Columbia
 71.113 East Greek Trefoil Oinochoe Chian Late Wild Goat Style ca. 600 B.C. Lent by the Museum of Art and Archaeology, University of
 Missouri-Columbia; Museum purchase (71.113). The Vase: H. 30.0 cm; H. without
 handle 28.0 cm; W. 20.9 cm. Complete but mended from several fragments. Small
 plaster patch on body below shoulder; chip on shoulder to left of handle; one
 rotelle chipped. Glaze flaking on back of neck, at base of handle, on shoulder
 to left of handle. Reddish buff micaceous clay with cream slip. Glaze fired red
 on rays at base and below shoulder on left side, left of handle. Broad ring
 foot; globular body with steeply flaring shoulder; short, thick neck; vertical
 triple-rolled handle rising above trefoil mouth; rotelles on each side of the
 handle. Decoration: Panel: grazing goat and filling ornament,
 framed with vertical meanders (r.), below which are three thick bands accented
 with red stripes, above a band of abbreviated guilloche, s-curves with dots.
 Band of rays at bottom and the sides of the shoulder are decorated with
 impressive pendant rays, alternately red and black. Outline drawing for the
 goat's head, hooves, and belly-stripe, the latter with a row of dots. Added red
 on body and horns. The filling ornament consists of palmette in lower right
 corner, pendant oval, hatched triangles, swastika, concentric circles with dots,
 checkered triangle. Below the handle there is a rectangular panel with
 horizontal wavy lines; the area above this is plain. Two vertical lines are on
 each side of handle, the outer thin, the inner broad, with added red. At the
 junction of the neck and shoulder, and on neck and mouth, black bands with added
 red stripes. On the exterior of the mouth there are reserved triangles at the
 base of the indentations of the trefoils, with smaller black triangles inside
 these. For the handle, the center roll is black, the outer rolls are decorated
 with short horizontal strokes; the rotelles are hatched on the outer face, black
 on the handle side. R. M. Cook (1973) dated this oinochoe, and suggested an origin in or
 near Chios. Indeed, several elements of decoration, when taken together, support
 this: the white slip, the pinkish-buff clay, the sparse and neatly drawn filling
 ornament — particularly the pendent oval and the hatched triangle — 
 the goat's reserved belly-stripe with interior row of dots, the broken cable
 pattern on the neck — especially as it hooks from right to left —
 the extensive use of rays, and the size and configuration of the oinochoe. Chian
 pottery of this period is of consistent, high quality; it has finesse and
 control (compare Bloomington 72.144.4 ).
 The knobbed-horned variety of goat, capra aegagrus, has wide distribution over Asia Minor, on Crete,
 Rhodes, and many of the other Cycladic islands. Similar goats are depicted on
 ancient Luristan and Scythian metalwork, see From the Lands of the Scythians 
 (Metropolitan Museum of Art, New York 1975) no. 171 . Such motives on
 Greek vases may have been inspired by designs from Near Eastern minor arts and
 tapestries: see a row of reindeer on a rug from a Scythian tomb, M. Dimand and J. Mailey, Oriental Rugs in the Metropolitan Museum of Art (New York 1973)
 fig. 8 .
 Pottery of similar East Greek style first came to light in modern
 times at Naukratis in Egypt and it was dubbed "Naucratite," suggesting the place
 of origin. But when more pieces of this fabric were discovered in yet earlier
 archaeological contexts on Chios, the latter was seen as the pottery center.
 There is controversy as to whether Chios was the exclusive place of manufacture
 or whether, as Boardman feels, it was also made in Naukratis ( "Chian and Naucratite," BSA 51
 [1956] 55-56 ). For Chiot pottery known before 1949, cf. Cook 1949, 154-161 ; also J. Boardman, Excavations
 in Chios 1952-1955: Greek
 Emporio (Oxford 1967) 148-152 and Excavations at Tocra 1963-1965 
 (Oxford 1966) 57-63 . It is uncommon to find a single motif in a
 panel: recently on the California market ( Ancient Vases [Catalogue 4, November
 1978] The Summa Galleries, Inc., no. 4 ), there appeared an oinochoe
 with bird motif in a panel, now in the Elvehjem Museum of Art ( Madison 1979.79 . The source of manufacture of designs such
 as this is thought by some to be either Samos or Rhodes. For the most recent
 discussion with bibliography: Kunst der Antike: Schätze aus norddeutschen
 Privatbesitz (1977) 214, no. 193 .
 (unpublished) W.G.M. St. Louis
 174.1924 Corinthian Pyxis with Lid The Dodwell Painter Middle Corinthian, c. 600 B.C. Lent by The St. Louis Art Museum (174:1924). Purchased from
 Frères Feuardent. The Vase: H. 14.4 cm (with lid); W.
 16.5 cm; D. of mouth (with lid) 11.1 cm; D. of base 11.1 cm. Condition:
 excellent. The top of the lid slopes gently up to a knob in the center. The knob
 has a purple center; radiating from it are seven petals. Seven stepped triangles
 fill in the spaces and are surrounded by three circles. A band of chevrons
 covers the top and sides of the knob, with a wide black band below. Rays radiate
 from the base of the knob, terminated by a checkered band framed by purple
 lines. Below the frieze of animals is a purple band. The side of the lid is
 vertical in profile. The underside of the lid is flat for 2 cm, and then a
 sloping edge of 2 cm fits inside the mouth. Inside the sloping edge, the lid is
 hollow. A broad stripe of black decorates the flat lip. Below are stripes of red
 and black on the underside of the lip. Then three black bands and a band of
 separated meanders in the form of "Z's" in reverse, with a dot in between. Then
 three black, a wide red, and a double band, with another red above, frame the
 main frieze. Below, many thin stripes of red and black surmounting black rays
 which spring from the black base. Underneath the base, there is a flat base
 ring, recessed 5.0 cm, which serves as the resting surface of the base. In the
 center, marks for centering the pyxis on the wheel. Decoration: Animal friezes: Lid: panther, full face, then
 from right to left: deer (l.), lion (l.), swan (r.), boar (l.) another panther,
 full face, ram (r.), panther, full face, deer (r.). Main frieze: at the center
 is a pair of facing Sirens, unique to the painter's work, one is a male Siren.
 Both have long hair and wear the polos, and there is an owl between them. Behind
 the female Siren is a panther (r.), a deer (l.), panther (r.), deer (l.),
 panther (r.) with his left foreleg raised, an owl (in profile r.) and lion (l.).
 A lion (r.) is then balanced by a panther (l.), deer (l.), panther with raised
 foreleg (r.), and an owl which completes the circle. The heads of the last
 panther and owl are full face. An assortment of rosettes and partial florals are
 the filling ornament. Added red: beard (male
 Siren), necks, tops of wings, shoulders, belly-stripes, haunches, hands
 (Sirens). This pyxis is early in the painter's work, close to the name vase,
 also a pyxis, Munich 327 ( Payne 1931, 305 ) and to other pyxides: Würzburg L 247 ( Payne 1931, no. 862, pl. 28.1 ) and Brussels ( Payne 1931, no. 864, pl. 28.2 ). The vase was first
 attributed in 1950 by Betty Grossman and independently, in 1957, by D. A. Amyx.
 The Dodwell Painter was influential in what was probably his own workshop, with
 students and associates like the Elvehjem Painter (see Madison 70.3 ) and the Ampersand Painter (see Chicago 1905.343 ).
 Bibliography C. P. Davis, "Corinthian
 Pottery," City Art Museum of Saint Louis.
 Bulletin 12 (1927) 54-57 ; B. G. Grossman, Greek Vases in the
 Collection of the City Art Museum of St. Louis (unpublished
 M. A. thesis, Washington University, St. Louis 1951) 17-22 ; D. A. Amyx "Dodwelliana," CSCA 4 (1971) 7, no. 2 ; Amyx 1988, 206, no. A-2 .
 Betty G. Grossman, St. Louis St. Louis
 167.1925 Etrusco-Corinthian Neck-Amphora The St. Louis Painter ca. 600-580 B.C. Lent by The St. Louis Art Museum (167:1925), Ex collection Harold
 Parsons; from Cerveteri. The Vase: H. 63.9 cm; W. 42.0 cm;
 D. of mouth 23.7 cm; D. of base 20.6 cm. Excellent condition; handles
 reattached. The vase is covered with a pink-buff slip; a creamy white slip is
 used for the background of the friezes. The neck has three red bands the edges
 of which are incised. The band below the neck consists of two double "S" loops,
 with dots above and below their tangents; connecting the two spirals is a motif
 consisting of an angle above, seven horizontal lines and an inverted angle
 below. An arrangement of bands of purple, wide red, and another purple is placed
 above the first animal frieze, between the two friezes and beneath the second
 animal frieze. The lowest frieze consists of opposed vertical "S" loops
 connected by crossed lines and a double horizontal line with inserted leaves.
 The base of the egg-shaped amphora tapers up to a sharply molded rim. Around the
 outer edge of the base there is a sharply raised molding which reflects the
 shape of the lip. Around the base a red band is flanked by two white bands.
 Underneath the base there is a flat ring base with a conical recess — to
 a depth of 4.5 cm — with a slightly convex center. Decoration: Animal friezes. Upper: Sphinx, winged lion,
 boar, panther, grazing stag (all to the right and alternating with large
 rosettes). Lower: double-bodied panther, bird, winged horse, lion, boar, bull
 (all to right, rosettes as before). Added red: 
 on the petals of rosettes and randomly on animals. Added white: petals of rosettes and dots on shoulders of animals and
 on feathers of the bird, alternating with feathers in black and red. In the
 lower frieze the pattern of "S" loops was painted in a diluted yellowish-brown. The style of the St. Louis Painter was identified by Professor J.
 Szilágyi and of the three vases presently given to the painter, besides
 the name vase here, another is in the Midwest: Cleveland 24.872 ( CVA, USA 15,
 Cleveland 1, pls. 41.1 and 42.1 ). Both vases—and a third in
 Paris, Louvre E 634 —are potted by the
 same hand. "The twofold technique which the St. Louis Painter uses to render the
 inner details of the animals is particularly characteristic: surprisingly thin
 lines of incision on the hindquarters and head, sometimes the ribs as well, and
 white added dots on the chest" ( Szilágyi, "St. Louis Painter," infra ,
 p. 8 ). Dots on the necks of animals appear in East Greek
 vase-painting (see Columbia 71.113 ) but the
 St. Louis Painter's use of white dots seems to bring out, in a unique way, the
 inner structure of the chest, shoulders and back ( ibid. )
 In his article (difficult to locate in American libraries)
 Szilágyi provides insight into the numerous stylistic forces which bear
 upon the Etrusco-Corinthian vase-painter's craft. For instance, a Chimaera on
 the Paris amphora appears to be unique as a particular type in
 Etrusco-Corinthian vase-painting and closely follows Corinthian models. Another
 motif, the "kneeling bull," on the Paris amphora, is an old and wide-spread
 motif in Near Eastern art and it originally seems to have indicated an attacking
 gesture in a fight with a beast or hero. In Greece this motif appears variously,
 e.g. an archaic pediment found on the Acropolis of Athens ( Athens, Acr. 4 ).
 On the Cleveland amphora the rendering of the eye of a grazing stag
 (in the top frieze) is reserved, with a black dot for the pupil, in a way known
 in East Greek pottery. Grazing here is indicated not only by the inclined head
 but by the leaf in the stag's mouth and this motif exists in orientalizing
 Etruscan art and elsewhere. However, the motif on the Cleveland vase is unique.
 Instead of eating the usual vegetable matter, the stag grazes on a petal of the
 large rosette directly in front. "The large rosette... is transformed from a
 space-filling decoration into something alive: it sprouts small rosettes and the
 leaf as well which the stag is about to chew off" ( "St. Louis Painter," infra, p.
 9 ). This active genre group is repeated on the Paris amphora. The
 ornamental motif which, in this configuration, fills the bottom register on the
 St. Louis vase and on the other two amphorae as well, appears to be unique. That the St. Louis amphora and the Paris vase were by the same hand
 was noticed by Betty Grossman ( Greek Vases in the Collection of the City Art Museum of
 St. Louis [unpublished M.A. thesis, Washington University, St.
 Louis 1951] 134-140, figs. 27-28 ). The Louvre amphora is published by
 J. Bousquet and P. Devambez, "New Methods
 in Restoring Ancient Vases in the Louvre," Museum 3 (1950) 177-179 . The St. Louis Painter belongs to
 the School of Vulci which includes the American Academy Painter, The Feoli
 Painter and The Boehlau Painter; the potter belongs to the Group of Vatican 127
 ( C. Albizzati, Vasi
 antichi dipinti del Vaticano [Rome 1925-1939] pl. 14, no.
 127 ).
 Bibliography J. G. Szilágyi, "The St.
 Louis Painter," Acta Classica Univ. Scient.
 Debrecen. 10-11 (1974-1975) 5-14 , and Etruszko-Korinthosi
 Vazafestészet (Budapest 1975) 254, n. 42 .
 W.G.M. Milwaukee N 11606/18932 Corinthian Alabastron The Painter of Stockholm 1654 Scale Pattern
 Group Middle Corinthian, c. 590 B.C. Lent by the Milwaukee Public Museum; gift of the Friends of the
 Milwaukee Public Museum (N11606/18932). The Vase: H. 23 cm. Complete;
 mended from four large fragments; small repairs on the body of vase, a third of
 the mouth restored; fired burnt red-brown; buff clay. Decoration: Animal frieze: Three bands, two of animals
 separated by one with scale designs. The uppermost band consists of two panthers
 facing a central Siren (r.) and the bottom frieze has two panthers facing a stag
 (r.) with an additional panther (r.). The scales around the middle of the vase
 are large and compassdrawn; each is doubly incised, and decorated alternately
 with diagonal rows of small white and large red dots. Various encircling lines,
 tongues at base of neck, series of dots on edge of mouth, small depression
 underneath vase. This vase belongs to a large and fairly hospitable Group, one main
 feature of which is its use of bands of scale pattern, and of "incised
 verticals" in combination with animal friezes. The shapes are mainly alabastra
 and round and flat-bottomed aryballoi. As Payne observed ( Payne 1931, 63 ), the Group "derives directly from the
 early period," but its origins can be traced as far back as the Transitional
 (see his remarks [p. 286] on nos. 169-170 as antecedent to the style of nos.
 457-458, which are now believed to be early works of the Scale Painter). The two leading artists of the Group are the Scale Painter and the
 Hermitage Painter. The Milwaukee alabastron was decorated by one of the less
 prolific artists of the Group, thus far known from only two pieces, this one and
 the name-vase, Stockholm 1654. However, the quality is very good, and further
 attributions may in time be expected. The Group remains active throughout the Middle Corinthian period, and
 apparently into Late Corinthian I, but the later works tend to be perfunctory or
 nondescript. Bibliography Münzen , vol. 26 (October 5, 1963) 33 and pl. 21, no.
 67 ; Amyx 1988, 153, no. A-2, pl.
 58: 3a-c .
 D. A. Amyx The University of California, Berkeley Bloomington 77.30.1 Corinthian Broad-Bottomed Oinochoe with Stopper 
 Corinthian
 Early Sixth Century B.C. Lent by the Indiana University Art Museum (77.30.1) The Vase: H. to top of handle 28.5
 cm; W. 26.5 cm; D. of base 26.0 cm; D. of neck 6.1 cm. Narrow-necked type, with
 plastic collar on neck; broad ribbon handle. Nearly complete. Mended, with small
 patches and some "painting in" over cracks, but no serious damage; crack under
 base. Warm yellow-buff clay, paler where untreated (under base, on inner face of
 handle). Firm black to smoky-brown glaze; rich red, liberally applied; red and
 white bands within linear polychrome decoration. Inside of mouth irregularly
 glazed, outside glazed. Neck has red collar and red band below collar, between
 two tiers of vertical zigzags. Cable pattern, painted, on back of handle. White
 dot-rosettes on mouth. On body, below neck: wide band of red, then two animal
 friezes, between them a double row of dicing between polychrome bands (red and
 white over black); below lower animal frieze, polychrome band, then rays. Decoration: In animal friezes,
 reading rightward from handle: Upper: Siren to right, wings raised above back;
 flying bird to right, between seated Sphinxes with raised sickle-shaped wings,
 between panthers; standing women to left. Lower: panther facing stag; floral
 cross between lion and panther; small owl between lion and panther; goat facing
 lion. Red is freely used for interior details of animals and floral cross.
 Varied filling ornament, consisting mainly of incised rosettes (eight, six, and
 four petals; none with centers), "sheaf rosettes," irregular blobs, dots. There
 are some minor oddities and inconsistencies of rendering. Details of floral
 pattern are not symmetrical; goat has incised "collar" (two parallel lines,
 zigzag line between them); paired horizontal strokes often appear on legs of
 quadrupeds; Sphinxes' wings have incised feathers lying far within black-glazed areas which determine their contours;
 the two back-to-back lions have intertwined tails, but lion at left has no base
 to his tail (this area is damaged, but not enough to account for this
 peculiarity). In both friezes, there is a tendency to crowd the figures, a
 feature which is cleverly exploited in one instance, where a lion is made to
 bite into the goat's horn. There are two distinct types of broad-bottomed oinochoe. One (A) has
 a broad, short neck and a wide mouth; the other (B) has a tall narrow neck and
 small mouth, and a plastic "collar" around its neck. (The name "oinochoe" is
 conventional, and the two types may have been designed for different uses.) The
 Bloomington oinochoe is of type B. Its fairly steep shoulder and slightly
 inward-curving lower body allow it to be placed reasonably accurately within the
 series. Typologically, it is slightly more developed than the Early Corinthian
 examples which were decorated by the Duel Painter ( D. A. Amyx CSCA 2 [1969] pl.
 3 ), the Heraldic Lions Painter ( Athens, NM
 927 , Payne 1931, no. 746,
 unpublished ), and the Royal Library Painter ( Prague, University, CSCA 2
 [1969] 21, no. 18, unpublished ). On the other hand, it is distinctly
 earlier than any of the large mass of such oinochoai which were produced in the
 Dodwellian school (see Madison 70.3 ), and
 apparently even earlier than the flashy, double-rayed specimen in Taranto by the
 Nimes Painter ( AS
 Atene 21-22 [1959-60] 135-139 and figs. 111b, 113-114 ), which
 must stand at or very near the beginning of Middle Corinthian. On the
 Bloomington vase, in spite of some early-looking features, such as the two tiers
 of vertical wavy lines on the neck and the painted guilloche on the handle-back,
 both of which were already at home in Protocorinthian and tended to die out in
 Early Corinthian, there are other indications which point to a later date, as
 was suggested by the shape. The size and number of the base rays, as well as the
 somewhat slurred rendering of the checkerboard pattern of "dicing" between the
 two animal friezes are, as is the figure style, indicative of a position on the
 border-line between Early and Middle Corinthian. The style, thus far, is uniquely represented on this vase. No other
 work by this hand has as yet been found. It is, however, a very distinctive
 style, and attributable pieces, when they do appear, should be easy to
 recognize. The rendering of the Sphinxes and of the panthers seems to be
 especially diagnostic. The style is somewhat "wild" and unorthodox, but
 thoroughly competent. It is coarser and bolder than that of the mature Early
 Corinthian "refined" practitioners, such as the Royal Library Painter ( CSCA 2 [1969] 19-22, List E ) and the
 Heraldic Lions Painter ( AJA 70 [1966]
 297 ), but not so rough as that of the Nimes Painter ( AJA 65 [1961] 9f ). On the bold side of Early
 Corinthian, there are generic likenesses to the works of such artists as the
 Walters Painter ( Münzen, vol. 26
 [October 5, 1963] 32, under no. 65 ) and the Lowie Painter ( D. A. Amyx and P. Lawrence, Corinth VII:2 [Princeton 1975] 27 and 84
 f. ), but no specifically comparable renderings. Our Painter goes his own
 way, and he produces highly colorful and attractive results. Bibliography Indiana
 University Art Museum Bulletin I (1977) under "Recent
 Acquisitions," 46 and 62-63, with illustration .
 D.A. Amyx, The University of California, Berkeley