Decoration: Body: SYMPOSIUM, NAKED WOMEN RECLINING, SOME WITH SKYPHOI, SOME WITH CUPS, ONE PLAYING KOTTABOS, ONE PLAYING PIPES, PIPESCASE SUSPENDED
Last Recorded Collection: St. Petersburg, State Hermitage Museum: ST1670
Previous Collections:
St. Petersburg, State Hermitage Museum: 644
St. Petersburg, State Hermitage Museum: B1650
Publication Record: Angiolillo, S., Arte e cultura nell'Atene di Pisistrato e dei Pisistratidi (Bari, 1997): 123, FIG.68 (PART OF BD) Antike Welt: 32 (2001) 2, 190-191, FIGS.12A-D (COLOUR OF BD) Bazant, J., Les citoyens sur les vases atheniens, Rocnik 95 (1985) 2: PL.32.52 (DRAWING) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 16.15, 1619 Beazley, J.D., Attic Red-figure Vase-painters, 1st ed. (Oxford, 1942): 17.12 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 60.10 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): 69, FIG.12 (COLOUR) Benndorf, O., Wiener Vorlegeblätter für archäologische Übungen (Vienna, 1888-1890/91): V, PL.2 Boardman, J., Athenian Red Figure Vases (London, 1975): FIG.27 Bodiou, L. (ed.), Chemin faisant, Mythes, cultes et societe en Grece ancienne, Melanges en l'honneur de Pierre Brule (Rennes, 2009): 282-283, FIG.6 (DRAWING) Bodiou, L. et al., Parures et artifices, le corps expose danse l'Antiquite (Paris, 2011): 110, FIG.6 (DRAWING OF PART) Bottini, A. (ed.), Il Trono Ludovisi e il Trono di Boston (1996): 23, FIG.6 (PART) Burn, L. and Glynn, R., Beazley Addenda (Oxford, 1982): 73, 509 Buschor, E., Griechische Vasenmalerei (Munich, 1914): 159 (DETAIL) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 153 Classical Antiquity: 16 (1997) FIG.4 AT 150 (PART OF BD) Cloche, P., Les classes, les metiers, le trafic (Paris, 1931): PL.5.4 Compte-rendu de la Commision Imperiale Archeologique (St. Petersburg, 1860-83): 1869, PL.5 Dierichs, A., Erotik in der Kunst Griechenlands (Mainz, 2008): 61, FIG.44A-D (COLOUR OF BD) Drougou, S., Der Attische Psykter (Würzburg, 1975): PL.4.1 (PART) Echos du Monde Classique, Classical Views: 12 (1993) 195, PL.1.2 (DRAWING OF PART) Filser, W., Die Elite Athens auf der attischen Luxuskeramik, Image & Context 16 (Berlin, Munich, Boston, 2017): 183, FIG.57 (PART OF BD) Frontisi-Ducroux, F., Du Masque au Visage, Aspects de l'identite en Grece ancienne (Paris, 1995): PL.86 (DRAWING) Furtwängler, A. and Reichhold, K., Griechische Vasenmalerei (Munich, 1904-32): PL.63 (BD) Hagenow, G., Aus dem Weingarten der Antike (Mainz, 1982): 77, FIG.25 (PART) Hedreen, G., The Image of the Artist in Archaic and Classical Greece, Art, Poetry, and Subjectivity (Cambridge, 2016): 43, 255, FIG.15, 54 (PARTS) 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): 179-181, NO.33 (COLOUR OF BD) Hesperia, The Journal of the American School of Classical Studies at Athens: 60 (1991) PL.98 (PART, DRAWING OF PART) 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, 405 Huf, L., Frauen jenseits der Konvention, Alterszüge, Tätowierungen und afrikanische Physiognomien im Frauenbild attischer Vasen des 5. Jahrhunderts v. Chr. (Munich, 2018): 66, FIG.23 (COLOUR OF PART OF BD) Isler-Kerenyi, C., Dionysos in Classical Athens. An Understanding through Images (Leiden and Boston, 2014): 31, FIG.11 (DRAWING OF BD) Kilmer, M.F., Greek Erotica on Attic Red-Figure Vases (London, 1993): PL. AT P.146, R20 (DRAWING OF PART) Klein, W., Euphronios (1886): 105 Korshak, Y., Frontal Faces in Attic Vase Painting of the Archaic Period (Chicago, 1977): 93, FIG.19 (PART) Lydakis, S., Ancient Greek Painting and its Echoes in Later Art (Athens, 2002): 102, FIG.82 (PART OF BD) Morais, R., Centeno, R., and Freitas Ferreira, D. (eds.), Myths, Gods and Heroes. Greek Vases in Portugal – Mitos, Deuses e Heróis. Vasos Gregos em Portugal (Porto, 2022): II, 246, FIG.10C (COLOUR OFPARTS) PHOTOGRAPH(S) IN THE BEAZLEY ARCHIVE: 8 (BD, PARTS OF BD, DRAWINGS OF BD) 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): 93, FIG.9 (COLOUR OF PART) Pasquier, A., Euphronios, genie de la peinture grecque, Archeologia hors serie numero 1 (Dijon, 1991): 21 (COLOUR OF PARTS OF BD) Peschel, I., Die Hetäre bei Symposium und Komos in der attisch rotfigurigen Malerei des 6.-4. Jhs. v.Chr. (Frankfurt, 1987): PL.42 Pfuhl, E., Malerei und Zeichnung der Griechen (Munich, 1923): FIG.394 (DETAIL) Roebuck, C. (ed.), The Muses at Work (Cambridge, Mass., 1969): 235, 2, ABOVE (PART) Schuller, W., Die Welt der Hetären. Berühmte Frauen zwischen Legende und Wirklichkeit (Stuttgart, 2008): FIG.19 (COLOUR OF PART) Spivey, N., The Sarpedon Krater, The Life and Afterlife of a Greek Vase (Chicago, 2018): 92-93, FIG.23 (PARTS) Topper, K., The imagery of the Athenian symposium (Cambridge, 2012): 119, FIG.45 (PART) Tsingarida, A. (ed.), Shapes and Uses of Greek Vases (7th-4th centuries B.C.), Proceedings of the Symposium held at the Universite Libre de Bruxelles, 27-29 April 2006 (Brussels, 2009): 340, FIG.4 (COLOUR OF PART) Yatromanolakis, D. (ed.), An Archaeology of Representations, Ancient Greek Vase-Painting and contemporary Methodologies (Athens, 2009): 226, FIG.7 (PART OF BD)
CAVI Lemma: RF psykter. From Cerveteri. Euphronios. Last quarter sixth. 510-500. 515-510
(`Euphronios').
CAVI Subject: Symposium: four nude hetaerae reclining.
CAVI Inscriptions: Left to right: one hetaera playing kottabos: τὶν τάνδε λατάσσο, | Λέαγρε,
retr. By her face: Σμικρα. To left of the frontal face of the second hetaera:
Παλαιστο̅́,(1) retr. In the field, a two-liner, non-stoich.: Ευ(φ)ρονιος |
εγραφσεν. By the face of the third hetaera (who plays the flutes): Σεκλινε,
retr. By the face of the fourth hetaera who sits apart holding out a skyphos:
Αγαπε, retr.{2}.
CAVI Footnotes: {1} the facs. shows the pi not reversed. {2} `Euphr.' has Αγαπα, retr.,
perhaps in error. The photo on p. 167 shows a worn area and a break after the
pi, so that it is impossible to tell which is right.
CAVI Comments: = inv. 1650. = St. 1670. Furtwängler in FR notes that three of the hetaerae
each hold two drinking vessels [the fourth plays the flutes]; and that the use
of kottabos is here for a `Liebesorakel.' The vase is thus in praise of Leagros.
For Σεκλινε see AttScr, and for Αγαπε, Beazley in ARV[2]. The use of retr. seems
more or less determined by the position of the hetaerae. Robertson in Robertson
(1992), mentions the suggestion that a symposium of hetaerae is a vase painter's
joke. On p. 28 he comments on the Doric dialect of the kottabos inscription: is
it symposium formula or was a real Smikra a Dorian? I think the former is more
likely. - For Agape see also Drougou n. 261; for the kottabos see nn. 262-63.
Agape is listed in LGPN ii. BCH 1956, 307: Αγαπα is the name of a dead woman
from Pharsalus, beginning 5th.
CAVI Number: 7353
AVI Bibliography: FR (1904–32), ii, 15-19, pl. 63. — ARV[2] (1963), 16/15, 1619. —
Peredol’skaya (1967), 24/17, pls. 14-15, 166,2-7 (facss.). — Para. (1971), 509.
— Drougou (1975), 16/A 23, 85-87 with nn. 261-63, pl. 4,1 (side; does not show
inscriptions). — Add.[2] (1989), 153. — Arezzo (1990), 146/27. — AttScr (1990),
no. 361. — Lioubov (1990), 164/33 (ill.). — [[Csapo–Miller (1991), 373ff., no.
1]].
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
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