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124. 98.882 AMPHORA from S. Maria di Capua PLATE LXXXII, 1-2

Height 0.4085, diameter 0.2604. VA. p. 58; A, Richter and Milne fig. 10; A, Enciclopedia dell' arte antica, p. 292 fig. 536; the shape, Caskey G. p. 80. A, satyr with his son; B, satyr. About 480 B.C., by the Flying-angel Painter, so called after this vase (VA. p. 59 no. 4; Att. V. p. 107 no. 6; ARV.1 p. 183 no. 5; ARV.2 p. 279 no. 7).

The amphora is of Type C, a not very common variety of Type B, from which it is distinguished by the rolled torus mouth and the small size. The earliest amphorae of Type C are black-figured horsehead-amphorae, in Florence and the Louvre,1 from the middle of the sixth century; the Affecter has several;2 in red-figure, Euxitheos fashioned one which was decorated by Oltos, London E 258;3 the shape had a certain vogue in late archaic red-figure, but petered out in the middle of the fifth century. Of the twenty-six red-figured specimens, eleven are by the Flying-angel Painter: a list of these is given in ARV.1 pp. 182-3 nos. 1-8; to which three are added in ARV.2 pp. 279-80:

  • 1. Villa Giulia, from Cervetri. A, a youth throwing a stone at a hawk; B, a youth.
  • 2. Villa Giulia, from Cervetri. A, a man attacking with a sword; B, a satyr attacking with a fir-branch.
  • 3. Munich 8726. CV. pl. 189, pl. 190, 2-3, and p. 22. A, a warrior holding a garment; B, a warrior adjusting his greave.
In the black-figured amphorae of Type C the foot is echinus-shaped as in Type B, and many of the red-figured examples retain this foot, while others substitute the foot of the neck-amphora — a stout torus, with base-fillet. Our vase has the echinus foot, and so have Vienna 3724, and Louvre G 220; the other Type-C's by our painter have the torus foot, with base-fillet.

Most red-figured amphorae of this type are decorated in 'Nolan' fashion, with a single figure on each side, unframed. All those by the Flying-angel Painter have this kind of decoration. There is usually a reserved line for the figures to stand on; and the Boston vase has base-rays, with a red line above them, also a pair of red lines running round the vase below the ground-lines. The handles are stout, round, and black, as in Type B. In our vase there is a thin reserved band at the lower edge of the mouth, and a thicker one inside at the top of the mouth.

Our vase has a special graffito (see below). As many as seven out of nine Type-C's by the Flying-angel Painter (in two of the eleven the foot is missing) have the graffito ΠΑ; another vase of the same shape, by a different painter, has the same, Milan, Scala 416, by the Tyszkiewicz Painter.4

The subject of the Boston vase was probably suggested to the painter by the festival of Dionysos, and in particular by the procession at the Rural Dionysia of which Aristophanes gives a glimpse in his Acharnians: here, however, the celebrants are not ordinary Athenians, but satyrs. On one side of the vase a satyr elevates the phallus which formed the core of the procession, and wags it with a grin. On the other side a satyr has lifted his little son on to his shoulders, 'flying-angel', so as to give him a good view. This is one of our earliest representations of a satyr child, and perhaps the earliest of all.5

Relief-contour. Brown for the minor details of the bodies. Red for the wreath of the satyr on A, the head-fillets of the child and of the satyr on B, and the inscription on A, ICΑΛΟΣ (ΚΑΛΟΣ) written downwards. Restored, the child's chin, part of his chest and arms, his father's right knee and left heel. The surface is damaged in places, and some of the relief-lines have lost their black and are distinguishable as furrows only.

I never noted the graffito on the bottom of the vase, but know it from Miss Chapman's drawing. One sees what may be a monogram of lambda and upsilon, followed by the letters γλυχν. λυχν may be for λύχνοι or λύχνος; γ might be the numeral three. The monogram recurs on a neck-amphora, later than our vase, by the Alkimachos Painter, in Munich (Munich 2343: CV. pl. 209, 1-2, pl. 211, 1-3, pl. 216, 5; and the graffiti, p. 7: ARV.1 p. 356 no. 15; ARV.2 p. 531 no. 27); and on a small pelike, still later, about 440 B.C., in my possession, where it is accompanied by an iota or vertical stroke.

C. H. E. Haspels, BABesch 11, no. 1 (1936), p. 22; EAA, I, p. 393, fig. 536 (E. Paribeni); J. Servais, BCH 85 (1961), p. 143, note 1; A. Greifenhagen, 1963, 118 BWPr, p. 20; Para., p. 354, no. 7; Boardman 1975, pp. 112, 120 (fig. 177), 234, 245; A. Johnston, BSA 70 (1975), p. 152, note 16; J. Boardman, 1975, Intaglios and Rings, Greek, Etruscan and Eastern from a Private Collection, London, Thames and Hudson, p. 92, under no. 54; A. Johnston, BICS 25 (1978), p. 84, note 20; Simon 1978, p. 245, illus.; A. W. Johnston, AJA 82 (1978), p. 225, note 26; Kraiker 1978, p. 35, under no. 120; Loeb 1979, p. 246, note 378; Johnston 1979, pp. 103-104 (Type 19B, no. 5), 198; Beazley Addenda 1, p. 103; M. Padgett, AJA 88 (1984), p. 255; M. D. Stansbury-O'Donnell, AJA 93 (1989), p. 215; Padgett 1989, pp. 212, 215-216, 220-221, 225-226, no. FA.7, fig. 124; Beazley Addenda 2, p. 208.

1 Louvre E 820: CV. III He pl. 9, 7 and 10. ABV. p. 17 nos. 44-45 and p. 679.

2 ABV. pp. 246-7.

3 VA. p. 9; CV. pl. 5, 1: ARV.1 p. 34 no. 2; ARV.2 p. 54 no. 4.

4 ARV.1 p. 187 no. 27; ARV.2 p. 292 no. 33.

5 For other early ones see Brommer Satyroi p. 56 and Satyrspiele pp. 35-38 and 46.

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