TONES. — CHARACTERISTICS OF BKTGOS. 97 
ment done in the style which we recognize as that of Brygos. The fragment is noi 
in Ashby Castle, England. It is cited in the Arch. Zcii. 1846, p. 342, and the inscrij 
tion, which is incomplete, reads oSa>/>os eypa^o-cf. Klein describes the fragment in his 
Meistersignaturen, pp. 218 and 219, where he gives the signature as shown in our Fig. 
32, and suggests the restoration of the name as Theodoros. I'urtwanirler, in discuss- 
ing it in the Arch. Zeit. 1881, pp. 302 and 303, 
. . ■ 82. • •• AOPO* EAPAWEN' 
asserts that the style of the drawing is most closely 
allied to that of Brygos. His reading is given in 83. Y)D>OPO* ^APAGXf N 
34. nilinOJ KAWWTO 
Fig. 33. Were it not that the style of Apollodoros 
differs from that which we know as the style of 
Brygos, there would be a temptation to restore 86. fl 1 1 ^ KAICM 
the name as Apollodoros, the vase painter of the 
severe red-figured style. 1 
80. AEMOMXOJ 
Attempts have been made to arrange the signed 87. APlfTOK P AT£ f 
works of Brygos chronologically. Klein {op. cit. pp. ^ N||<orm £ k ALE 
175-184) places the Wurzburg kylix 2 (given in the 
Werner Vorlcgehl VIII, 5) as the earliest of his 39. &| fl ItO 4 K M O 
vases, and the London kylix 3 (Mon. d. Inst. VIII, ^ ... vMOf 
pi. XLVI) as the latest. In the former, says Klein, 
the wavy outline of the hair goes back to the wavy, 
incised outline of the black-figured style. Such a ^ feARAKXOS 
means for distinguishing the earlier from the later 
works will not do, for on other vases signed by 43. o H I n E 
41. 
Brygos the later method of outlining the hair by ^ a V M A X f 
dots occurs on the same vase with the wavy outline. 
The use of the four-barred sigma would tend, as <* &AvROM A + E 
Klein well says, to put the vase late in the list of f, gi -res 32-:>;». — Insckipti.-xs ( 
ks of Brygos. The great freedom in the 
Vases 
of gold would seem to point toward the height of his mastercraftmanship. The employ- 
ment of gold is less conspicuous on the Iliupersis kylix, 4 and the fewer number of 
four-barred sigmas coupled with this fact, while placing the vase toward the end of 
his career, would date it somewhat before the London kylix. The four-barred sigma 
1 
Meisterschalen, pi. LXIX, assembles this fragment with others that he assigns to Apollodo 
the style is different. If they are works of the same artis 
2 Our list No. 5 (signed). 
* Our list No. 8 (signed). 
4 No. 4 of the signed vases. 7 
tes 
