Decoration: A: DIONYSOS WITH KANTHAROS AND VINE, SATYR PLAYING PIPES, SATYRS, MAENADS WITH THYRSOS, SNAKES B: KOMOS, MEN, YOUTH PLAYING PIPES, VOLUTE KRATER I: NAKED WOMEN WITH ALABASTRON, SPONGE
Last Recorded Collection: Naples, Museo Archeologico Nazionale: STG5
Publication Record: Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 32.4 Beazley, J.D., Attic Red-figure Vase-painters, 1st ed. (Oxford, 1942): 81.7 Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 157 Keuls, E., The Reign of the Phallus (New York, 1985): 173, FIG.150 (I) Kilmer, M.F., Greek Erotica on Attic Red-Figure Vases (London, 1993): PL. AT P.82, NO.R73 (COLOUR OF I) Numismatica e Antichita Classiche, Quaderni Ticinesi: 16 (1987) 84-85, PLS.13-14 Vasi Antichi, Museo Archeologio Nazionale di Napoli (Naples 2009): 52-53 (COLOUR OF I, COLOUR OF PART OF B)
CAVI Lemma: RF cup. From Etruria. Pezzino Group{1}. Euxitheos, potter (?) (Blösch). Last
quarter sixth.
CAVI Subject: Int.: a naked woman, seated, sponging her boot; a naked woman with an
alabastron. A: Dionysus with satyrs and maenads. B: komos at a krater.
CAVI Inscriptions: Nonsense: Int.: at left: (.)(ο)ιε{2}. Between heads: υχγ{2}. At right:
ο(π)επχι. A: To Dionysus' right: τετε, retr. And many more. B: between the legs
of the man at the krater: χλεχι. Elsewhere: απχ. εχο. χυ, retr.?{3}.
CAVI Footnotes: {1} ARV[1] 81: Chelis Group; shows the influence of Euthymides and the
Kleophrades Painter in his earliest phase (for the relationship see ARV[1] 120)
and is to be grouped with Leiden 18 h 36 [= PC 85] and Munich 2420. ARV[2] 114:
now considered by the same hand as the last two [see ARV[2] 32/1 and 3] and
placed under the heading of the Pezzino Painter. [But on p. 32 only the Pezzino
Group is mentioned, which is said to be somewhat akin to the earliest work of
the Kleophrades Painter.] {2} there may be more. {3} more inscriptions?
CAVI Comments: Sloppy writing; the first letter of the first inscription is smeared, the
second wide open at the left; the first pi of the third inscription = Ionic
gamma. For the nonsense tradition stemming from Euthymides see my article `The
Lettering of Euphronius,' in Euphronios und seine Zeit (1992) 52f. The lettering
on Naples Stg. 5 is particularly close to that on Munich 2420.
