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uncertain, but already in the Hesiodic Ehoiai (Pap. Oxyrh. 1359 fr. 1; Evelyn White p. 606). How he came to be in Mysia was explained in various ways: in the Mysoi of Aeschylus it is clear that he had committed murder at home in Tegea and must flee the country; on consulting the oracle he was told to go to Mysia, where king Teuthras would purify him; and until he had been purified (according to the Greek rule, Aesch. Eum. 452) he must speak no word. Teuthras, in our picture, returning from the chase or from a journey — and so dressed as a traveller, not as a king at home — , finds Telephos in his house, perceives, from his attitude and his silence, what is amiss, pities him, performs the rite of cleansing, and in the end adopts him as his son and successor.

This interpretation, which is Pollak's, is not certain: but it fits the unusual attitudes and the unusual atmosphere, and may well be right.

There is another interpretation, however, which has long been in my mind and is possibly worth mention: Theseus and Perithoos.1 The building, the house of Hades: Theseus, freed by Herakles, will return to the light; Perithoos must stay.

Relief-contours. Brown for the minor markings on the bodies. Red for the loops of the spears. This variety of maeander is a favourite with the painter; and several of his cups combine it with this particular form of saltire-square, for example, those in Leningrad, Tarquinia, Budapest.2

According to Pollak the brown flecks on the rock-seat are vegetation (p. 20) — moss, then, or the like, which is quite possible. If the scene is in Hades, one thinks of dried blood, and of the Ἀχερόντιος σκόπελος αἱματοσταγής in the Frogs (Aristoph. Frogs 471): but this is not to be pressed.

Lastly, Pollak says that one cannot tell whether the seated man was bearded or not: enough remains to show that he was bearded.

F. Studniczka, JdI 26 (1911), p. 175; G. M. A. Richter, AJA 21 (1917), p. 1, note 4; Reinach 1924, I, pp. 309-310; Metzger 1951, p. 288; Brommer 1960, p. 334, no. B 2; A. Ciasca, 1962, Il Capitello detto Eolico in Etruria, Florence, Sansoni, p. 23, note 2; R. Blätter, AntK 7 (1964), p. 49; W. Hahland, JdI 79 (1964), p. 230, note 174; P. Oliver-Smith, in L. F. Sandler, ed., 1964, Essays in Memory of Karl Lehmann, Institute of Fine Arts, New York University; distributed by J. J. Augustin, Locust Valley, N.Y., p. 238, fig. 10; E. Vermeule 1965, fig. 12; EAA, VII, p. 673, fig. 791 (E. Paribeni); Webster 1967, p. 145; Schettino Nobile 1969, pp. 6, 11 (note 21), 20 (note 46), 23-24 (no. 21), 29, 39-41, 43, 45, 47, 53, 55, 60-61, 79, pls. 27-28, figs. 45-47; Chapman Tribute, illus.; Para., p. 420, no. 2; Bauchhenss-Thüriedl 1971, pp. 18-25, 87, nos. 48, 51; K. Schauenburg, RM 79 (1972), p. 5, note 24; J. Gould, JHS 93 (1973), p. 102; C. C. Vermeule, BurlMag 115 (1973), p. 122, note 36; E. R. Knauer, 1973, 125 BWPr, p. 21, note 2; Brommer 1973, pp. 471 (no. B 2), 538 (under B 1); Boardman 1975, pp. 195, 206 (fig. 378), 231, 248; Betancourt 1977, p. 150; E. B. Dusenbery, Hesperia 47 (1978), p. 236, note 88; M.-A. Zagdoun, RA 1978, p. 126; Childs 1978, p. 90; J. H. Oakley, AJA 86 (1982), p. 114, note 16; Beschi 1982, p. 382 (M. Paoletti); Kurtz & Sparkes 1982, p. 45 (D. von Bothmer); Beazley Addenda 1, p. 143; K. Schauenburg, RM 90 (1983), p. 347; H. R. Immerwahr, AJA 88 (1984), p. 343, note 14; Prag 1985, p. 126, note 1; M. Meyer, JdI 103 (1988), pp. 95 (note 44), 96 (notes 45, 48); Schefold & Jung 1988, pp. 214-215 (figs. 264-265), 372; CVA, Amsterdam, Allard Pierson Museum, 1, p. 72, under no. 2239 (J. M. Hemelrijk); Beazley 1989, p. 97; Beazley Addenda 2, p. 292; E. C. Keuls, in J.-P. Descoeudres, ed., 1990, Eumousia: Ceramic and Iconographic Studies in Honour of Alexander Cambitoglou, Sydney, Meditarch, p. 89.

155. 95.28 CUP from Vulci PLATE LXXXIX

Diameter 0.328. The foot is alien. First heard of in the possession of the Roman dealer Basseggio, who sold it to Schlosser in the winter 1835-6. Later in the Bernus collection at Stift Neuburg near Heidelberg; later still, in the collection of Adolphe van Branteghem (no. 72). Mon. 2 pl. 48, with Annali 1837 pp. 209-l8 (Emil Braun), whence (one figure) Benndorf Gjölbaschi p. 144; WV. C pl. 2; Burl. 1888 pll. 7-8 = Fröhner Brant. pll. 21-22 and Hartwig pl. 39, 2 and pl. 40, whence Hoppin ii p. 47, (I and B) Perrot 10 pp. 492-3, (A-B) Jb. 32 Beil. p. 137, (A-B) Pfuhl fig. 449, (A-B) Deubner Attische Feste pl. 24, (A-B) Arch. class. 4 pl. 33 (Becatti); I, Pfuhl fig. 449, whence Arch. class. 4 pl. 36, I; A-B, ibid. pll. 34-35; I, Fairbanks and Chase p. 34; B and part of A, Bielefeld ZV. pl. 11. All these publications include restorations, and do not include the new fragments, for which see below. I, Eos pursuing Tithonos. A-B, unexplained. About 470-460 B.C., by the Telephos Painter (VA. p. 108 no. 1; Att. V. p. 225 no. 1; ARV.1 p. 542 no. 1; ARV.2 pp. 816-17 no. 1).

The cup, of Type B, bears the signature of Hieron as potter, incised on one handle, ΗΙΕΡΟΝΕΠΟΙΕΣΕΝ. (It is placed on the wrong handle in the drawing published by Hartwig.) Pollak saw that the pictures were by the same hand as those on the Telephos cup, no. 154.

In 1933 I added a fragment in Florence and four (making up into three) in Villa Giulia (CF. pl. 11 B 44 and pl. Y, 5-8, with pp. 18-19); Miss Chapman has incorporated them in her drawings.

Inside, Eos, alighting, seizes a boy, who looks round in surprise. She wears a chiton, with kolpos, a small wrap shawl-wise over her shoulders, a spotted saccos, and ear-rings; the boy has a himation over his shoulders. His long hair is tucked up behind into a headband or thin stephane, with a pair of locks escaping one on each side of the ear. Relief contours. Brown for the minor details of the wings and of the boy's body, also for the pair of stripes on the skirt. The lower edge of the skirt is bordered with brown, like the edge of

1 See iii p. 70 (Boston 99.539).

2 Leningrad 658: ARV. 1 p. 543 no. 3; ARV.2 p. 817 no. 3. Tarquinia 690: CV. pl. 21: ARV.1 p. 543 no. 13; ARV.2 p. 818 no. 17. Budapest: ARV.1 p. 544 no. 26; ARV.2 p. 819 no. 37.

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