under the eye of a trainer: he stands ungracefully with both knees bent; the violent movements of his body have set his draperies swinging.1
Buschor 1940, pp. 170, 172, fig. 192; ARV, p. 255, no. 151; Caskey & Beazley, II, p. 100, no. 19; E. Wellesz, ed., New Oxford History of Music (1957), p. xvi, pl. 10a; EAA, II, p. 199 (S. Stucchi); ARV2, p. 383, no. 199; Schweitzer 1963, I, p. 322; Neumann 1965, pp. 144 (fig. 73), 146, 207 (note 544); R. R. Holloway, Archaeology 19 (1966), pp. 115-116, fig. 9; Follmann 1968, p. 48; Cambitoglou 1968, p. 9; Roebuck 1969, pp. 233, 235, fig. 3 (A. K. Khalil); Para., p. 366, no. 199; M. I. Davies, AntK 16 (1973), p. 69, note 48; Wegner 1973, pp. 165-167, 181, pl. 36f.; Levi 1980, p. 154, illus.; Beazley Addenda 1, p. 113; Schefold & Jung 1988, pp. 86-87; Maas & Snyder 1989, pp. 58, 61, 63-68, 74 (fig. 8), 227 (note 59); Beazley Addenda 2, p. 228; M. Wegner, ÖJh 61 (Hauptblatt) (1991/92), pp. 49-50, fig. 3.
ARV, p. 256, no. 170; ARV2, p. 385, no. 226; Cambitoglou 1968, p. 9, note 26; Wegner 1973, p. 182, pl. 34d; Beazley Addenda 1, p. 113; Moon 1983, p. 276, note 6 (K. Schauenburg); Beazley Addenda 2, p. 228.
H. Schrader, JdI 56 (1941), pp. 41 (fig. 59), 43; ARV, p. 256, no. 163; Greifenhagen 1957, pp. 11-12, fig. 5; ARV2, p. 384, no. 218; Follmann 1968, p. 34; Wegner 1973, p. 160; Schefold 1981, pp. 192, 354, note 386; I. S. Mark, Hesperia 53 (1984), p. 311, note 111; A. Hermary, BCH 110 (1986), p. 221; LIMC, III, 1, p. 894, no. 512 (H. Cassimatis).
Buschor 1940, pp. 170, 172, fig. 192; ARV, p. 255, no. 151; Caskey & Beazley, II, p. 100, no. 19; E. Wellesz, ed., New Oxford History of Music (1957), p. xvi, pl. 10a; EAA, II, p. 199 (S. Stucchi); ARV2, p. 383, no. 199; Schweitzer 1963, I, p. 322; Neumann 1965, pp. 144 (fig. 73), 146, 207 (note 544); R. R. Holloway, Archaeology 19 (1966), pp. 115-116, fig. 9; Follmann 1968, p. 48; Cambitoglou 1968, p. 9; Roebuck 1969, pp. 233, 235, fig. 3 (A. K. Khalil); Para., p. 366, no. 199; M. I. Davies, AntK 16 (1973), p. 69, note 48; Wegner 1973, pp. 165-167, 181, pl. 36f.; Levi 1980, p. 154, illus.; Beazley Addenda 1, p. 113; Schefold & Jung 1988, pp. 86-87; Maas & Snyder 1989, pp. 58, 61, 63-68, 74 (fig. 8), 227 (note 59); Beazley Addenda 2, p. 228; M. Wegner, ÖJh 61 (Hauptblatt) (1991/92), pp. 49-50, fig. 3.
20. 00.339 SMALL OINOCHOE Youth dancing and girl fluting PLATE VIII
Height, 0.08 m.; diameter, 0.09 m. Intact except for slight breaks in rim and base. Part of the youth's body painted over, and the outline of the middle of his back restored. Relief contours throughout. The hair contour of the youth reserved. Thinned paint used for the youth's whisker and probably for the girl's hair (the surface is worn), also for the lower edge of her chiton, and a stripe just above the edge. On the base, 'Locri', written in pencil. Formerly in the Hertz and Forman collections. Ann. Rep. 1900, p. 44, no. 13. Hertz Sale, Cat. no. 806. C. Smith, The Forman Collection, Sale Cat. 1899, no. 361, p. 76 (with drawing). Tonks, Brygos, no. 51, pp. 89, 114. Beazley, V.A., p. 92. Hoppin, i, p. 127, no. 31. Beazley, Att. V., p. 182, no. 87. Schröder, Der Sport im Altertum, Pl. 42. A drawing of the shape in Caskey, G.G.V., p. 147, no. 100. A youth playing castanets as he dances to right. Facing him a girl playing the flute. She has short, fair hair, edged at the front with fine relief lines, and wears an Ionic chiton, himation, and shoes. About 480 B.C. By the Brygos painter. Particularly like the youth on this vase, the youth on a cup in the University of California, UC 8.921, by the Brygos painter (I, youth leaning on stick, playing with dog). (Beazley.) The shape, one of three types of small jugs classed by Beazley as Oinochoe, form 8, has recently been discussed by him in Vases in Poland, p. 59. Though he calls it an oinochoe, 'evidently it might serve more than one purpose — as a dipper, a measure, a taster, or a portable drinking cup'. A second example in Boston (Boston 97.606) with Eros flying, is drawn in G.G.V., p. 147, no. 99. A third, Boston 27.464, is undecorated. A fourth, in bronze, is shown in figure 20. Its handle is decorated with raised palmettes and ends in a silen mask. (Boston 99.482. Hoffmann Sale, May 1899, Cat. no. 503; there classed by Froehner as Etruscan.) Another bronze specimen, in the Loeb collection, is published by Sieveking in Münchner Jahrbuch, 1926, pp. 131 f., two plates, and in Bronzen, Terrakotten, Vasen der Sammlung Loeb, 1930, pll. 1-2. The body decorated with a repoussé relief; whether it had a handle or not remains uncertain.2ARV, p. 256, no. 170; ARV2, p. 385, no. 226; Cambitoglou 1968, p. 9, note 26; Wegner 1973, p. 182, pl. 34d; Beazley Addenda 1, p. 113; Moon 1983, p. 276, note 6 (K. Schauenburg); Beazley Addenda 2, p. 228.
21. 10.180 LEKYTHOS Eros flying with fillet PLATE IX and drawing on title-page
Height, 0.218 m.; diameter, 0.081 m. Intact; but bits of the surface have flaked off. The top of the lip and the edge of the foot reserved. A tongue pattern at the top of the shoulder. Below the figure a short band of interlocking meander. Relief contours throughout, except for the hair. Red used for the inscription. Thinned paint used for the hair, the anatomical markings, and the dots on the upper parts of the wings. Ann. Rep. 1910, p. 62. Beazley, V.A., p. 91. Hoppin, i, p. 127, no. 35. Beazley, Att. V., p. 182, no. 92. Eros, fair-haired, with large wings outspread, body in front view, head to left, floats down to the earth, holding a long taenia before him in both hands. In the field at right, ΗΟΠΑΙΣ, at left, ΚΑΛΟΣ. About 490-480 B.C. By the Brygos painter, to be contrasted with his rendering of a flying Eros with lyre on the lekythos from Gela, Beazley, Att. V., p. 182, no. 91; Benndorf, Griech. u. Sicil. Vasenb., Pl. 48, 2.3 On the stamnos in the British Museum, Cat. iii, London E 440, F.R., Pl. 124, the foremost of three flying Erotes, called Himeros, holds a large taenia. This attribute probably has no more definite significance than the flowers, wreaths, or tendrils often carried by flying Erotes on archaic engraved gems and in vase paintings: they are lovers' tokens, and have a festal flavour.4H. Schrader, JdI 56 (1941), pp. 41 (fig. 59), 43; ARV, p. 256, no. 163; Greifenhagen 1957, pp. 11-12, fig. 5; ARV2, p. 384, no. 218; Follmann 1968, p. 34; Wegner 1973, p. 160; Schefold 1981, pp. 192, 354, note 386; I. S. Mark, Hesperia 53 (1984), p. 311, note 111; A. Hermary, BCH 110 (1986), p. 221; LIMC, III, 1, p. 894, no. 512 (H. Cassimatis).