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is
Michigan.
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or ar-
tElnitofrfiitp
of Spicljigan ^tuiJtffl
HUMANISl'IC SERIES
VOLUME
VII
NEW YORK
MACMILLAN &
LONDON
CO., Limited
BOMBAY CALCUTTA
MELBOURNE
-
THE MACMILLAN
CO. OF
TORONTO
CANADA,
Ltd.
ATHENIAN LEKYTHOI
WITH OUTLINE DRAWING
IN MATT COLOR ON
A WHITE GROUND
APPENDIX: ADDITIONAL LEKYTHOI
BY
ARTHUR FAIRBANKS
MUSEUM OF FINE ARTS, BOSTON
Nfto gork
rights
reser-ved
CO., Ltd.
Copyright,
By
1914,
ARTHUR FAIRBANKS.
%o\\\
Nortuood Press
J.
S.
Cusbing Co.
Co.
PREFACE
In connection with my volume on White Lekythoi with Outline
Drawing in Glaze Varnish (1907; University of Michigan Studies,
Humanistic
Series, Vol.
VI)
my
As in
the present volume were begun more than fifteen years ago.
the previous volume my object has been to classify such examples as I
have been able to study, and to indicate the relations of different
classes, in order to lay the foundations for a knowledge of this important branch of vase painting.
than in the case of lekythoi
The problem
has been
more
difficult
drawn
glaze outline, and the classes
I believe, however, that the types are
are not so sharply divided
that the classification serves in the main to bring
fairly definite, and
must be studied together.
together lekythoi which belong together and
in
with its
Furtwangler-Reichold's IVeissgrundige attische Lekythen^
reached me only when the whole book
large and fine reproductions,
For
for the press.
(except the indices) was electrotyped and ready
That my
its careful scholarship I can express only my admiration.
interpretations
sometimes
differ
in
detail
is
to be expected, but a
or to defend my views.
preface gives no opportunity to modify
of
from
I cannot refrain
expressing my thanks to the University
lication
9 June,
for
1914.
ARTHUR
FAIRBANKS.
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Class
Flesh in silhouette
Scene
Class II.
58-119
pp.
Group B,
Class IV.
slip
Series
red
pi.
iii,
iv.
vi
V,
vii
pi. xxxiii,
Class VI.
23
VI, pp. 36 58
silhouette
VII, p. 244
for
women's
pi.
i,
flesh or
viii
xxxiv
VI,
xxxii, i.
some accessory
v,
pi.
2.
ix,
used.
2.
slip
pi.
not
I.
pi. xxxiii,
VII,
slip.
accessories.
mostly small
neck,
ii,
245;
p.
V.
for
only
iii,
Series 3.
Class
silhouette
Series 2.
Group C.
brown
VII,
pi.
accessories in outline.
i.
I.
21.
243.
p.
outline
in
Lekythoi with
III.
pp.
I.
i,
pi.
Class
VII,
I.
ii,
VI,
Lekythoi.
1-5.
pp.
Group A.
of Athenian White
Characteristics
xxxv
x,
xi
xxxvi
in glaze.
;
xl
xv.
pp.
246253
xli.
Dull color used either tor ornamentation or for outlines of the scene.
Series
Scene drawn
in
maeander or both.
glaze
VI, pp.
dull
256-281
pi.
ix,
xii
2;
palmettes or
xiii
maeander
xiv,
2.
in glaze.
in glaze.
xiv, 3.
VII,
p.
261
pi.
xxxii, 2.
VUI
Series
Maeander above
2.
X,
pi.
VII,
xiv, 4.
not below.
Class VIII.
Series i.
in
Drawing
maeander.
Series 2.
glaze
VII,
dull
in
Drawing
of the drawing.
color used
dull
261.
some accessory
for
or for the
261.
p.
\1I, p. 262.
Scene drawn
Class IX.
Series i.
ii
iii,
iii,
pi.
41
1-2
vi,
pi.
mion
6-19;
pi.
i,
1-2
VII, pp.
19-33
in fine
brown
lines
figures less
stiff.
2.
ix,
in
anthemion
Stele with
vii,
pi.
slip.
with anthe-
stelae
or triangular top.
Series l.
pp. 55-71
Stele
Series 3.
pp. 71-75
Scene
with
usually
pi. ix,
anthemion
X,
1-2
scene
in
43-55
X, 3
pi.
pink
xi,
brown
in
outline
VII,
I.
xi,
VII, pp
1-2.
viii,
Stele
Series 2.
Class XI.
vii,
Scene drawn
Class X.
pp.
large
fairly
Scenes usually
Series 3.
\'II,
angular profile.
iv.
Heads
Series 2.
in
small, with
Heads
scene
red outline.
in
\'I1,
xii.
outline
(or violet-black)
stelae
Transitional examples.
i.
Series 2.
Larger
the grave.
at
the grave.
pi.
Class XIII.
1-2
pi.
xviii,
i.
16-120;
outline
123-135;
pi.
xvii,
pi.
1-2.
ornament of the
2;
xviii,
xix,
stele
i,
with
2; xx,
edge
1-2;
mion.
XIV.
red
in
VII, pp.
xxii,
xiv, 2
xvi, 2.
VII, pp.
Scenes ordinarily
reenforced.
XV, 1-2
pi.
Miscellaneous.
xxi,
grave.
at
the
at
'
-"^^'i'
'>
2.
xiii,
worship
scenes of worship
Class
Series 3.
Class XII.
-''i^'
pi.
than
other
scenes
^"i' 3
p'-
with
lekvthoi
pi.
xxii, 2,
3;
xxiii,
xxvii,
I-2
xxviii,
1-2
with
scene
stele
1,
without anthe-
2; xxiv,
1,
2.
xxix, 2; xxx,
1,
2,
3;
xxxi, 4, 2.
Class
XV.
Later
pp.
Class
XVI.
lekvthoi
192-202
Very
pi.
(mostly
small)
xxxi,
3.
large lekythoi
I,
elaborate
in
gray
polychrome decoration.
outline.
VII,
CONSPECTUS
ix
SCENES REPRESENTED
Scenes represented on lekythoi o{ Classes I VIII.
VI, pp. 337-341.
(i) Scenes from mythology and religion.
(2)
(3)
to burial.
VII, p. 218-223.
(2) The Charon scene.
The
scene.
VII, pp. 223226.
prothesis
(3)
VII, pp. 226228.
(4) The depositio scene.
The scene at the grave.
( 5 )
and offerings associated with the
(a)
Stele
(<^)
(f)
(^)
stele.
INTRODUCTION
volume on Athenian White
Lekythoi (University of Michigan, Humanistic Series, Vol. VI), the
nature of these vases, their use, and their antecedents (in shape and
In
the Introduction to
my
first
line of
white slip and outline drawing) were briefly discussed.
with
silhouette
between
division was drawn
figures on a
lekythoi
white ground, and lekythoi on which part or all of the scene was drawn
in outline,
were
The
matt color.
in
first
to the
line
drawing, belonging
were discussed in that volume
eight classes of white lekythoi with outformer of these two general divisions,
in the present volume it remains to
;
in the
the
by the same hand as certain vases in Classes V and VI
fact remains, however, that a clear line of division in technique may
be drawn between Class VIII and Class IX, and further that vases of
are
Class
the
IX and
first
may be
400
set
The
as
or possibly
B.C.,
volume
down
classification
is
sq. as
450-
not so simple as
definite type
dealing rather with the work of different potteries which brought into
fashion now one variation of the type, now another, not with stages
in a process
of development.
and Classes
XIII-XVI
in height to
about
In general. Classes
IX-XII
are earlier,
m.
far
either 0.25-0.30
m. (Classes IX,
X, XII, XIII, XV, and part of Class XI), or about 0.40 m. (Class
XIV, part of Class XI, and a few other examples). Except in Class
sizes that
may
be called normal
IX, the shape is quite slender and the shoulder usually sloping.
neck, mouth, handle, lower quarter of the body, and foot (except
the red edge) are covered with the lustrous black glaze found on
The
smooth
as
outline
series
drawing
in
The
glaze.
maeander pattern.
This
pattern, which runs only around the front part of the vase, is in the
as the palmettes ; except in Class IX it is usually broken
by dotted oblique crosses, from which it may either reverse or con-
same color
added
after the
it is
may
The
some
i.e.
it
in-
was
90%
these are
all
black which
painted
in
It is
lekythoi.
have a violet tinge.
grav^e
may
solid
color,
usually in
drawn
At
red
if
in
least
some of
the sense for fine composition and beautiful line does not disappear.
The peculiarities of each class are discussed in the conclusion
brief statement at
this point,
acteristic
INTRODUCTION
While
ment, which resemble pencil lines on slightly rough paper.
this kind of line is due in a measure to the surface of the slip, it
seems to be occasioned primarily by a pigment not perfectly soluble
in the vehicle
stele
is
taeniae.
many
employed.
of the drawing
is
quite
flat.
Color
The
is
stele
other
VI
characteristics
(series i, nos.
11-
16).
The
found either
at
a violet black,
is
The
scenes
lines
of stereotyped tradition.
Class
XII
is
a small series
in height
guishing mark
is
broad
line
or
except for the reenforced edge, and acanthus leaves occur only two
three times.
The paint used for the outlines is very much the same
as that
is
more
and decidedly
garments and earment
for
XIII and
Classes
XIV
careful
garment
other colors
On the
most examples have the scene of worship at the grave.
smaller examples (Class XIII) this scene includes the grave monument with a figure on each side. The figures repeat certain types
again and again with no effort for variety
chosen for their decorative value, and this
use of color or
by the addition
of,
e.
g.,
a scarf over
the arms.
The
may
be used to enrich
the effect.
Except
for
Charon
the
a figure seated
frequently
few
it is
later
for
class
is
the
garments
Class
is
XVI
The
in thin
common
style of the
peculiarity of
use of a brick red for the hair ; solid color
found occasionally.
includes a few lekythoi which stand quite by themmore or less elaborate scenes and free use
With
reference to the
methods of
classification
INTRODUCTION
together the lekythoi which resemand technique, however, we can make a beginning in this direction and determine certain groups of vases which
were produced by the same sets of workmen in the same period.
Often it is possible to attribute a pair of vases or perhaps a series of
By bringing
to lay before the reader as full data as possible for the study of this
class of vases.
CLASS IX
The
scene
is
Series
i.
The
Series
thin
2.
The
brown
black, violet-red, or
large
lines
and square
medium,
or
lines
paint
rarely
coarse.
Series 3.
brown or violet-brown,
lines
rather fine
chin;
paint yellow-
fluffy curls.
Series
i.
Heads
The
tend to be coarse, and often a series of short parallel lines are used
to indicate the end of the hair.
The figures are quite stiff and rather
6
CLASS
SERIES
IX,
1-2
i,
Athens,
1.
[c]
Charon
and
Nat.
Griech. Sic.
Benndorf,
scenes,
Vas.^
in
Taf
dark red
and red
xxi,
H. 0.30 m.
Vari.
1693.
i.
is
shoulder
At
free.
his
the
for garments.
in
both hands
his
red chlamys
all
on
head
his
is
yellow
petasos.
The
does not adhere evenly to the surface one figure is in full profile, the
other en face^ and both are drawn with a certain stiff realism
the
;
heads are small, the profile decidedly angular, the eye drawn with a
finally the plain shaft of the stele is
single line for the upper eyelid
;
decorated with
many
and a lekythos.^
taeniae, a wreath,
The
four
colors are used effectively and simply, while the scene as a whole is
carefully composed to give a dignified representation of an actual
occurrence
doubtless the meeting of citizen and stranger at one of
2.
2019,
Cv.
and yellow
The
for petasos
stele
the
left
and spear.
with moulding
woman
maeander
The
scene
is
at the
in profile
approaches and
about
it
in the act
of attaching
are green-black
a red wreath.
32, which
is
man
at the left a
in black.
Black and red are used for taeniae, brown-red for one garment,
At
"^
i.
drawn
H. 0.285
Vari.
1694.
in
is
Cf
Syll.
inscr. hoeot., p.
171.
leans
on
his staff,
which the
stele.
She wears
At the
on
his
He
still
visible.
hand grasping an
The
a variant
is
of that on no.
i,
and presumably
is
drawn by the
same hand, though the profiles are less angular. The details of the
youth's hair, and the realism of the garment folds or stripes, deserve
notice.
3.
Ornament
black
in black fading
is
toward green.
woman's
hair,
The
scene
H.
Eretria.
is
drawn
in dull
is
0.26 m.
red
greenish
4.
H.
(Coll. 667).
0.33 m.
The
scene
is
drawn
and yellow
The
in
lines
of
full
dark red.
Red
is
plain shaft
lekythos.
At the
taeniae, wreath,
on three steps
a
left
woman
is
in
in
both hands a
flat
his
raised
his side
right
is
basket with
face
(reversed) spear with
hand steadies the shield which rests on the ground by
right a warrior en
his left
medium
At the
hand while
he wears chlamys
and helmet.
the
lekythoi with drawing in glaze outline [e.g. Class VI, i, no. 6, Athens,
Nat. Mus. 1 76 1 ); perhaps it is a less frequent figure than the
ephebos in scenes at the grave, because less familiar in city life.
CLASS
London,
5.
Mus.
Brit.
SERIES
IX,
H.
Athens.
82.
3-7
i,
0,22 m.
Stackelberg,
i.
pi. xlv,
The
Simple
holds a lekythos
on three
steps
woman
and below
a lekythos,
is
it
hangs
one of which
wreath of leaves.
She wears
approaches holding out a taenia in both hands.
The youth standing stiffly in profile at the right is
a sleeve chiton and red himation.
closely draped in a red mantle which is drawn in thick folds about the neck,
At the
left a
in profile
6.
The
At the
stele,
left
At the
the end.
right a
to
the hair
his hair
is
drawn with
carefully
drawn
is
like his
at
moulding
second youth
;
wrapped
The
are used
for
his
dark red.
dull
in
H. 0.26 m.
Eretria.
the top.
black fold
separate curls at
companion's.
as
on the
bier.
the taenia
is
Normally,
a
woman
on no.
as
5,
who
the worshipper
however,
in
presents
distinction
5, is characteristic
by the
of this series;
possibly
The
profiled moulding
at the top of the shaft rarely takes the place of a fully indicated
The use of only two colors on these vases and on most of
capital.
the following is a note of simplicity which is lacking on the more
important
later lekythoi.-
7.
shaft
the
left a
hand
The
are
drawn
toward green
red
H.
is
0.325 m.
woman
woman
brings a
her hair
covered with
is
representation of a
literalism here
The
basket
flat
in black fading
Eretria.
with simple
right a second
right
painter.
is
her
a sakkos.
woman
it
use of a cloth to
10
H.
8.
0.30 m.
cir.
drawn
in classes later
in
now
lines
dull gray
red
light
stands
carrying
stifflv,
(feet
a red
taenia
each hand
in
At the
but disappeared.
all
his
her hair
stele.
At the
covered with
is
woman
her
right a
right
left
a sakkos
He
stele.
wears
himation.
a red
This scene
is
that
in
series
one figure
is
element
like
where the
of
slip
in its
is
slip
later classes.
9.
are
drawn
0.27 m.
The
in
His raised
palm down.
stele,
Mus.
Cassel,
Frid.,
Before
left
it
stands an ephebos
hand grasps an
The
erect
second figure
is
H. 0.195
378.
spear, his
no longer
"^-
right
hand
is
drawn
in
heavy even
lines
of dull violet
red
is
is
visible.
Plate
I,
i.
The
Palmettes (with alternate leaves red) and unbroken maeander in dull black.
scene
slip
fine cracks.
10.
H.
Attica.
The
file
if
plain stele
leans forward
touching the
stiffly
on the
stele
a red
left
At the
arm.
his left
At the
his right
left a
youth
in
pro-
arm horizontally
right
as
youth standing
arm.
The gesture of the figure at the left, already noted on no. 9, finds
here a simple explanation.
By itself it might be simply a hand extended to touch the stele
here both figures extend the right hands,
;
CLASS
SERIES
IX,
11
8-13
i,
the scene, for the separation of the figures could only be explained by
the tradition which caused each figure to be drawn quite separate and
distinct from the other.
New York,
11.
The
in dull
gray.
Light
red
scene
is
drawn
I, 2.
now
in a color
is
About
two
is
visible
London,
12.
Ath. Vases
The woman
her hair
is
in a
Mus.
Brit.
left
woman
in the
H.
Eretria.
62.
sketch
may
the
is
wash with
apparently in a
single
The
The
scene
strokes
is
added
preliminary
be detected.
On
high couch with delicate turned legs and pillows lies the body of
Behind
wrapped in a mantle, and red taeniae are laid across it.
woman in yellow chiton and red scarf drawn up on her head bends over and touches
At the right a youth in partial profile, wearchin of the corpse with her right hand.
Prothesis.
the dead
it
on the edge.
White
m.
0.33
vii.
pi.
same
away
drawn
in profile
at the stele,
is
At the
it
is
closely
ing a red himation, places his right hand against his forehead
her right
young woman
She wears
hand.
The
of both
bier (left) a
hair
13.
women
in profile puts
a sleeve chiton
her
left
places
scene
on the garments
is
drawn
in coarse
even
The body
Prothesis.
foot of
H.
The
at the
the
fold
lines.
is
while
in
0.35 m.
red
lines ot the
? )
Plate
II.
complicated maeander in
color, in one or two
same
zontal crosses,
lies
on
left
The righten face looking to the right and tearing her hair with both hands.
on top ot
hand
her
of
the
hand figure is in profile facing the left by the head
couch,
right
second
is
her head,
her
left
At the extreme
left
is
a fluted
capital.
(nos. 12
12
drawn with much more attention to detail and shows little or no trace
On no. 12 the hair of the standing figures shows a
of added color.
a solid color in which no brush strokes
little
fringe of ends added to
are evident, a device
in this
employed only
women mourners
is
The
series.
unusual
on
figure of a
vase perhaps
(Appendix, no. 16 b),
this
perhaps the father, lends a touch of pathos which is absent when only
This impression is heightened by
the female mourners are depicted.
the attitude of the central figure ; the affectionate
the dead and touches his face, as well as the
drapery, differentiates her from the more formal figure at the left and
All the figures, particularly the figure of the
the figures on no. 12.
dead, are treated with a realism unusual even for the present series.
It is a new scene for the lekythos painter, too literal to become
popular, and with more indication of pathos in its earliest examples
On
later.
clear, in
particuthe small head, the sharp nose, and the protruding point of the
chin.
The delicate turned legs of the couch are carefully represented, and on no. 13 there is an unusual attempt to show in perlar
no. 13.
This care in detail only serves
to call attention to the stiffness of the
figures ; if the faces and the
"
"
hair were not so
the
wooden
character of arms
typically drawn,
H.
(Pnyx).
is
head on
The body
pillow
at
The
hair
is
is
drawn
in dull
red
a chiton
(folds indicated)
15.
scene
the right
The
i.
Prothesis.
the
Athens
Collection
and
a red
The woman
at
right
hand ex-
Athens.
H.
0.31 m.
Plate
III, i.
The
CLASS
scene
is
drawn
lines
and
He
hands.
From
stiff
with
lines,
profile a
youth wrapped
The
Two
washed
to the
neck
in a light red
H.
16.
these pro-
is
At the
red border remains, high shoes each with a pair of wings, and high round cap.
stands in a
Dark red
violet.
on
over in vellow.
13
light red with black lines are used for garments, thick yellow
for
14-17
i,
SERIES
IX,
'
0.32 m.
right
lines.
iii.
drawn
are
black.
in
shades of red with added black fold lines are used for garments, and yellow for the
At
the
Charon,
left
bends forward
as
He wears a red exomis, leaving the right shoulder free, and a high round cap
with a pole.
In the centre Hermes, bearded, stands en face, holding the
marked with black dots.
kerykeion in his right hand over the end of the boat, and extending his
Traces of
his red
At the
wrapped
hand toward
left
his
closely
in a red mantle.
Of
The
wood.
for
com-
It is interesting to
the stiff figures and small heads here noted.
pare this treatment of the scene with the earlier one in Class
Here Charon
7).
in contrast
as well as
Hermes
(no.
The
stiffly
drawn
draped youth, the person for whom Charon is waiting, has an oppressed,
strained look in contrast with the other figures, and with the impassive woman on the Munich vase.
Hermes also is more stiffly represented than on that vase.
decidedly
17.
natural, as
is
attitude
Palmettes in green-black
scene
The
drawn
in
medium
is
lines
H. 0.312 m.
Much
injured.
wavy
violet.
lines.
The
Light and
14
At the
left
Charon
He
leans forward in
hand on
his hip.
youthful
Hermes (unbearded),
raised knee
wears
his
hand he
in his right
a short
youth (facing
to left)
to the
wrapped
He
carries a kervkeion.
neck
in a
wears
At
boots.
the
a light red
chlamvs,
stands in profile a
right
on some rocks;
of
is
H. 0.373
"^
The
scene
At
is
drawn
is
used
for
slightly
woman
bowed.
faded
profile
is
much
in
is
in
black,
applied on the
left
hand
his
woman
in
profile
with
At the
On
either side
left a
young girl stands in
and carrying an alabastron
Her chiton has disappeared and the red
a casket
rubbed.
somewhat
the profiles
with
legs,
maeander
Traces remain of the mantle which entirelv covers her arms and
green wash
his
a slender standard.
is
now
garments.
head
in thin black,
Ap-
Athens.
unbroken.
his shoes.
in the
from
to
its
flies to
the
The
head.
left
a little
i/'v;^r;
angular.
Unfortunately the fine drawing of this vase has been much damaged, but enough remains to show its firmness and dignity of line.
The
of Class
boatman
(nos. 7
and
Class VI,
8),
no. 7),
for his
passenger
an eager manner strongly contrasted with the woman's dignity.
The peculiar standard in the front of his boat I am unable to inter(cf.
i,
in
pret.
is
19.
Coll.
if
186.
Athens.
H.
0.383 m.
Palmettes (with alternate leaves red) and maeander
red; green
is
in black.
The
scene
is
drawn
in
CLASS
Hermes, grasping the
toward Charon
Behind the
hand holding
girl
welcome them
if to
hand of
He
young
18-21
i,
down
and looking
girl
15
at
little
girl is a
left
his bark.
in
SERIES
IX,
wears
green.
New
20.
H. 0.317 m.
Plate
IV.
Palmettes in dark violet with spaces for red leaves
The
scene
drawn
is
even
in
of black
lines
red
unbroken maeander
also in violet.
is
the boat.
At
the
woman
left
with head
woman
the
hand
left
hand
is
His
marking.
the handle of a
Charon stands
at the child,
his left
is
As on
raised
face
bowed
little
erect pole
of the
"noble"
of Class
a vase
and extending
it
go-cart
in his boat
on the
is
stands in profile,
to
wrapped
the neck in a
lines.
is
his right
its
right
face
in
drawing.
Facing the
hand
rests
dead
girl
is
ac-
Charon, standing easily in his boat, has a more simply human face
The child is
than on no. 14, but not the rude features of no. 17,
raised on a rock, probably to give it a more important place in the
composition.
troduced with
lekythoi
21.
pi.
{e.g.
On
monuments
not infrequently inits mother, following the tradition of this and earlier
Class IV, 3, no. 7).
London,
grave
Brit.
Mus.
a child
H.
59.
is
0.36 m.
ix.
Palmettes in dull thin yellow with spaces for red leaves ; the maeander in the same
The scene is drawn in even coarse lines
color has one horizontal cross at the extreme end.
now
is
the hair
is
in single strokes
Bright red
The
the outline
lines ot
strokes
Drawing
delicate.
Depositio.
traces of red
taeniae around
of a dead youth
he
still
it.
wears
Before
his cuirass,
it
is
stele
two winged
belt.
body
The winged
i6
figure at the left
his
bends
The
he
is
bearded and
directions.
The
more
far over,
all
at
presence of
interesting to
makes
all
it
the
this
Museum on which
On the latter the
compare
is found
is
drawing
more
far
and graceful
on the
the treatment of a dead
free
this
22.
The
Pikrodaphni.
maeander unbroken.
The
H. 0.315 m.
scene
is
drawn
in
thin
dull red.
Depositio.
with leaves
body of
In the centre
in thin
dead person.
low down
is
green wash.
high slender
Before
stand
it
The figure at the left, with wings raised behind him, bends over
head and shoulders of the dead. The figure at the right crouches
The
head
is
fairly
is less
23.
Neck and
drawn
shoulder gone
unbroken maeander
Much
taeniae.
H.
to shoulder 0.19
in
thin
dull
green.
m.
The
scene
is
and
damaged.
On two high steps is a stele bound with red taeniae. Before it the body
of the dead, closelv wrapped in a red mantle, is held stifl^y in a horizontal position by two
This beardless winged figure at the
winged figures, of which onlv one remains visible.
Depositio.
bends forward
right
wears
a little
He
his
shoulders.
Series
The
may
lekythoi of scries
well have
i.
form
Conclusion
a fairly
or set of painters.
The
CLASS
shape
Class
SERIES
i,
CONCLUSION
is
IX,
shows many
fine cracks
due
to
more
17
IV than
like Class
X, and often
the contraction of some element in its
or Class
maeander
is
both in Classes
drawn
IV and
and
in
later classes.
in the
The
manner usual
scene itself
is
a greenish or a
much of
in fact,
The
use of yellow for wooden staves, for the petasos, and for Charon's
It maybe compared with the yelboat is characteristic of this series.
Some
under discussion.
this series
and
{e.g.
figures with small heads), though the resemblance is
So far as the use of yellow is concerned, we are dealing
not close.
with a different experiment in each series, and its use for wood in the
out
the
stiff
scenes include the four subjects found on lekythoi with outIn the common scene at the grave the stele is a rather
drawing.
broad plain
shaft,
on which
are
taeniae,
The only
together with a hanging lekythos in several instances.
one
variation is the high mound, bound with taeniae on
depositio scene
(no. 21).
The two
becomes
later;
i.e.
the
is
from
a series ot
not so mechanical as
(nos.
it
1-4), the
mourner and the figure of the dead (nos. 5-6), the youths greeting
each other (no. 10) are put together with an evident reason, as if the
The ephebos
painter were representing what he had actually seen.
with spears (nos. 1-3, 9), the woman with offerings (nos. 2-5, 7, 8),
the bearded warrior with shield (no. 4), the youth draped to the neck.
i8
drawn
regularly are
first
stele,
producing
marked impression
stiffness.
The prolhesis
to
It
scene in
its
extreme form
is
is
drawn with
is
represented, it is out of line
larly where one of the bereaved family
with Greek art of this period, and naturally it did not become popu-
In
lar.
representation of fact
its
student of Greek
When
it
is
it
earlier
The
daily
from actual
life
life.
ence to myth in the winged figures who bring the dead person to the
It is by no means improbable that these
grave, occurs three times.
vases are earlier than the ones in Class VI, i, on which the same scene
is
found.
Still
seems
less
for painters
The
must believe
that
it
characteristics
traces of imagination.
of the present
series,
the small
heads with
the
angular profile (square chin, sharp nose, and retreating forehead),
caredetail of the hair (often in large distinct locks, or with the ends
fully indicated
ment of
by short
parallel strokes),
one stroke
and the
for
the
fine
upper
simple treateyelid
and
CLASS
SERIES
IX,
in
19
Just these characteristics occur on sev(nos. 11-16), and these six vases, with
CONCLUSION
i,
Appendix
(no.
They
ably
fifth
more
and VI
prob-
V includes
specimens earlier than any in the present class and later specimens as
In any case, it represents the first experiment in the use of matt
well.
color for outline drawing. The experiment was continued in the later
series of Class IX, but soon gave way to the more successful use of color
in Classes
and following. The various places where these lekythoi
were found
Series
of
may be proof of
a wide,
though
2.
brief, popularity.
and square
large
[not angular)
The
difference in the
Charon
at the
grave or offer-
H.
I.
0.25 m.
Benndorf,
drawn
for
At the
taeniae.
hand
a
left a
on two
his
stiffly,
He
woman
in the
same
stiff
steps
left
wears
about
hand on
Her
hair
is
in a
it
At
scene
his forehead
a red himation.
sakkos
The
in black.
Red and
wash.
rests
youth stands
maeander
in green-black
is
and
and black
in his right
As compared
the characteristic
with nos.
and
profile
which
differentiates
20
from
series 2
series i.
of the scene, as well as in the stele bound with many taeniae, the resemblance is close the greenish black hair and the peculiarities of
;
voung women
as a love
relative of the
is
is
holding out her hands to receive
out
a
taenia which is no longer visible.
holding
2.
H. 0.265 m. Benn-
Vari.
Drawn in dull black (gray). Dark red is used for the woman's hair and mantle;
cinnabar red for folds of the chiton, sword scabbard, and taeniae
solid black for the low;
est taenia
Square
stele
on two high
left
in profile
hand
steps.
woman
short
sword
in its
red scabbard.
stele,
shaft
At the
various
at
left a
At
she wears a sleeve chiton with red fold lines and dark red mantle.
right an old
man with
his
young
right
hand
in
his
the
body and
left hand
Even among
able for
its
the lekythoi of the present class this scene is remarkconcreteness and realism. The scabbard on the stele marks
a gesture of despair.
by gray dots
hair
is
Such
left
in a scene
drawn
less literally.
London,
3.
of Vases in Brit.
Brit.
Mus.
Mus.
Dark red
The
is
Athens.
H. 0.265 m.
Catalogue
67.
The
scene
is
drawn
of
brown-
visible.
plain stele on
two
steps
is
At
the left a
woman
stands
CLASS
in profile
stiffly
seen
SERIES
man
IX,
a red
flat
The
basket of taeniae.
in
21
2-5
2,
hair.
At
leans forward on
stick
The
shoulder, and puts his right hand on his forehead in attitude of grief
his
body
is
gone
under
his
old
left
is
The woman's
vases in Class
man
of a
color
leaning on his staff and seen from behind has been discussed
in this instance the artist is
though
is
type
of working
admirably adapted
from life,
mourner here
directly
the aged
to
The
drawn eye recalls certain lekythoi of Class VI, i [e.g. no. 9).
which the scene is drawn were perhaps originally in glaze;
this lekythos should have been treated in connection with no.
lines in
if so,
15 of Class VI,
I.
4.
drawn
in thin
green-black
Eretria.
H.
0.30 m.
and brown-red
for
one
garment.
The
about
stele,
hair,
many
which
falls free
on her shoulders.
Her garment
has disappeared.
At the
right stands
The
Here, as on
drawing ot this vase is much rubbed.
several vases which follow, along with the characteristic drawing of
fine
the figures and realism of the scene a striking delicacy may be noted
in the lines of the face.
The kneeling woman at the grave has been
VIII,
no.
I,
later lekythoi
10);
Drawn
in a color
now
violet-gray.
H. about
Bright red
is
DroHle
his red
mantle
is
closely
wrapped
0.30 m.
hair.
At
the
At
left
kneels a
woman,
22
6.
drawn
scene are
in
and garments.
slender stele on two steps has
H.
Eretria.
Two
green-black.
0.25 m.
The
on her
with red
the
The
if this is
mande
the
at
top
dark violet-red
basket of
flat
She wears
is
in red
is
left
moulding
profiled
woman
left
At the
stripes.
is
behind
At the
left
a sleeve chiton
hand
it.
mantle that
her right
falls
loose
lines.
a kneeling ephebos ;
figure at the right is called by Couve
correct, it is a unique example of a young man kneeling and
making
of
a gesture
grief.
it is
who
The
Club Exhibition,
The
brown
palmettes have
red
(.?); bright
The
is
slender stele on
At the
taeniae.
woman
903-1 904,
left
two high
stands a
39.
The
unbroken.
is
crowned by
holding out a
her
bowed,
as apparently to
scene
drawn
is
in
garment.
steps
woman
hand extended so
unusually short
is
disappeared; maeander
used for
vase
H. 0.312 m.
7.
flat
capital
At the
basket.
right a second
left
Her
stele.
hair
right
loose curls
falls in
this
Probably
vase,
which
on no.
8.
H. 0.32 m.
8.
of
There
fire.
leaves
now
in
dull
the
palmettes
The
is
hair
is
drawn
in
The
stele
a red taenia.
head.
She wears
is
woman
in partial
its
head
hydria
is
over over-fold
profile,
the
left
her hair
arm
is
is
At
short.
not visible
the
CLASS
H.
9.
SERIES
IX,
0.32 m.
Plate
now
of
There
fire.
Dark red
The
right a
hair
drawn
is
23
III, 2.
At the left a
crowned by simple mouldings.
left hand a smegmatotheke, and with her
is
hand steadying
right
The
stele
in profile
girl
is
6-1
2,
a flat basket
obliquely under
his
Numbers
covered
left
Her garment
on her head.
wrapped
to the
neck in
In both faces
arm.
may
The
he carries
a staff
pair of vases,
and 9 are a
same time by the same hand.
8
At the
has disappeared.
made apparently
at
the
round
chin, the severe treatment of the eye, the unsuccessful effort to foreshorten the hand, and the two methods of representing the hair
with short curving strokes, and as a mass with short straight ends
on both.
Moreover, both scenes have a simple dignity not
On number 8 the motion
on
attained
lekythoi of this class.
always
of the upper part of the left figure is balanced by the movement of
are seen
the legs of the right figure, but in both cases the movement
The hydria brought by the girl is decidedly unusual
strained.
been discussed under Class VI, i, no. 25 (Munich, Inv. 2170).
is
it
number
the
flat
re-
has
On
person
Leyden,
found
as
99/6, 2 (Cat.
I,
an accepted type.
looselv back
is
scene
is
drawn
in dull red
darker red
is
used
garment.
both hands,
he
The
H. 0.245 m.
Athens.
xvii^, 27).
as if
with a taenia.
and confined
11.
Leyden,
I,
on three
steps.
Her garment
in a small knot.
in a
99
At the
At the
right a
The
is
woman
youth stands
the hair
stiffly in
is
drawn
profile
left
Athens.
The
scene
is
H.
drawn
0.23 m.
in dull red
stele
with simple square top stands on three steps, the upper one higher than the
24
About
two combined.
other
it
youth stands
12.
stifflv in profile
Leyden,
he
is
above
left
woman
first
the right
H. 0.26 m.
Athens.
drawn
is
in profile
At
mantle.
a red
with
in dull
red
darker red
is
used
for
stele
it.
Her garment
taenia.
the
sharp point.
two red taeniae are fastened
with simple square top stands on three steps
At the left a woman in profile approaches, holding out in both hands a faded
garment.
The
scene
was sketched
black
in dull
The
neck in
to the
draped
99
I,
At
taeniae.
At the
it
?)
in his left
the hair
is
drawn
and con-
loosely back
right a
hand he
carries a lyre.
He
wears
a red
hand
to
mantle.
hand figure is
woman's garment
10 and
on no.
is
1 1
music
at the
to the
13.
The
scene
taeniae
drawn
is
in
stele,
and
violet-gray
There
and garments.
The
crowned bv
(once red?).
this
scene
H. 0.252 m.
simple maeander
Two
in
green-black.
With
red leaves
light
Pikrodaphni.
He
and
stele,
his right
arm
may be compared
ward with
the
left
his foot
stands in
CLASS
IX,
SERIES
12-16
2,
14.
25
H.
Athens.
0.323
m.
Plate V.
Palmettes in green-black with traces of alternate red leaves, the complicated maeander
The scene is drawn in brown-red green-black and dark red are used
for taeniae.
The
plain stele
on two
steps
on her
left
arm.
Her garment
has
At
is
hand the
disappeared
flat
the
hair
is
loosely
At the
the
left a
right a
young woman
in partial profile
woman
the sleeve
chiton has disappeared, but there are traces of red stripes (?).
This vase,
of the profile and the thick neck may be compared with that in the
case of a woman in the same attitude as the left-hand figure, on another
lekythos in Boston (96.721, Class VI,
i,
H. 0.335
15.
drawn
'^
maeander unbroken.
The
for
scene
garments
and accessories.
About
At the
left
stands a
voung
woman
with head bowed, holding out a flat basket of dark red and dull green taeniae.
Her hair,
drawn in curved strokes, is rolled in a knot at the back of her head
she wears a sleeve
;
smegmatotheke drawn
headcloth
At the
in outline.
right a
second young
Her garment
still
remains.
has
now
woman
drawn.
16.
The
woman
taeniae.
2.
Athens.
Her garment
has disappeared.
At
26
his right leg, relieved
his right
hand
is
he wears a
The
it
ently
is
dull
;
known
not
The
wrongly interpreted by Stackelberg, who regards it as a gesture of lamentation ; the attitude of the body as well as the drawing
of the hand indicate that he was holding a spear or staff.
believe,
broken maeander
red
is
brown-red.
in
H.
Vari.
17.
(five
Scene drawn
0.32 m.
brown
varying to
un-
dark
The
stele
taeniae on
is
fairly
At the
it.
slender and
a
left
woman
The
18.
now brown.
Brussels,
Somzee, Cat. de
Mus. Cinq. A
(rose)
dark red
is
H. 0.28 m.
Collections
1023.
used
for a
in
dull black.
The
scene
is
drawn
in
dull red
staff
The
left
hand and
At the
An
earlier
example of
right
his right
Her
an ephebos
hand,
in partial profile
with bowed
he wears a
The attitude
respect it agrees with the scene on nos. 16 and 17.
of the youth on nos. 16 and 1 8 is much the same, and is less stiff than
it is not, however, an
the ephebos at the grave on lekythoi of Class
invention bv the lekythos painter.
The drawing is more free and
delicate than
on most vases of
is
this
introduced.
class,
and a
CLASS
IX,
SERIES
17-21
2,
19.
iq:
H. 0.32 m.
Eretria.
The
scene
drawn
is
;
simple hasty maeander, also in black.
with thin green wash added to a few strokes of out-
dark red and light red are used for garments and taeniae.
Colors
vivid.
The
two shades of
two
slender stele on
fairly
taeniae in
At the
his right
a taenia
at the
man
At
the right a
about the
stele
about are
on the knotted
stele.
young woman
He
wears
(?), whose
gar-
hair
top
leans
moulding
bearded
left a
connection with
in
several lekythoi of the preceding series, but the small heads, the anof that series are not found on the
gular profile, and the simple eyes
present vase.
about the stele
The
definiteness of the
may
be credited
to
20.
drawn
in thin dull
The
in his
and
red
a conical
away from
scene
is
is
is
away from
it
his left
He
the kerykeion.
At the
right a
woman
hand grasps
long
wand
or spear,
left
hand,
sleeves.
The
Much effaced.
used for garments and taeniae.
At the left Hermes stands
on three steps shows traces of taeniae.
green
plain stele
with back
in-
H. 0.385 m.
Eretria.
maeander unbroken.
man
represented) which he
21.
The
taeniae.
woman
is
conducting
to the
At
lower world.
Athens.
H.
0.21 m.
with moulding at the top rests on two steps and is decorated with black
left a small naked
At the right a young
boy crouches on the lower step.
the
brings a
flat
28
who
CA
Paris, Louvre,
6i 2.
has
come with
her, crouches
H. 0.315 m.
Eretria.
Palmettes black with bright red for leaves and centre of palmette
Plate VII,
maeander
in
on
i.
black,
At
covered, and
the
left in a
sits
green himation has slipped down, leaving the right side un-
his
At the
right a
in
partial
profile
with right foot on the second step of the stele ; on her knee is a hare with front feet on
her left hand.
Her hair is gathered in a low knot at the back, the loose curls carefully
indicated
The rounded
effort
a bird
represent
as
it
as
is
(cf.
The
scene
is
treated
woman's garment,
it
literally
is
and
to
difficult
without the
great care
of
the
composition as a
judge
with
whole.
23.
XXV
pi.
London,
Brit.
Mus.
H.
66.
same red
The
is
The
a.
0.21 m.
stele
on two steps
is
slip
The
scene
is
drawn
in red
outline,
and
shows shiny.
crowned by
a careless
broad palmette
on
it
are
traces
of
CLASS
two
his
the
At the
His hair
shoulders.
SERIES
IX,
He
palm up.
falls in
right
22-25
2,
29
the
stele,
classification,
me
but
to include
it
24.
Eretria.
maeander
The
in black.
scene
is
drawn
medium
in
lines
H.
five
0.32 m.
complicated
thick
dark
At
the
He
hands.
Hermes
his left
Charon draws
left
boat
his
wears an exomis in
hand
down
in his right
to take the
He
wears a petasos
(in out-
a dark red
25.
Paris, Louvre,
Stackelberg,
The
toward the
Grab,
der
left.
Athens.
in red.
The
scene
is
drawn
in dull red
0.29
unbroken maeander
H.
m.
the
red mantle,
She wears
hair of
right
woman
in
three-quarter
Charon
is
is
These two lekythoi with the Charon scene are not very
from those with the same scene in series i, but the drawing
free and sure and the marked characteristics of series i are
On
his left
her
left
which has
At the
is
different
is
more
lacking.
used.
scenes in that the wings are not depicted on his ankles, and he wears
The scene is dignified, and the drawthe ordinary traveller's petasos.
On
the bearded
no. 25
man
is
supposed
mantle about her
figures
to
represent
the dead
the
woman, drawing
her
Series
2.
is
Conclusion
The
some
cases,
however
no. 22),
{e.g.
The
it
the chalky consistency which later becomes general.
palmettes on the shoulder are regularly drawn in black which
has
shows generally
greenish,
sometimes
violet
tone
alternate
Class VI,
I,
The maeander,
no. 16).
in the
same
may be
dull black as
detected
in
one
The color ordinarily used for the outor two instances (nos. 3, 13).
lines varies from a dull red to a violet-black
rarely the lines are
;
As in series i the
black or gray with a trace of green.
lines are rather coarse, not shaded, and slightly uneven like the lines
now
in a thin
On
nos.
more free manner (cf. no. 22). The solid colors used
and
details include bright red, a thick brown-red, and
garments
black; in two cases (nos. 22, 25) a thin green wash is found on a
or applied in a
for
garment, but the use of yellow has been discarded (except on no. 25).
Further, the use of parallel red strokes to indicate the stripes or folds
of a garment occurs only on nos. i and 2.
CLASS
Except
worship
at
IX,
SERIES
CONCLUSION
2,
31
for
and square
it
at the
producing some familiar type, like the old man leaning forward on
As in series i the effect
his stick and seen from behind (no. 3).
of stiffness
profile or
is
in
due
front view
full
in
this
is
The drawing
series e.
here
somewhat
more
is
less
free
than
marked; and
of taeniae,
The
interpreted as a touch of realism introduced by the artist.
standing woman with hands raised as if to tear her hair (nos. 2, 7, 8;
a type introduced from the prothesis scene of
cf no. i) is
may be
perhaps
no.
Perhaps
the
most pathetic
figure
mourning old man (nos. 2, 3; cf. Class III, no. 59;
on the steps of the stele
no.
VI, I,
15), though the child curled up
These representa(no. 21) makes a similar appeal to the spectator.
is
the
tions of the
the expression
although the scenes in this series
less vivid in their realism
interest
in
Attention
may
i.
is
a suggestive
experiment;
it
might
32
the
allusion
to
(series
of the
the journey
2, no.
The
in a
26)
soul
under
toilet
it
is
combined somewhat
the scene
is
for bathing, or
only general reference to worship at the grave, may be an open questhe comparison with two other lekythoi of approximately the
tion
i,
no.
XII, no.
and the
7),
hand
(no. 12)
'>
22
may
woman on
no. 22, and the goose in the boy's hand on no. 2, they are
clearly domestic pets brought to the grave to gratify the dead.
Of the two examples of the Charon scene, it is only necessary to
in the class
The
series i,
though
stiff
than on
some degree
effort
eye are
still
quite straight.
but the
Considerable attention
is
lines
of the
CLASS
ment of
SERIES
IX,
3,
33
still
may be noted that with all the difference of technique and of scene a
resemblance may be traced between the drawing on these vases and on
red-figured vases of the middle of the fifth century, which is quite
If series i is an innovation by painters of a series of glaze
striking.
outline lekythoi in Class
and related examples in Class VI, series 1
Series 3.
Scenes mostly
drawn
brown
in fine
lines
men who
shaded
The
not found.
series are
scene
is
drawn
medium
in
or fine un-
lines, ordinarily
hair
The
academic.
chin
is
and
not angular as
though
2,
in series
i,
still
somewhat
forward as
in series 2,
but
I.
Plate IX,
is
1947, Cv.
At
little
The
peared.
a
woman
taeniae.
surface
the right a
bird
H.
0.33
m.
2.
brown.
Eretria.
1841.
on her
is
woman
The
scene
is
drawn
of
left
arm on
its
^Her chiton and the himation over her knees have disapBefore her a small nude boy with curly hair looks up at the bird.
At the left
approaches, carrying on her left arm a flat basket from which hang dark green
right hand.
Her garment
The
child
with
its
is
marks a scene that has to do with the grave. Clearlv, the child and
its mother are conceived
by themselves and should be compared with
the type of scene on grave stelae
the mother is the dead person, and
the child is a sort of attribute added to indicate her nature as a
:
34
mother
a domestic pet as
I
xlvi,
on two vases
in Class
is
XI, 4
The meaning
of
this
more evident
its
The
(cf.
if
omission,
who draws
if
really existing along
with mourner or worshipper.
The type of the seated woman's face, as well as other details of
the drawing, place this vase without question in the present series.
painter,
The
seated
she
woman
Class
in
with arm over the back of her chair has been found
(no. 49,
sits easily,
Earl
I a.
of
H. 0.24 m,
Elgin Collection.
pi. xciii,
Burlington Fine
33.
woman
sits
in
arm
left
resting
chair, holding
up
her chiton has disappeared, but the red mantle about her
''
knees remains.
it
may
she probably
found
in series
is
in
and
The
About
tearing
scene
drawn
is
H. 0.30 m.
in a dull
woman
her
hair.
two
brown, some-
for
Her garment
3.
Eretria,
taeniae
and
Surface rubbed.
garment.
kneels a
grace of
what yellowish.
The
2.
2.
stelae.
the hair
is
has disappeared.
little
from
his
body.
left
At
the right a
He
wears a
Athens.
H.
vouth stands
violet- red
curly.
At
the
0,274.
left
as if
stiffly,
mantle with
CLASS
SERIES
IX,
1-6
3,
35
Palmettes, from_ which red leaves have disappeared, and maeander in dark brown.
No color remains and the
scene also is drawn in quite fine lines of dark brown.
The
On
is
much
defaced.
At the
three steps stands a slender stele with torus mouldings at the top.
arm horizontally
the shoulder.
At the right
Her
looking up and extending both arms toward the stele.
Her undergirded chiton
and in the usual low knot behind.
Above her
toward the
Ai^s
i/'^xv
hair
kneels a
is
left
his
fluffy
young woman
about the face
is
stele
The
slender stele, the color of the outline, and the drawing differentiate these vases from those with similar scenes in the first two
On
series.
garment is
reminiscent of Class IV and the free treatment of garment folds on the
kneeling figure of no. 3 is unusual, recalling one or two vases of Class
;
round member
The
Oxford, 266).
at the
is
unusual.
4.
The
scene
drawn
H.
Eretria.
maeander
0.29 m.
also in green-black.
thin yellow
with red stripes are used for garments, violet and red for taeniae.
Surface rubbed.
The slender stele is decorated with taeniae. At the left a youth stands stiffly, closely
At the right a young woman stands holding
wrapped to the neck in a dark red m.antle.
is
in a dull
She wears
it.
5.
stripes.
H.
Eretria.
0.32 m.
red
is
used
bird?).
back into
a flat knot.
from
little
for
his
body.
At the
He
right a
youth stands
stiffly,
the hair
holding his
is
drawn
loosely
right
hand out
has curly hair falling to his shoulders and wears a dark red
himation.
H.
6.
brown.
maeander unbroken.
it
are
back
in
on two steps
black and red taeniae.
at
it
stele
her right
neck
in a
is
fairly slender
At
the
At the
phiale (up).
scene
is
drawn
left a
Surface rubbed.
woman
The
The
0.26 m.
a simple moulding
about
from
the
and
looks
stele
away
her left hand is a pitcher (down ),
;
turns
;
in
long curls
fall
to his shoulders
his
head
is
to
rather large.
the
36
Even
and
unusual delicacy
no. 6)
of this
teristic
care,
woman on
The
series.
no.
"
The
6.
of the
hair
curly
youth
charac-
is
Med. 503
Paris, Cab.
7.
H.
Athens.
(4907).
0.32 m.
Gaz.
The
black.
scene
is
(brown) with
drawn
in the
same
The
Two
maeander
in black.
is
in
about
it
are
many
youth (head and bust gone) stands in partial profile with right
His
His right hand rests on his hip ; in his left hand he holds out a red taenia.
At the right a woman in proa thick dark red, perhaps with black stripes.
At
leg relieved.
in dull violet-
red taeniae.
himation
leaves red
alternate
dull black.
the
left a
in a
gathered
low
it
is
loose knot.
The nude
figure
of a
woman
has been
noted occasionally
{e.g.
Class V, no. 25, Athens, 1797), but it seems reasonable to suppose that
The drawing of this
in each instance a garment has disappeared.
woman
no. 20)
Both
series.
figures are
to the grave.
8.
H. 0.235 m.
Athens.
Plate VI,
i.
scene
The
taeniae.
slender stele on
At
toward the
given
the
left a
stele.
The
two
youth
At the
is
right a
by her side.
knot
9.
Her
hair
is
woman
;
in
the top.
About
it
are
many
nearly gone
at
moulding
her
left
a black
is
bowed
taenia
low
flat
apparently her chiton had red fold lines and her mantle was red with dark fold lines.
New
GR 608.
H. 0.294 m.
Plate,
VI
2.
CLASS
The
IX,
SERIES 3,7-11
palmettes are in dull red with only black leaves, while the maeander and the
in thin dull black.
Light red is used for a garment and taeniae, dull
drawn
scene are
The
The
two
slender stele on
At the
taeniae.
taenia in both
hands
woman
left
slip
may
profile
stands with
The woman
;|
be detected.
bowed,
left
mantle remains
The
in
and in her
her hair
like
is
her companion's.
rather fine clear Hnes of the outline and the hard drawing of
are unUke the examples previously discussed.
The
vases
these
back
lines
As
a trick
The
feet,
perishable
carried
spray
disappeared.
served a lustral purpose.
On
in
worship
by
woman on
no.
has
8
nearly
probably
at the grave.
ID.
character which
purpose
lines
was of
the garments
for
37
1917, Cv.
1828.
H.
Vari.
0.32 m.
drawn
Much
rubbed.
The
stele
attached to
is
crowned by
At
the
left
scrolls
woman
the stele.
her hair
it.
is
At the
held up by a sphendone.
or a
form of
the
in
fillet
stripes,
and
right a
a
basket.
Paris, Louvre,
same.
scene
is
drawn
Bright red
is
S 1667, Lee.
att., p.
Palmettes complicated,
The
V.
in Class
in fine
13, 8, pi.
brown with
lines
of
brown varying
;
Athens.
87.
H.
0.25 m.
i.
to
wash of
the
38
On
Prothesis.
one
left
hand
the one
mourners
at the right
her
women
the
at
left
has her
left
the
lies
The bodv
head toward the right is supported on pillows.
garment over which are laid red taeniae, and about the hair
is
the
body of the dead
in a red ornamented
;
wrapped
a
is
hand
right
Both stand nearly en face, with one leg relieved, and head bowed
they wear
sleeveless chitons with red stripes, and the hair is represented as a fluffv mass about the
out.
head.
MNB
Athens.
Paris, Louvre,
1147, Lee. 88.
no.
blancs
Lee.
att.^
Pettier,
63, p. 13, 7.
12.
The
black (brown).
scene
Hminarv sketch
On
stands in profile in
down
at
fairly
is
Surface
lies
much damaged
in places.
the
in
the dead.
it
it
left
woman
over
and behind
The
Red
looking
and
be detected.
may
0.25 m.
in fine lines
brown wash.
Prothesis.
drawn
is
H.
a small
\\iv')(i']
of
in attitude
is
At
stripes.
first
grief.
At the
left
in
is
con-
fully
drawn
and the
in the
hair,
is
in
but one of the points which connect these examples with others
series 3.
The mirror on no. 1 1 comes from household scenes,
from scenes
IV and V, and
is
his
memory of
actual
Palmettes
(with
added
red
leaves)
and maeander
Eretria.
in
green-black.
H. 0.285
The
'^
scene
is
CLASS
drawn
is
At
the right
and extending
beard
is
which
Charon stands
his right
is
indicates the
flat for a
applied
wears
garment
She wears
shore.
woman
a chiton
her hair
drawn
for
mantle
H.
Eretrla.
for a
At the
left
Charon stands
yellow cap
his
face with
sparse beard
its
On
her
left
rock
in her
0.34 m.
The
is
Yellow
garment.
is
scene
used
garment.
very striking.
his
He
extended.
is
Her
left
wears
woman
arm she
Her
smegmatotheke.
is
erect
on
foot
left
green
dark red
14.
39
He
hand.
sparse.
12-14
3,
garment.
right
SERIES
IX,
carries
hair
in
is
and
casket,
large
a fluffy
in
her right
The
13
drawing, however,
at first recalling
similar figure
awkward
in
on no.
places.
is
differ
9.
The drawing
In
on nos.
no.
both
scenes
and
9, no.
14 recalling
is
extends his right hand as though to assist the woman aboard his bark,
but the gesture is not violent as on no. 18 of series 1.
His face is
has
it
the boat on no. 13, on which the woman places her foot, is the one
bit of realism in these scenes.
As in the prothesis scenes just dis"
on no.
of the
13,
in
the hands
woman on
40
Series 3.
The heavy
Conclusion
in series
the present series, though the vases are not as slender as in Class X.
The slip also has more often the smooth chalky surface of Class X.
The
red
The maeander
is
un-
broken.
A
and
preliminary sketch for the scene itself has been noted on nos. 9
The scene is drawn in fairly fine even lines, which have no
12.
gloss as in Class
noted
and
in series
2.
On
nos. 6
less
is
surface
is
color, or very
little,
remains
in
this
red stripes; the red stripes for a garment appear also on nos. 6 and 10.
The usual colors for taeniae and garments are two shades of red. As
for the hair,
it is
done
in outline color;
on nos.
in full color
11
and
and
this
however,
covered by
12,
is
In the nine scenes at the grave the stele is decidedly more slender
than in similar scenes in series i and 2, and there is not the same
It is crowned ordinarily
taeniae on the stele.
a
or
by simple mouldings,
profiled moulding; in one instance there
a
The
is
palmette, and in another (no. 3) an awkward thick torus.
tendency to very
many
figures at the grave are for the most part of the same types as in series
I
and 2 the kneeling woman with hands raised to her head (nos. 2,
;
3)
the
stiflf
his left
at the
hand
grave
(no. 7)
;
is
a familiar
CLASS
IX,
SERIES
3,
CONCLUSION
41
a libation or farewell
pitcher and phiale (no. 6) is transferred from
The smegmatotheke on nos.io and 14,
scene to the scene at the grave.
and the alabastron on nos. 9 and 13, are continued from the earlier toilet
transferred to
scenes;
among
offerings
a
in
service for
worship
the
at the
The
As
pared only with scenes on grave stelae of somewhat later date.
the vases of this series are usually so dependent on earlier types, we
should doubtless assume some painting or relief as the prototype
for this conception of mother and child, the most natural prototype
would of course be a grave stele with this scene either carved in relief
As
or painted.
and 12) and the two with Charon scenes (nos. 13 and 14), it has
been pointed out that the painters followed lines already laid down, but
modified the scene by elements clearly borrowed from other sources.
It can hardly be questioned that this series is distinctly later than
series
and
so
easily
has
all
2,
but
the
characteristics
The
described.
stiffness
it
of
of
the
the
We
angular profile of series i nor ordinarily the large heads with square
the structure of the head tends to be quite
structure of series 2
;
the outline, the chin small and well forward, the eyes caredrawn
and often with indication of the eyelashes. As to the hair,
fully
the painters attempted in two or three ways to indicate a loose, fluffy
round
in
among
Athenian women.
Conclusion
The
is
series
of Class
of Class
IX
IX
are not sharply divided, the
of series 3, the awkward stiff poses and peculiar treatment of the head
in series i over
against the free drawing of series 3, make it difficult
to discuss the class as a whole.
42
the vases in
all
be heavier than
in Classes
flat
in
Classes
and following
The
shoulder.
slip
much
the same.
The
shape tends to
V and
is
less fine
and
The simple
the dotted cross which soon comes into general use.
character of the stele has been remarked in each of the three series and
multiplicity of taeniae attached to it in series
broken, lead-pencil character of the lines of the
the
marked
always clearly
of the class it
;
The
mixed.
is
in series 3, yet
it is
and
The
i.
outline
is
not
in
first class
and
follow, while
It repre-
some examples of
CLASS X:
The
is
second
class
somewhat
The
slip
is
XL
The
On
height.
is
the
geneous
this
may
class
are
homo-
quite
be distinguished by the
Series
rose)
Lines of the scene ordinarily in pink (violetwith anthemion, and about it traces of taeniae
i.
stele
distinctly
more
with anthemion
stele
solid
drawing
free.
3.
triangular cap.
Series
i.
Stele
in
pink outline
of the
lekythoi of this series are much alike in scene, style
Except for a few smaller examples
drawing, and other characteristics.
The scene is usually drawn in a pink
the height is about 0.30 m.
The
solid color
is
it is
simple, often graceful,
very similar on the vases here included
the
it
resembles
somewhat
and
drawing on lekythoi of
hasty
slightly
is
Class
IX,
series 1.
43
44
The
The
CA
Louvre
Paris,
1.
scene
black.
is
drawn
Plate VII,
2.
is
in
of thin red,
lines
The
0.33 m.
even
in
H.
1329.
is
on one step shows traces of taeniae and is crowned with a large anthemion
At the left a woman in profile stands
mirror hangs on each side of the anthemion.
stele
bowed
with
head,
basket
flat
low knot.
loose
in
is
At the
woman
right a
kneels
with her body en face ; her right hand is at her breast, her left hand on top of her head
her hair is short and apparently she had a sleeve chiton with violet wash border.
in
The
395, 3
p.
is
two
shows
steps
may
and
traces of taeniae,
boy
stele
is
arm out horizontally, and her left hand above the back
no clew to her garment
her hair is
Above her, next the stele, hangs a
drawn back and gathered in a small low knot.
kneels, holding her right
The
of her head.
looselv
slender stele on
woman
i.
obliterated
At the left
mouldings and anthemion.
from the shoulder toward the top of the
fi-ont
Plate VIII,
The scene
;
nearly
simple maeander in thin violet-grav.
even lines of red, and the hair drawn with the same brush
no color remains.
Palmettes
drawn
H. 0.265 m.
2.
\\ivyy]
flies
towards the
Athens.
Boston, Mus. Fine Arts, 86.156.
Amer. Jour. Arch. II, 1886, p. 396.
2.
3.
stele.
H. 0.315 m.
Plate VIII,
Palmettes
in
dull
The
violet-black.
scene
drawn
is
in
and
The
steps
no clew
flies
\^vx>]
to her
few
also
There
is
in
dull
violet-black
are
a kneeling
woman
left
garment
her hair
is
extends
the injured
is
gathered
with arms extended.
At the right a youth
hand
raised
from
his side ; he wore a
right
slightly
toward the
with
yellow
himation,
;
simple maeander
of a color now dull
red
is
arm horizontally
her right
dull
drawn with
two
lines
remain, and
bright red,
leaves
even
stele
These
narrow
full
lips,
CLASS
and wide-open eyes,
with some variety
X, SERIES
same in
straight and
are the
all
1-5
i,
45
The
three.
hair
treated
is
as
stiff on the
kneeling figure of
on
the
of
2
nos.
and
curly
youths
3
only the straight
hair of the kneeling figure on no. i is an innovation from
types found
in Class V and Class IX.
Even the palmette of the anthemion,
no.
as
with
is
it
small
its
central
leaf, is
different
frequently.
the
woman
and
the
kneel-
the
interested
bringing offerings,
the scene lacks the concrete meaning noted in lekythoi of
Class IX.
The thin red of the first two vases and the dark violet of
ing
mourner,
no.
3 are not typical of the series, though the three vases clearly
to belong at this point in the classification.
These vases with
youth
seem
possibly no. 4
may
teristic
4.
H.
Cerameicus.
0.29 m.
The
gray palmettes with red leaves are all directed from left to right ; maeander simple,
The scene is drawn in dull pink ; red is used for taeniae, thin green wash
for taeniae ends and a garment, and violet wash for the border of a
garment.
Drawing
in faint gray.
careful.
The
slender stele
woman
her head
is
At the
left
hand
at the
back of
she wears a sleeveless chiton (violet border) with short overfold ungirded.
is
a mirror,
behind the
woman
In
if/vxV'
Perhaps
this vase
The
green wash used for the hair in no. i, and occasionally on other
examples of Classes IX and X, is rarely found on a garment perhaps
it is the stain of a color
nearly black, and it is certainly different from
;
Hell. Studies,
XXV,
1905,
Cerameicus.
H. 0.285 m.
Jour.
p. 74.
vase swells as in
some
later lekythoi.
the
Palmettes
maeander
in dull
in the
grayish pink
same color
46
The
on a
his
under
staff
bowed
At
face.
young woman
the right a
palm up,
This vase
scene
is
drawn
is crowned
by an anthemion.
and with the right hand raises
wears
The
in
At the
his
a youth leans
mantle
to cover
yellow
left
She
as
Beside her
flies a
if/vxy
head.
its
peculiar in the shape, in the use of yellow for a garment, in the drawing, and in the scene, but possibly it should be in-
cluded
is
The
at this point.
stele
and awkward
stiff
is
in
comparison
The realism of the youth covwith the elegant form usually found.
in grief with his garment, and of the small woman
face
his
ering
stepping forward to comfort him, as well as the use of yellow,
Class IX, though the drawing is quite different in character.
the authenticity of the scene may be questioned.
London,
6.
Brit.
Mus.
The
sits
stele
on two steps
is
At the
down
him
at
The
scene
is
drawn
down
in the
same
Black
color.
injured.
crowned by an anthemion.
hand raised to his head, his
left
also looks
Much
Perhaps
H. 0.325 m.
68.
recall
at
him.
On
left
hand extended
The woman
standing
.>')
as if in grief.
at
the right
taeniae.
On
is
this vase
young woman
ing offerings,
discussed.
7.
rather than a
Normal palmettes
in
is
dull
green with
The
0.42 m.
;
maeander
in
dull
green,
crowned with egg moulding and anthemion. At the left a bearded man
which supports the mantle under his left arm
his left hand is
remains
H.
beard are
bring-
The
The woman
young man.
indicated
and
by
his right
few
lines,
fine
a little
at the right.
The
vase shows the thin pink lines which are characteristic of the
The lines have nearly faded so that it is hardly
present
possible to say whether a figure once existed on the right of the stele.
series.
CLASS X, SERIES
6-9
i,
47
for Class
X.
8.
scene
The
The
crosses
in
dull
slip
may be
The
red.
wash
a thin gray
for taeniae
detected.
in
At the
H, 0.26 m.
Cerameicus.
6.
is
right
a
;
in
a ball
man
he
wrapped
is
in a red
her hair
falls in
thrown forward,
showing the
mantle,
fold
lines
The
figure of a
woman
(nos.
36,40-43
vol.
it
meaning
in
this
setting
The
short
hair of the woman suggests that she is here a mourner at the grave,
and the extended hand of the man appears to be the gesture of one
who directs the ceremony of an offering at the grave. The apparent
nudity of the woman is no doubt due to fading of the color used
The man's
as
erect
young woman,
is
signifi-
9.
The
slender
stele
H.
Tanagra.
0.31 m.
maeander simple.
Dull green is used for one garis
used
for
another
wash
garment borders.
on one of the
is
crowned with egg moulding and anthemion
in dull pink
;
a violet
is
seated a
a second
youth seems
the edge.
On
woman,
The
faces,
to
stele
his
mantle
is
drawn.
this vase, as
is
be decking the
48
Of the violet
drawing and the bright colors deserve special notice.
wash for garment borders on nos. 4, 9, and 13 it has been noted that
is
XI
characteristic of Class
is
it
more
carefully
10.
London,
Brit.
Mus.
Mus.
now
0.27 m.
The
now
scene
violet-gray
is
drawn
is indicated
by a (ew strokes of outline color and
This same wash is found at the top of one garment.
the hair
Stackel-
Catalogue of Vases
in
scene
this series.
H.
Athens.
64.
The
yellowish.
maeander
in fine lines
filled in
The
in
of
with a wash
taeniae are in
maeander.
two
On
dull black.
The
slender stele on
steps.
the upper step of the stele, her back against the tumulus,
down
woman
right a
left
arm
for a
11.
is
Cambridge,
0.32 m.
The
is
woman,
flat
At
the
basket on her
Fitz.
the top.
at
Mus.
Gardner, Catalogue^
neck
left
holding up
except
sits
Athens.
140.
H.
neck
to base of
xxxi.
pi.
lost.
the color has disappeared from the alternate leaves of the palmettes, leaving a shiny white.
The
scene
is
drawn
in
fine lines
now show
of pink, almost
a glaze color.
The
shiny white.
The stele is a square pillar with capital, drawn from a corner in perspective
now gray are fastened around it. On the upper of the two high steps
;
taeniae
vouth
mantle
sits
is
on
his
mantle,
drawn over
his
arms resting on
At
the
his
left
several
nude
basket on
carries a
helmet
At the
right a
in her left
a seated
in each are
an
No. 10
is
figure as that of the dead woman holding out her hand to take some
The surface
object like a taenia from the hand of the standing figure.
CLASS
of the vase
rubbed, and we
is
woman
of the seated
49
10-13
i,
may assume
on the chiton
that a color
The
panion's garment.
SERIES
X,
is
comgood
and
On
stele
no.
the drawing
1 1
unique
is
is
and
is
That he died
care
on
and grace
in battle
12.
Cerameicus.
H.
0.22 m.
Three palmettes, drawn in red with dull green leaves, are all directed from left to
The scene is drawn
right ; the simple maeander in thin gray is broken by the anthemion.
a violet
in dull pink, with greenish wash over a few strokes of outline color for the hair
;
wash
Draw-
used on the anthemion, and there are traces of thin color on the garments.
is
The
taeniae
slender stele on
behind
At the
ing.
his hip,
woman
left a
chiton from
on
two
a red
wearing
steps
at the right
it
is
is
At
nearly gone.
a flat basket
The
for
she wears a
hand
Cerameicus.
;
the
maeander
H.
0.26 m.
standing
is
drawn
woman
in dull red,
No. 12 has
number of
mantle.
13.
of taeniae
turn from
left to
1
For
hand on
his hip
(cf.
At the
right a
peculiarities, several
series
right
his
grea,
pi.
xiv.
50
the use of a greenish wash for the hair (cf, nos. i, 13);
the presence of a violet wash on the stele (cf. nos. 3, 9, etc.) ; and the
tumulus beside the stele. The indication of the tumulus with bush
maeander
The
and of
his
which was found with no. 12, has practically the same
scene, and shows a similar tendency to experiment with methods not
No.
13,
No
One garment
brown.
quite
H.
14.
is
maeander.
now brown
0.31 m.
The
scene
and traces
in color,
is
drawn
ot
in dull pink,
now
the taeniae.
The
stele
on two steps
is
surmounted bv
At the
left
stands
on a stone and
forearm resting on the raised knee, before which his right hand is
The eye is drawn with much
his right
15.
The
At
the
left
the
Deep
red
is
on one step narrows somewhat toward the egg moulding and anthemion.
small nude boy crouches with left foot on a rock (?); in both hands he holds
At
alabastron in her
is
pink
0.25 m.
stele
out a goose.
which
dull
in
H.
(Coll. 661).
the right a
left
ungirded.
hand
woman
approaches with
flat
arm and
of
hanging taenia.
H. 0.295 m.
16.
The
palmettes, the reversing maeander with oblique crosses, and the scene are
in dull pink.
Deep
red
is
Cerameicus.
drawn
the
the
re-
CLASS X, SERIES
She wears
Jaxed.
held
sleeveless chiton,
14-18
51
is
by
a red
i,
in fine
present
sure and delicate
his figures
are fine
The drawing
series.
lekythoi.
bears comparison with the seated youth on no. 1 1 in its sure grace
and poise. The soul and purse in the field, like the taenia on no. 15,
It
is
person beside the grave, for in either case the objects are such as
were associated with the dead person during his lifetime.
The use of
reserved white for taenia and girdle is perhaps the earliest example
a practice
At
in-
H. 0.24 m.
17.
found not
he
18.
The
scene
The
is
drawn
38.
in rose(?)
slender stele
H. 0.14 m.
on two
; red
steps
is
is
used for
crosses,
not
reversing.
garment.
At
the
left
woman
in
with bowed head approaches, carrying on her left arm a flat basket, and on her
right hand a smegmatotheke ; she wears a sleeveless chiton and her hair in a small low
profile
knot.
At the
he wears
right a
his
right
hand
raised slightly
from
his
side
a red himation.
garment and carries a basket which is not seen on the other vase
the youth here wears a mantle and does not have yellow boots
52
is
The smegmatotheke
almost identical.
itself
similarity
from one
19.
The
deep red
The
The
is
slender stele on
two
white
steps has a
slip
is
round top
scene also
unusually
like
H.
Cerameicus.
drawn
in
dull
pink
fine.
tumulus
is
0.25 m.
about
are
it
taeniae.
youth with deep red mantle drawn closely about him holds out an alabastron
At the right is a woman whose garment has disappeared
in his right hand.
her hair
falls loosely on her shoulders.
At
the
left a
20.
Attica, Velanideza.
H.
0.24 m.
The
The
scene
is
drawn
in a
now
color
dull
brown.
The
stele
on two
steps has a
round top
like
tumulus.
At the
left
woman
in
hand,
The hands
21.
The
Myconos, Mus.
is
standing figure
lies in
lines
dull
red, through
The importance of
H. about 0.30 m.
Rheneia.
is drawn in
typical pink
used for one garment.
scene
show white,
The
are
is
two
steps.
On
either
side
lines
is
this
lekythos, of which I have only
the fact that it was found on the island of
fragmentary notes,
Rheneia with other vases and tomb contents which are supposed to
have been brought to the island when the Athenians purified Delos
wise nos. 19 and 21 are thoroughly typical and no. 20 varies only in
the brown color of the drawing, a change perhaps due to the action of
On no. 19 the alabastron and the loose hair of the woman are
reminiscent of scenes on earlier lekythoi.
As for the absence of
fire.
CLASS X, SERIES
i,
19-22
53
Mus.
1919).
22.
Athens.
H. 0.137 m.
Pellegrini,
On
the shoulder
space was
two palmettes
in black
The
maeander.
left for a
scene
is
drawn
in dull red
bright red
is
left
no
garment.
The
hands
At
color.
with
stele
is
crowned by an anthemion.
wrapped
On
At the
left a
woman
i.
anthemion of the
stele
Conclusion
siderable
hand.
his right
Series
.
in
variety"
style
On
and coloring.
and 22
a dull
simple maeander
is
seen
on nos.
9;
5, 7, 8, 11,
15, 16, and
broken by dotted oblique crosses, from which
direction reverses usually, but not always
and in one or two in-
18 the maeander
its
The unbroken
is
is
stances
{e.g.
these data
no, 10)
we may
it is
infer
on at the same time, that at least sometimes they were added after
the scene proper was drawn, and that the ornament was not stereoand in Class XIII, but was
typed as in some series of Class
from
fire
and on nos.
on no. 3
it is
somewhat
is
glossy,
brown, perhaps
IX
13, 22
it is
wash
is
added over
10 a color
now
54
characteristic of Class
and
is
for a
of no. 12.
wash
is
Bright red
found
for a
is
The
somewhat
thickly.
is
a rather
mal palette of these painters seems to have included but two colors
(except the outline color), viz. a greenish black and a dark red, of
latter
is
used
of faded
detected at least on
may be
1.
The
is
a figure characteristic
of Class
IX which
be permitted with reference to these vases, any independence of lekythos tradition, are the seated figures and the figures with
a
may
step.
Some of
these are
drawn with
real freshness
is
while the toilet vessels are repeated from earlier toilet scenes not at
the grave, and the presentation of arms by a woman from the scene
of
a warrior
being decked
in
armor
for a
CLASS
X, SERIES
55
As has
question that here they are offerings brought to the dead.
been pointed out, the same explanation may well apply to the goose
and the jewel casket but inasmuch as the figure of the dead person
;
is
clearly indicated
asmuch
as the
am
woman
been,
the
on no.
goose
is
On
figures,
though
being
of
the
small
soul
(nos. 3,4, 5, 14) probably
representation
flying
originated with the Charon scene of Classes V, VI, VII, and IX here,
The
however,
grave.
it
The form
reduced to mere
of the figure
lines
it
is
appears
haunt the
before, being
both forms, with extended arms,
if in
lamentation.
As
and the
of drawing distinctly
different.
It is
significant that one little group of vases in Class VI,
I
shows
the style of drawing of Class IX, and another
(nos. 11-16)
totally different,
style
We may
group (nos. 19-25) the style of drawing of Class X.
both Classes IX and X began while vases of Class VI were
being made, and that they come from two ateliers (or groups of atelittle
infer that
liers) in
which the transition was made from the glaze outline drawing
Series
This
several
2.
with anthemion
Stele usually
types of drawing
about 0.30 m.
in
height a
forms a
fairly
scene in
outline
may be distinguished.
number about 0.40 m.
brown
a red or violet-pink
With
the
vases
56
in
though
many
is
less
the
and certain
of women's
is
for
XI,
example
in the
treatment
Mus. Cinq. A
Brussels,
1.
H. 0.295 m.
1168.
Plate X,
i.
Palmettes (with alternate leaves red) and simple maeander in dull black.
The scene
in dull pink with greenish wash over a few pink strokes for the hair.
Bright
drawn
red
used for garments, taeniae, etc., and dark red for the
is
The
the
left a
his
left
stele
high
bearded
man
leans forward as if
shoulder.
woman
right a
on three
or slender tumulus)
on
lines
on one garment.
At
a stick
flies
steps
is
i/'i'x>/
in partial profile
On
the shoulder a triangular palmette with seven spirals on each side in dull green
the simple
maeander
dull green
is
The
it.
H.
2.
At
der his
in the
is
scene
is
drawn
in
slender stele with round top shows the ends of the taeniae
the
left
left
bearded
man
on her
down behind
3.
The
color.
0.37 m.
(pink) brown
lines
used for twigs and ends of taeniae, dark red for a garment.
same
Eretria.
left
arm
the stele
a flat
;
stands with
his right
bowed head,
hand
toward the
stiffly
stele
At
the right a
the hair
in
brown-red
is
H.
Eretria.
0.36 m.
of (pink) brown.
green.
Scene
lines are
in fine lines
The stele is decorated with taeniae and crowned by an anthemion. At the left a
bearded man stands in profile, holding out toward the stele his right hand, palm down.
He wears a red-brown mantle with dark brown fold lines. At the right a voung woman
stands en face
right
she carries a
flat
The
stele
left
man and
woman
bringing offer-
drawing
is
most expressive.
The
mourning
bearded
man
at the grave,
with relaxed
while a
left
hand
woman seems
to
CLASS
X, SERIES
1-5
2,
57
"
The lamenting " soul before the man's head
be decking the stele.
is
drawn with the fuller lines of the earlier type of soul, and the
In
on the woman's garment recall Classes IV and V.
stripes of red
man
is
On
no. 2 the color used for the man's staff has disappeared.
a bearded
The scenes on nos. 2 and 3 are very similar
woman
man
with
hand extended
right
brought
i
and
no.
as if
en face with a
basket on her
flat
hand
slightly raised.
different type of shoulder
No.
ornament.
Classes
with folds
MNB
Paris, Louvre,
4.
Lee. blancs
ment
is
in
The
slender stele on
stands in profile,
wrapped
At the
woman
right
carrying a
flat
two
The
5.
is
to the
scene
the hair
One
is
gar-
wash.
crowned by an anthemion.
At the left a youth
neck in a red-brown mantle
his head is slightly bowed.
;
She wears
left
leg
relieved,
left
with overfold
at
Med.
Cab.
Paris,
H.
505.
0.31
m.
Gaz.
arch.
1885,
278.
p.
The
bright red
is
hair
is
in
few
At
drawn
The
mantle over
maeander
in thin
in dull
red,
wash
left
is
is
in a loose
The drawing on
ful
is
them.
i red
scene
four taeniae
The
in dull red
is
is
Pottier,
filled in
a border of violet
steps
0.28 m.
att.y p.
drawn with
H.
stele.
He wears
distinctly
more
in
knot behind.
free
and grace-
58
mark
features,
in series i,
this
On
noted.
exhibited near
the
same
atelier.
6.
The
slender stele
is
left
arm
and
violet
wash
At
in
the right a
Paris, Louvre,
The
The
left a
a taenia
profile,
stele
the
MNB
is
is
drawn
fillet
maeander
his
of
garment
on
fruits
her mantle
H.
0.23 m.
the
young woman
7.
scene
is
At the
to the shoulder.
her
The
of (pink) brown
in fine lines
The
0.29 m.
palmettes and simple maeander, broken by oblique crosses and not reversing, are
on
H.
The
scene
is
drawn
woman
At
holding two
spears
erect
in
his
hand
right
partial
now
without color.
New
8.
The
also in black.
brown,
violet, blue,
The
stele
anthemion.
and on her
scene
is
arm
drawn
and green
on two steps
At the
left
left a
is
in reddish
for taeniae
and
dull
details.
careless elongated
black
is
maeander
Partly repainted.
a basket
boots.
brown
brown
0.28 m.
woman
mande
H.
left
which
At
the
hand holding
is
right
a
spear erect.
shoulders, and
black
CLASS
X, SERIES
6-10
2,
59
form
to
a ring
series e,
the basket of
woman's
pletely the
IV and
in Class
fruits,
especially in Class V,
sakkos to cover com-
No.
hair as in Class V.
is
included at this
is
very rude and the drawing hardly repoint though the anthemion
The variety of color and
sembles that on other vases of the class.
On these
are probably due to repainting.
some other
peculiarities
is little
London,
9.
Mus.
91.
H.
0.24 m.
The
The
Against the
rolled
up on
his left
forearm
stele
his
on the
right
left
At
At
rests a shield.
the
mantle
his
woman
stands
Coll. A. Barre,
10.
Drawn
for
the
a girl
she wears
wash border
of the
draped
which
red
is
H.
0.28 m.
a sleeve chiton
violet
in front
is
Attica.
stands en face, both hands slightly raised from her side, in her
taenia
is
now brown
in lines
garment border.
The stele on one step
left
Frohner, 357.
her hair
on
left
At
hand
short.
arm
is
At the
a shield,
and
in his right
in
partial profile,
a phiale
stele.
a light
is
his left
taeniae.
He
The same
tions.
rolled
scene appears on these two vases with interesting variano. 9 the shield resting against the stele and the mantle
on the youth's arm indicate that he is not the dead, but a
On
up
living person
he carries
moment
is
who
he has discarded.
no. 10 takes a
more intimate
The youth
he presents a
part in the scene, in that
6o
from
libation
While
a phiale.
youth on
traveller, the
No.
is
The
white lines
the garment
should probablv be explained, here as in other cases, as due to the abrasion of the color from lines of a preliminary sketch, either a sketch in
(nos. 20-22).
in
transparent thin glaze or a sketch drawn with a dull point in the slip
while yet soft. No. 10, which I know only from the published description, should doubtless be placed at this point in the classification. On
garment
The
classes.
4 and
nos.
11.
5.
London,
Brit.
Mus.
H.
90.
0.27 m.
sword
a'
stele
in
vomh,
view
its
is
is
used for
represented.
scabbard
his right
he wears
The
oblique crosses.
No
drawing on
At
her hair
is
hand holding
scene
is
the
in
maeander
medium
lines
is
broken by
of
dull red.
garment.
the
left a
in a
flat
woman
a spear erect,
and on
short chiton.
drawn
his left
helmet
arm
At the
hand
right
a
is
a shield in three-quarter
rests
12.
Scene
reverses.
scene
is
H.
brown-red
in
violet
the
wash
is
0.41 m.
maeander
is broken
by oblique crosses and
used on the border of a garment.
The
nearly effaced.
The
slender stele
is
crowned by an anthemion.
At the
left
young woman
in profile
with bowed head approaches, holding out a sword in its scabbard ; the outlines of the himation are all that remain of her garments ; her hair is partly covered by a sakkos.
At the
an
some
two
sits
on
erect
his
has
a
border
stones,
right
;
holding
ephebos
spears
chlamys
of violet wash, and on his shoulder hangs
a petasos.
who
for
is
stele,
woman
No.
preparing
campaign.
no indication of the grave, while the hanging mirror would naturally
On no. 12 the normal stele of this class is
place it in the house.
present; the youth
woman's hands
series
is
and
CLASS X, SERIES
61
11-15
2,
It
person receiving the sword as an offering brought to the grave.
seems fair to interpret the scene on no. 11, like scenes of the same
character on grave monuments, as a representation of the dead person
as he
The
The
scene
stele
holding a Ivre
drawn
is
crowned by an anthemion.
is
two
proaches, carrying
He
Palmettes
in
dull
The
wears
At the
H. about 0.30 m.
;
slender stele
is
At the
left a
young woman
a chiton
is
is
sits a
left
wears
the
stele.
wash
violet
At
14.
the
H. about 0.30 m.
13.
knee
left
is
in a
is
At
three cords.
is
Be-
suspended by
(lamp?)
youth with head bowed, extending his right hand, palm down, toward the stele, and
He wears a chlamys with violet border and a
holding a spear erect in his left hand.
petasos.
The
is
drawn
mantle.
At
the
yellow-brown.
Red
The
scene
is
stele
woman
brown himation
an ephebos,
The
and
now
Partly repainted.
The
others
H.
(?).
sits
in
covers her
his right
profile, taking
hand
left
some
two
much
fillet is laid
taeniae.
She wears
as
her knees.
a sleeve chiton,
At
flat
and
a seated figure
it
from
While
he
is
part in the
CA
62
woman on
worshipper by
"
grave
apparently defined as a
(canistron) with toilet vase.
no. 14
basket
"
is
is
common
not
is
lamp (?)
undoubtedly
is
On
now
The suspended
woman
Class XI.
before
is
The
16.
Plate IX,
Benndorf, Griech.
I.
Sic.
V,
circular
series e.
H. 0.375 "^
cf Pottier, Lee.
(Coll. 650).
S.
Vas.^
67
drawn
were used
for taeniae
garment and
thick red
stick are in
in dull
pink
and
a violet
wash
is
borders.
The
on two
stele
and anthemion
profile
steps,
boy carrying
At the
flat
right a
he wears
in partial profile,
wound
on the edge
at
her hair
left a
bearded
left
man
in
woman
a large
down
is
In the
up by
a reserved
white
^vyy\
the form of the stele, the objects in the field, the sure and delicate
drawing, even the approach toward portraiture in the faces, find their
class.
carries.
"baton," an interpretation
man who
carries
it
is
It
is
While
is
needed which
lyre, at
whom
he
is
looking.
Those two
might be intended for a torch.
figures together are in contrast with the mourner on the other side of
the stele.
They do not seem to be mourners, but rather a pair of
I
figures such as
it
CLASS X, SERIES
IX,
63
H. 0.475
17.
3.
16-19
2,
drawn
are
in thin
Plate
"^-
Brighter red
is
The
a figure
At the
without color.
is
of the
left
crowned by
it
a rather high
is
draped
neck
in a
the steps
now
mantle
is
At the
left
She wears
an alabastron.
gathered hair
hand on
and an
a short
sword
18.
At
and
his shoulder,
held up by a sphendone.
is
his hip
petasos on
in
yellowish
brown
The
now
yellowish
H. 0.30 m.
Athens.
hand
left
its
The
now
On
anthemion.
to the
suspended by cords, and on the lower step of the stele at the left stands a
left a woman in
partial profile stands with bowed head, carrying on
hand a flat basket with wreaths, and in her raised right hand, away from the stele,
alabastron
heron.
her
sits
few
scene
Plate X,
is
drawn
in
2.
fine
lines
strokes
on two rather high steps is crowned with egg moulding and anthemion.
On the upper step sits a youth with head bowed, facing the right ; on his knee is perched
a quail, and a snake raises its head from his
His dull green mantle is over his knees,
lap.
and
stele
drawn up behind
is
profile, looking
youth.
a
toward the
in,
background
for his
At
head.
the
At
The
quail.
left
a youth in
dark red mantle leaves only the right shoulder and arm free.
i/'v;(7;
palm
down,
to serve as a
Before him
flies
in the field a
purse.
The
drawn
wash added.
is
greenish
H. 0.418 m.
19.
pink
Violet
the hair
wash
is
is
in a
few
lines
scene
is
stele, are in
The
details,
The drawing
careful
and
delicate.
The
slender stele on
knees
is
two
is crowned with
On
egg moulding and anthemion.
young woman, her body en face, and both hands on
chiton with short sleeves drawn in outline, and over her
steps
left sits
she wears a
At
the
left
violet.
stele
her
is
left
The
a sleeveless chiton
young
woman
en face,
left
hand
a flying
\pv)(rj.
arm
She wears
stands a
away from
At the
a flat basket
with green twigs, while her right hand adjusts the cloth which
64
She wears
a sleeve
left
shoulder
her hair
is
in loose curls
which
is
drawn
hese three vases are related both in the type of scene and the
style of drawing, and also in a certain tendency to go outside the
usual fixed tvpes for lekythoi.
No.
17,
is
which
less
is
known
carefully
to
me
only
is
lines.
The
on nos. 17
same time
the wreath and the hanging alabastron in the field on no. 17 are inWith the heron may be comherited from earlier domestic scenes.
'
pared the swan on Class IV, 3, no. 30 (Athens, Nat. Mus. 1983), and
the duck on Class V, no. 45 (Bologna, 362); in each instance it is a
presence on this vase emphasizes the relation of
The drawing on no. 18 is
this grave scene to earlier domestic scenes.
somewhat heavier and more careful than on the two other vases, and
its
grounds
second indication of
this
painter's
the
heron
is
also found
in the footnote
on
p.
73, infra.
CLASS
X, SERIES
20-21
2,
65
On nos. 18 and 19 the usual type of soul flies tow(Iliad, XVI, 857).
ard the top of the stele with arms extended. The stele top on nos.
17 and 19 breaks the simple maeander, indicating that the maeander
was added
vases
after the
And on
it
toward the
the centre, as
20.
is
Paris, Louvre,
att., pi. iv
Lee. blancs
MNB
i.
H. 0.40 m.
The
of dull pink
lines
bright red
is
used
for
M.
garment and
Pottier,
scene
is
violet
wash
for
in
even
garment
borders.
The
step a
stele
On the upper
on three steps is crowned with moulding and anthemion.
and
a
his
the
with
violet wash
toward
right
playing
lyre
garment
facing
sits
youth
behind
is
edge
his
left
At
the
left
bearded
man
leans
forward on a
right
front
staff
an ephebos stands nearly en face, holding two spears erect in his left hand, and carrying
He wears a chlamys, and on his right shoulder
a small bird high up on his right hand.
hangs
a petasos.
The
21.
Eretria.
H.
0.38 m.
The stele is decorated with taeniae and crowned by an anthemion. On the upper
of
the stele sits a youth facing toward the right and playing a lyre ; the garment over
step
At the left a young woman brings a flat basket with
his knees has a violet wash border.
twigs and
taeniae
young woman
less
chiton
she wears
sleeve chiton
At
the right a
engaged in fastening taeniae on the stele ; she wears a bright red sleevethe hair of the women is in a flat knot at the back of the head.
is
are
on each vase
and
The comskill
is
On
of figures show no
that the seated youth represents the person of the dead, to whom the
On no. 20, also, the seated youth
two women are bringing offerings.
a youth whose military
playing the lyre represents the dead person,
service
is
66
The
him.
man
bearded
at
the
left is
his father
probably
while
we
with no.
as a
Indeed,
represented together as they had been together while alive.
in
at
the
be
such
a
included
the vouth
right may
family scene,
and we may say that the whole group consists of the figures ordinarily
represented on a grave monument, but here distributed according
to
of the persons
felt
is
by the painter in a
on lekythoi.
No.
22, which
be included here.
series
i.
Collection
22.
Butler.
C.
H. 0.325 m.
Attica.
Burlington
Palmettes, maeander, and scene in dull black, the palmettes with alternate leaves red
the maeander
At the
left
red himation.
At the
right.
mound and
The
scene
The
mion
at the
and
is
which
woman
leans a
facing the
Both
left.
Mus.
H.
Athens.
69.
0.32 m.
Catalogue of Vases
The
palmettes and maeander (oblique crosses, not reversing) are in thin black.
in
dull pink
slender stele
is
black
is
added
decorated with taeniae and crowned with egg moulding and anthe-
two
At
the
and mouldings
left
of the
stele
youth
his left
Mus.
drawn
is
right
stele are
Brit.
23.
in Brit.
is
No
hand.
box suspended by
a shallow
a cord.
At
the right
as if presenting a
woman
voung
Her
in three-quarter
Munich,
Plate XI,
The
stele
is
vase.
The
i.
scene
garment
is
in
missing
flat
hair
is
drawn
in
woman
in profile
bright
delicate.
friable.
Drawing
slip very
crowned with mouldings and anthemion.
At the
;
face,
left a
in
Her
CLASS
to take
^7
bowed, extends
his right
hand
MNB
Paris, Louvre,
25.
H.
425.
0.25 m.
att., p.
drawn
22-27
2,
At
sphendone.
X, SERIES
The
black,
The
dull black,
in
color
is
much
scene
is
faded.
The
stele
on two
At
crowned bv an anthemion.
is
steps
The
in a
is
wide
At the
taenia.
right
of
in the field.
The
XL
On
series 3.
IX,
basket of offerings is
found in vases of Classes IV and V, but
flat
Heydemann,
The
The
woman
sits a
rests
Her
a flat basket
Her
hand.
head
is
is
violet
is
bv
down
her hair
The
Only
traces
is
On
;
her
the high
left
is
extended
hand
as
left
woman
girl
hand
in
profile,
who
carries
The
Her
in
right
faces are
drawn with
27.
scene
left
is
Both orna-
left,
0.29 m.
with some object at which she is lookdrawn over the back of her head and across her knees ;
hand
Violet
more
garment
maeander unbroken.
lines.
right
held up
is
held by a taenia.
is
even brown
is
H.
(Coll. 637).
right
base
down.
in fine
on the basket
shape
extreme
stele at the
drawn
are carefullv
vases
12.
The
xii,
common on
rarely seen
is
26.
ing
not so
is
Athens.
H.
0.29 m.
Collection Rayet.
drawn
68
woman
left
At the
left
young
her head
bowed, steadying with her right hand the flat basket on her
approaches,
arm ; her sleeve chiton has brown fold lines but no color, while her himation is in
brown
solid
her hair
is
in
low
flat
At
knot.
the
right, also
sits
woman, her body nearly en face, her right hand held out toward her companion ;
the chiton has disappeared, but a gray-blue himation is drawn across her knees ; her hair
second
is
covered by a sakkos.
are
extremely fine
examples of the
The
seated figure
with bowed head resembles in type the similar figure of nos. 17 and
18, but in general (garments, treatment of the hair, etc.) the scenes
Probably
all
tree
reserved melancholy or grief
on no. 27 the woman at the left
thoi
;
is
is
rarely
a
found on
later
leky-
woman
very likely the dead person herself, and the tree may indicate the
On no. 26 there is little doubt that the woman
locality of the grave.
the dead person, while the other two figures
may be regarded as mistress and servant bringing ofi^erings to the
The water jar, which is found on one or two other lekythoi,^
grave.
perhaps indicates a bath brought as an offering to the dead by a
seated before the stele
is
Series
2.
i,
somewhat
in style,
and there
20
is
Conclusion
awkward experiment on
I, no.
15
CLASS
X, SERIES
CONCLUSION
2,
69
16
pink-red, or brown-red, or
monly it is quite unbroken;
follows the predominant color of the palmettes.
greenish black
As
in series i,
color
its
we may
together, after
at the will of the decorator.
The
pink of series
on nos.
now
outlines are
brown
in
different
and
details.
i, 9,
20, 21)
and dark
red (nos. 2, 4, 11, 15, 16, 18, 19, 20, 21) are frequently used for a
garment; blue occurs on nos. 3, 8, 27, gray-green on no. 18, and
brown stripes over red on no. 3. Violet wash for a garment border
While
quite common (nos. 4, 6, 10, 11, 13, 14, 16, 19, 20, 21).
wash
a few
over
the hair is ordinarily in the outline color, a green
is
lines (nos.
18)
may
in series i,
i, 4,
Traces
reserve.
perhaps on no.
Most of
5.
in series i,
i.e.
The woman
may
as
vases out of twenty-four, the ephebos with spears on ten vases, the
man or woman with right hand extended on seven, with right hand
slightly raised
on
five.
The
kneeling
woman
nos.
hand
I,
2,
20.
Twice
(nos.
is
11,
12) a
woman
brings a sword to a
12,
13,
14,
15,
17,
18,
19,
20, 21)
70
shows more freshness than that of the usual standing figures. Vases
with three figures (nos. 17-22, 26) form a fairly large proportion of the
The figure
series, and are much more interesting than the others.
seated before the stele (nos. 1722) is best understood as representing
the dead person (cf. also the draped youth on no. 4 and the ephebos
to
whom
sword
is
whether playing
a lyre,
is
unusual.
Of
said.
The
flat
The
greater variety of
the dead
to denote
in
Objects
in the field
are introduced
more
The
ordinarily the case on lekythoi with outlines in matt color.
the
stele
occurs
five
times (nos. i, 16, 18-20), the
flying soul by
is
serve to
fill
Certainly the shield (no. 9), the helmet (no. 11), and the ring fillet
The heron (no. 17) as well as the
(no. 15) may be so interpreted.
bird on a youth's finger (nos. 20, 23) are pets of the dead person,
like the dog or the bird on grave stelae.
This
series
is
i,
as
is
shown by the
etc.
Here
again
some devices
CLASS
X, SERIES
IV and V,
Classes
1-2
3,
71
and many of
in
as
common
indications of practices
in
The
later classes.
use of violet
wash
for a
manner
later
(nos.
10,
16,
17,
19).
Series
3.
1.
in
The
of
is
color as the scene itself; the palmettes are quite carefully drawn
the
maeander is broken twice, not by the top of the stele but by dotted
;
crosses.
two
stands in
toward the
phiale
three-quarter
stele
in
thicker red
soft slip
woman
0.26 m.
On
H.
1.
view, her
arm relaxed
left
her hair
is
at
used for
youth
garment.
in profile
At the
is
right a
holds
young
in a flat knot
no
trace of her
garment remains.
2.
The
At
the
basket
stele
left
;
on two
steps
is
young woman
less
slightly
slip,
bear
0.32 m.
These two
H.
Cerameicus.
At the
his right
right
stele
flat
hand.
and
in scene,
have the
and the
stele
is
in Class
IX.
As
is
frequently
72
the case in Class
woman
is
has faded, as
woman
IX and sometimes
no longer
is
in Class
no doubt
it
stele
series
3.
The
scene
is
drawn
same
the
in
dull
H.
Athens.
dull pink
maeander
Heydemann,
from
reversing
the color ot
0.29 m.
Pellegrini, Cat.
Tav.
v.
crosses.
oblique
disappeared.
The
stele
several
crowned with egg moulding and triangular cap
shaft.
At the left a woman bends down and holds out a flat
on two steps
about the
peared
the hair
the figure
is
4.
Cassel,
Mus.
Arch.
Inst.
it
At the
Frid.
profile
on
in a flat
is
is
was draped
H. 0.325 m.
379.
1898, A. A. 190,
it
disap-
in a
mantle.
Plate X,
Jahr.
3.
10.
Palmettes and unbroken maeander in dull pink, with traces of alternate bright red leaves
in the palmettes.
of the outline
lines
The
scene
may
The
slender stele on
for
is
stick
two
steps
the stele
on the
flies
stele step,
in places the
pink with hair in the same paint
Darker red is used for garments
in dull
is
At the
woman
At the
right a
and
rests
The
on the knee
left
flat
is
light
youth
his right
left
in
\\ivyi]
elbow
a knotted
stick
is
held erect in
arm.
is
that of Class
X, the
stiff
simple knot of
triangular top
occasionally
is
in
2.
The
earlier classes
of lekythoi.
The
hair, also,
stele
with
its
is
the
small
Classes
CLASS
New
5.
Plate XI,
3-7
3,
73
foreshortened,
SERIES
X,
rest
Mus.
Metrop.
York,
H.
06.1021. 133.
arm
m.
0.293
2.
The
scene
drawn
is
in
by
The
At the
knot.
of varying height
steps
triangular top.
At the
is
left a
kneeling
woman
bowed head
stands nearly
raises
in a
is
both
low
flat
en face,
he extends from the elbow his right hand, palm down, and in
thrown out awkwardly
He wears a chiton, high boots, and on
his lowered left hand holds a spear on his shoulder.
;
his
head
6.
Palmettes
scene
is
and maeander
drawn
dull
in
pink
same color
the
in
The
have disappeared.
424, Lee.
94.
H.
0.27 m.
Pettier,
The
MNB
Louvre,
Paris,
crosses.
slip
shows
in
white
lines
through
The
slender stele on
two
steps
is
as
though supHis
purse.
profile
holds out a
in
both hands
no
in his right
At
the right a
woman
in
triangular
top
The
at
is
by an ephebos on
on no. 14 of
field
series
series 2, no. 9,
It
i.
for the
Munich, 1594
The
neck
is
lost.
which seems
soft slip
1
left
her hair.
to shoulder 0.146
earlier series.
m.
many leaves and maeander in dull red, the maeanThe scene is drawn in fairly coarse fines of the same
Palmettes with
have
a slight
amount of
1888 {Catalogue,
glaze.
Exhibition of
the
to
H.
(209c).
7.
in the
same color
and
is
no. 53,
is
H. 0.405 m.);
is
woman whose
raising her
hands to
tear
74
On
two
left
which
inner triangle of
woman
now
is
gray
hand
toward brown
for a wreath.
The
the
bottom
hair
arm and
forward on
is
relieved
left
hand
of
the scene
is
raised
left
in
toward
very fine
with
The
scene
is
drawn
She wears
held up bv
?) about
is
supporting himself on
left,
At the
his chin.
woman
right
wide
in fine lines
a fine brush.
At the
left
Plate XII.
left
the right
and
figure,
The
lines.
on her
right
is
sits a
it
At the
At the
chiton.
H. 0.325 m.
band (platform
hand toward
his chin,
red
Before
leg relieved
and wreaths.
in his
stele.
dark red.
in dull
in detail
is
The
a staff
en face, her
taenia
touch the
to
another red
drawn
is
diamond-shaped ornament.
moulding and triangular top.
his left
she wears
8.
At
bowed head
approaches, with
on the
hair
leg
his
and
is
a flat
basket with
She
also
at
the
wears earrings,
cloth.
The drawing on
as
of a bird
is
common
in this class,
it
is
of series
me
related
to
to place
2.
it
The
at
peculiar
the end of
Series
3.
Conclusion
With
the
reference to the series as a whole, two points are clear
of a peculiar shape, and (except on no. 5) the scene is drawn
in the same
pigment as the maeander and the palmettes of the shoulder.
stele
is
While the stele on nos. i, 2 and the figures on no. 5 recall Class IX,
and there are connections now with the first series, now with the second
of Class X, the two points just mentioned serve to differentiate
the present series.
The second is the more important, in that orna-
series,
in the
CONCLUSION OF CLASS X
75
sumably
also
of the present
is
class.
Conclusion of Class
In the present class the division into series is relatively unimportant, though the common use of a glossy color for the outline in
series i, and the more free drawing of series 2, form real distinctions.
The shape
it is
The
usually very graceful.
about
m.
The
is
of
fine
0.30
slip
height is ordinarily
consistency,
more chalky than in Class IX but firmer than in some of the later
those of Classes
As
type.
unbroken
regularly
in Class
IX,
is
The
garment, and
later
is
quite restricted
specimens of
this class
for
red
is
often
garment border
is
used for a
common on
stele
on two (or three) steps, crowned with scrolls and palmette but with
no acanthus ornament. A different type of stele occurs on the few
The
vases of series 3, and in two or three scenes no stele is present.
a
few
familiar
figures beside the stele quite regularly repeat
types.
When a third figure occurs, as on one third of the vases in series 2, the
more carefully considered; and the seated
"
conventional, more
original," than the standing figures.
composition
is
figure
The
is
less
stand-
76
with the
more
freely
drawn
figures of Classes
and VI.
In genoften rather
eral
compare favorably with the splendid lekythoi of Class V, and the more
XI
CLASS XI
ACANTHUS LEAVES
The third class of white lekythoi with drawing in a matt color may
be defined as including earlier vases with acanthus leaf ornament on the
The slip is white and smooth, but sometimes slightly rougher
stele.
polished) than in Class X, in which case the lines may be slightly
broken by the unevenness of the slip. The scene is drawn in fine,
(less
even
fairly
lines
is still somewhat
sparingly used, though more freely
and the drawing is more free than in Classes IX or
slender and usually has an anthemion similar to the
Solid color
black.
than
in Class
X.
The
stele
is
in Class
Series
i.
in
Class
IX
or
X,
Series 3.
or
more
at the
Series
two figures
4.
at the grave.
5.
high,
Series
The
i.
is
Transitional examples
to
earlier classes,
but are
is
78
Brussels,
1.
Mus.
Cinq.
H.
bis.
396
0.27 m.
Shoulder ornament no longer visible. The maeandcr and the scene are drawn
pink, the lines of which show through the bright red of a garment.
The
ornament
stele
at
woman
the top.
at
in
perhaps had
At the
profile.
right a
in dull
similar
youth
shoulder free.
The drawing on
IX,
At
eye.
the
The
head
his
in
mourning,
more
is
delicate
traces
of dull pink
The
in that series
O. Benndorf^
H. 0.415 m.
(Coll. 671).
S.
90, 4.
is
The
thicker.
hair
is
drawn
few
in a
lines
brown wash.
stele
is
hands a
in both
flat
typical
anthemion
the
left
basket of taeniae
woman
and the
the color
a thin
profile,
much damaged.
No
man
also, a
2.
with
is
type of figure
more common
is
where
her hair
woman
is
in a large loose
At
field.
flat
Her
dress
is
knot
at the
like
left
arm and
her companion's
except that the chitonion has a pattern at the top and bottom ; her hair seems to be
In the field a \pv)(rj flies toward her, one hand on its head.
short and curly.
3.
Griech. Sic.
The
and red
palmette ornament
in coarse black
is
maeander
The
Benndorf,
the unbroken
H. about 0.40 m.
Athens.
also
is
with
lines
The
in dull black.
Violet wash
is
many
scene
is
leaves,
drawn
alternately black
in fine lines of
pink
stele rests
on
a plinth
is
crowned
with anthemion having a violet spot in the centre. At the left a woman bends down, holding
out in both hands a flat basket of black and violet taeniae ; she wears a sleeveless chiton
girded over overfold with violet edge, and her hair
wide
the
violet
left
left
At the
hand
right stands a
raised to the
On
is
in a large loose
woman
knot supported by a
which the
stele a
y\ivyf]
traces
only
of
her
flies
away, and
at
CLASS
No.
drawn
is
SERIES
79
1-5
i,
of Class X, series
teristic
XI,
It differs
i.
not only in the presence of acanthus leaves, but also in the free use
of violet (or blue) in the women's overgarment, and in the remarkable delicacy and vigor of the drawing. Further, the woman at the right,
standing with left leg relieved and in three-quarter profile, is not
The rolled-up garment has been noted on a
typical of Class X.
number of
on
this
vase
would be
it
its
lar
is
garments are more clearly defined than usual in later classes, the
Doric chiton girded over an overfold on the woman at the left, and
"
over a sleeve chiton on the mourner
the colored chitonion or "jacket
The
at the right.
of the
in the use
4.
Athens.
H.
0.42 m.
Palmettes and maeander in dull black, the maeander broken by dotted oblique crosses
The
and reversing.
scene
is
drawn in
black
dull red
The
wide
for
stele
woman
left a
her
left
She wears
a sleeve chiton
ported by
his
right
wrapped
5.
sphendone.
hand
slightly,
and
At the
right a
her hair
is
in
loose knot
approaches, in three-quarter
youth
palm down, toward the
stele
sup-
view, raising
is
Eretria.
H. 0.465 m.
on
his left
arm,
At the
hand, and
partial
profile, a large
a scarf or small
round
mantle over
his
8o
He
right arm.
and on
his
head
wears a
a
is
The
helmet.
dignified face
is
cuirass
finely
"
drawn.
transitional
"
series in spite
of the free drawing, because the tradition of two figures by the stele
still holds good as over against the scenes with several figures on the
2 and 3.
The draped youth with hand slightly
large lekythoi of series
raised on no. 4 may perhaps be regarded as the figure of the dead, acOn no. 5, also,
cepting the offerings brought by the woman opposite.
represented with the dead as in a scene on a grave stele, but the vase
is so rubbed as to make the
meaning of this figure doubtful.
6.
Plate XIII,
1707.
Eretria.
H. 0.40 m.
2.
in
The scene is drawn in fine lines
gray-green.
used for the woman's mantle and dull green for twigs.
Drawing
of dull red
bright red
is
delicate.
from large acanthus leaves in outline, and is crowned by ornacapital on which lies a lion with paw extended toward the flat basket
She stands in profile, with bowed head, holdof wreaths brought by the woman at the left.
she
wears
a
sleeve chiton and bright red himation
basket
in
both
her
out
her
hands
;
ing
stele rises
hair
is
field.
drawn
is
in
the
bigiana^ who points out that the lion occurs on private as well as public
grave monuments of a somewhat earlier period either as a symbol
is
paw
as
though
to
touch
it
may
As
for the
erected.
The drawing
is
its
and
CLASS
SERIES
XI,
Series
i.
series
for
is
ornament on the
No.
stele.
81
Conclusion
termed "transitional,"
would be included under earlier classes if
This
2,
it
it
nos. 2
and
figures, the
Series
2.
This
drawing
Larger
is
careful
effective.
grave
When
has acanthus leaves on either side of the anthemion, or in one instance extra scrolls on the sides of the anthemion.
In examples
without the
stele
(and
its
and
XI.
The
color of the paint used for the outline varies, but on three-quarters
of the examples a violet wash occurs for a garment or a garment
border.
I.
drawn
brown.
Dark red
ure at the
left, is
is
her hair
At the
;
left
in a
The
is
The
lines
now
violet-
laid
to his
raises
At
on
a high
couch
vase in
mantle
young woman
in rather fine
0.41 m.
nearly effaced.
Prothesis.
H.
Eretria.
red mantle.
one hand
the right
to her
head.
82
present vase resembles two vases in Class IX, series 3 (nos. 11, 12),
in the delicacy of the drawing, but differs from them in the fact that
a third figure, the figure of a youth, is present.
It was pointed out
in
connection with IX, i, no. 12, that this brother or relative of the
makes the scene even more realistic than when only the
deceased
mourners
7 hough
are present.
XI among
this
it
in Class
(nos. 12-14).
2.
drawn
H. 0.395 m.
Eretria.
in lines
now
pale violet
The
slender stele
is
on either
side
is
leaves
an oblique palmette
in
bodv of
by
dead person as
though to place it in the grave ; apparently the lower part of the body still rests on the
it is
bier, while one winged figure has raised the shoulders and the other holds one hand
a line.
the
lifting
clothed with
a short sleeveless
now
is
a reserved
3.
Dumont
C'eram. de
Chaplain,
la
oblique crosses
Depositio.
I,
0.55 m.
pis. xxvii-xxviii
85.
Palmettes,
are
H.
(Coll. 631).
Grece propre^
white stephane.
The winged male figures wear short chitons
without color, and dark red boots.
two
sets
woman,
and
reverses.
The
Violet
tapering stele
of acanthus leaves.
is
in
is
is
rose.
The maeander
edge
white sphendone.
The winged
placing his
on an elevation
foot
facing
toward the
Behind him
in a gesture
he wears
garment with
thin
is
a reserved
he
is
at
of mourning
right.
woman.
broken by dotted
left
is
Before
violet
dull
wash
a petasos
and
bowed head
raises his
hands
H. 0.47 m.
Eretria.
Athens, Nat. Mus. 12783, Nic. 1009.
cf. Amer.
Cat.., Suppl., pi. xvi
Jour. Arch. 1907, pp. 24, 25, 31.
The palmettes are nearly effaced the careful maeander is broken by checker-boaxd
3a.
CLASS
Ornament and scene
squares.
drawn
are
SERIES
XI,
in
2-4
2,
dull black
wash
violet
83
is
"
Depositio.
a franges
violettes et
Le Genie de
d'un
ailes,
le
La jeune femme
linceul.
est
aban-
aux talons
et tient
un kerykeion dans
la
main
droite.
11
celui
Ulas."
4.
The
Robert, Than-
i.
added leaves
now brown.
dull violet-red
ornament
triple plain
Before the
stele
wrapped
The winged
scene
is
drawn
in fine lines of
thickly.
wash
is
into
used for
The
Depositio.
The
the
hair in
it is
H. 0.495 m.
Athens.
slender stele
;
two winged
neck
to the
is
crowned with
is
two
sets
drawn
is
in a
scrolls,
its
its
hips.
in dull black.
knees
He
is
At the
right a winged,
violet
wash border
at
The
VI,
(nos. 2-3), on one of which Thanatos and Hypnos (?)
are bringing to the grave the body of a dead warrior, while on the
in Class
woman and
conceived.
head in
in
date, for
is
similarly
are
both
beardless, the bier
winged figures
the arrangement of the figures closely resembles that
On
no. 1 the
present, and
on Class VI, i, no.
is
his
3.
No.
is
supported and
The drawing both of the winged figures
bearded (Thanatos ?).
and of the dead woman is unusually fine the body of the dead is
the body
is
is
make an
effec-
84
in this
It
example.
may
me
only
delicate
as
drawing
on no. 3
winged figures is bearded. These three vases with the two in Class
VI, I, are closely related in spite of the difference in technique. We
may well believe that the presence of this scene on lekythoi was due
to the popularity of some painting of real importance which was transformed to meet the requirements of lekythoi by some skilful leky-
I,
xxiii, 1
Daremberg-Saglio,
fig.
Much rubbed.
The stele
his right
knees
brown-red
in
is
violet
wash
sits
Ant. Denk.
violet.
is
hand
toward
raised
his
the
head
about his
hand holding up some small object (an obol ?) toward Charon
and his hair falls in curls to his shoulders.
At the right Charon
;
hand grasping
raised left
down
the
at
him and
his
He
erect
she wears a sleeveless chiton girded over an overfold and her hair
falls
on her shoulders
in
curls.
H. 0.32 m.
Athens, Nat. Mus. 1758, Cv. 1660.
Taf. xxiii, i
Amer. Jour. Arch. II (1886), pi. xii, 2.
Ant. Denk.
6.
I,
On
acanthus leaves.
violet
left
a violet mantle,
long
B.C.
^233-
now
steps a
and
is
drawn
century
H. 0.43 m.
5.
Taf.
fifth
in
rather fine
dull
Violet
red lines,
wash
is
the
The
are
slender stele
added acanthus
is
leaves.
Before
At the
pole erect
right
left
of the
arm
a flat basket
stele a small
child advances
Charon
xpvxq
of taeniae, and
in
right
At the
his
left
left
it
wears a
hand holds
woman
toward Charon.
child, while
a greenish cap.
Ai^s
toward the
in his boat,
carrying on her
At the
it
right
lifting
his
approaches,
up
cup.
CLASS
New
7.
SERIES
XI,
GR
drawn
maeander
in violet-black,
yellow
for
85
H. 0.254 m.
619.
5-10
2,
also
scene
is
There
garments.
The
black.
in
wash
violet
are traces of a
pre-
liminary sketch.
The
on three
stele
is
steps
At
his
Charon,
facing
At
himation.
hand
right
raised a
woman
the right a
is
it
little
from
stands in partial
left
arm
side
his
profile,
a flat basket
traces
of her
8.
in a
H.
Eretria.
0.37 m.
Violet
Charon stands in profile in his boat, supporting himself by the erect pole
hand and extending his right hand toward the child in front of him
he wears
In the centre on a high rock sits a child, its feet
a red exomis and a high round cap.
to the right and its head turned to face Charon ; a violet garment is
spread on the rock
the left
in his left
under the
At
the
child.
(a goose ?)
both arms
woman
left
her hair
in a
is
low projecting
strap attached.
knot.
H. about 0.40 m.
9.
is
the maeander,
also
in
is
gray,
flesh of the
youth
at
the
left.
The
preliminary sketch
is
drawn with
At
the right
He
before him.
"noble"
belt
and
right
a
he
girl
his
is
of the
In the centre a
girl
in profile
^^ivyj]
tion.
At the
left
youth
10.
Brussels,
Frohner,
The
sits
Collection
Mus.
Cinq.
903.
H.
0.29 m.
Plate XIV,
3.
The
scene
is
drawn
in
86
with violet-black
dull red
At the
right
Charon
dark red
is
drawn with
his
There seem
sharp point.
hand and
right
carries
hand
in his left
the
toot
left
is
he wears
woman
chlamys and
in profile,
her hair
is
in a
a petasos
on
his shoulders,
both
low
flat
knot.
At the
left
is
Above her
followed by a
II.
He
in outline.
a sakkos
bowed
hangs in the
head,
field.
H. 0.29 m.
Cerameicus.
Three palmettes in dull green with alternate leaves red run from left to right.
The
are
drawn
in dull red
maeander
and
the
scene
red
and
violet
wash
are
used
for
simple
;
garments, dull
green
Charon's cap.
for
Preliminary sketch
in
the
soft
Much
slip.
rubbed.
Charon stands en face in his boat, holding the pole on his shoulder with the left hand
he wears a red exomis and a dull
and extending his right hand toward his companion
the
From
are
about
boat.
the left a man approaches, wearing
Reeds
drawn
green cap.
;
garment with
violet edge.
The Charon
IX,
IX,
2 (nos.
24-25), and
somewhat
later
date.
On
more
no. 5
the
youth seated on the steps of the slender stele represents the dead
person for whom Charon has come (cf. Class X, 2, nos. 17-21);
his foreshortened right leg, the raised hands, the right
a coin,
and the
hand holding
of the
on
The woman
unusual.
at
and
woman
stele
whom Charon
in
in the
CLASS
SERIES
XI,.
hand of the
child
is
The form
ii
2,
87
violet-black paint and the small size of the vase, recalls two other
804) and Class XII,
lekythoi, viz. series 3, no. 8 (Louvre,
MNB
GR
no. 14
(New York,
for the
On
on
a rock
are
finely
shrunken
above
618)
is
a casket
characterized
face, the
the likeness
is
chubby
the
old
child
boatman with
lean
bending forward as
body and
if in
curiosity
while his right foot is drawn up under his left leg, and the woman
with beautifully drawn sad face who brings the bird that had been the
If this vase
child's playmate.
the painter
is
much more
is
as nos. 5
and
and
6,
in
young mother.
apparently the girl for whom Charon has come
who carries the goose, while perhaps her brother brings the cage
for a small bird and a hare (cf. IX, 2, no. 22, Louvre,
612).
the
scene
is more stiff than
is careful and
the
good,
drawing
Though
On
no. 9
it
is
CA
the
far
The wash
considered.
it is found, however, on a
the youth at the left is most unusual
York
New
in
of
Class
VI, 2,
(07.286.42, see Appendix, no.
lekythos
;
No.
10, which
in
Charon
scene.
58).
no. 7, has
young
found on no. 13
left
is
present
ff.
as
an
mother.
Probably no.
1 1
The
difficult to assign.
it
reeds about
the boat are regularly present on the Charon scenes of Class XIII,
but the violet wash on the garment edge is characteristic of the
present class.
With the exception
of no.
Charon
scene, and
addition
attempt
is
mourner
(cf.
made
Class VI,
this
ii, a
Charon
to characterize
as the
The
wash
used
for
is
added
garment
scene
is
in
for
one garment
unbroken maeander
through
to
brown
to
a dull
wash
violet
is
this
Neck and
thin abacus.
The drawing
shows white.
?)
lilac-brown
borders
drawn
H.
Attica (Patissia).
12.
black
no. 7).
I,
is
the
to
is
top missing.
At the extreme
Before
left
a fluted
is
it,
bowed
head, a
woman
up
in
is
of the scene a
woman
with bowed head looking toward the right stands nearly en face,
with bowed head stands facing the left, steadying with her right hand the basket of
taeniae on her left arm.
Traces of her chiton remain, over which is an himation once
dark red
New
13.
Plate XIII,
York,
the scene
reddish
brown
At
brown with
is
alternate
left
is
hand on
a violet petasos.
red
The
m.
scene
vouth stands
his
hip
leaves
bright red
the extreme
shoulder
H. 0.323
Metrop.
3.
Palmettes in
Below
is
details.
hand
woman
his
is
erect
holding up in her mouth an end of her garment and tying her girdle.
a
on
Before him a
delicate.
Drawing
raised
flat
knot.
Her
At the
hair
right
is
profile,
drawn
and facing
CLASS
the
left a
second
bowed head
with
garment has
The
but disappeared
all
her hair
is
12-14
2,
89
a violet
kos.
woman
SERIES
XI,
is
hand carrying
in her
up
right
hand
Her
smegmatotheke.
covered
with
an
ornamented
sakapparently
left
laid
(on
a stool
?)
are
life
before marriage)
the column at the left
and the mirror on the wall indicate the portico of her home. The
;
woman behind
Naturally we
but the woman with
flat
is
a figure
from scenes
at
at the
grave.
represents a
carrying the bridal vase ; and though she is shown in the portico of
her home and richly clad, yet the figures on either side are preparing
to deck her grave.
The composition of the scene is carefully studied
is
On
left.
The
this
14.
New
Palmettes in dull
brown with
The
At
1
the
left a
far as I
youth stands
in
scene
is
drawn
H. 0.304 m.
;
in red,
maeander
varying
Bonn
(Class
V,
know, only on
also in
to
brown,
brown
hand holding
light
a staff
i 3.
90
while with
erect,
his
right
hand he
ot his
woman
companion
he wears
bowed head
with
a red
stands en face,
left,
fold-lines in
At the
knot.
from
hand
clasps the
In the centre a
his side
This
right a
hand
his right
left,
slightly raised
drawn vase
hastily
is
Two
per-
sons with clasped hands are seen not infrequently on grave monuments of a somewhat later date.
Here, as on the grave monuments,
the scene probably signifies the lasting tie of affection which binds the
living
15.
bition,
903-1 904,
Palmettes typical
Three women
27.
The
maeander simple.
scene
is
drawn
centre stands
face, with bowed head, her face to the left
The one at the right stands in
and loosely draped himation.
on her raised
one
in
the
The
e/i
left
in pale red.
partial
with bowed
profile
hand, and
left
wreath
in
her
16.
Paris, Louvre,
CA
H. 0.325 m.
1439.
The
dull black.
the
same with
scene
is
thin green
drawn
in lines
wash added
now
of red,
Plate XIV,
maeander
the unbroken
faded
the hair in a
wash
i.
few
also in
is
strokes ot
At the
left
youth stands in
profile,
hand on
and petasos
violet
in violet
At
wash edge.
wash on
his shoulder,
with
violet
wash
stripe at
of
is
erect
he wears
man
left
a short
arm
is
a small
is
on
his hip
his
left
he wears a chiton
his stick.
mantle with
under
in
a
loose
^v)(^.
On
these two vases the scenes with three figures, but with no
No. 15 has been interpreted
stele, clearly have to do with the grave.
as a preparation to visit the grave.
am
inclined to interpret the central figure as the dead person, the side
The
figures as members of the family or worshippers at the grave.
ephebos on no. 1 6, before whom flies a small '^v\tJ, has almost a
The
drawn
man
at
awkwardly
monumental
the
the
left
character.
perhaps
brother.
quail before
the right
The
is
him
is
household pet,
and the youth at
his
his father,
may
CLASS
SERIES
XI,
15-17
2,
91
perhaps be compared with that on no. 10, supra ; even in the awkward
it shows
individuahty and strength.
figure at the right
Paris, Louvre,
17.
Lee. blanes
MNB
H. 0.375 m.
Pottier,
att.^ p.
Palmettes and maeander in dull violet, the maeander broken by dotted oblique crosses
in dull
for
red
violet
wash
is
of stele.
altar?)
is
thin
Beside
plinth.
it
violet edge at top and bottom, while her hair is in a loose knot beAt the left a woman approaches,
both hands she holds a green-black taenia.
holding out a large flat basket in both hands ; she wears a sleeve chiton in outline, and a
short jacket, or overfold, which is bright red, except for the violet border ; her hair is in a
line
hind
in
sakkos,
bound with
band
in a violet
wash.
At
the right a
woman
turns
she
in both hands she holds up a mantle rolled in a ball
companions and looks back
in
a
knot
loose
wears a sleeveless chiton with overfold, and her hair is held up
by a white
;
taenia.
In
this scene
two
women
tomb
or
stele of unusual shape, while the third seems to be turning away to lay
down the himation which she has worn to the grave. This treatment
of the
woman
is
original,
ent series such realistic touches have been noted several times.
Series
The
scene.
2.
Conclusion
The
less variety
than the
The
leaves in the palmettes are found on at least half the vases.
maeander is usually unbroken in several cases it is broken by dotted
;
for
except where black is used for the ornament, the same paint is used
the decoration and for the scene itself.
preliminary sketch with
nos.
Solid color
on
9, 10, 1 1.
sharp point or dull point may be noted
is
found
all
in Class
except nos.
is
i, 2,
thin violet
wash sometimes
92
five or six
of these vases.
On
is
in the
The
Charon scenes, with one exception, conbringing offerings, on nos. 5-7 a stele is present, and
woman
stele
the
in a child.
The woman
woman
Of
rarely elsewhere
quail
the
familiar
is of course to be
expected, though the familiar gestures of the
outstretched hand (no. 10) and the slightly raised hand (no. 14) occur
each but once.
In the treatment of the women's garments and of the
types,
is
to be noticed.
The
chitonion on nos. 12
and 17, the scarf on no. 14, the decorated chiton of the youth on
no. 13, are unusual.
low
flat
knot usual
in
the shoulders (no. 5), or be held by a sphendone (no. 3), or be gathered in the loose projecting knot common in later classes (nos. 8, 12).
CLASS
Only on
IX,
The
SERIES
1-2
3,
93
and X,
2,
XI,
is
its
in Classes
is
manner
to give
it
The drawing
new meaning.
is
such that
Series 3.
Larger
scenes
of worship at
the grave
This
series consists
With
stele.
of the
stele,
London,
Brit.
H.
Mus. 97.3-19. i.
0.45 m.
The
On
bowed head
arm, while
bearded
his right
head
man
is
hand
rests
on
a violet taenia,
about
facing the
his knees.
lines
also in black,
of bright red
He
is
it
left
sets
left
his
bowed
of
At
the
sits
maeander
even
in fine
i.
is
his left
Plate XV,
violet border.
At the
right an ephebos
in his
lowered
left
hand.
He
violet
wash border.
2.
The
01. 7-10.3.
H. 0.455 ^-
many narrow
leaves in
Plate XV,
The
scene
is
2.
the black
drawn
in
94
fine lines
of red-brown
violet
garments and
for
de->
tails.
The
base
at
slender stele
is
the base
hand
is
sits
woman
hand
left
At the
is
raised to
shoulder
two
her right
left
her bosom.
In front a
left
is
woman,
with bowed head, steadies with her right hand the flat basket on her left arm ; on it are
An himation with violet edge remains, but her chiton has
her hair is held up by a violet band. Behind her a young woman places her
she wears a
hand on her companion's shoulder and rests her right hand on her hip
disappeared
left
Her
At the
right
fan
in
(.'')
young woman
is
drawn, not
stands looking
face
carries
down
in profile,
but
in
three-quarter view.
box on her
left
arm.
Her
she holds up a
sleeveless
chiton,
blue.
is
This
fine pair
bring them into close relation, in spite of the fact that the acanthus
In each scene the seated
leaves are not present on the stele of no. 2.
figure with taenia about the head may be regarded as the dead person.
no. I it is a young warrior, to whom a companion or attendant
On
brings helmet and spear, while his father stands sadly holding out his
The seated youth is stiffly drawn with
hands perhaps with a taenia.
feet
extended, as
The
body.
if
seated
woman on
no. 2
is
on her right elbow and looking back over her shoulder, as though
she were sitting in her home and being fanned by the attendant on
the right.
She is, however, looking at the grave offerings brought
by the
woman on
woman
at the
mournful
to their
slaves.
extreme
curiosity.
left,
The
The
is
the
mourning, or it
both vases the
fine
in places the
Paris, Louvre,
in
even
work
S 1660, Lee.
palmette.
left.
On
the
la
lines give
has
an
air
of precision
marked beauty.
Dumont-
H. 0.495 m.
96.
Grece propre^
I, pis.
xxv xxvi
II, too.
palmettes have nearly disappeared, but the maeander remains, broken only by the
in
rather
fine
lines
of dull violet-red.
CLASS
Violet
wash
is
on the seated
The
used
XI,
SERIES
95
3,
border tor garments and acanthus leaves, and solid yellow for sleeves
as
figure.
is crowned
by decorated mouldings, small acanthus leaves, and a
At the extreme left a woman en face brings
reaches
on
to
the
shoulder.
which
palmette
she wears a sleeveless chiton,
on her left arm a flat basket, on which is a smegmatotheke
slender stele
a fan in
drawn
the stele a
her
left
hand and
sits
woman
woman
is
In front of
little
birds,
left
the garment
is
At
left
hand an alabastron,
young woman in
right hand a
in her
partial
This splendid lekythos, in spite of a slight hardness in the treatment of the faces, is one of the finest examples of Greek painting
The
is
drawing the mantle over her
on
her
are
and
hand
shoulder,
perched two little birds,
pets
right
The attendant at the left,
with which she had been wont to play.
who
is
also
tress as if
drawing her mantle over her shoulder, is fanning her misThe women on
she were still alive and in the house. ^
either side are bringing offerings to the dead ; it is as though the two
central figures were represented on a grave stele, while the outside
figures are the worshippers normally represented
This separateness of the central group is even
on white lekythoi.
emphasized by the
position of the stele which is out of centre behind the figure of the
dead.
The composition of the scene is elaborately studied, line by
to
line,
produce a rich, unified effect, and the drawing is unusually
careful,
sometimes almost
affected, as
produce
common
which
to
Per-
marble grave
Cf. the
is
stelae.
The fragment
1
faces,
woman
no.
at
home
is
similar to no. 3 in
its
fine
drawing, as
I, pi.
xviii.
in
96
with
youth
his spear.
Fragment 0.125
4.
Shoulder missing
gray, the hair in
used for
maeander
many
The
unbroken.
in violet-gray
scene
drawn
is
"^-
high
in violet-
wash
violet
are
details.
The top of the slender stele remains, ornamented with red taeniae, and crowned
Before it is the head of a youth in
with the base of an anthemion picked out in red.
of
his
left hand remains holding erect a
to
the
At the
right
part
spear, point up.
profile
;
left
of the
is
is
draped
in the field
at
in the
woman
(?).
second
color,
and
maeander
and
the
red-brown
in
side
palmettes
point
the
The
two
slender stele on
entlv, rises a
crowned with
scrolls,
in
by checker-
two
;
high ovoid tumulus, from the top of which, apparsecond shaft that breaks the maeander and is crowned with a palmette on the
behind the
shoulder.
is
steps
0.40 m.
leaves
maeander broken
added
have
palmettes
forward
H.
Eretria.
5.
Palmettes
At
wreath
stele
is
On
is
left
in his left
hand he
with disk
carries a rod
bottom
at the
man
down
en face, looking
at
Next comes
the child
his right
in
spears, and
young
a shield
face, her right hand almost touching the boy's head, and on her
taeniae
edge
and smegmatotheke.
her curly hair
She wears
a sleeveless chiton
is
left
arm
a flat basket
up by
with
a violet
head.
6.
Eretria.
H.
0.405 m.
red-brown.
the red of the garment the lines of the preliminary sketch in the soft slip
Drawing
The
free
and
graceful.
slender stele
is
On
acanthus leaves.
in
his
lowered
show white.
left
hand, and
his right
it
youth
hand
sits
is
drawn
facing
raised nearly to
against a
toward the
his
background of
left,
a lyre held
CLASS
mantle ?)
is
At the
reserved white.
is
At
SERIES
3,
4-7
97
mantle, once red, and about his curly hair is a wide band
an ephebos holding two spears erect ; he wears a short
his
left
XI,
is
his shoulder
is
a petasos.
young woman, with bowed head, stands en face ; on her left arm is
her right hand she holds out some object (an alabastron ?) toward the
the right a
basket and in
She wears
loose
and
her hair
is
a flat
stele.
held in a
flat
These two
the arrangement of the figures, and the drawing, are clearly a pair
made by the same hand. The checker-board break in the maeander,
common
which was
in
Class
of Class V.
earlier vases
And
less free,
expected.
woman
of
offerings and holds out her right hand toward the figure before the
stele
she wears a mantle loosely draped about her, and the hair is
As the outside figures on no. 3
held up by a wide fillet or stephane.
;
have
a different
the
woman
the
left
central figures, so
on these vases
seem
to indicate the
persons
in
at
life.
On
no. 5 I believe the young warrior with spears and shield is the
figure of the dead; he is looking down at his child with its toy, while
behind him stands the grave figure of his father.
On no. 6 the youth
with lyre, the lyre he was fond of playing, is the dead person sitting
before the stele with thoughtful mien, and the ephebos standing before him is a brother or intimate companion.
Such definite, personal
is
is
stelae.
7.
'E^.
'A/3;j(.
1894,
H. 0.34 m.
are
drawn
in
gray
the palmettes
all
The
Eretria.
pi. 2.
wash
slender stele
and
details.
Drawing
careful.
Behind the
Before the stele stands a young girl holding behind her shoulder
pomegranates and a lyre.
a mantle with violet border ; she wears a sleeveless chiton, and a cloth is about her hair.
At
the
left in
sits
en face on a rock.
98
supporting himself by his right arm, and looking away from the stele ; over his knees is a
Behind him on a higher part ot the rock sits a hare
green mantle with violet border.
(in
left
arm
hand
right
At
woman
a flat basket
is
is
a violet taenia.
mourner over against a group including the dead person, this lekythos
It does not, however, seem to be drawn
is related to nos. 5 and 6.
in its style it should rather be compared with no. 8
hand
the
same
by
The
and one or two other lekythoi mentioned under this number.
;
is
The
is
a pet
other offerings on a
flat
clump of rushes
is
the
who
The
detail
on
decorated
it is
as
'
^3^ ^ regard
this suggestion be adopted, the
('E<^.
if
^px- ^^94'
"-
MNB
Paris, Louvre,
att., p.
148, no. 62
H. 0.285 m.
804.
Rayet-Collignon,
p.
233,
fig.
86.
Palmettes in dull black with alternate light red leaves, and maeander in black, broken
a violet,
The
stele
The
scene
is
also
drawn
in
dull black,
fading in places
on three
moulding, complex
steps, of
scrolls,
is
quite high,
is
in red.
CLASS
At
the extreme
man
bearded
left a
SERIES
XI,
in profile
8-10
3,
lines.
His
hair
is
on
in,
and wreaths
in
her
left
the hair
he is wrapped
drawn with very few
is
his shoulder,
and
in profile leans
hand, palm
bowed
to the neck in a dark dull red himation with black fold -lines
and
99
woman
mantle on
on
thinner
wash of
the
in
left
arm.
color.
At
his
same
of red taeniae
she wears a sleeve chiton, an himation with red stripe on the edge, and a sakkos about her
hair,
which escapes
right
is
a high
Number
and
At the extreme
a lamenting
^pv^-q.
flies
bringing
woman
Behind her
stele,
woman
in small curls.
tumulus on two steps, over which are hung several red taeniae.
hand
as if in greeting to the
of the drawing in places (cf. the eye of the ephebos and the profile
For general effect of the scene and
of the woman) also recalls no 3.
the form of the top of the stele, the vase may be compared with no.
GR
The
619, drawing less careful).
7 of series 1 (Metrop. Mus.
small flying soul occurs occasionally in Class XI i^e.g. series 2, nos.
9 and 16), but
Palmettes in
The
green.
and
common.
not
9.
lines
is
dull
scene
of outline color
is
drawn
leaves red
(?);
wash
violet
few
garment
details.
The
slender
acanthus leaves.
stele
On
woman
hands
crowned with
is
and
scrolls
gesture of lamentation
sits
smegmatotheke,
and over
it
a blue chitonion
10.
bunch
of moderate-sized
the
left
hand on her
The
woman,
At the
blue
hair,
left a
approaches, wearing a dull green mantle with violet border, which covers both her
At the right a woman stands en face, carrying in
a sphendone supports her hair.
one hand
for
H. 0.40 m.
Eretria.
scene
is
drawn
in fine
red-brown
is
lines
Eretria.
H. 0.39 m.
in dull green.
bunch of
erect
acanthus
100
On
leaves.
the steps a
in her right
hand
mantle with
violet border.
woman
right
At the
hand
stands a
left
lamentation
in
woman
hand,
left
At the
right
flat
she wears a chiton and over this a short sleeveless chitonion, green
(or
The hair of the seated woman as of the woman at the right is in
blue) with violet edge.
basket of fruit
Here,
on no.
as
in evidence,
is
on the
leaves
a taenia.
7,
stele with
never-
theless the vases clearly belong to this the first class of lekythoi on
which the acanthus is used.
no. 10 there seems to be an effort
On
round column,
sometimes
as
in
Classes
XIII
The
and XIV.
may be
no. 10
up
the
London,
Brit.
Mus.
H.
70.
0.49 m.
pl. X.
The
are
drawn
thin black
in
for
in solid black.
mantle
is
garments
left,
stele
ture of mourning.
She wears
which her
left
arm
face
is
silhouetted.
a flat basket
left
is
On
hand
Her
At
the
thin gray,
in
The wide
now brown,
the hair
left
stands a
woman
sits
woman
facing
as if in gesis
an himat-
falls in curls,
against
with lekythos and four blue taeniae, and in her right hand an alabasShe wears a long grav chiton with short overfold, and her hair
in a loose knot
the right a
woman
and taeniae.
She wears
head.
supported by a sphendone.
left
and over
her hair
is
arm
it
is
draped
a flat basket
a sleeveless
in a loose
taenia.
At
with lekythos
chitonion
with
CLASS
SERIES
XI,
ioa-12
3,
loi
XI
is
The
also found.
woman
seated
arms
raises her
in gesture
of lamentation like the seated youth on no. 9 her unbound hair falls
over her shoulders (cf. Class XIV, no. 24) and forms a background
for her face (cf Class XII, no. 7, and XIII, no. 5).
The sphendone
;
common
the
at
left
is
some
XI
fine
not present for the somewhat elaborate pattern of the chitonion worn by the woman at the
The classification
left, the nearest analogies are found in Class XIV.
of the vase
in Class
is
in Class
XIV,
determined
is
pri-
marily by the delicacy of the drawing, and secondly by the fact that
the scene is drawn in even, medium lines of dull black.
11.
H.
0.47 m.
For the central palmette are substituted two small palmettes on either side of the anthe-
The
stele
is
decorated with taeniae and crowned with acanthus leaves and palmette
On the base sits a youth facing the left, a mantle with
edge over
his
knees
the hair
falls
He
wears
a richly
ornamented
his
arm
left
and
corselet,
large
Corinthian
helmet pushed back ; over his right shoulder hangs a light blue scarf or small mantle.
hind him stands a bearded man in a red mantle, supporting himself with a staff.
12.
The
are
drawn
in
brown-red
left
At the
shoulders.
stands a
Be-
H. 0.44 m.
Eretria.
maeander unbroken.
The
hair
is
in
dark red and violet wash are used for garments and details.
slender stele
is
left
At
On
the
sits
an ephebos stands
his right
leaves
partial
he wears an himation
profile,
stele
102
and on
his shoulder
forward on
The
hangs
At the
a petasos.
bearded
right a
man
In the
with
field
bowed head
hangs
leans
purse (?).
As on
person, the dead youth seated as if in his house, and two older memThe personal, individual characbers of his family standing behind.
ter of the scene is in striking contrast to the generalized scenes of
other classes.
The
on no. 12
The
is
woman
usual
13.
are
drawn
dull
red, fading
H.
0.35 m.
Heyde-
to
rose
maeander broken by
and
in
Athens.
details.
On
In the centre a high ovoid tumulus decorated with taeniae rests on two steps.
the upper step facing the right
hair
is
short
At
the head.
with
wreath.
the
is
a hydria,
two
Her
spears
on top of which
woman
left a
sphendone.
erect
in
is
is
left
hand
her
used in carrying it on
hands a flat basket
sleeveless chiton
woman
Before her
edge.
sits a
his
At
raised
the hair
is
loosely
hand
the
he wears boots,
left
eti
drawn
face,
petasos on his
in the
lowered
right hand.
The
field.
more probably it
offering in the hydria
represents the dead person, before whom her brother or lover is
standing, while the usual woman bringing offerings stands behind
brought
to the
grave an
CLASS
SERIES
XI,
13-16
3,
103
woman
In technique
also is arranged in a later style as on that vase.
not as closely related to other vases of this series as the scene
it is
might suggest.
The composition
of the scene on
no.
found, particularly in
is
H. 0.30 m. Lent by H.
14.
is
14
Stuart Jones,
Esq.
The
with thin
On two
a
woman
appeared
left, sits a
is
drawn
is
in
dull
At
of her head.
Mus. Fine
15. Boston,
Plate XVI, 2.
Arts,
the upper
At
the
has dis-
breast
left
H.
Athens.
94.126.
On
stripes.
violet-black,
Her garment
the hair
scene
for a
steps rises a
wash
violet
0.32
the
m.
stele
The
on two
stele
anthemion on
a slender base
violet
wash
is
is
On
facing the
hand
At
the
left,
the face
a
left
drawn
is
woman
in front
view
left
arm and
hand
is
flat
raising her
less
face, holding up
slightly
and small
hand and
resting his
mantle with
head on
stele
At the
in his left
hand
right a
a
his right
wash edge.
on her left arm
violet
basket of taeniae
and
left
leaves
youth stands en
he wears a
;
cake (?)
is
is
companion with
one
woman
Neck
in dull pink
gone.
;
The
the hair
is
palmettes,
in a
the
a thin grayish
are
drawn
wash added.
104
and
red
Bright
a thin
green
wash
are
On the steps
is crowned
by small acanthus leaves above scrolls.
on the ground, holding out his right hand, palm down
about his
At the left stands a woman holding out both
an himation in a thin green wash.
The
sits
slender stele
knees
is
hands
as if
with
bowed head,
a taenia
her garment
a flat basket
presenting
is
gone.
At the
woman
with
show white.
The
seated figure with just the toes touching the ground, as well
small acanthus leaves above scrolls, is quite char-
of Class XI.
acteristic
color,
found
in Class
XI.
Series
The
3.
Conclusion
same
in this series
as in series 2,
When
In one case
is used, alternate red leaves are usually added.
in a peculiar manner.
While the
are
the
(no. 7)
palmettes
arranged
maeander is often simple or broken by the dotted oblique cross which
or gray
is
Where
the
ornament
is
in
scene are in red (nos. i, 2, 9, 10; violet, no. 8); otherwise (except
no. 14) the outlines are drawn in the same color as the ornament,
though there is often evidence that the ornament was added after the
A preliminary sketch has been
main scene had been completed.
The use of solid color varies in a marked
noted on nos. 6 and 16.
Violet wash for a garment border or accessories
Dark red or bright red
8, 16.
or both (no. 8) are found on most of the scenes.
Green is also
found on nos. i, 7, 9, 10, 15, 16, blue on nos. 2, 7, 9, and a thick
degree in
occurs on
this series.
all
yellow on no. 3.
lekythoi of Class
XIV,
is
found again
in
the late
CLASS
view
faces in front
(cf.
XI,
SERIES
CONCLUSION
3,
105
be regarded as experiments, for these scenes are drawn in a style related to that of Classes V, VI, and X, and, moreover, there are other
The
evidences of the painter's willingness to deviate from tradition.
black hair on no. 11, and the use of a brown wash over a few lines
red like the outline on no. 9 may also be recalled.
include a stele or tumulus, the original
The
hardly less evident than in series 1.
spirit
is
all
and
The
is
base
crowned by mouldings or special decorations below the anthemion and the anthemion may be like that of Class X, but with larger
or more scrolls (nos. 2, 8), or it may include one or two sets of rather
is
often
;
small acanthus leaves below a large or small palmette, or the acanthus leaves may take the place of any palmette (nos. 9, 10, 12, 16).
On
no. 13
is
tumulus and no
stele,
on nos.
a
5, 7, 8,
tumulus
in
addition to the stele, and on no. 14 the stele with plain round top
or slender tumulus which was found in Classes VII and VIII.
figure seated
stele (no. 3) or
stele, or
it
on
(no. 7),
is
found on
all
these
mourner bringing
offerings, to be sure,
the familiar
woman
with
is
present on all but five of the vases, but even in this
bunch of grapes (no. 7) on the basket is a new touch. The
seated figure on no. 9 and a standing woman on no. 10 raise their
flat
basket;
case a
Class IX.
The ephebos
with
hands
spears
times.
occurs five times, and the woman with toilet vase several
On the other hand, the woman fanning her mistress as during
over her companion's shoulder (no. 2), are quite new and independent of lekythos tradition.
Further, the bearded man, apparently the
youth (nos. i, 5, 8, 11, 12), is present more commonly than usual, and in such cases as that of the youth drawing his
garment about him (no, 13, cf no. 14) a familiar type is modified by
a new touch.
Certain other attitudes and gestures should also be
io6
noted
not usual, the hand raised to the chin as if the head were
contemplation (nos, 6, 8, 13, 15), the woman's hand raised
as
bowed
in
woman
12), the
I,
16).
Except on no, 4, the objects often seen hanging in the field are
A
not found in this series, as in Class X and in some earlier classes.
wreath hangs on the stele on no. 5, on no. 7 a basket with a lyre
stands before the stele, and on no. 13 a hydria has been set down
before the tumulus; on no. 7 there are also indications of hills, and a
The objects carried by persons at the grave
hare seated before them.
also include
some
on no. 3 and the youth's chiton girded over an overfold with curling
edge (nos. 5, 6, 8) strike the attention; and the extra sleeveless
"jacket" worn by some of the women (nos. 3, 9, 10) is found only
Moreover, the sakkos covering the hair
occasionally on lekythoi.
(no. 8), the veil over the head (no. 3),
head (nos.
matt color.
i, 2,
The most
On
itself.
all
3, 5) are
and
a wide taenia
about the
dead person.
Further, the most natural
most instances is to regard either the entire group (nos.
interpretation in
Such
tomb.
is
the
tions of these
In
present series.
CLASS
6,
5,
7,
107
10, 12).
9,
1-2
4,
SERIES
XI,
is
on
Series 4.
in
grave
As compared
more
much
show the
original spirit
New York,
1.
Palmettes
black
in
wash
Much rubbed.
The slender
shows
stele
traces of taeniae,
flies
lamenting
her hair
She wears
is
toward the
the
drawn
also
Plate XIV,
in
black,
now
in lines
broken
violet-black
and black
and
left
sleeveless
loosely gathered
At
stele.-
is
woman
the
for
in profile,
youth's shoes.
with
bowed
in a
(.')
small
Lee. blancs
att.^ p.
The palmettes
black.
The scene
high
is
The
shoulder
stele is
there
carrying on her
right
hand
drawn
a casket
dull
in
hand
the
red
piece of metal
a
H.
0.29 m.
he
Pottier,
flat
with handle
is
just a suggestion
left
crowned by
is
^vyy\
MNB
have disappeared
head,
with violet
Before her
knot.
with hand relaxed, and holding a spear erect in his lowered left hand
wears a chiton with violet wash border, a scarf over his left arm, and black boots.
Paris, Louvre,
bv
thin
details,
right forearm
2.
2.
flat
wash border
At
leaves.
is
rarely
3.
H. 0.30 m.
maeander
scene
border and
is
leaves
The
crosses.
and
in series 2
GR 623.
Metrop. Mus.
and innovations
delicacy,
of acanthus leaves.
At
the
left
rises
high on to the
woman
approaches,
io8
At
wash edge.
violet
in her right
She wears
woman
the right a
hand, and
carries
on her
a flat basket
up an alabastron
with smegmatotheke.
chiton, an
a sleeveless
left
The
6,
5,
offerings, the
his
hand
of series
etc.,
ephebos on no.
H.
Laurion.
3.
slender
woman.
Palmettes and maeander in dull red, the maeander broken by dotted oblique crosses
tree
left
it
apparently there
an
stands
ephebos
in
profile,
is
is
right
hair.
hand (as if
She wears
to
take the
a sleeveless
her
left
Before
outlined.
hand (with a gray-green object), palm up, and holding two spears
He wears a chlamys without color, a petasos on his shoulders,
hand.
At the right a woman stands nearly en face,
his hair is sketchily drawn.
hair
is
his right
her
left
a brighter
stele
may be compared
some
resemble
the youth,
i and 2.
Apparently, it is a farewell scene,
he goes forth to battle, saying farewell to a lamenting wife or
mother here doubtless the youth is the dead person and the tree
that of nos.
as
home.
4.
The
faded drawing
The body
is
delicate,
Athens.
though somewhat
H. 0.285 m.
woman's
precise,
Plate XVIII,
i.
the hair
is
The
scene
outlined, and
is
drawn
filled in
in fine lines
with
color.
violet in
Violet wash
is
CLASS
used for
details,
deep red
for a
XI,
SERIES
3-7
4,
109
garment.
dull point
The
bowed head
She wears
head, places
wound
left
arm
in a tassel
her hair
is
ranged
At the
a flat basket
and
a large
in curls
in partial profile,
right a
youth
on the upper step on the stele, and rests
his left hand supports two spears against
his shoulder
is
a petasos, red
his right
bowed
with
forearm on his
traces of
Stackelberg,
Present
i.
xlvi,
unknown.
location
The
is
5.
steps
his
two
slender stele on
on top of which
leaves,
is
is
perched
At
a small bird.
the
left a
nude
hand
is
wrapped
a red
mantle.
The
4 the mourner bringing offerings is opposite a youth who may represent the dead person, while on no. 5 a youth holds out a pet bird to
i.e. no. 4 is the
his seated companion as though both were still alive
;
0.31 m.
The
The
is
drawn
slender stele on
in fine lines
two
partial
approaches,
carrying a
a small casket
in a
7.
a youth stands
lowered right hand
is
drawn
At the
left
left
woman
arm and
in fine lines
partial profile,
he wears
a large
in
in her
holding two
chlamys.
in
right
his
The
of acanthus leaves.
At the
with
i.
of rose.
is
steps
H.
6.
Benn-
i.
of gray
a darker gray-green
is
no
The
sets
stele
on two steps
two
At
woman
in partial profile,
arm
left
She wears
hands,
is
The
The
Much
slender stele on
wears
a petasos, a
At
mantle.
At
girded
and
a dark himation,
mirror in the
H. 0.315
The
two
the
is
used
scene
for
is
drawn
is
is
which
the maeandcr,
The
taeniae.
which
field.
ni.
greenish black
dull
very delicate.
He
hand.
a small
a sleeve chiton
Athens.
violet-red.
left
Neck modern.
8.
left
arm hangs
his left
drawn up over
the
while over
her
is
is
injured.
steps
left is
taeniae and
crowned apparently
vouth places
right a
woman
the sleeveless
on
his left
knee
chiton has
On
now
right
hand
is
young
disappeared.
In
;
on
tion to the
While
somewhat sentimental
attitude of the
youth on no.
7.
is
in the case
The freedom
youth on no.
of the drawing
and on no.
Instead of a preliminary sketch in the soft slip the legs of these figures
were drawn in outline color and may be seen where no solid color
The wavy
lines
The youth
2, and frequently
on
forward
has
been
seen
on
no.
no.
8
alreadv
4, though the
leaning
tumulus was not present on that vase.
The woman on no. 6 closely
resembles the
On
woman
on no. 2, supra.
varied by placing a woman in contemplative
at the left
in series 3.
is
offerings.
The
gesture
CLASS
SERIES
XI,
in
8-11
4,
of the relaxed hand raised nearly to the chin occurs on nos. 6 and 8
of series 3, in each instance in the case of a figure probably to be
regarded as the dead person; it becomes common in Class XIII.
^
Munich, 2165
9.
On
a-
many
drawn
in
The
bowed
She wears
at
a sleeveless chiton
At the
ing the
(Oldfield, 78)
The
At the
hand with
left
maeander
The
H.
XXV
scene
is
drawn
in the
same
stands a
woman
with
apparently a cloth
drawn
is
De
0.25 m.
at
her side.
(1905), 75.
left
drawn
to right
black.
The
left
10.
left
now
flat
in a color
her chin.
point from
all
is
of the palmette
leaves
both are
in dull violet-red
with
dull violet-red
bright red
is
garment.
is
scrolls
on
the step, about the middle of the stele, and at the top below the scrolls are rings of acan-
At
hands
as if
the
left a
with a taenia
en face stands looking down, her left hand supporting a basket of red taeniae, her right hand
She wears a sleeve chiton, a large red himation
slightly raised, palm in, toward the stele.
is
left
shoulder and around her body, and a light red band confines her
hair.
H.
11.
903-1 904,
Cat.^
0.32
m.
Fine
Burlington
26.
Palmettes normal
simple maeander broken only by acanthus leaves.
stele
on
The slender
one step is decorated with taeniae and a row of acanthus leaves
;
Three lekythoi
in the Collection
at
the
left a
in thin black,
the right an ephebos with chlamys and in his lowered right hand a lyre.
and scene
both hands a
flat
leaves
woman
scene in red, stele crowned with acanthus leaves and palmette; at the
flat
left a
young
at
the
112
stands in profile,
taenia in both
hands.
H. 0.40
12.
drawn
are
in a color
The
now
slender stele
some of which
the scene
violet-gray.
is
are bright
red,
apparently held bv
chlamvs has
ni.
bright red
At the
taeniae.
At the
right a
woman
brings a
left
bowed
an
his
basket of taeniae
flat
her sleeveless chiton with overfold has broad perpendicular stripes of dark claret.
H. 0.41 m.
Athens, Nat. Mus. 1839, Cv. 181 1.
are nearly effaced.
The scene was drawn in
13.
violet
The
stele
is
decorated with
dull
hands
to tear
right stands a
her hair
woman
At the
violet edge.
left
young woman
dull
raises her
At
(r
pale red
for details,
the
Still
e.g.
on no.
on no.
1 1
there
row of acanthus leaves halfway up the slender stele and three sets
of leaves at the top; on no. 12 four sets of small acanthus leaves,
is
some
it
is
H. 0.39 m.
14.
The
brown-red wash
for
the hair
violet
scene
wash
maeander
drawn
is
is
used
also in gray,
for
broken by dotted
in fine
lines
details.
The
the
left
slender stele
is
crowned with
two
below which
right
hair
the curls
in a
fall
to his
stele
shoulders.
his
left
At
arm
on
the right a
hand
his
head
he wears
is
a high
voung woman
At
a chiton
red cap,
CLASS
SERIES
XI,
12-16
4,
113
In
this
The red
should be compared with the similar figure on no. 10.
occawoman's
have
been
noted
garment
stripes, or fold-lines, of the
while the treatsionally in earlier classes, and recur in Class XIII,
from
a
cloth
loose
knot
with
ment of the hair
(cf. series 2,
projecting
no. 12)
in Classes
15.
Stud.
found also
is
XV,
covered with
The
in solid red.
The
m.
0.38
Palmettes
garment
H.
Athens.
steps
apparently a pillar
is
wreaths
At
in profile
is
it
his left
hand
on
resting
his hip
16.
Stud.
XV,
327,
slip is
is
right
bound with
sets
a taenia,
of acanthus leaves
At the
a flat basket
dull
monument on two
grave
The
in black.
in
above which are two rosettes and mouldings ; on the top are two
crowned by a small palmette with alternate leaves in solid color.
woman
Jour. Hell.
left
young
two
containing
hand
H. 0.284 m.
Eretria.
Jour. Hell.
1-2.
figs.
The
scene
is
garment
The
the
of a
left a
pillar
on two
is
of which
is
in both hands a
approaches with bowed head, holding out
sleeveless
black
dead child ; she wears a
chiton, girded over an
stele
woman
body of
from the
is
in dull green-black.
stele consists
At
leaves.
drawn
is
her hair
in
the
is
in a loose
At the
field.
in his right
hand
is
Between
youth turns to go
his
left
hand
away
rest-
The
Class
stele
XIV.
since
it
was published
in
the
that the
suspicious profile
Journal of Hellenic Studies, with the result
of the woman's face and some peculiar lines of the drapery have disThe strikappeared, and the wings also have practically disappeared.
is
114
the figure of the youth at the right is cursorily drawn, and the red
hair is found in Class XV; still, perhaps the vase finds its closest anin
alogies
the
present series.
to the grave,
is
The
child, apparently
dead child
brought
In publishing this vase
where the body is not wrapped up as here.
Mr. Gardner interprets the scene as representing a nurse with child
The
distaff) at
the grave of a
young
wife
who
Series 4.
Conclusion
The
colors used for the palmettes, the maeander, and the outlines
of the scene are the same as in series 2 and 3, i.e. black or gray (with
run from
left to
in
right
the
is
the ornament
commonly used
in
On
no.
there are
frequently
In gen-
and XIII.
even when
traces of a preliminary
4
and on nos. 6 and 7 the legs of the figures were
outline color before the garments were added.
is
drawn
black.
The maeander is
crosses, as in Classes
slip,
one or the other is found on nos. 2-5, 12-14. The black boots
on no. I and the red boots on no. 3 recall a practice of Class IX.
Garments ornamented with fold-lines or stripes of color (red on no. 12,
green on no. 13) may be noted, as they are rare in Classes IX XII.
The
use of red for the hair with black for the outlines
The
which
XV)
and the
(cf.
nos. 17,
garment on no. 16
solid green
are
in the use
of acanthus on the
stele
I, 2) as
twice
CLASS
SERIES
XI,
4,
CONCLUSION
115
Rows
of acanthus at various points on the shaft (nos. 1013) are an experiment repeated in Class XIV, where we also find the high acanthus
leaves of nos. 15, 16 (cf 6, 7) in a more stereotyped form.
Anything
The
experiment or originality, however, is limited to the stele.
normal scene consists of a woman bringing a flat basket of offerings
opposite a youth with spears or, in one or two instances, a woman who
like
The
meaning;
it is
it
useless to
may
scene
make much
is
effort to
The
seated
definite
woman
(nos.
meaning was
i,
2) or
in
youth (no.
mind of
the
the
5),
leaning forward on his raised knee (nos. 4, 8) are more interesting than
the standing figures, though these also are drawn with freedom and
grace.
special
his
mention: no.
companion
5,
which ap-
as in the stele-
woman
The
is
3 objects in the
field were conspicuously absent, we find here a flying soul (nos. i, 10),
a sword in its scabbard hanging by the belt (no. 3, cf. no. 4 of series
3), a mirror (no. 7), a sakkos (no. 10, cf. Class V), a tree and a chair
lekythoi, except perhaps Class V.
in series
The
The sakkos
and the high loose knot projecting from a sphendone (no. 14) occurred
in series 2.
The high red pilos on a youth (nos. 10, 14) and the free
cape over a woman's back (no. 3) are innovations here.
ATH'
ii6
The provenance
One is said to have
at Eretria,
WHITE LEKYTHOI
'N
'
se vases
ound
is
for the
at
Series
At
5.
Miscellaneous examples
fit
into the
They
previous series, but which probably belong under Class XI.
are not closely related to each other in a consistent series, nor are
the characteristics of Class XI as clearly defined as in the four series
previously discussed.
I.
Palmettes
in violet-gray
with traces
maeander
in the
i.
same
violet-gray, broken
in
faded.
At
the
his right
floating
left a
hand he
mounted youth
and
up
his
violet
Amazon.
In
now
The Amazon crouches
shield,
reins
On
her
left
a longer chiton,
and the
violet
wash earpieces
this
series
(no. 8)
from the
the period
and it was so transferred to a grave vase as appropriate
to the grave of a
young Athenian who had died fighting for his
;
CLASS
SERIES
XI,
1-5
5,
117
now
violet
The
on two steps
stele
drawn
his chin
At the
his right
surface
left a
youth stands nearly in profile, his head
he wears a violet himation ; the short hair is
H.
in dull
0.283 m.
greenish
The
black.
scene
drawn
is
in
of dull pink, the hair in a few strokes of the same with a thin greenish wash
Deeper red is used for bands about stele, and on garment.
Drawing hastv and
damaged.
The
on two steps has two narrow red bands at the top and is crowned
acanthus leaves with a small ornament in the centre, which break the maeander.
slender stele
by
six small
At
the
left
man
stands a
At
side uncovered.
the right a
woman stands
flat
4.
slender stele
is
The
man
part of a
on
is
drawn
his left
in
in rose,
with red
The
leaves.
At
the
is
the
the right
chlamys
he carries
5.
scene
bearded
a shield
She wears
arm.
Foot missing.
garment.
The
left
Corinth.
is
a color
lines
added.
upper
Palmettes
medium
now brown
his
3.
left
remain of shoulder
traces
stele, his
for a
No
and shiny.
in
is
drawn
is
is
bowed and
thin
slip
H. 0.194 m.
Athens.
2.
even
series 3,
scene
is
drawn
violet
Cerameicus,
in dark gray,
wash
is
H. 0.30 m.
used for
details,
for garments.
The heavv
the
left
traces
stele
woman
of blue.
His mantle
is
is
At the
right a
flat
young man
violet taeniae.
At
basket
yellow.
are
ii8
the
in
stele
represented with his father as when he set out for the war;
though the vase was found in Corinth, the clay and the technique
seem to be the same as on vases found in Athens. The stele with
rior
on no.
scrolls
heavy
this
XI, though
5,
H. 0.245 m.
6.
Palmettes
dull
in
The
now brown.
lines
\'iolet
wash
is
in
Plate XVII,
black
scene
maeander
drawn
is
in
also in
fine
even
and red
taenia,
2.
for
taeniae.
At the
left a
woman
with
bowed head
left
arm
a flat basket
of
she wears a
and taeniae, and her right hand extended from the elbow, palm up
sleeveless chiton with overfold, colorless except for the border of violet wash on the bottom
fruit
At the
head.
on her
raised
hand
right
her
her knees
left
is
arm
woman
is
her
left
winged figure (Eros) with its arms extended and one wing
over the back of her chair.
Traces of the chiton remain, and over
small
is
Above
taenia.
her hair
right a
in
her hair
the field a
is
is
violet
sakkos.
this
vase
is
careless
Evidently the
latter
is
marked
scene and the com-
whose character
as
is
in
her
life-
little
7.
Egg
in black,
Munich,
Inv. 2263.
H. 0.248 m.
ments and
now brown
details.
the hair
is
now
dull pink
The
scene
is
drawn
in
CLASS
The
on two steps
At the left
slender stele
his left
SERIES
XI,
6-8
5,
119
chiton which reaches to the knees, with a dull red belt and red border
his
woman
sits,
is
left
at
the bottom
On
white taenia.
on
block at the
right
is
recalls
left
figures
common as is the youth with spears in series 4. Nor does the seated
woman with a lekythos on her knee, perhaps a mourner at the grave,
I am inclined to
regard the vase
closely follow any lekythos type.
experiment made by
as an
a painter
accustomed to work
in the red
figured technique.
Brit.
London,
8.
Mus.
97. 3-7. 4.
restored
shoulder
An
horse
tally
is
solid reddish
brown
S.
violet
H.
to
shoulder 0.21
m.
237.
wash
is
ephebos on horseback riding toward the right over stony ground, reins up his
his head is bent forward and in his lowered right hand he carries a spear horizon-
he wears
a short
he carries
a large
shield
At the
drawn
right a second
in perspective
and
pilos.
No.
8 also
is
a vase
of this
series.
Series
5.
Conclusion
The
namely, no.
6,
in
120
alternate leaves
(nos.
5) or
I,
added
The
in black.
in a
scene
drawn
is
brownish red
in
gray outlines
on the
first five
the lines of the outline are rather coarse and in one or two cases the
decidedly good but hasty (nos. 1,3); on the last three the
decidedly fine lines of brown, hasty on no. 6, overcareful
drawing
on nos. 7 and 8. On no. 5 blue and yellow are used for garments,
and on no. 2 the only solid color is a thick dark violet ; the usual violet
is
drawing
is
in
wash occurs on
nos.
i, 6, 8,
and
is
The
ments or
details.
that they
seem
to be carefully
As
and
in this
drawn
technique.
like that
on
tradition
and repeats
a scene
On
found on an extant
stele, the
stele at
nos. 3, 5,
Dexileos
a
woman
series
4;
Conclusion of Class
The
XI
technique, as though makers of lekythoi included in Classes IX and X, as well as other groups of lekythos
manufacturers, had experimented with the use of the acanthus leaf,
are
both differences
and
in
itself.
the
a choice to
The slip
in Class
X.
or-
is
For
the palmettes rarely vary from the stereotyped form, the maeander
may be simple, or broken by dotted oblique crosses or even by the
earlier
red
is
checker-board pattern.
As for the scene itself, rose or brownordinarily used for the outlines, but different shades of black
uncommon.
What now
is
so
CONCLUSION OF CLASS
XI
121
The
often found.
etc.,
may
In Class
IX
in Class
it was a more slender shaft crowned
by small scrolls and a
palmette, or by a small acroterion, and standing on two or three steps;
XI we
find the usual steps or, again, a high block, occasionally with concave sides ; the very slender shaft is often decorated
here in Class
its
all
the subjects
previously used on grave lekythoi and one or two new ones, and in
each subject some new element is introduced.
In the prolhesis scene
scene we find the figure of a youth who is lamenting; the Charon scene is varied by the presence of a child or of a
seated figure, while in several instances offerings are presented at a stele,
and
in the depositio
along with Charon in his boat the scene representing women at home is
so treated as to be adapted to a grave vase, and, again, in the scene at the
stele two or three
figures are treated as if they were in their home. This
;
point is the most striking, for such groups can only be understood
to represent the dead person with a companion or with other members
of his family, as if the relations with persons still living continued the
last
same
This
alive.
is
thoi furnished the scene to the later grave reliefs, we may believe
that they helped to visualize the Athenian thought of the dead attached
to their living friends, in a
way
that
made
this
scene
more
natural for
We
may
122
the
lekythos
making
It is a
ders for particular individuals.
peculiarity of the present class,
that
with
the
however,
originality and the effort in series 2 and
along
to
variation in the stele, while the figures besicie the stele simply repeat
traditional types, along with a few vases in the spirit of series 2 and 3.
The drawing on
these vases
is
rarely overcareful
in
the
thus
classes
is
While Class
discussed.
far
XIV
in
anv of
contains
many
third
vases were
made
the examples
peculiarities
I
of
in Eretria is
an open question.
would be explained
if
to discover
made
In series 3 most of
Eretria and
some
Athens.
CLASS XII: LEKYTHOI WITH SCENES ORDINARILY IN RED OUTLINE; THE OUTLINE OF THE STELE ORNAMENT REENFORCED
series of lekythoi which
present class consists of a small
XI
on
one
the
and
with
Classes
show relations
hand, and Class XIII
The
seem
casual one,
is
characteristic,
of the
the edges
which may
characteristic
are discussed first, then the exof the type found in Class
of
anthemion
with
high scrolls and palmette, and
consisting
amples
In this class,
acanthus ornament on the stele.
finally three with
stelae
however, the different types of stele are apparently traditional material for the painter, and no line separates the three series.
Benndorf, Griech.
The
Vas., Taf.
0.468 m.
Plate XXI,
xxvi.
broken by
is
scene
drawn
is
ments and
details,
and reverses.
maean-
the
by
fire?).
in fine lines
drawn
is
2.
der in red
The
Sic.
H.
Athens.
1.
in
The
for taeniae.
in
dark red.
is
a square
on the block
young woman
tumulus
grasping her
left
left
sits
is
She wears
drawn
At
a veil.
the
left
young
low flat knot. At the right a youth, nearly en face, leans forward,
the
two erect spears in his right hand, and looks down at the seated
himself
by
supporting
woman. He wears a red chlamys and a petasos, beneath which his hair falls to the neck
stripes
her hair
is
in a
in black curls.
2.
S.
H. about
black
is
interrupted
Jahr.
0.42 m.
by anthemion, and
123
reverses
the
maeander
in dull red-
crosses.
124
V,
The
scene
is
ui fine
even
lines
two shades of
and one garment has added black fold-lines on a light red ground.
garments,
The slender stele on three steps is decorated with taeniae and surmounted by egg
thick red color is used to reenforce border and center of
moulding and hign anthemion
of
central
egg moulding and lines of moulding at the base of the shaft.
points
palmette,
taeniae, etc.,
On
the
left
its
wings
st"'-?
{l/v)(i]
wears a chlamys
At
ing the
flat
right
its
hand holding
wings
At the
are extended.
a spear erect
is
She wears
arm.
left
a sleeve chiton,
row of
making
Mus.
with
The
hair
and reversing.
slender stele
in a red
it
is
violet
wash border
right
approaches
H. 0.40 m.
maeander broken
At the
carefully
and
drawn
At
wears sandals.
is
Cerameicus.
young woman
bird
crowned with an
is
man
He
curls
The
at
youth
by
left
basket on her
oblique cross
head
its
in light red
woman
the right a
in the field,
flies
at the
down,
are
is
the
left
bearded
hand.
and the
delicate
The
seated figure is
though the typical standing figures are very gracefully handled.
Doubtless the seated figure represents the dead person, and perhaps
the standing youth should be regarded as the husband or brother of
stiffly
be-
The
The
is
CLASS
The
and delicacy.
2a-6
XII,
125
is
hardly an offering
but rather the scene represents persons in the home as
during the Hfetime of the dead woman, now seated before her grave
plicity
at the grave,
monument.
3.
Mannheim, Case
On
black with
few zigzag
for
The
lines.
scene
for a
The
garment.
hair
is
maeander
the
drawn
is
reversed
is
same color
the
in
of dull violet-red
in fine lines
drawn with
ment of
0.25 m.
cir.
many
H.
178.
and
reduced to
is
violet
wash
The
details,
slender stele on
two
is
steps
used
anthemion
left
is
at
approaches a young
woman
is
in
a violet
partial
is
profile,
hand
away from
raised
is
violet,
At the
arm
left
a
;
border below and violet border with pattern in outline at the top ; the hair is in short
At the right a woman stands en face, her right hand sHghtly raised, palm in, her
curls.
left
himation
her hair
is
in the field,
Brussels,
4.
Mus.
Cinq.
H.
394.
0.25 m.
The
dull
in lines
now
The
swan
or heron in
his
now
the
and palmette,
scrolls
a seated
garment
woman
In
left
now
en face
down
youth looks
centre
H.
stands
stele
m.
pi. xciii,
a high ovoid
6.
cord (once
the small
0.273
hangs
which the
at
Her garment
has disappeared.
Fine
Burlington
40.
palmette and the centre of the palmette are reenforced with thick red.
woman
o'i
taeniae.
At
At
crowned with
is
on her
In the
of the
outline
At the
left
field
arm
at
right
a flat
is
the right
wreath).
Attica.
in
H. 0.274 m.
in dull violet-gray
bright red
is
with
used
126
of anthemion,
for details
brown-red
for
very slender stele is crowned with anthemion, in which the centre and edges of
At the left stands a youth closely draped to
the palmettes are reenforced with bright red.
The
hand, palm up
to
in the drawing and the scene, though the paint used for
and the decoration of the anthemion indicate at least that
No. 3 is drawn with considerable
they came from a different atelier.
a
vase
small
for
so
care
moreover, the heron beside the stele, the
decorated short chiton of the woman at the left, and the gestures of
Class
X,
2,
the outlines
No. 4
little
is
in the
it
some
The
interest.
woman
basket of offerings in
infra)
one hand and raising her other hand to tear her hair in mourning is
The palette used on no. 6 is unusual, and the preliminary
unique.
sketch on nos. 3 and 6 suggests a care not often exercised on such
;
carrying a
small lekythoi.
7.
Plate XXI,
hair
is
shoulder gone.
in fine lines
wash
violet
for
H.
to shoulder
m.
0.25
I.
Neck and
drawn
Athens.
of violet-red
The scene is
Simple maeander in dull greenish gray.
is used for taeniae and details,
green for details,
bright red
the
garment border, and thin yellow with red-brown stripes for a garment
of a reddish brown color, over a few strokes of outline color.
Drawing
;
in curls
vigorous.
The
which
At
the
knee
stele
on two steps
is
in
the palmette leaves are reenforced near the base and at the edge with bright red.
as
left a
woman
places her
left
foot
on
rests
her
left
arm on her
She
she bends well forward, pouring from a large hydria held in both hands.
wears a sleeve chiton, girded, with red-brown stripes on a yellow ground, and over it a
her hair falls in long curls over her shoulders,
sort of white overfold, or cape, with dark border
;
and forms
right a
background
woman
Above
is
poured
her
a libation.
She wears
a chiton
down
draped
left
At the
stele a
flat
had
just
of her head.
in
technique several
of the
vases
CLASS
XII,
12 /
7-9
which follow, and it has the same type of stele with bright red taeniae,
and the taenia draped in the field. The scene, however, is unique,
The woman at
and the drawing is in finer lines and more careful.
a
bath
in
her
for
the
dead person and pours it
the left brings
hydria
out at the grave, while her companion has just poured out a libation
from her phiale. The red stripes of one garment are frequently
found
in this class,
unusual
and while
cated with care, the long loose curls of the woman at the left which
fall so as to throw out the face in silhouette, and the
high round knot
of her companion's hair are striking deviations from the usual types.
Perhaps we may assume that the painter was attempting to reproduce
figures
this
In that case
scene at the grave with all the colors at his disposal.
the awkward drawing ot the right hand of the woman at the left is
less surprising.
London,
8.
The
Brit.
Mus.
H.
Athens.
8i.
0.31 m.
palmettes are in coarse lines of dull black with alternate red leaves and red centre
the maeander
is
and
wash over
toward
few strokes
The
violet.
scene
drawn
is
thinner red
in strong red,
is
also
used for
taenia, dark red for another garment, blue for taeniae, and green-black for
details.
The
stele
on one step
is
At the
draped in the field.
the neck in a dark red mantle.
left
foot
left
At
stele
in thin
the right
in
woman
is
bowed, wrapped to
head bowed, with
basket or box
she
in profile, her
flat
red stripes.
9.
No
scene
is
Athens
drawn
H. 0.252 m.
maeander
the simple
dark red
is
is
The
in faded black.
the hair
is
in small
even curls of
The stele on one step is crowned with egg moulding and anthemion ; on the centre
of the palmette is a yellowish wash, near the base of the leaves is a red Une, and the edge is
reenforced with thick red.
At the left a woman in profile approaches, with bowed head,
holding out in both hands a
in
stripes
draped
flat
in a large
as if to take
At
is
in a loose
low knot.
Two
large taeniae
falls in
his
companion
he
is
128
Paris, Louvre,
10.
Lee. blanes
The
att.^ p.
MNB
H. 0.30 m.
Pettier,
the maeander,
also
in
and
color,
The
in
mion,
wash
a thin red
is
added.
is
At the
is
Blue
on two steps is decorated with bright red taeniae and crowned with anthebehind it
which the base and ends of the palmette leaves are reenforced in red
stele
left
woman
in a
low round
At the
knot.
curly hair
is
second
away from
woman
the hair
flat
basket
arm away from the stele, and steadying it with her right hand
her
chiton and long overfold with perpendicular bright red stripes
right a
turns
left
at the
The same
verts to a type of Class IV, viz. a woman with taenia in both hands
These are typical
turns away from the stele and looks back.
in
Class
and the
examples of a class with drawing not unlike that
who
stele
XIII.
11.
Paris, Louvre,
MNB
620, Lee.
H. 0.42 m.
no.
Pottier,
alternate
leaves red,
and maeander
in
dull
black,
The
the
scene
folds,
is
and
maeander
drawn
violet
in
for
a taenia.
The
perpendicular
stele
on one step
At
scrolls
the
left a
stele
are red
woman
taeniae,
and
a violet
taenia
is
is
at
draped
in
her lowered
left
it.
hand
taeniae
CLASS
MNB
12.
XX,
Paris, Louvre,
Pettier, Lee. blancs
I.
The
10-14
XII,
617, Lee.
129
H.
105.
m.
0.33
Plate
the maeander,
palmettes are in dull black with alternate red leaves and red centre
The scene is drawn in
is broken
by dotted oblique crosses and reverses.
;
also in black,
full
red
bright red
is
and
details,
for details.
The
broad
stele
palmette reserved in
centre and thick red line at outer edge of the leaves.
At the
stele
woman
right stands a
carries
flat
down
skirt
taeniae,
her hair
at
the
in a
is
the
In the
left
the
above
field
away from
left
H.
Athens.
13.
in
0.29 m.
Plate XIX,
i.
The
large
stele
on two steps
is
the base
is
in her left
smegmatotheke
woman
is
a blue-gray himation,
At the extreme
stands a
left
bowed
sits
and
woman
in
profile,
but a few
her head
bowed,
steadying with her right hand a flat basket with fruit and taeniae on her left arm ; she
wears a sleeve chiton and an himation with border now dull yellow ; her hair is in a small
flat
knot
at the
The
figure of a
woman
is
nearly effaced.
14.
XVIII,
New
GR
618.
H. 0.248 m.
Plate
2.
The
maeander
scene
is
drawn
also
in
in
even
black, broken
lines
of dark violet
violet
wash
is
used
for
on the second step rises a high ovoid tumulus, and both stele and tumulus are
decorated with black and violet taeniae.
At the left a young woman (?) in profile, with
behind
it
no
head bowed, approaches and holds out both hands, a lyre in her lowered left hand
chiton remains
At the right an
the himation has black fold-lines and violet border.
;
his relaxed
right
hand
raised
slightly
from
his
side,
and
130
on
a petasos
edge,
The
his shoulders,
left
He
hand.
wears
high anthemion of the stele with extra scrolls has been noted
under Class
XI
(2,
no. 7,
New
MNB
in life
duced
youth with
in Class
XI,
3.
Numbers
the anthemion.
In addition to the draped taeniae of nos. 8-10, a
the broad red stripe on the woman's
red purse hangs in the field
The seated youth
chiton is another peculiarity of the present class.
;
woman
mav be regarded
as the
whom
dead person to
the
bringing offerings.
Except for the exaggerated position of
the woman's right hip, the vase is drawn with sure and delicate touch.
The
is
on no. 13
is
is
like that
on no.
The
7.
stele
on no.
Number
1 1
is drawn with
greater care and less grace; the red
the
taenia
behind the stele, and the striped garments
outlines,
draped
are characteristic of the present class.
12.
MNB
H. 0.32 m. Pottier,
Paris, Louvre,
618, Lee. 106.
Lee. blancs att.^ p. 149, no. 70.
Rayet-Collignon, La ceram. grecque^
15.
pi.
xi.
The
maeander,
The
scene
drawn
in
is
broken by the
fairly fine
lines
stele
of
full
red
thicker red
The
stele
on three
steps
is
is
centres
crosses,
is
used
the
and reverses.
garment,
with egg moulding, upright scrolls flanked by spreading acanthus leaves, and a palmette of
which the base and ends of the leaves are reenforced with a thick red.
In the field above
are festooned three taeniae
and
at
At
the left a
woman
stands in
CLASS
partial profile,
a
XII,
basket of fruit
her sleeveless
15-17
at
chiton
has a
deep
and along the bottom both of overfold and
;
side
loose knot
by
131
left
hand
right
skirt
her hair
is
profile,
held
up
wrapped
a small
in
to the
neck
To
The
on no.
12.
of the
woman,
rarely found
By
IV
H. 0.30 m.
Vari.
16.
The
scene
drawn
is
even
in
lines
may be regarded
Plate XX,
2.
of dull violet-red
The
The
hair
slender stele
even curls
in small
is
alternate
wash
violet
used for garment border and details, bright red for taenia ends, and green
of palmettes.
as
for
centre
decorated with bright red taeniae and crowned with violet wash
is
At
the
left a
woman
in profile places
low, irregular tumulus and bends well forward, holding out a large flat
she wears a sleeve chiton with perpendicular
basket with green wreaths and red taeniae ;
Above her basket in the
bright red stripes, and an overgarment with violet wash border.
her
field
on
foot
left
At
wreath.
woman
the right a
hand
left
raised behind
women
is
gathered
H. 0.295 m,
The
violet
dark red
is
The
the
The
scene
same color
is
is
stele
on
hair of both
Plate XIX,
2.
alternate
used for the small even curls of the hair and for details
slender
Salamis.
drawn
The
in a definite knot.
17.
ward
in a loose
two
details.
is
steps
decorated with
anthemion,
in
red
which the
taeniae
centre
at
intervals,
and
and
of the
edges
halfway up the shaft is an egg moulding and a
At the left stands a
row of acanthus leaves, the edges of which are reenforced with red.
woman in profile, holding out in both hands a dark red mantle rolled in a ball ; she wears
palmettes are reenforced with dark red
a chiton
with perpendicular
her
right
hand
(palm
stripes
on her
in)
left
arm
toward
the
stele
At
the right a
woman
stands in
a flat basket
132
The
On
hair of both
women
is
drawn
as occasionally in Class
acanthus leaves, the stripes of the garments, and the treatment of the
hair are characteristic of Class XII, though the use of black and
violet
is
woman
On
rather clumsy.
on
The drawing
class.
on no.
at the right
is
t6, but
in
woman
general it is
with her foot
earlier classes.
18.
Paris, Louvre,
att.^ p. 150, no. 73.
The
shoulder ornament
with black
darker red
violet
the
wash
whole
On
in red
Plate XXII,
in dull black,
is
lines
used for
is
was drawn
garment and
in violet
wash
tor
The
scene
taeniae,
is
blue
drawn
for
in
red
taenia,
a high rather
i.
for a
figure
MNB 615.
above
it
are
At
the
left
left
hand
slightly raised;
wash on
with
its
the outline.
Although there
is
no
on
stele
it
hand
figure, the
treatment of the
hair,
H. 0.295 m.
19.
The
palmettes and simple maeander are in dull grav, the palmettes with alternate leaves
The scene is drawn in dull red ; the same color is used for the small even
Salamis.
in a thick red.
The
stele
is
is
CONCLUSION OF CLASS
XII
133
mass of acanthus leaves, the edges of which are reenforced with thick red.
At the
woman stands in profile, her head bowed, holding out in both hands a large flat
basket with broad red taeniae.
She wears a sleeveless chiton, ornamented with
perpendicrich
left
and girded
in
is
At the
His head
the
left
hand.
is
slightly
bowed, and
his
right
;
his
hair falls in
No
The
black.
H.
Vari.
thicker red
is
scene
is
drawn
in
0.29 m.
maeander
in dull
Dark
details.
The
taeniae,
hands a large
flat
wings.
short mantle
left
At the
At the
right
In the
field
stands a youth
stands a
both
in partial
woman
profile
is a
lamenting if/vxrj with full
he wears a bright red chiton, a
the hair
falls
however, the acanthus leaves have the reenforced edge, the outlines
are in red, red stripes ornament the garments, and the
type of drawing
is like that on other vases of Class XII.
Conclusion of Class
The
XII
0.25-0.30 m. in height,
shoulder ornament
The
and maeander are quite generally in black with alternate leaves of the
maeander in red; on no. i these colors are reversed, on nos. 6 and 16
used instead of the black, and on no. 13 the only
color used for the ornament is a dark red.
The scene itself may be
a reddish violet
drawn
is
commonly found
6).
The
however,
is
134
found
in the
and black
i, 2,
17, 18)
the use of blue (nos. 8-10, 15, 18) as well as violet (no. 11) and red
While the hair is usually in the same color as
for the wide taeniae.
the outlines, the use of a thin wash over a few strokes of outline color
is
IX XI
in Classes
(cf.
preliminary sketch
in the
palmette leaves is the main difference from the stele found in Class
X, but the ornament at the top ot the shaft, the number of taeniae
on the
shaft,
of the
in the centre
The
palmette and toward the base of the leaves may also be noted.
character of the paint used for the outline of course definitely separates these lekythoi from those discussed under Class X.
On nos.
11-14 the
stele
series
complex
thoi of Class
is
XI
surmounted by a
important palmette, as on two lekyThe stele on no. i i is
and 3, no. 8).
broader for
of scrolls and
(2, no. 7,
its
height and
is
less
mion.
On
ornament
represented at
3, no. 8
on nos.
empha-
tumulus
top of the shaft remains.
the outside of the scene on no. 15 as on Class XI,
1 1
at the
and 14
it is
behind the
stele,
and on no.
it
takes
Only on
nos.
i,
on a low tumulus
2a,
and 13
in front
is
of the
stele.
The woman
woman
seated
bringing to the
woman
The
present with some offering brought to the grave.
second figure may be the youth with spears (nos. i, 2, 14), the youth
draped to the neck in his mantle (nos. 6, 8, 15), a seated youth with
is
CONCLUSION OF CLASS
is
woman
raising her
hair,
XII
and
135
woman
bringing offerings.
Except for no. 7 and one
or two of the seated figures, these scenes repeat familiar types with
on nos. i and 2a alone is there a
little meaning and little interest
it is
usually a
The
suggestion of the marble grave stelae scenes, as in Class XI.
scene on no. 7 is unique, a woman pouring from a hydria at the grave
while her companion holds out a phiale, and may be regarded as a
dead person
to the
neck (nos.
may
also be
and possibly
6, 8, 15),
Of
the objects brought to the grave, the hydria and phiale on no.
"
on no. 15 is
7 are rarelv seen on lekythoi, and the "fruit basket
the
wreath
The
elsewhere.
found
(no. 12),
lyre (nos. 14, 19),
hardly
the bird (nos. 2a, 4), the taenia (no. 10), and the vases (nos. 3, 11, 12,
wreath hangs in the field on
13) are often found in other classes.
nos. 3, 5,
draped
and
16,
15,
these vases,
however,
(?)
a
is
a characteristic mark of
purse on no. 12
the broad taenia of red or blue or violet
;
The
flying soul
on nos.
stele (no. 3)
2, 20,
find earlier
analogies.
The one
chiton with ornament at top and bottom occurs on no. 3, and on nos.
There
I, 2 the mantle or a veil is drawn over the back of the head.
is
much
is
common
The
It
in the
is
National
Museum
at
classified
here
is
provenance
outside of Athens.
is
CLASS
XIII
The
lines
some of which
1.
Corr.
Bull.
Neck
veil
(1877), p. 40,
Dumont
pi.
The
scene
H.
632d).
(Coll.
ii.
0.32 m.
Chaplain,
I, pi.
restored
maeander
in dull green.
is
drawn
red
is
in
yellow
used
garment.
At
head
1.
xxxiv,
for a
Hell.
is
the
left
pole on
hand
raised
is
At the
Charon
right
toward her
fore-
is
his left
waist
left
she wears over her sleeve chiton a short yellow chitonion with red border, and a
and
in front
woman
beneath
garment.
The
the
Only
scene
is
H. of
632f).
(Coll.
drawn
in red
dull green
frag-
and red
At the
left
and carrying
in
At
Charon
the right
her himation
is
3.
draped
The
att.y p.
MNB
is
raised
H.
150, no. 75
cf
In
p.
35, no.
0.29 m.
Pottier,
5.
palmettes are in dull black with alternate red leaves; the maeander, also in dull
hand
dull green
a taenia.
Paris, Louvre,
Lee. blancs
left
seated in his boat, holding the pole erect in his raised right hand
is
The
for a
136
scene
is
coarsely
garment and
for
drawn
in red, the
Charon's cap.
hair
CLASS
At the
woman
left a
in
1-7
137
profile
partial
;
XIII,
in
is
a loose
and behind the boat are reeds, and waves are drawn against the
London,
4.
pi.
Mus.
Brit.
White
0.29 m.
Ath.
leases,
xii.
The
black
hair
is
is
The
At the
one on her
left
right
woman
scene
at the
edge
maeander
the
drawn
is
bright red
also in
in full red
is
the
used for a
lines.
at
At the
left
On
H.
61.
side.
right
hand
his right
Charon
in his
straight out
he
draped a taenia.
Hell.
H. 0.30 m.
5.
I
(1877), p. 40,
Neck and
pi. i;
shoulder restored.
Dumont
The
scene
is
Chaplain,
drawn
i.
xxxiv,
I, pi.
in full red
Bull. Corr.
green-black
is
used for
Below
waves?) and on
either
6.
Plate
XXIV,
Palmettes in
I.
gray-green
red
H. 0.275 m.
(Coll. 632).
The
maeander,
scene
is
drawn
broken by dotted
in shaded lines of
gray-green, yellow, and red are used for garments and details, bright blue for the
water beneath.
At
the
raised right
Charon stands
exomis.
woman
left
left
hand
(tablet
in her right
hand
She wears a yellow chiton with red fold-lines, girded over an overfold,
and an himation with red border.
In the field are traces of a red taenia.
before her face.
7.
The
H.
0.25 m.
red, fading
toward pink
is
The
scene
is
drawn
in
138
At the
left
Charon stands
in his boat, leaning on the pole in his left hand and extendhe wears a high cap and a bright red exomis.
The boat has
At
the right a
Above between
himation.
On
the
two
ij/vx>]
Aies
toward the
head, stands in
left
is
abbreviated
two figures and drawn in the rather hasty fashion of the present
class.
Reeds before (and often behind) the boat, and stones or waves
to
in front
of
it
Charon, seated
not, as before,
draw
While he
to
no. 2
is
so like no.
that the
two mav be
re-
wears the same short sleeveless chitonion with red border, as on no. i.
It is not unnatural that the woman for whom Charon has come should
carry a casket, as
on no.
2,
flat
baskets
On
background
for her
no. 5 the
charming
woman's
profile
(cf.
hair
is
her
attitude, with hip thrown out, also recalls an attitude noted several
times in Class XII.
On no. 6 the free use of color does not make
up
this
vase the
woman
common
CLASS
The
Black
is
H.
8.
used for
The body
Prothesis.
with slender
one black
garment and
legs, the
8-1
XIII,
scene
drawn
is
head with a
At the
ment remains.
basket,
less
The one
woman
at the left
is
appar-
no gararm a flat
;
chiton.
Ornament
The
plinth.
The
missing.
At the extreme
the
Attica.
9.
lies
right
of red-brown.
injured.
right another
lines
is
taenia.
shaded
in
of the dead
woman
139
0.25 m.
Much
for details.
right
is
drawn
in red
bright red
used for
is
field is
a prothesis scene.
occupied by
On
a high
couch
Behind
in a mantle, the
wrapped
m.
details.
the dead,
woman
is
to shoulder 0.18
a stele,
remainder of the
body of
scene
H.
The two
10.
by dotted oblique
maeander
The
H.
scene
is
0.33 m.
also in dull green,
drawn
in red
broken
with acroteria
left
on the
left,
part of an
"altar"
left
hand
raised slightly
which
is
supports a red
toward the
hand
raised
stele.
mantle under
At the
right a
;
On
the
woman
in partial
11.
Eretria.
H.
0.33 m.
Palmettes in gray-green with alternate leaves red ; maeander also in gray-green, broken
The scene is drawn in shaded lines of red ;
The
broad
ment with
the
left
right
stele
acroteria
on two steps
on one side
is
details.
is
seen part of an
"
hand
is
slightly raised
toward the
stele.
He
altar
rest
"
on the
stele steps
At
his relaxed
140
12.
The
scene
drawn
is
in red
maeander
is
m.
0.31
also in grav-green,
bright red
H.
(Coll. 662).
broken
The stele
decorated with red taeniae and surmounted by a pediment \vith red acroteria ;
is red with added ornament in white;
part of an "altar" is
is
At
red stripes
two
on
lines, a petasos
his shoulders,
Ornament
The
;
broad
on one
stele
side
woman
carrying a wreath
left
his
re-
a chiton, a
and boots.
1772,
scene
Cv.
drawn
is
in
1817
red
bright red
H.
668).
(Coll.
is
to
is
The
flat
stele
left
on the
stele
step,
woman
sits
red himation.
raising
slightly
his
Mus.
Brit.
London,
basket
78.
H. 0.30
rn.
now brown
in black,
full
At the
is
holding out a
14.
of
stands a
he wears
The
grav-green.
mound,
At the right an ephebos stands
relaxed right hand toward the
is
left
details.
teria
on
in
Mus.
and
the
hand, and raising her relaxed left hand toward her head ; she wears a chiton with
At
and an overgarment, or chitonion, which is dark red with black fold-lines.
in her right
is
used for details, blue for a garment and details, thin black (once red
?)
for a
garment
stripe.
The
stele
on one step
is
decorated with red and blue taeniae, and crowned with red
hidden "altar"
both hands
stripe
down
holding two
wears
is
At the
the side.
is
tvmpanum
At the
left
woman
in
partly
right a
a short chiton
girdle, a
15.
XXIII,
The
Paris,
I.
Louvre,
MNB
613, Lee.
H.
107.
0.33
m.
Plate
is
The
stele
on two steps
stripes
is
(.')
for
another garment.
in the
typanum.
Behind
it
and showing
at the right
CLASS
is
XIII,
141
12-17
At
the
woman
left a
approaches rapidlv, her left hand extended toward the stele, her right
hand raised behind her head with tablets from which floats a ribbon ; she wears a sleevein partial profile
less
At
he wears
a short bright
altar
" and
left
hand
red chiton with black fold lines, and a chlamys with traces of blue,
16.
The
H. 0.225 m.
Mus.
Brit.
London,
The
ment
stele
on two steps
'<
part of an
altar"
The
scene
is
behind
it
At the
at the left.
left
which supports
in profile
youth
his
garment, and
hand, palm
left
her
in
drawn
is
is
left
17.
The
in blue
broad
is
side
is
details.
Drawing
The
scene
drawn
is
in
stele
falls
"altar"
At the
At the
right a
he
which supports the himation under his left shoulder
his relaxed left hand is extended toward the stele.
ton
;
man
also
left
hand extended
her hair
red
0.25 m.
nearly effaced.
approaches, her right hand raised behind her head and her
toward the
mantle
and
stele
on one
woman
H.
left
leans forward
arm
on the
is
staff
\c^
the
The common
is
an
altar-
woman
raised
adoration
to
her chin
may both
be understood as gestures of
142
No.
of Class XIII.
characteristic
quite
which
12,
is
even more
thumb and
in which
right hand,
woman
with a
flat
the ephebos
is
from the
and the
finer
staff
18.
Cerameicus.
The
and
The
broad
stele
At the
in blue.
woman
extended
left
drawn
is
in
red
0.25 m.
blue
left sits
is
scene
H.
is
At
in her right
hand
she wears a chiton with overfold, bordered with gray-green, and on her
arm
a scarf.
is
Brit.
In the
Mus.
field is a
red taenia.
H. 0.34 m.
19.
London,
The
74.
Plate XXIII, 2
brown
is
The
with
broad
stele
pediment,
woman
in
on two
steps
is
decorated with
central
taeniae and
crowned
At the
left
face, holding high behind her tablets with floating ribbon ; she wears a
sleeveless chiton with green overfold to her knees ; the bottom of overfold and of chiton as
stands a
cti
drawn back,
is
claret-red.
At the
left
hand.
hand
He
20.
London,
Brit.
Mus.
right
to his chin
wears
A
73.
his left
taenia
is
draped
in the field
stele.
maeander
in
H. 0.32 m.
red
the
same color
is
drawn
behind the
the
dull
CLASS
The
broad
on two steps
stele
is
XIII,
18-22
143
and pediment in which the tympanum is black with applied red, and the
At the left a woman in profile approaches,
surrounding band and acroteria are blue.
she wears a sleeveless
steadying with her right hand the ornamented box on her left arm
black abacus
hand
is
under
staff
his right
At the
shoulder,
is
which holds up
his red
in the field
behind
draped
him.
H.
Athens.
0.32 m.
in dull
The
is
the maeander,
scene
drawn
is
3.
also in black,
in fine lines
of
is
tails,
The broad
on two steps
stele
which
in
ment,
hand on
over his
left
At
shoulder.
knot behind.
is
At
his right
Above
the right a
her garment
the
a youth
of
a lyre
strings
hand on the
mantle
is
approaches,
looselv draped
and presents
out in
a loose
Athens.
London,
The
Brit.
in partial profile
is
Mus.
left
22.
80.
H. 0.30 m.
now brown
broken by dotted oblique crosses, reversing, but is not broken by the top of the
The scene is drawn in red thick red and blue are used for garments and details,
is
black,
stele.
Surface damaged.
The
stele
is
Plate XXII,
in a
a sleeve chiton
hand
right
to his chin
left
pediment
a
basket on her
arm.
left
in
woman
her hair
an ephebos in profile leans forward, supshoulder with his lowered left hand, and raising his relaxed
At the
is
before them
right
a petasos
on
his
shoulder.
red taenia
is
draped
in the
behind him.
field
The
stele
but
without
the
common
on these
the
14 and 17.
nos. 18,
structure
nos.
five vases is
altar-like
20-22
is
on
on
4-7) on
stele, as
nos. 2,
With
the larger palette and greater elaboration there is found more care in
The woman with tablets raised high in the air occurs
the drawing.
on nos. 18 and 19, as on nos. 6 and ic^^ supra. The youth with spears
raising his re -axed right
hand
to his face
on
nos. 19
and 22 repeats
144
Number 20 is
both arms.
unusual
woman
in that the
carries a carefully
decorated casket, while the youth leaning on his staff is seen from
behind, a type found in Class III and occasionally recurring, e.g. in
The
IX.
woman
of the
seated
figure
MNB
Paris, Louvre,
23.
The
palmettes are
in dull
on two
stele
steps
is
crowned with
parallel lines
Above
of her head.
at the base
ander,
is
which supports
MNB
drawn
in full red
dull greenish
is
her hair
draped
At
the field.
in
loose
in
is
left
knot
flat
the
right
shoulder
his
in.
H. 0.335 m.
palmettes are in dull black with alternate leaves red and red centre
also
drawn
now
mantle
palm
H. 0.285 m.
Plate
2,
The
basket
flat
a dull green
slightly raised,
Paris, Louvre,
24.
XXII,
is
is
this
of black.
in profile,
hastily
is
on
scenes.
loi.
The
Charon
621, Leo.
is
in
in
black,
red,
is
the hair in
the
same color
brighter
red
is
used
for
mae-
the
The
scene
garment and
details.
The wide
in the
stele
on two steps
tympanum and
tumulus a
woman
sits
is
crowned with
pediment
leaning forward
her
arm
left
is
applied.
clasps an
knees, and her right hand is raised behind her head with tablets from which floats a ribbon.
She wears a sleeveless chiton and over her knees is a mantle with bright red
her
edge
;
hair
is
in a
low
leans forward on
his face,
his
On
two
palm
shoulder, and
wears
a petasos
25.
He
in.
left
hand, and
Brit.
stele a
London,
At the
taenia.
red taenia
Mus.
is
sword
festooned in the
77.
in
right
right
an ephebos
hand toward
scabbard hangs
at
his
side.
field.
Athens.
H. 0.235
The
'""
is
garment and
details,
for a
garment border.
CLASS
The
broad
in
the
woman
left a
on her knee
fold
At
on two
stele
which
pediment
the lower
is
steps
her
the
tympanum, and
the chiton has dark red stripes and bright red border, the overfold a bright red border.
Mus.
left
H. 0.325 m.
Athens.
London,
The
Brit.
hand grasping an
hand.
26.
black,
red
At
top
145
foot
left
of taeniae
23-27
member,
in profile puts
XIII,
75.
leaves
red
the maeander,
also
in
taeniae
and
The
details.
broad
on two
stele
steps
is
behind the
is
stele
she wears a sleeveless chiton, girded over overfold, and a small mantle
right an
in profile leans
ephebos
the hair
ered
hand
left
falls in
forward, the
left
two
spears
drawn back
on
a little
he
with
raises his
his
stele with
decoration
to the
taenia in
low-
he wears a red chiton with black fold-lines, a chlamys with red border,
petasos on his shoulder.
At the
foot
A
is
knees, as
Paris, Louvre,
27.
MNB
H.
0.33 m.
Palmettes, with alternate leaves red, and maeander in dull thin black
The
extreme
face, his
and
for taeniae,
left
a dull dark
The
scene
green
is
is
drawn
in red
the
maeander
bright red
is
used
At the
crowned by a pediment and decorated with red taeniae.
and before them a youth sits on a low tumulus, his shoulders en
hand holding two spears erect
he wears a short chiton with red decoration
broad
left
and
stele.
stele is
are reeds
in
outline.
Above him
a taenia
is
draped
in the field.
At
the right
young woman stands en face, touching the acroterion with her right hand, and on her
She wears a sleeveleft arm
holding a large flat basket of red taeniae away from the stele.
146
dark green, with wide band of white and narrower band of bright green
the right side, along the girdle, and along the bottom of the skirt
down
down
loose
Mus.
Maeander
for
in
garments and
The
her hair
falls
H,
to
her back.
stele
The scene
Much damaged.
is
grav-green.
details.
Cv.
1766,
drawn
1713
in red
663).
(Coll.
is
At
hand
left a bearded man sits, holding two
At the right a woman
with traces of red and green, and on his shoulder hangs a petasos.
on
arm
a flat basket with
her
hand
and
her
left
in
right
approaches carrying a small casket
a
over
overfold.
red taeniae ; she wears a chiton girded
greenish
spears erect in his right
the
29.
he wears a chiton
H.
Eretria.
0.32 m.
of red
the hair
in
is
used for
is
green-black
she
wears a chiton
right a
woman
an
overfold,
green-black
now
red
border.
at
At the
without color.
30.
with
sits
over
girded
Cerameicus.
H. 0.30 m.
Palmettes in grav-green with alternate leaves red ; maeander also in gray -green, broken
The scene is drawn in shaded lines of red ;
bv dotted oblique crosses and not reversing.
red
is
ment with
hind the
At
acroteria.
stele
her hair
the
is
a young woman approaches, her left hand extended beshe wears a chiton, and an overgarment
low flat knot
left
in a
is
at
hand
raised slightly
At the
right a
toward the
stele
young man
;
he wears
31.
Corinth.
H.
0.25 m.
The
in
broad
stele
palm down
extending
left
hand
his right
;
is
crowned by
he wears a
he wears an himation.
stele
and carrying
a lyre in his
lowered
CLASS
London,
32.
On
Mus.
Brit.
XIII,
28-33
H.
88.
147
0.26 m.
the shoulder a large spreading palmette, black with alternate leaves red
maeander
in black,
The
stele.
scene
is
rudely
simple
drawn
in
The
stele
on one step
At the
acroteria.
At the
left
is
youth approaches,
Paris, Louvre,
32a.
and maeander
Palmettes
in
dull
thin
on two
steps
his
left
hand
hand held
his right
is
scene
drawn
is
in
out,
palm
lines
now
preliminary
slip.
out her relaxed right hand (palm in) toward the stele and carrying a
on her
pediment with
he wears a
extended
H. 0.24 m,
The
black.
stele
right
arm.
left
The
forearm
chlamys.
down an himation covers his
right
his
flat
basket high up
The same
border on garments
is
less
hanging down
her back.
The
seated
man on
left on
Charon
woman
nos. 27
as the
29
woman on
much
on
no. 21,
stele top,
probably because
in this instance
it
scene below.
33.
Red
in red,
the
H. 0.285 m.
Eretria.
crosses
and reversing.
used for a garment and details, yellow for a garment, and green-black for details.
The rather slender stele is decorated with red taeniae and crowned by a pediment
is
with acroteria.
At
the
left
traces of
yellow are
all
in
both hands
a flat
148
her hair
is
in a
low
flat
At
knot.
in
a red himation.
H. 0.24 m.
34.
The
remain.
The
scene
is
drawn
in fine lines
of
full
red
of gray-green
traces
another red
is
maeander
is
35.
Cerameicus.
H.
0.3
m.
Two
reversing.
Drawing good.
The
is
At the left a youth stands with bowed head, his right hand
by pediment with acroteria.
At the right a young
on his hip he wears a light red mantle with dark red fold-lines.
;
woman
approaches carrying
The
a flat basket
sloping shoulder, the finer lines of the drawing, and the slender
moreover, on nos.
22 and 35 the ornament as well as the scene is in red, and the figures
The youth draped to the
vary from the usual types of this class.
in
IX
was
found
Class
and
neck
occasionally in later classes, but is
unusual in Class XIII
these three lekythoi are from one hand, it is interesting to note that
the provenance of no. 35 is Athens, while no. ^3 came from Eretria.
36.
London,
Brit.
Mus.
63.
Gela.
H.
0.25 m.
The dull green palmettes have nearly disappeared ; the maeander, also in dull green,
broken by dotted oblique crosses, reversing.
The scene is drawn in red, with the hair
Much rubbed neck restored.
in a wash of the same.
is
The
stele
with acroteria.
hand
The vase just described is one of the very few with drawing in
matt color on white which have been found in Sicily. The seated
youth with spears in his hand is not unlike other seated figures in
Class XIII, and the colors are those usually found
the horse standing
by a tree, however, is unique, and the spirit of the scene is unusual
;
CLASS
XIII,
34-40
149
found
it
in a
made
in
represented.
scene
drawn
is
The
in full red
broad
is
is
maeander
The
his
left
shoulder
and her
left
hand
his right
At the
his side.
raised slightly
is
is
seen part
left
from
hand
hand
a yellowish color
on two steps
stele
H. 0.24 m.
37.
is
on the
right stands a
staff
woman,
and
his relaxed
she
stele;
H. 0.225 m.
38.
scene
drawn
is
The
the
stele
left side
(on
a staff
an
in
red
a color
on two steps
*
under
"
altar
left
now
is
stele
At the
is
and
At
gray.
in her left
"jacket" now
the right a
hand
on
woman
wreath (?)
left
gray.
H.
39.
The
now
0.32 m.
maeander
dull
At
the
left
on the
staff
under
his
shoulder
left
he wears a loosely
On a block at the right sits a woman, her relaxed right hand raised
draped red himation.
to her chin and her left hand above her head ; she wears a sleeveless chiton and over her
knees
is
40.
XXIV,
Athens,
Nat.
Mus.
is
H.
0.29 m.
Plate
2.
drawn
in full red
another red
is
maeander
The
for a
garment.
The broad
is
a greenish himation
At
250
ward on
wears
a staff
under
Palmettes erased
Mus.
Brit.
London,
41.
and
raises his
he
a looselv
D 84.
H. 0.245 m.
Athens.
The
scene
is
drawn
in
"altar"
is
carelessly
The
stele
At the
surmounted by
is
right a
black,
Mus.
H.
89.
the
part of an
left
is
mantle.
0.25 m.
The
is
at
Brit.
London,
The
moulding, and
it.
42.
a triple
The draped figure at the left leaning on his staff is nearly erased.
woman sits in partial profile, her right hand extended and her left hand
behind
seen
the maeander,
scene
is
also
drawn
carelessly
in
in
red.
"
The
on one step
stele
is
a sleeveless chiton
forward on the
profile leans
hand
On
is
is
staff
in
loose high
knot.
At
slightly raised,
palm
rectangular structure
right
shoulder
is
Numbers 3738
side.
his
in.
except that the youth's staff is no longer visible on no. 38 and the
gestures of the woman on the right as well as her garments are varied
Numbers 39 and 40
somewhat.
the
same scene
as
scene
is
Neck
drawn
red
dull
green
is
maeander
0.29 m.
also in dull green.
The
taeniae.
restored.
The
At
in
H.
the
broad
left
stele
woman
with moulding
approaches, her
at the
left
top
is
hand extended
to
touch the
stele,
her raised
CLASS
A
youth seated
at
41-47
woman,
his
scene
is
raised
drawn
The
in red
broad
arm and
two
on
stele
On
another red
an erect
is
staff in
is
steps
left
erect
hand
hand nearly
maeander
The
woman,
head
to her
himation
his
0.33 m.
is
At the
hand grasping an
is
left
H.
44.
151
green mantle.
a dull
is
XIII,
right a
draped loosely so
youth stands
easily,
side free.
Mus.
Brit.
London,
45.
05.
drawn
black
is
The
stele
wash over
is
is
0.29 m.
maeander
The
also in black.
scene
is
greenish
triple plinth of
H.
1-2.4.
and yellow
taeniae,
and surmounted by a
red.
At the left
member
an ephebos sits on a tumulus, holding two spears erect in his raised right hand ; he
wears a chiton with notched red border, a chlamys with yellow border, a red petasos on
his shoulders, and black boots.
At the right a young woman in partial profile with bowed
hand
sleeveless
Mus.
Athens, Nat.
shoulder 0.15 m.
46.
The
scene
The
is
drawn
broad
stele
it
left
Cv.
1773,
alternate
bright red
is
scene
is
side
she
wears
1733
red
leaves
maeander
H.
641).
(Coll.
also
in
to
gray -green.
is
woman
chlamys
in his
hand
H. about 0.30 m.
47.
The
of his
on one step
At the
triple plinth.
one corner
in red
from her
raised
slightly
girded.
drawn
two shades
garment and
for details.
The
a
stele
is
crowned by
remains.
At
At the
her chiton
woman
is
stands a
woman
holding out
carrying a
left
flat
basket on her
left
arm and
152
woman
Num-
ber 45 shows a much more free use of color than any of the other
The figures grasping a fold of a
lekythoi with this type of stele.
garment
(nos.
in the
no, 18).
The
green.
scene
The
At
lines.
drawn
is
stele
the
in
stands a
hair
drawn
left
hand
H.
Laurion.
mark the
to
round
hand
pillar,
slightly
At
0.29 m.
maeander
left is
youth
toward the
stele
in partial profile,
young woman,
wrapped
lines
to the
left
arm
flat
basket
H.
also in black.
for taeniae
51.
red
flat
and garments.
decorated with two taeniae in red, and with
At the
capital.
in strong red,
of thick red
a gar-
short.
is
is
used for
is
scene
0.29 m.
woman
The
On
dark red
H.
Eretria.
for taeniae.
left
At
50.
is
is
taeniae.
maeander
The
the unbroken
49.
and her
red
stands a youth draped to the neck in a red himation with black fold-
left
(in lamentation ?)
At
in
0.26 m.
for taeniae.
broad
At the
plinth.
H.
48.
scene
is
drawn
to shoul-
of red
The broad
on one step
stele
double plinth.
At the
her relaxed
hand
left
forward on the
ard the stele
52.
staff
left
is
woman
in profile kneels,
to her forehead
under
his right
At
Bright red
is
the scene
is
drawn
H.
0.26 m.
in red,
and
few red
lines indi-
CLASS
The broad
woman en face,
stele
is
crowned by
carrying a
relaxed right
slightly raising his
On
the shoulder
153
At the
left
stands a
young
a youth,
H.
Athens.
53.
48-55
no garment remains.
At the right stands
hand toward the stele
he wears a red himation.
basket
flat
XIII,
0.18 m.
two palmettes from left to right in dull black zigzag lines also in black
The scene is drawn in rather thin red, with dull black wash for
;
The
stele at the right is decorated with two black taeniae and crowned with egg
At the left kneels a young girl, her right hand out
a capital in thin black.
and
moulding
of
her
her garment has disappeared ; the hair falls in
left hand on
head
her
;
top
palm up,
54.
Only
in hasty, vigorous
H.
Athens.
0.27 m.
The
scene
is
drawn
in full red
manner.
of the
left is
a stele
stele, gallops
Instead of the stele with triple plinth for a capital, these lekythoi
have a single or double plinth several of them are very small and
;
stele,
On
nos.
48 we
find again a draped taenia, here with a wreath also in the field ;
these two lekythoi received more attention from the maker than those
which follow.
The
on no. 50
stele
lines
capital.
is
On
back with shield and spear, curiously enough with shield on his right
arm and spear in his left hand as though the painter had been working
which the natural positions were reversed.
On this vase the drawing is hasty, but much superior to that on most
of the vases in this class.
A horse was noted on no. 36 both nos. -^6
relief in
person
55.
as "grave-stele scenes
represented as in
life.
is
drawn
The
stele
in red
in
"
H. 0.30 m.
maeander
also in gray-green.
The
on two steps
is
is
At the
left a
154
hand
raised
She wears
under
staff
a chiton
and
a short sleeveless
the right a
left
scene
drawn
is
in
shaded
lines
woman
stele, a pitcher
(?).
chitonion of grav-green.
H. 0.295 m.
56.
The
At
lowered
in her
is
The
broad
stele is
jecting from
forward on
his
staff,
is
relaxed
his
raising
At
hand toward
left
his
the
head
pro-
youth leans
he wears a loosely
left a
the top, on the bottom of the overfold, and on the bottom of the skirt.
Palmettes
scene
for a
H. 0.33 m.
57.
in dull
drawn
is
in full
red
is
maeander
The
garment.
The
broad
stele
At the
on two steps
is
leaves
youth stands with one foot on the stele step, holding an alabastron
in his left hand
he wears a loosely draped himation with traces of red.
At the right a
woman stands en face, her relaxed right hand raised from her side, carrying in her left
taeniae.
left
which
a small casket
stele
is
58.
(Coll. 644).
H.
Attica.
0.23 m.
Palmettes in gray-green with alternate leaves red
The
The
the
left
maeander
scene
is
also in gray-green,
drawn
in
shaded
lines
broad
stele
woman
is
approaches, her right hand raised behind her head, her relaxed
toward the
stele
hand
his
left
the right a youth leans forward on the staff under his right shoulder, on top of
left
is
raised slightly
his
broken
of red
is
slightly
toward the
raised
which
He
stele.
At
hand
At
rests
wears a
59.
scene
is
drawn
in
red
dark red
is
H. 0.285 m.
leaves red
maeander
also
in
gray-green,
The stele is crowned with spreading acanthus leaves. At the left a woman apAt the right stands
proaches and bends forward holding out a flat basket with taeniae.
a youth extending his right hand as if to take something from the basket.
CLASS
Maeander omitted
61.
in
The
left
broad
stele
woman
her mantle
carrying a
in
0.38 m.
draped figure stands before
H. 0.34 m.
Athens.
79.
The
the
H.
leaves.
Mus.
Brit.
London,
155
drawn
56-63
60.
a stele
XIII,
thin
The
red.
Drawing
scene also
is
rude.
At
crowned with egg moulding and three large acanthus leaves.
sits on a low tumulus, her left hand raised toward the chin
profile
is
The
of the present
Numbers 55 and
class.
t^(i
be described as a pair
may
probably made
The drawing on
nos.
c^c^^
H.
Athens.
62.
0.31 m.
The
Drawing
on three steps
stele
over his
to the hair
with
is
arm and
left
a fine brush.
flat
knees
At
the right a
wash over
strokes,
few
63.
The
in
supported by
the field on each side
Mus.
woman
arm
dull
is"
Brit.
London,
is
of taeniae on her
basket
chiton in outline,
a
his
dull
gray sphendone
in a
in
red
of the stele.
83.
Athens.
H. 0.295 m.
palmettes and maeander are in dull black, the maeander broken by the acanthus
The scene is drawn in coarse lines ot red ; there are traces of black
wash
for details.
The
base,
traces
and two
series
to her shoulder
of an "altar
"
hand
front
left
shaft.
At the
hand (palm
left
in) straight
woman
in
toward the
the top
at
partial
stele
there are
profile approaches,
and
156
arms
her hair
* altar
" with
in his left
is
At the
hand
his right
he wears
right a
a short
hand.
Two more
should be described
the stele
is
crowned with
similarity in scene
as a
companion piece
to no. 22,
on which
many points of
has a unique form of nar-
Number 63
and technique.
row
stele
drawing
much
The
scene
is
drawn
On
red.
in
The
stele.
either
H.
side
of a broad
the
left
woman
H. 0.30 m.
On
0.275.
stele
tumulus.
represented.
65.
commonly
In
scene in red.
On
basket
she wears a
staff.
66.
maeander
Palmettes and
staff.
67.
H.
gray-green
many
taeniae
At the
right a
she wears a
behind
scene in red.
At the
are reeds.
it
0.30 m.
left
an ephebos leans
corner of
chair, holding a
H. of
frag-
ment 0.19 m.
(Palmettes and) maeander
for a
garment and
in
gray-green.
The
scene
is
drawn
in red
red
is
used
details.
left
is
his
At the
left sits a
he wears a
slightly raising
68.
left
to right
maeander missing.
H. 0.23 m.
The
scene
is
drawn
CLASS
At the
right
her
left
ovoid tumulus.
a high
is
hand stands
woman
XIII,
64-73
Facing
it
157
and touching
at the right
it
with her
hand.
left
69.
Maeander omitted
H.
Cerameicus.
0.21 m.
on rocks before
in a chair
as
Palmettes and an
scene
drawn
is
The
stele
arm
is
is
At the
reenforced.
the right
is
the edge of
red
right
is
The
scene in red.
palmette reenforced.
and unbroken
Palmettes
another red
The
and
moulding
H, 0.275 m.
At the
left
is
crowned with
stands a
young woman
stele
H.
72.
maeander
in
gray-green
the scene
is
drawn
stele.
0.26 m.
in
red and
is
stele
and anthemion
profile
the
At the
basket.
flat
the
anthemion,
stands a
left
71.
with a
crowned with
basket with
flat
At
stele.
0.25 m.
in
H.
70.
on two steps
;
is
stele
is
reenforced.
At the
left
step,
youth stands
his right
in
hand
Wien, Hofmus.
73.
H. about 0.20 m.
624.
Palmettes and simple maeander in thin black, the palmettes with alternate leaves red.
The
scene
drawn
is
for
a mantle.
The
in
stele
which the
on one step
is
is
At the
left is a
At the
with one hand protruding from the closely draped red mande.
a kneeling woman with both hands extended, as if in a gesture of mourning.
seated figure,
right
is
She wears
a sleeve
Four
chiton
now
without color.
is
a pal-
158
in
Class
XII
Conclusion of Class
Except
fiar
XIII
The
preceding
The
With few
exceptions
slip
{e.g.
is
nos.
thin greenish black with alternate leaves red, and the maeander is in
the maeander is ordinarily broken by dotted obthe same thin black
;
In one or two
and sometimes by the top of the stele.
lique
cases {e.g. no. 31) the top of the stele seems to be painted over the
maeander, which apparently was completed before the scene was drawn,
but usually the order of procedure seems to have been the reverse.
crosses,
The most
is
is
drawn
much
in
the
same
shaded
in
is
lines
as in Classes
The
color
quite different
from
of dark red.
lekythoi are generally of the same size as in Class XIII, the shaded
lines of the present class, the more hasty drawing, and the differences
in the treatment of the scene itself serve to define the two classes in
In Class
XIV
is
the same and shaded lines are usually found, but the lekythoi are
much larger and both the scenes and the style are different. The
^^^ present class, and the coarse lines
o^ e.g. no. 41 illustrate the differences which exist within the class.
on no. 4 it
preliminary sketch in the soft slip may be seen on no. 5
finer lines
'^^
is
drawn
in pencil-like
Solid color
is
gray
used for
lines,
a red different
and blue
is
19-22, 64
(?).
less
2)3->
frequentiv
31 45> 57>
y
common
6,
than
in
CONCLUSION OF CLASS
3 Si 57 y
^"^
stripes of black
on red
In Class
XII
XIII
159
border
is
wash
found
on twenty-two examples,
garment or
garment
Of the Charon
no. 10).
At
woman
man and
adoration.
The woman
is
mound on
low
man
is
seated on
nos.
27,
on nineteen vases
may
i6o
hand
on sixteen vases
raised slightly
from the
side,
palm in,
some-
thumb and
times with
The
grave.
gesture of lamentation
may
and
^^ (cf. nos. 26, 37, 39, 41, 48, 49, 62) as well as on nos. 8, 9
the attitude of the seated woman who supports herself on one arm is
;
to be noted
A man
on horseback occurs
once (no. 54), and a child crouching on the ground once (no. 69).
In general the repetition of a very few types indicates the commercial,
while the easy
as opposed to any artistic character of these vases
;
is worn
like a
^^, 57,
The himation is not ordinarily present; on
jacket over the chiton.
nos. 5 and 61 it covers the back of the head, and on nos. 18, 43, 66
20,
38,
30,
short sleeveless
it
chitonion
Occasionally
{e.g.
is
somewhat
Considerable attention
and of women.
from
The
is
less
common
coiffure of the
men
variety,
low
flat
knot
to a loose
it
hangs
free
down
Of the objects brought to the grave the flat basket with taeniae and
other off^erings is still the most frequent
however, it occurs on less
than a third of these vases, and in general on the vases that are more
An alabastron is brought once (no. 57), the smegmatotheke
careless.
;
CONCLUSION OF CLASS
XIII
i6i
it
was in
earlier
hand
The most
here.
as
presented at
in the dramatic
class.
Perhaps
they
are
brought to the grave with a message for the dead person, though
find no direct evidence for such an interpretation.
A
and
found only
in a
The draped
Charon scenes
Charon scene
taenia, noted
(no. 7),
in
Class
in
decorative in
its
Charon scenes
are part of the
intention.
(nos. 2, 4-6)
its
in place in
(nos. 1-6) but not in grave scenes (nos. 22, 27, 66)
effort for the picturesque on these vases.
same
been made together in pairs (nos. 1-2, 14-15, 18-19, 37-38, 39-40,
In general, the lekythoi of this
55-56) strengthens this impression.
class
are small
Classes
of
somewhat
fifth
affected,
CLASS XIV:
The
On
shaded
lines, less
commonly
more
in
height, and
the
scene
is drawn
chalky slip
in fine lines,
On
of dark red.
fully
half of these vases the scene consists of two standing figures and a third
figure seated before the stele, and on these solid color is rather freely
On
used.
scenes, prothesis and depositio scenes, and one battle scene, the
examples are grouped as in Class XIII according to the form of the
Charon
stele.
less careless,
no reason
to a
few types
drawn
is
red
light
with
in fine lines
for
sharp
stele
mented pediment
in
0.384
m.
Plate
woman
full
and
hard
for
the acroterion.
slip.
it,
left
He
in his boat,
wears
drawn with
a light red
drawing
it
to shore
exomis, and
three-quarters view
and in her left hand she
now
without color
her hair
is
in
At the
in
a sleeveless chiton,
with
a high black
right
an overfold,
stele
At the
a taenia.
right a
H.
Eretria.
537.
on one step is decorated with taeniae and surmounted with wide oi-naon the step stands a lekvthos, and behind it is
light red with acroteria
cap
of
garment,
point in the
The wide
draped
is
ateliers.
hastily
scene
There
marked.
3.
The
is
CA
Louvre,
Paris,
XXIV,
less
to doubt,
contemporaneous
1.
in
her
carries
girded over
fine
Berlin, Furtw.
2.
S.
18,
Taf
The
2681.
Attica.
H. 0.465 m. Jrch.
Zeit.
1885,
ii.
shoulder shows only the acanthus leaves from the top of the stele, and perpendic-
above them
only the glaze lines enclosing space for the maeander re162
CLASS XIV,
The
main.
scene
The
drawn
in red,
now
faded
violet
163
used for garment and
is
details,
to indicate water.
apparently round,
stele,
Charon
the left
is
1-4
is
sits
wide garland of
woman toward the
a veil
is
ivy,
and on
right
head
his
is
the
at
hand
left
in outline,
is
hand
her chiton
Berlin, Furtw.
3.
19, Taf.
S.
left
2680.
is
with
in outline
slight decoration.
H. 0.535 m. Arch.
Attica.
Zeit. \%%i^^
iii.
Shoulder without decoration, and only the glaze lines enclosing space for the maeander
remain.
Neck high and slender. The scene is drawn in full red, varying to orange red.
Details in a color now dark violet, applied in different degrees of thickness, and in yellow
Surface injured bv
and blue.
The
ground
is
stele,
both
;
at
traces
stele
fire.
remain of
his
of the
At the
shaft.
left
vouth
in
profile
approaches the
Before the
and facing toward the right is a voung woman in partial profile, her right hand raised
the back of her head, and in her extended left hand a flat basket with four violet pome-
stele
to
Facing her
stripes.
at
down.
Traces remain of
on the edge of
his
boat (of which only faint traces remain ), his right hand extended toward the pomegranates ;
he wears an exomis now violet and a high round cap.
Greenish balls (waves or stones ?)
are
drawn beneath
Athens, Nat.
H. to neck 0.30 m,
4.
Mus,
1916, Cv.
drawn
is
is
violet foliage.
Athens (Cerameicus).
1659.
it
maeander
in dull green.
The
scene
a red
is
;
is
unhke
that
it is
drawn
Charon scenes in
No. i is drawn
regularly present.
the face of Charon has almost the
are not
exomis,
in three-quarter view.
On
the
woman
is
unusual
in
by
lekythos on the steps, together with the
woman bringing offerings at the right, determine the character of the
scene
Charon in his boat coming through the reeds is only an accesacross
sory figure which serves to remind one of the journey of the soul
a
'
i64
no. 3, the use of thick violet for details, and the indication of water or
stones beneath the boat, as well as the style of the drawing, serve to
On no. 3 the young woman
bring these two vases into close relation.
woman
5.
The
scene
drawn
is
in
in fine
is
Eretria.
Inv. 1969.
H. 0.412 m.
even
lines
dark red
is
now white.
now thick
violet for a
Prothesis.
woman
body
is
wrapped
in a
mantle
now
with the
left
hand
violet,
and over
Behind the
and the
extended
a
left
hand
or basket
on her
left
arm
left,
Beneath
hand extended.
right
body of a
and red
the
laid the
figure
nearly effaced,
woman
In the centre a
right
hand
At the
right
and her
woman
box
it
is
in black
her sleeve chiton has disappeared, but the dark red hima-
tion remains.
388
Heydemann,
garment and
Prothesis.
wrapped
Behind
taeniae.
details,
On
in a violet
the
couch
The
11.
xii,
scene
is
drawn
in red
dark violet
is
used
a couch lies the figure of the dead, the head raised on pillows ; it is
mantle, with violet flowers on a wide white border about the breast.
at
head and foot are two very large lekythoi decorated with violet
woman
she wears a
dead person, with both her hands raised to her head in lamentation
Below the couch is a duck or goose above
chiton and a mantle with dark green edge.
the
in the field
hang
violet taeniae
and wreaths.
CLASS XIV,
The
scene on no.
5-6a
drawn somewhat
5 is
165
carefully in fine
even
lines,
as
on no.
if to
Number 6 is
The duck or
woman
third
carelessly
stele
is
home
brings
pet;
is
represented.
the wreath and
body
may be regarded
is
as
Museum, Mas.
Vienna, Oest.
6a.
Benndorf, Griech.
Sic.
3.^
Athens.
351.
H.
0.52 m.
Traces remain of the usual palmettes on the shoulder; instead of the maeander above
The scene is drawn in fine lines
the scene are two lines of brown glaze, close together.
of brownish red, the hair
for garments
and
details.
wash of
thin
in a
Dark brown,
the outlines.
dull gray-green,
the
few strokes on
to
it
like
liminary sketch.
On a couch lies the body of a woman, her head on a pillow at the right.
Prothesis.
The couch has plain square legs, of which only one is seen this leg is quite short, so
The dead
that we must assume a high block under it, of which no trace remains.
woman is decked with small earrings and necklace with pendants the body is wrapped in
a mantle without color, and over this is a dull green cloth; across it are laid taeniae now
At the left, in front of the foot of the couch, a woman stands in profile to
violet in color.
;
in the centre
left
brown mantle.
large dark
in front
;
of her head
woman
is
hair;
in
lamenting
i/'u;^?/.
left
Behind the
leg relieved,
her head
bowed
originally
blue
(but
now
partly violet)
iMuch
On
is
and
at the
found on
this vase
is
at
the
extreme
a vase
right
white
third
a goose
At
lies
woman
i66
woman
stands in
woman
the dead
on her
traces of taeniae
now
overfold,
before the
without color.
face
ot
the
The hair
standing women
of
three
now
mostly violet
and carrying
flies
the
head of
basket
flat
with
chiton with
a sleeveless
third
is
left
directions.
The
profile facing the left, her left leg relieved, fanning the
partial
short.
While
it
The
short legs of the couch also may perhaps be explained by comThe figures are not
parison with no 2. of Class XVI (Berlin, 2684).
differentiated as
woman
regard the
relatives of the
to
as
The
dead woman.
Benndorf (who compares Iliad XIX, 24 f.) the dead body is fanned
This is a new touch of realism in a scene
keep away the fllies.
to
which always
is
kept
it
depicted.
H.
Athens, Nat. Mus. 1796, Cv. 1653 (Coll. 630). Attica.
Dumont
m.
L^j
de
Grece
la
0.425
Chaplain,
ceramiques
propre, I, pl.xxix.
7.
Palmettes
The
scene
is
in
drawn
in red
red
is
simple maeander
Depositio.
in
grav-green.
man which
is
wrapped
in a
two winged
The winged
mantle.
figures
figure at the
bends well over and grasps the knees of the dead man
the one at the right (bearded)
on
a
mound
and
his
foot
the
under
the shoulders.
Both winged
body
right
puts
supports
wear
short
red
chitons
and
dark
shoes.
figures
green
left
The
and XI,
depositio scene,
is
in Classes
Here
it
VI, IX,
is
drawn
The
neck
is
H.
0.55 m.
Monuments grecs^
Pottier, Lee.
iii.
maeander
The
the hair
same
in the
is
scene
167
drawn
is
in full red
(now
violet
color.
In the centre a tree with foliage stands behind two epheboi attacking each other.
The one
the
at
left
is
bending forward, his left foot on a stone, driving
he carries a shield on his left arm, and wears a girded
in partial profile
head
horseback
has
turning his
reined up
case a warrior
Class
fallen
Greek
XI
in Class
Amazon was
an
His opponent on
hand
right
to
attack,
chlamys, high
at his side.
one vase
in that
his
a girded chiton,
On
in
his
(series 5, no. i)
found a
is
Amazon
on horseback attacking an
IV
a warrior (nos.
series
[e.g.
battle scene,
in
retreat
and
no. 19)
i,
in
(no. 78^).
type appropriate to the grave stele of a warrior killed in battle.
But
g.
The
The scene
broken by dotted oblique crosses.
used for garments, and blue for details.
The
broad
stele
his
raised
crowned by
is
On
left
the steps
hand and
drawn
large blue
sits a
is
maeander
in red
resting
H. 0.487 m.
Eretria.
right
hand on
holding
left,
knee
his
two
he wears
spears
green
At the left stands a youth holding a staff in his left hand and
chlamys and red shoes.
his
hand
the seated figure
a red himation is draped loosely about
toward
extending
right
him.
At the right a youth in a black and red himation stands in profile, carrying a
;
which
rests
left
At
on the ground.
the
lefl:
is
The
thin gray
The
wash
broad
two
mantle
is
Before
it
is
drawn
sits
the
left a
maeander
in red
also in
dull
is
crowned by a large
elbow on one of
youth,
hand
stripes
XIV,
0.49 m.
details.
At
H.
Eretria.
leaves red
scene
a blue shield
in the field.
and
The
draped
10.
in his right
a red taenia
earlier
is
At the
right a
drawn over
a scene
in
the style
i68
young woman stands
in profile,
taenia
is
wearing
draped
a chiton
in the field.
is
color
is
freely used,
While
carefully studied.
is
these vases clearly belong with Class XIV, the workmanship is far
The seated figure is no
superior to the other vases included here.
doubt the dead youth, attended on no. 9 by two companions, one of
whom
carries his
woman, but
man
neither the
woman
nor the
figures
is
If a
bring offerings.
it
the
dead
represents
youth with the companions of his lifetime, after the manner often
noted in Class XI.
Probably these vases are among the earlier
examples of Class XIV.
11.
XXV,
MNB
H. 0.495
619, Lee. 97.
Pettier, IJc. blancs att.^ p. 151, no. 77.
Louvre,
Paris,
2.
Plate
"i-
Shoulder quite flat with palmettes in dull black, alternate leaves red ; the maeander,
is broken
by dotted oblique crosses and the top of the stele. The scene is
also in black,
drawn
in red
red
is
garment and
wash
for base
for
and tympanum of
stele,
details.
blue for
Drawing
delicate.
The wide
hand and
right
stele
on three steps
On
and blue.
in red
elbow
left
wash
violet
At the
woman
the hair
the
left
is
crowned with
woman
on her knees
drawn
stands a
pediment with
in single lines
man
much bowed,
her
of outline color,
right a
acroteria, decorated
sits
his
touching the
is
held up by a
right
left
hand on
arm of the
youth
lowered right arm
his red himation leaves the right breast bare
Behind his head is draped a
color, surrounded by fine lines of detail.
with
in solid
is
resting
her hair,
At
taenia.
top of a cane.
seated
the steps a
his
violet taenia.
12.
XXV,
London,
Brit.
Mus.
H.
Athens.
72.
0.405 m.
Plate
I.
The
scene
is
drawn
in
deep red
thick violet
ment border.
The wide
it
a pediment with red tympanum
with
black
a
taenia
from
below.
Above
it is
draped
perspective
ends.
On the upper step a woman sits with legs crossed, facing the left she extends her
relaxed right hand, palm down, and with her left hand grasps the garment on her knee ;
seems
to
stele
be drawn
is
in
her chiton
is
is
woman
her hair
is
169
her side
at
down
At
the
left
left
violet stripe
At the
sphendone.
left
staff.
13.
Sic.
right a
H. 0.34 m.
in violet-gray
The
broad
while the
left,
stele
tympanum
On
red.
is
hand
she wears a
woman
on her
woman
stands
woman
crowned with
is
sits
in partial
left
face approaches, steadying with her right hand the flat basket of red
At the right another
she wears a sleeve chiton with red stripes.
arm
efi
taeniae
and
steps,
in
left a
Benndorf, Griech.
i.
left
face, a basket with wreath and taeniae on her left arm, and her right
hand extended behind the head of the seated figure ; her chiton has nearly disappeared
eti
14.
Palmettes
in
dull
dull green
The
is
used for
broad
also
maeander,
The
H,
(Coll. 636).
scene
is
drawn
in
in a
0.52 m.
dull
green,
brown
red
garment.
crowned by
stele is
pediment with
On
acroteria.
arm and
left
the steps a
raises
woman
her chiton has disappeared, but the himation remains about her
At the left a woman brings a basket with taeniae ; she
knees and behind her shoulders.
15.
New
At
girdle.
hand (?).
H.
0.38 m.
Plate
XXVI.
broken by
Hasty palmettes in black with alternate leaves red ; maeander in black,
The scene is drawn in full red ; greenish black is
dotted oblique crosses, not reversing.
used for garments and red for taeniae and details.
The
stele
is
decorated
Her
basket.
border
On
is
block before
it
woman
with
bowed head
is
sits
a small fiat
chiton has disappeared, but behind her and over her knees is a mantle with red
At the left an ephebos with bowed head
falls in curls over her shoulders.
her hair
a black
chlamys, and on
his
shoulder a petasos.
At the
right a
woman
with
bowed head
lyo
right elbow.
at
i6.
Brussels,
left
down
the
side
left
and
a red stripe.
is
Mus. Cinq. A.
H. 0.52 m.
124.
broken
is
upper step an ephebos sits facing the right, holding in his left hand the spear that
shoulder ; he wears a greenish chiton and over his knees is an himation.
his left
with
light red
forward on
a staff
hand, palm
in,
is
on the
At the
left.
man
bearded
left a
rests
on
A shield
leans
which supports the light red mantle under his left shoulder
his right
raised toward his chin.
At the right a woman with bowed head stands
;
veil
now
left
hand
slightly raised
The same
9, 10.
very
as
on these two
13
know
vases,
is
not
contrast with the vases previously discussed, both the standing figures
and the seated figure holds up an alabastron
which she may have taken from the basket before her.
On no. 14,
is
drawn with care but rather heavily, the seated woman
which
arm and raises her right hand in a gesture of adoraone of the figures brings offerings, and she wears a chiton with
the wide white girdle noted in Class XIII.
On no. 15 only the
seated figure holds the offerings brought to the grave, while the man
and woman are gazing at her.
No. 16 is hastily drawn in rather
not
common.
is
knees;
at the left a
sits
a bearded
to
On
Branteghem (&/e
man
him
nos. 9, 10
Catalogue no.
it
197,
Attica).
facing the right, with spears in his hand and a shield against
a
in its scabbard;
at the right a
woman
171
able to interpret the scene as representing the dead person with his
companions as when Hving. On nos, it -16 the seated figure is
evidently the dead person, but the other figures, if any interpretation
17.
The
Eretria.
H.
0.45 m.
maeander
also
The
in dull
;
red,
broad
The
scene just described differs from the usual type in that all three
The
figures are standing, the central one with a basket of offerings.
duck or goose here seen on the steps of the stele is found in the
hands of
seems
on
a seated
figure
have
6.
Though
drawn
been
it
the scene
is
nearly effaced, it
with attention to detail and
carefully
decorative effect.
New
18.
XXX,
Plate
3.
scene
H. 0.406 m.
drawn
is
unbroken maeander
in black,
in
The
black.
bright red
is
used for taeniae and details, black for a garment, and blue for a taenia.
The
on two
stele
is
steps
falls in
At the
right a
woman
hand,
left
her
fluffy hair
stele a flat
is
in a
low
projecting knot.
London,
19.
Brit.
Mus.
85.
Athens.
brown
violet
is
The
H.
scene
is
0.42 m.
drawn
in red
varying to
once blue
?)
for taeniae.
The
which
is
stele
on two steps
surrounded by
is
at the corners.
At the
172
woman
left
in profile sits
left
two
taenia
is
draped
right an
ephebos
hand
he
At the
violet
is
on
a petasos
of the
his shoulders,
and red
stele.
The same
On
type of
stele
women
taeniae.
draped
is
in the field,
edge.^
'
maeander.
a
H.
20.
The
garment.
The broad
scene
drawn
is
in red
blue
is
details,
and
a dull
stele is
At
used for
At the
0.35 m.
left sits a
woman
draped in a dull
he wears
;
hand
21.
The
high shoulder
dull black.
for stripes
The
The
of garment.
broad
is
scene
stele
CA
Paris, Louvre,
black
mouth
drawn
is
Drawn
with
right a
woman
shaped
;
blue
is
for hair
encircled with
three
brown ornament
in
and eyes.
wreaths and several taeniae,
like a
flat
thrown
left
lekythos
stele,
in
which
the Burlington
is
stained purple,
Club
is
flat
basket
with
At the
hand with
the stele
she
stripes.
Exhibition for
crowned by
is
brown
At the
upper and lower parts of which are blue.
he
wears
him
hand raised on an erect staff behind
maeander
details,
the
triple capital,
an himation with
bell
in full red
on one step
H. 0.495 m.
Eretria.
467.
at
three lekythoi
at
the right
is
an ephebos with
two
22.
Palmettes normal
used for
The
The
maeander unbroken.
garment.
stele on one step
is
crowned with
triple
is
XXXI,
London,
is
drawn
ornament.
down
in
red
At the
left
At the
he wears
H.
1900. 1 2-14.7.
another red
woman
sits
is
on
right
a short
0.45
youth ap-
red mantle.
m.
Plate
4.
The
scene
held by a sphendone.
Mus.
Brit.
H. 0.415 m,
(Coll. 639).
22a.
173
scene
is
drawn
in fine lines
maeander
of red brown
by
stele top.
violet are
used for
details.
The
stele
on three steps
is
At
double plinth with black maeander and three projections ornamented with palmettes.
the left an ephebos sits on a high stone or tumulus, grasping two erect spears in his raised
He
right hand.
a petasos,
at
may
indicate a mantle
or
woman
At the
taeniae.
at the waist
right a
23.
Form
tall
and slender
is
At the
anthemion.
Athens.
H.
0.37 m.
Plate
XXX,
2.
the palmettes are in dull black with alternate bright red leaves
is
unbroken.
The
scene
is
drawn
in fine lines
of violet red
At
the
left
on one step
is
surmounted by
chlamys, a red petasos hangs on his shoulder, and he has red shoes
he wears
in his right
blue
hand he
carries a spear.
few vases of the present class show variations from the two usual
On nq. 20 the stele is crowned by a decorated mouldstele.
types of
ing above which is a very small palmette ; the wreath about the stele
and the free use of blue for details are noticeable. Number 21, which
drawn with much detail, shows the same wreath and the same free
the embroidered decoration on the youth's mantle is
use of blue
22 and 22a the stele has a triple ornament like the
On
nos.
unique.
with acanthus leaves on no. 3 (Berlin
triple palmette which occurs
is
2680) the drawing is sure and careful but the only color is the redNo. 22a is decidedly interesting for the
of the youth's mantle.
at the right who holds out a plumed helmet
of
the
woman
figure
;
In
one hand, perhaps the helmet which the seated youth had worn
174
when
battle
in
and
living,
in
This coin,
is
and surmounted by
London,
24.
Palmettes
a careless
Mus.
H.
71.
0.51 m.
the field,
at
border
is
On
stands a lekythos.
falls
high
step of the
on the upper
arm
left
on the
stele
At
again
taeniae.
of
his
is
black
is
an alabastron beside a
a black
loutrophoros
a sleeveless chiton,
mound
black,
;
a thin
a blue
rude blocks
head bowed
at
hanging
strigil
woman
in
stele
facing the
sits
is
stele,
in
in detail.
left
On
also
in full red
2.
for a
over her knees, and her sandals are fastened with black cords
feet
the
and
at
drawn
is
The
The
is
Plate XXVIII,
the maeander,
The scene
broken by dotted oblique crosses and reverses.
used for vases and a garment border, violet for taeniae, blue
shaft
Blue
palmette.
stele
dull
in
is
The
stele.
the
left a
he wears
man
f?)
sits
with
his
the right a
a flat basket
step.
This vase
is
unique
in the
kind of
stele
with
its
where
a lyre
offerings
Brit.
Mus.
the
a krater
stand before a
the
mound,
The
vases on the steps of the stele and a lyre and a casket on top.
on the steps, might
objects here, with the exception of the lekythos
within
the
grave, though more probably
possibly represent objects
they are offerings at the grave.
The
scene
is
also
noteworthy
in that
the faces, nearly in front view, are drawn with great detail, especially for
the eyes.
Color is used with great freedom, and even the gold neck-
While the
and sandal straps of the seated figure are indicated.
vase comes under the definition of Class XIV, and has some points
lace
in
work.
The
main.
scene
drawn
is
H. 0.57 m.
25.
175
only the glaze lines enclosing space for the maeander re-
brown, varying
to orange
blue,
dull green,
now
On
violet.
man
her
chiton with
sleeveless
and
long overfold
her
raises
is
of green leaves
at
the girdle
figure
the mantle
perpendicular
hanging over her shoulder ; her hair falls free in long curls.
leans forward on a staff which supports the mantle under
hand
left
decorated with
is
is
At the
his
fruit
right a
man
bearded
arm, while
right
green
or flowers
his right
In the
are
field
taeniae.
The
is
black,
color
H. 0.405 m.
Athens.
26.
The
broad
and
stele
on three
for a
Surface
garment borders.
is
steps
full
much
much
On
same
and acanthus
plinths,
stripes
brush in loose
is
flufiy curls.
as
usual.
as
an himation with dull pink edge ; her hair is drawn with fine
By her side lies a dark red taenia. At the left a woman
arm
left
hair
at
is
At the
right a third
is
woman
a chiton
27.
now
the
H.
and
is
her
;
her
left
arm
she wears
girdle.
0.51
m.
Griech.
Benndorf,
Sic.
maeander,
also
in
green-black,
On
At the
sits
easily, playing
left a
young woman
her
hip thrown out awkwardly, holding
176
right
sleeveless chiton
At the
short.
hand up
left
as if stretching a
she wears a
her hair
hand behind
his right
the stele
he wears
is
in his left
28.
Paris,
XXVIII,
CA
Louvre,
H.
Eretria.
536.
m.
0.47
Plate
I.
Traces of the palmettes remain on the shoulder, dull black with alternate red leaves ;
is in dull black broken
The scene is
by dotted oblique crosses, reversing.
maeander
the
drawn
in fine lines
edge
bright red and dark green are used for garments and border.
The
full
same
on three steps
stele
On
ment.
of
is
sits
and
leaves
hand grasps two erect spears high up and his left hand rests on
over one leg is a mantle with vermilion border.
At the left
view
full
knee
his
leaf orna-
a peculiar
face nearly in
right, his
along the
his right
young woman
in
profile
over his
left
red taenia
is
draped
CA
Paris, Louvre,
29.
H. 0.47 m.
166.
in
is
two shades of
The wide
stele
on two steps
is
sets
of acanthus
leaves
bright red
in
and
his right
as to leave
hand on
left a
youth
relieved
right leg
At the
his hip
At the
right
is
wrapped
woman
head bowed,
closely about
him so
the
she slightly raises her right hand toward the stele, palm in, and on
her
left
less
chiton she wears a chitonion reaching to her knees with a wide notched border of red
at the
hangs
stele
she carries a
her hair
is
in
flat
loose
flat
Behind her
knot.
in
the field
a wreath.
05.6-8.1.
H.
The
30.
London,
Brit.
brown wash
is
Mus.
0.48 m.
scene
is
Plate XXVII,
drawn
in
;
fine
i.
red lines
dark red
is
used
garment and taeniae, and light red for a garment and details.
broad stele on three unequal steps is decorated with red taeniae and crowned
with ornamented moulding, low scrolls, and a series of rather narrow leaves spreading
for a
The
from
On
sits in
his left
wears a
youth
raised
in profile
shoulder
left
en face, a
flat
seated youth
nearly
to
his
on
leans forward
a staff
his
knees
he
At
with a taenia.
as if
left
from
lifted
light
177
Behind her
woman
the right a
stands
right
in
red taeniae.
The
green.
and
violet
scene
wash
drawn
is
in
lines ot
fine
red
H. 0.575 m.
xxiv.
pi.
unbroken maeander
greenish wash
is
for details.
The
stele on three steps shows traces of taeniae, and is crowned by mouldings (one
On the upper step a woman sits facing the left,
and
spreading acanthus leaves.
violet)
She wears a chiton with overfold, and her
on
her
hand.
head
her
bowed
right
supporting
woman
taenia horizontally
with
chiton
overfold
an ephebos stands
in
is
in
partial
greenish
profile,
as
if
holding
spear
erect
of grave
At
in
raised
woman
monument
on two or three
his
the
left
she holds a
her sleeveless
At the
left
right
hand, and
he wears a conical
steps,
crowned by one
scene includes a figure seated before the stele and two standing figures
and in four instances a taenia is draped in the field. On no. 25 there
is no trace of the usual maeander and shoulder ornament, but the
;
The drawing is
in striking patterns
Number
color
is
the seated figure of the dead, and a third figure, here a woman, in
The head of the seated figure is nearly in front
contemplative attitude.
view
as
for the
green.
on no.
wooden
The
9.
Number
staff"
and
fine detail
of the drawing
may
and
dull
178
it is
The
more clumsy.
spective and the attitude of the youth at the right show again the
effort of the artist for something beyond his powers.
Number 28, on
which only red and dark green are used for garments, is also drawn
with
little
success and
much
Number
attention to detail.
drawn
is
29
with real delicacy and vigor except in the treatment of the hands
the wreath in the field and the wide notched border on the woman's
;
chitonion exemplify the usual effort for decorative effect, though here
the only solid color now visible is red.
On no. 30 the woman with
offerings, the seated youth and his standing companion are awkwardly
And on no. 3 i we find the same
drawn, and only solid red remains.
drawn with much care and little delicacy. The long locks of
woman's hair form a partial background for her face, as on
of Class XIII and no, 7 of Class XII.
figures,
the seated
no. 5
32.
The
brown
The
broad
stele
hair
is
supported
bv
Sic.
at
Damaged and
is
a tree
drawn
in rather
On
woman
the steps a
sits
At the
was
left
woman,
H. 0.54 m.
is
restored.
(now
man
scene
acanthus leaves.
At
33.
violet
and her
crowned with
is
The
the hair.
in
H. 0.60 m.
(Coll. 635).
Benndorf, Griech.
Maeander
stele top.
in
The
scene
is
drawn
in
shaded
lines
of red;
used for details, and there are some traces of red on the garments.
The
broad
marks" and
stele
on two steps
is
crowned bv
On
with her right hand holding open the casket on her knees
At the left a
ornament, and about her knees is a mantle.
woman
sits
gray
"
triglyph
woman
in partial profile
approaches,
with both hands drawing a light scarf over her shoulders ; she wears a chiton with overfold.
At the right another woman stands, her left leg relieved, raising her relaxed left hand to
The
XXVII,
New
in a
of the
women
is
loosely
H,
0.45 m.
Plate
2.
hair
unbroken maeander
in
thin black.
The
scene
is
red with a thin reddish wash over a few strokes of outline color for the hair
a color
now
garments and
details.
drawn
;
two
broad
on two steps
stele
is
crowned with
On
leaves,
hand on the
which covers
arm
his left
At the
hand.
his left
hand on
several
He
knee.
left
his hip
left
179
At the right a woman stands in partial profile, looking down at the seated
border (?).
vouth ; her relaxed right hand is slightly raised and on her left arm away from the stele
she carries a large flat basket containing two lekythoi and an alabastron ;
she wears a
now
sleeve chiton,
gray
light
her hair
held by a taenia
is
in a loose
XXIX,
Mus. Fine
Boston,
34a.
H. 0.485 m.
2.
The
broad
On
his
head,
stele
on two
steps
is
is
solid
facing the
sits
left
dark red
and acanthus
is
of
fine lines
another garment.
maeander
the gray
Hnes.
Plate
his
right
wears
left,
he
erect
;
hand
light
raised
red
toward
short
his
chiton,
left
armpit
his right
hand
is
on
The
scene
garment and
The
stele
on two steps
on the knotted
youth
he wears
sits
his
young woman,
left
is
dull green.
in
dark red
is
used for
facing the
hand
is
left
spear.
holding up an alabastron in
At
the
left
bearded
man
leans lightly
arm.
scene
is
drawn
in red,
for the
H. 0.50 m.
Cerameicus.
1766.
The
unbroken maeander
hair
red
is
used for
in
dull green.
garment, red
The
facing the
arm
unbroken maeander
and
in
details.
broad
On
leaves.
drawn
is
H. 0.52 m.
Cerameicus.
1765.
broad
right
he wears
stele
;
is
in his
a loosely
left
hand
is
leaves.
On
man
sits
draped himation.
At the
left
traces
remain of
young woman
i8o
bringing a
wears
basket.
flat
The
drawn
in red
The
her
in
color remains on
ward
slightlv
sits
hand
left
scene
is
crowned with
is
woman
the steps a
The
0.57 m.
much damaged.
stele
H.
(Coll. 638).
he
easily,
some
holds
At
her garments.
on the knotted
(a
object
the
left
hand
From
he wears an himation.
no
for-
the right
woman
approaches, carrving on her left hand a flat basket with wreath, and holding up
she wears chiton and himation, and is adorned with neckan alabastron in her right hand
a
and
lace
bracelets.
scene
is
drawn
The
woman
supporting
knees a mantle.
At
right
hair
is
maeander
short
the
elbow
right
At the
The
the
left,
left,
left
her
she
bowed head on
wears
She wears
sleeveless
stele
gesture of
mourning
At the right
is
in red
left
is
woman
her
in
both
woman.
hands
her
H. 0.60 m.
and green
maeander un-
On
leaves.
left
in profile,
left
about
and
chiton
Cerameicus.
alternately red
greenish black
stands a
On
and her
the steps a
woman
the
;
leaves
drawn
a sleeveless
At
many
is
bowed head on
large lekythos.
fringe.
scene
broad
her
The
The
crowned with
is
facing the
sits
broken.
0.55 m.
in dull
39.
H.
Cerameicus.
much damaged.
the steps a
hand
in red
Mus.
sits
right
is
facing
elbow.
a
very
she wears a sleeveless chiton and a dark green mantle with heavy
a
bearded
man
in his
left
hand and
On
nos.
and with
it,
less attention to
is
shoulder ornament remains, but color is freely used in the scene; the tree
at the extreme right is very unusual (cf. no. 36 of Class XIII and the
drawn
scarf of the
woman
at the left
The curve
the seated figure suggest the eflfort for decorative effect.
to indicate
seems
of the mouldings at the top of the grave monument
that a
Here
intended.
is
pillar
On
XI.
women might
the three
home
i8i
well
we
nos. 34-37,
woman,
his wife
as
from
his return
woman
woman who
on
hand (cf no. 38). The lekythos on the steps of the stele was noted
on no. 24 and beside the bier on nos. 5-6.
These vases also are
drawn hastily but with some strength.
Brussels,
40.
Mus.
Somzee, Catalogue de
Cinq.
H. 0.575 m.
1022.
vente^
Collections de
Two
the front
palmettes in dull black with alternate leaves red extend from the handle toward
the unbroken
maeander
is
The
also black.
for
garments and
scene
is
drawn
in
details.
The stele on two high steps is in two parts, each crowned with acanthus leaves ; the
lower part is red with white perpendicular strokes, the upper part greenish black with
similar white strokes
the second set of acanthus leaves is on the shoulder.
At the side
;
On
in
her hair
woman
is
object
40a.
the garment
At
the
left
is
brown
is
low knot.
in a loose
At
down
the right
hand
is
of palmettes or maeander.
solid
is
left
his left
traces
brown, and
her hair
No
is
facing the
she wears a sleeveless chiton of dark green with wide white stripe
some
sits
stands en face, drawing forward in both hands from her shoulders a small mantle
woman
her lap
The
scene
is
drawn
H.
in fine lines
0.48 m.
of reddish
^
Cf. a lekythos in the Collection Bammeville (Frohner, Catalogue no. 8, H. 0.56 m.) drawn in bhtre
with red and green for garments, etc.
Before a stele crowned with acanthus leaves a woman sits facing the
hand
a gou--uernail ;
stele
is
at
green mantle
the right
is
at the left
woman
is
an ephebos
extending her
left
i82
left a
left
arm
At
top.
below her
the right a
is
color, brings a
smegmatotheke.
41.
Fragment.
suspended by cords,
At the
acanthus leaves.
The
woman
The
scene
slender stele
is
drawn
is
of dark red.
At
of acanthus leaves.
At the
left
stands
holding two spears erect in his right hand; he wears chiton, chlamys, and greaves (?).
Number 40 is
and the gestures of the standing figures are also peculiar. The
scene is rather crudely drawn with much attention to details of hair
stele
42.
in
dark green
The
is
a square
on two steps
"altar" on two
woman
steps.
At the
left a
arm
is
on
in profile sits
boots,
Behind
now
mann,
drawn
in the field
leaves
which do not
it
without color.
left
hand
At
the
on her
left
an
ephebos
he wears chlamys, high cap, and
right
without color.
43.
are
behind
now
crowned by acanthus
is
H. 0.403 m.
Eretria.
Athens.
H. 0.355
'^^'
Heyde-
Palmettes in dark green with alternate leaves dark red ; the complicated maeander,
broken by dotted oblique crosses and not reversing, is also in dark green.
The scene is
drawn in full red dark green is used for a garment and details, red for details.
;
The
slender stele on
two
steps
is
leaves and
"
altar
ornamented with red and green tae;iiae behind it on both sides is seen an
" with
At the leir an ephebos sits with bowed head, holding two
egg moulding.
;
chlamys,
tial
profile
her raised
On
on
a petasos
left
hand
his shoulder,
he wears
a short chiton
At the
right a
woman
in par-
approaches, her head bowed, drawing about her a dark green mantle or scarf in
left
hand
both sides of it
Class XIII.
183
The fact
is seated and the woman
standing.
seen on both sides of the stele separates these
further no. 42 is distinctly larger
vases from the type of Class XIII
than lekythoi of the previous class, and the peculiarly decorated
on no. 43 as well as the manner in which the woman holds
on no. 43 the youth
is
garments
XIV
rather than in
Class XIII.
44.
XXXI,
Mus. Fine
H.
01.8130.
Arts,
m.
0.34
Plate
2.
for details
violet
wash
is
on one step is decorated with red taeniae and crowned with mouldings, five
acanthus leaves, and five small narrow leaves at the very top
bright red is used on the
The
stele
the naked babv she carries in her arms, while the baby looks up and raises
mother's neck.
to the
drawn up over
left leg
Her
chiton
is
not visible
At
relieved, holding
two
left
its
right
hand
wash border
is
His short
hand.
his
shoulder.
on which
a taenia
On
here (cf nos. 25, 28, 30).
frequently draped in the field as
Class
no.
and
16
discussed
two lekythoi previously
XI,
(Class V,
is
4, no. 16)
living child
is
brought to the stele, and more frequently a
the
on
seen
ground near its mother (Class VI, i, nos. 14,
dead child
is
scene
25; Class IX, I, no. 20, etc.) the nearest analogy to the present
at home (Class IV, 2, no. i la
woman
a
is found on vases
representing
This mother may represent the dead
IV, 3, no. 7; V, no. i).
;
a mourner.
grave, or possibly she is
characterization of the person, here as a mother, is not
Class XI, but is most unusual in the present class.
at
person
the
The
The
scene
by the acanthus
dark red
H. about
45.
leaves
is
drawn
The definite
uncommon in
0.25 m.
in dull black
in
is
interrupted
i84
red mantle.
from the
shoulder
right
is
woman
left a
In front a
is
arm away
her right
left
left
the himation
is
H.
46.
Dumont
0.43 m.
xxxvi.
I, pi.
The
maeander also in gray-green.
Palmettes in gray-green with alternate leaves red
red
and
and
is used for
black
is drawn in red
details,
yellow for
garments
greenish
;
scene
details.
The
stele
on two steps
is
leaves
on either
his right
side of a circular
arm
about
yellow on the shoulder pieces and elsewhere
on which he sits is a mantle with red edge, and
;
the right a
her chin
woman
knees
his
and
over
the
his
block
At
yellow border above and below, and over the back of her head
is
edge.
now
and
H.
47.
0.45 m.
The
gray.
drawn
in
details
Her
hand, palm
in,
is
sits in
one moulding
a low round
on
left
holdpartial profile,
leaves
At the
wash
stele.
He
At the
right an
ephebos
both with grav ornament on the edge, and shoes, brown below and gray above.
48.
Aeglna
(?)
H. 0.54 m. Benn-
are
drawn
in a
brown-red.
Gray
is
bright blue for garment and details, and yellow for taeniae.
The
broad
stele
on one step
is
small
profile
palmette
sits
on a
MNB
Paris, Louvre,
49.
H. 0.485 m.
440.
Mouth
maeander
in hnes
spreading,
also
is
bel]
(once red
?)
below
thick violet
Plate
XXIX,
i.
c^c^.
now yellow-brown
and green
shaped
185
without ornament
is
The
are present.
scene
is
the
drawn
is
details,
for leaves.
The wide
on one step
stele
is
drawn
is
At
in separate curls.
is
an ornamented himation
woman
the right a
away from the stele, but looking back and holding her right hand out, palm down, toward
She wears a sleeveless chiton, over which a wreath of green leaves and violet
the stele.
flowers
is
repainted.
The
used for
is
greenish gray
broad
At
gray.
now
is
with some
scene
man
turns away
down) toward the
woman
left a
in profile sits
Behind her
in
goose.
on
She wears
gray
a taenia
is
His himation
is
a chiton
her hair
is
is
loosely gathered in a
draped
it, and extends
now
drawn
stele
in coarse
is
brown
low knot
right a
bearded
hand (palm
without color.
New
At the
in the field.
H.
0.42 m.
Pettier,
att.^ p.
broad
52.
red
hastily in full
scene
The
drawn
is
i.
The
XXX,
the
Lee. blanes
rudely
on one step is crowned by square blocks with ornament in gray perabout it are taeniae
and large acanthus leaves, the central one gray
free curls.
51.
is
details.
Plate
The
missing.
the head
stele
pendicular strokes,
now
draped
H. about 0.40 m.
Karlsruhe.
50.
left
leaves.
At
the
left
a seated
is
as if grasping a spear
he wears
youth
At
stele,
a short chiton
H. 0.413 m.
black.
a
garment.
The
stele
on two steps is decorated with taeniae, and crowned with mouldings and
At the left a bearded man leans forward on a staff which holds up the
acanthus leaves.
left
shoulder.
At
sits in
partial profile
on
a pile
of
i86
stones, his
wears
hand on
left
his
he
H.
53.
0.36 m.
Pettier,
The
scene
and
details.
The
is
drawn
broad
in
stele
crowned bv
is
wash
unbroken maeander
At the
seated
left is a
the stele
face looking
and her right hand
on her
slightly raised
is
Cambridge,
54.
left
Fitz.
arm she
carries a
toward the
man
At the
flat
drawn
dull
green.
nearly effaced) in a
right a
woman
stands en
stele.
H. 0.36 m.
in
is
bright red
ot
stele.
The
scene
in a
The rather
woman stands in
stele
on
his knee,
and
erect.
He
wears only
high cap
On
the vases just described and those which follow the scene con-
decorative element
fairly
good.
whom
On
woman
The
approaches with gesture of adoration.
detail of the garments, and the free manner in which the woman's veil
or scarf floats out behind are noteworthy.
The same effort for decoyouth,
rative effect
the
noticeable
is
woman
youth with
use of color a vase published by Stackelberg {Graeber der Hellenen, Taf. xliv, 2) with an
acanthus stele may be compared with them. On no. 48 a wreath of
;
in
its
is
dead person.
The
similarity of the
as
pair.
The
seated figure,
187
The
flat
is
drawn
broad
basket
the right
stele
red
thin black
is
is
hand
left
raised as if
is
The
scene
The broad
is
left
green.
woman
stands a
with
held a spear.
it
H. 0.355
stele is
dottier,
careful
unbroken maeander
in dull
in red,
At the
left
stands a
in his right
woman
At the
flat
The
damaged.
scene
drawn
is
right a
bearded
man
in a
H.
0.38 m.
deep red
hand.
Much
"^-
drawn
in red,
Athens.
is
for taeniae.
Traces of the
ing two
remain.
stele
spears erect
hang red
On
on the other,
one side stands an ephebos with red chlamys, holdyoung woman, carrying a flat basket from which
taeniae.
58.
Much
and
the
in dull
rubbed.
and
At
leaves.
Lee. blanes
57.
Much
down, toward
green.
unbroken maeander
At
her garments have disappeared, leaving only the outlines of her figure.
extends
his
and
he
a
black
a youth wearing
right hand, palm
pilos
chlamys
is
56.
Pottier,
att.^ p.
in
H. 0.305 m.
55.
The
it is
The
damaged.
scene
is
drawn
in
H.
Athens.
is
0.32 m.
details.
The
stele
is
On
an ephebos stands holding two spears erect ; on the other side stands a young
1
carrying a flat basket from which hang red taeniae.
side
59.
London,
Brit.
in
Mus.
86.
H.
0.38 m.
Elongated palmettes
scene is drawn in red, with dark red
one
woman
maeander
The
also in black.
she
standing en face steadies with her right hand the basket of taeniae on her left arm
wears a sleeveless chiton with coarse stripes in faded red, and her hair is in a low knot.
;
that the
man
wears a helmet.
may
The
only peculiarity
is
i88
The scenes on
woman bringing
spectator.
fairly
No. 55
basket of
drawn with
is
many
ofi^erings,
and
man
taeniae about
and
it,
standing as a
No. 59 has
considerartle care.
it
also
is
drawn
Conclusion of Class
XIV
In the present class the slender shape of the lekythoi, the chalky
the red used for drawing the outlines, and the two types of stele
slip,
recall
Class XIII.
The
in height; and
The ornathe figures less conventional than in the previous class.
in
with
alternate
red
thin black
ment on the high sloping shoulder is
This ornament and also the maeander are
leaves in the palmettes.
0.50 m.
2, 3, 6, 8, 19,
50
Furtwangler {Vasensammlung in Berlin^ no. 2680-2682)
mark as a means of classification, but the omission may be
;
acci-
on each
side
is
black
The
scene
is
drawn
in
shaded
in
lines
in
cer-
on no.
I.
eight of these vases, and one or two shades of red on thirty-nine, the
-^1^^
and thin
On
in
;
the
more
some
variety
yellow on nos. 3, 16,
violet
on nos.
careful
blue
1,
2, 3, 5, 6,
44
gray-green wash on nos. 2, 10, 20, 1^1,^ 34, 47, 50; light green on
nos. 9, 1 5, 22a, 25, 49
Narrow stripes of red or
and pink on no. 26.
black occur on six vases and a broad garment border of red or black
or violet on twelve vases
this decoration is less common than in
a
Class XIII, and the use of black stripes on red does not occur here.
decorated border
is
to be
189
noted on nos.
on nos.
2, 3, 6,
ment, while
other cases
in
it
may
actual garland
free
The Charon
scenes
The
woman
of those scenes.
(no. i)
On
result.
which
scenes in Class
and the
(nos.
effect
hanging
in
the field
is
drawn
neath the bier; no. 6 is only interesting for the very large lekythoi
which stand behind the bier their size suggests that they may be
intended for grave monuments, though grave monuments are not found
;
9).
VI
in other
The
The battle
drawing is very marked.
scene also (no. 8) is vigorous and effective in composition, but lacks
the grace and delicacy which characterize earlier work.
and XI, but the difference
The
type of
stele
stele
in the
20-24 the fineal of the stele varies in form. The triple plinth found
XIII, however, does not occur, and the rectangular "altar"
behind the stele is found only on nos. 42-43.
The stele is decorated
in Class
with several
color,
what
acanthus leaves
is
are in
solid
The
typical
On
man and
woman
standing at either
nos. 9, 10, 16, 22a, 25, 28, i^c^^ 43, 52, and 54 (cf 34a) the
seated figure is that of a young warrior with spears
resting against his
side.
190
On
is
bastron (no. 13, cf 15), or holding a casket (nos. ^3) 40) or a small
sometimes she supports her head on her hand
flat basket (no. 15)
;
(nos. 31, 38, 39), or grasps the garment beside her head [e.g. no. 37),
or her hands lie on her lap (nos. i i, 24)
occasionally she leans back
arm
no.
on
one
14); once (no. 14, cf.
[e.g.
supporting herself
;
the vouth on no. 30) her hand is raised to her head in the gesture of
There is no one type for the dead
adoration noted in Class XIII.
woman corresponding to that for the dead youth, but in general the
attitude
is
The
The man
is
flat
{e.g.
nos.
(nos. 22, 40a), the goose (nos. 49-51), the alabastron (nos. ;^^, 37),
Of the gestures
the helmet (no. 22a), the smegmatotheke (no. 40a).
noted especially in Class XIII the hand raised slightly from the side is
found on nos. 25, 51, ^^y and the relaxed hand raised to the head in
adoration on nos. 1 6, 30, 23, 34a, 39, 46, and 54. The hand extended
(palm up) is found fourteen times; twice a man's hand rests on his
more commonly than before a woman
hips, the elbow out (nos. 29, 34)
;
supports her head on her hands (nos. T2, 15, 26, cf 31, 38,39), or
draws forward the garment over her shoulder (nos. 10, 16, 2;^^ 37,
The garments
be expected
in
are
much
classes
same
as in Class
igi
is
The
frequently added.
{e.g.
{e.g.
draped
neck
to the
in
in
Class
XIII
attention
is
paid
women
is
supported by
in a loose
;
15, 24, 25, 31 the hair hangs in long curls over the shoulders, forming
a background for the face on no. 31.
The only object commonly found in the field is a taenia of red or
Reeds
6,
9-12, 17-19,
present in the
Charon
on nos.
on nos.
40, a goose (or duck) stands on the steps on no. 17 and a lekythos
on nos. I and 39. The lekythoi in the pro^hesis scenes (nos. 5, 6) have
The provenance
in
far as
in Eretria.
So
far as
data are at
is
nothing to indicate whether or not there was a local
manufacture of these vases in Eretria in addition to their manufacture
hand there
in
Athens
but there
in
is
Class XIII.
attention to detail.
The
view (nos.
9,
10,
15,
192
to the figures
CLASS XV:
The
and red
in gray outline
the rounded
according to the type of stele
tumulus on a base, the rather wide stele or column crowned by
spreading acanthus leaves, and the stele crowned by simple plinths
vases
are
classified
there remain
the end
at
find
their
examples in Classes IX and XI, where gray is also used for outlines
and rarely red for the hair, by the character of the drawing and the
of solid
use
1.
contemporaneous with
In
color.
Classes
H. 0.40 m.
(Coll. 681).
Palmettes, not of the usual form, in dull green with alternate leaves red
maeander
and
in dull green.
The
scene
is
a tuft
in
Much
In the centre
drawn
is
gray with
unbroken
the hair
for
brown
damaged.
From
of high reeds.
brown
the
left
youth
dull green
in
his
hand,
right
Munich
2.
2785.^
H.
also
two
at the sides
left a
man
bearded
back, and
in his
The
scene
is
drawn
in
black
thin
on two
stele
black.
dull
The
now
large.
unbroken maeander
the
0,38 m.
is
leans forward
right
on
a crutch
under
his
left
shoulder, the
stele a
left
foot
the
the
drawn
his
is
in a loose
girded,
low knot.
193
now brown
the
194
Mannheim, Case
3.
H.
178.
m.
0.46
arch.
Jahr.
Inst.
red
Partly repainted
The
the
hair
curlv
is
.?
as
if in
stands a bearded
man
black,
with dark
filled in
(.'').
leaves
hand
left
in
to
partial
At the
away from
her forehead
a
left
the stele a
woman
flat
is
in partial
basket with
two
large
right
block on which
at
relief.
At the
right
stele.
The
red hair and himation and the black beard are apparently repainted.
Three
v^ases
about 0.40
brown
in
ni.
of Class
XIV,
warriors are on foot and reeds or bushes intervene rather than a tree.
The
The
profile form a rather striking composition.
with triple palmette, apparently on three sides of a column, was
noted on no. 3 (with acanthus leaves) and no. 22 of Class XIV;
bending forward
in
stele
been represented
figures are
The
in
actually
drawn
in
the
pediment of an
altar-like
4.
Paris, Louvre,
H.
114.
tomb.
XI and XIV.
0.25 m.
Pottier, L<?r.
scene
coarse.
The
youth stands
in
profile,
wrapped
to the
is
neck
blue himation.
At the
Before him a
left
\pv)(rj
flies
At the
his
Dresden, Alb.
5.
Mouth
leaf
The
missing.
ornament
195
right a
arm.
left
H. of fragment 0.185 ^^
Laurion.
Z. V. 2040.
woman
basket on her
flat
The
in dull black.
scene
is
drawn
in dull black,
is
with red
replaced by a
and
taeniae.
At the
right
is
tumulus on
a high
The
At
At
the
left
H.
Peiraeus.
maeander
0.22 m.
thin greenish gray.
are in
same
color, with deep red for the hair and for taeniae.
painted
At the right is an ovoid tumulus on two steps, decorated with red and gray taeniae.
scene
the
in the
is
stands a
left
pomegranate
out a
Ornament
the hair
The
missing.
scene
The
is
is
is
drawn
H. 0.195 m.
Eretria.
with
a reddish
wash
for
face
flat
7.
6)1
rests
6.
The
step,
hand
Before
it
stands a youth
On
four small lekythoi with gray outlines and red for the hair a
tumulus draped with taeniae takes the place of any other
ovoid
high
grave monument (cf. no. 18 of Class XII and many examples of
Classes
On
nos.
4 and 7 blue
used
is
in addition to
usual
the
and on
no.
quite small examples with only one figure, a mourner at the grave;
and on the fragment no. 5 onlv one figure is visible.
8.
drawn
are also
On
ephebos
two
steps
right a
chiton
is
woman
0.29 m.
the simple
details.
At the
9.
in thin black,
H.
Laurion.
Nearly erased.
with round top.
At
the
left
an
his left
barelv visible.
H.
Lee. blancs
m.
Pettier,
att.^ p.
Palmettes hastily
dull green.
0.25
The
scene
is
drawn
in coarse
gray
red
is
used tor
simple maeander
garment and
in
details.
196
At
woman
with
toward
his
is
flat
the
at
Palmettes careless,
The
brown with
scene
drawn
is
in the
same color
The
grave
mound on two
in
sits
in a
is
steps
to the
draped
profile,
dark red
H. 0.298 m.
(2122),
with hair
maeander
the simple
in a red
his
head
is
violet,
At the
is
neck
slightly
is
left a
bowed.
woman
the right a
on her
taeniae
stele
decking the
is
left
Munich, 209 d
also in black.
At
arm
companion.
10.
youth
left
left
en face approaches, steadying with her right hand the flat basket of
arm ; her garment has disappeared ; the hair is gathered in a loose pro-
On
tumulus
is
\\iv^']
flying
toward
it
with ges-
ture of lamentation.
round top
a stele with
17, 18
in the color
On
of the outlines.
tumulus
in addition to the
Number
one
at
is
is
is
(cf.
no. 8 there
Class VII,
i,
nos.
tumulus
side,
direction.
the neck in
he represents the dead person, and it is possible that the youth with
spears on no. 8 might be understood in the same way.
11.
Frohner,
On
Mus. Cinq. A
Brussels,
Collection
H. 0.30 m.
904.
Plate
XXXI,
3.
the shoulder one broad palmette and a series of scrolls in dull violet-black
the
maeander
in the
same color
is
The
is
stele
on two steps
is
At the
hand on
right stands a
his hip
woman
flat
violet.
as
if
At
the left
holding a
staff
She
stele, and her relaxed right hand extended toward the top of the stele.
brick-red sleeveless chiton with overfold, the lower edge of both left white
a cloth
from the
wears
covers her hair except for curls about the face and a protruding bunch of curls behind.
12.
and
The
details,
The
scene
is
hastily
H. 0.276 m.
Plate
drawn
in black
with hair
in brick-red
black
is
is
XXXI,
i.
broad
stele
on one step
is
leaves
on
At the
"altar."
seen an
a taenia
her hair
woman
young
At the
behind
in partial
right a
woman
it
profile
She wears
in
short.
is
left
197
on both
sides
approaches,
sleeveless
may
be
her head
chiton,
girded,
stands en face,
extended over the top of the stele with the taenia she holds in both hands
her sleeveless
is thin black with red fold-lines
chiton
her
hair
is
in
a
low
small
knot.
girded
curly
;
13.
Palmettes
maeander
wash
in
The
is
The
red
used for
At
woman
hand
right
garment and
toward the
slightly
details.
is
sloping shoulder
High
flat
stele,
in
palm
dull green
The
is
H.
broad
stele
is
is
a seated
is
woman
in
H.
Mus. Arch.
her
raising
0.41 m.
The
o.
At
leaves.
At
scene
drawn
is
in gray lines;
red.
dull green
15. Florence,
At the
mantle.
arm and
left
in dull green.
the right
a red
unbroken maeander
leaves
left is
carrying a
at
the
drawn
is
14.
while
is
0.25 m.
green
scene
apparently a column,
stele,
in dull
green.
drawn
coarsely
dull
H.
mantle
the
left is
a standing
woman,
is
sup-
16 m.
Heydemann,
Z)r///^j- //<2//.
drawn
the hair
is
the simple
is
details.
shoulders.
At the
right a
woman
At
falls
the
in
left
young
curls to
her
The
use of black orgray outlines with red for the hair occurs on
the stele is crowned with
acanthus ornament.
No.
is
decidedly unusual in the fine even black
of
the drawing
the combination which
preciseness
crowns the stele, and the type of basket which the woman carries are
lines
1 1
and the
also unusual.
to avoid
is
difficult
198
The
scene
The
the
H.
16.
drawn
is
broad
stele
woman
left a
At
appeared.
toward the
in coarse
is
lines
red
is
used for
garment.
gray
decorated with red taeniae and crowned with acanthus leaves.
en face
on her
left
hand
palm
stele,
At
hand
the right a youth in deep red himation stands raising his right
slightly
in.
17.
0.31 m.
H. 0.25 m.
(Coll. 664).
Palmettes coarsely drawn in dull green with alternate leaves red ; simple maeander in
The scene is drawn in coarse gray lines red is used for garment and details,
dull green.
and green
stripes for
garments.
The stele, apparently a column, is crowned with acanthus leaves and decorated with
At the left a youth raises his hand slightly toward the stele,
red taeniae (green ends).
At the right a woman brings a
a dark red mantle with green stripes.
he
wears
in
;
palm
flat
large
H.
18.
0.25 m.
dull green.
and green
The
a
stripes for
stele,
garment.
apparently a column,
At the
green
woman
brings a large
is
leaves
At
youth draped to the neck in a red mantle.
she wears a chiton with
basket of red taeniae
left is a
flat
stripes.
The
maeander
H.
19.
drawn
The
in dull green.
Traces of white
garment.
scene
lines
is
dull green
in
drawn
in
0.25 m.
is
;
simple
used for a
The
broad
stele
Palmettes
The
scene
The
is
in
dull green
drawn
in coarse
very slender
stele
on two steps
yellowish red
is
woman
flat
0.25 m.
simple maeander
is
in
dull
green.
H.
20.
she wears
At
the
left
woman
basket of offerings.
in profile
At the
right
CLASS XV,
An
16-23
199
is
same gray
in the
as the
is
The drawing
outline.
is still
but ordinary character found on the vases pre17 and 18, with dull green stripes on red
fairly careful
Numbers
viously described.
The tumulus
garment, may have been made together as a pair.
behind a stele (no. 19) has occurred frequently in earlier classes beginning with Class V, but this is the first instance where it is comfor a
stele.
Number 20 is
found on no. 29
drawing and a
(Plate xviii) of the BurSimilar
class.
in case
21.
High
Small palmettes
wearing
toward the
slightly
mantle
stele,
palm
in
dull
leaves red
At the
woman
left a
approaches,
at
in
for
except
his
arm he
right
is
mantle.
red
22.
High
unbroken maeander
the hair
The
figure,
scene
broad
and
On
The
in dull green.
at
stele
is
crowned by
the right a
woman
H. 0.32 m.
a black
is
drawn
in
At
moulding.
the
left
is drawn in
gray outlines with red for
crowned by simple mouldings as on nos. 37-54
On no. 21 the outlines of the figure show through
of Class XIII.
the bright red applied for the woman's mantle
ordinarily no
22 the scene
nos. 21,
is
preliminary sketch was used in these later lekythoi, but it was not
unusual to sketch the entire figure and later to apply color for the
garments.
23.
Paris, Louvre,
CA
1745.
H. 0.325 m.
The
now brown
for
garments and
details a thick
is
at a flat
scene
green and
At
rudely drawn in
is
The
the
left
violet
a
taeniae,
woman
and
en face
200
avvav from the stele
as to leave
in his right
her face in
At the
relief.
right
which
he wears
is
drawn up
long himation,
24.
dull green.
The
palmette
left
The
is
also in
used for a
is
in
which
his
In the
right
field
is
draped
he wears
stele
25.
maeander,
greenish black
At the
about the shaft is a red taenia.
surrounded by a gray line
At the right stands
with bowed head brings a flat basket of red taeniae.
red
youth extending
red edge.
0.29 m.
for details.
slender stele
are
woman
careless
H.
Athens.
H.
Tanagra.
0.35 m.
of the maeander.
In the centre
is
it is
column crowned by egg moulding and a capital with volutes
At the left stands a woman with flat basket of red
;
hand
right
arm and
At the
right a
on her
hand
her chiton
is
ornamented with
youth with spear in his left hand holds out a taenia in his right
he wears a conical cap with flap covering the back of his neck and a corselet over
red stripes.
The
for the
woman
a basket
bringing
look back at
from the
stele to
found on
later lekythoi.
it,
Apparently, the youth carrying the aryballos, and wearing the mantle with an unusual combination of colors, is
the figure of a dead person represented as on his way to the palaestra.
The
mantle of the
her face
is
woman
also unusual,
tive
of violet-grav, a taenia is draped in the field as in more decoraexamples of Classes XIII and XIV, and the treatment of the
is
missing
the scene
is
drawn
CONCLUSION OF CLASS XV
an Ionic column takes the place of a
offerings has a mirror in her other hand
cap
is
is
stele
the
201
woman
bringing
Conclusion of Class
XV
The
rest
lines
is
in isolated
examples
drawn with the usual brush in
red strokes.
Solid red for a garment is found on about half the
lekythoi here; thin gray-green is used in this way only on nos. 1,12,
Red or green stripes are found on nos. 2, 6, 12, 17, 18,
22, 24.
and 25, the red applied on thin black on no. 12, and the gray-green on
thin red on no. 17.
The borders of garments also are occasionally
of earlier
classes,
is
The
on
scene
no.
no.
{e.g.
wash on no.
23).
Other colors
1, a reddish
yellow on
On
nos.
of any other
monument;
also in Classes
On
nos.
11-19
leaves as in Class
acanthus stele
is
a fairly
broad
stele
is
it is
adorned
accompanied by a
crowned by acanthus
it
also
Here
and XII.
uncommon
is
in
Class
XIV;
the
the stele with thin plinths for the top (nos. 21, 22) has also been
discussed under Class XIII, where it is typical.
The peculiar pal-
202
pillar
of no.
On
three small examples (nos. 5-7) there was apparently but one
The two figures on nos. 12, 14, 15, 20
the tumulus.
figure beside
are both women bringing offerings; on the other examples one finds
a
woman
or a
By analogy
on no. 23
toward the
gesture
As
and
is
stele
if to
as
found both
for
women
times short
On
nos. 12
and 15 she
carries in her
hands
strigil),
but the
lekythoi
man holding
(cf.
Class V,
Of
on no.
the
i.
lekvthoi
whose provenance
is
CONCLUSION OF CLASS XV
Eretria,
203
is
which often went with rather hasty drawing are not characteristic of
this class.
Rather, the drawing is somewhat carefully done in coarse
tends to be heavy, the grace of Greek work is not
Probably these vases were made toward the end
altogether lacking.
of the fifth century or early in the fourth century B.C. and practically
lines
at
but while
the
ateliers.
it
same time
as the
two preceding
classes,
though
in different
CLASS XVI
m.
and the
in height,
characteristic
The
together different
men
examples are
decoration
is al-
on most examples
painted a thin
is
It
grave monuments, or in connection with grave monuments, taking the place of marble lekythoi with carved or painted
As several of them have been adequately published, and as
scenes.
are
so
different from the white lekythoi to which this volume
they
were used
as
has been devoted, I shall discuss little else than the lines of tradition
which connect them with the vases previously treated.
The
shoulder
is
brown varying
and
tails,
to orange.
traces of reddish
The wide
H.
I.
stele,
in fine
0.75 m.
and the
lines to
lines ot reddish
Brown, blue, violet, and green are used for garments and
brown wash indicate in places the modelling of flesh parts.
de-
right,
decorated
is
and eyelashes
are
in front
drawn
the hair
is
view, the
drawn with
is
left
hand
fine
blue
single
raised
in detail.
the top
at
scrolls in
is
mande, and
At
strokes.
across
the
en face, his right hand upon a stafi^away from the stele, his
mantle
is
the brush.
At the
blue stripes.
arm
the hair
In the
his short
field
chiton
is
ornamented
stele
204
is
pupils
is
left
left
bearded
hand on
drawn
man
his hip.
stands
blue
hand
left
The
of
spears
CLASS XVI,
1-2
205
up
XIV
found.
it
the mantle as on no. 37 of Class XIV
may be the gesture of
adoration noted frequently in Classes XIII and XIV.
horse is
;
found beside the grave stele on only two lekythoi previously discussed,
here it is the steed of the
namely, on nos. 36 and 54 of Class XIII
;
warrior standing beside it, or perhaps of the dead youth who is seen
sitting on the steps of the stele, and its presence may be explained by
the effort to produce a scene more elaborate than the ordinary traditional
As a whole the scene represents the dead person with friends
type.
or
members of
his
family
it
is
The
stelae, which was noted frequently on lekythoi of Class XI.
striking feature of this vase is the use of a thin brown wash on the
horse and on the standing man at the left to indicate shadows and
On two or three earlier vases (Class VI, i,
bring out the modelling.
Mus.
no. 2, Brit.
58
made
New
York,
but
figures,
earliest
is
to define shadows.
2.
Furtw.
Berlin,
2684.
entire vase
is
The
leaves.
scene
is
drawn
in
flat
slip.
H.
i.
On
the large
violet stripes,
details
m.
0.68
mouth
violet
darker
brown
shading.
Dark
garments and
women
is
white with
and gray,
details
as well as
in
details.
Prothesis.
right.
On
The couch
high couch
rests
lies
the
on blocks drawn
bodv of
in
perspective, of
at the
at
the
2o6
right remains
it
is
row of green
decorated with a
is
it
laid a
white robe
The
bodv of the youth is wrapped to the neck in a mantle reserved white with a few fold lines
Beneath the couch is a lekythos, above it a dark green taenia draped in
in light brown.
At the left, at the foot of the
the field, and a pale brown ij/v^-q with arms extended.
woman
couch, a
right
hand
darker
a pale
brown
brown
flat
fold lines,
basket
is
short.
brown with
woman
second
in
brown
man
the
fold lines,
in
a dark violet
his
right
hand
knot.
At
armpit,
his
left
a flat
left
raised behind
his hair
his
own
hand touching
head; he wears
The
model-
The
lekvthoi.
The
mouth with
violet
adding
correction as
figure
makes
method of procedure.
clear this
is
as
well
as
Even
usual in Class
IX
found
after Class
XI,
is
found here
in
XIV,
The
the form
by the bier are usually all women, one of them is a man on Class IX,
One
I, no. 12, XI, 2, no. I, and Appendix, Class VI, i, no. 16 b.
women brings
on Class XIV, no. 5
of the
a flat
;
between
this
and
earlier
lies
in
the
CLASS XVI,
207
2-3
point is the use of both a darker wash and shading lines to bring out
On a vase which presumably bethe modelling of the man's form.
painter of
fifth
The
it
any attempt
arm of
at modelling.
woman
the
at the
and the right arm of the woman in the centre, as well as the
awkwardness of the hands of the women, marks the limitation of
left
the painter, who, in spite of his ambitious attempt, was only making a
"
Still, the composition of the scene and
lekythos for the dead."
the fine figure of the old man leave the clear impression that he was
following the models of the great painters of his age.
Berlin, Furtw.
3.
The
entire vase
is
^^'^9S->
^^
The
large
slip.
wreath of leaves
now
outlines in reddish
and
is
is
drawn
is
details.
mouth shows
with
traces
decorated with a
is
of the same
stele
the shoulder
0.69 m.
and
details
of the men,
in
and
violet
also
Partially restored.
details.
The
is
scene
a thicker coat
brown;
brown
The
violet.
H.
2685.
low, broad
sits
wears an himation loosely hanging from the shoulder, painted white with red-brown
At the left a youth leans forward on the stick which holds his mantle under the
details.
left
seated figure
is
down)
as
brown with
if in
reddish
brown
the right a youth stands in partial profile with arms hanging at his side
shading
in
darker red-brown.
The
flesh parts
details.
At
brown with
2o8
In the use of the white slip and the decoration, no. 3 follows the
same type as no. 2, and may well be from the same hand. Here also
drawn
with
and
its
is
is
in
flat
to be
The
thoi.
on no.
his lifetime,
The
XII (1905), 43
f.,
0.95 m.
Monuments
grecs^
Fonda-
pi. V.
reproduction indicates that the edge of the thick foot and the large bell-shaped
mouth
have
chalky white
H.
4.
tion Piot,
is
On
slip.
The
omitted.
brown-red
scene
a dull reddish
;
is
drawn
in flat color
is
dark violet, dark green, blue, applied white with red details, dull yellow and brown, are
used for garments and details.
The ground
is
apparently a round
is
indicated by a broad
band of yellow.
The
stele
pillar
cated anthemion with palmette leaves in green on dark violet, on each side of which
narrow acanthus
leaf
left
elbow
resting
detail
on dark
on the back of
violet.
Before the
and
is
stele
his right
a white himation with dark green border and fine red fold lines.
he
youth leans forward on his staff, his left foot drawn back
At
wears an himation, apparently once dark violet, which covers the back of his head.
Before him,
at
the extreme
left
brown
the
left,
At the
fold lines.
right another
youth stands in
The
less.
stele
that
on no,
3.
of yellow-brown as that on
on no.
3,
leaning on a
At
a seated
staff,
first
though here
CLASS XVI,
and one
elaborate,
The
ot the
3-5
youths has
his
209
his
head.
knees of
gestures,
figures,
over the back of the head, repeat types that are not unfamiliar on
In the publication by Collignon the central
earlier white lekythoi.
stele is interpreted as an acanthus leaf seen
the
of
the
of
top
part
while the acanthus leaves at the sides are seen in side
in front view,
know
view
and there
seems to signify
drawn in
what sort of
round
pillar
It is not clear
perspective (cf. Class XIV, nos. 49, 50).
no trace of it is visible, but the position
a seat the seated figure has
of the left arm can only be understood if the elbow rests on some
;
support like the back of a chair. The figures that remain, as on nos.
I
and 3, represent the dead person and his associates, without the
addition of
XII
The
bringing offerings.
CA
Louvre,
5.
Pioty
women
(1905), 31
foot
is
thick,
H.
273.
f.,
0.96 m.
Monuments
Fondation
grecs^
pis. iii-iv.
a slight
spreading
at the
top instead ot
scene
is
brown
drawn
flat
red-brown,
The
covered with a
in
is
masses of color frequently defined by fine contour lines of redbrown, a thin pale red, blue, dark violet, and dark green
thin light
and
details.
crowned by
broad
stele
is
each side
is
back to back.
large
The one
at
the
left,
who
Before her,
at
is
a red
the
left
left,
rests
women
her
brown
woman
are seated
left
hand on
sleeve chiton
is
in a
white
both hands a light violet (?) taenia ; she wears a sleeveless chiton in pale red with brown The seated woman at the right, who looks
red fold lines and a dark red himation.
in
210
palm up
her shoulder,
hair
is
brown
toward the
gathered
en face with
bowed head,
is
low knot.
in a loose
raises
sleeve chiton
Before her,
at
the right, a
woman
stands nearly
figure,
and
small casket (pale red with dark red details) on her raised left hand awav from the stele ;
she wears a pale red sleeve chiton with dark red fold lines, and a dark red himation with
white border
woman
to her
falls
neck
in
curls.
left
gathered
down
The ground below
protruding knot.
in a loose
condition,
finest vase
is
of this
of Collignon
in
to add, except
the front
the figures
flat
basket
indicated
by
is
broad
class, in
spite of
its
fragmentary
To
As
thoi.
stele
brown.
line of
Perhaps the
the
uneven
At
stands in partial profile, a wreath in her slightly raised right hand, and a
stele,
double centre for the composition, such that now one, now the other,
becomes the centre of attention as the vase is viewed from different
In the distribution of color as well as in the disposition of
points.
The broad stele
the figures, the composition is carefully studied.
with three palmettes is a more elaborate example of a tvpe found in
It seems to me to be a column rather
Class
(nos. 3, 22, 22a).
XIV
drawing
is
(Class
X,
makes
it
in
no.
11).
The
women
are seated
on
stools, or
on
iar
figure at the right (Class XIII, nos. 40, 42) and of the standing woman
before her (Class XIII, nos. 7, 10), the casket or flat basket raised high
stele (Class
XIV,
no, i),
and the
feet
hanging down
as
though the seat were too high (Class XIV, nos. 24, 30). The eyes are
drawn with four nearly straight lines for eyelids and brows as regularly
in Class XIV, the hair is treated in the same manner, and except for
the rather weak line of the chin the profile is of the same type.
CLASS XVI,
211
5-6
less
as, for
supra, rather than the shading lines which were employed with
It is true that the
a wash on nos. 2-4 for male figures.
garment
no.
I,
folds of
this
is
As pointed out by
standing figure with the casket is a new device.
in size and in style has a grandiose character
Collignon, this vase both
The connection
classes of lekythoi.
earlier
in striking contrast with
with earlier white lekythoi is further evident in the nature of the
scene ; while the scenes on nos. 1,3, and 4 give the dead person with
his still living associates, we have here seated dead persons and stand-
Stift
Heidelberg,
On
apparently in glaze
of
women, on which
The
scene
red-brown
details are
the shoulder
Above
lights.
is
is
the scene
is
is
a ray
an egg pattern
added
men and
a thin
red-brown
the hair
for
is
also dark
garments and
details.
The broad
red and blue.
stele
drawn-
Before
it
two
in perspective
crowned by
is
cyma with
Of the
the back of the head (repainted) and the knees and one foot remain.
the knees is without color, the contours in yellow-brown glaze lines
was
that of a
man.
Before him
at
the
leaves alternately
one
at the left
only
The mantle
over
stands a
left
is
dark
flesh
dark
as the toot
man,
ot the
brown, leaning forward on a staff under his left armpit ; he wears a blue himation
Of the seated figure at the right, looking
head only the back part remains (repainted).
;
toward the
right,
woman
is
in dark
red-brown, and
toward the
left
stand
two women,
flesh light
Before her
brown.
touch of yellow
at the right
The one
may be
and looking
212
hand
a casket, red
woman
small
low knot
right carries
which hang
raised
a red taenia
and
hand
a
Hat basket,
Her
just described.
The one
on each
like a
at
Her garment
is
hip-roof;
hair
is
in a
the extreme
details,
from
hair short.
This lekythos also, which I know only from the publications cited
namely, two
above, has the same type of scene as that on no. 5
the broad stele, with one standing figure at the
figures seated before
;
left
and two
difference
at the right.
is
latter leans
con-
made
The
and
is
finally in
marble.
The cyma on
the stele
is
a bit
of architectural
at a
time
surface.
command, even
when
The
X, 86
figures,
Taf
To
f.,
ii).
in fine lines of
213
top
is
a series
of acanthus leaves
is
on the
capital
is
group of two winged male figures, one bearded, holding the draped
body of a dead woman in a diagonal position a double set of volutes
;
fill
stele
looking up
a slender taenia as if to
deck the
at the right is a
member of
Conclusion of Class
the stele.
XVI
The
m.
m.
to 1.09
in height).
exception of no. i, the white slip covers all or nearly all the surface
of the vase.
The decoration is of a new type, and the method of
drawing
is
distinctly different.
to
doubt that
those lekythoi were made for a diff'erent purpose from those discussed
before and that the connection with earlier classes is only the force of
a tradition
What
this
set
Athens
in the
the top of the body of the vase on no. 2 and the egg pattern on no. 6
are the only traces that remain of the earlier decoration above the
scene.
on no. 4 thev
On
2 14
red and blue rays on the shoulder of no. 6, and the violet leaves on
shoulder and neck of nos. 2 and 3, are ornaments that have no connection whatever with earlier lekvthos tradition.
The
break with
earlier tradition
is
most evident
in the
method of
Clearly on no.
brown
clear definition.
all
of painting, probably
itself.
Even
lines as
earlier lekythoi,
field.
in
the
earlier lekythoi,
The
only
on
xjjvxrj
real dif-
spond with the larger size, but no new elements are introduced
even the figures on top of the stele on the Berlin fragment described
under no. 6 differ from earlier examples of the same thing only in the
method of treatment.
As before, the figure seated before the stele
On
and
6),
we may
still
I,
3,
The
bringing offerings in the same manner as on earlier lekythoi.
of
are
all
familiar
on
man
earlier
the
and
types
figures
lekythoi
woman
nos. 2, 5,
spears (no. i ), or leaning on the staff under his arm (nos. 3, 4, 6); even
the seated figure with elbow apparently resting on the back of his chair
more than
'^.ce.
And
while
215
some of the
types are
raised
hand
gestures of lamentation
objects in the field,
The
to the grave are peculiar to lekythoi.
offerings (nos. 2, 5, 6), the taenia (no. 5), the
wreath (no.
on lekythoi
The
style of
5, 6)
marked resemblance
It is
to that on Class XIV, in spite of the difference of method.
clear that the two classes belong to the same period, probably about
400
B.C.,
and that
XVI
Class
at least in
the
work
in
in
earlier
of lekythoi.
In general it appears that the class of lekythoi under discussion
was made for an entirely different purpose from earlier lekythoi,
and that the artists who made them attempted to follow in a measure
classes
the
methods of
a white
At
surface.
still
fresco painting
scenes, the gestures of the figures, and the objects in their hands or in
the field; and further, the use of outline and of fine lines for details
CONCLUSION
Scenes represented on Lekythoi
classes ix-xvi
(i)
The
made evident
manufactured
in
large
On
limited time.
numbers
for a definite
at the
grave
is
aration to visit the grave noted in earlier classes (see Vol. VI, 342 f )
where much the same scene occurs (Class IX, 3, no. i
XI, 5, no. 6),
of vases where the stele is present suggests a different
the
^
analogy
his
lifetime,
this
analogv
The
1
in
visit tlie
home and
grave.
216
battle scenes.
CONCLUSION
Of
217
home two
(Class IX, 3, no. i ; XI, 5, no. 6) represent a woman bringing offerings before a woman seated as if in her
home ; the seated woman with the baby boy before her on the former
the scenes at
on marble
exactly the conception of the mother at home found
stelae,^ and the seated woman with the Eros on the latter vase is so
detached from her companion that she seems again to represent the
vase
is
dead person
sakkos.
in
It is
of course the
XI,
On
apparently it is the dead woman in her home with comOn one more vase the woman bringing
her lifetime.
of
panions
the other side of which is a seated
offerings occurs before a tree, on
at
home
woman
X,
(Class
country where
2,
her companions
represent the woman dressing with
(Class XI, 2, no. 13), the bride with her companions (Class XI, 2,
no. 12), the youth to whom his sister or his wife is bringing weapons
scenes at
home
him to put on (Class X, 2, no. 11; XI, 4, no. 3), and the young
To me
warrior with his friend and his father (Class XI, 2, no. 16).
for
the
scene which
later
was
in
general use
on marble
stelae.
grave
occur.
i)
is
scenes (Class IV, i, no. 19; 3, no. 30; V, no. 78); the intention is
the same as on marble sculpture representing Athenians and Amazons,
namely, to shed on the present battle scene the glory of the ancient
Th^ horseman attacking a youth on foot (Class
mythical conflict.
XI,
5,
no. 8)
And
is
the
same
in
stele.
will
is
present.
hoplites,
XXXV
(1910), S. 206,
Taf
x.
2i8
Charon Scenes
(2)
The Charon
in
lekythoi with drawing in matt color, the same scene appears in four
forms
{a) with Charon, Hermes, and the dead person ; {/?) with
:
Charon, the dead person, and an attendant {c) with Charon and the
dead person only and (d) with Charon, a mourner, and usually the
dead person.
;
Charon
(a)
scenes
On
five
of
the lekythoi discussed in the present volume is found the full Charon
Charon in his boat, and Hermes presenting to Charon the
scene
:
With
dead person whom he has brought to the shore of the Styx.
one exception (Class XI, 2, no. 10) Charon in his boat is at the left
and the
figure of the
dead
at the
right, as in
On
Class
grasped by Charon (Class IX, 2, no. 24; XI, 2, no. 10); and on the
last-mentioned vase alone occurs an attendant of the dead as on Class
Charon stands
V, no.
8.
in the
of Class XI, 2 is the pole held in one hand and the other hand extended toward the dead person, and on no. 17 of Class IX, i there is
no pole. As in the other series he wears a workman's exomis, attached only on one shoulder and girded up, and a high round cap
find no marked eflxjrt to depict his nature as like that
(pilos).
We
between
On
his rather
common
features
is
and
i,
17 and Class XI, 2, no. 10 Hermes is not
bearded, a petasos hangs on his shoulder, and the only mark of Hermes
is the
On nos. 15-16 of
kerykeion on the former of the two vases.
Class IX,
no.
I
he is bearded and wears winged boots; in each case he is
back
at the dead youth, but no. t6, where he extends his left
looking
hand toward the youth to draw him on and holds his kerykeion
Class IX,
CONCLUSION
219
is
holds her mantle over her head, dressed as for a journey, and
extends her left hand for Hermes to take on this vase alone of these
five occur the small souls that suggest the confines of the world of the
woman
On
dead.
no. 10 of Class
XI,
2 the
dead
woman seems
to shrink
above
is
child
field
With these scenes on lekythoi should be compared other representations of Charon, as, for example, the two terra-cotta reliefs pubIn these
lished by von Duhn {Arch. Zeit. 1885, S. 7 f., Taf. i).
XI,
2,
lekythos
nearer
the
relief
date
in
at the
woman
is
due
who made
the lekythoi
The rude face of Charon on the lekythoi of Classes V
of this class.
and VI may be nearer the prototype ; but the beard of Hermes and
winged boots are perhaps due to popular belief, in the mind of the
The draped figure of a youth on nos. 1517 of
lekythos painter.
Class IX, I is distinctively a figure of lekythos tradition, while the
woman holding her mantle in one or both hands is presumably derived
from the prototype. The attendant on no. 8 of Class V and no. 10
his
of Class XI, 2
addition, however,
is
220
it is
it
seems
scenes in connection with the Charon scene and denote the realm of
souls with which
The
lekythoi of Class V,
347
f.).
Charon
{b)
is
it
Hermes
omitted, and we
series a
we may assume
based on another prototype, or more probit is
at the left
IX,
the
mother
is
young
possibly a
girl,
slave rather than a daughter, brings articles for the toilet ; on no. 20
of Class IX, I and no. 8 of Class XI, 1 the child is added almost as
as a
mother.
On
no. 9 of Class
XI, apparently the young woman with the goose is the dead person,
as on no. 8, and the youth with bird cage and hare may be her brother
2
and the woman may be regarded simply as the companion of his lifetime or as a wife who died with her husband in any case it is the
same type as the dead woman of the terra-cotta reliefs and of one
;
34 f.
9 of Class XI,
seem to belong
His
2 and
no. 21
has
much
no. 18 of Class
same
the
IX,
his
of Charon
is
and VI.
IX
CONCLUSION
borrowed
type of series
less carefully
from
a.
Charon
{c)
it
221
scenes
made
on lekythoi of classes
scenes drawn in glaze outline, no. 7 of Class VI, i might have had
three figures; on nos. 11-12 of Class VII, 2 the two figures are as
as are
many
found
in that class
In Class IX (outlines in
represents the more usual type of scene.
dull color) nos. 13-14 of series 3 have but the two figures, though in
and
1 the
say that she carries with her to the lower world the toilet objects she
Number 1 1 of Class XI, 2 is a
had been wont to use while living.
and on
36
f.)
is
is
cap
Numbers
His
is
sometimes of
face
is
on the
dignified, with
no
effort to rep-
11,
in this series.
and 16
Pottier's no. 10 he
other lekythoi he
pole in
belongs
blancs att. p.
is
form
it
nos.
I, 3, 5,
and
boat as on those
first
The
reliefs.
is
222
at the
veil
examples already discussed, and the woman with casket is to be compared with Class IX, i, no. 14, supra. Numbers 4 and 6 perhaps belong
of
mourner
at the
grave are
Charon's boat.
Charon
{a)
scenes
in the
scenes
same way,
woman
holding
up tablets on no. 6 (cf nos. 15, 18, 19 of Class XIII) and the figure
of a woman bringing a canistron on each hand (no. 4) are figures
really belonging to scenes of worship at the grave but carried over
"
which is to
This is a kind of " contamination
into Charon scenes.
be expected on vases which were manufactured in large quantities
When the grave
with little attention to the meaning of the scene.
the
usual offerings,
with
the
itself
is
introduced
stele
person bringing
the dead person on the steps of the stele or standing before
it,
and
"
contamination," but it is a
ideal and a real scene which had
it
on the other
On
in
mind.
and before
it
The
in
Charon shows
one hand and the other hand
figure of
is
a canistron,
and on no, 6
Pottier's nos. t2
and
kantharos
also,
to the grave.
Probably
the latter only with the stele, should be inon both these vases reeds are represented be-
18,
;
XIV,
also
CONCLUSION
The
alabastron.
scene
223
is
left,
the dead
woman
while in front of
fruits
it
her head as
if to tear
stands a
left
her hair.
woman who
brings a canistron of
is
The Charon
the modifications
scene
it
is
In Class V and some examples of Class IX it seems to be adapted without great change from some monumental painting, but in Class IX the
figures conform to the conventions of the Class and are stiffer than in
The one
VI with
drawn with
the grace and the effort to characterize the figures which would be exThe examples in Class VII are somewhat rudely drawn and are
pected.
Class V.
lekythos in Class
this scene
is
with only the figure of the dead person confronting Charon occurred
also in Classes IX and XI and is the only form found on the hastily
belong to other scenes in Class XI, where the effort for variety in
Thus the
stereotyped scenes is marked, and again in Class XIV.
variations in the one scene bring out in a striking way the different
spirit
Of the
Charon scene
224
a ritual
XXIV, 710
That
to lamentations.
was almost
is
The
f.).
(XLIII,
62,
The
island.
p.
(see
Benndorf, Griech.
five
list
Numbers
to nine.
2, 3,
and 9 of Pottier's list I have not seen the only new element in them,
to judge from his description, is that on no. 3 the number of women
mourners is increased to four. Since Pottier's work was published,
;
seven additional examples have appeared in museums and are dethe list of those described is as folscribed in the present volume
;
lows
Class VI,
and
laid
on
right.
hands
in expression
of
grief,
The couch ordinarily has delicately turned legs, but In two cases
(Class XIV, no. 6a and XVI, no. 2) the legs are short and square,
in several cases
(Class VI, I,
no. 2).
The
the couch
no. i6b;
body
is
is
raised
IX,
no.
1,
stiffly laid
is
1 1
XIV,
IX,
i,
in a
no.
in
mantle which
13,
and
XIV,
3, no.
no.
6a).
The
eyes of the dead person are closed, but otherwise the face is not
differentiated from that of living persons.
On Class XIV, no. 6
wreath
is
CONCLUSION
225
The woman mourner, raising her hands to tear her hair, is alone
in Class XIV, no. 6; on IX, i, no. 14 and 3, no. 12 are two mournOn
ing women alone, and on IX, i, no. 13 three mourning women.
Class IX, I, no. 12, XI, 2, no. i, and XVI, no. 2 a man is present
with the women mourners; he is evidently a member of the family,
and
women.
hands to
1 1
12)
as
dead person (cf Class IX, i, no. 12; XVI, no. 2), and where color
used on the vase, their garments are ordinarily dark but not black.
is
women
not
in a
seems
worship here
objects used
and perhaps the lekythoi which were
in
XIV,
no. 5,
XVI,
it
and other
to be
set
no. 2).
and
later
monument.
The
the
body or
set
is cited
by Pottier, L'ec. blancs att., p. 20.
on
Class
XIV, no. 6 may be either examples
large lekythoi
of lekythoi used in the same way at the prothesis or perhaps actual
literature
The two
This stele is
grave monuments like the stele on Class XIII, no. 9.
"
"
an example of
contamination
like that in the Charon scenes disThis scene is properly laid
cussed under d in the preceding section.
in the home, not at the
grave, and the portico of the house is indicated by the
no.
IX,
The
XIV,
3, no.
1 1
226
home
in scenes in the
properly belong
moment brought
In contrast with the Charon scene the prothesis scene does not
character in the development from Class IX to Class
really change its
of the accessories vary, and the drawing changes, but
the scene remains a literal representation of what actually took place,
XVI.
Some
a scene of
The
{iK(f)opd)
is
not repre-
sented on white lekythoi, but the lowering of the body into the grave
is shown in an idealized form on an interesting series of these vases.
Pottier {Lee. blanes att., p. 23 f.) lists five examples of which three
finely characterized
the
stiff
Very similar
no. 2
is
at the right
the
and
and XI,
2, no. 4
i,
much
VI, T,
of the drawing is far more graceful
later type of
figures is not so marked; Class XIV, no. 7 gives a still
the same scene.
find an interesting variant (Class IX, i, no. 22
is
We
2, no. 3a) when the stele is omitted and in its stead are seen a
mound and a tree ; on the second of these two vases the figure of the
dead woman is relaxed rather than stiff, and the Hermes Psycho-
and XI,
CONCLUSION
227
who
is
as gestures
interpret rightly his gestures
of mourning
on
this finely
drawn vase the body of the woman is nearly in a seated position, and
curiously her eyes are not closed as in other examples of this scene.
There remain two vases (Class VI, i, no. 3 and XI, 2, no. 2) on
which both the winged genii are unbearded, and further the body of
the dead person still rests partly on the couch on which it has been
On
to the grave.
brought
holds with one hand the hand of the dead person and raises his other
hand to tear his hair i.e the idea of mourning has been transferred
;
from
to
this scene.
Thus
The
stele
its
details
modified in a manner
is
consistent with each of the four classes where the scene appears, and
twice
it
nearly
is
in
replaced by a
mound and
tree.
be
wrapped
drawn over the shoulders (Class XI,
2, no. 3)
by the youth in battle, free in the hands of the genii or just being
That a dead woman has once a
raised from the funeral couch.
an
stephane and the dead youth a taenia about his hair is perhaps
The direction of the dead body
indication of honor paid to the dead.
varies in contrast with
prothesis scene
which
both of which
vases
in
show the
may be
occur
objects in the field which
more
or less frequently
And
Inst.
if
Vm,
iv-v).
Its
228
Sarpedon and Memnon as depicted on vases seems tome beyond dispute at the same time one cannot but raise the question whether its
;
adaptation to an
monumental
first
made
in
some
middle of
character
The
remains that
in
practice.
often used
That
it
for
it
rather the thought of continued gifts of loving memory and of worship at the grave, which was central in the minds of those who used
(5)
The Scene
at the
Grave
The
and
in the
many
it
as a
whole
for in
interesting indications
On the lekythoi
(a) The stele and offerings associated with the stele.
with drawing in glaze outline, as was pointed out in Vol. VI, p. 349
f the reference to the grave becomes clear after the earliest
examples,
and the stele or tumulus gradually becomes the determining factor
,
X,
no. 21
XI,
3, no.
13
CONCLUSION
vase painting.
where
19)
is
it
a stele with
tumulus or
the tumulus
229
round top
is
is
found alone.
7-8
X,
is
it is
dis-
no. 5),
I,
X-XIII
In Classes
intended.
XI,
2, no.
17
nos.
XIV,
42-43)
is
another
form of the grave itself which was preferred to the rounded form or
tumulus by the painters of these lekythoi.
IX and
In Classes
another of the
many
is
more slender
shaft
The
first
real
in Class
XI.
It is
is
is
added
crowned by an
finally a
shaft.
ment
in
or
it
is
or
or
in Classes
XIII-XV
the last type (broad shaft with spreading acanthus leaves at the top)
found on a limited number of examples and in Class XVI large
is
The use of
acanthus leaves are combined with elaborate palmettes.
the acanthus leaf as an ornament of course antedates these lekythoi,
of the fifth century
general use on lekythoi in the last third
to show its availability in other forms of flat
but
its
B.C.
no doubt helped
decoration.
The
230
representation
pediment with
Classes
of a broad, presumably
This
type
In the
more
acroteria.
monument crowned by
fiat
of stele
is
characteristic
of
careful
was guided by
type on vases.
XIV,
on the large lekythoi and the common use of the lekythos form in
The
marble in the fourth century make this suggestion plausible.
of
a lion on top of the shaft on no. 6 of Class XI, i recalls,
presence
for example, the shaft on which stands a bull, that was uncovered
of the lion
is
On
termined by some actual grave monument known to the painter.
on
the
two vases of Class XI, 4 (nos. 4-5) a small bird is perched
which crowns the stele this bird may be a pet
acanthus
foliage
plinths
cave edge {e.g. Class XI, 3, no. 2), a peculiarity which I can only understand as an expression of the painter's effort for decorative effect.
the entire scene (Class X, 3,
Similarly the platform running below
no. 8
XI, 2, no. 13) should be regarded as a device of the painter
;
monument
in
Athens was
marble slab on
made
to
CONCLUSION
suggest such carving in
When
relief.
231
latter class,
the stele,
on
flat
monument
The
is
rarely depicted without one of these taeniae, and in
I n one instance
there are often five or six of them.
(Class X,
grave stele
Class
IX
2, no. 15),
and
as
laid against
the stele, either hanging on the shaft or laid against the step (Class IX,
X, i, no. 4), though it is often brought on the
I, nos. I, 2, and 5
;
flat
Class IX,
lekythos
stele;
is
is
wound around
and Class
XIV
XIV
Class
XIV,
In
(nos. i, 2, 4, 5)
either attached to the shaft or stands
on no. 24 of Class
{e.g.
may be compared
sword
in
its
2,
is
232
on no.
and
this
is
heron
doubtless
the
considered along with the offerings being brought to the grave, one
may have
it
received
so well served
I
believe that this
namely the small flying ^v)(ij or eLhcoXou.
was
first adapted to its use on white lekythoi (cf. Yol. VI,
figure
347 f.) in connection with the Charon scene, but it is quite in line
here,
monument.
In
Class
IX
is
it
in
Charon
XII
(nos. 2, 20)
grave.
limbs
Class
in
XV
toward the
stele,
lamentation;
is
and twice
or one hand
may
be placed on
its
head
wings
little
as
though
in
reference to
its
meaning.
[i^)
on the
IX,
I,
But just
hands of
the worshipper
taeniae.
The
somewhat more
is
in nine cases
smegmatotheke (Class X,
2, nos.
is
14,
24-26; XI,
the normal
method
3, nos. 3, 5, 7; 4,
CONCLUSION
233
Not
offerings.
is
It is clearly a wreath
unless possibly a form of wreath is intended.
of foliage in the hands of a seated youth on Class XII, no. 12, and
her hand to the grave, but more commonly the wreath like the
The spray of foliage in a
taenia is brought on the flat basket.
in
Two
3, no.
8); perhaps
it
served
burial.
or
The
presented at the stele.
the
stele by a woman who carries the flat basket
toward
held
up
usually
Once it is suspended from cords (Class
of taeniae on her left arm.
manner of carrying it; twice it is presented by
a youth (Class X, i, no. 19; XIII, no. 57); and once it is held up
by a woman seated on the steps before the stele (Class XI, 3, no. 10).
The aryballos, or oil vase used by young men, is found once (Class
XII, no.
11), a usual
XV,
no.
Class
it is
presented by a
woman
at the grave (Class IX, 2, nos. 9, 15; 3, no. 10; X, i, no. 18; XI, 3,
nos. 2, 3, 9; XII, nos. 11-13; XIII, no. 34; XIV, no. 40a); or
it
appears on the
XI,
3, nos. 3, 5,
poured from
XI,
3, no. 5
a
woman who
carries
7;
by
2,
rior
p.
2,
no. 6) the
woman
bringing offer-
234
ings holds
a
up high on her
right
hand
The
kantharos.
on
smegmatotheke or perhaps
a woman's head
(Class
hydria brought
IX, 2, no. 8; X, 2, no. 26) or in her hands (Class XII, no. 7),
hke the hydria already noted on the steps of the stele (Class XI,
water for the bath which is offered
3, no. 13), doubtless contains
Similarly the loutrophoros brought by an
attendant woman (Class XI, 2, no. 12), like the loutrophoros set up
at the grave, indicates the marriage bath of a woman who has died
to
dead
the
person.
unmarried.
Of
is
2,
the
the other objects in the hands of figures at the grave the lyre
more common.
It
no.
19;
no. 12;
XII,
no. 14)
XII,
(Class
or
is
carried
XllI,
it
is
by
in the
may be
IX,
(Class
2021
2, no.
XIV,
seems also
to
On
XIV
On no.
with spears.
woman
1
of Class X, 2 no stele
is
present, but a
woman
stances
death.
is
it
life
similar explanation
the footnote
CONCLUSION
235
the plaything brought by a child (Class XI, 3, no. 5), the fan (Class
XV, no. 25),
XI, 3, nos. 2-3), the mirror (Class XI, 2, no. 13
and the kalathos (Class IX, 3, no. 9) in the hands of a woman, they
;
are objects characteristic of the daily life of the person who carries
them. The same statement applies to the jewel casket carried by a
woman
(Class
X,
i,
no. 16;
XI,
3, no.
2;
XIII,
nos. 28,
57), or
The box
held open on her knees (Class XIV, nos. 22, ^Sj 40)with a handle before the child on no. 8 of Class XI, 2 might contain
its
and a similar box brought by a woman (with handle, Class
toys
;
XI,
4, nos. 2, 6
held in
(nos. ^^y
40~43)
woman
is
On no. 17 of Class
mantle to a maid or receiving it from a maid.
XI, 2 a woman at the grave turns to lay aside her mantle, and
the ephebos on no. 9 of Class X, 2 is carrying the mantle he has
In four other instances (Class X, i, no. 8; 3, no. 6;
discarded.
no.
2; XII, no. 17) the mantle is held out before the stele
XI, I,
as
though
it
were an offering
at the grave.
Whether
or not
is
it
so
intended, one must assume that the type is carried over from
domestic scenes such as were noted in Class V.
Again, on several
vases of Class
XIII
woman
stands or
sits
beside the stele holding tablets above her shoulder in her raised right
hand; on nos. 19 and 24 the ribbon with which the tablets are tied
is
glaze
outline
brought
as
On
On no. 22a
Finally the obol, Charon's obol, is seen once or twice.
of Class XIV the woman at the right certainly holds up a coin
and
it is
possible that on no. 5 of Class XI, 2 a coin is held by the raised
;
236
"
"
contamination
that has
bringing offerings is a kind ot
in these scenes.
noted
been
already
Finally, the persons before the stele often bring some household
On no. 22 of Class IX, 2 the
a hare, a goose, or a small bird.
woman
pet,
seated youth playing the Ivre may well be the dead person, while the
woman at the right brings a hare, apparently a pet hare brought as
In a Charon scene (Class XI, 2, no. 9) the
an offering at the grave.
the young woman for whom Charon has
follows
at
the
youth
right
come, and
carries a hare in
one hand,
in the
The
to the grave
his
lifetime
XI,
XI,
life
is
represented as in
man
hands of
life, it
dead
or
finds
woman.
girl (Class
X,
its
i,
an offering
or the choice of the two
2, no. 9), or is
XI,
no. 15
3, no. 2),
brought
as
Figures
in his
in scenes at the
home.
grave.
When
it is
possible to assign
a definite
examples
X,
3, no. 5;
IX,
2,
no.
X,
i,
19; XI,
XIII,
I,
no. 3; 3, no.
10; 4, no.
13; XII,
XIV,
nos.
i,
no. 4;
5,
16,
2,
18;
CONCLUSION
237
stele.
Class
XI,
3, no. loa.
The
ner.
it is
repeated in rather a stereotyped manbefore the stele is interesting in
mourner
of
a
seated
figure
but
realistic,
in later classes
that ordinarily the figure in this position represents the dead person;
if the usual interpretation of this seated figure holds good, he is
mourning
own
his
death.
at the
worship
tation of mourning.
On
and
literal
represen-
represented a woman
bringing offerings to the grave, usually offerings in a flat basket (canOccasionally {e.g. Class IX, 2, no. 19) a woman is attaching
istron).
by
number of
the stele, or a
a taenia to
man
[e.g.
lekythoi
is
Class IX,
i,
no. i) or a
woman
presents a taenia before the stele, but the typical figure is the woman
Opposite the woman with offerings is sometimes
bringing a canistron.
a
woman
second
X,
3, no. 9
or a mourner
;
person
{e.g.
I,
{e.g.
nos. 7,
XI,
i,
1 1
no. 2
2, nos. 14,
4, no.
15;
1, etc.),
Class IX,
25
i,
2,
i),
In most instances, however, one finds either a youth wearing an himation, or a youth with spears, chlamys, and perhaps a
definite interpretation of this figure is hardly possible,
petasos.
3, no. 7).
nor do
lekythoi were made in large quantities for the market and not ordiIn general we may
narily painted for use on a specific occasion.
suppose that
this
a relative
of the deceased
who
person
On
wrapped
{e.g.
for burial.
As such
1 1
it
3, no. i;
X,
i,
no. 14;
XI,
4, nos. 5, 14;
The person
seated (or
43, 51).
32, 54; XIV,
standing) before the grave monuments on the larger lekythoi of Classes
X, XI, XIV, and XVI, it seems clear, is normally the dead person to
XIII,
nos.
nos.
238
whom
time
monument
the
(e.g.
Class
X,
erected, but again represented as in his lifeThis interpre2, nos. 18, 20; XI, 3, nos. 3, 5).
is
instance where the relations of the figures are clearly defined it holds
Seated persons beside the grave monument, like those seated
good.
on
its
steps,
may
often
be intended for
of an ephebos is
of the scene as to suggest a similar interpretation.
When the dead person is represented as in life, whether
ally the statuesque figure
at
one
two
XI,
3, no. 7;
XVI,
ings
no.
i).
is
dinarily a
of his lifetime.
friends
at
the
way worship
at
the grave.
man who often stands opposite the mourner might sometimes be the
dead person more probably it is a relative of the mourner, brother
or husband or father, who is shown with her at the grave.
The normal scene of worship at the grave, a woman bringing
;
woman
or the youth
is
monument
seated, but
in
is
depicted.
Rarely
view of the stereotyped
CONCLUSION
character of the scene
is
it
But when
modification.
dead person.
239
monument,
believe
it is
is
occasionally
youth playing the lyre (Class X, 2, no. 21 ; XIV,
no. 27) or holding some object (an apple, Class XIV, 29), but this is
a
it is
The
common.
not
X,
2, no.
4; XII, nos.
6, 8,
15
XV,
In the scene
nos. 4, 10,
because of
purchasers
at the
men
the two
13
XI,
4, no. 5
5, nos. 2,
i,
XIII,
no. 10;
no. 32
X,
i,
XIV,
no. 14;
of his lifetime.
represent the dead youth in the occupations
warrior
a
before
libation
woman pouring a
(Class IX,
young
18, cf
is
and the
woman
The
2, no.
of a warrior, transformed by
the grave
2, no.
presence
warrior (Class
bringing armor to a young
The comis to be
similarly explained.
XIV,
nos.
14; XIII, nos. 28, 30, 40, 42, 45, s^, 66, 67;
4,
43-50; XV,
dead person as
and which the
is
it
is
is
the dead
living,
These scenes so
no. 14).
though there
is
arise
when one
figure
is
240
woman
sits in a
restful attitude.
Especially in Classes
X-XII
this
The same
definiteness
is
is
figures
3,
no. 8
XI,
3,
nos.
11,
'>
woman on
ument
Class IX,
3,
no.
6 is a
5, no.
of a
figure just as evidently as if the outline
her.
And the lekythos scenes representing the dead
with
his companions need but little change to translate them
person
At the same time it must not be forgotten
into grave relief scenes.
drawn around
CONCLUSION
241
that this type of marble grave relief was characteristic of the fourth
It
century when the white lekythoi were no longer in general use.
seems
were
in
comparison
with the later grave reliefs, helped to develop and define the scene in
use on the reliefs.
It is not clear whether this type of scene was used
and
interest in their
APPENDIX
ADDITIONAL LEKYTHOI WITH DRAWING IN GLAZE OUTLINE
ON WHITE
During
on
Some of
my volume
on leky-
a white
ground (University of
Michigan, Humanistic Series, Vol. VI), other examples of such
lekythoi have come to my attention, which seem of sufficient interest
been discovered; others,
me when
as for
known
to
vases
the
These
Group A.
6a.
On
ple
London,
is
in
on
arm and
in his right
In
row of
0.24.
short bars
maeander sim-
The
slip is quite
his left
H.
is
Thebes.
Mus., iQio.
Brit.
Class
hand
brown.
pushed back.
Before him
He
wears
a corselet
and
an imitation inscription.
is
"
"
scene, as
in
the
Again,
a battle scene,
from which
it
as in
more complete
met
we have
I,
But instead
of the
His head
is
bowed
as
keep the helmet balanced, and it is only the position of the helpushed back, as is usual on vases, to leave the face exposed
243
244
least deviation
I.
was found
at
Group A.
New
43a.
An
he
is
On
on top of the
lies
no reason
H. 0.14 m.
07.286.44.
right
He
helmet
no. 6
is
to
palmettes
is
While
i.
restored.
Solid black
imita-
Class III
Plate XXXII,
shoulder.
The
and
at his
which
shield
is
side hangs
right
flat
wears a chiton
a
left
hand
un-
to the knees,
scabbard.
Before him
his
spear
stands erect.
is
unique, so
far as I
know,
in
Greek vase
An
ephebos has finished his two years of training or preliminary service, and he is cutting off his long hair before he assumes
his position as a full citizen
his shield and helmet and spear are
painting.
scene,
grow
hair grow
might be allowed
XXIII, 141 f.) was letting
hair
for the
to Zeus.
and somewhat
59
With
all
its
literalism
is
drawn
of the
hastily.
compare
to
his
an early and
It
series.
literal
is
earlier
interesting to
Vol. VI, p. 96), in which two figures are present at the grave.
45a.
Brussels,
Mus.
A woman
she wears a
ground
is
Cinq.
two rows of
chiton
and an himation
woolbasket (kalathos).
1687.
H. 0.14 m.
left
hand.
left
hand
APPENDIX
Group
New
19a.
Plate XXXIII,
Mus.
H.
10.210.11.
m.
0.326
I.
The
not reversing.
B.
Metrop.
York,
245
of the sketch
lines
thin
in
glaze
show through
the
crosses,
An Amazon
is
She wears
over the
in a
left
a short chiton,
left
At the
left
two
it
she adjusts
at
her hair
the right a
bow
is
is
the ground as if
if
as
it
a wall.
The
Amazon on
nos.
series 3
The
figure
is
distinctively a
woman
the low
knot of her
tress
nads
woman
in
in her
is
hands make
is
side,
Mae-
however,
The
Amazons.
usually found on earlier lekythoi with outVery likely it should be explained as a figure taken
in some monumental painting, and repeated here with
from
is
its
setting
and the feminine character of
casual
addition of spears and bow
the
this Amazon might indicate that this was a toilet vase for feminine
;
use.
The drawing
is
later in style
IV.
20a.
The
Brussels,
Mus.
Cinq.
H.
1641.
0.285
"^
palmettes on the shoulder are black, with the intervening spaces painted red;
at each end.
Slip now dull brown.
The
scene
is
drawn
A woman
lines are
of glaze
light
wears a red sleeve chiton, and a brown himation with red border.
hand
she
246
This scene,
depicts a figure
toward the
free
on no. 20-21 of
like that
series
prepared to
no. 93.
Palmettes with lotus buds reserved in red on the black shoulder
brown
is
unbroken maeander
for details.
At the
both hands
left
stands a
woman
in profile
with
bowed
drawn
in
outline
in
her
At the right
looped over her ears and hangs free behind, and she wears earrings.
a young girl hastens away and looks back, carrying a large ornamented brown casket
her
hair
is
hair
is
short,
Inscribed
field.
AVAVKON KAVOS.
inscription
have
previouslv
been discussed: Class II, no. 17, a fine example which Bosanquet
dates about 465 B.C., Class III, no. dc^^ a less careful vase of slightly
later date,
about 460
B.C.
the
The
present scene
but with
others,
3, no. 6, an
much
is
in
is
Attic
the
red-figured
mistress,
and she
Glaukon lekythos
who
stands
in
seen
hanging
in
is
still
in her
home.
in
2ia.
London,
Brit.
Mus.
C.
Class
05.1 i-i. I.
H. 0.34m.
for a chiton
and
it
does
is
she
it
may
The drawing is somewhat
Group
if
severe, but
worship
not closely resemble that on the other Glaukon lekythoi.
at the grave.
Her
in full profile,
stiffly
maid on
Plate
XXXIV,
2.
The
for
scene
the hair
is
drawn
in rather
dark red
is
used
APPENDIX
The
leaves
in the
slender stele on
on the
steps stand
form of rings
At the
steps
two
lekythoi,
behind the
woman
left a
two
is
stele
( ?)
flat
two
thick
with
taeniae
on which
At the
laid
247
is
right an
left
large
ephebos
stands in partial profile, his right foot on a square block, and supporting his chin with the
forearm, which rests on his knee, while with his lowered left hand he holds two
right
He
spears erect.
2ib.
XXXIV,
Mus.
Brit.
London,
his
H.
06.5-12. i.
m.
0.325
Plate
I.
is
The
stele
on two steps
is
decorated
maeander
moulding, a triangle with small palmette, and a larger palmette above ; against the shaft
in the form of a
is seen a
high slender amphora and on the steps are two thick taeniae
Behind the
ring.
stele
in partial profile,
At
a lekythos
the right a
woman
holding in
his right
hand
in partial
theke which she grasps by the stem with her right hand
fine parallel stripes in
left
of the
stele
top
is
glaze,
an inscription
flute
(?) which
projects
20 and 21.
NOMO^
profile,
;
traces of a
green-black wash.
At
the
K AAO^.
in coarse lines
double
red himation leaves the right shoulder free, but covers the right hand.
made
The round
back, the eyes set well forward and the hair brought forward correneck are
spondingly, the thin lips and long chin and rather slender
as well as
On
these
scene
which
lies
as often in series e
a lekythos in
of Class V.
New York
(Class
on
hare
the
top
VI,
Oddly enough,
the
closest
mentioned
is
of the stele on the lekythos just
analogy to
the hare on the woman's canistron of no. 2Ta; possibly this hare restI,
248
one
on the
steps,
it is more
As to
gracefullv treated than here.
on
in
the
leaves
a
manner
the
acanthus
the stele itselt,
top anticipate
ornament of Classes XI and following; I believe that it is merely an
later lekythoi,
though
anticipation,
The woman
at the left
is
no
real
approaches
youth
stiffly,
at the right,
in striking contrast
who may
with the
be compared rather
XIV;
here
found
stele
it
in Class
The
V.
slender
is
fillets
amphora (loutrophoros
?)
in front
of the
is
the high
If this vase
stele.
a loutrophoros,
it
hand
The
kalos
name
am
satisfactorily.
The
figure
of a youth both on nos. 21a and 21b raises the same question as the
youth on nos. 21 and 22; on later lekythoi it would probably be
regarded as representing the dead person to whom offerings are being
In
brought, but here it perhaps is simply a mourner at the grave.
spite of the crudeness of these vases and the fact that the only analogy
for the glaze lines
III,
among
is
found
in Class
This
series c, in
APPENDIX
series e,
not
249
far
32.
spirit,
H, 0.35 m.
Suessula.
13.187.
Plate XL.
Egg
palmettes
drawn
and palmettes
pattern
;
fine lines
in
brown
in
glaze, with
brown
with dark
of yellowish glaze
for
markings
(glaze)
thin
red
the
chair.
of alternate
traces
and
crosses
leaves in
The
reversing.
scene
is
There
are
traces
of
the
is
brown
preliminary
At
some
and
the
a red
woman
left a
object like a
mantle
is
wreath or
is
seated
if
with
the field
hang
at the left a
a taenia
The
at
now
At
down
looking
necklace
woman
of both
hair
women
is
without color,
in profile approaches,
(its
in a loose,
edges crinkly)
In
low knot.
In the centre
^^^^'
AEIOrEI[0H]$
KAAOC
"^
AAKIMA+[0]
Boston, Mus. Fine Arts,
32a.
H.
13.201.
0.J83
m.
Plate
XLI.
Egg
palmettes
drawn
in fine lines of
yellow-brown glaze
There
brown
crosses
oblique
;
thin
and
reversing.
orange yellow
is
The
scene
is
At the
or casket
girded.
left a
young
woman
At the
right a taller
woman
At
the left a
edge crinkly
(its
companion and
raising
field.
AZIOnEI0H5
KAAOC
AAKIMA+0
No. 32 was dicussed on the basis of an earlier publication in my
is
given;
previous volume (Vol. VI, p. 215), where the bibliography
to Boston, and I have repeated the
has
come
the
vase
recently
on the examination
description with some slight corrections based
of the
vase
itself
Though
it
has
been
little
250
faces,
formal as
is
is
in
this
at
class.
customary
home, the typical scene of Classes IV and V, the two figures
are sometimes differentiated by the garments worn, by the objects
the maid carries, as here she carries a small chest, or by the smaller
size of the servant as here, or by the tact that the mistress is seated
On this vase, however, the character of the persons
as on no. 32.
maid
at
One
the equally grave but sweet and dignified face of the mistress.
but
the
stiffness
is in full front view and the other in
profile,
figure
of the schema
front view
is
leg of the
left
woman
in
left
painting the chest has apparently faded so that only the crossbars
remain and the chest no longer seems to rest on the woman's hand ;
wood
it
in Classes
The
IV and V.
is
is
Boston, Mus.
c.
Class V.
Fine
Arts,
H. 0.455 m.
08.368.
Plate
XXXVI.
Palmettes in glaze with alternate leaves in
The
der.
scene
of outline color
is
drawn
at
least
in fine,
two
At
contains
seems
second
the
left
many
woman
taeniae
to indicate her
woman
even
colors
slip.
dull red
maeander
lines,
now brown
is
the hair
Drawing
fine,
also in glaze,
a simple
is
in
There
fine strokes
many
Injured by
broken
unbroken maean-
flat
fire
(?).
basket whicli
himation
her hair
is
loosely
hand
drawn back
raised
slightly
into a low,
flat
knot.
her sleeve
APPENDIX
chiton was red (?) with
wavy
251
now
white
her hair
is
ear.
In general style this vase resembles the Hygiainon vases, and the
figures have the same stiff" academic" character; the drawing, however,
shows marked individual peculiarities as compared with the vases previously discussed, and more attention is paid to detail, particularly in the
treatment of the
The head
hair.
is
more
set
gracefully
on the shoul-
and eyes,
ders,
lips,
is
44b.
Boston,
from private
Egg
palmettes
drawn
in
Mus. Fine
Arts,
is
to be
H. 0.34 m.
1440.12.
Loan
collection.
brown
glaze, with
traces
in the
is
dull point.
At the
canistron
left
At
disappeared.
slightly raising
tion.
The
woman
sleeveless
woman
hair of both
women
is
in a
stands
;
e?!
face, looking
at
has
all
but
At
Exactly the same scene as on no. 44a is found again on no. 44b,
except that the basket is larger and the taeniae which hung from it
have faded,
it is
a little
is
lines,
it is
of
this series
of lekythoi.
is
252
New
48b.
XXXV,
H. 0.30 m.
The
Each
At
left
woman
sleeveless chiton
drawn
is
the
in fine
stands in
profile,
Her companion
hand.
She wears
of glaze, the
lines
in thin
is
indicated.
knot.
maeander broken bv
even
One garment
a coarse brush.
figure
the
scene
red.
Plate
I.
is
loosely
drawn back
into a low,
flat
and
In the
himation
a red
field at
the extreme
her hair
left
hangs
like
her
a mirror
and
is
New
48c.
XXXV,
H. 0.304 m.
Plate
2.
Palmettes and maeander in yellow glaze shading to black, the maeander broken by
The
Each
red.
At
the
even
in fine
lines
of glaze, the
one garment
is
in
left a
and gathered
thin
her hair
left
fine pair
is
drawn
She
Facing her a nude youth stands nearlv in profile exhand is slightly raised from the side ; a light scarf is
in a
This
drawn
is
a coarse brush
figure
drawn
scene
At
the extreme
left a
series, are
field.
from the
same hand, and probably from the same hand as nos. 48 and 48a.
The slender neck is usual in this series, but the sharp nose and flat lips
of the
profile,
flat
are
more
individual.
Even more
the disappearance of
perhaps due to an effort to turn the body
woman at the right on no. 48b and at the
noticeable
is
is
practically the same figure seen from opposite
the
that
Both are scenes
sides, except
position of the feet is reversed.
from the gynakeion.
No. 48b is a toilet scene like no. 40, except
that the maid here brings a perfume vase instead of the rolled-up
left
on no. 48c
The
mantle.
painting
(Class
XI,
it
2,
A nude youth
a
nude man
is
as
unusual
in this series as
woman
the representation of a
is
is
know
present at the
receiving his
helmet from
woman on
no. 46,
and
APPENDIX
is
youth
The
(cf.
ci
woman
vith a
in her
253
peculiaiities here are the decorative scarf over the youth's arms
Class V, no. 71, and Class VI, i, no. 12), and the fact that the
woman's hand.
On grave
stelae of the fourth century the hand-clasp is quite usual and seems to
denote the tie which binds the living and the dead as it bound the
Here it may be simply the greeting
persons when both were alive.
of the youth to his mistress or the husband to his wife.
The stiff, all
youth extends
his right
hand
to clasp the
but solemn, look of these scenes I attribute to the style of the painter
rather than to any purpose to treat them as other than idealized scenes
of everyday
life.
Group
C.
H. 0.275
8a.
"^
The
scene
is
drawn
in fine
of dark brown glaze; dull black is used for taeniae, red with black fold lines
for a garment, and a color now brown for another garment.
Preliminary sketch with a
dull point in the soft slip.
Surface discolored and rubbed.
even
lines
The
stele
on two steps
is
and abacus.
the
left
stands a
right
At the
earrings.
hand; he wears
At
the
right a
left
Palmettes in thin
The
scene
coarser brush;
wooden
At the
arm bent
left
is
dull black
drawn
Plate XXXII,
3.
in
is
used for
slip.
young
lowered right
KAAO^.
H. 0.25 m.
There
stool.
the elbow
at
an inscription <t>AIAIMOr
of the
legs
her leg
stele is
8b.
glaze.
dark red himation with black fold lines, and on his shoulder a petasos(?).
a stool
woman
her right
nearly in profile approaches with head bowed,
her garment has disappeared; the hair is loosely
(hand gone);
in
woman
Behind her
left
She wears
a sakkos
At
hangs in the field.
and an erect
(?)
undergirded overfold or overgarment in the same color, which covers her left arm; her
short hair falls loosely about her face, covering the ear and part of the cheek.
for
pair,
an alabastron
is
254
of drawing
brown glaze
size
The
in a style closely
The
less care.
same
the same.
is
figure at
on no. 9
left
the
is
body
of the other figures, also, on these two vases and no. 8, the neck is
short, the head quite square, the eyes set back, i.e. deep set, and the
small chin comes well forward below the
full
under
On
lip.
no.
8b
woman
on no. 9
for a
is
series e,
8a
is
He may
be a stranger at the
grave to which a woman is bringing offerings, but here and on no. 9
The
natural to regard him as another mourner.
it seems more
inscription gives a
kalos inscriptions.
in
previously
say, the same
known
woman
on no. 8a, but here in her home, receiving from her servant the
The combinaalabastron which she proposes to offer at the grave.
tion of these two scenes, the preparation to visit the grave and
as
worship
at the grave, is
New
ga.
The
brown
plicated
glaze
H. 0.437
"^
body of the vase swells very slightly toward the middle of the scene
sets
is
red
in glaze
is
is
used for
unbroken.
The
much of
maeander
light
On
scene
is
drawn
in
fine
the careful
even
for
lines
com-
of brown
APPENDIX
stool
the hair
drawn
is
in separate strokes
with a
255
Traces of the preliminary
fine brush.
On
two
and crowned bv
broad
shaft,
spreading slightly
at
the bottom
it
double plinth ;
left
a
in
At
the
woman
stands
with
turned
slender
stands a diphros
?)
legs.
youth (a
to the neck in a red mantle ; his hair falls in curls to his neck.
At the
profile, draped
right stands a
a thin
voung woman
in profile,
hand;
left
is
her garment
a sleeveless
chiton ?j
disappeared; her
has
falls in
No. 9a
it
differs
on the shoulder
classified
as well as the
and only the leaves of the palmettes are in dull color nevertheless
the style of the drawing, which has marked points of resemblance to
The
that on nos. 8a, 8b, and 9, justifies the present classification.
;
delicately
drawn
much
work
more
is
and perhaps
drawn in glaze under
precise
garments were once added to the figure of the woman at the right;
in this series, however, the figure is rarely drawn in glaze lines which
would be covered by the garment. While this vase is classified here
reasons, the closest analogy for the scene are no. 59 ot
Class V, where a diphros with cushion and a kalathos are on top of a
for technical
broad
stele, a closely
On
the right.
grave by
no. 5
a servant.
by the maid
Class
it
woman
whom
to
H. 0.27 m.
iia.
The scene is
Traces remain of the palmettes and unbroken maeander in dull red.
One garment shows now a muddy yellowish
drawn in fine lines of orange-yellow glaze.
color ( once red
The
to the
stele
neck
in
hand on
of glaze.
his hip
is
At the
is
now
horizontally with
gone.
the
left
youth
At
in profile
The
hair
wrapped
is
is
drawn
in
the
shaded
left
lines
256
Mus.
-.xussels,
Dull black
hair
light
The
scene
red
is
on one step
stele
stands in profile,
Drawing delicate.
crowned with a small bead moulding.
is
to the
wrapped
neck
in a
At the
red mantle.
the
a
is
left
youth
nude youth
in
a closely
draped youth
in profile, a stele
drawn
as
In spite of the
IX, the earliest class
stele.
is
style
At
right
On
H. 0.27 m.
396.
used for the palmettes, and for the maeander broken by dotted oblique
is drawn
in fine lines of yellow glaze, becoming black for the
is
The
crosses.
Cinq.
here,
i,
No. iia
is
found
cate.
14a.
to shoulder 0.27
m.
XXXVII.
Plate
The scene is
complicated unbroken maeander in faded gray.
vellow glaze, the hair in slightly thicker glaze
dark red is used for
drawn
H.
in
even
garment and
lines ot
details,
and
dull
vellow
Much
for
of the vase
is
cane.
missing.
broad
stele
a sleeve chiton,
is
red mantle.
At
the
left
vouth
in profile leans
forward on the yellow stick under his left shoulder, holding out a red taenia in both hands
his himation is red.
The separate locks of the hair are drawn in detail. At the right
woman
en face holds up a lekythos in her right hand toward the figure on the stele, and
shows
of taeniae on her
as to fall
over
much
much
left
of the figure
is
missing
her hair
is
stele
drawn
loosely
back so
of the cheek.
Much as this vase has sufi^ered, enough remains to give the centre
and left-hand side of an unusually interesting scene. The general
scheme is the same as that on no. 14: a vouth leaning on his staff\, a
rather broad stele on which a woman is seated on a chair, and at the
The style also is
right a woman in front view bringing offerings.
the same, with the small heads and angular profiles of Class IX,
series
i.
The
interesting feature
is,
is
the seated
stele
woman
APPENDIX
at
her
It
toilet.
is,
257
woman
repre-
times, as
instance the
or a painted stele, but instead he takes a figure from the toilet scene
meet
diminished figure on the grave stele occurs in Class VII, 2 (no. 27;
Vol. VI, p. 312).
The lekythos in the hand of the woman at the
is not often
right
presented at the grave as here, nor is it usual for a
youth
to offer a taenia.
H. 0.325 m. Plate
15b. Brussels, Mus. Cinq. A 9.
Collection de Somzee, Catalogue de vente^ 1901? no. 96.
The
The
The
stele
on three
dark red
i.
drawn
in
scene
is
slip.
steps
is
narrow mouldings.
At the left
hand
over his left arm hangs
profile, his
is
XXXVIII,
nude youth
in profile holds a
At
a small mantle.
staff
spear erect in
his red
man
his
left
stands in
shoulder free.
The
bearded
man
at the right,
the
analogies to the style on other vases, though the shape of the stele is
the same as on the vases under discussion at this point, and the stiff
figures are such as usually are found with this type of stele.
i6b.
New
XXXVIII,
H. 0.317 m.
Plate
2.
The
and
scene
is
drawn
in
even
details.
lines
of
a coarser
258
On
Prothesis.
at the right
the
couch with delicately turned legs a dead youth lies, his head
wrapped to the neck in a bright red mantle; over this are laid
a high
is
body
couch stands
woman
nearly
She wears
short.
is
In the centre
foot
of the
woman
Behind the
an ornamented pillow.
is
in profile,
she
her hair,
like
left
her com-
with perpendicular
his
is
its
closed eyes, the actual tearing of the hair by the woman at the left, and
the desolated attitude of the bereaved person at the right are strikingly
The figure at the right seems to be an old man leaning
represented.
forward on
his staff
IX, series 2, a gray-haired mourner at the grave. The definiteness of this example leads me to regard it as one of the earliest with
the prothesis scene, a scene which was popular for a brief period, but
which was so
IX,
literal,
series i,
and belongs
now
now
using
2ia.
The
drawn
in
The
Brussels,
woman
Mus.
Cinq.
when
the
H.
1688.
0.25 m.
The
in dull
scene
is
yellow glaze.
slender stele on four steps of unequal
angular cap.
on her
glaze,
to the period
left
At the
arm
in profile
left a
her hair
woman
is
in a
is
height
sakkos
At the
her hair
is
in a
low,
flat
knot.
a flat
tri-
basket
right a
she wears an
APPENDIX
259
The combination
X, but the
which
characteristic of that
is
class.
New
24a.
H. 0.342 m.
Palmettes in dull gray with added red leaves ; maeander in the same gray, broken by
The scene is drawn in even lines of orange
dotted oblique crosses and not reversing.
for
is
used
taeniae.
dull
red
Preliminary sketch with dull point in the soft slip.
glaze ;
The
basket on her
left
At
a red taenia.
is
figure
stele
is
the
the
is
left a
left
leg
is
Except
that on no. 22
relieved.
crudely drawn.
is
very similar to
little
higher and
more developed than in the type which was adopted
The nude youth with gesture of mourning is drawn
for Class X.
with more care than is usual in Class X and with equal grace probably
the scrolls a
little
though
of nos. 22-24 of
not
to
be
from the same
seem
but the vase does
correctly,
hand.
Mus.
Brussels,
7a.
red-brown varying
to a
Cinq.
395.
unbroken maeander
yellow-brown
H. about
0.30 m.
The
in thin glaze.
dark red
is
used for
scene
is
drawn
in
The
triangular
a
stele
on four steps
pediment
voung woman
in
is
behind on
profile
the
carries a
second step
is
sleeve chiton has nearly disappeared, bur the dark red himation remains.
small nude
girl
At
the
At the
left
her
right a
26o
The
and maid,
classes with
occurs
in
lekythoi
H.
o.
of later
in dull color.
drawing
New
14a.
as in
393 m.
Plate
XXXIX.
Palmettes in orange glaze with alternate leaves dull red
reverses from dotted
brown
flesh
of youth.
At the
left a
ing up an apple
drawn with
ion
youth
(?)
in the soft
in profile sits
in
his
right
scene
on
drawn
as if to take the
Above
his
flesh
This lekythos
apple
the youth
lines
of
violet-
slip.
is
colored
woman
Before him a
knees.
even
fine
a seat
hand
is
garment and
Preliminary sketch
draped about
is
oblique
The
crosses.
stands in
partial
holding
profile,
a mirror,
behind the
The
Hygiainon (Class V,
oinochoe
series c)
in
objects hanging
with the
name
woman
is
quite foreign to
much
the same
On the
two vases in Class VI, series i (nos. 20, 21).
form
is more slender and the
vase
the
body longer in propresent
the full breasts
portion to the legs, but the attitude is very similar
hand
figure of
of the
left
woman
also are
to be
noted
in the
series.
case of the
flesh
color
at the
woman
is
so different.
analogies for
As
for
the experiment
are
APPENDIX
his hair,
in
no analogy except
find
261
XVI.
in Class
the
The
scene
located
is
youth with
his wife
Group D.
H. 0.22 m. Plate
3a. Brussels, Mus. Cinq. A 1382.
Collection de Somzee, Catalogue de vente, 1901, no. 92.
Bars on the shoulder
black base of the
body
now
dull white.
is
XXXII,
maeander
a simple
2.
on the
Slip white.
An
lowered right
his
He
wears
left
arm
is
a chiton
written
KAAO^.
The
Class VIII,
The
I.
result
is
that
we have simply
name
is
found on no.
On
H.
Maeander
On
of series
2.
26b.
a warrior rushing
The round
0.23 m.
simple.
Ornament
hand
a flat basket
lett
front of a
relief
in
The
woman
is
carries
presumably
on her
mourner
arm
a basket
at the grave.
is
of grave offer-
Such confusion
Bern, Historisches
fur schweizerische
On the shoulder two
brown.
lustre.
The
scene
Drawing
is
rows of bars
drawn
careless.
the simple
Anzeiger
12.
is
in dull
traces ot
262
nude youth in profile stands on his right leg, and raises his
head is covered with a bath kekryphaios.
At the right
a nude youth stands en face, carrying in his lowered right hand a bag with sponge, and
in his left hand a palm branch.
Bath
left
scene
At the
left a
his
None
of the other vases in this series have two figures, nor is there
any analogy for the white sHp over almost the entire body of the vase.
Clearly it is an experiment with a scene from red-figured ware adapted
to the lekythos
field.'
Class VIII,
Mus.
Brussels,
3a.
brown.
Slip white.
At
the
left
393.
H. 0.185 m.
the simple
are
drawn
in dull reddish
Partly repainted.
a small altar
is
Cinq.
Series i
with
fire
burning.
it
toward
The
VII,
fire
burning has been noted on nos. 8-10 of Class
and on no. 5 of the present series. The figure hastenand looking back has no apparent connection with the
altar
with
series i,
ing from
altar, but
it
is
simply a
lection de
Somzee, Catalogue de
left
slender stele
bearded
type of this
class.
loa.
The
common
man
at
H.
0.26 m.
Col-
in brick red.
the right
on one step
is
He
At
the
Though
bone
are
still
of the vase.
embedded
in the
gravel incrustation
white lekythoi
Cf.
Daremberg-Saglio,
figs.
745, 748
Reinach,
II,
148
Murray,
INDEXES
List of Illustrations
Plates
tte
I,
INDEX
264
XXVIII,
XIV,
British
24
seum
XXIX,
XXIX,
Mu-
71
XIV, 49
Louvre MNB
XIV, 34a
440
Boston
XIV, so
XIV, 23
XIV, 18
XXXI,
XXXI,
XXXI,
XXXII,
III,
VII,
43a
I,
3a
New
York
York
07.286.44
Brussels
1382
XXXII,
XXXIII,
XXXIII,
3
I
VI,
IV,
IV,
I,
8b
Boston 09.70
I,
19a
New
2,
10.210.11
loa Brussels
York
1019
XXXIV,
V,
lb
British
um
Muse06.5-
12. 1
XXXIV,
V, 2ia
British
Muse-
um
05.11
I.I
XV,
II
Brussels
XIV. 22a
British
Mu-
1900.
12-14.7
(Appendix)
I
NewYorko7.i
Boston
seum
06.1 169
XXXII,
12
904
Karlsruhe
BerUn 2677
New
XV,
XIV, 44
01.8130
XXXI,
11.1275
XXX,
XXX,
XXX,
XXXV,
II
pi. xii-xiii,
XI,
2,
X,
X,
I,
I. 2
Anlike Denkmaeler
I,
Taf. xxiii
XI, 2, 6
XI, 2, 5
XI, 2,8
Archaeologische Zeitung
(1885) Taf.
ii
iii
XIV,
XIV,
XI,
XV
xvi
xvn
xviii I
XX
I,
XIV, 33
XI, 4, 6
IX, 2,1
IX, I, 14
XIII, 51
IX, I, 2
XIV, 33
xxi
Volume
INDEX
266
II
PL
xxxi
X,
XIII, 54
Griechische Vasenbilder
Heydemann,
Taf
6
26
XIV,
xii, 1 1
Museum, 1897
II
I,
12
X,
2,
VIII (1893)
(1895)
S.
XVI,
189
p. 2X1
XV
(1895)
pl-
XV
p. 328,
fig.
XI,
XI,
XXV
4, 15
4, 16
p.
Momiments
grecs,
V
34
in the British
pl. xii
IX, 1,12
IX, I, 21
XI, 3, loa
Museum, 1896
XIII, 4
IX, 2, 23
xxva
X, I, 5
XI, 4, 10
XIV, 8
XVI, 5
XVI, 4
XVI, 6
pl. iii-iv
p.
74-75
Fondation Plot
iii
II, pl.
XII,
(190s) p. 73
XI,
3a
2,
X,
Fig. 59
iv
Tav.
22
I,
XI,
3, 13
iii
IX,
IX,
iv
X,
3, II
16
26
I,
2,
86
pl. xi
XI, 2, 3
XI, 2, 8
XII, 15
XI,
2,
xxvii
xxviii
X,
IX,
X,
I,
2,
2,
Museum
10
3
23
xliv,
IX,
IX,
I,
xlviii
X,
1,
xlv,
Cf.
Cf.
XIV, 43
XIV, 54
2,
15
16
10
XT,
Cf.
4.
XIV,
19
IX,
25
2,
III,
1896
INDEX
II
267
Furtwangler
Taf. 44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
60
61
62
63
64
65
66
67
68
69
71
IX,
IX,
IX,
2,
24
I,
15
VI,
VI,
VI,
2,
Riezle
;r,
XVI,
XVI,
3
2
74
75
76
77
78
79
I, I
9
8
2,
2,
IX, 3, I
IX, 2, 6
IX, 3, 8
IX, 2, 19
IX, 2, 9
IX, 2,8
80
81
82
83
84
85
86
V, 57
XI, 1,6
VI,
X,
X,
X,
X,
2,
3
21
2,
20
2,
19
XII,
X,
X,
X,
22
I,
2,
87
88
89
90
91
2,
18
16
2,
24
2,
XI, 3, 10
XI, 3, 6
XI, 2, 2
XI, 3, 3
XI, 4, 4
XI, 3, 5
XI, 3, 7
ATT o 8
S
XI, 2,
IX, I, 18
XIII, I
IX, 3, 13
72
73
92
93
94
95
96
XI, I, 2
XII, 16
XI, 3, 9
X,
2,
XIV, I
XIV, 9
XIV, 10
XIV, 25
XIV, 14
XIV, 40a
XIV, 23
XIV, 8
BIV,
BIV,
IV,
25
II
iia
S3
3
2
10
12
21
II
13
15
20
21
26
13
20
17
16
21
CV,
12
24
cv,
Taf. 10
22
23
25
28
32
18
49
36
CVI,
I,
2,
VI,
26
XII, 13
XII, 12
XII, IS
XIII, 62
XIII, 21
Ill
List of Lekythoi by
Athens, National
Note.
Museum
in parenthesis.
1755
Museums
is
added
INDEX
1957
III
269
270
86.156
INDEX
III
INDEX
III
271
(Appendix)
1910
05.II-I.
I,
V,
6a
06. 5-12.
V, 2ib
213.
XVI, 4
XII,
...
XV,
X, 37
XV,
XI,
XI,
2263
2785
2787 (2269)
10
5,
4,
New
GR608
XI,
XV,
X,
5, 7
2
2,
24
INDEX
272
III
X,
2,
17
(Appendix)
8-17
D Vm,
2,
loa
8-3312
VII,
2,
26b
WiEN, HOFMUSEUM
622
XIV,
623
624
XI, 1,3
1969
1970
27
XIV,
XI, 1,4
XIII, 73
XIV, 6a
1086
XI,
2,
k.
k.
oesterreichischen
Museum
IV
Index of Names, Objects, Etc.
acanthus ornament,
3, 77,
115, 121,229.
234, 243-
acroteria, 4, 189.
alabastron, 14, 26, 37, 39, 50, 52, 57, 63, 67,
79,97, 100, 107 f., 117, 125, 128, 154,
162, 169, 174, 179, 180, 233, 247, 252-3.
altar, 262.
altar-like structure,
90, 139-141,
153-5, 182, 197, 247.
Amazon,
149,
crutch, 193.
150,
amphora, 247.
anthemion, 43
Archenautes
f.,
237
f.
pass.
204.
stele, 194.
aryballos, 200.
decoration,
Delos, 52.
baby, 183.
basket carried on head, 23, 48.
bearded man, leaning on stick,
depositio, 15
Dexileos
2,
f.,
f.
stele, 120.
dish, 61.
Doric capital on
endromides, 172
"shoes."
n.
bow, 245.
box, 66, 85, 94,
"casket."
127,
143-4,
184; see
also
bracelets, 180.
bush on tumulus,
49.
204.
fan, 95, 166.
figures in grave scenes, 236.
fillet (ring), 37, 58, 61, 247.
flesh colored, 260.
flute, 248.
"box."
chair, 28, 33
f.,
Charon,
fruit, 58,
III
n.,
136,
140,
146,
244.
hand on
273
INDEX
274
IV
on basket, 97.
on stele, 231.
pla3'ed, 2^, O5, 143, 175.
maid and
go-cart, 15.
goose, iQ, 50, 71, 85, 164, 165 n., 171, 185.
grapes, 98.
marriage, 89,
INIemnon, 22^.
mirror, in
Mynno
stele, 257.
hands clasped,
90, 253.
hare, 28, 85, 98, 247.
of, 6, 18.
head, shape
Hegeso
Hermes, 13
f.,
n.,
f.,
paidagogos, 62.
paint, use of, 206.
20.
et
pass.
kantharos, 234.
kekryphalos, 260; see "sakkos."
kerykeion, see "Hermes."
kneeling figure, 21 f., 34 f., 44, 73, 152-3, 157.
landscape, 98.
lekythoi, Athenian product, 98.
classification, i, 6, 43, 77, 123, 162, 193.
date, 19, 42, 52, 76, 122, 161-2, 203, 249.
drawing on, 252, 255-6, 260.
manufacture
ct
pass.
pyxis, see
"smegmatotheke."
grave monument,
164,
165 n.,
180, 230.
realistic
100;
see
Rheneia, 52.
ritual at grave, 54.
in field,
234-
214,
lamp, 61.
as
127,
kalathos, 37.
lekythos,
68,
262.
ear-
"bracelet,"
on lekythoi,
painting, copied
219, 227.
palm branch,
226.
in
n.,
129,
146,
in,
Sarpedon, 228.
scabbard, 20, 60, 63, 65, 96, 108, 114,
231, 244.
144,
INDEX
scarf, 74, 79, 88,
g6
f.,
Charon,
162
13
4,
f.,
218
f.,
and
reference.
and "prothesis."
39,
29,
84-7,
136-8,
128,
31,
staff,
56,
74, 90,
179,
el
121.
marks on,
178.
child, 33.
f.
table, 108.
tablets, 137, 141-2, 144, 235.
taenia draped in field, 78 f.,
Tanagra, 200.
torch, 62.
tree, 68, 148, 167, 178.
tumulus, 228.
9, 20-1,
23-4, 29, 35, 57, 99, 103, 126-7, 131,
197, 255-6.
scenes, discussed, 2, 189 f., 201 f., 215 f., and at
conclusions of each series,
96,
100,
118,
woman
f.
on garment, 158.
swan, 125.
sword, 244.
pass.
mourning, 236
of,
228
stripes
261.
gynaikeion,_2i7, 250, 252,
horse and rider, 119, 153, 167, 173.
libation, 26, 31, 126, 233.
mother and
shape
it,
stele, 11.
leaning on
pass.
triglj-ph
farewell, 108.
man
et
f.
figure advancing
18s, 245.
275
sponge, 262.
IV
tassel, 109.
behind
sceptre, 90.
sling, 245.
slip,
white,
2,
30, 42.
smegmatotheke,
souls, 29, 35, 38, 44-6, 50, 56, 62-3, 65, 72, 78,
84-5, 90, 99, 107, III, 124, 133, 138,
wreath,
7, 25,
yellow, use
Zephyros,
Zeus, 244.
i6.
PLATE
I.
Class IX,
i,
lo
Cassel,
378
tn
2.
Class IX,
i,
11
New York
06.1021. 132
PLATE
Class IX,
i,
13
Boston 95.46
II
PLATE
I.
2.
Class IX,
Class IX,
i,
2,
15
Berlin 2455
III
PLATE IV
^>^---^)fi
mM^
N
N
o
X
<
PLATE V
Class IX,
2,
14
Boston 94.127
PLATE VI
I.
2.
Class IX,
Class IX,
3,
3,
Berlin 2454
New
York,
GR
608
PLATE
I.
2.
Class IX,
2,
Class X,
i,
22
Louvre,
Louvre,
CA
CA
612
1329
VII
PLATE
I.
Class X,
i,
Boston 93.64
2.
Class X,
i,
Boston 86.156
VIII
PLATE IX
I.
Class X,
2,
16
Athens 1762
2.
Class IX,
7'-
3.
Class X,
2,
17
3,
Athens 1947
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Class X,
2,
Brussels,
1168
3.
Class X,
2.
3,
Cassel,
Class X,
379
2,
18
Berlin 2459
PLATE XI
I.
2.
Class X,
Class X,
3,
2,
24
Munich 2269
New York
06.1021. 133
PLATE XII
Class X,
3,
Boston 10.557
PLATE
2.
Class XI,
i,
Athens 1938
I.
Class XI,
3,
Boston 94.216
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3.
Class XI,
2,
13
New York
06.1021. 130
XIII
PLATE XIV
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York,
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3.
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2,
10
Brussels,
903
PLATE XV
I.
2.
Class XI,
Class XI,
3,
3,
British
Museum
British
Museum
97.3-19.1
01. 7-10.3
PLATE XVI
I.
2.
Class XI,
Class XI,
2,
3,
12
15
Boston 03.800
Bostun 94.126
PLATE XVII
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2.
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Class XII, 14
4,
New
Berlin 2452
York,
GR
618
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I.
2.
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Class XII, 12
Paris,
Class XII, 16
617
PLATE XXI
I.
Class XII,
2.
Carlsruhe 234
Class XII,
Berlin 2451
PLATE XXII
PLATE XXIII
I.
Class XIII, 15
2.
Paris,
Class XIII, 19
MNB
London,
613
74
I.
PLATE XXIV
Class XIII, 6
2.
Athens, 1759
3.
Class XIV,
Class XIII, 40
Tarls,
CA
537
Athens, 2007
PLATE XXV
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PLATE XXX
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2.
Class XIV, 23
Berlin 2077
Class XIV, 50
Karlsruhe
5.
Class XIV, iS
New York
06.1169
PLATE XXXI
2.
I.
Class XV, 12
New York
3.
Class XV,
Brussels,
11
Class XIV, 44
Boston 01.8130
07.1
A 904
4.
Museum
1900, 12-14, 7
PLATE XXXII
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Brussels,
1382
PLATE XXXIII
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Class IV,
i,
19 a
New York
10.210. ii
2.
Class IV,
2,
10 A
Brussels,
1019
PLATE XXXIV
I,
Class V, 21 b
British
Museum
06.5-12. i
2.
Class V, 21 a
British
Museum
05.11-1.1
PLATE XXXV
I.
Class V, 48 b
New York
08.258.17
2.
Class V, 48 c
New York
08.258.18
PLATE XXXVI
Class V, 44 a
Boston 08.368
PLATE XXXVII
Class VI,
i,
14 a
Boston 10.220
PLATE XXXVIII
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New York
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07.286.42
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PLATE XL
Class V, 32
Boston, 13.187
PLATE XLI
Class V, 32
Boston, 13.201
Size, 22.7
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CONTENTS
The Present
OF Culture Studies.
A
A
A
Symposium
New
Education.
New
York
in
the
PERCY GARDNER
and
Antiquities
FRANCIS W. KELSEY
Litt.D.. Lincoln
in the University of
Classical
Oxford.
Makes
sculpture,
which
is
GREEK ARCHITECTURE
By
ALLAN MAROUAND,
in Princeton University.
Professor Marquand, in this interesting and scholarly volume, passes from the materials of construction to the architectural forms and decorations of the buildings of
Greece, and lastly, to its monuments.
Nearly four hundred illustrations assist the
reader in a clear understanding of the subject.
Cloth, $2.2S ; postpaid, $2. 4s
GREEK SCULPTURE
By
ERNEST
College,
A.
GARDNER,
in
University
London.
By A. H.
the past.
Many of the problems with which it deals the place of physical training,
are found to be as real at the present time
games, athletics, in daily and national life
as they were in the far-off days of Greece.
ITS MONUMENTS
By CHARLES HEALD WELLER, of the
$2.66
ATHENS AND
The
University of Iowa.
Athens is perennial, and the progress of research is constantly enlargThis book embodies the results of many years of study and of
ing our knowledge.
interest of
important sites and buildings known from the remains or from the Greek literature.
Profusely illustrated with Half-tones and Line Engravings.
$4.00 net; postpaid, $4.2^
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Antiquities
Continued
RODOLFO LANCIANI.
Ancient Topography
D.C.L., Oxford;
in the University of
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the fate of her buildings and masterpieces of art. is the subject of this profusely
volume. Professor Lanciani gives us vivid pictures of the Eternal City at
Rome,
illustrated
ROMAN
FESTIVALS
WARDE FOWLER,
By W.
IVT.A.,
Oxford.
Roman
form almost
in a concise
and
his-
ROMAN
By
PUBLIC LIFE
A. H.
J.
GREENIDGE,
Late Lecturer
in
College, Oxford.
The growth of the Roman constitution and its working during the developed Republic
and the Principate is the subject which Mr. Greenidge here set for himself. All imand provincial are treated so as to reveal the
portant aspects of public life, municipal
political
genius of the
Romans
in
learned author reviews the monuments of Rome during tlie ten centuries from
" The
Constantine to the Renaissance."
plan of the volume is simple and admirable.
The first part comprises a historical sketch the second, a classification of the monu-
"The
ments."
77/6'
Political, social,
Outlook.
and
WALTER LOWRIE.
Studies in
Rome, Rector
Rome.
Nearly two hundred photographs and drawings of the most representative monumental
remains of Christian antiquity, accompanied by detailed expositions, make this volume
time useful as a hand-book
replete with interest for the general reader and at the same
for the student of Christian archaeology in all its branches.
Cloth, $1.2 s; postpaid, $I.JQ
New
York
<lktff
Art NK 4650
Fairbanks,
1944.
L5 F32 1914
Arthur,
1864-
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