L. D. Caskey, J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston

subject is derived from a satyr-play: but it is difficult to believe that the satyrs of the satyr-play chorus were ever replaced by Pans.¹

Pans are sometimes goat-footed or goat-shanked; here they have nothing goat-like but the tail, and the head, which, as in the bell-krater by the Pan Painter (ii p. 48), is pure goat, not, as often, human apart from ears and horns. One Pan is hairier than the other. On early representations of Pan see ii p. 48.

B. On the reverse of the vase, a maenad and two satyrs. The maenad runs, the satyrs dance along, dancing being more natural to them than walking or running. One satyr leads, thyrsus in hand, looking back; the other would like to lay hands on the maenad, but she turns and gives him a hard look: he shrinks and his tail droops. This is a favourite situation in the Penthesilea Painter and other artists: the nymphs or maenads are vigorous viragos, well able to protect themselves if they wish.

The maenad holds a kantharos in her right hand, and in her left a thyrsus, not gripped as usual, but laid lightly on her shoulder and palm. She wears a saccos and a peplos, which has an overfall, and also a long kolpos, over which it is girt with a broad band.

To the list of vases by the Penthesilea Painter (ARV. pp. 582-9 and 962) Dietrich von Bothmer has added a cup in New York, New York 10.210.20 (I, rider; A-B, youths, men, and horses), and another in an Italian collection (I, Theseus pursuing Aithra.² A, a youth with a horse, and another youth, leaving home: parts of male figures on B remain). Add also a lobster-claw askos in Cassel (Eros flying, head frontal, with sash; flower; wreath); and the cup in the Chigi collection at Siena, no. 31 in the list of school-works ARV. p. 626: in Att. V. p. 274 no. 22 I attributed it to the Penthesilea Painter, but later I thought it might be a school-piece only: it is by the painter himself. The subject of the interior picture is Eos and Tithonos, not Eos and Kephalos. No. 109 is now published in CV. Munich pl. 93, 3-4 and pl. 91, 5-8, no. 113 in Riv. Ist. 8 pp. 46-52, whence Anz. 1941 pp. 451-4. No. 48 is now in the Lagunillas collection at Havana. No. 3 is in the house of the American Philosophical Society, Philadelphia. See also ii p. 61.³

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G. M. A. Richter, AJA 30 (1926), pp. 39-40; P. Jacobstahl 1927, p. 192, pl. 120d; Bruhn 1943, p. 85, note 31; F. Brommer, Marburger Jahrbuch für Kunstwissenschaft 15 (1949/50), pp. 22-23, fig. 27; J. D. Beazley, BABesch 24-26 (1949-1951), p. 19; Metzger 1951, p. 72, note 3; E. Simon, 1959, Die Geburt der Aphrodite, Berlin, De Gruyter, pp. 48-49, fig. 30; Palmer 1962, pp. 46, 48 (fig. 33); S. Karouzou, BCH 86 (1962), pp. 455-456; Alscher 1963, p. 112, note 122; ARV2, pp. 888 (no. 155), 1673; EAA, IV, pp. 389 (fig. 459), 391 (B. Conticello); H. Hoffmann, AntK 7 (1964), p. 68, pl. 19, 2; Metzger 1965, pp. 12-14; Schefold 1967b, p. 62; Para., p. 428, no. 155; Seeberg 1971, p. 74 (as 01.832); A. Peschlow-Bindokat, JdI 87 (1972), p. 96, note 136; Henle 1973, pp. 33-34, 175 (note 14); K. Schefold, AntK 19 (1976), p. 77; Lezzi-Hafter 1976, pp. 27 (note 114), 37 (note 150); H. G. Robinson, Bulletin of the Cleveland Museum of Art, Sept. 1977, pp. 237 (fig. 15), 238, 241 (note 18); Kossatz-Deissmann 1978, p. 161, note 943; K. Schefold, AntK 22 (1979), p. 116, note 20; Loeb 1979, pp. 92, 131, 309 (Aph 39), 329-330 (Ko11); Fischer-Graf 1980, p. 19, note 202; Brommer 1980, pp. 1 (no. B 2), 36; Schefold 1981, pp. 8-9 (fig. 1), 23, 75, 125, 191, 332, 362; E. Simon, Gnomon 54 (1982), p. 785; Beazley Addenda 1, p. 148; Antidoron 1983, p. 86, note 17 (F. Eckstein); LIMC, II, 1, p. 113, no. 1158, II, 2, pl. 115, illus. (A. Delivorrias, et al.); P. Borgeaud, 1988, The Cult of Pan in Ancient Greece (trans. by K. Atlass and J. Redfield), Chicago, University of Chicago Press, pp. 146, 247-248 (note 78), pl. 8; M. Maaskant-Kleibrink, BABesch 64 (1989), p. 13, no. 6; Beazley Addenda 2, p. 302; CVA, Karlsruhe, Badisches Landesmuseum, 3, p. 74, under pl. 35 (C. Weiss).

101. 28.48 CUP PLATE LIII

Diameter 0.238, height 0.098. Mazochius In Regii Herculanensis Musaei aeneas tabulas Heracleenses commentarii p. 554, whence Lanzi De' vasi antichi dipinti volgarmente chiamati etruschi pl. 2, 1-2, Inghirami Mon. etr. 5 pll. 69-70, Dubois-Maisonneuve pl. 25, (A-B) Krause Gymnastik pl. 15 fig. 55, (detail) JHS. 23 p. 271 = Norman Gardiner G.A.S. p. 275, (detail) Alexander Greek Athletics p. 8, above; (detail), Norman Gardiner Athl. fig. 88; Diepolder Der Penthesilea-Maler pl. 29, 1 and pl. 28. I, youth and boy. A-B, athletes. About 460 B.C., by the Penthesilea Painter (ARV. p. 584 no. 22).

The cup is one of the oldest finds in the Museum collection of vases, for it was published by Mazzocchi in 1754-8. Inghirami, in 1824, speaks of it as in the Museo degli studi at Naples. Then it disappears, and does not come to light again till 1928.

Inside, a boy sits on a rough-hewn stone seat, wrapped in his himation, his feet dangling, while a youth leans on his stick talking to him. The youth's himation leaves both arms free, and he uses them to gesticulate. His face has a serious look; the boy smiles. As usual in this painter and his school, there are very few cross-squares in the maeander — only three. The 'odd man' of the maeander (see ii p. 24) is south.

Outside, the scene is laid in the palaestra. In the middle of A, a young athlete holds