Berlin Painter; (3-4) the Vatican hydria by the Berlin Painter, and a black-figured hydria in the Städel Institut at Frankfort (Schaal F. pl. 12) which goes with it in shape, even to the rare form of the mouth, which may be by the same potter, and which stands away from all other black-figured vases; (5-6) London E 163 and London E 161. All these hydriai have the double-ogee foot.1
As to decoration, the earlier red-figured hydriai of black-figure shape follow the system of the black-figured ones, and frame both the picture on the body and the picture on the shoulder: but nearly all the later ones drop the frame, and most of them are decorated 'Nolan-wise' with a couple of figures on the body and none on the shoulder.2 It is the same change as takes place in the amphora (see Kl. p. 15). Our painter does not go the whole way: the frames have disappeared, but there is a picture on the shoulder as well as one on the body. The Berlin Painter makes the same compromise on his hydriai in Madrid and the Cabinet des Médailles.
The theme of the chief picture is 'the warrior leaving home'. The libation before departure is described in Homer (Hom. Il. 16.220-56; Hom. Il. 24.281; Hom. Od. 15.147: see Wrede in AM. 41 pp. 260-2), but does not become a favourite subject in vase-painting till the last decades of the sixth century: it remains popular almost to the end of the fifth: see ii p. 77. A young man stands with body and right leg frontal, but facing to right, his head bent, a phiale in his right hand, his spear in his left; his shield is on the ground, leaning against his knee. A woman stands before him, holding out an oinochoe in her right hand, while with a gesture of her left she asks for the phiale to fill. The drawing is precise and minute, in thin fine lines. The parts of the body, at least in the male figure, are not well knit together: there is stiffness: but feeling also: this is a solemn act.
The physical type of the woman, slender and delicate, with thin neck and long face, yet ample breasts, occurs on other vases of the period: for instance in early works of the Berlin Painter, such as his Panathenaic amphora in the Cabinet des Médailles (de Ridder p. 280; B, Berl. pl. 13, 1: ARV. p. 132 no. 6), or on the early Douris cup in Berlin (Berlin 2283: AZ. 1883 pl. 1, whence Hoppin Rf. i p. 211: ARV. p. 281 no. 19). For the youth, one might compare the Apollo of the Berlin Painter on his Würzburg vase (Munich 2312; FR. pl. 134, 2; Langlotz pl. 165: ARV. p. 132 no. 7), the discus-thrower on his early Panathenaic in Munich (Munich 2310; VA. p. 35; Berl. pl. 7, 2: ARV. p. 132 no. 5), the Achilles on his hydria in New York (New York 10.210.19; JHS. 31 pl. 9; Berl. pl. 22, 1; Richter and Hall pl. 16: ARV. p. 140 no. 132). All these for the physical types only, not for the style. I do not know of any other vases by the painter of the Boston hydria: it might perhaps be an 'essay-piece', the work of a very young man doing his best.
The youth wears chitoniskos, corslet, helmet, greaves, has a sword at his side. Only one shoulder-flap is fastened down to the knob or button on the chest. The body of the corslet is covered with small rectangular scales, whether of leather or metal. The left half of the middle is further protected by a flap, covered with small semi-oval scales, no doubt of metal, which is laid on top of the rectangles, but under the shoulder-flap. It is bordered above by a broad band ornamented with a pattern of billets and a line of dots winding between them. A similar flap, one would think, will be laid on the right half of the middle (although one does make out where it can be), and the right-shoulder flap then fastened down over it: see, however, the corslet on the cup by Douris formerly in the Pembroke collection (El. 4 pl. 98: ARV. p. 287 no. 98).
Two rows of pteryges are attached to the belt of the corslet. A corner of the shoulder-piece shows in the region of the right armpit. The caul of the Attic helmet is covered with studs, rendered by raised black dots. Crest, nasal, nape-piece; cheek-pieces, one up, one down (as also on the stamnos by the Berlin Painter in Munich, Munich 2406, FR. pl. 106, 2, ARV. p. 138 no. 106). The outline of the eye is nowhere open. Eyelashes in brown. The lips are parted. The woman wears a chiton, and a himation of 'Ionic' mode, which passes over the right shoulder; saccos, earrings, bracelets. The inner corner of the dot-
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