Preferred Citation: Beazley, John Davidson. Development of the Attic Black-Figure, Revised edition. Berkeley:  University of California Press,  1986. http://ark.cdlib.org/ark:/13030/ft1f59n77b/

 
Notes
― 93 ―

Notes

One The Road to Black-Figure

1. Payne, NC p. 7.

2. Athens, Ceramicus Museum, inv. 1073: Kübler Kerameikos iv pl. 10, 1, whence Lane GP. pl. 3, b.

3. Berlin: AM. 43 pl. 1 (Schweitzer).

4. Athens 804: Jb. 14 p. 201; Pfuhl fig. 10; Merlin pl. 1; Buschor Vasen p. 14; Arias fig. 4; part of the chief picture, Lane GP. pl. 5, b.

5. Torr in RA. 25 (1894) pp. 14-27; Köster Das antike Seewesen figs 21-27; Chamoux in RA. 23 (1945) pp. 56-97; Kirk ''Ships on Geometric Vases" in BSA 44 pp. 93-153.

6. Sydney 46.41: Chittenden and Seltman Greek Art: A Commemorative Catalogue pl. 8; Handbook to the Nicholson Museum ed. 2 p. 244 (Trendall).

7. On Late Geometric, Proto-Attic, and earliest black-figure: J. M. Cook in BSA. 35 pp. 165-219 and 42 pp. 139-155; also Gebauer and Eilmann CV Berlin 1, reviewed by J. M. Cook in JHS. 59 pp. 151-152 and by R. S. Young in AJA. 1939 pp. 714-715.

8. Athens 810: AM. 17 pl. 10, 1-2 and pp. 209 and 214 (Pernice), whence (part) Perrot 10 p. 58; CC. pl. 19, 467. Pernice observed that it led on to the Analatos hydria (below, note 11); see also J. M. Cook in BSA. 42 p. 146.

9. Oxford 1935.18: Ashm. Rep. 1935 pl. 1; detail, BSA. 35 p. 182, fig. 5.

10. London 1936. 10-17. 1: BMQ. 11 pls. 18 and 19a (Martin Robertson); Arias fig. 10. On this and the last see also BSA. 42 p. 150 (J. M. Cook). The motive of the lion setting one paw on its cowering prey is Oriental; Jacobsthal refers me to a Mitannian cylinder in the British Museum (Frankfort, Cylinder Seals pl. 31a). See also Fraenkel Aeschylus Agamemnon p. 412, top.

11. Athens 313: Jb. 2 pl. 3, and pl. 4, below, r. (Böhlau), whence (part) Perrot 10, 59-61, Pfuhl fig. 79; side, Merlin pl. 17, 1; part BSA. 35 pl. 38 b and pl. 39, with p. 166 (J. M. Cook); part, Buschor Vasen p. 36 fig. 42; part, Kûbler A. p. 9, p. 39 above, p. 48 right. On the Analatos Painter, J. M. Cook in BSA. 35 pp. 172-176 and 42 p. 142.

12. The pupil of the centaur's eye is slightly damaged. The picture on B is similar, but the birds take the place of the plant on the left. Below, five full-sized horses and under one of the "goat-horn" handles a small one. Fragments of a lid may belong: on the lid, lines, bands of zigzags like those below the horses and a few small birds. Formerly in the Elgin collection at Broomhall in Fife.

13. Virgil Aen. 7, 674.

14. Cambridge 30.2: CV. 2 pl. 15, 8. With this and the Elgin vase compare also the ovoid krater Berlin A 16 ( CV. 1 pl. 7, 2 and pl. 8, 1).

15. Louvre: Mon. Piot 36 pl. 2 and pp. 28-29 and 37 (Audiat), whence (A) Buschor Vasen p. 37; part, Kûbler A. p. 49, right; also, Arias pl. II. Attributed to the Analatos Painter by J. M. Cook ( BSA. 35 p. 173).

16. Athens: Waldstein Argive Heraeum 2 pl. 67 (Hoppin); BSA. 35 pl. 52 with p. 191 (J. M. Cook). See also AM. 41 pp. 243-50 (Wrede).

17. J. M. Cook in BSA. 35 p. 191.

18. Kunze Neue Meisterwerke griechischer Kunst aus Olympia figs. 4-5.

19. New York 11.210.1: JHS. 32 pls. 10-12 and pp. 372-373 and 377 (Richter), whence Pfuhl figs. 86-87; ABS. pl. 2, 1-2, with p. 9; A, Buschor Vasen p. 36 fig. 44; part, Kübler A. p. 46, below, and p. 59. See also AM. 41 pp. 243-250 (Wrede) and BSA. 35 p. 192 (J. M. Cook).

20. Berlin A 42: Karo 26 Hallisches Winckelmanns-programm pl. 1 and pp. 10-11; CV. 1 pls. 31-33; part, Kübler A. p. 58. For the subject see AM. 62 p. 135 (Karouzou). An important vase by the Painter of the Menelas stand in Berlin: the neck-amphora in Eleusis with Perseus, Athena, and Gorgons on the body, and Polyphemos on the neck, Mylonas Ho protoattikos amphoreus tes Eleusinos .

21. Athens, Agora P7014: Agora VIII p. 47, no. 132 and pl. 8, and p. 89, no. 511 and pl. 31.

22. Athens, Acropolis 368: Graef pl. 13; combined by Gebauer with other fragments and tentatively ascribed to the Painter of the Ram Jug ( CV. Berlin 1 p. 7, no. 14).

23. Rome, Conservatori: Pfuhl figs. 64-65; Hoppin Bf . p. 7; Merlin pl. 11, 1; see BSA . 44 pp. 120-121 (Kirk).

24. JHS. 53 p. 282; BSA. 43 pl. 38, 534 and pl. 39 (Martin Robertson).

25. Palermo: ML. 32 pls. 79-80, pl. 81, 1 and p. 303.

26. Athens 192: AM. 6 pl. 3 (=Furtwängler KS. pp. 84-86); whence Perrot 10, 323, AM. 18 pl. 10; the inscription also Kirchner Imagines inscriptionum atticarum pl. 1, 1 and Bothmer Amasis Painter p. 20, fig. 6.

27. The Painter of the Ram Jug: CV. Berlin 1 p. 7 (Gebauer); BSA. 35 pp. 189-190 and JHS. 59 pp. 151-152 (J. M. Cook). The Menelas vase attributed by J. M. Cook ( BSA. 35 p. 189). Berlin A 41 ( CV. 1 pl. 30 and 34, 2) is a stand of the same shape as the Menelas, with another processional scene, but by a different painter; a fragment in Florence, with head and breast of a man to right, should belong to this.

28. Berlin A 32: CV. 1 pls. 18-21, whence (detail) Buschor Vasen p. 39. Attributed to the Painter of the Ram Jug by Gebauer ( CV. Berlin 1 p. 7, no. 3).

29. Next, one of the metopes at Foce del Sele (Zancani Montuoro and Zanotti-Bianco Heraion alla Foce del Sele ).

30. See Jb. 52 pp. 184-185 (Karouzou).

31. Compare also the fragmentary figure, near ours in time, on a Cycladic "candlestick" from Delos (Dugas Délos 17 pl. 10, 4).

32. Aegina: AM. 22 pl. 8 and pp. 325-327 (Pallat); part, BSA. 35 pl. 53 with p. 189 (J. M. Cook); part, Kübler A. p. 60, below; Kraiker Aigina: die Vasen des 10. bis 7. Jahrhunderts v. Chr. pl. 44 and pl. 45, above.

33. Berlin A 9: CV. 1 pl. 5, whence (part) Dragma p. 183 (Johansen), (part) Bull. Vereen. 14. 1, p. 4 figs. 1-2, (part) Buschor Vasen p.38; part, Kübler A. p. 60, above. Tentatively attributed to the Painter of the Ram Jug by Gebauer ( CV. 1, p. 7 no. 10).

34. Bull. Vereen. 14, i, pp. 4-6. The third animal is not a wolf, according to Rumpf ( Gnomon 25 p. 469), but a bear. Bear, lion, wolf are mentioned together by the comic poet Antiphanes (fr. 42 Kock).

35. Apollodorus 3, 13, 7.

36. Statius Ach. 2, 96.

37. CR. 54 pp. 177-180.

38. Pindar Nem. 3, 48-49.

39. Nonnus Di. 34, 145-147.

40. Iphigénie iv, 1, 12.

41. Athens: JHS. 22 pls. 2-4 (Cecil Smith: the red is the usual dark red); BSA. 35 pls. 56-58 with pp. 196-198 (J. M. Cook); part, Kübler A. p. 64.

42. On the early black-figure painters see, besides the works quoted in note 7 above, Payne NC. pp. 190-202 and 344-347; Hesp. 13 pp. 38-57; Kübler in Anz. 1943 pp. 417ff; also ABV. ch. 1.

Two Early Black-Figure, and the C Painter

1. Athens 353: Eph. 1897 pls. 5-6, whence Perrot 10 p. 81 and (redrawn and spoilt) 83, and Pfuhl fig. 88; Buschor Vasen p. 43; ABV. p. 2; Para. p. 1. See Payne NC. p. 346; J. M. Cook in BSA. 35 p. 201.

2. Amphora in Athens, Ceramicus Museum inv. 658: part, Anz. 1935 p. 294; Anz. 1943 p. 437; ABV. p. 3; Para. p. 1. Attributed by J. M. Cook ( BSA. 35 p. 198).

3. The Nettos Painter: Anz. 1923-24 pp. 46-49 (Rumpf); ABS. pp. 9-11; BSA. 35 pp. 200-201 and 205 (J. M. Cook); Hesp. 7 pp. 367-371 (Vanderpool); BCH. 1938 pp. 443-444 (Karouzou); Hesp. 13 p. 39; ABV. pp. 3-6 and 679; Para. pp. 1-5.

4. Athens 1002: AD. 1 pl. 57 and p. 46, whence Perrot 10, 71 and (redrawn and spoilt) 72-73, and Pfuhl fig. 85 and ABS. pl. 3, 1; part of Gorgon, BCH. 1938 pl. 46, a; upper part of Nessos, AM. 60-61 p. 272; phot. Alinari 24457, whence (the neck) Pfuhl fig. 89 and Merlin pl. 17, 2; part, Buschor Vasen p. 44; Hesp. 13 p. 39, no. 1; ABV. p. 4, no. 1; Para p. 2, no. 6.

5. The chase is over the sea on a late bf. skyphos in a private collection in Hamburg ( Anz. 1943 pp. 7-8, von Mercklin; ABV. p. 521, no. 2); and Eur. El. 458.

6. On early representations of Perseus, and of the gorgoneion, see Payne NC. pp. 79-89 and 362; AM 60-61 pp. 269-299 (Hampe); Besig Gorgo und Gorgoneion .

7. Athens 16367: I, BCH. 1938 pl. 45 a; Hesp. 13 p. 39 no. 6; ABV. p. 5, no. 6; Para. p. 4, no. 17. Attributed by Karouzou.

8. The incised sketch appears on another vase belonging to the same group as the Nessos vase, namely, the skyphos-krater with Prometheus, from Vari, Athens 16384: ABV. p. 6, near top; Para. p. 3, no. 3. I have not noticed it on vases earlier than these.

9. Leipsic. Probably from an amphora. Anz. 1923-24 p. 46; Hesp. 13 p. 39, no. 3; ABV p. 5, no. 3; Para. p. 2, no. 5. Attributed by Rumpf.

10. Berlin 1682: AZ 1882 pls. 9-10, whence Perrot to pp. 75-79 and (part) CV 1 p. 38; Neugebauer pl. 8, 2; part, CV pls. 46-47; Hesp. 13 p. 39, no. 4; ABV. p. 5, no. 4; Para. p. 2, no. 8. Attributed by Rumpf. On the shape, Jh. 29 p. 126, no. 9 (Kenner).

11. The Protocorinthian aryballos in Oxford (146: JHS. 24 p. 295 whence Pfuhl fig. 168; CV 2 III C pl. I, 5, 36, and 51) is dated by Payne at the end of the first quarter of the seventh century. Attic: Acropolis 604 (Graef pl. 29); and vases by the C Painter. I do not go into the date of the earliest Attic coins with the head of Athena helmeted; but it would be somewhat surprising if they were much earlier than the first armed Athena on Attic vases.

12. Agora P 1247: A, Hesp. 2 p. 457; Hesp. 7 pp. 368-371; Hesp. 13 p. 39 no. 2; ABV. p. 5, no. 2; Para. p. 2, no. 4.

13. Hamburg 1917.229: Anz. 1928 p. 297; ABS. p. 11 and Hesp. 13 p. 39, no. 5; ABV. p. 5, no. 5; Para. p. 3, no. 15; CV pl. 33, 1.

14. Sirens: see Buschor Die Musen des Jenseits .

15. Chimaera Painter: Hesp. 13 p. 40; ABV. p. 3; Para. pp. 1-3.

16. Aegina 565: Hesp. 13 p. 40 no. 1; ABV. p. 3, no. 1; Para. p. 1, no. 1.

17. London A 1531 (the register number of this vase is 1874.4-10.1): B, BCH. 1898 p. 285; A and side, Jacobsthal O. pl. 7; ABV. p. 3, no. 2; Para. p. 2, no. 2.

18. Ceramicus 154: Anz. 1943 pp. 433-436; ABV. p. 3, no. 3; Para. p. 3, no. 9. Attributed by Kübler.

19. Athens 16382: part, AJA. 1937 pl. 8; part, Anz. 1940 p. 130; part, BCH. 1939 pls. 49-50; Hesp. 13 p. 40, left; ABV. p. 3, no. 4 and bottom of page, p. 4, top; Para. p. 3, no. 10 and p. 4, no. 25. It is not certain that the lid belongs to the bowl, or the stand to either. According to Kübler ( Anz. 1943 pp. 435-436) the stand is alien. The stand is by the Chimaera Painter; the lid and bowl may also be his. 19 bis. Athens 16384: ABV. p. 4, and p. 6 near top; Para. p. 3, no. 13. In Para. p. 1, Beazley takes the work of the Chimaera Painter to be the early work of the Nettos Painter.

20. Athens 16383: Soc. Friends Nat. Mus. 1934-35 p. 12 fig. 9 a; Buschor Vasen p. 45; ABV. p. 7 g ; Para. p. 3, no. 12.

21. Kübler in Anz. 1943 p. 440.

22. Gorgon Painter: Payne NC pp. 191-194 and 340; AM. 62 pp. 111-135 (Karouzou); Hesp. 13 pp. 40-42; BSA. 44 p. 169 (Hopper); ABV. pp. 8-10, 679 and 714; Para. pp. 6-7.

23. Louvre E 874: Pottier pls. 60-62; CV. 2 d pls. 15-17, pl. 14, 3 and pl. 18, 1; Perrot 10 pl. 2 and pp. 117-118; part, Pfuhl fig. 92; part, Merlin pl. 34; phot. Alinari 23688; detail AM. 62 pl. 54, 1; part Enc. phot. 2 pp. 278-279; part, Buschor Vasen p. 99; part, Lane GP. pl. 34 and pl. 35 b. ( Hesp. 13 pl. 1, 1 is not from this but from the amphora Louvre E 817.). Hesp. 13 p. 40, no. 1; ABV. p. 8, no. 1; Para. p. 6, no. 1.

24. See Jacobstahl ECA. p. 77, and p. 36 of the present work; compare the "whirlwind" basketry design of the Hopi Indians (M. R. Coolidge, The Rainmakers , p. 105, 8).

25. Middle Protocorinthian—Aryballos in Syracuse: Johansen Les Vases sicyoniens pl. 26, 5: warrior between sphinxes. Late Protocorinthian—Aryballos in Taranto, 3090 (Johansen Les Vases sicyoniens p. 101, no. 70; Payne NC. p. 269, no. 13): swan between sphinxes. Alabastron in Syracuse: part, Payne NC. pl. 10, 2 (with p. 271 no. 30 a): swan between sphinxes. Conical oinochoë from Perachora: Payne Perachora 2 pl. 15, 270 (Dunbabin): bull between lion and panther. Conical oinochoë from Perachora: ibid. pl. 15, 264: two sphinxes between two animals and two lions. Aryballos in Taranto: CV. 2 III Cd pl. 1, 7-9: stag between lions. Compare also two aryballoi in Taranto ( CV. 2 III Cd pl. 1, 1-3 and ph 3; ibid. pl. 1, 4-6). Earlier are: (1) two animals confronted; (2) the same with a plant between (Geometric); (3) two animals confronted with an animal between, which they attack (early Orientalizing): but the quintet is anticipated by a Late Geometric Attic cup in Athens 14475 (Kunze in Kretische Bronzereliefs pl. 53 e), where a wee man is in the maw of two confronted lions, between two bulls.

I owe some of the references in this note to the kindness of T. J. Dunbabin.

26. Sophilos: Payne NC. pp. 62, 74, 105-106, 200, and 346; Karouzou in AM. 62 pp. 111-135; Hesp. 13 pp. 50-52; ABV. pp. 37-43, 681, and 714; Para. pp. 18-19; G. Bakir Sophilos. Ein Beitrag zu seinem Stil (Keramikforschungen 4) Mainz, 1981.

27. Acropolis 587: Graef pl. 26, whence (inverted) Hoppin Bf. p. 337; part, AM. 62 pl. 51; part Buschor Vasen p. 102; Hesp. 13 p. 50 no. 14; ABV. p. 39, no. 15. See also the signed dinos with the same subject, London 1971.11-1.1: Para. p. 19, no. 16 bis ; D. Williams, "Sophilos in the British Museum," Greek Vases in the J. Paul Getty Museum (Occasional Papers on Antiquities, I, Malibu, 1983) pp. 9-34.

28. Athens 16384, stand of a skyphoid krater: BCH. 1939 pl. 51, 1; ABV. p. 6, near top; Para. p. 3, no. 13.

29. See Payne NC. pp. 14-15. 29 bis. On the London dinos ( Para. p. 19, no. 16 bis ) Sophilos writes NV F AI.

30. On these figures see Hampe in AM. 60 p. 275 (the horizontal line near the tip of the donkey's tail is a chance scratch).

31. Athens 15499: Mon. Piot 33 pp. 44-47 and 49 and pl. 6 (Béquignon), whence (part) Johansen Iliaden fig. 9; part, AM. 62 pls. 52-53; part, Buschor Vasen p. 110; Hesp. 13 pp. 50-51 no. 16; ABV. p. 39, no. 16; Para. p. 18, no. 16; Bothmer Amasis Painter p. 44, fig. 36.

32. The Games for Patroklos may be represented on the dinos Agora P 334 ( Hesp. 4 pp. 431-439; ABV. p. 23) and the pyxis fragment Acropolis 2073 (Graef pl. 92), where there is a single athlothetes—Achilles (the hand, however, on the left of the Agora fragment is a difficulty); perhaps also on a fragment of a hydria, not far from Kleitias, in Samos; and not impossibly on a Protocorinthian aryballos in Syracuse ( ML. 25 pl. 14, whence Johansen Iliaden fig. 10). The picture on the hydria Vienna, 3613 (Masner p. 23, whence Jb. 41 p. 188; ABV. 106, no. 1), is interpreted by Studniczka as representing Diomed victorious in the Games for Patroklos ( Jb. loc. cit. ).

33. Acropolis 590: Graef pl. 27; Hesp. 2 p. 340 (Broneer); Hesp. 9 p. 146 (Roebuck) (Games for Pelias). Acropolis 2209: Graef pl. 9, 3. Geneva MF 156, Tyrrhenian ovoid neck-amphora (Thiersch Tyrrh. pl. 2, 1-4; ABV. p. 99, no. 49; CV. 2 pl. 43). See AJA. 1950 p. 310.

34. See Hesp. 13 p. 52; on red contours see also Rodenwaldt in Jb. 36 p. 1; ABV. p. 43, nos. 1-5. 34 bis. Rumpf has noted ( Gnomon 25 p. 469) that such red outlines are not confined to wood.

35. Komast Group: Payne NC. pp. 194-201; Greifenhagen Eine attische schwarzfigurige Vasengattung; JHS. 49 pp. 258-260; Metr. Mus. St. 5 p. 93; AJA. 1941 p. 69 (Amyx); Hesp. 13 pp. 45-50; ABV. pp. 23-37, 680-81; Para. pp. 14-17; H. A. G. Brijder, Siana Cups I and Komast Cups .

36. Athens 528: Hesp. 13 pl. 5, 2 (with p. 45 no. 14); ABV. p. 26, no. 22. New York 22. 139.22: Greifenhagen op. cit. pl. 1; A, Payne NC. pl. 51, 6; B, Richter and Milne fig. 152; Lane GP. pl. 35, a; Hesp. 13 p. 46 no. 17; ABV. p. 27, no. 1 at bottom.

37. On these, Webster in Manch. Mem. 82 pp. 10-12.

38. On the Komast cups see, besides the works named in n. 35, Villard in REA. 48 pp. 155-157; on the Corinthian cup, Hopper in BSA. 44 p. 225.

39. Samos 2235: part, AM. 54 pl. 4; another fragment, AM. 62 pl. 57, 1; Hesp. 13 p. 46 no. 18; ABV. p. 26, no. 27.

40. Payne NC. p. 118. Compare also the C Painter's Corinthianizing symposia, Metr. Mus. St. 5 p. 101; ABV. p. 51, no. 5.

41. Samos 2294: ABV. p. 25, no. 18; Para. p. 15, no. 18. Berlin 3987: for the subject see p. 22 of present work; ABV. p. 25, no. 16.

42. Siana cups: JHS. 49 p. 260; JHS. 51 p. 275; Metr. Mus. St. 5 p. 93; Villard in REA. 48 (1946) pp. 157-159; H. A. G. Brijder Siana Cups I and Komast Cups .

43. JHS. 59 pp. 103-123 (Webster); Dorothy Burr Thompson, The Charmed Circle in Archaeology , 1 pp. 158-164. Praise of roundness: SfairoV kukloterhV monih perihgei gaiwn (Empedokles frr. 27-28 Diels). 43 bis. ABV. p. 24, nos. 1-3 and p. 680, no. 3 bis; Para. p. 14, nos. 1-3 bis.

43. JHS. 59 pp. 103-123 (Webster); Dorothy Burr Thompson, The Charmed Circle in Archaeology , 1 pp. 158-164. Praise of roundness: SfairoV kukloterhV monih perihgei gaiwn (Empedokles frr. 27-28 Diels). 43 bis. ABV. p. 24, nos. 1-3 and p. 680, no. 3 bis; Para. p. 14, nos. 1-3 bis.

44. C Painter: Metr. Mus. St. 5 pp. 93-115; ABV. pp. 51-58 and 681; Para. pp. 23-25. The "cup-krater" Louvre CA 2988, attributed to the C Painter in REA. 48 p. 161, is not his: the style somewhat recalls the BMN Painter (see p. 67 of present work).

45. New York 01.8.6 (GR 521): Metr. Mus. St. 5 pp. 94-95 (with pp. 93 and 102 no. 4); A, Buschor Vasen p. 104; ABV. p. 51, no. 4.

46. Heidelberg S 1: Metr. Mus. St. 5 pp. 96-97 (with pp. 93-94 and 102 no. 1); ABV. p. 51, no. 1.

47. Herakles, himself, as victor in games, lifts a large tripod on an amphora by the Princeton Painter in Munich (1378: CV. 1 pl. 11, 4; ABV. p. 299, no. 17).

48. Berkeley 8.1: CV. Univ. Calif. 1 pl. 14: attributed by H. R. W. Smith; ABV. p. 54, 71.

49. Athens 532: Metr. Mus. St. 5 p. 103 (with pp. 94 and 104, no. 12); ABV. p. 52, no. 12.

50. Payne NC. pp. 105-106.

51. Athens 531: Metr. Mus. St. 5 p. 106 (with pp. 94-96 and 111 no. 65); ABV. p. 55, no. 92.

52. Würzburg 451: Langlotz pls. 117 and 126-127; I and A, Metr. Mus. St. 5 p. 107 (with pp. 96 and 113, no. 80); A, Buschor Vasen p. 105; ABV. p. 57, no. 114.

53. Merrythought cups: AM. 59 pp. 1-8 (Kraiker); REA. 48 pp. 161-162 (Villard); H. R. W. Smith, The Hearst Hydria , p. 252.

54. Louvre CA 616: the picture on the top, Met. Mus. St. 5 p. 109 (with pp. 96 and 114, no. 85); ABV. p. 58, no. 122; Para. p. 23, no. 122.

55. According to Payne ( NC. p. 142), a Corinthian bronze plaque in Delphi ( FD. 5 pl. 21) has much the earliest representation of the subject. —A fragment in Athens, North Slope ( Hesp. 9 p. 174, 55; ABV. p. 58, no. 125), is also by the C Painter. See also p. 23. The fragments by Kleitias (Graef pl. 24, a-c and e; ABV. p. 77, no. 3) may be somewhat later.

56. Compare Zeus's stick on a cup by the Heidelberg Painter in Heidelberg, VI. 29 a ( JHS. 51 p. 276; ABV. p. 63, no. 1; CV. 4, pl. 151, 1, 3-4).

57. See Jb. 52 p. 172 (Karouzos).

58. Berlin 1895, bf. hydria (Gerhard EKV. pl. 14; ABV. p. 268, no. 31), by the Antimenes Painter.

59. Payne NC. pp. 134-135. The Berlin fr., our pl. 16, 4 with p. 19.

60. Lekythos in London, B 30 (Walters pl. 1, above; ABV. p. 11, no. 20), Deianeira shape, near the Gorgon Painter ( Hesp. 13, p. 41, no. 3). On the Gorgon Painter's dinos in the Louvre (above, pp. 15-16) the flesh of Athena is black like the men's.

61. Naples: RM. 27 pls. 5-6; ML. 22 pl. 57, whence (part) Metr. Mus. St. 5 p. 108 (with pp. 96-98 and 113-114 no. 82); ABV. p. 58, no. 119; Para. p. 23, no. 119.

62. Hecuba is present at the death of Priam in Eur. Tro. 481; cf. also Virg. Aen. 2, 515.

63. Acropolis 2112: Graef pl. 92; Metr. Mus. St. 5 p. 114 no. 83; ABV. p. 58, no. 120.

64. Berlin 1655: FR. pl. 121, whence Pfuhl fig. 179.

65. The Siana cup London B 379 ( JHS. 5 pl. 42; CV. 2 pl. 8, 2; ABV. p. 60, no. 20), in the manner of the C Painter and very close to him, may be a little earlier '( Metr. Mus. St. 5 p. 99 and p. 110 no. 63). The lekythos Athens 413 is also early ( AM. 56 Beil. 44, 3; Haspels ABL. pl. 1, 2; ABV. p. 75, top).

66. The Acropolis fr., Graef pls. 83 and 87, 1780, whence Hoppin BF. p. 312; the other, JHS. 55 pp. 224; ABV. p. 59, no. 14. The two joined by Martin Robertson.

Three The François Vase

1. FR. pls. 1-3 and 11-13 and i p. 62 b; phots. Brogi; phots. Alinari. The drawings in FR. have often been reproduced, for instance in Perrot 10 pp. 141-173. ABV p. 76, 1; Para. p. 29, no. 1; M. Cristofani, Vaso François [Bollettino d'Arte serie speciale 1], passim; Bothmer Amasis Painter p. 40, fig. 23.

2. Acropolis 594: see p. 27 and our pl., 29, 5; ABV p. 77, no. 8. The cornea of Althaia's eye has suffered.

3. In Reichhold's drawing the right arm of Demeter is not in order, but turning to the older drawing by Michalek in Wiener Vorlegeblätter one sees that before the accident in 1900 a broad band of restoration ran diagonally through the three figures. Reichhold reproduced the old restoration; and after the accident, the whole middle part of the figure having disappeared, Milani had them re-restored after Reichhold's drawing. 3 bis. Rumpf has shown ( Gnomon 25 pp. 469-470) that the vessel carried by Dionysos does not contain wine; it is the golden amphora, work of Hephaistos, which according to Homer was given by Dionysos to Thetis, and which, years later, was used to hold the ashes of Patroklos and Achilles.

4. See Greifenhagen Eine attische schwarzfigurige Vasengattung pp. 69-75, and, more generally, Paul Friedländer Documents of Dying Paganism pp. 22-26; also Lullies in AM. 65 p. 3 and Rodenwaldt Korkyra 2 p. 139. The earliest frontal face in Greek drawing seems to be on the Boeotian vase with the Potnia Theron[ *] , Athens 220 ( Eph. 1892 pl. 10, 1, whence, part, Perrot 10 p. 42, fig. 30; Zervos L'Art en Grèce pl. 55; Hampe FGS. pl. 17, 2), early seventh century.

5. Il. 3, 125. Andromache's web had flowers only ( qrona : Il. 22, 441).

6. Payne NC. p. 73.

7. See Richter AAG. pp. 56-58, and Hatch and Miss Alexander here.

8. See Karouzou in Jb. 52 pp. 176-182.

9. Milani saw that the remains were of Okeanos—and not of the same monster as the tail. See Buschor Meermänner pp. 24-28.

10. Eur. Or. 1377.

11. The earliest in sculpture is much later, the Athena of Endoios.

12. Egyptian, see Möbius in AM. 41 p. 136; Mesopotamian, ibid. p. 143.

13. Aen. Tact. 38.6.

14. Wilamowitz-Möllendorff in Nachrichten . . . Göttingen 1895 pp. 217-245 = Kleine Schriften 5, 2 pp. 5-35.

15. Early representations of Dionysos: AM. 59 p. 23 (Kraiker).

16. Early satyrs: H. R. W. Smith The Origin of Chalcidian Ware pp. 122 and 134; AM. 59 p. 96 (Kunze); Brommer Satyroi pp. 25-26 and 52.

17. A Late Geometric gold diadem in Berlin is from Athens and may be Attic ( AZ. 1884 pl. 10, 1, whence Poulsen Orient p. 110); the griffin on it is the earliest extant Greek griffin.

18. On early representations of boar-hunts, P. de La Coste-Messelière Au Musée Delphes pp. 130-152; D. von Bothmer in Bull. MFA. 46 pp. 42-48.

19. Xen. Cyn. 10.

20. Xen. Cyn. 20-22.

21. This explanation was given by Heberdey in AEM. 13 pp. 78-82; it has recently been supported by Johansen, Thesée et la danse à Délos , and attacked by P. de La Coste-Messelière in RA. 28 (1947) pp. 145-146.

22. Acropolis 596: Graef pl. 29; ABV. p. 77, no. 9.

23. Acropolis 598: Graef pl. 24; ABV. p. 77, no. 5; hitherto thought to be part of an Amazonomachy.

24. Johansen Iliaden pp. 47-52 and 119-120.

25. R. M. Cook in CR. 1937 p. 208. The bronze, Jb. 52 Olympia-Bericht pl. 28; Bull. Vereen. June 1939 p. 8. In AJA. 1941 p. 596 I tried to show that an Attic fragment in the University of Vienna, from the later part of the seventh century, might preserve part of a Thessalian centauromachy. Now that it is published ( CV. 1 pl. 5, 651) I perceive that my notes misled me, that the inscribed name pertains to the centaur rather than to his opponent, and was doubtless Petraios, my alternative suggestion and also Miss Kenner's reading.

26. On the Potnia Theron[ *] , Bloesch AKS. pp. 26-36 and 150-157.

27. On each side of the neck of a long-necked amphora in Eleusis: she is winged, wears a polos, and holds swans.

28. For early representations see Hampe FGS. pp. 72-73.

29. NC. p. 79.

30. Trudy Gosudarstvennovo Muzeya Izobrazitelnich Iskusstv imeni A. C. Pushkina (Moscow 1939) figs. 32-33; attributed to "the circle of Kleitias" by Blavatsky ( ibid. pp. 86-91); ABV. p. 77, no. 2. The Moscow sherd was bought in 1908 in Cairo: a fragment of the same vase in the collection of Dr. Herbert Cahn in Basle is said to have been found in Luxor. Cf. D. von Bothmer in AK. 24 (1981) pp. 66-67 who shows that the fragments come from a volute-krater.

31. New York 31.11.4: Bull. Metr. Mus. 26 pp. 290-291 (Richter); part, Richter and Milne fig. 189; ABV. p. 78, no. 12; Para. p. 30, no. 12; Bothmer Amasis Painter p. 152, fig. 93.

32. Il. 3, 1-7.

33. They are deformed on a gold head-band, doubtless Eastern Greek, in Rhodes ( Cl. Rh. 8 pp. 112-113), found at Ialysos with Attic black-figured vases of the same period as the François vase or hardly later.

34. Plin. N.H. 7, 2, 26.

35. Aesop no. 285 Chambry; also Babrius no. 13.

36. Furtwängler in FR. i p. 7.

37. The following unsigned fragments are from the hand of Kleitias.

Skyphos or the like, Delphi, BCH. 1924 pl. 13, 1 and p. 321; FD. 2 fasc. 5 p. 125, 2; ABV. p. 77, no. 7. Attributed by Demangel.

Skyphos-like or kantharos-like vases: Acropolis 597 a-e: Graef pl. 24, whence Robert Hermeneutik p. 354, 1-4; ABV. p. 77, no. 3. A new fragment identified by Miss Pease, Hesp. 4 p. 227, 14. Acropolis 597, f-h: Graef pl. 24, whence Robert Hermeneutik p. 354, 5-6; ABV. p. 77, no. 4. Acropolis 598: Graef pl. 24, whence Robert Hermeneutik p. 354, 8; ABV. p. 77, no. 5. See pp. 31-32. Acropolis 599: Graef pl. 29; ABV. p. 77, no. 6.

Volute-krater: Moscow, Pushkin Museum, as in note 30 to chapt. iii above. See p. 33, and n. 30, pl. 30, 1.

Hydria: Acropolis 594: Graef pl. 24 and p. 66; ABV. p. 77, no. 5. See p. 25 and our pl. 29, 5.

Shape uncertain (hydria?): Acropolis 596: Graef pl. 29, whence Robert Hermeneutik p. 357; ABV. p. 77, no. 9. See p. 31 and our pl. 29, 6.

In ABS. 16 I surmised that the hydria-fragments Acropolis 601 (Graef pl. 29; ABV. p. 80, no. 1) might be by Kleitias, and noted that they were by the same hand as the fragments London B 601.13 ( JHS. 49 pl. 16, 17 and 6; probably from a "nuptial lebes" like Acropolis 474: Graef pl. 17; ABV. p. 8, no. 2). Bothmer has shown me that the two fragments come from different sides of the vase. I now see that they are not by Kleitias but by another excellent artist of the same period who may be called "the Painter of Acropolis 601." On the cups by Kleitias see pp. 24 and 48, and JHS. 52 pp. 185-186; ABV. p. 78, nos. 13-16.

Four Lydos and Others

1. Acropolis 606: part, Graef pls. 30-32 and pp. 68-69, whence (part) ABS. pl. 4 ; two new fragments identified by Mrs. Karouzou, BCH. 1947-48 p. 424, a-b; ABV. p. 81, no. 1; Para. p. 30, no. 1 middle. The painter: ABS. pp. 13-14; Rumpf Sak. p. 19; ABV. p.81; Para. p. 30.

2. On animal whirligigs see Jacobsthal ECA. pp. 59 and 210, and Anna Roos in Studia Vollgraf pp. 134-136. See also BSA. 35 pp. 167 and 199 (J. M. Cook); JHS. 68 p. 12 (Barnett); Mus. Helv. 7. p. 99 (Yalouris); Kübler A. p. 55, above.

3. Berlin inv. 4823: ABS. pl. 2, 3 and pl. 3, 2; ABV. p. 81, no. 4; Para. p. 30, no. 4 middle; CV. 5, pl. 1, 2 and pl. 3. Tübingen D 4 (S./10 1298): A, Watzinger pl. 5; ABV. p. 81, no. 5; CV. 2, pl. 31, 1 and pl. 32.

4. See AM. 18 pp. 151ff (Brueckner and Pernice) and Wilamowitz-Möllendorf Glaube der Hellenen 1 p. 153.

5. Odessa: von Stern Theodosia pl. 2, 1; ABV. p. 81, no. 7. Also by the Painter of Acropolis 606, fragments of a column-krater in Athens, Acr. 633 (Graef pl. 38; ABV. p. 81, no. 2; attributed by Rumpf), fragments (of a volute-krater?) in Athens, Acr. 625 (part, Graef pl. 38; a new fragment added by Miss Pease, Hesp. 5 p. 262, 9 and p. 263); ABV. p. 81, no. 3; and an ovoid neckamphora in Geneva (MF 153: A, phot. Giraudon 4945; ABV. p. 81, no. 6; CV. 2, pl. 52, 1-4).

6. Nearchos: JHS. 52 pp. 176 and 291; Richter in AJA. 1932 pp. 272-273; Pease in Hesp. 4 p. 229; Rumpf Sak. p. 19; ABV. pp. 82-83 and 682; Para. pp. 30-31. Add Berne, Jucker ( Festschrift für Frank Brommer pp. 191-199 and pls. 53-55).

7. Acropolis 611: Graef pl. 36, whence Hoppin Bf. p. 173 (except two fragments which belong to Acropolis 693), (part) Perrot 10 p. 201, (part) pfuhl figs. 236-237, (part) Johansen Iliaden fig. 14; part, Lane GP. pl. 45, b.; ABV. p. 82, no. 1 bottom; Para. p. 30, no. 1 bottom; Bothmer Amasis Painter p. 39, fig. 22. On the subject of A, see Wrede in AM. 41 p. 232 and Johansen Iliaden pp. 56-60; on harnessing-scenes in general, Wrede op. cit. pp. 335-354. Miss Pease saw that the fragment Acropolis AP 67 ( Hesp. 4 p. 227, 15) was by Nearchos and took it to be part of Acropolis 611, not however, of A, but of "a similar scene on B"; but it does not seem certain that there was a chariot on B; ABV. p. 82, no. 2 bottom.

8. On harnessing scenes, Wrede in AM. 41 pp. 232-234 and 335-354; and see pp. 37, 64, 72-73, and 73 of the present work.

9. Berlin inv. 3319: Anz. 1895 p. 34. In JHS. 49 p. 258 Payne and I took the Attic kantharos-fragment London B 601.14 ( ibid. pl. 15, 17), in the manner of the KX Painter, to be from a harnessing-scene; it would have been the earliest in Attica; and so Johansen Iliaden p. 69. But in CV. Cam. 2 p. 43 I pointed out that the Cambridge fragment N. 131. G71 ( ABV. p. 26, no. 29) joined London B 601.14, so that the subject was not harnessing, but a frontal chariot (Hesp. 13 p. 46, no. 19). Nearchos' harnessing-scene remains the earliest extant Attic.

10. Athens Acr. 612: Graef pl. 36, whence Hoppin Bf. p. 175; ABV. p. 83, no. 3.

11. New York 26.49: AJA. 1932 pls. 10-11 and p. 273 (Richter); ABV. p. 83, no. 4; Para. p. 30, no. 4; Bothmer Amasis Painter p. 39, fig. 21.

12. Lydos: JHS. 51 pp. 282-284 ("Painter of London B 148," seen by Miss Richter to be Lydos); Richter in Metr. Mus. St. 4 pp. 169-178; BSA. 32 p. 18; Rumpf Sak. ; H. R. W. Smith, The Hearst Hydria , p. 267, n. 5; Cypr. pp. 6-7; ABV. pp. 107-113, 684-685 and 714; Para. pp. 43-46; M. Tiverios, ' O LudoV kai to " Er go tou , Athens 1976.

13. Louvre F 29: Hoppin Bf. p. 164; Rumpf Sak. pl. 17 f; phot. Giraudon 16996, right; ABV. p. 109, no. 21; Para. p. 44, no. 21.

14. Acropolis 607: Graef pls. 32-35 (not complete), whence (details) Pfuhl figs. 238-240; the head of Dionysos, not figured by Graef, AM. 59 p. 19 (Kraiker); Rumpf Sak. pls. 18-20; ABV. p. 107, no. 1; Bothmer Amasis Painter ; p. 40, fig. 24; M. B. Moore, "Lydos and the Gigantomachy," AJA. 83 pp. 79-99.

15. On the costume of Herakles, Paola Zancani Montuoro in Rend. Acc. Linc. 8th ser., 2 (1947) pp. 207-221. Cf. Lenzen The Figure of Dionysos on the Siphnian Frieze (Univ. of Calif. Publ. Class. Arch. , iii, no. 1), pp. 9-14.

16. Harvard 1925.30.125: CV. Hoppin pl. 3; A, Rumpf Sak. pl. 12 c; ABV. p. 108, no. 9; Bothmer Amasis Painter p. 164, fig. 97. Attributed by Rumpf.

17. Vase in Athens (16388) mentioned in AM. 62 p. 114 n. 3 (Karouzou).

18. Acropolis 474 (Graef pl. 17; detail, AM. 62 p. 121): Hesp. 13 p. 40, no. 2; ABV. p. 8, no. 2. On the motive, which already occurs in an engraved stone of Geometric style, see Payne, NC. p. 74; Hafner; Amyx in AJA. 1939 pp. 164-166.

19. London 1948.10-15.1: ABV. p. 108, no. 8; Para. p. 44, no. 8; Bothmer Amasis Painter p. 42, fig. 29. Attributed by Dietrich von Bothmer and Martin Robertson.

20. Similarly Herakles, on an amphora in the British Museum (B 166: Gerhard AV. pl. 128; CV. 3 pl. 30, 3), is so embarrassed when brought into the presence of Zeus that he turns round and makes off. In Colluthos 123 Paris flees from Hermes.

21. Florence 70995: A, JHS. 1886 pl. 7, whence Pfuhl fig. 211; A, Thiersch Tyrrh. pl. 2, 7; Rumpf Sak. pls. 2-3; ABV. p. 110, 32; Para. p. 44, no. 32. Attributed by Rumpf. Compare the ovoid neck-amphora in the Kent collection at Harrogate, attributed by Charlton ( AJA. 1944 p. 255 figs. 4-5).

22. New York 31.11.11: Bull. Metr. Mus. 1932 pp. 75 and 77; AJA. 1932 p. 96 and p. 97, fig. 5; Metr. Mus. St. 4 pl. 1 and pp. 171-173; Rumpf Sak. pls. 21-23; A, Buschor Vasen p. 114; ABV. p. 108, no. 5; Para. p. 43, no. 5. Attributed by Miss Richter.

23. London B 148: JHS. 19 pl. 6; CV. 3 pl. 25, 5; A, Bull. Metr. Mus. May 1947 p. 225; JHS. 51 p. 282 no. 1; ABV. p. 109, no. 29; Para. p. 44, no. 29; Bothmer Amasis Painter pp. 42-43, figs. 30-31.

24. See Payne NC. p. 133.

25. Taranto: Rumpf Sak. pl.25; CV. 1 pl. 1, 1-2; JHS. 51 p. 284; ABV. p. 109, 26; Para. p. 44, no. 26.

26. Theseus wears a somewhat similar garment on an amphora by a colleague of Lydos, the Painter of Louvre F 6 (see p. 45), in the Vatican (313: Mus. Greg. pl. 47, 1; Albizzati pl. 32; ABV. p. 125, no. 37). See also Kunze Kretische Bronzereliefs p. 225. 26 bis. Basle, Kambli: ABV. p. 109, no. 25; Para. p. 44, no. 25; Bothmer Amasis Painter p. 41, fig. 28.

27. Cab. Méd. 206: de Ridder p. 116 and pl. 5; CV. 1 pl. 34, 1-2 and 8; A, BSA. 32 pl. 10; B, Rumpf Sak. pl. 26 b; ABV. p. 109, no. 27. See also Cypr. p. 7.

28. Naples 2770: A, JHS. 51 pl. 13 (with p. 284); CV. pl. 6; ABV. p. 109, no. 23; Para. p. 44, no. 23.

29. Göttingen and Cab. Méd.: Eph. 1937 pp. 14 and 16; ABV. p. 109, no. 19. Plate 38, 4 and 6 shows only the Göttingen fragment.

30. Chicago, Univ.: AJA. 1943 p. 390 fig. 4 (F. P. Johnson) and p. 442; ABV. p. 110, no. 34. See also p. 84 of the present work.

31. Harvard 1959.127: AJA. 1930 p. 354; CV. Robinson 1 pl. 19, 1; ABV. p. 112, no. 54; Para. p. 44, no. 54.

32. Acropolis 1757: Graef pl. 86.

33. Ceramicus: AM. 59 Beil. 1, 1-3 and pls. 1-3; ABV. p. 113, no. 81; Para. p. 45, no. 81. Attributed by Kraiker.

34. Vlasto: Rumpf Sak. pl. 14; ABV. p. 113, no. 84.

35. Villa Giulia M 430: Mingazzini Cast. pl. 44, 1, pl. 46, 1-2 and pl. 45, 1; Rumpf, Sak. pl. 13, a and pl. 15, a-c; ABV. p. 108, no. 14; Bothmer Amasis Painter p. 41, fig. 26. Attributed by Rumpf.

36. Munich 1681: Rumpf Sak. pl. 7d; ABV. p. 108, no. 12. Attributed by Rumpf.

37. Louvre E 804: phot. Giraudon 25741, whence Rumpf Sak. pl. 12b; ABV. p. 108, no. 13. Attributed by Rumpf.

38. Oxford 190: Percy Gardner Catalogue of the Greek Vases in the Ashmolean Museum pl. 1 and p. 6, fig. 10; CV. 2 pl. 12, 1-4 and 8: restored; ABV. p. 124, no. 16. Rhodes: Cl. Rh. 8 p. 111, 1 and p. 126; ABV. p. 124, no. 11. Louvre F 6: Pottier pl. 63; CV. 6 pl. 59, 1-2: now cleaned; ABV. p. 123, no. 3; Para. p. 51, no. 3; ABV. pp. 123-129, 685 and 714; Para. pp. 50-53.

Five The Heidelberg Painter—Little-Master Cups—Amasis

1. JHS. 51 pp. 275-282: I spoke of a "Group"; I see now that the vases are all by one painter. ABV. pp. 63-66 and 682; Para. pp. 26-27.

2. Florence 3893: JHS. 51 p. 280 no. 13 and p. 285 figs. 30-31; ABV. p. 64, no. 26; Para. p. 26, no. 26.

3. Munich inv. 7739: Anz. 1938 p. 452 fig. 33 and p. 449; ABV. p. 64, no. 28; Bothmer Amasis Painter p. 72, fig. 55. Attributed by Sieveking.

4. First in Corinthian, see Payne NC. p. 114.

5. Also an athletic scene very like this on a cup by the same painter in the Cabinet des Médailles (314: CV. 1 pl. 45, 1-5; JHS. 51 p. 280 no. 15; ABV. p. 65, no. 41).

6. Würzburg 452: Micali St. pl. 87, 1; A, Baur Centaurs pl. 10, 242; Langlotz pl. 126, pl. 128, and pl. 117, whence (A) Dragma p. 185; JHS. 51 p. 280 no. 8 (where for "Greek" read "Herakles"); ABV. p. 63, no. 6.

7. Strictly, Thetis should not be present in this version of the legend; see Johansen in Dragma pp. 181-205.

8. Pind. Nem. 3, 43 xanqoV d ' ' Aca men menw FiluraV en domoiV Cf. Philyreia tecta in Ovid Met. 7, 352.

9. Pind. Pyth. 4, 102-103.

10. Palermo: the left half, ML. 32 pl. 91, 3, the two halves joined in JHS. 51 no. 1; JHS. 51 p. 280 no. 17; ABV. p. 65, no. 45.

11. Berlin inv. 4604: Körte Gordion pl. 7 and p. 41, whence Pfuhl figs. 213-214; Hoppin Bf. p. 149; ABV. p. 78, no. 13.

12. Gordion cups: JHS. 49 pp. 265-267 and 52 pp. 185-186; see also Villard in REA. 48 (1946) p. 164.

13. Shield 207-210; efoineon in 210 may be corrupt, but is an old reading, as it occurs in the plus-line Il. 18, 608c.

14. Sylloge nummorum 2 R. 37, 1073-1074, and 3 pl. 15, 811-816.

15. Taranto I.G. 4805: BSA. 34 pl. 30, 1; Lane GP. pl. 30; Stibbe Lakonische Vasenmaler p. 288, no. 332.

16. Taranto I.G. 4806: BSA. pl. 30, 2; Stibbe, Lakonische Vasenmaler p. 288, no. 333. Munich 385: Sieveking and Hackl Die königliche Vasensammlung zu München pl. 13; Stibbe p. 284, no. 263.

17. Vernier La Bijouterie et la joaillerie égyptiennes pl. 26; Bossert Geschichte des Kunstgewerbes 4 p. 120; a small cut in Breasted Ancient Times p. 298.

18. Krönig in Mitteilungen des Deutschen Instituts für ägyptische Altertumskunde in Kairo 5 pp. 144-166 (I owe my knowledge of this work to Bernard Bothmer and Dr. Dietrich von Bothmer). See also the silver-and-gold bowl from the tomb of Psusenes at Tanis (Montet in Mon. Piot 43 pl. 4 with pp. 20-30), 21st dynasty.

19. Hayford Peirce and Royall Tyler L'Art byzantin pl. 117 ("c. 400 A.D. "; "there is no more disconcerting object in the world." I owe this reference to Dr. D. A. Amyx); Berenson Aesthetics and History in the Visual Arts p. 31, fig. 2. Said to be Byzantine; West European?

20. Eucheiros: JHS. 52 pp. 169, 175, 178, 192 and 200; ABV. p. 162; Para. p. 68.

21. Little-Master cups: JHS. 52 pp. 167-204; Villard in REA. 48 pp. 162-169.

22. Payne Protokorinthische Vasenmalerei p. 13.

23. London B 424: VA. pp. 189 and 136; Hoppin Bf. p. 315; CV. 2 pl. 13, 2; ABS. pl. 1, 1-2; JHS. 52 pl. 5; ABV. p. 168 middle; Para. p. 70, no 3.

24. JHS. 52 pp. 194-195; PP. p. 33.

25. See also Villard in REA. 48 p. 165.

26. Vatican 317: Albizzati pl. 34; JHS. 52 pl. 6, 1; Buschor Vasen p. 106; ABV. p. 169, no. 4. On the Phrynos Painter, ABS. pp. 6-8 and 16-17; JHS. 52 pp. 170 and 199; Cypr. p. 10; ABV. pp. 168-169 and 688; Para. pp. 70-71.

27. Tleson Painter: JHS. 52 pp. 195-196, 172-173, 176, 180-182, 184, 186, 191, 193; RG. pp. 55-56; Cypr. pp. 3-6; ABV. pp. 179-183 and 688; Para. pp. 74-76.

28. New York private, ex Castle Ashby: Hoppin Bf. p. 377; ABS. pl. 5, 1; ABV. p. 179, 3; CV. pls. 25, 7 and 26, 1. The same subject on a lip-cup by another painter in Rhodes (12584: Cl. Rh. 3 p. 373 fig. 421 and fig. 420, 2).

29. ABV. p. 179, no. 18; CV. pl. 26, 2-3. ABV. p. 179, no. 19; CV. pl. 93, 2. ABV. p. 180, no. 25; CV. pl. 27, 1-2. ABV. p. 180, no. 26. Nicosia C 438: Cypr. pl. 1, 1-2 with pp. 3-4; ABV. p. 180, no. 34.

30. Munich S.L. 462: Sieveking, Bronzen, Terrakotten, Vasen der Sammlung Loeb pl. 43, 1 and p. 55; JHS. 52 pl. 9; ABV. p. 180, no. 44. See Cypr. p. 4.

31. Cab. Méd. 317: ABV. p. 180, no. 42. Not mentioned in my previous lists, a band-cup by the Tleson Painter in the Pushkin Museum, attributed to him by Losseva ( Trudy Gosudarstvennovo Muzeya Izobrazitelnich Iskusstv imeni A. C. Pushkina , Moscow 1939, figs. 30-31; ABV. p. 180, no. 46: A, stag between sphinxes; B, goat between swans); and another in the National Museum, Warsaw (ex Wilanow, Branicki: B, CV. Pologne 3 pl. 113, 5; ABV. p. 181, no. 47; Para. p. 47, no. 47; A, boar between panthers; B, stag between swans).

32. London B 421: Hoppin Bf. p. 387; CV. pl. 11 2; JHS. 52 p. 177 fig. 9; Lane GP. pl. 39 a; ABV. p. 181, no. 1 middle; Para. p. 75, no. 1 near bottom.

33. Munich 2243: WV. 1889 pl. 2, whence Hoppin Bf. pp. 60-61; FR. pl. 153, 1 and p. 219; A, Schaal Sf. fig. 34; A, Buschor Vasen p. 126; ABV. p. 163, no. 2 bottom; Para. p. 67, no. 2 bottom and p. 68, no. 2.

34. By Dietrich von Bothmer: tecte in Bull. Metr. Mus. May 1947 p. 224.

35. Vatican 325: ML. 28 p. 265; Albizzati pl. 36 and p. 115; phot. Alinari.

36. New York 17.230.5, by the Oakeshott Painter ( Para. p. 78): detail of A, ABS. pl. 1, 3; details of B, JHS. 52 p. 204; Jb. 52 p. 205. The foot of the cup is modern.

37. Boston 10.213: CV. pl. 109, 6.

38. Louvre F 75: A, Pottier pl. 69; JHS. 51 pl. 12 (with p. 274); CV. 6 pl. 81, 3-10; Enc. phot. 2 p. 288; B, Hesp. p. 253 fig. 10; ABV. p. 156, no. 81; Para. p. 65, no. 81; Bothmer Amasis Painter pp. 210-212, cat. no. 57.

39. Cracow inv. 30: CV. pl. 5, 1; ABV. p. 156, no. 84; Bothmer Amasis Painter p. 209, fig. 109.

40. Amasis Painter: ABS. pp. 17, 21-22, and 31-36; BSR. 11 pp. 3-4; Kraiker in Jb. 44 pp. 141-150; JHS. 51 pp. 256-275; JHS. 52 p. 202; Karouzou in AM. 56 pp. 98-111; BSA. 32 pp. 18-19; Kraiker in AM. 56 pp. 19-24; Vanderpool in Hesp. 8 pp. 247-255 and 265-266; Roebuck in Hesp. 9 p. 150; H. R. W. Smith in AJA. 1945 p. 26; ABV. pp. 150-158, 687-688 and 714; Para. pp. 62-67; Bothmer Amasis Painter passim . 40 bis. A lekythos signed by Amasis as potter in Malibu is painted by the Taleides Painter (Bothmer Amasis Painter p. 229). 40 ter. See Bothmer Amasis Painter p. 108, no. 17.

41. Cab. Méd. 222: WV. 1889 pl. 3, 2, whence Perrot 10 pp. 179-183; CV. 1, pls. 36-37; phots. Giraudon, whence Hoppin Bf. p. 35, Merlin pl. 36, and (A) Pfuhl fig. 220; A, Buschor Vasen p. 117; A, Lane GP. pl. 42; side, Jacobsthal O. pl. 35, a; part of the shoulder, Jb. 53 p. 108; ABV. p. 152, no. 25; Para. p. 63, no. 25; Bothmer Amasis Painter pp. 125-129 cat. no. 23. 41 bis. The repainting has now been removed.

42. The two shoulder scenes are misdivided in CV.

43. Boston 01.8027: Jh. 10 pls. 1-4 and pp. 2 and 16 (Hauser), whence Pfuhl figs. 218-219, Hoppin Bf. pp. 30-31, and (redrawn and spoilt) Perrot 10 pp. 184-187; AJA. 1901 pls. 12-13; side, Jacobsthal O. pl. 24 d; shape, Caskey G. p. 44; ABV. p. 152, no. 27; Para. p. 63, no. 27; CV pls. 27 and 28, 3. See also Johansen Iliaden p. 157; Bothmer Amasis Painter pp. 134-137 cat. no. 25. Now augmented by fragments recognized in Philadelphia by Payne and by Heide Mommsen. The fragment with the feet of Thetis seems slightly out of place.

44. See Johansen Iliaden pp. 65-70.

45. JHS. 51 p. 261; AJA. 1945 p. 467, 1 (H. R. W. Smith); ABV. p. 152, no. 28; Para. p. 63, no. 28.

46. Similar guide-lines appear below the tongueornament on the shoulder in a class of black-figure oinochoai not connected with the Amasis Painter: London B 521, B 523, B 496; Havana, once collection of the Conde de Lagunillas (Athena mounting chariot, with Herakles, Apollo, and Hermes): ABV. p. 432; Para. pp. 184-186. Guide lines on inscribed stones: see Raubitschek Dedications from the Athenian Acropolis p. 439.

47. Louvre F 30: WV 1889 pl. 4, 3, whence Perrot 10 pp. 188-189; Hoppin Bf. p. 37; AM. 56, Beil. 51; Enc. phot. 2 p. 283; ABV. p. 152, no. 29; Para. p. 63, no. 29; Bothmer Amasis Painter pp. 140-142, cat. no. 27.

48. On a neck-amphora by the Antimenes Painter in Tarquinia (RC 1871), Herakles walks to right, towards Poseidon who stands to left; Herakles looks round at Hermes, who follows him ( ABV p. 270, no. 64; Para. p. 118, no. 64).

49. New York 06.1021.69: Sambon Coll. Canessa pl. 14 and p. 57; A, Richter and Milne fig. 3; A, AM. 56, Beil. 49; A, Buschor Vasen p. 108, fig. 127; ABV. p. 150, no. 2; Para. p. 62, no. 2; Bothmer Amasis Painter pp. 70-73, cat. no. 1.

50. Berlin inv. 3210: Adamek Unsignierte Vasen des Amasis pls. 1-2 and p. 7; ABS. pl. 9, 1 and pl. 10, 1; Jb. 44 p. 115; A, Neugebauer pl. 29; ABV. p. 151, no. 21; Para. p. 63, no. 21; Bothmer Amasis Painter p. 49, fig. 45. Attributed by Furtwängler.

51. Würzburg 265: JHS. 19 pl. 5 and p. 136, whence Perrot 10 pp. 190-191; A, Pfuhl fig. 222; Langlotz pls. 73-74; ABV. p. 151, no. 22; Para. p. 63, no. 22; Bothmer Amasis Painter pp. 113-117, cat. no. 19. Attributed by Dümmler. 51 bis. Now cleaned.

52. Samos inv. K 898: the larger fragment, AM. 56 pl. 3; ABV. p. 151, no. 18; Para. p. 63, no. 18; Bothmer Amasis Painter p. 109, fig. 67 (part). Attributed by Karouzou.

53. Vienna, 3577: A, Masner pl. 2, right; part of B, FR. 1 p. 260; G. von Lücken Greek Vase Paintings pls. 62-63; Hemelrijk Caeretan Hydriai , no. 5.

54. The motive is treated in Caskey and Beazley Attic Vase Paintings in the Museum of Fine Arts, Boston , ii pp. 95-99, no. 113.

55. London B 524: ABS. pl. 11; ABV. p. 154, no. 47; Para. p. 64, no. 47; Bothmer Amasis Painter pp. 163-165, cat. no. 37. On the frontal chariots of the Amasis Painter see also Hafner pp. 22-23.

56. Palermo: ML. 32 pl. 91, 1; ABS. p. 36, no. 40; JHS. 51 p. 266; ABV. p. 156, no. 78.

57. Bonn 504: BSA. 32 pl. 11, 1, with pp. 18-19; Anz. 1935 p. 422 fig. 10 (Greifenhagen); ABV. p. 151, no. 20; Para. p. 63, no. 20; Bothmer Amasis Painter p. 41, fig. 27 and 49, fig. 44.

58. Louvre CA 2918: CV. 9 pl. 84, 1-5; A, Hesp. 8 p. 253 fig. 11; ABV. p. 157, no. 85; Bothmer Amasis Painter pp. 212-214, cat. no. 58. Attributed by Plaoutine. See also Villard in REA. 48 pp. 160-161.

59. Louvre A 479: Pottier pls. 17-18, whence (A) Perrot 10 p. 230; CV. 9 pl. 92; ABS. p. 35, no. 36; ABV. p. 156, no. 80; Para. p. 65, no. 80; Bothmer Amasis Painter pp. 200-203, cat. no. 54. See also Villard in REA. 48 p. 166; and Cypr. p. 19.

60. 10.651: ABV. p. 157, no. 86; Para. p. 65, no. 86; CV. pl. 101; Bothmer Amasis Painter pp. 221-222, cat. no. 61. Another work by the Amasis Painter in Boston is the fragment 86.616 (F352.4: Fairbanks, Catalogue of Greek and Etruscan Vases pl. 38; ABV. p. 155, no. 65; Para. p. 64, no. 65; Bothmer Amasis Painter p. 118, cat. no. 20: boxers).

61. On these three cups see JHS. 51 pp. 266-270. The fragments of the signed cup are now assembled in the Vatican (369a: ABV. p. 157, no. 87; Para. p. 65, no. 87; Bothmer Amasis Painter pp. 223-226, cat. no. 62). Those of the unsigned ex Vatican and Dorchester in Oxford (1939.118: Ashm. Rep. 1939 pl. 5, 1; ABV. p. 157, no. 89; Para. p. 65, no. 89; Bothmer Amasis Painter pp. 227-228, cat. no. 63). Those ex Florence and Villa Giulia in Florence (A, Boll. d'Arte 29 p. 259 fig. 2; ABV. p. 157, no. 88; Bothmer Amasis Painter p. 224, fig. 114: the foot falsely restored). See also Bloesch FAS. pp. 42-43 Villard in REA. 48 p. 179.

Six Exekias

1. On Exekias: ABS. pp. 17-21 and 29-31; BSA. 32 pp. 1-3; Technau Exekias ; ABV. pp. 143-147, 686-687, and 714; Para. pp. 59-61.

2. Louvre F 53: WV. 1888 pl. 5, 1, whence Hoppin Bf. pl. 101 and Perrot 10 pl. 3 and pp. 193-195; CV. 3 pls. 19-20; A, Merlin pl. 37, 1; Enc. Phot. 2 pp. 286-287; ABV. p. 136, no. 49; Para. p. 55, no. 49; Bothmer Amasis Painter p. 115, fig. 68 (lid). Toledo 80.676: CV pls. 81-83; Bothmer Amasis Painter p. 115, fig. 69 (lid). Taranto: Locri Epizefirii [ Atti . . . Convegno . . . Magna Grecia , 1976] pl. 101.

3. Group E: BSA. 32 pp. 3-8; ABV. pp. 133-138, and 686; Para. pp. 54-57. See also Hafner pp. 28-29.

4. London B 194: A, Walters pl. 4; A, CV , 3 pl. 37, 1; BSA. 32 p. 7, no. 35; ABV. p. 136, no. 56; Para. p. 55, no. 56. Ros[ *] : Bloesch AKS. pls. 14-17; ABV. p. 133, no. 5.

5. Bf. hydria in Florence, 70994: CV. pls. 3, 1-2 and 5.

6. Plaoutine had observed that the lid was bought separately, but Bothmer has shown that the lid of the Louvre Exekias does belong to it ( Para. p. 55, no. 49).

7. Berlin 1720: WV. 1888 pl. 6, 3, whence Hoppin Bf. p. 93 and (B) Pfuhl fig. 228; A, Pfuhl fig. 227; side, Jacobsthal O. pl. 22 a; B, Neugebauer pl. 30; Technau pls. 1-2; B, Buschor Vasen p. 118, fig. 135; the signature, Kirchner Imagines inscriptionum atticarum pl. 4, 8; ABV. p. 143, no. 1; Para. p. 59, no. 1; Bothmer Amasis Painter p. 29, fig. 16.

8. This adventure is common in Attic vase painting from the second half of the sixth century onwards; one of the Corinthian pictures is much earlier: see Payne NC. p. 126.

9. London B 210: WV. 1888 pl. 6, 2, whence Hoppin Bf. p. 95 and (part) Pfuhl fig. 232; side, Jacobsthal O. pl. 37, a; CV. 4 pl. 49, 2; Technau pl. 25; B, Lane GP. pl. 43; ABV. p. 144, no. 7; Para. p. 60, no. 7; Bothmer Amasis Painter p. 47, fig. 41.

10. Vatican 344: FR. pls. 131-132 and 3 pp. 65 and 71-73, whence (B) Pfuhl fig. 230; A, Pfuhl fig. 229; phots. Alinari, whence (A) Merlin pl. 38 and (B) ABS. pl. 6; Albizzati pls. 40-42 and pp. 127-133; Technau pls. 20-21; A, and part of B, Buschor Vasen pp. 120-121; Lane GP. pl. 44 and pl. 45 a; ABV. p. 145, no. 13; Para. p. 60, no. 13.

11. See Hauser in FR. 3 pp. 65-72, Chase in Bull. MFA. 44 pp. 45-50; Cypr. pp. 32-33; and Caskey and Beazley Attic Vase Paintings in the Museum of Fine Arts, Boston iii pp. 5-6, where other references are given.

12. KuboV means ''pip" we well as die: see Wuilleumier in Istros 1 pp. 14-18; Pherecrates fr. 124 h triV ex h treiV kuboi .

13. Also on the amphora by Exekias in the Faina collection at Orvieto, 78 (Technau pl. 13, left; ABS . p. 29, no. 6; ABV. p. 144, no. 9; Para. p. 60, no. 9), and on the column-krater fragment Acropolis 647 (Graef pl. 41; ABV. p. 148, no. 10), which may be by Exekias as Hauser saw (FR. 3 p. 71).

14. On thigh guards, Wrede in AM. 41 p. 367; on the rerebrace, EVP. pp. 136-137 and 301.

15. So already Panofka in Annali 1835 p. 230.

16. Il. 11, 765.

17. FR. pl. 132.

18. Cups by Exekias: JHS. 52 pp. 178 (now CV. Louvre 8, pl. 77, 1-3), 180, 183, 185, and 200; ABV. p. 146, no. 21 and pp. 146-147, 2-5; Para. p. 60, no. 21 and p. 61, near bottom.

19. Munich 2044: FR. pl. 42 and 1 p. 227, whence Hoppin Bf. p. 99 and (1) Pfuhl fig. 231; I, Merlin pl. 39, 1; A-B, Jacobsthal O. pl. 68 a; Technau pls. 5-6; Bloesch FAS. pl. 1, 1, with pp. vi-x and 2; Buschor Vasen pp. 127-128; A, Lane GP. pl. 41. See also Villard in REA. 48 (1946) p. 174, and Neutsch Henkel und Schalenbild (in Marburger Jahrbuch 14, 1948) pp. 1-7; ABV. p. 146, no. 21; Para. p. 60, no. 21.

20. On cup A see Bloesch FAS. pp. 1-40, and Villard in REA. 48 (1946) pp. 173-180. 20 bis. For coral-red see J. V. Noble, The Techniques of Painted Attic Pottery p. 64 and B. Cohen "Observations on Coral-Red,'' Marsyas 15 pp. 1-12.

21. Leipsic T 355 and T 391, ex Barone: Technau pl. 19 c-f; ABV. p. 145, no. 15. Attributed by Hauser ( Jb. 11 p. 179). Anne Mackay ( JHS. 98 pp. 161-162) has seen that T. 391 and Cambridge UP 114 ( ABV p. 714) join.

22. Lund, Univ.: ABV. p. 145, no. 17; Para. p. 60, no. 17. Attributed to Exekias by Gjerstad.

23. Philadelphia MS 3442: Mus. Journ. 6, pp. 91-92; AJA. 1935 pl. 8; Technau pl. 23; ABV. p. 145, no. 14; Para. p. 60, 14; Bothmer Amasis Painter p. 31, fig 19. Attributed by Furtwängler.

24. On homonyms in the Iliad and the Odyssey, Basset The Poetry of Homer p. 256, note 40.

25. Bf. amphora Munich 1415: Gerhard AV pl. 227; CV 1 pl. 45, 2 and pl. 47, 3.

26. A pair of greaves in Leningrad ( ABC. pl. 28). Another, in which the gorgoneion is eked out to make a complete gorgon, in London (249: Walters Select Bronzes pl. 5; AJA. 1949 pl. 18, b). Leg of a bronze statue in the British Museum ( JHS 7 pl. 69). On rf. vases: skyphos by Makron in Boston, 13. 186 (FR. pl. 85; ARV 2 p. 458, no. 1; Para. p. 377, no. 1); cup in the late manner of Douris, London E 60 ( ARV p. 296, no. 23; ARV , 2 p. 449, no. 7); calyx-krater by the Altamura Painter in the Louvre, G 342 ( ARV. p. 412, no. 8; ARV. 2 p. 590, no. 12); RA 13, 1, pp. 224-235.

27. Hdt. 7, 69. On bf. vases: neck-amphora by Exekias in London, B 209: CV. 4 pl. 49, 1; Technau pl. 26; ABV. p. 144, no. 8; Para. p. 60, no. 8; neck-amphora in New York, 98.8.13 (GR 547): AJA. 1935 pl. 7, b; ABV. p. 149; Para. p. 62; CV. pl. 21, 3; hydria in Bristol; neckamphora, near the Nikoxenos Painter, in Munich, 1507; ABV. p. 375, no. 207.

28. Philadelphia MS 4873: B, Mus. Journ. 4 p. 158; part, Univ. Mus. Bull. 4 p. 60, 66, and 68 (Dohan); BSA. 32 p. 2; ABV. p. 145, no. 16; Para. p. 60, no. 16.

29. Boulogne 558: Pottier Musées de province pl. 16, 3, whence (A) Pfuhl fig. 234 and (A, redrawn and spoilt) Perrot 10 p. 199; A, ABS. pl. 7; A, Technau pl. 34; part of A, Buschor Vasen pl. 119; ABV. p. 145, no. 18; Para. p. 60, no. 18.

30. Boston 89.273 (R. 315): Jacobsthal O. pl. 39, c; A, Buschor Vasen p. 115; ABV. p. 144, no. 4; Para. p. 59, no. 4; CV. pls. 29-32; the shape, Caskey G. p. 38. See also Wrede in AM. 41 pp. 372-373.

31. One of the pole-horses is seen from the front in the harnessing-scene on the bf. lekythos Syracuse 8276, by the Taleides Painter (Haspels ABL. pl. 14, 1; ABV. p. 175, no. 12).

32. Athens, North Slope A-P 1044: Hesp. 6 pp. 468-486 (Broneer); part, AJA. 1938 pl. 16, b; detail of A, Buschor Vasen p. 122; ABV. p. 145, no. 19; Para. p. 60, no. 19. Attributed by Broneer. Compare the hydria Florence 3790, from Orvieto (small phots. Alinari 17073, 4 and Brogi 10754), attributed to the Andokides Painter in ARV. p. 4, no. 24; "manner of the Andokides Painter," more cautiously, in ABS. p. 41, no. 9; manner of the Lysippides Painter in ABV. p. 260, no. 30; Para. p. 114, no. 30; CV. pls. 27, 1-2 and 28. If it is by the Lysippides Painter himself it must be an early work, close to his master Exekias.

33. Berlin 1811-1826 and Athens 2414-2415: AD. 2 pls. 9-10 and pp. 5-6 (Hirschfeld), whence (part) Perrot 9 pl. 12 and pp. 251-255, (one) Pfuhl fig. 278, (part) Swindler figs. 236-238; Technau pls. 14-18 and pl. 19, a-b; ABV. p. 146, no. 22; Para. p. 60, no. 22 (Berlin); ABV. p. 146, no. 23; Para. p. 60, no. 23 (Athens). A new fragment found in Athens was joined recently to Berlin 1821 by Martin Robertson ( Eph. 1978 pp. 91-94). Attributed by Rumpf. A building of this sort is roughly rendered on bf. "kyathoi" (one-handled kantharoi) in the Cabinet des Médailles: 353, de Ridder p. 244, CV. 2 pl. 71, 7-9 and pl. 72, 1-4; ABV. p. 346, no. 7; 355, CV. 2 pl. 71, 2, 4, 6 and pl. 73, 1-3; ABV. p. 346, no. 8.

34. Nikosthenes: Hoppin Bf. pp. 177-293; ABS pp. 23-24; BSR. 11 p. 6; JHS. 52 p. 20; BSA. 32 p. 22; JHS. 55 p. 81; RG. p. 64; Bloesch FAS. pp. 9-12 and 23-27; ABV. pp. 216-235 and 690; Para. pp. 108-109.

35. London B 295: Hoppin Bf. p. 202; Jacobsthal O. pl. 14 b; CV. 4 pl. 72, 1; Norman Gardiner Athl. fig. 155; ABV. p. 226, no. 1; Para. p. 106, no. 1; Bothmer Amasis Painter p. 43, fig. 33.

36. See Norman Gardiner Athl. p. 204. 36 bis. See, however, his cup now Boston 60.640a ( ABV p. 227, no. 17 and Para. p. 107; CV. 2, pl. 89), likewise signed by Nikosthenes as potter.

37. London B 403: A, CV. 2 pl. 12, 4; Lane GP. pl. 39, b and pl. 40, a; ABV. p. 227, no. 18. Berlin 1797: ABV. p. 227, no. 14.

38. The Painter of Berlin 1686: CV. Oxford 2 p. 98; BSA. 32 pp. 10-11; JHS. 59 p. 305; ABV. pp. 296-297 and 692; Para. pp. 128-129. Foot and mouth of the Washington amphora 136415 ( BSA. 32 pl. 5, 1, with p. 11; ABV. p. 297, no. 18) are genuine; the foot is as described there, the mouth is that of "amphora type C."

39. Berlin 1686: Gerhard EKV. pls. 2-3; BSA. 32 p. 10 middle, no. 1; ABV. p. 296, no. 4; Para. p. 128, no. 4.

40. Oxford 1918.64: CV. 2 pl. 4, 3 and pl. 5; BSA. 32 p. 10, middle, no. 2; ABV. p. 296, no. 5.

41. Faina 73: AM. 53 pl. 22 and pl. 23. 1; ABV. p. 296, no. 2; Para. p. 128, no. 2.

42. Berlin 1697: A, Bieber Th. p. 66; A, Pickard-Cambridge Dithyramb Tragedy and Comedy p. 246; A, Bieber HT. p. 68; BSA. 32 p. 10, no. 8; ABV. p. 297, no. 17; Para. p. 128, no. 17.

43. Vatican 350: A, phot. Alinari 35757, whence (part) Pfuhl fig. 290; A, ABS. pl. 8 (with p. 21); Albizzati pl. 44 and p. 137; ABV. p. 140. no. 1; Para. p. 58, no. 1; The Vatican Collections: the Papacy and Art , no. 102 (Now known as the Painter of the Vatican Mourner, near Group E, IV).

44. The second warrior often present in this scene may be Odysseus rather than Agamemnon ( Od. 8, 517).

45. 346: Anz. 1935 p. 490, figs. 64-65 (Greifenhagen); ABV. p. 140, no. 7.

46. On the other painters of this period see BSA. 32 pp. 9-22; JHS. 59 p. 305, and ABV passim .

Seven Later Black-Figure

1. ARV. pp. 1-7, 946 and 948; ARV. 2 pp. 2-6; Para. pp. 320-321; see also note 32 to chap. vi, above.

2. A, Cat. Christie July 15, 1948 p. 5: amphora type B, now in the Bastis collection in New York: ABV. p. 253; Para. p. 113. 2 bis. Between 1951 and 1954 Beazley reverted to his earlier opinion that the black-figure work is by the Lysippides painter: ABV. pp. 253-257; ARV. 2 pp. 2-6. In Addenda of the second edition of Dev. (1964) he wrote (p. 120): I now confine the name "Andokides Painter" to the painter of the red-figure work, and take the bf. parts and the bf. vases to be by another, whom I call the Lysippides Painter; see ABV. p. 255 and ARV. (2d ed.) pp. 2, 1617, and 1700.

3. Munich 2301: FR. pl. 4, whence Pfuhl figs. 315 and 265; A, Schaal Rf. fig. 11; B, AM. 62 pl. 26, 2; ARV. p. 2, no. 8; ABV. p. 255, no. 4; ARV. 2 p. 4, no. 9; Para. pp. 113, no. 4 and p. 320, no. 9. Attributed by Furtwängler

4. Cat. Sotheby Dec. 19, 1927 pl. 5; B, ABS. pl. 10, 2; ARV. p. 3, no. 16; ABV. p. 255, no. 12; Para. p. 113, no. 12. The painter's neck-amphora with the same subject, in Zurich, is now published by Bloesch: AKS. pls. 24-29 with pp. 54-57 and 166-167; detail of A, Lane GP. pl. 49, b; ABV. p. 256, no. 17; Para. p. 114, no. 17).

5. Villa Giuila 24998: ML. 14 pp. 283-286; CV. 1 pl. 1, 1-2; phots. Alinari 41152 and another, ARV. p. 3, no. 14; ABV. p. 255, no. 9.

6. See Dugas in REG. 57 (1944) pp. 61-70.

7. Theocr. 24, 110.

8. Boston 99. 538: C. H. Smith Forman no. 305 pls. 5-6, whence Pfuhl figs. 316 and 266 and (A) VA. p. 4; shape, Caskey G. p. 60; ARV. p. 2, no. 10; ABV. p. 255, no. 6; ARV. 2 p. 4, no. 12; Para. p. 113, no. 6.Attributed by Cecil Smith.

9. Oxford 208: CV. 2 pl. 10, 3-4 and pl. 7, 1-5; ARV. p. 3, no. 19; ABV. p. 256, no. 15. See also Hafner p. 25.

10. London B 211: CV. 4, pl. 49, 3; ARV. p. 3, no. 18; ABV. p. 256, no. 14; Para. p. 113, no. 14.

11. London B 302: Jb. 21 pl. 1; CV. 6 pl. 74, 3 and pl. 75, 3; ARV. p. 4, no. 26; ABV. p. 261, no. 40; Para. p. 115, no. 40. Pernice's explanation ( Jb. 21 pp. 42-45) does not seem right: on wineskins as cushions see Caskey and Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston i p. 29.

12. Sappho fr. 135-136 Diehl, inc. 26 Lobel. In Lucian Dial. deor. 4, 5, Zeus tells Hermes to show Ganymede how to offer the wine cup. On a bf. amphora from the Hearst collection at San Simeon, now New York 56.171.7, in the manner of the Lysippides Painter (H. R. W. Smith in AJA. 1945 p. 471 b, with 473; ABV. p. 257, no. 2; Para. p. 114, no. 2), Hermes, holding an oinochoe, stands in front of Dionysos, ready to serve him; a satyr plays the flute and two others dance. See also note 15.

13. Bf. amphora in Madrid (10916: Jh. 3 pp. 64-65; CV. 1 pl. 21, 3 and pl. 22; ABV. p. 508 top); rf. cup by Oltos in Munich (2618: FR. pl. 83; ARV. p. 39, no. 59; ARV 2 p. 61, no. 74; Para. p. 327, no. 74); rf. cup by the Hegesiboulos Painter in New York (07.286.47: FR. pl. 93, 2; Richter and Hall pl. 10; ARV. p. 77; ARV. 2 p. 175 bottom; Para. p. 339, top).

14. Il. 18, 408-427.

15. This should be the context of the satyr musicians, and the Hermes holding oinochoë and kantharos, on the Berlin Painter's masterpiece, Berlin 2160 (FR. pl. 159 and 3 p. 255; Berl. pls. 1-5; ARV. p. 131, no. 1; ARV. 2 p. 196, no. 1; Para. p. 342, no. 1). Compare also a rf. chous, of about 430 B.C. in Athens, 16258, where Dionysos reclines, holding a kantharos, with Ariadne seated on his couch holding a dish of fruit, while Hephaistos is ushered in by a satyr; perhaps also a late bf. cup in Vienna, 78 (La Borde Coll. des vases grecs 1 pls. 71-72; ABV. p. 634, no. 19).

16. Psiax: see ARV. pp. 7-11 and 948, with the literature given there; ABV. pp. 292-294 and 692; ARV. 2 pp. 6-9; Para. pp. 127-128 and 321.

17. Cup formerly in Odessa, now in Leningrad, attributed by Miss Peredolski: A, AJA. 1934 p. 551 no. 8 (Richter); ARV. p. 11, no. 31; ABV. p. 294, no. 22; Para. p. 128, no. 22.

18. London 1980. 11-29.1, formerly Castle Ashby: Burl. 1888 pl. 18, whence Pfuhl figs. 267-268 and Hoppin Bf. p. 51; Burl. 1903 pl. 92, G. 21; ARV. p. 10, no. 19; ABV. p. 293, no. 7; Para. p. 127, no. 7; CV. pl. 6. On the shape see BSR. 11 p. 10.

19. Madrid 11008: Jh. 3 pp. 70-71, whence Hoppin Rf. 1 p. 34; Pfuhl figs. 317 and 264; CV. 1 pl. 23, 1, pls. 24-25, and pl. 26; 1; ARV. p. 8, no. 2; ABV. p. 294, no. 24; ARV. 2 p. 7, no. 2; Para. pp. 128, no. 24 and 321, no. 2. Attributed by Buschor.

20. Leningrad 381: Waldhauer KO. pl. 2; ARV. p. 10, no. 23 and p. 948; ABV. p. 293, no. 12; Para. p. 127, no. 12.

21. Berlin 1897: FR. pl. 154, 2; Neugebauer pl. 35 ARV. p. 10, no. 20; Buschor Vasen p. 132; ABV. p. 293, no. 8; Para. p. 127, no. 8. Attributed by Zahn.

22. See AM. 41 p. 338 (Wrede). Other good examples of this cross on hydriai by the Rycroft Painter in Hamburg (1917.476: Anz. 1928 p. 314; ABV. p. 337, no. 25; CV pl. 24, 1-2), and Munich (1720, J. 138: Gerhard AV. pls. 211-12, 1-2; AM. 41 pl. 31, 2; ABV. p. 337, no. 24); on the artist, JHS. 54 p. 91, r; ABV. pp. 335-337 and 694; Para. pp. 148-149.

23. The Antimenes Painter: JHS. 47 pp. 63-91; ABS. p. 41; AM. 41 p. 351 (Wrede: "73" is added in error); RG. p. 46; Hafner pp. 25-28; Bloesch AKS. pp. 51-53 and 165-166; ABV. pp. 266-275 and 691-692; Para. 117-121.

24. London B 304: JHS. 47 pl. 13 with p. 67 and p. 87 no. 46; CV. 6 pl. 76, 1 and pl. 77, 1; ABV. p. 266, no. 4; Para. p. 117, no. 4.

25. Vatican 426: Albizzati pl. 65 and p. 197; ABV. p. 266, no. 2; Para. p. 117, no. 2. London B 336: CV. 6 pl. 90, 4 and pl. 93, 2; ABV. p. 266, no. 3. On the fountain scenes, Dunkley in BSA. 36 pp. 142-204.

26. Leyden PC 63: JHS. 47 pl. 11 (with pp. 63-65 and p. 88 no. 52); ABS. pl. 12, 2; ABV. p. 266, no. 1; Para. p. 117, no. 1; CV. pls. 13-15 and 16, 3.

27. London B 226: JHS. 47 p. 66 and pl. 12, 1 (with pp. 65-67, 70-72, and p. 82 no. 1); A, ABS. pl. 12, 1; CV. 4 pl. 55, 4; ABV. p. 273, no. 116; Para. p. 119, no. 116. 27 bis. Berlin 1855: ABV. p. 270, no. 50.

28. The Leagros Group: Buschor in FR. 3 p. 229; ABS. pp. 26-28 and 43-46; CV. San Francisco pp. 27-31 (H. R. W. Smith); ARV. pp. 929-930 and 940; JHS. 59 p. 305, foot; ABV. pp. 360-381, 695-696 and 715; Para. pp. 161-167.

29. London B 327: Archaeologia 32 pl. 12; ABS. pl. 14, 2; CV. 6 pl. 86 and pl. 89, 1; ABV. p. 363, no. 38.

30. Od. 8, 75.

31. Although in the Achilles Thersitoktonos of Chairemon (fr. 3) Achilles says wV ouc uparcwn alla timwroumenoV , "not beginning the quarrel but defending my right."

32. See AJA. 1950 p. 313.

33. London B 310: CV. 6 pl. 78, 3 and pl. 80, 2; ABV. p. 361, no. 12.

34. Munich 2309: FR. pl. 33, whence Pfuhl figs. 368-369; Pfuhl Mast. figs. 41-42; ARV. p. 25, no. 3; ARV. 2 p. 27, no. 4; Para. p. 323, no. 4. The woman carried off must be Helen, but the inscriptions have got mixed; so Gerhard ( AV. 3 p. 53) and Robert ( Griechische Heldensage p. 699).

35. Munich 1719: the shoulder, and part of the body, Johansen Iliaden fig. 20; ABV. p. 361, no. 13; Para. p. 161, no. 13.

36. Leningrad 610, from Vulci. The background is of course black. Now published by Brommer in Marburger Winckelmann-Programm 1949 pl. 3. Attributed to Euphronios himself in ARV. p. 17 no. 8, but I should now class it as in his manner; ARV. 2 p. 18, no. 2. See also Haspels ABL. p. 44; Paralipomena p. 509: "probably by Euphronios." 36 bis. Leningrad St. 165: ABV. p. 362, no. 31.

37. London B 313: JHS. 26 p. 17; CV. 6 pl. 79, 2 and pl. 80, 3; ABV. p. 360, no. 1.

38. Ares was present at this scene in the group described by Pausanias (6, 19, 12).

39. London B 314: CV. 6 pl. 79, 3 and pl. 81, 4; ABV. p. 360, no. 2; Para. p. 161, no. 2. This is also the subject of the rf. column-krater by the Syracuse Painter in Capt. Spencer-Churchill's collection at Northwick Park ( ARV. p. 352, no. 7; ARV. 2 p. 518, no. 3; later London Market: Para. p. 382, no. 3).

40. Munich 1708: AZ. 1878 pl. 10, whence (part) JHS. 26 p. 21 = Norman Gardiner GAS. p. 441 = Norman Gardiner Athl. fig. 194; ABV. p. 360, no. 5. Attributed by Buschor.

41. Munich 1709: Klein Die griechischen Vasen mit Lieblingsinschriften p. 71; Schaal Sf. fig. 45; ABV. p. 361, no. 14. Attributed by Buschor.

42. London B 326: AZ. 1856 pl. 9, 1, 3; CV. 6 pl. 86, 2 and pl. 87, 3; ABV. p. 362, no. 28.

43. Munich 1700: Mon. 1 pl. 34; detail, Schaal Sf. fig. 48; ABV. p. 362, no. 27. Attributed by Buschor.

44. The throwing of the head and the throwing of the whole body are incompatible and must be alternative motives. It has been thought that the motive of Achilles holding Troilos by the leg, upside down, was borrowed from pictures of Neoptolemos and Astyanax: this may be so, but it occurs on the middle-Corinthian columnkrater Louvre E 638 bis ( Mon. Piot 16 pl. 14; Payne NC. no. 1196), which seems to be earlier than any extant picture of Neoptolemos and Astyanax (Achilles may have held the sword in his right hand, which is missing). In the third example of the motive, on a late bf. lekythos in Copenhagen (97: CV. 3 pl. 112, 3), Neoptolemos stands on the altar, has his shield on his left arm, and hurls the body at the two warriors (Hector and Aeneas?) who advance towards him.

45. On the gesture see Greifenhagen in Anz. 1935 p. 488. Amphora of the Leagros Group, London B 196 (A, JHS. 26 pl. 5; CV. 3 pl. 38, 2; ABV. p. 366, no. 84).

46. Würzburg 311: RM. 3 p. 108; Langlotz pl. 88, pl. 93 and pl. 97; ABV. p. 362, no. 35; Para. p 161, no. 35. Attributed by Buschor.

47. Pindar Paeans 6, 112; translated freely. A woman raises her arms in somewhat earlier pictures of the subject on neck-amphorae in Berlin (3996: Furtwängler Coll. Sabouroff pl. 48, 3; ABV. pp. 290, middle and 320, no. 7) and Würzburg (179: Langlotz pl. 57; ABV. p. 290, no. 1, middle).

48. Munich 1717: the shoulder-picture only, FR. 1 p. 159, whence Richter Craft p. 64 and PP. pl. 2, 1; ABV. p. 362, no. 36; Para. p. 161, no. 36.

49. So also in other pictures of the subject: neckamphora in the Roman market (Gerhard AV. pl. 231, 1-2); neck-amphora in Berlin, 1861 (Gerhard EKV. pl. 25; Leagros Group: ABV. p. 371, no. 149). Compare also the relief with the Death of Aegisthus, Ny Carlsberg 30 (Furtwängler AG. 3 p. 266; Billedtavler pl. 3).

50. See note 48, and PP. pl. 2, 1 with pp. 6-7. The old master of the establishment also figures in the foundry scenes on a lost bf. lekythos ( El. cer. 1 pl. 51; much restored, but this particular certain).

51. Berlin 1902: Gerhard TG. pl. 16; Jb. 29 p. 225; ABV. p. 363, no. 37; Para. p. 161, no. 37. Other pictures of the same subject on the "Tyrrhenian" neck-amphora London 97.7-27.2 ( JHS. 18 pl. 15, whence Perrot 10 p. 11, Homann-Wedeking Archaische Vasenornamentik fig. 8; ABV. p. 97, no. 27; Para. p. 37, no. 27), and the Etrusco-Campanian bf. neck-amphora London B. 70.

52. Munich 1712: FR. 3 p. 228; ABV. p. 362, no. 34. Attributed by Buschor. See also Haspels ABL. p. 46.

53. London B 323: CV. pl. 84, 3 and pl. 85, 4; detail, Lane GP. pl. 47; ABV. p. 362, no. 33; Para. p. 161, no. 33.

54. The Acheloös Painter: ABS. pp. 28 and 46-47; JHS. 54 p. 91; ABV. pp. 382-385 and 696; Para. pp. 168-169. A new and characteristic work, the pelike New York 49.11.1, has been assigned to the Acheloös Painter by Dietrich von Bothmer ( ABV. p. 384, no. 19: A, Capture of Silenos; B, boxers.)

55. Berlin 1851: Gerhard EKV. pls. 15-16, 1-2, whence (A) ABS. pl. 14, 1; ABV. p. 383, no. 3. Some repainting.

56. Somewhat similar in motive the Herakles on a small rf. cup near the work of the Hermaios Painter, in Berlin (2271: ARV. p. 78; ARV. 2 p. 111, middle); but there no terrain. 56 bis. ABV. p. 383, no. 10; Para. p. 168, no. 10.

57. New York 26.60.29: A, Richter and Milne fig. 4; ABV. p. 384, no. 17; Para. p. 168, no. 17. Compare the amphora by the Acheloös Painter in Basle (A, Historische Schätze Basels fig. 2; ABV. p. 384, no. 16).

58. London B 167: A, Mon. 4 pl. 11; CV. 3 pl. 34, 1; ABV. p. 382, no. 1; Para. p. 168, no. 1. A pointed amphora by the Acheloös Painter is in Toledo, Ohio, 58.69A: Para. pp. 168-169; CV. pl. 14.

Eight Panathenaic Amphorae

1. Recent matter on Panathenaic amphorae: Peters Studien zu den panathenäischen Preisamphoren (1942), and "Zwei panathenäische Preisamphoren des Aristophanes" in Jb. 57 (1942) pp. 143-157; Beazley, "Panathenaica" in AJA , 1943 pp. 441-465 (with a list of earlier studies on p. 441); J.R. Brandt "Archaeologia Panathenaica I. Panathenaic prize-amphorae from the sixth century B.C. " Acta Norvegiae 8 (1978) pp. 1-23. Something also in "Miniature Panathenaics" ( BSA. 41 pp. 10-21). On the Panathenaic amphorae see Bothmer in CV. New York 3. On Hellenistic and Roman Panathenaics, see Edwards in Hesp. 26 pp. 320-349 and 383.

2. London B 130: Millingen AUM. 1 pls. 1-3; Mon. 11 pl. 48, i and k; A, Pfuhl fig. 299; CV. 1 f pl. 1, 1; A, Buschor Vasen p. 108 fig. 125. See AJA. 1943 p. 441; Peters pp. 14-18; ABV. p. 89, no. 1 bottom; Para. p. 33, no. 1 middle.

3. See Rumpf Sak. p. 21 note 51 and Peters p. 14.

4. See Hesp. suppl. 2 p. 210 (Rodney S. Young). A curious representation of a Panathenaic-shaped amphora is on a seventh-century oinochoë in the Agora Museum at Athens, P 8996 ( Hesp. 7 p. 417, R. S. Young; Agora VIII, no. 85); the vase is shown standing on a short ground-line (shelf?), between two broad vertical bands which recall the cock-columns (p. 84) of the prize Panathenaics.

5. London B 134: CV. 1 e pl. 2, 2; ABV. p. 322, no. 1; Para. p. 142, no. 1. London B 133: CV. 1 e pl. 2, 1; ABV. p. 395, no. 1; Para. p. 173, no. 1. London B 606: CV. 1 f pl. 1, 2; ABV. p. 411, no. 3; Para. p. 177, no. 3 near bottom. London B 604: CV. 1 f pl. 2, 1; ABV. p. 413 middle. London B 611: CV. 1 f pl. 4, 1; ABV. p. 415, no. 7. We recur to all these later.

6. Louvre F 77: CV. 9 pl. 82, 9.

7. London B 131: CV. 1 e pl. 1, 2; ABV. p. 405, no. 4 bottom, and B 132: CV. 1 e pl. 1, 3; ABV. p. 405, no. 5 bottom. In London B 131 the animals are mules as I said in ARV. p. 131; in London B 132 one cannot be sure, owing to the restorations, whether they are mules or horses; it must be considered whether the Burgon animals are not also mules.

8. AM. 53, Beil. 10, 31; see also AJA. 1943 p. 441; ABV. p. 90, no. 8. Both halves are now in the Louvre.

9. Inv. 560: Langlotz Zeitbestimmung pl. 1, 1; Rumpf Sak. pl. 8, c and pl. 27 a. See also Peters pp. 18-19, and AJA. 1943 p. 441; H. R. W. Smith The Hearst Hydria pp. 246, 250, 251; ABV. p. 120 top.

10. The vase is incomplete to the left of the letters, but there does not seem to be room for another word— stadion or dianloV , and andrwn was perhaps alone both here and on the contemporary Panathenaic of which Acropolis 1043 is a fragment (Graef pl. 63).

11. On this see a work of much interest, Grundel Die Darstellung des Laufens in der griechischen Kunst (1934). The warriors at the double on the Chigi vase raise the back leg from the ground ( AD 1 pl. 44; Payne Protokor. , pls. 27-29), so do the runners in the race on a seventh-century bronze relief from Perachora (Payne Perachora 1 pl. 50, 7-8); those on a Corinthian amphora in the Villa Giulia lift the forward leg (Mingazzini Cast. pl. 33, 1), but the vase is not earlier than the earliest Attic examples, if so early. 11 bis. Cf. however, the Panathenaic signed by Nikias as potter, New York 1978. 11. 13 ( MMA. Annual Report 1977-1978 p. 45; Notable Acquisitions 1975-1979 p. 14), on which the agon is also named.

12. Agora P 2071: Vanderpool in Hesp. 15 pl. 14, 1 and pl. 13 with pp. 121-122.

13. See Kunze Kretische Bronzereliefs p. 125 and Jacobsthal ECA. p. 73.

14. Acropolis 917 (Graef pl. 60); 918, same painter as the last; 915; 913 (Graef pl. 58); 916 (Graef pl. 60); 925 ( ibid. ); 920 (Graef pl. 57; attributed to Nearchos by Rumpf Sak. p. 19 note, and Peters pp. 18-19); 1043 (Graef pl. 63).

15. Florence, no number, from Orvieto. A tiny photograph of A is reproduced in Milani Museo Topografico p. 48, left. By Lydos: ABV. p. 110, 33.

16. This is the only prize Panathenaic on which a votary is shown in the presence of Athena. There are other bf. pictures of Athena in fighting attitude attended by votaries, but they are not just like ours: amphora of Panathenaic shape in the Cabinet des Médailles, 243 (A, de Ridder p. 151; CV. 2 pl. 88: boys with branches); another in Bonn, 43 ( Anz. 1935 p. 455 fig. 32 and p. 454 woman); lekythos by the Athena Painter in Buffalo ( AJA 1944 p. 123; ABL p. 256, no. 34; ABV. p. 522, no. 34: trainers or judges)

17. It had been held recently (Brunn-Bruckmann Denkmäler griechischer und römischer Sculptur text to pls. 786-790) that if Herodotos of Thebes drove his own chariot (Pind. Isthm. 1, 15) it was because he could not afford to hire a driver. This is to misconceive the nature of sportsmen.

18. Berlin 1732: WV. 1889 pl. 1, 2; Pfuhl fig. 242; Hoppin Bf. p. 157; Metr. Mus. St. 4 pp. 176-177; Rumpf Sak. pls. 29-31; ABV. p. 110, 37; Para. p. 44, no. 37.

19. London B 134: A, Walters pl. 3; B, JHS. 27 pl. 18, whence Norman Gardiner Athl. fig. 139; CV. 1 e pl. 2, 2; AJA. 1943 p. 442, no. 1; ABV. p. 322, no. 1; Para. p. 142, no. 1.

20. Ion fr. 53 Nauck.

21. On the Euphiletos Painter, AJA. 1943 pp. 442-443; Peters pp. 21-46; Cypr. p. 33; ABV. pp. 321-325 and 694; Para. pp. 142-143.

22. Leyden P.C. 8: A, Mon. 10 pl. 48 n, whence Perrot 10 p. 293 and Pfuhl fig. 305; B, AZ. 1881 pl. 9, 1, whence Norman Gardiner Athl. fig. 148; AJA. 1943 p. 442, no. 2; ABV. p. 322, no. 2; Para. p. 142, no. 2; CV. 1, pls. 44-45.

23. New York 14. 130. 12: Bröndsted pl. 3; B, Alexander Greek Athletics p. 8, 2; A, Richter and Milne fig. 24; B. Norman Gardiner Athl. fig. 89; A, Lane GP. pl. 50; AJA. 1943 p. 443, no. 6; ABV. p. 322, no. 6; Para. p. 142, no. 6; Bothmer Amasis Painter p. 28, fig. 14.

24. Copenhagen 99: CV. 3 pl. 104; ABV. p. 403, no. 1 top; AJA. 1943 p. 444, top, where fragments of two other Panathenaics by the same hand are mentioned; one of these, Acropolis 1054, is also attributed by Peters, pp. 59-60; ABV. p. 403, no. 3 top.

25. Nauplia 1:B, AJA. 1938 p. 504 fig. 11; ABV. p. 260, no. 27. See AJA. 1943 p. 443, below. A blot has spoilt one of the fetlocks.

26. Paus. 6, 2, 8.

27. Anth. Pal. 6 135; Paus. 6, 13, 10. See Friedländer and Hoffleit Epigrammata pp. 97 and 143.

28. London 816 from Crannon in Thessaly, Millingen AUM. 2 pl. 16, 1. Acropolis, Walter Beschreibung der Reliefs im Kleinen Akropolismuseum p. 111 no. 244. See also Walter in Epitymbion Tsounta pp. 408-412. On an Italiote bell-krater in London (Zahn Sammlung Schiller pl. 31; BMQ. 4 pl. 17) a mounted youth crowns his horse; so also on the Tarantine coins quoted by Zahn. The horse on the early rf. cup by Oltos in Bonn, 464, has a wreath round its shoulders and may have won a race ( CV. 1 pl. 1, 1; ARV. p. 36, no. 15; ARV. 2 p. 56, no. 31). Compare the enigmatic horse on the cup by the Euergides Painter, Acropolis 166 (Langlotz pl. 6; ARV. p. 62, no. 60; ARV. 2 p. 92, no. 64; Para. p. 330, no. 64).

29. London B 144: Gerhard AV. pl. 247; CV. 1 pl. 6, 2; B, Norman Gardiner Athl. fig. 207; ABV. p. 307, no. 59.

30. The Swing Painter: BSA. 32 pp. 12-16; RG. pp. 41-42; Webster and Charlton in Manch. Mem. 83 pp. 191-201; ABV. pp. 304-310; and 693; Para. pp. 132-135; E. Böhr Der Schaukelmaler (Kerameus 4), 1982.

31. Boulogne 441: Mon. 1 pl. 22, 5; B, Musée 2 p. 268 fig. 15 and p. 272 fig. 15 a, whence Norman Gardiner GAS. p. 390; B, Norman Gardiner Athl. fig. 162; ABV. p. 290, no. 1 bottom; AJA. 1943 p. 444, where two other vases by the same artist are mentioned.

32. New York 07.286.80: A, Richter and Milne p. 5, 2; B, Alexander Greek Athletics p. 27, 2; B, V. Pol. pl. 2, 1; B, ABS. pl. 16, 1; AJA. 1943 p. 444, below, no. 3; ABV. p. 369, no. 114; Para. p. 162, no. 114.

33. Sparta: BSA. 13 pl. 5, whence (A) Norman Gardiner GAS. p. 456; B, Burl. Mag. 14 (1908) pl. at p. 65; AJA. 1943 p. 444, below, no. 1; ABV. p. 369, no. 112.

34. Taranto inv. 9887: Dedalo 2 pp. 619-620; A, Quagliati Mus. Tar. pl. 54, 1; AJA. 1943 p. 444, below, no. 1; ABV. p. 369, no. 113. —Two uninscribed Panathenaics also belong to the Leagros Group. New York 99.13.1: B, McClees p. 106; ABV. p. 369, no. 116; Para. p. 162, no. 116 A, Athena; B, chariot. Liverpool 56. 19.6, ex Norwich 4: Gerhard EKV. pl. B, 5-6; ABV. p. 369, no. 115: Para. p. 162, no. 115; A, Athena; B, acontist.

35. Acropolis 931, Graef pl. 56; pp. 56-57; ABV. p. 403 middle: attributed by Peters. 35 bis. The identification of the Kleophrades Painter with an 'Epiktetos the Second' is no longer valid, as the Epiktetos inscription on ARV 2 p. 185, no. 28 has turned out to be modern (cf. Anz. 1981, pp. 329-332).

36. ARV. pp. 128-129; AJA. 1943 p. 445; Peters pp. 65-71; ABV. pp. 404-406, 696 and 715; Para. pp. 175-176. The Mikas Panathenaic is published in Peters, pl. 8; ABV. p. 405, no. 1 bottom. The Leyden Panathenaic P.C.6. (B, and the shield on A, Mon. 1 pl. 22, 8, whence, B, Norman Gardiner GAS. p. 439), connected with the Kleophrades Painter in ARV. p. 952, middle and attributed to his "manner" in AJA. 1943 p. 445, was seen by Peters (p. 66, no. 6) to be by the artist himself: ABV. p. 404, no. 9; Para. p. 176, no. 9; CV. 1, pls. 48-49. The Norwich vase ( ARV. p. 131 no. 4) is from his hand too: ABV. p. 404, no. 16. See also Eph. 1948-49 p. 24 (Karouzou) with suppl. pl. 4: ABV. p. 404, no. 13.

37. New York 07.286.79: detail of A, VA. p. 44; ARV. p. 129, no. 83; ABV. p. 404, no. 6; Para. p. 175, no. 6. Two inscribed Panathenaics by the Kleophrades Painter are at Yale, 1909.12 and 1909.13, both with a chariot on the reverse: ABV. p. 404, nos. 4 and 5.

38. New York 16.71: A, Bröndsted pl. 2; Handbook Cl. Coll. 2nd ed., p. 93; B, McClees p. 98; detail of B, Alexander Gr. Athletics p. 25.2, and Norman Gardiner, Athl. fig. 196; ARV. p. 129, no. 99; ABV. p. 404, no. 8; Para. p. 175, no. 8.

39. Munich 1456: Blümel Sport der Hellenen pp. 96-97; ARV. p. 128, no. 97; ABV. p. 404, no. 7.

40. RC 4196: Hartwig Die griechischen Meisterschalen der Blüthezeit pp. 416-417; Kl. pl. 17 and pl. 18, 1-3; ARV. p. 123, no. 31; ARV. 2 p. 185, no. 35; Para. p. 340, no. 35.

41. ARV. p. 129, nos. 100-103; ABV. p. 404, nos. 11-14.

42. ARV. pp. 157-158 and 953-954; AJA. 1943 pp. 446-447; ABV. pp. 395-397 and 696; Para. pp. 173-174. See also Peters pp. 60-65; but Peters, and others, do not keep the Eucharidean Panathenaics apart from the Leagran, which seems to me essential.

43. London B 133: CV. 1 e pl. 2, 1; ARV. p. 157, no. 68; ABV. p. 395, no. 1; Para. p. 173, no. 1. Toronto 350: Robinson and Harcum pl. 54; ARV. p. 157, no. 69; ABV. p. 395, no. 2; CV pl. 23, 1-3. The new number is 919.5.148.

44. ARV. pp. 144 and 952; AJA. 1943 pp. 448-450; Peters pp. 71-75; ABV. pp. 407-408; Para. p. 177.

45. New York, ex Castle Ashby: Micali St. pl. 88, 3-4; V. Pol. pl. 1-2; BSR. 11 pl. 10, 1-2 and p. 14; ARV. p. 144, no. 210; see also AJA. 1943 p. 449; ABV. p. 408, no. 1; CV. pls. 17-18, 1 and 61; The Castle Ashby Vases (Christie's, July 2, 1980) no. 87; Kurtz The Berlin Painter (1983) pls. 35 and 62.

46. Gründel (pp. 65-66) dates this vase, which he knew only from the old drawing in Micali, a hundred years too late, and says that the first attempts to replace the "Halle" type of running by what he calls the "free run" were not made before 370.

47. "Diagonal" running occurs, exceptionally, as early as the second quarter of the sixth century: Tyrrhenian neck-amphora in Geneva, MF 156: Thiersch Tyrrh. pl. 2, 1-4; see Gründel p. 73; ABV. p. 99, no. 49; CV. 2, pl. 43.

48. Warsaw 142346, ex Czartoryski 164: Gerhard EKV. pl. A, 3-4; V.Pol. pl. 1, 1 and pl. 2, 2; B, ABS. pl. 16, 2; B, Norman Gardiner Athl. fig. 206; CV. pl. 12, 1; ARV. p. 144, no. 209; AJA. 1943 p. 449; ABV. p. 408, no. 2; Para. p. 177, no. 2.

49. Vatican 375: Mus. Greg. 2 pl. 43, 1; B, phot. Alinari 35781; Albizzati pl. 51; ARV. p. 144, no. 211; ABV. p. 408, no. 3; Para. p. 177, no. 3.

50. Benghazi: Notiziario archeologico pp. 112-113; ARV. p. 144; AJA. 1943 p. 449; ABV. p. 408, no. 11; Para. p. 177, no. 11.

51. Bologna 12: Pellegrini VF. pp. 8-9; CV. 2 g pl. 2; AJA. 1943 p. 448, below, no. 2; ABV. p. 409, no. 2. Bologna 11: JHS. 32 pl. 4; B, Pellegrini VF. pl. 7; B, Norman Gardiner Athl. fig. 91; CV. 2 g pl. 3; AJA. 1943 p. 448, below, no. 1; ABV. p. 409, no. 1; Para. p. 177, no. 1. On both see AJA. 1943, pp. 448-450, and Peters pp. 83-88.

52. Harvard 1960.309, ex Oxford, Mississippi, Professor D. M. Robinson: B, CV. 1 pl. 31, 3 and pl. 32, a; AJA. 1943 p. 448, no. 5; ABV. p. 409, no. 5; Para. p. 177, no. 5.

53. The Robinson Group: see AJA. 1943 pp. 450-453; ABV. p. 410. The second Robinson Panathenaic of this group ( ABV p. 410, no. 3) is now Harvard 1959.128. Vanderpool has added the Panathenaic Agora P 10007 ( Hesp. 15 pl. 15 and pl. 16, 1 and 3).

54. The Kuban Group: AJA. 1943 pp. 453-454; see also Peters pp. 97-99; ABV. p. 411; Para. p. 177.

55. London 1903.2-17.1: B, JHS. 27 pl. 10, whence Norman Gardiner GAS. p. 357 and Alexander Greek Athletics p. 19; CV. 1 f pl. 1, 1; B, Norman Gardiner Ath. fig. 12, left (fig. 12, right, from another vase, London B 612, of the Kittos Group); AJA. 1943 p. 453 no. 1; ABV. p. 411, no. 1.

56. Norman Gardiner Athl. p. 176.

57. Leningrad inv. 17553: Anz. 1914 p. 287 figs. 108-109; Izv. Mat. Kult. 3 pl. 3; B, Ant. class. 5 pl. 37, 2; AJA. 1943 p. 453, no. 2; ABV. p. 411, no. 2; Para. p. 177, no. 2.

58. London B 606: Mon. 10 pl. 48 c and pl. 48 h, 13, whence Pfuhl fig. 306; CV. 1 f pl. 1, 2; AJA. 1943 p. 453, no. 3; ABV. p. 411, no. 3; Para. p. 177, no. 3.

59. London B 605: Mon. 10 pl. 48 d and pl. 48 h, 14; the shield-device, Anz. 1919 p. 86, a; CV. 1 f pl. 2, 3 and 6 and pl. 6; AJA. 1943 p. 453, no. 4; ABV. p. 411, no. 4; Para. p. 177, no. 4.

60. The Hildesheim Group: see AJA. 1943 pp. 454-455, and Peters in Jb. 57 pp. 143-157; ABV. p. 412.

61. Berlin inv. 3980: E. Schmidt pl. 2, 2 and pl. 4, 2; Peters pl. 12. On the date, Schefold U. pp. 108 and 111, Süsserot p. 72, Peters pp. 105-107.

62. August Mommsen Feste der Stadt Athen p. 82; Norman Gardiner in JHS. 32 pp. 179-193; Peters pp. 7-9.

63. AJA. 1943 pp. 456-457.

64. SCüsserot p. 72.

65. See note 63 above.

66. London B 604: Mon. 10 pl. 48 b and pl. 48 g. 12; B, JHS. 26 pl. 3, whence Norman Gardiner GAS. p. 442 and Athl. fig. 192; Hoppin Bf. p. 141; CV. 1 f pl. 2, 1 and 4; detail of B, and one of the symbols, Süsserot pl. 3, 3 and pl. 12, 1; AJA. 1943 p. 455 no. 1. See also Peters p. 99; ABV. p. 413 middle.

67. The Polyzelos Group: AJA. 1943 pp. 455-456; ABV. pp. 413-414, nos. 1-4; Para. p. 177, no. 3 bottom.

68. London B 603: Mon. 10 pl. 47 and pl. 48 e, 1, whence (A) Pfuhl fig. 307; CV. 1 f pl. 2, 2 and 5; detail of B, RM. 47 pl. 21, 3; detail of B, and a symbol, Süsserot pl. 3, 4 and pl. 12, 2; AJA. 1943 p. 456, no. 4; ABV. p. 414, no. 4.

69. See AJA. 1943 pp. 457-465.

70. Harvard 1925.30.124: AJA. 1906 pl. 16 and pp. 386-392; CV. Hoppin Rf. pl. 6; A, Richter and Milne fig. 26; B, RM. 47 pl. 24, 1; B, Süsserot pl. 4, 4 and pl. 6. 1-2; AJA. 1943 p. 458, no. 2; ABV. p. 414, no. 2 bottom; Para. p. 178, no. 2.

71. Schmidt pl. 7, 1. See AJA. 1943 p. 457; ABV. p. 414, no. 1 middle.

72. D. S. Robertson in CR. 37 (1923) p. 6.

73. N. 10, 61.

74. London B 607: Mon. 10 pl. 47 a and pl. 47 e 2, whence (A) Pfuhl fig. 308; B, Norman Gardiner GAS. p. 407; CV. 1 f pl. 3, 1; detail of B, Norman Gardiner Athl. fig. 175; B, RM. 47 pl. 24, 2 and pl. 23; AJA. 1943 p. 458 no. 4; ABV. p. 415, no. 4; Para. p. 178, no. 4.

75. On "bakchoi" see Num. Chron. 1941 pp. 1-7.

76. This gives a terminus post quem for dating the Ficoroni cista: see JHS. 1949 p. 2.

77. Berlin inv. 3981, see AJA. 1943 p. 460; ABV. p. 415, no. 8.

78. London B 608: Mon. 10 pl. 47 b and pl. 48 e, whence (A) Pfuhl fig. 309; CV. 1 f pl. 3, 2; AJA. 1943 p. 461 no. 1; ABV. p. 417, no. 1.

79. Munich inv. 7767: AJA. 1943 p. 461 no. 2; ABV. p. 417, no. 2.

80. London B 610: Mon. 10 pl. 47 d and pl. 48 f, 5; B, JHS. 26 pl. 4, whence Norman Gardiner GAS. p. 443 and Athl. fig. 191; CV. 1 f pl. 4, 3; B, Süsserot pl. 6, 3 and pl. 7, 3-4. See AJA. 1943 p. 460; ABV. p. 417 top; Para. p. 178.

81. Above, p. 91: see JHS. 59 p. 38.

82. London B 611: Mon. 10 pl. 47 f and pl. 48 f, 7; CV. 1 f pl. 4, 1; AJA. 1943 p. 458 no. 7 and p. 460; ABV. p. 415, no. 7.

83. Leningrad: CR. 1876 pl. 1, 1-3, whence (B) Norman Gardiner GAS. p. 283; Ant. class. 5 pls. 39-40; AJA. 1943 p. 460, no. 16 and pp. 461-462.

84. AJA. 1896 p. 332; ABV. p. 416, no. 17.

85. On the Hellenistic Panathenaics, Dow in Hesp. 5 pp. 50-58, and N.M. Kondoleon in Eph. 1937 pp. 576-579. Mitsos and Karouzou in Eph. 1948-49 pp. 5-32, published a Hellenistic Panathenaic bearing the name of the agonothetes for the year, a foreign monarch, benefactor of Athens, King Ariarathes V of Cappodocia, who reigned from 163-130 B.C.

86. Berlin inv. 4950: Sammlung Vogell pl. 4, 5 and p. 14. See Anz. 1909 p. 564 note 20; Schmidt pp. 84-85; Kondoleon in Eph. 1937 p. 579 1; CV. 5, pl. 52.

Notes
 

Preferred Citation: Beazley, John Davidson. Development of the Attic Black-Figure, Revised edition. Berkeley:  University of California Press,  1986. http://ark.cdlib.org/ark:/13030/ft1f59n77b/