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his feet are not seen, but one leg is in three-quarter profile and the other crosses behind it. The movement is obliquely towards the spectator.

Both in the Berlin cup and in the Boston cotyle, one notices the same curious way of attaching the wings to the body as in Eros B on the Bowdoin askos. The right wing of B is attached to the front of his shoulder, covering it, instead of to his back. This is an old rendering which Macron preserves, not always,

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FIGURE 6.-DETAIL OF COTYLE SIGNED BY MACRON: BOSTON.

'but in figures where the arm passes across the hither side of the body.

That Eros should carry a flower in his hand is intelligible enough. Long before the appearance of any figures which can be given the name of Eros, winged spirits bearing flowers or tendrils were familiar to the Greeks. When Eros himself comes to be represented by Greek artists, in the latter half of the sixth century, they gave him the same attribute which had been borne by his nameless predecessors. Not thoughtlessly: it may even be that they had in mind the further meaning of the word anthos; their Eros is in a double sense παῖς καλὸν ἄνθος ἔχων. 4

1 E.g., Murray, Designs, No. 10.

2 Clay relief from the Argive Heraeum, Argive Heraion II, pl. 49, 1; Etruscan bronze plaque from Montecalvario, Not. Scav. 1905, p. 236.

3 Lewes House Collection of Ancient Gems, pp. 27 and 28.

'Theognis, 994.

The man who conceived the Laus Helenae on the Boston cotyle -and there is no reason whatever to suppose that Macron did not conceive and design the picture as well as execute it-had an endlessly subtle and lofty imagination. But that Macron had any subtle thought in his head when he placed a flower in the hand of his Eros is naturally more than we can affirm. His fathers before him had given Eros a flower: and Macron himself was freer with his flowers than most of his fellows.1

The flower which the Bowdoin Eros holds, hardly visible, I fear, in the illustrations, is of Macron's favorite species; broken from such a tendril as Eros holds in his other hand. The tendril I take to be a kind of smilax. Tendrils like this are not uncommon in his pictures: Hera holds one in his Berlin Judgment of Paris; Athena also, and Euopis on the other side of the vase; the bearded lover, too, on the unsigned plate in Copenhagen;2 and one of the ladies on the pyxis, from the Acropolis, in Athens, which is not only from the hand of Macron, but probably bears his signature as well. On a Hieron cup in London a woman is twining a wreath of smilax. Smilax wreaths are often worn in the red-figured vases of the earlier archaic period; there are splendid specimens in the works of Phintias and Euthymides: 5 but in the ripe archaic period they become very rare, and in the free period there may be a few, but I remember none. The use of smilax, therefore, for garlands would seem to have died out about the beginning of the fifth century. I think this is why the poet Aristophanes mentions smilax in his picture of what the young Athenian was once and ought to be: the poet knew that smilax had been dearly loved in the good old days; he had seen it in pictures painted at the time when the men of Marathon were

1 Hoppin figures 23 vases by Macron; on 14 of these there are persons with flowers in their hands (Hoppin's numbers 4, 5, 9, 12, 13, 16-18, 20-22, 26, 28, 29); often several on one vase. Of the other vases, I need only mention the cups in the Cabinet des Médailles (560; De Ridder, p. 421, fig. 103) and in Madrid (154; Leroux, pl. 18). The flowers are not confined to scenes between men and boys or men and women; Hermes offers Paris a flower (Hoppin, No. 4); men put flowers to their noses even when there are no boys or women present (Hoppin, No. 26).

2 Hartwig, Meisterschalen, pl. 30, 1; not a cylix, as Hoppin calls it (Handbook, II, p. 98, No. 55).

3 Richards, J.H.S. 14, pl. 3, 2.

'B.M. E61: W.V. C pl. 5; Hoppin, Handbook, II, p. 59.

'F.R.H. pl. 112: F.R. pl. 33.

6 Clouds, 1007.

striplings; he associated it with the τεττιγοφόραι, ἀρχαίῳ σχήματι λαμπροί.

The face of Eros B is somewhat odd at first sight. Eros A has comely features of regular archaic type: B's face does not conform to any type of classical beauty, archaic or other. Yet I do not think that the painter's hand has gone astray; he meant to make one of his Erotes look comical. He had noticed what surprising faces some young children have, before the bones of the nose are

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grown, when the upper lip seems to have got a long start of its handicapped competitor. Poulbot has drawn many such faces. Parallel studies of elderly faces are common enough in the riper archaic and in the succeeding, transitional period: for instance, in the works of the Panaitios painter or the Sotadean vases. Child studies are less common: the closest analogy to the Bowdoin Eros is the priceless little lad on another vase of the same period, the cotyle by the Brygos painter in Boston. Ten or fifteen. years later, in the Sotadean period and circle, we have the Eros, 1 Knights, 1331.

2 Caskey, A.J.A. 1915, pls. 7-8 and pp. 130-134; the boy only, V.A. p. 90, fig. 58.

in the shape of a little lout, on the New York pyxis with the Judgment of Paris. In the Bowdoin Eros, the characterization is confined to the face. In the New York Eros it extends to the body; comical though he be, he already makes one think of the earliest real child in Greek sculpture, the grave and lovely maiden of the relief in Brocklesby House.2

To conclude: it is worth while comparing the Bowdoin Erotes with another pair on a small vase of a slightly later period. At a hasty glance Figure 7 would seem to be taken from an askos; but it really represents the decoration on the shoulder of the round aryballos, with a picture of a clinic, which was formerly in Mr. Peytel's collection and has recently been presented by him to the Louvre. It is the work of a follower and imitator of Macron. The style is based on that of Macron, but the artist is trying to be livelier and more forcible; the modelling of the bodies is more muscular, and the movements more restless. It will be noticed that although both hither arms cross athwart the body, the artist does not follow Macron in clapping the hither wing to the front of the shoulder; the consequence is that with the more realistic bodies the wings look even less like real wings than Macron's, and more like those of pantomime fairies.

CHRIST CHURCH,

OXFORD.

1 Richter, A.J.A. 1915, pls. 29-30; V.A. p. 128.

J. D. BEAZLEY.

2 Ant. Denk. I, pl. 54: Curtius, Das griechische Grabrelief, pl. 6; see also Curtius, Ath. Mitt. XXXI, pl. 6 and pp. 178-184.

3 Pottier, Mon. Piot. XIII, pls. 13-14. Of similar style, the cups B.M. E66 (F.R. pl. 47, 2); Cabinet des Médailles 812 (De Ridder, pls. 21-22 and p. 471); and Orvieto, Faina, 105 (A.Z. 1877, pl. 6). Pottier compares the Peytel vase with the aryballos, Berlin 2326 (A.Z. 1888, pl. 8) which is also of the school of Macron. Pottier gives a list of vases of the same shape, or nearly the same, as the Peytel aryballos (Mon. Piot. XIII, pp. 162–165); see also V.A. pp. 87-88. The oldest of them is the vase which was formerly in Bologna (Pellegrini, V.P.U. pp. 56-57, No. 322); Pottier is inclined to connect it with Douris (loc. cit. p. 163), but it is obviously far earlier than even the earliest works of Douris; Pellegrini (op. cit. p. 56) is nearer the mark when he compares it with a cup in Munich (Jb. Arch. I. X, pl. 4); but there is no reason to associate either cup or aryballos with "Andocides." I owe my thanks to M. Pottier for allowing me to reproduce the Peytel Erotes.

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