302569, ATHENIAN, Boston (MA), Museum of Fine Arts, 99.518

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Vase Number: 302569
Fabric: ATHENIAN
Technique: BLACK-FIGURE
Shape Name: CUP
Date: -575 to -525
Attributed To: BOSTON POLYPHEMOS, P. OF by BEAZLEY
Decoration: A: ODYSSEUS AND CIRCE (NAKED) WITH KANTHAROS, MAN FLEEING, MEN WITH HEADS OF RAM, LION AND BOAR, DOG
B: ODYSSEUS AND POLYPHEMOS, MEN, SOME WITH CHLAMYDES AND SHIELDS, ONE WITH WINESKIN, ONE WITH OINOCHOE, ATHENA, SHIELD DEVICE, SWAN
Current Collection: Boston (MA), Museum of Fine Arts: 99.518
Publication Record: Andreae, B. et al., Ulisse, il mito e la memoria (Rome, 1996): 52, FIG.11 (A)
Angiolillo, S., and Giuman, M. (eds.), Imago, Studi di iconografia antica (Cagliari, 2007): 135, FIG.4 (A, B)
Antike Kunst: 42 (1999) 1, PL.3.1-2 (A, B)
Archeologia Classica: 42 (1990), 378, FIG.1 (A)
Aston, E., Mixanthropoi, Animal-human hybrid deities in Greek religion (Liege, 2011): 263, FIG.33 (A)
Beazley, J.D., Attic Black-Figure Vase-Painters (Oxford, 1956): 198
Beazley, J.D., Paralipomena (Oxford, 1971): 80
Berard, C. (ed.), Images et societe en Grece ancienne, L'iconographie comme methode d'analyse, Cahiers d'Archeologie Romande 36 (Lausanne, 1987): 12, FIG.2 (A)
Bettini, M. and Franco, C., Il mito di Circe, Immagini e racconti dalla Grecia a oggi (Torino, 2010): 138, FIG.5 (A)
Bisconti, F. (ed.), L'ipogeo degli Aureli in viale Manzoni, Restauri, tutela, valorizzazione e aggiornamenti interpretativi (Vatican City, 2011): 181, FIG.11 (A)
Boardman, J., The history of Greek vases: potters, painters and pictures (London, 2001): 200, FIG.217 (DRAWING OF A)
Bol, P. (ed.), Zum Verhältnis von Raum und Zeit in der griechischen Kunst (2003): 32, FIG.1 (DRAWING OF A AND B),PL.59, FIG.123 (A)
Carpenter, T.H., Art and Myth in Ancient Greece (London, 1991): FIG.343 (A)
Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 53
Corpus Vasorum Antiquorum: BOSTON, MUSEUM OF FINE ARTS 2, 31-32, PL.(922) 88.1-5 View Whole CVA Plates
Fogen, T. and Lee, M.M. (eds.), Bodies and boundaries in Graeco-Roman antiquity (Berlin, New York, 2009): 271, FIG.4 (A)
Giuliani, L., Image and myth, a history of pictorial narration in Greek art (Chicago, 2013): 158, FIG.36 (A)
Grmek, M., and Gourevitch, D., Les maladies dans l'art antique (1998): 144, FIG.102 (A)
Heinemann, A., Der Gott des Gelages. Dionysos, Satyrn und Mänaden auf attischem Trinkgeschirr des 5. Jahrhunderts v. Chr. (Berlin, 2016): 320-321, FIG.205 (A AND B)
Hephaistos: 11/12 (1992/93) 17, FIG.6 (A)
Jahrbuch des Deutschen Archäologischen Instituts: 115 (2000) 295, FIG.21 (A)
Kondoleon, C., Grossmann, R.A. et al., MFA Highlights, Classical Art (Boston, 2008): 67, 182, FIG.17 (COLOUR OF A AND PARTS OF A)
Lapatin, K. (ed.), Papers on Special Techniques in Athenian Vases, Proceedings of a symposium held in connection with the exhibition The Colours of Clay: Special Techniques in Athenian Vases, at the Getty Villa, June 15-17, 2006 (Los Angeles, 2008): 77, FIG.3 (A)
Lexicon Iconographicum Mythologiae Classicae: IV, PL.52, EURYLOCHOS I 1 (PART OF A)
Lexicon Iconographicum Mythologiae Classicae: VI, PL.25, KIRKE 14 (A), PL.631, ODYSSEUS 139 (A)
Lexicon Iconographicum Mythologiae Classicae: VIII, PL.666, POLYPHEMOS I 2 (B)
Marconi, C. (ed.), Greek Vases: Images, Contexts and Controversies (Leiden and Boston, 2004): FIG.7.1 (A)
Metzler, D. (ed.), Mazzo di Fiori, Festschrift für Herbert Hoffmann (Ruhpolding and Mainz, 2010): 38, FIG.1 (A)
Meyer, M. and von den Hoff, R. (eds.), Helden wie sie. Übermensch, Vorbild, Kultfigur in der griechischen Antike (Vienna, 2010): 116, FIG.3 (A)
Powell, B. Homer's Iliad and Odyssey. The Essential Books (Oxford, 2015): 343, FIG.10.1 (A)
Reeder, E.D. et al., Pandora, Women in Classical Greece (Baltimore, 1995): 60, FIG.2 (A)
Revista de Arqueologia: 362 (JUNE 2011) 36 (COLOUR OF PART OF A)
Shapiro H.A., Myth into Art, Poet and Painter in Classical Athens (London, 1994): 54, 57, FIGS.33, 35 (A,B)
Shapiro, H.A., Art and Cult under the Tyrants in Athens (Mainz, 1989): PL.21C-D (A,B)
Snodgrass, A., Homer and the Artists, Text and Picture in early Greek Art (Cambridge, 1998): 58, FIG.24 (A)
Snodgrass, A.M., An Archaeology of Greece, the present State and Future Scope of a Discipline (London, 1987): 137, FIG.35 (A)
Spivey, N. and Rasmussen, T. (eds.) Looking at Greek Vases (Cambridge, 1991): 83, FIG.31 (A)
Stansbury-O'Donnell, M.D, Pictorial Narrative in Ancient Greek Art (Cambridge, 1999): 89, FIG.38 (A)
Stansbury-O'Donnell, M.D., A History of Greek Art (Oxford, 2015): 217, FIG.9.6 (COLOUR OF A)
Vierneisel, K., and Kaeser, B. (eds.), Kunst der Schale, Kultur des Trinkens (Munich, 1990): 210, FIG.34.1 (PART OF A)
AVI Web: https://www.avi.unibas.ch/DB/searchform.html?ID=2824
AVI Record Number: 2677
LIMC ID: 6866
LIMC Web: http://ark.dasch.swiss/ark:/72163/080e-7404dc478bcdc-3
CAVI Collection: Boston 99.518.
CAVI Lemma: BF cup with merrythought handles{1}. Painter of Boston Polyphemus. Third quarter sixth.
CAVI Subject: A: Odysseus with his companions, and Circe. B: Odysseus and Polyphemus.
CAVI Inscriptions: Nonsense: A: χνεπ(.)hχ̣(.). χ(ε)νυνι. ϝκ(.)π(ο), retr. χκ̣h(.), retr. κχ̣(.), retr. κοπν[--]. κϝνκχ(ϝ)ϝ(2), retr. κυκκ·, retr.{3}. πχγοτ. πυπhπο(.)[--]. κμϝοσπχγ. κhκνϝ(ϝ)ϝ̣ε(λ). κοεhο(α). ϝ(α)ϝ·{3}. ϝν[.]ι̣οϝπγνρ̣. πḥοϝ(π)χ(ε)χ(4) (.)πολι̣. B: 9 similar inscriptions{5}.
CAVI Footnotes: {1} fragmentary, especially B. {2} upside down. {3} these inscriptions end in dots. {4} sideways. {5} many inscriptions on A are vertical except for those in the center. B: the ph. shows a curved horizontal inscription and a diagonal one. Pl. 88,4-5 show inscriptions spilling over into the handle area.
CAVI Comments: Numerous letter forms, see AttScr (esp. for the kappa). The letters in round brackets are unclear. Note the digammas.
CAVI Number: 2677
AVI Bibliography: ABV (1956), 198. — Para. (1971), 80. — M. True et al., CVA Boston 2, USA 19 (1978), Boston 2, pl. 88. — Add.[2] (1989), 53 (bibl.). — Shapiro (1989), 45, pl. 21,c-d. — AttScr (1990), no. 1013. — Vierneisel–Kaeser (1990), fig. 34.1 (A). — Wannagat (1999), 9-20, pls. 3-4 (pl. 3,1 is B, the fragmentary Polyphemus scene; pl. 3,2 is A, the Circe scene. Both pictures are exc. for showing the strings of nonsense letters).
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)

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