Pottery: red-figured kylix. Outline of hair incised.
Interior: Within a thin red circle, dancing girl and fluteplayer. A youth (wreathed, mantle on left shoulder, phorbeia over mouth) steps in time to right, playing flutes; before him dances a girl with castanets, in short close-fitting bordered chiton of archaic form, a nebris fastened to left shoulder, earrings, and a saccos; she looks round to left; her chiton is not indicated above the waist.
Exterior: (a) Heracles slaying Busiris. Beside an altar (with top in form of Ionic capital) Busiris falls backward to right, his left leg bent under him, both arms thrown upward, blood streaming from two wounds in jaw and crown: Heracles grasps him by the throat, and swings his club back to deal him a final stroke: he is bearded, and wears lionskin tied, short chiton, and quiver hanging at waist from his right shoulder. On either side two Egyptian priests run away at full speed, looking back; the foremost on left holds a sacrificial knife, and has just let fall the sacrificial basket: his companion wears a phorbeia, and has a flute case (sybene) hanging from his left shoulder. The foremost on right has just dropped a chelys, with plectrum attached: his companion carries a trefoil oinochoe. All the Egyptians have shaven heads, with a patch of hair, indicated by brown dots, left over the ear; in the case of the two on left, the brown dots extend all over the head; the one with oinochoe has the cheek dotted. They have long crania, thick lips, snub nose and wrinkled forehead and cheeks: and wear a short under-tied chiton, of which the finer folds are only indicated above the girdle. The four priests wear wreaths.
(b) Symposion, with triclinium. On the left couch is a man wreathed, with himation around legs, his right arm supporting his head thrown back, his left hanging at side, singing to the music of a flute-playing girl (long chiton, himation, saccos, earrings) who stands beside foot of couch. Beside his left hand is his kylix, which he has laid on the ground. On the central couch is a man partly bald, with wrinkled forehead (himation round legs, folded cloth tied round head), holding out his kylix to be filled by a wreathed boy who holds an oinochoe in right hand. The third couch, on right, is at right angles to the others, so that the figure on it has his back turned; he rests his left elbow on a striped bolster, and raises a kylix to his lips; the upper part of his head and parts of his left arm and back are wanting, but he seems to be an ephebos wreathed.
- 510BC (circa)
- Made in: Attica
- Excavated/Findspot: Vulci
- (Europe,Italy,Lazio,Viterbo (province),Vulci)
- Height: 122 millimetres
- Width: 410 millimetres (including handles)
- Diameter: 325 millimetres
- Weight: 995 grammes
- Height: 12.7 centimetres
- Diameter: 33.02 centimetres
Inscription ContentExterior (a): ΠΥΘΟΝΕΠΟΙΕΣΕΝ, Πύθων έποίησεν.
Exterior (b): ΕΠΙΚΤΕΤΟΣ ΕΓΡΑΦΣΕ., 'Επίκτητος έγραφσε[ν.
Inscription TranslationPython made it.
Epiktetos painted (?) it
BM Cat. Vases
Micali, Storia, pl. 90, 1 (gives the eyes in exterior (a) wrongly); Panofka, Νamen der Vasenb. pl. iii, 4; (exterior (a) only); Murray, Designs from Greek Vases, no. 23 (interior), p. 8, fig. 2 (exterior a); Klein, Meistersig2 p. 103, no. 8.
For side a, cf. the similar design by Cachrylion, Hartwig, Meistersch. pl. iv, and the list given, ibid. p. 53, note i.
2009 2 Apr-13 Oct, Alicante, The Body Beautiful in Ancient Greek Art and Thought
2010 30 Apr-30 Aug, Seoul, National Museum of Korea, The Body Beautiful in Ancient Greek Art and Thought 2010-2011 15 Oct-07 Feb, Taipei, The National Palace Museum, The Body Beautiful in Ancient Greek Art and Thought
2010-2011, 11 Mar-12 Jun, Kobe City Museum, The Body Beautiful in Ancient Greek Art and Thought
2011, 4 July-25 Sept, Tokyo, The National Museum of Western Art, The Body Beautiful in Ancient Greek Art and Thought
2011 - 2012, 25 October-12 February, Mexico City, National Anthropological Museum, The Body Beautiful in Ancient Greek Art and Thought
2012-2013 6 October- 6 January, Portland Art Museum, The Body Beautiful in Ancient Greek Art and Thought
2013, 6 October- 6 May – 6 Oct, Dallas Museum of Art, The Body Beautiful in Ancient Greek Art and Thought
12 May 2003
Reason for analysis
Analysis of HMG adhesive sampled from a failed conservation repair on a Greek Kylix (1843,1103.9).
The main bowl of a Greek kylix has fractured whilst being returned from loan. The lines offracture are coincident with a conservation repair conducted in 1985. The adhesive used to jointhe fragments was a cellulose nitrate based material and it was suspected that a failure of theadhesive led to the breaking of the join. To test the condition of the adhesive a sample was takenand analysed using FTIR (Fourier Transform Infrared Spectroscopy).Cellulose nitrate will tend to deteriorate through the loss of nitrate groups and this process can befollowed using the FTIR. The spectrum of the sample taken from the kylix indicated that littledegradation had occurred when compared to reference spectra taken from a new and a degradedsample (Figure 1).Another cause of weakness in the joint would occur if insufficient adhesive was used. This wasexamined using ultraviolet light which will illuminate the transparent adhesive residue on thefabric of the join surfaces. The adhesive had good coverage of the join surfaces with the breakappearing to occur in the adhesive bond. This is indicated by the fact the adhesive was shown tobe either on one surface, or the other, but never on both in the same section.
Analysis reference number
Greek & Roman Antiquities
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Object reference number: GAA6576
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