"Icon","Chronology","dc-publisher","dc-subject","dc-creator","Id","Name","dc-description","dc-title","UserLevel","Collection","Type","Redirect","dc-date"
"","Ca. 500-490 B.C.","","Red Figured And White Ground | Column-Kraters | Pictures Framed","","Agora:Object:Agora XXX:165","Agora XXX, no. 165","Seven non-joining fragments, mostly of wall, a / e and f with shoulder, g of overhang of rim from near handle plate. Glaze rather dull on b and d. Max. dim. a/e) 0.107, b) 0.088, c) 0.073, d) 0.053, f) 0.06, g) 0.51, h) 0.064. H. A. Thompson, Hesperia 27, 1958, pl. 42:n (fragment a); Agora XIV, pl. 65:b; S. N. Koumanoudi, ἈρχἘφ 1976, p. 214, fig. 1 (fragment b); Langridge, ""Eucharides Painter,"" p. 348, cat. no. E 17.; ; A, departure with chariot(?). Fragment c (illustrated) shows a little of the right-hand trace horse, the yoke, yoke pad, end of the chariot pole, and part of the pole-stay, the team to right. On the left-hand side of the horses, the drapery (himation[?]) of a figure and at the upper left, some relief lines that look like hair (end of a beard[?]). At the right, a wavy line that is a long lock of hair hanging over the left shoulder of this figure. Fragment f shows the upper left corner of the panel and the crest of a warrior's helmet, probably one who stands in the chariot. Fragment h preserves the end of a fold of his drapery and the stopped-maeander pattern framing the panel. Fragment a / e (illustrated) shows the upper right corner of the panel, with the head and shoulders of a small boy, probably sitting on the shoulders of a man, the back of whose head appears at the left break. Above, tongue pattern on the shoulder at the junction with the neck; at right, stopped-maeander pattern for frame, and at the far right, the start of the tongue pattern around the handle root. B, Herakles. On the right of fragment b (illustrated) is the buttock, thigh, and calf of Herakles striding to right, wearing a lionskin (one leg). Overlapping the skin is part of an object that looks like the end of a quiver (the black part might be part of the bow, except that it is too straight). Behind him stands another figure (indicated by a little drapery), who holds a spear and a round shield seen from the inside (part of each with the end of a tassle inside the shield), presumably Athena. Fragment d (illustrated) gives a little of his opponent: a bit of his right thigh and most of his right hand holding the pommel of a sword. At the left, drapery. On overhang of rim, fragment g, horizontal encircled palmettes in black glaze to right. Relief contour. Dilute glaze (very faint): muscles. Rim of shield incised (compass-drawn).; ; The scene with Herakles is probably his combat with Kyknos, a theme far more popular in black figure than in red figure. For the subject, see LIMC VII, 1994, pp. 970--991, s.v. Kyknos (A. Cambitoglou and S. Paspalos). If this identification of the subject on 165 is correct, the composition showed Athena at the left preceded by Herakles who strides to right toward Ares, rushing in to assist his son. Something of a parallel would be the cup in London by Oltos, only here the friezelike format allows the inclusion of extra figures (B.M. E 8: ARV2 63, 88; Addenda 165). The problem with this identification is the interpretation of the little bit of drapery at the left of fragment d. In black figure, this figure would be Zeus, who either intervenes or, as Shapiro suggests (AJA 88, 1984 [ pp. 523--529], p. 526), encourages Herakles. For good examples, see Berlin 1732 by Lydos (ABV 110, 37; Paralip. 44, 37; Addenda 30) and London, B.M. GR 1861.4--25.50 = B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip. 128, 1; Addenda 77). In the known red-figured representations of Herakles in combat with Kyknos, Zeus is not present, although occasionally Athena is there, a good example being the calyx-krater by Euphronios in the Levy-White Collection (Euphronios, cat. no. 6). Still, since there is considerable variation in the red-figured compositions of this theme and in the number of participants, one should perhaps not rule out the possibility that Zeus appeared on 165.; ; The Eucharides Painter (ARV2 230, 50; Addenda 199).","","","Agora","Object","",""
"","Ca. 500-490 B.C.","","Red Figured And White Ground | Volute-Kraters","","Agora:Object:Agora XXX:234","Agora XXX, no. 234","Four non-joining fragments of rim and neck, P 25978 a preserving the spiral of one handle, P 28759 with start of shoulder. Two small fragments (P 25978 b and c) give a bit of the flange of a handle and part of the inside of the neck opposite the handle on P 25978 a. P.H. of P 25978 a to rim 0.107; to top of handle 0.17; est. diam. at rim 0.38; max. dim. b) 0.078, c) 0.087, P 28759: 0.145. H. A. Thompson, Hesperia 27, 1958, pl. 45:b (fragment a); Schleiffenbaum, Volutenkrater, p. 324, cat. no. V 205; LIMC VII, 1994, p. 937, no. 185, s.v. Theseus.; ; A, Theseus(?) and the Marathonian Bull. At the far left of P 25978 a, next to the handle zone, there is a Doric column, then in front of it a youth to right, wrapped in a cloak and holding a stick in his right hand, not quite sitting on a block stool. He looks at a youth, who is almost down on one knee to right, a cloak over his outstretched left arm and a spear in his lowered right hand. Then, separated by a tree, comes Theseus(?), who has a club made from a stout branch. Around the head of each figure is a wreath. The bull (hindquarters missing) is down on one knee to left. Above, on the right, another tree. On side of mouth, key pattern to left; on lower zone of neck, encircled palmettes in black glaze to right. Ivy on flanges of handles. P 28759 comes from Side B (the lines of glaze on the inside indicate this). It preserves a youth (head, left shoulder and arm, right knee and most of right foot missing), kneeling to left, torso in back view, a club in his right hand. On the right, the rim and bowl of a krater standing on the ground, overlapping a figure (drapery over lower legs, feet) seated to left. Below, more of the palmette pattern. Preliminary sketch. Relief contour. Incised line for hair contour. Dilute glaze: muscles; folds of flesh on bull's neck. Red: wreaths; leaves of trees; hearts of palmettes; edge of each handle flange; band on inside below rim and at bottom of neck, line at outer and inner edge of rim and top side of spiral.; ; Whether the youth with the bull is Herakles or Theseus cannot be determined without an attribute. The stick held by the youth does not really resemble the club of Herakles, which normally tapers to a fine grip, its opposite end stout and heavy. The nudity of the youth seems more suitable for Theseus, although on many occasions Herakles appears nude, even in a scene where he captures the Cretan Bull (see Basel, Antikenmuseum und Sammlung Ludwig BS 488 by the Delos Painter, on which the hero's name is inscribed: ARV2 172, 4; Addenda 184; there he restrains the beast as it leaps forward). The reason for opting to identify the youth on 234 tentatively as Theseus, as others have done (see below), is chiefly because Theseus and the Marathonian Bull is a far more popular subject in the late 6th and early 5th centuries than the corresponding exploit of Herakles. For the subject, see Heldensage3 254--257 (red-figured examples, where 234 is cat. no. 70); J. Neils, The Youthful Deeds of Theseus [Archaeologia 76], Rome 1987, passim, but esp. p. 154, cat. no. 9 and p. 56 for 234); and F. Brommer, Theseus: Die Taten des griechischen Helden in der antiken Kunst und Literatur, Darmstadt 1982, pp. 27--34; LIMC VII, 1994, pp. 936--938, s.v. Theseus (J. Neils).; ; For encircled palmettes on the necks of red-figured volute-kraters, cf. the following, all in the upper zone and all in reserve, not black glaze: one by the Nikoxenos Painter, Munich 2381 (ARV2 221, 14; Addenda 198); another akin to him, Toronto 959.17.187 (ARV2 223, ---, 2; Paralip. 346, 2); two by the Karkinos Painter: New York, M.M.A. 59.11.20 (ARV2 224, 1) and New York, M.M.A. 21.88.74 (ARV2 224, 2; Addenda 198).; ;  234 probably belongs among those vases akin to the Nikoxenos Painter rather than those by the painter himself or in his manner. The drawing of the figures and drapery is much simpler on the Agora vase when compared with figures by the Nikoxenos Painter, even smaller ones that are set in a frieze: e.g., Munich 2381; Oxford G. 136.36 and 40 (ARV2 221, 15); London, B.M. E 160 (ARV2 222, 19); and Würzburg 531 (ARV2 222, 25). The figures on 234 lack the double vertical line separating the pectoral muscles and the three-dimensional drapery folds that are an essential part of the Nikoxenos Painter's style. The column with the top-heavy capital is best paralleled on Athens, N.M. 1425 (ARV2 223, 6; Paralip. 346, 6), which is akin to the painter.","","","Agora","Object","",""
"Agora:Image:2008.16.0253::/Agora/2008/2008.16/2008.16.0253.tif::4331::5964","414 B.C.","","","","Agora:Object:I 4408","I 4408","Inscribed fragments.; ""POLETAI"" record.; Confiscated property of those who profaned the Mysteries.; ; Fragment ΙΙ 2 a), inscribed face only preserved.; Thirteen lines of the inscription preserved.; Belongs to a different stele from I 236.; Joins IG I2, no. 325.; ; Fragment ΘΘ 178 b), inscribed face, rough picked back, and straight but not finished surface at left preserved.; Fifteen lines of the inscription preserved.; ; Fragment ΑΑ 49 c), inscribed face only preserved.; Fourteen lines of the inscription preserved, thev sixth has been erased.; ; Fragment ΙΙ 237 d), inscribed face and rough picked back preserved.; Two lines of the inscription preserved, and traces of two others.; ; Fragment ΙΙ 260 e), inscribed face only preserved.; Six lines of the inscription preserved, and trace of seventh.; ; Fragment ΙΙ 430 f), inscribed face and bit of back preserved.; Thirteen lines of the insciption preserved.; A joining fragment, joins at bottom of fragment f).; Thirty-two lines as joined.; ; Fragment ΒΒ 29 g), inscribed face only preserved.; Six lines of the inscription preserved.; ; Fragment ΒΒ 96 h), inscribed face only preserved.; One line of the inscription preserved, vacat, and three lines below.; ; Fragment ΒΒ 101 i), inscribed face only preserved.; Six lines (in two columns) of the inscription preserved, vacat, three lines, vacat, two lines (two letters).; ; Fragment ΒΒ 138 j), inscribed face only preserved.; Seven lines of the inscription preserved.; ; Fragment ΒΒ 351 k), inscribed face only preserved; surface badly flaked.; Nine lines of the inscription preserved.; Pentelic marble.; ; ADDENDA With I 236.; EM 6759 belongs.","Record Fragments","","Agora","Object","","a) (ΙΙ 2) 16 December 1936; b) (ΘΘ 178) 6 May 1937; c) (ΑΑ 49) 26 January 1938; d) (ΙΙ 237) 4 March 1938; e) (ΙΙ 260) 11 March 1938; f) (ΙΙ 230) 23 March 1938; (joining fragment) 17 April 1939; g) (ΒΒ 29) 30 September 1938; h) (ΒΒ 96) 24 February 1939; i) (ΒΒ 101) 25 February 1939; j) (ΒΒ 138) 13 March 1939; k) (ΒΒ 351) 15 May 1939"
"","Context of 110 to early 1st century after Christ","","Hellenistic Pottery and Wheelmade Table Ware | Imported Pottery | Miscellaneous Wheelmade Glazed And Partially Glazed Wares And Related Vessels","","Agora:Object:Agora XXIX:1718","Agora XXIX, no. 1718","Banded Fish-plate.; ; Over half of rim, part of floor and foot restored.; ; High foot; beveled resting surface. Floor concave with shallow groove around outer edge and around depression. Rim nearly horizontal, curved on top, separated from wall on exterior by groove. Reddish yellow fabric with little mica and many white inclusions; thin, brown glaze on depression, rim, and band on floor and on exterior except for lower part of foot and underside.; ; Similar: P 8573 (Rotroff 1983, no. 105, p. 297, fig. 6 on p. 269, pl. 61 [E 6:2, upper fill]).; ; The banded fish-plate was common on the coast of Turkey; many fragments may be observed on the beach at Kyme, and they are reported from Pergamon, Ephesos, Samos, and Lesbos (e.g. AvP XI, i, nos. 147, 152, 237, pp. 123--124, pls. 43, 48, 65; AvP XI, ii, nos. 244, 247, 248, 262, 264, 269, pp. 87--88, pl. 51:2; Mitsopoulou-Leon 1972--1975, col. 498; Samos XIV, p. 158, fig. 258 A, B [gray ware]; Archontidou-Argyri 1990, pl. 63), as well as on Delos and at Apollonia (Délos XXVII, D 68, p. 249, pl. 43; Apollonia, no. 625a, p. 232, pl. 122).","","","Agora","Object","",""
"Agora:Image:2008.19.0025::/Agora/2008/2008.19/2008.19.0025.tif::3040::2008","","","","","Agora:Object:I 236","I 236","Inscribed fragments.; Confiscated property of Alcibiades.; ""POLETAI"" record.; ; Fragment ΣΤ 604 from upper right corner of inscribed block.; Full thickness of block preserved, but large flakes broken from surface.; Back rough picked surface surrounded by lower smoothed band; top and side, smooth weathered surface. Face carefully finished.; ; Fragment Κ 1350 (a), preserving part of right edge, and joining on the top of the fragment earlier found; the ends of eight lines of the inscription preserved.; ; Fragment Κ 22 (b), nineteen lines of the list, with a column of figures on either side preserved.; ; Fragments ΘΘ 5, ΙΙ 242b (c), inscribed face only preserved. Fragment II 242b joins to fragment c) at the right and fragment f) above, preserving inscribed face and left side. Twenty-five lines of the inscription preserved.; ; Fragments ΘΘ 207, ΘΘ 30, ΘΘ 44, ΙΙ 242a, ΙΙ 246, ΒΒ 341 ΙΙ 133 (d), back preserved; otherwise broken. Twenty lines of the inscription preserved. Fragments II 242a joins to II 246 which joins to fragment d) to the left, preserving inscribed face, left side and back. Thirty-six lines of inscription preserved, in three columns.; ; Fragment ΘΘ 43 (e), with sixteen lines of the inscription preserved.; ; Fragment ΘΘ 49 (f), left side preserved; broken elsewhere. Twelve lines of the inscription preserved. Joins with Fragment c.; ; Fragment ΙΙ 1, (ΘΘ 207) (g), inscribed face only preserved. Eight lines of the inscription preserved. Additional fragment joins.; ; Fragment ΘΘ 88 (h), inscribed face and possibly part of the rough picked back preserved. Two lines of the inscription preserved.; ; Fragment ΘΘ 109 (i), inscribed face only preserved. Six lines of the inscription preserved, trace of a seventh.; ; Fragment ΙΙ 115 (j), inscribed face and bottom preserved. Six lines of the inscription preserved.; ; Fragment ΙΙ 123 (k), inscribed face only preserved. Eight lines of the inscription preserved.; ; Fragment Σ 1469 (l), inscribed face only preserved. Part of one letter in one column; five lines of the inscription preserved, and part of sixth in other column. ; ; Fragment ΑΑ 65 (m), inscribed face only preserved. Seven lines of the inscription preserved, trace of eightth below.; ; Fragment ΙΙ 271 (n), inscribed face, back and bottom preserved.; ; Fragment ΙΙ 323 (o), inscribed face, top and back preserved. Top is smooth, back is rough picked except for a neatly-worked smooth band across the top. Eighteen lines of the inscription preserved.; ; Fragment ΙΙ 416 (p), inscribed face and back preserved. Twenty-one lines of the inscription preserved, trace of another above.; ; Fragment ΒΒ 26 (q), bottom and inscribed face preserved. Eleven lines of the inscription preserved. Property of Oionios.; ; Fragment ΒΒ 27 (r), broken all round; back preserved. Seven lines of the inscription preserved.; ; Fragment ΒΒ 38 (s), top and back preserved. Cutting along top of back. Fifteen lines of the inscription preserved.; ; Fragment ΘΘ 311 (t), inscribed face and rough picked back preserved; inscribed face much worn. Ten lines of the inscription preserved in two columns (joins EM fragment).; ; Fragment ΒΒ 174 (u), inscribed face and rough picked back preserved. Eleven lines of the inscription preserved.; ; Fragment ΒΒ 204 (v), inscribed face and rough picked back preserved; inscribed surface very badly flaked. Nine lines of the inscription preserved and illegible surfaces above and below.; ; Fragment ΒΒ 263 (w), inscribed face and rough picked back preserved. Two columns, with eleven lines of the inscription preserved.; ; Fragment ΒΒ 285 (x), inscribed face only preserved. Six lines of the inscription preserved.; ; Fragment ΒΒ 315 (y), inscribed face and rough picked back preserved. Left side of column, with prices and sales tax at left. Sixteen lines of the inscription preserved.; ; Fragment ΒΒ 379 (z), inscribed face and rough picked back only preserved. Parts of two columns, with twelve lines of the inscription preserved.; ; Fragment ΕΛ 5 (aa), broken all around; rough back, probably original.; ; Fragment ΕΛ 40 (bb), broken all around; back rough picked.; Fragment ΕΛ 87 (cc), inscribed face only preserved.; Fragment ΕΛ 115 (dd), inscribed face only preserved. No join with fragment cc).; Pentelic marble.; ; ADDENDA Joins with I 845, I 2040, I 4406.","Record Fragments","","Agora","Object","","(ΣΤ 604) 11 May 1932; a) (Κ 1350) 16 July 1947; b) (Κ 22) 22 January 1934; c) (ΘΘ 5) 18 December 1936; c) (ΙΙ 242b) March 1938; d) (ΘΘ 30) 30 December 1936; d) (ΘΘ 44) 17 January 1937; d) )ΙΙ 133) 7-8 March 1938; d) (ΒΒ 341) 13 May 1939; e) (ΘΘ 43) 17 January 1937; f) (ΘΘ 49) 18 January 1937; g) (ΙΙ 1) 9 November 1936; g) (ΘΘ 207) 12 May 1937; h) (ΘΘ 88) 30 January 1937; i) (ΘΘ 109) 15 April 1937; j) (ΙΙ 115) 13 April 1937; k) ( II 123) 16 April 1937; l) (Σ 1469) 28 April 1937; m) (ΑΑ 65) 9 February 1938; n) (ΙΙ 271) 14 March 1938; o) (ΙΙ 323) 21 March 1938; p) (ΙΙ 416) 30 April 1938; q) (ΒΒ 26) 27 September 1938; r) (ΒΒ 27) 28 September 1938; s) (ΒΒ 38) 7 October 1938; t) (ΘΘ 311) 1 March 1939; u) (ΒΒ 174) 27 March 1939; v) (ΒΒ 204) 6 April 1939; w) (ΒΒ 263) 28 April 1939; x) (ΒΒ 285) 4 May 1939; y) (ΒΒ 315) 10 May 1939; z) (ΒΒ 379) 19 May 1939; aa) (ΕΛ 5) 6 April 1959; bb) (ΕΛ 40) 23 April 1959; cc) (ΕΛ 87) 25 May 1959; dd) (ΕΛ 115) 3 June 1959"
"","Ca. 510-500 B.C.","","Red Figured And White Ground | Cups | Type B | Decorated On Inside And Outside","","Agora:Object:Agora XXX:1407","Agora XXX, no. 1407","Mended with small missing pieces restored in plaster and painted. Lip offset on inside; foot offset on underside. Glaze slightly abraded on handles. H. 0.074; diam. of rim 0.18; W. with handles 0.238; diam. of tondo 0.088; diam. of foot 0.074. Pottery and Glass (November 1954), p. 349 (illustrated); H. A. Thompson, Hesperia 24, 1955, pp. 64--66, fig. 4 and pl. 30; M. Robertson, AJA 62, 1958, pls. 6, 7, figs. 1--5; Guide (1962), p. 161 and pl. 16; D. B. Thompson, An Ancient Shopping Center (Agora Picture Book 12), Princeton 1971, fig. 67 (I); Agora XIV, pl. 87; Beck, Album, pl. 60:307 (I); ARFV:Archaic, fig. 48; Guide (1976), p. 245, fig. 128; C. Cardon, AJA 83, 1979, pls. 22:1; 23:4, 5; 24:8; 25:12; G. Pinney, AJA 85, 1981, pl. 30:5 (I); D. C. Kurtz, JHS 103, 1983, pls. 3, 4; LIMC I, 1981, p. 178, no. 830, pl. 138 (A), s.v. Achilleus; S. Roberts, Hesperia 55, 1986, p. 18, fig. 10:25; p. 23, fig. 13:25; pl. 4:25; J. McK. Camp, The Athenian Agora: Excavations in the Heart of Classical Athens, London 1986, pl. 8, opp. p. 135 (I); LIMC III, 1986, p. 460, no. 428, pl. 349 (B), s.v. Dionysos; p. 782, no. 310, s.v. Eos; Human Figure, pp. 142--145, cat. no. 51; Robertson, AVP, p. 83, fig. 72 (A); M. Kilmer, Greek Erotica on Attic Red-Figure Vases, London 1993, cat. no. R 351.1.; ; I, youth crouching to right, holding a hare by its ears in his right hand; his left grips a knobby stick. Around his head is a honeysuckle wreath; over both shoulders is a cloak. In the background: ; ; Reserved line for tondo border. A, Achilleus and Memnon, between Thetis and Eos. At the left of the composition, Thetis comes in, arms outstretched, encouraging her son. She wears a long chiton with a himation over it, and her hair is tied up with a fillet, which is incised across her hair, its ends in added red. Achilleus, nude but for a low-crested Corinthian helmet pushed back on his head, strides to right holding on his left arm a round shield seen in three-quarter view from the inside and aiming his spear at Memnon's abdomen. Achilleus is beardless, but the glaze lines defining his chin come to a point, and there is a bit of glaze between them as if the artist may have intended a short beard. He does not have the rounded chin of the youth in the tondo. Memnon (thighs missing), almost down on his left knee, has loosed his grip on his shield, a round one seen from the inside, and is about to fall backwards. Although he aims his spear at Achilleus' left thigh, it does not seem very effective. His mouth is open slightly as if he gasps or cries out. Memnon is bearded and like Achilleus, he wears a low-crested Corinthian helmet pushed back. Around the left ankle of each hero is an amulet. The armband of each shield terminates at each end in a palmette. Behind Memnon, Eos (most of her right arm and all of right foot except for toes missing) rushes in, right arm outstretched, her left hand pulling the end of her sakkos from her head. She wears a long chiton that is a bit torn, a himation over it and a cloak over both arms. Her mouth, too, is open slightly. Inscribed below the rim: ; ; B, Dionysos with satyrs, a maenad, and a goat. The maenad runs in from the left, holding an empty oinochoe in her right hand, a thyrsos in her left, both arms outstretched. She wears a long chiton with a nebris over it and a cloak over both arms. A fillet binds her hair. Before her, Dionysos (left foot missing) sits to right on an okladias, looking back rather eagerly. In his lowered right hand he holds his kantharos; in his left, resting on his right thigh, he grasps the end of a branch of ivy, which fills the field in front of him. The god wears a long chiton with a himation over it. Around his head is a wreath. Next comes a satyr (hands, feet, part of each leg missing) standing frontally, right leg in profile, his head turned toward the shaggy goat (head missing) he tugs at. A second satyr runs in from the right, arms outstretched. Around the head of each satyr is a wreath. In the field: ; ; Reserved line below figures. Relief contour. The rim of Memnon's shield is incised (compass-drawn). Dilute glaze: muscles; down on cheek of youth, pupil of his eye; hare; palmettes on shield bands, loose strap on inside of Memnon's; tears in Eos' chiton (short, feathery strokes); folds of Dionysos' chiton; horns of goat. Incised line for contours of hair, for forelocks, short hairs on napes of Thetis, Achilleus, Memnon, and maenad. Red: wreaths; fillets; inscriptions.; ; The identification of the subject on Side A is virtually assured by similar compositions in which the participants are named by inscription, in particular the contemporary one by the Berlin Painter on his volute-krater London, B.M. E 468 (ARV2 206, 132; Paralip. 343, 132; Addenda 194). For the subject, see LIMC I, 1981, pp. 175--181, s.v. Achilleus (A. Kossatz-Deissmann).; ; The Berlin Painter (ARV2 213, 242; Paralip. 344, 242; Addenda 196). Lucy Talcott was the first to link this cup with the Berlin Painter and thought it might even be his earliest preserved work. In 1958, Martin Robertson published detailed arguments supporting this attribution (AJA 62, 1958, pp. 55--66), a view he tells me he now no longer believes. Beazley accepted the attribution but with some hesitation (see especially The Berlin Painter [Melbourne 1964], pp. 1, 12, 13); yet he included the cup among the painter's works in both ARV2 (1963) and Paralip. (1971). Here the question of the cup's painter rested until 1979, when Carol Cardon withdrew the cup from the oeuvre of the Berlin Painter, connected it with Phintias' workshop, and proposed to call the artist the Gorgos Painter (AJA 83, 1979, pp. 169--173). She thought a fragmentary cup in Florence, 5 B 1 (ARV2 1590, 1), which also names Krates as kalos, might be by the same hand and that 1556 is also related. In 1981 Gloria Pinney (AJA 85, 1981, pp. 145--158) accepted unquestioningly the attribution of the Gorgos cup to the Berlin Painter (p. 153). She then argued that this and the cups by the Carpenter Painter represent the earliest preserved work by the Berlin Painter; these she combined with those by the H.P. Painter, forming a group of ten vases, including the Gorgos cup. The most recent discussion of the attribution of 1407 is by Donna Kurtz (JHS 103, 1983, pp. 68--86), who, within a wider discussion of Beazley's method of attribution, concludes that the Gorgos cup is not by the Berlin Painter (pp. 79--86). ; ; For a variety of reasons, it seems best to dissociate 1407 from the work of the Berlin Painter. To begin with, he is primarily a pot painter, most comfortable decorating large vessels. To designate this cup and those by the Carpenter and H.P. Painters as prime examples of his earliest work would necessitate explaining why he switched from cups to pots for the remainder of his career. For the most part, Athenian painters of the Middle and Late Archaic period specialize in painting either cups or pots. Furthermore, when a master pot painter of this period chooses to decorate a cup, it is often a cup that approximates a pot in size, e.g., Munich 2044 by Exekias (diam. 0.305) or Munich 2620 by Euphronios (diam. 0.43). The Gorgos cup is small by comparison with the early pots attributed to the Berlin Painter. Also, the quality of drawing on the Gorgos cup is more fluid and surer than that on the cups by the Carpenter and H.P. Painters, which is stiffer and drier, and it really ought to be kept apart, although the combining of the two painters seems acceptable. Lastly, a large fragmentary calyx-krater, acquired in stages by the J. Paul Getty Museum and attributed to the Berlin Painter by Frel, sheds a completely new light on the early work of the Berlin Painter, namely, that at times he was directly influenced by Euphronios (M. B. Moore, ""The Berlin Painter and Troy,"" J. Paul Getty Museum Journal [forthcoming]).","","","Agora","Object","",""