Decoration: A: SACRIFICE, DRAPED MEN, ONE WASHING HANDS, ONE WITH STAFF, DRAPED YOUTHS, ONE WITH RAM, ONE PLAYING PIPES, ONE WITH SACRIFICIAL BASKET AND VESSEL, ALL NAMED, ALTAR, BUKRANION AND WREATH SUSPENDED B: SATYR WITH DRINKING HORN, BETWEEN MAENADS WITH THYRSOI
Last Recorded Collection: Boston (MA), Museum of Fine Arts: 95.25
Previous Collections:
Boston (MA), Museum of Fine Arts: 1895.25
Publication Record: Alcock, S. and Osborne, R. (eds.), Classical Archaeology, Second Edition (Malden, 2012): 253, FIG.7.1 (A) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1149.9 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 419 Beazley, J.D., Paralipomena (Oxford, 1971): 457 Boardman, J. (ed.), Cambridge Ancient History, Plates to Volumes 5 & 6 (Cambridge, 1995): 138, FIG.141 (A) Bundrick, S.D., Music and Image in Classical Athens (Cambridge, 2005): 154, FIG.89 (A) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 335 Classical Antiquity: 12 (1993) FIG.4 AT P.266 (A) Etienne, R. and Le Dinahet, M-T., L'espace sacrificiel dans les civilisations mediterraneennes de l'antiquite (Paris, 1991): 52, FIG.3 (DRAWING OF A) Gebauer, J., Pompe und Thysia, attische Tieropferdarstellungen auf schwarz- und rotfigurigen Vasen (Münster, 2002): 719, FIG.114 (DRAWING OF A) Gulick, C.B. (ed.), Athenaeus, The Deipnosophists (Cambridge and London, 1995): XI-XII, FIG.9 (A) Hesperia, The Journal of the American School of Classical Studies at Athens: 83.4 (2014) 662, FIG.2 (A) Himmelmann, N., Minima Archeologica, Utopie und Wirklichkeit der Antike (Mainz, 1996): 87, FIG.40 (DRAWING OF A) Himmelmann, N., Tieropfer in der griechischen Kunst, Nordrheinwestfälische Akademie der Wissenschaften, Vorträge G 349 (Opladen, 1997): 11, FIG.2 (DRAWING OF A) Hornblower, S. and Spawforth, A. (eds.), The Oxford Companion to Classical Civilization (Oxford, 1998): 629 (DRAWING OF A) Hornblower, S. and Spawforth, A. (eds.), The Oxford Companion to Classical Civilization, Second Edition (Oxford, 2014): 691 (DRAWING OF A) Immerwahr, H., A Corpus of Attic Vase Inscriptions, Preliminary Edition (1998): III, 639 Matheson, S.B., Polygnotos and Vase Painting in Classical Athens (Madison, 1995): 147, PL.131 (A) Mikalson, J.D., Ancient Greek Religion (Malden, 2005): 14, FIG.1.6 (A) Neils, J. and Oakley, J.H. (eds.), Coming of Age in Ancient Greece, Images of Childhood from the Classical Past (New Haven, 2003): 158, FIG.22 (A) Osborne, R., Classical Landscape with Figures, The Ancient Greek City and its Countryside (London, 1987): 175, FIG.58 (A) PHOTOGRAPH(S) IN THE BEAZLEY ARCHIVE: 5 (A, B, DRAWING) Powell, A. (ed.), The Greek World (London, 1995): 461 (A) Thesaurus Cultus et Rituum Antiquorum: II, PL.3.GR119 (A) de Cesare, M., Le statue in immagine, Studi sulle raffigurazioni di statue nella pittura vascolare greca (Rome, 1997): 189, FIG.123 (A) van Straten, F.T., Hiera Kala, Images of Animal Sacrifice in Archaic and Classical Greece (Leiden, 1995): FIG.32 (A)
CAVI Lemma: RF bell krater. From Capua. Manner of Kleophon Painter II{1}. 420's or 410's
(Beazley (1929a)). Ca. 425 (CB).
CAVI Subject: A: sacrifice: young flautist; youth bringing up a ram; bearded priest with
his hands in a small vessel held for him over an altar by a youth carrying a
kanoun; bearded man with his staff. B: satyr and maenads.
CAVI Inscriptions: All inscriptions horizontal above the heads. A: young flute player: Καλλιας.
Youth with sheep: Μαντιθεος. Priest: ---]ξ̣. Youth: Ιππ[ο]κλ[ης]. Bearded man
with staff: Αρεσιας. Under the foot, Gr.: hε.
CAVI Footnotes: {1} so ARV[2]; originally Beazley att. to Kleophon Ptr., not his best work;
then to his manner; in CB: almost certain it is by the painter himself.
CAVI Comments: For the identification of the names with political figures see Beazley
(1929a) and CB iii, 77. Beazley read the last letter of the priest's name as
sigma (so also Matheson), and Schefold suggested [Κριτια]ς. I suggest xi, whence
Peisianax or more likely Phaiax are possibilities. Note that Sue Chapman also
drew the priest's final letter looking more like a xi than a sigma. - M. 277
discusses the political implications of the sacrifice: Beazley called it "the
oligarch's sacrifice", performed early in the Peloponnesian War. Webster (1972),
50 and n. 4 suggested that Boston 95.24, also found in Capua, was made for the
same occasion (ARV[2] 1157/iiia2, near Christie Painter); more bibl. in M., 340
n. 38: the sacrifice is perhaps for Pythian Apollo. Ionic alphabet for the
painted inscriptions. The Gr. has closed heta and archaic epsilon.
CAVI Number: 2627
AVI Bibliography: Beazley (1929a), 366/11. — CB (1931–63), iii, 76/167, pl. 101 (dr. of A),
suppl. pl. 25,1 (ph., B) (much bibl.). — ARV[2] (1963), 1149/9, 1588. — Para.
(1971), 457. — Add.[2] (1989), 335 (bibl.). — Bérard et al. (1989), 58, fig. 82
(A, shows no inscriptions). — AttScr (1990), no. 771. — Matheson (1995), 145,
*277, 412/KL30, pl. 131.
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
