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  • A third fragment in Goettingen has a large leaf, under one handle. Inscriptions: on A, [Η]ΟΠ[ΑΙΣ], ΚΑΛ[ΟΣ], and on Memnon's shield ΚΑ[ΛΟΣ]; on B, ...ΣΚΑΛΟ[Σ]. Key-pattern round the missing tondo inside; net-pattern below the outside pictures. Same period as the last. The Halle fragment is mentioned by Nachod in P.W. s.v. Skythes p. 695 no. 20.
  • Villa Giulia, rf. cup by Epiktetos (ARV. p. 46 no. 21). Arti figurative 2 pll. 3-8. Achilles and Memnon still matched; between them Hermes with the balance (Psychostasia); on the right, the two mothers running to Zeus and Hera. Ciotti notices (loc. cit. p. 15) that the same combination of combat and psychostasia or kērostasia occurs on a small black-figured lekythos in the British Museum (Murray Hist. of Greek Sculpture ii p. 28 fig. 1, whence Roscher s.v. Keren p. 1142 fig. 1 and Jb. 26 p. 132 fig. 54: Haspels ABL. pl. 36, 1): this is by the Sappho Painter (Haspels ibid. p. 227 no. 28) and is later than the Epiktetos cup. A third instance is on a black-figured hydria of Clazomenian fabric in the Villa Giulia (Annuario 24-6 pll. 3-6 and p. 49, Ricci), rightly assigned by Villard (Mon. Piot 43 p. 49) to the same hand as a much-restored dinos in the Louvre (Louvre E 739: BCH. 1893 pl. 18 and p. 428; part, Mon. Piot loc. cit.). It also occurred, later, in the bronze group by Lykios at Delphi (Paus. 5.22.2-3).
  • Tarquinia RC 6846, rf. cup by the Brygos Painter (ARV. p. 246 no. 4). Mon. 11 pl. 33; WV. D pl. 8, 2 = WV. 1890-1 pl. 8, 2, whence Robert Sc. der Ilias p. 4; Corolla Curtius pll. 48-50 (Hampe). See ii p. 41.
  • London E 67, rf. cup, manner of the Brygos Painter, by the Castelgiorgio Painter (ARV. p. 258 no. 3). Gerhard TG. pl. D (with restorations, now removed). Both mothers are winged.
  • London E 77, rf. cup, by the Sabouroff Painter, in his earlier period (ARV. p. 556 no. 2). Memnon falls. The composition is still much as in the volute-krater by the Berlin Painter (above, ii p. 17).
  • Louvre G 399, rf. cup. Mon. 6-7 pl. 5; Pottier pl. 140; phots. Giraudon 17908 and another. The two heroes are still matched. Eos is absent. On the other half of the exterior, Psychostasia: Hermes with the balance, and the two mothers running off. Curious, amateurish style: not before 450, but old-fashioned.
  • Bologna 285, rf. calyx-krater by the Altamura Painter (ARV. p. 413 no. 9). Zannoni pl. 11, 3-4 and pl. 12, 1, whence (A) Robert Sc. der Ilias p. 9 fig. 14. Memnon falls. The mothers are both winged.
  • Bologna 290, rf. calyx-krater. Zannoni pl. 52, 1 and 11-12. Memnon falls. The mothers are both winged. Thetis holds out a fillet in anticipation of victory, as on the Louvre calyx-krater (ii p. 16): this motive occurs already in black-figured pictures of the second quarter of the sixth century, where the females watching the fight hold out wreaths (hydria in Vienna, Oesterreichisches Museum, Vienna 220, Masner, p. 23; ovoid neck-amphora in Boulogne, 104).
  • Leyden 26 f 41, Campanian rf. neck-amphora by the Ixion Painter (JHS. 63 p. 95 no. 11). Millin PVA. i pll. 19-22.
Was there an 'Achilles and Memnon' by the Kleophrades Painter? The grandest picture of the Psychostasia, the weighing of the psychai of Memnon and Achilles, is by him, on fragments of a volute-krater in the Cabinet des Médailles (Mon. 2 pl. 10, b; Kleophr. pl. 2 and pl. 30, 6: ARV. p. 124, no. 43, and p. 127 no. 80). Now Luynes, to whom the fragments belonged, mentions fragments of a picture on the reverse, representing a 'combat of gods', 'perhaps the combat between Achilles and Hector' (Annali 1834 p. 296). These fragments were never reproduced and have disappeared: may they not have represented, rather than Achilles and Hector, Achilles and Memnon?

Memnon and his negro henchmen appear on several vases;1 the henchmen appear alone on others, and two vases show them in conflict with Greeks. On a black-figured


1 In early literature and art, Memnon is not represented as a negro, but Virgil has 'nigri Memnonis arma' (Aen. 1, 489) and Manilius 'Auroraeque nigrum partum' (Astr. 1, 767). Of course one might be 'niger' (as 'black' in Shakespeare's time, or even in ours) without being a negro: 'quamuis ille niger, quamuis tu candidus esses.'

In the elder Philostratus (Imagines 1, 7, 2) Memnon is not quite black, but very nearly.

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