Attributed To: DOURIS by SIGNATURE KALLIADES by SIGNATURE
Decoration: A: FIGHT, ILIOUPERSIS, MENELAOS AND PARIS BETWEEN APHRODITE AND ARTEMIS (NAMED) B: FIGHT, AJAX AND HEKTOR, WITH SPEAR, SWORD AND ROCK, BETWEEN ATHENA AND APOLLO (ALL NAMED) I: EOS WITH THE BODY OF MEMNON (BOTH NAMED), INSCRIPTION (NONSENSE ?)
Last Recorded Collection: Paris, Musée du Louvre: G115
Previous Collections:
Paris, Palais Royale, Prince Napoleon
Publication Record: 124, PL.8.3 (PART OF B) Albersmeier, S. (ed.), Heroes, Mortals and Myths in ancient Greece (Baltimore, 2009): 103, FIG.59 (I) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1583 Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 434.74, 1653 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 203.42 Beazley, J.D., Paralipomena (Oxford, 1971): 375 Benndorf, O., Wiener Vorlegeblätter für archäologische Übungen (Vienna, 1888-1890/91): VI, PL.7 Berenger, D. and Grünewald, C. (eds.), Westfalen in der Bronzezeit (Münster, 2008) Buitron-Oliver, D., Douris, A Master-Painter of Athenian Red-Figure Vases (Mainz, 1995): PLS.71, 146, NO.119 (I, A, B) Burgess, J.S., The Death and Afterlife of Achilles (Baltimore, 2009): 35 (I) Burn, L. and Glynn, R., Beazley Addenda (Oxford, 1982): 117 Carpenter, T.H., Art and Myth in Ancient Greece (London, 1991): FIG.305 (A,B), FIG.327 (I) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 237 De Puma, R.D. and Penny Small, J. (eds.), Murlo and the Etruscans, Art and Society in Ancient Etruria (Madison, 1994): 185, FIG.16.11 (I) Denoyelle, M. (ed.), Euphronios Peintre, Recontres de l'Ecole du Louvre 10 Octobre 1990 (Paris, 1992): 28, FIG.18 (I0 Fröhner, W., Choix de vases Grecs inedit de la collection du Prince Napoleon (Paris, 1867): PLS.3-4 (COLOUR DRAWINGS OF I, A AND B) Geroulanos, S. and Bridler, R., Trauma, Wund-Entstehung und Wund-Pflege im antiken Griechenland (Mainz, 1994): FIG.53 (I) Hoppin, A., A handbook of Attic red-figured vases signed by or attributed to the various masters of the sixth and fifth centuries B.C. (Cambridge, 1919): I, 245 Immerwahr, H., Attic Script, A Survey (Oxford, 1990): PL.28.116 (I) Jarva, E., Archaiologia on Archaic Greek Body Armour, Studi Archaeologica Septentrionalia 3 (Rovaniemi, 1995): 40, FIG.14 (PART OF B) Knittlmayer, B., Die Attische Demokratie und ihre Helden, Darstellungen des trojanischen Sagenkreises im 6. und frühen 5. Jh.v.Chr. (Heidelberg, 1997): PL.15.1 (B) Knittlmayer, B., Die Attische Demokratie und ihre Helden, Darstellungen des trojanischen Sagenkreises im 6. und frühen 5. Jh.v.Chr. (Heidelberg, 1997): PL.16.4 (I) Langlotz, E., Griechische Vasenbilder (Heidelberg, 1922): PL.28 (I) Latacz, J. et al., Homer, Der Mythos von Troia in Dichtung und Kunst (Munich, and Basel 2008): 166, FIG.1, 366, NO.100 (COLOUR OF I, AND B) Lefkowitz, M., Greek Gods, Human Lives (New Haven and London, 2003): 64 (B) Muth, S., Gewalt im Bild, Das Phänomen der medialen Gewalt im Athen des 6. und 5. Jahrhunderts v. Chr. (Berlin, 2008): 120, FIG.69 (A) Oakley, J.H. et al., Athenian Potters and Painters, The Conference Proceedings (Oxford, 1997): 146, FIG.5 (I) Pfuhl, E., Malerei und Zeichnung der Griechen (Munich, 1923): FIG.466 (I) Platt, V. and Squire, M. (eds.), The Frame in Classical Art, A Cultural History (Cambridge, 2017): 150, FIG.2.15 (I) Pottier, E., Vases antiques du Louvre (Paris, 1897-1922): PLS.107-8 Recke, M., Gewalt und Leid, Das Bild des Krieges bei den Athenern im 6. und 5. Jh. v. Chr. (Istanbul, 2002): PL.46A (I) Report of the Department of Antiquities, Cyprus: 1988 (2), PL.19.3 (PART OF A) Schefold, K., Jung, F., Die Sagen von den Argonauten, von Theben und Troia in der klassischen und hellenistischen Kunst (Munich, 1989): 185, 193, 254, FIGS.163, 172, 228 (I, A, B) Spivey, N., The Sarpedon Krater, The Life and Afterlife of a Greek Vase (Chicago, 2018): 169, FIG.48 (COLOUR OF I) Tiverios, M.A., Elliniki techni, archaia angaia (Athens, 1996): 154, FIG.130 (COLOUR OF I) Troja, Traum und Wirklichkeit (Stuttgart, 2001): 124, FIG.124 (COLOUR OF B)
CAVI Lemma: RF cup. From Capua. Douris. Kalliades, potter. First quarter fifth. 490-480.
485-480 (Simon (1969); Shapiro){1}.
CAVI Subject: Int.: Eos with the body of Memnon. A: Menelaus fighting Paris. B: Ajax
fighting Hector.
CAVI Inscriptions: Int.: along the left margin, facing in: (ϝ(?))ενεμεκνερινε{2}. Parallel, but
also facing in: hερμογενες | καλος{3}. Above Eos' head: hεος : Δορις |
εγραφσεν{3}. To right, i.e., below, the face of Memnon, in three lines filling
all the space, non-stoich.: Μεμλον, for Μεμνον, and Καλ[λ]ιαδες | εποιεσεν.
Ext.: the inscriptions horizontal, near the margin. A: between the woman at left
and the back of Menelaus' head: Μενελεος, retr. To left of Paris' face:
Αλεχσανδρος, retr. To left of Artemis' face: Αρτεμις, retr. B: to right of
Athena's head: Αθε[ν]αι|α{4}. To right of Ajax' head: Αιας. To right of Hector
(who faces left): hεκλορ, for hεκτορ. To right of Apollo (who also faces left):
Απο{ο}λλον{5}.
CAVI Footnotes: {1} Middle (B.-O.). {2} I do not know what the first letter of the mystery
word is, but I doubt its being a digamma; I think the word is not nonsense, but
badly miswritten. {3} is stoich. intended in these two inscriptions? Δορις and
εγραφσεν are lined up. {4} the final alpha is placed under the first. {5} this
reading is taken from the photo, fig. 144, in Arias–Hirmer–Shefton (1962) and
needs to be verified; the doubling of omicron is due to an intervening tendril;
the last letter, for similar reasons, is written under the second lambda.
CAVI Comments: Type C. Shapiro: Hermogenes may be a member of the Kerykes who were active in
the cult of Hermes. Beazley in AJA says there are many mistakes on this vase:
Μεμλον, Αθε[ν]αια, hεκλορ, Αποολλον. He also says that he cannot explain the
first sign of the mystery word, but suggests for the rest: ἢν ἐμὲ ἐνκρίνηι,
`(Hermogenes is fair,) if he count me in.' Guarducci: ένε̅ με κν[ι] ῥίνε̅·
hερμογένε̅ς καλός. "Da gran tempo mi raschia [scrapes] una lima [file]: Ermogene
bello." M.G. Kanowski gives a list of previous explanations of the mystery word:
Fröhner: ἓν ἐμὲ ἐνέκρινε Ἑρμογένες καλός. Dümmler: ἢν ἐμὲ κνῆ[ι ἡ] ῥίνη =
αἰδοῖον. Zingerle: θεῖν' ἐμ' ἧκ[ε]ν Ἠρινή = Eos. Beazley: [see above.] Kanowski:
Hermogenes is a fine fellow if he tickles (scratches?) my nose. Notes nose
rubbing in some cultures [but not in Greece!]. I took down: ἢν ἐμὲ κνῆ[ι] ῥίνη -
but that should be ἐμοὶ κνῆ[ι] ῥίνη[ν](?). M.I. Davies (1982), 115-18: gives the
first letter as an upside down dotted F. Davies supports Kanowski's ἢν ἐμὲ
κνῆ[ι] ῥίνε.The last word is dual = nostrils. `if he tickles or scratches my
nose.' DeVries tr. the mystery word: "Wow! he scrapes away at me with a file!"
See also Threatte (1996). For Hermogenes: see LGPN ii, s.v. 1-3; B.-O. 43 and n.
287 refers to attempts to identify the kalos with the dedicator of a bronze
statue (1/4 5), IG i/3. 559. For the misspellings see also B.-O. Dotted delta;
tailed rho.
