drawing as influenced by the Dinos Painter, but the influence is not strong. There is some resemblance to the Meidias Painter also: for instance, the fine, mannered late-fifth-century hands are more like Meidian. The vase that comes nearest to ours is perhaps a chous in New York (New York 37.11.21: Bull. Metr. Mus. 34 p. 239; van Hoorn Choes fig. 173: komos).
There are a good many vases with this subject, strung out between the third quarter of the sixth century and the second quarter of the fourth. A list follows. The archaic are the best, and among these the cups by the Panaitios Painter excel. The Boston vase is one of three fine choes, painted between 430 and 420 B.C. Previous lists in Heydemann Vasensammlungen... in Neapel p. 707; Annali 1878 pp. 92-4 (Furtwängler: = KS. i pp. 220-2); Hartwig pp. 450-4; Städel-Jahrbuch 2 pp. 21 ff. (Schaal); RM. 38-9 pp. 102-3 (Mercklin); VA. p. 178; V. Pol. p. 25; see CV. Oxford, p. 34.
- 1. Samos, fragments of a bf. amphora by the Amasis Painter (AM. 56 pl. 3). In the group of satyr and nymph represented on the krater shown standing on the ground, all that remains is the legs of the nymph and one leg of the satyr with his tail: but it is very likely that the nymph was asleep. About 540-530 B.C.
- 2. Berlin 2241, lekythos in Six's technique, by the Diosphos Painter (Haspels ABL. p. 236 no. 90). A maenad lies sleeping on a hillock, on her back, her right leg drawn up; she still holds her thyrsus; a satyr bends and embraces her. About 480 B.C.
- 3. Oxford 1935.42, bf. lekythos by the Diosphos Painter (Haspels ABL. p. 234 no. 53). A maenad has been sleeping on the ground under a tree and is assaulted by three satyrs. She opens her eyes. This vase, though black-figure, is later than the five red-figure that follow; and so is the Berlin lekythos just described.
- 4. Berlin V.I. 3232, rf. cup by the Epidromos Painter (ARV. p. 84 no. 2). The satyr-picture is now published in Vorberg Gl[ossarium eroticum] p. 50: the maenad, naked, her hair in a saccos, lies on a rock (?), to left, her garment under her, her head, turned to right and down, resting on her left hand; the satyr creeps up to her and takes her by the right elbow and the left buttock. A pair of crotala hangs above.
- 5. Leningrad (ex Botkin), rf. cup signed by the potter Kachrylion (ARV. p. 84, above, α). In the picture on A, the maenad is awake, but remains in the posture of sleep, except that she raises her right leg. She lies on a rock, to left, her head turned to right and down, with her left arm behind it. She wears a very short chiton. The satyr embraces her, almost kneeling in front of her. This is the right-hand part of the picture; in the middle a satyr squats frontal, head to left; on the left, a satyr clasps a maenad who holds a pair of crotala. Crude style.
- 6. Rouen 25, rf. hydria, early work of the Kleophrades Painter (ARV. p. 126 no. 61).
- 7. Baltimore, rf. cup by the Panaitios Painter (ARV. p. 214 no. 12).
- 8. Florence 3917, rf. cup by the Panaitios Painter (ARV. p. 214 no. 13).
- 9. Louvre S 1339, fragment of a rf. cup by the Panaitios Painter (ARV. p. 214 no. 14). Now published in Hesp. suppl. viii pl. 1, 3. Three other fragments in the Louvre belong, and show that the subject on the other half of the outside was similar. The first of the three, Louvre S 1328, was attributed to the Panaitios Painter in Att. V. (p. 167 no. 22), but omitted in ARV.: it gives, inside, the toes of a foot and a hand holding a bunch of grapes, outside, one leg of the left-hand figure on B, a male (a satyr) moving quickly to right. The second fragment has the knee of the same satyr and his elbow; and one arm, with krotala in the hand, of a maenad lying on a cushion on the ground, to right. The third fragment has the legs of this maenad, and those of another satyr, moving quickly to left.
- 10. Boston 01.8072, rf. cup, early work of Makron (ARV. p. 303 no. 26). Now published in Vorberg Gl. pp. 47-8. On A, the maenad, dressed in a chiton, lying on a rock under a tree, to left, her right arm behind her head, the thyrsus in her left hand, sleeps, with lips parted; two satyrs attack her; the left-hand one lifts her right leg, the other grasps her right arm. On B, the maenad, again dressed in a chiton, lying on a rock to left, with her left thigh frontal and the shank and foot concealed by it, her thyrsus in her right hand, is attacked by two satyrs, wakes, and turns her head to the right. This is a very lively work.