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Diameter 0.213, height 0.104. Given by Mrs. Samuel D. Warren. I, satyr. A-B, women dressing. About 470-460 B.C., by the Boot Painter (VA. p. 111; Att. V. p. 269 no. 2; ARV.1 p. 549 no. 4; ARV.2 p. 821 no. 5).

The cup is of Type C. The foot is slightly lipped.

Inside, a satyr runs with a drinking-horn and a wineskin. Relief contours here and throughout. Brown for the minor lines of the trunk. The wineskin is scumbled with brown. Red for the head-fillet and the inscription ΚΑΛΟΣΠΧ retr. The border is a running maeander, broken by cross-squares. The 'odd man' is south-west.

Outside, on A, two women and a girl, naked. In the middle, under a tree, a woman, kneeling, holds out her hands to receive a chiton which another woman brings her. On the left a girl, with a pair of boots in one hand and a chiton in the other, walks away, looking back. She has long hair, a necklace, and ear-rings. The hair of the women is bobbed. Red for the head-fillets and the leaves of the tree.

On the other half, a building is denoted by a Doric column with base, abacus, and (entablature?). In front of it a naked woman, bending, receives a himation from a fully dressed companion; behind the column a naked woman draws on boots. Her hair is like that of the two women on the other half; the woman in the middle has hers done up in a ball behind. Both have head-fillets. The third woman wears chiton, himation, ear-rings. The saccos, and the rolled himation in her hand, have embattled borders. The lower edge of her chiton is washed with brown, and there is a brown stripe at the level of mid-shank. The minor lines of the chiton-sleeve are in brown. Red for the head-fillets and the inscriptions ΚΑΛΟΣ and, indistinct, ΥΟΥΣΥ.

A large ivy-leaf grows from the ground-line under each handle, and another springs from the upper border on each side of the handle.

This is one, and not the best, of several cups by the Boot Painter with the same theme, women, usually naked, washing or dressing, who often put boots on or hold them, whence the name. Such boots are often seen in pictures of women bathing.1 The bathing-place is in the open, and the way to the house may be wet, rough, or hot underfoot.

The Boot Painter continues, on a small scale, the style of the Kleophrades Painter. The forerunners of his naked women, as I noted before,2 are such Cleophradean figures as the Cassandra of the Vivenzio hydria and the bathers of the small hydria London E 201.

Para., p. 421, no. 5; Boardman 1975, pp. 196, 207 (fig. 382, 1-2), 217, 248; Beazley Addenda 1, p. 144; CVA, Tübingen, 5, p. 37, under no. S./719 (J. Burow); Beazley Addenda 2, p. 293.

Exhibited: Utah Museum of Fine Arts, 1988-1991 (Padgett 1988, pp. 32-33, no. 14, 2 illus.); Memphis Brooks Museum of Art, 1991-.

1 Examples. London E 201: JHS. 30 pl. 3; CV. pl. 88, 1: ARV.1 p. 126, Kleophrades Painter (late) no. 69; ARV.2 p. 189 no. 77. Munich 2411: FR. pl. 107, 1, whence Pfuhl fig. 564: ARV.1 p. 695, Group of Polygnotos, no. 1; ARV.2 pp. 1051-2 no. 18. Prague, Museum of Applied Arts: Frel R.V. fig. 47; Sbornik 1959 pl. 9, 61: ARV.2 p. 1016, Phiale Painter no. 38. See also ARV.2 p. 645 no. 7.

2 V. Pol. p. 27.

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