n - Historia Antigua

THE 

AlilillCC 

IPYXllS 

BY 

SALLY 

RUTHERFURD 

ROBERTS 

ARES PUBLISHERS 

CHICAGO 1978

1/ Rell/ell/bral/ce Of 

LUCY TALCOTT 

"Alii, Uln,k(jI3"'d 5L'l11p.:d War., unci Olh"r "

Preface 

It is a pleasure to express my thanks to the many scholars who 

ha~'e kindly permit1ed me to examine and draw vases in their 

collections in America and Europe. Many others have sent 

pholo8ra phs and measurements and answered questions about 

vases in museums and collections which I was unable 10 visit. 

I .....ould like to express my gratitude 10 Professor Homer A. 

Thompsoll. ProfcSloor and Mrs. T. Lcslie Shear. Jr.. Alison Frantz. 

lhe :.taff of lh~ Agor:l Excavations. and particularly to Poly 

Dcmoulini who Ilwdc my several periods of ,>Iudy in Athens 

mcmnrable. I would like al!>o to thunk Miss Barbara PhiJipp:lki of 

Ihe Nalional MUl>cUIl1 fot her kindness and unfailing help. 

The Greek Archaeological Service and Lilly Kahil most 

generously enabled me to study the importallt material from 

Brauroll. It has beell possible to include material relativc to 

pottery workshops here. 

My dcbt of thanks is great 10 many others besides: Miss Braun 

and later Miss Knigge of the Ceramicus Museum. Dr. H. Catling 

and Mrs. Brown of the Ashmolean Museum. Mr. D. E. L Haynes 

of the British Museum, Mr. Richard Nicholls of the FilzwiJliam 

Museum, Cambridge, Mr. Pierre Devambez of the Louvre, Or. 

Anna Barbara Follman of the Staatliche Antikensammlungen. 

MuniCh. Dr. Guntram Beckel of the Martin von Wagner 

Museum. Wiirzburg. Dr. Dietrich von Bothmer of the Metro 

POlitan Museum of Art, Professor Cornelius Vermeule, the 

Museum of Fine Arh. Boston, Miss Dorothy Kent Hill. Waiters 

Art Gallery, Baltimore. Dr. J*rFrel of the J. Paul Getty Museum, 

Malibu. California. Miss Louisa Dresser of the Worcester Art 

Museum. Mr. Jack V. Sewell of the Art Institute of Chicago, Kurt 

T. luckllcr. Toledo Museum of An. Mrs. N. Leipell of the Royal

iii 

Ontario Museum. Toronto. Miss Lucy Turnbull of the University of 

Mississippi. Dr. J. H. C. Kern of Ihe Rijksmuseum van Oudheden, 

Le)·dcn. Helle Salskov Roberts. National Museum, Copenhagen, 

Professor Maria L Bernhard. Instytul ArchCQlogii. Krakow. 

Professor Roger Edwards of the Uni\'ersity Museum, Philadelphia. 

Miss FranC'Cs F. Jom:s of the Art Museum. Princeton. Mr. Richard 

StiJIwell. Miss E\clyn B. Harrison. Institute of Fine Am. Dr. N. 

Kuni'ich of the Staatliche Must:cn. Berlin, Dr. Elizabeth Rohde of 

the Sla:l.Iliche Muscen. Berlin. Professor Hansjorg Bloesch kindly 

sent me photographs of many pyxides. Dr. Klaus Vierneiscl 

generously made Ceramicus material known to me. Demelrius 

Schilardi kindly showed me material from Ihe Thespian l~oly· 

andrion. Helen Bezi drew certain \'ases from the Athenian Agora. 

Marion McAllister inked the profile drawings. Professor COOrie 

Buuher gave invaluable help in matters of organization and style. 

Professor John White and Professor John 1-1. Young IO.crc important 

to my work 011 the pyxis during Ihe years at the Johns Hopkins 

University. 

A Kress Foundation fellowship enabled me to do essential 

researeh in Athens and in museums in Germany. France and 

England in 1967. Numerous later Irips 10 Europe have helped to 

fill in lacunae. 

My examination of the pyxis began under the direction of Miss 

Lucy Talcolt who was an unending source of encourag~mcnt. wise 

counlocl, dirtx:tion and unfailing help over many years. a treasured 

friend. 

Agnes B. Sherman. Rare Books and Manuscrip~. Princeton. 

read the manuscript. and offered many valuable suggestions and 

queries. Lynda Hunsucker types the manuscript. Roger Sherman 

alosisted with the proofs. Dr. Margaret Mayo edited the last 

chapler. Professor A. Oikonomidcs designed the layout of the 

plates. the architecture of the book and much besides. 

Without the patience and support of my husband, Tom. no book 

l'ould have been completed. And Christie. Wayne and Bay have 

played an im'aluable part in my education. 

s. R. R. 

Drcv.' Uni\·ersity. 1976

Contents 

Preface. . . . . . . . . . vii 

Concordance of Figures and Plates _ J:ii 

List of P1ates. . . .. . - zi" 

Introduction - - 1 

The Origin and Early Development of the Attic 

Concave PyIis _ - _.9 

11 The First Small OasSts and Singletons 21 

111 The Pcothesilea Workshop ..... _..............••. - .45 

Class a/Oxford 1961.468: Tran.s;r;onal. . . . . . . 60 

PMrhesilea Workshop IJ . . . . . . . . . . . . . . . . . . . . .. ..62 

Cum a/Munich 2120 72 

Chus ofWunburg 542..............•......•.•........ 7S 

Class ofHarvurd /925.30.30 78 

IV The Class or Berlin 3308 .....................••.......95 

V Later Fifth Century Pyxides or Type A .....•...•....... 109 

The Kuine Class 110 

Various Tall Singletull.f 

liS 

Doubles. . . . . .. . " ,., .. , .. , 116 

Miniatures ,. . , .. , ".121 

Odd Pyxidf'sjrom ca, 430·420 B.C• . "., .. , .. , ,.,.,125 

Dish'Foot Pyxides. . ..... ",." ... "." .. , ...••..... l29 

T"",o Pyxides ofSquat Proponio/'u and Tall 

Tripartite Foot , " 131 

PyxidfS ofEztral'agant Profile. , . .. , ". 132 

Various Small Hybn·ds , .. ,., ,.,." 135 

VI The Pp:is Trpe C .,., .. , ,143 

Precursors, . , , .. . .. , ..• , .. ,., .. ,.', ..•. ,... . 144 

The A·C Clau,. . , 146 

ClassofAtlrens 1243., . . , .. , .. ,.,.".,."., .. ,., 152 

Odd Pyxides . , , , , ' . ' . , . . . . .. . 158 

Pyxides Type C "",itlr a Tripartite Foot ,., 161 

Tire Chalki Class , , ..•.. ,., 163 

Founh Century Pyxides ofType C .. ,., , .. , .. ,., 169 

VII Iconography or the Pyxis .. , .. , . , .. , . , ' ..••...... 177 

Selected Bibliography ,., .. ,., , .• , , .193 

Addenda ,., , , , ...•.,.", .. 197 

Profiles "., ,., .. , .. , .. ,., , ...• ,., .... ,199 

Index of Collections , , . , .. , .225 

Potters. Painters. Groups and Classes ' .. , 2JJ 

General Index, .".,., ,.,. , , " .. , , ,.241 

Photographic Credits.", ,., .. ,., , .. ,.,.". ,245 

Plates , , "", ..•. ,., " following 248

tl~U« 

B;,1.."-4.1 

~~ I 

In" I'lolI.-l 

d 

Alhe'" 14q()b 18.1 

AI""..... l"('r.lIm.C1" 1'*'IJ 

, 

". AItJ-,,,,, 158b ".1 

C""'"..us IlllS 

• M.h1.1 

London E 172 

6J 

d L"""" E ~7J ., 

< Mlrnkh r..--. _on s..hoC'n ()4J "'J 

r Jotu ..... h .,. >"

xi\' 

l-rnHli,pi~IT Ath,'n~ II'JO 

1'1 1.1 Alh~n, .111> 

I.! Ldmborl'h 1'1&,.424 

2.1 Alh~n'. A~"ra P !0711li 

2.2 1J000wn b 1.12St> 

.1,1 N~.. Y"rk Ub.1II21.1b4 

.1.2 Alhcn~ 50! 

4.1 Alh~lI'. A~llra I' 12255 

~.2 A,hcn

SALLY RI'THERFURD RO.ERTS 

504.1 E_dcr 5.l~·5Jtl 

504.2 T~ bJ1'1 

S4J lbrnnl IQ25.JOJ9 

5,S,1 "nf Yort ,)9118 

5.U SydlW" 5.l.lJl> 

5flo aMI 57 AIMM ArT. S09 

SII,I AI~Tn 1701 

511.2 AIIxTn ACT. 569 

SSJ I..tyd~ KVI:l 157 

sq.1 Allicin AlT. 569 

,W.2 C..rami

xvi 

THE ATTIC PVXI$ 

lUI.2 !llhcn~ IJU7ba 

102.1-.' Onl...· L"",h'n ~brkd 

10.1.1 London L 773 

10.1.2 Alh,,", IS'l7 

IlLJ.l l.ondon E 771 

11/·1.1 Alh,,", IQJSS Ikk}lhO'>l 

Hl4.2 Hr~urnn 

Ifl·Ll Ick)lhco.. b} Uo.,uri, in 1'~I"rm" 

INTRODUCTION 

Name, Uses, Materials 

and Representations 

Beazley stated in Potter and Paillter i" Ancient Athens: 

Now that the painters of nearly all important Attic vases, and 

most of the less important, have been determined, the whole 

material mUSI be rc-studied from the point of view of the 

potters; and this time we must be prepared 10 hold the 

painters at arm's length ... It will not be enough to note the 

general proportions. and the features of the shape: the eye 

must become accustomed to perceive minute refinenlents of 

curve and line. Then it will be possible not only to write the 

history of Attic vases from the point of view of the potters, 

but, in the long run, to shed fresh light on the painters with 

whom they collaborated. 

Much wor~ has already been done on certain shapes, including 

Emilie Haspels' Attic maCk.-figured Lelcythoi (1936), H. Bloesch's 

classic work on the kylix, Formefl auischer Schalen (940), and 

recently Barbara Philippaki's The AI/ic Stumflos (1967). Miss 

PhiJipp.k',', work' IS 0 

f consl'derahi e . Importance... 

In provmg agam 

and again the connection between a certain class and particular 

pattern acco . . 

. mpamments as well as the Importance of pro\'enance 

.In the inte . . 

rprelatlon of subject matter. Athenian Agora Xll Black

2 T.n AT',",€" PYXlS s...u Y RLTHEJlFUIlD RO.EJlTS J 

"nd Plain Pottf'r)' by Brian Sparkes and LuC)' Talcott may .....dl be 

the most important of the series. A study of the de\"clopment of 

these ""ares based on mort" th~n thirty yurs of ucavation in the 

Athenian Agora adds greatly to the knOVo'Ied~ of shapes in 

general. of names. and of the correspondence: or lack of 

correspondence bet.....een the potters of plain and figured wares. 

The pyxis as a shape has received little attention. I One should 

perhaps commence with the problem of the name used for small 

round boxes in antiquity. nJ,toc; means boxwood and from this 

comes the Latin Buxus and English box. 

The generic term used by writers in the Roman period is pyxis. 1 

Ho.....ever it seems highly probable that the Attic word in the 

Classical period was kylicbnis on the basis of the evidence 

gathered by Miss Milne. J In brier. Athcnaios recounted that the 

Athenians called the physician's pyxis a kylichnis.· The frequent 

appearance of this word in inventories of the temple of Asklepios 

al Athens confirms the evidence given by Athenaios. s Sometimes a 

kylichnis is dedicated togelher with a 1001 kno.....n to be used by a 

physician such as a probe.' 

The "'ord kylichnis also appears in inventory !iSlS otllcr than 

those of Asklepios as a container for rings and gems. A painted box 

dedicaled by Kleito contained je.....c1ry and among the contents a 

gold ring with a seal stone kept in a kylichnis dedicatcd by 

Dexilla.' With this reference .....e enter the woman's .... orld and 

.....oman·s uses for small boxes. As a parallel Miss Milne cited an 

alabaster pyxis found in a fourth-century .....oman·s gra\"e in 

Kamiros which contained two gold spools and a gem.- 

The kylichnides in the inventory lists are made of various 

materials: bronze. ivory. stone. marble. sih'er and wood.' Extant 

pyxides may be found in these materials. An Attic grave preserved 

a black glaze pyxis of type 0 together with four bronze pyxides of 

similar type. III 

There are numerous marble pyxides some corresponding to 

pallery types and others having a type of their own. Of those 

without parallel in pottery is an elegant class of tall·stemmed 

marble pyxides. ll More numerous are low broad marble pyxides 

with affinities to pottery eJl3mples of type e.U Marble pyxides 

C'OfT'CS"p,mding to those of type B in pottery must also OCC'asionally 

ba\"e been made. 1J Small concave pyllides have also been found 

both 1\ith fttl and 1\·ithout. 14 

Siher pyxides are not kno.... n from the fifth «ntury. The 

ell.mplcs which remain are of a later period. a 

Wooden pyxides have been found in Grette. the Taman and 

Kerch peninsulas and Etruria. I ' Scholars have noted resemblances 

of certain pottery pyxides to those in woodY Temple inventory 

lists do not mention terracotta vases, 

The kylichnis also functioned as a container for incense as is 

known from Hesychios' and Photios' description of it as a 

AI/JavwT((.u Both round and rectangular boxes are represented in 

use. 1t It seems significant that there are a number of fifth-century 

representations of pyxides being used as incense boxes and in 

them the pyxides are of clearly defined and recognizable types. 

A stele in Berlin" depicts a young girl dispensing incense. She 

holds in the palm of her hand a cylindrical box with a slightly 

projecting rim at its base. The cover is placed on the ground 

before her. The lid is about as tall as the ball and Io\'ould cover the 

whole wall. This factor alone identifies the pyxis as one of 

type B.n 

In COntrasl, the proportions of the box held in the hand of the 

heavily draped .....oman strewing incense on a thymlateriun un the 

Lud " Th 

OVISI roneU are low and broad. The cover has been 

removed: ~e box has an inset nange for the IKl. cylindrical .....alls 

and pro~lng Io.....er nange. The pyxis is one of type e. 

A PYlllS. type A. sen'es to contain the incense dispensed b)' a 

woman depicted on a k 

YIX 

'" 

10 

" 

t 

h 

e British 

" " 

Museum.u A somewhat 

hasty depitlion of . 

o· h a PYllIS. type A. may be seen on a red-figure 

.. ~nocd ne by the Eucharides Painter of ca, 490.480 B.e. A Nike 

U'Cn s Over spr' kl' . 

hand .,' .In lflg Incense on an altar. The pyxis. in her left 

• Stl I retains it I'd 

knob SI. contrary to logic--one may make out the 

atop the lid.h 

Delian Temple' . 

Word ltvA. ' ,"ventol')' 1,ISts of the fourth century preserve the 

disap 'XVI(. Howc\'er, In the Hellenistic period this .....ord 

pears and is repla d bAn ' 

emplOYed "cc y l,..avwTI(. After 166 B.C. the .....ords 

are 1TlJtl( and 1TlJtldiov.u 1 he generic term pyxis. being

4 

THE ATTIC Pun 

SALLY RUTHERFURO ROI£JlTS 

5 

more familiar. is used in this stud}', 

One of the functions of the pyxis was as a container for 

cosmetics. Various pyxides still preserve their contents and 

psim)1hion (14I1.,m,IOV}21 and cinnabar H ha"e been identified. 

One .....onders how widespread was the use of psimythion among 

Greek women and who among them usro cosmetics. Xenophon in 

Oikonomikos (IQ. 3m gh'e5 one indication. The fresh loung wife of 

Ischomachos had whitened her face with pSim)1hion and used 

alkanet

• 

THE ATTIC PYxls S,ULY KUTl1ERFLRD Ra.ERn 

7 

related to them. Documentation and a discussion ~f ~he 

iconography of these vases will appear in Lilly, Kahirs pUb~lca~lOn 

of Ihe pottery from Brauron. Brauron tn~eed provides a 

background of meaning for Ihe study of Ihe pplS. 

...0 I I:S INTRODl:Q IO"i 

Ludwil CUniU1. "Prnlh~u):' 8f'rl".", W,,,d:l"""lllltll~rogrvm.... 88 (19291 pp. 

I '9; H c............ .- "'-mman. 

h-x.J.,,, ld""""tatK>n. H~mbul"J !';n"cnll\, l~l 

2. Gist:1a M. A. RlthlCr and !rot J Md"". SltllfWJ uNJ /¥UmtJ of A,Irf'lIum VAS" 

(New York. 1935110; Dart'mbng aDd Saglio. Vol.•. I, pp. 794-795. 

J. Marpir; J. Milne. "Kyhchms," AlA 43 (1939) 247-254. 

.. AIMn;tr1ft 1J"il"fUJ,I)plll"~t' 11. 480 C 

5. AlA 4J U9J9J 2~_ 

11 Ibid. 

7. Ibul.. 249. 

8. s"hch;old in FR III .H1 

'I AlA 00 llfj.)y) 249 and Idc~nca. 

10. CVA Dnunark 4, C~n~grn 4. tUI to pt lbJ,4. 

II FOIra dl>oot"U"lOflof.h"cla~, ~ 1>

8 

THE ATTIC PYXlS . 

our from a grave in IM Norlh Cemrtery. Corinth, IM othu ftom • growc in AUIC. 

(T. Lnlie ShC;lT. "Psimythion," C/lusicil/ StuJi~s prt>srn/I'd I

10 

THE ATTIC PvX1S 

S.u.l' RUTHERFURD ROil ENT! 

IJ 

CI'''''It')' Well ill lhe Agoro. Ut.'sfH'ria Supplemc'''' 11. 22·23. fig. 9. 

Ca. 600 H.C. 

2. Athc"lS316 (CC. 565), from Athens. PI. 1.1. 

Lld nllssmg. H. 0.0,;,4, iJ. ill nm u.Ull.. 

In.....ard-sloping rim, concave. 

Black band above and below frieze. 

Polos Painter, black-ligure. chain of "omen holdin~ hands; 

ABV-. 45. 28; p")llc. Nlfcnx;ur;mhltJ, ISO·191. rur (he chilin of 

\Ooomcn cf. the tripod-kothons: AllV 45.24, 26; CVA. Germany 9. 

Munich 3. pI. 140.6; CVA. Gernlany 10. Heidelbcrg I. pI. 32.3. 

First Quarter Sixth Century. 

3. Atht'rls. CeNUfliclIS MllSCUItl. from Athens. 

H. 0.09. H. with lid 0.118. D. at rim 0.118. D. of lid 0.115. 

Concave, handles at rim. Lid: rays. animals. 

Rays above frieze: beloK': rays. 

Painter of Berlin 1659. black-figure: siren heNcen panlhers. 

S\loan between hens: AnV. 20.2: AA. 1935.296. fig. 21; .4)A 2q 

(I93tl)~. li~. 9. 

575-550 H.C 

4. Rnm,.. Cons,.n·lJton" 305. from Palestrina. 

lid missing. H. 0.083. D. at rim 0_10. 

Conca\·e. four pierced lugs at rim. 

Irregular slanting strokes in handle zone. Two horizonlal bands 

.... ith swans rightward (upright) decorate the body punctuated by a 

black line between the zones. two black lines below and a black 

base line. 

Swan Group. black-fi~urc (no incision): AnV, 656. 63: 

Ht'Spl'rit/ 13 0944) 55 and 57: Payne. Necrocon'mhw, 292: CVA. 

haly XXXVI. Rome. Capitoline Museum I. pI. 35,4, 

5. Athens. Agora P 20708, fr. from Athens. 

H. pres. 0.038. D. at baloe 0.088. 

Lower wall and base preserved. Concave. 

PI. 2.1. 

Frieze: Swans rightward with groups of strokes bttween. t..,.o 

• baSe band (purple ewer black). 

hnes. . ha 

"or. b~"d ron«ntnc band on ba5C:; ttom' unglazed. 

JIttf!ff. • ..... 

Purple (n'er black on swans' wings. 

Swan group. ABV. 656. 65; Agoru. XII. 398. Deposit R 11:2 

dated ca. 6(X)-550 R.e. Concave pp:is. type A. 

6. Edinburgh 1956.424. PI. 1.2. 

H. 0.052. H. 1Jl'ith lid 0.083. D. at rim 0.056. D. of lid 0.065. 

Insel nange for lid. concave. moulding at top of body. 

Li." twO concentric bands of short strokes; swans 10 right. 

Band of multiple outline triangles with tilling-ornamenl of 

irregular short strokes at top of wall: frieze below of swans 

righlward; groups of short strokes above and below. 

Swan group. black·figure (no incision): ABV. 656.64. 

Ca. S50 B.C. 

Boston 61.1256. from Gree«. 

PI. 2.2. Fig. la. 

H. 0.06. H. with lid 0.099. D. al rim 0_087. D. of lid 0.091. 

Concave. lid nanged beneath. 

Liel: lion aad goat; two sirens. ivy border. 

Quadruple row of dolS above frieze; below: double ro..... of dots. 

Group of the OIford lid. black-figure; He.raldes and Apollo: the 

Slnlggle fOf' the tripod; ABV. 6l6.ll: BMFA 61 (1963) 64-67. 

figs. I ...... PalVlipomena. 306, 

Ca. 5S0 B.C. 

8. Nrw York 06.1021.164. 

H. 0.055. H. wilh lid 0.10. D. of lid 0.072. 

C~ncave. lid flanged beneath. loop handle. 

Lld: youths naked and clothed. 

Wid . 

e black mouldmg above frieze; below: black band. 

PI. 3,1. 

~~ Re~ated to Ihe New York amphoriskos and 10 Ihe Painter of 

~un~hIM2 h·' . 

""1 ,w 1I~ ground: arming: AnV, 455.3: 698: Richter and 

"11 ne, Sha d N " 

pes all alnt'S nfAthema" Vases. fig. 137. 

Ca. S50 B.e.

12 

THE ATTIC PVlU 

IJ 

9. Gocha ZV 2380. 

Knob missing. H. 0.06. H. pres. wilh lid 0.076. D. 0.087. 

Concave, \\'id~ black moulding at top of wall. frit'7.C' between 

black lines. black band at base. Lid: blat:k. 

Related to the New York amphoriskos and 10 the Painter of 

Munich 1M2, hlack-ligure; Heraklcs anrl the lion: Amazonomachy; 

L.eiJS lIctwcclI ~ileithYI3I'!: AlIV. 455.2 below; CVA. 

Germany 24, Cotha 1. pI. 29,2·4; D. von Bothmer. Amazons in 

Greek. An. 75-76: Paralipomena, 198. 

Ca. 550 H.C. 

10. Basle MarAet, once Berlin 2033. 

Lid missing. H. 0.055. Upper diameter 0.071. 

Conca\'c. inset flange for lid. 

Wreath of leaves above frieze; below: black band. 

Black·figure. Dionysos and Aria-doe. dancing satyrs and 

maenads on dther side. unbearded youth riding on ithyphallie 

mule to left; Mo""a;es et Meduilll's S. It. Balf', Vt'nte Puhfique 

Xl, 23-24 Janvier 1953. no. 323, pI. xlv: A. Furtwangler, 

BeschreibutlR der Vasl'llsammhmg im Itntiquarium, p.438. 

11. It,hnu 502 (CC. 686). from Eleusis. PI. 3,2, Fig. lb. 

ud missing. H. 0.006, D. 0.091. H. of foot 0.003. 

Wide flat rim, cylindrical body. Iow ring foot. 

Black echinus moulding at top of body and rounded moulding 

at base. T,,·o raised black ring1 frame the frieze with a wide red 

band above and below. Botlom: ~ntral doned circle. three outer 

con~ntric circles. 

Tleson. black-figure: siren bcl~ecn cocks. siren between 

sphinxes; AHV. 181.49. 

Ca. 540 B.C. 

12. Brfluf'OIf Must!Um• .from .Myrrh~ous. . . 

Knob missing. Lid nses ""nh one JOg towards eenter. cyhndncal 

hod . Black moulding at tOP of body and at base: t"..o black 

m~ldings frame frieze. BottOm: series of concentric mouldings. 

Lid: rays, lotus buds linked by arcs and dotted above. ribbon 

paltern in red. .. 

Probably Exekias. black·figure: PreparatIon of a charIOt: Ergo" 

J8 (11)61), fig. 43: BeH 86 (1942). 669. fig. 27; ARV, 1699; AlA 

72 (1%8). 362: Parafipomenu. 01. 

Co. 540 H.C. 

, 

13. Athens. AgOlll P /2255 fr., from Athens. PI. 4.1 

Fragment from base and lo~er wall of pyxis. H. pres. 0.027, D. 

est. 0.075. 

Body cylindrical. black base moulding, low black ring fool. 

Fn'f'=l': lower portions of ligures only; two horse's hoofs. nude 

male figure left. nude male figure right, draped male figure with 

scepter right facing mounted horseman to left. 

Bottom: dol. circle, glazed band. 

Black-figure, ca. 540 B.C. 

14. Athens. Agura P /3247. from Athens. PI. 4.2. 

Lid missing. One side broken away. H. 0.045. D. 0.071. 

Inward-sloping rim. conca\'e; moulding at top and base, bottom 

0.,. 

a.oo y decorated with double palmettes separated by a dotted 

cham between two bands. Interior glazed. 

Patterned without incision: the glaze has fired red. 

Ca. 550-540 H.C.

14 

THE ATTIC PvXlS 

SAllY ROVHERFURD ROIlERn 

15 

IS. Athen.s, Agoru P n26. from Athens. 

lid missing. About a third preserYed. H. 0.077: D. eSI. of rim 

0.08. 

Black inward-sloping rim. cylindrical body. trip'!r1ite foot. 

Black. rounded moulding at base of wall. raised ring with 

added red abm'c it. Black moulding at top of foot. 

Semi-glazed. Agoro XII. no. 1287. p. 327. pI. 43. fig. 11. 

Deposit T 18:)·U; for the foot cf. Ne 133. no. 1508. fig. 176. 

550·515 B.C. 

16. Hf'ideJberg 274, froon Athens. PI. 4.3. 

Knob missing. H. 0.065. H. with lid O.O~S3, D. 301 rim O.OMS. D. 

of lid 0.087. H. of foot 0.006. 

Wide nal rim. concave. tripartite foot. Lid rises steeply to 

eenter. nanged beneath. 

Lid: three black circles on either side of chain of lotus buds 

with points upward. linked by arcs and dotted below. 

White dot on c\'ery other lotus point. Band of wavy tines. 

Zeds on sKle of lid. Three black circles at top and base with 

four circles at the mid-point separating the zone of rosettes from 

the chain of lotus buds below. 

Black.figure; CVA, Gemlany 10. HeKlelberg I. pI. 41.10. 

Ca. 540-520 B_C. 

17. Brussels A 1375, from Thebes. PI. 5.1. 

Lid missing. H. 0.14, D. 0.23. 

Wide flat rim projecting beyond line of wall. concave. Iow black 

ring foot. 

Wreath of leaves on rim. frieze bordered above and below by 

black line. 

8fJ1wm: black reserved circle at center and interior edge of foot. 

Fr;eze: Scenes 01" the hippodrome: quadrigas. mounted horsenlen 

and traill~r. 

Black.figure; CVA, Belgium I. pI. 12. 

Cu. 520 B.C. 

A • lIS Agora P /JI29. from AtMns. 

18. t e . . 

Lid missing. About a third p~rved. H. rres. 0.042. D. est. at 

rim ca_ 0.03. .. . 

Conca\"e. inset flange for lid. tnpartlte foot. 

Red line at top. black line at base of wall, black band around 

middle. 

Semi-glazed. AgQI"Q Xli. 327. no. 1288. pI. 43. fig. 11. Deposit 

U 25,2·L. 

550-525 B.C. 

I~. Princetorl. private. 

One foot restored, H. 0.085. H. with lid 0.14. D. at rim 0.09. D. 

of lid 0.095. 

Concave. wilh wide flat rim, four feet. Lid flanged beneath. 

Three reserved lines on rim. another around middle of wall and a 

grooved line near the lower edge. Vertical rilled edge of lid and 

'''''0 circles on upper surface reserved. Added red for under 

surface of rim at base of wall. vertical edge of lid and moulding at 

base of knob. 

Black. Agora XII. 320. no. 1286. pI. 43. fig. 11. 

Ca_ 515 B.C. 

~ earliest example (no. I) comes from a ehild's urn burial in 

the Athenian Agora dated ca. 6(X) B.e. The shape carelessly made 

and decorated reflects the concave form of the Early Corinthian 

prototype. 

Athens 316 (no. 2. PI. 1.1) is a replica of the Early Corinthian 

form minus the handles. The rim slopes slightly inwards and its 

lid may well have been like that of Boston (no. 7. Fig. la). The 

range of vase shapes decorated by the Polos Painter is derived 

from Corinth.] 

. Another slightly later pyxis dated 10 the second quarter of the 

SIxth century is derived from a variant of the Early Corinthian 

shape in which the vase is formed as a kalathos with flat handles 

at the eenter of the body.• The Ceramicus pyxis (no. 3) is shaped 

as a kalathos but the handles are at the rim and the lid curves 

toward the center as in the normal Early Corinthian type. An

,. 

THE 

ATTIC PYII~ 11 

animal frieze decorat~ body and lid but the filling ornament is 

reduced to a few sparsely scatlered rosettes. 

An instructive contrast is offered by the Conservatori (no. 4) 

and Edinburgh (no. 6. PI. 1,2) pyxides decorated b)' the Swan 

Group.s The Conservatori example is again a replica of the Early 

Corinthian fOfm while Edinburgh incorporates new features. an 

inset flange for the lid and a moulding al the top of the wall. 

Beazley ~marked that the range of "shapes used in the Swan 

Group. in general. suggest a date in the first half and probably 

the second quarter of the sixth century," Howt\'er. he noted that 

the contexts in which such vases had been found necessitated a 

date shortly after the middle of the sixth cenlury.' One would 

never have guessed a mid century date from the shape of the 

Conservatori pyxis but Edinburgh shows interest in aT1iculation 

characteristic of the best examples shortly after 550 B.C. 

Still very conservath'e is the mid sixth century Boston example 

(no. 7. PI. 2.2). The form is Early Corinlhian minus the handles. 

The lid retains the usual animals but the main friele has (1 fOrcelul 

procession of miniature figures. gods .....itnessing the struggle of 

Apollo and Herakles for the tripod. Figural also is the decoration 

of the earlier pyxis by the POI05 Painter. 

The Athenian painter early sees the advantage of two pattern 

band5 to frame and emphasize the frieze: dots on 80slon (no. 7). 

rays on the Ceramicu5 pyxis (no. J). or as in New York (no. 8) and 

Gotha (no. 9) the framing bands are black. The upper one is 

actually a moulding. painled black. which emphasizes the 

aniculation of the shape. On the Basle pyzis (no. 10). a wreath of 

leaves is pla«d abo"e the frieze and a wide black band at the 

base. 

The most impressive and dearly composed examples of the 

years around 540 B.C. are by Tleson (no. 11. PI. J.2) and probably 

by Ell.ckias (no. 12). The overall shape of the box is cylindrical. 

articulated by a moulding at the top and base. In addition on the 

Tleson pyxis the frieze is framed by raised rings. The clear 

division of the pans and their relation to the whole is expressed 

by raised elements. There is a low ring foot. the first of many 

anempts to fit a foot 0010 the simple box. On no. 12 the 

" h n doubled at tOP and base with a narrow 

Idlngs ave~... 

m~~ leO between them. The mouldings which bind. the frieze 

,p "ongly than those at the outer boundanes. Tleson 

ject nlore s . 

pro . ',n the use of animal frieze though all filling 

is conservative 

h 

disappeared. The preparation of a chariot forms the 

ornament as . . 

b' t of the Brauron pyxlS fnele. 

'0 F', cd 10 lleson's pyxis is a fragmentary example from the 

Real f" "L"' 

Ago .. (no IJ PI 4 1) 

Athenian ..' . 

v.ith a figured 

.. 

nett In 

. 

lit 

. 

e 

"yle. Similar but less elaborate in form. 11 15 cylmdncal 

Master . r" \" 

with one black base moulding underlining the rleze. It a so IS 

title(! with a low ring foot. To this period also belongs a 

semi-glued pyxis (no. 15). A small moulding f~lIowed by a lar~er 

weight the base of the cylindrical wall. There IS also a moulding 

al the top of the trip'lrtite foot. 

What a simply made and dCi:orated pyxis might look like in the 

)'eaf$ 550-540 R.e. is sho.... n by no. 14 (PI. 4.2). A crudely formed 

moulding is placed at the top and base of the concave wall. A 

double palme1te connected by a dotted chain forms the 

decoration. The pelals of the palmene have not been carefully 

definL-d and there is no incision. 

The pattcrn is one uscd to ornament the necks of amphorae 

though an exact parallel is difficuh to find. Certain of the 

amphorae of Group E have a palmene and lotus festoon on one 

side and a double palmene on Ihe other. New York 56.171.12' 

dated about 540 B.C. may be compared but Ihe petals of the 

palme1te hardly project and there is crude incision. A later small 

neck amphora by the Painter of Toronto JIJI has a double 

palmette and lotus pattern connected by a chain. Here. there is no 

incision and in this the design comes closer to that on the Agora 

pyxis. Howe\·er. Ihere are vertical divisions in Ihe form of debased 

lotuses. It seems probable that the basic shape of the pyxis 

suggestcd the neck of an amphora to the potter and this in turn 

led to the choice of pattern. 

5SO S.C. could be called a turning point. Up until that lime 

~plicas of the Early Corinthian form .....ere still occasionally made 

Side by side with a form modified by framing mouldings or 

framing ornament. The plain box as .....ell as the ne.....er model .....ith

.. 

THE ATTIC PvDS 

'9 

a ring or tripanitt foot exist. Both forms of lid construction 

current: the lid flanged below to fit within the mouth of the pot 

(Fig. la) and the newer model in which the body is flanged and 

the lid fits over it (PI. 1.2). A modified animal frieze .....ith link or 

no filling ornament as .....ell as the figured frieze are found. 

Only a few examples date from the yean 540-520 R.e. They 

eauId not be mort \'aried as one is black (no. 19),tone 

semi-glazed (no. 18), the third patterned (no. 16. PI. 4.3), and the 

last black-figured (no. 17. PI. 5.0. Striking is the absence of 

mouldings at the lOp and base of the wall and the clear simple 

concave curve of the wall. All are footed. No. 18 has an inset 

flange for the lid and the other three have a wide nat rim: no. 16 

(PI. 4,3) and no. 19 show that these lids ate flanged beneath and 

the vertical edge of the lid is cOnliguous with the top of the pyxis 

wall. 

The patterned Heidelberg pyxis (no. 16. PI. 4,J). cumes from a 

grave on the .....est slope of the Acropolis together with a miniature 

skyphos krater of the Swan Groupll and a trefoil oinochoe by the 

Painlcr of Vatican 342." The context suggests a date range of ca. 

540·520 B.C. 

A wreath of lotus buds. with points up\1lard. docorates a zone of 

both lid and box. This is a favoriate shoulder pallern on 

black-figure lekythoi. Miss Haspels observed that the pattern was 

used from the period of early Amasis. In the leagros period the 

pattern was revef2d and thereafter the lotus buds were depicted 

,",,'ith points downward. U 

Brussels A 1375 (no. 17. PI. 5.1)1J like Heidelberg has a simple 

CQncave wall with a .....ide flat rim. The base of the wall slopes 

inward to a juncture with a low ring foot. The formation of base 

and foot resembles a small pyxis from the Agora (no. 18). The 

f(Xlt of the Agora example is notched but the profile is similar. 

The Brussels pyxis. however. is the largest of the black-figure 

examples having a height of 0.14 and a diameter of 0.23. This 

is a sudden enlargement of the shape for hitherto the black-figure 

pyxides noted ha\'c been of modest size. On account of the 

similarity of the rims of the Heidelberg and Brussels pyxides the 

missing lid should be restored to resemble that of Heidelberg (PI. 

4.J). The date should be about S20 B.e. 

""OTES CHAPTER I 

H- r.JM" H~,IIID IOsfotd 19JII 2CJ2. 

~: ,'''. p ~. P,)'DC Itlitcd onl) ODC concne p)'I'.~ In In.: cat'klcve.cl Mlddk 

Conathian usa. pO. 860 B. Louv~ A 432 .nd qL>rstiQnnt ..-hnhcT JI mlltll noI br 

latn- For cnmu p)..idrs WC" pp JO'>-.JO!I. 

J IW. pp_ 190-191; Hr~P"W' IJ U94-') 52·504. 

.. H Paync. Hrf'rocontllhlD, 292. no. 666. Clnh.ll"E. Mus& AI.oui. Btthn J3J. 

AIlOlhn" Connlhi",n cumpk of thn .an.nt I'Ii C.rluuhr B 146J (CVA. Germ.ny 7. 

C.rbrvhe I. tut 10 pI. 39.2 bUI pkture plo J9..l). 

S. Other oooc:.vc Pfllides by the S..·.n Group; Reggio. MIaeO O¥ico; Rom.n 

m.rket (PoII.IF:) ~BV. 656. bl.fl2); Elcu$i$ J77. from E1eu$i$ l/'flnJ/ipom~"fI. p. 

JIS): Bnlurort 227. lid. from Br.urnn. Thc~ b .nother in Ihe S.ntorini Muuum. 

6. HUfw.riIl IJ U944) 57. 

7. CVA, U.5.A .• 12. The Metropolit.n Museum of Art J, pI. lJ. (New York 

41.162.143. pi. 14. '[$0 by Group E. hu I double INIlmelte ch.in ...Ith dIminutive 

IotU$ belwren. The p.[mcIlC$ are crudely incisedl. T..·o furth

20 THE ATTIC PTXIS 

CHAPTER 11 

The First Small Classes 

and Singletons 

LATE FOOTLESS PYXIDES 

I. Athens /8577. ex £mpedolr.les. PIs. 6.1 and 6.2. FiR. le. 

H. 0.057. H. with lid. 0.083. D. al rim 0.072. D. of lid 0.088. 

Inset nang~ for lid. body connx with black echinus moulding at 

lOp and conca\'c·faced moulding at base. Lid flat with down-turned 

rim to cover flange (inset at lOp of body Inll), pomegranate knob. 

Lid: tongue and dol. black band bet.....een reserved lines. running 

palmette scroll, slanting connections all parallel forming a 

vilruvian waYe with palmenes strictly aligned with axis of border 

(Dinsmoor Iype IVa). 

Side of lid: inlerlocking maeanders in groups of five. once four 

and chequered square: base moulding: egg pattern. Lid interior: 

black; bonom: reserved ",·jlh cenlta! dOl and circle. 

~ Painter of Athens 18577. black.figure: chariot-race: AlA SO 

(1946) 118 Oisl of examples of palmene SeToU, type IVa), 

ParTJfjpom~"a. 306. 

Ca. 5/0-500 B.C. 

2. Athens 18578. ex Empedokles. Pis. 7.1 and 7,2. 

I H. 0.059. H. with lid, 0.104. D. at rim 0.075. D. at base 0.075. 

~ flange for lid. slight incline to wall, echinus moulding at top 

and black moulding at base. lid flat ....·ith down-turned rim to cm'er 

flange; conical knob.

22 

THE ATTIC PYxJ§ 

SALLY RUTHERFUaD RoaERTS 

2J 

Lid: tongues. black band bct"cen resened lin~. running 

palmette scroll (Dinsmoor. I)PC IVa). Side of lid: interlocking 

maeanders; moulding: reser;ed crenellc pattern. Interior of lid: 

rescn'ed; bollom; resen'ed. 

Fri,.:e: palmettes. ailemntely \'crtical and resen"ed. linked by 

tendrils .....ith crosses in the field. 

The Painter of Athens 18577. black-figure. patterned: AJA 50 

()946) 118. PuralifJo",.·nu. 306. 

Ca. 5/0-500 H.C. 

J. Atlu·tls Acr. 560. from Athens. Pis. 8.1-8.2. 9.2. Fig. Id. 

Lid missing. about t .....o-thirds of wall preserved. H. 0.076. D. t.'lJot.~t 

rim 0.09. 

Inset flange for lid, concave·sided, black base moulding. bottom 

l1at lIo'ilh deprc'\scd ('colral loodo. 

BOtlom: two concentric circle.; near ('enter and 11100 OUler 

concentric circles. 

Black band.' reserved line above .od below 

ErPA4>IEN]. KA(A01:··Hlm]OAAM.U KME. 

[..,KA] AE. NAYl:lnPA[T]E. [M]ENTA, KA[AE]· 

frieze. MAKP(ON: 

1:18[.., KME]. 

Makron. red·figure: women in the home: AR V. 479, JJ6 and 458: 

JHS 14 (1894) pI. 3.2; Langlot'l.. Die 0",0(('" Vase" wm di'r 

AkropoJis:u Athen, pI. 43. 

Ca. 500 B.C. 

4. Brussels. Hibliothl~q"I' Royule 9. from Attica. 

Knob missing. H. 0.051. lota1 preserved H. 0.Ob3. D. of lid 0.085. 

D. of base 0,09. 

Inset flange for lid, conc3\'e-sided. moulding at base. lid inlerior: 

reserved: bottom: two concentric circles. outer circle. 

Black line. reserved line abo\'c frieze, reserved line below. "The 

inscription MEKAKI\E~ EnOIEIEN is modern, whether over an 

ancitmt inscription or not" (Reazley). 

Pistoxcnos Painter, fed-figure; women: ARV. 863.31; O. 

Fcytmans. Les Vases grecs dl' la Bibliotheque Royule dj' Bt·lgique. 

pis. 21-22 and pI. SI (profile). 

Ca, 480 RC. 

• Actual ktur rorms an: DOt ~ ill lhb or the rouo...ing illKription$, 

Tbe \a~ abme ha\c bt-cn loosel) grouped IOgether as the} .. hOY< 

• curious mixture of cunservative and progressiH: features, On the 

consenath'e side wuuld appear their small size. base mouldings and 

lack of foot. The inset l1ange at the top of the hod) and consequent 

tllperimenlation ....ilh the proper shape of lid to fit do.....n o\'er such a 

nange are progressi\e in the sense that these features are ronstallll)' 

presenl in the fiflh-centuf)' conca\'"e pyxis. The first ell3mple in 

red-figure technique appears about 5(X) D.e. and introduces the 

predominantlY female subjet'1 matter typical of the fifth cenlury. 

Alhens 18577 (no. I. PI. 6.1) and Alhens 18578 (no. 2. PI. 7,1) 

wf;re probably made as a pair in the same .....orkshop and det'orated 

by the same hand. They are similar in shape and construction 

though lhere arc subtle differences in prolile. Bolh italic the 

canonical b:lse moulding and complementary moulding at the lOp 

of the body but the form of the hase mouldings are cOnlrasted: a 

disk for no. 2 to counter a moulding ..... ith a conca\'e face for no. I. 

The lids ha\'e bluntly rectangular down·turned rims identical in 

profile to those of the Classes of Berlin 2034 (PI. 15. J) and the 

Painter of Oxford 137 (PI. 11). The lid patterns are identical. a 

running palmene scroll IDinsmoor t)'pe IVa).1 

The first red-figured pyxis (no. J. Fig. Id) is of a very simple 

conscrvati\e shape. The body is slightly conca\'e with a rounded 

mOUlding al the b3sc. It seems likdy by comparison with an earlier! 

and 1\100 later p)Xides (no. 4 and the singleton. Athens 12149)' Ihat 

tile missing lid had a rounded moulding at Ihe edge to complement 

that at the base. There has been a realignment of members. Ihe 

Upper moulding ha\'ing been mO\'ed from the top of the body tu Ihe 

lid. 

The artist is Makrun. who chiefly paiOled cups. Throughoul Ihe 

fifth century the great majority of artists who paint pyxides 

specialize in the decoration of ClipS. 

The inscriptions have been fully recorded in the catalogue entry 

follOWing the order in which they appear in Langlolz's drawing.· 

Recent examination sho.....s thal all the inscriptions appear to ha\'e 

h«n originally white.s With regard to the missing letlers it should be 

stated that there is :l chip in front of EMTA and no Irace of any 

lener could ever h3\"e been visible.' The chip may be seen in

THE ATTIC P'YXIS 

SALLY RI111lEaFUaD RO.EaTS 

Langlotz's drawing and on PI. 9,2. The M was first restored by 

Richards, as Melite is the name of a Nereid in the Iliad (niiiA2).7 

It should be nOled that there is an inscription beside each female 

j;sure and room enough between the wonlan hastening leftward with 

the mirror and the woman in profile rightward by whom MAKP i.. 

written for another venical inscription to name that Vooman (along 

her left side where there is a substantial break, PI. 8.1)_ Beazley nDled 

thallhe KA abO\'e the mirror held by the ..oman striding left "might 

also be the beginning of another name" (;tRV, 479, 336). Therefore 

the anist can name each figure and sign. It seems highly probable 

that MAKP is a fragmentary signature. The letters and pmiition of 

the signature on Makroll's Helen skyphos in Boston l are strikingly 

similar. 

The basic shape of the Brussels pyxis (no. 4) closely resembles that 

decorated by Makron. The concave·!>ided box has a rounded base 

moulding here complemented by that of the lid, The knob however is 

missing so the total effect must be imagined. I would not hazard a 

guess as to the shape of the knob as they are so varied in this period 

of experimentation. The pyxis differs in some relipects from 

Acropolis 560. in that the concave curve of the body is cmpha..i7ed 

and the box is proportionately smaller. The pyxis rests slighlly IIff 

the ground on its base ring as is the case with Athens 18577 (Fig. le) 

and 18578,1 This detail may be observed in the prolile 1t but the 

structure of the foot is obscured by the base moulding and indeed all 

the pyxides of this class appear to be placed solidly on the ground. 

THE CLASS OFTHE PAINTER OF OXFORD 237 

I. Camhddgf 86.06. Pis. 10.2 and 11. 

Total height excluding foot 0.095. D. at rim 0.101. D. of lid 0.12. 

Inset flange for lid, conca\·e·sided. tripartite foot (1). Lid with 

down·turned rim to cover flange, conical knob. 

Lid: debased tongues. warriors, women and Nike. nCI pattern. 

Side aflid: linked lotus buds. pointing downward. with dolS abo\'e 

and below. 

Net pant:rn abm'e and below frieze. 

. r of Oxford 237. black-figure. Voarriors lea\'ing home 

palllte . 

. rs women and Nlkc): ABV. 649. 248, 

(~arnu . 

Ca. 500-490 B. C. 

Louvrt' CA 3738. f'X Bou/anger. Pis. 9.1 and 12.2, Fig. 2b. 

2. H. 0.092. H... ith lid 0.126, D. at rim 0.092. D. of lid 0.109, H. of 

foot 0,019, Inset flange for lid. conca\'c, thick stem sprnding foot 

ring __..ith reserved com'clI edge. Lid wilh down-turned rim to cover 

flange. Disk knob. 

Lid: debased tongues. \\arriors leuing home (seated warriors 

ahema~ing with warriors leading horses and Nike). dots. 

1/ftf'nor of lid. reddened; buttom: dot and wide black circle. 

Side ~r lid: lotus buds. pointing downward. joined altcrnatcly by 

slalks with dots abO'e and bclow. 

Nct pauern abm'e and below frieze. 

Leaness Group. black.figure: Am3zon and warrior leading horses 

and warriors. 

Ca. 5QO·l/90 D, C. 

J. Warsaw 138535, probably from Kaliningrad. PI. 13, 

H. Rib. D, 0.13, 

Inset flange for lid. concave, black thick stem, spreading foot ring 

with reserved convex edge. Foot tripartite. Lid with down·turned rim 

10 cover flange. conical knob. 

Lid: debased tongues. seated warriors alternating with warriors 

holding horses and warrior; net pattern. $idf' of lid: lotus buds. 

pointing downward. joined by stalks skipping one or two buds with 

dots above and below. 

Net pattern aOO\'e and below frieze, 

lc.aness Group. black-figure; Amazons leading horses. and 

warnors: CVA. Poland 4. Warsaw 1. pI. 43. figs, 1-7. ParolilJOmena. 

313. 

Ca, 500-490 B.C. 

4. HOI'""a. Lagunillas. 

Sh~pe and patterns as in Warsaw 1J8535. 

Painter of 0 f . 

p _ 1I ord 237. black-figu~; warnors: ABV. 649. 249; 

orailpomenu, 31J.

2. 

THE Anle PVXIS 

SALLY RUTHERFURD ROBERn 

27 

S. HmI/TOn 223. Lid. fr.. from Brauron. 

Black-figure. scated warrior tlanked by two mounted figures. Vif}e 

and two birds in the field. Added while on shield. Trace of debased 

tongues near center break. 

Ca. 500·490 B.C. 

6. Ba/in F 4008. from Attica. 

H. 0.10. H. with lid 0.15. 0.0.08. 

Inset nange for lid. concave, black thick stem. spreading foot ring 

with reserved convex edge. FOOl tripartite. Lid with down-turned rim 

to cover flange. conical knob. 

Lid: IWO quadrigas betwccn turning posts. Sidl' q{ /i,l: lolus buds 

pointing downwards. joined by stalks. 

Net pallern above and below frieze. 

Black-figure; Pcleus and Thetis; A. Furtwanglcr. Beu'hrl'ibllllg 

(It" Va.fl'lI.fummluIIJ( im A"tiqlllldlllll. 1016. 

7. D'j's,h'lI ZV 54. from Athens. PI. 5.2. 

H. 0.063, H. with lid 0.127, D. at rim 0.061, D. of lid 0.08. H. of 

foot 0.02. 

Inset nange for lid, concave, spreading fool. lid with down·turned 

rim to cover nange. Conical knob. 

Uti: debased tongues, two glazed circles, running palmette scrnll 

(Oinsmoor type IV A). Side of lid glazed. 

Black band above and below frieze. 

Black.figure, patterned (two rows of running palmette scroll, 

Dinsmoor type IV A). Palmettes {twelve or thirtecn petals) with 

in outline. Crosses in field). 

Ca. 5/0-500 H.C. 

Pyxides of this class have a conca\'e body with an inset nange at 

tht: top for the lid. The down-turned rim of the lid is somewhat tall in 

proportion to Ihe box and the side while slightly curved does nol 

form a smooth continuous curve compleling that of the botly. The 

awkward and experimental nature of the lid protile is particularly 

marked when one compares it with a mid-fifth century lid of the 

Class of Berlin 3308 (PI. 61). The placement and choice of 

nts are consistent. A chain of pendant lotus buds. 

elcme .. 

carelessly 

•• _.I bJ' stalks decorates the SIde of the lid. A band of net patlern 

JOin""" . 

frames the continuous fneze on the body. Knobs and feet vary. 

The Cambridge p~'xis (no. I. PI. 11) has a conical knob and foot 

'oIhich possibly once was of tripod formation. l1 The black-figure 

work has been anributed to the Painter of Oxford 237. u a member 

ofthe Leaness Group. The women depicted. one on each side of the 

warrior, move to the right with arms akimbo; one looks over her 

shoulder. A curious incised rectangular box-like shape with two 

"ertical divisions defines the upper body. A comparison with the 

n'tlenad on Alhells, Acropolis 20291), makes clear that the lower 

slightly angled incisions of the "box" indkate the arms of the 

~oman and the loop at the cellter represents her clasped hands. The 

macnads depicted on the cup fragment Athens. Acropolis 2928a H 

manifest this same debased format characteristic of the Painter of 

Oxford 237. 

A Nike with recurved wings on either side of a blob·like undefined 

head, depicted on the Cambridge pyxis should be compared with an 

almost identical Nike on the lid of Louvre CA 3738 (no. 2, PI. 9,1), 

here attributed to the Leafless Group. Note the slanted incised lines 

with a half loop at the center indicating the arms and clasped 

hands. The rough incisions on the lower drapery are identical. The 

warriors holding shields on the main frieze of the Louvre pyxis 

(PI. 12.2) are of the type of Cambridge. Warriors or Amazons 

leading their horses are not found on cups and pyxides attributed 

10 the Painter of Oxford 237. However, they appear in the .....ork of 

the Whitworth Painter, another member of the Leafless Group. 

Compare the faceless Amazon holding her horse on Athens P 

3716 H by the Whitworth Painter with a similar faceless figure on 

the Louvre pyxis (PI. 12,2). Similar Amazons with horses may be 

seen on Auckland 3771.1' Sometimes the hind hoofs (Athens 

p 3716) or forequarters (Louvre pyxis and Auckland 3771) are off 

~he.grOund and one receh'es the strange impression that the figure 

"hhterally holding up the horse. It should be remarked. however, 

t at th . . 

e mctsed body markings on the horses of the Louvre pyxis 

are more detailed than those of the Whitworth Painter. The Louvre 

Pyxis by comparison with works by the Painter of Oxford 237 and

28 

rilE ATflC PYXlS 

29 

Whit.....orth Painter definitely belongs to the Leafless Group. 

It is e\'ident Ihal the shape of the Lou\'re pyxis (PI. 12.2) 

resembles Cambridge 86.1906 (PI. 11). The disk knob of the Louvre 

p)'l:is differs from the others of the class. Warsaw 138535 (no. J. PI. 

13)1' clearly was decorated by the same hand as no. 2. Louvre CA 

37J8 (PI. 12.2). A comparison of the horses. horsemen and 

Amazons lIt'ha stand behind their mounts makes this clear. The 

horses are evidently of the same breed as th

THE ATTIC PYIIS 

SALLY RUTHERFURD R08ERTS 

J1 

J. Mtumhf'im Cg65. from Athens. PI. 16.1. 

H. 0.058. H. with lid 0.09. D. of lid 0.063. 

Inset flangc for lid. concave. tripartite foot. Lid with down·lurned 

rim to CU'!'er flange. conical knob. 

Lid: ra}"S. hare confronting hound. thrice. dots. Double dot. two 

black .:alternating" ith two white. abm'e and below frieze. 

Manner of the Haimon Painter. black-figure: Heraklo and 

Cretan bull. twice: CVA. German)" 13. Mannheim 1. pI. 18.8-10. 

4. Prol·idl'IICf.' .14.1374. PI. 14.2. 

H. 0.092. H. with lid 0.128. D. at rim 0.080. D. of lid 0.102. H. of 

toot 0.014. 

Insctl13nge for lid. concave, tripartite foot. Lid with down-turned 

rim to cover flange. conical knob. 

Lid' rays. hunter preceded by thrce hounds afier a harc, double 

dol, IwO black alternating with two white. DOllble dot abo\'e and 

below frieze. 

Man ner of the Haimon Painter. black-Iigure: S)"mposion: lJ,jl/,'lill 

ul thp Musl'um ofAn Rhodl' Isluncl School of Df'sigll 27 (1939) 26. 

fig. 7: Diana M. Buitron. A"ir Va.s.' PUilllillJ: in Nf'1I' EI/X/uI/d 

Col/t'rtiulls. 66·67. 

Ca. 490 B.e. 

5. A ,hl'ns. Agara P 14555Ir.. frum Athens. PI. 14.1. 

Fragment from "all preserved. PfCS('n'oo H. 0.054. tit. 0.0.08. 

Inset flange for lid. conca\'e. 

Double dot. two black alternating with two white. above frieze. 

Manner of the Haimon Painter. white ground (incision. red for 

wreath. beard and large dots on himation): Sympmiun: 0 12:3 

well ca. 520-490 B.e. Ues/>eria 24 (1955) 02'06. 

COMPARE: 

8rallro" /70 fr.. from Brauron. 

U1ack·ligure: Komos. 11 differs fmm the class in having a ring 

fool. 

Ca. 4908.e. 

Tht= pp:ides of thi~ snlall class are quite uniform in shape and 

decoration. They are con(a,'e with a curve simila.r to thost of the 

(lass of the Painter of Oxford 2J7. A ~ual conical knob ero" ~s 

t~ box. The lid has a do"n-turned rim. bluntl)" rectangular ID 

contour to cm'er the inset flange at the top of the body. The foot 

i!t tripartitc. Row~ of double dot ahernatel)" black and" hile frame 

the main frieze. Thc side of the lid is black forming a strong solid 

border abo\·e. Note ho" different the effect is from sides of lids 

decorated with lotus buds as in the Class of Oxford 237 (PI. 11). 

Berlin 2034 (no. I. PI. 15,1) and Berlin 2OJ5 (no. 2. PI. 15.2) are a 

Pa4 r both in shape and in the choice and placcmenl of pallern 

elements. They are attributed to the Manner of the Haimon 

Puinter. An inci~cd Iinc emphasize!> the boundary line hclween 

fllce und hair. a characteristic of the Haimon Painlcr\ !>lylc,U 

carried on in 1Il0rk merely in his manner. This rude demarcation 

line may be noted on lhe faccs depicted on all the pYllides of this 

class. Two curved incised lines not exactly congruent with the 

contour suggest the shape of the thigh of the Heraldes on no. I. 

Almost identical incisions may be seen on the youth's thigh on the 

lekythos. Cabinet des Medailles 283. U also in the Manner of the 

Haimon Painter. Two such curved lines but shorter. may be seen 

on the right thigh of Herakles on the Mannheim pyllis (no. 3)." An 

incised loop indicates the ear of the youth on the Cabinet des 

M~ai1les lekythos. and an identical notation may be seen for the 

syrnposiast's ear on Agora P 24555 (no. 5, PI. 14.1). A strong 

similarity may be noted in the set of the head in profile to the right 

on a body oppositel)" disposed on the Agora and Providence pyllides 

(no. 4. pI. 14.2). 

On no. 1. Berlin 2034. Herakles is twice represented in combat 

with the boar while lulllos kneels between the groups. This 

element of repetition is aho present on the Mannheim pyxis (no. 

3) where the struggle of Herakles with the Cretan bull is 

represcRlcd twice. lolaos kneels. helpfully holding Heraklcs' club. 

This same motif appears on a handlc-Iess cup, Prineewn 162. 

attributed to the Manner of the Haimon Painter. Z4 There are 

nU~bers of these handle-less cups with a labour of Herakles 

depIcted tlll'ice.'~

J2 

THE ATTIC PYXIS 

SALLY RUTHERFUIlO ROIt£ItTS 

JJ 

The fric7.c of the Mannheim pyxis is extremely narroYt', perhaps 

in response 10 the smaller size of this pyxis. but perhaps reOecting 

a t .... o-frieze format sometimes employed by the Haimon Painter 

for alabastra. 1 ' The Mannheim ppis has not been attributed 

previously 10 the Manner of the Haimon Painter. yet the use of 

incision for separating face from hair. the thigh markings uf 

Hcrakles. the repetition of the motif of Herakles and the hull, the 

pose of 101305 holding the club and even the narrowed formll! are 

strong evidence for the attribution. 

The shape of the Providence py:ds (no. 4. PI. 14.2) miTTOTS thal of 

Berlin 2034 (no. I. pI. 15,0. The fragmentary white ground pyxis. 

Athens. Agora P 24555 (pI. 14.1) from the concave cun'c of the wall 

and double dOl band abo\"e the frieze seems '·CI)' m.ely to belong 

to this class. The composition of the Agora pyxis \loa!> probably 

similar to that of Providence and both were dralol n b)' the same 

hand. The shape of the hcad!>, the cap-:ike hair loIith its 

incision-less OUler contour and the erratic incised lint..'S marking 

the contour of face and beard arc nearly identkal. The curved 

incised lines ~uggesting the drapery of the s)'mposiasb and 

particularly the disproportioned joining of arnl to ~lltJuldcr show 

the samc artist at work. The latter ;!> often an uncertain feature in 

draloling by the Haimon Painter. H 

The Agora pyxis. P 24555, comes from a well 101 ith a context 

dated ca. 520·490 B.CII Thompson !>uggcsted because of the mass 

of pottery and number of lekythoi (250) that the mateflal dumped 

came from a retail potter's shop on the edge of the Athenian 

Agora damaged in the Persian sack. 

Numerous lekythoi from the workshop of the Haimon Painter 

were found in the Stadium Street grave logether with an al)'ballos by 

Douris. Miss Haspels dated the lekythoi about 480 8.C. n 

The pyxides of this class undoubtedly should be dated to the same 

period. One would expect many more examples of this class 

considering the prolific character of the Haimon workshop, but from 

the evicleno:e at hand, this does not seem to be the case. A number of 

pyxides ofa broad low bowl form .....ith the picture confined to the lid 

were also made in this shop bUI later in the second quarter of the 

century.)O The evidence suggests that in the years around 490-480 

D.C [here was. as yet. linle demand for the small terracotta box. 

SINGLETONS 

I. Athl'f/s /9271. 

Knob missing. H. 0.083. total 

0.078. H. of fOOl OJXl7. 

Pis. 16.2 and 17.2. Fig. 2e. 

presen-ed H. 0.094. D. al rirn 

Inset n:lIIge for lid, long body. concave, black moulding :11 

base, be\-clled ring foot. Lid with black do.....n-turned rim 10 cm-er 

flange. 

Lid· rays. hare and hound confronled. thrice. double dot with 

tfattS of IoIhite dOI~ betlo\ccn. Lid i",('n'or reserved; bonum dot 

cirde,"band. 

Abo·..e and below frieze. double dot with Iraces of 10\ hile dots 

Ilt't"een. 

I04>ON EPrALATO !:'II4PO ME E40KEN inci~d on Side of 

lid. 

Manner of the H"imon Painter, black-figure: komos. 

For 5t)le compare Berlin 2035. attributed 10 the Manner of Ihe 

Haimon Painter (AIJV, 556, 442 ter). 

Cu. 490 11. C. 

2. Athel/s. Agoru P 279/7 I'r.. from Alhens. PI 17 I 

L'd . . . .. 

I ml5Slllg. TloIo joining fragments preserve almost onc third of 

the ~1 H_ 0.075, C5t. D. at rim 0.07. H. of foot 0.005. Insel nange 

for lid. COncave .' reserved 10..... , be' 'e 11--'· ..-.", nng "'1' loot. , 

1010 hOflZOnlal 

bands of linked . 

fi 

pomet::ranates on white ground decorate the hod) 

ram«l by a black band at the top and base and a wider black 

band at the CCnter. 

Dlaclt-figure: pallerned. Deposit H 13:5. 

Cu. 490 B.C. 

J. OXjord /966 980 I S' 

. . ex II' John Beazley). PI. 173 Fig Ja 

Crownrn· . ., . . 

o . g piece 01 knob missing. H. 0.077, lotal pres. H. 0 114 

. at flm 0.009 D f I' 009 ' , 

d,·a.... . . 0 Id . S, H. of foot 0.016. Concave 

·"eter of lid . ' 

eont,' shghlly too large, bUI belongs. intended 10 

nUe and I 

Lid. comp ele cun·e of body. Iripaflite foot. 

right~a::.ngues, black band. quirks. Sidl' 0/ lid: key pallern

THE ATTIC PYIls 

SALLY RlTTHERf'UIlD ROIIERTS 

J5 

Puttl'n! zOlles from top dowl/' h) lea\·cs. linked pomegranates, 

broad black band. key paltern rightv.ard. 

Black·figure. patterned. Sir John and Lady Ht'U:/l:)' Gifts 

/9/2·/966. no. 158. pI. XVII. 

Ca. 490·470 H.C. 

4. Athells /2/49. Pis. 12.1 and IS.2. Fig. le. 

H. 0.075. H. with lid 0.116. D. al rim 0.08. D. of lid 0.093. H. 

of foot O.OIS. 

Inset nange for lid. eonca\·e. black base moulding, thick black 

stem and spreading foot ring with a reserved concave edge. Lid 

.....ith do..... n-turned blaek rim to fit ovcr nange. 

Knob: slightly conical. 

Lid: debased tongues. women and warriors. nCI paltern. 

/lIt.'n·or n.f/id: glazed .....ith OUler reserved band: bottom: reserved. 

Linked ncl pattern above and below frieze. 

Near the Painter of Oxford 237. black·figure (incision. nddition 

uf white and red); .....arriors, women and HerOICS. 

5. A,ht'IIs 627 (CC.S39). from Alliea. 

H. 0.07. D. at rim 0.061. D. of lid 0.082, H. of foot 0.009. 

Concave. inset nange for lid. Iow ring foot. side of lid continues 

and completes cun'e of body. 

Lid: net. maenad dancing bet.....een two satyrs. rider on 

ithyphallic mule. sal)'r and maenad dancing. rider on ithyphallie 

muh:. net. Side of lid: pendant linked lotus buds. dOlled above 

and below. linked net pattern abO\'e and below frieze. 

Black-figure. draped figure (Ariadne) and Oionysll!>. macnad 

bet .....een t.....o dancing satyrs. rider on ithypha11ie mulc. maenad 

and satyr. maenad and satyr. rider on thyphallic mule; Collignon 

and Couve. CalU/ogllf' dt's Vas.'s /WiIlIS till AI/1sh· Natiol/al 

d·A/"em's. 269. no. 839. Some of ligures of lid and box vestigial. 

Cl'. 490 H.C. 

6. LOIII're CA 25/1. 

H. 0.083. H. wilh lid 0.14. D. at rim 0.085. D. of lid 0.104. H. 

of fOOl 0.014. 

ConC3\C ~ ith offset moulding at ba~. and black ('chinu!> 

moulding al top. Ud rises ~ilh a jog t~ard... conical knob. kl .... 

lripartite fOOl. 

Lld debased tongues. ~reath of \crtical. eirt"umscrihed 

palmetle5 (nine petal...) ~ith ~hile dots in spandrels abme and 

Ihrce ka\CS below. connectl-d b)' a paltern of lriple opposed lotus 

bud.... Side or /id: gla7ed. Red line abo\·e frieze: be/Oil'· 1~(1 red 

lines. Rays on base moulding. 

Black.ligure; Dion)'sos seated by vine betv.·L'Cn maenad 11l1d 

dancing satyr: Athena attacking ~arrior. ~arrior and hearded 

onlOOker left. 

Ca. 4RtJ H.C. 

7. Ox,lortl 1965.13tJ (cx Spcnecr-ChurchillJ. from Athens. 

PI. 18.3. Fig. 2d. 

H. 0.086. H. ~ilh lid 0.127. D. al rim 0.062. D. of lid 0.079. H. 

of foot 0.027. 

Cone,uoe. lid \lilh rounded dO\ln-lUrncd rim and insel llange 

~lov. it. tall tripod foot. 

Lid lertical circumscribed palmellL~ (seven 1>Clab) llocparatcd by 

ltar drops aOOn and ~In\l and connecled by a lotus n{Mer. 

SiJt· ()I/id: tongue and dol. 

Stopped inlerlocking maeanders in groups of three onee luur 

and cross squares belo\l friezL'S. 

Manner of the Pisloxcnos Painter. red-figure: \lomen: AHV. 

864.15 "may be by the painter himself:' A",C6 4. pI. 29. I; Le 

Ani I. pI. ISO. figs. 7-8 and 11; Pamli,lO"u'na. p.426. 

Ca. 4H/J·470 H.C. 

8. LOl/don E 769. from Alhens. PI. 19.2 and Figo 2e. 

Knob fragment preserved (originally of loop form). H. 0.069. 

IOIa1 preserved H. 0.084, O. at rim 0.064. D. of lid 0.088. H. of 

foot 0.027. 

. Concave with offset moulding al base. Lid with down-turned 

nm and inset nange below. tripartilc foot. 

Lid'bdf . an 0 black linked pomegranates on reserved ground 

nea.r OUtcr edge, the remainder. black.

THE ATTIC Pvxu 

SA1.LT RUTHERfUao Ron:ltTs 

J7 

Side 0llitl: resen'ed band. black band. Base moulding: rt.-,;en'ed 

band. black line. H.esen"ed line abm'e and below frieze. 

Briseis Painter, red·figure· women' ARV 'IO"J u· h 

. _ . ',. .. .u: 1'\1t.: ter. 

AI/e'll"~" f/lnllllln •. fig. 195: Cecil Smith, Cutu/ogllt" 01 ,hi' Gr"f'fc 

Ill/(/ 1.1r1/5(:1I1/ VaSl's ill ,h" lld/ish MIISl·IU". Ill. 110. E 769. 

CII. 480·470 H.C. 

9. A.,hn,.s ~ol908. from Athens. PI. 18.1. Fig. 9d. 

. lid ml.,>slOg. H. 0.094. D. at rim 0.081. H. of foot 0.024. Cnnca\"e. 

IIN.'t Ilange hlr lid. tall. comex lripanite fool. Blad. hand. rl~cned 

line abO\'e frieze: bd(JII'.· black band bel~een reserved lin~. 

Close 10 the Wedding Pailller, red-figure: Judgement of Paris: 

ANV. 924, CVA. Greece I. Athens I. pi. 6. 4·6: Purtllip(ml.'lItl, 431. 

0,. 480·4m Il. C. 

10. Cumbnclgf' GR 10.1934. 

Knob missing. H. 0.094. tOlal presened H. 0.103. D. at nm 

0.086. D. of lid 0.10, H. orfOOI 0.016. 

long r:OIlr:3\'e r:urve. side uf lid slightly concavc, tripartite fool. 

Lid: ahcrnating \·enica1. circumscribed palmelle bcvcn petal) 

and flower linked by tendril. ~hite dots abo\'e flanking f1o~ers and 

below in tendril loop on either sKle of palmene. 

Side ot/iel' black. Reserved band abo\'e and belu~ frieze. 

H.ed-figure. Zcus pun.uing Aigina: JUS qo (1970) 19.\-194. pI. I. 

I-J. 

et/. 470 lJ.c. 

11. WursUlt' /98509. 

Insel flange for lid, long COnC3\"e ~all Io\ith torus moulding al 

haloc. tripanite fOOl. lid flat with down-turned rim. conc:l.\·e In 

profile. acorn knob. 

H.t'~en'l·cI: acorn knob \.glazed line around l'cnter to differenliate 

Ihe two parts alld black moulding at base), lo\.\er edge of lid and 

upper surface of body, gt(x}\"e a~)\"e base moulding. fool. 

Black. Maria L Hernhard. Gn'cfc;e MlIlunom WU:Oln'. fig. 51: 

A,1toro XII. 174 and footnote 8. 

12. Lunn .17./009. 

lid nlissing. box mended from numerous fragments. H. 0.105. 

0.0.10. 

Inset flange for lid. long body, conca,'c; closed. flaring foot of 

proportionatel}' small diameler. 

onset moulding above and below frieze. ornamented wilh black 

net paltcrn. 

Diad-figure. Io\omen: CVA. France 20. Laon I. pI. 11. I-J. 

Co_ 490 H.C. 

"fhe p}xides listed above dcrin= from Ihe yea~ 490-470 H.C. and 

they havc cenain common characteristics. They are concave with 

an inset Ilange at the top for the lid. The lid has a down-turncd rim 

to cm'er thc flange and in some the lid profile colltinues and 

completes the cune of the body. In IWO instances (nos. 7-8) the lid 

has a do~n·turned rim wilh a flangc set belov.' it. Both a long 

slcnder body and a squat compact body may be found. both 

continued in thc ~ellled red-figure classes 10 follow. The grealest 

diversity comes in the form of the foot. Most arc tripartite. a few 

have a ring foot but the influence of foot types of olher vase shapes 

is also apparenl. 80th psykter (no. 11) and cup foot type C (nos. 

3-4) may be recogni7ed. 

The number of black-figure and red-figure examples is fairl} 

even but there arc also rare black-glaze (no. 11) and patterned 

examples (no. 2·J). Singletons occur whose slyle links them to small 

black-figure classes (nos. 1. 4). 

These IWO decades are Ihose of erratic experime0l3tion from 

,,-hose e1emcnts a new canon eveOlually cmerged. The frequent lack 

of harmony between Ihe three pans-lid, bod}' and foot is 

suggesth'e of the experimeOlal ferment evidenced by Ihese vases. 

~ne number of singletons should not cause surprise as it is 

evident no workshop specialized in the production of pyxides. 

There ~alo little demand' few were made and evcn Io\'orkshon.: which 

d" ,,- 

Id prodUce small classes also made sin/lllctons. 

I take the long bodied type first. Athens 19271 (no. I, Pis. 16.2 

and 17,2) has a base moulding, tradilional but ouldated by ca. 490 

D.e. Delow it i~ a low bev...led ring foot. The lid profile connects

J8 THE ATTIC Pun 39 

this vase with the Class of Berlin 2034 and the three confronted 

pairs of hares and hounds are replicas of those on the Mannheim 

pyxis (PI. 16,0 of that class. The side of the lid is black and the 

frieze framed above and below by a row of d

40 THE ATTIC PYxlS SAllY RUTHEllfURD RO.EIlTS 41 

pyxis move this ~3)'. their arms akimbo. A lock of hair hangs down 

in front of the Acropolis maenad's ear: the same mal' be noted on 

the maenad 10 the left of Hcrmcs on the pyJlis. 

On Princeton 16.1 by the Painler of Oxford 237 (side A. PI. 10.1) 

the left most macnad moves similarly ~'ilh het hands (3 while blob) 

clasped together in fronl of her body. Her shawl ends in s.....allowtails. 

There are while dots on the drapery o\'er the shoulders and in 

a vertical row down the center of the garment. A (ress falls down in 

front of her ear. The rightmosl maenad's hands arc depicted as 

v. hile blobs onc beSide the other in exactly the same way as on the 

pyxis Alhcm 12149. The birds used as a design element on the lid 

are unparalleled in the work of the Leafless Group. The figure 

slyle. howel-er. certainly is near the Painter of OJlford 237 and 

perhaps this is his own work, 

The prufilc of the body of Athens 14908 (no. q. PI. 18.0 presents 

the simple concave curve of the Oxford patterned pyxis and the 

black.figure Athens 627 (no. 5). The tall convex tripartite fool is 

unparalleled. The lid is missing and the exceptional contour of the 

foot is a strong admonition not to hazard a guess as to the profile 

of the lid. Beazley writes thus concerning the style. "The following. 

though unusual in the proportions of the figures and in some other 

respects. is close to the Wedding Painter and may be from hi~ Oil. n 

hand." 

Similarities to the style of the Wedding Painter are not difficult 

to find. Compare the set of the head and the long wavy t~ses 

falling along Paris' shoukler and upper arm with the seated youth 

depicted in the tondo of the Berkeley CUp.45 The reserved line along 

the contour 01 the head widening along the upper arm to halo the 

wa\'y locks is similar in each. The shorthand depiction of toes seen 

frum the frol1l as a series of curving lines is identically represented 

for the figure of Paris and that of the woman on the right in the 

tondo of the cup in Compiegne,46 Dilule chilon fold lines end in 

hea\'ier dots as may be seen on the woman putting the final touches 

10 the arrangemcnt of Thetis' garment on the name pieee of the 

Wedding Painter. the pyxis in the Louvre. 4J The unusual 

proportions mentioned by Benley may be nOled in the curious 

enthroned fi~ure of Aphrodite. 

The Wedding Painter is counted a member of the Penthesilea 

Workshop. howe\'er Ihe shape of this pyxis is nOI of the canonical 

Penthesilean type. By profile and b)' the very oddity of ils foot it 

seem!> to belong 10 the experimental period of 480-470 B.e. The 

style seems to ha\'c a slightly earlier flavor especially pronounced in 

the figure of Aphrodite and indeed Rhomaios and S. Papaspyridi 

(Karousou) dated the vase 10 that decade,4' 

Pyx;de.~ decorated by the Pistoxenm Painter. Brussels. Biblio· 

theque Ro)ale 9 and soon after Oxford 1%5.130 (no. 7. PI. 18.3). 

v,hich mal' be by the artist. were made before the canonical type uf 

the P"nlhesilca Wor,,"shop ""as introduced, The same is the case for 

Athens 14Q08. The Pistoxenos Painter's female ~ and 

compositions seem to have provided models followed in the 

decoralion of pyxides by certain members of the Penthcsllea 

workshop.4t

42 THE ATTIC PVXH 

4J 

NOTES, CHAPll:.R 11 

J. AlA SO 1I94b) 118. The IrtiJICSI populllrity of the palmcm' K'mll border lie$ in 

I~ pniod 510-500 D.e. ~ b1acllAi'lIlY pIIlm~tC'li 011 the '.-0 p,".il; lids hiJ'~ ftorn 

Ihlf1tvl tu fifi:~n pnals. Therr is linl, s~ brt--a:o the pnals aDd the l'ncirclbJ 

vine. Unusual futures arr lhe~ in the f,dd and t!'le palmellt Maru in OUtlie.: 

l«hn"!",,, Compare ,he p;llmt'th: PY"I\ In Dn:~l'n i..... zv 54 

2. A,II,'tJI'SI XII. 181. fOOl:notl' 5. Athens. Cnamic'lls wp lJ r. a l'OlXau: py"b, 

..,th a rounded bb'ck moukhnllll Ihl' base and ~gl' of the lid. ~ bOl:lofll ill na' 

..·ith a slightly deprl5.~ ..tn at the ten.." as in the red·fil!'\I~ uampk'. Thb. Jl)'ab 

ha~ bftn attributed 10 the POll", ly\iadn .. hO!lol' signature appt'I"" Of' a kOlhon in 

l.JOlls. Tht' rCSI:ned coIor and raised rid~ doltf:d .. ith glur simulate ...·000 IS on 

kolhuns attributed 10 this potter. A1t~mlling black and IT(! {ongut's (an c:lcmcnt in 

lhe deroralion of kOlhuns. type A and III ornament ,he knob. Particularly dose a", 

th.. furm and arrangement of palll:rn~ on a kOlhun in Cupcnhal'1Nl d.·rAkropoiiS:II AI....". pl."J and p. 51. no. 

"". 

7. JHS I~ (18941 194. 

8. ARV. 0458. 1; CB. Ill. no. 140. pb. 16·;; (Boston IJ.l86). 

9. This ch....nerislie ronn«t\ Brussels Blbhothtque RO)';I~ 9. Athen\ 18511 and 

18518 ,,'ith py1id~ (Jft)'llE D. 

10. D. Feytm.ns. Ln V4Jt'S Grws d... ,,, Bib'fO/'~q"r Roy"lr de Bdgjq", (BrusKb 

1948) 51. profile dr••ling. 

11. In. k-tter of May 14. 1969. Mr. Richard Nicholk .kindly "tlJ(e the foflo""ing 

.boIot the fonc: "It .I!iO shll'Wis "hat is Itn of the foot. "hich has broken ''''ay 

undel'Tll'ath and appa.renlly been ground level in modern tiron. Under lhe 

,'H·um\laoc..",. o:rtalnty is nOf ~~iblc but then: scem to ha"e been three 

•ymmettkal breaks with kvelish surfaces ~t"'ern thrm (unlcu wholly aue to the 

modern grinding)·-i.e. pos.sibly a tripod foot:' 

12. ABV. 649. 248. Li~1 of his l\·orlr. on pp. 651-652. 

13. ABV. 643. 159; Graef. Oil" u",ik,,, V'urll ''0'' de, Akmpolis :11 AI/Ill'''. pi. 89. 

"'29. 

14. ABY. 6043.158; Grarf, DjI' ullIik,,, Vus"" l'OlI duAkropoiis:1I Atll,,". pI. 88. 

2028a. 

15_ AB\ b-M. 166: Thomas b~ Dunb..bin .nd 01:""",. Pnoc...... 11 toxford 

19621 J4J. pi. 142 top ntht. DO. J 10. 

16. ABV b44.lbS;JJlS -111951) ISS, rlf. 5. WhLll\ortIt ramler 

17. CVA PolOInd 4. Warsa.- t. plo 4J, 1·7. 

18 JIIS "I (19511 ISS. fil

THE ATTIC PYxis 

4S. AHV. 923.11; CVA. U.S.A. S. Um...~rsll)· of California I. pI. J7.Ja. 

46. ARV. 922.1; CVA. FraTK"l' J, Compqm. I. pl. 11.14. 

4:. ARV. 924JJ. LovH~ l 55. Wl'dding or Pdn~.nd Thelft, 

~_ ('l'A G~ I. Alhrn~ I. pi 0.4-6 and p. 5; MMS 5 119J.11 141 ".MII 4llO: 

Pam ~llllng among Ih" goddrs~ 10 Judgo:. Iypc or I"'" IO-nal.lonilis pi...IIra.:· 

Ua~hall 

49, "IMns 1591tcC. I~l by the Cu",u~ Pamter. "them. 2188 by Ih" rami'" of 

IAndoo 0 12. "Ihem; 1141 by IIw Veii Painl"'. Alhcns 1107 b) the Painter or 

London U 12. MUnich 2721 b)' lhoe Pamlcr of BoIQIl"na 417. Athem;. pn\:lle by the 

Veil Paml"'. Athens. Serpirri CoIlcelion by Ihe Painter of London D 12. The pose 

ma.l frequently r",pealed is Ihal of a v.ontan scaled m profile on a d,ph~ v.hh her 

am,s hidden by hcr hlma110n as in Ill

THE ATTIC PYns 

SALLY RUTln.fUIn Ro.urn 

890.173: Richter and Hall, pp. IOI-J. pi. 77: Hambidge. DYI/amic 

Symmetry. 51. fig. 12: Parafipomena. 428. 

2. Ant"ona 3130, from Numana. 1 

lid missing. H. 0.12. D. at rim 0.10. D. at base 0.14. 

WK:1e glazed moulding. white line. black line abon frieze; 

belOII': black line. 

The names of Zeus, Hera, Peitho, Charis () and Aphrodite are 

inscribed. 

The Splanchnopt Painter, white ground: birth of Aphrodite: 

ARV 899,144; Riv/stArch 8 (1940) 46-56, figs. 1-7: Paralipomena. 

429 "Andrew Oli"er has discovered the lid. in a private collection 

in Paris;'" T.B.L. Webster. Polter and Patron in Classical Alhens. 

268. 

J. Pl/rI·s. LOUI'1'e MNB /286. from Athens. 

Pis. 20,2 and 33.1. Fig. 4lt. 

Knob missing. H.0.!4. Total pres. H. 0.148, D. at rim 0.117. D. 

of lid 0.156. H. offoot 0.035. 

Lid: tongue and dot. black band. laurel wreath. black band, 

rontinuous or interlocking maeanders in groups of five (once si:r) 

and cross square. "Odd man'" south. Lid interior. dot and two 

circles: bottom: dot and concentric circle. 

Grooved wide black band. white band. black line above frieze: 

beluw: black line. while band. white band, wide black band. 

Perhaps connected with the Sotheby Painter, white ground; Perseus 

and Medusa; ARV. 775" 1669; Rill/stArch 9 (1960) 186. fig. 78; 

Parulipomena. 416. 

4. Munich 2721. from Athens. PI. 19.1. Fig. 4b. 

H. 0.105. H. with lid. 0.147. D. at rim 0.09. H. of foot 0.026. 

Lid: tongue and dot, black band. laurel and berry. narrow black 

band. double dot. Lid imen'or: dot, circle, band: botmm: same. 

Irregular reserved line above and below frieze. 

Painter of Bologna 417, mistress and maids: mistress and maid; 

ARV. 917.199; CVA, Germany 6, Munich 2. pI. 97.1 and 3-4 and 

pI. 99,4. 

5. Athl'/ls 1288 (CC. 15.58), from Attica. PIs. 21 and 33.2. Fig. 4c. 

Knob restored. H. 0.131. total pres. H. 0.155. D. at rim. 0.112. 

D. of lid 0.145. H. of foot. 0.029. 

Lid IOngue and dot. laurel .·-reath. black band, interlocking 

maeanders alternating with cross squares (once sahire square). 

"Odd man" south-east. Lid interior. resen'ed_ BOllom: dot and 

conc£ntric circle. Black gl37.ed moukling, reserved groove above 

frieze: belo"'. reset'\'ed line. 

Painler of Bologna 417. women; ARV. 917.198. 

6...Athl'ns. Serpieri Collection (el: Vlasto). 

Lid panther. bull and boar between reserved circles. 

Reset'\ed line above and below friett. 

Painter nf London D 12, women: ANV. 963.87; Puralipomf'nu. 

434. 

7. Alhl'tIS. Serpieri Collection (ex Vlasto). 

Lid tongues. circumscribed palmetles linked to lotus flowers, 

black band, interlocking maeuders in groups of six or stven 

ahernating with four-pointed stars. Side of/id: laurel wreath. Black 

glazed moulding and two glazed lines above frieze: below. Ihree 

glazed line

48 

THF ATTIC Pnls 

SALLV RlffHEllfUIlO ROIll~IIT< 

49 

9. Ar"e,,~· 2/88 (CC. 1845). PI 23 FO 5 . . Ig. a. 

H. 0.15. H. with lid 0.215. D. at rim 0.113-0.114. D. of lid 0.16. 

H. of fool 0.037. 

. Li~: debased tongues. laurel and berry, debased tongues. Lid 

"'terror: rescn'ed; bottom: dOl and concenlric cirde. 

Grom'e in black glaze moulding abO\'c frieze; bdull': black line. 

lIl'hite line. black band. 

Painter of Londnn 0 12..... hile ground; women; ANV, %3.94: 

CC plo SO.ItHS. 

IQ. Berli" 2261. from Athens. 

Pis. 26 and 30.2. Fig. Sb. 


fOOI0.OJ7. 

Lid- tongue and dot. black band. linked vertical circumscribm 

palmem:s ....-ilh a leaf in each spandrel. black band. interlocking 

macanders alternating with cross squares. SiJe of lid: rays. /.id 

i"ll'riur: dOl and two circles; bouum: dOl and three circles. 

Wide black moulding......hite band. black line abo\'t' frie1.e; 

m'luw: black line, hile band. black band. 

Yeii Painter hite ground: ""omen: A R V. 906.116: Adulf 

Greifenhagen. A,.tikt' Ku,u/werkf', pIs. 70-71. 

It. BUSlon 65.1166 (ell: Mayer). PI. 24. 

H...... ilh lid 0.185. 0.0.15. 

Lid: tongue and dot. black band. rays. black band. chevrons. Lid 

;"tt'rio,: reserved: hullOm: dot and two concentric circles. Black 

band ......hite band. dilute line abm'e frieze: below: dilute tine. while 

line and black band. 

Graffiti on underside of lid: AYIANAPA HOKE 

AYI:YMAXIAJ. 

The Painter of Londun D 12. white ground: Women: BMFA 67 

(1969) 72·92. figs. 1-5 (Truitt). 

12. BU!iIWl 93.108. from Eretria. PI. 27. 

H. 0.128, H. with lid 0.178. D. at rim 0.116. D. of lid 0.15. H. of 

foot 0.031. 

Lid: tongue and dot. black band. laurel and berry. black band, 

line!> dotted at both endlO. 

Bullom dot and t""o glazed circles. 

Black glaled moulding. teSened groo\t' abo\t frieze: 

below' 

resened line. 

Red-figure. woman seated by kalathos ""hile bearded man looks 

on: anolher .... oman. Youth cro""ned by Nike. another )·outh. l. D. 

Caskey. Geometr), ofGred VD.'!"es. pp. 226-227. 

13. South Hadll')'. Mount Hol)'oke (ex Seltman). Pis. 30.1 and 34.1. 

H. 0.121. H. with lid 0.17. D. at rim 0.118. D. of lid 0.14tl. H. of 

foot D·031-0.032. 

Lld tongue and dol, wreath of laurel and white berry. black 

band. Iongue and dOl. 

Bottom dot and two concentric circles. 

Rcscned line abo\t' and below frieu. 

1 he Veii Painter, woman ~aled, and youth: maid running. 

Restored. ARV. 906.109. 

14.AI/lt·ll.'!" 1Nl (CC. I5tH) from Athen... Pis. 28 and 38. 

H. 0.122. H. ""ith lid 0.17. D. at rim 0.11. D. of lid 0.151. H. of 

foot 0.035. 

Lid longue and dol. black band, lotus buds pointed down .....ards 

linked by ares abme and below aod dOlled. blaek band. reserved 

petals. Ud imerior. rcscnled: bottom: dot and two circles. Black 

band. rescn'ed groove above frieze: b.-Iow: reserved line, black line. 

reserved edge. 

Veii Painler. women: ARV. 906.111. 

IS. f/(Jllulll/u J59H (ex Segredakisl. Ph. 29 and 37. 

H. 0.127. H. wilh lid 0.169. D. al rim 0.109. D. of lid 0.14. H. of 

1'0010.03. 

Lii/.· rays. rescrved band. lotus buds pointed downwards linked 

by arcs and dOlled above, reserved band. zig'lag enclosing oppu!>ed 

triangles. Side of lid: rays. Black glazed band. irregular reserved 

line above fric1.e: bl'1oll': zigzag clJclosing opp0'iing triangles. 

Painter of Bologna 417. women: All V. 917, 203.

TllE ATTIC PYxIs S,AI.l,. Y RUTH £RFUIU) ROBEJl:u 51 

16. Mal/du's/er U"il'l'Tsity III I 2. 1'1. 31.2. 

Lid mb.sing. H. 0.14. 0.0.15. H. of foot 0.03. 

Resented line abm'e fric1.e; lwlDle laurel \\ reath. 

"I\.';,r the Palllter of Bruloseb R JJO. "Arrhal of Jouth \\oUlh. 

\. "Illall. maid-Pari~ and Helen: nun.e w;lh babe-N;kO'llratOlo; 

"lllg-Mellelam.':'-: ,lnd maid). AIl\'. 931.2: L. Gluli·Kahil. Ll·.~ 

1::lIll'l·f'ml'IIt.~ 1'1 h' HI'fUllr d'l/f!le/ll'. p. 177. footnole 1. 

17. Genel'u /0763. 

H. 0.114, H. with lid 0.172. D. at rim 0.086. D. of lid O.llq. H. of 

foot 0.034. 

Lid: tongue and dot. laurel. tongue and dot. 

Reserved line above and below friezc. 

The Group of Athens 1591, Women: AHV. 955.2: t'VA. 

S\\itzerland I. GCllcva 1. pis. 17,7 and 18.5. 

Ut Df'/os. fr.. from Delos. 

Maximum pres. H. 0.08. D. 0.108. Lowcr pan of COIIC:IVC wall 

and concave lripan;te fool. 

!Jr)/lom: dot and IWO concentric circles. 

Rays bcl"cen Tl:SCrYt.'d lines below friez.e. 

Veii Painter. Woman seated and \\omcn: AHV. 906.112: De/os, 

XXI. 71. 

19. Oxfurd 1929.754. fr.. from Greece. PI. 25.2. 

0.0.115. Flange for lid and part of concave wall. 

Wide black band abtl\'e fricze. 

Painter of London 0 12. white ground: \\omcn \\ ith lyres: AR V. 

963.95; S('/f'l't. no. 367. pI. L1. 

20. I1ruuroll 58. fr.. from Brauron. 

White ground. women. 

21. Alhell$ /592 (CC. 1554). 

H. preserwd 0.079. D. at rim 0.11. Inset flange. conca,'e "'all 

presen'ed to near base. 

The Curtius Painter. Youlh and \\omen: women: ARV. 935.76. 

Wrollgl~ restored. Like Oxford 1929.754 it \'Ias a full·siLed ppis 

\\;th a tripartite fool. Int~ntional red on Interior 

22.4//11'111. A,Ionl P 2425.1. fr .. from Alhens. PI. 25,1. Fig. x. 

Pres. 11. U.06. D. oftlange eSl . ..:a. O.I:!. About half the lo"'er part 

of the ('onca,'c wall and a section of tripanile foot including about 

holf of one notch. The foot profile \'aries from the usual 

Penlill..'!ilean tn>e. The base line of the receptacle does nOI slope 

immediatel)' into the fOOl but first makes a slighl step. 

The Veil Painter. Women: ARV. 906.113. 

, 

23. A/lwm. AgurII P4734. fr.. of lid. from Athens. PI. 32.2. 

Knob missing. D. est. ca. 0.17. Base of knob raised above surface 

of lid and decorated wilh debased tongue and dot. 

I hi tongue and dOl. \·enical. circumscribed palmclI~ linked to 

101U~ llo\'lcrlo. black band. nopped interlocking maeande~ in 

groups of 1\\0 scpaf:ltt.'l1 h}' four·poinled slars. Side or lid: laurel 

\Irtalh (tie presened) thcn tiny tongues belo"'. 

Penlhcsilca W\,rk~hop. probablY:1 lid for a \\hile ground pyx;s. 

Athen~, Agora. surface lind. 

24. BruIlnm 28911 u"J 289h. fr .. of lid from Brauron. 

Venical circumscribed palmetles \\ ith leaf abO\'e and bclo\\ in 

spandreh. circums.cribed palmelles linked 10 low) fltlwcr" wilh 

dots in \olutes of lotus. laurel. SiJt' l!/lid: egg and dart. 

Red·figure. probahly a lid for a while ground pyxis. The patternS 

are simil:lr to those u!>Cd by PenlhesiJeans but not in this sequence. 

The formulation of the pattern on the side of the lid has no exact 

parallel 10 m} kno'" ledge. 

COMPARE 

Llln'rlll' A1urkn. 

H. 0.097. H. with lid 0.13. D. 0.085. 

Domed knob. conca'"e. lripanite foot. 

Lid. net pattern. laurel. debased tongue (black). Side o} lid. ray'!.. 

MOUlding. then two lines above and below frieze.

52 

THE AtTIC Pvns 

White ground: Arrival of Paris and Helen at Troy: AT:I A"tiquQ 

AG. Auktion V. 0\',7. 19M. no. 134. pI. XXXVII. Influenced by 

the Penthesilea Workshop in profile and pla~ment of dttorath'c 

elements. For the foot profile compare Athens. Agora P 24253 (no. 

20) and Cambridge 4.1943 (no. ]). For the knob er. Harvard 

IQ25.30.39 (pI. 54.3) of the class of that name. 

The Pcnthesilea Painter and his followers are kno.....n pr1nlariJ~ 

for their decoration of cups and secondarily lor stemless cups. 

o;kyphoi and pyxides. 1 Beazley distinguished a score of hands in this 

~orkshop and emphaloizcd that collaboration between ..... 0 artists 

on one cup was frequent. Unfortunately no single pOller's signature 

remains eitlu:r on a cup or pyxis. Blocsch named the class of cups 

as the "Drcikantgruppe" after Ihe significant form of the foot 

profile. J 

The form of pp,is type A chara(urislic of this .....orkshop firsl 

appears around 465-460 B.C. Its most prominent features are a 

10llg body. concave walls slightly slrengthened towards the base 

and a Iripartitc funt with low rounded notches. Thc sections of Ihe 

foot are generally unequal in idth. The fool is resen'cd .....ilh a 

black base band (.....ithin and ilhOul) and a black band runs 

around the foot above Ihe heads of Ihc notches. The fmu is simply 

framed above and below by glazed or resen'ed lines. The lid is nat 

with a slanling edge completing Ihe concave curve of the body and 

covering the inset flange at Ihe lOp 01 the body of the vase, 

Several phases may be noted in lhe de,'elopment of the 

Penthesilean p)'xis. lype A. from the time of ilS formal ion around 

465-460 B.C. and its proliferation in the 45C)'s by follo~ers of the 

Penthesilea Painler. A ncv.· stage in the use of the fundamental 

canon is evident around 440 B.C. 

The first grouping of pyxides from the Penthesilea Workshop 

shows the manifestation of one canon of forms but considerable 

diversily in details and measurements. The diversity is probably the 

result of a large number of artislS .....orking in one shop. A large 

proportion of .....hite ground pysKles known to us date fronl the first 

efflorescence of this shop. 

Tllc ..... hite ground pp;i" b)' the Penthesilea Paintcr in New York 

(pI. 2O.ll is lhe central piece of the class.· 11 !turpasses the rest in 

careful attenlion 10 the articulation of !turfaces and in the balall(_"\, 

of ~ hne ground and red·figuR elements. The knob is of a domed 

'ihapc di' ided bclo~ b) a horizontal gt(xwe: Ihe "Icm is raised 

slighll) 3oo\e the surfact: of the lid, Wh3t follo\\cn. made of such :I 

knob 1ll,1} b{' scen by looking al Berlin 2261 (PI. 26), Munich 2721 

(PI. Iq.l) and 'oIor!t{' still Oxford 1%1.408 (PI. 3td), 

The cardinal fe:lture oflhe !thape is the long conca\e cun·c of the 

\\all strenglhened bUI linle at the base. From the base the \\alb 

cunoe dO'oln\\ard .. ln form a tripartite fOOl \\ith rounded notches. 

_The ~ide of the lid is decorated \\;th a wreath of laurel. This is an 

unllsu:ll fe:llUre rept: 1288 (nos, 2·5), In each the COIIl'a\{' 

cun-e 01 the wall!> ha'i bl,.'C1I intcnsified 1O~'ards the basc. '1 he 

tripartllC loot is similarly shaped though the rounded notches arc 

Illote l'a'\uall~ fnrl1lt:d in the Ancona. Athens and Munich vases. All 

haH' the black gla£ed ba.\oC moulding. though Ihal of Munich i.. 

l't.lIdel} cxaggerated. The frieze is framcd by gla£e lines abm'e and 

below in the case uf the white ground vases and by rcserwd lill{'s 

IOr the red-figure \"ases. Slight variations should be notcd. The 

louHe pp:is halt a \\ ide black band belo\\ the lower gla£e lin{' 

\isuall~ IIJlcn~il~il1)! the tcrmin'ttion of lhe concan: cune of thl' 

\lOll!!.. -I he Ancon:l pp:is h:ls a simple glaze line but sel as if a IO\lcr 

r'lltcrn border ':':j bet' .... ;llIendcd. Indeed slll'h a fe.l.\ure became

54 

THE ATTIC Py:us 

common aI a later date. These vases ~crc decorated by 

PcnthesiJeans. The LoU\TC PYllis was painted b}' an artist "perhaps 

connected with the SOIhcby Painter,'" 

The BaltImore while ground pyxi'i (no. 8. PI. 221 by the Sotheby 

Painter 7 should be closely connected .....ith the first grouping and 

l:~pt'cially ~ith Louvre MNB 1286. The walls of the p)'xis arc 

as}'mmetrical \\ith the consequence that one side ha~ a flaller 

concan~ cun'e with greater strengthening 31 the base. The other 

side prescllI!o a I~ complicated CUTve. The elements framing the 

frieze resemble those of the white to:Tound vases Lom'rc MNB 1286 

.md Boston 65.1106 (no. 11). The greater height of the foot. tall 

slender stem and disk knob with bUllon differentiale it from the 

foregoing examples. Athens 2188 and Geneva 10703 share the!>c 

chara{"teristic~. 

Athens 2188 tno. 9, PI. 23)' has been damaged greatly and the 

box mended from many fragments. Ho",e\'er, the complete profile 

of the vase has been preserved on one side, It is 3:lo)'mmetrical and 

the cro',~.-ningbutt\ln of the knob ofT-center. The base uf the stem is 

raised abo\'e the le\'el of the lid as in the Baltimore pp:is. Thilo 

ppis decorated by the Painter of London 0 12, with Its slender 

stem and disk with button handle and tall foot would appear also 

to belong tu the first grouping. 

Geneva 10763 (no. 11)' was shaped more hastily as may be seen 

in the oO'-center placement of the knob on its slender stenl. The 

height of the stem and foot connect it with Athens 2188 and 

Baltimore 48.2019. The careless quality of the decoration 

corresponds to the poller's 'A'ork. The Baltimore vase should be 

dated to about 460-4SO D.e. Cardul polter's work is characteristically 

underlined by the differentiation bct\\'een the le\'el of the 

base of the stem and [he surface of the lid. The style of the figure 

work, simple framing elements and mythological subject maller 

corroborate the date, Mythological subjects appear on pyxides from 

the Penthesilea Workshop of circa 460-450 B.e., but later scenes of 

women in the home predominate. The height of the stem and knob 

point to a slightly later stage of de\'elopmem manifestcd in Athens 

2188 and panicularly Geneva 10763 whcn thc canon is used 

casually and without much thought. as is typical of followers of the 

potter 01 the PenthesiJea Workshop around 450-440 D.e. 

The \.\ hite ground pyxis in Bcrlin (no, 10, PI. 20) by the Yeii 

Paillter b connected by the height of ill> stem and knob and foot to 

the la~t mentioned !:rtlUp. A glaze line frames the frieze above and 

helo" and an outer frame is formed b) a black band se1 lIeXl 10 

each. Such framing elements arc identical '" ith those seen 011 

8ahimore 48.2019, Louvre MN8 1286 and BO!'iton 05.1166. The 

squal proponions and shon ConC3\'C cun'e of the \\alls come as a 

surprise. as does the widcl) proj«ting lid. The lid, hO'At'\er. 

assuredl) belonglo to the vase. The underside of the lid is reddened 

and d«orated by a dot within a small circle with a wider 

surrounding circle, '1 he design on the bottom of the l:onlainer 

matL'lleo; that undcr thl.' lid wilh the additiun of Ilnc 1Il0re outer 

circle. I he lid. in addition. i~ well filled to the container. The ray' 

ornamentlllg the outer wm'a\'e flangc of the lid ;Ire identical" ith 

Baltimore 48.2019. 

P)Xide~ of types B, C and 0 occasionally bear matching gralTiti 

on lid and box." '" hile pyxides of type A ne\'cr do to Ill) 

knolloled~c.1I HOIloe\'er, ~metimclo there are matching seb of 

Clln('Clllric drclelo on the underside of lid and box in type A. 1 he 

box almo!>t im'ariably bears these designs. When the lid bears a 

m:uching !>ct of circles it seems secure that box and lid bcloll!:. 

Ho\.\cvcr, many lids are merely rcscned, though evidencc Ill' pallem 

borders. eolor of clay and fit indil:atl:lo a match. The probllblc 

explanation lies in lhe loading of the kiln. If many pyxido ",ere to 

be tired in the gi\cn kiln batch. matl;hing marks on lid and box 

would he a convenience, \\hile if fev. there ",ould be little nct.·cloloil). 

Another possibilit) is the degree of care expended on the 

ornamcntation of a \'a~. The puller of Berlin 2201 cenainly kne\\ 

the canon illld the ac\"'ompanying pattern accenb but experimented 

in a diflcrent directioll. The date lies between 460 and 450 H.C. 

An unallributed pyxi!>, lIoston QJ.I08 (1111. 12. PI. 27), 

apprual'llCk knob with bUllon on a squat stem bcarl> no 

resemblance 10 the elegantly executed Berlin cxample. The ha

THE ATIIC PvXIS 

SAll,Y RUTHERFURD RO.ERTS 57 

The Mt. Hol)o!...: pp.il> Ino, 13. PI. 30.1) and Athens 1741 ( no. 

14. PI. 28) belong to this rather commonplace !c\'cl. 

Mention should also be made here of a pp:is in Honolulu (no. 

IS. PI. 29) and another in Manchester (no. lb. PI. 31.2).11 The 

fI.'lanl·hester pyxis has a long l'onCa\'e eune strengthened

58 

THE Arnc Pnu 

SALLY RUTHEI.'UIID ROeEI.T5 

59 

and the Quter border is composed or groups of two macanders. 

each l:roup separated from the nexl by a four pointed star. Two 

black bands set oIT the borders. The side of the lid has a laurel 

.....reath with a narrow band of tungues belo",", It would seem 

probable from the profile and patterns of this lid that it belongL"d 

to a pyxis of the firsl stage of the I'enthesilea Workshop. 

The second pallern group is more numerous Ihan the tint. In 

this group of lids 3 prcfcrcnct= is shown for a laurel or laurel and 

berry v.reath for the main band. Tv.o IKb exemplif} the careful 

treatment noted in the first p3t1ern group but roll~iog this the 

care ",,jlh y,hich the patterns h:l\e bt.-en executed has declined. 11 

seems po'isihlco Ihal these examples dale from drru 450 D.e. The 

arrangement of three conC't'n1ric bandJ> of ornament around the 

ttnlral knob continues. The innermost elenlent is romposed of a 

der;\'ath'e of Ihe tongue pallern. either debased tonguCJ>. tongue 

and dOl. or line and dol. The outer border shows a greal variation 

in motifs. no one pallern predominating. Thc use of one or t.....o 

blu(:k band.. for a(:(:cntuation (:ontillue... 

T~o of the ~h;te ground p)xidcs. Baltimore 48.2019 (no. H) and 

Lou\'fc MNB 12H6 (no. 3. PI. 33.1). Ihe one b)' the Sothcb) p.. inter 

and lhe olhe:- b)' an artist perhaps connected with him. sho~ the 

careful execulion of pallern borders characteristic of the tirsl 

group. A laurel wreath forms the middle OOrder. The central 

seclion of lhe Lou\'rc lid b, misJ>ing. By analog)' "'ilh Baltimore 

4H.2019 and olhers in "'hi(:h the stem broadens OUI into a base 

raised aOO\'e lhe Ic\el of the lid. such a 'item base and accenlualion 

belween levels ma), be reslored for lhe LoU\'re lid. The {'hoke of 

macandcr and erns....quarc fur lhe outer boni.·r of the 1.... 0 1id~ 

conneClS lhem "ilh the firsl pallern group. Alhens 1288 (no. S. PI. 

.1.1.2). h.llo a J>chclllc of decoration \'ery cloloc fO Ihal of Ihe LOLl\'fe. a 

tongue and dol. a laurel garland .md 3n outer border of 

interlocking maeander and dOlled cross square. The hasty 

execulion of Ihe pllllcrns is markt:d. 

Athens 2188 (no. 9). Munich 2721. Boston 93.108. and South 

Hadle)' (no. 1.1. PI. 34.1). h;I\'e.1 \'arialll pattern of laurel and rai..ed 

white berr)' for the main border. The laurel on Ihe Boston and 

Soulh Hadle)' lids is tied at the ends like a wreath. Th{' outer 

borders arc varied. debased tongues for Athens 2188. longue and 

dot for South Hadley. double dots for Munich 2721 and a line and 

dot band for Boston 93.108. 

The lids of Vienna 3720 by the Painter of Lundon 0 12. Oxford 

1%1.468 (PI. 35) b)' the pailller of Bologna 417. Athens 1591 (PI. 

J-I.2) and Gene\Ca 10763 by the Group of Athens 1591 sho.... a hast)'. 

ahnO§t mechamcal rendition of Ihe pattern borde~. Debased 

tongue pattern frames the main pattern border of laurel on Ihe 

Vienna. Mhens and Gene'·a lids. T~o plain black bands frame the 

laurel pal1ern of the Oxford lid. fullu"cd by an outcr border of 

rays. The shape of these pyxides !ieenlS tran.sitional and the) ma) 

d~tc bet~ct'n 450 and 440 B.e 

T"o pyxis lids. Honolulu 3598 (no. 15. PI. 37) and Athens 1741 

(ml. 14. PI. ]8) are ornamented with a different principal pattern. 

Lolll!> buds arc linked b) arcs ~ith dots set ahO"e and below in Ihe 

spaces. The Honolulu lotus patlcrn is cardessl) executed and lacks 

dOls anlOng the outer an:!Io. The outer pallern border is composed 

of a Lig~ag line containing opposed triangles. This pallern 

reappean in the border below the frieze. This coordination of a 

pallern band on the lid wilh another on the box is unusual. The 

chain border occurs again among vases of the Penthesilea 

lolU~ 

Wo;kshop 11. 

Before "e take Iea\e of the first Pcnthesileans. mention should 

be made of a fine white ground pyxis in Boston. decorated by the 

Hesiod Painter. a {'tllltcmporary of the Penthesileans but in his 

slyle an outsider. 

B{/~((", 98.887. from Eretria. PI. 34.3. 

H. 0.107. H. with lid 0.176. D. ofJid 0.146. 

Lid: black band. tongue and dOl. black band. circumscribed 

palmelles. maeanders ill groups of six separated by cross squarcJ> . 

black band. Sidt' ~(Iid: re"crsed rays. black band. 801lum: dol. 

t"O concentric circles. and band. Black glaze moulding. while 

groove. hlack line above frieze: be/v\\': three black lines and black 

band. 

Hesiod Painter. v.hite ground: Muses and ncatherd (Hesiod) 

lopccial commission: ARV 774.1: CB. 1. pI. 15.37; PurulifJ()lt/etla 

416.

THE ATTIC" Pn::l~ SALLY RUTHIE.FURD ROBEJtTS 0' 

BOIh in shape and in ornament this piece proenls points of 

similarity ~ith \'ases produced in the Penlhesilea Workshop and 

certain significanl differences. The profile of the \'a~ e~hibits a 

conca\e curw slrengthencd at the base and completed b) the 

uutward curw of the lid. The foot is tripartite ~ith rounded 

nOlches. Lid designs closely resemble those of Berlin 226 I (no. 10. 

PI. 30.2) by the Vcii Painter. 

The differences are as follO'o's: a pear knob rcplaces the usual 

disk knob with cruwning bUllon. In all but ,lIle exanlplc in the 

work of the Penthesilea Workshop the l'onCa\'e tun'e of the prolile 

of the box is echoed by a conC3\'e curve of the fuul. There is a 

sloping line which descends from the base of the receptacle Iu the 

fool. In the Hesiod pyxis the base line of the reccptade rUIlS 

horit.untillly across to the fool. Thi" detail may be dearly seen in 

lIambidge's drawing,ll The Hesiod Painter is an outsider. 1101 a 

PCllIhesilean: the \'as(' has been dated 460-450 B,e. by Bc:rzley.n 

No doubl the roller who thrello' the vase was familiar ~ ith the lIoork 

of his ncighbors. though not uf their ~orkshop. 

CLASS OF OXFORD 19hIAtl8:'1 RANSITIONAl 

I. OXford f96f.468 (ex Banisler Fletcherl. Pis. J6.J and J5. 

H. 0.095. H. with lid 0.145. D. at rim 0.OS7. D_ of lid 0.125. H. of 

foot 0.025. 

Lid black hand. laurel IIorcath. black band. ray... /lilt/m", dot. 

eoncenlric circle. lIoider concentric cirde. 

Black glazed moulding. rescncd line abow frie7e: bdulI': 

rescnl,

·2 

THF ATTIC Pv CA 6.16. from Eretria. Ph. 41 ,2 and 47.1. 

11. 0.124. H. with lid 0.179. D. at rim 0.108. D. of lid 0.15. H. nf 

foot 0.03. sct·tions of fool: 0.08.0.089. 0.07t1. 

I id dehased tongue and dot. black band. laurel, black band. 

deblbed longue and duI. Lld fllIl'n'o,' re~ned: bonum trace of 

circle and pnhaps ..mall central circle under ]iml' dcpmil. 

Blad glazed moulding. groo\c. racncd line abm'e frieze: bdol\" 

ra)s bcl.... een resc.... ed band!>. 

Painter of Hcidclbcrg 209. Pelias and his daughlers; AR V. 1289. 

25: Seehan. /:/Ild,,!> ~/I' la TruJ.:/dh' Gr('('qlle. 479-480. fig. 1.17. 

5. Muy.·I/I·.·. Unil">r\ill' 116. PI. 43.3. 

11 ~ith lid 0.181. 

I id rkba..cd tongue :1nl! dOl, laurel and herry. black band. 

1ll1leandct"> alternaling ~ilh eros" squares. 

Ulal'k band. resened line abolc Iricze: hdOl": laurel and berry. 

KAAH inscribed by each figu,e. 

I he Oppenhcimer Group. Heslia: .....oman seated with torch. and 

foul' .... Omen approaching her; woman seated. anlt .... oman.

THE ATTlr PyXIS 

SAllY RUTHEIIFUJU) R08EIITS 

.5 

ARV. 1224.2: Hampc and Simon. Gri('chisches LI,bl'II im Sl'il'gf'l 

I/l'r K III/~t. pI. 28. 

O. YIlII' 1913./53. 

Knob mb~ing. H. 0.115. D. 0.089. D. of lid 0.128. 

Lid. egg. black band. egg and duI, blal-k band. egg and dol. Lid 

il/ft'r;ur: resened; bottom: dot and concentric circle. 

Black glazed moulding. resened band abo,'c frieze: bl'/o\l': egg 

and dot bctv.cen rcsencd bands. 

KAAH is inscribed on a block to the left of Ihc door on v. hich a 

A'oman is seated. 

Painter of London E 777. v.omen: AR V. 944. 83: Baur. 

Cotulogue of ,h,. R,.bt>Cco D. Stoddaro Coi/«,io" o} Gn'i'le and 

Italiall VUS,.s ill Yult> U,lil·t>rsit)'. 103. pI. 12. 

7. London £ 777. Pis. 4S and 39. 

H. 0.13. H. wilh lid 0.191. D. of lid 0.157. 

Lid: debased tongue and dot. lotus buds pointed outv.ards linked 

by arcs above and below (dOlS above and lines extending from buds 

helov.). black band. interlocking maeander in groups ofrive and SLt 

(once se"en) alternating v. ilh cross squan.~. Sidt> oflid: rays. black 

band. Black glaze moulding. resen'ed groove abo\'c fricze: belo.....: 

black band. egg and dOl between resen'ed bands. 

KAAOl: 

KAAH is inscribed twice in the field and KAAH tv.ie.: alonc. 

Painter of London E 777. women: ARV. 944. 79: C. Snlith. 

COIuluglll' uf Gref·1e olfd Etnl,fcal/ VaSI'S ill Ihl' Bn'lish MIlSf'IW'. 

Ill. 309. E 777. 

8. Paris. LOlIl'rl' G 605. from Greece. PI. 46.2. Fig. 6

THE ATTIC PYxIS 

SAllY KUTHE'Rfl1RD ROBEaTS .7 

Lid: debased tongue and dot. laurel. black band, rcsen'ed petals. 

Dot and concentric circle on bottom of receptacle. 

GroO'·e. rtsen'ed band abo1le and belo.... frieze. 

Painler of Bologna 417..... oman seated r.. on diphrO' looking 

back at double door. to right a .....oman mm'ing r.. but looking back. 

:1 Nikt.·. III the field fillets. sandals and t\lo"O kalathoi. For "tyle cf. 

Oxford 1%IAbB (pI. 36.3) and Munich 2721. Jerome M. Eisenberg. 

An of tlH'AIIl'iellt World I. 110. 17: Cm. ChriJ"til'. April JOand May 

I, 11:J74. no. 178. 1'1. lb. 

12. l\fiuissiflpi P IOH tex D.M. Robinson). PI. 43,2. 

Knnh missing. about half the lid restored, H. 0,121. tutal H. 

pres, 0.147, D, at rim 0,117, D. of lid 0.155. H. of foot 0.034, 

Lid: debased tongue and dot, black band, laurel. black band. 

reserved petals. Sidt, oflid: glazed .... ith cending preceded 

by ;I figure in himaliun and t.....o running figures. the first one 

fcmol\c \loith sakkO!> and chilon. Profile as in Penrhesilea Workshop. 

Walllhicker than in Brauron 176. 

e'l 4.fO H.C. 

Around 4-W D.e. a different stage in the forming of pyxid~ of 

t)-pe A bt..'Comes apparent in thc Penthesilea Workshop. The \'ases 

an: of standard siLe and red-figure technique. There is no cvidence 

that the production of while ground vases continued. The original 

canon has been exaggerated but is the basis for these later \ases. 

TIre canon prescribed a long body, a eonca\'c cun'e strengthened at 

the ha~e. a tripartite foot with rounded notches, a disk knob with 

cro.... nillg button and a fricze bordercd by Iinel>. III lhe later vases 

the lOllnC3\e cllne is dra.....n in tov. ards the base of the vase and then 

much inl'rea~ed. Compare the simple cun'e of Munich 2721 (PI. 

Iq,I), \Iilh the more pronounced cun'e of Athens 1661 (PI. 40). The 

cxaggeration of the curve necessitated a further change in the fonn 

of a p:lttcrn border set belo..... the frieze. It usually consisted of a 

deri\athe of the tongue pallern or egg and dot. In the exceptional 

cllse "here l>uch a border was not employed the consequent 

di"tClnion of ligural or architectural elements may be discerned. It 

i~ p.micularly e\'ident on Lou\·re LP 2692 (PI. 42). The Iov.cr part of 

tht: column has a distinct cun·e. E\'identl)', the painter sa.... the 

csthctic ad\'antagc of confining the frieze to a rel3livel} Oat surface. 

The le\c1 of care e\'idenced in the ponerwork ne\er reachel> that 

achic\'ed in the first slage of the Penthesilca Workshop but remains 

at the :lxcrllge le\el exemplified by Munich 2721 (PI. 19.1). The disk 

knob "ith button rClaim the shape that \lo'as evoh'cd at th:1l st:lgl'. 

The lid profile has changed slighlly. The juncture of Ihe base of the 

lid .... ith the pot is \'ertlcal and suddenly slants out.... ard gi\ing the 

etlcct 01 a l>light hook. Athem 1661 (PI. 40) sho.... s this tendency 

\Iightly: ill London E 781 (PI. 44), the effect is pronounccd, The 

ILlpartite pallern band deeoration of the lids continues. Pride of 

\ll;h.'C i.. gi\en to the laurel .... reath. The paired lea\'cs are sloppily 

~h;Jpl'C! and lie c1use along the stem. as in LoUHC LP 2692 (PI. 

46 11. Hlal'k bands l'OIl1inuc to be used as acccllts. This stage 

appc;\~ hi lasl llnlil around 420 B.t'.

THE AlTK Inn 

SA ........ y RUTHERFURD ROIlERTS 

,. 

Athens 1707 (no. 2. PI. 41.1). probably the latest exta", pyxis of 

type A b}' the Painler of London 0 12. is Ihe only one of his vases 

with a pallern border below the fr;e1.e. The conca\'e cune of the 

profile is \'ery shallow .... ith a jut 10 Ihe lid which gi\'t~s a 

pronounced hooked effect. The presence of a lower pattern border 

and the emphasized lid profile are among the indications that this 

pyxis is later than a \'cry similar one in the Serpieri Collection (I'. 

47. no. 6), b} the same artist. The tigural work is hasty and 

hlTlllul;lic as i.\o characteristic of thi!> artist. 

The conca\e cune of the walls of Athcm 1661 (no. I. PI. 40). is 

mon: pronounced. The .... alls are dra.....n in to.....ards the base and 

then flare out strongly presenling a profile more f)'pical for the 

Penthesilea Workshop 11. The loy.er flange is decorated by a band 

of ra}"S bet.....een irregular reserved lin .... '$. The notches in the fOOl arc 

wide, low and carelessly shaped. Although the long Chin Group 

has been ~paraled in style b}' Deazley from the Pcnthesileans,n 

there i!> no doubt that b}' shape this pyxis belongs .....ith the uthers 

listed abO\'e, as is thc case also for nos. 4. 5, 9 and 12. either 

unattributed or decorated by painters outside the Penthesilea 

Workshop. 

The profile of Louvre CA 636 (no. 4. PI. 41,2) is extr:Jordinarily 

akin to Alhens 1661. from the disk knob with a low cro.....ning 

button on a stem of medium height to the 10..........ide notches in the 

foot: the pattern border belo..... the frieze is also identical. The 

artist, Ihe Painter of Heidelberg 209, is howe\'er an outsider. The 

painter here undoubtedly worked on a pyxis shaped by one of the 

pOllers for the Penlhesileans. 

No. 5, in Mayence (PI. 43.3). presents much the same type of 

problem as Louvre CA 6.36. In profile it closely resembles Athens 

1661 and Louvre CA 636. Beazley attributed the vase to the 

Oppcnheimer Group. who arc outsiders. The pyxis is of Sl3ndard 

size, the curve exaggerated and a lower patlern border has been 

added. 

Yale 1913.153 (no. 6) fits the criteria for this class and is ascribed 

10 a Penthcsilean, Ihe Painler of London E 777. The lower border is 

filled by egg and dllt, a pallern which hereafler became a favorite. 

The three bands of egg pattern on the lid correlate with Ihe IO~'er 

border. 

London E 777 (no. 7, PI. 45) the name-piece. \ari~ some.... hat 

from the profile standard for this class. The sid~ of the pyxis ha\'e 

a much flattened conca\'e cune and the lo.....er flange is 

emphasized. The lo.... er decorati\'e border has been doubled, a 

black band bet'llo'een reserved Iin~ is set abo\'e a band of egg and 

dol. The notch~ are tall, rounded and dra.... n in at the base. The 

lid profile projects !>trungly beyond the box. 

rhe '''3l1s of LouHe G 60S (no. It PI. 46.2). another ppis 

a\l'ribcd to the same painter, are more strongl)' flattened than 

thlbC oflondon E 777. The 10"" er flange projects emphaticall)' and 

i anlculah:d by a black glazed moulding set off by resem:d 

groO\C!i and then a sloping surface decorated .... ith chC'\rons. The 

furmulation of the lo.... er flange differs from that of the class and 

rncmbl~ that of London 1920.12.21.1 (PI. 49.1). 

Ihe Jtlup-!>hapt.'d notches of London E 781 (no. 9, PI. 44), connect 

thi!> \asc .... ith London E 777 and Lou\"Te LP 2692. A horizontal 

gmU\e casuall}' indicated as a slighl step in .... ard!> on the disk knob 

connects the !>ame thn.-e \'ases. 

I he extra\'aganl1} exaggerah.'d ('un'e of the profile of Loune LP 

2b92 (nu. 10, PI. 42), allributed IQ an undetermined member of the 

"nrhhop of the Penthesilea Painter, indicates a date .... ilhin phase 

11 ul the .....orkshop. although the frieze is simply bordered b)' 

resened lines. The loop notch .... '!> alsu arc an indication of the late 

phase. 

The colour of the lid is similar to that of the receptacle. It should 

be nOh.-d. however, that though the lid fits, the edge lies a liule 

inside Ihe contour line of the wall at the juncture of the box and 

lid. The transitional line from the body of the pyxis through to the 

projecting hooked profile of the lid is not smooth as in London E 

781. Thus it cannot be taken as certain that the lid belongs. 

although colour. pallerns, knob type and profile arc characteristic 

of the workshop. 

The conca\'e curve of the pyxis in the University of Mississippi 

(no. 12. PI. 43.2), is strong and the projection of the lower flange 

more pronounced than on any olthcr vase of this class. The lower 

Ilange is decorated with a band of eggs between reserved lines as in 

London E 781. The lid, though extens;vely damaged. still preserves 

the hooked prolile charaeterislic of the Penthesilea Workshop 11.

70 THE ATTIC PVXIS SAllY RUTHERfURO ROBERTS 

" 

The frieze represents three women approaching a door followed by 

a flying Eros." The vase is unattributed. The painter is 

contemporary with the Orollol Painter, but ahhough they use many 

similar motifs their SI)'les ditfer markedly. A certain similarity may 

be noted between the drallo'ing of the door on the Mississippi "ast 

and Ihat of Munich 2720 by the Drouot Painter n (PI. 49.2). 

Further. the drapery riStS up in a flounce from the heel of a 

running woman in bOlh. but the Drouot Painter's women always 

turn their heads 10 look back whence they came. The poncr's 

signature on the limel of the door on the Mb.sissippi pyxis has 

pro\'ed 10 be a modern forgel')'. JI 

The pyxis. Ttibingen E 156 (no. 12). by the Aberdeen Painter has 

been senrely damaged. The fOOl has been entirely reslored in 

plaster and also the bottom of Ihe box. Two fragmenls of the lower 

flange with a border of egg and dart ha\'e been presenied. The 

height of the box alone as restored is 0.135, probably dose to its 

original size. There sttms no doubl that the vase ~as of slandard 

si7..e and originally had a canonical tripartite fool. The 10"'er 

pattern border suggesls as a corollary the exaggerated concave 

curn of the .. ails. Similar egg and dart may be seen on two lebetes 

gamikoi attributed to Ihc Washing Painter and dated 430-420 

a.C.n 

A laurel wreath form!!. Ihe main pattern band on the majorilY of 

lids from the Penthesilea Workshop It. as it did in thc second, 

more mediocre stage of the Penthesilea Workshop I. The quality of 

workmanship continues to decline. The lids of Alhens 1661. Louvre 

CA 63tl (PI. 47.1), Lou\'re LP 2b92 (PI. 4b,O, Mayence 116 and 

Mississippi manifest the late form of paired leaves lying closely 

along thc slem. The leaVe!; lie limp and lifeless, no sap runs. Two 

black bands regularly accenwate Ihe main pallern. A IOngue and 

dot band surrounds Ihe knob wiln the exception of rays on Louvre 

LP 26C)2: the outer palterns vcry widely. 

The laurel and berry pallern of Athens 1707 by the Painter of 

London 0 12. seem rathcr to be linked wilh transitional lids sm'h 

as Oxford 1%1.468 (PI. 35) and especially Vienna 3720. 21 The 

laurel of the London market vase (no. 11) is just as in Oxford; the 

reserved petals connect it wilh Ihe next group. 

The llul('r border 01 rcsened pelals of the Mi\sis\ippi Pyxl~ (no. 

121 links it with Ihe earlier lid of Alhens 1741 (PI. 38), by Ihe Veii 

polinl~r. rhe main pallern band of Athen~ 1741 is composed of 

hnl..l-rl IlltuS bud~. This border also occurs on lIonolulu 3598 and 

umclnn E 777 lno. 7. PI. 39). in a less careful rendilion. The 

lragllll'ntaf) lid of I"ubingen [ ISblt recalls Athcm 1741. bOlh in 

Ihe poillt~ of ils 10lus buds linked by- arC'S and dOlled, Ihe accenting 

!;llacK !;land and the outer border of reserved petals. 

A lutu~ bud chain with points dO~'n~ards may oftcn be seen on 

,hl' 11\.'('1.... of red·figured column·kralcn. A considerable number of 

l' lumn-haters ~ ith such decoration come from tombs in the Valle 

rrchha atca al Spilla.)O 

rhe main wne of Ihe lid of London E 781 tno. 9) conlains an 

3nimal fricLc: a buar .... ith snout dO~'n confronting a lion and a 

repeat of Ihe pair. The t~o pain are set tail 10 lail. The animal 

fricLc h placed bct.... I.'e1l two ron~ntric circk":!> of egg and dOl 

p;lIlcrn. The lid should be compared to Ihe lid of London E 77-1 

(PI 47.2). altributl."d 10 the Drouol Painler,u ~ith two pairs of liom 

31ld boars confronted hcl\lt.'ell band.. ofegg and dot. The egg.. ha'·e 

been drawn on a slight slant in bolh ca!>t."'lJo. The lid of London E 774 

belongs to the class of Munich 2720, which has close amnitic~ ~ ith 

Ihe Penthesilea Workshop 11. 

The Painter of London 0 12, a Penlhesilcan, occasionally 

d~·oratl.'d pyxis lids \lith an animal frieze. Two appear on pyxides 

01 t~pe A: onc canonical example in Ihe Serpieri collection tno. 6, 

on p. ·n abm'e)n depicts a liberally spotted panther springing 

Hlward~ a bull followed hy a hoar. The olher pyxi.. , of uncanonical 

typc. is Harvard 1925.30.39 (PI. 4!s.2PI ~ith thrt.'e bulb walking in 

~eqllellce separated by 1"'0 boulders. 1 ~o additional animal friezn 

;lppear Ill! the tops of lids of pyxides of type B. one in Fulcla,l( the 

Iltht.:r ,llle on the Vienna ll1arket.l~ Pair~ of animal.. , eonfronled. do 

not I~Cllr on the lid.. by the "ainlcr of London J) 12. The Wedding 

Pallltcr. another Penthc~ilcan. once decor:lIed the lid of a PYX1\ 

tYlw A (ull.:anonica1) ~ilh 311 animal frieze. 16 

1 he three cOIll'entril' bands ot" egg pallern '" ith double border!> 

and dots in the inten;tices ldots missing in the inncrmO!>t circle). 

aCl'ented by two blal'k bands on Ihe lid of Yale 191.1.153 (no. 0). arc

72 

THE ATTIC PY:u~ 

SAllY RUTHERFURD ROBERT5 

7J 

unprecedented. They coordinate I>:ith a similar band of egg and dot 

on the lower flange; such decoration of the lower flange is frequent 

on pp;ides of the class. 

CLASS OF MUNICH 2720 

I. MIII/ieh 2720. PI. 49.2. Fig. 7a. 

H. 0.073-0.074. H. with lid 0.108, D. at rim 0.065. U. of lid 

0.085. H. oUOO! 0.021. 

Lid: debased tongues. egg and dot, chenolls. Lid illlt'rinr: dOl 

and twO concentric circles: bottom: same. 

Groove. reserved band above frieze: hf'low: reserved band. 

Orouo! Painter. Nikc and woman; ARV, 1223. 4: CVA. 

Germany b. Munich 2. pI. 96.6·8 and pI. 99,3. 

2. Londoll E 779. from Athens. PI. SO,1. Fig. 7b. 

Lid missing. H. 0.078. D. at rim 0.062, H. of foot 0.023. width of 

sections of foot 0.046. 0.051 and 0.053. 

Grooved black band, reserved band above frieze; hl·tow: reserved 

band. 

Drouot Painter. Eros and women; AN V. 1223.2; Smith. 

Catalogue ~rGreelc alld Etruscan Vases 111, 370. 

3. A/hem. Agoro P 2283. from Athens. PI. 50.2. Fig. 7d. 

Lid missing. About half of the rim gone and a large pari of onc 

side. One of the three feet missing. another chipped. H. 0.0%. D. 

al rim 0.078. H. of foot 0.03. 

BotlOm: dot. circle. band. 

Black band. resef\'ed line abovc frieze; bdul\': debased tongue 

between reserved bands. 

Drouot Painter. women; AR V, 1223.5; Hesperia 4 (1935) 

477-478. and 499 no. 2. figs. J and 4. Deposit: R 13:4 well ca. 

440-425 n.c.. Agura XII. 398. 

4. Heiddberg 51(21 (ex Parrish and RevelslOke). PI. SO.3. 

Lid missing. H. 0.083. D. at rim 0.074. H. of foot 0.025. 

BUT/um: dOl and t","o concentric circlc!>. 

Black band. reserved groove above frieze; beloll': egg (double 

borders and black core) and dot between resened bands. 

Pa;nter of London E 777. winged goddess and .....omen; ARV. 

944.~ and p. 1675: Miinzl'" IIl1d Medaillf'1I AG. Auktion XVIII. 

No\'. 29. 1958. pI. 40. 124; R. Hampe. Kutulug da Sum",lll,,!: 

(/Iltikt'" K {('i"lwmt dt'r Ullil'l'rsituf H('idelbt'r!:: 11. Neuerwerbungcn 

1957-1970. no. 85, plo 62. 

5. Lt'yd{'/1 KVH 157. from Cyrcnaica. PI. 51.2. 

Knob missing. H. 0.112-0.115. totul H. pres. 0.134. D. al rim 

~.095-0.099. D. of lid 0.132-0.133. 

Lid- egg and dot, black band. laurel. black bund. egg and dot. 

/Jl'lfl\l' frit'u': egg and dot between reserved bands. 

Buttum: doucd circle. circle. band. 

Compared with the work of the Drouot Painter. Ero!> and 

","oman. Eros and woman. In the lield. a door between the IWO 

groups; ARV. 1223. The egg pattern has double borders and black 

cores. The profile and pallerns of the lid indicate that it belongs to 

the cia!>!>. but ;t is loo large for this vase. 

6. Pun's Market. 

1-1.0.15. 

Lid: debased tongues. laurel (no information as to border 

pallern). 

Bl'/o\\' .!'riezf': eggs w;lh black cores. 

Drouot Painter. Ertltes and women: ANV. 1223. I; V{'/I/(' a 

L 'Hotl'! IJrollut 13 Mars, 1911, pI. 5. 13. The name-piece. 

7. Athl'lIS 159U (CC. 15(5). Pis. 51.1 and 48, I. Fig. 7c. 

Knob and greater portion of slem missing. H. 0.10. total H. pres. 

0.115. D. at rim 0.086. D. of lid 0.118. H. of foot 0.027. 

Lid: eggs with double borders and black cores. black band. 

hound!> and harcs. black hand. eggs with douhle borders and black 

cores. 

Lid ill/('riur: dot and two concentric circles; bOllom: same. 

Flat black moulding. groo\'e. reserved band abm'e fr;eze: be/o\\':

74 TtlE A-rfl( PYXIS S.,u.LY RUTHEllFUIlD R08EllTS 75 

I.'~g 13~ 011 lid) bcn.n:cn rc..en'ed bands. 

Orouol Painter. Erotcs and women; ARV. 1223. b. 

H. Gh.'''' /6. 

Ud missing. H. 0.082. D. 0.087. 

/lotto",: dot. circle and narro" black band. 

Black band. rcsened line abo'\,' frieze, hr/m,,; egg.. v.;lh double 

border!> and black COtes bet\\een resened lines. 

Urouol Painter. Erotes and "'oman: ARV. 1213.3; AIIICI 22. 

398, pI. 9. 10. 

9. Lnndoll. "arl ofF. 774, from Athens. PI. 47,2, Fig. 71.'. 

Lid (knob alien), D, 0,123. 

Lid: dotted eggs with bl:lCk cores and double border), black 

Iwnd. bO;1r and lion confronted, rcpc:lIcd: black band. dotted egglo 

\\ ilh black cores and double borders. 

Lill ill/prior' glazed. 

Drouo! Painter.....omen: ANV, 122J. 7. No information 

.lO.J (hybrid p)'xis. t)'pe A. ARV. 1224.4), 

Athens. fr{'lnl Brauron. 

Drouol Painter. womcn; ARV. 1223. 7. No information available 

as to form and now unlurtun:Hely nlissing. 

The da~!> of Munich 2720 is clearly dependent on and 

COlllemporary v.ilh the Pcnthc!>ilca Wurk!>hop 11. It diITer

7. TilE ATTIC- PnllS 77 

MOnllaures Painter. woman scated ..... ilh Eros..... omen and )outh: 

)outh and \\oman: youth and .... oman. Paris :md Hckn v.ilh the 

"Acneas group" repeated: ARV, 1296. 26: CVA. German)' 6. 

Munil'h 2. pI. 97.2 and 5-0. pI. 99.S. 

3. HI'idd!lt'rK 66./0. 

H. 0.113. H. with lid 0.157. D. at rim 0.094. D. or lid 0.129. H. of 

fOOl 0.031. 

Lid: egg (black cores and duuble borders). black band. oblique 

addorsed palmcllc\ linked by a running scroll. egg (black ('UTes and 

double borders). Lid illll'n"or: dOlled concentric circle. circle. band; 

hOlmm: same. 

Black band. resened line alKwc frieze: bdoll': egg (a.. un lid) 

bel.... ccn reserycd lines. 

Red-figure. lyre-playing Eros and v.omau. door. \o\omall with 

Eros and .... urnan, Eros and 11000130; H. Hampc. AmI/hI}: (/ 1,,, 

SI/mm/Ill/M "",ilea K't,j"JcultSt du UI/;I'f'rsiIU/ H,·illl·lh,·r/.: 1/. 

Nt'I,,'n"I'rbuI1RI'II 1957·1970. no, 84. pis. 60-61. Aserib(.'d by Hampe 

10 the Montlaures Painter. 

4. NI'''' Ycrk. ('oJ1cction of the late Wailer Baker (ex Cel'il H, 

Smith). 

H. ~ilh lid 0.173. 

Liel: eggs. black band. oblique addorsed palmelle'\ linh'd by a 

running scrotl. black band. eggs (black cores lind doublc borders). 

Lid illlf'riur: dot and concenlric circlc. circle. band: boftum: 

same. Abm'f' lrif":(': small egg (black cores and double borders): 

hl'1ow' egg ::..,d dOl between ~f\'ed bands. 

Red-ligurc. wedding preparatiom: D. \'On Bothmer. Allcient An 

frum Ne\\' York Pril'ufj' Collf'Cfiolls. no. 243. pis. 91-92: JI/lrlil/}:tolf 

f'il/pAra Club l::xltibi/irm q(Allci.,tIt Cn-j'le An, 1904. p, IIJ. pIs. 

XCVII and C'. 

5. Vi.,,,,,,, 1863. from Thebcs. 

11.0.11. H, "ith lid 0.158. D. of lid 0.137. H. of fOOl 0.028, 

I id egg and dOl (black cores and double horder"J. black hand. 

oblique addorsed palmellcs linked b) a running scroll. blar.:k band. 

l'g!! and dOl. Lid im"rior rcsened; bottom 

cird~ 

I{c\erH.'d grome aho\l: frie1e: m-Iow 

bo:t"ccn resen'cd bJnd\. 

Red.figure. women, ('VA. 

pI. 41:1. 4·~. 

dot and NO cOnCenlnC 

egg and dot (as on lid) 

Austria I. Vienna 1. pI. 48. 9-10 and 

b, A/h,'lIs. Agoro P 27317, from Athens, PI. 53.1 and 53.3. Fig. 8b. 

Lid (knob missing). 0.0.15. 

I ill egg and d.ot (black cores and double borders). black band. 

..,hliquc addorsed palmettes linked b} a running scroll. black band. 

cg~ and dot (hlack cores and double borders). Lill llIf.'riOr: 

l'onl~ntri(" circle and band, 

Clas) of Wiin.burg 542. Hl!sJH'ria JS (1%6) 83. pI. 27e. Deposit 

S 16:1 "ell co. 4Z5·4(J() IJ.C.. Agnr/.l XII. 398. 

7, A/hl·lIl. Aa. MII:fl. 6477. fron1 Ihe Sanctuary I)f the Nymph, 

'1 he Class of Wiirzburg 542 is in many respects dependent on the 

Pcnthe"lka Workshop I!. The pyxidl.'!> arc of standard height and 

hthl.' a concave curve slrcngthcned al the ba~C', emphasized by a 

lll\\cr pallern border. The Montlaurclo Painter. 10 "hom Munich 

2722 b anributcd. and "ith "hich the style of Wiirzburg 542 is 

compared. had some (.'()IIneclion with the Pcnthesileans. fur thi~ 

painter collaborated on a kJlix "ith the Painter of Hcidelberg 

211.)1 

The arrangemenl of pallern zones on the lids is modelled afler 

the Pcnthesilean Wor~shop but Ihe main paltern of oblique 

addur~ed palmenes linked by a running scroll is new. A dom.'d egg 

pattern" ith black cores is set belo~ the pyxi!> frieze. Thi.. pallern 

coordinates with the subsidiary borders on the lids. 

A lid from the Athenian Agora (no. 6). which by its prolilc and 

pattern borders. belongs to the class comes from a well dated to the 

last quarter of the fifth century. This date is applir.:able to Ihe reM 

of the examples from thi!> class. 

A ppiJ>. tJPC A. allributed to the Montlaures Painter W:l!> once 

on the London markct. J1 Unfortunately. no information is a\'ailable 

concerning its shape or paltcrn borders.

7. 

"' HE AlTlC PYlI"lS 

SALLY RUTHERfURD ROIlI:!RTS 

79 

I. Hunwd 1915:JO..~9. from Gn."e('e. PIs. 54.J and 48.2. Fig. 93. 

H. 0.086. H. IOolth lid 0.121. D. al rim 0.08. D. of lid O.HH. H. of 

fuot 0.008. 

1 Id Three bulb. \l.:llking 10 the left and Iwo rodo; in field. 

helv.een reser\cd cin:lct'nC'd. 

Blal'k band bct"~1I n'Sencd lines abo\c frieze: bl'lOIl n","cn'cd 

line. black band. Ri,,~ loot: glazed with tesen't:d line at b3~C. 

The Painter of London 0 12..... omen: ARV, 963. 92: CVA. 

U.S.A. I. Hoppin and Gallatin Collections. 9. pI. 13. 7-10. 

.1. Porl\. MII~.rl· Hmlill re 155. 

CLASS OF HARVARD 1925.30.39 

2. 7'rJ,·(ll1oJ.21J lex Ba~lc Market). PI. 54.2. 

H. U.OR7. H. ",ilh lid 0.124. D. at rim 0.083. D. of lid 0.107. H. Hf 

10010.01. 

Lid. laurel and ber!) 'He3lh hcl.... et>n resencd circll.... Lid 

i"/l'TIO,.: resencd: bottom rClocncd. 

. Wh' ll~ 

r1nl', b ro"n glal.c hne . abo\c frie7C: hl'luw hrO.... 1I gl;l£c 

I~nc. ",hlte band. brO"'n gla7.c line. Rillg,lUfl!' gla£l'fl "'ilh rescncrl 

hne :1.1 bil"e. 

Painter of Lundon D 12. white ground: women: AH V. 1675.94 

bis: M,ill:l'f' /llId Mmuillt'/I AG. Auktion XXVI. October 5. 1%.1. 

no. 149: HMI-It 670(9) 81. ligs. 11-13: Purulipul1lt'lIu. 434. 

Lid Illi,,~ing. 11.0.113. D. al rim 0.095. D. at hase 0.U5. H. of 

loot 0.017. 

Black band. rc"en'l't! gruU\e abtwc frieze: ht'/IIl": rc"el"\~'d line. 

HillJ: I""t: gl:lI;ed. 

Hcd-ligure. women and bearded Illan leaning on stall": CVA. 

France 16. Musec Natiunal Rodin. pI. 26. 1-3. 

4. AIIIl'm. privatc. PI 32 . .1. 

Mea!>ure1l1cnt" un:wailahle. 

Ud· tongue and dol. linked cirCUIll!>crib\:d p;llmettes .... ith a leal 

III each !>pandrel. debasl-d tungue!> dotu:d abm c and belo..... 

Black band. re..ened band aOOH" frie7c: hl·I"" resen'ed hne. 

Hm!! If Hit gla£cd. 

Vcii Painler. (.... oman. }"oulh): ANV. 906. 115. The lid may not 

helong. 

S. LII'I"r 5.1Y-16.5.lo. PI. 54. L 

ParI of stem and knob missing. H. 0.09. 10lal H. pres. 0.115. D. 

ul lid 0.123. H. of 1001 0.019. 

Ocba..ed tonguc!> on base of knub. Laurel. hlack band. debased 

h1ngut.'!> on lid. 

~ Black hand. n.'!oCf\'cd line aoole frieze: helo"'. resen'ed line. 

black band. 

Painlcr of London 0 12. women, ARV. %3. 91: HMFA 67 

09(9) 83. figs. 15--18. 

b. ~)·dllt·-" 5.1.06 lex Fau\el). from Greece. PI. 55.2. 

Lid missing. H. 0.0635. D. at rim 0.066. mu. D. 0.087. 

Ih.",el'\(,-d line .:abo\e frieze: bl'ifJI" re"\cnlu lint'. bl.:ack band. 

Ui"K IU in base of slem for 

repair (knob a reSloration). H. 0.086. total H. pres. 0.091. D. at 

rim 0.089. D. uf lid 0.123-0.125. H. of fout 0.012. 

Lid' dehased wngue and dot. black band. laurel. hcrringbone. 

Silll' 01 /ill: reserved. LiII illt"riur: rc,crv~:d: 1"'"11/1/: rescl'\ed. 

mack glazed moulding. reserved groove above frieze: hl'/olI': 

re,erved line. black band. rt.'!>crved line. black edgt.'. HillJ: ./,nll: 

n:~crverl. 

Wedding Painter, birth of Aphrodite: ARV. 924.34; BMMA 35 

(]940j .17, lig. 2 and 39. lig. 4.

80 

SAllY RUTHERFURD ROl:lERTS 8' 

COMPARE 

Berne Historisches Museum. Loaned by Christoph Clairmont. 

Fig.9c. 

Fragment of loop handle preserved. H. 0.092. total H. prcs. 

0.123. D. at rim 0.077. D. of lid 0.105. H. offoot 0.019. 

Lid: sheep confronted by a panther and (ollo",.ed by another 

panther between two reserved circles. Sidf> of lid: herringbone. At 

base of lid a moulding. Interior of lid glazed: bottum: five 

concentric circles. 

Black band, reserved line above frieze; below: reserved line, 

I;Ilack line. 

Wedding Painter. Danac ill Scriphos; ARV. 924. .15; AlA 57 

(1953) 92·94, pis. SO·52. T.O.L. Webster, Polter ""d Putroll i" 

Classical Athem. 263. Notches of foot not indicated on profile 

drawing. 

The Class of Harvard 1925.30.39 was decorated by artislli 

~Ionging to the Pcnthesilea Workshop. The lids prt~r\'ed show 

patterns fanliliar from the Pcnthc!l.ilca Workshop I, and especially 

from the transitional stage of that workshop. The subject maller. 

female genre scenes placed in a frieze arrangement around the 

body of the pyxis. framed by simple resen'ed lines. is also typical of 

that workshop. The body has a long concave curve st~ngthened at 

the base. The striking and unusual feature of the class is the foot 

which is low. glazed and of ring formation totally unlike the 

concave tripartite ~served foot characteristic of the Penthesilea 

Workshop. The vases are small, slightly smaller than those of the 

Class of Ol:ford 1961.468. 40 with which most are contemporary. 

Five lids are preserved and a drawing of a sixth. which is now lost. 

The two knobs preserved are of a casually formed domed shape 

and the drawing of the lid. once belonging to Sydney 53.06. shows a 

knob of similar profile. 

The Harvard (no. I. PI. 54.3) and Toledo (no. 2. Ill. 54,2) pyxides 

3re very close with respect to profile. measurements and 

decoration, The side of the lid of the Harvard pyxis continues the 

concave curve of the body. a canonical feature Qf the Penthesilea 

Worbhop 1. The sKle of the lid of the Toledo pyxis is slightl) 

con\U. The domed knob of uch is set upon a squat stem "'hich 

lopreads and blends into the sloping surface of the lid. The glazed 

ring foot is men'ed at the base in each. Except for the contour of 

the side of the lids the pyxides are counterparts, made by the same 

poner, decorated by the same painter. ooe in red·figure and the 

other on white ground, 

The pyxis in the Musee National Rodin (no. 3) is slightly taller 

than the Harvard and Toledo pyxides. The conca\'e curve of the 

walls is acceotuated towards the base. The curvature is noticeable 

in llle distortion of the columns. The glaz.ed ring foot is taller and 

makes a better basis for the vase, 

A pyxis by the Veii Painter in a private collection in Athens (no, 

4. PI. 32.1) is very similar in profile and proportions to the Musee 

Rodin pyxis. The curve of the walls is accentuated towards the 

base, However, the reserved line below the frieze has been set a 

good distance in from the edge. minimizing the curvature of the 

columns of the frieze, One is reminded of a like treatment on a 

while gruund ppis in Ancona by Ihe Splanchnopt Painter of the 

Pt!nthesilea Workshop 1. 41 In bolh. room is left for a lower pattern 

border, though the space is oOt utiliz.ed. 

1 he Exeter pyxis tno, 5. Ill. 54,1) is similar to those of Han'ard 

and Basle but possesse'li a ring foot so low that the pyxis appears to 

be balancing on the base of the vase itself. The flat upper surface 

of the lid is clearly differentiated from the base of the stem much 

as in canonical lids of lhe l'enthesilea Workshop I and may be 

l'nmpared 10 Athens 1288 (1'1. 21). and Baltimore 48,2019 (PI. 22). 

The S)dney pyxis (no. 6, PI. 55.2) is smaller than the olhers of 

the class and a little squauer. When the pyxis was published by 

St:lckelbcrg in 1837. it still retained its lid with a knob of similar 

prolile 10 the Harvard and Toledo pyxides, According to the 

dnl\\ing in Stackelberg·z the contour of the vase slopes from tile 

ba~e tuwards a flaring ring foot. The Han'ard py"is (no, I, Fig, 

82 THE ATTIC PYxls SALlY RUTtIERFUkO R08Utn 8J 

The pyxis New York 39.11.8 (no. 7. PI. 55.1) is attributed to the 

Wedding Painter and dated ca. 460 D.C. The m)1hological subject 

is unusual for the class but was prevalent in the Penthesilea 

Workshop in the years 46().450 D.C. It is the same height as no. I, 

but squallcr in its proportions. The ring foot is articulated above 

b}' a moulding. The profile of the lid resembles that of Exeter (PI. 

54,0, and other lids of the f'enthcsilea Workshop I. Colour accents 

employed to set off the frieze are unique: the side of the lid as 

well as the fOOl are resened. The ring fOOl of other members of 

this class is invariably glazed as are the sides of the IKls. The lids 

of the Penthesilea Workshop J arc either glazed or adorned with a 

pattern border. 

The conC3H: curve of the \Il ails of the Oanae py.is is 

accentuated toward the base and the degne of cun-e seems to lie 

betv..een thal of the Harvard (no. I). and Sydney (no. 6) pyxides. 

From the base: the contour slopes inward to meet the 10'10' naring 

foot at a sharp angle. The profile of the base and foot is 

somewhat lik!: that of the Sydney pyxis except for the low wKle 

rectangular notches. The formation of base and foot separates the 

Danae pyxis from the class. Neither is the tripanite fOOl shaped 

as in the Penthesilea Workshop I. The contour of the base and foot 

of a canonical pp:is of the Penthesilea Workshop I form .. a 

continuous concave curve as in Athens 1288 (Fig. 4c). The Danae 

and Sydney pyxides seem to show different adaplations of the 

continuous sloping line of the Penthesilea Workshop I 10 the rillg 

fool. 

The lids preserved of pyxides of this class show patterns 

familiar from the Penlhesilea Workshop I. The lid of a pyxis in a 

private collection in AthcllS (no. 4, PI. 32,1), has a main pattern 

band of circumscribed palmettes linked one to the next 

corresponding to lids of the Pcnthcsilea Workshop I {first pallern 

group).d The laurel band on the lid of New- York 39.11.8 (no. 7) 

corresponds to the second pattern group of the Penlhesilea 

Workshop J.u The laurel wreath as .....ell as the subordinate 

borders of debased tongues of the Exeter lid are like Ihe lid of 

Vienna 3720 belonging to the Class of Oxford 1961.468 dated 

450-440 8.C.-s The leaf and berry wreath on the Toledo lid (no. 

!l l' tramed b) resened circles. 'I he leaH.'S are freer in their 

cwcllti'lfl than those seen 011 the Exeter lid hy thc !>ame artist. 

I he animal frieze on the lid of Hanard 1925.30.39 (no. I. PI. 

-l~.21 iimilar 10 that on Ihe lid of a canonical ppis of th£> 

I'cnthL"Silea WorkOS!>css stenlS whieh blend into Ihe sloping surface of 

Ihe lid. The domed knobs of Ihese two pyxides are different in 

I~PC from any in Ihe Penthesilea Workshop 1. 

1he prolllcs and patterns of the lids, Ihe framing of Ihe frieze 

and !>ubjecl matter :Ire similar to the Penlhc:loilea Workshop I. The 

'qual proportions and ring foot are different. One may ask 

\\hcthcr these \'ases were made in the same shop as the canonical 

p}xides of the PenthL~i1ca Workshop I. An ans\Ooer IS suggested by 

\lM Philippaki's discussion of stamnoi decorated by Ihe Painter 

III Ihe Yale l.ekythtl!>, "The Painter or the Yale LckYlh~ painted 

three slamnoi; each of them represents a different Iype, each time 

the painter has filled his decoralive system to Ihat used by the 

other painters of Ihe class,"" Miss Philippaki suggcsts lhat Ihis 

paintcr \Ooorked in the Berlin Painter's work

84 

I Ha, ATTIC PYJUS 

SALL Y RUTHEIIIFUIIID R08EIIITS 

85 

lhe ideas of a polter from outside the shop may ha\'e influenced 

the shape. Indeed the ring foot is one of the hallmarks of the 

v.orkshop in which the potter Agathon .... as acth-e. 

The Penthesilea Painter him!>c1f painled a squat p}xis with a 

lu.... ring fool. 

41h"IH A cr. 569. from Athens. Pis. 56-57. 58.2, ami 59.1. 

Lid missing. H. 0.15. 0.0.26. H. of fool l'3. 0.015. 

Black glazed moulding. resct"VL'tl. grooHO: abo\c friele: hj'l/Jw; 

rcsen'oo line. black band. reserved line. black Lxlgc. Ring foot. 

...QN\K\AAOI. HEIP\AIKAAE. 

PCllthesilea Pailllcr, bride: ARV, 890.172: L:lngln17. ViI' 

,pl/lknl V/lSe'" I'UII (/." AkroJlolis :w At!tc'II. plo 43: T. B. L. 

\\~h~lcr. PO//er 01111 Pmro" ill Clf/ssiel" A/III'IU. 77. The size 

,. QuId lend credence 10 its being a special cOmmission. 

The fragmentary pyxis Athens Acropolis 5M by the Penthesilea 

I'ainter is the largest red·figure py"is e"tam. Correspondingly. the 

k)'lix Ferrara T.18 C VP. from Spina. by the same painter iJo the 

largt.'Jot of red-figure cups}' According to Allieri the diameter of 

the k)lix is 0.566 and the height, 0.24. The height is more than half 

the diameter of the b~1. a relationship not usuall) present in 

l'{JIItcmporary Attic cups}' The o\'eral1 profile of the cup 

corresponds \11 ith thO!it.' of the "Oreikamegruppe."se 

The Acropolis pyxis has a height of 0.15 and a diameter of 

0,26, The height thus also is more than one half the diameter of 

the box. These squat proportions are extraordinary' for the pyxides 

of the Penthesilea Workshop I. The pyxis was found in \'ery 

tragmentary condition. The principal fragment is composed of 

lourteen joining sherds and a complete profile of the wall is 

preserved in one section which depicts a bearded man and a 

woman tending a seated bride (PI. 56 and 57). The profile of the 

1>.'311 is similar to pyxidcs 01" the J)enthesilea Workshop I with a long 

concave body strengthened at the base (PI. 21). The framing 

elements also are in keeping with the canon: a groo\·t.' abo\'e the 

frieze. a resen'ed line below. The slight intensification of the curve 

at the base has been complemented by the placement of a wide 

1;11,)('1;, band followed by a f'CSCned line. 

Other fragments gi..-e additional informati~n concerning the 

protiJe and the composition. Two joining sherds gi\'e a portion of 

the 10\ller \IIall and a 10\11 ring foot. The foot was placed \lieU under 

the bod)' at a distance of ca. 0.049 from the outer edge. In 

addition there are three joining sherds from the upper wall and 

onc other non-joining sherd (PI. 59,1). There are not enough 

.ldJullling sherds in thiS Stttion to make a complete profile 01 the 

1>. .. 11 and the diameter as now restored does not corrC!>pond with 

that uf the principal fragment (PI. 56) because of the incurrect 

Ill,llccment of the une nun-joining sherd in the upper wall. This 

~herd depicts a Doric capit:11 and part of the entablature. The t.... o 

adjoining sherds from the base of the box arc painted with a 

repre~entation of the right lower panel of a door. all adjacent 

column and a woman (IO\ller portion only) clad in himatiol1 and 

dlittlll who hastens rightward carrying a casket (pI. 58,2). A later 

represcntation of such a double panelled door with flanking 

columns and entablature may be Jol'Cn nil the pyxis. Leyden KVH 

ISi (PI. 58.3), and Yale ICJIJ.lSJ.S1 Thus on the Athens pyxis. the 

~herd depicting the Doric capital should be mo~cd \IIdl tt! the left. 

to ghc Joufficienl room for two door panels_ This adjustment \llould 

also doubtlos gi,'e the proper diameter to these fragments of the 

Acropolis p)Xis. Still other details of the composition are ~i\'en 

by three joining sherds from the upper wall which together depict 

lhe head of the woman bearing the casket, a white tasseled fillet 

in Ihe field. and a woman moving to the right with her hand 

IUrnoo back: in profile to the left (towards the door and the other 

h~btening woman). 

It is tempting to connect this uncanonical squat pyxis with its 

fragmentary low rillg foot with the Class of Harvard 1925.30.39. 

By scale and proportions alone this could not be done. since the 

pyxi~ is outsized and the height is more than half the diameter. 

Yet. by profile alone there is perhaps a relation.

TilE ATTIC PYll:IS 

SAllY RUTHIERfURD Ra.ERrs 

6' 

SINGLETONS 

1. Ontt Curtius CoU,=ction. 

Concan~. ins'=t flang,= for lid. spreading c1osoo foot. 

Reser\'oo; line articulating acorn knob. at mouth of vase 

(probably flange) and on exterior lower ooge of foot. 

lJl3ck. l. Cuniu!> "Pentheu!>." WjllckdmuI"'~/,rogrtl",m H8 

(1929) fig. I: C. W. Lunsinllh e Schculccr. Gri"kscl/l' C!'rIIl1Ill'k. p. I 

43, 122; AgurII XII. 174, 

Ca. 470-450 B.e. 

2, A,hells T. E.. 162J, from Athens, 

Lid missing. Inset flange for lid. long, concave wall. tripartite 

foot. 

Black band above frieze. below: black band bet\.\'een reserved 

lines. net pattern. black moulding. 

rhe lcningrad Painter. ~orn'lII ~e;llcd spinning. "ith a \.\nman. 

a girl holding a male child. and a youth: woman seatro. a male 

child crawling toward her. and two women: Dd,ion 18 ii. pI. 33: 

Puru/ipome"a. 391. 88 his. 

J. A,hellS 1708. from Aegina. PI. 58.1. 

Knob missing. H. 0.12, H....·ith lid 0.14. D. at rim 0.101. D. of 

lid 0.16. 

Conca\'e. side of lid continues and completes curve. tall tripod 

1001. 

Lid: tongues. spirals (black). running palmette scroll (Dinsmoor 

type IVa). Side aflid: debased tongues. 

Reserved line abm'c frieze: hp/m\': tongues bel""en r~crvcd 

lines. 

Amphitrite Painter. red-figure; Poseidon pursuing Amphitrite: 

ARV. 833.46: CVA. Greece 1. Athens 2, 1'1. 18. 2-4, pI. 19.1. 

and pI. 20. 2-3; CB. 11. 92·93. Form of foot probably inspired by 

tripod pyxis. Cr. the tripod pyxis by Douds /A.RV. 477.276: CVA. 

Germany 13. Mannheim l. pI. 26. I and 6-7. pI. 32. 5. A list of 

bl:t('k-ligure examples is appended. Add Ceramicus 1590 and 1591 

ICVA. Germany 9. Munich 3. pI. 140. 81: Berlin F 3988 and 

.. JQ~9 [U. Gehrig. A. Greifenhagen and N Kunisch. Fuhrer 

durch di~ Antikrnab,~i/ung pp. 174-5. pI. 45J ). Cf. also a tripod 

1'\\1\ In the manner of the Panailios Painter's later work (ARV I • 

u'::'. Athens 1584: CVA. Greece I. Athens l. 1'1. 6. 1·3). These are 

IIlI.: lml~' extant red·figu~ examples of th,= tripod pyxis as this 

1'111.: \loa!> d)ing OUI at this time. Add Brauron Museum 71. fr.. 

h.lm Brauron. 

('c 0.155. 

Cylindrical. side of lid horizontally grooved. moulded base. Li(I: 

H'rlical. circumscribed palmetles (six or seven petals) linked one 

tll the next with a leaf in the spandrel. black band. groups of 

interlocking maeanders separated by cross squares. Reserved band 

ahO\e and below frieze. then groups of interlocking maeanders 

wp.lfO'Ht:d by cross squares articulated by two rahl' and Theti.... AR V. 

924. 33: Stackclbcrg. Dj,. Graf'lwr d,.r lIf!1/~II,.n. pI. 32; 

Paralipomtna. 431. Lid; Penlhesilea Workshop I. rtnt pattern 

~f\lUP d'. Berlin 22hl (lJ1. 30.2). b) the Vdi Painter. Probable 

inlluence of vases of metal cf. DarSag. s.\'. Capsa. fig. 1178. 

::., l/lt,·IH. Cl'rulllinlS 1-162. PI. 59.2. Fig. ge. 

H. 0.089. H_ with lid 0.126. D. at rim 0.078. D. of lid 0.106. H. 


Conca\e wall completed by curve of lid. tripartite foot. 

Reseru'

88 

THE ATIIC PYXIS 

SALLY RUTHEAFUIlD RO.EATS 

Conca\'e. side of lid cOnlinues and completes cun'c of body, 

tripartite fool. 

Lid. debased tongue and dol. \'crtical circumscribed palmettes 

(sc\'cn to nine petals) with tendril above and below in spandrels. 

between reserved lines. Side uf lid: groups of inlcrlocking 

maeanders and saltire square. 

Reser...ed line abo\'c and below frieze. 

N~ar the Deepdcnc Painter, mi

90 I HE An-It PYXIS 

norlll. The profile of the knob ~hould he compared "ilh LOUHC 

L SS (nu. 4. PI. 60). b) a Penthc..ilean. the Weddin~ Painter. 

1'00 black p)xis. type A. can be assigned Iu a red-figure class. 

From the e\'idence at hand it seems clear Ihat they \!left' not made 

in the nd-figure cup shops which also produced pyxides. At an 

earlier period. one would hale 10 stale that e'\idence is not 

plenliful enough to allow speculation. Howc\'er. the Early 

Classical period provides numerous examples especially from the 

Pcnthcl

THr ATTIC PYXIS 

S.HLY RUTHEIlFURD ROBEIlU J 

man" (CB. 11. pp. 2J·141. The hean of each palmelle j" ar1K"lllaICd hf a dOl and 

encircling lin~. The "h'le ground pyxi'i b) Ihc Splanchnnpl PamJer 1Tl Ihe s",rpien 

Colkcllon (nu. 7). ~hl""S a fun he, ,·ar;ant. The circumscrihfil palmelll':l; arc linlrM 

10 lolU~ no..·eB. Then' is singular slmiluit)· of pallern bUI no unlfornllly. Th"lid of 

J'Ioe.. Yoc" 0·.21l6..Jt, (no. I) palnlcd by the Pcnlh"",lca Painler h:u a. It'\ main 

elcnK'nl a paln>c:tle band of a mon.' ..labuTale rnnccption. CiKumscribed palmettC'o 

aK lln..ed "..ilh tall. free palmeue'< and 1"'0 dOls aK placnl In ,he spandre1\. 

11. Circumscribed palrllettcs oceur on Ne" York 07.28td6. Alhen•. Scrpieri. Ikrlin 

2261. Alhens Agora P -I/~. Alhen•. private. Lou"re L 55 and Brau",n 28\Ja. 

18. ANV. 924JJ. Wedding Pamler. A b.Jnd of ein:umscrilxd palmetln is hn"ed 

OtIC." ..1\h IM 11 I poll...,', or 

p~il1t,·,·, signatu,," frum Il>e Pcmho,lea W".... shop and ~.. John Rentle)'. b) kll.'r 

hI M,~\ rUkUll. Ocl. If>. 1%7. "indly cunfirmed Ih... fac' ,hal h... had ul"lI)' 

\·onsid... rcd 11 false. Variou\ rnrn.lderatlOn~. h'Wo·ocr. ,",c1udtn~ th.. \Om~,,1>31 

,,'phl'ilK"lIlnl plllnng 01 the In,,,ripllUn sccmcd 10 uS! duut>l on 11. MM Lu•.,. 

I urnbull. oflllc Unl'er,U) 01 Ml~;",ippt. undttloulro 10 1e'\1 Ilk" glair "lIh aknhol; 

Ih... kllc..... dl~appc:an'd al un~. 

27, H,ehlcr and lIall. rIO. 144 and 146. ph. 147·148. 

211. CVA. AUSlm I. Vienna I. pI. 5U.3. 

29. U-lIer from Dr. Lore Aschc. Arcl>lol~I>CS InsmuI der Un..·...nilll TUbmg.-n. 

JO. S"h'aIOfl: Aurigemma. L. N,rropoll J' S"."fJ ." VfJJI, T",hbo (,Rome 19trSI Vol. 

I. Pan 11. 'Iombs 27. 143. 200. 22J. 386. JII4. 475. 577. 

JI. ARV. 122J. 

32. ANV. %3. 8i. O. also PlJflJliponr..,.". 4.14."5 Il'r. Itype unIiSlc'dl. 

3J. ARV. 96J. 92; CVA. US.A. I. Huppin and Gallalin CoIkctions. pi. lJ.7. 

34. AR V. 'l6.1. 118: Bps(lr",ibunll Ro",u("/r.., AI,.."amrr I,summr/, "61. figs. 1·6. 

42. Bam.. 0 M 'on 5Iac....lhc'l!. l)u' GflJ"twr Jrr 1I,1l...,,,,, (Berlin 183'1 pi. 

2tl.I.2. A sketch from ,he Nicholson Museum wnl .. "I> meaSuremel1lS ~ht)'''' a 

,,,nlour hIM.' from bax to fOOl mOCoi.' in a\urffil\ 00-. .., ..... Iho:' lid C\>r1\C1o tn>nl lhe 

I'

.. 

• 

CHAPTER IV 

The Class of Berlin 3308 

I. B.'rh" .1.108. Irum Aulea. Pis. 61 and 68.\. 

Upper portion Clf knob missing. H. 0.109. tolal prcs. H.O.loll. 

D. of lid 0.141. 

Lid· debased tongue and dOl, wide black band. running 

palmette scroll, slanting connections all parallel forming a 

Vitru\'ian .... al·e .....ith palmettes aligned with the axis of the border 

(Dinsmoor type IVA). Side of lid: debased tongue and dot. 

Reserved line above frieze; below: reserved line. debased tongue 

and dot. 

The names of Zeus. Iris. Hera and Nike are inscribed beside 

the heads of the figures. ArASQN and below it En01Hl:EN. 

Agathon Painter. :leus with Hera, Iris and Nike; ARV, 977. I; 

AA IQ (1895) 38, fig. J2 and 13; E. Simon. Opfemde Gatter. 65. 

2. LOl/don E 773. from Athens. PI. 62 and Fig. IOd. 

Knob intact. the stem has been mended. H. 0.089. H. with lid 

0.174. D. at rim 0.093. D. of lid 0.125. H. of foot 0.011. 

Lid: debased tongue and dot. black band. running palmette 

scroll (Dinsmoor type IVA). Side of lid: debased tongue and dot. 

Lid imerior: reserved; bottom: reserved. 

Reserved line abo\'e frieze; below: reserved line. debased toogue 

and dot. 

The names of Iphigcneia and Danae. Helen and Klytaimcstra.

ilE ATTIC PVXIS 

SALLY RUTHfllfUR.O R08UITS 

97 

also Cassandra are inscribed near the upper edge of the field. 

Chicago Painter. Iphigeneia as a bride; ARV. 805.89; FR. pI. 

57.1; AlA SO (946) 105. fig. 12.2; Ghali·Kahil. H.. 93. footnote 4; 

Parali(IQmena. 420. 

J. 1/11111/11/ E 772. from AlhcnJi. PI. 63 and Fig. IOc. 

Knob alien. ba!ie of l>tem prcl>Cn'ed: H. 0.089. lotal H. pn'S. 

0.109. D. al rim 0.086. D. of lid 0.114. H. of foot 0.013. 

Lid: debased tongue and dot. black band. running palmette 

scrotl (Dinsmoor type IVA). Side of lid: debased tongue and dot. 

Lid interior: reserved; bottom: dOl and tv.·o concenlric circles. 

Reserved line aboye frieze: belotl': reseryed line. debased tongue 

and dol. The names Thelis. Hippol)1e and Mapsaura are 

inscribed near the upper edge of Ihe field. 

Follower of Dooris. HesperKles. ARV. 806.90. FR. pI. 57.2: 

AlA SO (1946) 105. fig. 12.1. 

4. Brauru" MU:Jeum RI, fr.. from Brauron. 

The name of Aphrodite is inscribed to the righl of her head. 

The Chicago Painter. wrath of Mcnclaus: ARV. 0.11.42; 

Ghali-Kahi!. H .• 93. no. 74. pI. 63.2. Compared by Beazley with 

London E 773. 

5. Athl'lI.f. C"romicII:J IOOlJ. from Alhens. 

Pis. 64 and 67.1. Fig. lOb. 

H. 0.{)82. H. 'dth lid 0.13. D. al rim 0.084, D. of lid 0.107, !-t. 

of 1'0010.01. 

Lid: debased tongues. wide black band. running palmetle scroll 

(Dinsmoor t)'pe IVA). Side uf lid: debased tongue and dol. Lid 

i/ltl'rior: reserved; bottom: same. 

Rc

98 

SAllV RUTIiEIIFURU ROBl'IITS 99 

1nl' side of Ihe lids and a band below the frieze on the body. The 

pallerns thus repealed form an c\'cn frame for the frieze. a 

pictorial concept which ne\'cr occurred In the Penthesilea 

Workshuplo I and 11. 'I he pattern!> employed on the IKbi aTl' also 

surprisingly consiSlcnI. The bands are placed in concentric rings 

around the knob; debased tongue or tongue and dot followed by a 

black band wilh the main paltern of a running palmenc scroll set 

along the perimeler. This placement of the main pattern contraslS 

\lo ith the emphasis on the middle band in the Penlhesilea 

Work~hops I and 11. The painlc~ arc followers uf Douri~. either 

unascribed. or named as the Chicago and Euaion Painters. The 

Agathon Painter. a follower of Ihe Lewis Painter (Polygnotus 11), 

is loosely connected with the Douris tradition through influenCfi 

on his master by the Euaion Painter. 1 

The class ~tem~ chiefly from the middle years uf the fifth 

century with a 10"" er terminus about 440 B.C. A pyxis in 

Cambridge. in the manner of Douris. dated ca. 470 8.C.• 

suggests that the roots of the class lie slightly earlier. 

Lonclon E 773 (no. 2. PI. 621. is an elaborate example (If the 

c1aslo closely linked to London E 772_ The bod)' has a shallow 

conca\e curve. canonical for the class. and the frieze is framed by 

uniform patterns of tongue and dot placed above on the curving 

face of the lid and belo....· on the keel. The low glazed ring foot is 

set well under the vase. The outer contour of the foot is convex 

and from its apex a horizontal line leads across to the edge of the 

flangc. Thc surface of the lid slopes slightly from the center to the 

outer edgc. The knob is elaborate. shaped much as a "kothon"2 

on a tall stem with a flaring base raiscd abovc the levcl of the 

surface of the lid. 

The profile of London E 772 (no. 3. Fig. IOc) is ~trikingly 

similar to London E 773 (Fig. IOd) as may be noted in the concave 

curve of the walls and convexity of the ring fool. The handle is 

alien but the base of the stem remains. An addition 10 the 

catalogue of the British Museum states. "The remains of the 

handle root suggest that the ancient handle was of similar 

pattern," i.e. a loop handle. This type of handle is rare on pyxides 

of type A; more examples are found on pyxides of type 8.3 

It seems cenain that the same potter shaped both vases. 

Bcazlc)' noted that "the lid is by the same hand as in London E 

'"In. but the figure-work seems nOI."4 The artists are Early 

("Iassical follo....·ers of Douris. Furt.... angler dated both \'ases to 

455-445 B.C.~ 

Berlm 3.308 (n(l. 1. PI. 611 has a shalloy, conca\e cune c1O"el) 

akin to the t.... o London pyxides of the class. The framing 

elements are identical. The pyxis is a little taller, having a height 

of0.109. The outer contour of the 10"'" glued ring foot also differs 

\Iightl) in that it is straight and the line from its apex slants 

upy,ard to the edge of the flange.' The crowning element of the 

knub is missing; probabl) it .....ould have been conical resembling 

that 01 no. 2 (pI. tl2). Thi.. pyxis is of great importance in that il 

bedn. the only signature of the potter Agathon. Pyxides rarely 

bear a polter's signature and signed uamples may be numbered on 

the fingers of onc hand. A pyxis type A, in Brus~ls bean the 

signature of the polter Megacle... but the inscription is modern. 

"y,hcther O\'er an ancien! inscription or not:' 1 The \'aq' is 

attributed to the Pistoxenos Painter and dated ca. 480-470 D.C.' 

In addition there arc three signatures of the potter Gaurion on 

small p)xides of type 0' dated to the last quaner of the fifth 

century. lastly. the fragmentary inscription MAKP on a pyxilo of 

l)pe A in Athens may be a signature of the painter Makron. 1c 

1 he pyxis has been dated ca. 500 a.C.1I 

It is clear from Ihis evidence that pyxides .....ere rarely signed by 

potter or painler. When and if other signatures appear on 

p\ ,idcs. in vie..... of the Brussels pyxis and the forged signature on 

tile Misloi......ippi pyxis.u they should be scrutinized with great care. 

A further consequence is that it ilo not pmsiblc to follow the 

c:.reer of a polter via his signature as was possible in the study of 

Allic rcd·tigure cups. The only .....ay open is by a study of the 

-"ha pes themselves and by the pattern accompaniments regularly 

:Jllending a class. By these criteria it seems possible that Agathon 

]111ltcd nos. 2. 3. and 5 besides the pyxis in Berlin. This judgment 

ho\\evcr allows the pOller leeway in the shaping of the foot profile. 

A pp.;s in the Ceramicus Museunl (no. 5 and 1'1. (4) closely 

relocmbles the IWO London pyxides of the c1aloS. The 10..... glazed

100 lllE ATTIC PYXIS 101 

ring rom diffel1i in that its outer contour is straight and the line 

tram its apex slants upward to the edge of the flange as in Berlin 

JJ08. The knob h conical. The framing elements 3rc similar in 

Iype and placement 10 the other ,oases of the class. The body is 

lomall and sqU31. the diameter al the rim being 0.084, slightly 

greater than the height of 0.082. In proportions. the body thus 

resembles London E 773 (no. 2). The artist is an unnamed 

follower of Douris. The vase was dated to ca. 470 B.C. by 

Kiibler,lJ Judging by the profile and framing elements and 

especially by the palmette scroll on the lid (discussed below), the 

date should he slightly later, perhaps around 460 a.c. not 50 far 

removed from the date of the London pyxidcs. The running pose 

of the Nereids with the forward fOOl off the ground gh'~s an 

earlier feeling to the style than the static positions of the figures 

in London E 773 and E 772. This is lhe conventional running 

ruse employed by Oouris for his Ncreids On cup exteriurs with 

representations of the struggle of Pelculo llnd ThetisY The Early 

Cla~loical folluwers of Douris adopt this cOlwentiulI for loimilar 

reprcscntations on p)'xides. The figures of Nereids and also of 

Peleus on a pyxis in Munich (no. 8)1!i and another in 

Copenhagen ll by the Painter of Villa Giulia should be compared. 

A noticeable differenc~ may be seen in the treatm~nt of the 

drapery. The zigzag lower edg~ of th~ drapery in the representations 

of running Nereids by Oouds is replaced by a simple wavy 

line or series of arcs by the followers of Oouds in response to the 

advance of naturalism in the treatment of drapery of the timeY 

No. 8. Munich (ex von Schoen). is smaller and som~what 

squalter than th~ other pyxides of the class. The lid is missing, 

giving the pyxis a strongly d~apitated aspect panicularly since 

the side of th~ lid probably was decorated with a tongue and dot 

patlern to match that below the frieze. The concav~ curve of the 

hody is normal for the class. The outer contour of the low gla7.ed 

foot is convex but notched thrice. which makes it uncanonical. 

Huwever. when one considers the height. the profile of the fool 

and lhe fact that it is glazed. the nOlching may be thought of as a 

,ariation perhaps under the influence of the contemporary 

Penthesilea Workshop. The subject maller is mylhological as on all 

\'alo~ 01 thc class. rhe slory of Peleus and Thetis is a favorile and 

most 'lppropriate as decoration fur vases used by women primarily 

for their adornment. The m)1hologicaltale of marriage by capture 

adorn~ t"o other \3.!>CS of the class. no. 5lPI. 64).11 no. 6 and one 10 

be \'·ompan:d. C0tK'nhagen 4735 by th~ Villa Giulia Paint~r. The 

\3.se has been datcd ca. 460 B.e. by Lullies ll and ca. 450 B.e. by 

Schclold. 1O 

rhe ppis Cambridge 19.1.1.1 (no. 6. PI. 65.2) poses sC\'cral 

lhflicult questions. It is attributed to Ihe manner of Oouris and is 

{,;ldier than the other ,'ases of the class. dating ca. 470 B.C. ll The 

p'aintcr is nearer in style and time to th~ late work.s of Oouris. 

Ncrcids arc figured in the frieze. and on~ runs in the cOh"entional 

manner described abme with the forv.·ard foot in Ih~ air. Th~ ba.se 

line of the chiIon i.s \Io'avy as is normal in th~ Early Classical 

period. bUI the further edge of the garment i.s shown. an arehaism 

lot the limen and a trait not seen in olher depictions of Nereids 

on \';lSCS of this class. 

Thc \':\se is small. m~asuring 0.08 in height. and so quite 

canonical for the class. The canonical knob though brok~n 

seemed to Miss Lamb to belong to Ih~ vase and its shape. though. 

more sknder. rescmbks the C~ranlicus ppis (PI. M). The 

pla\'"Cm~nt and choice of uniform patterns of tongue and dot to 

frame the frieze are usual. The low. ring foot is more pronounced 

in the convexity of its contour than the twO Lllndlln pyxides (nos. 

2 and 3), but olherwise is similar in pro£i1e. The foot is resen'ed 

which is unusual. The concave curv~ of the walls is slightly deeper 

than the rule. The va.se lhen appears to be the earliest member of 

the class followed about fifteen years lal~r by London E 772 and 

E 773. the Ceramicus pyxis and Berlin 3308. It leads one 10 

inquire ~hether th~ type could have originated in the workshop of 

Douris. There is liule e"idence but the little there is does not 

..eem to support this conclusion. There is only onc fragmentary 

pyxis. type A. presen'ed from Ihe hand of Oouds. London E 807. 

The fragment presen'es th~ inset flange. a moulding below Ihis 

and a small portion of th~ friez~.l) Th~ band of ~gg pattern abov~ 

the frieze is an unusual pattern for the class and its placement is 

uncanonical. In addition the projecting moulding is nOI a feature

102 I HE ATTIC PYxts 103 

of the class. It is true that London E 807 is only a small fragment 

but the fealUres it presen'es do not coincide with pyxides of the 

class. The only other pyxis decorated by Douris is a tripod-pyxis 

in Mannheim.z• a type prevalent in the sixth cenlury and of which 

fc\\ examples persist in red-figure. 

Athens 1586 lno. 7. PI. OS.1) is allributed 10 the Euaion Painter, 

another follo\loCr of Douris and like him primaril}' a painter of 

CUps.1S The p)'ll:i.. is the latest vase of the class dating to ca. 440 

a.e. and various elements of the profile haw been exaggerated. 

The .....alls have the characteristic shallow conca,'c curve of the 

class but the lower flange projects outwards in an exa~rated 

configuration. «hoed by the hooklike projection of the lid. 

Compare the profile of Berlin JJ08 (no. I. PI. bl). or London E 77.1 

(no. 2. PI. 621. The knob of Athens 1586 prO\'ed In he alien 

and now has been removed by Ihe kind offiees of Miss Philippaki. 

The base of the stem. however. is original and undoubtedly bore a 

knob similar to that of no. 2. The lid slopes from the eenter 10 the 

OUler edge as in that example. Debased tongue and dOl band.. 

ornamenl the side of the lid and the lower keel as is normal for 

Ihe class. The ring foot is glazed but differs in that the line from 

it!> apex curves upv.'ard to the edge of the keel. an exaggeration of 

the conlour seen in Berlin 3J08 (no. I) and Munich (ex von 

Schaen. no. 65). 

The uniformity of patterns ornamenting the lids of these 

pyxides confirm and suppon the conclusions already reached as to 

the cohesiveness of the class. Debased tongue and dot forms the 

innermost pattern band around Ihe handle. followed by a wide 

black band between reserved circles. The main border, placed 

along the perimeter, is composed of a running palmelle scroll 

\\ith slanting connections all parallel forming a Vitruvian wave 

with palmettes aligned with the axis of the border. The palmelle 

scroll. of which there arc six variants, was created immediately 

after the invention of the red·figure technique around 530 a.c. n 

Howe\·cr. thc popularity of this pattern \\as greatest in the dec:lde 

510-500 B.C., the so·called leagros period. 21 Then se\'en plump 

palmeues were usually employed. when the pelals were excx'U!ed in 

red. Thereafter interesl in Ihis type of ornament declined, only 

fon~··two examplt:s being listed from the first three decades of the 

lilth century of which the lid of Cambridge 1933.1 (no. b) is one. 

After 470 B.C. the number of examples is so meagre Ihat they are 

considered as isolated sun'ivals by Dinsmoor. Only seventeen 

examples 3re listed for the remainder of the fifth and founh 

century and it is of considerable interest that three of the 

t'\:amples adorn lids of red.figured pyxides of our class (nos. 1 [pI. 

h~tll. 2. and J). To these mal' be added the lids of no. 5 (PI. b7.0 

and no. 7 (PI. 68.2). This pattern appears thell in force on lid~ of 

,hl' Cla.'>s of Berlin 3J08 in a period ¥ohen Ihe pattern ¥OM out IIf 

Ja\ol.lr. 

All belong 10 the vari~t)· of palm~tt~ scroll ~numerated by 

Din!>moor as IVA. Cambridge 1933.1 (no. 6) has the earliest form 

of the scroll for the class. apparent in th~ more rounded 

enframing tendril." The long oval frames and long stifT petals of 

nO'o. 2 and 3 are indicative of their later dat~: the form of the 

pallern ill no. 7 (PI. 68.2) i!> !>imilar to these. The palnleUe scroll on 

the Cl'riunk-us lid (nu. 5. 1~1. 67,1) is likl' that on the lict.. of the 

London pyxides. The leaf in lhe form howev~r is sometimes' 

attached rather than free and there is a leaf decorating the upper 

spandrel in the place of the spiral on the London examples. The 

running ~croll on Agatholl's pp.h. (PI. 68.0 differs only in the 

pointed central pelal of each palmette. The frames are long and 

there are spirals in all the spandrels with single petals at the 

f.lrh. Onl)' in the smallest details 3re there any different·cs: in the 

m'crall form the palmctle scrolls are strikingly uniform. The 

r",undcr frames show no. b. Cambridge 1933.1. to be earlier but 

the !>crull of Alhens 1586 (110. 7. PI. 6H.2) gives no l>ign of a l>lightly 

later date. 

COMPARE THE SINGLETONS 

COfh'lIhag/'1I 4735. from Greece. 

H. 0.0825. H. with lid. 0.1225. D. of rim 0.072·0.073. D. of lid 

O.l06~0.107. H. of foot 0.009. 

Lid: reserved addorsed palmettes. obliquely placed and linked

104 

I HE ATTIC' PvXIS 

105 

by tendrils springing from volutes. stopped interlocking maeandcT'li 

(black). Side oj lid: debased tongues. Lid imen'or: rescned; 

hotwm: dotted circle and t .....o concentric circles. 

Below frieze: debased tongue and dot. black band. 

The Villa Giulia Painter. Peleus and Thctis; AR V, 625. 95; 

CVA Denmark 4. Copenhagen 4. PI. 162.4. 

The size.)O subject, choice and placement of framing elements 

are similar to the class. The concave curve of the wall is simpler 

and the profile of the lid totally different. The side of the lid is 

convex and runs counler to the concave curve of the vase:. The 

Villa Giulia Painter is connected wilh followers of Douris but 

chiefly painlcd large pols rather than cups.JI 

MUllich (ex von Schoen, 65). PI. 67.2. Fig. 10r. 

H. 0.097. H. with lid 0,159. D. al rim 0.104. D. of lid 0.127. H. 

of fOOl 0.017. 

Lid; interruptM maeander 6n groups of five .....ith one of four 

and one of six) and cross square. Side of lid: black. Lid interior: 

black; bottom: same. 

Reserved line and .....ide black band below frieze. 

The Painter of Agora P 14384. women (Ilo'ith mUl>ictll 

inslru mems); A R V. 777.1: R. Lullies. Eille SUII/m/llng Rrif'Chisl"hl'r 

A/i'i"kllrw, pI. 24. 65 and pI. 25; Pur(llipuml'1lU. 410. 

Iloith dthara, woman playing flutes for gtrl dancer and ""oman, 

door; RA J6 (1950) 40-75. figs. 1-2. 7·10. 

Size and proportions link this p)'xis to the class. It differs 

primarily in the form of the lid. The concave curve of the body is 

not completed by that of the lid; the cune of the side of the lid 

lies .... ithin that of Ihe body. The subject is nOI mythological. 

Profile and framing elements seem to sho..... the black-figure artist 

~-nyni7a111 of the canon of the Class of Berlin JJ08 but choosing 10 

go his own way. 

, 

Athens. Agora P 8985. from Athens. 

T",o frr.. one preserving about a quarter of the lid. the other 

pan of the edge only. Knob broken away. D. es!. 0.11. 

Tongue and line ending in dot, running palmene scroll (cenler 

petal pierces vine) Dinsmoor type IVB. 

Lid -"unge: maeanders in groups of 1.....0 once three separated by 

cru~s squares. Lid itltf'rlQr: lrace of circle at cenler lhen two circles 

and'" ide black band. 

Red-figure. Deposit C 9:6. Hespaia SlIpp!l'mem V. 136. The 

profile diffcr~ from that of the class. 

Ca. 450 B.C. 

The profile bears a close relationship to the class. The painter 

is an outsider. The plain, black framing elements, though most 

effective. differ from the class as does the pattern on the lid. Note 

also Ihe non-mythological subject. 

Athens /4909. PI. 00.1\ 

H. 0.077. H. with lid 0.120. D. at rim 0.09. D. of lid 0.115. 

Lid: Woman seated. playing flutes by altar to which dance five 

women. column. woman; linked pomegranate. Side of lid:debased 

tongues. 

Tongue and dot above frieze; belo"": rays reversed. 

Black·figure, mistress and maid, woman dressing and woman

lOb 

THE Arf/C PYX'S 

SAlJ,Y RlTTHERFURD ROBERTS 107 

NOTES, CHAf>'1 FR IV 

I. H. R. W. Smith. D.., L ....·;sm,,'.'T (Lcipsic 1939) 19·22. 

2. G. Ri..,htn and M. Mdn.,. Sitapt's und Names 0fAlneniatr Vast's (Ne'" York 19J5) 

21-22 (1'Iem""hoe): CH. I nu. 55. plo XXV; Ago'" XII. pp. 1~-ISI ~KrJ\h('lnJ anll 

""r"Tenre in 

IlK: represcnlatkm on London E 773. "Th" 'Iphigenda' may ha"" been thought of as 

a bride." noted Beat,",y in ANV, 805.89. 

J. Ppides nftyrt' B "11h loop handles: ARV. 963.98 I'ulda. Web.: ANV. 963.96 

London D 12: A RV, 1()q4, 104 Louvre CA 587. Ther~ ii ahu a r~'tI·figurt py~is. Iy~ 

B. from the C~ramltUS gravt 115 2\7 dated 4o()·450 B.C. and a py~is. ly~ B. rrom 

HS 89 decoraled .. ith net palt~rn ..·hieh probably Ixlre such a handle dated ca. 420 

R.e. 

4. ANY. SOb. 90. 

5. ,.-R, pI. 57.2 and p. 291. 

6. AA 1008(5) 38. fig. 12. 

7. ANY. lS63. 31 "Mrs. Callipo1itis·Fcytman~"a, nlll allowed to clean the ,ase:' It 

would only be by cleaning that ont CQlJld be sure .. heth"r 01' nUl lh"r~ was an 

anci"nl im.\:riplion undcr the modern l~l1~n. 

8. Dc:l1ise Feytman~, LI'.1 "11.11'.1 g'('{'.1 dl' lu IhbUu/h:-qlll' Nl~\'/lll' d,·IJi·lgiqlll' (Brussels 

1lJ4!\) p. 54 for dale and discussion or l~ ~illnalUre "'hich thc author considers IQ ~ 

a forgery. 

~. ANV, IJbO. 1·3. 

10. AllY. 458: 47~. 336. 

11. B. Graef and E. Langlotz. Oil' Illl/ik,>" VU)I'It I'lm d," Akml")/'J ;" A/h,-" 

(Berlin 1(30) 11. n". St>O. pI. 43. 

12. S~..., arnwc p. 70 urlll n"te 2b. 

13. Karl Kuble•. "I\usgrauunll"n 1m KcramclkO!>:' AA 50 (1935) 2'N, till. 2.1. 

1-1. AIlV. 431. 44; l.. 1\. Stella. llli/Ologia Gn-ell. 410; AR\'. 4-11. 185. School. 

pi\~; Stella. 421 and 427. belo... The 110'>" i~ nut confined to Nc.";,k cf. 1\1hmtu 

un a .. bite ground Iek}1hos in Cl'eland of Ihe early middle period U'u,ulip","l'"u. 

.llh. 21>h bis: (·VA. U.S,I\. 15. C1evel3nd 1. pI,. 32·331 and lhe laler ar}hallO"i .. ilh a 

bu~ pur~ued bl botes lARV. 447.27-1: vreitenhag, Ej",- Sum",Ir"'g griff/llJch", Kleinhul.ll (Munich 1(55) pI. 26. 

16. eVA, Denmark 4, Copenhagen 4. pi. Ib2.4. 

17. Richter and Hall. 89. Numerous examples of use of this conventional running 

pose may be noted in pursuit scenes of the period 475-450 B.C. See ph. h9. 72. 73. 

99. IUS. 

18. The subject is here abbte~ia(ed as only neeing Nereids arc ponraycd. The same 

is true for Cambridge 1933.1 (no. 6). 

19. R. Lullies. Ein" Sommlung gn·"chi, gnN:lr"d"-,, M"i'fl'nchul..n (Stul1gart 18(3) 

fig. oB and p. 026, 

2-1. ARV. 447. 276; CVA. Gem1any 13. Mannheim 1. pI. 2b. l. 0·7 and pI. 32.5. 

25. ARY, 798. 146 "'ale." 

26. w. B. Din~moor. "The Athenian Treasury as Dated by il\ Ornament." AlA 59 

(1946) 9JtT. 

n. find.. 97. 10-1 (onc hundred and e1ght uamples noted). 

28. Ibid.. 109·111. fig. 12, \·2 and nQ!;, I54A. I54B and 152. 

1'1. CVA. Gre:u Brilarn 11. Cambridge 2. pI. xxv!. Id. 

30. Hel1e Salsko, Robe.1\ kindl)' eummcd tbe vase and .. rute as foHows: "Th~ 

glaze of rn,. -1735 (Villa Giulia Pamtel) is :;om"",ha1 une.enl) coloured, but l'Cems to 

~ be ul' lhc same kmd on bolb lid and OOA. Although the lid is broken .nd a bit of lb~ 

ll10cr rim missing it lits e~tremdy ..ell and I dun't Ste any reawn fur ~uspecting thut 

it II".:s not belong:' Th~ meaSllrement~ listed in the eataluxue welT aiM! lak"n by 

lhe arnwe scholar.

108 THE ATTIC Pvx,s 

• 

CHAPTER V 

Later Fifth Century Pyxides 

of Type A 

In the last thiny years of the fifth century the pyxis of type A is 

no longer the predominant type and the number of examples has 

dwindled down to a few. Those which art preserved arc 

exceptionally varied. Some follow the tradition of the Penthesilea 

Workshop 11 hUI show occasional influence of the domed 

formation of the lid of the pyxis type C. now preeminent in 

numbers and innuen~. A spirit of elaboration is evidenced in the 

form as well as in Ihe decoration; the first double pyxis appears 

around 430 D.e. This example stands at the head of a series 

which extends through the firsl half of the fourth century. 

Independent miniature pyxides appear of about the size of pyxis 

knobs. A few odd pyxides show a dependenc}' on the tradition of 

the Class of Berlin 3308 in their proportions. ring foot and knob 

typt. The number of odd pyxides rises in proportion to those 

belonging to classes. There is evKlen~ of py.l.ides being made in 

other materials during this period especially among those of type 

C. A curious reflection of this trend may be seen in a pyxis. type 

A, with a lid decorated in relief. The diversity of models being 

made is also shown by the fact that where two pyxides are painted 

by the same anist they are sometimes of quite different profiles. A 

single unifying feature is the contour of the wall which either has 

a shallO\\' concave curve or approximates a cylinder.

110 SAllY RUTHER~URDR081lRTS III 

THE KOINE CLASS 

I. Alhf'1IS 13676a. from Athens. PI. MU. Fig. Ila. 

Base of stem presen'ed. knob missing. H. 0.116. total H. pres. 

0.128. D. at rim 0.09. D. of lid 0.127. H. of fool 0.034. 

Lid: egg and dot. wre.ath of h"}' lea\"es (black). egg and dot. LiJ 

j"terior: dot. circle. band. bottom: center damaged. trace of band. 

Black moulding. rescned irregular band abo\"c frieze: below: 

egg and dot betVocen reser\'cd bands. 

Painter of Athens 1585. "'oman seated \\ilh women (miSITe"iS 

and maids) and Nike; ARV. tJ60.J. 

Ca. 410 H.C. 

2. Athens /585 (CC. 1561). PI. 69.1. Fig. lib. 

Lid missing. H. 0.12. O. at rim 0.096. H. of foot 0.035. 

801l0m: dOl and two concentric circles and outer circle. 

Black moulding. reserved irregular line abcn'c frieze: /xolow: egg 

and dOl. 

Painter of Athens 1585. woman St'ated with women (mistress 

and maids) and Ems: ARV. 1360.2: EAA. I 871. fig. 1091. 

3. Athens. Cerumieus Museum, from HS 89. Fig. I le. 

H. 0.144. H. I"ith lid 0.213. D. at rim 0.124. D. of lid 0.179. H. 


Lid· egg and dot. circumscribed palmenes with raised hearts 

painted white. black glazed band. maeanders in groups of Ihree 

(once two) separated by saltire squares. Lid imen'or: dot and 

circle. wide outer black band between two circles; bottom: same. 

Sidp of lid: egg and dot. 

Black band. reserved band above frieze: below: reserved band. 

egg and dol. 

Red-figure. Eros and bride, women: Klaus Vierneisel. "Die 

Ausgrabungcn im Kerameikos." AA 1 {I 964) 432ff.. fig. 24. 

Ca. 4]0 H.C. 

4. Lundun E 780. from Athens. PI. 70. Fig. lid. 

Knob missing. H. 0.13. lotal H. pres. 0.143. D. at rim 0.107. D. 

of lid 0.1.34. H. of fOOl 0.031. 

Lid' debased longues. myrtle and berry. herringbone. 

Black moulding. irregular reserved line above frieze: bt'/ow' 

debased tongues. bet"'een resen'ed lines on sloping keel. 

Painter of Florence 4217. women: AHV. 1223.4: C. Smith. 

Ccl/ulopllt' of ,hI' Grt't'k and Etruscutl Vuses in thf' Bn'tlSh 

Musf'um. Ill. E 780. 

S. Cambn'dgt' 168. PI. 72.3. 

H. 0.125. H. I'ith lid 0.18. D. al rim 0.095. D. of lid 0.124. H. 

01 foot 0.03. 

.. Lid' debased tongues. spirals. chevrons. Lid imt'n'or: circle and 

hand: bottom: dOlled circle. band. 

Hlad moulding. reserved band ahm'e frieze; below: debased 

IOngues between resen'ed lines. 

Painter of Florence 4217 ......omen: ARV. 1223.5: E. A. Gardner. 

A Cuwloguf' 01 the Gr"I'k VU~I'S ill ,he' Fit:.....U/ium Museum 

ClImlm·dRf'. 69. 

6. Athens 13028. from Athens. PI. 71. 

H. 0.115. H. with lid 0.155. D. at rim 0.092. D. of lid 0.122. H. 

of fOOl 0.0.34. 

Litl· egg and dot. black band. tongue and line (black) between 

rcsern:d lines. egg and dot. Lid ;men'or: dOl, circle. band; 

bol/n".: same. 

Black moulding, irregular reserved band above frieze: 

below: 

egg and dot. 

Red-ligure. woman seated to right playing a tympanon. a woman 

coming from her left holds out a mirror while a woman 

approaching from her right extends an alabastron, an opened box 

and scarf in thc other hand. Next two women rush to the right 

looking back ovcr their shoulders. one with mirror and kalathos. 

the other with a taenia and a basket and taenia. 

Ca. 4/0 e.C. 

7. Arhens 1287. 

H. 0.145. H. with lid 0.214, D. 

PI. 69.3. 

at rim 0.117. D. of lid 0.145.

112 [nr ATTIC PVll:1S SALLY RUTHEJtfliRD ROBEJtn 113 

Disk·like knob .....ith horizontal grOO\-C along lo\\,cr edge. 

crowned b)' conical member and supponed by stem s.... elling 

lowards apex. Slightly domed lid. Box: shalloy. COnC3\"C cunc 10 

.... all.. wilh projecting lo.....er keel. Tall foot with three squared 

nUlches. Lid: egg pattern. panther and swan confronted. swan and 

panther confronted. lion left. egg and dot. cr. animal slyle to lid 

of Oxford 1934.330 (see footnole 9). Bottom: small central circle. 

circle. band. 

Black moulding. reserved band above frieze: bt'ic,JW: reserved 

line, egg and dot between black lines. 

Red·ligure. chain of Ii\C .... OO1el1 dancing rightward led by a 

.....oman playing [he double nute. Altar between fourth and fifth 

.....oman. 

Late 5th·early 4th century 8.C. 

The vases listed above are clearly dependent in their shape on 

the tradition of the Penthesilea Workshop 11. They are of 

Slandard size with a long body wh~ shallow concave curve \'aries 

in degree and in some approaches the cylinder, The lall resen'cd 

Iripartite foot echoes the contour of the wall and has the 

characteristic rounded or squared notches. These pyxides might 

y,ell ha\'e been appended to those of the Penthesilea Workshop 11 

except for the formation of ~nain of the lids which show the 

influence of t~ of type C (nos. I. 4, 6-7). The painters are not 

connected with the Penthesilea Workshop: the shape has now 

become common property. 

Athens 13676a (no. t. PI. 69,2), by the Painler of Alhens 1585, is 

the key piece preserved almost intact but for the crowning knob. 

The surface of the lid is slightly domed with a ridge articulating 

the juncture with the outer rim, The lid is decorated with egg and 

dot borders flanking a graceful black ivy wreath. The ivy pattern 

is new and unparalleled on lids of type A but an almost exact 

counterpart may be seen on a fragmentary lid of a miniature 

p)Xis t}pe C from the Athenian Agora (P 13097. 1'1. 72.2).1 Here 

the h'y leaves are red with stem. tendrils and berries in added 

day. The wreath is enframed by narrow bands of egg and dol 

pallern as on Athens 1.3676. 

The foot profile is distincthe, its conca\'e cun"e being 

interrupted by a step below the apex. Athens 1585 and Ceramicus 

OIS 89) hne an identical foot profile. This is a variant on the 

usual profile of the Penthcsilea Workshop occurring earlier on 

Athens Agura P 24253 (Fig. Se) by the Veii Painter' and also on 

Cambridge 4.1943 by the Curtius Painter. J 

The shape of Athens 13676a is mirrored by that of Athens 1585 

tno. 2. PI. 69.1 and Fig. lib). the name-piece of the painter. The:' 

lid unfortunately is missing but the measurements as well as the 

prolilt.~ are very close. The egg and dot border below the frieze is 

identical. It seems eenain that the same potter produced both 

~asc~, 

SUlllcwhal earlier than tht.'Se is a pyxis in the Ceramicus (no. 3. 

Fig. lie) found with a hydrill attributed to the eariy work of the 

Meidias Painter. a pair of lebetes gamikoi by the Washing 

Painter. a patterned pyxis type B and other \'ases in an offering 

tr~neh dated 10 the years around 420 B.C.~ The concave cun'e of 

the y, ails is more pronounttd than in nos. I and 2 and resembles 

more closely Ihat of LOIn're LP 2692 (PI. 42). from the Penthesilea 

Wurhhup 11. The disk knob on a high slender stem whose base is 

dirrcr~ntiated from the Ic\'el of the lid is familiar in a number of 

examples from the Pcnthesilea Workshop (PIs. 22 and 2(».s The 

lout profile is like that of nos. I and 2. The cuntour of the side of 

the lid is unusual and 1 have yet to find a c1O!1oe parallel among 

pyxides of types A and C: that of the fragmentary double PYXls. 

Athens Agora P 16924 (PI. 75.2) and also the fragmentary pyxis lid. 

type C. P 96.' 3re somewhat similar. 

London E 780 (no. 4. PI. 70) and Cambridge 168 (no. S, PI. 72.3) 

arc ascribed to the Painter of Florence 4217 who is also known to 

ha~e decurated a few pyxides of type B.' The lid of the Cambridge 

pp:is has a disk knob on a tall slender stem which blends into the 

sloping surface of the lid. characteristics typical uf mediocre work 

uf the Pcnthesilea Workshop. The lid of no. 4 resembles that of 110. 

I (Athens 13676a. PI. 69.2), There was a central knob (now broken 

ay,ay). and then a slightly domed section separated from the outer 

rim by a ridge-the two latter features borrowed from lids of type 

C. The contour of the side of the lid does not continue the line of

114 

THE ATTIC PYXJs 

115 

the wall of the box as in Athens 13676 (Fig. Ilal and as is generally 

the rule. ho.....c\·er. the glazed and resen'ed areas ofbolh box and lid 

match in color and the two appear 10 belong. Not only are the new 

form and traditional Penlhesilean lids contemporary but they maJ 

be fuund side by side in pyx;des made in the same .....orkshop and 

painted by the 103mc an;sl. 

"nob t)pe of Ihe C\lo York Pl'tis by the Penthesilea Painler (PI. 

20.1) which slarted the canon. The knob of Athens 1287 dlffeTS in 

hllhtness and in il.'i conical crowning finial. In both the stem 

~\\el1s to.....ards its apex. Athens 1287 forms a link between Ihis 

"'l'r;L'S or vases and the single ppides of type A of the first half of 

the fourlh century.- 

VARIOUS TALL SINGLETONS 

COMPARE 

A,hms. AgorYl P 10573. from Athens. 

Fig.7r. 

lid. of which handle missing. H. pres. 0.036. 0.0.123. 

Lid: egg and dot, tongue and dot. herringbone. 

Black'patterned lid of a red-figured pyxis. type A; P. Corbeu. 

"Auk POllery of the Later Fifth Cenlu'1'," HesfWda 18 (1949) no. 

54. pi. 91; AKnru XII, 384. DcpO!>it B IS: I dated ca. 425-400 a.c. 

The profile of a lid from the Athenian Agora (Fig. 70 is like 

that of no. S. It comes from a well, the great proportion of ..... hose 

figured wares date in the lasl quarter of the fifth cenlury. The 

profile is also sinlilar to lids of Munich 2720 (Fig. 7a) and London 

E 774 (Fig. 7e). both of the Class of Munich 2120 and attributed 

10 the Drouot Painter. The Agora lid adds additional evidence 

that lids uninfluenced by those of type C and following the older 

canon of Ihe PcnthesiJea Workshop and dependent ~'orkshops 

were still being made in the last quarter of the fifth century. 

Athens 13028 (no. 6. PI. 71) and Athens 1287 (no. 7. PI. 69.3) 

retain lids similar in profile 10 no. I (Athens 13676, PI. 69.2l. The 

base of the stem is formed in IWO degrees and the surface of the 

lid convex with a step down to the outer rim. The stem of the 

knob of no. 6 .....as once broken but it is certain that the knob 

belongs. I The heavy knob has a flattened domed upper member 

separated from the downturned rim of the lower by a reserved 

horizontal gron\'e. the whole surmounted by a low disk, It seems 

probable that this is a late fifth «ntury transformation of the 

I he following pp.ides stem from the period ca. 430-420 D,e. 

I he) ha\'C' lal1. slender proportions and lids with tall. elaborate 

knobs. The fOOl \aries. The style of certain painters of Ihe laler 

lihh century has onl)' been recognized on pyxides. This is true of 

Ihe Painter of Athens 17191 (no. 2). and among others. the 

Painter of Athens 1585 (ARV. 1360. 1-5) and the Drouot Painter 

lA HV. 1223. 1-7). 

I. AmSll'rdam. Allard Pierson Museum 623. from Athens. 

11,0,121. H. with lid 0.206, 0, of lid 0.138, H, of foot 0.018. 

Shallow concave cun'e to wall strengthened al base. lid slopes 

from center to outer edge. knob: conical member surmounting 

di!

• 

lib 

1 HE ATTIC PnIS 

117 

echinoid-like form on stem whose base' is ra~ above the 1el'el of 

the lid. 

Lid; debased tongues !black). black band bt'tween reserYed 

lines. vertical circumscribed palmettes alternating with bouquets 

of lea\'es. black band between reserved lines. laurel and berry 

Oeaves on outside of stem only). J"ten'or of lid: black: bottom: 

dotted circle. circle, outer circle. band. Grafilto. 

Laurel and berry below frieze. 

Painter of Athens 17191, horseman. with youths and woman: 

ARV, 1222.1: CVA. Greece 2. Athens 2. pI. 29. 

J. Vienna 37/9 (ex Dlum-Blank-cheW. 

Half of ring handle restored. H. 0.117. H. ,.·jth IkI 0.187. D. of 

lid 0.128. H. of foot 0.021. 

Wall cylindrical with Joo,l;er sloping keel echoed by contour of 

lid flange. Ring handle on support of hourglass formation. Flaring 

tripartiu~: foot. 

Lid: debased tongue and dOl, running palmelle scroll. slanting 

(,:onnections all parallel forming a Vilruvian wave with palmetles 

strictly aligned with axis of border. Side of lid: groups of 

maeanders ~parated by chequcr squares. black band. 

Black band, reserved line above frieze: below: maeanders 

separated by chequer squares. egg (with double borders) and dot. 

Red-figure. women, CVA, Austria 1, Vienna I, pI. 48. 7-8 and 

pI. 49, 1-3, L. Curtius, "Pentheus," Winde(mQnnsprogramm 88 

(l929) 5. figs. 9-1 t. 

DOUBLES 

I. Ferruru T. 27 C VP. from Spina. PI. 73. 

Sccondary lid missing. Stem of pyxidion mended to lid in 

antiquity. 

H. 0.153. total H. pres. 0.223, D. at rim 0.129, D. of lid 0.165. H. 

offoot.o.045, D. at rim of pyxidion 0.06. 

Slightly domed lid r;:urmounted by small pyxis, type C, on slender 

stem. Slightly concave, tripartite foot. 

Lid tongue and dot, black band bctvo'een reserved lines. 

lcrtical. circumscribed palmeues alternating .,,·ith 10tus DO'I\ers 

,,:r()\l\ ned by tiny palmeHC5 and linked by a scroll, spirals in upper 

~pandre1s, egg and dot, inverted. Side of lid: laurel. Reserved line 

abo"'e frieLe and helo" then black band and egg and dot. AHJ\OL 

tn'iCribed above seated figure of Delos. 

Marlay Painter, Apollo with Artemis, Leto, Dclos and Hermes: 

ANV. 1277.22: Ant> Anticu e Modernu (1%6) 173-178. figs. 

70~72. 

ell. 4.10 H.C. 

2. Athells. Agora P (3097.fr.. from Athens. PI. 72,2. 

D. est. 0.07. Lid of miniature pyxis type C. 

ShallO" domed I'd with narTow ~wer rim. 

Lid. small ~ntral clay medallion. egg and dot. resefYed ivy 

lea"·cs, turned alternately outward and inward. stem. tendrils and 

berTies in added clay, narTOW egg and dot band. Underside 

unglazed. 

Red-figure. Agora XII. 396 Deposit 0 19:4. This pyxis from 

dumped tilling. For ivy pattern cL lid of Athens 136763 by Painter 

of Athens 1S85 dated ca. 410 D.e. 

3. Alhelu. Agoru P /2975. fr.. from Athens. PI. 72,1. 

Lid missing. stem broken, H. pres. 0.031. max. D. at rim 0.057. 

D_ 0.071. 

Miniature pyxis, type C. which served as the knob of the lid of 

a pyxis, type A. Inset flange for lid. shallow concave curve to 

sides, sloping projecting keel at base. underside elaborately 

moulded. 

laurel wreath on body, debased tongues on 1000'er flange. 

Red-figure. Area 0 20. 

I Second quarter fourth century. 

4. AlllellS. Agoru P /6924 frr.. from Athens. 

PI. 74,2·74.3.75,2. Fig. 12a. 

Two non·joining fragments of a lid of type A with a miniature 

pyxis type A serving as a knob. Lid of miniature missing. body 

about half preserved, stem broken.

118 

THE ATTIC PYXIS 

SALLY RUTHERFt:RD ROBERn 

119 

Lid: H. pres. 0.037. 0.0.140. Box: H. pres. 0.062. D. at rim 

11.061. 

In~et flange for lid. shallo\\ concan~ cun"c 10 sides with 10'l1'cr. 

~l()ping projl."Cting keel. 

Ud' si~ \'crtical palmclles v.ilh a dot on either side of one, 

Interlocking maeanders in groups Of five (once six and once three) 

\eparated by chequer square. 80.' IWO \'ertical palmclles \\ith 

\\ hite hearts and most of a third he middle one is flanked by 

dots: /ul\'j" kl'd: egg pattern. 

ned-figure. Agortl XII, 384. Deposit A·B 21·22:1 dated ca. 

120-.190 R.e. 

S. A /lIf'11$, Agora P 24296. fr.. from Athens. PI. 75,1. 

Fragment (If small pyxis type A. which served as knob of a lid 

Ill" a pyxis type A. Portion of IOlh'1 wall preserved and projecting 

IOIH'r keel. Underside elaooralelv moulded around broken stem 

10.0.035), H. pres. 0.036, 0, ptl'l>, :I.t 10"'er part 0.093. 

Heart 01 palmetlc on acanlhus Iea\'t's, interlocking stopped 

lIl:lcanders and chequer square. two black-glaze raised rings. Egg 

un lower keel. 

!'atterned; found in Agora a~a. exact prO\'enance unknown. 

h. IJrollrOlI /80 fr .. from Brauron. 

MinialUre ppis. type A. whieh sen'ed as the knob of the lid of 

a pp-is type A. Presen'ed: low'er portion of sloping wall. projecting 

lower keel. tall stem (broken below) connected to keel by cuo'ed 

contour. 

The evidence for this the most elaborate form of pyxis type A III 

the later fifth century is very limited. But for an almost intact 

example from Spina. a few fragments from the Athenian Agora 

and Braurun. one would not have been aware that the lype existed 

prior 10 the second quarter of the fourth century. Evidently t.....o 

\'ariants of the type were made. a pyxis type A with a pyxidion of 

type C serving as a knob and a pyxis type A surmounted by 

miniature pyxis of the same type. The combination of the two types 

of pyxides sen'cs as a \'isual reminder of the contemporaneity of 

l~~ A and C and suggests that the potter "ho made one type. 

made lhe other. The c1assificatK>n of the doubk pyxis is based on 

that factor alone. The evidence at hand indicates that the mam lid 

was slightl} domed as in those of type C and the pyxidion 

supported on a li"tem swelling toward its apex. Judging by the 

number.> presened the t)PC became more popular in the first half 

of the fourth century. 

Ferrara. T. 27 C VP (no. I. PI. 73) has been preserved intact but 

for the lid of the p)'xidion of type e. The principal lid is slightly 

domed and the pyxis knob is joined to it by a slender stem which 

,,"ell.. at the junctiun, The walls of the box approach the cylindrical 

and the lower keel is pronounced in its extension. The flaring foot 

i!> tripllftite, The lid of the pyxidion was undoubtedly slightly 

domed with a lower rim as in the lids of those of standard size. For 

a miniature lid of type C see Athens. Agora P tJ097 (no. 2. PI. 

72.2) which is identical with the standard \'ersion exccpt that the 

smalll'entral clay medallion is not pierced to rccei\'e the u..ual ring 

handle. This miniature lid must have belonged either to such a 

pyxidton or to an independent miniature vase. 

The pyxis has been allributed to the Marlay Painter who also 

deroratt.'d pyxides of type C and an additional type A of another 

model.I' The vase dates to ca. 430 B.e. and thus prm'ides preeious 

c\idence for the production of such elaborate \'ases sixty years 

before the Kerch l>erK.~.1J A "fourth ccn!Ury' type b, thus shO\o\n 10 

han' its origin in the later fifth century. 

Athens. Agora P 12975 (no. 3. PI. 72.1). is a fragmentary 

pp,id ion uf type C from such a double vase. The hastily painted 

wreath is the usual decoration of such boxes of standard size. The 

date is difficult to determine and unfortunalely the vase does not 

come from a numbered deposil. u 

No, 4 (Pis. 74.2-74.3. 75.2) is a fragmentary example uf the 

~crond variety. a pyxis type A surmounted by a pyxidion of the 

same type. Of the box only the main lid is preserved whose com'ex 

central area. lower rim. 3nd broad two step stem-base as well a~ its 

modest diameter 01'0.014 show it to be from 3 ppis. type A. The 

!>tcm i~ broken just 3bo\'e the base. The pyxidion has slightly 

('onca\'e walls and a sloping lower keel from "hich the contour

120 lilT ATTIC PVXIS SALLY RUTHERFUJlD Ra.ERTS 121 

slopes do" nward to join a thkk '>tern. 11 should be nOled Ihat thl.' 

~tt'm of a double pp:i.. swells to\\ards its Junetun' with the pplis 

knob. Compare the slender stem of the Ferrara pyxis lno. 1) and 

al~() the thicker later (ourth ccntu'1' examples Leningrad

121 

'liE ATTU PYJI:n 

SALLY RUTH£ltFURD RO.EaTs 

123 

.118. PI. 85.21 (Corbeu): Apor

124 THE Arnc PVXIS SALLY RUTHEil.FURD ROIERTS 125 

wdl on the southern slopes of the Kolonos Agoraios. which 

produced a large proportion of fed-figured pottery. The potter)' is 

considered to have been thrown in all at one time and must be 

datablc tu 425·400 B.C. Peter Corbett belic\'cd the pyxis and a 

1cbes gamikos by the Matlay Painter to he considerably earlier 

(440·430 a.c.), than the bulk of the ,'ases from the .....ell and 

(.'olllparcd the fanleT to a pyxis P 2283 (PI. 50.2. Fig. 7d) by the 

Drouot Paintcr. 19 A comparison of the profile of this pyxis lInd 

others of the Class or Munich 2720 (p. 72, Fig. 7a). shol>.'s the 

wall of no. 3 to be straighter and the lower keel projecting almost 

at right angles to the wall rather than continuing and completing 

llle curve of the wall. In these charpctcristics P 10459 appears to 

be later than any of the pyxides of the Class of Munich 2720 and 

rightly dated by the context of the well. 

If restored with a tall tripartite foot. no. 3 would be about the 

same size as Munich 2720. the smallest--of -that class. The box 

proper is a lillle larger than the pyxidion P 1M124. 

Another sm:lll pyxis. Athens Agora P 8441 (no. 4. PI. 75..1) 

preserves only its lower wall, boldly projecting lower flange and 

fragments of a tripartite foot. The wall appears to have had a very 

shallow curve much intensified at the base as in Berlin F 2520 

(Fig. 12bJ. The box seems to have been slightly larger than no. 2 

as the diameter at the lower keel measures 0.09 10 0.08 for that 

example. The pyxis dates late fifth-early fourth century B.e. 

In most pyxides type A of double format the pyxidion is 

supported by a single stem; however it should be noted that in 

one example. Berlin 3373 10 • the pyxidion has a tripartite foot. This 

i~ one of the la lest and most elaborate of the Kerch series of 

pyxidcs dated ca. 360-350 B.e. It is also the tallest; the pyxidjon 

itself is sizable. 

As it appears Ihat the series of double pyxides of type A began 

around 430 B.e. it seems necessary to consider whether the 

fragmentary pyxides no. 3 and 4 could have been pyxidia. There 

is not sufficient evidence at present to decide this question and 

therefore il is safer to consider them as independent pyxides. One 

should bear in mind. however. that this question of pyxidion or no 

should be raised even when a pyxis is furnished with a tripartite 

foot. 

ODD PYXIDES FROM CA. 4.30-420 B.e. 

I. Athens 1241 (CC. 1553J. from Athens. PI. 75.5. 

H. 0.11, H. with lid 0.185. 0.0.10-0.11. 

Lid: eggs. black band. palmettes. partly circumscribed and 

linked by a running scroll (central petal pierces frame). leaf abO"e 

and below in interstices. 

Reserved line above frieze: below: groups of interlocking 

macanders separated by a cross. saltire or chequer square. 

Red-Iigure. Apollo and eight Muses. CVA. Greece 2. Athens 2. 

pI. HLI. 5·6. pi. 19. 2-4. pI. 20,1. 

2. Alh,-·ns. from Aiolou Street. PI. 76.2. 

Lid: tongues. wide black band between reserved lines. running 

palmettc scroll (Dinsmoor type IV BJ. Side of lid: laurel and 

berry: inlf'rior of lid: black. 

Egg and dot above frieze: ht'IQw: tongues. 

The names Thalia. Choro. Terpsichorll. Melpomene. Orania. 

Klcn and EralO arc inscribed. 

Red-ligure. Muses; BCN ~6 (1962) 644-645. figs. 2·3. plo 23; 

AlA 50 (1946) 119 (Dinsmoor). 

3. Chicago 92.126. ex Hutchinson. 

Knob missing. H. 0.075. total H. pres. 0.089. D. at rim 0.078. 

IJ. of lid 0.103. H. of foot 0.012. 

Lid: egg and dot. vertical. circumscribed palmenes (eleven 

petals, once twelve). linked and alternating with lotus flowers. 

three pelal palmene in spandrel. egg and dot. 

Black band, reserved band above frieze: below: egg between 

reserved bands and black band. 

Red-ligure. women. 

4. Wiinburg 541. from Attica. PI. 76.1. 

Upper member of knob and foot mlSsmg. H. 0.093. total H. 

pres. 0.136. D. at rim 0.11-0.114. D. of lid 0.137. 

Lid: egg and dot. egg and dart, palmette alternating with lotus 

flower, egg and dart. egg and dot. Side oJ lid: laurel.

126 

SALlY ROTHERfURD ROB£RTS 127 

Black band. resen'ed band aho\'c frieze; belo.....: egg and dot. 

Wa'\hing Painter. bride silting on a couch. "'itll Er..,.., 

Aphroditc and a ....oman who holds a loutrophoros; 1....0 Erotn 

"'resiling. with Aphrodite seated and a woman (Peilho); woman 

~ated playing the harp; ARV. 1133.196: Langlolz. Griechische 

VU.)"I'" i" Wiinhurg, pk. 200·1: A. Greifcnhagen. Gri('chischt' 

bvt(·" 42-45; A'hMitl 71 (956) 205-207; Beil. JlS below and 

Beil. 116 belo...... For the subject ef. the kbes gamikos rtr. t4RV. 

1127.6 bis). 

S. Allu!,u. Agora P 6514. from Athens. 

Lid missing. H. 0.112. D. est. 0.135. 

Concave wall, inset nange for lid, high ring fOOl. 

Inset flange. h:cl and resting surface of foot reserved. 

Black. Agur" XII. 174 ::and 327 no. 1289. PI. 43. Dcposil E 13:1. 

450·425 B.C. 

In contrast to the tall slender proportions and tall tripartite foot 

uf pyxides of the Koine Class come a few odd pyxides whose squat 

proportions. Iow glazed ring foot and knob type are reminiscent of 

the mid fifth century Class of Berlin 3308. The dh'ersity of 

pallerns ornamenting lids and boxes is one of the indications that 

these pyxides do not form a class. The contour of Ihe I"alls of 

these: p)'xides varies from a shallow conca"e curn 10 a C)'linder and 

in Ihi.. they re~mble most pyxidcs. tJpe A. of the peri'Jd 4.10-400 

B.C. 

Athens 1241 (no. l. PI. 75,S) is a pyxis ofsqu31 proportions ~ith 

nearly cylindrical walls. The lid and lower keel project slightly 

beyond the line of the wall. The foot is of ring formation with a 

diagonal line connecting its apex with the lower keel. The lid 

sloping steeply from the center towards the outer edge is crowned 

by a knob formcd of a conical member surmounting a disk-like 

form on a stem swelling towards its apex. The base of the stem is 

raised above the level of the lid. A comparison with the pyxis 

London E 773 (PI. 62) of the Class of Berlin 3J08 sho"ws lhe 

similarity of proportions and forms composing the whole. Equally 

striking is the figurative stripping away of excess flesh and the 

tightening of the contour lines. It should date ca. 430 B.e. 

A pp:is from Aiolou Street (no. 2. PI. 76.2). is known to me onl)' 

from photograph.'ii and a bnef report In the Bullt·tl1/ de 

n"""!>(lfmdal/cf' Jr{'II~"iquf'.lI The walls arc qlindrK-al • ith a 

projecting Imnr keel. I cannot tell whether there is any 

articulation betvo·een the wall and the keel. The upper surface of 

Ihe lid is flat: the ba.'iie of the stem is raised abm'e the le,·et of the 

lid. The knob is similar in general format to that of no. I. but 

differs in detail. It is more delicately and elegantly fashioned. The 

disk-like form resembles the shallow basin of a fountain ",.jth an 

eminence in the

128 THE ATTIC PYXI~ SALLY RUTHERFURD R08EltH 129 

pp;s from the Athenian Agora (no. 5). atc clme to ,hose of nos. 1 

and 4. The shallow concave CUT'\'C of the wall and black ring foot 

3TC analogous to pyxides of IlIb group. It is particularly 

unfortunate that the lid is missing for without this member il 

seems hazardous to do more than compare this pyxis with the 

others. As the black Ceramicus 1462 e

130 131 

woman spinning. and woman; maid; ARV. 1023.144; Heydemann. 

GrieC'hische Vasenbilder. pI. 8, S. 

J. Chicago 92. J25. PI. 77.3. 

H. 0.088. H. with lid 0.133. D. at rim 0.077, D. of lid 0.103. H. 

(If foot 0.01. 

Lid: debased tongue and dot. black band. laurel. Side of /id: 

debased tongue and dot. 

Black band. reserved line above frieze: lw/a....: debased tongue 

and dot. Eusinn Painter. Boreas and Oreithyia. ARV, 798.147. 

late. 

The profiles of two pyxKles by the Phiale Painter (nos. 1 and 2) 

a~ c1~ly akin. The shallov.' concave curve of the wall is much 

stttngthened 31 the base and the lid extends further than the 

lo.....er keel. The upper surfa~ of the lid of Athens 1587 (no. I. PI. 

77.11 is flat in contrast to Ihal of no. 2 (Athens 1588. PI. 77.21. 

whose domed contour recalls the outline of lids of type C. Knobs 

in the form of pomegranates crown the Iids. u Most curious is the 

form of the foot. whose low convex ring is connected by a curved 

contour line to the outer ed~ of the lower keel. A comparable 

foot type may be found on cenain pyxides of type C. n 

Despite the similarity of the profiles of nos. I and 2. the choice 

and placement of pattern bands differs. Tongues ornament the lid 

flange and lower keel of Athens 1587. while on Athens 1588 the 

lid flange is merely glazed and the lower keel has an egg and dot 

border. In addition the lid pattern bands differ. The two pyxides 

date ca. 430 8.C. 

No. 3 (Chicago 92.125. PI. 77.3). by the Euaion Pailller. has a 

prolile almost identical with that of no. I. In addition the choice 

and placement of pauern bands are the same. The measurements 

of no. 3 are closer to those for the Class of Berlin 3308 and it is 

interesting to compare the latest example of that class, Athens 

1586 (PI. 65.1) also by the Euaion Painter. with this pyxis. The ring 

foot of Athens 1586 is connected to the lower flange by a sloping 

line. The foot type of nos. 1·3 appears to be an exaggeration and 

articulation of features present in Athens 1586 and the key piece 

of the Class of Berlin 3308. No. 3 may therefore be seen as a 

connecting link betv.een the Class of Berlin 3J08 and the 1""0 

ppide!i by the Phiale Painter. The Chicago pyxis dates ca. 440 

D.e. or slightly thereafter. 

TWO PYXIDES OF SQUAT PROPORTIONS 

AND TALL TRIPARTITE FOOT 

I. N_ Yurk 40.11.2. from Greece. PI. -S. 

Upper pan of terracotta ring handle restored. H. 0.102. H. with 

lid 0.142 (as restored). O. of lid 0.116. H. of foot 0.021. 

Lid.- fragment of maeander pattern. Muses groups of 

maeande~ leftv.ards separated by chequered squares. Side of lid: 

groups of interlocking maeanders separated by chequered squares. 

Moukling. line abo\'e frieze: bela...·: line and band of maeanders 

and chequered squares. 

The names of six Nereids are inscribed. 

Painter of London 0 14. white ground; Nereids: ARV. 1213.1; 

AJA 44 (1940) 428-431. figs. 1·3. 

"l::; \" :> 

2 Lu"dun E 774. from Athens. 1-'1. 79 and Fig. 14a. 

Lid alien. H. 0.118, O. at rim 0.096. H. of foot 0.03. 

Four lines alternately black and reserved above frieze: belu....: 

groups of interlocking maeanders running alternately to right and 

left separated by chequered squarC5 with a central raised dot. 

BO/tom: dotted circle and tWO closely spaced outer circles. 

The nanu..", Glauke, Thaleia. Kymudoke. K)/llothea. Gakne. 

Pomomedeia and 0050 are inscribed abo\'e the heads of the 

ligures.

132 THE ArTlc Pl'XIS IJJ 

slightly beyond the contour of the v'al1. The upper surface of the 

lid is flat and is crowned by a ring handle in terracotta (the upper 

part restored). This handle type may show the influence of the 

predominant type of the period. the pyxis type C. which was 

regularly furnished ....ith a ring handle of bronze. In addition the 

lid was decorated with a figured frieze," the usual adornment of 

lids of type C. 

The white ground pyxis. type A. is a rarity and this isolated 

exemplar appears about twenty years after the earlter enmples 

which were mostly painted by PenthesiJeans 15 in the years ca. 

460450 H.C. It differs from these in having a white ground lid. 

The simple concave cunc of the wall and the squat proportions 

of a pyxis in London (PI. 79 and Fig. 14a), are ,'ery like those of 

the white ground pyxis in New York. The lid Ohef: set on it prm'ed 

to bt alien. judging from the slight projection of the lower flange 

the lid would have elltended little beyond the wall of the boll. At 

this period the projection of a lid usually matches or exceeds the 

elltension of the lo.....er keel of the box. The concave contour of the 

tall tripartite foot emphasizes the form of the box. The black foot 

is finely articulated by raised rings in black standing out from 

reserved bands on either side. The elegance of form is 

commensurate with the exquisite miniature figure style by the 

Eretria Painter. The two pyxides date ca. 430-420 S.C. 

PYXIDES OF EXTRAVAGANT PROFILE 

I. Worcester (Mass.) /935./48. PI.8I,1 

Knob missing. H. 0.112, total H. pres. 0.119, D. at rim 0.089. 

D. of lid 0.143. H. of foot 0.035. 

Lid: tongue and dot. line and dot on central mouldings. frieze: 

Erotes with cocks, Erotes with hare. in the field dioros and stone 

for a game of ephedrismos. For a representation of the game in 

progress by the Shuvalov Painter: Arias, pI. 204. Side of lid: 

wreath of laurel leaves with white berries. 

Moulding decorated with egg and dot above frieze: below: 

stopped interlocking maeanders on projecting keel. 

Eretria Painter. mistress and maid: mbtre,,, and maid: 1"-0 

maids; ARV. 1250.33; Worcester Art Museum Annual 2 

(19.36-37) 28-31. figs. 1-4. The number in ARV is incorrect. 

2_ AIII.'IIS. Agora P 6R45 lr., from Athens. Pis. SO.l and 80.3. 

lid fragment. H. pres. 0.014. D. est. ca. 0.14. 

Upper surface of lid flat. step down to lov..er horizontal rim. 

articulated by added red. 

Frieze; Niobids; flange of lid; olive leaves with white berries. 

Red-ligure.ArltK 6 (1963) 23-32. plo 8. )·2 (Clainnont). Similarities 

to the work of the Eretria Painter were nOled by Clainnont and 

confirmed b)' Senley. 

3. N('t\' York 06.1021.119. fig. 14b. 

H. 0.077. H. with lid 0.12. D. at rim 0.083, D. of lid 0.12. H. of 

foot 0.016. 

Knucklebone handle. lid nanged beneath, box concave with 

projecting sloping keel. tripanite foot. 

Lid' debased longues on central moulding. then egg and dot. 

maeand...rs in groups of three. separated by saltire squares. 

U,.derside of lid: laurel. 

Black moulding. groove. black moulding above frieze; below: 

black moulding, laurel on sloping keel. 

Ked-figure: Richter and Milne. fig. 140. 

The Worcester pyxis (no. I. PI. 81.\) is onc of the most 

playful and extravagant models of type A. The wall has a sloping 

contour with a strongly projecting lower keel, whose upper surface 

is concave with a groove near the outer edge. The lid projects 

equally far beyond the line of the wall. The most prominent 

feature of the p}'xis is these two "beaks" enframing the line of the 

wall. The tall foot is tripartite and of a concave contour quite 

unrelated to the profile of the box. The upper surface of the lid is 

flat with a series of low mouldings at the center to suppon a 

knob. now missing. Near the outer edge is a groove. Laurel and 

white berry adorn the flange of the lid. 

A fragmcntary lid from the Athenian Agara (no. 2. Pis. 80.1 and

134 

SAIl y 

RUTHERFURO RO.FRTS 

135 

SO.3);s extraordinarily akin 10 that af Worcester in profile...ill,' oand 

ornamentation. It projected far beyond the wall of the now 

missing box and the flange is decorated .....ith oli,'c lea\'es and 

white berries. There is a frieze of figures on the flat upper 

surface. 

The diameter of the lid is estimated at ca. 0.14 to 0.143 for the 

Worcester lid. The projection of the Agera lid appears to ha\'c 

been e,'en mo~ extensi,"c Ihan that of Worcester :IS the I,)\cr· 

hanging section measuro 0.023 to 0.019 for Worcester. 

The profile of no. 3 (New York 06.1021.119. Fig. 14b) is more 

exlra\'agant than any other. The wall has a concave cut'\'c 

se~raled from a sloping keel at the bast by a moulding. The lid 

projects far beyond the line of the wall and Cl'cn beyond the lo.....er 

keel. Like no. t the upper surface of the lid is flat with a y;K1e low 

moulding at the center which here forms a foundation for a knob 

in the form of a knucklebone. The flange of the lid does not cu,""c 

downlo\ard to join the line of the wall as in no. 1 but forms an 

abrupt angle. The low tripartite foot protrudes widely benealh the 

slope of the lower keel of the box. The lid construction diners 

from the usual in that there is no inset flange at the top of the 

Io\all of the pyxis. Instead the lid is flanged beneath and this 

nange fits down within the body of the vase. 

The lack of a harmonious relationship between the individual 

parts and the whole is somewhat disturbing. The date should be 

in the last quarter of the fifth eentury. For a similar crass-girt 

chiton cf. that of a woman on a red-figured squat lekythos. Ji The 

majority of red-figured ware from the well from which it comes 

dates from 425·400 a.c. Another exemplar dated ca. 420·410 D.e. 

comes from the PnyxY 

The Worcester pyxis (PI. 81,1). by the Eretria Painler. dale.. ca. 

430 D.e. and a comparison of its profile with that or Ihe 

contemporary London E 774 (pI. 79), by the same miniaturbl. 

provokes astonishment. Rather than simply considering them 

different odd pyxides, should onc not rather regard them as 

different trial pieces from a period of chaotic experimentation 

VARIOUS SMALL HYBKIDS 

I',Ul~, LWH'n' CA 1443. from Eretria. 1'1. hl.2 and Fig. ISe 

It 0.0"'3, H. with lid 0.08. D. at flnt 0.082. D. of lid 0.106. H. 

I t'lJ...t 0.009. 

!u,>et flange fur lid. slight CQncave cune to wall. resen'ed 

mnulding at base Central tondo of lid: representation in relief of 

a .... creid. holding a grea,'e, on a sea horse. Reserved, echinoid 

..,'ulnur la lid Ilange. Ring foot. 

1';llOtl'r III Alhl'n' I 5. ",om3n ,>ealed and y;nmen: AN\'. 

1.\0(1.1, 

·1 he "1)le of Ihe relief has nothing to do .... ith that of the 

pit.ture:- P. Jacobsthal. /Jil' mef'$chl'" ReliefS. 184. figs. 55·56. 

1 hI:' number in AR V is incorrect. 

2. >1'1\ Yurk 06.1021.123. from Attica. PI. H2.1. Fig. ISb. 

H. 0.00.1. H. Io\ith lid 0.102, D. at rim 0.076. D. of lid 0.093. 

Il;,>el !lange for lid. slight COllca\'e CUr'iC to wall, con\'ex base 

moulding separatt'd Irom '" all by a grou\e. Lid slopes from center 

10 rounded con\'ex lid llange. Asymmetrienl knob. 

1id rays and dot... black band. egg and dot. 

Rc!>ct"

136 r 'IF Arnc I'YXIS 137 

The "ases listed above ha.'c certain characteristics of p}'xides of 

(\!le A combined with some of type D. 

,,,. I (I.oUH(' CA 144J. PI. 81.l) ...h.l\\" the ('onll...·1,:ll"" \\ilh the 

11\\1" hpc DU \PI. X2.2}ll1o\t dcarl~. 1 he lid of 111(' 1\1" U p~,i\ I~ 

flat with a central (ondo surrounded b)' a grou\'c and a 

do,", n turned edge. There is no knob. The moulded face of the lid 

',.-omplements :I. moulding at the base of the slightly COnC3\'C or 

qlindrical wall. The lid of the Louvre pyxis has a rai§Cd ccnlraJ 

tnndo decorated with a Nereid on a hippocamp in relieLJ' The 

londo of the lid of a pyxis type 0 usually is ornamented with a 

figure. object. head or animal. The Nereid relief. how~·er. is a 

much more nuld and elaborate composition than any found on a 

pyxis type 0 and clearly derh'cs from anOlher source. A Hd "ith a 

lundo composition i!> otherwise unknown on a pyxis type A but 

the format is Iypical for the pyxi!>, type D.cd abo~·e follo\O.' the 

rulC' .

138 I HE ArTlC PYXI5 

SALLY RUTHERf'URD ROBERTS 139 

NOII-.S:CHAPIFH\ 

I 4C'ml XIL JIH, Dcpo!lll 0 19,-4 Wdlu\,' lilhn~ 1.'\1 quafltr lillh I.Tnlun" 

IluTlIp,.'t:I tilling ahhough tnr l~ mO"i1 PiU! I.·"n,i~lo:nrh .'1 thl." '.I"l~· ~n"d. 

.LJlII,Jn,:n11~ n", dcpo"!iUcd I'>ol:lt'fl" Ilk' 2nd I."cnrun B (. P i'll,jq- ., h"l1\ ,IK' ,IUnllll.."C! 

IiIhnt:. 

1. ~l'\' p. 51 III 1nl. 

1 See p. h] (11 1(')(1. 

4. Klaus Vierncisel. "Dle Ausgrabungen im Kerameikos," AA I (1964) 432. fi~. 

24-25. 

5. It should ~ nOled that although the profiles of these an.- similar. in ~ion the,' 

diner in detaIl. the cenlral portion ~ithin the ero\l\ning ridge nf the knob being 

hollo.... t:d OUI in Ihe case of Ihe Ccramicu~ pp.is. 

6. Lut)' Talcoll and olhen;, Smllll OtJj«ts Irum ".,. Pn)'x 11. Jlrs/Wn'u' Suppll'ml'tlt 

X IPnn~on '(56) no. 139. p. 35 and fig, J. There daled laIc fifth cenlut} 

-. ANV. 1222. '·3. 

8. Mls~ Phihppaki undenook 10 unglue the parts of Ihe JOin. The join is all right. 

the gla:t.e is the same. 11lc knob belungs to the lid mnd it appears thal no part of the 

stem b mi\\ing. I am moch indebted to Miss Philippaki for reexamining this 

thtun:. 

9. KarlXhefokt. Urul'n",ltulJ1!f'n =u df'n K""ucltr,. Vas,'n (Berlin 1934) 59-W. nos. 

5t(2 I!). 5Mb and 5Ma Tllthe li\t 01 ,,'mple. 'lIIg1c p)xi,il''1 of I}JX' A ,hilI/Ill ",-. oI,hh:rl 

the follo\\ing examples: Athens 1324 (CC. 19(6) H 0.146, H. \\irh lid 0.245; Athens 

1325 (Cc. 19(3), H. 0.134, H. 'Aith lid 0.22 (me:ll>un:ment'l SUPI>lied br Mi\'1 

Philippakil; Athens 1320 (CC. 1%4) H 0.13, H 'Ailh hd 0.20; Athens. Ago... P 

1(,10'" lid 1'111) D.O 14() IAgnru XII. 177.321S nn. IJ05, 1'1. 431: Halm 1%.1.10. H 

0.10":, H. _nh lid 0.26: Oxford 1934.330. hd only, D. 0.118. The salu.:nt 

characterblll~ are: lid under influence of p)'llis, IlPC C tdomed \\lIh rim 011 IIJ'Aer 

klcll: ho, .. lightly l'\lIlCa\l~ 'Allh prujcl'linJ( Imwr l1al1)te; taflll:lrr\l" Pntfll,rti"n" !.l'.• 

H. "'ith lid greater Ihan Ihal recorded for mlXt I:Uer fifth l-cnIUr) ennlplC'!O: knob: 

comcill mc:mber surmountmg disk-l1kc: form on stem swelling tlWo,uds its apex. Tbc 

hd' ut GOllin~n \Sehefold no. 58..1), WUr/burg H 5333 tA",K I~ Il lr'2] 10. pi 5) 

ami Pn\ale Cnlkcllon f(arv11lJ Llld",,/( Cunill~. 148-150. pis. 51·5.1) an: mi.. \il1~ 

The black glue hd of the laller is alien. It should date ca. 440-420 H.C. and clearl)' 

dlXs not belong to the pyxis. The boldly extended lo\\~r ked of the boll requires a 

uTlln,ti:l~ pn'JCt·tin,ti: lid a!\o in Tororllu9195.32 (PI. 8·4,,, and 011\0 l'n:ater hel}!hllU the 

knob. TlM.'T\" ~m 10 be no cenam cnlcria b) 'AhK'h 10 Jud~ ~hcth~r tht.'\.t' thrl": 

hdk...\ p}\ldl"'> 'Aen: ul ~ingle or doubt.: fOf"m For dISCUS\IUn of Ih,' P'XI\ fll douh .... 

t}p..' sel'I). IlbffollclI. 

10. ARV, 1277.22·25. 

I J. .xhefokl. Untt'nuchungf'lJ. 59. no. 583. prov'des a fourth ecntuf) czamplc of a 

double pyIis, l)-pr A. lI;th a pp:ic:hon of t)~ C. The lid of Ihe p)xidion is of brunl.t· 

(CVA. Iknmark 4. Cupenhagen 4, pI. 163. 5a-bl. 

12. The context \uggest\ a date in lhe second quarter oflhe fourth l-entUf). 

1.1, Schetold. U",aSIIl f/lll/}.!"". 59. no. 5R4 lpI'. 74. 70, gO. Ihcrl' d:Hl'l.l J70..l00 

IH..1: ARV. ISOJ l'ollflm; MUII'n'ul po Adthl'l.J!Uj.!// RWi// 35. p. tl5. pI. Y 

14. xhefold, Unt('nuchuRgt-n. 59, no. 580 (p. 76, there dated 370-J60 B.C.); 

Arr"Eph 09(2) pis. 5-6. Berlin 33iJ. Schdold. no. 581. pI. 17.2 (pp. 75, % and 9- 

and then: dated J()()..3SO B.C.) show\ ,a pyxidion of a different Iype, supported by a 

tnpanl{e foot and so IS 01 a form ldenlical to the mam box. The knob of the 

p)xidion i.. \imilar in form to thos.e of the \ingle pyllides of lhe Kerch series. 

15. Pder F. C~t, "Anle Pottery of the Later Fifth Century:' HOfNntJ 18 (19491 

m. pk. i3.1; -0,2; --.3; 82.12; TalCOlt _od Othel"5. Small ObpclS}Tom the Pn)'x: 

11, H('ipula Suppif'ml'nt X. pis, 4.29: 9.118; 13.158 lserond quarter of fourth 

century): Arias and Hirmer, pl\. 204. 205, 21& 

1&, Scht:fold. Untt·nuchuflgt'lJ. 59. 00. 580, 581. 583a. 583b and 584. Unfonunatel}, 

I do not ha\'e \ufficlent information 10 Ir.""",. the form of no. 584a. As may be secn 

b). a comparison ~ith the list of slllgle pyxidn of type A of the Kerch \Cries tstt 

3hl}\e n. 91 the latter appear to be shghtl) more numl;'n.u) in contradiclion to 

Schefold's indication. 

1'. There is a dass of tall-stemmed. elaborately profiled. marble pyxidcs fe~ of 

~hich a~ publishtd The diameter of the concave pyxis is lI'ider at lhe top than al 

h,l\ al1llrn,:ullenlal ring al the lllp and I flaring bax \UPPllned b} thTff 10-;1 f"'el. It 

ha\ .. narms: rtlund nm. the paralld edge

140 THE ATTIC PYXIS SALLY RUTHERFURD ROBERTS 141 

19, H"S~rill 18 (1949) m·)()() and J18. no. 21. pt 85 (Corbett). 

20. Schcfold Unrcnllclr'mge... 59. no. 581. pI. 16. 17.2. 

21. HeH 86 (1962) 644·645, figs. 2·3. pI. 23. 

22. The upper surfaC'e of the knob of Athens \241 is similarly formed. ~ the 

photograph. CVA. G~~ 2. Athens 2. pI. 20.1. 

23. AMV. 1150.28. Three fragments frum the almost cylindrical ""all of a py~is type 

A atc prcsen·e' Pamtcr (AI

142 

CHAPTER VI 

The Pyxis Type C 

The proportions of the pyxis type C form a contrast to those of 

type A. The pyxis type C is low and broad. The diameter of the 

lid is usually more than twice that of the height. The wall is 

concave or cylindrical. the low foot of a ring formation or variant 

Ihereof. A low tripartite foot is exceptional. The lid is domed and 

regularly furnished with a bronze disk and ring handle set at the 

renter.! 

The pyxis type C is primarily a figured type; few examples are 

known in black or plain. l The lid forms the greatest area so it is 

natural that Ihe figured frieze of the type A pp.is is moved from 

the wall to the lid. The wall is merely decorated with a wreath of 

leaves or left black. When exceptionally the wall as well as the lid 

is decorated the effect is overty ornate. 

The concave curve of the wall and the continuance and 

completion of this curve by the side of the lid in examples of ca. 

430 a.C. implies 3 dependency on type A. The fact that the type 

C appears long after the pyxis type A has been established. is 

also suggestive of this derivation. A certain number of artists are 

known to have decorated pyxides of type A and C. the Marlay 

Painter. Lid Painter. the Sotheby Painter. Painter of London E 

777 and the Painter of Athens 1585. 

There is a change however in the pattern of production. Pyxides 

of type A. numerically speaking. are decorated by cup painters.

144 

I IIF ATTIC PYXIS 

Su I \ 

Nt'THFRfl RD ROM~RI~ 

145 

The greatest number of identified artists of pyxides of type C afC 

from the circle of the Mcidias Painter. The repertory of shapes 

decorated include the hydria. lekanis. squat lekythos. lebes 

gamikos and loutrophoros. 

Type C is a latecomer. Numbe~ do not appear umit about 430 

H.C. but then the type is prevalent until about 390 H.C. After this 

there are fewer examples and production stops around 150 B.e. 

That this type was made before 430 H.C. is clear fTom IWO 

examples. London 1907.5-19.1' dating 450-440 H.C. and a white 

ground e:rample in Mississippi by the Sotheby Painter of ca. 

460-450 H.C. 

It is also c\"ident that a closely related type' was made 

contemporaneousl)' in materials other than clay. Lu.xurious marble 

examples are kno\\n from Brauron.· The prome of glass pyIides 

and especially of thdr lids shows their affinity with clay pyxides of 

type C.s There are also parallels in .....ood.' 

PRECURSORS 

Londol/ /907.5-/9./. PI. 85.3. 

Bronze handle missing. H. 0.044. H. with lid 0.073. D. al rim 

0.133. D. of lid 0.162. H. of foot 0.005. 

Lid domed .....ilh lighlly raised ring around the center. rim 

slightly convex offsel by a ridge. Wall of concave curve 

exaggerated al the base. ring fool. 

Lid: frieze between irregular reserved lines; rim: herringbone. 

Wull: laurel pattern. 

Red-figure, women; JHS 41 (1921) 145, pI. J; Agora XII. 176. 

no. 20. 

450·440 D.C 

The London pyxis comprises an individual combination of 

features. Taken by themselves the single features are not unusual; 

D. concave wall strengthened at Ihe base is combined with a dish 

foot. The domed lid has a projecting rim. 

The contour of the wall owes to the pyxis of type A and may be 

In the A-C CIa"". The foot I}pe ho",~\el i~ characterl~til of 

1Ill' , ot Athem 1243, rhe prolile of the lid is nOl ex,actl) 

Juplic3ted in an~' cia..'>. 

:he ~I\-Ie of the lid friele iodic:!te'> a dale around 450 8.C.; 

,k(,Jlb. 01 shape set"m 10 gi\'c a slightly laler dale. The conca\e 

nll>c tlf the "aw :md debased laurel pallern are characleristic of 

lhc ~l"Cond generation ul the Penlhc~ilca W~'r",hop l'ommencing 

,Lr,'umt +W B.C. d LoU\re CA bJ6 and LP 2bQ2 IPb. 41.1 and .121. 

HI,' t~ pe of fuol may also be lI}und ;n t)PC A 10 lhe Oi,h·li)l,lt Clas.. 

"I .. bi ThrtHle Wl. M5,2).'

146 

TilE ATTIC PYXIS 

')"1 LV RLTH£RfLRD ROIIERn 

147 

THE A-C CLASS 

I. Alhens 17983. P1.87.1. Fig.I6d. 


fool 0.008. 

Bronu ring handle preserved. Lid domed with two lightly 

raised rings around center, step down to rim articulated by a 

ridge. COnC3\'e cUO'C of wall e:raggerated at base. ring fOOl. 

Lid: egg and dart. frieze between reserved lines. laurel. 

Wall: black. 

The Lid Painter. Helios. Selcne and Nyx: ARV. 1282.2. 

Cu. 4)0 B.C. 

2. A,hnlS /597. from Athens. 1)ls. 86,1. 87.2. 


fool 0.007. 

Ring handle missing. Lid domed with lightly raised ring around 

the center. step down 10 rim. Concave cuo'c of wall exaggerated 

at base. ring fOOl variant. 

Lld: debased tongues. black band. frieze between reserved lines. 

black band. debased tongucs. Graffito on undcnide 01 lid. 

Wall: black; bouom: area .....ithin the ring fOOl ~rved with 

four circles. 

Red·ligure. sealed )"oulh with Eras and ike. IwO .... omen. In 

the field. column. kalalhoi. wreaths and a fillet. also planlS. 

LaSt quaner fifth C('IIIU')'. 

3. Athe"s. Agora P /5571. Pis. K6.2 and 87.4. 

Lid missing and aboul half the body. H. O.OS. D. at rim esl. ca. 

0.125. 

Inset flange for lid. concave curve to wall exaggerated at base. 

ring fool. 

Wall: black; botrom: reserved with two (perhaps three) circles 

and outer wide glazed band. 

Aguru XII. pp. 176 and 327. no. 1300. pI. 43. lig. JI. There 

dated ca. 400 D.e. Deposil H 19;1. 

-l -1 thnH. CI·rumlolS /5/1}, Fig. IM. 

1{1Il~ handle mi~slng. broken In many piece

148 

IllF Arrlc PVXIS 

SAllY RUTHERfURD ROBERTS 

149 

\VtllI: laurel paltern between reserved lines. base line reserved. 

BmlOm: dotted circle and two circles. All reserycd portions 

reddened. 

Grafitto on unden;ide of lid and box match. 

Red-figure. Eros presenting swan to woman and woman; Eros 

!lying right after Nike. seated woman enframed by vertical bands 

01" leaf and belT)' pattern; Richter and Milne. fig. 136: J. Noble. 

TIll' Tl'ch"iquf.'s of Puill/oo Aflk Pottery. 26. and note 93. fig. 

161. 

LUJ"' quunf.'r jiflh century B.e. 

1 he preceding pyxides have been loosely grouped together on 

the basis of certain common characteristics. The ~'all forms a 

concave curn: much streng1hened at the base. The side of the lid 

continues and completes the cur\'C~. a characteristic oorrowL'd from 

Ihe ppis of type A. The lid carries the frieze as is canonical for 

type C and ;n thi:. class the wall ;$ usually black. The proponion 

of ht'ight to the diameter of the lid varies and also the 

organization of the lid decoration. These pyxides date from ca. 

4.10·400 B.C. 

The prome of Athens 17983 tno. J. PI. 87.1) is similar to that or 

no. 2 (Athens 1597. PI. 86.1): in both ont' may obsen'e the conca\'e 

curve of the wall exaggerated at the base. The side of the lid 

completes the curve of the box. The main piece (no. I) is intact. 

The foot type differs. 

The contour of the wall of no. J (Athens. Agora P 15572. PI. 

86,2) is similar though the curve is less accentuated at the base. It 

is probable that the mi:.sing lid was decorated. as Talcott and 

Sparkes noted. for black examples arc rare. 

The pyxis from the Ceramicus (no. 4) is the only completely 

hlack example of type C which retains its lid. It is \'ery finely 

aniC'ulated, The lid is cClO\'ex with two lightly raised rings around 

the center such as would usually border a central paltern band as 

on Berlin (no. S, Fig. 16a). The wall of the Ceramicus pyxis forms 

l\ COnC3\'e curve accentuated at the base and the side of the lid 

complctes the curn' of the wall. The underside has three ridges. 

Greater care went into the potting of this black example than may 

be seen 10 the majority of red-figure pyxides of type C. 

Nu. S (Berlin F 2519. PI. bid. Fig.. 16a) like no. I is intact. The 

.... all is of a concnc cunC' much strC'ngthC'ned at thC' base and it 

ha:. the usual ring foot. The contour of the side of the lid differs 

from no. I ,md 2 ;n that it does not l'ompletc the cun'e of the wall 

but projectS horizontally. 111 this feature it comes closer to the 

characteristic side profile of the pyxis type C (cf. the lid of Athens 

1243. Fig. 17a. or for a later fourth century example that of 

Munich 2725, Fig. 1%). Thc underside of no. 5 (PI. M7.3) is most 

elaborately moulded and decorated. A sequence of concentric 

circles and ever wider black bands covers the entire area. A black 

raised ring and the ring foot itself are incorporated in the design. 

In contrast the decoration of the underside or Athens 1597 (no. 

2. PI. 87.2) b simple. The area within the ring foot i~ resen'cd "ith 

thn..~ concelllric circles. The area without the ring foot is glazed 

and moulded. The decoralion of Athens, Agora P 15572 (no. 3. 

P\' 87.4). i... :.Iightl) more elaborate; two (perhaps three) circles are 

cnframed b)' a wide black concentric band. The area without the 

ring fOOl is black and moulded. The underside of Copenhagen 

5380 shows the most elaborate sequence of concentric mouldings. 

No. 6 (New York 06.1021.120). like the Berlin pyzis and no. 1 

retains its original bronze disk and ring handle. The conca\'e 

cune or the wall is strengthened at the base and it has the usual 

ring foot. It differs. however, in a number of respects from the 

OIhers of the class. It is taller in proponion to its width. In 

addilion while the side of the lid is cun'ed it lies ....·ithin the 

contour line of the wall so thu there is an interruption or jog in 

the continuance and completion of the concave curve of the wall. 

Finally the .....all is embellished with a wreath of leaves, which is 

canonical for type C in general but odd for Ihis class. 

COMPARE 

Copenhage" 5380. from Athens. PI. 86.4. 

H. 0.03. H. with lid 0.063. D. at rim 0.119, D. of lid 0.157. 

lid domed. with central knob handle and IO\\-er rim. groo\'ed at

152 THE ATTIC PYxIS 

'53 

CLASS OF ATHENS 1243 

1. Athens /243 (CC. 1960). PI. 88.1. Fig. 17a. 

H. 0.062. H. with lid 0.08. D. at rim 0.121. D. of lid 0.156, H. 


Domed lid with lightly raised ring around the center, step down 

10 horizontal rim. Slight concave curve to waU with sloping keel. 

ring foot. 

Lid: frieze bet""een reserved lines. reserved ridgc!, rgg and dot 

(inverted). 

WDII- wreath of olive leaves. inverted egg and dot on lower keel. 

Botlom: dotted circle, circle. Yl'ide black band. rl5erved band. 

Matching mitt incised on Hd and bottom. 

Painter of Athens 1243. Aphrodite seated and woman; two 

Erolts making music al the altar of Aphrodite: ARV. 1319.2. 

2. Athens, Agot'P P 23910, from Athens. 

Center of lid and bronze ring handle missing. Jnlored. H. 

0.OS2. H. with lid 0.064. D. at rim 0.112. D. of lid 0.115-0.135. 

Domed lid with lightly raised ring around the center, step down 

to a horizontal rim. Very slight concave curve to wall. sloping 

lov..er keel. ring foot. 

Plain, Agoro XII. pp. 176 and 327, no. IJOI, plo 43. fig. 11. 

There dated 400-390 D.e. Deposit Q 15:2. 

3. Athen.f, from Athens. 

Ring handle mining. H. 0.04, H. with lid 0.06, D. at rim 0.106, 

D. of lid 0.13. 

lid domed with two lightly raised rings around the center. flat 

rim offset by ridge. Wall slightly concave with sloping lower k«1. 

ring foot. 

Wall: myrtle and berry; lower keel: egg and dot. Boltom: dot, 

three circles and two black bands. 

Manner of the Meidias Painter. seated woman with Eros. 

seated woman and woman, dancing woman and Eros; ArchEph 

(1968) 17·19. pI. Z. fJ and y (D. Schilardi); Puralipome"a. 479. 

96 bis. 

Ca. 400 B.C. 

4. London E 782. from Athens. PI. 88.2. Fig. l7b. 

Ring bandle missing H. 0.032. H. with lid 0.043, D. at rim 

0.082. D. of lid 0.102-0.103. H. of foot 0.003. 

Domed lid with rid~ articulating junction with sloping keel. 

Wall concave with ridge marking junction with sloping kn!o'er 

keel. 10V0 ring foot. 

Lid: egg and dot then vertical. circumscribed palmette5 with 

leaf below in interstices and above volutes bracket evrry other 

palmene. Odd man above head of &OS. Vertical palmene 

between two oblique circumscribed palmettes whose central petal 

pierces the tendril--this pattern repeated on other side of lid and 

in the mid spaces on one sKie a seated Eros and 00 the other a 

.·oman with a phiale. Egg and dot. 

Wall: myrtle and berry; egg and dot on lower keel. Bottom: dot 

and two circles••ide black band. 

Manner of the Mcidias Painter. palmettes; Eros; maid: ARV. 

1328.97; T. Panofka. Antique.f d" Cabinet d" Comtc de 

POUrTulf'$·Gorgiu. pi. 33.3-4. 

Ca. 410 B.C. 

5. Car/sruhe 296 CB 1873). PI. 88.3. 

Ring handle missing. H. 0.056. H. with lid 0.072. D. at rim 

0.139. O. of lid 0.17, H. of foot 0.015. 

Low. domed lid with lightly raised ring around the centcr and 

flat rim. Wall concave with lower keel separated by a groove. Iow 

ring foot. 

Lid: frieze; n"m: egg and dot. 

Wall: olive wreath; lower flange: egg pattern. 

Manner of the Meidias Painter, Dionysos seated, and Eras; 

woman seated, and Eras; youth and woman (maid); ARV. 

1328.95; CVA. Germany 7. Carlsruhe I. pI. 29.3-4. 

Ca. 390 B.C. 

b. Dresden 385 rJ,V 1645). from Laurion. PI. 89.3. 

Ring handle missing. H. 0.047, H. with lid 0.06. D. of lid 0.145. 

H. of fool O.Qt. 

Domed lid with lightly raised ring around the eeoter and

154 

I HE ATTIC PYXlS 

IS> 

sloping rim offset by a ridge. Wall concave with moulding at top 

and a sloping lo.....er keel at the base. ring foot. 

Lid- frieze between slightly raised ridges. egg and dot (inverted). 

Woll: black with egg and dot (inverted), on lowu keel. 

Manner of the Meidias Painter. woman sealed and ,>,oman: 

Ems and ....'oman: ARV, 1328.94. 

7. London E 776. from Athens. PI. 90.1. 

Ring handle missing. H. 0.046. H. with lid 0.064. D. al rim 

0.057. D. of lid 0.145. 

Lid domed with (....·0 lightly raised rings around ~ntu. double 

curved moulding and then step down to sloping rim. Wall. 

concave with moulding at top and a step down to projecting lmnr 

keel. low ring foot. 

Lid' debased tongues. black band. frieze between resernd lines. 

black moulding. debased tongue and dot. 

Wal/: wreath of mynle leaves and berries. 

Red·figure, Eos and Selene; Cecil H. Smith. Clua/ague of tllr 

Gre,,! and Etruscan Vases in tll,. Bn'tish Museum. Ill. E 776; 

JHS 41 (1921) 144. 

8. Berlin 2720. from Attica. 

H. 0.08. D. 0.17. 

Flattened. domed lid with lower horizontal rim. wall cylindrical 

.....ith moulding at top and projecting lower keel. ring foot. 

Lid: frieze bttw«n reserved lines, black band. egg and dol. 

Wul/: addorst:d palmettes linked by a scroll. black band, egg 

and dot. 

The Painter of Athens 1585. woman seated. with ErO!i and 

woman; ARV. 1360,4; Furtwangler. La col/ectiOIl Sabouroff, pI. 

64. Companion-piece to Athens 1242. 

Ca. 4/0 B.C. 

9. Athe"s 1242 (CC. 1958). from Athens. PI. 89.2. 

H. 0.075. H. with lid 0.085. D. at rim 0.137. D. of lid 0.17. H. 

of fool 0.008. 

Lid domed with two raised ringi around the center and lower 

horizontal rim separated by • r.ised ring. Wan concave with 

mOlllding at top and a projecting lower keel. ring foot:. 

Lid: debastd tongue .nd dot, frieze between reKrved lines, egg 

and dot. Inten'or of lid: black. Bottom; dot within two small 

circles. circ~ and wKle black band. 

Wall: addorsed paJmettes linked by • scroll. black band. egg 

and dot. 

Painter of Athens 1585. ""oman seated. with ""'oman (mistress 

and maid) and Eros; woman seated. with woman (mistress .nd 

maid); Eros and ,,·oman balancing sticks on their hands; ARV. 

1360.5; EpltA,d (874) 485. 

Cll. 410 B.C. 

10. Toronto 370. from Athens. PI. 89.1. 

Ring handle missing. H. 0.058. H. with lid 0.069. D. at rim 

0.129. D. of lid 0.162. 

Flattened. domed lid with lightly raised ring around the eenter, 

flat rim offset by rKlgr. Wall slightly conrave with double ridge at 

base articulating juncture with sloping lower k«l. ring foot. 

Lid.- frieze. invrrted egg and dot on rim. 

Wall: vertical palmettr and spiral plant pattern punctuated by 

rtots and circles; lower keel: invened egg and dot. 

Manner of the Meidias Painter. woman seated. with Ems and 

woman; two women; woman seated and woman: ARV. 1328.%; 

Robinson and Harrum. pI. 58. 

11. Wl';rzburg 543. 

Bronze ring missing. H. 0.058. H. with lid 0.068. 

Low domed lid with ridge at junction with nat rim. Wall 

conca\'e with step down to convex lower k«l. ring foot. 

Wall: myrtle and berry; lower Iceel: egg pattern. Bottom:area 

within ring foot reserved with dotted circle. circle and black band. 

Wider circle of Meidias Painter. seated woman. Eros with 

woman: seated woman. woman running towards her pursued by 

Eros; LanglolZ. Gn'echische Vasen ill Wurzbu'l(, no. 543. pI. 202. 

Certain common characteristics distinguish the PY1ides of this

\5 

\57 

da$S. The wall is cylindrical or slightly conca\'c and the lower keel 

I~ dislincth'ely set ofT from it. The fOOl is a variant OD the ring 

IYpe· A cun'M contour line connects the ring (001 with Ihe lowu 

nunge so that the lo.....er third of the pyz"is gh'es the appearance of 

a lo~ dish. 

The majority of artists connected with this class paint in the 

munner of the Mcidias Painter and the period covered is from 

about 410 to 390 D.e. A pyxis. type C. dose to lhe Meidias 

Painter and .... hich nlay be: by his own hand is of a different 

mode!.l. 

The profiles of no. I (Athens 1243. Fig. 17.) and no. 2 (Athens. 

Agara P 23910). afC much akin. The lower keel is distinctively set 

off from the wall. The lid is domed wilh a horizontal rim 

projecting above Ihe IOlA"er keel. A curved contour line connects 

the ring foot with the JaYo'er keel. Athens 1243 is the name-ptece 

of the artist. a follO\\er of the Meidias Painter. No. 2 is plain but 

polished: the finish has suggested the influence of pyxKles made 

in other materials. 

The profile of london E 782 (no. 4. Fig. 17b) is close 10 that of 

Athens 1243 (no. l. Fig. 17a). though iu proportions are lower 

and broader. The lower keel is distinctively set ofT from the 

slightly concne wall. The ring foot is 10\\ and joined to the ~wer 

fl"nge by a curved contour. The base clearly echoes the shape of 

the lid. the conveJ:ity of one answering to the conH:J:ity of the 

other. 

The low broad proportions of the standard-sized Carlsruhe 

pyxis (no. 5. PI. 88.3) are similar as is the low dish·like foot. The 

fOOl, however. differs in detail having a moukting OUtside the ring. 

The London pyxis is small in contrast to the other members of 

the class. almost as small as the later pyxtdion. Athens. Agora P 

12975. 15 The lid is completely articulated with a hole at the center 

to receive the usual ring handle. This is in contrast to a lid in 

Munich ll of comparable size ID. 0.105) whose central medallion is 

unpierced. The same is true for a miniature lid from the Athenian 

Agora (P 13097. PI. 72,2).u 

A pyxis (no. 3) of standard size in the manner of the Meidias 

Painter was recently found in a tomb near the Eriai Gates in 

Athens. It appears to conform to the characteristics of the class 

and 10 be quite sinlilar to London E 782. It has a ring foot joined 

by a cuned contour to the !ovt'er keel as is usual in this class. It has 

the ordinary egg and dot pattern ca the rim and I~er flange. Like 

London E 782 (no. 4,Pt. 88.2). the wall is embellished with a mynle 

wreath. 

The angle from which the photograph of the pyxis in Dresden 

(no. 6. PI. 89.3) has been taken, emphasized the foot while 

di!iltorting the shape of the profile. The ring foot is connected by a 

cun·«J contour line to the outer rather than the inner edge of the 

lower keel in contrast to no. I (Fig. 17a) and no. 2. 

London E 776 (no. 7. PI. 90.1) in its measurements and 

proportions comes very close to the pyxis in Dresden. It conforms 

to the characteristics of the class in its main features. The wall is 

!illightly concav~ and the lower keel is distinctly set off from it. 

The 10.... ring foot is connected to the Iowet'" keel by a curved 

contour. The profiling of the lid. however, is very individual. The 

lid is domed .....ith two lightly raised rings around the center 

bordering the pattern band. This is quite usual. but the double 

curved moulding setting off the rim from the main convex surface 

and the double curved profile of the side of the lid are 

refinements unparalleled in the class. The artist in additton is an 

outsider. not a member of the Meidian circle. The pyxis is 

unatlr;butcd. 

No. 10 [Toronto 370, PI. 89.1). has a domed lid some.... hat 

naUened in contour. The wall is slightly concave with a sloping 

lo.....er keel distinctly offset by a double ridge. There is a simple 

ring foot. at variance with the usuaJ foot type of the class. 

The rim and lower flange: are omamented by an inverted egg 

and dot pattem. This is a favorite pattern formula also found on 

Athens 1243 (no. I), Dresden 385 (no. 6), a lid in Heidelberg ll in 

the manner of the Meidias Painter. and a fragmentary lid Athens, 

Agora P 98.n This inversion of the usual egg pattern may also 

sometimes be obsen'ed on lebetes gamikoi and loutrophoroi. 

The profile of Wurzburg 543 (no. 11) is very close to that of the 

pyxis in Toronto. The wall is concave with a 100000-er flange 

distinctly offset by a ridge. The Hd is of a flattened domed

ISO 

THIO ATTIC PYIlS 

SALLY RUTHEllflillD ROB£IlTS 

ISI 

either edge. COnC3\'C curve of wall exaggerated at base. Low ring 

fool. 

Lid: Head of Athena, left. in central tendo. surrounded by two 

reserved circles. olive wreath, ulive wreath (only outer leaves and 

stalk depktedl. 

Wall: black. Bottom: elaborately moulded both within and 

without the ring foot. 

Group of the Athena·head Pyxidcs. Athena: AIlV. 1224.1; 

CVA. Denmark 4. Copenhagen 4. pI. 163.7. 

Ca. 410 R.e. 

New Yurk 23.160.14. 

Fig.loc. 

H. 0.035. H. with lid 0.052. D. 31 rim 0.136. D. of lid 0.161. H. 


Lid domed with lightly raised ring around the ~n1er. sloping 

rim separall.-d b)' ridge. Conca,'c CUTYC of \\311 exaggerated al base. 

10..... ring foot. 

Lid: debased longue and dol. Head of Alhena right in central 

tendo surrounded by two reserved circles. olive wreath (inner leaf 

and stalk), olive wreath (inner leaf and stalk). 

Wall: black. 

Boeotian red-ligure, Athena. ARV. 1224,2 (the inventory 

number there given is incorrect). 

425-400 H.C. 

The Copenhagen pyxis (PI. 86.4) shares many of the characteristics 

of this class. The wall is black and of a concue curve much 

accentuated at the base. The side of the lid is curved but lies 

slighlly inside the line of the wall. Thus there is a jog or 

interruption to the curved contour line of box and lid as in no. 6. 

The convex lid is furnished with a knob. instead of the customary 

ring handle. a The lid is decorated with a helmcted head of 

Athena in profile to the left. The knob is placed at ear level. 

The decoration of the lid of a Boeotian red-ligure pyxis ll forms 

a parallel to that in Copenhagen. The head of Athena is in profile 

to the right. Both olive crowns are halved instead of just the outer 

one and it is the inner leaves which are shOl\-n rather than the 

outer. 

The conca\e cune of the wall is much in..:reased at the base 

and there IS a low ring foot. The "'all is black. The side of the lid 

dOC'i not continue and complete the cune of the wall but projects 

almost horizontally above the lower nange. The profile of the 

btlCl) may be compared with Athens 1597 (PI. 86.1). Copenhagcn 

tPI. 86.4). and Alhens. Agora P IM8J5;u the latter is the dosest 

parallel for the contour of the wall. 

For another red-figure Boeotian pyxis lid compare Oxford 

1914.11 which has a representation of cosmic deities. U 

PYXIS TYPE C BY THE PAINTER OF LONDON E 777 

MlIllich 2723. from Greece. Fig. 16b. 

H. 0.042. H. ",ith lid 0.055. D. at rim 0.145. D. of lid 0.175. H. of 

foot 0.005. 

Low. domed lid with two lightly raised rings around the center. 

ridge at juncturc with sloping rim. Wall. cylindrical with 

moulding at tup ;lnd a ridge at junction with sloping lower keel. 

lu" ring foot. 

Lid: egg (double bordcr and black core) and dot. frieze; dm: 

egg (double border) and dot. 

Wall: laurel: 100Hr Ic.ul: black. 

Painter of London E 777. mistress and m3ids; ARV. 944.85; 

CVA. German) O. Munich 2. pis. qg.1 and 102.3. For the subject 

cf. Athens 13676a (PI. 69.2). The thcme looks like a footnote to a 

lebes gamikos. 

This is the only pyxis. type C. decorated by the hand of a 

Penthesilean. The pyxis while having a strong family resemblance 

10 pyxides of type C in general does not fall into a class. The 

c\'idencc at hand suggests that the I'cnthesilea Workshop did 1101 

become involved in the production of pyxides of type C. 

The low. broad proportions. the cylindrical wall. the projecting 

beaks of the rim of the lid and lo.....er nange indicate a date 

to\\ard~ the end of the fifth century.

158 I"," 1\ nil I'nlls SAllY Rl,ITHERFURD ROIERTS ISO 

~'Ollligur3Iion_ h has a simple ring foot. The dimensions of the 

hod} aTC dose to those of Toronto. Unfortunatel)'. the pyxis .... as 

damag\'d in World War 11 and it is no longer possible 10 ~ 

l't'nain of the diameter of the lid. lO Langlotz attributed the pyxis 

10 the cia-le of the Mcidias Painter and dated it around 400 B.e 

Ueazle}' did nOI include this pyxis in AR V and the style while 

dcriH'd from the Meidian manner seems further remO'o·ed Ihan 

those there listed. The egg and dOl pattern on the rim of the lid 

and on the lower keel is of the normal \'anety. 

ODD PYXIDES 

l. Af/ll'l/s 1594 (CC. 1540). 

H. 0.051, H. with lid 0.058. D. i1t rim 0.125. 

PI. Ql.U. Fig. I k 

D. of lid 0,143. H. 

uf fOUl 0.003. 

Flattened domed lid with IwO lightly raised rings Mound the 

ccmer. rim with concan: face. Wu/l. slight concave curv~ wilh 

slvplng lo.....er keel. 1010\ ring fOOl. 

Lld. twO cocks confronted, tongues. frieze betwttn resen'ed 

lincs; rim: on upper fa~. tongues. on underside. egg and dart 

(im·er.ed). 

'Wall: frieze: thrtt pairs of animals confronted and one 

~Inglelon 10 right: lower ked. egg and dart. 

Red-figure. horscrace. BCH SQ (1965) 9Q-1OO. fig!>. 8-9 

(Bruneau). 

4JO·41O D.C. 

2. LoulIN! CA 1586. PI. QO.J. 

AboUI half the wall and nearly a quarter of thc lid reslnred. 

Hillg handle preserved. H. 0.034. H. with lid 0.046. D. at rim 

0.113. D. of lid 0.135. 

lid domed with lighl1y raised ring around the ('enter, rim with 

COnC3\'e face offset by a double ridge. Wall. concave with sloping 

lower keel. 

Lid: frieze: n'm: egg and dol. 

Wall and lo.....~r keel black; bOllom: black. 

Shmalov Painter. Eros pursuing a woman: 

Io\oman; ARV 1210.68. 

Eras pursuing a 

J. I 0 .. ,'re CA 1589. 

Melal disk. loop and pan of ring presen'ed. D. 0.126. 

Lid. domed wilh t.....o lightly raised rings around the center. 

Light-weight and thin-walled. 

Lid egg and dot; vertical palmette and lotus flower linked by 

\l::roIl5. The scrolls cunc upward beneath Ihe palmcllcs and 

do\\ nward beneath the lotus flowers. the latter with an additional 

flourish. dOlled circles above; egg and dot; vertical circumscribed 

palmcllcs wilh leaf below in inlerstices and above volutes bracket 

evcry other palmette. 

Red·figure, patterned. lid only preserved. 

4. f!t'ldtdbers: 69.5. 

11.0.048. D. of lid 0.13. 

LoY. domed lid with lightly raised ring around c:enter and raised 

ring articulating junetu~ Io\'ith rim. Wall slightly concave with 

projecting lower k«l. Iow ring foot. 1nterior of ring: painted star; 

I'xlaior '!" ri"g: series of black mouldings articulated by raised 

ring... 

Lld.- black with resen'ed medallion at ~nler with N'O glazed 

circll..~ around ~ntral dot and OUler reserved band. 

Wall' \·enical. circumscribed palmettes alternating with lotus 

flowers joined by scrolls. The scrolls curve upward beneath the 

palmettes and downward beneath the lotus flowers. Dotted circles 

above lotus flowers. 

Red·ligure. patterned, R. Hampe. Kala/og der SummJung 

IIIII/h'r Klei"kullsr der U"il'ersi'ul Heidelberg: ll. Nl'lwrwuhun 

RI'I/ 1957-1970. no. 80. pI. 56. 

Cu. 430 B.C. 

S. Bruuro" MUSt'llm 97 fr .. from BrauroD. 

Ponion of wall and lower projecting keel preserved. Underside 

elaborately moulded (black worn). Egg shell fabric.

I(,() IUF!\III( PYl(], SAllY RUTHERFURO R08ERTS 161 

l':l1mclte a1terna[in~ with lotus Ou\\cr (addorsed: lotus abo'"e 

f.l1r:lelle. palment' abovt' If'lus!. 

I ""T'- k"l>l: egg and dan. 

l\.'ll-ligurc. pattcrner!. 

('/1. 

.f3f) H.C. 

Ilwre arc sc\"cral odd thin-walled pyxides of a light and delicate 

,.lhru: from the )"cars 4.10-420 B.C. 

Athens 1594 lno. I. PI. 90.2) has a Oallcncd domed lid \\11\1\1: 

rim halo a conca\'e face. The \\ all is cylindrical with a down-turned 

1\lller keel. The low ring foot is joined by a CUfycd conIour 10 the 

ha~e of the IO\'ocr keel. "J he protilc is relah:d lO that of the 1;,\Il'r 

Cla" of Athens 1243 (er. Fig. l7a). 

The central medallion of the lid has cocks confronted y, ith (II,() 

drcb for pUn('iU:ltion between thenl. There is a !>li~hl bit uf 

"loratiun :H the "cry {'emer. 110 hole remains. It l>C('l1lS likely Ihal 

th" hd wa ... unpierccd, for a brOIle di ...k I'.ith a ring h:1I1dk IIIJllld 

h"I\." covered the tnmlo composition Egg and dart pattern 

,'I nament') the side of the rim :.nd the lower keel, normal below 

and ilt\t:rted above making an effe{,tive Ibme for the delicately 

\,.'xecutl'd animal frieze. 

Thc domed lid 01 a pyxis in the I.ouvre (no. 7. Pt. ~.J) abn llil'i 

,I rim with a concave face. The Wit]] is concave with a spreading, 

Cl'IUCX base moulding. There is no foot: the box rests on a low 

moulding lie! well in from the edge of the lower keel. Thc lack Ill' 

foot is a rare IcafUre for a clay pyx;s of type C, occurring also on 

the early white ground example in Misllissippi H but frequent on 

the related marble type. U 

The LOU\Te pyxis ill attributed to the Shuvalov Painter. Only 

four figures executed in a delicate miniature style people the lid. 

An Eros pursues a woman who looks back at him while neeing 

ane! the like. The few figures and amplt> space surrounding them 

are in contrast tll Ihe compositionll in the m'lnncr of the Mcidias 

I'ai Ilter. l1 

.\ li~ht and fragile dOlIll.."

162 

-I tiE ATTIC PYXlS 

163 

J. COfl4'"hugl'n 5379. PI. 91.1. 

Bronze ring handle prcscne the largest lid diameter of fifth century pyxides of type C 

and heralds a fourth century group which is characterized by 

large Jimensions and lavish decor. 

It has been atlribult,'d to the manner of the Meidias Painter 

and Bculey noted thal it may be by the painter himself.2' Pyxides 

of the Class of Athens 1243 are mostly in the manner of the 

Meidias Painter and are of a quite different shape (see aOOn pp. 

152·158. PI. 88.0. 

A ppi!o type C ",ith a tripartite foot is also a rare occurrence in 

Ihe fourth century. No. 4 lAthens 1630. PI. 93). is the only 

ellanlple of which I ha\'e knowledge. It has a cylindrical wall with 

a ",idely projecting 1000'er keel. The lid is of a domed configuration 

wilh a rim matching that of the lower keel in extension. The 

tripartite foot is relatively tall. It has the large dimensions of 

many of the fourth century pyxides of type C. like Oxford SSl 

(no. 2). both wall and lid are decorated with a frieze. 

THE CHALKI CLASS 

I. Munich 2725. PI. 91.2. Fig. 1%. 

Ring handle missing. H. 0.06, H. with lid 0,069. D. at rim 

0.117. D. of lid 0.15, H. of foot om. 

Flattened, domed lid with two raised rings at center and wide 

lower rim with a conca\'e face. Wall slopes outward slightly with a

164 

SAU_V RUTHERI'UIU) ROIlERTS 

165 

moulding at the top and a sloping lower keel at the base. 

Lid: black band. reserved band between raised rings. frieze. 

resen'ed line: n'm: egg and dot. 

Wall: mynle; fower leeeL- egg and dOl. BOlIom: area within ring 

1"001 reserved. circle with tiny circle within it. band. circle. hand. 

Chalki Group. head of Aphrodite. with Eros. }'outh. and maid; 

head of Aphrodite. with Eros and maid: ARV. 1503.3; CVA, 

Gennany 6. Munich 2. pI. 98,2 and plo 102.4. 

2. Lmldon E 778. from Athens. PI. 94.2. Fig. 19a. 

Restored: knob and stem. H. 0.065. H. with lid 0.073. D. at rim 

0.117. D. of lid 0.15. H. of fOOl 0.007. 

Lid domed with slightly raised ring around center and sloping 

lo.....er rim. Wall cylindrical with moulding at top. and a sloping 

lower keel at the base. ring foot. 

Lid: frieze: nOm: egg and dot. Lid inten·or. black with reserved 

band around edge; bottom: tiny circle and 1....0 circles. black 

band. Wall: myrtle; lowl!r bl!l: egg and dot. 

Chalki Group.....oman scated......ilh youlh. Eroles and maid... 

Rt:stored: aboul one fourth of the rim. The taenia hanging from 

the box held by a ""oman hastening to the right has betn 

repainlt~d as ha\'e an Eros to her right and the right leg of Ihe 

youth. It may be that the portion of drapery held by the youth 

also has been added: ARV. lS03.2. 

3. Nt'Vl' Yurk 06./02/,112. PI. Q7.2. Fig. 19c. 

Ring handle missing. H. 0.06. H......ith lid 0.07. D. at rim 0.126. 

D. of lid 0.16. H. of foot 0.008. 

Flattened. domed lid with lightly raised ring around the center 

and sloping rim .....ith ridge at the juncture. Wall. concave with 

moulding at the top and a sloping. lower keel at the base. 

Lid: black band. reserved band. raised ring. frieze; rim: egg 

and dol. 

Wall: myrtle: lower keel: egg and dot. Lid interior: black with 

reserved band around edge; bottom: same. 

Compare .....ith the Chalki Group. woman and youth. scated 

.....oman. Erotes; maid and seated youth: A. Sambon. Collection 

Canessa. 71. no. 245. 

4. Vimna 1484. from Greece. 

Bronze ring handle presened. H. 0.075. 0.0.16. 

Low. domed lid. \\all slopes outward with moulding at top and 

a sloping. lo""er keel at the base. ring foot. 

Lid: frieze: rim. egg and dot. 

Wall. m)Tt.le: luwer kl!eJ: egg and dot. 

The Chalki Group.....oman seated .... ith Erotes. )'outh and 

....omen: ARV. IS03.1. CVA. Austria I. Vienna t. pI. 50.1-2. 

5. BirminRham /610.85. 

H. 0.06. H. with lid 0.065. D. at rim 0.10. O. of lid 0.142. H. of 

foot 0.012. 

Flattened. domed lid wilh two raised rings at center and a third 

articulating juncturc with ....-ide. lo.....er rim. 

Wall separated from sloping lower k«1 by a raised ring. 

Ud: black tondo. reseo'ed band between raised rings. frieze. 

n", egg and dot. 

Wull- myrtle: luwer k't'l· egg and dol. 

Chalki Group. head of Aphroditc..... ith Ercs. youth and maid: 

seated woman. with Erns: ARV, 1503.4; Metzger. R .. pI. 6.4; 

Puralipomnlu. 499. 

COMPARE 

6. Athe"s /359. from Athens. PI.lJ4,1 and %.2. 

Lid broken and mended. H. 0.038. H. with lid 0.05. D. of rim 

0.065, D. of lid 0.09. 

Lid domed with raised ring around central un pierced medallion. 

anOlher around frieze and a third articulating juncture between 

wavc and egg and dot pallcrll. Wall slopes outward slightly with a 

moulding al the top and a sloping. lowcr keel separated from the 

wall by a raised ring. Dish foot with low ring. 

Lid: medallion (tiny circle and circle), friez.e. wave. egg and dot. 

WuJl: myrtle. lower keel: egg and dot. BOl/om: circle with tiny 

circle within it. circle and black band. 

Chalki Group. miniature; Eros and seated woman with a

'66 

THE ATTK PYXn 

'.7 

kibolion between......oman right. Eros and woman. Underside of 

the lid groo\'ed. Fool differs from class. 

7. Hun'ard 1927.152 (Gift of E. P. Warren). Fig.I9d. 

Ring handle restored. H. 0.049. H. with lid 0.06. D. of rim 

0.112. D. of lid 0.15. H. of foot 0.011. 

Lov. domed lid with sloping rim separated by a ridge. Wall 

cylindrical with sloping lower keel. ring foot. 

Lid: bead and reel. (rieu between reserved lines. egg and dot. 

Interior of lid black wilh reserved oult:r ring. 

Wall: white ground. myrtle wreath (fragmentarily preserved) at 

top of wall. lo ....er keel: traces of egg pattern. B01wm: dotted 

circle and circle. wide black band, circle. 

Unattributed. Eras pursuing woman to right and woman lleeillg 

left. youth pursuing woman to the left and Eras. In the field two 

scrolls and a plant. The diameter of the lid is slightly tOO large for 

the box: the lid probably does not belong. CVA. U.S.A. 8. Fogg 

Museum and Gallatin Collections. pI. 20. Sa-b. 

Pyxides of this class have a distincti\'e shape. The low. nattened 

domed lid has a .....idely projecting rim. whose underside has an 

indentation or groove. The wall has a moulding at the top and a 

projttling lower keel. Both the rim of the lid and the lower keel 

of the box project like beaks beyond the wall. There is a ring foot. 

The underside of the pyxis within and without the ring foot is not 

elaborately moulded. Measurements are moderate. quite like those 

of pyxides of type C of the last thirty years of the fifth century. 

Egg and dot ornament Ihe rim and lower keel. A myrtle wreath 

encircles the wall. 

The painters belong to the Chalki Group: the pyxides date ca. 

400·390 a.c. Glass pyxides of a type closely related 10 clay 

pyxides of type C have lids of a very similar contourY 

The characteristics of the shape of the Chalki Class arc most 

clearly discerned in Munich 2725 (no. I, Fig. 19b). The 

articulation of the different parts of the London pyxis (no. 2. Fig. 

19a. PI. 94.2) is less sharp. Onc might say the articulations are 

softer. less defined. This is particularly noticeable in the contour 

of the lid. The slope from the domed portion to the rim is less 

abrupt. On the underside of the rim there is a groO\e next to the 

lnnennost portion which rests on the moulding at the top of the 

'l\all. The stem and knob are restorations and must be subtracted. 

One may see the lightly raised ring around the center outside the 

stem on the photograph. On the underside of the lid a bit of 

metal still remains in the hole. The Bd therefore once had the 

metal disk and ring handle canonical for clay pyxides of type C. 

No. 4 (Vienna 1484). appears to be very close to the pyxis in 

Munich (PI. 91.2). The wall slopes outward slightly with a moulding 

:tI the top and at the base. a projecting lower keel. I ha\'e not had 

all opportunity to examine this vase but from CVA the lid appears 

,imilar in conlour 10 thal in Munich. The articulation between the 

convex portion of the lid and the rim is not clear from the 

photograph. The underside of the rim is grooved. There is the 

uwal ring foot. 

A pyxis in New York (no. 3. Fig. 19

'68 T"h ATTIC PvXIS I.' 

lowered. Sometimes the position of the arms is motivated by the 

action as in Vienna and New York (PI. 97.2), olher time:. not as on 

the Chalki epinelron. u Ad'ens 1359 (PI. 96.1). and London E 783.31 

A nude male figure is sometimes similarly posed as on the Munich 

lid (pI. 95,1). The male figure un London E 778 (PI. 95.2) was 

undoubtedly so positioned but when the vase was festored the 

supporting leg was not redrawn correctly so the youth seems to be 

lumbering forward instead of slanding securely on his right leg 

with his left foot placed higher. The Eroles depicted on these lids 

have white flesh with wings reserved. sometimes with added clay 

then gilded. Exceptionally. the Eroles on the miniature. Athens 

1359. are plain. Eras is often shown running. legs widespread with 

both arms forward holding a low dish. The dish may ~ discerned 

on the Vienna lid and compare also the Erotes on the Munich 

and New York lids. where the pose is the same though no obj«t 

may ~ seen. Another stock pose is that of a woman running to 

the right carrying a chest and taenia while looking back; compare 

the depiction on Ihe Chalki epinelron with those on the Munich 

and London pyxides. The bodices of the women's chitons are 

embroidered. 

The style of Ihe lid in New York is closest to that in Vienna. A 

three-figure group is almost a replica of that on the Vienna lid. 

An Eras races to Ihe right towards a woman with her foot on an 

elevation. who reaches for a fleeing youth. The wings of Eros 

depicted on the New York lid are positioned differently from those 

of Erotes by the Chalki Group but otherv.·ise the style is strikingly 

similar. 

The shape of the New York ppis. the patterns and the figural 

st}'le resembles the others of the Chalki Class and Group. 

The profile of a pyxis at Harvard (Fig. 19

170 

rHIIi.: Arnc PvXIS 

1'1 

eggs tonee gilded). 

Red-figure. (woman seated to the right 011 3 klismos holding an 

o~n-work basket. woman approaches her from the right. between 

them a loutrophoros';lydria); Talcott and others. 5m01l objects 

from ,h,' Pnyx: 11. Hf'SperiU Supplemt'lll X. no. 143. plo J I and 

fig. 1. For the subject ef. the lid of a pyxis type C. Cambridge 

20.23 (CVA. Great Britain 6. Cambridge I. plo 36.2). For the 

basket. Richter and Hall. pp. 215-6. no. 169. 

175-350 B_C 

4. A,hen.l. Ceramicus 3104. from Athens. 

Ring handle missing. H. 0.065. H. with lid 

0.155. D. of lid 0.19. 

0.088. D. al rim 

lid domed with two lightly raised rings around ccntcr, rim 

tilted upward. Wall slightly concan~ with sloping lower keel. ring 

foot. 

Lid: frieze framed between reserved groove and reserved line: 

nOm: egg (black core with raised dot) and dot. 

Wall: palmettes alternately vertical and reversed within 

triangular frame; IO\l'('r ked: egg (black core with raised dot) and 

dot. 

Otchel Group. seated ~'oman with Eros. seated woman wilh 

Ems and maid (Epaulia); AthMiu 81 (1%6) 74. Dei!. 48.1.3 and 

49.4 (SchJOrb-Vierneisel); AlA 77 (1973) 435-437. For the wall 

pallern see the next entry and a pyxis. type C. once Hearst 2395 

(Calalogue Purke Berne'S April 1963, no. 29); also Athens. Agora 

p 4939 fr. (H. 0.055, D. est. 0.19 found ill Fauvel's huuse Hl'spf'ritl 

25 11956] 27 under C); also a wooden pyxis in Ihc Louvf'C (AA 

(19551 figs. 7.i and 12). 

Ca. 370-360 B.C. 

5. Baltimore. Wailers Art Gallery 48.264 (ex Drummer). 

H. 0.072. H. with lid 0.093, D. at rim 0.125. D. of lid 0.161. H. 


Lid domed with slightly raised ring around the «mer and ridge 

articulating juncture wilh wide flat rim. Wall. conca\'e with 

moulding at top and a sloping lower keel grooved on either side. 

ring foot. 

Lid frieze between irregularly resen-ed lines; drn. egg and dot. 

Wall palmelt~ alternately \ertical and re\'ersed .... ilhin 

triangular frame; lower leeel: egg and dot. 

Red-figure. seated ~oman .... ilh Eros. maId. Eros and ....oman. 

St)'k contemporaneous with the last but .....ith Meidian m'ertones. 

ell..170-]60 B.e. 

b. Adolphsf'cle 65. from Athens. 

H. 0.087. H.....ith lid 0.105. O. at rim 0.152, D. of lid 0.21. 

Domed lid .... ilh lightly raised ring around Ihe center. wide nal 

rim, ~an conca\'e .... ith strongl)' projecting convex lower keel, ring 

fOOl. 

Underside of rim and lower keel of scalloped contour. 

Lid Irieze; rim: egg and dot. 

W~IJ laurel ~reath; lol'l'l'r Icf'i>{ egg (black core) and dol. 

Ked.figure. scaled oman ~ilh Eros and .... oman, sealed 

~oman .... ith Eros and oman; CVA, Germany 11. Adolphseck I, 

pI. 42, I and 3 (protile, fig. 7). 

Ca. .175·]50 8.C. 

There arc fe ..... founh century pyxides of type C and of these 

most clmtinue the canon of the Class of Athens 1243. The wall is 

C)lindrical or slighlly conca\'e with a lower keel clearly offset. The 

rim also is distinctly offset from the domed lid. The~ is a ring 

fOOl connected by a curved contour to'the lower nange. The trend 

is towards larger dimensions: the diameter of the lids arc the 

largcst recorded for type C. As fourth century pyxides of type A 

(the Doubles) are Ihe tallest so Ihese are the broadest of their 

k.ind. Most of the examples stem from the second quarter of the 

fourth century and production appears to come to an end about 

350 B_Co 

No. I (Athens 13(9) is inlact. The lid is domed with an 

uptillcd rim: the wall is slightly concave with a sloping lower keel. 

The rim of the lid projects slightly furl her than the lower keel. 

The foot is a variant on the ring type with a curved section 

connecting it with the lower keel. A curious and perhaps 

accidental feature is that the sloping floor of the pyxis is lower

172 TIIF ATTIC PYltl~ 

SALLY RUTUERFIJIlO ROBEaTs 

I7J 

than the ring fOOl so that the base actually rests on the floor 

rather tban Ihe fOOt (Fig. 17d). The diameter of the lid is 0.216, a 

larger dimension for the lid than wc ha\c hitherto encountered. 

The profile of a fragmentary lid from the Athenian Agora (no. 

J) should be compared. Its diameter has been estimated at ca. 

0.20. The contour of the lid is ,,'cry similar to no. I and it also 

dates from the second quarter of the fourth cemury. The style has 

no affinity .... ilh that of no. I. 

The shape and mcasurcmcnb of a pyxis in Philadelphia (no. 2) 

are dose 10 those of no. I. Onc l>lriking difference is that the 

interior of no. 2 is rectangular. whereas in no. I it has the fonn of 

a bowl. The wall is slightly COnC3\'C \,1.ith a sloping lo.....er keel. The 

profile of lhe rim of the lid shows Ih~ same pro~cting beak with a 

shon vertical s«lion below il as In the Athens pp,is. The lid 

has a diameter orO.215. Around the l-enter of the lid i~ a moulded 

band decorated .... ith an egg and dot pattern. There is a ring foot 

joined by a curving contour 10 Ihe lo.... er keel. A groove articulate.. 

the junction with the lower keel. 

A pyxis in Adolphseck (no. 6) has the most exaggerated prolile 

of any of the fourth century pyxides of this class. The lid is 

domed with a wide flat rim; the wall is conca\'e with a lower keel 

whose projection is slightly less than that of th~ lid's rim. The 

ring foot is connected by a cun'ed contour to the lower keel. The 

dome of Ihe lid is reflected by the shape of the base. The 

underside of the rim of the lid and the lo.....er flange are many 

times grooved ghing a scalloped contour. There is more extensi\'e 

articulation on the underside of the pyxis than on the uppersid~. 

A pyxis from the Ceramicus (no. 4) has a slightl)' eonca\'e wall 

with a sloping lower keel. The N'o-degree ring foot is connected 

by a curved contour to the lo.....er keel. The lid is domed with an 

uptilted rim whose projection is matched by that of the lower keel. 

The pyxis was found with a red-figure lekanis, three lebetes 

gamikoi and olher black and plain pots in an Opfersrelle in the 

Ceramicus. Barbara Schlorb·Vierncisel considered the lebetes 

gamikoi, lekanis and pyxis all to have been decorated in the same 

shop. The wall of the pyxis is decorated with a pallern of 

palmettes alternately vertical and reversed within a triangular 

frame. This is an unusual pattern to find instead of the customary' 

.... re:uh of Iea\·es. The lekanis wall also carries the same pattern 

and the subject of the figured fri~ze interpreted by Schlorb 

Vierneisel as Epaulia on both lids is the sam~. Therefore the 

theme decorating the pyxis. leaknis and lebetes gamikoi is 

coordinated and the vases boughl for onc occasion probably here 

(l funeral. One must here envision matched sets of red·figured 

vaSL'S made in a shop and decorated Ilo'ith regard to a particular 

theme decorating the pyxis, lekanis and lebetC1 gamikoi is 

a range of vase: shapes to be made by a potter or pott~rs within a 

ghen shop. In addition. it seems logical to expect in time to be 

able to auribute \ases .....ithin this vase repertory to a painter or 

group of painters, once a t)pe of ,ase Ilo ithin the repertory has betn 

attributed to an :artiSI. A proof for the conjectural S~I of '-ase-; is 

prodded by Ihe repr~entation on a Kerch lekanis lid. Athens 1190 

(Iromispiece). A bride sits on a klisnlos .... ith Ems leaning against 

her A full set of vases is grouped around her. To the leH a lebes 

galllikus 311d a 10\\ broad pyxis. type C, to the right a tall pyxis of 

type A. a lebes gamikos 3nd a lckallis. Another lebes gamikos is 

brought by a woman. 

Funher evidence of th~ "matched set" comes from the 

Athcni:lIl Agor3. 1\ lekanis loo and the lid of a pyxis type AlS ha\'e 

the same pallerns. Oblique addorsed palmenes linked by a 

running scroll is Ihe main pattern on each. The subsidiary 

patterns are also the same on OOth_ These pieces do not have the 

same prrn'enance Iol.ithin the Agora but clearly come from th~ 

same shop. 

This paltern seems to emerge around 430 a.C. The Marlay 

Painter is known to have decorated leb~tes gamikoi and pyxides 

as well as 10utrophoroi. l6 One would expect Itl find the 

loutrophoros made .....ithin the same shop from its related them~. 

Many lebetes gamikoi. !outrophoro; and a pyx;s are attributed to 

the Washing !)ailllerY Loutrophoroi and lekanidL'S have been 

attributed to the Mcidias Painter. JI Lebeles gamikoi. loulrophoroi. 

lckanides and pyxidcs are among the repertory of shapes attributed 

to the manner of Ihe Meidias Paintcr. Jt Lebetes gamikoi and a 

lekanis ha\Ce been attributed 10 Ihe fourth century Mars}'3s 

Painter.~

174 'tilE ATTIC" PYXIS 

SALLY RUTtiEIIFURD Ra.ERn 175 

NOTES, CHArTFR q 

~Onl" of the: original bront" hand"'" aIT prnt""~. Joo;cph \ "ach l'-oblc:. TI,(' 

r",/""q,,1'} "/ P"III,..d Aoil' PulI,-,., (:'\I ...... '01'''- 1%5) 16. fi~ 101. Ag /lnl"-"''' J5 lI'liCibl &J. PI 27.... AIso!itt above p. 71 :tnd 1'1. 5.3J. 

Ji> ARV 1271.14·15.1718.22·25. 

r ARV. 1126·II2K and Illl.I9b; Purvlfpomrnll 454. J hl!\ Ind J tn. 

3& AHV I.\IJ.8·IO; IJI.\. 1~-1l1 

19 AIo:V, 1J22. 11-18; 1J22·l3. 1~·J2 1«; 1Jlt>·17.11'1O: 1J2!l.92-99: Pllrol."., 

m,nll 4~9. 14 hIS. 20 hIS. 91 blS Ind 96 b,~ 

40. ARV. 1475.1-2.7,

176 

CHAPTER VII 

Iconography 

of the Pyxis 

The iconography of the pyxis is overwhelmingly female and so 

the occurrence of tare male subje

178 THE ATIlr PYlrU 

Only the animals of the Boston pyxis ' relate to the decoration 

of skyphoi by the Group of the Boston Lid. Two sirens frequently 

are placed on one wall of a skyphos; 011 the pyxis they appear on 

the lid. 

One can on1J conjecture for unattributed \'ases or those for 

which the group of associated vases is small' that the same 

principle is in operation. 

The~ seems to be no realization yet that the pyxis requires a 

spuial iconography of its own. 

A pyxis from a tomb in Myrrhinous. probably by Exckias. 

raises questions. The scene depicts the preparation of a chariot 

and the name of Stesagoras is written in the field.' Slesagoras was 

a member of the Kimonian branch of the Philaid family and 

Immerwahr 10 conjectured that he was Slesagoras 11 whose father 

Kimon won three Olympic victories with the same team of 

horses.1! The fame of the family stables is clearly celebrated on 

this "ast. 

It is likel)' that the vase was commissioned by Stesagoras, 

considering the individuality of the subject matter and the fact 

that his name appears on it. But pyxides are only connected with 

the graves of women so the pyxis was probably given to a woman 

of his family. 

Why would a pyxis bear male iconography if it was to be given 

to a woman In this case it seems clear that the family pride was 

being extended to a female member of the family, 

Scenes relating to ~'omen first appear around 500-490 a.c. n 

The iconography of pyxides deals over and over again with the 

manifold aspects of weddings and mythological paradigms of 

marria~ are plentiful, A favorite tale is that of Peleus and 

Thelis; the actual wrestling scene is rarely shown but often the 

scene of pursuit (Copenhagen 4735 and Munich lex von Schoen. 

64J).H And Nereids scatter in alarm anel bring the news to Thctis' 

father Ncreus (Cambridge 1933.1. Munich lex von Schoen. 641 PI. 

66,2)U who often stands by an ahar with a palm. 

That such a scene is a mythological paradigm of marriage is 

shown by the meaningful juItaposition of Pe1eus wrestling with 

Thetis on the Athens epinetron by the Eretria Painter .....ith !>l't:ncs 

of the brides Alcestis (seated befo~ the door of the thalamus) and 

Harmonia.a 

Another mythological paradigm of marriage is the abduction of 

Ordthyia by Uoreas (Athens 1586 [pI. 65,1): Chicago 92.1251. 11 

This thcme could be s~'mbolic either of marriage or of death. 17 The 

wind gods were intennediaries betvoeen the world abo\"C and 

Hades. They were regarded as fenilizing or impregnating but were 

also regarded as destructive. A close association between death 

and weddings appears again and again in visual and literary 

imagery. 

There are two examples of the Boreas and Oreithyia theme on 

Illlllrllphoroi from the Sanctunry of the Nymph (Bride) in 

Athcns. 1I This sanctuary was not dedicated to the nymphs but to 

lhe Brirle anel ..he i....till called nymphc today un her ~elldillg 

day ill Greece. A boundary stone of the sanctuary, graffiti on 

vases, both shape and iconographic characteristics of the vases 

make the identification of the sanctuary C'Cnain. The majority of 

vases from the sanctuary were loutrophoroi. though other shapes 

were included as pyxides. The subjects ~Iated primarily to 

weddin~. The vases dated from the middle of the seventh centul)' 

to the third century 8.C. 1I 

Burcas and Oreithyia also appear on bronze hydriai. some of 

which ha~e been found in the graves of women. Indeed Picard 

believed all these hydriai 10 have been funerary in purpose,lO In 

this case the theme may represent hopes of immonality for the 

deceased. 

A tomb in Capua included a pair of stamnoi by the Deepdene 

Painter. one .... ith a representation of Al I:

ISO 

18' 

euphemism for sudden and premature de:lIh. Heraklifos relates 

that onc called the de:uh (lf a beautiful youth a rape by Eos.n 

And to show the interpenetration of wedding and funeral spheres. 

Eos pursues Kephalos or Tithonos on a IOUITophoros from the 

sanctuary of the Nymph (Bride). n 

More dirttt repre2ntations show the .....edding procession of 

either a mythical or manal pair. In the sixth century Peleus and 

Thclis were often repre!lenled in a chariot surrounded by gods 

and led by Hcrmes. Few of the representations have inscriptions 

bUI when gods are present it is assumed that the wedded pair are 

indeed Peleus and Theti5.J~ A black-figure amphora in NaplcsJS 

juxtaposes the wedding procession on A with the wrestling match 

betWttn Peleu5 and Thetis on B. Peleus and Thetis ride in a 

chariot. behind the horses proceed the gods. Apollo with his 

kithara and J\rtemi~ with a young faun. 3nd the hcrakl Herllle

182 

1 liE ATfI(" Pl'lllS 

IBJ 

lll\\ard the door hy a I}TC-playing J-n",-on the other "tek of it she 

appears again Hluching the meaningful door '" hik ErO!i Ilie.. 

IOwards her with it slllall chest. The tramition i~ that from maid tu 

matron (ha\'ing passed through the door on her y.ctIdinJ! day). 

011 the Fransoi!o \'3"C the nlll!'>elering spirits bring ble~sings from the nether orld to 

the ne" I)·- .....t:dded pair. 

In contracting marriage the pair prayed to ahe Tritopatores H or 

"great-grandfathers" and addressed them as ;{v4Ao1 or dcom>'Tat 

aV(/-lvJv and asked for the blessing of children. They .....ere concei..'ed 

a~ aeriform ancestor souls .....ho hal'e their seat in the ....·inds. There 

is a sanctuary of the Tritopatores ill Delos and another ill ahe 

Ceramicus.Sc lemalc .....inged 8enii are placed on ,'ases .....ith nuptial 

il.:ollography such a' IclJCtes gamikoi. loutrophoroi. lekanai and 

ppidt:!>. Hut the Nikai ha\e al!>o a connection "ith dealh. A 

fragmellt of the fourth century in Vienna Unh'ersityss 'ho.....s 1"0 

r-:il.:ai l>lmilar to those on lebetes gamikoi hOl'ering placing a 

h"lctal ":lse. And il should be said in thil> connection thal in 

j-fe,;nd', TI,.·IIWmy Nike i~ said to be the daughter of Styx.~' 

1 he nmnectioll of the Nikai Orl pyxide~ .....ith those on Icbctes 

gamikoi is most dearly sho..... n on Munich 2720,51 Here the Nike 

hovers. a taenia in front of her, by the doorv.·ay. in an exact quote 

of the position of those on lebetes gamikoi.

.84 THF ATTIC PYXIS 185 

Many lebetes gamikoi depict a file of .....omen bringing presenlS 10 

the bride in a ~'Clll' which ha~ been interpreted a~ Ep

"'" 

TIlt, ATTIC P, XIS SALLY RlITffERFLaD RO.Ean 187 

A much mor~ curious representation may be set'n on a pyxis in 

the British Museum (Pis. 62 and 103.1)." 11 there '>'ere no 

inscriptions it would be enlill«l women in the home or in German 

text. "Frauengcmach," But the inscriptions gi\'c us the names of 

Argh'c heroines. Helen, scated at a wool basket, and KI)1aimcstra; 

a woman (unlabeled) and Kassandra: Iphigeneia. binding her head 

for her bridal. stands in the doorway. while Danac brings her a 

chest. 

Now when an author ventures an opinion as to the destination of 

a pyxis it is usually said to be a wedding gift. But. however one 

'Inderstands the SIOI'J of Iphlgencia. v. het her aetually ~acrili('Cd and 

killed at Aulis or snatched away by Anemis to become her priestess 

lir~l at TauTis and later 31 Brauron. it would \eem highl) unlikel)' 

in mid fifth-century Athens 10 proffer a p)'Iis with a represenlation 

of Iphigeneia 10 a young. neal·ankled bride, 

'I he ppi" in Ihe Brilish Museum i" one ofa pair. the olher being 

London E 772 (PI. 63)." The profiles 3re similar bUI nOI idenlical. 

as Ihere are "right rh)'lhmical diffcrcnce" in det~til. The handle of 

the ~el'ond Tlllly om:e have been it Icrflll:Olla loop, 

The lids arc the same with circumscribed palmettt..'S placl.'d in a 

Vitruvian wave pattern. Beazley remarked "The lid ilo by Ihe same 

hand as in London E 773. bUI Ihe figure·work seems nol." Uoth are 

b~ followers of Douris. 

The representation on this pyxis is of the Hesperides (PI. 103.3) 

quite surely and withoul a question mark. though thought of in an 

unusual and delightful way. There is a Hesperid standing by a 

fountain waiting for her h)'dria to fill. another follows and a third 

runs loward the tree. while Thetis is Ihe one galhering Ihe apples. 

Then: is the Iree and the Hesperides. given fanc)' names. arc 

tending if. Thetis is not the name of a Hesperid bUI is a fa\'orite in 

depictions of mythological marriage. This is especially so in the 

decoration of pyxides of this class (Class of Berlin 3J(8). 

Onc might say that the representation of Ihe Hesperides pyxis is 

a paradigm of marriage as Apollodorus 7o and Olhers tell us that 

when Hera was wedded to Zeus. Ge gave a wedding present of the 

golden apples of immonalilY. But probably onc should inlerprel 

the iconography as a paradigm of immonality. Reading the twO 

,"')h III~l·ther nllo; undCr'ltand" Ihal tI llI,1iden. d~lIlg ~nUII~ ",-'Inn." 

Ihe age of marriage \loas given a picture of Iphigeneia as a bride 

and also hopes of immortality in the depiclion of lhe tree of Ihe 

Ik~pl'rHIo:"" III olh..... \\llrd". IIIl' 1"'0 \:l'~ \loefl' ;I IUller:l1 Jo!ilt 1\1 a 

\\'Iln~ \\llll!an .tIlll IIl'fl' prnhJhl} plal'c

188 Till! ATTIC PYXI~ 

SALLY RUTlfERFUIlD ROBERTS 189 

NOTFS CHAPTER VII 

I. ABV. 636. MJ-644; PiUflllpom.·,.~. 311. 

2. ABV. 54tl·54"-; 500: 558·~. 

J. "'BV. 558-559. 

;4. A8V, 5...'"'6: 561. 

S. ASV; 650. 6.J.b4. ~ number or Ih\' Edinburgh '"liS!! ha~ Mn dun~. 

b. AllV. 181. 49. 

• ABY. 6Ib.11; Pprq1lpo",..".,. J06; IJMf'"A 01 (1%3) M-5. 

11. Ne.. York pyXIS related 10 lhe Ne..' York ilmphori~kOi and 10 lhl: I'ainln of 

MUnich 1842. AHV 455. J. 

9. ARV, 169':1; BCH 86(1%2) 66Q. fill. 17; P"ru/,pom..nu. 61. 

10 Talk pt•.....,ntnllo APA, Chm10l3) 1"l~2 \>\ IkllO' H. Irnm"""3h" tni",,...il) or 

N"rlh ll1rolina. 

11. H~..~t"IU' h.ICJ.l. 

12. Athens "cr. 560: ARV. 47'1. ,l,\l> ,,,"1 4~1l: l.a"lI J7.llJO'l; CVA Ft;J'wC 211. L..,'n 

I.p1.I!.',], 

13. ARV. 025. 95: CVA. IJcnmark 4. Co~nhaBcn 4. pI. 162.4; ARV. tI06. 'IJ: 

Lulhn. £h,'"" lhe) ...·"'re pe.ha", g"",n a) .edding pl'C'KntJi 10 )oung hrldn . 

liCK lhe qUl'SIMln arises if a ~uh;.:c-t .e1al.... 10 100'''' and ....~ddmg'l I'- lhe .a'of 

llC'e"uanl, a .'edding llift~ LtbC'IC1 Ramikoi appear in rcprcscntation$ of ..cdding 

prepata\lons (London E'iN; FR. pi. 57. JI and )'tlthey ha.·t bottn found mOSlly in 

lombs and In the sancluary of Artcmi$ ilrauronia on the Acropulls and al Htauron. 

21. ARV. 498. 1. 5: AlA 49 U945) 157 (lkazlcyl; Philippaki. .,.1It A/IIe Swm"OJ 

tOdutd 1%7183; Web_In. 1'0//'" "'Id PUlm". 2'lfl. 

22. RE ).~. Eos and cspceiall)' p. 1268; IOAI J I (19J9) 89; Hcrakldtos e. b8; OXlurd 

("1111.1;(:..1Oiclim,o,)' s.'·. F..o-.. 

23. ARV. 957.45; Webster. Pmu" ulld PUI",n. 107. 

H. E. GOlt... F,uu

190 'I HE ATIll PVXIS SALLY RUTH£REUIlD ROJl;£RTS '91 

SanlJnd. 1'1,0: t.fUl p.vrmr,,, QI ,11., f"mpl, "I Znu ul Olj-m/H" !G;;;'cbofJ 19701 

105-10', IIp. 09--0 and rcfefYoc"): the" bride lin her _n undal on a Ic:bn 

gam'kOlo \AN V. Ul2. 11: AI~'m J21190~1 pi ":). 800b had fu ....r;aI ronl1«llOI1S in 

the Geom"'nc pc'riod. Tau t"nK'O'llil pal. "en found in a gU.H: VlrJ,..._ 18 119491 

282.2%-29-, ph. 6-. ·0). OIM: paIr .. ",re found In IM glue of a "oman al Eku~t.. 

and "()tIll.cn put fCOlard ,"" lhcon that the OOob "o:re an offcTlng tor the U$(" of the 

~I'''ll ..1 the dead on Itw " ..... rn..·' h' italiC' U ......ben. fJu· 1),1"11.",/(",,,,,,. ,,,,J J,,' 

I)lpyl"".(Uf'J'l. JO.JIl. The 5'

In 

,.3 

SElFCTED UIBlIOGRAPH' 

Bibliography rde-mog 10 special probleml, Of to indindual vases. lS given 

in t~ catalogue rrnm and DotC5 chapter by chapter. 

PIUMARY SOURCES 

Aristotle pcJilin 

Arislophancs Birds 

£CCh:JiQZNJQ~ (Loch aassical Library). vol. J. 

Lui.ururu 

Euripldes Akest;s 

IphiRent!ia in Aulis 

(phigt',wiu in Taun"ra 

Hesiod Tht! J/omeric Hymns and HomrricQ 

P1alo Symposium 

Xenophon Of'C'OIwmicus 

ATTRIUUTIONS 

BEAZLEY. JOIIN DAVIDSON. Attic Bluck-jigun Vuse-pai"'f.'n;, 

Oxford, 1956. 

Auk Rtd-figurt' Vus('"ptli"un. OKfOfd, 1942. 

A/tic Rffi-jigllrt. VllSI'-paintuJ. 2nd W. Odord. 1%3. 

--, "Groups of Early Attic Black-figure:' He-speriu 13 (1944) 38-57. 

--. Purolipomf'1llJ. Orford. 1971. 

SIIAPES Of ATHENIAN VASES 

BFAZLEY. J.O. PfJ/fl'f' ,,/Id P"inlt" in Anrif"nf A,ht'n.L london. 1Q46. 

BOTHMEtI, DIETlurH YON. "Lids by Andokides." 8rrli'lf'r MII$('.'n 14 

(1 %4) 38·4 l. 

BI OFSCH. HANSIORG. FOrflwll ottiJrhl'r Srllo/nl. Berne, 1940. 

HASPEI s, C. H. E~ULlE. Af/ir Bfork·)i/llln.'d L.'JeylhOl: Paris, 1936. 

PtUlIl'PAKI. BAMtiARA.. Thl' AI/ir S,anlllol. Oxford. 1%7, 

SPARKU. BRIAs A. ASO TAIf·on. LucY. BlurJe and Plain Por,.'')' vi rhl' 

Sixth, Fifth and FVlmh C~nlllries B.C, Athrnian Agoi'll XJI. 

Princeton. 1970,

194 

19' 

NAMES OF VASES 

HlrllTER. G'~FI" M. A.. AND Mu NE. MAkJORIE M. Shtll"'S and N""wJ, 

0/ A,Ir",,;,,,, Vast's. Ne .. York. JlUS. . 

SPARKES. BM tAl" A •. AND "I Al rOTT. Lut'Y. Blurk "nd Plui" Pot/.,I')· of ,h., 

5;:011. fifth. "lid Fuu"''' C..I/lIIri,'J B.C. Athl'fliu" Agoro XII. 

Pr;ncl:lOn. 1970. 

Mu NE. MARJORII: J. "Kllichnb:' AlA 43 (1939) 241-54. 

St HI 181 ER. (NCEBORC. "EJ(a!ciplra:' Jahrbur:h un DeuHr:hl'tI ArchuQ 

(ugiu'"'''' hmif"'J. 7911964J 72·108. 

WU:-KERT. "hfJollWTQ4," Pouly- Wwo..·u. Rru/·Efll'yC'lQpQdi.. dt'r /duJJisehrn 

AItI'NUmJIO'J.j(·nJf'lruft. Vu\. XIII. Cols. Il·JJ. 

SITES 

GHALI-KAliIL. LILI_Y. "Quelqu~ vases du sanetuai~ d'Anl'mls a 

Brauron:' Amii.. KUl1sr. Supplement I (l%J) 5-19 

I'''OFM!>. I LlllA "Slu..he~ in Ihe Treasurc Rl~'unh 01 Atlcmi~ Brauronia 

I-ound in Alhcn..:· ,""tu ".)rttulI Ath.Il1f,u/I 1'1llq"ZI q·11 

,'HMII'I MM \. S. L" ,\•• "'1101, d/\I"lIu III \,,,11. T,.,..bbu \0J... I and 1.2. 

Rom~. 1lJtl). 1%:', 

CULT 

nIl K"LM. L. /J,..Al/luh., fnt". 

f-AR"FI •. I.. R, Th, eulll'" Ih" G,.".·k SIUI"~, Vol. 2 

I

'96 

~AllY 

RL'THFaFURD Ron:RTS 

'97 

C.J~nda,. 

SI'H-' AIR. T. A. H"SI,)!I W"r,h und nun. I.ondon. Iq]; 

Mt III IT. B. D. Th,- Alfw"iu/I Y,'ur. Bcrk~k}. 1%1. 

MIKAI ~ON. Jos U. Ih,- Sucn'jl u",1 e"if Cul",,,I,,r"f th,- A,J"'mu/I r""r. 

I'rin~clon. I97,S. 

Addenda 

Various pr_Ides have come 10 my notice SIDl"e the book ."as ('omplctcd. Such 

infOM1\"ion as is aVlil.ble is appended hCR. 

I. Athens I59J. rlJ. 16c. 

Lid domed. WaD conean orlth inKr fta.tll"= to rettift lid. Rin, rooc. 

lAurel (half) on bod,. Lid: woman with hll,h05 and wom.n ...hh boJl. Eroli and 

"·om.n. 

RM·figure pyla. 'ype C. Iller lifth ('('nlury B.e. 

Hut)' slyle not rat from lilt Lid Painter and M.rl.y Painter. Profile similar 10 

Athens 1597. 

2. Bo$ton J8 1971 on anoQ}"Il\OOs ptnoancnt dCl'O'il. 

H....ith lid 0.11. H...ithoul lid 0.1 IS, D. of lid O.IU. 

Red-figure pylis type A. women wod:lng ...ith wool. u. -450 8.C. 

J. Dallas, Muscum of Fine Arts. 

H. 0.239. D. at rim 0.138. D. or lid 0.158. 

Lld: tongue5, blatk band. ~nkal dmlmscnbed palmct1e" black band, t'U and 

d... 

Rcd-flgll~ py.lis. Iype A, b)' or near the Abmietll Painter, HerWrt Hof'fmann. 

T". C..lltllri..S fllllr SltupI'd'M Wu,. 110. 191; ror ring knob d. Vitnna 3119 

(CVA Auslria I. Vienna I. pi. 48.7); rCM" profile d. Penthesiln WCM"uhop 11, u. 

440-430 a.c. 

4. Ikn~C1" An. 97. 

H...ith lid 0.05. D. 0.11, D. of lid 0.145. H. or rOOl 0.003. 

W~ath on bod" cu pallenl on klwct keel. Lid: &os and seated wontan,.omen. 

Red·figu~ py:a:is. type C, latc fifth - carl, rounh R.C. 

S. Etnria Mu:!C'um. 

5latlt·glaze py..is or type A. 

6. Houston. D. and J. de MCI'll CoUe

''10 

,.. 

8. Mapl~ood. JOKph V. Nobllr. 

Ro:d-figure ppis. l)llt C. 

9. Marathon MUKum. Marathon.. 

Fragments of lids of mi·figumi pysMks of type C. 

10. Thebes MUKum from Kanapitsa. 

AIit'D lid. 

Boeotian red-fiiufe py.is, type A. profile of Penthc:~i1ta Workshop 11, ,.'nlding. 

end of fifth century a.c. 

11. Tlleualonih, Archaeological Museum. 

81ack-figun:. concave pyxis of Swan Group. 

Line of XXXI, s.... aRS upright. 

12. WUnburg H 53JJ. 

Lid and foot mioisinl. H. 0.10. D. a' lip 0.085 

C,ltndrical ..all ..ith pro;eetinlloortt ked. Ea and dOl: on 1

n - Historia Antigua

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