excavations at al mina

8/19/2019 Excavations at Al Mina

1/51

Excavations at Al Mina, Sueidia (Continued)Author(s): J. D. BeazleySource: The Journal of Hellenic Studies, Vol. 59, Part 1 (1939), pp. 1-44Published by: The Society for the Promotion of Hellenic Studies

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2/51

EXCAVATIONS

ATY

AL

MINA,

SUEIDIA

III.

THE RED-FIGURED VASES

By

J.

D.

BEAZLEY

[PLATES I-VI.]

I

AM indebted

to Sir

Leonard

Woolley

for his

invitation to

publish

the

red-figured

vases

found

in

his

excavations

at

Al

Mina;

to

Mr.

Martin

Robertson, who has helped me in many ways, and was the first to notice

many

of the

joins;

to Mr. C.

O.

Waterhouse

for the

drawings

and

photo-

graphs.

I

give

only

a

selection

of

the

finds,

but

have

omitted,

I

think,

little

of

importance.

The

red-figure

is

all

Attic.

The

black-figure

from

Al

Mina

is

scanty,

poor,

and no

older

than

the earliest

red-figure

sherds

found

there,

which are from

eye-cups:-

I.

Three

fragments

of

an

eye-cup.

The

largest

measures

o0o41

m.

across.

A,

part

of the left-hand

eye;

shank and

heel of

the

figure,

cutting

......

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lili'.i:i:i:i'

.......

....

Il-'iii'iiiiiji:iiiiiiiiii

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............Ii:i:

l:- :: ?:.:i~:-::i::---:-:::... ~_?

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•2. I.

across the

tear-gland.

B,

part

of

the left-hand

eye

and

of the

ground-line.

The

fragment

not

figured

gives

another bit

of

eye.

Not

one

of

the

very

earliest

eye-cups:

about

525-

2.

There is

no

saying

whether a third

fragment

of an

eye-cup

belongs

to the

last

or

not:

the

cup

was

bilingual,

and

part

of

the b.f.

interior

remains,

a centaur with

a stone

in

his

right

hand:

greatest

breadth

0-o60

m.

Red-figure

does

not become

plentiful

at Al Mina until

well

on

in

the

third

quarter

of the fifth

century.

In

the fourth

century

the

import

increases. There is little archaic red-figure, and most of what there is

belongs

to

the end

of

the

period.

3.

Fragments

of a column-krater

from

the last

decade of

the sixth

JHS-VOL.

LIX.

B


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3/51

2

J.

D.

BEAZLEY

century.

The

largest

fragment

measures

o0145

m. across.

A,

Theseus

binding

the Bull:

he has

forced

its head

down

and sets his

left knee

on

its

shoulder.

The

rope,

in

red,

shows

in

fragments

a and

y;

8

gives part

of

the bull's

rump,

8

its tail.

Behind,

as

often

in

these

scenes,

a

tree,

with

the

leaves in red. The same subject ort a slightly earlier column-krater in

Mr.

Gallatin's

collection,

New

York

(CV

Gallatin,

pl.

9, 5

and

7-8).

The Mina

Vase

is

by

the

Chairippos painter

(Att.

V.

p.

io6).

See

the next.

.................

..i~ii Ziiii jji•

iiiiiii~ii~i~~i~~ii-v

im..

3.

4.

4. Fragments

of a column-krater

by

the

Chairippos

painter, probably

the

same

vase

as

the

last-the reverse.

Komos:

a

youth running

to

left,

looking round, his left arm extended in his himation. Compare the left-

hand

komast

on

the

Chairippos

painter's

column-krater

in

Florence,

3991.

The

head-fragment

measures

o0

05

m.

across.

5. Fragment

of

a

cup.

The

picture

inside

may

be

interpreted

with

the

help

of

the

cup-fragment

Acropolis

131,

reproduced

here,

by

kind

permission

of

Mr.

Alexander

Philadelpheus,

from

a

photograph

by my

wife;

of

a

cup

in

New

York

(Musie

3,

P-

55;

Coll.Arthur

Sambon,

l.

19,

no.

i

oi);

and

of

another

in

WUrzburg

(Langlotz

478,

pl. 217):

a

satyr

kneels

with

a

flute-case

in his left

hand.

The

WUrzburg cup,

as

Langlotz

saw,

is

by

the

Heraion

painter

(Dugas

Dilos

I0,

pl.

54,

658),

and the other

cups

belong

to the same group; the Mina and Athens fragments, at least, are by one

hand.

The

style

is

old-fashioned,

but the

Mina

fragment

cannot

be

much

later

than

500

if

at all.

The

cup

was

of

type

C

(Att.

V.

p.

4);

and

is of the

same

rough

make,

with the base-fillet

marked

by

a

hastily

incised

line,

as the

cups

of

the Pithos

group,

to which we

now come.

6-14.

Al

Mina

is rich

in

specimens

of

the Pithos

group

(see

Campana

Fragments

.

27

on

pl.

20

B

19),

for nine

cup-fragments

belong

to

it,

the

largest

of

which, 6,

measures

o0

103

m.

across. The

cups may

have

been

fewer,

but

no

pertinences

can be

established.

The

favourite

subject

in

these

exceedingly

coarse

products,

most

of

which

are

by

a

single

painter,

is

the

figure

of

a

youth

reclining,

seen

from

behind, naked,

with

an

Oriental

cap on his head; a big drinking-horn is often painted in black in the

lower

half

of

the

picture.

Complete

cups

like those

in

Rhodes

(Clara




4/51

AL

MINA,

SUEIDIA

3

Rhodos

4,

p.

202;

id.

6-7,

p.

I81),

Salonica

(Delt.

9,

suppl.

p.

38,

figs.

6a

and

6b),

Florence

(CV

pl.

20

B

i9,

and

pl.

D

B

4) give

the

key

to

some

of

our

sherds

f

not

all: thus on

7

hair and

cap

can be made

out;

on 8

shoulder,

hair,

cap,

eye;

on

9

eye,

cap,

back;

on

Io

left

arm;

on

i i the

mouth

of

the black horn; on 14 a bit of the line-border. These cups may be some-

what

later

than

they

look,

but

probably

ceased

before the

end

of the

sixth

•

i i i ~

i ' • • ' ' •

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...........

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..........................................................

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o

p

o lis

1

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M

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century.

I mention two

other

fragments,

one,

Salonica

inv.

459

(Robinson

Olynthos

,

pl.

107,

no.

199)

because

it

has

been

inadvertently placed

in the

fourth

century,

the

other,

Jerusalem

P

1605

(Quart.

Pal.

ii,

1933, pl.

7b

3),

because

it was

found

in

the

same

quarter

of the

world

as

ours,

at

Tell

Jemmeh

in

Palestine.

On the

wearing

of the

cap

by

symposiasts

see

Jacobsthal

G'tt.

V.

pp.

61-2:

I

am

inclined,

however,

to

take

the view

which

Jacobsthal




5/51

4

J.

D.

BEAZLEY

considers

carefully,

but

finally

rejects,

that

the wearers

are not all

foreigners.

See

also

Schoppa

Darstellung

der

Perser,

p.

73

note

Io.

15. Fragments

of

a

volute-krater,

about

480

B.c.

[Plate

I].

This

is

one

of the

best vases

found

at Al Mina:

A,

Zeus and

Nike;

B,

Zeus

pursuing Ganymede. On the upper zone of the neck: on one side,

uncertain

which,

a

scene

in

the

palaestra;

on the

other,

lions

and

bull,

between

palmettes.

On

A,

between

the

two

figures,

downwards,

[K]ALO.

No

relief-line

for the

contours.

Part

of one

handle,

decorated

with

ivy,

remains;

the foot

is lost.

There

is a red

line

at the outer

edge

of the

lip.

A,

Zeus

sits on

a

camp-stool,

in

long

chiton and

himation,

a

sceptre

in

his

left

hand,

his

right

arm extended

holding

a

phiale.

His

lips

are

parted.

15

B.

His

eye

is bordered

with

brown.

The two

ends of

his head-fillet

appear

on

the

fragment

which

gives

the

himation

at

the shoulder.

On the

frag-

ment

with

maeander,

the

upright

line on

the left

may

belong

to

the

camp-

stool.

Nike

stands

in

front of

him,

wearing

a

chiton,

and a himation

passing

over

her left

shoulder;

she holds

a caduceus

in her left

hand,

and

in

her

right

an

oinochoe,

from

which

she

fills the

phiale.

The wine

is

expressed

in

red;

so

is

her

head-fillet;

her

earring

in

brown.

Of the

floating

fragments,

y

and

'

give parts

of

her chiton

and

himation.

There was

a

third

figure:

Eros

flying

down

towards

Zeus,

holding

an untied

wreath;

his

right leg

is bent

at the

knee,

his left frontal.

The

height

of

the

middle

fragment

on A is

oI18

m.

B,

Zeus,

naked,

running,

holds

a

sceptre

in

his

right

hand,

and

lays




6/51

AL

MINA,

SUEIDIA

5

his

left on the arm of

Ganymede,

who

flees,

looking

round,

a

himation over

both

shoulders,

a

cock

in

his left

hand.

His

eyes

are bordered with

brown

like

Zeus's

on

A.

I

cannot

place

the

floaters

a,

IP,

E.

The Eros on A requires explanation. Martin Robertson aptly com-

pares

the

Italiote

skyphos-fragment,

by

the

Amykos

painter,

in New

York

(Bull.

Metr.

Mus.

vii,

p.

97,

fig.

5;

JdI,

52, p:

61;

Trendall

Friihit.

Vasen,

pl.

I I,

c);

but

there a

female,

doubtless

Hera,

is

touching

the

knee

of

Zeus,

so

the

presence

of

Eros is

easier to

understand.

Again,

on

a

pyxis

:Ik~~~~~~~~~~Z-i~~~~~

...............':l~;:~:-

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i~t~;:~ci?-:::::::,:--I::-:-:llri-

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in

Philadelphia

(C.

Smith Forman

Coll.

pl.

12,

364;

Burl.

Cat.

19o3,

pl.

96,

I

74;

Mus.

Journ.

7,

pp.

270

and

272)

Eros

leans

on

the

back

of

Zeus's

throne;

but

the scene

is

the

Wedding

of

Herakles

and

Hebe,

so

there

is a

reason for

the

presence

of Eros. On

our

vase

the

artist

seems

to have been

already

thinking

of the Zeus and

Ganymede

on

his

reverse,

and

wishing

to characterise Zeus as

lover.

It

is

natural

to

find

Eros in

pictures

of

Ganymede:

for

example,

on

a

b. f.

alabastron

by

the

Diosphos

painter

in

Berlin

(2032:

Annali

1876, pl. A; Haspels

ABL,

pl.

37,

I)

Zeus

pursues

Ganymede,

and Eros flies after

Zeus,

instigating

him with a

goad;

on

an

Etruscan

red-figured

stamnos

in

Oxford

(1917.

54),

Zeus




7/51

6

J.

D.

BEAZLEY

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8/51

AL

MINA,

SUEIDIA

7

collapses

dumbfounded

as

Ganymede

reveals

his

charms,

and Eros

looks

at Zeus

with

a

smile.

The

palaestra-scene

on the

neck consisted

of ten

figures:

in the

middle,

two

naked

athletes

washing

at

a

laver;

a

sponge

hangs

on

the wall

to the

right; then come two groups of a man talking to a boy; behind the first

boy,

a

pickaxe;

the second

boy

is

lost.

Of

the two similar

groups

to

left

of

the

athletes,

good part

of the first

remains,

and a

scrap

of the second.

The

other

neck-picture

represented

a

bull between

two

lions;

to left of

this

is a

pair

of

palmettes,

and

there must been have

another

pair

to

the

right.

The

manes are

brown,

the ruffs

black.

The

animals

may

be

compared

with

those

on

a

hydria

by

the same

painter

in

the

possession

of Mr. de Ferrari

in

Rome

(Rend.

Pont.

Acc.

10,

p.

205).

Lions

we

called

them: but the

right-

hand

animal

on

the

hydria

is

female;

and so

it

may

have

been here.

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artist

is the

Syleus painter

(Att.

V.

pp.

160-2

and

473;

see

also

Richter

and Hall, pp. 49-51). For the drawing of the palmettes, especially the

hearts,

compare

his

pointed amphora

in Brussels

(R

303;

CV,

pll.

8-9)

and his stamnos

in

Copenhagen

(CV, pl.

135;

Jacobsthal

Ornamente,

l.

102,

b);

for the

Nike,

his stamnos

in the

Louvre

(G

181:

CV,

pl.

13,

I);

for the

Zeus

and

the

phiale,

his

earlier

treatment

of

the same

subject

on

a

pelike

in the

Louvre

(G

223:

CV,

pl.

43,

I

and

8):

this vase

is

attributed

to

'

the

painter

of the

Wiirzburg

Athena'

in

Att.

V.

p.

I12

no.

7,

but

the

vases

I

collected under that

heading,

as

I noticed

in

Richter

and

Hall,

p.

51,

are

early

works

of the

Syleus

painter.

I6-20.

Lekythoi by

the

Bowdoin

painter

and

in his

manner

(see

Att. V.

pp.

138-43

and

472;

V.

Pol.

pp.

18-i9;

Haspels

ABL,

pp.

157-60).

He

began working

before the end of the archaic period, but went on

well

into

the

third

quarter

of

the fifth

century.

16,

with

part

of

a

female




9/51

8

J.

D.

BEAZLEY

figure

standing

to

right,

must be

by

himself;

probably

also

17,

with the

same

subject.

The altar

on

18,

as far as

it

goes,

may

also

be his. The

flame

is

red.

19

might

be from

a

figure

of a

youth

sitting

playing

the

flute,

as

on

his

lekythoi

in

Liverpool

and

Bowdoin;

the

flute-case,

with

white tags, hanging on the wall. Another fragment, not figured, probably

belongs,

giving

the lower

edge

of the himation and

part

of the stool.

20,

with

a

female

figure

at an

altar,

is not

by

the

painter

himself,

but is

more

or

less

in

his manner.

21.

Fragment

of

a

lekythos.

A woman

(chiton,

himation

on

the

left

arm,

saccos)

running

with

something

in her

right

hand of which

only

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22.

a

corner

is

preserved,

perhaps

a

sacrificial basket

of

the

type

studied

by

Richter

(AJA

1907,

422-8;

AJA

1926,

422-6;

Richter and

Hall,

p.

216)

and Deubner

(JdI,

40,

pp. 210-23). By

the Providence

painter

(Att.

V.

pp.

132-6

and

472;

V.

Pol.

pp.

16-17

and

79):

about

470.

22.

Fragments

of

a

lekythos.

The

height

of

the

picture,

plus

the

border,

was

about

o0195

m.

No relief-contour.

Hermes

running

to

right

looking

round;

chlamys, winged

boots,

caduceus.

The

head-fillet in

red.

Unmeaning

letters

to both

sides

of

the

figure.

About

470

B.c.

By

the

Nikon

painter

(Att.

V.

pp.

131-2

and

472).

23.

Fragment

of a

column-krater.

Arming.

What remains is

the




10/51

AL

MINA,

SUEIDIA

9

upper

part

of a

woman

holding

the

warrior's

shield

ready

for

him.

The

device a

lion.

By

the

Leningrad

painter (Att.

V.

pp.

245-8;

V. Pol.

pp.

40-4

and

8o),

one

of

the

early

classical

mannerists.

24.

Fragments

of a

pelike.

There

were

two

figures

on

each

side,

and

the subjects will be plain from a pelike by the same painter in Bologna

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23.

24.

(163:

Zannoni

pl.

17,

3-5).

Fragments

p-y

show a

boy,

and

the

right

hand

of

one

talking

to

him.

Fr.

a

(a

male

leaning

on

his

stick)

is

either

from

the

same

figure

as

the

hand,

or

from

the

corresponding

figure

on

the other side of the vase; so is fr. S. The artist is

again

the

Leningrad

painter.

25.

26.

25.

Fragment

of a

pelike.

Height

o0-o95.

A

man

with

a

stick,

and

a

woman.

The

tip

of her

nose

is

damaged

by

pitting.

About

470-

460

B.c.,

by

the

Orchard

painter

(Att.

V.

pp.

311-13

and

476).

26.

Fragments

of a

bell-krater.

Early

classical

period.

What

remains

of the

picture

on A

is a

helmet

of

'Thracian'

type,

not

worn,

but

held

or

hanging.

The

cheek-piece,

covered

with

relief-lines on a

dark

brown

ground, recalls the treatment of hair by the painter of the

Woolly

Satyrs

(Att.

V.

pp.

343-4

and

477)

on

his

calyx-krater

in

Palermo and

his

bell-




11/51

10

J.

D.

BEAZLEY

krater

fragment

in Bowdoin.

One

of the

other

fragments

gives

a

small

part

of

the

right-hand

figure

on the

reverse,

and

immediately

above

the

picture

the

egg-and-dot

pattern

which

is

almost

entirely

broken

away

in

the

fragment

figured.

27. Fragment of a lekythos, with the upper half of a woman standing

frontal

and

looking

round

to left.

Above,

the

border

begins.

One

of

the

many

lekythoi

by

the Aischines

painter

(Att.

V.

pp.

320-3): compare,

for

instance,

one

in

Leningrad

(JHS,

48, pl.

2a). Early

classical

period.

28

30

35~iiiiiii

.

36iiil

28.

Fragment

of a

stemless

cup.

Height

o0o56.

The

under-side

of

the

foot

is modelled.

An

athlete

stands

at

a

laver,

dipping

his

hands

into

the

water,

the

same

subject

as

on

the

neck

of

the volute-krater

no.

15

above.

Third

quarter

of

the

fifth

century.

29. Fragment

of a

stemless

cup.

Height

0-o82.

The

under-side

of

the

foot

is

modelled.

An

athlete

leaning

on

a

pillar.

Behind

him,

a

laver. The make of the vase is the same as in the last, so is the border,

and

the

style

is

like.




12/51

AL

MINA,

SUEIDIA

11

30.

Fragment

of

a

stemless

cup.

Inside,

a

dwarf

dancing.

Short

shanks,

scanty

beard.

The

platform

is

a

plain rectangular

block,

and

if

it

looks

irregular

in the

photograph,

that

is due to

the

pitting

of the

surface.

Dwarfs as

entertainers are known

from

literature and from other monu-

ments (Navarre in Daremberg and Saglio, s.v. nanus; Merlin in Mon.

Piot

18,

pp.

9-14,

bronzes from

Mahdia;

Albizzati Statua ellenistica

di

acrobata

n

Historia

I, 4,

PP.

43-54;

Breccia Mon. de

l'Egypte

grdco-romaine

I

,

i

pl.

32, 5

and

p.

68,

405),

and

a

very good dancing

dwarf,

on a

stamnos-fragment

in

Erlangen,

was

published recently

by

Prof.

Lippold

(Zu

den

Imagines

Illustrium n RM

52,

pl.

14).

There the dwarf's

name

ends

in

KAEIAHI,

which

Lippold

aptly

restored

as

[Hippo]kleides.

He

suggests

that the

picture

is

a

parody

of

the

story

known

to us from Herodotus.

I am

more inclined

to take it

as

a

scene

from

contemporary

life,

supposing

that there was a

popular

dancing

dwarf

in

Athens at

the

time,

who called

himself Hippokledes after his noble predecessor. This is a common practice

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3'.

with

public

entertainers.

There were

two

Phrynes

in

the

fourth

century;

the

original

name

of

the second

having

been

Mnesarete.

In

modern

times the

name of

Sharkey

has

been

borne

by

two

celebrated

pugilists:

the

first,

an

Irishman,

born

I

think

in

Louth,

must

have

been

thirty

years

older than the second, who was originally a Lithuanian American of the

name of

Cocosey.

Sandow,

again,

as

Mr.

Michael

Marks

reminds

me,

won his

title

of

World's

Strongest by

vanquishing

a man

called

Samson.

The

Erlangen

fragment

is

by

the

painter

of the

Leningrad

Amazono-

machy

(Att.

V.

pp.

396-7; JHS, 56, p.

91, left),

a

companion

of

Poly-

gnotos.

Our stemless is

contemporary

or little

later,

must

have been

painted

about

430;

and

if

anybody

insisted

on

calling

our

dwarf

Hippo-

kledes,

I should not think

much less

of him.

31.

Fragments

of a

skyphos.

Height,

as

far as

preserved,

o0-130.

The

same

scene is on both sides of the

vase,

a

youth,

his

himation

about

his

waist, sitting playing

the

lyre,

and

a

naked

youth standing

beside

him,

frontal,

a fillet in his

right

hand,

his left arm akimbo. This is a late work

of

the

Marlay painter (see

Att.

V.

pp.

413-I4),

about

430

B.c.

Other




13/51

12

J.

D.

BEAZLEY

skyphoi

by

him are

in

Leningrad

(St.

808;

A,

Compte

Rendu

1863,

p.

183;

Licht

Sittengeschichte

,

p.

253)

and Taranto

(50943:

NSc,

1936,

p.

225):

see also

p.

150

of this

number

of the

Journal;

and the

next

two

fragments.

32.

Fragment

of a

skyphos.

Height

0-037.

Youth with

lyre.

Fillet

with three high peaks. By the Marlay painter. See the last.

33.

Fragment, probably

of a

skyphos. Height

0-045.

Youth

playing

the flute.

By

the

Marlay

painter:

perhaps

a.little

earlier

than

31

and

32.

See

31.

34.

Fragment

of

a

skyphos.

Head

of a

boy

with

his

himation

brought

up

over the back

of

his

head. No relief contour. About

430:

Later

manner

of

the

painter

of London

E

777

(Att.

V.

pp.

28

1-3

and

476): by

............~i~

;;;iiil~iii•,i~i.

.

.iiiii

......

.13,)

3

2

;l:•

X

i

if~•

}•ii iii'iii'i•'i:•}On::i

}

))i:) )•'i;•i....

the

painter

of

Heidelberg

2

II

(Campana

Fr.

p.

26

on

pl.

18

B

55):

cf.

especially

his

cup-fragment

Agora

P

10027.

35.

Fragment

of a

skyphos. Height

o-o67.

Komos:

two

youths

dancing

along;

one holds a

cup,

the

other,

who

turns

round

to

his com-

panion,

a torch. About

430:

late

manner

of the

painter

of

London

E

777-

Compare,

perhaps,

the

skyphos,

in the

Spinelli

collection

at

Cancello,

known

to me

only

from

the

tiny

reproduction

in

Philippart

Cir.

grecque

n

Italie

ii

pl. 6,

second

row,

left.

36. Fragment

of a

stemless

cup.

The under-side

of the foot is moulded.

Inside,

an athlete with an

acontion. About

425:

late

manner

of

the

painter




14/51

AL

MINA,

SUEIDIA

13

of

London

E

777,

and

very

like

the work of

his

follower

the

Koropi

painter:

see

this

number

of the

Journal,

p.

152.

37. Fragments

of a bell-krater.

On

the

left,

a

column,

then

a

couch

with

two

reclining

on

it,

and beside

the couch

a

table,

then

a

flute-girl

in

a

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37.

chiton

standing

to

left,

then

a second couch

with

a

table beside

it,

and two

persons reclining on it, a youth looking round, and a male holding a stem-

less

cup

in

his

right

hand.

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black

arc on the

cup

is the

handle.

Group

of

Polygnotos,

about

440-430.

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iiijiiilli~i::i:ilijiiiilii.iiiliiiii?

39.

38.

Fragment

of

a bell-krater

or

calyx-krater.

Warrior

leaving

home.

A

youth

stands

frontal,

wearing

a

corslet,

and round

his head

a

broad

band,

and

holding

his

helmet

in his

left hand.

Inscription KA[AOS].

About

430

B.C.

Group

of

Polygnotos.

39.

Bell-krater.

A,

Theseus

and

Sinis.

Sinis

grasps

his

pine;

Theseus,




15/51

14

J.

D.

BEAZLEY

sword

in

hand,

seizes

him;

Theseus' friend

moves

up.

The friend is

bearded,

and

holds a

pair

of

spears.

Theseus'

spears

are

laid aside.

Sinis'

clothes

hang

on the

pine.

For the

group

of

Theseus and

Sinis com-

pare

the bell-kraters

n

Bonn

(inv.

I216.64:

CV

pl.

31,

13)

and

Madrid

(I11021:

Ossorio,pl. 31, 3); for

the

presence

of

a companion,

the bell-

kraters

in Ferrara

(Aurigemma'

p.

233

=

2p.

273)

and the

Vatican

(Inghirami

VF

2,

pl.

III).

B,

two

youths

and a

boy.

About

425

B.c.

A late workof the

painter

of the Louvre

Centauromachy Att.

V.

pp.

405-8

and

478;

V. Pol.

pp.

57-8).

Such works

are

grouped

under

the

heading

of

'Lamb

painter'

in

Att.

V.

(pp.

407-8);

but the

Lamb

painter,

as

I

observed

in V.

Pol.

p.

57,

is no other

than the

painter

of

the

Louvre

Centauromachy

n his latest

period.

41.

40. Bell-krater. A, athletes: a jumperbetweena young trainerwith

a wand

and

an athlete with a

strigil.

A

fragment

not

figured

gives

the

left

foot of the

jumper

and

part

of

the

barrier.

On

B,

remains

of

the

middle

and

right-hand igures:

a

boy

standing

o

right,

and

a

male

leaning

on

his

stick to

left. Same

period

and

painter

as the last.

41.

Fragments

of a

bell-krater,

mended

in

antiquity.

Height

of

the

picture,

without

the

upper

border,

o0I36.

A,

komos:

on

the

left

of

the

picture,

a

youth walking,

with

lyre

and

plectrum,

preceded

by

a

friend

dancing;

the third

figure

is

lost. On

B,

head

and breast

of

the

right-

hand

figure,

a

youth,

remain,

and

tiny

bits

of

the

other two

figures.

About

430

B.c.;

by

the

Hephaistos

painter

(Att.

V.

pp.

415-16

and

478;

V.

Pol.

p. 59).

42.

Fragments

of

a

bell-krater.

Height

of

the

picture,

including

the




16/51

AL

MINA,

SUEIDIA

15

lower

border,

0-205.

A,

a

horseman

setting

out.

Chlamys,

sandals,

and

stockings,

petasos slung

round his

neck.

In

front of him

a woman

darts

42.

away,

no

doubt

looking

back.

Behind

him

stands

a

man in

a

himation

with

a staff or

sceptre,

watching;

on the

other side of

the

picture

a

male

in

a

himation,

standing

to left.

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The

same

subject

is

depicted

on

an

earlier

vase,

the

column-krater,

by

the

painter

of

the

Louvre

Centauromachy,

Louvre G

361 (CV

III

Id,

pl. 27,

1-3):

it

is not

clear

that

the horseman is

pursuing

the

woman.

Cf. also a

fourth-century

calyx-krater

in the British

Museum,

1931,

1-13-

I

(BMQ5,

pl.

51,

c).




17/51

16

J.

D.

BEAZLEY

Tail-end of

the mannerist

school,

about

425

B.c.:

near

the

painter

of

Oxford

529

(Att.

V.

p. 418;

CV

Oxford,

p.

21),

especially,

perhaps,

his

column-krater

in

Syracuse

(12233),

where the

youth's

right

hand

recurs,

and

the crease between his

jaw

and neck.

43. Fragments of a bell-krater. The middle fragment is

o0129

across.

A,

sacrifice. In the

middle,

the

altar,

the cornice of

which is

decorated with

a wreath of laurel or olive in relief. On the

altar,

the

firewood,

neatly

laid,

and

the tail-bone of the sacrificed

animal.

There is

no

indication

of

flames. The

priest,

dressed

in

a

himation,

stands at

the

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?i:iii~iiiiiiiiliiiiiili'iiiijiiiiiiiiiiiii

43-

altar,

about to

pour

the libation

from

a

stemless

cup,

which

is drawn

in

three-quarter

view

from

above,

with the

wine

in

it done

in

brown.

A

naked

boy

faces

him,

holding

meat

on

a

pair

of

spits ready

to

roast.

His

right

leg

was frontal

and bent

at the

knee. Behind

him

is a man

of whom

only

the head remains.

Like

the

splanchnopt,

he wears a wreath

of

small

leaves: the leaves

are

reserved,

the stem

and berries white.

The

frontal

foot

near

the lower

right-hand

corner

in the

reproduction

is almost

certainly

the

priest's.

Beyond

this,

at the

right

end of the

picture,

another

male,

wearing

a

himation,

is

standing

to left.

The head

facing

left

belongs

either

to this

figure

or,

less

probably,

to the

priest.

Two

fragments

not

reproduced

give

more

of the

maeander.

About




18/51

AL

MINA,

SUEIDIA

17

430

B.c.,

by

the

Kleophon painter

(Att.

V.

pp.

419-21),

who

has

left

several

good pictures

of

sacrifices;

compare

the

bell-krater

fragment

in

Oxford

(G

720:

CV,

pl.

66,

31)-

A

list of

splanchnopts

is

given

by Greifenhagen

in

CV,

Bonn,

p.

40

on pl. 34,

10;

see also below, no. 54.

44.

Fragment

of a

calyx-krater

or

bell-krater.

Height

0-042.

Eros.

By

the

Kleophon painter,

like the last.

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46.

45. Fragment

of a

bell-krater

or

calyx-krater.

Height

0o055.

Head

and

shoulder of a

youth,

who wears a

chaplet

of the sort worn

by

revellers.

Two

hands are

raised

in

front

of him. The

style

is

close both

to the

Kleophon

painter

and

to

his

pupil

the Dinos

painter:

early

work

of the Dinos

painter

?

About

25

B.c.

46.

Fragments

of a

bell-krater. The

right-hand figure

on one

side

(E

and

K)

was a

woman

seated to

right

(and

no doubt

looking

round),

with

her

left hand

in her

lap;

then came the

handle-palmettes.

Fr.

P

gives

part

of a woman to

left,

her forearms extended in her

himation;

fr.

a

the middle of a

woman

to

right, holding

her

himation

up

with her

JHS-VOL.

LIX.

C




19/51

18

J.

D. BEAZLEY

right

hand;

other

fragments

bits of woman

similarly

dressed,

but

not

enough

for the

subject

to

be made out.

On fr.

i

there

are white lines

indicating

hilly ground;

on

e

and N bits of

handle-palmettes.

This was one

of

the

best

vases from

Al Mina.

About

420

B.c.,

by

the

Dinos

painter (Att.

V.

pp. 447-50).

47.

Fragments

of

a

bell-krater. On one

fragment,

head

and

shoulder

of a

satyr

leaning

forward

on

something,

to

right,

with

a

thyrsus.

On

the

other

(o.127

across),

two

figures

facing

to

left:

a

maenad,

looking

up,

with

a

thyrsus

in

her

hand,

probably

seated;

and

a

satyr,

also

with

a

thyrsus;

above

him,

a

branch of vine

with

a

bunch

of

grapes.

White

fillets,

white

shoots

from the

thyrsi.

Late

fifth

century,

manner of the Dinos

painter.

By

the same

hand a

calyx-krater

from Thebes

in

the

University

of

Vienna,

166.

Compare,

too,

the bell-krater

Agora

P

iooi6,

especially

the

drawing

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48.

49.

of the

leaves and

the

thyrsi:

the

Agora

vase

is

also

in

the

manner of

the

Dinos

painter.

48.

Fragment,

probably

of

a

column-krater.

Symposion.

A

youth

or

man,

reclining

to

left,

with

his

elbow on

a

cushion,

turns and

puts

his

arm in front of the flute-girl as she passes. She turns round and stops

playing.

She

seems

displeased:

cf.

below,

no.

55,

and

Aelian

VH

12

p.

I

19,

7-8

and

p.

120,

4-6

Hercher.

Her

face is

in

three-quarter

view,

and the

youth's

will

have

been

too. To

the

right,

breast

and raised

right

arm of a

reclining

man.

The

girl

wears

a

chiton

which

leaves

the arms

free,

a

himation,

and

a

chaplet

with

ivy-leaves.

The

youth

also

wears

a

chaplet.

About

425

B.c.:

the

style

recalls

the

painter

of

Athens

1454

(Att.

V.

pp.

450

and

479),

but is

less

delicate.

49.

Fragment

of

a

bell-krater.

Height

o-o85.

Sacrifice.

The

priest,

dressed

in

a

himation,

leans

on

his

stick,

holding

a

stemless

cup

in

his

right

hand

and a

handful

of

groats

(6Aai)

n

his

left,

ready

to

place

on

the

altar.

There is some brown

shading

in the hollows of the

folds;

the

cup

is also

browned.

Not

far

from the

Kleophon

and

Dinos

painters:

about

425

to

420o.




20/51

AL

MINA,

SUEIDIA

19

50.

Fragment

of a bell-krater.

Height

0-036.

A

female

head,

and

a

tripod.

By

the

Cadmus

painter (Att.

V.

pp.

451-2):

about

420

B.c.

51.

Fragment

of a bell-krater.

Height

0-o62.

Apollo

sitting

on

the

Tripod,

with

his feet on the

Omphalos: compare

the relief

dedicated

by Xenokrateia, Athens 2756 (Svoronos pl. 181; 'Ep. 'APX. 1937, P.

102),

or

a

statue

in the Villa Albani

(Helbig

1848;

E.A.

4530-3;

replica

in

Naples,

135).

He wears a himation ornamented with small

crosses and

bordered

with

wave-pattern

and a row of horses' heads between two rows of

dots.

His

laurel-staff,

held in his

right

hand,

shows beside his

right

shank.

The

omphalos,

black,

with

reserved

edge,

is decorated with a branch of

laurel,

reserved,

and

a wreath

in white.

The

style

recalls the Cadmus

painter.

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