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right, a bearded man twirling a kylix with his right hand, and holding a black kylix in his left. His left leg is exposed and drawn in front view like that of the man in the interior. His head, shown in front view, is wreathed, and bound with a cloth, drawn in outline, and tied so that its long ends hang at either side.1 His friend, on the second couch, turns round towards him and extends both hands, one holding a cup. He wears a similar headband, with its ends hanging behind, and wreath. At the left a youth seated on a stool, but leaning back against the central figure, plays the flute. He wears a wreath, but no fillet. Two baskets hang above. A table, with wreaths laid on it, stands under each couch. Behind the older man's couch a staff is standing against the wall. In the field, ΗΟ ΠΑΙΣ ΚΑΛΟΣ. Beazley remarks that the cushion of the man at the right on side B is certainly a wine-skin, and the others probably. Wine-skins are used as cushions on the Cambridge cup mentioned below, on the Boston symposium cup by the Panaitios painter Boston 01.8018, Hartwig, Meisterschalen, Pl. XIV, 2, Beazley, Att. V., p. 166, no. 12; and on the erotic cup in Corneto, F.R. iii, p. 252, above. Compare also the silen leaning against a wine-skin on a Brygan plastic kantharos in New York: Richter, Handbook (1927), p. 120, fig. 78.

These paintings were described by Robinson in the Annual Report as 'in the style of Brygos', and definitely attributed to him by Tonks. Their true relationship to the Brygos painter was first made clear by Beazley, who assigns both this cup and its pendant, the symposium cup in Cambridge,2 to the Foundry painter, an artist who shows 'a not always ineffective coarsening of the Brygan style'. In Vases in America, p. 93, figs. 61, 62, Beazley makes a significant comparison between the standing cup-bearer on our vase and a similar figure on the Brygan symposium cup in London, Hartwig, Pl. 34: 'How admirable the drawing in both! only, the Brygan boy is made like us of flesh and air: the other is a most captivating marionette.'3

D. M. Robinson, AJA 32 (1928), p. 50; ARV, p. 264, no. 11; A. Greifenhagen, JBerlMus 3 (1961), p. 128, note 28; ARV2, pp. 401-402, no. 11; Sedlmayr & Messerer 1967, p. 39 (W. Züchner); Para., p. 370, no. 11; Cook 1972, pp. xxi, 169 (fig. 30B), 234-235; S. Karouzou, ArchDelt 31 (1976), p. 19, note 50; CVA, Musée du Louvre, 19, p. 17, under pl. 33, 1-8 (H. Giroux); CVA, Tübingen, 5, pp. 23-24, under no. S./10 1536a.a (J. Burow); Korshak 1987, pp. 13-14, 58, no. 138; Christiansen & Melander 1987, p. 23, note 17 (M. P. Baglione); U. Mandel, 1988, Kleinasiatische Reliefkeramik der mittleren Kaiserzeit (Pergamenische Forschungen 5), Berlin, W. de Gruyter, p. 110, note 786; Beazley 1989, pp. 80-81, pls. 52, 2, 53, 1-2; H. R. Immerwahr, Hesperia 61 (1992), p. 123, note 8.

33. 13.204 KYLIX Silens and maenads PLATE XIII

Diameter, 0.238 m. Incomplete; repaired with clamps in antiquity; the handles and the foot missing. Relief contour lines throughout; red used for the wreaths, the girdles of two of the maenads, the meaningless inscriptions in the field, brown for the inner markings on the bodies and for some of the drapery folds. It is noteworthy that the neck-muscle is indicated on all three maenads (inadvertently omitted on the drawings).

From Cervetri. Ann. Rep. 1913, p. 90. Beazley, V.A., p. 94. Hoppin, i, p. 456, no. 8. Beazley, Att. V., p. 187, no. 1.

Interior: a maenad moving to right with her right leg advanced, her body in front view, her head turned back and inclined. Her right hand holds a thyrsus, her left a spotted snake. Her head is wreathed with ivy. She wears an Ionic chiton with overfold like that of the better-preserved figure on side A. A leopard-skin is tied about her neck and hangs down her back.

On each side of the exterior, a maenad, attacked by two silens, defends herself with her thyrsus and her snake. On B she thrusts out her snake at the right-hand silen, and is ready to poke him with her thyrsus. On A she wheels round to the left-hand silen, prepares to strike at him with the butt of her thyrsus, and thrusts out her snake towards him. The silen at the left on B wears a leopard-skin, and his body seems to have been bent far forward, if the remains above the maenad's right elbow are correctly explained as the fingers of his left hand.4

By the Foundry painter, according to Beazley (V.A.), or at least in his manner (Att. V.). The heads of the maenads on the interior and on side A show an unmistakable resemblance, especially in the drawing of eye and chin, to those of the following figures: the youth at the right on side A of the symposium cup, no. 32, Pl. XII (Boston 01.8034), the warrior on the interior of


1 Similar headbands, with ends hanging at the sides, are worn by two symposiasts, one shown in front view, the other in profile, on a cup fragment in Tübingen, Watzinger, Griechische Vasen in Tübingen, Tübingen E 26, Pl. 20.

2 Published by Bicknell, J.H.S. xli, 1921, p. 223, Pls. 15, 16, fig. 2.

3 (From Addenda to Part I) No. 32. ARV. p. 264, Foundry Painter no. 11.

4 These five fingers, none of which resembles a thumb, are in even more wooden style than those of a komast on the Cambridge cup by the Foundry Painter: J.H.S. xli, 1921, Pl. XV. The foot of the same komast is carelessly drawn almost like a hand, as Bicknell has noted.

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