DOI Page / Citation link:
https://doi.org/10.11588/diglit.14699#0038
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Appendix P
shield).. The best available illustration of this ritual scene is a photographic cut
in H. Licht Sitterigeschichte Griechenlands Dresden—Zurich 1925 i. 122. With it
should be compared a beW-krate'r of Paestum style in the British Museum {Brit.
Mus. Cat. Vases iv. 97 no. F 188, P. F. H. d'Hancarville Anliquites dtrusques,
grecques et romaines, tiroes du cabinet de M. Hamilton Naples 1767 iv col.
• pi. 118, Corp. vas. ant, Brit. Mus. iv E. a pi. 2, 3 a and 3 b with text p. 4 by
A. H. Smith and F. N. Pryce), on which the youthful Dionysos holds out fruit to
a male kalatkiskqsr&axic&i performing before him (my fig. 810 is from the official
photograph), and an Apulian be\\-/crate'r from Rugge at Berlin (B. Schroder in
the Rom. Mitth. 1909 xxiv. 119 fig. 6), on which is a male dancer of like aspect.
Fig. 810.
Once more, on a late red-figured be\\-krate'r at Petrograd (Stephani Vasen-
samml. St. Petersburg ii. 299 no. 1778, id. in the Compte-rcndu St. Pet. 1869
p. 236 Atlas pi. 6, 4 and 5 ( = my fig. 811), Reinach Rep. Vases i. 32, 5 and 7)
a girl wearing the short chiton and kalathiskos places the pinakiskion on the
hot/abos-stand for a recumbent feaster (hardly Dionysos, as F. Hauser in the
Jahrb. d. kais. dcutsch. arch. Inst. 1890 v Arch. Anz. p. 68 supposed).
Other early examples of the motif are to be found among the limestone reliefs
of c. 420—410 B.C. that decorate the inner surface of the heroion at Trysa. The
doorway on the southern side is here flanked by two female (?) dancers wearing
a large kdlatlws perhaps originally painted with a design of reeds or rushes (cp.
the dancing-girl with yellow krdtala and a white kdlathos marked with red rays
in a tomb-painting of iv (?) B.C. found in 1854 at S. Maria in Fondo Vetta,
south of the amphitheatre at Capua, and published by G. Minervini in the Bull.
Arch. Nap. Nuova Serie 1854 ii. 183 f. pi. 14, P. W. Forchhammer in the Mon.
Appendix P
shield).. The best available illustration of this ritual scene is a photographic cut
in H. Licht Sitterigeschichte Griechenlands Dresden—Zurich 1925 i. 122. With it
should be compared a beW-krate'r of Paestum style in the British Museum {Brit.
Mus. Cat. Vases iv. 97 no. F 188, P. F. H. d'Hancarville Anliquites dtrusques,
grecques et romaines, tiroes du cabinet de M. Hamilton Naples 1767 iv col.
• pi. 118, Corp. vas. ant, Brit. Mus. iv E. a pi. 2, 3 a and 3 b with text p. 4 by
A. H. Smith and F. N. Pryce), on which the youthful Dionysos holds out fruit to
a male kalatkiskqsr&axic&i performing before him (my fig. 810 is from the official
photograph), and an Apulian be\\-/crate'r from Rugge at Berlin (B. Schroder in
the Rom. Mitth. 1909 xxiv. 119 fig. 6), on which is a male dancer of like aspect.
Fig. 810.
Once more, on a late red-figured be\\-krate'r at Petrograd (Stephani Vasen-
samml. St. Petersburg ii. 299 no. 1778, id. in the Compte-rcndu St. Pet. 1869
p. 236 Atlas pi. 6, 4 and 5 ( = my fig. 811), Reinach Rep. Vases i. 32, 5 and 7)
a girl wearing the short chiton and kalathiskos places the pinakiskion on the
hot/abos-stand for a recumbent feaster (hardly Dionysos, as F. Hauser in the
Jahrb. d. kais. dcutsch. arch. Inst. 1890 v Arch. Anz. p. 68 supposed).
Other early examples of the motif are to be found among the limestone reliefs
of c. 420—410 B.C. that decorate the inner surface of the heroion at Trysa. The
doorway on the southern side is here flanked by two female (?) dancers wearing
a large kdlatlws perhaps originally painted with a design of reeds or rushes (cp.
the dancing-girl with yellow krdtala and a white kdlathos marked with red rays
in a tomb-painting of iv (?) B.C. found in 1854 at S. Maria in Fondo Vetta,
south of the amphitheatre at Capua, and published by G. Minervini in the Bull.
Arch. Nap. Nuova Serie 1854 ii. 183 f. pi. 14, P. W. Forchhammer in the Mon.