Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 83. (Budapest, 1995)

JOHNSTON, ALAN: Graffiti and dipinti on Greek and Italic Vases of the Department of Classical Antiquities

21 Bowl. Italic, inv.: 50.876; h.: 2,7 cm; diam.: 9,1 cm. (fig. 31 a-b) 22 Askos, Attic, inv.: 51.139; h.: 6 cm; diam.: 7 cm. Type: Sparkes-Talcott, no. 1166. (fig. 32a-b) DIPINTI 23 Attic black-figure amphora, inv.: 93.12.A; h.: 33,7 cm. ..Tyrrhenian" Group, (fig. 33) 24 Attic black-figure oinochoe, inv.: 62.89.A; h.: 17,3 cm. (fig. 34) 25 Attic black-figure amphora, inv.; 51.20; h.: 40,7 cm. (fig. 35) 26 Attic black-figure column-crater, inv.: 51.837; h.: 21,8 cm; diam. (with handles): 36,2 cm. (fig. 36) The corpus of graffito and dipinto marks on the Greek pottery in Budapest is fairly typical of any reasonably substantial collection assembled largely from Italian provenan­ces. Ifit is any way atypical it is perhaps in the relatively large number of marks which do not have parallels (or at any rate close parallels) elsewhere. In this brief survey of the material, which I publish at the kind suggestion of Dr. János Szilágyi, I use as a basic point of reference my own full study of such inscriptions in Trademarks on Greek Pottery, Warminster 1979 (hereafter TM). On black-figure vases of large size one would perharps expect over half of the marks to fall into close groups, which I interpret as the signs, alphabetic or not, of individual traders; only 2 of the 11 Budapest vases in that category clearly do so, 4 and 8, while 26 could be considered for inclusion. 1 has a mark indicating four units. If we knew the point of reference we would have a valuable piece of evidence for the vase's career. Unfortunately the interpretation must remain open. The numbers could most plausibly refer cither to contents or to price or to a set of objects possibly including the amphora bearing the graffito. I have argued the last with respect to some nearly contemporary marks on amphorae by the Amasis Painter and the Painter of Berlin 1686, but have noted that it is far more difficult to argue the case for some graffiti which have a slightly higher number of strokes, accompanied by apparent fractional signs, on some amphorae of the Swing painter. 1 2 presents a variety of a well attested mark, TM type 6D; the variation lies in the fact that the diagonal line stops short of joining the upper left angle and is retrograde. 2 There are difficulties in deciding whether the mark should in any individual case be interpreted as a numeral. 50, or as a ligatured abbreviation of a trader's name: in this case we may think of Py..., a variant of the ligature seen in TM type 16A. 3 has an abbreviation lor which I know of no particularly close parallel; a neck-amp­hora from the workshop of the Painter of Munich 1519 (Paris, Cab.Med. 232. ABV 395.9; TM 1 A, 5) has the mark orthograde, but is later, as are two oenochoai from Ferrara, 12208 and 156, CVA 2, pp. 13 and 29 respectively. 4 is attributable to the Leagros group, a large workshop of late black-figure produc­tion where we find some of he most consistent indications of trading organisation. The mark here appears on only a modest number of related vases; see TM 7D,7, to which add The drawings of the marks were done by István Pankaszi. 1 Papers on the Amasis Painter and Iiis World. Malibu 1987, pp. 1 32-1 33 and TM pp. 30-31 (not pp. 40-41 as ibid. n.40). 2 A similar incomplete diagonal is found in a large, orthograde mark, on (he "navel" of an olpe of the dot-ivy group once in the London market (Christie, then Ede), broadly contemporary with 2.

Next

/
Oldalképek
Tartalom