History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)

Chapter XVII: Inscriptions on Greek Vases (2)

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These names may have been placed on the vases with the view of attracting the public to purchase them, or may even have been the subject of special orders from customers. Some light seems to be thrown on the matter by a cup signed by the painter Phintias,[2213] which represents a young man, purse in hand, making purchases of vases in a potter’s workshop. This vase has the inscription Χαιρίας καλός, but whether it is intended as a representation of Chairias or his admirer it is impossible to say. The names, however, are not always those of every-day life. They may have relation to the figures on the vase, as [ΗΕΚΤΟΡ ΚΑΛΟΣ].[2214]

We have already noted that historical names frequently occur in this series, and it is obvious that if they can be identified with the actual historical owners of such names much valuable information in regard to the chronology of Greek vases will be gained. The question has already been discussed in a previous chapter (Vol. I. p. 403), and the principles there laid down need not be repeated. It is sufficient to say that so far only two or three names have been identified with those of historical personages, though more results may yet be obtained. Of these one is Stesileos, occurring on two vases in Berlin, and identified with a _strategos_ who fell at Marathon in 490.[2215] On two lekythi (one late B.F., the other R.F.) the name of Glaukon son of Leagros[2216] appears, and these two names have also been identified with Athenian _strategi_, Leagros having fallen in battle against the Edones in 467, while Glaukon commanded at Kerkyra in 433–432 B.C. It may be roughly inferred that Leagros was a boy (παῖς) about 510 B.C., and his son Glaukon about 470 B.C., which gives an approximate date (within ten years or so) for these two groups of vases. It is, however, obvious that much at present only rests on hypothesis.

It is curious to note that nearly all these names have an aristocratic sound: thus we have Alcibiades, Alkmaeon, Hipparchos, and Megakles, besides those already quoted. Miltiades καλός occurs on a R.F. plate at Oxford,[2217] but there seems hardly sufficient evidence for referring it to the youth of the conqueror of Marathon (cf. Vol. I. p. 403). The table at the end of this chapter may be found useful as giving a _conspectus_ of the principal names and their relation to the artists.

* * * * *

It is now necessary to discuss some of the principal peculiarities of the Attic vase-inscriptions, in regard to palaeography, orthography, and grammar.[2218] The variety in the forms and uses of the letters is somewhat surprising at first sight, but it must be remembered that non-Attic influences were always strong, as has indeed already been pointed out.

Α usually appears either in that form or as [Corinthian Α], [Sicyonian Α]; but such variations as 15[14]RF Attic alpha 15[14]RF Attic alpha 15[13]RF Attic alpha are found on R.F. vases, while at a later period even 15[13]RF Attic alpha occurs. Δ on the vases of Duris generally appears as 15[13]RF Attic alpha [Attic lambda2] is found for [Attic lambda], the Attic form of Λ. Σ varies between [sigma] and [fourline sigma], while such abnormal forms as 15[11]rounded S (Oikopheles), and 15[11]E-shaped sigma are not unknown. The minor artist Xenokles uses a sort of cursive handwriting for his signature. Η is used for ἑ and ἡ, as in [HΡΜΕΣ] for [ΗΕΡΜΕΣ], [ΗΡΑΚΛΕΣ] for [ΗΕΡΑKΛΕΣ], which seems to be a confusion of ideas resulting from its use for _eta_ in Ionic, and for _h_ in Chalcidian (_i.e._ Western) alphabets.[2219] The sign for the aspirate occurs first as [heta], afterwards as Η, and is sometimes introduced without apparent reason, as in [ΗΙΛΕΙΘΙΑ] for Εἰλείθυια, and [HΑΦΡΟΔΙΤΕ] for Ἀφροδίτη. The digamma is unknown on Attic vases, but the François vase and the allied 'Tyrrhenian' group give some interesting examples of the use of Ϙ for Κ. Thus we find [ϘORAΞΣ] for Κόραξ, [ΕΤΕΟϘΛΟΣ] for Ἐτέοκλος, [ΧARIϘΛO] for Χαπικλώ. On the Corintho-Attic vase in Berlin (1704) are two curious instances of dittography, due no doubt to Corinthian influence, Κυλλήνιος being written [ΚϘYΕNIOΣ] (Κϙυελνιος) and Ζεύς as [ΔΒΕYΣ], where the Corinthian and Attic forms of Κ and Ε stand side by side. So on a vase in the Louvre (E 852) we have [ΖDEYΣ] = Ζδεύς.[2220]

As a result no doubt of the unsettled state of the alphabet in the fifth century, a confusion in the use of ε and η, and ο and ω respectively, often arises, and we find Ἀλκιμάχως κάλως for Ἀλκίμαχος καλός, [ΚΥΜΟΔΩΚΕ] for Κυμοδόκη, [ΘΗΤΙΣ] for Θέτις, and similar forms.[2221] The diphthong ει is sometimes rendered by ΕΙ, sometimes by Ε, as in [ΚΑΛΕΔΟΚΕΣ] for καλὴ δοκεῖς; αι and ει are also rendered by Ε, as in the name [ΑΛΚΜΕΟΝ] for Ἀλκμαίων and [ΠΕΝΘΕΣΙΛΕΑ] for Πενθεσίλεια, or αι by Α, as in [ΑΘΕΝΑΑ] for Ἀθηναία. In a few words, such as [ΧΙΡΟΝ] (Χείρων) and [ΣΙΛΕΝΟΣ] (Σείληνος), the diphthong ει is represented by its other member Ι. On the other hand, we find [ΕΙΟΛΕΟΣ] for Ἰολέως (B.M. B 301). The general vagueness of the Attic craftsmen’s orthography is well illustrated by Kretschmer in the word Ὀδυσσεύς, which is not only invariably spelled with a Λ, reminding us of the Latin form _Ulixes_, but occurs in the following different forms[2222]:— 15[86]ΟΛΥΤΕΥΣ 15[79]ΟΛΥΤΕΥ 15[99]ΟΛΛΥΤΕΥΣ 15[103]ΟΛΥΤΤΕΥΣ 15[73]ΟΛΥΤΕΣ 15[81]ΟΛΥΣΕΥΣ 15[91]ΩΛΥΣΣΕΥΣ this order being roughly chronological. The ordinary δ-form is, however, found.[2223]

A tendency to assimilation of aspirated consonants, always avoided in literary Greek, is seen in such forms as [ΘΑΛΘΥΒΙΟΣ] for Ταλθύβιος, [ΧΑΧΡΥΛΙΟΝ] for Καχρυλίων, and [ΦΑΝΦΑΙΟΣ] for Πάμφαιος. The reverse tendency is curiously illustrated in [ΚΑΡΙΘΑΙΟΣ] for Χαριταῖος. Unassimilated forms occur, as in the case of [ΑΝΧΙΠΟΣ] for Ἄγχιππος.[2224] Another peculiarity is the omission of nasals before consonants, as in [ΑΤΑΛΑΤΕ] for Ἀταλά(ν)τη, [ΤΥΤΑΡΕΟΣ] for Τυ(ν)δαρέως,[2225] [ΙΑΦΥΙ] for Νύ(μ)φαι, [ΛΑΠΟΝ] for Λά(μ)πων, and [ΕΚΕΛΑΔΟΣ] for Ἐ(γ)κέλαδος. There is also a tendency to avoid double consonants, as in [ΜΕΣΙΛΑ] for Μνήσιλλα, [ΑΡΙΑΝΕ] for Ἀριάδνη, [ΚΛΥΤΑΙΜΕΣΤΡΑ] for Κλυταίμνηστρα, [ΠΕΡΟΦΑΤΑ] for Περσέφαττα[2226]; this is especially common in the case of double Λ or double Σ, as in [ΟΛΥΤΕΥΣ] and [ΜΕΣΙΛΑ] just quoted. On the other hand, on later vases consonants are often doubled without reason, as in [ΚΑΣΣΤΟΡ] for Κάστωρ,[2227] [ΤΡΙΠΠΤΟΛΕΜΟΣ] for Τριπτόλεμος, [ΜΕΜΜΝΟΝ] for Μέμνων, this being commonest with [fourline Σ] and [Π]. [Χ] and [Chalcidian Χ], originally absent from the Attic alphabet, are represented usually by [ΞΣ] and [ΘΣ], exceptionally by [ΚΣ] and [ΠΣ], as in [ΧΑΡΟΠΣ], [ΚΣΕΝΟΚΛΕΣ][2228]; also occasionally by metathesis, as [ΕΛΡΑΣΦΕΝ], [ΣΧΑΝΘΟΣ], [ΠΙΣΤΟΣΧΕΝΟΣ].[2229] Attic contractions, such as [ΧΑΤΕΡΟΣ] for καὶ ἕτερος and [ΚΑΜΟΙ] for καὶἐμοί, are also found.[2230]

Among peculiarities of inflection (some of which may of course be mere misspellings) may be mentioned [ΗΥΙΥΣ] = υἱύς for υἱός, [ΠΑΥΣ] for paῖs, [ΘΕΣΥΣ] for Θησεύς, and [ΠΕΡΣΕΣ] for Περσεύς; also the open form -εες for -hς, as in [ΗΕΡΑΚΛΕΕΣ], [ΧΣΕΝΟΚΛΕΕΣ], and the form πίει for πίε; to some of these allusion has already been made.

* * * * *

From this mass of detail it is possible to deduce certain chronological results,[2231] which are not without their value for the dating of the various Athenian fabrics. Excluding the doubtful Dipylon vase, the inscriptions extend from the seventh century[2232] down to the time of Xenophantos and the late Panathenaic amphorae, a period of over three hundred years.

In the François vase we meet with the closed [asper] for the aspirate, the Ϙ and Κ together, and the two forms [Θ] and [Θ] of Θ; as the [Θ] form dropped out of private use earlier than out of official documents, and is found in the latter down to 520 B.C., we can date the François vase about the middle of the sixth century (not later, as the closed [asper] shows); the same date will also apply to the earliest Panathenaic amphora (B.M. B 130), and the cup of Oikopheles. The fact that Eucheiros, a “minor artist,” calls himself the son of Ergotimos, who made the François vase, permits us to place him some thirty years later, about 520 B.C., and this point may be regarded as the zenith of the B.F. period. In the later B.F. vases the H and Ω for Ε and Ο begin to make their appearance[2233]; but the conservative Panathenaic amphorae, like the coins, adhere to the original spelling right down to the end.

The existence of the R.F. style for some time previous to 480 B.C. has now been established by the discoveries on the Athenian Acropolis. This is also borne out by the appearance on vases by Euthymides of the [Θ] form for [Θ], and the complete absence in the earlier vases of the H and Ω forms, which are not found among the Acropolis fragments. The hydria of Meidias (B.M. B 224), which marks the zenith of the “fine” period, has a purely Ionic alphabet. The Ionic forms seem to have come in with the “fine” R.F. style after 480 B.C., and for some time we find a mixed alphabet on the vases.[2234] It is also interesting to note the appearance in some cases of the Thasian alphabet, with its use of Ω for Ο (as in Ἀλκιμάχως καλώς, B.M. E 318), which has been traced to the influence of Polygnotos.[2235]

* * * * *

We conclude our account of inscriptions on Greek vases with a brief survey of those found on the vases of Southern Italy[2236]; it will be seen that they are neither numerous nor specially interesting.

The inscriptions are for the most part in the Doric dialect and Ionic alphabet, with the addition of the Doric sign [doric asper] for the aspirate. Generally speaking, these Doric forms are found on the Apulian vases, whereas on the products of Paestum they are mainly Ionic, with admixtures of Doric. Attic forms also occur. It seems probable that the Doric tendencies of the Apulian inscriptions are due to the influence of the great Laconian colony of Tarentum (although the vases were not made there), while Paestum was influenced, on the other hand, by the neighbouring Ionic colonies, such as Cumae.

The latter, being for the most part of earlier date, will first occupy our attention. They include two artists’ signatures, which appear in the form [ΑΣΣΤΕΑΣ] [ΕΓΡΑΦΕ] and [ΠΥΘΩΝ] [ΕΓΡΑΦΕ]. We have already remarked on the use of the imperfect tense (p. 258); there are five vases by Assteas and one by Python, on all of which the figures also have their names inscribed.[2237] The Ionic forms appear in [ΜΕΓΑΡΗ], Μεγάρη, [ΑΛΚΜΗΝΗ], Ἀλκμήνη, and so on; on the other hand, Python uses the Doric form [ΑΩΣ], Ἀώς = Ἠώς, and Assteas the Doric [Doric heta] in [ἙΣΣΠΕΡΙΑΣ] = Ἑ<σ>σπεριάς. Ionic forms are also found on a few Apulian vases, as for instance Berlin 3257 (from Ceglie), which has [Ε]ΥΘΥΜΙΗ] and [ΕΥΝΟΜΙΗ] for Εὐθυμία and Εὐνομία, or Naples 2296 with [ΝΗΣΑΙΗ] for Νησαία.

Some of the inscribed Apulian vases are not without interest, as for instance that in the Louvre, which bears the signature of Lasimos: [ΛΑΣΙΜΟΣ ΕΓΡΑΨΕ], Λάσιμος ἔγραψε.[2238] He was probably not a Greek, but of Messapian origin. On the great Dareios vase in Naples (No. 3253) several names are inscribed, such as [ἙΛΛΑΣ] forἝλλας, [ΑΣΙΑ], [ΔΑΡΕΙΟΣ], and the general title of the scene, [ΠΕΡΣΑΙ]. On a well-known burlesque scene in the British Museum (F 269) the characters are inscribed [ΗΕΡΑ] (Ἥρα), [ΔΑΙΔΑΛΟΣ] (Δαίδαλος = Hephaistos), and [ΕΝΕΥΑΛΙΟΣ] (Ἐν<ε>υάλιος = Ares); and on the fine amphora F 331, representing Pelops at Olympia, are numerous incised inscriptions: [ΠΕΛΟΨ], Πέλοψ; [ΟΙΝΟΜΑΟΣ], Οἰνόμαος; [ἹΠΠΟΔΑΜΕΙΑ], Ἱπποδάμεια, etc. On the altar is painted [ΔΙΟΣ], Διός, _sc._ “the altar of Zeus.”

A curious inscription is that on a krater in Naples (No. 2872), which represents Eros and a woman playing at ball; the latter leans on a stele on which is inscribed [ἹΗΣΑΝΜΟΙΤΑΝΣΦΙΡΑΝ] which was interpreted by Cavedoni, probably correctly, as ἵης ἄν μοι τὰν σφ(α)ῖραν, “You might send me the ball.” The [Sicyonian Χ] is an error for [Doric heta], the [heta reversed] for Η. This inscription, be it noted, is painted, contrary to the general rule in these vases, as they are generally incised; but an exception seems to be made in favour of inscriptions on _stelae_ and similar objects, which are not uncommon, though many are open to suspicion. In the British Museum there are several examples,[2239] but by far the most curious is on an amphora in Naples (No. 2868), where a _stele_ is inscribed:

νώτω [μὲν] μολάχην τε καὶ ἀσφόδολον πολύριζον
κόλπῳ δ’ Οἰδιπόδαν Λαίο(υ) υἱὸν ἔχω

“On my back I bear mallow and many-rooted asphodel, but
in my bosom Oedipus, Laios’ son.”[2240]
]

A curious and unique inscription is found engraved on a kotyle from Chiusi: οὗτος τὸν δᾶμον ἔφα ποναρόν, “This fellow said that the people were a depraved lot.”[2241] The η of πονηρόν was first written Ε, and then corrected into Α, the Doric form. It may be supposed that the inscription is due to a workman who did not approve of the democracy under which he lived.

On an amphora from Gnatia (Fasano), with a goose and a cock, in white on the black ground, is the quaint dialogue:

[ΑΝΗΧΝΟΤΙΑ, ΟΤΟΝΕΛΕΤΡΥΓΟΝΑ]
αἴ τὸν χῆνα, ὦ τὸν ἐλετρυγόνα, or, “What, the goose?”
“Oh, the cock!”[2242]

Etruscan inscriptions do not come within the scope of this chapter, but an Oscan inscription should be mentioned here, which is incised on a vase in the British Museum (F 233), over an actor: [ΑΙΤΝΑΣ] = _Santia_, the Oscan form of Ξανθίας, which was a common name for the slave of comedy.

LIST OF ARTISTS’ SIGNATURES FOUND ON GREEK VASES

I. EARLY FABRICS (CHAPTER VII.)

Aristonoös ἐποίησε Uncertain fabric See Vol. I. p. 297

Pyrrhos ἐποίησε Proto-Corinthian _Rev. Arch._ xl. (1902),
p. 41

Chares ἔγραψε Corinthian Klein, _Meistersig._ p.
29

Milonidas ἔγραψε do. _Wiener Vorl._ 1888, pl.
1, fig. 4

Timonidas ἔγραψε do. Klein, p. 28

Gamedes ἐποίησε Boeotian _Ibid._ p. 31

Gryton ἐποίησε do. _Boston Mus. Report_,
1898, p. 54

Iphitadas ἐποίησε Boeotian _Röm. Mitth._ 1897, p.
105

Menaidas ἐποίησε do. _Wiener Vorl._ 1889, pl.
1, fig. 1

Mnasalkes ἐποίησε do. _Boston Mus. Report_,
1899, p. 56

Theozotos ἐποίησε do. Louvre F 69

II. ATTIC BLACK-FIGURED VASES (Vol. I. p. 379).

Amasis ἐποίησε Amphorae and Klein, p. 43; Vol. I. p.
oinochoae 383

Anakles ἐποίησε[2243] Minor artist _Ibid._ p. 75

Antidoros ἐποίει Minor artist _Notizie degli Scavi_,
1897, p. 231

Archikles ἐποίησε Minor artist Klein, p. 76

Charitaios ἐποίησε Hydria and kylix _Ibid._ p. 51

Cheiron ἐποίησε Minor artist _Ibid._ p. 79

Epitimos ἐποίησε Minor artist _Ibid._ p. 84

Ergoteles ἐποίησε Minor artist Berlin 1758

Ergotimos ἐποίησε Potter of François Klein, p. 37
vase; kylix

Eucheiros ἐποίησε Minor artist _Ibid._ p. 72

Euphiletos ἔγραψε Pinax _Ibid._ p. 49

Exekias {ἔγραψε } Amphorae and kylikes _Ibid._ p. 38

{ἐποίησε}

Glaukytes ἐποίησε Minor artist (with _Ibid._ p. 77
Archikles)

Hermogenes ἐποίησε Minor artist _Ibid._ p. 82

Kaulos ἐποίησε Potter for Sakonides _Notizie degli Scavi_,
1903, p. 35

Kittos ἐποίησε Panathen. amph. (4th B.M. B 604
cent.)

Kleisophos ἔγραψε Oinochoë (Xenokles Athens 691
as potter)

Klitias ἔγραψε François vase Klein, p. 32; B.M. B
(painter) 601_{4–5}

Kolchos ἐποίησε Oinochoë Berlin 1732

Mnesikleides ἔγραψε Aryballos Athens 669

Myspios ἐποίησε Minor artist Klein, p. 84

Neandros ἐποίησε Minor artist _Ibid._ p. 79

Nearchos ἐγρ. κ. ἐπ. Situla _Ibid._ p. 38

Nikosthenes ἐποίησε About eighty vases _Ibid._ p. 51

Oikopheles ἐκεράμευσε Kylix Oxford 189

Paseas γράμμα Pinax Klein, p. 49

Phrynos ἐποίησε Minor artist B.M. B 424 and Boston

Priapos ἐποίησε Doubtful B.M. B 395

Psoieas ἐποίησε(?) Minor artist B.M. B 600_{40}

Sakonides ἔγραψε Minor artist Klein, p. 85

Sikelos ἔγραψε Panathen. amphora _Ibid._ p. 86

Skythes ἔγραψε Pinax _Ibid._ p. 48

Sokles ἐποίησε Minor artist _Ibid._ p. 79

Sondros ἐποίησε Minor artist B.M. B 601_{6}

Sophilos ἔγραψε Fragment _Ath. Mitth._ 1889, pl. 1

Taleides ἐποίησε Various shapes Klein, p. 46

Thrax ἐποίησε Minor artist _Notizie degli Scavi_,
1903, p. 36

Timagoras ἐποίησε Hydriae Klein, p. 50

Tlenpolemos ἐποίησε Minor artist; potter _Ibid._ p. 84
for Sakonides

Tleson ἐποίησε Minor artist _Ibid._ p. 73

Tychios ἐποίησε Hydria _Ibid._ p. 50

Xenokles ἐποίησε Minor artist; potter _Ibid._ p. 80
for Kleisophos

III. TRANSITIONAL OR “MIXED TECHNIQUE”

Andokides { ἐποίησε } Amphorae, etc. See Vol. I. p. 386

{ ἐποίει }

Chelis See below

Epiktetos See below

Epilykos See below

Hischylos ἐποίησε Potter for Klein, p. 97
Epiktetos,
Sakonides,
Pheidippos

Nikosthenes See above; two
mixed; three
R.F.[2244]

Pamphaios ἐποίησε Various shapes _Ibid._ p. 87

Pasiades ἐποίησε White-ground B.M. B 668

Thypheithide ἐποίησε Doubtful See B.M. E 4 s

IV. ATTIC RED-FIGURED VASES (see Vol. I. p. 420 ff.)

Aeson ἔγραψε Kylix _Ant. Denkm._ ii. pl. 1

Amasis II (ἔγραψε) Kylix Bibl. Nat. 535; Hartwig,
_Meistersch._ chap. xvi.

Apollodoros ἔγραψε Kylikes _Ibid._ chap. xxii.

Aristophanes ἔγραψε Kylikes Berlin 2531; _Boston Mus.
Report_, 1900, p. 49 ff.

Brygos ἐποίησε Kylikes Hartwig, chap. xiii.

Chachrylion ἐποίησε Kylikes _Ibid._ chap iv.

Chelis { ἐποίησε} Kylikes (one Klein, _Meistersig._ p.
“mixed”) 116

{ ἐποίει }

Deiniades ἐποίησε Potter for Phintias

Duris ἔγραψε Various shapes Hartwig, chaps. x., xxi.

Epigenes ἐποίησε Kantharos Klein, p. 186

Epiktetos ἔγραψε Kylikes and plates _Ibid._ p. 100

Epilykos ἔγραψε Kylikes _Ibid._ p. 114: see
_Monuments Piot_, ix. p.
135 ff.

Erginos ἐποίησε Potter for
Aristophanes

Euergides ἐποίησε Kylikes Klein, p. 99

Euphronios { ἔγραψε } Various shapes Hartwig, chaps. vii.,
xviii.

{ἐποίησε }

Euthymides ἔγραψε Various shapes Hoppin, _Euthymides_

Euxitheos ἐποίησε Amphora; potter for Klein, p. 135
Oltos

Hegesiboulos ἐποίησε White-ground cup _Branteghem Cat._, No.
167

Hegias ἔγραψε Kylix Klein, p. 186

Hermaios ἐποίησε Kylikes See Vol. I. p. 424

Hermonax ἔγραψε Stamni and “pelikae” Klein, p. 200

Hieron ἐποίησε Kylikes and kotylae; Hartwig, chap. xii.
potter for Makron

Hilinos ἐποίησε Potter for Psiax

Hischylos ἐποίησε See above

Hypsis ἔγραψε Hydria Klein, p. 198

Kalliades ἐποίησε Potter for Duris:
see Table V.

Kleophrades ἐποίησε Potter for Duris and
Amasis II.

Makron ἔγραψε (With Hieron)

Maurion ἐποίει Pyxis B.M. E 770; _Class. Rev._
1894, p. 419

Megakles ἐποίησε Pyxis Klein, p. 205

Meidias ἐποίησε Hydria B.M. E 224 = Plate XLI.

Mys ἐποίησε Lekythos Athens 1362

Nikias ἐποίησε Krater in B.M See p. 259 above

Oltos ἔγραψε Kylikes Hartwig, chap. v.

Onesimos ἔγραψε Kylikes (Euphronios _Ibid._ chap. xix.
as potter)

Peithinos ἔγραψε Kylikes _Ibid._ chap. xi.

Pheidippos ἔγραψε Kylix B.M. E 6

Phintias ἔγραψε Various shapes Hartwig, chap. ix.

Pistoxenos ἐποίησε Kotylae; potter for _Ibid._ chap. xiv.
Euphronios

Polygnotos ἔγραψε Amphorae; stamni _Mon. Antichi_, ix. p. 1
ff.

Praxias ἔγραψε (Non-Athenian?) Klein, p. 31

Psiax ἔγραψε Kylix and alabastron _Amer. Journ. of Arch._
1895, p. 485

Python I. ἐποίησε Potter for Epiktetos
and Duris

Sikanos ἐποίησε Plate Klein, p. 116

Smikros ἔγραψε[2245] Stamni _Monuments Piot_, ix. p.
15 ff.

Sosias ἐποίησε Kylix Berlin 2278; Klein, p.
147

Sotades { ἐποίησε } White-ground vases { _Branteghem Cat._
159–166

{ ἐποίει } { Klein, p. 187

Syriskos ἐποίησε Astragalos vase Hartwig, chap. xxiv.

Xenophantos ἐποίησε Lekythos Petersburg 1790

Xenotimos ἐποίησε Kylikes _Branteghem Cat._ 84–85

V. UNFIGURED AND MODELLED VASES

Charinos ἐποίησε Modelled vases Klein, p. 215; _Röm.
Mitth._ 1890, p. 316

Kalliades ἐποίησε Modelled vases; Klein, p. 216
potter for Duris

Kleomenes ἐποίησε Modelled vase in _Mon. Grecs_, 1897, pls.
Louvre 16–17

Kriton ἐποίησε Jug; no subject Klein, p. 213

Lydos ἐποίησε Fragment; painter’s _Ibid._ p. 217
name lost

Lykinos ἠργάσατο Pyxis _Ibid._ p. 213

Lysias ἐποίησε Jug; no subject _Ibid._ p. 213

Myson ἐγρ. κ. ἐπ. Fragment _Ibid._ p. 217

Prokles ἐποίησε Modelled lekythos Berlin 2202

Teisias ἐποίησε Vases without Klein, p. 212
subject

Therinos ποίημα Chytra _Ibid._ p. 214

VI. SOUTH ITALIAN (see Vol. I. p. 478)

Assteas ἔγραψε Kraters, etc. See Vol. I. p. 478

Lasimos ἔγραψε Krater Klein, p. 210

Python ἔγραφε Krater B.M. F 149

Statios ἔργον Doubtful See B.M. F 594

LIST OF ΚΑΛΟΣ-NAMES ON GREEK VASES

_Names in parentheses denote the artists with whom they are associated_

I. BLACK-FIGURED VASES

Aischis Myia

Andokides (Timagoras) Mys

Anthylle Neokleides (Taleides)

Automenes Onetor

Chairaia? (Nikosthenes) Onetorides (Exekias)

Chares Pyles

Dorotheos (Charinos? also Pythokles I.
R.F.)

Eresilla Rhodon

Euphiletos Rhodopis

Hippokrates (also R.F.) Sibon (Kabeirion vase: see
Vol. I. p. 218)

Hippokritos (Glaukytes) Sime

Hippon I. Sostratos

Kallias I. (Taleides) Stesias (Exekias)

Kallippe Stesileos

Klitarchos (Taleides) Stroibos

Leagros (Exekias; also R.F.) Timotheos

Lysippides Xenodoke (Charinos)

Mnesilla

II. RED-FIGURED VASES

Aisimides Antimachos

Akestor Antiphon

Akestorides Aphrodisia

Alexomenos Archinos II.

Alkides Aristagoras (Duris)

Alkimachos Aristarchos

Antias Aristeides

Athenodotos (Peithinos; with Lichas
Leagros)

Brachas Lyandros

Chairestratos Lykopis

Chairias (Phintias) Lykos (Euphronios, Duris,
Onesimos)

Chairippos Lysis (Hartwig, chap. xxiii.)

Charmides Megakles I. (Phintias,
Euthymides)

Damas Megakles II.

Diogenes (see Hartwig, chap. Memnon (Chelis, Chachrylion)
xv.)

Diokles Midas

Dion Mikion II.

Dionokles Miltiades

Diphilos Naukleia (Hieron)

Dorotheos (also B.F.) Nikodemos

Dromippos Nikon

Elpinikos Nikophile

Epidromos (Chachrylion?) Nikostratos II. (Hartwig,
chap. xx.)

Epileios Oinanthe

Epimedes Olympiodoros (also one B.F.)

Erosantheo Panaitios (Euphronios, Duris)

Erothemis (Euphronios and Pedieus
Onesimos)

Euaion Perses

Eurymachos Phayllos

Euryptolemos (Apollodoros) Pheidiades

Glaukon (Euphronios) Pheidon

Heras Philon

Hermogenes (Duris) Praxiteles

Hiketes Sekline (Euphronios)

Hipparchos (Epiktetos) Sikinnos

Hippodamas (Duris and Hieron) Simiades

Hippon II. Smikythos (Euthymides)

Hygiainon Sokrates

Kallias II. Solon

Kallides Sophanes

Kallikles Sostratos

Kallisto (Hieron) Thaleia

Karton Theodoros

Kephisios Thero (Oltos)

Kephisophon Timarchos

Kleinias Timokrates

Kleophon (with Megakles I.) Timoxenos or Timaxenos

Krates Tleson

Laches (see Hartwig, chap. Xenon
xx.)

Leagros (Chachrylion, Xenophon.
Euphronios, Euxitheos)

[The foregoing list is not exhaustive, but only gives the more
frequently occurring names; reference should be made
throughout to Klein’s _Lieblingsinschriften_, 1898 edition.]

-----

Footnote 2058:

v. 17, 6.

Footnote 2059:

xi. 466 D-E.

Footnote 2060:

Hence the oblique cases υἱεῖ, υἱεῖς, etc., of classical usage.

Footnote 2061:

_Die griechischen Vaseninschriften_, Gütersloh, 1894.

Footnote 2062:

See Berlin 2891; _Arch. Zeit._ 1879, p. 96.

Footnote 2063:

Cf. Berlin 2866 and the vase of Xenophantos (Reinach, i. 23).

Footnote 2064:

B.M. A 189* = Plate XVII. fig. 6.

Footnote 2065:

Vol. I. p. 436; Klein, _Meistersig._ p. 162 ff.

Footnote 2066:

Vol. I. p. 478; Klein, _ibid._ p. 206 ff.

Footnote 2067:

Klein, _Lieblingsinschr._^2 p. 118.

Footnote 2068:

_Ath. Mitth._ 1890, p. 396.

Footnote 2069:

For the explanation of these names see Chapter IV.

Footnote 2070:

B.M. E 497; Schöne in _Comm. Phil. in hon. Mommseni_, p. 658, Nos.
29–32.

Footnote 2071:

_Op. cit._ p. 651, No. 5. In this and the other examples it will be
understood that [Δ] denotes 10 (δέκα), [Π] 5 (πέντε), and so on; [Ͱ]
being the sign for a drachma.

Footnote 2072:

_Op. cit._ No. 17.

Footnote 2073:

A diminutive of πέλλα, a large deep cup or bowl (see Vol. I. p. 186).

Footnote 2074:

Schöne, _op. cit._ p. 650, No. 3.

Footnote 2075:

_Ibid._ No. 7 = _Cat._ 1206.

Footnote 2076:

_Cat._ 2188; Schöne’s No. 8. The meaning of Λύδια μείζω is uncertain.

Footnote 2077:

_Ber. d. sächs. Gesellsch._ 1854, p. 36.

Footnote 2078:

B.M. B 310; Munich 693. See Jahn in _Ber. d. Sächs. Gesellsch._ 1854,
p. 37.

Footnote 2079:

_Ran._ 1236.

Footnote 2080:

_Pac._ 1202.

Footnote 2081:

Schöne, _op. cit._ p. 655, No. 13.

Footnote 2082:

F 595: see Vol. I. p. 135.

Footnote 2083:

B.M. B 451; _J.H.S._ vi. p. 374 ff.

Footnote 2084:

B.M. B 450 = _J.H.S._ vi. p. 372.

Footnote 2085:

Boeckh, _C.I.G._ i. 545.

Footnote 2086:

A 1054 = Roehl, _I.G.A._ 524, p. 151. See also Kretschmer, pp. 3–4.

Footnote 2087:

_I.G.A._ 22: see below, p. 252.

Footnote 2088:

_Ibid._ 2 = B.M. A 1512.

Footnote 2089:

B.M. F 596: see Vol. I. p. 186.

Footnote 2090:

Heydemann’s _Cat._ 1212.

Footnote 2091:

B.M. F 605–6.

Footnote 2092:

_Naukratis I._, pls. 32–4, p. 54 ff.; _Naukratis II._, pl. 21, p. 62
ff.; _Brit. Sch. Annual_, 1898–99, p. 53.

Footnote 2093:

_Ath. Mitth._ xv. p. 395 ff.

Footnote 2094:

See Vol. I. pp. 139, 345.

Footnote 2095:

_Ath. Mitth._ 1881, p. 107; 1893, p. 225; Kretschmer, p. 110; also
Vol. I. p. 291.

Footnote 2096:

_Mon. Grecs_, 1897, pls. 16–7, p. 55; and see Vol. I. p. 493.

Footnote 2097:

B.M. B 134; Urlichs, _Beiträge_, pl. 14.

Footnote 2098:

Berlin 2314.

Footnote 2099:

Examples in the B.M. are E 12 and E 457 (Pamphaios), E 61 (Hieron), E
65 (Brygos), E 258 (Euxitheos); and cf. Fig. 129.

Footnote 2100:

Perrot, _Hist. de l’Art_, iii. p. 670. They have been found at
Larnaka, Paphos, Dali, and Amathus.

Footnote 2101:

Roberts, _Gk. Epigraphy_, i. p. 154.

Footnote 2102:

On the subject generally see Roberts, _Greek Epigraphy_, vol. i.
(Cambridge Press).

Footnote 2103:

See the table given by Kretschmer, p. 105.

Footnote 2104:

See Hill, _Handbook of Greek and Roman Coins_, p. 208 ff.

Footnote 2105:

B.M. B 130.

Footnote 2106:

See for other details of coin-inscriptions Hill, _op. cit._

Footnote 2107:

_Cat. of Bronzes_, No. 250.

Footnote 2108:

No. 385 (Didot).

Footnote 2109:

It should be borne in mind that Mycenaean vases have been found in
Argolis, Cyprus, and elsewhere, with characters _incised_ on the
handles, of contemporaneous execution, and forming parallels to the
Cretan script and the later Cypriote syllabary.

Footnote 2110:

_Olympia_, iv. pl. 39, p. 102.

Footnote 2111:

Roehl, _I.G.A._ 377.

Footnote 2112:

$1$2 1903, pls. 2–6: see Vol. I. p. 92.

Footnote 2113:

Comments

History of Ancient Pottery: Greek, Etruscan, and Roman. Volume 2 (of 2)Chapter XVII: Inscriptions on Greek Vases (2)

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