Attributed To: ARCHIKLES by SIGNATURE GLAUKYTES by SIGNATURE
Decoration: A: THE CALYDONIAN BOAR, HUNTSMEN, MEN AND YOUTHS, SOME WITH SPEARS, SOME WITH TRIDENTS, DOGS, CARCASS OF DOG, JASON, ALL NAMED, MELEAGROS BETWEEN SPHINXES B: THESEUS (IN NEBRIS) AND THE MINOTAUR BETWEEN ARIADNE WITH WOOL AND ATHENA WITH LYRE (NAMED) WOMEN AND DRAPED YOUTHS, BETWEEN SPHINXES, ALL NAMED
Last Recorded Collection: Munich, Antikensammlungen: 2243
Previous Collections:
Canino, Lucien Bonaparte, Prince of Canino
Munich, Antikensammlungen: J333
Publication Record: Albersmeier, S. (ed.), Heroes, Mortals and Myths in ancient Greece (Baltimore, 2009): 118, FIG.74 (PART OF B) Beazley, J.D., Attic Black-Figure Vase-Painters (Oxford, 1956): 163.2, 160.2 Beazley, J.D., Paralipomena (Oxford, 1971): 68 Buitron-Oliver, D. (ed.), New Perspectives in Early Greek Art (Hanover and London, 1991): 127, FIG.6 (PART OF B) Böhm, S., Sphingen und Sirenen im archaischen Griechenland, Symbole der Ambivalenz in Bildszenen und Tierfriesen (Regensburg, 2020): 141, FIGS.1A-B (COLOUR OF A AND B) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 47 Chiarini, S., The so-called Nonsense Inscriptions on Ancient Greek Vases, Between Paideia and Paidiá (Leiden, 2018): 159, FIGS.32A-B (A, B) Corpus Vasorum Antiquorum: MUNICH, ANTIKENSAMMLUNGEN 11, 13-16, BEILAGE 1.4, PLS.(2771,2772,2773,2774,2775) 2.7-9, 3.1, 4.1-2, 5.1-3, 6.1-3 View Whole CVA Plates De la Geniere, J. (ed.), Cahiers Du Corpus Vasorum Antiquorum, France No 1. Les clients de la céramique grecque, Actes du Colloque de l'Académie Des Inscriptions Et Belles-Lettres. Paris, 30-31 janvier 2004 (Paris, 2006): 253, PL.3.2 (UH1 AND 2) Delavaud-Roux, M-H., Les danses pacifiques en Grece antique (Aix-en-Provence, 1994): 76, NO.30 (DRAWINGS OF A AND B) Fehr, B., Becoming Good Democrats and Wives. Civic Education and Female Socialization on the Parthenon Frieze, Hephaistos Sonderband (Vienna, Zurich, Berlin, and Münster, 2011): 43, FIG.26 (PART OF A) Furtwängler, A. and Reichhold, K., Griechische Vasenmalerei (Munich, 1904-32): III, 219, FIG.105, PL.153.1 (A, B) Gerhard, E., Auserlesene Vasenbilder (Berlin, 1840-58): III, PLS.235-236 (COLOUR DRAWINGS AND DRAWINGS OF A AND B) Heesen, P., Athenian Little-Master Cups (Amsterdam, 2011): 76-77, FIGS.43-44, PL.34 (A, B, PART OF A, UH) Hirayama, T., Kleitias and Attic Black-Figure Vases in the Sixth-Century B.C. (Tokyo, 2010): FIG.20D, F (A, PART OF B) Knauss, F.S. (ed.), Die unsterblichen Götter Griechenlands, Staatliche Antikensammlungen und Glyptothek München (Munich, 2012): 345, FIG.23.6 (COLOUR OF A) Knauss, F.S., Die Kunst der Antike, Meisterwerke der Münchner Antikensammlungen (Munich, 2017): 101, 103 (COLOUR OF A AND B) Lang-Auinger, C. and Trinkl, E. (eds.), Phyta kai Zoia. Pflanzen und Tiere auf griechischen Vasen, Beihefte zum Corpus Vasorum Antiquorum Österreich, Band 2 (Vienna, 2015): 262, FIG.2B (DRAWING OF PART OF B) Lexicon Iconographicum Mythologiae Classicae: VI, PL.209, MELEAGROS 19 (A), PL.381, MOPSOS I 2 (PART OF A) Lexicon Iconographicum Mythologiae Classicae: VII, PL.661, THESEUS 233 (PART OF B) Lexicon Iconographicum Mythologiae Classicae: VIII, PL.353, CANES 10 (PART OF A) Lexicon Iconographicum Mythologiae Classicae: VIII, PL.799, SPHINX 82 (AH) Meyer, M. and Adornato, G. (eds.), Innovations and Inventions in Athens c. 530 to 470 BCE, Two Crucial Generations. Wiener Forschungen zur Archäologie 18 (Vienna, 2020): FIG.5.6 (COLOUR OF B) Neils, J., The Youthful Deeds of Theseus (Rome, 1987): FIG.3 (B) Opuscula Atheniensia, Acta Instituti Atheniensis Regni Sueciae: 20 (1994) 165, FIG.4 (A) Padgett, J.M. (ed.), The Centaur's Smile, The Human Animal in Early Greek Art (Princeton, 2003): 81, FIG.8 (B) Petit, T., Oedipe et le Cherubin, Les sphinx levantins, cypriotes et grecs comme gardiens d'Immortalite (Fribourg, 2011): FIG.180 (DRAWING OF B) Pfisterer-Haas, S., Darstellungen alter Frauen in der griechischen Kunst (Frankfurt, 1989): 167, FIG.7 (DRAWING OF A) Philipp, M. et al., Dionysos, Rausch und Ekstase (Munich, 2013): 63, FIG.2 (COLOUR OF PART OF B) Schulze, H., Ammen und Pädagogen, Sklavinnen und Sklaven in der antiken Kunst und Gesellschaft (Mainz, 1998): PL.26.2 (PART OF B) Servadei, C., La figura di Theseus nella ceramica Attica, Iconografia e iconologia del mito nell' Atene arcaica e classica (Bologna, 2005): 103, FIG.41 (B) Settis, S. (ed.), I Greci, Storia Cultura Arte Societa 2, Una storia greca, 1.Formazione (Turin, 1996): 828, FIG.39 (PART OF A) Shapiro, H.A., Art and Cult under the Tyrants in Athens (Mainz, 1989): PL.66B (B) Steiner, A., Reading Greek Vases (Cambridge, 2007): 78, FIGS.5.1-5.2 (A, B, UH) Tiverios, M.A., Elliniki techni, archaia angaia (Athens, 1996): 72, FIG.29 (COLOUR OF B) Valavanis, P. and Kourkoumelis, D., Chaire kai piei, drinking vessels (1996): 88-89 (COLOUR OF A, DRAWING OF PART OF B) Vierneisel, K., and Kaeser, B. (eds.), Kunst der Schale, Kultur des Trinkens (Munich, 1990): 93, FIGS.11.8A-C, 138-141, FIGS.20.1 (A,B,UH, PARTS), 356, FIG.62.1 Wannagat, D., Archaisches Lachen, Die Entstehung einer komischen Bilderwelt in der korinthischen Vasenmalerei (Berlin and Boston, 2015): 232, FIG.219 (PART OF A) Wünsche, R. (ed.), Herakles, Herkules, Staatliche Antikensammlungen München (Munich, 2003): 99, FIG.12.3 (COLOUR OF A) Wünsche, R. and Knauss, F.S. (eds.), Lockender Lorbeer, Sport und Spiel in der Antike, Staatliche Antikensammlungen München (Munich, 2004): 129, FIG.15.1 (COLOUR OF A) Yatromanolakis, D. (ed.), Epigraphy of Art, Ancient Greek Vase-Inscriptions and Vase-Paintings (Oxford, 2016): 74, FIG.1 (PART OF A)
CAVI Lemma: BF band cup. From Vulci. Unattributed. Glaukytes, potter; Archikles, potter.
Third quarter sixth. 550-540. Ca. 540 (Shefton) [[where?]].
CAVI Subject: Between sphinxes: A: Calydonian boar hunt. B: Theseus and the Minotaur.
CAVI Inscriptions: A: under the left sphinx: :*σφιχς:, retr. To left of her front leg: hεδε,
retr. To left of her neck: χαιρε, retr.{1}. To left of a hunter's legs: Ιδασος.
To right of the hunter's head: Ιασον. Under a dog: Γ[ο]ργο[ς]. To right of a
hunter's face: Μοφσος. Beneath a dog: Χαρον. Around a hunter's head:
Πολυδ[ε]υκες, curved at the end. Above the boar: [Κ]αστορ: vac.{2}. Above the
white dog on top of the boar: :Λευκιος:. Between him and the boar: hυς, retr.
Above the dead dog under the boar: Ποδες, retr.(2)a Under another dog: Θερο,
retr. Above Meleager's head, curved at end: :Μελεαγρος, retr. To right of the
head of a young hunter: Πελευς, down at the end. To right of a bearded hunter's
head: Μελανιον. Under a dog: Ποδαργος, retr. To right of the other young
hunter's head: (...)σοι(λ)(.){3}. To right of his buttocks: κινοι{4}. Below the
right sphinx: :*σφιχς. To right of her leg: hεδε. To right of her neck:
χ(α)ιρε{1}. B: sphinx: to left of her neck: χαιρε{1}. Under her belly: :*σφιχς,
retr. To left of the front leg: ευ(γ)σι, complete{5}. Above her rear end: ευσι,
retr. To right of her hind legs, referring to the woman at right, but not facing
her: Ενπεδο.(4)a To right of the woman's face: λυσυ{5}. To left of a bearded
man's legs, not facing him: Σιμον. To right of his face: πνσυ. To right of a
woman's legs: Γλυκε. To right of her face: νερν{5}. To right of a man's legs:
Αντιας. To right of his face: νϝ(ρ)ν(φ){6}. To right of a woman's legs:
Ανθυλ[λ]α{7}. To right of her face: ενονς{5}. To right of a man's legs: Λυκινος.
To right of his face: νϝϙπσ{5}. To right of a woman's face: Ευαν[θ]ε. Woman with
a lyre; below it: λυρα. To right of her body: Αθεναια{8}. Between Theseus' legs:
Θεσευς, retr. Above his head: Ευτιλας:{9}. By the Minotaur's legs: Μινο and
ταυρος, both retr.{10}. To left of Ariadne's face, toward her: μεσ(?){5}. To
left of her lower body, facing her: Αριαδνε:, retr. To left of her head:
καλε{11}. To left of the nurse's lower body: θροφος:, retr.(11a). To left of a
man and along the nurse's back: μιπο{12}. To right of her head: Ευτις{13}. To
right of the lower body: :Λυκιος, retr. To right of a woman's head: πιποι. To
right of her lower body: Ευνικε, retr. To right of a man's head: επνσ{5}. To
left of his legs: Σολον, retr.{14}. To right of a woman's body: Τιμο, retr. To
right of a man's legs: Συ[ο]ν, retr.{15}. Below the sphinx' belly: [σφι]χς:,
retr.{3}. To right of her forelegs: hε̣[δε]{3}. To right of her neck: χαιρε{3}.
Between the handle roots of one handle, a vertical non-stoich. two-liner:
Γλαυκυτες | μεποιεσεν. Under the other, similar: Αρχικλες | εποιεσεν.
CAVI Footnotes: {1} it is not clear whether this is connected with the sphinx. {2} the last
two inscriptions are misplaced. {2} a so V. Schmidt; Ποδες, Threatte (1996), 81.
In either case, the name of a dog. {3} so Reichhold's dr.; not in FR, text; not
in CVA. {4} so Reichhold; CVA reads κινο; Κιμον̣, FR and CVA. Nonsense? {4} a
for the name see Threatte (1996), 263, with parallels. {5} so FR, dr.; not in
text; CVA reads ευγσπ. Nonsense? The gamma of ευ(γ)σι turned 90 degrees. - λυσυ,
FR; ιυσυ. CVA; both retr. - νρρν, FR; νερν, CVA. - ενονσ is my reading from the
photo in CVA; I had read ϝνονσ from Reichhold; CVA reads ενοπσ(?). - νϝϙπσ: my
reading from Reichhold; the photo in CVA shows rather νϝφπσ; CVA reads νετνσ.
{6} illegible in FR; CVA reads νερνσ, but the third letter is unclear in the
photo. {7} for the name, see Hesp. 22 (1953) 215. {8} Athena has only the lyre
as an attribute. {9} a name, or nonsense? Buschor thought it meant
"wohlgezupft," since it is close to the ball of wool held by Ariadne. But it
might also refer to Theseus: "well groomed"? μεσ follows immediately on the
other side of the wool. (μεσ is FR's reading; CVA reads τεσ; the photo shows
only a high horizontal line for the first letter.) For ΕΥΤΙΛΑΣ see also Threatte
(1996), 534, with mention of the reading εὗτ' ἴλλας, referring to the ball of
wool held by Ariadne (`you rolled it well') and a derivation from εὗ τίλλω,
referring as an epithet to the Minotaur as well groomed, which is preferred by
Threatte. {10} Μινοταυρος, Buschor and CVA. {11} i.e., Αριαδνε καλε(?).
((n.11a))cf. Threatte (1996), 751, on i, p. 460. {12} "wo sonst Minos steht,"
Buschor, but the man has a name, Lykios. Clearly nonsense. {13} apparently not a
known name; CVA considers it nonsense. {14} so FR; CVA and its photo have
Σο[λο]ν, retr. See also ARV[2] 1609. {15} I read συν: after Reichhold; Συ[ο]ν,
FR, text. CVA: "der argbeschädigte" Συ[ο]ν, retr. Notes from Rebillard: Ιδα^σος,
retr. A dog's tail intervenes. Υδασος, Brunn. Lissarrague (1985), 79 and fig. 4
(dr.) mentions Ιδαιος but rejects it. - Κινο[ν]. So R. See 508 n. 4: Κι(μ)ον,
Arias. [Λυ]κινος, Lissarrague, but no letter was written before the kappa and
the name occurs on B for a companion of Theseus. Reichhold's dr. has a
horizontal inscription above `Kinon' and a sphinx, but today the ph. shows
nothing and it may have been a modern inscription since removed. - Under the
belly of the right sphinx, diagonally downward: :*Σφιχς. No trace of punctuation
at end; perhaps never written. - At right: :*Σ̣φ̣[--] downward [[:* = triple
dot]], or [--]υ̣ς̣:*, upward and retr. R. says the letters do not allow for a
decision, but since he also says that the third dot while faint is certain, the
first alternative must be right. - P. 511: 7 figures to left of Athena and 5 to
right of Ariadne's nurse, a total of 6 men and 6 women, representing the 14
Athenian maidens and youths [but one is bearded!]. - Σιμον. He is the only
bearded member of the group, whence Bothmer has suggested that he is an indirect
representation of Minos (the name an anagram); see BMMA 5 (1946-47) 224, not
accepted by Dev. 56. - R. discusses the Attic names of the Athenian youths and
maidens. - Συ[.]ν, retr. R. does not restore, since a name Συων is unknown.
Mon.: Σιρον, retr. Brunn: ΙN[.]V... (clearly wrong as the nu is retr. and Brunn
reads as left to right). Arias: συ[ο]ν. Reichhold's dr.: ΣVN:. The ph. confirms
this reading except for a gap in the middle [not shown in the dr.]. - B: above
the outstretched hands of the nurse: καλε. Long discussion by R., 520-521:
Arias: exclamation by the nurse; Guarducci (1974), 487 [[RG iii, Tippfehler]]:
exclamation by the nurse: καλε̅́, directed at Ariadne or for the spectator to
apply to any woman he fancies. Scheller, MusHelv 38 (1981) 222 also reads καλη.
R. reads καλέ (voc.) addressed by the nurse to Theseus. - Also part of the
`dialogue' and not meaningless are the ff. two inscriptions: between the ball of
wool and Ariadne's face, along her outstretch arm, toward her: μ̣ε̣σ. The first
letter may be a tau, hence: τ' ἕς, perhaps τὸ ἕς. This is rejected by R. who
suggests μ' ἕς, spoken by the Minotaur: μ[οι] ἕς `lance[-la] moi' [I think
referring to the wool.] R. suggests also μ[ε] ἕς, `let me be', spoken by the
Minotaur, but prefers the first reading because the inscription is not near the
mouth of the Minotaur. - Above Theseus' head, horizontal: ΕΥΤΙΛΑΣ:: not nonsense
because of its position. Guarducci (1974), 487 n. 1 [[EG iii, richtig]] combines
ευτιλασ with μασ as a comment on the ball of wool but does not succeed in
deciphering it. R. uses Hsch. s.v. εὖτε· ἡνίκα, ὅτε· καὶ καλῶς, to suggest εὖτ'
ἴλλας (ἴλλω is Perpillou's suggestion), `tu l'as bien roulé' [[not: roulez]],
with a secondary meaning `tu l'as bien acculé' referring to the Minotaur. -`Le
presque signifiant': all start with ευ-, are shouts of admiration or
glorification. (Cf. already Ευανθε, Ευνικε, Ευτιλας). Meaningless, but the tone
is set by the eu-: A: along the left front leg of the left sphinx: ευγστ̣, retr.
R. reads the third letter as a gamma, although misshapen. Brun wrongly read
EVTV. The sigma also not certain. Reichhold's dr. is right. Unpronounceable,
hence not a real shout. Above the tail of the sphinx, behind Empedo's shoulders,
diagonally downward: ευσι, retr. Could be spoken exclamation or invented by the
painter. Curving around Empedo's face: ε̣υσυ. Mon. and Reichhold have γυσυ. B.
Fellmann, CVA .., p. 15 reads: ιυσυ. The first letter may be epsilon, pi or nu;
only a vertical line remains by a break. To left of Eunike's face, but following
the back of head of the receding figure whom it faces: ευτις. R. suggests it is
a shortened form of ευτιλας. - `Le non-signifiant': they represent the admiring
comments of the bystanders (only one is near a sphinx). - Threatte (1996)
reports on Rebillard's interpretation (p. 522-24/47): ΕΥΤΙΛΑΣ = εὖτ' ἴλλας, `you
rolled it well', namely, Ariadne's ball of wool, but prefers an epithet of the
Minotaur from εὖ + τίλλω. [τίλλω: to pluck, tear one's hair; ἴλλω = εἴλω, to
roll up]. On p. 537 R. indicates that the word is spoken by Athena.
CAVI Comments: Done from FR and checked with CVA; note that the vase has been repeatedly
recomposed since Reichhold's drawings. I give the inscriptions mainly from CVA,
although FR probably has a few more letters. A has 21 inscriptions for 18
figures: χαιρε, twice, is supernumerary (I count hεδε with the sphinxes) and one
inscription seems to be nonsense (see note 4). B has 36-37 inscriptions for 19
figures, many of them nonsense (B had more empty space). Many of the names are
not true mythological names. The vase is a model of the use of inscriptions on
many-figured band cups, which are often purely ornamental; see AttScr (1990),
48-49. For the peculiar use of punctuation, see AttScr (1990), 49 and 168. The
vase may be by the same hand as London B 419 (Beazley).
