175. 00.354 CUP from Tanagra PLATE CVI, 175Diameter 0.17, height 0.098. I, Matz Die Naturpersonifikationen in der griechischen Kunst pl. 1. I, Sparte. About 400 B.C., close to the best work of the Jena Painter (ARV.1 p. 884 no. 7; ARV.2 p. 515, below) and to the few vases of the Diomed Painter (ARV.1 pp. 883-4; ARV.2 p. 516), who is closely connected with the Jena. The small cup is of delicate make and unusual shape. The inside of the offset lip is ornamented with an ivy-wreath, the stem and berries of which are white, the leaves reserved. The bowl is reeded outside. It is separated from the stem by a large black fillet, with a reserved line near the top. The profile of the foot is black, and is divided by a groove into two thin mouldings of which the upper is the larger and definitely a torus. The underside of the foot is black, with three reserved bands. The handles are not worthy of the rest. The shape is descended from the 'Acrocup' (see ii p. 67; Boston 03.815), or rather it is an Acrocup influenced by metal originals such as the silver cup (with gold medallion) from the Chmyrev grave (Anz. 1910 p. 219 figs. 18-19). The following clay cups are near ours in shape:
- 1. New York 06.1021.186. Sambon Coll. Canessa p. 73; A, Richter and Milne fig. 18; Richter and Hall pl. 167, 172 and pl. 181, 172. I, Eros driving a chariot. Outside, reeded. Inside the lip, an ivy-wreath. The large fillet between bowl and stem is black, but has a slanting transitional member below it, which is reserved. The profile of the foot has two divisions, the upper of which is torus-like. The underside of the foot is nearly the same as in the Sparte cup, black, with three reserved bands. The handles are again coarse. The painter is not the same as in the Sparte cup, but a contemporary.
- 2. Oxford 1917.63. CV. pl. 48, 5. Inside, a small incised design. Outside, incision imitating reeding. The profile of the foot is black and tripartite; the underside is black with two reserved bands.
- 3. Athens, Ceramicus Museum. Anz. 1937 p. 198; Karo An Attic Cemetery p. 35, 1. Inside, an incised design of twist, rays, small circles, and tongues. Outside, reeded. The fillet between bowl and stem is, in part at least, reserved. The profile of the foot is black and bipartite, the upper and larger member being a torus. The make is less delicate than in the three cups already described. The handles are missing. From the grave of the Lacedaemonians who fell in 403 B.C.
- 4. Athens, Agora P 16935, fragment. Inside, an incised design of small circles, rays, and tongues. Outside, reeded. Compare the last.
- Naples. Outside, reeded. Not certain that the lower half of the stem, with the foot, belongs.
- Reggio 765. Inside, a female head. Outside, reeded. Missing, the handles, the lower half of the stem, and the foot.
- Leningrad, fr. 1, Compte rendu 1869 pl. 4, 9. Inside, red-figure, Dionysos and Eros. Outside, reeded.
- Athens, Agora P 10545. Hesp. 18 pll. 86-87, 35. Inside incised and stamped decoration. Outside, reeded. See Corbett ibid. p. 322.
- Oxford, Beazley. As the last.
- Bucarest, Kalinderu Museum. Coliu p. 100. As the last two.
- Naples. Gargiulo Mus. Borb. 2 pl. 30, 3; ML. 41 pl. 20, 5, Gàbrici. Deeper.
P. E. Corbett, Hesperia 18 (1949), p. 105; F. W. Hamdorf, 1964, Griechische Kultpersonifikationen der vorhellenistischen Zeit, Mainz am Rhein, P. von Zabern, p. 93, no. 243 a (should be c); B. A. Sparkes, JHS 87 (1967), p. 127; Para., p. 500; K. Schauenburg, JdI 89 (1974), p. 162; Mitten 1975, p. 131, under no. 36; D. Metzler, Hephaistos 2 (1980), pp. 83, 88, note 75; Kurtz & Sparkes 1982, p. 174, note 102 (B. Shefton); D. Gill, in M. Vickers, ed., 1986, Pots & Pans: A Colloquium on Precious Metals and Ceramics in the Muslim, Chinese and Graeco-Roman Worlds, Oxford University Press for the Board of the Faculty of Oriental Studies, pp. 11, 13, figs. 7-8; Burn 1987, p. 39; I. McPhee and E. Pemberton, in J.-P. Descoeudres, ed., 1990, Eumousia: Ceramic and Iconographic Studies in Honour of Alexander Cambitoglou, Sydney, Meditarch, pp. 127-128; L. Burn, Greek Vases in the J. Paul Getty Museum 5 (1991), p. 128, note 11; Shapiro-Lapatin 1992, p. 118, note 51.