- 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,
