Smith, Cecil Harcourt; British Museum <London> [Hrsg.]: Catalogue of the Greek and Etruscan Vases in the British Museum (Band 3): Vases of the finest period (London, 1896)

KYLIKES. 79

(/;) Similar scene. The 1. hand figure holds in r. a kylix, on I. a cotyle.
The next figure looks back at him, holding on his 1. a kylix by the foot, and
extends towards him his r. hand. The third figure moves to 1. holding up his
r., supporting on his 1. a kylix, in form like the archaic, cf. B g-io. The fourth,
moving to r., leans backwards, holding up in each hand a kylix. The fifth, with
1. hand muffled in his mantle (which is folded close around his neck), holds a
kylix: he moves to 1., looking downwards. All the figures wear mantles and
woollen fillets.

*■ 55. KYLIX. Old No. S12. Ht. 4Jin. Diam. Il^in. Vulci. Canino Coll. no. 589. Murray,

Designs from Greek Vases, no. 35 ; Hartwig, Meistersch. p. 623, no. 12. Broken, but little
wanting : the foot apparently does not belong. Style of Duris. Purple is used for headdresses,
inscriptions, vine leaves, and grapes. The stem and tendrils of the vine are very faintly drawn
in black on the black. Elaborate inner markings in brown. Drapery in usual manner of
Duris. Eye of dotted circle type. Below and on each side of the handles a very elaborate
ornament, consisting of six palmettos and six buds.

Interior: Within a circle of alternate maeander and red cross square, a
Maenad moving to r., looking back, holding in r. thyrsos, in 1., outstretched as
if she were pouring from it, an oinochoe. She wears an Ionic chiton, and a
himation fastened on r. shoulder, and falling in pteryges : her hair is looped
up behind and confined with a fillet. The thyrsos has a very large egg-shaped
head covered with ivy leaves and berries: the handle tapers to the top and is
divided off into lengths by three knots. In the field on 1., KA\OJ, /ca\6?. Both
feet on border.

Exterior: (a) Dionysos and thiasos. Dionysos in the centre (bearded,
hair looped up with fillet, Ionic chiton, himation, leaving r. shoulder free) moves
to r., looking back ; he holds in r. a cantharos, in 1. a vine with leaves and
grapes. On 1. of him a Seilenos and a Maenad follow ; the Seilenos holds in r.
an oinochoe and raises his 1. as if to pluck a grape. The Mamad raises her 1.
finger and thumb towards her face as if holding a flower. On the r. of Dionysos
a Maenad stands to 1. with exactly similar gesture: and behind her a third
Maenad moves away to r., looking back, holding a crotalon (black silhouette) in
her 1. This last figure has her hair in an embroidered saccos ; otherwise all the
Mcenads are of the same type and dress as the one in the interior scene. The
himatia of the two outside figures are fastened on the r. shoulder, that of the
other on the 1. shoulder.

(/>) Thiasos. Two Seileni and three Maenads of the same type as before.
On the 1. a Seilenos moving to r., holding in r. an oinochoe, extending his 1.
towards a Maenad (wearing an embroidered saccos) who precedes him, looking
back and raising her r. thumb and forefinger (as in a). Then a Seilenos, dancing
to r., clapping his hands, his r. leg rigid, his 1. raised and bent with the toe
pointing downwards. He is confronted by a Maenad with the same gesture of
fingers as before described ; and finally a Maenad moves to r, looking back, and
holding up in her r. an oinochoe. This figure and the one first described have
the himation fastened on the r. shoulder ; the other has it on the 1. shoulder.