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ning that another stemless cup, of different type, now in Berlin, was stated to have been found together with ours. It has been thought to be by the same hand: I have never felt certain of this, but the style is indeed very similar. The proportions of the figures are different and more normal, but that is because the picture-space is not so low. The floral decoration is very like. The subject is again a feminine one: Nereus, with a selection of his many daughters. On one half, he sits on a rock, Hilithya shows her father a dolphin, Eulimene draws her himation about her; on the other, Psamathe is seated, Ploto brings her a hare, and Thetis a wreath. The style of the two vases is not very far remote from the Washing Painter, but not so near that one can speak of anything like his manner or his school.


Burlington 1888, pl. 10 (incorrectly in Caskey & Beazley, III as pl. 9); Robert, AA 1889, p. 143; AJA 13 (1909), p. 211; P. Jacobsthal, MetMusStud 5 (1934), p. 124, note 39; Beazley 1947, p. 40, no. 2; Metzger 1951, p. 277, no. 17; Robinson 1956, p. 20 (as a pyxis); Brommer 1956, p. 131, no. B 4; Brommer 1960, pp. 168 (no. B 4), 362 (no. B 2); Neumann 1965, p. 198, note 406; E. Vermeule 1965, fig. 4B; A. I. Boltounova, 1966, in Mèlanges offerts à Kazimierz Michałowski, Warsaw, Panstwowe Wydawnictwo Naukowe, p. 290; Para., p. 455, no. 1; Henle 1973, pp. 34, 175 (note 20); Brommer 1973, pp. 221 (no. B 3), 401 (no. B 2), 514 (no. B 2); P. M. Fraser, 1977, Rhodian Funerary Monuments, Oxford; New York: Clarendon Press, p. 102, note 91; M. Pensa, 1977, Rappresentazioni dell' Oltretomba nella Ceramica Apula, Rome, L'Erma di Bretschneider, p. 52, note 156; Loeb 1979, pp. 188-189, 345, no. He 2; Vermeule 1979, p. 130, fig. 4; Beschi 1982, p. 381 (M. Paoletti); Beazley Addenda 1, p. 164; Beazley Addenda 2, p. 334; Arafat 1990, pp. 58-59, 166, 188, no. 2.30; LIMC, V, 1, p. 182, under no. 3515 (J. Boardman); Shapiro-Lapatin 1992, pp. 114, 116, pl. 28:a.

164. 13.100 PELIKE from Suessula PLATE XCVI, 4-5

Height 0.17, diameter 0.13. From the Spinelli collection. A, a man setting up a herm; B, a boy. About 440-430 B.C.

One handle and part of the mouth are lost. The surface is badly damaged, and a good deal of the black glaze has flaked off: our photographs were taken before the recent restoration. There is no base-fillet. The foot, which projects but little, is torus-like, narrows somewhat downwards.

On the front, an old man, his garment let down and tied round his waist, is setting up a herm in a sanctuary of Hermes, near the altar. A votive plaque is seen hanging, perhaps from the pair of bull's horns above it. The man places the herm carefully, with his left arm round it and his right hand holding it behind. He has a worn old face with bony forehead, long thin nose, puffy lips, sunken jaws, thin neck, weak, scanty brown hair and beard. This is surely not a nondescript workman, but the sculptor himself?

The back of the vase is connected with the front: a boy in a himation moves gaily up with one arm stretched out.

Brown for the sculptor's hair and beard, for the line of his cheek where it stands out from the toothless jaw, for the edge of the false ribs, for the binding of the long hair of the herm at shoulder level, for the design on the plaque, and for the tufts of hair below the bull's horns; on B, for the edge of the himation. There is no relief-contour. The shape of the sculptor's nose can be made out, though not in the photograph; the nose of the herm is damaged, and the upper edge of the eye.

The sanctuary is like that depicted on earlier vases, for instance the column-krater, with a sacrificial scene, by the Pan Painter, in Naples:1there too we see a marble herm, wearing a bronze chaplet, an altar in front of the herm, and a pair of horns on the wall, this time goat's horns. Again, on a small lekythos, by the Icarus Painter, in Berlin, we have herm, altar, plaques, horns, and a tree as well.2

The design on our plaque is fretted and hard to make out. One thinks of a herm, clothed and crowned, as, for example, on the bell-krater by the Pantoxena Painter in Syracuse;3 but the explanation is not quite satisfactory.

Hair and beard are often left blank in pictures of marble herms, and not filled in with dark colour as might be expected.

There are a few other representations of sculptors on vases. On a cup by Epiktetos in Copenhagen, a sculptor is giving the last touches, with a chisel but without a mallet, to a marble herm.4 Bronze statuaries, one of them with a realistic Greek face, are represented on the Foundry Painter's name-piece in Berlin;5 perhaps also on an earlier cup, by the Euergides Painter, in Athens, but this part of the cup is fragmentary and the interpretation uncertain.6 A sculptor in marble is perhaps to be seen at work on the cup by the


1 ML. 22 pl. 80, whence Rumpf Religion der Griechen and Panmaler pl. 30, 1: ARV.1 p. 362 no. 14; ARV.2 p. 551 no. 15.

2 Berlin 2013: Gerhard Ak. Abh. pl. 63, 1: ARV.1 p. 482 no. 11; ARV.2 p. 697 no. 16.

3 ML. 14 pl. 56, whence Rumpf Religion der Griechen fig. 67 and Lullies Die Typen der griechischen Herme pl. 8, 1: ARV.1 p. 694 no. 4; ARV.2 p. 1050 no. 4.

4 VA. p. 17; Langlotz G.V. pl. 3, 5; CV. pl. 139, 2; Blümel Bildhauer an der Arbeit p. 5: ARV.1 p. 48 no. 52: ARV.2 p. 75 no. 59.

5 See iii p. 65 note 2 (in vase description for Boston 59.178).

6 Athens, Acr. 166: Langlotz pl. 6: ARV. p. 62 no. 60; ARV.2 p. 92 no. 64.

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