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THE STATE HERMITAGE MUSEUM

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ST. PETERSBURG CAHKT-HETEPBYPF

LUCANIAN VASES

by

ELENA ANANICH

<<L'ERMA>> di BRETSCHNEIDER - ROMA

RUSSIA - FASCICULE viii THE STATE HERMITAGE MUSEUM - FASCICULE I

National Committee Corpus Vasorum Antiquorum Russia

Chairpersons

Professor MIKHAIL PIOTROVSKY, Director of The State Hermitage Museum, St. Petersburg Member of the Russian Academy of Sciences and the Russian Academy of Arts

Dr. ImNA DANILOVA, Pushkin State Museum of Fine Arts, Moscow

Committee Members

Professor GEORGY VILINBAKHOV, Deputy Director of The State Hermitage Museum, St. Petersburg

ANNA TROFIMOVA, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum, St. Petersburg

Professor EDUARD FROLOV, Head of the Department of Ancient Greece and Rome, St. Petersburg State University

IRINA ANTONOVA, Director of Pushkin State Museum of Fine Arts, Moscow Member of the Russian Academy of Education

Professor GEORGY KNABE, Institute of the Humanities, State Humane University of Russia, Moscow

Dr. OLGA TUGUSHEVA, Department of the Art and Archaeology of the Ancient World, Pushkin State Museum of Fine Arts, Moscow

Corpus Vasorum Antiquorum. Russia. - Roma: <<L'ERMA>> di BRETSCHNEIDER. - v. ; 33 cm. - In testa al front.: Union Acaddmique Internationale.

8: The State Hermitage Museum, St. Petersburg. 1, Lucanian vases / by Elena Ananich. - Roma : <<L'ERMA>> di BRETSCHNEIDER, 2005. - 38 p., 47 P. di tav. : ill. ; 33 cm. - Tit. parallelo in russo ISBN 88-8265-322-6

CDD21. 738.382093

1. San Pietroburgo - Museo dell'Ermitage - Vasi antichi 2. Vasi antichi - Russia I. Ananich, Elena II. Gosudarstvennyj Ermitaz III. Union Acaddmique Internationale

Translated from the Russian by Catherine Phillips

Edited by Elisabetta Mangani

Photographs by Natalia Antonova

© THE STATE HERMITAGE MUSEUM © COPYRIGHT 2005 <<L'ERMA>> di BRETSCHNEIDER - ROMA

Via Cassiodoro, 19

Contents

7-8 Foreword 9 Programme to research and exhibit antique vases in the State Hermitage Museum 10-11 Introduction: South Italian Vases 12 Abbreviations

13-19 The workshop of the Pisticci and Amykos Painters 19-21 The Intermediate Group 21-27 The workshop of the Creusa and Dolon Painters 27-28 The Choephoroi Painter 28-31 The Roccanova Painter 3 1-32 The Primato Painter

Indexes

33 Index of plates 34 Index of attributions to painters and groups 35 Index of proveniences 36 Index of former owners 37 Index of subjects 38 Concordance of museum inventory numbers with Trendall's numbers

1-47 Plates

Dedicated to the memory of Dr. Sofia Boriskovskaya, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum 1991-2001

FOREWORD

With this volume of the Corpus Vasorurn Antiquorum The State Hermitage Museum embarks upon publication of its extensive collection of Antique vases. Justly considered to be one of the largest and most important in the world, this collection ranks - in terms of its quantity, outstanding quality and incredible variety - alongside those of the British Museum, the Louvre and the Vatican, and museums in Munich and Berlin.

Today the Hermitage has some ten thousand Antique ceramic objects, examples of nearly all known trends and types from Mycenaean vessels to 4 tI century red-glazed ceramics. Attic and South Italian vases are best represented, including many universally recognised masterpieces. Amphorae by Exekias and the Amasis Painter, a magnificent pelike with a swallow and a psykter with feasting hetaerae by Euphronius, elegant amphorae from Duris, the Regina Vasorum or Queen of Vases (a Cumaean hydria with relief figures of Eleusinian divinities) and many more.

Also of exceptional interest is the provenance of the Hermitage vases, for most were acquired in the 19t1i century. Many of them derive from celebrated European collections and are today perceived as part of European cultural history, offering outstanding examples of historical' (old) restoration, as well as vivid evidence of the history of collecting and artistic taste.

It was in 1834 that the basis of the Hermitage collection was laid, when more than a thousand Antique vases were acquired at auction in Rome as part of the collection of Dottore Pizzati, a connoisseur of Antiquities. For some twenty years some of these vases were to be housed in St. Petersburg's Academy of Sciences, until the opening in 1852 of the New Hermitage, a building specially designed by the German architect Leo von Klenze to make the imperial collection available to the public. That same year, 1852, Nicholas I ordered the acquisition of Antiquities from the Laval family, including more than three hundred vases. In 1861-62 Stepan Gedeonov, Director of the Imperial Hermitage, purchased in Rome the greater part of a vast collection belonging to a bankrupt collector of Antiquities, Marquis Gian Pietro Campana, thereby bringing in another five hundred Antique vases. This purchase effectively completed the formation of the core of the Hermitage collection, which had grown from nothing to become, in less than thirty years, a collection of international renown.

Several hundred Antique vessels arrived in the late 19t} and early 2 oth century, some as purchases (including vases from the collection of A.A. Abaza, Minister of Finance) and others as gifts (such as those presented by A.G. Chertkov, a leading public figure). After the October Revolution of 1917 the Hermitage gained other several hundred vases from private collections, again through purchase and gift as well as through the nationalisation of private property.

A further influx of vases was ensured from the 19th century until well into the 1990s by excavations conducted in the North Black Sea area, starting with the arrival in 1830 of the celebrated complex of finds from the Kul-Oba Barrow near Kerch. This was to be followed by dozens of outstanding examples of vase-painting, including whole vessels and fragments of Rhodos-Ionian ceramics from excavations of a settlement on the island of Berezan (in the north western part of the Black Sea coast) and red-figure Attic vases from

FOREWORD

excavations of barrows in the eastern Crimea, on the territory of the Bosporan Kingdom. Many of these came from the workshops of leading Athenian vase-painters such as the Marsyas Painter. Celebrated 5 tt1 century vases in the form of a sphinx and Aphrodite in a shell found on the site of a necropolis in ancient Phanagoria (on the Taman Peninsula) are true masterpieces of the arts of ancient pottery and vase-painting. One of the most numerous groups in the Hermitage collection that still offers plenty of scope for new research is a group of 4 th century painted Attic ceramics in the Kerch style.

During recent years acquisitions have once more begun to be made: the museum acquired four South Italian vases from private hands, while a late Mycenaean painted amphora was presented by the Swiss collector George Ortiz.

In launching this first volume, devoted to Lucanian vases, the State Hermitage Museum is taking but the initial steps in what promises to be a vast project: over the next ten to fifteen years we intend to bring together completed material and new research on the collection of Antique vases for publication in more than seventy volumes. Once brought onto the international scholarly arena, this huge body of material will contribute greatly to our understanding of the history and culture of Antiquity and thus to our knowledge of the humanities in general.

PROFESSOR MIKHAIL PIOTROVSKY

Director of The State Hermitage Museum Member of the Russian Academy of Sciences and the Russian Academy of Arts

Joint Chairperson of the Russian National Committee of the Corpus Vasorum Antiquorum

PROGRAMME TO RESEARCH AND EXHIBIT ANTIQUE VASES IN THE STATE HERMITAGE MUSEUM

Fate has decreed that the fame of the Hermitage's collection of antique vases runs far ahead of the extent of its publication. Paradoxically, despite the wide fame enjoyed by some of the most outstanding monuments, even of whole groups, the full extent of the riches in this collection remains little known to specialists outside Russian borders. Academician Ludolf Stephani produced the first brief description of the collection in the second half of the 19th century; this was then developed and added to in the early 20th century by Oskar Waldhauer, who grouped the vases according to the system then in use amongst specialists. Of all the Hermitage's vases, only a small part has been published since (frequently without any reproductions) in the fundamental works of John Beazley, Arthur Dale Trendall, Alexander Cambitoglou, Ian McPhee and Lidia Forti. Even publications such as the excellent catalogues of red- and black-figure Attic vases (Anna Peredolskaya, Leningrad, 1967; Ksenia Gorbunova, Leningrad, 1983) and a number of articles devoted to individual vases and painters (often in the Hermitage's own publications, such as the Reports of The

State Hermitage Museum and the Papers of the State Hermitage Museum), have covered only a small (if the best) part of the collection. Moreover, being in Russian, they are accessible only to a small circle of specialists.

Nor are the impressive results of archaeological excavations in the North Black Sea area always known to the wider world. For instance, partial publication of the collection of vases in the Kerch style was undertaken in the 1930s by Karl Schefold, but since then no attempts have been made to update his work with new, previously unpublished.

Our participation in the publication of the Corpus Vasorum Antiquorum is only part of an extensive programme encompassing closely related projects intended to ensure not only full study of the whole collection and preparation of material for the relevant volumes, but also the re-presentation of the Museum's permanent displays and publication of catalogues and books to accompany new exhibitions. Three of the New Hermitage building's most handsome rooms are given over almost entirely to antique vases. Newly restored in 2004, the Twenty Column Hall forms a truly fitting setting for the collection of vases from ancient Italy. Not only is the collection more fully accessible to the public than ever before, but the gallery information includes recent scholarly discoveries, new ideas, attributions and dating. Future plans include the opening of a new exhibition of early Greek ceramics in the Archaic hall and we are working on the Hall of Vases, demonstrating the full brilliance of the Hermitage collection of Attic vase-painting.

First fruits of our new programme is this volume devoted entirely to Lucanian red-figure ceramics. The next three volumes will deal with geometric, Mycenaean and Cypriote vases, Attic black- and red-figure drinking cups, and Attic black-figure vases from Panticapaion, to be followed by volumes on Corinthian vases, Gnathian vases, Kerch vases and a group of Attic ceramics. In time we aim to bring the full extent of the Hermitage's collection to the attention of international scholars, further expanding and perfect those parts of it on display to the public in the Museum itself.

ANNA TROFIMOVA

Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum - Programme Director

SOUTH ITALIAN VASES IN THE HERMITAGE

Attic and South Italian vases are the groups best represented in the Hermitage's extensive collection of antique vases. Amongst the South Italian vases, first place (in terms of quantity) is occupied by Apulian vases, of which there are more than four hundred, with works by all the leading painters and workshops, such as the Lycurgus Painter, Darius Painter, Iliupersis Painter, Baltimore Painter, White Saccos Painter and many others. There are more than forty Tarentine rhyta in the form of heads of beasts. Nearly one hundred painted Campanian vases include outstanding masterpieces such as vases by the Ixion Painter or Laghetto Painter. Unfortunately, we have only a single example from Paestan and Sicilian ceramic fabrics, but each is superb: the celebrated phlyax vase by Asteas, and a polychrome vase adorned with a rare scene of Heracles' drunkenness. The collection of fish plates, some twenty original pieces made in various parts of South Italy, presents a full picture of each of the South Italian schools of vase-painting (excepting only the Lucanian fabric). With more than one hundred and fifty items, the collection of ceramics in the Gnathia style is one of the largest in the world outside Italy itself, yet it remains largely unknown to specialists. Also well-represented are painted vases from local Apulian workshops: more than fifty vessels produced over the course of several centuries by the ceramicists of Daunia, Peucetia and Messapia. The large collection of black-glazed ceramics (some three hundred pieces), red-glazed vessels from Italy and the North Black Sea area, South Italian plastic vases - all these will in time be presented to international scholars through the medium of the Corpus Vaso rum Antiquorum.

We have decided to commence publication of the Hermitage's antique ceramics with the Lucanian red-figured vases, forming a compact group within the rich collection of South Italian vases, moreover one almost entirely produced by known painters. At some thirty pieces, the Hermitage collection of Lucanian vases is the largest in the Commonwealth of Independent States (the former Soviet Union).

Nearly all the leading painters are represented: three vases by the Pisticci Painter, six by the Amykos Painter, four by the Creusa Painter, three vases by the Roccanova Painter, two each by the Dolon, Anabates, Primato Painters and six fragments of the Choephoroi Painter. Two vases can be placed in the Intermediate Group. Because we have several vases by each painter, we were able to base this volume on the form used in the relevant volume of the Louvre CVA (Louvre, fasc. 25). This allows us to study the development of style and to bring out the individual features of each master, while assessing the work of masters in his circle. The greater part of the vases in this group were attributed by Arthur Dale Trendall and published in his fundamental works on the ceramics of Lucania, Campania and Sicily. We have provided attributions for the remaining few vases.

We would like to mention the volute-krater, which was attibuted by A.D. Trendall as a work of the Painter of Leningrad 988 (TRENDALL, LCS, no. 912). Thanks to its very interesting subject (side A: Hera in magic chair; side B: triumph of Apollo over Marsyas) it was well known and discussed in various articles. But the careful restoration of this vase from the Pizzati collection showed that all its surface was renewed.

11 FOREWORD

The author would like to express her profound gratitude to Dr. Martine Denoyelle, Keeper of Ceramics in the Department des Antiquités Grecques, Etrusques et Romaines at the Louvre, for her valuable advice.

Such a volume was made possible only thanks to the help of many members of staff from different departments in The State Hermitage Museum. I would particularly like to mention the photographer, Natalya Antonova, and her department head Sergey Pokrovsky, as well as Valery Zubarov who scanned the images. Thermo-luminescent analysis of the clay was undertaken by Sergey Khavrin in the Scientific Analysis Laboratory headed by Alexander Kosolapov, and restoration of the objects themselves was carried out in the Ceramics Restoration Laboratory headed by Anna Pozdnyak. To all of them, I would like to express my heartfelt thanks.

ELENA ANANICH Keeper of South Italian Vases

Department of Greek and Roman Antiquities, The State Hermitage Museum

ABBREVIATIONS

Boston, 1993 Vase-Painting in Italy. Red-Figure and Related SCHAUENBURG, K. SCHAUENBURG, Studien zur unteritalis-Works in the Museum of Fine Arts. Boston, Studien chen Vasenmalerei, B.I-VllI, Kiel, 1999-2005. 1993. St. Stephani.

BSR British School in Rome. STEPHANI L. STEPHANI, Die Vasensammiung der Kai-CVA Corpus Vasorum Antiquorum. serlichen Ermitage, 2 vols., St. Petersburg, DENOYELLE, 1993 M. DENOYELLE, La ceramica protoitaliota 1869.

alcune testimonianze delle relazioni tra Ma- TRENDALL, ChP A.D. TRENDALL, The Choephoroi Painter, gna Grecia ed Etruria, in Magna Grecia Etru- in Studies Presented to Devis Moore Robin-schi Fenici, Atti del trentatreesimo convegno son, 1953, vol. II, pp. 114-126. di studi sulla Magna Grecia, Taranto, 8-13 TRENDALL, FV A.D. TRENDALL, Frühitaliotische Vasen. ottobre 1993. Napoli, 1996. Leipzig, 1938.

DEN0YELLE, 1994 M. DENOYELLE, Iconographie mythique et TRENDALL, A.D. Trendall, Red-figure Vases of South Italy personnalité artistique dans la céramique pro- HANDBOOK and Sicily. A Handbook. London, 1989. toitaliote, in Modi efunzioni del racconto mz TRENDALL, LCS A.D. TRENDALL, The Red-figured Vases of tico nella ceramica greca, italiota ed etrusca Lucania, Campania and Sicily, Oxford, 1967. dal VI al IV secolo aC., Atti del Convegno TRENDALL, LCS, A.D. TRENDALL, The Red-figured Vases of Internazionale, Raito di Vietri sul Mare, Suppl. I Lucania, Campania and Sicily. First Supple-29131 maggio 1994. Salerno, 1995. ment (Supplement to the Bulletin of the In-

DENOYELLE, 1997 M. DENOYELLE, Attic or non-Attic?: The stitute of Classical Studies of the University Case of the Pisticci Painter, in Athenian Pot- of London, 26). London, 1969. ters and Painters. The Conference Proceed- TRENDALL, LCS, A.D. TRENDALL, The Red-figured Vases of ings, Oxford, 1997, 395-405. Suppl. III Lucania, Campania and Sicily, Third Supple-

FR A. FURTWANGLER, K. REICHHOLD, Grie- ment (Supplement to the Bulletin of the In-chische Vasenmalerei, Serie 1-111, München, stitute of Classical Studies of the University 1902-1927. of London, 41). London, 1983.

GIAMBERSIO A. GIAMBERSIO, Il Pittore di Pisticci. 1989. WALDHAUER O.F. WALDHAUER, Imperatorskiy Ermitazh. Lay. Laval. Kratkoe opisanie sobraniya antichnykh Pizz. Pizzati. raspisnykh vaz [The Imperial Hermitage. SCHAUENBURG, 1961 K. SCHAUENBURG, Gottergeliebte aufunte- Brief Description of the Collection of An-

ritalischen Vasen, in A&A 10, 1961. tique Painted Vases]. St Petersburg, 1914.

For the most commonly used abbreviations see Archaologische Bibliographie: Jahrbuch des Deutschen ArchSologischen Inst it uts.

LUCANIAN VASES

PLATE 1

1-3. HYDRIA. Inv. No. B.1577 (St. 1627). From the Campana collection, 1862. H. 33 cm; d. rim 13.4 cm; max. d. 22 cm; d. base 115 cm.

Part of the wall with the handle has been repaired; three small chips around the lip; deep oval chip on Eros' wing. Dark stains on the reserved surface. Clay: pale orange-brown. Glaze: black, shiny, in places brown (particularly on the shoulders and neck).

Contours of figures outlined with thick lines of glaze. Traces of preliminary drawing. Glazed: rim, handles, lower part of body and foot. Reserved: lower part of neck, area inside handles, vertical wall of foot and inner surface of foot. On the neck a laurel wreath running right, between two narrow uneven reserved bands. Be-neath the image runs a meander pattern broken by a saltire square.

On the body a three-figure composition. In the mid-dle is Eros in a laurel wreath moving right, stretching out his arms to a woman running right and looking back over her shoulder. The woman wears a diadem, chiton and himation tossed across her left shoulder. To left of Eros is another woman moving left and looking back over her shoulder. On her head is a saccos, the figure is totally wrapped in a hymation forming collar-like folds at the neck. At the centre of the composition below is a double tendril with petals.

Pisticci Painter (attributed by A.D. Trendall). Circa 435-420 B.C. In form the vase is close to big hydriae by the Pisticci

Painter (compare CVA Louvre 25, pl. 3.1-3). The hydria is in the Pisticci Painter's developed style (TRENDALL,

LCS, 21). Three of the sixteen stock figures characteris-tic of the master's work appear on the body: Eros pur-suing someone with his arms outstretched; the draped woman in a saccos running left; the woman with a dia-dem running right and looking back (TRENDALL, LCS, 10-11, i, vi, vii; with a list of the numerous vases on which the figures appear). The closest analogies for the figure of Eros are on bell-kraters in Gallipoli (TEEN-

DALL, LCS, no. 11, pl. 2.3) and Giudici (TRENDALL,

LCS, no. 12, pl. 25), although on those vases Eros has a fillet tied around his head. For the woman to left the closest parallels are on the same bell-krater in Gallipoli, a bell-krater in Denver and a calyx-krater in Lecce (TRENDALL, LCS, no. 14, pl. 3.1,5 respectively). The woman to right appears in reverse on a bell-krater in Taranto (TRENDALL, LCS, no. 15, pl. 3.3). Very close similarities to both female figures can be seen in figures on a hydria in Metaponto (TRENDALL, LCS, Suppl. III, 6, no. 25a, pl. 1.3). Eros' hairstyle and the pattern of his wings on the Hermitage vase are absolutely identical to those on the kalpis in Boston (Boston, 52, no. 3). On the depiction of Eros' wings in early-Lucanian vase-painting see SCHAUENBURG, Studien, B. II, 26. On the specific features of the style of the Pisticci Painter and his links with Attic vase-painters see DENOYELLE 1997, 395-405. On the divergence from the Attic iconographic tradition in the work of the first early-Lucanian vase-painters see DENOYELLE 1994, 83-101. On the Pisticci Painter see TRENDALL, LCS, 9-25.

Bib!.: STEPHANI II, 236, no. 1627; Compte.rendu de la Commission impéri-ale archéologique, St Pétersbourg, 1872, 143; S. REINACH, Repertoire de pci-s-tores grecques et romaines, Paris, 1922, 56, no. 7; A. FURTWANGLER, Eros in der Vasenmalerei, 1874, 55; TRENDALL, FV, 32, no. 47; SCHAUENBURG,

1961, 80 . 82; TRENDALL, LCS, 18, no. 26; SCHAUENBURG, Studien, B. II, 26,

Abb. 82.

PLATE 2

1-2; P1. 3, 1-2. BELL-KRATER. Inv. B.207 (Pizz. 273; St. 844; W. 782). From the Pizzati collection, 1834. Found in Apulia. H. 31.5 cm; d. rim 32 cm; max. d. 25.4 cm; d. base 14.8 cm. Broken and repaired, missing fragments filled in with plaster. Surface worn with many minor pits and chips. Deep chip on the knee of right-hand silen on side A, on the breast of the standing youth in the middle of side B. Small dark incrustations. Large dark stains on the reserved surfaces. Clay: pale orange-brown. Glaze: black with a metallic sheen; pale brown around the handles.

Glazed: inner surface of the vessel (except for re-served bands), rim, handles, lower part of body and foot

14

LUCANIAN VASES

(except the vertical edge and area inside the handles). Under the rim a laurel wreath running right between two reserved bands. A band of meander broken by a crossed square runs across both sides, confined to the area below the image.

A. Three-figure composition on a Dionysiac subject. In the middle a maenad in a chiton and himation tossed across the left shoulder. On her head a diadem, in her right hand a drinking horn, a thyrsus in her left. The maenad is shown frontally with her head turned left, her gaze directed at a bearded silen holding out his hand to her. To her right is a second bearded silen turned left and standing on one leg, the other leg bent at the knee. With his right hand the silen touches the thyrsus; his left hand thrown back. The hair of all three is shown as a solid mass ending in individual locks painted with dilute glaze. The silens both have large bald patches above their pointed ears.

B. Three youths in himatia. The central youth (totally wrapped in a cloak) and the youth to left face each other. Both of the flanking youths have one bare arm resting on a staff. The hair of all figures is shown as a solid mass with individual locks projecting below (as on side A).

Pisticci Painter (attributed by A.D. Trendall). Circa 430-420 B.C. The bell-krater was the Pisticci Painter's favourite

form. This vase relates to works in his developed style (TRENDALL, LCS, 16) and is painted in a manner characteristic of his vases on Dionysiac subjects. The silens on the front have hair but bald patches. Both sides are almost identical to the two sides of a bell-krater in Nara dated by Trendall to 430 B.C. (CVA Tokyo 1, Taf. 43.1-2), except that there the figure of the maenad is more sharply turned, the left silen holds an oinochoe, the laurel wreath pattern is more schematic and the band of meander is broken by a square with a saltire rather than a straight cross. Simi-lar depictions of a maenad and the left silen appear on a bell-krater in the National Museum, Copenhagen (CVA Copenhagen 5, IV C, pl. 233.1). Both silens are similar to those on a vase (CVA Switzerland 2, p1. 30.1) and on a bell-krater at Zurich University (CVA Zurich 1, IV F IV D, Taf. 43.1-2). The left silen is closest to similar images on a bell-krater in Trieste (TRENDALL, LCS, no. 69, pl. 6.3) which, like the Hermitage work, has a very poorly executed left hand. The maenad is in many ways similar to that on a hydria, Hermitage B.1577 (PLATE 1.1-3), although shown from a slightly different angle. We should pos-sibly see the closest parallel to the image on the Her-mitage vase on a column-krater, Louvre G 405 (IDE-

NOYELLE 1997, 397, fig. 2). The young men on the back is one of the master's characteristic figures from Type II (A1+C+D1) and thus have many analogies, for instance on a vase in Taranto (CVA Taranto 3, IV D, tav. 7.2) and in both the left and right youths on another vase in Taranto (CVA Taranto 3, IV D, tav. 1.2); the middle youth finds analogy in a similar fig-ure on a vase in Taranto (CVA Taranto 3, IV ID, tav. 6.2) and in the youths on side B of a calyx-krater, Hermitage B.1657 (PLATE 4.2). On changes in the iconography of maenads and silens in the late 5th cen-tury B.C. in the works of the Pisticci Painter see Gi-AMBERSIO, 143-144. On the specific features of the style of the Pisticci Painter and his links with Attic vase-painters see DENOYELLE 1997, 395-405. On the divergence from the Attic iconographic tradition in the work of the first early-Lucanian vase-painters see DENOYELLE 1994, 83-101. On the Pisticci Painter see TRENDALL, LCS, 9-25.

Bibi.: STEPHANI I, 351, no. 844; WALDHAUER 98, no. 782; TRENDALL, Ft 32, no. 19; TRENDALL, LCS, 23, no. 65; GIAMBERSIO, 143-144.

PLATE 3

1-2. BELL-KRATER. Inv. B.207 (details).

PLATE 4

1-2; P1. 5, 1-2. CALYX-KRATER. Inv. B.1657 (St. 889; W. 771). From the Campana collection. H. 30 cm; d. rim 30.8 cm; max. d. 24.6 cm; d. base 14.6 cm. Broken and repaired. Small missing pieces filled in with plaster. Black incrustations and dark stains on the reserved sur-face. A large dark stain of unknown origin on the neck and chest of the silen to left. Clay: pale orange-brown. Glaze: deep black with a pronounced shine.

Glazed: inner surface of the vessel (except two re-served panels), rim, handles, lower part of body and foot (except for two reserved bands in the upper and lower part of the pedestal). Reserved: inner surface of foot. Under the rim a laurel wreath running right be-tween two reserved bands. A band of meander broken by a crossed square runs across both sides confined to the area below the image.

A. Three-figure composition on a Dionysiac subject. In the middle a maenad in a saccos, long chiton and hi-mation moving right. In her outstretched right hand she holds a thyrsus; her left hand is wrapped in her hima-

PLATES 3,4,5,6

15

tion. To right of the maenad is a silen moving right and looking backwards. His body is conveyed frontally, the head turned to left. In his right hand he holds a drink-ing horn out to the maenad; the left hand is folded across his chest and makes a gesture of invitation. Be-hind the maenad is another silen moving right, creeping cautiously in her wake, his left hand stretched out and his raised left leg bent at the knee. His right hand is thrust backwards. The silens' hair is shown as a solid mass ending in individual locks painted with dilute glaze.

B. Three youths in himatia. The central youth and the youth to left face each other. The central youth is totally wrapped in a cloak forming collar-like folds at the neck. Each of the side youths holds a staff in his outstretched right hand. The hair is shown as on side A in a solid mass with individual locks emerging below.

Pisticci Painter (attributed by A.D. Trendall). Circa 440-430 B.C. A rare form for the Lucanian school. The vase is

one of the very earliest in the Pisticci Painter's devel-oped style (TRENDALL, LCS, 22) and is characteristic of his vases on Dionysiac subjects. Closest compari-son can be made with bell-kraters in Catania (TIREN-

DALL, LCS, no. 68, pl. 6.2) and Trieste (TRENDALL, LCS, no. 69, pl. 6. 3). Greatest similarity to the depic-tion of drapery folds, the poses and outlines of the bodies of the maenad and the youths on side B can be seen on a bell-krater in Basle (TRENDALL, LCS, no. 33, pl. 4.4). An almost identical image of a mae-nad appears on a vase in Taranto, except that the fig-ure there has a fillet (CVA Taranto 3, IV D, tav. 6.1), on a bell-krater in Boston, except that she plays a flute (Boston, 50, no. 2), and on a lebes gamikos from the Metaponto necropolis dated to 440-420 B.C. (J.C. CARTER, The Chora of Metaponto. The Necropoleis, University of Texas Press, vol. I, 1998, 616, T.97-5). Closest to the silen to right of the maenad, but with-out the horn, is the right silen on a bell-krater in Catania (TRENDALL, LCS, no. 68, pl. 6.2), and there is some similarity to the right silen on an early bell-krater in the University of Michigan (TRENDALL,

LCS, no. 2, pl. 1.3). The youths on side B belong to the group of Type II A1+C+D1 and thus have numer-ous analogies, for instance on a bell-krater, Hermitage B.207 (PLATE 2.2). On changes in the iconography of maenads and silens in the late 5th century B.C. in the works of the Pisticci Painter see GIAMBERSIO, 143-144. On the specific features of the style of the Pistic-ci Painter and his links with Attic vase-painters see DENOYELLE 1997, 395-405. On the divergence from

the Attic iconographic tradition in the work of the first early-Lucanian vase-painters see DENOYELLE

1994, 83-101. On the Pisticci Painter see TRENDALL, LCS, 9-25.

Bibi.: STEPHANI I, 391, no. 889; WALDHAUEB, no. 771; TRENDALL, FE 32, no. 37; TRENDALL, Ii Pittore del Ciclope, in AttiMGrecia, n.s. 3, Rome, 1960, 89, nota 1; TRENDALL, LCS, 24, no. 80, pl. 6.5-6.

PLATE S

1-2. CALYX-KRATER. Inv. B.1657 (details).

PLATE 6

1-2; P1. 7, 1-2. BELL-KRATER. Inv. B.4744. Transferred from the State Museums Fund in 1929. Formerly in the collection of N. F. Romanchenko. Found in the North Black Sea Area. H. 31.5 cm; d. rim 36.6 cm; max. d. 28.6 cm; d. base 14.2 cm. Foot repaired. Surface much worn, with numerous defects and chips. Dark spots and stains on the reserved areas. Clay: pale orange-brown. Glaze: black, olive-toned in places, with a slight sheen.

Glazed: inside surface of the vessel (except two small reserved bands), rim, handles, lower part of body and foot (except for the inside and two bands). Under the rim is a laurel wreath running left between two bands. A band of meander broken every three repeats by squares with either saltire or straight crosses appears on both sides, confined to the area below the image.

A. Three-figure composition. In the middle a woman in a long peplos decorated with a double stripe along the edge, running left and hitting a ball with her out-stretched right hand; her left hand thrust backwards. The fillet on the woman's head and her jewellery - cross-shaped earring and a necklace - are painted in undilute glaze. To right of the central figure is a woman in a chiton and himation decorated with a broad black border. The woman wears a fillet and a necklace. In her right hand she holds a mirror while her left hand, wrapped in drapery, rests on her hip. In the left side of the composition is a naked youth facing the woman playing with the ball. His left hand, wrapped in a hima-tion, grips a staff. His right arm, bent at the elbow, is outstretched. The hair of the figures is shown as a solid dark mass.

B. Three youths in himatia. The youth to left and the central youth are totally wrapped in their drapery and face each other. Between them, above, is a pair weights. The youth to right holds a staff in his outstretched right

16

LUCANIAN VASES

hand. The hair of the figures is shown as a solid mass from which a few curls, painted with dilute glaze, emerge around the neck.

Amykos Painter (attributed by A.D. Trendall). Circa 420-4 10 B. C. According to somewhat unclear archive notes, N.F.

Romanchenko acquired this vase in 1893 while he was conducting excavations near Evpatoria (Crimean penin-sula). The vase itself was found by chance in a plun-dered grave in 1890.

Trendall grouped the krater with vases showing genre subjects (TRENDALL, LCS, 42). The woman with a ball is shown with Eros on a panathenaic amphora in Vienna (TRENDALL, LCS, 45, no. 220), while a skyphos in Bielefeld University shows the woman with a ball and an athlete (TRENDALL, LCS, no. 189). Although Tren-daJJ did not include the Hermitage krater in his list of later vases by the Amykos Painter, he noted that a whole series of features might justify grouping this vase among the artist's somewhat later works (see TRENDALL, LCS, 47). Features from the master's mature period are: the woman in the peplos with its double black stripe along the edge, the composition on the back of the vase begin-fling with type B and others (see TRENDALL LCS, 31). In style the krater reveals similarities to a hydria from Policoro in Taranto (TRENDALL, LCS, no. 223). The woman to right with her hand on her hip occurs fre-quently in the master's works, for instance on a hydria in Ban (TRENDALL, LCS, no. 221, pl. 18.3) or a bell-krater, Hermitage B.332 (PLATE 8.1). The composition on side B (B1+C+D3) has many analogies; for instance the left and right youths are absolutely identical to the same figures on a bell-krater, Hermitage B.332 (PLATE 8.2). Dr Martine IDenoyelle suggested (personal commu-nication, 2001) that the vase should be placed amongst the Amykos Painter's early works. On the nature of the Amykos Painter's style see DENOYELLE 1997, 395-405. On the divergence from the Attic iconographical tradi-tion in the work of the first early-Lucanian vase-painters see DENOYELLE 1994, 83-101. On the influence of Etr-uscan art on Lucanian painters see DENOYELLE 1993, 281-293. On the Amykos Painter see TRENDALL, LCS, 29-50.

Bibl.: Izvestiya Arkheologicheskoy komissii [News from the Archaeological Commission], Issue 25, 1907, 184, fig. 23; TRENDALL, FV, 34, no. 116; TRENDALL, LCS, 43, no. 205, pl. 16.4.

PLATE 7

1-2. BELL-KRATER. Inv. B.4744 (details).

PLATE 8

1-2; P1. 9, 1-2. BELL-KRATER. Inv. B.332 (Pizz. 281; St. 1088). From the Pizzati collection, 1834. Found in Apulia. H. 34 cm; d. rim 35.6; max. d. 28.4 cm; d. base 15.2 cm. Intact, but surface slightly worn with numer-ous chips and cracks. Deep chip above the forehead of the woman standing to left on side A. Clay: pale orange-brown. Glaze: black, shiny, with a metallic sheen.

Glazed: inner surface of the krater (except reserved bands inside and around the edge of the rim), handles, lower part of body and foot (except the vertical wall of the pedestal). Under the rim is a laurel wreath running right between two uneven reserved bands; around the handles tongue pattern; confined to the area below the image on both sides of the krater is a band of meander broken by saltire squares.

A. Three-figure composition. In the middle is a naked athlete with a himation thrown across his left shoulder. The youth's body is depicted hearly frontally, the head turned left. In his right hand he holds a wreath, his left rests on a club. He looks at a woman to left wearing a peplos and diadem and holding out an oinochoe to-wards him. To right is another standing woman in a chi-ton and himation. She has a fillet on her head and holds an alabastron in her right hand. The hair of the figures is shown as a solid dark mass with some fine curls emerging, painted in dilute glaze.

B. Three youths in himatia. To left a standing youth totally wrapped in drapery, facing right. Two other youths in the middle and to right facing left, both with right arm outstretched and resting on a staff. The hair is conveyed in a solid dark mass from which some find locks emerge. Top left is a depiction of weights.

Amykos Painter (attributed by A.D. Trendall). Circa 420-410 B.C. Trendall suggested that the scene on side A was set in

a palaestra (TRENDALL, LCS, 37). Prof. K. Schauenberg suggested that the youth on side A was Herakies, as is suggested by the club (SCHAUENBURG, Herakles und Omphale., p. 71, fig. 2). The image of the youth stand-ing almost frontally with the weight on one leg, his head in profile, is found quite often in the works of the Amykos Painter. Closest to the youth on the Hermitage krater are a figure of a youth (and the woman standing to right of him) on a bell-krater in Stockholm (TREN-DALL, LCS, no. 173, pl. 145) and a youth standing to right on a column-krater in Berlin (TRENDALL, LCS, no. 182, pl. 15.3). The woman to right is closest of all to a woman - although the latter holds a wreath - on a skyphos in Copenhagen (TRENDALL, LCS, no. 264, P1.

PLATES 7,8,9, 10, 11, 12

17

21.6). The standing woman to left reveals similarities to a woman holding an oinochoe on a bell-krater in Taran-to (CVA Taranto 3, tav. 10.1). On side B the composi-tion (B1+D3+D3) has many analogies: for instance, the left and right youths are absolutely identical to figures on a bell-krater, Hermitage B.4744 (PLATE 6.2). Tren-dall thought the krater to be a late work by the master and saw stylistic similarities to two other late vases: a nestoris in Berlin (TRENDALL, LCS, no. 217, pl. 17.3) and a panathenaic amphora in Naples (TRENDALL, LCS, no. 246, pl. 20.1). In the opinion of A.D. Amicis the Hermitage krater can be included in a group of vas-es painted by the Karneia Painter during his early peri-od (AD. AMIcIs, in Vecchi Scavi, Nuovi Restauri, exhi-bition catalogue, Tarent, 1991, 136-137). For more information on the Karneia Painter 'A' see CVA Louvre 25, 23. On the nature of the Amykos Painter's style see DENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, LCS, 29-50.

Bibi.: STEPHANI II, 15, no. 1088; TRENDALL, FV, 34, no. 126; K. SCHAUENBLJRG, Herakies unci Omphale, in RiviPh 103, H. I, 1960, 68, Nr. 12, abb. 2; TRENDALL, LS, 40, no. 174, P1. 14, 34.

PLATE 9

1-2. BELL-KRATER. Inv. B.332 (details).

PLATE 10

1-2; P1. 11, 1-2. BELL-KRATER. Inv. B.331 (St. 853; W. 972). From the Pizzati collection, 1834. H. 32.2 cm; d. rim 36.8 cm; max. d. 26.6 cm; d. base 16 cm. Intact, but surface worn, with many small chips, deep scratches and grey stains of uncertain origin. Large long chips in the face and clothes of the woman and the face of Dionysos. Dionysos has been retouched. Clay: pale or-ange-brown. Glaze: black, shiny, with red spots in places (the result of firing).

Glazed: inner surface of the krater (except reserved bands), rim (except two bands), handles, lower part of body and foot (except a fine band at the junction of body and foot and a wide band on vertical wall of pedestal). Under the rim is a laurel wreath running right between two uneven reserved bands. Confined to the area below the image on both sides is a band of mean-der broken by saltire squares.

A. Three-figure composition on a Dionysiac subject. In the middle is Dionysos seated on a rock facing left, his thyrsus leaning against his left shoulder. On his head

Dionysos wears an ivy wreath. The lower part of his body and his legs are enveloped in a himation. Dionysos holds the hand of a standing woman facing right. She wears a peplos with a double stripe running down the side, tied with a girdle, and has a fillet on her head. In her left hand she holds a large hydria. Above, between them, hangs a tympanum. To the right of Dionysos is a standing bearded silen facing left with a double flute in his hands. The hair of all figures is shown as a solid dark mass with some fine locks emerging, painted with dilute glaze.

B. Three youths in himatia (A+1D3+D3). The hair is conveyed in a solid mass with some curls emerging.

Amykos Painter (attributed by A. D. Trendall). Circa 420-4 10 B. C. Trendall put the krater in a group of vases on Dionysi-

ac subjects (TRENDALL, LCS, 32-37); it is one of the painter's rare vases showing IDionysos himself. The drapery and pose of the woman on the front somewhat recall a similar figure on a krater, probably of later date, Hermitage B.332 (PLATE 8.1), while the youths in the middle and to right on the reverse recall figures on the same krater (PLATE 8.2). The pose of the seated IDionysos reveals similarities to that of a seated silen on a bell-krater in Taranto (CVA Taranto 3, tav. 9.1,4). It is interesting to note that the depiction of the rock intro-duced to Lucanian vase painting by the Amykos Painter is different here to that seen on his other vases, the out-line of the rock being incised. On the specific features of the style of the Amykos Painter see IDENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, LCS, 29-50.

Bibi.: STEPHANI I, 361, no. 853; WALDHAUER, no. 972; TRENDALL, FV,

34, no. 104; TRENDALL, LCS, 35, no. 126.

PLATE 11

1-2. BELL-KRATER. Inv. B.331 (details).

PLATE 12

1-2; P1. 13, 1-2. BELL-KRATER. Inv. B.5592. Trans-ferred from the former Museum of the Society for the Encouragement of the Arts, 1930. H. 31 cm; d. rim 32.4 cm; max. d. 24.4 cm; d. base 15 cm. Broken and re-paired, missing a number of small fragments, some of them filled in with plaster. Surface very worn, with nu-merous small chips, pits and dark stains. The whole in-ner surface spoiled by unskilled restoration. Clay: pale

18

LUCANIAN VASES

orange-brown, covered with reddish wash. Glaze: black, in places shiny, in others matt.

Glazed: inner surface (except two broad reserved bands at the rim), handles, lower part of body and foot (except for reserved vertical wall of pedestal). Under the rim a laurel wreath running right between two broad reserved bands. Confined to the area below the image on both sides is a band of meander, broken by a saltire rectangle with dots.

A. Two maenads in long chitons and himatia with a thyrsus in their right hands, standing either side of an ithyphallic bearded berm turned left to face the figure to left. The hair is shown as a solid black mass, possibly gathered with a fillet (the image is poorly preserved).

B. Three youths in himatia (B+1D3+C1). The youth standing to left and the youth in the middle leaning on a staff are turned to face each other. The hair is shown as a solid black mass, with individual locks emerging con-veyed with black dots, sometimes united into a single mass with barely noticeable lines of dilute glaze.

Amykos Painter (attributed by A.D. Trendall). Circa 430-420 B.C. The drapery and pose of the woman to left, the lau-

rel and meander are similar to those on a hydria in the Louvre (CVA Louvre 25, pl. 8.1,3). Closest of all to the image on the Hermitage krater would seem to be that on a bell-krater exhibited on the market at the Galerie Athena in Munich (TRENDALL, LCS, Suppl. III, 13, no. 117a; ill. in AntK 22, 1979, in advert on p. v). There is also a compositional similarity to a bell-krater in Brussels (CVA Brussels 2, IV Db, pl. 4.3). The woman to left is close to a similar figure on a pelike in the British Museum, but without the wreath (TREN-DALL, LCS, no. 187, pl. 155). An analogous image to the left woman (in pose and drapery) is found also on two bell-kraters in the Fogg Art Museum, Cambridge, MA (TRENDALL, LCS, no. 155, pl. 13.3) and in Paler-mo (TRENDALL, LCS, no. 156, pl. 13.5). On the berm types see R. LULLIES, Die Typen der griechischen Herme, in AJA 46, 1942, 64. The composition (B+D3+C1) on side B is most often found in the Amykos Painter's works showing athletes (see TREN-DALL, LCS, nos. 151, 152, 154). The composition on side B, starting with the image of a type B youth, is characteristic of the Amykos Painter's late works (TRENDALL, LCS, 31). On the specific features of the style of the Amykos Painter see DENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, LCS, 29-50.

BibL: TRENDALL, LCS, 34, no. 117.

PLATE 13

1-2. BELL-KRATER. Inv. B.5592 (details).

PLATE 14

1-2; P1. 15, 1-2. BELL-KRATER. Inv. B.1935 (W. 781). From the collection of A. D. Bludov (?), 1888. Found in Greece. H. 31.4 cm; d. rim 31.2 cm; max. d. 24.4 cm; d. base 14.8 cm. Broken and repaired, some small frag-ments missing, some filled in with plaster and repainted. Large chip along the edge of the pedestal. Surface very worn with many small chips, pits and dark stains. Clay: pale orange-brown. Glaze: black, shiny, slightly orange in places (the result of firing). Much repainted.

Glazed: inner surface (except two reserved bands), handles, lower part of body and foot (except for re-served vertical wall of pedestal). Under the rim a laurel wreath running right between two narrow reserved bands. Confined to the area below the image on both sides of the vase is a band of meander broken by crossed rectangles.

A. Three-figure composition. Two women and a youth moving to right. First is a woman in a long chiton with a triangular fillet in her hair, playing the flute. Behind her comes a naked youth with a himation tossed over his shoulder and with a fillet on his head. He turns back and stretches out his right hand to draw towards him a second woman in a chiton and himation with a triangu-lar fillet in her hair. The youth's body is conveyed frontally, his head turned left, the left leg bent at the knee, the right stretched to one side. The hair is con-veyed in a solid dark mass with some individual locks emerging.

B. Three youths in himatia (B1+D1+C1). The youth standing to left and the youth in the centre resting on a staff are turned to face each other. The youth standing to right is turned left and totally wrapped in a cloak. The hair is shown as a solid black mass with some individual locks emerging below. Top right there is a depiction of weights.

Amykos Painter (attributed by A.D. Trendall). Circa 420-4 10 B. C. Trendall identified the vase as a genre scene. The tri-

angular fillet and the scheme on the reverse beginning with the type B youth are evidence that the krater was painted by the master during his late period. The scene is painted with unusual expression and somewhat care-lessly executed. The women's drapery and head fillet, particularly those of the woman to right, bear some styl-

PLATES 13, 14, 15, 16, 17, 18, 19

19

istic similarities to details on a bell-krater in the Louvre (CVA Louvre 25, pl. 12.1,2). The youth's pose bears some similarities to a similar figure on a bell-krater in Taranto (CVA Taranto 3, tav. 9.5,8). The composition on the reverse is B1+D1+C1. Oskar Waldhauer suggested the krater was an Attic vase (WALDHAUER, 98, no. 781). On the specific features of the style of the Amykos Painter see DENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, LCS, 29-50.

BibL: WALDHAUER, 98, no. 781; TRENDALL, FV, 34, no. 117; TsxN-

DALL, LCS, 43, no. 202.

PLATE 15

1-2. BELL-KRATER. Inv. B.1935 (details).

PLATE 16

1-3; Pis. 17, 1-2; 18, 1-2. COLUMN-KRATER. Inv. B.272 (St. 1725; W. 799). From the Pizzati collection, 1834. H. 40.5 cm; d. rim 36.8 cm; max. d. 30.4 cm; d. base 18 cm. Intact, but surface worn, with numerous small chips, in places flaking of the glaze. Long large chips on rim and neck. Edge of left projection of rim broken off, chip on right projection. Deep chips in sur-face on side A on face and neck of the women and on back of Nike's head beneath the hair. Significant flaking of the glaze at junction of body and pedestal. Clay: pale orange-brown. Glaze: brown, shiny.

Glazed: inner surface, handles, lower part of body and foot (except a narrow reserved band on the pedestal). On the underside of the rim images of three lions and two boars; on the neck an ivy tendril facing right; on the projections palmettes; tongue pattern on the shoulders. On both sides the image is flanked by double bands with discs.

A. Four-figure composition. To right Nike seated on a rock facing right with a strigil in her right hand; in front of her a naked athlete with a spear facing left. Nike wears a peplos with a double stripe along the edge and has a fillet on her head. To left a woman in a chiton and himation with a fillet, facing right; facing her is a naked athlete leaning on a staff, his right leg resting on a rock. In her right hand the woman holds a wreath to be pre-sented to the athlete. Hair conveyed in a solid black mass with spiral locks emerging.

B. Four youths in himatia (A1+C+B+D1) forming two compositions, each consisting of a pair of standing youths facing each other, one in each pair totally

wrapped in his himation, the other resting a bare arm on a staff. Hair conveyed in a solid black mass with in-dividual locks emerging.

Amykos Painter (attributed by A.D. Trendall). Circa 420 B.C. Trendall suggested that the vase shows a scene in a

palaestra (TRENDALL, LCS, 37-42). Closest to the Her-mitage krater in composition and in decoration of rim and neck is a krater in Stockholm (TRENDALL, LCS, no. 178, p1. 15.1-2). Trendall compared the image with that on a panathenaic amphora in Taranto from the master's late period (TRENDALL, LCS, 48, no. 248; see CVA Taranto 3, IV D, tav. 11), and the decoration with frag-ments of a column-krater in the Louvre (TRENDALL, LCS, no. 183; see CVA Louvre 25, pl. 14.1-3). There is unquestionable similarity to the image on a bell-krater in Brussels (CVA Brussels 2, IV Db, pl. 4.2). The woman standing to left is close in pose and drapery to a female figure on a pelike in the British Museum (TRENDALL, LCS, no. 187, pl. 155) and she also reveals some like-ness to the woman to left on a bell-krater, Hermitage B.5592 (PLATE 12.1). On depictions of a woman or Nike holding a strigil in her hand (scene in a palaestra) see SCHAUENBURG, Stucizen, BIT, 26 (with the wrong inventory number B.1725). On the specific features of the style of the Amykos Painter see DENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, LCS, 29-50.

Bibi.: STEPHANI II, 283-84, no. 1725; WALDHAUER, no. 799; TRENDALL,

FV. 36, no. 190; TRENDALL, LcS, 40, no. 179; SCHAUENBURG, B. II, 26,

Abb. 83.

PLATE 17

1-2. COLUMN-KRATER. Inv. B.272 (details).

PLATE 18

1-2. COLUMN-KRATER. Inv. B.272 (details).

PLATE 19

1-3. SKYPHOS. Inv. B.1633 (St. 786; W. 1005a). From the Campana collection, 1862. H. 10.5 cm; d. rim 13 cm; d. foot 7.5 cm. Broken and repaired, tiny missing fragments filled in with plaster. Along the edge of the rim are one large and several small chips. Thirty round holes in the body - the remains of ancient restoration. A

LUCANIAN VASES

dent on side B, formed during making of the skyphos. Surface slightly worn with minor chips and dark stains. The lower right part of the animal's back leg is repaint-ed in brown. Clay: pale orange-brown. Bright red wash. Glaze: black, shiny, brownish in places.

Skyphos of Attic shape. Glazed: inner surface, handles, lower part of body and

base. Beneath the handles are palmettes with tendrils and petals. Beneath the image two narrow reserved bands.

A. An Amazon (?) running to right. She wears a short chiton caught up with a broad girdle with a dotted pat-tern and shoes. The wavy edge of her robe is adorned with a dark stripe. On her head she wears a Phrygian cap from which locks of long wavy hair fall onto her neck. In her right hand, thrust backwards, is a fighting axe, in her left a bow.

B. A fallow deer running to left, the front legs raised. Intermediate Group Circa 400 B.C. Many things indicate that the vase belongs to the In-

termediate Group: the form of the skyphos, the decora-tion with its characteristic tendrils and petals, the pal-mettes beneath the handles, the two narrow reserved bands beneath the image etc. The subject with the Amazon is also found in this group of Lucanian vases, although it is not as widespread as Dionysiac subjects or genre scenes with youths in typically relaxed poses. The pose of the running Amazon is probably closest to the poses of running silens on a skyphos in Policoro (TF.EN-DALL, LCS, 64, no. 311; ill. TRENDALL, Handbook, no. 64) and a pelike in Ban (TRENDALL, LCS, no. 345, pl. 32.8). The Amazon's helmet recalls the headwear of an Amazonian on a lebes-gamykos in Berlin (TRENDALL, LCS, no. 365, pl. 33.8). The greatest similarities to the helmet, drapery and axe seen on the Hermitage Ama-zon are found through a comparision with the Amazon on a kylix in Copenhagen (CVA Copenhagen 6, IV C, p1. 237, 3c). Both of these vases are part of the Minniti Group. There are no known analogies for the fallow deer amongst works by masters of the Intermediate Group.

Unpublished. Mentioned briefly by STEPHANI I, no. 786, side A - barbarian.

PLATE 20

1-3; Pls. 21, 1-2; 22, 1-2. BELL-KRATER. Inv. B.2078 (W. 974). Transferred from the Academy of Sciences, 1894. Purchased 1863 from Brunnoli, Naples (?). H. 26

cm; d. rim 25.8 cm; max. d. 20 cm; d. base 12 cm. As-sembled from two large pieces (the lower part of body and foot glued). Several small fragments filled in with plaster. Surface worn with many small chips and pits. Along edge of rim one large and several small chips. On side A beneath the handle a large red stain formed dur-ing firing. On side B a large chip on the hand of the woman standing left and a long chip across the Nike's breast. Clay: pale orange. Glaze: black, shiny, in places with a brownish sheen. Bright red wash.

Glazed: inner surface (except for broad reserved band), rim (except for fine reserved band along the edge), handles, lower part of vessel (except for very fine reserved band), foot (except for fine band along upper edge of pedestal). Under the rim a laurel wreath run-ning left; tongue ornament by the handle roots. Beneath the image around the whole of the vase is a band of me-ander broken by a saltire square with four dots. Beneath the handles are two palmettes one above the other, spi-rals, tendrils and rosettes with dots in the middle (the palmettes most unusual).

A. This image creates a strange impression despite the absence of later additions or repaintings. Three-figure composition. In the middle a standing woman in a long chiton and himation with a veil thrown over her head. In her right hand she holds a sceptre (?), with her left she lifts the edge of her robe (the gesture of a wife). To the left is another figure, turned to the right, probably a woman, in a short girdled chiton and high boots. She stands on tiptoe, holding some long object in her out-stretched hands. Tossed over her bent left arm is an ani-mal skin (?). The woman's hair is cut short and she wears a bracelet. The right arm is covered by some kind of narrow sleeve which bunches up into festoons (?) be-hind her back. To left below is a musical instrument (cithara or lyre?) beside which lies a fan (?). To right of centre is a woman seated on a stone facing left. She wears a long chiton, the lower part of her body is wrapped in a himation and she has a necklace around her neck. In the palm of her right hand is a small stand-ing figure of Eros with long wings, placing a wreath upon her head. She holds a mirror in her left hand. There are stones on the ground. The hair is conveyed with fine curls painted with strongly dilute glaze.

B. Three-figure composition. In the middle is a naked youth with a fillet holding a staff in his right hand. He stands frontally, his left leg to one side, turning his head towards a woman standing to his left, dressed in a long girdled chiton with an overfall. The woman's attire has a fine dot pattern, she wears a necklace and bracelets. She is shown frontally, her head turned to the youth. In her

PLATES 20,21,22,23

21

right hand is a wreath and she holds the left out to the youth. To the youth's right is Nike turned to the right. On her head is a fillet, she wears a necklace and has a bracelet on the right hand, in which she holds a wreath. She wears the same kind of chiton as the woman to left but with a smaller overfall. In her left hand she holds an unidentified object. The hair is shown as a black mass with some odd locks, extremely carelessly executed, escaping along the edge.

Intermediate Group, circle of the painter of Taranto 102547 (attributed by A.D. Trendall).

Circa 410-400 B.C. Trendall saw here some stylistic affinity to the painter

of Taranto 102547, meanwhile pointing out the indu-bitable likeness to works by the Arnô Painter and also that while the painting on the reverse of the krater is in the style of the painter of Taranto 102547, that on the front is by another hand (TRENDALL, LCS, Suppi. III, 28). The subject on the front of the vase is not clearly identifiable. Trendall saw the left figure as a youth with a spear but we cannot assert with any certainty that this indeed a spear, while the drapery folds on the breast throw doubt on the idea that the figure is male. The musical instrument by the feet of the left figure allows us to suggest that it should be identified either with Apollo or with a female flautist. The form and decora-tion of the krater, as well as the drapery of the women on the reverse, are similar to the form, decoration and women's drapery on the front of a bell-krater in Taranto (TRENDALL, LCS, no. 373, pl. 35.3).

Bibi.: WALDHAUER, 101, no. 974; TRENDALL, LCS, Suppi. III, 28, no. 373c (mistakenly with Inv. 13.2678).

PLATE 21

1-2. BELL-KRATER. Inv. B.2078 (details).

PLATE 22

1-2. BELL-KRATER. Inv. B.2078 (details).

PLATE 23

1-3; Pls. 24, 1-2; 25, 1-2. VOLUTE-KRATER. Inv. B.361 (Pizz. 407; St. 845; W. 985). From the Pizzati collection, 1834. Found in Nola. H. 53 cm (with volutes 61 cm); d. rim 37 cm; max. d. 56.4 cm; d. base 18 cm. Broken and repaired, small missing fragments filled in with plaster.

Foot repaired, part of volute filled in with plaster. Sur- face worn with many small chips, cracks and flaking of the glaze. Edges of the rim battered. Clay: pale brown. Glaze: shiny, dark brown, in places pale brown and black.

Glazed: inner surface (except edges of rim), handles (except for volutes), lower part of body and foot (except for vertical wall of pedestal and a fine reserved band). Egg pattern directly under rim, lower down beneath the rim a laurel wreath running right between two reserved bands. On the neck an ivy tendril running right (stems incised) between two reserved bands, a band of triangles and a band of black glaze. On the shoulders tongue ornament between two uneven re-served bands. Ivy tendrils on volutes, tongue ornament at roots of the handles and palmettes with petals beneath handles. Running beneath the image around the whole body is a band of meander broken by saltire squares.

A. Four-figure composition. To left a seated woman in a long girdled peplos, a fillet and bracelets, holding a spear in her left hand and in her right a shield resting on the ground (Athena?). Behind her a youth with a spear, wearing a cloak with a decorated border, with a petasos behind his back). These two figures watch a winged Nike with a phiale in her left hand placing a wreath on the head of a naked youth resting on a club (Herakies?). Hair shown as a solid black mass from which individual curls emerge.

B. Four-figure composition. Two pairs, each of which consists of a youth and a woman turned to face each other. In each pair to left is a naked youth with his right hand resting on his waist and his left hand holding a staff; to right is a woman in a long chiton and himation. The woman to left holds a wreath. Weights above, between the pairs.

Creusa Painter (attributed by A.D. Trendall). Circa 390-380 B.C. One of several volute-kraters by the Creusa Painter

(the form is extremely rare in Lucania before the time of the Primate, Painter; TRE,NDALL, LCS, 88). Another volute-krater by the Creusa Painter is far inferior to the Hermitage work in terms of the painting quality (compare TRENDALL, LCS, Suppi. I, 16, 428a, pl. V.3-4), while on a third krater in Toledo the woman on the right side of the reverse recalls the Nike on the Her-mitage krater in terms of pose, hairstyle and face (TRENDALL, LCS, Suppl. III, C 22, pl. VII.2). It is possible that the seated woman on the front of the krater should be identified as Athena and the standing youth with the club as Herakles. This might find con-

22 LUCANIAN VASES

firmation in a bell-krater in Brindisi on the front of which we see Athena in her traditional attire with Herakies beside her in the same manner as on the Hermitage krater (TRENDALL, LCS, no. 434, pl. 41.6). Trendall noted the high quality of the painting, more typical of early vases by the Creusa Painter, but nonetheless initially placed the Hermitage krater in the 'standard style' group on the basis that it shows typical features, particularly in the drapery. For instance the woman on the reverse is one of the Creusa Painter's stock figures (TRENDALL, LCS, 84, 88). Later Trendall moved the krater to the group of vases he described as belonging to the artist's intermediate phase, between the early and mature periods (TRENDALL, LCS, Suppl. III, 46, C24). The half-open mouths and the folds of drapery forming the Greek letter pi are additional evidence for the authorship of the Creusa Painter. The seated woman on the front is like a similar figure on a pelike in Taranto, except that the latter has a veil and lifts the edge of her robe in the typical 'gesture of a wife' (CVA Taranto 3, tav. 18.1,3); there is some like-ness to a seated woman on a skyphos in Taranto, par-ticularly in the nature of the hairstyle, drapery and face (TRENDALL, LCS, no. 462, pl. 43.2). Trendall himself noted the similarity to a pelike in Naples (TRENDALL, LCS, no. 466). The standing youth with a spear recalls a similar figure on a bell-krater belonging to the Amer-ican Academy in Rome (TRENDALL, LCS, no. 477, pl. 455), while the youth to left on the reverse is almost identical - except for the staff and fillet - to a youth standing to left on a bell-krater in Lecce (TRENDALL, LCS, no. 433, pl. 415); the woman to left is identical to the woman on the front of a bell-krater in the British Museum (A.D. TRENDALL, South Italian Vase Painting, British Museum, London, 1966, pl. 3a). Overall the Hermitage krater, despite the many small differences, relates to a volute-krater by the Dolon Painter in Milan, evidence of the extremely close rela-tionship between vase painters in this workshop (CVA Milano 2, IV D, pl. 2.1). On the Creusa Painter see TRENDALL, LCS, 83-95.

BibL: STEPHANI I, 351-52; WALDHAUER, 102 no. 985; SCHAUENBURG, 1961, pl. 19, fig. 36; TRENDALL, LCS, 88, no. 428, pl. 41.1; A.D. TRENDALL, On the Divergence of South Italian from Attic Red-figure Vase-painting, in Greek Colonists and Native Populations, Proceedings of the First Australian Congress of Classical Archaeology, Sydney 9-14 July, 1985. Oxford, 1990, 220, note 13.

PLATE 24

1-2. VOLUTE-KRATER. Inv. B.361 (details).

PLATE 2.5

1-2. VOLUTE-KRATER. Inv. B.361 (details).

PLATE 26

1-2; P1. 27, 1-2. BELL-KRATER. Inv. B.1667 (St. 1778; W. 973). From the Campana collection, 1862. H. 28.5 cm; d. rim 30 cm; max. d. 28 cm; d. base 14 cm. Assem-bled from two large pieces, the join in lower part of body. Small missing fragments filled in with plaster. Sur-face worn with many small chips and flaking of the glaze. Considerable flaking of the glaze inside on the bottom. Large chip in lower part of girl's drapery. A lit-tle in-painting: the girl's shoes, base of stand and part of table. Clay: orange-brown. Glaze: black, shiny, bright wash. A little added white (in girl's headdress and youth's wreath).

Glazed: inner surface, rim (except for two reserved bands), handles, lower part of body and foot (except for vertical wall and inner surface of foot). Beneath the rim a laurel wreath running right set between two reserved bands. Confined to the area below the image on both sides is a band of meander broken by a saltire square.

A. Two-figure composition: symposium. In the middle a long couch on which reclines a youth in a wreath facing left; the lower part of his body draped. He is propped up on his left elbow which rests on a patterned cushion, while his right index figure is hooked through a flat kylix. In front of the couch stands a low table with fruits. The youth faces a girl standing to left in a short chiton with numerous folds caught up at the waist with a patterned girdle. The wavy edge of her chiton is deco-rated with a black border. She wears a basket crown; she has bracelets and wears laced shoes. The girl's breast is revealed. Her left hand rests on her waist, with her right she attaches a disc to a stand for a game of kotta-bos. Above is a taenia adorned with dotted ornament.

B. Two youths totally wrapped in himatia (H+F). Be-tween the youths an altar and above them suspended weights.

Creusa Painter (attributed by A.D. Trendall). Circa 400-380 B.C. This krater has a particularly interesting subject - the

game of kottabos - that is very rare in the Lucanian school and in the work of the Creusa Painter, although a scene with a girl dancing for a youth reclining on a couch is found in the master's work on a bell-krater that passed at auction (TRENDALL, LCS, Suppl. III, 44, Cl).