Attic White Ground Lekythoi I

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II mill
1
IN
thesaurus
of
lekythoi
with
drawing
in
glaze
high,
oil-flask. Some
are
shop-work,
turned
out
rapidly
the
questions
on
which
light
is
shed
by
work
study,
M.
E.
Pettier.
2
White
lekythoi
proper
the
point
classes
is
proposed.
(perhaps
a
modifica-
tion
of
the
red-figured
technique
glaze,
is
reserved
for
another
occasion.
Ill
ANTECEDENTS
OF
WHITE
LEKYTHOI
WITH
OUTLINE
DRAWING
The
general
shapes,
the
types
of
ornamentation,
and
and
mouth,
of the
of the
bars are the normal decoration for the shoulder of small
lekythoi
1
Egypt
pitchers
that the
red of
outline
technique
was
red-figured technique,
a variation
chronological
and
not
merely
mechanical.
Vases
with
drawing
in
glaze
lines
belong
to
the
fifth
century,
and
for
closely
shoulder
on
early
Attic
black-figured
lekythoi.
slight;
earlier
that
this
vase
belongs
to
the
period
in
Berlin,
5
and
sug-
gests
for
vases
of
this
class
the
date
465-450
B.C.
An
examination
of
vases
having
correct
black-figured
stance
that
a
scene,
the
development
of
which
can
be
traced
and
suggestion
is
consistently
followed.
black-figured
to
the
outline
technique.
We
cannot,
however,
simple
maeander;
the
bounding
lines
stop
with
the
maeander
instead
of
continuing
around
the
vase.
The
glaze
is
ap-
plied
more
thinly
for
has laid
prance
like
horses,
shows
be
many
members
figure
that
which
is
familiar
;
upper part
preceding
number
except
outline,
and
no
cloth
covers
the
a rude
(Artemis)
before
an
altar
and
himation;
times)
Demeter
or
Kore,
6
it
indicates
a
worship
carried
the
likely
used
worship directly,
edge.
Solid
black
in
bow,
on
reverse,
the
figure
is
GROUP A:
is a
round;
the
nose
continues
the
black-figured
lekythoi.
2
In
neither
scene
interrupts
them.
4
Moreover
in
manner
by
adding
instances
of
the
head,
nos.
5,
red-figured,
technique.
GROUP
A:
CLASS
III.
usually
consists
figure
(which
may
be
replaced
by
a
two
large
palmettes
enclosed
by
pair
of
compasses.
A
by
name
figure.
While
this
vase
clearly
belongs
the himation
ornament
coarse
gar-
ment
push
back
the
head
of
hydria
comparatively
of
silhouette
figures
1
Brit.
Mus.
B
figures,
Athena
ground
foundation.
disappeared.
On
each
side
are
two
large
palmettes.
This
type
of
dancing
of
the
early
type,
i.e.
it
laced lotus
of
alabastra,
one
is
same fondness
grave
monuments,
but
sakkos
held
by
two
bands.
The
right
simple
maeander.
A
would
be
hands.
2
shoulder;
eye
and
profile
differ
from
those
on
other
8/9/2019 Attic White Ground Lekythoi I
figure
appears
noticeable
that
hands,
Naples,
Heyd.
was
found
in
Greece,
the
other
at
Nola.
The
subject,
an
Eros
flying,
has
already
been
dis-
cussed
in
connection
that
they
up
sakkos;
the
inner
angle
are almost
purple
lines.
nose
are
added,
is a Doric
added,
recall
a
relatively
late
date.
Evidently
the
drawing
in
black
relief
case of
scenes
Except
on
this
kylix
rude block or an
as he
second
figure,
a
youth
entirely
wrapped
the
first
youth.
On
later
types
of
outline
to two
between
purple
lines.
The
slip
is
quite
brown.
At
the
1+3+1
hands
and
rushes
toward
cap
fur,
ready
to
Medusa in his left
right-hand
figure
leads
to
an
imperfect
profile
view;
predecessors,
the
present
could
not
draw
there.
The
bars.
The
slip
is
the air
as
to
suggest
that
it
was
not
find
a
natural
place
in
the
Athenian
series,
though
the
details
of
tech-
nique
can
back
class.
The
beard
and
glance
that
Here
of
a
rather
crude
shape
and
1
a
manner
which
never
became
general,
lekythoi
always
felt
at
liberty
manu-
facture
of
vases
in
large
numbers
for
a
cheap
work,
but
simple
maeander;
Foot
with
glaze;
below,
Eye
en
face
with
large
black
pupil
in
the
inner
corner.
life,
one
woman
brings
a
scription
short
any
other
group
of
lekythoi.
This
lekythos,
then,
simple
maeander;
toward
the
right
sakkos.
2
75.
Athens,
Nat.
Mus.
1788,
Cv.
1031.
Vicinity
of
Athens.
H.
O.I
8
m.
Heydemann,
figure
of
a
woman
playing
with
several
line
technique
vicinity.
into
which
this
earlier
engaged;
in
a
few
instances,
however,
the
burial
larger
already
been
suggested
in
the
preceding
stantly.
just
experiments
in
CONCLUSION OF
shoulder of a
Eretrian
and that in the same direction as in the case
of the
larger specimens
the
kylix
details
on
the
solid
black
are
incised
instead
of
being
slip
yellow
glaze.
With
one
exception
fine.
The
slip
is
now
quite
brown.
Pink,
a
purplish
brown,
and
purple
scribed.
This
scene,
an
ephebos
in
armor,
has
been
would
it
be
easy
to
account
group
of
lekythoi,
is
to be dated not far from the middle of the fifth
century
B.C.,
and
the
sleeve chiton
represented
on
red-figured
lekythoi
his
staff,
and
it
belongs
here.
This
figure
lekythoi
of
this
series.
It
would
taken the altar and the details of the scene either
from
at
the
vase
is
entirely
used for
KAAO.
The
treatment
of
noted
that
not
only
enamel-white for
string
around
the
hair
and
for
the
ornamentation
A
woman
stands
in
head,
by
a
cord
latest
that the
chair,
holding
up
tation
in
classifying
it
at
this
point;
the
general
technique
a
Facing
her
a
youth
stands
with
right
leg
bent,
both
feet
on
the
ground,
in
profile.
He
is
closely
wrapped
series,
are
two
purple
lines
pink
is
used
for
garments
and
shield,
and
solid
black
for
accessories.
wears a
wears
painter.
All
these
our
lekythos.
Somewhat
short
gone.
Her
hair
wears
left is
GROUP B:
lekythoi
under
series
i,
though
the
red-figured
varying
from
not
specially
graceful,
but
is so com-
her
head.
Before
type.
I
am
inclined
to
accept
McMahon's
suggestion
need
cause
no
surprise.
12.
Brussels,
Coll.
Somzee.
Gela.
H.
0.35
m.
Burlington
Fine
lekythos,
already
familiar.
So
the
two
standing
figures
on
this
lekythos
from
Gela,
experiment,
probably
by
GROUP B:
mark
purple
taenia.
Diagonally
across
profile,
who
bends
lekythoi
which
and soon
hair of
GROUP B:
daughter
is
a
red-figured
scene
repeated
that it is one of the later members of this
series,
perhaps
dating
head and
projecting
from
was
concerned.
Perhaps
even
some
hand
figure
on
this
lekythos,
bears
a
striking
resemblance
to
that
on
the
so-called
Hygiainon
ground;
father
appears
profile
vases
the
mistress
also,
have
is of the later
lekythos
was
exposed
after
being
broken.
hands;
her
garment
is
in
outline.
hangs
in
the
field,
at
the
right
a
small
black
hand,
an
alabastron
scene
the
in
pro-
hand
on
the
lekythos
at
Athens.
It
is
clear
that
GROUP B:
accuracy.
The
upper
eyelid
and
inner
contour
of
This
vase,
like
the
last,
is
a
noticeable
example
of
various
elements
combined
to
suit
the
purpose
her
companion,
and
particularly
the
attention
paid
to
the
upper
red
She
long
overfold
ungirded
phiale.
under
Group
A;
the
for
the
garments;
white,
however,
is
technique.
4
In
spite
of
hair,
on
out
goddesses
are
here
the
god-
later
type
except
white shoulder
there is
lekythoi
of
the
preceding
series;
from the
himation,
and
her
companion
has
the
simpler
attire
father
of
found
British
Museum,
E
445,
purple
vases the
twenty years
maeander
tend
GROUP C:
color,
which,
however,
cannot
now
be
maeandcr is
takes
his
armor,
brings
out
the
thought
that
GROUP C:
perhaps
an
innovation,
which
reaches
forehead,
is
exactly
in
the
style
hands a basket
thinner.
Preliminary
sketch
with
dull
point.
At
the
with
lekythos,
etc.
her
to
show
a
preparation
inside
chiton is like
GROUP C:
staff,
the
his
right.
GROUP C:
child,
on
top
chiton,
and
her
hair
is
in
a
life,
only
emphasizing
the
traits
which
are
in
harmony
with
popular
belief.
The
hesitating
step.
Perhaps
on
black.
Bright
red
and
purplish
red
(once
the
same
last,
just
stands in
en
face
(right
lekythoi
with
black
figures
on
a
whitish
ground.
same
shop
a
parallel
in
the
change
high
steps.
On
it
is
an
imitation
inscription
in
three
lines;
on
of
her
head;
me to
a
beginner.
The
shape
GROUP C:
duplicate
of
some
and
himation.
of
the
head
by
a
purple
taenia.
This
lekythos
is
described
GROUP C:
garments
are
found
in
series
c
and
particularly
again
in
Class
VI;
scription.
The two
black
spots.
At
black
lekythos.
himation,
sandals,
glaze
the
man
saw
it,
partly
bent
down
by
its
own
weight.
16.
Berlin,
Furtw.
2447.
Sunion.
H.
0.255
m
GROUP C:
the use of materials which would not stand the test
to
which
these
lekythoi
garment.
In
the
centre
face,
looking
at
painters
are
responsible
for
this
impression.
The
the
lekythos
supports
her
right
elbow
27.
Athens,
Nat.
Mus.
1790,
Cv.
1775.
Athens.
H.
0.345
m.
On
the
shoulder
are
series.
The
proper
farewell
place
pattern
in
the
maeander
tendency
scenes,
elements
In the
while her
in
a
rounded
knot
at
the
back
of
the
head
and
loose
presence
of
the
yellow
glaze
surface.
Dull
pink
with
brown
markings
girded
over
a
long
overfold.
a
flat
knot
at
the
The
crinkly
edges
of
brown
glaze;
parts
which
glaze.
The
head,
shoulders,
and
right
light
red
(nearly
faded)
are
the
hair.
At
at
GROUP C:
wound
several
35
for
perhaps
the
last
garment,
holding
which
lies
a
mantle
of
the
same
man;
nos.
43
and
44
bear
GROUP C:
45
hang
a
small
oinochoe,
a
mirror,
left
foot
drawn
back
of
her
head.
Before
her
stands
a
maid
holding
a basket
unusual,
which have
brush
on
a
yellow
surface.
Air-hole
leaves the
woman with
forehead
ears a method
the
woman's
himation.
A
youth
in
profile,
carrying
a
spear
in
his
two
antae,
GROUP C:
knot;
she
wears
ear-rings.
At
the
right
type
which
maeander,
also,
conform
to
certain
types
grave.
gynaikeion.
The
only
inscriptions
are
three-line
kalos
in or near Athens. The

lekythoi
is
of a
large yellow
is
added
around
the
edge.
painter
or
shop
from
which
these
lekythoi
came,
GROUP C:
nearly
to
series,
they
are
so
draped
around
the
upper
step,
and
hung
against
the
lower
step.
At
implies,
by figures
hand,
and
tied,
no.
53
leg
GROUP C:
except
by
the
ex-
pression
of
the
face,
also,
is
almost
feminine.
A
plant
like
that
behind
the
figure
is
GROUP C:
all
is
an
experiment.
Probably
the
introduction
reliefs
of
Class
V.
1
It
is
quite
pos-
sible
here,
as
on
in
both
hands.
Her
sleeve
chiton
in
dull
color
has
disappeared;
fifth
century
B.C.
The
different
series
may
be
regarded
the
main
scene,
an
experiment
which
right
leg
GROUP C:
preliminary
sketch
show
white
through
the
woman's
garments.
On
three
steps
stands
a
just
cited,
in full
successfully
handled
on
red-
figured
profile, entirely
laid
on
the
base.
At
is
also
unique.
wears a
steps
and
plain
raised.
yellow;
hangs
youth
in
profile,
his
hand on
right
may
have
been
intended
to
suggest
youth
is
mourning.
16.
Athens,
Nat.
Mus.
2035.
H.
about
0.35
m.
The
shape
is
like
that
of
no.
15.
On
the
shoulder
are
three
palmettes
with
body
and
with a
garment.
A
slender
stele
with
simple
flat
top
if she
tied
together,
recall
series
e
leaves. The
not
much
shaded.
hair
is
black
helmet with
long plume.
the
daily
himation covers
14
and
16;
and
the
woman
is
shaft,
the
upper
ones
once
red,
the
lower
now
posi-
GROUP C:
on
a
lekythos
grave
worshippers
find
it
completely
faded
was
painting (see
place
in
worship
at
the
grave.
It
has
already
been
pointed
out
that
the
up
by
a
short chiton
back.
The
profile
and
beard;
cap.
The
soul
way,
and
beckons
her
full
sleeves.
Her
hair
green
ends.
gray
lines,
now
nearly
faded;
of
the
same;
about the
a
regular
type
of
grave
monument.
2
What
is
apparently
a
double
stele
3
should
perhaps
be
explained
as
the
combination
vases
already
discussed.
I
am
same
with
spite
of
their
small
size
the
neck
is
covered
with
black
glaze,
Class
V,
holding
that
Class
VI
begins
later
and
of
these
types
noted;
attention
several
purple
lines;
shoulder,
the
purple
shoulder
is
enough
convenience,
though
it
does
the
(clay)
red
is
left
exposed.
GROUP D:
Pitholgia~wgs=Qtiginally
hands
stretched
out
toward
him.
reeds,
as
GROUP D:
souls are
GROUP D:
stele
with
round
top
adorned
by
a
taenia,
in
front
of
a
tumulus.
A
woman
kneeling
21.
Athens,
Nat.
Mus.
1904,
Cv.
1073.
Ceramicus.
AeXriof,
1890,
cr.
34,
28.
Careless
workmanship;
foot
simple.
At
the
right
toward the
stele and
scene,
or
it
may
be
that
the
hands
are
extended
as
on
no.
22
to
indicate
scenes
on
lekythoi
of
Group
A;
1
at
dead
person
rather
in
the
field.
Possibly
she
is
has
been
widened
Finally
the
moving
figure
holding
a
wreath
in
both
hands;
she
wears
draped
around
the
be
regarded
decorated in this
side
slip
are
six
purple
lines;
foot
simple.
At
the
right
(series
I,
no.
21),
the
GROUP D:
scrolls
1
E.g.
D
hands a
large
head. The
folds of
1 illustrate the new use of
old
material.
The
experiments
in
technique,
and
some
changes
glaze
for
outline
drawing.
correctly
interpreted
a
new
style
of
paint-
much
later
period.
5
It
GROUP D:
earlier
epoch
the
dead
person
was
drawn
as
lying
in
state
on
a
high
couch,
his
body
closely
wrapped
in
its
vestments,
1
A
comparison
tearing
the scene
in dull
his
right
seem
equally
far
astray;
nor
does
Jahn
this
group;
2
the
recurrence
of
the
figure
on
lekythoi
19.
Athens,
holding
out
her
right
and
wreath
hang
in
the
field.
sleeve
chiton
ornamented
with
coarse
parallel
stripes
and
a
along
the
edge.
32.
Munich,
20Qb.
H.
0.23
m.
1
Compare
lekythoi
were
quite
generally
used
by
women
as
perfume
vases,
especially
grave
Class
V,
last
scene
is
in
place,
for
it
is
more
common
on
white
lekythoi
winged figures,
or is
the hand of the dead and raise his other hand
to
his
head
in
gesture
of
mourning,
is
simply
the
recognition
that
living,
foreign
as
it
the
Athenians
knew
it.
The
credit
of
perceiving
its
fitness
and
utility
for
lekythoi,
and
of
adapting
the
figures
from
black-figured
ware,
grave,
as
In
in
the
act
of
tying
only
American Journal
Museum,
1897
264
VII
2,
12
26gb
III,
34
265
II,
120
f.,
PLATE IV
1'LATE XIV
PLATE XV

Attic White Ground Lekythoi I

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Transcript of Attic White Ground Lekythoi I