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South Italian Figured Pottery

The Classical Review vol. 62 no. 2 © The Classical Association 2012; all rights reserved strand of Dionysiac activity too. The rather more generic scenes focus on departures and athletics. Discussions of the major pieces in A.’s catalogue are grouped around these headings. Chapter 12 builds on the observation that a substantial proportion of the Codrus Painter’s surviving work was found in Etruria; most of it has fi ndspots outside Greece, which argues for a demand which was not in Athens in the late fi fth century B.C. A. follows earlier work in arguing for Etruscan reception of the cups in the context of the formal banquet, including, but not exclusively, funerary occasions. She then develops an argument for a multivalent image-bank, whose subjects might be meaningful to the Etruscan user; the specifi cally Athenian references might act as a trademark for the city, and perhaps one of several indicators of status for the eventual owner. On the back of this, A. is able to construct a chapter on a close set of relationships between subjects and individual fi gures and groups on the vases and those of contemporary sculptural assemblages, including those of the Parthenon and the Hephaisteion. The sack of Troy is one obvious example; the probable presence of parts of the Erechtheus cycle points to an interest in local myth which is shared by the painter. Monster-and-hero encounters, tribal heroes, riders and female fi gure-types can all be found to cross-refer between media. A. argues for an intentional derivation in the work of the Codrus Painter and his Circle of subjects and fi gure-types from contemporary sculpture, both from state-sponsored works such as temple sculpture, and from private votives and funerary reliefs. A relationship with the products of the Phidian workshop is, she suggests, a particularly visible characteristic. The conclusion argues for the work of the Codrus Painter as a close refl ection of the social and political realities of the Athenian society of his working lifetime. The interest in athletic priorities, military departure scenes and Athenian legend refl ects a competitive city deeply engaged in a major confl ict; even though his cups are in no sense public art, they may be read as spreading a specifi cally Athenian ethos among their recipients.