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DRAWING THE GREEK VASE

VISUAL CONVERSATIONS IN ART AND ARCHAEOLOGY

General Editor: Jas Elsner

Visual Conversations is a series designed to foster a new model of comparative inquiry in the histories of ancient art. The books serve collectively as a public platform to demonstrate by example the possibilities of a comparative exercise of working with objects across cultures and religions within defined, but broad, historical trajectories.

Drawing the Greek Vase

Edited by CASPAR MEYER and ALEXIA PETSALIS- DIOMIDIS

Great Clarendon Street, Oxford, OX2 6DP, United Kingdom

Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries

The moral rights of the authors have been asserted

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above

You must not circulate this work in any other form and you must impose this same condition on any acquirer

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America

British Library Cataloguing in Publication Data Data available

Library of Congress Control Number: 2023930842

ISBN 978–0–19–285612–8

DOI: 10.1093/oso/9780192856128.001.0001

Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY

Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work.

ACKNOWLEDGEMENTS

The origins of this volume lie in a workshop, ‘Drawing the Greek Vase’, held at Corpus Christi College, Oxford, in June 2015. This was a small, vibrant event consisting of seven papers, a pottery handling session and an examination of a selection of Sir John Beazley’s drawings in the Classical Art Research Centre. We followed up this workshop with a Classical Archaeology Seminar Series at the London Institute of Classical Studies in the academic year 2015–16, entitled ‘Objects in Translation’. This broadened the objects under discussion from Greek vases to antiquities and archaeology more generally; it further explored photography and digital media as modes of transcription and included practitioners (an illustrator and a photographer) in the line-up of speakers. Most of the chapters in this volume originate in ‘Drawing the Greek Vase’ and ‘Objects in Translation’, and we also commissioned a small number of additional ones. We are very grateful to Jas Elsner for his longstanding support of the project, and to Peter Stewart and Diana Rodríguez Pérez for enabling our pottery hand ling session and examination of drawings by Sir John Beazley at CARC. We gratefully acknowledge the financial support given by the Oxford University John Fell OUP Research Fund and the Corpus Christi College Centre for the Study of Greek and Roman Antiquity for the original workshop, and the financial support given by the Institute of Classical Studies for the seminar series ‘Objects in Translation’. We have received valuable assistance in finalizing the typescript from Katherine Cohen and Emily Isakson at the Bard Graduate Center. Caspar Meyer, Bard Graduate Center, New York Alexia Petsalis-Diomidis, University of St Andrews

List of Contributors ix

List of Illustrations xiii

List of Abbreviations xxiii

1. Introduction 1

Alexia Petsalis-Diomidis

2. Why Drawing Still Matters: Connecting Hands and Minds in the Study of Greek Vases 24

Caspar Meyer

3. Winckelmann’s Elegant Simplicity: From Three to Two Dimensions and Back Again 57 Amy C. Smith

4. The Graphic Medium and Artistic Style: Thomas Hope (1769–1831) and Two-Dimensional Encounters with Greek Vases 84

Alexia Petsalis-Diomidis

5. The Flattened Greek Vase 112 Milette Gaifman

6. Images of Greek Vases as a Basis for a Scientific Archaeology: Investigating the Archival Legacy of the Gerhard’scher Apparat’s Drawings 140 Marie-Amélie Bernard

7. Volume and Scale: Adolf Furtwängler and Karl Reichhold’s Hervorragende Vasenbilder and the Study of Visual Narrative on Late Fifth-Century Vases 167

Katharina Lorenz

8. Drawing as an Instrument of Connoisseurship: J. D. Beazley and His Late Nineteenth- Century Forerunners 187

Athena Tsingarida

9. Drawing the Greek Vase: A British Museum Illustrator’s Perspective 214 Kate Morton

10. Drawing vs Photography: On the Gains and Losses of Technical Innovation 246

Nikolaus Dietrich

11. The Use of Photographs in the Trade of Greek Vases 276

Vinnie Nørskov

12. Afterword 301

Caspar Meyer

LIST OF CONTRIBUTORS

Marie-Amélie Bernard wrote a PhD thesis in archaeology entitled Francesco Depoletti (1779–1854) in his Time: Survey of the Archaeology, Collection and Restoration of Greek Vases in Rome Between 1820 and 1850. She was chargée d’études in the Institut National d’Histoire de l’Art (INHA, Paris), obtained a scholarship from the Ecole Française de Rome and carried out her post-doctoral research in Labex HASTEC. She is now an independent researcher working particularly on the history of the excavations in Etruria in the 1830s. Her studies also encompass the key players in the archaeological world of the nineteenth century, including institutions, such as the Instituto di Corrispondenza Archeologica, and scholars, dealers, and collectors.

Nikolaus Dietrich has been Professor of Classical Archaeology at Heidelberg since 2015. His research deals especially with Archaic and Classical Greek art. He is the author of Bild ohne Raum? Bäume und Felsen in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v. Chr. (2010), Das Attribut als Problem. Eine bildwissenschaftliche Untersuchung zur griechischen Kunst (2018), co-editor (with M. Squire) of Ornament and Figure in Graeco-Roman Art: Rethinking Visual Ontologies in Classical Antiquity (2018), and co-author (with J. Fouquet and C. Reinhardt) of Schreiben auf statuarischen Monumenten. Aspekte materialer Textkultur in archaischer und frühklassischer Zeit (2020).

Milette Gaifman is the Andrew Downey Orrick Professor of Classics and History of Art at Yale University. A scholar of ancient art and archaeology, her work focuses primarily on Greek art of the Archaic and Classical periods. She is the author of Aniconism in Greek Antiquity (2012) and The Art of Libation in Classical Athens (2018), and co-editor of Exploring Aniconism, thematic issue of Religion 47 (2017), and The Embodied Object in Classical Antiquity, special issue of Art History (June 2018). Her current book project, Classification and the History of Greek Art and Architecture (forthcoming), is the revised and expanded version of the Louise Smith Bross Lectures she delivered at the Art Institute of Chicago and the Department of Art History at the University of Chicago in 2018. Additionally, she was the Co-editor-in-Chief of The Art Bulletin from 2020 to 2022.

Katharina Lorenz is Professor of Classical Archaeology and Director of the collection of ancient art at Justus-Liebig Universität Giessen. She is the author of Bilder machen Räume. Mythenbilder in pompeianischen Häusern (2008) and Mythological Images and their Interpretation (2016). Her research focus is on the methodologies for the study of Classical art and their implications for historical understanding. She has published widely on Greek and Roman visual narrative, Roman painting and the domestic context, art historiography and intellectual history, and digital heritage engagement.

Caspar Meyer is Professor of Classical Archaeology and Material Culture at the Bard Graduate Center in New York. His research focuses on the cultural dynamics of craft production in the Aegean city states and among the mobile pastoralists of Eurasia.

Another area of his interest is the history of the instruments and media which archaeologists have developed to aid the transformation of artefacts into written explanations. He previously taught in London and held research fellowships at the Getty Research Institute in Los Angeles and the Centre Louis Gernet in Paris. He is editor of W86th: A Journal of Decorative Arts, Design History, and Material Culture

Kate Morton is a historical and archaeological illustrator. Trained at Ruskin School of Art, Oxford University, and UCL Institute of Archaeology, she has worked at the British Museum since 1994. Her work supports a wide range of research publications, exhibitions, and display projects. Her recent freelance activities include: graphic support for Middle Eastern archaeological site reports and the BM Iraq Scheme Darband-i Rania Archaeological Project, where she delivered a graphics training programme to the participants on site; The National Lottery Heritage Fund school projects, where her watercolour reconstructions of historical events, along with classroom drawing sessions, help to bring local history alive for children and their wider community.

Vinnie Nørskov is Associate Professor of Classical Archaeology and Director of the Museum of Ancient Art and Archaeology at Aarhus University. Her research focuses on the uses of the classical past, the reception of classical antiquity, and the history of classical scholarship with a special focus on the collecting of and modern trade in Greek painted pottery.

Alexia Petsalis-Diomidis is Senior Lecturer in Classics at the University of St Andrews. She has published Truly beyond Wonders: Aelius Aristides and the Cult of Asklepios (2010) and many articles on religion, travel, and the body in the Greek world of the Hellenistic and Roman periods. She also works on the reception of Classical material culture in eighteenth- and nineteenth-century Europe, and has edited The Classical Vase Transformed: Consumption, Reproduction, and Class in Eighteenth- and NineteenthCentury Britain, BICS 63.1 (2020), with E. Hall. Her research has been supported by the Leverhulme Trust (2002–2005), the Loeb Classical Library Foundation (2020–2021), The British Academy (2021–2022), and the Paul Mellon Centre for Studies in British Art (2022).

Amy C. Smith is Professor of Classical Archaeology at University of Reading, where she also serves as Joint Head of the Department of Classics and Curator of the Ure Museum. Professor Smith received her degrees from Yale (PhD, MPhil, MA) and Dartmouth (BA), and was also educated at the American School of Classical Studies at Athens, the American Academy in Rome, and the American Numismatic Society. Professor Smith’s research into the history of collections includes work on the Winckelmann Jubilees. She also researches Classical iconography and its many manifestations, especially in politics and religion, as well as Greek ceramics.

Athena Tsingarida is Professor of Ancient Greek Art and Archaeology at the Université libre de Bruxelles (ULB), and the Director of the Belgian School of Archaeology at Athens. She holds degrees in Classical Archaeology and Byzantine Studies from the Université libre de Bruxelles and obtained her DPhil in Ancient History and Classical Archaeology from the University of Oxford (Wolfson College), where she studied as a

LIST OF CONTRIBUTORS

Rhodes scholar. A specialist of Archaic and Classical Greece, her research mainly lies in the fields of ancient Greek pottery, cultural and economic interactions throughout the Mediterranean world, and the reception of Classical art in nineteenth-century Europe. She is currently co-directing (with Didier Viviers) the excavations, restoration works, and study seasons in Itanos (Eastern Crete).

LIST OF ILLUSTRATIONS

1.1 A visitor looks at ‘Grumpy Old God, 2010’ by artist Grayson Perry during the press view of the exhibition ‘The Tomb of the Unknown Craftsman’ at the British Museum, London, 5 October 2011. REUTERS/Olivia Harris. 6

1.2 Underside of an Attic red-figure pyxis, c.430–410 bc. BM 1842,0728.924. © The Trustees of the British Museum. 7

1.3 Victoria and Albert Museum, London. Fourth floor, ‘World Ceramics’ display, refurbished 2010. Photograph by Alexia Petsalis-Diomidis, June 2021. 8

1.4 Museum of Cycladic Art, Athens. Fourth floor, ‘Scenes from daily life in antiquity’, ‘Female activities’ theme. © Nicholas and Dolly Goulandris Foundation-Museum of Cycladic Art, Athens. (Photographers: Marilena Stafilidou and Yorgos Fafalis). 9

1.5 Mary Katrantzou, SS17, Look 8 ‘Chariot Dress Bluebird’. Courtesy of Mary Katrantzou. 10

1.6 Apotheon, AlienTrap Games, released 3 February 2015. Courtesy of Alientrap. 11

1.7 British School at Athens collection, antiquities handling session with students from King’s College London, November 2013. Photograph: Michael Squire. 13

2.1a–c Ink and watercolour drawings of a Campanian red-figure amphora from the archive of Nicolas-Claude Fabri de Peiresc. 1620s or 1630s, possibly Matthieu Frédeau. Paris, Bibliothèque nationale de France, F 38955–7. 28

2.2 Drawing of two Attic lekythoi from Dal Pozzo Paper Museum. Windsor, Royal Library Inv. 11,349, 11,350. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2021. 30

2.3 Drawings of vessels from Dal Pozzo Paper Museum, Antichità Diverse Windsor, Royal Library Inv. 10269r. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2021. 31

2.4 Engraving of an Attic red-figure calyx krater. After Passeri 1767, pl. 7. 35

2.5a Copper engraving of an Attic red-figure hydria. After Hamilton and Tischbein 1791, pl. 7. 37

2.5b Attic red-figure hydria showing the Daughters of Pelias. Cambridge, Fitzwilliam Museum Inv. GR.12.1917. © Fitzwilliam Museum, Cambridge. 38

2.6 Ulysses at the Table of Circe. John Flaxman, engraved by James Parker, 1805. New York, Metropolitan Museum of Art, 1977.595.53(16). 39

2.7 Beazley working in autumn 1956 at the Museo Archeologico, Ferrara. Photograph by Nereo Alfieri. From the Beazley Archive, Courtesy of the Classical Art Research Centre, University of Oxford. 48

3.1 Illustrations of a pelike, from Michel-Ange de La Chausse, Romanum museum, sive Thesaurus eruditæ antiquitatis (Rome, 1690), 101, pls 1–2.

3.2 Illustrations of a red-figure pelike and an amphora from the collection of the sculptor François Girardon (1628–1715). De Montfaucon 1719: pl. 71. 61

3.3 A Paestan red-figure bell krater attributed to Python. Ure Museum of Greek Archaeology, University of Reading 51.7.11. Copyright University of Reading.

3.4 Illustration of the Paestan bell krater in Figure 3.3. Passeri 1770: pl. 123.

3.5 Illustration of a Nolan amphora, formerly in the collection of the painter Anton Raphael Mengs, attributed to the Dutuit Painter. Winckelmann 1767: pl. 159.

3.6 Illustration of the scene on the Nolan amphora depicted in Figure 3.5. D’Hancarville 1766–7: pl. 3.4.

3.7 Reproduction of a Raphael drawing from the collection of Queen Christina of Sweden. D’Hancarville 1766–7: pl. 2.20.

3.8 Pelike from Nola, attributed to the Niobid Painter. London, British Museum 1772,0320.23 (E381; BAPD 206984). Photograph Museum.

3.9 A page from Flaxman’s sketchbook depicting the pelike shown in Figure 3.8. © The Fitzwilliam Museum, Cambridge. 72

3.10 Frontispiece of d’Hancarville 1767, showing the pelike illustrated in Figure 3.8.

3.11 Blue-and-white transfer ware dresser plate from the Greek series, after 1806. Photograph by the author, with the kind permission of the Trustees of the Spode Museum Trust. 76

3.12 Hamilton 1791–5: 1, pl. 31, source of the vase image shown in Figure 3.11. 77

4.2 Joseph Michael Gandy (1771–1843), watercolour on paper of a Greek tomb, c.1804. To be identified either as ‘A Cenotaph’ or as ‘View of a Tomb of a Greek Warrior, thought to be ‘The Tomb of Agamemnon’’. 75 × 130 cm. Private collection. Image courtesy of the Bard Graduate Center, photographer: Miki Slingsby. 89

4.3 Sir Martin Archer Shee (1769–1850), portrait of Louisa Hope (1791–1851), c.1807. Oil on canvas. 234 × 132 cm. Reproduced by kind permission of The Hon. Mrs Everard de Lisle. 92

4.4 Benjamin West (1738–1820), ‘The Hope Family of Sydenham, Kent’, 1802. Oil on canvas. 183.2 × 258.44 cm. MFA 06.2362. Abbott Lawrence Fund. 94

4.5 Thomas Hope, Household Furniture and Interior Decoration (London, 1807), pl. III. ‘Room containing Greek fictile vases’. Drawing by Thomas Hope, engraved by Edmund Aikin and George Dawe. Art & Architecture Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations. 96

4.6 Thomas Hope, Household Furniture and Interior Decoration (London, 1807), pl. IV. ‘Second room containing Greek vases’. Drawing by Thomas Hope, engraved by Edmund Aikin and George Dawe. Art & Architecture Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations. 96

4.7 Thomas Hope, Household Furniture and Interior Decoration (London, 1807), pl. V. ‘Third room containing Greek vases’. Drawing by Thomas Hope, engraved by Edmund Aikin and George Dawe. Art & Architecture Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations. 97

4.8 Thomas Hope, Costume of the Ancients (London, 1812), vol. 2, p. 168. ‘Grecian ornaments & scrolls’; ‘Drawn & Etched by Thos. Hope’. Jkc22 +812Hb. Special Collections, Robert B. Haas Family Arts Library, Yale University. 100

4.9 Red-figure amphora attributed to the Painter of the Louvre Symposion, c.475–425 bc. Fitzwilliam Museum, Cambridge, 11.17 (Beazley Archive 214410). Side A. 102

4.10 William Hamilton. 1791–5 [1793–1803], Collection of Engravings from Ancient Vases Mostly of Pure Greek Workmanship Discovered in Sepulchres in the Kingdom of the Two Sicilies, 3 Vols, Naples. Vol. 1, pl. 4. Courtesy of The Lewis Walpole Library, Yale University. 103

4.11 Thomas Hope, Costume of the Ancients (London, 1812), vol. 1, pl. 102. ‘Greek warrior from one of my fictile vases’. ‘Drawn by Thos Hope’. ‘Engraved by H. Moses’. Bodleian Library, University of Oxford. 104

4.12 Designs of Modern Costume (London, 1812), commissioned by Thomas Hope, pl. 4. ‘H. Moses del et sc.’ Private Collection. 106

4.13 Designs of Modern Costume (London, 1812), commissioned by Thomas Hope, pl. 16. ‘H. Moses del et sc.’ Private Collection. 106

5.2 AEGR I, pl. 26. Courtesy of The Lewis Walpole Library, Yale University. 118

5.4 AEGR I, pl. 58. Courtesy of The Lewis Walpole Library, Yale University. 119

5.6 AEGR IV, pl. 31. Courtesy of The Lewis Walpole Library, Yale University. 120

5.7 AEGR III, pl. 92. Courtesy of The Lewis Walpole Library, Yale University. 121

5.10a–b Amphora attributed to Group E, 540 bc. Boston, Museum of Fine Arts, 00.330. 124

5.11 Gerhard, Auserlesene griechische Vasenbilder I, pl. I. Courtesy Robert B. Haas Family Arts Library, Yale University. 126

5.13 Gerhard, Auserlesene griechische Vasenbilder I, pl. II. Courtesy Robert B. Haas Family Arts Library, Yale University. 128

5.14 Cup signed by Exekias. Munich, Staatliche Antikensammlung, 8729. Wikimedia Commons. 129

5.15 Gerhard, Auserlesene griechische Vasenbilder I, pl. XLIX. Courtesy Robert B. Haas Family Arts Library, Yale University. 130

5.17 Gerhard, Auserlesene griechische Vasenbilder I, pl. III. Robert B. Haas Family Arts Library, Yale University.

131

5.18 Amphora attributed to the Achilles Painter. Vatican City, Museo Gregoriano Etrusco Vaticano, 16571. Scala/Art Resource, NY. 133

5.19 Gerhard, Auserlesene griechische Vasenbilder II, pl. CLXXXIV. Courtesy Robert B. Haas Family Arts Library, Yale University. 134

6.1 Sectional tracings from the Gerhard’scher Apparat showing an Attic black-figure amphora attributed to the Painter of Munich 1379. Munich, Antikensammlung 1379 (BAPD 301469). After Gerhard’scher Apparat Berlin XII, 139. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 148

6.2 Composite tracing based on the sections reproduced in Figure 6.1. After Gerhard’scher Apparat Berlin XII, 18. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz.

6.3 Ink drawing from the Gerhard’scher Apparat showing an Attic red-figure cup attributed to the Foundry Painter. Boston, Museum of Fine Arts,

149

98.933 (BAPD 204364). After Gerhard’scher Apparat Berlin XXII, 77. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 150

6.4 Ink drawing from the Gerhard’scher Apparat representing an Attic red-figure cup attributed to the Ashby Painter. New York, Metropolitan Museum 1993.11.5 (BAPD 212581). After Gerhard’scher Apparat Berlin XXI, 47.1. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 151

6.5 Drawing from the Gerhard’scher Apparat showing an Attic black-figure amphora attributed to the Painter of Berlin 1686. Taunton, Somerset County Museum (BAPD 320388). After Gerhard’scher Apparat XII, 134. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 153

6.6 Drawing from the Gerhard’scher Apparat depicting an Attic red-figure cup signed Epiktetos. New York, Metropolitan Museum 1978.11.21 (BAPD 200498). After Gerhard’scher Apparat Berlin XVI, 21.1. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 157

6.7 Drawing by Carlo Ruspi of Attic red-figured fragments now in Paris, Cabinet des Médailles de la Bibliothèque nationale 385, 532+, 537+, 583+ (BAPD 201702, 212626, 205063, 203925). After Gerhard’scher Apparat Berlin XXII, 01. Antikensammlung, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 158

6.8 Engraving of an Athenian red-figure cup showing the introduction of Herakles on Mount Olympos, signed by Sosias as potter. Berlin, Antikensammlung, Berlin, Schloss Charlottenburg, F2278 (BAPD 200108). After Monumenti Inediti dell’Instituto di corrispondenza archeologica I, pl. 24, 1835. 160

6.9 Colour lithograph based on the drawings shown in Figures 6.1 and 6.2. After Auserlesene griechische Vasenbilder II, pl. CXXI, 2. 161

7.1 The London hydria of the Meidias Painter. London, British Museum E224. Photograph courtesy of the British Museum. 169

7.2 The Karlsruhe hydria. Badisches Landesmuseum Karlsruhe B36. Courtesy of the Badisches Landesmuseum Karlsruhe. Photograph: Thomas Goldschmidt. 170

7.3 The London hydria in FR i, pl. 8. Reproduction: Antonia Weisse. 173

7.4 The Duris psykter in FR i, pl. 48. Reproduction: Antonia Weisse. 174

7.5 Eduard Gerhard’s 1839 rendering of the London hydria’s upper picture field: Gerhard 1839, pl. I. Reproduction: Antonia Weisse. 175

7.6 Eduard Gerhard’s 1839 rendering of the London hydria: Gerhard 1839, pl. II. Reproduction: Antonia Weisse. 176

7.7 The Karlsruhe hydria in FR i, pl. 30. Reproduction: Antonia Weisse. 178

7.8 Friedrich Creuzer’s 1839 rendering of the Karlsruhe hydria: Creuzer 1839, pl. 1. Reproduction: Johannes Kramer. 179

7.9 Eduard Gerhard’s 1845 rendering of the Karlsruhe hydria: Gerhard 1845, pl. D2. Reproduction: Johannes Kramer. 180

8.1 Drawing of Herakles and Antaios. Red-figure calyx krater. Paris, Musée du Louvre G103 (after Klein 1886, 118). 190

8.2 Drawing of warriors on black background. Exterior of a red-figure cup. Paris Musée du Louvre G25 (after Hartwig 1893, pl. IX). 192

8.3 Drawing by F. Anderson showing a komos on the exterior of a red-figure cup. Boston, Museum of Fine Arts 95.27 (after Hartwig 1893, pl. XLVII). 193

8.4 Drawing by F. Hauser showing the exterior of a red-figure eye-cup. Munich, Antikensammlung 2587 (after Harrison 1895, plate IV). 194

8.5 Drawing of a gymnastic trainer by J. D. Beazley. Red-figure amphora. New York, Metropolitan Museum of Art 56.171.38, Beazley Archive. Courtesy of the Classical Art Research Centre, University of Oxford. 195

8.6 Drawing of a komos on a red-figure hydria. Munich, Antikensammlung 2422 (after Brunn and Lau 1877, pl. XXIX). 197

8.7 Drawing of a black-figure exaleiptron with profile of the shape (after Furtwängler and Genick 1883, 18 pl. XXIV).

8.8 Drawing by F. Anderson of a komast on a red-figure neck-amphora. London, British Museum E266 (after Beazley 1911, pl. XI).

8.9 Drawing by Émile Gilliéron père of Theseus and Procrustes on the exterior of a red-figure cup. Athens, National Museum CC1166, former Trikoupis collection (after Harrison 1889, pl. I).

198

200

202

8.10 Restoration proposal by F. Anderson of the exterior of a red-figure cup showing Theseus’ deeds. Paris, Cabinet des Médailles 536 (after Harrison, 1889, pl. II). 203

8.11 Beazley’s Notebook 3, p. 39 [1909]. Drawings from an amphora at Harrow, School Museum inv. 55, Beazley Archive. Courtesy of the Classical Art Research Centre, University of Oxford. 204

8.12 Double page 29 from Beazley’s Notebook 70 [1910]. Drawings of the name vase of the Berlin Painter. Red-figure amphora. Berlin, Antikensammlung 2160, Beazley Archive. Courtesy of the Classical Art Research Centre, University of Oxford). 205

9.1 Photograph of a painted scene on an Athenian white-ground pyxis.

BM 1894,0719.1 (Vase D11). © The Trustees of the British Museum. 217

9.2 Two prints of an Athenian red-figure kylix showing a sympotic scene. Name vase of Painter of London E100. BM 1867,0508.1032 (Vase E100).

9.3a Anderson’s drawing of the red-figure kylix BM 1893,1115.1 (Vase E80).

9.3b Exterior of the Athenian red-figure kylix illustrated in Figure 9.3a.

BM 1893,1115.1 (Vase E80). © The Trustees of the British Museum. 219

9.4 Anderson’s drawing of the painted scene on an Athenian black-figure neck amphora. BM 1836,0224.10 (B244). © The Trustees of the British Museum. 220

9.5 Strips of acetate taped together form an outer transparent ‘skin’ that can be drawn upon. © The Trustees of the British Museum. 222

9.6a Line-block reproductions of inked line drawings by Anderson.

9.6b Thumbnail aide-mémoire drawings in the Register of Antiquities. Greece & Rome. Vol. 4. 1 June 1888–31 December 1899.

9.6c Anderson’s perspective drawing of BM 1894,1101.475 (C855).

9.7 Line-block reproduction of Waterhouse’s side view of a Cycladic collared pottery jar with suspension lugs. BM 1912,0831.1 (Vase A304). © The Trustees of the British Museum. 225

9.9 Detail of a drawing by Waterhouse, showing Indian ink applied with a line pen and fine brush. © The Trustees of the British Museum. 227

9.10a Departmental archival print of a Melian bowl. BM 1903,0716.33 (Vase A353). © The Trustees of the British Museum. 227

9.10b Waterhouse’s line drawing of the Melian bowl in Figure 9.10a.

9.10c Waterhouse’s drawing on top of a photograph of the same vessel.

9.11 Bird’s profile drawings of Attic red-figure cups in CVA British Museum 9, fig. 5. © The Trustees of the British Museum. 229

9.12 A pencil drawing of the profile and section of an Athenian red-figure cup.

9.13a–c An experiment using a forged red-figure calyx krater.

9.14 Photograph of the Standard Grant Projector in the assembly and instruction manual. © The Trustees of the British Museum. 231

9.15 Fragments and reconstructed cross section of an Attic red-figure pelike.

9.16 Different presentations of a forged red-figure skyphos. BM 1978,0323.1.

9.17a Working drawing of a red-figure Lucanian nestoris at 1:2 scale.

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9.17b Digital drawings nearing completion at the ‘layout’ stage.

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9.18 Set square, dividers, bent-leg caliper, sticks, vernier caliper, ruler, and profile gauge. The skyphos is the same as that shown in Figure 9.16 (BM 1978,0323.1). © The Trustees of the British Museum. 238

9.19a–b A bucchero hydria BM 1873,0820.356 (Vase H208). a) Hand inked using a dip pen and a Rotring rapidograph. b) Digitally ‘inked’ using Adobe Illustrator. © The Trustees of the British Museum.

9.20 Reconstruction drawing of a black-figure Corinthian kylix.

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9.21a Side ‘a’ of the partially reconstructed East Greek black-figure situla from Tell Dafana. BM 1888,0208.1 (Vase B104). © The Trustees of the British Museum. 242

9.21b High-resolution digital photograph of the figured decoration on the vessel shown in 4.21a. © The Trustees of the British Museum. 242

9.21c An acetate tracing of the figured decoration on the vessel shown in 4.21a. © The Trustees of the British Museum. 242

9.21d Digital tracing of the outlines of paint remains on the vessel shown in 4.21a. © The Trustees of the British Museum. 242

9.21f A colour reconstruction of the figured decoration on the vessel shown in 4.21a. © The Trustees of the British Museum. 242

10.1 Plate XIII from E. Gerhard, Apulische Vasenbilder des Königlichen Museums zu Berlin (Berlin, 1845): Apulian red-figure hydria (Berlin, Antikensammlung F 3290). 248

10.2 Drawing by F. Lissarrague of an Attic black-figure oenochoe by the Painter of the Half-Palmettes (Trieste S 456). 250

10.3 Drawing by R. Reichhold showing the Geryon cup by Euphronios (Munich, Antikensammlungen 8704) published in Furtwängler and Reichhold’s Auswahl hervorragender Vasenbilder (Munich, 1904). 251

10.4a–c Attic black-figure amphora with Herakles and Geryon (Louvre F 53): (a) in a drawing from the Gerhard’scher Apparat; (b) as published in Gerhard 1843, pl. CVII; (c) in a modern photograph taken at the Louvre. 253

10.5 Plate CVIII from E. Gerhard, Auserlesene griechische Vasenbilder, hauptsächlich etruskischen Fundorts, Vol. 2: Heroenbilder (Berlin, 1843): Attic black-figure amphora with Herakles and Geryon. G. Callimanopulos private collection in New York (ex Castle Ashby, Northampton). 254

10.6a–c Attic red-figure chous by the Shuvalov Painter (British Museum E 525), as depicted in the 1801–2 re-edition of AEGR, pls 101 (= fig. 6a), 102 (= fig. 6b), and 103 (= fig. 6c). 255

10.7a–c Attic white-ground lekythos by the Triglyph Painter (Berlin, Antikensammlung F 2680), in two partial photographic views and a drawing. 258

10.8 Attic black-figure amphora with Herakles and Pholos (Bologna, Museo Civico 1436), as illustrated in Gerhard 1843, pl. CXIX. 259

10.9a–b Attic red-figure cup by Makron (Paris, Louvre G 271), interior picture photographed twice under the same electric light, but at a slightly different angle. 261

10.10 Plate LXXIII from Beazley and Caskey 1963, combining photography and drawing to illustrate a cup by Douris (Boston 00.499).

10.11 Plate V from Beazley and Caskey 1931, combining photography and drawing to illustrate an amphora by the Kleophrades Painter (Boston, Museum of Fine Arts 10.178).

10.12 Plate LXXXIV from Beazley and Caskey 1963, combining photography and drawing to illustrate a lekythos by the Alkimachos Painter (Boston, Museum of Fine Arts 95.39).

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11.1 Photographic albums in the Medici Archive. Courtesy of Dr Christos Tsirogiannis.

11.2 Polaroid photograph from the Medici Archive showing a Paestan bell krater in the Metropolitan Museum of Art in 1989. Photograph: courtesy Dr Christos Tsirogiannis.

11.3a–b Two versions of a plate showing two red-figure amphorae in the auction catalogue of Passavant-Gontard 1929. Photograph a) from catalogue in the DAI, Rome (author); photograph b) from catalogue in Heidelberg (Cassirer and Helbing 1929, plate IV).

11.4 Photograph in the auction catalogue of the Lambros and Dattari collections 1912. Photograph: Hirsch 1912, pl. VI.

11.5 Interior of one of the rooms in Arnold Ruesch’s house in Zürich. Photograph: Galerie Fischer 1936, pl. 25.

11.6a–b Obverse and reverse of a photograph from the Marshall archive showing a Corinthian pyxis and an Attic red-figure lekanis. Photograph by author, after John Marshall Archive, British School in Rome ID1147.

11.7 Four red-figure vases on a table. Photograph from the John Marshall Archive in the British School at Rome, 1921. John Marshall Archive ID192, photograph JM[PHP]-05-0379.

11.8 A group of objects offered to John Marshall in 1914 by the Greek dealer E. P. Triantaphyllos. John Marshall Archive ID580, British School at Rome, photograph JM[PHP]-15-1121.

11.9 Etruscan impasto bowl on a high foot offered to John Marshall in 1925 by de Angelis. Photograph from the John Marshall Archive in the British School at Rome, 1925. John Marshall Archive, photograph ID237, JM[PHP]-06-0460.

11.10 Red-figure bell krater offered to John Marshall by Dr Filippo Falanga. Photograph from the John Marshall Archive, British School at Rome, ID224, JM[PHP]-06-0425.

12.1 Inked profile drawings of Archaic and Classical Attic cups from the Athenian Agora. From Agora 12.2 (1970), fig. 4.

12.2 Carlo Bossoli, pencil drawing of two fragmentary Athenian black-figure lekythoi from the collection of I. P. Blaramberg, probably 1830s. Archive of Odessa Archaeological Museum.

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LIST OF ABBREVIATIONS

ABV J. D. Beazley. 1956. Attic Black-Figure Vase-Painters (Oxford: Clarendon).

Add2 T. H. Carpenter, J. D. Beazley, L. Burn, T. Mannack and M. Mendonça. 1989. Beazley Addenda: Additional References to ABV, ARV 2 and Paralipomena, 2nd edn (Oxford: Oxford University Press).

AEGR P.-F. H. d’Hancarville. 1766–7 [1768–76] Antiquités étrusques, grecques, et romaines tirées du cabinet du M. William Hamilton: Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. Wm. Hamilton, 4 Vols (Naples: Morelli).

ARV J. D. Beazley. 1942. Attic Red-Figure Vase-Painters (Oxford: Clarendon).

ARV2 J. D. Beazley. 1963. Attic Red-Figure Vase-Painters, 2nd edn (Oxford: Oxford University Press).

BAPD Beazley Archive Pottery Database http://www.beazley.ox.ac.uk/XDB/ ASP/dataSearch.asp.

CVA Corpus Vasorum Antiquorum.

FR (i–iii) A. Furtwängler, K. Reichhold, F. Hauser, E. Buschor, C. Watzinger and R. Zahn. 1904–32. Griechische Vasenmalerei: Auswahl hervorragender Vasenbilder, Serie I–III (Munich: F. Bruckmann).

LIMC Lexicon Iconographicum Mythologiae Classicae.

Para J. D. Beazley. 1971. Paralipomena: Additions to Attic Black-Figure VasePainters and to Attic Red-Figure Vase-Painters, 2nd edn (Oxford: Clarendon).

Introduction

Alexia Petsalis-Diomidis

This is the first book to be published exclusively on the subject of two-dimensional depictions of Greek vases. This is remarkable given the proliferation of images of Greek vases or their extracted iconography in art and in publications, ranging from antiquarian luxury folios to recent scholarly textbooks. In addition to the significant presence of such images, the process of their production has been an important feature of artistic and scholarly practice.

Many scholars have in fact considered the subject of depictions of Greek vases and brought them into a range of studies. Such discussions feature above all in scholarship on the history of collecting Greek vases. Images of vases, or images which appear to reflect the painted decoration of Greek vases, have been used as evidence for the timeline of the story of discovery, collection, and restoration of these objects, as well as the ‘taste’ of the time.1 They have been examined with a view to reconstructing the sources of individual painters, such as Donatello, Ingres, Alma-Tadema, and Leighton.2 Discussions of depictions also feature in histories of the scholarship of Greek vases, although there are some surprising silences, revealing the way that images of vases can become almost invisible in the quest for the original object in its antique setting.3 The tracings and drawing practice of the twentieth-century scholar Sir John Beazley (1885–1970) have

1 e.g. Masci 2013: 277–82; Bonora 2003; Sparkes 1996a; Lyons 1992; Jenkins 1988; Vickers 1987; Greifenhagen 1939.

2 On Donatello: Greenhalgh 1982. On Ingres: Picard-Cajan et al. 2006 (particularly contributions by S. Jaubert, C. Jubier-Galinier, P. Picard-Cajan, and M. Denoyelle); Denoyelle 2003; Picard-Cajan 2003. On Alma-Tadema: Barrow 2001: 44–6, 130–4. On Leighton: Jenkins 1983.

3 e.g. R. M. Cook’s history of the study of Greek vase painting, a fundamental text for classical archaeologists and art historians, makes only cursory reference to illustrations and does not analyse their role in the development of scholarly debates. Cook 1997: 275–311.

Alexia Petsalis-Diomidis, Introduction In: Drawing the Greek Vase. Edited by: Caspar Meyer and Alexia Petsalis-Diomidis, Oxford University Press. © Caspar Meyer and Alexia Petsalis-Diomidis 2023. DOI: 10.1093/oso/9780192856128.003.0001

Drawing the greek vase caspar meyer - The latest ebook edition with all chapters is now available

DRAWING THE GREEK VASE

VISUAL CONVERSATIONS IN ART AND ARCHAEOLOGY

Drawing the Greek Vase

ACKNOWLEDGEMENTS

CONTENTS

LIST OF CONTRIBUTORS

LIST OF CONTRIBUTORS

LIST OF ILLUSTRATIONS

LIST OF ABBREVIATIONS

Introduction