Otium cum dignitate Festschrift für Angelika Geyer

zum 65. Geburtstag

Studien zur Archäologie und Rezeptionsgeschichte der Antike

Dennis GraenMareike Rind

Henning Wabersich (Hrsg.)

BAR International Series 26052014

Published by

ArchaeopressPublishers of British Archaeological ReportsGordon House276 Banbury RoadOxford OX2 7EDEnglandbar@archaeopress.comwww.archaeopress.com

BAR S2605, 2014

Otium cum dignitate: Festschrift für Angelika Geyer zum 65. Geburtstag. Studien zur Archäologie und Rezeptionsgeschichte der Antike

© Archaeopress and the individual authors 2014

ISBN 978 1 4073 1236 1

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23

A large number of fragments were found in the ear-ly 1850’s during the building of an Athenian house on modern Hermes Street. Part of this find was bought by Professor Carl Wilhelm Goettling on behalf of the Ar-chaeological Museum of the Jena University.1 He descri-bed this purchase in one of his letters with the following words: »I bought in an Athenian house for 5 taler vase fragments, because among them there were many which seemed to be well drawn and because it was interesting for me to have something from real attic pots – God for-give me the stupidity! – ...and yet is the thing for our small Museum of value.. «.2 In fact, his decision to buy these fragments proved to be an excellent one, since the material he bought nowadays forms the most important part of the Museum of the Jena University and made it famous worldwide.

Unfortunately, Professor Goettling has not written a catalogue of these fragments3 and the registration cata-logues of the Jena collection were compiled much later. This fact made the study of the material from the Jena deposit difficult but at the same time even more challen-ging. In this way it was possible to discover several odds and ends in the small storeroom that housed the collec-tion of the Jena University until 2012. Among them there was also included the vase discussed here, namely a small squat lekythos registered as V 216 (385) (Fig. 1) which was not kept in a drawer together with the fragments from the deposit but with other vases of the collection.

The lekythos in Jena, SAK V 216 (385) is incomple-te.4 The mouth, part of the neck and the handle are mis-sing. Its surface is relatively well preserved with the ex-ception of a few chips and flakes. The glaze is rather dull

* I am most grateful to Prof. A. Geyer, who with the consent of Prof. U. Kron and PD Dr. V. Paul-Zinserling, entrusted me with the study of the fragments from the find. I am particularly indebted to Dr. D. Graen, present curator of the Jena University Collection, who received me with warm hospitality and patiently put up with all my requests. I would also like to express my sincerest thanks to PD Dr. Ch. Tsochos, Dr. T. Kleinschmidt, Dr. M. Rind, U. Lische M. A. and H. Wabersich M. A. for helping me with all kind of matters as well as to Dr. A. Zampiti for offering her opinion and bibliographic ad-ditions. Last but not least, it is my sincere pleasure to acknowledge here the Gerda Henkel Foundation which granted me a Marie Curie Fellowship that will enable the completion of my research project entitled ‚On the Quest for the Missing Link in Late Classical Athe-nian Kerameikos – A Study of the Jena Painter’s Workshop’.

1 For Carl Wilhelm Goettling, the Jena find and the foundation of the Archaeological Museum in Jena, see Kluwe 1974, esp. 158; Paul-Zinserling 1985, esp. 30; Hirte – Kleinschmidt 1996; Schörner 2007; Schörner 2008; Graen 2009; Graen 2013, esp. 325 f. 329 f.

2 For the relevant letter from 22/25-05-1852 see: UB Jena Ms Prov. Q95/61f.

3 Goettling 1854, 34.4 Ht. (pres.): 8.8 cm; Max. diam. of body: 6.8 cm; Diam. of foot:

5.6 cm.5 The basic study for the shape of the squat lekythos still remains

Fragments of History: I. Introducing a New Shape of Vase produced in the Jena Painter’s Workshop*

Kleopatra Kathariou

and has been unevenly applied especially at the lower part of the body. There are no traces of added colours.

The neck is short, slightly offset from the shoulder and glazed. Under the painted decoration there is a nar-row reserved band serving as a ground line which does not continue around the back of the vase. The body rests on a foot which is divided by a groove into two degrees and painted outside whereas resting area and underside are reserved. The area below the handle is fully glazed.

On the body there is the depiction of a sphinx lying down and facing to the right, her right foreleg raised. Her hair is shown drawn back into a small bun. Eye brow and eye-lids have been worked in fine glaze lines. Two dis-tinctive features of the sphinx are also her rounded chin and the very short neck which gives the impression that she has no neck at all. She holds her wings outspread with the top of the left just visible behind the right. Her tail curves smoothly. In the area between her paws there is a stylized pattern.

At this point it is necessary to say a few words about squat lekythos as a shape in general.5 It is considered to be a purely Attic shape not influenced by Corinth or ano-ther region.6 The first known examples datable around 500 B. C. are two ones by Paseas, one in Berlin, Anti-kensammlung 1960.32 and a fragmentary one from the Athenian Acropolis.7 Squat lekythoi become most popu-lar during the second half of the 5th century and the first decades of the 4th century B.C.8 There are several large examples reported among them which are really well-potted and carefully decorated – e. g. squat lekythoi by the Achilles Painter,9 the Eretria Painter,10 the Meidias Painter11 and later on by the Xenophantos Painter12 and

that of Rudolph 1971. See also Agora XXX, 47 f.; Schreiber 1999, 170–177 (for potting a canonical lekythos) and 178 (for throwing a squat lekythos in one piece).

6 As Rudolph 1971, 6–8 shows Corinthian and Ionian examples are later than the earliest Attic ones.

7 ARV2 1630, 12 bis.8 For the evolution in their form in the late 5th and the early 4th

century B. C. see especially Campenon 1994, 88–94.9 See e. g. the one in New York, Metropolitan Museum 17.230.13

(ARV2 994, 105; Beazley Addenda2 312; Oakley 1997, fig. 32A pl. 88A; BAPD 213926) or that in Nicosia, Cyprus Museum C6294 (ARV2 1677, 104 bis; Beazley, Para 438; Oakley 1997, fig. 33A pl. 87A; BAPD 275429).

10 See e. g. the one in Malibu, J. Paul Getty Museum 86.AE.257 (CVA Malibu, J. Paul Getty Museum, fig. 25, pls. 375.1–2, 376.1, 379.7–9; Lezzi-Hafter 1988, fig. 75B; Petit 2011, fig. 153; BAPD 10062) or that once in Berlin, F2471 now lost (ARV2 1247, 1; Beazley, Para 469; Beazley Addenda2 353; Lezzi-Hafter 1988, pls. 143D; 144–145; BAPD 216937).

11 See e. g. the one in Cleveland, Museum of Art 1982.142 (Burn 1987, pls. 11; 12A–B; CVA Cleveland, Museum of Art 2, fig. 5, pls. 72, 1–4; 73, 1–2; 74, 1–2; BAPD 10161) or that in Paris, Louvre Museum MNB2110 (ARV2 1314, 14; Burn 1987, pl. 16A–C; BAPD 220506).

12 See the lekythoi in St. Petersburg, State Hermitage Museum

24

palmette. The number of such squat lekythoi augments significantly, if someone takes into account also all those published examples which have been recorded in the da-tabase of the Beazley Archive.14 Last but not least one has to mention here the contemporary production of black and plain squat lekythoi or with vertical ribs as well as of patterned ones.15

As far as the production of small squat lekythoi in the late-classical period16 is concerned, examples with shape and subject similar to the one discussed here have been painted by the Painter of the Mayence Sphinx,17 the Straggly Painter18 and the Group of Bonn 94.19 It is true that squat lekythos as a shape20 was so-mething one might not expect from the Jena Painter’s workshop which is known mainly for making drinking vessels. However, it is something one might not exclu-de either, since there is already an example associated with the Jena Painter.21 Moreover, squat lekythoi have been registered in cases of other workshops that produ-ced drinking vessels, e. g. the workshop of the Eretria Painter.22 Finally, one should keep in mind that Beazley although he was a world authority in Athenian vase-painting as he was able to identify the various stylistic features of hundreds of individual vase-painters and to assign to these painters thousands of vases he was ne-ver that much interested in the ceramic production of the early 4th century B. C.23

It remains to determine whose work this vase may ac-tually be. Unfortunately, although there are various win-ged creatures, e.g. griffins,24 Nikai25 and Erotes26 painted on vases known from the Jena Painter’s workshop, there were no sphinxes. Therefore, for answering this question one has to examine the figure of the sphinx more closely:

P1837.2 (ARV2 1407, 1; Beazley, Para 488; Tiverios 1997, 269–277 figs. 1–9; Cohen 2006, 140–142 no. 37; Lezzi-Hafter 2008, esp. 178–184 figs. 1–8; Lezzi-Hafter 2012, 34 fig. 1; BAPD 217907) and SM3 (ARV2 1407; Tiverios 1997, 279 fig. 10; Lezzi-Hafter 2012, 35 fig. 2; BAPD 217908) respectively.

13 See the lekythoi in Berlin, Antikensammlung 3248 (ARV2 1482, 5; 1695; Beazley Addenda2 382; BAPD 230497) and in St. Peters-burg, State Hermitage Museum 928 (ARV2 1482, 6; 1695; Beazley Addenda2 382; BAPD 230498).

14 For such examples of squat lekythoi decorated with a sphinx see selectively Giudice – Tusa – Tusa 1992, 196 nos. E145–E149; Par-lama – Stampolidis 2000, 361 (ill.); 362 no. 397; Sabetai 2006, 24–27 nos. 22–24 text to figs. 58–59. 60–61. 62–63.

15 Agora XII, 153 f.16 ARV2 1358–1370. 17 See e. g. his name-piece kept in Mainz, Johannes Gutenberg Uni-

versität 171 (ARV2 1363, 1; CVA Mainz, Universität 2, Beilage 8.3 pl. 18, 7–9; BAPD 230080) or the one in Athens, Agora Museum P 17110 (ARV2 1364, 3; Agora XXX, pl. 94, 963; BAPD 230082).

18 See e. g. the lekythos in Copenhagen, National Museum ABC1015 (ARV2 1368, 25; CVA Copenhagen National Museum 4, pl. 168, 1; BAPD 230173).

19 It is a squat lekythos in Athens, Agora Museum P 7565 (ARV2 1362, 14; Agora XXX, pl. 94, 964; BAPD 230060).

20 For the shape of lekythos and its use in general see: Agora XXX, 45–47; Agora XII, 150–154 (for black-glazed examples); Cam-penon 1994, 85–87.

21 It is about a squat lekythos in Oxford, Ashmolean Museum 1915.248 (ARV2 1516, 3; CVA Oxford Ashmolean Museum 1, 31 pl. 40, 6; BAPD 231040) assigned by Beazley to the Diomed Painter.

22 For the squat lekythoi attributed to the Eretria Painter, Aison and

the Meidias Painter see Lezzi-Hafter 1988, 210–237.23 For Beazley’s own comments see ARV2 1406. The conventional

manner in which he arranged the material in the respective chap-ters (77th–88th) can by deduced also by the following: the Plainer Group Beazley presented in the 78th chapter actually formed a workshop of its own, having as members not only the painters he listed in the respective chapter but also the majority of the pain-ters he listed in his 80th chapter under the heading “other krater-painters: still early”: see Kathariou 2002, passim.

24 There are two type B cups with griffins, both early works. These are: Jena, SAK S 0465 (384): ARV2 1512, 14; Beazley Addenda2 383; Paul-Zinserling 1994, pl. 44, 1; Geyer 1996, pl. 13, 1; Kathariou 2002, 242 no. JEN 17; Paul-Zinserling 2002, 485 no. 348; Graen 2009, 116. 121 fig. 03; BAPD 230970 and Jena, SAK S 0468 (383): ARV2 1511, 2; Beazley Addenda2 383; Hahland 1930, pl. 16b; Paul-Zinserling 1994, pl. 44, 2; Geyer 1996, pl. 13, 2; Kathariou 2002, 240 no. JEN 5; Paul-Zinserling 2002, 486 (ill.) 487 no. 351; Kathariou 2009, 67 n. 43; 68 figs. 17–18; Kathariou 2010, 133 f. no. 93 (ill.); BAPD 230958.

25 See e. g. a) Vatican 17934: ARV2 1518; Αddenda2 384; Paul-Zinser-ling 1994, pl. 40, 1; Geyer 1996, 58 fig. 50 (mislabelled); Kathariou 2002, 248 no. JEN 66; Kathariou 2009, 66 n. 39; 67 figs. 11–12; BAPD 231055; b) Jena, SAK S 0509 (793): ARV2 1513, 33; Paul-Zinserling 1994, pl. 41, 2; Geyer 1996, pl. 3, 2; Kathariou 2002, 245 no. JEN 40; BAPD 230989; c) Jena, SAK S 0467 (386): ARV2 1512, 21; Hahland 1930, pl. 23c; Paul-Zinserling 1994, pl. 39, 2; Geyer 1996, pl. 15, 1; Kathariou 2002, 243 no. JEN 25; Paul-Zinserling 2002, 486 (ill.) 487 no. 350; Kathariou 2010, 135 f. no. 96 (ill.); BAPD 230977; d) Tübingen, Eberhard-Karls-Universität, Archäo-logisches Institut no. 5639: CVA Tübingen 5 (1986) pl. 18, 1; Paul-Zinserling 1994, pl. 42, 4; BAPD 16847.

26 See e. g. a) Jena, SAK S 0481 (796): ARV2 1512, 15; Beazley Ad-

Kleopatra Kathariou

Fig. 1 Jena, SAK V 216 (385)

those by the Apollonia Group13 – but in their majority they are rather small and have a rather simple decorati-on system comprising one figure, a head, an animal or a

25

Her hair is painted with a solid patch of dark glaze, her eye-lids are drawn with two strokes of glaze which form to join an angle, whereas a third stroke is set in between to indicate the pupil. She has a characteristically rounded chin and a very short neck; the impression is given that she has no neck at all.

These are all distinctive features of figures painted in the so-called Style C. Well comparable are the faces of figures painted in Style C and classified in the middle period of the workshop’s activity, like, for example, on Jena, SAK S 48527 (Fig. 2), Jena, SAK S 046028 (Fig. 3) and Jena, SAK S 0461.29

Fragments of History

denda2 383; Paul-Zinserling 1994, pl. 34, 1; Geyer 1996, 96 no. 124; Kathariou 2002, 242 no. JEN 19; Kathariou 2010, 138 f. no. 100 (ill.); BAPD 230971 and b) Ensérune, Musée de l΄Oppidum: ARV2 1512, 17; CVA Collection Mouret (1927) III I D 17, pl. 6, 5; Paul-Zinserling 1994, pl. 34, 2; Kathariou 2002, 242 no. JEN 21; BAPD 230973.

27 ARV2 1515, 60; Paul-Zinserling 1994, pl. 24, 1; Geyer 1996, 97

no. 128; Kathariou 2002, 255 no. JEN 124; Paul-Zinserling 2002, 488 (ill.) 489 no. 361; BAPD 231016.

28 ARV2 1515, 62; Paul-Zinserling 1994, 59 n. 742; 167 n. 1641 pl. 25, 2; Geyer 1996, 77 no. 55; Kathariou 2002, 255 no. JEN 126; BAPD 231018.

29 ARV2 1515, 63; Paul-Zinserling 1994, 167 n. 1641; Geyer 1996, 77 f. no. 56; Kathariou 2002, 255 f. no. JEN 127; BAPD 231019.

Fig. 2 Jena, SAK S 485

Fig. 3 Jena, SAK S 0460

26

From the late period of the workshop’s activity there are more parallels to be found on cup-skyphoi ‒ e. g., Jena, SAK S 046230 and Jena, SAK S 046431 (Fig. 4) ‒ as well as on stemlesses ‒ e. g. Jena, SAK S 043232 (Fig. 5) and Jena, SAK S 0433.33

Furthermore, the lines with which sphinx’s wings are rendered can be paralleled to the clear long lines used to indicate the folds of the garments of figures painted in Style C, whereas the use of a thick dilute glaze line for accentuating sphinx’s belly can also be paralleled to the

30 ARV2 1514, 56; Paul-Zinserling 1994, 167 n. 1641; Geyer 1996, 78 no. 57; Kathariou 2002, 255 no. JEN 120; BAPD 231012.

31 ARV2 1515, 64; Paul-Zinserling 1994, 21 n. 267; 146 n. 741; Gey-er 1996, 76 f. no. 52; Kathariou 2002, 256 no. JEN 128; Kathariou 2010, 151 no. 118 (ill.); BAPD 231020.

32 ARV2 1515, 75; Paul-Zinserling 1994, 61 f. 146 n. 791; Geyer

1996, 81 no. 75; Kathariou 2002, 253 no. JEN 108; Kathariou 2009, 65 n. 30 figs. 7–8; Kathariou 2010, 148 no. 114; BAPD 231031.

33 ARV2 1515, 76; Paul-Zinserling 1994, 61. 146 n. 791; Geyer 1996, 80 no. 72; Kathariou 2002, 253 no. JEN 110; Kathariou 2010, 148 f. no. 115 (ill.).

Kleopatra Kathariou

Fig. 4 Jena, SAK S 0464

Fig. 5 Jena, SAK S 0432

27

thick snake-like brown streaks used for the edges of hima-tia of figures painted in Style C again.34

Α few words should be said here about the subject mat-ter of our lekythos. Sphinx35 was popular in the Attic vase painting and was frequently illustrated on red-figured squat lekythoi. It is well known that lekythoi were produced as containers for precious oil for domestic use and/or later on for funerary use. Therefore, Sphinx, as a creature that completed the transformation of the living into the dead, became a proper subject for the decoration of vases with such a shape. In fact, the rapacious and violent aspects she had on black-figured vases were gradually lost on red-fi-gured vases of the classical period; her appearance in these scenes is sweetened and she looks more feminine.

At this point, it is worth mentioning that in the collec-tion of the Jena University there is a whole group of squat lekythoi along with some black-glazed fragments which may co-belong with the fragments of the drinking vessels purchased by Goettling; apart from the example discussed above (Fig. 1), there is one more36 decorated with a sphinx (Fig. 6) also painted in Style C, one decorated with a pan-ther, three decorated with heads and three patterned ones37 while a considerable number of squat lekythoi, which in my opinion were also products of the Jena Painter’s work-shop, are scattered in various museums.

It appears that the Jena Painter’s workshop was so pro-ductive and delivered vases in all known markets of the ancient world, because it could well understand and satisfy the demands of the vase market of its time (in terms of sha-pe, size, and subject matter) and that after experimenting with the black-glazed technique it gradually abandoned the red-figure technique, thus marking the transition from the late Classical period to the early Hellenistic period.

34 This comment on Style C was already written by Beazley: ARV2 1510–1511. Cf. also CVA Moscow, Puskhin Museum 5, 57 f. text to pl. 34.

35 For sphinxes and their meaning see Demisch 1977, esp. 76–100; Müller 1978, 56–72; Woysch-Méautis 1982, 83–87; Moret 1984; Simon 1989, 95 no. 158; 97 nos. 163–164 text to pl. 73; Vollkom-mer 1991; LIMC VII (1994) 1–15 s. v. Oidipous (I. Krauskopf);

LIMC VIII Suppl. (1997) 1149–1165 s. v. Sphinx (N. Kourou et al.); Tsiafakis 2003, esp. 78–83. 261–283 nos. 63–72; Petit 2011; Winkler-Horacek 2011.

36 Ht. (pres.): 9.4 cm; Diam. of mouth: 3.3 cm.37 There is also another squat lekythos whose fragmentary condition

(mouth, neck and a small part of the body are preserved) does not allow to say whether it was decorated in the red-figure technique or not.

Fig. 6 Jena, SAK S 0398

Fragments of History

28

Abbreviations

BAPDBeazley Archive Pottery Database

SAKSammlung Antiker Kleinkunst

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Schweinitz – Steiger 1974B. Schweinitz – G. Steiger (eds.), Reichtümer und Raritäten, Vol. I: Kulturhistorische Sammlungen, Museen, Archive, Denkmale und Gär-ten der Friedrich-Schiller-Universität Jena (Jena 1974)

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Illustrations

Fig. 1‒6: Photos Museum

Address

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Fragments of History

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