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58. 03.798 HYDRIA The farewell of Amphiaraos PLATE XXVII

Fragments of a large hydria-kalpis of rather slender proportions (height originally about 0.41 m.; diameter, 0.29 m.). The lip and the greater part of the left side missing, and the preserved portions put together from many pieces. The vertical handle and the right-hand horizontal handle preserved. Reserved bands with black stripes painted on them at the junction of the handles with the body. Relief contours used only for the profile of Amphiaraos, the outlines of his corselet to the waist, part of the lower line of his right arm, the forehead, nose, and upper lip of the nurse. The details of the sides of the corselet in brown. The inscriptions in red.

From Athens. Ann. Rep. 1903, p. 71, no. 61. Beazley, V.A., p. 166, fig. 102 (the nurse with Amphilochos). Att. V., p. 381, no. 12.

Amphiaraos, equipped for the fateful expedition against Thebes, stands in the centre, his body in front view, his left hand holding his spear, his head turned to the left, looking at Eriphyle of whose figure only the top of the head remains. They were probably represented clasping hands. At the right, a nurse, in front view, looking to left, stretching out her right hand and holding the child, Amphilochos, on her left arm. Amphiaraos wears a pilos, a leather cuirass over his short chiton, and a cloak draped over his left elbow. His sword hangs from his side by a crossbelt. Eriphyle has a diadem decorated with three leaves. The nurse has short hair hanging in loose curls, and wears a black-bordered Doric peplos girded above the overfold. The body of the boy on her arm is seen from the back. His right hand grasps the nurse's shoulder. A fillet is tied about his head; and a cord, with three amulets attached to it, is hung over his right shoulder. The bowed head of Amphiaraos, the gesture of the nurse, the fear shown by the attitude of the child, and especially the wide open eyes of all three figures fixed on the same point, combine to give a dramatic intensity to the scene, such as is hardly equalled among the vase paintings of the period.

The names of Amphiaraos and Eriphyle are inscribed above their heads in letters carelessly drawn and so faint as to be nearly illegible: Α[ΜΦ]ΙΑΡΗΟΣ or Α[ΜΦ]ΙΑΡΑΟΣ (not Α[ΜΦ]ΙΑΡΕΟΣ, as given in the Annual Report); and [ΕΡΙ]ΦΥΛΗ.

Representations of the story of Amphiaraos are comparatively rare on red-figured vases. The best known is the pelike in Lecce by the Chicago painter, on which Polyneikes is offering the necklace to Eriphyle.1 Beazley notes also the following: (1) fragment of a cup of archaic style in Marseilles, with departure of the Seven, Vasseur, L'Origine de Marseille, Pl. 13, 8-10. (2) A hydria in Petrograd by the Niobid painter, the closest parallel to our hydria, since it shows Amphiaraos and Eriphyle clasping hands; his name is inscribed beside his head.2 (3) A bell-krater in Syracuse by the Danae painter, Mon. Ant. xiv, 1904, Pl. IV, Amphiaraos, about to depart, gives a sword to the boy Alkmaion (the figures not identified by inscriptions). (4) A small hydria of free style in Berlin, A.Z., 1885, Pl. 15, with a domestic scene — Eriphyle seated with the child Alkmaion in her lap, Amphiaraos standing behind her. (5) An amphora in the British Museum, London E 282, P. Gardner, J.H.S. ix, 1888, Pl. III, attributed by Beazley to the painter of the Bologna Boreas, Att. V., p. 306, no. 21. A. warrior. B. woman with child. Gardner's interpretation of the figures as Hektor and Andromache is perhaps preferable.

About 440-430 B. C. The work, which shows strong resemblances to the style of the Achilles master, has been attributed by Beazley to one of his followers, named after the pelike, no. 59 (Boston 76.45), the Dwarf painter. The composition is based on the Achilles painter's departure scenes, e.g. the London stamnos, J.H.S. xxxiv, 1914, Pl. XV. Twelve vases decorated by the Dwarf painter are listed in Attische Vasenmaler, to which a Nolan amphora in Edinburgh is to be added. In addition to the kalpis and the pelike on Pl. XXVII, the Museum possesses a Nolan amphora, 76.43, no. 6 in Beazley's list, which is by the Dwarf painter. It does not seem of sufficient interest to warrant its publication here.3


ARV, p. 651, no. 15; Brommer 1960, p. 337, no. B2; ARV2, p. 1011, no. 16; G. Neumann, AM 79 (1964), p. 142, pl. 78, fig. 2; Neumann 1965, pp. 56, 183, note 197; Para., p. 440, no. 16; A. Yalouri, AJA 75 (1971), pp. 271-272; Henle 1973, pp. 19 (fig. 11), 124; A. Lezzi-Hafter, AntK, Beiheft 9, p. 72; Brommer 1973, p. 476, no. B2; Cambitoglou 1979, p. 133, note 22 (M. Robertson); LIMC, I, 1, pp. 697 (no. 25), 709, 716, I, 2, pl. 558, illus. (I. Krauskopf); Beazley Addenda 1, p. 153; Böhr & Martini 1986, p. 102 (E. Böhr); C. W. Clairmont, Boreas 9 (1986), p. 48, note 107 B (as 03.789); G. Schwarz, ÖJh 57 (1986/87) (Hauptblatt), pp. 49-50, 52, fig. 12; Schefold & Jung 1989, pp. 72-73, 387, note 152; Beazley Addenda 2, p. 314.


1 Leece 570A; F.R. ii, Pl. 66, 2.

2 The drawing in Mon. d. Inst. iii, Pl. 54, shows the five figures much restored, as Beazley informs me: (1) man at left end, the upper half genuine; (2) small girl, only the head preserved; (3) Eriphyle, the head, shoulders, and hands; (4) Amphiaraos, the upper half of the figure; (5) youth standing on rock (?), genuine as far as he remembers.

3 (From Addenda to Part I) No. 58. ARV. p. 651, Dwarf Painter no. 15.

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