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86. 01.8028 SMALL NECK-AMPHORA (with ridged handles) from Capua PLATE XLV, 86

Formerly, like no. 85, in the Peytrignet collection at Nocera de' Pagani (Helbig in Bull. 1864 p. 177 no. 5), later in the Bourguignon collection at Naples. Height 0.2838. A, VA. p. 110; the shape, Caskey G. p. 72. A, maenad and satyr; B, satyr. On A, ΛΑΙΟΣΚΙ, on B, ΛΙΟΣΔΥΙΣ, both written downwards in rough letters. At each handle, a small palmette. About 470 B.C., by the Briseis Painter (VA. p. 110 no. 2; Att. V. p. 195 no. 20; ARV. p. 269 no. 39).

This is one of seven small vases decorated by five different painters but all of the same shape. The shape may be thought of as a more elaborate variant of the normal Nolan amphora, from which it differs in the form of the mouth and foot and by the presence of a plastic reel placed horizontally below each handle; besides, although the later Nolan amphora usually has ridged handles, at this period the handles are still triple. The seven vases are the following:

  • 1. London 1928.1-17.56. CV. pl. 59, 2. By the Briseis Painter (ARV. p. 269 no. 38).
  • 2. Boston 01.8028. By the Briseis Painter (ARV. p. 269 no. 39).
  • 3. London E 319. CV. pl. 59, 1. By the Briseis Painter (ARV. p. 269 no. 40).
  • 4. Brussels R 339. CV. p. 15, 1.1
  • 5. Paris, Cab. Méd. 373. A, de Ridder p. 273 and pl. 12. By the Oionokles Painter (ARV. p. 439 no. 29; see also ii p. 52).
  • 6. Boston 76.46. See ii p. 38. By the Charmides Painter (ARV. p. 440 no. 12).
  • 7. Leningrad 712 (St. 1630). By the Painter of Munich 2660 (ARV. p. 524 no. 27).
An eighth vase, New York 06.1021.117, much resembles these, but the reels are absent (Musée 4 p. 12; Musée 5 p. 52; Sambon Canessa p. 65; Jb. 26 p. 285; Richter and Hall pl. 34 and pl. 169, 35). Four others, all decorated by the Alkimachos Painter, have the reels, and the same mouth, but the foot is different (ARV. pp. 356-7 nos. 16-19).

To return to the seven vases: the first six are not only of one model, but should be by one potter; I have less information about the seventh, but. it may be by the same.

The upper section of the foot is reserved in all seven, and the upper surface of the mouth, as in the Nolan amphora, black.

Nos. 1 and 2 are connected by the meaningless inscriptions: on the London vase, ΛΥΙΟΣΚΙ. Similar inscriptions occur in other works by the Briseis Painter, but also on vases by the Painter of Louvre G 265 (Louvre G 265, ARV. p. 273, below, no. 1) and by the Oionokles Painter (Nolan amphora in the Czartoryski collection, neck-amphora in the Bellon collection at Rouen, lekythos in Cleveland: ARV. pp. 437-9, nos. 9, 30, and 32: see V. Pol. p. 19). Again, London E 319 is connected by the inscriptions with Paris, Cab. Méd. 373, although one is by the Briseis Painter, the other by the Oionokles: the matter is the same (καλος four times, καλε once; καλος three times, καλε once) and the writing, with four-stroke sigmas and carelessness in the direction of the letters, the same. These correspondences are a further indication that the painters at one time worked in the same place.

The subject of the Boston vase is a maenad dancing, while a satyr plays the flute, and another satyr also dances and plays the krotala. The satyr on the reverse of the vases faces to right, and so do the reverse figures on six of our seven vases. The maenad wears a chiton, with two 'kolpoi', and over it a panther-skin. Her extended arms are concealed by the parts of the garment which she draws out with her hands: 'wing-sleeves' is the modern name for this: the ancient name is unknown but must surely have been of the same sort. The Briseis Painter is fond of wing-sleeves, and there are fine examples of them on his thiasos cups in London and Oxford (ARV. p. 266 no. 1 and p. 267 no. 4). The London cup helps to explain the costume of our maenad (Hartwig pl. 41): for while one of the dancers is dressed like ours, the others show the upper girdle, not having pulled the chiton down over it to form the second 'kolpos'.

In the satyr playing the flute the toes of the left foot do not touch the ground: he may be lightly beating time as he plays.

Relief-lines are little used for the contours. The face of the maenad has relief-contour, but not those of the satyrs. The ivy-wreaths are in red.

To the list of vases by the Briseis Painter in ARV. pp. 266-70 and 956 add a cup in Naples (?) (Vorberg Gloss. erot. p. 686: I, love-making: replica of no. 27); a cup-fragment, from Orvieto, in Washington (A, youth and male: the upper half of a youth dressed in a himation, standing to right, and the forearm with hand of another figure holding a stick), and a stemmed dish in the Louvre (woman standing to right, holding a basket). The new Louvre vase, with its peculiar stem, shows that no. 24 in the list, Louvre fr. Cp. 108, in which the outer parts are now missing, is not a cup but a stemmed dish. No. 26 is figured in Vorberg Gloss. erot. p. 109, 2, no. 45 in CV. Syracuse pl. 8, 1. No. 4 is now in Oxford, Oxford 1944.87. The cup in the Paris market (A-B, Coll. M.E. pl. 11, 49: ARV. p. 270, foot) which I was inclined to connect with the Briseis Painter, is not his: it recalls the Ancona Painter. B of no. 22 does not represent the arrival of Helen at Troy: the subject is the same as in the cup by the Brygos Painter Tarquinia RC 6846 (ARV. p. 246 no. 4) — Paris returning to the house of Priam after the Judgement.2 The winged men in no. 38 may be the sons of Boreas, as suggested by Miss Hutton in BCH. 1899 pp. 157-64.


Mylonas 1940, p. 209, note 56; ARV2, p. 409, no. 49; Philippaki 1967, p. 5, note 8; Böhr & Martini 1986, pp. 67-68 (D. von Bothmer); Schöne 1987, pp. 154, 302, no. 512; E. D. Serbeti, Boreas 12 (1989), pp. 20 (note 12), 40.


1 (From Addenda to Parts I and II) P. 40, no. 4 (Brussels R339: CV. pl. 15, 1) is by the Providence Painter (ARV.2 p. 638 no. 48).

2 So Hampe in Corolla Curtius p. 144. The left-hand figure inside the Briseis Painter's cup has always been called Apollo, but it is not characterized as Apollo, and I take it to be Paris. In the Tarquinia cup mentioned above it is Artemis who escorts Paris home and evidently vouches for him: she must have played an important part in the events, to us obscure, between the Judgement and the fatal return of Paris to his father's house. The moment shown inside the Briseis Painter's cup is between the Judgement and the Return, when Artemis, from whatever motive, appeared to Paris and offered to restore him to his home.

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