„Clay, Gold, and Craft: Special Techniques in Three Vases by the Eretria Painter and Their Apotheosis in Xenophantos”, K. Lapatin (ed), Papers on Special Techniques in Athenian Vases. Proceedings of a symposium held at the Getty Villa, June 15-17, 2006 (Los Angeles 2008) 173-186

Clay,฀Gold,฀and฀Craft:฀Special฀Techniques฀in฀Three฀Vases฀฀ by฀the฀Eretria฀Painter฀and฀Their฀Apotheosis฀in฀Xenophantos Adrienne Lezzi-Hafter Of ฀t h e ฀h und re d ฀o r ฀s o ฀pie c e s ฀b y ฀t h e ฀E re t r ia ฀Paint e r ฀ that฀have฀come฀down฀to฀us,฀I฀focus฀on฀three:฀the฀squat฀lekythos฀in฀Kansas฀ City฀(CoC฀no.฀33),1฀the฀tallboy฀lekythos฀in฀New฀York฀(CoC,฀112,฀fig.฀5,฀mirror฀reverse;฀see฀p.฀62,฀fig.฀1,฀in฀this฀volume),2฀and฀the฀epinetron฀in฀Athens.3฀ All฀ three฀ belong฀ to฀ the฀ years฀ around฀ 420฀ b.c.,฀ a฀ period฀ of฀ great฀ change฀ in฀Athens.฀Artistically,฀the฀rather฀sober฀Periclean฀period฀of฀about฀450฀to฀ 430—the฀ zenith฀ of฀ the฀ Classical฀ era—had฀ come฀ to฀ an฀ end.฀The฀ ongoing฀ Peloponnesian฀War฀had฀taken฀its฀toll,฀and฀people฀were฀seeking฀emotional฀ escape.฀The฀very฀male฀world฀of฀the฀beginning฀of฀the฀century฀had฀yielded฀ to฀the฀realms฀of฀Aphrodite฀and฀Dionysos,฀at฀least฀with฀many฀of฀the฀leading฀ vase-painters.฀Where฀earlier฀cups฀and฀kraters฀had฀predominated,฀it฀is฀now฀ the฀choes,฀hydriai,฀and฀squat฀lekythoi,฀intended฀mainly฀for฀women,฀that฀ have฀taken฀their฀place฀as฀leitmotifs. One฀has฀to฀keep฀in฀mind฀the฀very฀restricted฀creative฀possibilities฀ when฀it฀comes฀to฀producing฀a฀vase:฀earth฀and฀water,฀air฀and฀fire,฀and฀some฀ added฀colors฀such฀as฀white฀or฀red,฀later฀enlarged฀to฀a฀rainbow฀of฀others.฀It฀ needed฀some฀gilding—and,฀of฀course,฀the฀hands฀and฀imaginations฀of฀Athenian฀vase-painters.฀And฀there฀was฀the฀inseparable฀union฀with฀the฀vase฀that฀ bears฀the฀depiction.฀The฀potters฀are,฀in฀most฀cases,฀more฀difficult฀to฀nail฀ down,฀but฀they,฀too,฀have฀their฀share฀of฀special฀techniques.฀As฀we฀know,฀ in฀ the฀ later฀ fifth฀ century฀ potter฀ and฀ painter฀ were฀ usually฀ two฀ different฀ people,฀often฀assisted฀by฀an฀ornament฀painter.฀ The฀Eretria฀Painter฀was฀someone฀who฀could฀not฀sit฀still฀in฀the฀same฀ workshop;฀he฀painted฀his฀pots฀and฀cups฀in฀half฀a฀dozen฀different฀ateliers.4฀ In฀some฀he฀produced฀bread-and-butter฀pieces,฀in฀others฀he฀painted฀more฀ sophisticated฀vases,฀among฀these฀the฀three฀discussed฀here.฀I฀chose฀these฀ three฀vases฀for฀their฀outstanding฀quality฀and฀because฀each฀mixes฀different฀ techniques:฀white฀ground฀with฀red-figure฀in฀two฀different฀combinations,฀ and฀red-figure฀with฀plastic฀addition,฀all฀three฀with฀added฀and฀gilded฀clay฀ as฀enhancement. In฀a฀manner฀not฀encountered฀in฀white-ground฀grave฀lekythoi,฀the฀ white-ground฀ Kansas฀ City฀ lekythos5฀ has฀ two฀ registers฀ of฀ figured฀ friezes฀ set฀ between฀ ornament฀ stripes฀ in฀ red-figure.฀The฀ primary฀ purpose฀ of฀ the฀ Kansas฀City฀squat฀lekythos฀must฀have฀been฀different฀from฀that฀of฀the฀cylindrical฀ grave฀ lekythoi,฀ even฀ though฀ the฀ vase฀ eventually฀ was฀ interred.฀ Its฀ findspot,฀allegedly฀in฀Italy,฀is฀uncertain.6฀Most฀of฀the฀Athenian฀vases฀with฀ a฀white฀slip,฀however,฀stayed฀confined฀to฀the฀Athens฀area฀as฀offerings฀in฀ sanctuaries฀or฀graves.7฀ 174 - ฀ In฀ the฀ painted฀ scenes฀ there฀ are฀ also฀ basic฀ differences฀ from฀ the฀ usual฀depictions฀at฀graves.฀The฀setting฀on฀the฀Kansas฀City฀lekythos฀is฀outdoors฀ in฀ a฀ lovely฀ landscape.฀ On฀ the฀ shoulder,฀ Eros฀ appears฀ to฀ be฀ offering฀a฀wreath฀to฀Aphrodite.฀Below,฀another฀mother฀sits฀on฀a฀flower-covered฀ rock,฀lost฀in฀dialogue฀with฀a฀bird.฀Her฀baby฀son,฀younger฀than฀Eros฀above,฀ would฀like฀to฀be฀picked฀up.฀At฀the฀sides฀of฀the฀central฀scene฀stand฀four฀ women.฀The฀one฀putting฀on฀her฀himation฀is฀called฀Antheia฀(“Blossom”);฀ the฀second,฀binding฀a฀wreath,฀bears฀the฀name฀Peitho฀(“Persuasion”);฀the฀ one฀plucking฀fruit฀from฀a฀tree฀is฀labeled฀Eunomia฀(“Good฀order”);฀and฀the฀ fourth,฀holding฀out฀a฀necklace,฀is฀Paidia฀(“Playfulness”).฀Personifications฀ of฀ abstract฀ ideas,฀ these฀ women฀ often฀ appear฀ in฀ the฀ company฀ of฀ Aphrodite,฀being฀other฀aspects฀of฀the฀goddess฀of฀love฀herself.8฀The฀boy฀is฀named฀ Kephimos,฀probably฀not฀a฀mythological฀character.฀Most฀figures฀have฀names฀ with฀a฀mythological฀background,฀which฀are฀highly฀uncommon฀on฀matte฀ painted฀lekythoi.฀Death฀has฀been฀abandoned฀for฀a฀heavenly฀landscape,฀but฀ a฀touch฀of฀sadness฀remains:฀Has฀the฀mother฀already฀passed฀away,฀leaving฀ her฀offspring฀behind?฀Are฀they฀both฀in฀the฀Other฀World?฀Or฀should฀we฀ think฀ of฀ the฀ scene฀ as฀ a฀ perfect฀ idyll?฀ Unfortunately,฀ the฀ mother’s฀ name฀ has฀vanished,฀which฀has฀given฀rise฀to฀some฀debate.9฀Mythological฀or฀not,฀ the฀genre฀scene฀of฀mother฀and฀child฀is฀often฀found฀at฀this฀time,฀in฀vasepaintings฀as฀well฀as฀on฀marble฀stelae;฀the฀Eretria฀Painter’s฀depiction฀can฀be฀ read฀either฀as฀an฀idealized฀scene฀in฀an฀Aphrodisiac฀garden,฀or฀as฀a฀remembrance฀of฀deceased฀members฀of฀the฀family.10฀This฀ambiguity฀in฀reading฀is฀ basic฀for฀Athenian฀vase-paintings,฀which฀vary฀according฀to฀the฀functions฀ of฀the฀vases฀they฀adorn. Together฀with฀the฀iconography,฀the฀technique฀also฀has฀changed฀in฀ comparison฀with฀the฀cylindrical฀grave฀lekythoi.11฀The฀Eretria฀Painter฀highlighted฀details฀such฀as฀jewelry,฀apples,฀or฀blossoms฀in฀added฀clay,฀and฀there฀ are฀remains฀of฀gilding฀on฀these฀parts.฀Since฀the฀technique฀of฀gilding฀raised-฀ clay฀details—rare฀as฀they฀are—was฀not฀fully฀mastered฀until฀the฀end฀of฀the฀ fifth฀century,฀let฀me฀cite฀a฀red-figure฀version:฀a฀detail฀of฀the฀Phaon฀kalpis฀ potted฀by฀Meidias฀and฀decorated฀by฀the฀Meidias฀Painter,฀an฀outstanding฀ pupil฀of฀the฀Eretria฀Painter,฀who฀embodies฀the฀so-called฀Rich฀Style฀as฀no฀ one฀ else.฀ On฀ this฀ kalpis฀ he฀ went฀ a฀ step฀ further:฀ he฀ shaped฀ the฀ wings฀ of฀ Himeros฀with฀added฀clay฀and฀made฀them฀glitter฀with฀gold.12฀ Such฀plastic฀details฀go฀back฀to฀the฀beginnings฀of฀red-figure.13฀The฀ fashion฀was฀passed฀down฀mainly฀on฀white-ground฀cups,฀which฀were—paramount฀for฀the฀development฀of฀special฀techniques—the฀secret฀catalysts.฀A฀ fragmentary฀white-ground฀cup฀with฀an฀interior฀zone฀painted฀by฀the฀Villa฀ Giulia฀Painter14฀and฀dated฀toward฀the฀mid-century฀offers฀a฀good฀example:฀a฀ goddess฀sits฀on฀a฀klismos฀and฀receives฀a฀libation฀from฀the฀woman฀in฀front฀of฀ her.฀The฀tip฀of฀the฀scepter,฀the฀oinochoe,฀phiale,฀and฀the฀knob฀of฀the฀stool฀ are฀all฀emphasized฀plastically฀and฀were฀probably฀once฀gilded.฀To฀compete฀ with฀the฀contemporary฀cups฀in฀silver฀with฀inlaid฀gold—as฀does฀this฀example฀ from฀the฀Black฀Sea—vase-painters฀had฀to฀develop฀their฀own฀methods.15 Since฀ the฀ Eretria฀ Painter฀ descends฀ via฀ his฀ master,฀ the฀ Methyse฀ Painter,฀from฀the฀Villa฀Giulia฀Painter—therefore฀ultimately฀from฀the฀Brygan฀ orbit—he฀ must฀ have฀ received฀ this฀ knowledge฀ by฀ way฀ of฀ this฀ workshop฀ sequence.16฀He฀not฀only฀adopted฀it฀for฀his฀own฀white-ground฀vase,฀which฀ ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 175 is฀no฀longer฀a฀cup฀but฀a฀squat฀lekythos฀(the฀shift฀from฀male฀to฀female),฀but฀ he฀also฀used฀the฀technique฀of฀enhancing฀with฀added฀clay฀the฀painted฀vase฀ surface฀and฀the฀gilding฀of฀those฀parts฀for฀his฀red-figure฀squat฀lekythoi;฀from฀ here,฀the฀technique฀passed฀to฀colleagues,฀such฀as฀Aison,฀and฀pupils,฀such฀ as฀the฀Meidias฀Painter,฀whose฀Phaon฀kalpis฀in฀Florence฀is฀noted฀above.17 One฀more฀point:฀the฀lekythos฀in฀Kansas฀City฀(CoC฀no.฀33)18฀and฀the฀ tallboy฀in฀New฀York,฀a฀slightly฀elongated฀version฀of฀the฀squat฀lekythos,19฀ are฀two฀of฀six฀lekythoi฀of฀that฀type฀with฀a฀double-,฀if฀not฀triple-register฀ decoration.20฀They฀do฀appear฀for฀a฀short฀period฀around฀420฀b.c.฀The฀Eretria฀Painter฀must฀have฀been฀a฀very฀curious,฀open-minded฀person฀who฀may฀ have฀seen฀this฀shape,฀dusty฀and฀long฀forgotten,฀on฀a฀shelf฀in฀one฀of฀the฀ workshops฀ where฀ he฀ used฀ to฀ nose฀ about—in฀ a฀ black-figure฀ version.฀ He฀ then฀stimulated฀his฀potter฀to฀elongate฀the฀body฀of฀the฀squat฀lekythos฀and฀ structured฀the฀body฀with฀painted฀friezes฀accordingly.฀On฀their฀two฀almost฀ equal฀friezes,฀the฀Deianeira-type฀black-figure฀lekythos—the฀model฀for฀the฀ lekythoi฀under฀consideration—displays฀animals.21฀It฀then฀comes฀as฀no฀surprise฀to฀see,฀over฀a฀century฀later,฀on฀the฀fragmentary฀white-ground฀squat฀ lekythos฀ by฀ the฀ Meidias฀ Painter฀ a฀ panther฀ and฀ a฀ lion฀ crouching฀ in฀ the฀ upper฀ frieze,฀ which฀ has฀ nothing฀ to฀ do฀ with฀ the฀ picture฀ of฀ a฀ gynaikeion฀ on฀the฀body—or฀if฀at฀all,฀only฀metaphorically.฀There฀sits฀a฀woman฀being฀ adorned฀ by฀ Eros฀ and฀ her฀ maids.฀The฀ jewelry,฀ again,฀ is฀ heightened฀ with฀ plain฀clay฀and฀was฀probably฀once฀gilded.22 This฀brings฀us฀to฀the฀Eretria฀Painter’s฀New฀York฀tallboy฀lekythos฀ (see฀p.฀62,฀fig.฀1,฀in฀this฀volume).23฀The฀combination฀of฀two฀overall฀techniques฀in฀a฀more฀or฀less฀equal฀manner,฀not฀just฀a฀tiny฀ornament฀dominated฀ by฀ figured฀ parts฀ as฀ on฀ the฀ Kansas฀ City฀ lekythos,฀ is฀ not฀ new.฀ A฀ favorite฀ example฀is฀the฀hydria฀in฀the฀Louvre฀(CoC฀no.฀53),24฀which฀has,฀on฀top฀of฀ two฀fields฀of฀black-figure,฀a฀white-ground฀neck฀that฀is฀similarly฀decorated฀ on฀the฀inside—not฀mere฀ornament,฀but฀brought฀alive฀by฀the฀presence฀of฀ several฀ravenlike฀birds.฀A฀white-ground฀neck฀in฀combination฀with฀a฀redfigure฀body฀also฀appears฀on฀vases฀such฀as฀a฀volute-krater฀in฀Ancona,25฀this฀ time฀both฀fields฀figured.฀And฀there฀is฀the฀combination฀of฀techniques฀on฀ cups:฀normally฀white-ground฀inside,฀red-figure฀out,฀both฀techniques฀not฀ being฀seen฀simultaneously฀(see,฀for฀instance,฀ CoC฀no.฀31).฀Sotades,฀however,฀ combined฀ different฀ techniques฀ on฀ the฀ inside฀ of฀ cups฀ (see฀ CoC฀ nos.฀ 90–99).฀Last,฀but฀not฀least,฀black-฀and฀red-figure฀can฀go฀together,฀but฀on฀ red-figure฀vases฀the฀black-figure฀plays฀second฀fiddle.26 To฀return฀to฀the฀New฀York฀tallboy,฀the฀shape฀probably฀goes฀back฀ to฀the฀sixth-century฀form฀of฀the฀Deianeira฀lekythos,27฀which฀also฀exists฀in฀a฀ tripartite฀version,฀the฀friezes฀being฀displayed฀equally฀over฀the฀body฀of฀the฀ vase.฀In฀this฀respect,฀it฀is฀also฀related฀to฀the฀exceptional฀early฀alabastron฀ by฀Psiax฀in฀London฀(CoC,฀187,฀fig.฀1),28฀on฀which฀a฀black฀band฀with฀added฀ white฀ figures฀ and฀ inscriptions฀ is฀ framed฀ by฀ two฀ bands฀ of฀ white-ground฀ ornament.฀ Apparently,฀ it฀ takes฀ a฀ spheroid฀ vase฀ shape฀ to฀ display฀ evenly฀ structured฀friezes. In฀ decorating฀ the฀ New฀York฀ tallboy฀ the฀ Eretria฀ Painter฀ followed฀ the฀old฀pattern,฀creating฀thus฀an฀exception฀among฀combinations฀of฀different฀techniques.฀He฀chose฀a฀white฀ground฀between฀two฀red-figure฀friezes฀ 176 - ฀ because฀ of฀ the฀ presence฀ of฀ death฀ in฀ the฀ central฀ frieze.฀ There,฀ Achilles฀ mourns฀ at฀ the฀ bier฀ of฀ his฀ friend฀ Patroklos.฀ A฀ dead฀ man฀ lying฀ in฀ state฀ is฀ a฀known฀topos฀from฀the฀grave฀lekythoi,฀but฀by฀depicting฀Achilles฀seated฀ next฀to฀his฀dead฀friend,฀the฀Eretria฀Painter฀again฀maintains฀distance฀from฀ the฀ grave฀ iconography.฀ Further฀ to฀ the฀ right,฀ Achilles’฀ mother,฀ Thetis,฀ together฀with฀her฀sister฀Nereids,฀all฀riding฀dolphins,฀crosses฀the฀Aegean฀to฀ bring฀her฀son฀newly฀made฀armor฀and฀weapons฀to฀replace฀those฀removed฀by฀ Hector฀from฀the฀body฀of฀Patroklos.฀In฀the฀frieze฀below,฀the฀Amazon฀Hippolyte฀fights฀at฀the฀side฀of฀Theseus฀against฀her฀fellow฀Amazons,฀who฀had฀ come฀to฀Athens฀to฀rescue฀their฀queen,฀who฀had฀been฀abducted฀earlier฀by฀ the฀Athenian฀king.฀In฀the฀upper฀frieze฀(only฀partly฀preserved),฀a฀presumably฀young฀girl฀is฀taken฀from฀her฀mother฀by฀a฀man฀in฀a฀four-horse฀chariot฀ in฀the฀presence฀of฀five฀more฀gods.฀As฀on฀the฀white-ground฀squat฀lekythos฀ in฀Kansas฀City,฀the฀Eretria฀Painter฀places฀a฀woman฀in฀the฀center฀of฀each฀ depiction.฀On฀the฀New฀York฀vase฀it฀is฀Thetis฀in฀the฀white-ground฀frieze,฀ with฀Hippolyte฀below฀and฀perhaps฀Persephone฀above:฀Thetis฀as฀a฀mother,฀ Hippolyte฀as฀the฀figure฀of฀the฀anti-wife,฀Persephone฀as฀the฀virgin.฀All฀three฀ tales฀have฀a฀negative฀flavor:฀Persephone฀will฀go฀to฀the฀Underworld,฀Thetis฀ will฀lose฀her฀son฀on฀the฀battlefield,฀and฀Hippolyte฀will฀soon฀die.29 Technically,฀on฀the฀white-ground฀part,฀armor฀and฀weapons฀(with฀ the฀exception฀of฀the฀spear)฀are฀accentuated฀by฀added฀clay,฀presumably฀once฀ gilded,฀to฀give฀the฀impression฀of฀freshly฀wrought฀bronze.฀The฀rim฀of฀the฀ shield฀is฀ornamented฀realistically;฀the฀episema,฀an฀attacking฀lion฀in฀a฀low฀ relief,฀was฀shaped฀freehand฀out฀of฀the฀wet฀clay.฀For฀thematic฀reasons,฀added฀ clay฀on฀the฀red-figure฀parts฀is฀not฀often฀found฀here.฀The฀helmet฀of฀Theseus฀ has฀some฀touches฀of฀it฀as฀does฀the฀shield฀of฀Phaleros฀on฀the฀right. One฀new฀feature฀appears฀with฀the฀New฀York฀tallboy,฀and฀comes฀ this฀time฀from฀the฀potters’฀quarter:฀the฀underside฀of฀the฀foot฀is฀shaped฀with฀ circular฀plastic฀ribbing.฀In฀addition฀to฀the฀profile฀of฀the฀New฀York฀tallboy,฀ we฀ find฀ the฀ ribbed฀ underside฀ on฀ other฀ squat฀ lekythoi฀ decorated฀ by฀ the฀ Eretria฀Painter฀and฀his฀painter฀colleagues;฀one฀of฀Aison’s฀squat฀lekythoi฀in฀ Naples฀is฀covered฀with฀black฀gloss.30฀The฀look฀is฀metallic฀and฀was฀presumably฀introduced฀to฀this฀very฀workshop฀by฀Aison฀himself,฀who฀started฀as฀a฀ painter฀of฀cups฀and฀stemless฀cups,฀of฀which฀there฀is฀a฀known฀example฀with฀ a฀black-glossed฀underside.31฀Ribbing฀does฀not฀make฀sense฀on฀the฀underside฀of฀a฀squat฀lekythos,฀whose฀rounded฀body฀is฀hardly฀suited฀for฀hanging฀on฀a฀wall฀like฀cylindrical฀lekythoi฀and฀therefore฀was฀rarely฀seen฀from฀ below;฀but฀in฀that฀particular฀workshop—called฀the฀eam฀workshop฀after฀ its฀most฀important฀vase-painters,฀the฀Eretria฀Painter,฀Aison,฀and฀the฀Meidias฀Painter—this฀feature฀was฀in฀continuous฀use฀as฀long฀as฀the฀workshop฀ existed.32฀ Other฀attempts฀by฀the฀same฀workshop฀to฀make฀more฀of฀this฀particular฀shape฀were฀shorter฀lived.฀To฀the฀several฀ways฀to฀shape฀a฀lekythos,฀ one฀was฀added:฀combining฀a฀lekythos฀and฀the฀cup฀of฀an฀acorn—with฀realistic฀raised฀dots฀of฀clay฀covering฀the฀outside—to฀make฀the฀hybrid฀stand฀on฀ a฀foot฀of฀an฀oinochoe฀type฀i,฀as฀preserved฀in฀the฀so-called฀acorn-lekythos,฀ the฀name฀piece฀of฀the฀Painter฀of฀the฀Frankfort฀Acorn.33฀ Parenthetically,฀I฀should฀mention฀that฀on฀this฀acorn-lekythos฀and฀ its฀companion฀piece฀without฀acorn฀in฀Malibu฀(CoC฀no.฀34),34฀the฀Painter฀ ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 177 of฀the฀Frankfort฀Acorn฀went฀a฀step฀further฀than฀the฀Eretria฀Painter฀ever฀ ventured:฀next฀to฀the฀gilded฀added฀clay฀he฀used,฀as฀in฀olden฀times,฀secondary฀white฀on฀the฀women’s฀skin฀and฀on฀the฀two฀Erotes฀flying฀above—what฀ becomes฀almost฀a฀rule฀in฀fourth-century฀vase-painting. Another฀ technique฀ is฀ stamping,฀ which฀ also฀ begins฀ among฀ contemporaries฀ of฀ the฀ Eretria฀ Painter,฀ but฀ thus฀ far฀ nothing฀ has฀ been฀ found฀ from฀his฀own฀hand.฀Let฀us฀have฀a฀look฀at฀a฀much฀undervalued฀oinochoe฀ in฀London,฀whose฀figures,฀Herakles฀and฀Athena,฀are฀drawn฀in฀outline฀and฀ enhanced฀by฀diluted฀gloss.35฀Its฀ornaments,฀egg฀patterns฀above฀and฀below฀ the฀figures฀and฀a฀very฀peculiar฀arrangement฀of฀lotus฀flowers฀and฀leaf฀ornament฀ on฀ the฀ shoulder,฀ were฀ stamped฀ before฀ the฀ white฀ slip฀ was฀ applied.฀ The฀combination฀of฀painted฀figures฀on฀white฀ground฀with฀stamped฀ornaments฀ seems฀ to฀ be฀ restricted฀ to฀ this฀ vase,฀ which฀ was฀ probably฀ made฀ in฀ a฀workshop฀in฀which฀the฀Eretria฀Painter฀decorated฀red-figure฀oinochoai,฀ assisted฀by฀the฀Shuvalov฀Painter฀and฀later฀by฀Aison฀and฀the฀Painter฀of฀the฀ Frankfort฀Acorn.฀ We฀ now฀ turn฀ to฀ the฀ third฀ and฀ last฀ item฀ by฀ the฀ Eretria฀ Painter,฀ which฀is฀strictly฀speaking฀not฀a฀vase,฀albeit฀turned฀on฀the฀wheel,฀but฀an฀ implement:฀ the฀ epinetron฀ (CoC,฀ 158,฀ fig.฀ 8,฀ the฀ Alkestis฀ side).36฀ Women฀ set฀the฀epinetron฀on฀one฀knee฀and฀used฀the฀back,฀which฀was฀roughened฀ with฀ incised฀ scales฀ (either฀ left฀ reserved฀ or฀ covered฀ with฀ black฀ gloss),฀ to฀ card฀ wool.฀ The฀ most฀ unusual฀ part฀ catches฀ the฀ eye฀ first:฀ the฀ utensil฀ has฀ a฀ bust฀ attached฀ to฀ its฀ front.฀ As฀ a฀ rule,฀ in฀ black-figure฀ versions฀ a฀ plastic฀ female฀bust฀is฀associated฀with฀this฀type฀of฀implement.฀In฀later฀red-figure,฀ our฀bust,฀taken฀from฀a฀mold,฀seems฀to฀be฀the฀only฀one฀to฀have฀resumed฀this฀ old-fashioned฀habit,฀but฀in฀a฀style฀adapted฀to฀the฀time.฀The฀technique฀is฀the฀ same฀as฀with฀the฀rhyta,฀head฀vases,฀and฀figure฀vases,฀and฀it฀must฀have฀been฀ adapted฀from฀the฀Sotades฀workshop.37 In฀1897,฀the฀year฀it฀was฀found฀in฀Eretria฀(hence฀the฀painter’s฀name),฀ the฀bust฀must฀have฀been฀more฀colorful฀than฀it฀appears฀today:฀golden฀hair฀ under฀a฀reddish฀sakkos,฀red฀lips,฀dark฀eyes฀and฀eyebrows,฀and฀white฀skin,฀ according฀to฀the฀description฀in฀the฀first฀publication.฀An฀idea฀of฀the฀coloring฀ of฀such฀a฀bust฀may฀be฀given฀by฀the฀Sotades฀sphinx฀from฀the฀Brygos฀tomb.38฀ The฀bust฀attached฀to฀the฀epinetron฀is฀that฀of฀Aphrodite,฀surrounded฀by฀ friezes฀with฀depictions฀of฀her฀realm. On฀the฀Athens฀epinetron,฀too,฀the฀figure฀decoration฀is฀tripartite,฀ but฀ all฀ in฀ red-figure.฀ As฀ on฀ the฀ New฀York฀ tallboy฀ the฀ focus฀ is฀ on฀ three฀ mythological฀heroines,฀this฀time฀with฀a฀positive฀mood.฀We฀again฀have฀the฀ stage฀ of฀ the฀ parthenos,฀ here฀ Harmonia,฀ the฀ winning฀ of฀ the฀ bride฀ or฀ the฀ matrimonial฀reunion,฀Thetis฀once฀more,฀and฀Alkestis฀as฀the฀paradigm฀of฀a฀ wonderful,฀above฀all฀faithful฀wife.39฀Details฀such฀as฀berries฀in฀the฀wreath,฀ a฀mirror,฀jewelry,฀and฀headgear฀are฀emphasized฀with฀added฀clay฀and฀were฀ probably฀once฀gilded. On฀ the฀ Alkestis฀ side฀ two฀ women฀ fill฀ ritual฀ marriage฀ vases฀ with฀ the฀ twigs฀ that฀ had฀ adorned฀ the฀ matrimonial฀ bed฀ the฀ night฀ before.฀ Both฀ lebes฀ and฀ loutrophoros฀ exist฀ as฀ vase฀ shapes฀ in฀ black-figure,฀ as฀ depicted฀ here.฀By฀the฀end฀of฀the฀fifth฀century,฀however,฀they฀usually฀are฀painted฀ in฀red-figure;฀as฀the฀overall฀frieze฀measures฀only฀about฀10฀cm฀in฀height,฀ 178 - ฀ it฀ must฀ have฀ been฀ too฀ intricate฀ to฀ depict฀ them฀ in฀ red-figure,฀ the฀ reserve฀ technique.40 The฀ oscillation฀ between฀ positive฀ and฀ negative฀ aspects฀ can฀ be฀ observed,฀not฀only฀in฀the฀content฀of฀the฀depictions,฀but฀also฀among฀the฀different฀techniques.฀When฀we฀look฀at฀two฀versions฀of฀the฀same฀figure฀type,฀ Charis฀on฀the฀epinetron฀adjusting฀her฀mantle฀and฀Antheia฀from฀the฀Kansas฀ City฀ lekythos,฀ one฀ in฀ red-figure,฀ the฀ other฀ in฀ white฀ ground,฀ it฀ becomes฀ clear฀that฀it฀can฀be฀difficult฀to฀recognize฀the฀same฀hand฀in฀both.฀The฀relief฀ line฀in฀red-figure฀cuts฀sharply,฀the฀much฀softer฀brush฀in฀the฀white฀ground฀ comes฀closer฀to฀what฀we฀today฀call฀drawing.41 Around฀420฀b.c.,฀the฀Eretria฀Painter฀returned฀to฀techniques฀that฀had฀ been฀in฀fashion฀at฀the฀turn฀of฀the฀sixth฀to฀fifth฀century,฀such฀as฀the฀adding฀ of฀plain฀clay,฀which฀he฀used฀both฀in฀his฀white-ground฀and฀red-figure฀vasepaintings,฀enhancing฀those฀parts฀with฀gilding.฀The฀continuously฀improved฀ knowledge฀of฀how฀to฀do฀this฀ran฀in฀certain฀workshops—kept฀in฀the฀family,฀ so฀to฀speak,฀handed฀down฀from฀father฀to฀son.฀This฀kind฀of฀retro฀style฀had฀ some฀temporary฀success฀at฀the฀time฀of฀the฀Nikias฀peace,฀but,฀as฀we฀have฀ come฀to฀realize฀only฀in฀the฀past฀few฀years,฀enjoyed฀a฀last฀triumphant฀finale฀ around฀400฀b.c.,฀the฀years฀after฀the฀end฀of฀the฀Peloponnesian฀War.42 A฀last฀and฀quite฀different฀struggle฀to฀keep฀open฀a฀closing฀road฀was฀ to฀(partially)฀replace฀painted฀figures฀with฀relief฀figures฀taken฀from฀molds.฀ ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 179 Probably฀the฀most฀elaborate฀version฀of฀a฀squat฀lekythos฀is฀the฀big฀Xenophantos฀vase฀in฀St.฀Petersburg฀(CoC฀no.฀37),43฀a฀rare฀squat฀lekythos฀proudly฀ signed฀by฀its฀potter—in฀gilded฀added฀clay,฀of฀course฀(see฀figs.฀7a–c).฀Persian฀potentates฀are฀engaged฀in฀a฀paradisian฀hunt฀(fig.฀1).฀The฀display฀of฀the฀ figures฀highlights฀the฀front,฀where฀eight฀Persians฀in฀relief฀technique฀try฀to฀ kill฀two฀boars,฀two฀griffins฀(one฀with฀an฀eagle฀head,฀one฀with฀a฀horned฀lion฀ head),฀and฀a฀stag.฀Five฀Persians฀in฀red-figure฀support฀their฀actions.฀In฀the฀ same฀manner฀as฀the฀names,฀which฀are฀predominantly฀Persian฀mixed฀with฀ Greek,฀the฀game฀is฀chosen฀from฀both฀the฀real฀and฀the฀fantastic฀worlds. Since฀the฀time฀of฀The฀Colors฀of฀Clay฀symposium฀I฀have฀been฀able฀ to฀study฀the฀stupendous฀Xenophantos฀lekythos44฀and฀its฀little฀pendant,45฀ together฀with฀the฀Adonis฀chous฀in฀St.฀Petersburg.46฀The฀study฀confirmed฀ that฀the฀three฀vases,฀by฀shape฀and฀decoration,฀belong฀together,฀as฀already฀ proposed฀by฀Eos฀Zervoudakis฀in฀1968.47฀The฀two฀squat฀lekythoi฀bear฀the฀ same฀ potter’s฀ signature฀ of฀ Xenophantos;฀ the฀ chous฀ shares฀ with฀ the฀ big฀ lekythos฀the฀same฀necklace฀in฀added฀and฀gilded฀clay฀as฀a฀shoulder฀ornament,฀without฀having฀been฀singled฀out฀by฀a฀signature.฀The฀big฀lekythos฀ and฀the฀chous฀have฀names฀inscribed฀in฀white,฀and฀all฀three฀have฀added฀and฀ painted฀relief฀figures—in฀common฀on฀the฀two฀lekythoi,฀different฀on฀the฀ chous.฀But฀foremost,฀by฀looking฀at฀their฀profiles฀and฀to฀a฀lesser฀degree฀at฀ their฀ornamentation,฀it฀is฀evident฀they฀belong฀to฀the฀same฀workshop.฀As฀ we฀have฀seen,฀there฀was฀only฀one฀workshop฀in฀the฀last฀quarter฀of฀the฀fifth฀ Figure฀1 Squat฀lekythos฀of฀Xenophantos฀in฀ red-figure฀and฀with฀added฀relieffigures.฀St.฀Petersburg,฀The฀State฀ Hermitage฀Museum฀P฀1837.2.฀ Inscriptions,฀above:฀Kyros฀(third฀from฀ left),฀Dareios฀(horseman),฀Euryalos฀ (spear฀swinger),฀and฀K[ly]tio[s]฀(in฀ red-figure);฀below:฀Atramis฀(with฀ eagle฀griffin),฀Abrokomas฀(on฀chariot),฀ Seisames฀(in฀red-figure).฀Drawing฀after฀ Ludwig฀Stephani,฀Compte-rendu฀de฀la฀ Commission฀Impériale฀Archéologique฀St.฀ Pétersbourg฀(1866),฀pl.฀4.฀Possible฀color฀ added฀by฀author. 180 - a. Figures฀2a–b Squat฀lekythos฀of฀Xenophantos฀(fig.฀ 1).฀Details฀of฀handle฀ornament฀in฀ red-figure.฀a.฀Lotus฀flower฀without฀ relief-line฀contour.฀b.฀Lotus฀flower฀ with฀relief-line฀contour.฀Photographer:฀ Author. ฀ ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 181 Figure฀3 Squat฀lekythos฀of฀Xenophantos฀ (fig.฀1).฀Seisames฀in฀red-figure฀with฀ torque,฀rivets,฀ornament฀on฀shield,฀ and฀spearhead฀in฀raised฀and฀formerly฀ gilded฀clay.฀Cap฀has฀added฀red.฀ Photographer:฀Author. b. century฀b.c.฀that฀produced฀squat฀lekythoi฀(and฀choes)฀of฀that฀outstanding฀ size฀and฀quality฀and฀had฀experience฀with฀extruded-clay฀technique,฀gilding,฀and฀joining฀a฀vase฀with฀plastic฀parts:฀the฀ eam฀workshop.48฀Furthermore,฀the฀three฀vases฀are฀starting฀points฀for฀a฀class฀of฀relief฀vases49฀as฀well฀ as฀figure฀vases,50฀perhaps฀also฀black-glazed฀relief฀vases,51฀that฀will฀flourish฀ during฀the฀first฀half฀of฀the฀fourth฀century. The฀big฀squat฀lekythos฀by฀Xenophantos฀combines฀in฀its฀decoration฀two฀basically฀different฀techniques฀of฀figure฀work฀(see฀fig.฀1).฀The฀redfigure,฀now฀more฀than฀a฀century฀old,฀has฀undergone฀some฀transformations,฀ both฀additions฀and฀omissions.฀In฀the฀rich฀handle฀and฀neck฀ornaments,฀only฀ the฀important฀parts฀were฀given฀a฀relief฀contour:฀the฀relatively฀new฀flame฀ palmettes,฀the฀acanthus฀leaves฀at฀the฀bottom,฀and฀most฀of฀the฀lotus฀flowers.฀ The฀relief฀line฀for฀long-standing฀”normal“฀palmettes฀was฀reduced฀to฀the฀ central฀leaf฀and฀the฀mere฀silhouette฀(figs.฀2a–b,฀and฀see฀fig.฀7b).฀The฀same฀is฀ true฀for฀the฀five฀figures฀in฀red฀on฀the฀sides฀of฀the฀depiction,฀their฀outlines฀ only฀partly฀contoured.฀In฀accordance฀with฀the฀custom฀of฀the฀time฀and฀this฀ specific฀workshop,฀figures฀and฀trees฀as฀ornament,฀including฀the฀palmette฀ frieze฀on฀the฀shoulder,฀show฀the฀typical฀little฀additions฀in฀extruded฀clay,฀ all฀ once฀ gilded,฀ shimmering฀ golden฀ in฀ photographs:฀ the฀ raised฀ heart฀ in฀ the฀palmettes,฀the฀fruit,฀the฀rivets฀on฀some฀of฀the฀belts,฀the฀bracelets฀or฀ torques,฀the฀weapons฀(in฀part),฀and฀their฀decoration฀(fig.฀3).฀New฀in฀this฀ respect฀is฀the฀added฀red฀for฀four฀of฀the฀caps.฀This฀red฀seems฀different฀from฀ the฀red฀underlying฀the฀added฀gold฀leaf.52฀ Difficult฀to฀make฀out฀in฀photographs,฀and฀omitted฀on฀Stephani’s฀ drawing฀(see฀fig.฀1),฀is฀a฀hilly฀landscape฀incised฀into฀the฀surface,฀an฀approved฀ tradition฀in฀red-figure;฀it฀is,฀for฀instance,฀employed฀under฀the฀relief฀figures฀ of฀Kyros฀and฀the฀eagle-griffin,฀where฀the฀plastically฀added฀terrain,฀as฀under฀ other฀figures,฀is฀missing. Some฀objects฀in฀their฀totality฀are฀applied฀in฀extruded฀clay,฀squeezed฀ from฀a฀very฀thin฀nozzle.฀These฀are฀the฀two฀tripods,฀laid฀on฀the฀surface฀in฀ thin฀and฀even฀strokes฀with฀some฀added฀bubbles฀at฀the฀joints฀or฀to฀mark฀ the฀feet฀(fig.฀4a).฀The฀trunk฀of฀the฀extraordinary฀palm฀tree฀is฀built฀up฀of฀ clay฀dots฀over฀a฀slightly฀convex฀stem,฀with฀clay฀dots฀also฀for฀the฀dates;฀the฀ fronds฀are฀done฀in฀extruded-clay฀lines,฀and฀all฀but฀the฀trunk(?)฀itself฀was฀ gilded฀(fig.฀4b).฀The฀unusual฀necklace฀around฀the฀vase’s฀shoulder฀belongs฀ here,฀too.฀As฀we฀can฀observe฀at฀the฀overlapping฀zone฀with฀the฀handle฀ornament฀ (see฀ figs.฀ 2b,฀ 4a),฀ the฀ extruded฀ clay฀ was฀ added฀ after฀ the฀ red-figure฀ ornament฀ painter฀ had฀ finished,฀ and฀ presumably฀ also฀ after฀ the฀ figures฀ in฀ relief฀had฀been฀applied;฀note฀the฀bigger฀intervals฀in฀front฀of฀the฀heads฀of฀ Kyros฀and฀Dareios.฀The฀spherical฀balls,฀every฀second฀granulated,฀and฀the฀ beechnut฀pendants฀joined฀to฀them฀hang฀from฀the฀egg฀pattern฀under฀the฀ palmette฀ frieze฀ as฀ if฀ from฀ a฀ broad,฀ banded฀ necklace.฀They฀ seem฀ to฀ have฀ been฀put฀on฀the฀vase฀freehand.฀The฀same฀technique฀was฀used฀for฀the฀signature,฀which฀was฀gilded,฀like฀the฀rest฀(see฀figs.฀7a–c,฀above).฀ Figures฀4a–b Squat฀lekythos฀of฀Xenophantos฀(fig.฀ 1).฀a.฀Tripod,฀and฀b.฀part฀of฀palm฀tree,฀ both฀in฀extruded฀and฀gilded฀clay.฀ Photographer:฀Author. a. b. 182 - ฀ ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 183 bodies฀of฀the฀griffins฀they฀fight฀are฀based฀on฀the฀same฀model,฀with฀different฀heads. As฀an฀eye-catcher,฀a฀boar,฀attacked฀by฀Abrokomas฀on฀a฀two-horse฀ chariot,฀was฀covered฀with฀black฀gloss฀(fig.฀8).฀Mouth,฀eye,฀ear,฀bristle,฀and฀ tail฀were฀left฀reserved,฀basically฀a฀red-figure฀technique.฀As฀boars฀tend฀to฀ be฀dark,฀it฀makes฀sense฀to฀have฀it฀blackened,฀but฀as฀a฀technique,฀this฀is,฀to฀ my฀knowledge,฀new.57฀The฀black฀boar฀is฀certainly฀a฀counterweight฀to฀the฀ gilded฀boar฀on฀the฀upper฀right—and฀shows฀the฀high฀esteem฀boars฀enjoyed฀ as฀beasts฀of฀prey. The฀other฀relief฀figures฀(see฀fig.฀1),฀both฀human฀and฀animal,฀were฀ coated฀with฀a฀white฀slip฀in฀the฀technique฀of฀the฀head฀vases฀and฀the฀rhyta฀ of฀the฀second฀half฀of฀the฀fifth฀century.฀Some,฀as฀for฀example฀the฀horses฀or฀ Figure฀5 Squat฀lekythos฀of฀Xenophantos฀(fig.฀ 1).฀Laurel฀tree฀with฀stem฀and฀fruit฀in฀ raised฀and฀gilded฀clay,฀the฀leaves฀white฀ on฀black฀gloss.฀Photographer:฀Author. Figure฀6 Squat฀lekythos฀of฀Xenophantos฀(fig.฀ 1).฀Acanthus฀column฀painted฀in฀white฀ directly฀on฀black฀gloss,฀added฀red.฀ Photographer:฀Author. 5. 6. Leaves฀in฀white฀over฀black฀gloss฀in฀combination฀with฀a฀raised฀and฀ gilded฀stem฀can฀be฀noted฀on฀the฀laurel฀tree฀behind฀the฀lion-griffin฀(fig.฀5).฀ White฀painted฀directly฀on฀the฀black฀gloss฀was฀also฀chosen฀for฀the฀two฀columns฀that฀support฀the฀tripods฀(fig.฀6).฀The฀grooves฀and฀the฀upper฀rims฀of฀ the฀acanthus฀leaves฀that฀protrude฀from฀the฀shaft฀are฀marked฀in฀wine฀red.฀ Above฀the฀palmette฀band฀(figs.฀7a–c),฀not฀well฀adapted฀to฀the฀curve฀ of฀the฀shoulder฀because฀they฀were฀conceived฀to฀stand฀on฀a฀straight฀line฀ that฀was฀partly฀added฀below฀each฀scene,฀are฀five฀groups฀of฀figures;฀they฀are฀ taken฀from฀molds฀and฀still฀partially฀gilded.฀Three฀of฀them—the฀quadriga฀ driven฀by฀Nike—are฀identical.฀From฀the฀right-hand฀end฀of฀the฀frieze฀(fig.฀ 7c),฀where฀the฀figure฀of฀the฀charioteer฀has฀come฀off฀and฀where฀the฀reserved฀ surface฀of฀the฀clay฀is฀visible,฀it฀becomes฀evident฀that฀the฀black฀gloss฀for฀the฀ background฀was฀added฀only฀when฀the฀reliefs฀were฀already฀attached,฀as฀is฀ the฀case฀with฀the฀relief฀figures฀on฀the฀body.฀Presumably฀both฀parts฀were฀ made฀ by฀ the฀ same฀ coroplast,฀ those฀ on฀ the฀ shoulder฀ being฀ much฀ smaller฀ (H฀ca.฀2฀cm)฀and฀flatter.฀In฀the฀eam฀workshop฀we฀find฀it฀is฀already฀possible฀ to฀substitute฀one฀of฀the฀shoulder฀ornaments฀with฀figure฀work.53 The฀figures฀or฀group฀of฀figures฀(eighteen฀in฀all)฀in฀the฀center฀of฀the฀ body฀(see฀fig.฀1)฀were฀taken฀from฀molds฀and฀then฀applied฀to฀the฀semidry฀ surface฀(partly฀with฀bitumen?฀See฀fig.฀4b,฀head฀of฀Abrokomas).฀They฀were฀ put฀ in฀ two฀ rows฀ one฀ above฀ the฀ other,฀ sometimes฀ overlapping.฀ Only฀ the฀ columns฀and฀the฀palm฀tree฀stand฀the฀full฀height฀of฀the฀frieze.฀Some฀details฀ exit฀the฀space฀of฀the฀frieze฀as฀a฀whole,฀above฀and฀below.฀That฀a฀spear฀like฀ the฀one฀of฀Dareios฀punches฀the฀shoulder฀ornament฀is฀not฀unusual;฀that฀the฀ two฀griffins฀and฀the฀boar฀have฀their฀feet฀far฀below฀the฀groundline฀is฀rare,54฀ though฀another฀sign฀of฀that฀workshop,฀as฀is฀the฀multilevel฀composition.55฀ By฀taking฀the฀figures฀out฀of฀their฀molds฀some฀parts฀were฀lost,฀such฀as฀the฀ head฀ of฀ Dareios’s฀ spear,฀ the฀ axes฀ of฀ the฀ twice-applied฀ axe฀ swingers—or฀ maybe฀they฀were฀never฀there;฀on฀the฀small฀lekythos฀in฀St.฀Petersburg฀the฀ axes฀were฀added฀in฀yellow฀paint.56฀The฀average฀height฀of฀the฀figures฀is฀7–8฀ cm.฀The฀axe฀swingers฀were฀applied฀once฀with฀terrain,฀once฀without;฀the฀ Figures฀7a–c Squat฀lekythos฀of฀Xenophantos฀(fig.฀ 1).฀Shoulder฀frieze฀with฀mold-made฀ gilded฀reliefs฀and฀potter’s฀signature,฀ and฀shoulder฀ornament.฀Photographer:฀ Author. a. b. c. 184 - ฀ the฀dogs,฀were฀left฀white,฀others฀were฀gaily฀painted฀in฀pink,฀changing฀into฀ lilac,฀ different฀ reds,฀ blues,฀ brown฀ (and฀ green).฀The฀ eyes฀ were฀ marked฀ in฀ black฀gloss.฀Matching฀the฀red-figure฀work฀of฀the฀ eam฀workshop,฀details฀ such฀ as฀ hair฀ and฀ beards,฀ some฀ caps,฀ manes,฀ claws,฀ horns,฀ and฀ weapons฀ were฀lavishly฀gilded.฀I฀have฀tried฀to฀color฀the฀scene฀with฀what฀is฀still฀visible฀today—it฀is฀hypothetical,฀of฀course,฀and฀certainly฀not฀as฀colorful฀as฀ it฀once฀must฀have฀been.฀Some฀of฀the฀figures฀such฀as฀Euryalos฀were฀put฀on฀ a฀terrain฀in฀added฀clay—I฀gave฀it฀the฀coloring฀of฀the฀small฀lekythos฀in฀St.฀ Petersburg;฀on฀the฀big฀lekythos฀the฀color฀has฀disappeared.฀In฀short:฀When฀ the฀vase฀was฀semidry,฀the฀red-figure฀was฀done฀first,฀then฀the฀relief-figures฀ applied฀(partly฀with฀bitumen),฀which฀was฀followed฀by฀filling฀in฀the฀black฀ background฀and฀incising฀lines฀to฀mark฀terrain.฀The฀objects฀and฀details฀in฀ raised฀clay฀were฀then฀applied฀to฀the฀vase฀surface.฀The฀relief-figures฀received฀ their฀white฀slip฀(with฀the฀exception฀of฀the฀central฀boar,฀which฀is฀glossed)฀ and฀names฀and฀other฀things฀were฀added฀in฀white.฀After฀firing,฀the฀coloring฀ of฀the฀relief-figures฀must฀have฀taken฀place,฀all฀finished฀with฀gilding. The฀squat฀lekythos฀signed฀by฀Xenophantos฀unites฀a฀rare฀amount฀ of฀different฀techniques฀that฀go฀beyond฀the฀normal฀techniques฀used฀at฀that฀ time.฀ Those฀ techniques฀ intertwine฀ thoroughly:฀ incised฀ lines฀ reach฀ into฀ the฀ relief฀ figure฀ part,฀ white฀ and฀ red฀ spill฀ into฀ red-figure,฀ figural฀ groups฀ overlap฀ techniques.฀The฀ important฀ point฀ is฀ that฀ the฀ relief฀ figures฀ as฀ the฀ newly฀adopted฀feature฀are฀placed฀in฀the฀center;฀red-figure฀is฀washed฀aside.฀ With฀it,฀the฀traditional฀clothing฀of฀Easterners,฀as฀with฀the฀generic฀Persians฀ seen฀in฀the฀side฀figures,฀is฀exchanged฀with฀more฀accurate฀costumes฀of฀the฀ Medans฀ (see฀ the฀ kandys฀ worn฀ by฀ the฀ axe฀ swingers)—an฀ important฀ step฀ forward฀in฀recognizing฀neighbors฀correctly. The฀Xenophantos฀Painter,฀whom฀I฀would฀like฀to฀see฀in฀the฀succession฀of฀Aison,฀did฀not฀undergo฀the฀transformations฀of฀style฀taking฀place฀ at฀ the฀ beginning฀ of฀ the฀ fourth฀ century.฀ Together฀ with฀ the฀ shape฀ of฀ the฀ vase฀ and฀ its฀ ornamentation,฀ which฀ on฀ the฀ big฀ lekythos฀ does฀ thoroughly฀ continue฀the฀Meidian฀style,฀I฀prefer฀to฀date฀his฀work฀to฀around฀400฀b.c.฀It฀ marks฀a฀last฀outburst฀and฀the฀end฀of฀the฀eam฀workshop.฀ Figure฀8 Squat฀lekythos฀of฀Xenophantos฀(fig.฀1).฀ Mold-made฀boar฀in฀relief,฀covered฀with฀ black฀gloss.฀Photographer:฀Author. ,฀,฀฀:฀฀฀฀฀฀฀฀฀ 185 No te s Ac knowle d gm e nt s My฀thanks฀to฀Beth฀Cohen฀and฀the฀curators฀of฀ the฀Getty฀Villa฀for฀the฀invitation฀to฀the฀symposium฀on฀The฀Colors฀of฀Clay,฀and฀especially฀to฀ Kenneth฀Lapatin฀for฀his฀patience฀in฀receiving฀ this฀paper.฀Earlier฀drafts฀of฀this฀article฀have฀ been฀read฀by฀J.฀Robert฀Guy,฀H.฀Alan฀Shapiro,฀ and฀Mark฀Manion.฀My฀thanks฀go฀also฀to฀the฀ curators฀of฀the฀Antiquities฀Department฀at฀ the฀State฀Hermitage฀Museum,฀St.฀Petersburg,฀ Anna฀Trofimova,฀Alexander฀Butyagin,฀and฀ Dmitry฀Chistov.฀Mikhail฀Piotrovsky฀graciously฀ gave฀permission฀to฀publish฀the฀drawing฀and฀ the฀photographic฀details.฀The฀first฀part฀of฀ this฀paper,฀which฀was฀given฀at฀Malibu,฀has฀ been฀greatly฀shortened฀to฀allow฀space฀for฀ the฀second฀part,฀the฀technical฀features฀of฀the฀ Xenophantos฀lekythos. A b b reviat ion Lezzi-Hafter฀1988฀ Lezzi-Hafter,฀Adrienne.฀1988.฀Der฀EretriaMaler:฀Werke฀und฀Weggefährten.฀2฀vols.฀ Kerameus฀6.฀Mainz. 1.฀฀See฀note฀5฀infra. 2.฀฀See฀note฀23฀infra. 3.฀฀See฀note฀36฀infra. 4.฀฀Lezzi-Hafter฀1988฀passim. 5.฀฀Kansas฀City,฀Nelson฀Atkins฀Museum฀of฀ Fine฀Art฀31-80:฀H฀21.0฀cm;฀ARV 2฀1248.8;฀ BAdd 2฀353;฀BAPD฀Vase฀216944;฀Lezzi-Hafter฀ 1988,฀pls.฀156–57,฀no.฀240.฀ 6.฀฀Jenifer฀Neils฀in฀this฀volume฀(p.฀70,฀n.฀4)฀ proposes฀that฀the฀tallboy฀(note฀23฀infra)฀and฀ the฀Kansas฀City฀lekythos฀might฀have฀been฀ found฀together.฀The฀findspot฀for฀the฀latter฀is฀ given฀as฀“Apiro(?)”฀(in฀the฀Macerata,฀Italy),฀ and฀for฀the฀former฀as฀Athens. 7.฀฀See฀also฀Tsingarida฀in฀this฀volume. 8.฀฀H.฀A.฀Shapiro,฀Personifications฀in฀Greek฀ Art:฀The฀Representation฀of฀Abstract฀Concepts฀ 600–400฀B.C.฀(Kilchberg฀1993),฀s.v.฀Antheia,฀ Eunomia,฀Paidia,฀and฀Peitho. 9.฀฀CoC,฀132. 10.฀฀Cf.฀(a)฀white-ground฀lekythos,฀New฀York,฀ Metropolitan฀Museum฀of฀Art฀09.221.44:฀ Donna฀C.฀Kurtz,฀Athenian฀White฀Lekythoi:฀ Patterns฀and฀Painters฀(Oxford฀1975),฀pl.฀42.1;฀ (b)฀red-figured฀lekythos,฀private฀collection:฀ Rosalba฀Panvini฀and฀Filippo฀Giudice,฀eds.,฀Ta฀ Attika.฀Veder฀greco฀a฀Gela:฀Ceramiche฀attiche฀ figurate฀dall’antica฀colonia฀(Rome฀2004),฀187,฀ fig.฀3;฀(c)฀stele,฀Athens,฀National฀Archaeological฀Museum฀3845:฀Christoph฀W.฀Clairmont,฀ Classical฀Attic฀Tombstones,฀6฀vols.฀(Kilchberg฀ 1993),฀1:610. 11.฀฀For฀the฀iconography฀see,฀most฀recently,฀ 24.฀฀Paris,฀Musée฀du฀Louvre฀CA฀4716:฀BAPD฀ John฀H.฀Oakley,฀Picturing฀Death฀in฀Classical฀ Athens:฀The฀Evidence฀of฀the฀White฀Lekythoi฀ (Cambridge฀2004).฀For฀the฀white-ground฀technique:฀Irma฀Wehgartner,฀Attisch฀weissgrundige฀ Keramik:฀Maltechniken,฀Werkstätten,฀Formen,฀ Verwendung฀(Mainz฀1983),฀3. 12.฀฀On฀raised฀clay฀with฀gilding,฀see฀Beth฀ Cohen,฀“Added฀Clay฀and฀Gilding฀in฀Athenian฀ Vase-painting,”฀in฀CoC,฀109,฀and฀CoC฀nos.฀31฀ and฀32;฀and฀CVA฀British฀Museum฀9฀[Great฀ Britain฀17],฀60,฀no.฀45.฀The฀Phaon฀kalpis,฀ ARV 2฀1312.2:฀Erika฀Simon฀and฀Max฀Hirmer,฀ Die฀griechischen฀Vasen฀(Munich฀1976),฀color฀ pl.฀l.฀The฀squat฀lekythos฀by฀the฀Eretria฀ Painter฀(displaced฀by฀war,฀until฀1945฀Berlin,฀ Antikensammlung฀F฀2471,฀now฀Moscow,฀ The฀State฀Historical฀Museum฀N฀222),฀another฀ masterpiece,฀has฀also฀remains฀of฀gilding฀over฀ raised฀clay:฀ARV 2฀1247.1;฀BAPD฀Vase฀216937;฀ Lezzi-Hafter฀1988,฀pls.฀143–45,฀no.฀234;฀ Ljubov฀i฀Eros฀v฀antitshnoi฀culture,฀exh.฀cat.,฀ Moscow,฀The฀State฀Historical฀Museum฀(2006)฀ 74–75,฀no.฀70. 13.฀฀See฀Verbanck-Piérard฀in฀this฀volume. 14.฀฀Athens,฀National฀Archaeological฀Museum฀ 2187:฀Wehgartner฀1983฀(note฀11฀supra),฀pl.฀ 26.1,฀attributed฀to฀the฀Villa฀Giulia฀Painter฀by฀ J.฀Robert฀Guy;฀see฀also฀CoC฀no.฀31฀(Boston,฀ Museum฀of฀Fine฀Arts฀00.356:฀ARV 2฀741;฀ BAPD฀Vase฀209171),฀attributed฀as฀well฀to฀the฀ Villa฀Giulia฀Painter฀by฀J.฀Robert฀Guy. 15.฀฀Silver฀cup฀with฀gold฀inlays:฀St.฀Petersburg,฀ State฀Hermitage฀Museum,฀no฀inv.฀no.,฀from฀ the฀Taman฀Peninsula:฀Mikhail฀Piotrovsky,฀ed.,฀ The฀Hermitage฀Museum฀of฀St.฀Petersburg:฀The฀ Greek฀Treasures฀(Athens฀2004),฀141. 16.฀฀E.g.,฀Lezzi-Hafter฀1988,฀66–91,฀127.฀For฀ the฀Villa฀Giulia฀Painter,฀ARV 2฀618ff.;฀for฀the฀ Methyse฀Painter,฀ARV 2฀632ff.,฀esp.฀634.5. 17.฀฀See฀note฀12฀supra. 18.฀฀See฀note฀5฀supra. 19.฀฀See฀note฀23฀infra. 20.฀฀(a)฀Chapel฀Hill,฀Ackland฀Art฀Museum฀ 71.81;฀Lezzi-Hafter฀1988,฀no.฀232;฀(b)฀Munich,฀ Antikensammlungen฀2528:฀ARV 2฀1257.1;฀(c)฀ Naples,฀Museo฀Archeologico฀H฀3352;฀(d)฀St.฀ Petersburg,฀State฀Hermitage฀Museum฀TG฀19:฀ ARV 2฀1690฀in฀addition฀to฀1314.16bis฀(Meidias฀ Painter):฀Joan฀R.฀Mertens,฀Attic฀White-Ground:฀ Its฀Development฀on฀Shapes฀Other฀Than฀Lekythoi฀ (New฀York฀1977),฀pl.฀41.3. 21.฀฀See,฀e.g.,฀CVA฀Brussels฀2฀[Belgium฀2],฀iii฀ Hd,฀pl.฀1.1. 22.฀฀See฀note฀20฀(d)฀supra. 23.฀฀New฀York,฀Metropolitan฀Museum฀of฀ Art฀31.11.13:฀H฀(as฀restored)฀46.9฀cm;฀ARV 2฀ 1248.9;฀Badd 2฀353;฀BAPD฀Vase฀216945;฀LezziHafter฀1988,฀pls.฀150–55,฀no.฀238. Vase฀3018. 25.฀฀Ancona,฀Museo฀Nazionale฀delle฀Marche฀ 20514:฀Soprintendenza฀Archeologica฀delle฀ Marche,฀La฀ceramica฀attica฀figurata฀nelle฀Marche,฀exh.฀cat.฀(Ancona฀1982),฀29,฀137. 26.฀฀For฀one฀of฀many฀examples,฀see฀Nereo฀ Alfieri,฀Spina:฀Museo฀archeologico฀nazionale฀di฀ Ferrara฀(Bologna฀1979),฀59,฀no.฀138.฀ 27.฀฀See,฀e.g.,฀ABL฀pl.฀6.2. 28.฀฀London,฀British฀Museum฀GR฀1900.6-11.1:฀ ARV 2฀8. 29.฀฀See฀note฀39฀infra. 30.฀฀For฀ribbed฀bottom,฀see฀Lezzi-Hafter฀1988,฀ 214–16฀(215,฀fig.฀73c฀=฀New฀York฀31.11.13;฀ 216,฀fig.฀74a฀=฀Naples฀RC฀239฀by฀Aison;฀ARV 2฀ 1174.6). 31.฀฀See,฀e.g.,฀Vatican,฀Astarita฀490:฀ARV 2฀ 1174.4.฀Cf.฀the฀pyxis฀at฀the฀Ashmolean฀ Museum,฀Oxford฀V฀551:฀ARV 2฀1328.98;฀ Lezzi-Hafter฀1988,฀245,฀fig.฀85b,฀also฀black฀ underneath.฀ 32.฀฀The฀ribbing฀is฀still฀found฀on฀the฀big฀Xenophantos฀lekythos฀(note฀43฀infra). 33.฀฀Frankfurt฀am฀Main,฀Liebighaus฀Museum฀ Li฀538:฀ARV 2฀1317.1;฀CVA฀Frankfurt฀2฀ [Germany฀30],฀pl.฀81;฀the฀first฀lekythos฀in฀this฀ workshop฀signed฀by฀Phintias฀the฀Athenian฀as฀ potter. 34.฀฀Malibu,฀jpgm฀91.AE.10:฀ARV 2฀1317฀ middle. 35.฀฀London,฀British฀Museum฀D฀14:฀ARV 2฀ 1213.2;฀Painter฀of฀London฀D฀14.฀Wehgartner฀ 1983฀(note฀11฀supra),฀pl.฀13.฀Cf.฀Lezzi-Hafter฀ 1988,฀182ff. 36.฀฀Athens,฀National฀Archaeological฀Museum฀ 1629:฀length฀overall฀28.7฀cm;฀ARV 2฀1250.34;฀ Badd 2฀354;฀Lezzi-Hafter฀1988,฀pls.฀168–69,฀ no.฀257;฀Stefan฀Schmidt,฀Rhetorische฀Bilder฀ auf฀attischen฀Vasen:฀Visuelle฀Kommunikation฀ im฀5.฀Jahrhundert฀v.฀Chr.฀(Berlin฀2005),฀73–77,฀ BAPD฀Vase฀216971.฀For฀earlier฀examples฀see,฀ e.g.,฀Panayota฀Badinou,฀La฀Laine฀et฀le฀parfum.฀ Épinetra฀et฀alabastres:฀Forme,฀iconographie฀et฀ fonction.฀Recherches฀de฀céramique฀attique฀féminine฀(Louvain฀2003),฀pl.฀8,฀e฀11. 37.฀฀Lezzi-Hafter฀1988,฀276. 38.฀฀London,฀British฀Museum฀E฀788:฀ARV 2฀ 764.8.฀M.฀A.฀Tiverios,฀Elliniki฀techni:฀Archaia฀ angeia฀(Athens฀1996),฀no.฀148.฀For฀head฀ kantharoi฀in฀a฀similar฀technique฀by฀the฀Eretria฀ Painter฀and฀Aison,฀see฀Lezzi-Hafter฀1988,฀pls.฀ 177–78. 39.฀฀Adrienne฀Lezzi-Hafter,฀“Licht฀und฀ Schatten:฀Zu฀einem฀Gesamtkunstwerk฀des฀ Eretria-Malers,”฀in฀Kotinos:฀Festschrift฀für฀ Erika฀Simon,฀ed.฀Heide฀Froning,฀Tonio฀ Hölscher,฀and฀Harald฀Mielsch฀(Mainz฀1992),฀ 228–31. 186 - 40.฀฀M.฀S.฀Venit,฀“Point฀and฀Counterpoint:฀ Painted฀Vases฀on฀Attic฀Painted฀Vases,”฀AntK฀49฀ (2006):฀29–41,฀esp.฀36–38. 41.฀฀Lezzi-Hafter฀1988,฀pls.฀157c,฀169e฀(second฀ fig.฀from฀left). 42.฀฀Around฀400฀b.c.฀Athenian฀vases฀grew฀ immensely฀in฀size:฀for฀example,฀volute-kraters฀ (e.g.,฀by฀the฀Pronomos฀Painter฀[ARV 2฀1336.1],฀ or฀by฀the฀Talos฀Painter฀[ARV 2฀1338.1]);฀pelikai฀ or฀neck-amphorae฀(ARV 2฀1337.8,฀1344.1);฀ white-ground฀lekythoi฀(CoC฀nos.฀68–69);฀ plates฀(e.g.,฀CVA฀Copenhagen฀4฀[Denmark฀ 4],฀pl.฀169.1),฀to฀name฀a฀few,฀as฀if฀they฀were฀ finally฀liberated฀from฀the฀restrictions฀of฀the฀ war.฀This฀might฀also฀explain฀the฀extraordinary฀ height฀of฀the฀Xenophantos฀lekythos฀(see฀the฀ following฀note). 43.฀฀St.฀Petersburg,฀State฀Hermitage฀Museum฀ P฀1837.2:฀H฀38.5฀cm.฀ARV 2฀1407.1;฀BAPD฀ Vase฀217907.฀Both฀Phintias฀(note฀33฀supra)฀ and฀Xenophantos฀sign฀with฀“Athenaios.”฀Yuri฀ Vinogradov’s฀essay฀on฀the฀iconography฀of฀the฀ Xenophantos฀vase฀is฀to฀appear฀shortly฀with฀ the฀Hermitage฀Press.—This฀author฀will฀be฀presenting฀a฀more฀detailed฀study฀on฀Xenophantos฀ and฀his฀three฀preserved฀vases฀elsewhere. 44.฀฀See฀preceding฀note. 45.฀฀St.฀Petersburg,฀State฀Hermitage฀Museum฀ SM฀3:฀ARV 2฀1407.2:฀Frank฀Althaus฀and฀Mark฀ Sutcliffe,฀eds.,฀The฀Road฀to฀Byzantium:฀Luxury฀ Arts฀of฀Antiquity฀(London฀2006),฀129,฀no.฀8. 46.฀฀St.฀Petersburg,฀State฀Hermitage฀Museum฀ SM฀4:฀Günter฀Kopcke,฀“Attische฀Reliefkeramik฀ klassischer฀Zeit,”฀AA,฀1969:฀546–48,฀fig.฀25.฀ All฀three฀examples฀are฀from฀the฀Crimea. 47.฀฀Eos฀Zervoudaki,฀“Attische฀polychrome฀ Reliefkeramik฀des฀späten฀5.฀und฀des฀4.฀Jahrhunderts฀v.฀Chr.,”฀AM฀83฀(1968):฀49. 48.฀฀Lezzi-Hafter฀1988,฀passim. 49.฀฀Zervoudaki฀1968฀(note฀47฀supra). 50.฀฀Maria฀Trumpf-Lyritzaki,฀Griechische฀ Figurenvasen฀des฀Reichen฀Stils฀und฀der฀späten฀ Klassik฀(Bonn฀1969). 51.฀฀E.g.,฀Athens,฀Agora฀Museum฀P฀13103:฀ John฀M.฀Camp฀II,฀Horses฀and฀Horsemanship฀ in฀the฀Athenian฀Agora,฀Picture฀Book฀no.฀24฀ (Princeton฀1998),฀5,฀fig.฀4. 52.฀฀This฀question฀does฀not฀seem฀to฀be฀solved฀ yet฀in฀a฀satisfactory฀way:฀Jeffrey฀Maish,฀Marie฀ Svoboda,฀and฀Susan฀Lansing-Maish,฀“Technical฀Studies฀of฀Some฀Attic฀Vases฀in฀the฀J.฀Paul฀ Getty฀Museum,”฀in฀CoC,฀11–12. 53.฀฀See฀note฀5฀supra. 54.฀฀Cf.฀Naples,฀Museo฀Archeologico฀RC฀239:฀ ARV 2฀1174.6฀(Aison):฀P.฀E.฀Arias฀and฀Max฀ Hirmer,฀Tausend฀Jahre฀griechische฀Vasenkunst฀ (Munich฀1960),฀pl.฀205. 55.฀฀Lezzi-Hafter฀1988,฀pls.฀143d,฀148,฀154–55. 56.฀฀See฀note฀45฀supra. 57.฀฀See฀note฀51฀supra.