62. 97.371 PHIALE Men entertained by women PLATE XXIX and FIGURE 39Height, 0.034 m.; diameter, 0.249 m. Broken into three pieces, but almost complete. The ends of the seated youth's mantle and the legs of his chair slightly injured. Two holes for suspension near the rim. The exterior black except for a tongue pattern round the boss. No relief contours. Brown used for inner markings on most of the figures, for the edges of mantles and stripes on dresses, for the necklace of the woman holding phialae, for dots on the phialae, for details of the chairs, for the hatching on the basket held by Nike, and for the dots on Nike's wings. White dots on the fillet of the seated youth, and on the headbands of the woman conversing with him, the woman watching the dancer and the Nike. Three twigs set upright in the basket are also done in white. From Athens; said to have been found near Sunium. Ann. Rep. 1897, p. 27, no. 14. Beazley, V.A., p. 167, fig. 103. Hoppin, i, p. 83, no. 5. Beazley, Att. V., p. 386, no. 74. On the omphalos, a winged Nike running to left carrying a sacrificial basket with three high handles and an oinochoe. She wears chiton and himation and a headband with white dots. Three twigs, done in white, rise from the handles of the basket. The main picture represents three men entertained by courtesans — eight figures forming three groups. (1) A bearded man seated in a chair, his mantle wrapped about his legs, his right hand resting on a stick, his left hand grasping his right upper arm, is listening intently to the music furnished by a girl standing opposite him playing the flute. She has short hair, and wears a sleeveless chiton with overfold. Her mantle lies on a stool behind her. (2) A youth seated in a chair, his right hand holding a stick, his left arm resting on the back of the chair, turns his head towards a woman at his right with whom he is in conversation. His himation covers his left arm and his legs. His head is bound by a fillet with white dots. The woman, wearing a headband with white dots, a chiton and an himation covering her whole body including the arms, leans forward as she talks to him. At the left a woman stands in front view looking at the youth, holding an oinochoe in her right hand and in her left three phialae for the men to drink from. She wears a sakkos, a sleeved chiton and himation, and a necklace with a pendant. (3) A girl dancing, watched by a youth and a woman. She moves to the left with her head turned back and her hands raised, holding castanets. She wears a headband and a short chiton, fringed at the bottom, with black, dotted borders and brown horizontal stripes. The youth at her right leans on the stick and extends his right arm towards her. He is wrapped in an himation. Between them, the dancer's himation lies on a cushioned chair. The woman at the left, in sleeved chiton, himation, and headband with white dots, also stretches out her right hand towards the dancer, and, holds in her left a heavy staff, like a decapitated thyrsus. The lifelike bird standing on the ground behind the woman forms a fourth member of this group. Two chests, one of them with the lid raised, a cylindrical box with conical cover, and a pair of castanets effectively fill voids in the composition. In form the phiale closely resembles those carried by girls on the Parthenon frieze. Examples in clay are fairly numerous (Beazley counts 62), but few have figure decoration. Three plain phialae signed by Nikosthenes are illustrated in Hoppin, Black-figured Vases: London B 368, p. 208, no. 21; Paris, Cab. Méd. 334, p. 218, no. 30; Würzburg 287, p. 288, no. 69. Another, of Nikosthenic period, is decorated with black figures in two zones on a white ground.1 A red-figured phiale decorated by the Telephos painter is in Berlin.2 The use of a phiale as a drinking vessel is well illustrated on a Nolan amphora in Oxford.3 The cylindrical box on the ground in front of the flute-player may be a γλωσσοκομεῖον, a receptacle for the mouthpieces of flutes. A 'decapitated thyrsus' is held by the dancing mistress on the lekythos by the same painter in Bowdoin College.4 Dancing pictures interested him: in addition to the admirable lekythos just mentioned and its companion piece in Milan (Att. V., p. 385, no. 59) we have the London hydria E 185 (London E 185; ibid. no. 39), on which the girls wear exactly the same costume as the dancer on our phiale, a Nolan amphora in Brussels (ibid. no. 8), and an oinochoe in the Louvre, Louvre G 574 (ibid., no. 72). About 430 B.C. The Painter of the Boston phiale, to whom the following two works, no. 63 and no. 64 (Boston 98.883 and Boston 01.16), are also to be assigned, 'must have been a pupil of the Achilles painter; but he is not in the least a mere imitator: the tranquil style of his master is transformed by a strong personality into something extraordinarily winsome and vivacious'.5 And, as the stamnos in Castle Goluchow shows 'the painter of all that is light and dainty was able, when the mood summoned him, to create forms of Parthenonian grandeur'.67
Richter 1926b, p. 37, fig. 103; J. D. Beazley, AJA 37 (1933), pp. 400-401, figs. 1-2; ARV, p. 658, no. 108 (Phiale Painter); D. Feytmans, 1948, Les vases grecs de la Bibliothèque Royale de Belgique, Brussels, Editions de la Librairie encyclopédique, p. 69, note 1; Caskey & Beazley, II, p. 102, no. 62; Richter 1959, pp. 337-338, fig. 454; EAA, II, p. 148 (E. Paribeni); ARV2, p. 1023, no. 146; L. Ghali-Kahil, 1963, Neue Ausgrabungen in Griechenland, Olten, Urs Graf-Verlag, p. 21, under no. 43; Herbert 1964, pp. 71-72; Shell & McAndrew 1964, p. 64; Noble 1965, p. 22, fig. 141; Schefold 1967b, p. 112; Richter 1970c, p. 30, fig. 129; Para., p. 441, no. 146; Buitron 1972, p. 136; F. Giudice, ArchCl 24 (1972), p. 440; Isler & Seiterle 1973, p. 25 (C. Isler-Kerényi); P. Zaphiropoulou, 1973, Etudes Déliennes (BCH Suppl. 1), p. 630; Schelp 1975, pp. 52, 60, 89, no. K 91; J. Vocotopoulou, BCH 99 (1975), p. 761; Beck 1975, p. 59, no. X/56, pl. 80, fig. 391; B. von Freytag Gen. Löringhoff, AM 91 (1976), p. 47 (under no. 6, 1); C. Cardon, GettyMusJ 6/7 (1978-1979), p. 133, note 12; Cambitoglou 1979, pp. 129-131 (M. Robertson); J. H. Oakley, The Rutgers Art Review 1 (1980), pp. 1, 7; L. O. Keene Congdon, 1981, Caryatid Mirrors of Ancient Greece, Mainz am Rhein, P. von Zabern, p. 82; Beazley Addenda 1, p. 154; H. Rühfel, 1984, Kinderleben im Klassischen Athen, Mainz am Rhein, P. von Zabern, pp. 42-43 (fig. 21), 45, 182, note 93; Böhr & Martini 1986, pp. 116 (no. 3), 117 (B. Freyer-Schauenburg); R. D. DePuma, 1986, Etruscan Tomb-Groups: Ancient Pottery and Bronzes in Chicago's Field Museum of History, Mainz am Rhein, P. von Zabern, p. 48, note 61; Burn 1987, pp. 85-86; Veder Greco, p. 34 (P. E. Arias); CVA, Basel, 3, p. 54, under no. BS 44.2699 (V. Slehoferova); M. C. Miller, Hesperia 58 (1989), pp. 325 (note 57), 326 (note 62); F. Brommer, AA 1989, p. 487, no. 5; Beazley Addenda 2, p. 316; Oakley 1990, pp. 1, 6, 12, 14, 37-38, 54-55, 60, 90 (no. 146), pl. 120a-b; S. B. Matheson, AJA 95 (1991), p. 749; L. Burn, Greek Vases in the J. Paul Getty Museum 5 (1991), p. 118.