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Jb. 14 pl. 4 (Hartwig), whence Perrot 9 p. 338, Perrot 10, title-page, Pottier Douris p. 123, Richter Craft p. 72; Cloché Les Classes, les métiers, le trafic pl. 20; Technical Studies 10 p. 8 (G. L. Stout) and 1942 pp. 157 ff.; AJA 1960 pl. 85 fig. 3 (Noble); part, E.A.A. iii p. 138. I, vase-painter. About 480 B.C., in the manner of the Antiphon Painter (VA. p. 111; Att. V. p. 235 no. 70; ARV.1 p. 231 no. 21; ARV.2 p. 342 no. 19).

The cup is of Type B. The outside was plain. The inside has been studied, from the point of view of subject, by Hartwig in Jb. 14 pp. 155-8, by myself in Potter and Painter pp. 10-11, and by Noble in AJA. 1960 p. 314; see also Reichhold in FR. i p. 21, which I do not well understand. A youth sitting on a stool, with his himation let down to his waist, holds a cup by the foot, the bowl resting lightly on his thigh, and draws with a fine brush held in his right hand. The hair or hairs of the brush are rendered by a single curved relief-line, which does not show in the photograph but may be seen in the drawing published by Hartwig. The grip of the brush is that which is used in China and Japan and which according to G. L. Stout was widely used in the West before 1500.1 In his left hand our painter holds a small object, thin, pointed, and swelling towards the middle, which has received several explanations, none of them perfectly convincing.2 Another puzzle is the two sets of three dots on the cup held by the painter, in the middle of each half. The black line on the cup must be the handle; the upper edge of it has disappeared in a fracture. An aryballos and a strigil hang on the wall, and a walking-stick leans against it. The mouth of the aryballos is missing, but one sees the lower ends of leather stripes attached to the carrying-band: Miss Haspels has explained the system.3 Stick, strigil, and aryballos are not vocational, but point forward to sunset, when the youth will be free to wash, dress, and walk home.

Relief-contours. Brown lines for the sternomastoid, and the binding of the seat. Red for the inscription Η[ΟΠΑΙΣΚΑΛΟΣ].

The 'billet-spaces' of the maeander border are rare in vase-painting outside the cups of the Antiphon Painter, his associates and followers, and his older colleague the Colmar Painter.

In ARV. I attributed the cup to the Antiphon Painter himself: safer, I now think, to place it among the works in his manner: it is close to him and may be his own, but it has an unusual lightness of touch.

F. Baumgarten, F. Poland, R. Wagner, 1908, Die Hellenische Kultur, 2nd edition, Leipzig, B. G. Teubner, p. 257, fig. 221; C. Boulter, AJA 51 (1947), p. 332; Chase 1950, pp. 60-61, fig. 67; H. Marwitz, ÖJh 45 (1960) (Beiblatt), cols. 225-226, fig. 93; Chase & Vermeule 1963, pp. 88-89, 95, 100, fig. 80; Noble 1965, pp. 56, 58, fig. 208; K. Peters, AA 1967, p. 173, note 10; Philipp 1968, pp. 97, 110 (no. 14), 151 (note 403); Roebuck 1969, pp. 139, 141, fig. 21 (J. V. Noble); Para., p. 362, no. 19; Ziomecki 1975, pp. 20-21, 23, 38 (fig. 10), 61, 70, 96, 150, no. 13; G. Seiterle, Antike Welt 7, 2 (1976), pp. 8-10, fig. 15 and cover; E. R. Knauer, GRBS 17 (1976), p. 211; A. Winter, 1978, Die Antike Glanztonkeramik (Keramikforschungen III), Mainz am Rhein, P. von Zabern, pp. 53-54 (as 01.8037), pl. 9, 1; R. Bianchi Bandinelli, 1980, La Pittura Antica, 1. ed., Roma: Riuniti, p. 209; Vermeule 1982, pp. 139-140, 224, 449, fig. 197; Beazley Addenda 1, p. 109; I. Scheibler, 1983, Griechische Töpferkunst: Herstellung, Handel und Gebrauch der antiken Tongefässe, München: C. H. Beck, pp. 84, 91-92 (fig. 82a-b), 130, 202, note 31; D. Aperghis, Archéologia, Nov. 1983, p. 61, illus.; Bayer 1983, p. 205, note 129; Brijder 1983, pp. 37 (note 172), 38; J. Frel, in A. Houghton, et al., eds., 1984, Festschrift für Leo Mildenberg, Wetteren, Belgium, Editions NR, p. 58; B. Fehr, 1984, Die Tyrannentöter, oder, Kann man der Demokratie ein Denkmal setzen? Frankfurt am Main: Fischer Taschenbuch, pp. 28 (fig. 15), 31-32, (fig. 15, detail); J. Boardman, 1988, The Cambridge Ancient History, Plates to Volume IV (New edition), Cambridge: Cambridge University Press, p. 138, pl. 171; Christiansen & Melander 1987, p. 313, note 16 (as 0.1.8073) (E. C. Keuls); Beazley 1989, p. 42; Beazley Addenda 2, p. 219; J. M. Hemelrijk, in T. Rasmussen and N. Spivey, eds., 1991, Looking at Greek Vases, Cambridge [England]; New York: Cambridge University Press, pp. 240-241, fig. 103.

1 In Technical Studies 10 p. 8 and 1942 pp. 157 ff.

2 See PP. pp. 10-11; and Noble in AJA. 1960 p. 314. What is odd, if it is so, is that the person should be shown holding in one hand the instrument of one process while with the other hand he uses the instrument of another process. This sometimes happens in life, but in representation one expects that one characteristic action should be concentrated upon, and not mixed up with another.

3 In BSA. 29 pp. 221-3.

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