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6. 10.212 FRAGMENT OF KYLIX Kneeling silen PLATE III

The inner picture, cut from a small kylix. Diameter, 0.098 m. Relief contours throughout, except for the silen's lips and open mouth, and his knee-cap. The hair contour is incised; the beard contour reserved. The wreath and the tail done in purple-red paint. The details in thinned varnish, strengthened in the photograph, are as follows: two wrinkles on the forehead, three at the outer angle of the eye, three on the cheek, the short hairs of the beard below the mouth, the abdominal markings except for the navel and the navel-pubes line, three lines on the thigh, and three lines representing tendons on the top of the left foot.

Ann. Rep. 1910, p. 62. Beazley, V.A., p. 15, no. 27, fig. 9. Hoppin, i, p. 339, no. 4. Beazley, Att. V., p. 26, no. 22. Kraiker, Jahrbuch, xliv, 1929, p. 176, no. 31.

A silen kneeling on his left knee, about to drink from a horn.

An admirable work of Epiktetos, interesting, besides, because of the bold foreshortening of the left leg, in which the influence of the new drawing of Euphronios and his companions is apparent. Cf. Antaios on the Louvre krater (Louvre G 103), Palaisto and Agape on the Petrograd psykter, and Eurytion on the Geryon cup in Munich (Munich 2620). The inner markings in brown are also fuller than in most Epiktetan works. For those on the face, which make it appear 'wizened like a monkey's', compare the faces of the Egyptians on his Busiris cup in London, F.R., Pl. 73 (London E 38). This has been held to be a late work because of the drawing of one of the komasts on side B in rear view. But there is no need on this account to date either the Busiris cup or our fragment later than 500 B.C.1 The incised hair contour and the red tail are still in the earlier archaic manner.23


ARV, p. 48, no. 41; Richter 1946, pp. 38-39, 43, fig. 12; Kunst der Oudheid, 2, pp. 349-350, fig. 103; Chase 1950, p. 63, fig. 70; Cook 1960, pp. 167 (fig. 29), 168-169, 171; ARV2, p. 74, no. 46; Chase & Vermeule 1963, pp. 90, 95, 101, fig. 83; Cambitoglou 1968, p. 18, note 73; Hoffmann 1971, p. 120, fig. 96; Cook 1972, pp. 165, 166 (fig. 29), 167, 169; E. Finkenstaedt, BABesch 49 (1974), pp. 242, 244, fig. 5; M. Robertson, MüJB 27 (1976), p. 40, note 49; Kurtz & Sparkes 1982, p. 45 (D. von Bothmer); Beazley Addenda 1, p. 83; Beazley Addenda 2, p. 168.


1 Cf. Langlotz, Zeitbestimmung, p. 113.

2 Epiktetos gives red tails to most of his silens, as well as to the horse on the plate in London, Hoppin, i, p. 315, no. 12 (London E 136). Exceptions are noted above, under no. 5 (Boston 95.34). This practice, common on b.f. vases, was continued to a certain extent by the painters of the transition. So, on the interior of the kylix in Munich with the name Psiax, Hoppin ii, p. 398, no. 2, the b.f. silen has a red tail and carries a red wine-skin; on the amphora in Madrid by the Menon painter, the b.f. silens have red tails (Jahreshefte, iii, 1900, p. 70, fig. 8); on the amphora in Philadelphia by the same painter the two r.f. horses have red tails (Phil. Mus. Journ. v, p. 35, fig. 19); on the London cup, London E 40, signed by Chachrylion and painted by Oltos. (Att. V., p. 13, no. 28), the silen has a red tail; and on the companion piece, London E 41, Att. V. p. 13, no. 27, the tail of one of the several horses is red.

3 (From Addenda to Part I) No. 6. ARV. p. 48, Epiktetos no. 41. (After V.A.), Richter A.R.V.S. p. 43 fig. 12 and Byvanck De Kunst der Oudheid ii p. 350; Chase Guide p. 63.

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