The potter sometimes added the name of his father, either as being that of a well-known man, or to distinguish himself from others of the same name. Thus Timonidas of Corinth signs [ΤΙΜΟΝΙΔΑΣ ΕΓΡΑΨΙΑ] Τιμωνίδας ἔγραψε Βία (_sc._ son of Bias); Tleson, Τλήσων ὁ Νεάρχου; Eucheiros, Ὁργοτίμου υίυς (the son of Ergotimos); Euthymides, [ὉΠΟΛΙΟΥ], ὁ Πολίου. The latter in one instance not only gives his patronymic, but challenges comparison with his great rival Euphronios, in the following terms: [ὉΣ ΟΥΔΕ ΠΟΤ ΕΥΦΡΟΝΙΟΣ], ὁς οὐδέποτ(ε) Εὐφρόνιος, _i.e._, “Euphronios never made anything like this.”[2151] Other peculiarities are: the omission of the verb, as was sometimes done by R.F. artists (_e.g._ Psiax); or, on the contrary, the simple ἐποίησεν, without a name, sometimes found on R.F. kylikes of the Epictetan school[2152]; or the addition by the artist of his tribe or nationality. Among the latter we have Kleomenes, Teisias, and Xenophantos, who style themselves Ἀθηναῖος, and Nikias, who not only gives his father’s name, but also his deme in Attica: [Illustration: FIG. 176.] Νικίας Ἑ[ρ]μοκλέους Ἀναφλύστιος ἐποίησεν. Two other artists call themselves ὁ Λυδός (the Lydian) and ὁ Σκύθης (the Scythian). Smikros signs one of his vases in the Louvre[2153] ΔΟΚΕΙΣΜΙΚΡΩΕΙΝΑΙ, “It seems to be Smikros’ work.” There are also frequent vagaries of spelling, as in Φιτίας for Φιντίας, Πάνφαιος or Πάνθαιος for Πάμφαιος, and Ἱέπων for Ἱέρων. Sakonides once spells his name Ζακωνίδης, and Nikosthenes once uses the koppa Ϙ for Κ. Fuller information in regard to this subject may be found in Klein’s admirable work; there is also much of interest relating to the R.F. cup-painters in Hartwig’s exhaustive treatise. A complete list of all known artists’ names is given at the end of this chapter. * * * * *