DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4761#0096
KYLIKES. 89
back. ' All" the Seileni in both scenes are ithyphallic and wear ivy wreaths.
Around the vertical portion of the foot is painted in black, BPVAOg Er0IE3>EN,
Bp{r/o? eTroir/crev.
[It has been suggested that the subject of a is to be referred either to the Inachus of
Sophocles, or (more probably) to the Iris of Achaios : the introduction of the band of Seileni
and the thymele and altar of Dionysos point to a connection with the theatre : cf. E 768 ; and
£1. Ce"r. i, pi. 45, where five Seileni attack two women.]
E 66. KYLIX. Ht. 3I in. Diam. Sf in. Castcllani, 1865. Murray, Designs from Greek Plate IV.
Vases, no. 44 ; Hartwig, Meistersch. p. 443, note 1, refers this cup to the Meister mit der
Kahlkopf; Furtwangler in Roscher, i, 2162 and 2217, and in Berlin. Phil. Woch. 1894, p. 145,
refers it to Brygos ; cf. Jahrbuch viii (1893), p. 167. Style of Brygos. The lip above a
fractured, and part of the head of Dionysos in a wanting ; the 1. side of b has been injured
on the surface by fire. The form is similar to E 65. Purple is used for the wreaths of Seileni,
and belt of quiver in a ; inner markings in light brown throughout. Hair of Seileni in wavy
strokes of brown. Eye of transitional forms. Beneath the handle on 1. of b a single palmette.
Interior: Within a border of running maeander, a bald-headed, bearded
figure with fillet, and himation leaving r. arm free, stands to r., resting r. on
crutch staff: at the back of his head his hair falls in long wavy tresses. On L,
an ocladias (as in E 61) on a plinth, half seen, with a rug laid upon it.
Exterior : (a) Symposion of Heracles and Dionysos. In the centre is
a small rectangular plinth, on which are three cakes (?) like inverted phials, and
three circular objects (apples ?) ; beside this in the background the gods recline
on striped cushions. On r. Dionysos (wreathed with ivy, long hair) holding
cantharos in r. across his body ; on 1. Heracles turning to r., conversing with
Dionysos, holds in his 1. a fluted phiale : he seems to be asking Dionysos for
the cantharos ; his hair and beard are treated in short crisp curls, indicated in
black dots on a brown wash, and he wears a fillet. Both have drapery around
the loins, and the body covered with small dots, indicating hair. On r. stands
a Seilenos of diminutive size en face, in his r. an oinochoe, his 1. placed on
his r. shoulder, with head resting on it. On 1. a Seilenos of natural size crawls
up on hands and knees, and withdraws with his r. a cake from the table. His
body is finely drawn as seen nearly from the back, with the 1. leg bent in bold
foreshortening. Both the Seileni are wreathed with ivy. In the background
behind Heracles hangs his bow and quiver case.
[Cf. Roscher, loc. cit.: the different proportions of the Seileni are probably due merely
to isocephalism.]
{b) Dionysos as in a, reclining to 1. on two striped cushions, leaning his r.
on a knotted staff, holding in 1. a cantharos. In front of him two diminutive
Seileni, the foremost of whom dances (in the attitude of the Marsyas of Myron ?),
while the other plays on the flutes : the upper part of this last figure, from the
waist, has peeled off, but enough remains for identifying the action. On the 1.
a lebes on tripod stand (upper part restored) and an oinochoe.
[For the-attitude of the dancing figure, cf. E 230, E 570. j
back. ' All" the Seileni in both scenes are ithyphallic and wear ivy wreaths.
Around the vertical portion of the foot is painted in black, BPVAOg Er0IE3>EN,
Bp{r/o? eTroir/crev.
[It has been suggested that the subject of a is to be referred either to the Inachus of
Sophocles, or (more probably) to the Iris of Achaios : the introduction of the band of Seileni
and the thymele and altar of Dionysos point to a connection with the theatre : cf. E 768 ; and
£1. Ce"r. i, pi. 45, where five Seileni attack two women.]
E 66. KYLIX. Ht. 3I in. Diam. Sf in. Castcllani, 1865. Murray, Designs from Greek Plate IV.
Vases, no. 44 ; Hartwig, Meistersch. p. 443, note 1, refers this cup to the Meister mit der
Kahlkopf; Furtwangler in Roscher, i, 2162 and 2217, and in Berlin. Phil. Woch. 1894, p. 145,
refers it to Brygos ; cf. Jahrbuch viii (1893), p. 167. Style of Brygos. The lip above a
fractured, and part of the head of Dionysos in a wanting ; the 1. side of b has been injured
on the surface by fire. The form is similar to E 65. Purple is used for the wreaths of Seileni,
and belt of quiver in a ; inner markings in light brown throughout. Hair of Seileni in wavy
strokes of brown. Eye of transitional forms. Beneath the handle on 1. of b a single palmette.
Interior: Within a border of running maeander, a bald-headed, bearded
figure with fillet, and himation leaving r. arm free, stands to r., resting r. on
crutch staff: at the back of his head his hair falls in long wavy tresses. On L,
an ocladias (as in E 61) on a plinth, half seen, with a rug laid upon it.
Exterior : (a) Symposion of Heracles and Dionysos. In the centre is
a small rectangular plinth, on which are three cakes (?) like inverted phials, and
three circular objects (apples ?) ; beside this in the background the gods recline
on striped cushions. On r. Dionysos (wreathed with ivy, long hair) holding
cantharos in r. across his body ; on 1. Heracles turning to r., conversing with
Dionysos, holds in his 1. a fluted phiale : he seems to be asking Dionysos for
the cantharos ; his hair and beard are treated in short crisp curls, indicated in
black dots on a brown wash, and he wears a fillet. Both have drapery around
the loins, and the body covered with small dots, indicating hair. On r. stands
a Seilenos of diminutive size en face, in his r. an oinochoe, his 1. placed on
his r. shoulder, with head resting on it. On 1. a Seilenos of natural size crawls
up on hands and knees, and withdraws with his r. a cake from the table. His
body is finely drawn as seen nearly from the back, with the 1. leg bent in bold
foreshortening. Both the Seileni are wreathed with ivy. In the background
behind Heracles hangs his bow and quiver case.
[Cf. Roscher, loc. cit.: the different proportions of the Seileni are probably due merely
to isocephalism.]
{b) Dionysos as in a, reclining to 1. on two striped cushions, leaning his r.
on a knotted staff, holding in 1. a cantharos. In front of him two diminutive
Seileni, the foremost of whom dances (in the attitude of the Marsyas of Myron ?),
while the other plays on the flutes : the upper part of this last figure, from the
waist, has peeled off, but enough remains for identifying the action. On the 1.
a lebes on tripod stand (upper part restored) and an oinochoe.
[For the-attitude of the dancing figure, cf. E 230, E 570. j