141. 01.8022 CUP from Orvieto PLATE LXXVIII, 6 and PLATE LXXIXDiameter 0.332, height 0.126. From the Bourguignon collection, Naples. Hartwig pp. 279-80, whence Jacobsthal Gött V. p. 19; the shape, Hambidge Diagonal p. 121 fig. 10 and Caskey G. p. 191 no. 145. I, symposion (a man reclining, and a woman). A, man, youths, and women; B, men and women, youth and woman. About 490-480 B.C., by Makron (Hartwig pp. 279-80; VA. p. 105 no. 70; Att. V. p. 217 no. 96; ARV.1 p. 308 no. 105; ARV.2 p. 469 no. 149). The cup is of type B. The potter-work is by Hieron: characteristic of him, the nearness of the jog to the edge of the foot-plate. The black band underneath the foot is quite narrow, as in all cups fashioned by Hieron and decorated by Makron. Inside. The maeander is of the form used by Makron in nearly all his cups. A man, wreathed, in a himation, reclines on a couch, his left leg drawn up and the thigh seen frontal, with a doubled cushion under his left elbow, and a small table beside him. He holds a cup in his left hand, and thrusts out his right arm as if in protest: for a woman has stepped suddenly up to him and caught him by the beard. She wears a chiton, with flounce and kolpos, and ear-rings. For the little bunch at the nape, here and in the women on the exterior, see above, iii p. 32 (Boston 13.67). The flying ends of the girdle are seen below the kolpos. There is movement, too, in the scarf that binds the head. The hair may have been dressed in a krobylos, as elsewhere when the scarf is worn, for instance in Peitho on one side of skyphos no. 140 and in Kriseis on the other: but in our cup this part is cut off by the border. The woman's feet rest on a small exergue. Relief-contours, both inside the cup and outside. Inside, the eyes are dot-and-circle, outside not. The front hair, here and in some at least of the figures outside, is edged with relief-lines against the face. Red for the girdle, the man's wreath, the wreaths of vineleaves that hang, as often, from the table. A repainted fracture runs through the corners of the woman's mouth and nostril, another through the man's left knee. Outside, on A, two groups, a four and a pair; on B, three pairs. The chief person, the principal lady, is the seated woman on A, who has two admirers, a man and a youth. She wears a chiton, a himation let down to her waist, ear-rings, and the same head-dress as Aphrodite on one side of the skyphos no. 140 and Helen on the other: — a veil so bound as to form a kind of 'saccos'. She holds out a flower and a mirror. Her seat is a simple stool with a cushion on it. The forehead-hair is fair, and is edged with four relief-lines against the face. The man and the youth both wear himatia, and so do the other youths and men in the picture. Each holds a flower in one hand, and a stick, by the top, with the other. The fourth figure in this group is a woman in chiton and himation, who moves up eagerly, with a fragrant sprig in her left hand and the right arm extended. In the minor group on this half, a woman steps quickly up to a youth, puts one foot between his feet, takes him by the arm with one hand, and stretches out the other towards his face. She wears chiton and himation, and the ends of her hair are tied in a small bun. The youth leans on his stick, holding a flower, in the same attitude as the man in the major group. On B, in the middle, a woman with outstretched arms approaches a man. Her attitude is much the same as in the group just described, but the man is distinctly less interested than his companions and the woman is a shade less confident. The man has no flower. The ends of his hair are twisted up into a small bun behind. The woman's hair is in rolls behind the ear. She wears chiton, himation, ear-rings, and her chiton has the flounce, serving as 'false sleeves', which we have seen already inside the cup. (The other four women have the more usual kind of false sleeves.) The man's left elbow is repainted and there is a little retouching in the part of himation to right of it. In the group of woman and youth on the right of this, the attitude of the woman is much the same as in the last two groups, and with full confidence she advances to embrace the youth, who holds out a flower towards her. She wears chiton, himation, ear-rings, and her hair in a saccos of the same type as Aphrodite's in the Menelaos scene on the signed skyphos no. 140. In the left-hand group on this half, a man — of a different disposition from the other — sits on a cushioned folding-stool, holding a flower, and is approached by a girl who bends her head and extends her arms as if ready to climb on to his lap: if so, the next movement would be shown on a cup by Makron in New York.1 The girl has taken off her himation, for freer play, and wears only a chiton, with two kolpoi, ear-rings, and a saccos of the same form as the woman in the group just described. A troublesome restoration has taken the place of the missing right hand and forearm; small parts of the man's thighs are also restored. A large flute-case, with the mouthpiece-box, is suspended in the field to right of the first man, and at the right corner of the picture a net-bag containing apples or other round things. Under each handle, as often in Makron, a seat with a cushion on it. Part of one seat is missing. The brown inner markings on the men's bodies are lost in the photograph. Red for flowers, wreaths, head-fillets, and the tags at the ends of the carrying-loop of the flute-case. This is an ordinary specimen of Makron's style in its fully developed phase, an ample and handsome style.
G. M. A. Richter, AJA 21 (1917), p. 4; MIT 1950, p. 80, fig. 23; Marcadé 1962, p. 74, illus.; C. H. Whitman, 1964, Aristophanes and the Comic Hero, Cambridge, Mass., Published for Oberlin College by Harvard University Press, cover; A. H. Ashmead and K. M. Phillips, Jr., AJA 70 (1966), p. 368; Para., p. 378, no. 149; E. R. Knauer, 1973, 125 BWPr, p. 25, note 73; M. Stadler, Hefte des archäologischen Seminars der Universität Bern 7 (1981), pp. 34-35; Kurtz & Sparkes 1982, pp. 29, 32, 43-45, 50 (D. von Bothmer); C. Isler-Kerényi, AntK 27 (1984), p. 158, note 46; Parthenon-Kongress, p. 78 (T. Seki); I. Peschel, 1987, Die Hetäre bei Symposion und Komos in der attisch-rotfigurigen Vasenmalerei des 6.-4. Jahrh. v. Chr., Frankfurt am Main; New York: P. Lang, pp. 108-109, 187, 206, 445, no. 69, pl. 69; Beazley Addenda 2, p. 245.