Some Early South Italian Vase-Painters: With a Brief Indication of the Later history of Italiote Vase-Painting

Noël Moon

doi:10.1017/S0068246200011739

Some Early South Italian Vase-Painters: With a Brief Indication of the Later history of Italiote Vase-Painting

Published online by Cambridge University Press: 09 August 2013

Noël Moon

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The question of the classification of the red-figured vases of Magna Graecia is still highly controversial. So is the question of the foremost seat of the industry, and of the development of the fabric or fabrics. A good deal is being done at the moment in various quarters towards straightening out the problem, but divergence of opinion on essential points is still wide. This article does not attempt to give another complete classification, nor is it intended primarily to resuscitate admiration for works of art wilfully neglected, to cry shame on those who hurry through museum rooms of South Italian exhibits to reach the Attic. It suggests, however, that there might be a pause in these rooms if examples of the best South Italian work were always there. But not infrequently the best have been put among the Attic. Many too are in comparatively inaccessible places and are unpublished. There are several good ones in England that are little known, being in private collections or unexpected museums. Some of these I am publishing, as well as one or two of those that in their museums are thought to be Attic. I am also describing briefly the different groups to which these vases belong, in an attempt to lay down new lines on which the subject may be approached.

Type: Research Article
Information: Papers of the British School at Rome , Volume 11 , November 1929 , pp. 30 - 49

DOI: https://doi.org/10.1017/S0068246200011739 [Opens in a new window]
Copyright: Copyright © British School at Rome 1929

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^{page 30 note 1} F.R. Pls. 98–99.

^{page 30 note 2} Der Polos, Pls. VI. and VII.

^{page 30 note 3} Op. cit. p. 83.

^{page 30 note 4} Jahrbuch xxxii. (1917), p. 54. Alinari, 11290.

^{page 30 note 5} Corpus 2, Pl. 2, No. 3 a.

^{page 31 note 1} Farnell, , Cults of the Greek States, iv. p. 259Google Scholar; Pauly-Wissowa, x. p. 1986; Bekker, , Anecd. i. 305Google Scholar; Hesych. s.v. Σταφυλοδρόμοι.

^{page 31 note 2} Farnell, op. cit. p. 260; Wolters, , Jahrbuch xi. (1896), p. 7.Google Scholar See also Bieber, , Jahrbuch xxxii. (1917), p. 55, note 2.Google Scholar For the contrary view see Pauly-Wissowa, s.v. Karneia, and Nilsson, , Griechische Feste, p. 140.Google Scholar

^{page 31 note 3} Athenaeus 6786.

^{page 31 note 4} Jahrbuch xi. (1896), p. 8. Valentin Kurt Müller takes the type of hat worn by the bronze figure to be the so-called θυρεατιϰόσ, and mentions three other examples, all bronzes. He does not connect them, however, with the vase at Leyden, (Der Polos, p. 27).Google Scholar

^{page 31 note 5} The Taranto vase at Ceglie, the South Kensington vase at Ruvo. I do not know the provenance of the other two.

^{page 32 note 1} Macchioro, , Röm. Mitt. xxvii. (1912), p. 163 ff.Google Scholar

^{page 32 note 2} The three by the same hand under Ruvo I are the first two on Macchioro, 's list in Röm. Mitt. xxvii. (1912), p. 168Google Scholar, note 1 (panathenaic amphorae, Naples 2416 and 2418, Patroni, La Ceramica nell' Italia Meridionale, Figs. 28 and 29), and the fifth on the list (Naples hydria 3241, referred to by its publications, Baumeister, 1856, tav. 83; Inghirami, , Pitt. di vasi titt. i. 98–99Google Scholar).

^{page 32 note 3} Mon. xii. Pl. 16.

^{page 32 note 4} Röm. Mitt. xxvii. (1912), p. 171, note 3. The fifth vase on the list, a nestoris in Berlin, No. 3143, referred to as Arch. Ztg. 1851, tav. 29.

^{page 32 note 5} E.g. Naples 2289. Ruvo II and Anzi II. Naples 1764. Anzi II and Anzi IV.

^{page 33 note 1} Calyx-crater, Naples 2284. Bell-craters, Naples 2360 (black number), 2861, 2914; Vatican 709; Bari 6277, Return of warrior; Vienna, Woman with mirror between two naked youths; Cotyle in Cambridge; Fragment with Helios in Heidelberg.

^{page 33 note 2} I am indebted to Mr. H. B. Walters for permission to publish the reverses of several vases in the British Museum, and to M. Merlin for permission to publish several vases in the Louvre from photographs by M. Giraudon.

^{page 34 note 1} British School Catalogue. Scala vi. 12, Pl. 102. As the photograph shows only the front, it is best to see the original.

^{page 34 note 2} Vatican-Katalog, i., Taf. 18, No. 114. See also another copy in the Capitoline Museum, British School Catalogue, p. 104.Google Scholar Alinari 11747.

^{page 34 note 3} F.R. iii. p. 161.

^{page 34 note 4} See, for instance, a youth standing by his horse on the west side of the frieze. B.M. Sculptures of the Parthenon, Pl. 64.

^{page 34 note 5} Op. cit. Pl. 65. Mr. Hinks has pointed out to me that the horse on the B.M. vase, and clearly the same applies to the Louvre vase, is later than the Parthenon horses and is of the type that belongs to the period of transition between the Parthenon type and the type of the monument of Dexileos. See Hinks, , J.H.S. xlvii. (1927).Google Scholar Such a horse as we have on the B.M. vase does not, he tells me, appear before 420 B.C. As an example of this transitional type in vase-painting, he gives the Talos vase (op. cit. p. 220). If we put our two vases, in view of their resemblance to the Parthenon frieze, as early as 420–415 B.C., it will not be without precedent, for Professor Beazley has pointed out to me that the new type of horse occurs in vase-painting well before the school of the Meidias painter. See a pelike by the Painter, Washing, Annali, 1874, Pl. TGoogle Scholar, Arch. Zeit. 1878, Pl. 22. Pfuhl, Fig. 577.

^{page 35 note 1} Several figures on both the volute-craters and the Phigalean frieze. See especially West Side slab 520 (British Museum Catalogue) and slab 524.

^{page 35 note 2} Albizzati, , Pont. Atti, xiv. p. 72.Google Scholar

^{page 35 note 3} For instance, the figure of Achilles on an unpublished fragment at Heidelberg.

^{page 35 note 4} Von Lücken, Pls. 24 and 25; Schröder, , Der Sport im Altertum, Pl. 40, 2.Google Scholar

^{page 35 note 5} Tillyard, op. cit. Pl. 29, No. 208.

^{page 35 note 6} The absurd arrangement of their legs is a good example of the mistaken use of pattern to which I have already alluded. In archaic times it would be wonderful; with this style of drawing it is quite out of place.

^{page 35 note 7} Alinari 35271.

^{page 35 note 8} Tischbein, vol. v. Pl. 73.

^{page 37 note 1} Tillyard, op. cit. p. 9, Pl. 29, No. 206.

^{page 37 note 2} Gerhard, A.V. Pls. 153 and 154.

^{page 37 note 3} Tillyard, Pl. 29, No. 207.

^{page 37 note 4} E.g. Reverse of the Phineus crater. F.R.I. p. 304.

^{page 37 note 5} E.g. Hydria in Cabinet des Médailles. New York Fragment, see Bulletin, July 1913, p. 158, and Jacobsthal, , Ornamenti, p. 144, note 269.Google Scholar

^{page 37 note 6} Arch. Zeit. iii. (1871), Pl. 55.

^{page 37 note 7} F.R. Pl. 60.

^{page 38 note 1} Patroni classes these three Panathenaic amphorae together as examples of the early Apulian style.

^{page 39 note 1} B.M. 499 is also very neat and the heads are small. Possibly the Amykos painter began in the tradition of the early group which has small heads, and later adopted the prevailing South Italian fashion for large heads.

^{page 39 note 2} Mon. vi.–vii. Pls. 37, 38, Jahrbuch xxvii. (1912), p. 274. Alinari 113000 (6), about to be published in the next F.R. Pls. 175–176.

^{page 39 note 3} Pfuhl attributes it to the same hand as the Munich crater and the Rape of the Leucippidae.

^{page 39 note 4} Cf. the maenad pouring incense into the calyx-crater with the mother of Anticleia on the Munich vase.

^{page 39 note 5} Notice the difference between the Centauromachy on this vase and on the Munich vase.

^{page 39 note 6} Millingen, , P.V.G. Pls. 36–38Google Scholar; Corpus, iv. D 6.

^{page 39 note 7} Beazley, , Icaros (J.H.S. xlvii. 1927), Pl. XXI.Google Scholar

^{page 39 note 8} Neapolis, I, p. 135.

^{page 39 note 9} F.R. Pl. 60.

^{page 39 note 10} F.R. Pl. 120.

^{page 39 note 11} F.R. Pl. 113.

^{page 40 note 1} F.R. iii. p. 161.

^{page 40 note 2} Tillyard calls the Expiation of Orestes an example of the normal early South Italian style, and the Dolon vase a development, but in a new direction, from vases such as the Teiresias vase. Op. cit. p. 9.

^{page 41 note 1} By Hauser, F.R. ii. p. 263.

^{page 41 note 2} Tillyard, op. cit. p. 6.

^{page 41 note 3} Leroux, Pl. 37.

^{page 41 note 4} F.R. Pl. 148.

^{page 41 note 5} F.R. Pl. 149.

^{page 42 note 1} F.R. ii. p. 263.

^{page 42 note 2} Restorations.—Nude youth. Back of head, chin and neck, most of left shoulder and arm, right arm and part of hand, most of the outline of the body, back of the left thigh, all the right leg except markings of the knee and ankle.

Second woman. Left breast, top of right shoulder, part of right forearm and hand, some of the lower part of the drapery.

^{page 42 note 3} Cf. the Taranto pelike, Not. Scavi, 1904, p. 203, which makes one think of the Dolon painter already.

^{page 42 note 4} Mansell 3290.

^{page 42 note 5} Tillyard, Pl. 30, No. 214.

^{page 43 note 1} I am not reproducing the back of the Durham vase or of Mr. Warrens', but I have seen both.

^{page 43 note 2} Baur, , Cat. of Yale Collection, Pl. 16 and p. 188.Google Scholar

^{page 43 note 3} Notice particularly the drawing of the shoulder and chest.

^{page 43 note 4} Supra, p. 35.

^{page 43 note 5} Jahresh. xvi. (1913), p. 160.

^{page 43 note 6} Supra, p. 39.

^{page 43 note 7} Jahresh. xvi. (1913), p. 158.

^{page 44 note 1} See also Robert, , Hallisches Winckelmann's Programm, xxii.Google ScholarKentaurenkampf; but the marble painting from Herculaneum seems to go back rather to vases of the full ‘Apulian’ style, e.g. the Darius vase, than to these Centauromachies.

^{page 44 note 2} Pfuhl, , Malerei und Zeichnung der Griechen, ii. p. 681.Google Scholar

^{page 44 note 3} Cf. Pliny, , N.H. xxxv. 64Google Scholar; Cicero, , De Invent. Rhet. ii. 1. 1Google Scholar; and Eustathius, , ad Il. p. 868.Google Scholar

^{page 44 note 4} Lucian, , Zeuxis 5.Google Scholar

^{page 44 note 5} Pliny, , N.H. xxxv. 64.Google Scholar

^{page 44 note 6} Pliny, , N.H. xxxv. 63.Google Scholar

^{page 44 note 7} Poetics, 6.

^{page 44 note 8} Tillyard, p. 15.

^{page 45 note 1} Arch. Zeit. 1848, Pl. 118. Mansell 3265.

^{page 45 note 2} Mansell 3269.

^{page 45 note 3} Macchioro, , Röm. Mitt. xxvii. (1912), p. 168, II.Google Scholar

^{page 45 note 4} Cf. for instance all the profile heads on obverses and reverses of B.M. 160 and 283, particularly the head of Polyxena with heads on the reverse. Cf. Ajax with the youth wearing a pilos on the reverse. Cf. the relief line and the drawing of the hands.

^{page 45 note 5} Sommer 11001, 8 gives the shape.

^{page 45 note 6} Supra, p. 40.

^{page 45 note 7} Sommer 11052 (unfortunately not very clear).

^{page 47 note 1} J.H.S. xlvii. (1927), p. 224, note 8, Pl. XXI.

^{page 47 note 2} Ausonia, vii. p. 119.

^{page 48 note 1} F.R. Pl. 88.

^{page 48 note 2} Röm. Mitt. xxvii. (1912), p. 167.

^{page 48 note 3} Furtwängler, , Masterpieces, p. 110.Google Scholar

^{page 48 note 4} Lenormant, , La Grande-Grèce, i. p. 323.Google Scholar

^{page 48 note 5} F.R.H. ii. p. 264.

^{page 48 note 6} Some of the earliest vases have been found at Anzi and some good pieces belonging to the turn of the century come from Armento.

^{page 48 note 7} There was once a little collection of antiquities from the neighbourhood kept at the station, including remains of sculpture from the metopes of the temple of Apollo Lykeios. See Lenormant, , A travers l'Apulie et la Lucanie, voi. i. p. 360Google Scholar, but by the time Gissing went there it had been transferred to Naples, and I expect the objects would be difficult to trace. See Gissing, , By the Ionian Sea, p. 65.Google Scholar

^{page 49 note 1} I cannot sufficiently express my gratitude to Professor Beazley and Mr. Ashmole for the great assistance that they have constantly given me in writing this article.

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Some Early South Italian Vase-Painters: With a Brief Indication of the Later history of Italiote Vase-Painting

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