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Kleophrades

Published online by Cambridge University Press:  23 December 2013

J. D. Beazley
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Extract

Hartwig was the first writer to give a detailed account of the important painter who for the sake of convenience may be called Kleophrades. Nine vases are assigned by the author of Meisterschalen to an artist whom he terms ‘Amasis II.’; but the name under which he grouped them rests upon an untenable restoration of the fragmentary inscription

on the foot of a cup in the Cabinet des Médailles. The last and broken letter can only be a and we cannot therefore restore Ἄμασις ἔγραφαεν the choice lies between Ἀμάσιος ὑύς and Ἄμασις καλός, and of these the former, which is Six's reading, is probably preferable. In any case the manufacturer from whose workshop the cup came was called Kleophrades.

Type
Research Article
Information
The Journal of Hellenic Studies , Volume 30 , Issue 1 , 1910 , pp. 38 - 68
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1910

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References

1 Meisterschalen, pp. 400–20.

2 Our Nos. 1, 2, 4, 5, 7, 8, 10, 12, 27.

3 Six, in Röm. Mitt. 1888, p. 233Google Scholar.

4 Furtwängler, , Cat. Nos. 2283–4 (A.Z. 1883Google Scholar, Pll. I.–II.).

5 (1) Berlin amphora 2160 (Gerh. Etr. u. Kamp. Vasenb. Pll. VIII., IX. (by Furtwängler, in Berl. Phil. Woch. 1894, p. 114)Google Scholar; this is the work of a notable master whom we hope to study soon; among the most important of his other vases are B.M. volute-krater Gerh. A. V. Pl. CCIV., Louvre, bell-krater Ann. 1876Google Scholar C, Vatican hydria Mon. i. Pl. XLVI., Würzburg 319 (amphora of Panathenaic shape with Herakles and Apollo).

(2) Boston kalyx-krater Froehner Coll. Tyszkiewicz, Pll. XVII–XVIII. (by Robinson, in Boston Museum Report, 1897)Google Scholar. Later works of the same hand are probably kalyx-krater Louvre, G 164 (Mon. 1856Google Scholar, Pl XL), B.M., pelike E 375 (Él. Cér. 1Google Scholar Pl. L.) stamnoi Vatican 144 and Florence 3994.

(3) Louvre Croesus-amphora F.R.H. Pl. 113 (by Pottier, , Cat. V. du Louvre, iii. p. 1022)Google Scholar; by the same painter, as Hauser says (F.R.H. ii. p. 281), is B.M., kalyx-krater Mon. ii. 25–26Google Scholar; and we may add amphora of Panathenaic shape in Florence (3982) with Herakles and Apollo.

6 In Furtwängler-Reichhold-Hauser, , Gr. Vasenm. ii. p. 228Google Scholar. Our Nos. 14, 18, 32.

7 V. Furtwängler, in Berl. Phil. Woch. 1894, pp. 112 ff.Google Scholar; Pottier, . Cat. V. du Louvre, iii. p. 824Google Scholar.

7a l.c.

8 The simple ‘amphora’ will be used to denote the Euthymidean shape (Furtw. Berl. Vas. Pl. IV. No. 35).

9 Long hair down the back tied near end: on b.-f. vases the hair is usually doubled at the end before tying, and so occasionally in r.-f. (e.g. F.R.H. Pl. CVI.); in r.-f. the hair, if tied, is usually tied farther up (e.g. F.R.H. Pl. CVII. 2a). For Iolaos' hair of. b.-f. neck-amphora Munich 584 (Gerh. A. V. Pl. CLXXVII.).

10 V. Hartwig, p. 411; but there are two types of Kleophrađean ear: see below.

11 Boston, Amasis amphora, Oest, Jahresh. 1907Google Scholar, Pl. I.: incised on cheek); B.M. Pamphaios cup, Gerh. A. V. Pl. CCI.; Munich cup, near Douris, F.R. Pl. XXIV.

12 Hoppin, , Euthymides, p. 32Google Scholar: Hartw., Meist, p. 413Google Scholar.

13 F.R.H. 2. p. 222.

14 F.R. Pll. XIV., LXXXI.; A.Z. 1873, Pl. IX.; Ann. 1870, Pll. O, P (once in Viterbo). The plate-fragmont (Schoene, , Mus. Bocchi, Pl. IV. 2Google Scholar) has disappeared.

15 F. R. Pl. XXXIII.

15a P. R. Pl. LXXII.; Mus. Ital. 3, Pl. IV.

16 Hoppin, Pll. III.–VI.; Pottier, Album, Pll. LII.-LIII.

17 V. p. 47.

18 Theognis 827. . . . φορέοντας ξανθῇσίν τε κόμαις πορφυρέους στεφάνους

19 For inscrr. v. de Ridder, l.c.

20 Incision is used for the hair-contour in developed r.-f. severe style only on (a) Kleophradean vases; (b) two vases with the name of Kleomelos (Louvre cup G 111, and fragment in Athens); (c) cup in style of Brygos, , Louvre, G 155 (Ann. 1878, Pl. E)Google Scholar; (d) three late severe cups, viz., two with the name of Laches (Vatican, , Mus. Greg. 2. 85Google Scholar. 1, and Louvre G. 132, Hartw., Meist. Pl. LXIII. 2), and a third in Baltimore (ib. Pl. LXIV.).

21 The key-pattern ia found in the interior of the following cups : Palermo Kachrylion cup (Hartwig, Meist. Pl. I.), early r.-f. cup in Bologna (Zannoni, Certosa di Bologna, Pl. XCVII.), and fragment of the same period in Mr. E. P. Warren's collection in Lewes, and a late severe cup in Florence; on the exterior of the following: Memnon, Louvre cup G 17 (W. V. 1890–1891Google Scholar, Pl. X.), early r.-f. fragment in Lewes.

22 I am indebted to Prof. Wolters and Dr. Stais for permission to publish this and other fragments from the Acropolis.

23 Recently acquired by the Metropolitan Museum of Fine Arts in New York. I am indebted to Dr. E. Robinson for permission to give some account of it in this place.

24 A similar ornament appears as an episemon on the Panathenaic amphora Mon. i. Pl. XXII., and by itself on the neck of the Caeretan hydria Mon. vi.–vii. Pl. XXXVI.

25 Cf. early r.-f. cup in Florence (3965).

26 A young warrior; B bearded warrior; below, squared egg and dot.

26a I beg the reader, for the sake of brevity, to allow me to use phrases like ‘no other krater, hydria, etc.’ instead of the more accurate but more cumbrous ‘no other krater, hydria, etc. as far as the writer knows.’

27 F.R.H. Pl. CIV., our No. 27.

28 Towards the end of the severe style it becomes not uncommon to divide the frontal torso by a black line from the navel upwards towards the neck; the lower lines of the chest are not allowed to meet this line, but stop some distance away on either side of it. Again, at the same period, when the figure is almost in profile, the same black line is used, and the chest-lines are sometimes allowed to join. One or bothof these renderings may beseen, e.g. on Lysis cups (Hartwig, , Meist. Pl. LXX. 1 and 2Google Scholar, and an Orvieto (Faina) cup not in Klein); Lykos cup (Hartwig, ib. Pl. LXII. 1); Laches cup, ib. Pl. LXIII. 2; Florence, , Mus. Ital. iii. p. 253Google Scholar, Louvre G 263. Later are the cups of the Horse-master (e.g. Bologna, Gerh. A. V. PH. CCXCL, CCXCII. (here the breast-lines join on A) and Cab. Méd. De Ridder, Cat. figs. 111, 112). These renderings are, with the one exception mentioned, distinct from the Kleophradean type. Where the whole of the musculature is indicated in black, as often in the free style, the distinction of course disappears. Por the indication of the median line by a deep cut in early fifth century sculpture v. Kalkmann, in Jahrbuch 7, p. 134Google Scholar.

The semi-circular collarbone-depression is characteristic of the Horse-master as well as of Kleophrades (e.g. De Ridder, , Cat. Figs. 111, 112, Munich2690Google Scholar, B.M. E 72), and occurs occasionally on vases of the late severe style, e.g. Hartwig, Meist. Pl LXXI. (Lysis cup), kalyx-krater in Bonn, cup in Lewes (near Lachesmaster), B.M. E 102 (late severe cup); also Florence 4021 (early free cup), and a white cup of the same period in America.

29 Ol. ix. 30.

30 These photographs I owe to the kindness of Dr. Holwerda.

31 This way of doing the hair is only found in bearded men on Attic vases: our Nos. 12a, 13, 22, 27 (Kleophrades); Hieran cup, F.K. Pl. XLVI.; Cab. Méd. Hieron thiasos cup; Douris cup, F.R. Pl. LIV., Douris psykter, F.K. Pl XLVIII., and Douris cup in Florence; Berlin amphora, Gerh. Etr. u. Kamp. Vasenb. Pl IX., and amphora of Panathenaic shape by same hand, Munich 2311; a Bologna column-krater of free style. It is also found in women, but with the hair rather longer, in the free style, e.g. Villa Giulia, F.E. Pll. XVII., XVIII.; Syracuse, Mon. Line. xvii. Pl XXXII.; Louvre G 421 (Millingen, V. de Coghill, Pll. VI., VII.); and frequently in the time of Meidias. This longer type is worn by a Silen on a Aeolian, B.M. bowl (Röm. Mitth. iii. 6Google Scholar) and by a youth on an Ionian fragment in B.M. (B 103).

32 No. 2313.

33 V. p. 38, note 5.

34 Smith, C., Cat. Forman Coll. p. 68Google Scholar, No. 342 (‘archaic r.-f. style, recalls perhaps that of Euthymides’).

35 I am indebted to the kindness of Mr. Lascelles for permission to publish this vase. For the photographs of the next vase, together with that of the hydria No. 17,1 have to thank Dr. Sieveking.

36 Mon. ix. Pl VI.

37 Atlas du Compte-rendu, 1867, Pl VI.; Panofka, Cab. Pourtalès, Pl IX.

38 ‘Style of Euthymides’; of. note 34, p. 49.

39 Würzburg 322 (Gerh., A. V. Pl. XI. 1)Google Scholar; the upper part of the foot is black; style later.

40 ‘On songerait à une œuvre archaïque de Douris.’

41 Homolle, , Fouilles de Delphes. 4. 1Google Scholar, Pl. XLII.

42 V. F.R. i. p. 257.

43 F.R. Pl. LI.

44 F.R. Pl. XV.

45 B 164.

46 F.R. Pl. XXVIII.

46a F.R. Pl. LXXVI.

47 Hackl, in Münch. Arch. Studien A. Furtwängler gewidmet, p. 69Google Scholar.

47a Something like the krater graffito is one of the marks underneath the foot of a severe r.-f. pelike in the Cabinet des Médailles (De Ridder, Cat. ii. No. 390, Pl. XIV. and Fig. 59; same style as Louvre pelikai G 228 and G 229). is one of the marks on the foot of the Euthymidean amphora in the Louvre, G 45(Album, p. 144Google Scholar).

48 Prof. Reichhold was so kind as to reassure me about this by letter.

49 For the panther-head on the shoulder of Achilles' corslet cf. the Boston Amasis amphora W. V. 1889, Pl. III. 1, and the Boston kalyx krater, Froehner, Coll. Tyszk. Pl XVII.

50 E.g. B.M. E161–3, Würzburg321, Vatican Mon. i. Pl. XLVI.; and no doubt many of the later b.-f. hydrias.

51 A.Z. 1873, Pl. IX. The B.M. hydria (Forman Cat. 339) also has this foot.

52 Arch. Anz. 1892, p. 164.

53 Hypsis, Torlonia, Ant. Denkm. ii. 8Google Scholar (sides), Bonn Euthymides (below).

54 B.-f. hydria in South Kensington Museum; in B.M. (B 330); in Munich (1693).

55 F.B. Pl. LXXI. 2.

56 Munich 2428 (F.R. Pl. LXXIII. 1) and Gerhard, , A. V. 165Google Scholar.

57 The running spiral is chiefly used in Attic vase-painting to ornament clothes, etc. Apart from this use it occurs on b.-f. vases: Nikosthenes-krater, B.M. (W.V. 1890–1891, Pl. IV. No. 1)Google Scholar (handle); Louvre, F 104 (W. V. 1890–1891Google Scholar, Pl. I. No. 2), Florence 3864 (without figures), and Würzburg 382 (small neck-amphorae of time of Nikosthenes); white b.-f. phiale, B.M. B 678 (A.Z. 1881, Pl. V.); white b.-f. oinochoe, Burl. Cat. 1903, i. 62; Boston, Amasis amphora, Oest. Jahresh. 1907Google Scholar, Pll. I.–IV. On (r.-f.) oinochoe without figures, Würzburg 41; (r.-f.) oinochoe without figures, Munich 2450 (Lau, , Gr. Vas. Pl. XXII. 2)Google Scholar. On r.-f. vases, Louvre volute-krater G. 166 (phot. Giraudon 23689) (handle); Boston Panaitios aryballos (Klein, Liebl. p. 110)Google Scholar (above picture); amphora Berlin 2160 (Gerh. Etr. u, Kamp. Vasenb. Pll. VIII.–IX.) (below picture); Palermo volute-krater, F. R. i. pp. 125–32, and Bologna volute-krater Mon. xi. Pll. XIV.–XV. (handles); Naples volute-krater, F. R. Pll. XXVI.–XXVIII. and i. p. 137 (handle); Berlin, oinochoe, Arch. Anz. 1890, p. 119Google Scholar (above picture); Naples lekanis, Mon. i. Pl. XXXVII., and hydria B.M. E 195 (above picture); B.M. oinochoe with gold and white, E 703 (above picture: reserved). In new-Attic vases it becomes more frequent.

58 Stamnos, B.M. E 439 (Cat. Vases B.M. iii. Pl. XV.); deinos in Würzburg (Mon. i. Pl. XXXVIII.).

59 I am indebted to the kindness of Mr. A. H. Smith for permission to publish this vase and No. 20. Tho fine drawings are by Mr. F. Anderson.

60 For such scenes v. Hauser in F.R.H. ii. p. 237.

61 V. Lange, , Darstellung des Menschen, p. 58Google Scholar.

62 V. Reinach, S., ‘Un indice chronologique applicable aux figures féminines de l'art grec,’ in Rev. des ét. grecques xxi. pp. 13 ff.Google Scholar; della Seta, , Genesi dello Scorcio, p. 55Google Scholar.

63 ‘Als gälte es eine Blume zu pressen,’ Hauser, l.c. p. 238.

64 Hartwig, Meist. Pl. XLIV. 3; cf. a Brygan cup with naked woman, in Berlin.

65 B.M. Brygos cup, F.R. Pl. XLVII.; Berlin kotyle 2591 (Gerh. Ant. Bildw. Pl. XLVIII.) and Cab. Méd. kotyle (Luynes, Deser. Pl. XXX.) (both these near the works of the Horse-master in style). These three vases are mentioned by Furtwängler (F.E. i. p. 241); the comparison with Ar., Aves 1230Google Scholar was made by Dümmler, (Arch. Aufsätze p. 29)Google Scholar.

66 § 370.

67 § 376.

68 Walters, Hist. Anc. Pott. i. frontispiece.

69 (1) Cup in Cab. Méd., (Mon. ii. 11. 3)Google Scholar, style of Douris; (2) fragment of stamnos (?) in Athens, from Acropolis, (Eph. Arch. 1886, Pl. VII)Google Scholar, style of Douris; (3) the B.M. stamnos; (4) psykter in Villa Giulia (F.R. Pl. XV.); (5) cup in Munich (F.R. Pl. LXXXVI.), style of Onesimos; (6) cup in Vatican, (Mus. Greg. ii. 85. 1)Google Scholar: somewhat later are (7)kalpis in B.M., (E 176) (Mon. Linc. ix. p. 22)Google Scholar, cf. small single-handled jug in Athens (1355) (Pygmy); (8) kalyx-krater in Louvre, (G 164) (Mon. 1856, Pl. XL)Google Scholar; (9) Kolan amphora for sale. The examples on 1, 2, and 5 are bearded helmeted warriors; on 3 a wild man (Prokroustes), on 8 a wild man (Tityos), on 4, 5, 6, 7 Centaurs, on 9 a Silen.

70 The first women are F.R. Pl. LXIV., Pll. XVII., XVIII., and i. p. 129; the first youth on a cup in Bonn.

71 No parallel for the pimply noses of the Centaurs; for the hair in their armpits only b.-f. hydria in Vatican (Kyknos). Under the same influence, though to a less degree, would be the Onesiman cups in Munich (F.R. Pl LXXXVI.) and Palermo (Hartwig, , Meist, p. 538Google Scholar).

72 Helbig, (Bull. 1869, p. 172)Google Scholar read on A, which he interpreted as πίει. I believe my reading to be right.

73 Apollodorus, ii. 6. 4 (= 2. 83 if. Wagner).

74 E 63, C. Smith, Cat. Vases B.M. iii. Pl. III.

75 B 167 (Mon. iv. Pl. XI.).

76 No. 4227: A. Herakles fluting between two Silens, one of whom carries his club, the other dances in front of him; B. Dionysos between two maenads.

77 Ath. Mitt. l.c.

78 Gerhard, , A. V. 299Google Scholar. Dr. Zahn was so kind as to examine the inscriptions, and assures me they are genuine.

79 v. Furtw. in F.R. ii. p. 83.

80 Gerhard, , A. V. 159Google Scholar.

81 Same episemon, Bologna volute-krater, Mon. xi. Pl. XV., and a kalyx-krater in Syracuse. A fox eating grapes appears as episemon on the Krates cup in Cambridge (Hartwig, , Meist, p. 97Google Scholar).

82 Will be published in the forthcoming vol. ii. of the catalogue of the Acropolis fragments.

83 Same motive on early r.-f. lekythos with Arming in Girgenti; and Louvre cup G 271 (Hieronian).

84 Cf. F.K. Pl. XCIII. 2 (Hegesiboulos cup in America), Douris cup B.M. E 48 (Walters, Hist. Ane. Pott., frontispiece: Phaia).

85 The other r.-f. instances, except the contemporary Brygan cup in Berlin (2293, Gerh., Tr. u. Gef. Pl. VIII. 1)Google Scholar are all earlier: kantharos B.M. E 154 (Genick, Gr. Ker. Pl. XXVI.a) (workshop of Nikosthenes); early amphora B.M. 253; Syracuse Kachrylion, cup (Mon. Line. xvii. p. 456)Google Scholar; early r.-f. cup fragment in Louvre; early r.-f. cup in Bologna (Zannoni, , Cert, di Bol. Pl. XIX. 33)Google Scholar; Louvre psykter G 59; Corneto Pamphaios cup (Mon. xi. Pl. XXIV.). On later vases, as F.R.H. PL CXX., the head is not quite frontal.

86 Cf. early r.-f. cup in Florence (2965); Villa Giulia psykter, F.R. Pl. XV.; B.M. E 67 (Brygau cup) (Gerh., Tr. u. Gef. 1, Pl. DGoogle Scholar; (helmet wrongly made frontal in drawing)).

86a I owe my thanks to Mr. Warren for allowing me to mention this and other vases in his possession.

87 F.R. Pl. LIV.

88 Pollak, Zwei Vasen aus d. Werkstatt Hierons, Pl. VIII.

88a Cf. Simonides, fr. 37. 11.

89 Coll. Kopf, , Festschr. f. Benndorf, p. 86Google Scholar (Hartwig).

90 From the Aeropolis.

91 F. R. Pl. VI.

92 The others are: stamnos in Louvre G 43 (style of Phintias), Pottier, Album, Pl. XCII.; volute-krater in Arezzo, F.R. Pll. LXI., LXII,; cup in B.M. E 12, signed Pamphaios, Gerhard A. V. Pll. CCXXI., CCXXII.; Epiktetos cup in Louvre G 6.

93 Hartwig, l.c. (Philologus 54, Pl. I. (Hauser), late severe cup (black cloak with red pattern); column-krater in New York (black peplos)). Also on the Andokidean amphorae in Boston, (Am. J. A. 1896, pp. 40–41)Google Scholar and Orvieto.

94 Early example, B.M. D 3, Hartwig Meist. Pl. L.

95 Pottier, , Mon. Piot, x. p. 53Google Scholar.

96 Cat. Vases du Louvre, iii. p. 1009.

96a Ant. Denkm. 1, Pl. XXXVI.

97 F.K. Pll. XVII., XVIII.

98 The other earliest examples of the slanting r.-f. palmettes above the picture are: Corneto, , Bruschi, (Ann. 1876, Pl. F)Google Scholar, Cab. Méd. (Mon. i. Pll. LII., LIII.), Athens, (Eph. Arch. 1885, Pl. XI.)Google Scholar, Florence 4226; of the maeander and Dourian cross-squares below, the first three of these vases and Oxford 291.

99 On loutrophoroi v. Wolters, in Ath. Mitt. xvi. 1891, pp. 371Google Scholar ff.