Epictetos, and partly unsigned, but nearly akin. Among them

are:

E12. Kylix, signed by Pamphaios (fig. 113). On the exterior is a beautiful group (which some authorities have assigned, notwithstanding the signature, to Euphronios) of two winged figures, raising the body of a dead warrior, under the guidance of Iris. The scene suggests the Homeric incident, in which Sleep and Death carry Sarpedon to Lycia for burial, but it has also been interpreted as two wind-gods carrying Memnon, a story told only by a very late poet, Quintus of Smyrna. Technically this vase is interesting on account of the unusual method of thinning out the black glaze, to form a yellow wash. Beside it is a kylix (acquired in 1907), signed round the edge of the foot by Pamphaios, with scenes of armed warriors charging or racing.

E 3. A transition kylix, signed by Epictetos and Hischylos. The interior has a young Athenian in festal dress in black-figure style, while the exterior is red-figured.

E 2, another transition kylix, has the two styles combined in its interior.

Above this case are :—

E 258. Small amphora, signed by Euxitheos, with Achilles and Briseis on the two sides.

E 15. A rendering, in the red-figure style, of the Birth of Athenè (see above, p. 219).

E 437. Jar of the kind called a stamnos, signed by Pamphaios. Heracles is wrestling with the river-god Achelöos, and seeks to break off the horn, which, according to some legends, was identical with the horn of abundance, or cornu copiae.

Pedestal 1. E 804. Vase in the form of a knucklebone, with a graceful and playful scene of girls, who seem to hover in the air. Attempts have been made to give an allegorical significance to the figures, and they have been called Breezes; but probably the subject is merely a dance of girls, imitating the flight of birds, under the instructions of a grotesque dancing-master. From Aegina.

Table-case B. Cups and plates, in the style of Epictetos. Two kylikes, E 24, E 37, the deep cup (cotyle) E 139 (potter, Pistoxenos), and three plates, E 135, E 136, E 137, are signed by Epictetos. (See also the vase E 38 in Case J.)

Above the case are choice specimens of smaller red-figure amphorae, etc. Among them E 289, a small amphora with an interesting scene of the Judgment of Paris. The three goddesses are received by Paris, a shepherd with his sheep. On the opposite side is Hermes, who has performed his mission of conducting the goddesses to Paris, and now departs. The amphora E 290 has the curious subject of Heracles driving off Geras (Old Age), whose name is inscribed.

Above it also stand two alabasti, on one of which, acquired from Eretria, men training horses are painted in opaque white colour

on the black glaze of the vase. This process we have already noticed among the archaic vases (p. 216). In this instance much of

the white colour has disappeared, leaving only traces on the black glaze. The drawing is fine, and the subject is interesting as an

illustration of daily life in Athens about 460 B.C. The kalos-names Carystios, Moryllos, and Smicrion are incised on the black ground.

Pedestal 2. E 788. A vase of the kind called a rhyton (drinking horn), in the form of a seated Sphinx. This vase combines in a remarkable way the red-figure decoration of the cup, with the opaque white surface (partly gilded) of the Sphinx. For her cap use has been made of the vermilion which is employed for the draperies on the white Athenian vases (Case F).

Standard-case C. The middle part of this case is mainly occupied with choice vases, acquired in 1892 at the sale of the Van Branteghem collection. These include:

E 46. A kylie in the manner of Euphronios, and inscribed with the kalos-name Leag[ro]s, which that artist is known to have employed. Subject, youth and running hare.

E 34, and another kylix more lately acquired, are both signed by Hermaios.

E 719, an unguent-bottle (alabastron), is remarkable for the wealth of its decorations. The figures are a youth and a girl. The latter is putting on her girdle, and meanwhile holds the overlap of her dress with her teeth.

D 5-10 are a remarkable group of white vases found together in Athens. Three of them bear the signature of the potter Sōtades. The three kylikes are extremely fine and delicate in form, while the designs drawn on them are of great beauty. The figure

subjects are:

D 5. The rare myth of Glaucos and Polyeidos. Glaucos, son of Minos of Crete, had died by falling into a jar of honey. The seer, Polyeidos, was shut up by Minos in the boy's tomb, that he might bring him back to life. While thus imprisoned he slew a snake. A second snake appeared, bringing a herb with which it revived its companion, and by the help of the same herb Polyeidos restored the boy. The scene is a sectional view, showing both the interior and exterior of the tomb. The names are inscribed, and make the interpretation certain.

D 6. Girl standing on tiptoe to pluck an apple.

D 7. Death of Archemoros. When the heroes on their march against Thebes came to Nemea, there was drought. Hypsipylè, the nurse of the king's son, led the heroes to a spring, and in her absence the boy was killed by a serpent. He was buried by the heroes, and the Nemean games were founded in his honour. the vase we have one of the heroes throwing a stone at a serpent coiled in a reed-brake and vomiting out smoke, and also a part of Hypsipylè.

On

Observe also D 11 (fig. 114). Cover of a circular box (pyxis), with a marriage procession towards an altar. The bridegroom leads the bride, escorted by a pipe-player and torch-bearers.

Pedestal 3. E 424. Athenian vase, of the latter part of the fifth century, with the subject of Peleus and Thetis. Peleus seizes Thetis, whom he has surprised bathing, and a sea-monster attacks

235

the leg of Peleus. This is manifestly derived from the archaic method of representing the transformations of Thetis, already described; but it may be conjectured that the artist was unaware

that the monster is Thetis herself, and not a sea beast who gives her his aid. The extensive use of colours, including white, blue, green and gilding, is remarkable.

Table-case D. Cups (kylikes) by masters of the group of

Fig. 115.-Game of Cottabos. E 70.

Euphronios (see p. 230), in part signed, and in part attributed to the group on grounds of style. (For the only work by Euphronios himself, see Case J.)

Signed by Duris. The two kylikes in this case, E 39 (athletic scenes), E 49 (banquet scenes), are signed by Duris. The kylix E 50, though not signed, appears to be in the style of the same painter. Compare the back view of a banqueter shown in E 49. Above is a wine-cooler (psycter), E 768, with fantastic revels of Seileni, also by Duris. (For another vase of Duris, see Case J.)

Signed by Chachrylion. E 40. The position of Chachrylion as one of the earliest members of this group is shown by the fact that he still uses freely the incised lines of the black-figure style. (For another vase of Chachrylion, see Case J.)

The kylikes E 64, E 70 have scenes of Symposia, and singular bands with the boots and some of the vases of the banqueters. The interior of E70 (fig. 115) illustrates the way in which the kylia might itself be used in the game of Cottabos, which consisted in aiming the dregs of wine from the kylix at a mark (cf. F 273 in Fourth Vase Room, Case 72).

Above this case are the psycter by Duris, E 768, already mentioned, and another (E 767) of the same form, also with a scene of revel.

Pedestal 4. Hydria, signed by the later Athenian artist, Meidias. Remarkable for fine preservation, elaborate drawing, and rich compositions. Subjects: (Above) Castor and Pollux, carrying away their brides, the daughters of Leukippos. Pollux (Polydeuk(t)es) has placed Helera in his chariot, and Castor is seizing Eriphyle, while Chrysippos holds his chariot. The seated figures in the foreground are inscribed Zeus and Aphroditè, and the figure on the right is called Peitho, that is, Amorous Persuasion. A comparison, however, with older representations of the same subject shows that the figures were originally Leukippos and terrified maidens, one of whom takes refuge at an altar. We have here an example of the declining importance attached to mythological accuracy in the later Attic work. The signature (Μειδίας émoinσev), which, like the other inscriptions, is only faintly visible, is immediately below the palmette band round the neck.

The lower frieze falls into two main groups, the divisions being under the side handles. 1. Heracles in the garden of the Hesperides. 2. Athenian tribal heroes and others.

Table-case E. Kylikes, for the most part unsigned, by the later masters of the fine period of Attic painting.

Above is a fine bowl (cotyle), E 140, by Hieron (see 230), representing the sending forth of Triptolemos with the divine gift of wheat. Triptolemos is seated in his winged chariot between Demeter and Persephonè, and is about to receive wine for a libation from the latter. Behind Persephonè is the local nymph Eleusis. On the other side of the vase are deities less nearly connected with the event. In the severely restrained and somewhat conventional drawing of this beautiful vase there is a distinct return to the archaic manner. The elaborately decorated robe of Demeter, with its bands of figures, birds and beasts, recalls the Panathenaic peplos