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. and Korfmann, M. (eds.), Troja, Traum und Wirklichkeit (Stuttgart, 2001): 124, FIG.124 (COLOUR OF B) 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)
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.
