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63. 98.883 PELIKE Actors dressing PLATE XXIX and FIGURE 40 (SUPPL. PLATE 2)

Height, 0.241 m.; diameter, 0.177 m. Broken, and some small bits missing. The injuries are shown by shading in the drawing. Palmettes below the handles, which are slightly concave on either side of the central ridge. No relief contours. Brown used for the edges of the dresses and mantles, for the eye-hole of the mask on the ground, and for inner markings. The curved brown stroke indicating the crease in the bent elbow of the left-hand figure has been accidentally omitted in the drawing; cf. the drawing in V.A., fig. 104.

From Cervetri. Ann. Rep. 1898, p. 73, no. 50. Beazley, V.A., p. 168, fig. 104. Hoppin, i, p. 83, no. 6. Buschor, in F.R. iii, p. 135, fig. 62. Beazley, Att. V., p. 383, no. 29. A drawing of the shape in Caskey, G.G.V., p. 88, no. 48.

On the obverse, two youths — members of a dramatic chorus — attiring themselves as women. Their costume consists of a mask with a kerchief wound about the hair, a short chiton with a brown border running down one side, and high boots. The figure at the right is pulling a boot on to his raised right leg. His mask lies on the ground in front of him. The broad fillet tied about his head is doubtless intended to keep the mask from chafing him.1 His companion at the left, fully costumed, advances towards him, lifting his right arm, and holding out a mantle on his left hand. The costumes suggest maenads or Thracian women.

On the reverse a sketchily drawn figure of a bearded man in himation leaning on a stick: probably thought of as watching the scene on the obverse.

About 430 B.C. By the painter of the Boston phiale. See no. 62, above (Boston 97.371).2

Bieber 1939, pp. 79-80, fig. 108; ARV, p. 655, no. 38 (Phiale Painter); Pickard-Cambridge 1953, pp. 182, 216-217, fig. 39; Caskey & Beazley, II, p. 102, no. 63; T. B. L. Webster, Hesperia 29 (1960), p. 255; Bieber 1961, p. 26, fig. 90; ARV2, p. 1017, no. 46; Webster 1967, p. 47, no. AV 20; Roebuck 1969, pp. 256, 258-259, fig. 4 (E. R. Gebhard); Para., p. 440, no. 46; B. H. Sparkes, JHS 93 (1973), p. 270; K. Schauenburg, AA 1976, p. 230, note 56; Taplin 1978, pp. 13-14, pl. 5; Boardman & La Rocca 1978, p. 65, color illus.; Brommer 1979a, p. 24 (ref. to FR, 135); CVA, Würzburg, 2, p. 60, under no. H 4781 (F. Hölscher); J. R. Green, RA 1982, p. 247; J. H. Oakley, AA 1982, p. 117; CHCL 1985, p. 276, pl. Va (J. Gould); M. Halm-Tisserant, BABesch 64 (1989), pp. 108-109, 113, pl. IIIc; Beazley Addenda 2, p. 315; M. D. Stansbury-O'Donnell, AJA 94 (1990), p. 234; Oakley 1990, pp. 6, 9, 13, 39, 45, 49, 73-74 (no. 46), 106, pls. 26a, 35f; G. Ley, 1991, A Short Introduction to the Ancient Greek Theater, Chicago, University of Chicago Press, pp. 18-19, 49, 90-91 (pl. 2), 95; J. R. Green, GRBS 32 (1991), p. 41.

Exhibited: Princeton, The Art Museum, Dec. 10, 1951-Jan. 6, 1952 (The Theater in Ancient Art. An exhibition, the Art Museum, Princeton University, December 10, 1951-January 6, 1952, Princeton, Princeton University Press, 1951, no. 5, illus.).

1 Cf. the fillets worn by warriors in arming scenes, e.g. three youths on the cup, no. 31, Pl. VI (Boston 10.195).

2 (From Addenda to Part I) No. 63. ARV. p. 655, Phiale Painter no. 38. A, Bieber The History of the Greek and Roman Theater p. 80 fig. 108. See also BPW. 1932 pp. 208 and 210 (Rumpf: but the Boston pelike does not prove that the stage costume of the period was 'white with a dark border'; or that the sleeved costume was unknown on the stage, for these are chorus-men, not actors). See also Hesp. 8 p. 267 (Talcott). A, Webster Greek Art and Literature pl. 18, a.

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