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Published online by Cambridge University Press: 23 December 2013
In Volume LVI of this Journal I published a series of. Attic stemless kylikes with red-figure painting outside and stamped or incised patterns inside. These run from about the middle to the end of the fifth century. Characteristic of the early part of the fourth century, though the earliest examples are to be dated before the end of the fifth, is a series of cup-kotylai with similar decoration which forms the subject of this paper.
The cups range in size from a height of 0·09 m. with a diameter of 0·165 m. to a height of 0·06 m. with a diameter of 0·12 m. Their deep and comparatively narrow bowls presented more difficulties to the stamper than the shallow kylikes and restricted his designs to smaller and simpler patterns.
The earliest group consists of a pair of cups from the same hand. The stamped pattern shows five or six separate palmettes set closely round a small incised central circle and surrounded by a pair of incised circles.
1 For photographs, information, and help in various ways I am still further indebted to those to whom I recorded my thanks in JHS LVI p. 205 n. 2Google Scholar, and to their names I should like now to add those of Professor W. Deonna, Dr. P. Jacobsthal, Dr. P. Mingazzini, Professor Kurt Müller, Mrs. W. Oakeshott, Dr. Preyss, Dr. Schmidt of the Lindenau Museum, Altenburg, Mr. J. A. Spranger, M. Francois Villard, Dr. Alfred Westholm, the Directors of the Wellcome Historical Medical Museum and of the Cabinet des Médailles. To Professor Hahland especial thanks are due for sending me very full information about the Jena fragments and a complete set of photographs. My chief debt is once more to Professor Beazley, to whom I owe my first acquaintance with nos. 6, 29, 30 and 38, and frequent loans of unpublished material.
2 I quote Dr. Mingazzini, to whom I am much indebted for very kindly sending me a full description of this vase, which I have not seen, and for lending me his photographs of the exterior. The cup is to be published in the forthcoming second Capua fascicule of the Corpus Vasorum.
3 Or rather what should have been a circle, but the incising instrument slipped, and the result is in the shape of the letter C.
4 Cp. Hesperia IV p. 489 Fig. 11Google Scholar, though there the ovules, not stamped but incised, go in the contrary direction.
5 The rims of nos. 12, 14, 26, 45 and 48 are missing.
6 I have not seen the cups in the Hermitage, but Miss Anna Peredolski has most kindly sent me photographs of the stamped interiors and of one side of the exterior of each cup (except no. 48). For the figures on the reverse of the cups I quote her descriptions.
7 Hahland, Vasen um Meidias pp. 16 fGoogle Scholar. and Beazley, JHS XLVIII p. 127Google Scholar.
8 The two fragments shown in Pl. V 13 and Pl. VII 13 are both assigned to 7 by Hahland. It is not obvious from he photographs whether they actually join at any point. Beazley's number refers only to the fragment shown in Pl. V 13.
9 E.g., CV Coll. Mouret, pl. 2.
10 A black glaze cup in Mykonos with similar pairs of incised circles not accompanied by stamps comes from the purification pit in Rheneia.
11 None except the reverse of the Millin Painter's Göttingen cup (no. 3).
12 Compare the bulls Arch. Anz. 1935 pp. 35 f. Figs. 1–4Google Scholar.
13 Von Stern, ibid. p. 50 note, mentions a cup from Kertch with similar decoration in Odessa Museum.
14 According to Bulas, CV p. 42, it is the ephebe who holds the aryballos, but on each of the four vases with this subject the aryballos is nearer to the hand of the woman than to that of the youth, and on the Altenburg example (38) the strap by which she holds it is clearly indicated.
15 E.g. Rhitsona grave 60. 16, P. N. Ure Black Glaze Potteryfrom Rhitsona plate XIII.
14 The general appearance of the stamping in the group consisting of these two cups and those in Chaeronea (44) and Fiesole (46) suggests that they are not very far from the mid-fourth century type illustrated by MissTalcott, Hesperia IV p. 485 Fig. 8. 115Google Scholar.
17 The painting on the outside of the Fiesole cup is surprisingly neat and much superior to that of the Q Painter, yet in its stamping the cups which it most resembles are among the latest and worst of the Q Painter's efforts.
18 Several examples of a fringe of linked palmettes outside a zone of ovules occur among the finds from the purification pit of 426 B.C. in Rheneia.
19 Vases de Madrid nos. 255, 256, 257.
20 Above, p. 70.
21 CV Oxford III i, Plate LVII 39, 41 and 42; see also p. 112 on no. 41.
22 On the shape see Beazley, CV Oxford p. 39 no. 6Google Scholar.
23 Pellegrini, Cat. Palagi ed Univ. p. 60 no. 349Google Scholar. Diameter only 0·059 m.
24 Beazley ibid.
25 A paper on South Italian vases which combine rf. painting with stamping is being prepared by Mrs. Oakeshott.
26 JHS LVI 1936 pp. 207, 209, 213Google Scholar.
27 It may well have been the potter who did the stamping some time before the cup came into the painter's hands. The circles that formed part of the decoration were probably incised on the wheel.
28 It may be that this fragment does not belong to the series under discussion. So little of the vase is left that its precise shape is uncertain. The stamping suggests a fifth century date.
29 Mainly working back from evidence supplied by the graves of those who fell at Chaeronea, see Ure, P. N.Black Glaze Pottery from Rhitsona pp. 32 fGoogle Scholar. and Plate XIII.
30 This paper was completed before the publication of Professor Beazley's Attic Red-figure Vase-painters. The view that the Q Painter had a longer life than the Jena Painter was based partly on developments in his painting and stamping that seemed to point to a career of some length, and partly on the much larger number of his cups known to me. The publication of ARV shows, however, that no less than 76 vases and fragments can be attributed to the Jena Painter compared with only 35 of the Q Painter's. This does not necessarily alter the case. The lucky find of the Jena Painter's workshop credits him with 56 vases that were never put on the market, and we have not the stock in trade of the Q Painter to set against these. Of vases sold and circulated there are only 20 of the Jena Painter's, none of them stamped, to set against 35 of the Q Painter's, of which only seven are certainly without stamps.
