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The cup is of Type B; the potter-work is attributed by Bloesch to Euphronios (F.A.S. p. 79 note 136 and p. 80 no. 61).

Inside, a youth starts to run, looking back, a spear in his right hand, his left arm extended in his chlamys, holding it away from his body. Besides the chlamys he wears sandals, stockings, a sword and a hat of Robin Hood type, with a loop at the top for suspension. Hartwig suggested that the youth might be a περίπολος, one of the epheboi serving on frontier duty, and indeed that he might be setting out with a message.1 It is quite possible.

Relief-contours. Brown lines for the minor details of the body, many of which are omitted in Hartwig's drawing, and others miscopied. The restorations, too, are not given correctly by Hartwig: our reproduction omits the chief one. The lesser folds of the chlamys are in brown. Red for the cords of the hat, the baldrick, the sandals and stockings, the inscription ΛΥΚΟΣ [ΚΑ]ΛΟΣ.

Hartwig attributed the cup to Onesimos, and it is certainly near him: the spare forms of arms and legs are Onesiman, so are the shortness of the body from the pit of the stomach to the navel, the treatment of the folds on the shoulders, and the form of the maeander: but I take the artist to be the Antiphon Painter, strongly influenced by Onesimos: the two painters were in the same workshop.

Roton 1950, p. 147, illus.; Karouzos 1961, p. 78; Para., p. 361, no. 18; Brijder 1984, p. 157 (T. Seki).


Jb. 14 pl. 4 (Hartwig), whence Perrot 9 p. 338, Perrot 10, title-page, Pottier Douris p. 123, Richter Craft p. 72; Cloché Les Classes, les métiers, le trafic pl. 20; Technical Studies 10 p. 8 (G. L. Stout) and 1942 pp. 157 ff.; AJA 1960 pl. 85 fig. 3 (Noble); part, E.A.A. iii p. 138. I, vase-painter. About 480 B.C., in the manner of the Antiphon Painter (VA. p. 111; Att. V. p. 235 no. 70; ARV.1 p. 231 no. 21; ARV.2 p. 342 no. 19).

The cup is of Type B. The outside was plain. The inside has been studied, from the point of view of subject, by Hartwig in Jb. 14 pp. 155-8, by myself in Potter and Painter pp. 10-11, and by Noble in AJA. 1960 p. 314; see also Reichhold in FR. i p. 21, which I do not well understand. A youth sitting on a stool, with his himation let down to his waist, holds a cup by the foot, the bowl resting lightly on his thigh, and draws with a fine brush held in his right hand. The hair or hairs of the brush are rendered by a single curved relief-line, which does not show in the photograph but may be seen in the drawing published by Hartwig. The grip of the brush is that which is used in China and Japan and which according to G. L. Stout was widely used in the West before 1500.2 In his left hand our painter holds a small object, thin, pointed, and swelling towards the middle, which has received several explanations, none of them perfectly convincing.3 Another

1 See Hauser in Jb. 11 pp. 187-88.

2 In Technical Studies 10 p. 8 and 1942 pp. 157 ff.

3 See PP. pp. 10-11; and Noble in AJA. 1960 p. 314. What is odd, if it is so, is that the person should be shown holding in one hand the instrument of one process while with the other hand he uses the instrument of another process. This sometimes happens in life, but in representation one expects that one characteristic action should be concentrated upon, and not mixed up with another.

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