Excavations at Al Mina

Excavations at Al Mina, Sueidia (Continued)
Author(s): J. D. Beazley
Source: The Journal of Hellenic Studies, Vol. 59, Part 1 (1939), pp. 1-44
Published by: The Society for the Promotion of Hellenic Studies
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EXCAVATIONS ATYAL MINA, SUEIDIA

III.
THE
RED-FIGURED
By J. D.
VASES
BEAZLEY
[PLATES
I-VI.]
I AM indebted to Sir Leonard Woolley for his invitation to publish

the red-figured vases found in his excavations at Al Mina; to Mr. Martin
Robertson, who has helped me in many ways, and was the first to notice
many of the joins; to Mr. C. O. Waterhouse for the drawings and photographs. I give only a selection of the finds, but have omitted, I think,
little of importance. The red-figure is all Attic.
The black-figure from Al Mina is scanty, poor, and no older than
the earliest red-figure sherds found there, which are from eye-cups:I. Three fragments of an eye-cup. The largest measures o0o41 m.
across. A, part of the left-hand eye; shank and heel of the figure, cutting
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I.
across the tear-gland. B, part of the left-hand eye and of the ground-line.
The fragment not figured gives another bit of eye. Not one of the very
earliest eye-cups: about 5252. There is no saying whether a third fragment of an eye-cup belongs
to the last or not: the cup was bilingual, and part of the b.f. interior
remains, a centaur with a stone in his right hand: greatest breadth 0-o60 m.
Red-figure does not become plentiful at Al Mina until well on in the
third quarter of the fifth century. In the fourth century the import
increases. There is little archaic red-figure, and most of what there is
belongs to the end of the period.
3. Fragments of a column-krater from the last decade of the sixth
JHS-VOL.
LIX.

J. D. BEAZLEY
century. The largest fragment measures o0145 m. across. A, Theseus
binding the Bull: he has forced its head down and sets his left knee on its
shoulder. The rope, in red, shows in fragments a and y; 8 gives part of
the bull's rump, 8 its tail. Behind, as often in these scenes, a tree, with the
leaves in red. The same subject ort a slightly earlier column-krater in
Mr. Gallatin's collection, New York (CV Gallatin, pl. 9, 5 and 7-8).
The Mina Vase is by the Chairippos painter (Att. V. p. io6). See the next.
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3.
4.
4. Fragments of a column-krater by the Chairippos painter, probably

the same vase as the last-the reverse. Komos: a youth running to left,
looking round, his left arm extended in his himation. Compare the lefthand komast on the Chairippos painter's column-krater in Florence, 3991.
The head-fragment measures o0 05 m. across.
5. Fragment of a cup. The picture inside may be interpreted with
the help of the cup-fragment Acropolis 131, reproduced here, by kind
permission of Mr. Alexander Philadelpheus, from a photograph by my wife;
of a cup in New York (Musie 3, P- 55; Coll.ArthurSambon,pl. 19, no. i oi);
and of another in WUrzburg (Langlotz 478, pl. 217): a satyr kneels with a
flute-case in his left hand. The WUrzburg cup, as Langlotz saw, is by the
Heraion painter (Dugas Dilos I0, pl. 54, 658), and the other cups belong
to the same group; the Mina and Athens fragments, at least, are by one
hand. The style is old-fashioned, but the Mina fragment cannot be
much later than 500 if at all. The cup was of type C (Att. V. p. 4);
and is of the same rough make, with the base-fillet marked by a hastily
incised line, as the cups of the Pithos group, to which we now come.
6-14. Al Mina is rich in specimens of the Pithos group (see Campana
Fragmentsp. 27 on pl. 20 B 19), for nine cup-fragments belong to it, the
largest of which, 6, measures o0103 m. across. The cups may have been
fewer, but no pertinences can be established. The favourite subject in
these exceedingly coarse products, most of which are by a single painter, is
the figure of a youth reclining, seen from behind, naked, with an Oriental
cap on his head; a big drinking-horn is often painted in black in the
lower half of the picture. Complete cups like those in Rhodes (Clara

3
AL MINA, SUEIDIA
Rhodos4, p. 202; id. 6-7, p. I81), Salonica (Delt. 9, suppl. p. 38, figs. 6a
and 6b), Florence (CV pl. 20 B i9, and pl. D B 4) give the key to some of
our sherdsif not all: thus on 7 hair and cap can be made out; on 8 shoulder,
hair, cap, eye; on 9 eye, cap, back; on Io left arm; on i i the mouth of
the black horn; on 14 a bit of the line-border. These cups may be somewhat later than they look, but probably ceased before the end of the sixth
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century. I mention two other fragments, one, Salonica inv. 459 (Robinson
Olynthosv, pl. 107, no. 199) because it has been inadvertently placed in the
fourth century, the other, Jerusalem P 1605 (Quart.Pal. ii, 1933, pl. 7b 3),
because it was found in the same quarter of the world as ours, at Tell
Jemmeh in Palestine.
On the wearing of the cap by symposiasts see Jacobsthal G'tt. V.
pp. 61-2: I am inclined, however, to take the view which Jacobsthal

J. D. BEAZLEY
considers carefully, but finally rejects, that the wearers are not all foreigners.
See also Schoppa DarstellungderPerser,p. 73 note Io.
15. Fragments of a volute-krater,
about 480 B.c.
[Plate I].
This
is one of the best vases found at Al Mina: A, Zeus and Nike; B, Zeus
pursuing Ganymede. On the upper zone of the neck: on one side,
uncertain which, a scene in the palaestra; on the other, lions and bull,
between palmettes. On A, between the two figures, downwards, [K]ALO.
No relief-line for the contours. Part of one handle, decorated with ivy,
remains; the foot is lost. There is a red line at the outer edge of the lip.
A, Zeus sits on a camp-stool, in long chiton and himation, a sceptre in
his left hand, his right arm extended holding a phiale. His lips are parted.
15 B.
His eye is bordered with brown. The two ends of his head-fillet appear
on the fragment which gives the himation at the shoulder. On the fragment with maeander, the upright line on the left may belong to the campstool. Nike stands in front of him, wearing a chiton, and a himation passing
over her left shoulder; she holds a caduceus in her left hand, and in her
right an oinochoe, from which she fills the phiale. The wine is expressed
her earring in brown. Of the floating
in red; so is her head-fillet;
'
her chiton and himation. There was
of
fragments, y and give parts
towards
down
Eros
a third figure:
Zeus, holding an untied wreath;
flying
The height of the middle
his
left
frontal.
at
the
his right leg is bent
knee,
m.
A
is
fragment on
oI18
B, Zeus, naked, running, holds a sceptre in his right hand, and lays

AL MINA, SUEIDIA
5
his left on the arm of Ganymede, who flees, looking round, a himation over
both shoulders, a cock in his left hand. His eyes are bordered with brown
like Zeus's on A.
I cannot place the floaters a, IP,E.
The Eros on A requires explanation. Martin Robertson aptly compares the Italiote skyphos-fragment, by the Amykos painter, in New
York (Bull. Metr. Mus. vii, p. 97, fig. 5; JdI, 52, p: 61; Trendall Friihit.
Vasen,pl. I I, c); but there a female, doubtless Hera, is touching the knee
of Zeus, so the presence of Eros is easier to understand. Again, on a pyxis
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96, I 74; Mus. Journ. 7, pp. 270 and 272) Eros leans on the back of
Zeus's throne; but the scene is the Wedding of Herakles and Hebe, so
there is a reason for the presence of Eros. On our vase the artist seems
to have been already thinking of the Zeus and Ganymede on his reverse,
and wishing to characterise Zeus as lover. It is natural to find Eros in
pictures of Ganymede: for example, on a b. f. alabastron by the Diosphos
painter in Berlin (2032: Annali 1876, pl. A; Haspels ABL, pl. 37, I)
Zeus pursues Ganymede, and Eros flies after Zeus, instigating him with a
goad; on an Etruscan red-figured stamnos in Oxford (1917. 54), Zeus

J. D. BEAZLEY
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15.

7
AL MINA, SUEIDIA
collapses dumbfounded as Ganymede reveals his charms, and Eros looks
at Zeus with a smile.
The palaestra-scene on the neck consisted of ten figures: in the middle,
two naked athletes washing at a laver; a sponge hangs on the wall to the
right; then come two groups of a man talking to a boy; behind the first
boy, a pickaxe; the second boy is lost. Of the two similar groups to left
of the athletes, good part of the first remains, and a scrap of the second.
The other neck-picture represented a bull between two lions; to left of this
is a pair of palmettes, and there must been have another pair to the right.
The manes are brown, the ruffs black. The animals may be compared with
those on a hydria by the same painter in the possession of Mr. de Ferrari
in Rome (Rend.Pont.Acc. 10, p. 205). Lions we called them: but the righthand animal on the hydria is female; and so it may have been here. The
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artist is the Syleus painter (Att. V. pp. 160-2 and 473; see also Richter
and Hall, pp. 49-51). For the drawing of the palmettes, especially the
hearts, compare his pointed amphora in Brussels (R 303; CV, pll. 8-9)
and his stamnos in Copenhagen (CV, pl. 135; Jacobsthal Ornamente,pl.
102, b); for the Nike, his stamnos in the Louvre (G 181: CV, pl. 13, I);
for the Zeus and the phiale, his earlier treatment of the same subject on a
pelike in the Louvre (G 223: CV, pl. 43, I and 8): this vase is attributed
to ' the painter of the Wiirzburg Athena' in Att. V. p. I12 no. 7, but the
vases I collected under that heading, as I noticed in Richter and Hall,
p. 51, are early works of the Syleus painter.
I6-20. Lekythoi by the Bowdoin painter and in his manner (see
Att. V. pp. 138-43 and 472; V. Pol. pp. 18-i9; Haspels ABL, pp. 157-60).
He began working before the end of the archaic period, but went on
well into the third quarter of the fifth century. 16, with part of a female

J. D. BEAZLEY
figure standing to right, must be by himself; probably also 17, with the
same subject. The altar on 18, as far as it goes, may also be his. The
flame is red. 19 might be from a figure of a youth sitting playing the
flute, as on his lekythoi in Liverpool and Bowdoin; the flute-case, with
white tags, hanging on the wall. Another fragment, not figured, probably
belongs, giving the lower edge of the himation and part of the stool.
20, with a female figure at an altar, is not by the painter himself, but is
more or less in his manner.
21. Fragment of a lekythos. A woman (chiton, himation on the
left arm, saccos) running with something in her right hand of which only
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a corner is preserved, perhaps a sacrificial basket of the type studied by
Richter (AJA 1907, 422-8; AJA 1926, 422-6; Richter and Hall, p. 216)
and Deubner (JdI, 40, pp. 210-23).
By the Providence painter (Att. V.
and
V.
and
Pol. pp. 16-17
472;
79): about 470.
pp. 132-6
Fragments of a lekythos. The height of the picture, plus the

was
about o0195 m. No relief-contour. Hermes running to right
border,
looking round; chlamys, winged boots, caduceus. The head-fillet in red.
Unmeaning letters to both sides of the figure. About 470 B.c.
By the
Nikon painter (Att. V. pp. 131-2 and 472).
23. Fragment of a column-krater. Arming. What remains is the
22.

AL MINA, SUEIDIA
9
upper part of a woman holding the warrior's shield ready for him. The
device a lion. By the Leningrad painter (Att. V. pp. 245-8; V. Pol.
pp. 40-4 and 8o), one of the early classical mannerists.
24. Fragments of a pelike. There were two figures on each side, and
the subjects will be plain from a pelike by the same painter in Bologna
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24.
(163: Zannoni pl. 17, 3-5). Fragments p-y show a boy, and the right
hand of one talking to him. Fr. a (a male leaning on his stick) is either
from the same figure as the hand, or from the corresponding figure on
the other side of the vase; so is fr. S. The artist is again the Leningrad
painter.
25.
26.
25. Fragment of a pelike. Height o0-o95. A man with a stick, and

a woman. The tip of her nose is damaged by pitting. About 470460 B.c., by the Orchard painter (Att. V. pp. 311-13 and 476).
26. Fragments of a bell-krater. Early classical period. What remains
of the picture on A is a helmet of 'Thracian' type, not worn, but held or
hanging. The cheek-piece, covered with relief-lines on a dark brown
ground, recalls the treatment of hair by the painter of the Woolly Satyrs
(Att. V. pp. 343-4 and 477) on his calyx-krater in Palermo and his bell-

J. D. BEAZLEY
10
krater fragment in Bowdoin. One of the other fragments gives a small

part of the right-hand figure on the reverse, and immediately above the
picture the egg-and-dot pattern which is almost entirely broken away in
the fragment figured.
27. Fragment of a lekythos, with the upper half of a woman standing
frontal and looking round to left. Above, the border begins. One of
the many lekythoi by the Aischines painter (Att. V. pp. 320-3): compare,
for instance, one in Leningrad (JHS, 48, pl. 2a). Early classical period.
28
30
.
35~iiiiiii!
36iiil
28. Fragment of a stemless cup. Height o0o56. The under-side of

is modelled. An athlete stands at a laver, dipping his hands
foot
the
the
into
water, the same subject as on the neck of the volute-krater no. 15
above. Third quarter of the fifth century.
29. Fragment of a stemless cup. Height 0-o82. The under-side of
is modelled. An athlete leaning on a pillar. Behind him, a
foot
the
make of the vase is the same as in the last, so is the border,
The
laver.
the
and
style is like.

AL MINA, SUEIDIA
11
30. Fragment of a stemless cup. Inside, a dwarf dancing. Short

shanks, scanty beard. The platform is a plain rectangular block, and if
it looks irregular in the photograph, that is due to the pitting of the surface.
Dwarfs as entertainers are known from literature and from other monuments (Navarre in Daremberg and Saglio, s.v. nanus; Merlin in Mon.
Piot 18, pp. 9-14, bronzes from Mahdia; Albizzati Statua ellenisticadi
acrobatain Historia I, 4, PP. 43-54; Breccia Mon. de l'Egypte grdco-romaine
I , i pl. 32, 5 and p. 68, 405), and a very good dancing dwarf, on a
stamnos-fragment in Erlangen, was published recently by Prof. Lippold
(Zu den ImaginesIllustriumin RM 52, pl. 14). There the dwarf's name
ends in KAEIAHI,which Lippold aptly restored as [Hippo]kleides. He
suggests that the picture is a parody of the story known to us from Herodotus.
I am more inclined to take it as a scene from contemporary life, supposing
that there was a popular dancing dwarf in Athens at the time, who called
himself Hippokledes after his noble predecessor. This is a common practice
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with public entertainers. There were two Phrynes in the fourth century;
the original name of the second having been Mnesarete. In modern
times the name of Sharkey has been borne by two celebrated pugilists:
the first, an Irishman, born I think in Louth, must have been thirty years
older than the second, who was originally a Lithuanian American of the
name of Cocosey. Sandow, again, as Mr. Michael Marks reminds me,
won his title of World's Strongest by vanquishing a man called Samson.
The Erlangen fragment is by the painter of the Leningrad Amazonomachy (Att. V. pp. 396-7; JHS, 56, p. 91, left), a companion of Polygnotos. Our stemless is contemporary or little later, must have been
painted about 430; and if anybody insisted on calling our dwarf Hippokledes, I should not think much less of him.
31. Fragments of a skyphos. Height, as far as preserved, o0-130.
The same scene is on both sides of the vase, a youth, his himation about
his waist, sitting playing the lyre, and a naked youth standing beside him,
frontal, a fillet in his right hand, his left arm akimbo. This is a late work
of the Marlay painter (see Att. V. pp. 413-I4), about 430 B.c. Other

12
J. D. BEAZLEY
skyphoi by him are in Leningrad (St. 808; A, CompteRendu1863, p. 183;
Licht Sittengeschichte
I, p. 253) and Taranto (50943: NSc, 1936, p. 225):
see also p. 150 of this number of the Journal; and the next two fragments.
32. Fragment of a skyphos. Height 0-037. Youth with lyre. Fillet
with three high peaks. By the Marlay painter. See the last.
33. Fragment, probably of a skyphos. Height 0-045. Youth playing
the flute. By the Marlay painter: perhaps a.little earlier than 31 and 32.
See 31.
34. Fragment of a skyphos. Head of a boy with his himation brought
up over the back of his head. No relief contour. About 430: Later
manner of the painter of London E 777 (Att. V. pp. 28 1-3 and 476): by
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the painter of Heidelberg 2 II (CampanaFr. p. 26 on pl. 18 B 55): cf.

especially his cup-fragment Agora P 10027.
35. Fragment of a skyphos. Height o-o67. Komos: two youths
dancing along; one holds a cup, the other, who turns round to his companion, a torch. About 430: late manner of the painter of London E 777Compare, perhaps, the skyphos, in the Spinelli collection at Cancello,
known to me only from the tiny reproduction in Philippart Cir. grecqueen
Italie ii pl. 6, second row, left.
36. Fragment of a stemless cup. The under-side of the foot is moulded.
Inside, an athlete with an acontion. About 425: late manner of the painter

13
AL MINA, SUEIDIA
of London E 777, and very like the work of his follower the Koropi painter:
see this number of the Journal, p. 152.
37. Fragments of a bell-krater. On the left, a column, then a couch

with two reclining on it, and beside the couch a table, then a flute-girl in a
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39.
38. Fragment of a bell-krater or calyx-krater. Warrior leaving home.

A youth stands frontal, wearing a corslet, and round his head a broad
band, and holding his helmet in his left hand. Inscription KA[AOS].
About 430
B.C.
Group of Polygnotos.
39. Bell-krater. A, Theseus and Sinis. Sinis grasps his pine; Theseus,

14
J. D. BEAZLEY
sword in hand, seizes him; Theseus' friend moves up. The friend is
bearded, and holds a pair of spears. Theseus' spears are laid aside.
Sinis' clotheshang on the pine. For the group of Theseusand Sinis compare the bell-kratersin Bonn (inv. I216.64: CV pl. 31, 13) and Madrid
(I11021: Ossorio, pl. 31, 3); for the presence of a companion, the bellkraters in Ferrara (Aurigemma' p. 233 = 2p. 273) and the Vatican
(Inghirami VF 2, pl. III). B, two youths and a boy. About425 B.c.
A late workof the painterof the LouvreCentauromachy(Att. V. pp. 405-8
and 478; V. Pol. pp. 57-8). Such worksare groupedunder the heading
of 'Lamb painter' in Att. V. (pp. 407-8); but the Lamb painter, as I
observed in V. Pol. p. 57, is no other than the painter of the Louvre
Centauromachyin his latest period.
41.
40. Bell-krater. A, athletes: a jumper between a young trainerwith

a wand and an athletewith a strigil. A fragmentnot figuredgives the left
foot of the jumper and part of the barrier. On B, remains of the middle
and right-handfigures: a boy standingto right, and a male leaning on his

stick to left. Same period and painter as the last.
41. Fragments of a bell-krater, mended in antiquity. Height of the
picture, without the upper border, o0I36. A, komos: on the left of the
picture, a youth walking, with lyre and plectrum, preceded by a friend
dancing; the third figure is lost. On B, head and breast of the right-
hand figure,a youth, remain,and tiny bits of the othertwo figures. About
430 B.c.; by the Hephaistospainter (Att. V. pp. 415-16 and 478; V. Pol.
p. 59).
42. Fragmentsof a bell-krater. Height of the picture, including the

AL MINA, SUEIDIA
15
lower border, 0-205. A, a horseman setting out. Chlamys, sandals,
and stockings, petasos slung round his neck. In front of him a woman darts
42.
away, no doubt looking back. Behind him stands a man in a himation

with a staff or sceptre, watching; on the other side of the picture a male in a
himation, standing to left.
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The same subject is depicted on an earlier vase, the column-krater,

the
by
painter of the Louvre Centauromachy, Louvre G 361 (CV III Id,
pl. 27, 1-3): it is not clear that the horseman is pursuing the woman.
Cf. also a fourth-century calyx-krater in the British Museum, 1931, 1-13- I
(BMQ5, pl. 51, c).

J. D. BEAZLEY
16
Tail-end of the mannerist school, about 425 B.c.: near the painter
of Oxford 529 (Att. V. p. 418; CV Oxford, p. 21), especially,perhaps,his

column-krater in Syracuse (12233), where the youth's right hand recurs,
and the crease between his jaw and neck.
43. Fragments of a bell-krater. The middle fragment is o0129
across. A, sacrifice. In the middle, the altar, the cornice of which is
decorated with a wreath of laurel or olive in relief. On the altar, the
firewood, neatly laid, and the tail-bone of the sacrificed animal. There is
no indication of flames. The priest, dressed in a himation, stands at the
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altar, about to pour the libation from a stemless cup, which is drawn in
three-quarter view from above, with the wine in it done in brown. A
naked boy faces him, holding meat on a pair of spits ready to roast. His
right leg was frontal and bent at the knee. Behind him is a man of whom
only the head remains. Like the splanchnopt, he wears a wreath of small
leaves: the leaves are reserved, the stem and berries white. The frontal
foot near the lower right-hand corner in the reproduction is almost certainly
the priest's. Beyond this, at the right end of the picture, another male,
wearing a himation, is standing to left. The head facing left belongs either
to this figure or, less probably, to the priest.
Two fragments not reproduced give more of the maeander. About

AL MINA, SUEIDIA
17
430 B.c., by the Kleophon painter (Att. V. pp. 419-21), who has left several
good pictures of sacrifices; compare the bell-krater fragment in Oxford
(G 720: CV, pl. 66, 31)A list of splanchnopts is given by Greifenhagen in CV, Bonn, p. 40
on pl. 34, 10; see also below, no. 54.
44. Fragment of a calyx-krater or bell-krater. Height 0-042. Eros.
By the Kleophon painter, like the last.
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45. Fragment of a bell-krater or calyx-krater. Height 0o055. Head

and shoulder of a youth, who wears a chaplet of the sort worn by revellers.
Two hands are raised in front of him. The style is close both to the Kleophon
painter and to his pupil the Dinos painter: early work of the Dinos painter ?
About425
B.c.
46. Fragments of a bell-krater. The right-hand figure on one side

(E and K) was a woman seated to right (and no doubt looking round),
with her left hand in her lap; then came the handle-palmettes. Fr. P
gives part of a woman to left, her forearms extended in her himation;
fr. a the middle of a woman to right, holding her himation up with her
JHS-VOL.
LIX.

J. D. BEAZLEY
18
right hand; other fragmentsbits of woman similarly dressed,but not enough

for the subject to be made out. On fr. i there are white lines indicating
hilly ground; on e and N bits of handle-palmettes. This was one of the
best vases from Al Mina.
pp. 447-50).
About 420 B.c., by the Dinos painter (Att. V.
47. Fragments of a bell-krater. On one fragment, head and shoulder

of a satyr leaning forward on something, to right, with a thyrsus. On the
other (o.127 across), two figures facing to left: a maenad, looking up, with
a thyrsus in her hand, probably seated; and a satyr, also with a thyrsus;
above him, a branch of vine with a bunch of grapes. White fillets, white
shoots from the thyrsi. Late fifth century, manner of the Dinos painter.
By the same hand a calyx-krater from Thebes in the University of Vienna,
166. Compare, too, the bell-krater Agora P iooi6, especially the drawing
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of the leaves and the thyrsi: the Agora vase is also in the manner of the
Dinos painter.
48. Fragment, probably of a column-krater. Symposion. A youth
or man, reclining to left, with his elbow on a cushion, turns and puts his
arm in front of the flute-girl as she passes. She turns round and stops
playing. She seems displeased: cf. below, no. 55, and Aelian VH 12
p. I 19, 7-8 and p. 120, 4-6 Hercher. Her face is in three-quarter view,
and the youth's will have been too. To the right, breast and raised right
arm of a reclining man. The girl wears a chiton which leaves the arms
free, a himation, and a chaplet with ivy-leaves. The youth also wears a
chaplet. About 425 B.c.: the style recalls the painter of Athens 1454
(Att. V. pp. 450 and 479), but is less delicate.
49. Fragment of a bell-krater. Height o-o85. Sacrifice. The priest,
dressed in a himation, leans on his stick, holding a stemless cup in his right
hand and a handful of groats (6Aai)in his left, ready to place on the altar.
There is some brown shading in the hollows of the folds; the cup is also
browned. Not far from the Kleophon and Dinos painters: about 425 to
420o.

AL MINA, SUEIDIA
19
50. Fragment of a bell-krater. Height 0-036. A female head, and
a tripod. By the Cadmus painter (Att. V. pp. 451-2): about 420 B.c.
51. Fragment of a bell-krater. Height 0-o62. Apollo sitting on the
Tripod, with his feet on the Omphalos: compare the relief dedicated
by Xenokrateia, Athens 2756 (Svoronos pl. 181; 'Ep. 'APX. 1937, P.
102), or a statue in the Villa Albani (Helbig 1848; E.A. 4530-3; replica
in Naples, 135). He wears a himation ornamented with small crosses and
bordered with wave-pattern and a row of horses' heads between two rows of
dots. His laurel-staff, held in his right hand, shows beside his right shank.
The omphalos, black, with reservededge, is decorated with a branch of laurel,
reserved, and a wreath in white. The style recalls the Cadmus painter.
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The himation-border is repeated on two vases closely connected with him,

a pelike in San Francisco (Coll. Lambrospl. 12, no. 74; A, FestgabeBliimner,
pl. at p. 440; see also Schefold in JdI 52, pp. 65-6), and a hydria in
Leningrad (St. 2189: CompteRendu1860, pl. 5).
52. Fragment of a bell-krater. Height o0132. Mended in antiquity.
Part of the right half of the picture remains-the handle came on the
right. A youth, evidently with his right foot raised and set on a rock:
short chiton of thick material, with an embattled border at the neck;
chlamys, baldrick, petasos, two spears. A woman facing him. On the
left, the hand of a third figure holding spear or sceptre, probably spear,
so the companion of the youth. Between the woman and the youth, a
plant, which ceases before the break, and serves to indicate the terrain.
About 420 B.c. Recalls the Pothos painter, but not by him: by the same
hand, I believe, a calyx-krater with Apollo and Marsyas, formerly in the
Hope collection (Tillyard 122, pl. 19) and now in the Paris market, with
Messrs. Feuardent.

20
J. D. BEAZLEY
53. Fragment of a vase. Height o-o67. Thin wall; inside, reserved

to the level of the knees, then dull black. Perhaps from an oenochoe.
A male advancing to right in violent action, his right leg frontal. I figure
this fragment because the himation, about to fall off, caught only over the
left shoulder and the right thigh, is exactly repeated in the Herakles of the
two cups by Aristophanes in Boston (FR pl. 128-9), in the Theseus on the
volute-krater by the painter of the New York Centauromachy in New York
(FR iii, p. 52; Richter and Hall pl. 161, 163), and on a fragment in Odessa
(von Stern Theodosia,pl. 3, 16: compared with the last vase by Hauser
in FR iii, p. 55). These four vases are all contemporary with our fragment,
which is to be dated about 420 or 410. On a calyx-krater of the late fourth
Schefold UKV, pl. 43, I and pl. 44, I) the
century in Athens (1251:
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52.
may be compared, and the Theseus of the volute-krater in New York

(FR pl. 116; Richter and Hall pl. 98); for the upper-the lower is
missing-the Theseus fighting Centaurs on fragments from the school
of Polygnotos, Agora P 12641.
54. Fragment of a bell-krater. Burnt grey. A, sacrifice. B, males
and boy (a boy standing to right, between two males leaning on their
sticks). The figures on A are disposed on uneven ground. At the white
altar, which is piled with firewood, the priest stands, dressed in a himation,
pouring the libation from the stemless cup in his right hand; his other
hand is open in a gesture of prayer. A small Nike flies towards him,
wearing a peplos with overfall, her arms extended: the hands are lost.
A fragment not figured gives part of her wings, white like her flesh. To
right of the firewood, the butt of a spit is seen, with the usual guard. Another
fragment, not figured, gives the end of the spit with the meat on it, and to
left, a pair of horns fastened up in the sanctuary. Behind the priest are
two males in himatia, one of them leaning on his stick with his right arm

AL MINA, SUEIDIA
21
akimbo. A fragment, not figured, joins, giving his breast, his right forearm, and part of his left hand. This completed the picture leftwards. A
loose fragment has part of a small tripod on it, in white. The ledge below
the volutes of the altar is decorated with egg pattern. A slab rests on the
volutes. The space between slab and altar is painted white like the rest,
and covered with dots in dark brown. Now the slab is a fire-brick: to
protect the stone altar from splitting with the heat, the fire was laid not
on the altar itself, but on a fire-brick placed on top of the altar. The
name may have been nrilrrupov
(Hesychius s. v. vuipArl,
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JHS 32, p. 235), although Etrinrupovhad a wider sense. Another good

representation of a fire-brick is on the bell-krater by Polion in Bonn
(CV, pl. 19, I); and there as here the space between slab and volutes
is painted white and covered with dark dots. This I had thought of as
representing cinders; but Mr. Ludwig Bachrich tells me that it is
certainly a layer of cinders mixed with mortar-the best insulating
material now as then. The only difference between present practice and
ancient is that the cinders are now made from coke instead of wood.
He adds that the modern engineer in drawing his plans uses just the
same convention to indicate a mixture of cinders and mortar. An earlier

22
J. D. BEAZLEY
representation of the same thing may be seen on a volute-krater in Ferrara
(Aurigemma 1 p. 181 2 p. 211).
About 420-Io0. There is something in the drawing of the himatia
that recalls the Talos painter, whose garments, as H. R. W. Smith says,
always look as if they had been well slept in.
55. Fragment of a bell-krater. About 420 B.c. rather than later?
A, symposion. On the right, right shoulder, breast, and arm (down to
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57.
the wrist) of a naked woman leaning back and resting her elbow on something. She wears a brassiere, black, but reserved on the breast, with a
dark dot at the nipple; and a cord worn bandolier-wise. On the left, at a
lower level, a man, facing right, puts out his right arm and touches her
breast. The scene is from a symposion: the woman is a professional
dancer; and one of the guests (unless he be the host) is toying with her.
For the sort of motive cf. no. 48 above. The man is reclining, with his left
elbow, I take it, on a cushion; while the woman leans, half sitting, against
the head of his couch. On an earlier vase, a column-krater once in the
Coghill collection (Millingen Vases de Coghill, pl. 8: by the painter of

AL MINA, SUEIDIA
23
London E 489, Att. V. p. 310 no. 7) the flute-girl takes up the same position
as our dancer.
Between the two figures, there is something suspended: it is a piece of
meat-the hindquarters of a kid. Joints of meat are sometimes seen hanging on the wall, for instance in the Italiote column-krater by the Sisyphos
painter in the British Museum (F 174: BSR I I, p. 32, fig. i) or an Italiote
bell-krater in Newcastle (Tillyard, 220, pl. 31).
The brassiere was often worn by female dancers and acrobats: Watzinger (in FR iii, pp. 322-3) gives many instances. From these the Attic
painters borrowed it for the woman athlete Atalanta: see the cup in the
Louvre, and the Ferrara volute-krater mentioned below on no. 79.
56. Fragment of a bell-krater. Height o-o43. Sacrifice. About
The tail-bone lies on the altar. The priest puts his hands into
420 B.c.
a vessel held by an attendant in front of him. The subject is clear from
a Boston bell-krater in the manner of the Kleophon painter (95-25: Vases
in America,p. 182, fig. 114, whence Rumpf Religionder Griechen,fig. 162).
The vessel contains groats for sprinkling on the altar: see no. 49. Still
closer, in some respects, is a second Boston bell-krater, 95-24, in the manner
of the Chrysispainter: the drawing of the vessel is the same, and it is covered
with a light brown wash as here; and the attendant, like ours, has tied his
himation round his waist. A vessel of this shape appears in other sacrificial
scenes: on the volute-krater fragment by the painter of the New York
Centauromachy in Leningrad (FR iii, p. 53; Hahland Vasenum Meidias,
pl. I7, a); on a pelike in Leningrad (Schefold UKV, figs. 71-2); on a bellkrater in Vienna (1144: Millingen A UM, pl. 51; JdI, 27, p. 265); on a
Campanian bell-krater in the Louvre (Millingen A UM, pl. 12-I3). It is
a kind of measure. A handle is sometimes indicated, as here, although
the vessel is not held by it. The measure might be used for liquids as well
as solids: with a handle you could dip it into liquid without putting your
hand in.
57. Pelike. Height o'34. A, youth and woman at an altar; B, two
youths at an altar. No relief-contour. The youth on A is wreathed with
olive or laurel, has a wrap under his right armpit and over his left wrist,
and leans on a stick. The woman wears a peplos with a long overfall,
overgirt, and holds a tendril in her right hand. Late fifth century:
by the same hand, a pelike from Cyrenaica in the Louvre (M 85:
CV d pl. 48, 1-2).
58. Fragment of a lebes gamikos. Height 0-075. On the stand,
a maid, dressed in a peplos with overfall, overgirt, holding a basket and
a sash. Her headband is in white. To the left hangs a sash, with white
tags. Last decade of the fifth century.
59. Fragment of a bell-krater. Height 0o0o62. A maenad setting
her right foot on a rock (part of the thigh remains) and holding a tympanon
in her right hand. Peplos, fawn-skin, broad headband, earring. Near
the end of the fifth century. Exaggeration of the Meidian ideal--great
eye; straight forehead-nose line; nose, lips, and receding chin small and
huddled together.
60. Bell-krater. Height o0.325. A, oklasma. B, youths. On A, one

J. D. BEAZLEY
24
dressed in Oriental costume is dancing on a table, watched by Dionysos

and a maenad, and accompanied on the flute by a satyr. The dancer's
costume consists of a sleeved and trousered garment; leather shoes; a
short over-garment of thick material decorated with a wreath in the middle,
with borders of rays and concentric semi-circles, and with a spotted band
down the front; a belt; a tiara, spotted outside, and lined with black;
and round the tiara, a band. The head is down, the knees are bent,
the right leg raised and advanced, the arms extended with thumbs touching.
Dionysos and the maenad both stand with one arm akimbo, and an upright
thyrsus in the other hand. Dionysos has a cloak, over both arms; the
maenad wears a peplos with a fawnskin girt over it. The thing hanging
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57.
from the satyr'sforearm is a flute-case, not the usual skin kind but improvised
out of a piece of cloth-a kerchief or the like: a similar flute-case appears,
I think, on the neck of the Talos vase in Ruvo (Bull. Nap. iii, pl. 6). Above,
between the heads of satyr and maenad, a bucrane.
On the subject, see no. 82.
The date must be the last decade of the fifth century or not much
earlier, and the style is so like that of the Nikias painter (Att. V. pp. 466
and 479) that I ask myself whether it may not be his own work rather than
a school-piece. With the reverse compare, for example, those of his
bell-kraters in Lecce (630: CV, IV Dr pl. I I, 2) and in the Gallatin
collection (CV, pl. 25, 6).
See the next.

AL MINA, SUEIDIA
25
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26
J. D. BEAZLEY
61. Fragments of a bell-krater. Burnt grey. A, symposion. B,

youths. The style is exactly the same as in the last vase.
62. Fragment of a bell-krater. Height of the picture without the
A, symposion. Two men reclining on a couch with their
borders,
o0.142.
left elbows
resting on cushions. One raises his right arm and takes hold
of his neck, a common attitude in symposia (see Hauser in FR ii, p. 230,
and Jacobsthal Goitt.V. p. 60o). His companion turns and looks at him,
extending his right arm, perhaps holding a drinking-vessel. Between
the two, a lampstand. Below, a table, and a leg of the couch. Daft style
of the beginning of the fourth century: there are three other bell-kraters
i
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63.
by the same hand, one in Bonn (inv. 1614: CV, pl. 21, 2), two in Athens
(see p. 150 of this number of the Journal).
63. Stemless cup, deep, with offset lip. Cups of this shape (CV,
Bonn, pl. I I, 7) are very common in the earlier part of the fourth century,
but ours is not by any of the regular painters of them. There is no decoration
inside. Outside, A, Nike and two athletes; B, the like. Nike wears a
peplos with overfall, overgirt. The wreath she should be holding is not
indicated. Beginning of the fourth century.
64-76. Squat lekythoi. Nine of the small squat lekythoi found at Al
Mina are published in JHS, 58, p. 23. Three hands are distinguishable.
The male head I, the female heads 2 and 7-9, the goose 3, are by the
Mina painter. There are also two panthers by him, one of which is
figured here (height 0-138); and perhaps a fawn. I do not know any
other vases that are certainly his: but the panthers Oxford 1925-4465

AL MINA, SUEIDIA
27
(CV, pl. 63, 8) and Dresden ZV. 2989 (AA, 1925, p. I23), and another in
Mr. Gallatin's collection, are very like the two from Al Mina.
Nos. 4-6 on JHS, 58, p. 23 are by a still humbler artist, recognisable
by the straggly hair of his persons. There are plenty of squat lekythoi
by the Straggly painter in other collections, and a list will be given in
my Attic Vase-painters:meanwhile I quote Cracow National Museum inv.
120762 (CV, pl. I, Pologne, 96, 9), Warsaw, Choynowski collection, inv.
31766 (CV, pl. I, Pologne io6, I9); Copenhagen CV, pl. 168, I, and pl.
168, 5; Corinth AJA, 1930 p. 338, I; Oxford 1910.7I and 72 (CV,
pl. 40, 8 and 12), and Oxford 1938.3.
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76.
is by a third
The maid with a box, no. 76 (present height 0o-o083)
painter: Copenhagen 164 (CV, pl. 167, 4) and Agora P 5267 are by the
same hand; and many others, as will appear.
All three groups belong to the end of the fifth century and the beginning
of the fourth.
77. Fragment of a bell-krater or calyx-krater. Height 0o062. A
boy bending. Two furrows on the forehead. A wreath hangs above.
Late fifth century or beginning of the fourth century. This may be from a
sacrifice, at least I am reminded of the boy bending as he leads a sheep to
the altar on the bell-kraters Boston 95-25 (Vases in America, p. 182, fig.
I 14: manner of the Kleophon painter) and Boston 95.24 (manner of the
Chrysis painter). Other motives are of course possible: look for instance
at the boy who bends and takes the lid off a box on the bell-krater in Vienna
with Herakles sacrificing to Chryse (II144: Laborde i, pl. 23, whence

Stengel Kultusaltertiimer,pl. 3, I I; JdI, 27, p. 165).

28
J. D. BEAZLEY
78. Fragment of a bell-krater. Height 0o07. A woman tuning her

harp, turning her head away from it. Chiton, himation, necklace, earring,
bracelet; hair in a sling. The decoration of the chiton consists of dotted
lines forming diamonds with crosslets in the middle (see von Lorentz in
RM, 52, P. 193), with rows of palmettes, a border of spirals or tendrils.
at the neck and another of arcs and strokes at the sleeve. Four harp-strings
are shown. Lower, the head of one facing left, with a white fillet, ivyleaves, and a broad headband. Above, a sprig of ivy, probably suspended.
Near the beginning of the fourth century. On harps see Herbig in AM,
54, PP- 164-93-
I..:'.:
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79. Fragmentary bell-krater, mended in antiquity. Height of the

picture as far as preserved, 0-125. A, Atalanta. B, three youths. A
woman stands in the middle of A, looking up, her arms raised, arranging her
hair. She is naked-may of course be wearing brassiere and loincloth.
Her chiton hangs near her, swinging in the wind. She has earrings.
Eros sits above, holding up a mirror for her to see herself in. To the left
two youths, athletes. One is standing at a laver, with a strigil in his right
hand, his left arm extended to touch his companion, who sits on the laver
and turns his head towards him. A himation hangs above them, and a
strigil. The seated youth looks younger than the other, at least his hair is
longer. The upper member of the laver-stand is decorated with eggpattern; the under-side of it is drawn as if seen from below, although the
basin itself is in pure profile. The woman, naked among naked youths
in the palaestra, can only be Atalanta; and the figure resembles one on a
cup in the Cabinet des Medailles (818: Gaz. arch. 188o, pl. 14), where the
naked woman, facing to right, looking up, her right hand raised to her
hair, with a laver behind her, and the naked youth sitting opposite her,

29
AL MINA, SUEIDIA
are identified by inscriptions as Atalanta and Peleus. The Paris cup is by
the Jena painter (JHS, 48, p. 127; Hahland Vasenum Meidias, pp. 20-I)
and may be dated about 390; the Mina vase is more old-fashioned but
cannot be much earlier.
Three Attic cups of 450-430 have inside a picture of Atalanta, naked,
and an athlete, no doubt Peleus: Boston 03.82o, Ferrara (tomb 991),
Villa Giulia 48234. Atalanta is shown naked, among the Argonaut
athletes, on fragments of a volute-krater from the school of Polygnotos,
about 440, in Ferrara (tomb 404: part, NSc, 1927, pl. 19, 2; part, but not
the figure of Atalanta, Aurigemma1 p. 205 237); in another conabout
Dinos
the
on
the
2P.
420, in Bologna
painter,
text,
calyx-krater by
Atalanta
Pfuhl
whence
It.
alone, in the
fig. 578-9).
2, pl. 2,
(300: Mus.
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79.
palaestra, on the Euaion painter's cup in the Louvre, about 450-440

(now republished in Encycl.phot. iii, p. 8, b: holding a pickaxe, not 'the
athlete's cane '). Atalanta naked, in a different context, on the fourthcentury Etruscan mirror in Berlin (Gerhard Etr. Spiegel, pl. 176) and on
an even finer one in the collection of Professor Curtius. Atalanta wrestles
with Peleus on the Chalcidian hydria in Munich (FR, pl. 31); on a -lost
Attic hydria of the same period (Micali, Mon. ined. pl. 41) and on a good
many other Attic b. f. vases; also on a r. f. cup by Oltos in Bologna, near
the end of the sixth century (361: CV, pl. I, 3, pl. 3, and pl. 4, 4-5).
An athlete standing at a laver, and another athlete sitting on it and
looking round at him, is the subject of a cup in Florence (CV, pl. E, B 5)
which belongs to the same period as the three Atalanta cups mentioned
above.
Comparison with a
80. Fragment of a bell-krater. Height oI12.
F 64 (Mem.
London
the
bell-krater
same
the
work
hand,
by
complete
Linc. 6 ser., I, pl. 3, I) will make the subject clear; Nike driving Herakles
to Olympos. Early fourth century. A list of works by the painter of

J. D. BEAZLEY
30
F 64 will be given in my Attic VasePainters. This was one of his favourite

subjects, for it is repeated on his bell-kraters in the Cabinet des Medailles
(430: Millin PVA ii, pl. 18), in the Jatta collection at Ruvo (422: Ausonia,
iii, p. 64) and in the Rainone collection at S. Agata de'Goti (Gerhard AB,
pl. 31, whence FR ii, p. 257, fig. 90). Another work of his is the bell-krater
London 1924.7-16.1 (Millingen Vasesde Coghill,pl. i i). He is among the
less florid painters of his time.
81. Fragment of a bell-krater. Helmet; and hair (wreathed with
ivy), ear, neck, of a woman. Probably from a chariot scene, Nike and a
warrior in a chariot. Same period and school as the last.
82. Bell-krater. Height as restored (with modern foot) o034. A,
symposion, with oklasma; B, maenad and satyrs. On A, Dionysos, bearded,
reclining to left, holding kantharos and thyrsus. Behind him, a satyr, also
?--??~"i:',:l:rir:::::::'7
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82.
reclining, his left elbow resting on the cushion, his right arm extended
(the hand lost). On the other side of Dionysos, Hephaistos reclining,
looking round, and extending his right hand with one finger through the
handle of a cup as if to play kottabos. At the feet of Hephaistos a satyr
sits playing the flute: so in the Berlin dinos, a satyr sits at the feet of
Dionysos, playing the lyre (Furtwiingler SammlungSabouroff,pl. 56; Hahland Vasenum Meidias,pl. I2a). All four are looking at the central figure,
a girl dancing on a table in the same attitude as the dancer in no. 6o.
She wears a short chiton and a tiara. Flesh and chiton are done in white:
only the tiara and the long hair are in the ordinary r. f. technique. All
this takes place in a simple wooden shed. Four of the poles supporting
it are shown. Part of the superstructure appears to left and right of the
missing part of the vase. The guests recline not on couches but on mattresses covered with panther-skins. All except the dancer have ivy-leaves
in their hair, Hephaistos a fillet as well, Dionysos a broad band decorated
with spirals. The cushions are ornamented with various patterns-rosettes, wave, spiral, embattled, wreath, dots in threes.

AL MINA, SUEIDIA
31
On B, a maenad, wearing a peplos with overfall, overgirt, her foot
raised and set on a rock or square stone, stretches her arms towards a
satyr moving towards her; behind her another satyr dances or starts away.
There are a good many representations of the Persian dance on vases
and other monuments of the early fourth century. The latest study of the
oklasma, as it was called in Greek, is by Schweitzer in Hermes71, 1936,
pp. 288-94. The following additions may be made to his list:
(a) Al Mina, no. 60o,above.
(p) Al Mina, no. 83, below.
(y) An Attic calyx-krater which was formerly in the collection
of Dr. J. C. Hoppin, but seems not to have passed with the rest of
his vases to Harvard. The chief figure is a girl in almost the same
attitude as the dancer on no. 6o, and wearing the same costume:
the whole figure is white, tiara and all. She dances on the ground,
but there is a table beside her, to mount if she wishes. Facing her
is a woman in a chiton playing the flute. There are two spectators,
in the same attitudes as those on no. 60o,and both holding thyrsi:
on the left of the picture, a maenad; on the right of it a satyr.
(a) The Attic calyx-krater Athens 1390 (CC. 1894; 'Eqp.'APX.
1883, pl. 7a). The dance is in the open air, in the neighbourhood
of a building indicated by a column. The dancer is female, for the
whole figure is white. A satyr dances, and two maenads watch.
(E) All these vases were Attic: the calyx-krater Athens 12683
(N. 1119: JdI, 32, p. 62) is a Boeotian imitation of Attic.
The dancer, in full Oriental costume, kneels on a table. On the
left, a woman plays the tympanon. A spare tiara hangs on the wall.
The oklasma bell-krater Athens 1387 (CC. 1923: A, Dumont
and Chaplain, i, pl. 17; A, Hermes71I, 1936, Beilage I, Schweitzer)
is also a close Boeotian imitation of Attic.
Add that before the end of the sixth century, a young reveller on
the volute-krater by Euphronios in Arezzo (FR, pll. 61-2, whence Pfuhl,
fig. 395), if he is not dancing the oklasma, has got hold of one of the movements or something very like; and there are other early examples.
In three of these pictures the dance is performed on a table, and in
a fourth there is a table at hand. Tables make a good platform for dances
and acrobatics-raise the performer, and give him a smooth, flat, resonant
" floor." Hippokledes called for a table when he passed to the second part
of his programme (Hdt. 6, 129, 3). For dancing on tables see Neugebauer
in BerlinerMuseen,45, PP. 27-35 and add the Kabeirian skyphos London
B 78; for tumbling on tables, a hydria by Polygnotos in Naples (3232:
FR, pl. I7I, I and pp. 320-1), a Kabeirian skyphos in Athens (AM, 13,
p. 425), or a pelike by the Agrigento painter in Athens (1399, CC. 1276),
where a satyr mounts a table to juggle.
It will be noticed that in many of the oklasma vases the setting is
Dionysiac-either the god himself is present, or his satyrs and maenads
are. I do not know the exact explanation of this; but observe that other
vases of the period show Dionysos taking pleasure in watching dancers.

32
J. D. BEAZLEY
On an Attic bell-krater in Madrid (I Io8o, L. 351: Leroux pl. 43, 2) the

dancer is dressed in Oriental costume, but is beating a tympanon and not
performing the oklasma; a satyr plays the flute accompaniment, and
Dionysos looks on. Again, in a bell-krater in Berlin, Boeotian in close
imitation of Attic (inv. 3326: AA, 1895, p. 40, fig. 16; Licht Sittengeschichte
i, p. 122: see Zahn in FR iii, p. 193 and Watzinger id. p. 323 note Io),
the head and legs of the dancing-girl are in the same position as in the two
vases fromnAl Mina, but both hands are on the hips: Eros points her out
to Dionysos; and a maenad in peplos and fawn-skin stands watching and
holding a thyrsus and a shield, for a shield it seems to be rather than a
tympanon, and it may be a property, as Furtwainglersuggested, to be used
in the pyrrhic.
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82.
I have called the young boon-companion Hephaistos: he has no

hammer and tongs to distinguish him, but on a late fifth-century calyxkrater in the Giudice collection at Agrigento the youth who reclines
beside Dionysos, crowned with ivy, and playing' kottabos, is inscribed
H$AIlTOX1.
It is strange to find a satyr sharing the couch of his master, and I do

not know any other monument in which the satyr is so exalted.
The vase may be counted as belonging, like nos. 8o-i, to the ' plainer'
wing of early fourth-century painting, and is to be grouped with a bellkrater fragment in Oxford (G 731: CV, pl. 67, 7) and bell-kraters in the
Leverhulme collection (A, Tischbein iv, pl. 40; A, Tillyard, 152, pl. 25)
and the National University, Dublin (A, Tischbein iii, pl. 53; A, Tillyard,
155, pl. 25).
83. Three fragments of a bell-krater mended in antiquity. On the

AL MINA, SUEIDIA
33
one reproduced (height o-o82), oklasma (see no. 82): a dancer, in sleeved
garment and tiara, to left; in front, on a slightly higher level, part of a
similar figure. The tiaras are ornamented with leaves. Above, a white
column, half-seen, indicating a building.
The other fragments give parts of two similar figures, dancing to
right. Early fourth century, perhaps of the 'plainer' group (see nos.
For the subject-a whole troupe of Oriental dancers-compare
80-2).
the fourth-century bell-krater Naples 942, which has three youthful dancers
in Oriental costume, and a flute-girl.
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84.
84. Fragments of a bell-krater. A, symposion: Pan and satyr.

Above, two reclining on the ground, with panther-skins under them,
and no doubt mattresses as well: on the right, a satyr, his right arm extended; on the left, turning rouifd to him, Pan, his left arm extended with
a drinking-horn, his right also extended but the hand lost. Pan has horns,
a hooked nose, a big loose mouth, not much chin. His wreath is in white.
A row of dots runs along the mouth of the drinking-horn, representing the
decoration of the metal lip. Eros flies towards the satyr with a spotted
and fringed sash in his left hand. His wreath is in white, with reserved
leaves.
The other figures are on a lower level and are to be thought of as in
the foreground. In the middle a male sits playing the flute. He is naked
JHS.-VOL.
LIX.

34
J. D. BEAZLEY
except for a small garment, bordered with black and ornamented with
circles, laid under his buttocks and hanging over his left thigh. In front
of him a companion dances to the music. A floating fragment gives his
beard, neck, breast, left arm, as well as a piece of the egg-pattern round
the handle of the vase. To left of the flute-player, a woman, dressed in a
peplos with overfall, stands to right at a laver, with her right leg frontal
and bent at the knee. Behind her a satyr, smaller than she, grasps her right
forearm. No doubt she was looking round at him. A pet goose stands on
the laver. We should expect the performers in the lower right-hand part
of the picture to be satyrs, although the flute-player has no tail; in the
other, that region of the body is lost.
There is a plant to right of the reclining satyr, another in front of the
dancer, and a third at the lower edge, between him and the flute-player.
iiiiiiiiii-i~i
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83.
85.
Water-birds are often seen standing on lavers: on a hydria by the

Washing painter in the British Museum it is a duck (E 202: C. Smith
BM Cat. iii, pl. 8, I; Sudhoff Aus demantikenBadewesen,I p. 68); on a
Boeotian stemless cup, also in the British Museum (C. Smith, pl. 21, I), a
duckling; on a Faliscan stamnos in the Villa Giulia a heron or the like
(3592: CV, IV Br, pl. 9, 3).
This is a very unusual scene, and I do not know anything like it.
Early fourth century: for the style compare, perhaps, the bell-krater
fragment, from Naucratis, Oxford G 728 ?(CV,pl. 67, 4)85. Fragmentary lekanis. A, the head of an Oriental, and a griffin;
the
B,
same; between the two groups a ball. In the same style, the
lekanides Berlin inv. 3264 (Schefold UKV, fig. 75) and Yale 168 (Baur
p. 165, left), London F 136, a lekanis-like vase, also in the British Museum,
old number I67o0, and another vase of the same shape, from Olynthus,
in Salonica (AJA, I939, P- 73, fig. 31). Middle of the fourth century.
Vases with similar heads were found at Olynthus (Robinson Olynthos,
v, pl. z20-4, and that just quoted) and therefore made before 347 B.c.

AL MINA, SUEIDIA
35
86. The most important vase found at Al Mina [Plates II-VI] is a
very large calyx-krater, 61 centimetres high and 55 across, the finest, I
think, of all late Attic vases, although I do not forget the beauty of the
lebes in Leningrad (Lukyanov and Grinyevich, pl. I-4; Schefold UKV,
pl. 33-4). Much is missing, and most of the white and gilded details have
either disappeared or are almost invisible. The handles are lost. Great
iii':ii
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86.
part of the foot is restored, but a slice of it is preserved in all but its full
height.
In the early fourth century, the calyx-krater is not nearly such a
favourite as the bell-krater; nor is it very common in the earlier Kerch
period: but there are plenty of late Kerch calyxes. Most of these form
a compact group and were,decorated by a few closely allied artists (Hahland
Vasenum Meidias, pp. 18-19; Schefold UKV, p. 59, iv). The Mina vase
has nothing to do with this group. From its proportions, it would seem to

36
J. D. BEAZLEY
be earlier than they: for the general tendency of the calyx-krater is to

become slenderer as time goes on (see Jacobsthal in Metr.Mus. St. 5, P. I36),
and in the Mina vase the breadth is still o-9 of the height (a small piece of
the foot is restored, but the error cannot be great), whereas in the late
Kerch group the ratio varies between 0-7 and not much over 0o8. Ours
goes rather with a vase in Salonica-found at Olynthus, and therefore
prior to the year 347-where the ratio seems to have been somewhere
about o0926, but cannot be given exactly, as it is not clear from the halftone or the description just how much of the foot is restored (Robinson
Olynthosv, pl. 68-70). In London 71.7-22.3, a large black 'garland'
krater, the ratio is 9-283; in the red-figured calyx London 1931-1-13.1
(BMQv, pl. 5Ic) it is 8-852.
One of the characteristic components of the earlier calyx-krater, the
offset member above the pictures, disappears in the fourth century, and the
body swings into the lip without a break.
The lip is an inverted echinus, decorated with egg-pattern; the lower
division of the foot a thick torus. Both lip and foot have a deep groove
near the top, and another near the bottom.
The clay, as in many Kerch vases, has a yellow tinge.
The pattern above the pictures is a reserved wreath, in four pieces,
twined together half-way along each side and over each handle.
The pattern below the pictures is unique, and important in the history
of ornament. It is an alternation of flowers and bucranes; the flowers
predominating. The lily-like anthemia present themselves as three long
petals rising from an acanthus-calyx. Two stalks start from the calyx
and run left and right; each curling up into a pair of spiral-like tendrils
forming an ess. Buds sit in the axils. The esses have a double function:
they flank the anthemia and amplify the floral portion of the whole design;
at the same time, the right-hand ess of one anthemion, together with the
left-hand ess of the next, forms a kind of' lyre-palmette' which frames the
bucrane.
The bucrane is a favourite motive in Hellenistic and Roman decoration,
especially on buildings (Napp Bukranionund Guirlande; Wuilleumier Le
Trisor de Tarente, pp. 44-5; Deonna Dilos, xviii, pp. 381-3).
The
received opinion is that as a decorative motive, alternating with other
objects, it first appears in the third century B.c. (Loewy Anfdngedes
in Jb. der Kunsthistorischen
Triumphbogens
Sammlungenin Wien,n.s. 2, p. 8;
cit.
with
in
the
Arsinoeion of Samothrace dediNapp op.
pp. 2-4):
phialai,
cated by Arsinoe I while she was still the wife of Demetrios Poliorketes,
who died in 281 (Conze, Hauser and Benndorf Arch. Untersuchungen
auf
Samothrakei, pl. 62 and ii, p. III);
with rosettes, in the Ptolemaeion of
Samothrace dedicated by Ptolemy II Philadelpheus, who reigned from
285 to 247 (id. ii, pl. 40 and p. 41); connected by swags, and alternating
with phialai, in the Temple of Demeter at Pergamon dedicated by
Philetairos and Eumenes between 269 and 263 (AM, 35, pl. 20, p. 382,
and pp. 437-8). Our vase is half a century older than the earliest of these.
The particular combination on our vase is not one that became popular.
Other fourth-century vases have more popular combinations. In an

37
AL MINA, SUEIDIA
Attic bell-krater found at Lecce and now in Vienna, the sole decoration
of the black body consists of a wreath from which a row of bucranes are
suspended, connected by fillets. The vase is published by Kurt MUiller
Alexandersdes Grossen,p. 61), but he does not mention the
(Der Leichenwagen
bucranes. It is hardly later than the Mina krater, if at all. On an Apulian
- - :-
APLES.:::::N
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Greek mascaroon krater in Naples (3230: phot. Sommer I1056: Ajax

and Cassandra) one of the divisions of the neck is ornamented with an
alternation of bucranes and rosettes; and on another, also in Naples
(phot. Sommer IoI 16), an alternation of filleted bucranes and phialai
decorates the same part of the vase. The use of the bucrane in fourthcentury vases may point to a similar use in contemporary architecture,
but this is not certain. What is certain is that both uses were derived from
the practice of decorating sanctuaries and other buildings with the actual
skulls of slaughtered animals, alternating with other real objects. Single
ox-skulls, or a couple of them, very often appear in the pictures on fifthand fourth-century vases: what is represented is a real ox-skull, which we
are to think of as fixed to a wall (Attic bell-krater in Boston, 95-25, VA
p. 182, fig. I 14; two, Italiote mascaroon-krater in London, F 159, FR iii,

38
J. D. BEAZLEY
p. 165, fig. 80; two and a shield, Italiote bell-krater in the Vatican,
Sechan Trag. grecquep. 182, phot. Alinari; one, between phialai, Italiote
bell-krater in Lecce, CV, IV Dr, pl. 22, 2). But what we want is an
alternationof real ox-skulls and other objects: and this we find in the picture
on an Apulian Greek calyx-krater in the British Museum (F 269: Bieber
Theaterwesen,
p. 142: bucranes and phialai); while an alternation of real
bucranes and shields is almost certainly represented, as Loewy pointed out
(loc. cit. p. 8), on a fourth-century marble relief in Athens (Svoronos pl.
156, 2465).
The anthemia, with their lily-like petals rising from an acanthuscalyx, are of a type which first appears in architectural ornament. This
is the anthemion used on the wall-crowns, antae, and capitals of the
Erechtheum (Stevens Erechtheum,
pl. 37, I; pl. 37, 2 and pl. 36, 4; with
the addition of leaves hanging over open at the foot of the acanthus, pl.
36, I, pl. 36, 5, pl. 36, 2, and pl. 36, 5), which must have been designed
and in great part executed between 42o and 415. It also appears, about the
same time or not much earlier, in the marble sima of the Argive Heraion
(Tilton in Waldstein, Arg. Her. i, p. 124). Clay simae from Olympia, no
doubt Corinthian, also show it (Olympiaii, pl. 121, 4 and p. 197, fig. 15;
and later, p. 197 fig. 14). In vase-painting it occurs on a fourth-century
Lucanian volute-krater in Berlin (3238: Jacobsthal Ornamente,pl.
114),
pointed out to me by Jacobsthal, who also refers me to a fragment of a
Tarantine clay arula (id. pl. 136, a). Five petals are normal; but one of
the Erechtheum varieties (Stevens pl. 36, I and pl. 36, 5) has three as in
our vase. In another variety (Stevens pl. 37, 2 and pl. 36, 4) the spiral
tendrils rearing themselves up on either side of the anthemion bear a certain
resemblance to ours.
The bucranes-clean skulls except for some hair remaining on the
forehead-are decorated as usual with woollen fillets knotted at intervals,
or rather strung with beads; the ends hanging loose.
The figures are about 22 centimetres high on an average, or 9 inches.
In both pictures they nearly all front the spectator, a general tendency
in Attic vases of the later Kerch period, but seldom carried so far as here.
The Eleusinian pelike in Leningrad goes with the Mina krater in this respect
(FR, pl. 70), and so does that with the Judgment of Paris in Athens (I181:
Schefold UKV, pl. 36); and we may perhaps add (although it is hard to
compare few-figured pictures with many-figured) the black-figured Panathenaic amphora London B 6Io of the year 332-I B.C. (CV, III Hf pl.
4, 3; Stisserott Gr. Plastik des viertenJahrhundertspl. 6, 3, pl. 7, 3-4, and
p. 85). A similar tendency is observable in some fourth-century tombstones
(Diepolder Die attischenGrab-reliefspl. 51, pl. 52, 2, and p. 53; see also von
Salis Das GrabmaldesAristonautes,
pp. 9-I 5). In the three red-figured vases,
the type of picture, paratactic and frontal, approximates to the Christian
altar-piece, in which the persons are singly manifested to the beholder
without being interconnected by action or gesture. Naturally the type
is seldom quite pure: in the altar-piece, a hand may point, a head turn,
towards the divine Child, or angels float down towards the Virgin; and
in the Mina vase both Marsyas and the Nikai ' take notice of' others.

AL MINA, SUEIDIA
39
The central figure on the obverse is Apollo, seated. Only scraps of
it remain, and I shall return to it after dealing with the other figures.
Above Apollo is a small Nike flying down to him, perhaps holding a fillet
in both hands. The face is nearly frontal, but turns slightly to the right.
More of the extended right arm is preserved than is given in the drawing.
The wings were gilt; the flesh seems to have been white.
To right of Apollo stands Athena, frontal, with spear and shield. The
face is full front. Two toes of the left foot remain-the little one and
the next. She wears a peplos, and over it a himation with a thin black
line near the edge; a small aegis; a necklace; a helmet with three crests.
The helmet seems gilt, the crests white. The convexity of the shield was
either white or gilt. The flesh is white.
To right of Athena is a second small Nike, flying towards her. The
flesh is white; the wings reserved, not gilt. The face is in three-quarter
to left. The right arm is extended, perhaps with a wreath or fillet, but
the hand is wanting. The left leg crosses in front of the right. The only
garment, except the saccos on the head, is a himation, which, held in the left
hand, passes behind the left shoulder and in front of the belly, leaving the
rest of the body and legs bare. Female figures wearing the himation only
are much commoner in the fourth century than in the fifth, and there is
another Nike clad like ours on a calyx-krater in Salonica (Robinson
Olynthosv, pl. 68-70 and p. 97).
Lower-the feet must have rested on the border-is Hermes, frontal,
his face in three-quarter to left, his left leg crossed in front of his right.
He leans back on a stick; his left arm hangs down at his side; his right
hand is tucked under his left armpit, holding the top of the stick. He wears
or rather holds a chlamys, caught under his left armpit; he has a baldrick
and a sword, but no wreath. The figure is certainly Hermes: it may seem
odd that he should have an ordinary knotty stick instead of his caduceus,
but so it is on two other late Kerch vases, the calyx-krater with Erotostasia
in Athens (12544: Riegler p. 61; Schefold KV, pl. 23b), and the Munich
hydria with the Judgment of Paris (FR, pl. 40, whence Pfuhl fig. 598).
The head of the stick does not show in any of these vases, but it can hardly
have ended like a caduceus.
On the extreme right of the picture, above (over the handle), sits
Hera, in three-quarter view to right, looking round with the face in threequarter to left. The left hand holds a sceptre (the top of which is cut
off by the upper border); the right arm is bent up at the elbow, and the
hand was probably in front of her breast. She wears a peplos, with overfall;
a himation over it; a necklace; sandals; and a wreath or stephane, which
may have been gilt. The flesh is reserved. The brown scriggle against her
right arm, above the head of Hermes, is the outline of Nike's himation.
Passing to the other half of the picture: to left of Apollo, below, is
Marsyas, bound, sitting on a panther-skin, in three-quarter to left, nearly
frontal, with his hands tied behind his back, looking round and up towards
Apollo. The tail shows below the left forearm. He is crowned with
ivy. Most of the face is wanting, but parts of brow, nose, mouth, and
beard remain. There is a wrinkle on his forehead, now half concealed by

40
J. D.
BEAZLEY
slight overpainting of the fracture. The spots on the panther-skin are

brown.
The figure of Marsyas is one of the finest pieces of drawing on the vase;
and it has curious echoes, not on vases, but in other works of art. It recalls
the captive in the ' Dionysos erecting a Trophy' from the House of Marcus
Lucretius Fronto at Pompeii (Herrmann pl. 62, and pp. 8o-i, especially
notes 3 and 5 on p. 81) ; and captives on Praenestine cistae (Louvre 1663,
Raoul-Rochette pl. 20) and on Roman sarcophagi, not only the Capitoline
Gallomachy adduced by Herrmann (Bielikowski Gallier, pl. 4; Cap. Cat.
pl. I4), but even more those in the Villa Doria-Pamfili (Bienikowski,pl. 9a)
and at Ince (id. pl. 7a; Ashmole pl. 49, 303). I do not know if I may go
on to compare the two giants in the foreground of Botticelli's illustration
to the thirty-first canto of Dante's Inferno (Strzygowski Zeichnungenvon
SandroBotticellizu Dante's GoettlicherKomoedie,pl. 3I), but these and their
standing companions, in their turn, recall the Ficoroni cista and may owe
something to classical models.
To left of Apollo, close to him, but on a higher level, stands Artemis,
frontal, her face in three-quarter to right. Her left leg is bent at the knee;
and she must be leaning a little, with one elbow (her left) supported on
something, like many fourth-century figures. Her bow is in her left hand,
her quiver at her shoulder. She wears a peplos, with cross-bands, and
apparently a wrap as well, for the remains of drapery at the left shoulder
and below the left knee cannot all belong to the peplos. The hair is heaped
high over the forehead. The flesh is white, and so is the quiver.
To left of her sits Zeus, in three-quarter view to left, looking round
to right, with the face three-quartered, in his right hand a sceptre (the
top of which is cut off by the upper border), his left forearm resting on
the arm of the throne. He wears a himation, and a wreath. The throne
was of the type described by Miss Richter in AncientFurniture,pp. 13-22,
and one of the flat carved legs can be seen to right of Marsyas' head. This
figure recalls the Zeus on the Eleusinian pelike in Leningrad (FR, pl. 70)
and the Zeus-like Korinthos on the bronze mirror in the Louvre (Mon.gr.
1873, pl. 3, whence Pfuhl fig. 624).
To left (above the handle) are two figures, a satyr and a maenad. The
maenad is dancing on her toes leftward, looking round, with the face in
three-quarter to right. The flesh is reserved, not white. She wears shoes,
and a plain head-band with an ivy-wreath. The end of the head-band is
seen floating in the air to right of her head. She holds a thyrsus, the head
of which is at present reserved but must have been originally either white
or possibly gilt; the thyrsus-head is surrounded by white dots, representing
berries (omitted in the drawing), and a streamer, as often in the fourth
century, is tied round the shaft at the neck; the butt-end cuts in front of the
satyr's panther-skin. On the left, the satyr dances rightwards, with his
right leg passing in front of his left. A panther-skin, with brown spots,
hangs over his left forearm; his left hand holds a shortish knotty stick,
curved, such as hunters used; his right arm was raised behind his headthe elbow is preserved (omitted in the drawing (P1. II), but visible in
P1. VIb). The right hand was probably empty, raised in a dance-gesture.

AL MINA, SUEIDIA
41
The face was no doubt looking round, in three-quarter to left; and the
whole figure may have resembled the ' Pan ' on a Praenestine cista published
by Furtw ingler (KleineSchrifteni, pl. I). I have spoken of a satyr; Pan
is also, perhaps, possible, but the close association with the maenad makes
a satyr more likely. At this period, as is well known, it is not always easy
to distinguish between Pan and satyr, for satyrs are sometimes given goathorns even as early as the fourth century: a certain example is on a bellkrater in Naples (Overbeck KM. pl. 16, 16), where the attendant who
brings food to Dionysos must surely be a satyr: see also Furtwiingler
Kleine Schrifteni, pp. 190-212,
and Richter in Richter and Hall p. 218.
As for the hunter's club, the horned youth who carries one on a late Attic
calyx-krater in the Petit Palais, Paris (339: Schefold UKV, fig. 73: this
barely visible) ought to be a satyr, otherwise he duplicates the goat-legged
Pan at the other end of the picture: there, as in two other vases, hydriae
in the British Museum (228: C. Smith BM Cat. iii, pl. 9) and in New York
(Schefold UKV, fig. 35 and 40; Richter and Hall pl. 166) we have to make
up our minds between a duplication of Pan, and a Pan-like satyr. When
the tail is a goat's, as in the London hydria and another hydria in New
York (Richter and Hall pl. 167, 168) the choice is still more embarrassing.
On the Mina vase, the tail is a short horse-tail, and not a goat's.
There are remains of something between the heads of the pair, as if
held by the maenad; but I do not know what it is: I thought of a tympanon
seen almost in profile, but do not think this likely.
That completes the tale of figures on the obverse, and there is nothing
unusual about the choice of them, although none of the other representations of the contest between Apollo and Marsyas, the preparations for it,
or the consequences, bears much resemblance to ours. Several objects
have still to be mentioned. Five tripods help to denote the sanctuary
of Apollo, three above, and two below. The upper ones, and the lower
right-hand one, were in part gilt, with studs on the rings; the left-hand
lower one is painted white, with details in yellow. A snake rears its head
beside it (Dubois in Daremberg and Saglio s.v. tripus, p. 476).
The
snake has brown spots. The right-hand lower tripod stands on an altarlike base; the left-hand one cannot have had more than a very low base,
a simple plinth. The left-hand tripod in the upper range stands on a very
tall pedestal, the lower part of which, with the plinth, is visible below the
panther-skin of Marsyas, and reappears above his left shoulder. In the
upper right-hand tripod the lion's foot is preserved. The bowls, as often
(Cook Zeusii, pp. 197-201;
CV, Oxford p. 35), are provided with a column
as an additional support between the legs: in most of them it is seen to have
an Ionic capital. The legs and rings seem to be bound with strands of wool,
done in white.
To left of the base supporting the lower right-hand tripod is a ram's
head turned to right, bound with a woollen fillet--leavings of a sacrifice
and a rather realistic reference to the 'unswept floor' of the sanctuary:
the head had been fixed up somewhere and had fallen. Above this,
behind the left leg of the tripod, nearly half-way up, there is another
ram's head, also a relic. We may compare the ox-skulls lying on the

42
J. D. BEAZLEY
ground in a lost Apulian Greek mascaroon-krater (Mon. iv, pl. 30) and in
another in Naples (3230: phot. Sommer I 1056) : but in the second, though
not in the first, the untidiness may be due to special circumstances, the
subject being taken from the Sack of Troy; and the things on our vase are
not skulls but complete heads: at least the lower one is certainly so, and the
upper one, which is fragmentary, probably.
A woollen fillet, knotted or rather beaded at intervals, the same as
was put round the horns of sacrificial animals, hangs festooned over the
principal figures, running from above the head of Zeus to above the head
of Athena. The wool is white, the beads gilt.
The time has come to return, as we promised, to the figure of Apollo,
and to make the best of what little remains. The four thin diagonals
above, on the left, to right of the tripod and the left shoulder of Artemis,
should be the ends of his laurel-staff, although there is no indication of
leaves. The rectangular bit on the right, to right of the right-hand tripod
and below Athena's armpit, must be, as Ashmole suggested to me, the end
of the outer horn of his lyre: Apollo is'often given the lyre instead of the
cithara in pictures of his contest with Marsyas. The lyre was held on his
left arm; and the laurel-staff probably leaned against his right shoulder.
The god was seated: a few folds of the garment under his buttocks remain,
and, lower down, the outside of his right foot. The distance from toe to
buttocks is the same as in Hera, and the attitude will have been not wholly
unlike hers, though of course no repeat.
Turn back now for a moment to the earlier fragment no. 51: the
omphalos there was black, with a reserved border or 'rind'. This will help
to interpret the vestiges on our vase. Here Apollo was using the omphalos
not as a footstool, but as a seat, which is common enough. The omphalos
is again black with a reserved 'rind'. The rind, bounded outside by a
brown line (hardly visible in the reproductions), appears below Apollo's
buttocks, runs some way, and is then concealed by the left leg of Artemis,
but reappears for a short stretch to right of Marsyas' panther-skin, between
it and the upper ram's head. The gap in the finished picture makes it
hard to follow; but in the incised sketch there is no gap-the two lines of
the rind were carried right through. The omphalos was decked with white
sacrificial fillets, now faded. It rests on a stout platform which is seen running from the panther-skin of Marsyas, passing behind the remains of
Apollo's foot, and losing itself in the break. Above the left-hand part of this
there is another platform, smaller and narrower, on which Artemis stands;
similarly, on an Apulian volute-krater in Naples (3249:
FR, pl.
i79),
where Orestes takes refuge in the Temple of Apollo at Delphi, Artemis
stands close by the omphalos on a low platform.
As to the base below Marsyas' panther-skin, we have already explained
it as belonging to the tall pedestal of the left-hand tripod in the upper
range.
The picture on the reverse of the vase is no less careful than the other,
and that is rare in Kerch vases-one of the few examples is the Eleusinian
pelike (FR, pl. 70). The middle of it is taken up by a four-horse chariot,

with two persons in it, Athena and Nike, both frontal. The head of

AL MINA, SUEIDIA
43
Athena is nearly full-face, turned only slightly to the left: what little remains
of the features gives a false notion of the original appearance. She wears
a peplos, a necklace, a helmet (much damaged) with three crests, and holds
a shield. To left, Nike stands on Athena's right, shorter than she. Her
head is frontal, turned slightly to the right. She wears a peplos with overfall, overgirt, and a necklace, of which only traces remain. Her belt is
studded. The wings are displayed. The flesh of both is white.
The horses are also frontal, foreshortened. They have topknots,
like many fourth-century horses. The headstalls are decorated with gilt
studs. The peytrels are dark brown, with a gilt stud in the middle, and a
fringe of gilt lotus-buds. The peytrel of the left-hand horse has almost
disappeared. The reins of the pole-horses are shown. The tip of the
yoke is visible to right of the peytrel in the right-hand pole-horse.
There is no continuity, I think, between -the frontal chariot on the
Mina vase and the well-known archaic versions of the same subject (Payne
NC, p. 74; Hafner Viergespannein Vorderansicht1-68). Nearest ours,
though not very near, are the biga on an Apulian volute-krater in the
Jatta collection at Ruvo (Bull. Nap. n.s. I, pl. 6, whence Hafner pl. 2),
the three-quartered chariot on the calyx-krater in Salonica, already
quoted for the sake of the Nike (above, p. 39; Robinson Olynthosv, pl.
68-70o and p. 97), and what remains of the nuptial lebes in Leningrad
from Anapa (Schefold UKV, pl. 29 and 50).
To right of Athena, higher up, stands Artemis, frontal, leaning to
left, with her right elbow supported on a pillar. Her face is in threequarter to left. The hair is heaped high over her forehead. Her right leg
crosses in front of her left; her left arm is akimbo; a long burning torch
rests between her right forearm and upper arm. She wears a peplos,
open down the right side, with an overfall, overgirt; cross-bands; and a
necklace; has a quiver at her left shoulder. Her belt is studded. The flesh
is reserved, not white.
To left of the chariot stands Hermes, leaning, with his left leg crossed
in front of his right, his face in three-quarter to right. His right arm is
raised, but the hand seems empty. The left arm is lost, but the elbow
probably rested on a pillar. He wears a chlamys; a petasos; and boots
or high-laced sandals, for which a fragment in St. Louis (FR ii,
p. 41)
may perhaps be compared. His stance, with the free leg only slightly
bent at the knee, so that the foot of the other leg is partly concealed and no
daylight shows between the two shanks, is not a very common one. It is
repeated in the Hermes on the other side of the vase, and in the Artemis
on this side; and the attitude of the Persephone leaning on a pillar in the
Eleusinian pelike is not unlike (FR, pl. 70). This is the stance of the
Farnese Herakles and the Satyr with the infant Dionysos (Bulle Der schkne
Mensch,pl. 71 and 72), both Lysippean works; but it occurs as early as
the fifth century in the Aphrodite of Daphne (BrBr pl. 673 right).
To right of Hermes' head is something that, whether white originally
or gilded, has lost all its inner detail as well as part of its outline. What
remains is given more accurately in P1. Vb than in the drawing. I believe
it to be an archaic image of Athena, set high on a column or pillar: seen

44
AL MINA, SUEIDIA
from the front, in martial attitude, the shield on the left arm, the right
arm raised with the spear; wearing a three-crested helmet, and a wrap
over both shoulders, showing to left and right of the body: much as on
a fourth-century scaraboid in Boston (LewesHouseGems,pl. 3, 57 and p. 53)
and the Pergamene coins I compared with it (JdI, 3, P. 46).
A woollen fillet, as on the obverse, hangs festooned above the picture:
extending from above the outer tip of Nike's wing to above the torch
of Artemis-the space above the chariot. There are two tripods, with
gilded bowl and rings: one to right of Athena, the other, almost effaced,
to left of Nike's head, in front of the wing. Three bucranes are thought
of as fastened to the wall of the sanctuary: one to left of Hermes, another
between Hermes and Nike, the third between Athena and Artemis. The
outer ones have hair left on the forehead, the middle one is bare of hair.
The right-hand one is decorated with the usual sacrificial fillet, and the
others may have been. Below Artemis, near the lower edge of the picture,
is a hydria, seen from behind: it makes one think of the hydria in the
Pompeian pictures of Iphigenia in Tauris: from the Casa del Citarista
(Herrmann pl. 115), from the House of Pinarius Cerealis (JdI, 44, pl. I;
Rizzo Pitturaellenistico-romana,
pl. 25)-and from the House of L. Caecilius
Jucundus (Herrmann pl. I18), for surely there also the vessel is a hydria
with the upper part faded.
The only vase that bears much resemblance to the Mina krater in
style has been quoted several times already, the Eleusinian pelike in
Leningrad (FR, pl. 7o, whence, A only, Pfuhl fig. 596; Schefold UKV,
pl. 35 and pp. 125-7), dated by Schefold (ibid.) about 330; but the Mina
vase is superior, and I cannot say that the two are by the same hand.
Oxford.
J. D.

BEAZLEY.
J.H.S. Vol. Rix
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Excavations at Al Mina

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Excavations at Al Mina, Sueidia (Continued)

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EXCAVATIONS ATYAL MINA, SUEIDIA

I AM indebted to Sir Leonard Woolley for his invitation to publish

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4. Fragments of a column-krater by the Chairippos painter, probably

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i i' '"'" ' "

' ' ' ?'

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about 480 B.c.

This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

a corner is preserved, perhaps a sacrificial basket of the type studied by

Fragments of a lekythos. The height of the picture, plus the

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25. Fragment of a pelike. Height o0-o95. A man with a stick, and

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krater fragment in Bowdoin. One of the other fragments gives a small

28. Fragment of a stemless cup. Height o0o56. The under-side of

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30. Fragment of a stemless cup. Inside, a dwarf dancing. Short

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the painter of Heidelberg 2 II (CampanaFr. p. 26 on pl. 18 B 55): cf.

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37. Fragments of a bell-krater. On the left, a column, then a couch

''''I '':: ::: ::

38. Fragment of a bell-krater or calyx-krater. Warrior leaving home.

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40. Bell-krater. A, athletes: a jumper between a young trainerwith

and right-handfigures: a boy standingto right, and a male leaning on his

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away, no doubt looking back. Behind him stands a man in a himation

The same subject is depicted on an earlier vase, the column-krater,

(BMQ5, pl. 51, c).

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of Oxford 529 (Att. V. p. 418; CV Oxford, p. 21), especially,perhaps,his

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il-:'-?ii i' ??'I:I..-.

45. Fragment of a bell-krater or calyx-krater. Height 0o055. Head

46. Fragments of a bell-krater. The right-hand figure on one side

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right hand; other fragmentsbits of woman similarly dressed,but not enough

About 420 B.c., by the Dinos painter (Att. V.

47. Fragments of a bell-krater. On one fragment, head and shoulder

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The himation-border is repeated on two vases closely connected with him,

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53. Fragment of a vase. Height o-o67. Thin wall; inside, reserved

may be compared, and the Theseus of the volute-krater in New York

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JHS 32, p. 235), although Etrinrupovhad a wider sense. Another good

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This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

This content downloaded from 77.69.1.133 on Sun, 28 Sep 2014 14:35:59 PM

dressed in Oriental costume is dancing on a table, watched by Dionysos

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