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Published online by Cambridge University Press: 18 September 2015
The showcases of the antique-dealers in Odos Pandrosou are full of little lekythoi which were painted for the tombs of humble men of the people, and which to-day are destined for modest purchasers or for the Inspectors of the Archaeological Section of the Ministry of Education, while for more important purchasers there are hidden away somewhere else works of much greater value. It is seldom that we are stopped by the art or the subject of one of these lekythoi.
In 1943 when I was making an inventory of the stock of one antique-dealer—that which was on show—I picked out one lekythos which the owner gladly presented to the National Museum (Plate IVa, Figs, 1 and 2). From the funeral pyre the surface of the vase has taken a brown-grey colour, and the many joins show that it had been thrown to be broken and burnt with the dead body.
A curious male figure wrapped in a himation up to the top of the head, so that only the -eye and the upper part of the head remain free, walks rapidly to the left, raising one leg vigorously. He lifts his himation with his hand to help him move. High boots cover his legs to a point just below the knee. The hanging wreath does not appear to be related to the interpretation of the picture, but is taken from the commonplaces of funeral lekythoi, especially white ones.
2 Inv. no. 17612.H.0.16. Drawing by the draughtsman of the National Museum, A Kontopoulos.
3 Riezler WL Pl. 22 (in the woman's hand); 37, 40 (on the base of the column); Richter and Hall Pl. 116 no. 129.
4 CV iii Ic Pl. 105; FR Pl. 48; Beazley, ARV 292, no. 201.Google Scholar
5 Beazley, Berlinermaler Pl. 23, 1Google Scholar.
6 Bieber, Dresdener Schauspielerrelief 44 Fig. 9Google Scholar and RE xi. 1520 ff. s.v. Kothurn; Daremberg et Saglio, DA s.v. Cothurne (Pottier). The examples given by Bieber can easily be multiplied: e.g., CV Oxford Pl. 51, 8; CV Robinson Coll. ii. Pl. 13–14; iii. Pl. 6; cup by Skythes, Pfuhl, MuZ 338Google Scholar, Beazley, ARV 76Google Scholar, a; Panmaler Pl. 26, 2, 27, 2 ( = 31), 30, 2; Pfuhl 564 (Beazley, ARV 695Google Scholar, 1).
7 Beazley VA 68; FR iii. 135; Caskey and Beazley Pl. 29, 63; Webster Greek Art and Literature Pl. 18a; Bieber HT 80, Fig. 108; Beazley, ARV 655, 38.Google Scholar
8 CV i Pl. 47, 1–2; Beazley AV 307, 2; ARV 350, 3.
9 Hesperia viii. (1939) 267 ff.Google Scholar (Lucy Talcott).
10 From the excavations in the former Royal Stables, Stadion St. Found in a funeral pyre with other vases and will be published elsewhere. From the same workshop as the two oinochoai in the National Museum, Pfuhl MuZ 568; Deubner Attische Feste Pl. 8, 3 and 33, which Beazley, (ARV 757)Google Scholar places near the Shuvalov Painter.
11 Gerhard Pl. 58; Beazley, ARV 695,Google Scholar 4 (‘Polygnotos group’). Here however they are not kothornoi but endromides.
12 From a drawing by the late E. Gilltéron. See Dioniso v. 3 ff.Google Scholar(G. Caputo); Brommer, Satyroi 42 no. 32Google Scholar; Satyrpiele Fig. 17–19.
13 Carapanos Dodone Pl. xiii. 5; Bieber Denkmäler Pl. 69; HT Fig. 109.
14 Körte, JdI 1893, 69 n. 25Google Scholar; Pfuhl 572, Beazley, ARV 848, 22Google Scholar.
15 Soph., Ajax 245Google Scholar: 
16 Nauck, Trag. Fragments2 294Google Scholar.
17 See n. 8 above.
18 Wilamowitz, Aesch. Trag. 5 § 14Google Scholar; Bieber, Dresdener Schauspielerrelief 52 ff.Google Scholar; HT 42; Navarre, Théâtre Grec 198 ff.Google Scholar; Haigh, Attic Theatre 248Google Scholar.
19 Smith, KendallHarvard Studies in Philology xvi. (1905), 123 ff.CrossRefGoogle Scholar
20 Bieber, Dresdener Schauspitlerrelief 52Google Scholar; HT 41.
21 Compare with the kothornoi of Plate IVa and Figs. 1–3 the lower ones on vases of the severe style.
22 No one now discusses the old theory of Robert (XXII Hallische Winckelmannsprogramm 28 ff.) or its modification by Séchan, , Etudes trag. gr. 552, 3Google Scholar. Kendall Smith was the first to maintain the correct view in his basic study (see n. 18 above).
23 The oldest work wkh a prologue, the Seven, was played for the first time iri 467, that is about the period of our lekythos.
24 Esp. Buschor in FR iii. 138. See also Talcott Hesperia loc. cit.
25 JdI 1896, 292 (Bethe)Google ScholarPubMed; Bieber HT 51 Figs. 61–4; Séchan op. cit. Fig. 158; Götze RM liii (1938) 263.
26 FR Pl. 143, 5 (Buschor); Pfuhl MuZ, Fig. 575; Beazley, ARV 849Google Scholar, where further bibliography.
27 Lekythoi with representations from satyric drama: Athens, Buschor AM lii. (1927) 231; Haspels BL 170 Pl. 49; Brommer, Satyrspiele 75 no. 116Google Scholar; Buschor, , Satyrtänze 105 Fig. 80. AthensGoogle Scholar; Karouzou, S.BCH lx. (1936) 155Google Scholar; Brommer op. cit. 72, Figs. 28–30; Buschor op. cit. 94. Syracuse, Buschor AM lii. 232; Brommer op. cit. 75 no. 118.
28 For the satyric Sisyphos of Aeschylus see Nauck, TrFr2 74Google Scholar; Buschor, Sitzungsberichte Bayer. Akademie 1937, 3Google Scholar.
29 Nauck2 124–6; Séchan 63 ff. The tetralogy Lykourgeia of Phrynichos' son Polyphrasmon was played in 468–7, at the same time as the Seven (Wilamowitz, Aeschyliscne Interpretationen 243Google Scholar; Haigh, Tragic Drama 412–13Google Scholar; Eschyle (Budé, ed.) i. 109)Google Scholar.
30 Festschrift Loeb 6 ff. Pl. 2. Langlotz Gr. Vasen in Würzburg Pl. 240; Bieber HT Fig. 216 a and b; Scheurleer Gritksche Ceramiek Pl. 44, 127.
31 For the type of stage represented on phlyax vases see Fiechter, Baugeschichtliche Etjtwicklung des Griechischen Theaters 37 ff.Google Scholar and Trendall, Paistan Pottery 26 ff.Google Scholar
35 JHS xlvii. (1927) 222Google Scholar; Haspels BL 180, 270–1; Beazley, ARV 482Google Scholar.
33 Beazley, ARV 483, 51.Google Scholar
34 Beazley, ARV 483Google Scholar, 27 (Museum no. 1513). The white one, ARV 483, 45 (Museum no. 1788).
35 JHS xlvii. (1927), 232Google Scholar; ARV 482, 13.
36 Brygos kylix in Berlin, Gerhard Griechische und Etruskische Trinkschalen, Pl. 8, 2; Beazley, ARV 246, 10Google Scholar. Boeotian krater in Nat. Mus., Lullies, AM lxv. (1940), 13 Pl. 8. Cf. Smith, A. H.Parthenon 13 ff.Google Scholar Pl. 6, 1. For the Pheidiac representations with Helios and Selene see Schweitzer, IdI lv. (1940), 182 ff. On an ancient model depends the wingless Selene in a drawing of the fifteenth century, on the ‘Mantegna playing-cards’ in the Brit. Mus., as Greifenhagen rightly observes (‘Zum Saturnglaüben der Renaissance,’ Die Antike xi. 74)Google Scholar.
37 Roscher, ML s.v. Mondgöttin (Weizsacker); DA s.v. Luna (Legrand); FR Pl. 126; Furtwängler, Sabouroff i. Pl. 63Google Scholar; Schefold UKV Pl. 32 no. 369 ( = Pfuhl 597). Krater in Vienna, Hahland Vasen urn Meidias Pl. 18a; Beazley, ARV 843Google Scholar. Naples vase with Pheidiac gigantomachy, Hahland op. cit. Pl. 9 a-b; von Salis, JdI 1940, 92Google Scholar (where bibliography) and p. 81, Fig. 1–2. Parthenon metope, Praschniker, Parthenonstudien 87 ff.Google Scholar
38 Eurip., Nauck, Trag. frag. 114Google Scholar.
39 Aristoph., Birds 695Google Scholar.
40 Cf. n. 37. Roscher ML s.v. Mondgöttin, 3141; Robert Hermeneutik Fig. 32. Night, according to the accepted interpretation of Robert, Hermes xix. (1884) 467Google Scholar, not Eos as Furtwängler called her.
41 CV Pl. 50, 19.
42 FR iii. 33, 35, Fig. 14; Beazley, ARV 688, 3Google Scholar.
43 iii. 37, Fig. 16; Beazley, ARV 607Google Scholar, 6 (Curtius Painter).
44 Berlin catalogue no. 2524.
45 Ion 1150.
46 Roscher ML s.v. Nox-574–5, Figs. 1–2. Similarly draped is one of the Pleiads on a b.f. hydria in the National Museum (see forthcoming publication); with the head covered, Column, Trajan's, Strong, , Scultura Rotnana ii, Fig. 108Google Scholar, Lehmann-Hartleben, p. 54, Pl. 70; in painting, in the medieval manuscript, Thiele Antike Himmelsbilder Fig. 37. For other monuments of late antiquity with Night, see Friedländer, Johannes von Gaza und Paulus Silentiarius 208Google Scholar, and Krahmer, Tabula Mundi 18 ff.Google Scholar
47 Inv. no. 17761. ‘Unknown provenience. Found in a store-room of the National Museum.’
48 Haspels BL 123, Pl. 32, 1.
49 Philippson, PaulaDer Kosmos des Okeanos (Basel 1940)Google Scholar, and Karouzou, S.
(provisional publication in Nto Νέα Ἑστία, 1944, 165 ff.)Google Scholar.
50 Paus. x. 38, 6; Overbeck Schriftquellen 277; Thieme Becker, Künstler-Lexikon xxviii 225Google Scholar.
