66 TONES. — CHARACTERISTICS OF BRTGOS. 
associated with him. Inasmuch as Hartwig is in most cases correct in his assignment 
of vases (I have found instances, I think, where he is wrong), I have been led 
believe that it is rather his wide experience and intimate knowledge of ceramics that 
■ 
has enabled him to collect the works of Brygos, than the characteristics that he has 
enumerated in his treatment of the works of that artist. 
It will, then, be my purpose to endeavor to discover, first, the characteristics that 
are peculiar to Brygos alone. The identification of these will be by a process of elimi- 
nation. For it is evident that any trait occurring as well in the works of other artists 
as in those of Brygos cannot be used as a sure means of identification, and for that 
reason must be discarded from our list of personal peculiarities. My treatment of 
these peculiarities, furthermore 
tself at first only with the vases signed 
by Brygos, because manifestly only the characteristics that are found on these can be 
vouched for as belonging to Brygos ; and it is only by the recognition of these charac- 
teristics on unsigned vases that we are able with certainty to assemble such vases as 
products of our artist. 2 These individual peculiarities of style established, I next 
propose to determine groups of characteristics which, while they may, or may not, be 
individually peculiar to Brygos, yet may be considered, when found together on a vase, 
as an index that the vase possessing them should find a place in our category. I 
wish, then, to consider the relation of Brygos to other contemporary artists ; to discuss 
his possible copartnership with any other artist; to consider the probable chrono- 
logical sequence of his works ; and, finally, to discover, if possible, his native country. 
Let us begin by looking for characteristics which occur on vases signed by Brygos, 
no other artist. By using these characteristics we shall be able 
to move with safety from the signed to the unsigned vases 3 of our artist, and, by 
enlarging the circle, to construct groups of characteristics which, while they are not 
infallible, are fairly safe means of identification. In the chapter of his Meisterschalen 
that is devoted to Brygos, Hartwig gives thirty-eight characteristics by which he 
maintains it is possible to recognize the style of our artist. Some of these, as will 
be seen later he admits are present on the vases of other artists ; but others, if we 
are to judge from the omission of parallel instances, he gives as belonging to Brygos 
but on the works of 
2 It'if u^ers 2 ! ] Tcofrse ' IP " aSSig ° ed ^ ***** t0 A P oIlodo ™- 
teristics, has been identifie'dTa wol'bv Rrvlt^f T^ ^^ ° n an UDSigned Vase that ' b ? these old charaC " 
« On p. 364 of his Meistemhalen Hart ' 1 aCCepted as a new characteristic belonging to Brygos. 
to Brygos; and Robert (P au ]y Wissowa Pi T** v ^ "^ than f ° rty Vas6S that haVe bee " assi S ned 
or less certainty, have been attributed to him r" « P * 923) ^ **"* there are fift y vases that ' with m ° r6 
sidered as one), and not counting five donhTf, i .f Vases and f ™gments as well (related fragments con- 
this monograph. 8 ooubttul cases, I have collected seventy-six vases in the list appended to 
