a rediscovered caeretan hydra

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A Rediscovered Caeretan Hydria Author(s): T. B. L. Webster Source: The Journal of Hellenic Studies, Vol. 48, Part 2 (1928), pp. 196-205Published by: The Society for the Promotion of Hellenic StudiesStable URL: http://www.jstor.org/stable/624961Accessed: 29-08-2015 09:31 UTC

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A REDISCOVERED CAERETAN HYDRIA

[PLATES XI-XIV.]

THROUGH the kind permission of Mr. H. B. Walters, I am enabled to publish a Caeretan hydria, whose whereabouts has for many years been unknown and of which the only previous illustration is the drawing in Endt, Beitrdge zur Ionischen Vasenmalerei, figs. 7, 8. This is the hydria with a young man in a chariot, pursued by a griffin, on the front, and two pairs of satyr and maenad, on the back : it is now in the British Museum, and bears the inventory number 1923, 4-19,1. Before proceeding with a more detailed description of the vase, I give a list of the group, that of Diimmler (R6m. Mitt. iii, p. 166 f.), to which nos. 15-18 were added by Pottier (B.C.H. 1892, p. 254 ff.), no. 19 by Endt (op. cit., p. 1), no. 20 by Loeschcke (Ath. Mitt. xix, p. 516, n. 1.), no. 21

by Furtwiingler in the text to F.R. P1. 51. The bibliography is only intended to give the handiest illustrations: for a full bibliography and an admirable account of the group as a whole, see E. R. Price, East Greek Pottery (C. V.A.

Classification, 13).

1. Vienna, Osterr. Museum, 217. A. Heracles and Busiris. B. Busiris' negro police force. Mon. d.I. viii, p. 16, Furtwaingler-Reichhold, P1. 51, Buschor, Griechische Vasen,2 fig. 80, Pfuhl, Mal. u. Zeichn., figs. 152-153.

2. Paris, Louvre, E 701. A. Heracles and Cerberus. B. Two eagles seizing a hare. Mon. d.I. vi, P1l. 36, Buschor, fig. 81, Pfuhl, fig. 154; Alinari, 23699.

3. Rome, Villa Giulia 50649 (Castellani). A. Heracles and Cerberus. B. Winged horses. Boll. d'Arte, 2nd ser., iii. (1924), pp. 504 ff., figs. 7, 8.

4. Rome, Vatican. A. Heracles and Alcyoneus. B. A pair of wrestlers and a pair of boxers. Albizzati, Vasi Dipinti del Vaticano, no. 229, pls. 19, 20.

5. Paris, Louvre, E 696. A. Atalanta and the Calydonian boar. B. Europa and the bull. Mon. d.I. vi.-vii., P1. 77, Alinari, 23697.

6. Rome, Villa Giulia 50648 (Castellani). A. Europa. B. Galloping horses. Endt, op. cit. abb. 3, 4, Poulsen, Delphi (Engl. ed.), p. 79, fig. 21 (wrongly described as in the

Louvre), Boll. d'Arte, 2nd ser., iii. (1924), pp. 506 ff., figs. 9, 10. 7. Vienna, Osterr. Museum, 218. A. Return of Hephaistos. B. Two pairs of satyr and

maenad. Masner, Cat. Tf. ii., von Liicken, Gr. Vasen, Tf. 62, 63, Furtwangler- Reichhold, I. p. 260.

8. Rome, Conservatori. A. Return of Hephaistos. B. Two springing horses. 9. Paris, Louvre, E 702. A. Hermes and Apollo's oxen. B. Eos and Cephalos. Mem.

d.I., ii. 1865, pl. 15. A. Schaal, Bilderhefte, Heft iii. Teil i. No. 14, Alinari, 23696, Giraudon. Here, Pls. XIII, XIV, from photos by Giraudon.

10. Paris, Louvre, E 700. A. Centaurs and Lapiths. B. Two eagles and fawn. Annali, 1863, pl. E, F.

11. London, British Museum, B 59. A. Four hoplites fighting. B. Two naked youths on horseback. Here A. P1l. XI. B. fig. 1. Prof. Studniczka tells me that the vase, Diimmler No. 12, Pottier No. 12, Endt No. 13, which is said to be in Karlsruhe, is

196



A REDISCOVERED CAERETAN HYDRIA 197

identical with this one, the confusion having arisen because it was sold with a number of other vases, of which some went to London and the rest to Karlsruhe. The description of Diimmler is in any case inaccurate, because he speaks of number 12 as having a fight between two hoplites, and of number 13 as having a fight between six hoplites.

13. Hague, Museum Carnegielaan, Scheurleer Collection. A. Young man holding two horses. B. Hunter and goat. Endt, op. cit. abb. 5, 6.

14. Viterbo, Falcioni. This vase is, according to Professor Rumpf, to be identified with No. 238 in Albizzati's Vasi Dipinti del Vaticano, which belongs not to the Caeretan hydriae, but to a later group of Italo-lonian vases, which C. C. van Essen suggests to have been manufactured in Chiusi (Mededeelingen van het Nederlandsch Historisch

FIG. 1.-BOY ON HORSEBACK: BRITISH MUSEUM B 59.

Instituut te Rome, vii. 1927, p. 25 f.); it tallies, however, completely with Diimmler's description.

15. Paris, Louvre, E 697. A. Deer-hunt. B. Two winged bulls. Pottier, op. cit., figs. 8, 9.

16. Paris, Louvre, E 699. A. Man between two men with horses on the front. B. Two winged Sphinxes. Pottier, Vases antiques du Louvre, pl. 53. Here A. fig. 3 from photos kindly given me by Mrs. Beazley. B. from photo by Giraudon, P1. XIII.

The following vases were added by Boehlau (Diimmler, K. Schr. iii. 272) to Diimmler's list in Rdm. Mitt. 1888 :-

17. Paris, Louvre, E 698. A. Lion-hunt. B. Eagle seizing hare. Pottier, Vases antiques du Louvre, pl. 52. A. Here, fig. 2, from photo kindly given me by Mrs. Beazley.

18. London, British Museum, 1923, 4-19, I. A. Young man in chariot pursued by griffin. B. Two pairs of satyr and maenad. Endt, op. cit., abb. 7, 8. Here Pls. XI, XII.1

1 It has been thought advisable to omit certain details on P1. XII. J.H.S.-VOL. XLVIII. O



198 T. B. L. WEBSTER

19. Berlin. A. Chariot scene. B. Hunter attacking lion, which has sprung upon a wild ass. Beazley, Lewes House Gems, p. 24, Ant. Denk. ii. P1. 28, Pfuhl, Mal. u. Zeichn., fig. 151, Br. Br., Text to Taf. 641-645.

20. Leipzig, Arch. Inst. T 3337. Fragments: A. Heracles and Acheloos. B. Deer- hunt. Rumpf, Arch. Anz. 1923-1924, p. 86 ff., fig. 21.

21. Munich, 893. Fragment with two wrestlers. Furtwangler-Reichhold, i. p. 261. 22. I know of the existence of another hydria but am not allowed to mention its where-

abouts.

In addition to these hydriae two amphoras have been attributed to the group; the one, in Philadelphia, published by Luce, Philadelphia Cat. 1921, p. 62, No. 43, and Bates, Trans. Dept. Arch. Univ. Pa. ii. 1907, pl. XL., of which we reproduce a photograph here, fig. 4, by courtesy of the Museum authorities, is of a very fine metalloid shape, not unlike an extremely elegant edition of a Nicosthenic amphora; it has no figure decoration, but is connected with the group by the rays round the shoulder and the tongues round the foot; hence, if it belongs to the group (and it might be the goal of pure shape, towards which the master is tending in the delicate curves of his later hydriae and the freak B.M. B. 59), it concerns the master as potter, not as painter. The other, also attributed by Furtwangler (Sitzungsber. Aklad. Munich, 1905, p. 256, no. 12) is said to be in Boston--and to be decorated with figures : Prof. Pfuhl suggests tentatively that it may be the Tyrrhenian amphora there (Mal. u. Zeichn., p. 180, n. 1); Prof. Rumpf, that it is the neck amphora with lotus and palmette, on the neck and A. Youth with sword and spear, youth shaking hands with youth, boy with jug; B. Boy with wreath, youth with fawn, youth with hare (Phot. Coolidge 9761, 2), which belongs to another Italo-Ionic group.

We can now proceed to a detailed description of the new London hydria. It has been put together from fragments into a plaster hydria painted the colour of the original clay. The cracks between the fragments have been filled and painted over. Preserved are most of the scenes on the body itself and enough of the patterns on the shoulder and lower part of the body to show what they were. The shoulder is decorated with a frieze of ivy and helichryse, as in nos. 3, 4, 5, 6, 8, 15, 16, 17, 21, the side handles with tongue pattern, and the back handle with a seven-petalled palmette as in nos. 2, 11, and 13; the petals and tongues are alternately red and white. The main scene is bounded above and below by a broad black line. It is composed of a young man in a chariot, under the horses of which a dog runs. He is pursued by a griffin. His flesh is white, his hair black, his garment red. The outline of body and garment, as all outlines of parts painted red or black, is incised. Outside this outline the bluntly incised line of the first sketch can be detected. The nearest parallel to the boy's profile is that of the boy with the two horses on the Scheurleer vase (no. 13); there also the ear is identical. The question as to whether the small circle in the middle of the lobe is an earring or not is not quite easy to answer. Certainly the Greeks had a great contempt for men who wore earrings; I am indebted to Prof. Dr. A. K6rte for references to Anacreon, fr. 54 (Diehl), and Xenophon, Anabasis, iii. 1, 31. And the instances in art where a man seems to wear an earring are capable of other explanation : in the Apollo of Sunium (Eph. Arch. 1917, p. 193) and the Dipylon head (Langlotz, Bildhauerschule, P1. 94a) there is no earring, but the lobe is represented by two concentric circles as in the familiar S-ear of early black-figured vases. In the Kouroi, Athens, N.M. 18 (Deonna, Les Apollons Archaiques, no. 37, figs. 47-48), N.M. 71 (Deonna, op. cit., no. 3, figs. 4-6), N.M. 15 (B.C.H. 1886, P1. V),




Acropolis 624 (the Moscophoros), Delphi 'Cleobis,' Leipzig S. 463 (Rumpf, Amelungfestschrift, p. 218), the lobe of the ear is flattened out into a flat disk which also suggests at first sight an earring. More difficult to deal with are the Naucratite fragments, (J.H.S. 1924, p. 215-9, figs. 56, 63, P1. VI, 6). But here too, as in our vase, I prefer to believe until an absolutely certain instance of a Greek man wearing an earring has been found that the dot in the middle of the lobe represents a dimple. The hair is done in a crobylos, as in the one of the riders in the other B.M. Vase (no. 11, fig. 2) and the Paris vase (no. 16). The other charioteer (on the Berlin vase, no. 19) wears a short chiton; as the big overhanging fold shows, it is pulled up under the girdle all round (so as not to flap in the wind), instead of only at the sides, (so as to

FIG. 2.-LION HUNT: LOUVRE E 698.

leave the legs free), as in the Berlin hunter, the Hague hunter, and the attendants of Atalanta (no. 5), or not at all, as in the rider on the deer-hunt vase (no. 15) ; the more energetic hunters of the Busiris vase have their chitons pulled up all round. In our vase, however, there is no trace of the bottom line of this short chiton, and the legs are painted red, so that we must assume that he is wearing the long robe, known from Attic and Corinthian vases and the charioteer at Delphi, stretching to his feet and clinging to his legs. Round his neck and over his right shoulder he has a kibisis or wallet; from its shape it must be made of leather, the long corners are the legs of a skin; the only other kibisis of this shape that I have found, though much bigger and covering the whole back, is that carried by the Perseus on the 'Early Attic' bowl from Aegina (Berlin, 1682; Arch. Ztg. xl. 1882, P1. 9; Furtwiingler, Ki. Schr. ii. P1. 21). In his right hand he holds the goad and one rein, and in his left hand the other rein; the lines are hard to see, but enough remains to show that

o2




the grip of the thumb and the two parallel lines of the forearm are the same as on the Berlin vase.

The chariot, however, is completely different from that of the Berlin vase, which is of the eight-wheeled type with high front and sides, such as is common on Clazomenian vases and sarcophagi: our chariot is of the mainland type, found in chariot races on Attic and Corinthian vases (although there

always with four, not two horses), with very little superstructure and a four-

spoked wheel; but this is not impossible in Ionia, for a fragment of the sima of the Ephesus Artemis temple (Hogarth, Ephesus, pl. xviii. 71) shows a four-

spoked wheel (cf. Nachod, Der Rennwagen bei den Italikern, p. 42, for other

parallels). The body is black, the rim of the wheel red, the spokes are white. Of the horses only the fore-legs, belly, hind-legs, and tail of the near horse; the mane, hind-legs and tail of the off horse are preserved. The near horse is black with red hoofs and tail (and probably mane). The off horse is white with black hoofs and mane, and white tail. The colour scheme of horses and chariot is the same on the Berlin vase (no. 19) except that there the tail of the off horse is black. The mane of the off horse agrees rather with the Rome Europa vase (no. 6), than with the other B.M. vase (no. 11, fig. 2), or the Berlin vase (no. 19). The dog, which is red, is like the dog which the Calydonian boar has bisected (no. 5): it is quite different from the lean, Cerberus-like hounds of the Busiris vase (no. 1). The griffin has a red tongue; the base of the

wing is also red and the middle stripe white. The wings find in the 'Nike' on the Rome Europa vase (no. 6) an exact parallel, the lion body agrees in the main with the lion on the Berlin vase (no. 19), in the paws particularly the smallest details, such as the nails, can be compared.

On the back of the vase two pairs of maenad and satyr courting: note how the tails touch under the centre handle: the tails of the bulls on no. 15, and the horses on no. 3, actually cross. In the left-hand pair, the right sleeve of the chiton, the top of the right upper arm, the line of the back of the maenad, and in the right-hand pair the back of the satyr are repainted. The flesh of the maenads is white, the hair red; the hair, tail, hoofs, and phallos tip of the satyr are also red. The maenad wears a long chiton girt up at the

sides, as in the afore-mentioned Berlin hunter, and in a bone figure found in the Forum Romanum (Hiilsen, Forum Romanum, p. 102). In the maenad of the left-hand pair the folds all fall in the same direction as in the Rome Europa (no. 6). The outline of the chiton over the knee can be traced in the two small smudges of varnish which remain. In the maenad of the right-hand pair the folds fall from the centre to left and right as in the Nike of the Rome

Europa vase (no. 6). For the inner markings of the satyrs compare the Vienna

satyrs, the Munich wrestler, and for the knees particularly the Hague horse- binder; the emphasis on the wrist bone recurs on one of the negroes of Busiris (no. 1), the little incised triangle for the navel on the satyr of the Conservatori vase (no. 8). The satyr of the right-hand pair has the maenad already by the wrist.

Below the main scene is a lotus and palmette frieze; the lotus has three inner petals, two white and one red, black outer petals and white sepals (as




FIG. 3.-MAN AND HORSES: LOUVRE E 699.




in nos. 4, 15, 16, 17, 19); the palmette has only five alternately red and white

petals and large volutes which have a turn more than any of the others on these vases.

This completes the description of the vase. Two questions remain: What is the subject of the representation on the front, and what is the place of the vase in the group ? The larger question of the relation of the whole

group to Greek art in general and Ionian art in particular is beyond the scope of this article. In the earlier descriptions of this vase the main scene is described as a young man in a chariot pursued by a griffin: Professor Pfuhl, however (Mal. u. Zeichn., ? 179), calls it a " dekorativ verblasster Nachklang von Apollo im Wagen mit Greifen." The griffin is Apollo's bird: in an

Italo-Ionian vase in the BibliothBque Nationale (de Ridder, 171; Giraudon, 8145, 8173; Luynes, P1. 6. 7; Monumenti d.I., ii. P1. 18) it appears as an attendant behind the chariot of Apollo: and other monuments could be quoted for its connection with deities (see Furtwangler's article in Roscher's lexicon).

But this griffin, as the older interpreters saw, is not an attendant: the

young man is fleeing as fast as he can in his chariot and the griffin is laying his claw on his back. Also what would Apollo want with a kibisis ? Now if it is the

peculiar charm of Corinthian vase-painting that it portrays a dramatic moment, a moment that looks both before and after, and of Laconian vase-painting that it represents the outlook and ideals of awarlike and aristocratic society (whether Spartan or not), of Chalcidian the interplay between decorative scheme and

vigorous life, of Attic that its aim is the solution of the formal problems of art (cf. Prof. Rumpf's description of the difference between the feeling for form in Chalcidian and Attic painters,-Chalk. Vasen, i, p. 152), the peculiar charm of the master (or masters) of the Caeretan hydriae lies in his being a

great descriptive artist and above all a great comic descriptive artist. He likes

seeing somebody 'done in '-the Egyptians by Heracles, the white maenads

by the big black satyr, the lion who is eating the wild ass by the hunter. It is no doubt amusing to see a young man with a kibisis in a chariot

being 'done in' by a griffin, but it is still more amusing when one knows who the young man is. The people who traditionally got 'done in' by griffins were the Arimaspians : Herodotus tells (iii. 116) of the one-eyed Arimaspians, who live in the extreme North and steal gold from the griffins; but he does not believe in their having one eye. Herodotus may be responsible for the wealth of representations of Arimaspians and griffins in the art of S. Italy and S. Russia at the end of the fifth century and beginning of the fourth.1 But he also tells us (iv. 13) his source : ' Aristeas of Proconnesus in an Epic poem says that he came to the Issedones, and beyond them dwelt the one-eyed Arimaspians, and beyond them the griffins, who guard the gold.' This Aristeas is surrounded by a wealth of legend recounted by Herodotus in the

next two chapters. But we have fragments of his Arimaspeia, and Suidas

1 See list by Wrede, Ath. Mitt. 1924, p. 214. They are in oriental costume. On the late fifth-century mirror-back in New York (Richter, Greek, Etruscan, and Roman Bronzes in New York, p. 61, No. 94), how-

ever, and on the early fifth-century gem in the Lewes House Collection (Beazley, Lewes House Gems, p. 24, No. 29, Pl. 2) the Arimasp is naked.




says that he lived in the time of Croesus and Cyrus. If this story of the Arimaspians was current in Ionia in the sixth century, why should not our painter have taken it for a subject ? It is just the kind of story that he liked. The fact that the Arimaspians were one-eyed would not trouble him : the boy is drawn in profile so that only one eye shows: so is the Polyphemus on B.M. B. 154 (Rumpf, Chalk. Vasen, P1. CCII). He is driving away with the gold in his wallet, when he is caught by the griffin.

There remains the problem of the place of the vase in the group. First, the group itself must be arranged. Paolino Mingazzini has, in Bollettino d'Arte, 2nd ser., iii., 1924, a classification according to the greater and less degree of Ionic polychromy in the vases : thus he groups the Busiris vase (no. 1), the

FIG. 4.-AMPHORA IN PHILADELPHIA.

return of Hephaistos (no. 7), the Hoplite battle (no. 11), the Louvre Europa (no. 5), the Louvre deer-hunt (no. 15), as Ionising and early, and the Louvre Cerberus (no. 2), the Hermes (no. 9), the Centauromachy (no. 10), the Hague vase (no. 13), the Berlin vase (remarkably described as having maenads and satyrs, no. 19), the Louvre vase with the lion-hunt (described as a wolf-hunt, no. 17), and the men with the two horses (no. 16), the Castellani vases with Europa (no. 6), and Cerberus (no. 3) as Atticising and late. But in fact I fail to see how one can regard, for instance, no. 16 (here fig. 3) as 'tending towards monochromy' : the flesh is white, the garments, the manes, tails and hoofs of the horses are red, the bodies of the horses and the hair black. It is neither more nor less polychromatous than, for instance, the Louvre Europa vase (no. 5), where the flesh of Atalanta and Europa is white, the dog's entrails,




the boar's mane, the bull's neck, Europa's flower and the spots on her dress are red. The serious objection, however, is that such a classification cuts in two the classes that can be made by comparing ornaments and style. I do not see, for instance, how the Louvre deer-hunt can be separated from the Louvre lion-hunt and the vase with the men and horses-the ornamentation is

exactly the same all the way through. Classification is anyway difficult, because we are dealing with only nineteen vases, probably the work of a single hand and separated by no great number of years. The only safe chronological criterion is the drapery, because that can be compared with the known development in other series and is not a purely personal matter: with this as a foundation, shape, patterns, and inner markings can be called in to assist the search. For the drapery we have two main groups-the vases where the bottom of the chiton is plain, and the vases where the bottom of the chiton shows folds : to the latter belong the Louvre Hermes vase (no. 9, here Pls. XIII, XIV), the B.M. Hoplite vase (no. 11, here P1. XI), the Rome Alcyoneus vase

(no. 4), and the Berlin vase (no. 19). The chiton of the B.M. warriors and the Louvre Eos has merely a crinkled edge (in the latter broad and single, in the former narrow and double), to which lines lead from the girdle as in the Attic

black-figured vase Berlin 3765: the 'Aicyoneus' Hermes has a central fold from which the other folds radiate, but the lines of the bottom edge of the chiton are straight : in the Berlin vase they also radiate from the middle fold, but the bottom line is composed of curved instead of straight lines : then if the

'Alcyoneus' Hermes can be compared to the Apollo of the Berlin Andocides, the Berlin Caeretan can be compared to the Andocides in Orvieto, Coll. Faina

64; it is still nearer to the black-figured vase Berlin 3274. Two more vases show folds; in the Rome Cerberus and the Paris vase with men and horses

(no. 16, here fig. 3) the himation folds are parallel to those of the Hermes on the Alcyoneus vase. With the Paris vase go, according to decoration

(particularly the lotus stars on the neck), the Louvre lion-hunt (here fig. 2), the Louvre deer-hunt, and the Leipzig vase (as reconstructed by Rumpf), and the Scheurleer vase, which last, however, except for treatment of the horse's head, goes with the chronologically earlier group. The rest of this

group hangs stylistically together. The inner markings of the leg are two

parallel lines, the knees are round; the folds on the horse's neck are

emphasised, its hindquarters are not, as in the earlier group, represented by three lines running right down into the leg, but by separate short lines, under which other short lines for the inner markings of the leg are drawn. This

provides a concept of the late style of the master. To this group must be added the Busiris hydria (no. 1), which in inner markings is very close and also has the same neck ornament. The treatment of Heracles' hair, foreshadowed

by the fringe of curls worn by the Heracles of the Vatican vase (no. 4), recurs, like the above-mentioned folds, on Attic vases of the period of transition from the black to the red-figure style, notably on the vases of the black-figured Ando- cides ptr. (e.g. the vase with Heracles resting). The inner markings of the Busiris vase go directly with those of the Alcyoneus vase, and the dogs with the Cerberus in the Villa Giulia vase (no. 3).




With this Cerberus we are on the borders of the older group : with it in ornament go the Rome Europa (no. 6), and the Atalanta vase (no. 5). Here we have already the absence of complicated drapery, the older treatment of the horses' hind-quarters (the three lines running right down into the leg) and the less emphatic treatment of their neck folds. We have already noted the connection of our vase with the horses on the Europa and the dog on the Atalanta vase. This dog and the characteristic early treatment of animals recur on the Louvre Hermes vase (no. 4), which is also on the border line of the older period, and the Conservatori Hephaestos (no. 8) : here also belongs the Vienna Hephaestos vase (no. 7). On these vases we learn the earlier style of inner markings on the human body-the knee has a complicated angular instead of a round outline, the lines on the leg follow its contour. This enables us to place the Munich fragment (no. 21), the Scheurleer vase (no. 13), which may well be called transitional, and the London vase with the Arimasp (no. 18) in the same group. The other London vase (no. 11), I believe, is contemporary with the Louvre Cerberus vase (no. 2), and forms a link between the earlier and the later group. There remains the Paris Centaur vase (no. 10). I believe this also belongs to the early group : the inner markings of the Centaur agree well with the Rome Europa vase.

Dare we attempt to reconstruct the life of this artist ? He was an Ionian living in Etruria, acquainted with, if not himself a painter of, the pictures in Etruscan tombs. In his early works his interest was concentrated on telling a story: he had nothing left for the form of the vase : this is the period of Atalanta and Europa, of the Arimasp and the Return of Hephaestos and (right at the end) the Louvre Hermes, all admirable stories, but all clumsy vases. Then he is inspired, it may well be, by imported Attic vases of the transition period, to progress in two directions-first the development of the vase itself as an art form, and, secondly, the representation of the human body no longer as mere mass but as an organised whole; parallel with this runs his treatment of drapery, as a useful chronological index. In the critical period of this development, whose extremes can be seen in the Philadelphia Amphora in the direction of form and in the figures on the Vatican Alcyoneus vase in the direction of athleticism, he was too much occupied to produce the great descriptive scenes of his youth: he falls back on the horse-binder and the warrior's farewell, the deer-hunt and the lion-hunt. But when he has achieved a canonical shape for his hydria and formulated anew the rules for his figure-drawing, he finally produces the great masterpiece, in which all his best qualities are united, the Busiris vase.

It only remains for me to thank the authorities of the British Museum and the Louvre for the permission to reproduce the vases in their charge, Mrs. Dohan for a photograph of the Philadelphia amphora, Mrs. Beazley for photographs of the fronts of Louvre E698-9, and above all Prof. J. D. Beazley and Prof. Dr. A. Rumpf for their great kindness in reading this through in manuscript and for the many valuable suggestions that they have made.

T. B. L. WEBSTER.



J.H.S. VOL. XLVIII. (1928). PL. XI.

1. GRIFFIN PURSUING AN ARIMASP; CAERETAN HYDRIA, B.M. 1923, 4-19, 1. 2. BATTLE SCENE; CAERETAN HYDRIA, B.M. B 59. This content downloaded from 83.137.211.198 on Sat, 29 Aug 2015 09:31:22 UTC

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J.H.S. VOL. XLVIII. (1928). PL. XII.

SATYRS AND MAENADS: CAERETAN HYDRIA, B.M. 1923, 4-19, 1.



HERMES AND THE OXEN OF APOLLO; LOUVRE E702. ii i;

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a rediscovered caeretan hydra

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