The Type A plemochoё is the earlier of the two types and is differentiated by its shorter, wider flaring foot. Authorities
do not fully agree on the name of this vase and it is also called ‘exaleiptron’ and (incorrectly) ‘kothon.’ For further information
on terminology, see 'plemochoё.'
Pseudo Panathenaic amphorae are unofficial imitations of Panathenaic amphorae that lack prize inscriptions. They are visually
almost identical to their official counterparts.
‘Rhyton’ comes from a word for 'flow.' The term is used to denote a one-handled drinking cup whose bowl is fashioned into
the shape of an animal’s head (sheep, donkey, etc.) or occasionally a more complex creation (pygmy and crane, African child
and crocodile, mounted Amazon, camel and driver). It was originally made from horn, hence its shape. The idea was borrowed
from Persia.
In size, the Type D pyxis (or box-pyxis) is close to the powder pyxis, but it is more substantially made and was popular during
the late 5th and 4th centuries. It consists of a small cylinder with a flat cover and can be divided into two classes according
to the differing shapes of the lid. The lid consists of a slim flat disc with thickened rim, not unlike the discs and stands,
but provided with a flat area beneath, made to fit the inside of the mouth of the bowl.
The canonical Type A pyxis has concave sides, a flat floor, and a flanged rim. Some have a low tripartite, quadripartite,
or continuous foot, while others have no foot. The lid is thrown separately and is flat on top with a concave outer edge that
continues and completes the curving concave wall of the pyxis body. It was created from the 6th c. into the first half of
the 4th c. BCE.
The Type C pyxis is a broad, squat version of the Type A and has deeply concave sides resting on a low ring foot. The flanged
lid is convex, often with a metal ring handle. The container is usually twice as wide as it is high. It was made as early
as the mid 5th c. and was popular from the last quarter of the 5th through the first half of the 4th c. BCE.
Pyxides are round, lidded boxes of various shapes and sizes used for cosmetics, powder or jewelry. Some were put in tombs.
The term 'skyphoid-pyxis' is used to designate a shape that became a Sicilian specialty with an ovoid body, a lid, and two
horizontal handles.
Rarer than but similar to the psykter-amphora, the psykter-column-krater is a double-walled vessel meant to cool wine or water.
The outer vessel has a spout near the shoulder through which ice or ice water was poured into the space between the two walls.
It usually has a drain spout just above the foot, directly below the pour spout.
Rarer than but similar to the psykter-amphora, the psykter-calyx-krater is a double-walled vessel meant to cool wine or water.
The outer vessel has a spout near the shoulder through which ice or ice water was poured into the space between the two walls.
It usually has a drain spout just above the foot, directly below the pour spout.
The pyxis lid varies widely depending on the shape of the pyxis itself. Lids can be flat, concave, domed, or conical and rest
on top of the pyxis or can be deep-sided and slip over the sides of the box. The handles are often knobs or metal rings.
The sprinkler varies in size and shape but is generally a round vessel with one or two handles and a flat, perforated bottom.
A small hole at the top was used to fill it with liquid, and when the vessel was shaken the liquid would sprinkle from the
holes in the base. The context in which the sprinkler would have been used is not entirely clear; at least one was found in
the Kerameikos. It may have been used for ritual purification, for lifting and straining wine from a larger vessel, or for
aerating wine as it was sprinkled into a drinking cup. Its shape has been likened to both the mastos and rhyton and is sometimes
(incorrectly) called “klepsydra.”
The skyphos-krater is a very large, deep bowl with two horizontal strap handles with returns, and its rim is flanged or incurving
to receive a domed lid. The bowl may be supported by an echinus foot, or joined to a conical stand. The skyphos-krater is
an uncommon shape with a long history, being made from the Late Geometric period to the first quarter of the 6th c. BCE.
The stand is much smaller in size than other supports intended to serve as bases for vases. The stand has a wide, flat surface
on top that is often decorated with black- or red-figure. The wide top rests on a stemmed foot, usually with a fillet on the
stem.
The term ‘stamnos’ is conventionally (and wrongly) used to designate a storing and mixing bowl with two small horizontal handles
attached to a compact, bulbous body, a short neck and a lid.
The ring askos is a circular shape with a central cylindrical hole and a high belly with a marked shoulder. Most examples
of the ring askos have been identified as Corinthian or Boeotian and it is thought to be the inspiration for the Attic askos,
which will have a ring foot and a stouter body.
‘Situla’ comes from the Latin word meaning 'bucket.' It is a deep bowl for wine and was mainly made in South Italy. The swung
handles suggest a derivation from metal.
The Antimenes Painter is an Athenian black-figure painter active ca. 530-510 BCE. The name derives from the inscription “kalos
Antimenes” (“Antimenes is beautiful”) appearing on a hydria from Vulci (Leiden, (Rijksmuseum II167 [PC63]; BAPD 320011) showing
men washing in a fountain-house. Shapes are mostly the hydria and neck amphora. The painter has a wide range of mythological
scenes, including Herakles, Dionysos, Amazons, Theseus and the Minotaur, and the Gigantomachy, as well as everyday scenes
of the fountain-house and olive picking. Most examples have been discovered in Vulci and Tarquinia.
'Psykter' comes from a Greek word for 'cooling.' The term is used now to denote an Attic shape with a broad, hollow stem,
a bulging, mushroom-shaped body, and a broad mouth. It was sometimes furnished with a lid and pierced for cording. The psykter
was filled with snow or cold water and set to float in a krater full of wine.
The Attic version was made to be filled with imported perfume, the foreign shape providing a recognizable identification of
the contents. From the early Hellenistic period onwards, when the developed fusiform unguentarium had become the usual export
container for perfume, the small Attic black equivalent would have been superfluous.
The tankard developed from the mug late in the Middle Geometric period. It has a single handle that often rises above the
mouth. In the Late Geometric period, the rim begins to overhand the largest diameter.
The Nessos Painter (also called the Nettos Painter) is an Athenian black-figure painter active from ca. 620-600 BCE. The name
derives from an amphora found in Athens (Athens, National Museum 1002; BAPD 300025) showing a scene of Herakles fighting the
centaur Nessos on the neck. Shapes include large vessels, such as the neck amphora, belly amphora, and skyphos-krater. The
painter prefers mythological scenes, large figures, and Corinthian-style filling ornamentation. Findspots include Athens and
Attica, Samos, Cyrene, Naukratis, and Cerveteri.
The Shuvalov Painter was an Attic vase painter of the red-figure style, active between 440 and 410 BC, i.e. in the High Classical
period (Parthenon period). The Shuvalov painter's conventional name was allocated by John Beazley, who chose for a name vase
an amphora that is now at the Hermitage Museum, St. Petersburg.
Lydos is an Athenian black-figure painter active ca. 560-540 BCE. The name derives from vases signed as “ho Lydos” (“the Lydian”),
such as a dinos from the Athenian Acropolis (Athens, National Museum Acr. 607; BAPD 310147) where he is signed as painter
("egrapsen"). Lydos painted a variety of large and small shapes, including the column krater, amphora, hydria, Siana cup,
cups of other types, and plates. Scenes include Herakles, Dionysos, Theseus, draped men, and the Trojan War. The vases have
been found primarily in Athens (Acropolis, Agora, Kerameikos), southern Italy, Etruscan sites, and Sicily.
Amasis was an ancient Attic potter, active in Athens between 560/550 and 530/520 BCE. Amasis’s pottery workshop also employed
a well-known painter, who is conventionally named the Amasis Painter after the potter, and generally considered as one of
the best Archaic vase painters.
Exekias is an Athenian potter ("epoiesen") and painter ("egrapsen") active from ca. 545-530 BCE. The painter’s work is generally
considered to represent the apex of the black-figure technique, characterized by elegant draughtsmanship and intricately detailed
ornamentation. Closely associated with Group E, Exekias mainly decorates the amphora, but also the pinax (plaque) and cups.
Among his best known works are Ajax and Achilles, Achilles and Penthesilea, the Suicide of Ajax, and Dionysos reclining in
a boat in possible reference to a Homeric Hymn. The plaques depict scenes connected to the funeral and perhaps lined the inside
of the tomb. Main findspots are Athens (Acropolis, Agora), Italy (mostly Etruria), as well as Samos, Miletos, Berezan, and
Cyrene.
Hermogenes is an Athenian black-figure potter of Little Master cups active ca. 560-540 BCE. The name derives from vases signed
as potter ("epoiesen") by Hermogenes, and it is possible the potter and painter may be one in the same. The potter specialized
in lip-cups, many of which depict female heads in outline. Some band-cups are decorated with a warrior on a chariot and may
be the work of a seperate painter. Findspots include Italy, Sicily, the Athenian Agora, and Miletos.
The Swing Painter is an Athenian black-figure painter active ca. 540-520 BCE. The name derives from an amphora (Boston, Museum
of Fine Arts 98.918; BAPD 301521) showing a woman on a swing. Shapes are different amphora types, including the Panathenaic
amphora. Scenes include both myth and everyday life: Herakles, Gigantomachy, centaurs, Amazons, Dionysos, warriors, riders,
athletes, and revelers ("komasts"). Many vases have been found in Etruria, as well as Greece, Sicily, Cyrene, and Miletos.
The Andokides Painter (sometimes referred to as the Lysippides Painter) is an Athenian red-figure painter active during the
second half of the 6th c. BCE. The name derives from vases signed by Andokides as potter ("epoiesen"). Though known for using
the black-figure technique, the painter is also considered the first to work regularly in the red-figure technique after its
invention ca. 530-520 BCE (see Andokides Painter [Black-figure]; for the potter, see Andokides [Black-figure]; see Lysippides
Painter [Black-figure]). As a red-figure vase-painter, the artist is best known for bilingual vases (decorated with the same
scene on both sides: one in red-figure and the other in black-figure). It remains unclear whether the bilingual vases were
painted by a single artist or by two. Shapes are mainly the amphora and cups, and scenes are mythological (Ajax and Achilles,
Herakles, Dionysos). Findspots include Vulci, Orvieto, other sites in Italy, Athens (Acropolis, Agora), and Perachora.
The Andokides Painter (sometimes referred to as the Lysippides Painter [Red-figure]) is an Athenian black-figure painter active
during the second half of the 6th c. BCE. The name derives from vases signed by Andokides as potter ("epoiesen"). Though known
for using the black-figure technique, the painter is also considered the first to regularly work in the red-figure technique
after its invention ca. 530-520 BCE (see Andokides Painter [Red-figure]). As a black-figure vase-painter, the artist is best
known for bilingual vases (decorated with the same scene on both sides, one in red-figure and the other in black-figure).
It remains unclear whether the bilingual vases were painted by a single artist or by two. Shapes are mainly the amphora and
cups, and scenes are mythological (Ajax and Achilles, Herakles, Dionysos). Findspots are Vulci, Orvieto, other sites in Italy,
and the Athenian Acropolis.
Psiax is an Athenian black-figure painter active ca. 525-500 BCE. The painter also works in the red-figure technique (see
Psiax [red-figure]) and sometimes paints on white-ground. Formerly known as the Menon Painter, the name Psiax appears alone
on black-figure examples, and as painter ("egrapsen") on some red-figure vases. Shapes include the kyathos, amphora, hydria,
plates, and the alabastron. Scenes derive from both stock (youths, warriors, women dancing) and myth (Herakles, Dionysos,
Amazons). Findspots are sites in Etruria, Xanthos (Turkey), Sicily, and Greece.
Psiax is an Athenian red-figure painter active ca. 525-500 BCE, who also worked in the black-figure technique (see Psiax [Black-figure])
and sometimes painted on white-ground. Formerly known as the Menon Painter, Psiax signs as painter ("egrapsen") on some red-figure
vases or simply as “Psiax” in black-figure. Shapes include cups, the amphora, alabastron, and mastoid. Scenes derive from
both stock (youths, warriors, women dancing) and myth (Herakles, Dionysos, Amazons). Findspots include the Athenian Acropolis,
sites in Etruria, and Kerch.
The Painter of Berlin A 34 (formerly known as the Woman Painter) is an Athenian black-figure painter active ca. 630-620 BCE.
The name derives from a fragmentary krater found on Aegina (Berlin, Antikensammlung A 34; BAPD 218722) with a procession of
women. The painter is among the first attributed artists of Attic black-figure vase-painting. The main shape is the krater.
This painter uses a mix of techniques (outline and black-figure) and a variety of motifs, such as zigzags, dot rosettes, black-and-white
patterned rays, and animals on a large scale. Findspots include Athens (Kerameikos, Agora), Aegina, and Vourva.
The Gorgon Painter is an Athenian black-figure painter who was active ca. 600-580 BCE. The name derives from a dinos (Paris,
Louvre E874; BAPD 300055) showing Perseus and Gorgons. Other shapes include the oinochoe, lekythos, amphora, and the olpe.
In addition to large animals, there are scenes of myth (Herakles, Hermes, centaurs). Findspots are Athens (Agora, Acropolis),
Naukratis, Heraion, Vari, and Cortona (Italy).
The Cerameicus Painter is an Athenian black-figure painter active ca. 600-570 BCE. The name derives from vases found in the
Athenian Kerameikos. Shapes include the lekanis, oinochoe, skyphos, and loutrophoros. The decoration focuses on animals with
the occasional human. Findspots include Athens, Attica, Samos, Naukratis, and Cumae (Italy).
The Piraeus Painter is an Athenian black-figure painter active ca. 620-600 BCE, who painted the amphora. The name derives
from a neck amphora found in Piraeus (Athens, National Museum 353; BAPD 300012) showing chariots. Findspots include Athens
and Piraeus.
The Bellerophon Painter is an Athenian black-figure painter active ca. 630-600 BCE. On two examples of the neck amphora, Bellerophon
and the chimera are shown, giving the painter its name. Findspots include Vari and Etruria.
The Lion Painter is an Athenian black-figure painter active ca. 630-600 BCE. On examples of the neck amphora, there are lions,
boars, birds, and hybrid creatures. The major findspot is Vari.
The Castellani Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 560-550/45 BCE. The name derives
from an amphora formerly in the Castellani collection (Rome, Villa Giulia 50652; BAPD 310041) showing Amazons on one side
and centaurs on the other. The primary shape is the ovoid neck amphora. Vases portray the symposion, Herakles/Amazons, weddings,
male revelers ("komasts"), satyrs and maenads, erotic scences, and fights. Findspots include sites in Etruria (Cerveteri,
Vulci, Tarquinia).
The Goltyr Painter is an Athenian black-figure painter of the Tyrrhenian Group dated ca. 565-550 BCE. The name derives from
an amphora (Poland, Warsaw Archaeological Museum 142445; BAPD 310103) showing a komos. It is a contraction of two words: “Goluchow”,
the former collection in Poland, and “Tyrrhenian”.The primary shape is the ovoid neck amphora. Scenes depict centaurs, Amazons,
warriors, hunting, and male revelers ("komasts"). Findspots include Vulci and Cerveteri.
The Timiades Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 565-550 BCE and prolific painter
of the ovoid neck amphora. The name derives from an amphora discovered in Vulci (Boston 98.916; BAPD 310045) showing a Greek
warrior, whose name is inscribed “Timiades,” fighting Amazons. Scenes include male revelers ("komasts"), satyrs, erotic scenes,
Trojan War, and Herakles/Amazons. Findspots include Etruria, Clazomenae, and Tharros (Sardinia).
The Kyllenios Painter is an Athenian black-figure painter of the Tyrrhenian Group dated ca. 560-550 BCE and a painter of the
ovoid neck amphora. The name derives from a vase found in Cerveteri (Berlin, Antikensammlung F1704; BAPD 310014) featuring
the Birth of Athena and the inscription: “I am Hermes of Kyllene.” Other subjects are Herakles, centaurs, Amazons, the Kalydonian
Boar Hunt, athletes, and the Gigantomachy. The main findspot is Cerveteri.
The KX Painter (Komast X) is an Athenian black-figure painter affiliated with the Komast Group and dated to the 570’s BCE.
Shapes are the lekanis, kantharos, and skyphos, but exclude the Komast cup. Subjects include male revelers ("komasts"), animals,
and hybrid creatures. Major findspots are Samos (Heraion), Athens (Agora, Kerameikos, Acropolis), and Naukratis.
The KY Painter (Komast Y) is an Athenian black-figure painter affiliated with the Komast Group and dated to the 570’s and
560’s BCE. Shapes include the Komast cup, skyphos, lekanis, and column krater. The main subject is male revelers ("komasts").
Komast cups attributed to the painter have been discovered in the Greek mainland and were widely distributed around the Mediterranean
and the Black Sea.
The Palazzolo Painter is an Athenian black-figure painter of Komast cups affiliated with the Komast Group and dated to the
560’s BCE or later. The name derives from a cup found at Akrai, Sicily (Palazzolo; BAPD 305020). Shapes include the Komast
cup, Siana cup, and skyphos. The main subject is male revelers ("komasts") dancing alongside females. Findspots include Athens,
Sicily, and Naukratis.
The Falmouth Painter is an Athenian black-figure painter affiliated with the Komast Group and dated to the 560’s BCE or later.
The name derives from a cup formerly in Falmouth, England (BAPD 305012). Shapes include Komast cups depicting male revelers
("komasts"). Most of the findspots are outside of Greece.
The Prometheus Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 570-555 BCE. The name derives
from an amphora (Florence, Archaeological Museum 76359; BAPD 310028) showing Herakles freeing Prometheus. Shapes are the neck
amphora, hydria, and column krater. Subjects include Herakles/Amazons, Trojan War, and Birth of Athena. Findspots include
Etruria, Clazomenae, Cyrene, and the Athenian Agora.
Sophilos is an Athenian black-figure painter active ca. 580-570 BCE, who signs vases as both painter (“egrapsen”) and potter
(“epoiesen”). The name derives from a signed dinos (London, British Museum 1971.1101.1; BAPD 350099) showing the Marriage
of Peleus and Thetis. Shapes include the dinos (or lebes), column krater, lekanis, and amphora. Other subjects include the
Kalydonian Boar Hunt, Funeral Games of Patroklos, Helen and Menelaus, Herakles, and centaurs. Findspots include Athens (Acropolis,
Agora, Kerameikos), Aegina, Naukratis, Smyrna, Sardis, and Sicily.
The Painter of Athens 533 is an Athenian black-figure painter active ca. 575-555 BCE. The name derives from a cup found in
Athens (Athens, National Museum 533; BAPD 300611) showing males and animals. Shapes include the cup, lekythos, and Siana cup.
The painter may be the first to decorate the inside tondo of the cup. Subjects are dancers, warriors, and animals. Findspots
include Turkey (Miletus, Pitane, Gordion), Sicily, Marseilles, and Rhitsona.
The Guglielmi Painter is an Athenian black-figure painter, or group of painters (Guglielmi Group) associated with the Tyrrhenian
Group, active ca. 560-545/50 BCE. The name derives from an amphora formerly in the Guglielmi collection (Rome, Vatican 34526;
BAPD 310055) showing Amazons and warriors. Shapes include the ovoid neck amphora and the hydria. Subjects include male revelers
("komasts"), Trojan War battles, Amazons, and centaurs. Vulci is the primary findspot.
The Polos Painter is an Athenian black-figure painter active ca. 575-565 BCE. The name derives from the cross-hatched crown
(“polos”) worn by his female and hybrid figures. Shapes include the lekanis, pyxis, hydria, skyphos, and plate. Findspots
include Athens (Agora, Acropolis), Cyrene, Tocra (Libya), Naukratis, and Samos (Heraion).
The Fallow Deer Painter is an Athenian black-figure painter of the Tyrrhenian Group active ca. 560-545/50 BCE. The name derives
from the appearance of deer with white spots on their backs on several examples. The primary shape is the ovoid neck amphora.
Subjects are Amazons, Gigantomachy, Herakles, Trojan War, and hunting. Findspots are Vulci and Tarquinia.
The Anagyrus Painter is an Athenian black-figure painter dated to the first quarter of the 6th c. BCE. The name derives from
the ancient name for Vari (Attica), where many vases have been found. Shapes include the amphora, oinochoe, chalice, and plate.
Other findspots include Spata (Attica) and the Athenian Agora.
The Painter of Eleusis 767 is an Athenian black-figure painter who worked in the first quarter of the 6th c. BCE. The name
derives from a tall neck amphora found at Eleusis (Eleusis, Archaeological Museum 767; BAPD 300247) decorated with animals
and women. Other findspots are in Athens (Acropolis, Agora).
The Panther Painter is an Athenian black-figure painter active ca. 620-600 BCE. A painter mainly of the lekanis with animal
friezes, Vari (Attica) is the primary findspot.
Kleitias is an Athenian black-figure painter active ca. 575-550 BCE who signs his name as painter (“egrapsen”). His best-known
work is a volute-krater known as the François Vase, which was found in Chuisi (Etruria) and is now in Florence (Archaeological
Museum 4209; BAPD 300000).It displays a series of mythological scenes and a large number of inscriptions. Other vases attributed
to the painter portray Odysseus, warriors, Amazons, dancing youths, and maidens. Other shapes include the Siana cup, Little
Master cup, skyphos, and hydria. Findspots include Athens (Acropolis, Agora), Samos (Heraion), Naukratis, Etruria, and Cyrene.
The Painter of Boston CA is a black-figure painter active ca. 575-555 BCE. The name derives from a Siana cup from Thebes (Boston,
Museum of Fine Arts 99.519; BAPD 300620) showing Circe and Acheloos. The main shape is the Siana cup, but a Panathenaic amphora
fragment with a runner is also attributed to this artist. Findspots include the Athenian Acropolis, Kavala, Rhodes, southern
Italy, and Naukratis.
Nearchos is an Athenian black-figure painter active ca. 570-555 BCE who signed as both potter (“epoiesen”) and painter (“egrapsen”).
Painting in a miniature style, the artist decorated the kantharos, Little Master cup, plaque (pinax), column krater, and aryballos.
Subjects include Herakles, Trojan War, Gigantomachy, Pygmies versus cranes, and Amazons. Findspots include the Athenian Acropolis,
Etruria (Cerveteri, Vulci, Vetulonia), Naukratis, Berezan, and Samos (Heraion).
The Heidelberg Painter is an Athenian black-figure painter active ca. 560-540 BCE. The name derives from a cup found near
Phaleron (Heidelberg, University vi.29; BAPD 300545) showing gods. The main shape is the Siana cup. Subjects include warriors,
youths, the symposion, athletes, Herakles, and mythological scenes. Findspots include Thasos (Artemision), Sicily, Miletus,
Taranto, Berezan, and Corinth.
The Painter of Acropolis 606 is an Athenian black-figure painter active ca. 570-560 BCE. The name derives from a dinos found
on the Athenian Acropolis (Athens, National Museum Acr. 606 [15116]; BAPD 300754) that displays warriors and battle. Shapes
include the column krater, neck amphora, amphora, dinos (lebes), and hydria. Findspots are in Athens and Attica, as well as
Odessa (Black Sea), Sicily, and Cyprus.
The C Painter is an Athenian black-figure painter active ca. 570-560 BCE. The name derives from the “Corinthianizing” style
of painting. Shapes are the Siana cup, lekanis, tripod kothon (or pyxis), skyphos, and lekythos. Subjects include dueling
warriors, horsemen, the symposion, male revelers ("komasts"), and mythological scenes. Findspots include Athens, Eleusis,
Perachora, Corinth, southern Italy, Rhodes, Kavala, and Naukratis.
The Sandal Painter (also known as the Rhitsona Painter) is an Athenian black-figure painter active ca. 575-555 BCE. The name
derives from a lekythos found in Etruria (Bologna, Museo Civico Archeologico PU 204; BAPD 300643) showing one boy hitting
another with a sandal. Shapes include the Siana cup, lekythos, and Little Master cup. Subjects are athletes, satyrs, and warriors.
Findspots include Attica, the Athenian Agora, Ampurias, Etruria, Rhitsona, Naukratis, and the Black Sea.
The Griffin-Bird Painter is an Athenian black-figure painter ca. 575-555 BC who decorated the Siana cup. The name derives
from the griffin-birds appearing on several examples. Subjects include animals, youths, and revelers ("komasts"). Findspots
include Taranto, Berezan, Corinth, the Athenian Acropolis, Miletus, and Naukratis.
The Civico Painter is an Athenian black-figure Siana cup painter active ca. 575-555 BCE. The name derives from a cup fragment
from Orvieto (Museo Civico 597; BAPD 300647) with male figures. Subjects include warriors, Theseus and the Minotaur, and athletes.
Findspots include Tocra (Libya), Taranto, Orvieto, and Thebes.
The Amasis Painter is an Athenian black-figure painter active ca. 560-515 BCE. The name derives from the potter ("epoiesen")
who signs as Amasis. Scholars debate if the painter and potter are one in the same. The painter sometimes combines the full
black-figure technique with outline and at times employs a minituristic style. Shapes include different amphora types, lekythos,
oinochoe, and alabastron. Subjects are Dionysos and his followers, other gods, draped figures, warriors, and revelers ("komasts").
Main findspots are Vulci and other sites in Etruria, Athens (Acropolis, Agora, Kerameikos), and Naukratis.
The Painter of London B76 is an Athenian black-figure painter active ca. 580-550 BCE. The name derives from hydria found at
Camiros, Rhodes (London, British Museum B76; BAPD 300790) showing Hector (inscribed) next to a frontal chariot. Other shapes
include the neck amphora, dinos (lebes), loutrophoros, belly amphora, and column krater. Subjects are Theseus and the Minotaur,
Trojan War, and the Kalydonian Boar Hunt. Findspots include Athens (Agora, Acropolis), Eleusis, Cyrene, Taranto, and Vulci.
The Tleson Painter is an Athenian black-figure painter of Little Master cups active from ca. 555 to 535 BCE. The name derives
from vases signed by the potter “Tleson, son of Nearchos” (“Tleson ho Nearcho epoiesen”), and it is possible that painter
and potter are one in the same. Decorated shapes are band-cups and lip-cups, and subjects include animals, Herakles, and Theseus.
Findspots are in Vulci and elsewhere in Italy, Sicily, Berezan, Naukratis, and the Athenian Acropolis.
The Painter of the Louvre F6 is an Athenian black-figure painter active in the mid-6th c. BCE and is classified as a “companion”
to Lydos. The name derives from a hydria (Pairs, Louvre F6; BAPD 300899) showing Dionysos with maenads and satyrs on the shoulder
and a duel on the body. Shapes include the column krater, belly amphora (Type B), and the shouldered hydria. Subjects are
gods, warriors, Herakles, centaurs, Theseus, and athletes. Known findspots are in Greece and Italy, as well as Berezan and
Cyrene.
The Painter of Vatican 309 is an Athenian black-figure painter active in the mid-6th c. BCE and is classified as a “companion”
to Lydos. The name derives from a neck amphora found in Cerveteri (Rome, Vatican 309; BAPD 300873) featuring animal friezes
and a duel. Primarily a painter of the neck amphora, other shapes are plates and column kraters. Subjects include animals,
duels, riders, and a few scenes of Herakles and Theseus. Known findspots are Athens, Delos, Etruria, Naukratis, and Histria
(Romania).
The Ptoon Painter is an Athenian black-figure painter active ca. 565-555 BCE. The name derives from the column krater discovered
in Boeotia (Mt. Ptoon) (Athens, National Museum 1001; BAPD 300776) decorated with animals. Other shapes include the ovoid
neck amphora, hydria, and Siana cup. Subjects are warriors, the symposion, draped, males, mythological scenes, and animals.
Findspots include Rhodes, Vulci, Sicily, and Tocra.
The Camtar Painter is an Athenian black-figure painter dated to the mid-6th c. BCE. The name derives from vases in Cambridge
(“Cam”) and Tarquinia (“Tar”). The main shape is the ovoid neck amphora. Subjects include Herakles/Amazons and the Arming
of Achilles. Findspots include Etruria (Cerveteri, Vulci, Tarquinia), Marseilles, Sardis, and Naukratis.
Tleson (active around 555-535 BCE) was an Athenian potter and perhaps also a vase painter in the black-figure style. He was
the son of the famous potter Nearchos and brother of Ergoteles. His workshop apparently produced mostly Little-master cups.
Sokles is an Athenian black-figure painter of Little Master cups active in the mid-6th c. BCE. The name derives from vases
signed as potter ("epoiesen") by Sokles, and it is possible the potter and painter may be one in the same. Shapes are lip-cups,
band-cups, and the kantharos. Subjects include Herakles fighting centaurs, youths, and Trojan War subjects. Findspots include
Etruria, Berezan, Daskyleion (Turkey), and Greece.
The Xenokles Painter is an Athenian black-figure painter of Little Master cups active in the mid-6th c. BCE. The name derives
from vases signed as potter ("epoiesen") by Xenokles. Shapes include more lip-cups than band-cups and at least one oinochoe.
Subjects include the gods, animals, youths, and Herakles. Findspots are in Etruria and southern Italy, Berezan, Miletos, and
the Athenian Acropolis.
The Oakeshott Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c.
BCE. The name derives from a cup, formerly in the Oakeshott collection (Oxford, Ashmolean Museum 1972.162; BAPD 350750), showing
animals. Shapes are band-cups and some lip-cups. One lip-cup (Boston, Museum of Fine Arts (69.1052; BAPD 210) features figure
decoration on the interior. Subjects are Dionysian, and findspots include Samos, Etruria, and Cyrene.
The Phrynos Painter is an Athenian black-figure painter of Little Master cups active ca. 560-540 BCE. The name derives from
vases signed as potter ("epoiesen") by Phrynos, and it is uncertain if the painter and potter are the same person. Subjects
include the Birth of Athena, Herakles, Bellerophon, Pegasos, and warriors. Findspots are Italy, Egypt, and the Athenian Agora.
Sakonides is an Athenian black-figure painter of Little Master cups active ca. 560-520 BCE. The signature as painter ("egrapsen")
appears on several cups, including one cup of Type A from the Athenian Acropolis (Athens, National Museum Acr.; BAPD 301108).
Subjects are mostly female heads, but also Herakles, youths, and riders. Other findspots include Etruria, Sicily, Thrace,
and Olbia.
Archikles is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The name derives from the
signature on cups signed as potter ("epoiesen") by Archikles. A band-cup signed as potter by Archikles and Glaukytes shows
the Kalydonian Boar Hunt on one side and Theseus fighting the Minotaur on the other. The main findspot is Vulci.
The Centaur Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c. BCE.
The name derives from a preference for painting centaurs and other equids. Known findspots include the Athenian Agora, Vulci,
Berezan, and Cyprus.
Neandros is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The name derives from the
signature on cups signed as potter ("epoiesen") by Neandros. Decorating both band-cups and lip-cups, scenes include chariots,
men, and Herakles. Findspots are Vulci and Corinth.
The Princeton Painter is an Athenian black-figure painter active ca. 545-530 BCE and a member of the Princeton Group. The
name derives from an amphora with a Panathenaic body found at Nola (Princeton, University Art Museum 169; BAPD 320405) showing
a man and a woman in a chariot. Shapes include the belly and neck amphora. Scenes include stock motifs (warriors, draped men)
and depictions of Herakles, Theseus, Trojan War scenes, and the Gigantomachy. Large numbers of vases have been found in Vulci,
while others come from Greece, Egypt, Cyrene, and Susa (Persia).
The Painter of the Vatican Mourner is an Athenian black-figure painter active ca. 560-540 BCE, who has been associated with
Group E. The name derives from an amphora from Vulci (Rome, Vatican 350; BAPD 310352) featuring a woman mourning over a deceased
warrior (perhaps Eos and Memnon). Shapes are mostly the amphora and other large vessels. Scenes are of the Trojan War along
with wedding and funerary iconography. Known findspots include Italy, Sicily, Naukratis, and Athens.
The Painter of Munich 1410 is an Athenian black-figure painter active in the third quarter of the 6th c. BCE. The name derives
from an amphora from Vulci (Munich, Antikensammlungen 1410; BAPD 301593) showing a duel over a fallen warrior. Shapes include
several amphora types and the hydria. Scenes include warriors, Amazons, and possibly the wedding of Peleus and Thetis. Known
findspots are the Athenian Agora, Vulci, and Orvieto.
The Painter of Berlin 1686 is an Athenian black-figure painter active ca. 550-530 BCE. The name derives from an amphora (Berlin,
Antikensammlung F1686; BAPD 320383) portraying a sacrifice to Athena. Other scenes include courting, choral performance, Herakles,
and warriors. Findspots are Etruria, Sicily, sites in Greece, Cyrene, and Kerch (Black Sea).
The Taleides Painter is an Athenian black-figure painter of Little Master cups active in the second quarter of the 6th c.
BCE. The name derives from vases signed as potter (“epoiesen”) by Taleides. Shapes include the lekythos, oinochoe, and hydria.
Subjects are youths, warriors, riders, Theseus and the Minotaur, and Herakles. Known findspots are Italy and Sicily, Berezan,
and Greece.
Antidoros in an Athenian black-figure potter of Little Master cups active beginning in the mid-6th c. BCE. The name derives
from vases signed as potter ("epoiesen") by Antidoros. Andidoros may have worked with more than one painter. Subjects include
Pygmies and cranes, hunting, and chariots. Examples have been found in Taranto.
The Epitimos Painter is an Athenian black-figure painter of Little Master cups active in mid-6th c. BCE. The name derives
from vases signed as potter ("epoiesen") by Epitimos. Subjects include youths, warriors, and erotic scenes. The main findspot
is Vulci.
Klitomenes is an Athenian black-figure potter of Little Master cups active in the mid-6th c. BCE. The signature of potter
(“epoiesen”) appears on a skyphos found at Sardis (Princeton, University Art Museum 29.180; BAPD 310585), showing a swan in
the tondo.
