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15. 95.42 LEKYTHOS Athletes and trainer FIGURES 10 and 11

Height, 0.202 m.; diameter, 0.086 m. Unbroken, but parts of the surface worn off. The mouth black within and without. The top of the mouth and the neck reserved. On the shoulder, below a tongue pattern, nine black-figured palmettes, pointing alternately up and down. A black stripe runs round the reserved edge of the foot. Relief contours throughout; the hair contours reserved. Red used for the fillet tied about the pillar, the wreath of the trainer, the letters in the field, a band below the reserved ground line of the picture. No inner markings in brown.

From Athens. Formerly in the van Branteghem collection. Ann. Rep. 1895, p. 21, no. 30. Collection van Branteghem, no. 27. Beazley, V.A., p. 26.

Four athletes practising events of the pentathlon under the direction of a trainer. At the left end of the picture a goal-post set on a plinth, with a red fillet tied about it. From this a youth advances to right, holding jumping-weights in his extended hands. Next, a youth running to left, about to throw a javelin which he holds in his raised left hand.1 Then a youth moving to right, holding a discus before him with both hands. Then a youth running to right with head turned back, three javelins in his right hand, his left arm raised. Facing him a bearded trainer, wreathed and wearing an himation decorated with dots in groups of three, holding out a long stick. Sprinkled over the field, meaningless letters, those under the javelin-thrower including an omega and a koppa.

520-510 B.C. On early red-figured lekythoi see above, under no. 14 (Boston 13.195). Beazley compares the 'raw, scratchy style' of this lekythos with the Kerberos cup in Altenburg (Jahrbuch, viii, 1893, p. 163) and a fragment of a volute krater in Syracuse (Syracuse 21960: the picture on the neck, youths with a chariot).2

Haspels 1936, I, p. 74; Caskey & Beazley, II, p. 100, no. 15; Kurtz 1975, p. 79.

1 The intention of the artist undoubtedly was, as Beazley remarks, to have the youth hold the javelin with his right hand; but, having drawn the left, i.e. the nearer, leg advanced, he became confused and filled in the breast as though it were a back. The action was meant to be like that of the javelin thrower on an amphora by the Eucharides painter in Brussels, F.R. iii, p. 268, fig. 126. That figure, however, advances the right, or farther leg.

2 (From Addenda to Part I) No. 15. On the shape see Haspels ABL. p. 74: she compares it with that of the arming lekythos in Agrigento, mentioned by Caskey on p. 11 and republished in ABL. (pl. 21, with pp. 70-4). As to drawing, the Boston lekythos may be counted as belonging to 'the wider circle of the Nikosthenes Painter' (ARV. pp. 104-6 and 951).

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