Decoration: Body: JUDGEMENT OF PARIS (PARIS, HERMES, HERA, APHRODITE, ATHENA, IRIS AND ERIS ?), FIGURE (WOMAN ? NAMED PEITHO ?)
Last Recorded Collection: New York (N.Y.), Metropolitan Museum: 1981.11.9
Previous Collections:
Basel, market, Münzen und Medaillen A.G.
Private, Collection unknown
Publication Record: Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 405 Giudice, E. and Giudice, G. (eds.), Studi Miscellanei di Ceramografia Greca VI (Catania, 2020): 69, PL.4 (COLOUR) Hedreen, G., The Image of the Artist in Archaic and Classical Greece, Art, Poetry, and Subjectivity (Cambridge, 2016): 289, FIG.65 (PART OF BD) Lexicon Iconographicum Mythologiae Classicae: VII, PL.109, PARIDIS IUDICIUM 20 Metropolitan Museum Journal: 26 (1991), 65, FIGS.24-25 (PART) Metropolitan Museum of Art, New York, Notable Acquisitions: 1980-81, 14 Oakley, J.H. et al., Athenian Potters and Painters, The Conference Proceedings (Oxford, 1997): 147, FIG.7 (PART) Padgett, J.M. (ed.), The Berlin Painter and His World, Athenian Vase-Painting in the Early Fifth Century B.C., Princeton University Art Museum Monograph Series (New Haven and London, 2017): 91, FIG.5 (COLOUR OF PART) Rosenzweig, R., Worshipping Aphrodite, Art and Cult in Classical Athens (Ann Arbor, 2004): FIG.5A-D (BD) Shapiro, H.A., Personifications in Greek Art, The Representation of Abstract Concepts 600-400 BC (Zurich, 1993): 189, FIG.147 (PART)
CAVI Subject: Judgment of Paris: Paris, Hermes, Hera, Aphrodite, Athena, Iris and Eris(?).
CAVI Inscriptions: Alexandros, retr. Aphrodite, retr. Peitho is also inscribed{2}. On the foot,
Gr.: Ευθυμιδες εποιεσεν, the words separated.
CAVI Footnotes: {1} Bothmer in Not. Acqu. says the vase was not painted by Euthymides; that
Cahn suggested exploring any connection with the Sosias Painter, and noted
surprising connections with very early work by Makron. D. Williams (1991), 62 n.
19 tentatively attributes to the Pythokles Painter. Moore: fhs artist seems to
have some ties with the Sosias Painter. {2} to judge by the words of Cohen,
there are other inscriptions.
CAVI Comments: Ex Basel Market (M.M.). For the style see Cohen, n. 82. The word separation
is peculiar, but the signature is considered genuine, although I have been
doubtful (but see Cohen). D. Williams groups the vase with five other pieces he
attributes to the Pythokles Painter: it is by the same hand as Cab. Méd. 570+,
ARV[2] 399 (signed by Brygos as potter). According to Blatter, Cahn attributed
the vase to the Sosias Painter, but Robertson did not agree. Cohen explains the
placement of the inscription: it starts to right of the missing handle where
there is a space between Paris and the figures before him. The gap between the
name and the verb is beneath the center of the composition, probably where the
spout was. On p. 45 Robertson suggests that the epoiesen phase of Euthymides is
later than the egrafsen, as is the case for Euphronios. On p. 59, he discusses
the question of whether the signature is genuine, pointing to the vacat between
name and verb; the dr. is clumsy and not attributed, the resemblance to the
Sosias Painter is superficial.
CAVI Number: 5731
AVI Bibliography: BADB 9988. — M&M-Auction (1972), no. 101. — Schauenburg (1973a), 39 n. 27. —
Blatter (1975a), 18 and n. 18. — Bothmer (1980–1), 13-14 (ill., inscription
shown). — Bothmer (1982), 46. — Bothmer (1982), 46. — Add.[2] (1989), 405. —
Shapiro (1989), 120. — AttScr (1990), no. 428; 72 n. 41. — Cohen (1991), 63-64,
figs. 24-25. — D. Williams (1991), ...., n. 19. — Robertson (1992), 57, 59-60
and nn. 93 and 109 (bibl.); cf. 45. — Cohen (1997), 145 and n. 43, fig. 7 (side
view showing two goddesses, Iris, and the lower part of another figure, all to
left; on the foot, a very clear picture of the Gr.: εποιεσεν, with a vacat
fore). — Moore (1997), 86 n. 10.
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
