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166. 03.793 PELIKE from Athens PLATE CII and SUPPL. PLATE 25, 2

Height 0.3555, diameter 0.275, but with the handles, which project slightly, 0.279. Said to have been found 'near the present cemetery'. The shape, Hambidge p. 92 and Caskey G. p. 87. A, warriors about to leave home. B, three youths. About 430 B.C., by the Kleophon Painter (VA. p. 181 and p. 183 no. 12; Att. V. p. 421 no. 17; ARV.1 p. 786 no. 28; ARV.2 p. 1145 no. 37).

The foot is a stout torus, with the profile reserved. There is a base-fillet, concave. The mouth is a torus, rolled above, and rather broad. The handles are convex.

On the front, two young warriors are about to leave home. As very often, the lesser, the companion, is light-armed, the other more heavily. Each holds a spear. The youth in the middle has his shield at his side, resting on the ground, and held by the rim. The body of the shield is black; the rim is reserved, and so is the device, a lion of the puppy build that prevails in the second half of the fifth century. He wears a belted chitoniskos of thick material, with 'blanket' patterns1 — embattled lines, net-bands, rows of vees, of circles, of dots; at the top, a dot-border, and below it a band of 'double vees' with a loop at the apex; at the lower edge of the garment, a similar band. Round the head, a bandeau, στρόφιον. A sword hangs from a bandolier at the flank. A woman stands facing him, carefully, almost reverently, holding his Corinthian helmet with both hands. She wears a chiton only, with kolpos. Behind the youth, his companion stands, with the left leg frontal and slightly bent at the knee. He wears a chlamys and a petasos. The band securing the petasos is seen above the ear. Relief-contour for the faces but for little else. There is some shading in brown on the edges of the helmet-skull, and some brown inner marking on the arms of the youth in the middle. The sternomastoid line on the neck is in relief. For the three dots (bosses) on the sword-hilt compare the Kleophon Painter's stamnos in Munich and his Munich bell-krater.2

On the reverse of the vase, three youths in himatia, the left-hand one standing frontal. No relief-contour. The edges of the himatia are brown. White for the head-fillets.

Below each handle, a conventional design of palmettes, without relief-lines. In the slanting palmettes above the pictures, the tendrils alone have relief. The 'odd man' of the lower border is on the reverse, below the left foot of the youth in the middle.

The Kleophon Painter has a good many pictures of warriors about to leave home, and none of them is without a certain nobility. The precise subject is usually the libation just before departure: here the moment is earlier, and the subject might have been entitled 'arming' except that the word is best kept for scenes in which the warrior is actually putting his armour on. In the Munich bell-krater mentioned above, the young warrior holds his helmet in his hand, his father says a word to him, and a woman holds the shield by the rim in the same way as it is held on the Boston vase. The reverse of the Munich krater is very like our reverse. The middle figure there, as often, is seen to be younger than the other two. This is probably so in our vase as well, and if we did not describe the subject as 'youths and boy' rather than 'three youths' it was because the painter has inadvertently made the right-hand youth shorter than the others.3

G. Gualandi, Arte Antica e Moderna 20 (1962), no. 28, pl. 112 c; Anderson 1970, pp. 25, 30, pl. 8; J. M. Hemelrijk, BABesch 45 (1970), p. 58; Para., p. 456, no. 37; S. Karouzou, BCH 95 (1971), p. 142, note 63; Felten 1971, pp. 42, 46, 109, pl. 25, 1; Beazley Addenda 1, p. 164; M. C. Miller, Hesperia 58 (1989), p. 325, note 56; Beazley Addenda 2, p. 335.

1 On such patterns see AJA. 1939 p. 622.

2 Munich 2415: FR. pl. 35, whence Pfuhl fig. 774: ARV.1 p. 784 no. 2; ARV.2 p. 1143 no. 2. Munich 2394: ARV.1 p. 785 no. 21; ARV.2 p. 1145 no. 28.

3 (From Addenda to Part III) P. 76: on the Kleophon Painter see also Gualandi in Arte Antica e Moderna 19. The dinos in Ferrara, Ferrara T. 11 C VP, that I assigned to the Kleophon Painter, is not, as stated ibid. pp. 241 and 257, the one figured ibid. pll. 78-79 (which I assigned from the beginning to Polygnotos, ARV.2 p. 1029 no. 17), but the dinos with the same subject from the same tomb, figured ibid. pll. 80-81 (ARV.2 p. 1144 no. 11).

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