Senza nome: 22 (Mnemosine) (Italian Edition)

Literature fiction

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Roma, 6 giugno - Inaugurazione della Rassegna e Cerimonia di consegna del Premio Mnemosine

These eyes are double: They are haughty black eyes, without shilly-shallying. Each pupil lit by a tiny, firm white light. Dots of light that elsewhere, in other cycles of works, flare up in electric tangles, unruly fires, visual blinding. All the power of these eyes, of this flashing of eyes tortured by being doubled, prostheses and deictic for the beholder, is made even more explicit by the modality of painting digitally the space in which the women are placed.

The portraits, that certainly remain firmly bound to the icons of the original masterpieces, underwent a twofold process: Looking at you is the work. Looking at you is I: In turn I ask you to look into us, look into yourself. To hold out your hand, to save us, dwellers in an era out of which we may emerge, visionary and mercurial, in the fullness of our ability to be humans. I am asking you, Mariella Bettineschi seems to be saying to us, with the very eyes of the women trapped in a painting, in their being muses, lovers, concubines, wives.

Never acknowledged as protagonists. Then the shots are reworked and assembled according to two criteria: A man, wearing a white tunic, is portrayed in profile. Man and woman are looking in the same direction. The face, duplicated in an androgynous projection, stands out against a neutral ground that looks like an alchemical metal, cut horizontally by a black blade that splits the entire image in two fields. A hint of nature rises behind the face, a rock spreading to the upper part of the image.

What should arise is this hidden — lost? Through the sacrifice of a gaze the disturbing images slide over the screen in a minutes-long delirious trip. The artist is the medium of another vision, at the cost of placing on the anatomy table — so cherished by the early 20 th -century avant-gardes — images of every kind and decencies of any nature.

The entire Surrealist esthetics is thronged with looks. In she worked on her own portrait: A course that Mariella Bettineschi had already somehow interiorized without needing to perform it, tending toward a way of doing art that would be asserted much later, after having also gone beyond Transavangardist demands: With her hybridizing and combining materials, media, alphabets, with the constant osmosis and contamination between her research periods, the central role given to process over method, the passion for manual dexterity where the medium is digital, the delicate hardness with which she entraps and circumscribes, sections and duplicates an image for it to become an offshoot generating new iconographies, Mariella Bettineschi is an artist who at the very dawn of her career was already fully projected beyond the s into the new millennium: Postmodernism, far from challenging this notion of universality, often does but reinvest it to peremptorily deliver a message of relativity.

So a feminist critique of the patriarchal order has to also be a critique of the order of representation. They are traces in the riverbed or Architectures on the edge of the forest where natural elements vary their usual position giving space new meaning. Since Mariella Bettineschi has replaced direct interventions on Nature and its concealment in the little black wood and glass theaters with digital painting and printing on Plexiglass, creating a lush, silent vegetation where if Man went by he gently cast a stone into the pond; elsewhere, cosmic ellipses suggest to us that alien presences, gazes from other worlds may have caressed the idea of halting in the coolness, steeping the surrounding glade in a milky, acid light.

Mystery, attraction, and silence, undecipherable trajectory, occult presence, alchemy of the image as it evaporates in diaphanous memory: Curated by Amnon Barzel it brought together a selection of artists asking them to express themselves in the space of the factory, receiving and elaborating the stimuli given by its rhythms and products, its workers and managers. Once again there is the problem of generation, of finding — or better said, finding all over again — in the mandala of the creative process the principle, the origin of a gesture that gives birth to the world all over again. Here Mariella Bettineschi is exemplary, prolific, each time amazing in the variegated unity of the linguistic results.

It is a composite work, a series of drawings printed on round shapes of Plexiglass to be arranged in space: Silence steeps the rooms, an absence of words that seem poised in the central cloud that thickens and evaporates in each of these interior views, barely letting us make out the edges of these storerooms of knowledge, with shelves and piled up books, stuccoed ceilings or geometric paving, chairs and tables where hours are spent immersed in reading.

The eye is forced to a constant inside-outside motion, from the steaming vacuum encamped at the center to the perimeter where the objects reproduced remain visible. But on this laterality also, the eyes are drawn to the reflecting background that repeats and doubles the margins of the library in an apparently endless echo of returns. She starts analogically from the photograph to intervene directly on it with digital painting, and accelerate the blurring effect by a thickening that in the core of the reproduced image becomes blank, empty.

Diaphaneity in fact offers the artist a range going from the ghost of pure transparency to translucency that lets light filter through but does not allow to see the outlines or the traces of the figures behind the screen to cloudiness and the most impenetrable opacity. So diaphaneity is the medium whereby the process of surfacing something to visibility can happen: Seeing the edge, we discover the all.

Seeking for something that in us is latent, marginal, under the crust of conventions and habits: A thinker is a finder, an innovator like a troubadour.

A small book, resting on an easel, is encamped on a stretch of sea, just set off for a journey in the cloudy depths of water: And every momentary state of a simple substance is a natural consequence of its immediately preceding one, so that the present is big with the future. What is more, I have proved conclusively that God sees in each portion of the universe the whole universe, owing to the perfect connexion of things. He is infinitely more discerning than Pythagoras, who judged the height of Hercules by the size of his footprint.

The monad produces them out of itself. La forma dello sguardo nella pittura di Gerhard Richter , Venice, Marsilio, , p. Vedere attraverso , edited by Chiara Casarin and Eva Ogliotti cit. Collection Camporeale , no. A , H70 krateriskos H. It is attached to metal pieces inserted through the top of each handle of the krateriskos. The same kind of grey plaster seems to have been used for the restorations of A Grey bucchero, quite fine.

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Much encrustation all over. Oblique neck; distinct angle between neck and shoulder. Body globular; low flaring foot. Two short vertical handles attached at lip and shoulder, each decorated with an outward facing human head. The body is decorated with three rows of incised tear drops with the pointed ends facing downwards. Below the tear drops are three horizontal, parallel grooves. Larger krateriskoi are dated by De Puma to the first half of the 6th century BC, and considered to be made at Vulci.

There are also krateriskoi of similar form but decorated with an animal frieze published by Camporeale , 55 nos. See also Gercke , no. The metal handle was originally attached to an ancient bronze situla, and it was presumably added to the krateriskos by the Campana restorers. For similar handles, ending in a pine-cone, see Berti-Guzzo , , nos. A , H72 chalice H. Restored from fragments with minor replacements. Some encrustation on the surface. Black bucchero, lustrous in places. Roughly hemispherical bowl, with horizontal ridge near the bottom. The ridge is decorated with diamond notches.

Between the ridge and the lip is a set of three fine horizontal incised grooves. Below the ridge are four fine incised horizontal grooves. Inside the bowl at the bottom are a central boss and radial incisions. The bowl is supported by a high and complex foot. It consists of a base with central stepped conical stem which does not reach the bottom of the bowl, and around the outside, attached to both base and bowl, are two caryatids alternating with two openwork plaques decorated with a sphinx with body facing right and frontal face.

Beginning of the 6th century BC. This is a typical bucchero type 1a chalice with caryatid supports Rasmussen , See also Cristofani-Zevi , and Brady , The caryatid type is class B2 of Cristofani-Zevi It is a female figure, wearing a mantle and polos, her hands grasping her braids at her breasts. This caryatid type was produced at Caere and Veii in the first third of the 6th century.

There are many similar examples to A see Brady , 50 ; some are from the C. Collection Camporeale , nos. A , H74 kyathos H. Bucchero, grey fabric with lustrous black surface. Traces of modern varnish on the body. Deep body with oblique walls, and low foot. High ribbon handle with a bull protome at the top; handle attached at base of body and at lip. Inside the kyathos are two incised lines. This can be classified as kyathos type 1h of Rasmussen , and pl. A is close in form and decoration to the two kyathoi published by Rendeli , 83 no.

FE 10 4, pl. FE 10 3, pl. See also the examples in the C. Paul Getty Museum 6 , 34, pl. A , H66 oinochoe H. Bucchero, with traces of modern varnish on the outside and below the foot. Trefoil mouth, cylindrical neck flaring towards the lip. Transition between neck and shoulder marked by a sharp change in angle and a raised cordon. Globular body and wide ring foot. Thick ribbon handle attached at lip and shoulder. Handle decorated, on the upper spring of the handle next to the lip, with a human head, Daedalic style, with incised details. Second half of the 6th century BC. This can be classified as Rasmussen type 7a , , pl.

Common in Etruria, generally in grey bucchero, and rarely with decoration, see Zampieri , no. A , H1 column-krater H. Restored from numerous fragments with additions. The paint has mostly disappeared; traces remain of added red and white. Interior black painted, but with some reddish and brown patches. The rosettes are repeated on the foot. Tongues on the shoulder. At the bottom of the body are rays and above these a horizontal line.

On the plaque of each handle is a siren, and under each handle are two facing panthers. On the body are two registers divided by a line. The upper register, side A, shows three male figures reclining on klinai with fringed mattress covers, and before them are tables laden with food and footstools. Three kylikes and two kerata hang on the wall. Side B shows three riders galloping to the left. Each has a helmet, spear and shield, and leads a second horse.

Rosettes above, and a bird to the right of the horsemen. The lower register shows an animal frieze with grazing goat facing right and panther facing left repeated three times, and a siren. Benson ; near the Detroit Painter D. Middle Corinthian, BC. The column-krater is a form characteristic of Middle Corinthian, throughout the first half of the 6th century, and widespread in Etruria where A was probably found. The banquet and procession of horsemen are common themes in Middle Corinthian production, and illustrate characteristic activities of an aristocratic society Cristofani-Martelli , and The horsemen procession appears on another vase which belonged to Marquis Campana, now in the Louvre Cp , see Greenhalgh , ; Maul-Manderlatz , ; Madigan , no.

The poor state of preservation of the decoration makes attribution difficult. Benson , List 82 no. In a letter of from Benson to J. B and Corinth fragment inv. C19; Bakir , 15, no. K38; Corinth 7, 54, 59; Margos , , figs. VC08; Corinth 15, ; Amyx , no. A , H2 cup with human face H. Intact apart from slight damage to the surface. Encrustations, and paint partly lost. Body globular, small flaring foot. Double-torus loop handle attached at bottom of lip and belly.

Interior, lip, lower body and handle painted black. On the body, opposite the handle, is a human face modeled and with the features painted. Flanking the face are two aquatic birds facing right, the feathers indicated with incised lines 9 and Various decorative motifs complete the field, and there are two lines below the face. A , H7 Tyrrhenian amphora H. Intact, except for some chips in the rim. Added white faded, added red well preserved. On neck, palmettes and lotus buds interlaced, with detail in red and incisions. On the shoulder, below the plastic ring, red and black tongues.

At the base, rays. On the body, four friezes separated by pairs of lines in dilute glaze. From the top, A1, four pairs of menads and satyrs dancing, with nonsense inscriptions on the background; B1, eight hoplites running to the left, with nonsense inscriptions on the background. The second frieze, A2, panther to right, three sirens, panther to left; B2, he-goat to right, panther to left, he-goat to right, panther to left. The third frieze, A3, ram to left, panther to right, a deer-hunt, panther to left, ram to right; B3, panther to the left, ram to the right, panther to the left, panther to the right.

The fourth is an animal frieze, a repeated scheme with a he-goat facing a panther. In the s, the restorers removed the 19th century repainting, as we read in a letter dated from 18 September , written by D. Hoplites are also a common subject, but the Brussels vase seems to be the only one on which the warriors are shown running instead of marching Kluiver , Also unusual is the scene of two men hunting a deer on foot; they usually ride horses Schnapp , Both Beazley and von Bothmer knew of the Brussels amphora but neither attributed it to a painter.

Recently, it has been attributed to the Kyllenios Painter by Kluiver , For this painter, recognizable in the slightly rigid rendering of the warriors and the arrangement of animals in three registers below the shoulder, see von Bothmer , and Kluiver , , For the vessel shape used by the painter, see Kluiver , , A careful analysis of the Brussels vase has been made by Baurain-Rebillard , in a study of the use of alphabet letters and nonsense inscriptions on Thyrrenian amphorae.

Several missing fragments on the rim and shoulder; modern foot. On the neck, a double row of antithetic palmettes linked with a chain; on the shoulder, tongues, alternating plain and glazed, and a palmette-lotus festoon. Upright lotus buds and a band of double rays above the foot. Under each handle, a winged figure. The amphora had been restored and completed, presumably by the restorers working for Campana.

Beazley has attributed the Brussels vase to the Phrynos Painter, a member of the so-called Little Masters, who was particularly fond of this kind of amphora as well as of the more traditional cups ABFV, L ABV, no. A close parallel for the iconography, which helps to complete the arming scene on B, is the scene on a fragment in Milan inv. For the winged figure under the handles, see an amphora in Berlin inv.

F ABV, no. A , H4 amphora type B H. Scratched surface, mainly on rim and handles. On the foot, large red area misfired. Outside, a red line on the neck and hanging lotus buds. Rays above the foot. Dionysos between a female figure on the right and Hermes on the left; a dotted vine in the background. Amazon fighting with two warriors. With regard to side B, von Bothmer included the scene in a small group of vases representing three figures, an Amazon and two warriors, for which there are not enough details to provide a more precise identification, so that the image is classified as a generic Amazonomachy scene.

A , H3 neck-amphora H. Scratched surface in the interior, rim and handles. Inside the neck, lip, exterior handles and foot black-glazed. On the shoulder, tongues alternating black and red. Below the scene, the ornament is on two bands separated by two groups of three parallel lines: Under each handle, palmette cross. On the left, an old man seated, and on the right, a small winged figure is placed close to a palmette under the handle. Thus, the dead warrior could be either Antilochos, following the literary tradition, or Melanippos, according to the pottery tradition, a Greek hero murdered by Memnon EAA IV, s.

The small winged figure on B could be an allusion to the soul of Memnon, as one version of the myth states that Eos obtains immortality for her son destined to die, so that at the end of the fight, his soul was flown away by a god. For the female figures, see also the amphorae in the Louvre inv.

For the shape and the accessory decoration, with the characteristic three parallel lines and the elaborate palmette-cross under the handles, see Munich inv. Paul Getty Museum 1, pls. Paul Getty Museum 1, V 11, 42, pl. Restored from fragments, with plaster additions. Remains of ancient restorations: On shoulder, tongues and row of palmettes.

Palmette and volute complex around each handle. Below pictures, palmettes; beneath, rows. Details in white and red. Three young men reclining on klinai in the company of three hetairai. Euarchos, Euelthon retrogade , [A]ntias kalos, E[u]alkides kalos retrogade.

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Edmond Pottier knew of the stamnos in thanks to the notes of Albert Dumont and a drawing sent to him by Jean de Witte Pottier , note 1 , but there is no mention that it belonged to the Campana Collection. II, with watercolors ordered by A. As Philippart , writes: The vase shows an elaborate symposium, with the servants on the side B. On the stamnos, the painter has represented, together with Pheidiades, another young man, the hetairai Helike, Choro and Rhode, and the figure labelled as Smikros. The latter could be a self-portrait of the painter, the only known example in Attic pottery Keuls , , and it would be of an artisan taking part in an aristocratic symposium, a rarity in the Greek world.

The scene is therefore important for the study of the social status of potters and painters in Athens, for the presence of the signature Cohen , ; Williams , as well as for the participation of an artisan in an aristocratic practice Mark , 32 , generally considered improbable, if not impossible. Recently a new hypothesis has been suggested Hedreen An ironic way of communication, which would seem typical of the Pioneer Group, to which Smikros belongs. The scene could be understood not only by painters and potters, but also by the aristocrats at the symposium, accustomed to iambic poetry.

I, and vol. XXXI; Jacobsthal , pl. IV; Furtwangler-Reichhold , vol. II, 4, 10 note 2; Kraiker , 18 no. XXI,3; Picard , pl. I,4; Dinsmoor , , no. XI; Rumpf , pl. A , H15 kylix H. In the background, the inscription krates k[a]los in red. In the background, the inscription krates k[a]los ka[lo]s in red. In the background, the inscription krates kal[o]s krates in red. In the 19th century, Hartwig , 69 attributed the cup to Euphronios; eventually Beazley, who made a drawing of the kylix, which is in the Beazley Archive in Oxford, wrote: The iconography is typical of the Dionysiac world, with satyrs dancing, playing pipes and riding a bird with head and neck in the form of a phallus, Mischwesen, for which see Boardman , ; Dierichs , and Rickenbach , Moreover, the presence of the phallus-bird refers to erotism and sexual desire.

On side B, a komos of men dancing and drunk with wine, to which the amphorae, one held by a youth and another on a stand, clearly refer. Inside, where the satyr is playing askoliasmos, vases linked with wine are also represented. Mitchell , describes the mad komos as a parody. X, , ; Rizzo , ; Hoppin , vol. A , H10 kantharos H. Reconstructed from a number of fragments and restored. Missing parts on the rim; one handle and the attachment of the other are modern reconstructions.

He wears a lion skin and carries a sword in his left hand, and a bow in his right. To the left of the hero, an Amazon advances towards the centre; on the right, two Amazons, one of whom is on one knee drawing her bow, while the other, equipped as a hoplite, strides toward the hero. On either side are Amazons dressed as hoplites, with round shields, spears, cuirass, and crested helmets. They stride to the centre towards the hero, spears and bows upraised.

Inscription in red, on two lines: Today the kantharos is without the 19th century restorations visible on the photos published in the CVA; it had been reconstructed from fragments and partly repainted, probably by the restorers working for Campana. It bears the only known double signature of Douris as both painter and potter Buitron-Oliver , Buitron-Oliver Buitron-Oliver , 19 writes: XI; AA , 20 no.

I, ; Perrot-Chipiez , vol. I, ; Ducati , figs. LVII; von Bothmer , , no. A , H13 neck-amphora with double handles H. On the shoulder, tongues. On the body, below the picture a row of facing lyre palmettes; in the middle, a row of stopped meanders with cross-squares. Under the handles, an elaborate arrangement of palmettes and lotus buds. On right, an akontion leaning against the wall, and on the ground a diskos decorated with a silhouette owl and letters kalos. On left, various objects a strigil, an aryballos and a sponge on the wall. On right, a dikella, on left an akontion leaning on the wall.

The athletes represented on both sides of A are akontists, javelin throwers. Javelin throwing was one of the competitions of pentathlon, which also included the jump, footrace, discus diskos , throwing and wrestling: The objects hanging on the wall allude to a palaestra, where athletes exercised.

For the owl on the discus, see Beazley , , Shapiro , and Valavanis Beazley attributed the amphora to the Eucharides Painter, who worked in both the black- and red-figure techniques ABV, ; ARV2, ; Langridge ; Agora 30, ; for the rendering of anatomical details and the use of dilute glaze, see Beazley , Among the red-figure neck-amphorae attributed to the Eucharides Painter, the Brussels vase is small, with double handles ending in two circular convex reel shapes, like the amphora Naples inv.

Langridge , compares these two vases to the amphora in the Louvre, inv. G ARV2, , no. The amphora Louvre inv. E46 has an elaborate neck pattern on the obverse which is very similar to that of the Brussels amphora. For the shape, see Kurtz , 77, Euwe and Langridge , A , H11 oinochoe H.

Mouth reconstructed and slightly restored. Lacking all subsidiary ornament, except for a reserved line at the base of the neck and an incised line below the picture. He carries a barbiton on this shoulders and holds a plektron in his left hand. The inscription kalos is painted in red, placed horizontally between the two figures. Painter of the Brussels Oinochoai J. Second quarter of the 5th century BC. It is the eponymous vase attributed, together with the oinochoe A, by Beazley to a painter working during the second quarter of the 5th century BC ARV2, ; Add2, The two figures look towards each other and are related; on similarly shaped vases the two sides are usually connected.

Such a shape is rare in Attica, but quite common in Etruria, so that it has been suggested that it was made for export J. Neils, in Shapiro , no. On the Brussels vase the two komasts walk in the same direction and it is the krotala player who is looking back which creates a clear link between the two figures, a link emphasized by the kalos inscription.

A , H12 oinochoe H. Intact, but with a chipped mouth. Oval body with an offset neck, a spout extending upwards and a handle. Nike advancing to the right, but looking to the left, holds a kerykeion in her left hand.

The man is in frontal view but looking to the right. Painter of Brussels Oinochoai J. A , H14 lekythos H. On the body, at the top a band of meander to the left and a cross square; below the picture, a reserved line. A woman, wearing a himation over a chiton and a sakkos in her hair, walking to the right and looking to the left, holding a sash in the left hand.

Middle of the 5th century BC. Beazley attributed the Brussels vase to the Dessypri Painter, after a Greek collector. The lekythos is of standard shape and shows a subject much loved by the painter: Compare the lekythos inv. E80; for the painter, vol. Restored from fragments; one handle missing; surface chipped and worn. Reddish patches from imperfect firing. The Helbig-Reverse Group J. Middle of the 4th century BC. The vase had been completed with the addition of a handle, probably in the 19th century to make it more marketable.

Beazley included the Brussels pelike in his Helbig-Reverse Group, so called after an example today in Copenhagen, and formerly in the Helbig collection ARV2, , Similarities in shape and decoration among the nine pelikai attributed to the Group have been outlined by Klinger , On side A of the Brussels vase is a fight between a pygmy and two cranes, a frequent theme on pelikai dated to the 4th century BC, together with the Amazonomachy and Gryphomachy CVA Moscow 6, For pygmies, see Sparkes a, and Harari , The representation of two draped youth on side B is also typical of the Group.

A , H8 Lekythos H. Chips on the surface. Paint partly faded on the mouth and handle. On the base, a reddish patch. The mouth is painted, except the top; on the shoulder, one row of black strokes and one of rays; outer surface of the handle painted; two narrow black lines below the shoulder; below this, a meander to the right, between black lines; at about mid- body, an ivy branch with leaves and berries, one narrow black line and one lattice band above and below; on lower body four incised lines; lowest part of body and top of the foot are painted.

It is one of the pattern lekythoi, produced during the first half of the 5th century BC in Athens together with the palmette and the black-bodied lekythoi, for the internal market as well as for export Kurtz , , For their production, associated with the Haimon Painter and the Beldam Painter, see Kurtz , and Brownlee , and The Brussels lekythos is very similar to the vases in Frankfurt inv.

For further comparisons, see De Ruyt-Hackens , no. A , H33 kantharos H. Chipped and worn surface. Deep oval body with short concave neck and two vertical double handles from shoulder to rim. A border of ovules just below the junction of neck and body; below the main scene, a border of sloping double palmettes linked by spirals. Two grooves around the side of the foot. Above her Pegasus and at the foot of an Ionic sphinx column the baby Chrysaor. The association of the Brussels kantharos with four other Attic vases with impressed decoration has led to the hypothesis of the existence of an Attic workshop which employed incised decoration, a technique already known at the beginning of the 5th century BC, but employed at the end of the 5th century BC in order to represent human figures and not only floral motives Sparkes , 3.

Such a technique was complex, and therefore soon replaced with a simpler technique which allowed a whole scene to be impressed Sparkes , 4, , 11, A , H55 stemmed plate H. On the reserved parts, traces of dilute paint. End of 5th century BC. Now, however, it may be included in a group of Attic plates Agora 12, which have been discovered in great quantity in North Italy, especially in the area of Spina.

See, for Spina cemeteries, Massei , no. LIV,1 and, for the Numana area, Fabrini , no. A , H16 bell-krater H. Encrustation in the interior. Outer side of the foot and area between the handles reserved. Under the lip, a continuous branch of laurel leaves. Below the scene, a border of meanders broken with cross squares. Trendall attributed A to the Amykos Painter, initator, together with the Pisticci Painter, of Lucanian ceramography. Trendall LCS, 34 no. LCS, , to side B of the krater in Taranto inv. Moreover, the scholar has compared it, in the rendering of the woman, to the pelike in Naples inv.

H LCS, 41 no. For the mantle-figures, see Langner , For the development of the bell-krater, a shape characteristic of the Italiote workshops in the second half of 5th century BC, see Reho-Bumbalova , and Roubis Kunstwerke der Antike 22 September Basel , A , H17 bell-krater H. Surface slightly chipped and worn. On the reserved base of the foot, remains of dilute paint. Ionic kyma under the rim and below the scene.

Eros flies towards a herm and an altar, bearing a dish of offerings and a fillet. Related to the Eton-Nika Painter A. The Brussels krater has been compared by A. Trendall to the work of a follower of the Tarporley Painter, the Eton-Nika Painter, who preferred painting bell- kraters. For Apulian pottery, see more recently Castoldi a. A , H19 bell-krater H.

Intact, except for the chipped rim and a crack on the foot. Below the handles, a palmette between two florals with added white. The base of the foot is reserved with black concentric circles. On the background, two circular elements on the top, and two volutes at the bottom. On the right, a decorative motif with four volutes and details in added white. The Brussels krater has been attributed by J. Beazley to the Ixion Painter, a follower of the school of the Cassandra Painter.

Active in Campania during the last third of the 4th century BC, the Ixion Painter is fond of monumental vases with complex mythological scenes. The krater A shows some stylistic features typical of the Ixion Painter, such as the characteristic white wreath on the head of the figures and the subsidiary decoration. Trendall included it in the third section of the Ixion Group, devoted to minor vases.

I, ; LCS Suppl. A , H20 skyphos H. Black-glazed in the interior. Along the rim, Ionic kyma interrupted at the handles. Below the handles, palmette between florals. The female figure with the visible flesh in white, the white wreaths as well as the rock are all characteristic of the Errera Painter Trendall , For the painter see also Beazley , 83 and LCS, For the shape, see Reho-Bumbalova , A , H21 amphora H. Intact, with small additions on rim and body. Round the lip, a white laurel-wreath; on the neck, on both sides, palmette and egg-moulding in white on A and in black on B , tongue-pattern; below the handles, palmettes; below, maeander and cross squares.

Outside the naiskos, on the right, a woman with a mirror and a wreath; on the left, a youth with a chlamys on his shoulders, holds a white stick and offers a plate. On the background, a fillet. The Patera Painter A. The Patera Painter, a contemporary of the Darius Painter, owes his name to the characteristic long-handled patera which is often represented on his vases.

He is a very prolific painter who favours funerary scenes, generally a naiskos on one side and a stele on the reverse of large vases. A ; Andreassi , 51; Lohmann , table 2. A , H22 volute-krater H. On the lip, egg-moulding below which a wave-pattern. On A, on the neck, a winged female bust to left; on the shoulder a Ionic kyma. On B, on the neck, a palmette between spirals. Above each design, an egg-and-tongue pattern; below, a border; below the handles, palmettes. At the top, two circular elements, below on the left an object.

On the right of the naiskos, a woman richly dressed, with fillets and a thyrsos in white , leaning her left arm on a small pilaster. On the left, a youth, with chlamys and a band on his head.

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Group of Copenhagen A. I, ; RVAp Suppl. II, ; Aellen-Cambitoglou-Chamay , ; Schauenburg , ; Trendall , ; Hurschmann , ; Zampieri , no. For the funerary scene with offerings at a heroon on the obverse and offerings at a stele on the reverse, a common theme on Apulian red-figure pottery, see RVAp I, and Pontrandolfo A , H62 skyphos H. Encrustation on the surface, mainly on the handles and interior. A deep cup resting on a ring foot, with two horizontal round handles below a plain rim. Added colour white and yellow decoration. On the obverse, a garland between two wreaths; on the reverse, a wreath between a garland and a fillet.

On both sides, crosses with dots on the background. Second half of the 4th century BC. Classified as Gnathia pottery in the Corpus Vasorum Antiquorum, the skyphos A seems rather an Etruscan product, imitating the Gnathia style. It resembles the example inv. RC published in Pianu , no. A , H24 oinochoe H. The points of attachment of the handle both have a head of a silen with the eyes, eyebrows and beard in yellow.

Black-glazed except for a reserved band between the body and foot, and underside the foot. The ribbed body has a band between white lines, filled with an incised ziz-zag and painted in red and yellow, with ivy leaves and white dots around the body. On the neck, a male figure in Phrygian dress and cap in white and yellow seated on a rock; above, a grape vine in white and yellow interrupted at the handle and hanging vertically, with two red and white fillets at either side of the figure; below, a white line.

Last quarter of the 4th century BC. The trefoil oinochoe is a common vessel shape in Gnathia pottery. At the end of the 4th century and during the 3rd century BC, it had developed a long and narrow neck with a distinctive decoration of ivy branches, grapes alternating with tendrils and leaves, sometimes with the addition of objects such as a bird or a mask Lippolis , The oinochoai A and A, rather large and with a good quality glaze, can be dated to the last quarter of the 4th century BC phase B1 of Taranto.

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A similar example is the vase published in Mayo-Hamma , no. For the Gnathia style see, more recently, Denoyelle-Iozzo , A , H25 oinochoe H. Intact, with mended handle. Rim, handle and foot chipped. Added paint partly lost. On the neck, a mask in white between red fillets with white fringes, hanging from a branch in white and yellow , interrupted at handle. At the mid-point of the ribbed body, a reserved band between white lines, filled with alternating white and red rosettes.

Where the top of the handle is attached is the head of a satyr painted in white. End of the 4th century BC. Balty, resulted in the removal of the paint probably added by the restorers of Marquis Campana: The oinochoe was classified as shape 5 by Webster , 4 , who attributed it to the Ribbed Group. The introduction of ribbing in the decoration of Gnathia vases is dated to the end of 4th century BC. Because of the reduced space available for decoration, fixed motives, such as birds and female heads between floral elements, developed on very limited parts of the vase Green , For the decoration on the neck, see oinochoe inv.

Chierici Museum in Reggio Emilia Pedrazzi , 58 cat. For a discussion on production and chronology of the Italiote ribbed vases, see Puritani , A , H26 lekythos H. Interior of mouth and surface slightly chipped. Flaring mouth, neck with concave profile, ovoid ribbed body with, at mid- point, a reserved band between red lines, filled with decoration in white and yellow.

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On the shoulder, a female head in profile, with hair tied at the nape in white and yellow , facing left, between branches. White and yellow tongues on the neck under the double handle, with the knot of Herakles at top. The Brussels vase is similar to lekythos from Rudiae, which however has a protome at the lower point of attachment of the handle series b1 of Morel , and to one from Francavilla Fontana Marinazzo , pl. See also the lekythos, a little later as it has a slimmer body and the decoration is coarser, in Andreassi et alii , 57 no.

For the type, common in the Messapian area, see Bernardini , pl. For handles with the knot of Herakles, quite frequent in Gnathia pottery at the end of the 4th and during the 3rd century BC, see Green , The outer side and underside of foot is reserved with added miltos. Added colours only partly preserved. Tall moulded foot, globular body and slim neck. Decoration incised and painted in yellow-white and some red. On the neck, white tongues, a Ionic kyma, and a series of white dots. On the body, between pairs of incised lines and a series of dots in white, is a protome of winged female facing left and wearing a sakkos in yellow-white.

Next to the right wing in red with white details are the remains of a white rosette. In the subsidiary decoration, it is similar to an example in Stockholm inv. NM Webster , pl. Ic , whereas in shape and decoration, it is very similar to the bottle from Taranto in Heidelberg University inv.

U68 CVA Heidelberg 2, pl. Dubouche in Limoges inv. For the peculiar shape, closer in use and decoration to the more common lekythos, see Bernardini , pl. The decorative scheme of a female head between floral elements and branches is typical of Middle Gnathia until the end of 4th century BC, when the use of ribbing begins; see Green , and Andreassi et alii , cat. A , H27 oinochoe H. Intact, with a lustrous smooth surface. A red wash covers the rim and a reserved area at the joint of the body and foot.

The globular body is covered in vertical ribbing, with a white incised line separating it from the smooth tapered shoulder. A short concave neck flares into a trefoil mouth and gently arches down to the shoulder. At the base of the neck, a reserved band, between horizontal lines in white and in red, is filled with a grape vine in white and yellow, which ends at the back near the base of the handle. The oinochoe or choes of type 3 Webster , 2 belongs to a group of vases dated to the late phase of the Gnathia style, when the oinochoai are smaller and have poor quality decoration, limited to a vine-branch, and there is a prevalence of ribbons on the body.

For shape and decoration, the Brussels vase resembles the oinochoe in Toronto inv. The oinochoe in Mannheim inv. Cg CVA Mannheim 2, pl. A , H23 pelike H. Covered in black metallic glaze, except for a band between body and foot, the outer side and underside of the foot. Flaring mouth, long neck with concave profile, globular body on a high flaring foot, vertical ribbon handles under the rim and on the shoulder. The restoration carried out after the publication of the Corpus Vasorum Antiquorum, showed that the added colour decoration was modern.

Beazley, when discussing the image of the Hellenistic type of child Eros on Gnathia vases, had already hypothesized that the Brussels pelike had been repainted, noticing that the Eros with elongated wings was more typical of the non-ribbed vases, whereas it was identical to the Eros represented on red-figure Apulian pottery Beazley-Magi , 70 no.

The Brussels pelike, which Webster included in the Ribbed Group, is typical, mainly because of the high foot, of late production when the use of ribbing was widespread, and used either to cover the whole body or with only a band plain or with decoration at the widest point. For the type, common in the Messapian area, see Bernardini , pls. Similar, except for the smaller measurements and the shorter foot, are the pelike in Naples inv.

A , H75 mug H. Interior and exterior covered with a lustrous black glaze, underfoot reserved. Cylindrical mug with straight sides articulated by six horizontal fillets, a flat base, vertical ring handle. End of the 5th century BC. Beazley included the Brussels mug in the list of comparanda for a similar mug in Oxford Ashmolean More recently, A has been assigned to the South Italian production of black-glaze mugs with aris-fluting Williams , , fig.

To the comparable examples mentioned by Williams , note 10 , we add the mug in Cleveland inv. A , H32 mug-olpe H. Slight foot, offset neck and lip, ribbed body, double handle with the knot of Herakles at top and dividing at the lip. End of the 5th -first half of the 4th century BC. However, the type both versions with a ribbed or plain body is common in Apulia, and can be associated with series and of Morel , , pl.

Iker , 54 no. LXXI; Andreassi et alii , no. Although the shape was very popular in South Italy, there are not many black- glazed vases with the knot of Herakles on the handle: The mugs with the knot on the handle are more typical of Apulian red-figure pottery: For the knot of Herakles, see Schauenburg a, A , H63 squat lekythos H.

Chipped rim; surface worn. Wide, ribbed body, thick bell-shaped mouth, ring foot, and a ribbon handle from body to neck. The Brussels lekythos can be associated with series of Morel Such a shape with a ribbed body is known from the Taranto area during the 4th century BC. Similar comparanda are listed in Hayes , 59 no. A , H49 pyxis H. Intact, but the handles are mended. A white line between the shoulder and body. Four projections on the shoulder. Round elevated handles, with a projection on the top. Associated with series stamnoid pyxis and of Morel , the Campana pyxis, of small dimensions, resembles a vase in the Polish Collection Branicki CVA Pologne.

In addition, the Brussels vase is similar to a black-glaze pyxis from Metaponto inv. PY2 Carter , , which also has plastic elements on the shoulder, and was discovered in a context dated to the middle of the 4th century BC. D Lambrugo , no. Similar vases, but without the plastic additions and with a reserved body, dated to the end of the 4th or beginning of the 3rd century BC, are in Toronto inv. A , H45 squat lekythos H. Lustrous black glaze, except for the outside of the foot which is reserved, where fingermarks from dipping are visible.

Burnt red on neck, shoulder and body. Flaring rim, cylindrical neck, squat ribbed body, ring foot, and a vertical handle on neck and shoulder. Such a lekythos, either with a ribbed or a plain body, is quite common in several variants in Southern Italy, especially in funerary contexts. The Brussels vase is very similar to c 1 of Morel , pl. Further comparanda can be found in CVA Capua 3, pl. A , H46 guttus H. Metallic black glaze, slightly worn on the surface. Convex body with grooved ribs interrupted by crosses.

On top of the body, a relief medallion with a Medusa head, turned slightly to the left. Ring handle, fairly tall spout. It resembles the examples published in Depalo , no. A , H60 cup H. Missing piece on one handle. Encrustations on the surface. Covered in black glaze with a blue metallic sheen, except for a reserved band between the body and foot and the underside of the foot.

Straight rim, shallow bowl, ring foot, and round horizontal handles at rim. Numerous two-handled cups, often associated with oinochoai, have been discovered in the rich Hellenistic tombs of Taranto.

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