From Athens to Naukratis: Iconography of Black-Figure Imports

8/10/2019 From Athens to Naukratis: Iconography of Black-Figure Imports

1/40

From Athens to Naukratis:Iconography of Black-Figure Imports

Debborah Donnelly, MA

University of Toronto

2006


2/40

Table of Contents

Introduction 1

Historical Background 2

Chronology of Shapes 4

Iconography 7

Conclusion 11

Appendix 1 Table of Examined Vases from Naukratis 13

Appendix 2 Chronological Appearance of Vessels, by Shape 17

Appendix 3 Iconography by Vessel Shape 18

Appendix 4 Chart of frequency of Iconographic Images 19

Appendix 5 List of Attic Black-Figured Painters 21

Appendix 6 Deities depicted during the Sixth Century BC 22

List of Illustrations 23

Bibliography 24


3/40

Donnelly 1

Athens to Naukratis

Naukratis is considered to be a Greek emporium that developed in the sixth century BC in the

Western Delta of Egypt. It has produced an abundant amount of early archaic Black-Figured

pottery from Attica, in addition to numerous other types of East Greek Wares. In conducting

research on another topic, I had the opportunity to read Sian Lewis book, The Athenian Woman,1

which discusses the iconography of women on export vases to Etruria. By looking at the images

of entire vessels, their provenance and actual contextual find-spot, she has determined to provide

balance between art history and archaeology. She established that depictions on vases for export

markets were different than images retained in Athens with regards to the iconography of women.

It is with this in mind that I decided to do a preliminary examination of the types of images

represented on Attic Black-Figured pottery found in Naukratis.

Unfortunately the number of complete vessels of painted Attic Black-Figured ware from

Naukratis is extremely limited, and therefore the aim of this investigation is only to determine

what kinds of images were favoured in Naukratis during the sixth century BC. I have not limited

my examination to scenes of women due to the small percentage of images found in Naukratis

that contain women,2but have chosen to review all the iconography represented. With the

commencement of research, I realized that the sherds are widely spread throughout different

museums of the world. I thought to limit my research to a manageable figure of approximately

250 samples.3I gathered images mainly from the CVAs4published by different museums until I

had roughly 250 samples.5The collections utilized in this report come from the Graeco-Roman

1Lewis (2002)

2Approximately 1.3% of the total of images.

3Venit (1984: 152) states that there is approximately 960 examples of Attic vases (fragments) found in Egypt which

date between the late seventh and the mid-fifth century BC.4Corpus Vasorum Antiquorum

5Total of sherds reviewed came to 282.


4/40

Donnelly 2

Museum in Alexandria, the Cairo Museum, Fitzwilliam Museum in Cambridge, Oxfords

Ashmolean Museum, Akademischen Kunstmuseum in Bonn, Heidelbergs Ruprecht-Karls-

Universitat, Boston Museum of Fine Arts, University College of Dublin, Torontos Royal

Ontario Museum, and some sherds from the Louvre and the British Museum. This is only a

portion of the sherds, but optimistically is representative of the entire corpus.6

A table of the sherds examined, listed chronologically by shape, with accompanying

information on description of images, and collections, is provided in Appendix 1. From this I will

evaluate the forms of vessels and relationship to imagery to determine if there was a specific type

of iconography that was preferred by the people of Naukratis.

Historical Background

Amasis was partial to the Greeks, and among other favours which he granted them, gave to suchas liked to settle in Egypt the city of Naucratis for their residence. To those who only wished totrade upon the coast, and did not want to fix their abode in the country, he granted certain landswhere they might set up altars and erect temples to the gods. Of these temples the grandest andmost famous, which is also the most frequented, is that called the Hellenium. It was built

conjointly by the Ionians, Dorians, and Aeolians, the following cities taking part in the work:- theIonian states of Chios, Teos, Phocaea, and Clazomenae; Rhodes, Cnidus, Halicarnassus, andPhaselis of the Dorians; and Mytilene of the Aeolians. These are the states to whom the templebelongs, and they have the right of appointing the governors of the factory; the other cities whichclaim a share in the building, claim what in no sense belongs to them. Three nations, however,consecrated for themselves separate temples- the Eginetans one to Jupiter (Zeus), the Samians toJuno (Hera), and the Milesians to Apollo.7In ancient times there was no factory but Naucratis in the whole of Egypt; and if a person enteredone of the other mouths of the Nile, he was obliged to swear that he had not come there of his ownfree will. Having so done, he was bound to sail in his ship to the Canobic mouth, or were thatimpossible owing to contrary winds, he must take his wares by boat all round the Delta, and sobring them to Naucratis, which had an exclusive privilege. It happened in the reign of Amasis that

the temple of Delphi had been accidentally burnt, and the Amphictyons had contracted to have itrebuilt for three hundred talents, of which sum one-fourth was to be furnished by the Delphians.Under these circumstances the Delphians went from city to city begging contributions, and amongtheir other wanderings came to Egypt and asked for help. From few other places did they obtain somuch- Amasis gave them a thousand talents of alum, and the Greek settlers twenty minae.Herodotus II

6See Venit (1988) Appendix II Collections and Proveniences, for a more complete listing of collections.

7All located except the one to Zeus and an extra temple dedicated to Aphrodite by the Chians.


5/40

Donnelly 3

Herodotus aptly lays the ground, the ethnic background and the establishment of Greek Settlers

in Egypt around the 26thDynasty, at the beginning of the sixth century BC.8These included not

only people from the mainland, but immigrants from all over the Greek realm, including many

from several of the islands. It is likely however, that the settlers came earlier,9and that Amasis

acknowledged them by containing them in a specific area, and allowing them to carry out trade

with other Mediterranean societies. Naukratis uniquely lies on the western main branch of the

Nile that leads from the Nile Valley to the sea (Fig. 1).

Excavations in the early 19thcentury were carried out by W.F. Petrie and E.A. Gardner

subsequently published by the Egyptian Exploration Society,10and D.G. Hogarth continued in

the early twentieth century.11

Unfortunately early descriptions of the pottery make it difficult to

distinguish the different types of Greek vases found on the site. Later archaeological excavations

conducted by Coulson and Leonard from 1977-1983, produced more stratigraphical results, but

they could not reinvestigate the earlier trenches as the prior dig had resulted in the formation of a

lake in the centre of the site (Fig. 2).

8Traditionally the dates for Amasis reign falls between 570-526 B.C. (Baines 1989: 37).

9R.D. Sullivan (Coulson, 1996: Chapter 7) argues that it was most likely founded by Psametichus I (664-610 BC) as

a stratopedon (military camp), which accords with Strabos account (Strabo 17.1.8.801).10

Memoirs 3, and 6.11

Hogarth (1898/99) and (1905)


6/40

Donnelly 4

Chronology of Shapes

The earliest pottery found on the site was Laconian, Wild Goat, Chian, and Corinthian in

the mid-late 7th

century BC (Fig. 3).

Fig. 2


7/40

Donnelly 5


8/40

Donnelly 6

Followed soon thereafter with pottery from Attica. The earliest Attic sherds are represented by a

kraterfragment now in the Royal Ontario Museum likely attributed to the Nettos Painter, c. 600

BC (Fig. 4),12

and a fragment of a stand with opposing sphinxes and a palmette-lotus festoon

above (Fig. 5).13

The majority of vessel fragments appear to come from the third and fourth quarters of the

sixth century (Appendix 2).14

From the first quarter the vessel forms of dinoi, olpai, oinochoai,

lekanides, and kantharoiare prominent. Kratersform 20% of the corpus in the first quarter and

30% in the second quarter. In the third quarter, amphorae make up 26%, replacing the krater as

the most significant vessel type. Beginning in the third quarter and increasing into the last quarter

of the sixth century, cups begin to dominate. Little Master cups and other cups make up nearly

12Hayes (1981) CVA39.1 ROM 910x234.20 c. 600-580 BC; part of a large lotus-and-palmette chain with double

incised outlines, motifs face alternately up and down. Boardman (1999) Fig. 142 he dates c. 620-600 BC. Venit

(1984: 143, Fig. 4) calls this a fragment of a lekanislid, and disagrees with Boardmans attribution to the NettosPainter, preferring the Gorgon Painter and painters working in his manner, with regards to the drawing of the calyx.13

Venit (1984:141) Fig. 1 also refers to an olpe in the British Museum (B 102.3) from the Temenos of Apollo, with

an image of a sphinx, being similar to those by the Nettos Painter. This item was not included in my original listing

of sherds.14

Srensen (2001) utilized data from CVA British Museum 8, Venit (1984 & 1988), andABV, in her recent analysisand her results showed the majority of vessel fragments from the second quarter (her tables pg. 160 & 161). Note

that Srensen includes only 160 Attic sherds, but also does not specify if Red-Figured sherds are included in her

tally, she only describes her work as archaic.

Fig. 4 Fig. 5


9/40

Donnelly 7

51% of all vessel sherds recovered from Naukratis in the fourth quarter.15

One has to keep in

mind that the context of most of these vessels (as far as can be determined by the early reports of

the archaeologists) comes from sanctuaries,16

and therefore the types of vessels found may

represent only a portion of the actual types utilized by the citizens of Naukratis.17This may also

imply that Attic ware was only used in relation to the sanctuaries, either for ceremonies or

dedications.18

Iconography

With respect to the iconography represented on the Black-Figured pottery from Attica,

one finds that there is a limited type of illustration found at Naukratis. The dominant theme

appears to be pictures of warfare, this includes chariots, horse and rider scenes, and pictures of

warriors, most often occurring on kraters, amphorae, and cups (Appendix 3). The relationship of

the occurrence of each type of image is graphically represented in Appendix 4, which shows a

clear pattern distinguishing the most frequently depicted type of figure. Perhaps this accords with

the idea that the site was originally settled by Greek mercenaries (note 9 above).

Panthers and lions are also commonly shown, either alone, or as part of an animal frieze.

They occur frequently on kraters, lekanides, and on three out of the four oinochoe analyzed.

Birds, sirens and sphinxes are quite numerous, but animals, whether mythological or real, are

often included as parts of friezes or as filler.

15Srensen (2001: 154) states that only four Attic cups belonging to the late 6

thcentury have been recorded from

Naukratis, but more pottery reached Egypt already by the early 5th

century. This is do in part to her sample, most of

the cups from the fourth quarter come from Heidelberg and Fitzwilliam Museums (see App. 1), that she has not

included in her analysis.16

Chapter VI of Petrie (1886) by Cecil Smith, who describes the pottery, see also Gardner (1888).17

Later excavations have not reached the same levels, having revealed mostly Greco-Roman remains.18

Gill (1986) discusses some of these dedications; Beazley (1950) Fig. 1.


10/40

Donnelly 8

With respect to divinities, Athena is shown the most often of the gods,19

despite the fact

that a temple in her honour is not known at Naucratis.20However, if one includes the depictions

of Dionysus, along with maenads, satyrs and ivy, there is a clear preference for this deity

(Appendix 6).21Hermes and Achilles were depicted early on, with Dionysus and Athena in the

later part of the century. Herakles appears throughout the sixth century. It is not surprising to find

the portrayal of heroic figures, which seem appropriate based on the evidence of such a particular

preference for warrior depictions

As mentioned previously, most of the fragments with known provenience come from the

sanctuaries at Naukratis. Venit (1984: 154) seems to believe that Attic pottery was preferred at

Naukratis based on its superior quality, and where it only competed with East Greek wares rather

than competing in the west with Corinthian exports. However, the imagery on the vessels at

Naukratis implies that the objects were specifically chosen based on need and preference. It

seems unlikely that these objects were purchased just out of availability as the themes seem very

connected. This need base seems to be an implied association with the heritage of the people,

selecting images that are particularly Greek versus more Egyptian in style, and which would have

been readily available through local sources.

No analysis would be complete without mentioning the whole vessels of Attic Black-

Figure found at Naukratis. Complete vessels of Attic type are rare, and the three that incorporate

into my data are an olpedepicting a ram, of the early sixth century, a dinosattributed to

Sophilos,22and a Little Master cup that shows Odysseus escaping Polyphemos.23

19Six probable scenes of Athena occur within this corpus.

20See the quote by Herodotus and note 6 above.

21At least twenty images occur, more than three times that of Athena.

22For a list of the attributed Painters found at Naukratis, see Appendix 5.

23Beazley archive; CVA, London, British Museum 2, IIIHe.5, PL.(70) 12.2; Touchefeu-Meynier, O., Themes

Odysseens dans l'Art Antique (Paris, 1968), PL.8.3 (A); Wijer, B. van de, Iconologisch Onderzoek van het

Polyphemusavontuur (Leuven, 1982), FIG.126.


11/40

Donnelly 9

The olpe(Fig. 6) is dated from the late seventh to early sixth century BC by Beazley and

Payne (1929: 254). The dinos(Fig. 7) is much more prolifically published due to its attribution to

Sophilos.24

It depicts two friezes of animals25

with a single image of Hermes (attributed by the

caduceus he is carrying). Beazley and Payne (1929: 256) state that it is not unusual to find

Hermes amongst these images of real and mythical creatures, as he is a traveller and mediator

24Gardner (1888) Pl. IX.6; Beazley & Payne (1929) Pl. XVII;ABV39.13; Bakir (1981) Fig. 131-138; Williams

(1983) Fig. 35.

25It contains images of sirens, panthers, goats, lions and boars.

Fig. 6


12/40

Donnelly 10

(who) links the world of monsters to the world of man and civilisation. This shows a connection

between the animal themes and the gods, so frequent at Naukratis.

Williams (1983: 34) had noted that Beazley had wondered if a fragment from Reading

belonged to this dinos, but he never seemed to verify it. Williams followed up, and with the help

of Jane Gardner of the Ure Museum, arranged to have the fragment temporarily inserted, and a

new photograph taken (Fig. 8). The fragment provides the left side of the floral arrangement in

the upper frieze and one of the confronting sirens of the lower frieze.


13/40

Donnelly 11

Conclusion

From all this evidence it would appear that the soldier was a very important part of the

city of Naukratis. It seems likely that the city was originally settled by Greek mercenaries and

that their presence continued throughout the sixth century BC. The East Greek population that

certainly made up a good proportion of the city, based on literary evidence, may also reason with

the number of vessels portraying mythological and real animals, a favourite in East Greek pottery

as well. There appears to have been a cult for Athena, perhaps associated with the Hellenion, and

a certain preference for the god Dionysus during the latter half of the sixth century BC.

Whether this accords with other materials from the site, or even with the entire corpus of

Attic BF pottery can only be dealt with on a larger scale. This preliminary analysis seems to point

to a different scenario than the purely economically based, trade emporium that has been the

definition of the site to date. Even evidence from the smallest sherds has provided an interesting

Fig. 8


14/40

Donnelly 12

glimpse into the past, perhaps something that should be done more often, despite the fact that

very few whole vessels have been found. It would however, be a tremendous undertaking to

analyze all the data from Naukratis due to its spread of material throughout private and museum

collections throughout the world, and that the depth of material on the site is difficult to reach by

excavation.


15/40

Donnelly 1

Appendix 1 Table of Examined Vases from Naukratis

Museum/No. Bibliography Painter Description

BM 1965 9-30 835 Birchall Pl. Xc two locks of mane (horse head) to right

BM 1965 9-30 836 Birchall Pl. Xd four locks of mane (horse head) to right BM 1965 9-30 837 Birchall Pl. Xe three locks of mane (horse head) to right

Fitz N174 CVA 2,39 Pl. 20.12 lion, bull

Alex 9358 NaukratisV234,

Pl. 52

Komast Group lower legs and thigh of a dancer

Ox Ash G128.20 SophilosA.13 Abb

127Sophilos man (Hermes?) between sphinxes


Pl. 54

P. of Vatican 309 head of youth left


Pl. 53

Circle of Lydos chariot team to right with warrior behind

BMFA 86.586 CVA 1 Pl. 58.3 palmette-lotus festoon

HRKU 215 CVA 1,55Pl. 32.8 warrior, bird

Ox Ash G562 CVA 2,94 Pl. 2.20 men right with spears, interlacing palmette-

lotus

Ox Ash G128.2 CVA 2,94 Pl. 2.24 rosettes, tongue band

Cairo Je 46339 NaukratisV236,

Pl. 53

Lydos ? horse and rider to left


Pl. 53

palmette-lotus festoon

BMFA 86.616 CVA 1 Pl. 58.1 Amasis boxers and trainer

BMFA 86.577 CVA 1 Pl. 58.2 warrior & horse to right BMFA 86.585 CVA 1 Pl. 58.10-

11

lotus framed by lateral palmettes

BMFA 86.578 CVA 1 Pl. 58.5 bearded man to right, partial figure facing him

BMFA 86.582 CVA 1 Pl. 58.4 perhaps Group E palmette-lotus festoon

ROM 210x234.35 Hayes CVA Pl. upper part of satyr dancing right


16/40

Donnelly 2

39.8

ROM 210x234.27 Hayes CVA Pl.

39.5

charioteer, wearing chiton and an animal skin

HRKU J60 CVA 4,49 Pl. 165.9 manner of Lydos maenad right


Pl. 54

feet of male right

Alex 17079 +

17151

NaukratisV243,

Pl. 54

palmette-lotus chain


Pl. 55

warrior & archer to left

AKB 697.86 Piekarski 01 - C9 near Swing

Painter

lotus palmette frieze with multiple rings

AKB 697.93 Piekarski 01 - C2 near P. of Vatican

309

head and shoulders of a woman facing left

BMFA 88.836 CVA 1 Pl. 58.9 bridal procession (2 women behind a horse)


Pl. 54

palmette-lotus floral

Alex 17097 NaukratisV238,Pl. 53

near SwingPainter

palmette-lotus festoon; below warriors

UCD V4057 Vickers Pl.XIV N P. of Vatican

Mourner?

woman and satyr

AKB 697.85 Piekarski 01 - C10 lotus-palmette frieze and part of a helmet cre


Pl. 53

palmette-lotus chain


Pl. 54

lower leg male striding left


Pl. 54

palmette-lotus floral


Pl. 55

palmette-lotus chain in silhouette


Pl. 55

chariot team to right, imitation inscription

Ox Ash G137.136 CVA 2,95 Pl. bearded man to left


17/40

Donnelly 3

2.22.28

Fitz N196 CVA 2,41 Pl. 20.37 horsemen

HRKU J53 CVA 4, 49 Pl.

165.11

chariot

HRKU J58A CVA 4,49 Pl.

165.12

chariot wheel, foot of woman

HRKU J58B CVA 4,49 Pl.

165.13

woman (Athena?) and chariot


Pl. 55

lower body frag. w/ rays

Fitz N181 CVA 2,39 Pl. 20.2 Charioteer


39.1

Nettos P. (?) palmette-lotus chain


Pl. 56

lion striding right; below a rosette


Pl. 56

blk & red tongues; below part of animal


siren right, head turned back; above incisedrosette

Fitz N188 CVA 2,40 Pl. 20.28 head of bearded man to left

Fitz N185 CVA 2,40 Pl. 20.25 head of woman being embraced by a man

Fitz N186 CVA 2,40 Pl. 20.26 head of youth to left

Fitz N171 CVA 2,39 Pl. 20.10 lion, rosette

BMFA 88.945 CVA 2 Pl. 108.2 komasts


Pl. 57

Komast Group four dancers - 2 female, 2 male left


Pl. 57

feline striding left; rosette incised above

AKB 697.83 Piekarski 01 - C1 near KX &

Sophilos

leg of lion above; below ram and lion

Alex 9341 NaukratisV255, rel. to Ptoon bird, or griffin-bird to right


18/40

Donnelly 4

Pl. 57 Painter


Pl. 57

paw of feline striding left

Cairo 26167 NaukratisV257,

Pl. 58

head of man to left

Cairo 26168 NaukratisV258,Pl. 58

P. of Louvre F6 head of man to left


Pl. 59

swan to left, two incised rosettes & 1 blob

rosette


Pl. 59

man. of Lydos lower half of bird to right


Pl. 59

man. of Lydos swan to left

BMFA 86.567 CVA 2 Pl. 108.1 manner of Lydos feline and two birds or sirens

BMFA 86.571 CVA 2 Pl. 108.6 near P. of Vatican

309

male and female heads to left

BMFA 86.643 CVA 2 Pl. 108.9 head and neck of a bridled horse to right BMFA 86.569 CVA 2 Pl. 108.3 manner of Lydos sphinx wearing a fillet to right behind a man

BMFA 86.570 CVA 2 Pl. 108.4 manner of Lydos seated sphinx to right

BMFA 86.574 CVA 2 Pl. 108.5 feline to left, upper field a rosette

BMFA 86.573 CVA 2 Pl. 108.7-8 zigzags, upright ivy leaves with berries


Pl. 59

zigzags


Pl. 60

zigzags

Fitz N201 CVA 2,40 Pl. 20.31 male komos to right

Fitz N195 CVA 2,40 Pl. 21.6 male komos, arms crossing each other

Fitz N182 CVA 2,40 Pl. 20.20 draped youth holding spear, woman Fitz N115 CVA 2,40 Pl. 20.19 warrior in chariot

HRKU J62 CVA 4,50 Pl.166.6 draped figure, warrior

HRKU J74 CVA 4,51 Pl. 166.7 satyr or komos, man or youth

BMFA 86.580 CVA 2 Pl. 108.15 departure? Behind a horse a seated man,warrior (r)


19/40

Donnelly 5

BMFA 86.598 CVA 2 Pl. 108.12 departure: male with quadriga

BMFA 86.583 CVA 2 Pl. 108.13-

14

interlacing lotus buds, ivy border

BMFA 86.584 CVA 2 Pl. 109.3-4 simple meander to right

AKB 697.91 Piekarski 01 - C11 lotus-palmette frieze under a band of meande

AKB 697.89 Piekarski 01 - C12 Leagros Group ? Hoplites w/ spears & shields, woman (AthenAKB 697.90 Piekarski 01 - C13 meander

AKB 697.84 Piekarski 01 - C14 near P. of Louvre

F6

upper body of warrior to left

Fitz N190 CVA 2,40 Pl. 20.29 warrior and draped figure in chariot

Fitz N189 CVA 2.40 Pl. 20.24 floral, lotus and palmette

Fitz N187 CVA 2,40 Pl. 20.27 P. of Berlin 1659 siren right looking back

Fitz N191 CVA 2,40 Pl. 20.33 gigantomachy, Athena and warrior in chariot

Louvre AM 1479-1 louvre combat


Pl. 60

palmette-lotus festoon

Louvre AM 1361.1

-2

louvre Gorgon P. (?) panther and wild boar


Pl. 60Sophilos compass-drawn rosettes

Fitz GR 128.1899 SophilosA.6 Abb

129Sophilos facing quadriga

BM B103.14.1-2 SophilosA.7 Abb

123Sophilos chariots and riders

BM B100 +

B601.26SophilosB.1 Abb

131-8Sophilos* tongue pattern on rim; 1st frieze: palmette-lo

between two panthers, 4 sirens, 1 panther, 1lion

2nd: Hermes, male figure, boar, sirens, lion

3rd: sirens, panthers, lions

Reading 26.ii.1 SophilosB.26 Abb

164Sophilos* palmette-lotus


20/40

Donnelly 6

Fitz GR 173.1899 SophilosB.24 Abb

174Sophilos* lion and siren to left


Lydos, or circle horseman with spear left


39.4

male running right, with cloaked attendant &

birdbelow, female and male with spear

Fitz N199 CVA 2,41 Pl. 21.3 bull above, woman below

BM 88.6-1.566 ABV 15.22 Early Olpai Ram

BM 1886.4-1.1171 ABV 15.28 Early Olpai Horse


man. of GorgonP.

horse to right


Pl. 61

man. of Gorgon

P.

foreleg of lion right, and partial floral


Pl. 61

near Ceramicus P. siren right; above rosette

HRKU 200 CVA 1,52-53 Pl.31.8

Early Olpai horse

Ox Ash G550 CVA 2,92 Pl. 1.30 manner of

Gorgon P.

floral between felines

Ox Ash G137.15 CVA 2,92 Pl. 1.32 Early Olpai siren

Ox Ash 1912.37A CVA 2,92 Pl. 1.26 Early Olpai deer

BM B103.23 ABV 14.13 Early Olpai panther with deer

Ox Ash G128.30 CVA 2,92 Pl. 1.25 manner of

Gorgon P.

lion

BM B103.20 ABV 11.13 manner of

Gorgon P.

lion, swan or siren

Ox Ash G137.16 CVA 2,92 Pl. 1.28 Gorgon P. lion Fitz N184 CVA 2,40 Pl. 20.23 warrior to left

HRKU J75 CVA 4,50

Pl.165.14

warrior, shield device, leg


39.2

panther and goat


21/40


22/40

Donnelly 8

Pl. 63 rays

Cairo 14.9.18.8 NaukratisV280,

Pl. 63

sphinx to left, head turned back

Ox Ash G547 SophilosA.29 Abb

130Sophilos panther to right, siren to left

Fitz N170 CVA 2,39 Pl. 20.9 lion, rosettes Fitz N113A CVA 2,39 Pl. 20.6 upper torso of woman right

Fitz N172 CVA 2,39 Pl. 20.11 rosettes


boar hunt: cuirassed hunter attacking boar toright

Fitz N118 CVA 2,40 Pl. 20.18 symposium, man, draped figure standing, dog

Fitz N179 CVA 2,39-40

Pl.20.15

symposium, youth

Fitz N214 CVA 43 Pl. 500,

21.35

Athena(?), Man grasping woman


Pl. 63

near Polos P. griffen, siren, flying bird to right; sphinx to le


Pl. 63

two women back to back


upper, woman and male to left; below, figuredog


Pl. 64

horse right, below, four bands an a bud festoo


Pl. 64

rays and bands

Fitz N197 CVA 2,41 Pl. 20.34 warriors fighting, ivy below


Pl. 64

above: palmette-lotus festoon;

below: sphinx facing left towards another

figure


Pl. 64

feline right, incised rosettes as filler


23/40

Donnelly 9


39.3

Gorgon P. gorgoneion and horse mane


lion and boar confronting

AKB 697.87 Piekarski 01 - C16 quadriga to the right

BM B601.14 CVA 2,43 Pl. 21.40 KomastGroup/KX P.

frontal chariot (Achilles), warrior: draped maPatroklos

BM B601.44 ABV 28.3 KX Painter draped men with staffs or spears

BM B601.16 ABV 28.3 KX Painter Hermes (named) w/ caduceus

Alex 9383 + NaukratisV290a, Pl. 65 Two fragments of same vessel (not joining)

Alex 17206 NaukratisV290b, Pl. 65 Heracles and the Hydra

Fitz N211 CVA 2,42 Pl. 21.28 warrior to right

BMFA 86.601 CVA 2 Pl. 109.19 ext. beneath handle: tripod

BMFA 86.602 CVA 2 Pl. 109.16 tondo: a cock to right

BMFA 86.600 CVA 2 Pl. 109.18 tondo: gorgoneion

BMFA 86.599 CVA 2 Pl. 109.17 tondo: upper body of youth to left Alex 9322 NaukratisV291, Pl.

65

horse and man to right

ROM 210x234.37 Hayes CVA Pl. 39.11 eye

Fitz GR 217.1894 CVA 43 Pl. 500 21.38 warrior fighting

Fitz N219 CVA 2.43 Pl. 21.43 head of woman or siren

Alex 17118 NaukratisV292, Pl.

65

female, prob. Maenad to right

Fitz N208 CVA 2,42 Pl. 21.19 draped man


65

man. of

Haimon P.

woman to left with upraised arm, ivy

Ox Ash 1953.630 ABV 54.68 C Painter bridled horse to left


66

man. of C

Painter

head of male rider to left, a flying bird


66

forepart of lion to right, head turning back


24/40

Donnelly 10

Fitz GR99 CVA 2,41 Pl. 21.2 laurel border

Fitz N198 CVA 2,41 Pl. 21.1 ivy border

Fitz N221 CVA 2,43 Pl. 21.51 border of tongues

Alex 9530 NaukratisV296, Pl.66

dog to right


66

warrior, shield, chariot, tails of three horses


66

satyrs and maenad


66

centaur to right


66

part of a wing


67

three warriors fighting to right with spears


67

galloping horse to right


galloping horse to right, warrior to left

BMFA 86.591 CVA 2 Pl. 109.13 near Tleson P. inside: seated sphinx to right w/ left paw rais

BMFA 88.846 CVA 2 Pl. 109.15 a winged animal (griffin?) before a lion w/raised paw

Fitz N202 CVA 2,41 Pl. 21.9 female (amazon?) and warrior (Herakles?)

Fitz N204 CVA 2,41 Pl. 21.5 amazonomachy

Fitz N110 CVA 2,42 Pl. 21.18 komos, youth and woman

Fitz N121 CVA 2,41 Pl. 21.15 chariot race


25/40

Donnelly 11

Fitz N122 CVA 2,41 Pl. 21.13 Sphinx, siren

Fitz N140 CVA 2,39 Pl. 20.7 palmette, sphinx, draped figure, animal

BM B600.40 ABV 62 horsemen

BM B600.32 ABV 189.7 Centaur P. Horsemen to left

Alex 9531 NaukratisV302 palmette

Cairo 26174 NaukratisV301, Pl.66

komos: youth moving right, looking back at asymplegma of a man and youth

Fitz N216 CVA 43 Pl. 500, 21.37 horses right

Fitz N215 CVA 43 Pl. 500, 21.36 warrior running left (shield device - panther)

Fitz N132 CVA 42 21.29 warrior, fighting horseman, inscription

Fitz N125 CVA 2,43 Pl. 21.53 deer or horse ?

Fitz N135 CVA 2,43 Pl. 21.52 deer or horse ?

Fitz N117 CVA 2,43 Pl. 21.50 panther and deer

Fitz N226A CVA 2,43 Pl. 21.48 ram to left

Fitz N225 CVA 2,43 Pl. 21.47 ram and panther

Fitz N223 CVA 2,43 Pl. 21.46 deer

Fitz N222 CVA 2.43 Pl. 21.45 palmette, youth

Fitz N123 CVA 2,42 Pl. 21.22 dolphins


26/40

Donnelly 12

Fitz N209 CVA 2,42 Pl. 21.20 draped man to left

Ftiz N127 CVA 2,42 Pl. 21.17 man crouching with game or fish

Ftiz N109 CVA 2,42 Pl. 21.16 Komos, men (silhouette)

HRKU J62 CVA 4,51 Pl. 166.9 floral palmette

HRKU J54 CVA 4,51 Pl. 166.8 Athlete (?) running right, with cloth on arm

HRKU J52 CVA 4,51 Pl. 166.10 Warriors, departing (?)

HRKU J55 CVA 4,51 Pl. 166.11 Ram to right

HRKU J63 CVA 4,51 Pl. 166.12 draped figure left, palmette

HRKU J56 CVA 4,51 Pl. 166.13 palmette, draped man to right

Ox Ash G137.31 JHS 52 (1932)Fig.7 head of a woman

BM B407 CVA 2, III Pl. 12.2 Odysseus escaping from Polyphemos

Ox Ash 1953.633 ABV196.4 Villa Giulia

3559 Grp

youth with spear, woman

BM 86.4.1-1061 Brijder 1997: Fig. 14 KX Painter lion left and rosette


tondo frag: a cock?

Fitz GR 129.1824 CVA 43 Pl. 500 21.39 chariot, warrior Fitz N224 CVA 2,43 Pl. 21.49 lion and deer

Fitz N120 CVA 2,41 Pl. 21.14 Draped men with spears facing, inscriptionbetween

Fitz N183 CVA 2,40 Pl. 20.22 warrior to right

AKB 697.98 Piekarski 01 C3 signature of palmette, letter 'A'


27/40

Donnelly 13

Archikles?

AKB 697.92 Piekarski 01 C4 Group III pseudo writing, upper body of a figure to the

right

ROM 210x234.40 Hayes CVA Pl. 39.9 two boxers/wrestlers

AKB 697.97 Piekarski 01 C5 Group III chariot team

BMFA 86.588 CVA 2 Pl. 109.7 feline to right BMFA 86.590 CVA 2 Pl. 109.8 feline to right before a grazing sheep (ram) to

left

ROM 210x234.42 Hayes CVA Pl. 39.10 tongue pattern


67

female to left


67

cock in silhouette, and upside down


67

feline and deer, in silhouette and upside dow


68

tondo frag: female and satyr facing right

BMFA 88.829 CVA 2 Pl. 109.11 ivy wreath; wreath of olive or laurel above ba

rays

Fitz N116 CVA 2, 42 Pl. 21.26 chariot team, right, inscription

Fitz N111 CVA 2, 42 Pl. 21.31 chariot team, frontal, inscription

Fitz N205 CVA 2,41 Pl. 21.10 tondo: Gorgoneion

Fitz N213 CVA 42 Pl. 21.32 Achilles ? inscription

Fitz N220 CVA 2,43 Pl. 21.44 swan

Fitz N210 CVA 2,42 Pl. 21.23 tongue pattern, ivy

Fitz N133 CVA 2,42 Pl. 21.21 deer

Cairo 14.9.18.3 NaukratisV309, Pl.67

male to left, legs of fallen figure, horse left

Alex 9525, 17082

+NaukratisV310, Pl.

67

part of eye cup: one eye preserved;

17135 maenad and satyr

Alex 9548 NaukratisV311, Pl. gorgoneion


28/40


29/40

Donnelly 15

69

Fitz N203 CVA 2,41 Pl. 21.7 warriors arming with draped man between

Fitz N193 CVA 2,40 Pl. 20.30 Komos, men

Fitz N114 CVA 2.40 Pl. 20.21 two horses left, facing a man right

Fitz N178 CVA 2,40 Pl. 20.16 Siren


Herakles to right; at left palmette-lotus festoo


70

chariot right, woman left


70

female to right

ROM 210x234.34 Hayes CVA Pl. 39.6 chariot


coursing dogs to right

ROM 210x234.31 Hayes CVA Pl. 39.7 woman, man

Fitz N200 CVA 2,41 Pl. 21.4 mule ?, man or youth

Fitz N194 CVA 2,40 Pl. 20.32 Nike Alex 17128 NaukratisV327, Pl.

70

Herakles to right, remains of a Hydria ?


70

Dionysus and Ariadne (?), ivy


70

maenad and satyr

Fitz N168 CVA 2,39 Pl. 20.4 goat looking back

Louvre AM 1376 louvre Dedication:[an]thken


71

Athena to right, in front of her a warrior with

spear

Abbreviations

ABV Beazley (1956)

AKB Akadmenisches Kunstmuseum Bonn

Alex Alexandria, Graeco-Roman Museum


30/40

Donnelly 16

BM British Museum, London

BMFA Boston, Museum of Fine Arts

Edgar Edgar (1911)

Fitz Cambridge, Fitzwilliam Museum

HRKU Heidelberg, Ruprecht-Karls-Universitat

JPG J. Paul Getty MuseumNaukratisV Venit (1988)

ROM Royal Ontario Museum, Toronto

Sophilos Bakir (1981)

UCD University College Dublin - Vickers

(1971)

O-P Amphora Venit (1988) p. 67 - notes this is a type of amphora that has a continuous curve from mo(type B), decoration restricted usually to a panel.


31/40

Donnelly 17

Appendix 2: Chronological Appearance of Black-Figured Attic Vessels at Naukratis,

by Vessel Shape

Total #of

Vessels

late 7thc.BC

1stQuarter6

thc. BC

2ndQuarter

3rdQuarter

4thQuarter

5thc. BC undated

Amphorae 44 6 3 21 10 3 1

Kraters 47 1 12 13 8 10 2 1

Dinos 7 7

Hydria 3 1 1 1

Olpe 11 10 1

Oinochoe 4 3 1

Lebes 2 2

Lekythos 7 3 3 1

Pyxis 3 1 2Lekanis 14 7 4 3

Lids 6 1 2 2 1

Stand 1 1

Plates 4 2 1 1

Kantharos 6 3 2 1

Kylike 4 3 1

Skyphos 7 2 3 2

Siana cups 6 3 3

L.M. cups 40 17 23

misc. cups 35 1 7 9 16 2

other

fragments*

31 7 6 9 6 2 1

282 2 61 43 82 77 13 4

* fragments for which the vessel type is indeterminate


32/40

Donnelly 18

Appendix 3 - Iconography by Vessel Shape

# Percent #Horses/

Chariots

Warriors Panthers

/Lions

Deities maenads,

satyrs/ivy

myth.

animals

other

women

animals

/birds

Amphorae 44 15.6 14 7 1 2 4 1 3 2

Kraters 47 16.7 6 8 8 2 2 6 5 6

Dinos 7 2.4 2 3 1 2 2

Hydria 3

1.1 1 2 2 2

Olpe 11 3.9 3 1 3 2 3

Oinochoe 4 1.4 1 3 1 1

Lebes 2 0.7 1 2

Lekythos 7 2.4 1 3 3 3 2Pyxis 3 1.1 2

Lekanis 14 5 9 1 2 6

Lids 6 2.1 1 1 1 1 2 1

Stand 1 0.3 1

Plates 4 1.4 2 2 1 1

Kantharos 6 2.1 1 3 5

Kylike 4 1.4 1 1 1

Skyphos 7 2.4 1 1 2 2

Siana

cups

6 2.1 2 1 1 1

L.M. cups 40 14.2 9 8 3 2 1 5 3 10misc.

cups

35 12.4 5 4 5 4 6 2 7

other

frags.

31 11 3 2 3 5 1 5 3 7

282 100%


33/40

Donnelly 19

Appendix 4 Occurrences of Iconographical Images

Male pursuits

0

5

10

15

20

2530

35

40

chariot horse warrior male komos athletes departure sy

Miscellaneous

0

5

10

15

w om an w riting siren sphinx gorgon griffin ce ntau

Border Patterns

0

5

10

15

20

25

lotus/palm rosettes ivy tongue meander laurel


34/40

Donnelly 20

Animals

0

5

10

15

20

2530

35

40

45

dolphin bull dog goat boar ram deer swan bird

Divinities

0

2

4

6

8

10

Athena Herakles Hermes Achilles Nike Odysseus Dionysus maenads


35/40

Donnelly 21

Appendix 5 List of Attic Black-Figured Painters Represented at Naukratis

Affecter (c. 540-520 BC)

Affecter, near

Amasis Painter (c. 560-520 BC)

Berlin 1659, painter ofC Painter

C Painter, manner of

Camel Painter

Camtar Painter (c. 550)

Centaur Painter

Ceramicus Painter (c. 600-580 BC)

Ceramicus Painter, nearEarly OlpaiElbows Out (c. 550-530 BC)Ergotimos-Kleitias Group

Falmouth Painter (c. 560-550 BC)

Gorgon Painter (c. 600-580 BC)

Gorgon Painter, manner of

Gorgon Painter, workshop of

Group of Dresden

Group E

Group III

Haimon PainterHaimon Painter, workshop of

Haimon Group

Kleitias and his Circle

Komast Group

After: Venit (1998) Index I

Mller (2000) Appendix 1b

KX Painter (c. 580-575 BC)

KY Painters (c. 575-565 BC)

Leagros Group ?

London B76, Painter ofLouvre F6, painter of

Lydos

Lydos, circle of

Lydos, manner of

Nettos Painter

Nicosia Olpe, painter of (c. 540-530 BC)

OltosPalazzolo Painter (c. 560 BC)Palermo Gorgoneion, Painter ofPolos Painter (c. 585-mid-6thc. BC)

Polos Painter, near

Polos Painter, workshop of

Ptoon Painter, related to

Rycroft Painter

Siana Cups (c. 575-555 BC)

Sondros Group

Sophilos (c. 580-570 BC)

Swing PainterSwing Painter, near

Tleson Painter, near

Vatican 309, painter of

Vatican mourner, painter of ?


36/40

Donnelly Athens to Naukratis 22

Appendix 6 Occurrence of Images of Deities/Heroes during the Sixth Century BC.

0

1

2

3

4

5

6

7

8

9

10

1st Qtr 2nd Qtr 3rd Qtr 4th Qtr

Hermes

Athena

Achilles

Dionysus*

Herakles

Odysseus

* Dionysus includes Dionysiac images, like maenads, satyrs and ivy.


37/40


List of Illustrations

Cover Horse and Rider, BF Attic. Body fragment of an amphora. Lydos(?) [Bothmer]. Mid 6th

century BC. Cairo JE 46339. Venit (1988) Fig. 236.

1. Map of Egypt. Rowlandson, J. (1998) Women & Society in Greek and Roman Egypt.Cambridge University Press. Map 1 Egypt in the Graeco-Roman period (detail)

2. The 1980 Excavations at Naukratis. Plan of Petries excavations with south mound. Plan by

Gerald W. Johnson. Coulson & Leonard (1981) Fig. 4Numbers added from Petries Plan (1888) Pl. IV

3. Chronological chart of Greek pottery styles at Naukratis. Mller (2000) Fig. 8

4. Chronological chart of Black Figure Vase Painters. Boardman (1974) App. 1.

5. Krater/dinos fragment, with lotus-palmette festoon. c. 600-580 BC. ROM 910x234.20.

Hayes (1981) Pl. 39.1.

6. Stand fragment. Alexandria 19866. Last quarter of 7th century BC. The high placement ofthe eye and lack of crown to the heads of the figures (sphinxes) place this fragment

contemporary with early works by the Nettos Painter. Venit (1988:86) No. 287.

7. Olpeof a Ram. British Museum 88.6-1.566. Gardner (1888) Pl. IX.5;ABV15.22; Beazley and

Payne (1929) Fig.1.

8. Dinosby Sophilos (attributed by Karouzou). From Naukratis. British Museum B100 and B601.26. Bakir (1981) Cat. B.1, Abb. 131-138.


38/40


BIBLIOGRAPHY

Baines, J. & J. Malek (1989)Atlas of Ancient Egypt. New York: Facts on File.

Bakir, G. (1981) Sophilos: Ein Beitrag zu seinem Stil.Mainz am Rhein: Verlag Philip von Zabern.

Beazley, J.D. (1986) The Development of Attic Black-Figure. Berkeley: U. of California Press.Beazley, J.D. (1971) Paralipomena. Oxford. (Para.)Beazley, J.D. (1956)Attic Black-Figure Vase Painters. Oxford: Clarendon Press. (ABV)Beazley, J.D. (1950) Some Inscriptions on Vases: VAJAVol. 54, No. 4, pp. 310-322.Beazley, J.D. (1932) Little Master CupsJHS52, pp. 167-204.Beazley, J.D. and H.G.G. Payne (1929) Attic Black-Figured Fragments from NaucratisJHS49.2pp. 253-272.

Beazley, J.D. (1927) Corpus Vasorum Antiquorum Great Britain, Oxford, Ashmolean Museum.

Fasc. 3, 9, 14.

Birchall, A. (1972) Attic Horse-Head AmphoraeJHS, Vol. 92, pp. 46-63.

Boardman, J. (1999) The Greeks Overseas.London: Thames & Hudson.Boardman, J. (1998)Early Greek Vase Painting. London: Thames & Hudson.Boardman, J. (1974)Athenian Black Figure Vases. London: Thames & Hudson.Boardman, J. (1958) A Greek Vase from EgyptJHS,Vol. 78, pp. 4-12, Pl. I-II.Boardman, J. (1956) Chian and NaucratiteAnnual of the British School in Athens51, pp. 55-62.

Bonnefoy, Y. (1991) Greek and Egyptian Mythologies. Translated by W. Doniger. The University of

Chicago Press.

Bothmer, D. (1987) Greek Vase Paintings, Metropolitan Museum of Art. New York.

Brijder, H.A.G. (1997) New Light on the Earliest Attic Black-Figure Drinking Cups in Oakley, J.,

W. Coulson & O. Palagia, eds.Athenian Potters and Painters. Oxford: Oxbow Books. Pp. 1-15.

Burke, S. & Pollit, J. (1975) Greek Vases at Yale. New Haven.

Burn, L. (1991) The British Museum Book of Greek and Roman Art. London: British Museum Press.

Coulson, William D.E., (1996)Ancient Naukratis. Oxford: Oxbow Books

Coulson, W.D.E., A. Leonard, and N. Wilkie (1982) Three Seasons of Excavations and Survey at

Naukratis and Environs.JARCEVol. XIX, pp.73-109.

Coulson, W.D.E., A. Leonard (1981) Cities of the Delta, Part I: Naukratis. Malibu: UndenaPublications.

Dikaios, P. (1947) Two Naucratite Chalices from Marium.JHS66, pp.5-7, Pl. I.

Gardner, Ernest Arthur (1888)Naukratis. Part II, 1885-6.EES Memoirs 6. London: Trbner & co.


39/40


Gill, D.W.J. (1986) "Two Herodotean Dedications from Naucratis"JHS106, pp. 184-187.

Hayes, J. (1981) Corpus Vasorum Antiquorum. Canada. Royal Ontario Museum. Oxford: OxfordUniversity Press.

Herodotus (430 BC)Histories. Translated by George Rawlinson (1991) EET: World Library, Inc.

Hinks, R. (1928) A Portrait of a Ptolemaic QueenJHS, Vol. 48, Part 2, pp. 239-242.

Hoffman, H. (1973) Corpus Vasorum Antiquorum Museum of Fine Arts, Boston. Fasc. 1 (USA 14).

Hogarth, D.G. (1898/1899) Excavations at Naukratis The Annual of the British School at Athens5,pp. 26-46.

Hogarth, D.G., H.L. Lorimer and C.C. Edgar (1905) Naukratis, 1903JHS25, pp. 105-136.

Kilmer, M.F., R. Develin (2001) Sophilos Vase Inscriptions and Cultural Literacy in Archaic

Athens. Phoenix, Vol. 55, pp. 9-46.

Lamb, W. (1930) Corpus Vasorum Antiquorum Great Britain, Cambridge, Fitzwilliam Museum.Fasc. 6 & 11.

Leonard, A. (1997)Ancient Naukratis, Excavations at a Greek Emporium in Egypt. Part I TheExcavations at Kom Geif. Arizona: ASOR.

Lewis, S. (2002) The Athenian Woman: An iconographic handbook. New York: Routledge.

Lorimer, H.L. (1910) "A Vase Fragment from Naukratis"JHS30, pp. 35-37.

Mller, Astrid (2000)Naukratis: trade in archaic Greece. New York: Oxford University Press.

Muhs, B. (1994) "The Great Temenos of Naukratis"JARCE31, pp. 99-113.

Olmos, R. (1993) Catalogo de los Vasos Griegos del Museo Nacional de Bellas Artes de La Habana .Madrid.

Pasquier, A. (1991) TheLouvre: Greek, Etruscan and Roman Antiquities. Paris: Scala PublicationsLtd.

Petrie, W.M.F. (1888) TanisII: Nebesheh (Am) and Defenneh (Tahpanhes). EES Memoirs 4.Petrie, W.M.F. (1886)Naukratis I, 1884-5. EES Memoirs 3. London: Trubner & Co.

Piekarski, D. (2001)Die Keramik aus Naukratis im Akademischen KunstmuseumBonn. Wiesbaden:Harrasowitz Verlag.

Price, E.R. (1924) "Pottery of Naucratis"JHS44, pp.180-222.


40/40


Robertson, M. (1951) "Gordion Cups from Naucratis"JHS71, pp.143-150.

Schauenburg, K. (1954) Corpus Vasorum Antiquorum Deutschland. Heidelberg - Universitat. Bd.10, 23, 27, 31.

Smith, Edith Marion (1926)Naukratis: a chapter in the history of the Hellenization of Egypt.Vienna.

Srensen, L.W. (2001) Archaic Greek Painted Pottery from Cyprus, Naukratis and Tell Defenneh

in Hckmann, A. & D. Kreikenbom, eds.,Naukratis: Die Beziehungen zu Ostgriechenland, gyptenand Zypern in archaischer Zeit. Bibliopolis. Pp. 151-161.

Stahler, K. (1983)Eine Sammlung griechischer Vasen die Sammlung D.J. in Ostwestfalen. Munster.

True, M. (1973) Corpus Vasorum Antiquorum Museum of Fine Arts, Boston. Fasc. 2 (USA 19).

Ure, P.N. (1954) Corpus Vasorum Antiquorum Great Britain, University of Reading. Fasc. 12

Vassilika, E. (1998) FitzwilliamMuseum Handbooks: Greek and Roman Art. Cambridge: CambridgeUniversity Press.

Venit, Marjorie Susan. (1988) Greek painted pottery from Naukratis in Egyptian museums. WinonaLake, IN: Published for the American Research Center in Egypt by Eisenbrauns.

Venit, M.S. (1985) Laconian Black Figure in EgyptAJAVol. 89, No. 3, pp. 391-398, Pl. 4243.Venit, M.S. (1984) Early Attic Black Figure Vases in EgyptJARCEXXI, pp. 141-154.

Vickers, M. (1971) "Some Unpublished Sherds from Naucratis in Dublin"JHS91, pp.114-118.

Williams, D. (1983) Sophilos in the British Museum Greek Vases in the J. Paul Getty Museum.Malibu. Pp. 9-34.

http://www.beazley.ox.ac.uk/BeazleyAdmin/Script2/default.htm

http://fadis.library.utoronto.ca/

From Athens to Naukratis: Iconography of Black-Figure Imports

Documents

Transcript of From Athens to Naukratis: Iconography of Black-Figure Imports