138. 01.8072 CUP PLATE LXXVIII, 1-3Diameter 0.217. Doubtful if the foot belongs. Formerly in the Ancona collection, Milan. A-B, Vorberg Gloss. erot. pp. 47-48. I, komast. A, satyrs assaulting a sleeping nymph; B, similar. About 490 B.C., by Makron, early (VA. p. 102; ARV.1 p. 303 no. 26; ARV.2 p. 461 no. 36). Inside. A man, who wears shoes, and a cloak over both arms, walks with a large cup in his right hand, a stick in his left, and a basket at his left shoulder. Besides the damage visible in the photograph, the right hand has suffered; a thin line slanting from the stick towards the hip is not original, nor is a line that might seem to represent the mouth. Relief-contours. Brown for the minor details, not seen in the reproduction, of the body. Red for the wreath, for the tags hanging from the feet of the basket and from the upper corner of it, and for the inscription ΚΑ[ΛΟ]Σ. Outside. On A the nymph is asleep on a rock under a tree, with her right hand behind her head in the attitude of many sleepers on vases, her left hand still grasping her thyrsus, and her mouth open. She wears a chiton, with kolpos, and a necklace. Missing, the upper part of the right-hand satyr's head and the tip of his tail. On B, the situation is similar but the nymph has woken up and looks round. She wears ear-rings as well as a necklace. Missing, the back of the left-hand satyr, the end of the nymph's thyrsus and the crown of her head. Relief-contours. Brown for the minor details of the satyr's body, which do not appear in the photographs, also for the crinkle of the kolpoi. Red for the wreaths of the satyrs, the hair-cords of the nymphs, the girdle on B, the leaves of the tree. The subjects outside are the same as on the much later oinochoe published on Plate LXIV above. A list of the many vases with satyrs attacking sleeping nymphs is given in the commentary on the oinochoe.1 This is another example of the 'bare' decoration described above (iii p. 18; Boston 00.338): no floral or other motive at the handles, and the borders a simple reserved line. Here a single figure inside, and, outside, three large figures on each half. To speak very broadly, the drawing has the same general character as in such early Panaetian cups as are reproduced in Plate XXXIX, and the pictures outside may be compared with the grander versions of the same subject by the Panaitios Painter in Baltimore, Florence, and the Louvre.2 Our cup is good too. It goes with some others which I take to be early work of Makron, Munich 2617, Palermo V 659, Tarquinia 689.3 Two of these cups have 'bare' decoration; the Tarquinia cup is also bare, but has a Makronian maeander inside, where the others have a line only. The potter-work of Munich 2617, according to Bloesch, is by Makron's colleague, Hieron.4 The foot of the Palermo cup seemed to me alien. The cup was broken and riveted in antiquity.
Caskey & Beazley, II, p. 96, no. 10; Sedlmayr & Messerer 1967, p. 41 (W. Züchner); Para., p. 377, no. 36; Houser 1979, p. 102, MFA 7, illus. (M. Anderson); Vermeule 1979, pp. 153-154, fig. 7; Kurtz & Sparkes 1982, pp. 29, 32, 44, 50 (D. von Bothmer); Beazley Addenda 1, p. 120; A. Lezzi-Hafter, 1983, in Greek Vases in the J. Paul Getty Museum, 1, p. 102, note 7; Keuls 1985, pp. 366, 368, fig. 307; S. McNally, ClAnt 4 (1985), p. 157, pl. 2, fig. 2; Schöne 1987, pp. 139, 298, no. 468, pl. 25; Beazley Addenda 2, p. 244.