Preface and Acknowledgments
Table of Contents
List of Figures
1. Introduction
1.1 History of Research
1.2 Dating the Work of the Codrus Painter
2. Style
2.1 The Codrus Painter and Details of his Drawing
2.2 The Style of Painters Near the Codrus Painter
2.3 Repeated Motifs and Figure-Types
2.4 Palmettes
2.5 Tondo Bands
3. Reconsidering Some Attributions
3.1 The Oxford chous
3.2 The Dresden cup
3.3 The Cape Town cup
3.4 The Cambridge Athletes cup
3.5 The Timandra fragments
3.5 The cup once in Basel Market
4. Shapes
5.1 Stylistic and Chronological Arrangement of the Vases by the Codrus Painter
5.2 Vases by the Circle of the Codrus Painter
5.3 Manner of the Codrus Painter
5.4 Comapre to the Codrus Painter and Aison
5.5 Near the Codrus Painter
5.6 The Painter of Cambridge 72
6. The Codrus Painter and his Contemporaries
6.1 The Codrus Painter and the Eretria Painter
6.2 The Codrus Painter, Aison, and the Meidas Painter
6.3 The Codrus Painter and the Group of Polygnotos
6.4 Concluding Remarks
7. Studies in Iconography
7.1 Mythological Subjects
Heroic Kings and Royal Heroes: The Codrus cup
From the Attic Land: The Ericthonios cup
The Attic Hero: The Theseus cup
Athens and the Oracle: The Themis cup
A Theban Myth as a Platform of Athenian Ideals: The Basel cup
7.2 Divine Assemblies
The Divind Banquet cup
The Brauron cup
7.3 Other Mythological Subjects
The Triton cup
The Phrixos cup
The Cassandra cup
The Astarita cup
The Amazomachy cup
7.4 Festivals of Dionysos and Dionysiac Subjects
Representations of Thiasoi
Dramatic Performances and the Codrus Painter
The Herakles cup
The Cambridge Cup
7.5 Departure Scenes and Hoplite Representations
The Zurich cup
The Naples cup
The Ex-Charterhouse cup
The Battlefield cup
7.6 Depictions of Youths and Athletes
Sport in Athens and Etruria
Athletic Scenes by the Codrus Painter and his Circle
Victors and Athletes after Training
Javelin-Throwing, Jumping, and Combat Sports
Torch Races and Musical Contests
Generic Athletic Scenes
The Seesaw cup
8. The Codrus Painter and the Etruscan Market
8.1 Attic Vases and the Etruscan Symposion
8.2 The Polysemic Value of Attic Vase-Paintings
9. Attic Sculpture of the second half of the 5th century and the Codrus Painter
9.1 Architectural Reliefs
The Parthenon
The Parthenos Shield
The Hephaisteion
The Athena Nike Temple
The Illisoos Temple
The Erechtheion
9.2 Cult Statue Bases
The Base of Athena Parthenos
The Base of Zeus in Olympia
The Hephaisteion Base
The Base of Nemesis in Rhamnous
9.3 Dedicatory and Funeary Relief Bases
9.4 Other Reliefs
Funerary Monuments
Votive Reliefs
Document Reliefs
9.5 Concluding Remarks
10. Overview of the Work of the Codrus Painter
Appendix
Catalogue
Bibliography
Figures