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(Bristol H 801: the Judgement is on the shoulder; the chief picture represents Memnon with three negro attendants); bf. lekythos by the Edinburgh Painter in Taranto (Haspels ABL. p. 217 no. 32); rf. cup by the Briseis Painter in the Louvre (Louvre G 151: Hoppin Rf. i p. 116; Pottier pl. 120: ARV. p. 268 no. 22), rf. stamnos by the Syleus Painter in Berlin (Berlin 2182: AZ. 1883 pl. 15; Jb. 31 p. 203: ARV. p. 166 no. 27); lost rf. lekythos (Welcker A.D. pl. A, 1).

An early representation of Zeus and Ganymede, though not in the form of a pursuit, is on a small black-figured amphora with Greek inscription, or inscription in an alphabet that may be Greek, ΓΑΝΥΜΕΔΕΜ, in Munich (Munich 834: Sieveking and Hackl pl. 33 and pp. 95-6). The only provenience given by Hackl is 'Italy', but since speaking of it in EVP. (pp. 57 and 295) I find it described by Heydemann in Bull. 1869 p. 146 no. 3: it was then at Naples in the Torrusio collection and was therefore found at Nola. This does not tell us where the vase was made but it detaches it from Etruria and Latium; it may be Campanian.1 On Etruscan Ganymedes see EVP., index.

Duhn has left a circumstantial account of the grave in which the Boston vase was found (RM. 2 pp. 236-41). It was a thick-sided stone box (cubo di tufo) consisting of two blocks placed one on top of the other, a cavity in the one corresponding to a cavity in the other. Inside, the box was painted red. It contained, first, a bronze dinos of archaic Campanian style with a statuette of a naked youth on the lid and statuettes of horses on the rim (ibid. p. 237 and p. 238 figs. 5-6): no. 14 in Riis's list, From the Coll. 2 p. 157. This in its turn contained the ashes of the dead, and a black squat lekythos roughly reeded (RM. 2 p. 238 fig. 4). In each corner of the receptacle there stood a clay vase: in one corner, the Boston Nolan; in the second, a small oinochoe or mug 'blackened as if by smoke' (ibid. p. 240 fig. 12); in the third, a skyphos covered with lustrous black glaze (ibid. fig. 11); in the fourth, a janiform head-kantharos — two archaic or sub-archaic female heads (ibid. fig. 10). Since the head-vase is 'of excellent make' it is no doubt Attic. I confess to being a little surprised by the other three vases: I have only the small cuts to go by, but I should have guessed that the squat lekythos and the little mug with the ring-handle were Campanian of the fourth century, and that the skyphos was not earlier than the late fifth.


G. M. A. Richter, AJA 30 (1926), p. 37; Sichtermann 1955, p. 76, no. 28, pl. 2, 2; idem, AntK 2 (1959), p. 13, pl. 8, 4; ARV2, p. 553, no. 39; Follmann 1968, pp. 37, 110, no. 39; L. Byvanck-Quarles van Ufford, BABesch 44 (1969), pp. 130, 132; Boardman 1975, pp. 180, 190 (fig. 339), 224, 247; B. S. Ridgway, Hesperia 46 (1977), p. 317, note 7; V. Webb, 1978, Archaic Greek Faience, Warminster, Aris and Phillips, p. 160, note 35; A. Balomenou, ArchDelt 33 (1978), p. 338, note 4; Kaempf-Dimitriadou 1979, pp. 9, 77, no. 9, pl. 2, 3-4; Brommer 1979a, p. 20; Brommer 1980, p. 48, no. B 20; Beazley Addenda 1, p. 126; Koch-Harnack 1983, pp. 136, 254, cat. no. 104; Images 1984, p. 32, fig. 45 (J.-L. Durand); Bilderwelt 1984, p. 48, fig. 45 (J.-L. Durand); Keuls 1985, pp. 286, 288, fig. 257; M. Robertson, in Greek Vases in the J. Paul Getty Museum 3 (1986), p. 72, note 4; LIMC, IV, 1, p. 156, no. 31, IV, 2, pl. 78 (H. Sichtermann); Koch-Harnack 1989, pp. 65, 67, fig. 47; E. D. Serbeti, Boreas 12 (1989), pp. 21 (note 20), 37 (note 126); Padgett 1989, pp. 11 (note 5), 64; Beazley Addenda 2, p. 258; Arafat 1990, pp. 69, 72, 189, no. 3.3.

96. 01.8109 NOLAN AMPHORA (with triple handles) from Cumae PLATE L, 96

Height 0.307. The drawings are by Caskey. One figure from A, VA. p. 115; A, International Studio 88 (Dec. 1927) p. 71, above, r. (D. C. Rich); A, Panm. pl. 16, 3; the shape, Hambidge p. 61 and Caskey G. p. 66. A, a boy victor. B, a youth (attendant at a sacrifice) dragging the skin of an ox. About 470-460 B.C., by the Pan Painter (VA. p. 115; Att. V. p. 102 no. 22; Panm. p. 22 no. 27; ARV. p. 364 no. 33).

The victorious athlete is a sturdy boy, planted firmly on his feet, with the left leg frontal; wreathed, and holding three sprigs, such as were given to victors, in each hand. He looks towards a man, dressed in a himation, and wreathed, who stands in the same position, with the right leg frontal, but the feet not so far apart and the head turned to right and raised: he holds a pronged wand in his right hand and a walking-stick in his left. He may be about to announce the victory, as in other pictures resembling this: see CV. Oxford, on pl. 49, 6, and Panm. p. 14 note 28; add the bell-krater by the Nikias Painter in the British Museum (London 98.7-16.6: Fröhner Coll. Tyszkiewicz pl. 35, whence Hoppin Rf. ii p. 219: ARV. p. 847 no. 1).

The mouth of the boy has disappeared in a dint. One might think that the apparent bald patch on the forehead was due to the same accident, but it is not. At first I thought of incipient baldness and a comic touch in the artist's manner (VA. p. 115); later, I conjectured that the boy had recently cut off his forehead-hair and dedicated it to Apollo, as boys did when they became ephebes (Panm. p. 14: Hesychius s.v. οἰνιστήρια, see also Hauser in FR. ii p. 292 and Jacobsthal Die melischen Reliefs p. 84). A third


1 The woman crowning Ganymede is no doubt Hera, as Hackl says. Hera gives Ganymede a crown in token of good will, just as Amphitrite crowns Theseus in Bacchylides (Bacchyl. 17.113-16).

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