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DUDLEY 
 
 REFERENCE LIBRARY 
 
 lfrresenteb 
 
 DUDLEY 
 
 GENIBHL PUBLIC LIBRARY 
 
 Trustees the British Museum. 
 
DESIGNS 
 
 FROM 
 
 GREEK VASES 
 
 IN THE 
 
 BRITISH MUSEUM 
 
 Edited by A. S. MURRAY 
 
 Keeper of Greek and Roman A ntiquities 
 
 LONDON: 
 
 PRINTED BY ORDER OF THE TRUSTEES 
 
 AND SOLD AT THE MUSEUM 
 
 And by Longmans and Co., 39 Paternoster Row 
 B. Quaritch, 15 Piccadilly; Asher and Co., 13 Bedford Street, Covent Garden 
 Kegan Paul, Trenci-i, Trubner and Co., Charing Cross Road 
 And the Oxford University Press, Amen Corner 
 
 1894 
 
PREFACE. 
 
 The present publication is confined to a particular series of vases (kylikes), which, 
 from the fact of their having designs both on the interior and exterior, could not be satis¬ 
 factorily exhibited in the cases of the Museum without in a manner sacrificing one side or 
 the other. Fortunately, it was found that the interiors lent themselves well to photography, 
 and that with a photographic reproduction of each interior, exact both in line and colour, 
 placed beside each vase, the exteriors could be displayed in a manner worthy of their 
 greater importance as artistic compositions. To obtain adequate reproductions, it was 
 necessary to transfer the photographs to process-blocks, and to print from them on a paper 
 prepared with a terra-cotta colour resembling that of the vases. 
 
 This having been done, it was decided to utilize these blocks for a wider purpose, and 
 to accompany them with a brief sketch of what is known of the artists who are repre¬ 
 sented in this particular series, and an outline of the more important questions that arise in 
 connection with these vases. Such is the origin of the present publication. 
 
 The exteriors of these vases defy photography, but, where necessary in illustration of 
 the special qualities of an artist, they have been introduced into the text from engravings 
 which are known to have been made with the greatest care. 
 
 Opposite each plate is printed a brief description of each vase. These descriptions 
 have been drawn up by Mr. Cecil Smith, Assistant in the Department. 
 
 1894. 
 
 A. S. MURRAY. 
 
DATE AND ARTISTIC QUALITIES OF THE VASES. 
 
 Among ancient nations the Greeks alone cultivated 
 the art of pottery with brilliant success. Neither 
 in Egypt nor in Assyria do we find painted vases 
 which have any claim to be works of fine art. In 
 Persia it was a mark of royal disfavour to be made 
 to drink from earthenware. 
 
 Among the Greeks, no doubt, there were rich 
 men who had a passion for vases of silver or of 
 gold. The inventories of the treasures stored on 
 the Acropolis of Athens—fragmentary as they are 
 —tell us of the extent to which wealthy Athenians 
 made gifts of silver vessels to the goddess Athene. 
 Still the truth remains that the number of Greek 
 painted vases now to be seen in the museums of 
 Europe is almost past reckoning, and that among 
 them the element of artistic beauty, alike in quality 
 and quantity, defies estimate. 
 
 But while the Greeks throughout their history 
 were skilled in this art, it is remarkable that the 
 period in which the general level of their work¬ 
 manship reached its highest point was the period 
 immediately preceding the full maturity of the art. 
 What they were capable of achieving in the brief 
 age when their powers were at their best may be 
 seen on some of the Athenian vases which have 
 drawings in outline on a white ground, as also on 
 not a few of the red figured vases. Yet it is a 
 fact that these splendid specimens of a perfected 
 art stand out as exceptions among a large number 
 of contemporary vases where carelessness is far 
 too often a provoking element. 
 
 Again, while Greek sculpture and painting, after 
 having passed their zenith, made some memorable 
 efforts to hold their ground by means of new 
 conceptions, new observation of nature and new 
 technical skill, the vase painters when placed in 
 similar circumstances attained no corresponding 
 success. Their efforts, as in the introduction of 
 polychrome designs on a certain class of vases, shew 
 that they quite appreciated what was required of 
 them in the new direction of bright colouring. But 
 they reveal also an incapacity to invent the new 
 technical processes that were necessary for the 
 occasion. Unfortunately the production of vases 
 still went on with great activity on the simple 
 lines of making them as bright as possible with 
 such elementary technical processes as were at 
 hand. Skill in drawing and composition very soon 
 went overboard. Yet it is precisely this skill of 
 
 drawing and composition that casts so poetic a 
 charm over the older vases, and never more potently 
 than in the period which immediately preceded the 
 full maturity of' the art, when as yet the new sense 
 of the beauty of colour was only beginning to 
 exercise a powerful influence. 
 
 For some years it has been this preparatory 
 stage, as it may be called, which has most attracted 
 the students of Greek vase painting, and it is it 
 that the vases here published illustrate as far as 
 they go. It was a time of strenuous and prolific 
 endeavour to prepare the way for a grand cul¬ 
 mination of the art, which was indeed reached, but 
 which was not proportionately sustained. That is 
 one source of interest. 
 
 In many instances the vases of this period are 
 signed with the names of the painters, and thus 
 arouse the critical faculty to the task of observing 
 the peculiarities of individual artists, comparing 
 them and forming conclusions. The books that 
 have resulted from this are a proof of the fascina¬ 
 tion of the subject. But this branch of the 
 subject is not limited to actual signatures of vase 
 painters. These artists frequently combined with 
 their signatures the name of some person, to 
 which they added the word “beautiful” (/caXos), or 
 some form of salutation ; and from observing 
 the regularity with which the artists used one or 
 two such names, it has been argued that where 
 these same names or forms of salutation occur 
 alone they equally designate the painter of the 
 vase, though he has not.chosen to add his name. 
 The evidence on this point is fairly conclusive. 
 But it must be remembered that there are still a 
 considerable number of the favourite or kalos 
 names which have not yet been apportioned to 
 particular vase painters, while, on the other hand, 
 any day may bring to light proof that one or other 
 of these artists had employed a greater variety 
 of these names than is at present supposed. Till 
 that happens, the only course is to judge these 
 unappropriated kalos vases strictly by their style, 
 and to class them as nearly as possible according 
 to the schools of the known vase painters. That, 
 again, is a fruitful occupation among students. 
 
 Of late years it has been remarked that among 
 these popular or favourite names a limited number 
 were borne by persons who were conspicuous in 
 a particular period of Greek history, such as Hip- 
 
2 
 
 parchos, Miltiades, Leagros, and Glaucon; and 
 from this circumstance it has been argued that 
 the vases in question had been painted contem¬ 
 poraneously with these celebrated men. They 
 thus carry us back to the most momentous period 
 of Greek history, a period which was signalised 
 first by the expulsion from Athens of the Peisis- 
 tratids in b.c. 510, which paved the way for freedom 
 from the rule of tyrants at home, and secondly 
 by the defeat of the Persians at Marathon (b.c. 490) 
 and Salamis (b.c. 480), which secured freedom from 
 foreign invasion. Thus in a political sense also 
 that was a preparatory period for the Athenians, 
 followed by a rapid maturity of all the great gifts 
 of that people. 
 
 In b.c. 480 the Persians devastated the Acropolis 
 of Athens, leaving behind them a stratum of ruin, 
 which has been carefully explored in recent years. 
 It is attested that many fragments of vases of the 
 kind here published were found in that stratum, 
 and so far the view is confirmed that the vase 
 painters were contemporary with the famous men 
 whose names they occasionally inscribed on the 
 vases. At the same time, it must be owned that 
 there is often a danger in excavating that objects 
 properly belonging to one stratum may have in 
 some unaccountable way got into another. In¬ 
 stances of that are known, and in the case of the 
 Acropolis excavations there has been a certain 
 amount of contention as to where particular frag¬ 
 ments of pottery were actually found (Klein, ‘ Vasen 
 mit Lieblingsinschriften,’ p. 14). 
 
 The personality of the vase painters being a 
 matter of deep interest to students, it is proposed 
 to give here a brief account of those of them who 
 are represented in the series of Plates now issued, 
 and to note such peculiarities of style as may be 
 gathered from a general review of their known 
 works. These are Panphseos, Thypheithides, 
 Epictetos, Chachrylion, Euphronios, Duris, Hieron, 
 Brygos. Among the unsigned vases not a few are 
 inscribed with names of favourites, as Memnon 
 halos, or Chaerestvatos halos, reminding us of the 
 passage of Aristophanes, where Sitalkes of Thrace 
 is described as being so fond of the Athenians 
 that he wrote up on his walls, 'AOrjvaioi koKol, 
 like those lovers who scrawl the name of the 
 beloved on walls, or trees, or foliage (in tois 
 robots r/ SdvSpois r/ <jruX\oL'$, see Scholiast ad 
 Acharn. 144). It will be necessary to consider 
 these names apart with a view of ascertaining, 
 if possible, their position in the chronology of 
 the vase painters. Many are entirely uninscribed, 
 or at most have only the formula 6 7 rcus kcAo's. 
 As regards these, the order in which they have 
 been placed will be discussed by reference to 
 peculiarities of style. In the present series there 
 is only one example of the name of a prominent 
 historical personage, viz., Hipparchos,. on No. 22 
 (E 8). Nevertheless, as the question of the 
 particular age to which the vases of this series 
 belong largely turns on this point, it will be useful 
 to follow up the matter in its principal aspects. 
 
 Meantime, as regards the series of designs re¬ 
 produced in our Plates, it should be stated that 
 they occur on the interiors of vases of the shape 
 which the Greeks called a kylix—a large shallow 
 circular dish with two handles and a high foot. 
 The design in the interior is like a central medal¬ 
 lion surrounded by a large space of black colour 
 or varnish. In each instance in the present series 
 the kylix has also a design on the exterior; but 
 as these external designs are disposed over a 
 surface which curves strongly in two directions— 
 both horizontally and vertically—they cannot be 
 reproduced by photography without distortion. 
 For that reason they could not be included in the 
 present series, where the object has been absolutely 
 faithful reproduction, and where the attainment of 
 this object has been rendered possible by the flat 
 surface of the interiors on which these designs 
 were painted. The only way in which these ex¬ 
 terior drawings can be reproduced is by the 
 process of tracing the individual figures carefully, 
 then placing them on a flat surface of paper as 
 nearly in their original composition as they will go. 
 In the most important of the vases here under 
 consideration this has been done as well as it is 
 ever likely to be. In several instances we repro¬ 
 duce the results thus obtained, and insert them 
 as text-illustrations (Figs. 1-9) when describing 
 the characteristics of the several painters. There 
 will be found also in the short descriptions which 
 accompany our Plates references to the works in 
 which these tracings have been published. It is 
 highly advisable that the student should make free 
 use of these publications because of the number 
 of kindred vases which they contain from other 
 Museums, and because the collection of the British 
 Museum, though it is very rich in this respect, is 
 not alone sufficient to illustrate all the peculiarities 
 of style even of those vase painters from whose 
 hands it possesses undoubted works. Moreover, 
 it is evident that the curving surfaces of the ex¬ 
 terior of a kylix must by the very difficulty of 
 the task have challenged the best powers of the 
 artists. The plain medallion-like group in the 
 interior was in comparison a simple and genial 
 piece of work. It attracted painters to whom 
 grace of execution was more natural than fire of 
 composition. 
 
 The vases here published are classed in the 
 Museum under the letter E, and are usually 
 quoted in archseological works as E 1, E 10, &c. 
 These numbers are here retained, but for con¬ 
 venience of reference we have added running 
 numbers to the Plates, and shall quote them in 
 the following pages along with the E numbers. 
 
 As regards the chronological order of these 
 vases, we have to distinguish two stages. The 
 earlier stage, Nos. 1 to 26—we speak solely of 
 interiors—is marked by great simplicity of design, 
 one figure having been as a rule enough for the 
 artist, while as regards the border round his design 
 he was content with a plain circle. In the later 
 stage, from No. 27 onwards, this border is rich 
 
3 
 
 and effective, the design expands into groups of 
 two figures, freedom of action and freedom of 
 drawing go on increasing, rich and varied details 
 of drapery present no difficulties; they are rather 
 sought after. But this change towards richness, 
 freedom and excellence, though it is sufficiently 
 striking, need not imply any great interval of time. 
 It may very well have been accomplished during 
 the career of some one prominent painter. The 
 varying quality of the work of several of the 
 painters suggests this view. In the meantime it is 
 due to the earlier class—the pioneers so to speak 
 of the red figured style of vase painting—to state 
 that the simplicity of design which pervades their 
 work is not always an enforced simplicity, but is 
 at times a matter of choice. In the first speci¬ 
 mens it was no doubt enforced, because at that 
 time the painters were just emerging from the older 
 method of black figures on red ground into the new 
 and altogether different method of red figures on 
 black ground. Some of the painters were still work¬ 
 ing in both processes. In other cases we see two 
 painters at work on one vase, the one employing 
 the new, the other the old process. What had 
 been a special charm of the -black figured vases— 
 the free use of accessory colours, such as purples 
 and whites, and the indications of patterns on 
 costume by means of lines incised on the black— 
 had to yield to pure outline drawing. It was a 
 change from painting — of a kind which had 
 numerous limitations imposed on it by the nature 
 of its materials—to drawing, of a kind which had 
 practically no limits imposed on it of a material 
 nature. A change which involved such splendid 
 possibilities would necessarily work slowly.* 
 
 Apparently it began with what we have called an 
 enforced simplicity of design, which contented itself 
 with a single figure within a circular space marked 
 off by a thin red line. An instinct derived from 
 older art dictated to the painters that this circular 
 space must be broken up and taken full possession 
 of by the figure within it. The figure must assume 
 an attitude of stooping, kneeling, or running, such 
 as would adapt it to this purpose. As W. Klein 
 says (Euphronios, 2nd ed., p. 26), “ Here we 
 have carrying, lifting, hurrying, running, stooping, 
 dancing, springing .... and all for the sole 
 purpose of obtaining those movements of the 
 human body which the space of the vase de¬ 
 manded.” That was almost invariable. It was 
 forced on the painters by tradition on the one hand, 
 and by their still immature faculties on the other ; 
 in the earliest specimens the flexibility of the figures 
 
 * It has been supposed that this striking change had been 
 brought about under the influence of Cimon of Cleon®, whom 
 Pliny in his often-quoted passage (N. Hist, xxxv., 56) describes 
 as the first of the Greek painters to introduce what he calls 
 catagrapha, which he proceeds to explain as “ obliquas imagines et 
 varie formare vultus respicientis suspicientisve vel despicientis; 
 articulis membra distinxit, venas protulit pneterque in veste rugas 
 et sinus invenit.” And certainly these words indicate admirably 
 the change in vase painting when the outline-drawing of the 
 red figured style succeeded the black silhouettes of the older 
 period. See W. Klein, Euphronios, 2nd ed., p. 46. 
 
 is much more apparent than real. Gradually we 
 see less and less of this limitation. Skill of drawing 
 advances ; yet for a time we see no signs of a desire 
 to break away from the simplicity of design with 
 which the new phase had begun. On the contrary, 
 we recognise a studied endeavour to maintain that 
 character of simplicity. This is conspicuous in the 
 vases of Epictetos and of others who, though now 
 nameless, worked in his manner and may have been 
 in a general sense of his school. 
 
 It is no exceptional thing to find a studied or 
 “ affected ” manner in the history of Greek vase 
 painting. Among the latest black figure painters, 
 Amasis and Exekias were conspicuous for it, so 
 much so that a number of years ago one of the 
 most competent judges in these matters announced 
 his conviction that these painters had lived in a 
 comparatively late age, and that their work was 
 to be regarded as an attempt to revive a method 
 of vase painting which had been for several cen¬ 
 turies superseded. But whether it is in the nature 
 of things that every new phase of art must run 
 its course and end in affectation and mannerism, 
 or whether external circumstances determine this, 
 at one time in one way, at another time in another 
 way, it is plain that the earlier class of red figured 
 kylikes, while uniform in their aspect of simplicity 
 of design, became studiously or even affectedly so 
 as they went on. What we have specially to bear 
 in mind is that the short period of Greek history 
 within which the whole of the vases now in question 
 fall was a period of extraordinary activity in every 
 direction of intellect and genius, and that among 
 the vast number of vase painters then at work in 
 Athens, many would be old men grown up in 
 traditions which they could not very readily shake off, 
 while others would be young men eager to advance 
 in their art. Yet there was no violent bursting 
 of the old bonds. So far as we can see, the only 
 excess was in the direction of adhering to tradition, 
 with the effect of producing for a time a phase 
 of affectation, which in the circumstances was 
 probably not without its advantages. 
 
 To appreciate fully the advance in artistic quality 
 which we have here indicated in a general way, 
 it would be necessary to have before us an equally 
 ample representation of the contemporary arts. 
 As regards the higher walk of mural painting, 
 which may be supposed to have been the chief 
 inspiration for these vases, it is to be feared that 
 the many famous works of this nature of which 
 we read in ancient writers have entirely perished. 
 
 On the other hand, there is in contemporary 
 sculpture much that may be made available. The 
 pediment sculptures of ./Egina, now in Munich, 
 irresistibly recall the scenes of combat on the 
 exteriors of our kylikes, where we find a com¬ 
 position having a strongly marked centre, towards 
 which the action hurries from each side, the 
 figures linked together as if the conception had 
 flowed from the artist’s imagination in an unbroken 
 stream, without intervals of grouping. Equally the 
 kneeling, stooping, or advancing attitudes of the 
 
4 
 
 combatants of ^Egina adapt themselves to the 
 circumscribed space of the pediment much as the 
 figures in the interiors of many of the kylikes. It 
 is, however, to the coins and engraved gems that we 
 must look for the best analogies, and happily there 
 is an abundance of contemporary coins and gems. 
 It is true that the vase painter had a larger field 
 to work on, a freer scope for his imagination in 
 the composition of extensive groups of figures, and 
 less necessity for minute exactness in details. But 
 these advantages stood him in little stead when 
 his task was confined to the circular space in 
 the interior of a kylix, which, from its shape, we 
 instinctively call a medallion, and thus suggest a 
 comparison with the coins. It will be sufficient 
 to indicate only a few specimens, taking them from 
 the silver coinage of the Greeks which numis¬ 
 matists assign to circa b.c. 480-400, and choosing 
 the earliest examples. 
 
 (1) Coin of Naxos: Satyr seated to front on 
 ground. Compare the similarly seated figure on 
 our Euphronios vase, No. 27 (E 28), or, better, 
 the Satyr seated to front on a wine-skin, which 
 Klein (Euphronios, 2nd ed., p. 279) assigns to 
 Euphronios. 
 
 (2) Coin of Chios: Sphinx. Compare No. 7 
 (E 19). 
 
 (3) Coin of Aspendos: armed warrior ad¬ 
 vancing. Compare No. 8 (E 9). 
 
 (4) Coin of Cos: disc thrower. Compare the 
 youthful athlete, No. 55 (E 46). 
 
 Possibly somewhat earlier in date are— 
 
 (5) Coin of Poseidonia: Poseidon hurling tri¬ 
 dent. Compare No. 30 (E 48). 
 
 (6) Coin of Cnossos in Crete: the Minotaur. 
 Compare No. 29 (E 49), or outside of No. 22 
 (E 8). 
 
 (7) Coin of Thebes: nude male figure kneeling 
 on one knee and fitting string to bow. Compare 
 No. 19 (E 52) with warrior kneeling and ex¬ 
 amining his arrow before fixing it to his bow. 
 
 Though the gems of this period were seldom 
 precisely of this circular shape, yet the artistic 
 faculty demanded of the engraver was the same, 
 with this difference in his favour, that he was less 
 hampered than the die-sinker by prescribed subjects. 
 Apparently he was as free as the vase-painter in 
 his choice of subject. He appealed to the same 
 tastes and possibly often to the same patrons. 
 The wealthy Etruscans, by whom nearly every one 
 of the vases of this class in the Museum had been 
 imported and ultimately consigned to the family 
 tomb in Vulci, Corneto, or elsewhere, imported also 
 in considerable numbers engraved Greek gems. It 
 would have been interesting, had regular statistics 
 been kept of the finding of vases and gems, to 
 see how far the coincidence of style which would 
 be expected between the gems and the vases 
 found in one tomb was confirmed. In some 
 instances this has been noted, with a satisfactory 
 result. 
 
 In Greece itself, and particularly in the island of 
 Cyprus, a considerable number of gems have been 
 
 found of late years carrying engravings which often 
 recall the interiors of our kylikes. Among those 
 found by General Cesnola, and engraved in pi. 39 
 of his work (Cyprus, &c.), Nos. 6, 7, 8 illustrate 
 our point. They represent in each case a nude 
 youthful male figure in the attitude of stooping, 
 bending or kneeling. On another gem (Annali dell’ 
 Instituto, 1883, p. 213) we see two genii carrying 
 off the body of Memnon or Sarpedon, and are at 
 once reminded of the same subject on our vase 
 signed by Panphaeos (Fig. 1), though doubtless the 
 vase painter has in this instance at least excelled 
 the gem engraver. Indeed he has so far surpassed 
 himself that it has been questioned whether this 
 particular side of the vase was actually by him, or 
 might not have been by some greater artist like 
 Euphronios (Klein, Euphronios, 2nd ed., p. 274), and 
 whether his signature may not only refer to other 
 parts, such as the interior, which is unmistakably 
 his work. But an equally effective comparison may 
 be made from the gems in the Museum collection, 
 as for example:—No. 468, Heracles kneeling; 
 No. 470, Gorgon ; No. 472, Protesilaos and Lao- 
 dameia; No. 473, Capaneus; No. 475, Apollo 
 kneeling and playing on lyre; No. 476, Sphinx. 
 Among recent acquisitions from Greece, not in¬ 
 cluded in the printed Catalogue of Gems, may be 
 mentioned the representation of (1) a Satyr carry¬ 
 ing a wine-skin on his back, (2) a youth holding in 
 a horse (two specimens), (3) a youth stooping to 
 fasten his sandal, (4) a figure of a bowman drawing 
 his bow, with a dog at his feet, on a pale plasma 
 and in the form of a scaraboid, as all the gems 
 just mentioned are. 
 
 These, and other similar coincidences which 
 could be cited on a wider review of the subject, 
 show that the vase painters were in full sympathy 
 with the spirit of their times. Doubtless they im¬ 
 posed on themselves a narrow choice of figures for 
 their interiors. They might have found, as on the 
 coins and gems, figures of deities, of heroes, or of 
 animals, which could equally have been made to 
 suit the circular space. Yet the fact remains that 
 for this part of the vase they avoided, as a rule, 
 any specialization of the figure beyond what its 
 action obviously conveyed. Among the exceptions 
 are No. 10 (E 18), with Eros,.and No. 37 (E 62), 
 with Hermes. Their chief task was on the exterior 
 scenes, where they were far from averse to myth 
 and legend with more or less of violence and action. 
 To turn from such a scene of agitation or violence, 
 and to find in the interior of the vase a single human 
 figure represented in some simple attitude, instantly 
 intelligible and complete within itself—as in No. 21 
 (E 13), with the labours of Theseus outside and a 
 simple youthful figure inside—is to enjoy a sense of 
 repose. We do not say that this is always the case. 
 In one kylix in the Museum (E 53) we see the 
 labours of Theseus both on the exterior and interior, 
 the single groups of figures being ingeniously placed 
 j through from each other, if we may so describe it. 
 
 | At each point of the vase we have the same group, 
 
 I inside and outside. The vase is finely drawn, but 
 
s 
 
 the effect is of a worrying description, and did not 
 apparently find favour. An exception of a very 
 different kind is when the painter employs the 
 interior of the vase for p. special scene in the 
 dramatic development of the groups on the ex¬ 
 terior, as in the case of two very good kylikes 
 by Euphronios. The one is in Perugia (Klein, 
 Euphronios, 2nd ed., pp. 214, 215, 220), and repre¬ 
 sents the legend of Troilos. On the outside we 
 see first a scene of preparation for battle; next, 
 Achilles seizing the youth Troilos by the hair, the 
 horses escaping wildly ; -and in the interior Achilles 
 slaying Troilos at an altar. The other kylix is in 
 the Louvre (Klein, Euphronios, 2nd ed., p. 182), 
 and bears on the outside a series of the labours of 
 Theseus, while in the interior is what may be 
 described as his crowning deed—when Minos had 
 cast his ring into the sea, and challenged Theseus 
 to go and bring it up. Here we observe Theseus 
 rising from the sea, borne upwards on the hands 
 of a Triton, in the presence of the sea-goddess 
 Amphitrite and of Athene. The same subject was 
 known in antiquity from a mural painting by Micon 
 in the Theseum at Athens, but in an abridged form, 
 and already injured by time in the 2nd cent. a.d. 
 (Pausanias, I. 17, 3). 
 
 While in many instances the figure or group in 
 the interior has no apparent connection with the 
 scenes on the outside, there is on the other hand a 
 large number of vases where the interior is either a 
 sort of epitome of the exterior, or a continuation of 
 the same. Of the former class are—No. 40 (E 23, 
 ext., musical scenes ; int., a musical group of two 
 figures); No. 48 (E 27, ext., banquet scenes : int., 
 one such group); No. 31 (E 39, ext., groups of 
 young men and young women : int., one young 
 woman); No. 35 (E 42, Satyrs and Maenads: int., 
 one Maenad) ; No. 30 (E 48, ext., banquet scenes: 
 int., a single figure holding a drinking cup); No. 19 
 (E 52, ext., battle scenes : int., an archer fitting his 
 bow); No. 49 (E 63, ext., banquet with music of 
 flutes: int., one flute player). As examples of 
 interiors which seem to indicate a continuation or 
 development of the exterior, we may note—No. 34 
 (E 40, ext., figures going to banquet: int., two 
 figures in same act); No. 24 (E 44, ext., athletes 
 exercising: int., athlete at altar); No. 55 (E 46, 
 ext., again athletes exercising : int., a young athlete 
 standing before a paidotribes); No. 46 (E 47, 
 ext., banquet scenes: int., girl dancing before a 
 single banqueter). Slightly different are the two 
 vases of Epictetos, No. 23 (E 7) and No. 22 (E 8), 
 where the interiors answer to only one side of the 
 exteriors. 
 
 It may be said with truth that these examples 
 have been drawn from a comparatively limited series 
 of vases. But it is equally true that the question 
 before us is a limited one, viz : whether and how 
 far the interior designs respond to the exteriors. 
 In any case it is a question which the student of I 
 vases should bear in mind, just because of the 
 opportunity it affords of tracing the working of the 
 mind and imagination of the painters. 
 
 The experience of the past few years has tended 
 to modify the date to which vases of the class 
 here published were previously assigned. It had 
 been almost an article of faith that the beginning 
 of the red figure painting could not be put earlier 
 ' than b.c. 480, when the Persians destroyed the 
 Acropolis of Athens. No one listened when 
 Ludwig Ross claimed that the fragment of a vase 
 of this kind, which he found in his excavations 
 on the south side of the Parthenon, belonged to 
 the stratum of ruin which the Persians had then 
 left behind. This claim, as we have already said, 
 has now been confirmed (Jahrbuch, 1893 : Arch. 
 Anz. p. 13) by an elaborate investigation of the 
 fragments discovered on the same site in recent 
 years. Even previous to this investigation the 
 result had been accepted in general terms by the 
 most critical of all writers on Greek vases, W. 
 Klein (Vasen mit Lieblingsinschriften, 1890, p. 14). 
 
 It does not follow, however, that because some 
 of these vases are older than b.c. 480, they are 
 necessarily much older. That is where the difficulty 
 comes in. Take for instance this result: a recent 
 excavation into the tumulus at Marathon has brought 
 to light one red figure fragment among a number of 
 black figure vases, thus showing that the red figure 
 method was in use in b.c. 490, but shewing also that 
 the prevalent method was then that of the black 
 figures (Ath. Mittheilungen, xviii., p. 56). Mean- 
 I while one party would push the red figures back 
 to the age of the Peisistratids, whose tyranny in 
 Athens ended b.c. 510. Klein and others would 
 assign to a short period immediately preceding 
 b.c. 480 only the earlier stage of this class of vases 
 —those associated with the names of Panph^eos and 
 Epictetos. In this they are influenced largely by 
 such coincidences between the vases and the higher 
 art of mural painting as we have just noticed in the 
 case of the vase of Euphronios with the Theseus 
 i incident in its relation to the painting by Micon. 
 
 I There is no possibility of doubt that the painting 
 I of Micon was executed after b.c. 480. It is even 
 thought that Euphronios may have seen the picture 
 in the course of execution. Nor is this a solitary 
 instance. The style of the great mural painter, 
 Polygnotos, so far as it can be discovered from 
 ancient writers, appears to be reflected on the 
 vases of the Euphronios epoch. 
 
 The latest writer on this subject, P. Hartwig, 
 who has just published a magnificent work on the 
 Meisterschalen , says (p. 154) that the date now 
 ascertained for Euphronios from the Acropolis ex¬ 
 cavations has brushed aside for ever the old notions 
 of a relation between the work of that artist and 
 that of the great mural painter Polygnotos. It may 
 be so, but there is another argument which has also 
 to be considered. The age of Polygnotos was the 
 ! age when Kimon ruled the political life of Athens. 
 It was Kimon who brought back the bones of 
 Theseus from Skyros to Athens, and it was under 
 his influence that a new cultus of Theseus arose in 
 Athens. It has been observed that at a particular 
 stage in their development the vase painters made, 
 
6 
 
 so to speak, a rush for the legend of Theseus, 
 treating him as a sort of a second Heracles, and it 
 is argued that this had been due to the new move¬ 
 ment under Kimon. That may be fairly allowed. 
 But it has been argued further that these Theseus, 
 and therefore Kimonian, vases take us back to close 
 on the beginning of the red-figure style. That is 
 open to question. The freedom both in composition 
 and drawing which signalises the Theseus vases, as 
 compared with those of the older stage, may well 
 have taken a considerable time to acquire. 
 
 It seems, however, impossible to determine the 
 length of time occupied in that earlier stage, unless 
 we accept the other view, that a certain number of 
 the names of favourite persons inscribed on the vases 
 in question were the names of contemporaries who 
 in their day had been conspicuous in Athens, 
 But this view has also its difficulties. It is under¬ 
 stood that the large number of favourite names 
 on the vases indicate youths. Therefore those 
 historic names of Hipparchos, Miltiades, Leagros 
 and others could not have been inscribed on the 
 vases in consequence of the fame of these men, 
 who must still have been mere youths when the 
 vases were painted. The names of sons of 
 prominent citizens would naturally appear on the 
 vases, whether these youths afterwards became 
 distinguished or not. As it happens, the majority 
 by far are lost in oblivion. Yet probable and 
 reasonable as this explanation may seem in its 
 general bearings, there is clearly some room for 
 hesitation before finally accepting a theory in 
 which chance is so considerable an element; the 
 more so in our imperfect knowledge of Greek 
 usage in the matter of proper names. We cannot 
 be sure that the notorious Hipparchos, who was 
 slain in the streets of Athens b.c. 514, is the man 
 whose name appears on a number of vases. He 
 may have been and probably was very popular a 
 number of years before, when still a young man 
 and a scion of the ruling family. But there was 
 another Hipparchos, who was archon at Athens 
 in B.c. 496. He equally in his youth may have 
 fascinated the vase-painters. It has been argued 
 also (Hellenic Journal, xii., p. 380) that if we take 
 the name of Hipparchos, not as that of the 
 tyrant, but as that of his brother-in-law, who re¬ 
 mained in Athens down to b.c. 488, we obtain a 
 more satisfactory chronology for our vases. 
 
 As regards Miltiades, we can readily believe that 
 in his youth he was an attractive person in Athens. 
 But the occurrence of his name in conjunction with 
 the figure of a mounted Persian on a vase at Oxford 
 would indicate him as the conqueror of Marathon, 
 and not as a boy. Either, then, we must give up 
 the theory that these names always refer to youths, 
 or assume a later Miltiades, who as a youth may 
 in this manner have been popularized by a vase 
 painter. The name of Charmides on a vase may 
 remind us that Plato has immortalized this name, or 
 it may recall the father of Pheidias, or again it may 
 refer to some unknown youth in an intermediate 
 period. On a red figure hydria in this Museum 
 
 (E 264) by the painter Phintias, we read the famous 
 name of Megacles, possibly the Megacles who was 
 ostracised b.c. 487. To complicate matters, we have 
 a number of vases bearing the name, in a favourite 
 sense, of the legendary hero Memnon, who was 
 famed for his beauty in Homer. It is highly 
 improbable that any family in Athens would have 
 adopted this name for one of its sons. There 
 would have been no objection to it as the name of 
 a slave, or in the lower grades of society. Certain 
 of the grosser comic poets mention a Memnon, whom 
 they associated with Panaitios and Hippocrates, 
 calling the sons of all three “pigs” (Meineke, 11. 
 p. 23). And apparently the Panaitios here referred 
 to was the man whom Aristophanes described as 
 an “ape,” the scholiast adding that he was the 
 son of a cook (Meineke, 11. p. mi). Panaitios was 
 certainly a name of some distinction in Athens, and 
 the vase painters, contrary to the habits of the 
 comic poets, may have always chosen persons 
 of exalted position; in which case the name 
 of Panaitios, as used by the vase painters, might 
 indicate the associate of Alcibiades in the mutila¬ 
 tion of the Hermse at Athens. In short, we have 
 still to fathom the principle on which the vase 
 painters chose their favourite names, if these names 
 are to be of true service in determining dates. 
 
 Meantime the urgent question is that of artistic 
 style. If, in respect of style, we can satisfy 
 ourselves that the vases bearing the names of 
 Leagros and Glaucon belong to the first half of the 
 5th cent, b c., then we may fairly associate them 
 with the Leagros who commanded and fell in battle 
 b.c. 467, and who twenty years or so before may 
 have been a beautiful youth in Athens (say b.c. 487), 
 and with his son Glaucon, who was in command in 
 Corcyra b.c. 432, and whose youth in Athens may 
 have been at its brightest b.c, 455 ; thus far there is 
 little or no difficulty. We may accept with Klein 
 the period of b.c. 490-455 as that of the Leagros 
 and Glaucon vases, and therefore the period of the 
 greatest of the vase painters, Euphronios. But we 
 have also to satisfy ourselves that the artistic style 
 of the vases which bear the name of Hipparchos 
 represents an interval of time reaching back to at 
 least b.c. 525, at which date we may place his youth, 
 he having been slain, as we have said, b.c. 514. 
 Unquestionably there was an interval of time 
 between the two sets of vases. It is enough to 
 compare the vase with the name Hipparchos 
 engraved by Klein (Vasen mit Lieblingsin- 
 schriften, p. 30), with the identical subject on a 
 vase having a different name (Panaitios) in Klein’s 
 Euphronios, 2nd ed., p. 278, to recognise at once 
 the greater artistic freedom of the latter. Yet it 
 is just such a change as one artist might easily 
 have experienced within a year or two in his own 
 life; and when Klein, identifying this Hipparchos 
 vase with the painter Epictetos, assigns it to the 
 age of Themistocles, instead of to the older age of 
 the Athenian tyrants, he appears to allow a feirly 
 sufficient interval for the progress that was made 
 between then and the period of Leagros and 
 
7 
 
 Glaucon. On this view the two vases by Epic-' 
 tetos in the present series, Nos. 23 and 22 (E 7, 
 E 8), the latter of which bears the name “ Hip- 
 parchos,” will fall in the momentous epoch between 
 the battles of Marathon (b.c. 490) and Salamis 
 (b.c. 480); while No. 27 (E 28), one of the late 
 works of Euphronios, may be assigned to about 
 b.c. 460. 
 
 We proceed now to notice some of the peculi¬ 
 arities of the vase painters, beginning with 
 
 Panph/Eos.— This painter may be said to have 
 stood with one foot in the black figure and the 
 other in the red figure period. At a time of 
 transition the like of this may not have been un¬ 
 common. But while others may have changed 
 lightly enough from the old order to the new, it is 
 to the credit of Panphasos that he did his best to 
 excel in the black figure method before abandoning 
 it. We see this in our hydria by him (B 300), 
 where in his endeavours to make the black figures 
 attractive he has indulged to excess his sense of 
 
 of Memnon. Surely in the whole realm of Greek 
 vase painting there is hardly to be met with a finer 
 conception. No wonder that it has been ascribed 
 to the greatest of vase painters, Euphronios. There 
 is a largeness and breadth of style—especially in the 
 figure of Memnon—which instantly suggest that 
 name. And yet the vase bears on its foot the 
 signature of Panphaeos, while the interior design— 
 a figure of Silenus—is unmistakably an example 
 of his ordinary work. More than that, we recognise 
 on the exterior a distinct reminiscence of the older 
 method of Panphaeos in the border of black palm- 
 ettes. There is only one reason for thinking him 
 incapable of the Memnon scene, and that is its 
 great beauty. But let us see. In the Museum 
 stamnos (E 138), bearing a group of Heracles 
 wrestling with Acheloos, we have an opportunity 
 of comparing his artistic powers with those of 
 another painter, Timagoras, who had chosen the 
 same subject for a hydria now in the Louvre 
 (Vorlegeblatter, 1889, pi. 5, fig. 3 c). While the 
 
 refinement and grace. In those qualities he was 
 not alone, but he was unsurpassed. When, however, 
 he turned to red figures, his former minuteness 
 of finish appears to have failed him. He could 
 not employ it except by means of new technical 
 processes which were only beginning to be un¬ 
 derstood. That may explain in a measure how 
 his red figure kylikes came to be as a rule com¬ 
 paratively coarse in execution, as on the exterior 
 of No. 8 (E 9) and the interior of No. 9 (E 10). 
 But there is more than that to take into con¬ 
 sideration. There is a freshness and vigour of 
 conception which seem to imply that when he 
 made the change from the one method to the 
 other, he did it as one who had exhausted the old 
 method and now perceived that what was necessary 
 was a strong robust art. But even keeping this 
 in mind, we must be prepared for a surprise when 
 we turn to Fig. 1 (one of the exterior scenes on No. 
 9 = E 10), where two wind gods carry off the body 
 
 latter is stiff, cramped and truly archaic, Panphaeos. 
 without altering the general conception, or losing 
 its force, has imported into it a new sense of beauty 
 and grace which is so full of promise that one is 
 inclined to hesitate before denying absolutely that 
 the Memnon scene was within the reach of that 
 painter. One of the most noticeable of the details 
 in the Memnon scene is the long joints of the 
 fingers and toes, bent and suggestive as they are of 
 a firm, tenacious grip. Undoubtedly Euphronios 
 knew well how to draw such hands ; but though the 
 hands of Memnon and of one of the genii are surely 
 as beautiful as even he could have rendered them, 
 still there were other vase painters who could draw 
 the hand with admirable suggestiveness of a firm 
 grip, and among them was Panphaeos. He knew 
 that the great beauty of feet and hands resided 
 in the long rigid joints, and in respect of them there 
 is perhaps nothing in the Memnon scene which he 
 could not have executed. 
 
8 
 
 It is a different question when we come to the 
 largeness and breadth of style in the Memnon 
 scene, which, as we have said, immediately suggest 
 Euphronios, as does also the rendering of the 
 inner markings of muscles and bones by faint yellow 
 lines. See for example our kylix Fig. 4 (No. 27 = 
 E 28), which may be taken as a fair example of the 
 manner of Euphronios. So far one would readily 
 accept the Memnon scene as by him. What it 
 lacks is the excessive concentration which he throws 
 into his work. Take as an instance of this con¬ 
 centration the vase just mentioned (Fig. 4), and 
 compare with it a vase in the Louvre having 
 exactly the same subjects (Vorlegeblatter, 1890-91, 
 pi. 10): on one side the legend of Heracles and 
 Eurystheus, on the other side a chariot group. A 
 moment’s examination will show how Euphronios 
 has modified the older conception, as seen in the 
 Louvre vase, in the direction of concentrated action 
 and power, to say nothing of the new wealth of 
 details which he has introduced in costume and 
 
 the full extent of his versatility may as yet be un¬ 
 known, and that he actually signed our Memnon 
 vase, we are bound in his interest to suspend 
 judgment. 
 
 Thypheithides is known in our collection by 
 only one vase, No 1 (E 4), where he paints the 
 interior figure black and the exterior red, in 
 neither instance with any excellence. He appears 
 to be an example of the ordinary run of artists 
 of the transition stage from black to red figures. 
 
 Hischylos and Pheidippos. —No. 3 (E 5) bears 
 the name of Hischylos as the maker of the vase 
 (■ inoLrjcrev ), the exterior being signed by the painter 
 Pheidippos, who otherwise is not at present known. 
 On another of our kylikes (E 3, not here published), 
 Hischylos again appears as the “maker,” but this 
 time in conjunction with the celebrated painter, 
 Epictetos, who signs with eypatfxrev. In general, 
 Hischylos is held to have been a potter rather 
 than a painter. 
 
 Epictetos. — No painter is so uniform and at the 
 
 otherwise. In our Memnon scene we do not find 
 anything like this extent of concentration, and, 
 on the other hand, we do find that its largeness 
 of style is accompanied by a greater refinement 
 of lines, both in the inner markings and the con¬ 
 tours, than was usual with Euphronios, whose 
 lines on Fig. 4, and generally, are thick and of a 
 different character. No doubt if we assume that 
 Euphronios painted the Memnon scene, that would 
 involve accepting him as a contemporary of Pan- 
 phteos, but necessarily a younger man, who was 
 as yet painstaking in detail and not mature in his 
 powers of concentration. We know that a vase 
 painter did not always expressly sign his work. 
 He contented himself often with the name of a 
 favourite, and for all we know to the contrary, he 
 may at times have allowed his vases to go forth 
 without any recognisable sign beyond what he 
 conceived would be apparent in the workmanship. 
 The question is a difficult one; and bearing in 
 mind that Panphasos was a versatile artist, that 
 
 same time so peculiar in his manner as Epictetos. 
 His drawing is always characterised by precision 
 and fastidiousness. He loves slim youthful forms, 
 where his qualities of drawing have perfect scope. 
 He prefers to draw his figures on a small scale, 
 where his minute touches produce at times a 
 startling vividness. He appears to have been in¬ 
 fluenced in a measure by the older miniature vase 
 painters of the black figure age, ordinarily known 
 as the minor vase painters (in Germany, Klein- 
 meister). He likes a flat surface to work on, 
 because there every line tells at one and the same 
 moment. But his manner is singularly precise and 
 fastidious, even when he takes in hand the exterior 
 of a kylix and extends his choice of figures to old 
 men, to horses, or to legendary subjects, such as 
 Fig. 2, one of the scenes on the exterior of No. 23 
 (E 7), where Heracles slays Busiris to the conster¬ 
 nation of his Egyptian followers ; or that on No. 22 
 (E 8), where Theseus slays the Minotaur. In both 
 scenes vigorous action had to be expressed, in both 
 
9 
 
 there is drapery to be dealt with as well as nude 
 forms. But his precision never fails him ; nor does 
 it in a marked degree interfere with a due expres¬ 
 sion of the heroic element in these two scenes. The 
 figure of the Minotaur is a very beautiful and bold 
 conception, while the action of Heracles is strongly 
 rendered. Epictetos uses skilfully faint yellow lines 
 for the inner markings of muscle and bone. 
 
 Each of these two vases has also a banqueting 
 scene on the exterior. In such subjects, the art 
 of Epictetos found a more normal expression. We 
 may note particularly the interior of No. 2,3 (E 7), 
 with its group of a flute player and a dancer, as 
 an example of the precision and fastidiousness of 
 this painter. On the exterior (Fig. 2) a point of 
 detail may be noticed, viz., that Heracles wears a 
 short chiton under his lion’s skin, as usual in the 
 black figure period, whence the intimate relation 
 of Epictetos to that period may be inferred. That, 
 indeed, is put beyond doubt by our vase E 3, on 
 which, as already said, we have in the interior a 
 
 Chachrylion. —The interiors of No. 26 (E 14) 
 and No. 25 (E 15}, which we reproduce from two 
 vases signed by this artist, illustrate in some 
 measure his individuality. Though still archaic in 
 his manner, there is an obvious tendency in him 
 towards being expressive and attractive without 
 either violent action, such as Panphseos was inclined 
 to, or an exaggerated refinement in the types of 
 his figures, such as Epictetos loved. He was in 
 search of gracefulness, but without surrendering his 
 natural robustness of temperament. On the ex¬ 
 terior of No. 26 (E 14), where Theseus is carrying 
 off Antiopeia, no one is in the least excited 
 except Antiopeia (Fig. 3). There is hardly any 
 movement. It seems clear that Chachrylion had 
 lived in the earliest age of red figure painting, 
 while as yet the older black figure method was 
 being abundantly practised around him. He was 
 keenly susceptible to the effect of minute details, 
 which the black figure painters loved, while, on the 
 other hand, his natural instincts were towards the 
 
 black design by Hischylos, and on the exterior in 
 red a figure of Seilenos between two large symbolic 
 eyes by Epictetos. Some go so far as to believe that 
 this new method owed more to him than to any other 
 painter. Be this as it may, he certainly exercised 
 a powerful influence on his contemporaries, and he 
 may even be said to have inspired the style of the 
 later painter Duris, so far at least as concerns those 
 banquet scenes which both artists delighted to 
 paint. Epictetos appears to have always signed 
 his vases with the word eypcufxrev, “painted,” never 
 with C7 Toirjcrev, “ made,” from which it has been 
 inferred that he was strictly only a vase painter, 
 not a potter as well. But such inferences are 
 hardly safe in our present state of knowledge. 
 No. 23 (Fig. 2) bears the name of Python as the 
 maker ( kTroiijuev) along with that of Epictetos 
 as the painter ( eypa(f>aev ). On the interior of 
 No. 22 (E 8) Epictetos employs the favourite name 
 of “ Hipparchos,” for which see p. 6. 
 
 new and more virile manner, which Euphronios was 
 soon to carry perhaps to excess. To say that the 
 interiors of No. 26 (E 14) and No. 25 (E 15) are 
 sufficient witnesses of this artistic element in 
 Chachrylion might be saying too much. But an 
 examination of the exteriors of these two vases, 
 still better an examination of all the known works 
 of this artist, will tend to confirm this statement. 
 He is known to have worked along with Euphro¬ 
 nios on a vase in Munich, which is signed by him 
 with inoLrjcrev and by Euphronios with eypa<j>geui 
 besides having also the favourite name “ Leagros.” 
 That circumstance prepares us to expect, on 
 occasion, some effort towards Euphronian large¬ 
 ness of style, such as we see in our kylix (E 104, 
 not here published), with a youthful figure kneeling, 
 inscribed with one of his favourite names, “ Epi- 
 dromos” (Hartwig, pi. 3, fig. 1). But, confining 
 ourselves to the exteriors of our two kylikes 
 signed by him, we cannot fail to observe that on 
 
 C 
 
IO 
 
 Fig. 3 there is combined with his excessive minute¬ 
 ness of detail a sturdiness, so to speak, in his 
 figures which contrasts singularly with the work of 
 Epictetos, who, in respect of minuteness and 
 vividness of detail, so closely resembles him. 
 Chachrylion treated his details of armour, dress, 
 &c., always as details. However microscopic he 
 might make them, they did not lead him to over- 
 refine his types of figures. There is a vase of his 
 with a youth sitting on a rock and fishing in the sea 
 with a rod and net. The subject is by no means 
 realistically rendered, and the conception may not 
 have been originally his own, but the mere choice 
 of a subject so singular for a vase implies on his 
 part a certain love of natural life in the open air 
 (Hartwig, pi. 5). Or, again, if we compare a 
 fragmentary vase by him (Hartwig, pi. 4), repre¬ 
 senting Heracles slaying Busiris, with the same 
 subject by Epictetos on the exterior of our kylix, 
 Fig. 2, we see how he adheres to the general 
 
 word may very well include the latter, he may be 
 supposed to have been both potter and painter. 
 Of the class of vases bearing the name of “ Mem- 
 non,” to which we have just referred, the Museum 
 possesses four specimens—No. 15 (E 31), No. 14 
 (E 32), No. 13 (E 34), No. 12 (E 35). A glance 
 at these interiors will show that if they are by 
 Chachrylion, he must at the time of painting them 
 have been in an early stage of his career, before 
 even the influence of Epictetos had taken a good 
 hold of him. It has been thought that something 
 of the style of Epictetos is traceable in No. 15 
 (E 31), with its kneeling warrior. Compared with 
 the Amazon in No. 25 (E 15), which is signed 
 by Chachrylion, this warrior is hard and wanting 
 in tenderness of sentiment. On the other hand, 
 No. 14 (E 32), with its female figure stooping to 
 put on her sandal, though fine and even bold in 
 conception, is still quite archaic in the type of face. 
 We are not surprised that something of the manner 
 
 composition and the details of drapery of Epictetos, 
 as if to the work of his master, while at the same 
 time he infuses into the whole a fresh and vigorous 
 spirit, suggestive of a new influence such as that 
 of Euphronios—not Euphronios in his ripest and 
 most mature stage, but in his earlier period, when 
 he employed, in common with Chachrylion, the 
 favourite names “ Leagros ” and “ Epidromos.” 
 Later on, when Euphronios adopted the name 
 “ Panaitios,” which is not found on any of the 
 vases by Chachrylion, it is supposed that by that 
 time Chachrylion must have passed over to the 
 majority, or at all events ceased working. 
 
 His use of the favourite name “ Memnon ” con¬ 
 curs with the view that the earlier part of the life and 
 work of Chachrylion had been spent in the period 
 immediately preceding the advent of Euphronios. 
 Chachrylion always signed his vases with the word 
 iiroL-rja-ev, never with eypacfxrev ; and as the former 
 
 of Panphmos has been recognised in this figure. 
 The interiors of No. 13 (E 34) and No. 12 (E 35) 
 belong to a very early stage of red figure painting. 
 But on the exterior of the latter are a scene of 
 Dionysos and Satyrs, which points either to Pan- 
 phasos or Chachrylion (No. 25, E 15), and a scene 
 of a chariot group, which recalls specially Cha¬ 
 chrylion. So that, on the whole, we may fairly 
 regard him as the possible painter of this vase, 
 if not also of the others with the name of 
 “ Memnon.” 
 
 Euphronios. —From the hand of this artist the 
 Museum possesses only one signed vase, No. 27 
 (E 28); but see also Fig. 1, p. 7, ante . But it is a 
 work of his ripest period and is constantly quoted 
 in books on Greek vase painting. The interior 
 bears the favourite name “ Panaitios,” which, as we 
 have already had occasion to say, was used by him 
 in his best and strongest work, his other favourite 
 
11 
 
 names being “ Leagros,” “ Lycos,” and <f Glaucon.” 
 In this instance, the interior consists of a group 
 of two figures—the one a man seated to the front 
 and drawn with bold foreshortening, for which 
 some employ the ancient term catagrapha or 
 obliques imagines; the other, a female figure stand¬ 
 ing by his side. The faces of both, with their large 
 prominent noses, are eminently characteristic of 
 Euphronios at this stage of his career, as is also 
 his treatment of the drapery, where the fine folds 
 of the woman’s dress are no longer executed 
 according to routine ; by means of a slight per¬ 
 spective and freedom of drawing they assume a 
 distinctness and reality which is refreshing to 
 observe. In the exterior scenes of this vase 
 Euphronios treats his draperies with perfect free¬ 
 dom, making them yield to any action he pleases, 
 and constituting them more than ever an element 
 of composition. One of these scenes is given in 
 Fig. 4, where Heracles hurls down the boar on 
 Eurystheus, who has taken refuge in a pithos. 
 
 type of face in each case and the drapery of the 
 female figures would naturally lead us to assign the 
 Louvre vase to a comparatively early period in the 
 life of the painter. To this period also, though not 
 before he had manifestly acquired much of his 
 subsequent largeness of style, belongs a kylix in 
 our Museum (not here published, but see Hartwig, 
 pi. 8), inscribed with the name “ Leagros,” a name 
 which he employed in common with some con¬ 
 temporaries of his youth who up to a particular 
 point worked in the same manner as himself—the 
 manner of Epictetos. Again, something is to be 
 said in support of our No. 28 (E 51) as a work 
 of Euphronios. It is true that the group of two 
 Amazons in the interior has none of his obvious 
 characteristics, and is in fact very like an interior 
 by Duris (Hartwig, pi. 22), but the figure of 
 Heracles striking down an Amazon on the ex¬ 
 terior has much of the manner of Euphronios 
 (Fig. 5). The run-away horse on the other side 
 has a strong resemblance to one of the horses 
 
 But one of the most charming of his studies in 
 this respect is the interior of the Theseus kylix 
 in the Louvre, to which we have already referred. 
 
 Another vase in the Louvre, in the shape of 
 a crater, shows us Euphronios when he was in 
 the mood of drawing massive limbs and colossal 
 proportions. The subject is the wrestling con¬ 
 test of Heracles and the giant Anteeos in the 
 presence of three female figures, who are of course 
 small in comparison with the two wrestlers. Both 
 wrestlers are down on the ground, the attitude of 
 Heracles reminding us of the scene so frequent on 
 the black figure vases where he seizes the lion. In 
 this position of the chief figures Euphronios was 
 able to express forcibly the hugeness of the bodily 
 forms without altogether dwarfing the female figures, 
 and doubtless he had in this instance availed 
 himself of the old black figure manner of wrestling 
 on the ground instead of standing upright as in 
 later art. This is the more probable because the 
 
 on the famous Troilos kylix (Hartwig, pi. 53). 
 Our vase, Fig. 5, may therefore be classed as 
 possibly his work. The Troilos vase is now in 
 the Museum of Perugia, 'having for a time dis¬ 
 appeared (Klein, Euphronios, 2nd ed., p. 213). 
 Its recovery has led to its being compared with a 
 vase in the Louvre, which is signed by Euphronios 
 as the maker and Onesimos as the painter. But 
 in the Troilos vase the signature of Euphronios 
 alone ought to be an indication sufficient for us 
 that it is his work. There is, it is true, no trace 
 on it of the almost rude power of expression which 
 Euphronios employed on our No. 27 (E 28), and 
 on several other vases, where the sense of this 
 power within himself may be blamed for leading 
 him to choose coarse, even disgusting subjects, 
 such as that of drunken men vomiting. Yet there 
 is no mistaking in it the presence of all the best 
 and strongest qualities of Euphronios, though in a 
 more subdued and more poetic form. His draperies 
 
12 
 
 in the interior of our vase No. 27 (E 28) are full of 
 refinement and beauty. He had nothing to alter 
 in that respect on the Troilos vase. Our No. 39 
 (E 45), with a boy on horseback, may be by 
 Onesimos. It is a beautiful work and full of 
 artistic individuality. The horse is drawn with 
 such vigour and strength as a pupil of Euphronios 
 may well have developed, while the contrasted 
 smallness and refinement of the rider is more 
 suggestive of the new influence of Duris. 
 
 Lastly, we must notice the work of Euphronios 
 as a painter of vases having polychrome figures on 
 a white ground. In the Berlin Museum there is a 
 fragmentary kylix of this kind which bears his 
 signature, together with the favourite name of 
 “ Glaucon.” As regards “ Glaucon,” we have 
 already stated the argument that this name, as 
 employed here and elsewhere, was intended to 
 celebrate a person well known to history, whose 
 father, also a famous historical person, was named 
 “ Leagros,” and that the difference of style between 
 the vases of Euphronios which bear the name of 
 “ Leagros ” and the one which bears the name of 
 “ Glaucon ” represents a difference of time as 
 between father and son. The Berlin vase must 
 therefore fall in the later period of this artist’s 
 career. It certainly possesses breadth and largeness 
 of style, but not enough of his known manner. 
 Possibly in this case also he had a pupil or younger 
 co-worker, who was better able to share in the new 
 movements of art. We are unwilling as yet to 
 accept the most recent view, viz., that Euphronios 
 in this case only gives his name as the potter, and 
 that the name of the actual painter has been lost, 
 all but a few letters. The heads of the figures in 
 the interior are of a more advanced type than we 
 expect in his work. The lower part of the face has 
 become massive and almost heavy, the chin pre¬ 
 senting a strong and attractive outline, while the 
 profile of the upper part of the face no longer 
 slopes back, but is nearly vertical, the whole type 
 of head recalling the largeness, simplicity, and 
 nobility of the sculptures of Olympia. It is a 
 type of head which is more or less characteristic 
 of Duris, Hieron, and Brygos, to mention only 
 artists directly represented in our collection who 
 were, in a measure, contemporaries of Euphronios, 
 though of a younger generation and sharing the 
 progress of their time. It is a beautiful piece of 
 work, and full of the individuality of the artist. 
 But, if we reject the Berlin vase on this view, we 
 can hardly accept as his work our polychrome 
 kylikes, D 61 (Birth of Pandora) and D 62 
 (Aphrodite riding on swan), even though the latter 
 is inscribed with the favourite name “ Glaucon.” 
 On the other hand, our fragments of a polychrome 
 kylix from Naucratis (Hartwig, pi. 50) may fairly 
 be classed under his name. The head of the figure 
 in the interior strongly recalls his manner. 
 
 Among the contemporaries of the early period 
 of Euphronios was Euthymides, who, in one instance 
 (on a vase in Munich), describes his own work as 
 better than Euphronios had ever done (ojs ouSeVore 
 
 Eu^povios), a boast which, though far from justified 
 by the vase, is interesting to us now as showing 
 that the name of Euphronios was apparently a 
 synonym in his day for the greatest excellence in 
 vase painting. 
 
 Duris. —No less than 23 signed vases by this 
 painter are known. To these may be added not 
 a few others, which clearly proclaim themselves as 
 proceeding from him, though he may not have 
 considered them worthy of his signature. Thus it 
 would seem, unless mere chance has preserved so 
 many of his works in comparison with those of his 
 contemporaries, that his peculiarly fine technical 
 skill had been much appreciated in his day. Of 
 that skill our two kylikes No. 30 (E 48) and 
 No. 29 (E 49) are typical specimens. In the 
 former we see his love of slim nude figures. In 
 this instance, as in many others, the nude is 
 contrasted with drapery, which is drawn with care 
 and formality. Peculiar to him also are the shape 
 of the head with its high cranium, the eye with its 
 pupil marked by a circle with a dot in its centre. 
 Like his predecessor, Epictetos, he was almost the 
 slave of precision and of a desire to see everything 
 in its right place. As a rule, he avoided violence 
 of action, but rather sought after a quiet gracefulness, 
 as in the vase now before us, No. 30 (E 48). So 
 peculiarly his own is this characteristic of Duris, 
 that wherever we find it on a vase we have no 
 hesitation in assigning that vase to him, though it 
 may not bear any name. 
 
 As instances we may quote Nos. 31-36. The 
 designs on the exteriors of these vases consist 
 of groups of inactive, complacent figures, except 
 No. 34 (E 40) and No. 33 (E 41), where there is 
 some action, and where in particular the painter 
 has made free use of a new principle of composition, 
 in which nude forms are set against a background 
 of drapery with a fine decorative effect. Compare 
 the interiors of No. 34 (E 40) and No. 38 (E 64). 
 The severity and precision of the drawing in the 
 nude forms are enhanced by the vagueness of the 
 lines of drapery behind them ; and though Duris 
 may not have been the first to recognise this 
 element of beauty—we find it in the work of Hieron 
 and Brygos also—yet he uses it with a singular 
 charm. It may even be said to be a natural 
 development of his manner. 
 
 In No. 29 (E 49) a marked change has come 
 over the manner of Duris, apparently from the 
 influence of Euphronios. He no longer hesitates 
 at violent action, as we see from the interior of this 
 vase, where Theseus slays the Minotaur; and this 
 group is matched by others on the exterior, in 
 particular the noble group of Theseus and the 
 robber Skiron (Fig. 6), which at once recalls the 
 same subject on one of the kylikes of Euphronios 
 (Vorlegeblatter, ser. v., pi. 1, fig. a), and reminds us 
 that the two artists used in common the favourite 
 name “ Panaitios.” In his previous work, as on 
 the exterior of No. 30 (E 48), Duris had shown 
 a disposition towards very bold foreshortening, 
 though confining it to figures in repose. His 
 
13 
 
 potentiality for violent action only required to be 
 roused, and here for once at least that was done. 
 But he still retains in the Theseus his own par¬ 
 ticular type of head and his own treatment of bodily 
 forms, while obviously following Euphronios in 
 his costumes and vigour of action—not the 
 Euphronios of the pronounced manner of our Fig. 4, 
 but in his more temperate work, as in the vase 
 just quoted, and in the Troilos vase, if we are still 
 to associate this vase with his name. It is only 
 right, however, to mention that Hartwig (Meister- 
 schalen, p. 614) finds much of the influence of 
 Brygos, none of Euphronios, in the work of Duris. 
 But whatever the influence, we still see in the 
 interior of our Theseus vase how strong in Duris 
 was the old sense of decorating a given space and 
 making it attractive. The designs of Euphronios 
 also may be said to decorate given spaces, but 
 they eventually burst their bonds and introduce 
 
 refinement in execution and in conception, in some 
 respects recalling Duris, though having more 
 vitality than he usually can command. This vase 
 (No. 55) has been assigned to a painter at present 
 only known from his use of the favourite name 
 “ Diogenes.” 
 
 In one instance Duris signs his name with both 
 eypa<f)(rev and iiroCrjcrev. This is on a vase which 
 bears the favourite name of his early period, 
 “Cheerestratos,” and has strong traces of Euphronios 
 in the draperies. Lastly, we may mention E 784, 
 which is signed by him, and a small kylix lately 
 acquired by the Museum, bearing one of his 
 favourite names of later times, “ Hippodamas.” 
 These two vases, however, need not here be 
 discussed. They contribute nothing new in point 
 of style. 
 
 Hieron. —At present there are known twenty- 
 eight vases signed by this artist. His custom is 
 
 a striking vitality which almost defies the limits 
 of the vase. That was what Duris did not 
 attain to. 
 
 As an example of the earlier work of Duris we 
 have No. 24 (E 44), which is signed by him on the 
 exterior, and on the interior bears the favourite 
 name “ Chcerestratos,” which he seems to have 
 employed in his earlier days. On the exterior 
 are groups of young athletes exercising in the 
 palaestra. The huge torsos of the boxers present 
 a curious contrast to the usually over-refined 
 manner of Duris. Much the same is to be seen 
 on the exterior of No. 55 (E 46), where two 
 wrestlers go the length of trying to gouge out 
 each other’s eyes, and where in general it may be 
 said that the roughness of the behaviour of the 
 athletes is matched by roughness in their bodily 
 forms and artistic rendering; whereas in the in¬ 
 terior of the vase we have a group of considerable 
 
 to incise his name on the handle, adding always 
 the word inoLrja-ev, which, where it occurs alone on 
 a vase, as it frequently does, may be fairly held 
 to indicate that the whole of the artistic work on 
 the vase was by the person who signs it. H ieron 
 was a contemporary of Duris, and was so far asso¬ 
 ciated with him that both employ the favourite 
 name “ Hippodamas.” But he was also definitely 
 associated with another painter, Macron, who now is 
 only known from one vase where he gives his name 
 as the painter (eypa^crev) side by side with Hieron, 
 who there employs his usual and more general term, 
 inoLrjo-ev. What is remarkable is that this vase, 
 where Hieron has called in the aid of Macron, is of 
 much finer and greater artistic quality than any of 
 the numerous vases signed by Hieron alone. It is 
 not, however, a difference of kind, but of degree ; 
 and this has led to the surmise that possibly all the 
 other vases signed by Hieron were only his work as 
 
i4 
 
 potter, while actually the painter of them all may 
 have been this Macron. But that seems making 
 twenty difficulties where at present there is only one. 
 Certainly the vase in question is unrivalled for the 
 dignity and grace of the figures. 
 
 Our Museum possesses two vases signed by 
 Hieron, No. 40 (E 23) and E 137. For one of 
 the exterior scenes on No. 40 see Fig. 7. As 
 regards subject, these vases illustrate the two 
 tendencies of this artist—towards myth and legend 
 on the one hand, and towards musical or con¬ 
 versation groups on the other. Together with this 
 revival of myth and legend, which had been a 
 conspicuous feature in the old black figure epoch, 
 we see also in Hieron a return to the habit of 
 inscribing on the vase the names of the mythical or 
 legendary persons represented on it. And this is 
 the more interesting when we observe how slight 
 the difference sometimes is between an ordinary 
 “ conversation ” scene and a mythical incident. On 
 
 in perfecting a type of face is rightly entitled to 
 adhere to it in his day and generation. 
 
 As an unsigned work of Hieron we may fairly 
 class No. 41 (E 22). At first sight the interior, 
 with its precision of drawing and simplicity of com¬ 
 position, is suggestive of Duris. But the exterior 
 speaks decisively for Hieron, with its “conversation” 
 groups of figures in his large broad style, with 
 bearded men, massive in build, inclining their heads 
 sentimentally to smell a flower, or even without such 
 a motive. We would also add No. 50 (E 74), with 
 the interior group of a winged figure (Eos) pursuing 
 a tall thin youth (Tithonos), which closely resembles 
 a group on a vase signed by Hieron (Vorlegeblatter, 
 ser. c., pi. 2). In this instance the exterior groups, 
 though less strikingly in his manner, may yet not 
 unfairly be assigned to him. 
 
 At the same time we must remember that of 
 late a vase expressly signed by Hieron has been 
 claimed, in spite of his signature, as the work of a 
 
 such a vase as our Fig. 8 the principal figure, 
 Triptolemos, is easily recognised from his winged 
 car ; but, as regards the other figures, they are 
 only distinguishable by their attributes as deities— 
 without these and without inscribed names they 
 would be ordinary figures ; from which circumstance 
 we see how the artists, in the interval of uninscribed 
 scenes from daily life, had kept rigorously to a high, 
 idealised level, so that no essential change was 
 necessary when they came to substitute scenes of 
 myth and legend. 
 
 In his heads Hieron is noticeable for a strongly 
 marked type, with its massive chin and jaw and a 
 comparatively short upper part of the face, the 
 whole type being of a singularly large and simple 
 mould. We have seen this type developing in 
 Duris. It has now reached its highest point, and 
 if it appears to be too constantly repeated, we 
 must remember that an artist who thus succeeds 
 
 painter who does not give his name, but is assumed 
 to have marked his individuality by a favour for 
 figures of bald-headed old men (Hartwig, pi. 39, 
 fig. 2, and pi. 40). We are asked to accept also 
 as the work of this unidentified painter our No. 53 
 (E 37) and No. 52 (E 71), both of which contain in 
 the interior a bald-headed man in conversation 
 with another figure. But the designs on these two 
 vases, both exterior and interior, differ very con¬ 
 siderably in style, whereas what we would expect 
 of this supposed co-worker of Hieron would be 
 uniformity of style. The mere choice of bald- 
 headed figures is not itself enough. One would 
 rather fall back on Hieron himself and allow him 
 some margin for differences of style, or failing that, 
 assume that he had at times obtained the assistance 
 of various painters, as we have seen he did in the 
 case of Macron. We are inclined to ascribe 
 No. 52 (E 71) directly to Hieron. The bald- 
 
i5 
 
 headed old man In No. 44 (E 78) belongs to 
 another category. We shall see that this vase 
 probably was the work of Brygos, to whom we 
 now proceed. 
 
 Brygos. — Comparatively few signed vases of 
 this painter are known (eight altogether). The 
 Museum possesses but one, No. 43 (E 77). It 
 is, however, an excellent specimen and in most 
 respects an adequate illustration of his style. The 
 interior group consists of a seated warrior, to 
 whom a female figure offers an oblation. On the 
 exterior we have two scenes which appear to be 
 drawn from the Satyric drama. The names of 
 the characters are inscribed, and details are some¬ 
 times raised in relief and gilt; which facts, though 
 not altogether unexampled till now, seem clearly 
 to indicate a commencement of the stage of vase 
 painting which was to follow, with its frequency 
 of details so treated and its general omission of 
 painters’ names. Brygos may be regarded as a 
 link between the two stages, and in fact he may 
 
 standing that the vase presents an artistic feature 
 which we have not yet met with. That is to say, 
 the deities on the exterior of the vase are repre¬ 
 sented of colossal proportions, while the Satyrs 
 beside them are diminutive and drawn with minute 
 precision. The effect in some measure reminds us 
 of the difference of scale between the seated deities 
 in the east frieze of the Parthenon and the standing 
 figures beside them. 
 
 Another kylix of the same peculiar shape as 
 these two, and of the same artistic manner, on the 
 whole, is No. 45 (E 36), especially in the exterior 
 scenes. But the interior group also contains a 
 characteristic figure, that of a girl standing beside 
 a column and holding up a vase. No. 47 (E 24) 
 has been assigned to Brygos, and certainly the 
 exterior groups recall his manner, not only in the 
 spotted drapery, but also in the heads of the younger 
 figures. He has a way of indicating the nostril by 
 a finely curving line, which he seems to have de¬ 
 veloped from some examples of Euphronios, the 
 
 be said to have done much to create the new 
 method. There is no denying that he still retains 
 marked features of archaism. These he carried 
 on from the school in which he had been trained. 
 But the time had come when it was necessary to 
 sacrifice some of the stateliness and grace of 
 Hieron and Macron, and to infuse into his figures 
 and his compositions something of the directness 
 of actual life. Not that he goes far in this direc¬ 
 tion. It would hardly be true to say more than 
 that this direct observation of life colours his 
 work. 
 
 On the exterior of No. 43 (E 77) is a group of 
 Satyrs rushing after Hera, which has been much and 
 deservedly praised for its composition and drawing. 
 Among the Satyrs is one in a most singular, crouch¬ 
 ing attitude, with very clever foreshortening. It 
 happens that on the exterior of No. 44 (E 78) an 
 almost identical Satyr occurs. So close is the re¬ 
 semblance and so peculiar the motive that we cannot 
 hesitate to assign this vase also to Brygos, notwith- 
 
 effect being, in conjunction with the shortness of 
 the nose, to give animation to the face. The exterior 
 of this vase is also remarkable for the fine combina¬ 
 tion of nude forms against drapery, a combination 
 which we have already noticed in Duris. It is 
 known also in the work of Hieron. The peculiarly 
 animated type of youthful heads in the work of 
 Brygos is seen again in the exterior of No. 44 
 (E 63), with its somewhat violent domestic scenes, 
 among which is an instance of a foreshortened 
 figure which, in its boldness and coarseness, may 
 well have been derived from Euphronios. The 
 flute-player in the interior has a simple, somewhat 
 archaic look, but that would not be sufficient 
 evidence on which to class this vase as an early 
 work of Brygos, considering the freedom and beauty 
 of the exterior. No. 48 (E 27) has also been 
 assigned to him; but if that is right, we must here 
 recognize much of the influence of Hieron. 
 
 One of the most interesting of the unsigned vases 
 which have been ascribed to Brygos is No. 46 
 
i6 
 
 (E 47), having in the interior a convivial scene of 
 a girl dancing before a youth on a couch, and in¬ 
 scribed with the names of Philippos and Callisto.* 
 The spelling “Pilipos” is supposed to indicate 
 that Brygos was a Macedonian by birth, as indeed 
 his name implies (see Hartwig, Meisterschalen, 
 p. 319). It has been pointed out also that the 
 youthfulness of the girl dancer is something new 
 in Greek vase painting (Hartwig, p. 321). It 
 undoubtedly goes well together with the youthful¬ 
 ness and animation of many of the figures of 
 Brygos. But the girl is not only youthful, she is 
 
 * Some prefer to read KaXXtorofs] as an epithet of Philippos. 
 
 greatly in earnest; and this is perhaps one of the 
 most marked characteristics of Brygos—the infusion 
 of earnestness and animation into his figures, with a 
 corresponding abandonment of the old stateliness 
 and formality which Euphronios alone had fully 
 broken through before him. The exterior scene of 
 this vase, shown in Fig. 9, is finely composed, the 
 figure of a youth leaning against a column is 
 beautifully conceived and drawn, the whole scene is 
 rich with detail and expressive in action, yet full of 
 refinement and grace. 
 
 A. S. MURRAY. 
 
■■ 
 
17 
 
 DESCRIPTION OF PLATE I. 
 
 No. i (E 4). Signed by Thypheithides, EPOlE$EN0v<l>El0lAEy Subject, doe springing forward with 
 head thrown back: around, 6 irals /caXos. Black on red. 
 
 Exterior , on each side a pair of large eyes as decoration, with a petal of anthem ion between 
 them. 
 
 Published, Klein, Meistersig* p. 97. 
 
 No, 2 (E 6). In the style of Thypheithides. Subject, a wreathed athlete bending to lift jumping 
 weights (fattens) from the ground: around, o mtls xaXo's. 
 
 On the foot is engraved kakaeanoe, in letters apparently of the Vth, century b.c. This 
 word suggests no known Greek name, and probably belongs to the category of unexplained 
 graffiti on the feet of vases, which may be notes of the ancient seller, roughly scratched on in 
 the shop. On the other hand, see the Memnon kylix in Munich (1087), which has the name 
 
 KAKAS. 
 
 Exterior , two scenes, each between large eyes: (1) A tall thin athlete stooping as if to 
 pick up something. (2) A sepulchral stele (?) or a goal-post (?). 
 
 See Klein, Euphronios , a p. 298. 
 
 No- 3 (E S). Signed by Hischylos (“made") and Pheidippos (“painted”), S o« +S lH ehoiejen. 
 tEiAlros eapa®e. Subject, a Persian archer shooting an arrow. 
 
 Exterior, two scenes : (i) Between large eyes, a warrior running at full speed. (2) A scene 
 in the palsestra; dispute between a tall thin athlete and a short stout one; another athlete 
 throwing the javelin ; and a fourth poising the diskos, preparing to throw it. 
 
 Published, Klein, Meistersig ■.» p. 99. 
 
 No. 4 (E 2t). In the style of Panphteos. Subject, a warrior running, directing his spear against a 
 pursuer, who is not shown. 
 
 HirrofT"''' tW ° SCen6S ° f Warri ° rS “ C ° mbat ° ne ° f the Warriors has his shieId inscribed 
 I Z0'iA» Ivmoif /caXo?. Cf. Klein, Liebhngsinschr. p. 73. 
 
Plate I. 
 
 1 
 
DESCRIPTION OF PLATE II. 
 
 No. 5 (E 16). In the style of Panphaeos. Subject, a boy, wreathed, running with a joint of meat and 
 a lyre ; the inscription in the field is merely decorative. 
 
 Exterior , two scenes : (1) Combat of Heracles (supported by Athene) with Kyknos (supported 
 by his father, Ares). (2) Combat of Dionysos with a giant (?) ; the horse and warrior on either 
 side are probably added as decoration. 
 
 No. 6 (E 20). In the style of Panphaeos. Subject, a man carrying a drinking-horn and a mantle. 
 Inscribed kavoj <i>eiaon. 
 
 The exterior scenes are each painted between two winged sea-horses. (1) Peleus seizes 
 Thetis on the sea-shore amidst her attendant Nereids. (2) Hermes and Nereids bring the 
 news to the sea-god Nereus. 
 
 Engraved and published, Gerhard, A. V. in. pis. 178, 179. Cf. Klein, Lieblingsinschr. p. 36. 
 
 No. 7 (E 19). In the style of Panphaeos. Subject, a Sphinx seated; in field, 6 irals /caXos. 
 
 Exterior , two scenes: (1) Achilles pursuing Troilos, who is on horseback, and a youthful 
 runner inscribed as Telephos. (2) Three warriors charging, one of them on horseback ; over them 
 is inscribed he+"Top. Around one handle is painted a fortified wall (of Troy), with a doorway 
 (the Skaian gate ?); beneath the other handle, two warriors playing dice beside two willow trees. 
 
 Engraved and published, Gerhard, A. V. in. pi. 186; for the difficulties of interpretation, 
 cf. Overbeck, Her. Bildw. p. 356. 
 
 No. 8 (E 9). Signed by Panphaeos, pan®aioj epoiejen. Subject, warrior charging. 
 
 The exterior scenes, each painted between two winged horses, placed decoratively, re¬ 
 present Dionysos, a Maenad playing castanets, and Seileni. The letters scattered over the 
 field of the vase have no meaning. 
 
 Engraved and published, Wiener Vorlegebl. D. pi. 4 ; Klein, Meistersig p. 94, No. 18. 
 
19 
 
 DESCRIPTION OF PLATE III. 
 
 No. 9 (E io). Signed round the foot by Panphaeos, .anoaio* epoie^fn. Subject, Seilenos dancing. 
 
 On the exterior , two scenes: (i) Dead body of a man, lifted by two winged warriors 
 
 (see Fig. i, p. 7, ante). This subject, which is evidently mythological, recalls the Homeric legend 
 of Sleep and Death bearing off the body of Sarpedon to a tomb in Lycia ( cf. the lekythi, 
 D 50 and D 54, on Case F). (2) Amazons arming. It has been thought that these scenes 
 may have been the work of Euphronios. 
 
 Engraved and published, Wiener Vorlegebl. D. pi. 3. Klein, Meistersig .* p. 94, No. 20. 
 
 No. 10 (E 18). In the style of Panphaeos. Subject, Eros flying with a pomegranate. Inscribed 
 twice /caXos. 
 
 Exterior , two scenes from the Trojan War: (1) Troilos and Polyxena, having been to 
 
 fetch water at a fountain outside the city, are pursued by Achilles. (2) The onXcov Kpicns, the 
 quarrel of Ajax and Odysseus over the armour of Achilles: the disputants, rushing at one 
 another, are restrained each by two young Greeks. 
 
 Birch, Archceologia , xxxn., pi. 10, gives (2). Cf. Robert, Bild u. Lied, p. 214. 
 
 No. 11 (E 11). In the style of Panphaeos. Subject, a girl with castanets dancing. 
 
 The exterior scenes are each painted between two Sirens playing flutes, placed decoratively, 
 and represent Dionysos among his following, Seileni with thyrsos, wine-skin, &c., and a Maenad. 
 
 No. 12 (E 35). In the style of Chachrylion. Inscribed memnon ka\o$. Subject, a nude youth 
 bending forward, lifting a hydria. 
 
 The exterior scenes represent: (1) Departure of a warrior (inscribed “Ajax”) in a quadriga. 
 (2) Dionysos among Seileni and Maenads. 
 
 Klein, Meistersig? p. 120, No. 12. Lieblingsinschr. p. 34, No. 18. 
 
No. 13 (E 34). In the style of Chelys or Chachrylion. Inscribed memnon kavo$. Subject, a nude 
 youth, wreathed, stepping forward with a jug in his hand. 
 
 The exterior scenes have been described, Klein, Lieblingsinschr. p. 33, No. 15 : they represent 
 combats of warriors and Amazons. Cf. his Meistersig p. 120, No. 10. 
 
 No. 14 (E 32). In the style of Chelys or Chachrylion. Inscribed memnon kavcj. Subject, a nude 
 woman wearing a coif, stooping forward to attach her sandal. 
 
 Exterior , two scenes: (1) Heracles fighting with two Amazons. (2) Two youths dancing to 
 the music of a bearded man, inscribed “Anacreon.” 
 
 Engraved, Jahn, Dichter attf Vasenb. Taf. 111. Cf. Klein, Meistersig , a p. 122, No. 17. 
 
 No. 15 (E 31). In the style of Chachrylion (?). Inscribed memnon kavoj. Subject, an archer, 
 crouching to shoot. 
 
 The exterior scenes have been engraved, Jahn, Dichter auf Vasenb. Taf. vi. Cf. Klein, 
 Euphromos , a p. 303: and Meistersig .* p. 119, No. 7. They represent: (1) Revels of three youths. 
 (2) A bearded man (inscribed * Thalinos ’) playing the lyre to two other men (inscribed Xanthos 
 and Molpis). 
 
 No. 16 (E 29). In the style of Euergides (?). Subject, a youth, wreathed, dancing in a bent 
 attitude, holding a mantle on his arm. 
 
 The exterior has on one side the combat of Menelaos with a warrior, possibly Paris (?); 
 on the other, a boy (perhaps Troilos ?) with two horses ; over the boy is inscribed nX.7j^t7T7ros. 
 
 Cf. Archceologia xxiii. p. 251, and xxxi. p, 265. 
 

21 
 
 DESCRIPTION OF PLATE V. 
 
 No. 17 (E 30). In the style of Panphseos (?). Subject, a youth wreathed, running; with inscription, 
 6 rrats KaXos. 
 
 The exterior has on one side a youth running, leading two prancing horses; inscribed 
 ‘ Hippocritos.’ The other side seems to have been painted with a similar scene, which is now 
 almost wholly destroyed. 
 
 Cf. Klein, Lieblingsinschr. p. 26. 
 
 No. 18 (E 33). In the style of Epictetos. Subject, a youth wearing helmet, shield and greaves, 
 running and looking back ; he has neither spear nor sword, and is probably a 
 runner in the armed foot-race, hoplitodromos. 
 
 The same subject, probably, is shown on one of the exterior sides, where several youths are 
 making preparations for the race : on the opposite side four warriors are running with spears 
 shouldered. 
 
 Cf. the very similar series of scenes on the cup published by Gerhard, A. V. iv. pi. 261. 
 
 No. 19 (E 52). In the style of Epictetos: signed epoie$en. Subject, a warrior with bow, looking 
 along an arrow. For this motive, see Hartwig, Meistersch. p. 121, note 2. 
 
 Exterior , two scenes : (1) A battle-scene in which four warriors are engaged over the corpse 
 of a fifth. (2) Revels of seven men. 
 
 Described, Klein, Meistersig . 3 p. 112, No. 8. 
 
 No. 20 (E 12). In the style of Panphaeos. Subject, a warrior with his horse. 
 
 Exterior, two scenes: (1) Combat of warriors with Pegasi and with other warriors. 
 (2) Revels of Seileni. The letters in the field have no meaning ; compare No. 8. 
 
 Described, Klein, Meistersig .* p. 89. 
 

22 
 
 DESCRIPTION OF PLATE VI. 
 
 No. 21 (E 13). In the style of Epictetos. Subject, a youth wreathed, walking, with drinking-horn 
 and staff. 
 
 Exterior , five scenes from the Labours of Theseus: (1) Capturing the Cretan bull. 
 (2) Killing the sow of Crommyon in the presence of Hermes (the animal is represented, by an 
 oversight of the artist, as a boar). (3) Killing Procrustes with his axe. (4) Wrestling with 
 Kerkyon. (5) Killing the Minotaur. 
 
 Cf. Klein, Euphronios* p. 196 (e). 
 
 No. 22 (E 8 ). Signed by Epictetos, epiktetoj eapa..en. Subject, a man reclining on a couch. 
 
 singing, and playing on the lyre. Above hangs a flute-case (sybene). Inscribed 
 T7nra/)[x]o[s] /caX[os]. 
 
 Exterior , two scenes: (1) Theseus slaying the Minotaur; on each side a maiden. (2) Revel 
 of five youths. 
 
 Published, Klein, Meistersig .* p. 103, No. 9 
 
 No. 23 (E 7). Signed by Python (“made”) and Epictetos (“painted”), pvoon epoiejen, epiktetoj 
 eapa4>se. Subject, a youth playing flutes and a girl dancing with castanets. 
 
 Exterior , two scenes : (1) Heracles slaying Busiris at altar amid his Egyptian priests and 
 followers ; see Fig. 2, p. 8, ante. (2) Symposium with music. 
 
 Published and engraved, Micali, Stor. Ant. pi. 90, 1. Klein, Meistersig . 3 p. 103, No. 8. 
 
 No. 24 (E 44). Signed by Duris, aorij .. pa^sen. Subject, a youth with a sling in his left hand 
 bending down to place something on an altar; inscribed with a favourite name 
 of Duris, XAIREJTRATOJ f,KAVOJ. 
 
 The exterior scenes have been engraved, Wiener Vorlegebl. viii. pi. 1., and represent groups 
 of boxers with trainers, and youths with slings or boxing thongs. 
 
 Klein, Meistersig p. 152, No. 1 ; Lieblingsinschr. p. 52. 
 
23 
 
 DESCRIPTION OF PLATE VII. 
 
 No. 25 (E 15). Signed by Chachrylion, M.saiona .01W4+A+. Subject, an Amazon, fully armed, 
 charging with spear couched. 
 
 The exterior scenes have been engraved in Wiener Vorlegebl. D. pi. 7. They represent : 
 (1) Dionysos with dancing Seilenus and Maenad. (2) Revellers. 
 
 Klein, Meistersig.’ p. 126, No. 6. 
 
 No. 26 (E 14). Signed by Chachrylion, mouv+a+ (sic): the inoL-qa-ev is wanting. Subject, a youth 
 playing on a cithara, and a girl with a flower: possibly the first meeting of 
 Theseus and Ariadne, such as Pausanias saw on the chest of Kypselos— 
 “ Theseus holding a lyre, and near him Ariadne holding a crown (here it is a 
 flower) in her hand” (Paus. v. 19, 1). 
 
 The exterior scenes have been engraved in Wiener Vorlegebl. D. pi. 7, and elsewhere. One 
 side represents Theseus carrying off in a chariot Antiope, the queen of the Amazons, in the 
 presence of Phorbas and Peirithoos; see Fig. 3, p. 9, ante; the other side, a youth and a girl 
 conversing, and two boys on horseback. 
 
 Klein, Meistersig.* p. 127, No. 8. 
 
 No. 27 (E 28). Signed by Euphronios, ev4>ponios epoiejen. Subject, a bearded man seated; 
 
 before him stands a girl fastening or unfastening her girdle, at her feet a lyre; 
 inscribed panaitios kavoj. 
 
 The exterior scenes are engraved in Wiener Vorlegebl. v. pi. 7. On one side Heracles 
 brings the Erymanthian boar on his shoulders to Eurystheus, who has in terror got into a half- 
 buried pithos; a woman and an old man hasten towards them; see Fig. 4, p. 10, ante. On 
 the reverse, a quadriga driven by a young charioteer, from which a warrior has descended ; in 
 front of the chariot is Hermes. 
 
 Klein, Meistersig* p. 139, No. 4. 
 
 No. 28 (E 51). Ascribed to Euphronios (see p. 11, ante). Subject, two Amazons, Hippolyte and 
 Thero, armed as hoplite and archer, charging. 
 
 A similar subject occurs on one of the exterior sides ; on the other side is Heracles in 
 combat with Amazons, and slaying with his club their queen Andromache, whom he has over¬ 
 thrown ; see Fig. 5, p. n, ante. 
 
 Engraved, Hartwig, Meistersch. pi. xm. p. 118. 
 

24 
 
 DESCRIPTION OF PLATE VIII. 
 
 No. 29 (E 49 ). Signed by Duns, aopij eara».en. Subject, Theseus slaying the Minotaur in 
 Crete. 
 
 The exterior scenes have been engraved and published in Wiener Vorlegebl. vi. pi. 3 ; they 
 represent the following labours of Theseus: (1) Casting the robber Skiron from the cliff, the 
 goddess Athene looking on. At the foot of the cliff are the basin in which Skiron used to 
 compel travellers to wash his feet, and the tortoise which devoured the travellers when they 
 were cast over the cliff into the sea. (2) Wrestling with Kerkyon at Eleusis. For these two 
 groups, see Fig. 6, p. 13, ante. (3) Attacking the sow of Crommyon, which an old woman, a 
 personification of the locality, defends. (4) Dragging the robber Sinis to fasten him to the 
 pine-tree, as he had been wont to fasten passing travellers. 
 
 Klein, Meistersig . 3 p. 158, No. 16. 
 
 No. 30 (E 48). Signed by Duris, aopij eara^zn (sic). Subject, a bearded man moving along, 
 holding a staff and a cup in his hands and looking back. 
 
 The exterior- scenes are engraved in Wiener Vorlegebl. vi. pi. 10. They represent symposia 
 of men reclining on couches and drinking, attended by boys. 
 
 Klein, Meistersig . 3 p. 154, No. 7. 
 
 No. 31 (E 39). In the style of Duris. Subject, a girl closely draped, wearing a richly embroidered 
 cap, raising a flower to her face and inhaling the scent. In the background is 
 part of a bed, a basket, and a mirror hanging up. Inscribed, 17 7rai5 «aX.os (stc). 
 
 On the exterior , bearded figures and youths (some holding purses) conversing with women, 
 probably hetcerce; from their gestures they seem to be bargaining. 
 
 Hartwig, Meistersch. p. 620, No. 2. 
 
 No. 32 (E 38). In the style of Duris. Subject, a bearded figure standing leaning on his staff: in 
 the field hang a net (purse ?), a sponge, and an oil flask (?). Inscribed, o irals Kakos. 
 
 The exterior scenes represent groups of youths, mostly draped, leaning on staves, conversing 
 with two bearded men, holding flowers; one youth, who is undraped, but decorated with ribands 
 on his arm and head, is receiving a head-dress from a companion. These scenes probably take 
 place in the palaestra or gymnasium. 
 
 Hartwig, Meistersch. p. 620, No. 3. 
 
25 
 
 DESCRIPTION OF PLATE IX. 
 
 No. 33 (E 41). In the style of Duris. Subject, a draped bearded man holding a staff, seated before 
 an altar, on which he pours a libation from a phiale; in the background are a 
 kylix and a net purse, sponge and oil flask. Inscribed, 6 7rats /caXos. 
 
 The exterior scenes represent bearded men with vases, dancing and singing; each wears the 
 woollen fillet tied round the head to prevent intoxication (see Smith’s Diet. Ant? i. p. 550 b ). 
 
 Hartwig, Meistersch. p. 622, No. 9. 
 
 No. 34 (E 40). In the style of Duris. Subject, two bearded men going to a banquet: one with a 
 staff steadies his companion, who holds a jug and drinking vessel. Inscribed, 
 
 6 7 TCUS KaXos. 
 
 The exterior scenes show ten bearded men standing conversing, with drinking cups and 
 vessels in hand, preparatory to the beginning of the banquet. 
 
 Hartwig, Meistersch. p. 622, No. 10. 
 
 No. 35 (E 42). In the style of Duris. Subject, a Maenad with thyrsos and wine jug. 
 
 The exterior scenes represent Dionysiac subjects: Dionysos holding vine and cantharos 
 among Satyrs and Maenads. 
 
 Hartwig, Meistersch. p. 623, No. 12. 
 
 No. 36 (E 43). In the style of Duris. Subject, Odysseus announcing to Achilles that he is come 
 to take away Briseis. Achilles is seated in an attitude of dejection, his head 
 enveloped in his mantle; in the background hangs his sword and shield. 
 Inscribed, 6 7rcus /caXos. 
 
 The exterior scenes are engraved in Wiener Vorlegebl. C. pi. 3 ’ an< ^ represent a procession 
 of women and warriors, and six other figures of men and youths conversing. 
 
 Hartwig, Meistersch. p. 600, note; p. 621, No. 6. 
 
2 6 
 
 DESCRIPTION OF PLATE X. 
 
 No. 37 (E 62). In the style of Duris. Subject, Hermes bearded, caduceus in right hand, lyre in 
 left, flies over a wavy surface, probably representing the sea. 
 
 The exterior scenes are engraved in the Mon. dell' Inst. Arch. iv. pi. 33 ; they include 
 scenes in the palaestra. In each case one youth, draped and wreathed, stands for the paido- 
 tribes, and three other nude youths represent, by the objects held in their hands, jumping, 
 disk throwing, and hurling the javelin. 
 
 No. 38 (E 64). In the style of Duris. Subject, a youth partially draped, walking and holding in 
 his right hand a hare by the ears. 
 
 The exterior scenes represent draped ephebi, on one side listening to one of their number 
 who is playing the flutes, on the reverse conversing with one who is seated holding a wreath. 
 
 No. 39 (E 45). In the style of Onesimos. Subject, a boy riding on a horse beside a tree; possibly 
 an excerpt from a scene of Achilles and Troilos [ cf. No. 7]. 
 
 The exterior scenes represent: (1) A bearded man and a youth arming in the presence of 
 an old man and woman and two youths. (2) A combat in which seven warriors are engaged. 
 
 No. 40 (E 23). Signed by Hieron, hiepon epoiejen. This inscription is incised on one handle. 
 
 Subject, a girl dancing with castanets in the presence of a youth who is seated 
 playing the flutes. 
 
 The exterior scenes are engraved in the Wiener Vorlegebl. C. pi. 5. They represent groups 
 of men and youths conversing with hetaerae and flute-playing girls; see Fig. 7, p. 14, ante. 
 Klein, Meistersig. p. 165, No. 6. 
 
Plate X. 
 
2 7 
 
 DESCRIPTION OF PLATE XI. 
 
 No. 41 (E 22). In the style of Hieron. Subject, a bearded man seated, leaning on a staff, to 
 whom a boy offers the leg of an animal and a dish of meats. 
 
 The exterior scenes take place in the gymnasium, as the strigil and sponge hanging up 
 seem to show. The groups consist of bearded men and youths conversing. One of the 
 bearded men holds a hare, as frequently occurs in similar scenes. 
 
 Hartwig, Meistersch. p. 295, No. 7. 
 
 No. 42 (E 26). In the style of Euphronios. Subject, Apollo pursuing a girl, possibly Daphne, 
 though nothing is shown to suggest her transformation into a laurel. This 
 scene is described in Annali dell' hist. Arch. 1839, p. 251, as Apollo and Boline 
 (Pausanias, vn. 23, 3). 
 
 The exterior scenes have been engraved in Mon. dell' Inst. Arch. in. pi. 12 ; they represent 
 a drinking bout of bearded men waited on by a boy with a jug; one sings with head thrown 
 back to the music of lyre and flutes played by his companions. Below these scenes is a narrow 
 band of boots, or vases in the form of boots, and drinking vessels, as in No. 48, infra. 
 
 Cf. the very similar vase published, Phi/ologus, vol. 26, pi. iv., 1, which is assigned to 
 Brygos by Hartwig, Meistersch. p. 105, note 1, 8. 
 
 No. 43 (E 77). Signed around the foot by Brygos, brvaoz epoiezen. Subject, a woman bringing 
 wine to a seated warrior, who has apparently just returned and has handed 
 her his shield. Inscribed with names ‘ Chrysippos ’ and 1 Zeuxo.’ 
 
 The exterior scenes have been engraved in Wiener Vorlegebl . vni. pi. 6, and elsewhere. 
 They represent: (1) Iris holding a curved object, resembling an oxtail (cf. the vase in Berlin, 
 Cat. 2591, which has the same subject), attacked by three Seileni at an altar near which 
 Dionysos stands; a scene probably borrowed from the Satyric drama; (2) Hera, set upon by 
 four Seileni, is succoured by Hermes and Heracles. 
 
 Klein, MeistersigI p. 183, No. 8. 
 
 No. 44 (E 78). In the style of Brygos. Subject, an elderly bearded figure standing beside a 
 folding stool. 
 
 The extenor scenes represent Dionysos and Heracles at a banquet, attended by Seileni; 
 and Dionysos reclining alone with a drinking cup, and two Seileni, one of whom dances, while 
 the other plays the flutes. On the left are a mixing bowl and jug. 
 
 Hartwig, Meistersch. p. 443, note 1. 
 
28 
 
 DESCRIPTION OF PLATE XII. 
 
 No. 45 (E 36). In the style of Brygos. Subject, a girl pouring wine for a bearded man, who is 
 
 seated on a chair; in the background is seen part of a building. 
 
 The exterior scenes are engraved in Gerhard, Trinksch, 1. pi. D. They represent: 
 
 (1) Zeus (?) and Hera(?), attended by a youth (Ganymede?) and Iris (?); in the centre is Ares, 
 
 fully armed. (2) Memnon overthrown in combat by Achilles ; on either side Thetis and Eos, 
 the mothers of the combatants, rush forward. Below one handle, a panther. 
 
 Hartwig, Meistersch. p. 361. 
 
 No. 46 (E 47). In the style of Brygos. Inscribed, pivon kavoj (sic). Subject, a youth reclining at 
 a banquet, holding flutes and signing, to a girl who dances before him, raising 
 with both hands her skirt. 
 
 The exterior scenes represent symposia, in which on each side a bearded man and a young 
 man are occupied with hetceras and musicians ; see Fig. 9, p. 16, ante. 
 
 Engraved in Hartwig, Meistersch. pi. xxxiv.; cf. Klein, Lieblingsinschr. p. 61. 
 
 No. 47 (E 24). In the style of Brygos. Subject, Paris leading away Helen; Paris wears the 
 dress of a traveller, Helen that of a bride. 
 
 The exterior scenes represent, on the one side, Ajax and Odysseus, who have quarrelled 
 over the arms of Achilles (shown under the handles of the vase), and who rush at each other, 
 but are restrained by Greeks: on the other, Greeks deciding the quarrel by vote in the 
 presence of Athene. This scene is almost identical with one signed by Duris (Mon. dell' Inst. 
 Arch. viii. pi. 41). On the right stands Ajax in a dejected attitude, with the fewer votes on his 
 side ; on the left is Odysseus, who is successful. 
 
 Engraved in Archiceologia , xxxn. pis. 9, 11, and elsewhere. 
 
 No. 48 (E 27). In the style of Brygos. Subject, two youths at a banquet, waited on by a boy. 
 
 The exterior scenes have been described by Jahn in Philologies , 26, p. 228, and are two 
 scenes of symposium, with eight youths and two bearded men reclining on couches and drinking ; 
 below these scenes is a narrow band, on which are painted pairs of boots, or vases in form of 
 boots, and various drinking vessels. 
 
 Hartwig, Meistersch. p. 330. 
 


29 
 
 DESCRIPTION OF PLATE XIII. 
 
 No. 49 (E 63). In the style of Brygos. Subject, a youth wreathed, dancing and playing on the 
 flutes: beside him his staff and a basket hanging up. 
 
 The exterior scenes are engraved in Arch. Zeit. 1870, pi. 39; they represent revelry, 
 youths dancing to the sound of flutes played by a youth and a girl, and others on couches. 
 Beneath one handle is a vase of unusual form inscribed “kalos.”* 
 
 * Cf. the vase published in Froehner, Van Branteghem Collection , pi. 28, No. 77 (“style of Brygos”). 
 
 No. 50 (E 74). In the style of Brygos. Subject, Eos (the Dawn) pursuing Tithonos (or perhaps 
 Kephalos), who is characterized by the lyre which he holds in his right hand. 
 For Kephalos with lyre, see Robert, Bild u. Lied , p. 32, note 36. 
 
 The exterior scenes represent bearded men and youths conversing; armour hanging up in 
 the background. 
 
 No. 51 (E 73). In a rough style, possibly related to that of Hieron. Subject, a bearded man and 
 a youth conversing. 
 
 The exterior scenes represent two of the labours of Theseus, viz.: (1) His punishment of 
 Sinis, the pine-bender, by fastening the robber to the bent pine tree; the tree released sprang 
 back to a vertical position, and in this way the victims of Sinis met their death. (2) His 
 combat with the sow of Crommyon; the personification of the locality, an old dishevelled 
 woman, stands by. 
 
 No. 52 (E 71). In the style ofJHieron. Subject, a bald old man, wearing a fringed chiton, arrives 
 at the door of a house before which stands a young man, whom he addresses. 
 
 The extenor scenes are engraved in Hartwig, Meistersck. pi. xliii. ; they represent Dionysos 
 with Thracian boots, holding a snake and thyrsos, dancing in the midst of Seileni and Maenads, 
 who also dance to the sound of pipes played by Seileni. 
 
30 
 
 DESCRIPTION OF PLATE XIV. 
 
 No. 53 (E 37). In the style of Hieron. Subject, a bald old man seated on a stool conversing 
 with a bearded figure, both wreathed ; possibly this represents some episode in 
 the councils of the Greeks which preceded the events shown on the exterior. 
 
 The exterior scenes are published in Hartwig, Meistersch. pi. xli. On one side the heralds 
 are leaving Achilles, who sits mourning in his tent, with Briseis; on the reverse, they are leading 
 off Briseis to restore her to her father. 
 
 No. 54 (E 70). Unassigned. Subject, a youth leaning on a staff in front of a woman seated in a 
 chair, who holds up in her fingers two flowers (?) ; in the background, a mirror. 
 
 The exterior scenes represent: (1) The combat of Achilles and Memnon in the presence of 
 Thetis and Eos, who rush forward, each towards her own champion. (2) A group of three 
 warriors who approach a bearded man in a chlamys, holding a staff: this also may be an 
 episode from the Iliad, connected with the anger of Achilles. 
 
 No. 55 (E 46). In the style of Brygos (?). Subject, a boxer arming himself with boxing thongs, 
 himantes : beside him a trainer with the forked rod used for the correction of 
 youths in the palaestra. 
 
 The exterior scenes represent subjects from the palaestra. On one side, a contest of pan- 
 cratiasts, and a trainer; part of this group is engraved in Hartwig, Meistersch. p. 392. On 
 the other side, a runner in the armed foot-race, a trainer, a pair of boxers, and a jumper (?). 
 
 No. 56 (E 25). Unassigned. Subject, parting scene between youth and female figure, who offers 
 him wine in a phiale. 
 
 The exterior has on one side a subject very similar to this; on the other, a procession of 
 three men and a woman towards a man seated in a dejected attitude. 
 
mtMKmm I 
 
3i 
 
 DESCRIPTION OF PLATE XV. 
 
 No. 57 (E 55). Later fine style. Subject, Cadmos, represented as a youthful figure with a hydria, 
 receiving from Athene the stone wherewith to kill the serpent. 
 
 The exterior scenes, representing the destruction of the children of Niobe by Apollo on 
 one side, and by Artemis on the other, are engraved and published in the Berichte der sacks. Ges. 
 1875, pi. 3, a-c. 
 
 No. 58 (E 56). Later fine style. Subject, two athletes at the bath, using the strigil (partly 
 restored). 
 
 The exterior scenes are published and engraved in Gerhard, A. V. iv. pi. 277: they 
 represent a continuation of the scene just described—groups of athletes at the bath. In one 
 is a curious representation of a well, with cross-beam and bucket for lowering. 
 
 No. 59 (E 50). Unassigned. Subject, a pair of women, whose thyrsi bespeak them as Maenads, 
 though their dress is that of ordinary Athenian women. 
 
 The exterior scenes represent pairs of figures, youths and men conversing with women, 
 probably hetserse, who hold objects of toilet use, such as dressing-case, mirror and oil-flask. 
 
 No. 60 (E 54). Later fine style. Subject, Pluto reclining on a couch, at the foot of which Per¬ 
 sephone is seated; Pluto holds in one hand his emblem, the horn, in the other 
 a drinking-cup. 
 
 The exterior scenes are engraved and published, Mon. dell' Inst. Arch. v. pi. 49. They 
 represent the banquet of the gods, attended by Ganymedes and a Seilenos (Komos) as cup¬ 
 bearers : each god is accompanied by his consort, seated on the edge of his couch: there are 
 present on one side, Zeus with Hera, Poseidon with Amphitrite; on the reverse, Dionysos with 
 Ariadne, and Ares with Aphrodite. 
 
 No. 61 (E 112). Late style. Subject, a woman seated, to whom her attendant (?) brings a toilet- 
 case, pyxis, sash, and wreath. 
 
 The exterior scenes represent: (1) Two women with wine-jug, phiale and box, advancing to 
 Apollo (?), who holds a staff of laurel. (2) Two women bringing objects of toilet use to a 
 woman who holds a sceptre. 
 
 No. 62 (E 72). Late style. Subject, Heracles and Nemean lion. 
 
 The exterior scenes represent two more of the labours of Heracles : on one side, his contest 
 with the Cretan bull, in the presence of two other figures, one of whom is attired like Heracles ; 
 on the other, his carrying off the cattle of Geryon. 
 
 Hartwig, Meistersch. p. 675, note 1.