His style is so marked that it is possible—apart from the evidence of καλός-names—to attribute to him many vases not actually signed by him, as may be gathered from the study of his work by Hartwig.[[1352]] In his earlier vases he shows a strong preference for scenes from the palaestra, and only two are mythological. According to Hartwig it is these vases that show the closest parallelism with Euphronios, both in choice of subject and in treatment. The later works show a great and surprising falling off, and are frequently dull and comparatively careless. They show, in fact, a change from the perfecting of naturalism to mere mannerism, and this in spite of the change in subjects from repose to violent action. It is probable that he fell away from the influence of Euphronios to that of Hieron and Brygos, lacking entirely, as he did, the genius of the older artist. On the other hand, his choice of subjects becomes much more varied, many being heroic or mythological, and among these scenes from the labours of Theseus take the place of the older athletic types (cf. p. 418). He is also fond of banquet-scenes at all times, and found in them scope for bold foreshortening as applied to figures in repose.[[1353]]
The best-known vase by Duris is a kylix in Berlin (2285 = Plate [XXXIX].), on the exterior of which are painted scenes from a school. On one side a boy receives instruction in the lyre, while another stands before his teacher reading from a roll on which is inscribed the first line of an epic poem: Μοῖσά μοι ἀμφὶ Σκάμανδρουν ἐύρρων ἄρχομαι ἀείδειν (see Chapter [XVII].). On the other side, the five figures on which exactly balance those on the first, we have a lesson on the flute and in drawing or writing; the seated figure in the middle holds a pen and an open tablet. The fifth figure in each case is a bearded man, seated on a stool watching the proceedings. In the field are suspended lyres, writing-tables, and rolls of manuscript. There is also a beautiful cup in the Louvre, the interior of which represents Eos with the body of Memnon; the exterior, Homeric combats.[[1354]] Of the three examples of his work in the British Museum, one is occupied with the labours of Theseus ([Frontispiece]); another (E 49) shows his love of slim nude figures, contrasted with careful and formal drapery. The peculiar shape of the heads should be noticed; also the treatment of the eye, as a circle with a dot in the centre. Like Epiktetos, a slave of precision, he in nearly all these cases avoids violence of action, and seeks after a quiet gracefulness. His peculiarly fine technical skill appears to have been much appreciated in his day.[[1355]]
Hieron has signed twenty-eight vases, all being kylikes except three, which are kotylae. His invariable formula is ἐποίησεν, and the signature is generally incised on the handle of the vase. Hartwig is inclined to attribute one or two cups with this signature to another master, who had a preference for introducing bald-headed figures[[1356]]; and, in regard to others, there is fairly certain evidence that they were not painted by him. For instance, a very fine kylix with the carrying off of Helen bears the name of Makron as painter,[[1357]] and it is possible that others are actually painted by that artist, who in any case must have been a partner of his. His work is regarded by Hartwig as full of individuality and excellence. Hieron, on the other hand, is inclined to the repetition of certain types, little individualised. He seems to have been trained in the school of Oltos rather than that of Euphronios,[[1358]] except that he learned from the latter the use of foreshortening. His only καλός-name is that of Hippodamas, also used by Duris.
His subjects comprise scenes from myth and legend, musical and conversational groups, and Dionysiac scenes. He is fond of decorating his exteriors with rows of men and women of a somewhat sentimental type, smelling flowers, or in amorous converse. But he rises to higher flights in the Berlin cup (2290), with Maenads sacrificing to Dionysos Dendrites, and still more in the splendid kotyle in the British Museum (E 140 = Plate [LI].), with the gathering of the Eleusinian deities at the sending forth of Triptolemos (see Chapter [XII].).
PLATE XXXIX
1, Kylix by Duris (in Berlin): School Scene.
2, Kylix in Style of Brygos (Corneto): Theseus Deserting Ariadne.
His figures exhibit a strongly marked type of head, large and simple, perhaps developed from those of Duris. But it is in the treatment of drapery that he chiefly excels, especially in the British Museum kotyle and the Berlin cup. Particular mention should be made of the elaborate garment worn by Demeter on the former, with its rich figured embroideries (see Chapter [XVI].); and the robes of Persephone, though simpler in decoration, show an even greater richness of treatment in the delicate lines of the chiton and the graceful fall of the mantle. On a cup in Berlin with the Judgment of Paris (Fig. [129]) he makes a notable attempt at landscape, showing Paris seated on a rock, surrounded by a flock of goats.