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Addenda to ‘Notes on the Panathenaea’

Published online by Cambridge University Press:  23 December 2013

J. A. Davison
J. A. Davison
Affiliation:
University of Leeds
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Extract

  • (i) By an oversight which I can neither explain nor excuse, I entirely failed to take account of the relevant Panathenaic amphorae attributed by Sir John Beazley to the Eucharides Painter (ABV 396):

  1. 9. Athens, Acropolis 947, fr. … B, man holding auloi (Graef, Heft 2, pl. 61).

  2. 10. Leningrad from Kerch. A, Athena; B, aulete on platform between two men on ground level, both leaning on rhabdoi. Arch. Anz. 1912, 339–40, figs. 23(A), 24(B).

  3. 12. Athens, Acropolis 1060, fr. … B, two men on platform (= aulode and accompanist?) facing standing man with rhabdos (Graef, Heft 2, pl. 62).

  • (ii) Since my article appeared, Dr Dorothy Kent Hill of the Walters Art Gallery (to whom I am indebted for most of the references on which these addenda are based) has published in AJA lxiii (1959), pl. 47 (fig. 3—A, fig. 4—B) a further Panathenaic amphora which she attributes to the Eucharides Painter:

  • Baltimore, Walters Art Gallery 48.2107 (acquired 1958). A, Athena; B, man on platform playing kithara between two men leaning on rhabdoi.

Type
Notes
Information
The Journal of Hellenic Studies , Volume 82 , November 1962 , pp. 141 - 142
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1962

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References

1 I omit Beazley's no. 11 (Athens, Acropolis 939, fr.), since all that is visible in Graef's illustration (Heft 2, pl. 58) is the lower half of a male figure, which might be that of a judge or spectator and which tells us nothing about the nature of the contest in question.

2 In this list, as in the Appendix to my article, double quotation marks mean that I have not seen the vase or a picture of it; single quotation marks mean that I report my authority's description of the person or thing in question, but without going bail for its correctness; a man described as a ‘judge’ may be a trainer or simply a member of the audience—and so on.