stamnoi.an exhibition at the j. paul getty museum

8/12/2019 STAMNOI.An Exhibition At The J. Paul Getty Museum

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STAMNOIAnExhibitionAt The J.Paul Getty Museum

The J.Paul Getty MuseumMalibu, California


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DesignbyPatrick DooleyTypographybyTypographic Service Co., Lo sAngelesPrintedbyScott &Scott Inc., Santa MonicaCover photography6kcat. nos.1, 2, 8, 10, 11, 19, 22byDonald A.Hull1980 The J. Paul Getty Museum17985 PacificCoast HighwayMalibu,California 90265LCno.80-80400ISBNno.0-89236-0294


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Contents/Order1 Etruscan bronze stamnos2 Etruscan bronze handles3 Etruscan stamnos byM icali Painter4 Attic black-figured stamnos by theMichigan Painter5 Attic black-figured stamnos by theMichigan Painter6 Atticblack-figured stamnos7 Attic stamnos inSix s technique8 Attic stamnos inSix s technique9 Atticred-figured stamnosby theEucharides Painter

Atticfragments of a stamnos by the Eucharides Painter AtticEucharides fragments12 Atticred-figured stamnos by the Triptolemo s Painter3 Atticred-figured stamnos by the Tyszkiewicz Painter4 Atticred-figured stamnos by the Syleus Painter5 Atticred-figured stamnos by the Siren Painter6 Atticred-figured stamnos by the Deepdene Painter7 Att icred-figured stamnos by the Dokimasia Painter18 Att icred-figured stamnos by the Co penhagen Painter9 Atticred-figured stamnos Copenhagen class20 Att icred-figured stamnos by the Niobid Painter21 Att icred-figured stamnos by the Aegisthus Painter22 Att icred-figured stamnos by the Achilles Painter23 Atticred-figured stamnos by aPolygnotan24 Etruscan stamnos b y the Painter of VG439695 Etruscan stamnos of the group o f Villa Giulia2303


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PrefaceThe variety of classical Greek vases may perhaps appearto the untrained eye rather monotonous. Looking at aselectiono f one shape may perhaps reveal the diversity inboth the po tter s work and the drawing by different vasepainters. And the stamnos is a particularly go od shapefor this purpose, associated on the one hand with drink-ing parties as a wine container and on the other hand,frequently used as a cinerary urn.

The Getty Museum is fortunate to be able to presentsuch a rich representative selection of twenty-three Atticstamnoi and five Etruscan specimens. Our thanks go tothe lendersand friends who made the show possible. W ethank the three Swiss private collectors, a Texan, CornerBank Ltd., Lugano th eAntikenmuseum in Basel, th eSanta Barbara Museum of Art, M s. K. Mead, Dr. Fer-ruccioBolla Dr. A. Moretti,Dr. E.Berger,N. Koutou-lakis, and B. McNall. W ithout the constructive, constanthelp an d understanding of Pino Donati the exhibitioncould no t have been realized.

Thirteen of the stamnoi have already been exhibitedin Switzerland. F or that occasion, C. Isler-Kerenyi pre-pared an excellent publication with detailed treatment.With the permission of the Corner Bank Lugano wehave given a short resume of the text for the followingitems; 3, 4, 6, 7 , 9, 12, 14 ,16-18 20-23 and have usedthe photos ge nerously lent us. The text for numbers 1,25 8, 10, 11, 13, 15, 19, 24, 25 a nd introduction we oweto Faya Causey-Frel.

J.F.


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IntroductionAcloselookat one shapeofGreek vase providesanopportunity to discernthe contributions ofbothpotter and painter. Today,on e seesthe va riety of scenes, com positions, and o rnaments of the individ-ua l stamnoi more easilythanthe varieties ofshapes.Yet the cen tury of potters wh o turned the stam-no iapproached the limitsof theshape with distinct subtletiesofdesign, some muc h more successfulthanothers.Whetherthe potterand thepainter wereone and thesame personorweretwo differentcraftsmen, the artsa rec losely interrelated;the shapew ascomplementedby the decoration.

The stamnoi in this exhibition represent many of the major classes and p ainters of the Attic stam-nos. Twenty cupsor amphorae would only touchon the multitudinous variety produced bypo ttersand painters. The five Etruscan stamnoi, three ceramic and two bronze, suggestthe p opularity of theshape inEtruria. Long beforethevasewascurrent inAttica,thestamnosw asmadei ncentralItalyfora possible dual function aswine mixer and acineraryurn.The Attic stamnos first appeared inred-figurejustbefore 510B.C.and about a decade later was taken into the repertoi re of some black-figureworkshops, continuing to beproduced inred-figure duringthe fifthcentury.

But what is astamnos? Since the nineteenth century archaeologists have applied the term(andstamnion) to awide mouthed pot,usually witha lowfoota ndh orizontal handles placedat thewidestdiameter. It isalmost alwaysmatteglazed inside. Lids were likely provided fo r each stamnos bu t theyarevery often lost. Actually, ancient sources only suggest that the word stamnos meant an earthen potfor water, wine,or oilstorageand thatit was asynonymf orkeramos(orkeramion),and do not defineits peculiarities.The name isretained fo r this shape todayas a convenience. Depictions of the stam-nos in vase painting show it to be a wine-mixing vessel.Thisis not to overemp hasize the uti lity of thevaseshere on exhibition. Fine decorated Atticvasesmayhave been rarely used aseveryday ware,bu ttreasured likeWedgewood or the finest Spode. Perhaps set in a place ofhonor during the owner'slifetime, the vases were often buried with the dead m an or wom an a nd sometimes contained theashes. The stamnos mayeven have been purch ased especiallyfor the burial.Very fe w Attic stamnoi have been found in Greece. Most of the nearly five hundred examplesknown today were found in Italy.The pop ularity of the stamnos in Etru ria suggests that it was madeprimarily for the tastesof the Etruscans, much in the samew aythat Japanese export porcelainof the17-18th centuries was decorated with oriental designs calculated for western European taste. Thestamnos is not the only example of export ware destined for Etruria. Contemporary with thestam-nos is thekyathosand two earlier examplesofAtticvasesspecially preparedfor the Etruscansare the'Tyrrhenian' amphora and the Nikosthenic amphora. Perhaps it is not a coincidence that the earliestredfigure stamnosknownwasthrown by Pamphaios, a potter closely connected with the workshopof Nikosthenes.


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Some scholars have associated the stamno s w ith the cult o f Dionysos because of the oc currence ofscenes related to his cult on stamnoi. Surely a closeconnectionexists between Dionysos and the useof the stamnos as a winevessel However, there are manyother scenes and myths on stamnoi whichdo not seemto relateto anycultorreligious purpose.

The periodof theA ttic stamnos embraces abou tfivegenerationso fpottersa ndpainters f ro m theend of the sixth centuryuntil about420B.C.Attic trade with the West wasthenseriously interruptedby the Peloponnesian War and the events which followed and thus the production of stamnoi, indemand primarilyin Italy an d Sicily, quickly died out. Etruscan-made stamnoi, ceramicand bronze,filled the lacuna in the late fifth and fo urth centuries. Butnonehave the dignity of the Attic stamnoi.

But during the century of itsappearance,the stamnos encouraged am ultiplicityo finvention bypotters. The ratio of height to width, the sizeof neck,mouth,rim, and foot, the type of handles, theproportions of the body,th ekindsoffooting were subjecttoconsiderablevariety,with theresult thatthe stamnos changed more in itslifetime thanp ossibly anyother vase shape. In decoration too onefindsconsiderable diversi ty; sometim es treated likeacrater, hydria, amph ora,orpelike(o rwithacom-bination oftheir elements) the stamnos surface can be allblack,o r have bands, panels,acontinuousfrieze surface, al loverfloral motifs,or isolatedfiguregroups.Th e handle zonewasespeciallythe focusfor avarietyoftreatment: they were sometimes igno red, usedasnatural limitsor as the focus fo r floraldecoration, or emphasizedas fictionhandles. The handles themselvescan be round or ovoid, straightor turned up, flat,strap,or grooved, painted al lblacko r lefthalf-reserved.Thus, this exhibition of stamnoi allows an insightinto the work of Attic potters and painters asthey responded to the demand of avase destined prim arilyforexport to theWest. Sidebyside withEtruscanceramican dbronze stamnoi, theAttic works make clearwhythey weresohigh ly prized.Atthe same time, a window isopened for the modern viewer on to the workshops of the CeramicusquarterinAthens.The studyofAttic (and Etruscan ) vase painting reallycommenced w ith the work of J. D.Beazley.Histerminology isthat used here: Painter means thevase painter, Classrefers to vasesofidentical shap eby the artisan who potted them, (and who often owned the workshop),Groupis an associative namebypainting. Indispensable worksfor thestudyofstamnoiarethose byBarbara PhilippakiandCorne-lia Isler-Kerenyi.


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1Etruscan bronze stamnosThe J. Paul Getty Museum, 71.AC.263Formerly in the National Museum, Washington.Measurements: Height: 30.0 cm.Max. di am.: 30.6 cm .Diam.mouth:24.0c m.Diam. foot: 20.6-20.7 cm.Max. height of hand le attachm ents: 8.7 cm.

Widtho fhandle attachments:13.7-13.9cm .Condition: D ark red and green patina with heavy greenincrustation; some small repairs at the base and on therim in plastic. In modern times it was moun ted on threefou rth c entury B.C. cistafeet, no w removed.Description: Footless. On the mouth, guilloche with dots.On the rim, beading between incised lines.The handleattachments ar e heater-shaped with tw o ducks preeningabovenine-petalled palmettes separated by volutes.Thesebronze stamnoi were made as sepulchral vases.Second half of the fifth ce ntur y B.C.Unpublished. Parke-Bernet, Dec. 4, 1969, no. 135; cf. C.Isler-Kerenyi, Stamnoi e Stamoidi, QT 5, 1976, p. 43an dnote 36 for Etruscan stamnoi found in context.


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2Pair of EtruscanStamnos handlesThe J.Paul Getty M useum 78.AC.337Presented by David CollinsMeasurements: Maxhei ght handle a ttachm ents: 11.7c m.Maxwidth handle attachments: 13.4 cm.Condition:Dark greena nd reddish patina.Ingood condi-tion. The handles were cast separately from the attach-ments and werethenriveted together.Description: The attachments of the handles are heater-shaped and each is decorated with frontalsatyrs who arebald and bearded. Above this are a pair of tendrils. Asmall incised letter inside i / / ) is a workshop reference toth e stamnos it was to be soldered to .This is acommon handle attachment ofEtrusc an bronzestamnoi.Second half of the fifth ce ntury B.C.Unpublished.C f:Beazley,EVP,248-250.

3Etruscanblack-figured stamnosby the Micali PainterPrivate collection, LuganoMeasurements: Height: 34-4cm.Diam. of foot: 10.2 cm.Diam. ofmouth: 16.8 cm .Description: Pale pink clay, grey-black opaque glaze. Inte-r ior unpainted except r im. Reconstructed from frag-ments, fe wmissing.A siren passesa terrified water-bird, perhapsaswan.End of the s ix th beg inningof the fifth centur y B.C.Bibliography: Isler-Kerenyi, Stamnoi,15-17; Bloesch TA53 ,no. 323,fig. 55.


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Attic black-figured stamnosby theMichigan PainterMiniature ClassAPrivatecollection, LuganoMeasurements: Height: 18.7 cm .

Diam offoot:8.4 cm.Diam.ofmouth:13 cm.

Description:Pinkclayinside, red-orange outside, shiny blackglaze,partly greenish.There isaddedred andwhite paint.Reconstructed with themissing pieces overpainted.Mil-tos on thebottomand graffito.

Above, a banqueting scene with adog. Below, chariotracebetween twoteams. Underneath thehandlesare theposts.Attributed byIsler-Kerenyi.Lastdecadeof the sixth century B.C.Bibliography: Isler-Kerenyi, Stamnoi,18 - 23.


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5Attic black-figure stamnosby the Michigan PainterClassof the StamnosVatican414The Los Angeles County Museum of Art , Will iamRandolph Hearst Collection on loanto the J.Paul GettyMuseum. L.75.AE.5Form er ly in the co l lec t ions o f B. He r tz , J . Ma yer ,William H . Forman, Joan Evans and Sir John Evans.Measurements: Height: 34.1 to 33.8 cm.

Diam. of mouth: 21.3 cm.DiarrL of foot:14-2 cm .Condition: Broken and mended in antiquity. Recon-structed from manyfragments with some smallfills.Denton themain side near th e banqueter. Dipinto onfoot.Description: T hick, rou nd, overhan ging r im as in theWlirzburg stamnos; long,slightly incurving neck; roundshoulder; narrow base; disk foot wi th concave upp ersur-face;handles almost straig ht and round in section. Thereis athin ring at the junction of the neck, a broad one atthe junction of the foot.Phil ippakihas placed this par tic ularly c lose to the Wur z-burg stamnos (Wiirzburg 328;ABV343,2)Attribution by B. PhilippakiLast decadeof the sixth c entury B.C.Bibliography: CVA USA 18, p. 16-8, plates 14 and 15. Seefo r further bibliography.Thereis an ivywreathon the rim above, aunique feature for astamnos.Thisoccursquiteoften onEtruscan stamnoi, but only on Hermonax's signed stamnoi (four survive plus fragments of twoothers)and on thisvase. Blacktongues on the shoulderabovefigureddecoration in twozones,one onthe shoulderandanotheron thebody,divided byglazedlines.The shoulderzoneiswideenoughforthe painter to decorate itwithakomos,where the revellers haveplenty of space to walk andmakemerry allaroundthe vase.The zone roundthebodyhas afour-sideddecoration, thatis, symposiumon one side, revellers coming up on the other side, and at the handle sides avine stock heavy withhanging grape clusters.There is alotus garland (bud and flower) below and rays at the base. Thehandlesare allblack.The ring at thejunctionof the foot isred; the loweredgeof the foot is reserved.Underthe foot is the same graffitoas in severalother black-figured stamnoi.The insideof the vaseisglazed.(Philippaki)


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6Attic black-figured stamnosPrivatecollection, Luga noMeasurements: Height: 34.5 cm.

Diam. of foot: 15.2 cm.Diam. ofmou th :22.4cm

Description: Orange clay, shiny black glaze;parts reddish,with applied red and white paint. Reconstructed withthe few missing parts painted over.Side A. The struggle between Herakles and the mon-strous three-bodied warr ior Geryon. Geryon's dog,Orthros ,lies between the two adversaries.At left, lolaosor Hermes. Side B. Dionysos seated amidst dancingmaenads an dsatyrs.Last decade of the sixth century B.C.Bibliography: Isler-Kerenyi, Stamnoi,24 - 28.

Stamnos in Six s techniquePrivate collection, LuganoMeasurements: Height: 24.2 cm.Diam. of foot: 11.5 cm .

Diam. ofmouth: 14.8-15.0c m.Description: Reddish-brown clay, shiny black glaze.Reconstructed from several fragm ents and now com -plete. Inscriptions and extremities of figures par t ia l lyerased.Inscriptions: Reproduced in Isler-KerenyiTheseus to right attacks th e minotaur who looks back.Ariadne is at right with opened arms.Isler-Kerenyisees that this stamnos ismore likelyto belongto the workshop of the Antimenes Painter than to thatof th e Leagros group.End of the sixth century B.C.Bibliography: Isler-Kerenyi, Stamnoi,29-34.


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Handleless stamnos inSix s techniquePrivateCollection,GenevaMeasurements: Height:20.5cm .Max.diam.:17.9cm.Diam. ofmouth: 13.7cm .Diam.o ffoot:10.4cm .Condition: Intact; preservation very good. Some wear inthe addedred.Description: A handleless small vase with sturdy propor-tions.Theneckand foot arewide, the neckcurving in alittle, and the dish foot slightly sloping. The mouthr imhas a deep incision.Ring s are found at the junct ion ofneck and above the foot.End of the sixth centuryB.C.Bibliography: Phil ippaki,26 - 28.

On two sides of the vase, the decoration, in thick applied color, consists of three palmettes th etime-honored trio of one central palmette and two la tera l withwaving tendrils which circumscribethelateral palmettesand finishaboveinformingacalypf romwhich another palmette comes out. Theheartsof the palmettes haveno dots. (Philippaki,28)These twopalmette groups meet up on thesides with tendrils interlaced. Four petals accent the joinson each side. Beloware rays.Added red(darkerthanthe floraldecoration) is applied on neck ring, above rays,and on foot ring.

Thisis the same technique ofdecoration as on the preceding vase (no. 7), thick matte red glazepaint applied over the shiny blackglaze.Onbothstamnoi, the painters have encouraged an all-arounddecoration. Among the other Six's technique stamnoi, the Edinburgh andLeyden vases (both withhandles)share the overallfloraldecoration. Philippaki places this vase closest to the Edinburgh and itscompanions. Jacobsthal suggested that the Leyden vase may provide some idea of whata silver stam-nos of about 500 B.C...., may have looked like. (Philippaki, 26 f rom Jacobsthal, 70). Of the fourstamnoi without handles known, (twoin Six'stechnique and twolatefifthcentury red-figured) thisexample is the only floral decorated.


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9Attic red-figured stamnosby the Eucharides PainterClass of the Tyszkiewicz PainterPrivate collection, LuganoMeasurements: Height: 37.2 cm.Diam. of foot: 14.2 cm.Diam. ofmouth:20.2 cm.Description: Pinkish clay,very shiny blackglazewith greenreflection. Details in diluted dark-brown paint. Addedwhite and added red. Intact apart from the break at theshoulder.The frieze sceneis the archerycontest at Oechalia betweenHerakles and the sons of King Eurytus which ended inthe victory of the hero who won the beautiful, but forhim fatal, Princess lole. (Stamnoi, 38) Side A. lole is onthe left, King Eurytu s next, a brother of lole,thenHera-kles. Side B.Three of the brothers excitedly pick up theweapons an d test the bow.Attributed by H. Sommer. The myth was identified byH.Juckerand D. von Bothmer.Around 500B.C.Bibliography: Isler-Kerenyi,36-42,Brommer vl ,55, B5.


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10Atticred-figured stamnosby the Eucharides PainterClass of the latestamnoi of the Berlin PainterThe J.PaulGettyMuseumPresented byGordonMcLendonwithfragmentsdonatedby Lynda and Max Palevsky and an anonymousdonor.77.AE.41Measurements: Diam. ofmouth: 19.4cm .Condition: Reconstructed from numerous fragments withmanyfills. The foot ismissing.Description: Dotted eggs on the rim,profile above an dbelow.Plastic ring at the shoulders with two incised lines.Compartmented tongues with reserved line below.Reserved line all the way aro un d, belowscenes. Reservedunder the handles and inside ofthem.Attributed by D. vonBothmer500-490B.C.Unpublished.The return ofHephaistos to Olympus, On thefront, Hephaistos standstoright behind hisdonkey,dressedin short chitonbalancing his skyphos in the palm of his left hand.In his right he held some-thing, the tip of which remains (a smithytool?). Behind him, an unidentified object. Dionysos, toright, looks back beckoning Hephaistos. His donkey is in front of him. In hislefthand he holds a vinebranch with leavesand three bunches of grapes (inadded dotsofclay,glazedover)and in hisrightakantharos. On the reverse, dancingsatyrsand maenads. A satyrpiping the double flutelooks back atDionysos; next, amaenad inchitonandcheetah-like nebris playingthe krotala.A satyr,dancing torightchasesamaenad,toright,wholooks back. Between themis thedropped thyrsos.Shealso wearsanebris. Below each handle is acolumn krater with ivyleave garlands. (Three black linesare at thebase of the vase below the eagle).Behind Hephaistos is aneagle,accompanying them to Olympus.


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11Fragmentsof a red-figured stamnosby the E ucharides PainterThe J. Paul Getty Museum, Anonymous donat ion.78.AE.285.3A and C.Measurements: FragmentA, Maximum width: 15.0 cm.

Fragment B, Maximum width: 5.0 cm.Description: A, Eggmotif on the r im,and all black below.B.Part of centaur, frontal, with two hands of another fig-ure. In his right, a double flute.These fragmentsmay havebeen from a companion piece of the preceding.Attr ibuted by J.Frel.500^490B.C.Unpubl ished.

12Attic red-figured stamnosby the Triptolemos PainterPrivate collection, LuganoMeasurements: Height:35.5 cm.

Diam. of foot: 15.2 cm.Diam. of mouth: 21.6-22.0 cm.Description: Orange clay, blue-black shiny glaze,greenishin places, with applied white and red. Reconstructed withsome missing parts repainted.Inscriptions: on the front (as from left): AI[0]MEAE[2( D i o m e d e s ) , O A T T T E T 2 ( O d y s s e u s ) , A X I A A E T 2(Achil leus), $ O I N I X 2 (Phoin ix) ; on the shoulder:X I K 0 2 T P A T 0 2 K A A 0 2 (Nikostratos kalos);on the back(a s f rom left): O O I N I X 2 (Phoin ix) ; HAT ( P a t . . . =Patroklou or P atroklo), HEK TO P (Hektor), IT]PIAM02(Priamos).Graffito under foot: FY HA.TheWrathofAchilles. In the centerof A isAchilles an dbefore hi m Odysseus, Diomedes at left an d Phoinix atright. On the back, Achilles rushes at Hektor. Phoinix


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attempts to hold back Achilles while Priam does the samewithhis son. The slaughtered ram betwe en the two group sis a reminder of the dead Patroklos.Th e scene islinkedto Aeschylus ' interpretat ionof thesubject .Just before48 0B.C.Bibliography: Isler-Kerenyi, Stamnoi,43-48; Beazley,AR Vno. 7;Philippaki 102; Schmidtin ON 141 ff.

13Attic red-figured stamnosby Tyszkiewicz PainterPrivate collection, GenevaMeasurements: Height: 37.5 cm .

Max. diam.: 30.2 cm.Diam . of mou th: 19.4 cm.Diam. of foot: 14.7 cm.

Condition: P ut together from many largefragments wi thtw o chips on the foot and on the r im . The surface isscratched on the figures only.Description: The rim isthick, s lant ing downwards withabroadmouth. Therei s along, almost straig ht, neck,a redl ine on the neck, tongues all the way around the shoul-ders, round handles curved upward, and two red linesc ircumscr ibing th e vase below th e level of the reservedbases. Plastic ring above the disk foot which isslightlyconcaveon top. Added red:A , stringsfrom Hermes' hat ,the ivycrowns;B, ivycrowns, fillet,plectrum cord.Attr ibuted to the TyszkiewiczPainterby J.Freland byC. M. Robertson.480-470B.C.Unpubl ished.Cf.P hilippaki34-36,95-97.SideA. Komos with Dionysos and Hermes. Hermes to right looks back,kerykeion in his left hand,kylixin his ri ght (his hat is curiously draw n). Next, a reveller in short chitonto right g reets Dionysoswith upraised left hand, skyphos in his right. Dionysos to right looks back with a kantharos in hisright hand and ivy branch in his left. An infibulated satyrto r ight pipes a double flute.

Side B.Herakles between two youths. A youth, with mantle over his left arm, advancesto right,skyphos in his right hand. Herakles to right looks back with a club in his left hand resting on his


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shoulder and a kantharos in his right hand, his mantle carried on his upper arms. Next to him, ayouth to right, carrying the lyre in his left hand and the plectrum (attached by a cord to the lyre) inhisright. The firstyouth an dH erakles wearivycrownsand the musicianaplainfillet.

SidesA and B should probablybe readasone.The lyre playeron B is to rightand Hermes on Alooks backat him.The piping satyron A leadsthe procession. Becauseof the presenceof Hermes,Herakles, and Dionysos, a special komos is suggested. One is tempted to identify the bearded man inshort chiton, the artisans'costume, as Hephaistos even though he has neither a lame foot nor carrieshis smithy tools. But the painter also omitted Herakles' lionskin. (Can wethenidentify the lyre playerasApollo?)The scenem ay be interpreted asHermesan d Herakles helping Dionysos tolead Hephais-tos back to Olympus to freeHera, in the elevated mood of a revellers' komos.

The shape ofthisstamnos is unusual; the neck, ri m, and general prop ortions are very like those ofthe stamnoi ofthe Glassof the Tyszkiewicz Painter. However, the handles, their placement, and thetongues around the shoulder as the only ornamentation recall the vase in Detroit by the TyszkiewiczPainter, classed as a Transitional Stamnos of the Berlin Painter. The reserved bases beneath thescenes also suggestthe sparsedecorationof the Berlin Painter,afeature sharedby the vasein Detroit(Detroit Institute ofFine Arts 24*13,AR V291,28).

In a raking light, the c opious preliminary sketches can be seen, especially on the side with Diony-sos.The pentimenti reveal that the painter intended the figures to be closer together, with Hermes'drapery extended at right to indicate a more a ctive pose. The sketches of the legsof the next reveller(Hephaistos?) ap peartohave been in adifferent position,perhaps evento left.

Fivevases are represented in the two scenes:kylix,kantharos (twice) and skyphos (twice), three ofthe mostcommondrinking vesselsfor adrinking party.


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14Attic red-figured stamnosby the Syleus PainterPrivate collection, LuganoMeasurements: Height: 35.3 cm.Diam. offoot: 17.4-17.8 cmDiam. ofmouth:23.5cm .Description: Red clay verging toward brown, shiny blackglaze with greenish reflections. Details in diluted orangeand brown; insideglazed.Reconstructed with some smallrestorations and repaintings.Inscriptions: on the front: above Achil les ' shield:AX I A[ AE T 2 ] before the fighting Amazon: EOT[ }; onthe back vertically in front of the standing male figureAIOMEA[E2] above th e seated figure: AFAMEMNON;vertically, in front of the woman:KAAE.Side A . Achilles an d Penthesilea,Queen of the A ma-zons.A young Amazon hoplite runs up toassisther queen.Side B. Agamemnon, holding a scepter, performsa liba-tionassistedbyBriseis. Behind him stands Diomedes.According to Isler-Kerenyi thisis the Syleus Painter's stiffsevere style of aroun d 470 B.C.Bibliography: Isler-Kerenyi,Stamnoi49-52; Beazley,AR V2 5 1 , 3 5 ; P h i l i p p a k i 5 9 f .

15Attic red-figured stamnosby the Siren PainterClassof the SirenP ainter's StamnoiPrivatecollection, TexasMeasurements: Height:20 cm.Condition: Put together from manyfragments. Some sherdsar e missing: th e lower part of Odysseus' ram, th e areabelow Polyphemus' left leg,th e mid-an d lower sectionsof th e youth on B, par t of the washbasin, part of themiddle girl's hair, part of the other girl's chest an d arm.Some otherfills in the black body ar epainted.


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Description: The height of the vase is almost the same asthe width with handles included. The rim israther thin,sloping downwardsto thewideandlong neck which curvesslightly inwards.Thereis a plastic ring at the neck (black),flankedby twotooledlines and tongues all the way around.On areserved line belowthe tongues, the handlesare flatwith two grooves and reserved inside. The scenesare inpanels bordered by pomegranatenetsand, below, pairs oftwostopped meanders, separatedbysaltire squareson Aand by checkered squares on B.Thereis an incised line atthe foot. The lower profile is reserved. Inside, it isglazedblack.About480B.C.The identification to painter and class is by D. vonBothmer.Unpublished.Cf. Philippaki, pp.97-98;B.Fellmann, Die antiken Dar-stellungen des Polyphemabenteuers (Miinchen, 1972).

SideA.Odysseus' flight from Polyphemus1cave.Polyphemus, with teeth bared and blood runningfrom his eye, pushes back the rock door with his right hand, as the rams run out. Odysseus is beneaththe ram atleft, his sword raisedand a sailor is beneath the ram at right. Two setsof bands bind thetwomen to therams. Both Odysseusand hiscompanion wear short chitons.Thebaldricandswordsheatharevisibleon thelatter.

Side B. Two young women and a youth at a basin. The youth in mantle fondles the breast of thebather at center as he leans on his walking stick. Behind the basin, she stands, head turned back, torsofrontal, legsright. She wears an earring and fillet.The bather to right holds a sponge in her left handand steps over an obstacle; her hair isbound in a sakkos and an earring can be seen in her lobe (notethecurved wire extending through theback).

This stamnos is so like the Louvre Stamnos (C 180, ARV 289,2; Philippaki p. 98. By the SirenPainter, Class of the Siren Painter's Stamnoi) as to be its pair. The subjects f rom the Odyssey alsounite them.

Thisis anunusual depictionof thescene with Polyphemus turnedin onedirectionand theramsinthe other.The artist hasmadeboth Odysseus and his companion bound (bywillow ropes?) andplacedthesailor alone underoneram.


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16Attic red-figured stamnosby the Deepdene PainterPrivatecollection, LuganoMeasurements:Height: 33.6 cm.

Diam.offoot: 13.2cm.Diam.ofmouth: 20.2cm.

Description: Orange clay, blue-black shiny glaze. Inter-nallyapplied around neck only. Reconstructed from manyfragments and repainted.

Theseus pursues Helen with an attendant. The samesceneon reverseisreduced to the twomain figures.Attributed by Isler-KerenyiJus tbefore47 0B.C.Bibliography: Isler-Kerenyi,Stamnoi,54-58.

17Atticred-figured stamnosby the Dokimasia PainterClassof the late stamnoiof theBerlin PainterPrivatecollection, LuganoMeasurements: Height: 28.7cm.(+6.4 cm.lid)

Diam.offoot: 12.1cm.Diam.ofmouth:16.6cm.Diam.oflid: 16.2cm.

Description: Reddish-brown clay, shiny blue-black glaze,applied internally only around neck. Appliedred andsomedetails in diluted glaze. Graffit i under foot. Intact withonlya fewchips.The Death of Orpheus. Orpheus raises his lyre in selfdefense against th e seven women who bear rocks, spit,sword,spearandpestles.(Atree comes throughthe han-dle.)The scene runs around thevase.Aroundorshortlyafter 47 0B.C.,f rom his monumentalphase.

Bibliography: Isler-Kerenyi, Stamnoi,59-64;Philippaki,153(p .42);Beazley, Para, 373 no. 34ter; Schmidt, GK lOOpf.


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18Attic red-figured stamnosby the Copenhagen PainterClassof the Copenhagen Painter.Privatecollection, LuganoMeasurements: Height: 36.4 cm.

Diam. of foot: 15.2 cm .Diam. ofmouth:21.4c m.

Description: Pale orange clay, gray-black paint unevenlyapplied (also inside). Miltos under foot. Incisedtrialsketch;pale brownish (dilute glaze) details. Reconstructed, fe wfragments ar emissing.Two episodes of the struggle between Theseus and theMinotaur . On the front , Theseus and the Minotaur ;Ariadne is at left and at right, King Minos. On the backar e three Athenian mothers an d their three sons, des-tined for the Minotaur should Theseus lose.From the flourishing period of the Copenhagen Painterfrom 47 5circauntilbeyond470. [Isler-Kerenyi].Bibliography:Isler-Kerenyi,Stamnoi,65-69;Beazley,AR V257 no. 11 and 1640; Philippaki, 63nos. 5 and 65, plate33 ;Bloesch, TA no. 245, plate41 .


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19Red-figure stamnosClassof the CopenhagenPainterPrivatecollection, GenevaMeasurements:Height:33.2cm.

Max. diam.:29.3cm.Diam.ofmouth:18.1cm.Diam.offoot:14.9cm.

Condition:Mended from severallargefragmentswith somesmall fills.Description: This class ischaracterizedby its broad mouth,short flat ri m with a goove at the upper edge, a shortneck, narrow shoulder, narrow base, thick disk foot,a ndstra ightstrip handles placedlow.470460B.C.Unpublished.Cf.Philippaki,63-65; Isler-Kerenyi, Stamnoi,65 ff.

Short tongues circle the shoulder and beneath the two scenes is acontinuouskeyrightwards. Thefoot isreserved except for the top of the foot.Applied whitewasused on the hairan dbeard of theoldman (A).The glaze isbrownish.

Side A. Thedepartureof ayouth. Older man toright stands with walking stickinhand,dressedinchitonandmantle. Behind thehorse,ayouthtoright standsandlooks back.Hewears chlamys,andpetasos andcarriestwospears.

SideB.Three mantled youths.Themiddle youth's chiton peeksout frombeneath the mantle.This class ofstamnoi waslimited to the early classicalperiod. Philippakisays that theymayhavebeen confinedto oneworkshop, perhaps evenone potter: Itwas too unpleasantto findimitators.The paintingisclumsy, deprivingth e horseof hishocks an dneglecting arms within strangefolds oftheyouths'mantles.T he other stamnos ofthis class in theexhibition is by the Copenhagen Painter(no.18).It isslightly tallerbut of thesame shapeand proportions.


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20Atticred-figured stamnosby the Niobid PainterClass of the Altamura Painter , VarietybPrivate collection, LuganoMeasurements: Height: 33.2cm.

Diam.of foot: 14.4cm.Diam.ofmouth: 19.4cm.

Description: Red-brown clay, shiny blackglaze(applied instripes inside). Details inbrowndiluted glaze. Intact, witha few cracks in the h andles and some chips on back andaround r im. Young King Triptolemos is about to fly on his wingedthrone in the presence of the two goddessesofEleusis:Demeter to the left and,to the r ight ,her daughter Perse-phone with whom Tr iptolemos isalso per form ingapro-pitiarylibation. (Stamnoi,80) On the back, three women.TKecenter one wears earrings and headband and is handeda sceptre.Aroundor shortly after 465B.C.Bibliography: Isler-Kerenyi, Stamnoi,76-82;Beazley, Paral,395 no. 41ter; MM 34, 1967, no. 165; Phil ippaki, 153(p. 73); Bloesch,TA, 42, no. 246, plate41.


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21Attic red-figured stamnosby the AegisthusPainterPrivatecollection, LuganoMeasurements: Height:37.1cm.

Diam. offoot: 15 cm.Diam.ofmouth:21.2cm.

Description:Orange clay,shiny grey-blackglaze,applied instripesinside. Details drawnindark brown diluted glaze.Miltos under foot. Inscription: HOHAI2 KAA02.Per-fectlypreserved, traceso fwear around neck.Sixmaidens attend anablution.All stand in file,dressedin chitons and mantles except the nude maiden at thebasin, three maidensoneach side.Shortly after 47 0B.C.Bibliography: Isler-Kerenyi,Stamnoi 70-75;Beazley,AR V1957,19bis;Philippaki,58, no. 6.

22Atticred-figured stamnosby the chilles PainterPrivatecollection, Lugano.Measurements: Height:39.1cm.Max.diam.:30.3cm.

Diam.offoot:15.8cm.Diam.ofmouth:21.7cm.Heightoflid:6.7 cm.Diam. oflid: 22.7cm.

Description:Red-orange clay,shiny blackglazewi th greenbrownish reflections, applied internally only around neck.Matte glaze inside. Details indilute glaze. Reconstructedf rom several large fragments; otherwise preservation isexcellent. Fiction handles. Belowth e picturearea,setsof stopped meanders, separated by saltire with the oddmanbelowthe handle (behind Aegina).Attributedby H. Sommer.

450-440B.C.


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Bibliography: Isler-Kerenyi, Unnuovo s tamnos del Pit-torediAchille incollezioneTicinese,QT8,1979, 11-31.Thereis adentmade before the vase was firedjustbelow Zeus' arm. The foot was broken in antiquityand was reattached by three bronze joins. An accidental stroke of the paintbrush can be seen onAegina'smantle.Thescene goesaroundthevasebut it hasbeendividedintotwocompositionswithtwo figuresbackto back at each of the handle zones. The reserved strap between the handles gives the name 'f ictionhandles'to this variety. They arepaintedas ifthey were added last,after the vasescenewas finished.

On the main side, Zeus, identified by sceptre and crown, tenderly accosts the nymph Aegina. Oneofher sisters runs of fat right to report the incident. A remote and quiet male figure at left looks on.On the reverse,threeof Aegina'ssisters, agitatedat theevents, run to abearded, baldingman whoholdsastaff. HemustbeAsopos, their father.Thebearded onlooker on theobversemaypossiblybeinterpreted as Sisyphos, who witnessed the rape f rom the heights of Acrocorinth and reported it toAsopos.


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23Attic red-figured stamnosby a PolygnotanPrivate collection, LuganoMeasurements: Height:25.8cm.

Diam. offoot:9.5 cm.Diam. ofmouth: 14*2 cm .

Description: Orange clay, shiny black glaze. Intact, tracesof wear around neck (perhaps from a lid?). Details oflionskin in diluted reddish glaze.Side A. Dionysos hands hi skantharos to amaenad whoisabout to pour alibation out of an oinochoe.SideB.Piping Herakles meets adancing satyr.Near th eHectoran dPeleus PaintersPolygnotan Class withdouble-curved fo ot (Phi lippaki123 ff.Isler-Kerenyihasclasseditunder the Small Stam-no i chapter, Philippaki 136,pi.58.)Just before 430 B.C.Bibliography: Isler-Kerenyi,Stamnoi,83-88;BeazleyAR V1680 no. 23bis;P hil ippaki 125 f.; Porten-Palange, QT3(1974) 13ff.


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24Etruscanred-figured stamnosby the Painter ofVilla Giulia43969Santa B arbara Museum of ArtGiftof Mr. and Mrs. William P.NelsonInv.N o. 45.11.2Measurements: Height: 00.0 cm.Diam.ofmouth:00.0 cm .Diam.of foot: 00.0 cm.Condition:Reconstructed from severallarge frag mentswithfills painted over. Applied w hite and red in fair to goodcondition.Description: Dotted eg gmotif on rim, tongues at theshoulders with reserved line below (dotted with whiteon Abelo w), setso ffour separatedbycheckered squaresbelow the scenes. Incised line atjoin to foot and aprofileof foot. The round handles are curved up almostagainstthe body of the vase.Attributed by M. Del Chiaro.Abou t 370 B.C.Bibliography: De lChiaro, no . V~9.On sideA,Zeus,thunderboltin hisleft handand thereinsto hischariotin hisright, thundersto theleft. Above the nearest horse, an Eros,an d before them aneagleand adog.On B, ameanad sitson asupport holdingatambourine, faced by asatyr with another behindher, surrounded by the attributesof Dionysos kantharos,rhyton,afillet, sash, shrub,andanothertambourine.The Dionysiac charac-ter of Side Bsuggests that Zeusis on his way to visit Semele, the motherof Dionysos. Under thehandles, afrowning satyr,andbelow the other, aheadoflaurel-wreathedApollo,faced by hisbird, theraven.


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25Etruscan Stamnos of theGroup of Villa Giulia 2303Privatec ollection, LuganoMeasurements:Height:423 cm.Max. diam.:31.7cm .Diam. ofmouth: 24.2cm.Diam. offoot: 13.3cm.Condition: Reconstructed from several large fragments.Pit in the main side at thetop.The yellowsliph asdisap-pearedwhilemostof the grayremains.Description: Beneath the slip areninereddish glaze lineson the brownish clay, perhaps serving as guidelines forthe decoration. There is around hole in the foot madewhen th e claywaswet.End of the fourth centuryB.C.UnpublishedCf .Beazley,EVP,p p.281-283 and p.284.The handles are twisted ropes of clay(the pulling lines are clearly visible) ending in plastic wingedseahorses* Incisions mark fins, mane, eyes, etc. The decoration from top to bottom iscontinuouswave-likecurls with dolphins above, alternatein-betweenthe waves.Side A. A griffinand lioness attacking astag,thenlargescrolls.SideB. Apalmetteand alotus chain.

Thevasesinthis grouparesepulchral.Nootherstamnosofthis classknownto me has any figura-tivescene. Nor does any other vase seem to have the reddish-glaze lines beneath the slip. This type ofanimal scene is age old; here the silhouettes of the animals (as preserved) recall Tarentine models(comparethenumerous gilded terracotta appliques).The other colors foundon thehandlesofvasesof this groupare not apparent. The grayandyellow slipsarethought to imitate silver (inlaid withbronze orgold?),but the effect would alwayshave been a poor reminder of the real thing.

Although this groupis to beseparatedfromEtruscan silveredvasesdecorated with reliefsand fromvasesin a similar technique fromSouthItaly(Tarentine?),the animal group on this vase may open adiscussionofpossibleconnectionswithSouthernItaly.


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ABBREVIATIONS


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Beazley J.D. B eazley, Atti c Red-figure Vase-Painters^ Ox fo rd 1963.BeazleyEV P J. D.Beazley,Etruscan Vase-Painting.Oxford 1947.Beazley Para J. D. Beazley,Paralipomena. Oxf ord 1971.BloeschTA H. Bloesch, Da s Tier in derAntike.Zu ric h 1974.Brommer vl F.Brommer, Vasenlisten ^ur griechischen H eldensage^ Marburg 1973.CVA Corpus Vasorum Antiquorum.DelChiaro M.D elChiaro, Th e Collectiono f Greek and Roman Antiquitiesa t Santa Barbara Museum, Santa

Barbara 1962.GK Zu r griechischen Kunst (Festschrift H. Bloesch). Bern 1973.Isler-Kerenyi,Stamnoi C. Isler-Kerenyi, Stamnoi, Lugano, 1976/77.MM Munzen und Medaillen AG (Basel).ON Opus Nobile (Festschrift UJantzen).Wiesbaden 1969.Phi l ippaki B. Phi l ippaki , Th e Attic Stamnos. Oxford 1967.QT Quaderni Ticinesi diNumismatica e Antichita classiche (Lugano).


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stamnoi.an exhibition at the j. paul getty museum

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