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THE AlilillCC IPYXllS BY SALLY RUTHERFURD ROBERTS ARES PUBLISHERS CHICAGO 1978 /1/ Rell/ell/bral/ce Of LUCY TALC...

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THE

AlilillCC IPYXllS BY

SALLY

RUTHERFURD ROBERTS

ARES PUBLISHERS CHICAGO 1978

/1/ Rell/ell/bral/ce Of

LUCY TALCOTT

"Alii, Uln,k(jI3"'d 5L'l11p.:d War., unci Olh"r "
"K"ur",,,... l'arlh"ru~." Un/,'"'' If 4I9J'I/267.7.1, lakull, l"n. ;;.nd F,.Ull/. Al""n, "Pot') U·:NJ,

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rak"u lUl" and Orher, ~",,,II Ohl''''') In"" rl,,· I'm'" ~IlI'I'I"",,,,,1 X. PrIIle".h,,', 1
Copyright © 1978 ARES PUBLISHERS INC, 612 N. Michigan Avenue Chicago, Illinois 60611 Printed in the United States of America International Standard Book Number: 0·89005·210·7

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Preface It is a pleasure to express my thanks to the many scholars who ha~'e

kindly permit1ed me to examine and draw vases in their collections in America and Europe. Many others have sent pholo8 ra phs and measurements and answered questions about vases in museums and collections which I was unable 10 visit. I .....ould like to express my gratitude 10 Professor Homer A. Thompsoll. ProfcSloor and Mrs. T. Lcslie Shear. Jr.. Alison Frantz. lhe :.taff of lh~ Agor:l Excavations. and particularly to Poly Dcmoulini who Ilwdc my several periods of ,>Iudy in Athens mcmnrable. I would like al!>o to thunk Miss Barbara PhiJipp:lki of Ihe Nalional MUl>cUIl1 fot her kindness and unfailing help. The Greek Archaeological Service and Lilly Kahil most generously enabled me to study the importallt material from Brauroll. It has beell possible to include material relativc to pottery workshops here. My dcbt of thanks is great 10 many others besides: Miss Braun and later Miss Knigge of the Ceramicus Museum. Dr. H. Catling and Mrs. Brown of the Ashmolean Museum. Mr. D. E. L Haynes of the British Museum, Mr. Richard Nicholls of the FilzwiJliam Museum, Cambridge, Mr. Pierre Devambez of the Louvre, Or. Anna Barbara Follman of the Staatliche Antikensammlungen. MuniCh. Dr. Guntram Beckel of the Martin von Wagner Museum. Wiirzburg. Dr. Dietrich von Bothmer of the MetroPOlitan Museum of Art, Professor Cornelius Vermeule, the Museum of Fine Arh. Boston, Miss Dorothy Kent Hill. Waiters Art Gallery, Baltimore. Dr. J*rFrel of the J. Paul Getty Museum, Malibu. California. Miss Louisa Dresser of the Worcester Art Museum. Mr. Jack V. Sewell of the Art Institute of Chicago, Kurt T. luckllcr. Toledo Museum of An. Mrs. N. Leipell of the Royal

riii

Ontario Museum. Toronto. Miss Lucy Turnbull of the University of Mississippi. Dr. J. H. C. Kern of Ihe Rijksmuseum van Oudheden, Le)·dcn. Helle Salskov Roberts. National Museum, Copenhagen, Professor Maria L Bernhard. Instytul ArchCQlogii. Krakow. Professor Roger Edwards of the Uni\'ersity Museum, Philadelphia. Miss FranC'Cs F. Jom:s of the Art Museum. Princeton. Mr. Richard StiJIwell. Miss E\clyn B. Harrison. Institute of Fine Am. Dr. N. Kuni'ich of the Staatliche Must:cn. Berlin, Dr. Elizabeth Rohde of the Sla:l.Iliche Muscen. Berlin. Professor Hansjorg Bloesch kindly sent me photographs of many pyxides. Dr. Klaus Vierneiscl generously made Ceramicus material known to me. Demelrius Schilardi kindly showed me material from Ihe Thespian l~oly· andrion. Helen Bezi drew certain \'ases from the Athenian Agora. Marion McAllister inked the profile drawings. Professor COOrie Buuher gave invaluable help in matters of organization and style. Professor John White and Professor John 1-1. Young IO.crc important to my work 011 the pyxis during Ihe years at the Johns Hopkins University. A Kress Foundation fellowship enabled me to do essential researeh in Athens and in museums in Germany. France and England in 1967. Numerous later Irips 10 Europe have helped to fill in lacunae. My examination of the pyxis began under the direction of Miss Lucy Talcolt who was an unending source of encourag~mcnt. wise counlocl, dirtx:tion and unfailing help over many years. a treasured friend. Agnes B. Sherman. Rare Books and Manuscrip~. Princeton. read the manuscript. and offered many valuable suggestions and queries. Lynda Hunsucker types the manuscript. Roger Sherman alosisted with the proofs. Dr. Margaret Mayo edited the last chapler. Professor A. Oikonomidcs designed the layout of the plates. the architecture of the book and much besides. Without the patience and support of my husband, Tom. no book l'ould have been completed. And Christie. Wayne and Bay have played an im'aluable part in my education. s. R. R. Drcv.' Uni\·ersity. 1976

Contents Preface. . . . . . . . . . Concordance of Figures and Plates List of P1ates. . . .. .

11 111

IV V

VI

VII

vii _ -

J:ii zi"

Introduction 1 The Origin and Early Development of the Attic Concave PyIis _ _.9 The First Small OasSts and Singletons 21 The Pcothesilea Workshop ..... _..............••. .45 Class a/Oxford 1961.468: Tran.s;r;onal. . . . . . . 60 PMrhesilea Workshop IJ . . . . . . . . . . . . . . . . . . . . .. ..62 Cum a/Munich 2120 72 Chus ofWunburg 542 ..............•......•.•........ 7S Class ofHarvurd /925.30.30 78 The Class or Berlin 3308 .....................••....... 95 Later Fifth Century Pyxides or Type A .....•...•....... 109 The Kuine Class 110 Various Tall Singletull.f liS Doubles. . . . . .. . " ,., .. , .. , 116 Miniatures ,. . , .. , ".121 Odd Pyxidf'sjrom ca, 430·420 B.C• . "., .. , .. , ,.,.,125 Dish'Foot Pyxides. . ..... ",." ... "." .. , ...••..... l29 T"",o Pyxides of Squat Proponio/'u and Tall Tripartite Foot , " 131 PyxidfS ofEztral'agant Profile. , . .. , ". 132 Various Small Hybn·ds , .. ,., ,.,." 135 The Pp:is Trpe C .,., .. , ,143 Precursors, . , , . . . .. , ..• , .. ,., .. ,.', ..•. ,... . 144 The A·C Clau,. . , 146 ClassofAtlrens 1243., . . , .. , .. ,.,.".,."., .. ,., 152 Odd Pyxides . , ,,, ' . ' . , . . . . .. . 158 Pyxides Type C "",itlr a Tripartite Foot ,., 161 Tire Chalki Class , , ..•.. ,., 163 Founh Century Pyxides of Type C .. ,., , .. , .. ,., 169 Iconography or the Pyxis .. , .. , . , .. , . , ' ..••...... 177 Selected Bibliography ,., .. ,., , .• , , .193 Addenda ,., , , , ...•. ,.", .. 197 Profiles "., ,., .. , .. , .. ,., , ...• ,., .... ,199 Index of Collections , , . , .. , .225 Potters. Painters. Groups and Classes ' .. , 2JJ General Index, .".,., ,.,. , , " .. , , ,.241 Photographic Credits.", ,., .. ,., , .. ,.,.". ,245 Plates , , "", ..•. ,., " following 248

SALLY RtITH£llfUIID RO.EIlTS

IIIE Arnc PYXIS

Concordance of Figures and Plates

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I HE ATTIC PYJUS

List of Plates l-rnHli,pi~IT

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/ xvi

THE ATTIC PVXI$

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INTRODUCTION Name, Uses, Materials and Representations Beazley stated in Potter and Paillter i" Ancient Athens: Now that the painters of nearly all important Attic vases, and most of the less important, have been determined, the whole material mUSI be rc-studied from the point of view of the potters; and this time we must be prepared 10 hold the painters at arm's length ... It will not be enough to note the general proportions. and the features of the shape: the eye must become accustomed to perceive minute refinenlents of curve and line. Then it will be possible not only to write the history of Attic vases from the point of view of the potters, but, in the long run, to shed fresh light on the painters with whom they collaborated. Much wor~ has already been done on certain shapes, including Emilie Haspels' Attic maCk.-figured Lelcythoi (1936), H. Bloesch's classic work on the kylix, Formefl auischer Schalen (940), and recently Barbara Philippaki's The AI/ic Stumflos (1967). Miss PhiJipp.k',', wo rk'IS 0 f consl'd era hi e .Importance . .. In provmg agam and again the connection between a certain class and particular pattern acco . . . mpamments as well as the Importance of pro\'enance .In the inte . . rprelatlon of subject matter. Athenian Agora Xll Black

2

T.n AT',",€" PYXlS

"nd Plain Pottf'r)' by Brian Sparkes and LuC)' Talcott may .....dl be the most important of the series. A study of the de\"clopment of

these ""ares based on mort" th~n thirty yurs of ucavation in the Athenian Agora adds greatly to the knOVo'Ied~ of shapes in general. of names. and of the correspondence: or lack of correspondence bet.....een the potters of plain and figured wares. The pyxis as a shape has received little attention. I One should perhaps commence with the problem of the name used for small round boxes in antiquity. nJ,toc; means boxwood and from this comes the Latin Buxus and English box. The generic term used by writers in the Roman period is pyxis. 1 Ho.....ever it seems highly probable that the Attic word in the Classical period was kylicbnis on the basis of the evidence gathered by Miss Milne. J In brier. Athcnaios recounted that the Athenians called the physician's pyxis a kylichnis.· The frequent appearance of this word in inventories of the temple of Asklepios al Athens confirms the evidence given by Athenaios. s Sometimes a kylichnis is dedicated togelher with a 1001 kno.....n to be used by a physician such as a probe.' The "'ord kylichnis also appears in inventory !iSlS otllcr than those of Asklepios as a container for rings and gems. A painted box dedicaled by Kleito contained je.....c1ry and among the contents a gold ring with a seal stone kept in a kylichnis dedicatcd by Dexilla.' With this reference .....e enter the woman's .... orld and .....oman·s uses for small boxes. As a parallel Miss Milne cited an alabaster pyxis found in a fourth-century .....oman·s gra\"e in Kamiros which contained two gold spools and a gem.The kylichnides in the inventory lists are made of various materials: bronze. ivory. stone. marble. sih'er and wood.' Extant pyxides may be found in these materials. An Attic grave preserved a black glaze pyxis of type 0 together with four bronze pyxides of similar type. III There are numerous marble pyxides some corresponding to pallery types and others having a type of their own. Of those without parallel in pottery is an elegant class of tall·stemmed marble pyxides. l l More numerous are low broad marble pyxides with affinities to pottery eJl3mples of type e. U Marble pyxides

s...u

Y RLTHEJlFUIlD RO.EJlTS

J

C'OfT'CS"p,mding to those of type B in pottery must also OCC'asionally ba\"e been made. 1J Small concave pyllides have also been found both 1\ith fttl and 1\·ithout. 14 Siher pyxides are not kno.... n from the fifth «ntury. The ell.mplcs which remain are of a later period. a Wooden pyxides have been found in Grette. the Taman and Kerch peninsulas and Etruria. I ' Scholars have noted resemblances of certain pottery pyxides to those in woodY Temple inventory lists do not mention terracotta vases, The kylichnis also functioned as a container for incense as is known from Hesychios' and Photios' description of it as a AI/JavwT((.u Both round and rectangular boxes are represented in use. 1t It seems significant that there are a number of fifth-century representations of pyxides being used as incense boxes and in them the pyxides are of clearly defined and recognizable types. A stele in Berlin" depicts a young girl dispensing incense. She holds in the palm of her hand a cylindrical box with a slightly projecting rim at its base. The cover is placed on the ground before her. The lid is about as tall as the ball and Io\'ould cover the whole wall. This factor alone identifies the pyxis as one of type B.n In COntrasl, the proportions of the box held in the hand of the heavily draped .....oman strewing incense on a thymlateriun un the Lud " Th OVISI roneU are low and broad. The cover has been removed: ~e box has an inset nange for the IKl. cylindrical .....alls and pro~lng Io.....er nange. The pyxis is one of type e. A PYlllS. type A. sen'es to contain the incense dispensed b)' a woman depicted on a kYIX '" 10 " t he British " " Museum. u A somewhat hasty depitlion of . o· h a PYllIS. type A. may be seen on a red-figure .. ~nocd ne by the Eucharides Painter of ca, 490.480 B.e. A Nike U'Cn s Over spr' kl' . hand .,' .In lflg Incense on an altar. The pyxis. in her left • Stl I retains it I'd knob SI. contrary to logic--one may make out the atop the lid. h Delian Temple' . Word ltvA. ' ,"ventol')' 1,ISts of the fourth century preserve the disap 'XVI(. Howc\'er, In the Hellenistic period this .....ord pears and is repla d bAn ' emplOYed "cc y l,..avwTI(. After 166 B.C. the .....ords are 1TlJtl( and 1TlJtldiov.u 1 he generic term pyxis. being

THE ATTIC Pun

4

more familiar. is used in this stud}', One of the functions of the pyxis was as a container for cosmetics. Various pyxides still preserve their contents and psim)1hion (14I1.,m,IOV}21 and cinnabar H ha"e been identified. One .....onders how widespread was the use of psimythion among Greek women and who among them usro cosmetics. Xenophon in Oikonomikos (IQ. gh'e5 one indication. The fresh loung wife of Ischomachos had whitened her face with pSim)1hion and used alkanet <mouoa) for rouge. lschomachos thought of this as a deception and persuaded her to cease using cosmetics. Aristophanes in the Ekklesiazousai Oines 878, 930 and 1072) gives another glimpse. An oid hag having plastered herself with psimythion attempts to lure a )'oung lover.

3m

"Why don', the fellO\It5 come? The hour's long past:

And here I'm standing. ready, with my skin Plaslerro with paint. wearing my yellow gown. Humming an amorous ditty to myself. Trying. by ....·anton sportiveness. to catch Some passer-by .. :'.11 Cosmetics. if these references are a true reflection, were used by the young and proptr bride Oschomachos tells us, Oikonomikos 7.5fT. "She was not yet fifteen years old when she came to me") as well as by old hags. The pyxis served then as a box for jewels, for dispensing incense and as a container for medicine and cosmetics. The provenance of the Attic red-figure pyxis is mainly Greece with few exceptions." Apparently it was a vase that was rarely exported. In this it resembles the lebes gamikos JO and loutrophorosJl which only rarely are found outside of Greece. It seems evident that a study of the shape and iconography of both lebes gamlkos and loutrophoros would add considerably to our knowledge of the pyxis. Indeed a study of the loutrophoroi of the Sanctuary of the Nymph has been undertaken by Mana Tsoni. A very close relationship exists between the concave pyxis and its iconography after the year SOO D.e. The subjects are

SALLY RUTHERFURO ROI£JlTS

5

everwheI ml·.,1, of a female character and show a .striking

~t·,on of ""'edding and funeral matter. This close interpene... . • between form and subject has led me to add a chapter can nteno . . _.ph, as certain themes appear now In a totally nrv.· on Icon~l!t. light. M rimary task. ho.....ever. has been the study of the shape of the :O:cave clay pyxis. Deazley's classification by letter has been ~tained so as not to add a new nomenclature. Ty~ A and C appear to be variants of a single form with a dissimilar scheme of decoration adapted to their different proportions. Ty~ D and 0 a~ un~lated shapes termed pyxides by reason of their function, size and box-like characteristics. The two lalter types have had thorough treatment elsewhere. Jl 11le devdopment of the concave ppis has been followed from its beginning around 600 D.C. as a copy of an Early Corinthian type. through a long period of experimentation which may be divided into a number of phases. The principal red-figure workshop in the production of the pyxis. type A. is that of the Penthesilea Painter. A characteristic shape together with cenain paltern accompaniments was de"eloped, then produced routinely and finally exaggerated. Later fifth-century pyxides of type A pfOYide a great diversity of models. including miniatures. pyxides of double format as well as those of sta.ndard size. The pyxis. type C. dominates the last thirty years of the fifth century. Production of this type as .....ell as of type A continues through the first half of the founh century.

The site of Brauron is rich in pyxides as one might expect in a sanctuary dedicated to Artemis prot~tress of women in every stage of their lives. It is clear that Artemis Brauronia was concerned with the bride, the woman in childbinh" and the child. The iconography of cenain pyxides underlines these conclusions. Iphi,enela, . " as well as the usual bridal types and the labour of leto are among the subjects. Pyxides representing the main types and main workshops are represented at Drauron. Not every pyxis from Brauron is included here as only examples are listed which fit into classes or are

•

S,ULY

THE ATTIC PYxls

related to them. Documentation and a discussion ~f ~he iconography of these vases will appear in Lill y, Kahirs pUb~lca~lOn of Ihe pottery from Brauron. Brauron tn~eed provides a background of meaning for Ihe study of Ihe pplS.

KUTl1ERFLRD

Ra.ERn

7

...0 I I:S INTRODl:Q IO"i

Ludwil CUniU1. "Prnlh~u):' 8f'rl".", W,,,d:l"""lllltll~rogrvm.... 88 (19291 pp. I '9; H . - "'-mman h-x.J.,,, ld""""tatK>n. H~mbul"J !';n"cnll\, l~l 2. Gist:1a M. A. RlthlCr and !rot J Md"". SltllfWJ uNJ /¥UmtJ of A,Irf'lIum VAS" (New York. 1935110; Dart'mbng aDd Saglio. Vol .•. I, pp. 794-795. J. Marpir; J. Milne. "Kyhchms," AlA 43 (1939) 247-254.

c............

..

.

AIMn;tr1ft 1J"il"fUJ,I)plll"~t' 11. 480 C

5. AlA 4J U9J9J 2~_ 11 Ibid. 7. Ibul.. 249. 8. s"hch;old in FR III .H1 'I AlA 00 llfj.)y) 249 and Idc~nca. 10. CVA Dnunark 4, C~n~grn 4. tUI to pt lbJ,4. II FOIra dl>oot"U"lOflof.h"cla~, ~ 1><'10" p, IJq notc I~ 12. JGS 1 (I~J 1'1'-20. fi~. 22·26 (Wcinberg); itA 56 \I'J401 col. 628 fill. 10 (Rldh); 8CH 87 (I96J) 708. fig. 14 {frum Br.uronJ: S AuriJCmm•. L .. Nrcropoli JI S".- ut V.lf.. Tf'C'bhG. I. 2. pI. 77 and p. b9 (found ...ith • rrd·ligurrd roIumn kntn dated a 460-450 a.ct: AA 13 (HI98) IJO fig. 4 (HnTmann). 13. 1 do not know of any pubhshed examplt:$. Onc t:lampl~ m.y be: seen in the AIMnII Nation.1 Museum. 14 C"'", RIooda.. 4. 108, fig 96: D. M. RoblnMlfl. OI),,.,hIlJ 13. pI. 238. no. 926: BCH 87 (IlJ6J) 708, fi•. 14 ltu uampks 11 HJ,o-cr riglld: Schcfold in fX Ill, lJJ and pictured in C. TOIT, N.ltoJ~ '" A,w....1 T.mu !Cambridge 11l85) pi I, D. T1lcse low "'edae-shapt:d fe.,1 .rc: flC'cuhar to marbk prxides. For. 1')'11' with. C)'hndrical ....11 and ...id.,ly proj«tlng Iooo-.,r naD8\' .nd lid lyon 8othmc:r. Alfcl..lft A" IrotfI/ Hr... Yor.l: Pnt'tllr ColJrcllO#lJ. no. 115. pl. 32 .nd mel'Cllt't:$). IS. D, E. ~tron•. Cr..d IUfd RtNn"If Gold ..lid Sill'rr PiIlrr (London 19!J60) 103.4, pl 28b; YOI\ Bochmer. Alfclf'''' An from Nr..· YlN.l: PriVUff' Collr('flOlfJ. IIQ. 273. pI. 100, there: d.ted third ttlllury a.c. 16. l~ U961) 27, fig. 2b lfrom 8rauron): AA 55 (1940) cols. 6~28. fi~. b.& 12 (Rieth); AA 70 U9S5) cols. 1-26 (Rieth). 17. 11. P.~. Hf't't'r>rfWI,.,It,,, 2'B. n 1: Agt>TQ XII. 173. n.b, Ill. AJA 43 t1'l39) 25U (MilneJ. 19. MOIfPi0l6 (1899) 16IfT.IGrae.-cnl: Pauly.Wis!\Ol/o·a. RE 13, I. cols.llff. Brunn·8ruckmann. D"""miif,." ,rirducltrrlllfd ";;"'udrr Snlfp'"'. pi 417c. ~. For a diseussk>n of tbr: pyxis. type 8, ~ HrsP"''' 10 (19511 211. no. 2 oung);A,f'fII'U XII. 114-175.

~

~2b .."'..",. Dr,."mlJl..,.

11: pi: 7. I he PYlis appears nol to

2J Pl'Obabk that tIN: an 1St Inlcnded a marbk pyllL 24"

fll:

~A

~ fOOled.

In this case,

43 (19.39) 250. fig" I (Milne),

14~V.

229,46: G. Van Hoorn. CloUts Qlld A",ltrstrri" (Ldd.,n 19511 no. 119.

;:" AJA 4J (1939) 251 (Milnc:l.

. r pyal5 rom Rhil>Ona conlalned Io«nll\'S of baSil: lud carbonatc Illd ~N" Ure, BiIl~" GJu=.. PU"""(ronf RI"uOIIU 'n Ba...,,,,, ILondon 191.1144-45 ~). PslmYthlOn prored 10 be: thr rontc:olS ot 1"-0 l:onnlhlln PY">OC\, . A POWder

U'en-

8

THE ATTIC PYXlS .

our from a grave in IM Norlh Cemrtery. Corinth, IM othu ftom • growc in AUIC. C/lusicil/ StuJi~s prt>srn/I'd I<J £d"'lIrd Cllpp' !PTincCIOI1 19361314-.117. figs. I and 2); Richter and Milnc. Sh"p"J, p. 20. Or. A. E. Werner of the Re$Carch Laboratory of the British Museum analyzed the oontenu of • py:l:is, I)"PC B U-codon E 775) and stated that the material is ttnlnite. I naturaUyoccurring miner..l "'hich is nonnal lead carbonate. Later a sample of maim,] from • PY"is. type A (B"lImon:. the W.hffli An Gantry 48.1(19) ."U Iba aralY"~ in IM British MuSC'um. 1lle m'lnial is koad carbonate loxrtMr ,,'ilh • fe'll' panicla of alpha quaru. 27. f-_iJ(t>-s de DI'/plln. S. 165-166 and referenca. 28. ArUlophancs £ulI'Ji..;uSQf' (tramlaled by ~nplmin B. R~). Loeb Clusic.l Library. Vol. J. unn 817·880. 29. E.lttptiom.: Anrona llJO. from Num_n. (ANV, 899. I44J: Ne..' York 01.280..)6. from Cumac /ARV, 890, 173); Ferrara T. 27 C VP. frum Spina (ARV. 1277.22): Napks RC Il7. from Cumle (ARV. 1277.25); Leyden KVB 157. from Cyrenaica (ARV. l22l/; London E 770. from Tralles tARV. 1360.2); Qrvitlo 573. from Ol"'icIO (ARV. q84. I); Palenno. fr .. from Stlinus (ARV. 1177.49); Palentlo. fr .. fmm Stlinu$ (ARV. 1290. 2)); Reggio. frr .. from Loeri (CB, iii. 72); Villa Giulia 207"9 from CeNelri. Nicmthtnic Shapt (ARY. 127. JO). The~ art t'AO .n hahan collections for which no pfOO"tnlnC'C 15 h~led; F1orenao 4217 (ARV. 1222.21: Vlli...n. fr (ARV. 1290.221. 30. The fol:lowring ..·jlh uC'CpciONll pm.enallC'C a~ found in ARV F~.ra. T. 1l6tl.lrom Spma ",RV. 1322.181: Leningrad (.!IT 1811. 1812. 19.10 frr.l. 155'11 from Ktn:h lARV. 1JJ2. I...; 1..75. 1-2): Salunic. 680. 8.101. fn.. JIl.525. fr .• J4.J32. frr .. from OlynlM. (ARV. t.507. 1-3; 1509."). 31. ARV. 1120. 3 U..w'~ MN 558. from Renllha£il. 32. A~""u XLI. pp. 174·175: 177-178. 3J. A"II,uJOJ;:11I P"llIfUlIl 0.201. 271·273; FlIrncll. CUlf" ul ,h.- Cr.·,'A SI""'). It 444: Euripidcs Jphl"""n~iu in T""rirll 1464 fr. 34. Funell. C"I,,, u) fh~ Grf'~A SUltt'J 11. 441 and fOOln"lc 34: Ari'luphancs LyS(JtrQUI 645 .l Schol. "~i 4t Ti: ftqll Ti)v 'l.ryMlClv lv ~UQWv, quJo,,, cM: iv AV.i.[6,.'· Set abo chapln 7. (T. Lnlie ShC;lT. "Psimythion,"

,

CHAPTER I The Origin and Early Development of the Attic Concave Pyxis

The Auic COnC3\'e pyxis is derived from the Early Corinthian box of this form. The Corinthian pyxis is a simple container characterized by the inward curve of the walls, handles at the rim and a lid generally cUI'\'~d up.....ards lov.ards lhe central knob and nanged beneath. Animal friezes decorate lid and body or in th~ simpler versions the decoration is linear.' By the Middle Corinlhian period lhis lype had gone out of fashion to be replaced by a number of different types of convex pyxidcs. J The concave pyxis firsl appears in Athens around 600 R.e. Examples are rare until around 5SO B.C. whcn a modest number may be cited. Fewer slill may be grouped in the years 540.520 D.C.

The: following brief catalogue lists the pyJ:ides in chronological order. The absence of a painler's name indicates that the vase is unanribUled_ 1. AthenJ. Agora P 4602. from Athens.

H. 0.052, H. with lid 0.091. D. at rim 0.072. D. of lid 0.075. Concave. handles at rim. Wavy line in handle zone band of purple-red. lozenge chain. band of purpl~.red. • Lid: . h i· . Rod Birds to th ~ ng t; menor: plain. ney S. Young, Late Geometdc Groves and

Q

Seventh

10

THE ATTIC PvX1S

S.u.l' RUTHERFURD ROil ENT!

CI'''''It')' Well ill lhe Agoro. Ut.'sfH'ria Supplemc'''' 11. 22·23. fig. 9.

Ca. 600 H.C. 2. Ath c"lS316 (CC. 565), from Athens. PI. 1.1. Lld nllssmg. H. 0.0,;,4, iJ. i l l nm u.Ull.. In.....ard-sloping rim, concave. Black band above and below frieze. Polos Painter, black-ligure. chain of "omen holdin~ hands; ABV-. 45. 28; p")llc. Nlfcnx;ur;mhltJ, ISO·191. rur (he chilin of \Ooomcn cf. the tripod-kothons: AllV 45.24, 26; CVA. Germany 9. Munich 3. pI. 140.6; CVA. Gernlany 10. Heidelbcrg I. pI. 32.3. First Quarter Sixth Century.

3. Atht'rls. CeNUfliclIS MllSCUItl. from Athens. H. 0.09. H. with lid 0.118. D. at rim 0.118. D. of lid 0.115. Concave, handles at rim. Lid: rays. animals. Rays above frieze: beloK': rays. Painter of Berlin 1659. black-figure: siren heNcen panlhers. S\loan between hens: AnV. 20.2: AA. 1935.296. fig. 21; .4)A 2q (I93tl)~. li~.

9.

575-550 H.C 4. Rnm,.. Cons,.n·lJton" 305. from Palestrina. lid missing. H. 0.083. D. at rim 0_10. Conca\·e. four pierced lugs at rim. Irregular slanting strokes in handle zone. Two horizonlal bands .... ith swans rightward (upright) decorate the body punctuated by a black line between the zones. two black lines below and a black base line. Swan Group. black-fi~urc (no incision): AnV, 656. 63: Ht'Spl'rit/ 13 0944) 55 and 57: Payne. Necrocon'mhw, 292: CVA. haly XXXVI. Rome. Capitoline Museum I. pI. 35,4, 5. Athens. Agora P 20708, fr. from Athens. H. pres. 0.038. D. at baloe 0.088. Lower wall and base preserved. Concave.

PI. 2.1.

IJ

Frieze: Swans rightward with groups of strokes bttween. t..,.o • baSe band (purple ewer black). hnes. "or. b~"d ron«ntnc . band on ba5C:; hattom' unglazed. Ittf!ff. • ..... J Purple (n'er black on swans' wings. Swan group. ABV. 656. 65; Agoru. XII. 398. Deposit R 11:2 dated ca. 6(X)-550 R.e. Concave pp:is. type A. 6. Edinburgh 1956.424. PI. 1.2. H. 0.052. H. 1Jl'ith lid 0.083. D. at rim 0.056. D. of lid 0.065. Insel nange for lid. concave. moulding at top of body. Li." twO concentric bands of short strokes; swans 10 right. Band of multiple outline triangles with tilling-ornamenl of irregular short strokes at top of wall: frieze below of swans righlward; groups of short strokes above and below. Swan group. black·figure (no incision): ABV. 656.64. Ca. S50 B.C. Boston 61.1256. from Gree«. PI. 2.2. Fig. la. H. 0.06. H. with lid 0.099. D. al rim 0_087. D. of lid 0.091. Concave. lid nanged beneath. Liel: lion aad goat; two sirens. ivy border. Quadruple row of dolS above frieze; below: double ro..... of dots. Group of the OIford lid. black-figure; He.raldes and Apollo: the Slnlggle fOf' the tripod; ABV. 6l6.ll: BMFA 61 (1963) 64-67. figs. I ...... PalVlipomena. 306, Ca. 5S0 B.C. 8. Nrw York 06.1021.164. PI. 3,1. H. 0.055. H. wilh lid 0.10. D. of lid 0.072. C~ncave. lid flanged beneath. loop handle. Lld: youths naked and clothed. Wid . e black mouldmg above frieze; below: black band. ~~Re~ated to Ihe New York amphoriskos and 10 Ihe Painter of ~un~hIM2 h · ' . ""1 ,w 1I~ ground: arming: AnV, 455.3: 698: Richter and "11 ne, Sha " Vases. fig. 137. pes all d N alnt'S nf Athema" Ca. S50 B.e.

12

THE ATTIC PVlU

9. Gocha ZV 2380. Knob missing. H. 0.06. H. pres. wilh lid 0.076. D. 0.087. Concave, \\'id~ black moulding at top of wall. frit'7.C' between black lines. black band at base. Lid: blat:k. Related to the New York amphoriskos and 10 the Painter of Munich 1M2, hlack-ligure; Heraklcs anrl the lion: Amazonomachy; L.eiJS lIctwcclI ~ileithYI3I'!: AlIV. 455.2 below; CVA. Germany 24, Cotha 1. pI. 29,2·4; D. von Bothmer. Amazons in Greek. An. 75-76: Paralipomena, 198. Ca. 550 H.C.

10. Basle MarAet, once Berlin 2033. Lid missing. H. 0.055. Upper diameter 0.071. Conca\'c. inset flange for lid. Wreath of leaves above frieze; below: black band. Black·figure. Dionysos and Aria-doe. dancing satyrs and maenads on dther side. unbearded youth riding on ithyphallie mule to left; Mo""a;es et Meduilll's S. It. Balf', Vt'nte Puhfique Xl, 23-24 Janvier 1953. no. 323, pI. xlv: A. Furtwangler, BeschreibutlR der Vasl'llsammhmg im Itntiquarium, p.438. 11. It,hnu 502 (CC. 686). from Eleusis. PI. 3,2, Fig. lb. ud missing. H. 0.006, D. 0.091. H. of foot 0.003. Wide flat rim, cylindrical body. Iow ring foot. Black echinus moulding at top of body and rounded moulding at base. T,,·o raised black ring1 frame the frieze with a wide red band above and below. Botlom: ~ntral doned circle. three outer con~ntric circles. Tleson. black-figure: siren bcl~ecn cocks. siren between sphinxes; AHV. 181.49. Ca. 540 B.C.

IJ

12. Brfluf'OIf Must!Um• . from .Myrrh~ous.

. . Knob missing. Lid nses ""nh one JOg towards eenter. cyhndncal hod . Black moulding at tOP of body and at base: t"..o black m~ldings frame frieze. BottOm: series of concentric mouldings. Lid: rays, lotus buds linked by arcs and dotted above. ribbon

. . paltern in red. Probably Exekias. black· figure: PreparatIon of a charIOt: Ergo" J8 (11)61), fig. 43: BeH 86 (1942). 669. fig. 27; ARV, 1699; AlA 72 (1%8). 362: Parafipomenu. 01. Co. 540 H.C.

,

13. Athens. AgOlll P /2255 fr., from Athens. PI. 4.1 Fragment from base and lo~er wall of pyxis. H. pres. 0.027, D. est. 0.075. Body cylindrical. black base moulding, low black ring fool. Fn'f'=l': lower portions of ligures only; two horse's hoofs. nude male figure left. nude male figure right, draped male figure with scepter right facing mounted horseman to left. Bottom: dol. circle, glazed band. Black-figure, ca. 540 B.C. 14. Athens. Agura P /3247. from Athens. PI. 4.2. Lid missing. One side broken away. H. 0.045. D. 0.071. Inward-sloping rim. conca\'e; moulding at top and base, bottom

0.,.

a.oo

y decorated with double palmettes separated by a dotted cham between two bands. Interior glazed. Patterned without incision: the glaze has fired red. Ca. 550-540 H.C.

14

THE ATTIC PvXlS

IS. Athen.s, Agoru P n26. from Athens. lid missing. About a third preserYed. H. 0.077: D. eSI. of rim 0.08. Black inward-sloping rim. cylindrical body. trip'!r1ite foot. Black. rounded moulding at base of wall. raised ring with added red abm'c it. Black moulding at top of foot. Semi-glazed. Agoro XII. no. 1287. p. 327. pI. 43. fig. 11. Deposit T 18:)·U; for the foot cf. Ne 133. no. 1508. fig. 176. 550·515 B.C. 16. Hf'ideJberg 274, froon Athens. PI. 4.3. Knob missing. H. 0.065. H. with lid O.O~S3, D. 301 rim O.OMS. D.

of lid 0.087. H. of foot 0.006. Wide nal rim. concave. tripartite foot. Lid rises steeply to eenter. nanged beneath. Lid: three black circles on either side of chain of lotus buds with points upward. linked by arcs and dotted below. White dot on c\'ery other lotus point. Band of wavy tines. Zeds on sKle of lid. Three black circles at top and base with four circles at the mid-point separating the zone of rosettes from the chain of lotus buds below. Black.figure; CVA, Gemlany 10. HeKlelberg I. pI. 41.10. Ca. 540-520 B_C.

17. Brussels A 1375, from Thebes. PI. 5.1. Lid missing. H. 0.14, D. 0.23. Wide flat rim projecting beyond line of wall. concave. Iow black ring foot. Wreath of leaves on rim. frieze bordered above and below by black line. 8fJ1wm: black reserved circle at center and interior edge of foot. Fr;eze: Scenes 01" the hippodrome: quadrigas. mounted horsenlen and traill~r. Black.figure; CVA, Belgium I. pI. 12. Cu. 520 B.C.

SAllY ROVHERFURD ROIlERn

lIS Agora P /JI29. from AtMns. 18. A t • e . . Lid missing. About a third p~rved. H.

rres.

15

0.042. D. est. at

rim ca_ 0.03. .. . Conca\"e. inset flange for lid. tnpartlte foot. Red line at top. black line at base of wall, black band around middle. Semi-glazed. AgQI"Q Xli. 327. no. 1288. pI. 43. fig. 11. Deposit U 25,2·L. 550-525 B.C. I~. Princetorl.

private. One foot restored, H. 0.085. H. with lid 0.14. D. at rim 0.09. D. of lid 0.095. Concave. wilh wide flat rim, four feet. Lid flanged beneath. Three reserved lines on rim. another around middle of wall and a grooved line near the lower edge. Vertical rilled edge of lid and '''''0 circles on upper surface reserved. Added red for under surface of rim at base of wall. vertical edge of lid and moulding at base of knob. Black. Agora XII. 320. no. 1286. pI. 43. fig. 11. Ca_ 515 B.C. ~ earliest example (no. I) comes from a ehild's urn burial in the Athenian Agora dated ca. 6(X) B.e. The shape carelessly made and decorated reflects the concave form of the Early Corinthian prototype. Athens 316 (no. 2. PI. 1.1) is a replica of the Early Corinthian form minus the handles. The rim slopes slightly inwards and its lid may well have been like that of Boston (no. 7. Fig. la). The range of vase shapes decorated by the Polos Painter is derived from Corinth.]

. Another slightly later pyxis dated 10 the second quarter of the SIxth century is derived from a variant of the Early Corinthian shape in which the vase is formed as a kalathos with flat handles at the eenter of the body .• The Ceramicus pyxis (no. 3) is shaped as a kalathos but the handles are at the rim and the lid curves toward the center as in the normal Early Corinthian type. An

,.

THE ATTIC PYII~

animal frieze decorat~ body and lid but the filling ornament is reduced to a few sparsely scatlered rosettes. An instructive contrast is offered by the Conservatori (no. 4) and Edinburgh (no. 6. PI. 1,2) pyxides decorated b)' the Swan Group.s The Conservatori example is again a replica of the Early Corinthian fOfm while Edinburgh incorporates new features. an inset flange for the lid and a moulding al the top of the wall. Beazley ~marked that the range of "shapes used in the Swan Group. in general. suggest a date in the first half and probably the second quarter of the sixth century," Howt\'er. he noted that the contexts in which such vases had been found necessitated a date shortly after the middle of the sixth cenlury.' One would never have guessed a mid century date from the shape of the Conservatori pyxis but Edinburgh shows interest in aT1iculation characteristic of the best examples shortly after 550 B.C. Still very conservath'e is the mid sixth century Boston example (no. 7. PI. 2.2). The form is Early Corinlhian minus the handles. The lid retains the usual animals but the main friele has (1 fOrcelul procession of miniature figures. gods .....itnessing the struggle of Apollo and Herakles for the tripod. Figural also is the decoration of the earlier pyxis by the POI05 Painter. The Athenian painter early sees the advantage of two pattern band5 to frame and emphasize the frieze: dots on 80slon (no. 7). rays on the Ceramicu5 pyxis (no. J). or as in New York (no. 8) and Gotha (no. 9) the framing bands are black. The upper one is actually a moulding. painled black. which emphasizes the aniculation of the shape. On the Basle pyzis (no. 10). a wreath of leaves is pla«d abo"e the frieze and a wide black band at the base. The most impressive and dearly composed examples of the years around 540 B.C. are by Tleson (no. 11. PI. J.2) and probably by Ell.ckias (no. 12). The overall shape of the box is cylindrical. articulated by a moulding at the top and base. In addition on the Tleson pyxis the frieze is framed by raised rings. The clear division of the pans and their relation to the whole is expressed by raised elements. There is a low ring foot. the first of many anempts to fit a foot 0010 the simple box. On no. 12 the

11

" h n doubled at tOP and base with a narrow Idlngs ave~ ... m~~ leO between them. The mouldings which bind. the frieze ,p "ongly than those at the outer boundanes. Tleson ject nlore s . ',n the use of animal frieze though all filling pro . is conservative disappeared. The preparation of a chariot forms the ornament has . . b' t of the Brauron pyxlS fnele. '0 F', cd 10 lleson's pyxis is a fragmentary example from the Real f" " ' In. L " lit . . e Athenian Ago.. (no.IJ.PI' 4 . 1) v.ith a figured .nett "yle. Similar but less elaborate in form. 11 15 cylmdncal Master r" \" . with one black base moulding underlining the rleze. It a so IS title(! with a low ring foot. To this period also belongs a semi-glued pyxis (no. 15). A small moulding f~lIowed by a lar~er weight the base of the cylindrical wall. There IS also a moulding al the top of the trip'lrtite foot. What a simply made and dCi:orated pyxis might look like in the )'eaf$ 550-540 R.e. is sho.... n by no. 14 (PI. 4.2). A crudely formed moulding is placed at the top and base of the concave wall. A double palme1te connected by a dotted chain forms the decoration. The pelals of the palmene have not been carefully definL-d and there is no incision. The pattcrn is one uscd to ornament the necks of amphorae though an exact parallel is difficuh to find. Certain of the amphorae of Group E have a palmene and lotus festoon on one side and a double palmene on Ihe other. New York 56.171.12' dated about 540 B.C. may be compared but Ihe petals of the palme1te hardly project and there is crude incision. A later small neck amphora by the Painter of Toronto JIJI has a double palmette and lotus pattern connected by a chain. Here. there is no incision and in this the design comes closer to that on the Agora pyxis. Howe\·er. Ihere are vertical divisions in Ihe form of debased lotuses. It seems probable that the basic shape of the pyxis suggestcd the neck of an amphora to the potter and this in turn led to the choice of pattern. 5SO S.C. could be called a turning point. Up until that lime ~plicas of the Early Corinthian form .....ere still occasionally made Side by side with a form modified by framing mouldings or framing ornament. The plain box as .....ell as the ne.....er model .....ith

..

'9

THE ATTIC PvDS

a ring or tripanitt foot exist. Both forms of lid construction current: the lid flanged below to fit within the mouth of the pot (Fig. la) and the newer model in which the body is flanged and the lid fits over it (PI. 1.2). A modified animal frieze .....ith link or no filling ornament as .....ell as the figured frieze are found. Only a few examples date from the yean 540-520 R.e. They eau Id not be mort \'aried as one is black (no. 19),tone semi-glazed (no. 18), the third patterned (no. 16. PI. 4.3), and the last black-figured (no. 17. PI. 5.0. Striking is the absence of mouldings at the lOp and base of the wall and the clear simple concave curve of the wall. All are footed. No. 18 has an inset flange for the lid and the other three have a wide nat rim: no. 16 (PI. 4,3) and no. 19 show that these lids ate flanged beneath and the vertical edge of the lid is cOnliguous with the top of the pyxis wall. The patterned Heidelberg pyxis (no. 16. PI. 4,J). cumes from a grave on the .....est slope of the Acropolis together with a miniature skyphos krater of the Swan Groupll and a trefoil oinochoe by the Painlcr of Vatican 342." The context suggests a date range of ca.

540·520 B.C. A wreath of lotus buds. with points up\1lard. docorates a zone of both lid and box. This is a favoriate shoulder pallern on black-figure lekythoi. Miss Haspels observed that the pattern was used from the period of early Amasis. In the leagros period the pattern was revef2d and thereafter the lotus buds were depicted ,",,'ith points downward. U Brussels A 1375 (no. 17. PI. 5.1)1J like Heidelberg has a simple CQncave wall with a .....ide flat rim. The base of the wall slopes inward to a juncture with a low ring foot. The formation of base and foot resembles a small pyxis from the Agora (no. 18). The f(Xlt of the Agora example is notched but the profile is similar. The Brussels pyxis. however. is the largest of the black-figure examples having a height of 0.14 and a diameter of 0.23. This is a sudden enlargement of the shape for hitherto the black-figure pyxides noted ha\'c been of modest size. On account of the similarity of the rims of the Heidelberg and Brussels pyxides the missing lid should be restored to resemble that of Heidelberg (PI. 4.J). The date should be about S20 B.e.

""OTES CHAPTER I

H-

r.JM"

H~,IIID IOsfotd 19JII 2CJ2.

~: ,'''. p ~.

P,)'DC Itlitcd onl) ODC concne p)'I'.~ In In.: cat'klcve. cl Mlddk Conathian usa. pO. 860 B. Louv~ A 432 .nd qL>rstiQnnt ..-hnhcT JI mlltll noI br latn- For cnmu p) .. idrs WC" pp JO'>-.JO!I. J IW. pp_ 190-191; Hr~P"W' IJ U94-') 52·504. .. H Paync. Hrf'rocontllhlD, 292. no. 666. Clnh.ll"E. Mus& AI.oui. Btthn J3J. AIlOlhn" Connlhi",n cumpk of thn .an.nt I'Ii C.rluuhr B 146J (CVA. Germ.ny 7. C.rbrvhe I. tut 10 pI. 39.2 bUI pkture plo J9..l). S. Other oooc:.vc Pfllides by the S..·.n Group; Reggio. MIaeO O¥ico; Rom.n m.rket (PoII.IF:) ~BV. 656. bl.fl2); Elcu$i$ J77. from E1eu$i$ l/'flnJ/ipom~"fI. p. JIS): Bnlurort 227. lid. from Br.urnn. Thc~ b .nother in Ihe S.ntorini Muuum.

6. HUfw.riIl IJ U944) 57. 7. CVA, U.5.A .• 12. The Metropolit.n Museum of Art J, pI. lJ. (New York

41.162.143. pi. 14. '[$0 by Group E. hu I double INIlmelte ch.in ...Ith dIminutive IotU$ belwren. The p.[mcIlC$ are crudely incisedl. T ..·o furth<:r u.mples 'I"C WDnburs 244 .nd 245 (I..lnllluct, a,,'rf'huchr VIlJCII ill WunbllrJ. pt 791. 8. ABV. 5118. 2 below: D. M. Robinwn .nd C. G. H.rcum. A CIlIIlIOl"r of ,11., Gmi VIUU i" Ihr Ru)'ul O",an'o MII~rll'" of ArtAl'llf'OlOC)'. Turo,,1U (1"OI'onto 19JO) plo 47. Compare also Vatican G. 2tI. ABV. 589••bove. 9 Mm- Tok"u.nd Hflan ~parkn n"de thl' ~u~llun th~l il may ha-c brcn made in ••'ork-Joop produ.:iulI [...."hu..... tm the basil of the $hapc of lhe knob lA,...... XII. p. 174). This $ugation il. .Itortlher convincing when:as In.: Early Corinthlaa conc.ve PY'atli is .llt1O$t inun"bly equipped .·ilh $uch • knob .nd it "ll1.ppcan on.n Allk uampk of ca 5SO B C. {Boston 61.1256. PI. 2.21. lhc:~afltr It dn.appc't\ from t~ knob h:pntmn: oftht Pra" 1)"JlC A bol is. canoniclll f"atu", ofllw black kUlhon. 10, F.. dllinl cof the S".lln Group......, 1I..~p.·n" IJ t1~1 57 (lkazk)·'. 11 ABV, 4J.l. I. 12: ".mil~ Iil'\pd~. A,,,, Blaci'!i«"rNl L..h,h<.i (Pam 193b1 p. 44 and foot nOli.. I. D CVA Bdglum 1, 8ru~lo('l~ I. pi 12..1.

20

THE ATTIC PTXIS

CHAPTER 11 The First Small Classes and Singletons LATE FOOTLESS PYXIDES

I. Athens /8577. ex £mpedolr.les. PIs. 6.1 and 6.2. FiR. le. H. 0.057. H. with lid. 0.083. D. al rim 0.072. D. of lid 0.088. Inset nang~ for lid. body connx with black echinus moulding at lOp and conca\'c·faced moulding at base. Lid flat with down-turned rim to cover flange (inset at lOp of body Inll), pomegranate knob. Lid: tongue and dol. black band bet.....een reserved lines. running palmette scroll, slanting connections all parallel forming a vilruvian waYe with palmenes strictly aligned with axis of border (Dinsmoor Iype IVa). Side of lid: inlerlocking maeanders in groups of five. once four and chequered square: base moulding: egg pattern. Lid interior: black; bonom: reserved ",·jlh cenlta! dOl and circle. ~ Painter of Athens 18577. black.figure: chariot-race: AlA SO (1946) 118 Oisl of examples of palmene SeToU, type IVa), ParTJfjpom~"a. 306.

Ca. 5/0-500 B.C. 2. Athens 18578. ex Empedokles. Pis. 7.1 and 7,2. I H. 0.059. H. with lid, 0.104. D. at rim 0.075. D. at base 0.075. ~ flange for lid. slight incline to wall, echinus moulding at top and black moulding at base. lid flat ....·ith down-turned rim to cm'er flange; conical knob.

22

THE ATTIC

PYxJ§

Lid: tongues. black band bct"cen resened lin~. running palmette scroll (Dinsmoor. I)PC IVa). Side of lid: interlocking maeanders; moulding: reser;ed crenellc pattern. Interior of lid: rescn'ed; bollom; resen'ed. Fri,.:e: palmettes. ailemntely \'crtical and resen"ed. linked by tendrils .....ith crosses in the field. The Painter of Athens 18577. black-figure. patterned: AJA 50 ()946) 118. PuralifJo",.·nu. 306. Ca. 5/0-500 H.C.

J. Atlu·tls Acr. 560. from Athens. Pis. 8.1-8.2. 9.2. Fig. Id. Lid missing. about t ..... o-thirds of wall preserved. H. 0.076. D. t.'lJot.~t rim 0.09. Inset flange for lid, concave·sided, black base moulding. bottom l1at lIo'ilh deprc'\scd ('colral loodo. BOtlom: two concentric circle.; near ('enter and 11100 OUler concentric circles. Black band.' reserved line above .od below frieze. MAKP(ON:

ErPA4>IEN]. KA(A01:··Hlm]OAAM.U KME. 1:18[.., KME]. [..,KA] AE. NAYl:lnPA[T]E. [M]ENTA, KA[AE]· Makron. red·figure: women in the home: AR V. 479, JJ6 and 458: JHS 14 (1894) pI. 3.2; Langlot'l.. Die 0",0(('" Vase" wm di'r AkropoJis:u Athen, pI. 43. Ca. 500 B.C. 4. Brussels. Hibliothl~q"I' Royule 9. from Attica. Knob missing. H. 0.051. lota1 preserved H. 0.Ob3. D. of lid 0.085. D. of base 0,09. Inset flange for lid, conc3\'e-sided. moulding at base. lid inlerior: reserved: bottom: two concentric circles. outer circle. Black line. reserved line abo\'c frieze, reserved line below. "The inscription MEKAKI\E~ EnOIEIEN is modern, whether over an ancitmt inscription or not" (Reazley). Pistoxcnos Painter, fed-figure; women: ARV. 863.31; O. Fcytmans. Les Vases grecs dl' la Bibliotheque Royule dj' Bt·lgique. pis. 21-22 and pI. SI (profile). Ca, 480 RC. •

Actual ktur

rorms an:

DOt ~ ill lhb or the

rouo...ing illKription$,

SALLY RUTHERFUaD RoaERTS

2J

Tbe \a~ abme ha\c bt-cn loosel) grouped IOgether as the} ..hOY< • curious mixture of cunservative and progressiH: features, On the consenath'e side wuuld appear their small size. base mouldings and lack of foot. The inset l1ange at the top of the hod) and consequent tllperimenlation ....ilh the proper shape of lid to fit do.....n o\'er such a nange are progressi\e in the sense that these features are ronstallll)' presenl in the fiflh-centuf)' conca\'"e pyxis. The first ell3mple in red-figure technique appears about 5(X) D.e. and introduces the predominantlY female subjet'1 matter typical of the fifth cenlury. Alhens 18577 (no. I. PI. 6.1) and Alhens 18578 (no. 2. PI. 7,1) wf;re probably made as a pair in the same .....orkshop and det'orated by the same hand. They are similar in shape and construction though lhere arc subtle differences in prolile. Bolh italic the canonical b:lse moulding and complementary moulding at the lOp of the body but the form of the hase mouldings are cOnlrasted: a disk for no. 2 to counter a moulding ..... ith a conca\'e face for no. I. The lids ha\'e bluntly rectangular down·turned rims identical in profile to those of the Classes of Berlin 2034 (PI. 15. J) and the Painter of Oxford 137 (PI. 11). The lid patterns are identical. a running palmene scroll IDinsmoor t)'pe IVa).1 The first red-figured pyxis (no. J. Fig. Id) is of a very simple conscrvati\e shape. The body is slightly conca\'e with a rounded mOUlding al the b3sc. It seems likdy by comparison with an earlier! and 1\100 later p)Xides (no. 4 and the singleton. Athens 12149)' Ihat tile missing lid had a rounded moulding at Ihe edge to complement that at the base. There has been a realignment of members. Ihe Upper moulding ha\'ing been mO\'ed from the top of the body tu Ihe lid.

The artist is Makrun. who chiefly paiOled cups. Throughoul Ihe fifth century the great majority of artists who paint pyxides specialize in the decoration of ClipS. The inscriptions have been fully recorded in the catalogue entry follOWing the order in which they appear in Langlolz's drawing.· Recent examination sho.....s thal all the inscriptions appear to ha\'e h«n originally white.s With regard to the missing letlers it should be stated that there is :l chip in front of EMTA and no Irace of any lener could ever h3\"e been visible.' The chip may be seen in

THE ATTIC P'YXIS

SALLY RI111lEaFUaD RO.EaTS

Langlotz's drawing and on PI. 9,2. The M was first restored by Richards, as Melite is the name of a Nereid in the Iliad (niiiA2).7 It should be nOled that there is an inscription beside each female j;sure and room enough between the wonlan hastening leftward with the mirror and the woman in profile rightward by whom MAKP i.. written for another venical inscription to name that Vooman (along her left side where there is a substantial break, PI. 8.1)_ Beazley nDled thallhe KA abO\'e the mirror held by the .. oman striding left "might also be the beginning of another name" (;tRV, 479, 336). Therefore the anist can name each figure and sign. It seems highly probable that MAKP is a fragmentary signature. The letters and pmiition of the signature on Makroll's Helen skyphos in Boston l are strikingly similar. The basic shape of the Brussels pyxis (no. 4) closely resembles that decorated by Makron. The concave·!>ided box has a rounded base moulding here complemented by that of the lid, The knob however is missing so the total effect must be imagined. I would not hazard a guess as to the shape of the knob as they are so varied in this period of experimentation. The pyxis differs in some relipects from Acropolis 560. in that the concave curve of the body is cmpha..i7ed and the box is proportionately smaller. The pyxis rests slighlly IIff the ground on its base ring as is the case with Athens 18577 (Fig. le) and 18578,1 This detail may be observed in the prolile 1t but the structure of the foot is obscured by the base moulding and indeed all the pyxides of this class appear to be placed solidly on the ground.

. r of Oxford 237. black-figure. Voarriors lea\'ing home palll te . . rs women and Nlkc): ABV. 649. 248, (~arnu . Ca. 500-490 B. C.

THE CLASS OFTHE PAINTER OF OXFORD 237 Pis. 10.2 and 11. Total height excluding foot 0.095. D. at rim 0.101. D. of lid 0.12. Inset flange for lid, conca\·e·sided. tripartite foot (1). Lid with down·turned rim to cover flange, conical knob. Lid: debased tongues. warriors, women and Nike. nCI pattern. Side aflid: linked lotus buds. pointing downward. with dolS abo\'e and below. Net pant:rn abm'e and below frieze. I. Camhddgf 86.06.

Louvrt' CA 3738. f'X Bou/anger. Pis. 9.1 and 12.2, Fig. 2b. 2. H. 0.092. H... ith lid 0.126, D. at rim 0.092. D. of lid 0.109, H. of foot 0,019, Inset flange for lid. conca\'c, thick stem sprnding foot ring __.. ith reserved com'clI edge. Lid wilh down-turned rim to cover

flange. Disk knob. Lid: debased tongues. \\arriors leuing home (seated warriors ahema~ing with warriors leading horses and Nike). dots. 1/ftf'nor of lid. reddened; buttom: dot and wide black circle. Side ~r lid: lotus buds. pointing downward. joined altcrnatcly by slalks with dots abO'e and bclow. Nct pauern abm'e and below frieze. Leaness Group. black.figure: Am3zon and warrior leading horses and warriors. Ca. 5QO·l/90 D, C. J. Warsaw 138535, probably from Kaliningrad. PI. 13, H. Rib. D, 0.13, Inset flange for lid. concave, black thick stem, spreading foot ring with reserved convex edge. Foot tripartite. Lid with down·turned rim 10 cover flange. conical knob. Lid: debased tongues. seated warriors alternating with warriors holding horses and warrior; net pattern. $idf' of lid: lotus buds. pointing downward. joined by stalks skipping one or two buds with dots above and below. Net pattern aOO\'e and below frieze, lc.aness Group. black-figure; Amazons leading horses. and warnors: CVA. Poland 4. Warsaw 1. pI. 43. figs, 1-7. ParolilJOmena. 3 13. Ca, 500-490 B.C. 4. HOI'""a. Lagunillas. Sh~pe and patterns as in Warsaw 1J8535. of 0 1I ford 237. black-figu~; warnors: . Painter p _ ABV. 649. 249; orailpomenu, 31J.

2.

THE Anle PVXIS

S. HmI/TOn 223. Lid. fr .. from Brauron. Black-figure. scated warrior tlanked by two mounted figures. Vif}e and two birds in the field. Added while on shield. Trace of debased tongues near center break. Ca. 500·490 B.C.

6. Ba/in F 4008. from Attica. H. 0.10. H. with lid 0.15. 0.0.08. Inset nange for lid. concave, black thick stem. spreading foot ring with reserved convex edge. FOOl tripartite. Lid with down-turned rim to cover flange. conical knob. Lid: IWO quadrigas betwccn turning posts. Sidl' q{ /i,l: lolus buds pointing downwards. joined by stalks. Net pallern above and below frieze. Black-figure; Pcleus and Thetis; A. Furtwanglcr. Beu'hrl'ibllllg (It" Va.fl'lI.fummluIIJ( im A"tiqlllldlllll. 1016.

7. D'j's,h'lI ZV 54. from Athens. PI. 5.2. H. 0.063, H. with lid 0.127, D. at rim 0.061, D. of lid 0.08. H. of foot 0.02. Inset nange for lid, concave, spreading fool. lid with down·turned rim to cover nange. Conical knob. Uti: debased tongues, two glazed circles, running palmette scrnll (Oinsmoor type IV A). Side of lid glazed. Black band above and below frieze. Black.figure, patterned (two rows of running palmette scroll, Dinsmoor type IV A). Palmettes {twelve or thirtecn petals) with in outline. Crosses in field). Ca. 5/0-500 H.C. Pyxides of this class have a conca\'e body with an inset nange at tht: top for the lid. The down-turned rim of the lid is somewhat tall in proportion to Ihe box and the side while slightly curved does nol form a smooth continuous curve compleling that of the botly. The awkward and experimental nature of the lid protile is particularly marked when one compares it with a mid-fifth century lid of the Class of Berlin 3308 (PI. 61). The placement and choice of

SALLY RUTHERFURD ROBERn

27

ts are consistent. A chain of pendant lotus buds. carelessly elcmen . . • • _.I bJ' stalks decorates the SIde of the lid. A band of net patlern JOin""" . frames the continuous fneze on the body. Knobs and feet vary. The Cambridge p~'xis (no. I. PI. 11) has a conical knob and foot 'oIhich possibly once was of tripod formation. l1 The black-figure work has been anributed to the Painter of Oxford 237. u a member of the Leaness Group. The women depicted. one on each side of the warrior, move to the right with arms akimbo; one looks over her shoulder. A curious incised rectangular box-like shape with two "ertical divisions defines the upper body. A comparison with the n'tlenad on Alhells, Acropolis 20291), makes clear that the lower slightly angled incisions of the "box" indkate the arms of the ~oman and the loop at the cellter represents her clasped hands. The macnads depicted on the cup fragment Athens. Acropolis 2928a H manifest this same debased format characteristic of the Painter of Oxford 237. A Nike with recurved wings on either side of a blob· like undefined head, depicted on the Cambridge pyxis should be compared with an almost identical Nike on the lid of Louvre CA 3738 (no. 2, PI. 9,1), here attributed to the Leafless Group. Note the slanted incised lines with a half loop at the center indicating the arms and clasped hands. The rough incisions on the lower drapery are identical. The warriors holding shields on the main frieze of the Louvre pyxis (PI. 12.2) are of the type of Cambridge. Warriors or Amazons leading their horses are not found on cups and pyxides attributed 10 the Painter of Oxford 237. However, they appear in the .....ork of the Whitworth Painter, another member of the Leafless Group. Compare the faceless Amazon holding her horse on Athens P H 3716 by the Whitworth Painter with a similar faceless figure on the Louvre pyxis (PI. 12,2). Similar Amazons with horses may be seen on Auckland 3771.1' Sometimes the hind hoofs (Athens p 3716) or forequarters (Louvre pyxis and Auckland 3771) are off ~he.grOund and one receh'es the strange impression that the figure "hhterall y holding up the horse. It should be remarked. however, t at th . . e mctsed body markings on the horses of the Louvre pyxis are more detailed than those of the Whitworth Painter. The Louvre Pyxis by comparison with works by the Painter of Oxford 237 and

28

rilE ATflC PYXlS

Whit.....orth Painter definitely belongs to the Leafless Group. It is e\'ident Ihal the shape of the Lou\'re pyxis (PI. 12.2) resembles Cambridge 86.1906 (PI. 11). The disk knob of the Louvre p)'l:is differs from the others of the class. Warsaw 138535 (no. J. PI. 13)1' clearly was decorated by the same hand as no. 2. Louvre CA 37J8 (PI. 12.2). A comparison of the horses. horsemen and Amazons lIt'ha stand behind their mounts makes this clear. The horses are evidently of the same breed as th<m= of the Lou,'re pyzis. An incised line usually follow$ the contour of the back as is characteristic also of horses by the Whit'Aonh Painter. I' The interior markings however ate only "ommon 10 the horses on the Lou\'re and Warsaw pyxides.uThree or four cuned lines mark the rump. closely set curved lines between "parentheses," the flank. In two instances the front hoofs dangle in the air and once again the impression is given that the figure is holding up the horse. The lid compositions are remarkably similar: seated warriors allernate with horsemen. the Nike figure of the Louvre PYXls being replaced by that of a standing .... arrior. The standing warrior depicled on Ihe body of the Warsaw pyxis should be compared also to that on Cambridge (PI. 11). The shape of the Warsaw PYXls more nearly resembles Cambridge 86.1906 (PI. 11) than Louvre CA 3738 (PI. 12.2). The foot of the Cambridge pyJ:ls probably originally resembled that of Warsaw. Thc form of Berlin F 4008 (no. 5) most closely resembles that of Warsaw. The knob is conical. the concave curve long and the fOOl with its black thick stem and reserved convex foot ring is comparable to Ihat of Warsaw. I have only seen a photograph of the Berlin pyxis but from this the foot appears to have narrow notches as in Warsaw. The foot profile of both has been borrowed from cups of type C.loThe pallerns and placement thereof are idcntical with Ihose of the class. The nel pattern bands framing the frieze are very carelessly executed. A paltcrncd pyxis, Dresden ZV.54. should be compared with vases of this class. The conical knob is banded. the foot spreading with a low moulding at the top. The lid. the side of which is glazed. appears to be slightly too large for the diameter of the vase but the palmene

29

11 matches Ihat on the body. The fdele of palmettes is framed sera.e and below by a black band. The shape is generally similar to : : : py:x.ides of the class but there are differences in detail. The: foot profile varies from the norm. 111t" palmefle scroll (PI. 5.2) is the same type as on the lids of the ('"ntemporary ppides Alhens 18577 and 18578 (Pis. 6.2 and 7.2). Hie lohapc of the palmclle is identical and there are spirals in the uppcr and lo.... er spandrch and crosses scallert.'d in the licld. The ~ans of the palmctu:s are rendered in outline. left plain on thc lids of Athens 18577 and 1~578 and Ihe bOO)' of Dresden ZV 54. 110 ewr. Ihe heartlo on the Dresden lid are gh-en 3 dt'('orati~e Iilhng and Ihis is also the case for certain of the palmcltclo on the hudy of Athens I~S78.

THE CLASS OF BERLIN 2OJ4 I. B"/i" 1034, from Crete or Alhens.

PI. 15.1. H. 0.092. H. with lid 0.135. D. at rim 0.096. D. oflid 0.104. H. of foot 0.016. Inset flange for lid. conca~·e. tripartite fOOl. Lid with down-turned rim to cover flange. Conical knob. Lid: rays. hens. double dot. two black alternaling with ' ..... 0 while. I"'rriorojlid: rcsel'\'ed: bonom: dotted circle and cirt'le. Double dot abovc frieze; bdo\\': double dot. Manner of the Haimon Painter, black·figure: Herakles and the boar. twice: ABV. 556.442 bis: Frank Brommer. Jll'rakles. pI. IJa. 2. Bf.'r/iIl10J5. from Crete or Athens.

PI. 15.2. H. 0.093. H......ith lid 0.137. D. at rim 0.092. D. of lid 0.096, H. of foot 0.016. . Inset llange for lid. concave. Iripartitc foot. Lid with down-turned run to cover Ilange. conical knob. Lid: 1'01)'5. hens. double dot. iwo black (lltern,ning with two white. IlItt'rior ~""d d bo Ilom: dOlled Clrclc ' , I : rcsel'\'e: and Circle. linked double dot abm'e friezc; belo"': same. anlll: r of the Haimon Painter, black.figure; Komos: ABV 556. ter.

44i

THE ATTIC PYIIS

J. Mtumhf'im Cg65. from Athens.

PI. 16.1. H. 0.058. H. with lid 0.09. D. of lid 0.063. Inset flangc for lid. concave. tripartite foot. Lid with down·lurned rim to CU'!'er flange. conical knob. Lid: ra}"S. hare confronting hound. thrice. dots. Double dot. two black .:alternating" ith two white. abm'e and below frieze. Manner of the Haimon Painter. black-figure: Heraklo and Cretan bull. twice: CVA. German)" 13. Mannheim 1. pI. 18.8-10. 4. Prol·idl'IICf.' .14.1374. PI. 14.2. H. 0.092. H. with lid 0.128. D. at rim 0.080. D. of lid 0.102. H. of toot 0.014. Insctl13nge for lid. concave, tripartite foot. Lid with down-turned rim to cover flange. conical knob. Lid' rays. hunter preceded by thrce hounds afier a harc, double dol, IwO black alternating with two white. DOllble dot abo\'e and below frieze. Man ner of the Haimon Painter. black-Iigure: S)"mposion: lJ,jl/,'lill ul thp Musl'um of An Rhodl' Isluncl School of Df'sigll 27 (1939) 26. fig. 7: Diana M. Buitron. A"ir Va.s.' PUilllillJ: in Nf'1I' EI/X/uI/d Col/t'rtiulls. 66·67. Ca. 490 B.e. 5. A ,hl'ns. Agara P 14555 Ir.. frum Athens.

PI. 14.1. Fragment from "all preserved. PfCS('n'oo H. 0.054. tit. 0.0.08. Inset flange for lid. conca\'e. Double dot. two black alternating with two white. above frieze. Manner of the Haimon Painter. white ground (incision. red for wreath. beard and large dots on himation): Sympmiun: 0 12:3 well ca. 520-490 B.e. Ues/>eria 24 (1955) 02'06. COMPARE: 8rallro" /70 fr.. from Brauron. U1ack·ligure: Komos. 11 differs fmm the class in having a ring fool. Ca. 4908.e.

SALLY RUTHERFURD R08ERTS

J1

Tht= pp:ides of thi~ snlall class are quite uniform in shape and decoration. They are con(a,'e with a curve simila.r to thost of the (lass of the Painter of Oxford 2J7. A ~ual conical knob ero" ~s t~ box. The lid has a do"n-turned rim. bluntl)" rectangular ID contour to cm'er the inset flange at the top of the body. The foot i!t tripartitc. Row~ of double dot ahernatel)" black and" hile frame the main frieze. Thc side of the lid is black forming a strong solid border abo\·e. Note ho" different the effect is from sides of lids decorated with lotus buds as in the Class of Oxford 237 (PI. 11). Berlin 2034 (no. I. PI. 15,1) and Berlin 2OJ5 (no. 2. PI. 15.2) are a Pa4r both in shape and in the choice and placcmenl of pallern elements. They are attributed to the Manner of the Haimon Puinter. An inci~cd Iinc emphasize!> the boundary line hclween fllce und hair. a characteristic of the Haimon Painlcr\ !>lylc,U carried on in 1Il0rk merely in his manner. This rude demarcation line may be noted on lhe faccs depicted on all the pYllides of this class. Two curved incised lines not exactly congruent with the contour suggest the shape of the thigh of the Heraldes on no. I. Almost identical incisions may be seen on the youth's thigh on the lekythos. Cabinet des Medailles 283. U also in the Manner of the Haimon Painter. Two such curved lines but shorter. may be seen on the right thigh of Herakles on the Mannheim pyllis (no. 3)." An incised loop indicates the ear of the youth on the Cabinet des M~ai1les lekythos. and an identical notation may be seen for the syrnposiast's ear on Agora P 24555 (no. 5, PI. 14.1). A strong similarity may be noted in the set of the head in profile to the right on a body oppositel)" disposed on the Agora and Providence pyllides (no. 4. pI. 14.2). On no. 1. Berlin 2034. Herakles is twice represented in combat with the boar while lulllos kneels between the groups. This element of repetition is aho present on the Mannheim pyxis (no. 3) where the struggle of Herakles with the Cretan bull is represcRlcd twice. lolaos kneels. helpfully holding Heraklcs' club. This same motif appears on a handlc-Iess cup, Prineewn 162. attributed to the Manner of the Haimon Painter. Z4 There are nU~bers of these handle-less cups with a labour of Herakles depIcted tlll'ice.'~

J2

THE ATTIC PYXIS SALLY RUTHERFUIlO ROIt£ItTS

The fric7.c of the Mannheim pyxis is extremely narroYt', perhaps in response 10 the smaller size of this pyxis. but perhaps reOecting a t .... o-frieze format sometimes employed by the Haimon Painter for alabastra. 1' The Mannheim ppis has not been attributed previously 10 the Manner of the Haimon Painter. yet the use of incision for separating face from hair. the thigh markings uf Hcrakles. the repetition of the motif of Herakles and the hull, the pose of 101305 holding the club and even the narrowed formll! are strong evidence for the attribution. The shape of the Providence py:ds (no. 4. PI. 14.2) miTTOTS thal of Berlin 2034 (no. I. pI. 15,0. The fragmentary white ground pyxis. Athens. Agora P 24555 (pI. 14.1) from the concave cun'c of the wall and double dOl band abo\"e the frieze seems '·CI)' m.ely to belong to this class. The composition of the Agora pyxis \loa!> probably similar to that of Providence and both were dralol n b)' the same hand. The shape of the hcad!>, the cap-:ike hair loIith its incision-less OUler contour and the erratic incised lint..'S marking the contour of face and beard arc nearly identkal. The curved incised lines ~uggesting the drapery of the s)'mposiasb and particularly the disproportioned joining of arnl to ~lltJuldcr show the samc artist at work. The latter ;!> often an uncertain feature in draloling by the Haimon Painter. H The Agora pyxis. P 24555, comes from a well 101 ith a context dated ca. 520·490 B.CII Thompson !>uggcsted because of the mass of pottery and number of lekythoi (250) that the mateflal dumped came from a retail potter's shop on the edge of the Athenian Agora damaged in the Persian sack. Numerous lekythoi from the workshop of the Haimon Painter were found in the Stadium Street grave logether with an al)'ballos by Douris. Miss Haspels dated the lekythoi about 480 8.C. n The pyxides of this class undoubtedly should be dated to the same period. One would expect many more examples of this class considering the prolific character of the Haimon workshop, but from the evicleno:e at hand, this does not seem to be the case. A number of pyxides of a broad low bowl form .....ith the picture confined to the lid were also made in this shop bUI later in the second quarter of the century.)O The evidence suggests that in the years around 490-480 D.C [here was. as yet. linle demand for the small terracotta box.

JJ

SINGLETONS I. Athl'f/s /9271.

Pis. 16.2 and 17.2. Fig. 2e. Knob missing. H. 0.083. total presen-ed H. 0.094. D. al rirn 0.078. H. of fOOl OJXl7. Inset n:lIIge for lid, long body. concave, black moulding :11 base, be\-clled ring foot. Lid with black do.....n-turned rim 10 cm-er flange. Lid· rays. hare and hound confronled. thrice. double dot with tfattS of IoIhite dOI~ betlo\ccn. Lid i",('n'or reserved; bonum dot cirde,"band. Abo·..e and below frieze. double dot with Iraces of 10\ hile dots Ilt't"een. I04>ON EPrALATO !:'II4PO ME E40KEN inci~d on Side of lid.

Manner of the H"imon Painter, black-figure: komos. For 5t)le compare Berlin 2035. attributed 10 the Manner of Ihe Haimon Painter (AIJV, 556, 442 ter). Cu. 490 11. C. 2. Athel/s. Agoru P 279/7 I'r.. from Alhens. PI 17 I L'd . . . .. I ml5Slllg. TloIo joining fragments preserve almost onc third of the ~1 H_ 0.075, C5t. D. at rim 0.07. H. of foot 0.005. Insel nange for lid. COncave ' 1 '1010 hOflZOnlal , . ' reserved 10..... , be''e11--'· ..-.", nng " loot. b ands of linked . fi pomet::ranates on white ground decorate the hod) ram«l by a black band at the top and base and a wider black band at the CCnter.

Dlaclt-figure: pallerned. Deposit H 13:5. Cu. 490 B.C.

J. OXjord /966 980 I

S' . . PI. 173 .ex II' John Beazley). ., Fig . Ja . C rownrn· o . g piece 01 knob missing. H. 0.077, lotal pres. H. 0 114 . at flm 0.009 . D. 0 f I'Id 009 ' , . S, H. of foot 0.016. Concave d,·a.... ·"eter of lid . ' eont,' shghlly too large, bUI belongs. intended 10 nUe and I Lid. comp ele cun·e of body. Iripaflite foot. right~a::.ngues, black band. quirks. Sidl' 0/ lid: key pallern

J5

THE ATTIC PYIls

SALLY RlTTHERf'UIlD ROIIERTS

Puttl'n! zOlles from top dowl/' h) lea\·cs. linked pomegranates, broad black band. key paltern rightv.ard. Black·figure. patterned. Sir John and Lady Ht'U:/l:)' Gifts /9/2·/966. no. 158. pI. XVII.

ConC3\C ~ ith offset moulding at ba~. and black ('chinu!> moulding al top. Ud rises ~ilh a jog t~ard... conical knob. kl....

Ca. 490·470 H.C.

4. Athells /2/49.

Pis. 12.1 and IS.2. Fig. le. H. 0.075. H. with lid 0.116. D. al rim 0.08. D. of lid 0.093. H. of foot O.OIS. Inset nange for lid. eonca\·e. black base moulding, thick black stem and spreading foot ring with a reserved concave edge. Lid .....ith do..... n-turned blaek rim to fit ovcr nange. Knob: slightly conical. Lid: debased tongues. women and warriors. nCI paltern. /lIt.'n·or n.f/id: glazed .....ith OUler reserved band: bottom: reserved. Linked ncl pattern above and below frieze. Near the Painter of Oxford 237. black·figure (incision. nddition uf white and red); ..... arriors, women and HerOICS. 5. A,ht'IIs 627 (CC.S39). from Alliea. H. 0.07. D. at rim 0.061. D. of lid 0.082, H. of foot 0.009. Concave. inset nange for lid. Iow ring foot. side of lid continues and completes cun'e of body. Lid: net. maenad dancing bet.....een two satyrs. rider on ithyphallic mule. sal)'r and maenad dancing. rider on ithyphallie muh:. net. Side of lid: pendant linked lotus buds. dOlled above and below. linked net pattern abO\'e and below frieze. Black-figure. draped figure (Ariadne?) and Oionysll!>. macnad bet ..... een t.....o dancing satyrs. rider on ithypha11ie mulc. maenad and satyr. maenad and satyr. rider on thyphallic mule; Collignon and Couve. CalU/ogllf' dt's Vas.'s /WiIlIS till AI/1sh· Natiol/al d·A/"em's. 269. no. 839. Some of ligures of lid and box vestigial. Cl'. 490 H.C.

6. LOIII're CA 25/1. H. 0.083. H. wilh lid 0.14. D. at rim 0.085. D. of lid 0.104. H. of fOOl 0.014.

lripartite fOOl. Lld debased tongues. ~reath of \crtical. eirt"umscrihed palmetle5 (nine petal...) ~ith ~hile dots in spandrels abme and Ihrce ka\CS below. connectl-d b)' a paltern of lriple opposed lotus bud.... Side or /id: gla7ed. Red line abo\·e frieze: be/Oil'· 1~(1 red lines. Rays on base moulding. Black.ligure; Dion)'sos seated by vine betv.·L'Cn maenad 11l1d dancing satyr: Athena attacking ~arrior. ~arrior and hearded onlOOker left . Ca. 4RtJ H.C. 7. Ox,lortl 1965.13tJ (cx Spcnecr-ChurchillJ. from Athens. PI. 18.3. Fig. 2d. H. 0.086. H. ~ilh lid 0.127. D. al rim 0.062. D. of lid 0.079. H. of foot 0.027. Cone,uoe. lid \lilh rounded dO\ln-lUrncd rim and insel llange ~lov. it. tall tripod foot. Lid lertical circumscribed palmellL~ (seven 1>Clab) llocparatcd by ltar drops aOOn and ~In\l and connecled by a lotus n{Mer. SiJt· ()I/id: tongue and dol. Stopped inlerlocking maeanders in groups of three onee luur and cross squares belo\l friezL'S. Manner of the Pisloxcnos Painter. red-figure: \lomen: AHV. 864.15 "may be by the painter himself:' A",C6 4. pI. 29. I; Le Ani I. pI. ISO. figs. 7-8 and 11; Pamli,lO"u'na. p.426. Ca. 4H/J·470 H.C.

8. LOl/don E 769. from Alhens. PI. 19.2 and Figo 2e. Knob fragment preserved (originally of loop form). H. 0.069. IOIa1 preserved H. 0.084, O. at rim 0.064. D. of lid 0.088. H. of foot 0.027.

. Concave with offset moulding al base. Lid with down-turned nm and inset nange below. tripartilc foot. L i.d 'an b d0 f black linked pomegranates on reserved ground nea.r OUtcr edge, the remainder. black.

THE ATTIC Pvxu SA1.LT

Side 0llitl: resen'ed band. black band. Base moulding: rt.-,;en'ed band. black line. H.esen"ed line abm'e and below frieze. red·figure·' women' ARV ..'IO"J u· h ter. Briseis . _ Painter, . , . .u: 1'\1t.: AI/e'll"~" f/lnlllll n •. fig. 195: Cecil Smith, Cutu/ogllt" 01 ,hi' Gr"f'fc Ill/(/ 1.1r1/5(:1I1/ VaSl's ill ,h" lld/ish MIISl·IU". Ill. 110. E 769. CII. 480·470 H.C. 9. A.,hn,.s ~ol908. from Athens. PI. 18.1. Fig. 9d. . lid ml.,>slOg. H. 0.094. D. at rim 0.081. H. of foot 0.024. Cnnca\"e. IIN.'t Ilange hlr lid. tall. comex lripanite fool. Blad. hand. rl~cned line abO\'e frieze: bd(JII'.· black band bel~een reserved lin~.

Close 10 the Wedding Pailller, red-figure: Judgement of Paris: ANV. 924, CVA. Greece I. Athens I. pi. 6. 4·6: Purtllip(ml.'lItl, 431. 0,. 480·4 m Il. C.

10. Cumbnclgf' GR 10.1934. Knob missing. H. 0.094. tOlal presened H. 0.103. D. at nm 0.086. D. of lid 0.10, H. orfOOI 0.016. long r:OIlr:3\'e r:urve. side uf lid slightly concavc, tripartite fool. Lid: ahcrnating \·enica1. circumscribed palmelle bcvcn petal) and flower linked by tendril. ~hite dots abo\'e flanking f1o~ers and below in tendril loop on either sKle of palmene. Side ot/iel' black. Reserved band abo\'e and belu~ frieze. H.ed-figure. Zcus pun.uing Aigina: JUS qo (1970) 19.\-194. pI. I. I-J. et/. 470 lJ.c. 11. WursUlt' /98509.

Insel flange for lid, long COnC3\"e ~all Io\ith torus moulding al haloc. tripanite fOOl. lid flat with down-turned rim. conc:l.\·e In profile. acorn knob. H.t'~en'l·cI: acorn knob \.glazed line around l'cnter to differenliate Ihe two parts alld black moulding at base), lo\.\er edge of lid and upper surface of body, gt(x}\"e a~)\"e base moulding. fool. Black. Maria L Hernhard. Gn'cfc;e MlIlunom WU:Oln'. fig. 51: A,1toro XII. 174 and footnote 8.

RUTHERfUao Ron:ltTs

J7

12. Lunn .17./009. lid nlissing. box mended from numerous fragments. H. 0.105.

0.0.10. Inset flange for lid. long body, conca,'c; closed. flaring foot of proportionatel}' small diameler. onset moulding above and below frieze. ornamented wilh black net paltcrn . Diad-figure. Io\omen: CVA. France 20. Laon I. pI. 11. I-J. Co_ 490 H.C. "fhe p}xides listed above dcrin= from Ihe yea~ 490-470 H.C. and they havc cenain common characteristics. They are concave with an inset Ilange at the top for the lid. The lid has a down-turncd rim to cm'er thc flange and in some the lid profile colltinues and completes the cune of the body. In IWO instances (nos. 7-8) the lid has a do~n·turned rim wilh a flangc set belov.' it. Both a long slcnder body and a squat compact body may be found. both continued in thc ~ellled red-figure classes 10 follow. The grealest diversity comes in the form of the foot. Most arc tripartite. a few have a ring foot but the influence of foot types of olher vase shapes is also apparenl. 80th psykter (no. 11) and cup foot type C (nos. 3-4) may be recogni7ed. The number of black-figure and red-figure examples is fairl} even but there arc also rare black-glaze (no. 11) and patterned examples (no. 2·J). Singletons occur whose slyle links them to small black-figure classes (nos. 1. 4). These IWO decades are Ihose of erratic experime0l3tion from ,,-hose e1emcnts a new canon eveOlually cmerged. The frequent lack of harmony between Ihe three pans-lid, bod}' and foot is suggesth'e of the experimeOlal ferment evidenced by Ihese vases. ~ne number of singletons should not cause surprise as it is evident no workshop specialized in the production of pyxides. There ~alo little demand' few were made and evcn Io\'orkshon.: which d" ,,Id prodUce small classes also made sin/lllctons. I take the long bodied type first. Athens 19271 (no. I, Pis. 16.2 and 17,2) has a base moulding, tradilional but ouldated by ca. 490 D.e. Delow it i~ a low bev...led ring foot. The lid profile connects

J8

THE ATTIC Pun

this vase with the Class of Berlin 2034 and the three confronted pairs of hares and hounds are replicas of those on the Mannheim pyxis (PI. 16,0 of that class. The side of the lid is black and the frieze framed above and below by a row of d
39

The body and lid of Cambridge CR 10.1934 (no. 10) combine to fonn an almost continuous long cun'e. The lid profile is ~miniscent of the Class of .he Painter of Oxford 2.17 (PI. 11). The heighl of the nange of the lid is complemented by the heighl of the foot: the former black and the latter resen·ed. A black pyxis in Warsaw 14 is the most curiously shaped example of the series and might be better de5ignated a hybrid. The body of the pp::i.. with its torus mOlllding at the base is that of the stem of a p5)·kter. u Note the striking resemblance to black psykters from early fifth·century "'ells in Ihe Athenian Agora. l6 The juncture of theoooy of the pyxis with its lid seems also to ha\'e bttn innuenced by the Iblkter. Compare the small black Oxford psykter l1 as well as the black-figure example in Brussels_ lI Now to turn to a parallel de\'elopmenl: pyxidn of more squat proportions. No. 3 (Oxford 1%6.980. PI. 17.3) is a rare patterned pyxis. "'hose wall profile and pattern of pomegranat~s connects it with the long-bodied Agora P 27917 (PI. 17.0 from a dated deposit.)' The profile (If the foot may be especially compared with Ihat of the black-figure pyxis Athens 12149 (no. 4. PI. 18.2)..... the black knob with that of the red-figure tripod pyxis attributed to the Manner of the Panaitios Painter's later work.·. The~ is a confluence of references 10 dilTering models of pyxides all currenl ~t a~~t the same period. It is Iypical that there is no pyxis quite hk~ It III all its features. The style of Athens 12149 (no. 4. PI. 18,2) is near the Painter of Oxford 237, a member of the Leatless Group who decorated late black-figure cups and a small class of pyxides. The women moving in one O1reetlOn while looking baCK over their shoulders should be compared to macnads on Naples Stg. 185. designated "Near .he Painter of Oxford 237....2 Compare the swallow-tail drapery ends, the white dots on the hem and the vertical row of such dots on the garment. Even closer, however. is the maenad depicted on the cup fragmenl Athens Acr. 2029 attributed to the painter him~lf.·) The macnad moves leftward with her head in profile to the right. her arms akimbo and her white hands clasped in front of her body. The women on bolh the body and lid (Pis. 18.2 and 12.0 of the

40

THE ATTIC PYxlS

pyxis move this ~3)'. their arms akimbo. A lock of hair hangs down in front of the Acropolis maenad's ear: the same mal' be noted on the maenad 10 the left of Hcrmcs on the pyJlis. On Princeton 16.1 by the Painler of Oxford 237 (side A. PI. 10.1) the left most macnad moves similarly ~'ilh het hands (3 while blob) clasped together in fronl of her body. Her shawl ends in s.....allowtails. There are while dots on the drapery o\'er the shoulders and in a vertical row down the center of the garment. A (ress falls down in front of her ear. The rightmosl maenad's hands arc depicted as v. hile blobs onc beSide the other in exactly the same way as on the pyxis Alhcm 12149. The birds used as a design element on the lid are unparalleled in the work of the Leafless Group. The figure slyle. howel-er. certainly is near the Painter of OJlford 237 and perhaps this is his own work, The prufilc of the body of Athens 14908 (no. q. PI. 18.0 presents the simple concave curve of the Oxford patterned pyxis and the black.figure Athens 627 (no. 5). The tall convex tripartite fool is unparalleled. The lid is missing and the exceptional contour of the foot is a strong admonition not to hazard a guess as to the profile of the lid. Beazley writes thus concerning the style. "The following. though unusual in the proportions of the figures and in some other respects. is close to the Wedding Painter and may be from hi~ Oil. n hand." Similarities to the style of the Wedding Painter are not difficult to find. Compare the set of the head and the long wavy t~ses falling along Paris' shoukler and upper arm with the seated youth depicted in the tondo of the Berkeley CUp.45 The reserved line along the contour 01 the head widening along the upper arm to halo the wa\'y locks is similar in each. The shorthand depiction of toes seen frum the frol1l as a series of curving lines is identically represented for the figure of Paris and that of the woman on the right in the tondo of the cup in Compiegne,46 Dilule chilon fold lines end in hea\'ier dots as may be seen on the woman putting the final touches 10 the arrangemcnt of Thetis' garment on the name pieee of the Wedding Painter. the pyxis in the Louvre. 4J The unusual proportions mentioned by Benley may be nOled in the curious enthroned fi~ure of Aphrodite.

SAllY RUTHEllfURD RO.EIlTS

41

The Wedding Painter is counted a member of the Penthesilea Workshop. howe\'er Ihe shape of this pyxis is nOI of the canonical Penthesilean type. By profile and b)' the very oddity of ils foot it seem!> to belong 10 the experimental period of 480-470 B.e. The style seems to ha\'c a slightly earlier flavor especially pronounced in the figure of Aphrodite and indeed Rhomaios and S. Papaspyridi (Karousou) dated the vase 10 that decade,4' Pyx;de.~ decorated by the Pistoxenm Painter. Brussels. Biblio· theque Ro)ale 9 and soon after Oxford 1%5.130 (no. 7. PI. 18.3). v,hich mal' be by the artist. were made before the canonical type uf the P"nlhesilca Wor,,"shop ""as introduced, The same is the case for Athens 14Q08. The Pistoxenos Painter's female ~ and compositions seem to have provided models followed in the decoralion of pyxides by certain members of the Penthcsllea workshop.4t

42

THE ATTIC PVXH

4J

NOTES, CHAPll:.R 11 J. AlA SO 1I94b) 118. The IrtiJICSI populllrity of the palmcm' K'mll border lie$ in I~ pniod 510-500 D.e. ~ b1acllAi'lIlY pIIlm~tC'li 011 the p,".il; lids hiJ'~ ftorn Ihlf1tvl tu fifi:~n pnals. Therr is linl, s~ brt--a:o the pnals aDd the l'ncirclbJ vine. Unusual futures arr lhe ~ in the f,dd and t!'le palmellt Maru in OUtlie.: l«hn"!",,, Compare ,he p;llmt'th: PY"I\ In Dn:~l'n i ..... zv 54

'.-0

2. A,II,'tJI'SI XII. 181. fOOl:notl' 5. Athens. Cnamic'lls wp lJ r. a l'OlXau: py"b, .. ,th a rounded bb'ck moukhnllll Ihl' base and ~gl' of the lid. ~ bOl:lofll ill na' ..·ith a slightly deprl5.~ ..tn at the ten.." as in the red·fil!'\I~ uampk'. Thb. Jl)'ab ha~ bftn attributed 10 the POll", ly\iadn .. hO!lol' signature appt'I"" Of' a kOlhon in l.JOlls. Tht' rCSI:ned coIor and raised rid~ doltf:d .. ith glur simulate ...·000 IS on kolhuns attributed 10 this potter. A1t~mlling black and IT(! {ongut's (an c:lcmcnt in lhe deroralion of kOlhuns. type A and III ornament ,he knob. Particularly dose a", th.. furm and arrangement of palll:rn~ on a kOlhun in Cupcnhal<:cn Vdf 7~ [1%41 10.1. fif.:. 2b). This d«,on,tkltl •.-IlIle, Ihb II)~" hI kuthuns and l:Sp.-dally 10 those made by and allribut..d to Lysiado:s. It ""\)Uld appear to m.. that thc form 01' the knub i~ unusual but lhe basIC ~hape tics perfectly ""ithin the dc~..lollm..nt of the pylli,. 1)'PC A. .1. See p . .l 4. no.~. PI. 18.2. ~. C .. rtllin elTOl'S ",hich had c",pt inlo tkao.:y's reading O'I'cr the )"1'IIrS hl"e been rorn:cted by a fruh u.min.tion (Jf the V'W'. Cumpare ANV'. 31~. 2J9

.nd ANV,

~79.

JJ6.

5. Miu Lucy Talrou alllJ MISS Harb.ra "h,lipp'lu ~e'1' kmdly checked the lIUthOf s ",adinll of the inscriptions and the: rolour of the Ic1:tering in AUgU\I. 1'Jtl9. and I .m deeply gratri'ulln them. O. E. LanSlou. Di~.""ik"l VOW'" >'1Nl d.·rAkropoiiS:II AI....". pl."J and p. 51. no.

"".

7. JHS I~ (18941 194. 8. ARV. 0458. 1; CB. Ill. no. 140. pb. 16·;; (Boston IJ.l86). 9. This ch....nerislie ronn«t\ Brussels Blbhothtque RO)';I~ 9. Athen\ 18511 and 18518 ,,'ith py1id~ (Jft)'llE D. 10. D. Feytm.ns. Ln V4Jt'S Grws d... ,,, Bib'fO/'~q"r Roy"lr de Bdgjq", (BrusKb 1948) 51. profile dr••ling. 11. In. k-tter of May 14. 1969. Mr. Richard Nicholk .kindly "tlJ(e the foflo""ing .boIot the fonc: "It .I!iO shll'Wis "hat is Itn of the foot. "hich has broken ''''ay undel'Tll'ath and appa.renlly been ground level in modern tiron. Under lhe ,'H·um\laoc..",. o:rtalnty is nOf ~~iblc but then: scem to ha"e been three •ymmettkal breaks with kvelish surfaces ~t"'ern thrm (unlcu wholly aue to the modern grinding)·-i.e. pos.sibly a tripod foot:' 12. ABV. 649. 248. Li~1 of his l\·orlr. on pp. 651-652. 13. ABV. 643. 159; Graef. Oil" u",ik,,, V'urll ''0'' de, Akmpolis :11 AI/Ill'''. pi. 89.

"'29. 14. ABY. 6043.158; Grarf, DjI' ullIik,,, Vus"" 2028a.

l'OlI

duAkropoiis:1I Atll,,". pI. 88.

15_ AB\ b-M. 166: Thomas b~ Dunb..bin .nd 01:""",. Pnoc...... 11 toxford 19621 J4J. pi. 142 top ntht. DO. J 10. 16. ABV b44.lbS;JJlS -111951) ISS, rlf. 5. WhLll\ortIt ramler 17. CVA PolOInd 4. Warsa.- t. plo 4J, 1·7. 18 JIIS "I (19511 ISS. fil<: Sa ud b. 19 The inlenor mark;np do lKIIl ~mblt those of horses by the malll P'lOttr of the Lt.l1nJ Group. The C.. ylw. PalOter. S« ABV. 645. 181; CVA. F...ntt 16• Mush Rndll> pI. 14.5-6. 20 IbnsJlIfi HlOl:"\t:h. flffmerl "mw"" $1"11"1...,, (Berne 19401 115. o.e Itaupt rrtJPpe" er lkrlll> ,.- 2044. pI. 32.3, 21 ARt. 131 22. ARV. 553• .lId pp. 13(,·IJ7; ARV !'&l 101' ~ptl"i.1 t)'pe:l; /'a,..,lrpom .."". 2Kot (lidded tto..ls); Arwa XII. 172 and footnote J3. 31. CVA Cn:.t Brllll;n 9. Oxfonl 2, pI 65,12 and plo 04.8. 32. A bt'ic:f mention of this eu"a"llion U ront.ined in AlA (19691341. The: deposit H 1):5 rontalnlOg Tl!d-figuA' and blad:.figutll' material a~ "... 11 n toof II~ Ind broken Itchlt«tunll fraJ:mtnts sUllI(CSts thl: pos~ibiltty that the deposit n:poracnls Pen.ian drbris 33. IIlnS Dw-poIdo::r. "lkr P,stonll<\S ~talet:' W,,,.-k ..lm,,,,,,,, ",...,fTlmm 110 09541 11, fip. 3·5. 34. lot L Bemhard. GA'.-J;... M,,/"nt..... W,,~ ....... (Wlru,,· 1%6) fig 52: A,rurv XII. li~. foncnoce 8. .15. 1 .m pally tndebled to Miss LuC)' Takou for this obstn·ation. lO. E. VandeTpOOl. "rh.- R«tangular Rock-Cut Shaft:· JIff1',,;, 15 O'Mtll 122·323. pi. 05. ~ .. I!iO blblioglaph)' then: appended; CB. 11.6. "~ykters l\'ith fiill~-d«'Orllion range fmnl aboul 525 tQ 400; none uf the bladt ona are much Iatn: nor are any oflhe representations on ~ases;" H"~pt'r",, 22 (1953) 81. pl. .lO. SO (BoulttT); Ago,... XII. 52. pi. 2. fig. 2.nd bibliography. ~. CVA. Great Britain 3. Oxford I. pI. ~8.25 . . CB. 11,1.8.4: CVA.. Belf.:ium 3. Brussels 3, pI. 25,5. JQ "~rt"lle .It. 40. I ne toot i, borr",.~'d from small cup. uft)"", C and is akin 10 tha, of Karlsruhc I~. Th,s cup belong~ to a .ubd;~i~i\)n in ",hi<:h thr profi1r of lilt: fOOl i. anllulbr or .lIghtly t "'I
THE ATTIC PYxis

4S. AHV. 46. ARV. 4:. ARV. ~_ ('l'A Pam

923.11; CVA. U.S.A. S. Um...~rsll)· of California I. pI. J7.Ja. 922.1; CVA. FraTK"l' J, Compqm. I. pl. 11.14. 924JJ. LovH~ l 55. Wl'dding or Pdn~.nd Thelft, G ~ I. Alhrn~ I. pi 0.4-6 and p. 5; MMS 5 119J.11 141 ".MII

~llllng

among Ih"

goddrs~

4llO: 10 Judgo:. Iypc or I"'" IO-nal.lonilis pi....IIra.:·

Ua~hall

49, "IMns 1591tcC.

I~l by the Cu",u~ Pamter. "them. 2188 by Ih" rami'" of IAndoo 0 12. "Ihem; 1141 by IIw Veii Painl"'. Alhcns 1107 b) the Painter or London U 12. MUnich 2721 b)' lhoe Pamlcr of BoIQIl"na 417. Athem;. pn\:lle by the Veil Paml"'. Athens. Serpirri CoIlcelion by Ihe Painter of London D 12. The pose ma.l frequently r",pealed is Ihal of a v.ontan scaled m profile on a d,ph~ v.hh her am,s hidden by hcr hlma110n as in Ill<:: PislOlen... Painler's cup in Flonnec (W"'I"l'lm",rnSl'"lIIr"mm 110 [19541 pI. bal. A >ariant on Ihis poM' ;.. ..,.'-..:nled 00 the O~tord pyu~ (pI. 1II.Jl, one hand protrudC"l "hilt- (he nlher ~hrn... merel)' as a bul~ benealh th,' 1I;mali"n. The Penlhesilcan rdlNlions portray a "oman loCated in profile 011 a diphrO!> lonce on a bl"c1l.1 "ilh bolh nm, hidden. but 11 hul~ abo"e lhe: knee le~c1 shOVo's Ihe position of a hand as in the O~ford py~i\.

,

CHAPTER III The Penthesilea Workshop FIRST GENERATION

I he lirst grouping of pyxides from this ~ork~hop i~ Ii~ted helow,

thl' and thc follo\\ing li~ls Ihe kc}' pieee is given first; t!lcrearter the \,1~es are nunlbered in approximatcly chronological order. Fraglllcnl~. ~hich can prob:lbly be assigned to a class. arc ghen at Ihe cnd of the list. Lids are pattcrned unless otherwise indicated and are dcscribt..'tl frllm the cenler outwards. Vases compared to a class arc not nombered. In addiliulI to the AN V references. lhe tx.... t or most aCce
I. Nell YfJrk 07.286.36. from Cumae. PI. 20,1. H. 0.021. H. with lid 0.172. D. at rim 0.095. D. of lid 0.14. H. of

foot O.02f). Lid· tongue and dot. venical. circumscribed palmeues linked with free palmellcs. black band. imerlocking maeanders in groups of five (once four) separated by saltire squares (once a cross square).

Sidl' ~"lid: laurel wreath. Lid interior: dot and two concentric circles: botlom: same. Two black lines above frieze and one below. HO 1lA1I: KAAOI: twice in field. Pcnthesilea Paintcr. white ground: judgement of Paris: ARV.

THE ATTIC

PYns

890.173: Richter and Hall, pp. IOI-J. pi. 77: Hambidge. DYI/amic Symmetry. 51. fig. 12: Parafipomena. 428.

2. Ant"ona 3130, from Numana. 1 lid missing. H. 0.12. D. at rim 0.10. D. at base 0.14. WK:1e glazed moulding. white line. black line abon frieze; belOII': black line. The names of Zeus, Hera, Peitho, Charis (?) and Aphrodite are inscribed. The Splanchnopt Painter, white ground: birth of Aphrodite: ARV 899,144; Riv/stArch 8 (1940) 46-56, figs. 1-7: Paralipomena. 429 "Andrew Oli"er has discovered the lid. in a private collection in Paris;'" T.B.L. Webster. Polter and Patron in Classical Alhens. 268.

MNB /286. from Athens. Pis. 20,2 and 33.1. Fig. 4lt. Knob missing. H.0.!4. Total pres. H. 0.148, D. at rim 0.117. D. of lid 0.156. H. offoot 0.035. Lid: tongue and dot. black band. laurel wreath. black band, rontinuous or interlocking maeanders in groups of five (once si:r) and cross square. "Odd man'" south. Lid interior. dot and two circles: bottom: dot and concentric circle. Grooved wide black band. white band. black line above frieze: beluw: black line. while band. white band, wide black band. Perhaps connected with the Sotheby Painter, white ground; Perseus and Medusa; ARV. 775" 1669; Rill/stArch 9 (1960) 186. fig. 78; Parulipomena. 416. J.

Pl/rI·s. LOUI'1'e

4. Munich 2721. from Athens. PI. 19.1. Fig. 4b. H. 0.105. H. with lid. 0.147. D. at rim 0.09. H. of foot 0.026.

Lid: tongue and dot, black band. laurel and berry. narrow black band. double dot. Lid imen'or: dot, circle, band: botmm: same. Irregular reserved line above and below frieze. Painter of Bologna 417, mistress and maids: mistress and maid; ARV. 917.199; CVA, Germany 6, Munich 2. pI. 97.1 and 3-4 and pI. 99,4.

SALLY RUTln.fUIn Ro.urn

5. Athl'/ls 1288 (CC. 15.58), from Attica. PIs. 21 and 33.2. Fig. 4c. Knob restored. H. 0.131. total pres. H. 0.155. D. at rim. 0.112. D. of lid 0.145. H. of foot. 0.029. Lid IOngue and dot. laurel .·-reath. black band, interlocking maeanders alternating with cross squares (once sahire square). "Odd man" south-east. Lid interior. resen'ed_ BOllom: dot and conc£ntric circle. Black gl37.ed moukling, reserved groove above frieze: belo"'. reset'\'ed line. Painler of Bologna 417. women; ARV. 917.198. 6 ...Athl'ns. Serpieri Collection (el: Vlasto).

Lid panther. bull and boar between reserved circles. Reset'\ed line above and below friett. Painter nf London D 12, women: ANV. 963.87; Puralipomf'nu. 434. 7. Alhl'tIS. Serpieri Collection (ex Vlasto).

Lid tongues. circumscribed palmetles linked to lotus flowers, black band, interlocking maeuders in groups of six or stven ahernating with four-pointed stars. Side of/id: laurel wreath. Black glazed moulding and two glazed lines above frieze: below. Ihree glazed line
8. Baltimure 411.2019 (el: Sotheby). from Greece. Ill. 22. Fig. Sd. H. 0.13. H.•'ith lid 0.195, D. at rim 0.105. D. of lid 0.145. H. of foot 0.045. Lid: tongue and dot, laurel wreath, black band. maeanders. some continuous and some interlocking in grnups of four. five and six. altcrnating with cross squares. Side uf lid: rays reserved. groove. black band. Lid illll'n'or: dot. three circles. band. circle-all irregularly drawn: bottom: same. Black glazed moulding and groove. white band. black line above frieze; be/v"": black line. white band. wide black band. 50theby Painter. white ground; Maenads: ARV. 774-775.1: Journul of the Wultl'r:s An Gallery, 1949.66. right.

48

THF ATTIC

Pnls

SALLV RlffHEllfUIlO ROIll~IIT<

9. Ar"e,,~· 2/88 (CC. 1845). PI . 23 . FOIg. 5a. H. 0.15. H. with lid 0.215. D. at rim 0.113-0.114. D. of lid 0.16. H. of fool 0.037. . Li~: debased tongues. laurel and berry, debased tongues. Lid "'terror: rescn'ed; bottom: dOl and concenlric cirde. Grom'e in black glaze moulding abO\'c frieze; bdull': black line. lIl'hite line. black band. Painter of Londnn 0 12..... hile ground; women; ANV, %3.94: CC plo SO.ItHS.

IQ. Berli" 2261. from Athens. Pis. 26 and 30.2. Fig. Sb. H. 0.13. H. with lid 0.188. D. at rim 0.124. D. of lid 0.17. H. of fOOI0.OJ7.

Lid- tongue and dot. black band. linked vertical circumscribm palmem:s ....-ilh a leaf in each spandrel. black band. interlocking macanders alternating with cross squares. SiJe of lid: rays. /.id i"ll'riur: dOl and two circles; bouum: dOl and three circles. Wide black moulding......hite band. black line abo\'t' frie1.e; m'luw: black line, hile band. black band. Yeii Painter hite ground: ""omen: A R V. 906.116: Adulf Greifenhagen. A,.tikt' Ku,u/werkf', pIs. 70-71. It. BUSlon 65.1166 (ell: Mayer).

PI. 24. H...... ilh lid 0.185. 0.0.15. Lid: tongue and dot. black band. rays. black band. chevrons. Lid ;"tt'rio,: reserved: hullOm: dot and two concentric circles. Black band ......hite band. dilute line abm'e frieze: below: dilute tine. while line and black band. Graffiti on underside of lid: AYIANAPA HOKE AYI:YMAXIAJ. The Painter of Londun D 12. white ground: Women: BMFA 67 (1969) 72·92. figs. 1-5 (Truitt). 12. BU!iIWl 93.108. from Eretria.

PI. 27.

H. 0.128, H. with lid 0.178. D. at rim 0.116. D. of lid 0.15. H. of foot 0.031. Lid: tongue and dot. black band. laurel and berry. black band,

49

line!> dotted at both endlO. Bullom dot and t""o glazed circles. Black glaled moulding. teSened groo\t' abo\t frieze: below' resened line. Red-figure. woman seated by kalathos ""hile bearded man looks on: anolher .... oman. Youth cro""ned by Nike. another )·outh. l. D. Caskey. Geometr), ofGred VD.'!"es. pp. 226-227. 13. South Hadll')'. Mount Hol)'oke (ex Seltman). Pis. 30.1 and 34.1. H. 0.121. H. with lid 0.17. D. at rim 0.118. D. of lid 0.14tl. H. of

foot D·031-0.032. Lld tongue and dol, wreath of laurel and white berry. black band. Iongue and dOl. Bottom dot and two concentric circles. Rcscned line abo\t' and below frieu. 1 he Veii Painter, woman ~aled, and youth: maid running. Restored. ARV. 906.109. 14.AI/lt·ll.'!" 1Nl (CC. I 5tH) from Athen...

Pis. 28 and 38. H. 0.122. H. ""ith lid 0.17. D. at rim 0.11. D. of lid 0.151. H. of foot 0.035. Lid longue and dol. black band, lotus buds pointed down.....ards linked by ares abme and below aod dOlled. blaek band. reserved petals. Ud imerior. rcscnled: bottom: dot and two circles. Black band. rescn'ed groove above frieze: b.-Iow: reserved line, black line. reserved edge. Veii Painler. women: ARV. 906.111. IS. f/(Jllulll/u J59H (ex Segredakisl. Ph. 29 and 37. H. 0.127. H. wilh lid 0.169. D. al rim 0.109. D. of lid 0.14. H. of 1'0010.03. Lii/.· rays. rescrved band. lotus buds pointed downwards linked

by arcs and dOlled above, reserved band. triangles. Side of lid: rays. Black glazed line above fric1.e: bl'1oll': zigzag clJclosing Painter of Bologna 417. women: All V.

zig'lag enclosing oppu!>ed band. irregular reserved opp0'iing triangles. 917, 203.

TllE ATTIC PYxIs

16. Mal/du's/er U"il'l'Tsity III I 2. 1'1. 31.2. Lid mb.sing. H. 0.14. 0.0.15. H. of foot 0.03. Resented line abm'e fric1.e; lwlDle laurel \\ reath. "I\.';,r the Palllter of Bruloseb R JJO. "Arrhal of Jouth \\oUlh. \. "Illall. maid-Pari~ and Helen?: nun.e w;lh babe-N;kO'llratOlo?; "lllg-Mellelam.':'-: ,lnd maid). AIl\'. 931.2: L. Gluli·Kahil. Ll·.~ 1::lIll'l·f'ml'IIt.~ 1'1 h' HI'fUllr d'l/f!le/ll'. p. 177. footnole 1.

17. Genel'u /0763. H. 0.114, H. with lid 0.172. D. at rim 0.086. D. of lid O.llq. H. of foot 0.034. Lid: tongue and dot. laurel. tongue and dot. Reserved line above and below friezc. The Group of Athens 1591, Women: AHV. 955.2: t'VA. S\\itzerland I. GCllcva 1. pis. 17,7 and 18.5. Ut Df'/os. fr.. from Delos. Maximum pres. H. 0.08. D. 0.108. Lowcr pan of COIIC:IVC wall and concave lripan;te fool. !Jr)/lom: dot and IWO concentric circles. Rays bcl"cen Tl:SCrYt.'d lines below friez.e. Veii Painter. Woman seated and \\omcn: AHV. 906.112: De/os, XXI. 71.

19. Oxfurd 1929.754. fr .. from Greece. PI. 25.2. 0.0.115. Flange for lid and part of concave wall. Wide black band abtl\'e fricze. Painter of London 0 12. white ground: \\omcn \\ ith lyres: AR V. 963.95; S('/f'l't. no. 367. pI. L1.

Wrollgl~ restored. Like Oxford 1929.754 it \'Ias a full·siLed ppis \\;th a tripartite fool. Int~ntional red on Interior

PI. 25,1. Fig. x. Pres. 11. U.06. D. oftlange eSl . ..:a. O.I:!. About half the lo"'er part of the ('onca,'c wall and a section of tripanile foot including about holf of one notch. The foot profile \'aries from the usual Penlill..'!ilean tn>e. The base line of the receptacle does nOI slope immediatel)' into the fOOl but first makes a slighl step. The Veil Painter. Women: ARV. 906.113. 22.4//11'111. A,I?onl P 2425.1. fr .. from Alhens.

,

23. A/lwm. AgurII P4734. fr .. of lid. from Athens. PI. 32.2. Knob missing. D. est. ca. 0.17. Base of knob raised above surface of lid and decorated wilh debased tongue and dot. I hi tongue and dOl. \·enical. circumscribed palmclI~ linked to 101U~ llo\'lcrlo. black band. nopped interlocking maeande~ in groups of 1\\0 scpaf:ltt.'l1 h}' four·poinled slars. Side lid: laurel \Irtalh (tie presened) thcn tiny tongues belo"'. Penlhcsilca W\,rk~hop. probablY:1 lid for a \\hile ground pyx;s. Athen~, Agora. surface lind.

or

24. BruIlnm 28911 u"J 289h. fr .. of lid from Brauron. Venical circumscribed palmetles \\ ith leaf abO\'e and bclo\\ in spandreh. circums.cribed palmelles linked 10 low) fltlwcr" wilh dots in \olutes of lotus. laurel. SiJt' l!/lid: egg and dart. Red·figure. probahly a lid for a while ground pyxis. The patternS are simil:lr to those u!>Cd by PenlhesiJeans but not in this sequence. The formulation of the pattern on the side of the lid has no exact parallel 10 m} kno'" ledge.

20. I1ruuroll 58. fr.. from Brauron. White ground. women.

COMPARE

A1urkn. H. 0.097. H. with lid 0.13. D. 0.085. Domed knob. conca'"e. lripanite foot. Lid. net pattern. laurel. debased tongue (black). Side o} lid. ray'!.. MOUlding. then two lines above and below frieze. Llln'rlll'

21. Alhell$ /592 (CC. 1554).

H. preserwd 0.079. D. at rim 0.11. Inset flange. conca,'e "'all presen'ed to near base. The Curt ius Painter. Youlh and \\omen: women: ARV. 935.76.

51

S,AI.l,. Y RUTH £RFUIU) ROBEJl:u

52

THE AtTIC

Pvns

White ground: Arrival of Paris and Helen at Troy?: AT:I A "tiquQ AG. Auktion V. 0\',7. 19M. no. 134. pI. XXXVII. Influenced by the Penthesilea Workshop in profile and pla~ment of dttorath'c elements. For the foot profile compare Athens. Agora P 24253 (no. 20) and Cambridge 4.1943 (no. ]). For the knob er. Harvard IQ25.30.39 (pI. 54.3) of the class of that name. The Pcnthesilea Painter and his followers are kno.....n pr1nlariJ~ for their decoration of cups and secondarily lor stemless cups. o;kyphoi and pyxides. 1 Beazley distinguished a score of hands in this ~orkshop and emphaloizcd that collaboration between ..... 0 artists on one cup was frequent. Unfortunately no single pOller's signature remains eitlu:r on a cup or pyxis. Blocsch named the class of cups as the "Drcikantgruppe" after Ihe significant form of the foot profile. J The form of pp,is type A chara(urislic of this .....orkshop firsl appears around 465-460 B.C. Its most prominent features are a 10llg body. concave walls slightly slrengthened towards the base and a Iripartitc funt with low rounded notches. Thc sections of Ihe foot are generally unequal in idth. The fool is resen'cd .....ilh a black base band (.....ithin and ilhOul) and a black band runs around the foot above Ihe heads of Ihc notches. The fmu is simply framed above and below by glazed or resen'ed lines. The lid is nat with a slanling edge completing Ihe concave curve of the body and covering the inset flange at Ihe lOp 01 the body of the vase, Several phases may be noted in lhe de,'elopment of the Penthesilean p)'xis. lype A. from the time of ilS formal ion around 465-460 B.C. and its proliferation in the 45C)'s by follo~ers of the Penthesilea Painler. A ncv.· stage in the use of the fundamental canon is evident around 440 B.C. The first grouping of pyxides from the Penthesilea Workshop shows the manifestation of one canon of forms but considerable diversily in details and measurements. The diversity is probably the result of a large number of artislS .....orking in one shop. A large proportion of .....hite ground pysKles known to us date fronl the first efflorescence of this shop. Tllc ..... hite ground pp;i" b)' the Penthesilea Paintcr in New York

(pI. 2O.ll is lhe central piece of the class.· 11 !turpasses the rest in careful attenlion 10 the articulation of !turfaces and in the balall(_"\, of ~ hne ground and red·figuR elements. The knob is of a domed 'ihapc di' ided bclo~ b) a horizontal gt(xwe: Ihe "Icm is raised slighll) 3oo\e the surfact: of the lid, Wh3t follo\\cn. made of such :I knob 1ll,1} b{' scen by looking al Berlin 2261 (PI. 26), Munich 2721 (PI. Iq.l) and 'oIor!t{' still Oxford 1%1.408 (PI. 3td), The cardinal fe:lture oflhe !thape is the long conca\e cun·c of the \\all strenglhened bUI linle at the base. From the base the \\alb cunoe dO'oln\\ard .. ln form a tripartite fOOl \\ith rounded notches. _The ~ide of the lid is decorated \\;th a wreath of laurel. This is an unllsu:ll fe:llUre rept:c close'i! to il. Ancona 3130. louHe MNB 1286 tPI. 20.21. Munich 272\ and Alhell!> 1288 (nos, 2·5), In each the COIIl'a\{' cun-e 01 the wall!> ha'i bl,.'C1I intcnsified 1O~'ards the basc. '1 he tripartllC loot is similarly shaped though the rounded notches arc Illote l'a'\uall~ fnrl1lt:d in the Ancona. Athens and Munich vases. All haH' the black gla£ed ba.\oC moulding. though Ihal of Munich i.. l't.lIdel} cxaggerated. The frieze is framcd by gla£e lines abm'e and below in the case uf the white ground vases and by rcserwd lill{'s IOr the red-figure \"ases. Slight variations should be notcd. The louHe pp:is halt a \\ ide black band belo\\ the lower gla£e lin{' \isuall~ IIJlcn~il~il1)! the tcrmin'ttion of lhe concan: cune of thl' \lOll!!.. -I he Ancon:l pp:is h:ls a simple glaze line but sel as if a IO\lcr r'lltcrn border ':':j bet' .... ;llIendcd. Indeed slll'h a fe.l.\ure became

54

THE ATTIC Py:us

common aI a later date. These vases ~crc decorated by PcnthesiJeans. The LoU\TC PYllis was painted b}' an artist "perhaps connected with the SOIhcby Painter,'" The BaltImore while ground pyxi'i (no. 8. PI. 221 by the Sotheby Painter7 should be closely connected .....ith the first grouping and l:~pt'cially ~ith Louvre MNB 1286. The walls of the p)'xis arc as}'mmetrical \\ith the consequence that one side ha~ a flaller concan~ cun'e with greater strengthening 31 the base. The other side prescllI!o a I~ complicated CUTve. The elements framing the frieze resemble those of the white to:Tound vases Lom'rc MNB 1286 .md Boston 65.1106 (no. 11). The greater height of the foot. tall slender stem and disk knob with bUllon differentiale it from the foregoing examples. Athens 2188 and Geneva 10703 share the!>c chara{"teristic~.

Athens 2188 tno. 9, PI. 23)' has been damaged greatly and the box mended from many fragments. Ho",e\'er, the complete profile of the vase has been preserved on one side, It is 3:lo)'mmetrical and the cro',~.-ning butt\ln of the knob ofT-center. The base uf the stem is raised abo\'e the le\'el of the lid as in the Baltimore pp:is. Thilo ppis decorated by the Painter of London 0 12, with Its slender stem and disk with button handle and tall foot would appear also to belong tu the first grouping. Geneva 10763 (no. 11)' was shaped more hastily as may be seen in the oO'-center placement of the knob on its slender stenl. The height of the stem and foot connect it with Athens 2188 and Baltimore 48.2019. The careless quality of the decoration corresponds to the poller's 'A'ork. The Baltimore vase should be dated to about 460-4SO D.e. Cardul polter's work is characteristically underlined by the differentiation bct\\'een the le\'el of the base of the stem and [he surface of the lid. The style of the figure work, simple framing elements and mythological subject maller corroborate the date, Mythological subjects appear on pyxides from the Penthesilea Workshop of circa 460-450 B.e., but later scenes of women in the home predominate. The height of the stem and knob point to a slightly later stage of de\'elopmem manifestcd in Athens 2188 and panicularly Geneva 10763 whcn thc canon is used casually and without much thought. as is typical of followers of the

potter 01 the PenthesiJea Workshop around 450-440 D.e. The \.\ hite ground pyxis in Bcrlin (no, 10, PI. 20) by the Yeii Paillter b connected by the height of ill> stem and knob and foot to the la~t mentioned !:rtlUp. A glaze line frames the frieze above and helo" and an outer frame is formed b) a black band se1 lIeXl 10 each. Such framing elements arc identical '" ith those seen 011 8ahimore 48.2019, Louvre MN8 1286 and BO!'iton 05.1166. The squal proponions and shon ConC3\'C cun'e of the \\alls come as a surprise. as does the widcl) proj«ting lid. The lid, hO'At'\er. assuredl) belonglo to the vase. The underside of the lid is reddened and d«orated by a dot within a small circle with a wider surrounding circle, '1 he design on the bottom of the l:onlainer matL'lleo; that undcr thl.' lid wilh the additiun of Ilnc 1Il0re outer circle. I he lid. in addition. i~ well filled to the container. The ray' ornamentlllg the outer wm'a\'e flangc of the lid ;Ire identical" ith Baltimore 48.2019. P)Xide~ of types B, C and 0 occasionally bear matching gralTiti on lid and box." '" hile pyxides of type A ne\'cr do to Ill) knolloled~c.1I HOIloe\'er, ~metimclo there are matching seb of Clln('Clllric drclelo on the underside of lid and box in type A. 1 he box almo!>t im'ariably bears these designs. When the lid bears a m:uching !>ct of circles it seems secure that box and lid bcloll!:. Ho\.\cvcr, many lids are merely rcscned, though evidencc Ill' pallem borders. eolor of clay and fit indil:atl:lo a match. The probllblc explanation lies in lhe loading of the kiln. If many pyxido ",ere to be tired in the gi\cn kiln batch. matl;hing marks on lid and box would he a convenience, \\hile if fev. there ",ould be little nct.·cloloil). Another possibilit) is the degree of care expended on the ornamcntation of a \'a~. The puller of Berlin 2201 cenainly kne\\ the canon illld the ac\"'ompanying pattern accenb but experimented in a diflcrent directioll. The date lies between 460 and 450 H.C. An unallributed pyxi!>, lIoston QJ.I08 (1111. 12. PI. 27), apprual'llC<; the squat proponionlo and tall foot of the Berlin pyxis. The as)lIlll1ctrical dil>k knob with bUllon on a squat stem bcarl> no resemblance 10 the elegantly executed Berlin cxample. The ha<;t) figure "'ork corresponds to the degree of carc exhibited in the POllcrv.ork.

THE

ATIIC

SAll,Y

PvXIS

The Mt. Hol)o!...: pp.il> Ino, 13. PI. 30.1) and Athens 1741 (no. 14. PI. 28) belong to this rather commonplace !c\'cl. Mention should also be made here of a pp:is in Honolulu (no. IS. PI. 29) and another in Manchester (no. lb. PI. 31.2).11 The fI.'lanl·hester pyxis has a long l'onCa\'e eune strengthened I,' (11 :.buut the )lage s«n un the Ancnna p)'xis: that of Honolulu 3598 is more attenuated. A line marked ofT the lower l1ange of the Ancona py:cis while here the space is tilled b)' a pattern border. The opposed triangles .... ithin triangles of the Honolulu pyxis border are unique: the laurel border on the Manchester \'ase is a motif frequently seen on lids from this .....orkshop. The knob of Honolulu 3598 is a rather mechanical reduction of the domed knob .... ith a gr()()\'c around the I()\l,er part seen on the New York pp;is. ".,ith the addition of an upper button. The rays ornamenting the lid Oange recall )imilar treatment on Baltimore 48.2019 and Berlin 2261. A fragmentary red·figured pyxis. t)·pe A. by the Vcii I'ainter. comes from [)elos.IJ The lo.....er pan of the conca\'e curw of the wall is presen'ed ....,ith the lower Oangc emphasized by a pallern border of ra)'s. The !'ClOCn'ed fOOl is tripartite .....ilh low rounded notches and a crudely formed base moulding glazed black much as in Munich 2721. The loot shape and allendant framing is perhaps the clearest index of the potting .....ork of the Penthesilea Workshop. I. The date is around 450 D.e. The Oxford fragment of a white ground pyxis. 1929.754 (no. 19. PI. 25.21 by the Painter of London 0 12 may be assigned. bUI .....ith I.." ,·crtitude. to the Hrst stage of the Penthesilca Workshop. The concave cune does not form an invariable index of the type (cf. Han'ard 1925.3O,39Ino. I on p. 78. PI. 54.31. and Toledo 63.29 [no. 2 un p. 78. PI. 54.21 by the same painter). IS However. the diameter 0.115 i~ very cluse 10 that measured for the rim of Athens 2188 (0.113-0.114). whereas the rim dimension for the unea.nonical Harvard pyxis is much less (0.08). Also. the thickness of the fabric resembles that of the full·sized canonical shape. A simplc black hand forms an upper border for the frieze as in Athens 2188 (pI. 2.1). while both lack the glaze circle below it to match such a circle beneath the frieze, The lids of the pyxides from the Penthesilea Workshop ha\'C a distincti\'c profile. The conca\'e outer edge of the lid continues and

RUTHERFURD RO.ERTS

57

complete" the curve of the .... alls. The upper surface of the lids may either be Oat ..... ith a clear differentiation bet.... ccn the base of rhe stelll of Ihe knob and the le\'el of the lid (as in nos. I. 8-9) or this anlculalion mal' be present and Ihe lid slope from the center to the outer lodge as in Berlin 22bl (PI. 261 and Athens 1741 (PI. 281. A Ics~ l,'arclul potter's \ariation on this theme n\3) be sccn in .... hich the Slelll of the knub blends into the sloping surface of the lid as in 80\1On Q3.IOB (pI. 271. Honolulu 3598 (pI. 29) and Oxford 1961.468 (l'1. .lb.3).

The IKls are embellished by three concentric bands of patterns. th"- middle band being the largest. The use of similar components similarly placl.-d h )triking. T.....o main pattern groups lIIay be distinguished. as .....ell as one sub-group. In the first group. the care in the e\t'('ution of the pattern .....ork is exceplional. The innermost elemenl is a tongue and dot band. The .... ide mKldle element is comptl'Cd of circumscrilx:d palmeul.~ linked one 10 the next (PI. 30.2).16 This element ()('('urs se\'en time)11 including an eumple on a different nlodel. a p)'Xis. type A. by a Penlhesilean in the uJU\'re (PI. 31.11. 1' Circumscribed palmeucs also occur on a lid b)' an oul\idl·r.·' 01 slightly different profile and a pear-shaped knob. '1 Ill' hllfder is conlposcd of groups of interlOCking maeandcr) and sill):le crO)~ squares. Berlin 22bl (PI. 30.2). Boston 98.887 and u)u\re L 55 (PI. 31.1) ha\'e this fealure. The Ne..... York pyxi'i by the Peuthcsilea Painter has interlocking maeanders interspersed wilh sahin''i and once a cross square. The Serpicri white ground pyxis by the Splanchnopt Painler. has 3 further variant. groups of six or 5e\en interlocking maeanders !>Cparated by four pointed stars. The tondos of cups decorated by the Penthesilea Painter and his fol1owef'i are bordered by maeanders and cross squares. Fewer ero~s squares appear in these cup borders than on Ihe lids. zo In conjunction with these three main components. onc or two black bands are used as accents. A fragmentary pyxis lid oftypc A. Athens. Agora P 4734 (no. 23. 1'1. .12.21. has a profile similar to the Penthesilea Workshop. The (llll"r edge of the lid has a conca\'e cun'e and the pattern\ demraling the lid are similar to tho~e 011 the Serpieri pyxis by the Splanchnopl PaiJ1ler (no. 7). rhe innermost clement. tongue and dot. is lallowed by circumscribed palmettes linked to lotus nowers

58

THE Arnc Pnu

and the Quter border is composed or groups of two macanders. each l:roup separated from the nexl by a four pointed star. Two black bands set oIT the borders. The side of the lid has a laurel .....reath with a narrow band of tungues belo",", It would seem probable from the profile and patterns of this lid that it belongL"d to a pyxis of the firsl stage of the I'enthesilea Workshop. The second pallern group is more numerous Ihan the tint. In this group of lids 3 prcfcrcnct= is shown for a laurel or laurel and berry v.reath for the main band. Tv.o IKb exemplif} the careful treatment noted in the first p3t1ern group but roll~ iog this the care ",,jlh y,hich the patterns h:l\e bt.-en executed has declined. 11 seems po'isihlco Ihal these examples dale from drru 450 D.e. The arrangement of three conC't'n1ric bandJ> of ornament around the ttnlral knob continues. The innermost elenlent is romposed of a der;\'ath'e of Ihe tongue pallern. either debased tonguCJ>. tongue and dOl. or line and dol. The outer border shows a greal variation in motifs. no one pallern predominating. Thc use of one or t.....o blu(:k band .. for a(:(:cntuation (:ontillue... T~o of the ~h;te ground p)xidcs. Baltimore 48.2019 (no. H) and Lou\'fc MNB 12H6 (no. 3. PI. 33.1). Ihe one b)' the Sothcb) p.. inter and lhe olhe:- b)' an artist perhaps connected with him. sho~ the careful execulion of pallern borders characteristic of the tirsl group. A laurel wreath forms the middle OOrder. The central seclion of lhe Lou\'rc lid b, misJ>ing. By analog)' "'ilh Baltimore 4H.2019 and olhers in "'hi(:h the stem broadens OUI into a base raised aOO\'e lhe Ic\el of the lid. such a 'item base and accenlualion belween levels ma), be reslored for lhe LoU\'re lid. The {'hoke of macandcr and erns....quarc fur lhe outer boni.·r of the 1.... 0 1id~ conneClS lhem "ilh the firsl pallern group. Alhens 1288 (no. S. PI. .1.1.2). h.llo a J>chclllc of decoration \'ery cloloc fO Ihal of Ihe LOLl\'fe. a tongue and dol. a laurel garland .md 3n outer border of interlocking maeander and dOlled cross square. The hasty execulion of Ihe pllllcrns is markt:d. Athens 2188 (no. 9). Munich 2721. Boston 93.108. and South Hadle)' (no. 1.1. PI. 34.1). h;I\'e.1 \'arialll pattern of laurel and rai..ed white berr)' for the main border. The laurel on Ihe Boston and Soulh Hadle)' lids is tied at the ends like a wreath. Th{' outer borders arc varied. debased tongues for Athens 2188. longue and

SALLY RUTHEI.'UIID ROeEI.T5

59

dot for South Hadley. double dots for Munich 2721 and a line and dot band for Boston 93.108. The lids of Vienna 3720 by the Painter of Lundon 0 12. Oxford 1%1.468 (PI. 35) b)' the pailller of Bologna 417. Athens 1591 (PI. J-I.2) and Gene\Ca 10763 by the Group of Athens 1591 sho.... a hast)'. ahnO§t mechamcal rendition of Ihe pattern borde~. Debased tongue pattern frames the main pattern border of laurel on Ihe Vienna. Mhens and Gene'·a lids. T~o plain black bands frame the laurel pal1ern of the Oxford lid. fullu"cd by an outcr border of rays. The shape of these pyxides !ieenlS tran.sitional and the) ma) d~tc bet~ct'n 450 and 440 B.e T"o pyxis lids. Honolulu 3598 (no. 15. PI. 37) and Athens 1741 (ml. 14. PI. ]8) are ornamented with a different principal pattern. Lolll!> buds arc linked b) arcs ~ith dots set ahO"e and below in Ihe spaces. The Honolulu lotus patlcrn is cardessl) executed and lacks dOls anlOng the outer an:!Io. The outer pallern border is composed of a Lig~ag line containing opposed triangles. This pallern reappean in the border below the frieze. This coordination of a pallern band on the lid wilh another on the box is unusual. The lolU~ chain border occurs again among vases of the Penthesilea Wo;kshop 11. Before "e take Iea\e of the first Pcnthesileans. mention should be made of a fine white ground pyxis in Boston. decorated by the Hesiod Painter. a {'tllltcmporary of the Penthesileans but in his slyle an outsider. B{/~((",

98.887. from Eretria. PI. 34.3. H. 0.107. H. with lid 0.176. D. ofJid 0.146. Lid: black band. tongue and dOl. black band. circumscribed palmelles. maeanders ill groups of six separated by cross squarcJ> . black band. Sidt' ~(Iid: re"crsed rays. black band. 801lum: dol. t"O concentric circles. and band. Black glaze moulding. while groove. hlack line above frieze: be/v\\': three black lines and black band. Hesiod Painter. v.hite ground: Muses and ncatherd (Hesiod?) lopccial commission: ARV 774.1: CB. 1. pI. 15.37; PurulifJ()lt/etla 416.

THE ATTIC" Pn::l~

SALLY RUTHIE.FURD ROBEJtTS

BOIh in shape and in ornament this piece proenls points of similarity ~ith \'ases produced in the Penlhesilea Workshop and certain significanl differences. The profile of the \'a~ e~hibits a conca\e curw slrengthencd at the base and completed b) the uutward curw of the lid. The foot is tripartite ~ith rounded nOlches. Lid designs closely resemble those of Berlin 226 I (no. 10. PI. 30.2) by the Vcii Painter. The differences are as follO'o's: a pear knob rcplaces the usual disk knob with cruwning bUllon. In all but ,lIle exanlplc in the work of the Penthesilea Workshop the l'onCa\'e tun'e of the prolile of the box is echoed by a conC3\'e curve of the fuul. There is a sloping line which descends from the base of the receptacle Iu the fool. In the Hesiod pyxis the base line of the reccptade rUIlS horit.untillly across to the fool. Thi" detail may be dearly seen in lIambidge's drawing,ll The Hesiod Painter is an outsider. 1101 a PCllIhesilean: the \'as(' has been dated 460-450 B,e. by Bc:rzley.n No doubl the roller who thrello' the vase was familiar ~ ith the lIoork of his ncighbors. though not uf their ~orkshop.

CLASS OF OXFORD 19hIAtl8:'1 RANSITIONAl Pis. J6.J and J5. H. 0.095. H. with lid 0.145. D. at rim 0.OS7. D_ of lid 0.125. H. of foot 0.025. Lid black hand. laurel IIorcath. black band. ray... /lilt/m", dot. eoncenlric circle. lIoider concentric cirde. Black glazed moulding. rescncd line abow frie7e: bdulI': rescnl,
2. AiI'P/U /59/,

PIs. 34.2 :md 36,2,

H, 0.085. H...dth lid 0.13, D. O,OS, Lill tongue and dot. laurel. Hollgue and dot.

Burru",: dot and concentric circle. Black band. reserved Iinc. abo\e frieze: befoll': resern'd line. Group of Athens 1591. women: -tRY. 955.1: Cc.. 1557. pi, 47.

0'

PI. 36.1. Fig. 6a. lid missing. Booy mended from many fragments leaving some

J- At/It'tU. AROru P J,ljH9. from Athens.

lacunae. H. 0.098. D. at rim 0.083. H. of foot 0.026. Black band. resened groU\e abm'e frieze: belo..... resened hne. Hulwm dOl and tYoU concentric circles. \cii Painter.women.ARV. 906.114. Ba~lc. Beck, Lid missing. H. 010. Upper D, 0.083. W,esened line abo\'e and below frieze. flmtf)II/: dot and circle, I~aintcr of London E 777. women: ARV. 944.80: Miill:{'1I M"lfllill.'1I AG" Auktioll XVI. June 30.1956. pI. 34.137.

4,

I/tU!

5, Vi.·mlll 3720. H. 0,095. H. with lid 0.143. D. 0.117. Lid debased tongues. laurel. debased tongues, . Black band. reserved groove abo"c frieze; below: re5crved IlIlc. Houn",: dot and black circle. Painter of London 0 12. women: ANV. 963.88: C;VA. Austria I. Vienna I. pI. 49. 7-10 and pI. 50.3.

COMPARE THE SINGLETONS Brauron 77. from Brauron. lid missing. H. 0.083. D, est. 0.09. Resen'ed flange for lid. concave wall. Iripartite. convex foot. Reserved band abo\'e and below frieze. Red-figure. Actaeon. Lilly G,-Kahil. "Quelqu~s ~ases du Sanetuaire d'Arte"mis Brauron." Amike Kunst, Belhelt I. 1963, !l0. 40. plo 13.2. Profile drawing does not show the loot as notche~. 1 he profile and dimensions are similar to the class. However. It dilfers in the form of the fuol. Special commission.

a

Paris. Cabinet des M~ailles 864. from Athens?

·2

S~, I y RlITH£RF\;RO RrlllERTC

THF ATTIC Pv
Lid missing. H. 0.10. D. at rim 0.096. H. of foot 0.023. Black band. reserved line above frieze: beloll': t'est'I"\'ed line. black band. 8uttom: dotted circle and concentric circle. Painter of London 0 12. women: ARV. %3.89: A. de Ridder. Cutu/aXlte des Van-s pe'-"'s dj' la Blhliotheque Nu/iul/a/", p. 507. fig. 122. Five pyxides form a subgroup

~ilh;n

2.411t..,uI707(CC.I5S9). H 0,13, H..... ilh lid 0.18. D. of lid 0.153.

.3 PI. 41,1.

LIlI debased tongue and dOl. laurel and bert). black band. ra)"S. or lid gla7ed .... ilh horizonlal groo\"C~. HQI/um uJ fl!(,f'plac!f', dot and l-oncentric circle. Rat black moulding. rcsened groO\e aboH~ frieze; bf:'1ul\' dehased tongue and dot bet.... een rest'T\"ed bands. Painter uf London D 12. women: A~?V. 963.90.

SI./t·

the Penthcsilca Workshop

I, 011 account of their small dimensions. The}' are all painted by

J. ('lImfm(/g., 4./9-1.1.

Pcnthcsilcam.. who decorated pyxides. Iype A. of the larger. standard size. The}' resemhle their larger countcrp:IrIS ;1\ most respects. Womanly pursuits ill the home form the subject JlHlller. simple rescro:ed lines frame the frieze and the tripartite foot is rC'ierved with 10..... rounded notches. A tendency 10 exaggcrutc the cuncave CUl'\'e toward the base may be noted especially ..... ith regard to Oxfl'rd 1961.468 (P1.J6,3). Athens 1591 (PI. 36.2) and Ba~lc. This tendency and Iheir noticeably smaller dimensions probably indicale a date around 4SO-44O B.C. Smaller size and the slrcngtheninH of Ihe concave CUl'\'C toward Ihe base are characleristics of a class definitely dated 10 440 B.e. and later. Ihe Class of Munich 2720. The exaggeration of the cun'e is characlerislic of va~s 01 the Pemhesilea Workshop 11 and of the Class of Wurzburg 542. The potting of these vases is at a low level. as may be noted in Ihe casually formed disk knobs and low. wide notches.

Jid mi!>sillg. H. 0.123. D. al rim 0.11.1. H. of foot 0.026. Moulding. groove, rc~en'ed line abovc fricl.c: belllll'; hand of IOlIgu~ :1I1d line betw"cn re~ervcd lines. l1ullll!ll' dOlled drc1e. concentric circle and b:'lIld. Curtiul> Painter. woman seated with lyre. and lOoomall: girl dancing. lOoomall seated playing the flule and woman seated; ARV. 935.75. For the 1001 profile ef. Athens. Agora P 24253. Fig. Se.

PENTHESllEA WOHKSHOP 11 I. A,hellS 1661 (CC. 1563). from Eretria. PI . 40 . F'Ig. ob . H. 0.124. H. wilh lid 0.183. D. III rim 0.107. D. of lid 0.135. H. of foot 0.03. Lid: debased tongue and dol. black hand. laurel. black band. Z.s. Sit/I' uf lid: black glaze with hori.wntal grc)(wc. Lid i/l/I'rior:

rc!>en'ed; bouom: dot and IWO concentric circles. Black glazed moulding. reserved grOO\'e above frieze: bdull': rays bel\\een IWO reserved bands. The Long Chin Group ..... oman: AHV. 1221. I.

Ph. 41 ,2 and 47.1. 11. 0.124. H. with lid 0.179. D. at rim 0.108. D. of lid 0.15. H. nf foot 0.03. sct·tions of fool: 0.08.0.089. 0.07t1. I id dehased tongue and dot. black band. laurel, black band. deblbed longue and duI. Lld fllIl'n'o,' re~ned: bonum trace of circle and pnhaps .. mall central circle under ]iml' dcpmil. Blad glazed moulding. groo\c. racncd line abm'e frieze: bdol\" ra)s bcl.... een resc.... ed band!>. Painter of Hcidclbcrg 209. Pelias and his daughlers; AR V. 1289. 25: Seehan. /:/Ild,,!> ~/I' la TruJ.:/dh' Gr('('qlle. 479-480. fig. 1.17. 4. P(/r;5. LOIlI'rt> CA 6.16. from Eretria.

5. Muy.·I/I·.·. Unil">r\ill' 116.

PI. 43.3.

11 ~ith lid 0.181. I id rkba..cd tongue :1nl! dOl, laurel and herry. black band. 1ll1leandct"> alternaling ~ilh eros" squares. Ulal'k band. resened line abolc Iricze: hdOl": laurel and berry. KAAH inscribed by each figu,e. I he Oppenhcimer Group. Heslia: .....oman seated with torch. and foul' .... Omen approaching her; woman seated. anlt .... oman.

.5

THE ATTlr PyXIS

SAllY RUTHEIIFUJU) R08EIITS

ARV. 1224.2: Hampc and Simon. Gri('chisches LI,bl'II im Sl'il'gf'l

Black glazed moulding. resened line above frieu; below' groove. sloping keel articulated by a moulding and a groo\e on either side of a sloping section decorated with che'rons. Painter of London E 777. women: ARV. 943.78.

I/l'r K III/~t.

pI. 28.

O. YIlII' 1913./53. Knob mb~ing. H. 0.115. D. 0.089. D. of lid 0.128. Lid. egg. black band. egg and duI, blal-k band. egg and dol. Lid il/ft'r;ur: resened; bottom: dot and concentric circle. Black glazed moulding. resened band abo,'c frieze: bl'/o\l': egg and dot bctv.cen rcsencd bands. KAAH is inscribed on a block to the left of Ihc door on v. hich a A'oman is seated. Painter of London E 777. v.omen: AR V. 944. 83: Baur. Cotulogue of ,h,. R,.bt>Cco D. Stoddaro Coi/«,io" o} Gn'i'le and Italiall VUS,.s ill Yult> U,lil·t>rsit)'. 103. pI. 12.

7. London £ 777. Pis. 4S and 39. H. 0.13. H. wilh lid 0.191. D. of lid 0.157. Lid: debased tongue and dot. lotus buds pointed outv.ards linked by arcs above and below (dOlS above and lines extending from buds helov.). black band. interlocking maeander in groups ofrive and SLt (once se"en) alternating v. ilh cross squan.~. Sidt> of lid: rays. black band. Black glaze moulding. resen'ed groove abo\'c fricze: belo.....: black band. egg and dOl between resen'ed bands. KAAOl: KAAH is inscribed twice in the field and KAAH tv.ie.: alonc.

Painter of London E 777. women: ARV. 944. 79: C. Snlith. COIuluglll' uf Gref·1e olfd Etnl,fcal/ VaSI'S ill Ihl' Bn'lish MIlSf'IW'.

Ill. 309. E 777. 8. Paris. LOlIl'rl' G 605. from Greece.

PI. 46.2. Fig. 6<1. lid missing. box mended from man) fragments. One foot intact. base of second restored and third entirely restored. One third of lower keel reslon.'{1. The black glaze cm'cring the exterior of the foot is a modcrn addition: originally it was reserved with a black base moulding on thc cxtcrior and a black band within. H. 0.128-0.13, D. at rim 0.11. H. of foot 0.03. IJollom: dot and concentric circle. circle. red hand. circle.

8 his. Brut/m" /76 fr .. from Brauron. Inset flange for lid. moulding. then narro.... groo,e and about t.... o thirds of .....all prcsen·cd. Red-figure. women. profile of Penthesilea Workshop 11 similar to that of Louvre G 605 (Fig. Od).

,

9. London £ 78/. from Athens. PI. 44. H. 0.128. H. with lid 0.179. D. at rim 0.114. D. of lid 0.146. H. of

foot 0.034. Lid. egg pattun between black bands. boar and lion confronted. repeated: egg. Lid illtl'riur: dOl. circle. band: bottom. same. Black moulding. resen'ed line aOOn: frieze; h(>/Ok" eggs between ~ned bands. Red·figure. Eros. }'outh and woman. Eros and woman. ENS and v.oman: Smith. CutuloN"t' ofOrc('k and Etruscan VaSI'S. Ill. 370. E 781. The egg pallern has a black core with double borders. LUIII'rl' LP 2692. from Athens. Pis. 42 and 46.1. Fig. 6c. Lid mended from three fragmenb and box from many with some reSlOration. A large fragment of the bOllom of the receptacle has been restored in plaster. H. 0.116. H. with lid 0.169. D. at rim 0.107. D. of lid 0.135. H. off001 0.032. Lid belongs m. Lid: rays. laurel. black band. Liel intf'riur: reserved; bottom: same. Black band with hHJ rcsen'cd lines above frieze; belo\\': resen'ed line. Workshop of Pcnthesilea Painter: Undetermined. womcll and maid

10. Paris.

11. 0111.'1' LOl/do/l Murkf'l. Christie. PI. 43.1. H. 0.111. H. with lid 0.169. D. at rim 0.089. D. of lid 0.131. H. of foot 0.03.

THE ATTIC PYxIS

Lid: debased tongue and dot. laurel. black band, rcsen'ed petals. Dot and concentric circle on bottom of receptacle. GroO'·e. rtsen'ed band abo1le and belo.... frieze. Painler of Bologna 417..... oman seated r.. on diphrO' looking back at double door. to right a .....oman mm'ing r.. but looking back. :1 Nikt.·. III the field fillets. sandals and t\lo"O kalathoi. For "tyle cf. Oxford 1%IAbB (pI. 36.3) and Munich 2721. Jerome M. Eisenberg. An of tlH'AIIl'iellt World I. 110. 17: Cm. ChriJ"til'. April JOand May I, 11:J74. no. 178. 1'1. lb. 12. l\fiuissiflpi P IOH tex D.M. Robinson).

PI. 43,2. Knnh missing. about half the lid restored, H. 0,121. tutal H. pres, 0.147, D, at rim 0,117, D. of lid 0.155. H. of foot 0.034, Lid: debased tongue and dot, black band, laurel. black band. reserved petals. Sidt, of lid: glazed .... ith en'ed groove above frieze: be/o\\': eggs bct ..... t ..en reserved bands. Red-figure, .....omen and ErOl\: CVA, U.S.A, 7. Robinson Collection 3, pI. Xl and pp. 19-20.

13, Tubillgl'lI E 156. Foot and bottom of pyxis restored in plaster. H. (including restored foot) 0.135, Total H. pres. (including fragment of lid) 0,143, D. at rim 0.103. Lid: (pattern next to knob missing and upper portion of buds), lotus buds pointing outwards. linked by a~ and dOlled, black band. resen'oo petals. SicJt· I..!( lid: laurel wreath. Lid illfl'riur: resen'ed. Black band, resen'cd grOO\'e abO"e frieze; bl,/o.....: egg and dan. Aberdeen Painter. .....omen: AR V. 921. 38: e. Warzinger. Griechi$che V(W'1I ill Tithillgl'lI, 53, 1'1. 36, 14. Bruuron 82, from Brauron. Lid missing. groove near top of .....all. Debased laurel pattern below frieze, Red-Iigure, pair of winged chariot horses del>cending preceded

SAllY

KUTHE'Rfl1RD ROBEaTS

.7

by ;I figure in himaliun and t.....o running figures. the first one fcmol\c \loith sakkO!> and chilon. Profile as in Penrhesilea Workshop. Walllhicker than in Brauron 176.

e'l

4.fO H.C.

Around 4-W D.e. a different stage in the forming of pyxid~ of t)-pe A bt..'Comes apparent in thc Penthesilea Workshop. The \'ases an: of standard siLe and red-figure technique. There is no cvidence that the production of while ground vases continued. The original canon has been exaggerated but is the basis for these later \ases. TIre canon prescribed a long body, a eonca\'c cun'e strengthened at the ha~e. a tripartite foot with rounded notches, a disk knob with cro.... nillg button and a fricze bordercd by Iinel>. III lhe later vases the lOllnC3\e cllne is dra.....n in tov. ards the base of the vase and then much inl'rea~ed. Compare the simple cun'e of Munich 2721 (PI. Iq,I), \Iilh the more pronounced cun'e of Athens 1661 (PI. 40). The cxaggeration of the curve necessitated a further change in the fonn of a p:lttcrn border set belo..... the frieze. It usually consisted of a deri\athe of the tongue pallern or egg and dot. In the exceptional cllse "here l>uch a border was not employed the consequent di"tClnion of ligural or architectural elements may be discerned. It i~ p.micularly e\'ident on Lou\·re LP 2692 (PI. 42). The Iov.cr part of tht: column has a distinct cun·e. E\'identl)', the painter sa.... the csthctic ad\'antagc of confining the frieze to a rel3livel} Oat surface. The le\c1 of care e\'idenced in the ponerwork ne\er reachel> that achic\'ed in the first slage of the Penthesilca Workshop but remains at the :lxcrllge le\el exemplified by Munich 2721 (PI. 19.1). The disk knob "ith button rClaim the shape that \lo'as evoh'cd at th:1l st:lgl'. The lid profile has changed slighlly. The juncture of Ihe base of the lid .... ith the pot is \'ertlcal and suddenly slants out.... ard gi\ing the etlcct 01 a l>light hook. Athem 1661 (PI. 40) sho.... s this tendency \Iightly: ill London E 781 (PI. 44), the effect is pronounccd, The ILlpartite pallern band deeoration of the lids continues. Pride of \ll;h.'C i.. gi\en to the laurel .... reath. The paired lea\'cs are sloppily ~h;Jpl'C! and lie c1use along the stem. as in LoUHC LP 2692 (PI. 46 11. Hlal'k bands l'OIl1inuc to be used as acccllts. This stage appc;\~ hi lasl llnlil around 420 B.t'.

THE AlTK Inn

Athens 1707 (no. 2. PI. 41.1). probably the latest exta", pyxis of type A b}' the Painler of London 0 12. is Ihe only one of his vases with a pallern border below the fr;e1.e. The conca\'e cune of the profile is \'ery shallow .... ith a jut 10 Ihe lid which gi\'t~s a pronounced hooked effect. The presence of a lower pattern border and the emphasized lid profile are among the indications that this pyxis is later than a \'cry similar one in the Serpieri Collection (I'. 47. no. 6), b} the same artist. The tigural work is hasty and hlTlllul;lic as i.\o characteristic of thi!> artist. The conca\e cune of the walls of Athcm 1661 (no. I. PI. 40). is mon: pronounced. The .... alls are dra.....n in to.....ards the base and then flare out strongly presenling a profile more f)'pical for the Penthesilea Workshop 11. The loy.er flange is decorated by a band of ra}"S bet.....een irregular reserved lin....'$. The notches in the fOOl arc wide, low and carelessly shaped. Although the long Chin Group has been ~paraled in style b}' Deazley from the Pcnthesileans,n there i!> no doubt that b}' shape this pyxis belongs .....ith the uthers listed abO\'e, as is thc case also for nos. 4. 5, 9 and 12. either unattributed or decorated by painters outside the Penthesilea Workshop. The profile of Louvre CA 636 (no. 4. PI. 41,2) is extr:Jordinarily akin to Alhens 1661. from the disk knob with a low cro.....ning button on a stem of medium height to the 10..........ide notches in the foot: the pattern border belo..... the frieze is also identical. The artist, Ihe Painter of Heidelberg 209, is howe\'er an outsider. The painter here undoubtedly worked on a pyxis shaped by one of the pOllers for the Penlhesileans. No. 5, in Mayence (PI. 43.3). presents much the same type of problem as Louvre CA 6.36. In profile it closely resembles Athens 1661 and Louvre CA 636. Beazley attributed the vase to the Oppcnheimer Group. who arc outsiders. The pyxis is of Sl3ndard size, the curve exaggerated and a lower patlern border has been added. Yale 1913.153 (no. 6) fits the criteria for this class and is ascribed 10 a Penthcsilean, Ihe Painler of London E 777. The lower border is filled by egg and dllt, a pallern which hereafler became a favorite. The three bands of egg pattern on the lid correlate with Ihe IO~'er border.

SA ........ y RUTHERFURD ROIlERTS

,.

London E 777 (no. 7, PI. 45) the name-piece. \ari~ some.... hat from the profile standard for this class. The sid~ of the pyxis ha\'e a much flattened conca\'e cune and the lo.....er flange is emphasized. The lo.... er decorati\'e border has been doubled, a black band bet'llo'een reserved Iin~ is set abo\'e a band of egg and dol. The notch~ are tall, rounded and dra.... n in at the base. The lid profile projects !>trungly beyond the box. rhe '''3l1s of LouHe G 60S (no. It PI. 46.2). another ppis a\l'ribcd to the same painter, are more strongl)' flattened than thlbC oflondon E 777. The 10"" er flange projects emphaticall)' and i anlculah:d by a black glazed moulding set off by resem:d groO\C!i and then a sloping surface decorated .... ith chC'\rons. The furmulation of the lo.... er flange differs from that of the class and rncmbl~ that of London 1920.12.21.1 (PI. 49.1). I he Jtlup-!>hapt.'d notches of London E 781 (no. 9, PI. 44), connect thi!> \asc .... ith London E 777 and Lou\"Te LP 2692. A horizontal gmU\e casuall}' indicated as a slighl step in.... ard!> on the disk knob connects the !>ame thn.-e \'ases. I he extra\'aganl1} exaggerah.'d ('un'e of the profile of Loune LP 2b92 (nu. 10, PI. 42), allributed IQ an undetermined member of the "nrhhop of the Penthesilea Painter, indicates a date .... ilhin phase 11 ul the .....orkshop. although the frieze is simply bordered b)' resened lines. The loop notch..'.!> alsu arc an indication of the late phase. The colour of the lid is similar to that of the receptacle. It should be nOh.-d. however, that though the lid fits, the edge lies a liule inside Ihe contour line of the wall at the juncture of the box and lid. The transitional line from the body of the pyxis through to the projecting hooked profile of the lid is not smooth as in London E 781. Thus it cannot be taken as certain that the lid belongs. although colour. pallerns, knob type and profile arc characteristic of the workshop. The conca\'e curve of the pyxis in the University of Mississippi (no. 12. PI. 43.2), is strong and the projection of the lower flange more pronounced than on any olthcr vase of this class. The lower Ilange is decorated with a band of eggs between reserved lines as in London E 781. The lid, though extens;vely damaged. still preserves the hooked prolile charaeterislic of the Penthesilea Workshop 11.

70

THE ATTIC PVXIS

The frieze represents three women approaching a door followed by a flying Eros." The vase is unattributed. The painter is contemporary with the Orollol Painter, but ahhough they use many similar motifs their SI)'les ditfer markedly. A certain similarity may be noted between the drallo'ing of the door on the Mississippi "ast and Ihat of Munich 2720 by the Drouot Painter n (PI. 49.2). Further. the drapery riStS up in a flounce from the heel of a running woman in bOlh. but the Drouot Painter's women always turn their heads 10 look back whence they came. The poncr's signature on the limel of the door on the Mb.sissippi pyxis has pro\'ed 10 be a modern forgel')'. JI The pyxis. Ttibingen E 156 (no. 12). by the Aberdeen Painter has been senrely damaged. The fOOl has been entirely reslored in plaster and also the bottom of Ihe box. Two fragmenls of the lower flange with a border of egg and dart ha\'e been presenied. The height of the box alone as restored is 0.135, probably dose to its original size. There sttms no doubl that the vase ~as of slandard si7..e and originally had a canonical tripartite fool. The 10"'er pattern border suggesls as a corollary the exaggerated concave curn of the .. ails. Similar egg and dart may be seen on two lebetes gamikoi attributed to Ihc Washing Painter and dated 430-420 a.C.n A laurel wreath form!!. Ihe main pattern band on the majorilY of lids from the Penthesilea Workshop It. as it did in thc second, more mediocre stage of the Penthesilea Workshop I. The quality of workmanship continues to decline. The lids of Alhens 1661. Louvre CA 63tl (PI. 47.1), Lou\'re LP 2b92 (PI. 4b,O, Mayence 116 and Mississippi manifest the late form of paired leaves lying closely along thc slem. The leaVe!; lie limp and lifeless, no sap runs. Two black bands regularly accenwate Ihe main pallern. A IOngue and dot band surrounds Ihe knob wiln the exception of rays on Louvre LP 26C)2: the outer palterns vcry widely. The laurel and berry pallern of Athens 1707 by the Painter of London 0 12. seem rathcr to be linked wilh transitional lids sm'h as Oxford 1%1.468 (PI. 35) and especially Vienna 3720. 21 The laurel of the London market vase (no. 11) is just as in Oxford; the reserved petals connect it wilh Ihe next group.

SAllY RUTHERfURO ROBERTS

"

The llul('r border 01 rcsened pelals of the Mi\sis\ippi Pyxl~ (no. 121 links it with Ihe earlier lid of Alhens 1741 (PI. 38), by Ihe Veii polinl~r. rhe main pallern band of Athen~ 1741 is composed of hnl..l-rl IlltuS bud~. This border also occurs on lIonolulu 3598 and umclnn E 777 lno. 7. PI. 39). in a less careful rendilion. The lragllll'ntaf) lid of I"ubingen [ ISblt recalls Athcm 1741. bOlh in Ihe poillt~ of ils 10lus buds linked by- arC'S and dOlled, Ihe accenting !;llacK !;land and the outer border of reserved petals. A lutu~ bud chain with points dO~'n~ards may oftcn be seen on ,hl' 11\.'('1.. .. of red·figured column·kralcn. A considerable number of l' lumn-haters ~ ith such decoration come from tombs in the Valle rrchha atca al Spilla.)O rhe main wne of Ihe lid of London E 781 tno. 9) conlains an 3nimal fricLc: a buar .... ith snout dO~'n confronting a lion and a repeat of Ihe pair. The t~o pain are set tail 10 lail. The animal fricLc h placed bct.... I.'e1l two ron~ntric circk":!> of egg and dOl p;lIlcrn. The lid should be compared to Ihe lid of London E 77-1 (PI 47.2). altributl."d 10 the Drouol Painler,u ~ith two pairs of liom 31ld boars confronted hcl\lt.'ell band.. of egg and dot. The egg.. ha'·e been drawn on a slight slant in bolh ca!>t."'lJo. The lid of London E 774 belongs to the class of Munich 2720, which has close amnitic~ ~ ith Ihe Penthesilea Workshop 11. The Painter of London 0 12, a Penlhesilcan, occasionally d~·oratl.'d pyxis lids \lith an animal frieze. Two appear on pyxides 01 t~pe A: onc canonical example in Ihe Serpieri collection tno. 6, on p. ·n abm'e)n depicts a liberally spotted panther springing Hlward~ a bull followed hy a hoar. The olher pyxi.. , of uncanonical typc. is Harvard 1925.30.39 (PI. 4!s.2PI ~ith thrt.'e bulb walking in ~eqllellce separated by 1"'0 boulders. 1 ~o additional animal friezn ;lppear Ill! the tops of lids of pyxides of type B. one in Fulcla,l( the Iltht.:r ,llle on the Vienna ll1arket.l~ Pair~ of animal.. , eonfronled. do not I~Cllr on the lid.. by the "ainlcr of London J) 12. The Wedding Pallltcr. another Penthc~ilcan. once decor:lIed the lid of a PYX1\ tYlw A (ull.:anonica1) ~ilh 311 animal frieze. 16 1 he three cOIll'entril' bands ot" egg pallern '" ith double border!> and dots in the inten;tices ldots missing in the inncrmO!>t circle). aCl'ented by two blal'k bands on Ihe lid of Yale 191.1.153 (no. 0). arc

72

THE ATTIC

PY:u~

SAllY RUTHERFURD ROBERT5

unprecedented. They coordinate I>:ith a similar band of egg and dot on the lower flange; such decoration of the lower flange is frequent on pp;ides of the class.

CLASS OF MUNICH 2720 I. MIII/ieh 2720.

PI. 49.2. Fig. 7a. H. 0.073-0.074. H. with lid 0.108, D. at rim 0.065. U. of lid 0.085. H. oUOO! 0.021. Lid: debased tongues. egg and dot, chenolls. Lid illlt'rinr: dOl and twO concentric circles: bottom: same. Groove. reserved band above frieze: hf'low: reserved band. Orouo! Painter. Nikc and woman; ARV, 1223. 4: CVA. Germany b. Munich 2. pI. 96.6·8 and pI. 99,3.

2. Londoll E 779. from Athens. PI. SO,1. Fig. 7b. Lid missing. H. 0.078. D. at rim 0.062, H. of foot 0.023. width of sections of foot 0.046. 0.051 and 0.053. Grooved black band, reserved band above frieze; hl·tow: reserved band. Drouot Painter. Eros and women; AN V. 1223.2; Smith. Catalogue ~rGreelc alld Etruscan Vases 111, 370.

3. A/hem. Agoro P 2283. from Athens.

PI. 50.2. Fig. 7d. Lid missing. About half of the rim gone and a large pari of onc side. One of the three feet missing. another chipped. H. 0.0%. D. al rim 0.078. H. of foot 0.03. BotlOm: dot. circle. band. Black band. resef\'ed line abovc frieze; bdul\': debased tongue between reserved bands. Drouot Painter. women; AR V, 1223.5; Hesperia 4 (1935) 477-478. and 499 no. 2. figs. J and 4. Deposit: R 13:4 well ca. 440-425

n.c..

Agura XII. 398.

4. Heiddberg 51(21 (ex Parrish and RevelslOke).

Lid missing. H. 0.083. D. at rim 0.074. H. of foot 0.025.

PI. SO.3.

7J

dOl and t","o concentric circlc!>. Black band. reserved groove above frieze; beloll': egg (double borders and black core) and dot between resened bands. Pa;nter of London E 777. winged goddess and .....omen; ARV. 944.~ and p. 1675: Miinzl'" IIl1d Medaillf'1I AG. Auktion XVIII. No\'. 29. 1958. pI. 40. 124; R. Hampe. Kutulug da Sum",lll,,!: (/Iltikt'" K {('i"lwmt dt'r Ullil'l'rsituf H('idelbt'r!:: 11. Neuerwerbungcn 1957-1970. no. 85, plo 62. BUT/um:

5. Lt'yd{'/1 KVH 157. from Cyrcnaica. PI. 51.2. Knob missing. H. 0.112-0.115. totul H. pres. 0.134. D. al rim ~.095-0.099. D. of lid 0.132-0.133. Lid- egg and dot, black band. laurel. black bund. egg and dot. /Jl'lfl\l' frit'u': egg and dot between reserved bands. Buttum: doucd circle. circle. band. Compared with the work of the Drouot Painter. Ero!> and ","oman. Eros and woman. In the lield. a door between the IWO groups; ARV. 1223. The egg pattern has double borders and black cores. The profile and pallerns of the lid indicate that it belongs to the cia!>!>. but ;t is loo large for this vase.

6. Pun's Market. 1-1.0.15. Lid: debased tongues. laurel (no information as to border pallern). Bl'/o\\' .!'riezf': eggs w;lh black cores. Drouot Painter. Ertltes and women: ANV. 1223. I; V{'/I/(' L 'Hotl'! IJrollut 13 Mars, 1911, pI. 5. 13. The name-piece.

a

7. Athl'lIS 159U (CC. 15(5).

Pis. 51.1 and 48, I. Fig. 7c. Knob and greater portion of slem missing. H. 0.10. total H. pres. 0.115. D. at rim 0.086. D. of lid 0.118. H. of foot 0.027. Lid: eggs with double borders and black cores. black band. hound!> and harcs. black hand. eggs with douhle borders and black cores. Lid ill/('riur: dot and two concentric circles; bOllom: same. Flat black moulding. groo\'e. reserved band abm'e fr;eze: be/o\\':

74

TtlE A-rfl( PYXIS

I.'~g 13~

011 lid) bcn.n:cn rc..en'ed bands. Orouol Painter. Erotcs and women; ARV. 1223. b.

H. Gh.'''' /6. Ud missing. H. 0.082. D. 0.087. /lotto",: dot. circle and narro" black band. Black band. rcsened line abo'\,' frieze, hr/m,,; egg.. v.;lh double border!> and black COtes bet\\een resened lines. Urouol Painter. Erotes and "'oman: ARV. 1213.3; AIIICI 22. 398, pI. 9. 10. 9. Lnndoll. "arl ofF. 774, from Athens. PI. 47,2, Fig. 71.'. Lid (knob alien), D, 0,123. Lid: dotted eggs with bl:lCk cores and double border), black Iwnd. bO;1r and lion confronted, rcpc:lIcd: black band. dotted egglo \\ ilh black cores and double borders. Lill ill/prior' glazed. Drouo! Painter..... omen: ANV, 122J. 7. No information .lO.J (hybrid p)'xis. t)'pe A. ARV. 1224.4), Athens. fr{'lnl Brauron. Drouol Painter. womcn; ARV. 1223. 7. No information available as to form and now unlurtun:Hely nlissing. The da~!> of Munich 2720 is clearly dependent on and COlllemporary v.ilh the Pcnthc!>ilca Wurk!>hop 11. It diITer<; only in the small dimen~i(lns of the \ascs and tall, crudely cuI. rounded !lolches 01 Ihe IU01. The Drouot Painter and one compared \\ith him executed the figural \.\ork on all but onc. v.hich \laS dl'Cor:l1ed b} a I'l'llthesilean. the P:linter of London E 777. The de<'or:ltiOI1 of twO Ill' the lids wilh animal (deLl'S (nos. 7 and 9). Imms a further link .... ilh the practice of certain or the Pcnlhesileans. panicularly thc Painter of London D 12. The inlerior seHing in lhe women's quarters is ust/all} ;ndkatl'd ll} a door. which sometimes occupies :I considerable pd ..l ot lhc .omposition, as in Munich 2720 Wl. 49.2) :lnd London E 779. The number of ligures depicted arc rev.. generally' IhrCl' ligures and

S.,u.LY RUTHEllFUIlD R08EllTS

75

onCC only 1\\0 (MUOlCh). Eros or Erotes arc present four times. pn"iCnling gifls to v..~men. Tv.ice a Nike appcan. 'Aith a v.oman or \\omen. The context of the Agora pyxis tno. J) prmKles a guidcline for Ihe daling of this class. The ""ell is dated ('(.I. 440·425 R.e. Miss 1 uggested a date of around 440 D.e. for Ihe pyxi,>;J7 il is proo:lbl) somev. hat laler than that, around 430 D.e., but ;n all)' ea'>e lhe \.'Onlexl pro,ides an objective and relalhcly lixed point, wekume since there arc so few. The Munich (no. I) and London (no. 2) examples may be Sl'llle\.\ h:u earlier as they lack the l(lw~r pattern burder.

CLASS OF WUHZBUHG 542 I. Wiir:bllrg 542. from D<M..'tJlia. 1'15.52,1 and 52,2. H. 0.11·0.114. H. \\lth lid 0.164, D. at rim 0.09, D. of lid. 0.122. H. uf foot 0.025·0.029. I id cgg and dot (black cores and double borders). black band . obliquc addorsed palmettes linked b)' a running scroll, black band, egg.. (black cores and dooble borders). Lid illtf'rior: rescn'cd: bottom dOl and widc black cjr<'les. Flat black glazed muulding. rescned line abm'c frieze: brlffl\'; v.ide black band, eggs (as on lid). Compared with thc Monllaur~ Painter, woman stated. wilh ynuths and woman; youlh and woman: youth and woman. Paris and lIelen, with the "Aeneas group" twice repealed?: ARV. 1296. 3: Langlotz. Grit'chi,'Chl' VUSt'" ill Wiir:!.hllrR. pI. 202.

2. :\1l1l1idl 1722. from Athens. PI. 53.2 and Fig. 8a. 11. 0.117. H......ilh lid 0.163, D. al rim 0.103. D. oflid 0.133. H. of foul 0.037. Lid· egg and dol (black cores and double borders), black band. oblique addorsed palmenes linked b)' a running scroll. black band, egg and dot (black cores and double borders). Lid interior: dot and concentric circle, band; bollum: same. JJI'IUIt' me:t>: egg and dot (as on lid) bet.....een reserved bands.

7.

77

TilE ATTIC- PnllS

MOnllaures Painter. woman scated ..... ilh Eros..... omen and )outh: )outh and \\oman: youth and .... oman. Paris :md Hckn v.ilh the "Acneas group" repeated?: ARV, 1296. 26: CVA. German)' 6. Munil'h 2. pI. 97.2 and 5-0. pI. 99.S. 3. HI'idd!lt'rK 66./0.

or

H. 0.113. H. with lid 0.157. D. at rim 0.094. D. lid 0.129. H. of fOOl 0.031. Lid: egg (black cores and duuble borders). black band. oblique addorsed palmcllc\ linked by a running scroll. egg (black ('UTes and double borders). Lid illll'n"or: dOlled concentric circle. circle. band; hOlmm: same. Black band. resened line alKwc frieze: bdoll': egg (a.. un lid) bel.... ccn reserycd lines. Red-figure. lyre-playing Eros and v.omau. door. \o\omall with Eros and .... urnan, Eros and 11000130; H. Hampc. AmI/hI}: (/ 1,,, SI/mm/Ill/M "",ilea K't,j"JcultSt du UI/;I'f'rsiIU/ H,·illl·lh,·r/.: 1/. Nt'I,,'n"I'rbuI1RI'II 1957·1970. no, 84. pis. 60-61. Aserib(.'d by Hampe 10 the Montlaures Painter. 4. NI'''' Ycrk. ('oJ1cction of the late Wailer Baker (ex Cel'il H,

Smith). H. ~ilh lid 0.173. Liel: eggs. black band. oblique addorsed palmelle'\ linh'd by a running scrotl. black band. eggs (black cores lind doublc borders). Lid illlf'riur: dot and concenlric circlc. circle. band: boftum: same. Abm'f' lrif":(': small egg (black cores and double borders): hl'1ow' egg ::..,d dOl between ~f\'ed bands. Red-ligurc. wedding preparatiom: D. \'On Bothmer. Allcient An frum Ne\\' York Pril'ufj' Collf'Cfiolls. no. 243. pis. 91-92: JI/lrlil/}:tolf f'il/pAra Club l::xltibi/irm q(Allci.,tIt Cn-j'le An, 1904. p, IIJ. pIs.

XCVII and C'.

Vi.,,,,,,,

1863. from Thebcs. 11.0.11. H, "ith lid 0.158. D. of lid 0.137. H. of fOOl 0.028, I id egg and dOl (black cores and double horder"J. black hand. oblique addorsed palmellcs linked b) a running scroll. blar.:k band. 5.

l'g!! and dOl. Lid im"rior rcsened; bottom dot and

NO

cOnCenlnC

cird~

I{c\erH.'d grome aho\l: frie1e: m-Iow egg and dot (as on lid) bo:t"ccn resen'cd bJnd\. Red.figure. women, ('VA. Austria I. Vienna 1. pI. 48. 9-10 and pI. 41:1. 4·~. b, A/h,'lIs. Agoro P 27317, from Athens, PI. 53.1 and 53.3. Fig. 8b.

Lid (knob missing). 0.0.15. I ill egg and d.ot (black cores and double borders). black band.

..,hliquc addorsed palmettes linked b} a running scroll. black band. cg~ and dot (hlack cores and double borders). Lill llIf.'riOr: l'onl~ntri(" circle and band, Clas) of Wiin.burg 542. Hl!sJH'ria JS (1%6) 83. pI. 27e. Deposit S 16:1 "ell co. 4Z5·4(J() IJ.C.. Agnr/.l XII. 398. 7, A/hl·lIl. Aa. MII:fl. 6477. fron1 Ihe Sanctuary I)f the Nymph,

'1 he Class of Wiirzburg 542 is in many respects dependent on the Pcnthe"lka Workshop I!. The pyxidl.'!> arc of standard height and hthl.' a concave curve slrcngthcned al the ba~C', emphasized by a lll\\cr pallern border. The Montlaurclo Painter. 10 "hom Munich 2722 b anributcd. and "ith "hich the style of Wiirzburg 542 is compared. had some (.'()IIneclion with the Pcnthesileans. fur thi~ painter collaborated on a kJlix "ith the Painter of Hcidelberg 211.)1 The arrangemenl of pallern zones on the lids is modelled afler the Pcnthesilean Wor~shop but Ihe main paltern of oblique addur~ed palmenes linked by a running scroll is new. A dom.'d egg pattern" ith black cores is set belo~ the pyxi!> frieze. Thi.. pallern coordinates with the subsidiary borders on the lids. A lid from the Athenian Agora (no. 6). which by its prolilc and pattern borders. belongs to the class comes from a well dated to the last quarter of the fifth century. This date is applir.:able to Ihe reM of the examples from thi!> class. A ppiJ>. tJPC A. allributed to the Montlaures Painter W:l!> once on the London markct. J1 Unfortunately. no information is a\'ailable concerning its shape or paltcrn borders.

7.

SALLY RUTHERfURD ROIlI:!RTS

"' HE AlTlC PYlI"lS

CLASS OF HARVARD 1925.30.39

I. Hunwd 1915:JO..~9. from Gn."e('e.

PIs. 54.J and 48.2. Fig. 93. H. 0.086. H. IOolth lid 0.121. D. al rim 0.08. D. of lid O.HH. H. of fuot 0.008. 1 Id Three bulb. \l.:llking 10 the left and Iwo rodo; in field. helv.een reser\cd cin:lc<;. Lid i"tt'r;II": n:seryed; bottom. n:!>t'nC'd. Blal'k band bct"~1I n'Sencd lines abo\c frieze: bl'lOIl n","cn'cd line. black band. Ri,,~ loot: glazed with tesen't:d line at b3~C.

The Painter of London 0 12..... omen: ARV, 963. 92: CVA. U.S.A. I. Hoppin and Gallatin Collections. 9. pI. 13. 7-10. 2. 7'rJ,·(ll1oJ.21J lex Ba~lc Market). PI. 54.2. H. U.OR7. H. ",ilh lid 0.124. D. at rim 0.083. D. of lid 0.107. H. Hf 10010.01. Lid. laurel and ber!) 'He3lh hcl.... et>n resencd circll.... Lid i"/l'TIO,.: resencd: bottom rClocncd. . . Wh'll~ r1nl', bro"n glal.c hne abo\c frie7C: hl'luw hrO.... 1I gl;l£c I~nc. ",hlte band. brO"'n gla7.c line. Rillg,lUfl!' gla£l'fl "'ilh rescncrl hne :1.1 bil"e.

Painter of Lundon D 12. white ground: women: AH V. 1675.94 bis: M,ill:l'f' /llId Mmuillt'/I AG. Auktion XXVI. October 5. 1%.1. no. 149: HMI-It 670(9) 81. ligs. 11-13: Purulipul1lt'lIu. 434.

.1. Porl\. MII~.rl· Hmlill

re 155.

Lid Illi,,~ing. 11.0.113. D. al rim 0.095. D. at hase 0.U5. H. of loot 0.017. Black band. rc"en'l't! gruU\e abtwc frieze: ht'/IIl": rc"el"\~'d line. HillJ: I""t: gl:lI;ed. Hcd-ligure. women and bearded Illan leaning on stall": CVA. France 16. Musec Natiunal Rodin. pI. 26. 1-3. 4. AIIIl'm. privatc.

PI . 32 .1.

Mea!>ure1l1cnt" un:wailahle. Ud· tongue and dol. linked cirCUIll!>crib\:d p;llmettes .... ith a leal

79

III each !>pandrel. debasl-d tungue!> dotu:d abm c and belo..... Black band. re..ened band aOOH" frie7c: hl·I"" resen'ed hne. Hm!! If Hit gla£cd. Vcii Painler. (.... oman. }"oulh): ANV. 906. 115. The lid may not helong.

S. LII'I"r 5.1Y-16.5.lo. PI. 54. L ParI of stem and knob missing. H. 0.09. 10lal H. pres. 0.115. D. ul lid 0.123. H. of 1001 0.019. Ocba..ed tonguc!> on base of knub. Laurel. hlack band. debased h1ngut.'!> on lid. ~ Black hand. n.'!oCf\'cd line aoole frieze: helo"'. resen'ed line. black band. Painlcr of London 0 12. women, ARV. %3. 91: HMFA 67 09(9) 83. figs. 15--18. b. ~)·dllt·-" 5.1.06 lex Fau\el). from Greece. PI. 55.2. Lid missing. H. 0.0635. D. at rim 0.066. mu. D. 0.087. Ih.",el'\(,-d line .:abo\e frieze: bl'ifJI" re"\cnlu lint'. bl.:ack band. Ui"K IU in base of slem for repair (knob a reSloration). H. 0.086. total H. pres. 0.091. D. at rim 0.089. D. uf lid 0.123-0.125. H. of fout 0.012. Lid' dehased wngue and dot. black band. laurel. hcrringbone. Silll' 01 /ill: reserved. LiII illt"riur: rc,crv~:d: 1"'"11/1/: rescl'\ed. mack glazed moulding. reserved groove above frieze: hl'/olI': re,erved line. black band. rt.'!>crved line. black edgt.'. HillJ: ./,nll: n:~crverl.

Wedding Painter, birth of Aphrodite: ARV. 924.34; BMMA 35 (]940j .17, lig. 2 and 39. lig. 4.

80

SAllY RUTHERFURD ROl:lERTS

COMPARE Berne Historisches Museum. Loaned by Christoph Clairmont. Fig.9c. Fragment of loop handle preserved. H. 0.092. total H. prcs. 0.123. D. at rim 0.077. D. of lid 0.105. H. offoot 0.019. Lid: sheep confronted by a panther and (ollo",.ed by another panther between two reserved circles. Sidf> of lid: herringbone. At base of lid a moulding. Interior of lid glazed: bottum: five concentric circles. Black band, reserved line above frieze; below: reserved line, I;Ilack line. Wedding Painter. Danac ill Scriphos; ARV. 924 . .15; AlA 57 (1953) 92·94, pis. SO·52. T.O.L. Webster, Polter ""d Putroll i" Classical Athem. 263. Notches of foot not indicated on profile drawing.

The Class of Harvard 1925.30.39 was decorated by artislli to the Pcnthesilea Workshop. The lids prt~r\'ed show patterns fanliliar from the Pcnthc!l.ilca Workshop I, and especially from the transitional stage of that workshop. The subject maller. female genre scenes placed in a frieze arrangement around the body of the pyxis. framed by simple resen'ed lines. is also typical of that workshop. The body has a long concave curve st~ngthened at the base. The striking and unusual feature of the class is the foot which is low. glazed and of ring formation totally unlike the concave tripartite ~served foot characteristic of the Penthesilea Workshop. The vases are small, slightly smaller than those of the Class of Ol:ford 1961.468. 40 with which most are contemporary. Five lids are preserved and a drawing of a sixth. which is now lost. The two knobs preserved are of a casually formed domed shape and the drawing of the lid. once belonging to Sydney 53.06. shows a knob of similar profile. The Harvard (no. I. PI. 54.3) and Toledo (no. 2. Ill. 54,2) pyxides 3re very close with respect to profile. measurements and decoration, The side of the lid of the Harvard pyxis continues the concave curve of the body. a canonical feature Qf the Penthesilea ~Ionging

8'

Worbhop 1. The sKle of the lid of the Toledo pyxis is slightl) con\U. The domed knob of uch is set upon a squat stem "'hich lopreads and blends into the sloping surface of the lid. The glazed ring foot is men'ed at the base in each. Except for the contour of the side of the lids the pyxides are counterparts, made by the same poner, decorated by the same painter. ooe in red·figure and the other on white ground, The pyxis in the Musee National Rodin (no. 3) is slightly taller than the Harvard and Toledo pyxides. The conca\'e curve of the walls is acceotuated towards the base. The curvature is noticeable in llle distortion of the columns. The glaz.ed ring foot is taller and makes a better basis for the vase, A pyxis by the Veii Painter in a private collection in Athens (no, 4. PI. 32.1) is very similar in profile and proportions to the Musee Rodin pyxis. The curve of the walls is accentuated towards the base, However, the reserved line below the frieze has been set a good distance in from the edge. minimizing the curvature of the columns of the frieze, One is reminded of a like treatment on a while gruund ppis in Ancona by Ihe Splanchnopt Painter of the Pt!nthesilea Workshop 1. 41 In bolh. room is left for a lower pattern border, though the space is oOt utiliz.ed. 1 he Exeter pyxis tno, 5. Ill. 54,1) is similar to those of Han'ard and Basle but possesse'li a ring foot so low that the pyxis appears to be balancing on the base of the vase itself. The flat upper surface of the lid is clearly differentiated from the base of the stem much as in canonical lids of lhe l'enthesilea Workshop I and may be l'nmpared 10 Athens 1288 (1'1. 21). and Baltimore 48,2019 (PI. 22). The S)dney pyxis (no. 6, PI. 55.2) is smaller than the olhers of the class and a little squauer. When the pyxis was published by St:lckelbcrg in 1837. it still retained its lid with a knob of similar prolile 10 the Harvard and Toledo pyxides, According to the dnl\\ing in Stackelberg· z the contour of the vase slopes from tile ba~e tuwards a flaring ring foot. The Han'ard py"is (no, I, Fig, <:l,l), ~ho\\~ a straight slightly descending line fronl the base of the \;1'ie meeling the ring foot at a sharp angle. The strong conca\'e l'une and the flaring ring foot differentiate the Sydney ppis from at Harvard,

82

THE ATTIC PYxls

The pyxis New York 39.11.8 (no. 7. PI. 55.1) is attributed to the Wedding Painter and dated ca. 460 D.C. The m)1hological subject is unusual for the class but was prevalent in the Penthesilea Workshop in the years 46().450 D.C. It is the same height as no. I, but squallcr in its proportions. The ring foot is articulated above b}' a moulding. The profile of the lid resembles that of Exeter (PI. 54,0, and other lids of the f'enthcsilea Workshop I. Colour accents employed to set off the frieze are unique: the side of the lid as well as the fOOl are resened. The ring fOOl of other members of this class is invariably glazed as are the sides of the IKls. The lids of the Penthesilea Workshop J arc either glazed or adorned with a pattern border. The conC3H: curve of the \Il ails of the Oanae py.is is accentuated toward the base and the degne of cun-e seems to lie betv..een thal of the Harvard (no. I). and Sydney (no. 6) pyxides. From the base: the contour slopes inward to meet the 10'10' naring foot at a sharp angle. The profile of the base and foot is somewhat lik!: that of the Sydney pyxis except for the low wKle rectangular notches. The formation of base and foot separates the Danae pyxis from the class. Neither is the tripanite fOOl shaped as in the Penthesilea Workshop I. The contour of the base and foot of a canonical pp:is of the Penthesilea Workshop I form .. a continuous concave curve as in Athens 1288 (Fig. 4c). The Danae and Sydney pyxides seem to show different adaplations of the continuous sloping line of the Penthesilea Workshop I 10 the rillg fool. The lids preserved of pyxides of this class show patterns familiar from the Penlhesilea Workshop I. The lid of a pyxis in a private collection in AthcllS (no. 4, PI. 32,1), has a main pattern band of circumscribed palmettes linked one to the next corresponding to lids of the Pcnthcsilea Workshop I {first pallern group).d The laurel band on the lid of New- York 39.11.8 (no. 7) corresponds to the second pattern group of the Penlhesilea Workshop J.u The laurel wreath as .....ell as the subordinate borders of debased tongues of the Exeter lid are like Ihe lid of Vienna 3720 belonging to the Class of Oxford 1961.468 dated 450-440 8.C.-s The leaf and berry wreath on the Toledo lid (no.

SALlY RUTtIERFUkO R08Utn

8J

!l l' tramed b) resened circles. 'I he leaH.'S are freer in their cwcllti'lfl than those seen 011 the Exeter lid hy thc !>ame artist. I he animal frieze on the lid of Hanard 1925.30.39 (no. I. PI. -l~.21 i<; !>imilar 10 that on Ihe lid of a canonical ppis of th£> I'cnthL"Silea Work<;hop I in the Serpieri collection (no. 6, on list p. ..... aOOn:). Both arc by the Painter of London 0 12 and probabl) '\;1wble to 450-440 B.C. The lid of the Oanae pyxis la ,-ase ~·'lmparcd to this class), also has an animal frieze set between le~ned circles. The profiles of the lids also correspond 10 the twO variant types (\ Penlhcsilea Workshop I. The lids of New York 39.11.8 (no. 7) ,nd Excter 5.1940.536 lno. 5). ha"e a nal upper surface .....ith a kar differentiation in I~"el between the base of the knob and Ihe Ic\clnf Ihe lid. Thc lids of Ihe Toledu (PI. 54,21. and Hanard (pI. ~,J) p~ 'CidC'O J>OS!>css stenlS whieh blend into Ihe sloping surface of Ihe lid. The domed knobs of Ihese two pyxides are different in I~PC from any in Ihe Penthesilea Workshop 1. 1 he prolllcs and patterns of the lids, Ihe framing of Ihe frieze and !>ubjecl matter :Ire similar to the Penlhc:loilea Workshop I. The 'qual proportions and ring foot are different. One may ask \\hcthcr these \'ases were made in the same shop as the canonical p}xides of the PenthL~i1ca Workshop I. An ans\Ooer IS suggested by \lM Philippaki's discussion of stamnoi decorated by Ihe Painter III Ihe Yale l.ekythtl!>, "The Painter or the Yale LckYlh~ painted three slamnoi; each of them represents a different Iype, each time the painter has filled his decoralive system to Ihat used by the other painters of Ihe class,"" Miss Philippaki suggcsts lhat Ihis paintcr \Ooorked in the Berlin Painter's work<;hop and then moved tu another in \Oohich lhe Dokimasia Painter and lhe Hephaisteion Painter wcre employed. The third ~tamnos by the Painter of the 'I ale Lekythos belong' It) the Oeepdene Painter's Class. A {kl'Oralive scheme went with each class of stamnoi and when the llpc changed the paltt:rn accompaniments also chllnged. 07 rhe Class of Harvard 1925.30.39 differs \Ooith respect to proportions and <;hapc of fOOl from the Penthesilea Workshop I. HO\Ooc\'cr, lhe dt.'1:urath'e scheme remains the samc. This suggests that the pyxidc:lo \00 ere made within the Penthesilea Workshop I and

84

85

I Ha, ATTIC PYJUS

SALL Y RUTHEIIIFUIIID R08EIIITS

lhe ideas of a polter from outside the shop may ha\'e influenced the shape. Indeed the ring foot is one of the hallmarks of the v.orkshop in which the potter Agathon .... as acth-e. The Penthesilea Painter him!>c1f painled a squat p}xis with a lu.... ring fool.

1;11,)('1;, band followed by a f'CSCned line. Other fragments gi..-e additional informati~n concerning the protiJe and the composition. Two joining sherds gi\'e a portion of the 10\ller \IIall and a 10\11 ring foot. The foot was placed \lieU under the bod)' at a distance of ca. 0.049 from the outer edge. In addition there are three joining sherds from the upper wall and onc other non-joining sherd (PI. 59,1). There are not enough .ldJullling sherds in thiS Stttion to make a complete profile 01 the 1>. .. 11 and the diameter as now restored does not corrC!>pond with that uf the principal fragment (PI. 56) because of the incurrect Ill,llccment of the une nun-joining sherd in the upper wall. This ~herd depicts a Doric capit:11 and part of the entablature. The t.... o adjoining sherds from the base of the box arc painted with a repre~entation of the right lower panel of a door. all adjacent column and a woman (IO\ller portion only) clad in himatiol1 and dlittlll who hastens rightward carrying a casket (pI. 58,2). A later represcntation of such a double panelled door with flanking columns and entablature may be Jol'Cn nil the pyxis. Leyden KVH ISi (PI. 58.3), and Yale ICJIJ.lSJ.S1 Thus on the Athens pyxis. the ~herd depicting the Doric capital should be mo~cd \IIdl tt! the left. to ghc Joufficienl room for two door panels_ This adjustment \llould also doubtlos gi,'e the proper diameter to these fragments of the Acropolis p)Xis. Still other details of the composition are ~i\'en

41h"IH A cr. 569. from Athens. Pis. 56-57. 58.2, ami 59.1. Lid missing. H. 0.15. 0.0.26. H. of fool l'3. 0.015. Black glazed moulding. resct"VL'tl. grooHO: abo\c friele: hj'l/Jw; rcsen'oo line. black band. reserved line. black Lxlgc. Ring foot.

...QN\K\AAOI. HEIP\AIKAAE. PCllthesilea Pailllcr, bride: ARV, 890.172: L:lngln17. ViI' V/lSe'" I'UII (/." AkroJlolis :w At!tc'II. plo 43: T. B. L. \\~h~lcr. PO//er 01111 Pmro" ill Clf/ssiel" A/III'IU. 77. The size ,. QuId lend credence 10 its being a special cOmmission.

,pl/lknl

The fragmentary pyxis Athens Acropolis 5M by the Penthesilea I'ainter is the largest red·figure py"is e"tam. Correspondingly. the k)'lix Ferrara T.18 C VP. from Spina. by the same painter iJo the largt.'Jot of red-figure cups}' According to Allieri the diameter of the k)lix is 0.566 and the height, 0.24. The height is more than half the diameter of the b~1. a relationship not usuall) present in l'{JIItcmporary Attic cups}' The o\'eral1 profile of the cup corresponds \11 ith thO!it.' of the "Oreikamegruppe. "se The Acropolis pyxis has a height of 0.15 and a diameter of 0,26, The height thus also is more than one half the diameter of the box. These squat proportions are extraordinary' for the pyxides of the Penthesilea Workshop I. The pyxis was found in \'ery tragmentary condition. The principal fragment is composed of lourteen joining sherds and a complete profile of the wall is preserved in one section which depicts a bearded man and a woman tending a seated bride (PI. 56 and 57). The profile of the 1>.'311 is similar to pyxidcs 01" the J)enthesilea Workshop I with a long concave body strengthened at the base (PI. 21). The framing elements also are in keeping with the canon: a groo\·t.' abo\'e the frieze. a resen'ed line below. The slight intensification of the curve at the base has been complemented by the placement of a wide

by three joining sherds from the upper wall which together depict lhe head of the woman bearing the casket, a white tasseled fillet in Ihe field. and a woman moving to the right with her hand IUrnoo back: in profile to the left (towards the door and the other h~btening woman). It is tempting to connect this uncanonical squat pyxis with its fragmentary low rillg foot with the Class of Harvard 1925.30.39. By scale and proportions alone this could not be done. since the pyxi~ is outsized and the height is more than half the diameter. Yet. by profile alone there is perhaps a relation.

SAllY

TilE ATTIC PYll:IS

SINGLETONS 1. Ontt Curtius CoU,=ction. Concan~. ins'=t flang,= for lid. spreading c1osoo foot. Reser\'oo; line articulating acorn knob. at mouth of vase (probably flange) and on exterior lower ooge of foot. lJl3ck. l. Cuniu!> "Pentheu!>." WjllckdmuI"'~/,rogrtl",m H8 (1929) fig. I: C. W. Lunsinllh I e Schculccr. Gri"kscl/l' C!'rIIl1Ill'k. p. 43, 122; AgurII XII. 174, Ca. 470-450 B.e.

RUTHIERfURD

Ra.ERrs

6'

.. JQ~9 [U. Gehrig. A. Greifenhagen and N Kunisch. Fuhrer durch di~ Antikrnab,~i/ung pp. 174-5. pI. 45J ). Cf. also a tripod 1'\\1\ In the manner of the Panailios Painter's later work (ARV I • u'::'. Athens 1584: CVA. Greece I. Athens l. 1'1. 6. 1·3). These are IIlI.: lml~' extant red·figu~ examples of th,= tripod pyxis as this 1'111.: \loa!> d)ing OUI at this time. Add Brauron Museum 71. fr .. h.lm Brauron. ('<1.

4 I

-170-460 B.C.

L 55. from Athens. PIs. 31,1 and 60. 0.133. H. with lid 0.185. D. at rim 0.121. D. of lid 0.155. D. ul ba!>c 0.155. Cylindrical. side of lid horizontally grooved. moulded base. Li(I: H'rlical. circumscribed palmetles (six or seven petals) linked one tll the next with a leaf in the spandrel. black band. groups of interlocking maeanders separated by cross squares. Reserved band ahO\e and below frieze. then groups of interlocking maeanders wp.lfO'Ht:d by cross squares articulated by two rahl' and Theti.... AR V. 924. 33: Stackclbcrg. Dj,. Graf'lwr d,.r lIf!1/~II,.n. pI. 32; Paralipomtna. 431. Lid; Penlhesilea Workshop I. rtnt pattern ~f\lUP d'. Berlin 22hl (lJ1. 30.2). b) the Vdi Painter. Probable inlluence of vases of metal cf. DarSag. s.\'. Capsa. fig. 1178. IlI/l're'

~II.

2, A,hells T. E.. 162J, from Athens, Lid missing. Inset flange for lid. long, concave wall. tripartite foot. Black band above frieze. below: black band bet\.\'een reserved lines. net pattern. black moulding. rhe lcningrad Painter. ~orn'lII ~e;llcd spinning. "ith a \.\nman. a girl holding a male child. and a youth: woman seatro. a male child crawling toward her. and two women: Dd,ion 18 ii. pI. 33: Puru/ipome"a. 391. 88 his.

J. A,hellS 1708. from Aegina. PI. 58.1. Knob missing. H. 0.12, H....·ith lid 0.14. D. at rim 0.101. D. of lid 0.16. Conca\'e. side of lid continues and completes curve. tall tripod 1001. Lid: tongues. spirals (black). running palmette scroll (Dinsmoor type IVa). Side aflid: debased tongues. Reserved line abm'c frieze: hp/m\': tongues bel""en r~crvcd lines. Amphitrite Painter. red-figure; Poseidon pursuing Amphitrite: ARV. 833.46: CVA. Greece 1. Athens 2, 1'1. 18. 2-4, pI. 19.1. and pI. 20. 2-3; CB. 11. 92·93. Form of foot probably inspired by tripod pyxis. Cr. the tripod pyxis by Douds /A.RV. 477.276: CVA. Germany 13. Mannheim l. pI. 26. I and 6-7. pI. 32. 5. A list of bl:t('k-ligure examples is appended. Add Ceramicus 1590 and 1591 ICVA. Germany 9. Munich 3. pI. 140. 81: Berlin F 3988 and

PI. 59.2. Fig. ge. H. 0.089. H_ with lid 0.126. D. at rim 0.078. D. of lid 0.106. H. of foot 0.026. Conca\e wall completed by curve of lid. tripartite foot. Reseru'. Button of knob. reserved. 80110111 ~r reuJ)tuclc: dOlled circle. circle. band. Black. 35 H TR 47. ::.,

l/lt,·IH. Cl'rulllinlS 1-162.

6. Cmllbridge 1.22, from Athens. PI. SQ.3. H. 0.0825. H. wilh lid 0.127. D. at rim 0.074. D. of lid 0.095.

88

THE ATIIC PYXIS

Conca\'e. side of lid cOnlinues and completes cun'c of body, tripartite fool. Lid. debased tongue and dol. \'crtical circumscribed palmettes (sc\'cn to nine petals) with tendril above and below in spandrels. between reserved lines. Side uf lid: groups of inlcrlocking maeanders and saltire square. Reser...ed line abo\'c and below frieze. N~ar the Deepdcnc Painter, mi<;lresSt.":!> and maict; '''0 maids: ",RV. SOl. 2: CVA. Great Britain 6. Cambridge I, pI. 39, I. Cu. 470-460 B.C. 7. New York 06.// /7, from Athens. Fig. Jc. H. 0.082. H. with lid 0.123. D. at rim 0.068. D. of lid 0.09. H. of foot 0.021. Slight concave curve 10 body. continued and completed by curve of side of lid. 1311. spreading ring fool. Squat conical knob. Lid· vertical. circumscribed palmelles (se\"cn petal). leaf in !l.pandrels above. leaf and two dots below. Side of lid. black. rongues below frieu. The I)ainter of Philadelphia 2449. red·figure: \\omen at \\ork wilh \\001: ARV, 815. J: Richter and Hall. no, 96. pI. 96: AlA 11 (I9(7) 418-419. For the woman working wool over her knee cf. AmK. Beiheft I (1963) no. 37, pp. 18-19. PI. 9. 3 and references there.

M. Berlin 404], from Anica. Fig.3b. Tip of knob broken. H. 0.057. tOlal H. pres. 0.092. D. at rim 0.055. D. of lid 0.074. Conca\·e. side of lid continues and completes cun'e of body. Iripanite foot. Lid: three flying Emtes. Side of lid, black. Egg and dOl below frieze. Amphitrite Painter. red-figure. Judgement of Paris: ARV, 833. 47: CVA, Germany 22, Berlin 3, pI. 137. 1-5. 9. A/hells 4]7 (CC. 835) from Boeotia.

Fig.2a. Lid missing. H. 0.099. D. at rim 0.088. H. of foot 0.021. Inset flange for lid. walls inward sloping. tripartite foot. Narrow

SALLY

RUTHEAFUIlD RO.EATS

moulding at top of \\all follO\\ed by less prominent moulding abcwe frie7e: below' offset moulding. Boeotian black figure: funerary toilel of Actaeon: Cc. no. 835: A/hMill 15 (1890) pI. VIII: P. Jacobsthal, "Aktaions Too," \/lIrbllrgerJahrbuch jilr Kullst.....isseflschajr 5 (1929) 3 and 21. fig. 31: R. GinouYts, BalaneuliJu> 239. footnote 7. There is a discrepancy betv..een the style dated by Jacobsthal to around 460 D.e. and the shape which is old-fashioned. Most Attic pyxides ilb a base moulding date 10 before 520 D.e. Three later examples are Alhens 19271 ca. 490. London E 769 and Oxford 1965.130 ca. 480-470 D.e. (Figs. 2c. 2e and 2d). A similar discrepancy may be found in Ickythoi from the Thespian Pnlplldrion l;trhMil/ 65 [19401 9 and footnote I [Lulliesl; Pfuhl. \llller,·; /llId Zt'il'lmu"R J. 715; Demetrios Schil:trdi, The T1li'sp;ulI Po/nll/drillll. 424 D.e. (princcton Universu} disserlation, in prngre'i$). ell. 400 fI.C. 10. RomC', collection of the late Gisela M. A. Richter. Imel flange for lid, conca\'e wall continued and completed by ('u .... c of lid, ring fOOl with slanting connection to base of box. Lid l1at \\ith rounded L'Onvex moulding at outer edge separated from the center by a groovc. Acorn knob with moulding at base of sIem. Reserved: upper member of knob, flange for lid, underside of foot with dot and two glazed circles. m.ld. ARlIra XII, 174 and footnole 8. 381. A number of the singletons of this period show that potters \\erc a\\are of the canon del'e1oped in the PCnlhL'Silea Workshop. The long concave curve and slender proportions of the Curtius IJlack pyxis (no. l) as well as the red-figure examples by the Amphilrite lllo. 3. PI. 58.1) and Leningrad Pailller (no. 2) lI1akc this plain. The placement of reserved accents on Ihe Ceramicus pyxis (PI. 5l.J,2) arc clearly derived from red-figure practice. The resencd lines abon~ and helo"'" on the conca\'e wall are placed as if to frame a frieze. The resen'ed tripartite foot is punctuated with black bands at top and base and the foot profile also follows the Penthesilean

90

I HE

An-It PYXIS

norlll. The profile of the knob ~hould he compared "ilh LOUHC

L SS (nu. 4. PI. 60). b) a Penthc..ilean. the Weddin~ Painter. 1'00 black p)xis. type A. can be assigned Iu a red-figure class. From the e\'idence at hand it seems clear Ihat they \!left' not made in the nd-figure cup shops which also produced pyxides. At an earlier period. one would hale 10 stale that e'\idence is not plenliful enough to allow speculation. Howc\'er. the Early Classical period provides numerous examples especially from the Pcnthcl
NOTES CHA "-1l:K III

1 And~' 01,,'" knldll proo·idtd phol:ognph~ and lIXuurnno:n". TIw diamctCT is 0.1... ·-0 I-UI ,.hKh .. ould fil the 00' ~ Ilo it ~'ftl ehartOC .. ho:ci 011 tM knob. I"" paltcrn hand~ an" four hne- and doe. lauttl .. ttath. hnked n~rtlc'al cirnlm,,:n""d p.1lnK:lTc:lo "'lIh a 1nl bclO'l' In lhe Intcnhen. conllnUOU) nlacand"" 'oCpaUIOO bl eTO'i~ ~uat.... A .. ldr black band folkJ-o:d b,' a natTO'I' black band t>o:l"ccn r""""",'OO Cln-In 14'paralC'o thl: fin-t and second plIUrTn "kmen\), Laun-I d~""ural("\ lho: ~"idc "I the hd On lhe lid mlrnor a desljtn' lin\' ell"dr. band and ,'1,,1... Tho.· choke of p,2ollcm' Is canonical: Ihe addillon of the but'" pall"rn 10 mak .. a di§posiliun 01 foor concentric palltTn band~ I~ uccptionaJ. Mn.)utemCnl~. chOICe 01 pallems ....<1 ~t)'1e Illah Ih lIttribUlion tu th" Ancona Pl'lis eun~lncing. ..:! ARV. 877. \. H I:ll....~h '""m,,''' "",.rl..., 5dllJl,'" Ukrnc 19-tO) pp. 103-104. The' 1;...., ,tage lhe dc,elup:n"m oflhe "I>rl'ikantellrupp"'." dal~'llca Workshop. and pre«dc thrm in datc. 4 I. AI< \' ,~S. "Early lla)§" P"lntm of Smaller 1'0IS." In AR V' blI7. thc Solhcby Plmler ,,'u included m Ih" ~ntho:sika W(X"k~hllp. It _MS qUltc ek.. that the Irtist.pamtcd lhoe "nlC I)"PC of PY"k Ihal .. as shaped for this "orkshop. Thc form dlffm in no signiflCanl dtull. - ARV. ;;4, I. 11. ANV. %3. 904: CC. p. 55-1. pl. 50. 9. ARV. 955. 2; CVA. S,.-i1l"land I. Gc:nc\'a I. pb. 17.7 Ind 18.5. Ill. Ag...... XII. 178 and IloOIC J8. . 11 Athrn\ 171<11 has I grafflto on Ihe unlknide 1 UIOC"SCh', "Drelkartlcgtuppo:" i~ an inde. ID lhe CUp' ptuduced in Ihc l'"ntl1('!ollca

;,t

t"

W"rhh"ll· 15. ANV. Y6J.':lZ; I'. Ib7S.94 hi,. 11:1 rhc palmdlc ban"~ "n Ihe Berlin py.i, by the Vcii Pal1ltcr (no. HI. 1'1. 20). un anlllher uncanonical py.is in Athens b)' Ihc sam" maSlcr (1'1. J2.11. and on Br",,,n <18.867 h) th<: Hesiod Painter are _er)' similar. Al toc bcginninll of Ihe do:!>lgn on th<: Athen~ and Boston lids an abbr....·iated palmeue is set in thc ~pandtel bct"'ttn the fint 1"'0 circumscribo:d palmellC1 and I pair of ttsrrvo:d curvinll horns furthet mark the )taning point. A kaf ae.....nu th<: olh<:r spandrcb. Th" o..rlin lid lacb th ... introduCIOry fu.ture: instu.d 1"'0 cin-umsrribed palmrllcs overlap 000: another at the iunetu~ uf Ihc dnigrt. A miscakulalKln of the spa.......·as made ka"lng an "odd.

THr

ATTIC

PYXIS

man" (CB. 11. pp. 2J·141. The hean of each palmelle j" ar1K"lllaICd hf a dOl and encircling lin~. The "h'le ground pyxi'i b) Ihc Splanchnnpl PamJer 1Tl Ihe s",rpien Colkcllon (nu. 7). ~hl""S a fun he, ,·ar;ant. The circumscrihfil palmelll':l; arc linlrM 10 lolU~ no..·eB. Then' is singular slmiluit)· of pallern bUI no unlfornllly. Th"lid of J'Ioe.. Yoc" 0·.21l6..Jt, (no. I) palnlcd by the Pcnlh"",lca Painler h:u a. It'\ main elcnK'nl a paln>c:tle band of a mon.' ..labuTale rnnccption. CiKumscribed palmettC'o aK lln..ed ".. ilh tall. free palmeue'< and 1"'0 dOls aK placnl In ,he spandre1\. 11. Circumscribed palrllettcs oceur on Ne" York 07.28td6. Alhen •. Scrpieri. Ikrlin 2261. Alhens Agora P -I/~. Alhen•. private. Lou"re L 55 and Brau",n 28\Ja. 18. ANV. 924JJ. Wedding Pamler. A b.Jnd of ein:umscrilxd palmetln is hn"ed OtIC." .. 1\h IM 11<'.11. A leaf is placYd in each spandrt'l. A blacl band ~raln IhlS c1emenl frum Ihe ouler bQrder of interloc"ing macanden and cros' loqua"" 1'1. CH I. nu. J7. pt XV. Hniod 1'"nH:r. 20. Ib,d.. 11. 6J. "As usual in thIS painler Wcnlh..-silca Pain,,,r) and 11l~ school. lhet\' are "cry fC" eross squarcli in the macandcf--1)nly three:· 21. Hambldgc. f)n"Jmu- Slmm"ry. -Ill. 22. CR. I. no. J7. n. ANV. 1221.1 "Cluuc Painlc", 01 Smaller POI':' In ANV' this group ,,'as included among th.. Penlhe.ilcan\ and Bea~lcy p. b24. noted that it rt'ealkd the Paintcr of London E 777; cf. nus. 6·8 in the hn abo-·e. 2-1. CVA. US.A. 7.111·20. pt Xl. Sec bcJ(IVo. nuCe 20. 25. CVA. Germany b. Munl.;-h 2. plo 9tr. 6-8 2fl. If gcnulOe Ih,S ..ould I>..·c bo:\,n Ihe only uamp'" of a py.is .. itl> I poll...,', or p~il1t,·,·, signatu,," frum Il>e Pcmho,lea W".... shop and ~ .. John Rentle)'. b) kll.'r hI M,~\ rUkUll. Ocl. If>. 1%7. "indly cunfirmed Ih... fac' ,hal h... had ul"lI)' \·onsid... rcd 11 false. Variou\ rnrn.lderatlOn~. h'Wo·ocr. ,",c1udtn~ th.. \Om~,,1>31 ,,'phl'ilK"lIlnl plllnng 01 the In,,,ripllUn sccmcd 10 uS! duut>l on 11. MM Lu•.,. I urnbull. oflllc Unl'er,U) 01 Ml~;",ippt. undttloulro 10 1e'\1 Ilk" glair "lIh aknhol; Ih... kllc ..... dl~appc:an'd al un~. 27, H,ehlcr and lIall. rIO. 144 and 146. ph. 147·148. 211. CVA. AUSlm I. Vienna I. pI. 5U.3. 29. U-lIer from Dr. Lore Aschc. Arcl>lol~I>CS InsmuI der Un..·...nilll TUbmg.-n. JO. S"h'aIOfl: Aurigemma. L. N,rropoll J' S"."fJ ." VfJJI, T",hbo (,Rome 19trSI Vol. I. Pan 11. 'Iombs 27. 143. 200. 22J. 386. JII4. 475. 577. JI. ARV. 122J. 32. ANV. %3. 8i. O. also PlJflJliponr..,.". 4.14."5 Il'r. Itype unIiSlc'dl. 3J. ARV. 96J. 92; CVA. US.A. I. Huppin and Gallalin CoIkctions. pi. lJ.7. 34. AR V. 'l6.1. 118: Bps(lr",ibunll Ro",u("/r.., AI,.."amrr I,summr/, "61. figs. 1·6.

S.HLY RUTHEIlFURD ROBEIlU

?J

42. Bam.. 0 M 'on 5Iac....lhc'l!. l)u' GflJ"twr Jrr 1I,1l...,,,,, (Berlin 183'1 pi. 2tl.I.2. A sketch from ,he Nicholson Museum wnl .. "I> meaSuremel1lS ~ht)'''' a ,,,nlour hIM.' from bax to fOOl mOCoi.' in a<:cordanC'C .. nh \.... Hanard py.~, .. \ Sec p. 57. Or Han" IIcrrm~nn ... ,~e Ih~, IIw hd don n<"I t>cklnJot I 1>;,., .. n..~ Io.HI an oppor1U01I\ 1(\, umi ..... thl'i 'a!oC "'>\urffil\ 00-. .., ..... Iho:' lid C\>r1\C1o tn>nl lhe I'
4· ''''d..

.

•

CHAPTER IV The Class of Berlin 3308 I. B.'rh" .1.108. Irum Aulea. Pis. 61 and 68.\. Upper portion Clf knob missing. H. 0.109. tolal prcs. H.O.loll. D. of lid 0.141. Lid· debased tongue and dOl, wide black band. running palmette scroll, slanting connections all parallel forming a Vitru\'ian .... al·e ..... ith palmettes aligned with the axis of the border (Dinsmoor type IVA). Side of lid: debased tongue and dot. Reserved line above frieze; below: reserved line. debased tongue and dot. The names of Zeus. Iris. Hera and Nike are inscribed beside the heads of the figures. ArASQN and below it En01Hl:EN. Agathon Painter. :leus with Hera, Iris and Nike; ARV, 977. I; AA IQ (1895) 38, fig. J2 and 13; E. Simon. Opfemde Gatter. 65. 2. LOl/don E 773. from Athens. PI. 62 and Fig. IOd. Knob intact. the stem has been mended. H. 0.089. H. with lid 0.174. D. at rim 0.093. D. of lid 0.125. H. of foot 0.011. Lid: debased tongue and dot. black band. running palmette scroll (Dinsmoor type IVA). Side of lid: debased tongue and dot. Lid imerior: reserved; bottom: reserved. Reserved line abo\'e frieze; below: reserved line. debased toogue and dot. The names of Iphigcneia and Danae. Helen and Klytaimcstra.

rilE ATTIC PVXIS

also Cassandra are inscribed near the upper edge of the field. Chicago Painter. Iphigeneia as a bride; ARV. 805.89; FR. pI. 57.1; AlA SO (946) 105. fig. 12.2; Ghali·Kahil. H.. 93. footnote 4; Parali(IQmena. 420. J. 1/11111/11/ E 772. from AlhcnJi. PI. 63 and Fig. IOc. Knob alien. ba!ie of l>tem prcl>Cn'ed: H. 0.089. lotal H. pn'S. 0.109. D. al rim 0.086. D. of lid 0.114. H. of foot 0.013. Lid: debased tongue and dot. black band. running palmette scrotl (Dinsmoor type IVA). Side of lid: debased tongue and dot. Lid interior: reserved; bottom: dOl and tv.·o concenlric circles. Reserved line aboye frieze: belotl': reseryed line. debased tongue and dol. The names Thelis. Hippol)1e and Mapsaura are inscribed near the upper edge of Ihe field. Follower of Dooris. HesperKles. ARV. 806.90. FR. pI. 57.2: AlA SO (1946) 105. fig. 12.1.

4. Brauru" MU:Jeum RI, fr .. from Brauron. The name of Aphrodite is inscribed to the righl of her head. The Chicago Painter. wrath of Mcnclaus: ARV. 0.11.42; Ghali-Kahi!. H .• 93. no. 74. pI. 63.2. Compared by Beazley with London E 773. 5. Athl'lI.f. C"romicII:J IOOlJ. from Alhens.

Pis. 64 and 67.1. Fig. lOb. H. 0.{)82. H. 'dth lid 0.13. D. al rim 0.084, D. of lid 0.107, !-t. of 1'0010.01. Lid: debased tongues. wide black band. running palmetle scroll (Dinsmoor t)'pe IVA). Side uf lid: debased tongue and dol. Lid i/ltl'rior: reserved; bottom: same. Rc<;en'ed tine abovc frie1c; below. reserved line. debased tongue ami dOl.

Follower of Douris. Nereids fleeing to altar; ARV. 806,92; AlA SO (1935) 298, fig, 23, h. Cllmbn'dge 1933./. from Greece. PI. bS.2. H. 0.08. H with lid. 0.127. D, at rim 0.082. D. of lid 0,105. H

SALLY RUTHfllfUR.O R08UITS

97

of foot 0.0145. I Id black abraded area around k.nob. running palmette scroll tDinsmoor type IV A). Side ot lid debased tongue and dot. Lid imen'or: resened: bottom same. Reserved line abO\'c frieze: belQ'K reserved line. debased tongue and dot. Manner of Douris. Nereids; ARV. 451. 32: CVA. England 11. Cambridge 2. pI. 26. la-d; Parulipomena. 521. Itll.

II.{

15M lCe. 1555). from Allica.

Pis. 65.1 and 68.2. Fig. lOa. "Knub mil>sing. H. 0.11. IOlal H. preo;. 0.135. D. al rim 0.101. O. of lid 0.14. H. of foot om. I id: debased tongue and dot. black. band. running palmette scroll (Dinsmoor type IV A). Side of lid: debased tongue and dot. Black band. resen'ed line above frieze; below: resen'ed line. debased longue and dol. Euaion Painter. Boreas and Oreilhyia: ARV. 798. 146: He)"demann. Gn'l:chischt' Vasenbilder. PI. 1.1; T. B. L. Webster. Poth'r alld Patron ill Classical A,hl'tu. 107. 255. It Mlmiell lex von Schoen. (4). PI. 66.2. Lid missing. H. 0.075. D. al rim 0.084. H. of foot 0.012. BOllum: dOl and IWO concentric circles. Be/UM' fn'e:e: reserved line. debased tongue and dot. black

band. Low. black tripartite fOOl. The names of Peleus. Thelis. Kymodea and Nereus are inscribed near the upper edge of the field. Follower of Douris, Peleus and Thetis: AR V. 806. 93; R. Lullies. Eille Samlll/urtg Gric,his,hl'r Kll:'i"/ultlst. pI. 26; Para' It"IO/ll(!tW.

420.

The Class of Berlin 3308 is composed of small. rather squat p}xides. The body has a shallow concave curve continued and completed by the curve of the outer face of the lid. The ring foot i'\i low and glazed. but the contour varies considerably. The elements framing the frieze are remarkably uniform bOlh in pattern and placement. Debased tongue and dot ornament both

98

1nl' side of Ihe lids and a band below the frieze on the body. The pallerns thus repealed form an c\'cn frame for the frieze. a pictorial concept which ne\'cr occurred In the Penthesilea Workshuplo I and 11. 'I he pattern!> employed on the IKbi aTl' also surprisingly consiSlcnI. The bands are placed in concentric rings around the knob; debased tongue or tongue and dot followed by a black band wilh the main paltern of a running palmenc scroll set along the perimeler. This placement of the main pattern contraslS \lo ith the emphasis on the middle band in the Penlhesilea Work~hops I and 11. The painlc~ arc followers uf Douri~. either unascribed. or named as the Chicago and Euaion Painters. The Agathon Painter. a follower of Ihe Lewis Painter (Polygnotus 11), is loosely connected with the Douris tradition through influenCfi on his master by the Euaion Painter. 1 The class ~tem~ chiefly from the middle years uf the fifth century with a 10"" er terminus about 440 B.C. A pyxis in Cambridge. in the manner of Douris. dated ca. 470 8.C .• suggests that the roots of the class lie slightly earlier. Lonclon E 773 (no. 2. PI. 621. is an elaborate example (If the c1aslo closely linked to London E 772_ The bod)' has a shallow conca\e curve. canonical for the class. and the frieze is framed by uniform patterns of tongue and dot placed above on the curving face of the lid and belo....· on the keel. The low glazed ring foot is set well under the vase. The outer contour of the foot is convex and from its apex a horizontal line leads across to the edge of the flangc. Thc surface of the lid slopes slightly from the center to the outer edgc. The knob is elaborate. shaped much as a "kothon"2 on a tall stem with a flaring base raiscd abovc the levcl of the surface of the lid.

The profile of London E 772 (no. 3. Fig. IOc) is ~trikingly similar to London E 773 (Fig. IOd) as may be noted in the concave curve of the walls and convexity of the ring fool. The handle is alien but the base of the stem remains. An addition 10 the catalogue of the British Museum states. "The remains of the handle root suggest that the ancient handle was of similar pattern," i.e. a loop handle. This type of handle is rare on pyxides of type A; more examples are found on pyxides of type 8.3

SAllV RUTIiEIIFURU ROBl'IITS

99

It seems cenain that the same potter shaped both vases. Bcazlc)' noted that "the lid is by the same hand as in London E '"In. but the figure-work seems nOI."4 The artists are Early ("Iassical follo....·ers of Douris. Furt.... angler dated both \'ases to 455-445 B.C.~ Berlm 3.308 (n(l. 1. PI. 611 has a shalloy, conca\e cune c1O"el) akin to the t.... o London pyxides of the class. The framing elements are identical. The pyxis is a little taller, having a height of 0.109. The outer contour of the 10"'" glued ring foot also differs \Iightl) in that it is straight and the line from its apex slants upy,ard to the edge of the flange.' The crowning element of the knub is missing; probabl) it .....ould have been conical resembling that 01 no. 2 (pI. tl2). Thi.. pyxis is of great importance in that il bedn. the only signature of the potter Agathon. Pyxides rarely bear a polter's signature and signed uamples may be numbered on the fingers of onc hand. A pyxis type A, in Brus~ls bean the signature of the polter Megacle... but the inscription is modern. "y,hcther O\'er an ancien! inscription or not:' 1 The \'aq' is attributed to the Pistoxenos Painter and dated ca. 480-470 D.C.' In addition there arc three signatures of the potter Gaurion on small p)xides of type 0' dated to the last quaner of the fifth century. lastly. the fragmentary inscription MAKP on a pyxilo of l)pe A in Athens may be a signature of the painter Makron. 1c 1 he pyxis has been dated ca. 500 a.C.1I It is clear from Ihis evidence that pyxides .....ere rarely signed by potter or painler. When and if other signatures appear on p\ ,idcs. in vie..... of the Brussels pyxis and the forged signature on tile Misloi......ippi pyxis.u they should be scrutinized with great care. A further consequence is that it ilo not pmsiblc to follow the c:.reer of a polter via his signature as was possible in the study of Allic rcd·tigure cups. The only .....ay open is by a study of the -"ha pes themselves and by the pattern accompaniments regularly :Jllending a class. By these criteria it seems possible that Agathon ]111ltcd nos. 2. 3. and 5 besides the pyxis in Berlin. This judgment ho\\evcr allows the pOller leeway in the shaping of the foot profile. A pp.;s in the Ceramicus Museunl (no. 5 and 1'1. (4) closely relocmbles the IWO London pyxides of the c1aloS. The 10..... glazed

100

lllE ATTIC PYXIS

ring rom diffel1i in that its outer contour is straight and the line tram its apex slants upward to the edge of the flange as in Berlin JJ08. The knob h conical. The framing elements 3rc similar in Iype and placement 10 the other ,oases of the class. The body is lomall and sqU31. the diameter al the rim being 0.084, slightly greater than the height of 0.082. In proportions. the body thus resembles London E 773 (no. 2). The artist is an unnamed follower of Douris. The vase was dated to ca. 470 B.C. by Kiibler,lJ Judging by the profile and framing elements and especially by the palmette scroll on the lid (discussed below), the date should he slightly later, perhaps around 460 a.c. not 50 far removed from the date of the London pyxidcs. The running pose of the Nereids with the forward fOOl off the ground gh'~s an earlier feeling to the style than the static positions of the figures in London E 773 and E 772. This is lhe conventional running ruse employed by Oouris for his Ncreids On cup exteriurs with representations of the struggle of Pelculo llnd ThetisY The Early Cla~loical folluwers of Douris adopt this cOlwentiulI for loimilar reprcscntations on p)'xides. The figures of Nereids and also of Peleus on a pyxis in Munich (no. 8)1!i and another in Copenhagen l l by the Painter of Villa Giulia should be compared. A noticeable differenc~ may be seen in the treatm~nt of the drapery. The zigzag lower edg~ of th~ drapery in the representations of running Nereids by Oouds is replaced by a simple wavy line or series of arcs by the followers of Oouds in response to the advance of naturalism in the treatment of drapery of the timeY No. 8. Munich (ex von Schoen). is smaller and som~what squalter than th~ other pyxides of the class. The lid is missing, giving the pyxis a strongly d~apitated aspect panicularly since the side of th~ lid probably was decorated with a tongue and dot patlern to match that below the frieze. The concav~ curve of the hody is normal for the class. The outer contour of the low gla7.ed foot is convex but notched thrice. which makes it uncanonical. Huwever. when one considers the height. the profile of the fool and lhe fact that it is glazed. the nOlching may be thought of as a ,ariation perhaps under the influence of the contemporary Penthesilea Workshop. The subject maller is mylhological as on all

101

\'alo~ 01 thc class. rhe slory of Peleus and Thetis is a favorile and most 'lppropriate as decoration fur vases used by women primarily for their adornment. The m)1hologicaltale of marriage by capture adorn~ t"o other \3.!>CS of the class. no. 5lPI. 64).11 no. 6 and one 10 be \'·ompan:d. C0tK'nhagen 4735 by th~ Villa Giulia Paint~r. The \3.se has been datcd ca. 460 B.e. by Lullies l l and ca. 450 B.e. by Schclold. 1O rhe ppis Cambridge 19.1.1.1 (no. 6. PI. 65.2) poses sC\'cral lhflicult questions. It is attributed to Ihe manner of Oouris and is {,;ldier than the other ,'ases of the class. dating ca. 470 B.C. ll The p'aintcr is nearer in style and time to th~ late work.s of Oouris. Ncrcids arc figured in the frieze. and on~ runs in the cOh"entional manner described abme with the forv.·ard foot in Ih~ air. Th~ ba.se line of the chiIon i.s \Io'avy as is normal in th~ Early Classical period. bUI the further edge of the garment i.s shown. an arehaism lot the limen and a trait not seen in olher depictions of Nereids on \';lSCS of this class. Thc \':\se is small. m~asuring 0.08 in height. and so quite canonical for the class. The canonical knob though brok~n seemed to Miss Lamb to belong to Ih~ vase and its shape. though. more sknder. rescmbks the C~ranlicus ppis (PI. M). The pla\'"Cm~nt and choice of uniform patterns of tongue and dot to frame the frieze are usual. The low. ring foot is more pronounced in the convexity of its contour than the twO Lllndlln pyxides (nos. 2 and 3), but olherwise is similar in pro£i1e. The foot is resen'ed which is unusual. The concave curv~ of the walls is slightly deeper than the rule. The va.se lhen appears to be the earliest member of the class followed about fifteen years lal~r by London E 772 and E 773. the Ceramicus pyxis and Berlin 3308. It leads one 10 inquire ~hether th~ type could have originated in the workshop of Douris. There is liule e"idence but the little there is does not ..eem to support this conclusion. There is only onc fragmentary pyxis. type A. presen'ed from Ihe hand of Oouds. London E 807. The fragment presen'es th~ inset flange. a moulding below Ihis and a small portion of th~ friez~.l) Th~ band of ~gg pattern abov~ the frieze is an unusual pattern for the class and its placement is uncanonical. In addition the projecting moulding is nOI a feature

102

I HE ATTIC

PYxts

of the class. It is true that London E 807 is only a small fragment but the fealUres it presen'es do not coincide with pyxides of the class. The only other pyxis decorated by Douris is a tripod-pyxis in Mannheim. z• a type prevalent in the sixth cenlury and of which fc\\ examples persist in red-figure. Athens 1586 lno. 7. PI. OS.1) is allributed 10 the Euaion Painter, another follo\loCr of Douris and like him primaril}' a painter of CUps.1S The p)'ll:i.. is the latest vase of the class dating to ca. 440 a.e. and various elements of the profile haw been exaggerated. The .....alls have the characteristic shallow conca,'c curve of the class but the lower flange projects outwards in an exa~rated configuration. «hoed by the hooklike projection of the lid. Compare the profile of Berlin JJ08 (no. I. PI. bl). or London E 77.1 (no. 2. PI. 621. The knob of Athens 1586 prO\'ed In he alien and now has been removed by Ihe kind offiees of Miss Philippaki. The base of the stem. however. is original and undoubtedly bore a knob similar to that of no. 2. The lid slopes from the eenter 10 the OUler edge as in that example. Debased tongue and dOl band.. ornamenl the side of the lid and the lower keel as is normal for Ihe class. The ring foot is glazed but differs in that the line from it!> apex curves upv.'ard to the edge of the keel. an exaggeration of the conlour seen in Berlin 3J08 (no. I) and Munich (ex von Schaen. no. 65). The uniformity of patterns ornamenting the lids of these pyxides confirm and suppon the conclusions already reached as to the cohesiveness of the class. Debased tongue and dot forms the innermost pattern band around Ihe handle. followed by a wide black band between reserved circles. The main border, placed along the perimeter, is composed of a running palmelle scroll \\ith slanting connections all parallel forming a Vitruvian wave with palmettes aligned with the axis of the border. The palmelle scroll. of which there arc six variants, was created immediately after the invention of the red·figure technique around 530 a.c. n Howe\·cr. thc popularity of this pattern \\as greatest in the dec:lde 510-500 B.C., the so·called leagros period. 21 Then se\'en plump palmeues were usually employed. when the pelals were excx'U!ed in red. Thereafter interesl in Ihis type of ornament declined, only

103

fon~··two examplt:s being listed from the first three decades of the lilth century of which the lid of Cambridge 1933.1 (no. b) is one. After 470 B.C. the number of examples is so meagre Ihat they are considered as isolated sun'ivals by Dinsmoor. Only seventeen examples 3re listed for the remainder of the fifth and founh century and it is of considerable interest that three of the t'\:amples adorn lids of red.figured pyxides of our class (nos. 1 [pI. h~tll. 2. and J). To these mal' be added the lids of no. 5 (PI. b7.0 and no. 7 (PI. 68.2). This pattern appears thell in force on lid~ of ,hl' Cla.'>s of Berlin 3J08 in a period ¥ohen Ihe pattern ¥OM out IIf Ja\ol.lr. All belong 10 the vari~t)· of palm~tt~ scroll ~numerated by Din!>moor as IVA. Cambridge 1933.1 (no. 6) has the earliest form of the scroll for the class. apparent in th~ more rounded enframing tendril." The long oval frames and long stifT petals of nO'o. 2 and 3 are indicative of their later dat~: the form of the pallern ill no. 7 (PI. 68.2) i!> !>imilar to these. The palnleUe scroll on the Cl'riunk-us lid (nu. 5. 1~1. 67,1) is likl' that on the lict.. of the London pyxides. The leaf in lhe form howev~r is sometimes' attached rather than free and there is a leaf decorating the upper spandrel in the place of the spiral on the London examples. The running ~croll on Agatholl's pp.h. (PI. 68.0 differs only in the pointed central pelal of each palmette. The frames are long and there are spirals in all the spandrels with single petals at the f.lrh. Onl)' in the smallest details 3re there any different·cs: in the m'crall form the palmctle scrolls are strikingly uniform. The r",undcr frames show no. b. Cambridge 1933.1. to be earlier but the !>crull of Alhens 1586 (110. 7. PI. 6H.2) gives no l>ign of a l>lightly later date.

COMPARE THE SINGLETONS COfh'lIhag/'1I 4735. from Greece.

H. 0.0825. H. with lid. 0.1225. D. of rim 0.072·0.073. D. of lid H. of foot 0.009. Lid: reserved addorsed palmettes. obliquely placed and linked

O.l06~0.107.

104

I HE ATTIC' PvXIS

105

by tendrils springing from volutes. stopped interlocking maeandcT'li (black). Side oj lid: debased tongues. Lid imen'or: rescned; hotwm: dotted circle and t .....o concentric circles.

Below frieze: debased tongue and dot. black band. The Villa Giulia Painter. Peleus and Thctis; AR V, 625. 95; CVA Denmark 4. Copenhagen 4. PI. 162.4. The size.)O subject, choice and placement of framing elements are similar to the class. The concave curve of the wall is simpler and the profile of the lid totally different. The side of the lid is convex and runs counler to the concave curve of the vase:. The Villa Giulia Painter is connected wilh followers of Douris but

chiefly painlcd large pols rather than cups.JI MUllich (ex von Schoen, 65).

PI. 67.2. Fig. 10r.

H. 0.097. H. with lid 0,159. D. al rim 0.104. D. of lid 0.127. H. of fOOl 0.017. Lid; interruptM maeander 6n groups of five .....ith one of four and one of six) and cross square. Side of lid: black. Lid interior: black; bottom: same. Reserved line and .....ide black band below frieze. The Painter of Agora P 14384. women (Ilo'ith mUl>ictll inslru mems); A R V. 777.1: R. Lullies. Eille SUII/m/llng Rrif'Chisl"hl'r A/i'i"kllrw, pI. 24. 65 and pI. 25; Pur(llipuml'1lU. 410.

The profile bears a close relationship to the class. The painter is an outsider. The plain, black framing elements, though most effective. differ from the class as does the pattern on the lid. Note also Ihe non-mythological subject. Athens /4909. PI. 00.1\ H. 0.077. H. with lid 0.120. D. at rim 0.09. D. of lid 0.115. Lid: Woman seated. playing flutes by altar to which dance five women. column. woman; linked pomegranate. Side of lid:debased tongues. Tongue and dot above frieze; belo"": rays reversed. Black·figure, mistress and maid, woman dressing and woman

Iloith dthara, woman playing flutes for gtrl dancer and ""oman, door; RA J6 (1950) 40-75. figs. 1-2. 7·10. Size and proportions link this p)'xis to the class. It differs primarily in the form of the lid. The concave curve of the body is not completed by that of the lid; the cune of the side of the lid lies .... ithin that of Ihe body. The subject is nOI mythological. Profile and framing elements seem to sho..... the black-figure artist ~-nyni7a111 of the canon of the Class of Berlin JJ08 but choosing 10 go his own way.

,

Athens. Agora P 8985. from Athens. T",o frr .. one preserving about a quarter of the lid. the other pan of the edge only. Knob broken away. D. es!. 0.11. Tongue and line ending in dot, running palmene scroll (cenler petal pierces vine) Dinsmoor type IVB. Lid -"unge: maeanders in groups of 1.....0 once three separated by cru~s squares. Lid itltf'rlQr: lrace of circle at cenler lhen two circles and'" ide black band. Red-figure. Deposit C 9:6. Hespaia SlIpp!l'mem V. 136. The profile diffcr~ from that of the class. Ca. 450 B.C.

lOb

THE Arf/C PYX'S

NOTES, CHAf>'1 FR IV

I. H. R. W. Smith. D.., L ....·;sm,,'.'T (Lcipsic 1939) 19·22. 2. G. Ri..,htn and M. Mdn.,. Sit apt's und Names 0fAlneniatr Vast's (Ne'" York 19J5) 21-22 (1'Iem""hoe): CH. I nu. 55. plo XXV; Ago'" XII. pp. 1~-ISI ~KrJ\h('lnJ anll ""r"Tenre<; lluotcd ,her,,; InK"oorll Schciblcr. "Exalciptra,'" Jdl 79 tl%4) 72-1011. fip. 13 and 29. The placrmcnl uf a perlume PO' as a crowning knob on a ppis is su~ti,'e of in function as a toikl article and also of Ihe fa<'1 that buth were suitable gifts for the "·eddings. The women in the horn" ate named as hcroi!K.':'> in IlK: represcnlatkm on London E 773. "Th" 'Iphigenda' may ha"" been thought of as a bride." noted Beat,",y in ANV, 805.89. J. Ppides nftyrt' B "11h loop handles: ARV. 963.98 I'ulda. Web.: ANV. 963.96 London D 12: A RV, 1()q4, 104 Louvre CA 587. Ther~ ii ahu a r~'tI·figurt py~is. Iy~ B. from the C~ramltUS gravt 115 2\7 dated 4o()·450 B.C. and a py~is. ly~ B. rrom HS 89 decoraled .. ith net palt~rn ..·hieh probably Ixlre such a handle dated ca. 420

R.e. 4. ANY. SOb. 90. 5. ,.-R, pI. 57.2 and p. 291. 6. AA 1008(5) 38. fig. 12. 7. ANY. lS63. 31 "Mrs. Callipo1itis·Fcytman~"a, nlll allowed to clean the ,ase:' It would only be by cleaning that ont CQlJld be sure .. heth"r 01' nUl lh"r~ was an anci"nl im.\:riplion undcr the modern l~l1~n. 8. Dc:l1ise Feytman~, LI'.1 "11.11'.1 g'('{'.1 dl' lu IhbUu/h:-qlll' Nl~\'/lll' d,·IJi·lgiqlll' (Brussels 1lJ4!\) p. 54 for dale and discussion or l~ ~illnalUre "'hich thc author considers IQ ~ a forgery. ~. ANV, IJbO. 1·3. 10. AllY. 458: 47~. 336. 11. B. Graef and E. Langlotz. Oil' Illl/ik,>" VU)I'It I'lm d," Akml")/'J ;" A/h,-" (Berlin 1(30) 11. n". St>O. pI. 43. 12. S~..., arnwc p. 70 urlll n"te 2b. 13. Karl Kuble•. "I\usgrauunll"n 1m KcramclkO!>:' AA 50 (1935) 2'N, till. 2.1. 1-1. AIlV. 431. 44; l.. 1\. Stella. llli/Ologia Gn-ell. 410; AR\'. 4-11. 185. School. pi\~?; Stella. 421 and 427. belo... The 110'>" i~ nut confined to Nc.";,k cf. 1\1hmtu un a .. bite ground Iek}1hos in Cl<:>'eland of Ihe early middle period U'u,ulip","l'"u. .llh. 21>h bis: (·VA. U.S,I\. 15. C1evel3nd 1. pI,. 32·331 and lhe laler ar}hallO"i .. ilh a bu~ pur~ued bl botes lARV. 447.27-1: vreitenhag<'n. G,il'ChiJ\·h,· End"". 59. figs, 43·-15), 15. R. Lullie!>, Ej",- Sum",Ir"'g griff/llJch", Kleinhul.ll (Munich 1(55) pI. 26. 16. eVA, Denmark 4, Copenhagen 4. pi. Ib2.4. 17. Richter and Hall. 89. Numerous examples of use of this conventional running pose may be noted in pursuit scenes of the period 475-450 B.C. See ph. h9. 72. 73. 99. IUS. 18. The subject is here abbte~ia(ed as only neeing Nereids arc ponraycd. The same is true for Cambridge 1933.1 (no. 6). 19. R. Lullies. Ein" Sommlung gn·"chi,<,Jr.., KI..inkunst. 29. 20. K. Schefold. Mpi,I"'-..·I"k.<- gri,·,'hi.>d"·T KunJl (Ba~le 1%0151. 21. eVA. Grea1 Brill.in I t. Cambridge 2. pI. XXVI. la·d.

SAlJ,Y RlTTHERFURD ROBERTS

107

22. Rrchler and J-1all. 119. For a similar ""ndmon in Douns cf. ARV. 446.266: ,\/wlAnl 31 (I'l27) 331. till, 1-12. The tigure of Iphl~nc1a 23, ARV. 447. 275; P. lIan..-ig. Dtt> gnN:lr"d"-,, M"i'fl'nchul..n (Stul1gart 18(3) fig. oB and p. 026, 2-1. ARV. 447. 276; CVA. Gem1any 13. Mannheim 1. pI. 2b. l. 0·7 and pI. 32.5. 25. ARY, 798. 146 "'ale." 26. w. B. Din~moor. "The Athenian Treasury as Dated by il\ Ornament." AlA 59 (1946) 9JtT. n. find.. 97. 10-1 (onc hundred and e1ght uamples noted). 28. Ibid.. 109·111. fig. 12, \·2 and nQ!;, I54A. I54B and 152. 1'1. CVA. Gre:u Brilarn 11. Cambridge 2. pI. xxv!. Id. 30. Hel1e Salsko, Robe.1\ kindl)' eummcd tbe vase and .. rute as foHows: "Th~ glaze of rn,. -1735 (Villa Giulia Pamtel) is :;om"",ha1 une.enl) coloured, but l'Cems to ~ be ul' lhc same kmd on bolb lid and OOA. Although the lid is broken .nd a bit of lb~ ll10cr rim missing it lits e~tremdy .. ell and I dun't Ste any reawn fur ~uspecting thut it II".:s not belong:' Th~ meaSllrement~ listed in the eataluxue welT aiM! lak"n by lhe arnwe scholar.

108

THE ATTIC

Pvx,s

•

CHAPTER V Later Fifth Century Pyxides of Type A In the last thiny years of the fifth century the pyxis of type A is no longer the predominant type and the number of examples has dwindled down to a few. Those which art preserved arc exceptionally varied. Some follow the tradition of the Penthesilea Workshop 11 hUI show occasional influence of the domed formation of the lid of the pyxis type C. now preeminent in numbers and innuen~. A spirit of elaboration is evidenced in the form as well as in Ihe decoration; the first double pyxis appears around 430 D.e. This example stands at the head of a series which extends through the firsl half of the fourth century. Independent miniature pyxides appear of about the size of pyxis knobs. A few odd pyxides show a dependenc}' on the tradition of the Class of Berlin 3308 in their proportions. ring foot and knob typt. The number of odd pyxides rises in proportion to those belonging to classes. There is evKlen~ of py.l.ides being made in other materials during this period especially among those of type C. A curious reflection of this trend may be seen in a pyxis. type A, with a lid decorated in relief. The diversity of models being made is also shown by the fact that where two pyxides are painted by the same anist they are sometimes of quite different profiles. A single unifying feature is the contour of the wall which either has a shallO\\' concave curve or approximates a cylinder.

110

SAllY RUTHER~URD R081lRTS

THE KOINE CLASS I. Alhf'1IS 13676a. from Athens. PI. MU. Fig. Ila. Base of stem presen'ed. knob missing. H. 0.116. total H. pres.

0.128. D. at rim 0.09. D. of lid 0.127. H. of fool 0.034. Lid: egg and dot. wre.ath of h"}' lea\"es (black). egg and dot. LiJ j"terior: dot. circle. band. bottom: center damaged. trace of band. Black moulding. rescned irregular band abo\"c frieze: below: egg and dot betVocen reser\'cd bands. Painter of Athens 1585. "'oman seated \\ilh women (miSITe"iS and maids) and Nike; ARV. tJ60.J. Ca. 410 H.C. 2. Athens /585 (CC. 1561).

PI. 69.1. Fig. lib. Lid missing. H. 0.12. O. at rim 0.096. H. of foot 0.035. 801l0m: dOl and two concentric circles and outer circle. Black moulding. reserved irregular line abcn'c frieze: /xolow: egg

and dOl.

Painter of Athens 1585. woman St'ated with women (mistress and maids) and Ems: ARV. 1360.2: EAA. I 871. fig. 1091. 3. Athens. Cerumieus Museum, from HS 89. Fig. I le. H. 0.144. H. I"ith lid 0.213. D. at rim 0.124. D. of lid 0.179. H. of foot 0.038. Lid· egg and dot. circumscribed palmenes with raised hearts painted white. black glazed band. maeanders in groups of Ihree (once two) separated by saltire squares. Lid imen'or: dot and circle. wide outer black band between two circles; bottom: same. Sidp of lid: egg and dot. Black band. reserved band above frieze: below: reserved band. egg and dol. Red-figure. Eros and bride, women: Klaus Vierneisel. "Die Ausgrabungcn im Kerameikos." AA 1 {I 964) 432ff.. fig. 24. Ca. 4]0 H.C. 4. Lundun E 780. from Athens. PI. 70. Fig. lid. Knob missing. H. 0.13. lotal H. pres. 0.143. D. at rim 0.107. D.

III

of lid 0.1.34. H. of fOOl 0.031. Lid' debased longues. myrtle and berry. herringbone. Black moulding. irregular reserved line above frieze: bt'/ow' debased tongues. bet"'een resen'ed lines on sloping keel. Painter of Florence 4217. women: AHV. 1223.4: C. Smith. Ccl/ulopllt' of ,hI' Grt't'k and Etruscutl Vuses in thf' Bn'tlSh Musf'um. Ill. E 780. S. Cambn'dgt' 168. PI. 72.3. H. 0.125. H. I'ith lid 0.18. D. al rim 0.095. D. of lid 0.124. H.

..

01 foot 0.03. Lid' debased tongues. spirals. chevrons. Lid imt'n'or: circle and hand: bottom: dOlled circle. band. Hlad moulding. reserved band ahm'e frieze; below: debased IOngues between resen'ed lines. Painter of Florence 4217 ......omen: ARV. 1223.5: E. A. Gardner. A Cuwloguf' 01 the Gr"I'k VU~I'S ill ,he' Fit: .....U/ium Museum ClImlm·dRf'. 69.

6. Athens 13028. from Athens. PI. 71. H. 0.115. H. with lid 0.155. D. at rim 0.092. D. of lid 0.122. H. of fOOl 0.0.34. Litl· egg and dot. black band. tongue and line (black) between rcsern:d lines. egg and dot. Lid ;men'or: dOl, circle. band; bol/n".: same. Black moulding, irregular reserved band above frieze: below: egg and dot. Red-ligure. woman seated to right playing a tympanon. a woman coming from her left holds out a mirror while a woman approaching from her right extends an alabastron, an opened box and scarf in thc other hand. Next two women rush to the right looking back ovcr their shoulders. one with mirror and kalathos. the other with a taenia and a basket and taenia. Ca. 4/0 e.C.

PI. 69.3. 7. Arhens 1287. at rim 0.117. D. of lid 0.145. H. 0.145. H. with lid 0.214, D.

112

[nr ATTIC PVll:1S

Disk·like knob .....ith horizontal grOO\-C along lo\\,cr edge. crowned b)' conical member and supponed by stem s.... elling lowards apex. Slightly domed lid. Box: shalloy. COnC3\"C cunc 10 .... all.. wilh projecting lo.....er keel. Tall foot with three squared nUlches. Lid: egg pattern. panther and swan confronted. swan and panther confronted. lion left. egg and dot. cr. animal slyle to lid of Oxford 1934.330 (see footnole 9). Bottom: small central circle. circle. band. Black moulding. reserved band above frieze: bt'ic,JW: reserved line, egg and dot between black lines. Red·ligure. chain of Ii\C .... OO1el1 dancing rightward led by a .....oman playing [he double nute. Altar between fourth and fifth .....oman. Late 5th·early 4th century 8.C. The vases listed above are clearly dependent in their shape on the tradition of the Penthesilea Workshop 11. They are of Slandard size with a long body wh~ shallow concave curve \'aries in degree and in some approaches the cylinder, The lall resen'cd Iripartite foot echoes the contour of the wall and has the characteristic rounded or squared notches. These pyxides might y,ell ha\'e been appended to those of the Penthesilea Workshop 11 except for the formation of ~nain of the lids which show the influence of t~ of type C (nos. I. 4, 6-7). The painters are not connected with the Penthesilea Workshop: the shape has now become common property. Athens 13676a (no. t. PI. 69,2), by the Painler of Alhens 1585, is the key piece preserved almost intact but for the crowning knob. The surface of the lid is slightly domed with a ridge articulating the juncture with the outer rim, The lid is decorated with egg and dot borders flanking a graceful black ivy wreath. The ivy pattern is new and unparalleled on lids of type A but an almost exact counterpart may be seen on a fragmentary lid of a miniature p)Xis t}pe C from the Athenian Agora (P 13097. 1'1. 72.2).1 Here the h'y leaves are red with stem. tendrils and berries in added day. The wreath is enframed by narrow bands of egg and dol pallern as on Athens 1.3676.

SALLY RUTHEJtfliRD ROBEJtn

113

The foot profile is distincthe, its conca\'e cun"e being interrupted by a step below the apex. Athens 1585 and Ceramicus OIS 89) hne an identical foot profile. This is a variant on the usual profile of the Penthcsilea Workshop occurring earlier on Athens Agura P 24253 (Fig. Se) by the Veii Painter' and also on Cambridge 4.1943 by the Curtius Painter. J The shape of Athens 13676a is mirrored by that of Athens 1585 tno. 2. PI. 69.1 and Fig. lib). the name-piece of the painter. The:' lid unfortunately is missing but the measurements as well as the prolilt.~ are very close. The egg and dot border below the frieze is identical. It seems eenain that the same potter produced both ~asc~,

SUlllcwhal earlier than tht.'Se is a pyxis in the Ceramicus (no. 3. Fig. lie) found with a hydrill attributed to the eariy work of the Meidias Painter. a pair of lebetes gamikoi by the Washing Painter. a patterned pyxis type B and other \'ases in an offering tr~neh dated 10 the years around 420 B.C.~ The concave cun'e of the y, ails is more pronounttd than in nos. I and 2 and resembles more closely Ihat of LOIn're LP 2692 (PI. 42). from the Penthesilea Wurhhup 11. The disk knob on a high slender stem whose base is dirrcr~ntiated from the Ic\'el of the lid is familiar in a number of examples from the Pcnthesilea Workshop (PIs. 22 and 2(».s The lout profile is like that of nos. I and 2. The cuntour of the side of the lid is unusual and 1 have yet to find a c1O!1oe parallel among pyxides of types A and C: that of the fragmentary double PYXls. Athens Agora P 16924 (PI. 75.2) and also the fragmentary pyxis lid. type C. P 96.' 3re somewhat similar. London E 780 (no. 4. PI. 70) and Cambridge 168 (no. S, PI. 72.3) arc ascribed to the Painter of Florence 4217 who is also known to ha~e decurated a few pyxides of type B.' The lid of the Cambridge pp:is has a disk knob on a tall slender stem which blends into the sloping surface of the lid. characteristics typical uf mediocre work uf the Pcnthesilea Workshop. The lid of no. 4 resembles that of 110. I (Athens 13676a. PI. 69.2), There was a central knob (now broken ay,ay). and then a slightly domed section separated from the outer rim by a ridge-the two latter features borrowed from lids of type C. The contour of the side of the lid does not continue the line of

114

115

THE ATTIC PYXJs

the wall of the box as in Athens 13676 (Fig. Ilal and as is generally the rule. ho.....c\·er. the glazed and resen'ed areas ofbolh box and lid match in color and the two appear 10 belong. Not only are the new form and traditional Penlhesilean lids contemporary but they maJ be fuund side by side in pyx;des made in the same .....orkshop and painted by the 103mc an;sl.

"nob t)pe of Ihe C\lo York Pl'tis by the Penthesilea Painler (PI. 20.1) which slarted the canon. The knob of Athens 1287 dlffeTS in hllhtness and in il.'i conical crowning finial. In both the stem ~\\el1s to..... ards its apex. Athens 1287 forms a link between Ihis "'l'r;L'S or vases and the single ppides of type A of the first half of the fourlh century.-

VARIOUS TALL SINGLETONS

COMPARE

A,hms. AgorYl P 10573. from Athens.

Fig.7r.

lid. of which handle missing. H. pres. 0.036. 0.0.123. Lid: egg and dot, tongue and dot. herringbone. Black'patterned lid of a red-figured pyxis. type A; P. Corbeu. "Auk POllery of the Later Fifth Cenlu'1'," HesfWda 18 (1949) no. 54. pi. 91; AKnru XII, 384. DcpO!>it B IS: I dated ca. 425-400 a.c.

I he following pp.ides stem from the period ca. 430-420 D,e. I he) ha\'C' lal1. slender proportions and lids with tall. elaborate knobs. The fOOl \aries. The style of certain painters of Ihe laler lihh century has onl)' been recognized on pyxides. This is true of Ihe Painter of Athens 17191 (no. 2). and among others. the Painter of Athens 1585 (ARV. 1360. 1-5) and the Drouot Painter lA H V. 1223. 1-7). I. AmSll'rdam. Allard Pierson Museum 623. from Athens.

The profile of a lid from the Athenian Agora (Fig. 70 is like that of no. S. It comes from a well, the great proportion of ..... hose figured wares date in the lasl quarter of the fifth cenlury. The profile is also sinlilar to lids of Munich 2720 (Fig. 7a) and London E 774 (Fig. 7e). both of the Class of Munich 2120 and attributed 10 the Drouot Painter. The Agora lid adds additional evidence that lids uninfluenced by those of type C and following the older canon of Ihe PcnthesiJea Workshop and dependent ~'orkshops were still being made in the last quarter of the fifth century. Athens 13028 (no. 6. PI. 71) and Athens 1287 (no. 7. PI. 69.3) retain lids similar in profile 10 no. I (Athens 13676, PI. 69.2l. The base of the stem is formed in IWO degrees and the surface of the lid convex with a step down to the outer rim. The stem of the knob of no. 6 .....as once broken but it is certain that the knob belongs. I The heavy knob has a flattened domed upper member separated from the downturned rim of the lower by a reserved horizontal gron\'e. the whole surmounted by a low disk, It seems probable that this is a late fifth «ntury transformation of the

11,0,121. H. with lid 0.206, 0, of lid 0.138, H, of foot 0.018. Shallow concave cun'e to wall strengthened al base. lid slopes from center to outer edge. knob: conical member surmounting di!
or

2.4,11,'//\ 1719/. froll1 Athens.

11.0.136. H .....,ith lid 0.025, D. at rim 0.126. D. of lid 0.175. Lid poorly fired: bOlh lid and knob .....arped. Conca\'e curve to ",,11 much strengthened at base. tripartite foot. Lid: flat upper surface. knob: conical member surmounting

lib

117

1 HE ATTIC PnIS

echinoid-like form on stem whose base' is ra~ above the 1el'el of the lid. Lid; debased tongues !black). black band bt'tween reserYed lines. vertical circumscribed palmettes alternating with bouquets of lea\'es. black band between reserved lines. laurel and berry Oeaves on outside of stem only). J"ten'or of lid: black: bottom: dotted circle. circle, outer circle. band. Grafilto. Laurel and berry below frieze. Painter of Athens 17191, horseman. with youths and woman: ARV, 1222.1: CVA. Greece 2. Athens 2. pI. 29.

Lid tongue and dot, black band bctvo'een reserved lines. lcrtical. circumscribed palmeues alternating .,,·ith 10tus DO'I\ers ,,:r()\l\ ned by tiny palmeHC5 and linked by a scroll, spirals in upper ~pandre1s, egg and dot, inverted. Side of lid: laurel. Reserved line abo"'e frieLe and helo" then black band and egg and dot. AHJ\OL tn'iCribed above seated figure of Delos. Marlay Painter, Apollo with Artemis, Leto, Dclos and Hermes: ANV. 1277.22: Ant> Anticu e Modernu (1%6) 173-178. figs. 70~ 72.

J. Vienna 37/9

2. Athells. Agora P (3097.fr.. from Athens. PI. 72,2. D. est. 0.07. Lid of miniature pyxis type C. ShallO" domed I'd with narTow ~wer rim. Lid. small ~ntral clay medallion. egg and dot. resefYed ivy lea"·cs, turned alternately outward and inward. stem. tendrils and berTies in added clay, narTOW egg and dot band. Underside unglazed. Red-figure. Agora XII. 396 Deposit 0 19:4. This pyxis from dumped tilling. For ivy pattern cL lid of Athens 136763 by Painter of Athens 1S85 dated ca. 410 D.e.

ell.

(ex Dlum-Blank-cheW. Half of ring handle restored. H. 0.117. H. ,.·jth IkI 0.187. D. of lid 0.128. H. of foot 0.021. Wall cylindrical with Joo,l;er sloping keel echoed by contour of lid flange. Ring handle on support of hourglass formation. Flaring tripartiu~: foot. Lid: debased tongue and dOl, running palmelle scroll. slanting (,:onnections all parallel forming a Vilruvian wave with palmetles strictly aligned with axis of border. Side of lid: groups of maeanders ~parated by chequcr squares. black band. Black band, reserved line above frieze: below: maeanders separated by chequer squares. egg (with double borders) and dot. Red-figure. women, CVA, Austria 1, Vienna I, pI. 48. 7-8 and pI. 49, 1-3, L. Curtius, "Pentheus," Winde(mQnnsprogramm 88 (l929) 5. figs. 9-1 t.

4.10 H.C.

3. Alhelu. Agoru P /2975. fr.. from Athens. PI. 72,1. Lid missing. stem broken, H. pres. 0.031. max. D. at rim 0.057. D_ 0.071. Miniature pyxis, type C. which served as the knob of the lid of a pyxis, type A. Inset flange for lid. shallow concave curve to sides, sloping projecting keel at base. underside elaborately moulded. laurel wreath on body, debased tongues on 1000'er flange. Red-figure. Area 0 20. I Second quarter fourth century. 4. AlllellS. Agoru P /6924 frr.. from Athens. PI. 74,2· 74.3.75,2. Fig. 12a. Two non·joining fragments of a lid of type A with a miniature pyxis type A serving as a knob. Lid of miniature missing. body about half preserved, stem broken.

DOUBLES I. Ferruru T. 27 C VP. from Spina. PI. 73. Sccondary lid missing. Stem of pyxidion mended to lid in antiquity. H. 0.153. total H. pres. 0.223, D. at rim 0.129, D. of lid 0.165. H. offoot.o.045, D. at rim of pyxidion 0.06. Slightly domed lid r;:urmounted by small pyxis, type C, on slender stem. Slightly concave, tripartite foot.

•

118

SALLY RUTHERFt:RD ROBERn

THE ATTIC PYXIS

Lid: H. pres. 0.037. 0.0.140. Box: H. pres. 0.062. D. at rim 11.061. In~et flange for lid. shallo\\ concan~ cun"c 10 sides with 10'l1'cr. ~l()ping projl."Cting keel. Ud' si~ \'crtical palmclles v.ilh a dot on either side of one, Interlocking maeanders in groups Of five (once six and once three) \eparated by chequer square. 80.' IWO \'ertical palmclles \\ith \\ hite hearts and most of a third he middle one is flanked by dots: /ul\'j" kl'd: egg pattern. ned-figure. Agortl XII, 384. Deposit A·B 21·22:1 dated ca. 120-.190 R.e.

S. A /lIf'11$, Agora P 24296. fr .. from Athens. PI. 75,1. Fragment (If small pyxis type A. which served as knob of a lid Ill" a pyxis type A. Portion of IOlh'1 wall preserved and projecting IOIH'r keel. Underside elaooralelv moulded around broken stem 10.0.035), H. pres. 0.036, 0, ptl'l>, :I.t 10"'er part 0.093. Heart 01 palmetlc on acanlhus Iea\'t's, interlocking stopped lIl:lcanders and chequer square. two black-glaze raised rings. Egg un lower keel. !'atterned; found in Agora a~a. exact prO\'enance unknown. h. IJrollrOlI /80 fr .. from Brauron. MinialUre ppis. type A. whieh sen'ed as the knob of the lid of a pp-is type A. Presen'ed: low'er portion of sloping wall. projecting lower keel. tall stem (broken below) connected to keel by cuo'ed contour. The evidence for this the most elaborate form of pyxis type A III the later fifth century is very limited. But for an almost intact example from Spina. a few fragments from the Athenian Agora and Braurun. one would not have been aware that the lype existed prior 10 the second quarter of the fourth century. Evidently t.....o \'ariants of the type were made. a pyxis type A with a pyxidion of type C serving as a knob and a pyxis type A surmounted by miniature pyxis of the same type. The combination of the two types of pyxides sen'cs as a \'isual reminder of the contemporaneity of

119

l~~ A and C and suggests that the potter "ho made one type. made lhe other. The c1assificatK>n of the doubk pyxis is based on that factor alone. The evidence at hand indicates that the mam lid was slightl} domed as in those of type C and the pyxidion supported on a li"tem swelling toward its apex. Judging by the number.> presened the t)PC became more popular in the first half of the fourth century. Ferrara. T. 27 C VP (no. I. PI. 73) has been preserved intact but for the lid of the p)'xidion of type e. The principal lid is slightly domed and the pyxis knob is joined to it by a slender stem which ,,"ell.. at the junctiun, The walls of the box approach the cylindrical and the lower keel is pronounced in its extension. The flaring foot i!> tripllftite, The lid of the pyxidion was undoubtedly slightly domed with a lower rim as in the lids of those of standard size. For a miniature lid of type C see Athens. Agora P tJ097 (no. 2. PI. 72.2) which is identical with the standard \'ersion exccpt that the smalll'entral clay medallion is not pierced to rccei\'e the u..ual ring handle. This miniature lid must have belonged either to such a pyxidton or to an independent miniature vase. The pyxis has been allributed to the Marlay Painter who also deroratt.'d pyxides of type C and an additional type A of another model. The vase dates to ca. 430 B.e. and thus prm'ides preeious c\idence for the production of such elaborate \'ases sixty years before the Kerch l>erK.~.1J A "fourth ccn!Ury' type b, thus shO\o\n 10 han' its origin in the later fifth century. Athens. Agora P 12975 (no. 3. PI. 72.1). is a fragmentary pp, id ion uf type C from such a double vase. The hastily painted wreath is the usual decoration of such boxes of standard size. The date is difficult to determine and unfortunalely the vase does not come from a numbered deposil. u

I'

No, 4 (Pis. 74.2-74.3. 75.2) is a fragmentary example uf the variety. a pyxis type A surmounted by a pyxidion of the same type. Of the box only the main lid is preserved whose com'ex central area. lower rim. 3nd broad two step stem-base as well a~ its modest diameter 01'0.014 show it to be from 3 ppis. type A. The !>tcm i~ broken just 3bo\'e the base. The pyxidion has slightly ('onca\'e walls and a sloping lower keel from "hich the contour ~crond

120

SALLY RUTHERFUJlD Ra.ERTS

lilT ATTIC PVXIS

slopes do" nward to join a thkk '>tern. 11 should be nOled Ihat thl.' ~tt'm of a double pp:i.. swells to\\ards its Junetun' with the pplis knob. Compare the slender stem of the Ferrara pyxis lno. 1) and al~() the thicker later (ourth ccntu'1' examples Leningrad <)70 11 and Athens 1635 (PI. 84.21,10 The lid and pyxidion bear a mall'h;n~ palmeuc pallern. Onl), the !o\\er ponion of the .... all of a pyxidion of type A (no. 5. PI. 75.1) is presened. Two raised glazed rings aniculate tht, junction of the base and projecting !lw;cr keel. Groups of Slopped interlocking maeandcn. !loCparatcd by a chequer square is a pattern border much fa\ored in the last quarter of the fifth centuf) and Ihe beginning of the fourth ccmuf)'.u Schcfold Usa fhe pn:idc!I. I\pC A. of double format in his Kerch series dating 3 '\·350 a.l. u The same tvo'O varieties are repmented. an A cro~ ned by a p)'xidion of type C and an A with a pyxidion of the same t}pe. The lids are domed ....·ith the rim at a lower Ic\el and the pyxidia supported on a single stem .... ith the exception of Berlin 3373. TIle boxes are of the tall long· bodied t)pe with a projl..'Cting lu~cr h-cl. Athens IbJ5 (PI. 84.2. Iig. 12d. H. 0.18. H ..... ith lid 0.27) ahd Berlin J37J (H. 0.155 and H. with lid 0.313) are the tallest ppides of type A recorded. Leningrad 970 .....ith a total preserved height of 0.21 Oid of pyxidion missing) h more moderatc and closer to the height of single pyxides of the Kerch ~crie~ They are not all of the same clan; Copenhagen 479 (PI. 83,1) is exceptionally ..mall with a H. of 0.077 and H. with lid 01 0.126; tht' box is of squat proportions and the lid not of the usual shallo..... domed configuration. Copenhagen Chr. VIII 982 (PI. 8J.2) is yet of a different model. The upper surface of the lid is convex with a lower rim as is, usual hut the profile of the side differs. Instead of the usual beak (as in Leningrad. Athens or Berlin) a short section of concave contour projects down.....ards to cover the inset flange of the box. In addition the pyxis knob is not a real miniature receptacle but merely apes the shape of a pyxis type A. Unlike the pyxidia of Athens Ib35. Leningrad 970 and Berlin 3373. it does not echo the form of Ihe main box.

121

I hl' datc range of this M'riC!i seems to utcnd from about 430 HC dll~n to the end of the fifth century or the beginning of the ,umh Then after a considerable lapse 111 time the series \ "ntmue'!; from about 370-350 S.C. at .... hich time it disappeani.

MINIATURES I. Hl'di" f' 2510, from Attica.

PI. 74.1. Fig. 12b. Lid missing. H. 0.067. D. at rim 0.047. H. of foot 0.022. Miniature p}xis ~ith shallo~ ("onC8\'e ("un'e strengthened at ha~. lall stand. Blal'k band. re~ned band abmc frieze; belo\\': leaf and dart. Hed-ligure. Er~ and seated .... uman. women; CVA. Germany Berlin 3. pI. 139. 5-7. Cu. 430-410 IJ.c.

n, 2.

NI'lf Yurk 06.1021.154. Fig. 121'. H. 0.03, H ..... ilh lid 0.047. D. at rim 0.037. D. of lid 0.049. H. .,1 loot 0.005. Miniature pyxb. .... ith conical knob on tall stem, lid .....ith central l.tl'\Crl area and step down to rim. Box: (.'Oncave .....ilh tripartite

hou(.

J ul '·ertica!. circunlScribed palmettes with leaf above and he Iow III illl' r..ticcs. WlIll decOlatccl with wreath of laurel and berry. 'h·c\-Iigurc. patlerned: Richter and Milne. fig. 142. '<1.

4]/I-.J10 11.1.

J. Ar!lt·lls. Agnru P 10<J.'ilJ. from Athens. PI. 75,4. Fig. 7g. lid missing. insel llance, slightly concave wall. sloping lower keel. Traces of three openings in fom. i.e. tripartite foot. H. pres. O.Ob. D. at upper l1angc 0.065. Black ray~ on sloping keel belo~ frieze. If';jjum: rcsen'cd \.dlh a glazed circle. Compared with the Drouot Group. woman pursued by Eras. woman pursued by Eras; ARVI. 760; I/C's/X'n'a 18 (1949) 299 and

121

'liE ATTU PYJI:n

.118. PI. 85.21 (Corbeu): Apor
4. Alh/'IU'. Agoru P 844/ fr.. from Athens.

S.

IJroUroll Museum 450. from Braurun. lid missing. H. 0.07. D. at rim 0.042. H. of foot 0.021.

Inset n3ng~. ('on('ave wall. projecting lo",er ked. tall closed 1'001.

Rt:d.figure. "'oman right lOoith IWO kibOlia looking back :11 Ems. ETOlo right aftcr woman with kibotia and fillet. A dlKlr in the Odd. For the f(Klt cr. Bcrlin ~ 2530 and 110te also inOuencc from lallstemmed marble pyxis cf. Boston 38.!J99 (fJMf"A 37 f19J9] 74.75. ligs. 1·2). 4111 CPnluf)' B.C.

b. BrUllron Museum 302, lid fr.. from Braumn. Brok~n on all sid~s. 0.054 by 0.02. Red-figure. woman pouring wat~r from a hydria over crouching nude woman attended by Eros and anolher figure. AIltK. Beiheft 1 (1963) no. 52. pI. !J.8. Lid of miniature or pyxidion? 170·150 B.C. 7. A/III'IIS 13676b. found with Alhens IJ676a in the foundation of a house opposile Polytechneion. Athens. H. 0.037. H. with lid 0.05. D. at rim 0.062. D. of lid 0.076. H.

SALLY RUTH£ltFURD RO.EaTs

123

of foot 0.007. Domed lid with slightly raised ring around center. reserved groove around frieze. Ring foot. I jJ frie:e; two female heads right: one female head left. Scrolls between the heads. egg and dot on rim. Red·figure. hare vs. feline; hare; swan vs. swan. Miniature pyxis 11PC C. Two con~ntric marks 1efl on center of lid by metal mroallion. no\Oo missing. Singleton. A "cry small number of tru~ miniature pyxides of type A appear in th~ last decades of th~ fifth century. They are a miscellaneous group comparable in size to pyxidia. Berlin F 2520 (no. J. PI. 74.1. Fig. 12b) has :In inset Ilangc for the missing lid and a wall of a shallow concave curn strengthened at the base. It is supportcd by a tall solid st3nd unparalleled in ceramic example'i of slandard SiZ~.11 This pyxis is a('tually smaller than the py~idion Athens. Agora P 16924 (PI. 74.2. Fig. 12a). as may he 'iet:n bl a CQmparison of th~ profil~s and measurements. The dccoraliun of the Berlin pyxis is Ih~ usual scheme in mini:lIurc. a frieze with a paltern band below. No ('xact parallel for the form of no. 2 (New York 06.1021.154. Fig. l2e) has becn preserved among standard size pyxides. The lid ha... a raised central tondo with a step down to the lower rim; Ihe knob is ('onkal on a relatl\'cly tall Slem. The lid flange is set slightly inside the line of the conca\'C wall of the box and thus does not complete the curve of the wall in Ihe usual mann~r. The hox is decorated with a wreath of 1ea"cs. the customary adornment of a pyxis type: C. A small neat band of palmeues encircles the knob. The vertical palmettes are circumscribed with a leaf abm'e and below in Ihe interstices. The sam~ paltern with some difference in delail is sometimes found on lids of Iype c. a rhe pyxis dates ca. 420·410 B.C. Athens, Agora P 10459 (no. 3. PI. 75,4). compan:d with the Druuot Group. is a fragmentary pyxis wilh an almost cylindrical .... all and boldly projecling lower flange characteristic of pyxides of Ih~ later fifth ('entury (cf. the Koin~ aass. Pis. 69.1·2). and resembles lhat of Ihe p}"Xidion P 16924. The py:a:is comes from a

124

THE Arnc PVXIS

SALLY RUTHEil.FURD ROIERTS

wdl on the southern slopes of the Kolonos Agoraios. which produced a large proportion of fed-figured pottery. The potter)' is considered to have been thrown in all at one time and must be datablc tu 425·400 B.C. Peter Corbett belic\'cd the pyxis and a 1cbes gamikos by the Matlay Painter to he considerably earlier (440·430 a.c.), than the bulk of the ,'ases from the .....ell and (.'olllparcd the fanleT to a pyxis P 2283 (PI. 50.2. Fig. 7d) by the Drouot Paintcr. 19 A comparison of the profile of this pyxis lInd others of the Class or Munich 2720 (p. 72, Fig. 7a). shol>.'s the wall of no. 3 to be straighter and the lower keel projecting almost at right angles to the wall rather than continuing and completing llle curve of the wall. In these charpctcristics P 10459 appears to be later than any of the pyxides of the Class of Munich 2720 and rightly dated by the context of the well. If restored with a tall tripartite foot. no. 3 would be about the same size as Munich 2720. the smallest--of -that class. The box proper is a lillle larger than the pyxidion P 1M124. Another sm:lll pyxis. Athens Agora P 8441 (no. 4. PI. 75..1) preserves only its lower wall, boldly projecting lower flange and fragments of a tripartite foot. The wall appears to have had a very shallow curve much intensified at the base as in Berlin F 2520 (Fig. 12bJ. The box seems to have been slightly larger than no. 2 as the diameter at the lower keel measures 0.09 10 0.08 for that example. The pyxis dates late fifth-early fourth century B.e.

ODD PYXIDES FROM CA. 4.30-420 B.e.

In most pyxides type A of double format the pyxidion is supported by a single stem; however it should be noted that in one example. Berlin 3373 10• the pyxidion has a tripartite foot. This i~ one of the la lest and most elaborate of the Kerch series of pyxidcs dated ca. 360-350 B.e. It is also the tallest; the pyxidjon itself is sizable. As it appears Ihat the series of double pyxides of type A began around 430 B.e. it seems necessary to consider whether the fragmentary pyxides no. 3 and 4 could have been pyxidia. There is not sufficient evidence at present to decide this question and therefore il is safer to consider them as independent pyxides. One should bear in mind. however. that this question of pyxidion or no should be raised even when a pyxis is furnished with a tripartite foot.

125

I. Athens 1241 (CC. 1553J. from Athens. PI. 75.5. H. 0.11, H. with lid 0.185. 0.0.10-0.11. Lid: eggs. black band. palmettes. partly circumscribed and linked by a running scroll (central petal pierces frame). leaf abO"e and below in interstices. Reserved line above frieze: below: groups of interlocking macanders separated by a cross. saltire or chequer square. Red-Iigure. Apollo and eight Muses. CVA. Greece 2. Athens 2. pI. HLI. 5·6. pi. 19. 2-4. pI. 20,1. 2. Alh,-·ns. from Aiolou Street. PI. 76.2. Lid: tongues. wide black band between reserved lines. running palmettc scroll (Dinsmoor type IV BJ. Side of lid: laurel and berry: inlf'rior of lid: black. Egg and dot above frieze: ht'IQw: tongues. The names Thalia. Choro. Terpsichorll. Melpomene. Orania. Klcn and EralO arc inscribed. Red-ligure. Muses; BCN ~6 (1962) 644-645. figs. 2·3. plo 23; AlA 50 (1946) 119 (Dinsmoor).

3. Chicago 92.126. ex Hutchinson. Knob missing. H. 0.075. total H. pres. 0.089. D. at rim 0.078. IJ. of lid 0.103. H. of foot 0.012. Lid: egg and dot. vertical. circumscribed palmenes (eleven petals, once twelve). linked and alternating with lotus flowers. three pelal palmene in spandrel. egg and dot. Black band, reserved band above frieze: below: egg between reserved bands and black band. Red-ligure. women. 4. Wiinburg 541. from Attica. PI. 76.1. Upper member of knob and foot mlSsmg. H. 0.093. total H. pres. 0.136. D. at rim 0.11-0.114. D. of lid 0.137. Lid: egg and dot. egg and dart, palmette alternating with lotus flower, egg and dart. egg and dot. Side oJ lid: laurel.

126

SALlY ROTHERfURD ROB£RTS

Black band. resen'ed band aho\'c frieze; belo.....: egg and dot. Wa'\hing

Painter.

bride

silting

on

a

couch.

"'itll

Er..,..,

Aphroditc and a ....oman who holds a loutrophoros; 1....0 Erotn "'resiling. with Aphrodite seated and a woman (Peilho?); woman ~ated playing the harp; ARV. 1133.196: Langlolz. Griechische VU.)"I'" i" Wiinhurg, pk. 200·1: A. Greifcnhagen. Gri('chischt' bvt(·" 42-45; A'hMitl 71 (956) 205-207; Beil. JlS below and Beil. 116 belo...... For the subject ef. the kbes gamikos rtr. t4RV. 1127.6 bis). S. Allu!,u. Agora P 6514. from Athens. Lid missing. H. 0.112. D. est. 0.135. Concave wall, inset nange for lid, high ring fOOl. Inset flange. h:cl and resting surface of foot reserved. Black. Agur" XII. 174 ::and 327 no. 1289. PI. 43. Dcposil E 13:1.

450·425 B.C. In contrast to the tall slender proportions and tall tripartite foot uf pyxides of the Koine Class come a few odd pyxides whose squat proportions. Iow glazed ring foot and knob type are reminiscent of the mid fifth century Class of Berlin 3308. The dh'ersity of pallerns ornamenting lids and boxes is one of the indications that these pyxides do not form a class. The contour of Ihe I"alls of these: p)'xides varies from a shallow conca"e curn 10 a C)'linder and in Ihi.. they re~mble most pyxidcs. tJpe A. of the peri'Jd 4.10-400 B.C. Athens 1241 (no. l. PI. 75,S) is a pyxis ofsqu31 proportions ~ith nearly cylindrical walls. The lid and lower keel project slightly beyond the line of the wall. The foot is of ring formation with a diagonal line connecting its apex with the lower keel. The lid sloping steeply from the center towards the outer edge is crowned by a knob formcd of a conical member surmounting a disk-like form on a stem swelling towards its apex. The base of the stem is raised above the level of the lid. A comparison with the pyxis London E 773 (PI. 62) of the Class of Berlin 3J08 sho"ws lhe similarity of proportions and forms composing the whole. Equally striking is the figurative stripping away of excess flesh and the tightening of the contour lines. It should date ca. 430 B.e.

127

A pp:is from Aiolou Street (no. 2. PI. 76.2). is known to me onl)' from photograph.'ii and a bnef report In the Bullt·tl1/ de n"""!>(lfmdal/cf' Jr{'II~"iquf'.lI The walls arc qlindrK-al • ith a projecting Imnr keel. I cannot tell whether there is any articulation betvo·een the wall and the keel. The upper surface of Ihe lid is flat: the ba.'iie of the stem is raised abm'e the le,·et of the lid. The knob is similar in general format to that of no. I. but differs in detail. It is more delicately and elegantly fashioned. The disk-like form resembles the shallow basin of a fountain ",.jth an eminence in the <:enter surmounted by a conical member. u A laurel and berry pattern adorns the side of the lid and a IUngue pattern the lower !lange. In addition a narrow egg and dot band is placed above the frieze. This is an unusual feature. rarely encountered but may also be seen on a pyxis type A by the Eretria Painter in Worcester (PI. 81.1) and on a fragment from )uch a pyxis in the manneroflhe Kleophon Painter (Alhens, Agora p IJ096).u A fine pyxis in Wun-burg (no. 4. 1)1. 76.11. by Ihe Washing Painter. has been reconstructed from many fragmenl.'ii. It unfortunately sutlered funher damage during World War 11. The contour of the wall forms a very shallow curve strengthened to~ards the base. The foot is no longer preserved. l • Judging from the squat proportions of the PYXls one would expect the foot to have been a low. glazed ring as in the earlier Chl.'iis of Berlin 3308 or in this group of odd pieces. LanglolZ. however. indicated that the foot was tripartite. U The .'iiide of the lid has been dalnaged but it is clear that the concave curve of the lid flange once echoed that of the lower flange of the box much as in Athens 1241 and the Aiolou Street pyxis (no. 2). The laurel wreath would have preserved its paired leaves entire. The form of the knob was once similar to that of the Aiolou Str~t pyxis. The uppermost member is missing but it is evident from the profile (slender stem swelling tnwards its junction with a disk-like member) and particularly from the upper surface which is formed of a shallow basin with an eminence in the center that the missing crowning member was conical. The base of the stem is raised above the level of the lid. The squat proportions. profile and measurements of a black

129

THE ATTIC PYXI~

SALLY RUTHERFURD R08EltH

pp;s from the Athenian Agora (no. 5). atc clme to ,hose of nos. 1 and 4. The shallow concave CUT'\'C of the wall and black ring foot 3TC analogous to pyxides of IlIb group. It is particularly unfortunate that the lid is missing for without this member il seems hazardous to do more than compare this pyxis with the others. As the black Ceramicus 1462 e<:hoed the Penthesilean c:ll1on,26 the Agura blat'k approaches these singletons reflecting fhe earlier Class of Berlin 3308.

Mar\;l~ Painter. ....edding. ARYl, 769.1; ARV. 1227,23: "The picture 011 the lid is b) a colleague. the Lid Painter": 1282,1: JH5 41 (921) PI. 6 and p. 144.

128

Athens. from Aiolou Street. Lid: successive concentric bands of pattern. the outermost is laurel. Sid(' of lid: groups of inlerlocking maeanders and chequer s4 uarc . Black band. reserved line above frieze; below: egg and dot band between reserved bands. The nanlC of Thetis and four Nereids (Galene. Glauke. Kumothoe and Melite) are inscribed. Hed·figure. wedding ofThetis. BCfI 86 0%2) 645. fig. 4. pI. 24.

Another experimental pyxis of strong. squat proportions is by the Marlay Painter. The diameter at the rim is almost equal to that of the height. The concave curve of the wall is shallow: there is a ~trollgly projecting lower keel set off from the wall by a ridge. rile projection of the lid exceeds that of the lower flange. The black, thrice nNched foot has a base moulding in two degrees:. the upper higher than the lower (reserved). The formation of this foot is strongly remini~ccnt of the heavy moulded l"oot of stemless cups ctcwrated by thb painter. Compare thc profile of the fOOl of two ~tcmle~~ cups in Vienna Zl and another in Laon. JO The lid is cleCuTlllcct with a friezc as is customary on lids of type C. Cosmic ueities also app<.'ar on sevenll lids of type c. ll

DISH·FOOT PYXIDES Another pyxis from Aiolou Street l1 has a type of its own. The "'all is concave and at the base lhe lower keel projects little. The foot is low and tripanite; two of its sections are so widely separated that one is more conscious of the spaces than of the supports. There is no good parallel for this foot but compare New York 06.1021.119 (Fig. 14b) for a curious foot type with widely separated sections. u There is a conical knob on a thick stem raiscd above the level of the lid. This pyxis is a contemporary of the other from Aiolou Street (no. 2) and illustrates the diversity of models of type A from the same period. LOl/do" 1920.J2-21.J. from Greece. PI. 49,1, Fig. l3c. H. 0.125, H. with lid 0.172, D. at rim 0.124, D. of lid 0.176. Lid: Helios, Selene and Nyx. Lid ill/erior: black: buttum: duI, circle, outer circle, band. Moulding, reserved line above frieze; below: reserved line, tonJ;::UI'S between black bands on projecting keel.

I. A,hellS /587 (CC. 1556).

PI. 77,1, Fig. lJa. H. O.IOS, H. with lid 0.16, D. at rim 0.094, D. of lid 0.134, H. of fOOl 0.012. Lid: rays, black band, laurel wreath between reserved lines. Illfl'n'or of lid: reserved, reddened; Bottom: reserved. Side of fid: debased tongues. Debased tongues below frieze. The Phiale Painter. womcn: ARV. 1023,143. 2. Alhells 1588 (CC. 1552), from Attica.

PI. 77,2, Fig. IJb. H. 0.113, H. with lid 0.175, D. at rim 0.095, D. of lid 0.142, H. of foot 0.027. Lid: IOngue and dot, black band, addorsed palmettes: linked by scroll springing from volutes. Reserved irregular band above frieze: below: reserved band: eggs. The Phiale Painter, youth and woman: woman holding child:

130

woman spinning. and woman; maid; ARV. 1023.144; Heydemann. GrieC'hische Vasenbilder. pI. 8, S.

J. Chicago 92. J25. PI. 77 .3. H. 0.088. H. with lid 0.133. D. at rim 0.077, D. of lid 0.103. H. (If foot 0.01. Lid: debased tongue and dot. black band. laurel. Side of /id: debased tongue and dot. Black band. reserved line above frieze: lw/a....: debased tongue and dot. Eusinn Painter. Boreas and Oreithyia. ARV, 798.147. late.

The profiles of two pyxKles by the Phiale Painter (nos. 1 and 2) akin. The shallov.' concave curve of the wall is much stttngthened 31 the base and the lid extends further than the lo.....er keel. The upper surfa~ of the lid of Athens 1587 (no. I. PI. 77.11 is flat in contrast to Ihal of no. 2 (Athens 1588. PI. 77.21. whose domed contour recalls the outline of lids of type C. Knobs in the form of pomegranates crown the Iids. u Most curious is the form of the foot. whose low convex ring is connected by a curved contour line to the outer ed~ of the lower keel. A comparable foot type may be found on cenain pyxides of type C. n Despite the similarity of the profiles of nos. I and 2. the choice and placement of pattern bands differs. Tongues ornament the lid flange and lower keel of Athens 1587. while on Athens 1588 the lid flange is merely glazed and the lower keel has an egg and dot border. In addition the lid pattern bands differ. The two pyxides date ca. 430 8.C. No. 3 (Chicago 92.125. PI. 77.3). by the Euaion Pailller. has a prolile almost identical with that of no. I. In addition the choice and placement of pauern bands are the same. The measurements of no. 3 are closer to those for the Class of Berlin 3308 and it is interesting to compare the latest example of that class, Athens 1586 (PI. 65.1) also by the Euaion Painter. with this pyxis. The ring foot of Athens 1586 is connected to the lower flange by a sloping line. The foot type of nos. 1·3 appears to be an exaggeration and articulation of features present in Athens 1586 and the key piece a~ c1~ly

131

of the Class of Berlin 3308. No. 3 may therefore be seen as a connecting link betv.een the Class of Berlin 3J08 and the 1""0 ppide!i by the Phiale Painter. The Chicago pyxis dates ca. 440 D.e. or slightly thereafter.

TWO PYXIDES OF SQUAT PROPORTIONS AND TALL TRIPARTITE FOOT PI. -S. Upper pan of terracotta ring handle restored. H. 0.102. H. with lid 0.142 (as restored). O. of lid 0.116. H. of foot 0.021. Lid.- fragment of maeander pattern. Muses? groups of maeande~ leftv.ards separated by chequered squares. Side of lid: groups of interlocking maeanders separated by chequered squares. Moukling. line abo\'e frieze: bela...·: line and band of maeanders and chequered squares. The names of six Nereids are inscribed. Painter of London 0 14. white ground; Nereids: ARV. 1213.1; AJA 44 (1940) 428-431. figs. 1·3. I. N_ Yurk 40.11.2. from Greece.

"l::; \ " ?:>

2 Lu"dun E 774. from Athens. 1-'1. 79 and Fig. 14a. Lid alien. H. 0.118, O. at rim 0.096. H. of foot 0.03. Four lines alternately black and reserved above frieze: belu....: groups of interlocking maeanders running alternately to right and left separated by chequered squarC5 with a central raised dot. BO/tom: dotted circle and tWO closely spaced outer circles. The nanu.". , Glauke, Thaleia. Kymudoke. K)/llothea. Gakne. Pomomedeia and 0050 are inscribed abo\'e the heads of the ligures. Eretria Pailller, wedding Jlreparat~ARV. 1250..12: for the alien lid sec p. 1223: FR, pI. 57,3: Purullpomena. 469.

<1

The wall of barely stressed moulding. The edge; its form

New York 40.11.2 forms a simple concave curve at the base. At the top of the wall is a plain tall tripartite foot is black with a reserved \'crtical is unparalleled among pyxides. The lid projects

132

IJJ

THE ArTlc Pl'XIS

slightly beyond the contour of the v'al1. The upper surface of the lid is flat and is crowned by a ring handle in terracotta (the upper part restored). This handle type may show the influence of the predominant type of the period. the pyxis type C. which was regularly furnished ....ith a ring handle of bronze. In addition the lid was decorated with a figured frieze," the usual adornment of lids of type C. The white ground pyxis. type A. is a rarity and this isolated exemplar appears about twenty years after the earlter enmples which were mostly painted by PenthesiJeans 15 in the years ca. 460450 H.C. It differs from these in having a white ground lid. The simple concave cunc of the wall and the squat proportions of a pyxis in London (PI. 79 and Fig. 14a), are ,'ery like those of the white ground pyxis in New York. The lid Ohef: set on it prm'ed to bt alien. judging from the slight projection of the lower flange the lid would have elltended little beyond the wall of the boll. At this period the projection of a lid usually matches or exceeds the elltension of the lo.....er keel of the box. The concave contour of the tall tripartite foot emphasizes the form of the box. The black foot is finely articulated by raised rings in black standing out from reserved bands on either side. The elegance of form is commensurate with the exquisite miniature figure style by the Eretria Painter. The two pyxides date ca. 430-420 S.C.

PYXIDES OF EXTRA VAGANT PROFILE

I. Worcester (Mass.) /935./48. PI.8I,1 Knob missing. H. 0.112, total H. pres. 0.119, D. at rim 0.089. D. of lid 0.143. H. of foot 0.035. Lid: tongue and dot. line and dot on central mouldings. frieze: Erotes with cocks, Erotes with hare. in the field dioros and stone for a game of ephedrismos. For a representation of the game in progress by the Shuvalov Painter: Arias, pI. 204. Side of lid: wreath of laurel leaves with white berries. Moulding decorated with egg and dot above frieze: below: stopped interlocking maeanders on projecting keel.

Eretria Painter. mistress and maid: mbtre,,, and maid: 1"-0 maids; ARV. 1250.33; Worcester Art Museum Annual 2 (19.36-37) 28-31. figs. 1-4. The number in ARV is incorrect. 2_ AIII.'IIS. Agora P 6R45 lr., from Athens.

Pis. SO.l and 80.3. lid fragment. H. pres. 0.014. D. est. ca. 0.14. Upper surface of lid flat. step down to lov..er horizontal rim. articulated by added red. Frieze; Niobids; flange of lid; olive leaves with white berries. Red-ligure.ArltK 6 (1963) 23-32. plo 8. )·2 (Clainnont). Similarities to the work of the Eretria Painter were nOled by Clainnont and confirmed b)' Senley.

3. N('t\' York 06.1021.119. fig. 14b. H. 0.077. H. with lid 0.12. D. at rim 0.083, D. of lid 0.12. H. of foot 0.016. Knucklebone handle. lid nanged beneath, box concave with projecting sloping keel. tripanite foot. Lid' debased longues on central moulding. then egg and dot. maeand...rs in groups of three. separated by saltire squares. U,.derside of lid: laurel. Black moulding. groove. black moulding above frieze; below: black moulding, laurel on sloping keel. Ked-figure: Richter and Milne. fig. 140. The Worcester pyxis (no. I. PI. 81.\) is onc of the most playful and extravagant models of type A. The wall has a sloping contour with a strongly projecting lower keel, whose upper surface is concave with a groove near the outer edge. The lid projects equally far beyond the line of the wall. The most prominent feature of the p}'xis is these two "beaks" enframing the line of the wall. The tall foot is tripartite and of a concave contour quite unrelated to the profile of the box. The upper surface of the lid is flat with a series of low mouldings at the center to suppon a knob. now missing. Near the outer edge is a groove. Laurel and white berry adorn the flange of the lid. A fragmcntary lid from the Athenian Agara (no. 2. Pis. 80.1 and

SAIl y RUTHERFURO RO.FRTS

135

134

VARIOUS SMALL HYBKIDS SO.3);s extraordinarily akin

10

that af Worcester in profile... ill,' oand

ornamentation. It projected far beyond the wall of the now missing box and the flange is decorated .....ith oli,'c lea\'es and white berries. There is a frieze of figures on the flat upper surface. The diameter of the lid is estimated at ca. 0.14 to 0.143 for the Worcester lid. The projection of the Agera lid appears to ha\'c been e,'en mo~ extensi,"c Ihan that of Worcester :IS the I,)\cr· hanging section measuro 0.023 to 0.019 for Worcester. The profile of no. 3 (New York 06.1021.119. Fig. 14b) is more exlra\'agant than any other. The wall has a concave cut'\'c se~raled from a sloping keel at the bast by a moulding. The lid projects far beyond the line of the wall and Cl'cn beyond the lo.....er keel. Like no. t the upper surface of the lid is flat with a y;K1e low moulding at the center which here forms a foundation for a knob in the form of a knucklebone. The flange of the lid does not cu,""c downlo\ard to join the line of the wall as in no. 1 but forms an abrupt angle. The low tripartite foot protrudes widely benealh the slope of the lower keel of the box. The lid construction diners from the usual in that there is no inset flange at the top of the Io\all of the pyxis. Instead the lid is flanged beneath and this nange fits down within the body of the vase. The lack of a harmonious relationship between the individual parts and the whole is somewhat disturbing. The date should be in the last quarter of the fifth eentury. For a similar crass-girt chiton cf. that of a woman on a red-figured squat lekythos. Ji The majority of red-figured ware from the well from which it comes dates from 425·400 a.c. Another exemplar dated ca. 420·410 D.e. comes from the PnyxY The Worcester pyxis (PI. 81,1). by the Eretria Painler. dale.. ca. 430 D.e. and a comparison of its profile with that or Ihe contemporary London E 774 (pI. 79), by the same miniaturbl. provokes astonishment. Rather than simply considering them different odd pyxides, should onc not rather regard them as different trial pieces from a period of chaotic experimentation?

I',Ul~, LWH'n' CA 1443. from Eretria. 1'1. hl.2 and Fig. ISe It 0.0"'3, H. with lid 0.08. D. at flnt 0.082. D. of lid 0.106. H. t'lJ...t 0.009. !u,>et flange fur lid. slight CQncave cune to wall. resen'ed mnulding at base Central tondo of lid: representation in relief of a .... creid. holding a grea,'e, on a sea horse. Reserved, echinoid I

..,'ulnur la lid Ilange. Ring foot. 1';llOtl'r III Alhl'n' I 5. ",om3n ,>ealed and y;nmen: AN\'. 1.\0(1.1, ·1 he "1)le of Ihe relief has nothing to do .... ith that of the pit.ture:- P. Jacobsthal. /Jil' mef'$chl'" ReliefS. 184. figs. 55·56. 1 hI:' number in AR V is incorrect. 2.

>1'1\

Yurk 06.1021.123. from Attica.

PI. H2.1. Fig. ISb.

H. 0.00.1. H. Io\ith lid 0.102, D. at rim 0.076. D. of lid 0.093. Il;,>el !lange for lid. slight COllca\'e CUr'iC to wall, con\'ex base moulding separatt'd Irom '" all by a grou\e. Lid slopes from center 10 rounded con\'ex lid llange. Asymmetrienl knob. 1 id rays and dot ... black band. egg and dot. Rc!>ct"
.1. lluwtluiFl .10.3.

0.11)5, H. of fOOl 0.003. Inset llangc for lid. wall nearly cylindrical. com'ex base muulding separated from the wall by a groove, ring foot. Lid ~Iopcs from the l'enlcr to the rounded com'ex lid Ilange. Squal conical knob. Lid: lion and boar. boar and hcdgehog. both pairs confronted. black band, egg and dot. Near the Drouot Painter. Erotes and women. ARV, 1223,4: J~I/Njlipflml'llfI,

46&.

136

r 'IF Arnc I'YXIS

The "ases listed above ha.'c certain characteristics of p}'xides of (\!le A combined with some of type D. ,,,. I (I.oUH(' CA 144J. PI. 81.l) ... h.l\\" the ('onll...·1,:ll"" \\ilh the 11\\1" hpc DU \PI. X2.2}ll1o\t dcarl~. 1 he lid of 111(' 1\1" U p~,i\ I~ flat with a central (ondo surrounded b)' a grou\'c and a do,", n turned edge. There is no knob. The moulded face of the lid ',.-omplements :I. moulding at the base of the slightly COnC3\'C or qlindrical wall. The lid of the Louvre pyxis has a rai§Cd ccnlraJ tnndo decorated with a Nereid on a hippocamp in relieLJ' The londo of the lid of a pyxis type 0 usually is ornamented with a figure. object. head or animal. The Nereid relief. how~·er. is a much more nuld and elaborate composition than any found on a pyxis type 0 and clearly derh'cs from anOlher source. A Hd "ith a lundo composition i!> otherwise unknown on a pyxis type A but the format is Iypical for the pyxi!>, type D.''. Alhcn, ISMS !PI. tllI.lJ .•md Athcn.. 13676a n'l. 04.2). I he great .lIn'''''II) 10 shape'> i.. l)pical 01 pfloduct.. m:lde al Ihi, tim..· I h~' 'llll\r~ P)'"'' d;" . .~ C:l. 410 D.e. A r)XI' in N...·Yo Yurk Inu. 2. Pl.l:S2:.I). Fig. ISb) alw.\ a h)IJnd. The Yoall is slightly concave and the low. ring foot has a moulded OUler face. The com'cx down-turned edge of Ihe lid corresponds to the base moulding. Thus far the body is constructed much as in a pyxis type D. The lid. however. slopes from Ihe ccnter outwards and is furnished with a knob. The deeoration in successive concentric pallern bands also is usual for the pyxis of type A. Ouite similar to no. 2 is a pyxis al Bowdoin College (no. 3, PI. 80.2). The convex clown turned edge of the lid corre..pomh to the cuntour of the base moulding and the two enframe the nearly cylindrical wall of the box. The ring toot, however, is sel well under the body of the pyxis and bears no relation to the foot of a p)'xis type D. The pyxis is by an artist near the Drouot Painter and dates ca. 430 D.e. A schematic rendering of folds of the himation draped O\'er the shoulder and arm of a woman running is comparable to the more skillful rendering of such elemenls on a

137

\\I'man standing holding a mirror on a p)'llis by the Eretria 1','lI1ler \PI. lS I. 11. dJ.tl'd ca 4JO B( NUI~' .d~11 the tJ.Il !>It:mkr pwportions of the l:rote!i on the Bowdoin pyxis and the Worce§ter h(!. ~I

-I ne sole deeoration of a p}"xis type 0 is placed in the lid tondo. TIll' \lall i\ simpl) gla7ed. 41 ln contrast, it is the wall of the p}xis. I}pc A. \lhich bears the primary decoration ill the form of a lillured frieze and the three h)'brids discus!>cd abo~·e follo\O.' the rulC' .

138

I HE ArTlC PYXI5 SALLY RUTHERf'URD ROBERTS

139

NOII-.S:CHAPIFH\

I 4C'ml XIL JIH, Dcpo!lll 0 19,-4 Wdlu\,' lilhn~ 1.'\1 quafltr lillh I.Tnlun" IluTlIp,.'t:I tilling ahhough tnr l~ mO"i1 PiU! I.·"n,i~lo:nrh .'1 thl." '.I"l~· ~n"d. .LJlII,Jn,:n11~ n", dcpo"!iUcd I'>ol:lt'fl" Ilk' 2nd I."cnrun B (. P i'll,jq- ., h"l1\ ,IK' ,IUnllll.."C! IiIhnt:. 1. ~l'\' p. 51 III 1nl. 1 See p. h] (11 1(')(1. 4. Klaus Vierncisel. "Dle Ausgrabungen im Kerameikos," AA I (1964) 432. fi~. 24-25.

5. It should ~ nOled that although the profiles of these an.- similar. in ~ion the,' diner in detaIl. the cenlral portion ~ithin the ero\l\ning ridge nf the knob being hollo.... t:d OUI in Ihe case of Ihe Ccramicu~ pp. is. 6. Lut)' Talcoll and olhen;, Smllll OtJj«ts Irum ".,. Pn)'x 11. Jlrs/Wn'u' Suppll'ml'tlt X IPnn~on '(56) no. 139. p. 35 and fig, J. There daled laIc fifth cenlut} -. ANV. 1222. '·3. 8. Mls~ Phihppaki undenook 10 unglue the parts of Ihe JOin. The join is all right. the gla:t.e is the same. 11lc knob belungs to the lid mnd it appears thal no part of the stem b mi\\ing. I am moch indebted to Miss Philippaki for reexamining this thtun:. 9. KarlXhefokt. Urul'n",ltulJ1!f'n =u df'n K""ucltr,. Vas,'n (Berlin 1934) 59-W. nos. 5t(2 I!). 5Mb and 5Ma Tllthe li\t 01 ,,'mple. 'lIIg1c p)xi,il''1 of I}JX' A ,hilI/Ill ",-. oI,hh:rl the follo\\ing examples: Athens 1324 (CC. 19(6) H 0.146, H. \\irh lid 0.245; Athens 1325 (Cc. 19(3), H. 0.134, H. 'Aith lid 0.22 (me:ll>un:ment'l SUPI>lied br Mi\'1 Philippakil; Athens 1320 (CC. 1%4) H 0.13, H 'Ailh hd 0.20; Athens. Ago... P 1(,10'" lid 1'111) D.O 14() IAgnru XII. 177.321S nn. IJ05, 1'1. 431: Halm 1%.1.10. H 0.10":, H. _nh lid 0.26: Oxford 1934.330. hd only, D. 0.118. The salu.:nt characterblll~ are: lid under influence of p)'llis, IlPC C tdomed \\lIh rim 011 IIJ'Aer klcll: ho, .. lightly l'\lIlCa\l~ 'Allh prujcl'linJ( Imwr l1al1)te; taflll:lrr\l" Pntfll,rti"n" !.l'.• H. "'ith lid greater Ihan Ihal recorded for mlXt I:Uer fifth l-cnIUr) ennlplC'!O: knob: comcill mc:mber surmountmg disk-l1kc: form on stem swelling tlWo,uds its apex. Tbc hd' ut GOllin~n \Sehefold no. 58..1), WUr/burg H 5333 tA",K I~ Il l r'2] 10. pi 5) ami Pn\ale Cnlkcllon f(arv11lJ Llld",,/( Cunill~. 148-150. pis. 51·5.1) an: mi.. \il1~ The black glue hd of the laller is alien. It should date ca. 440-420 H.C. and clearl)' dlXs not belong to the pyxis. The boldly extended lo\\~r ked of the boll requires a uTlln,ti:l~ pn'JCt·tin,ti: lid a!\o in Tororllu9195.32 (PI. 8·4,,, and 011\0 l'n:ater hel}!hllU the knob. TlM.'T\" ~m 10 be no cenam cnlcria b) 'AhK'h 10 Jud~ ~hcth~r tht.'\.t' thrl": hdk...\ p}\ldl"'> 'Aen: ul ~ingle or doubt.: fOf"m For dISCUS\IUn of Ih,' P'XI\ fll douh .... t}p..' sel'I). IlbffollclI. 10. ARV, 1277.22·25. I J. .xhefokl. Untt'nuchungf'lJ. 59. no. 583. prov'des a fourth ecntuf) czamplc of a double pyIis, l)-pr A. lI;th a pp:ic:hon of t)~ C. The lid of Ihe p)xidion is of brunl.t· (CVA. Iknmark 4. Cupenhagen 4, pI. 163. 5a-bl. 12. The context \uggest\ a date in lhe second quarter oflhe fourth l-entUf). 1.1, Schetold. U",aSIIl f/lll/}.!"". 59. no. 5R4 lpI'. 74. 70, gO. Ihcrl' d:Hl'l.l J70..l00 IH..1: ARV. ISOJ l'ollflm; MUII'n'ul po Adthl'l.J!Uj.!// RWi// 35. p. tl5. pI. Y 14. xhefold, Unt('nuchuRgt-n. 59, no. 580 (p. 76, there dated 370-J60 B.C.); Arr"Eph 09(2) pis. 5-6. Berlin 33iJ. Schdold. no. 581. pI. 17.2 (pp. 75, % and 9-

and then: dated J()()..3SO B.C.) show\ ,a pyxidion of a different Iype, supported by a tnpanl{e foot and so IS 01 a form ldenlical to the mam box. The knob of the p)xidion i.. \imilar in form to thos.e of the \ingle pyllides of lhe Kerch series. 15. Pder F. C~t, "Anle Pottery of the Later Fifth Century:' HOfNntJ 18 (19491 m. pk. i3.1; -0,2; --.3; 82.12; TalCOlt _od Othel"5. Small ObpclS}Tom the Pn)'x: 11, H('ipula Suppif'ml'nt X. pis, 4.29: 9.118; 13.158 lserond quarter of fourth century): Arias and Hirmer, pl\. 204. 205, 21& 1&, Scht:fold. Untt·nuchuflgt'lJ. 59. 00. 580, 581. 583a. 583b and 584. Unfonunatel}, I do not ha\'e \ufficlent information 10 Ir.""",. the form of no. 584a. As may be secn b). a comparison ~ith the list of slllgle pyxidn of type A of the Kerch \Cries tstt 3hl}\e n. 91 the latter appear to be shghtl) more numl;'n.u) in contradiclion to Schefold's indication. 1'. There is a dass of tall-stemmed. elaborately profiled. marble pyxidcs fe~ of ~hich a~ publishtd The diameter of the concave pyxis is lI'ider at lhe top than al h,l\ al1llrn,:ullenlal ring al the lllp and I flaring bax \UPPllned b} thTff 10-;1 f"'el. It ha\ .. narms: rtlund nm. the paralld edge<; forming a groo\l:. The lid is omamcnt..xt h, J lall knob. bampk' an: Boston Jg.I39'J WAllA 37 119Jql14 75, fi~. I and 2; Hmurun. lrom Broiurun WCH g7 11%31 708, fi~, 14); London 1906.310·21 and BaltImore, W3he..... Gallen 41.2 IK. Shephard. TlIf: Fi5h-tuilt'J MOtU/pr." GI'l,,.l .HlII J..tru}/·UtI An, 40). Unlonunatd) there is no illustr.illlion of Ihe ,hape. Bea.£le) l·lln..ldl:rl-d the dra~lO~ not ,lnClelll. l(cprcwnt3tion.. 01 tall stemmoo marble pyxldo are sontelimt'S found on U!ieS. Such a p}'xi.. is placed no a small chest figured on London E 774 b)' Ihe Eretria Painter /,JR, pI. 57.3). The diameter of the conca\'e vase is ..... idcr at the lop than at the base and it hl.5 a lall 'tern. Anolhoer less ~llboratC' pYllis is hdd by a 1I0man fi~ured on a h)'dna in lhc manna of the Shu\3lcw Painler tAHV, 1211. 3: CVA. Great Brilaln 8, British Museum 6, pi. 88.8}. The conclve pyllis is wider at the lOp Ihan at the base and is supponed on a tall stem \\ ith some indication of a horizontal division tlhc ornamental ring?). The knob is lllso lall. The date of the'll: I~o representations is ca, 430 D.C. Earlier than Ihese is a representation of a tomb scene' ",nh offerings of lelr.ythoi. an oinochoe and I pyxis on the \Ieps of a slelc on I ~ hite ground Ick\lhl)!;, Berlin 3262 by lhe Sabourofl' Painler lA. Greifenhag.:n. Am,l•• AIII1.J(lI'l'rltl', pI. 74; Richter and Mllne, 18). The uppt:r diameter of the pyxis is tlrger {h.1ll Ihc lo\\er; {he knob and stcnl are lall, Add a rcprtosentation on a lebes gamiko::. Ne\\ York 06.1021.199 (AR V. 1IO.l,5; Sambon. Cum'ssa. 68). 18. Haston OUS by Alson tAR ...·. 1177.48; FR 111.99'; Lou\re CA 1589. only I'd prl-..cnl'1l. pattcrnl"d, unallribuled; London E 782. manner of Ihe MeKlia\ Painter tAHV. 1318.97: T. Panolka. A'ltiqut"s du Cllh"lI't du CO",tt' dl' Pourtu/l~s-Gurgif''' [I'aris 18341 pi. 33.3-4); O.~ford 551. manner of the Meidias Painter (AN V, 1.128,98: CVA, Great Britain J. Ollford I. pI. 46,7), The palmene pallern is fashioned exactly a~ on the NClIo York pyJlis. A difference in delail may be noted on the other exampln; ~mall \olute"'i bracket t">er)' other palmene of the pattern. A small fk':at pattern band of venical circumscribed palmeues may also sometimes be found aOIl,'e Ihe picture (In choes b) the Eretria Painler Vl,RV, 1249.12,14.20); the Meidias Painter IARV.131J,II,131 and the Shuvalov Painter (ARV. 1208. 35-30). It also occurs on squat lek)'thoi b) the Eretria Painter tARV.1248,4), the Me'dias Painler tAHV, 1314.16); manner of the Meidias PainteT fARV, 1314,45.47. bO, &2 and 061; Aison tARV. 1174,6-7).

140

THE ATTIC PYXIS

19, H"S~rill 18 (1949) m·)()() and J18. no. 21. pt 85 (Corbett). 20. Schcfold Unrcnllclr'mge... 59. no. 581. pI. 16. 17.2. 21. HeH 86 (1962) 644·645, figs. 2·3. pI. 23. 22. The upper surfaC'e of the knob of Athens \241 is similarly formed. ~ the photograph. CVA. G~~ 2. Athens 2. pI. 20.1. 23. AMV. 1150.28. Three fragments frum the almost cylindrical ""all of a py~is type A atc prcsen·e<:!. Th", largest irn:ludcs the flange for the lid and below il a band of egg and dOl bt:t"'et>h n~crved lines and pan of the ftieLt'. 24. Dr. Guntram B~kel kindly <,urnined the ppis and noted in a kller NO", 10. 1969 with n:gard to the missing foot that it "'as not possible 10 lel1 from the n:maining surface ,,'hether the foot had ooce b~'('n subdi.·ided. Dr. Beckcl fuMher observed that the UPIX'T member of the knob was missing. 25. Llonglotz. Grieclt6ch .. Vas"n i" WiirIb"rg. no. 541. pi,. 2O(}·20l. lb. S"" abo"~ p. 87. 27. I knO\Oo' (hi~ PYli~ only from pllotograph~ and a shon account in 80/ (1962) MS. lig. 4 and pI. 24. 28. Rkht~r and Mi1n~. fig. 140. 29. ARV. 1278,36.38; CVA. Au~tria I, Vienna I. pI. 14.4.8. .lO. ARV, 1279.51 bis.: CVA. France 20. Lann I, pi. 51,1. 31. 8<'rlin F 2519\CVA. Germany 22. B.:rlin 3. pi. IJ8.4).london E iib ICedl H. ~milh, CawIUfl'''' of till' G,w"t (l"d Em/Sc(l'l Vaus i" tI,.. British Al..s........ Ill, 368-369; Ath~ns 17983 (ANV. 1282.2): Athens. Serpicri Collection (Cl Vlastn). 32. Paul Jal·ub'lhal. GrN'k Pim\Olford 19501 1%: liM of "tst'!; "ith pomegrallale knobs. 33. Adophsect 65 (CVA. Germany 11. Adophstek I. pi. 42.1 and 3 thcre dated 375-350 B.C.I: Athcn~ 1243 by the paintcr of that name (AN V. 1319.2): Alh"n, IJb~: Athens. Agora I' 23910. plain AR0rtl XII. 327 no. 1.301, pI. 43. fig. 11. there dMcd 400·390 B.C.I: DreMlen 385 (PI. 89.3); Manner of the Mddias Painter (ARV. 1J28.'~4); London E 776 (pI. 9(1.1): London F. 782 (1'1.118,2). manner of the Mddia, Paintu (ANV. 1328.97). It should be noted hO"'e>'er that ,,'ith the exceplion of OTesden 385 the curved contour tine conneCling the ring foot with lhe lo....cr flange ~tops at its inner tlthn than its OUlcr edge. In addition the"" examplelO are later. ranging in dale from ca. 410 10 375--3SO B.C. 34. Other lids of pylides Iype A are also decorated "'ith figural friezes: WOTCnler 1935.148 by Ihe Eretri~ Painter (ARV. 1250,33: Wrm:~J/~r An M ..ullm A"'....,ll (19.ll)·19.17) 2M-31.IiK. 5: Alhens. Agora P 6845, fragmenlary lid (PI. RD.I.J. AmI<. 6 (1963) 25. pI. 8.1·2): London 1920.12·21.1. by lhe Marlay Painter. lhe lid by lhe Lid Painler (ARV. 1182.1) EM. 11. 8041. These cum pies Slem from the period of the grealest popularity of the pyKis. type C (ca. 430-400 D.C). For earlier esamples: Berlin 4043 by the Amphitrit~ Painler (ARV. 833.47; CVA. Germany 22. Berlin 3. pI. 137. 41; Berlin 2517. lid of pyxilO of special shape by Paint~r of Bologna 417 (ARV. 917.205; CVA. Berlin .1. pI. 137,6). 35. Whit~ ground pYlides of type A: New York 07.286.36 by Ihe Pemhesilea Painter (ARV. 890.173); Ancona 3130 and Alhens. Serpicri (Cl Vlaslo). by the Splanchnopl Painter (ARV. 899. 144·145); Berlin 2261 by Ihe Veii Painter (ARV. 900.116): Alhens 2188. Oxford 1929.754. fr .. BOSlon 65.1166, Toledo 63.19 and Athens. Goulandri by the Paint~r of London D 12 (ARV. 963.94,95 and Ib75.94 bili and 94 ter: Purulipom""u, 434; add Brauron 58 fro, from Brauron): luc~rn~ Market (An

SALLY RUTHERFURD ROBERTS

141

4miq'''', Auktlon V. 7 No,'. 1%4. no. lJ4. pi 37): Balt.more. Wailer<; An Gallery 48,201'1 bl the SOlheb)' I'amter (ARV. 774.1); Louvre MNB 1286 by lm:, Sotheby

1'3,"I':r IARV. 775); O""lOn 98.887 by lhe Heo;iod Painter (ARV. 77,1.11; Braurun Iron' MlrrhmuulO tJJCH 8511961] b31. fig. 10). There are t"o or tn>e Bo London D I~. lhe name-piec~ of lhe artiu (ARV. 963.91>1: and London 0 I I b) the Splanchm'pt Painler l.ARV. 1199.14M; on" of Iype C: MilOSi,,~ippi (el RobinlOon). b)' the Snlhcb>' Pamtcr (AI(ll1\lll~ 13. Note :11,0 Ihe G'(llJpoflh~ Athena-head pYlidt~ (ARV. 122-4.1-3). 41 W/>r('.",I,'rArr ,'.111\0'11'" Am'lIal2 U9.3b·19J'7) 31. fig. 5. ..12. A IIHis tlPC 0 III Ihc manner of thc Mddias Painter is the only uception: AN\'. 1J28.99; I-lichlcr und null. no. Ib\' pis, 159 and 17M: Purulipoml'''u. 479.

142

CHAPTER VI The Pyxis Type C The proportions of the pyxis type C form a contrast to those of type A. The pyxis type C is low and broad. The diameter of the lid is usually more than twice that of the height. The wall is concave or cylindrical. the low foot of a ring formation or variant Ihereof. A low tripartite foot is exceptional. The lid is domed and regularly furnished with a bronze disk and ring handle set at the renter.! The pyxis type C is primarily a figured type; few examples are known in black or plain. l The lid forms the greatest area so it is natural that Ihe figured frieze of the type A pp.is is moved from the wall to the lid. The wall is merely decorated with a wreath of leaves or left black. When exceptionally the wall as well as the lid is decorated the effect is overty ornate. The concave curve of the wall and the continuance and completion of this curve by the side of the lid in examples of ca. 430 a.C. implies 3 dependency on type A. The fact that the type C appears long after the pyxis type A has been established. is also suggestive of this derivation. A certain number of artists are known to have decorated pyxides of type A and C. the Marlay Painter. Lid Painter. the Sotheby Painter. Painter of London E 777 and the Painter of Athens 1585. There is a change however in the pattern of production. Pyxides of type A. numerically speaking. are decorated by cup painters.

144

Su I \ Nt'THFRfl RD ROM~RI~

I IIF ATTIC PYXIS

The greatest number of identified artists of pyxides of type C afC from the circle of the Mcidias Painter. The repertory of shapes decorated include the hydria. lekanis. squat lekythos. lebes gamikos and loutrophoros. Type C is a latecomer. Numbe~ do not appear umit about 430 H.C. but then the type is prevalent until about 390 H.C. After this there are fewer examples and production stops around 150 B.e. That this type was made before 430 H.C. is clear fTom IWO examples. London 1907.5-19.1' dating 450-440 H.C. and a white ground e:rample in Mississippi by the Sotheby Painter of ca. 460-450 H.C. It is also c\"ident that a closely related type' was made contemporaneousl)' in materials other than clay. Lu.xurious marble examples are kno\\n from Brauron.· The prome of glass pyIides and especially of thdr lids shows their affinity with clay pyxides of type C.s There are also parallels in .....ood.'

PRECURSORS Londol/ /907.5-/9./. PI. 85.3. Bronze handle missing. H. 0.044. H. with lid 0.073. D. al rim 0.133. D. of lid 0.162. H. of foot 0.005. Lid domed .....ilh lighlly raised ring around the center. rim slightly convex offsel by a ridge. Wall of concave curve exaggerated al the base. ring fool. Lid: frieze between irregular reserved lines; rim: herringbone. Wull: laurel pattern. Red-figure, women; JHS 41 (1921) 145, pI. J; Agora XII. 176. no. 20. 450·440 D.C The London pyxis comprises an individual combination of features. Taken by themselves the single features are not unusual; D. concave wall strengthened at Ihe base is combined with a dish foot. The domed lid has a projecting rim. The contour of the wall owes to the pyxis of type A and may be

145

In the A-C CIa"". The foot I}pe ho",~\el i~ characterl~til of 1Ill' <.h,,>, ot Athem 1243, rhe prolile of the lid is nOl ex,actl) Juplic3ted in an~' cia..'>. :he ~I\-Ie of the lid friele iodic:!te'> a dale around 450 8.C.; ,k(,Jlb. 01 shape set"m 10 gi\'c a slightly laler dale. The conca\e nll>c tlf the "aw :md debased laurel pallern are characleristic of lhc ~l"Cond generation ul the Penlhc~ilca W~'r",hop l'ommencing ,Lr,'umt +W B.C. d LoU\re CA bJ6 and LP 2bQ2 IPb. 41.1 and .121. HI,' t~ pe of fuol may also be lI}und ;n t)PC A 10 lhe Oi,h·li)l,lt Clas..

"I .. b<)UI 440 H.C.

\I'HLUlppi P 144 fex Robinson), from Greecc. PI. H5.1. H 0.036. H ",ith lid 0.055, D. at rim O.Q94, D. of lid 0.145. H. oj 1001 0.004. High domed lid ~parated from the ",;de flal rim by a black tll"uldlOg Unden.ick uf rim slightly coO\"ex. Wall conca\'e with pr'IJe(,ting lo~er flange al base sepat:lted by a groo\·e. lid- fticLe. addorsed palmetlcs linked by \OIUles, Underside of lid llange; lea\e~ and berries. lrUt'rUlr nr/id' dOlled circle and [WO hrtlad hlack circular bands "'ilhin n:trro.... bands; honum: same. \\.111 black: Itlln'r tlul/g(" oli\'c leaves and ~rrics_ Ih~' SOlhcb} Paintcr. "Inte ground, fight: AHV, 775.2; ('VA. t _', \,4, I he Kobinosol1 Cullection I. pI. 47.2 Uhc bronze handle i.. ~,lld 11) be modern). Cu.IIJO-450 H.C. The Missis'ippi Pl xis gives Ihe earliest reference to the corresponding shape of marble pyxis. The base is flat (without tooo a.. ;11 many marble examples bUI rarely in clay. It may well be an adaplation of a marble pyxis such as BoslOn 81.352.7 The 1;lct that such marble pyxides existed at this lime is corroborated by the context of a Spina grave group' and a representatiun of 'm'lI a marble ppi.. on the Ludm'i!>i ThrtHle Wl. M5,2).'

146

TilE ATTIC PYXIS

THE A-C CLASS I. Alhens 17983.

P1.87.1. Fig.I6d. H. 0.05. H. with lid 0.07. D. at rim 0.145. D. of lid 0.181. H. of fool 0.008. Bronu ring handle preserved. Lid domed with two lightly raised rings around center, step down to rim articulated by a ridge. COnC3\'e cUO'C of wall e:raggerated at base. ring fOOl. Lid: egg and dart. frieze between reserved lines. laurel. Wall: black.

The Lid Painter. Helios. Selcne and Nyx: ARV. 1282.2. Cu. 4)0 B.C.

')"1 LV RLTH£RfLRD ROIIERn

147

Fig. IM. 1{1Il~ handle mi~slng. broken In many piece<; and mended. some ,hip" nll'>~ing. H. O_OJ8. H "'ilh lid 0.53. D. al rim 0.113. D. of h.l 0.14. H. of fOOl OJI03. l.id ctnmt.'d .... ilh 1.... 0 rai\Cd rings at center: ridge articulates jUlll'lio!l .... ilh ,loping rim .... hich is grOO\'ed at ils outcr edge. ("llIlC
-1 thnH. CI·rumlolS /5/1},

~.

2. A,hnlS /597. from Athens. 1)ls. 86,1. 87.2. H. 0.05. H. with lid 0.071. D. at rim 0.17. D. of lid 0.195. H. of fool 0.007. Ring handle missing. Lid domed with lightly raised ring around the center. step down 10 rim. Concave cuo'c of wall exaggerated at base. ring fOOl variant. Lld: debased tongues. black band. frieze between reserved lines. black band. debased tongucs. Graffito on undcnide 01 lid. Wall: black; bouom: area .....ithin the ring fOOl ~rved with four circles. Red·ligure. sealed )"oulh with Eras and ike. IwO .... omen. In the field. column. kalalhoi. wreaths and a fillet. also planlS. LaSt quaner fifth C('IIIU')'.

3. Athe"s. Agora P /5571. Pis. K6.2 and 87.4. Lid missing and aboul half the body. H. O.OS. D. at rim esl. ca. 0.125. Inset flange for lid. concave curve to wall exaggerated at base. ring fool. Wall: black; botrom: reserved with two (perhaps three) circles and outer wide glazed band. Aguru XII. pp. 176 and 327. no. 1300. pI. 43. lig. J I. There dated ca. 400 D.e. Deposil H 19;1.

Ik,.!il/ F 25/1J. from Athem.. PIs. 8tJ.3. 87.3. Fig. 16a. H. U.038. H..... ith lid 0.06. D. at rim 0.14. D. of lid 0.171. Hing handle prc~cned. Lid domed with two lightly raised rings around lhe center. step down 10 sloping rim. Rim grooved on euher ,ideo C0I1Ca\C cu","e to .....all exaggerated at ba~. ring fOOt. / Id do.:ba~cd IOllgUt.~. blllCk band. frieze bel.....een reserved lines. bl.lck ridge. debased tongues. W"f/ black; hUllom series of concentric circles and .... ide black bands. Rect-ligure. Helios. Selene and Np:: CVA. Germany 22. D.:rlin J. ilL 138.2-4. For the subjecl cf. Athens 17983 (no. I); Athens. ~rpieri (ex Vlao;lo); London 1920.12~21.1 VHS 41 !192JI pI. b); London E 776 and Oxford 1914.11 (CVA. Great Britain 3. Oxford I. pI. SO. Iq 8oeotian red·figure fr. of a pyxis lid). ell. ./30 RC b. N,-\\' Yllrk 06./0Z/./20. said to be from Attica. Bronze ring handle prcscT\·cd. H. 0.06. H......ith lid 0.076. D. at rim 0.127. D. of lid 0.165. H. of fOOl 0.009. Lid. domcd ..... ith step do.....n 10 slightly ~loping rim. Lightly rai~ed ring around center. Concave curve of .....all strengthened at baloc. ring fool. I id: debased tongue and dot. frieze bet.....een rcserved lines; rim: ckba..ed tonguclo.

148

SAllY

IllF Arrlc PVXIS

\VtllI: laurel paltern between reserved lines. base line reserved.

BmlOm: dotted circle and two circles. All reserycd

portions

reddened. Grafitto on unden;ide of lid and box match. Red-figure. Eros presenting swan to woman and woman; Eros !lying right after Nike. seated woman enframed by vertical bands 01" leaf and belT)' pattern; Richter and Milne. fig. 136: J. Noble. TIll' Tl'ch"iquf.'s of Puill/oo Aflk Pottery. 26. and note 93. fig. 161. LUJ"' quunf.'r jiflh century B.e. 1 he preceding pyxides have been loosely grouped together on the basis of certain common characteristics. The ~'all forms a concave curn: much streng1hened at the base. The side of the lid continues and completes the cur\'C~. a characteristic oorrowL'd from Ihe ppis of type A. The lid carries the frieze as is canonical for type C and ;n thi:. class the wall ;$ usually black. The proponion of ht'ight to the diameter of the lid varies and also the organization of the lid decoration. These pyxides date from ca.

4.10·400 B.C. The prome of Athens 17983 tno. J. PI. 87.1) is similar to that or no. 2 (Athens 1597. PI. 86.1): in both ont' may obsen'e the conca\'e curve of the wall exaggerated at the base. The side of the lid completes the curve of the box. The main piece (no. I) is intact. The foot type differs. The contour of the wall of no. J (Athens. Agora P 15572. PI. 86,2) is similar though the curve is less accentuated at the base. It is probable that the mi:.sing lid was decorated. as Talcott and Sparkes noted. for black examples arc rare. The pyxis from the Ceramicus (no. 4) is the only completely hlack example of type C which retains its lid. It is \'ery finely aniC'ulated, The lid is cClO\'ex with two lightly raised rings around the center such as would usually border a central paltern band as on Berlin (no. S, Fig. 16a). The wall of the Ceramicus pyxis forms l\ COnC3\'e curve accentuated at the base and the side of the lid complctes the curn' of the wall. The underside has three ridges. Greater care went into the potting of this black example than may

RUTHERfURD ROBERTS

149

be seen 10 the majority of red-figure pyxides of type C. Nu. S (Berlin F 2519. PI. bid. Fig.. 16a) like no. I is intact. The .... all is of a concnc cunC' much strC'ngthC'ned at thC' base and it ha:. the usual ring foot. The contour of the side of the lid differs from no. I ,md 2 ;n that it does not l'ompletc the cun'e of the wall but projectS horizontally. 111 this feature it comes closer to the characteristic side profile of the pyxis type C (cf. the lid of Athens 1243. Fig. 17a. or for a later fourth century example that of Munich 2725, Fig. 1%). Thc underside of no. 5 (PI. M7.3) is most elaborately moulded and decorated. A sequence of concentric circles and ever wider black bands covers the entire area. A black raised ring and the ring foot itself are incorporated in the design. In contrast the decoration of the underside or Athens 1597 (no. 2. PI. 87.2) b simple. The area within the ring foot i~ resen'cd "ith thn..~ concelllric circles. The area without the ring foot is glazed and moulded. The decoralion of Athens, Agora P 15572 (no. 3. P\' 87.4). i... :.Iightl) more elaborate; two (perhaps three) circles are cnframed b)' a wide black concentric band. The area without the ring fOOl is black and moulded. The underside of Copenhagen 5380 shows the most elaborate sequence of concentric mouldings. No. 6 (New York 06.1021.120). like the Berlin pyzis and no. 1 retains its original bronze disk and ring handle. The conca\'e cune or the wall is strengthened at the base and it has the usual ring foot. It differs. however, in a number of respects from the OIhers of the class. It is taller in proponion to its width. In addilion while the side of the lid is cun'ed it lies ....·ithin the contour line of the wall so thu there is an interruption or jog in the continuance and completion of the concave curve of the wall. Finally the .....all is embellished with a wreath of leaves, which is canonical for type C in general but odd for Ihis class.

COMPARE

Copenhage" 5380. from Athens. PI. 86.4. H. 0.03. H. with lid 0.063. D. at rim 0.119, D. of lid 0.157. lid domed. with central knob handle and IO\\-er rim. groo\'ed at

152

'53

THE ATTIC PYxIS

CLASS OF ATHENS 1243

1. Athens /243 (CC. 1960). PI. 88.1. Fig. 17a. H. 0.062. H. with lid 0.08. D. at rim 0.121. D. of lid 0.156, H. of foot 0.009. Domed lid with lightly raised ring around the center, step down 10 horizontal rim. Slight concave curve to waU with sloping keel. ring foot. Lid: frieze bet""een reserved lines. reserved ridgc!, rgg and dot (inverted). WDII- wreath of olive leaves. inverted egg and dot on lower keel. Botlom: dotted circle, circle. Yl'ide black band. rl5erved band. Matching mitt incised on Hd and bottom. Painter of Athens 1243. Aphrodite seated and woman; two Erolts making music al the altar of Aphrodite: ARV. 1319.2.

2. Athens, Agot'P P 23910, from Athens. Center of lid and bronze ring handle missing. Jnlored. H. 0.OS2. H. with lid 0.064. D. at rim 0.112. D. of lid 0.115-0.135. Domed lid with lightly raised ring around the center, step down to a horizontal rim. Very slight concave curve to wall. sloping lov..er keel. ring foot. Plain, Agoro XII. pp. 176 and 327, no. IJOI, plo 43. fig. 11. There dated 400-390 D.e. Deposit Q 15:2. 3. Athen.f, from Athens. Ring handle mining. H. 0.04, H. with lid 0.06, D. at rim 0.106, D. of lid 0.13. lid domed with two lightly raised rings around the center. flat rim offset by ridge. Wall slightly concave with sloping lower k«1. ring foot. Wall: myrtle and berry; lower keel: egg and dot. Boltom: dot, three circles and two black bands. Manner of the Meidias Painter. seated woman with Eros. seated woman and woman, dancing woman and Eros; ArchEph (1968) 17·19. pI. Z. fJ and y (D. Schilardi); Puralipome"a. 479. 96 bis. Ca. 400 B.C.

4. London E 782. from Athens. PI. 88.2. Fig. l7b. Ring bandle missing H. 0.032. H. with lid 0.043, D. at rim 0.082. D. of lid 0.102-0.103. H. of foot 0.003. Domed lid with rid~ articulating junction with sloping keel. Wall concave with ridge marking junction with sloping kn!o'er keel. 10V0 ring foot. Lid: egg and dot then vertical. circumscribed palmette5 with leaf below in interstices and above volutes bracket evrry other palmene. Odd man above head of &OS. Vertical palmene between two oblique circumscribed palmettes whose central petal pierces the tendril--this pattern repeated on other side of lid and in the mid spaces on one sKie a seated Eros and 00 the other a .·oman with a phiale. Egg and dot. Wall: myrtle and berry; egg and dot on lower keel. Bottom: dot and two circles•• ide black band. Manner of the Mcidias Painter. palmettes; Eros; maid: ARV. 1328.97; T. Panofka. Antique.f d" Cabinet d" Comtc de POUrTulf'$·Gorgiu. pi. 33.3-4. Ca. 410 B.C.

5. Car/sruhe 296 CB 1873).

PI. 88.3. Ring handle missing. H. 0.056. H. with lid 0.072. D. at rim 0.139. O. of lid 0.17, H. of foot 0.015. Low. domed lid with lightly raised ring around the centcr and flat rim. Wall concave with lower keel separated by a groove. Iow ring foot. Lid: frieze; n"m: egg and dot. Wall: olive wreath; lower flange: egg pattern. Manner of the Meidias Painter, Dionysos seated, and Eras; woman seated, and Eras; youth and woman (maid); ARV. 1328.95; CVA. Germany 7. Carlsruhe I. pI. 29.3-4. Ca. 390 B.C.

b. Dresden 385 rJ,V 1645). from Laurion. PI. 89.3. Ring handle missing. H. 0.047, H. with lid 0.06. D. of lid 0.145. H. of fool O.Qt. Domed lid with lightly raised ring around the eeoter and

154

IS>

I HE ATTIC PYXlS

sloping rim offset by a ridge. Wall concave with moulding at top and a sloping lo.....er keel at the base. ring foot. Lid- frieze between slightly raised ridges. egg and dot (inverted). Woll: black with egg and dot (inverted), on lowu keel. Manner of the Meidias Painter. woman sealed and ,>,oman: Ems and ....' oman: ARV, 1328.94.

7. London E 776. from Athens. PI. 90.1. Ring handle missing. H. 0.046. H. with lid 0.064. D. al rim 0.057. D. of lid 0.145. Lid domed with (....·0 lightly raised rings around ~ntu. double curved moulding and then step down to sloping rim. Wall. concave with moulding at top and a step down to projecting lmnr keel. low ring foot. Lid' debased tongues. black band. frieze between resernd lines. black moulding. debased tongue and dot. Wal/: wreath of mynle leaves and berries. Red·figure, Eos and Selene; Cecil H. Smith. Clua/ague of tllr Gre,,! and Etruscan Vases in tll,. Bn'tish Museum. Ill. E 776; JHS 41 (1921) 144. 8. Berlin 2720. from Attica. H. 0.08. D. 0.17. Flattened. domed lid with lower horizontal rim. wall cylindrical .....ith moulding at top and projecting lower keel. ring foot. Lid: frieze bttw«n reserved lines, black band. egg and dol. Wul/: addorst:d palmettes linked by a scroll. black band, egg and dot. The Painter of Athens 1585. woman seated. with ErO!i and woman; ARV. 1360,4; Furtwangler. La col/ectiOIl Sabouroff, pI. 64. Companion-piece to Athens 1242. Ca. 4/0 B.C. 9. Athe"s 1242 (CC. 1958). from Athens. PI. 89.2. H. 0.075. H. with lid 0.085. D. at rim 0.137. D. of lid 0.17. H. of fool 0.008. Lid domed with two raised ringi around the center and lower

horizontal rim separated by • r.ised ring. Wan concave with mOlllding at top and a projecting lower keel. ring foot:. Lid: debastd tongue .nd dot, frieze between reKrved lines, egg and dot. Inten'or of lid: black. Bottom; dot within two small circles. circ~ and wKle black band. Wall: addorsed paJmettes linked by • scroll. black band. egg and dot. Painter of Athens 1585. ""oman seated. with ""'oman (mistress and maid) and Eros; woman seated. with woman (mistress .nd maid); Eros and ,,·oman balancing sticks on their hands; ARV. 1360.5; EpltA,d (874) 485. Cll. 410 B.C.

10. Toronto 370. from Athens. PI. 89.1. Ring handle missing. H. 0.058. H. with lid 0.069. D. at rim 0.129. D. of lid 0.162. Flattened. domed lid with lightly raised ring around the eenter, flat rim offset by rKlgr. Wall slightly conrave with double ridge at base articulating juncture with sloping lower k«l. ring foot. Lid.- frieze. invrrted egg and dot on rim. Wall: vertical palmettr and spiral plant pattern punctuated by rtots and circles; lower keel: invened egg and dot. Manner of the Meidias Painter. woman seated. with Ems and woman; two women; woman seated and woman: ARV. 1328.%; Robinson and Harrum. pI. 58. 11. Wl';rzburg 543.

Bronze ring missing. H. 0.058. H. with lid 0.068. Low domed lid with ridge at junction with nat rim. Wall conca\'e with step down to convex lower k«l. ring foot. Wall: myrtle and berry; lower Iceel: egg pattern. Bottom:area within ring foot reserved with dotted circle. circle and black band. Wider circle of Meidias Painter. seated woman. Eros with woman: seated woman. woman running towards her pursued by Eros; LanglolZ. Gn'echische Vasen ill Wurzbu'l(, no. 543. pI. 202. Certain common characteristics distinguish the PY1ides of this

\5<>

da$S. The wall is cylindrical or slightly conca\'c and the lower keel I~ dislincth'ely set ofT from it. The fOOl is a variant OD the ring IYpe· A cun'M contour line connects the ring (001 with Ihe lowu nunge so that the lo.....er third of the pyz"is gh'es the appearance of a lo~ dish. The majority of artists connected with this class paint in the munner of the Mcidias Painter and the period covered is from about 410 to 390 D.e. A pyxis. type C. dose to lhe Meidias Painter and .... hich nlay be: by his own hand is of a different mode!.l. The profiles of no. I (Athens 1243. Fig. 17.) and no. 2 (Athens. Agara P 23910). afC much akin. The lower keel is distinctively set off from the wall. The lid is domed wilh a horizontal rim projecting above Ihe IOlA"er keel. A curved contour line connects the ring foot with the JaYo'er keel. Athens 1243 is the name-ptece of the artist. a follO\\er of the Meidias Painter. No. 2 is plain but polished: the finish has suggested the influence of pyxKles made in other materials.

The profile of london E 782 (no. 4. Fig. 17b) is close 10 that of Athens 1243 (no. l. Fig. 17a). though iu proportions are lower and broader. The lower keel is distinctively set ofT from the slightly concne wall. The ring foot is 10\\ and joined to the ~wer fl"nge by a curved contour. The base clearly echoes the shape of the lid. the conveJ:ity of one answering to the conH:J:ity of the other. The low broad proportions of the standard-sized Carlsruhe pyxis (no. 5. PI. 88.3) are similar as is the low dish·like foot. The fOOl, however. differs in detail having a moukting OUtside the ring. The London pyxis is small in contrast to the other members of the class. almost as small as the later pyxtdion. Athens. Agora P 12975. 15 The lid is completely articulated with a hole at the center to receive the usual ring handle. This is in contrast to a lid in Munich l l of comparable size ID. 0.105) whose central medallion is unpierced. The same is true for a miniature lid from the Athenian Agora (P 13097. PI. 72,2).u A pyxis (no. 3) of standard size in the manner of the Meidias Painter was recently found in a tomb near the Eriai Gates in

\57

Athens. It appears to conform to the characteristics of the class and 10 be quite sinlilar to London E 782. It has a ring foot joined by a cuned contour to the !ovt'er keel as is usual in this class. It has the ordinary egg and dot pattern ca the rim and I~er flange. Like London E 782 (no. 4,Pt. 88.2). the wall is embellished with a mynle wreath. The angle from which the photograph of the pyxis in Dresden (no. 6. PI. 89.3) has been taken, emphasized the foot while di!iltorting the shape of the profile. The ring foot is connected by a cun·«J contour line to the outer rather than the inner edge of the lower keel in contrast to no. I (Fig. 17a) and no. 2. London E 776 (no. 7. PI. 90.1) in its measurements and proportions comes very close to the pyxis in Dresden. It conforms to the characteristics of the class in its main features. The wall is !illightly concav~ and the lower keel is distinctly set off from it. The 10.... ring foot is connected to the Iowet'" keel by a curved contour. The profiling of the lid. however, is very individual. The lid is domed .....ith two lightly raised rings around the center bordering the pattern band. This is quite usual. but the double curved moulding setting off the rim from the main convex surface and the double curved profile of the side of the lid are refinements unparalleled in the class. The artist in additton is an outsider. not a member of the Meidian circle. The pyxis is unatlr;butcd. No. 10 [Toronto 370, PI. 89.1). has a domed lid some.... hat naUened in contour. The wall is slightly concave with a sloping lo.....er keel distinctly offset by a double ridge. There is a simple ring foot. at variance with the usuaJ foot type of the class. The rim and lower flange: are omamented by an inverted egg and dot pattem. This is a favorite pattern formula also found on Athens 1243 (no. I), Dresden 385 (no. 6), a lid in Heidelberg l l in the manner of the Meidias Painter. and a fragmentary lid Athens, Agora P 98. n This inversion of the usual egg pattern may also sometimes be obsen'ed on lebetes gamikoi and loutrophoroi. The profile of Wurzburg 543 (no. 11) is very close to that of the pyxis in Toronto. The wall is concave with a 100000-er flange distinctly offset by a ridge. The Hd is of a flattened domed

ISO

ISI

THIO ATTIC PYIlS

SALLY RUTHEllflillD ROB£IlTS

either edge. COnC3\'C curve of wall exaggerated at base. Low ring fool. Lid: Head of Athena, left. in central tendo. surrounded by two reserved circles. olive wreath, ulive wreath (only outer leaves and stalk depktedl. Wall: black. Bottom: elaborately moulded both within and without the ring foot. Group of the Athena·head Pyxidcs. Athena: AIlV. 1224.1; CVA. Denmark 4. Copenhagen 4. pI. 163.7.

The conca\e cune of the wall is much in..:reased at the base and there IS a low ring foot. The "'all is black. The side of the lid dOC'i not continue and complete the cune of the wall but projects almost horizontally above the lower nange. The profile of the btlCl) may be compared with Athens 1597 (PI. 86.1). Copenhagcn tPI. 86.4). and Alhens. Agora P IM8J5;u the latter is the dosest parallel for the contour of the wall. For another red-figure Boeotian pyxis lid compare Oxford 1914.11 which has a representation of cosmic deities. U

Ca. 410 R.e.

New Yurk 23.160.14. Fig.loc. H. 0.035. H. with lid 0.052. D. 31 rim 0.136. D. of lid 0.161. H. of foot 0.003. Lid domed with lightly raised ring around the ~n1er. sloping rim separall.-d b)' ridge. Conca,'c CUTYC of \\311 exaggerated al base. 10..... ring foot. Lid: debased longue and dol. Head of Alhena right in central tendo surrounded by two reserved circles. olive wreath (inner leaf and stalk), olive wreath (inner leaf and stalk). Wall: black. Boeotian red-ligure, Athena. ARV. 1224,2 (the inventory number there given is incorrect). 425-400 H.C.

The Copenhagen pyxis (PI. 86.4) shares many of the characteristics of this class. The wall is black and of a concue curve much accentuated at the base. The side of the lid is curved but lies slighlly inside the line of the wall. Thus there is a jog or interruption to the curved contour line of box and lid as in no. 6. The convex lid is furnished with a knob. instead of the customary ring handle. a The lid is decorated with a helmcted head of Athena in profile to the left. The knob is placed at ear level. The decoration of the lid of a Boeotian red-ligure pyxis l l forms a parallel to that in Copenhagen. The head of Athena is in profile to the right. Both olive crowns are halved instead of just the outer one and it is the inner leaves which are shOl\-n rather than the outer.

PYXIS TYPE C BY THE PAINTER OF LONDON E 777 MlIllich 2723. from Greece.

Fig. 16b. H. 0.042. H. ",ith lid 0.055. D. at rim 0.145. D. of lid 0.175. H. of foot 0.005. Low. domed lid with two lightly raised rings around the center. ridge at juncturc with sloping rim. Wall. cylindrical with moulding at tup ;lnd a ridge at junction with sloping lower keel. lu" ring foot. Lid: egg (double bordcr and black core) and dot. frieze; dm: egg (double border) and dot. Wall: laurel: 100H?r Ic.ul: black. Painter of London E 777. mistress and m3ids; ARV. 944.85; CVA. German) O. Munich 2. pis. qg.1 and 102.3. For the subject cf. Athens 13676a (PI. 69.2). The thcme looks like a footnote to a lebes gamikos. This is the only pyxis. type C. decorated by the hand of a Penthesilean. The pyxis while having a strong family resemblance 10 pyxides of type C in general does not fall into a class. The c\'idencc at hand suggests that the I'cnthesilea Workshop did 1101 become involved in the production of pyxides of type C. The low. broad proportions. the cylindrical wall. the projecting beaks of the rim of the lid and lo.....er nange indicate a date to\\ard~ the end of the fifth century.

158

I"," 1\ nil I'nlls

SAllY Rl,ITHERFURD ROIERTS

~'Ollligur3Iion_

h has a simple ring foot. The dimensions of the hod} aTC dose to those of Toronto. Unfortunatel)'. the pyxis .... as damag\'d in World War 11 and it is no longer possible 10 ~ l't'nain of the diameter of the lid. lO Langlotz attributed the pyxis 10 the cia-le of the Mcidias Painter and dated it around 400 B.e Ueazle}' did nOI include this pyxis in AR V and the style while dcriH'd from the Meidian manner seems further remO'o·ed Ihan those there listed. The egg and dOl pattern on the rim of the lid and on the lower keel is of the normal \'anety.

ODD PYXIDES l. Af/ll'l/s 1594 (CC. 1540).

PI. Ql.U. Fig. I k

H. 0.051, H. with lid 0.058. D. i1t rim 0.125. D. of lid 0,143. H. uf fOUl 0.003. Flattened domed lid with IwO lightly raised rings Mound the ccmer. rim with concan: face. Wu/l. slight concave curv~ wilh slvplng lo.....er keel. 1010\ ring fOOl. Lld. twO cocks confronted, tongues. frieze betwttn resen'ed lincs; rim: on upper fa~. tongues. on underside. egg and dart (im·er.ed). 'Wall: frieze: thrtt pairs of animals confronted and one ~Inglelon 10 right: lower ked. egg and dart. Red-figure. horscrace. BCH SQ (1965) 9Q-1OO. fig!>. 8-9 (Bruneau). 4JO·41O D.C.

2. LoulIN! CA 1586. PI. QO.J. AboUI half the wall and nearly a quarter of thc lid reslnred. Hillg handle preserved. H. 0.034. H. with lid 0.046. D. at rim 0.113. D. of lid 0.135. lid domed with lighl1y raised ring around the ('enter, rim with COnC3\'e face offset by a double ridge. Wall. concave with sloping lower keel. Lid: frieze: n'm: egg and dol.

ISO

Wall and lo..... ~r keel black; bOllom: black. Shmalov Painter. Eros pursuing a woman: Eras pursuing a Io\oman; ARV 1210.68.

J. I 0 .. ,'re CA 1589. Melal disk. loop and pan of ring presen'ed. D. 0.126. Lid. domed wilh t.....o lightly raised rings around the center. Light-weight and thin-walled. Lid egg and dot; vertical palmette and lotus flower linked by \l::roIl5. The scrolls cunc upward beneath Ihe palmcllcs and do\\ nward beneath the lotus flowers. the latter with an additional flourish. dOlled circles above; egg and dot; vertical circumscribed palmcllcs wilh leaf below in inlerstices and above volutes bracket evcry other palmette. Red·figure, patterned. lid only preserved. 4. f!t'ldtdbers: 69.5. 11.0.048. D. of lid 0.13. LoY. domed lid with lightly raised ring around c:enter and raised ring articulating junetu~ Io\'ith rim. Wall slightly concave with projecting lower k«l. Iow ring foot. 1nterior of ring: painted star; I'xlaior '!" ri"g: series of black mouldings articulated by raised ring... Lld.- black with resen'ed medallion at ~nler with N'O glazed circll..~ around ~ntral dot and OUler reserved band. Wall' \·enical. circumscribed palmettes alternating with lotus flowers joined by scrolls. The scrolls curve upward beneath the palmettes and downward beneath the lotus flowers. Dotted circles above lotus flowers. Red·ligure. patterned, R. Hampe. Kala/og der SummJung IIIII/h'r Klei"kullsr der U"il'ersi'ul Heidelberg: ll. Nl'lwrwuhunRI'I/ 1957-1970. no. 80. pI. 56. Cu. 430 B.C. S. Bruuro" MUSt'llm 97 fr .. from BrauroD. Ponion of wall and lower projecting keel preserved. Underside elaborately moulded (black worn). Egg shell fabric.

I(,()

l':l1mclte

SAllY RUTHERFURO R08ERTS

IUF!\III( PYl(],

a1terna[in~

with lotus Ou\\cr (addorsed: lotus abo'"e

f.l1r:lelle. palment' abovt' If'lus!. I ""T'- k"l>l: egg and dan. l\.'ll-ligurc. pattcrner!. ('/1. .f3f) H.C.

Ilwre arc sc\"cral odd thin-walled pyxides of a light and delicate ,.lhru: from the )"cars 4.10-420 B.C. Athens 1594 lno. I. PI. 90.2) has a Oallcncd domed lid \\11\1\1: rim halo a conca\'e face. The \\ all is cylindrical with a down-turned 1\lller keel. The low ring foot is joined by a CUfycd conI our 10 the ha~e of the IO\'ocr keel. "J he protilc is relah:d lO that of the 1;,\Il'r Cla" of Athens 1243 (er. Fig. l7a). The central medallion of the lid has cocks confronted y, ith (II,() drcb for pUn('iU:ltion between thenl. There is a !>li~hl bit uf "loratiun :H the "cry {'emer. 110 hole remains. It l>C('l1lS likely Ihal th" hd wa... unpierccd, for a brOIl?e di...k I'.ith a ring h:1I1dk IIIJllld h"I\." covered the tnmlo composition Egg and dart pattern ,'I nament') the side of the rim :.nd the lower keel, normal below and ilt\t:rted above making an effe{,tive Ibme for the delicately \,.'xecutl'd animal frieze. Thc domed lid 01 a pyxis in the I.ouvre (no. 7. Pt. ~.J) abn llil'i ,I rim with a concave face. The Wit]] is concave with a spreading, Cl'IUCX base moulding. There is no foot: the box rests on a low moulding lie! well in from the edge of the lower keel. Thc lack Ill' foot is a rare IcafUre for a clay pyx;s of type C, occurring also on the early white ground example in Misllissippi H but frequent on the related marble type. U The LOU\Te pyxis ill attributed to the Shuvalov Painter. Only four figures executed in a delicate miniature style people the lid. An Eros pursues a woman who looks back at him while neeing ane! the like. The few figures and amplt> space surrounding them are in contrast tll Ihe compositionll in the m'lnncr of the Mcidias I'ai Ilter. l1 .\ li~ht and fragile dOlIll.."rn bands the main one an elegant anthcm;on pattern.

161

PYXIDES TYPE C WITH A TRIPARTITE FOOT I.

BU~/{I"

04.18. from Athens.

Bronze ring handle missing. H. 0.033, H. with lid 0.045, D. at rim 0.113. D. of lid 0.134. H. of foot 0.005. Lid domed with raised ring around the center, ridge articulates juncture with sloping rim. Concave curve to wall with projecting lower keel, 10""-, tripartite foot. 1.ld· vertical, circumscribed palmettes with leaf below in intl'r:.tices. Volutes intended to bracket every other palmette but l".rried out somewhat haphazardly. Odd man above figure of Athena: fricle, egg and dot. Names inscribed: OAYllEYL A9HNM, 4lYAONOH, ~~IKA, KAEOflATPA, /lEYKlnnH. Ai:.on, Odysseus and Nausicaa, ARV. 1177,48 "Restored: the ltl\\er paris of all the figures are modern": BMFA 3 (1905) 31; 1'",."I;I't)II/(>IIO. 460: T. B. L. Webster, Poltt>r alld Patron ill Cf"s.I';nJ! AtJIl'IIS. ('11.

256·257.

420 /J.G.

PI. 92. Fig. 18a. 2. Oxfurd 551. Ring handle nllssmg. H. 0.078. H. with lid 0.093, D. at rim 0.152, O. of lid 0.197, H. of foot 0.007. Lid domed with lightly raised ring around the center. Wall cylindrical with projecting lower keel, grooved near the outer edge, low tripartite foot. Lid: vertical. circumscribed palmettes with leaf above and below in imerstices, frieze between irregular reserved lines, egg and dOl. Wall: frieze, black band between reserved lines; lower keel: egg and dOl, groove, black band. Close to the Meidias Painter, woman seated and three women: woman tying her sandal and woman: woman seated, and Eros: three women; woman dressing, and woman: woman seated, and Eros: on the lid; woman seated and two women: woman sealed and Eros; woman and Eras; two women. ARV. 1328,98; 1315; CVA. Great Britain 3, Oxford I, pI. 46,1-7 and pI. 47,2 (there dated end of the fifth century); Paralipomena. 479.

162

J. COfl4'"hugl'n 5379.

-I tiE ATTIC PYXlS

163

PI. 91.1.

Bronze ring handle prcscne
The contour of the lid of Oxford 55) (no. 2. PI. 92) connects it '" ilh that of Aison and also with the marble pyxides with high domed lids mentioned above. The wall is cylindrical ",ith a lower !olopmg keel ",hose utension is matched by the projection of the lid. rhere is a 10\\ tripartile foot. 1S The fineness of articulation and the elaborate moulding of the foot and underside of the box are commensurate ",ith the lavish deroration of wall and lid. Both the lid and the wall are decorated with a frieze, 3. rare feature for a pyxis. type C. The pyxis presents a bejeweled aspect. The flesh of the Eroles is painted white and there are abundant details in raised clay which are gilded. The proportions and size of this pyxis bear no relation to no. I. It ha!> the largest lid diameter of fifth century pyxides of type C and heralds a fourth century group which is characterized by large Jimensions and lavish decor. It has been atlribult,'d to the manner of the Meidias Painter and Bculey noted thal it may be by the painter himself.2' Pyxides of the Class of Athens 1243 are mostly in the manner of the Meidias Painter and are of a quite different shape (see aOOn pp. 152·158. PI. 88.0. A ppi!o type C ",ith a tripartite foot is also a rare occurrence in Ihe fourth century. No. 4 lAthens 1630. PI. 93). is the only ellanlple of which I ha\'e knowledge. It has a cylindrical wall with a ",idely projecting 1000'er keel. The lid is of a domed configuration wilh a rim matching that of the lower keel in extension. The tripartite foot is relatively tall. It has the large dimensions of many of the fourth century pyxides of type C. like Oxford SSl (no. 2). both wall and lid are decorated with a frieze.

Bulallf!utike. 275. Ca. 370·360 B.C. THE CHALKI CLASS The size, lighlness and fragility of a pyxis in Boston by Aison conner:ts it with the preceding group. The wall is slightly concave \\ ilh a projecting lower keel. The lid is domed with a rim matching that of the lower keel in extension. The conlour of the lid is paralleled by certain marble pyxides. Compare Boston 81.352 and also another in Herakleion. u

I. Munich 2725. PI. 91.2. Fig. 1%. Ring handle missing. H. 0.06, H. with lid 0,069. D. at rim 0.117. D. of lid 0.15, H. of foot Flattened, domed lid with two raised rings at center and wide lower rim with a conca\'e face. Wall slopes outward slightly with a

om.

164

moulding at the top and a sloping lower keel at the base. Lid: black band. reserved band between raised rings. frieze. resen'ed line: n'm: egg and dot. Wall: mynle; fower leeeL- egg and dOl. BOlIom: area within ring 1"001 reserved. circle with tiny circle within it. band. circle. hand. Chalki Group. head of Aphrodite. with Eros. }'outh. and maid; head of Aphrodite. with Eros and maid: ARV. 1503.3; CVA, Gennany 6. Munich 2. pI. 98,2 and plo 102.4. 2. Lmldon E 778. from Athens. PI. 94.2. Fig. 19a. Restored: knob and stem. H. 0.065. H. with lid 0.073. D. at rim 0.117. D. of lid 0.15. H. of fOOl 0.007. Lid domed with slightly raised ring around center and sloping lo.....er rim. Wall cylindrical with moulding at top. and a sloping lower keel at the base. ring foot. Lid: frieze: nOm: egg and dot. Lid inten·or. black with reserved band around edge; bottom: tiny circle and 1....0 circles. black band. Wall: myrtle; lowl!r bl!l: egg and dot. Chalki Group..... oman scated ......ilh youlh. Eroles and maid... Rt:stored: aboul one fourth of the rim. The taenia hanging from the box held by a ""oman hastening to the right has betn repainlt~d as ha\'e an Eros to her right and the right leg of Ihe youth. It may be that the portion of drapery held by the youth also has been added: ARV. lS03.2.

3. Nt'Vl' Yurk 06./02/,112. PI. Q7.2. Fig. 19c. Ring handle missing. H. 0.06. H......ith lid 0.07. D. at rim 0.126. D. of lid 0.16. H. of foot 0.008. Flattened. domed lid with lightly raised ring around the center and sloping rim .....ith ridge at the juncture. Wall. concave with moulding at the top and a sloping. lower keel at the base. Lid: black band. reserved band. raised ring. frieze; rim: egg and dol. Wall: myrtle: lower keel: egg and dot. Lid interior: black with reserved band around edge; bottom: same. Compare .....ith the Chalki Group. woman and youth. scated .....oman. Erotes; maid and seated youth: A. Sambon. Collection Canessa. 71. no. 245.

SAU_V RUTHERI'UIU) ROIlERTS

165

4. Vimna 1484. from Greece. Bronze ring handle presened. H. 0.075. 0.0.16. Low. domed lid. \\all slopes outward with moulding at top and a sloping. lo""er keel at the base. ring foot. Lid: frieze: rim. egg and dot. Wall. m)Tt.le: luwer kl!eJ: egg and dot. The Chalki Group..... oman seated .... ith Erotes. )'outh and ....omen: ARV. IS03.1. CVA. Austria I. Vienna t. pI. 50.1-2. 5. BirminRham /610.85. H. 0.06. H. with lid 0.065. D. at rim 0.10. O. of lid 0.142. H. of foot 0.012. Flattened. domed lid wilh two raised rings at center and a third articulating juncturc with ....-ide. lo.....er rim. Wall separated from sloping lower k«1 by a raised ring. Ud: black tondo. reseo'ed band between raised rings. frieze. n", egg and dot. Wull- myrtle: luwer k't'l· egg and dol. Chalki Group. head of Aphroditc ..... ith Ercs. youth and maid: seated woman. with Erns: ARV, 1503.4; Metzger. R .. pI. 6.4; Puralipomnlu. 499.

COMPARE

6. Athe"s /359. from Athens. PI.lJ4,1 and %.2. Lid broken and mended. H. 0.038. H. with lid 0.05. D. of rim 0.065, D. of lid 0.09. Lid domed with raised ring around central un pierced medallion. anOlher around frieze and a third articulating juncture between wavc and egg and dot pallcrll. Wall slopes outward slightly with a moulding al the top and a sloping. lowcr keel separated from the wall by a raised ring. Dish foot with low ring. Lid: medallion (tiny circle and circle), friez.e. wave. egg and dot. WuJl: myrtle. lower keel: egg and dot. BOl/om: circle with tiny circle within it. circle and black band . Chalki Group. miniature; Eros and seated woman with a

'66

THE ATTK PYXn

kibolion between ......oman right. Eros and woman. Underside of the lid groo\'ed. Fool differs from class. 7. Hun'ard 1927.152 (Gift of E. P. Warren).

Fig.I9d. Ring handle restored. H. 0.049. H. with lid 0.06. D. of rim 0.112. D. of lid 0.15. H. of foot 0.011. Lov. domed lid with sloping rim separated by a ridge. Wall cylindrical with sloping lower keel. ring foot. Lid: bead and reel. (rieu between reserved lines. egg and dot. Interior of lid black wilh reserved oult:r ring. Wall: white ground. myrtle wreath (fragmentarily preserved) at top of wall. lo ....er keel: traces of egg pattern. B01wm: dotted circle and circle. wide black band, circle. Unattributed. Eras pursuing woman to right and woman lleeillg left. youth pursuing woman to the left and Eras. In the field two scrolls and a plant. The diameter of the lid is slightly tOO large for the box: the lid probably does not belong. CVA. U.S.A. 8. Fogg Museum and Gallatin Collections. pI. 20. Sa-b. Pyxides of this class have a distincti\'e shape. The low. nattened domed lid has a .....idely projecting rim. whose underside has an indentation or groove. The wall has a moulding at the top and a projttling lower keel. Both the rim of the lid and the lower keel of the box project like beaks beyond the wall. There is a ring foot. The underside of the pyxis within and without the ring foot is not elaborately moulded. Measurements are moderate. quite like those of pyxides of type C of the last thirty years of the fifth century. Egg and dot ornament Ihe rim and lower keel. A myrtle wreath encircles the wall. The painters belong to the Chalki Group: the pyxides date ca. 400·390 a.c. Glass pyxides of a type closely related 10 clay pyxides of type C have lids of a very similar contourY The characteristics of the shape of the Chalki Class arc most clearly discerned in Munich 2725 (no. I, Fig. 19b). The articulation of the different parts of the London pyxis (no. 2. Fig. 19a. PI. 94.2) is less sharp. Onc might say the articulations are softer. less defined. This is particularly noticeable in the contour

'.7 of the lid. The slope from the domed portion to the rim is less abrupt. On the underside of the rim there is a groO\e next to the lnnennost portion which rests on the moulding at the top of the 'l\all. The stem and knob are restorations and must be subtracted. One may see the lightly raised ring around the center outside the stem on the photograph. On the underside of the lid a bit of metal still remains in the hole. The Bd therefore once had the metal disk and ring handle canonical for clay pyxides of type C. No. 4 (Vienna 1484). appears to be very close to the pyxis in Munich (PI. 91.2). The wall slopes outward slightly with a moulding :tI the top and at the base. a projecting lower keel. I ha\'e not had all opportunity to examine this vase but from CVA the lid appears ,imilar in conlour 10 thal in Munich. The articulation between the convex portion of the lid and the rim is not clear from the photograph. The underside of the rim is grooved. There is the uwal ring foot. A pyxis in New York (no. 3. Fig. 19<:) is akin in profile and measurements to the others of this class. The pyxis is asymmetrical: one side is warped. This asymmetry has not been !r.ho'l\n in the drawn profile. The lid has a dome of flattened contour with a sloping rim. The underside of the rim has a flat indentation exactly like that of Munich (no. 1. Fig. 19b). The wall has :I moulding at the top and a projecting lower keel at the base:. The rim and lower keel fonn the characteristic projecting beaks be)"ond the line of the wall. It has the usual ring foot. The contour of the waU is concave. a feature at variance with the other members of the class. The patterns are canonical. egg and dot on the rim and lower keel and for the wall a wreath of myrtle. The decorators of Ihis class belong to the Chalki Group. named after the provenance of an epinetron l ' found on Rhodes. lt Beazley IlOtes. "The four pyxides of type C (nos. 1-4) go together and may bc by one hand: the onos is near them. but goes rather with the London pyxis E 783 (no. 5)."10 The pyxis in New York (no. 3. PI. 97.2) is unattributcd. Certain poses recur almost without change in the work of this group. A woman leans forward with her left foot on an eminence. her right arm is outstretched almost horizontally while the left. is

'68

I.'

T"h ATTIC PvXIS

lowered. Sometimes the position of the arms is motivated by the action as in Vienna and New York (PI. 97.2), olher time:. not as on the Chalki epinelron. u Ad'ens 1359 (PI. 96.1). and London E 783.31 A nude male figure is sometimes similarly posed as on the Munich lid (pI. 95,1). The male figure un London E 778 (PI. 95.2) was undoubtedly so positioned but when the vase was festored the supporting leg was not redrawn correctly so the youth seems to be lumbering forward instead of slanding securely on his right leg with his left foot placed higher. The Eroles depicted on these lids have white flesh with wings reserved. sometimes with added clay then gilded. Exceptionally. the Eroles on the miniature. Athens 1359. are plain. Eras is often shown running. legs widespread with both arms forward holding a low dish. The dish may ~ discerned on the Vienna lid and compare also the Erotes on the Munich and New York lids. where the pose is the same though no obj«t may ~ seen. Another stock pose is that of a woman running to the right carrying a chest and taenia while looking back; compare the depiction on Ihe Chalki epinelron with those on the Munich and London pyxides. The bodices of the women's chitons are embroidered. The style of Ihe lid in New York is closest to that in Vienna. A three-figure group is almost a replica of that on the Vienna lid. An Eras races to Ihe right towards a woman with her foot on an elevation. who reaches for a fleeing youth. The wings of Eros depicted on the New York lid are positioned differently from those of Erotes by the Chalki Group but otherv.·ise the style is strikingly similar. The shape of the New York ppis. the patterns and the figural st}'le resembles the others of the Chalki Class and Group. The profile of a pyxis at Harvard (Fig. 19<1). should be compared with that of the Chalki Class. The wall is cylindrical .....ith a sloping lower keel. There is a ring fool. The underside of the pyxis, both within and without the foot, is not elaborately moulded. Unlike the pyxides of the class there is no moulding at the top of the wall. The box is in white ground t«hnique. a rarity for pyxides at this period. lJ

FOURTH CENTURY PYXlDES OF TYPE C Fig.17d. Bronze ring handle preserved. H. 0.06. H. with lid 0.085. D. at rim 0.182. D. of lid 0.216. Lid domed With a lightly raised ring around the center: ridge articulates juncture with uptilted rim. Wall concave with sloping lower keel. ring fool. Lid egg and dot, frieze between resen'ed lines; rim: egg and dot. Wall myrtle and berry; lower Iceel: egg and dot. Bottom: area within ring foot reserved with circle. band and wide band. Kesen'ed ring just outside foot. Red.figure. located woman with youth and Eras. maid running right to'Aards an altar; woman. youth with seated woman and Eras. .175·]50 B.C. I. Athens 1369.

2. Phi/utlelphia. U"i1'I'fsity MU$('Iu" MS 5462. H. 0.062. H. wilh lid 0.079, D. at rim 0.181. D. of lid 0.215, H. of I'oot 0.013. Lid domed with slightly raised ring around cenler. then moulded band bordered by rcserved ring (groove on eilher side). slep down 10 rim. Wall. slightly concave with sloping lower keel. ring foot. Lid: egg and dot. frieze; rim: egg and dot. Wall. myrtle and berry; loll.'u kf'f'I: egg and dot. Ked.figure. wedding of Herakles and Hebe; Thf' Mu.seum Juurnal 7 (1916) 269·276. figs. 204·205. Schefold. Untenuc:hurl' 1:('/1. 59. no. 579.

:'1. Athl'IIS. Agoru P 100. fr., from Athens . Fragment of lid with portion of rim preservt."
170

rHIIi.: Arnc PvXIS

1'1

eggs tonee gilded ?). Red-figure. (woman seated to the right 011 3 klismos holding an o~n-work basket. woman approaches her from the right. between them a loutrophoros';lydria); Talcott and others. 5m01l objects from Pnyx: 11. Hf'SperiU Supplemt'lll X. no. 143. plo J I and fig. 1. For the subject ef. the lid of a pyxis type C. Cambridge 20.23 (CVA. Great Britain 6. Cambridge I. plo 36.2). For the basket. Richter and Hall. pp. 215-6. no. 169. 175-350 B_C

,h,'

4. A,hen.l. Ceramicus 3104. from Athens. Ring handle missing. H. 0.065. H. with lid 0.088. D. al rim 0.155. D. of lid 0.19. lid domed with two lightly raised rings around ccntcr, rim tilted upward. Wall slightly concan~ with sloping lower keel. ring foot. Lid: frieze framed between reserved groove and reserved line: nOm: egg (black core with raised dot) and dot. Wall: palmettes alternately vertical and reversed within triangular frame; IO\l'('r ked: egg (black core with raised dot) and dot. Otchel Group. seated ~'oman with Eros. seated woman wilh Ems and maid (Epaulia); AthMiu 81 (1%6) 74. Dei!. 48.1.3 and 49.4 (SchJOrb-Vierneisel); AlA 77 (1973) 435-437. For the wall pallern see the next entry and a pyxis. type C. once Hearst 2395 (Calalogue Purke Berne'S April 1963, no. 29); also Athens. Agora p 4939 fr. (H. 0.055, D. est. 0.19 found ill Fauvel's huuse Hl'spf'ritl 25 11956] 27 under C); also a wooden pyxis in Ihc Louvf'C (AA (19551 figs. 7.i and 12). Ca. 370-360 B.C. 5. Baltimore. Wailers Art Gallery 48.264 (ex Drummer). H. 0.072. H. with lid 0.093, D. at rim 0.125. D. of lid 0.161. H. of foot 0.012. Lid domed with slightly raised ring around the «mer and ridge articulating juncture wilh wide flat rim. Wall. conca\'e with moulding at top and a sloping lower keel grooved on either side. ring foot.

Lid frieze between irregularly resen-ed lines; drn. egg and dot. Wall palmelt~ alternately \ertical and re\'ersed .... ilhin triangular frame; lower leeel: egg and dot. Red-figure. seated ~oman .... ilh Eros. maId. Eros and ....oman. St)'k contemporaneous with the last but .....ith Meidian m'ertones. ell..170-]60 B.e. b. Adolphsf'cle 65. from Athens.

H. 0.087. H..... ith lid 0.105. O. at rim 0.152, D. of lid 0.21. Domed lid .... ilh lightly raised ring around Ihe center. wide nal rim, ~an conca\'e .... ith strongl)' projecting convex lower keel, ring fOOl. Underside of rim and lower keel of scalloped contour. Lid Irieze; rim: egg and dot. W~IJ laurel ~reath; lol'l'l'r Icf'i>{ egg (black core) and dol. Ked.figure. scaled oman ~ilh Eros and .... oman, sealed ~oman .... ith Eros and oman; CVA, Germany 11. Adolphseck I, pI. 42, I and 3 (protile, fig. 7). Ca. .175·]50 8.C. There arc fe ..... founh century pyxides of type C and of these most clmtinue the canon of the Class of Athens 1243. The wall is C)lindrical or slighlly conca\'e with a lower keel clearly offset. The rim also is distinctly offset from the domed lid. The~ is a ring fOOl connected by a curved contour to'the lower nange. The trend is towards larger dimensions: the diameter of the lids arc the largcst recorded for type C. As fourth century pyxides of type A (the Doubles) are Ihe tallest so Ihese are the broadest of their k.ind. Most of the examples stem from the second quarter of the fourth century and production appears to come to an end about

350 B_Co No. I (Athens 13(9) is inlact. The lid is domed with an uptillcd rim: the wall is slightly concave with a sloping lower keel. The rim of the lid projects slightly furl her than the lower keel. The foot is a variant on the ring type with a curved section connecting it with the lower keel. A curious and perhaps accidental feature is that the sloping floor of the pyxis is lower

172

TIIF ATTIC PYltl~

SALLY RUTUERFIJIlO ROBEaTs

than the ring fOOl so that the base actually rests on the floor rather tban Ihe fOOt (Fig. 17d). The diameter of the lid is 0.216, a larger dimension for the lid than wc ha\c hitherto encountered. The profile of a fragmentary lid from the Athenian Agora (no. J) should be compared. Its diameter has been estimated at ca. 0.20. The contour of the lid is ,,'cry similar to no. I and it also dates from the second quarter of the fourth cemury. The style has no affinity .... ilh that of no. I. The shape and mcasurcmcnb of a pyxis in Philadelphia (no. 2) are dose 10 those of no. I. Onc l>lriking difference is that the interior of no. 2 is rectangular. whereas in no. I it has the fonn of a bowl. The wall is slightly COnC3\'C \,1.ith a sloping lo.....er keel. The profile of lhe rim of the lid shows Ih~ same pro~cting beak with a shon vertical s«lion below il as In the Athens pp,is. The lid has a diameter orO.215. Around the l-enter of the lid i~ a moulded band decorated .... ith an egg and dot pattern. There is a ring foot joined by a curving contour 10 Ihe lo.... er keel. A groove articulate.. the junction with the lower keel. A pyxis in Adolphseck (no. 6) has the most exaggerated prolile of any of the fourth century pyxides of this class. The lid is domed with a wide flat rim; the wall is conca\'e with a lower keel whose projection is slightly less than that of th~ lid's rim. The ring foot is connected by a cun'ed contour to the lower keel. The dome of Ihe lid is reflected by the shape of the base. The underside of the rim of the lid and the lo.....er flange are many times grooved ghing a scalloped contour. There is more extensi\'e articulation on the underside of the pyxis than on the uppersid~. A pyxis from the Ceramicus (no. 4) has a slightl)' eonca\'e wall with a sloping lower keel. The N'o-degree ring foot is connected by a curved contour to the lo.....er keel. The lid is domed with an uptilted rim whose projection is matched by that of the lower keel. The pyxis was found with a red-figure lekanis, three lebetes gamikoi and olher black and plain pots in an Opfersrelle in the Ceramicus. Barbara Schlorb·Vierncisel considered the lebetes gamikoi, lekanis and pyxis all to have been decorated in the same shop. The wall of the pyxis is decorated with a pallern of palmettes alternately vertical and reversed within a triangular

frame. This is an unusual pattern to find instead of the customary' .... re:uh of Iea\·es. The lekanis wall also carries the same pattern and the subject of the figured fri~ze interpreted by SchlorbVierneisel as Epaulia on both lids is the sam~. Therefore the theme decorating the pyxis. leaknis and lebetes gamikoi is coordinated and the vases boughl for onc occasion probably here (l funeral. One must here envision matched sets of red·figured vaSL'S made in a shop and decorated Ilo'ith regard to a particular theme decorating the pyxis, lekanis and lebetC1 gamikoi is a range of vase: shapes to be made by a potter or pott~rs within a ghen shop. In addition. it seems logical to expect in time to be able to auribute \ases .....ithin this vase repertory to a painter or group of painters, once a t)pe of ,ase Ilo ithin the repertory has betn attributed to an :artiSI. A proof for the conjectural S~I of '-ase-; is prodded by Ihe repr~entation on a Kerch lekanis lid. Athens 1190 (Iromispiece). A bride sits on a klisnlos .... ith Ems leaning against her A full set of vases is grouped around her. To the leH a lebes galllikus 311d a 10\\ broad pyxis. type C, to the right a tall pyxis of type A. a lebes gamikos 3nd a lckallis. Another lebes gamikos is brought by a woman. Funher evidence of th~ "matched set" comes from the Athcni:lIl Agor3. 1\ lekanis loo and the lid of a pyxis type AlS ha\'e the same pallerns. Oblique addorsed palmenes linked by a running scroll is Ihe main pattern on each. The subsidiary patterns are also the same on OOth_ These pieces do not have the same prrn'enance Iol.ithin the Agora but clearly come from th~ same shop. This paltern seems to emerge around 430 a.C. The Marlay Painter is known to have decorated leb~tes gamikoi and pyxides as well as 10utrophoroi. l6 One would expect Itl find the loutrophoros made .....ithin the same shop from its related them~. Many lebetes gamikoi. !outrophoro; and a pyx;s are attributed to the Washing !)ailllerY Loutrophoroi and lekanidL'S have been attributed to the Mcidias Painter. JI Lebeles gamikoi. loulrophoroi. lckanides and pyxidcs are among the repertory of shapes attributed to the manner of Ihe Meidias Paintcr. Jt Lebetes gamikoi and a lekanis ha\Ce been attributed 10 Ihe fourth century Mars}'3s Painter.~

I7J

174

SALLY RUTtiEIIFURD Ra. ERn

NOTES, CHArTFR q

2-1 JGS I 1I9y.JJ 19-20. fiKS 22 and 25. 25. The pp'" I)'pc C i\ rarely furm~hed "llh I mpllMlle fOOl The rrl:lled marbk 1"'" ... hen fomni ha' thr.., Iovo ... edgc·\haped feel 01 a qUilt dlfferenl tyl"" e.g., Hr~un'n IlICII "'~ II(joJ[ ~('" fi)! 1141, O",,'odl:n l\ ~ Ii>JlIAA 13 118Qll[ 110. fig HI. Sp'n~ tAUrlj/l·ft101a. L.. \ ... ""{.'/' d, !'{'''''' ", 1,;,,11, Tt, h""'. I, 2. pi ~~ PO'A{'l Idt[l lb. AR", IJ15. IJ28. 911; 1'1ltll1fpvnt~M. 4"79. 2:. JGj· I 11~111·21. flIP. 8. 13. 15. !l'i. AmA ~Ilppkrnt'nt I. 1%3. p, 18. no. r. pi 9.3 (l,II)' (j-KahdJ: A,l:'(lI'Il101e .\ lQ. ARV. 15OJ.b; Chlru RllOJw 2. IJI .boo·e. 135-9. pls. ),5 30, ARV. ISOJ. J!. Chl ... R/lOde» 2. pi IV J2. ARV. 1503.5; Walten. H.A P pl 42.J Hen: the "ghl lund ~ plll('t(j on the- h,p .. nil I duntc in lhe ~ition oIlM uppl"r tOl'W. .H \re .. '-~ p. IJ1 and foocllOCe 35. j.I Hnrmll 20 (19511 220. no. b. 1'1. 7J and ahu pp 218·219: A",'"' XII. J85 IAposll B IltS dau:d n. 4J0.425 BC. Jf> /lnl"-"''' J5 lI'liCibl &J. PI 27.... AIso!itt above p. 71 :tnd 1'1. 5.3J. Ji> ARV 1271.14·15.1718.22·25. r ARV. 1126·II2K and Illl.I9b; Purvlfpomrnll 454. J hl!\ Ind J tn. 3& AHV I.\IJ.8·IO; IJI.\. 1~-1l1 19 AIo:V, 1J22. 11-18; 1J22·l3. 1~·J2 1«; 1Jlt>·17.11'1O: 1J2!l.92-99: Pllrol."., m,nll 4~9. 14 hIS. 20 hIS. 91 blS Ind 96 b,~ 40. ARV. 1475.1-2.7,

~Onl" of

the: original bront" hand"'" aIT prnt""~. Joo;cph \ "ach l'-oblc:. TI,(' (:'\I ...... '01'''- 1%5) 16. fi~ 101. Ag<WIl XII. I-to and footlHJ(C' 22. 2 Ag._ XII. I7b-In. 327·328.

r",/""q,,1'} "/ P"III,..d Aoil' PulI,-,.,

J. IbId.. '-6.

175

'tilE ATTIC" PYXIS

"'fl'.

4. Bell 8· (l9bJl ~08. lig 14 {hIp 5. JGS I (IQ59J 11-11. lip. 1·19 iWcinbo:rg). n. AA (I9SS1 m. 14. Iig. -:. ~ lid In tn.: crnt"r ~Io•.- ,.,.." l. T1w:' affinil)" of lie -.; and col. 19-20. fig. 12 Is c\osl:. 10 marble ~,.. idt"S of the: 10-', broad l)'~. Compal"l' "","",,lut, P11Xles of the ttntra! boa..!> IllX VGS I 1195"1 fi!r'_ 2.l-14 and :lb' -. HMI-A 31 (l9J91 eo. fig 12 (rightly d1lltd In 5th ttnlul')" B.C.): JGS I (1'15'#) 10. fi,l. 25. !l SaIUh>f" Aur'K"'mma. L.. N''''''''f'f>l, d. 5,....u .n Vull.. T,..flba. 1.2. pp. b5·l'A. 1'1

,-

9. C. M A. RICh..: ., Tit.. St'Il/pI" .... Imf! S(M/plun ..J ,11" Grr..... 44th td.; Nc:lto Ha_cn 19-0) fil. 514, H ~, lhdr')"' TIt.. S......,.. S.)"I.· in Grn'l Sc"'pf,," lrrincdon 1970).so Ind bibhO(lllphICII T'l."f~1K'eS on p. 55. 10. MD. Hrlk Sahk... Robn1~ k'ndly m\p«1ed the lid ud ,"formed ITlt' in a inleT. Ma) I. 1969. that lhe ,"tenor of lhe lid is inlacl and the ~lem of t,", knub ur'Klnlll. The koob Itlol'lfall.o appra~ In hotlong. I am al ....' indebled 10 M~ R~"s for lhe mU.lun:mc:nli of Ihis pyl~. 11. I.>r. lhtlnrh von 80lhmcT In'Kn«Ith... P)'IIS:tS BorOlian.1 am l:n:atl)' 'ndebted 10 hIm for permiSSIon to nlmme thIS vase and OIhers at tht Melropolllan Mu~um. Dr. _on 80thntrr al,... ronlim,f((! that th", ... Ihr sam.: PP'~ menliono:d ,n ARV. 1224.2. 12. A,lIl,,"" XII . .127. no. I~. lig. 11. 'fhc,rr dated 4 ~ 8,C. IJ. 51'1«,. no. 99. pI. 8 and rd"erentt:S. Compare the treatment of the hair. 14. ARV. 1315 and U28.'Jti. IS. Sec abo'ot p. 117. 16. CVA. German)' 6. MUnlc:h 2. pI. 99.1. Tht:n: dale:d ca. 400 8.C. 17. 'Wx' aoo-e p. 117. 18. ARV. U28.9J; w. KraikrT, I(ll""oe d ..r Sll",ml""g ..n,iAc·, KIl'inAu"~f ./", Uni...·n;tat /ltid..l1x>rR. I. die rotfrgurigt:n allisch.en Vasen. n". 219. pi. 4.1. 19. Luey Talcoll and Olhe:D. Small Obfrru from fhl' l'''y;r 11. 1I.'Jpt'riu Suppl..ml'''' X. no. 1J8. pi. I1 and fig. I. "The poc:M i~ a favorite: onc: ",.jth the: Meidias painler and his follO'Aers ..." 20. I am indebtt.'d to Dr. Guntrllm 8eck",1 fur pllrtieulars eoncrrning Ihe shape of this pyxis. 21. ARV. 775.2; CVA. U.5.A. 4, The Robinson Collcction 1. pi. 47.2. 22. The marble pyltides 80stnn 86.54. 81.JS4 and 81..352 ha"e a widely projecting base: motlldinl!. That of 8~ton 81.J52 is elaboralely grOO\'t'd. Compare ah.. Hcraklt:,,,n Mu\O:um 11 and Brussels A 2215 V(i!, I [1'l5'lj t1g~. 2]·21». Onc In Ikrlin VIA 55 [19401 e(ll b28. liJo:. 10) b '''I") ~lmilar to Bust"n 86.~. The undcrsid,' of th""" I')~i
176

CHAPTER VII Iconography of the Pyxis The iconography of the pyxis is overwhelmingly female and so the occurrence of tare male subje<:'t matter bctw~n 6(X) D.e. and 490 a.e. requires some explanation. Some of thest vases come from large workshops such as that of the Leafle
178

THE ATIlr PYlrU

Only the animals of the Boston pyxis ' relate to the decoration of skyphoi by the Group of the Boston Lid. Two sirens frequently are placed on one wall of a skyphos; 011 the pyxis they appear on the lid. One can on1J conjecture for unattributed \'ases or those for which the group of associated vases is small' that the same principle is in operation. The~ seems to be no realization yet that the pyxis requires a spuial iconography of its own. A pyxis from a tomb in Myrrhinous. probably by Exckias. raises questions. The scene depicts the preparation of a chariot and the name of Stesagoras is written in the field.' Slesagoras was a member of the Kimonian branch of the Philaid family and Immerwahr 10 conjectured that he was Slesagoras 11 whose father Kimon won three Olympic victories with the same team of horses.1! The fame of the family stables is clearly celebrated on this "ast. It is likel)' that the vase was commissioned by Stesagoras, considering the individuality of the subject matter and the fact that his name appears on it. But pyxides are only connected with the graves of women so the pyxis was probably given to a woman of his family. Why would a pyxis bear male iconography if it was to be given to a woman? In this case it seems clear that the family pride was being extended to a female member of the family, Scenes relating to ~'omen first appear around 500-490 a.c. n The iconography of pyxides deals over and over again with the manifold aspects of weddings and mythological paradigms of marria~ are plentiful, A favorite tale is that of Peleus and Thelis; the actual wrestling scene is rarely shown but often the scene of pursuit (Copenhagen 4735 and Munich lex von Schoen. 64J).H And Nereids scatter in alarm anel bring the news to Thctis' father Ncreus (Cambridge 1933.1. Munich lex von Schoen. 641 PI. 66,2)U who often stands by an ahar with a palm. That such a scene is a mythological paradigm of marriage is shown by the meaningful juItaposition of Pe1eus wrestling with Thetis on the Athens epinetron by the Eretria Painter .....ith !>l't:ncs

of the brides Alcestis (seated befo~ the door of the thalamus) and Harmonia. a Another mythological paradigm of marriage is the abduction of Ordthyia by Uoreas (Athens 1586 [pI. 65,1): Chicago 92.1251. 11 This thcme could be s~'mbolic either of marriage or of death. 17 The wind gods were intennediaries betvoeen the world abo\"C and Hades. They were regarded as fenilizing or impregnating but were also regarded as destructive. A close association between death and weddings appears again and again in visual and literary imagery. There are two examples of the Boreas and Oreithyia theme on Illlllrllphoroi from the Sanctunry of the Nymph (Bride) in Athcns. 1I This sanctuary was not dedicated to the nymphs but to lhe Brirle anel ..he i....till called nymphc today un her ~elldillg day ill Greece. A boundary stone of the sanctuary, graffiti on vases, both shape and iconographic characteristics of the vases make the identification of the sanctuary C'Cnain. The majority of vases from the sanctuary were loutrophoroi. though other shapes were included as pyxides. The subjects ~Iated primarily to weddin~. The vases dated from the middle of the seventh centul)' to the third century 8.C. 1I Burcas and Oreithyia also appear on bronze hydriai. some of which ha~e been found in the graves of women. Indeed Picard believed all these hydriai 10 have been funerary in purpose,lO In this case the theme may represent hopes of immonality for the deceased. A tomb in Capua included a pair of stamnoi by the Deepdene Painter. one .... ith a representation of Al I:
ISO

euphemism for sudden and premature de:lIh. Heraklifos relates that onc called the de:uh (lf a beautiful youth a rape by Eos.n And to show the interpenetration of wedding and funeral spheres. Eos pursues Kephalos or Tithonos on a IOUITophoros from the sanctuary of the Nymph (Bride). n More dirttt repre2ntations show the .....edding procession of either a mythical or manal pair. In the sixth century Peleus and Thclis were often repre!lenled in a chariot surrounded by gods and led by Hcrmes. Few of the representations have inscriptions bUI when gods are present it is assumed that the wedded pair are indeed Peleus and Theti5.J~ A black-figure amphora in Naplcs JS juxtaposes the wedding procession on A with the wrestling match betWttn Peleu5 and Thetis on B. Peleus and Thetis ride in a chariot. behind the horses proceed the gods. Apollo with his kithara and J\rtemi~ with a young faun. 3nd the hcrakl Herllle<; le;Jd~ the procession. A wedding proccssion on a pyxis by the Marlay Paintcr (PI. 49,1)16 about 430 R,C. follows this tradition. The bridegroom mounts his chariot besidc his veiled bride. behind follows a youth with a torch. a girl with a basket on her head and finally a woman carefully carrying a lebes gamikos. A ,""oman looks out from a half opened door (of the bride's family's house) at the departing procession. A woman turned towards the wedded pair. lifting a torch. stands behind the chariot horses. Is she the mother? One would expect her to carry two torches as on the lekythos by tht: Amasis painter in New York. l1 Leading the procession is a youth holding a caduceus in lieu of Hennes. There are no inscriptions and it is clear Ihat a mortal wedding though steeped in old tradition is represented. The Amasis painter's wedded pair rode humbly home on a can seated behind a pair of mules. This rather countrified version of a nuptial procession finds echoes even on a founh century pyxis (Athcm 1630, PI. 93).11 Bride and groom are seated in a de('or:tted cart drawn by two horses. Eros. ubiquitous in later fifth and lilUrth century wedding imagef)'. flies toward them and behind a .",oman (probably the mother) lifts the marriage torches ... From another tradition stem other wedding processions. this

18'

time on foot, in which the groom leads the bride Xi'IQG ml 1tl1Qfl
182

1 liE ATfI(" Pl'lllS

lll\\ard the door hy a I}TC-playing J-n",-on the other "tek of it she appears again Hluching the meaningful door '" hik ErO!i Ilie.. IOwards her with it slllall chest. The tramition i~ that from maid tu matron (ha\'ing passed through the door on her y.ctIdinJ! day). 011 the Fransoi!o \'3"C the nlll!'>e<; are present. and il i'i thl') ",Ill' sang at the wedding of Pdcus and Thctis. BUI 011 more abbre\'iatcd depictions of Ihis famous wedding it is Apollo who appears as musician,·) Later still around 460 D.e. a simple young man stands before the prolhyron 10 welcome the weddc.'d pair with music from his I)TCu tor is he still Apollo?) And on Heidelberg 66.10 a lyre-playing Eras sums up all bridal song al the door in his person. The symbolism of the house door is "cll 31tL'l>led in Attic classical drama. Admetus addresses the door of his house 011 hi~ relurn from his wife's funeral.

"a visage of nty hou!>e! How shall I enler you ... How great b the change! Once of old. I entered my house wilh marrhlge· songs and lorches of Pelion. hulding a IOl'ed woman by the hand. folJowed by a merry erowd shouting good wishes. Today in pla~ of marriage·songs are lamcnlations .. :·.S Always there is this dualily. Ihe wedding doorv.·a}' may tonlorrow become the ponal to Hades. On London E 774," with the wedding preparations of Nereids. two lebetes gamikoi are placed by the door and on one, minialure nick figures in black silhouelle approximale the wedding procession (groom leading the bride and a figure with wedding torches). Actually, the groom leading the bride, lUQ~ bti llQ{)7f'i'. is a scene rare on the lebes gamikos bur appears on Athens 1172 01 combined with a scene featuring women on the back. On :t pyxis, Munich 2720 (PI. 99.3, 100.1-2) Ihe frieze h3s become emblemalic." A door lakt.'s up a major pan of the composilion. A woman nees from it but turns gesturing. On the other side of lhe door a Nike, like those on the Icbes ~;lmikO\. Surely, here lhe door means the wedding.

IBJ

It may well be that in scenes as ordinary as those on Berlin 2261" one was supposed also to thlOk of the wedding. There is the door and to the right a woman holds a mirror, next t\\O .... omen stand one on each side of a kalalhos: next a seated and standing ....UI1l:lIl {PI. 2&1. In the f\Cld among other objects. ahere are sandah. and the~ probably arc significant. SCI On a few occasions ike appears among the .... omen. On lebetes ~;t1nikoi (PI. 101.1) t.... o symmetrically placed ikai hOl'er or ny beneath the handles. often sho.....n bringing gifts: a basket and a laenia. a kalatt'lm. ur ..n_-dding torches. SI Kc-nner has sho.... n Ihat these are not personifications of female beauty or Eos but a .....inged genius. probably called Nike .....ith a long history and connections .....ith demonic winged beings: Sirens. Sphinxes. Keres. Erin~. Gorgons, Harpys and Eos.u SirenS. Gorgons and such were often pl:lced by the handles to .....ard ofT evil on early vases of lhe seventh and sixth ccnturJ and the position of the Nikai on lebetcs gamikoi is deriH:d from this old usage. In other words the Nikai have chthonian origins and connections. At the time of the edding th.:,c mini!>lering spirits bring ble~sings from the nether orld to the ne" I)·- .....t:dded pair. In contracting marriage the pair prayed to ahe Tritopatores H or "great-grandfathers" and addressed them as ;{v4Ao1 or dcom>'Tat aV(/-lvJv and asked for the blessing of children. They .....ere concei..'ed a~ aeriform ancestor souls .....ho hal'e their seat in the ....·inds. There is a sanctuary of the Tritopatores ill Delos and another ill ahe Ceramicus.Sc lemalc .....inged 8enii are placed on ,'ases .....ith nuptial il.:ollography such a' IclJCtes gamikoi. loutrophoroi. lekanai and ppidt:!>. Hut the Nikai ha\e al!>o a connection "ith dealh. A fragmellt of the fourth century in Vienna Unh'ersityss 'ho.....s 1"0 r-:il.:ai l>lmilar to those on lebetes gamikoi hOl'ering placing a h"lctal ":lse. And il should be said in thil> connection thal in j-fe,;nd', TI,.·IIWmy Nike i~ said to be the daughter of Styx.~' 1 he nmnectioll of the Nikai Orl pyxide~ .....ith those on Icbctes gamikoi is most dearly sho..... n on Munich 2720,51 Here the Nike hovers. a taenia in front of her, by the doorv.·ay. in an exact quote of the position of those on lebetes gamikoi.

.84

185

THF ATTIC PYXIS

Many lebetes gamikoi depict a file of .....omen bringing presenlS 10 the bride in a ~'Clll' which ha~ been interpreted a~ Ep
Ilt',ioct is reported to ha\c ~aid in the Cutu/fJ1!IIf' 0/ Wom,·If. 1il luripidt,s III I,"II}!I'''''''' III lu"ru .... rute Ihal the c1Ulhe,," 01 .... "1110:11 .... ho died IIIt'hildhirth .... erc dl'dit'att"tl al Ihe sanClUdn 01 \rh~I1l" at lJraur"ll. "Thou. Iphigeneia, by the holy stairs Of Bnuren must this Goddess' warden be. There shah thou die. and be entombed. and web3. Of all fair "esture shall the)' offer thee which wi\'es who perish in their travail-tide Leave in their homes,"u Brauronian inscriptions from the Acropolis record dedications 01' women's clothes and indicate their type. decoration and condition bUI nothing is said of the reason for the dedication. 1S The .....onlen·S d"thc, arc 1I11I1\I't ;dl U.)L'd, nol nc", A fe..... childrcn'), and men's c10Ihc, "t'rt· aht' ckdk.llcrl. In nthl'l "\ tth. FIITlpides' s!atcmcn\ IS neither pro\'ed nor disproved by the inscriptions. One lhillk~ ollphigt:nci:l a,) a daughter born III Agamcmn\ln and KI)'taimestra .... ho was sacrificed for a .....ind. The neel was ddayed at Aulis a.....aiting a fa\'orable .....ind for Troy. Euripides in Iphig"'ll'ia ill Aulis recounts how KI)1aimestra and Iphigeneia eam~ do....~n 10 Aulis in a chariot laden .....ith wedding do.....er-Iphigcnia as she thought to be bride of the .... arrior Achilles. KI)"laimc3tra speaks. "Good hope ha\'e I that I am come 10 lead The bride to happy bridal. From the car Take ),e the dower that for the maid I bring. And bear to the pa\'ilion with good heed,"" A \\hile ground Ickythos by Douris in Palcrmu (1'1. 104.31" shows Iphigeneia as a bride wearing ehiton. short himation embroidered with stars and a veil. She is being led toward an altar by a warrior with a drawn sword. but aClually force is only impliect as he holds only a portion of her himation. The warrior behind does not touch her. Note the labels-Iphigeneia. Teukros (for the warrior) and Alpha Rho for Ara· altar.

"'"

TIlt, ATTIC P, XIS

A much mor~ curious representation may be set'n on a pyxis in the British Museum (Pis. 62 and 103.1)." 11 there '>'ere no inscriptions it would be enlill«l women in the home or in German text. "Frauengcmach," But the inscriptions gi\'c us the names of Argh'c heroines. Helen, scated at a wool basket, and KI)1aimcstra; a woman (unlabeled) and Kassandra: Iphigeneia. binding her head for her bridal. stands in the doorway. while Danac brings her a chest. Now when an author ventures an opinion as to the destination of a pyxis it is usually said to be a wedding gift. But. however one 'Inderstands the SIOI'J of Iphlgencia. v. het her aetually ~acrili('Cd and killed at Aulis or snatched away by Anemis to become her priestess lir~l at TauTis and later 31 Brauron. it would \eem highl) unlikel)' in mid fifth-century Athens 10 proffer a p)'Iis with a represenlation of Iphigeneia 10 a young. neal·ankled bride, 'I he ppi" in Ihe Brilish Museum i" one ofa pair. the olher being London E 772 (PI. 63)." The profiles 3re similar bUI nOI idenlical. as Ihere are "right rh)'lhmical diffcrcnce" in det~til. The handle of the ~el'ond Tlllly om:e have been it Icrflll:Olla loop, The lids arc the same with circumscribed palmettt..'S placl.'d in a Vitruvian wave pattern. Beazley remarked "The lid ilo by Ihe same hand as in London E 773. bUI Ihe figure·work seems nol." Uoth are b~ followers of Douris. The representation on this pyxis is of the Hesperides (PI. 103.3) quite surely and withoul a question mark. though thought of in an unusual and delightful way. There is a Hesperid standing by a fountain waiting for her h)'dria to fill. another follows and a third runs loward the tree. while Thetis is Ihe one galhering Ihe apples. Then: is the Iree and the Hesperides. given fanc)' names. arc tending if. Thetis is not the name of a Hesperid bUI is a fa\'orite in depictions of mythological marriage. This is especially so in the decoration of pyxides of this class (Class of Berlin 3J(8). Onc might say that the representation of Ihe Hesperides pyxis is a paradigm of marriage as Apollodorus 7o and Olhers tell us that when Hera was wedded to Zeus. Ge gave a wedding present of the golden apples of immonalilY. But probably onc should inlerprel the iconography as a paradigm of immonality. Reading the twO

SALLY RlITffERFLaD RO.Ean

,"')h III~l·ther

187

nllo; undCr'ltand" Ihal tI llI,1iden. d~lIlg ~nUII~ ",-'Inn." Ihe age of marriage \loas given a picture of Iphigeneia as a bride and also hopes of immortality in the depiclion of lhe tree of Ihe Ik~pl'rHIo:"" III olh..... \\llrd". IIIl' 1"'0 \:l'~ \loefl' ;I IUller:l1 Jo!ilt 1\1 a \\'Iln~ \\llll!an .tIlll IIl'fl' prnhJhl} plal'cer'led them intact fllr our perusal. A white ground lek}1hos in Athens (PI, 104.1)11 adds 10 our under'itandingofthe nUlller, There is a young girl ",ith long tresses standing by a lamb. her tomb. holding her pet hare_ On the other ,irk llllhl' 1I1mh.•1 1111lurnill)! \louman Ilings up OIlC ;trm in despaIr. Bel\locen them is a tomb with a loutrophoros-h}"dria on top. This Joung woman also did not Ih'c until her wedding day: the \'ase atop th.... lomh symbolizes Ihal vase that should ha\'e contained waler for her bridal bath. Yuu might call the loulrophoros·h)'dria a gift of l'\IIIl\k:I1'I'lIiml. II rcprC"'Cllb \loh,ll h:.ppim....s she lohoulrl h:J\l" h:Jd I1 ",hl' had !JH'(llollj.! l·llllll~h. i\ .. lillUC at :. l>mallcr girl .... illt her PCI hare 011 her ann comes from Br:luron (Ill. 104.2): perhaps she is one 01 the "bears" of Arlemis and the young girl on the lekythos might be her elder sister. The little girls who wore saffron chitons and l>t:rvcd Artends ,11 Brauron. passing the stage of puberty. were soon 10 become the )'oung women who married in Athens, Do not think that I mean to suggest thal all pyxides were funeral offerings-not so. the subject is vel')' complicaled. n In this parucul:lr case the pair of p)'xides in the British Museum London E 773 and E 772 made b)' Ihe same potter. dttoraled in the same .... orhhup - their dotination is dearly funereal. In the Cutufogut" o} WOttlell, when it slales "Iphigeneia by the ",ill III J\rlellli", Ill'l'amc lIe~. ate". UIIC lolllluld probahl) underst:lIId Anemis for all three pans of the equation. n

188

Till! ATTIC PYXI~

NOTFS CHAPTER VII

I. ABV. 636. MJ-644; PiUflllpom.·,.~. 311.

2. ABV. 54tl·54"-; 500:

J. "'BV. ;4. A8V, S. ASV; b. AllV.

558·~.

558-559.

5...'"'6: 561.

650. 6.J.b4. ~ number or Ih\' Edinburgh '"liS!! ha~ Mn dun~. 181. 49. • ABY. 6Ib.11; Pprq1lpo", ..".,. J06; IJMf'"A 01 (1%3) M-5. 11. Ne.. York pyXIS related 10 lhe Ne..' York ilmphori~kOi and 10 lhl: I'ainln of MUnich 1842. AHV 455. J. 9. ARV, 169':1; BCH 86(1%2) 66Q. fill. 17; P"ru/,pom ..nu. 61. 10 Talk pt•.....,ntnllo APA, Chm10l3) 1"l~2 \>\ IkllO' H. Irnm"""3h" tni",,...il) or N"rlh ll1rolina. 11. H~ .. ~t"IU' h.ICJ.l. 12. Athens "cr. 560: ARV. 47'1. ,l,\l> ,,,"1 4~1l: l.a"lI J7.llJO'l; CVA Ft;J'wC 211. L..,'n

I.p1.I!.',], 13. ARV. 025. 95: CVA. IJcnmark 4. Co~nhaBcn 4. pI. 162.4; ARV. tI06. 'IJ: Lulhn. £h,<, $ummf'mg ,,;«/ruc"rr 1<1""""''''$1, pI. 26. 14. ARV. 4SI. 32; 1'''"'''1''''''''''''' 521: CVIl. <.ireal Hntam Il.larnht"l~t 2. pI. 21). I; HIS Ij() 0970II(B.

IS. ARV.

125O. .}4; Ariu and Hlrmtr. pI. lOJ; SBIIt'id"''''''1l -4~ (I1)b1l pl 2

(Sch.~ual; Wekl"r. P041" lu(d PUlro" ", Cllusicul Allrt"s. 10-.

lb. ANV. -9tl. 140·14/. 1- Wd!ftIlTl nJ A""""I A,Ir,,,s (I..ond"n 19-1) .1n1 20. M_P,ot r t1940IS9 (Picardl; Wdaler. Potl.., .."d 1'..,"", "' C.1.l~,c..1A,Ir..." ... ~; AlA SO (1946) J60·J67 and not" 2J (RH;·llI",). TetTan.JIla h)"dn..) fn:lluenll, • .".., uKC! as funenl !,(,(,("pladC1 In tbc lIadra cclllt'leT) near Altundna. MISS Rlchl'" bdl<'\ed th;lt I.... bronm h)'dnlll ."'"' m;ld", for ael".. t u""' Ihough _110: ;I~ Ihal )Ome had ~""ed a$ funlM"al urns. "Slne" mO!>l of Ih" _ub~-I$ of Ilwlr ",hef$ n'lale IU 10>'"" lhe) ...·"'re pe.ha", g"",n a) .edding pl'C'KntJi 10 )oung hrldn . liCK lhe qUl'SIMln arises if a ~uh;.:c-t .e1al.... 10 100'''' and ....~ddmg'l I'- lhe .a'of llC'e"uanl, a .'edding llift~ LtbC'IC1 Ramikoi appear in rcprcscntation$ of .. cdding prepata\lons (London E'iN; FR. pi. 57. JI and )'tlthey ha.·t bottn found mOSlly in lombs and In the sancluary of Artcmi$ ilrauronia on the Acropulls and al Htauron. 21. ARV. 498. 1. 5: AlA 49 U945) 157 (lkazlcyl; Philippaki. .,.1It A/IIe Swm"OJ tOdutd 1%7183; Web_In. 1'0//'" "'Id PUlm". 2'lfl. 22. RE ).~. Eos and cspceiall)' p. 1268; IOAI J I (19J9) 89; Hcrakldtos e. b8; OXlurd ("1111.1;(:..1 Oiclim,o,)' s.'·. F..o-.. 23. ARV. 957.45; Webster. Pmu" ulld PUI",n. 107. H. E. GOlt... F,uu<"lg,'muc1lb,ld.., III de" VUjn,mul..n'; d,'. /1l"I"'" luJrrhundl'tu khu. Mumeh 1~5/) JJ. 25. CVA. haly 20. Naples I. He pI. 3. J·4. 26. ANV. 1277. 2J; IHS 41 (1911) 144.

189

SALLY RUTlfERFUIlD ROBERTS

,. P"ruf'l,om,"'" bb; An,A J t1%01 pi. ". 18. S.;hef~-.td. l'NIf'n",'Ir"Ng.." 59; G, floiocok. L" 1',.",..,.' do VlISt'J (j,.-o IPaus Iq~1 pi "I; iN Ill. 1"4 AI,Hlm12 U9(n pi \. I ~ 04R\' 914. JJ; I'fuhl fig SKI, JO. TIr, \lu........ IrMlrrt<J1 • 11916) r2. r'g 105. 11 c",.,j", L"d"'ig C"nll,. t~tullga" ,QJ"7) pi 52, J2. (j(-rhard Neumann. Cn'"" ""d C ..bilnJrr< I" dt" Cnnlrl:U"II,,, K"",I IBerltn 1~)5Qft.

11 04R\' I·. IS; unglolL V"·,,,,,,l"N V..."" I'On d.. ,Alropol,~: .. A,Ir..", 11. pI . 11 A tJ .... cd~hnll ot """'us and Itltll'l4 IJ(H:-4 11910) 440-441. pt XXI\' (Ha_pt!!') J5 AlIV. ~I). I. FN. )'lis, 1-2, The Gods yi_il1ng the rn:'~")·"<"ddc:d Pd,:us and Itltl" \1.1. PU,,,It,>o""''''', lob; Alii'" J 1I9foO) pi. 7. r C",."II" J ".b.-./.I CUrl"". plo 52. 38. ARV. 924. JJ; rfuhl. filt. SIlO. J'l, 41/\'. 1277.2.\; 11f~ 41 \1':121)144. 40. A RV 4118. 85. 41. l"enlO Inur ualllp!c): O~f,)tll llJl,l. 4M (PI. Jb.J. ARV. 917.2(2); Alhens 1~')ltPI Jo.2; ARVQ5S.Il; Alh",ns lb61 tAl/V. Illl. I); Lundon Markel (1)1 4J.II; Yal.. 153 tARV. 944.ltl; Ibur. 10J and plo 12); MissisSIppi P 108 tCVA. U.S.A. 7, Ihe R"hmson Collcction J. 2O,nd pI. XII; Ml.Inkh 2720 tARV. 122J. 4; CVA. I",rnlany b. MunICh 2. pI. %.6-81; Ath",n). r,om BnutOn. I'IO'A 10li1 tARV. 12l1. 11; 1.c.Jen "VH 157 (PI. 58J; ARV 1123); Athen$ Acr. 569 (Pl. 51U. ANV. 690. 171); AllICns 1'"'88 (PI 77.2. ARV Ion. 144); C"amhridgt> 168 tARV. 122J. 5); Heldclhcrg 'i'LlI \ARV 'M4.84. HlImpe. N,...........,bot..k<''' 1957·1911.1. pi b2); ik'rlln :llbl IAR\ 9Clt>. lib: CVA vnman)' 22. Ikrl... J. pi. IJb. I. J4); LP 2b1l2 lItRV. lJ711. 911. London F 713 tANV. 805. S9; FR pi. 5·. I); Lond()fl F 7"'4 VlN\' 1250. .!2: FR. pt 57. J); Hcllldberg bt>.lO (Hampc. N..........·'rb.."k.." 1""'-·1"". pis. ~II; Alhen_. Apa P 2283 tANV. 122.1.5; 11",,,,,"" 4. 4~6. 2. a..1 -00. 21; Bu.:t1(1.. n rl eaampk from the TI\e<.pian PO.... n 8"',i,1I Mu..... m. Ill. F. 774. 4i. ARV. 5ll5. 3J; Cc. pI. 4J. 4K, ANV. llB, 4; CVA. Gttmany b. Munich 2. pi. %. b·6. 49. A,ltV. 9Ob. 116; CVA. Germany 22.lkrlin J. pI. IJ6. l. J·4. SO. A,hAli" J2 l190i) ·H. f""tnOle I. Sandab a", menliom:d as an Epaulia pre....nt III lustalh"". W,"lldil1g ,h".:, an: pul on the bride (London E 774. ARV 12~..n; FR. pl. 57_1/; on lIdcn (Chllh-"ah11. 11. pI. IX. 1·2; XI). A maid put- _hon on H1ppodamcia on thl' ea.'it pet!lnlenl or the lempil' of Zeus at Olymp.. (Manc·louisc

I.,ou.,..

190

SALLY RUTH£REUIlD ROJl;£RTS

'I HE ATIll PVXIS

SanlJnd. 1'1,0:

t.fUl p.vrmr,,, QI ,11., f"mpl, "I Znu ul Olj-m/H" !G;;;'cbofJ 19701 105-10', IIp. 09--0 and rcfefYoc"): the" bride lin her _n undal on a Ic:bn gam'kOlo \AN V. Ul2. 11: AI~'m J21190~1 pi ":). 800b had fu ....r;aI ronl1«llOI1S in the Geom"'nc pc'riod. Tau t"nK'O'llil pal. "en found in a gU.H: VlrJ,..._ 18 119491 282.2%-29-, ph. 6-. ·0). OIM: paIr .. ",re found In IM glue of a "oman al Eku~t.. and "()tIll.cn put fCOlard ,"" lhcon that the OOob "o:re an offcTlng tor the U$(" of the ~I'''ll ..1 the dead on Itw " ..... rn..·' h' italiC' U ...... ben. fJu· 1),1"11.",/(",,,,,,. J,,' I)lpyl"".(Uf'J'l. JO.JIl. The 5'<'10: of Amrinoklra rep~nn dealh In turns of a ..OOding. Sanda'" are placotd on lhe bndc of Hadn (Con•.". AI/Ut'''" G,."b,.,.t"1J. pi. ' •• , Siflund. fig. ;4 and p. 10il. S!. 14111/1.1,1/ 32 090') pis. 5. 7-8. 52.10141.11 (1939) KI-95 (Kcnnctl. 5.). RC s.v. Wind~lIer. 514. 54. l>aremtH,rg·SaIlIiQ S.", Trhopaltels; John Tu_lo!>. Pr,,,,riul Vlmu"u,,· of '4Ilrinll )1I11I'1ls. 29':1. 302. 55. CVA. G~rmany 5. Vienna J. pI. 2b: JOAI Jl (939) fig. on p. t!1. ~. H"'''KI 1h''''K<J1n' 1111" .'llI.1H 57. ANV. 1223.4: CVA, Germany b. Munk'h 2. pI. %. b·t!. StI. A/IIMm 32 t19l) plo .l klulrophoros·hydna 01'; .. .,.. of 10mb: Hel)!a Gcneke. u"/'HJJur-s/dl""R"" u"f Rn, c·llis"',,,,, VIlSl'n Ilkrlin 19701 S9f1'. An unmatnC'd man .... ~ rerhap" ron.:e"ed of :I~ bridellroom of P~rsc:phone. a maiden a~ htlde of Hadn. 62. b". BSA 5~ t19b2J 1J1l. no. 46 Oeffe'1J: A/It...u Annals o} Arrll"rtJI"I(' 5 (lIP])

,,,,J

298·314. 6.1. He~iod CU/Q!ogu" oj Wornl'tl 7l. 64. Euripides /plti'~1l~itl i" TllurU L 1464l'f. I..oeb aL'l$kal libraI)'. b5. Tullia L",d~t<j. "Studies in lh~ Tn:.. ~utt' R~oonh of Arleml~ Braurunra F()llnd in A1hens" Aau "ut;!,,/; A!Jf"'UO'nsu 19119721 q·2J. 66. Euripldes JpJlIgMeitl in Aulis L. 609ff. Loeb Classical libraI)'. b7. ANV. 446. 266: Mmu4m 32 (1927) J,JI and pi. 94. 68. /oN. pI. 57.1: ARY. llO5.119: Bl'lI7.le)' rcl3led th" represc:nlalion to lhc l'ur~t: of Aphrudnc on lhe daughters 01 Tyndar~us (Hl:'Siod CUfulogut' of Wurnr'" bil "hieh made tn..-m ",,,I,,,, and lhri"", ,,'ed and deserters of their husbands." Thu~ HUller nMed that the name of Timandra .hould h.. ,~ been indudrd instead of Kassandra. 69. ANY. !IO&.lJO; FR. pI. 5i. 2. 70. Apollodorus 2.5.11.

'91

In

,.3 SElFCTED UIBlIOGRAPH' Bibliography rde-mog 10 special probleml, Of to indindual vases. lS given in t~ catalogue rrnm and DotC5 chapter by chapter.

PIUMARY SOURCES

Aristotle pcJilin Arislophancs Birds £CCh:JiQZNJQ~ (Loch aassical Library). vol. J. Lui.ururu Euripldes Akest;s IphiRent!ia in Aulis (phigt',wiu in Taun"ra Hesiod Tht! J/omeric Hymns and HomrricQ P1alo Symposium Xenophon Of'C'OIwmicus

ATTRIUUTIONS

Attic Bluck-jigun Vuse-pai"'f.'n;, Oxford, 1956. Auk Rtd-figurt' Vus('"ptli"un. OKfOfd, 1942. A/tic Rffi-jigllrt. VllSI'-paintuJ. 2nd W. Odord. 1%3. - - , "Groups of Early Attic Black-figure:' He-speriu 13 (1944) 38-57. - - . Purolipomf'1llJ. Orford. 1971. BEAZLEY. JOIIN DAVIDSON.

SIIAPES Of ATHENIAN VASES BFAZLEY. J.O. PfJ/fl'f' ,,/Id P"inlt" in Anrif"nf A,ht'n.L london. 1Q46. BOTHMEtI, DIETlurH YON. "Lids by (1 %4)

Andokides." 8rrli'lf'r MII$('.'n 14

38·4 l.

BI OFSCH. HANSIORG. FOrflwll ottiJrhl'r Srllo/nl. Berne, 1940. HASPEI s, C. H. E~ULlE. Af/ir Bfork·)i/llln.'d L.'JeylhOl: Paris, 1936. Thl' AI/ir S,anlllol. Oxford. 1%7, A. ASO TAIf·on. LucY. BlurJe and Plain Por,.'')' vi rhl' Sixth, Fifth and FVlmh C~nlllries B.C, Athrnian Agoi'll XJI. Princeton. 1970,

PtUlIl'PAKI. BAMtiARA..

SPARKU. BRIAs

194

19'

NAMES OF VASES

a

LILI_Y. "Quelqu~ vases du sanetuai~ d'Anl'mls Brauron:' Amii.. KUl1sr. Supplement I (l%J) 5-19 I'''OFM!>. I LlllA "Slu..he~ in Ihe Treasurc Rl~'unh 01 Atlcmi~ Brauronia I-ound in Alhcn..:· ,""tu ".)rttulI Ath.Il1f,u/I 1'1llq"ZI q·11

GHALI-KAliIL.

HlrllTER. G'~FI" M. A.. AND Mu NE. MAkJORIE M. Shtll"'S and N""wJ, 0/ A,Ir",,;,,,, Vast's. Ne .. York. JlUS. .

Blurk "nd Plui" Pot/.,I')· of ,h., 5;:011. fifth. "lid Fuu"''' C..I/lIIri,'J B.C. Athl'fliu" Agoro XII. Pr;ncl:lOn. 1970. Mu NE. MARJORII: J. "Kllichnb:' AlA 43 (1939) 241-54. St HI 181 ER. (NCEBORC. "EJ(a!ciplra:' Jahrbur:h un DeuHr:hl'tI ArchuQ(ugiu'"'''' hmif"'J. 7911964J 72·108. SPARKES. BM tAl" A •. AND "I Al rOTT. Lut'Y.

WU:-KERT. "hfJollWTQ4," Pouly- Wwo..·u. Rru/·Efll'yC'lQpQdi.. dt'r /duJJisehrn AItI'NUmJIO'J.j(·nJf'lruft. Vu\. XIII. Cols. Il·JJ.

,'HMII'I

MM \. S. L" ,\ •• "'1101, d/\I"lIu III \,,,11. T,.,..bbu \0J... I and 1.2. 1lJtl). 1%:',

Rom~.

CULT nIl K"LM. L. /J,..Al/luh., fnt". f-AR"FI •. I.. R, Th, eulll'" Ih" G,.".·k SIUI"~, Vol. 2

SITES

I<;M4 .... I. Hrkul". 1Il:K1d~rl:. 19tJO. G, Ch'J41 ",,,1 Amh"lf""".

\AI' IInOA".

BOUl TER. CECRU', "Pollery of the Mid-Fifth Ctnluf')' from a Wc-II in Ihe Athenian Agora:' Jll'.
AI.EXIOU. MARGAItET. brioge. 1974.

l,tld~n.

19!'-1.

Tht Ritual Laml'l1t in Gffd; Trudiriol1. Cam·

BOAROMAI'.1.. AriD KURTZ.

D.e.

Grt'f'k BunulCu$toms. Ithaea. N,Y..

Iq7!.

Cluru Rhvdw. Vols. 1. 4. KEssrll. 11. "f-1ugcltrau uml t:liig,dd30l01l" lOA I 31 (19~181·%. P~MII""Y, E. T(J",b~""'p/llrt', Ne'" '1urk.n,d. Ho.. l. 11. J.•. I"he Bride 01 Hadl:'," Cf
YOLNG. ROUNFY S. Lurt' Gf'01m>lric Grul"'S ami u S,'I'I'I/(II Cl'tltun' W.'1f 11/

,h.> Agora. 11"3/11'''14: SlIpplf'lIIl'1U /I. Athens. IQ]9.

- - , "An Industrial

Di~triCI

. of Ancient Athens:' III'slwriu 20 (1951)

1.15-28S, Athens: (;I'ramlcu$

MirU'ihmgen dl'J Deutschen Arcllilulogiscnen Ableifung, Passim,

Instiluu:

Alhenisclle

Ilu III 11. MARGARFTI. "I::r~ and DioflplI.. on Kerch Va..cs." f1"l/,,'riu. Supplcrncnt 8 (1949) .11·,\8. RICIITER. G. M. A. Korai, London. 1%8, ~~llllND. M ... ItII·LoIJl~E. Th,' I:·a.u 1'1'I1i",,,,u '" 1111' "I,'mp/,' 01 Z"lIS ut O(rmJ'ill i~tudie.. in Mcdilerranean Arehac/lI,,~;) 27). GOlcborg. 1970. Pat run age

Brauron WllI .. ILR.

To Ergol1 (1960·61) 21·30. DAux, GEORGES. "Chronique des Fuuilb 1%1:' Hell 86 (1%2j b44·45. - - . "Chroniquc des Fouilles 1962:' BCH 87 (I96J) 704·15.

T. R. L. p"".'rllllll PUlrnll

i'l CI"l~ic(/1 A/I",".~.

London, 1972,

'96

~AllY RL'THFaFURD

Ron:RTS

'97

C.J~nda,.

SI'H-' AIR. T. A. H"SI,)!I W"r,h und nun. I.ondon. Iq];? Mt III IT. B. D. Th,- Alfw"iu/I Y,'ur. Bcrk~k}. 1%1. MIKAI ~ON. Jos U. Ih,- Sucn'jl u",1 e"if Cul",,,I,,r"f th,- A,J"'mu/I I'rin~clon. I97,S.

Addenda

r""r.

Various pr_Ides have come 10 my notice SIDl"e the book ."as ('omplctcd. Such infOM1\"ion as is aVlil.ble is appended hCR.

I. Athens I59J. rlJ. 16c. Lid domed. WaD conean orlth inKr fta.tll"= to rettift lid. Rin, rooc. lAurel (half) on bod,. Lid: woman with hll,h05 and wom.n ...hh boJl. Eroli and

"·om.n. RM·figure pyla. 'ype C. Iller lifth ('('nlury B.e. Hut)' slyle not rat from lilt Lid Painter and M.rl.y Painter. Profile similar 10

Athens 1597. 2. Bo$ton J8 1971 on anoQ}"Il\OOs ptnoancnt dCl'O'il. H....ith lid 0.11. H...ithoul lid 0.1 IS, D. of lid O.IU. Red-figure pylis type A. women wod:lng ...ith wool. u. -450 8.C.

J. Dallas, Muscum of Fine Arts. H. 0.239. D. at rim 0.138. D. or lid 0.158. Lld: tongue5, blatk band. ~nkal dmlmscnbed palmct1e" black band, t'U and d... Rcd-flgll~ py.lis. Iype A, b)' or near the Abmietll Painter, HerWrt Hof'fmann. T". C..lltllri..S fllllr SltupI'd'M Wu,. 110. 191; ror ring knob d. Vitnna 3119 (CVA Auslria I. Vienna I. pi. 48.7); rCM" profile d. Penthesiln WCM"uhop 11, u. 440-430 a.c. 4. Ikn~C1" An. 97. H... ith lid 0.05. D. 0.11, D. of lid 0.145. H. or rOOl 0.003. W~ath on bod" cu pallenl on klwct keel. Lid: &os and seated wontan,.omen. Red·figu~ py:a:is. type C, latc fifth - carl, rounh R.C. S. Etnria Mu:!C'um. 5latlt·glaze py..is or type A. 6. Houston. D. and J. de MCI'll CoUe<:lion. H. 0.063. m .... D. 0.054. Knob modern, slightly domed lid .·ith I_'er rim, cyliodrical wall with widely projecting Jo-'fT kcel, tripanite rOOl. Miniatu~ red·figu~ PYl"is type A. u. 420-410 B.C. H.Hoffmann. Tr" C..Ilturiu rhul ShuMd rh.. Wf-SI. no. 192. 7. luanbul. Archarologinl Mu:!C'um. Cona"'e C'Une strengthened al base:, tripanite rOOl:, kothon type knob. Profllc 1oOIll"'bal similar to Athens 11191. Lid: tongue and dot (debucd) blatk band. ~rrtinl circumscribed pa!mcttC'$. Line and dot .bm"tC and br;1ow friae (th.t a~ is on the flilnJC of the lid). Red·figure pyxis type A. thaln or m.idens approathing an .llar with. rolumn behind il. n. 440-430 B.C.

.

,

''10

8.

Mapl~ood.

JOKph V. Nobllr.

Ro:d-figure ppis. l)llt C. 9. Marathon MUKum. Marathon.. Fragments of lids of mi·figumi pysMks of type C. 10. Thebes MUKum from Kanapitsa. AIit'D lid. Boeotian red-fiiufe py.is, type A. profile of Penthc:~i1ta Workshop 11, ,.'nlding. end of fifth century 11. Tlleualonih, Archaeological Museum. 81ack-figun:. concave pyxis of Swan Group. Line of XXXI, s.... aRS upright. 12. WUnburg H 53JJ. Lid and foot mioisinl. H. 0.10. D. a' lip 0.085 C,ltndrical ..all ..ith pro;eetinlloortt ked. Ea and dOl: on 1<",1. FIX" shape cf. TClI'OIIto 919-SJ2. PI. 84.1 AnK- red-figure pp.b. type A. Aphrodite ,,>Cl Adonis, ca. J8(l a.C. Erita Simon. "Aphrodiu: and Ac;1onis Ent' NC\I~nc Pyllis in Wunbur,", AltlK 15 (1971) 20-26. PI. 6.

a.c.

Fig.la.

b.

d.

c.

e.

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