L. D. Caskey, J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston

and pl. 61, 3 and in Bull. Metr. 37 p. 56. Of the Nolan amphorae in his manner (ARV. p. 436), no. 1 is published in CV. Gallatin pl. 53, 2, no. 3 in CV. Munich pl. 54 (according to Lullies the Erlangen fragment does not belong).

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ARV2, p. 641, no. 97; LIMC, III, 1, p. 908, no. 663, III, 2, pl. 647, illus. (H. Cassimatis); Beazley Addenda 2, p. 274.

Exhibited: Utah Museum of Fine Arts, 1988-1991 (Padgett 1988, pp. 36-37, no. 16, 2 illus.); Memphis Brooks Museum of Art, 1991-.

88. 95.45 LEKYTHOS from Thebes PLATE XLVI, 88

Height 0.391. The shape, Caskey G. p. 219 no. 173. Apollo. About 470-460 B.C., by the Providence Painter (V.A. pp. 76-7 and p. 79 no. 36; Att. V. p. 135 no. 45; ARV. p. 434 no. 56). On the left, downwards, ΗΙΠΠΟΝΚΑΛΟΣ, and above, to left of the face, horizontal, ΚΑ[Λ]ΟΣ, referring to the god.

This lekythos, that with Athena (Pl. XLVI, 3), and that with the Wedding of Menelaos (Pl. XLVI, 4) are reported to have been found in a single grave at Thebes. They are of the same shape, are decorated by the same artist, and bear the same kalos-name, Hippon.

Apollo stands with right leg frontal, head to left, holding his cithara on his left arm, and extending his right arm with a phiale in the hand. His long hair is wreathed. He wears a long chiton, and over it, on both shoulders, a chlamys-like himation. The thick cloth, ornamented with voided squares, and bordered with esses, appears regularly in pictures of citharodes, and so do the thin cords hanging from the shoulder of the instrument, which I have explained as spare strings (the middle of them is restored). Red is used for the plectrum, which is pushed between strings and sounding-board, and for its cord; also for the ends of the strings at the pegs of the cross-bar; brown for the lines on the arm and on the sleeve, for the short strokes on the phiale, for the stripe on the chiton half-way down the shank, for the patterns on the cithara-cloth and the esses on the band which serves as a support for the left hand. The figure is contoured with relief-lines. Very similar Apollos appear on the large neck-amphora in Providence from which the painter has been given his name (CV. pl. 18: ARV. p. 431 no. 1), on his pelike in the Cabinet des Médailles (Annali 1833 pll. B-C: ARV. p. 433 no. 38) and on his Nolan amphora in Dresden (Dresden 172: ARV. no. 5); but also on vases by other painters, such as a Nolan amphora in Philadelphia (Philadelphia MS5465: Mus. J. 8 p. 26: A, Apollo; B, Artemis).

The pattern-work is conventional; the palmettes on the shoulder are of the usual lekythos-type.

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CVA, München, 5, p. 8 (R. Lullies); ARV2, p. 640, no. 74; B. A. Sparkes, JHS 87 (1967), p. 124; R. Lullies, in E. Berger and R. Lullies, et al., Antike Kunstwerke aus der Sammlung Ludwig, I (1979), Basel, Archäologischer Verlag, p. 112, under no. 40; C. A. Picón, BSA 76 (1981), p. 326, note 27; Maas & Snyder 1989, pp. 68 (as 94.45), 78 (fig. 19), 228 (note 85); Beazley Addenda 2, p. 274.

Exhibited: Art Museum of South Texas, March 12 - May 2, 1976 (MFA Vases 1976, p. 23, fig. 28).

89. 95.43 LEKYTHOS from Thebes (see no. 88) PLATE XLVI, 89

Height 0.408. VA. p. 75 fig. 45; Classical Studies presented to Edward Capps p. 245 fig. 4 (Luce). Athena. About 470-460 B.C., by the Providence Painter (VA. p. 76 and p. 79 no. 35; Att. V. p. 135 no. 44; ARV. p. 434 no. 55). On the left, downwards, ΗΙΠΠΟΝΚΑΛΟΣ, and above, to left of the face, horizontal, ΚΑΛΕ, referring to the goddess.

The goddess stands in almost the same attitude as Apollo on the last lekythos, holding her helmet out in her right hand, and with her left grasping her spear near the top. She wears a chiton, a himation draped in the 'Ionic' fashion and passing over the left shoulder, the aegis, earring, bracelets. The fringed head-band is set in front with leaves, perhaps of gold. The gorgoneion shows tongue but no teeth. The forehead of the goddess is missing, the left elbow and upper arm, and the end of the mass of hair. The figure is fully contoured with relief-lines. The inner line of the hair-contour is in relief. The brown lines are seen in the reproduction, except those on the sleeves.

The Providence Painter has other bare-headed Athenas, but none in this attitude, standing bare-headed with the helmet in one hand and the spear in the other. This conception of the goddess, however, is frequent in the late archaic and early classic periods, and culminates, as is well known, in a masterpiece of sculpture, the Dresden-Bologna Athena, the Lemnia, it may be, of Pheidias. This was shown by Furtwängler (Mast. pp. 13-17), who also noticed that once the conception had found full expression in the great bronze statue, it lost its popularity elsewhere, and is rarely found on later