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https://doi.org/10.11588/diglit.4761#0093
86 CATALOGUE OF VASES.
{b) This scene is too fragmentary to be intelligible. On the 1. is a wreathed
figure in an himation, seated on a diphros : and in the centre possibly two figures
wrestling. A draped figure stands on r.
Beneath one handle a podanipter with richly ornamented tripod stand in
form of lion's paws, and handles terminating in palmettes attached by black
bands, stands on a square plinth. Beneath the other, a pickaxe (dikella) with
one point in the ground and handle horizontal to 1.
E 64. KYLIX. Ht. 4| in. Diam. ■ I if. in. Vulci. Blacas Coll. Formerly in the possession of
Raoul-Rochette ; subsequently in that of Basseggio. Mon. delV Inst, iii, pi. 12; Ann. deW
Inst. 1839, pp. 251-255, and 1871, p. 109 ; Raoul-Rochette, Choix de peinturcs, p. 64; £l. Ce"r.
ii, pi. 22, p. 57 (interior alone) ; Overbeck, Kunstmyth. (Apollo), p. 64, no. 36, and p. 483,
no. 1 ; Atlas, pi. 26, 1 (interior alone) ; Murray, Designs from Greek Vases, no. 42 ;
Roscher, vol. i, pp. 467 and 955. Hartwig, Meistersch. p. 330, refers it to Brygos ;
cf. the vase of similar style, Philologus, xxvi, pi. 4, 1, which Hartwig, ibid. p. 105, note I, 8,
assigns to Brygos. Broken, and the edges of the fragments much worn, but nothing is
wanting : the surface of the interior is much injured. Drawing broad and bold in style, the
hands and feet long and carefully drawn in the manner of Euphronios. Purple is used for the
wreaths, headdresses, inscriptions, pegs, plectrum, and chords of lyre, and cords of baskets.
The string of Apollo's bow is black. Inner markings in brown, now only traceable on exterior :
the edge of the shell of the lyre in b is coloured with a wash of brown. In the full face figure in
b, the hair is shown outside the ear on each side.
Interior : the scene is drawn within a circle of running maeander. The small
space left between this and the edge is occupied by a band formed of pairs of
palmettes set horizontally to 1. and to r. The figures stand upon a thin red
ground-line, which cuts off a narrow exergue varnished black.
Apollo pursuing a Nymph.* Apollo, wreathed with laurel, hair looped up
in knot, quiver and bow at back, mantle falling in pteryges, striding forward
from 1., seizes with both arms a Nymph, who, as she retreats to r., looks back,
raising her himation from her 1. shoulder with her 1. hand : her hair, confined with
a stephane, falls in regular wavy tresses on her shoulders : she wears a long
chiton, and bracelet on 1. wrist, In the field, HOPAI$ KAVO$, 0 jrak koKo^.
Exterior : (a) Symposion. Three bearded men reclining to 1.: the r. hand
one leans his 1. elbow on a cushion embroidered with a broad key pattern
between two bands of comb pattern, and holds out in r. a cotyle resting on the
palm : the next figure turns towards the first, and leaning his 1. elbow on the
knee of the first, seems from the gesture of his r. arm to be conversing with him ;
in his 1. he holds by the foot a kylix (black silhouette against his body) : the third
figure leans his 1. elbow against the r. knee of the second, and holds out a kylix
to be filled by a boy of diminutive size who advances to receive it with his 1.,
holding in his r. an oinochoe : he wears a fillet with an upright piece over the
* Apollo is rarely found in this subject: the natural attribution would be Daphne, but the myth of
Apollo and Daphne is not otherwise known to art before die Pompeian wall-paintings [see Helbig in
Rhein. Mus. xxiv, p. 251, and Wandgem. no. 206 ff. ; also reff. in Roscher, i, p. 955 : cf. also i, p. 467].
Braun named the figure Boliue, but on no sufficient evidence. She was the local personification of a
town in Achaia (Paus. vii, 23, 3).
{b) This scene is too fragmentary to be intelligible. On the 1. is a wreathed
figure in an himation, seated on a diphros : and in the centre possibly two figures
wrestling. A draped figure stands on r.
Beneath one handle a podanipter with richly ornamented tripod stand in
form of lion's paws, and handles terminating in palmettes attached by black
bands, stands on a square plinth. Beneath the other, a pickaxe (dikella) with
one point in the ground and handle horizontal to 1.
E 64. KYLIX. Ht. 4| in. Diam. ■ I if. in. Vulci. Blacas Coll. Formerly in the possession of
Raoul-Rochette ; subsequently in that of Basseggio. Mon. delV Inst, iii, pi. 12; Ann. deW
Inst. 1839, pp. 251-255, and 1871, p. 109 ; Raoul-Rochette, Choix de peinturcs, p. 64; £l. Ce"r.
ii, pi. 22, p. 57 (interior alone) ; Overbeck, Kunstmyth. (Apollo), p. 64, no. 36, and p. 483,
no. 1 ; Atlas, pi. 26, 1 (interior alone) ; Murray, Designs from Greek Vases, no. 42 ;
Roscher, vol. i, pp. 467 and 955. Hartwig, Meistersch. p. 330, refers it to Brygos ;
cf. the vase of similar style, Philologus, xxvi, pi. 4, 1, which Hartwig, ibid. p. 105, note I, 8,
assigns to Brygos. Broken, and the edges of the fragments much worn, but nothing is
wanting : the surface of the interior is much injured. Drawing broad and bold in style, the
hands and feet long and carefully drawn in the manner of Euphronios. Purple is used for the
wreaths, headdresses, inscriptions, pegs, plectrum, and chords of lyre, and cords of baskets.
The string of Apollo's bow is black. Inner markings in brown, now only traceable on exterior :
the edge of the shell of the lyre in b is coloured with a wash of brown. In the full face figure in
b, the hair is shown outside the ear on each side.
Interior : the scene is drawn within a circle of running maeander. The small
space left between this and the edge is occupied by a band formed of pairs of
palmettes set horizontally to 1. and to r. The figures stand upon a thin red
ground-line, which cuts off a narrow exergue varnished black.
Apollo pursuing a Nymph.* Apollo, wreathed with laurel, hair looped up
in knot, quiver and bow at back, mantle falling in pteryges, striding forward
from 1., seizes with both arms a Nymph, who, as she retreats to r., looks back,
raising her himation from her 1. shoulder with her 1. hand : her hair, confined with
a stephane, falls in regular wavy tresses on her shoulders : she wears a long
chiton, and bracelet on 1. wrist, In the field, HOPAI$ KAVO$, 0 jrak koKo^.
Exterior : (a) Symposion. Three bearded men reclining to 1.: the r. hand
one leans his 1. elbow on a cushion embroidered with a broad key pattern
between two bands of comb pattern, and holds out in r. a cotyle resting on the
palm : the next figure turns towards the first, and leaning his 1. elbow on the
knee of the first, seems from the gesture of his r. arm to be conversing with him ;
in his 1. he holds by the foot a kylix (black silhouette against his body) : the third
figure leans his 1. elbow against the r. knee of the second, and holds out a kylix
to be filled by a boy of diminutive size who advances to receive it with his 1.,
holding in his r. an oinochoe : he wears a fillet with an upright piece over the
* Apollo is rarely found in this subject: the natural attribution would be Daphne, but the myth of
Apollo and Daphne is not otherwise known to art before die Pompeian wall-paintings [see Helbig in
Rhein. Mus. xxiv, p. 251, and Wandgem. no. 206 ff. ; also reff. in Roscher, i, p. 955 : cf. also i, p. 467].
Braun named the figure Boliue, but on no sufficient evidence. She was the local personification of a
town in Achaia (Paus. vii, 23, 3).