, fig. 290.
32 E.g., London, British Museum GR 1772.3-20.30, BM Cat
Vases E 224; ARV 1312.5, 1690; BAdd 361; BAPD Vase
220497; Florence, Museo Archeologico Etrusco 81947:
ARV 1312.2; BAdd 361; BAPD Vase 220494.
33 Schefold 1934, 134; Robertson 1992, 287; Valavanis 1991,
300.
34 Boardman 1989, 194.
35 See Schefold 1934, 146-51; Fless 2002.
2

The term Kerch vases was coined by Furtwangler 18831887, pis. 66, 68. Schefold 1930 and 1934 remain essen
tial. See also Bohac 1958; Boardman 1989, 190-94, figs.
372-428; Valavanis 1991; Robertson 1992, 280-91; and
the essays in Sabattini 2000. I have been unable to consult
D. Braunova, Anticke vdzy z Kerce (1981); A. Lebel. "The
Marsyas Painter and Some of His Contemporaries," D.Phil,
diss., Oxford, 1989; or 1.1. Vdovichenko, "New Vases of
Kerch Style from the Museum's Collection in Crimea" (in
Russian), Rossijskaja Archeologija 3 (2001), 67-76. Most
material from early excavations in the Crimea is now in
the Hermitage. For an overview, see, e.g., Barkova and
Kalasnik 1997, esp. 138-54; and Suslov 1994, 292-331.
More recent finds are housed in the Kerch Museum. For
the history of Greek settlement in the area and relations
with Athens, see, e.g., Minns 1913; Bouzek 1989, 1990,
1994; Tsetskhladze 1994; and Fless 2002. See Lawton
1995, 98-99, no. 35, pi. 18, for the oversized inscription
recording the Athenian decree of 347/346 B.C. honoring
the Bosporan kings (Inscriptiones Graecae n 212 = Athens,
N M 1471). For coins from Pantikapaion, see, e.g., Franke
and Hirmer 1964, pis. 142 and xv.
Schefold 1934, 154-56; Beazley 1939; Olmos 1984; Bouzek
1994; Drogou 1999; Sabattini 2000; Fless 2002.
Valavanis 1991; see also Robertson 1992, 281-91; idem
2000; Boardman 1989, 190; Richter/Hall, 214; Schefold
1934, 62-71. See also note 26 below.
Arias/Hirmer/Shefton, 382.
Robertson 1975, 436.
Arias/Hirmer/Shefton, 354-57; Robertson 1975, 242-70;
idem 1992, 180-85, 210-16; Boardman 1989, 11-15.
Schefold 1930; idem 1934; ARV . See also Boardman 1989,
190-216, figs. 372-428; Valavanis 1991; Robertson 1992,
280-91.
British Museum GR 1865.0103.14, BM Cat Vases F 68:
ARV 1446.1, 1693; Para 492; BAdd 378; BAPD Vase
218148.
Valavanis 1991, esp. 262-68.
Cf., e.g., Athens, Agora S 1882; Athens, National Archaeo
logical Museum 3716; JPGM 88.AA.76.
As Erika Simon (1997, 102) has noted, Xenophon (Hellenika 6.3.6) reports that Kallias mentioned the initiation of
Herakles and the Dioskouroi by Triptolemos on his peace
mission to Sparta in 371 B.C. Rainer Vollkommer (1988, 42),
meanwhile, has identified six other fourth-century repre
sentations of the scene, all of them Attic, one from Kerch,
and observes that gold plaques representing Herakles,
Demeter, and Persephone were placed in Scythian tombs;
see, e.g., Barkova and Kalasnik 1997, 196-97, nos. 93-95.
Munich, Antikensammlungen 2398: ARV 1446.3; Para
492; BAPD Vase 218150. See also Hemelrijk 1991, esp. 79,
81.
Brussels A 1703: Valavanis 1991, pis. 76, 77; from Eretria:
ibid., nos. K2, K4, K5, pis. 22-23, 26-29; and JPGM
2

2
3

4
5
6
7

9
10
11

12

13

326

LAPATIN

o CHAPTER

100
RED-FIGURED SQUAT LEKYTHOS
U n a t t r i b u t e d , ca. 400-375 B.c.
H 14.2 c m
B e r l i n , A n t i k e n s a m m l u n g , Staatliche Museen
zu B e r l i n P r e u i s c h e r K u l t u r b e s i t z
V . l . 3406
F r o m Greece; acquired f r o m T r i a n t a p h y l l o s
1898

Centauromachy
C O N D I T I O N : Assembled from fragments w i t h miss
ing areas restored i n plaster, esp. parts o f w o m a n
and L a p i t h at left, and most o f L a p i t h at r i g h t ;
handle missing; loss o f added colors: blue on w i n g s
of Eros and Lapith's sword, w h i t e o n animal-skin
cloak o f centaur, color (pale blue and/or white?) on
reserved parts o f woman's drapery; losses o f g i l d i n g
on h y d r i a , jewelry, and perhaps other added-clay
elements, such as wreaths and fillets.

THIS

SMALL ROUNDED

O I L V E S S E L w i t h a tall

neck a n d a broad flaring m o u t h exemplifies the

t r a n s i t i o n to early Kerch style. Its centralized r e d figure vase-painting recasts i n a romantic f o u r t h c e n t u r y v e i n the classic story o f the battle o f the
L a p i t h Greeks and the centaurs, w h i c h began at
the w e d d i n g feast o f Peirithoos, w h e n d r u n k e n
centaurs t r i e d to rape the b r i d e and other w e d d i n g
guests. The focal p o i n t o f t h i s squat lekythos's
c o m p o s i t i o n is a seemingly t r a d i t i o n a l rape g r o u p
o f a centaur a n d a w o m a n . A t the left, a L a p i t h
rushes to the rescue, w i e l d i n g i m p r o v i s e d weap
onsa r o c k and, probably, a lampstand ( b o t t o m
m i s s i n g j ^ w h i l e a distressed female figure t h r o w s
u p her a r m i n shock a n d fear. Here, however,
the o f f e n d i n g centaur is y o u t h f u l and handsome
rather t h a n bearded and snub-nosed (cf. cat. nos.
1, 4, 6). He a n d the b e a u t i f u l y o u n g Greek w o m a n

327

KERCH-STYLE

VASES

100.1

i n his arms have m a t c h i n g classical profiles, a n d

t h e y gaze a d o r i n g l y i n t o each other's eyes. The
y o u n g god o f love, Eros, flies o f f to the r i g h t ,
l o o k i n g back at the couple. The t o p p l e d h y d r i a
below h i m is a t y p i c a l element o f fights at the
feast, and, at the r i g h t , a L a p i t h attempts t o stab
a s t r u g g l i n g centaur i n a b r u t a l fight group (fig.
100.2).
G r o w i n g o u t o f the elaborate M e i d i a n aes
thetic (cf. cat. no. 35) o f the late fifth century,
this lekythos's red-figure is t e c h n i c a l l y f l o r i d i n
a manner designed to appeal to f o u r t h - c e n t u r y
taste. M u c h use is made o f added clay for elements
that were o r i g i n a l l y colored, such as Eros's blue
w i n g s , or g i l d e d , such as the h y d r i a a n d p r o b
ably the hearts o f the ornamental palmettes. A
q u i t e remarkable feature is the

three-dimensional

m o d e l i n g o f the heroine's breasts i n added clay.

This small detail presages the f o u r t h - c e n t u r y
A t h e n i a n p o t t e r y fashion o f r e n d e r i n g a vase's
central figures i n clay relief (cf. cat. no. 105). A s
is characteristic o f later red-figure, here m u c h use
is made o f added w h i t e , n o t o n l y for the central
female herself, b u t also for the horse p a r t o f the
handsome centaur a n d for the b o d y o f the f l y i n g
Eros. I n Kerch-style fashion, the dress covering
the b u x o m female is e n t i r e l y transparent, reveal
100.2

ing her w h i t e flesh as i f she were nude; however,

the s w i r l i n g s k i r t a r o u n d her legs a n d her t r a i l
ing mantle, w h i c h are reserved against the black
g r o u n d , were o r i g i n a l l y enhanced w i t h a different
added color. Interestingly, this l i t t l e vase already
displays the p r o c l i v i t y o f Kerch-style vasepainters for focusing t h e i r p r i n c i p a l effort t o w a r d
the center o f the composition: Here are g r o u p e d
the major w h i t e , colored, g i l d e d , and relief ele
ments, w h i l e the edges o f the scene, w h i c h recede
i n technical emphasis, e x h i b i t more t r a d i t i o n a l
reserved red-figure forms.

REFERENCES: Ducati 1906a; Hahland 1931, 5, 4 8 ^ 9 ; Neugebauer

1932, 133, inv. 3406; Schefold 1934, 140, under no. 2.
Preserved fifth-century monuments that depict the Centauromachy at the wedding feast include south metopes of the Parthe
non: Boardman 1985a, figs. 91.111, and the west pediment of
the Temple of Zeus at Olympia: Boardman 1985a, figs. 19, 21.2-8,
esp. 21.4. There was also a famous now-lost Early Classical wallpainting in the Theseion in Athens (Pausanias 1.17.1).

328

KERCH-STYLE

VASES

101
RED-FIGURED HYDRIA

handles, are rendered w i t h standard red-figure

reserve against the glossy black g r o u n d . I n con
trast, the m o n u m e n t a l head o f the goddess, w h i c h
is about 8 . 5 cm h i g h , is p a i n t e d w h i t e . I n n e r

A t t r i b u t e d t o the Herakles Painter,

ca. 3 7 0 B.c.

details are delineated d i r e c t l y u p o n t h i s b r i g h t

H 3 0 . 8 cm

c h a l k y w h i t e i n g o l d e n - b r o w n d i l u t e gloss. Thus

Brussels, M u s e s Royaux d ' A r t et d ' H i s t o i r e

the features o f the goddess's face, i n c l u d i n g her

R 286

straight Classical nose, are d r a w n i n three-quarter

F r o m Capua; gift 1 8 7 4 ; f o r m e r l y M u s e de

v i e w b y means o f simple d i l u t e outlines. Dots o f

Ravestein; c o l l e c t i o n o f Prince Napoleon

d i l u t e describe the delicate d i a m o n d p a t t e r n o f

the w h i t e sphendone that envelops her hair. The

A n o d o s of a goddess (Aphrodite

or

Persephone)

corkscrew curls that fall beside her cheeks are

d r a w n i n d i l u t e gloss o n the w h i t e , w h i l e the mass

C O N D I T I O N : Excellent; intact; some chips,

o f c u r l y locks at the back o f her head is p a i n t e d

scratches and abrasion o f black gloss; surface

w i t h r a p i d strokes o f black gloss o n reserved

cracked around base o f rear handle; traces o f

areas.

grayish-white incrustation on upper front o f vase

body; w h i t e on female head p i t t e d ; surface chip

This hydria's astonishing use o f w h i t e grows

o u t o f the later

missing from her sphendone.

fifth-century

red-figure fashion

for d i s t i n g u i s h i n g female flesh that enjoyed con

THE

GIGANTIC

HEAD

OF A GODDESS

rises

t i n u e d p o p u l a r i t y i n the f o u r t h (cf. cat. nos. 3 4 ,

f r o m the earth at the center f r o n t o f this magnifi

1 0 0 , 1 0 3 ) . Its special technical focus o n the center

cent Kerch-style h y d r i a . Her s t a r t l i n g e p i p h a n y

front and relegation o f t r a d i t i o n a l red-figure to the

is accompanied b y a graceful pair o f f l y i n g Erotes

p e r i p h e r y is t y p i c a l o f the Kerch style. Schefold

a n d flanked b y t w o b a l d i n g satyrs. These satyrs

a t t r i b u t e d t h i s p o t to his Herakles Painter, a rela

have been u s i n g axes to p o u n d the earth i n an

t i v e l y early and careful Kerch-style master, whose

a n t i c i p a t o r y r i t u a l ; now, d r a w i n g back i n w o n

name vasea pelike i n B e r l i n d e p i c t s the Greek

der, t h e y seem to step o u t o f the vase-painting

hero.

as t h e i r feet overlap the egg p a t t e r n o f the lower

ornamental border. I n Classical imagery, anodoi
(risings) o f several female characters, i n c l u d i n g
A p h r o d i t e , Persephone, and Pandora, are repre
sented. The goddess depicted o n this h y d r i a has
generally been called A p h r o d i t e because o f the
Erotes h o v e r i n g nearby (cf. cat. no. 8 9 ) . A m o n g
the scholars w h o prefer to see her as Persephone,
K a r l Schefold ( 1 9 8 1 ) has argued that such satyrs
n o r m a l l y belong to the iconography o f the r e t u r n
o f Demeter's daughter f r o m the U n d e r w o r l d .
T h i s hydria's male figures and its stately orna
ment, i n c l u d i n g the palmettes at the side and back

329

KERCH-STYLE

VASES

REFERENCES: ARV 1472.4; BAdd 381; BAPD Vase 230395; CVA

Brussels 2 [Belgium 2] 2, pi. 2.4a-c; Frhner 1867, no. 4, 24-35,
pi. 6; Frhner 1868, 64-65, no. 94; Meester de Ravestein 1871,
152-54, no. 194; Frhner 1873, 68-69, 72, 74, pi. 21; Frhner
1884, 214-15; Robert 1886, 198, no. B, 199-200, pi. 5b (cited as
in Paris); Robert 1914, 21-22 (cited as in Paris); Ducati 1916, 310;
J. E. Harrison 1922, 639, fig. 173; Guarducci 1930, col. 11, no. 4,
cols. 12, 35; Schefold 1934, pi. 18, no. 146, 83, 86, no. 17, 138,
158, pi. 1.1; Nilsson 1935, 134, no. 11; Metzger 1951, 76, no. 18,
77, pi. 4.2; Buschor 1969, 254-55, fig. 260; Brard 1974, 67, 70,
171, pi. 7, fig. 25; Schefold 1981, 72, fig. 88; LIMC I I (1984) s.v.
Aphrodite, 114, no. 1166, pi. 116. Aphrodite 1163 (A. Delivorrias); Boardman 1989, 191, fig. 377.
For the Herakles Painter's name vase, Berlin, Antikensammlung
F 2626, see ARV 1472.1; BAdd 381; BAPD Vase 230392.
2

102
BELL-KRATER

The three central figures are framed b y a

bearded t w i s t i n g satyr w e a r i n g a spotted a n i m a l

A t t r i b u t e d t o the Pourtales Painter,

skin and a w h i t e wreath, and by a woman i n a

ca. 370 B.c.

peplos ( w i t h w h i t e shoulder pins) seated o n a r o c k

H (restored) 35.3 cm; D i a m 35.1 c m

b e h i n d a cursory V-shaped object, perhaps repre

Berlin, A n t i k e n s a m m l u n g , Staatliche Museen

senting a cave. She, too, is w r e a t h e d , wears w h i t e

zu B e r l i n P r e u i s c h e r K u l t u r besitz 31094

earrings and bracelets, a n d holds a staff. Her torso

Purchased 1928; f o r m e r l y G i o v a n n i

is depicted i n three-quarter v i e w , facing left,

Carafa collection, Naples; Champernowne

but she t u r n s back t o w a r d the center, her face i n

collection, L o n d o n ; k n o w n since 1737 w h e n

profile.

i n the possession o f M a t t e o Egizio, Naples

Both Hermes a n d the satyr have t h e i r feet

p l a n t e d o n the g r o u n d , b u t Herakles' legs are cut

A , Herakles

carrying

a bearded man with a

off at the ankles, as i f his feet are submerged i n

water, w h i c h is depicted b y waves a n d b y five fish

cornucopia
B, three draped

scattered across the b o t t o m o f the scene. These

youths

are rendered i n a d i s t i n c t i v e technique: O r i g i n a l l y

C O N D I T I O N : Good. Reassembled from fragments;

d r a w n i n black gloss o u t l i n e over the clay g r o u n d ,

paired d r i l l holes, n o w filled, from an early m o d

t h e y were covered w i t h a t h i c k , solid ( n o w crack

ern restoration; original foot and lower stem lost;

led) layer o f added red resembling that used a

re-restored at the Getty M u s e u m i n 2005; breaks

inpainted; head and shoulders o f satyr o n side A
severely abraded; m o d e r n overpainting there

c e n t u r y a n d a h a l f earlier o n a b i l i n g u a l eye-cup
a t t r i b u t e d to Oltos (cat. no. 4). Surface details

removed b y Getty conservators i n 2005, revealing

were t h e n p a i n t e d i n added w h i t e a n d a s h i n y

traces o f beard, depicted i n early engravings, b u t

vitreous d i l u t e y e l l o w (fig. 102.2). This t e c h n i q u e

obscured i n p u b l i s h e d photographs; surface flakes

is anomalous, b u t i t is similar t o that employed for

lost from satyr's chest and abdomen and from left

knee and ankle o f the w o m a n opposite; added w h i t e
of her bracelets lost, leaving ghosts; added w h i t e

the cornucopia carried b y the o l d m a n ( a l t h o u g h

the red layer o f the cornucopia is considerably

and added red crackled; parallel streaks o f red mis

t h i n n e r ) and to depictions o f metallic, or golden,

firing

surfaces o n other vases, a n d t h u s appropriate for

around the lower body due to t h i n l y applied

black gloss.

the s h i n y scales o f fish.

A l t h o u g h the scene depicted here has i c o n o -

HERAKLES,

B E A R D L E S S a n d w i t h his trade

m a r k l i o n s k i n t i e d a r o u n d his waist, carries an o l d

graphic parallels, i t is n o t recorded i n any s u r v i v

i n g l i t e r a r y source a n d t h u s remains the subject

m a n across a b o d y o f water. The m a n s c u r l y hair

o f scholarly debate. I n 1737 G o r i saw Herakles

a n d beard are rendered i n added w h i t e , w i t h y e l

t r a n s p o r t i n g the s p i r i t o f a hero across the ocean

l o w h i g h l i g h t s , as is the large cornucopia he car

to E l y s i u m . Passed (1770) t h o u g h t the vase rep

ries. T h i s t e c h n i q u e is t y p i c a l o f Kerch-style vases.

resented the apotheosis o f Bacchus, w h i l e Chris

The m a n wears a h i m a t i o n a r o u n d his waist, leav

tie (1806 a n d 1825) recognized Aeneas c a r r y i n g

i n g his upper torso bare, a n d he rides the y o u n g

Anchises. Welcker (1851), f o l l o w e d b y many

hero as i f p l a y i n g the children's game

scholars, argued that Herakles carries P l o u t o n

ephedrismos

( p i g g y b a c k ) . Hermes leads t h e m , c a r r y i n g his

(Hades) o u t o f the U n d e r w o r l d . Others have mis

kerykeion

t a k e n l y confused P l o u t o n w i t h Ploutos (Wealth)

w i t h w h i t e dots, i n his r i g h t h a n d . He

wears a w h i t e petasos, a n d his head, i n profile

due to the cornucopia. Van Straten (1974) sug

v i e w , is t u r n e d back t o w a r d the protagonists.

gested that the o l d m a n is Palaimon, a sea god

His chlamys frames a muscular torso. O n a c a l y x -

w h o came t o the a i d o f a n d was p a t r o n o f the

k r a t e r n o w i n Kyoto the Pourtales Painter depicted

I s t h m i a n games. He was b o r n M e l i k e r t e s , the son

Dionysos i n the i d e n t i c a l pose, w h i c h recalls fig

o f I n o , b u t w h e n his m o t h e r was d r i v e n mad a n d

ures o n the Parthenon.

leapt i n t o the sea w i t h h i m i n her arms, b o t h were

331

KERCH-STYLE

VASES

t r a n s f o r m e d b y Poseidon. Often d e p i c t e d as a boy,

he also has a c h t h o n i c aspect a n d appears i n A t t i c
art as a bearded m a n w i t h a c o r n u c o p i a . O n o t h e r
f o u r t h - c e n t u r y A t t i c kraters a n d cups he appears
w i t h Herakles a n d satyrs a n d , occasionally, w i t h
A t h e n a . These scenes may refer t o t h e i n t r o d u c
t i o n o f his c u l t t o A t t i k a . I f t h e m a i d e n o n the
left is n o t I n o , she may be a maenad w h o , w i t h
t h e satyr, alludes t o t h e D i o n y s i a n f u n c t i o n o f t h e
vessel.
A n elongated r e d - f i g u r e l a u r e l w r e a t h encircles
t h e vessel beneath t h e l i p , a n d a meander i n t e r
r u p t e d b y c h e c k e r b o a r d squares r u n s c o n t i n u
ously below b o t h

figural

scenes a n d t h e stacked

palmettes beneath t h e handles. D o t t e d tongues

m a r k t h e handle-roots. A n e w foot a n d taller stem,
added t o t h e k r a t e r b y G e t t y conservators i n 2005
o n t h e m o d e l o f a better-preserved k r a t e r b y t h e
same p a i n t e r i n t h e B r i t i s h M u s e u m (F 68, see L a p a t i n , chap. 9, fig. 1), g i v e the vessel a more elegant
and refined p r o f i l e .
KENNETH LAPATIN

REFERENCES: ARV 1446.2, 1693; BAPD Vase 218149; Gori 1737,

xxxvn, 298, pi. 159; Passed 1770, 7-8, pi. 104; Daniele 1778, 8,
pi. 35; Christie 1806, 83, pi. 15; Christie 1825, 94-95, pi. 15; F. G.
Welcker 1851, 303-309, pi. 19,1; Preller 1855, 24, 27, pi. n.2;
Furtwangler 1886-1890, 2186-87; Reinach 1922, 340; Sotheby,
Wilkinson, & Hodge, sale, London, 27-28 April 1922, 17, lot 150;
Neugebauer 1932, 131, pi. 69; Brommer 1937, 45, no. 64; van
Hoorn 1942, 8, fig. 17; Metzger 1944-1945, 320, fig. 9; Metzger
1951, 196, pi. 27.1; Schauenburg 1953, 44, no. 11, 50, 55; Brom
mer 1959, 73, no. 88; Brommer 1973, 191, B10; van Straten 1974,
170-72, fig. 24; Brommer 1984, 104; LIMC iv (1988) 179-80, no.
3496, s.v. Herakles (J. Boardman), and 380, no. 71, s.v. Hades
(R. Lindner et al.); Vollkommer 1988, 43-45, no. 289; Boardman
1989, 190-91 andfig.373; Hemelrijk 1991, 86, fig. 6; Valavanis
1991, 263, pi. 96a, b; LIMC vi (1992) 442, no. 52, s.v. Melikertes
(E. Vikela and R. Vollkommer); Bemmann 1994, 309, no. A16, fig.
11; LIMC vn (1994) 419, s.v. Ploutos (K. Clinton); Paul-Zinserling
1994, 24-25, pi. 1.3; Vikela 1994, 119-20; LIMC vm (1997) 1111,
no. 12, s.v. Silenoi (E. Simon).
For ephedrismos, see Neils and Oakley 2003, 275-76. The krater
in Kyoto is BAPD Vase 7228. For Hermes' pose, see Parthenon
south metope 27, north metope 28, north frieze 65: Boardman
1985a, figs. 91.6, 87.28, 96.11. For parallels to the technique
employed on the fish, see Wehgartner 2002, esp. 91. For the
standard depiction of three stock figures of draped youths on
the reverse, see, e.g., Hemelrijk 1991, 86, fig. 6. Dr. Angelika
Schone-Denkinger kindly supplied references for this vase from
her forthcoming CVA.

333

KERCH-STYLE

VASES

102.2

103
RED-FIGURED LEBES GAMIKOS

the center f r o n t o f the vase, she recalls contempo

r a r y images o f A p h r o d i t e (cf. cat. no. 89). A t i n y
Eros h e l d i n the crook o f her arm, w h o reaches o u t

A t t r i b u t e d to the Marsyas Painter,

w i t h c h u b b y hands l i k e a h u m a n baby, alludes to

the bride's essential social role o f c h i l d b e a r i n g .

ca. 360 B.C.

Visualized almost exclusively w i t h f u g i t i v e

H 4 5 . 8 cm
St. Petersburg, The State Hermitage Museurr

special techniques, the b r i d e s f o r m is n o w a mere

ghost. Her p a i n t e d facial features have vanished,

P 1906.175
F r o m Kerch 1906; acquired 1910

and, a l t h o u g h she is f r e q u e n t l y described as bare

breasted, a fine garment may have been i n d i c a t e d

Women bringing gifts to a new bride (epaulia)

w i t h lines o f d i l u t e or even added i n color u p o n

her upper body. The color p a i n t e d over the n o w -

C O N D I T I O N : Assembled from fragments w i t h m i n o r

reserved h i m a t i o n that envelops the b r i d e and

losses, e.g., on shoulder of side B; abraded cracks

veils her wre a the d head has disappeared entirely;

along j o i n s r u n t h r o u g h most figures; surface p i t t e d

traces o f green were said to be o n this garment

erosion on lower body and foot; much g i l d i n g flakec

w h e n the vase was discovered. Circlets o f

from e x t r u d e d clay details; colors painted on top o f

reserved forms lost, i n c l u d i n g o n bride's garment,
gift to left o f bride, and box and r o l l beneath A / B

e x t r u d e d clay s p r i n k l e d over her h i m a t i o n '

surface were often described as g i l d e d ,

handle; losses i n w h i t e color on flesh o f Erotes and

t h o u g h no g i l d i n g remains now. Dis-

bride and on her throne, a chest, and other gifts;

t i n c t i v e extruded-clay circlets also

anatomical features painted on top o f w h i t e flesh

lost; clay c h i p p e d on l i d and k n o b .

describe dress pins o n v i s i t i n g worn

en's garments; significant remains
o f g i l d i n g have been preserved o n

THIS

EXQUISITE

S T A N D L E S S lebes g a m i k o s

a l i d d e d vase p r o b a b l y used for n u p t i a l bathwater

these and other clay-relief details,

such as headbands, wreaths

or foodis l a v i s h l y decorated all the w a y a r o u n d .

and j e w e l r y as w e l l as o n

I t may w e l l be the finest preserved A t h e n i a n

the Erotes' w i n g s .

w e d d i n g vase. A t t r i b u t e d to the last great A t t i c

The once e n t i r e l y

vase-painter, k n o w n as the Marsyas Painter after

g i l d e d offering

the satyr Marsyas s h o w n i n his h u b r i s t i c musi

basket (kau-

cal contest w i t h the god A p o l l o o n a pelike i n St.

non) h e l d b y

Petersburg (Lapatin, chap. 9, fig. 2), this Kerch-

the w o m a n at

style lebes elevates the p o s t - n u p t i a l r i t u a l o f the

the r i g h t is an

epaulia f r o m d a i l y life to a d i v i n e realm. On the

extraordinary

m o r n i n g after an A t h e n i a n w e d d i n g , w o m e n bear

specimen o f spa

i n g impressive gifts w o u l d v i s i t the b r i d e i n her

tially illusionistic,

n e w home. Here this festive domestic occasion

assured d r a w i n g

w i l l be enlivened w i t h a r e c i t a t i o n b y the y o u n g

w i t h e x t r u d e d clay.

w o m a n h o l d i n g a scroll, w h o stands u n d e r the B

Originally, the v i e w

root o f the A / B handle (fig. 103.2), and perhaps

er's eye w o u l d have

w i t h a dance b y the adjacent w o m a n completely

been led a r o u n d the vase

w r a p p e d i n her mantle. A flock o f svelte Erotes

b y its g l i t t e r i n g golden

emphasized b y w h i t e flesh and the once e n t i r e l y

details. This once-gilded relief-

g i l d e d extruded-clay feathers o f t h e i r graceful

w o r k extends to the e x t r u d e d -

w i n g s h a v e crashed the party. The bride, w h o

clay dots and r i b s o f the floral

is also d i s t i n g u i s h e d b y w h i t e flesh, is flanked

ornament and egg patterns o n

b y t w o o f these Erotes: One crowns her w h i l e the

the vessel's shoulder as w e l l as the

other peers over her chair 's back. E n t h r o n e d at

o l i v e - b r a n c h a r o u n d the lid's edge and

335

KERCH-STYLE

VASES

103.2

a rosette or star burst atop its finial. This plastic

finial,

shaped l i k e an amphora w i t h o u t handles,

emphasizes the p o t s central axis over the verticals

of the t a l l black looped handles at the sides o f the
body.
The bride's resplendent attire must have o u t
shone even the elaborately p a t t e r n e d garment o f
the gift-bearing w o m a n to the immediate left. Yet
the dress o f the female visitors is described b y
superb calligraphy t h a t expresses b o t h the fall o f
c l o t h draped a n d w r a p p e d a r o u n d the b o d y a n d
the s c u l p t u r a l d e p t h o f its folds. L i n e d r a w i n g
o n t o p o f reserve suggests three-dimensionality
i n the spaces beneath the vessel's handles. Under
the B / A handle, the f r o n t a l face o f a g i r l is d r a w n
u p o n the large draped object she carries o n her
shoulder (fig. 103.3). This sort o f d r a w i n g also
characterizes the black-figured lebes gamikos car
r i e d b y the w o m a n before her. Under the opposite
handle, a w o m a n , w i t h her face d r a w n i n threequarter v i e w , bends over to set d o w n a speaking
p l a t f o r m for the scroll reader. The Marsyas Painter
is p a r t i c u l a r l y f o n d o f d e p i c t i n g the female b o d y
i n a three-quarter v i e w f r o m the back, and even
the l i t t l e g i r l presenting a lekanis to the b r i d e is
s h o w n f r o m this angle. Such complex spatiality
pushes the fundamental b o n d between red-figure
vase-painting a n d a vase's surface to its l i m i t .

103.3

REFERENCES: ARV 1475.1; Para 495; BAdd 381; BAPD Vase

230419; Pharmakowsky 1907, 131-38, figs. 3-7; Luk janov
and Grinevich 1915, 37, no. 1, pis. 1-4; Schefold 1930, 8, 15,
16-18, 22, pis. 19-20; Schefold 1934, 30-32, no. 286, pis. 33-34;
Rumpf 1953, 134-36, pi. 43.2; Kraiker 1958, 163, pi. 59; Arias/
Hirmer/Shefton, pis. 225-28; Boardman et al. 1967, 455, pi. 268;
Schneider-Herrmann 1969, 138, fig. 5, 140; Zinserling 1973,
50; Gorbunova and Saverkina 1975, no. 66; Simon/Hirmer, 21,
159-60, pis. 236-39; Ashmole 1977, 15, 17, pi. 6.1-3; Bazant
1981, pi. II.4; Schefold 1981, 201, fig. 275, 202, 203; Riihfel 1984b,
110-11, fig. 62; Reinsberg 1989, 67, figs. 22a-d; Valavanis 1991,
269, no. 1, 272, 278-79, pis. 102-105, 119g; Robertson 1992,
282-83; Boardman 1993, 145, fig. 140; Oakley and Sinos 1993, 40,
123-26, figs. 124-27; Zurich 1993, 168, no. 82, 169; Sgourou 1994,
176-77, 180-82, 298-99, no. R86, pi. 50; Suslov 1994, 304, no.
288, 305, left; Lissarrague 1996, 426, 431, fig. 127; Tiverios 1996,
200, fig. 183, 334-35; Barkova and Kalasnik 1997, 138-40, no. 50
(J. Kalasnik); Boardman 2001, 100, fig. 135, 102; Piotrovsky 2000,
fig. on 170.
See Lapatin, chap. 9, and cat. no. 39 for dating the Marsyas
Painter's red-figure work on the basis of black-figured Panathenaic amphorae by his hand and for Valavanis's (1991) proposed
joining of the Marsyas and Eleusinian Painters.

336

KERCH-STYLE

VASES

104
RED-FIGURED PELIKE
A t t r i b u t e d to the Painter o f the W e d d i n g
Procession, ca. 360 B.C.
H 48.3 cm
M a l i b u , J. Paul Getty M u s e u m 83.AE.10
European art market; purchased 1983

A , Judgment
B,

of

Paris

Amazonomachy
C O N D I T I O N : Excellent; body intact; neck and
m o u t h assembled from fragments; black gloss flaked
on A / B handle, on vase body and foot below the
handle, and at left o f scene on side B; much o f g i l d
i n g on extruded-clay elements missing; some flaking
of added colors, especially on Hera's garment and
on side B; w h i t e incrustation on bodies o f Hera and
Paris.

INSPIRED

B Y C O N T E M P O R A R Y free p a i n t

i n g and sculpture, the Painter o f the W e d d i n g

Procession flaunts his b r a v u r a mastery o f several
techniques i n the m o n u m e n t a l c o m p o s i t i o n o f
statuesque, carefully posed figures o n the obverse
o f t h i s large storage jar, w h i c h depicts a suspensef u l m o m e n t o f the m y t h that led to the Trojan
War. Here the Trojan p r i n c e Paris, w h i l e serving
as a shepherd o n M t . Ida, judges the beauty o f
Hera, A t h e n a , and A p h r o d i t e , the three O l y m p i a n
goddesses l e d to h i m b y Hermes, w h o n o w looks
o n at the far left. Suggesting the remote, r u r a l
location, Paris wears o r i e n t a l dress and is seated
o n a r o c k beside a s p i n d l y olive tree. He has not
yet a n n o u n c e d his decision i n favor o f A p h r o d i t e
a n d her promise o f the b e a u t i f u l Helen for a b r i d e .
T h u s a l l eyes are u p o n Paris as his o w n gaze t u r n s
t o w a r d the far r i g h t where the goddess o f love
waits, e n t i r e l y w r a p p e d i n her h i m a t i o n l i k e a
mantle-dancer at a w e d d i n g celebration (cf. cat.
nos. 88, 103).
T h i s impressive vase-painting enriches our
k n o w l e d g e o f flamboyant Kerch style. Set against
a t r a d i t i o n a l black g r o u n d , a l l o f the central forms
i n the c o m p o s i t i o n have been visualized t h r o u g h
special techniques more t h a n t h r o u g h red-figure
reserve. Thus, for the y o u t h f u l Paris, red-figure
has been l i m i t e d to his face and hands, w h i l e

337

KERCH-STYLE

VASES

104.1

i n g . Athena's peplos, w h i c h has extruded-clay

dots over its surface, is p a i n t e d green w i t h a mala
chite p i g m e n t . E x t r u d e d clay t o p p e d b y g i l d i n g
defines her j e w e l r y and crested C o r i n t h i a n helmet,
her scaly aegis, and her spear. Athena's shield has
a once-gilded M a c e d o n i a n star device (cf. cat. no.
105) and an outer border w i t h e x t r u d e d clay dots.
The deities i n t r a d i t i o n a l red-figure at the sides o f
the c o m p o s i t i o n are embellished w i t h details i n
g i l d e d raised clay: Hermes' kerykeion a n d hair f i l
let, and A p h r o d i t e ' s w r e a t h and earrings.
As is characteristic for Kerch-style p e l i k a i , the
painter o f t h i s vase has showered his a t t e n t i o n o n
the obverse rather t h a n the reverse, w h i c h here

his P h r y g i a n cap

contains a pedestrian three-figure A m a z o n o m a c h y

a n d rustic c l u b as

w i t h a b i t o f added w h i t e and g i l d e d e x t r u d e d

w e l l as the olive

clay. Yet the overall d i s p o s i t i o n o f decoration

tree, w h i c h were

b e a u t i f u l l y enhances the vase's shape. Figures fan

originally gilded, all

out over the broad, l o w - s l u n g b o d y u n c o n f i n e d

have been delineated

w i t h lines and dots
o f e x t r u d e d clay. This
concentration o f g i l d e d

104.2

b y panels, a n d those at the sides i l l u s i o n i s t i c a l l y

overlap the large palmette configurations i n the
spaces beneath the handles. Egg-and-dart patterns
r u n a l l the w a y a r o u n d the vase i n borders b o t h

clay relief continues o n

below the figures and o n the pelike's o v e r h a n g i n g

l i s tunic's borders and his

l i p , w h i c h is broader t h a n its c o m p o u n d foot. O n

belt. Paris's exotic attire is

side A central r i b s o f once-gilded e x t r u d e d clay

also b r i l l i a n t l y colored w i t h

enhance the eggs o n the l i p , and the upper p i c t u r e

nonceramic pigments: E g y p
t i a n blue for the t u n i c , cinnabar red

border contains a r u n n i n g spiral h i g h l i g h t e d w i t h

once-gilded extruded-clay dots. The fact t h a t the

on the sleeves a n d trousers, and a m i x t u r e o f red

upper border o n A has n o t been a l i g n e d precisely

a n d w h i t e for the p i n k d r a p e r y falling across his

w i t h the s t y l i z e d m y r t l e - w r e a t h upper border o n

lap. Moreover, the c l o t h o f his garments is studdec

B is a sign t h a t A t t i c red-figure vase-painting has

w i t h raised clay dots t h a t must once have glittered

n o w nearly r u n its course.

w i t h gold.
This vase-painting r e q u i r e d careful advance
p l a n n i n g , for its m i x e d media necessitated d i v i d
i n g the execution i n t o pre- and p o s t - f i r i n g stages.
W h i l e e x t r u d e d clay and t r a d i t i o n a l black gloss
w i t h reserve were a p p l i e d before f i r i n g , b r i g h t
colors a n d g i l d i n g h a d to be a p p l i e d afterward. I n
a d d i t i o n , the flesh o f Hera and A t h e n a and o f the
l i t t l e Eros, w h o reaches for his mother, is p a i n t e d
w i t h a w h i t e , similar to a w h i t e g r o u n d , w h i c h
scientific testing has s h o w n was fired onto the
vessel, along w i t h the linear black facial features
o f these figures. Hera's j e w e l r y , dress pins, foliate
c r o w n , and scepter are a l l g i l d e d relief; her dress
was p a i n t e d w i t h a t h i c k w h i t e p i g m e n t after fir

338

KERCH-STYLE

VASES

REFERENCES: BAPD Vase 13371; "Acquisitions/1983," GettyMusJ 12 (1984) 241-42, no. 52; Schefold 1985; JPGM Handbook
1986, 51; Noble 1988, jacket, pi. 8, 141; Schefold and Jung 1989,
110, fig. 89; JPGM Handbook 1991, 50; Valavanis 1991, 292-95,
352, i l l . , pis. 140-41; Vallera-Rickerson and Korma 1992, 86, fig.
14; LIMC VII (1994) s.v. Paridis Iudicium, 181, 52a, pi. 118 (A.
Kossatz-Deissmann); Sparkes 1996, 26, fig. 1.19; JPGM Handbook
1997, 52; JPGM Antiquities Masterpieces, 56; JPGM Handbook 2001,
14, 52-53; Clark, Elston, and Hart 2002, 95, fig. 91, 102,fig.96;
JPGM Antiquities Handbook 2002, 83; Scott and Taniguchi 2002;
Spivey and Squire 2004, 108-109, fig. 182, 113.
For dating the Painter of the Wedding Procession's oeuvre on
the basis of his black-figured Panathenaic amphorae, see Lapatin,
chap. 9. See Maish, Svoboda, and Lansing-Maish, Technical Stud
ies, about preserved evidence of a binder on this vase. For the
Amazonomachy on side B, see Schefold 1985, 121,fig.2.

105
RED-FIGURED RELIEF HYDRIA

ther t h a n the pelike i n seeking naturalistic threedimensional effects that recall f o u r t h - c e n t u r y

m o n u m e n t a l p a i n t i n g as w e l l as sculpture. Here

A t t r i b u t e d to the Painter o f the W e d d i n g

the d y n a m i c clay-relief bodies o f the opposing

Procession, ca. 360350 B.C.

deities, ca. 3 m m deep, were modeled freehand,

H 51 cm

w h i l e t h e i r heads were made i n molds. Poseidon's

St. Petersburg, The State Hermitage M u s e u m

preserved bearded head is ca. 1.2 cm deep. These

P 1872.130

figures' flesh and other relief details, such as

F r o m Kerch 1872; acquired 1872

Athena's shield w i t h its Macedonian-star device,

the snakes o n her diagonal aegis, and the large

Contest between Athena

of

and Poseidon for the land

snake o n the tree, were p a i n t e d mustard y e l l o w

over a w h i t e base coat. Athena's dress was green

Attika

and p i n k w i t h a mustard-yellow l o w e r border.

C O N D I T I O N : A n c i e n t repair on lower back of body;

Poseidon's cloak is p i n k inside and w h i t e outside.

missing back o f left handle restored; fragments re

Traces o f g i l d i n g remain o n extruded-clay details,

attached on edge o f foot; black gloss on neck

chipped; some relief decoration missing, i n c l u d i n g
part o f Dionysos's thyrsos, Athena's head, her r i g h t
foot, part of her drapery, upper part of olive tree's
t r u n k , part o f snake, Poseidon's lower r i g h t arm save
for the hand, his feet except for a r i g h t toe; parts o f
Athena's drapery and Poseidon's lower left arm re
attached; c h i p i n surface o f temple; most o f g i l d i n g
on relief elements lost; much loss o f painted colors.

i n c l u d i n g Nike's outspread w i n g s , the olive tree,

Athena's spear, Poseidon's t r i d e n t , and the laurel
w r e a t h o n the neck o f the vase.
As is t y p i c a l o f Kerch style, the sides o f the
scene are t e c h n i c a l l y less elaborate t h a n the
center. A t the left, p a i n t e d i n red-figure, are
Dionysosa major d e i t y i n A t h e n i a n c u l t , w h o
here supports A t h e n a a n d a half-nude female
figure r e c l i n i n g above the pot's side handle, w h o

EVER

SINCE

T H E 1872

D I S C O V E R Y of this

has been v a r i o u s l y i d e n t i f i e d (e.g., Aglauros,

i m p o s i n g Kerch-style h y d r i a , its relief d e p i c t i o n

daughter o f Kekrops; or the personification o f

o f A t h e n a a n d Poseidon v y i n g for A t t i k a has

A t t i k a ) . Interestingly, Dionysos's thyrsos,

been recognized as a reflection o f the lost central

overlaps A t h e n a i n the central area, has a head

which

sculptures f r o m the Parthenon's west pediment

modeled f u l l y i n relief. The black-spotted w h i t e

o f the 430s B.C. Details o f this m o n u m e n t a l p r o

panther accompanying the god was p a i n t e d over

t o t y p e f r o m the Classical A t h e n i a n A k r o p o l i s

a silhouette reserved i n the black g r o u n d . G i l d

were altered i n the pot's compressed narrative

i n g extended to the edges o f the c o m p o s i t i o n for

c o m p o s i t i o n , w h i c h includes the gifts created b y

e x t r u d e d clay-relief details such as the woman's

the o p p o s i n g deities: Athena's olive tree, here

j e w e l r y , the god's i v y w r e a t h , and the shaft o f his

g u a r d e d b y a snake, a n d Poseidon's salt-water

thyrsos.

s p r i n g w i t h leaping d o l p h i n s . A t the center, a par

i n the palmette c o n f i g u r a t i o n o n the vase's back,

Gold leaf also embellished raised clay dots

t i a l l y draped N i k e flies d o w n to celebrate Athena's

i n the meander border below the figural decora

v i c t o r y . O n t h i s tall-necked h y d r i a a p r i n c i p a l

t i o n , and o n p r o j e c t i n g clay r i b s o f the egg-and-

f o u r t h - c e n t u r y vase shapean A t h e n i a n legend

dart p a t t e r n a r o u n d the vessel's m o u t h .

was t r a n s p o r t e d far to the n o r t h , where the vessel

On the r i g h t side, Poseidon's rearing horse

was u l t i m a t e l y employed as an ash u r n i n a male

is p a i n t e d w h i t e and has a once-gilded relief b i t

b u r i a l at ancient Pantikapaion.

and breast b a n d (fig. 105.2). B e h i n d the horse,

Beyond i n s p i r a t i o n f r o m Classical sculpture,

a p a i n t e d w o m a n w i t h w h i t e flesh, w h o may

the decline o f red-figure itself p r o m p t e d t h i s

be A m p h i t r i t e or Hera, raises her p i n k v e i l i n a

remarkable clay pot's o p u l e n t c o m b i n a t i o n o f

b r i d a l gesture; she wears a diadem and j e w e l r y

relief, c o l o r f u l p a i n t i n g , a n d g i l d i n g . A t t r i b u t e d

rendered i n once-gilded clay relief. A red-figure

to the same master as the s p l e n d i d G e t t y pelike

bearded maleperhaps the first A t h e n i a n k i n g ,

(cat. no. 104), the Hermitage h y d r i a goes even fur

Kekrops, or the k i n g o f the gods, Z e u s h o l d i n g a

339

KERCH-STYLE

VASES

105.1

105.2
o n c e - g i l d e d e x t r u d e d - c l a y scepter and seated o n
a w h i t e r o c k o f the A k r o p o l i s at the l o w e r r i g h t ,
looks back t o w a r d the contest. Finally, f r o m above
the r i g h t h a n d l e , a h i l l t o p t e m p l e overlooks the
scene. I t was p a i n t e d i n w h i t e over a reserved
s i l h o u e t t e and is detailed w i t h five e x t r u d e d - c l a y
c o l u m n s and four a k r o t e r i a . G i v e n the timelessness characteristic o f Classical art, t h i s l i t t l e t e m
ple may evoke the P a r t h e n o n .

341

KERCH-STYLE

VASES

REFERENCES: BAPD Vase 6988; Stephani 1872, esp. 5-142, pi. 1;

Gardner 1882, 244-55; Walters 1905, 24, pi. L; Ducati 1906b, 410;
Ducati 1915, 242, fig. 6, no. A33, 243-44; Ducati 1916, 36-38, no.
A, 33; Courby 1922, 130-31, no. 4; Pfuhl 1923, n, 713, m, 246,
fig. 604; Schefold 1934, 21, no. 161, fig. 58, pi. 28.top; A. B. Cook
1940, m, 752, fig. 538, 753; Metzger 1951, 324-26, no. 40; Diehl
1964, 154, no. T 358; Simon 1966, 81-82, fig. 2; Boardman et al.
1967, 454, fig. 177; Heimberg 1968, 16-18; Zervoudaki 1968, 5,
37, no. 78, 53, 58, 69-70, pi. 23.1; Sokolow 1976, 39, no. 45; Kron
1976, 98; Simon 1980, 250-51, fig. 3; LIMC I (1981) s.v. Aglauros,
Herse, Pandrosos 291-92, Aglauros, no. 38, pi. 215 (U. Kron);
Schefold 1981, 121-22, fig. 153; LIMC I I (1984) s.v. Athena 996,
no. 453, pi. 753 (P. Demargne); LIMC m (1986) s.v. Attike 19-20,
no. 2 (G. Berger-Doer); Simon 1986, 81, 82, fig. 20; Athens 1989,
84-85, no. 18; Valavanis 1991, 293, no. 1, 300-301, pis. 142-43;
LIMC vi (1992) s.v. Nike 868, no. 200 (A. Goulaki-Voutira); Palagia
1993, 40, 44, fig. 10; LIMC vn (1994) s.v. Poseidon 474, no. 242,
pi. 375 (E. Simon); Suslov 1994, 304, no. 289, 305.center; Tiverios
1996, 203, fig. 188, 338 39, no. 188; Boardman 2001, 105, fig. 140;
Berlin 2002, 452, 453-54, no. 300 (fig. reversed); Kaltsas 2004,
108-10, no. 9; Piotrovsky 2004, fig. on 165.

Glossary

A/B handle

agora

aegis

akropolis

akroteriony

Amazon
Amphitrite
amphora
anthemion
Aphrodite
apotropaic
Apollo

Athena

aulos
B/A handle

barbiton

centaur

handle that faces the viewer

when the front (side A) of
a vase is on the left and the
back (side B) is on the right
gathering place; a marketplace and center of political
life i n an ancient Greek city
magical, protective capelike
garment of goatskin fringed
w i t h snakes w o r n by Athena
literally, high city; term
designating high place i n a
Greek city; i n Athens, location of major sanctuary of
Athena
ornament or sculpture placed
on the apex and corners of a
gabled building's roof
member of a mythical eastern
race of female warriors
wife of Poseidon, a Greek sea
goddess

chiton

chlamys

short cloak fastened at the

shoulder

Class

vases of the same shape,

remarkably similar i n potting
but not necessarily decorated
by a single vase-painter
artisan who specializes i n
modeling clay and moldmade sculptural forms
separate curved bottom section of the body of a vase
such as a calyx-krater or
kantharos
Greek god of wine
camp stool

coroplast

cul

Dionysos
diphros
Doric

two-handled storage jar

flat, decorative pattern of
palmettes and lotuses
Greek goddess of love and
fertility
intended to ward off evil
youthful Greek god of music
and poetry, associated w i t h
harmonious order, oracular
sanctuaries at Delphi and on
Delos, and the laurel tree
virgin Greek goddess of warfare, wisdom, and artisanal
crafts; patron deity of Athens
Greek woodwind musical
instrument: the double pipes
handle that faces the viewer
when the back (side B) of a
vase is on the left and the
front (side A) is on the right
stringed instrument, a form
of lyre w i t h long arms, that
originated i n East Greece
mythical creature, part horse
and part man

Greek architectural order

w i t h columns that have plain
cushion-like (echinus) capitals and fluted shafts w i t h
no bases, and w i t h a frieze
of alternating grooved and
plain blocks (triglyphs and
metopes)

engobe

clay slip applied to the surface of a vase

Eos

Greek goddess who personifies dawn

epaulia

Eros

Erotes

exergue

342

a long linen dress, belted at

the waist and often buttoned
at the shoulders and arms to
form sleeves, w o r n primarily, but not exclusively, by
women

celebration on the day after

a wedding during which a
bride receives gifts i n her
new home
son of Aphrodite, winged
Greek god of love, who is
normally shown as a youth
or a boy i n Archaic and Classical Greek art
winged Greek gods of love;
multiplications of Eros,
sometimes specifically named
as his companions Himeros
(Desire) and Pothos (Longing)
space between the groundline and the lower perimeter
of a tondo composition

free painting

wall- or panel-painting:
painting not confined to a
vase

Gigantomach}

battle of the gods and the

giants

Gorgon

one of three monstrous

sisters w i t h snakes for hair
whose gaze turned men to
stone

greave

piece of armor for the lower

leg

Group

vases remarkably similar i n

style of decoration but not
necessarily by a single vasepainter

haltres

small j u m p i n g weights used

by athletes

Hephaistos

Greek god of fire, lame son of

Zeus and Hera, who served as
the smith of the gods
wife of Zeus, queen of the
Greek gods, goddess of
women and marriage
important Greek hero; son of
Zeus and the Theban p r i n cess Alkmene, k n o w n for his
strength, who was awarded
immortality after completing
his labors

Hera

Herakles

Hermes

Greek messenger god who

protected travelers and led
the souls of the deceased to
the Underworld

hetaira/ai
himation

hydria

incised

janiform

literally, female companion: a

female prostitute
a rectangular cloth mantle
wrapped around the body
and draped over the left
shoulder worn by both men
and women
vase w i t h three handles, one
at each side and one at the
back, designed as a water jar
and sometimes employed i n
burials
lines engraved into a vase's
surface; a standard feature of
black-figure technique
w i t h a face looking i n an
opposite direction on each
side

kale

kalos

kantharos/oi

female form of kalos, which

Muse

one of the sister goddesses,

often refers to hetairai i n vase

inscriptions

led by Apollo, who controlled the arts and sciences

beautiful; often inscribed on

vases i n a homoerotic context

and were sources of inspiration; thought to be daughters

to praise a particular youth

or boy

of Zeus and Mnemosyne

(Memory)

two-handled wine cup, often

nebris

employed by Dionysos and

fawn skin, often worn as a

satyr

Dionysos; part man and part

horse; also called a silene
side A/side B

(silenos)
like obverse and reverse,
terms that refer to the front
and back sides of a vase

silenos

garment by figures associated

Herakles i n Greek art

mythical male follower of

satyr of advanced age, often

called Papposilenos; an alter-

w i t h nature

nate name for satyr

keras/ai

an animal's horn employed

as a drinking cup or as a
trumpet

Nike

winged Greek goddess who

personifies victory; associated w i t h Athena

sphendone

woman's headband that

tapers toward the ends and is
tied at the back of the head

kerykeion

herald's staff topped by

intertwined snakes; carried
by the Greek messenger deities Hermes and Iris

obverse
oinochoe/ai
panel

front (side A) of a vase

wine pitcher
rectangular space demarcated
as a field for vase-painting on

splanchnopt

a male who offers a spit containing the viscera of a sacrificed animal i n the fire on an
altar

kibisis

pouch employed for carrying

things by a traveler

a pot
winged horse born from the

stacking circle

shadow on a vase's glosscovered surface resulting

kithara

Knielauf

komos/oi
kore/ai

krobylos

elaborate Greek stringed

neck of the decapitated Gor-

from inadvertent protection

instrument w i t h a wooden
soundbox, often played by
Apollo

gon Medusa
crescent-shaped shield carried by a light-armed war-

during firing through contact

w i t h another vessel w i t h i n
which the vase was stacked

kylix/kylikes
lekanis

lekythos/oi

lyre

maenad

miltos

343

pelta/ae

"knee-run," a German term

rior, who is thereby k n o w n

for the stylized, pinwheel-

as a peltast

like running pose employed

in Archaic Greek art
revel

peplos/oi

i n the k i l n
stoichedon

sleeveless woolen garment

worn by a woman formed by
a rectangular cloth folded to

refers to an inscription i n
which the letters of words on
different lines are arranged
i n a grid

maiden; a term now applied

the proper length, wrapped

to an Archaic Greek draped

around the body, and pinned

instrument used by athletes

at the shoulders
wide-brimmed traveler's hat

to remove oil infused w i t h

sweat and dirt from the body

statue of a young woman

ponytail-like hanging mass of
hair at the back of the head
that is normally drawn up
under a band

krotala (pi.)

Pegasos

petasos/oi

strigil

curved metal scraping

Poseidon
prothesis

often worn by Hermes

Greek god of the sea
laying out of the deceased on

symposium

after excercise or competition

drinking party for upperand middle-class Greek males

castanets, often associated

a kline (couch) i n the home

syrinx

rustic w i n d instrument com-

w i t h the realm of Dionysos

and played by maenads

quadriga

for ritual mourning

two-wheeled chariot drawn

cup
shallow dish, usually w i t h
a l i d , employed by women
for toiletries and other
items, associated w i t h wedding ritual and commonly
depicted on wedding vases
slender, bottlelike vase for oil
w i t h a single handle attached
to its long, narrow neck
Greek stringed instrument
w i t h a tortoise-shell soundbox
flank

reserved

retrograde

reverse
root marks

rotella/ae

by four horses
an area of a vase left i n the
color of clay, i.e., not covered
w i t h slip during decoration
refers to an inscription w r i t ten backwards w i t h each

thiasos

thyrsos

letter reversed
back (side B) of a vase
marks made by roots of
plants on the surface of a
buried object
rounded projections that
the upper or lower ends

female follower of Dionysos;

often referred to as a nymph

sakkos

of vases' handles
sacklike cloth covering for a

i n myth and associated w i t h

some aspect of nature

saltire square

woman's hair
term derived from heraldry

red ocher applied to a vase

during decoration before
firing to enhance the color of
the clay

posed of reeds graduated

i n length that are bound

used to denote a square

containing a diagonal cross
employed i n an ornamental
pattern on vases

together
entourage of Dionysos chiefly
composed of satyrs and rnaenads
staff topped w i t h i v y or a
pinecone; an attribute of
Dionysos and his followers,
especially maenads

tondo

tripod

central circular field on the

interior of a cup or plate that
is generally decorated
three-legged stand, sometimes topped by a cauldron,
often awarded as a prize i n
a contest; associated w i t h

trident
Zeus

Apollo's oracle at Delphi

three-pronged spear carried
by Poseidon
king of the Greek gods; a
weather god associated w i t h
thunder and lightning

Photograph Credits,
Catalogue Entries

Concordances

Athens, American School of Classical Studies

CATALOGUE ENTRIES BYI N S T I T U T I O N

at Athens: Agora Excavations: 1 0 . 1 - 3

Berlin, Bildarchiv P r e u i s c h e r Kulturbesitz/

CATALOGUE E N T R I E S P E R T I N E N T FOR

MULTIPLE TECHNIQUES
Athens, Agora Museumcat. no. 1 0 [not i n

A r t Resource, N Y Photographer:
Johannes Laurentius: 1 4 . 1 - 2 , 1 9 , 2 0 . 1 - 3 ,

exhibition]
Athens, National Archaeological Museum

Chapter 1 Bilingual Vases, see also cat.

no. 8

42.1-2,63.1-2,66.1-3,68.1-2,80.1-3,
8 9 . 1 - 2 , 1 0 0 . 1 - 2 ; Ingrid Geske: 4 7 . 1 - 2 ;
Jutta Tietz-Glagow: 4 7 . 3

cat. no. 4 0 [not i n exhibition]

Basel, Antikenmuseum Basel und Sammlung
Ludwigcat. nos. 3, 8, 2 5 , 2 7 , 4 3 , 5 2

Chapter 2 Coral-Red Gloss, see also cat.

nos. 9 0 (exterior), 9 1 (exterior),
and 9 4

Berlin, Antikensammlungcat. nos. 1 4 , 1 9 ,

Chapter 3 Six's Technique, see also cat.

Boston, Museum of Fine Arts 2 0 0 6 : 2 . 1 - 2 ,

31.1-2, 44,49.1-2, 64, 75.1-2, 87.1-4,

20,4 2 ,47, 63, 66, 68, 69, 80, 89, 100, 102

no. 4 9

91.1, 96.1-3
Boston, Museum of Fine Arts. Photographer:

Boston, Museum of Fine Artscat. nos. 2 , 3 1 ,

44, 49, 64, 75, 87, 9 1 , 9 6

Pamela Hatchfield: 3 1 . 3 , 8 7 . 5 , 9 6 . 3 - 4
Copenhagen, Nationalmuseet. Courtesy of

Brussels, Bibliothque royale de Belgique

cat. nos. 7 0 , 8 3

1 4 (interior), 26, 4 8 , 6 1 , 8 9 ,
9 0 (interior), 9 2 (interior), 9 3

the Department of Classical and Near

Eastern Antiquities, National Museum,

Brussels, Muses Royaux d ' A r t et d'Histoire

cat. nos. 9 4 , 9 5 , 1 0 1

(interior), 9 6 (possibly interior),

100, 103, 104, and 1 0 5

Copenhagen. Photographer: A r n o l d

Copenhagen, National Museumcat. nos. 1 6 ,

Chapter 5 Outline in Black- and Red-

Mikkelsen: 16, 4 1 . 1 - 2

41

figure

Karlsruhe, Thomas Goldschmidt: 2 2 . 2 , 2 4 . 2 ,

Kansas City, Nelson-Atkins Museum of A r t

26.2
London, Trustees of the British Museum:

cat. no. 3 3
Karlsruhe, Badisches Landesmuseum-

5 . 1 - 3 , 6, 3 2 . 1 - 3 , 3 5 . 1 - 4 , 3 8 . 1 - 2 , 4 8 , 5 0 ,
57.1-2, 60.1-2, 76.1-2, 77.1-2, 90.1-2,
92, 93, 97, 98, 99
Los Angeles, JPGM. Photographer: Louis

cat. nos. 2 2 , 2 4 , 2 6 , 5 4
London, The British Museumcat. nos. 5, 6,
32, 35, 38, 48, 50, 57, 60, 70, 76, 77, 90,
92, 93, 97, 98, 99

Meluso: 9 . 1 - 2 , 13.3, 3 0 . 2 - 3 , 3 6 . 1 - 2 ;
Anthony Peres: 8 2 . 1 - 2 ; Ellen Rosenbery:

Madrid, Museo Arqueolgico Nacional

cat. no. 1

4.3, 13.1, 28, 33.1-3, 3 4 . 1 , 39.1-2, 45, 46,

Malibu, J. Paul Getty Museumcat. nos. 4 ,

5 8 . 1 - 2 , 8 1 . 1 - 3 , 1 0 4 . 1 - 2 ; Marie Svoboda:
3 9 . 3 , 6 9 . 1 - 3 ; Rebecca Vera-Martinez: 1 2 ,

9 , 1 1 , 12, 1 3 , 2 1 , 2 8 , 2 9 , 3 0 , 3 4 , 3 6 , 3 9 ,
45, 46, 58, 8 1 , 82, 104

2 1 ; Gerard Vuilleumier: 13.2, 1 0 2 . 1 - 2

Madrid, Museo Arqueolgico Nacional, Photo
Archive: 1 . 1 - 2

New York, The Metropolitan Museum of A r t

cat. nos. 2 3 , 5 5 , 5 6 , 6 1 , 6 2 , 6 5 , 7 2 , 7 3 , 7 8
Oxford, Ashmolean Museumcat. no. 7 4

New York, Beth Cohen, by permission of the

Muse du Louvre: 1 8

Paris, Muse du Louvrecat. nos. 15, 1 8 , 5 1 ,

53, 79, 88

New York, The Metropolitan Museum of A r t .

Paris, Muse du Petit Palaiscat. nos. 7 1 , 8 6

A l l rights reserved: 6 5 . 2 , 7 3 . 2 ; 1980:

5 5 . 1 - 3 ; 1 9 9 1 : 7 3 . 1 ; 1993: 38.3;

1995: 6 5 . 1 ; 2 0 0 1 : 6 1 . 1 - 2 ; 2002:
72.1-3; 2004: 78.1-3; 2005: 23.1-2,
56.1-2, 62.1-2

Oxford, Ashmolean Museum: 74.13

Paris, P h o t o t h q u e des Muses de la Ville de
Paris. Photographer: Pierrain: 7 1 . 1 - 3 , 8 6
Paris, R M N / A r t Resource, NY. Photographer:
H er v Lewandowski: 1 5 . 1 - 4 , 5 1 . 1 - 2 ,
79.1-3, 88.1-2

Paris, R M N / A r t Resource, NY: 5 3 .

St. Petersburg, The State Hermitage
Museum: 7 . 1 - 4 , 1 7 . 1 - 2 , 3 7 . 1 - 3 , 5 9 , 8 4 ,
85,

103.1-3,

105.1-2

Vatican Museums. Photographer: A .

Bracchetti: 6 7 . 1 ; P. Zigrossi: 6 7 . 2

344

St. Petersburg, The State Hermitage Museum

cat. nos. 7 , 1 7 , 3 7 , 5 9 , 8 4 , 8 5 , 1 0 3 , 1 0 5

Vatican City, Vatican Museumscat. no. 6 7

Chapter 4 Added Clay and Gilding,

see also cat. nos. 2 (side A ) ,

Vase-painting, see also cat.

nos. 7 0 ( plastic snakes), 7 2 (wings),
7 3 (wings), 7 4 , 8 1 (Herakles), and
83
Chapter 6 White Ground, see also cat.
nos. 1 4 (interior), 3 0 (interior),
3 1 (tondo on cover), 3 2 , 3 3 , 7 0 ,
7 1 , 7 8 , 9 0 (interior), 9 1 (interior),
9 2 (interior), 9 3 (interior), 9 4
(interior), 9 5 (interior), 9 6 , 9 7 , 9 8 ,
and 9 9
Chapter 7 Plastic Vases and Vases with
Plastic Additions, see also cat. nos.
3 6 , 3 7 , 4 8 (lid), 9 6 (interior), 1 0 3 ,
(lid), and 1 0 5

Index of Painters, Potters, Groups, and Classes

NAME

CATALOGUE
NUMBERS

Achilles Painter
Amasis Painter
Ambrosios Painter

63, 64, 65
43
44

Lysippides Painter
Marsyas Painter
Meidias Painter (manner of)

2
39, 103
35

Andokides Painter
Andokides, potter
Antiope Painter (near)

2,27,51
1, 2, 27, 51
6

Meleager Painter
Nikosthenes and Pamphaios, workshop of
Nikosthenes, potter

36
16
15, 72, 73

Apollodoros, painter

45

Nikosthenes, potter (recalls)

71

Attic workshops
Berlin Painter

88, 89
11,12

Nikosthenes, workshop of (associated with)

Niobid Painter, workshop of (related to)

50
49

Boulogne Horse, Painter of the

Brygan Class of animal-head rhyta
Brygos Painter

3
84, 85
47, 60, 84

Oltos, painter
Onesimos, painter
Paidikos Alabastra, Group of the

4
46
57

Carlsruhe Painter (resembles)

Charinos, potter

31
80,

Pan Painter
Pasiades Painter

59
57

Class C: Charinos Class of head vases

Class M : Vatican Class of head vases

80
81

Pasiades, potter
Penthesilea Painter

57
61

Diosphos Painter

24, 25, 56

Phiale Painter

67

Dourian Class of animal-head rhyta

Douris, follower of

83
48

Phintias, potter
Phintias the Athenian, potter

78
34

Douris, painter
Epiktetos, painter

58, 83
5

Pourtales Painter
Psiax, painter

102
1, 7, 28, 52

Epilykos Class of head vases

Epitimos Painter
Epitimos, potter

79
41
41

Psiax, painter (recalls)

Sabouroff Painter
Sakonides, painter

71
66
42

Eretria Painter

33

Sappho Painter

54, 55

Euergides Painter

72, 73

Skythes, painter

Euphronios, painter
Euphronios, potter
Foundry Painter

10, 29, 30
11, 12, 82
82

Sophilos, painter
Sotades and Hegesiboulos n, workshop of
Sotades Painter

40
14, 91, 94, 95
86, 90, 92, 93

Frankfort Acorn, Painter of the

34

Sotades, potter

Hegesiboulos n, potter

94

Herakles Painter
Heron Class (near)
Hischylos, potter
Huge Leky thoi, Group of the
Huge Lekythoi, Group of the
(associated with)
Kensington Class (related to)

101
21
5
68

Kleophrades Painter (recalls)

Leagros Group
London B 620, Class and Painter of
London D 15, Painter of
London E 2, Painter of
Lysippides Painter (manner of)

13
53
70
85
6
74

345

86, 87, 90, 92,

93, 96, 97, 98,

Spianchnopt Painter
Theseus Painter (near)
Tlenpolemos, potter
Unattributed

69
49
Vatican 480, Painter of
Vouni Painter
Wedding Procession, Painter of the
Xenophantos Painter
Xenophantos, potter

99
32
21
42
9, 18, 19, 20,
22, 23, 26, 38,
75, 76, 77, 87,
100
17
62
104, 105
37
37

Abbreviations for References

AA

Archologischer Anzeiger

ABV

J. D. Beazley. 1956. Attic

Black-figure Vase-Painters.

BerlWPr
BICS

Oxford.
American Journal of

AJA

Berliner Winckelmanns-

MonPiot

Monuments et memoirs. Fon-

Jh

Jahreshefte des sterreichi-

programm
Bulletin of the Institute of

dation E. Piot

Classical Studies, University

of London.

Archaeology

BM Cat Vases

Catalogue of the Greek and

sehen Archologischen
in Wien

Instituts

OPA

Occasional Papers on

Para

J. D. Beazley. 1971. Paralipomena: Additions to Attic

Black-figure Vase-Painters

AM

Mitteilungen des Deutschen

Etruscan Vases in the British

BMF A

AM-BH

Archologischen Instituts,
Athenische Abteilung
Mitteilungen des Deutschen

Museum
Bulletin of the Museum of Fine
Arts, Boston

Archologischen

BMMA

Bulletin of the Metropolitan

and to Attic Red-figure Vase-

BS A

Museum of Art, New York

Annual of the British School at

Painters. Oxford.
Revue archologique

CAH
CB i - i n

Athens
Cambridge Ancient History
L. D. Caskey and J. D. Beazley.

AncW

Instituts,

Athenische Abteilung. Beiheft

The Ancient World

AnnArchStorAnt
Annali del Seminario di studi
del mondo classico: Sezione di
archeologia e storia antica
Antike Kunst
Antike Welt

AntK
AntW

Antiquities

RA
RE A
Richter/Hall

1931-1963. Attic Vase Paintings in the Museum of Fine

Arts Boston. 3 vols. Boston.

figured

Athenian Vases in the

Metropolitan Museum of Art.
New Haven.

ArchCl

Archeologia classica

ClAnt

Classical Antiquity

ArchDelt

ApxaihoyiKv AeXriov

CR AI

Comptes rendus des sances de

Archologischen

ArchEph

ApxctioyiKov ^Ecfjfiepic

l'Acadmie des inscriptions et

Rmische

ArchRW

Archiv fr Religions wis sen-

schaft
Arias/Hirmer/Shefton

belles-lettres [Paris]
CRPtersb

Paolo Enrico Arias. 1962. A

ARV

ASAtene

Corpus vasorum antiquorum

Vase Painting. Trans and rev.

Brian B. Shefton. Photographs
by Max Hirmer. New York.

EAA

Enciclopedia delVarte antica,

classica e orientale. 19581984. 7 vols. Rome.

J. D. Beazley. 1942. Attic Red-

FR i , n, m

Adolf Furtwngler and Karl

AZ
BABesch

BAdd

Reichhold. 1904-1932. Grie-

J. D. Beazley. 1963. Attic Red-

chische Vasenmalerei. 3 vols.

figure Vase-Painters. 2nd edn.

Oxford.

Munich.
The J. Paul Getty Museum

Bulletin van de Vereeninging

tot Bevordering der Kennis van
de Antieke Beschaving
Thomas H . Carpenter. 1989.
Beazley Addenda: Additional
References to ABV, ARV &
Paralipomena. Oxford.
Beazley Archive Pottery Database: www.beazley.ox.ac.uk
Bulletin de correspondance
hellnique
Bollettino d'arte
Bibliothque des coles Franaises d'Athnes et de Rome

Getty Mus J
GVGetty
HallWPr
JBerlMus
Jdl
JE A

BAPD
BCH
BdA
BFAR

346

JHS
LIMC

MM

MMA
MMJ

Journal
Greek Vases in the J. Paul
Getty Museum
Hallisches Winckelmannsprogramm
Jahrbuch der Berliner Museen
Jahrbuch des Deutschen Archologischen Instituts
The Journal of Egyptian
Archaeology
Journal of Hellenic Studies
Lexicon iconographicum
mythologiae classicae. 8 vols.
1981-1997. Zrich.
Mitteilungen des Deutschen
Archologischen Instituts,
Madrider Abteilung
Metropolitan Museum of A r t
Metropolitan Museum Journal

Mitteilungen des Deutschen

Instituts,

Abteilung

Erika Simon. 1976. Die griechischen Vasen. Photographs

by Max Hirmer and Albert

St. Ptersbourg
CVA

Annuario della Scuola archeologica di Atene e delle Missioni

italiane in Oriente
Archologische Zeitung

Simon/Hirmer

Compte-rendu de la Commission impriale archologique,

History of 1000 Years of Greek

figure Vase-Painters. Oxford.

ARV

RM

Revue des tudes anciennes

Gisela M . A . Richter and
Lindsley F. Hall. 1936. Red-

Hirmer. M u n i c h .
Wrttemberg

Jahrbuch der Staatlichen

ZPE

Kunstsammlungen in BadenWrttemberg
Zeitschrift fr Papyrologie und
Epigraphik

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Bndicte Gilman, E D I T O R
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Printed i n Hong Kong

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Titles set i n Diotima, original design by

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Text set i n Apollo, original design by
Adrian Frutiger i n 1964.
Captions set i n Syntax, original design by
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