- 11. Goluchow, Prince Czartoryski, 119, rf. rhyton by the Brygos Painter (ARV. p. 254 no. 139).
- 12. Louvre CA 2952, rf. cup by the Pistoxenos Painter. I, a boy singing and a man seated playing the lyre. On each half of the exterior, in the middle, a maenad, clothed, is sleeping on a rock; on A, a satyr approaches jauntily from the left, his left hand on his hip, and another steals up from the right, catching hold of the rock; on the right of B, a satyr already bends and lays hands on the maenad, while to the right another stands watching, with a wineskin over his left shoulder, and his right hand on the rock.
- 13. Munich, Dr. Adolf Preyss, rf. cup in the manner of the Pistoxenos Painter (ARV. p. 577 no. 1). In the middle of A, a maenad, clothed, lies on the ground under a tree, to left, sleeping, her head to right, her right hand on her right knee, her thyrsus under her right arm, her left arm resting on a pointed amphora; a satyr prances up on the left, and on the right another satyr, with face in three-quarter view, sets his right foot on the pointed amphora and takes hold of the maenad's left forearm with his right hand.
- 14. Baltimore, Baltimore Society of the Archaeological Institute of America; and Florence: rf. cup, manner of the Pistoxenos Painter (ARV. p. 577 no. 2). The maenad's eye was restored as open, but is closed.
- 15. Louvre G 251, rf. cup. Inside, naked youth running to left, looking round, his arms in his cloak. Outside, on each half, a maenad, clothed, lying asleep, to left, and, on the left, a satyr rushing to attack her; on A, the maenad's face is frontal. Same period as the last three cups, and not very remote in style. Brief mention in Hartwig pp. 452 and 677-8.
- 16. Villa Giulia 50436, rf. cup. Inside, a cup-bearer approaching a bell-krater. In a zone round this, satyrs attacking sleeping maenads. Outside, satyrs and maenads. Much rubbed. Still early classic.
- 17. Louvre G 206, small rf. neck-amphora by the Alkimachos Painter (ARV. p. 357 no. 19).
- 18. London E 555, rf. oinochoe (shape V), by the Mannheim Painter (ARV. p. 661 no. 1).
- 19. Villa Giulia, rf. oinochoe (shape V), by the Mannheim Painter, replica of the last (ARV. p. 661 no. 2).
- 20. Oxford 534, rf. oinochoe (shape III), akin to the Eretria Painter (ARV. p. 732).
- 21. Frankfort, Dr. Schaeffer, rf. oinochoe (shape III). Städel-Jahrbuch 2 p. 19 and pl. 6 (Schaal); Schaal F. pl. 48.
- 22. Boston 01.8085, rf. oinochoe (shape III). Ours.
- 23. Delos, fragment of a rf. krater (bell- or calyx-, more probably bell-). Plassart Délos xi p. 61. A satyr embraces a maenad. Her head is missing, but from her attitude she would seem to be sleeping. Neighbourhood of the Dinos Painter.1
- 24. Vienna 207, rf. stemless cup, by the Q Painter (ARV. p. 886 no. 27). Inside, a naked maenad sits on a rock to left, head turned to right, her left elbow on the rock, her chin resting on her left shoulder, her right arm on her thigh; on the left, a satyr approaches, laying his right hand on her right forearm, and raising his left arm. Here one might mention the group of Chorillos and Paidia on a contemporary cup, by the Jena Painter, in Würzburg (Würzburg 492: Langlotz pll. 162-3: ARV. p. 881 no. 39), although the maenad is not asleep.
- 25. Würzburg 523, rf. calyx-krater by the Meleager Painter (ARV. p. 871 no. 6). In this degenerate work the group of satyr and sleeping maenad is used to fill a corner in a larger composition of Dionysos, maenads, and satyrs.
- 26. Athens 1397 (CC. 1936), small rf. bell-krater. A woman with white flesh sits to left, leaning back, her right arm behind her head, her left resting on a tympanon; on the left, a satyr approaches, bending, arms extended, the left hand touching her breast. Fourth century.
- 27. London 1901.7-10.5, rf. pelike by the Herakles Painter. JHS. 41 pl. 8, v. 5; Jb. 25 p. 137; Schefold U. pl. 4, 2 and figs. 14-15. See above, ii p. 95.
This text is part of:
1 (From Addenda to Part II) P. 97. No. 23 is now published in Dugas Délos xxi pl. 54, 5, no. 24 in CV. Vienna pl. 26, 1-4, no. 27 in Metzger Les représentations dans la céramique attique du ive siècle pl. 10. The attribution to the Herakles Painter is Schefold's (in U. p. 158).
