1

dotted circle (which occurs frequently on vases of Duris) and is not in full front as so often in early Greek art but is pushed toward the inner corner of the left eye. The hair is smooth above the purple fillet but has the characteristic relief lines below. The youth is a typical Duris figure such as occurs on the British Museum signed cylix, where the same principle of isocephalism of which early Greek art was fond is followed and the legs of the standing boy are elongated so as to bring his head on a level with those of the reclining figures. The height of the boys on the two vases is a little more than eight times that of the head, which is about the proportion on one of the signed Vienna cylices. That on the British Museum vase is eight and one-half times. The nude figure on our vase is a little taller than the draped one. The third group of figures consists again of a man and a woman on a couch, but here they are interested in one another as on the inside of the vase. The couch is of the same form as the others except that here the eyes of the volutes are represented in solid black dots. The upper foot again rests on a sort of platform which is indicated by a bit of triangular red which has been left in order to give the couches, though resting on a curved line, the same length of leg. The lower leg of the couch is seen behind the first couch to the left and ends behind one of the shoes. This really makes five planes (second couch, table, head of first couch, table, and nude youth), and with the three baskets (also slightly differentiated by a difference in the number of surrounding black lines) hung up by purple strings tied in a bow-knot, and the two cylices on the wall (such as occur often on vases of Duris) gives a distinct impression of a banquet room and perspective, however crudely rendered. In front of the couch is a table of the form described above, but here the bottom leg is drawn. Underneath are the shoes but turned to the right. The lady is draped in the same sleeved linen chiton as the other ladies with the same characteristic groups of three lines each to represent the folds. She also wears the himation which falls over her left arm above the elbow and inside her lower arm which is bare below the elbow. The himation is also seen over her legs which have about the same position as those of the lady on the inside of the cylix. The right knee is raised and the left leg is bent back from the knee which is drawn as resting on the couch (cf. inside). The transition from the lower body in profile to the upper body in full front is 1 Cf. Hoppin, op. cit. I, p. 241; Studniczka, op. cit. p. 140.

not well rendered but, as we have seen, it is characteristic to have the lower part of the body in profile and the upper part in full front. The left breast is distinctly indicated by a curved black relief line. On her head she wears a hood which is similar to the hood of the other lady except that it has one black relief line where the other has two. (The lady on the inside and the other outside wear wreaths.) The hair has the usual relief lines. Her eye has the circle and dot, and her lips are slightly parted. She rests her left elbow on a double cushion and holds a cylix with offset lip in her left hand as the other lady on this side does though in a slightly different position, and places her right hand on her left shoulder or nearly so. She is looking at the man who is clad only in a himation which is arranged similarly to that of the other man on this side, with the same parallel zigzag folds at the ends; but there are differences as usual on Duris's vases. The folds over his upper left arm are different and both his shoulders and breasts are nude. The arrangement of the himation behind the left shoulder which it does not cover is like that on the male figure of the interior. Only a single cushion appears above the head-piece of the couch, which here has the volutes different with the eyes indicated and a higher member between them and the abacus. The man wears a purple fillet and has the characteristic hair and beard and mustache, and eye with circle and dot. His upright open right hand is stretched out to the left behind the lady's head and has the elongated fingers which we see elsewhere on this vase. His left arm is bent at the elbow and his left hand with the palm down is bent forward toward the lady. Here again we see Duris's fondness for variety in the midst of similarity, for in the case of the similar group on the other side, the gestures are reversed and the man has his right hand on his left shoulder and the lady is probably stretching out her right.1

Between the scenes on the two exterior sides, under and on either side of the two handles (the inside of which as well as the space between them is left in the red color of the clay), is a beautiful quadruple palmette and spiral ornament which had been repainted with an extra number of petals. The drawings indicate what is restored. The essential parts remain and show us a beau

1 This gesture of right hand touching, or nearly touching, left shoulder is seen on the signed cylix belonging to Theodore Reinach (Hartwig, op. cit. pl. 67= Hoppin, op. cit. I, p. 261), on a stamnos in Munich and on the Boeotian imitation of a Duris vase (Jacobsthal, op. cit. p. 65 and pl. 22).

tiful pattern quite in the style of the quadruple palmette pattern which Duris drew so often on the signed vases of his second period, as Winter has shown.1 Duris uses this kind of palmette pattern with slight variations exclusively and only he uses it. It occurs on at least seven cylices including the one in Boston published by Tarbell. The other exterior side (PLATE III) had been much repaired. The drawing shows in dotted line what is there. restored, and in solid black what is on the vase after cleaning. On the couch to the left is again a reclining man and lady. Very little of the female figure is preserved. We see her bare right foot2 and what may be a bit of the mattress projecting over the foot of the couch. The lines of the himation can be seen behind the nude boy both above and below the couch where the drapery hangs over. We see also some lines of the himation in front of the boy under his outstretched right arm and can make out some of the lines of the lady's left knee, so that by analogy with the female figure on the inside, and with one of those on the other exterior side, it is easy to restore the general position of the lady with raised right knee and with left leg bent back at the knee. She undoubtedly held a cylix, of which there are slight traces, in her left hand and her left elbow rested on the two cushions or double cushion, the upper ends of which are still preserved. What the position of the right hand was, we cannot be certain. It has been restored in the drawing as it was restored before the cleaning, but we can prove that the Italian restorer made several mistakes as in giving the wrong number of petals in repainting the quadruple palmette designs under the handles, and, perhaps, we should restore the right hand as resting on the left shoulder, a characteristic gesture occurring twice on this vase. Duris, however, was just as likely to vary his gestures as to repeat them. Of the head of the man only the top with the incised line separating his hair from the black background is preserved. We see the line of the right breast with the characteristic triangle, the lines of the himation which goes under the left arm, leaving it as well as the shoulder entirely nude. Here again is a variation, as in every other case on the vase the himation covers the man's arm above the elbow. There is only a single cushion, instead of the more usual two or double cushion, behind the man's back. Enough of

1 Jb. Arch. I. VII, 1892, p. 110, fig. 13; p. 111; p. 116.

2 Cf. Jacobsthal, op. cit. p. 50.

Cf. Ransom, op. cit. p. 45.

the cylix with offset lip is preserved in the left hand to make its restoration absolutely certain. The right arm was probably stretched out at full length in the characteristic gesture which we have restored. The couch is similar to the other couches, though above the volutes on the head-piece a kind of echinus is inserted under the abacus. Under the lower foot of the couch a slight bit of the platform is still visible. There is the usual form of table in front of the couch, but the lower leg is not drawn unless the bit of red behind the right foot of the youth is meant to indicate it as concealed behind his leg and coming to view there. In front of the lower end of the table under which are again two shoes stands a nude youth to right with left foot advanced. Part of him is missing above the knees and his shoulders and head and left arm are entirely gone. Most of his right arm is preserved and part of the object in his right hand which is probably a ladle.' On this side of the vase we have two groups of three persons each, whereas on the other side we have three groups of two persons each, another instance of Duris's love of variety in the midst of symmetry. There are six figures on either side as on two cylices in Munich in the style of Duris (FurtwänglerReichhold, op. cit. pls. 24 and 105). On the signed vase representing a school scene, and on that with a banquet scene in Berlin (Hoppin, op. cit. I, pp. 215, 217) there are five figures on each side. On one of the signed vases in Vienna (FurtwänglerReichhold, op. cit. pl. 54) there are seven on each side; and on the other (op. cit. pl. 53), seven on one side and eight on the other. On the signed British Museum cylix with banquet scenes (Hoppin, op. cit. I, p. 241) there are four figures on one side and five on the other (also in Hoppin, op. cit. I, p. 238). In Hoppin, op. cit. I, pp. 222, 230, 233, 237, 242, 249 there are five on each side. So that it is characteristic of Duris sometimes to have the same number on each side, but he is not consistent and varies such symmetry. In Hoppin, op. cit. pp. 227, 246, 250, 257, 262 there are six figures on each side as on our vase.

In the second group to the right except for the loss of the lady's hands the reclining pair is well preserved. The man has both

1 We at first restored this object as a strainer such as the nude youth on the other side holds in his left hand and such as hangs on the oenochoe which the standing draped figure on this side holds. But the piece preserved is too long so that the object must be either a single flute (in which case the other hand should hold a flute and not an oenochoe) or a ladle such as is seen in Furtwängler-Reichhold, op. cit. pl. 84 and elsewhere.

shoulders and breasts and entire right arm bare but his whole left arm to his wrist is wrapped in the himation which is brought around his back over the edge of his left shoulder (somewhat as in the case of the man on the interior). He rests his left side on a double striped cushion His left hand with elongated fingers and thumb rather awkwardly drawn is empty. His right hand is placed on his left shoulder whereas in the corresponding group on the other exterior side it is the lady who places her right hand on her left shoulder, a characteristic variation of which we have seen Duris is so fond. By analogy with that group I have restored the lady's right hand as extended to correspond with the man's outstretched right hand. The Italian restorer had placed a cylix in her right hand but the cylix should be in the other hand and not in a hand stretched out at such distance. The lady wears the usual sleeved chiton with the folds marked by groups of three fine relief lines. Behind her left shoulder and over her left arm which rests against a double plain cushion and over her lower right leg and left knee can be seen the himation. Her left hand probably held a cylix, as the line of the forearm certainly seems to warrant. She does not wear a hood on her head as the ladies on the other exterior side, but like the lady on the inside. she has a broad wreath in the red color of the clay about her head; whereas the man wears a narrow purple or dark red band about his hair. In front of the table is the raîs oivoxóos of whom are preserved only the two feet, the lower part of the himation, two or three folds of the himation at the back, and the nude right arm with the right hand holding an oenochoe with a strainer hung on its lip just beyond the handle. The Italian restorer had drawn a figure in profile (Fig. 2) but here again (as in the palmette ornament) he made a flagrant mistake. The two lines seen at the back would denote the folds of drapery as falling from the shoulder since the outside line is too high to suggest the gluteal muscles, even if the second line were absent. A sheet draped over a model secured the folds as restored, slightly conventionalized as to regularity. The position of the right hand also suggests this restoration and Duris liked to represent the back of the shoulders. The general position reminds one of the figure to the left on one of the exterior sides of the vase illustrated by Hoppin, op. cit. I, p. 217, and of the figure to the left on the lower exterior side of the vase illustrated by FurtwänglerReichhold, op. cit. pl. 105. The boy here is draped, whereas