44. 10.181 KYLIX Men and youths PLATE XIX and FIGURE 29Height, 0.117 m.; diameter, 0.289 m. Broken, but complete except for nicks in the rim. The lip offset within; the hollow stem moulded at the junction with the foot; the concave edge of the foot reserved. Relief contours throughout, except for some details of the palmettes. Inner markings in brown. Red used for the wreaths and for two of the fillets, white for the remaining fillets. Ann. Rep. 1910, p. 62. Beazley, V.A., p. 157. Hoppin, i, p. 352, no. 7. Beazley, Att. V., p. 358, no. 39. Interior. A bearded man, wrapped in a black-bordered mantle, offers a white fillet to a youth. Both have wreaths on their heads. The exergue is reserved. Exterior, A. Four figures, divided into two groups by a Doric column. At the left, two men conversing. One holds a white fillet in both hands; the other rests his right hand on a stick. At the right, a youth standing with his back to the column. He has a white fillet bound round his head, and a red one about his right forearm. His left hand holds a branch. He is stretching out his right to receive another white fillet from a man standing opposite him. B. A man, leaning forward on his stick, offers a white fillet to a youth who holds out his hand to receive it. Beyond the youth a man in front view with a white fillet in his hands, turning his head to look at another man who holds a red fillet in his left hand and stretches out his right. All the figures, except the youth on side A, are wreathed. The youths are being decorated with fillets in recognition of athletic victories. See under i no. 16, p. 13 (Boston 10.178). About 460 B.C. By the Euaion painter, an earlier and finer work than no. 45 and no. 46 (Boston 01.8078 and Boston 91.223), approaching the level of the Demeter on his cup in the Bibliothèque Royale at Brussels. The style of the drawing is especially close to that of the cup in Edinburgh, Att. V., p. 358, no. 38. It also has eight figures on the exterior instead of ten, the usual number on his later works. The youths on the interior are almost exactly alike, except that the one on the Edinburgh cup holds a strigil in his right hand. On the art of the Euaion painter, its origins and affinities, see Beazley, Vases in Poland, pp. 35-6, 46-8. Several cups of this type (see figure 29) were decorated by the Euaion painter, e.g. no. 46, below (Boston 91.223), the Edinburgh cup, one in Munich, and one in the Louvre.1
M. H. Swindler, AJA 20 (1916), pp. 334-335; Bloesch 1940, p. 138, no. 1; M. Bieber, AJA 45 (1941), p. 532; ARV, p. 528, no. 50; Caskey & Beazley, II, p. 101, no. 44; Olympia in der Antike, Ausstellung, Essen, 18. Juni-28. August 1960, fig. 63; ARV2, p. 792, no. 60; Samos, Bd. 4 (1978), p. 104, under no. 197 (H. P. Isler); C. Weiss, AA 1988, p. 345, note 241; CVA, Kiel, 1, p. 107, under no. B 737 (B. Freyer-Schauenburg); Beazley Addenda 2, p. 290. Exhibited: Utah Museum of Fine Arts, 1988-1991 (Padgett 1988, pp. 44-45, no. 20, 2 illus.); Memphis Brooks Museum of Art, 1991-.