B.M. E 170, 450, 469; Berlin 2403 = Reinach, i. 450; Naples 2421 = Reinach, ii. 278 and 3089 = Millingen- Reinach, 33; Reinach, i. 184 (two vases), 218, 221; Jahrbuch, 1886, pl. 10, fig. 2; Millingen-Reinach, 49–50; Furtwaengler, 50tes Winckelmannsfestprogr. pl. 2[[1374]]; Louvre A 256 = Jahrbuch, 1887, pl. 11 (Dümmler).
(2) In method of composition (460–440 B.C.)[[1375]]:
B.M. E 224, E 466, E 492; Berlin 2588 = Reinach, i. 217 and 2471 = Coll. Sabouroff, i. 55; Naples R.C. 239 = Reinach, i. 482; Jatta 1093, 1095, 1498 = Reinach, i. 175, 119, 111; Petersburg 1792, 1807 = Reinach, i. 1, 7; Reinach, i. 522, 5 (in Bologna); Ant. Denkm. i. 36 (ibid.); Reinach, i. 191; and reflecting the style of Polygnotos or of Mikon: Reinach, i. 226–27 = J.H.S. x. p. 118 (Louvre); Reinach, i. 232 = J.H.S. xviii. p. 277.
To these may perhaps be added:
Naples 2889 = Raoul-Rochette, Mon. Inéd. pls. 13–4; Athens 1921 = Reinach, i. 511; Berlin 2326 (see Jahrbuch, 1887, p. 172).
In this stage, as has been noted, artists’ signatures are far more rare than in either of the two preceding, and cup-painters in particular are few and far between. The καλός-names, too, have almost entirely come to an end. Of the cup-painters the only known names are those of Aeson, Erginos and Aristophanes, Hegias, Hegesiboulos, Sotades, and Xenotimos, and of these four (Aeson, Hegesiboulos, Hegias,[[1376]] and Xenotimos[[1377]]) are only represented by single specimens. Two very fine cups, made by Erginos and painted by Aristophanes, are in the museums of Berlin and Boston respectively,—the former decorated with scenes from the Gigantomachia within and without (Fig. [112]); the latter has in the interior Herakles rescuing Deianeira from Nessos, on the exterior a battle of Centaurs and Lapiths. An unsigned duplicate of this vase was acquired by the Boston Museum at the same time.[[1378]] The vase by Aeson is decorated with scenes from the labours of Theseus.[[1379]]
PLATE XL
Cups by Sotades.
1, In Boston; 2, Brit. Mus.: Polyeidos in the Tomb of Glaukos.