n - Historia Antigua

2.
THE Anle PVXIS
SALLY RUTHERFURD ROBERn
27
S. HmI/TOn 223. Lid. fr.. from Brauron.
Black-figure. scated warrior tlanked by two mounted figures. Vif}e
and two birds in the field. Added while on shield. Trace of debased
tongues near center break.
Ca. 500·490 B.C.
6. Ba/in F 4008. from Attica.
H. 0.10. H. with lid 0.15. 0.0.08.
Inset nange for lid. concave, black thick stem. spreading foot ring
with reserved convex edge. FOOl tripartite. Lid with down-turned rim
to cover flange. conical knob.
Lid: IWO quadrigas betwccn turning posts. Sidl' q{ /i,l: lolus buds
pointing downwards. joined by stalks.
Net pallern above and below frieze.
Black-figure; Pcleus and Thetis; A. Furtwanglcr. Beu'hrl'ibllllg
(It" Va.fl'lI.fummluIIJ( im A"tiqlllldlllll. 1016.
7. D'j's,h'lI ZV 54. from Athens. PI. 5.2.
H. 0.063, H. with lid 0.127, D. at rim 0.061, D. of lid 0.08. H. of
foot 0.02.
Inset nange for lid, concave, spreading fool. lid with down·turned
rim to cover nange. Conical knob.
Uti: debased tongues, two glazed circles, running palmette scrnll
(Oinsmoor type IV A). Side of lid glazed.
Black band above and below frieze.
Black.figure, patterned (two rows of running palmette scroll,
Dinsmoor type IV A). Palmettes {twelve or thirtecn petals) with
in outline. Crosses in field).
Ca. 5/0-500 H.C.
Pyxides of this class have a conca\'e body with an inset nange at
tht: top for the lid. The down-turned rim of the lid is somewhat tall in
proportion to Ihe box and the side while slightly curved does nol
form a smooth continuous curve compleling that of the botly. The
awkward and experimental nature of the lid protile is particularly
marked when one compares it with a mid-fifth century lid of the
Class of Berlin 3308 (PI. 61). The placement and choice of
nts are consistent. A chain of pendant lotus buds.
elcme ..
carelessly
•• _.I bJ' stalks decorates the SIde of the lid. A band of net patlern
JOin""" .
frames the continuous fneze on the body. Knobs and feet vary.
The Cambridge p~'xis (no. I. PI. 11) has a conical knob and foot
'oIhich possibly once was of tripod formation. l1 The black-figure
work has been anributed to the Painter of Oxford 237. u a member
ofthe Leaness Group. The women depicted. one on each side of the
warrior, move to the right with arms akimbo; one looks over her
shoulder. A curious incised rectangular box-like shape with two
"ertical divisions defines the upper body. A comparison with the
n'tlenad on Alhells, Acropolis 20291), makes clear that the lower
slightly angled incisions of the "box" indkate the arms of the
~oman and the loop at the cellter represents her clasped hands. The
macnads depicted on the cup fragment Athens. Acropolis 2928a H
manifest this same debased format characteristic of the Painter of
Oxford 237.
A Nike with recurved wings on either side of a blob·like undefined
head, depicted on the Cambridge pyxis should be compared with an
almost identical Nike on the lid of Louvre CA 3738 (no. 2, PI. 9,1),
here attributed to the Leafless Group. Note the slanted incised lines
with a half loop at the center indicating the arms and clasped
hands. The rough incisions on the lower drapery are identical. The
warriors holding shields on the main frieze of the Louvre pyxis
(PI. 12.2) are of the type of Cambridge. Warriors or Amazons
leading their horses are not found on cups and pyxides attributed
10 the Painter of Oxford 237. However, they appear in the .....ork of
the Whitworth Painter, another member of the Leafless Group.
Compare the faceless Amazon holding her horse on Athens P
3716 H by the Whitworth Painter with a similar faceless figure on
the Louvre pyxis (PI. 12,2). Similar Amazons with horses may be
seen on Auckland 3771.1' Sometimes the hind hoofs (Athens
p 3716) or forequarters (Louvre pyxis and Auckland 3771) are off
~he.grOund and one receh'es the strange impression that the figure
"hhterally holding up the horse. It should be remarked. however,
t at th . .
e mctsed body markings on the horses of the Louvre pyxis
are more detailed than those of the Whitworth Painter. The Louvre
Pyxis by comparison with works by the Painter of Oxford 237 and