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SZILÁGYI, JÁNOS GYÖRGY: "La gigantesque horreur de l'ombre Herculéenne" Apulian Red-Figure Vases Decorated in Superposed Colours

is indisputable that some Corinthian type skyphoi with the same design belong here.

35 When identifying vases belonging to the Hanau Group, apart from considering the shape and ornamental motifs, it is important to pay more attention to the style of painting than was usual earlier. It is also possible to extend further the limits of grouping for South Italian vases decorated in superposed colour. The technique of applied colouring named after Jan Six appeared in Athens in the last quarter of the 6

th century.

36 Not even during its brief flourishing did the masters use it exclusively - they were for the most part painters of black-figure vases. The technique appeared around the middle of the 4

th century in the workshops of Campania and chiefly in Paestum; however, contrary to the Etruscan practice that had thrived for almost two centuries, neither were the ceramographs in these parts painters specializing in this technique, but the well-known masters of red-figure vase-painting.

37 One might surmise with good reason that this phenomenon was not unknown in Apulian/Lucanian workshops either. In the absence of systematic analyses concerning this topic, by way of introduction, let it suffice to refer to some miniature bolsal cups decorated in the red-figure technique, which could be classified as belonging to the Hanau Group, or at least were produced in the same workshop, not on the basis of the iconography of their decoration (which was quite widespread at the time), but on the strength of the style of their painting (fig. 18).

38 Nevertheless, their relationship with the rest of the group demands further elaboration. The tondo of the black-figure vase (fig. 15) related in style to the Budapest cup reminds us of another possibility. The convincing conclusion arising from the monograph on the Pagenstecher lekythoi makes it possible to identify the hands of known Campanian, Paestan and Sicilian red-figure vase-painters in their blackfigure paintings.

39 It is conceivable that the circle of vases decorated with added red can be expanded in this direction, too

40

; likewise, concerning the shapes of the vases, it will not do to consider those limits inviolable that seemed to be valid at the time of Beazley's writing. But it is not only the boundaries of groups recognised thus far that can be pushed further. In discussing Apulian' vases decorated in superposed colour, Beazley already mentions several items that cannot be linked to the above groups going simply by E.g., Bari 6857; Brindisi, Museo Archeologico Provinciale, from Ceglie Messapica, its publication in the full grave context, in Messapica Ceglie, eds. A. Cocchiaro and R. Cannarile, Cat. Ceglie Messapica 1998, 32, fig. 24. A survey on its Attic history: C. H. E. Haspels, Muse 3 (1969), 24-26; supplements to the pioneering list of Jan Six: J. Burnett Grossman, Greek Vases in the J. Paul Getty Museum 5 (1991), 20-24. For a recent review, see: A. D. Trendall, The Red-Figured Vases of Paestum, Rome 1987, 364-85. E.g., CVA Tubingen 7, pi. 19, 3-6; Paris, Louvre ED 4959; further specimens in Taranto and Lucera; miniature skyphos: CVA Lecce 2, IV D r, pi. 56 and p. 7. A miniature bolsal cup discovered at Laterza, though it cannot be classed in the group, can hardly to be separated from it: A. DelfAglio and E. Lippolis, Catalogo del Museo Nazionale Archeologico di Taranto, vol. II, 1, Taranto s.a., 139, 52.54. R. Hurschmann, Die Pagenstecher-Lekythoi, Berlin 1997 and earlier, Jdl 103 (1998), 39-66. M. Schmidt, CVA Heidelberg 2, ad pi. 89, 3-4.