in Berlin already cited. Under the table, as in the four other cases, appear two shoes with turned over tops and long pointed toes such as we see on Ionic and Etruscan monuments1 and which survive today in Greece in the red boots called Tσaρоúxiα. Under the shoes there is an empty exergue as often on vases of Duris. In the background the only indication of the wall of the banquet hall is the picnic-basket which is suspended by two strings tied in a bow. Other strings are indicated on the outside of the basket and three strings hang in a sort of tassel from three parts of the bottom of the basket. Three similar baskets are represented on each exterior side and all are almost identical, though the number of horizontal lines varies in different cases. This kind of basket was called σupis in ancient times and is still in use in Greece for carrying marketing and all sorts of things (SeμTi). It is even used at excavations for hauling earth to the dump carts and also for storing things. At the extreme left hangs a flute case or oußývn stitched down the middle so as to have a section for each of the two flutes and a special piece attached to the side for the mouth-piece. A flute case occurs in a similar position in Furtwängler-Reichhold, op. cit. pl. 105 and A. J. A. XX, 1916, p. 331. Above the basket are the letters ΠΑΣΚ, which must be restored as ὁ παῖς καλός and not ή παῖς Kaλós as the Italian restorer had completed it. The whole design is surrounded by a pattern consisting of two meander squares in opposite directions separated by "red-cross squares." These meander squares vary and there are at least five cases where the cross becomes an X. It is interesting to see that the painter was not successful in making both ends of the pattern

1 Cf. Pottier, Louvre Album, pl. 98, G 81; Furtwängler-Reichhold, op. cit. I' p. 96, pl. 21; Antike Denkmäler II, pl. 41; Arch. Zeit. XLI, 1883, pl. 17; Gerhard, Etr. Spiegel, pl. 81, 2; Behn, Die Ficoronische Cista, p. 30. Such shoes occur resting on a support under a table in front of a couch on a "Cyrenaic" cylix representing a symposium in the Musée du Cinquantenaire at Brussels. I cannot find the vase illustrated or mentioned in the publications on Cyrenaic

vases.

2 Cf. also Hartwig, Die Gr. Meisterschalen, pl. XIV and Jacobsthal, op. cit. p. 51.

3 On only four signed vases out of forty (Hoppin, op. cit. I, pp. 254, 266, 269, 274) do we have ¿ waîs kaλós. On other signed vases Panaetius, Chaerestratus, Aristagoras, Hermogenes, and Hippodamas occur as κaλós names. On the unsigned vases & waîs kaλós or simply kaλós is frequent (cf. Hoppin, op. cit. I, pp. 276–290; II, pp. 490-492).

4 Cf. Murray, Designs from Greek Vases in the British Museum, pl. IX.

meet, as on the signed vase illustrated in Hoppin, op. cit. I, p. 245 (cf. Murray, op. cit. Figs. 32, 33, 34). He had to curtail part of a cross square (in the middle below the shoes), and to use only a single meander square in one case. The pattern is almost identical with that on the cylix in Munich in the style of Duris (cited above) and reminds one of the similar pattern of single meander squares and crosses which was so usual with Duris in his later period (cf. Tarbell, op. cit. p. 187; Hoppin, op. cit. I, pp. 217, 219, 230, 241, 245, 261, etc.). When the interior scene is compared with that on the signed vase in Berlin which has a similar subject, great resemblances appear, some of which I have already pointed out, but the scenes are far from being exact duplicates, and this very fact is characteristic of Duris, to repeat similar motives but with enough variation in details to avoid dry monotony and to present a life-like and interesting painting (cf. for example Arch. Zeit. XLI, 1883, p. 23). So here the meander-star border is different, though similar. The himation on the man on our vase resembles that on the woman on the signed vase. The pillows, couch, and table, and the flutes are similar, but different. In our case the woman's hands are empty, on the Berlin vase one has castanets, the other a cylix. I have already spoken of the difference in the flutes, and I might call attention to the fact that the shoes are turned in the opposite direction, and to the difference in the heads of the women, but to my mind these differences only make it more certain, in view of what we know of Duris's fondess for variety in similar themes, that our vase is also by Duris.

Let us now turn to the exterior scenes. On the best preserved side (PLATE II) are six figures and two couches of the same type. as on the inside with a three legged table in front of each. This is a subject hardly suited even to the interior of a cylix, but much less so to the exterior. Notice how each foot of the first couch to the left and the top foot of the other couch are not continued to the circular line bounding the scene as on the interior, but a kind of triangular piece is left in the color of the clay to form a straight line to represent the floor on which the legs can stand. The bottom of the lower leg of the couch to the right, which is drawn

This is to the left just below the lower end of the couch. The Italian restorer had repainted the next cross above as a meander, thus bringing four meanders together. Cf. Fig. 1. On the fragment in Hoppin, op. cit. p. 261 a "cross square" is omitted entirely between two meanders.

behind the other, is concealed behind one of the shoes under the first table, and the lower leg of the table in front of the couch to the left is not visible at all, thought of perhaps as concealed behind the flute-player's right leg. The upper leg ends behind the right foot of the nude youth as does also the lower leg of the table to the right, which is here drawn, but not in the similar scene on the other exterior side. Under each table is a pair of shoes turned in opposite directions. On the other side the shoes are turned in the same direction. On the first couch to the left are a lady and a man in the usual order which puts the man nearer the head. The lady is clad in a short-sleeved linen chiton of fine folds which shows the form of the breasts as is usual at this period (cf. Hoppin, op. cit. I, p. 217). She also wears the himation which is brought around her back and over her left shoulder and entirely outside and under her left arm instead of being brought inside the arm above the elbow as in the case of the other female figure on this side and on the inside. She raises her right leg and her chiton shows below the himation, and her bare right foot is exposed beneath the chiton and projects beyond the foot of the couch. She rests her left elbow on a double cushion and in her left hand holds a cylix with off-set lip and places her right on her head which is covered with a hood, as in Hoppin, op. cit. I, p. 217, in front of which her hair hangs down in the characteristic relief lines. In front of the couch toward the lower end and in front of the lower end of the table stands to the right a fairly tall youth with slender head somewhat like the youth on one of the signed vases of Duris in Vienna (Furtwängler-Reichhold, op. cit. pl. 54). He is clad only in a himation with folds which fall quite in the style of Duris. The right shoulder is bare and the drapery shows the rear line of the body and of the right leg. The boy wears a purple fillet over his hair which is done below the fillet as usual on this vase (also a characteristic of Duris) in relief lines, and he is blowing the double flute held delicately in his dainty fingers (no phorbeia). This group is very closely paralleled by the similar scene on the interior of the cylix in Munich in the style of Duris. The flute-player though taller is almost identical with that on our vase in pose,' in the arrangement of the himation, in the position of his arms and flute, in his hair, in his fingers, etc. On the Munich cylix there is the same kind of couch with volutes on the head-piece as on our vase, the same kind of 1 For a figure, somewhat similar, cf. Mon. Ined. I, pl. 32.

double meander and star pattern and cushion and shoes, as on the inside of our vase, also the same method of bringing the himation behind the left shoulder without really covering it, the same way of letting the himation fall over the side of the couch near the bottom as on the inside of our vase. The main difference is that on the Munich cylix the reclining figure putting his right hand to his head is male, and on our vase a woman is making this gesture which is here undoubtedly that of a singer, and is a frequent gesture today of yodling Swiss shepherds and of singers in Italy and other southern lands.'

In the case of the Munich vase the words οὐ δύναμ' οὐ which help us correct the text in Theognis 695 or 939 are proceeding from the mouth of the man (cf. Ath. Mitt. IX, 1884, pl. I; Baumeister, Denkmäler p. 1984; also Studniczka, op. cit. pp. 124 f. where there is a flute-girl and a reclining figure with similar gesture). The Munich cylix and our cylix probably come from the same hand and are another illustration of Duris's fondness for repeating the same motive but with ever varying details. To come back to our vase, the next figure to the right is a bearded man reclining with his left elbow supported against a cushion, which is visible above the head-piece of the couch below the outstretched right hand of the nude boy. It is thought of probably as concealing the usual tassel end, but in any case the cushion seems to be single here as in the case of the other man on this side of the vase, and in that of one of the men on the other exterior side, the other man there having a double cushion, another instance of

1 Cf. Furtwängler-Reichhold, op. cit. text to pl. 105, Studniczka, op. cit. p. 125 and Jacobsthal, op. cit. pp. 59, 60 n. 1, 62; cf. also the similar gesture on a vase by Smikros in Brussels, on a red-figured crater in Corneto with banquet scene (Jacobsthal, op. cit. p. 52); Furtwängler-Reichhold, op. cit. pl. 73; on a vase signed by Duris belonging to Theodore Reinach in Paris (Hartwig, op. cit. p. 620 and pl. 67); and on the very small cylix (4.5 cm. high by 10.5 cm. in diameter) in the British Museum which Jacobsthal publishes op. cit. pl. 22, which is probably a Boeotian imitation of an original vase by Duris. The man reclining to the left is playing the double flute while the man to the right with right hand on his head is singing & dià Tês Oupidos, the beginning of a song of Praxilla cited by Hephaestion (Frag. 5 Bergk) and dating from the same time as the vase (452 B.C.).

ὦ διὰ τῶν θυρίδων καλὸν ἐμβλέποισα

παρθένε τὴν κεφαλὴν, τὰ δ ̓ ἔνερθε νύμφα.

On the exterior we have paσì áλŋoñ тaûтa. Here we have lyric poetry to the accompaniment of the flute, and elegy with the lyre, which is quite different from the literary tradition.

variety of which Duris is so fond. His hair is of the characteristic type with raised relief lines below the purple wreath which he wears, behind and also directly in front of the ear and extending down along the left edge of the beard, the rest of which, however, is smooth. A single incised line separates the smooth black of the hair above the wreath from the black background. The upper part of the face is obliterated, but the single black line extending across the upper lip to the beard as in the other cases on the vase indicates the mustache. His lips seem to be slightly parted as if he were speaking to the nude standing youth facing him to whom he stretches out his right arm at full length, supporting it with the long delicate characteristic fingers of his left hand, an awkward but vigorously rendered gesture. He is clad in a himation, which comes across his left shoulder and arm down to the elbow. The lower part of the himation is brought up over his body in a beautiful S shaped curve and falls in characteristic zigzag folds, parallel with the zigzag folds of the other end. His right shoulder and right side and breast (indicated by a curved black relief line) are nude. His attention is not at all centred on the singing girl, but on the nude boy who has in his left hand a strainer with a handle which ends in a swan's head and holds out with his right hand a poorly drawn oenochoe (without mouth or handle, but see standing youth on other side). The overlapping of the bearded man's and the boy's right arms brings the two figures closer together than they really ought to be, though the placing of the boy's right foot in front of the upper leg of the table in front of the couch, counteracts this and makes it apparent that the perspective is not correctly rendered, and that the man is meant to be extending his arm, not straight to the side, but rather away from himself toward the front beyond the table to the youth, who has many of the characteristics of Greek sculpture of the period about 480. The right leg is advanced and the figure stands in profile to left, but the upper part of his body which is too narrow above the hips, is in full front view and both breasts show completely. They have the characteristics of Duris, especially the little triangle with circle between them at the bottom which Duris often used. The head again is in profile to the left. The lips are somewhat parted. The face has a slight smile. The pupil of the eye consists of a

1 Cf. Furtwängler-Reichhold, op. cit. pl. 84; Hartwig, op. cit. pl. XXXIV; Mon. Ant. IX, pl. 13, and references in A. J. P. XXVIII, 1907, pp. 450 f.