Detroit
 65.82 Attic Geometric Pyxis with Lid 800-760 B.C. Lent by The Detroit Institute of Arts; Founders Society Purchase, Dr.
 Lester Cameron Bequest Fund (65.82). The Vase: H. with lid 18.4 cm; H.
 without lid 11.3 cm; W. 25.0 cm; D. of lid 18.0 cm; D. of mouth 15.8 cm; D. of
 base 17.2 cm. Body and lid broken and repaired; some minor repair and
 repainting. Torus body with flat lid (flat pyxis). The shape of the knob on the
 lid is a somewhat smaller version of the pyxis itself, but on a stand and with a
 conical lid. The edge of the lid and lip are pierced with four holes; the holes
 are ancient. Decoration: The focus is a central
 zone of large meander pattern with interior hatching; above this central motif a
 fine band, first of zigzags, then of chevrons, each separated by three careful
 lines in dilute; below the meanders two narrow bands, first one of zigzags, then
 one of rays, again each differentiated by three fine lines in dilute glaze. This
 same design of thin lines accentuates the mouth and the base, just over a thick
 band at the base which gives weight and balance to the entire decoration of the
 vase. The lid at the center has a wide band, a thin zone of zigzags, then one of
 dots and, near the edge, a band of rays (pointing in); again each motif is
 separated from the next by well-spaced triple lines (two lines on the edge
 itself). The knob has banding on the cone, chevrons on the widest part, and
 bands on the ribbed shaft. The bottom of the vase is reserved, the resting
 surface, now worn, was glazed; the interior is reserved except for the sunken
 lip which is glazed. The underside of the lid is reserved and has an "X"
 graffito near one of the tie holes, at the edge. The hatching in the meander-zone and other motives seem to have been
 made with brushes which had multiple hairs, perhaps in one case with fourteen or
 fifteen limbs and in another with nine. There are noticeable puddles of glaze at
 the end of each stroke and, as Prof. Coldstream has said of the period (infra,
 pp. 23-25), the outlines of the meander pattern are not consistently neat. Knobs
 in the shape of a vase are a pleasing touch not infrequent in Greek ceramics,
 some of the most elaborate of which are found in late Hellenistic pottery from
 Centuripe (Sicily) and on South Italian bombylioi. As basic reference: Coldstream 1968, 23-25, pl. 4b .
 Bibliography André Emmerich Gallery (New York, May 9-June 11,
 1965) catalogue no. 115 .
 W.G.Moon. Detroit
 76.97 Corinthian Geometric Lekythos-Oinochoe 
 Late Geometric in Corinth
 ca. 750-720 B.C. Lent by The Detroit Institute of Arts; Founders Society Purchase,
 William H. Murphy Fund (76.97). The Vase: H. 22.6 cm; W. 21.0 cm;
 D. of mouth 5.8 cm. Broken and repaired; large portion of the underside repaired
 and toned; portions of lower edges repaired and repainted and minor retouching
 on upper surfaces. Underside of vase reserved, center section depressed, some
 signs of wear and minor pitting. Fine, pale yellow-buff clay. Decoration: Closely spaced,
 fastidiously drawn bands covering the neck and body are interrupted by zones of
 careful geometric motives: lozenges accentuated with dots, in two places on the
 neck and one on the body; upright double triangles, the inner portion of which
 is hatched, in a zone on the body near the base of the neck; around the middle
 of the neck, a frieze of horizontal zigzags with extended points. The outside of
 the handle is decorated with horizontal bands, the inside glazed. The trefoil
 mouth is glazed inside and out, the edge in reservation, with a swastika
 contained in a reserved circle on both sides. The interior of the neck is
 reserved. This vase can broadly be compared to one illustrated and discussed by
 Prof. Coldstream ( Coldstream 1968, 98-101 and
 pl. 19d ). The finely spaced bands, a characteristic feature of
 Corinthian vase decoration in the Geometric period, adds lightness and variety
 to an otherwise rather heavy shape; for the lekythos-oinochoe these schemes are
 already set in the previous period (p. 96). The swastika is a common motif on
 Greek Geometric pottery (see Madison 68.19.1 
 and Columbia 71.113 ). The motif in Greece
 seems to be an invention of its own artists, a variant of the meander with two
 elements of the pattern arranged around a central point. For this design it is
 tempting to see influence from Central Europe, during the Iron Age, where the
 swastika had some religious associations. However, the very nature of the
 geometric style in Greece is to build a rather elaborate vocabulary of motives
 from a few simple basic forms. This process of generation perhaps explains the
 appearance of the swastika in China and in Meso-America, at Pashash. Bibliography Charles Ede Limited, Corinthian and East Greek Pottery (September
 1976) no. 12 ; Chittenden
 & Seltman 1947, no. 48, pl. 9 ; Lane 1963, 26, pl. 11(b) .
 W.G.Moon. Omaha
 1963.479 Attic Geometric Mug 
 ca. 750-700 B.C. Lent by the Joslyn Art Museum; Memorial Fund Purchase (1963.479). Ex
 collection R. Richardson and Spink and Son, Ltd. The Vase: Mended from a few large
 fragments; small patch on lip; heavy deposits of salt crystals inside; glaze
 loss from metope designs. Underside of vase and the inside of handles reserved.
 Pink-buff clay. Decoration: Three metopes around
 neck: bird (r.), doe (l.), and bird (l.). The bodies of the animals are lined
 and the filling ornament is basically the same in each frame: dotted rosettes
 and circles with "x"-centers surrounded by dots, sometimes with tails or stems
 of dots. Three glazed bands on the interior of the vase near the top; lines in
 triplicate abound on the vase to define and separate each metope from a vertical
 band of zigzag, which in turn is bordered by vertical glazed lines. This
 "triglyph and metope" frieze is enhanced above by two pairs of lines and a row
 of dots and below by four lines, a row of dots, and three more lines. On the
 belly, a row of connected or running dots and five evenly spaced, well-drawn
 lines; then a zone in black glaze at the bottom. There are three lines on the
 handle-strut and two "x"-filled metopes on the handle-face, having nine lines
 above the first metope, three lines between the two metopes and nine lines
 between the second and the bottom of the handle. Two mugs at The Metropolitan
 Museum of Art are similar: New York 10.210.2 
 (Rogers Fund) and New York 10.210.3 (Rogers
 Fund) and both are said to be from Athens. "By same hand, same shape, etc.: A.D. Trendall, Greek Vases in
 the Lozie Collection, University of Canterbury, Christchurch,
 N.Z. (1971) no. 2, pl. 1 a & b, inv. #
 41/53 " (marginalia in Warren Moon's copy of this publication) 
 (unpublished) W.G.Moon. Madison
 68.19.1 Early Boeotian Belly-handled Amphora Amphora Group C ca. 670 B.C. Lent by the Elvehjem Museum of Art, University of Wisconsin-Madison;
 Max W. Zabel Fund Purchase (68.19.1). The Vase: H. 91.0 cm; W. 42.0 cm;
 D. of mouth 33.8 cm; D. of base 27.5 cm. Assembled from numerous fragments, with
 many areas restored in plaster, especially on base, lower body on B, and neck on
 A. Contour lines of figures in both panels are modern. Glaze misfired to rust
 red on all of B. Yellow-brown clay with red-brown slip and overcoating. High
 neck on ovoid body and conical foot; double handles. Wheel-made in sections,
 body in two parts joined just beneath handles. Decoration: Wide zone of thick,
 vertical, wavy lines on foot, lower body and upper neck; above and below such
 zones are varying numbers of well-spaced finely-drawn lines in glaze. Broad
 areas in slip mark the join of the neck to body and body to foot; side of rim
 and lower edge of foot are black; inside of neck glazed (to a depth of 6 cm),
 otherwise the interior is reserved; two rows of wild, wavy lines under the
 handles (side A/B also has random dots); handles are completely painted in slip;
 stripes, lengthening toward the bottom, accentuate handles' join to the vase. On
 the lower neck and upper part of the body there is a band of large dots
 connected tangentially, with smaller dots staggered above and below. The picture
 area between the handles on either side of the vase is framed by a vertical row
 of double contoured lozenges, the inner element of which is latticed; this
 scheme is bordered by dotted circles and framed by vertical lines. Panels: the scene is the same on
 both sides of the vase. A warrior, wearing a helmet which is decorated with
 latticing, sword and sheath at his waist, stands between two horses facing him.
 Under each of these large horses is a small horse (facing right). The one on the
 right, in each scene, seems to be nursing. Above the large horses are two goats,
 both with heads turned back, to the left (if the details on B can be applied to
 A). As is typical in early Boeotian painting, the horses have extended muzzles,
 strikingly thin legs in contrast to their heavy hoofs, and thick, tasselled
 tails. There is much filling ornament: swastikas, herringbone, small stars,
 lozenges (many of these latticed), small dots and circles. Added white: on animals, either a crossed or open circle
 on croup and forequarter, occasional circle on body for ribs, patch on tail, "V"
 in crotch; for warrior, (on A) row of neat zigzags across chest, stripes on
 thigh, circles on calves (warrior on B similar but very poorly preserved). The vase is of unusually large size for provincial production — 
 the average height for Boeotian amphorae is between 45-55 cm. This vase and
 another ( Amsterdam 3283 , Ruckert, infra, BA 38 )
 are nearly twice this size at 91 cm. Such monumentality, the motif itself of the
 warrior between horses, and other features of the vase-design, seem Attic in
 inspiration. Scenes of a warrior and animals are more common on small Boeotian
 vases, e.g., oinochoe Athens 236 (Canciani, infra, pl. 67, fig. 19) but are rare on large pieces (Ruckert, infra, BA 38 and 39). The panel probably
 depicts a member of the warrior-aristocracy, standing as lord over some of those
 beasts from which he derived his food, clothing, sport and (possibly) defense.
 That the nobleman is armed indicates that these resources were coveted, raided,
 and had to be defended. The pictures on this vase can best be understood in light of a
 passage from the Iliad ( Hom. Il.
 11.676-684 ) in which the aged Nestor reminisces: "exceedingly abundant was the booty we drove out of the
 plain together, fifty herds of cattle, as many droves of swine, as many herds of
 goats, and a hundred and fifty bays, all mares, and many with foals following
 underneath." That Homer may have described his own time as well as Nestor's, and
 that between the late Bronze Age and the Homeric there was a basic similarity in
 the ordering of society and the management of its resources is entirely
 believable. Ethnologist Karl Meuli ( Kahane,
 infra, p. 184 ) found striking
 similarities in social make-up between post-Dorian Greeks, i.e. those of Homer's
 time, on the one hand, and pastoral tribes and cattle-breeding nomads from the
 southern Steppes, whose traditions go back to the Bronze Age, on the other. In the religious realm, both groups share the importance accorded the
 cult of the dead and given to ancestors; each has funerary ceremonies with
 races, horse races, wrestling, etc., which resemble those given by Achilles for
 Patroklos ( Hom. Il.
 23.259 ff ); the heroes, ancestors and victors in these games were
 praised in hymn and song, with such festivals often repeated yearly with pomp
 and for numerous guests. Society for each is arranged in eponymous clans. The
 Greeks of Homer's time, mid-eighth century B.C., seem not very different from
 those of whom Nestor spoke in Book XI; furthermore, scenes like those on the
 Elvehjem vase may be witness to that "agonistic" milieu out of which the
 Olympian games once emerged. Peter Kahane in a recent article (infra, p. 186) connects the painter of this Boeotian vase
 stylistically to the "Painter of the Cesnola Krater from Kourion" and, in
 addition to the more apparent Attic and mainland influences, he posits a
 Euboean-Naxian influence in the "profusion of animals and the atmosphere of the
 outdoors." From the evidence of newly excavated material from Thebes and
 neighboring Paralimui, Anne Ruckert concurs, in an exhaustive study of shapes,
 fabric, and schemes of subsidiary declaration, that Cycladic as well as mainland
 influences contributed heavily to the art of early Boeotia. More generally:
 S. Piggott, Ancient
 Europe from the Beginning of Agriculture to Classical Antiquity 
 (Edinburgh 1965) ; H. A. Thompson,
 "Some Hero Shrines in Early Athens," Athens Comes of
 Age: From Solon to Salamis (Princeton 1978) 96-108 , and
 J. N. Coldstream, "Hero Cults in the Age
 of Homer," JHS 96 (1976) 8-17 ; F. Canciani, "Böotische Vasen aus dem 8.
 und 7. Jahrhundert," JDI 80 (1965)
 18-75 . Classical
 Antiquity (André Emmerich Gallery, Inc.) November 22,
 1975-January 10, 1976, no. 2 .
 Bibliography Cahn 1968, 3, no. 1 ;
 P.P. Kahane, "Ikonologische
 Untersuchungen zur griechischgeometrischen Kunst: der Cesnola-Krater aus
 Kourion im Metropolitan Museum" AntK 16.2
 (1973) 137, pl. 29.4; references given here are from the English
 version, "The Cesnola Krater from Kourion in the Metropolitan Museum of
 Art: An Iconological Study in Greek Geometric Art," The Archaeology of Cyprus: Recent Developments, 
 ed. N. Robertson (Park Ridge, N.J. 1975) 151-210, for this vase p. 186
 and pl. XIV ; A. Ruckert, Frühe Keramic Böotiens: Form und
 Dekoration der Vasen des späten 8. und frühen 7.
 Jahrhunderts v. Chr. AntK, Beiheft 10 (Bern 1976) 90, pl.
 13.4, no. BA 40, mentioned also on 19f., 24f., 55f .
 W.G.M. Frank Collection (Moon No. 5) Corinthian Olpe The Painter of Vatican 73 Early Transitional, c. 620 B.C. Lent by Mr. and Mrs. Arthur J. Frank through the courtesy of the
 Elvehjem Museum of Art, University of Wisconsin-Madison. Acquired from The Summa
 Galleries, Inc. The Vase: H. 30.3 cm (without
 rotelles); W. 16.3 cm; D. of mouth 13.8 cm; D. of base 9.1 cm. A few mended
 breaks on neck; glaze loss on rotelles, handles, neck and elsewhere; some
 flaking to applied color; flash spot in lower band. Decoration: Animal friezes: Top: the central focus is a
 swan (l.) with a Sphinx and a panther, facing, on either side. Second: goat and panther flanked by a pair of lions (r.
 and l.) at left, and a pair of lions (r. and l.) at right; under handle a stag.
 Third: as in the top register the central
 arrangement is a swan (r.) between facing Sphinxes, on the left of these is a
 panther (r.), lion (l.) and a goat (l.) and on the right a panther (l.) and a
 bull (r.); in the rear, beneath the handle, a panther (l.) and a lion (r.) are
 back to back with interlocking hind legs. Fourth: under the handle a goat (l.) and counterclockwise a lion (l.),
 lion (r.), boar (l.), lion (r.), stag (l., center), lion (l.), lion (r.). Above
 foot, a band of rays. Added red: (minor
 retouching on a few animals) for felines and quadrupeds, neck and top of
 shoulder in a single patch; belly-stripe on goat, stag and boar; alternating
 feathers and base of wing of swans and Sphinxes; faces of Sphinxes; four lines
 as accent under each band, six under bottom band. Added white: four rosettes on neck and one on each rotelle. The swan
 in the upper register is without color and may be restored. Prof. Amyx and, independently, the author, made the attribution to
 the Painter of Vatican 73. The variety of animals, certain groupings of them,
 their energetic poses and the schemes for rendering their anatomy are typical of
 the painter's hand. On his olpai, as a focus for the top and third bands, the
 painter prefers an arrangement of Sphinxes and a swan. Characteristic too, the
 cats' ears resemble a notched ivy-leaf and the configuration for their brow is
 heart-shaped. There are other olpai by this hand in the Midwest: University of
 Missouri-Columbia ( Columbia 60.13 ), The Toledo
 Museum of Art ( Toledo 1963.22 ), and Indiana
 University Art Museum ( Bloomington 75.22.2 ).
 On this olpe, as Prof. Amyx tells us, the pupils of the panthers' eyes are
 incised, an uncommon feature with this painter. Two other pieces ( Amyx 1988, A25 and A26 ), notably a
 fragment from Megara Hyblaea, show the same feature. Also, the panthers' heads
 are of a broader, heavier design. The incised pupils and thicker proportions
 remind one of the Sphinx Painter who, as Professor Amyx believes, was an
 associate of the Painter of Vatican 73, perhaps during the latter's later
 period. There is a certain angularity and compression of the schemes and less
 care to the alignment of the central motives in each band, front and back. The
 shoulder enclosure for the cats here is apt to be a closed shape, and in this
 regard and others, one can compare the painter's olpe in Gotha ( CVA, Germany 24, Gotha I, pls. 6-8 ).
 Recurring characteristics of his hand are the greaves or chaps which follow the
 contour of the front of the belly-stripe. Still very much in the elegant
 tradition of the Protocorinthian, the painter pays attention to specific detail,
 whether the braiding of the bull's tail or the knobbing on horns or antlers. The
 Painter of Vatican 73 is one of the foremost decorators of his time and takes
 his name from an olpe in the Vatican ( Albizatti
 73 ). In his earliest style he is close to the painter of an olpe ( Boston 375 ), and the Sphinx Painter and
 Painter of Berlin 1136 are contemporaries and probably associates, or students. Bibliography Amyx 1988, Appendix II, no.
 A-26 bis .
 W.G.M.