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A kalpis from Piraeus Street by Polygnotos1

Published online by Cambridge University Press:  27 September 2013

Abstract

The kalpis published here was found in 1961 in Piraeus Street. The scene depicted on the body of the vase comprises four young women. The principal person, around whom the representation is organised, is a woman seated on a chair. She wears a chiton and a himation, has a diadem on her head and her two hands hold a larnax on her knees. The other three women are standing. They are dressed in pepla and the two on the right also wear diadems. The one standing in front of her holds an exaleiptron. High up in the background above the head of the seated woman hangs a wreath. The artistic style recalls Polygnotos and a comparison with his other works dates our kalpis to the decade 450–440 BC, in his early period. The graffito on the mouth of the vase, ON…I, is a known trade mark and probably concerns its price. The scene, which is set in a gynaeceum, is interpreted as the adornment of a bride, and is one of the earliest such representations known. It was probably inspired by wall painting. The Piraeus Street kalpis has now answered the question of the origin of this type of gynaeceum scene, which must be ascribed to Polygnotos himself and not to one of the artists of his Group.

Type
Articles
Copyright
Copyright © The Council, British School at Athens 2002

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References

2 For clay hydriai in general, see Richter, G. M. and Milne, M. J., Shapes and Names of Athenian Vases (New York, 1935), 1112Google Scholar; Diehl, 49–64; Kanowski, M. G., Containers of Classical Greece. A Handbook of Shapes (New York, 1984), 3842Google Scholar. On red-figure types see Diehl, 61–3; Lezzi-Hafter, A., Der Schuwalow-Maler (Mainz am Rhein, 1976), 6.67Google Scholar; Prange, Niobidenmaler, 37–8; Oakley, J., The Phiale Painter (Mainz am Rhein, 1990), 51Google Scholar; id., The Achilles Painter (Mainz am Rhein, 1997), 90–1; M. Moore, B., Attic Red-Figured and White Ground Pottery (The Athenian Agora, xxx; Princeton, 1997), 38–9Google Scholar; Schreiber, T., Athenian Vase Construction: A Potter's Analysis (Malibu, Calif., 1999). 120–3Google Scholar.

3 See Beazley, ARV 188–9, 68–73;Add 2 188–9.

4 See ARV 209–10, 169–83; Add2 195–6.

5 See ARV 229, 38–9; Add2 199. Kalpides with decoration on the body are much commoner: ARV 229, 40–5; Add2 199.

6 e.g. the kalpis in the Fitzwilliam Museum, Cambridge, no. 5.1961 (all round and under the handles): ARV 605, 63; Prange, Niobidenmaler, no. N 82, pl. 45. Also the kalpis in the Princeton University Art Museum, no. 33,42: ARV 605, 65; Prange, Niobidenmaler, no. N 84, pl. 4.

7 e.g. the kalpis in Sarajevo: CVA 1, pl. 34, 35; Prange, Niobidenmaler, no. 38 n. 118.

8 The kalpis in the Museo Gregoriano Etrusco, Vatican City, no. 17882: ARV 614, 11; Prange, Niobidenmaler, no. GN 76, pls. 18, 19.

9 For the kalpides by Polygnotos and his group generally, see Matheson, Polygnotos, 184.

10 Burn, L., The Meidias Painter (Oxford, 1987)Google Scholar, no. M 5, pls. 1 a, 2 b–c, 4 b, 5–9, 3.

11 The Catalogue records that the vase was found in the believe it was found in the I.K.A. area in Piraeus Street in 1960, without further information about the location and conditions of the find. I believe it was found in the excavations of the Y.D.R.E.X. in 1961. See below, n. 71.

12 Schreiber (n. 2), 120–3.

13 ARV 1032, 54; Add 2 318; Matheson, Polygnotos, no. P 59, pl. 1.

14 For the spiral-shaped ear, cf. the woman with the oinochoe on the front of the pelike in the Martin von Wagner Museum at Wurzburg, no. ZA 25, ARV 610, 26. Prange, Niobidenmaler, no. N 64, pl. 9. For the inner line of the lip, cf. the head on the fragment in the Gahn Collection at Basel, no. HC 47: ARV 1661, 90 bis; Prange, Mobidenmaler, no. N 115, pl. 2.

15 Matheson, Polygnotos, 4, 7, 10–17, 176; Prange, Niobidenmaler, 117–18.

16 Lezzi-Hafter, A., Der Schuwalow-Maler (Mainz am Rhein 1976), 62Google Scholar.

17 Beazley, Para. 442; Matheson, Polygnotos, no. P 33, pl. 4.

18 ARV 1032, 61; Para. 442; Add 2 318; Matheson, Polygnotos, no. P 67, pl. 14. For the woman's hairstyle, see Marinatos, S., ‘Kleidung, Haar und Bart-Tracht’ (Archaeologia Homerica, I; Göttingen, 1967) B20Google Scholar.

19 ARV 1031, 42; Matheson, Polygnotos, no. P 47, pl. 25.

20 ARV 1030, 36; Add 2 317; Matheson, Polygnotos, no. P 41, pl. 31.

21 ARV 1032, 55; Para. 442; Add 2 318; Matheson, Polygnotos, no. P 60, pl. 44.

22 ARV 1032, 56; Add 2 318; Matheson, Polygnotos, no. P 61, pl. 48.

23 ARV 1031, 38; Add 2 317; Matheson, Polygnotos, no. P 43, pl. 49.

24 ARV 1029, 18; Add 2 317; Matheson, Polygnotos, no. P 19, pls. 54–5.

25 ARV 1056, 86; Add 2 322; Matheson, Polygnotos, no. P 35, pls. 57, 157.

26 A few examples may be cited: (a) the right-hand woman on the kalpis in the University of Mississippi Museum, Oxford, Miss., no. 1977.3.90 (Robinson Collection) by the Peleus Painter: ARV 1032, 64; Matheson, Polygnotos, no. PE 30, pl. 89; (b) the woman on the front of the stamnos in the Laon Museum, no. 37.1019, by the Christie Painter: ARV 1048, 37; Matheson, Polygnotos, no. CHR 39, pl. 105; (c) the Dionysus on the stamnos in the Harvard University Art Museums, Cambridge, Mass., no. 1925.30.42, again by the Christie Painter: ARV 1048, 38; Add 2 321; Matheson, Polygnotos, no. CHR 40, pl. 111; (d) the Dionysus on the calyxkrater in the San Antonio Museum of Art, San Antonio, Texas, no. 86.134.77, by the Curd Painter: Matheson, Polygnotos, no. CUR 6. pl. 114.

27 ARV 1032, 58; Para. 442; Add 2 318; Matheson, Polygnotos, no. P 63, pl. 28.

28 ARV 1032, 59; Matheson, Polygnotos, no. P 64, pl. 60.

29 ARV 605, 62; Add 2 267; Prange, Nobidenmaler, no. N. 81.

30 See above, n. 17.

31 ARV 1029, 21; Para. 442; Add 2 317; Matheson, Polygnotos, no. P 23, pl. 51.

32 ARV 1031, 51; Add 2 317; Matheson, Polygnotos, no. P 56, pl. 56.

33 ARV 605, 65; Prange, Nobidenmaler, no. N 84, pl. 4.

34 Johnston, A. W., Trademarks on Greek Vases (Warminster, 1979), 5Google Scholar.

35 Ibid., 158–9.

36 Ibid., 227.

37 For the gynaeceum scenes, see Götte, E., Frauengemachbilder in der Vasenmalerei des fünften Jahrhunderts (Munich, 1957), 25Google Scholar.

38 Ibid., 5–11.

39 Ibid., 12–15.

40 e.g. the hydria in the J. Paul Getty Museum at Malibu, no. L. 87. AE. 4: J. Burow, Der Antimenesmaler (Kerameus, 7; Mainz am Rhein 1989), no. 58, pl. 58. In general see Götte (n. 37), 7 n. 12; Manakidou, E., ‘Athenerinnen in schwarzfigurigen Brunnenhauszenen’, Hephaistos, 11–12 (19921993), 5191Google Scholar; Manfrini, Y., ‘Femmes à la fontaine: réalité et imaginaire’, in Bron, C. and Kassapoglou, E. (eds), Image en jeu (Lausanne, 1992), 127–48Google Scholar.

41 Prange, Nobidenmaler, nos. A 69–76, N 81–103, GN 50–4, 76, 79, 82, 99–103.

42 For example, the kalpis in the Musées royaux d'art et d'histoire, Brussels, no. A 3096, by the Brussels group A3096: ARV 1033, 1; Para. 443; Matheson, Polygnotos, no. BR 3, pl. 179.

43 See above, n. 20.

44 Private collection in Basel (H. Cahn): Prange, Nobidenmaler, no. N 101, pl. 8.

45 Museo Nazionale Archeologico di Spina, Ferrara, no. 3058 (T.271): ARV 1032, 58; Para. 442; Add 1 318; Matheson, Polygnotos, no. P 63, pl. 28. Royal Museum of Scotland at Edinburgh, no. 1877.29: ARV 1032, 59; Matheson, Polygnotos, no. P 64, pl. 60. National Archaeological Museum of Athens, no. 14983: ARV 1032, 60; Matheson, Polygnotos, no. P 65, pl. 58. Princeton University Art Museum, no. 1986–59 a–d; Matheson, Polygnotos, no. P 66, pl. 59. Museo Nazionale Archeologico, Naples, no. 81398: ARV 1032, 61; Para. 442; Add 2 318; Matheson, Polygnotos, no. P 67, pl. 14.

46 Archäologisches Museum der Universität Leipzig, no. T 667 (lost): ARV 1032, 62; Matheson, Polygnotos, no. P 68.

47 Museo Nazionale Archeologico di Spina, Ferrara, no. T 711 B VP: ARV 1032, 63; Para. 442; Matheson, Polygnotos, no. P 69. Musées royaux d'art et d'histoire, Brussels, no. R 226: ARV 1032, 65; Matheson, Polygnotos, no. P 70. British Museum, no. E 222: ARV 1033, 66; Matheson, Polygnotos, no. P 71.

48 See above, n. 18.

49 See above, n. 17.

50 ARV 1060, 145; Para. 445; Add 2 323; Matheson, Polygnotos, no. PGU 171, pl. 149.

51 Matheson, Polygnotos, 288–90.

52 Briimmer, E., ‘Griechische Truhenbehälter’, Jdl 100 (1985), 1168Google Scholar. Also Lissarrague, F., ‘Women, boxes, containers: some signs and metaphors’, in Reeder, E. D. (ed.), Pandora: Women in Classical Greece (Exhibition Catalogue, The Walters Art Gallery/The Dallas Museum of Art/Antikenmuseum Basel und Sammlung Ludwig; Baltimore, 1955), 91100Google Scholar.

53 The white lekythos in the Staatlichc Museen zu Berlin— Preußischer Kulturbesitz, no. V.I.3262, by the Sabouroff Painter: ARV 845, 168; Add 2 296; Kavvadias, G. G., Ο Ζωγράϕος του Sabouroff (Athens, 2000)Google Scholar, no. 175, pl. 117.

54 The stele in the National Archaeological Museum depicting Hegeso Proxenou, no. 3624: Clairmont, Chr. W., Classical Attic Tombstones (Kilchberg, 1993– ), i, no. 2150Google Scholar. For the interpretation of these compositions, see G. Hoffmann's introduction, ‘Portrait de groupe avec dame: étude sociologique des monuments’, ibid., 160–8.

55 The lebes gamikos in the Metropolitan Museum of Art in New York, no. 07.286.35, by the Washing Painter (430–420 BC); ARV 1126, 1; Para. 453; Add 2 332; Reeder (n. 52), 224–6, no. 55. Also lebes gamikos in the Staatliche Museen zu Berlin—Preußischer Kulturbesitz, no. F 2405 = Kavvadias (n. 53), no. F 2405, pl. 67.

56 Scheibler, I., ‘Exaleiptra’, Jdl 79 (1964), 72108Google Scholar.

57 The lekythos in the National Archaeological Museum in Athens, no. 1821: ARV 998, 168; Para. 438; Add 2 313; Oakley, J. H., The. Achilles Painter (Mainz am Rhein, 1997, 145Google Scholar, no. 229, pl. 120. Tzachou-Alexandri, O. E., Λευκές Λήκυθοι του Αχιλλέως στο Εθνικό Αρχαιολογικό Μουσείο (Athens, 1998), 131Google Scholar, no. 13, pls. 39–42.

58 e.g. the loutrophoros in the Ashmolean Museum, Oxford, no. 1927.4067, by Athens Painter 1454: ARV 1179.

59 For the wreath in a marriage context, see Blech, M., Studien zum Kranz bei den Griechen (Berlin and New York, 1982), 7581CrossRefGoogle Scholar. For the wreath in funerary representations, see ibid., 81–98.

60 Kurtz, D. C., ‘Mistress and maid’, AnnArchStorAnt 10 (1988), 141–9Google Scholar; Reilly, J., ‘Many brides: “mistress and maid” on Athenian lekythoi’, Hesp. 58 (1989), 411–44CrossRefGoogle Scholar.

61 Sgourou, M., Attic Lebetes Gamikoi (diss. Ann Arbor, Mich., 1995), 96105Google Scholar.

62 Paus. x. 25.4.

63 Lebes gamikos in the Staatliche Museen zu Berlin Preußischer Kulturbesitz, no. F 2404: ARV 841, 70; Kavvadias (n. 53), no. 74, pl. 66.

64 Lebes gamikos in Nationalmuseet, Copenhagen, no. 9165, by the Mykonos Painter: ARV 514, 2; Sgourou (n. 61), no. R 8, pl. 18 a.

65 Lebes gamikos in the Akademisches Kunstmuseum, Bonn, no. 1520, close to the Mykonos Painter: ARV 516; Sgourou (n. 61), no. R 9, pl. 18 b.

66 ARV 841, 71; Kavvadias (n. 53), no. 75, pl. 67.

67 Oakley, J. H. and Sinos, R. H., The Wedding in Ancient Athens (Madison, Wis., 1993), 1621Google Scholar.

68 For hydriai as marriage gifts and their use at the marriage-bath, see Diehl, 181–5; Richter, G. M. A., ‘A fourth-century bronze hydria in New York’, AJA 50 (1946), 367CrossRefGoogle Scholar. For their use at death, see Kurtz, D. C. and Boardman, J., Greek Burial Customs (London, 1971), 161Google Scholar; Diehl, 128–46.

69 Sabetai, V., ‘Aspects of nuptial and genre imagery in fifth-century Athens: issues of interpretations and methodology’, in Oakley, J. H., Coulson, W. D. E., and Palagia, O. (eds), Athenian Potters and Painters (Oxford, 1997), 319–20Google Scholar, fig. 1.

70 The loutrophoros was usually monumental in size with a narrow neck, and therefore unwieldy for bathing: see Kokula, G., ‘Marmorlutrophoren’, AM Beil. 10 (1964), 149Google Scholar.

71 For J. Threpsiades' excavations in the period during which the hydria was found, see Skilardi, D. U., ᾿Ανασκαφαὶ παρἀ τἀς ᾿Ηρίας πύλας καὶ τοπογραφικἀ προβλήματα τῆς περιοχῆς᾿, Arch. Eph. Chron. 1968 (1969), 42–3Google Scholar. For more recent excavations in the area up to 1973, see O. Alexandri, Κρἀνος Βοιωτιουργἐς ἐξἁ ᾿Αθηνῶν, AE 1973, 93–105.

72 Kurtz and Boardman (n. 68), 204, 210, 241.

73 VA 171; ARV 1027–33; 1678–9, 1707; Para. 442–3; Add 2 317–18; Matheson, Polygnotos.

74 ARV 1027, 1; Add 2 317; Matheson, Polygnotos, no. P 1, pl. 19. ARV 1027, 2, 1678; Add 2 317; Matheson, Polygnotos, no. P 2, pl. 38. ARV 1029, 28 bis; Matheson, Polygnotos, no. P 31. ARV 1030, 34; Para. 442; Add 2 317; Matheson, Polygnotos, no. P 39, pls. 17–18. ARV 1932, 53; Add 2 317; Matheson, Polygnotos, no. P 58, pl. 13.

75 ARV 1036–7, 1–15, 1679. Para. 443. Add 2 318; Matheson, Polygnotos, no. H 1-H 15.

76 ARV 1032, 64; Matheson, Polygnotos, no. PE 30. ARV 1038–40, 1–25, 1679. Para. 443. Add 2 319; Matheson, Polygnotos, no. PE 1-PE 31.

77 ARV 1044–6, 1–13, 1652; Para. 444; Add 2 320; Matheson, Polygnotos, nos. L 1-L 13.

78 ARV 1046–9, 1–55, 1679; Add 2 320–1; Matheson, Polygnotos, nos. CHR 1-CHR 58.

79 ARV 1143–7, 1–68, 1684; Para. 455–7; Add 2 334–5; Matheson, Polygnotos, nos. KL 1-KL 77; ARV 1149, 9, 1588; Para. 457; Add 2 335; Matheson, Polygnotos, no. KL 30.

80 ARV 1151–5, 1–46, 1685. Para. 457. Add 1 336; Matheson, Polygnotos, nos. D 1-D 52.

81 See above, n. 73.

82 Matheson, Polygnotos. Recently another work by him has been added to those already known: Geka, P., ‘Αττικἠ Ερυθρόμορφη κάλπή’, A.Delt. 47–8 (19921993), Mel. 143249Google Scholar.

83 For the date of the painter's work, see Matheson, Polygnotos, 7–9. Also Isler-Kerenyi, , ‘“Chronologie und Synchronologie”, Attische Vasenmaler der Parthenonzeit’, AK Beiheft 9 (1973), 26Google Scholar. For the Kleophon and Dinos Painters: Matheson, Polygnotos, 81–2, also 295–6. And see above, nn. 79, 80.

84 See above, n. 15.

85 A characteristic work of this period is the stamnos in the Ashmolean Museum, Oxford, no. 1916.68, depicting the Dioscuri: ARV 1028, 6; Add 2 Matheson, Polygnotos, no. P 5, pl. 29.

86 A representative work for the rendering of folds of garments is the loutrophoros in the Royal Ontario Museum at Toronto, no. 929.22–3 (635): see n. 32.

87 e.g. the representation of a symposium on the stamnos in the Museo Nazionale di Villa Giulia, Rome, no. 3584; ARV 1028, Etrusco 15; Matheson, Polygnotos, no. P 15, pl. 9.

88 e.g. the calyx-krater m the Museo Civico Archeologico, Bologna, no. 17358 (Pell. 288 bis): ARV 1056, 86; Add 2 322; Matheson, Polygnotos, no. P 35, pls. 57, 157.

89 ARV 1028, 13, 1678; Add 2 317; Matheson, Polygnotos, no. P 13. pl. 53.

90 See above, n. 22.

91 ARV 1032. 60; Matheson, Polygnotos, no. P 65, pl. 58.

92 ARV 1030, 32; Matheson, Polygnotos, no. P 37.

93 ARV 1031, 52; Matheson, Polygnotos, no. P 57.

94 ARV 1031, 37; Matheson, Polygnotos, no. P 42, pl. 12.

95 ARV 1029, 27; Matheson, Polygnotos, no. P 28.