78 TONES. — CHARACTERISTICS OF BRYGOS. 
n 
6 (37). The hetairae are represented with short hair. 1 The flute-player on side A, and the 
on the interior of the vase illustrated in the Wiener Vorlegebl. VIII, 5, have the hair 
drawn in this way. This is not the invariable manner of drawing the hair of hetairae 
as is shown by the fact that Nikophile on the kylix rightly assigned by Hartwig to 
Brygos, and illustrated in the Meisierschalen, pi. XXIV, has long hair. No other 
artist makes use of short hair in representing the hetairae class. 
7 (38). By the use of dilute glaze Brygos loosened the hair of his figures more than did his 
contemporaries. This can hardly be of use in identifying the works of Brygos, inas- 
much as the same means is employed to a greater or a less extent by other artists. 
In the matter of identifying a new vase, or a fragment, it would do no good to know 
that diluted glaze was more freely employed by Brygos than by his brother artists. 
The fact that they used it at all would make it possible — other proof beino- absent 
to assign the newly found vase to another artist as well as to Brygos. The use of 
diluted glaze in the treatment of the hair is, as a matter of fact, found on a vase by 
Peithinos (Meisterschalen, pi. XXVII, interior), on a kylix by the "Master with the Twig" 
(id, LXXII), where all the ten heads seem to illustrate this practice, and, finally, on the 
Boston kylix by the same artist. Here the satyr in the centre of the interior picture 
and all the figures on side A, and figures 1, 3, 4, 5, and 6 on side B, have hair 
drawn with dilute glaze. 
These then are the thirty-eight characteristics associated by Hartwig, more or less 
closely, with Brygos. But in the study of a vase-painter his signed works alone can 
be wed as the starting-point for the determination of his style, and only the character- 
istics that appear on these vases, and on the works of no other artists, can strictly be 
called the characteristics of that artist. It is only by such features of style as are unique 
•"■ ■ that we can safely identify his works. Now, in assigning vases to Brygos, 
Har w,g and those who were before him, must have bad some infallible peculiarities 
of style that appear in the works of Brygos by which his unsigned vases „... _ 
from tune to time rightly or wrongly identified. Manifestly, the thirty-eight character- 
ises enumerated by Hartwig, and occurring to a greater or a less degree on the works 
of other contemporary artists, would not have yielded accurate results. If we are to 
ho d to the s.gned vases as the safest ground for ascertaining the peculiarities of Bry- 
- W * ",one TH ,iSt " T**' ^ * =*** - * "" t0 "^ 
tlst al0 »e- These are, first, the turned-up nose of the satyrs ( given under 
fl e : n /"rTn ^ deSCribed ^ Hartwi => ; SeCond ' the ""tense expression" 
( given under No. 10 ) ; third, the narrow eye of the boys and girls (only, however, 
1 See Fig. 17 (p. 75). 
with him 
have been 
that 
