The term 'Little Master cup' is a translation of the German Kleinmeisterschale, alluding to the small scale of the decorative
elements. It has a high-stemmed foot and an offset concave lip. Examples are divided into two categories: lip-cups and band-cups.
The Group of Walters 48.42 is a group of Athenian black-figure cups produced ca. 530-520 BCE. Considered to be part of the
Krokotos Workshop, the name derives from a cup (Baltimore, Walters Art Gallery 48.42; BAPD 302634) showing Dionysos’ head
between eyes on the exterior. The group is characterized by Type A cups that feature eyes on the exterior, some with figures
(satyrs, maenads, Herakles, Nereus), and a gorgoneion in the interior. Findspots include Vulci, Roselle, Falerii, and Athens.
The Phiale Painter was a painter of the Attic red-figure style. He was active around 460 to 430 BC. The Phiale Painter is
assumed to have been a pupil of the Achilles Painter.
The Hegesiboulos Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the potter (“epoisen”)
who signs as Hegesiboulos on a cup (New York, Metropolitan Museum of Art 07.286.47; BAPD 201603) showing a man and his dog
(surrounded by coral-red) on the interior and a symposion and komos on the exterior. A fragment of an unidentified shape from
the Athenian Acropolis (Athens, National Museum 2.538; BAPD 201604) showing a symposion has been connected to the painter.
The Goluchow Painter is an Athenian red-figure painter active in the late 6th c. BCE. The name derives from an olpe from Cerveteri
(Warsaw, National Museum 142463, ex Goluchow; BAPD 200045) showing a discus thrower. The other shape is the oinochoe, and
scenes are of athletes, a satyr, and musicians. Other findspots are Vulci and Athens.
Psykter' comes from a 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 tubes for cord. The psykters was
filled with snow or cold water and set to float in a krater full of wine.
The Geras Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a pelike (Paris, Louvre
G234; BAPD 202622) showing Herakles and Geras (“old age”). Other shapes are the neck amphora, kraters, hydria, and stamnos.
Subjects include Dionysos and followers, Ganymede, Theseus, Europa, Aktaion, Triptolemos and Demeter, and Herakles. Findspots
are Vulci, Nola, sites in Sicily, and Locris (Greece).
Elbows Out is an Athenian black-figure painter active ca. 550-530 BCE. The name derives from the exaggerated arm gestures
of the figures. Like the Affecter, Elbows Out is classified as a mannerist painter. Shapes include band-cups, lip-cups, the
skyphos, lekythos, and amphora. Subjects are animals, youths, women, and erotic scenes. Examples have been discovered in the
Black Sea, Etruria, Naukratis, and Greece.
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).
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.
The term 'oinochoe' means 'wine-pourer.' The wine jug is fashioned in many varieties (conical, concave, convex) but is usually
furnished with a single vertical handle. The mouth can be round, trefoil, or beak-shaped.
The Segment Class is the name assigned to a class of Athenian black-figure cups that have figure decoration covering their
whole interior, while their exteriors are black. They date to the last quarter of the 6th c. BCE, and their subjects are mostly
Dionysian. Findspots include Athens (Acropolis, Agora), Argos, Italy, Sicily, and the Black Sea.
Lids were associated with a variety of vase shapes. Vessels that generally had lids were the pyxis, lekanis, lebes gamikos,
and sometimes the amphora and oinochoe.
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 Euergides Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the potter ("epoiesen")
who signs as Euergides on several examples. Shapes are cups and the alabastron. Subjects include warriors, women, athletes,
satyrs and maenads, hunting, Theseus and the Minotaur, Achilles and Ajax, and revelers (“komasts”). The painter also places
sphinxes, griffins, and winged horses near the cup handles. A notable example is the cup dedicated on the Athenian Acropolis
(Athens, National Museum Akr. 2.166; BAPD 200761) showing Athena watching metalworkers. Other findspots are the Athenian Agora,
Thasos, Eretria, Etruria (Vulci, Cerveteri, Gravisca), Kerch, and Naukratis.
The name of this vessel comes from the word 'mastos' meaning 'breast,' since the shape of the cup resembles a woman's breast.
It is usually furnished with one vertical and one horizontal handle and is sometimes provided with a foot instead of a nipple.
The kylix is a large cup used for drinking wine. It has a relatively shallow bowl, two horizontal handles, and usually, but
not necessarily, a high stem above the foot. There are many types of kylix cups such as Komast, Band, Lip, Siana, Type A,
and Type B.
Hermonax is an Athenian red-figure painter active ca. 475-450 BCE. The name derives from the signature as painter (“egrapsen”)
on several vases. Shapes are the stamnos, pelike, neck amphora, loutrophoros, oinochoe, lekythos, lekanis, and cups. Subjects
include Dionysos and followers, revelers (“komasts”), weddings, warriors, the Death of Orpheus, Zeus and Ganymede, Boreas
and Oreithyia, Eros and lovers, and youths and young women. Some findspots are sites in southern Italy and Sicily, Cerveteri,
Ampurias (Spain), Athens (Agora, Acropolis), Argos, Brauron, Camiros (Rhodes), and Xanthos (Turkey).
The Telephos Painter is an Athenian red figure painter active ca. 470-460 BCE. The name derives from a cup found in eastern
Etruria (Boston, Museum of Fine Arts 98.931; BAPD 205037) showing Telephos at the palace of Agamemnon. The main shape is the
cup, but also the phiale, neck amphora, lekythos, and rhyton in the shape of a donkey head. Subjects include the symposion,
revelers (“komasts”), satyrs, athletes, warriors, Eos and Tithonos, and the Ilioupersis. Some findspots are Orvieto, Etruria
(Vulci, Tarquinia), sites in southern Italy and Sicily, Eretria, Athens (Acropolis, unspecified sites), and Camiros (Rhodes).
The Keyside Class denotes a group of Athenian black-figure painters active late 6th to early 5th c. BCE. The name derives
from two vases (Würzburg, Martin von Wagner Museum 347; BAPD 303245; and Würzburg, Martin von Wagner Museum 345; BAPD 303249)
with a key-pattern as a side border. Attributed to the class are the Leagros Group, Group of Vatican G49, Painter of Sèvres
100, and Class of Athens 581. The main shape is the oinochoe. Subjects include Dionysos and followers, Herakles, dancers,
the symposion, and Amazon. Findspots are Vulci, other Etruscan sites, and sites in southern Italy and Sicily.
The Hypobibazon Class denotes a group of Athenian black-figure vases made around 510 BCE. The name derives from an amphora
discovered in the Athenian Kerameikos (Athens, Kerameikos 158; BAPD 301866) showing a warrior about to mount a horse. The
shape associated with the class is a belly amphora (Type B) with rounded handles and feet. Painters of this class prefer daily
life scenes. Findspots are sites in Athens (Agora, Acropolis, Kerameikos) and Eleusis.
Meaning 'carry on both sides,' the amphora is made in all fabrics. It has two vertical handles, a wide body, and a narrower
neck. Some have a broad foot, some have lids and their size can vary. Used for both liquids and solids, the three main types
are: 1) Transport amphora -- a large coarse-ware shape with a long body, small toe and narrow mouth that can be stoppered.
2) Neck amphora -- there are many varieities in fine ware, all sharing an offset neck. In addition, there are specially named
variants, e.g. Nikosthenic, Nolan, Panathenaic, and pointed. 3) Belly amphora -- the body and neck form a continuous curve.
The forms of handles, mouth, and feet differ among the various types of amphorae.
Euthymides is an Athenian red-figure painter active ca. 515-500 BCE, who signed as both painter (“egrapsen”) and potter (“epoiesen”).
Euthymides is considered a member of the Pioneer Group, along with Euphronios, Phintias, and other vase-painters. One of the
best known works is an amphora (Munich, Antikensammlungen 2307; BAPD 200160) featuring revelers (“komasts”) and the inscription
“as never Euphronios.” Shapes include different amphora types, the hydria, and cups. Scenes are Dionysos and followers, other
gods, athletes, Theseus, Herakles, and the symposion. Some findspots are Vulci and other sites in Etruria, Athens (Acropolis,
Agora), sites in Sicily and southern Italy, and Vix (France).
The small version of the amphora, the amphoriskos is based on the pointed variant of the neck-amphora or transport amphora.
Used for perfumed oil, some carry stamped designs.
The Epeleios Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the appellation “Epeleios”
inscribed on several vases. Subjects include revelers (“komasts”), sacrifice, satyrs and maenads, athletes, and youths with
horses. Some findspots are Etruria (Vulci, Gravisca, Chiusi, Roselle), Athens (Acropolis, Agora), Selinus, and Olbia.
The Flying-Angel Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from an amphora found
in Capua (Boston, Museum of Fine Arts 98.882; BAPD 202711) showing a satyr supporting a child-satyr on his shoulders with
outstretched arms (“flying-angel”). Shapes include the amphora (Type C), kraters, pelike, lekythos, and a Panathenaic amphora
with revelers (“komasts”). Other subjects are athletes, the symposion, Dionysos and followers, warriors, and Herakles. Some
findspots are Cerveteri, Chiusi, Gela, Athens (Acropolis, Agora), Rheneia (Delos), Cyrene, and Kerch.
Kleophrades signed cups as potter (epoiesen 'made it') that were decorated by a variety of painters. Other vases have been
attributed to him on the basis of style. He was the son of the potter Amasis (q.v.).
The term phormiskos in ancient literary sources applies to all manner of woven bags, sacks, or baskets made from materials
including cloth, leather, or rushes. The ceramic Athenian phormiskos is a rare type of gourd-shaped vase that was produced
from the 6th c. BCE until around 480 BCE. The shape ranges from spherical, to pear-shaped, to ovoid, to elongated ovoid; all
have a slender neck that forms a single contour from lip to a rounded bottom. They are false vases, since the hollow interior
of the body connects to a solid neck. Because of this, along with their name, and their largely funerary iconography, they
were likely made specifically as a type of grave good that mimicked astragal (knucklebone) sacks made of perishable materials.
The Leafless Group is a group of Athenian black-figure painters active late 6th to early 5th c. BCE. The name derives from
the leafless branches added to the scenes. Shapes include kylix cups (Type A, Type B), the kyathos, and mastoid cups. The
scenes are mainly Dionysian. Findspots include Turkey (Smyrna, Xanthos, Clazomenae), Athens (Agora, Acropolis), Adria (Adriatic
coast of Italy), Olbia, and Camiros (Rhodes).
The Bulas Group is a group of Athenian black-figure painters active in the early 4th c. BCE. The group is known for decorating
the miniature Panathenaic amphora. The name derives from Casimar Bulas, the scholar who first assembled the group. Scenes
are of Athena, athletes, and Eros. Findspots include Greece (Corinth, Eretria, Athens), Amathus (Cyprus), Al Mina (Syria),
and Cumae.
Impressed describes decoration that is added by impressing or stamping (see Stamped) designs onto the surface of the vessel
before it is painted. In Athens, it first appears around the middle of the 5th c. BCE perhaps in the work of the Sotades Painter
(see Painter). The ornament generally consists of small and simple motifs, such as rosettes, concentric circles, palmettes,
ovules, and tongues. Impressed and stamped decoration usually appears on drinking vessels.
Black pattern is a term sometimes used to describe Athenian vases without human or animal figures. The decoration includes
floral, linear, or patterned bands. On some vases, large areas of the surface are painted black with a reserved band for decoration.
Examples are dated from the mid-6th through the 4th c. BCE. Other regions producing their own versions of black pattern decoration
included Corinth, Boeotia, Laconia, and South Italy.
Onesimos is an Athenian red-figure painter active ca. 505-480 BCE, and associated with the Proto-Panaitian Group. The name
derives from a cup found at Vulci signed as painter (“egrapsen”) by Onesimos and as potter (“epoiesen”) by Euphronios (Paris,
Louvre G105; BAPD 203218) showing horsemen. The primary shape is the cup (kylix). Other shapes are the skyphos, plate, and
pyxis. Subjects include Theseus, Herakles, the Trojan War, the symposion, revelers (“komasts”), athletes, and nude females.
Some findspots are Etruria (Vulci, Cerveteri, Tarquinia, Chiusi, Orvieto), sites in southern Italy and Sicily, Athens (Acropolis,
Agora), and Naukratis.
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 Charmides Painter is an Athenian red-figure painter active ca. 480-460 BCE. The name derives from the inscription “Charmides
kalos'' or “kalos Charmides” (“Charmides is beautiful”) on several vases. Shapes include the neck amphora (Nolan amphora)
and lekythos. Subjects are Eros, warriors, the Judgement of Paris, Eos and Tithonos, Nike, and satyrs. Findspots are sites
in southern Italy and Sicily and the Athenian Agora.
A Bronze Age Minoan style perhaps inspired by frescoes, the entire surface of a pot was covered with sea creatures, octopus,
fish and dolphins, against a background of rocks, seaweed and sponges.
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 Siren Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from a stamnos from Vulci (London,
British Museum E440; BAPD 202628) showing Odysseus and the Sirens. Shapes are the pelike and stamnos. Subjects include Herakles
and Deianira, Perseus and a Gorgon, and the Struggle for the Delphic Tripod. Findspots are Vulci and perhaps Cerveteri.
The Chelis Painter is an Athenian red-figure cup painter active ca. 515-500 BCE. The name derives from the potter (“epoiesen”)
who signs as Chelis. Subjects are Dionysos and followers, and the known findspots are in Etruria.
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.
Gold is a chemical element with the symbol Au (from Latin: aurum) and atomic number 79, making it one of the higher atomic
number elements that occur naturally. In a pure form, it is a bright, slightly reddish yellow, dense, soft, malleable, and
ductile metal. It appears to be the earliest metal to be manipulated by humans.
The Antiphon Painter is an Athenian red-figure painter active ca. 490-470 BCE. The name derives from the inscription “Antiphon
kalos” (“Antiphon is beautiful”) on a stand from Pomarico (southern Italy) (Berlin, Antikensammlung F2325; BAPD 203436) showing
athletes. The cup is the main shape, and subjects include warriors, hunting, Herakles, Theseus, the symposion, and revelers
(“komasts”). Findspots are the Athenian Acropolis, Etruria (Orvieto, Vulci, Tarquinia, Cerveteri, Chiusi), and sites in southern
Italy.
The Acheloos Painter is an Athenian black-figure painter active from the end of the 6th c. BCE who is associated with the
Leagros Group. The name derives from an amphora found at Vulci (Berlin, Antikensammlung F1851; BAPD 302396) depicting Herakles
and Acheloos. Shapes include the neck amphora, lekythos, and hydria. Subjects are mythological with many featuring Herakles.
Findspots include Vulci, Cerveteri, and sites in southern Italy and Sicily.
Lead is a chemical element with the symbol Pb (from the Latin plumbum) and atomic number 82. It is a heavy metal that is denser
than most common materials. Lead is soft and malleable, and also has a relatively low melting point.
The Athena Painter is an Athenian black-figure painter active ca. 490-460 BCE. The name derives from a preference for showing
scenes of Athena. A few red-figure vases have been connected to this painter, who is perhaps the same artist as the Bowdoin
Painter (see Bowdoin Painter [red-figure]). White-ground vases by the painter or from the painter’s workshop are attributed
to the Sèvres Class. The main shapes are the lekythos and oinochoe. Findspots are Eretria, Athens, Olympia, Delphi, Rhodes,
Etruria, southern Italy, and Sicily.
Outline denotes using black lines of clay slip to express the edges of a figure or form, leaving interior areas unpainted
or untreated. It is commonly used for details of anatomy on figures, such as eyes, faces, and exposed parts of the body. In
Athens, it first appears in the Geometric period (see Geometric) combined with silhouette, then in the Orientalizing period
(see Orientalizing), and eventually later as part of the black-figure, red-figure, and white-ground techniques.
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 Type B exaleiptron is the later of the two types and is differentiated by its tall, medium-wide stem terminating in a
disc-like foot. Authorities do not fully agree on the name of this vase and it is also called ‘plemochoё’ and (incorrectly)
‘kothon.’ For further information on terminology, see 'exaleiptron.'
The use of white-ground (see White-ground) with the black-figure technique (see Black-figure) was pioneered by the Edinburgh
Painter (see Edinburgh Painter) during the late 6th c. BCE. A white slip (see Added White) is applied to the surface of the
vase onto which human or animal figures are painted using black-figure. Shapes include the lekythos, oinochoe, and small neck-amphora.
The Type A exaleiptron 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 ‘plemochoё’ and (incorrectly) ‘kothon.’ For further information
on terminology, see 'exaleiptron.'
The Clinic Painter is an Athenian red-figure painter active ca. 470-460 BCE. The name derives from an aryballos (Paris, Louvre
CA2183; BAPD 210078) showing a medical scene. Shapes are mainly cups, but also the askos, aryballos, stamnos, and oinochoe.
Subjects include Dionysos and followers, revelers (“komasts”), Eros, warriors, youths, men, women, Herakles, and the Embassy
to Achilles. Findspots are Adria, Spina, Etruria (Vulci, Chiusi, Orvieto), and Nola.
Makron is an Athenian red-figure painter active ca. 495-475 BCE. The name derives from a skyphos from Suessula with the signature
of Makron as painter (“egrapsen”) and Hieron as potter (“epoiesen”) (Boston, Museum of Fine Arts 13.186; BAPD 204681) showing
Paris and Helen on one side and Menelaus and Helen on the other. The main shape is the cup, but also the aryballos, askos,
stamnos, oinochoe, plate, and pyxis. Subjects include musicians, revelers (“komasts”), courting, the symposion, Dionysos and
followers, a satyr-play, athletes, warriors, centaurs, Herakles, Demeter and Triptolemos, and the Trojan War. Some findspots
are Athens (Acropolis, Agora), Etruria (Vulci, Orvieto, Cerveteri, Chiusi, Tarquinia), Adria, sites in southern Italy, and
Ampurias (Spain).
The Chalcidising Cup is a type of cup produced in Athens ca. 520 BCE that copies a shape made in southern Italy. Most feature
eyes on the exterior, some with figures (satyrs, Dionysos, warriors), and a gorgoneion in the interior. Their painters are
not named. Findspots are in Etruria, the Black Sea, and Attica.
The Sappho Painter is an Athenian black-figure painter active in the late 6th and early 5th c. BCE who uses white-ground with
black-figure. The name derives from a hydria (Warsaw, National Museum 142333; BAPD 510) in Six’s technique depicting Sappho
(inscribed) playing the lyre. Other shapes are the lekythos, column krater, loutrophoros, epinetron, alabastron, mastos, and
plaque. Scenes include chariots, Herakles, Athena, and funerary themes. Findspots are Athens (Agora, Kerameikos, Acropolis),
Eleusis, Corinth, Vari, Phaleron, and sites in Italy.
The Nikoxenos Painter is an Athenian red-figure painter active late 6th to early 5th c. BCE and affiliated with the Leagros
Group. The painter also produced black-figure and bilingual vases (see Nikoxenos Painter [black-figure]). The name derives
from a Panathenaic amphora from Capua, Italy (Oxford, Mississippi University Museum 1977.3.115; BAPD 202964) with “Nikoxenos
kalos” (“Nikoxenos is beautiful”) inscribed on Athena’s shield. Other shapes are the amphora, hydria, and pelike. Subjects
include the Death of Priam, Perseus and Medusa, and religion. Findspots are sites in Etruria (Vulci, Tarquinia, Cerveteri),
the Athenian Acropolis, Aegina, and Naukratis.
The Salting Painter is an Athenian red-figure cup painter active ca. 510-500 BCE. The name derives from the previous owner
(Walter Salting) of a cup (London, Victoria and Albert Museum C2 496.1910; BAPD 201631) showing an athlete with a discus on
the interior. Other scenes include warriors and revelers (“komasts”). Findspots are mainland Greece (Corinth, Atalanti), Etruria,
Rome, and Naukratis.
From the Greek word for 'beetle,' the term kantharos is now used conventionally for a drinking cup with two vertical, usually
high-swung, handles. The shape, most likley derived from metal vessels, is often shown in the hands of Dionysos, the god of
wine. The kantharos has various different forms.
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 Oinanthe Painter is an Athenian red-figure painter active ca. 470-450 BCE and a member of the Mannerist Group. The name
derives from the inscription “Oinanthe kale” (“Oinanthe is beautiful”) on a hydria found at Vulci (London, British Museum
E182; BAPD 206695) showing the Birth of Erichthonios. Other shapes are the column krater, pelike, and hydria. Scenes include
Theseus and gods and goddesses. Findspots are Norcia (southern Italy) and Vulci.
The Group of the Negro Alabastra denotes a group of Athenian white-ground vases, decorated with figures in silhouette and
outline and produced in the 480’s BCE. The name derives from the shape (alabastron) that is often decorated with African males.
Aside from the alabastron, the group also decorated a few plates. Subjects include isolated figures: a draped African male
sometimes holding objects, an Amazon, and a Thracian. Some findspots are Boeotia (Thebes, Tanagra), Camiros (Rhodes), Athenian
Acropolis, and sites in southern Italy.
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 Dot Band Class denotes a group of Athenian black-figure painters of the small neck amphora active late 6th to early 5th
c. BCE. The name derives from a band of dots on the neck of the amphora. Attributed to the class are the Edinburgh Painter,
Michigan Painter, Leagros Group, Group of Brussels R312, and the Bompas Group. Scenes are of Dionysos and followers, Herakles,
warriors, and Amazons. Findspots include sites in Etruria, southern Italy and Sicily, the Athenian Agora, and Rhodes.
The Swan Group is a group of Athenian black-figure painters active during the 6th c. BCE. The group is known for decorating
miniature vessels. The name derives from the prevalence of black silhouette swans (often upside down) as decoration. Shapes
include the pyxis, skyphos, lekanis, plate, oinochoe, phiale, and lebes. Findspots are Athens (Agora, Acropolis, Kerameikos),
Attica (Koropi, Eleusis), Tocra (Libya), Syracuse, and Perachora.
The term refers to a long, semi-circular cover for the knee and thigh, over which wool was drawn to remove dirt. It is wider
at the open end where the thigh is thicker and closed at the narrow end to fit over the knee cap. The top of the epinetron
is covered with an incised scale pattern, which produced the necessary roughness when the wool was rubbed against it. The
shape is uncommon in black-figure.
The psykter-amphora is a double-walled container whose walls are attached at the neck and at the base, the outer vessel having
a spout at 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 shape was probably only produced in the 6th c. BCE.
Eucharides Painter is the common nickname of an ancient Greek artist who decorated but did not sign attic vases. Neither his
real name, nor the dates of his birth and death are known. Presumably this artist was a pupil of the Nikoxenos painter.
The term ‘exaleiptron’ comes from the word meaning ‘to anoint,’ and the shape is a low-lidded bowl with a wide shoulder and
high or low foot. It is thought to have held scented water for personal use, for religious ceremonies, and for the grave.
Authorities do not fully agree on the name of this vase and it is also called ‘plemochoё’ and (incorrectly) ‘kothon.’ There
is a tendency to use the name ‘exaleiptron’ for the stemless version of the vase, in particular for the Corinthian examples,
and ‘plemochoё’ for the Athenian high-footed shape, which is also frequently provided with a lid.
The Lysippides Painter is the conventional name Sir John Beazley (1885-1970) applied to the individual who he believed painted
the black-figure work of the red-figure painter known as the Andokides Painter (see Andokides Painter [Black-figure]; see
Andokides Painter [Red-figure]; see Andokides potter [Black-figure]) (ca. 530-515 BCE). It is still debated as to whether
they are two artists with identical style or the same artist working in two techniques. Scholars believe the painter to be
a student of Exekias.
Pithoi were large, heavy-duty storage jars (Ali Baba jars) used for grain and various other materials. They were also used
for interments and were sometimes decorated with reliefs designs. Smaller versions go by the name of the pitharion (pl. pitharia).
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 Elpinikos Painter is an Athenian red-figure cup painter active in the early 5th c. BCE. The name derives from the inscription
“Elpinikos kalos” (“Elpinikos is beautiful”) on several examples. Subjects include Menelaus and Helen, the symposion, and
youths. Findspots are sites in Etruria (Orvieto, Vulci, Cerveteri).
The Pithos Painter is an Athenian red-figure cup painter active at the end of the 6th c. BCE. The name derives from the storage
vessel (pithos) represented in several scenes. Subjects include youths, satyrs, warriors, archers, athletes, and the symposion.
Findspots are Athens (Agora, Acropolis), Camiros (Rhodes), Chios, Rhitsona, Perachora, Delos, Olynthos, Adria, Gela, Naukratis,
Al Mina, sites in Israel, Olbia, and the River Thames (Reading, UK).
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 Dolphin Group are a group of black-figure painters active in the mid-6th c. BCE. Originally considered to be Athenian,
the group has also been associated with Euboea. The name derives from the dolphins on the shoulder of the vessels. The primary
shape is the lekythos. Scenes are of animals and floral motifs. Findspots include Athens (Kerameikos, Agora), Ialysos (Rhodes),
Cerveteri, and sites in Euboea.
The Akestorides Painter is an Athenian red-figure painter active ca. 470-450 BCE. The name (“Akestorides”) is inscribed on
a cup from Aegina (New York, Metropolitan Museum of Art 22.139.72; BAPD 209611) showing a boy playing the lyre. The main shape
is the cup. Subjects include satyrs and maenads, revelers (“komasts”), athletes, musicians, and draped figures. Findspots
are Vulci, Orvieto, Koropi (Attica), Athens, Aegina, and Kerch.
Marble is a metamorphic rock composed of recrystallized carbonate minerals, most commonly calcite or dolomite. Marble is typically
not foliated, although there are exceptions. In geology, the term marble refers to metamorphosed limestone, but its use in
stonemasonry more broadly encompasses unmetamorphosed limestone. Marble is commonly used for sculpture and as a building material.
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).
A plate with a low foot, an overhanging rim, and a small depression in the centre of its floor for sauce. When figural, it
is usually decorated with fish.
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.
The Matsch Painter is an Athenian red-figure painter active ca. 480-470 BCE. The name derives from the former collector of
a pelike (Pennsylvania, Private Collection; BAPD 202568) showing a man with a staff and a woman with a basket. Other shapes
are the neck amphora and column krater. Subjects include Herakles and Geras (“old age”), Dionysos and followers, and warriors.
Findspots are Padula (southern Italy) and Cerveteri.
Named for the scholar who first studied them, Droop cups (pronounced 'Drope') derive their shape from Little Master cups.
They have concave black lips marked off more clearly from the body than the Little Master cups, a tall-stemmed foot with a
plain fillet and band (sometimes grooved) at the top, and a black toe. There is a broad black band within the hollow foot,
in the bowl a reserved band low in the lip, and sometimes a reserved center disc.
Athenian red-figure vase-painter whose name is unknown. Nevertheless consistent individual characteristics of style suggest
the existence of a unique artistic personality. Beazley called him the Nikosthenes Painter naming him after the potter Nikosthenes
who signed some of the vases he decorated.
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.
