Decoration: Body: DIONYSOS SEATED WITH THYRSOS, SATYRS, ONE SEATED WITH THYRSOS, MAENADS, ONE SEATED SUPPORTED, SOME RECLINING, SOME SEATED, ONE PLAYING TYMPANON, ALL NAMED
Last Recorded Collection: Berlin, lost
Previous Collections:
Berlin, Antikensammlung: F2471
Publication Record: Archäologischer Anzeiger: (2012) 21, FIG.10 (PART OF BD) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1247.1 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 429.4 Beazley, J.D., Paralipomena (Oxford, 1971): 469 Boardman, J., Athenian Red Figure Vases, The Classical Period (London, 1989): FIG.229 (DRAWING) Carpenter, T.H., Dionysian Imagery in Fifth-Century Athens (Oxford, 1997): PL.40A (DRAWING) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 353 Cook, R.M., Greek Painted Pottery (London, 1966): PL.47 (PART OF BD) Cook, R.M., Greek Painted Pottery 3rd ed. (London, 1997): PL.47 (PART OF BD) Corpus Vasorum Antiquorum: BERLIN, ANTIKENSAMMLUNG 16, 117, BEILAGE 22.2, 22.3, 22.4, 23.1, 23.2, 23.3, 23.4, 23.5, PL.() View Whole CVA Plates Dietrich, N., Figur ohne Raum? Bäume und Felsen in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v. Chr., Image & Context 7 (Berlin, 2010): 289, FIG.232 (BD) Dugas, C., Aison et la peinture ceramique a Athenes a l'epoque de Pericles (Paris, 1930): 77, FIG.15 (PART OF BD) Furtwängler, A., La Collection Sabouroff (Berlin, 1883-87): PL.55 Hahland, W., Vasen um Meidias (Berlin, 1930): PL.21A-B (PARTS) Heinemann, A., Der Gott des Gelages. Dionysos, Satyrn und Mänaden auf attischem Trinkgeschirr des 5. Jahrhunderts v. Chr. (Berlin, 2016): 76-77, 180, 501, FIGS.23, 111, 346 (DRAWING OF BD, PART OF BD) Isler-Kerenyi, C., Dionysos in Classical Athens. An Understanding through Images (Leiden and Boston, 2014): 200, FIG.105 (DRAWING OF BD) Lexicon Iconographicum Mythologiae Classicae: V, PL.602, KALE 1 (DRAWING) Lezzi-Hafter, A., Der Eretria-Maler, Werke und Weggefährten (Mainz, 1988): PLS.143D, 144-5, NO.234 Ostraka: 8 (1999) 1, 115, FIG.21 (DRAWING) Pfuhl, E., Malerei und Zeichnung der Griechen (Munich, 1923): FIG.560 Philipp, M. et al., Dionysos, Rausch und Ekstase (Munich, 2013): 59, FIG.5 (COLOUR OF PART) Scheibler, I., Griechische Malerei der Antike (Munich, 1994): 115, FIG.49 (PART) Schlesier, R. and Schwarzmaier, A. (eds.), Dionysos, Verwandlung und Ekstase (Berlin, 2008): 31, 49, FIGS.2, 7 (PART OF BD, COLOUR DRAWING OF BD) Shapiro, H.A., Personifications in Greek Art, The Representation of Abstract Concepts 600-400 BC (Zurich, 1993): 171, FIG.131 (PART) Staatliche Museen zu Berlin, Antikensammlung, Dokumentation der Verluste, V.1, Skulpturen, Vasen, Elfenbein und Knochen, Goldschmuck, Gemmen und Kameen (Berlin, 2005): 129, F2471 (PART)
CAVI Lemma: RF squat lekythos. From Trachones (Attica). Eretria Painter. Third quarter
fifth. Ca. 430. Ca. 425 (Lezzi-Hafter).
CAVI Subject: Dionysus with two satyrs and ten maenads.
CAVI Inscriptions: The inscriptions are above the figures and horizontal (except the retr.
inscription is to the left of a head facing left): Σιλενος. Ανθε[ι]α{1}.
Μακαρια. Περικλυμενε. Φανοπε. Nυμφε. Nαια{2}. Διονυσος. Κο(μ)ος, retr. (see
below){3}. Χορω{4}. Χρυσις. Κισσο. καλε (a nymph).
CAVI Footnotes: {1} Ανθεια, L.-H. {2} for the name in the circle of Dionysus, see E. Simon,
LIMC iii, s.v. Dione, p. 411. G. Neumann apud K.-D. wonders if to be completed
as Nαια[ς]. {3} the picture (dr.?), pl. 144,d seems to show the first letter as
a nu: Nομος, retr.? But Komos is no doubt correct. Miswritten? Furtw. prints
Komos retr., except for the kappa; he gives the mu as an archaic-looking nu. {4}
L.-H.: Χορω. But the picture in pl. 144,d shows an omicron open at the bottom
and a bottom stroke at the right side, giving the illusion of a reversed omega,
but the stroke looks to me like a flaw. However, there are instances of omega
lacking the feet. However, there are instances of omega lacking the feet.
CAVI Comments: ARV[2], Add.[2], and Robertson give the present location as Berlin 2471, but
Para. says: `believed lost,' K.-D. concurring. (The information comes from
Greifenhagen.) Done from Beschr., which has no facsimiles and from L.-H. I have
checked readings in K.-D. The vase is gilded. The inscriptions were originally
reddish-white. - Shapiro 172 thinks Makaria may be an invention of the Eretria
Painter who is otherwise known as an innovator in personifications. For the
choice of names and the qu. of personifications see also L.-H. Makaria is not
here the daughter of Heracles; it is the earliest instance of this
personification; Reading 52.3.2 is later. L.-H. 227 speculates that Nymphe may
also mean `bride' and that the vase may commemorate a dead person who has joined
the Dionysiac thiasos. - It seems to me that many of the dancers are exhausted
and that the vase celebrates the end of the dance. - Hedreen discusses the names
Nymphe and Naia.
CAVI Number: 2382
AVI Bibliography: Furtwängler (1883–7), pl. 55 (dr. shows inscriptions). — Furtwängler (1885),
no. 2471. — C. Fränkel (1912), 70, 98/α. — ARV[2] (1963), 1247/1. — Para.
(1971), 469. — Ebert (1980), 47 (F 2471 unter den Verlusten des 2. Weltkrieges
(A. Greifenhagen)). — LIMC iii (1986), Choro II/1; Chrysis III/1. — Lezzi-Hafter
(1988), 226-27, 342/234, pls. 143,d, 144,d. — Add.[2] (1989), 353. — Boardman
(1989), fig. 229 (after Furtw., Sabouroff, pl. 55; shows location of
inscriptions, small). — AttScr (1990), no. 793. — Kossatz-Deissmann (1991), 158
(Komos 11, bibl.). — Robertson (1992), 231 and n. 55. — Shapiro (1993), 256/112,
171, fig. 131 (detail). — Hedreen (1994), 53.
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
