Kansas City
 47.43 Etrusco-Corinthian Amphora ca. 620-610 B.C. Lent by the Nelson Gallery-Atkins Museum; Nelson Fund (47-43). Ex
 collection Tancredi Fallani, Rome. The Vase: H. 73.4 cm; W. 50.9 cm;
 D. of mouth 18.5 cm; D. of base 16.7 cm. Mended from several large fragments.
 Light buff-white clay; medium beige slip which has flaked considerably. Glaze
 misfired green (for comments about this specifically, see Archaeology 12 [1959]
 247 ). Accessory color is enhanced in places on scale-pattern and on Side
 A. Interior of neck is in added red; underside of base is reserved. The figures
 are largely outlined in incision. A griffin on Side A has been mistakenly given
 an added hind leg by the ancient artist; another on the same side may have been
 redesigned in modern times because of a patch immediately above it; it has no
 wing. Decoration: Side A (left to right) centaur with skirt and
 curly hair grasps the tail of a deer directly before him; behind centaur:
 griffin, griffin, griffin, panther, griffin, deer, deer (all 1.) and palmette.
 Side B: griffin, griffin, griffin, centaur
 with skirt holding tail of previous griffin, horse, panther, panther (all 1.).
 Added red : randomly on all members, scales
 etc. with red on A retouched. Tongues on shoulder and foot alternately
 red-black-black. Scales on shoulder, compass-drawn, point down with applied red
 in diagonal pattern. Two guilloche bands, again compass-drawn, frame the single
 frieze and all are painted alternately red-black. This vase belongs to a group which has been discussed by J.G. Szilágyi ( Vazafestészet, infra 
 ). As this important book is
 in Hungarian and difficult to locate we paraphrase his discussion. The scale
 design had its origin in local ware, bucchero ( ibid., p. 87), but its extensive use in this group of
 Etrusco-Corinthian painting was largely because of the popularity of the motif
 in Corinthian pottery, especially on pointed aryballoi. Because scholars thought
 the scales on Etrusco-Corinthian vases to be of Middle Corinthian influence,
 they tended to date vases such as this one from the Nelson Gallery, to the sixth
 century. In fact the Corinthian scales of this period are different insofar as
 they end in two incised strokes and almost invariably are facing down. In
 Corinth, scales occur on a few vases as early as Early Protocorinthian ( Johansen, Les Vases
 Sicyonien [Paris 1923] pls. 22,I and 23,2E ). The motif is
 ultimately an ancient eastern one, and Payne( Payne 1931, p. 19, n. 2 ) mentions the affinities of the alternating
 coloration with Assyrian painted bricks. Scales are found in Greece in the
 Mycenaean period, and scales appear in Cretan geometric ware ( Boyd, AJA 5 [1901] 146, fig. 9 ) from which the motif
 could easily have become Corinthian. This amphora is a product of the seventh century B.C. The hands of a
 few masters have been ascertained among the III pieces of the Scale-amphora
 Group, but Szilágyi's work on this group, as he himself admits, is still
 provisional. Some sixty-six vases have known provenience, all from Caere save
 one ( Montelius, La
 Civilisation Primitive en Italie [Stockholm 1895-1910] plate
 274, n. 4 ). It is likely, because of their size, that the group was
 actually made there, "the total product of a single workshop" (Vazafestészet, infra, 
 p. 83 ). Szilágyi argues that toward the end of the seventh
 century the Etruscan oil industry became independent of the Greek, and that
 these amphorae, with their very thick walls and strong handles, may have been
 made to hold such a heavy liquid, or possibly grain (ibid., pp. 82-83). Besides these elaborately decorated vases there
 are many undecorated examples made in this workshop which still need to be
 collected and studied. Professor Szilágyi argues that it is this group of
 undecorated vases which was made in imitation of the Attic "SOS" amphorae, not
 the Scale-amphora Group, which is "rather a local shape transformed by Greek
 characteristics" ( ibid. , p. 81). He mentions
 that locally made amphorae and canteen-shaped vases (a shape which was made
 later in the group's production) have been found with subgeometric decoration,
 but he says that the earliest Etruscan developments of the group have yet to be
 discovered ( ibid., p. 87). The neck-amphora
 was not a shape native to Italy. The pithos, with its lower center of gravity
 and similar but less sharply pointed pyriform base, does exist in Villanovan
 pottery. Late Protocorinthian and Transitional Corinthian aryballoi, though very
 much smaller, are similar in design. Szilágyi was not able, at the time of his writing, to assign a
 place to the Kansas City amphora within the context of his "miniaturist" style
 — the first of three phases of decoration which he identified in the
 group's production. The figure-style here is stiff and ill-defined and suggests
 a period past the phase's prime, c. 610 B.C. for this vase. However, the shape
 — with a wide belly curving marvelously to an extremely narrow base
 — is characteristic of the earliest pots of his miniaturist style, that
 is c. 620 B.C. The dotted rosettes also argue for the earlier date. The closest vase in form and style is an amphora in Toronto, Royal Ontario Museum 969.224.1 . Slightly
 smaller in size, the Toronto vase is identical in form and figure style. The
 Toronto vase has dual friezes and the centaurs are naked, in good Corinthian
 fashion, not clothed as here. The style of the vase at the Nelson Gallery as well as that at
 Toronto is similar to the earliest work (Ricci, MonAnt 42 [1955] 525) of the Le Havre Painter-named after vase 16 in
 the Nouveau Musée des Beaux-Arts — whose work spans the entire
 period of the miniaturist style. A certain roundness of the jaw of his animals,
 an unforgettable muzzle or beak, spindly legs, oddly drawn wings, incised
 contours of the figures and their tendency to march routinely in the same
 direction, all characterize the earliest work of the Le Havre Painter. The only
 element not in accord with Szilágyi's characterization of this master's
 work is his lack of filling ornament. Whether created by this hand or that of a
 student, the Toronto and Kansas City amphorae were contemporary with the Le
 Havre Painter's work and in proximity to it. The miniaturist style ends with the
 final vases of this artist. After this, the Scale-amphora workshop's production
 is dominated by the work of the Bearded Sphinx Painter and the "elongated" style
 which he introduced ( Vazafestészet, infra, pp. 84-85 ). For the role of
 the Bearded Sphinx Painter in the Scale-amphora workshop and his possible
 stylistic influence on vases such as this see also J. G. Szilágyi, "The St. Louis Painter," Acta Classica Univ. Scient. Debrecen . 10-11
 (1974-1975) pp. 14-18 ; and Madison
 1979.122 .
 Bibliography Handbook
 of the Collections. Nelson Gallery-Atkins Museum 4th ed.
 (1959) 27 and 5th ed. (1973) 33 ; J. G. Szilágyi, Etruszko-Korinthosi Vazafestészet (Budapest 1975)
 60-87 ; R.M. Cook, "The Swallow
 Painter and the Bearded Sphinx Painter," AA 1981, 454 .
 Thomas M. C. Barcz, University of
 Wisconsin-Madison Bloomington 73.59.2 Etrusco-Corinthian Amphora 
 ca. 620-610 B.C. Lent by the Indiana University Art Museum (73.59.2). The Vase: H. 46.0 cm; D. of body
 29.5 cm; D. at lip 13.0 cm; liquid contents c. 14.5 liters. The clay is of a
 rather porous structure, close to tile fabric, medium-hard to soft. Its color is
 7.5 YR 7.5/3 pinkish-gray-white to pink (Munsell). Added red and off-white have
 been widely used. The neck-amphora stands on a high, conical foot with steep
 sides, its underside is a straight ring, the bottom slightly hanging. The rather
 pointed, broad, egg-shaped body leads over a wide, evenly rounded shoulder into
 the solid, slightly conical neck. The rim opens outwards in a strong
 echinus-curve, its interior is hollowed as if to fit a lid. The handles rise
 from below the middle of the shoulder and connect with the neck at its middle,
 forming a wide, sharp arc. They are flattish oval in section. The vessel has
 been deformed, apparently before the firing in the kiln: the rim is sagging
 towards Side B, and further below, the whole side of the body has warped and
 caved inwards. Decoration: The base of decoration
 consists of somewhat unevenly applied brown glaze which has worn off in certain
 areas. With the exception of a narrow reserved band below the cable pattern in
 the center, the band of the frieze itself, and the underside of the handles, the
 exterior of the amphora is fully painted. The main decorative pattern consists
 of a continuous scale pattern which covers most of the body. These scales, each
 of a fair size, are compass-drawn. The insertion marks are very distinct,
 forming, in themselves, a subsidiary pattern. Emphasizing the body structure of
 the vase, the scales of the lower half are directed upwards against the frieze.
 Those of the upper section point downwards. The even, carpet-like cover of the
 scales is gently interrupted only twice by a tongue-pattern: once at the
 beginning of the body above the foot, where it is rising, and again at the
 neck-shoulder join where it is directed down. Like the scales, these tongues are
 painted alternately red and off-white. The color decoration of the scales
 consists of large dots alternately red and off-white. These dots are arranged in
 an oblique, spiralling fashion, creating long arcs across the body, as the
 colors create long sequences emphasizing the centers of the scales. The largest abstract design, a simple cable (guilloche) pattern below
 the main frieze, has been woven from inter-twining red and off-white bands.
 While not always fully symmetrical in its construction, this cable pattern has
 also, like the scales, been created with the help of the compass. Three circle
 segments, centered closely on the same line — roughly in the center of
 each "cable eye" — combine to bring about the sinewy, forward-moving
 pattern. The frieze is a broad reserved band with a cover of creamy slip; on
 Side A, in the center to the left, there is a kneeling centaur with human
 forelegs. Over his shoulder he carries a tree formed from tendrils which he
 grasps with his left hand. His right hand is raised in a gesture of apparent
 excitement. His medium-long hair is coarsely incised and was originally
 encircled by a fillet in added red. His face shows a solid, strong profile, his
 chin juts forward, the frontally rendered eye is slanting outwards. His kneeling
 front legs have strong haunches, supported by rather delicate calves, resting on
 elongated, slender feet. The horse's body is attenuated; the legs appear
 somewhat short. His genitals are clearly marked; the tail falls down in a
 triangle, touching the ground. He is positioned in front of a group of three
 animals — two deer and a panther. The latter attacks the central deer
 from behind, biting it in the hindquarters. This deer, in turn, hangs its
 foreleg over the back of the one in front of it. The remaining figures of the
 animal frieze are less active. They stalk in rhythmic gait without engaging in
 much noticeable activity. In front of the centaur parades a panther, following a
 griffin. Continuing clockwise around the vessel proceed a Siren, a lion, another
 panther (whose hindquarters are now partially missing), a goat, a ram, another
 panther, another lion and a Sphinx which comes up to the tail-end of the panther
 of the central group behind the centaur. Characteristic of all animals are their stretched, rubbery-appearing
 bodies, rendered in firm, gently undulating lines. They walk on solid, heavy
 legs in which some of the tendons are incised, while claws and paws are always
 sharply outlined. Their tails, if present, curve up in swan-neck curves and end
 in tassels which often resemble the stylized heads of waterfowl. Particular
 sections of the body, the neck and the wings are set-off in added red. Eyes
 appear in diluted brown, a rendering which gives them a more staring appearance. In comparison to Corinthian vases the vessel's shape appears less
 elegantly designed and thought through, while on the other hand, it displays a
 more robust air and a higher degree of simple functionality. The drawing of the
 figures, likewise, lacks the graciousness and refinement customary in Greek
 vases. A hallmark, however, is the rustic quality of the animals, especially the
 centaur. The Etrusco-Corinthian problem has been discussed by W. L. Brown, The Etruscan
 Lion (Oxford 1960) 52-59 , and by T. Barcz (see Kansas City 47-43 ). Among the vessels
 mentioned there, this amphora stands very close to two similar ones in the Villa
 Giulia ( P. Mingazzini, Vasi della Collezione Castellani, [Rome 1930] no. 355 p. 128;
 pl. 24.6, 25.1; no. 356 p. 129 pl. 25.2 ), one of them with a frieze,
 the other one with a decoration of scale and cable. For an amphora with three
 friezes, from the workshop but not the same hand, see Zürich 3446 , from Cerveteri (Exhibition: Das Tier in der
 Antike, Archäologisches Institut der Univ. Zürich, 21
 Sept-17 Nov 1974, no. 320, p. 53, pl. 54 ).
 This is another vase from the "Scale-amphora Group" which is not far
 in its particulars from the amphora in the Nelson Gallery. The group is not
 discussed in its entirety, except in Hungarian, by J. G. Szilágyi, in
 Etruszko -
 Korinthosi Vazafestészet (Budapest 1975) , so we
 give a discussion of the development of the group here. Szilágyi defines three phases of decoration in the
 Scale-amphora Group. The Bloomington amphora belongs to his first style, termed
 "miniature," where the frieze seems secondary to shape and geometric designs
 which cover the vase. The work of one artist spans the entire period of the
 miniature style, from its beginnings ( Ricci,
 MonAnt 42 [1955] 525-526, no. 1, fig.
 127 ) through its height ( Hesperia Art Bulletin 47 [1969] A. 22 ) to
 a "degenerate" phase ( CVA, Belgium 3, Brussels
 3, IV B, pl. 1, 1a-b ). Called the Le Havre Painter after his name
 vase ( 16 Nouveau Musée des
 Beaux-Arts ), his earliest piece, according to Szilágyi (supra, p. 70), is indistinguishable from the
 work of the Cambridge group, which centers on the vase at the Museum of
 Classical Archaeology ( Cambridge CE 2 ). Some
 pieces of this later group, Szilágyi feels, will be found to be the work
 of the Le Havre Painter, since neither the Cambridge group nor the Le Havre
 Painter used filling ornaments. The figures on this earliest vase of the Le
 Havre Painter bear a similarity to those on the Nelson Gallery amphora (see Kansas City 47-43 ). The Le Havre Painter is
 the prime master of the miniaturist phase. The second phase of the "Scale-amphora Group" is a period
 characterized by an elongation of the figures and a slimming of the amphora
 shape. The development is especially important in the "Scale-amphora" workshop,
 because it marks the introduction to the style of a master whose skill was
 already well practiced at Vulci - the Bearded Sphinx Painter. According to
 Szilágyi (supra, p. 84-85),"The Bearded
 Sphinx Painter at mid-point in his production, changed shops to one which
 provided opportunities for his artistic abilities and one in which he was
 satisfied with pupils who follow his example." Because the Bearded Sphinx
 Painter had not worked with the masters of the miniature style, his art is not a
 development from the first phase of the group. It is a student of the Bearded Sphinx Painter who breaks with
 tradition, and decorates many different shapes, amphorae being in a minority.
 Named the Canteen Painter, after an unusual shape ( Berlin Inv. 31270 ), he is related to the Bearded Sphinx Painter,
 possibly as his student. Szilágyi suggests that perhaps the two are
 identical, but while there are many similarities in style, none of the known
 pieces of each allows verification of this identity (supra, p. 84). The last phase of the group, according to Szilágyi (supra, p. 77-78), is a definite development
 and even a continuation of the elongated style. The figures now are clumsier and
 coarser -they are done with a "heavy hand." Individual masters are the most
 difficult to identify in this "heavy" style, because of the poor and inaccurate
 drawings, but Szilágyi is confident that artists will some day be
 defined, "even with the low quality of painting." (unpublished) Wolf Rudolph, Thomas M. C. Barcz, Warren G. Moon Bloomington 77.30.4 Pointed Aryballos Early Corinthian ca. 620-600 B.C. Lent by the Indiana University Art Museum (77.30.4). The Vase: H. 8.3 cm; d. of foot 1.3
 cm; w. of body 4.9 cm; d. at rim 3.6 cm; liquid contents 45.0 cc. Complete, a
 small chip on the side of the base and a piece of the rim have been repaired in
 plaster. Fine, dense Corinthian clay, sandy structure, very few pores and some
 inclusions, medium hard. 2.5Y 7.5/4 pale yellow in color (Munsell color chart).
 The glaze is black to brown, added red has been amply used. The vessel stands on a flat base, hollowed underneath. The stretched
 ovoid body is topped by a narrow neck, widening gently towards the broad, flat
 disk-rim. A short handle, rectangular in section, connects the side of the
 shoulder with the edge of the rim. A narrow circle runs around the underside of the base. Around the
 lower body stand twenty-two slender, round-topped petals, which correspond to
 twenty similar ones decorating the shoulder, hanging down from the neck. This
 motif occurs a third time on the lip with thirty lancette-like petals radiating
 from the pouring hole. They are accompanied by a thin circle at the outer rim
 edge. On the outside of the handle runs a sharp zigzag, its interstices accented
 with one dot; on the sides is painted a row of rather large dots. The petals on
 the body, below and on the shoulder, are overlaid with added red, some of it
 rather worn. Decoration: Lower frieze: shows three dogs, in a running
 position, two to the right, one to the left. In the latter's back a single small
 rosette, incised and with added red, has been placed. The dogs' bodies are
 elongated and this elongation is emphasized by precise and vigorous incision,
 especially in the hindlegs. The heads on strong necks appear somewhat squarish.
 Their silhouettes, including the nostrils and the ears, have been carefully
 outlined; the separation between the head and neck, the jaw line, ear, eye, nose
 and mouth have been incised. Sections of the legs, front and back, as well as
 the neck of the dog, have been painted red, as have portions of the tails. Main frieze: topped by a band of
 leftward-running z-pattern between a double line, it features eight men running
 to the right. They move with long, swift strides, their heads are in profile,
 their torsos turned frontally with arms extending angularly at either side. From
 the hips down, their sharply bent legs are also in profile. The background is
 filled with rosettes of different sizes, all quickly and irregularly drawn with
 the leaves incised in quick, imprecise lines, some with added red. The incision
 within the figures is more precise and sure. The details within the bodies are
 few and not all are standard: calf and thigh muscles, knee caps, genitalia,
 lower edge of sternum, the muscles separating arm and shoulder (drawn across the
 full width of the biceps to the outside of the arm). Careful setting of lines
 serves also to separate the intertwined limbs of the various runners. A downward
 pointing bow-line separates neck and shoulders, indicating the clavicles. From
 it ascends the hairline, turning into the volute-like ear. A short line connects
 the ear with the forehead, a broad fillet sits on top of the head. The eyes are
 large and circular; extending short lines at either side indicate the corners.
 Nostrils and mouths are sometimes indicated. Added red often covers the whole of
 the upper torso; it also can cover parts of the belly and especially the thighs. The eight men are all of relatively even size except for the one
 squeezed in under the handle where the artist had to close a gap. An impression
 of speed and swiftness is created by the interlocking and overlapping of the
 widely thrown-out limbs, by the frequent projecting of heads above the topline.
 The bodies possess a solid massiveness and are rendered with a sober,
 well-established routine. A particular characteristic of the artist's figures
 are their long, attenuated hands and feet, almost fin-like in their appearance. The theme of foot-races does not occur often in Corinthian
 ceramics. "A good foot race of men with prizes appears on a two-rowed
 Corinthian alabastron now with Edward H. Merrin in New York." (Letter of
 Dietrich von Bothmer to Warren G. Moon, 15 Feb. 1980) Most likely, this representation shows participants in a sprint race as
 indicated by the position of their hands and feet. For a later dedication of a
 vessel with a foot race, in the sanctuary of Demeter at Corinth, see M. Pemberton, "Vase Painting in Ancient
 Corinth," Archaeology , 31.6 (1978) 31 .
 For the representation of athletics: Payne
 1931, 116, no. 8 .
 The general fullness of the body, as well as the rather low neck,
 place this pointed aryballos late within the shape-series which covers the whole
 span of the seventh century. The shape conforms principally with Payne, supra p.
 22, fig. 8A , with which it shares the same lower body and shoulder
 decoration. The type and placing of the rosette suggest a date in the Early
 Corinthian period. Considering the sureness of the drawing as well as the
 routine in the alignment of the runners, one finds this to be a competent artist
 whose roots, however, seem to go back into the Transitional period, possibly the
 Late Protocorinthian, judging from the frieze of hounds below, an abbreviated
 version of the rabbit chase, cf. Payne 1933,
 ed. J.D. Beazley and P. Jacobstahl (Mainz 1974) pl. 20.2 .
 Wolf Rudolph, Indiana University Davenport
 AR 47.33 Corinthian Alabastron 
 Middle Corinthian
 ca. 600-590 B.C. Lent by The Putnam Museum, gift of C.A. Ficke (AR 47.33). Purchased
 in Athens, 1896. The Vase: h. 20.3 cm; d. of mouth
 5.0 cm; d. of base 6.7 cm; w. 10.2 cm. Complete. Chip on rim, some surface
 abrasion and pitting; paint missing near base, especially in area below cock's
 left wing. Typical Corinthian alabastron with flat mouth, pinched handle, small
 neck, bulbous body and flat base. The mouth is decorated with three concentric
 bands on the top followed by a series of small dots on the rim. Eleven bold rays
 enliven the shoulder; most of the handle is also painted. Four horizontal bands
 separate the figure frieze from the neck rays. The ground line is formed by two
 horizontal lines followed by a wide band at the alabastron's base. Under the
 base, a series of concentric rings. Decoration: A large cock struts to
 the right. His left wing is dramatically opened in front of his breast while his
 right wing trails behind his body. The elaborate tail plumage unfurls into a
 field of numerous large rosettes. The wings and body of the bird are enhanced by
 a multitude of parallel incisions to indicate feathers. The field is crowded
 with small dots and incised rosettes. Added
 red: the cock's comb and wattle, alternate tail feathers, central area of
 outstretched left wing; large dots on both wings. This alabastron, whose syntax and shape are particularly common in
 the Middle Corinthian period (cf. P. Ure,
 Aryballoi and Figurines from Rhitsona 
 [Cambridge 1934] pl. VI, 86.5-86 ), is a worthy example of the
 colorful, ornamental quality of much good Corinthian pottery. The painter has
 filled almost the entire frieze with a large cock whose wings and feathers
 spread out to encircle the alabastron. Comparable vases with cocks or Sirens
 appear in Early and Middle Corinthian: S.
 Weinberg, Corinth VII (Cambridge, Mass. 1943)
 pl. 33. no. 234 ; D. A. Amyx and P.
 Lawrence, Corinth VII, 2 (Princeton 1975) pl.
 102 a, no. An 219, p. 142 ; C.
 Dugas, Délos X (Paris 1928) pl. XXXI,
 nos. 437, 439 ; CVA, Denmark 2,
 Copenhagen 2, pl. 86, 3 . In most of these, the cock or Siren does not
 stretch the left wing forward or extend tail feathers as much as does the bird
 on the Putnam alabastron. Richard Daniel DePuma, University of Iowa. Iowa City
 1971.273 Corinthian Alabastron Early Corinthian, ca. 610-600 B.C. Lent by the University of Iowa Museum of Art; Museum purchase
 (1971.273). Ex collection James Finn, British Consul General to Jersusalem,
 1845-1863. The Vase: h. 11.7 cm.; d. of mouth
 4.1 cm; w. 5.8 cm. Complete. Small crack to side of handle perforation; thin
 vertical crack below handle; some minor surface abrasion. Areas of added red,
 especially on the swan, enhanced in modern times. Standard Corinthian alabastron
 shape for the seventh century B.C., with broad, flat mouth, small, deep opening
 and a perforated-pinched handle. Typical ornaments painted in dark glaze on the
 mouth, neck and base. A zone of 15 solid rays radiate from the mouth; a row of
 21 irregularly-spaced dots decorate the rim.. Six long rays enhance the neck
 with one, larger than the others, on the handle. Twelve rays, similar to those
 on the mouth, radiate from a small depression at the base. (These ornaments do
 not appear in the accompanying drawing.) Seven large and nine small incised
 rosettes occupy spaces between the figures. Decoration: On the front of the
 alabastron, a large figure representing Typhon faces right. His hair and beard
 are long and wavy; he wears a small cap and a short-sleeved chiton decorated
 with borders of wavy lines at the waist and shoulder. His colorful sickle-shaped
 wings unfurl from his waist and back; a snaky tail emanates from the waist,
 curves to form a circle below, then spreads upward under his right arm and
 trails behind. The left arm and hand are held parallel to the waist; the right
 arm drops at an angle. On the back, under the handle, a large swan walks to the
 right. Incised lines indicate the beak, head and plumage. Added red: Typhon's neck, central portion of his snaky
 tail, his chiton, and alternate feathers of each wing. Most of the swan's body
 and alternate feathers on wing tip and tail. Alabastra are among the most popular Corinthian vase shapes. The Iowa
 example is distinguished by its subject, not its shape. Hesiod ( Hes. Th. 820 ff. )
 provides the earliest account of Zeus's struggle against the monstrous Typhoeus
 or Typhon, the offspring of Earth and Tartaros. The vivid literary descriptions
 of this bizarre hybrid would tax any vase painter's skill and, indeed, most
 showed a tamed, simplified creature compared to the prodigy imagined by the
 poets. A Chalcidian hydria by the Inscription Painter ( Munich 596 : Arias
 & Hirmer 1960, pl. xxv, pp. 55-56 ; AJA 38 (1934) 132, fig.
 3 ) is one of the few vases where Zeus actually confronts Typhon.
 Typically, the latter combines human and animal elements. He has a man's torso,
 arms and bearded head (albeit with pointed ears) but the wings of a large bird.
 Two snake tails emanate from his waist. He is not to be confused with
 fish-tailed monsters such as Nereus: Athens, NM
 12587 , column krater by Sophilos, AthMitt 62 (1937) pl. 50,2 ;
 Okeanos; London dinos, London 1971.11-1.1 , by
 Sophilos, Brommer 1978b, pl. 15.1 ; or
 Triton: E. Buschor, "Meermänner" SBMun [1941:2] 1ff .
 The Typhon of Corinthian pottery is similar to that described above,
 except that he has normal human ears and only one snake-tail. The wings are
 almost always sickle-shaped. He never holds attributes (cf. London 88.2-8.1 , an East Greek situla where Typhon
 brandishes snakes: CVA, GB 13, British Museum
 8, pl. 1, 3 ). The motif itself appears in the Transitional Period but
 is most common in the Early Corinthian period among artists of the Delos Group
 (see Benson 1953, 29, 38 ). On
 alabastra, Typhon may appear with a lion ( Louvre CA
 62 ; CVA, France 9, Louvre 6, pl. 3,
 5-6 ), a falcon ( J. Dörig,
 Art Antique [Geneva 1975] no.
 136 ), a dolphin ( Brussels R 224 : CVA, Belgium 1, Brussels 1, pl. 2, 11 ) or
 a swan ( Würzburg 94 : Langlotz 1932, pl. 10 ). The adaptability of Corinthian
 motives is evident when vase painters press into service Typhon's sickle-shaped
 wings and decorative chiton for figures of the Potnia Theron (e.g., Louvre E 588 :
 CVA, France 14, Louvre 9, pl. 32,
 8 ) and Boreas (e.g., Louvre E 586 :
 CVA, France 14, Louvre 9, pl. 31,
 13 ).
 Perhaps the most refined depiction of Typhon is on an alabastron in
 the Scheurleer Museum ( Scheurleer APS 715 :
 CVA, Netherlands 1, The Hague 1, pl. 4,
 2 ). Here the elegantly coifed and elaborately dressed creature is more
 dapper than frightening. The Iowa alabastron, like most, shows a less complex
 rendition, especially in the simple treatment of incised detail on the chiton.
 The most unusual feature of the depiction is the manner in which the tail curls
 into a circle; all other examples known to me are S or U-shaped. (unpublished) Richard Daniel DePuma, University of Iowa