previous next


Greatest length, 0.098 m.; height, 0.038 m. Cut down to the size of the interior design, and part of that and of the foot missing. The low, thick stem has a moulding at the junction with the heavy foot. The moulding, the top of the foot, and its inner surface painted black. The exterior of the bowl (so far as preserved) and the rim of the foot left in the colour of the clay; the exterior shows traces of having been coated originally with bright red. Relief contours throughout, except for the lips of the horseman. No inner markings in brown. Red used for the reins and for the inscription.

Ann. Rep. 1903, p. 70, no. 52. Beazley, V.A., p. 14. Hoppin, ii, p. 15, no. 1. Beazley, Att. V., p. 48, no. 1.

A youth, in chiton, patterned chlamys, Thracian cap and boots, riding a horse to left. The left foreleg and the right hindleg of the horse rest on the ground, which is rendered by a reserved line. Details of the rider's knee and of the horse's body, mane and tail are drawn in relief lines. In the field the signature of the potter Hermaios, ΗΕ[Ρ]ΜΑ[ΙΟΣ ΕΠΟΙΕΣΕ]Ν.

This cup and the following one, no. 11 (Boston 95.33), belong to a series of eight early archaic red-figured cups brought together by Beazley, in Attische Vasenmaler, under the heading 'the Hermaios Group'. A ninth, fragmentary cup in Heidelberg, added by Kraiker, Arch. Anz. xxxviii-xxxix, 1923-4, p. 165, is accepted by Beazley, Corpus, Oxford, i, p. 2, no. 4. Four of these were painted for Hermaios, two for Chachrylion, one for Chelis. Those with the signature of Hermaios may confidently be assigned to one artist, the Hermaios painter. So Beazley, V.A., l.c., followed by Pfuhl, i, p. 429. By him also are the two unsigned cups in Oxford, Corpus, l.c., and in Heidelberg, as well as the maenad cup with the signature of Chachrylion, since, as Beazley remarks, it cannot be separated from the Dionysos cup in Petrograd. The large cup in Munich signed by Chelis (Munich 2589), with pictures outside as well as within, is regarded by Beazley, V.A., l.c., as 'closely akin and perhaps by the same hand'. There remains the cup in the Louvre painted for Chachrylion, Att. V., no. 6. Its authorship cannot readily be judged from the drawing reproduced by Hoppin, i, p. 169, no. 15.

Our cup recalls the other works of the painter in the rendering of the lips, the hands, the scalloped edges of the chiton, and especially in the quality of the very thin relief lines. The liberal use of these lines for inner markings is characteristic of him, and a very similar indication of the details of the knee occurs on nos. 5 and 7 in Beazley's list, as well as on the Heidelberg cup.

520-510 B.C.1

B. Schweitzer, JdI 54 (1939), p. 4, note 1; ARV, p. 77, no. 1; ARV2, pp. 109 (no. 1), 110 (no. 1); B. Cohen, Marsyas 15 (1970-1971) pp. 4, 7; Kurtz & Sparkes 1982, p. 45 (D. von Bothmer); Lissarrague 1990b, p. 303, no. C64.

1 (From Addenda to Part I) No. 10. ARV. p. 77, Hermaios Painter no. 1.

hide Display Preferences
Greek Display:
Arabic Display:
View by Default:
Browse Bar: