1.
Provenance
By 1967–83, Walter and Molly Bareiss (Bareiss number 342; the vase is mentioned in a letter from Sir John Beazley to Walter Bareiss, dated June 16, 1967); 1983–86, the Mary S. Bareiss 1983 Trust; 1986, sold to the J. Paul Getty Museum.
Shape and Ornament
Rim slightly convex on top with a vertical overhang; a flat handle plate extending beyond the rim at each side supported by two columns; ovoid body; ogee foot. Palmettes with volutes on the handle plates framed by pairs of vertical lines. Overhang of the rim: a double row of ivy leaves (A) or dots (B) with lines above, below, and between. On the neck: A, black dotted chain of pendant lotus buds between two black lines in a reserved panel; B, black. Figural decoration on the body panels framed by a double row of dots between black lines at the sides and a row of short black tongues on the shoulder at the junction with the neck. Reserved band below. Zone of black rays above foot. Outside of the foot is black, except for the lower part. Resting surface and underside of foot reserved. Interior black.
Subject
Top of rim. A. Two pairs of a grazing deer and panther in black silhouette.
B. Two pairs of a grazing goat and panther in black silhouette.
Body. A. Two nude youths walking to right with their horses. They look at one another and each holds a kentron (goad) in his right hand.
B. Athletes training: a nude akontist (javelin thrower) on the left, a trainer (paedotribēs) in the center, and a nude jumper practicing with a pair of weights (haltēres) on the right. The akontist is presented in a three-quarter back view, moving to left while turning his head back toward the trainer. He holds his javelin horizontally in his right hand with his arm outstretched. A freestanding stick is fixed between the akontist and the trainer. The trainer, wearing a himation, stands to right, with his back to the viewer and his head turned left to watch the akontist. He holds a staff in his upraised right hand. The jumper stands to left with his right foot advanced and his arms outstretched in front, holding the haltēres in his hands. Behind and looking up at him, at the right, are the foreparts of a dog in profile. A sponge and a strigil hang at the upper right; a pick rests on the ground.
Attribution and Date
Attributed to Myson by J. D. Beazley. Circa 490–480 B.C.
Dimensions and Condition
Height 34 cm; diam. of rim 31.9 cm (outside); diam. of rim 25.7 cm (inside); width with handles 37 cm; diam. of body 31.2 cm; diam. of foot (as restored) 17.1 cm. Capacity to rim 11.124 liters. Reconstructed from several fragments with the joins between fragments filled with plaster and painted. Pitted and abraded in places.
Technical Features
Preliminary sketch. Relief contour. Accessory color. Red: inside rim, line around the vase beneath figured panel, reins and bridle of horses, upper edge of javelin at side B.
Bibliography
Abbreviation: BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk 352504; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 349.29 ter; H. May, ed., Weltkunst aus Privatbesitz, exh. cat., Kunsthalle Köln, May 18–August 4, 1968 (Cologne, 1968), cat. no. A 34; Abbreviation: Greek Vases and Modern DrawingsGreek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. cat. The Metropolitan Museum of Art, June 13–October 5, 1969. Entries by D. von Bothmer and J. Bean. New York, 1969, p. 4, no. 45 (68.142.18); Abbreviation: Greek VasesGreek Vases: Molly and Walter Bareiss Collection. Exh. cat. Entries by J. Frel and M. True. Malibu, 1983, p. 76, no. 102; “Acquisitions/1986,” Abbreviation: GettyMusJThe J. Paul Getty Museum Journal 15 (1987): 160–61, no. 7; Abbreviation: Bron, “Chevaux et la danse,”C. Bron. “Les chevaux et la danse: Comos épinicien et course équestre sur un cratère à figures rouges.” Antike Kunst 40 (1997): 20–28 pp. 20–28, pl. 6.1,3; P. Valavanis, Games and Sanctuaries in Ancient Greece: Olympia, Delphi, Isthmia, Nemea, Athens, trans. from Greek by D. Hardy (Los Angeles, 2004), p. 416, fig. 600; J. B. Grossman, Athletes in Antiquity: Works from the Collection of the J. Paul Getty Museum, exh. cat. (Salt Lake City, 2002), p. 30; Perseus Digital Library Project, Tufts University, http://www.perseus.tufts.edu/hopper/artifact?name=Malibu+86.AE.205&object=Vase.
Loans
Cologne, Kunsthalle Köln, Weltkunst aus Privatbesitz, May 18–August 4, 1968; New York, The Metropolitan Museum of Art, Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss, June 13–October 5, 1969; Salt Lake City, Utah, Museum of Fine Arts, Athletes in Antiquity: Works from the Collection of the J. Paul Getty Museum, February 1–April 15, 2002.
Comparanda
For Myson, see Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 237–44, 1638–39; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 349, 510; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 201–2; Abbreviation: Beazley, “Vases in the Ashmolean,”J. D. Beazley. “Three New Vases in the Ashmolean Museum.” Journal of Hellenic Studies 28, no. 2 (1908): 313–18 pp. 313–18; Abbreviation: Beazley, Vases in American MuseumsJ. D. Beazley. Attic Red-Figured Vases in American Museums. Cambridge, Mass., 1918, pp. 48–52; Abbreviation: Becker, Formen attischer PelikenM. Becker. Formen attischer Peliken von der Pionier-Gruppe bis zum Beginn der Frühklassik. Böblingen, 1977, pp. 71–72; J. Neils, The Youthful Deeds of Theseus (Rome, 1987), pp. 53–57; L. Berge, “Myson: A Craftsman of Athenian Red-Figured Vases” (Ph.D. diss., University of Chicago, 1992); Abbreviation: Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, pp. 124–27; Abbreviation: Agora 30M. B. Moore. Attic Red-Figured and White-Ground Pottery. The Athenian Agora, vol. 30. Princeton, 1997, pp. 94–95; Abbreviation: Gaunt, “Attic Volute Krater,”J. Gaunt. “The Attic Volute Krater.” Ph.D. diss., Institute of Fine Arts, New York University, 2002 pp. 218–19, 514, no. 1.
The column-krater is the favorite shape of Myson (see Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 239–42, nos. 18–76; Abbreviation: BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk, s.v. Myson; cf. entry no. 2 [73.AE.135]), and it has been suggested that he was one of the vase-painters responsible for reintroducing the shape into the Attic repertory (C. M. Cardon, “The Berlin Painter and His School” [Ph.D. diss., Institute of Fine Arts, New York University, 1977], p. 72; Abbreviation: Mannack, Late ManneristsT. Mannack. The Late Mannerists in Athenian Vase-Painting. Oxford, 2001, pp. 5, 50). The figural scenes are placed in panels as here or are unframed as in entry no. 2 (73.AE.135). For a similar scene and ornament as on A, cf. a column-krater by the same vase-painter in Boston, Museum of Fine Arts 1973.572 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 1638.23 bis; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 349; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 201; Abbreviation: Bron, “Chevaux et la danse,”C. Bron. “Les chevaux et la danse: Comos épinicien et course équestre sur un cratère à figures rouges.” Antike Kunst 40 (1997): 20–28 pl. 6.2).
Figures in black silhouette occur more frequently on the overhang of the rim; cf. entry no. 12 (81.AE.161). For rims decorated on top with figures in black silhouette, see K. Schauenburg, “Silene beim Symposion,” Abbreviation: JdIJahrbuch des Deutschen Archäologischen Instituts 88 (1973): 1–26, esp. 14–20; Abbreviation: Mannack, Late ManneristsT. Mannack. The Late Mannerists in Athenian Vase-Painting. Oxford, 2001, p. 63. Cf. the column-krater in Würzburg, Martin von Wagner Museum der Universität L 526 by Myson (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 239, 19; 1639; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 201; Perseus Digital Library Project, Tufts University, http://www.perseus.tufts.edu/hopper/image?img=Perseus:image:1992.09.0362), with the same motif on top of the rim, and also the column-krater in Naples, Museo Archeologico Nazionale M1210 by Myson (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 239.18; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 201; Abbreviation: BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk 202367). Cf. also column-kraters Louvre G 346 by the Mykonos Painter (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 515.3; Abbreviation: CVACorpus Vasorum Antiquorum Paris, Louvre 4 [France 5], III, Id, pl. 29.8); Harvard 60.346 by the Pig Painter (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 563.8; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 260; Abbreviation: CVACorpus Vasorum Antiquorum Baltimore, Robinson Collection 3 [USA 7], pls. 6.1, 7.1a–b); Hannover, Kestner Museum 1963.27 by the Leningrad Painter (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 567.16; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 390; Abbreviation: CVACorpus Vasorum Antiquorum Hannover 1 [Germany 34], pl. 37.2); Lecce, Museo Provinciale 602 in the manner of the Pig Painter (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 569.39; Abbreviation: CVACorpus Vasorum Antiquorum Lecce 1 [Italy 4], pl. 5); and Gela, Museo Archeologico Nazionale 103 by the Boreas Painter (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 537.23; Abbreviation: CVACorpus Vasorum Antiquorum Gela 3 [Italy 54], pl. 28).
Youths leading horses is a popular theme in Attic vase-painting, but it is difficult to be sure which representations are connected with sport and which are not. Given that the scene on side B depicts an athletic subject, it is possible that the horses on side A could be part of an athletic competition as well. Horses played a prominent role in the ancient Greek world, and Xenophon wrote a treatise On Horsemanship in the early fourth century B.C. For a similar scene, see the krater noted above in Boston, Museum of Fine Arts 1973.572, and a column-krater by the Flying-Angel Painter in a Lausanne private collection (Abbreviation: Bron, “Chevaux et la danse,”C. Bron. “Les chevaux et la danse: Comos épinicien et course équestre sur un cratère à figures rouges.” Antike Kunst 40 (1997): 20–28 pl. 5). For a horse rendered in a similar way, cf. a column-krater in the manner of Myson in Berlin, Antikensammlung 31404 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963243.4; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 202; Abbreviation: CVACorpus Vasorum Antiquorum Berlin, Antikensammlung 11 [Germany 86], pls. 5.2, 6.1).
For nude riders and their interpretation, see J. K. Anderson, Ancient Greek Horsemanship (Berkeley and Los Angeles, 1961), pp. 85–87; Abbreviation: Kyle, AthleticsD. G. Kyle. Athletics in Ancient Athens. Leiden, 1987; rev. ed., 1993, pp. 186–87; E. Maul-Mandelartz, Griechische Reiterdarstellungen in agonistischen Zusammenhang (Frankfurt, 1990), pp. 50, 52, 53, 77; Abbreviation: Goossens, Thielemans, and Thas, “Sport Scenes,”E. Goossens, S. Thielemans, and O. Thas. “The Popularity of Painting Sport Scenes on Attic Black and Red Figure Vases: A CVA-Based Research, Part A.” Bulletin antike beschaving. Annual Papers on Classical Archaeology 71 (1996): 59–94 p. 64. For the subject, see also M. Moore, “Horses on Black-Figured Greek Vases of the Archaic Period: Ca. 620–480 B.C.” (Ph.D. diss., Institute of Fine Arts, New York University, 1971); G. R. Bugh, The Horsemen of Athens (Princeton, 1988), pp. 14–20; I. G. Spence, The Cavalry of Classical Greece: A Social and Military History (Oxford, 1993); J. Barrie, “The Horse on Attic Pottery from the Ninth to the Fourth Century B.C.” (Ph.D. diss., University of Ottawa, 1993); J. McK. Camp, Horses and Horsemanship in the Athenian Agora, Excavations of the Athenian Agora, Picture Book 24 (Athens, 1998); M. Moore, “Horse Care as Depicted on Greek Vases before 400 B.C.,” Abbreviation: MMAJMetropolitan Museum of Art Journal 39 (2004): 35–67. See also M. A. Eaverly, Archaic Greek Equestrian Sculpture (Ann Arbor, 1995), pp. 47–56.
For similar scenes in the palaestra, cf. column-kraters by Myson, Louvre CA 1947 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 240.44; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 349; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 201; Abbreviation: CVACorpus Vasorum Antiquorum Paris, Louvre 2 [France 2], pl. 24, with akontist, aulos player, and jumper), Villa Giulia 1044 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 239.23; Abbreviation: CVACorpus Vasorum Antiquorum Rome, Museo Nazionale di Villa Giulia 2 [Italy 2], pl. 16.1.2, with jumpers and diskobolos), and Villa Giulia 984 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 239.21; Abbreviation: CVACorpus Vasorum Antiquorum Rome, Museo Nazionale di Villa Giulia 2 [Italy 2], pl. 15, with akontist, diskobolos, and jumper). Cf. also the psykter by Oltos in New York, Metropolitan Museum of Art, Rogers Fund, 10.210.18 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 54.7; Abbreviation: von Bothmer, “Red-Figured Kylix,”D. von Bothmer. “An Archaic Red-Figured Kylix.” The J. Paul Getty Museum Journal 14 (1986): 5–20 8–9, figs. 2a–d). For palaestra scenes, see A. Bruckner, “Palästradarstellungen auf frührotfigurigen attischen Vasen” (Ph.D. diss., University of Basel, 1954), esp. pp. 62–69, 70–75 for javelin throwing and jumping respectively; Abbreviation: Kyle, AthleticsD. G. Kyle. Athletics in Ancient Athens. Leiden, 1987; rev. ed., 1993, pp. 50–53; Abbreviation: Miller, Ancient Greek AthleticsS. G. Miller. Ancient Greek Athletics. New Haven, 2006, pp. 60–72, 176–95. See also Abbreviation: von Bothmer, “Red-Figured Kylix,”D. von Bothmer. “An Archaic Red-Figured Kylix.” The J. Paul Getty Museum Journal 14 (1986): 5–20 5–20; S. Karouzou, “Scènes de palestre,” Abbreviation: BCHBulletin de correspondance hellénique 86 (1962): 430–66. See also D. G. Kyle, Sport and Spectacle in the Ancient World (Oxford, 2007); S. Lewis, “Athletics on Attic Pottery: Export and Imagery,” in The World of Greek Vases, ed. V. Norskov et al. (Analecta Romana Instituti Danici, Supplementum 61 [Rome, 2009]), pp. 133–48.
Scenes of javelin throwing belong mainly to palaestra scenes and become common from the last quarter of the sixth century B.C. onward. See Abbreviation: Legakis, “Athletic Contests,”B. Legakis. “Athletic Contests in Archaic Greek Art.” Ph.D. diss., University of Chicago, 1977 pp. 318–55, cat. no. 10; Abbreviation: Goossens, Thielemans, and Thas, “Sport Scenes,”E. Goossens, S. Thielemans, and O. Thas. “The Popularity of Painting Sport Scenes on Attic Black and Red Figure Vases: A CVA-Based Research, Part A.” Bulletin antike beschaving. Annual Papers on Classical Archaeology 71 (1996): 59–94 pp. 65, 69, 73. For javelin throwing, see E. N. Gardiner, “Throwing the Javelin,” Abbreviation: JHSJournal of Hellenic Studies 27 (1907): 249–73; R. Patrucco, Lo Sport nella Grecia antica (Florence, 1972), pp. 171–89; E. N. Gardiner, Athletics of the Ancient World (Chicago, 1980), pp. 169–76; G. Doblhofer, P. Mauritsch, and M. Lavrencic, Speerwurf: Texte, Übersetzungen, Kommentar (Vienna, 1993).
Javelin throwing and jumping belong to the pentathlon. For the pentathlon, see entry no. 2 (73.AE.135).
The long jump appears frequently on Attic vases after the third quarter of the sixth century B.C. See Abbreviation: Goossens, Thielemans, and Thas, “Sport Scenes,”E. Goossens, S. Thielemans, and O. Thas. “The Popularity of Painting Sport Scenes on Attic Black and Red Figure Vases: A CVA-Based Research, Part A.” Bulletin antike beschaving. Annual Papers on Classical Archaeology 71 (1996): 59–94 p. 75; Abbreviation: Legakis, “Athletic Contests,”B. Legakis. “Athletic Contests in Archaic Greek Art.” Ph.D. diss., University of Chicago, 1977 pp. 276–317, cat. no. 9.
The haltēres depicted here are of the Archaic type used in the sixth and fifth centuries B.C. Cf. the haltēres on the column-kraters by Myson on Villa Giulia 984 (supra) and Villa Giulia 1044 (supra); the stone haltēres in Athens, National Museum 1926 (Abbreviation: Mind and BodyMind and Body: Athletic Contests in Ancient Greece. Edited by O. Tzachou-Alexandri. Exh. cat. National Archaeological Museum, 15 May 1989–15 January 1990. Athens, 1989, pp. 175–76, no. 66); a black-figure cup close to the Painter of Vatican G69 in Paris, Louvre CP 10376 (Abbreviation: ABVJ. D. Beazley. Attic Black-Figure Vase-Painters. Oxford, 1956 210.3; Abbreviation: CVACorpus Vasorum Antiquorum Paris, Louvre 10 [France 17], pl. 107.3.8); a lekythos by the Bowdoin Painter in Athens, National Museum 17281 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 684.145; Abbreviation: CVACorpus Vasorum Antiquorum Athens, National Museum 2 [Greece 2], pl. 12.6–7); a fragment of a kalpis by the Nikoxenos Painter in an English private collection (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 222.24; Abbreviation: Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, p. 118, fig. 119).
For haltēres and their types, see Abbreviation: Mind and BodyMind and Body: Athletic Contests in Ancient Greece. Edited by O. Tzachou-Alexandri. Exh. cat. National Archaeological Museum, 15 May 1989–15 January 1990. Athens, 1989, pp. 98, 175–76, 234, 253–54; K. Palaiologou, in Hoi Olympiakoi Agōnes stēn archaia Ellada. Archaia, Olympia kai olympiakoi agōnes (Athens, 1982), pp. 176–87. See also D. Knöpfler, “Haltère de bronze dédié à Apollon Hékabolos dans la collection G. Ortiz (Genève),” Comptes rendus des séances de l’Académie des inscriptions et belles-lettres (Paris) 1994: 337–79; F. Knauß, “Weitsprung,” in Abbreviation: Lockender LorbeerLockender Lorbeer. Sport und Spiel in der Antike. Edited by R. Wünsche and F. Knauß. Munich, 2004 pp. 118–27.
For the strigil, see E. Kotera-Feyer, “Die Strigilis in der attisch-rotfigurigen Vasenmalerei: Bildformeln und ihre Deutung,” Nikephoros 11 (1998): 107–36, with earlier bibliography; S. Lorenz, “Nicht nur mit Schwamm und Schaber …,” in Abbreviation: Lockender LorbeerLockender Lorbeer. Sport und Spiel in der Antike. Edited by R. Wünsche and F. Knauß. Munich, 2004, pp. 266–69.
For the trainer (paedotribēs), see Abbreviation: Kyle, AthleticsD. G. Kyle. Athletics in Ancient Athens. Leiden, 1987; rev. ed., 1993, pp. 141–45.
Back views, introduced into vase-painting by the Pioneers, are often used by Myson. Cf. the akontists on the column-kraters Louvre CA 1947 (supra) and Villa Giulia 984 (supra); the diskobolos and komast on the column-krater Villa Giulia 1044 (supra); Herakles on the column-krater Florence 3981 (A. M. Esposito and G. de Tommaso, Vasi Attici: Museo Archeologico Nazionale di Firenze Antiquarium [Florence, 1993], p. 55, fig. 76). Cf. also the twisting poses and back views of the athletes in low relief on a kouros base in Athens, National Museum 3476 (A. Stewart, Greek Sculpture [New Haven, 1990], pp. 122–23, figs. 138–40); the boxer on the amphora by the Kleophrades Painter in Munich, Staatliche Antikensammlungen 2305 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 121.3; Abbreviation: CVACorpus Vasorum Antiquorum Munich, Museum Antiker Kleinkunst 4 [Germany 12], pl. 173.1). For the back view of the trainer on B, cf. also the three-quarter back view of the middle komast on the amphora Type A by Euthymides in Munich, Staatliche Antikensammlungen 2307 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 26.1, 1620; Abbreviation: Agora 30M. B. Moore. Attic Red-Figured and White-Ground Pottery. The Athenian Agora, vol. 30. Princeton, 1997, p. 86). It is generally accepted that Myson learned to draw in the Pioneer workshop, and his vases recall Phintias, who may have been his master.
For nudity in ancient Greek athletics, see entry no. 2 (73.AE.135).
The hound appears to be fascinated by the athlete with the haltēres, and he attends the training carefully. Dogs, an important element in ancient Greek daily life, often appear in hunting scenes, but they also occur in palaestra, symposia, domestic or funeral contexts, and courtship scenes, without necessarily being an integral part of the composition or the narrative of the scene. It is during the late sixth and early fifth centuries B.C. that they reach the height of their popularity in vase-painting. Cf. a fragmentary volute-krater by the Syriskos Painter in Athens, National Museum ACR.758 (Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 260.4; Abbreviation: Mind and BodyMind and Body: Athletic Contests in Ancient Greece. Edited by O. Tzachou-Alexandri. Exh. cat. National Archaeological Museum, 15 May 1989–15 January 1990. Athens, 1989, pp. 161–62, no. 47); a black-figure alabastron by the Theseus Painter in Palermo, Collezione Mormino 660 (Abbreviation: CVACorpus Vasorum Antiquorum Palermo, Collezione Mormino, Banco di Sicilia 1 [Italy 50], pl. 19.4–6); a pelike by the Triptolemos Painter in Malibu, J. Paul Getty Museum 86.AE.195 (Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 364.21 bis; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 222; Abbreviation: CVACorpus Vasorum Antiquorum Malibu 7 [USA 32], pls. 343, 344, 347.3–4); a cup by the Triptolemos Painter in New York (NY, art market, Sotheby’s [S. D. Pevnick, “Good Dog, Bad Dog: A Cup by the Triptolemos Painter and Aspects of Canine Behavior on Athenian Vases,” in Abbreviation: Athenian Potters and PaintersAthenian Potters and Painters: The Conference Proceedings. 3 vols. Vol. 1, edited by J. H. Oakley, W. D. E. Coulson, and O. Palagia. Oxbow Monograph 67. Vol. 2, edited by J. H. Oakley and O. Palagia. Vol. 3, edited by J. H. Oakley. Oxford, 1997 (vol. 1), 2009 (vol. 2), 2014 (vol. 3), vol. 3, pp. 155–64]). On dogs, see D. B. Hull, Hounds and Hunting in Ancient Greece (Chicago, 1964); Abbreviation: Anderson, HuntingJ. K. Anderson. Hunting in the Ancient World. Berkeley, 1985; J. H. Oakley, Abbreviation: CVACorpus Vasorum Antiquorum Baltimore, Walters Art Gallery 1 [USA 28], p. 22, with earlier references; C. Mainoldi, L’image du loup et du chien dans la Grèce ancienne (Paris, 1984); D. Brewer, T. Clark, and A. Phillips, Dogs in Antiquity, Anubis to Cerberus: The Origins of the Domestic Dog (Warminster, 2001); K. Clark, review of ibid., Abbreviation: AJAAmerican Journal of Archaeology 107 (2003): 498–500. Especially for dogs on Greek vases, see M. Moore, “The Hegesiboulos Cup,” Abbreviation: MMAJMetropolitan Museum of Art Journal 43 (2008): 11–37; L. Calder, Cruelty and Sentimentality: Greek Attitudes to Animals, 600–300 BC (Oxford, 2011); M. Iozzo, “The Dog: A Dionysiac Animal?,” Rivista di archeologia 36, 2012 (2013): 5–22; Pevnick, “Good Dog, Bad Dog” (supra), pp. 155–64; A. Petrakova, “The Emotional Dog in Attic Vase-Painting: Symbolic Aspects and Instrumental Narrative Function,” in Phyta Κai Ζöia: Pflanzen und Tiere auf griechischen Vasen, Akten des internationalen Symposiums an der Universität Graz, 26.–28. September 2013, ed. C. Lang-Auinger and E. Trinkl (Vienna, 2015), pp. 291–98.
For preliminary sketches in Greek vase-painting, see P. E. Corbett, “Preliminary Sketch in Greek Vase Painting,” Abbreviation: JHSJournal of Hellenic Studies 85 (1965): 16–28; M. Boss, “Preliminary Sketches on Attic Red-Figured Vases of the Early Fifth Century B.C.,” in Abbreviation: Athenian Potters and PaintersAthenian Potters and Painters: The Conference Proceedings. 3 vols. Vol. 1, edited by J. H. Oakley, W. D. E. Coulson, and O. Palagia. Oxbow Monograph 67. Vol. 2, edited by J. H. Oakley and O. Palagia. Vol. 3, edited by J. H. Oakley. Oxford, 1997 (vol. 1), 2009 (vol. 2), 2014 (vol. 3), vol. 1, pp. 345–51.