8/19/2019 Excavations at Al Mina
1/51
Excavations at Al Mina, Sueidia (Continued)Author(s): J. D. BeazleySource: The Journal of Hellenic Studies, Vol. 59, Part 1 (1939), pp. 1-44Published by: The Society for the Promotion of Hellenic Studies
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8/19/2019 Excavations at Al Mina
2/51
EXCAVATIONS
ATY
AL
MINA,
SUEIDIA
III.
THE RED-FIGURED VASES
By
J.
D.
BEAZLEY
[PLATES I-VI.]
I
AM indebted
to Sir
Leonard
Woolley
for his
invitation to
publish
the
red-figured
vases
found
in
his
excavations
at
Al
Mina;
to
Mr.
Martin
Robertson, who has helped me in many ways, and was the first to notice
many
of the
joins;
to Mr. C.
O.
Waterhouse
for the
drawings
and
photo-
graphs.
I
give
only
a
selection
of
the
finds,
but
have
omitted,
I
think,
little
of
importance.
The
red-figure
is
all
Attic.
The
black-figure
from
Al
Mina
is
scanty,
poor,
and no
older
than
the earliest
red-figure
sherds
found
there,
which are from
eye-cups:-
I.
Three
fragments
of
an
eye-cup.
The
largest
measures
o0o41
m.
across.
A,
part
of the left-hand
eye;
shank and
heel of
the
figure,
cutting
......
ii -i i iiiiiiiiii:l~~i~~i:iiii:i~-:i:-'''':
iiiiiiiiiiiiiii iiiiiiisiiiiiiiiii
iiiiiiiiiiii iiiiiii iiii'iiii;iiiliiii
iiiiiiiii::iil-i
lili'.i:i:i:i'
.......
....
Il-'iii'iiiiiji:iiiiiiiiii
'iiiiiiiiriiiiiiiiiiiii iii3;i
............Ii:i:
l:- :: ?:.:i~:-::i::---:-:::... ~_?
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ii .:•i..:~:'~''': :':::'
:
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g:??::?: -
ii:;~i~ji~iil:~iiii
i
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•2. I.
across the
tear-gland.
B,
part
of
the left-hand
eye
and
of the
ground-line.
The
fragment
not
figured
gives
another bit
of
eye.
Not
one
of
the
very
earliest
eye-cups:
about
525-
2.
There is
no
saying
whether a third
fragment
of an
eye-cup
belongs
to the
last
or
not:
the
cup
was
bilingual,
and
part
of
the b.f.
interior
remains,
a centaur with
a stone
in
his
right
hand:
greatest
breadth
0-o60
m.
Red-figure
does
not become
plentiful
at Al Mina until
well
on
in
the
third
quarter
of the fifth
century.
In
the fourth
century
the
import
increases. There is little archaic red-figure, and most of what there is
belongs
to
the end
of
the
period.
3.
Fragments
of a column-krater
from
the last
decade of
the sixth
JHS-VOL.
LIX.
B
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8/19/2019 Excavations at Al Mina
3/51
2
J.
D.
BEAZLEY
century.
The
largest
fragment
measures
o0145
m. across.
A,
Theseus
binding
the Bull:
he has
forced
its head
down
and sets his
left knee
on
its
shoulder.
The
rope,
in
red,
shows
in
fragments
a and
y;
8
gives part
of
the bull's
rump,
8
its tail.
Behind,
as
often
in
these
scenes,
a
tree,
with
the
leaves in red. The same subject ort a slightly earlier column-krater in
Mr.
Gallatin's
collection,
New
York
(CV
Gallatin,
pl.
9, 5
and
7-8).
The Mina
Vase
is
by
the
Chairippos painter
(Att.
V.
p.
io6).
See
the next.
.................
..i~ii Ziiii jji•
iiiiiii~ii~i~~i~~ii-v
im..
3.
4.
4. Fragments
of a column-krater
by
the
Chairippos
painter, probably
the
same
vase
as
the
last-the reverse.
Komos:
a
youth running
to
left,
looking round, his left arm extended in his himation. Compare the left-
hand
komast
on
the
Chairippos
painter's
column-krater
in
Florence,
3991.
The
head-fragment
measures
o0
05
m.
across.
5. Fragment
of
a
cup.
The
picture
inside
may
be
interpreted
with
the
help
of
the
cup-fragment
Acropolis
131,
reproduced
here,
by
kind
permission
of
Mr.
Alexander
Philadelpheus,
from
a
photograph
by my
wife;
of
a
cup
in
New
York
(Musie
3,
P-
55;
Coll.Arthur
Sambon,
l.
19,
no.
i
oi);
and
of
another
in
WUrzburg
(Langlotz
478,
pl. 217):
a
satyr
kneels
with
a
flute-case
in his left
hand.
The
WUrzburg cup,
as
Langlotz
saw,
is
by
the
Heraion
painter
(Dugas
Dilos
I0,
pl.
54,
658),
and the other
cups
belong
to the same group; the Mina and Athens fragments, at least, are by one
hand.
The
style
is
old-fashioned,
but the
Mina
fragment
cannot
be
much
later
than
500
if
at all.
The
cup
was
of
type
C
(Att.
V.
p.
4);
and
is of the
same
rough
make,
with the base-fillet
marked
by
a
hastily
incised
line,
as the
cups
of
the Pithos
group,
to which we
now come.
6-14.
Al
Mina
is rich
in
specimens
of
the Pithos
group
(see
Campana
Fragments
.
27
on
pl.
20
B
19),
for nine
cup-fragments
belong
to
it,
the
largest
of
which, 6,
measures
o0
103
m.
across. The
cups may
have
been
fewer,
but
no
pertinences
can be
established.
The
favourite
subject
in
these
exceedingly
coarse
products,
most
of
which
are
by
a
single
painter,
is
the
figure
of
a
youth
reclining,
seen
from
behind, naked,
with
an
Oriental
cap on his head; a big drinking-horn is often painted in black in the
lower
half
of
the
picture.
Complete
cups
like those
in
Rhodes
(Clara
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8/19/2019 Excavations at Al Mina
4/51
AL
MINA,
SUEIDIA
3
Rhodos
4,
p.
202;
id.
6-7,
p.
I81),
Salonica
(Delt.
9,
suppl.
p.
38,
figs.
6a
and
6b),
Florence
(CV
pl.
20
B
i9,
and
pl.
D
B
4) give
the
key
to
some
of
our
sherds
f
not
all: thus on
7
hair and
cap
can be made
out;
on 8
shoulder,
hair,
cap,
eye;
on
9
eye,
cap,
back;
on
Io
left
arm;
on
i i the
mouth
of
the black horn; on 14 a bit of the line-border. These cups may be some-
what
later
than
they
look,
but
probably
ceased
before the
end
of the
sixth
•
i i i ~
i ' • • ' ' •
1 1 : 2 1 1 i
i i i i
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~ii
i~iiii~i~iiii~liiiiiiiiJiiiiiiliii~iii
ii
~
i•,
•
.......
• •
•"• •
iiiiiiiii~
ii~~i iiiiiiliiiil J
~
~~iPi i
~
•• •yii~ii ~ii~
• • • • • • ? •
. . . . . . . . . . . . . . . . . . . . . i
...........
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..........................................................
i~i ii~i
A c r
o
p
o lis
1
31iiiiiiiiiiiiiii~ii
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~~•
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ill~iiiiiiiiiiiiiiliii~iiiiii~iiiiii'
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.......................................i
iii
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iiiiiiiiiiiiiiiE
M
...
i:i............?...i••iiiiii•••i•• •i•ii•i~iiiii~ii•i1
i~ii~ii•ii i
century.
I mention two
other
fragments,
one,
Salonica
inv.
459
(Robinson
Olynthos
,
pl.
107,
no.
199)
because
it
has
been
inadvertently placed
in the
fourth
century,
the
other,
Jerusalem
P
1605
(Quart.
Pal.
ii,
1933, pl.
7b
3),
because
it was
found
in
the
same
quarter
of the
world
as
ours,
at
Tell
Jemmeh
in
Palestine.
On the
wearing
of the
cap
by
symposiasts
see
Jacobsthal
G'tt.
V.
pp.
61-2:
I
am
inclined,
however,
to
take
the view
which
Jacobsthal
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8/19/2019 Excavations at Al Mina
5/51
4
J.
D.
BEAZLEY
considers
carefully,
but
finally
rejects,
that
the wearers
are not all
foreigners.
See
also
Schoppa
Darstellung
der
Perser,
p.
73
note
Io.
15. Fragments
of
a
volute-krater,
about
480
B.c.
[Plate
I].
This
is
one
of the
best vases
found
at Al Mina:
A,
Zeus and
Nike;
B,
Zeus
pursuing Ganymede. On the upper zone of the neck: on one side,
uncertain
which,
a
scene
in
the
palaestra;
on the
other,
lions
and
bull,
between
palmettes.
On
A,
between
the
two
figures,
downwards,
[K]ALO.
No
relief-line
for the
contours.
Part
of one
handle,
decorated
with
ivy,
remains;
the foot
is lost.
There
is a red
line
at the outer
edge
of the
lip.
A,
Zeus
sits on
a
camp-stool,
in
long
chiton and
himation,
a
sceptre
in
his
left
hand,
his
right
arm extended
holding
a
phiale.
His
lips
are
parted.
15
B.
His
eye
is bordered
with
brown.
The two
ends of
his head-fillet
appear
on
the
fragment
which
gives
the
himation
at
the shoulder.
On the
frag-
ment
with
maeander,
the
upright
line on
the left
may
belong
to
the
camp-
stool.
Nike
stands
in
front of
him,
wearing
a
chiton,
and a himation
passing
over
her left
shoulder;
she holds
a caduceus
in her left
hand,
and
in
her
right
an
oinochoe,
from
which
she
fills the
phiale.
The wine
is
expressed
in
red;
so
is
her
head-fillet;
her
earring
in
brown.
Of the
floating
fragments,
y
and
'
give parts
of
her chiton
and
himation.
There was
a
third
figure:
Eros
flying
down
towards
Zeus,
holding
an untied
wreath;
his
right leg
is bent
at the
knee,
his left frontal.
The
height
of
the
middle
fragment
on A is
oI18
m.
B,
Zeus,
naked,
running,
holds
a
sceptre
in
his
right
hand,
and
lays
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6/51
AL
MINA,
SUEIDIA
5
his
left on the arm of
Ganymede,
who
flees,
looking
round,
a
himation over
both
shoulders,
a
cock
in
his left
hand.
His
eyes
are bordered with
brown
like
Zeus's
on
A.
I
cannot
place
the
floaters
a,
IP,
E.
The Eros on A requires explanation. Martin Robertson aptly com-
pares
the
Italiote
skyphos-fragment,
by
the
Amykos
painter,
in New
York
(Bull.
Metr.
Mus.
vii,
p.
97,
fig.
5;
JdI,
52, p:
61;
Trendall
Friihit.
Vasen,
pl.
I I,
c);
but
there a
female,
doubtless
Hera,
is
touching
the
knee
of
Zeus,
so
the
presence
of
Eros is
easier to
understand.
Again,
on
a
pyxis
:Ik~~~~~~~~~~Z-i~~~~~
...............':l~;:~:-
???;:::::::::: ..:. .-
i~t~;:~ci?-:::::::,:--I::-:-:llri-
:;-iir;?i
ii:iii
ili~iiiiii
liiiiriiiiiiiiiiiiiiiiililiiriiiiiiili`:iiiiiiiiiiiiiiiiiiiiiiiiiii
iii~ii'r~~i-~i~iiiiiiiiiiiiii
iiili~iiiiiiiii~ililiiiiiiiiiii
l
Ali-i'-:::liiiiiiiii:i::
iiiiiiiiiiiiii
iriliiiii':i.'jili
liililiiiiiiiiii
iiliiiiiiiiii
'5.
in
Philadelphia
(C.
Smith Forman
Coll.
pl.
12,
364;
Burl.
Cat.
19o3,
pl.
96,
I
74;
Mus.
Journ.
7,
pp.
270
and
272)
Eros
leans
on
the
back
of
Zeus's
throne;
but
the scene
is
the
Wedding
of
Herakles
and
Hebe,
so
there
is a
reason for
the
presence
of Eros. On
our
vase
the
artist
seems
to have been
already
thinking
of the Zeus and
Ganymede
on
his
reverse,
and
wishing
to characterise Zeus as
lover.
It
is
natural
to
find
Eros in
pictures
of
Ganymede:
for
example,
on
a
b. f.
alabastron
by
the
Diosphos
painter
in
Berlin
(2032:
Annali
1876, pl. A; Haspels
ABL,
pl.
37,
I)
Zeus
pursues
Ganymede,
and Eros flies after
Zeus,
instigating
him with a
goad;
on
an
Etruscan
red-figured
stamnos
in
Oxford
(1917.
54),
Zeus
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8/19/2019 Excavations at Al Mina
7/51
6
J.
D.
BEAZLEY
:,A
miiii~
.i
iii~~~jiiiil7.
1
qp iiiii~ii~
.
.
. .. . .. .........
.........
. .. . ..
.
........ . . . . . . . .
15.
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8/51
AL
MINA,
SUEIDIA
7
collapses
dumbfounded
as
Ganymede
reveals
his
charms,
and Eros
looks
at Zeus
with
a
smile.
The
palaestra-scene
on the
neck consisted
of ten
figures:
in the
middle,
two
naked
athletes
washing
at
a
laver;
a
sponge
hangs
on
the wall
to the
right; then come two groups of a man talking to a boy; behind the first
boy,
a
pickaxe;
the second
boy
is
lost.
Of
the two similar
groups
to
left
of
the
athletes,
good part
of the first
remains,
and a
scrap
of the second.
The
other
neck-picture
represented
a
bull between
two
lions;
to left of
this
is a
pair
of
palmettes,
and
there must been have
another
pair
to
the
right.
The
manes are
brown,
the ruffs
black.
The
animals
may
be
compared
with
those
on
a
hydria
by
the same
painter
in
the
possession
of Mr. de Ferrari
in
Rome
(Rend.
Pont.
Acc.
10,
p.
205).
Lions
we
called
them: but the
right-
hand
animal
on
the
hydria
is
female;
and so
it
may
have
been here.
The
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artist
is the
Syleus painter
(Att.
V.
pp.
160-2
and
473;
see
also
Richter
and Hall, pp. 49-51). For the drawing of the palmettes, especially the
hearts,
compare
his
pointed amphora
in Brussels
(R
303;
CV,
pll.
8-9)
and his stamnos
in
Copenhagen
(CV, pl.
135;
Jacobsthal
Ornamente,
l.
102,
b);
for the
Nike,
his stamnos
in the
Louvre
(G
181:
CV,
pl.
13,
I);
for the
Zeus
and
the
phiale,
his
earlier
treatment
of
the same
subject
on
a
pelike
in the
Louvre
(G
223:
CV,
pl.
43,
I
and
8):
this vase
is
attributed
to
'
the
painter
of the
Wiirzburg
Athena'
in
Att.
V.
p.
I12
no.
7,
but
the
vases
I
collected under that
heading,
as
I noticed
in
Richter
and
Hall,
p.
51,
are
early
works
of the
Syleus
painter.
I6-20.
Lekythoi by
the
Bowdoin
painter
and
in his
manner
(see
Att. V.
pp.
138-43
and
472;
V.
Pol.
pp.
18-i9;
Haspels
ABL,
pp.
157-60).
He
began working
before the end of the archaic period, but went on
well
into
the
third
quarter
of
the fifth
century.
16,
with
part
of
a
female
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8/19/2019 Excavations at Al Mina
9/51
8
J.
D.
BEAZLEY
figure
standing
to
right,
must be
by
himself;
probably
also
17,
with the
same
subject.
The altar
on
18,
as far as
it
goes,
may
also
be his. The
flame
is
red.
19
might
be from
a
figure
of a
youth
sitting
playing
the
flute,
as
on
his
lekythoi
in
Liverpool
and
Bowdoin;
the
flute-case,
with
white tags, hanging on the wall. Another fragment, not figured, probably
belongs,
giving
the lower
edge
of the himation and
part
of the stool.
20,
with
a
female
figure
at an
altar,
is not
by
the
painter
himself,
but is
more
or
less
in
his manner.
21.
Fragment
of
a
lekythos.
A woman
(chiton,
himation
on
the
left
arm,
saccos)
running
with
something
in her
right
hand of which
only
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22.
a
corner
is
preserved,
perhaps
a
sacrificial basket
of
the
type
studied
by
Richter
(AJA
1907,
422-8;
AJA
1926,
422-6;
Richter and
Hall,
p.
216)
and Deubner
(JdI,
40,
pp. 210-23). By
the Providence
painter
(Att.
V.
pp.
132-6
and
472;
V.
Pol.
pp.
16-17
and
79):
about
470.
22.
Fragments
of
a
lekythos.
The
height
of
the
picture,
plus
the
border,
was
about
o0195
m.
No relief-contour.
Hermes
running
to
right
looking
round;
chlamys, winged
boots,
caduceus.
The
head-fillet in
red.
Unmeaning
letters
to both
sides
of
the
figure.
About
470
B.c.
By
the
Nikon
painter
(Att.
V.
pp.
131-2
and
472).
23.
Fragment
of a
column-krater.
Arming.
What remains is
the
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8/19/2019 Excavations at Al Mina
10/51
AL
MINA,
SUEIDIA
9
upper
part
of a
woman
holding
the
warrior's
shield
ready
for
him.
The
device a
lion.
By
the
Leningrad
painter (Att.
V.
pp.
245-8;
V. Pol.
pp.
40-4
and
8o),
one
of
the
early
classical
mannerists.
24.
Fragments
of a
pelike.
There
were
two
figures
on
each
side,
and
the subjects will be plain from a pelike by the same painter in Bologna
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23.
24.
(163:
Zannoni
pl.
17,
3-5).
Fragments
p-y
show a
boy,
and
the
right
hand
of
one
talking
to
him.
Fr.
a
(a
male
leaning
on
his
stick)
is
either
from
the
same
figure
as
the
hand,
or
from
the
corresponding
figure
on
the other side of the vase; so is fr. S. The artist is
again
the
Leningrad
painter.
25.
26.
25.
Fragment
of a
pelike.
Height
o0-o95.
A
man
with
a
stick,
and
a
woman.
The
tip
of her
nose
is
damaged
by
pitting.
About
470-
460
B.c.,
by
the
Orchard
painter
(Att.
V.
pp.
311-13
and
476).
26.
Fragments
of a
bell-krater.
Early
classical
period.
What
remains
of the
picture
on A
is a
helmet
of
'Thracian'
type,
not
worn,
but
held
or
hanging.
The
cheek-piece,
covered
with
relief-lines on a
dark
brown
ground, recalls the treatment of hair by the painter of the
Woolly
Satyrs
(Att.
V.
pp.
343-4
and
477)
on
his
calyx-krater
in
Palermo and
his
bell-
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10
J.
D.
BEAZLEY
krater
fragment
in Bowdoin.
One
of the
other
fragments
gives
a
small
part
of
the
right-hand
figure
on the
reverse,
and
immediately
above
the
picture
the
egg-and-dot
pattern
which
is
almost
entirely
broken
away
in
the
fragment
figured.
27. Fragment of a lekythos, with the upper half of a woman standing
frontal
and
looking
round
to left.
Above,
the
border
begins.
One
of
the
many
lekythoi
by
the Aischines
painter
(Att.
V.
pp.
320-3): compare,
for
instance,
one
in
Leningrad
(JHS,
48, pl.
2a). Early
classical
period.
28
30
35~iiiiiii
.
36iiil
28.
Fragment
of a
stemless
cup.
Height
o0o56.
The
under-side
of
the
foot
is modelled.
An
athlete
stands
at
a
laver,
dipping
his
hands
into
the
water,
the
same
subject
as
on
the
neck
of
the volute-krater
no.
15
above.
Third
quarter
of
the
fifth
century.
29. Fragment
of a
stemless
cup.
Height
0-o82.
The
under-side
of
the
foot
is
modelled.
An
athlete
leaning
on
a
pillar.
Behind
him,
a
laver. The make of the vase is the same as in the last, so is the border,
and
the
style
is
like.
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8/19/2019 Excavations at Al Mina
12/51
AL
MINA,
SUEIDIA
11
30.
Fragment
of
a
stemless
cup.
Inside,
a
dwarf
dancing.
Short
shanks,
scanty
beard.
The
platform
is
a
plain rectangular
block,
and
if
it
looks
irregular
in the
photograph,
that
is due to
the
pitting
of the
surface.
Dwarfs as
entertainers are known
from
literature and from other monu-
ments (Navarre in Daremberg and Saglio, s.v. nanus; Merlin in Mon.
Piot
18,
pp.
9-14,
bronzes from
Mahdia;
Albizzati Statua ellenistica
di
acrobata
n
Historia
I, 4,
PP.
43-54;
Breccia Mon. de
l'Egypte
grdco-romaine
I
,
i
pl.
32, 5
and
p.
68,
405),
and
a
very good dancing
dwarf,
on a
stamnos-fragment
in
Erlangen,
was
published recently
by
Prof.
Lippold
(Zu
den
Imagines
Illustrium n RM
52,
pl.
14).
There the dwarf's
name
ends
in
KAEIAHI,
which
Lippold
aptly
restored
as
[Hippo]kleides.
He
suggests
that the
picture
is
a
parody
of
the
story
known
to us from Herodotus.
I am
more inclined
to take it
as
a
scene
from
contemporary
life,
supposing
that there was a
popular
dancing
dwarf
in
Athens at
the
time,
who called
himself Hippokledes after his noble predecessor. This is a common practice
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3'.
with
public
entertainers.
There were
two
Phrynes
in
the
fourth
century;
the
original
name
of
the second
having
been
Mnesarete.
In
modern
times the
name of
Sharkey
has
been
borne
by
two
celebrated
pugilists:
the
first,
an
Irishman,
born
I
think
in
Louth,
must
have
been
thirty
years
older than the second, who was originally a Lithuanian American of the
name of
Cocosey.
Sandow,
again,
as
Mr.
Michael
Marks
reminds
me,
won his
title
of
World's
Strongest by
vanquishing
a man
called
Samson.
The
Erlangen
fragment
is
by
the
painter
of the
Leningrad
Amazono-
machy
(Att.
V.
pp.
396-7; JHS, 56, p.
91, left),
a
companion
of
Poly-
gnotos.
Our stemless is
contemporary
or little
later,
must
have been
painted
about
430;
and
if
anybody
insisted
on
calling
our
dwarf
Hippo-
kledes,
I should not think
much less
of him.
31.
Fragments
of a
skyphos.
Height,
as
far as
preserved,
o0-130.
The
same
scene is on both sides of the
vase,
a
youth,
his
himation
about
his
waist, sitting playing
the
lyre,
and
a
naked
youth standing
beside
him,
frontal,
a fillet in his
right
hand,
his left arm akimbo. This is a late work
of
the
Marlay painter (see
Att.
V.
pp.
413-I4),
about
430
B.c.
Other
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8/19/2019 Excavations at Al Mina
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12
J.
D.
BEAZLEY
skyphoi
by
him are
in
Leningrad
(St.
808;
A,
Compte
Rendu
1863,
p.
183;
Licht
Sittengeschichte
,
p.
253)
and Taranto
(50943:
NSc,
1936,
p.
225):
see also
p.
150
of this
number
of the
Journal;
and the
next
two
fragments.
32.
Fragment
of a
skyphos.
Height
0-037.
Youth with
lyre.
Fillet
with three high peaks. By the Marlay painter. See the last.
33.
Fragment, probably
of a
skyphos. Height
0-045.
Youth
playing
the flute.
By
the
Marlay
painter:
perhaps
a.little
earlier
than
31
and
32.
See
31.
34.
Fragment
of
a
skyphos.
Head
of a
boy
with
his
himation
brought
up
over the back
of
his
head. No relief contour. About
430:
Later
manner
of
the
painter
of London
E
777
(Att.
V.
pp.
28
1-3
and
476): by
............~i~
;;;iiil~iii•,i~i.
.
.iiiii
......
.13,)
3
2
;l:•
X
i
if~•
}•ii iii'iii'i•'i:•}On::i
}
))i:) )•'i;•i....
the
painter
of
Heidelberg
2
II
(Campana
Fr.
p.
26
on
pl.
18
B
55):
cf.
especially
his
cup-fragment
Agora
P
10027.
35.
Fragment
of a
skyphos. Height
o-o67.
Komos:
two
youths
dancing
along;
one holds a
cup,
the
other,
who
turns
round
to
his com-
panion,
a torch. About
430:
late
manner
of the
painter
of
London
E
777-
Compare,
perhaps,
the
skyphos,
in the
Spinelli
collection
at
Cancello,
known
to me
only
from
the
tiny
reproduction
in
Philippart
Cir.
grecque
n
Italie
ii
pl. 6,
second
row,
left.
36. Fragment
of a
stemless
cup.
The under-side
of the foot is moulded.
Inside,
an athlete with an
acontion. About
425:
late
manner
of
the
painter
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8/19/2019 Excavations at Al Mina
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AL
MINA,
SUEIDIA
13
of
London
E
777,
and
very
like
the work of
his
follower
the
Koropi
painter:
see
this
number
of the
Journal,
p.
152.
37. Fragments
of a bell-krater.
On
the
left,
a
column,
then
a
couch
with
two
reclining
on
it,
and beside
the couch
a
table,
then
a
flute-girl
in
a
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iiiii
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::I:i::iI:':
ijjiijiiili~i
iijjl
iiiiiii~ii~
il
iiiiiiiii
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jiiiiliiiiiii
i
j i i
iji
i i i i i i
::::::::::::::::::::::iiiiiil:i
i
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ii i.iii
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i ii i i iii ii
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lli~iiii-- :i--i:::::
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•
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i::i~iii:::
::::::::::':::::::::::
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i1:::i:
ii:.::???i~;?i':?ii
'i~~iii
iii iiiiiiiiill iiii
iiiiiiiiiiiiiiiil~iiiiiiii
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iiiiiiiiiii
iiiiil iiiijr;:iiiiiiiilil
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37.
chiton
standing
to
left,
then
a second couch
with
a
table beside
it,
and two
persons reclining on it, a youth looking round, and a male holding a stem-
less
cup
in
his
right
hand.
The
black
arc on the
cup
is the
handle.
Group
of
Polygnotos,
about
440-430.
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39.
38.
Fragment
of
a bell-krater
or
calyx-krater.
Warrior
leaving
home.
A
youth
stands
frontal,
wearing
a
corslet,
and round
his head
a
broad
band,
and
holding
his
helmet
in his
left hand.
Inscription KA[AOS].
About
430
B.C.
Group
of
Polygnotos.
39.
Bell-krater.
A,
Theseus
and
Sinis.
Sinis
grasps
his
pine;
Theseus,
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15/51
14
J.
D.
BEAZLEY
sword
in
hand,
seizes
him;
Theseus' friend
moves
up.
The friend is
bearded,
and
holds a
pair
of
spears.
Theseus'
spears
are
laid aside.
Sinis'
clothes
hang
on the
pine.
For the
group
of
Theseus and
Sinis com-
pare
the bell-kraters
n
Bonn
(inv.
I216.64:
CV
pl.
31,
13)
and
Madrid
(I11021:
Ossorio,pl. 31, 3); for
the
presence
of
a companion,
the bell-
kraters
in Ferrara
(Aurigemma'
p.
233
=
2p.
273)
and the
Vatican
(Inghirami
VF
2,
pl.
III).
B,
two
youths
and a
boy.
About
425
B.c.
A late workof the
painter
of the Louvre
Centauromachy Att.
V.
pp.
405-8
and
478;
V. Pol.
pp.
57-8).
Such works
are
grouped
under
the
heading
of
'Lamb
painter'
in
Att.
V.
(pp.
407-8);
but the
Lamb
painter,
as
I
observed
in V.
Pol.
p.
57,
is no other
than the
painter
of
the
Louvre
Centauromachy
n his latest
period.
41.
40. Bell-krater. A, athletes: a jumperbetweena young trainerwith
a wand
and
an athlete with a
strigil.
A
fragment
not
figured
gives
the
left
foot of the
jumper
and
part
of
the
barrier.
On
B,
remains
of
the
middle
and
right-hand igures:
a
boy
standing
o
right,
and
a
male
leaning
on
his
stick to
left. Same
period
and
painter
as the last.
41.
Fragments
of a
bell-krater,
mended
in
antiquity.
Height
of
the
picture,
without
the
upper
border,
o0I36.
A,
komos:
on
the
left
of
the
picture,
a
youth walking,
with
lyre
and
plectrum,
preceded
by
a
friend
dancing;
the third
figure
is
lost. On
B,
head
and breast
of
the
right-
hand
figure,
a
youth,
remain,
and
tiny
bits
of
the
other two
figures.
About
430
B.c.;
by
the
Hephaistos
painter
(Att.
V.
pp.
415-16
and
478;
V.
Pol.
p. 59).
42.
Fragments
of
a
bell-krater.
Height
of
the
picture,
including
the
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8/19/2019 Excavations at Al Mina
16/51
AL
MINA,
SUEIDIA
15
lower
border,
0-205.
A,
a
horseman
setting
out.
Chlamys,
sandals,
and
stockings,
petasos slung
round his
neck.
In
front of him
a woman
darts
42.
away,
no
doubt
looking
back.
Behind
him
stands
a
man in
a
himation
with
a staff or
sceptre,
watching;
on the
other side of
the
picture
a
male
in
a
himation,
standing
to left.
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::::::::?:::::::::::"::::::::::lii::;l:iiilil iiilii:i: '~
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i:::::::::::::::::::::::::::::::::::::::::::::::::_:::::::::::: j::::ii::
:
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a8:::i~~~i~l;:l~si;?:~::,~i;~~i~iB~.i;8i~::~~jr::::::~j:
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:::?:i:_:i:::::::::::':1:.:1:1:1:.:::::::i:
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.::.:.:.::.:.:.:.:.:.::::::?::::::::::1::::::::::::,l:l:l,:i:.:::i:::;i:::::i::-ii:ililii.ii:':::'iF)i;i~r:~:l':::`~::'::1?-:----.~i'iX?::Il-r:'-i~:-;
:::::?:?:?:?:::::_:?:?
j:?:;::::::::::i:,:::::-::'I~:j:,::':::
:::::::???:::::.:::?::i:::tj::-:::i:~:.i: ill:liiiiiil:is~r.:;:'::3iF:":::i~::: j::iiijiiiTiiiiiiiiiii~i''::":4:1.?:1':1-':1.::::::::::::-::"::i:i:i:ii;iaii',:,:,:,i:.i~iiii':s:iii:::.i:Q::::::I::::::
The
same
subject
is
depicted
on
an
earlier
vase,
the
column-krater,
by
the
painter
of
the
Louvre
Centauromachy,
Louvre G
361 (CV
III
Id,
pl. 27,
1-3):
it
is not
clear
that
the horseman is
pursuing
the
woman.
Cf. also a
fourth-century
calyx-krater
in the British
Museum,
1931,
1-13-
I
(BMQ5,
pl.
51,
c).
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8/19/2019 Excavations at Al Mina
17/51
16
J.
D.
BEAZLEY
Tail-end of
the mannerist
school,
about
425
B.c.:
near
the
painter
of
Oxford
529
(Att.
V.
p. 418;
CV
Oxford,
p.
21),
especially,
perhaps,
his
column-krater
in
Syracuse
(12233),
where the
youth's
right
hand
recurs,
and
the crease between his
jaw
and neck.
43. Fragments of a bell-krater. The middle fragment is
o0129
across.
A,
sacrifice. In the
middle,
the
altar,
the cornice of
which is
decorated with
a wreath of laurel or olive in relief. On the
altar,
the
firewood,
neatly
laid,
and
the tail-bone of the sacrificed
animal.
There is
no
indication
of
flames. The
priest,
dressed
in
a
himation,
stands at
the
iii-iriiilii:I:'liiiiiii~liii'i~i
li::iiiiiiiiiiiiiiiiiiii~iiiii'ii
:?i~i~ii'iiii;i~'i'i~ii
i i i i
iiiiiii~iiiiiiiiiiiiiiiir:::::::::::::i:::::.:.....
.
iiiiiiiiiiiiiiiiiiiii':?iii~iiiii
Li::
:-::::rii::iriirl- lr :::iiiiiiiii'i':lrii:iiliilliil
iiiii::iiliiiiiiiiiiiii~iaiii
iiiil:iiiiii
::::-:::::
:-
::::i:-::?r:iiirlrriiiiiiiiiiii?
.i:
::iiiij?iii:iii'i
i~i:;ici~i~ii~ii
iii_
ii;:
iriijiiiiliiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiii
:------:--::-i
:-:ii
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ijiiijlj
...............ii~i
:?'-'r. ::?::i~
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i-iiiiiiiiiiiiiiiiiiiiiiriiiiiiririiiiiiiiijji
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-iiii
-i-ii-ililiiliil?
::
iBi~iii~iiji~ii.?iii::iii-ii-i-iiriiii-
ii
iiiliil
iiii--i-~i-ii-iiiii iiiiiiiiiiiiii
i~i~i~i~iiliiiiiii~ii;iiiiiiiiiiii~i:
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43-
altar,
about to
pour
the libation
from
a
stemless
cup,
which
is drawn
in
three-quarter
view
from
above,
with the
wine
in
it done
in
brown.
A
naked
boy
faces
him,
holding
meat
on
a
pair
of
spits ready
to
roast.
His
right
leg
was frontal
and bent
at the
knee. Behind
him
is a man
of whom
only
the head remains.
Like
the
splanchnopt,
he wears a wreath
of
small
leaves: the leaves
are
reserved,
the stem
and berries white.
The
frontal
foot
near
the lower
right-hand
corner
in the
reproduction
is almost
certainly
the
priest's.
Beyond
this,
at the
right
end of the
picture,
another
male,
wearing
a
himation,
is
standing
to left.
The head
facing
left
belongs
either
to this
figure
or,
less
probably,
to the
priest.
Two
fragments
not
reproduced
give
more
of the
maeander.
About
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8/19/2019 Excavations at Al Mina
18/51
AL
MINA,
SUEIDIA
17
430
B.c.,
by
the
Kleophon painter
(Att.
V.
pp.
419-21),
who
has
left
several
good pictures
of
sacrifices;
compare
the
bell-krater
fragment
in
Oxford
(G
720:
CV,
pl.
66,
31)-
A
list of
splanchnopts
is
given
by Greifenhagen
in
CV,
Bonn,
p.
40
on pl. 34,
10;
see also below, no. 54.
44.
Fragment
of a
calyx-krater
or
bell-krater.
Height
0-042.
Eros.
By
the
Kleophon painter,
like the last.
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46.
45. Fragment
of a
bell-krater
or
calyx-krater.
Height
0o055.
Head
and
shoulder of a
youth,
who wears a
chaplet
of the sort worn
by
revellers.
Two
hands are
raised
in
front
of him. The
style
is
close both
to the
Kleophon
painter
and
to
his
pupil
the Dinos
painter:
early
work
of the Dinos
painter
?
About
25
B.c.
46.
Fragments
of a
bell-krater. The
right-hand figure
on one
side
(E
and
K)
was a
woman
seated to
right
(and
no doubt
looking
round),
with
her
left hand
in her
lap;
then came the
handle-palmettes.
Fr.
P
gives
part
of a woman to
left,
her forearms extended in her
himation;
fr.
a
the middle of a
woman
to
right, holding
her
himation
up
with her
JHS-VOL.
LIX.
C
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8/19/2019 Excavations at Al Mina
19/51
18
J.
D. BEAZLEY
right
hand;
other
fragments
bits of woman
similarly
dressed,
but
not
enough
for the
subject
to
be made out.
On fr.
i
there
are white lines
indicating
hilly ground;
on
e
and N bits of
handle-palmettes.
This was one
of
the
best
vases from
Al Mina.
About
420
B.c.,
by
the
Dinos
painter (Att.
V.
pp. 447-50).
47.
Fragments
of
a
bell-krater. On one
fragment,
head
and
shoulder
of a
satyr
leaning
forward
on
something,
to
right,
with
a
thyrsus.
On
the
other
(o.127
across),
two
figures
facing
to
left:
a
maenad,
looking
up,
with
a
thyrsus
in
her
hand,
probably
seated;
and
a
satyr,
also
with
a
thyrsus;
above
him,
a
branch of vine
with
a
bunch
of
grapes.
White
fillets,
white
shoots
from the
thyrsi.
Late
fifth
century,
manner of the Dinos
painter.
By
the same
hand a
calyx-krater
from Thebes
in
the
University
of
Vienna,
166.
Compare,
too,
the bell-krater
Agora
P
iooi6,
especially
the
drawing
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48.
49.
of the
leaves and
the
thyrsi:
the
Agora
vase
is
also
in
the
manner of
the
Dinos
painter.
48.
Fragment,
probably
of
a
column-krater.
Symposion.
A
youth
or
man,
reclining
to
left,
with
his
elbow on
a
cushion,
turns and
puts
his
arm in front of the flute-girl as she passes. She turns round and stops
playing.
She
seems
displeased:
cf.
below,
no.
55,
and
Aelian
VH
12
p.
I
19,
7-8
and
p.
120,
4-6
Hercher.
Her
face is
in
three-quarter
view,
and the
youth's
will
have
been
too. To
the
right,
breast
and raised
right
arm of a
reclining
man.
The
girl
wears
a
chiton
which
leaves
the arms
free,
a
himation,
and
a
chaplet
with
ivy-leaves.
The
youth
also
wears
a
chaplet.
About
425
B.c.:
the
style
recalls
the
painter
of
Athens
1454
(Att.
V.
pp.
450
and
479),
but is
less
delicate.
49.
Fragment
of
a
bell-krater.
Height
o-o85.
Sacrifice.
The
priest,
dressed
in
a
himation,
leans
on
his
stick,
holding
a
stemless
cup
in
his
right
hand
and a
handful
of
groats
(6Aai)
n
his
left,
ready
to
place
on
the
altar.
There is some brown
shading
in the hollows of the
folds;
the
cup
is also
browned.
Not
far
from the
Kleophon
and
Dinos
painters:
about
425
to
420o.
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8/19/2019 Excavations at Al Mina
20/51
AL
MINA,
SUEIDIA
19
50.
Fragment
of a bell-krater.
Height
0-036.
A
female
head,
and
a
tripod.
By
the
Cadmus
painter (Att.
V.
pp.
451-2):
about
420
B.c.
51.
Fragment
of a bell-krater.
Height
0-o62.
Apollo
sitting
on
the
Tripod,
with
his feet on the
Omphalos: compare
the relief
dedicated
by Xenokrateia, Athens 2756 (Svoronos pl. 181; 'Ep. 'APX. 1937, P.
102),
or
a
statue
in the Villa Albani
(Helbig
1848;
E.A.
4530-3;
replica
in
Naples,
135).
He wears a himation ornamented with small
crosses and
bordered
with
wave-pattern
and a row of horses' heads between two rows of
dots.
His
laurel-staff,
held in his
right
hand,
shows beside his
right
shank.
The
omphalos,
black,
with
reserved
edge,
is decorated with a branch of
laurel,
reserved,
and
a wreath
in white.
The
style
recalls the Cadmus
painter.
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