83. 03.816 NOLAN AMPHORA (with triple handles) from Suessula PLATE XLIV, belowThe shape, Caskey G. p. 63. A, Eos and Tithonos; B, a boy fleeing. About 480 B.C., by the Tithonos Painter (VA. p. 69 no. 1; Att. V. p. 128 no. 1; ARV. p. 206 no. 1). The present height is 0.306, but the foot is modern, and should doubtless have been restored somewhat differently, with the side black, and a fillet at the base.1 On the front, Eos pursues the boy Tithonos, and seizes him by the wrist; on the back, a companion of Tithonos flies in alarm. Both boys wear the himation and hold a lyre. Tithonos has a wreath, his friend a chaplet. Eos wears a chiton, and over it a himation which passes over the right shoulder. The skirt is of thick material, and the question whether it is part of the chiton or of the himation arises once again. The stephane is adorned with leaves, no doubt of gold. Earrings, bracelets. Pictures of Eos pursuing a schoolboy, who holds a lyre, begin in the latest archaic period, our vase being one of the earliest. Pictures of Eos pursuing a young man, a hunter, begin in the early classic period. On three vases an inscription names the hunter, Kephalos; on one vase an inscription names the schoolboy, Tithonos. It would be natural, in uninscribed vases, to name the hunter Kephalos and the schoolboy Tithonos. The question is complicated, however, by two vases on which Eos is represented with a schoolboy who holds a lyre, not indeed pursuing him, but carrying him in her arms: one would expect the boy to be Tithonos; but his name is inscribed, Kephalos. It may be, therefore, that some of the schoolboys pursued by Eos are meant for Kephalos not Tithonos; and this is the view of H. R. W. Smith (Der Lewismaler p. 16). On the other hand, the Pantoxena Painter, on his skyphos in the Cabinet des Médailles (Paris, Cab. Méd. 864: de Ridder p. 497 and pl. 23: ARV. p. 694, below, no. 1) names the boy with the lyre Tithonos, the companion Priamos (Priam was brother to Tithonos, both being sons of Laomedon) and a second companion Dardanos: this artist, at least, had no doubt that the victim of Eos was not an Athenian, but of the Trojan blood royal.2 I am inclined, therefore, to keep the name Tithonos for the schoolboys pursued by Eos: while admitting the serious difficulty caused by the groups of Eos with the boy in her arms. Other objections are unimportant: it is not unnatural that there should occasionally be a certain amount of confusion between the two parallel subjects: thus on the pelike by the Lykaon Painter in Leningrad, while Kephalos is not named, his comrade is inscribed Tithonos (Minervini Mon. Barone pl. 4; CR. 1872 pl. 5, 3-4: ARV. p. 690 no. 5); on the skyphos by the Pantoxena Painter, Dardanos is dressed like a companion of Kephalos; there is the same mixture on the bell-krater by the Christie Painter in Genoa (Genoa 1216: CV. pl. 9: ARV. p. 693 no. 21); and on the neck-amphora by Hermonax in the Hearst collection at San Simeon (ex Lloyd: ARV. p. 320 no. 45), while Eos pursues a hunter on the obverse, the fleeing companion on the reverse is a boy holding a lyre. If the boy on the obverse of our vase is Tithonos, his friend on the reverse may be his brother Priam. Relief-lines are used for most of the contour: but not in the face of Eos except the chin; and in the face of the youth on B there is no relief for mouth or lips. The bracelets, and the plectrum with its cord, are in red. The small palmette at each handle has relief-contour.
ARV2, p. 309, no. 1; E. Vermeule 1965, fig. 3A; EAA, VII, p. 883, fig. 989 (E. Paribeni); Mayer-Prokop 1967, p. 61; Para., p. 357, no. 1; CVA, Prague, Université Charles, 1, p. 43, under no. 60.33 (J. Bažant, J. Bouzek, M. Dufková, and I. Ondřejová）; Kaempf-Dimitriadou 1979, pp. 18, 87, no. 127; Vermeule 1979, p. 247, note 26; Brommer 1980, p. 26, no. 1; LIMC, III, 1, pp. 765 (no. 136), 775-778, III, 2, pl. 571, illus. (C. Weiss); Maas & Snyder 1989, p. 234, note 145; Beazley Addenda 2, p. 213.