LATE OFFSHOOTS
We should unnaturally shift the centre of gravity in our narrative if we
treated the late period of Greek vase-painting with anything like the
same fulness as its development from the Geometric to Meidias. The fully
developed and often almost playfully treated vase-shapes give no longer
any really tectonic ground for the silhouette style, which had exhausted
the qualities compatible with its inward nature: the elegance of the
vases feels the pictorial decoration to be a burden, as does the style
of the figures feel the tectonic compulsion. Even in the last third of
the 5th century examples are multiplied of the transition to free brush
technique. The Pelops amphora (Fig. 148) adorns its black neck with a
sphinx added in white, the Talos vase (Fig. 153) and with it a multitude
of other vases seek to fix the impression by a white central figure, to
which the others rendered in ordinary technique are only a pale foil. In
the course of the 4th century this foil too, was dropped, and black
glazed vases of elegant shape were decorated only with figures or
ornaments loosely added in white. The brush technique, both the black of
Boeotian vases (p. 110) and the white of Attic and Lower Italian, made a
new development in ornamentation, which culminates in spiral tendrils
and branches with depth of space, in combination of figures and foliage
of plastic effect. Besides these freely decorated vases the red-figured
long continue. But the centre of gravity of the manufacture lies no
longer in Athens. Even in the time of Pheidias the Attic school sent a
branch to Lower Italy, which took root in the Periclean colonies of
Lucania, extended to various places in Lucania, Campania, Apulia, and
Southern Etruria, and soon grew up as a strong plant. In this
production, which in the 4th century completely supplanted Attic
importation, few really original artists took part, who all seem to
belong to the early period, and perhaps were emigrated Athenians; the
master of the Paris ‘Tiresias’ krater is one of them. From the early
group, in which good Attic tradition is strongly felt, we select two
bell-kraters. The full, and rather empty heads, the very general
conception of the divine types leave us no doubt as to the Italian
origin of the Paris ‘Orestes’ vase found in Lucania (Fig. 156), while
the wonderful group of the sleeping Erinyes, Klytemnestra urging them to
vengeance, and the purified Orestes, show us not only a fine model but a
clever hand. From the drawing and shape of the vase it may very well
belong to the end of the 5th century, like the closely analogous London
krater (Fig. 157). This vase with much humour introduces to us one of
the favourite Italian farces (the Phlyakes) and begins a long series of
similar representations from different workshops. Thus _e.g._ the
painter Assteas painted two Phlyax vases, one of which in comic parody
gives the violation by Aias of Kassandra, while the other is a serious
theatrical scene, which with its detailed rendering of the stage clearly
demonstrates the influence of the drama on vase-painting.
The activity of this painter, who from the stiff variety of the style
and the localities of the finds must be localized in South Campania,
belongs to a later phase, which does not concern us. For the more these
Italo-Greek vases in shape, decoration and representation develop local
peculiarities and depart from their purely Attic starting point, the
less do they belong to our survey, which excludes provincial varieties.
Out of the mass of Lower Italian vases of the 4th century, which in
shape partly run parallel with the Attic,
[Illustration: PLATE XCIV.
Fig. 156. ORESTES AND THE FURIES: FROM A LUCANIAN BELL-KRATER.
Fig. 157. COMEDY SCENE: LOWER-ITALIAN BELL-KRATER.]
[Illustration: PLATE XCV.
Fig. 158. ACHILLES AND THERSITES: APULIAN VOLUTE-KRATER.]
partly develop noticeably baroque and locally limited peculiarities,
which in their chiefly sepulchral representations, influenced by
Orphic-Dionysiac cults, often fall into coarseness, stiffness, or
effeminate insipidity, let us take only one example. The Boston volute
krater, 1¼ metres high (Fig. 158) belongs to a group of Apulian grand
vases, which elongate the shape of the Talos vase (Fig. 153) and add
rich ornament in white colour. On the reverse bearers of offerings above
one another in the favourite borrowed motives (sitting, standing,
running, leaning on a pillar, drawing up one foot) surround a
white-painted Heröon with the dead man: the obverse combines a similar
building with a mythological scene, the slaying of Thersites by
Achilles, and thus gives a mythical prototype to the dead man, for whose
grave the vase is designed. The liberal use of white paint, the ‘black
ground’ ornamentation of the neck and foot with branches and tendrils
are progressive elements, which lead the way for Hellenistic products
like the Apulian Gnathia vases; in the increased pathos of the faces is
traced, though provincially coarsened, the stronger weight given to
sentiment in the 4th century; and the perspective rendering of the
building operating with light and shade, which often extends to the
ornament, points to a period, which had won complete freedom in space,
and certainly could distribute figures over the landscape more naturally
than the vase-painter, who filled the tall space with them only in a
superficially decorative way.
Sentiment and light, the great achievements of 4th century art, were the
ruin of the decorative silhouette style, whose figure world can admit of
pathos, as little as the bursting of its vase sides by perspective views
corresponds to its surface decoration. Even in Athens, where out of the
successors of the Meidias, Pronomos and Talos styles an after-bloom
developed (Figs. 155 and 159), which from the rich exports in the Black
Sea is usually called the Kerch style, the new tendencies of art were
fatal to the red-figured style. To be sure this was in a different
direction to Lower Italy. The figure world of the elegant Attic vases,
which in the new naturalness of motives and drapery, in the strong
emphasis on female forms, is far removed from the types of Pheidias,
betrays little of the enhanced pathos of the great painting, which one
would have to deduce from the sculpture of Skopas and Praxiteles, even
if it were not expressly witnessed to by literary tradition. From the
same finer decorative sense the Attic masters made no use of the full
perspective of their time, and interrupted the vase-surface neither by
buildings or ornaments drawn in perspective nor by composition in
several planes, but following the old manner simply arranged above and
beside each other on the surface their generally large and restful
figures. As in the post-Pheidian style they like to pick out single
figures by white colour, and do not despise gilded additions, nay, they
even often heighten the decorative effect of colour by the application
of light blue, green and rose, occasionally also by figures in relief
and painted (as Xenophantos did in his aryballos with hunting Persians,
meant for Eastern customers, in signing which he emphasizes his Athenian
citizenship). The varying shades of the colour scale give one an inkling
of the new problems of light, which were certainly struggling for
expression not only in sculpture; in the drawing of the figures,
rendered in strong relief strokes, nothing of this is observed. Thus the
‘Kerch’ masters ensure to their vases a finer general aspect than the
Southern Italians, just as their commonest figures are distinguished
from the Italian by a certain nobility; but they are far behind the huge
advances of the great art, which now in its methods of expression
attained the heights perhaps of Titian and Tintoretto, and have an
_arrieré_ effect, listless and
[Illustration: PLATE XCVI.
Fig. 159. LATE ATTIC KALYX-KRATER.
Fig. 160. HELLENISTIC CUP.]
dull. Just as the new style could express itself better by the applied
than by the reserved ornamentation, which in spite of new formations has
a stiff and lifeless effect, so too the red-figured style, which as is
proved by finds at Alexandria, continued to exist down into the early
Hellenistic age, was no longer the congenial vehicle of the expression
of its age; and it was only seldom that notable personalities attempted
to practise it.
Rightly recognising that the days of the draughtsman and his decorative
figure style were past and gone, the ceramic workshops of the late 4th
century, and the Hellenistic, which appeared in several spots of the now
decentralized Greek world, more and more gave up the red-figured
technique. The great increase of the means of colouring, which is to be
assumed for the late painting, the complete suppression of formal
tendencies in favour of impressionism did not permit the silhouette
style even a subsidiary place. The future belonged to free brush
technique, that which painted in black, and that which had a black
ground (pp. 110 and 157).
The figured world, the representations, no longer play any part; the
Hellenistic painters prefer to put on their elegant, often playfully
treated vases tendrils, festoons, hanging branches and fillets, wreathes
and masks in loose arrangement. With these products of the mere
craftsman, which are often of fascinating effect (cp. Fig. 160), but
often in shape and decoration cause one to miss the delicate taste of
earlier times, ends the history of Greek vase-painting; by pottery with
relief ornament (already heralded by the completely black channelled
vases of the 4th century and works like the aryballos of Xenophantos),
which now gains ground more and more, painted pottery is completely
driven off the field.
NOTE
Thanks are due to Messrs. F. Bruckmann, of Munich, for permission to
reproduce several drawings from Furtwängler-Reichhold, _Griechische
Vasenmalerei_.
INDEX OF ILLUSTRATIONS
PLATE I. Interior of a kylix signed by Euphronios as potter: from
Caere; Paris, Louvre, G 104. Diameter 0,39. From _Furtwängler-Reichhold_
5. _Frontispiece_
CHAPTER I.: THE STONE AND BRONZE AGES:--
Pl. II. Fig. 1. Bowl from Sesklo: Athens. Height 0,20. Dark painting on
lemon-coloured ground. From Tsountas, _Dimini and Sesklo_ (Greek), pl.
22
Fig. 2. Face-urn from Troy II.-V.: Berlin. Height 0,30. From _British
School_ yellowish clay. From _H. Schliemann’s Sammlung Trojanischer
Altertümer, Hubert Schmidt_, _No._ 1,080 and 1,084....._To face page 2_
Pl. III. Fig. 3. Beaked jug from Syros: Athens, Nicole 123. Height 0,16.
Light-brown painting on yellow ground. From _Ephemeris Arch._ 1899, pl.
10. No. 8
Fig. 4. Beaked jug from the sixth shaft-grave at Mycenae: Athens, Nicole
189. Height 0,30. Turned on the wheel, polished, lustreless brown (and
red) painting. From Furtwängler and Löschcke, _Mykenische Tongefässe_,
pl. IX. No. 44......4
Pl. IV. Fig. 5. Vase of Kamares style from the palace of Knossos:
Candia. Height, 0,22. Painting white, orange and carmine-red on black
glaze. From _British School Annual_ IX, p. 120.
Fig. 6. Unpainted kylix with yellow smoothed surface, from the fourth
shaft-grave at Mycenae: Athens, Nicole 164. Diameter 0,12. From
Furtwängler and Löschcke, _Mykenische Tongefässe_, pl. V. No. 22.....6
Pl. V. Fig. 7. Funnel-vase of late Minoan I. from a house at
Palaikastro: Candia. Height 0,10. Turned on the wheel, _Annual_ IX, p.
311, fig. 10
Fig. 8. Funnel-vase of late Minoan I. from house on the island of
Pseira: Candia. From Seager, _Excavations on the island of Pseira_, p.
25, fig. 8
Fig. 9. Vase (Pithos) of Kamares style from Phaistos: Candia. Height
0,50. Red and white painting on black glaze. From _Monumenti Antichi_
XIV., pl. XXXV. b......_To face page_ 8
Pl. VI. Fig. 10. Stirrup-vase of late Minoan I., from a house at
Gournia: Candia. Height 0,20. From H. Boyd Hawes, _Gournia_, pl. H.
Fig. 11. Amphora of late Minoan I., from a house on Pseira. With many
details overpainted in white. From Seager _op. cit._, pl. VII......10
Pl. VII. Fig. 12. Amphora of Palace style from a grave of Knossos. From
_Archæologia_, 1905, pl. CI.
Fig. 13. Amphora of Palace style from a grave of Knossos. From
_Archæologia_, 1905, pl. C......12
Pl. VIII. Fig. 14. Late Mycenean Cup from Ialysos (Rhodes): London.
Height 0,20. Dark-brown glaze-colour on yellow ground, details in white.
From Furtwängler-Löschcke, _Mykenische Vasen_, pl. VIII., 49.
Fig. 15. Late Mycenean stirrup-vase from Ialysos (Rhodes): London.
Height 0,23. Yellowish-red glaze-colour on yellow ground. The tentacles
of the cuttle-fish from a peculiar ornament on the reverse, a bird by
the side of it. From Furtwängler-Löschcke, _Mykenische Vasen_, pl. IV.,
24......14
Pl. IX. Fig. 16. Late Mycenean vase with ribbed handles from Ialysos
(Rhodes): London. Height 0,34. Dark-brown glaze-colour (in parts burnt
red) on yellow ground. From Furtwängler-Löschcke, _Mykenische Vasen_,
pl. VI., 32.
Fig. 17. Late Mycenean vase with ribbed handles from Rhodes: Munich 47.
Height 0,45. Brown, partly red, glaze-colour on yellow ground. Biga
with driver and companion. _Münchener Vasensammlung_ I., p. 6, fig.
7....._To face page_ 16
CHAPTER II.: THE GEOMETRIC STYLE:--
Pl. X. Fig. 18. Attic Geometric Amphora (Dipylon class): Munich 1,250.
Height O,50. From photo.
Fig. 19. Geometric Amphora, said to come from Melos, probably Attic
(Black Dipylon): Munich. Height O,73. _Münchener Jahrbuch_, 1909, II.,
p. 202, fig. 1.....20
Pl. XI. Fig. 20. Upper half of a Dipylon grave-vase: Athens,
Collignon-Couve 214. Height I,23. From _Monumenti dell’ Istituto_ IX.,
pl. 40, 1
Fig. 21. Frieze from the upper half of a bowl from Thebes, of which the
rest is only decorated with stripes: London. From _Journal of Hellenic
Studies_, 1899, pl. 8.....22
Pl. XII. Fig. 22. Rhodian Geometric jug, said to come from Crete: Munich
455. Height O,22. _Münchener Vasensammlung_ I., p. 44, fig. 57
Fig. 23. Protocorinthinian Geometric cup (skyphos) from Greece: Munich.
Height O,12. _Münchener Jahrbuch_, 1913, I., p. 78.....26
Pl. XIII. Fig. 24. Attic Geometric kylix from Athens: Munich. Diameter
O,18. _Münchener Jahrbuch_, 1913, I., p. 78.
CHAPTER III.: THE SEVENTH CENTURY:--
Fig. 25. Cretan hydria from Praisos: Candia. Height O,30. From _British
School Annual_, IX., pl. 9c
Fig. 26. Cretan jug from Praisos: Candia. Height O,33. White on glaze.
From _B.S.A._ IX., pl. 9d.....28
Pl. XIV. Fig. 27. Cretan miniature jug with female head: Berlin 307.
Height O,10. From _Athenische Mitteilungen_, 1897, pl. 6
Fig. 28. Fragment of a jug from Aegina: Athens. Nicole 848. Diameter ca.
0,25. _Athenische Mitteilungen_, 1897, pl. VIII......_To face page 30_
Pl. XV. Fig. 29. Fragment of a plate from a grave at Praisos: Candia.
Original diameter ca. 0,35. Wrestle with a sea monster. From _B.S.A._
X., pl. III.
Fig. 30. Krater of Aristonothos: Rome, Palazzo dei Conservatori. Height
0,36. From _Mélanges d’Archéologie et d’histoire_, 1911, pl. I......32
Pl. XVI. Fig. 31. Protocorinthian lekythos: London, B.M. Height 0,07.
From _Journal of Hellenic Studies_, XI., pl. I., 2
Fig. 32. Protocorinthian lekythos, said to come from Corinth: Berlin
336. Height 0,06. From _Archäologische Zeitung_, 1883, I.
Fig. 33. Protocorinthian jug of post-Geometric style from Aegina: Munich
225a. Height 0,18. _Münchener Vasensammlung_ I., p. 11, fig. 17.....34
Pl. XVII. Fig. 34. Protocorinthian lekythos, said to come from Thebes:
Boston. Height 0,07. From _American Journal of Archæology_, 1900, pl.
IV......36
Pl. XVIII. Figs. 35-7. Protocorinthian jug, from the neighbourhood of
Rome: Rome, Villa di Papa Giulio. Height 0,26. From _Antike Denkmäler_
II., pls. 44 and 45.....38
Pl. XIX. Fig. 38. Protocorinthian or Corinthian jug: Munich 234. Height
0,44. From photo.
Fig. 39. Corinthian alabastron, from Greece: Cambridge, Fitzwilliam
Museum 30. Height 0,20. From _Catalogue_, pl. IV.
Fig. 40. Corinthian aryballos, from Greece: Cambridge, Fitzwilliam
Museum 36. Height 0,20. From _Catalogue_, pl. IV......40
Pl. XX. Fig. 41. Animal frieze from an early Corinthian jug: Munich 228.
_Münch. Vasens._ I., p. 12, fig. 18
Fig. 42. Animal frieze from a Corinthian jug of wine-skin shape: Munich
246. _Münch. Vasens._ I., p. 16, fig. 24....._To face page_ 42
Pl. XXI. Fig. 43. Corinthian skyphos, from Samos: Boston. Height O,08.
From photo.
Fig. 44. Scene from the late Corinthian flask of Timonidas, from Kleonai
(Peloponnese): Athens, Collignon-Couve 620. Height of vase 0,14. From
_Athenische Mitteilungen_, 1905, pl. VIII......44
Pl. XXII. Fig. 45. Pinax (votive-tablet), from Corinth, signed by
Timonidas: Berlin 846. Height 0,22. From _Antike Denkmäler_ I., pl. 8,
13
Fig. 46. Frieze of an early Phaleron jug, from Analatos (Attica):
Athens, Collignon-Couve 468. From _Jahrbuch_, 1887, pl. 3.....46
Pl. XXIII. Figs. 47-8. Neck and body designs of an early Attic Amphora,
from Athens: Athens, Collignon-Couve 657. Height 1,22. From _Antike
Denkmäler_ I., pl. 57.....48
PI. XXIV. Fig. 49. Early Attic Amphora, from Piraeus: Athens,
Collignon-Couve 651. Height 1,10. From _Ephemeris_, 1897, pl. 5
Fig. 50. Cycladic (Euboic) Amphora: Stockholm. Height 0,59. From
_Jahrbuch_, 1897, pl. 7.....50
Pl. XXV. Fig. 51. Jug with griffin’s head, from Aegina: London, B.M., A
547. From photo......52
Pl. XXVI. Fig. 52. Chief design on a “Melian” amphora, from Melos:
Athens, Collignon-Couve 475. Height of amphora 0,95. From Conze,
_Melische Tongefässe_, pl. IV......54
Pl. XXVII. Fig. 53. Herakles and Iole (?) on a “Melian” amphora, said to
come from Crete: Athens, Collignon-Couve 477. From _Ephemeris_, 1894,
pl. 13
Fig. 54. Early Rhodian jug, from Rhodes: Hague, Scheurleer Collection.
Height 0,22. From photo......55
Pl. XXVIII. Fig. 55. Rhodian jug: Munich 449. Height 0,33. _Münch.
Vasens._ I., p. 42, fig. 54
Fig. 56. Late Rhodian jug, from Rhodes: Munich 450. Height 0,33. _Münch.
Jahrb._, 1911, II., p. 200
Fig. 57. Euphorbos plate, from Rhodes: London, B.M. Diameter 0,38. From
Photo......_To face page_ 56
Pl. XXIX. Fig. 58. Late Rhodian cauldron (lebes), from Italy: Paris,
Louvre. Height 0,35. From photo......58
Pl. XXX. Fig. 59. Gorgon plate, from Rhodes: London, B.M. From _J.H.S._,
1885, pl. 59.
Fig. 60. Sherd from Naukratis: Oxford. (Busiris’ head painted red on
white slip, details by leaving the parts unpainted). From _J.H.S._,
1905, pl. VI., I.
Fig. 61. Naukratite sherd found on the Acropolis of Athens: Athens,
Acropolis 450a. Yellow, red and white painting on bright ground. From
_Akropolisvasen_ I., pl. 24.....60
Pl. XXXI. Fig. 62. Amphora, from Rhodes (Fikellura): London, B.M., A
1311. Height 0,34. From _Münchener Archäol: Studien_, p. 300, fig. 24.
Fig. 63. Amphora (Fikellura): Altenburg. Height 0,31. From Böhlau,
_Nekropolen_, p. 56.....62
CHAPTER IV.: THE BLACK-FIGURED STYLE:--
Pl. XXXII. Fig. 64. Two friezes of a Corinthian krater, from Caere:
Paris, Louvre E. 635. Height 0,46. After photo.
Fig. 65. Corinthian krater, from Corinth: Munich 344. Height 0,31.
_Münch. Jahrb._, 1911, II., p. 290, fig. 1......70
Pl. XXXIII. Fig. 66. Frieze of a Corinthian krater, from Caere: Berlin
1655. Height 0,46. From _Monumenti_ X., pl. 4, 5.....72
Pl. XXXIV. Fig. 67. Corinthian plate: Munich 346a. Diameter 0,28.
_Münch. Vasens._ I., p. 31, fig. 46
Fig. 68. Chalkidian hydria, from Italy: Munich 596. Height 0,46. From
photo......_To face page_ 74
Pl. XXXV. Fig. 69. Chalkidian amphora, from Vulci: Würzburg. Height
0,41. From photo......_To face page_ 74
Pl. XXXVI. Fig. 70. Chalkidian amphora, from Caere: London, B.M., B 155.
Height 0,45. From photo.
Fig. 71. Scene from Chalkidian amphora of Italian provenance: Munich
592. _Münch. Vasens._ I., p. 65, fig. 75......78
Pl. XXXVII. Fig. 72. Ionic eye kylix, from Italy: Munich 589. Height
0,10. From photo.
Fig. 73. Head of Athena, from Ionic eye kylix: Munich 590. _Münch.
Vasens._ I., p. 64, fig. 74......80
Pl. XXXVIII. Fig. 74. Phineus kylix, from Vulci: Würzburg. Diameter
0,39. From _Furtwängler-Reichhold_ 41......82
Pl. XXXIX. Fig. 75. Ionic b.f. fragments, from Kyme (Asia Minor):
London, B.M. From photo.
Fig. 76. Neck design of an Ionic b.f. Amphora, from Italy: Munich 586.
_Münch. Vasens._ I., p. 62, fig. 73......84
Pls. XL.-I, Figs. 77-8. Obverse and reverse of an Ionic b.-f. Amphora,
from Italy: Munich 585. From _Münch. Vasens._ I., p. 59, figs. 69 and
70......86 & 87
Pl. XLII. Fig. 79. Chief design on a Caeretan hydria: Vienna, Museum für
Kunst und Industrie 217. From _Furtwängler-Reichhold_ 51.
Fig. 80. Spartan kylix, from Italy: Munich 382. Height 0,15. From
_Münch. Vasens._ I., p. 34, fig. & 48.....88
Pl. XLIII. Fig. 81. Caeretan hydria, from Caere: Paris, Louvre E 701.
Height 0,43. From photo......89
XLIV. Figs. 82-3. Obverse and reverse of a Pontic amphora, from Italy:
Munich 837. Height of vase 0,33. From _Furtwängler-Reichhold_
21......90
Pl. XLV. Fig. 84. Spartan kylix, from Corneto: Berlin. From _Jahrbuch d.
D. Instatus_ 1901, pl. III.
Pl. XLVI. Fig. 85. Spartan kylix (Arkesilas), from Vulci: Paris, Cabinet
des Médailles 189. Diameter 0,29. From _Monumenti_ I., pl. 47ᴬ
Pl. XLVII. Fig. 86. Fragments of a cauldron (lebes) by Sophilos: Athens,
Acropolis. Gräf 587. Height of the frieze 0,09. From Gräf,
_Akropolisvasen_, pl. 26
Fig. 87. Attic tripod vase, from Athens: Munich. Height 0,12. From
_Münch. Jahrb._, 1911, II., p. 291, fig. 5......94
Pl. XLVIII. Fig. 88. Boeotian b.-f. kantharos: Munich 419. Height 0,19.
From _Münch. Vasens._ I., p. 40, fig. 52
Fig. 89. Detail of the François vase. From _Furtwängler-Reichhold_,
13.....96
Pl. XLIX. Fig. 90. François vase, from Chiusi: Florence, Museo
archeologico. Height 0,66. From _Furtwängler-Reichhold_, pl. 3,
10.....98
Pl. L. Fig. 91. ‘Little Master’ kylix, from Vulci: Munich, Jahn 36.
Height 0,15. From photo.
Fig. 92. Attic b.-f. kylix with knob handles: Boston. From
photo......100
Pl. LI. Fig. 93. Interior of an eye kylix of Exekias, from Vulci:
Munich, Jahn 339. Diameter 0,30. From Gerhard, _Auserlesene Vasenbilder_
I., pl. 49.....102
Pl. LII. Fig. 94. Scene from an Attic b.-f. Amphora, from Vulci: Berlin
1685. Height of vase 0,49. From Gerhard, _Etruskische und Kampanische
Vasenbilder_, pl. 21.....104
Pl. LIII. Fig. 95. Scene from an Attic b.-f. Amphora, probably from
Vulci: Würzburg, Urlichs 331. From photo......105
Pl. LIV. Fig. 96. Amphora of Exekias, from Vulci: Rome, Museo
Gregoriano, Helbig 1220. Height of vase 0,80. From photo.
Fig. 97. Attic b.-f. necked Amphora, from Italy: Munich. Height 0,40.
From photo......_To face page_ 106
Pl. LV. Fig. 98. Necked Amphora of Amasis: Paris, Cabinet des Médailles
222. Height 0,33. From photo.
Fig. 99. Detail from interior of a cauldron of Exekias, from Caere:
formerly Castellani Collection, Rome. From _Wiener Vorlegeblätter_,
1888, pl. 5, 3 b.....107
Pl. LVI. Fig. 100. Chief scene on a late b.-f. hydria, from Vulci:
Berlin, 1897. Height of vase 0,44. From Gerhard, _Auserlesene
Vasenbilder_ IV., pl. 249-50.....108
Pl. LVII. Fig. 101. Attic vase in shape of negro’s head with late b.-f.
decoration of neck: Boston. From photo.
Fig. 102. Panathenaic Amphora, from Vulci: Munich, Jahn 655. Height
0,62. From photo......110
CHAPTER V.: THE RED-FIGURED STYLE IN THE ARCHAIC PERIOD:--
Pl. LVIII. Fig. 103. Scene on an Amphora in the style of the Andokides
painter, from Vulci: Munich, Jahn 388. Height 0,535. From
_Furtwängler-Reichhold_ 4.....114
Pl. LIX. Fig. 104. Amphora of the potter Pamphaios (Nikosthenes’ shape),
from Etruria: Paris, Louvre G 2. Height 0,38. From photo......116
Pl. LX. Fig. 105. Scene on an Amphora of Euthymides, from Vulci: Munich,
Jahn 378. Height 0,60. From _Furtwängler-Reichhold_ 14.
Fig. 106. Shoulder scene on a hydria of Hypsis, from Vulci: Rome,
Torlonia Collection. From _Antike Denkmäler_ II., pl. 8.....117
Pl. LXI. Fig. 107. Detail of Amphora of Euthymides, from Vulci: Munich,
Jahn 410. From photo.
Fig. 108. Detail from interior of an archaic r.-f. kylix, from Orvieto:
Boston. From photo......118
Pl. LXII. Fig. 109. Rhyton (in shape of a horse’s head) with r.-f.
decoration of neck: Boston. From photo......_To face page_ 119
Pl. LXIII. Fig. 110. Interior of a kylix by Skythes, from Caere: Rome,
Villa di Papa Giulio. Diameter of interior O,10. From _Monuments Piot
XX._, pl. 7.....120
Pl. LXIV. Fig. 111. Interior of a kylix by Epiktetos, from Vulci.
London, B.M., E. 38. From _Furtwängler-Reichhold_ 73, 1.....121
Pl. LXV. Fig. 112. Part of the design on the psykter of Euphronios, from
Caere. Petrograd, Hermitage, 1670. From _Furtwängler-Reichhold_
63.....122
Pl. LXVI. Fig. 113. Obverse of a kalyx-krater of Euphronios, from Caere.
Paris, Louvre G 103. Height of krater O,46. From _Furtwängler-Reichhold_
92.....123
Pl. LXVII. Fig. 114. Kylix signed by the potter Sosias, from Vulci:
Berlin 2278. Diameter 0,32. From photo......124
Pl. LXVIII. Fig. 115. Interior of a r.-f. kylix, from Caere: formerly
Branteghem Collection, now London, B.M., E 46. From Hartwig,
_Griechische Meisterschalen_, pl. VIII......125
Pl. LXIX. Fig. 116. Interior of a kylix of Brygos, from Vulci: Würzburg,
Urlichs (1872) 346. From photo......126
Pl. LXX. Fig. 117. Detail of an archaic r.-f. pointed amphora, from
Vulci: Munich, Jahn 408. From Photo.
Pl. LXXI. Figs. 118-9. Exteriors of a kylix of Brygos: Paris, Louvre.
From _Furtwängler-Reichhold_ 25.....128
Pl. LXXII. Fig. 120. R.-f. skyphos, from Italy: Vienna, Museum für Kunst
und Industrie 328. From photo.
Fig. 121. Exterior of a kylix, from Corneto: Corneto. From _Monumenti
XI._, pl. 20.....129
Pl. LXXIII. Fig. 122. Scene on a psykter of Duris, from Caere: London,
B.M., E. 768. Height of vase O,29. From _Furtwängler-Reichhold_
48.....130
Pl. LXXIV. Fig. 123. Kylix of Hieron, from Vulci: Berlin 2290. Diameter
O,33. From photo......131
Pl. LXXV. Fig. 124. Kylix of Duris, from Caere: Berlin 2285. Diameter
0,28. From photo.
Fig. 125. R.-f. kylix, from Vulci: Berlin 2294. Diameter 0,30. From
photo. ....._To face page_ 132
Pl. LXXVI. Fig. 126. Interior of a r.-f. kylix, from Vulci: Munich, Jahn
368. Diameter 0,305. From _Furtwängler-Reichhold_ 86.......133
CHAPTER VI.:
THE STYLE OF POLYGNOTOS AND PHEIDIAS.
Pl. LXXVII. Fig. 127. Figure on a skyphos of Pistoxenos, from Caere:
Schwerin. From _Jahrbuch des D. Instituts_ 1912, pl. 6
Fig. 128. Detail of a fragmentary white-ground lekythos, from Attica:
Bonn. From _J.H.S._ 1896, pl. 4.....134
Pl. LXXVIII. Fig. 129. Kylix with white-ground interior, from Rhodes:
London, B.M. D 2. Diameter 0,24. From photo.
Fig. 130. Detail of a r.-f. krater: New York. From photo......135
Pl. LXXIX. Fig. 131. Obverse of a r.-f. krater, from Sicily (?): Boston.
Height of vase 0,36. From _Furtwängler-Reichhold_ 115, 1.....136
Pl. LXXX. Fig. 132. Fragmentary r.-f. psykter, from Falerii: Rome, Villa
di Papa Giulio. From photo.
Fig. 133. Interior of a kylix, of the potter Hegesibulos: Brussels:
_Münch. Jahrb._ 1913, II., p. 89.....138
Pl. LXXXI. Fig. 134. Interior of a r.-f. kylix, from Etruria: Munich,
Jahn 370. Diameter 0,425. From _Furtwängler-Reichhold_ 6.....139
Pl. LXXXII. Fig. 135. Obverse of a r.-f. kylix-krater, from Orvieto:
Paris, Louvre G 341. Height of vase 0,55. From _Furtwängler-Reichhold_
108.....140
Pl. LXXXIII. Figs. 136-7. Design on lid and sides of a pyxis of
Megakles: Bibliothèque Royale, Brussels. Height 0,063. Diameter 0,085.
From Fröhner, _Coll. Barre_, pl. VII.
Fig. 138. Detail of a r.-f. pointed amphora: Paris, Cabinet des
Médailles 357. From _Furtwängler-Reichhold_, pl. 77,1....._To face page_
142
Pl. LXXXIV. Fig. 139. Scene on a r.-f. pelike, from Rugge (Apulia):
Lecce. From _Furtwängler-Reichhold_ .....66
Fig. 140. Scene on a r.-f. krater, from Gela: Berlin. Height of vase
0,50. From _50 Berliner Winckelmannsprogramm_ (1890).....143
Pl. LXXXV. Fig. 141. R.-f. Amphora, from Vulci: London, B.M., E 271.
Height 0,57. From photo......144
Pl. LXXXVI. Fig. 142. White-ground lekythos, from Attica: London, D 58.
Height ca. 0,48. From photo......145
Pl. LXXXVII. Figs. 143-4. Youth and maiden on a white-ground lekythos,
from Attica: Boston 8440. Height of vase, 0,40. From photo.
Fig. 145. Detail of a white-ground lekythos: Athens, Collignon-Couve
1822. From Furtwängler-Riezler, _Weissgrundige Lekythen_, pl. 93.....146
Pl. LXXXVIII. Fig. 146. R.-f. stamnos, from Vulci: Munich, Jahn 382.
Height 0,445. From photo.
Fig. 147. Scene on a r.-f. stamnos, from Campania: Naples, Heydemann
2419. From photo......148
Pl. LXXXIX. Fig. 148. Scene on a r.-f. Amphora, from neighbourhood of
Arezzo: Arezzo. Height of vase 0,54. From _Furtwängler-Reichhold_, pl.
67.....149
Pl. XC. Figs. 149-51. Three details of a fragmentary r.-f. vase: Naples.
From three photos, in the Munich Vase Collection.....150
Pl. XCI. Fig. 152. Scene on a r.-f. hydria, from Populonia: Florence.
Height of vase 0,46. From Milani, _Monumenti scelti_, pl. 4.....151
Pl. XCII. Fig. 153. R.-f. volute amphora, from Ruvo: Ruvo, Jatta
Collection 1501. Height of frieze 0,35. From _Furtwängler-Reichhold_
38......152
Pl. XCIII. Fig. 154. Scene on a r.-f. jug: Oxford. Height of vase 0,21.
From _J.H.S._ 1905, pl. 1.
CHAPTER VII.: LATE OFFSHOOTS:--
Fig 155. Scene on a late Attic pelike, from
Kerch (Crimea): Petrograd, Hermitage
1795. Height 0,38. From
_Furtwängler-Reichhold_ 87,2......_To face page_ 154
Pl. XCIV. Fig. 156. Lucanian bell-krater, from the
Basilicata: Paris, Louvre. Height
0,53. From photo.
Fig. 157. Lower Italian bell-krater with
comedy scene (Phlyax vase), from
Apulia. London, B.M., F. 151.
Height of vase 0,39. From photo......156
Pl. XCV. Fig. 158. Apulian volute amphora, from Bari:
Boston. Height 1,25. From photo......157
Pl. XCVI. Fig. 159. Late Attic kalyx-krater, from
Greece: Munich. Height 0,41. From
_Münch. Jahrb._, 1913, 1., p. 79
Fig. 160. Hellenistic cup with designs painted
in white: Munich. Height 0,09.
From _Münch. Jahrb._, 1909, II. p.
204, fig. 8......158
INDEX OF NAMES
The names of painters and potters are printed in italics. All are
Athenian, unless it is otherwise stated.
Achaeans, 16.
Achilles, 46, 65, 68, 125, 128, 129, 139, 157.
Acropolis (of Athens), 99, 103, 110, 114, 115, 122, 137, 153.
Acropolis sculptures, 50.
Adonis, 152.
Ægean Sea, 17.
Ægina, 6, 14, 26, 32, 42, 49, 50, 52, 53, 60.
Æolians, 17.
Æolis, 90.
Africa, 89, 92.
Aias, 68, 79, 156.
_Aison_, 151.
Aktaion, 137.
Alabastron, 44.
Alexandria, 110, 159.
Alkmaion, 73.
Altenburg, amphora at, 61, 84.
_Amasis_, 97, 102, 103, 105, 106, 107, 108, 113, 116, 127, 136, 143.
Amazons, 75, 81, 84, 139, 141.
Amphiaraos, 67, 71, 72, 73, 143, 144.
Amphitrite, 126.
Amphora, 24, 49, 52, 54, etc.;
(big-bellied), 50, 74, 104;
(necked), 51, 74; (pointed), 126, 127;
(Nolan), 127, 136;
(with twisted handles), 149;
(Panathenaic), 99, 110, 127, 153.
Anakreon, 114, 135.
_Andokides_, 58, 108, 109, 114, 115, 117, 118, 120, 121.
_‘Andokides’ painter_, 115, 131.
Antaios, 123, 124, 125, 126.
Antenor (sculptor), 112, 131.
Aphidna (Attica), 6.
Aphrodite, Temple of, 42.
Aphrodite, 135, 137, 152.
Apollo, 25, 54, 55, 65, 139.
Apulia, 156.
Apulian vases, 157.
Arezzo, amphora at, 149.
Argive alphabet, 59.
Argolid, The, 5, 6, 7, 12, 19, 26, 33, 42.
_Argonaut Master, The_, 140-2.
Argonauts, The, 140, 147.
Argos (giant), 86.
Argos (town), 14, 26, 33.
Ariadne, 22, 129.
Aristagoras (kalos), 130.
_Aristonothos_ (? Aristonoos, perhaps Argive), 33, 38.
_Aristophanes_, 151.
Arkesilas, king, 92.
Artemis, 55, 137.
Artemis the Persian, 54.
Aryballos, 44, 142, 158.
Asia Minor, 5, 6, 15, 17, 19, 42, 55, 80, 87, 101.
Assarlik, 19.
_Assteas_ (Campanian painter), 156.
Astyanax, 65.
Athena, 49, 65, 66, 67, 68, 71, 81, 99, 100, 106, 110, 126, 147, 153.
Athenodotos (kalos), 126.
Athens, 19, 51, 96, 99, 106, 111, 121, 157.
Athens, Vases in, 139, 147, 149.
Attica, 6, 25, 42, 51.
Barbotine, 8.
Beaked jug, 5.
Bellerophon, 39, 40, 64.
_Berlin amphora, Master of the_, 131.
Berlin, Vases in, 92, 104, 109, 130, 131, 133, 134, 135, 139.
Black Sea, 28, 56, 89, 158.
Boeotia (Boeotians), 2, 22, 26, 42, 52, 60, 94, 96, 110, 155.
Bonn, Vases in, 119, 134, 135.
Boreas, 82.
Boreas, Sons of, 82.
Boston, Vases in, 45, 100, 126, 130, 135, 137, 146, 147, 157.
Bowl (Schüssel), 22, 66.
Bronze Age, 2, 3, 4.
_Bronze-foundry Master_, 131.
_Brygos painter_, 128, 129, 131, 139.
Bucchero ware, 90.
Busiris (Pharaoh), 89.
_Butades_ (Sicyonian), 69.
Cable pattern (Guilloche), 30, 35.
Caere, 42, 68.
Caeretan hydriae, 87-9, 107.
Campania, 156.
Carthage, 42.
Castle Ashby, Amphora at, 86, 87.
Centaurs, 22, 39, 86, 89, 98, 128, 140, 150.
Centauromachy, 91, 130.
Chairestratos (kalos), 126, 127, 129.
Chalkidian style, 69, 70, 75-80, 94, 96, 97, 100, 104, 105, 106, 107, 118.
Chalkis, 71, 75, 76, 77, 80, 94, 96, 99, 100, 105, 106, 108.
_Chares_ (Corinthian painter), 45.
_Charitaios_, 101, 103.
_Chelis_, 121.
Chigi jug, 38, 40, 45, 59, 66.
Chimaera, The, 39, 40.
Circe, 100, 146.
Corfu, 44.
Corinth, 26, 34, 42, 50, 56, 69, 70, 90, 94, 100.
Corinthian style, 43, 50, 70-75, 90, 94, 96.
Corneto, Vases in, 123, 129.
Cretans, 10, 12, 34.
Crete, 1, 2, 13, 14, 15, 16, 17, 19, 27, 33, 55.
Cyclades, 15, 25, 94.
Cycladic (pottery, etc.), 5, 6, 25, 52, 54, 80.
Cyprus, 5, 6, 14, 15, 17, 26.
Cyrene, 92.
‘Daedalic’ types, 34.
Daedalus, 31.
Daphne, 86.
Deianeira, 34.
_Deiniades_, 119, 123.
Delian (or Euboic) ware, 53, 81.
Delos, 25, 54, 55, 98.
Delphi, 26.
Delta, The, 56, 59.
Demeter, 135.
Dimini, 2.
Diomede, 79.
Dionysos, 66, 82, 96, 97, 100, 106, 108, 148, 149.
Dipylon (Athens), 1, 24, 27, 35.
Dörpfeld (Wilhelm), 4.
Dorians, The, 17, 19.
_Duris_, 120, 126, 129, 130, 131, 139.
Egypt, 9, 15, 83.
Egyptian, 89.
Eleusis, 6, 25, 26.
Eos, 130, 135.
Ephesian sculpture, 88.
_Epiktetos_, 108, 114, 121, 122, 123, 124.
Epilykos (kalos), 120-3.
Eretria, 25, 52, 94.
_Eretria master, The_, 148, 152, 153.
_Erginos_, 151.
_Ergoteles_, 101.
_Ergotimos_, 97, 100, 101, 103.
Eriphyle, 73, 143, 144.
Ethos, 133, 142.
Etruria, 90, 91, 94, 99, 156.
Etruscan, 1, 35, 90.
Euboea, 25, 52.
Euboic (or Delian) ware, 53.
_Eucheiros_, 101.
_Eumares_, 111, 112.
Euphorbos plate, 58.
Euphrates, The, 12.
_Euphronios_, 18, 109, 114, 116, 117, 120, 122-9, 131, 133, 134, 135, 139.
Europa, 68, 88.
Eurytios, 72, 79, 97.
_Euthymides_, 114, 116-9, 122, 123, 125, 127.
_Euxitheos_, 117, 123.
_Exekias_, 68, 101, 102, 103, 105, 107, 108, 113, 115.
Face urns, 4.
‘Fates,’ The, 152.
Fibulae, 22.
Fikellura (Samian) ware, 60-2, 83, 116.
Flamed ware, 7.
Florence, Vase in, 97.
François vase, 71, 95, 96, 97-9, 100, 101, 103, 104, 108.
Funnel vase, 12.
Furtwängler, Adolf, 20, 64.
Gales, 114.
Ge, 139.
Gela, 143, 144.
Geometric style, 16, 17, 18, 19, 20, 22-8, 29, 31, 41, 54, 56, 69, 135, 144.
Geryon, 78, 79.
Gigantomachia, 150.
Glaukon, son of Leagros (kalos), 114, 124, 130, 133, 134, 135, 137, 138, 145.
Gnathia vases, 157.
Gorgon, 44, 50, 58, 101.
Gorgon lebes, 49, 66, 97, 100.
Griffin head jug, 53.
Hadra vases, 110.
Halimedes, 73.
Hamilton, Sir William, 1.
Harpies, 50, 82.
Head, Vases in shape of, 120, 142 (Figs. 101, 109).
Hector, 59, 118, 129.
_Hegesibulos_, 142.
Helen, 22, 23, 118.
Helios, 150.
Hellenistic painting, 159.
Hephaistos, 66, 67, 71, 88, 98.
Herakles, 39, 50, 54, 60, 64, 65, 66, 67, 71, 72, 75,
79, 89, 99, 115, 116, 123, 124, 126.
Hermes, 40, 49, 86, 88, 145.
Hermogenes (kalos), 130.
_Hermonax_, 143.
Heröon, 157.
Hesiod, 22.
Hetairai, 116, 119, 120, 123, 146.
_Hieron_, 131, 135.
Hipparchos (kalos), 109, 114.
Hippodamas (kalos), 127, 130.
Hippodameia, 149.
_Hischylos_, 101, 121, 122.
Hissarlik (Troy), 4.
Homer, 16, 22.
Homeric poems, 17, 71, 135 (see _Iliad_ and _Odyssey_).
_Horse master_, 128, 133, 137, 138, 139.
Hydria, 67, 74, 108, 109, 119.
Hygieia, 152.
Hymettos, 48.
Hymn (Homeric), 55.
_Hypsis_, 119, 125.
Ida, Mt., 8.
Iliad, The, 59, 65, 125, 147.
Iliupersis, 67, 104, 128.
Io, 86.
Iole, 72, 73.
Ionia, 47, 94.
Ionians, 17, 62.
Ionic art, 25, 55-62, 79-89, 120.
Isocephalism, Law of, 68.
Italy, 15, 26, 42, 60, 90.
Japanese art, 12.
Jug with rotelle, 41-3, 57;
wine-skin-shaped, 41.
Kabirion, 110.
_Kachrylion_, 123.
Kalistanthe (kale), 102.
_Kalliades_, 130.
Kallinos, 92.
Kaloi, 102, 114.
Kamares style, 5, 8, 9, 10, 11, 13.
Kantharos, 96, 120, 129.
Kassandra, 156.
Kavusi, 27, 30.
Kerameikos, 121.
Kerch style, 158.
Kimon (statesman), 134.
_Kimon of Kleonai_, 111.
Klazomenai, 83, 84, 87, 116.
Klazomenian sarcophagi, 87, 111.
Klazomenian style, 83, 84.
_Kleanthes_ (Corinthian painter), 65, 67.
_‘Kleophrades’ painter_, 127.
_Kleophrades, son of Amasis_, 127, 129.
_Klitias_, 18, 97, 98, 101, 103, 104, 108, 113.
Klytemnestra, 156.
Knossos, 10, 14.
_Kolchos_, 87, 103, 104, 107.
Korone, 118.
Krater, 15, 33, 34, 71, 72, 73, (a colonnette) 74, (calyx)
123, 136, 140, 142, (bell) 127, 136, 149, 156, (volute) 157.
Kyknos, 78.
Kylix (bird), 26, 52, 94, (eye) 81, (with offset rim) 91.
Kyme (Italy), 27, 28, 42, 53.
Kypselos, Chest of, 67, 71, 78, 95.
Lanuvian Juno, 90.
Leagros, father of Glaukon (kalos), 109,
114, 115, 120, 121, 123, 124, 125, 126, 127, 130, 134, 142.
Lebes (cauldron) 49, (bronze) 53, 57, 66,
71, (with stand) 74, 86, 91, 95, 108.
Lecce, Pelike at, 143.
Leto, 55.
Leukas, 5, 6.
Lion Gate, The, 7.
_Little Masters_, 101, 102, 105.
London, Vases in, 58, 61, 78, 108, 119,
122, 125, 126, 130, 135, 143, 145, 147, 149, 156.
Lotus, 11.
Loutrophoros in Athens, 134.
Louvre (see Paris).
Lower Italy, Vases of, 153, 155, 158.
Lucania, 156.
_Lydos_ (the Lydian), 103.
Madrid, vases in, 116, 151.
Maenads, 66, 100, 106, 127, 131, 143.
_Makron_, 131, 135.
Marathon, 114, 115, 140.
Marina (Hagia), 5, 6.
Massilia, 28.
Mattmalerei (lustreless painting), 6.
Medusa, 49, 50.
Megakles (Alkmaeonid), 114, 119.
_Megakles_ (potter), 142, 152.
_Meidias_, 18, 149, 151, 157.
Meleager, 98.
‘Melian’ vases, 53-5, 81.
Melos, 5, 9, 12, 14, 25, 53.
Melusa, 145.
Memnon (epic hero), 65.
Memnon (kalos), 114, 121, 123.
Menelaos, 104.
_Menon, painter_, 116.
Metallic effect in vase shapes, 76.
Metope maeander, 57, 61.
Metopes, 21.
Miletus, 25, 30, 55, 56, 114.
Minoan style (1), Early, 5, 7;
(2), Middle, 8, 9;
(3), Late, 10, 12, 13, 14.
Minos, 7.
Minotaur, 66, 104.
Minyan ware, 6.
_Mnasalkes_ (Theban), 52.
Mochlos (Crete), 7.
Monochromy, 33, 44, 48.
Munich, Vases in, 76, 78, 86, 96, 102, 107,
115, 117, 118, 123, 127, 128, 130, 135, 138, 139, 145, 148.
Musaios, 145.
Muse, 95, 145.
Mycenae, 6, 7, 12, 14.
Mycenean, 1, 7, 8, 13, 14-19 (late).
Naples, 1.
Naples, Vases in, 148, 150, 153.
Naturalistic style, 11, 13.
Naukratis, 43, 51, 58, 59, 60, 61, 83, 88, 91, 101.
Nauplia, 19.
_Nearchos_, 101, 103, 104, 112.
Neolithic, 2, 5.
Neoptolemos, 104.
Nereids, 89.
Nessos vase, 47, 48, 49, 50, 51.
New York, Vase in, 134, 142.
Nike balustrade, 151.
_Nikosthenes_, 87, 101, 103, 108, 115, 116, 121, 122.
Nile, The, 9, 12.
Nolan style, 131.
Nudity, 20.
Nymph, 82, 150.
Odysseus, 79, 100.
Odyssey, 32.
Oichalia, 72.
_Oltos_, 116, 119, 122, 123, 124, 127.
Olympia, 15, 53, 67.
Olympos, 65, 66, 67, 71.
_Onesimos_ (?), 128.
Onetorides (kalos), 106.
Orchomenos (Boeotia), 5, 6, 14.
Orestes, 156.
Oriental art, 29-32, 35, 37.
Orpheus, 137, 139.
Orvieto, Calyx-Krater from, 140.
Oxford, Vases in, 114, 150.
Paidia, 152.
Palace style (second late Minoan), 13, 14.
Palaisto, 124.
_Pamphaios_, 101, 103, 108, 109, 115, 116, 121, 122, 123.
_‘Pan’ Master, The_, 137.
Panaitios (kalos), 126, 127.
_‘Panaitios’ Master, The_, Frontispiece, 126, 128, 129, 130.
Panathenaea, The, 99.
Panathenaic amphorae (see _Amphora_).
Paris (of Troy), 22, 40, 152.
Paris , Vases in: (1) Louvre, 49, 58, 72, 79,
91, 94, 105, 108, 116, 123, 126, 128, 130, 140, 156;
(2) Cabinet des Médailles, 92, 106, 143.
Parthenon, 144, 147, 148, 150, 151.
Patroklos, 125.
Pausanias (Descriptio Graeciæ), 71.
Pedieus (kalos), 109.
Pegasus, 39.
_Peithinos_, 124.
Peleus, 32, 33, 71, 95.
Pelias, 67.
Pelike, 110, 119, 143.
Peloponnese, 17, 90.
Pelops, 149, 150, 155.
Penthesileia, 81, 138.
_Penthesileia Master, The_, 139, 141.
Periclean age, 144.
Perseus, 49, 59, 64.
_Perugia Master, The_, 128, 130, 139.
Petrograd, Psykter in, 123.
Phaistos, 10, 14.
Phaleron style, 47, 48, 49, 54.
Phaon, 152.
Pheidias, 113, 142, 143, 144, 148, 151, 154.
‘Phineus’ style, 80-3, 102, 105, 107, 121.
Phineus kylix, 76, 79, 80, 81, 93, 146, 150.
_Phintias_, 114, 119, 123, 125.
Phlyakes, 156.
Phocis, 2, 5.
Phœnicia, 15.
Phœnician metal work, 30, 47, 55, 58.
Physiognomy, 135, 139.
Pinax (votive tablet), 46, 51, 114.
Piraeus amphora, 49.
Pisistratidae, 114.
Pisistratus, 99.
_Pistoxenos_, 122, 134.
Plate (Teller), 32, 58.
Pliny, 111, 112.
Polychromy, 8, 10, 60, 93 (see _Kamares_, _Naukratis_.)
Polygnotan vases, 140, 141.
_Polygnotos_, 123, 133, 138, 143, 146.
_Polygnotos_ (vase painter), 143.
Polyneikes, 144.
Polyphemus, 33.
‘Pontic’ vases, 89, 90.
Pontus, 43.
Poseidon, 65, 126.
Praisos, 31, 32, 36, 46, 59.
Praxiteles, 158.
Priam, 104, 117, 123.
_‘Pronomos’ Master, The_, 151, 153, 154;
Protocorinthian, 26, 27, 34, 36, 37, 38, 41,
42, 43, 44, 47, 49, 53, 56, 59, 71, 75, 120.
_Psiax_, 121.
Psykter, 119, 120, 123, 130, 137, 140.
Pylos, 14.
_Pyros_ (Theban), 52.
_Python_, 122, 129.
Ram jug, 32, 53.
Rankengeschling, 36.
Rays, Circle of, 35.
Red-figured style, 87, 102, 109, 111-3.
Rheneia, 25, 54.
Rhodes, 1, 15, 17, 26, 30, 42, 61, 135.
Rhodian ware, 56-9, 81.
Rome, Vases in, 105, 122.
Rotelle, 41, 57.
Russia, South, 83, 158.
Samos (see Fikellura), 30, 43, 61, 91.
Sarcophagi (see Klazomenai).
Sarpedon, 65, 147.
Satyrs, 45, 66, 75, 79, 82, 84, 88, 92, 96,
98, 100, 107, 116, 119, 120, 126, 130, 150.
Schliemann, Heinrich, 4, 7.
Schwerin, Vase in, 134.
Scythians, 75, 81, 84, 89.
Selene, 150.
Sesklo, 2.
Shaft graves (Mycenæ), 6, 7, 12.
Sicily, 15, 26, 42, 60.
Sicyon, 34 (see _Butades_).
Sicyonian-Corinthian metal work, 41.
Silenus, 81.
Silhouette, 31, 32, 37.
Silphion, 92.
Sirens, 45, 95.
Skopas, 158.
Skyphos (two-handled cup), 35, 38, 45, 120, 128, 134.
_Skythes_ (the Scythian), 121, 122, 123.
Sleep and Death, 145, 147.
_Smikros_, 120.
_Sophilos_, 71, 95, 96, 97, 99, 104.
Sosias kylix, 79, 124, 125.
_‘Sosias’ painter_, 125, 127.
_Sotades_, 120, 142, 153.
Sparta, 26, 47, 90.
Spartan ware, 90-3, 122.
Spata, 14.
Sphinx, 39, 40, 45.
Stamnos, 119, 136, 143, 145, 148.
Stesagoras (kalos), 114.
Stesias (kalos), 105.
Stesichoros, 99.
Sthenelos, 79.
Stirrup-vase, 12, 19.
Stockholm, Vase in, 52.
Stone Age, 1, 2, 3, 7.
Stylized ornament, 11.
Syracuse, 28, 34, 42.
Taleides, 104.
Talos vase, 154, 155, 157.
Tectonic style, 11, 13.
Terpsichore, 145, 149.
Textile influence, 23.
Thamyris, 152.
Thera, 9, 12, 25, 26, 27, 42, 53, 111.
Thebes, 14, 22.
Thersites, 157.
Theseus, 22, 66, 98, 118, 126, 129, 130, 151.
Thessaly, 2, 3, 5, 6.
Thetis, 32, 65, 71, 95, 97.
Thorikos (Attica), 14.
Thracian women, 137.
_Timagoras_, 67, 108.
_Timonidas_ (Corinthian), 45, 46, 51, 72, 113.
Tintoretto, 158.
Tiresias, 156.
Tiryns, 5, 33.
Titian, 158.
Tityos, 139.
_Tleson_, 101.
Tragodia, 151.
Triada Hagia (Crete), 14.
Tripod vase, 96.
Triptolemos, 135.
Triton, 67, 89, 108.
Troilos, 45, 65, 81, 91, 98, 108.
Troy, 4, 5, 6, 17, 129.
Turin, Psykter in, 119.
‘Tyrrhenian’ vases, 99, 100, 103, 106.
Tyrtaios, 92.
Vaphio, 14.
Vase shapes (see Alabastron, Amphora, Aryballos, Beaked jug,
Bowl, Face urn, Funnel-vase, Head, Hydria, Jug, Kantharos,
Krater, Kylix, Lebes, Loutrophoros, Pelike, Plate, Psykter,
Skyphos, Stamnos, Stirrup vase, Tripod vase).
Veii, 42.
Vienna, Vases in, 119, 128, 129.
_Villa Giulia Master, The_, 143.
Volo, 14.
Vurvá vases, 47, 50, 51, 83, 93, 95, 100.
Wall painting (see Butades, Eumares, Kimon of Kleonai,
Kleanthes, Polygnotos), 16, 31, 33, 67, 68, 138, 158.
Warrior vase (from Mycenae), 15, 33.
Würzburg, Vases in (82), 105, 106, 128.
Xenophantos, The Athenian, 158.
Zeus, 65, 147.
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