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5. 95.34 KYLIX Silen bestriding a wine-skin PLATE III

Diameter, 0.186 m. The bowl and the handles intact. The rim offset within. The exterior undecorated. The foot, which is like that of a black-figured kylix of the 'miniaturist' type, but with a shorter stem, is antique, but does not belong to the cup. Relief contours throughout, except for the top of the silen's head. The hair contour reserved. The wreath and the inscription in red. The details in brown (strengthened in the photograph) include two wrinkles on the forehead, two at the outer corner of the eye, and one on the cheek.

From Italy. Formerly in the van Branteghem collection. Ann. Rep. 1895, p. 20, no. 22. Collection van Branteghem, no. 38. Klein, L.I. 2, p. 62, no. 8, fig. 7. Beazley, V.A., pp. 15, 17, no. 20. Hoppin, i, p. 338, no. 33. Beazley, Att. V., p. 26, no. 29. Kraiker, Jahrbuch, xliv, 1929, p. 179, fig. 21, and p. 178, no. 35.1

A silen, holding a drinking-horn in his left hand, balances himself on a wine-skin which he is bestriding. His head, wreathed with ivy, is bald to the crown. Long locks of hair fall on his shoulders. His beard, too, is long, and his eyebrow bushy. His tail is reserved in the later manner. In the field, ΗΙΠΠΑΡΧΟΣ ΚΑΛΟΣ. On the wine-skin, in brown, ΗΙΠΠΛΟΧΟ, probably the same name, though the alpha is without crossbar and the rho lacks its tail: the fifth letter cannot be meant for a lambda, as the Ionic lambda is unknown in Attic vase-painting at this time.

Convincingly ascribed to Epiktetos by Beazley, who connects it with the silen cup in Corneto, Röm. Mitt. v, 1890, p. 340, fig. 9, and regards both as late works. Since the career of the artist has been held to cover half a century, it is necessary to define what is meant by the word 'late' in this connexion.2 His latest signed work, the pelike in Berlin, Hoppin, i, p. 303, no. 3, has been attributed by Beazley to the Kleophrades painter (Att. V., p. 71, no. 23). And, however the signature be explained, the paintings show no trace of the style of Epiktetos, and can therefore be left out of account here. Apart from this vase there is no reason to bring his activity down later than about 500 B.C. — that is, to the beginnings of the ripe archaic style. His career may be supposed to have coincided approximately with the last quarter of the sixth century. Certain technical characteristics suggest that our cup, the cup in Corneto mentioned above, and the skyphos in London painted for Pistoxenos (London E 139; Hoppin, i, p. 319, no. 14) belong to the end of this period. On all three the silens have the hair contour reserved, whereas on other Epiktetan works the hair contour is almost invariably incised. The silens on the same three vases have tails rendered in the ground colour, whereas most other Epiktetan silens have tails in added red, like that of no. 6 (Boston 10.212) on Plate III. An exception is on the early cup painted for Pamphaios, Berlin 2262, Hoppin, i, p. 305, no. 14. The full inner markings on the bodies in dilute glaze, which appear on the three vases, have also been taken as evidence for a late date.

If our cup was painted about 500 B.C. it has a bearing on the identification of the Hipparchos who is celebrated almost exclusively on Epiktetan vases. The name is found on two of his signed cups (Att. V., p. 25, nos. 8 and 10), and five unsigned cups besides this (ibid. nos. 14, 16, 23, 24, and p. 29, no. 5), on another in his manner (ibid. p. 29, no. 15), and on still another with interior in his style and exterior in the style of the Euergides painter (ibid. p. 37). In his recent discussion of the name (Zeitbestimmung, p. 54) Langlotz defends the improbable identification of this Hipparchos with the son of Peisistratos. But if our cup was painted some fourteen years after his death, the name throws no light on the dating of Epiktetan works.3

Bloesch 1940, p. 138, note 219; ARV, p. 49, no. 58; Karouzos 1961, p. 92, note 80; ARV2, p. 75, no. 64; G. von Lücken, Die Griechische Vase (Wissenschaftliche Zeitschrift der Universität Rostock 16, 1967), pp. 487, 676, pl. 55, 3; Kraiker 1978, p. 13, under no. 31; C. M. Cardon, AJA 83 (1979), p. 170, note 15; S. R. Roberts, Hesperia 55 (1986), pp. 18 (fig. 10), 19 (under no. 25); H. R. Immerwahr, Hesperia 61 (1992), p. 130, pl. 32:a.

1 In nos. 5, 6, and 9, I have added references to Kraiker's article on Epiktetos, but it came out too late for me to make use of his text.

2 Cf. Pfuhl, i, p. 342: 'Eine Malertätigkeit von etwa fünfzig Jahren, die ungefähr das letzte Viertel des 6 und das erste Viertel des 5 Jahrh. umfasst.' Langlotz, Zeitbestimmung, p. 117, makes his career last from the decade 520-510 to the decade 480-470.

3 (From Addenda to Part I) No. 5. ARV. p. 49, Epiktetos no. 58. On the shape, Bloesch F.A.S. p. 138 note 219.

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