^{page 139 note 1} Cf. BSA xxxv 212.

^{page 141 note 1} Metr. Mus. Bull. 1911, 33 fig. 7; BSA xxxv pl. 47. pp. 179 f.

^{page 141 note 2} Würzburg 79; Langlotz, pl. 7. Ny Carlsberg 2761; From the Collections of the Ny Carlsberg Glyptothek ii 115 fig. 2. See BSA xxxv 179 f.

^{page 141 note 3} The exaggerated upright form seen here is only reached on the threshold of the Orientalising phase Specific Orientalising motives on the vases of this workshop are spirals and the leaf-complex (motive B). For the proto-Attic element in the drawing of figures on the three amphorae cf. BSA xxxv 179 f.

^{page 141 note 4} BSA xxxv 176 fig. 2, pls. 43–46. The handle-zone on the reverse of the hydria, ib., pl. 44 here Plate 22a.

^{page 142 note 1} The kotyle, Fig. 6b, was found with the hydria BSA xxxv pl. 46b–c; two standed bowls (one here, Fig. 3) and a kotyle with the hydria ib. pls. 45, 46a. Cf. ib. p. 203.

^{page 142 note 2} Cf. BSA xxxv 172 ff., pls. 38b–42a.

^{page 142 note 3} BSA xxxv pl. 40a; lid ib. pl. 42a; another example in the Vlasto Collection.

^{page 143 note 1} Cf. BSA xxxv 176. Würzburg 79 and Ny Carls berg 2761 seem to show the same tendency in the third workshop.

^{page 143 note 2} For the succeeding phase cf. especially CVA Berlin i pls. 10–16.

^{page 143 note 3} AJA 1940, 479 f., 482, where the naming of the painter is attributed to Kunze, E.. Cf. Kunze, Gött. Gel. Anz. July 1937, 290, where the two pitchers in London are connected.Google Scholar

^{page 143 note 4} Cf. Kahane, AJA 1940, 479.Google Scholar

^{page 145 note 1} Gött. Cel. Anz. July 1937, 290. R. S. Young's dating of Athens 897 ‘at the very end of the eighth century or the beginning of the seventh’ (Hesperia Suppl. ii 170) is based on the compression of three typologically distinct phases in one generation—Ripe Geometric (as his grave XVII ib. p. 76 ff.; cf. Kahane, P.AJA 1940, 482)Google Scholar, Late Geometric (as graves Dipylon VII and XIII, Spata I, III–IV, and the Late Geometric amphorae; cf. Young, p. 77 and passim) and Early Orientalising (id. p. 232). Kahane's scheme (loc. at.) allows the whole of the eighth century for the development of the Ripe and Late Geometric styles, and therefore offers a substantially higher dating of the majority of Ripe and Late Geometric vases.

^{page 145 note 2} E.g., K. F. Johansen Vases Sicyoniens pls. 6. 1; 10. 1–3.

^{page 145 note 3} Lion Painter, three pitchers, page 143 (cf. AJA 1940, pl. 27. 3). Painter of 897, amphora Louvre CA 1789. For this unusual stylisation of the bird-file cf. also the pitcher-begotten amphora Hague 3491 (CVA Musée Scheurleer i pl. 23. 1; cf. ib. pl. 23. 5), mug Leyden (Brants Description of Class. Collection ii no. 51 pl. 9), and standed bowl Athens (Jdl 1899, 215 fig. 102).

^{page 146 note 1} Other coursing hounds in the style of Athens 897: amphorae in Athens (BSA xxxv pl. 26. 1) and Mannheim; jug in Empedokles Collection, Athens (BSA xxxv pl. 25. 3–4); fragments in Tübingen 1464; Agora (Young Hesperia Suppl. ii, B 16 fig. 80, C 143 fig. 133). That this stylisation was an individualistic one is clear from the variety of other forms of dogs seen on more or less contemporary vases: cf. kotylai Athens 15271 (AJA 1940 pl. 28. 2), Agora (Young loc cit., C 30 fig. 109), Eleusis 882 (BSA xxxv 183 fig. 6); amphora Oxford 1935, 18 (cf. BSA xxxv 182 fig. 5); mug (CVA Copenhagen ii pl. 73. 1). Earlier dog-zones (as amphora London BM. Quarterly 1927–8, 16 pl. 8, jug CVA Copenhagen ii pl. 73. 4) offer no clue to the origin of the stylisation of 897.

^{page 146 note 2} The corresponding stage within the workshop of Athens 897 is illustrated by an amphora of ovoid form in Athens (BSA xxxv pl. 26. 1; cf. S. Benton ib. p. 106 nos. 14–16): the attraction of the vase-form towards the ‘perpendicular’ type is manifest on the upper neck and towards the foot; the meander-zone on the belly now sits uneasily among perfunctory bands of bent-line ornament. The jug in the Empedokles Collection ib. pl. 25. 3–4, painted under the eye (if not by the hand) of the painter of Athens 897, shows that the horse-and-tripod theme was current in the workshop of 897. Full-dress funeral processions were not the métier of the painters of this workshop, though a file of single-horse chariots appears on one amphora (Athens 184, Wide Jdl 1899, 193 fig. 56) whose form and decorative system resemble the amphorae with coursing hounds.

^{page 146 note 3} Young, Hesperia Suppl. ii 56 figs. 37–38.Google Scholar

^{page 148 note 1} On the Cleveland amphora the combination appears on the neck.

^{page 148 note 2} E.g., on the jug Young loc. cit. XII 8 key-meander below the lip, chequer on upper belly. The decoration has not lapsed into the careless monotony of subgeometric seen in the standed bowls from the pyre of Young's grave XI (loc. cit. fig. 33).

^{page 148 note 3} E.g., Wide, Jdl 1899, 205 fig. 71.Google Scholar

^{page 148 note 4} Bands of chequer and plain battlement-meander, as on the Agora amphora.

^{page 148 note 5} The comparison rests principally on the sil houettes of the teams; also on massed lines of reins and poles, double loops of car rails, pose of drivers, narrow-skulled prognathous human heads (both sexes), drooping helmet-crests, horizontal rows of zigzag in field, lozenge-complex under horses, stocky herons filling gaps in fields.

I regret that I have been unable to see the publication of a hydria, Villa Giulia 1212 (Capuino, G.Rend. Pont. Acc. xvii, 1941, 155 ff.)Google Scholar mentioned to me by T. J. Dunbabin.

^{page 148 note 6} Hesperia Suppl. ii 58.

^{page 148 note 7} lb. fig. 39 XII 2–3.

^{page 149 note 1} AM 1892, 226, figs. 10 ff.

^{page 149 note 2} Not having seen the original, I am judging from the published drawings and E. Pernice's comment ‘recht flüchtig gemalt.’ Pernice remarked a relatively close stylistic resemblance to the Analatos hydria and the exact correspondence of the heads of the lions. Cf. JdI 1887, pl. 3.

^{page 149 note 3} BSA xxxv 167 f.

^{page 149 note 4} E.g., deeper ornament-bands on shoulder, forms of horses, chariots with side-rail, head and helmet of warriors, saw-toothed ornament in front of warriors' heads, herons of type Fig. 7c, less dense filling ornament.

^{page 149 note 5} Cf. for instance the neck of the Cleveland amphora.

^{page 149 note 6} 1903, 13 fig. 7. Cf. especially single horses, small human heads, rimmed shields with whitepainted devices (Philadelphia amphora). The illustration of the Eretria vase (as also of the amphora in Eleusis, JdI 1899, 194 fig. 57)Google Scholar does not permit accurate analysis of the draughtsmanship.

^{page 149 note 7} JHS 1899, pl. 8. Cf. the flow of curves from throat to breast and neck to saddle, leading edge of hind legs, and rump.

^{page 150 note 1} Cf. BSA xxxv 168; H. L. Lorimer, Page 76.

^{page 150 note 2} Mon. Piot xxxvi pl. 2. J. Audiat ib. p. 1 n. 2 disagrees with my attribution to the Analatos Painter.

^{page 150 note 3} CVA Berlin i pl. 40 (BSA xxxv pl. 43).

^{page 150 note 4} Cf. also the figures and features of the runners on the neck with the man herding sphinxes on the Berlin hydria.

^{page 150 note 5} This workshop can be traced slightly further back than Oxford 1935. 19, judging by a Late Geometric amphora of which J. D. Beazley kindly showed me photographs.

^{page 150 note 6} Gött. Gel. Anz. July 1937, 290 n. 1; BSA xxxv 181 n. 2.

^{page 151 note 1} Cf. BSA xxxv 180 ff.

^{page 151 note 2} Examples cited here have been confined to vases closely connected with the pair of amphorae in Oxford and London. The Vlasto kantharos bears on the side not illustrated an oblong patch reserved in outline on the lion's neck.

^{page 151 note 3} E.g., Athens 769 (CVA Athens i pl. 7. 4); Kerameikos (AM 1926, Beil. 7. 4: AA 1935, 367 fig. 4); Boston (Fairbanks 261 pl. 20; for the band of colts cf. pitcher in Hamburg AA 1928, 289 fig. 16 = E. von Mercklin Führer ii pl. 3); Agora fragment (Young, Hesperia Suppl. ii 113 fig. 80 B 18)Google Scholar; and especially the London neck-amphora (BM. Quarterly 1927–8, 16 pl. 8) whose form and decoration seem based on the tradition not of pitchers but of the Prothesis amphorae (as Pfuhl MuZ iii pl. 1 = CVA Athens i pl. 8), with its slighter counterpart Copenhagen, Ny Carlsberg Inv. 2680 (F. Poulsen Vases grecs récemment acquis figs. 2–3). The Kerameikos amphora is not only akin in its decoration to the pitchers from the Dipylon, but was found together with a gold band (AM 1926, Beil. 7. 3) of identical stamp with that from the Dipylon pitchergrave V (AM 1893, 109 fig. 7).

^{page 151 note 4} AJA 1940, 482. Figs. 6a and 7a here are the proto-Corinthian kotylai of Kahane's Late Geometric group II 4.

^{page 152 note 1} Cf. the Wide, pitcher-lidJdI 1899, 207 fig. 74a, from Dipylon grave XIII.Google Scholar

^{page 152 note 2} Manchester Museum. Webster, T. B. L.Four Greek Vases, Memoirs and Proc. of the Manchester Lit. and Phil. Soc. vol. 82, pl. 1.Google Scholar To the list of Attic cups of this type (ib. p. 10) add: Agora fragments (Young Hesperia Suppl. ii fig. 35, 13, fig. 72, 1, fig. 108 C 40); Athens, from Spata ( vi 135 figs. 8 and 9); Paris, Louvre (unpublished: grazing horses); Vlasto Collection (Lane, E. A.BSA xxxiv 104Google Scholar: the hydria there mentioned is BSA xxxv pl. 45, but M. P. Vlasto reported the dealer doubtful whether the cup came from the same grave); Würzburg (Langlotz, 58 pl. 4). From Schweitzer, B.AM 1918, 143Google Scholar add Bonn V.l. 1632 and Dresden Z.V. 1476. Webster's no. 8 is in the British School at Athens, also another example from Kynosarges. With his no. 11 from Anavysos were found three others (one E. Kunze Kret. Bronzereliefs pl. 53e); his no. 14 is now JdI 1938, 101 fig. 6. T. J. Dunbabin adds a replica of the cup Fig. 5, in his possession in the British School at Athens; from Kunze op. cit. 76 n. 6 Munich (AA 1913, 22 no. 2), Kiel, Halle, Eleusis 308; from Young, Hesperia Suppl. ii 152 five examples in the Empedokles Collection in Athens.Google Scholar

^{page 152 note 3} Dipylon grave VII (cup AM 1893, 113 fig. 10; Wide, pitcherJdI 1899, 207 fig. 75)Google Scholar; Spata grave III vi 135 ff. figs. 6–10); Agora grave XXV (Young, Hesperia Suppl. ii 102 fig. 72).Google Scholar

^{page 152 note 4} Proto-Corinthian: AJA 1940, pl. 28. 1 (cf. K. F. Johansen Vases Sicyoniens pl. 10. 1, from Anavysos). Attic: AJA 1940, pl. 28. 2 (cf. Young Hesperia Suppl. ii fig. 91 B 85, fig. 109 C 30).

^{page 153 note 1} Cf. Young, Hesperia Suppl. ii 151 fig. 106.Google Scholar

^{page 153 note 2} Sequence: Late Geometric pitchers (AJA 1940, pl. 27. 1–2): Late Geometric amphorae (Berlin 3203 AA 1892, 100; Philadelphia MS. 5464 Pennsylvania Univ. Mus. Journal 1917, 16—the former on the lowest neck-band, the latter in groups in the chariot-zone cf. Fig. 7c): earliest Orientalising (BSA xxxv pl. 38b below belly-zone; ib. pl. 42a; kotylai, here Fig. 6b, Young, Hesperia Suppl. ii 147 fig. 103 C 27).Google Scholar

^{page 153 note 3} Johansen, pl. 10. 1.

^{page 153 note 4} Mon. Ant. xxv 539 fig. 122.

^{page 153 note 5} Mon. Ant. xxv 554 fig. 140.

^{page 153 note 6} Cf. Kahane, P.AJA 1940, 479.Google Scholar The Manchester example Fig. 4b is the link with the series of kotylai. T. J. Dunbabin remarks that the lion-kotyle appears to be parallel in shape to the earliest Corinthian kotylai; cf. Payne, H.Perachora i 56Google Scholar, and cups ibid. pl. 121. 16 and 18.

^{page 153 7} Some pitcher-painters of the paracme attempted to hold their custom by acceding to the demand for representational zones (cf. CVA Providence pl. 8. 2; London 1912. 5–22. 1, AM 1928, 36 Beil. 8 no. 10). Others gave up the unequal competition with the amphora-painters (cf. pitchers decorated with monotonous bent-line ornament, e.g., AA 1938, 439 figs. 23–24). The brighter craftsmen must of course have turned to the production of amphorae.

^{page 154 note 1} Sequence: proto-Attic kotyle Eleusis 882 (BSA xxxv 183 fig. 6); Attic kotyle in Vlasto Collection (from grave containing hydria BSA xxxv pls. 45, 46a); Attic kotyle Fig. 6b (from grave containing hydria BSA xxxv pl. 46b–C); Attic kotyle with bird-file, perhaps from workshop of the Analatos Painter (Young, Hesperia Suppl. ii 147 fig. 103 C 27).Google Scholar