32. 01.8034 KYLIX Symposium PLATE XII and FIGURE 24Diameter, 0.298 m., height, 0.117 m. Put together from many pieces, with a few small lacunae. Extensively repaired in antiquity with clamps, for which the holes remain. No restorations. Relief contour lines throughout. Red paint, rather diluted, used for wreaths, fillets, the strings by which the baskets are suspended, the inscriptions. Brown used for the inner markings on the bodies, and for the hair of the two cup-bearers. Formerly in the Bourguignon collection. Ann. Rep. 1901, p. 33, no. 16. Tonks, Brygos, no. 52, pp. 89, 114. Beazley, V.A., p. 94, fig. 62. Hoppin, i, p. 455, no. 6. Beazley, Att. V., p. 187, no. 4. A drawing of the shape in Caskey, G.G.V., p. 189, no. 144. Interior. A bearded man, reclining on a couch, twirls a kylix about the forefinger of his outstretched right hand in the game of kottabos. His left hand holds a large skyphos, drawn in outline. He rests against a large cushion, probably an inflated wineskin (see below). A mantle covers the lower part of his body and his right leg, which is bent at the knee with the foot planted on the couch. His left leg is drawn up and shown in front view. Leaning against him is a youth playing the flute. His legs are covered by a mantle, and it is not clear how they were supported. Probably they were folded back with the feet tucked under him, since there are no traces of a stool like that under the corresponding figure on side B. Both man and youth are wreathed. A flute-case hangs in the field. In front of the couch is a low, three-legged table from which three wreaths depend. In the field above, ΗΟΠΑΙΣ; below, ΚΑΛΟΣ ΚΑΛΟΣ. Exterior. A. A bearded man and a youth reclining on couches, with two boys as cup-bearers. The man at the left looks round at his companion, and calls out to him as he twirls a kylix with his right hand. A second kylix, painted black, is in his left hand. His hair is bound with a headband, drawn in outline, and therefore perhaps of linen, and a wreath in red. The youth at the right is apparently calling to the cup-bearer to fill the kylix which he holds up with his right hand. His left holds a black skyphos. His wreath and his long fillet are done in red paint much diluted, or in thinned glaze. Between the couches the cup-bearer, with oinochoe in hand, moves towards the youth, but looks back at the man. At the extreme left the second boy stands in a frontal pose, looking to left. He holds an oinochoe and a strainer. His straight, brown hair, confined by a narrow red fillet, falls to his shoulder. Two baskets are hung up on the wall. Below the man's couch, a skyphos; in front of the other couch a table with three wreaths on it. In the field, ΗΟΠΑΙΣ ΚΑΛΟΣ. B. Three figures disposed on two couches and a stool placed close together. At the right, a bearded man twirling a kylix with his right hand, and holding a black kylix in his left. His left leg is exposed and drawn in front view like that of the man in the interior. His head, shown in front view, is wreathed, and bound with a cloth, drawn in outline, and tied so that its long ends hang at either side.1 His friend, on the second couch, turns round towards him and extends both hands, one holding a cup. He wears a similar headband, with its ends hanging behind, and wreath. At the left a youth seated on a stool, but leaning back against the central figure, plays the flute. He wears a wreath, but no fillet. Two baskets hang above. A table, with wreaths laid on it, stands under each couch. Behind the older man's couch a staff is standing against the wall. In the field, ΗΟ ΠΑΙΣ ΚΑΛΟΣ. Beazley remarks that the cushion of the man at the right on side B is certainly a wine-skin, and the others probably. Wine-skins are used as cushions on the Cambridge cup mentioned below, on the Boston symposium cup by the Panaitios painter Boston 01.8018, Hartwig, Meisterschalen, Pl. XIV, 2, Beazley, Att. V., p. 166, no. 12; and on the erotic cup in Corneto, F.R. iii, p. 252, above. Compare also the silen leaning against a wine-skin on a Brygan plastic kantharos in New York: Richter, Handbook (1927), p. 120, fig. 78. These paintings were described by Robinson in the Annual Report as 'in the style of Brygos', and definitely attributed to him by Tonks. Their true relationship to the Brygos painter was first made clear by Beazley, who assigns both this cup and its pendant, the symposium cup in Cambridge,2 to the Foundry painter, an artist who shows 'a not always ineffective coarsening of the Brygan style'. In Vases in America, p. 93, figs. 61, 62, Beazley makes a significant comparison between the standing cup-bearer on our vase and a similar figure on the Brygan symposium cup in London, Hartwig, Pl. 34: 'How admirable the drawing in both! only, the Brygan boy is made like us of flesh and air: the other is a most captivating marionette.'3
D. M. Robinson, AJA 32 (1928), p. 50; ARV, p. 264, no. 11; A. Greifenhagen, JBerlMus 3 (1961), p. 128, note 28; ARV2, pp. 401-402, no. 11; Sedlmayr & Messerer 1967, p. 39 (W. Züchner); Para., p. 370, no. 11; Cook 1972, pp. xxi, 169 (fig. 30B), 234-235; S. Karouzou, ArchDelt 31 (1976), p. 19, note 50; CVA, Musée du Louvre, 19, p. 17, under pl. 33, 1-8 (H. Giroux); CVA, Tübingen, 5, pp. 23-24, under no. S./10 1536a.a (J. Burow); Korshak 1987, pp. 13-14, 58, no. 138; Christiansen & Melander 1987, p. 23, note 17 (M. P. Baglione); U. Mandel, 1988, Kleinasiatische Reliefkeramik der mittleren Kaiserzeit (Pergamenische Forschungen 5), Berlin, W. de Gruyter, p. 110, note 786; Beazley 1989, pp. 80-81, pls. 52, 2, 53, 1-2; H. R. Immerwahr, Hesperia 61 (1992), p. 123, note 8.