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73. 01.8018 CUP from Orvieto PLATE XXXVIII, above

Formerly in the Bourguignon collection at Naples. Diameter 0.249. Hartwig pl. 14, 2, whence Klein Liebl. p. 84, Perrot 10 p. 386, FR. iii p. 20, and Dubech Histoire générale illustrée du théâtre (1947) i p. 32 ('acteur se massant et joueur de flûte s'exerceant: d'après un lécythe attique du Ve siècle av. J.C.'); Langlotz GV. pl. 6, whence Bethe Griechische Dichtung p. 148 fig. 137; Rizzo Saggi preliminari su l'arte della moneta nella Sicilia greca p. 212; Byvanck De Kunst der Oudheid ii pl. 77 fig. 102; the shape, Caskey G. p. 207 no. 160. The vase has been cleaned since these reproductions. Proto-Panaitian Group (ARV. p. 212 no. 14), perhaps a very early work by the Panaitios Painter, to whom I had previously attributed it in VA. p. 87 and Att. V. p. 166 no. 12. See also Gnomon 7 p. 327 (Langlotz).

From the point of view of shape, this is an ordinary cup of type B. The decoration is confined to the interior. A large picture (see ii p. 23). Symposion: a man and a youth share a couch; the man plays the flute, while the youth vomits. The man leans back on a wineskin which serves as a cushion. His legs are raised and spread out in a sprawling attitude, and the left leg is in one of the characteristic late archaic positions — knee, shank, and extended foot all frontal, the front of the thigh concealed, the back of it visible behind the shank. Patroclos on the Berlin Sosias cup (Berlin F 2278; FR. pl. 123, whence Hoppin ii p. 423; Pfuhl fig. 418: ARV. p. 21 no. 1) and the old reveller on the cup by the Panaitios Painter in the British Museum (London E 44; FR. pl. 23, whence Hoppin i p. 389; ARV. p. 214 no. 11) are in kindred attitudes. A short wrap is placed under the flute-player and hangs over his thigh. His young friend sits frontal, also in a straddling position, with one foot on the ground and the other on the couch. He supports himself with his right hand pressing on his right knee and the left hand holding the thigh. The right leg is in another characteristic late archaic attitude: like the left leg of the flute-player, but with the foot firm and foreshortened. A wrap hangs over his thighs. A pair of loose boots stands on the ground in the middle; flute-case and mouthpiece-box hang on the wall. The drawing is contoured with relief-lines. The outline of the hair is incised, except at the nape of the youth, where it is reserved. Red is used for the wreaths, the cord of the mouthpiece-box, the rejected wine, and the inscription ΕΠΙΔΡΟΜΟΣ ΚΑΛΟΣ. This is a common kalos-name (ARV. p. 922), but does not occur elsewhere in the Panaitian circle.

On vomiting-scenes, the seamy side of the symposion, see above, i p. 23. They are specially common in late archaic red-figure, but occur occasionally in black-figure, for instance on the Loeb psykter in Munich (ii p. 7, A. 11).

Hartwig, and Jacobsthal (Gött. V. p. 41), took the flute-player for a barbarian. He certainly has a poor beard, but not worse than the vomiting komast on the Leagros cup in the Louvre (Hartwig pl. 9: ARV. p. 212 no. 12), the komast on a cup-fragment from the Acropolis (Langlotz pl. 12, 225), the elderly wooer on a Naples cup in the manner of Epiktetos (Mus. Borb. 14 pl. 29: ARV. p. 53 no. 10), the komast on a cup by Onesimos in Boston (Pl. XLIII and ii p. 33), and many others whom there is no reason to regard as barbarians. The meagre beard and moustache are touches of naturalism like the thinning of the hair at the temples, the projection of the Adam's apple, the unlovely forehead and nose, the wild eye and farouche look.

Wineskins often serve as cushions: for instance on the symposion cup by the Foundry Painter in Boston (Pl. XIII: ARV. p. 264 no. 11: see i p. 29).

The date of the cup should be a little before 500. It belongs to the Proto-Panaitian Group (ARV. p. 212 no. 14); and the large, free composition of the big picture, the limber movements, the slim arms and legs, with much else, recall the Panaitios Painter: this might possibly be a very early work by the painter himself.

P. Jacobsthal, MetMusStud 5 (1934), pp. 140-141; Curtius 1938, pp. 97, 132, 172, 182, 189, 312-313, 320, pl. 16, fig. 193; EAA, III, p. 1033, fig. 1320 (R. Bianchi Bandinelli); Karouzos 1961, p. 76; ARV2, pp. 317 (no. 9), 1645; S. Buluç, AJA 70 (1966), p. 370; E. Vermeule, AJA 71 (1967), pp. 311-312; V. Zinserling, Die Griechische Vase (Wissenschaftliche Zeitschrift der Universität Rostock 16, 1967), pp. 574, 760, pl. 130, 5; W. Gauer, 1968, Weihgeschenke aus den Perserkriegen, (IstMitt, Beiheft 2), Tübingen, Wasmuth, p. 59, note 226; R. D. Gempeler, AntK 12 (1969), p. 19; M. Dumm, MüJB 22 (1971), pp. 19, 22 (note 44); K. Schauenburg, RM 81 (1974), p. 314, note 5; D. J. R. Williams, JHS 97 (1977), p. 168; CVA, Musée du Louvre, 19, p. 17, under pl. 33, 1-8 (H. Giroux); Kraiker 1978, p. 19, under no. 56; B. Neutsch, RM 86 (1979), p. 178, note 139; Brommer 1979a, p. 23 (ref. to FR 22); G. F. Pinney, AJA 85 (1981), pp. 156-157, pl. 35, fig. 23; Beazley Addenda 1, p. 106; CVA, Basel, 2, p. 30, under pl. 10, no. 4 (V. Slehoferova); Beazley Addenda 2, p. 214.

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