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Published online by Cambridge University Press: 23 December 2013
The vases published here are part of the collection belonging to Lt.-Col. W. H. Bromley-Davenport, of Capesthorne Hall, Macclesfield, Cheshire. As far as is known, they all come from Lucien Bonaparte's estates at Canino near Vulci, and were brought to Capesthorne by Edward Davies Davenport (1778–1847), the great-grandfather, and Walter Davenport Bromley (1787–1862), the great-uncle of the present owner.
A black-figure neck-amphora (Plate VII (a), (b)) is by the Antimenes Painter. It is complete with lid, has no restoration and measures 38½ cm. to the mouth; the handles are triple. On one side Herakles is about to slay the Nemean lion; on the other Dionysos stands between two capering satyrs. The added red and white is clear from the photographs. The attribution is of course certain; note the vertical lines on the outside of the legs, the arc describing the calf on the inside of the legs, the knees and elbows, the lines on arms, and the long mouths. But dating is less certain. The drawing is careful and appears at first sight to be rather late. The large strong figures and the feeling for space, the folds of Dionysos' chiton compared with the lack of chiton folds on a neck amphora in London and on one of similar period in Munich, and the elaboration of Herakles' foldless chiton compared with that on the Villa Giulia, Northwick Park, and Naples neck-amphorae, all suggest a late date. But there is no trace of double curve on terminal fold or knee, nor of wavy lines on drapery, as on the late neck-amphora in London.
1 I am grateful to Sir John Beazley for attributions to: the Antimenes Painter, the Red-Line Painter, the Berlin Painter and the Painter of London D12. I am indebted to Professor T. B. L. Webster for reading and criticising the MS., and to Mrs. Lenette Bromley-Davenport for permission to publish the collection.
2 ABV p. 266 f.
3 Beazley, , JHS xlvii (1927), p. 65.Google Scholar
4 ibid., p. 82.
5 B267. ABV 85; JHS, p. 71, fig. 7, p. 73, fig. 8.
6 1514. ABV 90; JHS, p. 75, fig. 11.
7 ABV 63; JHS, p. 69, fig. 5.
8 ABV 111; JHS, p. 77, figs. 14, 15.
9 ABV 68; JHS, p. 71, fig. 6.
10 B232. ABV 57; JHS, p. 81, fig. 19 and cf pp. 80, 81.
11 ABV 90; JHS, p. 75, fig. 11.
12 ABV 81; JHS, p. 76, figs. 12, 13.
13 ABV 85; JHS, p. 71, fig. 7, p. 73, fig. 8.
14 JHS, p. 82.
15 1890. ABV 34; JHS, pl. 14.
16 ABV 1; JHS, pl. 11.
17 ABV 74; JHS, p. 78 and p. 79, figs. 16, 17.
18 ABV 96; JHS, p. 73, fig. 9.
19 JHS, pp. 72–4.
20 1694. ABV 5; JHS, p. 68, fig. 3 and p. 70.
21 See Luce, , AJA xx, p. 440 f.Google Scholar
22 ABV 34 and 23. I have not had access to all the published photographs of the Antimenes Painter's work.
23 ABV, p. 365.64.
24 ABV, p. 355.
25 B327. ABV, p. 363.38; Dev., pl. 39, 1–2.
26 London B323. ABV 33.
27 ABV, p. 382.
28 ABV, p. 375.212; ‘Near the Acheloos Ptr’. 34 JHS xxvii., pl. 1.
29 ABV, p. 384.20; Acheloos Ptr. ABS, pl. 15.
30 ABV, p. 383.4; Acheloos Ptr. Dev., pl. 42.
31 ABV, p. 383.10; Acheloos Ptr. Dev., pl. 43.1.
32 ABV, p. 385, 32; Acheloos Ptr. Haspels, , ABL, pl. 15.3.Google Scholar
33 ABV, p. 379.270; ‘recalls the Acheloos Ptr.’ Haspels, , ABL, pl. 15.1.Google Scholar
34 ABV, p. 354 and 600 f.
35 858 and 859, ABV, p. 601, 12 and 13.
36 ABV, p. 672.
37 v. V.Pol., p. 8; Haspels, , ABL, p. 66.Google Scholar
38 ARV, p. 556 f.
39 ARV, p. 559.67.
40 ARV, p. 559.68.
41 ARV, p. 559.69.
42 ARV, p. 559.58.
43 ARV, p. 557, nos. 24 and 25.
44 ARV, p. 628 f.
45 ARV, p. 582. 1, p. 583, 4 and 5.
