Image access restricted
Satyr riding wineskin

Image access restricted
Satyr riding wineskin, head

Image access restricted
Satyr riding wineskin, wineskin

Image access restricted
Satyr riding wineskin, from the waist up

Collection: Johns Hopkins University Museum, Baltimore
Summary: Tondo: satyr riding a wineskin
Ware: Attic Red Figure
Painter: Attributed to the Proto-Panaetian Group
Context: From Chiusi
Date: ca. 490 BC

H. 0.08 m., W. with handles 0.266 m., D. rim 0.20 m., D. foot 0.078 m.

Primary Citation: ARV2, 316, no. 7
Shape: Kylix
Region: Etruria
Period: Late Archaic

Decoration Description:

The tondo is bordered by a narrow reserved band. A satyr is seated to his left on a wineskin, his torso three-quarters frontal. His left knee is raised, with the lower leg extended; his right knee is bent, with the lower leg drawn back. His elbow is bent with the left hand uplifted over his head. His right hand is in front of his chest; the fingers of both hands are outstretched. His head is turned back in left profile and he wears a fillet with long ends hanging down over his torso.

Relief contour is used throughout, except for the reserved outline of the beard and the incised contour of the back of the head. Dilute glaze is used for interior markings. Added red is used for the fillet and lettering.

It was Furtwängler who first suggested that the Panaitios Painter was really the youthful Onesimos. This identification was endorsed by Beazley in his revised edition of ARV2, where the vases previously assigned to the two artists were grouped as the work of the single painter Onesimos. Beazley listed this vase as one of nine cups that he believed were ``specially akin" to the early work of Onesimos and perhaps from his own hand. Hence Beazley termed this group ``Proto-Panaetian."

Onesimos was a prolific and skilled painter who specialized in cups, which were often supplied to him by the renowned potter and painter Euphronios. Onesimos's style is distinguished by the overall mastery of draftsmanship, and particularly by his elegant patterns of elongated fingers and tails.

The motif of the satyr astride a wineskin appears frequently in Attic vase painting, as does the similar image of a satyr riding a dolphin. Davies reminds us of the traditional association of wine and the sea, and certainly this animated figure would have bobbed in a lively manner once this cup was filled with wine and jostled by an eager symposiast.


Tondo: inscribed in field: *P*A*N*A*I*T*I*O*S *K*A[*L]*O*S; inscribed on wineskin: *K*A[*L]*O*S.


RW No. 110

Collection History:

Formerly Hartwig collection

Sources Used:

Williams 1984, 163-4, no. 110

Other Bibliography:

CVA, Robinson 2 (USA 6) 14, pl. VII