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Baltimore, Hopkins AIA B11

Kylix by the Antiphon Painter 490-480 B.C.

B 11. Baltimore Society AIA, formerly Hartwig Collection. "Cervetri." Ht, 9.3 cm; diam with handles, 30.7 cm; diam rim, 24 cm; diam foot, 8 cm. Mended from many pieces. Foot is ancient but may not belong. (Top of foot and base of stem were filed for close fit.)


Standing youth in left profile wears fillet and mantle, which expose only top of head and face. Left arm at hip; right arm raised to chest. In field before him are a sponge, strigil, aryballos. Inscribed in field on either side of youth: [επιγ-ρουγη]Ο ΠΑΙΣ ΚΑΛΟ[Σ]. (The boy is beautiful.)

Tondo is bordered by leftward meander between reserved bands.

Exterior, Side A:

Pankration scene. Standing at left is youth in right profile wearing a mantle that exposes only top of head and eyes.

Right hand beneath folds is uplifted to conceal most of face. Fillet indicated by reserved band between relief lines. Hanging in field in front of youth are weights and bag. Suspended nearby are strigil, sponge, and bag. In center are two wrestling youths, the victor crouching with left knee drawn up, torso frontal, right arm upraised. Left hand is placed over mouth of opponent, who lies on his back, left hand extended over head, right forearm uplifted, legs in air. Approaching them is a trainer wearing mantle over left shoulder and holding staff in outstretched right hand. Head in left profile wearing taenia.

Relief contour throughout, except beneath feet and incised hairlines. Dilute glaze for inner markings and lettering. Added purple for fillets of youth on tondo and of two figures with staffs on A and B. Vertical edge of foot reserved with black line around lower edge.

Exterior, Side B:

Palaestra scene. Standing in right profile is trainer wearing fillet and mantle draped over left shoulder, exposing right shoulder and arm. Staff in left hand; right arm with rod in hand is extended to pair of wrestlers, one of whom is almost entirely missing except for right foot. Opponent is shown in left profile, with back in three-quarter view, elbows bent with hands extended.

The Antiphon Painter is credited with almost one hundred cups, most of which have exterior as well as tondo decoration.1 The painter prefers genre scenes, either very active ones involving athletes and hunters, or quiet figures like the youth in our tondo. His inscriptions are general words of praise (e.g., "the boy is beautiful," as on our own vase), or refer to specific individuals, such as Antiphon, for whom the painter is named.2 Other youths who are complimented include Lysis,3 Aristarchos,4 and Nikostratos.5 The Antiphon Painter worked for several potters, especially Euphronios, who provided vases for Onesimos and Douris.6 Our artist also decorated vases for the potter Python, for whom Epiktetos and Douris also worked.7

The style of the Antiphon Painter is representative of early fifth-century vasepainting in the rounded, prominent jaws, the garments, which fall with few folds, and the three-quarter and back views, which are not always completely successful. The painter's style is close to that of the early or proto-Panaetian phase of Onesimos and can be recognized by the even, almost monotonous spacing of the folds, the drapery pulled tightly over the arms and grasped by the fists, and the black borders just above the hems of the garments.

On our cup, the scenes in the tondo and on the exterior represent a palaestra where youths trained in wrestling and in the pankration.8 Side A illustrates the beginning of the encounter, which continues on side B, where the trainer gesticulates at the contestants. The sponges, strigil, and aryballos were used for applying oil before exercising and for removing it afterward.


P. Hartwig, RömMitt 2 (1887):168, no. VI; Hartwig 1893, 575ff, pl. 64; FR, 251-52, no. 1; Gardiner 1910, 437; Perrot & Chipiez, vol. 10, 629, fig. 350; Beazley 1918, 111; Hoppin 1919, vol. II, 166, no. 1; Beazley 1925, 232, no. 26; Philippart 1928, 51; Gardiner 1930, 214, fig. 189; CVA, USA fasc. 6, Robinson fasc. 2, 18-19, pls. XVII, XVIII.1; Buschor 1940, 153, fig. 172; ARV2, 340, no. 65.

1 ARV2, 335-41; Beazley, JHS 58 (1938):267; Para., 361-62; Boardman 1975, 135; Hornbostel 1977, 312, no. 266.

2 ARV2, 335, no. 1.

3 ARV2, 336, no. 10; 338, no. 39; 339, nos. 52, 60.

4 ARV2, 336, no. 16, which is the same as D. K. Hill, JWalt 23 (1960):16, 24. See also Para., 362, in Schimmel Collection.

5 ARV2, 337, no. 26.

6 ARV2, 336, nos. 10, 14, 18; 337, no. 25; 339, no. 57; 340, nos. 63, 73; 341, nos. 77, 88. Bloesch 1940, 71, 79, 80.

7 ARV2, 340, no. 71. See also ARV2, 1646 and Para., 361.

8 Harris 1964, 105-9.

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