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200160, ATHENIAN, Canino, Lucien Bonaparte, Prince of Canino, Munich, Antikensammlungen, Munich, Antikensammlungen, Munich, Antikensammlungen, J378

  • Vase Number: 200160
  • Fabric: ATHENIAN
  • Technique: RED-FIGURE
  • Shape Name: AMPHORA, BELLY, TYPE A
  • Provenance: ITALY, ETRURIA, VULCI
  • Date: -525 to -475
  • Inscriptions: EUDEMOS
    EUTHYMIDES
    Inscription: HOSOUDEPOTEEUPHRONIOS
    Named: KOMARCHOS
    Signature: EGRAPHSEN EUTHUMIDES HOPOLIO
    TELES
  • Attributed To: EUTHYMIDES by SIGNATURE
  • Decoration: A: HEKTOR ARMING BETWEEN PRIAM (OLD MAN WITH STAFF) AND HECUBA (HOLDING HELMET), SHIELD DEVICE, SATYR HEAD IN RELIEF
    B: KOMOS, MEN, ONE WITH KANTHAROS, ONE WITH STAFF
  • Current Collection: Munich, Antikensammlungen: 2307
  • Previous Collections:
    • Canino, Lucien Bonaparte, Prince of Canino
    • Munich, Antikensammlungen: J378
    • Munich, Antikensammlungen: 8731
  • Publication Record: American Journal of Archaeology: 112 (2008) 606, FIG.17 (B)
    Angiolillo, S., Arte e cultura nell'Atene di Pisistrato e dei Pisistratidi (Bari, 1997): 107, FIG.55 (B)
    Antike Welt: 32 (2001) 2, 192-193, FIGS.13A-B (B, COLOUR OF B)
    Apollo: 138 (JULY 1993) 4, FIG.2 (A)
    Archeologia Classica: 42 (1990) 48, FIG.4 (DRAWINGS OF A AND B)
    Archäologischer Anzeiger: 1977, 40-1, FIGS.2-3 (PARTS OF B)
    BEAZLEY NOTEBOOK: 77, 22.1
    Barringer, J.M., The Art and Archaeology of Ancient Greece (Cambridge, 2014): 172, FIGS.3.37A-B (COLOUR OF B AND OF PART OF B)
    Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 26.1, 1620
    Beazley, J.D., Attic Red-figure Vase-painters, 1st ed. (Oxford, 1942): 24.1
    Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 63.1
    Beazley, J.D., Paralipomena (Oxford, 1971): 323
    Belloni, L., Bonandini, A., Ierano, G., and Moretti, G. (eds.), Le Immagini nel Testo, il Testo nelle Immagini, Rapporti fra parola e visualita nella tradizione greco-latina (Trento, 2010): 72, FIGS.16-17 (A, B)
    Bianchi Bandinelli, R. and Paribeni, E., L'Arte dell' antichita classica, I, Grecia (Turin, 1976): NO.328 (PART OF B)
    Biers, W., The Archaeology of Greece (Cornell, 1980): 180, FIG.7.35 (B)
    Bispham, E., Harrison, T., and Sparkes, B. (eds.), The Edinburgh Companion to Ancient Greece and Rome (Edinburgh, 2006): 53, FIG.10.2 (B)
    Boardman, J. (ed.), La ceramica antica (Milan, 1984): 217 (B)
    Boardman, J. with Charleston, R.J., Cook, R.M., and Hennessy, J.B., Die Keramik der Antike, Mesopotamien, Agypten, Griechenland, Italien (Freiburg, Basel, and Wien, 1985): 217 (COLOUR OF B)
    Boardman, J., Athenian Red Figure Vases (London, 1975): FIG.33 (PARTS OF A & B), 34, HEAD DETAILS 1-2
    Boardman, J., The history of Greek vases: potters, painters and pictures (London, 2001): 83, FIG.115 (B)
    Bonacasa, N. (ed.), Lo Stile Severo in Grecia e in Occidente, Aspetti e problemi, Studi e Materiali 9 (Rome, 1995): PL.5.1 (DRAWING OF B)
    Bonomi, S. and Guggisberg, M.A. (eds.), Griechische Keramik nördlich von Etrurien, Mediterrane Importe und archäologischer Kontext (Wiesbaden, 2015): 143, FIGS.3A-C (A AND B, COLOUR OF PART OF A)
    Bonomi, S. and Guggisberg, M.A. (eds.), Griechische Keramik nördlich von Etrurien, Mediterrane Importe und archäologischer Kontext (Wiesbaden, 2015): 143, FIGS.3A-C (A-B, COLOUR OF PART OF B)
    Bothmer, D. von, The Amasis Painter and his World (Malibu, 1985): 30, FIG.17 (B)
    Brinkmann, V., Beobachtungen zum formalen Aufbau und zum Sinngehalt der Friese des Siphnierschatzhauses (Ennepetal, 1994): 56, FIG.D (DRAWING OF PART OF A)
    Buitron-Oliver, D. (ed.), New Perspectives in Early Greek Art (Hanover and London, 1991): 284, 288-289, FIGS.3-4 (A, B, COLOUR OF B)
    Burn, L. and Glynn, R., Beazley Addenda (Oxford, 1982): 75
    Buschor, E., Griechische Vasenmalerei (Munich, 1914): 150 (A)
    Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 156
    Charbonneaux, J., Martin, R., and Villard, F., Archaic Greek Art (London, 1971): 326-27, FIGS.375-76 (A,B)
    Chiarini, S., The So-called Nonsense Inscriptions on Ancient Greek Vases. Between Paideia and Paidiá (Leiden, 2018): 147, FIG.29 (COLOUR OF B)
    Christiansen, J. and Melander, T., Proceedings of the 3rd Symposium on Ancient Greek and Related Pottery, Copenhagen 31.8.-4.9.87 (Copenhagen, 1988): 307, FIG.9 (B)
    Cook, R.M. and Charleston, R., Masterpieces of Western and near-Eastern Ceramics (Tokyo, 1979): PL.64 (B)
    Cook, R.M., Greek Painted Pottery (London, 1966): PL.39 (B)
    Cook, R.M., Greek Painted Pottery 3rd ed. (London, 1997): PL.39 (B)
    Corpus Vasorum Antiquorum: MUNICH, MUSEUM ANTIKER KLEINKUNST 4, 13,14,15, PLS.(543-546,550,566) 165.1-2, 166.1-2, 167.1-2, 168.1-2, 172.1, 188.5 View Whole CVA Plates
    Denoyelle, M. (ed.), Euphronios Peintre, Recontres de l'Ecole du Louvre 10 Octobre 1990 (Paris, 1992): 59, FIG.12 (DRAWING OF PART OF B)
    Dietrich, N. and Squire, M. (eds.), Ornament and Figure in Graeco-Roman Art, Rethinking visual Ontologies in Classical Antiquity (Berlin and Boston, 2018): 132, FIG.5.2 (A)
    Dietrich, N., Figur ohne Raum? Bäume und Felsen in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v. Chr., Image & Context 7 (Berlin, 2010): 119, FIG...94 (A)
    Ducrey, P., Guerre et Guerriers dans la Grece Antique (Paris, 1985): 138, FIG.95 (A)
    Eulimine, Mesogeiake Archeologike Etaira Rethymno: 2 (2001) 91, FIG.3 (A)
    Folsom, R., Attic Red-Figured Pottery (Parkridge, 1976): PL.7 (B)
    Franceschini, M., Attische Mantelfiguren: Relevanz eines standardisierten Motivs der rotfigurigen Vasenmalerei. Zürcher archäologische Forschungen Band 5 (Rahden, 2018): PL.6C (DRAWING OF A)
    Froning, H., Hölscher, T., and Mielsch, H. (eds.), Kotinos, Festschrift für Erika Simon (Mainz, 1992): PL.28.6 (B)
    Furtwängler, A. and Reichhold, K., Griechische Vasenmalerei (Munich, 1904-32): PL.14 (A, B), I, 63, 66, 70 FIGS.3 AND 5, 266
    Gerhard, E., Auserlesene Vasenbilder (Berlin, 1840-58): III, PL.188 (COLOUR DRAWINGS OF A AND B)
    Girard, T., L'oblique dans le monde grec (Oxford, 2015): 132, FIG.117
    Grimm, G., Von der Liebe zur Antiken Welt, Zaberns Bildbände zur Archäologie (Mainz, 2005): 102-103, FIGS.13A-B (COLOUR OF B, B)
    Hagenow, G., Aus dem Weingarten der Antike (Mainz, 1982): 24, FIG.7 (B)
    Harich-Schwarzbauer, H. and Späth, T. (eds.), Gender Studies in den Altertumswissenschaften. Räume und Geschlechter in der Antike (Trier, 2005): 101, FIG.4 (DRAWING OF A)
    Hedreen, G., The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity (Cambridge, 2016): 40, FIG.14 (B)
    Heilmeyer, W.D. et al., Euphronios und seine Zeit, Kolloquium in Berlin 19./20. April 1991 anlässlich der Ausstellung Euphronios der Maler (Berlin, 1991): 86-87, FIGS.13, 16 (PARTS OF B)
    Hoppin, A., A handbook of Attic red-figured vases signed by or attributed to the various masters of the sixth and fifth centuries B.C. (Cambridge, 1919): I, 433
    Hoppin, J.C., Euthymides and his fellows (Cambridge, 1917): 13, FIG.1, PL.1
    Hoppin, J.C., Euthymides: a study in Attic vasepainting (Leipzig, 1896): 3, 11-12, 26 (PART)
    Huf, L., Frauen jenseits der Konvention: Alterszüge, Tätowierungen und afrikanische Physiognomien im Frauenbild attischer Vasen des 5. Jahrhunderts v. Chr. (Munich, 2018): 46, FIG.15 (COLOUR OF A)
    Hurwit, J.M., Artists and Signatures in Ancient Greece (Cambridge, 2015): 89, FIG.46 (DRAWING OF B)
    Hurwit, J.M., The Art and Culture of Early Greece, 1100-480 (Ithaca, 1985): 280, FIG.118 (B)
    Immerwahr, H., Attic Script, A Survey (Oxford, 1990): PL.21.89 (DRAWING OF INSCRIPTIONS)
    Isler-Kerenyi, C., Dionysos in Classical Athens. An Understanding through Images (Leiden and Boston, 2014): 34, FIG.13 (DRAWING OF B)
    Jahrbuch der staatlichen Kunstsammlungen in Baden-Wurttemberg: 31 (1994) 99, FIG.13 (A)
    Jahrbuch des Deutschen Archäologischen Instituts: 44 (1930) 121 (B)
    Kaltsas N. (ed.), Agon, Exhibition catalogue (Athens, 2004): 62-63, FIGS.5-6 (COLOUR OF A AND B)
    Keay, S. and Moser, S. (eds.), Greek Art in View, Studies in honour of Brian Sparkes (Oxford, 2004): 7, FIG.1.7 (A)
    Keuls, E.C., Painter and Poet in Ancient Greece, Iconography and the Literary Arts (Stuttgart and Leipzig, 1997): 406, FIG.61 (B)
    Knauss, F., Die Kunst der Antike, Meisterwerke der Münchner Antikensammlungen (Munich, 2017): 151-153 (COLOUR OF A, B, AND PART OF B)
    Knittlmayer, B., Die Attische Demokratie und ihre Helden, Darstellungen des trojanischen Sagenkreises im 6. und frühen 5. Jh.v.Chr. (Heidelberg, 1997): PL.10.1 (A)
    Kressirer, K., Das Greisenalter in der griechischen Antike. Untersuchung der Vasenbilder und Schriftquellen der archaischen und klassischen Zeit (Hamburg, 2016): 826, NO.18 (PART OF A)
    La Cite des Images, Religion et Societe en Grece Antique (Lausanne, 1984): 42, FIG.63 (DRAWING OF A)
    Laing, J&J, Ancient Art, The Challenge to modern Thought (Dublin, 1993): 172, FIG.135 (DRAWINGOF B)
    Lexicon Iconographicum Mythologiae Classicae: IV, PL.281, HEKABE 16 (PART OF A)
    Lexicon Iconographicum Mythologiae Classicae: VII, PL.401, PRIAMOS 41 (A)
    Lexicon Iconographicum Mythologiae Classicae: VIII, PL.774, SILENOI 189 (PART OF A)
    Lissarrague, F., L'Autre Guerrier, Archers, Peltastes, Cavaliers dans l'Imagerie Attique (Paris-Rome, 1990): 44, FIG.14 (DRAWING OF A)
    Marconi, E. (ed.), The Oxford Handbook of Greek and Roman Art and Architecture (Oxford, 2015): 118, FIG.5.2 (B)
    Metzler, D., Portrat und Gesellschaft, Über die Entstehung des griechischen Porträts in der Klassik (Münster, 1971): FIG.1 (PART OF A)
    Neer, R.T., Style and Politics in Athenian Vase-Painting, The Craft of Democracy, ca.530-460 B.C.E. (Cambridge, 2002): 52, FIG.17 (A)
    Ohly, D., Die Aegineten, Band I, Die Ostgiebelgruppe (Munich, 1976): 72, FIG.62 (PART OF A)
    Ohly, D., Geleitwort fur den Besucher (Munich, 1968): PL.29 (PART OF A)
    Ohly-Dumm, M., Attische Vasenbilder der Antikensammlungen München, I (Munich, 1975): 23-25, PLS.8-9 (DRAWINGS OF A & B)
    Onians, J., Classical Art and the Cultures of Greece and Rome (New Haven, 1999): 65, FIG.47 (B)
    Osborne, R., The Transformation of Athens Painted Pottery and the Creation of Classical Greece (Princeton and Oxford, 2018): 172, FIG.7.3 (B)
    Pasquier, A., Euphronios: genie de la peinture grecque, Archeologia hors serie numero 1 (Dijon, 1991): 9 (COLOUR OF PART OF B)
    Pedley, J.G., Greek Art and Archaeology (New Jersey, 1993): 194, FIG.6.75 (B)
    Pedley, J.G., Greek Art and Archaeology. Fifth Edition (London, 2011): 202, FIG.6.90 (COLOUR OF B)
    Perrot, G., Chipiez, C., Histoire de l'art dans l'antiquite, vols. IX-X (Paris, 1911-14): X, 456-7
    Pfisterer-Haas, S., Darstellungen alter Frauen in der griechischen Kunst (Frankfurt, 1989): 165, FIG.1 (DRAWING OF A)
    Pfuhl, E., Malerei und Zeichnung der Griechen (Munich, 1923): FIGS.364-5
    Pfuhl, E., Masterpieces of Greek drawing and painting (London, 1926): FIGS.38-9
    Plantzos, D., Greek Art and Archaeology, c. 1100-30 BC (Athens, 2016): 102, FIG.157 (COLOUR OF A)
    Powell, B. Homer's Iliad and Odyssey. The Essential Books (Oxford, 2015): 156, FIG.15.1 (PART OF A)
    Richter, G., Perspective in Greek and Roman Art (London [1970]): FIG.84 (B)
    Rivista di Archeologia: 1 (1977) PL.8, FIG.1 (B)
    Robertson, C., A Shorter History of Greek Art (Cambridge, 1981): 65, FIGS.92-93 (B, PART OF A)
    Robertson, C., History of Greek Art (Cambridge, 1975): PLS.74D, 82A (B, PART OF A)
    Robertson, C.M., The art of vase-painting in classical Athens (Cambridge, 1992): 31, FIG.23 (B)
    Rocznik Muzeum Narodowego w Warszawie: 26 (1982) 129, FIG.5 (B)
    Rohl, D.M., The Lords of Avaris, Uncovering the Legendary Origins of Western Civilization (London, 2007): 436, FIG.421 (PART OF A)
    Schafer, A, Unterhaltung beim griechischen Symposium (Mainz, 1997): PL.21.2 (B)
    Schefold, K., Götter und Heldensagen der Griechen in der spätarchaischen Kunst (Munich, 1978): FIG.272 (A)
    Scheibler, I., Griechische Töpferkunst, Herstellung, Handel und Gebrauch der antiken Tongefässe (Munich, 1983): 114, FIG.105 (B)
    Scheibler, I., Griechische Töpferkunst, Herstellung, Handel und Gebrauch der antiken Tongefässe, 2nd ed. (Munich, 1995): 114, FIG.105 (B)
    Seaman, K. and Schultz, P. (eds.), Artists and Artistic Production in Ancient Greece (Cambridge, New York, and Melbourne, 2017): 29, FIG.3.4 (A, B)
    Simon, E. & Hirmer, M., Die Griechischen Vasen (Munich, 1976): PLS.112-15 (A,B, PARTS OF B)
    Smith, T.J., Komast Dancers in Archaic Greek Art (Oxford, 2010): 319, PL.15D (B)
    Soar, K. and Aamodt, C. (eds.), Archaeological approaches to dance performance (Oxford, 2014): 91, FIG.3 (DRAWING OF B)
    Spivey, N., The Sarpedon Krater: The Life and Afterlife of a Greek Vase (Chicago, 2018): 70, 73, FIGS.15-16 (COLOUR OF A, B)
    Swindler, M.H., Ancient painting: from the earliest times to the period of Christian art (New Haven, 1929): FIG.317 (PART OF A)
    Thesaurus Cultus et Rituum Antiquorum: VIII, PL.15.1 (A)
    Thesaurus Cultus et Rituum Antiquorum: VIII, PL.15.1 (A)
    Tiverios, M.A., Elliniki techni, archaia angaia (Athens, 1996): 128, FIG.99 (COLOUR OF A)
    Verbanck-Pierard, A. and Viviers, D., (eds.), Culture et Cite, L'avenement d'Athenes a l'epoque archaique, Actes du Colloque int. (Brussels, 1995): 166, FIG.1 (DRAWING OF B)
    Vierneisel, K., and Kaeser, B. (eds.), Kunst der Schale, Kultur des Trinkens (Munich, 1990): 295, 421, 432, FIGS.48.5A-B, 75.13, 78.5 A, B, PART OF A)
    Woodford, S., An Introduction to Greek Art. Sculpture and Vase Painting in the Archaic and Classical Periods. 2nd edition (London, 2015): 66, FIG.87 (COLOUR OF B)
    Yatromanolakis, D. (ed.), An Archaeology of Representations, Ancient Greek Vase-Painting and contemporary Methodologies (Athens, 2009): 221, FIG.5 (B)
    Zanker, P., Die Maske des Sokrates, Das Bild des Intellektuellen in der antiken Kunst (Munich, 1995): 24, FIG.10 (A)
  • AVI Web: https://www.avi.unibas.ch/DB/searchform.html?ID=5476
  • AVI Record Number: 5258
  • LIMC ID: 8209
  • LIMC Web: http://ark.dasch.swiss/ark:/72163/080e-7417eaf31c7a5-6
  • CAVI Collection: Munich 2307.
  • CAVI Lemma: RF amphora. From Vulci. Euthymides. Last quarter sixth. 510-500.
  • CAVI Subject: A: Hector arming. B: komos of three bearded men.
  • CAVI Inscriptions: A: between Priam and Hector, vertically non-stoich.: ε(γ)ραφσεν(1) Πριαμος :* Ευθυμιδες hο Πολ[λ]ιο. I.e.: Ευθυμιδες | εγραφσεν | hο Πολ[λ]ιο. To lower left of Hector, not facing: hεκτορ. Similar, but a little higher and facing: hεκαβε, retr. B: Along the left-hand margin, facing it: hος ουδεποτε Ευφρονιος. To right of the left komast's forehead: Κομαρχος{2}. Between the central komast's legs: Ευ{ε}δεμος{3}. To left of the right komast's face: Τελες, retr.{4}. To left of his leg: ελεοπι, retr.{5}. Under the foot, Gr.: rho with extended vertical or a horizontal sign: see Johnston (1979), 85/31A,4 as against Hackl (1909), 109.
  • CAVI Footnotes: {1} the gamma an alpha according to FR. {2} PA 8954 (5 B.C.): a real name, but here also punning. For Κωμαρχος see also Deubner (1932), 136, n. 4 and LGPN ii. {3} also read Ελεδεμος (FR), but see AttScr (1990), 65 n. 28. {4} or Τελ[λ]ης, see Pape. LGPN ii reads Τελης. {5} see J.D. Beazley apud Richter (1936), 106, n. 8 (nonsense).
  • CAVI Comments: Neumann: Teles could be Τελες or Τελ[λ]ες, short for Aristoteles, Euteles, etc., cf. Bechtel (1917), 422f. [but why not for Telekles, etc.?]. Eudemos (so also LGPN ii) is read Ε(γ)εδεμος, with gamma upside down [I doubt it, as the name is not in LGPN ii; but the first epsilon would look better upside down, so that two letters would be upside down ...]. Komarchos is here the only `redender Name', although it relates to κωμη rather than to κωμος. ελεοπι is read by N.: ἑ̅γέου, not retr. He thinks the final iota may be a scratch. I believe N. thinks the pi is a miswritten upsilon. Robertson (1992), : Komarchos might be a name, but is more likely a title; note the kantharos carried by him, which is often found in the hands of Dionysus or his followers, or of Heracles. Perhaps this is more than an ordinary revel. For the word order of the signature see AttScr (1990), 65 n. 27. Gill and Vickers: "It has ... been recognized that the crucial inscription ... is part of a sympotic dialogue." They refer to other sympotic dialogues mentioned by Lissarrague (1987), 59-64, 80. Sara Morris seems to assent. A. Linfert, Riv. di Archeologia 1 (1977) 19f.: follows Neumann and restores (spoken by Teles, despite the separation of the words): ἑ̅γέου{ι} hο̅ς οὐδέποτε Εὐφρόνιος. Engelmann connects: Komarchos + the statement: "(I am) leader of the komos such as never before Euphronios". I.e. κομαρχος is not a proper name. The next komast says: εὖ, ἔ̅δε̅ �μός. "Gut! Jetzt (ist er aber) mein (der Kantharos)!". The inscriptions near the third komast may be read: τελς, ἑ̅γέου, πῖ! "Du bist am Ziel (du hast es geschafft), fang an, trink!". Engelmann also gives another possible explanation. For πῖ, E. refers to M. Leumann, MusHelv 14 (1957) 77A.8. None of the komasts are named. All this is fanciful. Cf. also *Moore (1997), 86 n. 10: on Euthymides' signatures and on the name Pollias.
  • CAVI Number: 5258
  • AVI Bibliography: FR (1904�32), i, 63-71, 266, pl. 14 (drs.). � [[Lullies�Hirmer (1953), pls. 24�31 (Πριαμος pl. 26 quite cl., hο Πο pl. 26 cl., Hεκ pl. 27 cl., τε Ευφρονιος pl. 28 cl., Κομαρχος pl. 28 uncl., pl. 30 cl., ε and οπ of ελεοπι pl. 29 vis., ελε pl. 31 cl., Τελες pl. 31 cl., rest invis.)]]. � R. Lullies, CVA Munich 4, Germany 12 (1956), pls. 165,1-2, 166,1-2, 167,1-2, 163,1-2, 172,1 and 188,5, pp. 16-17 (facs.). � ARV[2] (1963), 26/1, 1620. � Para. (1971), 323. � Ohly-Dumm (1975), pls. 8-9 (from FR). � Linfert (1977), 19-22. � Neumann (1977), 38ff., fig. 2. � Morris (1986), 360. � Engelmann (1987), 129-34. � Add.[2] (1989), 155 (much bibl.). � AttScr (1990), no. 369, fig. 89 (facs., part). � Gill�Vickers (1990), 10. � Robertson (1992), 31-32.
  • CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
  • Image Credits: FURTWANGLER-REICHHOLD DRAWINGS: Please consult with Williams College Special Collections staff and Williams College Visual Resources Center staff, regarding questions about publishing and accessing materials from Williams College Special Collections. Researchers are responsible for handling any copyright issues that may be associated with collections and materials.
  • Pleiades URI: https://pleiades.stoa.org/places/413393
  • Coordinates: 42.421429,11.702499
  • Pleiades Coordinates: 42.419009,11.6298975
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