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strung, hangs from his left forearm, and his quiver is slung round him at his side. The other is testing his bow, holding it with both hands near the ends; the string hangs from the lower end of the bow. His quiver hangs to the left of the picture. Both youths are naked, but wear caps of foreign type, with shoulder-piece, flaps, and suspension-loop. The material is the fur of leopard-cubs, and the tail of the animal serves to protect the neck. The flaps are of leather. The squatting youth has two flaps on each side of the head: so has the archer on the arming cup by the Foundry Painter (Boston 10.195: Pl. XI: ARV. p. 264 no. 11); and the hat on a cup by Onesimos has two flaps (ii p. 35). Both youths are intent on what they are doing; one has his mouth open, the lips of the other are just parted. Relief-lines for the contours; much brown inner marking; red for baldrics, bowstrings, and the inscription ΑΘΕΝ[ΟΔΟΤΟΣ] ΚΑΛΟΣ. Repainted, the tip of the left-hand youth's forehead-hair, part of the right-hand youth's genitals, and part of the front of his cap.

The archers are not characterized as barbarians: they are Greeks: see Hartwig p. 123. The archer testing his arrow by looking along it is a favourite figure on vases and gems; sometimes he feels the point at the same time, sometimes not. An earlier example is on a cup in Boston (Boston 00.336: Pl. III, 8: ARV. p. 91): and here are some others:

Alabastron by Psiax in Odessa (Hoppin ii p. 403; AJA. 1934 p. 548: ARV. p. 8 no. 5); cup in Munich, Munich 2593 (J.1229); cup by Oltos in Leipsic (Leipsic T 3371: ARV. p. 36 no. 23); cup-fragments by Epiktetos in Athens, North Slope (Hesp. 9 p. 240, 261 a-b: ARV. p. 48 no. 40 and p. 949); cup, manner of Epiktetos, in London (London E 33: Murray no. 19; Jb. 44 p. 192: ARV. p. 52 no. 5); cup formerly in New York, New York 96.9.67 (B.Ap. 22, 105: I, Herakles holding an arrow; A, Theseus and the Bull; B, lion attacking bull, herdsmen to the rescue); cup-fragment in Athens, Agora, Athens, Agora P 647; fragment of a volute-krater by the Kleophrades Painter in the Cabinet des Médailles (Paris, Cab. Méd. 863: ARV. p. 124 no. 46); cup by the Dokimasia Painter in Berlin (AZ. 1880 pl. 15: ARV. p. 271 no. 1).

Gems: Athens, from Perachora; Oxford (Furtwängler AG. pl. 6, 40); Louvre (ibid. pl. 6, 37); London (ibid. pl. 7, 49); Cabinet des Médailles (ibid. pl. 9, 20); New York (ex Southesk: ibid. pl. 9, 23 and pl. 51, 4: LHG. pl. A, 10; Bull. Metr. 26 p. 257); Leningrad, gold ring (Furtwängler AG. pl. 10, 27; Lippold Gemmen pl. 66, 2).

Many of these archers have the bow hanging from the forearm as in the Boston cup: for example, on the New York scaraboid.

The testing of the bow is seen far more seldom than the testing of the arrow. On a cup by the Ambrosios Painter in the Vatican, the archer holds the bow with both hands near the ends, as in the Boston cup, but grips it also between his legs (Vatican 507: Mus. Greg. ii pl. 74, 2; Albizzati pl. 70: ARV. p. 72 no. 12). This motive is to be distinguished from the much commoner one of the bow held between the legs to string it (see Pl. XI, and CF. p. 30, left, above).

For the drawing of the quivers compare the cup by the Panaitios Painter in Syracuse (Sumbolae De Petra p. 81; RM. 46 p. 191: ARV. p. 213, middle, no. 3).

A-B, athletes: three figures on each half, all in rapid movement. A: on the right, an athlete running to right; behind him a pair of acontia; then another, to left, perhaps bending, with an acontion in his hand — unless what remains is part of a pick resting on the ground (cf. Pl. VII); then a third, running to right, with a pair of acontia in each hand. B: a fourth to right, in his left hand a haltēr; a fifth to right, with a pair of acontia; a sixth to left; behind him a pair of acontia. The technique is as before; red for the fillet.

The cup is of type B. The foot is missing.

ARV2, p. 321, no. 21 (Onesimos); Vos 1963, pp. 83, 125, no. 409; T. Seki, AA 1981, p. 53; Shapiro 1981a, p. 150, under no. 59 (J. Neils); Beazley Addenda 1, p. 107; Beazley Addenda 2, p. 215; Lissarrague 1990b, pp. 128, 129 (table 3, no. 31), 134 (fig. 73), 136, 288 (no. A597).

77. 98.877 FRAGMENT OF A CUP SUPPL. PLATE 7, 2-3

Formerly in Hartwig's possession. I, athlete; A, athletes. About 500 B.C., early work of the Panaitios Painter (VA. p. 86 no. 12; Att. V. p. 167 no. 21; ARV. p. 213, above, no. 5).

Inside, the upper part of a youth remains, the breast frontal, the head looking down to left: probably an athlete. The contours are in relief-lines. The brown lines on the

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