n - Historia Antigua

xvi
THE ATTIC PVXI$
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INTRODUCTION
Name, Uses, Materials
and Representations
Beazley stated in Potter and Paillter i" Ancient Athens:
Now that the painters of nearly all important Attic vases, and
most of the less important, have been determined, the whole
material mUSI be rc-studied from the point of view of the
potters; and this time we must be prepared 10 hold the
painters at arm's length ... It will not be enough to note the
general proportions. and the features of the shape: the eye
must become accustomed to perceive minute refinenlents of
curve and line. Then it will be possible not only to write the
history of Attic vases from the point of view of the potters,
but, in the long run, to shed fresh light on the painters with
whom they collaborated.
Much wor~ has already been done on certain shapes, including
Emilie Haspels' Attic maCk.-figured Lelcythoi (1936), H. Bloesch's
classic work on the kylix, Formefl auischer Schalen (940), and
recently Barbara Philippaki's The AI/ic Stumflos (1967). Miss
PhiJipp.k',', work' IS 0
f consl'derahi e . Importance...
In provmg agam
and again the connection between a certain class and particular
pattern acco . .
. mpamments as well as the Importance of pro\'enance
.In the inte . .
rprelatlon of subject matter. Athenian Agora Xll Black