161. 21.4 CUP from South Italy? PLATE XCVIIDiameter 0.226, height 0.087. Formerly in the possession of Alessandro Castellani (Notice, 1865, p. 32 no. 49; Cat. 1866 no. 109), later in the Paravey collection (sale cat. 1879 no. 90: 'from Magna Graecia'). A-B, Coll. du Dr. B. et de M. C., Paris 19-21 mars 1910 pl. 21 no. 182. I, youth; A-B, youths and women. About 430-425 B.C., by the Calliope Painter (Att. V. p. 427 no. 7; ARV.1 p. 734 no. 12; ARV.2. no. 11). The cup is of Type B. Inside, on an exergue, a youth in a himation stands with both legs frontal, head to left, holding out a small object — fruit? egg ? — in his right hand; on the left, a plain block; on the right, hanging, a bag. No relief-contour. White for the wreath, the 'egg', the strings fastening the bag. The maeander border is in fives, interrupted by cross-squares; there are seven maeanders on the right instead of five, and the artist probably began the border south-east, with the cup held upside down in respect to the figure. Bags of this form, φορμίσκοι, were used to contain astragaloi: at least that was one of their purposes.1 It ought to be possible to say what the white oval is, but it is not so easy. In the tondo of a cup by the Calliope Painter in the Jatta collection at Ruvo,2 a satyr, respectably dressed in a himation, with a stick, stands frontal, head to left; to left of him is a block like that in our picture, and lying on it a white object which is more like a fruit than an egg. If the blocks are plain altars the objects might be lumps of incense. Outside, in each half, three figures. On one half, a youth in a himation which he holds out with his right hand, leaving his chest exposed, whether drawing the garment on or letting it down, stands between two women who look towards him. The woman before him stands frontal, the woman behind him is seen from the back. She too holds out her himation, drawing it about her with her left hand. Both women wear a chiton under the himation. The hair is gathered up into a chignon, with a reserved band round the head. Three things are seen hanging: a bag like that inside; a writing-case; and a larger bag of hold-all type patterned with zigzags (really net-pattern) and rows of spots, which reappears on a cup-fragment by the Calliope Painter in Adria.3 The writing-case is fastened by a brown cord passing three times round it, and also by white cords: so also in a cup-fragment by our painter in Athens.4 On the other half, a woman standing in the middle offers a wreath to a youth who faces her, his hand on his stick. Behind her, another youth is seen in back view, looking round towards the pair and extending his forearms to left and right, drawing attention, perhaps, to his own claim. A sash and a pair of sandals hang in the field. The youths wear himatia, the woman chiton as well. Her hair is done in the same manner as on A. There is no relief-contour in either half, nor any for the floral design at each handle, which is of a pattern found in other cups by the Calliope Painter. Brown lines for the metal corners of the writing-case. White for the wreaths, the head-fillet of the left-hand youth on B, the fastenings of the bag, the extra cords of the writing-case, the tags of the sash. This is a slight piece, but not unpleasant. The motive of putting on the himation or drawing it over or hitching it up is a favourite, in many varieties, about this period. Good examples in other works of the Calliope Painter, for instance a cup-fragment in Athens, his cup in Erlangen, his pelikai in the Noble collection and in the Cabinet des Médailles; specially like our figure, on his cup in Aleria.5 Elsewhere, sufficient to mention the onos by the Eretria Painter in Athens, the Helen oinochoe in the Vatican, the relief in the Palazzo Del Drago.6 The Calliope Painter was a lesser contemporary of the Eretria Painter: contemporary, colleague, and at times collaborator. In a cup in Freiburg, the inside picture is by the Calliope Painter, the outside pictures by the Eretria.7 Further, in the matter of handle-palmettes, the cups of the two painters agree. Two types are used: in the finer cups a very handsome and elaborate design based on the 'lyre-palmette' and carried out in relief-lines; in the slight cups a simpler design based on the 'double palmette', without relief-lines; the lower of the two palmettes is usually shorter than the upper, and the tips of its petals 'submerged'. Given handle-palmettes only, I doubt if one could distinguish a cup in which the figure-work is by the one painter from a cup in which the figure-work is by the other. The same may be said of the maeander borders.
Para., p. 470, no. 11; Lezzi-Hafter 1976, p. 45, note 183h; J. M. Hemelrijk, BABesch 51 (1976), p. 95, note 8; A. Queyrel, AntK 31 (1988), p. 99, note 53 (incorrectly as Caskey & Beazley, III, pl. 97, no. 61); Lezzi-Hafter 1988, pp. 49-50, 73, 103, 105, 119, 133 (note 136), 139 (note 149), 145, 162, 306, 322 (no. 84), 326, pl. 63a-d.