156. 01.8033 CUP from S. Maria di Capua PLATE XCDiameter 0.212, height 0.106. From the Bourguignon collection, Naples. I, athlete; A-B, athletes. About 470-460 B.C., by the Telephos Painter (VA. p. 110 no. 12; Att. V. p. 227 no. 18; ARV.1 p. 543 no. 8; ARV.2 p. 817 no. 14). The shape is a rare hybrid: the bowl, with offset lip, is that of Cup C, but the foot is that of Cup B in a very stout version : — thick stem, thick torus foot-plate, marked jog. Other examples of this hybrid are London 1920. 6-13, 1, which bears the signature of the potter Euergides and is earlier;1 and Louvre G 265 by the painter named after it,2 which is nearly contemporary with the Boston cup. 'Preysscups', a late black-figure class, approximate to these.3 Inside, an athlete, still dressed in his himation, stands, looking round, with an acontion in his hand. In front of him a laver, on a base; behind him a pillar. Relief-contours. Brown for the minor details of the body. Red for the head-fillet, the loop of the acontion, and the inscription ΚΑΛΟΣ. The 'odd man' of the maeander is a little west of south. Outside, three figures on each half. On A, a jumper, with haltēres, in the middle; a young trainer, holding out his wand towards him, on the right; and on the left an acontist. Between acontist and jumper, sponge, strigil, and aryballos, hanging by a thong from a peg; between jumper and trainer, a pillar. On B, an acontist in the middle, a discus-thrower on the left, a jumper on the right. Between the discus-thrower and the acontist, the same sponge, strigil, aryballos, as on A; between the acontist and the jumper a fluted pillar; behind the jumper a pick. Under each handle a rough stone seat. A large ivy-leaf springs from each handle-root, as often in early classic cups. The technique as within. Red for the trainer's head-fillet, the loops of the acontia, the cords of the sponges, and the letters, without meaning, strown over the field. The acontist on A, leaning back, with left leg forward, extends his left arm and looks round towards the javelin in his right hand: it is the same moment, before the throw, as in the Torlonia cup by Makron,4 only seen from the front, not from behind. The moment after this is shown on the other side of the cup, almost the same as in the Berlin cup by the Panaitios Painter.5 The acontia are drawn with care: the cap is indicated, and three or four dots below it represent metal binding, against splitting; the butt is rounded off. The discus-thrower is shown at a moment not represented, so far as I remember, elsewhere: the discus has just been transferred from the left hand to the right. The jumper on B seems to be starting his run; the jumper on A to be about to take off. The dark marks on the aryballoi recur in other works of the Telephos Painter, a cup in Florence, an athlete cup in the collection of the Conde de Lagunillas, Havana, cup-fragments in Greifswald.6 The carrying-thong of aryballos, sponge, and strigil is hung over a small peg or nail which is presented to us at full length but might be expected to point towards us: compare the neck-amphora by the Berlin Painter in Madrid.7
Schettino Nobile 1969, pp. 24 (no. 22), 27 (note 58), 28 (note 60), 36, 48-49, 70-72, 79, pls. 29-30, figs. 49-51; Para., p. 420, no. 14; H. M. Lee, JHS 96 (1976), pp. 76-77, pl. 1a-b; Beazley Addenda 1, p. 144; Images 1984, pp. 30-31, fig. 42 (C. Bérard); Bilderwelt 1984, pp. 46-47, 134, fig. 42 (C. Bérard); A. Papaioannou, ArchEph (1984), p. 199, no. 23; CVA, Tübingen, 5, p. 37, under no. S./719 (J. Burow); Sweet 1987, pp. 46-47, pl. 12; Beazley Addenda 2, p. 292; W. Laporte and P. Bultiauw, in D. Vanhove, ed., 1992, Le Sport dans la Grèce antique, Brussels: Palais des Beaux-Arts, p. 107, ill. 8. Exhibited: Hartford, Wadsworth Atheneum, Oct. 13-Dec. 12, 1954 (The Medicine Man: Medicine in Art, no. 32, pl. 3.