L. D. Caskey, J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston

artists (see iii p. 9; Boston 03.790). In the developed technique, for instance in Euphronios or Euthymides, the first step in the painting is to outline the figure with a thick brush. The black pigment is a quick drier; and when the background comes to be filled in, this 'contour-band' does not merge with it, but remains distinguishable. It is naturally more obvious in those unfinished vases where the background was never filled in, but it is plain enough in nearly all vases. In the Andokides Painter the background is uniform and there is no contour-band to be seen. He did not begin that way, but by drawing the outline with a very thin brush.

In Achilles there is no relief-contour between the tip of the nose and the beard (including nostril and mouth), and none for the right hand or the feet. In Ajax, none for face, right thumb, right elbow, knee of greave, feet. Within the figures, the ears, the marks on the knees, and the lines near the lower edge of the corslet are without relief. Over other details one hesitates: the relief-line instrument may be used, but perhaps with the pigment diluted, so that a full relief-line is not produced. I am sorry not to be more explicit: one can nearly always be certain what is relief-line and what is not: here it is not so easy, and the notes I have taken at various times do not all agree.

The graffito under the foot of the vase is A\/. Hackl (Münchener arch. Studien p. 36) takes this to be the same as on the bilingual amphorae Louvre F 204, London B 193, and Munich 2301, but it is different. No doubt Etruscan.

I used to think of this as an early work of the Andokides Painter, but see now that it belongs to his middle period. The style is less mincing than in his early amphorae Louvre G 1 and Berlin 2159.

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Kunst der Oudheid, 2, p. 328, pl. 73 (figs. 284-285); Brommer 1960, pp. 252 (no. A 3), 254 (no. B 1); Carpenter 1962, p. 89, fig. 22; Palmer 1962, pp. 87-88, fig. 76; A. W. Byvanck, BABesch 38 (1963), p. 86; ARV2, p. 1617; H. Marwitz, ÖJh 46 (1961-63) (Hauptblatt), pp. 82, 93; K. Schauenburg, JdI 80 (1965), pp. 93, 96; Knauer 1965, pp. 9, 12, figs. 11-12; J. G. Szilágyi, Bulletin du Musée Hongrois des Beaux-Arts 28 (1966), pp. 18 (note 11, no. 7), 21-22, 28; Richter 1966, p. 46, figs. 259-260; CVA, 1970, Munich, 7, p. 14 (E. Kunze-Götte); Para., pp. 113 (no. 2), 320 (no. 7); G. Becatti, StMisc 19 (1971-1972), p. 8; P. Colafranceschi Cecchetti, ibid., p. 30, pls. 60 (fig. 173), 61 (fig. 177), 62 (fig. 178); I. K. Raubitschek, AJA 77 (1973), p. 243; S. Karusu, AM 88 (1973), p. 60, note 19; E. R. Knauer, 1973, 125 BWPr, p. 22, notes 17-18; Brommer 1973, pp. 335 (no. A 11), 338 (no. B 1); Mommsen 1975, p. 78, note 379; Boardman 1975, pp. 17, 19 (fig. 2, 1-2), 217-218, 232, 242; CVA, 1976, Metropolitan Museum of Art, 4, p. 19, under no. 98.8.13 (M. B. Moore and D. von Bothmer); C. De Palma, ArchCl 29 (1977), p. 56; J. Boardman, AJA 82 (1978), p. 19, note 43; Schefold 1978, pp. 247-249 (fig. 333), 281, 317; Pinney & Ridgway 1979, p. 292, under no. 149, note 4 (J. McCallum); Vermeule 1979, pp. 80-81 (fig. 35), 231 (note 73); Moore 1980, p. 420; LIMC, 1981, I, 1, pp. 97 (no. 392), 101 (no. 421), 102-103, 199, I, 2, pl. 96, illus. (A. Kossatz-Deissmann); Kroll 1982, p. 71, note 30; S. Woodford, 1982, JHS 102, pp. 173, 181, nos. A 3 and B 3; Böhr 1982, p. 64, note 190; Beazley Addenda 1, pp. 32 (with incorrect ref. to Boardman, Athenian Black Figure vases, fig. 161.1, 2, ref. to B. Cohen, Attic Bilingual Vases, pl. 7, 2-3), 71; Moon 1983, p. 145, note 100 (G. F. Pinney); H. R. Immerwahr, AA 1986, p. 200, note 15; D. von Bothmer, Gnomon 60 (1988), p. 181; Beazley 1989, pp. 18-19; Beazley Addenda 2, pp. 65, 149; Burow 1989, p. 33; B. Cohen, Hesperia 60 (1991), p. 490, note 112.

Exhibited: Fogg Art Museum, March 1-April 5, 1972 (Buitron 1972, pp. 36-37, no. 14, 3 illus.).

115. 99.538 AMPHORA PLATE LXV, 1-2 and PLATE LXVII

Height 0.5325, diameter 0.3465. Formerly in the possession of the Roman dealer Basseggio; later in the Joly de Bammeville collection (Sale Cat. Christie May 13 1854 no. 40), then in the Forman collection (sale Sotheby 19 June 1899 no. 305). Cecil Smith The Forman Collection pll. 5-6, whence Pfuhl figs. 316 and 266, Seltman Attic Vase-painting pl. 10, (A) VA. p. 4, (A) Herford A Handbook of Greek Vase Painting, frontispiece, (A) Stella p. 785; Fairbanks Greek Gods and Heroes 3 (1927) p. 59 fig. 51; A, Fairbanks and Chase p. 56 fig. 58; Chase Guide p. 52 fig. 62; Dev. pll. 34-35, whence Frel R.V. figs. 138-9; the shape, Caskey G. p. 60. About 520 B.C.: A by the Andokides Painter (Cecil Smith The Forman Collection p. 55; VA. p. 3 no. 2; Att. V. p. 8 no. 5; ARV.1 p. 2 no. 10, ARV.2 p. 4 no. 12), B by the Lysippides Painter (ABV. p. 255 no. 6).

The first reference to the vase is in Bullettino 1842 p. 187: it was then in Basseggio's possession and had been shown by Emil Braun at a meeting of the Archaeological Institute in Rome. Many of Basseggio's vases were found at Vulci.

The amphora is of Type A (see iii p. 1; Boston 01.8037). It is a little shorter than no. 114, and less slender; the mouth is broader and more flaring, the handles wider open, the foot broader, with the lower member projecting farther beyond the upper. The upper member of the foot is again black. There is a red line outside, on the upper edge of the mouth; on the lower edge; on the neck; above the upper picture-border; above the rays; and a pair below the lower border of the picture. There are no red lines on the foot; the base-fillet is black not red, and the backs of the handle-flanges are black. There are no handle-palmettes; and no graffito.

Of all the bilingual amphorae, this is that in which the two designs are most alike. There is very little difference even in detail. Herakles drives a bull to sacrifice, past a tree, holding his club in his right hand, and in his left the rope fastened round the horns of the bull, also a bundle of spits. He wears a chitoniskos, a lionskin, a belt, has sword and quiver slung, by crossbands, at his left flank, carries two small wineskins, apparently empty, over his left arm. The bull's head is filleted, and the woollen fillet has the form commonly used for this purpose as for others, tied at intervals and the ends splayed.

In the black-figure picture, the bow appears at the side as well as the quiver, and only the chape of the scabbard is seen. The chiton has fully three-dimensional folds, and every other fold is washed with red. The left calf of Herakles is missing. and part of his right