Attributed To: LEAGROS GROUP by BEAZLEY SAPPHO P by HASPELS
Decoration: A: SYMPOSIUM, HERAKLES RECLINING ON KLINE, DIONYSOS, SATYR WITH DRINKING HORN AND WINESKIN, DRAPED MAN PLAYING KITHARA, WOMAN, DOG, TABLE WITH FOOD, BASKET, CLUB, BOW AND QUIVER SUSPENDED, INSCRIPTIONS B: HERAKLES AND THE SONS OF EURYTOS (OLD MAN, NAMED), ARCHERS FALLEN (ONE NAMED), WARRIOR, WOMAN (IOLE, NAMED)
Last Recorded Collection: Madrid, Museo Arqueologico Nacional: L65
Previous Collections:
Madrid, Museo Arqueologico Nacional: 10916
Publication Record: Beazley, J.D., Attic Black-Figure Vase-Painters (Oxford, 1956): 508 Bollettino d'Arte: 133-134 (2005) 49, FIG.7 (B) Bulletin of the Institute of Classical Studies: 37 (1990) PL.7A (PART OF B) Carpenter, T.H., Art and Myth in Ancient Greece (London, 1991): FIG.222 (B) Corpus Vasorum Antiquorum: MADRID, MUSEE ARCHEOLOGIQUE NATIONAL 1, IIIHE.8, PLS.(39-40) 21.3A-B, 22.1-2 View Whole CVA Plates Filser, W., Die Elite Athens auf der attischen Luxuskeramik, Image & Context 16 (Berlin, Munich, Boston, 2017): 218, FIG.85 (A) Kressirer, K., Das Greisenalter in der griechischen Antike. Untersuchung der Vasenbilder und Schriftquellen der archaischen und klassischen Zeit (Hamburg, 2016): 833, NO.122 (PART OF B) Lexicon Iconographicum Mythologiae Classicae: IV, PL.544, HERAKLES 1502 (A) Lexicon Iconographicum Mythologiae Classicae: V, PL.465, IOLE I2, 483, IPHITOS I3 (B) Pochmarski, E., Dionysische Gruppen, eine typologische Untersuchung zur Geschichte des Stützmotivs (1990): PL.1.1 (DRAWING OF A) Rivista di Archeologia: 19 (1995) FIG.3 (B) Wolf, S.R., Herakles beim Gelage, eine motiv- und bedeutungsgeschichtliche Untersuchung des Bildes in der archaisch-frühklassischen Vasenmalerei (Köln, 1993): FIGS.32-33 (A) Wünsche, R. (ed.), Herakles, Herkules, Staatliche Antikensammlungen München (Munich, 2003): 248, FIG.40.3 (DRAWING OF BD)
CAVI Lemma: BF AMPHORA. FROM VULCI. SAPPHO PAINTER OR CLOSELY RELATED{1}. LATE SIXTH.
CAVI Subject: A: HERACLES AT BANQUET, WITH DIONYSUS. B: HERACLES AND THE SONS OF EURYTUS.
CAVI Inscriptions: MAINLY AFTER LEROUX: A: ABOVE D.'S HEAD: Διο(ν)υσος [ΙN. THE LAST THREE
LETTERS VERTICAL. {2}. TO RIGHT OF LYRE: χιοιο{3}. TO RIGHT OF THE RECLINING
HERACLES, AND ABOVE THE HEAD OF THE STANDING WOMAN: κι – – ο{4}. B: ABOVE THE
COLLAPSING ARCHER: τι^ονο, RETR.{5}. STARTING ABOVE EURYTUS' HEAD AND ENDING
ABOVE HERACLES': Ευρυτος, RETR.{6}. BELOW THE FALLEN ARCHER'S HEAD AND BETWEEN
EURYTUS' LEGS, WHICH PUTS IT TO LEFT OF THE SECOND FALLEN WARRIOR'S BODY:
Ιφι^τος{7}. TO LEFT OF THE RUNNING WARRIOR'S FACE, IN A CURVE AROUND IT AND
FACING IT: Αντ[ι]φολο[ς], RETR.{8}. IN FRONT OF THE WOMAN, STARTING AT THE
SHOULDER, SLANTING DOWNWARD AND CONTINUING VERTICALLY BETWEEN HER ARMS:
Ιολ^εα^(ς), RETR.{9}. THE READINGS OF ALVAREZ-OSSORIO DIFFER FROM CVA'S: A:
Διονυσος. B: Ευρυτος. τιονο. Ιφιτος. [Ιο][λ]ε[ι]ος.
CAVI Footnotes: {1} EMULATES LEAGROS GROUP (ABV). {2} NU REVERSED; FIRST THREE-STROKE, SECOND
SIGMA REVERSED. CVA: Διο(ν)υσο(ς) V. [ΙN. THE LAST THREE LETTERS VERTICAL. {3}
INTERPRETED BY LEROUX AS χιοιο, SC. οινου. CVA: χιοιο. {4} LEROUX: κιτο (POUR
κιττου?). CVA SHOWS: κι(.) AND ο. {5} EURYTOS' HAND INTERVENES. {6} SO THE TEXT;
THE PH. SEEMS TO SHOW: Ευ^[ρ]υτος, WITH THE TIP OF HERACLES' BOW INTERVENING.
{7} LEROUX REFERS THIS TO THE FALLEN WARRIOR AT THE RIGHT, NO DOUBT BECAUSE HE
THINKS OF TIONO AS A GARBLED NAME OF THE FALLEN ARCHER. BUT TIONO COULD BE A
NONSENSE WORD AND IFITOS THE ARCHER'S NAME LEAVING THE OTHER NAMELESS. {8}
LEROUX: `Αντφολο (POUR Αντιφονος?)'. THE LETTERS RUN INTO THE WARRIOR'S ARM,
HENCE THERE WAS NO ROOM FOR THE FINAL SIGMA. Αντιφονος(?), CVA. Αντιφονος OR
Αντιλοφος, RICHTER. {9} THE TWO ARMS INTERVENE. LEROUX PRINTS THE FINAL SIGMA AS
A NU; I THINK FROM THE PH. THAT IT IS SIGMA S 11 ([).
CAVI Comments: IS THERE CONFUSION OF IOLE AND IOLAUS? THERE SEEMS TO BE NO TRACE OF THE
LATTER, ALTHOUGH THERE IS A CURIOUS OBJECT BY IOLE'S NECK INTO HICH SEVERAL
ARROWS HAVE FIXED THEMSELVES. ATTIC ALPHABET. THE INSCRIPTIONS MIX SENSE AND
NONSENSE.
CAVI Number: 4884
AVI Bibliography: BIENKOWSKI (1899), 604. — BIENKOWSKI (1900), 64FF., FIGS. 6-7. —
ALVAREZ-OSSORIO (1910), 17 AND 39, PLS. 5 (A) AND 19 (B) (THE READINGS OF
ALVAREZ-OSSORIO DIFFER FROM CVA'S). — LEROUX (1912), 39/65 (FACSS.), PLS. 9-10
(B, A; PL. 9 SHOWS INSCRIPTIONS, PL. 10 SHOWS LOCATION OF SOME) (BIBL.). — J.R.
MéLIDA, CVA MADRID 1, SPAIN 1 (1930), III H E, PL. 21,3A-C. — HASPELS (1936),
116. — RICHTER–HALL (1936), I, 60, N. 6. — BOARDMAN (1955), 62/UNDER 28
(MENTION). — ABV (1956), 508. — FEHR (1971), 152 AND 175. — ROMERO OLMOS (1977),
PLS. 32-34,B (A,B, PARTS). — SCHEFOLD (1978), 148 , FIG. 199 (B). — LIMC I
(1981), 861, ANTIPHONOS, PL. 687 (B). — ADD.[2] (1989), 126 (BIBL.). — ATTSCR
(1990), NO. 1051. — POCHMARSKI (1990), 269/V 1, PL. 1,1 (A).
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
