Side B: woman at right.

Side A: hoplite, detail of head and torso. Inscriptions:

Side B: man at left.

Handle, side A at left. Palmette under the handle.

Side B: skyphos.

Side A: Scythian, detail of head and body.

Collection: Martin von Wagner Museum, University of Würzburg
Summary: Side A: warrior leaving home (extispicy)Side B: Komos: two men and a woman in a processionLid: chariot race
Ware: Attic Red Figure
Painter: Attributed to the Kleophrades Painter
Context: From Vulci
Date: ca. 500 BC
Dimensions:

H. 0.633 m.

Primary Citation: ARV2, 181.1; Para, 340; Beazley Addenda 2, 186.
Shape: Amphora
Beazley Number: 201654
Region: Etruria
Period: Late Archaic


Decoration Description:

Side A: A scene of departure of an hoplite with extispicy (omen-taking by examining the entrails of animals). The hoplite is standing towards the left, taking the omen; in front of him is a nude boy who presents the entrails. This group is framed by secondary figures: a Scythian and a woman (the hoplite's wife?). The hoplite in the center of the picture has just taken with his right hand part of the entrails which the boy is holding. On either side the Scythian and the woman raise a hand in astonishment. The hoplite is the tallest figure. His helmet breaks the frame above, a palmette frieze. He is completely armed and carries a long spear. The boy standing before him at left wears a red wreath on his hair. Behind the boy stands the Scythian warrior. The Scythian wears a tricot with a large circular neck-opening and decorated with horizontal stripes. He has a high-crowned cap with neck flap and two cheek-flaps on one side and he wears shoes. A gorytos (a combination of quiver and a bow-case) is hanging from his belt and a battle axe is in his right hand. He has a pointed beard, which is both short and thin (this "van Dyke" beard is distinctly different from the full beards of the Greek on side B).

Between the hoplite and the woman at right is a dog looking upwards at the woman. The dog is seen from the back, a very unusual depiction for the time. The woman, in chiton and himation, has her hair gathered up and wears a diadem on her head. She is carrying a cup (phiale) in her left hand.

The picture is framed by palmette friezes.

Side B: Two men and a woman to the right in an scene of komos. Two men and a woman, all nude and carrying drinking vases and musical instruments, seem to come from a drinking party or symposium. The woman at right is leading the procession. She advances to the right; her body is drawn in a frontal position, and she is turns her head back to the left to face the men. She is dark-haired and wears a red ivy wreath and a collar around her neck. She is carrying a flute on either hand and is using one of them to ward off the man behind her, in a suggestive fashion. This man in the middle carries a lyre in his left hand and a large skyphos in his right. He is also dark-haired and bearded and wears a taenia (a red fillet) on his head. The leftmost man seems to move to the left, but he is turning the whole body to the right, coming behind the other man. He has black hair, but a blond beard and wears a fillet on his head. He is carrying a large pointed amphora in his left hand; in his right hand he holds a kylix by the handle, as if to throw the contents in a game of kottabos. The men look drunk in their gestures. The anatomy of the woman is not realistic; the lines over the pubis are masculine and the disposition of her breasts is impossible.

Lid: Chariot race. Three chariots are running on a track represented by winning-post decorated with bands. The feeling of speed is extraordinary. One of the horses has broken out from one of the chariots and is galloping alone behind it with floating bridles.

Shape Description:

Belly amphora with lid

Inscriptions:

The inscriptions on both sides make no sense

Relief:

The lines inside the figures have relief

Collection History:

From the Feoli Collection

Sources Used:

Vos 1963, 118, n. 331; Simon 1975, 133; Boardman 1979, fig. 129.

Other Bibliography:

Beazley 1933b, 111f. 23 nr. 1