FIG. 104. BOEOTIAN KYLIX (BRITISH MUSEUM): GIRL PLAYING KOTTABOS(?).
The subjects are of some interest, and include two figures of Herakles, one bearded, the other youthful; a girl playing kottabos (Fig. 104); and a cultus-image of an enthroned Chthonian goddess (Demeter or Persephone), holding a torch, ears of corn, and poppies. These vases have been collected and fully discussed in an interesting article by Dr. S. Wide.[1408]
1269. Klein, Euphronios,2 p. 31 ff.
1270. See Berl. Phil. Woch. 1894, p. 112.
1271. See Norton in Amer. Journ. of Arch. 1896, p. 37.
1272. Furtwaengler, in Berl. Phil. Woch. 1894, p. 112, in repudiating the idea that the new style was first introduced in the kylikes, seems to have misunderstood Hartwig’s arguments.
1273. Jahrbuch, ii. (1887), p. 159 ff. The alternative view is upheld by Klein, Lieblingsinschr.2 p. 26 ff., and he is followed by Murray, Designs on Gk. Vases, p. 6. Klein compares Epictetan vases with the work of Mikon, and also bases his argument on the story of Kimon and the bones of Theseus (see p. 418).
1274. Inscr. Gr. i. (Atticae), Suppl. pp. 79, 154; Jahrbuch, loc. cit. p. 144.
1275. Chapter XVII. See also especially Klein, Lieblingsinschriften (2nd edn. 1898); Hartwig, Meisterschalen; Wernicke, Lieblingsnamen; and B.M. Cat. of Vases, iii. p. 24.
1276. On the identity of these names in particular, see Klein, Lieblingsinschr.2 p. 27 ff.; Murray, Designs, p. 6; J.H.S. xii. p. 380.
1277. Hartwig (p. 11) points out that vase-painters also bear well-known names, such as Hieron, Andokides, Aristophanes.
1278. The name of Leagros also occurs on late B.F. hydriae, e.g. B 325 in B.M. It is used by four R.F. painters in all.
1279. E.g. Branteghem Cat. 57.
1280. See Hartwig, Meistersch. p. 3, and id. in Mélanges d’Arch. 1894, p. 10. He also cites a vase in Berlin (1906) which bears the name Stesileos καλός. This may refer to the S. who fell at Marathon.
1282. C. Smith in B.M. Cat. of Vases, iii. p. 1.
1283. See also B.M. E 15, E 458.
1284. Cf. Pliny’s In veste rugas et sinus inventit, of Kimon.
1288. See B.M. Cat. of Vases, iii. p. 11.
1289. See B.M. Cat. of Vases, iii. p. 14; Urlichs, Beiträge, p. 37; and cf. p. 135 for a mention of a vase stamped with an owl and olive-branch, and supposed to be an official choinix measure.
1290. xi. 495 B.
1292. Cf. B.M. E 471 ff.
1293. See Jahrbuch, 1894, p. 60.
1294. See what has been said above on the changes in the form of the amphora, hydria, and krater.
1295. Jahrbuch, 1892, p. 105 ff.
1297. See also some valuable notes on the subject in Riegl’s Stilfragen, p. 191 ff.
1298. B.M. E 4–5; Arch. Zeit. 1885, pl. 16, fig. 3.
1299. B.M. E 17–19; Berlin 2263, 4220; Louvre G 18; Helbig 246 = Mus. Greg. ii. 70, 2. All these are cups with the name of Memnon καλός.
1300. Berlin 2262.
1301. B.M. E 22, 41; Berlin 2264–65; Louvre G 17.
1302. E.g. Munich 1160 (by Hischylos) B.M. E 37–8, 40.
1303. As on E 69, 78.
1305. B.M. E 6, 78.
1306. B.M. E 818.
1307. See Hartwig, Meistersch. p. 321; and cf. B.M. E 68, 718.
1308. See Furtwaengler, Eros in d. Vasenm.; Knapp, Nike in d. Vasenm.
1309. B.M. E 772–73.
1310. Notably on the fine kylix by Peithinos in Berlin (Hartwig, Meistersch. pl. 24). Cf. B.M. E 462, 510, and Furtwaengler and Reichhold, Gr. Vasenm. pls. 44–5 = Munich 408.
1311. Cf. also, for varied treatment of the same subject by two artists, B.M. E 44 (ext.) with Louvre G 17.
1314. E.g. B.M. E 406 (Lampadedromia); E 298, 460, 469, 270 (musical contests).
1315. General reference may be made to Klein’s Meistersig., 2nd edn., supplemented by Hartwig.
1316. Cf. also C. Smith in B.M. Cat. of Vases, iii. p. 21.
1317. Euphronios,2 p. 14 ff., with list of cups in Appendix.
1318. B.M. E 18.
1319. The type, it should be noted, is purely B.F. in character.
1320. Designs on Gk. Vases, p. 8.
1321. The Louvre cup F 129, inscribed Ἐπίλυκος καλός, cannot be assigned to him, although Klein did so. See Monuments Piot, ix. pp. 157, 168 ff.
1322. Él. Cér. iii. 73; B.M. E 34; Branteghem Cat. 28; fragment acquired by B.M., 1896; Boston Mus. Report, 1903, No. 52.
1323. Meisterschalen, chap. iv.
1324. Nos. 8–11 in Klein’s list, according to Hartwig, p. 63.
1325. The earliest example seems to be Reinach, i. 223 = Wiener Vorl. D. 5 (a cup by Pamphaios).
1326. As in the Epidromos cup (B.M. E 25).
1328. Designs on Gk. Vases, p. 4.
1329. Reinach, i. 460, 1.
1330. See Cesnola, Cyprus, pl. 39, fig. 8, pl. 40, figs. 11–12; the Satyr and archer are among recent acquisitions of the British Museum.
1331. Ann. dell’ Inst. 1883, p. 213.
1332. Euphronios, p. 289 ff.
1333. See Hoppin’s monograph on this painter, passim. In addition to the five signed vases (for which see Klein, Meistersig. p. 194) he gives the following as probably Euthymides’ work: B.M. B 254–56, 767; Munich 410 = Furtwaengler and Reichhold, pl. 33; Berlin 2180; Reinach, ii. 133.
1334. Ἐφ. Ἀρχ. 1887, pl. 6.
1335. See also J.H.S. xii. p. 380.
1336. See Hartwig, chap. ix. throughout; also Jones in J.H.S. xii. p. 366 ff.
1337. Klein only knew of four, but Hartwig (p. 168) has added to his list.
1338. A hydria in Munich (No. 6) is also probably his work. It represents his colleague Euthymides and another potter, Tlenpolemos (see p. 440). Cf. the vase mentioned above, dedicated by Phintias to Euthymides.
1339. Reinach, i. 203.
1340. See also Hartwig, pl. 6.
1341. Gerhard, A.V. 103 = Reinach, ii. 57. The vase in Ant. Denkm. ii. pl. 8, is probably not his work, as has been suggested. The ornamentation of the hydria is not given accurately by Gerhard (see Klein, Meistersig. p. 198).
1342. Karlsruhe 242; Arch. Anzeiger, 1894, p. 180 (at Odessa).
1343. Amer. Journ. of Arch. 1895, p. 485.
1344. It is used by Andokides, Chelis, Euthymides, Pamphaios, and Nikosthenes.
1345. See Klein, Euphronios, passim; Hartwig, chaps. vii. xviii.; Murray, Designs on Gk. Vases, p. 11.
1346. E.g. the B.M. hydria B 325: see Klein, Lieblingsinschr2. p. 70.
1347. Hartwig, p. 152, mentions another possible instance, an amphora in the Louvre. All the vases except (9) are published in Klein’s Euphronios, and all except (8) and (9) in the Wiener Vorlegeblätter, ser. 5, pls. 1–7. A few more recent publications are noted in the list.
1348. Paus. v. 19, 1.
1349. Hartwig, op. cit. p. 487; Furtwaengler in Gr. Vasenm. p. 110 (denies the B.M. kylix to Euphronios).
1350. Hartwig, pl. 53.
1351. As noted on p. 457, it has been attributed by Furtwaengler (with some probability) to Sotades. For other attributions of vases to Euphronios, see Hartwig, chaps. vii. and xviii.
1352. Op. cit. chaps. x. and xxi.
1353. A good instance of this is E 50 in the British Museum.
1354. Wiener Vorl. vi. pl. 7.
1355. Murray, p. 12.
1356. See his chap. xvii.: “Der Meister mit dem Kahlkopf.”
1357. Hartwig, p. 301.
1358. Ibid. p. 305.
1359. Murray, p. 15.
1360. See Murray, Designs, p. 16; Hartwig, p. 321.
1361. Ant. Denkm. i. pls. 9, 10.
1362. Except in one insignificant instance: see Rayet and Collignon, p. 187.
1363. Murray (Designs, p. 5) notes the same characteristic in the cups with genre subjects, as in the B.M. examples E 33, 39, 49, 51, 54, 55, 61, 68, 70, 71, 78.
1364. See Monuments Piot, ix. pls. 2–3, p. 15 ff·
1365. Lieblingsinschr.2 p. 126 = Reinach, i. 166.
1366. Quint. Inst. Or. xii. 15.
1367. This chronology is taken from Robert’s Marathonschlacht, p. 69.
1368. Cf. Jahrbuch, ii. (1887), p. 170 ff.
1370. See J.H.S. xviii. pl. 14, p. 276 ff.
1371. See his monographs on the Nekyia and Iliupersis = Hallisches Festprogramm, Nos. 16 and 17 (1892–93).
1372. E.g. B.M. E 492; Reinach, i. 217.
1373. See Robert in Mon. Antichi, ix. p. 24; id. Marathonschlacht, p. 55.
1374. The type of Orpheus on this vase is clearly derived from Polygnotos; the figure standing with one foot raised, like Antilochos in the Nekyia, is a well-known motive of his. See Furtwaengler, op. cit. p. 161.
1375. See Robert, Nekyia, p. 43; Dümmler in Jahrbuch, 1887, p. 170 ff.
1376. Stackelberg, pl. 25.
1377. Branteghem Cat. 84 = Ant. Denkm, i. 59: see also ibid. 85.
1378. Report for 1900, Nos. 17–8.
1379. In Madrid (Ant. Denkm. ii. pl. 1). The vase E 84 in the British Museum is very similar, and the style also has affinities with that of Aristophanes.
1380. Cat. 167.
1381. Mon. Antichi, ix. pls. 2–3, p. 5 ff.
1382. Op. cit. pl. 2.
1383. Ibid. pl. 3.
1384. E 284 = Reinach, ii. 123.
1385. Naples 3089 = Millingen-Reinach, 33 is probably also by Polygnotos.
1386. The British Museum pelike with the Birth of Athena (E 410) and the Tricase vase (J.H.S. xviii. p. 279) may perhaps be his work.
1387. Froehner, Tyszkiewicz Coll. pl. 35.
1388. For facsimile see Chapter XVII.
1389. The following vases are in the style of Meidias, though not necessarily from his hand: Athens 1287 = Reinach, i. 342; Naples, S.A. 311 = Reinach, i. 474, 7; Jahrbuch, 1894, p. 252; Karlsruhe 259 = Furtwaengler and Reichhold, pl. 30; Reinach, i. 472, 1; 476, 2; 477, 2; 493, 3; Dumont-Pottier, i. pl. 8; Furtwaengler and Reichhold, pl. 59.
1390. Paus. i. 18, 1.
1391. See Robert, Marathonschlacht, p. 97; Nekyia, p. 42. On late R.F. vases with double friezes see Winter, Jüngere attische Vasen, p. 69, and Röm. Mitth. 1897, p. 102. The principle is frequently adopted in the vases of Apulia (e.g. Plate XLV.); for early Apulian examples see p. 485.
1392. See J.H.S. xiii. p. 119.
1393. Cat. 1790 = Ant. du Bosph. Cimm. pl. 46 (in colours) = Reinach, i. 23. For a curious imitation of this vase, see Naples 2992.
1394. Jahrbuch, 1894, p. 57 ff.
1395. Naples 3135, according to him, is contemporaneous with the B.M. Aphrodite cup (D 2), about 460 B.C.
1396. Vasen mit Goldschmuck (1865).
1397. Gr. Vasenbilder, p. 2, pl. 1, fig. 3, pl. 9, fig. 1; Rev. Arch. xxx. (1875), pp. 1, 73, pls. 17–20. See also Berlin 2661 = Rayet and Collignon, p. 257, and 2705 = Reinach, i. 426, 2.
1398. Of similar style are the fragment Naples 2664 = Reinach, i. 181, and Athens 1259 = Reinach, i. 506.
1399. Mon. Grecs, 1875, pls. 1, 2.
1400. Marathonschlacht, p. 74.
1401. Cf. Quint. xii. 10, 3, and Pliny, H.N. xxxv. 67.
1402. See Robert, Iliupersis, p. 35.
1403. Cf. Michaelis, Parthenon, pl. 4, 25, with a vase in the Vatican (Baumeister, i. p. 746); and see Jahrbuch, 1887, p. 177, and Roscher, i. p. 1355.
1404. E 716 = J.H.S. xv. pl. 5.
1405. See Jahrbuch, 1894, p. 69.
1406. Nos. 1119–20, and one uncatalogued.
1407. Cf. B.M. Cat. of Terracottas, B 57–8.
1408. Ath. Mitth. 1901, p. 143 ff., with pl. 8.
Origin and character of white-ground painting—Outline drawing and polychromy—Funeral lekythi—Subjects and types—Decadence of Greek vase-painting—Rise of new centres—Kertch, Cyrenaica, and Southern Italy—Characteristics of the latter fabrics—Shapes—Draughtsmanship—Influence of Tragedy and Comedy—Subjects—Paestum fabric—Lucanian, Campanian, and Apulian fabrics—Gnathia vases—Vases modelled in form of figures—Imitations of metal—Vases with reliefs—“Megarian” bowls—Bolsena ware and Calene phialae.
The method of painting on a white ground, which was brought to such perfection in the fifth century, really requires a section to itself, its development being parallel to, yet different from, that of the painting in red on black. Its genealogy can be traced almost throughout the period of Greek vase-painting, beginning with the Ionian fabrics of Rhodes and Samos, through the more developed vases of Naukratis and Kyrene, until it was introduced at Athens in the latter part of the sixth century, perhaps, as we have seen (p. 385), by Nikosthenes. The method was not, of course, new then to Continental Greece. It was the one usually employed for painting votive tablets or pictures on wood, the surface of the tablet being prepared by covering it with a thick slip of creamy-white lustrous character, known as λεύκωμα.[1409] Thus it is used in one of the few examples known of Attic painting, apart from the vases, the Warrior pinax from the Acropolis, which may be dated about 500 B.C., and stands midway between frescoes and white-ground vases (see above, p. 397). Possibly the idea of the white slip was to get the effect of painting on marble such as we see in the tombstones of Lyseas and Aineos.[1410]
This method was adhered to throughout the fifth century by all the great painters, such as Polygnotos, and hence the importance to us of the white-ground vases of that time, as reflecting their methods, and in a miniature form the appearance of their works. In the fifth century the all-important consideration in a picture was perfection of design and composition; colouring was relatively unimportant, and the technical processes exceedingly simple, three or four colours alone being employed. Cicero[1411] tells us that Polygnotos, Zeuxis, and Timanthes only used four colours—black, white, red, and yellow. It is interesting to note that these are just the four colours we ordinarily find on the polychrome vases, the flat tints so frequently employed being no doubt suggested by the mural paintings.
To go back to the earlier Athenian vases with white ground, we observe that at first the method of painting in silhouette, in the manner of the ordinary B.F. vases, obtains exclusively.[1412] About the beginning of the fifth century this method is superseded by what we may regard as a transitional class, in which the figures are painted partly in silhouette, partly in outline, the simple black-on-white design being preserved, with a very occasional use of purple or yellow.[1413] According to Winter, the origin of outline drawing of this kind may be found in the partly outlined female heads which are found on some of the minor artists’ cups, such as those of Sakonides, Eucheiros, and Hermogenes.[1414] We need not go as far as he does in explaining the catagrapha of Kimon (see p. 397) as the replacement of mere silhouettes by outline drawing, so as to give individuality and variety to faces; but the vases which he publishes are remarkable for the highly developed character of the heads depicted thereon.[1415] One in particular is more like a head by Euphronios than one of the Epictetan cycle, to which it must belong in point of date. But it must be remembered that Epiktetos and his school were still hampered by archaic conventions, while the painter on a white ground was carving out the way to perfect freedom.
The shapes employed for the new white-ground technique are much the same as those used in the previous period—the kylix, the lekythos, the oinochoë, the pyxis, and the alabastron.[1416] But of these only one retains its popularity for any length of time; in fact, after the middle of the fifth century it is the only one employed at all. This shape is the lekythos, on which, indeed, alone the whole development of white-ground painting can be traced from the B.F. types down to the fourth century, when it finally disappears. Although not exclusively the sepulchral vase (as may be seen from the appearance of other vases on tombs in the painted funeral scenes[1417]), yet for some reason it came to be regarded as the proper shape for such purposes, and the fashion of making white lekythi exclusively for the tomb, and decorated as a general rule with funerary subjects, prevailed for about a hundred and fifty years. We have elsewhere (pp. 132, 143) noted instances of its use recorded by Aristophanes.
The introduction of polychromy is a gradual development. At first, as we have seen, colour is very sparingly employed, only in the use of a brownish yellow (produced by thinning out the black) for details or washes, or of a purple or pinkish brown. Subsequently the outlines are drawn in black or brown, and filled in with black, brown, or purple washes; the occasional use of a clear, thick, white pigment, standing out against the cream background, is also to be noted[1418]; and next a wash of bright red or vermilion is employed. In the final stages of polychrome painting, during the fourth century, the range of colours is greatly extended, and blue or green are employed