Chapter XV

.) seems to be an imitation of the early Cyprio-Phoenician metal bowls (_ibid._).

Footnote 1223:

_E.g._ B.M. B 364.

Footnote 1224:

Loeschcke (_Arch. Zeit._ 1881, p. 36) has pointed out that these are the most archaic examples of the Attic white-ground vases.

Footnote 1225:

Fig. 2 on Plate XXXV. is also his work.

Footnote 1226:

Perhaps the nearest analogy is the “counterchanging” of heraldry.

Footnote 1227:

_Burlington Fine Arts Club Cat._ 1888, No. 108; 1903, No. 21, p. 102.

Footnote 1228:

See on the curious technique of this design _Ath. Mitth._ 1879, p. 290, note 4.

Footnote 1229:

_Jahrbuch_, 1889, pl. 4.

Footnote 1230:

Note especially the treatment of the large eyes in either case.

Footnote 1231:

See on all these vases _Amer. Journ. of Arch._ 1896, p. 1 ff.; also Furtwaengler and Reichhold, _Gr. Vasenm._ p. 15 ff., and _Jahreshefte_, 1900, p. 69.

Footnote 1232:

On his technique see _Jahrbuch_, 1899, p. 157, and Furtwaengler and Reichhold, _op. cit._ p. 19 ff.

Footnote 1233:

_Op. cit._ p. 17.

Footnote 1234:

A third example is given in _Amer. Journ. of Arch._ 1896, pp. 40–41 (with warriors playing dice).

Footnote 1235:

The other examples are Munich 373, 375; Louvre F 204; a vase in Bologna (_Amer. Journ. of Arch._ 1896, pp. 18, 19); and one in Würzburg.

Footnote 1236:

_J.H.S._ xix. p. 147 ff. See also B.M. B 149–53; Gsell, _Fouilles de Vulci_, pls. 7–8, p. 502.

Footnote 1237:

_E.g._ B.M. B 149, 157.

Footnote 1238:

See generally C. Smith in _Brit. School Annual_, 1896–97, p. 187 ff.; and for a bibliography, Urlichs, _Beiträge_, p. 33.

Footnote 1239:

_Inscr. Gr._ ii. (_Atticae_) pt. 2, No. 965.

Footnote 1240:

It is not likely that all of those given as prizes were painted. On the other hand, the number of the amphorae may denote the number of measures of oil given, the painted vases being, like modern silver cups, symbolical and honorific (C. Smith, _loc. cit._).

Footnote 1241:

See p. 160 for a description.

Footnote 1242:

A fourth-century fragment at Athens has the name of the agonothetes instead of the archon: ἀγωνο]θετοῦ(ν)το[ς τοῦ δεῖνος. See _Brit. School Annual_, 1896–97, pl. 16 (_b_).

Footnote 1243:

_J.H.S._ xviii. p. 300.

Footnote 1244:

Riegl, _Stilfragen_, p. 176, notes the absence of all the usual B.F. patterns. The ivy-wreaths represent an old Boeotian tradition.

Footnote 1245:

See _Ath. Mitth._ 1888, pls. 9–12; _J.H.S._ xiii. pl. 4, p. 77 ff.; B.M. B 77–8.

Footnote 1246:

Six (see next note) quotes the Berlin vase, 1843 = _Él. Cér._ iv. 18, in illustration of this.

Footnote 1247:

_Gaz. Arch._ 1888, pp. 193 ff., 281 ff.

Footnote 1248:

_E.g._ B.M. B 691, 700.

Footnote 1249:

Cf. _Mus. Ital._ ii. pl. 3 = De Witte, _Coll. à l’Hôtel Lambert_, pl. 3.

Footnote 1250:

Cf. B.M. B 693.

Footnote 1251:

Six, _op. cit._ pl. 29, fig. 9.

Footnote 1252:

His chief source was Xenokrates of Sikyon, about 280 B.C.: see Jex-Blake and Sellers, _Pliny’s Chapters on Greek Art_, p. xxviii; Münzer in _Hermes_, xxx. (1895), p. 499 ff.; _id._, _Beitr. zur Quellenkritik der Naturgeschichte des Plinius_ (1897).

Footnote 1253:

_H.N._ xxxv. 15: see _ibid._ 56.

Footnote 1254:

Probably an inhabitant of Naukratis, and connected with the Ionian school of painting. See Smith, _Dict. Antiqs._^3 ii. p. 401; Pottier, _Louvre Cat._ ii. p. 582.

Footnote 1255:

As opposed to mere silhouettes, _e.g._ of the Dipylon vases. Some writers take the words (_spargentes lineas intus_) to refer to ground-ornaments (see above, p. 312).

Footnote 1256:

On the possible connection of Ekphantos with Melos, see above, p. 312. Studniczka’s argument rests partly on the early use of red on the Melian vases. In reference to the use of the word γρόφων in the Melian inscription, he thinks that the column supported a votive painted pinax or vase. For _testa trita_ see Blümner, _Technologie_, iv. p. 478 ff.

Footnote 1257:

The earliest vase-painting with this subject is one from Athens (Ἐφ. Ἀρχ.) 1886, pl. 8, fig. 1). See _Jahrbuch_, 1887, p. 153.

Footnote 1258:

See Jex-Blake and Sellers, _op. cit._ p. xxix.

Footnote 1259:

These artists represent the Dorian and Continental school, as opposed to the polychrome Ionian (see Pottier, _Louvre Cat._ ii. p. 584).

Footnote 1260:

It has, however, been suggested (Jex-Blake and Sellers, p. 101) that _figuras_, the word used by Pliny, denotes “positions” rather than “subjects.” But this would seem more appropriate to Kimon (see below).

Footnote 1261:

As Studniczka maintains (_Jahrbuch_, 1887, p. 152): see also Hartwig, _Meistersch._ p. 154.

Footnote 1262:

Ἐφ. Ἀρχ. 1887, pl. 6.

Footnote 1263:

Athenag. _Leg. pro Christo_, 17, 293 (ed. Migne).

Footnote 1264:

_H.N._ xxxv. 56.

Footnote 1265:

Even full face is exceptional on the earlier R.F. vases. Cf. B.M. E 67, 74, and Hartwig, pl. 59, fig. 2.

Footnote 1266:

He is perhaps mentioned by Simonides of Keos (Overbeck, _Schriftquellen_, 379).

Footnote 1267:

Studniczka says that _catagrapha_ is a scientific term = “projection of a figure.” Cf. Stephanus, _Thesaurus_, _s.v._, and Jahn in _Ber. d. sächs. Gesellsch._ 1850, p. 138.

Footnote 1268:

_Lit._ “released from milk and swaddling-clothes” (_Var. Hist._ viii. 8).

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