17.

Provenance

–1981, Edwin A. Lipps (Pacific Palisades, California); 1981, donated to the J. Paul Getty Museum; this was one of a group of sixty-three Greek, East Greek, and South Italian fragments. Following a collaborative research project, fifty-two of these fragments were identified as coming from Francavilla Marittima and deaccessioned (see further, F. van der Wielen-van Ommeren and L. de Lachenal, eds., La dea di Sibari e il santuario ritrovato: Studi sui rinvenimenti dal Timpone Motta di Francavilla Marittima, vols. 1.1 and 1.2 [Rome, 2007–8]). The fragments that were not associated with the site—including this one—remain in the collection.

Shape and Ornament

Single fragment from the neck. Addorsed palmette and lotus chain on the protruding upper frieze of the neck. Interior black.

Subject

Maenad and satyr. On the right is preserved the balding head of a satyr facing left. Before him, in the center, remains the upper edge of an object, possibly a krotalon or a drinking horn. On the left is preserved the back of the head of a maenad facing left, in front of the satyr. Both figures have wreaths around their heads. It is not clear whether the satyr pursues the maenad.

Attribution and Date

Attributed to Euthymides or early Kleophrades Painter by J. R. Guy and J. Gaunt. Circa 520–510 B.C.

Dimensions and Condition

Maximum preserved dimensions: height 7 cm; width 6.7 cm; thickness (upper frieze) 1.2 cm; thickness (lower frieze) 0.9 cm. Chip between the figures.

Technical Features

Incision used for hair of figures, palmette, and parts of the lotus chain. Accessory color. Red: palmette hearts and cuffs, calyces of lotuses, wreaths.

Bibliography

Abbreviation: Gaunt, “Attic Volute Krater,”J. Gaunt. “The Attic Volute Krater.” Ph.D. diss., Institute of Fine Arts, New York University, 2002 p. 511, cat. no. 3.

Comparanda

For Euthymides, see entry no. 18 (80.AE.138.13).

For the Kleophrades Painter, see entry no. 19 (77.AE.11).

The use of incision and the palmette and lotus chain rendered in black-figure technique indicate an early date. For black-figure volute-kraters carrying the same ornament on the neck, see Abbreviation: Hitzl, Die Entstehung und Entwicklung des VolutenkratersK. Hitzl. Die Entstehung und Entwicklung des Volutenkraters von den frühesten Anfängen bis zur Ausprägung des kanonischen Stils in der attisch schwarzfigurigen Vasenmalerei. Frankfurt, 1982, pp. 290–301, nos. 29–36; Abbreviation: Schleiffenbaum, VolutenkraterH. E. Schleiffenbaum. Der griechische Volutenkrater: Form, Funktion, und Sinngehalt eines antiken Prunkgefässes. Frankfurt, 1991, nos. V42, V53, V72, V88, V94, V102, V121, V125, V129, fig. 10 (all dating to the last third of the sixth century B.C.). For the shape of the volute-krater, see also L. Burn, “The Contexts of the Production and Distribution of Athenian Painted Pottery around 400 BC,” in Abbreviation: Pronomos VaseThe Pronomos Vase and Its Context. Edited by O. Taplin and R. Wyles. Oxford, 2010, pp. 25–26.

For thiasos scenes, see Abbreviation: Schöne, ThiasosA. Schöne. Der Thiasos: Eine ikonographische Untersuchung über das Gefolge des Dionysos in der attischen Vasenmalerei des 6. und 5. Jhs. v. Chr. Göteborg, 1987; M. Edwards, “Representation of Maenads on Archaic Red-Figure Vases,” Abbreviation: JHSJournal of Hellenic Studies 80 (1960): 78–87; Abbreviation: Carpenter, Dionysian Imagery in Archaic Greek ArtT. H. Carpenter. Dionysian Imagery in Archaic Greek Art: Its Development in Black-Figure Vase Painting. Oxford, 1985; D. Paleothodoros, “L’imagerie dionysiaque dans la céramique attique à figures rouges de la période archaïque et du début du classicisme, 530–450 avant J.-C.” (Ph.D. diss., Catholic University of Louvain, 1997); S. Moraw, Die Mänade in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v. Chr. (Mainz, 1998); G. Fahlbusch, Die Frauen im Gefolge des Dionysos auf den attischen Vasenbildern des 6. und 5. Jhs. v. Chr. als Spiegel des weiblichen Idealbildes (Oxford, 2004); M. H. Delavaud-Roux, “Communiquer avec Dionysos: La danse des ménades à travers l’iconographie des vases grecs,” in L’expression des corps: Gestes, attitudes, regards dans l’iconographie antique, ed. L. Bodiou, D. Frère, V. Mehl, and A. Tourraix (Rennes, 2006), pp. 153–63; E. Manakidou, “Parallages se ena thema: Hērakles kai Nēreus se attiko melanomorpho amphorea apo tēn Oisymē,” in Abbreviation: Kerameōs PaidesKerameōs Paides: Studies Offered to Professor Michalis Tiverios by His Students. Edited by E. Kefalidou and D. Tsiafaki. Thessaloniki, 2012, p. 64; A. Heinemann, Der Gott des Gelages: Dionysos, Satyrn und Mänaden auf attischem Trinkgeschirr des 5. Jahrhunderts v. Chr. (Berlin, 2016).

For a satyr holding krotala, cf. a cup by the Brygos Painter in Paris, Abbreviation: Cab. Méd.Cabinet des Médailles, Paris 576 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 371.14; C. Gasparri, in Abbreviation: LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 3 [1986], pt. 1, p. 463, no. 465, s.v. “Dionysos”).

For a satyr holding a drinking horn, cf. a cup from the Circle of the Nikosthenes Painter in Rome, Villa Giulia 50385 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 134.7; 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 177; J. Harrison, “Monuments Relating to the Odyssey,” Abbreviation: JHSJournal of Hellenic Studies 4 [1883]: 255 and plate at 252; R. F. Sutton, The Interaction between Men and Women Portrayed on Attic Red-Figured Pottery [Ann Arbor, 1981], p. 144, note 155); cup-skyphos attributed to the Lanćut Group, Follower of the Haimon Painter, in Athens, Agora P 30135 (S. I. Rotroff and J. H. Oakley, Debris from a Public Dining Place in the Athenian Agora [Princeton, 1992], p. 62, no. 3, fig. 1, pl. 1); cup by Onesimos, Aleria 61.35 (Abbreviation: ARV²J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 1645.6; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 359; B. A. Sparkes, “Aspects of Onesimos,” in Greek Art: Archaic into Classical; A Symposium Held at the University of Cincinnati, April 2–3, 1982, ed. C. G. Boulter [Leiden, 1985], p. 22, pls. 24–25).