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)
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)
