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60. 00.359 WHITE LEKYTHOS Youth and woman at stele PLATE XXVIII and FIGURE 37 (SUPPL. PLATE 4)

Height, 0.40 m.; diameter, 0.126 m. Broken, but nearly complete; the top of the youth's spears missing, and the face of the girl injured. The shoulder decoration in dull black: egg pattern and three palmettes connected by spirals; the central palmette has seven leaves, the others five. The maeander and the ground-line in glaze. The picture drawn in glaze lines, turning to orange brown, with details in red and dull black.

From Attica. Formerly in the Paton and Blacker collections. Ann. Rep. 1900, p. 77, no. 34. Burlington Cat., no. 120, Pl. XX. Studniczka, Jahrbuch, xxvi, 1911, p. 170, fig. 75. Fairbanks, Athenian White Lekythoi, i, p. 264, no. 10, Pl. XII. Riezler, figs. 14, 15 (right), p. 21, note 45. Buschor, Griechische Vasenmalerei, 2, p. 197, figs. 146, 147. The same, Attische Lekythen der Parthenonzeit, p. 14.

In the centre a grave monument of unusually complicated structure. The lower part, shaped like an altar, is set on two steps and surmounted by a pediment with curved sides ending in volutes at the top and ends. The upper pair of volutes supports a palmette with a red centre. Upon this lower structure stands a stele, also with a two-stepped base, its upper part cut off by the maeander band of the shoulder. A red fillet is tied about the shaft of the stele; and two others, draped round its base, hang over the lower member. A black wreath is attached to the face of this; and a black lekythos (foreshortened in the photograph) lies on the bottom step.

At the left a nude youth stands in an easy pose, his body in front view, his head turned towards the girl beside him, his left hand holding a pair of spears, his right resting on his hip. His sword hangs at his side from a cross-belt, and a red chlamys is draped over his left elbow. His hair is sketchily rendered in fine lines of brown on a lighter brown ground. The folds of the chlamys appear to have been drawn first in red, and hidden when the whole garment was painted red. Afterwards fold lines in dull black were placed above the red ground. The spears were first drawn in two lines of glaze paint; these were later strengthened by thicker lines in dull paint less carefully drawn.

At the right a girl stands in profile facing the stele; she looks at the perfume vase held on her right hand; a tablet(?) hangs by numerous cords from her left hand. Her hair is sketchily rendered in zigzag lines of light brown. The complete contour of her figure is carefully drawn in glaze lines, and no trace of a garment remains.1

For a similar double grave monument cf. the white lekythos, Berlin 2448, Fairbanks, i, p. 265, no. 11, Benndorf, Griechische und Sicilische Vasenbilder, Pl. XXIV. 4. On the smegmatotheke, see above, i p. 49. The object in the girl's left hand is explained by Fairbanks as a tablet intended to be attached to the stele as an offering. He compares the tablet held by Hermes on a hydria in Petrograd,2 and that hanging on the wall on a cup in London3. The object held by the woman on the white lekythos, Athens 1761, which he explains as a tablet, is called by Riezler a fillet rolled up.4

Most commentators on our lekythos have assumed that the girl's garment was added in dull paint which has entirely disappeared.5 But Studniczka cites the figure as an example of the survival of ritual nudity into the Periclean age. And Fairbanks remarks that 'in this instance it is not absolutely clear that the young woman's garment was ever drawn'. The closest parallel is on the lekythos, Athens 1797,6which is by the same hand as ours. Another parallel, also on a vase by the same hand, is seemingly furnished by the lekythos no. 61 (Boston 96.721); but in this case the lower part of the woman's figure was apparently not drawn in glaze outline, and there are faint traces of a red mantle.

About 440-430 B.C. Attributed by Buschor to the Thanatos painter. See below, under no. 61 (Boston 96.7217

Reinach 1924, II, pp. 8-9, fig. 240; Walston 1926, pp. 203-204, fig. 182; Swindler 1929, p. 185, figs. 334-335; Buschor 1940, pp. 204-205, figs. 220-221; ARV, p. 809, no. 17; Kunst der Oudheid, 3, pp. 177, 374, pl. 35 (fig. 142); C. P. Kardara, BSA 55 (1960), p. 152, note 10; ARV2, p. 1229, no. 23; I. Scheibler, JdI 79 (1964), p. 87; Felten 1971, pp. 14 (note 9), 28, 93, pl. 9, 3-4; G. Hübner, AM 88 (1973), p. 112, note 143; Kurtz 1975, pp. 39, 57 (note 14), pl. 32, 1; Wandlungen, p. 74, note 24 (G. Bakalakis); Beck 1975, p. 18, no. II/22; D. Skilarnti, ArchEph 1975, p. 89, fig. 9; D. Rupp, AJA 84 (1980), pp. 524-527, no. B, pl. 64, figs. 2-3; Beazley Addenda 1, p. 174; Nakayama 1982, pp. 44-45 (fig. 4e), 57, 191-192 (no. GB-II-4), 255, pl. 3; S. Pingiatoglou, ArchEph 1982 (Archaiologika Chronika), p. 19, no. 71; Wehgartner 1983, p. 189, notes 2-3; Clairmont 1983, pp. 64-65, 270, note 19; Brijder 1984, pp. 265-266, no. 6, fig. 3 (D. U. Schilardi); Kokula 1984, p. 100, note 41; Wehgartner 1985, pp. 15, 18-19 (fig. 13), 33-34, 38 (note 28), 42 (note 134); AuKGP 1986, II, pp. 18 (fig. 2), 20, no. 6 (as 0.0359) (D. U. Schilardi); Beazley Addenda 2, p. 351.

1 In the photograph on the plate the slenderness of this figure is unfortunately exaggerated. Cf. fig. 43.

2 By the Pan painter. Gerhard, A. V., Pls. 50-1, I; Beazley, Att. V., p. 103, no. 36.

3 London E 80. C. Smith, Cat. iii, Pl. V. School of Makron, Beazley, Att. V. p. 223, no. 20.

4 Weissgrundige Attische Lekythen, Pl. 31, p. 107.

5 See especially Riezler, l.c., p. 21, note 45, who cites other instances of the disappearance of drapery.

6 Riezler, Pl. 32

7 (From Addenda to Part I) No. 60. ARV. p. 809, Thanatos Painter no. 17. Swindler Ancient Painting figs. 334-5.

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