Professional Documents
Culture Documents
Greeksases
in the J. Paul Getty Museum Volume 5
Mailing address:
P.O. B o x 2112
Santa Monica, California 90406
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Editor: M a r i o n True, Curator o f Antiquities
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Production Artist: Thea Piegdon
Cover: A dinoid volute-krater by the Meleager Painter. Malibu, J. Paul Getty Museum
87.AE.93. Side A . See article page 107.
I S B N 0-89236-184-0
3»
Contents
Bellerophon and the Chimaira on a Lakonian Cup by the
Boreads Painter
Conrad M. Stibbe
Some years ago I was kindly invited by the curator part to the Chimaira. Bellerophon's massive legs are
o f the Department o f Antiquities o f the J. Paul Getty somewhat out o f proportion to the more slender build
Museum to publish a Lakonian cup o f high quality, o f his chest and arms, and even the exergue line on
showing i n the interior o f the bowl Bellerophon w i t h which he kneels seems to bend under their weight.
Pegasos fighting the Chimaira. I accepted, but hesitated Both ends o f this line are interrupted by the legs o f the
for a long time to write the article because publishing a two fantastic beasts that fill the remaining space around
vase that I had not seen w i t h m y o w n eyes seemed (and the hero.
still seems) comparable to setting out on a wild-goose Pegasos, who carried Bellerophon to the spot, is
chase. But as the distance between Malibu and Leiden assisting his master by attacking fiercely w i t h his fore-
remained practically unbridgeable, I decided to risk hooves the Chimaira opposite h i m . I n order to do so,
commenting on the cup, though w i t h the caveat that I Pegasos stands on his hind legs and arches his body
had not examined it firsthand. high over the head o f Bellerophon; his extended wings
The vase (85.AE.121) is o f average size for a Lako seem to support h i m in his breathtaking maneuver.
nian drinking cup, measuring 12.5 cm i n height and The splendid appearance o f the horse is made more
18.4-5 cm i n diameter across the r i m . Its fabric is very
1
vivid by the colorful effect o f purple on the upper
light beige; the black glaze is thin, though evenly ap section o f the wing and, alternating w i t h black, on
plied, and has a metallic luster. Unglazed surfaces are the spreading feathers. I n addition, the tail is purple
covered w i t h a creamy slip that has darkened to tan. (painted on the slip), and simple purple lines mark
Added purple is flat, tending toward blue. neck, belly, and hindquarters.
The cup has been reassembled from many fragments Opposite Pegasos the triple-headed Chimaira is
and partially restored. Except for the restoration o f
2
clearly on the defensive. Standing on her hind legs she
some important parts o f the figure o f Pegasos — upper turns back her lion's head to avoid the smashing blows
section o f the head, central areas o f the wing and hind o f Pegasos's hooves, which now strike her neck. Her
leg, and the tail —the interior scene is intact. raised forepaws reach out behind Pegasos's chest, evi
The circular scene o f the b o w l is surrounded by a dently missing their mark. The averted lion's head,
black-glazed band on the inside o f the lip, w i t h thin w i t h open mouth and a long drooping purple tongue,
reserved stripes at the r i m and at half its height (fig. looks straight into the face o f the Chimaira's second
la). Inside the band and facing inward is a ring o f head, that o f a goat emerging from her back. Only the
pomegranates w i t h double petals, which is interrupted goat's neck and head are depicted; it is long-horned,
by the figures where they extend to the very edge o f bearded, and fire-breathing, as revealed by the three
the field. lines emerging from her nostrils. The Chimaira's third
In the center a young but bearded Bellerophon runs head, at the end o f the tail that has been transformed
in Knielauf to the right as he attacks the Chimaira, who into a snake, reaches forward to the tips o f the goat's
is seen rearing up before h i m . Bellerophon wears a horns. The snake's head is seen in profile, and details o f
simple, sleeveless tunic reaching to his knees and the body, for instance the scales, are carefully incised.
purple-colored boots. A n incised pattern o f diamonds The body shared by these three heads is also o f awe-
decorates the tunic; the belt and hem are black bands inspiring appearance. The meticulously incised hair on
delineated by double transverse incisions. W i t h his the belly, like that o f the lion's mane, and the wavy
right hand he thrusts a spear into the belly o f the markings on the trunk (nine incised lines alternating
Chimaira; i n his left hand he holds the reins o f Pegasos, w i t h seven purple ones) and hind legs (two incised and
who rears up behind h i m forming a heraldic counter two purple ones) contribute to the Chimaira's fero-
6 Stibbe
Figure la. Lakonian cup decorated by the Boreads Painter. Interior. Malibu, J. Paul Getty Museum 85.AE.121.
cious, forbidding aspect. T w o intertwining, purple concentric black bands separate the pomegranates from
jets o f blood spurt from the point i n the belly where the foot attachment. The three friezes are each sepa
Bellerophon's spear has entered the creature. rated by a wide band o f purple (painted on the black
The eyes o f Pegasos, Bellerophon, and the lion's glaze) between three brownish lines. Above the rays a
head o f the Chimaira are similarly incised: curving third group o f bands marks the lower boundary o f the
upper and lower lines that meet at the corners, thereby handle-zone. The only ornaments i n the handle-zone
leaving a central area open for a pupil, which has, are four handle-palmettes. A thin line delineates the lip
however, been added only i n the case o f Pegasos. Sim j o g , and the lip itself is plain, except for a pair o f thin
ple circles are used to indicate the eyes o f the goat and lines below a thick band at the r i m .
the snake. Other notable incisions are those o f the The entire decorative system on the exterior o f the
knees, elbows, and ear o f Bellerophon: these lines be cup is painted over a thick creamy slip. The foot has a
tray beyond any doubt the hand o f the Boreads Painter black-glazed interior and exterior and a plain resting
to w h o m the scene was correctly attributed by Marion surface. Slip covers the foot fillet at the j o i n w i t h the
True, as w i l l be demonstrated below i n more detail. bowl. Most o f the stem and small parts o f the fillet
The exterior decoration is dominated by the standard have been reconstructed i n modern times.
combination o f three ornamental friezes encircling the As no profile drawing o f the cup is available, the
underside o f the b o w l (fig. l b ) . Lowermost is a r o w o f shape must be studied from photographs (fig. l c ) . The
pomegranates w i t h double petals, followed by upright proportions o f the various parts are well balanced i n
tongues painted alternately black and purple, and an relation to each other. A straight-slanting r i m is com
uppermost frieze o f rather broad upright rays. Four bined w i t h a rather deep bowl, and the handles are not
Bellerophon and the Chimaira 7
Figure 2. Lakonian cup decorated by the Boreads Painter. Interior. Malibu, J. Paul Getty
Museum 85.AE.461.
too long or heavy, nor do they curve too far upward. from the third decade o f the sixth century B . C . 4
The foot is o f almost equal height to the cup (6.15 cm) The Getty kylix enriches our knowledge o f the sub
and sturdily but elegantly fashioned, w i t h a foot-plate jects that were treated by the Boreads Painter as it
that turns slightly upward at the toe. Like a column shows the first example o f the Bellerophon m y t h i n his
capital, a plastic fillet crowns the top o f the stem where w o r k . The composition is i n itself a notable achieve
5
it is joined to the bowl. ment, the figures being well spaced i n the circular field,
N o particular problems are encountered i n the eval w i t h Bellerophon standing on a l o w exergue line. This
uation o f the shape. The Getty cup clearly belongs is made all the clearer by a comparison w i t h three other
w i t h the early cups o f Group V l l b that is discussed on preserved scenes o f circular composition by the same
page 26 o f Lakonische Vasenmaler and can therefore be painter: Achilles and Troilos stand above each other, as
dated around 565 B . C . I shall return below to the i f on different stages ; the Boreads are impeded i n their
6
detail point clearly to the hand o f the Boreads Painter, duced on M o u n t Olympos, is hampered i n his move
whose w o r k we k n o w from a series o f well-preserved ments by the small space allotted h i m , as a result o f the
and fragmentary pieces. This painter specialized in the
3
space occupied by the inordinately large boar on the
decoration o f cups and is to be considered the founder exergue. Thus, the scene i n the Getty cup may be
8
o f one o f the t w o most important Lakonian workshops considered successful, though it seems very improbable
Bellerophon and the Chimaira 9
that the Boreads Painter was himself the inventor o f the cup from L a v i n i u m : in both cases Bellerophon is
17
compositional scheme. The single k n o w n parallel for armed as a hoplite and fights the Chimaira from a
this scheme occurs on the attachment plate o f the hand position on the g r o u n d .18
grip o f a bronze shield from Olympia, which dates The painting in the Getty cup shows a number o f
from the third quarter o f the sixth century. O n the
9
notable details that find parallels i n Lakonian. Bellero-
grip the two creatures are positioned at the reverse o f phon's ear is rendered like the ear o f Athena on a cup in
the Getty cup and are not in physical contact. More N e w Y o r k ; the cross-hatching o f Bellerophon's tunic
19
over, Bellerophon, while holding the reins o f Pegasos, recurs several times elsewhere ; and his formidable
20
attacks the Chimaira from the right w i t h a sword. The legs and high boots are repeated in nearly the same
Chimaira is o f the protome t y p e . 10
way on a second cup (fig. 2) by the Boreads Painter in
Despite these differences, it would seem probable the Getty M u s e u m .21
that both representations go back to a common but The hand o f the Boreads Painter can further be rec
unknown prototype, which i n its turn could be derived ognized by the lavish use o f added purple on the body
from the more common kind o f heraldic scheme, the and sickle-shaped wings o f the much restored figure o f
potnios hippon. 11
Such a scene, where a small male Pegasos. Alternately black and purple feathers are
figure is placed between a pair o f large, winged horses k n o w n from many o f the winged creatures on his later
in rearing position, is seen on a well-known Lakonian cups. This painter was fond o f horses, and the few
22
a follower o f the Naukratis Painter and is o f course Finally, the Chimaira itself. The type as such, w i t h
later than the Getty cup, it could not have served as the only the head and neck o f the goat being depicted on
Boreads Painter's source. the beast's back, is Peloponnesian. In contrast, the Attic
A characteristic feature o f the Boreads Painter's orna type has a complete goat protome that includes the
ments, recurring throughout his career, is the pome animal's forelegs, w i t h the head always turned back,
granate fringe around the inside o f the bowl. Perhaps even when Bellerophon is i n front o f the monster. 24
he wished to soften the contrast between the black o f Perhaps the Boreads Painter himself struck on the idea
the lip and the light-colored background o f the central o f turning the lion's head away from Pegasos; a less
scene by means o f this rather fossilized motif, which he likely possibility is that he was influenced by Attic
used also to decorate the exteriors o f cups. The long Chimairas or Attic scenes o f Herakles and the L i o n . 2 5
petals o f the Getty pomegranates indicate a later period A t any rate, the Boreads Painter illustrates clearly by
in his production. 13
means o f this device the Chimaira's attempt to avoid
We move now from the overall composition to the the fierce onslaught o f Pegasos.
single figures. The fact that Bellerophon attacks the A n essential detail o f the m y t h is the fire-breathing
Chimaira from a kneeling position on the ground and character o f the Chimaira, which is here depicted by
26
is not mounted on Pegasos i n accordance w i t h the lines i n diluted glaze emerging from the goat's nostrils,
m y t h and the more usual iconography may be due to
14
while its mouth remains closed. Evidently the painter
the artist's adaptation o f the m y t h to a basically differ misunderstood the meaning o f these lines in his proto
ent and alien scheme, as we noticed above. Thus, the type, for i f he realized that they represented fire, he
scene i n the Getty cup is yet one more example o f the would surely have spared the monster the indignity o f
many variant representations o f the Bellerophon saga having flames blown directly into the open mouth o f
in ancient art. It may even be proper to regard some o f its lion's head.
these variants as errors on the part o f the craftsmen, as In the w o r k o f the Boreads Painter, as k n o w n at
suggested by Konrad Schauenburg ("erstaunlich viele present, there are only a few lions or felinelike crea
Irrtümer"), who devoted a number o f studies to the tures (sphinxes) that can supply comparisons for the
theme. Such variants or mistakes, depending on our
15
treatment o f the incisions on the Getty Chimaira. Most
point o f view, can often be explained as the result o f incised details o f the lion's head and mane are rendered
the limitations and demands imposed on the artist by like those on a fragmentary cup i n the British M u
the available space. This holds good both for composi seum. Three other examples have comparable belly
27
tions i n a circular field, as in our case, and for narrow hair. The incisions o f body and hind legs approach
28
friezes. Examples o f the latter are found on a Proto- very closely the painter's standard treatment o f similar
corinthian aryballos and on the exterior o f a Lakonian
16
details on felines, as distinct from his horses (cf. Peg-
10 Stibbe
Figure 3. Lakonian cup decorated by the Boreads Painter. Interior. London, The British Museum B 5.
Photo courtesy Trustees o f The British Museum.
asos), though the incisions on the Getty cup are more The handle-palmettes are the most notable feature o f
numerous than usual. 29
the outside o f the cup. They are o f a type that was
Also the Chimaira's other two heads deserve com commonly used by the Boreads Painter i n the later
ment. This is the first example o f a goat's head from stage o f his career, which can be dated circa 570-
32
the hand o f the Boreads Painter. Snakes, i n contrast, 565. The ornamental friezes on the underside o f the
33
appear very often i n his painting, always i n a m y t h o bowl —rays, tongues, and pomegranates — are i n keep
logical context. However, only one example w i t h the
30
ing w i t h the decorative system that was usually com
head i n profile view is well enough preserved to allow bined w i t h these characteristic handle-palmettes.
34
for comparison w i t h the Getty snake (fig. 3). The Earlier I remarked, on page 90 o f Lakonische Vasen
closeness o f the t w o provides further proof o f the maler, that the dating o f the Boreads Painter was en
correctness o f our attribution. tirely dependent on a comparative study o f shapes and
A last point concerning the interior is the presence o f decorations. Since then a number o f drinking cups by
the t w o reserved lines on the lip, which relieve the dull his hand have become known, but these have done
uniformity o f the black band. The placement o f a very little to change the situation i n this respect.
35
reserved line at the r i m was common practice among The single exception is a very interesting cup from a
Lakonian painters, but the addition o f a reserved line grave at Porto Cheli (Halieis) i n the Argolid. The com
through the middle o f the band seems to have been a plete contents o f this grave have not yet been pub
personal w h i m o f the Boreads Painter. 31
lished. However, W. Rudolph reports i n his publication
Bellerophon and the Chimaira 11
o f the cup by the Boreads Painter that the grave con time. As long as no archaeological context proves
tained, among other things, a Corinthian aryballos otherwise, there is no reason to alter the stylistic and
w i t h a spout in the shape o f a woman's head. A c 36
chronological framework o f the Boreads Painter's late
cording to Rudolph, this aryballos confirms a date production as presented on page 90 o f Lakonische
around 575 for both the cup from Porto Cheli and a Vasenmaler. 38
related cup by the Boreads Painter i n N e w York, In light o f the aforementioned arguments regarding
which marks the beginning o f his career. The grave 37
shape and exterior decoration, a date around 565 B . c .
at Porto Cheli is o f great importance because it supplies for the Bellerophon and Chimaira cup in the Getty
a secure starting point for the dating o f the painter's Museum seems acceptable. A n d this appears all the
production. more so when we consider that the rather high stem o f
For our purposes, however, a fixed date for the last the foot, which is exceptional, points to a late date in
period o f the Boreads Painter's career would be o f the career o f the Boreads Painter, who, most probably,
more interest, as the Getty cup should be from that also potted the cups he painted.
NOTES 36.5, 38.1, 41.1; cf. the longer petals on later cups, LV, pis. 44.1,
Abbreviations: 44.3, 45.2.
LV C. M . Stibbe, Lakonische Vasenmaler des sechsten Jahrhunderts 14. Cf. Heldensage , p. 292; Pipili, pp. 18-21. The o r i g i n o f
3
v. Chr. (Amsterdam and London, 1972). the m y t h has been treated most recently by S. Karouzou, RA,
Pipili M . Pipili, Laconian Iconography of the Sixth Century B.C. 1985, p. 75.
(Oxford, 1987). 15. K . Schauenburg, "Baltimoremaler und Bellerophon," Jahrbuch
I w o u l d like to thank M a r i o n True for inviting me to publish des Museums für Kunst und Gewerbe 3 (1984), p. 27.
the Getty Bellerophon and Chimaira cup, Karen Manchester for 16. Boston, Museum o f Fine Arts A R 25.386. The Chimaira has a
helping me to overcome most obstacles by sending me all the nec human instead o f a goat's head. H . Payne, Protokorinthische Vasen
essary information about the cup, and Vincent Tosto for correcting malerei (Oxford, 1933), p i . 20.1; K . Fittschen, Untersuchungen zum
m y English. Beginn der Sagendarstellungen bei den Griechen (Berlin, 1969), p. 160;
1. The provenance o f the cup is unknown. M . Schmitt, AJA 70 (1966), p. 342.
2. Large parts o f the r i m , the foot, and the footplate are modern, 17. Pratica di Mare (Lavinium) inv. E 1986; LV, pp. 7-8, no. 19;
but enough o f each part is preserved to ensure the trustworthiness o f E. Paribeni, Le Tredici Are, Lavinium, vol. 2 (Rome, 1975), p. 363,
the restorations. mentions only a lion hunt. D u r i n g restoration the scene w i t h the
3. For this painter, see LV, pp. 87-106. For the cups and frag Chimaira was damaged; see LV, p. 72 n. 4.
ments by the Boreads Painter, which became k n o w n after the pub 18. For other examples, see Schauenburg (note 15), p. 12.
lication o f LV, see below (note 35). This cup was attributed to the 19. LV, no. 140, p i . 44.1.
Boreads Painter by M . True; see "Acquisitions i n 1985," Getty Mus] 20. O n the tails o f boars: LV, no. 140, p i . 44.1; no. 160, p i . 49.3;
14 (1986), pp. 188-189, no. 28. and on an unclear object: LV, no. 166, p i . 50.6.
4. These t w o workshops have recently been treated i n a not 21. See above (note 8). Cf. also LV, no. 122, p i . 41.1.
altogether satisfactory manner i n F. Pompiii, ed., La Ceramica La- 22. LV, no. 122, p i . 41.1; no. 152, p i . 48.2; no. 161, p i . 49.11; and
conica, A t t i del Seminario Perugia, 23-24 Febbraio, 1981 (Archae- the Getty cup (note 7).
ologia Perugina, vol. 3) (Rome, 1986), pp. 65-74. 23. LV, no. 152, p i . 48.1, and an unpublished sherd from Sardis
5. The cup was previously mentioned and the interior illustrated (inv. P 62.233/4571).
by Pipili, p. 19, fig. 29. 24. Pipili, p. 19 w i t h nn. 178 and 179.
6. LV, p. 102, no. 156; Pipili, p. 27, fig. 41. 25. Thus Pipili, p. 21.
7. LV, no. 122, p i . 41.1; Pipili, p. 21, fig. 31. O n another cup by 26. Cf. K . Schauenburg, Jdl 71 (1956), p. 66; idem (note 11).
the Boreads Painter i n the Getty Museum (86.AE.461, C. H o y t - 27. Inv. B6; LV, p. 154; E. A . Lane, "Lakonian Vase-Painting,"
Grimes, " A K y l i x and Fragments by the Boread Painter," Greek Vases BSA 34 (1933/1934), pp. 99-189, p i . 36c. Cf. the different renderings
in the J. Paul Getty Museum, vol. 3, Occasional Papers on Antiquities, on the other Getty cup (fig. 2), where the manes are treated as a
vol. 2 [Malibu, 1986], fig. la; here fig. 2), the sphinx is substituted single purple-colored mass. This lion, though, shows a lower j a w
by a lion. and tongue like the lion on our cup.
8. LV, no. 140, p i . 44.1; Pipili, p. 21, fig. 16. 28. O n the other Getty cup (fig. 2), on the cup i n Rome (LV, no.
9. E. Kunze and H . Schleif, Olympiabericht, v o l . 2, Jdl 53 (1938), 122, p i . 41.1), and on fragments from Amathous (Cyprus), published
p. 80, fig. 52, p i . 27; E. Kunze, Archaische Schildbänder, OlForsch, by J. P. Thalman, i n E. Gjerstad et al., Greek Geometric and Archaic
vol. 2 (Berlin, 1950), pp. 63-64. Pottery Found in Cyprus, Acta Instituti Atheniensis Regni Sueciae, v o l .
10. See below (note 24). 26 (Lund, 1977), p. 81, p i . X V I I I . 9 - 1 0 ("autour du Peintre des
11. Kunze, Schildbänder (note 9), pp. 60-62, 204; P. Demargne, Boreades").
BCH 53 (1929), p. 423, fig. 35; L . Giuliani, Die archaischen Metopen 29. Cf. the running dogs on the cup Louvre E 663 (LV, p i . 40.3).
von Selinunt (Mainz, 1979), pp. 38-39; K . Schauenburg, "Herakles The same type o f body incisions occur on the lion on the other Getty
und Bellerophon auf einer Randschale i n Kiel," Mededelingen van het cup (fig. 2). This type, consisting o f t w o groups o f wavy lines, one
Nederlands Instituut te Rome, 41, n.s. 6 (1979), p. 13. on the middle part o f the body and one on the hindquarters, seems to
12. LV, p. 82, no. 96; Pipili, p. 37, no. 96, fig. 52. be standard for his felines.
13. The petals are shorter i n his earlier cups: for example LV, pis. 30. LV, pp. 157, 158, 162 (Hydra); p. 161 (Typhon?); pp. 151, 165
12 Stibbe
(Gorgoneion and Gorgo). from Gordion, w i t h the same decoration; and one fragment from
31. Cf. LV, p. 151: British Museum B5 (Lane [note 27], p i . 37a). Sardis, w i t h the hindquarters o f a horse (I owe knowledge o f the last
32. Cf. LV, p. 99 (Group C, b). t w o to the excavators).
33. Cf. LV, p. 94. 36. W. Rudolph, Hesperia 45 (1976), p. 252, where he refers
34. Ibid. Mostly there is a broad, black band around the foot for comparison to H . Payne, Necrocorinthia (Oxford, 1931), p i . 47.14
attachment, followed by t w o or three thick lines. Cf. LV, pis. 50.4, (no. 884).
50.16, 50.18. 37. Cf. LV, p. 90 (no. 117); also p. 95 and p i . 35.
35. Since the appearance o f LV (1972), the following pieces by the 38. Some confusion seems to have been caused by Isler (note 35),
Boreads Painter have been published: one complete cup from Halieis w h o i n his publication o f the " N o r d t o r " complex at the Heraion on
(Hesperia 45 [1976], pp. 240-252, p i . 59); several fragments o f at least Samos dates the sherd by the Boreads Painter extremely late (550-
t w o cups from Cyrene (G. P. Schaus, The East Greek, Island, and 540) on the basis o f the archaeological context. One should note,
Laconian Pottery: The Extramural Sanctuary of Demeter and Persephone at however, that this is no more than a terminus ante quern, for Isler
Cyrene, Libya, v o l . 2 [Philadelphia, 1985], nos. 155, 156, 193, 194); writes: "nach der Fundlage u m 550-540 v. Chr. oder älter." These
one fragment from Samos ( H . P. Isler, Samos, v o l . 4 [Bonn, 1978], p. last words, "oder älter," should not be overlooked. Therefore the
102, no. 183, p i . 52); six fragments o f one cup from Amathous (note later dating by Hoyt-Grimes (note 7), p. 29, o f the second Getty cup
28); one fragmentary cup o f u n k n o w n provenance i n the J. Paul by the Boreads Painter (fig. 2), precisely from the years 550-540, for
Getty Museum (Hoyt-Grimes [note 7], passim; here fig. 2). U n which she offers no arguments, cannot be accepted. I shall return on
published are a cup from the Artemision i n Samos, w i t h a rosette i n another occasion to Isler's criticism o f m y dating o f Lakonian vase-
the medallion (I owe this information to Maria Pipili); one fragment painters i n general.
Six's Technique at the Getty
Janet Burnett Grossman
A little more than one hundred years ago, the Dutch Museum is fortunate to have i n its collection three
scholar Jan Six gathered together and wrote the semi varied pieces painted i n Six's technique: a stamnos,
nal article on a group o f fifty-eight vases and twenty- a fragmentary skyphos, and a small fragment from
seven fragments decorated during the Archaic period a phiale.
w i t h figures painted i n added white, red, or brown on The first vase to be considered i n the Getty collec
the black-glazed surface. Subsequently, i n recognition
1
tion is a handleless stamnos w i t h an overall floral deco
of Six's contribution, J. D . Beazley coined the sobri ration o f thick matte-red pigment painted over the
quet "Six's technique" to refer to this early polychrome black glaze. The mouth is lipped above and below an
9
Class o f Athens 581; the Sappho Painter; the Diosphos distinguished, one from the other, by the number o f
Painter; the Painter o f Vatican 480; and Class P: the leaves i n the two central palmettes. Side A (fig. la)
Chairete Class. 6
contains seven leaves i n the upper palmette and ten i n
The invention o f Six's technique has been attributed the lower, as compared to five and nine, respectively,
to the workshop o f Nikosthenes, that ancient entrepre on side B (fig. l b ) . Also, the enclosing tendril on side
neur and innovator i n the pottery industry. For, i n
7
B has a more sinuous quality than the one on side A .
addition to Six's technique, Nikosthenes has been cred The lateral palmettes are virtually identical on both
ited w i t h the creation o f white-ground technique as sides, each having the same number leaves (12). The
well as the introduction o f new vase-shapes based on design on sides A - B (fig. lc) and B - A (fig. Id) are
Corinthian, Etruscan, and Eastern prototypes, i n formed by two tendrils spiraling off the enclosing ten
cluding the kyathos and the head vase. The Getty
8
drils. Side A - B is distinguished by the tendrils spiral-
14 Grossman
Figure la. Handleless stamnos i n Six's technique. Side A . Malibu, J. Paul Getty Museum 83.AE.324.
Six's Technique 15
Figure lb. Side B o f stamnos, figure la. Figure lc. Side A - B o f stamnos, figure la.
However, other than the fact that these three lack han
dles, no affinities between them i n either proportion or
style o f decoration can be seen. In its decorative
12
Figure 2a. Fragmentary skyphos i n Six's technique. Figure 2b. Interior o f skyphos, figure 2a.
Exterior. Malibu, J. Paul Getty Museum
76.AE.127.
wildness is emphasized by the scribbled way i n which balancing himself on his left elbow, buttock, and left
it is drawn. The black hair (glazed) is demarcated by a heel, while he holds a drinking cup i n his right hand.
deep, regular incision line creating a pompadour hair As on our man, his naked flesh is painted in red.
style. A n inscription, OZAZKA, i n dilute dark-red I n overall style, proportions, and technique we
glaze is placed just above the figure i n such a way so as might consider placing our skyphos close to the w o r k
to create a top frame. A painted dilute-red fillet adorns shop o f the Theseus Painter, the last master o f Attic
the symposiast's head, for surely this is a participant black-figure. He painted large skyphoi and began his
in a symposium. Recall that i n the Odyssey acrobats career as a painter o f White Heron skyphoi. These are
amused the guests o f Menelaos at the wedding feast so named from the practice o f painting a heron o f
held for his son and daughter. Acrobatics and balanc
21
superposed white by the handles. His skyphoi have
ing tricks were common entertainment, but, on vases the same kind o f profile as our vase, w i t h a simi
it is usually drinking cups that are balanced, not the larly painted i v y band at the mouth, tongues on a re
symposiast himself. To m y knowledge, the only vase
22
served area at the base, and a comparable fillet and
in Six's technique w i t h a comparable subject is a k y foot shape. 24
is a phiale fragment decorated on the inside w i t h dol popular shape for polychromy. Perhaps this reflects an
phins. Strictly speaking, it should not be included as
25
effort on the part o f the artist to replicate the metal
an example o f Six's technique, since the design is made prototype for the shape, or it may show an East Greek
w i t h overpainting only and does not contain any inci influence on design. There is a fragment in the A k r o p
sion w o r k (figs. 3a-b). We place it here, however, as it olis group o f phiale fragments w i t h similarly config
is related to the group o f phiale fragments, mostly ured white d o l p h i n s . O f the several examples o f
28
from the Akropolis, which Six included i n the second dolphins on vases painted in Six's technique, that one
part o f his article. The phiale is made o f medium-
26
most closely matches the dolphins on our vase. There 29
coarse clay glazed black and ringed w i t h dolphins ap the dolphins are similarly arranged i n a centripetal fash
plied i n thick white paint, which is well preserved. The ion w i t h their tails pointing toward the r i m .
dolphins are evenly spaced around the r i m w i t h their The three vases in the Getty Museum painted i n
noses pointing inward. A circle o f thickly applied red Six's technique happily take their place i n the small
paint is placed i n the spaces between the tails. A thin group o f surviving specimens executed i n this experi
band o f dilute-red glaze marks the r i m on both the mental medium during a brief period at the turn o f the
interior and exterior surfaces (4 m m from the outer fifth century B . c . Many o f the designs on these vases
most edge i n both cases). The outermost edge is re are action oriented, w i t h the figures shown in exagger
served, as is the underside o f the vessel except for a ated postures. As. we have seen, it was a technique
glazed black band 2.1 cm wide about the perimeter just carried out by a select group o f artists — experimenters
beneath the thin red line. and innovators. Two o f our vases in particular are
This fragment belongs to a rather large group o f proud exemplars o f the best o f the technique, possess
phiale fragments that have designs executed i n over- ing a certain naive charm and cunning appeal.
painting w i t h no incision. The phiale seems to be a
27
ADDENDUM (see note 2), pp. 8-10; CVA Poland 1, pi. 16; ABL, p. 228,
There are various additions to the corpus o f vases deco no. 56; ABFV, fig. 311.
rated i n Six's technique. I have divided the material into t w o V I I I . Naples RC 185, Sappho Painter, ABL, p. 227, no. 41.
parts. The first part gives museum inventory numbers, attri I X . Naples 2463, Sappho Painter, ABL, p. 228, no. 46.
butions, changes i n location, and further references for the X . Athens, National Museum 2262, Sappho Painter, Nicole,
vases included i n the 1888 article by Jan Six. I have not listed p. 193, no. 962; ABL, p. 228, no. 47.
the vases i n Six's article for which there is no new informa X I . London GR 1837.6-9.72, Diosphos Painter, Walters, B
tion. The second part o f the addendum offers those vases to 687; ABL, p. 236, no. 91; A]A 17 (1913), p. 9, no. 8;
be added to Six's original group. D . Feytmans, Vases Grecs de la Bibliotheque Nationale
(Brussels, 1948), p. 38; Brommer, p. 438, no. 22.
1. Additions to Vases i n Jan Six's 1888 Article X I I . Once Brussels, van Branteghem collection, probably
Sappho Painter, ABV 675; ABL, p. 228, no. 50 bis.
I . Paris, Louvre F 114, ABV 226; Beazley Addenda, p. 27;
X I I I . London GR 1842.4-7.16, the Painter o f Vatican 480,
CVA France 5, pis. 37.9, 12, 13, 16 and 38.1.
ABV 609.1; Walters, B 693; BSR 11 (1929), p. 6, no. 7;
I I . Athens 2246, Chariot Painter, Nicole, p. 192, no. 960 ter;
Williams, fig. 40a.
ABL, p. 203, no. 1.
X I V . Paris, L o u v r e C A 2494, Diosphos Painter, ABL,
I I I . Athens 2226, Chariot Painter(?), Nicole, p. 192, no. 961;
p. 236, no. 95.
ABL, p. 66, no. 1.
X V . London GR 1842.7-28.989, Diosphos Painter, Walters,
IV. London GR 1838.6-8.133, Walters, B 686.
B 690; ABL, p. 236, no. 94; D V B , p. 103, no. 151.
V. London GR 1837.7-17.181, ABV672; Jdl 43 (1928), p. 339;
X V bis. Syracuse 6312, Diosphos Painter, ABV 702; ABL,
Jacobsthal, p. 70, pi. 87b-c; Walters, B 691; JHS 78 (1958),
p. 235, no. 73; D V B , p. 99, no. 99.
p. 21; Philippaki, p. 25, no. 3; Isler-Kerenyi, p. 29.
X V ter. Paris, Cabinet des Medailles 493, Diosphos Painter,
V I . Berlin 4029, ABV 672; Jdl 43 (1928), p. 339; Jacobsthal,
CVA France 10, pi. 95.1, 3, 4; ABL, p. 236, no. 93.
pp. 69-70, 134, pis. 14d, 87a; A . Rumpf, Malerei und
X V quater. Taranto (old museum no. 31), Diosphos Painter,
Zeichnung der klassischen Antike (Munich, 1953), p. 76, pi.
ABL, p. 235, no. 72.
21.9; Philippaki, p. 25, no. 4; Isler-Kerenyi, p. 29.
X V I I . London GR 1887.7-25.2, Diosphos Painter, Walters, B
V I bis. Leiden RSx 1, CVA Netherlands 5, pls. 113-115; Phi
688; ABL, p. 235, no. 74; Paralipomena, p. 248.
lippaki, p. 25, no. 2.
X V I I bis. Paris, Louvre M N B 912, Diosphos Painter, ABL,
V I I . Warsaw 142333, Sappho Painter, ARV 2
300; Beazley
p. 235, no. 76; AWL, p. 158, fig. 2d.
Six's Technique 21
X V I I ter. Paris, Louvre M N B 2861, Diosphos Painter, ABL, LIV. Athens, Akropolis 1120, Graef and Langlotz, p. 102,
p. 236, no. 86. pi. 85.
X V I I I . Berlin 2240, Diosphos Painter, ABL, p. 236, no. 89; LV. Athens, Akropolis 1114 or 1115, Graef and Langlotz,
Neugebauer, p. 57. p. 102, pi. 85.
X V I I I bis. Paris, Louvre S 1683, Diosphos Painter, ABL, L V I I I . Athens, Akropolis 1136, Graef and Langlotz, p. 103.
p. 236, no. 97. L I X . Athens, Akropolis 1168, Graef and Langlotz, p. 106,
X I X . Berlin 2241, Diosphos Painter, ABL, p. 236, no. 90; pi. 86.
Neugebauer, p. 56. L X . Athens, Akropolis 1204, Graef and Langlotz, p. 109.
X X . Berlin 2239, Sappho Painter, ABL, p. 228, no. 44; L X I . Athens, Akropolis 1181 and 1182, Graef and Langlotz,
Neugebauer, p. 56. p. 107, pi. 87.
X X I . Athens, N a t i o n a l M u s e u m 2317, Sappho Painter, L X I I . Athens, Akropolis 1184, Graef and Langlotz, p. 107.
Nicole, p. 192, no. 960 bis; ABL, p. 228, no. 45. L X I I I . Athens, Akropolis 1177, Graef and Langlotz, p. 107,
X X I bis. Paris, Cabinet des Medailles 492, Diosphos Painter, pi. 87.
ABL, p. 236, no. 96; CVA France 10, pi. 95.1, 3-4. L X V I I . Athens, Akropolis 1220, Graef and Langlotz, p. 109,
X X I I . Berlin 2242, Neugebauer, p. 56. pi. 89.
X X I I I . Berlin 2243, Neugebauer, p. 56.
Six also included vases to which he did not assign formal
X X V . B e r l i n 2244, Sappho/Diosphos w o r k s h o p , ABL,
numbers. I assign numbers now, bracketed, along w i t h the
p. 107 n. 3.
page number o f the article on which the vases appear.
X X V I . Bonn 85, Sappho/Diosphos workshop, CVA Ger
many 39, pi. 39.5. [ L X V I I I ] p. 209, no. 2. Paris, Louvre F 195, Pottier, p. 758.
X X V I I I . Berlin 4038, Neugebauer, p. 57. [ L X I X ] p. 281, no. 1 (I bis). Bologna P U 229, Sappho
X X I X . Naples R C 172, Sappho Painter, ABL, p. 228, Painter, ABL, p. 227, no. 42; G. Pellegrini, Catalogo dei vasi
no. 49. antichi dipinti delle collezioni Palagi ed Universitaria (Bologna,
X X X I . Athens, National Museum 2506, Nicole, p. 963. 1900), p. 32, fig. 25, and p. 33, fig. 26; Pfuhl, fig. 312;
X X X I bis. A g r i g e n t o C.732, manner o f the Diosphos D V B , p. 71, no. 13.
Painter, CVA Italy 61, pi. 72.1-2. [ L X X ] p. 289, A . London GR 1864.10-7.206, Walters, B 697;
XXXII. London GR 1865.1-3.32, Walters, B 689. J. D . Beazley, Campana Fragments in Florence (Oxford,
XXXII bis. Paris, Louvre F 197 (Coll. Campana, Cp 3481), 1933), pi. 20, no. 79; A . B . Cook, Zeus 1 (Cambridge,
ABL, p. 129; Pottier, pi. 77. 1914), p. 735; BSA 70 (1975), p. 158, no. 80.
XXXII ter. Paris, Louvre F 196 (Durand E, N 2592; E D [ L X X I ] p. 289, B . London GR 1864.10-7.106, Walters, B 698;
909), Pottier, pi. 77. BSA 70 (1975), p. 158, no. 73.
X X X I I I . London GR 1873.8-20.279, Class P: The Chairete [ L X X I I ] p. 289, no. 1. Athens, Akropolis 1075, Graef and
Class, ARV 2
1546.2; CVA Great Britain 5, pis. 36.5, 39.3. Langlotz, p. 99.
X X X I V . Athens, A k r o p o l i s 1236, Graef and Langlotz, [ L X X I I I ] p. 290, pi. 29.9. Athens, Akropolis i i , 1078, Sosi-
pi. 89. mos, potter, Graef and Langlotz, p. 99; AB V 350.
X X X V . Berlin 2311, Pfuhl, vol. 3, p. 85, fig. 310; Neuge
bauer, p. 57. 2. Additional Vases i n Six's Technique
X X X V I . Athens, A k r o p o l i s 1224, Graef and Langlotz,
pi. 88.
Antimenes Painter Workshop or the Leagros Group
X X X V I I . Berlin 2312, Neugebauer, p. 56. The following vases are all connected i n one way or
X X X V I I I . Athens, Akropolis 1227, Graef and Langlotz, another by various scholars. Some are linked on the basis
pi. 88. o f figure style, some on potting technique, while others
X X X I X . London GR 1864.10-7.269, Walters, B 682; CIRh, have similar floral ornament. There has been an attempt to
vol. 4 (1929-1930), fig. 326; Jdl 43 (1928), p. 341; BSA 70 make an attribution for these vases, primarily to either the
(1975), p. 158, no. 81. Antimenes Painter workshop or to the Leagros Group.
X L . Athens, Akropolis 1209, Graef and Langlotz, pi. 87. Philippaki, speaking mainly o f Berlin 4029 and London
X L I . Athens, Akropolis 1172, Graef and Langlotz, p. 106. GR 1837.7-17.181, places them i n the Leagros Group i n the
X L I I . Athens, Akropolis 1218, Graef and Langlotz, p. 109. tradition o f the Acheloos Painter and the Group o f Louvre
X L I I I . Athens, Akropolis 1216, Graef and Langlotz, p. 109. F 314. Isler-Kerenyi adds the Swiss market handleless
X L I V London GR 1877.9-30.21, Walters, B 685. stamnos (listed by her as private collection, Lugano), but
X L V I . Athens, Akropolis 1191, Graef and Langlotz, p. 108. places the group i n the workshop o f the Antimenes
L bis. Paris, Louvre M N B 624, O. Rayet and M . Collignon, Painter. Beazley, however, while he agrees that the am
Histoire de la ceramique grecque (Paris, 1888), p. 331, fig. 124. phorae i n Capesthorne Hall and Florence, and the stam
L I . London GR 1867.5-6.36. noi, London GR 1837.7-17.181 (B 691) (Six number V ) and
LH. London GR 1867.5-6.37. Berlin 4029 (Six number V I ) , go together, does not make
L I I I . Athens, Akropolis 1126, Graef and Langlotz, p. 103. an attribution.
22 Grossman
Stamnoi Stamnos
3. Basel, M ü n z e n und Medaillen, sale 18 (November 29, 17. Heidelberg E 51, fr., Gnomon 10 (1934), p. 326 n. 1;
1958), no. 109; Philippaki, p. 25, no. 5. ABL, p. 106. Women washing.
4. Reading University, fr., Philippaki, p. 28, no. 1.
The Diosphos Painter
5. Swiss market (formerly private collection, Lugano),
Isler-Kerenyi, pp. 29-34; Stamnoi: An Exhibition in the Lekythoi
J. Paul Getty Museum (Malibu, 1980), no. 7. 18. Athens 14654, L . L . shape, ABL, p. 236, no. 101;
D V B , p. 83, no. 131. Combat between horseman and
Psiax Amazon.
Alabastron 19. Athens Painter, from Perachora, L . L . shape, ABV
6. London 1900.6-11.1, from Eretria, ABV 294.25, 669, 510.19. Horseman and warrior.
674; ARV 2
8.13; Paralipomena, p. 321, no. 13; Beazley 20. Athens, Kerameikos 30.V.10, ABL, p. 236, no. 99.
Addenda, p. 38; AWL, pp. 117-118, pi. 1.3a-c; A . S. Satyr w i t h goat.
Murray, i n Melanges Perrot (Paris, 1903), p. 252; JHS 85 21. Basel BS 423, CVA Switzerland 4, p i . 56.8, 10.
(1965), p. 24, p i . 14; Mertens, p. 35, no. 4. Youths w i t h Woman and satyr.
horses. 22. Basel, Delz collection, ABV 510.20; Basel, Monnaies
et medailles, sale 11 (January 23-24, 1953), pi. 17, no.
Sosimos, Potter 332. Horseman.
Phiale 23. Boston 98.885, from Gela, Paralipomena, p. 248, no.
7. Eleusis 1458, f r r . , f r o m Eleusis, ABV 350; H . 81; ABL, p. 236, no. 81, pi. 38.6; J. V. Noble, Tech
Luschey, Die Phiale (Bleicherode am Herz, 1939), pp. niques of Painted Attic Pottery (New York, 1988), p. 142,
108-109, 151. Floral pattern. fig. 221; L . D . Caskey, Geometry of Greek Vases (Boston,
1922), p. 218, no. 174.
The Cock Group
24. Karlsruhe B 34 (231), from Girgenti, Paralipomena, p.
Lekythos 248, no. 78; ABL, p. 235, no. 78; CVA Germany 7, pi.
8. Boston 10.556, ABV 471A22; ABL, p. 68; Mertens, p. 31.1. Galloping horseman and dog.
214 n. 22. M a n seated between t w o nude spear-carrying 25. London 1910.4-15.1, ABL, p. 236, no. 79. Maenad
youths. w i t h thyrsos and dog.
The Class o f Athens 581 26. London 1910.4-15.2, ABL, p. 236, no. 80. Eos and
Memnon.
Lekythoi
27. London 1914.5-12.2, ABL, p. 235, no. 75. Athena
9. Athens 12848, ABV 503; Mertens, p. 214 n. 23. Two
holding helmet.
nude dancing women.
28. N e w York market (Hirsch), L . L . shape, ABL, p. 236,
10. Paris, Mikas collection, Paralipomena, p. 245; Mertens,
no. 100. Youth leading horse.
p. 214 n. 23. Dionysos i n his chariot.
29. N e w York 24.97.29, from Gela, ABL, p. 236, no. 92;
The Sappho Painter BMMA 20 (1925), p.. 131, fig. 1; J . - M . Moret, Oedipe, la
Sphinx et les Thebains (Geneva, 1984), p. 23 n. 7. Eos
Lekythoi
and Memnon.
11. Alpine, N e w Jersey, Tray collection. Unpublished.
30. O x f o r d 1942.1, ABV 510.17; Paralipomena, p. 249;
Draped figure riding a bullock.
D V B , p. 99, no. 98; Ashmolean Museum, Select Exhibi
12. Basel market, L . L . shape, M ü n z e n und Medaillen,
tion . . . (Oxford, 1967), p i . 14.125. Amazon leading
sale 51 (1975), pi. 32.145. Bearded kitharode.
horse.
13. N e w York market, L . L . shape, H . A . Cahn, Art of the
31. Palermo 28, CVA I t a l y 40, I I I , I , p i . 1.1-2.
Ancients (New York, 1968), no. 25; Muse 3 (1969), p. 28
Amazonomachy.
n. 10. Seated woman and youth i n conversation.
32. Palermo 2187, ABL, p. 236, no. 84. Young hero lead
14. N e w York 23.160.87, BMMA 25 (1930), p. 136, fig. 4;
ing o f f a woman.
ABL, p. 228, no. 43; G. M . A . Richter, Handbook of the
33. Paris, Louvre C A 1982, ABL, p. 236, no. 98. Satyr
Greek Collection (Cambridge, 1953), p. 75 n. 82.
carrying a maenad.
Ithyphallic dancing satyr.
Six's Technique 23
mer, w h o generously provided me access to his archive and to the amphora i n the Louvre (F 114). Six also sees the technique as less one
group o f Six's-technique vases i n the Metropolitan Museum o f A r t . I o f innovation than one o f elaboration o f the common and familiar
wish to thank Joan Mertens for an important conversation that use o f added colors for highlighting anatomical and decorative de
helped guide m y thinking about experimental techniques i n vase- tails: " . . . on n'avait q u ' ä transferer un procede connu sur une plus
painting. Thanks are due Cornelius Vermeule and David Gordon grande composition pour creer ce nouveau genre" (p. 194). He also
M i t t e n for allowing me to study vases i n the Museum o f Fine Arts, connects its use for the nude female figure on F 114 w i t h its use for
Boston, and Harvard University A r t Museums, respectively. D y f r i the scene on Andokides' baigneuse amphora, also i n the Louvre
Williams o f the British Museum and Angelika Waiblinger o f the (F 203). (Incidentally, I am informed by Angelika Waiblinger that
Louvre kindly sent me information on the Six's vases i n their m u this vase, along w i t h those i n Six's technique, w i l l be included i n a
seums. A n d , finally, I wish to thank Robert Guy o f the A r t M u volume o f the CVA Louvre on superposed colored vases, which she
seum, Princeton University, for telling me o f three Six's vases on the is assembling.) Pfuhl, pp. 333-334, reminds us that the use o f added
market. colors on a dark ground has a long history, extending from Neolithic
1. J. Six, "Vases Polychromes sur Fond N o i r de la Periode examples to late Roman provincial ware. However, he also cites
Archaique," GazArch 13 (1888), pp. 193-210, 281-294. Six was con Nikosthenes' Louvre amphora (F 114) as the beginning o f the Attic
cerned, first o f all, w i t h what he termed " . . . une question purement development o f "die schwarzbunte Technik." Boardman (ABFV, pp.
systematique . . ." i.e., determining whether this group o f vases 64, 178) tentatively suggests Nikosthenes as the innovator o f Six's
belonged to black-figure or to red-figure vase-painting (p. 193). He technique; Kurtz (AWL, p. 12) credits Nikosthenes w i t h giving us
concluded that they formed a distinct group, which, i n the earliest the earliest example o f Six's technique i n the Louvre amphora
examples, resembled a type o f black-figure, but then soon became an (F 114). For a discussion o f the intricacies o f the Nikosthenic w o r k
imitation o f the new red-figure technique. The polychrome style shop and the marketplace as progenitor o f innovation, see M . M .
could not compete w i t h the liveliness o f the new technique, thus Eisman, "Nikosthenic Amphorai: The J. Paul Getty Museum A m
enjoying only a short-lived and limited vogue i n the workshops phora," GettyMusJ 1 (1975), pp. 48-54.
o f Athens. 8. G. Loeschcke, "Dreifussvase aus Tanagra," AZ 39 (1881), pp.
2. J. D . Beazley, Greek Vases in Poland (Oxford, 1928), p. 8. 36-37, argues that Nikosthenes introduced white-ground into Attica
3. C. H . E. Haspels, " A Lekythos i n Six's Technique," Muse 3 in order to revive an already worn-out black-figured style; the ear
(1969), pp. 24-25; AWL, pp. 116-117. P. E. Corbett, "Preliminary liest Attic example o f white-ground is found on the fragments o f a
Sketch i n Greek Vase-Painting," JHS 85 (1965), p. 24, observes that large kantharos by Nearchos (Athens, Akropolis 611, ABV 82.1),
in addition to the common usage o f preliminary sketch i n Attic red- where it is used for the pattern-bands above and below the figure
figure, preliminary incisions were used i n Six's technique as both scene: see J. D . Beazley, The Development of Attic Black-Figure (Berke
guidelines for the added colors and, i n the later version, as prelimi ley, 1951), pp. 40-41. Boardman (ABFV, p. 64) finds Nikosthenes
nary sketch w i t h evidence for a change o f plan where the drawing is among the first to use white-ground for black-figure decoration;
directly incised on the black glaze. A good example o f preliminary Kurtz (AWL, p. 12) suggests that white-ground originates w i t h the
sketch on a Six's vase is found on a lekythos i n N e w York (The Antimenes Painter and members o f the Nikosthenic circle; D . von
Metropolitan Museum o f A r t 67.11.22), D . von Bothmer, "The B o t h m e r , " A n d o k i d e s the Potter and the A n d o k i d e s Painter,"
Struggle for the Tripod," i n U . H ö c k m a n n and A . K r u g , eds., BMMA, February 1966, p. 207, states that Andokides "should per
Festschrift für Frank Brommer (Mainz, 1977), p i . 19.4. haps be credited not only w i t h the invention o f red-figure, but also
4. The other t w o experimental techniques are coral-red and the introduction o f the white-ground technique"; Mertens, pp. 3 2 -
white-ground. A recent article lists five experiments i n vase-painting 33, finding that Nikosthenes handled white-ground i n an accom
technique: outline, white-figure, Six's technique, white-ground, and plished manner while "creating no impression o f particular achieve
coral-red glaze. See B . Cohen, "Oddities o f Very Early Red-figure ment," concludes that he does not seem to have developed the
and a N e w Fragment at the Getty," Greek Vases in the J. Paul Getty technique. I n her opinion, "Nikosthenes, Andokides and their
Museum 4, Occasional Papers on Antiquities 5 (1989), p. 73 n. 1. painter collaborators worked contemporaneously, and on the basis o f
5. These numbers include some fragments, but the majority are existing evidence, the matter o f priority cannot be conclusively re
complete vases. I n addition, there are t w o fragments o f an uniden solved" (p. 35). B u t she deems the Andokidean workshop more
tified vase-shape. Attic vases painted i n superposed colors, which I decisively innovative, concluding that "Andokides produced the i n
chose to include, fall w i t h i n the definition o f Six's technique as novation [white-ground] and that Psiax and his 'brother' [ A n t i
superposed colors w i t h incision (see below, note 26). For example, menes] demonstrated its possibilities" (p. 43). For Nikosthenes as the
these numbers do not include the group o f plain, black-body inventor o f the kyathos, see M . M . Eisman, "Attic Kyathos Paint
lekythoi Haspels (ABL, p. 107) counted. N o r did I include choes o f ers," P h . D . diss., University o f Pennsylvania, 1971, p. 46. For the
the type described by J. R. Green, " A Series o f Added Red-Figure association o f Nikosthenes w i t h the introduction o f the head vase to
Choes," AA, 1970, pp. 475-487, nor the majority o f phiale frag the Attic market o f the late sixth century B . C . , see W R. Biers,
ments w i t h superposed colors found on the Akropolis, Graef and "Some Thoughts on the Origins o f the Attic Head Vase," i n W. G.
Langlotz, nos. 1074-1249, pis. 84-89. M o o n , ed., Ancient Greek Art and Iconography (Madison, 1983), p.
6. The number o f vase-shapes painted by each artist is: N i k o s - 125. Nikosthenes as the inventor o f the kyathos, Six's technique, and
thenes — Nikosthenic neck-amphora (1); Antimenes Painter workshop white-ground is presented matter-of-factly by D . Williams, Greek
or the Leagros Group — neck-amphorae (2), stamnoi (3); Psiax — Vases (London, 1985), p. 35.
alabastron (1); Sosimos, potter — phiale (fragments) (1), cup (frag 9. Malibu, J. Paul Getty Museum 83.AE.324. H : 20.7 cm, max.
ment) (1); Phanyllis Group, C, the Chariot Painter — lekythoi (2); diam o f body: 17.9 cm, diam o f mouth: 13.7 cm, diam o f foot: 10.4
Cock Group — lekythos (1); Class o f Athens 581—lekythoi (2); Sap cm. The vase has been broken and repaired. First published by
pho Painter — hydria (1), lekythoi (13); near the Sappho Painter — Philippaki, pp. 25-28, no. 6 (listed as Geneva market). See also
lekythos (1), stamnos fragment (1); Diosphos Painter — lekythoi (37); Stamnoi: An Exhibition at the J. Paul Getty Museum (Malibu, 1980),
near the Diosphos Painter — lekythoi (3); Sappho/Diosphos w o r k no. 8, and "Acquisitions i n 1983," GettyMusJ 12 (1984), p. 242,
shop — lekythoi (10); Painter o f Vatican 480 — kyathos (1); Class P: no. 53.
the Chairete Class —rhyton w i t h kalathos (1). 10. Philippaki, p. 28.
7. Six (note 1), p. 194, while not crediting Nikosthenes directly 11. I n addition to our vase, one i n a collection i n Geneva (ex-
w i t h the invention o f the polychrome technique he is describing, Lugano, Bolla collection), attributed to the workshop o f the A n t i
implies as much by beginning his catalogue w i t h the Nikosthenic menes Painter, is published by Isler-Kerenyi, pp. 29-34; the other, on
26 Grossman
the Italian market, Philippaki, pp. 27-28. Isler-Kerenyi (p. 34) sug pi. 97) depicts a youth i n an acrobatic position (a reverse hand
gests Etruscan stamnoid kraters without handles as a prototype for spring), balancing a large skyphos on his lower abdomen. I n black-
this shape. See also her article, "Stamnoi e Stamnoidi," NumAntCl 5 figure, a warrior acrobat, standing on his helmeted head, adorns one
(1976), pp. 33-52. side o f a cup b e l o n g i n g to the Class o f T o p b a n d Stemlesses
12. Isler-Kerenyi, p. 29, does suggest that the Geneva and Italian (Würzburg 428, ABFV, fig. 184).
market vases could resemble one another i n their "continuous f i g 23. Leningrad B 4474, K . S. Gorbunova, Chernofigurnye Attiches-
ured decoration devoid o f decorative elements." kie vazy v Ermitazhe (Leningrad, 1983), p. 198, no. 173. A small
13. Edinburgh 81.44.28, Philippaki, pp. 25-26, p i . 15.4, fig. l . A ; fragment among the Akropolis superposed color phiale fragments
Leiden RSx 1, Philippaki, pp. 25-26, CVA Leiden 3, pis. 113.1-2, depicts a white-wreathed, bearded, red-fleshed man raising a k y l i x to
114.1-2, 115.1-2, fig. 3. his lips: Graef and Langlotz, p i . 89.1226.
14. M . G. Kanowski, Containers of Classical Greece (St. Lucia, 24. O n the Theseus Painter, see ABL, pp. 141-151, 249-254, and
1984), p. 140. ABFV, p. 147. For examples o f his skyphoi comparable to ours,
15. O n the Diosphos workshop, the Diosphos potter, the Sappho see Toledo, Ohio, 63.27, ibid., p i . 245.1-2; and a vase that was on
Painter, and the Diosphos Painter, see ABV, pp. 507-511; ARV , pp. 2
the N e w York market, i n Masterpieces of Greek Vase Painting, 7th to
300-306; Paralipomena, pp. 246-251; Beazley Addenda, pp. 60-61; 5th C. B.C., N e w York, Andre Emmerich Gallery, A p r i l - M a y 1964,
ABL, pp. 94-130, 225-241, 368-369, and eadem, "Le Peintre de no. 20.
Diosphos," RA, 1972, pp. 103-109; ABFV, pp. 148-149; AWL, pp. 25. Malibu, J. Paul Getty Museum 82.AE.40.73. The fragment
116-117. measures approximately 5.4 x 9.8 cm. The reconstructed diameter o f
16. Hydria, Warsaw 142333 (ex-Goluchow 32), ARV 2
300, CVA the phiale, projected from the arc o f the existing r i m , is 23 cm.
Poland 1, p i . 16.3; column-krater, Karlsruhe B 32 (167), ABV 507.57, 26. Even though Six (note 1), pp. 281-287, presents the hoard o f
Beazley Addenda, p. 60, Mertens, p i . X I . 1. phiale fragments w i t h added color w i t h the other vases, few o f them
17. White-ground, esp. alabastra, see Mertens, pp. 95-98; and contain incision, which has been defined as the distinguishing charac
side-palmette lekythoi, see AWL, pp. 96-99. Semi-outline on white- teristic i n Six's technique. See Green (note 5), p. 481, w h o distin
ground, e.g., N e w York 06.1070, ARV 2
301.3; AWL, p i . 59.2. guishes his group o f choes from Six's because, "The technique as a
18. Palmette alabastra, e.g., Gerona 9, ABV 509.117; Mertens, p. whole differs from that properly called Six's which readily admits
95, no. 10, p i . 14.2. Palmette lekythoi, e.g., Athens 12271, ABL, p. secondary colours, for the hair for instance, and regularly has inci
235, no. 66; AWL, p i . 69.1. I n addition, the Diosphos workshop was sion." Kurtz (AWL, p. 116) issues a caveat on discriminating between
the first to produce white-ground side-palmette lekythoi i n quantity. applied color and applied color w i t h incision, w h i c h she defines as
19. I n addition to the M a l i b u vase: Berlin 4905; Paris, Musee du Six's technique. N o t e that Beazley (ABV, p. 350) described a group
Louvre C A 1630; Tampa, Florida, ex-Noble; and one i n Arezzo. o f fragments from a phiale potted by Sosimos as being decorated i n
Knowledge o f these latter t w o examples is due to the k i n d assistance "Six-like technique," presumably because the applied color had no
o f Dietrich v o n Bothmer. incision.
20. Malibu, J. Paul Getty Museum 76.AE.127. H : 16 cm, recon 27. See AWL, p. 117 n. 6. These fragments from Eleusis, as well
structed diam o f m o u t h (based on a projection from the arc o f the as the Akropolis group presented by Six, are related by J. Boardman,
surviving fragment): 23.2 cm, reconstructed diam o f foot: 13.2 cm. " A Chian Phiale Mesomphalos from M a r i o n , " Report of the Depart
21. Od., IV. 15-20. ment of Antiquities, Cyprus, 1968, pp. 14-15, to polychrome phialai
22. For example, a cup w i t h symposiasts by Epiktetos i n Oberlin from Chios.
(Allen A r t Museum 67.61, Paralipomena, p. 329, no. 14 bis; J. Board- 28. See Graef and Langlotz, p i . 86.1202. Boardman (note 27), p.
man, Athenian Red Figure Vases: The Archaic Period [London, 1975], 15, reports a closely matching dolphin pattern on a Chian vase.
fig. 68) shows a squatting figure balancing a k y l i x on his out 29. Most dolphins on Six's vases k n o w n to me are part o f a larger
stretched arm. A figure i n the tondo o f a cup w i t h Epilykos kalos pattern scheme, e.g., on a lekythos i n the Louvre (F 197) they supply
(Louvre F 129, Pottier, p i . 73) balances a pointed amphora on his narrative interest and legibility for the figure above them, w h o is
outstretched foot, while another cup, also i n the Louvre (G 73, ibid., seen to be s w i m m i n g i n the sea.
A N e w Representation o f a City on an
Attic Red-figured K y l i x
William A. P. Childs
In the tondo o f a much-broken but fully restored left wears a crested Corinthian helmet w i t h a long tail
Attic red-figured kylix purchased by the J. Paul Getty and a belted himation; he carries a round shield seen in
Museum i n 1984 is represented a city siege (fig. l a ) . 1
three-quarter view from the inside, w i t h an emblem on
The m o t i f o f the city is rare i n Greek art, and this new the outside o f three dotted circles; he holds a spear
example is unusual because it has no readily apparent almost vertically, apparently aimed at the warrior in
mythological context. The Museum attributes the k y
2
the embrasure above h i m . The spear has a smaller,
lix to the Kleomelos Painter, a logical conclusion from second blade clearly indicated at its butt end. The
the style and the inscription KLEME . . . KALOZ dis second warrior leans over to the right to throw a stone,
tributed along the t w o vertical exergues. Beazley at which he holds i n his right hand. He, too, wears a
tributed four vases to the Kleomelos Painter and crested Corinthian helmet, cuirass w i t h tasses and
grouped h i m w i t h Apollodoros and t w o close associ epaulets, and a chiton, which projects at the shoulders
ates as a workshop or as different phases o f the same and from beneath the tasses. I n addition, he holds a
hand working around 500 B . c . The shape o f the kylix
3
shield seen i n profile that covers his left arm entirely
(fig. l b ) is Bloesch's type " C a n d the cup belongs i n a and part o f his face; the emblem on the shield is an
group associated w i t h Apollodoros. 4
octopus. Neither soldier wears greaves, and neither has
The scene depicted on the Getty k y l i x is a simplified a clearly distinguished left or right foot.
city siege: a freestanding city wall topped by three The kylix was broken and repaired i n antiquity: five
merlons almost fills the tondo. The two end merlons, holes 2 m m i n diameter surround the left handle and
to the right and left, are cut by the circular frame o f the clearly served to hold lead clamps (they are only par
scene. I n each o f the t w o embrasures is a warrior. O n tially visible on the photographs, figs, la, c). The vase
the left, completely preserved, the soldier wears a is now broken into some forty fragments; the right
crested Corinthian helmet w i t h a long tail (the end o f it handle and half o f the foot-plate are restored, as are
is painted over but is partly visible next to his proper several parts o f both the scene and the sides o f the
right upper arm), a cuirass o f scales w i t h a skirt o f bowl. The former are not all easily distinguished on
tasses and w i t h epaulets from under which projects a the photograph. Missing i n the scene are the upper
chiton. He holds a spear very near its butt end — right part o f the city wall, including the right part o f
however, the underpainting for the spear shaft extends the center merlon, the warrior in the right embrasure,
much further up, crossing the reserved band defining and most o f the right merlon; a triangular piece on the
the tondo, into the field beyond. The reserve band is left side o f the left merlon that continues across the
incised through the relief lines o f the painted-over whole merlon in a narrow band from its apex; much o f
spear shaft. O n his left arm the soldier holds a large the wall o f the city on the right, including part o f the
round shield that is seen in three-quarter view from the head o f the lower right warrior, part o f his upper arm,
inside; the emblem on its front is not distinguishable the upper part o f his thigh, and part o f his torso up to
except as a black mass. I n the right embrasure the
5
the proper right shoulder. Most o f the restorations o f
only traces o f the missing soldier are the butt end o f a the scene are merely connections across breaks, all
spear and the tip o f an elbow along the top edge o f the done i n dull black ink; exceptions to this practice are
large lacuna extending from the middle o f the center the warrior i n the right embrasure, the surrounding
merlon to the border o f the tondo; below the lacuna architecture, and the missing parts o f the warrior's
are a large portion o f the spear and the bottom part o f a shield and spear, all o f which are worked in a green-
shield w i t h traces o f an unrecognizable emblem. white, self-adhering vinyl that distinguishes these ex
Two warriors stand before the wall. The one on the tensive restorations clearly from the minor ones and
28 Childs
Figure la. Attic red-figured kylix. Interior, without restored warrior. Malibu, J. Paul Getty Museum 84.AE.38.
the largest single fragment, which holds the greater the figures a very sketchy appearance.
part o f the lower left warrior and the hip o f the lower The date o f the k y l i x may be determined largely on
right warrior, is lighter than that o f the other frag the basis o f the elegant tail o f the himation o f the
ments, probably due to a difference i n the circum warrior on the lower left and the swallow-tailed folds
stances o f preservation i n the ground. of the chiton o f his companion on the right. The
There are traces o f black lines that represent prelimi patterns are close to those o f the Pasiades Painter. The
8
nary drawing later not used and largely erased: two elegant arcs o f the drapery swaying under the influence
parallel vertical lines on the right edge o f the left mer of the motion o f the bodies, however, reflect the inter
lon (to the left o f the still clearly visible but unexplain- est o f later painters such as the early Kleophrades and9
able dot); across the helmet o f the warrior i n the left Berlin painters. Indeed, a vase that probably belongs
10
embrasure; i n the r i m o f the shield o f the lower right to the Kleomelos Painter has been attributed to the
warrior, where the two spears cross. A dilute glaze is Kleophrades Painter by V. Tusa. This suggests, as
11
used for the shield emblems, and a b r o w n dilute glaze does the simple yet fine linear pattern o f the drapery, a
is used on the belt o f the lower left warrior, i n the scale date after 500 B . C . rather than before.
armor o f the warrior i n the left embrasure, i n the scale The Getty k y l i x shares several characteristics o f style
pattern o f the helmet o f the lower right warrior, and on w i t h vases o f the Apollodoros Group, most partic-
A Representation of a City 29
ularly w i t h the works attributed to the Epidromos vases by painters o f the Apollodoros Group in various
Painter. Already mentioned above is the use o f very
12
collections, and a new study is necessary to assess their
faint dilute glaze for the definition o f muscles ; partic 13
relationships, which would go far beyond the compe
ularly characteristic o f the Getty k y l i x and works by tence o f this writer and the scope o f this essay. 19
the Epidromos Painter (as well as o f other vases attrib The technique o f the Getty kylix is singular. The
uted to the Kleomelos Painter) are: the lack o f articula two figures i n the foreground are painted i n outline, set
tion o f the ankle bones ; serifs at the ends o f quick,
14
against the clear ground o f the city wall. Even the well-
tight arcs ; and the tight arcs themselves, used on
15 16
preserved figure i n the left embrasure is largely pre
the Getty k y l i x for the eye- and ear-slots o f the helmets sented against the central merlon and is cut off by the
and the folds o f the chiton o f the warrior on the lower wall below, w i t h the result that he is more than half
right. These observations do no more than confirm i n depicted i n outline. His companion i n the right em
part Beazley's original grouping o f the vases around brasure was probably set against the right side o f the
Apollodoros and suggest a particularly close tie be central merlon w i t h similar results. The manner o f rep
tween the Epidromos Painter and the Kleomelos resenting the wall as a reserved surface is the same as
Painter w i t h i n the g r o u p . Although D y f r i Williams,
17
that o f several black-figured vases that depict cities,
in his study o f the Apollodoros Group o f some ten such as a hydria i n Munich o f the Leagros Group (figs.
years ago, affirmed the identity o f the painters i n the 2a-c), but on these the black figures stand o u t . The
20
group, he noted that the conclusion was "tentative and only example o f a city on a red-figured vase w i t h fig
temporary." Indeed, there are now many unpublished
18
ures in front o f the wall is on a k y l i x by the Foundry
A Representation of a City 31
of the wall are i n red-figure, and those i n front o f the directly depicted gate. The city wall is almost always
33
There are a few examples o f outline technique i n stones ; filled w i t h profile heads ; filled w i t h figures
35 36
ploited to the full and forms the closest parallel to the gestures ; or simply left b l a n k . The Getty kylix
38 39
rendering o f the figures before the city wall on the alone lacks a gate depicted or implied. Because o f the
Getty k y l i x . Already mentioned was a vase by the
2 3
prominence and activity o f the two figures i n the em
Pasiades Painter; the Diosphos workshop also produced brasures the kylix belongs w i t h a Tyrrhenian amphora
works close to the figures o f the Kleomelos Painter. 24
in Florence depicting an Amazonomachy (fig. 3) and
The Kleomelos Painter is clearly a minor cup-painter o f the Leagros Group hydria i n Munich (figs. 2a-c) w i t h
the period just after 500 B . c . w i t h ties to other minor a complex and confusing iconography that appears to
painters o f small vases. I cannot see that he should be have at its core the Death o f Troilos.
considered old-fashioned; his style is mannered and as The strictly simplified rendition o f the city on Greek
such belongs fully i n the late Archaic group o f painters pottery is uniform through all the examples known,
of the first quarter o f the fifth century B . c . including the Getty kylix. O f course, it might be ar
The depiction o f a city is, as already mentioned, very gued that the size and format o f the pots precluded any
rare on Greek pottery. Some ten years ago I proposed other manner o f representing the city, but the even
that the eight examples then k n o w n to me i n the A r smaller Cypro-Phoenician silver bowls experienced no
chaic and Classical periods derived ultimately from a such constraint. Equally, the often minimalist nota
40
Near Eastern tradition most fully represented by the tion o f a gate to stand for the c i t y has no necessary 41
posal o f the diffusion o f the city m o t i f from the Near Whether such scenes occurred also i n monumental art,
East and proposing instead more or less explicitly the that is, wall-painting, is unknown; there is no reason to
autonomous invention o f the city as a m o t i f i n each doubt such a parallel.
area and p e r i o d . The Getty kylix gives an ideal op
26
The Greek ceramic tradition o f the city m o t i f is
portunity to review the evidence. formally related i n many points to the representation
A l l eight o f the previously k n o w n Greek scenes w i t h on Cypro-Phoenician silver bowls. The kind o f city on
cities depict clearly identifiable myths: Amazonomachy, the Praeneste B o w l —a pair o f towers w i t h a wall
4 3
guished by the lack o f mythological specificity. I f there the embrasures occurs on two silver bowls i n the Met
is an intended myth, I suspect the Seven against Thebes ropolitan Museum o f A r t , N e w Y o r k , and on the 45
is a likely candidate, but some event i n the Trojan War hydria o f Dr. Vinhas i n Portugal. The depiction o f 46
cannot be excluded. The lack o f a readily identifiable archers who actually repel assault on a silver bowl i n
m y t h for the subject is completely i n keeping w i t h the Delphi and another i n L o n d o n can be related to the
47
oeuvre o f the Apollodoros Group, as is the choice o f an Amazons o f the Tyrrhenian amphora (fig. 3), to the
unusual and spatially ambitious composition. 29
Leagros Group hydria i n Munich (fig. 2 ) , and to the 4 8
The most prominent element i n every Greek repre warriors on the Getty kylix.
sentation o f a city is the gate: either directly depicted 30
It may be argued that the Cypro-Phoenician silver
or implied by figures shown partially overlapped by bowls that depict cities are far earlier than the Greek
the wall, thereby suggesting that they are moving vases here under discussion. Equally, the city is such a
through a gate that is perpendicular to the picture standard form, when reduced to its most basic ele
plane. In other cases an architectural element suggests
31
ments, that it may be argued that no prototype is
32 Childs
necessary to produce very similar forms i n noncon of the siege and capture o f a city, which is the essential
tiguous areas, periods, or cultures. These arguments use o f the motif in the eastern Mediterranean. The prac
can be countered by the numerous points o f contact tice o f siege by actually attacking the walls o f the enemy
between the Cypro-Phoenician silver bowls and the city was uncommon or even unknown i n historical
Greek vases that depict cities, on the one hand, and on Greece before the fourth century, but it was a highly
the other by the fact that the Greek tradition quickly developed military craft i n the ancient Near East. 49
evolves its o w n distinctive vocabulary. The principal The early Greek uses o f the city —on the Francois
characteristic o f the Greek monuments is the reduction Vase and on the Tyrrhenian amphora i n Florence (fig.
o f the m o t i f to a very simplified notation, no matter 3 ) — do present the city as an entity and as a place,
5 0
h o w complex the scene, above all the use o f synec much as i n the Near Eastern tradition. B y the end o f
doche. The Greek use o f the city as a concept is totally the sixth century the form has evolved to that o f the
different from that i n the Near East, for it is no more stage prop that supports some principal activity that
than a context, a stage prop, for specific mythological takes place next to it. The Euergides Painter's k y l i x i n
narration; it does not function on its o w n as an element London alone reverts to the earlier manner o f depicting
in the iconography o f hegemony, that is, the depiction the city as a complete, freestanding u n i t ; the Getty
51
A Representation of a City 33
ence, Museo Archeologico 3773. Photo cour sumes no physical connection between the t w o scenes,
tesy Sopreintendenza alle antichitä d'Etruria.
yet the penetration o f both the tree and the figure o f
Athena from the belly panel into the shoulder zone and
k y l i x occupies an intermediate position, for it repre the gesture o f the woman on the right o f the shoulder
sents the city as a freestanding entity but alters the frieze down into the belly panel suggest that the zones
composition i n a manner that conforms w i t h the other belong together. Even i f one accepts that the t w o zones
later Greek representations by placing the city behind are not to be taken together as a single scene, the
the principal activity. A t the same time the Getty
52
explanation o f the shoulder frieze given by Motta does
k y l i x depicts a subject that is pervasive i n the Near not concord w i t h the activities o f the figures, to w i t ,
Eastern examples: conflict between figures inside and the archer taking aim on the left and the old man and
outside the city. This is implicit on the Tyrrhenian the women i n distress on the right.
amphora, but only the Leagros Group hydria i n A n alternate interpretation is that the scene on the
Munich approximates the type o f conflict depicted on belly represents the Death o f T r o i l o s . This is sug
54
the Getty kylix. O n the Munich hydria the composi gested primarily by the chariot and warriors coming
tion and the iconography are so confusing that the out o f the gate o f the city on the left, which have
scene needs detailed examination. general parallels on the hydria o f Dr. Vinhas i n Portu
The scene covers the belly panel and the shoulder gal and on the Francois Vase, both o f which depict
frieze (figs. 2a-c). O n the belly are depicted, from left warriors (on the Francois Vase explicitly Hektor and
to right: four horses i n harness running from left to Polites) marching through the gate o f Troy to the
right, their rumps partially cut by the left frame o f the unsuccessful rescue o f the young b o y . The three-
55
panel; behind them, w i t h i n a rectangular frame, which stepped construction on the right w i t h tripod would
surely is meant to represent a gate, a hoplite w i t h then represent the sanctuary o f Apollo Thymbraios i n
Corinthian helmet and a figure wearing an Oriental which Troilos was killed, though, as Motta points out,
cap; both wear greaves (the bodies are covered by the on a cup by Brygos i n the Louvre the altar on which
horses); a spindly tree, whose branches fill the ground Priam is killed also has a tripod on i t . 5 6
of the scene on the shoulder; Athena i n paladionesque The real problem o f the identification o f the scene is
rigidity facing the horses to the left, the upper part o f the warrior on the right who holds a youth by the
her head and her helmet projecting into the shoulder ankle; he clearly represents the type o f Neoptolemos
frieze; a crouching white-haired man facing to the created for the Death o f Astyanax. The fact that
right; a hoplite facing to the right holding over his Achilles holds Troilos (name inscribed) by the foot on a
shoulder a boy by the ankle; and a three-stepped con Corinthian krater and is probably depicted holding
57
struction on which stands a tripod set against the right Troilos by the arm i n front o f h i m on a shield strap
frame o f the panel. The shoulder frieze is separated from O l y m p i a cannot beguile us into believing that
58
from the body panel by a thin black line. Above this is the long and consistent tradition i n the sixth century o f
drawn i n outline only a simple pattern o f rectangular a striding hoplite wielding a small child over his shoul
crenellations. Set i n the embrasures from left to right der is not intended to represent Neoptolemos w i t h
A Representation of a City 35
the Greek warriors about to dispatch them, each i n a Although there are no other Greek examples o f fig
slightly different w a y . The gesture o f holding up a
60
ures on the wall o f a city similar to those on the
child that is to be killed appears to be integral to the Munich hydria, there are on Roman monuments, and
early illustrations, possibly going back to the Geomet these suggest a possible source for the Munich figures
ric p e r i o d , but the very graphic pose o f wielding the
61
other than originally i n a representation o f the Death o f
child by the foot over the shoulder is a later, probably Troilos. O n a silver oinochoe from Berthouville, now
sixth-century, invention and appears to have a very in Paris, a man and a woman bewail the fate o f a man
specific application to the hurling o f Astyanax from the before the walls o f Troy, while two soldiers prepare to
walls o f T r o y . Troilos's death is usually depicted dif
62
throw spears against the enemy: the scene is the drag
ferently: he is held out i n front o f Achilles, who w i l l ging o f Hektor's body around T r o y . The man and the
68
stab h i m and cut off his head, essentially the pattern woman are certainly Priam and Hekabe. As on the
established on the Mykonos pithos. Accordingly, it is Munich hydria, the figures are placed so that they look
impossible to deny that, i f the Munich hydria is inter down from either side to a central event before the
preted to represent the Death o f Troilos, we must posit wall. Since the Death o f Troilos does not take place
the migration o f a somewhat inappropriate type from close to the walls o f Troy but the dragging o f Hektor's
one story (Death o f Astyanax) to another (Death o f body does, it perhaps makes sense that the painter o f
Troilos). The same reflections hold for the old, crouch the Munich hydria has borrowed the figures o f the
ing man i n the center o f the belly panel. He must be shoulder frieze from a scene o f the Death o f Hektor or
Priam mourning the death o f the child. Priam is seated the dragging o f his body around Troy. O n the kylix by
next to the city o f Troy on the Frangois Vase, receiving the Foundry Painter i n Boston the appearance o f Priam
the news o f Achilles' ambush from his herald, A n - and Hekabe outside the wall, agitated at the fate o f
tenor. But, despite Charles Dugas's objections, it is
63
Hektor, clearly indicates the existence o f the pictorial
probably Priam w h o appears as a suppliant i n the tradition by the early fifth century B . c . O n the kylix
6 9
scene suggest, as I have already observed, that the dence. I f either or both o f the above suggestions is
71
panel and frieze belong together. The arm o f the correct, the Oriental figure on the left o f the shoulder
woman that projects down into the belly panel on the frieze could be borrowed from yet another source and
right o f the shoulder frieze supports this conclusion. I f be Paris aiming the fatal arrow that killed Achilles> 72
the scene on the belly represents the Death o f Troilos, making the scene a complex amalgam o f events that led
then the figures on the shoulder could have some co up to the destruction o f Troy.
herent role i n the scene. The archer could be respond Whatever the truth is about the origin and meaning
ing to the attack o f Achilles, and the old man (Priam o f the figures on the shoulder o f the Munich hydria,
again?) and the women could be bewailing Troilos's the admixture o f elements from the deaths o f Astyanax
death or simply the danger he is in. The same scene on and Troilos on the belly panel are, I submit, not uncon
the hydria o f Dr. Vinhas i n Portugal has figures, albeit scious confusions o f figure types but a perfectly under
mere heads o f soldiers, i n the embrasures o f the city standable statement o f the inner link between the two
w a l l . Yet what is the role o f the soldier on the wall
6 6
w i t h the juxtaposition o f the deaths o f the oldest and rushes; the simple pattern o f crenellations along the
youngest members o f the royal house o f Troy, the shoulder o f the hydria; and the partial view o f the
annihilation o f the f a m i l y . It is impossible to know
73
three-stepped altar on the right o f the body panel create
whether there was a literary source for the sentiment, by allusion a full and complex sense o f space and
or whether a vase-painter thought it up. Equally, it is setting. The field o f the body panel is transformed into
not knowable whether the deaths o f Troilos and As- a convincing image o f the city wall, much as on the
tyanax were paired i n some tale o f Troy. I n fact, the Getty k y l i x or the later kylix o f the Foundry Painter i n
issue o f a literary origin is irrelevant. The images we Boston. The relative locations o f the city gate and the
have illustrate the connection between events that are altar o f Apollo are easily understood, and the scene
highly sensitive statements about the stories. 74
almost takes on a full, three-dimensional character.
The very obvious popularity o f the scenes o f the To the modern critic the somewhat loose assemblage
Death o f Troilos, whether represented by the ambush, of partial images and the consequent allusion to spatial
the chase, or the actual killing, from the beginning o f relationships without a firm and measurable delineation
the sixth century i n all areas and media marks the o f them is viewed as problematic. Yet it is certainly no
subject as significant far beyond the otherwise inciden coincidence that just at this time —the last quarter o f
tal nature o f the event. From the evidence o f the
75
the sixth century — artists are also experimenting w i t h
monuments, I believe it is necessary to posit that the foreshortening, i.e., a rudimentary perspective, most
later tradition, which connected the fate o f Troilos w i t h especially in the representation o f wheeling chariots. 80
We may not always have the evidence to sort out sense o f space i n the Troilos band o f the Francois Vase,
scenes on pottery that appear confusing. It appears it is strictly two-dimensional. O n the Munich hydria
reasonable to suggest that we may be confused, but the idea o f space as three-dimensional is palpable.
that the Attic painter normally was not. I am not The Munich hydria suggests that late Archaic vase-
willing to go so far as to believe that all the minor painters (and probably painters i n all fields) depicted
references I alluded to above are indeed present or the city more frequently than the preserved monu
conscious i n the scene on the Munich hydria, though ments attest, though the range o f mythological subjects
there appears at least a possibility that they were. A t is not altered by the above arguments. A t the same
the very least the painter was a free and inventive artist, time the Munich hydria demonstrates the attitude o f
who sought to produce a full and unusually descriptive the Greek artist to the inherited m o t i f o f the city: it is
illustration o f the Death o f Troilos using elements o f rearranged and interpreted into a narrative vocabulary
the Death o f Astyanax to give range and depth to the that has nothing to do w i t h the original Near Eastern
event and its meaning. 79
source. Finally, the city is portrayed w i t h an extreme
Just as the complex iconography gives expressive economy o f means. The Getty k y l i x is far less radical
depth to the illustration o f the Munich hydria, the in its adaptation, that is, simplification o f the imported
development o f a complex setting indicates a new and Near Eastern motif, and yet it is distinctly Greek.
fruitful perception o f space i n art. The rectangular ele Action takes place only back to front; the focus is on
ment on the left, which is surely meant as the jamb and individual conflict and not on mass engagements ; and 82
lintel o f a city gate through which the chariot team the mechanics o f siege (ladders, etc.) are omitted i n
A Representation of a City 37
are the primary themes, and the city looms large: it is It is certainly indisputable that the illustrations o f cities
neither a stage prop to elucidate the story, whatever on coins and other m i n o r objects are, as Nancy
that is, nor is it a mere backdrop to action, but it is a Ramage has said, "a parallel" tradition and not i n
necessary element to the story. Yet, just as the much themselves part o f the historical-narrative tradition o f
later depiction o f Kapaneus storming the wall o f Assyria. Yet the very existence o f the city m o t i f in
92
Thebes by ladder on the southeast wall o f the heroön at the Near East as a symbol o f hegemony is more to the
Trysa presents all the necessary elements but does not point, and the coins attest this unequivocally. Indeed,
elaborate on the idea o f siege, keeping the image because the Lycian reliefs have so little other than for
tightly focused on the particular, individual event, 84
mal links w i t h the Greek tradition o f the city m o t i f and
just so no more o f the city is represented on the Getty fit so fully w i t h i n the Near Eastern iconographic tradi
kylix than absolutely necessary. tion, one must be suspicious o f a primarily Greek role
The city representation o f the Getty kylix's tondo in the formation o f the Lycian tradition or o f an auton
lends greater verisimilitude to Evelyn Harrison's recon omous invention.
struction o f the shield o f the Athena Parthenos. It is 85
The smaller podium frieze o f the Nereid Monument
exactly the theme o f the siege o f the A k r o p o l i s that
86
o f Xanthos depicts a number o f standard siege scenes:
points to the inclusion o f some type o f architectural storming o f the wall by ladder and earthworks; leading
setting on the shield and that is indicated by t w o o f the away o f prisoners; negotiations before the w a l l s . 93
reconstruction o f the shield for the statue o f Athena i n ation o f the extensive, historical Assyrian representa
the Nashville Parthenon reveal that the forms o f the tions beyond their unique function i n the Assyrian
city as proposed by Professor Harrison serve well as a palaces, and one should look only for the basic ele
framework for the figures, much as the rough ground ments, much as they occur on the Cypro-Phoenician
functions in the reconstruction o f the shield carried silver b o w l s . It is exactly the abbreviated, simplified,
95
tomb reliefs o f the first half o f the fourth century B . c . J. M . Cook's remark that the style o f all the figures
be local, autonomous creations or are they derived seems to be the same, including that o f the individual
from the Greek tradition o f the city motif? According and very Greek combats o f the battle friezes to the left
to Bruno Jacobs the Lycian city representations arise of the city, is most apt: because the style is the same,
"aus dem Repräsentationswillen der lykischen Dynas the iconographic prototype cannot be the same, indi
ten und griechischem D a r s t e l l u n g s v e r m ö g e n , " and cating an altered m o d e l .98
f o r m "eine autochthone Tradition des H i s t o r i e n There is one last point to be made concerning the
bildes." Others have pointed out that m y earlier hy
90
iconography o f the city m o t i f in Lycia: only the reliefs
pothesis o f a strong Near Eastern background for the of the smaller podium frieze o f the Nereid Monument
Lycian city reliefs is doubtful i n view o f the fact that give the impression o f quite specific, even accurate
38 Childs
historical narrative. The reliefs o f the heroön at Trysa These drawings could have been simply the sketches
are far more generalized, and the city reliefs o f the provided to the sculptors for the monuments them
other monuments function explicitly outside o f a nar selves, but it still does not seem outre to suggest that
rative context." It is precisely this evolution, or, more there was a tradition o f seminarrative representations
properly, the rapid transformation o f the city m o t i f in of city sieges in the dynastic courts o f Phoenicia, Pal
Lycia from a narrative, quasi-historical m o t i f to a sym estine, Syria, and southeast Asia Minor.
bolic one, that cannot be explained by the theory o f a The subject o f the city representation on the Getty
local invention o f the m o t i f tradition or the borrowing kylix eludes identification, but, as already observed, i n
from the Greek tradition. Elements o f the narrative this respect it fits well into the Apollodoros Group o f
tradition persist but are strictly subordinated, a phe vases, which often display unidentifiable, even idio
nomenon that both demonstrates the existence o f a syncratic themes. There is no difficulty i n believing
narrative tradition and shows that it was not one that that the city m o t i f was more widely used i n Greek art
had a very national Lycian flavor. It is precisely the than in the previously k n o w n examples, though the
contemporary appearance o f complex city representa very lack o f specificity does suggest i n the context o f
tions on the coins o f Phoenicia and Palestine and on the vases o f the Apollodoros Group a free creation,
other works o f the minor arts i n the Near East that probably derived from one o f the already k n o w n sub
documents a widespread resurgence o f the popularity jects such as the Seven against Thebes or the Trojan
o f the city m o t i f as a symbol o f suzerainty, o f which War. I n any case, the depiction o f direct conflict be
the Lycian reliefs are the most elaborate example. The tween warriors inside and outside the city, only alluded
very complexity o f the representations on the coins to i n the Munich hydria, really presents a new theme,
suggests that there was a monumental tradition behind that o f siege. Most important o f all, however, is the
them, for otherwise quite simple, even symbolic mani view that the Getty kylix provides o f the developed
festations o f the city could and, indeed, did suffice. 100
Princeton University
Princeton, N e w Jersey
NOTES 119.1598; see also Paralipomena, p. 332, Beazley Addenda , pp. 174-
2
Elpinikos Painter. The last three do not share the particularly charac 49. A . W. Lawrence, Greek Aims in Fortifications (Oxford, 1979),
teristic traits I have listed for the Kleomelos k y l i x . See below (note pp. 41-43; P. Demargne and W. A . P. Childs, Le monument des
29) on composition and subject matter. Nereides: Le decor sculpte, Fouilles de Xanthos, v o l . 8 (Paris, 1989),
20. Childs, p i . 30.1-3. Additional bibl. is cited below, where p. 269.
these vases are discussed at length. 50. The t w o Etruscan examples should be included w i t h the
21. Ibid., p i . 31.1-3; ARV
2
402.23. earliest Greek examples: Childs, pis. 28.3-4, 29.4.
22. Boardman (note 8), p. 18, fig. 19. 51. Ibid., p i . 31.4.
23. J. R. Mertens, Attic White-Ground: Its Development on Shapes 52. O n the Leagros Group hydria i n Boston w i t h the dragging o f
Other than Lekythoi (New York, 1977), pp. 14, 28-29, 118. Hektor's body around Troy only the column and architrave on the
24. D . C. Kurtz, Athenian White Lekythoi: Patterns and Painters left suggest the presence o f the city, w h i c h can be thought o f as
(Oxford, 1975), pp. 149-150, pis. 58-59. existing i n the background o f the scene. Indeed, i t is w o r t h stressing
25. Childs, passim. the extraordinary economy o f means i n the representation o f all the
26. N . Ramage, A]A 84 (1980), pp. 108-109; J. M . Cook, JHS cities on the Leagros Group hydriai and the early fifth-century red-
100 (1980), p. 279; B . Jacobs, Griechische und persische Elemente in der figured kylikes: Childs, pis. 30-31.
Grabkunst Lykiens zur Zeit der Achämenidenherrschaft, Studies i n M e d i 53. C. M o t t a , "Sur les representations figurees de la m o r t de
terranean Archaeology, v o l . 78 (Jonsered, 1987), pp. 63-64. Troilos et de la m o r t d'Astyanax," RA 50 (1957), pp. 28-29; see also
27. Childs, pis. 29.1-3, 30, 31.1-2. A . K o s s a t z - D e i ß m a n n , LIMC 1 (1981), p. 90, no. 382; cf. LIMC 2
28. Ibid., pis. 28.3-4, 29.4. (1984), p. 934, no. 29 (O. Touchefeu).
29. Williams (note 14), p. 163. This is particularly evident i n the 54. For very much the same basic reading o f the scene as given
four other new vases o f the Apollodoros Group owned by the Getty here, see: Recueil Dugas, p. 73; J. D . Beazley, The Development of Attic
(see above, note 19). A l l share a slightly unusual subject matter and Black-Figure, rev. ed. (Berkeley, 1986), p. 77; Schefold (note 46),
manner o f representation: sphinx carrying youth over the sea; man p. 207.
next to an altar that is only partially depicted; old man pulling a goat 55. Childs, pis. 29.1, 30.2. The horses present i n scenes o f the
whose body is outside the scene; eagle carrying o f f a hare. I n the case deaths o f Astyanax and Priam are usually at rest, not running. See
o f the first o f these (inv. 85.AE.377) there is an interestingly similar Wiencke, p. 298 (pi. 59, fig. 18). This distinction is also made by
composition by Douris on the interior o f a cup i n the Museum o f Dugas w i t h reference to his interpretation o f the C-Painter's l i d as
Fine Arts, Boston (inv. 95.31, ARV 2
443.225; Beazley Addenda , p.
2
representing the Death o f Troilos: Recueil Dugas, p. 71.
240; C B , v o l . 3, p i . 71, no. 127; A . Shapiro, A]A 85 [1981], p i . 28, 56. M o t t a (note 53), p. 29, fig. 2 (p. 28); Wiencke, p i . 60, fig.
fig. 13). Eros(?) carries a youth through the air. Depending on h o w 22a; ARV 2
369.1. The tripod here, i n fact, is probably intended to
the cup is oriented (see C B and Shapiro, this note), a palmette m o t i f draw attention to the relationship o f the deaths o f Troilos and A s
occupies the area behind or below the youth. I f the latter orientation tyanax, as elaborated below (note 76).
is chosen, the palmettes replace a sketchy seascape on the Getty 57. Recueil Dugas, p. 71, p i . X V . 1 - 2 ; Wiencke, p. 293, p i . 56, fig.
k y l i x , a characteristic element o f setting for the period around 500 5; M o t t a (note 53), p. 32, fig. 6; H . von Steuben, Frühe Sagen
B . C . and typical o f the Apollodoros Group. darstellungen in Korinth und Athen (Berlin, 1968), pp. 62, 121 (K 5);
30. Childs, pis. 29.1, 2-3 (here fig. 3), 31.1-4. LIMC 1 (1981), p. 88, no. 365. See also an Attic band-cup w i t h a
40 Childs
similar representation: Schefold (note 46), p. 204, fig. 278; LIMC 1 Memorial Lecture (London, 1982), passim.
(1981), p. 87, no. 359a. 75. Zindel (note 46), pp. 107-128, gives a catalogue o f 183 exam
58. E. Kunze, Archaische Schildbänder, Olympische Forschungen, ples o f the Troilos legend. A . Kossatz-Deißmann, LIMC 1 (1981),
vol. 2 (Berlin, 1950), pp. 140-142, pis. 5 (lb), 42 ( X V b ) , 29 (IXc); pp. 79-90, nos. 206-377, eliminates a few cited by Zindel. As
von Steuben (note 57), pp. 62, 70, 121 (K 7); LIMC 1 (1981), pp. 8 9 - H . J. Rose, A Handbook of Greek Mythology, 6th ed. (London, 1972),
90, nos. 376-377. p. 235, remarks, Troilos "fell i n combat w i t h Achilles early i n the
59. Recueil Dugas, p. 71; Wiencke, p. 299, w h o seems to me to war. For some reason, he became rather prominent i n later legend.
misconstrue Beazley, Development (note 54), n. 44 on p. 105; M o t t a N o really important story, however, is connected w i t h h i m . " One
(note 53), p. 28. imagines that 77. X X I V . 2 5 3 - 2 6 0 must have been the source for Dares
60. M . Ervin, " A Relief Pithos from M y k o n o s , " Archaiologikon Phrygius and his later, mediaeval followers, w h o make Troilos a hero
Deltion 18 (1963), pis. 23b, 26a, 27b; cf. pi. 24a; Zindel (note 46), pp. w h o wounded Achilles and was second only to Hektor among the
87-98; J. Schäfer, "Bemerkungen zum Verhältnis von Malerei und Trojan warriors. See Zindel, p. 30; Kossatz-Deißmann, pp. 73, 95.
Dichtung i n der früharchaischen Epoche," i n K . Krinzinger et al., 76. Plautus, Bacch., 953-954; First Vatican Mythographer 207
eds., Forschungen und Funde: Festschrift Bernhard Neutsch (Innsbruck, (Mai 210); see also Tzetzes, On Lycophron, 307-313, where Apollo is
1980), p. 422, p l . 77.4. said to have decided on vengeance for the bloodying o f his altar and
61. Athens, Agora 310: E. T. H . Brann, Late Geometrie and Proto- to prepare the death o f Achilles. See Zindel (note 46), p. 64. The cup
attic Pottery, The Athenian Agora, v o l . 8 (Princeton, 1962), p. 66, pl. by Brygos mentioned above (note 56) is perhaps to be understood i n
18; idem, " A Figured Geometric Fragment f r o m the Athenian this context. The placement o f a tripod on the altar on which Priam
Agora," AntK 2 (1959), pp. 35-37; K . Schefold, Myth and Legend in is killed, universally said to be the altar o f Zeus Herkeios, can only
Early Greek Art ( N e w York, n.d. [1966]), p. 27, fig. 2; von Steuben mean that the painter is referring back to the death o f Troilos as a
(note 57), p. 70; J. Carter, "The Beginning o f Narrative A r t i n the necessary event before Troy can fall. The connection might also be
Greek Geometric Period," BSA 67 (1972), p. 53. made through the sacrilege o f Achilles, which seals his fate and, by
62. Wiencke, pp. 286-289, reviews the early literary evidence and concatenation, the fate o f Troy.
the variations. It should be noted that i n IL X X I V . 7 3 4 - 7 3 5 , A n 77. ABV 198; Hofkes-Brukker (note 74), pp. 15-16, f i g . 4;
dromache foresees that Astyanax may be grabbed by the arm and H i m m e l m a n n - W i l d s c h ü t z (note 73), no. 2, pp. 74-77, p l . 4.
hurled from a tower to his death (rather than by the leg). The seizing 78. Schäfer (note 60), pp. 417-438, esp. pp. 422-423, 428-429,
o f the arm o f a child is represented on the M y k o n o s pithos, Ervin 432-433.
(note 60), p l . 23b, and is depicted on the O l y m p i a n shield reliefs (see 79. I t is always possible that a wall-painting was the source for
above, note 58); the latter are generally taken to depict the Death o f the scene on the M u n i c h hydria, but such a hypothesis does not help
Troilos. I n m y opinion, the pictorial tradition o f the sixth century is clarify the iconography.
too explicit and different to be confused w i t h this other tradition o f 80. Boardman (note 42), fig. 154.
simply grabbing a child by the arm, which has no specific connota 81. E. Panofsky, " D i e Perspektive als 'symbolische F o r m , ' " i n
tion o f a particular event i n the seventh century. F. Saxl, ed., Vorträge der Bibliothek Warburg, Vorträge 1924-1925 (Ber
63. Childs, p l . 29.1. See a comparable scene on a Klazomenian lin, 1927), pp. 258-330, esp. pp. 260-261, 268-274.
hydria (Athens, National Museum 5610): Schefold (note 46), p. 207, 82. O. Bie, Kampfgruppe und Kämpfertypen in der Antike (Berlin,
fig. 284. 1891), p. 39 and passim.
64. Recueil Dugas, pp. 71-73, p l . X V I . 2 ; Wiencke, pp. 293-294, 83. Above (note 49).
pl. 56, fig. 6. 84. Childs, p l . 5.1.
65. The interpretation given also by Beazley, Development (note 85. E. Harrison, AJA 85 (1981), i l l . 5, p. 297.
54), p. 77; Schefold (note 46), p. 207. 86. Ibid., pp. 294-296; P. E. Arias, " N u o v o contributo alia
66. Childs, p l . 30.2. tradizione figurata deH'Amazzonomachia del V. sec. a. C , " i n F.
67. Cf. Wiencke, p. 299. Krinzinger et al., eds., Forschungen und Funde: Festschrift Bernhard
68. Childs, pl. 33.4, pp. 66-67, w i t h n. 74 (p. 67) for other, Neutsch (Innsbruck, 1980), p. 53.
related monuments. 87. T. S t e p h a n i d o u - T i v e r i o u , NeoatTiKd, O i ÄvdyAu(j)oi
69. Ibid., pl. 31.2. ITivaKec; d n ö xö Auadvi xou Ileipcaa (Athens, 1979), pp. 7-8, no. 2,
70. M o t t a (note 53), pp. 28-29. pl. 2, and pp. 16-17, no. 21, p l . 17. Cf. Childs, p. 65.
71. The celebration o f the Trojans is mentioned by Proklos as part 88. N . Leipen, Athena Parthenos: A Reconstruction (Royal Ontario
o f the Little Iliad: A . Severyns, La Vita Homeri et les sommaires du Museum, Toronto, 1971).
cycle, Recherches sur la Chrestomathie de Proclos, vol. 4 (Paris, 89. Arias (note 86), p. 54.
1963), p. 90, 11. 235-236. Hesiod, the Homeric Hymns and Homerica, 90. Jacobs (note 26), p. 64.
Loeb Classical Library (Cambridge, Mass., 1964), pp. 510-511. 91. Ramage (note 26), pp. 108-109; Cook (note 26), p. 279.
72. The identification o f the Oriental archer i n the west pediment 92. Ramage (note 26), p. 109; cf. Childs, p. 83.
o f the Temple o f Aphaia on Aigina as Paris is most reasonable and is 93. Ibid., pp. 22-31. The placement o f block 878 on the north
almost contemporary w i t h our vase: D . Ohly, Glyptothek München: side o f the frieze, proposed on pp. 24-26 and illustrated i n fig. 11, is
Griechische und römische Skulpturen, Ein kurzer Führer (Munich, 1972), not possible, as is demonstrated by Demargne and Childs (note 49),
p. 63, pl. 29. pp. 154-157, 340-342.
73. Recueil Dugas, pp. 66, 69, 74; Heidenreich (note 46), p. 108 94. Jacobs (note 26), p. 63.
and n. 27; N . H i m m e l m a n n - W i l d s c h ü t z , " E r z ä h l u n g und Figur i n 95. Childs, fig. 28, pl. 28.2.
der archaischen Kunst," AbhMainz, 1967, no. 2, pp. 76-77. J. M . 96. Ibid., p l . 12.1-2 (blocks 876, 877).
Hemelrijk, review o f proceeding i n Gnomon 42 (1970), p. 169 (refer 97. Ibid., pis. 14-17.
ence kindly given by Professor J. P. Small). 98. Cook (note 26), p. 279. See also the observations o f Bie
74. Recueil Dugas, p. 72; C. Hofkes-Brukker, " D i e U m f o r m u n g (note 82), pp. 26-27, w h o makes very much the same distinctions as
des homerischen Bildstoffes i n den archaischen Darstellungen," I have done.
BABesch 15 (1940), pp. 2-31, esp. pp. 19-29; Wiencke, p. 291. See 99. Childs, pp. 36-47, pis. 18-25 (Pinara and Tlos).
also A . M . Snodgrass's general yet illuminating observations, Archaic 100. Ibid., fig. 39, p l . 34.7, among numerous other examples o f
Greece: The Age of Experiment (Berkeley, 1980), pp. 189-194; idem, all periods.
Narration and Allusion in Archaic Greek Art, The Eleventh J. L . Myers 101. Ibid., pp. 28-29, 32.
Onesimos and the Getty Iliupersis
Dyfri Williams
The centenary o f the birth o f Sir John Davidson maenad (fig. 2a). There is real vitality and power in
9
Beazley was marked i n 1985 i n both Oxford and Lon both the composition and the drawing. This cup de
don w i t h international colloquia, and in America not serves particular mention not only because o f its
only was there a symposium i n Malibu but also a fantastically arranged tondo but also for the use o f
"one-man-show" that toured N e w York, Toledo abbreviated scenes on the exterior (fig. 2b), what Beaz
(Ohio), and Los Angeles. These American celebra
1
ley called "shorts," single figures on a short ground-
tions centered on the black-figured artist k n o w n as the l i n e . This piece is n o w the earliest example o f
10
Amasis Painter and on his world. Beazley's interest in "shorts," and, in the light o f it, it is tempting to
Greek vases had, i n fact, first been drawn by a red- associate their origin w i t h the similar and roughly con
figured vase, for i n a letter written to Professor Martin temporary idea o f single figures on line bases on neck-
Robertson's mother in Cambridge he confessed that his amphorae decorated by the Pioneers. 11
"first vase love" at the age o f only twelve years, was The climax o f this very early group o f works by
the beautiful cup i n Brussels by Onesimos. Thanks to
2
Onesimos, however, is perhaps the fragmentary cup
the front cover o f Professor Martin Robertson's book divided between Berlin and the Vatican, although all
Greek Painting this cup has become the first vase love o f but a handle fragment o f the Berlin part was lost dur
many other students and scholars. It is perhaps fitting,
3
ing World War I I . Inside, within a frame o f palmettes
1 2
therefore, that the J. Paul Getty Museum, which spon is the terrible climax o f the Sack o f Troy, Neoptolemos
sored some o f the American celebrations, should pos killing King Priam. Outside, the carnage continues i n
sess one o f Onesimos's grandest w o r k s . 4
the form o f warriors chasing women. This piece seems
Onesimos was perhaps the greatest o f a group o f to have been signed by Euphronios as potter.
vase-painters who specialized in decorating cups in the Most o f the very early cups o f Onesimos bore the
first quarter o f the fifth century B . C . We have, it
5
praises o f the young Leagros, as do the mature works
would seem, none o f Onesimos's prentice works, as is of Euphronios, so that it is possible to confirm the
all too often the case w i t h vase-painters; instead, a stylistic impression that the very early works o f One
series o f polished, sophisticated works has come down simos are roughly contemporary w i t h the mature and
to us. The style owes much to Euphronios, his teacher, late works o f Euphronios. There seems, however, to
13
but the spirit is different. There is occasional stiffness, be a further connection between Onesimos and Eu
although this is quickly lost. A m o n g the finest o f these phronios, for the Berlin and Vatican cup probably car
very early cups is a group o f white-ground pieces w i t h ried the potter signature o f Euphronios, Euphronios
divine themes. Two were offered i n the sanctuary at epoiesen, as, i n fact, do a number o f later cups by our
Eleusis. O n one Athena fights a giant; on the other
6
painter. Whether we are dealing w i t h the same E u
14
only the fine bearded head and torso o f the fish-bodied phronios and whether epoiesen here meant "potted w i t h
Triton is preserved. A third white-ground cup, perhaps his o w n hands" or "owned the workshop" is ex
slightly later than the t w o Eleusis pieces, formerly in tremely difficult to determine, for in the case o f Eu
the Bareiss collection, is now i n the Getty Museum i n phronios there is a clear division between those vases
Malibu (fig. I ) . It showed Dionysos holding a large
7
that are signed w i t h Euphronios egraphsen and those
kantharos and a satyr playing the pipes. Here One signed Euphronios epoiesen: all the vases w i t h the painter
simos has combined the black-figure technique o f black signature are clearly only by one painter, none o f the
silhouette and incision w i t h the usual outline technique vases w i t h the epoiesen signature were painted by that
used on a white ground. 8
artist, and no vase bears a double signature. We are
15
There were, however, a number o f simpler cups in probably saved, however, from concluding that there
the regular red-figure technique. Such is a cup also i n might have been two people in the Athenian Ker
the Getty Museum w i t h a satyr attacking a sleeping ameikos w i t h the name Euphronios by the clear styl-
42 Williams
Figure 1. White-ground cup by Onesimos. Interior. Malibu, J. Paul Getty Museum 86.AE.313.
istic connections between the painters who decorated shapes. Here we are unfortunately lacking the name or
cups potted by Euphronios and the works o f the names o f the potters involved, although the unat-
painter Euphronios: indeed all seem to have been pu tributed oinochoe i n N e w York w i t h the incised signa
pils o f the painter Euphronios or associates and fol ture o f Euthymides as potter might point the w a y . 19
lowers o f those p u p i l s .
16
The next chronological group o f Onesimos's cups
A l l o f Euphronios 's potter signatures, which begin i n records the beauty o f a youth named Athenodotos.
the decade 510-500 B . c . and continue down to about The earliest, the Boston cup w i t h its splendidly bold
470 B . C . , are on cups, except for a covered skyphoid tondo composition o f a satyr seated on a pointed am
vessel i n the Getty M u s e u m . This means that the
17
phora like some excited creature on its precarious
epoiesen signatures o f Euphronios coincide i n date w i t h perch, still praises Leagros, as well as Athenodotos. 20
the time when some o f his painter pupils began to There follow not only a group o f elaborate cups, such
specialize i n decorating the same shape. This is too as the lively symposium cup i n Dr. Herbert A . Cahn's
much o f a coincidence, and we are surely looking at collection, but also simpler pieces, among which one
21
two aspects o f one and the same development. More might count a fragment w i t h an archer stringing a
over, this development is not special to Euphronios and bow, found at Gela, but now i n Syracuse. The out
22
Figures2a-b. Red-figured cup by Onesimos. Above: interior; below: exterior. Malibu, J. Paul Getty
Museum 86.AE.607.
44 Williams
Figure3a. C u p fragment b y Onesimos. I n t e r i o r . Figure 3b. Exterior o f fragment, Figure 3a, w i t h coral-
Heidelberg, University Museum 52. Photos red slip.
courtesy Heidelberg University.
which Beazley placed i n the Manner o f Onesimos, but miraculous victory over the Persians i n 490 B . c . The 2 6
which, thanks to the new satyr and maenad cup i n the significance o f the context o f this fragment, and its
Getty, we can n o w see as an early w o r k o f Onesimos associated finds, is much debated, but this fragment
27
lar sections o f the Getty tondo border, together w i t h sea, his the first Prokne and Philomela, his the first
30 31
the sheer quality o f the line, not easily appreciated i n killing o f the suitors by Odysseus, his the first Tek-
32
the published drawing, reveal the clear connection be messa covering the body o f A j a x , and his the only
33
The particular interest o f this fragment lies i n the fact add not only the fragmentary and ruined scene o f
that it was found i n the offerings trench at the center o f Medea rejuvenating the ram on a piece i n the Getty
the burial mound i n the plain o f Marathon, the burial Museum, for this is the first occurrence o f the magic
place o f the 192 Athenians who fell i n the almost box i n Medea's h a n d , but also some o f the episodes
35
Onesimos and the Iliupersis 45
Figure 6. Photo montage o f fragmentary cup by Onesimos. Interior. Malibu, J. Paul Getty Museum 86.AE.284, and Paris,
Musee du Louvre C 11337. Photo courtesy Musee du Louvre (fragment).
Onesimos and the Iliupersis 41
Figure la. Cup fragment by Onesimos, signed by E u Figure lb. Exterior o f cup fragment, figure 7a.
phronios as potter. Interior. Malibu, J. Paul
Getty Museum 86.AE.311.
described below on the Getty Iliupersis cup. on a cup that one would normally date in the later 490s
A particularly interesting fragment o f this period, has all the hallmarks o f a contemporary observation,
also in the Getty Museum and signed by Euphronios as and it is tempting to think that Onesimos intended the
potter, should also be mentioned here (figs. 7a-b). O n warrior to be Miltiades or one o f his companions.
the exterior is an unusually vivid Centauromachy that This is not the place, however, to go any further in a
may well have had some influence on the Foundry consideration o f Onesimos's career, for we have come
Painter's version on his Munich c u p . But most ex
36
far enough to set the Getty Iliupersis cup in its place as
traordinary o f all is the scene on the interior, which the masterpiece o f the painter's early middle phase and
preserves the head and shoulders o f a lone warrior w i t h date it to the period 500-490 B . c . The Getty cup,
a scalp on top o f his helmet. This is the only k n o w n which was repaired i n antiquity, is o f type C, w i t h
example o f a scalp w o r n as a trophy by a Greek war offset lip and a fillet between the stem and the foot (fig.
rior. The custom o f taking scalps was k n o w n to the 8a). Its diameter is 46.5 cm, its height as restored is
Greeks through their contact w i t h the Scythians, i n 20.5 cm. This makes it the largest cup o f type C so far
deed the Greek w o r d for to take a scalp was apo- k n o w n and a worthy cousin to the colossal black-
skythiazein.
37
This contact goes back to the late seventh figured cup o f type A in the British Museum by the
century B . c . , as is indicated by the discovery o f Greek Lysippides Painter (diam. 53.0 cm) and the even larger
objects, while the representations o f Scythian archers red-figured cup o f type B in Ferrara, the w o r k o f the
on Athenian vases, which begin i n the second quarter Penthesilea Painter (diam. 56.6 c m ) . O n the reserved
41
o f the sixth century, but become particularly common edge o f the foot o f the Getty cup are the remains o f a
after circa 530 B . c . , suggest the presence o f Scythians painted inscription, which Dr. Marion True has con
in Athens itself. The return o f Miltiades the Younger
38
vincingly read as the potter signature o f Euphronios:
to Athens i n about 493 B . C . , however, must have i n ElV$[RONIOI EnOIE]IE[N (figs. 8b-c). This is, i n
tensified Athenian information about the Scythians. 39
fact, the potter Euphronios's largest surviving work.
Indeed, it is possible that not only did Miltiades and his When we turn to the painted decoration, we are not
followers bring w i t h them detailed knowledge o f the disappointed, despite the cup's fragmentary condition.
Scythian custom o f scalping but that they may also Inside we see a large tondo surrounded by a zone (fig.
have adopted it themselves on certain occasions, much 8d). Such zone cups are rare and always spectacular,
as we hear o f Europeans who learned the technique just like the two other "jumbo cups" just mentioned,
from the Indians o f N o r t h A m e r i c a . This unique
40
which also have zones around their tondi. The only
occurrence o f a warrior sporting a scalp on his helmet other type-C cup w i t h a zone around the tondo is the
48 Williams
smaller, fragmentary piece by the Kleophrades Painter Painter, the Kleophrades Painter, and the Pan Painter. 45
in London, an heirloom i n a mid-fifth-century tomb at I cannot help wondering i f these later pieces might not
Kameiros. This piece is placed by Bloesch i n his
42
be connected w i t h the potter Brygos, although to sup
Eleusis Group, a group o f special cups o f fine make port this I could do no more than point to the fact that
w i t h offset lips inside, which also contains works the Foundry Painter is a Brygan, that the Kleophrades
painted by the young Onesimos, the young Douris, Painter's only pupil, the Boot Painter, belongs to the
the Foundry Painter, and one o f the Pan Painter's rare Brygan world, and that the potter o f the Pan Painter's
essays on a cup, a group which may represent the white-ground lekythos seems to be the same as that o f
work o f more than one potter. Indeed, the earlier
43
the Brygos Painter's white-ground l e k y t h o i .
46
pieces o f the group, the Eleusis and London white- The Getty Onesimos's closest relative i n shape is the
ground cups, to which we may add the white-ground Brygos Painter's cup from the so-called Brygos Tomb
Bareiss cup and the other white-ground fragment from at Capua, which bears the signature o f Brygos on the
Eleusis —both no doubt early works o f Onesimos as edge o f the foot, the same placement as the signature
noted above —could well be associated w i t h the potter on the Getty piece. This type-C cup by Brygos takes
47
so that here we have, rather more clearly, the potter alleled on the fragmentary and very early cup by
Brygos following i n the footsteps o f Euphronios. 48
Onesimos divided between Berlin and the Vatican,
The tondo o f the Getty Onesimos is densely packed which was mentioned earlier. I n w r i t i n g o f that
49
w i t h figures (fig. 8e). It shows the Death o f Priam. He ruined but splendid piece I named the woman attempt
sits on an altar on the left. Neoptolemos (NEO- ing to intercede for both boy and old man Hekabe,
riTOLEMOZ), armed w i t h a shield bearing the device Priam's wife, but the Getty cup shows that Onesimos
o f a lion pulling down a deer, comes at h i m from the was rather more imaginative, for he has labeled her
right, wielding the young Astyanax (AZTVANA+I ret Polyxene (nOLV+XENE), Priam's daughter. A l l I can
50
rograde). A woman stands between them. Collapsed do in m y defense is to point out that I did at least draw
on the ground, partly obscured by the altar and mostly the woman as young —though quite w h y I do not
missing is the figure o f a fallen warrior. The tips o f know! 51
three o f his fingers can be seen between Astyanax's As for the fallen warrior, I fortunately only referred
dangling arms, his trunk is just visible on the right o f to h i m as the noiuqv Aacov. The Getty cup now adds
52
the altar, and his left foot juts out beyond the bottom part o f his name JAI^ONOZ. One's first restoration
left corner o f the altar. Below the groundline, we can would naturally be Dai'phonos, but no Dai'phonos is
also see a curved slashing sword, a machaira, which mentioned by Homer or listed among the sons o f
must have been his. Priam i n our various literary sources. To have such an
This remarkable composition is almost exactly par anonymous Trojan, however bitterly ironic his name
Onesimos and the Iliupersis 51
Figure 8f. Detail o f tondo o f cup, figure 8a. Heads o f Priam, Polyxene, and Neoptolemos.
(Dai'phonos w o u l d mean ''slayer o f the enemy"), seen destroying the three generations o f Priam's Troy:
seems unlikely, and I wonder i f Onesimos might per Priam himself, Dai'phobos, and Astyanax —father, son,
haps have made a slight slip and written Dai'phonos and grandson — a terrifying glorification o f this young
instead o f Dai'phobos. Dai'phobos was one o f Priam's
53
Greek's savagery, only equaled by his later sacrifice o f
sons and was described by Hektor as his dearest Polyxena on the tomb o f Achilles.
brother— indeed i t was his form that Athena took Written on the altar that serves as Priam's refuge is
when she tricked Hektor outside the walls o f Troy. HEPKEIO, thus identifying it as that o f Zeus Herkeios,
Dai'phobos also married Helen after the death o f Paris. the altar that stood i n the court o f every household. A n
It is usually imagined that he was killed by Menelaos, 54
omega used for the genitival diphthong ov is very rare,
who, together w i t h Odysseus, headed straight for but we do find it at the end o f the sixth century and
his house, but perhaps the vase-painters preserve a early in the fifth, for example on the tomb o f Patroklos
different tradition, one i n w h i c h Dai'phobos had on a black-figured hydria in Boston from the Leagros
taken a stand before Priam, only to be cut down by Group and in the inscription written by Douris on an
Neoptolemos. This makes the vase-painter's version o f aryballos for Asopodoros. 55
the Death o f Priam, a version which seems to combine To the right o f the altar are Priam's sandaled feet,
the deaths o f Astyanax and Priam into one horrible act one above the other, jutting out below his long chiton,
and which is not, as such, preserved in our literary the greaved left leg o f Neoptolemos, and part o f the
sources, even more powerful, for Neoptolemos is now torso o f the fallen Dai'phobos. But amid this jungle
52 Williams
Figure 8g. Interior zone o f cup, figure 8a. Rescue o f Aithra (left); Sthenelos and a woman (right).
there is also a strange object. It crosses i n front o f the but this cannot be so on the Kleophrades Painter's vase.
fallen Trojan's body and projects down to the right I wonder, therefore, i f the pestle-wielder there, and on
below the groundline. It narrows i n the center and the Villa Giulia vase, might not really be Polyxena, still
seems to swell at the ends. It can only be a pestle for attempting to defend her father and her city.
grinding corn. W i t h all the figures and their actions identified, we
Pestle-wielders are quite rare —we find them i n only can now appreciate some o f the details o f Onesimos's
three other representations o f the Sack o f T r o y , and
56
drawing. I n the case o f the white-haired old Priam,
also, perhaps under their influence, i n the hands o f one note the lines i n dilute glaze marking the furrows on
o f the daughters o f Nereus, as Herakles breaks up her his brow, at the corner o f his eye, and around his
father's house on a pelike i n Munich by the vase- nostril; his open mouth w i t h teeth bared i n terror; his
painter M y s o n . The pestle on the ground i n the
57
outstretched hands, one, it would seem, i n fear, the
Getty tondo no doubt belonged to Polyxena — i t was a other i n appeal (fig. 8f). We see little more o f the
woman's w e a p o n . I f this is so, i t sets Polyxena
58
beautiful young Polyxena than her head, her hands,
alongside Andromache as a pestle-wielder o f some dis and the contour o f her right breast as it shows through
tinction. Andromache is named on the Brygos Painter's her chiton, but all her action is concentrated on her
cup i n the Louvre, and, by extension, the woman head as she tears at her loosened hair i n mourning at
warrior on the Kleophrades Painter's famous Vivenzio the fall o f Troy and the imminent deaths o f her loved
hydria i n Naples is usually called Andromache, as is ones. The drawing o f her right hand is interesting: the
the figure on the back o f the column-krater by the ball o f her hand is just visible through her hair, while
Tyskiewicz Painter i n the Villa G i u l i a . I n the case o f
59
the ends o f her fingers are clearly shown, having gone
the Louvre cup, the Andromache scene seems to pre right through the strands o f hair to protrude at the
cede the Death o f Priam episode on the other side, for front. The stony-faced, thin-lipped Neoptolemos, re
behind Andromache runs young Astyanax, who reap splendent i n his black helmet and scaly armor w i t h its
pears on the other side at the mercy o f Neoptolemos, panther's head back-flap and his symbolically decorated
Onesimos and the Iliupersis 53
shield, dominates the center o f the tondo, a predator Demophon. The scene is the rescue o f Aithra by her
among the grazing herd. His living club, the young grandsons Akamas and D e m o p h o n . 60
Astyanax, drawn by Onesimos as a long-haired, fine- One o f the finest representations o f this scene is on
limbed boy, his pubic hair still not grown, his eyes the Vivenzio hydria by the Kleophrades Painter men
wide open i n his tiny face, brackets the tondo on the tioned earlier. There the episode is found on the right-
right. The fallen figure, sprawled across the bottom o f hand end o f the frieze: Akamas and Demophon reach
the tondo, is too damaged to appreciate fully, but we out to their grandmother, who sits on a block, and
might perhaps imagine his head lolling back, chin j u t begin to help her to her feet —there are no names on
ting upward, his eye closed i n death, unless his face this vase but the actions are clear enough. I n both
was turned toward the viewer, as seems to have been versions Aithra's hair is cut short, since she was a slave
the case on the Berlin and Vatican cup. in Troy, but on Onesimos 's cup she has also been given
This wonderful tondo is separated from its sur the white hair o f the aged. Both artists have chosen to
rounding zone by a very careful continuous meander interrupt the lower contour o f her chin i n order to
pattern. I n the zone the other events o f that savage represent a double chin, but Onesimos has also given
night at Troy unfold. Beginning from the left handle her a low-hanging, rounded breast. Such characteristics
are parts o f t w o warriors to the right — they wear short of age are rare until the Hellenistic period, so that they
chitons and greaves, and they both carry shields (fig. are even more evocative when they do occur.
8g). The leading warrior also has a sword at his left hip M o v i n g on to the next group, or vignette, we see a
and a spear i n his left hand. To the right o f this pair is violent fight. A woman i n a long chiton is down on
an old woman w i t h white hair, who wears a long one knee as she wields a large pestle over her head to
chiton and a cloak. She stands before an altar w i t h a ward off the attack o f a Greek warrior armed w i t h a
volute terminal, perhaps having sought sanctuary machaira. 61
He is named Sthenelos (ZOELELO[Z]
there, and reaches out her hands to the two warriors. retrograde), and he seems just to have delivered an
Part o f a name is preserved . . ]MO t ON, surely from
( )
overhead slashing blow w i t h his machaira, which she
54 Williams
Figure 8i. Interior zone o f cup, figure 8a. Combat scene; Antenor and Theano.
has successfully parried. There are traces o f this valiant shield out i n front and spear raised i n the right hand
woman's name: it began w i t h H and ended w i t h E — beside her face. Little is preserved o f her helmet, but
there is room for about four or five letters between. the shield is clear. I t bears the device o f a black
The woman is probably too young for Hekabe, and Gorgoneion surrounded by snakes, set so that it fol
Helene appears elsewhere i n the zone. I f the H was i n lows the line o f the arm, as w i t h devices on shields o f
fact a K, which does not, however, seem very likely, Boeotian shape. This black Gorgoneion appears rather
the woman might be Klymene, who, like Aithra, was strange, and it is possible that further decoration on top
a servant o f H e l e n . Sthenelos is, o f course, rather
62
of the black was intended; no trace, however, remains.
easier: we k n o w h i m from the Iliad and attending to Over her shoulders she wears her scaly aigis, which is
the wounded Diomedes on a lost Chalcidian neck- remarkable for the snakes that appear amid the scales as
amphora. 63
well as ringing its edge. Over a long chiton she wears
The next group is much more complex and much an elaborately decorated peplos w i t h friezes o f running
more familiar: it is the Rape o f Kassandra (fig. 8 h ) . 64
figures, Pegasoi, palmettes w i t h lotuses, lotus buds
Ajax, the son o f Oileus, attacks from the left. He is and, finally, squared esses. The decoration o f this
equipped w i t h cuirass, greaves, and a black helmet, peplos closely recalls that o f the statue o f Athena on
echoing Neoptolemos i n the tondo. His left hand holds some unattributed cup fragments from the Akropolis. 65
the ill-fated prophetess's head as his right arm is pulled It also recalls that o f the peploi w o r n by a number o f
back for a feint w i t h his sword (not preserved). Kas goddesses on the much earlier Sophilos dinos i n L o n
sandra (KATTANARA retrograde) is naked but for a d o n , and the cloaks w o r n by Demeter on Makron's
66
cloak, which seems to be slipping slowly off her shoul rather later skyphos i n London, and the cult statue o f
ders. The bareness o f the drawing o f her body (there is Dionysos on the same artist's cup i n B e r l i n . A l l , no
67
only a very light wash o f dilute glaze for her pubic doubt, reflect the sort o f elaborately decorated gar
hair) seems to emphasize her youth and vulnerability. ments offered to deities on their festal days.
Her right arm reaches out to Ajax i n appeal, as her left Behind this statue o f Athena w i t h its simple block
arm clings to the statue o f Athena, which we know base are two large tripods. Tripods are quite often to be
w i l l topple over i n the ensuing struggle. seen i n representations o f sanctuaries, as here i n the
The figure o f Athena is shown as striding forward, sanctuary o f Athena, but the placing o f a tripod behind
Onesimos and the Iliupersis 55
Figure 8j. Interior zone o f cup, figure 8a. Menelaos and Helen.
the altar o f Zeus Herkeios on the Brygos Painter's Running toward this group, but looking back right,
version o f the Sack o f Troy on his cup i n the Louvre comes a youthful figure i n a short chiton decorated
seems to make less sense. I t makes one wonder i f it is
68
w i t h circles and a cloak that is fastened at his neck. I n
the last vestige o f the Kassandra scene, which does not his right hand he holds a spear; up i n his left another
otherwise appear on the Louvre cup. straight, short stick o f some sort w i t h a loop at the
The next group i n the zone o f the Getty cup shows a end. He probably wore a petasos on the back o f his
fight (fig. 8i). A Greek i n a scaly cuirass w i t h a cloak head, for there is a red tie under his chin to the right, as
tied around it and a short chiton presses forward to the well as a thicker one from his fillet at the back o f his
right, shield and spear i n hand, against t w o Trojans, head. His function is not immediately clear, and it is
one o f w h o m has already fallen. This naked fallen perhaps best to suspend judgment until the next group
figure has his mouth open and eye closed i n the very has been examined.
moment o f dying, it would seem. His wounded but This group consists o f a bearded Greek warrior
still standing comrade bleeds from his stomach, as he wearing an animal skin, helmet, and greaves and carry
desperately wields a curved machaira over his head, his ing a shield and a spear, w h o meets t w o draped
teeth bared, berserk, as the Greek's spear is about to go figures — the first, a woman w i t h white hair who wears
home once again i n his undefended side. This Trojan's a long chiton, the second, an old man i n long chiton,
name, written retrograde, begins w i t h O ^ R V t . . . , himation, and shoes who held a staff or scepter. The
then there is part o f another letter, then space for Greek w a r r i o r ' s name ends i n . . . ] E V Z and one
another and then finally a X. A t first I took this for immediately thinks o f Odysseus. The old woman's
Ophruios, meaning, perhaps, "supercilious," a previ name ends w i t h an . . . ] 0 — i t w o u l d have been
ously unknown form, but now I wonder i f the dam written retrograde away from her. There seems only
aged letter after the V may not be part o f an N , giving one solution to these clues. The old couple are the
us Ophrynos —a man from Ophryneion, a city i n the Trojans Antenor and Theano, appealing to Odysseus —
Troad, which later boasted the grave o f Hektor. We can Theano's hand actually grips Odysseus's bearded chin
only guess at the Greek's name, but perhaps it was in the ritual gesture o f supplication. Antenor and
69
Diomedes, balancing Sthenelos to the left o f the Kas Theano had shown hospitality to Odysseus and M e n
sandra scene. elaos when, before the war, the latter came i n an em-
56 Williams
bassy to Troy to request the return o f Helen and the violent advance, an emotion closely followed no doubt
possessions stolen by Paris. The couple even saved the by wondering relief as Menelaos's anger suddenly
lives o f the Greek ambassadors from treachery, accord evaporates. This is the earliest occurrence on vases o f
ing to some versions. After the inconclusive duel be the m o t i f o f Menelaos dropping his sword: it is first
tween Paris and Menelaos, Antenor urged the Trojans k n o w n i n literature from Euripides' Andromache. 73
to give back Helen, but to no avail. I n return for all There is no trace o f a sanctuary o f Apollo, to which
these good offices, the Greeks determined to save A n Helen is said and seen to have retreated, although it is
tenor and his family when they finally captured Troy. perhaps just possible that an altar or even a cult statue
They advised h i m to hang a panther's skin outside his overlapped w i t h the probable figure o f Aphrodite
house, and Odysseus and Diomedes headed directly for behind Helen.
i t . This group on the Getty cup is the only certain
7 0
The last group is extremely fragmentary. O n the left
representation o f the scene so far known, apart from was a fight group —we see a jungle o f feet. These legs
the version reported by Pausanias i n Polygnotos's seem to come from t w o men, both without greaves,
painting "Troy Taken" i n the Lesche o f the Knidians at closely locked i n struggle — one o f their names ended
Delphi. w i t h the letter . . . ]Z. O n the right was a woman i n
In the light o f this identification, the action o f the long chiton and head cloth, wielding a double axe — we
figure to the left o f the group, moving away from it, see her head, part o f her name ( A N [ . . . w r i t t e n
but clearly connected w i t h the event taking place there, retrograde), the end o f her double axe, and part o f her
may be reconsidered. We hear o f many sons o f A n long chiton, as well as one foot. This woman is pre
tenor, some fell before Troy, others were saved w i t h sumably Andromache, unless she is Antiope, the wife
their parents, and this might be one o f them, although of L a o k o o n , and she is probably to be thought o f as
74
it would be strange for h i m to be running away. We attempting to come to the aid o f the man on the right,
might, therefore, consider another possible identifica who would thus be a Trojan. I f this Trojan's opponent
tion. I n Pausanias's description o f Polygnotos's later is a Greek, then he is the only Greek warrior not to
painting we hear that Akamas and Demophon had to wear greaves on this cup.
send a herald, Eurybates, to ask for permission o f We might well expect to see somewhere i n this zone
Helen, before taking their mother, Aithra, h o m e . N o
71
the figure o f Agamemnon, and it is tempting to w o n
herald is mentioned i n the Antenor scene, and heralds der i f Onesimos might have provided Andromache
do not usually carry spears, but, by analogy and i n the w i t h an axe because o f the artistic tradition o f giving
context o f the Sack o f Troy, I wonder i f this figure Klytaimnestra an axe when she is shown coming to the
might be a herald, despatched posthaste by Odysseus aid o f Aigisthos, but Agamemnon could as easily
75
to ask Menelaos or Agamemnon i f Antenor and The- have been part o f the fight group on the other side o f
ano might be spared and allowed to leave the city. Menelaos's reconciliation w i t h Helen.
Onesimos would, thus, be following a version o f the So much for the tondo and its zone. There remain
story o f Antenor and Theano not preserved i n the the scenes on the exterior o f the cup, which are
literary sources, i n which Odysseus came upon the old bounded below by a neat border o f stopped meanders
couple by chance, rather than intention, and therefore and a frieze o f enclosed and linked palmettes —a
had to seek permission to spare them. palmette-lotus marks the place where the artist began
There is now a section missing from the zone: it was and ended his floral border (fig. 8k).
probably filled by a fight scene. The next group to be O n the extreme left o f the better-preserved side, a
preserved is that at the bottom o f the cup (fig. 8j). male i n a himation leans nonchalantly on a thick knotty
Here the protagonists are Menelaos and Helen. Mene stick that has been given a wash o f dilute glaze (fig. 81).
laos (MENELEOZ retrograde) has advanced on Helen Beyond h i m a bearded man i n a corslet and himation
w i t h drawn sword, but Eros, hovering above —part o f faces to the right. His right arm is outstretched, his left
his legs and part o f one wing are preserved — has inter bent at the elbow. Toward these two figures comes a
vened, and Menelaos's sword drops from his grasp. complex procession o f figures. The first is a male i n a
Helen (HELENE) is clothed i n a fine chiton and pat himation decorated w i t h crosses and w i t h a dilute
terned hairnet and has an earstud i n her ear — care over wash. He leads a woman dressed i n a chiton and a
one's appearance clearly pays. Behind Helen another cloak, holding her by the right wrist i n a gesture o f
woman clutches at Helen's chiton. She is probably possession, control, and, i n other circumstances, o f
Aphrodite, as on Makron's skyphos, but the gesture
72
marriage. His right hand was out i n front o f him, bent
unexpectedly seems to be one o f fear at Menelaos's at the elbow to hold a spear: only the tip o f his elbow
Onesimos and the Iliupersis 57
Figure 8k. Exterior o f cup, figure 8a. Side A . Patroklus leading Briseis from Achilles to Agamemnon.
is preserved and part o f the spear, which extends be in a krobylos. He wears only a cloak and is beginning to
hind the figure i n front o f him. Between the two men draw his sword from its scabbard. Only one letter o f
is w r i t t e n retrograde and downward . . ]TPOKLOZ, his name is preserved, A [ . . . , but he is surely
from Patroklos. The woman holds a red flower be Achilles. A n d the scene must be the leading away o f
tween the fintertips o f her left hand. Briseis from Achilles' tent. There are also traces o f the
Behind the woman comes a youth in a chlamys, name o f the woman immediately i n front o f Achilles,
buttoned at the neck (fig. 8m). He has a red tie at his OE[.]l[Z], for Thetis, Achilles' divine mother.
chin and so no doubt wore a petasos, as well as a head The story is well k n o w n from the first book o f the
fillet. He holds a kerykeion i n his left hand. Behind h i m Iliad. Agamemnon sends his t w o heralds, Talthybios
comes a bearded man similarly dressed, except that he and Eurybates, to fetch Briseis from Achilles' tent.
wears a sword at his left hip. The petasos is clear at his They arrive, nervous and silent, and Achilles takes
right shoulder, and the tip o f his kerykeion butt projects charge, ordering Patroklos to lead Briseis out for them.
on the right, beyond the face o f the woman to the right He then bursts into tears and withdraws from his com
o f him. His right arm seems to reach out to this rades to sit alone by the shore o f the gray sea, praying
woman, or beyond her, as he twists around sharply. to his mother Thetis, who quickly appears to hear his
The woman, who wears a chiton and cloak, moves plaint. That is the Homeric version, and it helps us to
quickly to the right. Both seem attracted by the violent understand the scene on the Getty cup. Patroklos leads
action o f the figure on the far right, a youth whose Briseis away, followed by the two nervous heralds.
beard is still rather thin and whose long hair is tied up Achilles' rage begins to get the better o f him, and he
58 Williams
goes for his sword. The elder herald turns i n alarm, non by making her walk out from under Patroklos's
and Thetis appears to quiet her son. Over to the left spear. The goose under the handle behind Agamemnon
t w o men await the procession and the arrival o f no doubt symbolizes Aphrodite, the instigator o f so
Briseis. Unfortunately, their names are not preserved. much suffering and death at Troy. The stool under the
One might imagine that the bearded man who reaches other handle is probably the stool i n Achilles' tent from
forward is Agamemnon, but this w o u l d make the which he has just risen.
powerful but relaxed figure on the far left little more Onesimos's depiction o f the Briseis episode is not an
than a bystander. I wonder, therefore, i f we should not illustration o f Homer. Indeed, he diverges significantly,
see this relaxed figure as an arrogantly nonchalant for Achilles' anger has no place there, and Thetis
Agamemnon, and the warrior acting as his second i n should appear to a grieving, solitary hero. Achilles'
this drama, his brother Menelaos. This would mean anger, i n fact, belongs earlier i n the drama, during the
that Agamemnon and Achilles balance each other in quarrel between h i m and Agamemnon, and, then, as
position and contrast each other strongly i n mood, he reaches for his sword, it is Athena who appears
much as the figures o f Odysseus and Ajax do in repre and tugs h i m by the hair, not Thetis. But whatever
sentations o f the vote for the arms o f Achilles. Pa 76
Onesimos's source, whether it be literary, folktale, or
troklus 's spear is not perhaps i n the usual "at ease" visual, the results are extremely effective, for action
position, for it is virtually horizontal. It is almost as
77
and mood combine to achieve a totally understandable
i f Briseis, as a spoil o f war, is handed over to Agamem and particularly evocative whole.
Onesimos and the Iliupersis 59
It is perhaps interesting to pause for a moment here tradition which deals i n schemata that can be adapted at
and look at the only two other representations o f the w i l l —as is Onesimos's inclusion o f the anger motif.
Briseis episode to be preserved. O n a skyphos i n the O n the other side o f the London cup three men ob
Louvre by Makron, Agamemnon leads an unnamed serve as two heralds lead a woman away. Beazley de
woman by the wrist, followed by Talthybios, the her scribed this as "Briseis brought to Agamemnon," but I
ald, and a watchful Diomedes. This corresponds w i t h
78
find such an interpretation hard to follow. The direc
neither Homer nor Onesimos, but the other side shows tion o f motion is both away from the three men and
the embassy to Achilles —Ajax, Odysseus, and Phoinix counter to the direction on the other side o f the cup. A
come to treat w i t h the sulking Achilles — true to the more logical interpretation would seem to be that we
Homeric description. The second piece is the cup i n the see here Briseis being led back to Achilles after Pa-
British Museum by the Briseis Painter, the name piece troklos's death: the sequel, not a redundant amplifica
o f this follower o f the Brygos Painter. Here two
79
t i o n . I n this way Achilles' tent and his pose serve
80
heralds lead a woman away from Achilles' tent, which double duty.
appears as a picturesque, stripy marquee. Achilles is The other side o f the Getty cup is sadly extremely
seated, sulking inside, his helmet, sword, and spear put fragmentary ( f i g . 8n). We have part o f Athena
aside, two comrades i n attendance. The painter has ([AOE]NAIA retrograde) from the extreme left o f the
thus combined the Briseis episode w i t h the setting for scene —the back o f her helmet, part o f her scaly aigis,
the embassy to Achilles. This is an artifice o f a visual some o f her himation, and the end o f her spear are
60 Williams
preserved. Alongside Athena's feet are the remains o f Greek and a Trojan separated by Apollo suggests that
two right feet o f different figures, whose left feet ap between Ajax and Hektor as told in the Iliad. 81
Ajax
pear further on to the right. One o f these figures was a would be the warrior on the left, supported by Athena.
warrior, as his greaves indicate. To this figure must The foot o f the warrior on the right seems to be just
belong the fine shield o f Boeotian shape decorated w i t h off the ground and so he would be Hektor, sinking
a silhouette boar and snake seen near the middle o f this back, wounded. There is no sign o f the rock, men
side o f the cup. Above the shield is the tip o f this tioned i n Homer, which knocked Hektor over, and
warrior's spear and over his thigh the pommel and hilt which is seen i n some versions o f the scene — as on the
o f his sword. I n the center o f the side is a man in long outside o f Douris's cup in the L o u v r e . Homer tells us
82
chiton and himation w i t h a bow —this can only be that Apollo picked Hektor up, and the fighting contin
Apollo. A spear crosses the figure o f Apollo from the ued until a herald from either side, Talthybios and
right, and this must belong to the warrior, the toes o f Idaios, succeeded i n separating them. The t w o figures
whose right foot are just visible next to Apollo's heel. on either side o f the warriors — only parts o f the one on
Beyond this there was probably enough room for an the left are preserved, but these are so close to the
other figure before the archer in Oriental garb whose warrior that they suggest he was trying to restrain
calf and foot i n a soft shoe are preserved on the ex him —are very probably the heralds, hence the lack o f
treme right —he was surely a Trojan. greaves on the preserved legs. The two heroes stopped
I f we presume that the subject continues the Trojan fighting and then exchanged gifts —Hektor gave Ajax a
theme o f the rest o f this complex cup, a duel between a silver-studded sword i n its scabbard, Ajax gave Hektor
Onesimos and the Iliupersis 61
his bright scarlet belt. This exchange is, o f course, counter more violence, but then next to the handles,
shown on an amphora by the Kleophrades Painter i n rescue on one side, deliverance on the other. A t the
Würzburg, where the two heroes are restrained by, it bottom, however, the whole series o f episodes, the
would seem, Priam and P h o i n i x . 83
entire drama, has come full circle and Menelaos melts
This then is the Getty cup, one o f Onesimos 's great before Helen's beauty.
est works. The outside shows two scenes from the It is a very Greek tale, and i n Onesimos's hands there
Iliad. Although the Briseis episode is treated w i t h a is no room for a Trojan future, no escape for Aeneas,
remarkable range o f moods, the other side is, for only the relatives and friends o f the Greeks are saved.
the moment, little more than a skeleton, and sadly The Getty cup is a Greek celebration o f the Greek
we cannot judge its real power. It is, perhaps, the Sack defeat o f Troy, as indeed is the Brygos Painter's. It was
of Troy on the tondo w i t h its unremitting violence for the Kleophrades Painter, between the Persian Wars,
and brutality that now has the most lasting impact. to show the other side o f the story, the effect on the
Neoptolemos is the center o f the storm. His shield defeated, i n the form o f the mourning women, and, by
device —a lion attacking a deer —seems to act out the including Aeneas, the hope for the future. 84
ADDENDUM to the left and holds up an arrow i n his right hand. This
In November 1990, long after the text o f this article was fragment thus confirms the interpretation o f the scene sug
written and submitted, I was kindly shown photographs o f a gested above.
further joining fragment o f the Getty Onesimos cup. It is a The inside o f the fragment gives more o f the Menelaos
r i m fragment, made up o f three pieces. scene from the zone around the tondo. It completes the tiny
The fragment gives us more o f the less well-preserved side figures o f Eros (EROZ), adds the beseeching hands o f Helen,
o f the cup. The exterior adds, on the left, the head and and provides the head o f Menelaos, who wears a black hel
shoulders o f a herald w h o moves to the right while turning met, together w i t h most o f his shield (device: an eagle hold
his head back to the left. He holds a kerykeion forward i n his ing a snake i n its beak). O n the right is the head and
right hand and wears a chlamys tied at his neck and a petasos shoulders o f a young warrior moving to the right. He wears
that is perched on the back o f his fair hair. I n the center is the a cuirass and a cloak over his shoulders. He thrusts down to
head and chest o f Ajax (AIAZ) and the rest o f his Boeotian the right w i t h a spear. The photograph stops short o f the
shield. He is bearded and has prominent eyelashes. O n the edge o f the fragment, so that I cannot tell i f there is a new
right is the head o f Apollo (AI~IOLLON retrograde). He looks clue to the identity o f the protagonists i n this fight.
Studies in Honor of Theodore Leslie Shear. Hesperia, Suppl. 8 (1949), cup by the Pistoxenos Painter, Berlin 2282, ARV 2
859.1; CVA Berlin
pp. 3-5; idem, i n L . D . Caskey and J. D . Beazley, Attic Vase Paintings 3, pis. 102-103. This cup is signed both i n paint on the interior and
in the Museum of Fine Arts, Boston (Oxford, 1954), nos. 71-81; idem, w i t h incision on the edge o f the foot. It is very likely that t w o other
AJA 66 (1962), pp. 235-236; G. von Lücken, i n Die Griechische Vase white-ground cups by the Pistoxenos Painter also bore the signa
(Rostock, 1967), pp. 485-490; E. Vermeule, AJA 71 (1967), pp. ture o f Euphronios: Athens, Akropolis 439, frr. (ARV 2
860.2) and
311-314; J. Boardman, Athenian Red Figure Vases (London, 1975), Taranto (ARV 2
860.3). Covered vessel, M a l i b u 81.AE.195, J. Frei,
pp. 133-134; D . Williams, JBerlMus 18 (1976), pp. 9-23; M . i n W. G. M o o n , Ancient Greek Art and Iconography (Madison, 1983),
O h l y - D u m m , GettyMusJ 9 (1981), pp. 5-21; B . A . Sparkes, i n p. 158, fig. 10.19.
C. G. Boulter, ed., Greek Art: Archaic into Classical (Leiden, 1985), 18. For this idea, see Beazley (note 15), p. 34; J. M a x m i n , Greece
pp. 18-39. and Rome 21 (1974), pp. 178-180; Frei (note 17), p. 157; Scheibler
6. Eleusis 618 (inv. 1798) frr., ARV 2
314.3; (the main fr.) Rob (note 15), pp. 127-128.
ertson (note 3), p. 97. Eleusis 619 (inv. 2124) fr., ARV 2
314.4; 19. N e w York 1981.11.9, Metropolitan Museum of Art: Notable Ac
ArchDelt 9 (1924-1925), p. 16, fig. 14. quisitions 1980-1981, pp. 13f. This interesting oinochoe seems to be
7. M a l i b u 86.AE.313 (ex-Bareiss): J. Mertens, HSCP 76 (1972), by the same hand as the fragmentary cup i n the Cabinet des
pp. 271-281, pis. 1-4; eadem, MMAJ 9 (1974), p. 97, fig. 12. For the Medailles signed by Brygos as potter, Paris, Cabinet des Medailles
attribution to Onesimos, see D . Williams, JBerlMus 24 (1982), p. 37. 570, 578, 580, and ?722, frr., ARV 2
399. This piece is, i n turn,
See also Greek Vases: Molly and Walter Bareiss Collection, exh. cat. connected w i t h the pair o f small amphorae o f Panathenaic shape,
(Malibu, 1983), p. 50, no. 35, checklist, no. 181. probably from the same tomb on Aigina (see A . S. Rhousopoulos,
8. For the technique, cf. also Athens, Akropolis 2165, frr., B . AZ 22 [1864], 361*), Athens, National Museum 1689 and 1688,
Graef and E. Langlotz, Die antiken Vasen von der Akropolis zu Athen, attributed by Beazley to the Pythokles Painter, ARV 2
36.1 and 2.
vol. 1 (Berlin, 1925), p l . 93. (Note that A . Raubitschek, Dedications from the Athenian Akropolis
9. M a l i b u 86.AE.607, GettyMusJ 15 (1987), p. 162, no. 11. [Cambridge, Mass., 1949], has given the w r o n g number i n his cap
10. "Shorts," ARV 2
320.13, 323.48, 324.64, 1648.75 bis; Para- tion on page 363; for Beazley's mistaken reference to Cockerell p l .
lipomena, p. 362 add as 28 ter and 93 quater. A d d to these, Basel, 12.3, see D . Williams, A A, 1987, pp. 639-640, no. A 26.) These
Herbert A . Cahn collection 766 (interior, youth playing pipes; side amphorae are themselves by the same hand as the fine lekythos i n
A , foot). Compare also the "shorts" by Douris, ARV 2
428.10-12. Geneva (inv. 211232) w i t h the retrieval o f the body o f M e m n o n : J.
11. E.g., ARV 2
18.1-3, 27.6-8. Chamay, Genava 25 (1977), pp. 250ff; K . Schefold, i n F. Krinzinger,
12. Vatican, no inv. number, and Berlin 2280 and 2281, frr., B . O t t o , and E. Walde-Psenner, eds., Forschungen und Funde:
ARV 2
19.1 and 2; Williams (note 5), pp. 9-23 w i t h figs. 1-7. Festschrift Bernard Neutsch (Innsbruck, 1980), p. 446 and p l . 85.7-8.
13. For Euphronios, see D . von Bothmer, AA, 1976, pp. 485-512. Finally, the fragments o f a cup from Elea, already compared by
14. Onesimos cups signed w i t h Euphronios epoiesen, ARV 318.1,
2
Brinna O t t o w i t h the Geneva lekythos, should also be by the same
319.2, 319.4, 319.5, 319.6, 320.8, 322.27 (see n o w CVA Amsterdam hand: B . Neutsch, RM 86 (1979), p l . 42.1; Krinzinger et al. (this
1, pis. 24.5-6 and 25.5-6), 324.60, 325.76; M a l i b u 86.AE.286 (ex- note), p. 316 w i t h pl. 62. A l l six vases may be the w o r k o f one hand,
Bareiss 229), Paralipomena, p. 360, add as 74 ter; Centre Island, N e w w h o m we should continue to call the Pythokles Painter, following
York, private collection, frr., Paralipomena, p. 360, add as 93 ter; Beazley, w i t h the N e w York and Cabinet des Medailles pieces repre
M a l i b u 86.AE.311 (ex-Bareiss 408); M a l i b u 79.AE.19 (see below, senting a grander, slightly stiffer manner, and the others slightly
note 35). The signature on ARV 2
319.2 is incised on the handle (the more fluid works under the influence o f Onesimos. For further
incised signature on the last Getty cup has been recognized as m o d possible, but not likely, examples o f Euthymides as potter, see AR V 2
ern by Martha O h l y - D u m m ) ; for the rest the signature is done w i t h 28.17 and 29.19.
red paint on the tondo or on the exterior. Beazley suggested that 20. Boston 10.179, ARV 2
327.110; Sparkes (note 5), p l . 19.
fragments o f a cavalry cup also bore the signature o f Euphronios, but 21. Basel, Herbert A . Cahn collection 116, ARV 2
316.3; Williams
all that is left is SE, w h i c h could even be from a signature o f (note 5), p. 19, fig. 11, p. 21, figs. 12-14.
Onesimos as painter: Louvre C 11346, C 11346 bis, B r y n M a w r 22. Syracuse 22479, ARV 328.112; W. Technau, RM 46 (1931),
2
ARV 2
326.87 (the first o f the Louvre frr. only); Paralipomena, p. 360, 42. London E 73, ARV 192.106; J. Boardman, GettyMusJ 1
2
add as 74 bis (the Bareiss fr.); Bareiss (note 7), pp. 51, 52, no. 36 (only (1974), pp. 10-11, 14.
the interior o f the Bareiss fr. is illustrated), checklist no. 150. The 43. H . Bioesch, Formen attischer Schalen (Bern, 1940), pp. 137-138.
second o f the Louvre frr. joins part o f Louvre S 1328, ARV 2
320.11. 44. The London cup is D 1, ARV 429.20. For the other works,
2
Proceedings of the 3rd Symposium on Ancient Greek and Related Pottery Painter's white-ground lekythos, Williams (note 7), p. 39 w i t h n. 83.
(Copenhagen, 1988), pp. 17-24. The vase is a spectacular but very 47. London E 65, ARV 2
370.13; Bloesch (note 43), p. 134, no. 4
fragmentary phiale. Baglione compares details w i t h works o f the (Kalliades-Brygos Group).
Brygos Painter, but the phiale may, i n fact, be attributed to 48. London E 67, ARV 2
386.3; Bloesch (note 43), p. 132, no. 15.
Onesimos. 49. See above (note 12).
33. Malibu 86.AE.286 (ex-Bareiss 346): D . Williams, AntK 23 50. Williams (note 5), p. 10.
(1980), pis. 33.7, 36.1-2; Bareiss (note 7), pp. 44-45 (old photos), 51. One might wonder n o w i f the woman behind Priam on the
checklist no. 152. Spina calyx-krater (side A , center) might not be Polyxene rather than
34. N e w York 1977.192.3 and Louvre C 11342, C 11335, and Hekabe, F. Laurens, LIMC 4 (1988), p. 479, no. 54, s.v. Hekabe.
unnumbered fr., ARV 2
319.4 and 327.97; D . Williams, JHS 96 52. Williams (note 5), p. 12. This figure first appears on Berlin
(1976), p i . 4c; idem (note 33), pp. 137-145 w i t h p i . 33.1-6 (Louvre C 1685, ABV 109.24; Boardman (note 5), fig. 67; LIMC 2 (1984), s.v.
11336, illustrated on pi. 33.3, does not belong); Sparkes (note 5), p. Astyanax, no. 9, pi. 682. O n the Vivenzio hydria he is particularly
38 n. 72 (notes the addition o f the handle fr. i n the Louvre which well depicted.
"touch-joins" the N e w York part). 53. For Deiphobos, see L. Kahil, LIMC 3 (1986), pp. 362-367, s.v.
35. M a l i b u 79.AE.19 plus frr., H . Meyer, Medeia und die Peliaden 54. This tradition (Little Iliad) led to the identification o f the
(Rome, 1980), p i . 8.1 (Dieter Ohly's montage); M . O h l y - D u m m , kneeling figure to the right o f Neoptolemos on the Vivenzio hydria
GettyMusJ 9 (1981), pp. 5-21. Further fragments have been added by as Menelaos and the fallen figure as Deiphobos, see C. Robert, Bild
Dr. Dietrich von Bothmer. und Lied (Berlin, 1881), pp. 67-68.
36. Malibu 86.AE.311 (ex-Bareiss 408), Bareiss (note 7), checklist 55. Boston 63.473, Paralipomena, p. 164, no. 31 bis; CVA Boston
no. 178. For the Foundry Painter's cups, see J. D . Beazley, Adunanze 2, pi. 82. Athens 15375, ARV 447.274. See further J. D . Beazley,
2
per il conferimento dei premi della Fondazione A. Feltrinelli, v o l . 1 AJA 52 (1948), p. 338; H . Immerwahr, i n Festschrift B. L . Ullman
(Rome, 1966), pp. 53-60, pis. 13-16. (Rome, 1964), p. 41 n. 1; A . W. Johnston, Trademarks on Greek Vases
37. For the Scythian custom o f scalping, see H d t . I V . 64. The (Warminster, 1979), p. 23 w i t h n. 13 on p. 61.
head o f the fallen enemy was first cut off: for an example o f decapita 56. Louvre G 152, ARV 369.1; Naples 2422, ARV
2
189.74; Villa
2
tion i n Scythian art, see E. H . Minns, Scythians and Greeks (Cam Giulia 3578, ARV 2
290.9.
bridge, 1913), p. 223. I k n o w o f no Scythian representation o f a 57. Munich 8762, ARV 2
1638 add as 2 bis; AA, 1962, pp. 615-618.
scalp. For physical evidence o f scalping i n the Scythian w o r l d , see 58. O n the use o f the pestle, see B . A . Sparkes, JHS 82 (1962),
S. I . Rudenko, Frozen Tombs of Siberia (Berkeley, 1970), p. 221; pp. 125-126. A satyr, exceptionally, wields a pestle on Athens 1129,
R. Rolle, Totenkult der Skythen (Berlin, 1979), pp. 55, 86 n. 133. For Haspels (note 27), pi. 49 (Beldam Painter).
severed heads, see E. Vermeule, Aspects of Death in Early Greek Art 59. Louvre G 152, ARV 369.1; P. E. Arias, M . Hirmer, and
2
and Poetry (Berkeley, 1979), pp. 107-108. Note also the Chiot fr., B . B . Shefton, A History of Greek Vase Painting (London, 1962), pi.
London GR 1888.6-1.510, E. R. Price, JHS 44 (1924), p i . 6.21 w i t h 139; LIMC 1 (1981), pi. 621, no. 46. Naples 2422, ARV 189.74;
2
p. 219. For aposkythiazein, see A t h . X I I . 5 2 4 f , and Eur., Tro. 1026. Boardman (note 5), fig. 135.3. Villa Giulia 3578, ARV 290.9; CVA
2
38. For the archaeological record, see J. Boardman, The Greeks Villa Giulia 2, p i . 18.1.
Overseas, 2nd ed. (London, 1980), pp. 256-266. For representations 60. For the scene, see U . K r o n , i n LIMC 1 (1981), pp. 420-431
o f Scythians, see M . F. Vos, Scythian Archers in Archaic Attic Vase- (Aithra I) and pp. 435-446 (Akamas and Demophon).
painting (Groningen, 1963). 61. The fragment w i t h the woman's face was found i n a Centre
39. H d t . V I . 3 9 - 4 0 . For the chronological problems, see A . R. Island, N e w York, private collection and generously donated to the
Burn, Persia and the Greeks, 2nd ed. (London, 1984), p. 133 w i t h n. Getty Museum by its owner. I t is n o w Malibu 84.AE.80.
14, and pp. 218-220. 62. For Klymene, see Homer, Ii. III.144; for Klymene on the
40. O n American Indian scalping, see G. Friederici, Sealpieren und Vivenzio hydria, Robert (note 54), p. 73.
ähnliche Kriegsbräuche in Amerika (Braunschweig, 1906); G. Nadeau, 63. Homer, //. V.108-109. Chalcidian vase, K . Schefold, Götter-
Bulletin of the History of Medicine 10 (1943), pp. 178-194. Herodotos's und Heldensagen der Griechen in der spätarchaischen Zeit (Munich, 1978),
description o f the Scythian technique is not by itself specific enough p. 219, fig. 297.
to allow comparison w i t h those discussed b y Nadeau but the 64. For the rape o f Kassandra, see LIMC 1 (1981), pp. 336-351
Scythian finds and Onesimos's representation indicate that the cus (O. Touchefeu); S. Matheson, "Polygnotos: A n Iliupersis Scene at the
t o m was to take the whole scalp o f f by means o f a neat incision Getty Museum," Greek Vases in the J. Paul Getty Museum, vol. 3
around the hairline, passing above the ears — this is Nadeau's class o f (1986), pp. 101-107 (p. 106, fig. 4 is a detail o f the scene on the Getty
"Total Simple Scalping." cup).
41. London B 426, ABV 256.20; Monlnst 9, pis. 10, 11; Williams 65. Athens, Akropolis 212, B . Graef and E. Langlotz, Die antiken
(note 29), p. 135, figs. 3-5. Ferrara, Spina T 18c VP, ARV 882.35; 2
Vasen von der Akropolis zu Athen, vol. 2 (Berlin, 1933), p l . 10.
E. Simon and M . and A . Hirmer, Die Griechischen Vasen (Munich, 66. London 1971.11-1.1, D . Williams, "Sophilos i n the British
1981), pis. 184-188. Museum," Greek Vases in the J. Paul Getty Museum, vol. 1 (1983), pp.
64 Williams
9-34, esp. figs. 27-28, 33. 76. Compare Williams (note 33), pp. 137-145, and LIMC 1
67. London E 140, ARV 2
459.3; Boardman (note 5), fig. 309. (1981), pp. 326-327, nos. 80-86, s.v. Aias I (O. Touchefeu).
Berlin 2290, ARV 2
462.48; Boardman (note 5), fig. 311. 77. For the "at ease" position, see D . Williams, JHS 97 (1977),
68. See above (note 59). pp. 162-163.
69. For Antenor, see LIMC 1 (1981), pp. 811-815 ( M . Davies). 78. Louvre G 146, ARV 2
458.2; AntK 26 (1983), p i . 32.1-4.
70. The skin over Odysseus's shoulder might possibly refer to the 79. London E 76, ARV 2
406.1; LIMC 3 (1986), s.v. Briseis nos. 1
signal. and 14, pis. 133 and 136.
71. Paus. X . 2 5 . 7 - 9 and 26.1. 80. Cf. A . K o s s a t z - D e i ß m a n n , LIMC 3 (1986), p. 160, Briseis no.
72. Boston 13.186, ARV 2
458.1; LIMC 4 (1988), p i . 321, Helene, 14 ( = 1).
no. 166. 81. //. VII.264-272. For representations, see LIMC 1 (1981), pp.
73. Eur., Andr. 627-631; see L . Kahil, i n LIMC 4 (1988), pp. 542, 319-320, s.v. Aias I (O. Touchefeu).
559, p i . 341, Helene no. 277 is a detail from the Getty cup. For a new 82. Louvre G 115, ARV 2
437.74; Simon and H i r m e r (note 41), p i .
scene o f Menalaos and Helen, see M . Jentoft-Nilsen, i n Christiansen 160b.
and Melander (note 32), p. 280, fig. 5. 83. W ü r z b u r g 508, ARV 182.5; CVA W ü r z b u r g 2, pis. 12-13.
2
74. This Antiope is shown on the Torlonia hydria, L . Ghali-Kahil, 84. For a discussion o f Greek attitudes to victory and defeat, see
Les enlevements et le retour d'Helene (Paris, 1955), p i . 57.2. P. Ducrey, i n C. Berard, C. Bron, and A . Pomari, eds., Images et
75. O n Klytaimnestra's axe, see A . J. N . W. Prag, The Oresteia: Societe en Grece ancienne (Lausanne, 1987), pp. 201-211.
Iconographic and Narrative Tradition (Warminster, 1985), pp. 88-90. 85. J. Heurgon, "Graffites etrusque au J. Paul Getty Museum,"
Prag notes that the axe was primarily a household tool, employed as Greek Vases in the J. Paul Getty Museum, vol. 4 (1989), pp. 181-186.
a weapon only i n emergencies.
A Cup for a Hero
Diana Buitron-Oliver
A O R I I EARAOIEN
A fragmentary red-figured cup i n the J. Paul Getty Berlin Museum i n the early 1880s, one now i n East
Museum, signed by Douris as painter, unites three Berlin, the other i n West B e r l i n . Only one foot is
4
apparently unrelated scenes i n the decoration o f interior preserved, at present attached to the more complete
and exterior surfaces (figs. l a - f ) . The tondo picture, cup i n East Berlin, though to which it originally be
complete but for some missing fragments o f drapery, longed is not known. Furtwängler recorded the signa
depicts a bearded male standing before a seated youth, ture i n 1883; today it has all but disappeared. Around
who holds his head i n a gesture o f mourning. The the edge o f the foot is written:
kalos inscription i n the tondo praises Hermolykos, KLE[0]OR[AAEIEnO]IEIE[N]
who may be the individual by that name mentioned by
Herodotos and Pausanias. The t w o outside scenes, The cups made by Kleophrades are larger than those
though missing large pieces from the upper walls o f decorated by Douris for other potters at this time, such
the cup, preserve enough detail to allow us to identify as Euphronios and Python. The tondo o f the Getty
5
the subjects: an athletic contest viewed by spectators, cup is larger than is normal for Douris, which may
and an episode from the story o f Herakles and Eurytos. help to explain some o f the oddities apparent i n the
The foot, which was broken off and reattached to the style o f drawing, such as the long, floppy feet and
cup i n antiquity, bears the signature o f Kleophrades, hands and the extra lines added to the central vertical
son o f Amasis, as potter. 1
folds o f the himations.
The cup belongs to a period o f experimentation that The ornament also connects the cups i n the Getty
occurred early i n the career o f Douris, characterized as and i n East Berlin. The exterior borders consist o f
transitional between his first efforts and his settled, circumscribed palmettes, upright on the East Berlin
mature style. Many o f his earliest cups were potted by cup, pendant on the Getty cup. B o t h tondos are
Euphronios, his teacher, whose influence is still appar framed by labyrinth meanders enclosing saltire squares,
ent on the Getty cup. During this transitional phase dotted on the East Berlin cup, plain on the Getty cup.
Douris experimented w i t h a " r i c h " method o f decorat The palmette border was introduced by Euphronios
ing cups, and a "bare" method. The Getty cup is an and the other Pioneers, who also used it on their larger
example o f his transitional " r i c h " method.2
vases. Besides its appearance on the exterior o f the cup
The richness manifests itself in the tondo scene i n the in East Berlin (the cup i n West Berlin is too fragmen
depiction o f elaborate drapery and the lavish use o f tary to determine whether such a border was used
dilute glaze for rendering details o f anatomy. The fur there also), Douris employed the border as a tondo
niture, too, is showy; note the patterned cushion o f the frame on t w o other cups, on a phiale, and on a pyxis
diphros (the stool w i t h perpendicular legs), and the l i d . W i t h the exception o f the pyxis l i d , these all
6
footstool w i t h curved legs ending i n lion's paws. The belong to his transitional period.
stools o f the exterior are an unusual type w i t h slanting, The labyrinth meander, also introduced by the Pi
splayed legs, w i t h the ends o f the cross slats carefully oneers, appears on a number o f late Archaic vases and
depicted. Clothing is rendered i n great detail; the sons
3
cups, including works by the Kleophrades Painter,
of Eurytos wear colorful spotted animal-skin boots, the Berlin Painter, Onesimos, and the Magnoncourt
and their quivers are decorated w i t h a scale pattern. Painter. The labyrinth meander appears on only one
7
Herakles' lionskin is colored i n w i t h dilute glaze. other w o r k by Douris, a round aryballos i n Athens
During his transitional period Douris decorated cups painted i n his early period. It is not a common border.
8
made by several potters, among them Kleophrades. Beazley put together a small group o f cups and cup
Besides the Getty cup, Kleophrades and Douris collab fragments that share this border and are connected i n
orated on t w o now fragmentary cups acquired by the some way w i t h Douris:
66 Buitron-Oliver
Figure la. Cup signed by Douris as painter and Kleophrades as potter. Tondo. Malibu, J. Paul Getty Museum 83.AE.217.
A Cup for a Hero 67
1. Cabinet des Medailles 543 and part o f 536, plus frr. tire squares i n the tondo, reserved line outside.
Tondo, Dionysos seated and maenad; A - B , satyrs and 3. Louvre C 12220. Tondo (exergue); A , arming —
maenads. ARV 448, bottom, "akin to the very earliest
2
Figure If Profile drawing o f foot o f cup, figure la. Scale 1:2. Drawing by T i m o t h y Seymour.
08.31a. Tondo, athlete (hoplitodromos) and boy; A - B , The kalos name Aristagoras appears i n the tondo o f
hoplitodromoi. ARV 1565.3, "vaguely akin to Douris."
2
the Karlsruhe cup, as well as on the cups in the Louvre
The labyrinth meander i n the tondo encloses dotted (no. 2) and Florence (no. 5). This name is k n o w n in
saltire squares and checkerboard squares, alternately. 9
Douris's signed oeuvre: he praises Aristagoras on the
A sixth cup can be added to this list: famous psykter in L o n d o n . 11
the tondo significantly smaller, requiring only twenty- to Aristagoras, who has already been mentioned, there
six meander units around the tondo, to the Getty cup's are Diogenes, Kallimachos, Menon, Nikodromos, Pa-
t h i r t y - t w o . As a result, the proportions o f the figures
12
naitios, and now, on the Getty cup, Hermolykos.
on the Karlsruhe cup are closer to what is usual for The name Hermolykos is not otherwise k n o w n on
Douris. A comparison o f the t w o tondos shows that vases, but at least two historical individuals bore the
15
details o f anatomy and drapery are similar: the heavily name. A Hermolykos was the dedicator o f a statue by
lashed eyes; the ring o f dots suggesting the aureole o f Kresilas set up on the Athenian Akropolis, the base o f
the nipples; the sharp line distinguishing the limb in which was found in 1839 : 16
around the torso and head. I n light o f the Getty cup, it AIEITREOOI the son o f Dieitrephos
seems likely that the Karlsruhe cup is indeed by Douris AnARXEN offers (it)
and belongs to the same period. KREIILAI Kresilas
In the sequence o f Douris's vases, the Getty cup
EnOEXEN made (it)
should come after the Berlin cups and before a lost cup
(once Joly de Bammeville), k n o w n only from draw But the Hermolykos o f this mid-fifth-century B.C. i n
ings, and before a cup i n Vienna showing the Arms o f scription is too young to have been the subject o f
Achilles. Also i n this period belong the Brussels A m
13
praise on Douris's c u p . 17
azon kantharos; a series o f mythological cups in Paris A better candidate is Hermolykos, the son o f Eu-
and London w i t h tondos showing Achilles and Penthe- thynos. Herodotos (IX. 105) says that i n the battle o f
silea; Ajax w i t h the body o f Achilles; Europa and the Mykale "the best on the Greek side were the Athenians
bull; and three white lekythoi w i t h Atalante, Iphi- and, among the Athenians, Hermolykos, son o f E u -
geneia, and warriors a r m i n g . These vases share rich
14
thoenos, a man who practiced the pankration. Later
ornamental schemes; the figure scenes are full o f de than the date o f which I am speaking, i n the war
tails: lashed eyes, showy patterns, coloristic use o f d i between the Athenians and the people o f Karystos, this
lute glaze, and elaborately pleated drapery. The man fell at Kyrnos, in the territory o f Karystos, and
exterior compositions are generally crowded: eight and lies buried on Geraistos." 18
ten figures on the Getty cup, at least six on the Berlin As an Athenian, Hermolykos probably participated
cup, and seven on each side o f the Vienna cup. in the Panathenaic games held every four years starting
Specific details are close: women's drapery divided in 566/565 B.C. as part o f the Great Panathenaia. The
into groups o f fine pleats (cups: Cabinet des Medailles pankration was one o f the five standard athletic events.
538; London D 1; Getty phiale, 81.AE.213); short chi The competitors were divided into three classes i n
tons o f the men and Amazons, tightly pleated, falling Athens, according to their age: boys, beardless youths,
in uneven hemlines (cups: Cabinet des Medailles 538; and m e n . Hermolykos could also have w o n i n other
19
Berlin 2283; Getty phiale; Getty lekythos, 84.AE.770; contests, such as the Nemean or Isthmian games; Pin
Brussels kantharos, Musees Royaux A 718). The dar wrote odes for victors i n the pankration at both.
quivers o f the Brussels and Paris Amazons are gener The pankration had been an Olympic event for men
ally similar though differing i n detail. The bows on the since the 33rd Olympiad (648 B . c . ) but was instituted
Getty cup are simple in comparison w i t h the deep for boys only i n the 145th Olympiad (200 B.C.).
double curve o f the bows o f the Amazons. The slightly The battle o f Mykale, during which the Greeks de
mannered poses typical o f the period recur on the stroyed the Persian fleet that had been at Samos, was
Vienna cup; compare, for instance, Agamemnon on fought i n 479 B . C . , w i t h i n days o f the decisive land
the quarrel side w i t h the standing man i n the tondo o f battle o f Plataea. B y this time Hermolykos had distin
the Getty cup. guished himself in the pankration and had taken part i n
the great war. He is likely to have been a mature man
HERMOLYKOI KALOI of perhaps thirty years. Hermolykos would have been
In his division o f Douris's w o r k into periods, Beaz- kalos at the age o f eighteen or so, i n the period be
ley used kalos inscriptions as one o f his guidelines. tween 495 and 490. This would correspond well w i t h
Chairestratos, the favorite name on Douris's earliest the chronology established for Douris, whose cup i n
vases, continued to appear i n his transitional period, the Getty should also date to this period. Hermolykos
giving way to Hippodamas i n the middle period. I n the died i n 472, at the battle near Kyrnos, i n the Athenian
transitional period other names appeared. I n addition attempt to subjugate Karystos and make it a tributary
A Cup for a Hero 71
about thirty-seven. Pausanias reports that his statue 4. Red-figure cup by the Brygos Painter i n Paris, Cab
stood on the Akropolis and that his history had been inet des Medailles 24
and by five standing spectators, one o f them a boy. We Douris himself treated the story on another vase o f
cannot be certain o f the exact nature o f the contest the same period, a fragmentary phiale also in Malibu.
since the athletes, like the spectators, are only partially Because o f its fragmentary state, it is, however, hard to
preserved, but the athlete on the right is kicking his reconstruct the composition, but it seems to have been
opponent, and kicking was a sign o f the pankration, shown i n two scenes on the exterior surface. 27
which was an all-out fight resembling full-contact The story o f Eurytos is k n o w n only from brief,
karate, requiring endurance and skill. The manoeuvre contradictory passages in ancient literature. I n the Iliad,
could also be interpreted as an attempt to trip his the locale o f the story, Oichalia, is situated in Thessaly,
opponent, also allowed i n the pankration, as well as i n but in the post-Homeric tradition it is also located i n
a simple wrestling m a t c h .
20
Messenia and Euboea. I n book V I I I o f the Odyssey
28
the prize, he slew Eurytos and his sons. Panyassis, a fifth-century epic poet and kinsman o f
The Getty cup preserves the lower bodies o f eight Herodotos, treated the story in his Herakleias. Three
figures: on the far left is Herakles, recognizable by his long fragments ascribed to this poem describe a feast
lionskin; on the far right, a woman, presumably Iole; at the house o f Eurytos from which Herakles, drunk
between them six archers dressed alike i n elaborate w i t h wine, was roughly expelled by his host. Sopho 30
animal-skin boots tied around the legs w i t h strings and kles, i n the Trachiniae (268-269), tells the same story.
turned down to show the spotted side at the top. The Perhaps this banquet is the inspiration for the vase-
archers wear short chitons, pleated into groups o f fine paintings that show the fight breaking out at a ban
folds, and carry quivers decorated w i t h scale pattern quet. Possibly this quarrel led to the archery contest. 31
(preserved on three figures) and bows (preserved on The archery contest itself is mentioned briefly in
two figures). This arrangement follows the scheme Trachiniae (265-268) and by the scholiast on Euripides's
developed by late Archaic vase-painters for showing Hippolytos (245-551); the scholiast says that when
the archery contest. Similar pictorial schemes appear Herakles w o n and was denied Iole, he slew the sons
on five other vases: of E u r y t o s . 32
favored the match, but Eurytos and his other sons a man standing before a seated youth, his weight on his
overruled him. Apollodoros omits the subsequent slay right leg, his left leg crossed behind, leaning on his
ing o f the sons o f Eurytos but mentions, a few lines walking stick; the youth seated, muffled i n drapery,
further on, the murder o f Iphitos by Herakles under head bent forward and supported by his right hand.
different circumstances at a later time. The names o f the figures are not provided, and the
Douris's version o f the story includes no fallen fig athletic equipment seems to set the scene i n the pa
ures such as those seen on the Madrid amphora and on laestra rather than an army camp. The usual camp stool
the Brygos Painter's Akropolis fragments (nos. 2 and is replaced by a stool w i t h rectangular legs and an
3). The sons o f Eurytos are approaching Herakles, as elegant footstool, which would be somewhat out o f
on the Epiktetos cup and the Eucharides Painter place i n a camp. Nevertheless, the iconography o f the
stamnos (nos. 1 and 5). This is perhaps the moment scene was well k n o w n . The subject was especially
3 5
when it is clear that Herakles has w o n , and Eurytos popular i n the first quarter o f the fifth century, and it
and his sons have become agitated. O n the Madrid appears on a number o f red-figure vases, including a
amphora, t w o o f Eurytos's sons, Deionos and Iphitos, cup by the Oedipus Painter, a follower o f Douris, and
have fallen and are i n distress. This seems also to be the two fragments o f calyx-kraters by the Kleophrades
case on the Brygos Painter's fragments i n Athens, i f Painter.36
indeed the middle fragment belongs to the same side o f Subtle Odysseus, cleverest o f the Greeks, is the uni
the cup as the fragments w i t h Herakles and Iole. These fying factor for the scenes on the Getty cup. He is not
t w o representations, on the Madrid amphora and on pictured himself, but all three exploits represented here
the Akropolis fragments, seem to combine the contest recall his history. The tondo scene recalls his powers as
w i t h the shooting o f Eurytos's sons. These vases,
33
a persuasive speaker. The pankration on the exterior
along w i t h the scholiast on Euripides's Hippolytos, per reminds us that Odysseus, too, was a star athlete,
haps reflect the version o f the story told i n Kreophy- surpassing all the Phaiakians at the discus ''which,
los's lost epic. speeding from his hand lightly, overflew the marks o f
Douris was fond o f mythological stories during his all others" (Od. V I I I . 192-193). Odysseus followed his
37
transitional period. Those on different parts o f a single great discus throw w i t h a challenge to anyone to meet
vase are sometimes related, as i n the Vienna cup, h i m i n boxing or wrestling. The Eurytos story makes a
which shows three scenes from the Arms o f Achilles, parallel w i t h another great hero, Herakles, who was
or i n the Brussels kantharos, but they often seem to also an accomplished archer. Like Herakles, Odysseus
have been chosen randomly: Ajax w i t h the body o f engaged i n an archery contest that was followed by a
Achilles inside, Tityos outside; Europa inside, Apollo slaughter, and the great bow w i t h which he slaugh
and Herakles struggling over the Delphic tripod out tered the suitors was given to h i m by Eurytos's son
side. I n the case o f the Getty cup, I believe that there Iphitos. The epic that may have described the se
38
is a connection between the three apparently dispa quence o f events i n Eurytos's house and that may have
rate scenes. been the inspiration for the vase-painters is no longer
The tondo composition belongs to the tradition used preserved, whereas the Odyssey provides a vivid de
to represent Odysseus's mission to Achilles when, after scription o f the slaughter o f the suitors i n Ithaca.
Agamemnon took Briseis from Achilles, the latter re To vase-painters o f the first quarter o f the fifth cen
fused to fight, and the Achaean forces suffered. I n the tury, the Eurytos story would have been preferable to
Iliad (IX.162ff.) Homer tells how the delegation was the rarely depicted slaughter o f the suitors. Eurytos
39
chosen: Phoinix, Ajax, and "brilliant Odysseus," on and his sons were perhaps only marginally Greeks.
whose persuasive powers they most relied. Makron, They lived i n Thessaly, or Euboea, or Messenia. Vase-
Douris's contemporary, who decorated two skyphoi painters invariably show them dressed i n unusual cos
w i t h Trojan subjects, shows the mission on his Louvre tumes—barbarian costumes. O n the Getty cup the
skyphos, where the names are inscribed: Odysseus evidence for this is limited at present to the elaborate
standing before Achilles, his weight on his right leg, animal-skin boots.
his left leg crossed behind, leaning on his spear; To the Athenians, the bow was an alien weapon,
Achilles seated on a beautiful inlaid camp stool w i t h an used by foreign mercenaries and Amazons, though also
embroidered cushion, muffled i n drapery; Ajax and by gods and heroes. I n the Eurytos story, a Greek
40
The deeds o f heroes provide the subject matter for recall might have been intended to suggest a future
all three scenes on the cup. As a compliment to the heroic role for h i m , a role we know from historical
youth Hermolykos, these scenes and the deeds they sources that he ultimately attained.
Chevy Chase
Maryland
5. 83.AE.217: H : 11.5 cm, D i a m : 36.2 cm, D i a m o f foot: 16.2 cm, 370.8; J. D . Beazley, "Brygan Symposia," i n Studies Presented to
D i a m o f tondo: 24 cm. See also below, notes 12 and 13. David M. Robinson, v o l . 2 (St. Louis, 1953), p l . 28k and i .
6. Cups: Cabinet des Medailles 575 and 648, frr. ARV 430.27,
2
25. C. Isler-Kerenyi, Stamnoi (Lugano, 1976/1977), pp. 36-42;
partly illustrated, A . de Ridder, Catalogue des vases peints de la Biblio- Basel, M ü n z e n und Medaillen, sale 70, Kunstwerke der Antike ( N o
theque Nationale (Paris, 1902), p. 433; Boston 95.31, ARV 443.225,
2
vember 14, 1986), pp. 70-71, no. 208; and LIMC 4 (1988), p l . 62,
AJA 85 (1981), p i . 28, fig. 13. Phiale: Malibu, J. Paul Getty Museum Eurytos 1.7.
81.AE.213, see the article by M a r t i n Robertson i n this volume, pp. 26. For example, a cup by Onesimos i n N e w York, 12.231.2,
75-98. Pyxis lid: Mannheim 124, ARV 2
447.276; CVA Mannheim 1, ARV 2
319.6; M M 18 (1977), p l . 35c.
pi. 26.1 and 6-7, p i . 32.5. 27. Malibu, J. Paul Getty Museum 81.AE.213; see the article by
7. O n the labyrinth meander, see M . Robertson, "Origins o f the M a r t i n Robertson i n this volume, pp. 75-98.
Berlin Painter," JHS 70 (1950), p. 30; D . C. Kurtz, Athenian White 28. Sophokles, Trachiniae, 237, places Oichalia i n Euboea; see
Lekythoi (Oxford, 1975), pp. 17-18; and B . Sparkes, "Aspects o f G. L . Huxley, Greek Epic Poetry (Cambridge, Mass., 1969), p. 105.
Onesimos," i n C. G. Boulter, ed., Greek Art: Archaic into Classical 29. Huxley (note 28), p. 106.
(Leiden, 1985), p. 26 n. 62. 30. Huxley (note 28), pp. 178-180.
8. Athens T.E. 556, Paralipomena, p. 376, no. 273 bis; B . Philip 31. Cf. R. P. Winnington-Ingram, Sophocles (Cambridge, 1980),
paki, Kernos (Athens, 1972), pis. 54-55. pp. 232-233; D . Williams, "Herakles, Peisistratos and the A l c -
9. CVA Florence 3, p i . 89. meonids," i n F. Lissarague and F. Thelamon, eds., Image et Ceramique
10. Jahrbuch der staatlichen Kunstsammlungen in Baden-Württemberg 8 Grecque (Rouen, 1983), p. 139.
(1971), pp. 254-257; D . T h i m m e , Griechische Vasen (1975), pp. 3 7 - 32. E. Schwartz, ed., Scholia in Euripidem, v o l . 2 (Berlin, 1891),
39; C. Weiss, CVA Karlsruhe 3 (forthcoming). pp. 70-71.
11. London E 768, ARV 2
446.262; CVA British Museum 6, 33. Cf. P. H a r t w i g , "Herakles and Eurytos," JHS 12 (1891), p.
pl. 105. 338; G. M . A . Richter, " A Euphronios C y l i x , " AJA 20 (1916), p.
12. The Karlsruhe cup measurements: H : 11 cm, D i a m : 32.6 cm, 128. This is an example o f simultaneous narration, on w h i c h subject
D i a m o f tondo (without border): 16 cm. I thank Dr. Michael Maass see: P. G. P. M e y b o o m , "Some Observations on Narration i n Greek
for the measurements. A r t , " Meded 40.5 (1978), pp. 55-82; A . M . Snodgrass, "Narration
13. ARV 2
429.25-26. For Vienna 3695, see CVA Vienna 1, pis. and Allusion i n Archaic Greek A r t , " J. L . Myres Memorial Lecture,
11-13; measurements: H : 12.8 cm, D i a m : 33.8 cm, D i a m o f tondo: 1982; and M . Davies, " A Convention o f Metamorphosis i n Greek
21.5 cm. A r t , " JHS 106 (1986), pp. 182-183.
14. Brussels, Musees Royaux A 718, ARV 445.256,
2
CVA 34. L o u v r e G 146, ARV 2
458.2; LIMC 1 (1981), p l . 104,
Brussels 1, pis. 5-6; Cabinet des Medailles 538, ARV 428.16,
2
LIMC "Achilleus," p. 447.
1 (1981), p l . 477; Cabinet des Medailles 537 and 598, frr., ARV 2
35. K . Friis-Johansen, The Iliad in Early Greek Art (Copenhagen,
429.19, LIMC 1 (1981), p l . 143; London D 1, frr., ARV 429.20, I .
2
1967), p. 166; G. Neumann, Gesten und Gebärden in der Griechischen
Wehgartner, Attisch Weissgrundige Keramik (Mainz, 1983), p l . 16; Pa Kunst (Berlin, 1965), pp. 15-17.
lermo N I 1886, ARV 2
446.266, D . C. Kurtz, Athenian White Lekythoi 36. Heldensage , 3
p p . 342-343; and A . Kossatz-Deißmann,
(Oxford, 1975), p l . 10.1; Cleveland 66.114, Paralipomena, p. 376, no. "Achilleus " LIMC 1 (1981), pp. 106-114.
266 bis, CVA Cleveland 1, pis. 32-35; J. Paul Getty M u s e u m The Oedipus Painter cup was attributed by Beazley to Douris
84.AE.770, Art Antique: Collections Privies de la Suisse Romande (G. himself: London E 56, ARV 2
441.180; LIMC 1 (1981), p l . 104, no.
Ortiz and J. L . Zimmerman) (Mainz, 1975), no. 205. 444. The attribution to the Oedipus Painter was first proposed i n D .
15. The H E R M O . . . on a cup fragment i n Athens might be part Buitron, Douris ( A n n Arbor, M i c h . , University Microfilms, 1976).
o f the same name, Athens, Akropolis 223, ARV 1583.
2
Robert Guy, i n his P h . D . dissertation, The Late Manner and Early
16. A . Raubitschek, Dedications from the Athenian Acropolis (Cam- Classical Followers of Douris (Oxford, 1982), came independently to
74 Buitron-Oliver
the same conclusion. 39. Heldensage , pp. 427-428; F. Brommer, Odysseus (Darmstadt,
3
The Kleophrades Painter's fragments are: Athens, Kerameikos 1983), pp. 104-108. For the earliest k n o w n representation o f the
4118, LIMC 1 (1981), p l . 103, no. 441; and Athens, Agora P 6103, subject, see the article by M a r t i n Robertson i n this volume, pp. 9 3 -
10509, 18278, 19582, ARV 2
185.39, Hesperia 35 (1966), p l . 9. O n the 94 and note 53.
mourning figure, see also J. Boardman, "The Kleophrades Painter at 40. A . M . Snodgrass, Arms and Armour of the Greeks (London,
Troy," AntK 19 (1976), pp. 13-14. 1967), pp. 80-81.
37. R. Lattimore, trans., The Odyssey of Homer ( N e w York, 1967). 41. Cf. R. Olmos Romera, "Eurytos I , " LIMC 4 (1988), pp.
38. Cf. K . Schefold, Götter und Heldensagen der Griechen in der 117-119.
spätarchaischen Kunst (Munich, 1978), p. 150.
A Fragmentary Phiale by Douris
Martin Robertson
The fragments here illustrated come from a very (mirror-image o f band around omphalos), H : 2.2 cm.
unusual vase, a huge red-figured phiale, decorated
1
Exterior: H o l l o w o f omphalos, black; broad frieze o f
inside and out w i t h elaborate figure scenes and pattern- running palmettes, H : 4.0 cm; narrow frieze o f upright
work. It also bears painted inscriptions: on the interior enclosed palmettes w i t h drops between, H : 2.5 cm;
names by many figures and a signature o f the painter figured frieze, H : 12.0 cm; narrow rim-band o f elabo
Douris; on the exterior an epoiesen inscription w i t h a rate ovolo, H : 0.7 cm. The patterns are discussed below. 5
Figure la. Fragmentary phiale signed by Douris. Approximate arrangement o f fragments. Exterior. Malibu, J. Paul Getty
Museum 81.AE.213, 85.AE.18, 85.AE.185, and 88.AE.30.
A Phiale by Douris 77
Figure Id. Exterior. Standing male i n short chiton. Figure If Exterior, r i m . Face i n three-quarters view.
Figure lg. Exterior. Squatting Herakles. Figure lh. Exterior. Standing legs and squatter.
80 Robertson
Figure lk. Exterior, r i m . Epoiesen inscription and end Figure 11. Exterior. Graffito.
o f hanging bow.
One o f the lionskinned figures is standing upright on a vase-painter's accuracy, and I have no doubt that
(fig. l c ) , the other squatting (fig. l g ) . Only the lower some form o f this story is illustrated. I certainly can
part o f this latter is preserved, as are legs o f two other find no alternative. Herodotos tells a story connecting
squatters (figs, l h , i ; the remains on the other side Herakles w i t h the Scythians and their bowmanship, 6
make it impossible that these should belong to one but the details offer no help here, and I do not think an
figure). Arms and hands held above the head o f a Attic vase-painter o f this time would show Scythians i n
figure which must have been i n this position are pre Greek chitons. Besides, Herodotos ascribes the story to
served as well (fig. l j ) , and almost certainly belong to the Greeks o f Pontus, and it does not seem likely that it
the one i n the lionskin (fig. l g ) . They are drawing the was current i n Athens at the beginning o f the fifth
bow, and this is probably what the other squatters, century.
too, were doing, whereas many o f the upright figures The story o f Herakles and Eurytos is never clearly
are taking the bow from the wall, stringing it, or just told, and allusions seem to be to different versions, but
holding it. O n the interior o f the fragment w i t h the all involve rivalry w i t h the bow. Eurytos, king o f
standing figure i n lionskin is part o f the combat (see Oichalia, was, like his father, Melaneus, an outstanding
fig. l m ) ; on the interior o f all four fragments w i t h archer. According to some he had been taught by
parts o f squatting figures (figs, l g , h, i , j ) are parts o f Apollo, who gave h i m a bow; and Homer says that
seated deities (see figs, l v , w, x, z). This suggests that this bow was given by his son Iphitos to Odysseus (the
all figures shown actually drawing the bow were con bow w i t h which the suitors were killed). Homer also
centrated i n one area. says that Eurytos challenged Apollo to a contest i n this
J i n Frei suggested that there were two pictures illus art and was killed by him, that he bequeathed his bow
trating the archery contest o f Herakles w i t h Eurytos to Iphitos, and that Iphitos was murdered by Herakles
and his sons: first the preparation, then the contest (a story repeated by others). The version, however,
7
itself. I think this must be right, though there are which seems to connect w i t h illustrations on Archaic
problems. I do not think it matters that a figure on the vases has Eurytos offer the hand o f his daughter, Iole,
same fragment as one o f the squatters is still stringing to anyone who could defeat h i m and his sons at bow
his bow, but there is an awkwardness i n the numbers manship. Herakles did so, but Eurytos reneged on the
involved. Eurytos is credited, besides his daughter Iole, bargain. Herakles left i n anger, returned w i t h an army,
w i t h t w o , three, or four sons, variously named, but sacked Oichalia, killed Eurytos and his sons, and car
often including Iphitos, Klytios, Toxeus, or Deion (al ried off Iole, a course o f action which led directly to his
ternatively Deioneus). I f Herakles, Eurytos, and four o w n death. A feast i n the house o f Eurytos breaking
8
sons were shown i n each scene, that accounts for up i n a quarrel appears to have been a key moment i n
twelve figures; and though there may not be absolute one telling o f this version. The feast (not the quarrel) is
evidence for more here, there is certainly room. O n the shown on an Early Corinthian (late seventh century)
interior there must have been at least sixteen full-size krater, on which Eurytos is called Eurytios; his four
9
figures, probably eighteen or more. However, this is sons Toxos, Klytios, Didaiwon, and Wiphitos; and his
not the kind o f point on which, I think, one can rely daughter Wiola. This scene is also illustrated on Attic
82 Robertson
Figurelm. Interior. Large composite fragment, r i m to omphalos. Parts o f combat (b) and pursuit scene (c).
A Phiale by Douris 83
Figure lx. I n t e r i o r . L o w e r parts o f P l o u t o n and Figure ly. Interior. Kore and arms o f a child.
Demeter.
vases not far i n date from ours. Others give the quar hypothetical gaps separating the two scenes. However,
rel, notably t w o fragmentary cups, one by the Brygos traces o f something can be made out at the bottom o f
Painter, the other a very early piece by Douris h i m the picture, and the remains on the interior (part o f the
self. I n both these Herakles and his opponents are
10
head and name o f Dionysos, see fig. l u ) can be associ
shown accoutred exactly as on the phiale. O n Douris 's ated w i t h other fragments which show that the writing
cup there are six opponents, and there seem to have on the exterior came above one o f the squatting
been at least as many on the very fragmentary one by bowmen.
the Brygos Painter. A very small fragment (fig. 11), w i t h part o f a
The only painted inscription on the outside o f the woman lifting her veil on the i n t e r i o r (see fig. laa),
12
phiale is the fragmentary one w i t h part o f a name and has a purely black outside across which runs a vertical
o f epoiesen (fig. I k ) . This is discussed b e l o w . It 11
lies graffito, roughly scratched, . . . V T . . . . This is part o f
high up i n the picture on a broad area o f black, and one an Etruscan word, S U T I L ( S U T H I L ) . It is evidently o f
might at a glance think that it occupied one o f the a dedicatory nature and i n other contexts has been
A Phiale by Douris 87
Figure laa. I n t e r i o r o f fragment 11. Figure lbb. Interior. Lion's-foot stool. Figure la. Interior. Part o f figure and
A r m and breast o f goddess t w o scepters,
lifting himation.
thought to be particularly associated w i t h grave-goods. pletely preserved except for: back o f hair, right shoul
der and upper arm, fingers o f left hand, left foot. She is
INTERIOR identical i n dress to her companion, and almost i n
We have seen that there are three scenes: (a) assembly movement, only slightly less extreme. Her forward left
of seated deities, (b) combat, and (c) running figures foot was probably clear o f the ground, but much closer
(pursuit?). The junctions o f (a) w i t h (b) and (b) w i t h (c) to it than the other's. She wears bracelets (red) on both
are preserved, but the center and right o f (c) and the arms and a Stephane on her blond hair. Her right hand
left end o f (a) are lost. It w i l l be simplest to begin the is raised and seen from the back, fingers open, her left
account to the left o f the gap w i t h what remains o f (c) extends forward i n the same attitude as the other's. The
(fig. l m ) , go on to (b) and (a), and then consider the black area i n front o f her face is preserved and bears no
three together and any possible connections between inscription. She i n turn overlaps the third figure, a man
them. Many, probably almost all, o f the figures i n (a) wearing only a himation, i n the same movement as the
and (b) were named, but no name is preserved by any two women, perhaps more like the first than the sec
of the three which survive from (c), and the woman ond i n its violence. His right foot, too, is far back.
whose head is preserved can never have had one. Otherwise he is preserved only from neck to waist.
These three are rushing to the right, overlapping one The end o f his long fair hair lies on his neck and back.
another. Nearest us is the one at the back, a woman His shoulders are i n profile, the right arm (lost from
preserved from the waist down. Her right leg is above the elbow) reaching forward, left forearm (also
stretched far back, only the toes on the ground, left largely lost) issuing forward from the himation.
foot forward and high, left arm stretched forward, N o other fragment can be certainly attributed to this
hand open w i t h the palm up. She wears a long chiton scene, but two likely candidates w i l l be considered
slightly hitched up to run, himation, and bracelet (red). when we look at the subject and its relation, i f any, to
Overlapping her i n front runs another woman, com the subjects o f (a) and (b).
88 Robertson
The combat (b) is the only relatively unproblematic below the hero's crest, hand extended, palm up, across
picture on the vase. The center is lost, but the two ends his body. Across the black area behind her, which
correspond perfectly and there are loose fragments separates (b) from (a), flies a tiny Nike, horizontally.
which find a natural place between them and can go Traces o f her chiton survive, and her arms reached out
nowhere else. over Athena's aigis. The right arm (red bracelet) con
Overlapped by the rearmost running woman i n (c) is ceals the left, but both hands are drawn, supporting a
the right-hand figure o f (b) (fig. l m ) . It steps to the red wreath for the victor.
left, wearing a long chiton and himation like the Between the hero's thighs an inscription runs down
women i n (c). Head and shoulders are missing, along ward to the left: A O P I 1 ; and on the loose fragment
w i t h most o f the left arm, but wrist and hand are w i t h parts o f Athena's and the falling warrior's feet, the
preserved, and the hand holds a bow: not the Scythian end o f the verb: £ypa(|>o]EN. Most o f the inscribed
bow o f the exterior but the straight Greek form. The names on the vase are written more or less horizon
right arm, i n the long chiton-sleeve, is reached for tally, to be read w i t h the pictures, and the two-line
ward, but forearm and hand are missing. The figure epoiesen inscription on the exterior is similarly aligned.
could be either Artemis or Apollo; but, i f it were Douris's signature is almost upside-down to these: the
female, a breast would probably be drawn, and as we painter must have reached over the r i m o f the vessel to
shall see, the context calls rather for the god. The write it, as though it were an afterthought. The relative
painter omitted to draw the rear (left) foot. It should positions o f the name and the end o f the verb fix the
appear toe to toe w i t h the rear (right) foot o f the well- left foot on the loose fragment as Athena's forward
preserved woman i n (c). There is a chip off the surface one. The victor's left leg must have been crossed by the
in this place, but not large enough to account for the extended right leg o f his opponent, his o w n right ex
foot's disappearance. Right leg and foot are forward, tended back across Athena's skirt.
the Achilles tendon overlapped by the right heel o f the Parts o f both heroes' helmets are preserved on loose
rearmost woman i n (c), the toes by the drawn-back left sherds. One gives a Corinthian helmet to left (fig. l p ) ,
heel o f a collapsing warrior. O f this figure, besides the the eye-hole black, evidently because the helmet is
left foot and much o f the lower leg bent sharply for pushed up on the hair, and disappearing behind the
ward, part o f the thigh is preserved above, w i t h but front o f the crest a spear-shaft sloping slightly down to
tock and hip and some o f belly and back, left arm and left. These belong to the falling hero, whose right hand
hand back w i t h shield, seen from inside, slipping from must still have been raised w i t h the spear. Another
it across Apollo's knee. Red blood from a wound is very small piece (fig. l q ) has the front o f a helmet-crest
marked on the belly. Above the lower leg and parallel to right and i n front o f i t the letters AX[iXAeuc;,
to it is a spear, the point touching Apollo's shin. The Achilles. This belongs to and identifies the victor. A
right leg o f the warrior must have been reached for third scrap has the front o f a Chalcidian helmet to right
ward, and toes which certainly belong to it appear on a w i t h patterned crest support (fig. l r ) . This almost cer
loose fragment (fig. I n ) , confronting the forepart o f a tainly belongs to Athena: the exterior has hands lifted
left foot planted on the ground. Other fragments show to take a bow from the wall (fig. Is), and the figure on
that this left foot belongs not to the warrior's victo the outside which most nearly corresponds to the torso
rious opponent but to a figure behind h i m , corre of Athena evidently had his hands raised (fig. I t , cen
sponding to Apollo: Athena. Much o f the goddess and tral figure). One cannot, however, rule out the possi
the victor is preserved on a large composite fragment bility that this helmet belongs to one o f the seated
(fig. l o ) : o f the warrior, lower torso, frontal, lunging deities in (a): Ares, who we know was present, or
forward, thigh o f forward left leg, frontal thigh, and Athena, who may have been. There is, however, no
knee o f right leg reached back, right part o f upper evidence that either Apollo or Athena, the two deities
body w i t h elbow o f right arm raised for downward present i n (b), were also shown i n (a). O n the left o f
spear-thrust. Below this the long tail o f the helmet- the black area behind Athena (fig. l o ) appears the end
crest flies back, and above it is the inscription a6]E!M- o f a himation, evidently lying over the knees o f a
AIA, Athena. O f Athena (besides the front o f the left seated figure (but see Postscript), and i n front o f it the
foot on the loose fragment) is preserved the middle o f name APE[q; but before we go on to the group o f
the body i n chiton, himation, and snake-fringed aigis seated deities (a), there is a little more to say about the
hanging down the back to mid-buttock; right arm (red combat.
bracelet) raised forward from the elbow, open hand i n The composition — Greek hero backed by Athena
back view; left arm (red bracelet) reaching forward striking down Trojan hero backed by Apollo —is very
A Phiale by Douris 89
popular in early red-figure and is most regularly used o f Homer's account. I think it by far most likely that
to illustrate one particular episode: the death o f Hektor the fight on the phiale is that o f Achilles and Hektor,
at the hands o f Achilles. A classic example is on the but a doubt remains.
Berlin Painter's great volute-krater in L o n d o n , where
13
The third subject (a) is an assembly o f seated deities.
it is paired w i t h another favorite scheme: Achilles k i l l A l l surviving remains show feet and knees to the right,
ing Memnon, the mothers, Thetis and Eos, each be and it is safe to suppose that all sat that way, but four
hind her son. The Greek on the phiale was named heads are preserved turned back to the left. One o f
Achilles, and it is very probable that his victim (the these belongs to the only figure preserved from head to
wound i n the belly implies a death) is Hektor; but one feet, and she has her torso frontal and her left hand
cannot be quite sure. O n his name vase i n Boston the placed on her right thigh, fingers to the left. A n y
Tyskiewicz Painter places Athena behind Achilles as he torso-fragment w i t h the same arrangement can safely
kills Memnon, who is backed i n the normal way by his be said to belong to a figure looking back. The degree
mother Eos; and on the other side Athena supports o f overlap is widely varied. We have the right-hand end
Diomedes as he wounds Aeneas, whose mother Aphro (front) o f the group but not the other, and one cannot
dite comes to his a i d . O n a cup by Douris himself,
14
calculate how many figures there were. We have six
later than the phiale, i n his fully developed middle names, and two others can almost certainly be identi
style, Athena and Apollo support the combatants,
15
fied by propinquity w i t h named figures. It seems likely
and the defeated Trojan is Hektor; but he is not killed, that all figures i n this group originally had their names,
and Athena's protege is not Achilles but Ajax. O n the w i t h the probable exception o f a child seated on a
phiale Douris could have made another variation, goddess's knees, who is additional to the eight just
keeping Achilles under Athena's protection and allot referred to. A l l surviving names are written horizon
ting a different Trojan to Apollo; but I do not think it tally near the top o f the picture, to the right o f the
likely. O n the cup Douris has moved outside the usual head, whichever way it is facing; w i t h one exception.
repertory to illustrate a story told i n book 7 o f the The name o f Ares is written by the knees o f the fore
Iliad.
16
I n an abortive attempt to settle the quarrel by most figure on the right. B y analogy w i t h other assem
single combat, the lots fall on Ajax and Hektor. I n the blies o f deities i n early red-figure, Ares w i l l have been
course o f the fight Ajax fells Hektor w i t h a cast rock, accompanied by A p h r o d i t e . If, on the phiale, they
19
but Apollo revives the Trojan, and the duel is contin overlapped one another closely, her name may have
ued w i t h swords, then stopped by the heralds. Douris occupied the extreme right-hand position at the top,
draws the rock, and no blood is shown on the collaps and this would account for the unusual placement o f
ing hero, though i n Homer he was already wounded i n her consort's name. See Postscript.
the neck. The omission is surely deliberate on the vase- The other six identifiable deities fall into two groups
painter's part to indicate that this is not a death-scene as o f three, which perhaps follow on one another, making
this type o f composition normally is, and as it is shown a series o f six; but there is no way o f knowing how
to be on the phiale. The spear we noticed crossing the close this series comes to Ares and Aphrodite on the
space between the hero's legs and the god's must, like right, or to the left-hand end o f the row. A small
the rock on the cup, be something thrown. The spear fragment gives the forehead o f a black-haired deity i n
in Homer is regularly t h r o w n . Vase-painters show an ivy-wreath (fig. l u ) . A n ivy-branch, evidently held
heroes using the hoplite gear o f their o w n day, where in front, extends over the head to the left, and be
the spear is a heavy thrusting weapon; but sometimes, tween head and branch are the letters AIO[vuooc;, D i o
in a gesture to the text, they show one cast. I n Homer's nysos. He is looking to the right. Another small piece
account o f the last fight between Achilles and Hek gives the left-hand end o f the ivy-branch and the letters
t o r , Achilles throws his spear and misses, but it is
17
AMO[ixpixq, Amphitrite. The remains on the exterior
then returned to h i m by Athena. Hektor then throws o f this scrap suggest that it touch-joins a large com
his, but it rebounds from Achilles' shield. The spear on posite fragment (fig. l v ) w i t h the only seated figure
the phiale might be thought o f as either o f those, preserved from head to foot: a dark-haired goddess
though i n Homer neither hero has a second. The dying looking back over her shoulder, left hand on thigh,
Hektor on the Berlin Painter's krater holds a spear and right lifting the cloak from her shoulder in front o f her
is very like the figure on the p h i a l e . 18
Accurate face. She, then, is Amphitrite, and traces o f the stool-
adherence to the detail o f texts is neither found nor to seat and sleeve o f the figure to her right must belong to
be expected. O n Douris's cup Ajax has a spear i n his Dionysos. Next to her on the left comes a figure
hand, Hektor a sword, which does not fit any moment whose knees and hands just overlap her. The foreparts
90 Robertson
o f both feet appear under the goddess's lifted right next section.
heel, but the rest o f the lower part is lost, together The three Eleusinians must have been together. One
w i t h almost everything above the arms. The left one is m i g h t have expected Kore to come between her
laid along the thigh and the hand holds a long staff, the mother and her spouse, but this is the one position
lower part o f which slopes across the goddess's skirt, ruled out for her. There is some reason to think that
while the top must have been near the holder's head. she was placed not on his left but on Demeter 's right,
The right forearm, hand lost, is slightly raised, and the and that the knees overlapping Poseidon are hers. The
positioning o f both suggests that the figure was look drapery o f all these figures is extremely elaborate. Both
ing forward. Gods and goddesses alike i n this group Amphitrite and Poseidon have a triple division o f the
are dressed i n long chiton and himation, but goddesses himation over thighs and knees, so that they almost
have a red bracelet on either arm. These arms are bare, look as i f they have three legs, the furthest sweep
so the figure was male. In assemblies like this, A m - having the stepped folds o f the edge, which also appear
phitrite accompanies her husband Poseidon. The fig20
over the knees o f Ares. The figure overlapping Posei
ure on the goddess's right here is Dionysos, so the god don has a double division without this further edge.
she is looking toward, and who was probably looking The himation seems to be hitched up higher, so that
toward her, must be the sea god. His staff probably the folds are looser over thighs and knees. A t the
ended i n a trident-head. This figure is strongly over
21
extreme left edge o f the fragment are traces on a
lapped on the left by the knees o f another, to w h o m we smaller scale which cannot be part o f the figure's o w n
shall return when we have considered the other three drapery: a tiny end hanging by the patterned disc at the
named figures. top o f the stool-leg, and above that a sharp corner.
A small composite fragment (fig. l w ) gives a head These make perfect sense as the back o f a himation
w i t h blond hair and beard looking left, and to the right belonging to a child sitting on the figure's knee. Kore
22
the name I1AOVTON, Plouton, the last letter appear need not have been the only figure i n the assembly
ing on a large composite fragment which has the head w i t h a child but there seems to me a strong possibility
o f a goddess looking left, and part o f her right arm i n a that these knees are hers. The figures on the exterior o f
patterned garment extended i n the same direction. the t w o fragments are compatible w i t h such an ar
Across it rise grain-ears, evidently held i n front o f rangement. I f that is so, we have a sequence o f six
the body i n the left hand, and to the right is the name figures: Plouton, Demeter, Kore w i t h the child, Posei
AEM[rrri}p, Demeter. Her hair, too, is i n dilute color, don, Amphitrite, and Dionysos. It is w o r t h noting that
but much darker than the god's. Remains on the exte Poseidon, Amphitrite, and Dionysos, together w i t h
rior make it almost certain that a large loose fragment Zeus, are figured i n a strictly Eleusinian context by
(fig. l x ) w i t h parts o f t w o seated figures barely over Makron on his London skyphos. There is at present
23
lapping each other gives us more o f Plouton and De- no evidence for any other identifiable deity i n the as
meter. The left-hand figure is shown to be a male sembly on the phiale except for Ares at the front and
looking back by the left arm w i t h the hand on the his probable companion Aphrodite. There is, however,
thigh, like Amphitrite's but unbraceleted. The other one other fragment (fig. lz) which certainly belongs to
figure has a fringed and patterned cloth over the (a) and gives part o f two overlapping seated figures.
stool-seat. The left-hand one could be Dionysos, and that it is so
Another composite fragment (fig. l y ) has a light- is suggested by the exterior figures (see fig. l h ) . O n
blond head and part o f the torso o f a goddess i n a the back o f the piece w i t h two seated figures appears
transparent chiton, and to the right o f the head, which the thigh o f a squatting bowman; on the back o f the
looks to the left, the letters K ] O P E , Kore. Her breast piece w i t h part o f Dionysos's head and name (fig. l u )
is frontal, right forearm vertical, the missing hand is the epoiesen inscription (fig. I k ) , which, as we saw,
perhaps lifting the chiton off the shoulder. Remains comes above a squatting figure. I f the right-hand
24
behind the other shoulder perhaps belong to the hima figure overlapped another to its right, it can only just
tion, but the arrangement is not clear to me. Across the have done so; but it is not possible to reconcile the
breast reach t w o small hands, open, palms up, to the remains w i t h the scrap o f drapery over Ares' knee and
left. It would be possible to restore an Eros flying make it the end figure on the right. A vertical staff
horizontally, like the tiny Nike i n the combat, but it w i t h a central dividing line appears under the stool,
would not be easy to account for his presence here, and presumably a scepter held i n the left hand.
a more convincing suggestion is a child seated on Another small fragment (fig. laa) most probably
Kore's lap. Its probable identity w i l l be discussed i n the belongs to (a), though we cannot be sure that it does
A Phiale by Douris 91
not come from (c), about which we k n o w so little. It badly written: hardly A, I think, but just possibly E.
shows the left breast and shoulder o f a female figure to We shall return to this question. 25
A n object which crosses this looks at first glance like of no case o f overlaps between unconnected pictures,
the other leg, but this cannot be right: it comes too though occasionally one may be i n doubt whether a
soon, extends too far, and is too wide. This object i n figure under a handle belongs to the picture on the
turn is crossed by a vertical staff, rather thick, and an front or the back o f a vase. I find it impossible to
27
object on the ground beside the lion's foot seems to be suppose, however, that the two women and the man i n
the end o f this. The stool suggests the seated deities o f civil dress bolting to the right actually belong to, or are
(a); but a figure seated on it to the right would have left closely connected w i t h , the combat. O n the Penthesilea
some trace on the sherd. The second fragment (fig. Painter's great cup i n Ferrara, painted several decades
Ice), from higher up, also has a vertical staff which after our vase, a Trojan combat is flanked by civilian
could be the same one (the remains on the exterior are figures. They, though, are standing still, facing to
28
not incompatible). The volutes supporting the finial o f ward the fight and mourning their fallen hero. They
the scepter are preserved, and part o f the shaft, held must be thought o f as watching from the wall, and the
between fore- and middle finger o f a left hand i n back composition really offers no parallel to the one here.
view. To the left o f this the neck o f the figure is O n the other side o f the fight, behind Athena, there is
preserved w i t h a little o f the hair (in rather dark diluted a gap before the first o f the seated gods, Ares; but that
color), which shows that it was facing left. Part o f the in this case there might be a unified theme is suggested
engrailed chiton neck also survives, and peaked hima by the superficially obvious parallel o f the East Frieze
tion folds on the left shoulder. N o t quite enough o f the o f the Siphnian Treasury at D e l p h i . There a group o f
29
forearm is preserved to make it certain that there was deities at the left-hand end is certainly deliberating the
no bracelet, so the sex remains open. Across breast and fate o f heroes i n the Trojan War, represented i n combat
neck a second, slenderer, scepter slopes up, again w i t h on the right. There is, however, a great difference
a volute o f the finial preserved. This must have been between the compositions on frieze and phiale. The
held by another figure. Whether or not it goes w i t h the assembly on the frieze is a debate: all figures are seated
stool-fragment, this piece suggests a more mouvemente toward Zeus i n the center, and i f one turns, it is to
scene than (a). consult or dispute w i t h a neighbor. O n the vase all are
Two other pieces show letters. One, a tiny scrap, has seated toward the fight, but many o f them look the
only the letter O. This might go almost anywhere. The other way. In Amphitrite's case, it seems as though she
other (fig. ldd) has on the right three fingers o f an is turning to her neighbor and spouse, Poseidon; but all
open hand, and from the left the end o f a name . . AEZ, three Eleusinians and their child look i n one direction,
w i t h a trace o f the preceding letter. This is certainly not away from the fight. It would be odd, i n any case, to
I . It looks more like O than anything else, but that is find the Eleusinians gathered i n such strength i n con
difficult. There are names which end in . . . odes (e.g., nection w i t h the Trojan War. It seems that i f there is
Herodes, which was borne by a sixth-century poet as any connection between the three scenes, it must be o f
well as by more celebrated characters i n later times), a less literal and straightforward kind, though the
but I can think o f none i n mythology. It could be a painter can hardly not have had i n mind the suitability
kalos name, though none w i t h this ending is recorded. o f placing the war god Ares at the right-hand end o f
The only place for the kalos would be i n a second line the assembly, directly abutting on the fight.
below, which is perfectly possible; but the positioning Demeter and Persephone often appear at this time i n
o f the letters seems most natural, on this vase, for a pictures o f the dispatch o f Triptolemos on his mission,
name by a figure's head. It should be considered and sometimes i n other contexts, but the "family
30
whether the remains are not those o f another letter, group" on the phiale is not paralleled until much later,
92 Robertson
and the use o f the name Kore is extremely unusual. She other place on the vase for Diomedes. For Ganymedes,
is so labeled on one piece o f red-figure i n its earliest on the other hand, there are two possibilities. I n two
phase, but that was dedicated at Eleusis, where the
31
assemblies o f seated deities o f this time he is shown as a
goddess is especially k n o w n by that appellation. She is boy standing: w i t h Zeus and Hera on a cup by Douris
often named on vases, but elsewhere, so far as I am himself, probably a little later than the phiale ; and,
40
aware, always as Persephone or some name o f related his name written beside h i m , on the great cup i n Tar-
form (on Makron's skyphos, Pherephatta). Plouton
32
quinia w i t h the names o f Oltos and Euxitheos, proba
on the phiale is, I believe, the first attested appearance bly painted a little earlier than the phiale. It is 41
o f the name, though on a black-figure vase by or near interesting that the Douris cup (which shows on the
Exekias one Ploutodotas appears i n an Eleusinian con interior Hermes at an altar) has on one side o f the
t e x t . Plouton is first named i n literature i n Attic
33
exterior an assembly o f seated gods which includes,
tragedy o f the middle or second half o f the fifth cen besides Zeus, Hera, and others not identifiable, D i
t u r y , where the name is equivalent to Hades, lord o f
34
onysos and Poseidon w i t h Amphitrite; and on the
the Underworld and groom o f Kore/Persephone, but other the combat o f Achilles and Hektor. There is no
in an aspect which stresses the connection o f death and evidence for a standing figure among the seated deities
the Underworld w i t h the life-restoring riches o f earth, on the phiale, nor for the identification o f any o f them
Demeter's province. The placing o f Plouton next to as Zeus or Hera; but the group could very well have
Demeter on the vase suggests the same ambience here. appeared there.
Plouton and Ploutos are later closely linked; and the It is worth, though, considering an alternative: that
use o f the first name for the god here makes it likely scene (c) showed Zeus pursuing Ganymedes, a popular
that the second is what we should think o f for the child subject w i t h painters o f this phase. The male figure
on Kore's lap. Ploutos was not i n fact, i n any story, the w i t h long blond hair gathered on his neck would be
child o f Kore/Persephone but her mother Demeter's, Zeus (he regularly wears a himation i n this scene), and
fathered, according to Hesiod i n the Theogony, 35
by the women would, I suppose, be the boy's sisters, or
Iasios (elsewhere more commonly Iasion). He is closely mother and sister, trying to intervene. I n pictures o f
associated w i t h b o t h goddesses, however, i n the abduction o f women, sisters or companions often play
Homeric H y m n to Demeter and elsewhere. Other
36
such a part, or scatter i n flight, or run to tell the
children are sometimes associated w i t h Persephone: father ; and i n some pictures o f abduction o f boys,
42
Iakchos, who is at times identified w i t h Dionysos, at male companions, sometimes defined as brothers, are
others w i t h Ploutos; and Adonis, w h o m she was given similarly s h o w n . Women i n an abduction o f Gany
43
ing i n . . . des on a loose fragment (fig. ldd) men fragments discussed above (figs, l b b , c c ) belong to
45
proof that he meant h i m for Achilles, and there is no sumably not have been shown among them. Since
A Phiale by Douris 93
Ganymedes was a member o f the Trojan royal house, a O f the two w i t h figures, one, though totally without
tenuous link would also be established w i t h the fight in pattern-work, is linked to the patterned pair by its use
(b), though Hektor was o f a younger generation. Ac o f intentional r e d . It seems also to have been about
50
cording to Homer and others, Ganymedes' father was the same size as those, but few o f the fragments have
Tros, but others make Ganymedes Tros's grandson, been put together, and I am not sure o f the diameter.
Ilos's son, and brother o f Laomedon, and yet others see The outside is fired deliberately red, w i t h a black r i m
h i m as the son o f Laomedon and brother o f Priam. The and two black lines toward the center (the omphalos
distress o f his father Tros is emphasized i n the Homeric w i t h its immediate surround is lost). O n the interior
H y m n to Aphrodite (assuaged by the gift o f swiftest the r i m is coral red w i t h t w o black lines, and imme
horses). 47
diately below that is a figure zone, which seems to
I f convincing connections between the three scenes have been 8 or 9 cm high, against the all but 10 cm o f
on the interior are hard to establish, the subject o f the the interior figure zone o f the Douris. Below that is
exterior is remote from any o f them. A wider view, intentional red, w i t h t w o black lines below the picture
however, may give one something. The events at and lower down the beginning o f a black area, which
Oichalia led inexorably to Herakles' death, and that presumably surrounded the omphalos.
was followed by his acceptance as a god in Olympos. The figures evidently formed a single picture: an
Whatever the occasion o f the assembly i n (a), it cannot Amazonomachy, including Amazons on horseback
but have brought to mind pictures o f Herakles' recep and — a most unusual feature — a fight over the stripped
tion among the gods; and i f they are waiting for Gan corpse o f a Greek. There is no trace o f any figure
51
ymedes (though that o f course is anything but proven), identifiable as Herakles or Theseus, and it seems likely
that is another case o f a mortal raised to immortality. that this is a Trojan Amazonomachy. Perhaps the key
The death o f Hektor, then, might be a contrast: a hero group gives the end o f Penthesilea's aristeia when,
w h o m the support o f a god could not save from the across the body o f her last victim, she herself faces
common fate o f man. I n Homer the same applies to his death at the hands o f Achilles. A m o n g the Greeks she
slayer, whose o w n death was so soon to follow, but a killed, Apollodoros mentions Machaon, son o f Askle-
later story had Achilles raised to immortality, living pios, and Quintus Smyrnaeus Podarkes, brother o f
w i t h Helen as his bride, divinized heroes i n the White Protesilaos and after his death leader o f the Thessalian
Island. Thus, though connections between the var
48
contingent. This fight brings us a step nearer to Achil
52
ious subjects at a literal level are so very tenuous, it les' o w n death. After Hektor, he fought and killed
does seem possible to read them all as evoking Penthesilea; after her Memnon; and was then himself
thoughts o f death and possible survival. The unusual shot by Paris from the wall.
prominence given to the Eleusinians in the divine as The style o f this piece is not Dourian, rather Brygan;
sembly fits well w i t h such thoughts. I think it is by the Foundry Painter. The style o f the
fifth big phiale is likewise considered Brygan by the
T H E SUBJECT M A T T E R OF T H E O T H E R L A R G E excavator, I think rightly. It is certainly not Dourian,
P H I A L A I , A N D T H E S I G N I F I C A N C E OF but is the nearest thing to the Douris vase in character
THE GROUP as well as size. It is o f almost precisely the same dimen
We noticed at the beginning that there are four other sions, and like Douris's piece has, both outside and in,
outsized clay phialai decorated i n red-figure o f about figure scenes combined w i t h elaborate zones o f orna
the same period as ours. Though they do not form a ment around the omphalos. The ornaments chosen,
group i n a stylistic sense, they stand apart from any however, are totally different. It was found at the great
thing else, and there are interrelationships between Etrusco-Hellenic sanctuary at Pyrgi and is being pub
them. T w o are w i t h o u t figure w o r k . They are
4 9
lished by Dr. Paola Baglione. I am deeply grateful to
53
slightly smaller than the Douris (respectively 33.2 cm Dr. Baglione for her generosity in sending me pictures
and 32.0 cm in diameter against about 42.0 cm). The of this very exciting piece and for sharing her ideas
outsides are black, w i t h a narrow band o f ovolo at the about it w i t h me. Only fragments o f the vase survive,
rim; the insides, w i t h i n a narrow black line at the r i m , and on some o f these the surface is badly preserved, on
are fired intentional red ("coral red"), encircling two others in good condition. It seems clear that both i n
zones o f pattern around the omphalos (which in both side and out a single picture occupied the whole circle:
cases is missing). The patterns are closely related to in both cases a symposium w i t h reclining participants,
those around the omphalos on both sides o f Douris's but very different from one another i n character. O n
phiale. This connection is considered below. the interior it appears to be a normal symposium w i t h
94 Robertson
music, and nothing that survives defines it as part o f a period, he employs the old triangle, as he does on the
mythological narrative. The outside is very different: phiale. However, that this is not a safe chronological
bleeding limbs droop from couches, and on the ground guide is shown by the fact that the triangle recurs on
beside one rests a severed head. Dr. Baglione is surely the London psykter, which belongs to the middle pe
right i n interpreting this as the slaughter o f the suitors riod (3) when on his cups the artist invariably employs
by Odysseus and his helpers, I think the earliest illus the dotted f o r m .
5 7
tration we have o f the scene. I n these two pictures The dotted net which decorates some stool-seats and
there seems a very purposed contrast between life and covers on the phiale is used by Douris i n the same way
death; or between death and a heroic afterlife, so often on a very early signed cup i n the Getty M u s e u m . The
58
metal phiale, is a vessel w i t h Oriental connections, the painter o f the Sosias cup i n Berlin; but Martha
designed purely for ritual use. Rhyta have been studied O h l y - D u m m , assigning the cup to Euthymides (whom
by Herbert H o f f m a n n , and he has noted that while in
54
she seeks to identify w i t h the Kleophrades Painter),
the metal rhyton the animal-mouth is pierced (and this detaches the Akropolis kantharos and suggests that it is
feature is essential to its ritual employment), the Attic by D o u r i s . This too, I think, must be right, but i f so
60
examples i n clay are unpierced. He concludes that this it surely belongs even earlier i n his career than the
is done to mark the fact that they are not for use, or at phiale. The drawing on the phiale is o f exceptional and
least not for use by living mortals. Most are found i n consistent elaboration, often strong and o f exceptional
graves and are perhaps thought o f as used by the he- beauty. It must take a place among his best works.
roized dead. Hoffmann suggests to me that the great Particular interest attaches to the pattern-work
size o f the dedicated clay phialai, too large for mortal around the omphalos, inside and out. As noticed,
hand, i n the same way indicates that they are for the Douris i n this phase o f his w o r k makes little use o f
use o f heroes. The preoccupations we seem to detect i n ornament on his cups; earlier and later it plays much
the subject matter o f the figure-painted pieces can be more part. That its wealth here is a function o f the
seen as fitting into this picture. shape and its metal origins is suggested by the resem
blance o f these pattern-zones to those on the t w o large
T H E S T Y L E OF D O U R I S ' S P H I A L E , A N D T H E phialai without figure-work. O n one o f these the
61
found on the Vienna cup and on most o f the signed w o r k also. Attribution on pattern-work alone must
vases from the period; but on two, which Beazley lists always have an element o f doubt; but the florals on the
after the Vienna one but still among the first i n the Berlin Painter's vases are so distinctive and so conso-
A Phiale by Douris 95
nant w i t h his figure style that I am inclined to accept not be from the same hand) I find it hard to suppose
that the lotuses on the more elaborate o f the two pat that they were not produced in the same workshop at
terned phialai do justify its attribution to h i m . H o w the same time as the figured one signed by Douris.
ever, the general likeness o f the pattern-work on these There are points o f contact between Douris and the
two and on Douris's, and in particular the repetition o f Berlin Painter, but nothing suggests that they ever sat
an identical spiral, demand further discussion. regularly in the same workshop. I wonder i f the five
The spiral (a curvilinear version o f the ubiquitous large phialai may not have formed part o f a special
rectilinear meander) is a very rare pattern in Attic red- order, to meet which painters were recruited from
figure; and i n many o f the few cases where it occurs, it various workshops. There are other cases which sug
is drawn not as a continuous running line but as a gest such an occasion. 67
series o f closed spirals tangential to one another. Exam A striking feature on Douris 's phiale is the number
ples o f the continuous form k n o w n to me are those on o f golden heads. This coloring is particularly favored
Douris's and the other phiale, the two on amphorae by by the Berlin Painter, but there are other examples in
the Berlin Painter, one on a small j u g w i t h palmettes Douris's work, and I do not think one can point to the
which belongs to a class o f floral vases related to the Berlin Painter's influence in this matter. 68
don also mentions one i n the form o f a "ghost" on a only the kantharos w i t h egrapsen. Two other names
vase by the Dutuit Painter. Contemporary examples
63
appear w i t h epoiesen on cups by him: Kleophrades on
of the tangential version are found on two vases by the two from his early period ( l ) , and Kalliades on one
7 0
Kleophrades Painter: on the handle-flanges o f the early from his middle period ( 3 ) . The name Python ap
71
volute-krater in the Getty Museum; and above the pears without a verb on the foot-rim o f three cups
picture on a later work, the great Iliupersis hydria i n signed by Douris as painter, one very early, one early,
Naples. The volute-krater, like the phiale and the
64
one m i d d l e . Since the name appears w i t h epoiesen on
72
rhyton, is a shape originally developed in metal and a cup signed by Epiktetos as painter, and since the
only borrowed into clay. Unlike those, however, the foot-edge is a frequent location for an epoiesen inscrip
volute-krater from about the time o f the Pioneers be tion, one need not hesitate to supply the verb on
comes a regular part o f the ceramic tradition in Athens Douris's cups. The potter-work o f most o f Douris's
73
and afterward in South Italy, and potters and vase- cups aligns them w i t h those that bear the name o f
painters develop it i n their o w n ways. The normal Python, though that o f one or two early pieces goes
decoration for the handle-flanges i n Attic is the stylized w i t h those inscribed Euphronios epoiesen. The meaning
black ivy-spray, found also on the handle-flanges o f of epoiesen on a vase is still i n dispute; but evidently
amphorae type A , the rims o f column-kraters, and as Douris worked regularly i n the same workshop as
picture borders on many shapes. O n metal volute- Python (or i n Python's workshop) but occasionally
kraters the pattern on the handle-flange is often a run w i t h other poietai or performing the same office for
ning spiral ; and when the Kleophrades Painter em
65 himself. The epoiesen inscription on the phiale gives us
ployed it i n this position (as the N i o b i d Painter did a another name, unhappily incomplete.
generation or t w o later ), he was surely imitating the
66
The inscription runs from left to right i n t w o hori
metal-workers' practice. It was no doubt a more popu zontal lines o f which only the right-hand ends are
lar pattern among metal-workers than among vase- preserved:
painters, and I am sure its appearance on the t w o
KPOI XPOI
phialai is a direct borrowing. I do not conclude from
enoi]EZEN ° r
enoi]EIEN
this either that the figure scenes on Douris's phiale owe
anything to a hypothetical "gold-figure" original, or N o name ending i n . . . kros or . . . chros is found w i t h
that the Kleophrades Painter and the Berlin Painter, epoiesen on any other vase. One ending i n . . . kros does,
when they use the spiral in other contexts, are directly however, occur w i t h egrapsen on several: Smikros. The
imitating metal models. painter Smikros was evidently a member o f the Pi
Whoever painted the patterned phialai (and they need oneer Group, a close imitator and companion o f Eu-
96 Robertson
phronios. I say companion as well as imitator, because course, though this fragmentary inscription is no proof
the name Smikros appears beside a beautiful youth at a that he did. I f he did, and i f the w o r d epoiesen means
feast not only on a vase signed by Smikros himself "made w i t h his hands," then Smikros shows himself a
but on a much finer one, which was clearly the model more talented potter than painter: the phiale fragments
for Smikros's, and which is certainly the w o r k o f are o f very fine technique indeed. I should add,
Euphronios. The name also appears w i t h kalos on
74
though, that I believe that even as a painter Smikros
an unattributed kalpis from the same general circle. was better than some ascriptions to h i m suggest. The
The name, o f course, is i n the nature o f a nickname signed pieces show h i m as a painstaking, serious pupil
( " T i n y " ) , and one cannot be quite sure that the same o f Euphronios, and I do not see how he can be the
person is meant i n all cases, but that seems to me more author o f t w o rough psykters i n the Getty Museum
probable than n o t . 75
which have been attributed to h i m . These seem to 7 9
Several names o f Pioneer painters appear w i t h me imitations, even perhaps parodies, o f Pioneer style
epoiesen, mainly i n the years after they have apparently by a painter who can never have been trained by any o f
ceased painting: Euphronios, Phintias, and proba
76 77
the group. I f this is so, it must affect one's assessment
bly Euthymides. There is no improbability i n sup
78
o f the significance o f the inscriptions, one o f which
posing that Smikros may have followed the same shows Euphronios and Leagros as lovers.
Cambridge
A new fragment has appeared on the market. It gives There he wears a helmet; most likely here also, but one
important new information on both interior and exte cannot be sure. There is nothing to indicate the sex o f
rior pictures. O n the interior is much o f a figure stand the deity whose knees overlap h i m . It might well be
ing frontal, wearing a scaled corslet and over it a Aphrodite, but again there can be no certainty.
himation. He is overlapped from the left by the knees O n the exterior we find not (like every other figure
o f a figure i n chiton and himation seated on a stool. o f which remains survive) a male i n a short chiton but
The standing figure is Ares; and this shows that the part o f a quietly standing figure i n long chiton and
himation, which I took to be over his knees, is i n fact himation. The obvious candidate i n the context is Iole,
over his left shoulder and upper arm, and that the row and that is surely who it must be. She was shown on
o f seated deities begins to the spectator's left o f h i m . both the fragmentary cups w i t h the quarrel o f Herakles
The head is missing, and we cannot tell which way he and the sons o f Eurytos cited above (by Douris and the
was looking. Ares wears himation over corslet on a Brygos Painter). 81
27. See I . K . and A . E. Raubitschek, i n Studies . . . presented to 58. See above (note 10).
H. A. Thompson, Hesperia, suppl. 20 (1982), pp. U6f. 59. Athens, National Museum, Akropolis 556, Graef and Lang
28. Above (note 26). lotz (note 10), p l . 42; ARV 21.2.
2
29. E.g., de La Coste Messeliere, Delphes (Paris, 1943), figs. 60. I n Ancient Greek and Related Pottery (above, note 30), p. 171
76-81. n. 54.
30. Triptolemos's Mission: see the Raubitscheks (note 27); Rob 61. Above (note 49).
ertson (note 23). O n this and other Eleusinian subjects: G. Schwarz, 62. Cardon (note 49), pp. 137ff. w i t h figs. 11 and 12.
A A, 1971, pp. 177-182; idem, ÖJh 50 (1972/1973), pp. 125-133; 63. Ibid., p. 135 n. 24.
idem, Ancient Greek and Related Pottery, Allard Pierson Series, v o l . 5 64. Volute-krater, J. Paul Getty Museum 77.AE.11, ARV 186.51; 2
(Amsterdam, 1984), pp. 309-313. Beazley Addenda, p. 94; J. Frei, i n GettyMusJ 4 (1977), pp. 63-70,
31. Pot fragment, Eleusis 596 (4213), ARV 2
12.13. I am grateful figs. 1-12. He does not illustrate the handles but demonstrates (note
to Alan Shapiro for drawing m y attention to this piece. 7) that they belong to this vase. They are illustrated by H . Giroux,
32. Above (note 23). RA, 1972, p. 246, figs. 5, 6 w i t h fragments by the Berlin Painter
33. Reggio 4001, ABV 147.6. Hesiod, Op. 125, speaks o f dai- (ARV 2
206.130). Kalpis, Naples 2422, ARV 187.74. 2
mones . . . ploutodotai, and Ploutodotes is later an epithet o f Zeus 65. E.g., the krater from V i x , where the pattern appears also on
and o f Ploutos. the r i m : R. Joffroy, Le Tresor de Vix (Paris, 1954), pis. 4-15 (cf. p l .
34. See Roscher, v o l . 1, col. 1786, s.v. Hades. 22.1, r i m o f krater i n Munich).
35. Hesiod, Theog. 969-974. 66. Palermo G 1288, ARV 599.2.
2
36. Lines 483-489. 67. I have thought o f this for the big pelikai o f the Class o f
37. See Roscher, v o l . 2, col. 2, s.v. Iakchos; v o l . 1, col. 70, s.v. Cabinet des Medailles 390 (ARV 254); see m y remarks i n Greek
2
45. See p. 91. 70. Berlin 2283 (or 2284), ARV 429.21 and 22; and the cup,
2
46. E.g., the Sosias cup, above (note 19); the kantharos fragments above (note 10).
below (note 59). 71. Louvre G 115, ARV 434.74.2
47. Homeric Hymn to Aphrodite, V.202-217. 72. Vienna 3694, ARV 427.3; Vienna 3695, above (note 55);
2
98 Robertson
The Greek pentathlon combined five different ath des is a straightforward depiction o f a pentathlete's
letic events: a run, a discus throw, a j u m p , a javelin proportions (fig. 1). The subject o f Myron's still more
throw, and wrestling. To w i n i n most o f these events famous Diskobolos is as much a study o f the physique
required a balanced physical development that nearly of a pentathlete as a study o f action. The embodiment
precluded success i n the separate competitions held of Polykleitos's canon o f proportions is likely also to
for running and wrestling. Runners had to have well- have been based on the proportions o f pentathletes (fig.
developed lower bodies, and any unnecessary develop 2 ) . What seems to have begun as a competition to
5
ment o f their upper bodies slowed them down i n a determine the best all-around athlete may have owed
race. Wrestlers, by contrast, needed especially well- its long survival to the recognition that it was the best
developed upper bodies. Having to compete i n most
1
way to achieve a physical development consonant w i t h
or all o f five events, pentathletes had to have the speed a balanced mental development. 6
athletes who specialized i n any single event. any three out o f five events was sufficient for an overall
Despite their versatility, pentathletes were often not victory. There has been much debate, though, on
8
as highly regarded as runners and wrestlers. I n the Pan- whether fewer than three first-place wins might be
athenaia, for example, the winners i n running were sufficient and on whether any second-place wins might
awarded prizes w o r t h about one-and-a-half times more count toward a victory i n the competition as a w h o l e . 9
was between different types o f athletes rather than Pliny recorded a similar story about five sculptors
between athletes and nonathletes, and this accounts for who voted on one another's works to determine which
physiques very far above average. 3
was best. During the second half o f the fifth century,
Sculptors had the same high regard for pentathletes each o f the sculptors had made a statue o f an Amazon
as philosophers. Since the discus throw was not a sepa for the Temple o f Artemis at Ephesos. The result o f the
rate event during the Classical period, some o f the vote was a tie w i t h five separate first places. The largest
most celebrated statues o f antiquity, which depict ath number o f second-place votes went to Polykleitos, and
letes w i t h discuses, are o f pentathletes, rather than, as he — w i t h one first-place vote and w i t h more second-
they are usually regarded, simply statues o f discus place votes than anyone else —was considered the w i n
throwers. A statue that is usually attributed to Nauky-
4
ner. Here again, the use o f second places was necessary
WO Waddell
O R D E R OF T H E E V E N T S
Although the events did not need to be held i n the
same order, they generally seem to have been. There 17
taking part i n the pentathlon invariably indicates firstly a Figure 2. Pentathlete holding a javelin. Doryphoros by
trip abroad or movement from place to place, because Polykleitos (reconstruction w i t h a spear
o f the race; next it signifies loss . . . because o f the added). M u n i c h , Staatliche Antikensamm
discus. . . . Often it portends suffering . . . because o f lungen u n d G l y p t o t h e k . Photo courtesy
the leaps i n the long j u m p . . . . Again, the pentath Fachlabor Zingel.
lon foretells riots and arguments because o f the jave
lins. . . . Because o f the wrestling, the pentathlon
indicates for wealthy men a dispute about land, while
to the poor it foretells sickness, [emphasis added] 21
102 Waddell
Figure 3. Pentathlete throwing javelin. Exterior o f kylix. Munich, Staatliche Antikensammlungen und Glyp
tothek 2667. Photo courtesy Fachlabor Zingel.
Figure 4. Pentathlete throwing javelin. Exterior o f kylix. Malibu, J. Paul Getty Museum 85.AE.25.
The Greek Pentathlon 103
associated w i t h the run, "next" w i t h the discus, and W i t h the emphasis i n modern athletics on establish
failing that, w i t h the j u m p , but i f not, then w i t h a ing comparable records and on record breaking, it is
javelin, and finally (and perhaps especially i f a person easy to assume that the Greeks were likewise con
were exceptionally rich or poor) w i t h wrestling. Since cerned w i t h measurable extensions o f human potential,
wrestling was usually, i f not always, the final event, but lacking stopwatches and w i n d gauges, they could
and since Artemidoros places special emphasis on a se not establish comparable times for races, nor distances
quence for determining the correct interpretation o f all for throws or jumps. Their units o f measure varied
dreams relating to the pentathlon, his order for the events substantially, and they did not even bother to ensure
could reflect the one used for most competitions. that their racecourses were the same l e n g t h .
26
Other ancient sources make this assumption likely. There is no evidence that throws or jumps were
Two additional passages about pentathlons imply re regularly measured, recorded, or compared. Records
lationships between two pairs o f events. A fragmentary do exist for the lengths o f two specific jumps, but the
inscription from Rhodes dating around the first cen distances are about twice the present long-jump re
tury B . c . includes a phrase that translates as ". . . shall cords, and these much-disputed jumps are unlikely to
j u m p [ , ] the one who threw the diskos farthest." As be correct. The practice o f leaving marks i n place
27
Stephen Miller has pointed out, this implies that the after jumps and throws further suggests that distances
discus immediately preceded the j u m p . Pindar's
2 2
were not recorded; it is unnecessary to mark a distance
statement already quoted about the javelin making that has been measured. 28
wrestling unnecessary implies that the javelin imme The specific events that were w o n i n pentathlons and
diately preceded the wrestling event. Both o f these the number o f first-place wins were not recorded i n
passages are consistent w i t h Artemidoros's sequence. Olympic victor lists. The winner i n any pentathlon
Two descriptions o f pentathlons provide similar evi was simply the best contestant at that particular place
dence. The account already quoted by Bacchylides and time. As numerous inscriptions indicate, to w i n a
described a pentathlete's success i n the discus throw, competition at the most important festival or festivals
javelin throw, and w r e s t l i n g . I n another account
23
was the honor sought, and to have w o n repeatedly was
Pausanias relates how Tisamenos lost a pentathlon i n the usual basis for an athlete's fame. 29
the wrestling event after having w o n i n the run and the A l l ways i n which the individual events o f the pen
j u m p . The order o f the events i n these two accounts
2 4
tathlon were conducted are not likely ever to be
is consistent w i t h the order i n the other three accounts known, but a broader consensus o f opinion can proba
and, when all five o f these sequences are considered bly be reached i f the fullest source o f evidence, vase-
together, they appear to confirm one another (Table 1). painting, is studied more systematically. This source
has often been discounted after insufficient considera
T A B L E 1. tion, even by the scholars who have relied most heavily
Summary o f evidence for the order o f the events o f the on it, and i n one instance by the scholar who has
pentathlon. Brackets indicate implicit sequences. contributed the most to an understanding o f all aspects
o f Greek athletics. When a vase-painting o f a javelin
Artemidoros Inscription Pindar Baccylides Pausanias
run run
thrower did not conform to commonly used modern
discus discus discus sequences or to the prevailing opinion about what an
jump jump jump ancient sequence was, Gardiner initially rejected it out
javelin javelin javelin right. In 1910 he published the sequence shown i n
wrestling wrestling wrestling wrestling wrestling figure 3 and commented that the artist had fallen "into
104 Waddell
hopeless confusion." He criticized the position o f the been disallowed by a track-and-field representative o f
hand o f the second figure and thought that w i t h such a the Amateur Athletic U n i o n because the javelin could
grip the javelin could only have been thrown back not be safely controlled. Nonetheless, Salcedo's throw
w a r d . I n 1930, Gardiner illustrated this sequence
3 0
demonstrated that a javelin could be thrown record-
again and stated more tentatively that unless the hand breaking distances i n more than one way.
position was "a mistake i n drawing," the athlete "must When a sequence is depicted on a vase, it is more
reverse the javelin completely before t h r o w i n g . " 31
likely to have been one that was unusual, rather than
There are reasons for believing that the artist i n this one that was typical, inasmuch as there was little rea
case was not hopelessly confused and that the javelin son to show a sequence everyone knew. This is pre
was indeed reversed i n throwing: The first and third sumably w h y so few sequences occur. The main 35
figures i n this sequence are unquestionably accurate. evidence —various categories o f individual figures —
Both positions occur often on vases by other artists, needs to be taken more fully into account to ascertain
and both are similar to positions i n modern sequences the range o f sequences for each event.
for the javelin t h r o w . This argues i n favor o f the
32
Vase-paintings vary so substantially i n their apparent
artist's concern for accuracy. The second figure, like reliability that many scholars have largely rejected
the third one, represents a momentary pause that could them as evidence for the interpretation o f Greek athle
have been readily observed. The accuracy o f the second t i c s . Paintings deserve, though, much more consid
36
figure appears to be confirmed by a more recently eration than they have received. Undoubtedly, many
discovered vase w i t h a nearly identical sequence (fig. Greek artists were athletes themselves or had athletic
4 ) . Experimentation using a reversal such as the one
3 3
training. Their paintings were probably based on an
that would be necessary indicates that it works well understanding o f h o w the events were performed,
w i t h an ankyle (throwing t h o n g ) . 34
rather than on casual observation, even though their
In addition to this ancient evidence, a technique not artistic ability was sometimes not equal to their k n o w l
unlike the one shown on these vases has been used edge, and even though they were sometimes mistaken.
successfully i n modern competition. Russ Hodge, The artists w h o were not athletes almost certainly
world-record holder i n the decathlon i n 1966, exam had a first-hand acquaintance w i t h the pentathlon,
ined these t w o sequences and recalled a similar throw, and their observations, like those o f Philostratos and
one that had been witnessed by Bob Paul, Archivist o f Artemidoros, should not be dismissed without better
the United States Olympic Committee. Paul identified evidence. For the individual events o f the pentathlon to
the athlete who made the throw as Cuadra Salcedo, be better understood, the limitations o f vase-painting
who at the time, i n 1957, was a student from Spain at need to be ascertained better. Information that goes be
the University o f Puerto Rico, Mayagüez. Salcedo threw yond other sources could then be used w i t h allowances,
the javelin much as i f it were a discus, and his distance rather than rejected as less than completely reliable.
o f 310 feet would have been a w o r l d record i f it had not
The Getty Center
Santa Monica, California
evenly proportioned all over" (Symposium, 2.17; Xenophon, "Memoirs 31-32. Plato, Charmides, 164d-165b.
of Socrates" and "The Symposium" [the Dinner Party], trans, by H . Philostratos discusses the major body types o f athletes and the
Tredennick [Harmondsworth, 1970], pp. 238-239). advantages o f different proportions for different sports (On Gymnas
Rather than a long-distance race the length o f the run i n the tics, 25-40). J. M . Tanner's highly specific somatypes for modern
pentathlon was probably a stade (roughly t w o hundred meters). Olympians conform closely w i t h what is k n o w n about the propor
A l t h o u g h Lucilius gives this distance i n a satirical epigram, there tions o f ancient athletes w h o specialized (Physique of the Olympic
seems to be no reason w h y he w o u l d have distorted the length {Greek Athlete: A Study of 137 Track and Field Athletes at the XVIIth Olympic
The Greek Pentathlon 105
Games, Rome i960; and a Comparison with Weight-Lifters and Wrestlers tioned as separate competitions by Homer (Sport, p. 58). Philo
[London, 1964]). stratos's story o f the origin may well postdate Homer, and since no
4. The discus throw, javelin throw, and j u m p were not separate other author records i t , i t may even have been fabricated, but as the
competitions at Olympia and consequently are not mentioned i n only ancient description o f h o w victory i n the pentathlon was deter
O l y m p i c victor lists surviving for the period from 776 B . C . - A . D . 369 mined, this method deserves to be carefully evaluated.
( N . Yalouris, ed., The Eternal Olympics: The Art and History of Sport 11. Pliny, Natural History, X X X I V . 53.
[ N e w Rochelle, N . Y . , 1979], pp. 289-296). That these events were 12. Pausanias (V.8.7) stated that the first pentathlon was at the
also not separate elsewhere is clearly implied i n Isthmian Odes 1, eighteenth Olympics. The last k n o w n award for a pentathlon ap
where Pindar states that i n heroic times, the javelin t h r o w and the pears i n the victor lists summarized i n Yalouris (note 4), p. 295.
discus t h r o w were separate events and adds that "there was no 13. E. N o r m a n Gardiner, Greek Athletic Sports and Festivals (Lon
pentathlon then, but for each event the end lay i n itself" (Odes of don, 1910), p. 368.
Pindar, trans, by R. Lattimore [Chicago, 1959], p. 131). 14. Writing i n 1972, Harris considered the Peleus legend u n w o r
5. I n the surviving literature, the earliest m e n t i o n o f Poly- thy o f consideration and he proposed, instead, a scheme needing no
kleitos's statue is by Cicero. Writing about four centuries after the second places. Without documentary evidence, he suggested that i f
statue was created, Cicero called i t the " D o r y p h o r o s " or "spear after four events one athlete had t w o wins and t w o other athletes
thrower," rather than javelin thrower. Pliny the Elder and Quintilian each had one w i n , the t w o w i t h one w i n each could wrestle one
also refer to the statue as the "Doryphoros," but Galen and Lucian another, and the winner o f that match, " w h o n o w also had t w o
refer to i t as the "Canon" (G. Leftwich, "Canon o f Polykleitos: wins," w o u l d be entitled to wrestle w i t h the athlete w h o had w o n
Tradition and Content," Canon, the Princeton fournal: Thematic Studies t w o events ( H . A . Harris, Sport in Greece and Rome [Ithaca, 1972],
in Architecture 3 [1988], pp. 37-78). Polykleitos is more likely to have pp. 33-35). Harris's method w o u l d have been unfair to both o f the
represented a pentathlete than a warrior for several reasons: His goal remaining contestants. I t w o u l d have been unfair to the athlete w i t h
was to depict "perfect" proportions, which a javelin thrower (a t w o wins because i t w o u l d equate a preliminary w i n i n wrestling
pentathlete) was more likely to embody than a spear thrower (a w i t h an actual w i n i n another event. It w o u l d have been unfair to the
warrior). The statue is nude, suggesting an athlete. Pliny indicated other athlete w i t h one w i n because i t w o u l d require h i m to wrestle
that Polykleitos depicted a youth, and the most renowned warriors twice. This w o u l d be giving, i n effect, the advantage o f an automatic
were generally older. Aristotle wrote that "each age has its o w n bye to the athlete w i t h t w o first-place wins. This was potentially the
beauty. I n youth, i t lies i n the possession o f a body capable o f only situation i n which a bye might be necessary, but a bye could be
enduring all kinds o f contests [he specifies the p e n t a t h l o n ] . . . . I n the avoided i f the athlete w i t h t w o first-place wins already had more
prime o f life, beauty lies i n being naturally adapted for the toil o f second-place wins than either one o f the other t w o contestants. For
war, i n being both a pleasure to look at and yet awe-inspiring" example, i f he had t w o firsts and one second, and i f the other t w o
(Rhetoric, 1361b, trans, i n Miller [note 2], pp. 31-32). pentathletes had one first each and no seconds, he could not have
Hyde gives additional arguments to support the conclusion that been defeated. I f the wrestling event did need to be held, the bye
"Polykleitos . . . made a statue o f a javelin-thrower (the Doryphoros) w o u l d surely have been fairly awarded.
as the best example o f an all-around m a n " (W. W. Hyde, Olympic 15. E. N o r m a n Gardiner, Athletics in the Ancient World (1930;
Victor Monuments and Greek Athletic Art [Washington, 1921], pp. 211, Chicago, 1980), pp. 179-180.
226-227; cf. pp. 69-70). 16. Odes of Pindar, Nemean Odes V I I , trans, by Lattimore (note
6. Plato, Republic, 7.535d. 4), p. 116. Harris's translation o f the same passage is "released neck
7. "The order i n which these [events] were contested is not and muscle from the sweat o f wrestling" ( H . A . Harris, Greek
entirely clear, and the method o f determining the victor is still much Athletes and Athletics [London, 1964], p. 204 n. 25). The meaning o f
debated" (Miller [note 2], p. 112). " H o w the pentathlon was scored this poetic passage is disputed. One translator concluded that the
has been perhaps the most puzzling problem i n all Greek athletics" pentathlete actually did wrestle (Odes of Pindar, Including the Principal
(Sport, p. 56). Comprehensive overviews o f the literature on the Fragments, trans, by J. Sandys [Cambridge, Mass., and London,
pentathlon are given i n N . B . Crowther, "Studies i n Greek Athle 1978], pp. 387-388). Whether or not the wrestling took place, what
tics," CW 79.2 (1985), pp. 77-86, and i n T. F. Scanlon, Greek and seems clear is that Pindar knew the javelin t h r o w could make wres
Roman Athletics: A Bibliography (Chicago, 1984), pp. 23-25. tling unnecessary. The interpretation o f this passage by Lee and
8. Pausanias mentions that Tisamenos lost the pentathlon w i t h others that Pindar's tongue was unlike a javelin t h r o w which caused a
the wrestling event after having w o n t w o events (III. 11.6; for an pentathlete to lose a competition w o u l d require that Pindar blame an
earlier, but less full account, cf. Herodotos 9.33). His opponent, overall failure on the loss o f a single event even though at least t w o
Hieronymous, had only three wins, but was definitely declared vic events had to be lost for a pentathlete to be defeated (Hugh M . Lee,
tor, for he was allowed to erect a portrait statue ( V I . 14.13). "The TEPMA and the Javelin i n Pindar, Nemean v i i 70-3, and
9. I n 1956 George Bean summarized and presented good reasons Greek Athletics," fHS 96 [1976], pp. 70-79).
for rejecting all prevailing theories about determining victory i n the 17. It is possible that the order o f the first three or four events
pentathlon. He suggested some alternatives, which he did not con may have been altered when there was good reason to do so. E v i
sider entirely satisfactory himself. His method was based on an dence exists for flexibility even i n the order o f competitions at
admittedly groundless assumption that t w o second-place wins might Olympia: I n 216 B . C . , Kleitomachos requested that the pankration
be equivalent to one first-place w i n . He was aware that even this be held before the boxing so that he might stand a better chance
method w o u l d not remove all inequity. I f his assumption were in competing for both. His request was considered reasonable and
correct, t w o first-place wins w i t h three second-place wins w o u l d so was granted (Pausanias V I . 15.5).
have secured victory over three first-place wins w i t h no seconds; 18. Hellenica, VII.4.28, quoted from Xenophon: History of My
G. E. Bean, " V i c t o r y i n the Pentathlon," A]A 60 (1956), pp. 3 6 1 - Times, VII.4.28, trans, by R. Warner (Baltimore, 1966), p. 335.
368. I n 1987 Sweet summarized reasons for rejecting some o f the Xenophon's account establishes that contestants were eliminated
more recent theories (Sport, pp. 57-59). as the events progressed ("competitors w h o had got as far as"). I n
10. Philostratos, On Gymnastics, 3, trans, by R. S. Robinson, other words, every contestant did not participate i n every event —as
Sources for the History of Greek Athletics in English Translation (1955; each does i n a modern decathlon — and consequently, a similarly
Chicago, 1981), p. 213. complicated scoring system was unnecessary.
Sweet suggested that i f the pentathlon had been created so early, 19. Ode 8 for Automedes o f Phlius, trans. Robinson (note 10),
the events that were later unique to i t w o u l d not have been men p. 104.
106 Waddell
20. Gardiner (note 13), p. 364 n. 1, compiled most o f the ancient feats. Phayllos was said, for example, to have j u m p e d entirely over
sources. I n general, simple listings o f events are o f less value for the skamma (jumping pit).
determining the sequence o f events than descriptions. For example, 28. O n marks, see above (note 25). Also, when Odysseus threw a
in a single line o f a poem, Simonides listed all five events, but the discus, "past the marks o f all i t flew" (Homer, The Odyssey, trans.
order he gave (jump, run, discus, javelin, and wrestling) is likely to A . T. M u r r a y [Cambridge and London, 1919 ed.], VIII.186f.).
have been determined primarily by mnemonic considerations (Greek 29. Pausanias records innumerable athletic records i n his books on
Anthology, 16.3). R. S. Robinson (note 10), p. 94, pointed out that Elis ( V - V I ) , and Sweet gathers a sample o f inscriptions that also
the first letters o f the five events transliterated were A-P-D-A-P, and indicate what cities and individual athletes thought w o r t h y o f record
she added, "Cicero emphasizes that effective arrangement was the ing (Sport, pp. 145-150).
chief feature o f Simonides' mnemonic devices." Philostratos listed 30. Gardiner (note 13), p. 351. Gardiner illustrated a warrior
the five events twice, but the first time he divided them into heavy using an ankyle w i t h a spear i n "a sort o f underhand throw," and he
and light events, and the second time he listed the athletes w h o were ; compared the t h r o w to methods used effectively by some primitive
best i n each event. I n neither case was he actually describing a peoples, but he did not suggest that a javelin might have been
pentathlon (On Gymnastics, 3). t h r o w n i n the same manner (ibid., fig. 93).
Crowther (note 7), pp. 78-79, listed sequences proposed by seven 31. Gardiner (note 15), fig. 142 (opp. p. 173).
scholars. See also H . A . Harris, "The M e t h o d o f Deciding V i c t o r y i n 32. Ken Doherty traced the history o f modern techniques for
the Pentathlon," Greece and Rome n.s. 19 (1972), p. 64, and idem (note throwing the javelin and reflected on the wide range o f possibilities.
14), pp. 35-39. He wrote, "experts may analyze this whole movement into parts,
21. Ibid., p. 250. then argue endlessly about what emphasis should be placed on this
22. Miller (note 2), p. 35 (translating RivFil 84 [n.s. 34] [1956], part or that. For example, even today, after about 70 years o f experi
pp. 55-57. menting, expert coaches and expert throwers do not agree as to the
23. Bacchylides, Ode 8 (note 19). relative values that should be placed on power i n the final t h r o w i n g
24. Pausanias I I I . 11.6 (note 8). action as compared w i t h m o m e n t u m i n the preparatory r u n " (K.
25. Statius recounted the story o f Hippomedon, w h o i n the first Doherty, Track and Field Omnibook [Los Altos, 1976], p. 252). Photo
Nemean games supplied his o w n discus, saying, "as for that other graphic sequences o f t w o common variants o f javelin throws are
[discus], any hand can toss that weight!" When he threw the smaller reproduced i n T. Ecker and F. W i l t , Illustrated Guide to Olympic Track
discus aside and substituted a far larger one, most contestants w i t h and Field Techniques (West Nyack, N . Y . , 1966), pp. 149-164.
drew immediately. After the first throw, the landing place o f his 33. M a l i b u 85.AE.25, discussed i n D . v o n Bothmer, " A n Archaic
discus was marked w i t h an arrow so the discus could be retrieved Red-Figured K y l i x , " GettyMusJ 14 (1986), pp. 5-20.
and reused (Thebiad, 6.646-721; Statius, trans. J. H . Mozley [ C a m 34. Gardiner (note 13), pp. 339-347, figs. 92, 95, discusses the use
bridge and London, 1969], p. 109, cited by Harris [note 16], pp. o f the ankyle and illustrates a variety o f depictions o f i t .
56-57). The sequence i n figure 4 is as follows: (A) tightening the ankyle
Willoughby points out that for the discus and javelin, the distance (which has been wrapped clockwise around the shaft w i t h its looped
that is likely to be achieved is inversely proportionate to the square end adjusted to the center o f gravity o f the shaft; the t w o longer
root o f weight, all other factors being equal. I n other words, d i v i d fingers hold the loop and the t w o shorter ones the shaft); (B) balanc
ing the square roots o f the weights o f any t w o discuses or jave ing the shaft on or near the shoulder while advancing; (C) twisting
lins w i l l provide the percentage o f difference that may be expected the torso and reversing the javelin (similar to the action o f bringing a
when applying the same force, using the same angle, throwing sling overhead and then twisting the torso to maximize torque); and
against the same w i n d resistance, and so forth ( D . P. Willoughby, (D) slinging the shaft i n a wide arc i n preparation for the release (and
The Super Athletes [South Brunswick, N . Y . , and London, 1970], pp. in the process, turning the point o f the javelin back around).
506-524, 602). In javelin throwing, an ankyle functions both to spin the shaft and
A t Olympia, three discuses were dedicated i n the Sikyon Treasury to increase leverage. Analogous functions are performed separately
for use i n the pentathlon (Pausanias V I . 19.4). There is evidence by a rifled cannon and by an atlatl (throwing stick).
suggesting that the three did not have the same weight. Discuses 35. Gardiner (note 13), p. 351, was convinced that the vase-
excavated at O l y m p i a divide readily into three distinct categories by painting reproduced here as figure 3 represented a sequence, but he
weight (Gardiner [note 15], p. 156, table). Using Willoughby's for noted the rarity o f such sequences. Julius J ü t h n e r illustrates what is
mula, the heaviest o f these discuses (5.707 kg) could be t h r o w n likely to be a sequence, a frieze showing eleven runners i n a torch
forty-seven percent as far as the lightest (1.245 kg). relay race. Apparently, the first runner hands a torch to the second,
A t Nemea an iron discus weighing about 8.5 k g has been found then the second hands i t to the third, and so forth until the last
(S. Miller, "Excavations at Nemea, 1982," Hesperia 52.1 [1983], pp. runner reaches an altar. Thus, instead o f eleven different runners
79-80). This discus has been considered too heavy for use i n compe being shown, there must be only six, five o f which are shown
tition, but i f the mean for a Greek discus was around 2 k g , as twice —both receiving and handing on the torch (J. Jüthner, Die
Gardiner's data suggest, this much heavier discus could have been Athletischen Leibesübungen der Griechen [Vienna, 1968], p. 2, p l . 40a).
t h r o w n about forty-nine percent as far, and it could thus have been 36. Harris's use o f Greek vases was, for example, less consistent
required for use by all contestants. than his use o f other types o f evidence. One vase caused h i m to
26. Gardiner (note 15), p. 128, gives four different lengths for the comment that "the only safe conclusion is that we must observe
stade, varying from 177.5 to 210 meters, thus differing by as much as great caution i n using vase-paintings as evidence for any detail o f
32.5 meters. Greek athletic technique," but another vase he called "among our
27. The evidence for the record jumps by Phayllos and Chionis o f best pieces o f evidence for the field events" (Harris [note 14], figs.
Sparta is given and discussed i n Sport, pp. 48-50. 20, 36). Pausanias's attempt at interpreting the iconography o f an
A l t h o u g h these distances may have been incorrectly recorded, Archaic wooden chest at O l y m p i a (the Chest o f Kypselos, which,
they suggest that some distances were recorded, and w h y any dis incidentally, included an early depiction o f Peleus) is an example o f
tance w o u l d be measured requires consideration. The reason is pre the difficulty that interpretation could pose even for an ancient au
sumably that the Greeks were especially interested i n extraordinary thority expert i n myths (V. 17.5-11).
A D i n o i d Volute-Krater by the Meleager Painter:
A n Attic Vase i n the South Italian Manner
Lucilla Burn
In 1987 the J. Paul Getty Museum acquired a monu broadly alike, w i t h palmette and other floral friezes
mental red-figured vase remarkable for its shape, its above the figured scene occupying the main area o f the
size, and the wealth and complexity o f its figure and neck. There are, however, important differences be
pattern decoration (figs. l a - c ) . The vase is a unique tween the exact shape and decoration o f the Getty vase
form o f volute-krater, w i t h a separate stand. M u c h o f and that o f the Talos krater. O n the Getty vase, for
its body is ribbed, but there are red-figured scenes on example, the upper terminals o f the volute handles are
both sides o f the neck and on the upper surface and masked w i t h concave discs o f elaborate design (fig.
vertical sides o f the surviving part o f the stand (the Id). The center o f each is a frontal female head i n
original stem is missing). The vase was made i n Athens raised and gilded terracotta; around this are five cir
around 390-380 B . c . , and its figured scenes may be cumscribed palmettes, each w i t h a raised and gilded
attributed to the Meleager Painter. Style and iconogra heart; the whole roundel is then ringed by a chain o f
phy w i l l be considered shortly, but since the most narrow pointed leaves, perhaps olive rather than laurel,
remarkable aspect o f this pot is its shape, this w i l l be w i t h berries interspersed. The same leaf chain decorates
discussed first.1
the vertical shafts o f the handles too, i n place o f the i v y
What must be emphasized about this vase is the fact chain most commonly seen on volutes. It may be
that it is such a masterpiece o f the potter's craft; al noted that on the only other volute-krater attributed to
though the potting is enhanced and complemented by the Meleager Painter the upper terminals o f the v o l
3
the painting, without the potting the painting would i n utes are also masked w i t h discs, this time bearing a
itself be insignificant. Quite apart from the size —76.9 simple central roundel bordered by a wave pattern; and
cm high as currently displayed — and the innovatively the olive-leaf pattern replaces the traditional i v y for the
daring shape, there is the high quality o f the black shafts o f the handles on the Pronomos vase. However,
4
glaze, and the plastic elements to take into account — the richness and complexity o f the system employed on
not merely the heads i n the roundels o f the volutes and the handles o f the Getty vase are so far without parallel
on the shoulders but also the raised and gilded wreath, in Attic vase-painting: the small gilded heads are a
the "rope" and other moldings that articulate the divi restrained and refined forerunner o f the "mascaroons"
sions o f the shape and, o f course, the magnificent of Apulian kraters.
ribbing, w i t h its regular grooves and arches. It is hard Because the shoulder o f the vase is wider than aver
to decide where to start w i t h the analysis o f the shape age, for reasons to be discussed below, the volutes are
of such a vase as this: rather arbitrarily, we w i l l pro relatively far distant from the wall o f the neck: and
ceed from top to bottom, looking at each element i n perhaps it is partly w i t h the idea o f strengthening this
turn. potentially vulnerable area that the intervening spaces
From the r i m to the shoulder, there is nothing espe at each side are decoratively bridged w i t h curling, bud
cially peculiar about this vase, although it is perhaps ding scrolls. The delicacy o f these scrolls resembles less
unusually finely potted and decorated. Monumental the heavier versions found on many Apulian volute-
volute-kraters are not common i n early fourth-century kraters than the elegant handles o f barrel-amphorae
Attic pottery, but those that do survive are often ex (type I I loutrophoroi). The volute handles rise from
5
tremely fine, such as the Talos Painter's name vase i n four Negro heads set on the shoulder, vividly realized
Ruvo (see below, fig. 4), or that o f the Pronomos w i t h black faces, white eyes, open mouths, and gilded
Painter i n Naples. The profile o f the neck o f the Getty
2
hair (fig. I d ) . The use o f plastic elements i n this posi
vase is very similar to that o f the Talos krater, and the tion recalls the swan's heads found on the shoulders
decorative schemes too, though different i n detail, are of many Apulian volute-kraters, but i n Apulia Negro
108 Burn
Figure la. D i n o i d volute-krater by the Meleager Painter. Side A . Malibu, J. Paul Getty Museum 87.AE.93.
A Volute-Krater by the Meleager Painter 109
haps they were made i n different workshops from their interesting, a small and unfortunately fragmentary
red-figured contemporaries, workshops influenced as aryballos from the Athenian Agora, on which three
much by the products o f metalworkers as by those o f groups o f carefully formed ribs separate three small
other potters. The technique o f ribbing does appear figured panels: the figures are too partially preserved
much earlier, from the second quarter o f the fifth cen- for attribution, but the context suggests a date in the
112 Burn
Figure 2. Volute-krater said to be from Gela. Side A . Figure 3. Volute-krater from Spina. Side A . Ferrara,
N e w York, The Metropolitan Museum o f Museo Nazionale d i Spina T.136 A VP.
A r t , Fletcher Fund, 1924, 24.97.25. Photo Photo courtesy Soprintendenza Archeologica
courtesy The Metropolitan Museum o f A r t . di Bologna.
ribs o f the type k n o w n as "gadroons." O n both sides the additional refinement o f a stand; this time both the
A Volute-Krater by the Meleager Painter 113
lower body o f the vase and the stem o f the stand are of course, be given to the potter rather than the painter
ribbed, w i t h the same slender ribs as the Getty pot. of these vases, but it is not impossible that i n this
The Spina vase is lavishly decorated, w i t h figure scenes instance they were one and the same, for the Varrese
on both the neck and the upper body o f the vase; the Painter's enthusiasm for ribbing is carried over into his
stand too is patterned, w i t h an ovolo above and a laurel figured scenes, several o f which show large, ribbed,
wreath encircling the base. Another interesting echo o f probably metal vases standing i n naiskoi ; this fond
20
the Getty pot is the unusual manner i n which the ness is shared by a near contemporary, the Painter o f
volute handles are decorated: instead o f the canonical Bari 12061. The way the Varrese Painter uses ribbing
21
ivy leaves they bear chains o f circumscribed palmettes, for large areas o f his red-figured vases is unusual i n
recalling those on the discs o f the Getty handles, and Apulian vase-painting. O n the whole, the use o f
(surviving on one side only) a delicate scroll bridges ribbing to cover large areas o f large vases was the
the gap between the volute and the rim. The origins o f prerogative o f the producers o f later fourth-century
the Spina vase have been the subject o f some debate, Gnathia vases, not those o f red-figure.
22
and the flamboyance o f both its potting and its figure The striking resemblance i n overall design between
style has led some to wonder i f it could be South the Varrese Painter nestorides and the Getty pot pro
Italian, perhaps even the work o f an Athenian emigrant vokes the suggestion that either the South Italian or the
to Southern I t a l y . The weight o f opinion, however,
15
Attic potter, or both, was very well aware o f what the
and its provenance are both against such an interpreta other, or others like h i m , were producing. We shall
tion. Though the painting o f the Spina vase cannot be return shortly to this question: but for the present, we
attributed to the same hand as the Getty pot, it is not must continue our analysis o f shape, for the pecu
impossible that close personal study o f both vases liarities o f the Getty vase do not end w i t h its unusual
could reveal similarities i n their potting. For the pre combination o f red-figure and ribbing. When it is set
sent, however, we must be content w i t h recording that beside the near-contemporary Talos vase (figs. 4, 5a), it
the t w o vases cannot be far separated i n date, and that is immediately obvious how much wider and plumper
they share to some extent a common inspiration. the body o f the Getty pot is than that o f a standard
When the search for vases that combine ribbing and volute-krater: from the shoulders down, it is, i n fact, a
red-figure moves from Athens to South Italy, they start dinos. The ribbing ends shortly above the base: there is
to become slightly more numerous. A volute-krater i n a marked inward indentation, and then the walls o f the
Ruvo, attributed to the Painter o f the Birth o f D i vase draw tightly i n to a small circular projection or
onysos and dating to about 400-385 B . c . , recalls i n
16
"tang" (fig. 5a): this projection must be intended to
overall effect the N e w York krater, w i t h its red-figured locate the vase securely i n the correct position upon its
scene on the neck and its relatively broad, though stand. Although this arrangement seems to be unique,
carefully produced, ribbing; this vase is, i n a very there is one piece o f evidence to suggest that other
general manner, reminiscent o f the Getty vase i n the vases were made w i t h a similar tang, and that its func
way an additional red-figured scene decorates its lower tion was that just described: this is the late Archaic red-
body. It is, however, not till nearer the middle o f the figured stand now i n Berlin, attributed to the Antiphon
fourth century that ribbing becomes at all usual i n Painter, on the upper surface o f which is a depression,
Apulia, and then it is generally only for small areas which looks exactly designed to accept a circular tang
such as the handle-zones o f calyx-kraters or the lower such as t h i s . 23
body and shoulders o f barrel-amphorae (loutrophoroi Turning, finally, to what survives o f the stand o f the
I I ) . I n the mid-fourth century a special fondness for
1 7
Getty vase (fig. 5b), we may observe that stands were
ribbing may be discerned i n the works o f the Varrese probably a more common accessory o f both Attic and
Painter. From his hand come three virtually matching South Italian vases than might immediately be imag
nestorides, their distinctive shape emphasized and en
18
ined, especially i n the fourth century B . c . They are 2 4
hanced by the decorative scheme, which employs red- quite often found i n association w i t h both Gnathia and
figure for the upper half o f the vase and beautifully red-figured Apulian vases o f many shapes, not merely
executed ribbing on the lower portion. These three the dinoi and pointed amphorae that need them i n
vases are clearly the work o f a single, highly skilled order to stand up at all but also kraters, hydriai, and
potter, and possibly the same craftsman was responsi loutrophoroi. It is possible that stands were originally
ble for the potting o f a dinos on a finely ribbed stand, developed for vases o f the plainer Gnathia style and
the red-figured scene o f which has also been attributed that red-figure potters borrowed the idea from there.
to the Varrese Painter. Credit for the ribbing should,
19
A t all events, it may be noted that Apulian vases, both
114 Burn
Figure 4. Volute-krater by the Talos Painter. Side A . Figure 5a. Body o f volute-krater, figure la, showing
Ruvo, Museo Jatta 1501. Photo courtesy projection at bottom o f the body.
D A I , Rome.
red-figure and Gnathia, for which stands are preserved As it survives, the stand o f the Getty vase is clearly
are often those i n whose decoration there is at least incomplete. What it resembles most is the lower ele
some area o f ribbing, which is perhaps to say that ment o f the stand o f an Apulian dinos such as that
stands can often be associated w i t h vases on which shown i n figure 6, though the Getty stand is larger and
enterprising and skillful potters have lavished consider unusually elaborate i n its decoration. Originally there
28
confines o f the Athenian Kerameikos for inspiration, i n unfortunately, missing, but it can be seen that he had
particular to the workshops producing the large black- long hair, w i t h curls running down his shoulder and
glazed garland-kraters. Surely it was under their influ over his breast; he is shown raising both hands to tie or
ence and, whether directly or indirectly, that o f the untie a fillet around his head. The youth's upper body,
producers o f bronze, gold, and silver vases, that some which is plump and soft-looking, is naked; around his
o f the more remarkable features o f the Getty vase were hips and legs he has a mantle, richly patterned like the
conceived. It may be our historical perspective that one he lies on. Crouching on the left-hand end o f the
makes us think the Getty vase looks South Italian; couch and leaning toward the youth is an Eros, who
perhaps South Italian vases look more Attic than our holds i n his left hand a dish containing rounded ob
ideas o f classical restraint and simplicity encourage us jects, probably fruit; similar objects float above his
to admit. right hand, which he seems to hold out to the recum
We may now turn to the style and subjects o f the bent figure. I n front o f or below the couch is a l o w
figure scenes. There are four o f these, on the principal table or footstool on which are t w o more rounded
and secondary sides o f the neck, and on the upper objects.
surface and the vertical sides o f the base. We shall deal O n either side o f the youth are three female figures:
w i t h each o f the four scenes i n turn. The principal we shall look first at the group on the left (fig. 7a).
scene occupies the front o f the neck (figs. 7a-c). The Seated immediately to the left o f the couch, her fingers
individuality o f its subject and the complexity o f its brushing the wings o f the Eros, is a woman dressed i n
composition combine w i t h its detailed treatment to a finely pleated chiton, which slips o f f her left shoul
distinguish it as the chief scene; its primacy is also der, w i t h a richly patterned mantle around her lower
emphasized by the more elaborate pattern-work above legs. Her hair is arranged in a bun, and she wears
it and by the way in which the ends o f the olive wreath gilded bracelets and necklace. Seated to the right, she
are fastened below it. The central figure i n the scene is looks back over her right shoulder to the woman be
a youth, who reclines to the left, propped up on cush hind her and gesticulates w i t h the fingers o f her left
ions, on a couch that is covered w i t h fringed and hand, as though the two are engaged i n conversation.
beautifully patterned tapestries. The youths head is, It is interesting to observe that she appears to be sitting
118 Burn
not on a chair or stool but rather on a box or casket. indicate the way she twists and moves her body; her
The second woman standing behind her raises both hands are on her waist, and she looks back and down
hands to the first woman's shoulder. She wears the to the seated figure behind her, her face seen i n three-
same sort o f chiton as the first, but her himation is quarter view.
plain and pulled up over the back o f her head; mostly Who, then, is the youth on the couch, and who are
concealed by the himation is some sort o f diadem his attendants? The commonest male figure shown
decorated w i t h leaves. This woman also wears a gilded sprawled on couches i n later fifth- and early fourth-
bracelet and necklace. O n the left-hand edge o f the century vase-painting is assuredly Dionysos, god o f
scene, also facing right, is the third member o f this wine. But i n the absence o f any satyrs, maenads, or
group. Wearing a chiton w i t h a plain mantle wrapped such diagnostic attributes as a kantharos or thyrsos,
around her left arm and lower body, she stands w i t h this cannot be he. Moreover, the atmosphere is not
her left leg raised on a chest or casket; i n her raised Dionysiac, but rather erotic, as indicated not merely by
right hand she holds, perhaps, a string o f beads, while the winged youth crouching on the end o f the couch
in her left hand is a mirror; possibly it is into this but also by either or both o f the seated women: the
mirror that the seated woman is looking. The identity presence o f the Eros suggests that the youth is the
o f these figures is something to which we shall return: object o f desire on the part o f at least one o f the female
for the moment we may note that the seated woman is figures i n the scene, and either or both o f the seated
clearly the most important o f the three, distinguished women could well be intended for A p h r o d i t e . A 32
not merely by her patterned mantle but also by her further clue as to the identity o f the participants i n the
seated position: she, as it were, is the mistress, the scene is perhaps offered by the dancing figure on the
other t w o her maids. A further interesting feature o f right; and here it may be added that her counterpart on
this group is the way the second woman has arranged the left could also be thought o f as a potential dancer,
her mantle: to this also we shall return. for she too has her mantle drawn up over her head,
The group o f women to the right o f the couch w i t h leaves arranged i n her diadem. Such figures,
(fig. 7c) balances that to the left: its composition and sometimes described because o f the way they wear
arrangement are similar, but not identical. The seated, their himatia drawn tightly around them as "mantle
dominant figure is this time i n the center. Although the dancers" or "muffled dancers," are found i n various
heads o f both seated women are damaged, it would contexts, mostly o f the fourth and third centuries. The
appear that they were more or less identical. They are best-known example is the bronze "Baker Dancer," but
identically dressed, d o w n to the patterns o f their man there are also a large number o f similar terracotta figu
tles and the way that their chitons slip from the shoul rines. These are generally found i n graves, i n which
33
der; they wear the same jewelry, and they sit on context it is impossible to determine their significance.
identical boxes. The woman i n the right-hand group, But when they appear on vase-paintings, it does be
however, looks straight ahead, and i n her raised right come feasible to speculate a little as to the circum
hand she holds a mirror (at an angle that suggests she is stances i n which these dancers performed. One early
not looking i n it but merely using it as an object w i t h representation is on the Phiale Painter's name vase i n
which to gesture). The woman on the far right stands B o s t o n , where such a figure, seemingly about to
34
behind the seated figure, leaning her right hand on the start her dance, appears i n a setting that is not precisely
seated figure's shoulder. She is dressed like the woman identifiable but which has been thought suggestive o f
on the far left, whose counterpart she very clearly is. rites i n honor o f Aphrodite. Mantle dancers can also
Both the seated and the standing woman look fixedly appear i n Dionysiac contexts, as, for example, on an
ahead o f them. But they are not looking at the youth early fourth-century representation o f the hieros gamos
on the couch: rather, their attention is fixed on the o f Dionysos and Ariadne, where an i n t r i g u i n g l y
third o f their company, who is placed between the winged muffled figure dances away i n the corner. 35
seated figure and the couch. This third is a striking A n d again, mantle dancers appear on scenes that relate
figure, not stationary like the others, but moving i n a to the worship o f Adonis, such as a Kerch-style hydria
graceful dance. Her mantle, long and elaborately pat in the British Museum (fig. 8), where t w o dancers
terned like those w o r n by the youth on the couch and perform while another woman descends one o f the
the t w o seated figures, is pulled up over her head and ladders that leads up to the roof-tops on which the
also envelops her arms: and like the middle figure o f "Adonis Gardens" were g r o w n . 36
the left-hand group, she also wears a diadem adorned I f we were to hypothesize that the youth lying on the
w i t h leaves. The ends o f the mantle fly out behind to couch is Adonis, then various elements o f the scene fall
A Volute-Krater by the Meleager Painter 119
teristic o f his style are the lavish textiles, both those ii) drawn back across the chest, the hand hold
w i t h which the couch is covered and those w o r n by the ing a drinking cup
female figures i n the scene. The Meleager Painter was iii) outstretched, the hand holding a drinking
fond o f representing elaborately patterned garments o f cup i n a negligent attitude, one finger hooked
all kinds: hence, perhaps, his penchant for scenes i n through the handle; this is the figure who occu
volving "Oriental" characters, sometimes not easily pies more room than any o f the others, and to fill
identifiable but invariably clad i n decorative stripes, in the area between his arm and the back o f the
chequers, dots, and zigzags. There is one very dis
43
man to the left a lyre is introduced
tinctive border pattern o f which the Meleager Painter iv) raised, holding a sash between the right
was evidently especially fond, a running line o f sea hand and the left
monsters, w i t h the head and front legs o f a horse and v) outstretched, though not so straight as iii),
the tail o f a fish or ketos. This border appears on the w i t h three small balls o f clay above the fingers,
mantles o f both the seated women, the muffled dancer, similar to i)
and the youth; it also appears to fine advantage on the vi) drawn back across the chest, holding a
border o f the hanging w i t h which the couch itself is drinking cup, like ii)
A Volute-Krater by the Meleager Painter 121
Figure 10c. Stand o f volute-krater, figure la. Side A - B . Figure lOd. Stand o f volute-krater, figure l a . Side B .
This arrangement is simple yet effective. However, it in the principal scene on the neck o f the vase. The
is also rather a stereotype, both for the early fourth mantle has the same diamond-patterned surface and the
century and for the Meleager Painter, who reproduced same sea-monster border, which recurs on the textile
the scene, w i t h varying numbers o f banqueters, on at covering the couch. The youth wears a fillet around his
least one column- and four bell-kraters; on all these long, curly hair and reclines i n a very similar position;
vases the same couches w i t h their striped bolsters reap but unlike the first youth his identity is i n no doubt, as
pear, the same l o w tables, and the same arrangement o f he holds a kantharos i n his outstretched right hand, and
older and younger men, reclining i n exactly the same around h i m is an entourage o f five satyrs and four
attitudes. 47
maenads, two factors that indicate he must be the god
The figure decoration on the upper surface o f the Dionysos. Two o f the maenads pirouette i n ecstatic
surviving part o f the stand (fig. 10b) is completely reverie, heads thrown back and drapery swirling; one
different i n subject and mood from either o f those on runs up w i t h a plate o f fruits; and the fourth wards o f f
the neck or from that on the vertical walls o f the stand. the attack o f an overenthusiastic satyr w i t h her thyrsos.
It consists o f a series o f small combats: a youth wear The satyrs are mostly equipped w i t h animal skins:
ing a chlamys plunges his sword into the neck o f an while one plays the pipes, another holds a large tam
antlered deer, holding it firmly by the muzzle; another bourine; a third brandishes a huge cornucopia; a fourth
similarly attired youth seems to be having the worst o f is attacking a maenad w i t h his thyrsos; and a fifth
his struggle w i t h a griffin; a third youth, w i t h a petasos chases a hare, i n a mock-heroic echo o f the hunting
behind his head and a slipping mantle (Theseus?) has scenes above. Scenes o f Dionysos w i t h the thiasos are
forced a bull down to its knees; two youths, one armed very popular i n fourth-century vase-painting, as they
w i t h a spear and a stone, the other w i t h a club, corner are w i t h the Meleager Painter, and many elements o f
a hare by a tree w i t h the aid o f a hunting dog; and a this scene can be found elsewhere. The poses o f the
50
griffin fights a man i n Oriental costume. I n general, dancing maenads, for example, can be found on many
the scenes recall the small figures on the predellae o f vases from the later fifth century onward, and it is
earlier kraters, and the only combat that has clear par possible that the numerous representations o f similar
allels i n fourth-century art is that between the Arimasp figures may derive from some common late fifth-
and the g r i f f i n . Generalized scenes o f pursuit, such
48
century prototype. Similarly, although it would be
51
as erotes chasing hares, are, however, quite popular i n unusual i n the fifth century to find Eros w i t h torches
the fourth century. These scenes also recall the repre standing beside the couch o f Dionysos, this is perfectly
sentations o f pursuits on late fifth- and early fourth- acceptable i n the fourth century, where the influence o f
century askoi. 49
Aphrodite becomes extremely pervasive. O f greater52
The last figured zone on the vase (figs. 5b, lOc-e) interest, perhaps, are the two figures to the left o f the
runs continuously around the vertical side o f the base Eros, hurrying toward the couch and the god.
o f the stand. I n the center o f the front (fig. 5b) is a These t w o figures (fig. 5b), who proceed arm i n arm
youth lying on a couch; i n general appearance, and i n in the manner o f komasts, make an unusual couple.
the details o f the decorative textiles he wears and lies The leader, who turns back to look at his companion,
upon, he is strikingly similar to the youth on the couch is youthful and beardless, w i t h the same long curls as
A Volute-Krater by the Meleager Painter 123
Lisbet Thoresen, Assistant Conservator, Department of apart from that the three vases and their stands bear
Antiquities Conservation, J. Paul Getty Museum only slight resemblance to one another. Dr. Burn, how
N o known vase i n Attic pottery is analogous to the ever, has elucidated the South Italian background o f the
monumental fourth-century red-figured vase and stand Getty vase. So, while Attic references are scant, the
described by Lucilla Burn, which she notes for its South Italian vases are relevant sources for comparison.
unusual shape, scale, and elaborate plastic treatment. Vases encompassing the Getty krater's broad range
Although the vase is mostly intact, the stem o f the o f characteristics were selected for comparison, and 57
stand is entirely broken off and lost and, thus, its several composite profiles were extrapolated from
originally intended monumental effect is diminished those vases surveyed. Although other vase-shapes and
(figs, l a - c , 5a-b, 11a). Dr. Burn, however, has sug
55
their stands were examined, most o f the closest exam
gested a reconstruction o f the missing section that ples for stem height and overall p r o p o r t i o n were
would restore some semblance o f the object's original Apulian d i n o i .58
comparable profile are used as the basis for reconstruc 25 cm, give or take 3 cm. This height is fairly consis
tion. Because conservation ethics dictate that restora tent, whether the vase is a tall loutrophoros or a squat
tive intervention be carried out according to the dinos. It is therefore notable that the N e w York and
comparability o f available references, the restoration o f Ferrara vase stands are rather short, 13.3 cm and 18.5
the Getty vase has posed particularly challenging cm, respectively. Clearly, both physical and aesthetic
aesthetic problems, for there are no direct parallels i n balance dictated a modest height.
Attic pottery that suggest how the dinoid volute-krater The same considerations surely influenced the potter
and stand may have appeared originally. Dr. Burn cites who created a stand for the monumental Getty krater.
only two other exceptionally fine, monumental, Attic In this case the potential instability o f a tall stand
124 Bum
Figure 11a. Red-figured dinoid volute- Figure lib. Profile drawing o f dinoid Figure 12. Profile drawing o f krater.
krater, figure la, before res- volute-krater, figure 11a. N e w York, The M e t r o -
toration o f stem. Drawing: Author. politan Museum o f A r t
24.97.25. Drawing: Author.
supporting the large vase was obviated by making the cussion concerning their intended use and provide i n
stand massive enough to counterbalance the height. sight into the correct stem placement. The first is a
The base, the only remaining part o f the stand, affirms long circular tang or foot r i m at the bottom o f the
this. Its elaborateness and height o f 16.2 cm are unprec vase. While flat bottoms or short foot rims occur on
edented. I n contrast, the N e w York and Ferrara bases
60
other dinoi, the one on the Getty dinoid krater is
conform to the average heights o f bases, which range unusually long, 2.2 cm (figs. 5a, 16). Such a long
62
Figure 13. Profile drawing o f krater. Figure 14. Profile d r a w i n g o f dinos. Figure 15. Profile d r a w i n g o f dinos.
Ferrara, Museo Nazionale Ruvo, Jatta collection 1497. Ruvo, Jatta collection 1496.
Archeologico T.136 A VP. Drawing: Author. Drawing: Author.
Drawing: Author.
closely against the body o f the vase. read (fig. 11 a). Thus, the first proposed reconstruction
It seems highly unlikely that the stand originally was taken as an upper limit, the second as a lower limit.
supported the vase l o w on the body. The effect is Drawings for intermediary heights were made to fill
extremely unbalanced and the vase becomes physically out the range o f possibilities (figs. 18c-d). A l l the
unstable, even w i t h a tang. The stem placement imme drawings were then enlarged to 60% o f actual size,
diately adjacent to the ribbing is more satisfying, both so that proportional incongruities became clearer. The
practically and aesthetically. The body is better sup taller examples became top-heavy and unbalanced; the
ported, and the illusion o f greater height is gained by shorter examples balanced the base without compro
placing the lip higher on the body without actually mising overall scale. Moreover, w i t h a shorter stem the
adding to the overall dimension. Getty vase bears greater affinity to the two monumen
Reconstruction drawings were made based upon av tal Attic red-figured kraters i n N e w York and Ferrara.
erage stem heights, using the Ruvo vases for specific The plastic treatment o f the stem itself was the next
comparison (figs. 14, 15). The result was a stand and feature to be considered. Clearly, a plain stem treat
vase o f precarious tallness (fig. 18a). The stand mea ment was correct, rather than a ribbed or fluted one. In
sures 36.6 cm and together w i t h the vase attains a every fluted stand surveyed, the flutes terminate by
height o f 84.1 cm. flaring out broadly over the base (fig. 17a). The d i 63
Another reconstruction was drafted using the aver ameter o f the base and stem attachment on the stand o f
age height range o f stands as a criterion. Although the the Getty vase precludes any flaring whatsoever. I n
overall stand height o f 28.7 cm falls within the range fact, its diameter and the diameter o f the vases foot
surveyed, the stem that resulted measures 12.5 cm and r i m severely limit the degree o f tapering possible i n the
is markedly shorter than those typically seen i n the stem (fig. 11a). The lost stem may have been quite
references (fig. 18b). However, it is sufficiently sub ornate, or ribbed or fluted, but not i n the conventional
stantial to complement the base proportionally, and as manner o f the k n o w n vases.
Dr. Burn has pointed out, it is just tall enough to make Determining other specific elements was more con
the painted scene on the base's upper surface easier to jectural. Features such as the lip contour, the contour
126 Burn
Figure 16. B o t t o m o f volute-krater, figure l a . Vase Figure 17a. Hydria w i t h stand. Malibu, J. Paul Getty
body and foot r i m ; ribbing terminates w i t h Museum 79.AE.144.
undercut.
between the lip and rope, the rope around the stem, A near-match black acrylic paint, more matte than
and the degree o f tapering in the stem had to be man the vase's glaze, was then airbrushed over the turned
aged w i t h particular restraint, because the references piece. A few simple reserve lines, like those typically
suggested so many possibilities without any correlation seen on stands, were painted on the reconstruction to
between corresponding elements on the vases. Each o f relieve the blackness o f the stem. The lines encircle the
the drawings reflects some subtle variations i n these lip, the stem above and below the rope, and the stem 4
features (figs. 18a-d). The details incorporated in the m m above the base to the stem j o i n . The reconstructed
final stem solution were the simplest elements, w i t h vase, measuring 76.9 cm i n total height, is illustrated i n
the contours rounded to complement the profile o f figure 18e.
the base. Solutions to conservation problems are often as d i
The final reconstruction drawing was translated into verse as the individual objects themselves. But to a
a three-dimensional form by turning it on a lathe from great extent each problem suggests its o w n solutions.
laminated blocks o f Plexiglas. This work was done by This, together w i t h even the most modest references,
Jim Davies at the Museum shop located at the Getty may yield sufficient information to make possible a
Conservation Institute. He and Wayne Haak, Conser plausible reconstruction, as was the case w i t h the Getty
vation Technician/Mountmaker o f the Department o f dinoid volute-krater. Although subject to refinement
Antiquities Conservation, did additional finishing or changes i f additional information comes to light, the
w o r k on the stem profile. Haak also made a protective reconstruction o f this red-figured vase restored a large
mount for the vase. measure o f the object's original integrity.
NOTES same scene for the body o f the Eros, the hair and beard o f the piping
Abbreviation: satyr, and the animal skin o f another satyr.
Metzger, Representations H . Metzger, Les Representations dans la ce- 2. Talos vase: Ruvo, Museo Jatta 1501, ARV 2
1338.1; H . Sichter-
ramique attique du 4eme siede (Paris, 1951). mann, Griechische Vasen in Unteritalien aus der Sammlung Jatta in Ruvo
1. Malibu, J. Paul Getty Museum 87.AE.93. Lucilla B u r n w o u l d (T٧bingen, 1966), K 14, pis. 1, 24-34. Pronomos vase: Naples 3240,
like to express her sincere thanks to M a r i o n True for inviting her to ARV2
1336.1; E. Simon, Die griechischen Vasen (Munich, 1981), figs.
publish this vase. Since she has not been able to see it for herself, she 228-229.
has relied very heavily on the information given to her by both 3. Vienna 158, ARV 2
1408.1; CVA Vienna 3, p l . 139.1-7.
M a r i o n True and Karen Manchester, w h o have answered all her 4. See above (note 2).
queries most p r o m p t l y and helpfully. She is also grateful to several 5. A good example o f a loutrophoros w i t h this type o f handle
friends and colleagues, most especially Professor A . D . Trendall, for is J. Paul Getty Museum 82.AE.16, for which see Greek Vases in the
their help and encouragement. J. Paul Getty Museum, v o l . 2 (1985), p. 130, figs. 1-2.
The following details were supplied by Karen Manchester: H o f 6. For Negroes i n Apulian vase-painting, see RVAp, p. 614; for
vase and stand as currently displayed: 76.9 cm; H o f krater: 53.5 cm; Negro head vases and other plastic vases incorporating Negroes, see
H o f stand: 16.2 cm; max. D i a m o f krater: 40.0 cm; max. D i a m o f Sichtermann (note 2), K 127, pis. 166-167; and F. M . Snowden,
stand: 34.2 cm. Blacks in Antiquity (Cambridge, Mass., 1970), p. 27, figs. 33, 38.
Raised clay is used for: the heads i n the roundels, the berries i n the 7. For calyx-cups, dating to the second quarter o f the fourth
olive-leaf chain o f the volutes, most o f the hearts o f the palmettes i n century, see Agora, v o l . 12 (1970), pp. 121-122, nos. 693-694.
the border friezes (those that are not raised have broken off), the i v y - 8. For black-glazed vessels o f the fourth century B . C . , see
leaf chain above the figure scene on side A o f the neck, and the G. Kopeke, "Schwarzfirniskeramik," AM 79 (1964), pp. 22-84, pis.
berries o f the olive-leaf chain i n the same position on side B , the 8-47. For the Baksy krater, see B . B . Shefton, "The Krater from
wings o f the Eros and details o f jewelry and accoutrements i n the Baksy," i n D . C. Kurtz and B . Sparkes, eds., The Eye of Greece
figure scene on side A o f the neck, and for the fruits on the raised (Cambridge, 1982), pp. 149-181, pis. 41-48.
platform below the couch, the fruits on the tables, fillets, leaves, and 9. For r i b b i n g , see K . Schauenburg, "Bendis i n U n t e r i t a
flowers i n the figure scene on side B o f the neck. lien?" Jdl 79 (1974), pp. 137-186, esp. p. 162; Agora, v o l . 12 (1970),
Gilding, more or less well preserved, was originally used for most pp. 21-22.
o f the raised areas, certainly for the berries and dots i n the olive-leaf 10. See above (note 7).
chains o f the volute handles; the jewelry and parts o f the mirrors 11. For a list o f these, see C B , v o l . 3, pp. 90-91; the most famous
w o r n and held by the w o m e n i n the scene on side A o f the neck; is the Sparte cup, Boston 00.354.
the roots o f the feathers o f the Eros's wings; t w o o f the fruits on the 12. Agora P 16927, Hesperia 16 (1947), p l . 47.3 (right).
plate, and the flower above the Eros's hand i n the same scene; 13. N e w York 24.97.25, G. M . A . Richter and L . Hall, The
the flowers, diadems, and some o f the leaves that adorn them i n the Metropolitan Museum of Art: Red-figured Athenian Vases (Yale, 1936),
scene on side B o f the neck; and for the leaves o f the olive chain that pp. 161-163, no. 128 ("Leucippid Painter").
encircles the vase. 14. Ferrara T.136 A VP, inv. 5081, CVA Ferrara 1, p l . 13; for full
Added red appears on areas that were probably gilded, and also publication and discussion, see P. Arias, Rivista dellTstituto nazionale
on the "rope" moldings o f the stand. d'archeologia e storia dell'arte 4 (1955), pp. 93ff.
Added white was used for t w o objects on the l o w platform below 15. W. Real, Studien zur Entwicklung der Vasenmalerei im aus
the couch on the figure scene on side A o f the neck; for objects on gehenden 5. Jahrhundert v. Chr. (Aschendorff, 1973), pp. 97-98.
the tables and for the sash held by one banqueter i n the figure scene 16. Ruvo, Museo Jatta 1494, RVAp 2/7; Sichtermann (note 2),
on side B o f the neck; for the mouths and eyes o f the Negro heads; pis. 56-59.1.
for the cornucopia held by a satyr i n the lowest scene, and i n the 17. For example, the Lycurgus Painter's London calyx-krater, F
A Volute-Krater by the Meleager Painter 129
271, RVAp 16/5, p l . 147; or the loutrophoros on loan to Basel, RVAp 34. Boston 97.371, ARV 2
1023.146; C B , v o l . 1, pp. 54-56, no.
18/16, M . Schmidt, A . D . Trendall, and A . Cambitoglou, Eine 62, p l . 29; recently discussed by M . Robertson, " A Muffled Dancer
Gruppe Apulischer Grabvasen in Basel (Basel and Mainz, 1976), p l . 19, and Others," i n A . Cambitoglou, ed., Studies in Honour of A. D.
and color p l . opp. p. 78; see also J. Paul Getty Museum 82.AE.16 Trendall (Sydney, 1979), pp. 129-131, esp. 131; Robertson agrees " i t is
(above, note 5). possible that she . . . is about to begin a dance."
18. For the Varrese Painter, see RVAp, ch. 13, pp. 335-358; 35. London GR 1856.10-1.15 (E 228), Metzger, Representations,
Schmidt, Trendall, and Cambitoglou (note 17), pp. 114-123. For the pl. 11.
nestorides, see RVAp, Supp. 1, p l . V, 13/34.1 and 2; Jdl 89 (1974), 36. London GR 1856.10-1.16 (E 241). For an alternative explana
pp. 138-141, figs. 1-4. tion o f such scenes, i.e., that the ladder represents the staircase to the
19. Schmidt, Trendall, and Cambitoglou (note 17), p l . 29, S 33, women's quarters and that the scenes represent the ceremony o f the
pp. 114-123. epaulia, see C. M . Edwards, "Aphrodite on a Ladder," Hesperia 53
20. For examples, see B o n n 99, RVAp 13/3, p l . 108.2; Taranto (1984), pp. 60-72.
8935, RVAp 13/4, p l . 109.1; London F 331, RVAp 13/5, p l . 109.2. 37. For Adonis, see W. Atallah, Adonis dans la litterature et Vart
21. See RVAp, p. 376, w i t h such examples as Bari 12061, RVAp grecs (Paris, 1966); B . Servais-Soyez, LIMC 1 (1981), s.v. Adonis.
14/126. 38. The Meidias hydria is Florence 81948, ARV 2
1312.1, B u r n
22. For Gnathia vases, see J. R. Green, i n M . E. M a y o and (note 32), p l . 22a; the Darius Painter pelike is Naples Stg. 702, RVAp
K . Hamma, eds., The Art of South Italy: Vases from Magna Graecia 18/24, LIMC 1 (1981), p l . 160, Adonis 5.
(Richmond, Virginia, 1982), pp. 252-259; and for a brief discussion 39. Theokritos, Idylls, 15.
w i t h full bibl., J. W. Hayes, Greek and Italian Black-Gloss Wares and 40. Credit for the identification o f Adonis, Aphrodite, and Per
Related Wares in the Royal Ontario Museum (Toronto, 1984), p. 139. sephone should go to Erika Simon, w h o saw the vase just after it had
23. Berlin 2325, ARV 2
335.1; the shape may be seen i n the arrived at the Getty Museum i n March 1987. For the Naples pelike,
drawing by Genick, i n A . Genick and A . Furtwδngler, Griechische see above (note 38).
Keramik (Berlin, 1883), p l . 15.3. I am grateful to D y f r i Williams for 41. The original attribution is that o f Ian McPhee. For the
telling me about the unusual shape o f this stand and for supplying Meleager Painter, see ARV 2
1408-1415; Paralipomena, p. 490; Beazley
the reference. Addenda, pp. 187-188; for his chronology, see P. Corbett, JHS 80
24. For an excellent discussion o f the question o f stands, w i t h full (1960), pp. 59-60, and L . Talcott, B . Philippaki, et al., Small Objects
bibl. and references, see W. Hornbostel, Aus Gräbern und Heilig from the Pnyx, Hesperia, Suppl. 10 (1956), pp. 59-60.
tümern: Die Antikensammlung Walter Kropatscheck (Mainz, 1982), pp. 42. ARV 2
1408.1, 1410.14, 1411.39, 1411.40, 1412.49.
200-202. It is, perhaps, interesting to observe that vases i n naiskoi 43. For unexplained Orientals by the Meleager Painter, see
are not infrequently raised on stands: see, for example, the represen among others his Athens calyx-krater, Athens 12489, ARV 2
1409.10;
tation on J. Paul Getty Museum 82.AE.16 (above, note 5). AM 90 (1975), p l . 39.1-2.
25. A n example is the Basel loutrophoros, for which see above 44. Garments w i t h sea-monster borders are w o r n by, among
(note 17): not only is it fluted on the shoulder and the lower body but many others, Hermes, Io, and others on the calyx-krater Ruvo,
it is an exceptionally difficult shape to pot, w i t h its elongated body, Museo Jatta 1498, ARV 2
1409.9; Sichtermann (note 2), K 16, p l . 36,
and extremely fragile-looking scrolling handles. or by Poseidon, A m y m o n e , and others on the hydria, N e w York
26. One exception to this is a stand i n Bari, inv. 8006, decorated 56.171.56, ARV 2
1412.46, LIMC 1 (1981), p l . 603, A m y m o n e 60.
w i t h a red-figure satyr. I am grateful to Professor Trendall for 45. For the dotted diamond pattern, see the garments w o r n by
sending me a xerox o f a photograph o f this. Hera and Io on Ruvo, Museo Jatta 1498 (above, note 44), or by
27. Examples o f decorated feet include volute-kraters i n Taranto, various characters on the Athens calyx-krater (above, note 43).
RVAp 23/295, p l . 284.3; Switzerland (private collection), RVAp 46. Groups o f three raised balls o f clay appear quite often i n the
27/22a, p l . 325.1; Naples (private collection), RVAp 28/87, p l . 358; Meleager Painter's w o r k . A t times, where they appear i n the field (as
Basel BS 464, RVAp 27/23, Schmidt, Trendall, and Cambitoglou on N e w York 56.171.56, for which see above, note 44), it may be
(note 17), pis. 14-15. possible to discern faint traces o f stalks that indicate that the balls
28. For examples o f Apulian dinoi on stands, see Ruvo, Museo were intended as flowers. When they appear to be floating above
Jatta 1496 and 1497, Sichtermann (note 2), K 44-45, pis. 74-75. someone's hand, as here or on other banquet scenes (see below, note
29. One interesting example o f a hybrid is a vase i n a Swiss 47), it is possible that they are still supposed to be flowers.
private collection, a lebes o f unusual shape w i t h Italic-looking 47. Bell-kraters: Reading 4 5 . v i i i . l , ARV2
1411.37, CVA Reading
handles, complete w i t h a stand; see C. Aellen, A . Cambitoglou, 1, pl. 26.2; Los Angeles County Museum o f A r t 50.8.39, ARV 2
and J. Chamay, Le peintre de Darius et son milieu (Geneva, 1986), 1411.34, CVA Los Angeles 1, p l . 31.3-4; Brussels A 196, ARV 2
(Munich, 1981), pp. 184, 354 n. 366. For a very similar pirouetting Taranto 8925/8926, K . Schauenburg, " Z u einer Situla i n Privat
figure on another vase by the Meleager Painter, see M a d r i d 11012, besitz," MededRom 43 (1981), pp. 83-89, p l . 30.26.
ARV 2
1409.11; Metzger, Representations, p l . 11.3. For other contem Naples 2905 (81878), K . Schauenburg, "Bendis i n Unteritalien? Z u
porary examples, see for example the maenads on the lower frieze o f einer Nestoris von u n g e w φ h n l i c h e r Form," Jdl 89 (1974), pp. 137-
the Karlsruhe Paris hydria, Karlsruhe 259, illustrated B u r n (note 32), 186, fig. 31.
pis. 39-41. Basel S 21, S 33, M . Schmidt, A . D . Trendall, and A . C a m -
52. For Eros i n the company o f Dionysos, see Metzger, Represen bitoglou, Eine Gruppe Apulischer Grabvasen in Basel (Basel and Mainz,
tations, pp. 129-133 ( " i l n'est pas rare de voir eros s'introduire dans 1976), (S 21) pp. 78-80, pis. 19-22, (S 33) pp. 114-123, p l . 29.
ces images"). Pompeii T 213, B . Svoboda and D . Concev, Neue Denkmäler
53. See above (note 47). antiker Toreutik (Prague, 1956), p. 82, fig. 25; also illustrated i n V.
54. For Dionysos i n association w i t h Apollo, see Metzger, Repre Spinazzola, Le arti decorative in Pompeii (Milan, 1928).
sentations, pp. 172-190, and for Sabazios, pp. 148, 377. The cult o f Hamburg A 65, A . D . Trendall, Apulian Vases of the Plain Style
Sabazios was orgiastic i n a similar way to that o f Dionysos, and it (New York, 1961), pis. 37, 186.
was introduced to Athens late i n the fifth century. Representations o f Ruvo 1618, London F 305, and Naples, private collection 353,
Sabazios are rare; he may be the camel-rider on the squat lekythos, A . D . Trendall, RVAp, vols. 1 and 2 (Oxford, 1978, 1982), (Ruvo)
British Museum E 495, and it has been suggested that he may no. 8/67, p l . 64.3; (London) no. 18/72; (Naples) no. 18/233, p l .
be present on the Meleager Painter's Vienna krater (see above, 191.1-2.
note 3), where the oklasma is being danced i n the presence o f various A number o f vases were examined that depicted vases on stands i n
Oriental-looking characters. their painted scenes. The nearest example to the Getty vase is a tall
55. Malibu, J. Paul Getty Museum 87.AE.93. Lisbet Thoresen ribbed dinos on a stand painted on a vase i n Brussels; CVA Brussels
w o u l d like to thank Dr. Lucilla Burn, Jerry Podany, Dr. M a r i o n 2, I I I Ic, p l . 12f; R. Lullies, "Der Dinos des Berliner Malers," AntK
True, Dr. Kenneth Hamma, and Dr. M a r i t Jentoft-Nilsen for their 14 (1971), pp. 44-55, p l . 23.1.
advice and assistance i n guiding the course o f this project. She is 58. See note 57, except Basel S 21, H a m b u r g A 65, M a l i b u
indebted to Professor A . D . Trendall for his generous help i n p r o v i d 79.AE.144, and Naples 2905.
ing additional information on some o f the vase references used. A n d Most o f the Apulian dinoi and stands surveyed measured about 64
she is especially grateful to J i m Davies and Wayne Haak for carrying cm i n total height.
out the reconstruction. The author is most grateful to Professor Trendall for additional
The krater has been reassembled from numerous fragments and information and photocopies o f the complete vase and stand for
the restoration has been well integrated. The vase is i n good condi RVAp, v o l . 2, no. 18/233, a dinos w i t h a ribbed body on a plain
tion and is complete, except for the stem o f the base and the scroll stand. It is approximately 64 cm i n total height.
handles, which have been heavily restored. The glaze on the vase 59. Sources on vase proportions were considered i n the compari
body is a uniformly deep black throughout. Losses and abrasions son between the references and the Getty vase and stand; however,
have been in-painted, particularly between the ribs on the body. The the following references had little to offer for the current problem:
base o f the stand is unbroken. The upper surface has been harshly L. D . Caskey, Geometry of Greek Vases: Attic Vases in the Museum of
rasped around the circumference o f the central opening, where the Fine Arts Analyzed According to the Principles of Proportion Discovered by
stem was broken o f f from the base. The glaze on the base gradates Jay Hambidge (Boston, 1922), and I . A . Richter, A Rhythmic Form in
from black to a very greenish black. Total vase body H : 53.5 cm; H Art: An Investigation of the Principles of Composition in the Works of the
o f vase body w i t h o u t handles: 45.5 cm; H between end o f ribbing Great Masters (London, 1932), pp. 47-61.
and top o f foot r i m : 4 cm; vase body diam: 40 cm; lip diam: 32 cm; 60. A n elaborate treatment o f stand bases does not appear to be
r i m foot diam: 9.6 cm; H o f stand's base: 16.2 cm; diam o f stand's very common. The best examples are quite distant from the Getty
base: 34.2 cm; diam o f base opening (at stem j o i n ) : 12.6 cm; total H vase: a vase i n the Museo della Provincia, Bari, M . Borda, Ceramiche
o f restored vase and stand: 76.9 cm. apule (Bergamo, 1966), pp. 61-62, p l . 23; a vase once on the market,
56. Ferrara T.136A VP, inv. 5081; P. Arias, "La Tomba 136 di Basel, MuM, sale 18, November 29, 1958, p l . 46. (Reference kindly
Valle Pega," RivIstArch 4 (1955), pp. 95-178. Total H o f vase and provided by Professor Trendall.)
stand: 85.5 cm; H o f vase w i t h handles: 67 cm; lip diam: 32.5 cm; 61. Ruvo, Jatta collection 1496, 1497, H . Sichtermann, Griechische
stand H : 18.5 cm. Vasen in Unteritalien (T٧bingen, 1966), K44 and K45, pp. 38-39, pis.
N e w York 24.97.25; G. M . A . Richter, BMMA 20 (1925), pp. 74-75.
261-263, fig. 3; G. M . A . Richter and L . F. Hall, Red-figured Athenian 62. A few examples o f dinoi w i t h flat bottoms or foot rims are
Vases in the Metropolitan Museum of Art, vols. 1-2 ( N e w Haven, included here: Berlin 2402, R. Folsom, Attic Red-figured Pottery (Park
1936), pp. 161-163. Total H o f vase and stand: 66.7 cm; H o f vase Ridge, 1976), p. 153, p l . 55; N e w York 07.286.71, M . J. Milne,
w i t h o u t handles: 46.5 cm; lip diam: 31 cm; stand H : 13.3 cm; stand Shapes and Names of Athenian Vases (Washington, D . O , 1973), fig. 71;
diam: 22.7 cm. an unpublished vase on loan, M a l i b u , J. Paul Getty M u s e u m
57. The following vases were surveyed: L.86.AE.157.
Malibu, J. Paul Getty Museum 79.AE.144 and L.86.AE.157. 63. Basel S 21, S 33, Ferrara T.136, M a l i b u 79.AE.144, Taranto
Indiana 80.27.2, M . M a y o , ed., The Art of South Italy: Vases from 8925/8926, Naples 2905 (81878); see references i n note 57.
Magna Graecia (Richmond, 1982), pp. 156-158, fig. 63.
- \
I m 6. Jh. v. Chr. begannen attische Vasenmaler da SPHOLEAS 2, TERPEKELOS 1 zu nennen) nun durch
mit, das Gefolge des Dionysos auf ihren Vasenbildern eine i m Getty-Museum befindliche Leihgabe weitere
durch Namensbeischriften zu individualisieren. Als Namen hinzugekommen sind. Es handelt sich u m
fr٧heste Beischrift treffen w i r u m 570/565 v. Chr. den einen fragmentierten Kolonnettenkrater (L.87. AE.120),
Gattungsnamen S I L E N O I auf der Francoisvase an, 1
der dem Maler Lydos zugeschrieben w i r d und u m
kurz danach dann i n der Einzahl SILENOS auf einer 550/540 v. Chr. entstanden ist, somit nur wenig spδter
Vase des Ergotimos i n B e r l i n . Individualnamen sind
2
als die tyrrhenische Amphora mit den fr٧hesten Indi
zuerst gegen 550 v. Chr. auf einer tyrrhenischen A m vidualnamen. Wie auf seinem Kolonnettenkrater i n
phora ٧berliefert (s. AGRIOS 1, A I T H O N 1, E L A S I - N e w Y o r k so hat auch hier Lydos die Hephaistosr٧ck-
4
auch Inschriften auf Vasen i m Getty-Museum. Diese dem reitenden Hephaistos unterhalb des Tieres noch
seien hier zunδchst kurz vorgestellt. Dabei ist beson
3
einen am Boden liegenden Satyrn m i t frontalem Ge
ders bemerkenswert, daί zu den wenigen bislang be sicht. Er hδlt in einer Hand eine Kylix, i n der anderen
kannten Namen auf schwarzfigurigen Vasen (auίer den einen Tierhuf, vielleicht von einem Reh. Wahrschein
oben genannten auf der tyrrhenischen Amphora sind lich soll damit auf das wilde Treiben der Satyrn und das
noch DOPHIOS 1, EUPNOUS 1, PHANOS 1, Zerreiίen der Tiere (sparagmos) hingewiesen werden.
P H S O L A S 1, S I L E N O I 1, S I L E N O S 1-2, S I M O S 5, Dies wδre hier bedeutsam, da sonst der Sparagmos
132 Kossatz-Deißmann
Abb. la. Tyrrhenische Amphora (um 550 v. Chr.). Seite B - A . Inschriften I O O A E A I und A A N -
n O N . Cerveteri, Museo Nazionale o. N r . Photo: D A I Rom, Neg. N r . 76.1349.
Satyr- und Mänadennamen auf Vasen 133
Abb. 1c. Seite A - B der Amphora A b b . la. Inschrift: E A A I I I T P A T O I . Photo: D A I Rom Nee
Nr. 76.1351. '
Satyr- und Mänadennamen auf Vasen 135
nicht von Satyrn, sondern mehr von den Mδnaden mit Namen HPMOOAAEZ. Namen, die sich auf den
ausge٧bt w i r d , und diese Darstellungen dann auch Gott Hermes beziehen, sind hδufiger belegt, ebenso
meist erst i n spδterer Zeit vorkommen. Der Satyr ist solche m i t dem Element -φaAqc;. Allerdings ist die
OYKAAETON ("der sich u m nichts k ٧ m m e r t " ) be Verbindung Hermothales ("der durch Hermes bl٧
nannt (Abb. 2a). Dieser Name paίt hier gut zu i h m , hende") bislang singular.
denn wδhrend die anderen Thiasoten musizieren oder A u f Fragment L.87. AE.120.11 sieht man einen Teil
das Symposion bereiten, also "arbeiten", liegt er der Beine eines Satyrn, zwischen denen die Inschrift
nichtstuend am Boden beim Zechen. Ukalegon ist KPATAI[ zu lesen ist (Abb. 2c). Vermutlich handelt es
zwar nicht f٧r Satyrn, aber sonst als Name bekannt. sich u m eine Namensbeischrift. Z u denken wδre an
Homer (IL I I I . 148) ٧berliefert diesen Namen f٧r einen den Namen Krataios ("der Starke") oder vielleicht —
trojanischen Greis, und i n einer Vaseninschrift ist ein wie Neumann vorschlδgt —an einen zweistδmmigen
Achilleusgefδhrte so benannt. Die Unterschenkel des
6
Namen wie etwa Krataimenes. 10
Ukalegon und die Hinterhufe des Maultieres sind auf Fragment L.87.AE.120.12 gibt das Bein eines nach
dem Getty-Fragment L.87.AE.120.5 erhalten. links gehenden Satyrn wieder sowie den Rest eines
A u f dem besprochenen Fragment m i t Hephaistos Gegenstandes. Von der Beischrift ist ] n i Z I O Z erhalten
und Ukalegon (L.87.AE. 120.4) steht zu F٧ίen des (Abb. 2d). Die Ergδnzung ist hier unsicher, da bislang
Ukalegon neben dem Maultier —dem Hephaistos den keine Personennamen belegt sind, die auf -moioc, aus
R ٧ c k e n kehrend —ein Satyr, der den Doppelaulos gehen. Andernfalls d٧rfte auch kaum ein anderer
spielt. Erhalten sind vor allem der O b e r k φ r p e r und Buchstabe als Pi gemeint sein, da er i n dieser Form
geringe Reste der Beine. I h m ist linkslδufig der Name auch beim Namen Molpaios v o r k o m m t . Wδre der
M O A n A l O I beigeschrieben (Abb. 2a). Auch dieser Buchstabe ein Rho, so wδre nach Neumann etwa an
Name ist sonst nicht als Satyrname belegt, doch paίt Charisios zu denken. Der Unterkφrper der Figur vor
der von uoAnr} (Gesang und Tanz) abzuleitende Name dem Satyrn —mit langem Gewand und Schuhen —
gut zu einem Musikanten. F٧r M δ n a d e n kennen d٧rfte zu Dionysos gehφren.
w i r bereits δhnliche Namen, erinnert sei an E U M E L P E N u r selten ist der Thiasos bei der Hephaistosr٧ck-
und M O L P E . Wie bei Ukalegon so n i m m t also auch
7
f٧hrung namentlich benannt. Auίer dem beschriebe
der Name Molpaios Bezug auf die Tδtigkeit des nen Lydoskrater i n Malibu sind auf der Francoisvase
Dargestellten. S I L E N O I (1) und N Y P H A I (1) zugegen. A u f einem
Vor Molpaios ist die Kopfkalotte einer Mδnade zu Glockenkrater i m Louvre von 440 v. Chr. begegnen
sehen. Sie trδgt ein Band i m hochgesteckten Haar und bei der R٧ckf٧hrung die Mδnade K O M O D I A (1) und
ist von Molpaios abgewendet. Von ihrem Namen ist der Satyr MARSYAS (4). Der Satyr SIMOS (11) ist bei
( D I A O n O I L erhalten (Abb. 2a). Der Name lieίe sich der Wiedergabe dieses Themas auf einem Kelchkrater
z.B. zu OiAonooia ergδnzen, was die "Liebe zum Trin der P o l y g n o t - G r u p p e anwesend, u n d der Satyr
ken" bedeutet. Als M δ n a d e n n a m e ist dies zwar noch
8
KOMOS (12) auf einem Chous des Eretria-Malers i n
nicht bezeugt, paίt aber hier sehr gut zum Thema, bei N e w York.
dem ein Symposion i m Mittelpunkt steht. Der Unter A u c h auf attisch rotfigurigen Vasen des Getty-
k φ r p e r der M δ n a d e ist w o h l a u f F r a g m e n t Museums finden sich Satyr- und Mδnadennamen, so
L.87.AE.120.8 zu sehen, das auch noch einen Teil v o m ein Satyrname auf einer fragmentierten Schale von 510
Kφrper eines Satyrn bewahrt, der i m Volutenkrater v. Chr. (Abb. 3), die Dietrich von Bothmer dem Euer-
einen Kantharos f٧llt. Weiter vor dem Gewand dieser gides-Maler zuweist. V o m Innenbild sind nur die
11
Mδnade ist noch ein Schwanz erhalten, der zu dem F٧ίe eines Hahnes erhalten. Die eine Auίenseite zeigte
M a u l t i e r g e h φ r e n m u ί . D e n n es scheint, als ob Theseus m i t dem marathonischen Stier, wδhrend auf
Lydos — i m Gegensatz zur Darstellung auf dem Krater der Gegenseite wohl ein dionysisches Thema darge
in N e w York —die Satyrn hier ohne Schweife wieder stellt war. Denn rechts von der Henkelpalmette sind
gegeben hat. 9
geringe Reste v o m R٧cken eines nach rechts gehenden
Fragment L.87.AE.120.2 zeigt eine Amphora, i n die Satyrn erhalten, der einen gef٧llten Weinschlauch ge
ein Satyr Wein hineinsch٧ttet. Von seinem Namen ist schultert hat. D a ί hier ein Satyr dargestellt war, lδίt
nur EOI[ erhalten (Abb. 2b). Es ist schwierig, hier einen sich aus der Inschrift BPIAXOZ schlieίen, die ٧ber der
bestimmten Namen zu ergδnzen. G٧nter Neumann er Palmette verlδuft und oberhalb des Weinschlauches en
wδgt einen Personennamen, i n dem das Adjektiv qoToc, det. Denn Briakchos ist uns i n zwei weiteren Vasenin
(morgendlich) enthalten sein kφnnte. In seinem R٧cken schriften aus spδtarchaischer Zeit belegt, von denen die
tanzen von i h m abgewendet eine Mδnade und ein Satyr des Goluchφw-Malers fr٧her als unser St٧ck (um 530
136 Kossatz-Deißmann
Abb. 2a. Fragment eines Kolonettenkraters (um 550/540 v. Chr.). Inschriften: ONOI, OYKAAErON,
MOAnAlOX u n d OIAOnOI[. M a l i b u , J. Paul Getty M u s e u m L.87.AE.120.4 u n d
L.87.AE.120.5.
Satyr- und Mänadennamen auf Vasen 137
Abb. 2b. Fragment des Kolonettenkraters A b b . 2a. Inschriften: EOI[ und H P M O O A A E I . Malibu,
J. Paul Getty Museum L.87.AE.120.2.
Abb. 2c. Fragment des Kolonettenkraters A b b . 2a. I n Abb. 2d. Fragment des Kolonettenkraters A b b . 2a. I n
schrift: KPATAI[. Malibu, J. Paul Getty M u schrift: i n i l l O X . Malibu, J. Paul Getty M u
seum L.87.AE.120.11. seum L.87.AE.120.12.
138 Kossatz-Deißmann
die des Sophokles zeigt, war Briakchos gleichermaίen wesenheit anderer benannter Satyrn und Mδnaden u m
ein M δ n a d e n n a m e und ist als solcher vielleicht auch
13
einen Namen zu handeln. A u f unserem Onesimos-
in einer Vaseninschrift zu e r g δ n z e n . Bei Satyr- und
14
Deckel befand sich hinter Kaie ein ihr den R٧cken
M δ n a d e n n a m e n , die mehr als einmal i n Beischriften kehrender Satyr, der sitzend oder halb liegend darge
vorkommen, zeigt es sich, daί diese meist —bis auf stellt war. Erhalten sind sein bδrtiger K o p f m i t der
wenige Ausnahmen — nur ٧ber einen bestimmten kur efeubekrδnzten Stirnglatze und seine erhobene rechte
zen Zeitraum hin belegt sind, wie hier etwa alle drei Hand. Rechts dar٧ber sieht man den Rest einer T h y r -
bislang bekannten Briakchos-Inschriften zwischen 530 sosspitze. Eine Namensbeischrift ist nicht erkennbar
und 510 v. Chr. entstanden sind. Offenbar unterlagen oder nicht erhalten.
auch diese Namen einer gewissen " M o d e " . Ein Satyr und eine Mδnade liegend bzw. sitzend und
Weitere Satyr- und M δ n a d e n n a m e n finden sich auf dabei einander den R٧cken kehrend sind auch auf dem
einem fragmentierten Deckel von 490 v. Chr., auf wel weiteren Fragment 81.AE.214.A.2 dargestellt (Abb.
chem J i n Frei die Malerhand des Onesimos erkennt. 15
4c). Von der Mδnade sind K o p f und Teil des Ober
D e m niedrigen Bildfeld gemδί, das durch das Deckel kφrpers erhalten. Sie sitzt i m Profil nach links und ist
rund vorgegeben ist, ist das Gefolge des Dionysos sit nicht b e k r δ n z t , sondern t r δ g t ein Band i m hoch
zend bzw. liegend oder kriechend dargestellt. Daraus gesteckten Haar. U m die Schultern hat sie ein Pardelfell
und aus den Attributen (Musikinstrumente, Kantharos, gebunden, dessen Fellmuster fast wie Efeublδtter aus
Weinschlauch) ergibt sich zugleich das Thema der Dar sieht. Ihre Arme sind auf Fragment 88.AE.29.3 erhal
stellung: die Satyrn und Mδnaden sitzen beim Sympo ten. Die linke Hand ist erhoben, m i t der rechten hδlt
sion. Konrad Schauenburg hat 1973 die relativ wenigen sie einer Gefδhrtin, von der nur noch eine Hand zu
Wiedergaben der Silene beim Symposion zusammen sehen ist, eine Flφte hin. Vor ihr steht ein Reh. Der
gestellt, zu denen nun diese reizvolle Darstellung des Rest des lδnglichen Gegenstandes neben ihr g e h φ r t
Onesimos h i n z u t r i t t .
16
w o h l zu einem Thyrsos. Ihr ist der Name A O PA
Fragment 81.AE.214.A.4 (Abb. 4a) zeigt eine sit beigeschrieben (auf Fragment 81.AE.214.A.2). Es lδίt
zende Mδnade. Sie trδgt einen feingefδltelten Δrmelchi sich nicht mehr ausmachen, ob dies der ganze Name
ton und hat einen Efeukranz i m Haar. I n der linken ist, also ein Kurzname vergleichbar dem bekannten
Hand hδlt sie ihr Barbiton, die rechte liegt locker auf Nereidennamen Acopiq bzw. dem Namen Acopco, 18
ihrem angewinkelten rechten Knie. I n ihrem R٧cken oder ob es ein Vollname war, der i m nicht erhaltenen
ist der Rest eines gemusterten Kissens zu erkennen. Sie Teil des Deckels weiterlief. Doch scheint es mir i n
saί w o h l auf dem Boden, wie auch f٧r die ٧brigen hier jedem Fall, daί der Name kein Vorderglied gehabt
dargestellten Satyrn und M δ n a d e n anzunehmen ist. haben kann, da der Platz zwischen dem K o p f der M δ -
Satyr- und Mänadennamen auf Vasen 139
gebrochenen Teil zu denken, doch ist Dora ohne Mδnade und ein masturbierender Satyr dargestellt, von
weiteres als Kurzform eines Vollnamens mφglich. dem i m wesentlichen der O b e r k φ r p e r erhalten ist
Von dem Satyrn i n ihrem R٧cken ist nur der zu (Abb. 5). Er sitzt m i t seitlich angewinkelten Beinen am
r٧ckgelehnte K o p f erhalten. Wie sein bereits beschrie Boden. Seinen linken A r m hat er erstaunt erhoben und
bener Gefδhrte ist er bδrtig und trδgt einen Efeukranz auch sein Blick ist nach oben gerichtet. Zwar hat es
auf seiner Stirnglatze. Vielleicht war er m i t einer sich gezeigt, daί die ٧ber seinem K o p f nach oben
Namensbeischrift versehen. Vor seiner Nase nach gehende Inschrift kein Name, sondern ein Ausruf ist,
rechts laufend sind die Buchstaben EHE[ erhalten. Ein doch ist dieser so reizvoll, daί er hier kurz besprochen
δhnliches Problem stellt sich bei einer fragmentierten sei. Denn AVEAIO liefert den Grund der ٢berraschung
Schale i n Theben, die ebenfalls von Onesimos bemalt des Satyrn. Offenbar hat er zuviel getrunken und sieht
ist. Hier ist vor dem M u n d eines heranschleichenden jetzt doppelt. So erblickt er nun "zwei Sonnen", 5i3o
Satyrn noch der Inschriftrest EXA[ erhalten. Doch 19
rjAico, was der Schreiber richtig i n der Dualform wie
w i r d sich das Rδtsel, ob es sich dabei u m einen Namen dergegeben hat, wobei zwischen 8t3o und qAico eine
oder nur u m einen Ausruf handelt, mangels weiterer Krasis stattgefunden hat.
Buchstaben weder bei E H E . . . noch bei E C H L . . . Bislang nicht belegte Satyr- und M δ n a d e n n a m e n
lφsen lassen. weisen auch attisch rotfigurige Vasenfragmente der
A u f dem grφίten der Deckelfragmente des One Sammlung Herbert A . Cahn i n Basel auf, die hier dank
simos i m Getty-Museum (81.AE.214.A.3) sind noch der Liebensw٧rdigkeit des Besitzers kurz vorgestellt
drei Satyrn zu sehen (Abb. 4d). Der Satyr rechts ist am werden d٧rfen. Zunδchst sind Fragmente einer niede
Boden hockend dargestellt. Zwar ist sein K o p f nicht ren Schale zu nennen (HC 432), die Cahn dem Sotades-
erhalten, doch sind weitere Teile seines Kφrpers auf den Maler zuweist. Erhalten ist auf einer Auίenseite (Abb.
Fragmenten 85.AE.328 und 81.AE.214.A.12 zu sehen. 6a) ein nach links rennender Satyr, der eine fliehende
Hinter seinem R٧cken hδngt ein Weinschlauch m i t der Frau verfolgt. Die Beischriften nennen den Satyrn EP-
Aufschrift KAAOX. A m linken Rand sind Schultern nONI, die Frau NYMOE. Der Satyrname ist von epno)
und frontal gerichteter K o p f eines liegenden Satyrn "langsam gehen, schleichen, kriechen" (auch von Tie
(bδrtig m i t Stirnglatze) erhalten, sowie oberhalb Reste ren, vgl. epnexov) gebildet. Er scheint hier nicht ganz
eines Kantharos. A u f diesen Satyrn kriecht der mittlere passend, da der Satyr nicht hinter der Nymphe her
zu, der als einziger fast ganz erhalten ist. Sein i m Profil schleicht, sondern sich i n schnellem Lauf befindet.
dargestellter K o p f m i t dem geφffneten M u n d befindet Vielleicht ist es hier parodierend gemeint, daί der Sa
sich nah am K o p f seines Gefδhrten, so daί es den tyr "Schleicher" benannt ist. Von der Gegenseite (Abb.
Anschein hat, als wolle er i h m etwas ins Ohr fl٧stern. 6b-c) sind drei Figuren erhalten. Dargestellt ist eben
Der Satyr ist nackt. Seine langen, ٧ber den R٧cken falls eine dionysische Szene. In der Mitte tanzt Dionysos
fallenden Locken stehen i n reizvollem Kontrast zu (Beischrift). Er w i r d von zwei Satyrn flankiert. Der
seiner Stirnglatze. Oberhalb der beiden Kφpfe ist die Rechte (Abb. 6c) spielt den Doppelaulos zum Tanz.
Inschrift ]AEBON zu lesen, die sicher zu Phlebon er Eine Namensbeischrift ist nicht erkennbar. Der Satyr
gδnzt werden darf und der Name eines Satyrn, ver links (Abb. 6b) ist i n einer Tanzbewegung begriffen,
m u t l i c h des Liegenden, ist. Phlebon selbst ist als bei der er seinen O b e r k φ r p e r nach vorn neigt, seine
Satyrname zuvor noch nicht belegt, wohl aber kennen A r m e ausbreitet und sein Gesicht i n Vorderansicht
w i r andere Satyrnamen aus spδtarchaischer Zeit, i n wendet. Er h e i ί t OINAPEVZ, ein v o n ol'vapov
denen (j)Aeijj (das m δ n n l i c h e Zeugungsglied) Be "Weinblatt, Weinrebe" abgeleiteter Name. Oinareus
standteil des Namens ist. So verwendete der Vasen ist —wie Erpon —hier erstmals als Satyrname bezeugt
maler Oltos zweimal den Namen P H L E B I P P O S 20
und gehφrt zur Kategorie der Namen, die von oivoq
und Phintias den Namen P H L E B O D O K O S . Weiter2 1
"Wein" gebildet sind. Diese sind treffend f٧r den dio
ist a u f einer f r a g m e n t i e r t e n Schale des O l t o s nysischen Thiasos und begegnen auch f٧r Mδnaden
nur OAE[ erhalten. Hier wδre nach Ausweis unseres
22
wie z.B. OINANTHE (s. OINANTHE 1 und 2).
Onesimos-Deckels i m Getty-Museum jetzt auch die Das Fragment eines von Cahn dem Dinos-Maler
Ergδnzung zu P H L E B O N zu erwδgen. I n jedem Fall ist zugewiesenen Glockenkraters (HC 1623, Abb. 7) zeigt
ein m i t (J)Δ8ij; gebildeter Name charakteristisch f٧r die den m i t einem Peplos bekleideten O b e r k φ r p e r einer
140 Kossatz-Deißmann
Abb. 4a. Deckelfragment v o m Maler Onesimos (um Abb. 4b. Fragment des Deckels A b b . 4a. M δ n a d e m i t
490 v. Chr.). Mδnade m i t Barbiton. Malibu, Inschrift KAAE. Malibu, J . Paul Getty M u
J . Paul Getty Museum 81.AE.214.A.4. seum 81.AE.214.A.5.
frontal stehenden Mδnade, die ihren K o p f nach links Namensbeischriften h a u p t s δ c h l i c h auf Vasenbildern
gewendet hat. Ihre gelockten Haare fallen i n langen verbreitet sind. N u r wenige Darstellungen des d i
Strδhnen auf ihre Schulter. ٢ b e r der Stirn trδgt sie onysischen Gefolges auίerhalb der Vasenmalerei sind
einen Efeukranz. Die Mδnade hielt einen Thyrsosstab, mit Inschriften versehen. Z u nennen sind hier etwa
von dem links ein Teil erhalten ist. Das fein gezeichnete toreutische D e n k m δ l e r (ERIOPE 1, K O M O D I A 5,
Gesicht m i t dem nachdenklich-besinnlichen Ausdruck OINA 1, O P O R A 6, P H A L L O D I A 1, TRIETERIS 1)
und ihre ruhige Kφrperhaltung stehen i m Gegensatz zu oder Reliefs ( B A T . . . 1, I T A L O S 1, S A T Y R O I 1,
ihrem Namen. Sie heiίt AI NA (vgl. Siveco " w i l d w i r T O . . . 1; E U R O P E 1, P A I D I A 7) und plastische Figuren
belnd" und 8ivq "Wirbelwind"), was eigentlich besser ( D I T H Y R A M B O S 2, N Y K T E R I N O S 1; K O M O D I A 4,
zu einer ekstatischen Tδnzerin passen w ٧ r d e . Doch ist T R A G O D I A 5, SKIRTOS 5). A u f Mosaiken begegnen
der hier erstmals belegte M δ n a d e n n a m e allgemein f٧r die Satyrnamen M A R O N 1-2, MARSYAS 9, N E K T A R
eine Thiasotin gut geeignet, da er einen Wesenszug der 1 (Satyr?), O I N O S 3, SATYROS 2 - 3 , SILENOS 7,
Mδnaden treffend charakterisiert. SKIRTOS 2 - 3 , T R O P H E U S 1-2 und die M δ n a d e n A M
Weitere, bereits bekannte Satyr- und M δ n a d e n n a m e n B R O S I A 1, A N A T R O P H E 1, B A K C H E 3 - 4 und O P O R A
der Sammlung Cahn finden sich auf einem Kelch 5. M A I [ N O M E N O S (?) 1, S A T Y R O I 2 und I N O 1 sind
kraterfragment (HC 436) m i t Athena und Marsyas, bei auf einer Formsch٧ssel anzutreffen (Abb. 8a-c). A u f
dem die Inschrift M A P I [ erhalten ist (s. MARSYAS 5), Wandbehδngen sind LASIOS 3, L E N A I O S 1, SATYROS
und auf Fragmenten eines Skyphos aus dem Meidias- 1, SKIRTOS 4; B O T R Y O C H A R I S 1, I N O 2, L Y D E 1,
kreis (HC 541), der auf der R٧ckseite eine dionysische und M E A 1 ٧berliefert. Ein neugefundenes Mosaik i n
Szene zeigt. Dionysos ist hier von den beiden Mδnaden Israel m i t zahlreichen Szenen aus der vita des Dionysos
Opora (OnOPA) und Oinanthe (]NAN0E) umgeben, hat ebenfalls Namensbeischriften bei Satyrn und M δ
welche einen Gast i m Thiasos des Gottes willkommen naden, doch liegt noch keine Publikation der I n
heiίen (s. O I N A N T H E 2; O P O R A 2 ) . Die beiden schriften v o r .24
Frauen sind nicht als wilde Mδnaden dargestellt, son Selten sind Satyr- und M δ n a d e n n a m e n auch auf
dern als Personifikationen von Weinbl٧te (Oinanthe) etruskischen und italischen Denkmδlern. Dabei sind
und Weinlese (vgl. Opora als Herbsthore). aus dem Griechischen die Satyrnamen M A R S U A S , SI-
Die Satyr- und M δ n a d e n n a m e n auf den Vasen i m L A N U S und SIME entlehnt. 25
Der Name EBRIOS ist aus
Getty-Museum und auf den Fragmenten der Samm lateinisch ebrius (betrunken) entstanden. Die anderen
26
lung Cahn, sowie die Zusammenstellung weiterer bislang bekannten Namen sind etruskische Bildungen.
Namen, die nach dem Erscheinen von Frankels Buch In kaiserzeitlichen Darstellungen m i t lateinischen
bekannt wurden, bildeten den Anlaί, hier eine neue Beischriften sind die (griechischen) Gattungsnamen SI-
Namensliste herauszugeben. Es hat sich gezeigt, daί L E N U S und SATUR parallel bezeugt. Doch sind ins-
27
Satyr- und Mänadennamen auf Vasen 141
Abb. 4d. Fragment des Deckels A b b . 4a. Drei Satyrn. Inschriften: KAAOI und ]AEBON.
Malibu, J. Paul Getty Museum 81.AE.214.A.3 (links) und 81.AE.214.A.12 und
85.AE.328 (rechts).
gesamt lateinische Namensbeischriften f٧r das Gefolge FIO 1-2, KLYTO 1, MOLPE 1, MYRO 1, NAIS 1,
des Dionysos nur selten zu finden. A u f den rφmischen PHOIBE 1, X A N T H O 1-2).
Stuckreliefs, auf denen die genannten Inschriften SI- A u f den attisch rotfigurigen Vasen findet sich der
LENUS und SATUR zu lesen sind, ist auch der Frauen grφίte Teil der Inschriften. Zwar verteilen sich diese
name ANTIOPE bezeugt. D o c h w i r d hier die als ٧ber den Zeitraum v o m spδten 6. Jh. und ٧ber das 5.
Mδnade dargestellte mythische Heroine gemeint sein. Jh. hindurch, doch lassen sich Schwerpunkte i n der
Doch zur٧ck zu den griechischen Inschriften. Die spδtarchaischen Zeit und i m Reichen Stil feststellen.
relativ wenigen Beischriften auf attisch schwarz- A u f den Vasen des 4. Jhs. kommen Satyr- und M δ
figurigen Vasen wurden bereits oben genannt. A u 28
nadennamen seltener vor. Auch i n der unteritalischen
ίerhalb der attischen Vasenmalerei begegnen i m 6. Jh. Vasenmalerei begegnen nur vereinzelt Namen (EUMAS
noch Namen auf korinthischen (s. DASON 1, SIMOS 1) 1, MARSYAS 8, ONNASEUAS 1, SIMOS 21, SKIRTOS
u n d chalkidischen Vasen (ANTIES 1, D A S O N 2, 1, TYBRON 1-2; AMPELIS 1, EUNOMIE 1, EUTHY-
DORKIS 1-2, HIPPAIOS 1, HIPPOS 1, MEGAS 1, MIE 1, OPORA 4, THALIA 3).
OFATIES 1, PORIS 1, SIMIS 1, SIMOS 2-3; CHORA 1, Z u den Namen selbst lδίt sich feststellen, daί diese
142 Kossatz-Deißmann
U K A L E G O N 1). Vereinzelt sind geographische Namen Die Benennung M A I N A S f٧r eine Mδnade begegnet
Satyr- und Mänadennamen auf Vasen 143
Abb. 6a. Fragment einer Schale des Sotades-Malers Abb. 6b. Fragment der Schale Abb. 6a. Seite B . D i o
(um 470/460 v. Chr.). Seite A . Satyr m i t nysos m i t Inschrift AIONYXOI und Satyr
Beischrift EPFION und M δ n a d e m i t Bei mit Inschrift OINAPEVI.
schrift NYMOE. Basel, Sammlung Herbert
A . Cahn H C 432. Photos: H . A . Cahn.
Abb. 8a. Formsch٧ssel (2. Jh. v. Chr.). Inschriften: Abb. 8b. Formsch٧ssel Abb. 8a. Inschrift- A i r [ - ( =
INCO, M A I [ - ( = M A I N O M E N O S ? ) und AITinAN?).
CATYPOI. Pella, Archδologisches Museum
81.97. Photos: G. M . Akamatis.
Abb. 8c. Zeichnung der Formsch٧ssel Abb. 8a. Inschriften: J P I A M B O I ( = O P I A M B O I ) , CATYPOI, M A I [ , INGO und AII~[.
Die Zeichnung verdanke ich G. M . Akamatis.
Satyr- und Mänadennamen auf Vasen 145
dem 4. Jh. v. Chr. und dann auf spδtantiken Denk wδhrend in der Literatur der H φ h e p u n k t viel spδter
mδlern. Bei den M δ n a d e n k o m m t der Name KISINE liegt: Die meisten Namen ٧berliefert in der Spδtantike
nur in spδtarchaischer Zeit und nur bei dem Maler Nonnos i n seinen Dionysiaka bei der Aufzδhlung der
Phintias vor; MAINAS-Inschriften gibt es ab 450 v. Satyrn und Mδnaden, welche Dionysos auf seinem i n
Chr., M E T H Y S E nur u m die M i t t e des 5. Jhs.; TRAG- dischen Feldzug begleiten.
O D I A ist seit der Polygnot-Gruppe als M δ n a d e n n a m e Abschlieίend sei insgesamt bemerkt, daί Namen,
bekannt, und ab dem Reichen Stil kommen B A K C H E , die etwas Negatives bedeuten oder vulgδr und obszφn
C H O R O , O P O R A und P A I D I A vor. sind, sich bei Satyrn wesentlich hδufiger finden als bei
In der Regel begegnen benannte Satyrn und M δ Mδnaden, deren Namen dagegen viel φfter weibliche
naden i n Darstellungen des Thiasos oder aus dem A n m u t ausdr٧cken. So n i m m t es nicht wunder, wenn
Mythos des Dionysos wie Kindheit, R٧ckf٧hrung des f٧r einen Satyrn SIMOS (stupsnasig) 21 mal bezeugt ist,
Hephaistos usw. bis zur Gigantomachie ( E U . . . 1, wδhrend nur eine M δ n a d e SIME heiίt, daf٧r aber hδu
PAIDIA 4, SATYROI 1). Seltener ist das Di figer Namen vorkommen, die - A N T H E (Bl٧te) als H i n
onysosgefolge i n anderen Sagenkreisen benannt, so terglied haben. Offenbar waren die Vasenmaler bei den
etwa i n der Heraklessage ( B A T . . . 1, H Y B R I S 1, M δ n a d e n n a m e n zur٧ckhaltender, was eigentlich damit
I T A L O S 1, SKOPAS 1; E U R O P E 1). Bei der Ausfahrt in Widerspruch steht, daί das grausame Zerreiίen der
des Triptolemos ist der Satyr K O M O S (3) anzutreffen, Tiere meist nur bei M δ n a d e n , nicht bei Satyrn
und den Feuerbringer Prometheus umgeben die Satyrn dargestellt w i r d . Selbst bei den von den Vasenmalern
K O M O S (6), S I K I N N I S (1) und SIMOS (13). Der Ge mit M A I N A S benannten M δ n a d e n passen Tδtigkeit und
burt der Helena wohnt der Papposilen T Y B R O N (1) bei. Attribute hδufig nicht zum Namen. So beziehen sich
Teilweise sind die Namen literarisch bezeugt. Es also die Namen der M δ n a d e n anders als die der Satyrn
w ٧ r d e hier zu w e i t f ٧ h r e n , auch die literarisch nicht auf deren Tδtigkeit und Eigenschaften, sondern
٧ b e r l i e f e r t e n Satyr- und M δ n a d e n n a m e n zusam beschrδnken sich auf das kφrperliche Aussehen, das
menzustellen. Doch zeigt es sich, daί die Individu denen der anderen Frauen gleicht. Doch wδre auch zu
alisierung der Satyrn und M δ n a d e n durch Namen i n ٧berlegen, ob es sich bei M δ n a d e n dann vielleicht u m
der Bildkunst i m 5. Jh. v. Chr. ihre Bl٧tezeit hat, euphemistische Namen handelt.
ANMERKUNGEN Ausk٧nfte besonderen Dank, sowie Benedicte Gilman f٧r die redak
Abk٧rzungen: tionelle Betreuung.
Beazley, Add 2
T. H . Carpenter, Beazley Addenda: Second Ad 4. N e w Y o r k , M e t r o p o l i t a n M u s e u m o f A r t 31.11.11, ABV
ditional References to ABV, ARV and Para-
2
108.5; Paralipomena, S. 43; Beazley, Add , S. 29; M . A . Tiverios, Ho
2
lipomena (Oxford, 1989). Lydos kai to ergo tou (Athen, 1976), Taf. 53ff.; K . Schefold, Götter- und
Boardman, ARFV J. Boardman, Athenian Red Figure Vases: A Heldensagen der Griechen in der spätarchaischen Kunst (M٧nchen, 1978),
Handbook (London, 1975). S. 31-32, A b b . 23-24; LIMC 3 (1986), s.v. Dionysos N r . 563 m i t
Bruhn, Oltos A . Bruhn, Oltos and Early Red-Figure Vase A b b . ; LIMC 4 (1988), s.v. Hephaistos N r . 138a m i t A b b .
Painting (Kopenhagen, 1943). 5. Z u m Reittier des Hephaistos (teilweise auch Esel): J. Wiesner,
Daszewski W. A . D a s z e w s k i , Dionysos der Erlöser AA, 1969, S. 531 ff.; H . Hoffmann, i n , D . Metzler, B . O t t o und C.
(Mainz, 1985). M٧ller-Wirth, Hrsg., Antidoron. Festschrift J ٧ r g e n T h i m m e (Karls
Frankel C h . Frankel, Satyr- und Bakchennamen auf ruhe, 1983), S. 61 m i t A n m . 20 und passim. Reiter auf Maultier m i t
Vasenbildern (Halle, 1912). der Beischrift ONOS: korinthische Amphora, Berlin 1652, F. Lorber,
Froning H . Froning, Dithyrambus und Vasenmalerei in Inschriften auf korinthischen Vasen (Berlin, 1979), S. 59-60, N r . 88,
Athen (W٧rzburg, 1971). Taf. 19.
HPN F. Bechtel, Die historischen Personennamen des 6. Attisch rotfiguriger Kantharos, Paris, Cabinet des Medailles R
Griechischen bis zur Kaiserzeit (Halle, 1917). 851, ARV 2
1251.41 (Eretria-Maler); LIMC 1 (1981), s.v. Achilleus
Immerwahr H . R. Immerwahr, Attic Script: A Survey N r . 204 m i t A b b . ; Lezzi-Hafter, Eretria, S. 352, N r . 285, Taf. 184.
(Oxford, 1990). Achilleus und Ukalegon nehmen Abschied von Agamemnon und
Lezzi-Hafter, Eretria A . Lezzi-Hafter, Der Eretria-Maler (Mainz, Kymothea.
1988). 7. s. hier Addenda, s.v. EUMELPE 1 und MOLPE 1.
Schefold, Göttersage K . Schefold, Die Göttersage in der klassischen 8. (jnXonooia ist seit Xenophon (Mem., 1.2.22) belegt. Zwar
und hellenistischen Kunst (M٧nchen, 1981). w δ r e dies als Personenname vorstellbar, doch scheint es sich bei dem
1. s. hier Addenda, s.v. SILENOI 1. Buchstabenrest hinter dem Sigma eher u m ein rundes Zeichen zu
2. s. hier Addenda, s.v. SILENOS 1. handeln, weshalb man auch OiAonooco erwδgen k φ n n t e .
3. F٧r die Erlaubnis, die Getty-Vasen m i t Satyr- und M δ n a d e n - 9. A t t i s c h schwarzfigurige Darstellungen v o n Satyrn ohne
namen hier besprechen und teils auch abbilden zu d٧rfen, danke ich Schweife: F. Brommer, Satyroi (W٧rzburg, 1937), S. 26, 53-54,
M a r i o n True aufs herzlichste. Kenneth Hamma schulde ich f٧r viele A n m . 15.
146 Kossatz-Deißmann
10. V g l . HPN, S. 256. TRUBS gelesen und dann als Verschreibung von SATYROS gedeutet
11. Malibu 86.AE.305.1-2. L i t . s. hier Addenda, s.v. BRIAK- werden, s. dazu auch die Ausf٧hrungen von G ٧ n t e r Neumann.
CHOS 3. Dagegen ist SATYROS als Personenname fr٧her belegt: HPN, S. 567.
12. s. hier Addenda, s.v. BRIAKCHOS 1 und 2. Auch bei dem Terrakottamodel m i t der Inschrift SATYROS (s. hier
13. V g l . Tragicorum Graecorum Fragmenta, B d . 4 ( G φ t t i n g e n , A n m . 40) handelt es sich eher u m den Personennamen.
1977), Fr. 779 (Radt). 30. Es ist hier nicht der O r t , auf die Unterscheidung zwischen
14. s. hier Addenda, s.v. BRIAKCHOS 4. Silenen und Satyrn einzugehen; s. dazu u.a. Brommer (a.O. A n m .
15. Malibu 81.AE.214. Die Fragmente sind erwδhnt i m Getty Mus] 9); M . P. N i l s s o n , Geschichte der griechischen Religion , 2
Bd. 1
14 (1986), S. 191, N r . 48, m i t weiteren zugehφrigen Fragmenten. (M٧nchen, 1955), S. 232ff; F. Brommer, Satyrspiele (Berlin, 1959),
2
16. K . Schauenburg, Jdl 88 (1973), S. I f f . ; A . Lezzi-Hafter, i n S. 6; T. H . Carpenter, Dionysian Imagery in Archaic Greek Art ( O x
Greek Vases in the J . Paul Getty Museum, B d . 1 (1983), S. 102 ( M δ ford, 1986), S. 76ff; Schφne (a.O. A n m . 16), S. 10. Von den I n
naden beim Gelage); s. weiter jetzt auch A . Schφne, Der Thiasos schriften auf den Vasenbildern her lδίt sich jedenfalls die Theorie
(Gφteborg, 1987), S. 129ff. b e s t δ r k e n , nach der die unterschiedliche Benennung φrtlich be
17. s. hier Addenda, s.v. K A L E 2-4. gr٧ndet ist. SILENOS war auch Personenname, so vielleicht bereits
18. Z w a r entfδllt der bei Frankel, S. 14, 82 B aufgef٧hrte M δ - i m 2. Jahrtausend, v g l . die Knossostafel V 466 si-ra-no: O. Landau,
nadenname DORO als Parallele (s. dazu hier Addenda, s.v. DORO), Mykenisch-Griechische Personennamen ( G φ t e b o r g , 1958), S. 129; J.
doch ist der Name selbst bezeugt f٧r eine Gφttin der Sykophanten Chadwick und L . Baumbach, Glotta 41 (1963), S. 244, s.v. XiAnvoq;
bei Aristophanes, Eq., 529 m i t Scholia. J. Chadwick, I . A . L . Godart, J. T. Killen, J. P. Olivier, A . Sacconi,
19. s. hier Addenda, s.v. ECHL. . . 1. und I . A . Sakellarakis, Corpus of Mycenean Inscriptions from Knossos,
20. s. hier Addenda, s.v. PHLEBIPPOS 1 und 2. Bd. 1 (Rom, 1986), S. 169, N r . 466. I n spδterer Zeit: HPN, S. 568.
21. s. hier Addenda, s.v. PHLEBODOKOS 1. 31. V g l . hier MAINAS 2-7.
22. s. hier Addenda, s.v. PHLE. . . 1. 32. F٧r Hinweise und Beschaffung von Photos bin ich weiter zu
23. M a l i b u 85.AE.188. E r w δ h n t : GettyMusJ 14 (1986), S. 192, N r . g r o ί e m Dank verpflichtet: G. M . Akamatis, L . Baiensiefen, K . W.
52, m i t weiteren zugehφrigen Fragmenten. Berger, H . A . Cahn, T. H . Carpenter, F. Gilotta, G. G٧ntner, I .
24. s. hier Addenda, s.v. BAKCHE 4. Krauskopf, A . Lezzi-Hafter, J. H . Oakley, O. Paoletti, M . Steinhart,
25. MARSUAS: Bronzespiegel, praenestinisch, R o m , Villa Giulia C. Weiί und D . Williams sowie Mitarbeitern der L I M C - R e d a k -
24898, H e i b i g , B d . 3, N r . 2681 ( D o h m ) . SILANUS: 1) Cistendeckel,
4
tionen i n Basel, Heidelberg und W ٧ r z b u r g , und ganz besonders E.
praenestinisch, N e w York, Pierpont M o r g a n Library BL-64, G. B o r - Simon.
denache Battaglia, Le Ciste prenestine, B d . 1, Corpus 1 (Florenz, 33. Jetzt Lorber (a.O. A n m . 5), S. 62-63, N r . 93, Taf. 23
1979), S. 146, N r . 45, Taf. 186, 190, 194; LIMC 3 (1986), s.v. Ebrios mit L i t .
N r . 1 m i t A b b . 2) Ciste, praenestinisch, Poughkeepsie, N e w York, 34. Z u m Problem Dickbauchtδnzer-Satyrn zuletzt: T. H . Carpen
Vassar College Classical Museum 54.1a-b, I . S. Ryberg, AJA 47 ter (a.O. A n m . 30), S. 86ff; Schφne (a.O. A n m . 16), S. 12ff; C.
(1943), S. 217ff, A b b . I f f ; G. Foerst, Die Gravierungen der prä- Isler-Kerenyi, i n Proceedings of the Third Symposion on Ancient Greek
nestinischen Cisten (Rom, 1978), S. 166ff, N r . 63, Taf. 45a-b; LIMC and Related Pottery, K o n g r e ί , Kopenhagen 1987 (Kopenhagen, 1988),
2 (1984), s.v. Artemis/Artumes N r . 68; ebenda s.v. Artemis/Diana S. 269ff.
N r . 297; LIMC 3 (1986), s.v. Dioskuroi/Tinas Cliniar N r . 21; hier 35. Nationalmuseet 57, ABV 102.97, 684; Paralipomena, S. 38;
nur SILA[ erhalten. SIME: 1) Bronzespiegel, N e w York, Metropolitan CVA Kopenhagen 3, Taf. 101.1a.
Museum o f A r t G.R. 135, G. M . A . Richter, The Metropolitan 36. Athen, Nationalmuseum Akropolis 587, G. Bakir, Sophilos
Museum of Art: Greek, Etruscan and Roman Bronzes (New York, 1915), (Mainz, 1981), S. 64-65, A 2, Taf. 3i.
S. 274-275, N r . 798; G. A . Mansuelli, StEtr 19 (1946/1947), S. 53; C. 37. British Museum 1971.11.-1.1, D . Williams, i n Greek Vases in
de Simone, Die griechischen Entlehnungen im Etruskischen, B d . 1 (Wies the ] . Paul Getty Museum, B d . 1 (1983), S. 24, A b b . 28. Z u m
baden, 1968), S. 111. 2) Bronzespiegel, London, British Museum 630, Verhδltnis N y m p h e n - M δ n a d e n , s. auch Carpenter (a.O. A n m . 30),
H . B . Walters, Catalogue of the British Museum: Bronzes (London, S. 79ff.
1899), S. 98-99, N r . 630; Mansuelli (a.O. diese Anmerkung), S. 38. M E T H E : G e m δ l d e (Paus. II.27.3). Statuengruppe (Paus.
24ff, 51; de Simone (a.O. diese Anmerkung), S. 110-111; LIMC 3 VI.24.8). EBRIETAS: Gruppe des Praxiteles (Plin., N.H., 34.69). Eine
(1986), s.v. Dionysos/Fufluns N r . 73 m i t A b b . ; ebenda S. 1072, s.v. Nachwirkung der METHE des Pausiasgemδldes darf vielleicht auf
Ariadne/Ariatha N r . 15. Gemmenbildern erkannt werden, i n denen eine meist nackte Frau
26. EBRIOS: Cistendeckel, praenestinisch, N e w York, Pierpont (hδufig v o n dionysischen A t t r i b u t e n umgeben) aus einer Schale
M o r g a n Library B L - 6 4 . s. hier A n m . 25 zu SILANUS 1. t r i n k t : G. Sena Chiesa, Gemme del Museo Nazionale di Aquileia
27. A u f einem Stuckrelief i n Ostia sind SILENUS und SATUR (Padua, 1966), S. 201, N r . 450ff; E. Z w i e r l e i n - D i e h l , Die antiken
mehrfach bezeugt: G. Calza, NSc, 1928, S. 156ff; H . Mielsch, Rö Gemmen des Kunsthistorischen Museums in Wien, B d . 2 (M٧nchen,
mische Stuckreliefs (Heidelberg, 1975), S. 161-162 K 90; LIMC 3 1979), N r . 653, 1022, 1023, 1595ff. m i t L i t . und Verweisen auf
(1986), s.v. Dionysos/Bacchus N r . 170, 172. weitere Beispiele. '
28. s. hier S. 131. 39. L . Burn, The Meidias Painter (Oxford, 1987), S. 114, M M 104.
29. Die Beischrift S(I)BYRTAS auf einer attisch rotfigurigen Schale 40. Tarente (Paris, 1939), S. 394-395, 413.
i n W ٧ r z b u r g (s. hier Addenda, s.v. S(I)BYRTAS 1) kann aus sprach 41. Weitere Namen s. bei B . Neutsch, RM 68 (1961), S. 163.
lichen G r ٧ n d e n nicht —wie teilweise vermutet — linkslδufig als SA-
ADDENDA
zu Charlotte Frankel, Satyr- und Bakchennamen auf Vasenbildern
(Halle, 1912)
(mit namenkundlichen Bemerkungen von G ٧ n t e r Neumann)
manchmal der Aufbewahrungsort geδndert. Weiter onysischen Szenen dargestellt sind. Das gleiche gilt f٧r
sind hier noch griechische Namensbeischriften auf un Ino. Doch scheinen die Individualnamen der den Pen-
teritalischen Vasen und auch auf einzelnen M o n u theus zerreiίenden Bakchen (Agaue, Ino, Semele) auf
menten auίerhalb der Vasenmalerei eingef٧gt. Die keiner Wiedergabe der Sage inschriftlich ٧berliefert zu
sprachlichen Erklδrungen zu den Namen verfaίte G ٧ n sein (vgl. nur G A L E N E 1).
ter Neumann (W٧rzburg), dem f٧r diese Arbeit hier Verschiedene Namen dionysischer Personifikationen
aufs herzlichste gedankt sei. 32
sind nur d u r c h literarische Zeugnisse f٧r n i c h t
Nicht aufgenommen sind die von Frankel S. 82 C erhaltene D e n k m δ l e r ٧berliefert. Sie sind, da epi
aufgef٧hrten Namen auf dem korinthischen Kolonnet- graphisch nicht faίbar, i m Gegensatz zu dem M o n u
tenkrater, Dresden Z V 1604 : D I O N , FARIS, M Y R I S ,
33
ment von Thasos ( = D I T H Y R A M B U S 1), nicht i n die
PORIS, PYROS, SIMA, da es sich hier u m korinthische folgende Liste aufgenommen. Als Beispiele seien
Dickbauchtδnzer m i t Frauen, nicht u m Satyrn und M E T H E und EBRIETAS genannt, die auf Bildwerken
M δ n a d e n handelt. Zwar k φ n n e n sich die Bereiche sicher die Gestalt von Mδnaden hatten. 38
D i c k b a u c h t δ n z e r - S a t y r n d u r c h d r i n g e n , und auch
34
Die Vase Frankel, S. 51, 104 o (jetzt London, British
Namen wie M Y R I S , PORIS, SIMA sind i m dionysischen Museum E 702) ist weggelassen, da bei der T H A L I A
39
Thiasos belegt, doch werden hier i m Folgenden nur die benannten Frau kein Hinweis darauf gegeben ist, daί
N a m e n a u f g e f ٧ h r t , die s a t y r g e s t a l t i g e n Wesen es sich u m eine Mδnade handelt.
zugeordnet sind. So werden hier auch nur die K O M O S - Da die Publikation der Inschriften auf Terrakot
Beischriften bei Satyrn genannt, ebenso K O M O D I A - tamatrizen noch aussteht, scheint mir die Deutung der
und TRAGODIA-Beischriften nur bei Mδnaden. Namen auf diesen Modeln noch nicht geklδrt. Pierre
Weiter entfallen die Namen GYRITES und H A L I O P E Wuilleumier deutete hier KISSO und SATYROS als
(Frankel, S. 21-22, 84 L ) . A u f dieser tyrrhenischen M δ n a d e n - bzw. Satyrnamen. Doch scheint es sich
40
sehen, von denen ein Paar die beiden obigen Namen Sind auf einem Monument mehrere benannte Satyrn
trδgt. Die zwei dargestellten Satyrn dagegen sind un und/oder M δ n a d e n dargestellt, so w i r d die B i b l i o
benannt. Bei dem benannten Paar handelt es sich nicht graphie nur bei der ersten E r w δ h n u n g des Objektes
u m Satyr und Mδnade. gegeben und an den anderen Stellen auf das betreffende
Die Namen HERILLOS und S A O N (Frankel, S. 7 2 - Stichwort, unter dem die Literatur zu finden ist, ver
73, 106 x) entfallen ebenfalls. Das Gefδί ist identisch wiesen. Hδufiger erwδhnte Buchtitel werden ebenfalls
mit einer Vase i n N e w York, s. hier C H O R I L L O S 2. nur bei i h r e r ersten N e n n u n g v o l l s t δ n d i g aus
Weggelassen ist die Beischrift N Y S A I (Frankel, S. 20, geschrieben. A n den anderen Stellen erfolgt ein Ver
84 H ) auf dem fragmentierten Sophilos-Dinos i n weis. Die Namen sind nach dem lateinischen Alphabet
A t h e n . Wie auf dem Sophilos-Dinos i n L o n d o n w o
36 37
geordnet. Werden mehrere Monumente unter einem
die Beischrift N Y P H A I lautet, ist ein Dreiverein von Namen genannt, so sind sie i n chronologischer Reihen
Nymphen gemeint. V o m Thema der Darstellung her folge aufgelistet.
(Hochzeit Peleus-Thetis) ergibt sich kein Hinweis auf Die Namensinschriften konnten nicht durch Autop
Mδnaden. Weibliche Personen m i t der Beischrift N Y M - sie ٧berpr٧ft werden, sondern sind aus Publikationen
P H A I figurieren hier nur dann, wenn diese i n d i - ٧bernommen.
Abk٧rzungen: den, gilt meist die Regel, daί der Akzent u m eine Position
GN Gφttername zur٧ckgezogen w i r d . Da diese Regel aber nicht streng durch
PN Personenname gef٧hrt w i r d , bleibt i n mehreren Fδllen der Sitz des Akzents
Wenn griechische Adjektiva als Personennamen verwendet wer- unklar.
SATYRNAMEN
AGRIOS 'Δypioc, "der Wilde, Rohe"; auch als P N belegt, z.B. bei Homer,
Mas.
ArPIOI 1) Nicht bei Frankel.
Attisch schwarzfigurige (tyrrhenische) Amphora. Cerve-
teri, Museo Nazionale. Aus Grab 207 von Monte Aba-
tone. M . M o r e t t i , Cerveteri (Novara, 1978), S. 13; K .
Schauenburg, Meded 6 (1979), S. 10, Taf. 4.9-5.12.
148 Kossatz-Deißmann
Α Ν Τ Ι ΕΣ 1) Frankel, S. 12, 82 A .
Chalkidische Amphora. Leiden, Rijksmuseum van O u d -
heden 1626. A . Rumpf, Chalkidische Vasen (Berlin und
Leipzig, 1927), S. 7-8, N r . 2, S. 46, N r . 2, Taf. 2.
BATYLLOS Βατ٨λλος vgl. das nur einmal belegte Subst. β α τ ٨ λ η "die Zwergin"?
Frankel, S. 75.
ΒΑΤΥΑΑΟΣ 1) Frankel, S. 75, 104 φ .
A t t i s c h r o t f i g u r i g e Pelike. Ehem. Paris, Slg. Raoul-
Rochette. ARV 2
1316.3 (Gruppe von Neapel 3235); O.
Jahn, Vasenbilder (Hamburg, 1839), S. 13ff., Taf. 2; Wagner
Satyr- und Mänadennamen auf Vasen 149
DITHYRAMBOS Διθ٨ραμβος aus dem Appellativum, das ein i m Kult des Dionysos
gesungenes Chorlied bezeichnet.
ΔΙΘΥΡΑΜΒΟΣ 1) Frankel, S. 69-70, 94 r.
Attisch rotfiguriges Kelchkraterfr. Kopenhagen, Thorvald-
sens Museum Η 597. ARV 2
1055.78 (Polygnot-Gruppe,
unbestimmt); Beazley, Add , S. 322; J. Boardman, JHS 76
2
E U . . . OS EY[ ] Ď Ó 1) Frankel, S. 88 S.
Attisch rotfigurige Schale. Br٧ssel, Musees Royaux d ' A r t
et d'Histoire R 253, und Vatikan, Astarita 306. ARV 2
]ΙΠΠΟΣ 1) Frankel, S. 7, 82 B .
Chalkidischer Kolonnettenkrater. Br٧ssel, Musees Royaux
d'Art et d'Histoire A 135. L i t . s.v. D O R K I S 2.
OREIMACHOS Όρείμαχος wφrtlich "der i n den Bergen Kδmpfende". Unter den zahl
reichen Komposita m i t ο ρ ε ι - ist dies sonst nicht belegt.
ΟΡΕΙΜΑΧΧΟΣ 1) Frankel, S. 24, 90 d.
Attisch rotfigurige Amphora. Berlin F 2160. ARV 2
196.1,
1633 (Berliner Maler); Paralipomena, S. 342; Beazley, Add ,
2
OROCHARES Όροχ٢ρης wφrtlich etwa "der sich i n den Bergen wohlf٧hlt"; sonst
nicht belegt.
ΟΡΟΧΑΡΕΣ 1) Frankel, S. 24, 90 d.
Attisch rotfigurige Amphora. Berlin F 2160. L i t . s.v.
OREIMACHOS 1; Immerwahr, S. 82, N r . 490.
OUKALEGON Ο٨καλ٣γων in der Ilias I I I . 148 als Name eines trojanischen Greises
belegt, "der sich u m nichts k ٧ m m e r t " .
ĎíĘÁÁĹĂĎÍ 1) Nicht bei Frankel.
Attisch schwarzfiguriger Kolonnettenkrater, Fr. Malibu, J.
Paul Getty Museum L.87.AE.120.4 (Lydos). Hier A b b . 2a.
PHLEBIPPOS Φλ٣βιππος s. zu P H L E
SAMON Σ٢μων unklar. Kaum zum Namen der Insel Samos. Wenn das α
dorisch ist, dann vielleicht zu den P N auf H P N , S. 398,
ebenda Σ ٤ μ ω ν .
ΣΑΜΟ Ν Wohl kein Satyr, sondern ein D δ m o n .
1) Frankel, S. 19-20, 82 D .
Bφotisch schwarzfigurige Dreifuίpyxis. Berlin V . l . 3364.
J. Marcade und W. Zschietzschmann, Eros Kalos (Genf,
1962), S. HO; B . Sparkes, JHS 87 (1967), S. 120, Taf. 15d;
U . Gehrig, A . Greifenhagen und N . Kunisch, Führer durch
die Antikenabteilung der Staatlichen Museen Preußischer Kultur
besitz, Berlin (Berlin, 1968), S. 52.
SATRUBS s. SIBYRTAS
SIKINNOS Σίκιννος s. zu S I K I N N I S .
SKRGOS s. SKIRTOS 1
TERPAULOS Τ٣ρπαυλος wahrscheinlich "der durch das Lied des Aulos erfreut".
ÔĹŃĐÁŐÁĎÓ 1) Nicht bei Frankel.
Attisch rotfigurige Amphora. Berlin 1966.19. L i t . s.v.
STYSIPPOS 1; Immerwahr, S. 69, N r . 404.
ÔĹŃĐÁŐÁĎÓ 2) Nicht bei Frankel.
Attisch rotfigurige Oinochoe. Rom, Villa Giulia. ARV 2
4), S. 266-267.
TYPBA[ 1) Frankel, S. 69, 102 λ.
Attisch rotfigurige Amphora. Neapel, Museo Nazionale
Η 3235 (81401). L i t . s.v. MARSYAS 7; RE 7 A (1948), S.
1863-1864, s.v. Tyrbas 1 (Radke).
AKEPHALE N A M E N
MΔNADENNAMEN
BOTRYOCHARIS Βοτρυοχ٢ρις diejenige, die Freude an Weintrauben hat, d.h. die das
Trinken liebende, v g l . dazu jetzt den Namen PHILOPOSIA
auf dem neuen Lydos-Krater i m Getty-Museum ( = PHI-
LOPOS... 1).
BOTPOIOXA[ 1) Nicht bei Frankel.
Bemalter Stoff aus Antinoe. Paris, Musee du Louvre ο.
Inv. L i t s.v. LASIOS 3.
Nr. 793.
Ε Ρ Η Υ Μ Ν Ι Α s. T H Y M E D I A
Satyr- und Mänadennamen auf Vasen 119
EUBOIA Ε٨βοια "die gute Rinder hat" oder identisch m i t dem Namen der
Insel.
ĹŐÂĎÉÁ 1) Frankel, S. 55, 98 z.
Attisch rotfigurige Schale. Warschau, Muzeum Narodowe
142458. L i t . s.v. A I E T O S 1; LIMC 4 (1988), s.v. Euboia I I ,
Nr. 1 m i t Abb.; Immerwahr, S. 115, N r . 799.
EUNOMIE Ε٨νομίη auch Name einer Tochter der Themis i n der Theogonie
des Hesiod. Etwa "die f٧r gute ν٧μοι sorgt" (ionische
180 Kossatz-Deißmann
Lautform).
ĹŐÍĎĚÉĹ 1) Nicht bei Frankel.
Apulisch rotfiguriger Volutenkrater. Berlin F 3257. FR,
Taf. 149; RVAp, B d . 1, S. 169, N r . 32 ("associated to the
Group o f the Moscow Pelike"); LIMC 4 (1988), s.v. E u -
nomia N r . 11 m i t A b b . Frankel f٧hrt diese Vase nur f٧r
EUTHYMIE an.
EURYDIKE Ευρυδίκη auch Name i m Mythos: "die weithin f٧r Recht sorgt" o.a.
ĹŐŃŐÄÉĘÇ 1) Nicht bei Frankel.
Attisch rotfiguriger Volutenkrater. N e w York, M e t r o p o l
itan Museum o f A r t 24.97.25. L i t . s.v. C H O R I L L O S 2;
LIMC 4 (1988), s.v. Eurydike V I I , N r . 1 m i t A b b .
E U T H A L I A s. P A I D I A 7
ORANIES Όρανίης ionische Lautform (η). Aber, da ein weiblicher Name vor
liegt, ٧berrascht das Sigma. Liegt eine Genetivform vor?
ĎŃÁÍÉÇÓ 1) Frankel, S. 50, 102 λ.
Attisch rotfigurige Amphora. Neapel, Museo Nazionale
Η 3235. Lit. s.v. M A R S Y A S 7.
OREITHYIA Ώρείθυια "die i n den Bergen sich aufhaltende θυι٢ς, d.h. Bakchant-
in".
ĎŃĹÉČŐÉÁ 1) Nicht bei Frankel.
Attisch rotfiguriger Stamnos. London, British Museum
Ε 437. ARV 2
54.5, 1622 (Oltos); Beazley, Add , S. 163 m i t
2
PHALLODIA Φαλλωδία vielleicht etwa "die beim Phallos-Fest ein Lied singt".
ΦΑΑΑΟΔΙΑ 1) Nicht bei Frankel.
G r o ί griechischer Bronzespiegel. Berlin 8538. L i t . s.v.
O I N A 1; RE 19 (1938), S. 1672-1673, s.v. Phallodia (Her
ter).
"Rosenbl٧te", v g l . sub Ά ν θ ε ι α .
1) Frankel, S. 45, 90 a.
RHODANTHE 5
Ροδ٢νθη
Attisch rotfiguriger Stamnos. Paris, Musee du Louvre
ŃĎÄÁÍČĹ G 43. L i t . s.v. C H O R A N T H E 1; Immerwahr, S. 69, N r .
402.
SIME Σίμη "die m i t der stumpfen Nase", vgl. den Satyrnamen Σΐμος.
ÓÉĚĹ 1) Frankel, S. 21, 84 K .
Attisch schwarzfigurige Schale. Neapel, Museo Nazionale
SA 172. L i t . s.v. K A L I S 1; RE 3 A (1929), S. 136, N r . 2,
s.v. Sime 1 (Leonard).
Θ Ε Ο Σ zu lesen.
T H E R O s. T H E O S
I N D E X DER AUFBEWAHRUNGSORTE
Das nachfolgende Verzeichnis soll zugleich aufzeigen, welche genannt. Wenn keine Gattung angegeben ist, handelt es sich
Namen gemeinsam auf einem Objekt vorkommen. Bei nicht immer u m Vasenbilder.
vollstδndig erhaltenen Namen w i r d z.T. der ergδnzte Name
Athen, Agora-Museum
Ρ 9189 PAIDIA 1
THYMEDIA 2
Baltimore, Museum o f A r t
37.127 (Mosaik) OINOS 3 OPORA 5
F 2160 OREIMACHOS 1
OROCHARES 1
F 2244 BRIAKCHOS 4
F 2532 (und Rom, Villa Giulia, Slg. Castellani
o. N r . ) CHORILLOS 3 CHORO 2 + 3
KISSOS 3-5 KALE 4
K O M O S 13 + 14 PHANOPE 2
F 2589 CHORILLOS 1
F 3257 EUNOMIE 1
EUTHYMIE 1
F 4220 SIKINNOS 2 IANTHE 1
V I . 3151 SILENOS 1
V I . 3364 SAMON 1
1966.19 STYSIPPOS 1
TERPAULOS 1
Berlin, Pergamonmuseum
(Relief) SATYROI 1
Byblos
(Mosaik) SILENOS 7
Leipzig, U n i v e r s i t δ t s s a m m l u n g
Τ 727 (zugehφrig Florenz 22 Β 324) KISSOS 7 TRAGODIA 3
Madaba
(Mosaik) SATYROS 2 BAKCHE 3
86.AE.305 BRIAKCHOS 3
Moskau, Puschkin-Museum
I I 1 b 732 METHYSE 3
M٧nchen, Antikensammlungen
2302 HIAKCHOS 1 EUMELPE 1
2360 HYBRIS 1
SKOPAS 1
2384 SIMOS 11
2606 OINOS 1
2612 LASIOS 2
2619 A (SILANOS) T E R P O N 3
1989.11.4 TYBRON 2
2158 ONNASEUAS 1
G 34 TERPON 4
G 43 CHORANTHE 1
RHODANTHE1
G 421 ( N 3402) MARSYAS 4 KOMODIA 1
G 430 (CA 303) KOMOS 1
o. N r . (Wandbehang) LASIOS 3 BOTRYOCHARIS 1
LENAIOS 1 INO 2
SKIRTOS 4 LYDE 1
ΜΕΑ 1
Phlious DASON 1
SIMOS 1
Riggisberg, Abeggstiftung
(zugehφrig Frr. wandbehang, Boston, Museum o f
Fine Arts, und Cleveland 1975.6) SATYROS 1
Shahba-Philippopolis
(Mosaik) MARON 1
Thasos, Dionysosheiligtum
(nicht erhaltene Statuengruppe) DITHYRAMBOS 2 KOMODIA 4
NYKTERINOS 1 TRAGODIA 5
Warschau,
701 Muzeum Narodowe
142332 BRIKON 1
142355 MIMAS 1 MAINAS 5
OINOPION 1 POLYNIKA 1
L 474 EUKRATES 1
SIBYRTAS 1
L 491 K O M O S 16 PAIDIA 2 + 3
PHYMOS 1
SIMOS 18
L 492 CHORILLOS 4 PAIDIA 6
Privatbesitz
(Mosaik) MARON 2
SATYROS 3
Verschollen
(ehem. Rom, Kunsthandel Penelli) SIMOS 4 ANTRO 1
(ehem. Berlin F 2471) K O M O S 11 ANTHEIA 1
SILENOS 6 CHORO 1
CHRYSIS 1
KALE 2
KISSO 1
MAKARIA 1
NAIA 1
NYMPHE 3
PERIKLYMENE 1
PHANOPE 1
(ehem. Deepdene, Slg. Hope 141) K O M O S 10 EUDIA 1
GALENE 2
(ehem. Neapel, Slg. Kleinenberg) LAMPAS 1
OINOTROPHOS 1
(ehem. Paris, Slg. Pourtales 183) TERPSIKOME 1
(ehem. Paris, Slg. Raoul-Rochette) BATYLLOS 1 EIRENE 2
EURYTION 1 ERATO 1
SYBAS 1 PANNYCHIS 1
POLYERATE 1
Kunsthandel, Genf
(ehem. Castle Ashby) MAINAS 1