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The Castle Ashby Apollodoros

Published online by Cambridge University Press:  23 December 2013

J. D. Beazley
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Extract

The name of the vase-painter Apollodoros was discovered by Hartwig, who combined the incomplete inscriptions on two works so close in style that they must be by a single hand: the cup-fragment in the collection of the Marquess of Northampton at Castle Ashby (Pl. VI, 1) gives … odorosegraphsen, the fragmentary cup in the Louvre Apollod… The Castle Ashby fragment has been taken to represent actual fighting; but comparison with a fragment in the Villa Giulia suggests another interpretation. The Villa Giulia fragment shows, inside (Pl. VI, 3), the lower right quarter of a warrior moving to right, the shield on the left arm, the spear carried in the right hand. The device on the shield was the face of a satyr in full relief: what remains is the long beard. The shield-rim is inscribed [καλ]ϵναι. An apron hangs from the rim—a piece of felt or leather folded in two and fastened at the fold to the shield. On the outside of the cup (Pl VI, 2) we find the lower parts of two warriors moving quickly yet cautiously to the right: chiton, greaves, shield, spear carried low. To the right of the leader came the handle. On the other's shield-rim […να]1. Now I take the Castle Ashby fragment to have come from just such a scene. What we see there is head and shoulders of a young warrior moving to right, bending; helmet, chiton, wrap, spear carried, shield charged with a satyr's face in high relief; on the right, crest-tip and spear-butt of a second warrior moving in the same direction.

Type
Research Article
Information
The Journal of Hellenic Studies , Volume 53 , Issue 1 , 1933 , pp. 69 - 70
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1933

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References

1 Meisterschalen, pp. 628–30.

2 The Castle Ashby fragment, Hartwig pl. 69, 1, whence our pl. 1, 1, and (retouched) Hoppin, , Rf. i, p. 45Google Scholar. The Louvre cup G 139 and 140, Pottier, Album, pl. 115; part only, Hartwig, pl. 69, 2; part only, Hoppin, i, p. 47. On Apollodoros see Hartwig, pp. 628–40 and p. 702, note 11; and my Att. V., pp. 52–3 and 468. Hoppin, account, as I have pointed out elsewhere (BSR. 11. pp. 19–20Google Scholar), is a misconception, based on errors exposed by Hartwig, (Meist. pp. 314–15Google Scholar).

3 My thanks are due to Cav. Enrico Stefani for kindly allowing me to reproduce the two fragments in the Villa Giulia; and to Dr. Bartolomeo Nogara for his permission to figure, by way of tail-piece (fig. 1), the cup by Apollodoros in the Vatican, no. 5 in Hartwig's list, no. 4 in mine. The left knee and part of the right are modern; part of the shieldrim to the left of the kappa, and of the corselet below that. The photographs are all my wife's.

4 The signed cup in the Louvre; and the cup in Florence and Villa Giulia (see my Campana Fragments in Florence, pl. B, 2).

5 See my Kleophrades-Maler, p. 18.