Decoration: A: SATYR WITH PELTA AND SPEAR, NAMED B: SATYR PLAYING PIPES, NAMED
Last Recorded Collection: Berlin, Antikensammlung: 1966.19
Publication Record: Antike Welt: (1988), SONDERNUMMER, 10, FIG.14 (A) Archäologischer Anzeiger: 1974, 239, FIGS.1-2 (PARTS OF A & B) Beazley, J.D., Paralipomena (Oxford, 1971): 323.3BIS Belloni, L., Bonandini, A., Ierano, G., and Moretti, G. (eds.), Le Immagini nel Testo, il Testo nelle Immagini, Rapporti fra parola e visualita nella tradizione greco-latina (Trento, 2010): 65, FIG.7 (COLOUR OF A AND B) Boardman, J., Athenian Red Figure Vases, The Classical Period (London, 1989): FIG.31 (A) Boardman, J., The history of Greek vases, potters, painters and pictures (London, 2001): 86, FIG.119 (A) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 154 Ceccarelli, P., La pirrica nell'antichita greco romana, studi sulla danza armata (Pisa, 1998): PL.16.2-3 (A, B) Chiarini, S., The so-called Nonsense Inscriptions on Ancient Greek Vases, Between Paideia and Paidiá (Leiden, 2018): 189, FIGS.33A-B (COLOUR OF A AND B) Dierichs, A., Erotik in der Kunst Griechenlands (Mainz, 2008): 39, FIG.28 (COLOUR OF A) Hedreen, G., The Image of the Artist in Archaic and Classical Greece, Art, Poetry, and Subjectivity (Cambridge, 2016): 30, FIG.9, PL.7 (B, COLOUR OF A) Heilmeyer, W-D. and Giuliani, L. (eds.), Euphronios, der Maler, eine Ausstellung in der Sonderausstellungshalle der Staatlichen Museen Preußischer Kulturbesitz Berlin-Dahlem, 20.3. - 26.5.1991 (Milan, 1991): 255-257, NO.61 (COLOUR OF A AND B) Heinemann, A., Der Gott des Gelages. Dionysos, Satyrn und Mänaden auf attischem Trinkgeschirr des 5. Jahrhunderts v. Chr. (Berlin, 2016): 371, FIG.240 (A AND B) Lexicon Iconographicum Mythologiae Classicae: SUPPLEMENTUM 1, PL.227, TERPAULOS 1 (A, B) Lexicon Iconographicum Mythologiae Classicae: VII, PL.578, STYSIPPOS 1 (A) Oakley, J.H. (ed.), Athenian Potters and Painters, Volume III (Oxford and Philadelphia, 2014): 53, FIG.5, PL.6 (A, COLOUR OF A) Oakley, J.H. et al., Athenian Potters and Painters, The Conference Proceedings (Oxford, 1997): 208, FIG.11 (PART) PHOTOGRAPH(S) IN THE BEAZLEY ARCHIVE: 7 (A, B, PARTS OF A AND B) Padgett, J.M. (ed.), The Berlin Painter and His World, Athenian Vase-Painting in the Early Fifth Century B.C., Princeton University Art Museum Monograph Series (New Haven and London, 2017): 97, FIG.14 (COLOUR OF A) Sanchez, C., Kunst und Erotik in der Antike (Berlin, 2013): 73, FIG.31 (PART OF A) Schefold, K., Die Göttersage in der klassischen und hellenistischen Kunst (Munich, 1981): 93, FIG.120 (A) Steiner, A., Reading Greek Vases (Cambridge, 2007): 191, FIGS.8.20-8.21 (A, B) Yatromanolakis, D. (ed.), Epigraphy of Art II, Inscriptions and Representations on Athenian Vases (Athens, 2024): 205-206, FIGS.7-8 (A, B)
CAVI Lemma: RF NECK AMPHORA. SMIKROS{1}. LAST QUARTER SIXTH. 510-500.
CAVI Subject: A: SATYR ADVANCING WITH SPEAR AND PELTA{2}. B: SATYR PLAYING THE FLUTE{2}.
CAVI Inscriptions: A: UNDER THE SHIELD: Σμικρος εγραφσεν. ABOVE THE HEAD: Στυσιπ̣[[π]ος καλο]ς.
B: ABOVE THE HEAD: Τερπαυλος. STARTING BELOW THE FLUTES' ENDS:
νετεναρενε(τ)ενετο.
CAVI Footnotes: {1} "THE DRAWING IS VERY LIKE EUPHRONIOS," BEAZLEY. {2} THE BF LEKYTHOS BY
THE ATHENA PAINTER, ATHENS, N.M. 18,567, Q.V. PROVES TO G. THAT THE BERLIN
AMPHORA ALSO SHOWS SATYRS DANCING THE PYRRHICHE.
CAVI Comments: BEAZLEY SAYS THAT THE GAP IN THE NAME Στυσι[5-6]ς IS TOO GREAT TO ALLOW THE
RESTORATION Στυσιππος (WITHOUT καλος). THE NAME OCCURS ALSO ON NAPLES 2617, RF
CUP BY OLTOS, THERE PROBABLY WITH KALOS (SEE ARV[2] 1609), WHERE IT IS LIKELY TO
BE A PUN ON Σπευσιππος. GREIFENHAGEN IN JAHRB. READS Στυσιπ[ος καλο]ς, αND I SEE
A TRACE OF A PI IN THE PHOTOGRAPH IN BERLIN ANTIKENMUSEUM (1991) (WHERE HOWEVER
THE FINAL SIGMA DOES NOT SHOW). KOSSATZ-D. TAKES THE NAME AS A SATYR NAME, AND I
WONDER IF ON BOTH VASES THE PUNNING HUMAN NAME IS NOT APPLIED TO A SATYR AS A
JOKE. NOTE THAT ON B TERPAULOS, WITHOUT KALOS, IS SIMPLY A SATYR NAME, BUT AGAIN
IT MAY BE A PUN ON A HUMAN NAME LIKE Τερπανδρος. LGPN II LISTS Τερπαυλος AS A
HUMAN NAME, CITING WISS. ZEIT. UNIV. ROSTOCK 16 (1967), P. 452, CF. PARA., P.
308 [I CAN FIND NOTHING RELEVANT THERE] AND P. 323. IN THE OTHER INSCRIPTION ON
B, GREIFENHAGEN READS TAU FOR THE ELEVENTH LETTER, BOTH IN JAHRB. AND AA,
PERHAPS RIGHTLY (OTHER TAU'S ARE ALSO A BIT SMEARED), AND CONNECTS THE
INSCRIPTION WITH νητη, THE HIGHEST NOTE ON THE SCALE. THE ELEVENTH LETTER IS
SOMEWHAT MISWRITTEN AND MAY CONCEIVABLY BE A GAMMA. - LISSARRAGUE DRAWS THE 11TH
LETTER AS A CLEAR TAU. BUT HE ERRS IN SAYING THAT "THE SOUNDS RESEMBLE A SERIES
OF NOTES AND SEEM TO EMERGE FROM THE FLUTE ITSELF."
CAVI Number: 2497
AVI Bibliography: GREIFENHAGEN (1967), 10-15 AND 35, FIGS. 7-11. — PARA. (1971), 323/3 BIS. —
GREIFENHAGEN (1974), 238-40, FIGS. 1-2 (PARTS). — ADD.[2] (1989), 154. — ATTSCR
(1990), NO. 404. — LISSARRAGUE (1990A), 127, FIG. 96 (SKETCH OF A, WITH
INSCRIPTIONS). — BERLIN ANTIKENMUSEUM (1991), 254/61 (ILL.). — KOSSATZ-DEISSMANN
(1991), 173 (STYSIPPOS 1, MUCH BIBL.). — WEHGARTNER (1997), 207, FIG. 11 (SHOWS
LETTERS Στυσι ONLY).
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
