31. 10.195 KYLIX Arming scenes PLATE XI and FIGURE 23Diameter, 0.311 m. (estimated); height, 0.1175 m. Incomplete. Restored, on the interior, the lower legs and feet of the warrior, the ends of the spear, and of the leg of the couch, and the adjoining bit of maeander (omitted in the photograph on the plate); on the exterior, the top of the shield at the left end of side A. Relief contour lines throughout. Red used for the strap of the quiver, the ends of the girdle of the warrior at the left on side B, the tasselled ends of fillets, the bands round ankles, the leaves of the tree, the meaningless lettering in the field within and without. Brown used for the inner markings on bodies and greaves, the forehead ornament on two of the helmets, the hatching on the exteriors of the shields, the straps on their interiors, the maeander on the shield-cover. From Orvieto. Formerly in the Bourguignon collection. Beazley, V.A., p. 94. Hoppin, i, p. 456, no. 7. Beazley, Att. V., p. 187, no. 10. A drawing of the shape in Caskey, G.G.V., p. 192, no. 147. Interior. A young warrior standing in a twisted pose, his feet to right, his body in front view, his head looking back. He wears a short chiton and a mantle decorated with a black border and rows of dots. He is armed with a spear, a large round shield, and greaves. A fillet is tied about his head. His helmet is on a stool beside him. An elaborately ornamented cloth hangs from the shield, which has as device a centaur brandishing a tree. Exterior. A. Four youths arming, grouped in two pairs. The scene is indoors, as appears from the remains of a column on a square base at the right end of the picture and from two helmets hung up on the wall. The youth at the left stands in profile to right, with his body thrown back somewhat to balance the shield which he is taking down from the wall. Its device is a scorpion. He wears a short chiton, cuirass, and greaves, and has a fillet tied about his head. Behind him a helmet hangs on the wall, and a shield, seen in side view, leans against the handle of the vase. Its device is an irregular blot between two circles with dotted centres. The second youth, an archer, stoops to string his bow. He wears a skin cap with long flaps, and Thracian boots, but is otherwise nude. His quiver hangs at his side. Behind him a spear leans against the wall, and beyond this a helmet is hung on a peg. Of the second pair the figure on the left, so far as he is preserved, is almost a duplicate of the youth with the shield, save that he does not wear a fillet. Beyond him are the greaved legs of a warrior advancing to the left. It can be seen that he wore a mantle. His right hand held a spear, the lower end of which appears between his legs. His left hand evidently rested on the top of the shield before him. Its device is a horse or a centaur. B. Four warriors arming, out of doors, as is shown by the tree at the right end. The figure at the left stands in an easy pose, his left hand resting on the top of his shield (device, a tripod), his advanced right hand holding his spear. He wears chiton, chlamys, and greaves. Next to him are the legs of a second warrior standing with his weight on his frontal right leg, his left crossed behind it. The lower end of his lance appears behind a shield lying on the ground beside him. The scanty remains of the third figure show that he was drawing his sword from its scabbard. In front of the shield on the ground are two toes of his right foot, which was seen in profile. The fourth figure is a youth stooping to pick up his helmet from the ground (the end of its long plume appears in front of his advanced foot). His left hand holds his spear and his shield, which covers the greater part of his body. The shield-device is a snake. His head is bound with a fillet, and he wears greaves, but not a cuirass. The texture of the upper part of his chiton is rendered by wavy brown lines. Some details of the armour call for comment. The helmet on the couch and one of those on the exterior have on the part above the forehead an ornament consisting of black dots on a ground of thinned paint, evidently imitating curls of hair. That on actual helmets this ornament was worked in relief and gilded appears clearly from the numerous representations in vase painting.1 The cloth hanging from the shield in the interior picture occurs frequently on red-figured vases from the archaic to the Polygnotan period.2 The drawing of the shields is similar to that in Brygan works. The contour is an incised circle made with compasses and covered with a relief line. Within this are one or two circles merely incised. The convexity of the central part of the shield is suggested by hatching in thinned paint. Similar hatching is used on the shields seen in profile, which are drawn in faulty perspective so as to show part of the interior. Most of the shield devices are common. The nondescript blot between two dotted circles is exactly duplicated on a shield on the Munich kylix; F.R. ii, p. 135, fig. 37, and, less exactly, on the Harvard kylix by the Foundry painter, Beazley, Att. V., p. 187, no. 8 (Harvard 1927.149). Three of the youths have strips of cloth tied about their ankles to keep the greaves from chafing them, a detail clearly shown on the interior of the Brygan cup with arming scenes in the Vatican, Gerhard, A.V., Pl. 270. This is the largest and best of three cups with arming scenes which Beazley has attributed convincingly to the painter of the Berlin Foundry kylix, F.R., Pl. 135 (Berlin F 2294). The others, each with only six figures on the outside, are in Brussels, Att. V., p. 187, no. 9, Corpus, Cinquantenaire, III. 1 c, Pl. 3, 1 a-d, and at Harvard University, Att. V., p. 187, no. 8 (Harvard 1927.149). A replica of the youth holding out his shield appears on the former. On our cup the warrior on the interior, though carefully drawn, is less life-like than his attractively posed comrades outside. The influence of the Brygos painter is apparent when one compares the master's rendering of the same subject on the Vatican cup, Gerhard, A.V., Pl. 270. On both vases the warriors are intent on what they are doing, in strong contrast to the talkative youths on the arming cup in Vienna signed by Douris, F.R., Pl. 53 (Vienna 3694).3
A. D. Fraser, AJA 39 (1935), pp. 44-45, fig. 2; ARV, p. 264, no. 15 (Foundry Painter); D. A. Amyx, AJA 49 (1945), p. 513, note 19; E. Kunze, Berichte über die Ausgrabungen in Olympia 8 (1958-1962), p. 140, note 24; ARV2, p. 402, no. 15; Vos 1963, pp. 48, 83, 125, cat. no. 408; Cambitoglou 1968, p. 34, note 166; J. Buckler, Hesperia 41 (1972), pp. 471-472; A. Greifenhagen, Neue Fragmente des Kleophradesmalers (Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Phil.-hist. Klasse, 1972), p. 20, note 37; J. Boardman, AntK 19 (1976), pp. 6-7, note 19; CVA, Basel, 2, p. 60, under pl. 47, 1-4 (V. Slehoferova); E. Jarva, ActaArch 57 (1986), p. 24, no. 56; Lissarrague 1990b, pp. 138 (note 51, no. 2), 289 (no. A627).