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B 329 (Case 46) shows a front view of the well-house. B 335 shows a double well-house with a spout on each side.

Cases 48, 49. Select vases, of which the majority are signed. Among the contents of these cases are :

Several kylikes of the Little Master'school, referred to above.

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These include cups with the names of Archicles, Tleson, and Hermogenes ; also cups inscribed Hail and drink well' (or drink me ') Xoipe kai miei (or míov épé B 414); and similar cups with meaningless imitation inscriptions.

B 300. Hydria signed by Pamphaios (cf. p. 215). The principal subject is Dionysos with a train of Satyrs and Maenads.

B 364,

The incised lines are executed with extraordinary minuteness and care.

Two vases with the name of Amasis, namely, B 471, Perseus slaying Medusa, signed in full, and B 209 : (a) Memnon, with attendant Ethiopians, inscribed with the name Amasis (but cf. p.

215); (b) Achilles and Penthesilea.

Five vases, of various forms, inscribed by Nicosthenes, a transition artist (cf. p. 215). Chief among the vases here is B 364, a large crater, with two friezes of combats : (a) Heracles and various deities in combat with the giants (fig. 110); (b) a battle scene, perhaps a continuation of that on the opposite side, although in this case distinctive attributes are wanting.

B 210. Amphora signed by Exekias, a characteristic example of his style (cf. p. 215): (a) Achilles slaying the Amazon queen, Penthesilea ; (b) Dionysos and Oenopion (' wine-drinker ), son of Dionysos by Ariadnè.

B 400. Kylix, signed by Glaukytes, with two friezes of complex and crowded combats.

Cases 50–51. Athenian pitchers (hydriae) continued, and other vases. On the pitchers are further scenes of water-drawing, similar to those described above, and miscellaneous mythical subjects. Noticeable among the latter is B 324 (fig. 111; Case 50), representing Achilles waiting in ambush for Troïlos, who has come out from Troy with Polyxena to draw water. The story was told in the lost epic of the Cypria. Polyxena seems to have become aware of the danger, and makes a signal to Troïlos, who is mounted. The scattered inscriptions have no meaning.

Cases 24–45 also contain, on the upper shelves, numerous vases, remarkable for the rough and hasty character of the designs. In part this roughness is due to the vases being unimportant works carelessly finished; but in part, also, the artist seems to be seeking greater freedom of expression, which could only be attained by the introduction of the red-figure method.


Fig. 110.- Battle of Gods and Giants.

[We turn to the Table- and Standard-cases in the same half of the room.]

Table-case F contains a series of kylikes and plates (pinakes). The kylix B 436 has interesting views of a war-galley and a merchant ship on each side. In the shades above is a series of kylikes, including two fine examples from Rhodes: the one (B 379) represents on the exterior (a) Heracles escorted into the presence of

Zeus and Hera by a procession of deities ; (b) combat of warriors ; in the interior is a group of Ajax seizing Cassandra at the statue of Athenè. The other kylix (B 380) has on the exterior (a) Perseus, Hermes and Athenè pursued by Gorgons ; (b) a procession of

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warriors ; in the interior a warrior charging. These two are a pair, and are in the Chalcidian style (see p. 207).

The kylix B 424 is signed by Phrynos. The subjects are the Birth of Athena (see above) and the Apotheosis of Heracles. The hero is introduced by Athena to the presence of Zeus. The second shade contains a plain black cantharos (cup) with the name of its owner roughly incised : I am (the cup) of Gorgidas.'

Standard-case G. Large amphorae with miscellaneous subjects, within panels. Among them, see B 182, athletes carrying boys on their backs to whom a seated man is about to throw a ball.

The vase B 177 has a grotesque scene of four men stung by bees. They have been identified as the four Cretans who attempted to steal the honey of the infant Zeus, but probably the scene is mere burlesque. B 426 is an Athenian kylix of gigantic proportions, which is unfortunately in a poor state of preservation.

Standard-case H. Large amphorae, as the last, principally with subjects relating to the Labours of Heracles. Among them, see B 155, Heracles attacking the monster Geryon, who is winged and triple-bodied from the waist upwards. Two of the bodies are

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wounded and fallen, while Heracles seizes the third by the helmet. On the opposite side is the curious subject of Perseus receiving the gifts of the Naiads, namely, the winged sandals, the helmet, and the pouch.

Pedestal 3. An amphora in the style of Andokides (already quoted on p. 205 as a transition artist). The front, with two heroes playing draughts (by which means they passed the time at Aulis while awaiting a favourable wind for Troy), is painted in black figures on a red ground. The back, on the other hand, with Heracles wrestling with the Nemean lion, is fully red-figured.

Pedestal 4, and Standard-case I. A series of prize vases, won by the victors in the games at the Panathenaic Festival at

Athens (cf. p. 35). The type used varied little from the very early specimen (fig. 112) on Pedestal 4 (known as the Burgon Vase, having been found by Mr. T. Burgon at Athens) to the late examples described below, in the Fourth Vase Room (p. 246). The Burgon vase dates from about 560 B.C., while the late examples come down to the second half of the fourth century. On the obverse of most examples is a figure of Athenė, standing between two columns usually surmounted by cocks or owls, and an inscription : 'I am one of the prizes from Athens' (των Αθηνήθεν άθλων εμί. The εμί is usually understood). The shield of Athenè has a variety of devices such as a snake, á Pegasus, a chariot or a chariot wheel. On the reverse are subjects connected with the games, such as representations of boxing, the foot-race, leaping with weights in the hands, throwing the disk and the spear, the horse-race, the race of fourhorse chariots, in which the charioteer stands in the chariot; and the race of two-horse chariots, in which the driver sits with his feet resting on a foot-board; and musical contests. Seven of the examples are the actual prizes. The remainder, of a smaller size, and with the inscription omitted, must be supposed to be contemporary imitations.

Standard-case K. Further examples of amphorae, with the Labours of Heracles and other subjects.

On the walls, above the cases, in this and the following Room are facsimiles of paintings from the walls of Etruscan tombs, such as those in which many of the Greek vases from Etruria have been found.

The piece of timber (Italian larch) above Cases 42, 43 is a portion of the ancient ship which is submerged in the Lake of Nemi.





The vases exhibited in this room belong to the red-figure class, and therefore show the complete reversal of method already

* The vases in this room are described in the Catalogue of Vases, Vol. III., by C. H. Smith, 1896 (26s.). A copy can be borrowed from the commissionaire. For the White Vases see also White Athenian Vases in the British Museum, by A. S. Murray and A. H. Smith, 1896, folio (25s.).


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