Notes on the Vases in Castle Ashby

J. D. Beazley

doi:10.1017/S0068246200011727

Notes on the Vases in Castle Ashby

Published online by Cambridge University Press: 09 August 2013

J. D. Beazley

Article contents

Extract
References

Get access

Extract

The collection of Greek vases formed in Italy by the second Marquess of Northampton is the richest private collection in Great Britain and one of the richest in the world. A good many of the finest pieces are tolerably well known. One or two of them were drawn for Gerhard while they were still in the Roman market; and were published by him in his Auserlesene Vasenbilder. A brief notice of the collection was communicated to Gerhard by Birch and published in the Archäologische Zeitung for 1846: in 1863 Conze visited Castle Ashby and contributed some observations to the same periodical; but the notes which Furtwängler took in 1881 are much fuller and much more valuable. In 1888 a selection of the vases was exhibited at the Burlington Fine Arts Club and described by Froehner in the catalogue of the exhibition: Froehner's descriptions have zest, and the illustrations, though not numerous, are good. In 1903 a different selection formed portion of another exhibition organised by the same Society, and found place in the illustrated catalogue issued in 1904. In 1903, two important fragments were published by Hartwig in his Meisterschalen.

Type: Research Article
Information: Papers of the British School at Rome , Volume 11 , November 1929 , pp. 1 - 29

DOI: https://doi.org/10.1017/S0068246200011727 [Opens in a new window]
Copyright: Copyright © British School at Rome 1929

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

^{page 1 note 1} pp. 340–2.

^{page 1 note 2} 1864, pp. 237–8.

^{page 1 note 3} A. Z. 1881 pp. 301–4 = Kleine Schriften ii. pp. 81–3.

^{page 1 note 4} Jahrbuch 5, pp. 142–3.

^{page 1 note 5} Berl. Phil. Woch. 1902, p. 1261; Jahrbuch 23, p. 116. See also Pfuhl, pp. 178–9.

^{page 1 note 6} The amphora, Pl. 21, No. 585, and p. 59; the neck-amphora, Pl. 21, No. 586, and pp. 60–2.

^{page 2 note 1} Hackl and Sieveking, p. 62.

^{page 2 note 2} See Jacobsthal, , Ornamente griechischer Vasen, pp. 37 and 64.Google Scholar

^{page 2 note 3} Malerei und Zeichnung der Griechen, p. 178; so also Jacobsthal, , Ornamente, p. 37.Google Scholar

^{page 2 note 4} F.R. Pl. 3.

^{page 2 note 5} To be published in Corpus Vasorum.

^{page 3 note 1} On the Affecter, see Karo, in J.H.S. xix. pp. 147–63Google Scholar, and my Attic Black-figure: a Sketch, pp. 23 and 37–8.

^{page 4 note 1} See Rumpf, , Chalkidische Vasen, p. 141.Google Scholar

^{page 4 note 2} See my Vases in Poland, p. 2.

^{page 4 note 3} Attic Black-figure, pp. 31–6.

^{page 4 note 4} Burlington Catalogue, 1888, p. 49, No. 111.

^{page 4 note 5} G 9.

^{page 4 note 6} Figured in B.C.H. 1893, p. 432 (Pottier).

^{page 5 note 1} Pottier, , Cat. des vases du Louvre, pp. 540–1Google Scholar, and Vases antiques du Louvre, p. 67.

^{page 5 note 2} In the Castle Ashby vase, Herakles has the usual black-figure eye, the others the special eye.

^{page 5 note 3} J.H.S. xxx. p. 29 (Droop). There is a tendency to call all vases with myrtle-wreaths Laconian or Cyrenaic: thus Milani's description of an Attic lekythos in Florence as Cyrenaic is accepted by Libertini, (Boll. d'Arte, 1921, p. 159)Google Scholar, and even by Dugas, (Rev. arch. 27 (1928), p. 61)Google Scholar.

^{page 5 note 4} Malerei, pp. 230–1 and 283.

^{page 5 note 5} See above, p. 13.

^{page 5 note 6} F.R. Pl. 153, 2.

^{page 5 note 7} Attic Black-figure, p. 23.

^{page 5 note 8} 95, 62: F.R. iii. p. 222, Fig. 106: clearer, Hambidge, , Dynamic Symmetry, p. 57Google Scholar: the shape only, Caskey, , Geometry of Greek Vases, p. 103.Google Scholar

^{page 6 note 1} On Nikosthenes, , see Attic B.f., pp. 23–4.Google Scholar

^{page 6 note 2} Lieblingsinschriften, p. 38.

^{page 6 note 3} B.f. Vases, p. 194.

^{page 6 note 4} See Vases in Poland, p. 4, for this particular kind of nonsense inscription.

^{page 6 note 5} Burlington Catalogue, 1888, p. 51.

^{page 6 note 6} On vintage-scenes, Deffner in Eph. arch., 1924, pp. 105–13. The vase in Athens which he publishes is much restored. See also the charming fragments in Philadelphia, , Museum Journal, 4, p. 160Google Scholar: the ‘object not easily to be identified’ (p. 161) is not ‘the head of a pet bird,’ but the satyr's right hand, holding a grape: compare C.V. Oxford, Pl. 4, 4, and text.

^{page 6 note 7} Walters, , B.M. Cat. ii. Pl. 7Google Scholar, above: the picture, Dionysos sitting with two big vine-branches in his hand, is not black-figure, but in white, with details red and incised.

^{page 7 note 1} No. 55 in my list of the painter's works, J.H.S xlvii, pp. 82–8.

^{page 7 note 2} I am glad to find that Zahn has anticipated me in assigning the Madrid and Vatican hydriai to a single hand (F.R. iii. p. 233, note 22).

^{page 8 note 1} F.R. Pl. 61; F.R. Pl. 22.

^{page 8 note 2} F.R. Pl. 152; Rumpf, , Chalkidische Vasen, Pls. 6–8.Google Scholar

^{page 8 note 3} F.R. Pl. 22.

^{page 8 note 4} Fouilles de Delphes, iv. Pl. 44.

^{page 8 note 5} On the subject of B, see also Mingazzini, , Le rappresentazioni vascolari del mito dell' Apoteosi di Herakles, in Memorie della R. Accademia dei Lincei, sixth series, i., pp. 467–70Google Scholar: our vase does not seem to be mentioned.

^{page 8 note 6} On the subject of A, see Mingazzini, op. cit. pp. 419–32: the Castle Ashby vase is No. 16 on p. 424.

^{page 9 note 1} 1831: Gerhard Antike Bildwerke; B, new, Jüthner, , Antike Turngeräthe, p. 74Google Scholar = Gardiner, Norman, Greek Athletic Sports, p. 422Google Scholar; mentioned in J.H.S. xlvii, p. 86.

^{page 10 note 1} F. 201: Pottier, , Album, Pl. 78Google Scholar: C.V.A. Louvre III, He, Pl. 39, 5–6.

^{page 10 note 2} 38: Inghirami, , V.F. Pl. 231.Google Scholar

^{page 10 note 3} J.H.S. xlvii. pp. 63–92; additions in my B.f. Vases, pp. 41–2. In J.H.S. xlvii, p. 92, I am wrong in saying that the Louvre vase was probably by the Menon painter.

^{page 10 note 4} 5399: Philadelphia Mus. Journal, 5, pp. 32–6, whence Hoppin, , B.f. Vases, ii. p. 103.Google Scholar

^{page 10 note 5} 11008 (Leroux, 63): Jahreshefte 3, pp. 70–1; Leroux, Pls. 5–6; Hoppin, Handbook of R.f. Vases, i. p. 34Google Scholar; Pfuhl, Figs. 317 and 264.

^{page 10 note 6} J.H.S. xlvii. p. 92: see also ibid. p. 233. Add a neckamphora in Copenhagen (4759: C.V.A. Copenhagen, Pl. 107, 1. faces of Dionysos: under each handle, a silen: the same type of vase as J.H.S. xlvii, p. 82, No. 3), and a neck-amphora in Palermo (Herakles and Triton) see also above, p. 10, note 3.

^{page 10 note 7} See A.J.A. 1927, p. 83.

^{page 10 note 8} Adamek, , Amasis, p. 40Google Scholar; Rodenwaldt, Kunst der Antike, Pl. 9.Google Scholar

^{page 10 note 9} Rev. arch. 1898, ii. pp. 399–404: Johansen, , Les vases sicyoniens, Pl. 22, 1.Google Scholar The same subject on a lekythos in Athens (404: C.C. 674) which is by a follower of the Amasis painter.

^{page 10 note 10} A.J.A. 1916, p. 457. See also Att. B.f., p. 31.

^{page 12 note 1} Die Panathenaischen Preisamphoren, p. 38.

^{page 12 note 2} Vases in Poland, Pl. 1. The ankles are the same shape in Castle Ashby as in Goiuchow, but the forward lines are faint and do not come out in the photograph.

^{page 12 note 3} Ibid. Pl. 2.

^{page 13 note 1} Vases in Poland, pp. 6–8.

^{page 13 note 2} Mus. Greg. 2, Pl. 43, 1:B, phot. Alinari 35871 = Licht, , Sittengeschichte, i. p. 117.Google Scholar

^{page 13 note 3} 1832: Gerhard, , Antike Bildwerke, Pl. 5–6Google Scholar, and E.C.V. Pl. A, 11–12; a good photograph of B is now published in Schröder, , Der Sport im Altertum, Pl. 49, 2.Google Scholar

^{page 13 note 4} Collections du Château de Goluchow: objets égyptiens, etc. pp. 78–80, No. 17.

^{page 13 note 5} New York 07.286.79 (detail of A, Vases in America, p. 44) was given to the Kleophrades painter by me, Munich 1456 (J.656) by Langlotz. The following prize-amphorae are also by the Kleophrades painter: Madrid, 10900 (Leroux 70 · Ossorio, , Vasos griegos, Pl. 25Google Scholar); New York, 16.71 (B, Mon. 1, Pl. 21, 10; A, Bröndsted, Pl. 2; Handbook of the Classical Collection, 2, p. 93). Others belong at least to the same group: Louvre, F. 277 (B, Pottier, Album, Pl. 82); London, B 131 (Corpus, B.M. III. He, Pl. 1, 2); Norwich, 26.49; Cambridge, Corpus Christi. Among the inscriptionless fragments of panathenaic amphorae from the Acropolis of Athens, 969 (Graef, Pl. 57), and 1048, 1049, and 1050 (all ibid. Pl. 62) are by the Kleophrades painter.

^{page 13 note 6} On the Berlin painter, see below, p. 20.

^{page 13 note 7} von Brauchitsch, p. 140.

^{page 15 note 1} Figured by kind permission of Prof. Studniczka.

^{page 15 note 2} Délos, x. Pl. 53.

^{page 16 note 1} A list of vases by Oltos is given in Att. Vas. pp. 10–17 and 467. My No. 23 is in Providence and my No. 63 in Heidelberg. Details of my No. 1, Louvre G 3, are given in Jacobsthal, , Ornamente gr. Vasen, Pl. 44, b–c, and Pl. 45, bGoogle Scholar; of No. 2, Louvre G 2, ibid. Pl. 44, a, and Pl. 45, a: there are good photographs of the whole vase, and of details, by Giraudon. My No. 3, the London amphora, is published in C.V.A. III. 1 c, Pl. 5, 1; my No. 4, ibid. Pl. 19, 1, and side-views in Jacobsthal, Pl. 91: details of No. 5, the New York psycter, in Alexander, , Greek Athletics, pp. 10Google Scholar; 15, 1; and 31, 2; the Eleusis plate, mentioned on my p. 467, in Deltion, 9, p. 4; No. 20, Oxford, 515, in C.V.A. Oxford, Pl. 1, 1, and Pl. 5, 1–2; No. 36, Oxford, 516, ibid. Pl. 1, 2, and Pl. 5, 3–4; the palmettes of No. 38, B.M. E 17, in Jacobsthal, Pl. 72, c; part of my No. 45, the Copenhagen cup, in Poulsen, , Aus einer alten Etruskerstadt, Pl. 4, 2Google Scholar; No. 51, the Orvieto cup, in photographs by Armoni, one of which is reproduced in Mem. Amer. Acad. 6, Pl. 17, 3; No. 53, Florence, 81601, in Mon. Linc. 30, Pl. 2; No. 54, the Brussels cup, in C.V.A. Brussels, III, 1 c, Pl. 2, 2; the interior of No. 60, Berlin, 4221, in Licht, , Sittengeschichte, ii. p. 145Google Scholar, and in Schröder, , Der Sport im Altertum, Pl. 14, IGoogle Scholar; No. 67 in Vorberg, , Ars erotica veterum, Pl. 22Google Scholar; No. 81, the Oxford fragment, in C.V.A. Oxford, Pl. 14, 3. Add an eye-cup in the Vatican, (Mus. Greg. ii. Pl. 69, 2: phot. A, Alinari, 35782)Google Scholar, a fragment of another in Adria (B 503: A, Warrior), and perhaps a third, from Nepi, in the Villa Giulia (I, bf., Dionysos: A, maenad; B, the like): and add cups in the Louvre (F 128: Pottier, Pl.73), in Copenhagen, Ny-Carlsberg (Poulsen, , Aus einer alten Etruskerstadt, Pl. 4, 1, and Pl. 5Google Scholar), in Oxford (1927, 4065: I, naked woman with cup and ladle: A–B, Theseus carrying off Antiope), in the Villa Giulia (Castellani collection: I, man with oinochoe; A, Herakles and the Hydra; B, between pegasi, Dionysos and Giant); and cup-fragments in Athens (Acr. A 118: I, two heads facing: belongs to A 145, my No. 33 ?), in the Louvre (G 94²: I, mounted Amazon), in Leipsic (A, head and shoulders of a woman to left), in the Campana collection in the Museum of Florence (I, maenad), in the same collection (A, silens and maenads); fragments of a vase in Athens (Acr. F 88: women): probably also a cup in the Vatican (Herakles), a fragment of a plate in Athens (Acr. B 1: Athena), a vase-fragment in the Villa Giulia (Notizie, 1916, p. 84): in his very manner, but not from his own hand, is a cup in the Hearst collection (Cat. Sotheby, July 5, 1928, frontispiece, and plate at p. 6, below, No. 19). There are several black-figure cup-interiors, or fragments of such, which must come from Oltan cups using both Techniques: such is a fragment, with Poseidon, in Heidelberg, and another, with a youth holding a flute, in the Campana collection in Florence; in the same collection are fragments of an eye-cup in the same style, with a black-figure Apollo inside, and outside, red-figure, a view of Delos—a palm tree, and an altar with incense on it. Hartwig had in his possession fragments of a cup with a black-figure Poseidon inside, and outside, red-figure, a monstrous phallus between eyes. The phallus fragments are in Boston: is the Poseidon that in Heidelberg ? For other additions to the work of Oltos, see Kraiker's forthcoming Heidelberg catalogue.

On p. 13 of my Att. Vas. a heading has slipped out between Nos. 26 and 27: No. 26 is the last eye-cup, the next are ordinary cups.

^{page 16 note 2} In Att. Vas. p. 27, εγραφσεν is misprinted for εγρασφεν in Nos. 41, 42, 43.

^{page note 3} A list of works by Epiktetos is given in Att. Vas. pp. 24–9 and 467. No. 24 in my list, the Petrograd milesiazusa, is now published by Vorberg, , Ars Erotica Veterum, Pl. 21, No. 36Google Scholar, the Oxford kotyle, in C.V.A. Oxford, Pl. 41, 9–10, and part of No. 37, the kotyle in Naples, by Licht, , Sittengeschichte, iii. p. 213.Google Scholar Of Nos. 28 and 33, the cup-fragments in the Cabinet des Médailles, and of the exterior of No. 8, Louvre G 6, there are now photographs by Giraudon. The palmettes of No. 7, B.M. E 38, are given in Jacobsthal, Pl.71, a, and those of No. 10, B.M. E 37, ibid. Pl. 72, d.

The cups which I put together in Att. Vas. pp. 28–9, and described as in the manner of Epiktetos, are from his own hand: I ought to have stated that No. 4 was first assigned to him by Langlotz. Also by Epiktetos: fragment of an eye-cup in Florence, Campana collection (A, Herakles with one of the horses of Diomedes); another cup-fragment in the same collection (A, sacrifice: two youths side by side holding spitfuls of meat); cups in Boston (01.8074: archer), Baltimore, (J.H.S. xii. p. 347Google Scholar: inscription εγραφεσεν), Berlin (inv. 4514: silen: inscription, complete, εγραφσεν), and the Gallatin collection (warrior running: inscription εποιεσεν: the attribution made by the owner), and a cup-fragment in the Acropolis collection at Athens (A 36: I, maenad); and a mug or ‘oinochoe shape viii’ in the Faina collection at Orvieto (148: silens reclining: see text to C.V.A. Oxford, Pl. 41, 9–10). Finally, four little boxes (pyxis type D) are probably by Epiktetos: two with the love-name Thaliarchos—one in the Petit Palais at Paris (Klein, , Lieblingsinschriften, p. 88Google Scholar: helmet-maker), one in Athens (Acr. F 31: silen), and two with the love-name Lysikles—one in Athens (1710: Heydemann, , G.V. Pl. 4, 2Google Scholar; Klein, , Euphronios, p. 313Google Scholar), one in New York (squatting silen). See also Kraiker's forthcoming Heidelberg catalogue.

^{page 17 note 1} I have twice discussed the red-figure vases with the signature of Pamphaios, (Vases in America, pp. 23–4Google Scholar: Att. Vas. pp. 42–5 and 468): but since my first account, though crystal-clear, has been misunderstood both by DrHoppin, (R.f. Vases, ii. pp. 277–8)Google Scholar and- by DrLuce, (A.J.A. 1925, pp. 47–9)Google Scholar, and as Dr Luce makes me feel guilty by applauding me for views which I have never held, I may be allowed to return for a moment to the subject.

A list of the red-figure vases with the signature of Pamphaios is given by Hoppin, (R.f. Vases, ii. pp. 278–307Google Scholar and B.f Vases, pp. 469–71). His No. 5 is now in Boston. His No. 23 is to be cut out, since there is no reason to suppose that it was signed, and his No. 11, which he follows Cecil Smith in describing as a stamnos-foot, but which is really the foot of a black-figured cup. The ‘cup-feet’ Nos. 14 bis and 24 I do not know, nor the lost cups 15, 21, 22. We must add small fragments of an eye-cup in the Campana collection at Florence (A, between eyes, the arm and sleeve of a woman moving to right: between one eye and its brow, between the other, ), and a cup in the Louvre (CA 2526: athlete with halteres: ). The rest split up into four groups: (i) No. 3, the very early eye-cup in Bonn: I cannot point to any other vases by the same hand: (ii) the two cups 25 and 25 bis, painted and signed by Epiktetos: (iii) the two Nicosthenic neck-amphorae. Louvre G 3 and G 2 (Nos. 17 and 16) and the London stamnos, E 437 (No. 10)—painted by Oltos: (iv) all the rest. The orthography varies with the group: Oltos writes Phanphaios (Hoppin gives Panphaios for G 2, but that is an error); Epiktetos Pamapbios, just as for years he wrote egrasfben; while in the fourth group the spelling is Panphaios or nearly that.

Some vases in group (iv) are so like one another that they must be assigned to a single hand: the painter did work for Nikosthenes as well as for Pamphaios, and I have called him the Nikosthenes painter: a list of his vases is given in Att. Vas. pp. 42–5 and 468.

The other cups in group (iv) are all connected more or less closely with the Nikosthenes painter.

One or two additions should be made to the works of the Nikosthenes painter. The chief of these is a pretty eye-cup recently acquired by Cambridge, (Cat. Sotheby, June 21st, 1926, Pl. 2: IGoogle Scholar, symposion: a man drinking: A, acontist; B, athlete lifting halteres): this must be earlier than any of the vases in my list. The Florence fragments with the signature of Pamphaios, mentioned above, go pretty well with the Cambridge cup: but there is so little left that one cannot be sure how close the resemblance was. Another early work is a cup in Vienna (inv. 137: Laborde, ii, suppl., Pls. 3–4; von Lücken, Pl. 78, 2, and Pls. 78–9; the palmettes, Jacobsthal, Pl. 72, b): this takes with it, I think, a cup in the Kunstgewerbe Museum at Leipsic (I, silen with pelta: A–B, athletes). Also by the Nikosthenes painter, and very like the Odysseus cup, signed Pamphaios, in the Villa Giulia, is a cup in Washington (I, warrior running). A, Athena mounting chariot; B, chariot of Dionysos, and silens: mentioned by Furtwängler, , Neue Denkmäler, iii. p. 250Google Scholar: photographs in Heidelberg). A kotyle in the Louvre (G 66: Pottier, , Album, Pl. 96Google Scholar: gigantomachy) is in the manner of the Nikosthenes painter. Of the vases in my list, No. 5, the pyxis signed Nikosthenes in the Villa Giulia, is figured in Studi Etruschi, i. Pl.35, 1, No. 7, the Villa Giulia cup, in C.V.A. V.G. III. 1 c, Pl.24, Pl.25, 2–3, and Pl.26, 2, the interior of No. 9, the London milesiazusa, in Licht, , Sittengeschichte, iii. p. 201Google Scholar, and part of No. 3, the erotic kantharos in Boston, ibid. p. 91.

^{page 18 note 1} T 495: No. 37 in my list of his works.

^{page 18 note 2} A list of vases by the Euergides painter is given in Att. Vas. pp. 30–7 and pp. 467–8: see also text to C.V.A. Oxford, Pl. 14, 21. The Leipsic fragment No. 42 in my list is to be deleted. The Khalebdjian cup mentioned on p. 467 is now in Mr. Gallatin's collection. Add a cup in the Villa Giulia (26039: C.V.A. Villa Giulia III. 1 c, Pl. 28), a cup which was formerly in the Spagna collection at Rome (drawing in the Berlin apparatus, xxi. 95: described in A.J.A. 1927, p. 347), and cup-fragments or fragmentary cups in Tübingen (E 41: Watzinger, , Vasen in Tübingen, Pl. 21Google Scholar), Boston, (Bulletin M.F.A. 9, p. 54Google Scholar; Sudhoff, , Aus dem antiken Badewesen, ii. p. 37)Google Scholar, Athens (Acr. A 191 ?: A, a male lifting the leg of another), and in Oxford (A–B, komos). My No. 44, the cup-fragment Heidelberg B 46, fits on to the fragment Tübingen E 38 (Watzinger, Pl. 20). Other additions will be made in Kraiker's Heidelberg catalogue.

The palmettes of my No. 1, the London signed cup, are now published in Jacobsthal, Pl. 71, c; of my No. 5, Munich 2605, ibid. Pl. 70, b; of my No. 10, London E 9, ibid. Pl.71, d; of my No. 22, London E 21, ibid. Pl.70, c–d.

My No. 16, Louvre G 22, is probably not by the Euergides painter himself, but a school-piece: and so is the Richmond cup No. 81, which is by the same hand as Tübingen E 34 (Watzinger, Pl. 19), attributed by Watzinger to a follower of the Euergides painter; a third work of the same is a cup-fragment in Adria (I, naked youth with a large kotyle). Other school-pieces are Petrograd 648 (I, a youth running with a wineskin) and Athens 1656 (the same subject). No. 7 in my Prosagoreuo group (Att. Vas. p. 37), the Brussels cup, is now published in Vorberg, Ars Erotica Veterum, Pl. 19, and No. 8 in C.V.A. Gallatin, Pl. 9, 2. Of the Paidikos group (Att. Vas. pp. 35–6 and pp. 467–8), No. 6 is now published in C.V.A. Oxford, Pl. 41, 3–4; No. 9, ibid., 1–2; No. 10 in C.V.A. Gallatin, Pl. 9, 1 and 3; No. 12, ibid., Pl. 9, 4 and 6; No. 14, ibid., Pl. 27, 6 and 8. Add an alabastron formerly in the Barclay collection (a youth and a woman: on the bottom, in silhouette, a man with a cloak), and, as Watzinger has seen, a white alabastron in Tübingen (E 48: Watzinger, Pl. 21).

^{page 19 note 1} Furtwängler in F.R. ii. p. 112: on trumpeters see also Hartwig, , Meisterschalen, pp. 276–7 and 635.Google Scholar

^{page 19 note 2} Wernicke, in A. Z., 1885, pp. 256–8.Google Scholar

^{page 19 note 3} p. 54, below.

^{page 19 note 4} A list of vases by Apollodoros is given in Att. Vas. pp. 52–3 and 468: my No. 9, the Oxford cup, is now republished in C.V.A. Oxford, Pl. 1, 7.

^{page 20 note 1} A list of vases by the Brygos painter is given in Att. Vas. pp. 175–86 and 473–4: additions in Vases in Poland, pp. 21–3. My No. 62, the Preyss cup, is now published in Bieber, , Griechische Kleidung, Pl. 8, 1Google Scholar, and the Providence lekythos, mentioned at the top of my p. 474, in A.J.A. 1928, pp. 53–4. The cup in Toronto, , A.J.A. 1928, pp. 33–40Google Scholar, is not Brygan but Macronian.

^{page 20 note 2} A list of vases by the Berlin painter is given in Att. Vas. pp. 76–88 and 469. No. 119 is now in Philadelphia, No. 32, as Mr. Humfry Payne tells me, in Boulogne: it is not an ordinary Nolan amphora, but a vase of the same type as my Nos. 31, 31a and 31b (Att. V. pp. 79 and 469). Part of No. 13, the panathenaic amphora in Florence, is published in Poulsen, , Etruskerstadt, Pl. 8Google Scholar; the London neck-amphorae, my Nos. 18, 21, 24, and 25, in C.V.A. B.M. III. 1 c, Pl. 8, 3; Pl. 9, 2, and Pl. 10, 2; Pl. 9, 3, and Pl. 10, 3; and Pl. 9, 1, and Pl 10, 1; a detail of No. 29 bis (Vienna 741: mentioned on my p. 469) in Bieber, , Gr. Kleidung, Pl. 17, 3Google Scholar; No. 30, Oxford 274, in C.V.A. Oxford, Pl. 15, 1–2; No. 31 bis, the Oxford neck-amphora with triple handles, ibid. Pl. 15, 3–4; No. 42, the Nolan amphora in Dresden, in Müller, Walther, Die griechische Kunst, p. 135Google Scholar, 3 (small photograph of A only: foot and neck-pattern are modern); No. 53, B.M. E 313, in Cook, , Zeus ii. Pl. 1Google Scholar; No. 61, Oxford 275, in C.V.A. Oxford, Pl. 17, 7, and Pl. 18, 3; No. 70, Oxford 291, ibid. Pl. 21, 3, and Pl. 12, 6; the Louvre stamnoi Nos. 82, 84, 86, and 98 in photographs by Giraudon; No. 87, the Oxford stamnos, in C.V.A. Oxford, Pl. 25, 1–2, Pl. 20, 10–12, and Pl. 30, 5–6; No. 132 Oxford 323, ibid. Pl. 35, 3–4; No. 92, London E 444, in C.V.A. B.M. III. 1 c, Pl. 21, 4; No. 3 on p. 87, London E 445, ibid. Pl. 21, 5; No. 136, the New York oinochoe, in A.J.A. 1926, p. 37.

Add a neck-amphora with twisted handles until recently in the Holford collection at Dorchester House (on each side an Amazon), a smaller neck-amphora with twisted handles in the Hall collection at Tynemouth (A, Nike with torches, B, youth: ‘school-piece’), a Nolan amphora in Zurich (A, Apollo pursuing B, a woman: ‘school-piece’ ?), another in Basle (1906, 297: Zeus pursuing B, a woman: ‘school-piece’), a third in the Paris market (Feuardent: A, Triptolemos; B, Demeter: ‘school-piece’); hydriai in Oxford (1927. 4502: Europa), in Copenhagen, Ny-Carlsberg (Poulsen, , Etruskerstadt, Pls 6–7Google Scholar), and in the Holford collection (citharode and listeners), fragments of one in the Campana collection in Florence (a god and a woman at an altar) and of another in Eleusis (upper part of a man moving to right, with a cup in his left hand: a recent discovery); a lekythos in Copenhagen, Ny-Carlsberg (Poulsen, , Etruskerstadt, Pl. 9Google Scholar), and a fragment of another in Corinth (Athena: attributed by Payne); fragments in Frankfort (Liebighaus 128: left arm of warrior with shield, and part of another figure), in Freiburg (part of a chiton), of two vases in Leipsic (middle of a naked youth to left: a bit of drapery), and of several in the Campana collection at Florence (middle of male in himation with stick, to left: knees and thighs of a warrior: middle of a rider with the hindquarters of his horse: middle of a male in himation to right; middle of Zeus and Ganymede). In Att. Vas. p. 471 I said that the vases which I had grouped under the heading ‘Nereus painter’ would probably turn out to be not merely akin to the work of the Berlin painter, but actually from his hand: study of the Aberdeen hydria has convinced me that I was right. Add, therefore, to the work of the Berlin painter the five vases mentioned under ‘Nereus painter’ in Att. Vas. pp. 121–2. Lastly, a fragment, with part of a human foot, in the Cabinet des Médailles, belongs to the same vase as 386, my No. 8. See also forthcoming monograph Der Berliner Maler.

^{page 22 note 1} A list of vases by the Pig painter is given in Att. Vas. pp. 239–41 and 475. My No. 3 is now in the Gallatin collection. My No. 7, the Louvre column-krater, is now published in C.V.A Louvre III. 1 d, Pl. 25, 9 and 11, my No. 17, the London amphora, in C.V.A. B.M. III. 1 c, Pl. 5, 3. Add a columnkrater in Zurich (A, Dionysos and maenads: B, youth and man and woman), another in the Holford collection (A, Sale Cat. Sotheby, 11th July, 1927, Pl. 9, No. 159: A, Dionysos and silen; B, silen), a third in Bologna (Sopraintendenza, R., Notizie, 1927, p. 147Google Scholar: A, maenad; B, silen); and a pelike at one time in the Paris market (Cat. vente 11–14 mai, 1903 Pl. 1, 8 and 10: A, Dionysos and silen; B, youths and dog).

^{page 24 note 1} A list of vases by the Oinanthe, painter in Att. Vas. pp. 251–2Google Scholar: additions in Vases in Poland, p. 41.

^{page 24 note 2} A list of vases by the Nausicaa painter in Att. Vas. pp. 252–3 and 475: additions in Vases in Poland, pp. 41–3. Add a neck-amphora with twisted handles in Marseilles (3198: warrior leaving home), and pelikai in Athens (1400, C.C. 1184) and Mykonos (part of a youth remains on each side).

^{page 24 note 3} The obverse of my No. 1, the Nolan amphora, Petrograd 702, is published from a photograph J.H.S. xlviii, p. 15, Fig. 6.

^{page 25 note 1} On the Washing painter see Att. Vas. pp. 431–6 and 478–9, and Vases in Poland, pp. 59–60.

^{page 25 note 2} A list of vases by the Shuvàlov painter is given in Att. Vas. pp. 437–9. Dr Waldhauer points out to me that the Petrograd neck-amphora No. 4 in my list is not identical with the Pourtalès vase published in El. cér. 2, Pl. 14: so we have two vases instead of one. No. 3 in my list, the Gallatin hydria, is now published in C.V.A. Gallatin, Pl. 24, 8; No. 4 in R.M. 42, Beil. 30, 2; No. 10, which is now in Petrograd, in Licht, , Sittengeschichte, ii. p. 10Google Scholar, and in R.M. 42, p. 231; No. 15, the Brussels oinochoe, in C.V.A. Brussels III. 1 d, Pl. 4, 5; No. 18, the Berlin oinochoe, in F.R. iii. p. 317; No. 19, the Louvre kotyle, in Jacobsthal, Pl. 128. Add a small hydria in Heidelberg (B 133: woman seated with wreath and woman with box), a fragment of another, also in Heidelberg (K 28: woman with box), a small hydria in Petrograd, (R.M. 42, p. 233Google Scholar: attributed by Miss Peredolski), an oinochoe shape II in Petrograd (ibid., Beil. 30, 1), an oinochoe shape III in Leipsic (youths with lyres), and another in the British Museum (E 525: d‘Hancarville, ii. Pls. 101–2; phot. Mansell 3202, left), an oinochoe shape IV in Dresden (332: woman seated with lyre, and two women), a fragmentary oinochoe shape V in Tübingen (E 119: Apollo seated and a woman), a small pelike in Corneto (R.C. 1080: A, youth with phiale and youth with oinochoe; B, youth), and a small neck-amphora with ridged handles in the Parrish collection (No. 38 in the sale catalogue: A, Apollo and a woman; B, a youth), and another in Mykonos (A, a youth pursuing a woman; B, youth), this already assigned to our painter by Buschor.

^{page 26 note 1} On the Eretria painter see Att. Vas. pp. 428–30 and 478; C.V.A. Oxford, text to Pl. 40, 3–5, to Pl. 43, 2, and to Pl. 39, 5; and Vases in Polana, pp. 56–9, where among other things the ‘Lemnos’ group (Att. Vas. p. 428) is assigned to him. The three fragments assigned to the Eretria painter by Miss Peredolski are now published in J.H.S. xlviii. Pl. 7, right. Add a cup in private possession in Athens (I, departure of youth: A–B, Achilles leaving home). The cup-fragment Oxford 1925. 75 (C.V.A. Oxford, Pl. 14, 48), is also akin to his work; and a cup in the Thorvaldsen Museum at Copenhagen (113: I, man and youth: A–B, youths and men).

^{page 27 note 1} I ought to have mentioned in Attische Vasenmaler that Nos. 1–4 and 8–9 had been put together by Watzinger, (Jahreshefte 16, p. 142)Google Scholar and not only by the scholars whom I named; and that two of the vases on my p. 452, Nos. 3 and 4, were associated by him with the group for the first time. Add a hydria in Athens (14742: women).

^{page 27 note 2} A is published in Laborde, , Vases de Lamberg, i. Pl. 14Google Scholar, Annali 1884, Pl. L, and, from a photograph, in Münchener Ach. Studien, p. 84, 1.

^{page 27 note 3} Hope Vases, p. 83.

^{page 27 note 4} The obverse is given by Hackl, in Münchener Arch. Studien, p. 84Google Scholar, 2, by Pottier, (Album, Pl. 153)Google Scholar, and, after a photograph by Alinari, by Licht (Sittengeschichte, p. 247). Both sides are now published in C.V.A. Louvre III. I^e, Pl. 1, 1–3.

^{page 27 note 5} A list of vases by the Chrysis painter is given in Att. Vas. p. 455.

^{page 29 note 1} A. Z. 1881, p. 304 = K.S. ii. p. 83.

^{page 29 note 2} Vases in Poland, p. 72: add a black neck-amphora in Copenhagen (122 c.i.), another, with a white band, in Berlin (3009), a third in Marseilles (1369: A, woman (?) and bearded head; B, woman (?) and child), and a fourth in the Louvre (“426”: woman, child, man).

Article contents

Notes on the Vases in Castle Ashby

Extract

Access options

References

Save article to Kindle

Save article to Dropbox

Save article to Google Drive

Reply to: Submit a response

Your details

You have entered the maximum number of contributors

Conflicting interests