Phintias and Euthymides
Jenifer Neils, Case Western Reserve University

2. Mythological Scenes Part 3

Another early vase illustrates Phintias' initial interest in myth and his preferred composition for panels of large vases: three figures moving to right, and a fourth acting as a caesura by facing left. In the case of his amphora in Paris (Louvre G 42;Illustration 16) [9] the figures are Apollo coming to the rescue of his mother Leto who is being abducted by Tityos, while Artemis, bow in hand, looks on from the right on the obverse. On the reverse is a trainer with three athletes (Illustration 17).

Illustration 16

Illustration 17

Illustration 18

This vase can be placed after the Tarquinia amphora because on the obverse the border ornament is three-quarters red-figure (but still three-quarters black-figure on the reverse: (Illustration 18), and the intricate detailing has subsided. However, Phintias still shows his fondness for "buckellöchen" or small glazed dots in relief used to indicate curly hair (Illustration 19,Illustration 20 , Illustration 21,Illustration 22), an early Pioneer trait.

Illustration 19	Illustration 20
Illustration 21	Illustration 22

Also early is the continued used of incision, as on the hair of Apollo (Illustration 23) and Artemis (Illustration 24).

Illustration 23

Illustration 24

Like incision, added red is characteristic of black-figure, and one sees its continued use in early red-figure, especially for wreaths (Illustration 25; Illustration 26).

Illustration 25

Illustration 26