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From Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”

2013; University of Chicago Press; Volume: 48; Issue: 1 Linguagem: Inglês

10.1086/675313

2169-3072

Martine Denoyelle, Francesca Silvestrelli,

Shakespeare, Adaptation, and Literary Criticism

Previous articleNext article FreeFrom Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”Martine Denoyelle, and Francesca SilvestrelliMartine DenoyelleScientific Adviser, Institut National d’Histoire de l’Art, Paris Search for more articles by this author , and Francesca SilvestrelliLecturer in Classical Archaeology, University of Salento, Lecce Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreThe red figure calyx-krater in The Metropolitan Museum of Art heretofore attributed to the Tarporley Painter and said to have been found in Ruvo has always been considered essential for studies of the spread of comic theater in Magna Graecia (Figures 1, 2, 7, 8, 10).1 Generally dated about 400 B.C. or shortly after, it is the first extant South Italian vase to show a comic performance in an explicit theatrical context, indicated by the presence of the stage at the right of the image on the obverse. It has long been thought to be at the head of a figurative tradition recognized as peculiar to Apulian workshops and, to a lesser extent, to South Italian workshops generally. As summed up by Arthur Dale Trendall in his Early South Italian Vase-Painting, “The New York krater is of great importance as the first of what is destined to be a long series of Apulian phlyax vases.”2 The word “phlyax” traditionally designates a type of comic actor or play very popular in southern Italy that is depicted in vase painting from the end of the fifth century B.C. onward. The scene on the obverse of this calyx-krater, commonly interpreted as the punishment of a thief, illustrates one of these comic performances (Figure 1). On the right, an old woman on a stage, with a dead goose and a basket containing two kid goats at her feet, is vehemently addressing two figures in the orchestra. These are an old man standing on tiptoe, his arms stretched high over his head as if he were chained, and a policeman with long hair watching over him. At the far left, a nude youth, his mantle slung over his left shoulder, stands on a wavy line that indicates higher ground (Figure 7). A mask hangs in the background. Inscriptions that seem to issue from the figures’ mouths transcribe the dialogues among the actors.1. Calyx-krater, attributed to the Tarporley Painter, here attributed to the Dolon Painter. South Italian, Lucanian, ca. 400–390 B.C. Terracotta, H. 12 in. (30.6 cm), Diam. 12½ in. (31.8 cm). Side A, a comic play. The Metropolitan Museum of Art, Fletcher Fund, 1924 (24.97.104). Photograph: Paul Lachenauer, The Photograph Studio, MMA2. Side B of Figure 1, draped youthsThe vase is notable in many respects: the originality of the composition, the vivid realism of the drawing with the characters’ lively gesticulation, the identity of the comic play performed, and, above all, the presence of the inscriptions.3 All these elements have given it a fame reflected in such appellations as the “New York Phlyax Vase” or the “New York Goose Vase” (an allusion to the object of the conflict depicted).Leaving aside the well-studied question regarding the interpretation of the play and its origins,4 this article presents arguments for a reattribution of the krater from the Apulian Tarporley Painter to the Lucanian Dolon Painter. The point may initially appear a subsidiary one, but changing from an Apulian painter to a Lucanian one affects our views about the artistic identity of both schools and their roles in shaping the iconography of Greek comic theater.5 This reattribution also sheds fresh light on the careers of both painters, which have not been reconsidered since Trendall’s study of them, published forty years ago, although archaeology has provided new information especially on the find contexts of these artists’ vases and those of their associates.The Tarporley Painter, whose name piece is a fine bell-krater in the Los Angeles County Museum of Art (Figures 3, 4),6 owes his name to the place of residence of the bell-krater’s onetime owner, the Honorable Marshall Brooks, in Tarporley, Cheshire, England. The Tarporley Painter is the leading figure in the development of Apulian vase painting at the beginning of the first quarter of the fourth century B.C. A pupil of the Sisyphus Painter, whose influence is reflected in his early works, he pioneered the so-called Plain Style, dominated by Dionysiac and “genre” scenes, which prevailed in Apulian production for nearly half a century.7 His taste for the Dionysiac world in all its aspects is clear from such serene scenes as the one on the obverse of the Los Angeles bell-krater (Figure 3), in which a maenad crowns Dionysos in the presence of a young Pan holding a bird. Other vases include satyrs and such theatrical elements as masks and chorus men.8 The Los Angeles bell-krater was placed by Trendall in the painter’s early phase, characterized by the “Sisyphean,” solemn attitudes of the figures and the drawing of the profiles with a wide-open eye;9 the nude male bodies are slender and graceful. The youths on the reverse show some typical features, like the “inverted squiggly Y” in the lower part of the central youth’s cloak—which occurs also on vases by some members of his close circle10—or the bare chest and right shoulder of the rightmost youth and the bare left shoulder of the youth on the left. Belonging to the same period, a bell-krater in Sydney with three actors who are probably preparing to perform in a satyr play has two figures standing with their masks in hand and one, on the right, already fully dressed as a satyr (Figure 5).11 Here again, the compact but supple bodies of the youths are typical of the Tarporley Painter, as are the actors’ profile heads, with the straight lines joining foreheads and noses and with somewhat heavy chins.3. Bell-krater, attributed to the Tarporley Painter. South Italian, Apulian, ca. 400–390 B.C. Terracotta, H. 14¾ in. (37.5 cm), Diam. 14⅝ in. (37.2 cm). Side A, Dionysos with a maenad and Pan. Los Angeles County Museum of Art, William Randolph Hearst Collection (50.8.29). Photograph: David Galley4. Side B of Figure 3, draped youths. Photograph: David Galley5. Bell-krater, attributed to the Tarporley Painter. South Italian, Apulian, ca. 400–390 B.C. Terracotta, H. 13 in. (33 cm), Diam. of mouth 14⅛ in. (36 cm). Side A, actors of a satyr play. The Nicholson Museum, The University of Sydney (NM 47.5). Photograph: from Cambitoglou and Turner 2008, pl. 2The New York calyx-krater, by contrast, having been placed by Trendall among the Tarporley Painter’s “earliest work,” would have been created and decorated before the Los Angeles and Sydney examples and under even stronger influence of the Sisyphus Painter.12 In Trendall’s characterization of this phase, typical features include nude youths standing and holding out a bird or an object, small heads on the figures with details accurately drawn, the “inverted squiggly Y” for the black borders of the draperies, which on the obverse are sometimes also decorated with dots. None of these features occurs on the calyx-krater, even though the stance and the draping of the youths on the reverse broadly recall the Tarporley Painter’s manner. Nor is the Sisyphus Painter’s influence obvious,13 even in the figure of the bare-chested youth on the reverse, whose cloak is arranged differently from the representative examples of the same period.14Several reasons may explain why the attribution of such a well-published masterpiece has never been scrutinized. First, as publications have always focused on the puzzling image on the main side of the vase, they consistently neglected—often even failed to reproduce—the decoration on the reverse. Second, stylistic analysis of a comic representation is difficult, since figures usually do not provide sufficient anatomical or physiognomic clues to characterize the style of a painter.Instead, both sides of the New York vase offer convincing comparisons with features that occur frequently in the Dolon Painter’s work. Along with a similar conception of the anatomy (for example, the drawing of the breasts, belly, and pubic hair), the costumes of the two male actors find close parallels with the one worn by the phlyax on the fragmentary skyphos from deposit 1 of the potters’ quarter at Metaponto (Figure 6).15 Common to these figures is the absence of a short tunic, which becomes more usual in later Middle Comedy, and the way the frontal padding is rendered as an artificial element added to the costume; the New York krater also clearly shows the buckle used to fasten the frontal padding.166. Fragmentary skyphos, attributed to the Dolon Painter. South Italian, Lucanian, from discard deposit no. 1 at Metaponto, ca. 400–390 B.C. Terracotta, H. 4⅞ in. (12.3 cm), Diam. of rim 5½ in. (14 cm), Diam. of base 4 in. (10.1 cm). Side A, a comic actor. Museo Archeologico Nazionale, Metaponto (29062). Photograph: © Ministero per i Beni e le Attività Culturali—Direzione Regionale per i Beni Culturali e Paesaggistici della Basilicata—Soprintendenza per i Beni Archeologici della BasilicataAt the far left of the obverse of the New York vase, the naked youth with a folded cloak over his left shoulder assumes a static pose that contrasts with the postures of the other characters (Figure 7). His identity remains under debate, and he is often described as a spectator.17 Whatever his role, he is standing on a rocky prominence rendered by lightly incised lines, and he does not really seem to watch the performance. His presence may have a more allusive than realistic significance, possibly explained by the inscription at his midsection (rather than issuing from his mouth), ΤΡΑΓΩΙΔΟΣ (tragic actor), which is meant to define his function in the image.7. Detail of side A of Figure 1, a youth with the inscription ΤΡΑΓΩΙΔΟΣEven though it may not be evident at first glance, this figure finds parallels in works of the Dolon Painter, particularly in the youths on the reverse of vases of the so-called Tardol Period,18 and in figures decorating small vessels, such as the woman at the louterion on a pelike in Taranto.19 On the New York krater, the relative proportions of the youth’s head to his body, the drawing of the head in profile with the pointed nose and small chin, and the lines that mark the transition from the torso to the legs are very characteristic of the Dolon Painter’s work.The youths on the reverse of the New York krater also provide sound clues for this reattribution (Figure 2). When comparing them to the pure Tarporley style, as illustrated on the Los Angeles name piece (Figure 4), one can note similarities in stance and drapery: the youth on the right of the New York piece, for instance, with his bare chest and raised right arm, is clearly inspired by a Tarporleyan type. But details such as folds and borders of the garments differ significantly; moreover, the hairstyles and physiognomies are different and are much closer to those of the Dolon Painter. The shape of the heads, the slightly curved pupils of the eyes, the pronounced chins, and the half-open mouths appear on the figures of such vases as the hydria from the Metaponto discard deposit no. 1.20 The way the youth on the right holds his stick with his index finger raised as well as the drawing of his massive hand are paralleled on several vases by the Dolon Painter such as a stemmed dish in Saint Petersburg, a calyx-krater in Cambridge, and both sides of the Odysseus calyx-krater in the Cabinet des Médailles in Paris.21Some secondary elements may also reinforce the connection between the New York calyx-krater and works by the Dolon Painter. Behind the old woman standing on the stage, the facade of a building is rendered with a roof and a pediment supported by two Ionic columns framing a closed door (Figure 8). The upper panels of the doors are decorated in black figure with a satyr and a woman apparently dancing. This piece of architecture may be compared with the fountain at which Athena washes her hands before the Judgment of Paris on the calyx-krater in the Cabinet des Médailles (Figure 9): that is a small, square structure seen in three-quarter view, with three ionic columns (the fourth is hidden) and, on the back wall, two plaques suspended beneath two lion’s-head mascarons spitting water.8. Detail of side A of Figure 1, the old woman on the stage9. Calyx-krater, attributed to the Dolon Painter. South Italian, Lucanian, ca. 390 B.C. Terracotta, H. 19⅛ in. (48.5 cm), Diam. of rim 19⅛ in. (48.5 cm), Diam. of base 8⅞ in. (22.6 cm). Detail of side B, Athena at the fountain. Bibliothèque Nationale de France, Paris, Département des Monnaies, Médailles, et Antiques (422). Photograph: © Bibliothèque Nationale de FranceThe spirit is the same as that of the New York krater, for not only do we find exactly the same columns, with a palmette ornament below the capital of each, but the volutes of each capital are centered with a small round dot of brown gloss. This tiny but important technical feature22 is frequently used by the Dolon Painter to render details as various as the pupils of Dolon’s own eyes on his name vase in the British Museum23 and the left nipple of the thief on the New York krater (Figure 1). The brownish dilute gloss, visible on the borders of the draperies, for example, is extensively used by the painter, in contrast with the practice of the Tarporley Painter. Other technical features, such as the area above each handle of the New York krater that was hastily covered with a thin layer of reddish gloss, are also frequently found on vases of the Dolon Painter’s workshop.These elements are as significant for the attribution as the expressive, highly personal drawing, particularly in the Dolon Painter’s Dionysiac scenes. The originality of his composition and his gestural language, already noted,24 is typical of him and contrasts with the quiet and classical creations of the Tarporley Painter.The shape of the New York vase is that of a calyx-krater, which, with its extensive and almost vertical walls, is particularly suitable for complex compositions. It has an almost squarish body, handles turned sharply inward at their tops, while at the base they join a low and slightly concave belly. It diverges substantially from the Dolon Painter’s other known calyx-kraters (Figure 10). The vase in the Cabinet des Médailles, the largest and most impressive of his calyx-kraters, is noteworthy for its slender profile and low belly.25 Other vases are characterized by the straight, vertical handles and a very rounded and high belly, a shape clearly exemplified by the vessels in Cambridge and London,26 and also adopted for examples produced in the potter’s quarter at Metaponto.27 The New York calyx-krater bears some resemblance to vessels attributed to the Amykos Painter,28 to the Schwerin Group,29 and to the so-called Forerunners,30 as well as to kraters by the Tarporley Painter.31 Nonetheless, its proportions are unusual, making it rather inelegant and heavy-looking. The peculiarities in the krater’s shape are not an obstacle in attributing the vessel to the Dolon Painter, however, for he decorated a large range of shapes, apparently made by different potters. But the New York krater’s shape does not provide decisive clues for the identification of the workshop.10. Profile drawings of calyx-kraters attributed to the Dolon Painter. (1) Bibliothèque Nationale de France, Paris, Département des Monnaies, Médailles, et Antiques (422), H. 19⅛ in. (48.5 cm); see Figure 9. (2) The Metropolitan Museum of Art (24.97.104), H. 12 in. (30.6 cm); see Figures 1, 2. (3) British Museum, London (F 157), H. 19¾ in. (50 cm). (4) Fitzwilliam Museum, Cambridge (GR 70/1970), H. 15¾ in. (40.1 cm). Drawings: Caroline Florimont (1), Elizabeth Wahle (2), Kate Morton (3), Aurelia Masson (4). Composite of drawings: Elizabeth WahleAlthough the change of attribution may seem unexpected owing to the fame of the New York vase, it originates in a stylistic ambiguity between the work of the two painters that has been pointed out repeatedly by Trendall and is reflected in the so-called Tardol Group; this acronym, made up from the painters’ names, represents the period when the Dolon Painter worked in a style that closely imitated that of the Tarporley Painter.32 This phase occurred, in Trendall’s opinion, at the end of the Tarporley Painter’s activity and at the beginning of the Dolon Painter’s career.33What we know up to now about the location of the activity of these two vase painters rests, on the one hand, on Trendall’s reconstruction and, on the other, on finds at Metaponto. On the basis of an already extant regional classification of South Italian red-figure schools, Trendall considered the Tarporley Painter to be Apulian, because he belongs stylistically to the tradition of the Painter of the Berlin Dancing Girl and the Sisyphus Painter. According to Trendall, the probability that this production originated in Taranto is very strong for several reasons.34 As for the Lucanian school, in which he placed the Dolon Painter in his Red-figured Vases of Lucania, Campania and Sicily (1967), he acknowledged its location at Metaponto in 1983 in the third supplement to that study, after publication of the discard deposits found in the potters’ quarter of the Achaean colony.35 Thereafter, the parallel productions of the two cities became the basis of Trendall’s account of the early development of South Italian vase painting.36 This framework would imply that the Metapontine Dolon Painter’s apprenticeship would have taken place in Taranto.Sound evidence for collaboration between the Tarporley Painter and the Dolon Painter can be detected on a bell-krater in a German collection recently published by Konrad Schauenburg and attributed by him to the Tardol Group (Figures 11, 12).37 Here the styles of the two painters are found side by side; we are not dealing with stylistic adaptation or imitation, but with actual cooperation between the Dolon and the Tarporley Painters. The bell-krater is decorated on both sides with four figures, and on each side, two figures can be attributed to the Dolon Painter and the other two to the Tarporley Painter. The anatomy and the general conception of the two warriors on the left of the obverse (Figure 11), characterized by their massive bodies, find parallels in figures typical of the Dolon Painter,38 while the two warriors on the right, with more fluidly drawn bodies, can be likened to some figures of the Tarporley Painter.3911. Bell-krater, attributed to the Tardol Group. South Italian, ca. 400–390 B.C. Terracotta, H. 15⅝ in. (39.7 cm), Diam. 15¾ in. (40 cm). Side A, warriors arming. Private collection, Germany. Photograph: from Schauenburg 2008, p. 190, fig. 159a12. Side B of Figure 11, draped youths. Photograph: from Schauenburg 2008, p. 191, fig. 159bOn the reverse, the draped youths can be similarly grouped into two couples, each painted by a different hand (Figure 12). The two youths on the left are by the Tarporley Painter; typical of his work are the wavy border of the cloak worn by the right youth, as well as his half-bare chest (compare the rightmost youth in Figure 4). The head of the left youth and the proportions of his face are characteristic as well. The two on the right are draped youths who can be compared to types H and G of Trendall’s typology. The type G youth, seen from the back and in foreshortening, although also used by the Tarporley Painter,40 occurs more frequently on vases by the Dolon Painter.41 To Trendall’s type H can be compared the second youth from the right, although his stance is more rigid.42The subsidiary decoration with the palmettes below the handles, unusual in vases of this period, is employed on a few bell-kraters by both the Dolon Painter43 and the Tarporley Painter.44 The meander is surely by the Tarporley Painter.45The shape of the bell-krater published by Schauenburg differs from those decorated by the Dolon Painter, which are characterized by an almost vertical rim and globular body and whose origin can be traced back to the shape adopted by the Pisticci and Amykos Painters. Our example, by contrast, presents an inclined rim and a straight body, which can also be found on other bell-kraters by the Tarporley Painter himself46 and, previously, by the Sisyphus Painter.47 Therefore the shape appears to be more consistent with the tradition of the Tarporley Painter workshop, and the painter himself seems responsible here for the subsidiary decoration of the vase.Such collaboration cannot be considered exceptional in early South Italian red-figured pottery. Along with the well-known volute-krater recently reattributed to the Karneia Painter and to the Brooklyn-Budapest Painter,48 evidence for concrete cooperation between painters in the same workshop is a bell-krater, now in Madrid, on which the reverse is painted by the Creusa Painter, while the obverse can be attributed to the Choephoroi Painter.49 In all these cases, we are not just dealing with stylistic influence, we are also obtaining insight into the organization of work in the ateliers of this area.50These two vases, the New York calyx-krater and the bell-krater in a German private collection, open new perspectives on the relative chronology of the two painters. As the bell-krater makes clear, the figures that can be attributed to the Tarporley Painter share the characteristics outlined by Trendall as typical of his earliest activity; the warrior holding a helmet in his left hand echoes one of the stock figures used regularly in vases of his early phase, a figure that is missing in the Dolon Painter’s repertoire. However, even if each figure reflects the mannerism of the artist responsible, the two lateral warriors, each holding a round shield and wearing a pilos, are closer to types in the Dolon Painter’s early maturity.51As a consequence, in our opinion the Tardol phase, whose relative chronology still depends on stylistic analysis owing to the absence of find contexts for the vases of this group, should be seen not as testimony to the apprenticeship of one painter to the other, but rather to the close cooperation between two artisans at more or less the same stage of their careers. Nonetheless, while stylistic analysis hints at the relationships between painters and schools, it alone is not sufficient to explain where such an association took place. Recent results from excavations open new possibilities. Some vases from burials of the first quarter of the fourth century B.C. found at Metaponto and its environs belong to the Tarporley workshop, defined by Trendall in the third chapter of his Red-figured Vases of Apulia.52 Whether a modification in the distribution of the vases or a sign of changes in production, this is a new phenomenon at this time.Two tombs in the recently excavated Metapontine necropoleis yielded a pelike by the Tarporley Painter (late phase)53 and a pseudo-Panathenaic amphora, whose style finds close parallels with vases by the Painter of Lecce 686;54 a pelike from the Saldone necropolis can be related to the same painters (Figures 13, 14).55 A third tomb yielded a pelike with a youth holding out a phiale and a woman very close to work by the La Rosiaz Painter.56 All are members of the Tarporley workshop.13. Pelike, attributed to the Tarporley Painter or to the Painter of Lecce 686. South Italian, from Metaponto, Saldone necropolis, a. 390–370 B.C. Terra cotta, H. 8⅝ in. (21.8 cm), Diam. of rim 4⅞ in. (12.5 cm), Diam. of base 4⅛ in. (10.5 cm). Side A, a nude youth and a draped woman. Museo Archeologico Nazionale, Metaponto (SS 76.58). Photograph: © Ministero per i Beni e le Attività Culturali—Direzione Regionale per i Beni Culturali e Paesaggistici della Basilicata—Soprintendenza per i Beni Archeologici della Basilicata14. Side B of Figure 13, two draped youths. Photograph: © Ministero per i Beni e le Attività Culturali—Direzione Regionale per i Beni Culturali e Paesaggistici della Basilicata—Soprintendenza per i Beni Archeologici della BasilicataOf note also are some vases from a tomb at Pisticci dating to the first quarter of the fourth century B.C. found in 1986 in which both Tarentine and Metapontine stylistic elements are present.57 In addition to a hydria by the Parasol Painter58 and a pelike by the Brooklyn-Budapest Painter,59 a bell-krater60 can be related to the name vase of the R. S. Painter in Turin, with which it shares shape and subsidiary decoration and on which we find the same nude youth leaning on a stick.61 Another bell-krater with a comic scene from the same tomb is probably by the McDaniel Painter,62 while a calyx-krater still difficult to categorize recalls perhaps the Apulian Painter of the Birth of Dionysos.63A further element is introduced by a pelike found in Tomb 100 at Torre di Mare (Metaponto), in association with a lekythos and a lebes gamikos (nuptial vase) by the Dolon Painter.64 The difference between this vessel and the other vases of the tomb group is astonishing. While the shape and subsidiary decoration are consistent with pelikai of the first quarter of the fourth century B.C.,65 elements such as the drapery of the woman seated on the diphros on the obverse of the vase66 and especially the nude youth holding a strigil between two draped youths on the reverse find comparison with vases of the Dechter Painter,67 to whom the pelike can be attributed.These finds, which float between the schools of the Tarporley and the Dolon Painters, confirm the close link between them. The noticeable presence in Metaponto and its territory of vases that can be attributed to painters belonging to the Tarporley Group is consistent with the increasing Apulian influence on Metapontine production. That influence was present but not visible to such an extent in the earlier period, and it can probably be considered the result of the initial cooperation between the Dolon and Tarporley Painters. Although more study is needed to propose a specific theory, the convergence of the many types of evidence—changes in the distribution patterns, demonstrable collaboration between the two painters, stylistic interaction between their workshops—suggests the possibility that Taranto is not necessarily the only city where this cooperation occurred.The change in attribution of the New York krater and the reorganization of the Tardol Group does not, in general terms, affect the chronology of the vase, which was probably decorated shortly after 400 B.C. More important are the consequences of reshaping our understanding of the Dolon Painter, who now receives the credit for one of the first representations of a comic play. This distinction is hardly unexpected in view of his huge output, the variety of shapes he decorated, and, above all, the originality of his most important vases, like the two calyx-kraters at the Cabinet des Médailles and the British Museum. Directly inspired by the texts of the Iliad and the Odyssey, the two calyx-kraters, together with the inscriptions on the New York krater, testify to the literate and literary aspects of the Dolon Painter’s inspiration. The reattribution proposed here also confirms that in the creation of new iconographies, the Metapontine workshops did not lag behind the Tarentine ateliers from a chronological point of view and that representations of comic plays in the context of the stage seem to have appeared at roughly the same moment in both centers, with the Dolon Painter on one side and the Choregos Painter on the other.68 While at Metaponto this subject seems to have had limited success, at Taranto the tradition established itself in a more substantial way, entering the repertoire of several vase painters.69AcknowledgmentsThe authors express their warmest thanks to Carlos A. Picón for his invitation to publish the vase and to Joan R. Mertens and John Richard Green for their invaluable comments and suggestions. They are also indebted to Elizabeth Wahle, Sarah Palaskas, Adrienne Mayor, David Saunders, Joseph Coleman Carter, Cécile Colonna, Caroline Florimont, Lucilla Burn, Alexandra Villing, Antonio De Siena, Ian McPhee, and Isabelle Stamm.AbbreviationsCVA: Corpus Vasorum AntiquorumESIVP: Trendall 1974FI: Trendall 1938LCS: Trendall 1967bLCS Supp. I: Trendall 1970LCS Supp. III: Trendall 1983PhV2: Trendall 1967aRVAp I: Trendall and Cambitoglou 1978RVAp Supp. I: Trendall and Cambitoglou 1983Notes1MMA 24.97.104. Attributed by Noël Moon (1929, p. 41), who also named the painter. Selected bibliography: Richter 1927; FI, pp. 25–26, 41 no. B 75, pl. 28b; Bieber 1939, pp. 281–82, fg. 381; Beazley 1952; ESIVP, pp. 18–19, 51 B 122, pl. 28b; RVAp I, p. 46, 3/7; Mayo 1982, pp. 82–83, no. 13; Trendall 1989, fig. 105; Taplin 1993, pp. 20, 30–32, 62; Colvin 2000, pp. 294–95; Marshall 2001; Hall 2006, p. 227; Csapo 2010, pp. 45–52; Denoyelle 2010; J[asper M. P.] G[aunt] in Hart 2010, p. 112, no. 50 (with extensive bibliography); Green 2012, pp. 296–97 and 332, no. 20: Mayor, Colarusso, and Saunders 2012. For the calyx-krater’s provenance, see Montanaro 2007, p. 910, no. 324.5, p. 911, fig. 876.2ESIVP, p. 19.3For the inscriptions, see Beazley 1952.4See Taplin 1993, pp. 30–32; Csapo 2010, pp. 47–51. The scene is now thought to illustrate an episode of the same play as a bell-krater by the McDaniel Painter in the Museum of Fine Arts, Boston (69.951); see J[asper M. P.] G[aunt] in Hart 2010, pp. 112–13, nos. 50, 51. As for the inscriptions, identified by Beazley (see note 3 above) as iambic, they give a strong sense of the conflict that is taking place among the thief, the old woman who has been robbed, and the Barbarian policeman. For the word ΝΟΡΑΡΕΤΤΕΒΛΟ pronounced by the policeman, a transcription of a phrase in Circass