Chapter IV
.
The =incised inscriptions= are of three kinds: (1) those executed by the maker of the vase; (2) those scratched under the foot; (3) those incised by the owner. As these represent a much smaller class than the painted ones, they shall be dealt with first.
(1) Inscriptions incised by the maker before the final baking. These are found on the handles and feet, round the edge of a design, or interspersed therewith like the painted inscriptions. Generally they represent the signature of the potter, as in the case of the early Boeotian vase signed by Gamedes,[2064] the vases of the fifth-century artist Hieron,[2065] and those of Assteas, Python, and Lasimos in Southern Italy.[2066] On the vases of the latter class explanatory inscriptions seldom occur, but when they do (as on the vases of Assteas) they are always incised. Of their palaeographical peculiarities we will speak later. On a vase in the South Kensington Museum[2067] the words Βραχᾶς καλός are incised and painted red, and on the pottery found on the site of the Kabeirion at Thebes the same process is often adopted, except that the paint used is white.[2068]
(2) Of inscriptions scratched under the foot a considerable number remain, especially on B.F. vases. They are often difficult to decipher, being in the form of monograms, and frequently appear to be meaningless. In many cases they may have been private marks of the potter or his workmen; others, again, are evidently private memoranda made by the workman, relating to the number of forms of vases in his batch, or by the merchant respecting the price to be paid. Commonly they take the form of names of vases,[2069] such as [ΗVΔΡΙ] for ὑδρία (_hydria_), [ΛΗΚ] or [ΛΗΚV] for λήκυθος (_lekythos_), [ΣΚV] for σκύφος (_skyphos_),[2070] and so on. Many of the inscriptions give the words in full, with numbers and prices, and we may obtain from them some curious information.
Among the more elaborate examples given by Schöne in his valuable monograph is one from a krater in the Louvre[2071]:
[ΚΡΑΤΕΡΕΣ : ΠI] κρατῆρες ἑξ
[ΤΙΜΕ : ͰͰͰͰ ΟΞΙΔΕΣ : [Π]ΙΙΙ] τιμὴ τέσσαρες ὀξίδες ὀκτώ
[ΒΑΘΕΑ : ΔΔͰΙ] βαθέα εἰκόσι (at 1 _dr._ 1 _ob._)
That is, six kraters, value four drachmae; eight _oxides_; twenty _bathea_ (an unknown form), one drachma one obol. The _bathea_ were probably deep cups or ladles; the _oxides_ (_lit._ vinegar-cups) were small vessels, probably answering to our wine-glasses.
Another instance given by Schöne[2072] is:
[ΛΗΚΥΘΙΑ Δ] ληκύθια δέκα [ΟΙΝΟΧΟΑΙ ΙΙ] οἰνοχοαὶ δύο
or ten lekythi and two oinochoae.
Another good example is on a krater in the British Museum (E 504):
[ΚΡΑΤΕΡΕ [Π]Ι : ͰͰͰͰ] κρατῆρε(ς) ἑξ τέσσαρες
[ΠΕΛΛΙΝΙΑ : ΔΙΙ : ΙΙΙ] πελλίνια[2073] δώδεκα τρεῖς
[ΟΞΙΔΕΣ : ΔΔ : ΙΙΙ] ὀξίδες εἰκόσι τρεῖς
[ΟΞΥΒΑΦΑ : ΔΔͰI] ὀξύβαφα εἰκόσι (at 1 _dr._ 1 _ob._)
_i.e._ six kraters at four drachmae, twelve cups at three obols, twenty _oxides_ at three obols, twenty _oxybapha_ at one drachma one obol.
Another in Vienna[2074]:
[ΚΡΑΤΕΡΕ[Σ] : [Π]Ι : ΤΙΜΕ : κρατῆρες ἑξ τιμὴ τέσσαρες (4 _dr._) ͰͰͰͰ]
[ΒΑΘΕΑ : ΔΔ : ΤΙΜΕ : ͰΙ] βαθέα εἰκοσι τιμὴ ͰΙ (1 _dr._ 1 _ob._)
..[ΟΞΙΔΕ[Σ] : Δ] ὀξιδες δέκα
is to the same effect as the two preceding. On a hydria at Petersburg[2075] we find:
[ΥΔΤΡΙΔΡΑΧΠΟΙ ΑΝ]
ὑδ(ρίαι) τρ(ε)ῖ(ς) δραχ(μῶν) π(έντε) ὀ(βόλου) ἑνός
or three hydriae worth five drachmae one obol. The last example that need be mentioned is from a vase at Berlin[2076]:
[Α] · ΛΥΔΙΑ ΜΕΙΩ : Ι : Ε : ΛΕΠΑΣΤΙΔΕΣ : Κ : Ι
ὠά(?)· Λύδια με(ί)ξω ιέ λεπαστίδες κξ’
Here the letters probably stand for numerals of the ordinary kind, denoting the numbers of the batch (ιε’ = 15, κξ’ = 27).
The form of the letters in all these cases is that of the fifth century. In the case of the second, third, and fourth examples given, it will be noted that the shape of the vase itself corresponds with the first item. Jahn and Letronne originally held the view that these marks were made by the potter on the feet of the vases _before_ they were attached to their respective bodies.[2077] Schöne, in the light of the examples already quoted, makes the ingenious suggestion that each list represents a different “set” of so many vases of different forms, and used for different purposes, sold together in a batch, like a modern “dinner-set” or “toilet-set” of china. Thus we have in our fourth example a set of six mixing-bowls at four drachmae (3_s._) apiece, ten wine-glasses at (probably) three obols or 4½_d._ apiece, and twenty cups or ladles at about 10½_d._ apiece.
Some of the shorter inscriptions also throw light on the prices at which different vases were sold. For instance, 15[123]ΛΗΚV : ΛΔ : ΛΗ would denote thirty-four lekythi for thirty-seven obols, or roughly 1½_d._ apiece; 15[121]ΛΗΚV : ΙΓ : ΙΑ thirteen lekythi for eleven obols, at a slightly lower price.[2078] Aristophanes[2079] tells us that one obol would purchase quite a fine lekythos, just as elsewhere[2080] he mentions three drachmae as the cost of a κάδος or cask. This latter statement is borne out by the inscription on a vase, [[Π]·ΚΑΔΙΑ·ΔΙΙ], or five κάδια value twelve drachmae, _i.e._ at about 2½ _dr._ apiece.[2081] An inscription quoted below shows that the owner of a cup valued it at one drachma. Other examples of the same kind are collected by Schöne. The cup from Cerigo in the British Museum, on which is incised [[Ͱ]ΕΜΙΚΟΤVΛΙΟΝ] (ἡμικοτύλιον)[2082] does not strictly come into this category, but may be mentioned as having an inscription of the same class.
(3) Inscriptions incised by the owner, and subsequently to the completion of the vase. These usually take the form of the word [ΕΙΜΙ] ([ΕΜΙ]), with the owner’s name in the genitive, as [ΑΣΤΥΟΞΙΔΑ ΗΜΙ] (“I am Idamenes’”), or [ΑΣΤΥΟΞΙΔΑ ΗΜΙ] (“I am Astyochidas’”), on two B.F. cups from Rhodes.[2083] Sometimes this appears in an extended and metrical form, as on another B.F. kylix from the same site:
[ΦΙΛΤΟΣΗΜΙΤΑΣΚΑΛΑΣΑΚΥΛΙΞΣΑΠΟΙΚΙΛΑ]
Φιλτῶς ἠμὶ τᾶς καλᾶς ἁ κύλιξ ἁ ποικίλα
“I am the painted cup of the fair Philto.”[2084]
Another metrical inscription runs:
Κηφισοφῶντος ἡ κύλιξ· ἐὰν δέ τις κατάξη δραχμὴν ἀποτείσει· δῶρον ὄν παρὰ Ξενο....
“I am the cup of Kephisophon; if any one breaks me, let him pay a drachma; the gift of Xeno(krates).”[2085]
A yet more remarkable example is on an early lekythos from Cumae in the British Museum,[2086] which, in the manner favoured by modern schoolboys, invokes an imprecation on the head of a thief:
[Illustration: FIG. 171.]
Ταταίης ἐμὶ λήϙυθος ὃς δ’ ἄν με κλέφσῃ θυφλὸς ἔσται “I am Tataie’s oil-flask, and he shall be struck blind who steals me.”
Others, again, record the gift of the vase, as: “Epainetos gave me to Charopos”[2087]; [ΤΕΝΔΙ[Σ]ΟΙ ΘΟΔΕΜΟ[Σ] ΔΙΔΟ[Σ]Ι[:]] “Lo, this Thoudemos gives to thee.”[2088] A boat-shaped vase (_kymbion_) in the British Museum has incised on it the exhortation [[Π]ΡΟ]Π]ΙΝΕ ΜΗ ΚΑΤΘΗΣ], “Drink, do not lay me down.”[2089] The owner’s name is found in the nominative on a vase from Carthage at Naples: [ΧΑΡΜΙΝΟΣ] [ΘΕΟΦΑΜΙΔΑ] [ΚΩΙΟΣ], “Charminos, son of Theophamidas, a Coan”[2090]; similarly in the genitive with the omission of εἰμί: [ΑΡΙϹΤΑΡΧΟ] [ΑΡΙΣΤΩΝΟϹ], Ἀριστάρχου Ἀρίστωνος; [ΑΛΕΞΙΔΑΜΩ] Ἀλεξιδάμου.[2091]
Under the same heading comes the class of votive or dedicatory inscriptions, found in such large numbers on the pottery of certain temple-sites, such as that of Aphrodite at Naukratis,[2092] and that of the Kabeiri at Thebes.[2093] The usual formula at Naukratis is ὁ δεῖνα ἀνέθηκε τῇ Ἀφροδίτη (or τῷ Ἀπόλλωνι)[2094]; but sometimes we find the formula Ἀπόλλωνος εἰμί, where the god as the recipient of the gift is regarded as the owner.
[Illustration: FIG. 172.]
One of the most interesting, and certainly the most ancient, of all incised inscriptions on Greek vases is that engraved on a jug of “Dipylon” ware found at Athens in 1880.[2095] It runs: ὃς νῦν ὀρχηστῶν παντων ἀταλώτατα παίζει, τῦυ τόδε.... “He who now sports most delicately of all the dancers,” etc. Though probably not contemporary with this eighth-century vase, it is still of great antiquity, and the earliest Athenian inscription known.
In studying these _graffiti_, it must always be borne in mind that they lend themselves easily to forgery, and that many are open to grave suspicion. Instances of these doubtful inscriptions are the Kleomenes vase in the Louvre[2096] and a late vase signed by Statios in the British Museum (F 594).
* * * * *
The =painted inscriptions= are practically limited to a period extending over two centuries, from the time at which the primitive methods of painting were slowly emerging into the black-figured style, down to the finest stage of red-figure vases. Rare at first, they rapidly spring into popularity, being constantly found on the sixth-century fabrics; but throughout the red-figure period they gradually become rarer and rarer, until they drop out almost entirely. In the vases of the Decadence they have for the most part fallen into disuse; at any rate, they are comparatively scarce. Some of the latest inscriptions are in the Oscan and Latin languages, showing the increasing influence of the Romans over Southern Italy, and especially Campania. The inscriptions always follow the laws of palaeography of the region and period to which they belong.
Generally speaking, it may be said that they have some reference to the design painted on the vase; at least, the majority are explanatory of the subject represented. Sometimes not only is every figure accompanied by its name, but even animals and inanimate objects, instances of which are given below. On the François vase there are no less than 115 such inscriptions. In almost all cases we can be certain that they are original, and contemporaneous with the vase itself.
The explanatory inscriptions are generally small in size, the letters averaging one-eighth of an inch in height. On B.F. vases they are painted in black; on R.F. vases of the “severe” style, in purple on the black ground, or in black on the red portions; on later R.F. vases, in white. There is no rule for their position, or indeed for their presence; but, as a general rule, it may be said that they are oftener found on the finer and larger vases, and that they are placed in close juxtaposition to the figures to which they refer. The direction in which they are written may be either from left to right or right to left (as generally on Corinthian or Chalcidian vases); on the Panathenaic amphorae are the only known examples of κιονηδόν inscriptions, in which the letters are placed vertically in relation to each other. They are occasionally found on the objects depicted, as on stelae or lavers (see pp. 260, 272), on shields,[2097] or even on the figures themselves.[2098] Signatures of artists are occasionally found on the handle or foot of a vase.[2099]
Kretschmer (p. 5) illustrates the practice of employing inscriptions on vases from the art of the Semitic nations. He instances clay vases from Cyprus with painted Phoenician inscriptions,[2100] for which the same pigment is used as for the decoration of the vases themselves. But none of these are likely to be earlier than the first Greek inscriptions, and it is more than probable that the Cypriote Phoenicians borrowed the practice from the Greeks. In order, therefore, to obtain information as to the date of these painted inscriptions, we are entirely dependent upon internal evidence.
The importance of these inscriptions may, perhaps, be best realised when it is pointed out that they are one of the chief guides to the age of the vases, and have contributed more than any other feature to the establishment of a scientific classification of the earlier fabrics, as will be fully indicated in the succeeding account.
The Greek alphabet, as is well known, is derived from the Phoenician, and this is attested not only by tradition, but by the known existing forms of the latter, the signs being twenty-two in number. The invention of the two double letters, and of the long η and ω, which are purely Greek, was attributed by popular tradition to various personages without any authority. With the question of the introduction of writing into Greece this is not the place to deal. Recent discoveries, especially in Crete, have greatly modified all preconceived notions on the subject, and for the present we are only immediately concerned with the earliest use of the Greek alphabet, as we know it.
This can be traced as far back as the seventh century B.C. on various grounds, and in all probability the traditional view which placed its introduction into Greece at about 660 B.C. is fairly correct. The earliest inscriptions on the vases are certainly not later, perhaps earlier than this (see below, p. 254). At Abou-Simbel in Egypt, Greek inscriptions have been found in which the name of Psammetichos occurs, and this king is generally supposed to be the second of that name (594–589).[2101] In Thera and other Aegean islands, and on the coast of Asia Minor, inscriptions are known which, for various reasons, have been placed even earlier than this, and the vase with Arkesilaos, the inscriptions on which are discussed below, is hardly later, as it can be shown to date between 580 and 550 B.C.
Before proceeding to discuss the early inscriptions, it may be as well to note, for the benefit of those to whom Greek Epigraphy is an unfamiliar subject, the chief peculiarities of the earlier alphabets.[2102] They fall into two principal groups, the Eastern and Western, each of which has many subdivisions. Certain forms, such as [Χ] for Χ, are characteristic of one or the other division; but the distinction is not so clearly marked on the vases, on which many alphabets, such as the Ionic and Island varieties, are scarcely represented. The vase-inscriptions fall mainly under three heads: Corinthian and Athenian in the Eastern group, Chalcidian in the Western. During the fifth century (or even earlier) there is a rapid tendency to unification in the Greek alphabet, which is chiefly brought about by the growing supremacy of Athens. This acted in two ways: firstly, by the fact that Attic became the literary and therefore the paramount language in Greece; secondly, by the fact of her artistic pre-eminence, which crushed out the other local fabrics. Finally, by the time of the archonship of Eukleides in 403 B.C., the alphabet, if not the language, had become entirely unified, and the Ionic forms universally adopted for public and official purposes. For private use they had, of course, long been known at Athens; but the official enactment of that year only set the seal to a long recognised practice. Throughout the fifth century the old Attic and the Ionic forms are found side by side on R.F. vases.[2103]
In the later archaic period the coins come in as an important source of evidence.[2104] None of the inscribed ones appear to be earlier than the sixth century, the oldest being perhaps the electrum stater usually attributed to Halikarnassos, with the name of Phanes(?). The only characteristic letter (the alphabet belonging to the Ionic group) is the sign [heta] in place of Η to denote _eta_, which has not been found on any vase with the Ionic alphabet, and therefore betokens a very early date. Next comes an Attic stater of about 560 B.C., with the legend [(Α)☉Ε], which may be fitly compared with the oldest Panathenaic amphora,[2105] on which the dotted [☉] is also found. The earliest coins of Haliartos in Boeotia have the curious form 15[8]curious asper for the _spiritus asper_ or Η, dating apparently before 550 B.C.; the succession can thence be traced through 14[10]asper2 14[9]asper3 and [heta], down to about 480 B.C., when it is dropped entirely. At Himera in Sicily [heta] occurs in the fifth century for the _spiritus asper_, and is followed by the HH form, which in the West is employed down to about 400 B.C. On the early coins of Poseidonia (Paestum) the [M] form of Σ is found (550–480 B.C.), being also characteristic of Corinthian vases of the sixth century; it also lingers on in Crete, but in Sicily and elsewhere the [Σ] form of Attic and other alphabets is more usual, until replaced in the fifth century by Σ. Of the specially Ionic letters, Η (= _eta_) is found generally at an early date, as at Teos (540–400 B.C.), and also Ω. At Corinth the _koppa_ Ϙ for Κ is in use from the earliest times down to the days of the Achaean League, and does not therefore afford evidence of date by itself, but only of a local peculiarity, being equally universal on vases. The digamma is only found on coins of Elis and Crete, whereas it often occurs on early Greek vases.[2106]
It may also be of interest to note that the [heta] form for the rough breathing occurs on the helmet of Hiero in the British Museum,[2107] which can be dated 480–470 B.C., and that the use of Η for _eta_ and of the four-lined [Σ] at Athens previous to the archonship of Eukleides can be deduced from the well-known fragment of Euripides[2108] in which the letters forming the name [ΘΗΣΕΥΣ] are carefully described.
In the following pages illustrations of the points above noted will be fully detailed where occurring on the vases. The annexed scheme of alphabets used on vases (Fig. 173) will serve to give a general idea of the variations of form in different fabrics.
The painted inscriptions on vases first appear, as already noted, about the beginning of the seventh century B.C. The earlier fabrics—Mycenaean, Cretan, and Cycladic—generally belong to an epoch when writing, if not unknown, was at any rate little practised[2109]; nor have any inscriptions been found on the Dipylon or Geometrical vases, except the incised one which we have already discussed. The oldest known painted inscriptions are found on a Proto-Corinthian lekythos (see p. 254), the Euphorbos pinax from Kameiros (B.M. A 749), and the krater signed by Aristonoös, which is perhaps of Ionic origin, strongly influenced by Mycenaean art.
SCHEME OF ALPHABETS USED ON GREEK VASES
[Illustration: FIG. 173.]
With the great impulse given to vase-painting at the beginning of the sixth century by the development of the art in Corinth, Chalkis, and Athens (especially in Corinth), the number of inscribed vases rapidly increases. Among the earliest examples are those remarkable painted pinakes found at Corinth (Vol. I. p. 316), nearly all of which have dedicatory inscriptions, while in most cases the names are given of the deities, Poseidon and Amphitrite, to whom they were dedicated, and whose figures appear on them. They may be dated 600–550 B.C. The custom of inscribing names on works of art is illustrated by other products of this period, as we have already noted in the case of the chest of Kypselos; and they occur on the early bronze reliefs from Olympia,[2110] the Samothrace relief in the Louvre,[2111] the archaic reliefs at Delphi, and the newly found painted metopes at Thermon,[2112] as well as later on the paintings of Polygnotos.
On the Euphorbos pinax already mentioned[2113] appear the names of Menelaos ([ΜΕΝΕΛΑΣ]), Hector ([ΡΟΤΚΕ]), and Euphorbos ([ΙΥΦΟΡΒΟΣ]). Although found in Rhodes, it is proved to be of Argive origin by the characteristic form [Λ] of the Λ in Menelaos.[2114] Although its date cannot be exactly ascertained, it is probably about 620–600 B.C. It is a vase important in more than one respect, as it may be said to foreshadow the beginnings of the black-figure style.
The vase of Aristonoös[2115] was found at Cervetri, and bears the artist’s signature,
[ΝΕΣΙΟΠΕΣΟΦΟΝΟΤΣΙΡΑ], Ἀριστόνο<φ>ος ἐποί[η]σεν,
in an alphabet from which, unfortunately, all characteristic letters are wanting, so that its origin is uncertain. It is, however, as we have said, probably a seventh-century product of an Ionian fabric, on the coast of Asia Minor. The 14[13]halved circle has been taken by several scholars[2116] to denote [F] as in the Phrygian alphabet, but Kretschmer (p. 11) prefers to read it as ϑ 14[13]halved circle = 14[13]quartered circle We have, however, already seen that it is most probably a superfluous letter.
Early in the sixth century must be placed another remarkable vase, the Arkesilaos cup of Cyrenaean fabric.[2117] The inscribed names on this vase are as remarkable as its subject; there are nine in all, two only fragmentary. The only proper name is that of Arkesilas ([ΑΡΚΕΣΙΛΑΣ]), who was king of Kyrene 580–550 B.C.; the others seem to be titles, such as [ΙΟΦΟΡΤΟΣ], Ἰόφορτος or Σώφορτος, “Keeper of the burdens”; [ΣΛΙΦΟΜΑΧΟΣ], Σλιφόμαχος, a word having some reference to silphium, the subject of the vase; [ΦΥΛΑΚΟΣ], “Guardian”; [ΙΡΜΟΦΟΡΟΣ], and [ΟΞΥΡΟ], ὀρυξό[ς. One word, [ΣΟΜΘΑ], στ]αθμός, refers to an inanimate object (a balance). The dialect is Doric, Kyrene having been colonised by that race.
Next we have to deal with a very important class of inscriptions—those found on Corinthian vases.[2118] They are too numerous to be dealt with in detail; Kretschmer mentions nearly fifty inscribed vases, exclusive of the pinakes. Wilisch attributes the earliest to the latter half of the seventh century, the latest to the middle of the sixth century; but they certainly do not become common before the sixth.[2119] They include several artists’ signatures—viz. Chares, Milonidas, and Timonidas (Vol. I. p. 315). One of the most famous of the inscribed vases is the Dodwell pyxis at Munich,[2120] representing a boar-hunt. The figures are inscribed with fanciful names, such as [ΑΓΑΜΕΜΝΟΝ] (Agamemnon), [ΔΟΡΙΜΑΧΟΣ] (Dorimachos, or “spearman”), [ΠΑϘΟΝ] (Pakon), and so on. A krater in the British Museum (Plate XXI.) represents a similar scene, also with fancy names, such as Polydas and Antiphatas. Another famous vase is the Amphiaraos krater in Berlin,[2121] representing the setting out of Amphiaraos and the funeral games of Pelias; no less than twenty names are inscribed. Of these, [ΒΑΤΟΝ] (Baton) and [ἹΠΠΑΛϘΜΟΣ] (Hippalk(i)mos) illustrate other palaeo graphical peculiarities. Other good examples are the vase by Chares,[2122] another in the British Museum with the name of the owner ([ΑΣΝΒΤΑ ΒΜΣ], Αἰινετα ἐμίἐ),[2123] and that by Timonidas representing Achilles lying in wait for Troilos.[2124] A study of the pinakes in Berlin is also instructive in this respect. One is signed by Timonidas, another by Milonidas, while others bear interesting inscriptions, such as Fig. 174:
[Illustration: FIG. 174.]
Πειραείοθεν ἵκομες, “We have come from Peiraeus”[2125]; [ΤΥΔΕΔΟΣΧΑΡΙΕΣΑΝ ΑΦΟΡΜΑΝ] τὲ δὲ δὸς χαρίες(ς)αν ἀφορμάν, “And do thou make a graceful repayment”[2126];
and so on. The majority have only the names of Poseidon and Amphitrite, or (ὁ δεῖνα) ἀνέθηκεν,
In view of the palaeographical importance of these inscriptions, it may be worth while to dwell briefly on their peculiarities. The dialect is of course Doric, and consequently the names often differ widely from the forms to which we are accustomed; and this is increased by divergencies of spelling, which produce many anomalous results. For instance, ([ΚΕΣΑΝΔΡΑ]) (Κεσάνδρα) appears for Kassandra on a vase in the Louvre.[2127] ΑΕ is used for ΑΙ, as in [ΑΕΘΟΝ] (Ἀέθων = Αἴθων) on the Chares pyxis, and in [ΠΕΡΑΕΟΘΕΝ] (Περαεόθεν for Πε(ι)ραιόθεν) on the pinax already quoted. A nasal is dropped before a consonant, as in the names of Amphiaraos ([ΑΦΙΑΡΕΟΣ]) and Amphitrite ([ΑΦΕΤΡΙΤΑ]) The digamma lingers as a medial (more rarely as initial) in many words, such as ϝαχύς, Δαμοϝάνασσα, Ποτειδαϝων, and Διδαίϝων; its written form is 15[9]Ϝ or 15[9]ϝ The use of [heta] for the rough breathing is invariable.[2128]
One or two vases have been recognised as of Sicyonian fabric by the use in inscriptions of the unique 15[16]E for Ε, peculiar to that place (Vol. I. p. 321). The only certain example, however, is a krater in Berlin (_Cat._ 1147), with the names of Achilles ([ΣΥΕΛΙΞΑ]) and Memnon ([Μ[Ε]ΜΝΟΝ]). It may also be noted that an Athenian sixth-century vase, signed by Exekias, has a Sicyonian inscription _incised_ upon it by its owner[2129]:
[ΕΠΑΙΝΕΤΟΣ Μ ΕΔΟΚΕΝ ΧΑΡΟΠΟΙ]
Ἐπαίνετός μ’ ἔδωκεν Χαρόπω.
Boeotian vases never attained to the importance of the Corinthian fabrics, though, on the other hand, the manufacture lasted longer; but there are several instances of early signed vases from this district. Two, of which one is in the British Museum, are by Gamedes, the others by Theozotos, Gryton, Iphitadas, Mnasalkes, and Menaidas.[2130] They are recognised as Boeotian by the use of typical letters, as well as by origin, style, and dialect; such are the [Boeotian A] for A, [Boeotian Χ] for Χ, and so on. There is also a fifth-century vase with the Boeotian alphabet.[2131] The Kabeirion vases have inscriptions in the local alphabet, with a few exceptions, which are Ionic.[2132]
A unique vase, from the epigraphical point of view, is E 732 in the Louvre, found at Cervetri, to which allusion has been made elsewhere (Vol. I. p. 357, and see Fig. 111). It bears eleven names (of gods and giants) in an alphabet which has been recognised as Ionian, and is according to Kretschmer most probably that of the island of Keos. The great uncertainty as to the Ε sounds presented by this vase finds parallels in the stone inscriptions found on that island, while in the use of Β for Ϲ (the older form of that letter), the four-stroke [Fourline Σ] and [☉], with a central dot, this attribution finds further support. The only other islands that would fit the conditions are Naxos and Amorgos. As instances of the confused use of Ε, we have [ΖΗΥΣ] for Ζεύς, but [ΠΟΛΥΒΟΤΕ] for Πολυβώτη[ς, while again Ἐφιάλτης appears as [ΕΙΠΙΑΛΤΕΣ]! But this confusion does not occur in Naxos or Amorgos.
Other vases are undoubtedly of Ionic origin, but their actual home is uncertain; they are usually assigned to the coast of Asia Minor. For some reason, however, it is very rare for these vases to bear inscriptions; in all the numerous instances now collected, only some half-dozen with inscriptions can be found.[2133] One of these is the well-known Würzburg kylix with Phineus and the Harpies (see Vol. I. p. 357); another is a vase from Vulci, published by Gerhard,[2134] which has since disappeared. On both of these we find the characteristic Ionic letters Ω for ω, Η for η, Χ for χ, Λ for λ, and [Σ] with four strokes. Both vases are of the sixth century, and other details attest their Ionic origin.
We now come to a very important but somewhat puzzling class of inscriptions, those in the Chalcidian alphabet.[2135] The number of these is hardly more than a dozen, but such as they are they have enabled archaeologists to establish a Chalcidian school of painting by comparisons with other uninscribed vases. In all cases the inscriptions relate exclusively to the figures in the designs. Among the characteristic Chalcidian letters are the Ϙ for Κ, as in [ΣΙΟΤΥΛϘ] (Κλύτιος); the curved Ϲ for Γ, as in [ΣΕΝΟϜΥΡΑϹ] (Γαρυϝόνες=Γηρυόνης); [Ξ] for Λ and [Ξ] for Χ, as in [ΑΧΙΛΛΕΥΣ]; (Ἀχιλλεύς); [Ξ] for [Ξ], as in [ΣΟΘΝΑΞ] (Ξάνθος); and the abnormal form of the digamma [Ϝ], as in [ΣΥΧΑϜ] (Ϝαχύς). [Ψ] is represented by [ΦΣ] in one instance ([ΜΠΟΦΣΟΣ] = Μ<π>όψος).
Kretschmer has compiled a list of twelve vases with inscriptions in this alphabet, to which one or two may be added, but for a fuller treatment of the questions involved in studying this group the reader is referred to