Attributed To: CARLSRUHE PARIS, P OF THE by BEAZLEY MEIDIAS P by MARSHALL
Decoration: Body 1: TRIPTOLEMOS SEATED IN WINGED CHARIOT WITH SNAKES, DEMETER AND PERSEPHONE WITH SCEPTRE AND SHEAF OF CORN, YOUTHS, ONE WITH BACCHOS, ONE IN PATTERNED CHITON AND BOOTS WITH TORCHES (EUMOLPOS ?)
Last Recorded Collection: Boston (MA), Museum of Fine Arts: 03.842
Publication Record: Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1315.2 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 459.2 Beazley, J.D., Paralipomena (Oxford, 1971): 477 Burn, L., The Meidias Painter (Oxford, 1987): PL.47 Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 362 Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 362 Clinton, K., Myth and Cult, The Iconography of the Eleusinian Mysteries (Stockholm, 1992): 179, FIGS.31-32 (INCLUDING NEW FRR) Dalfen, J. et al. (eds.), Religio Graeco-Romana, Festschrift für Walter Potscher (Graz, 1993): 37, PL.1.1-3 (INCLUDING NEW FRR) Kunze-Götte, E., Myrte (Kilchberg, 2006): 90, FIG.39 Lexicon Iconographicum Mythologiae Classicae: IV, PL.25, EUMOLPOS 22 Lexicon Iconographicum Mythologiae Classicae: VIII, PL.648, PERSEPHONE 156 Nicole, G., Meidias et le style fleuri (Geneva, 1908): PL.5 Oakley, J.H. et al., Athenian Potters and Painters, The Conference Proceedings (Oxford, 1997): 101, FIG.5 Simon, E., Ausgewählte Schriften, I, Griechische Kunst (Mainz, 1998): 194, FIG.15.10 Thesaurus Cultus et Rituum Antiquorum: V, PL.62.1472A Tsiaphaki, D., I Thraki stin attiki eikonographia tou 5ou aiona p. Ch., Prosengiseis stis scheseis Athinas kai Thrakis (Komotini, 1998): 358, FIG.36A Zeitschrift für Papyrologie und Epigraphik: 193 (2015) 134, FIGS.1-2 (PARTS)
CAVI Collection: Boston 03.842.
CAVI Lemma: Frs. of RF stamnos (?){1}. Painter of Carlsruhe Paris{2}. 410-400.
CAVI Subject: Upper zone: Departure of Triptolemos: Tritolemos, Demeter, Persephone; in
center, [young] torch-bearer in elaborate dress (Eumolpos?); at right, youth
carrying the bakchos, emblem of an initiate, looks at the torch bearer. Lower
zone: maenads; perhaps the head of Dionysus preserved.
CAVI Footnotes: {1} So Bothmer; formerly called frs. of a hydria. {2} "Laboured copies of
pictures by the Meidias Painter" (ARV[2]). {3} Or Φερ[ο]φα[ττα]? For the
different forms of Persephone's name, see Kretschmer (1894), 178 and Threatte
(1980), 536. {4} The pi is certain, although its top horizontal is missing. So
also FR. Clinton (by letter) observed that this is the sole basis for
identifying Eumolpus as a young man holding torches; on London E 140 he is a
bearded man holding a scepter (inscribed). He read the inscription on 1987 and
saw the two strokes of the first letter as not parallel, reading [Ιακ]χ̣ος. He
wondered whether the inscription might be misapplied, as E. is a singer and not
a torch bearer. Burn: early scholars claimed π̣ος to be legible, hence read
[Ευμολ]π̣ος. C. Bérard claimed there was no such inscription and E. Vermeule in
1984 agreed with him. Burn in 1984 read: ος, but no pi. Burn 72: "Since the O is
on the very edge of the fragment, it seems uncertain whether or not there was a
[Greek pi]." The inscription, in her view, does not help to decide whether to
call the figure Eumolpos or (as Bérard) Iacchos, or perhaps the name of another
member of the Eleusinian priestly hierarchy. Iacchos is known to have been a
torch bearer (Burn 72 n. 11), while Eumolpos is not, but the Thracian costume
recalls that worn by his ancestor Musaeus on some vases. Clinton has now
published his view of the matter in `Myth and Cult'. Simon in n. 49 says:
"Together with M. Stern I read on it the name (Eumol)pos as did A. Furtwängler a
century ago; see Simon [Simon (1966)] 72 n. 3 and 89." On p. 105 she argues
against the reading Eubouleus proposed by Clinton. See also L. Weidauer, LIMC iv
(1988), s.v. Eumolpos nos. 1-3 (3 occurrences, the last is the the Boston vase).
It is not doubt pertinent to note that Nilsson, Archiv fur Religionswiss. 32
(1935) 567ff. n. 76 reports on Hill's reading: [--]πος. B.H. Hill was a most
careful scholar. See now his Myth and Cult: the Iconography of the Eleusinian
Mysteries. I still believe that the first letter shows a long and a short
vertical stroke coming from the top and is a pi with the top lost. - Ionic
alphabet.
CAVI Comments: Hayashi accepts the reading Eumolpos on Boston 03.842 as certain: "Die
Ikonographie des Eumolpos ist durch ein Hydrienfragment [sic!] in Boston ...
03.842 (... ARV[2] 1315,2) mit dem Rest einer Beischrift gesichert. Das
Vorhandensein dieser Beischrift wird zu Unrecht von L. Weidauer, AA 1985, 208f.
bestritten, da sich Lesungen von A. Furtwängler immer wieder als zuverlässig
herausstellen." Cf. n. 288: "In der Eumolpos-Deutung folge ich nicht L.
Weidauer, in LIMC iv (1988) 58f., sondern schliesse mich F. Graf und E. Simon
an; vgl. LIMC v (1990) 613." See for the identification of Eumolpus, H., p. 82.
Graf is in RGVV 33 (1974). Simon is Simon (1966), 72-91. But see below, footnote
4.
CAVI Number: 2731
AVI Bibliography: FR (1904–32), ii, 56, n. 3. — ARV[2] (1963), 1315/2. — Para. (1971), 477. —
Burn (1987), 72-73, 101/C 2, pl. 47,a-b. — Add.[2] (1989), 362. — AttScr (1990),
no. 810. — Clinton (1992), 75. — Hayashi (1992), 120 n. 347. — Simon (1997), 105
and n. 49.
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
Link to this record using the address https://www.beazley.ox.ac.uk/record/29EDD255-4AFC-40FE-BB54-C4A3950F0C74
