Publication Record: Antike Welt: 4 (1973)4, 10, FIG.12A-B (PARTS) Archäologischer Anzeiger: 1974, 191, FIG.21 Bulletin de Correspondance Hellenique: 97 (1973), 263, FIG.18 (PART) Burn, L., The Meidias Painter (Oxford, 1987): PL.33 Heinemann, A., Der Gott des Gelages. Dionysos, Satyrn und Mänaden auf attischem Trinkgeschirr des 5. Jahrhunderts v. Chr. (Berlin, 2016): 131, 287, FIGS.71, 180 (DRAWING OF BD, PART OF BD) Knigge, U., Der Kerameikos von Athen, Führung durch Ausgrabungen und Geschichte (Athen, 1988): 155, FIG.152 (PART) Lezzi-Hafter, A., Der Eretria-Maler, Werke und Weggefährten (Mainz, 1988): 197, FIG.65A, PL.195C, NO.223 (INCLUDING PROFILE) Lissarrague, F., La cite des satyres. Une anthropologie ludique (Athenes, VIe-Ve siecle avant J.-C.) (Paris, 2013): 93, FIG.68 (DRAWING OF BD) Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung: 90 (1975), PLS.44-47, 49.2 Robertson, C.M., The art of vase-painting in classical Athens (Cambridge, 1992): 234, FIG.243
CAVI Lemma: RF oinochoe (chous). From Athens, Ceramicus. Meidias Painter (Knigge){1}.
Last quarter fifth. Ca. 430, early (Knigge). 425-420 (Lezzi-Hafter).
CAVI Subject: Amymone with a water jar surprised by four satyrs, two on each side.
CAVI Inscriptions: Above the fourth satyr: Ενα[υ]λο{2}.
CAVI Footnotes: {1} but see D]. {2} so Knigge who says on p. 128: from εναυλος, `Ausdruck des
Erstaunens oder der Überraschung'. [I do not understand.] The inscription is
above the two right-hand satyrs, slightly bearing upward. It could refer to the
fourth satyr and be a name, or a remark of some kind or even nonsense. It should
not refer to the woman. Consider εναθλος or εναλλος(?). Possibly a satyr name:
Ενα[λ]λο[ς], `jumper, dancer,' from εναλλομαι(?).
CAVI Comments: Not in Kossatz-Deissmann (1991); the name not in Pape or LGPN ii. εναυλος is
an adj. related to flutes or an abode. - Knigge identified the extant Aison with
the young Meidias Painter but Burn does not agree. Cf. Burn 12 n. 59: Cramers
and Lezzi-Hafter consider Aison the teacher of the Meidias Painter. Burn is
uncertain about the attribution of Ceramicus 4290: she is inclined to Aison but
keeps it provisionally under Meidias Painter; she thinks the vase influenced by
theater.
