- Museum number
Pottery: red-figured cup. INTERIOR: Apollo and a woman (? Daphne or Kreusa). On the left Apollo, who wears a chlamys with a black border, covering his left shoulder and right upper arm, and has a 'Cretan' bow and quiver on his right shoulder, moves rapidly to the right in attempt to catch a woman. She flees to the right, but turns her head back to the left. Both her feet are off the ground. She wears a chiton and a himation (two- and one-line borders) and with her left hand raises part of the himation above her left shoulder. The fingers of Apollo's left hand clutch her himation, just below her raised hand. The positions of their right hands cannot be determined for certain, but he may well have been gripping her wrist. His hair is tied up behind his head in a krobylos, hers hangs down free but she does wear a reserved stephane. He has a red wreath in his hair. There is a reserved ground-line with a black exergue below.
Border: running maeander (clockwise, six-stroke core) surmounted by a frieze of addorsed palmettes with long pointed central fronds and lyre-form surrounding tendrils that extends to the rim.
EXTERIOR: symposium. Side A (upper): three symposiasts.
On the left a bearded symposiast reclines to the left (all are bearded and recline to the left), but looks back right. He holds a barbiton lyre in his left hand and a red plektron (red cord attached to lyre) in his right; his mouth is open. He has a red wreath in his hair and wears a himation around his waist and over his legs. His chest is fully frontal and he leans against a cushion decorated with a band framed by lines and with zip patterns. On the left of him hangs a spotted flute-case. In the centre the head and chest of the symposiast are fully frontal and he has a himation with a black border draped around his waist and legs. He plays a pair of pipes and there is a dilute glaze line on either side of his nose, marking the inflated cheeks: he is actually blowing. On the right, the symposiast has thrown back his head, his mouth open and right hand to his forehead. He holds a cup in his left hand and wears a himation with a black border around his waist and legs and a red wreath in his hair. His left arm rests on a cushion with stripes, lines and a comb pattern.
Side Β (lower): three symposiasts and a serving-boy. On the left stands a naked boy, a red apicate fillet in his hair, holding an oinochoe in his lowered right hand. His left arm is outstretched: perhaps he has just returned the cup freshly filled to the symposiast in front of him. This symposiast holds out the cup in his right hand: the cup is level, suggesting that it is full. He has a long thick red fillet around his head, a himation with a line border and he leans against the bent right leg of his companion behind him. His mouth is slightly open, as if talking to the boy, perhaps thanking him. In the centre the symposiast looks back to the right. He wears a himation with a line border round his waist and over his legs, a red wreath in his hair. He holds a black cup with a reserved stripe in his left hand: as it is tipped, it must be empty. Between the heads of the first two symposiasts a food-basket with red tassles hangs from red ties. On the right, the third symposiast, a long red fillet tied round his head and a red wreath in his hair, holds out a skyphos in his right hand. He leans against a cushion with comb pattern and T-maeanders.
Predella: a frieze of silhouette vessels (three cups, a skyphos, a skyphos with offset lip, a skyphos with a phallos spout, two jugs on their sides, two pairs of boots and a footstool), with a line above and below.
Relief line contours throughout (except for hair); dilute glaze for minor interior markings; added red for inscriptions; wide reserved band inside lip, narrow line outside.
- Production date
- 500BC (circa)
Diameter: 14.10 centimetres (of exterior ground line)
Diameter: 11.20 centimetres (of foot)
Diameter: 23.80 centimetres
Diameter: 29.60 centimetres
Height: 11.50 centimetres
Width: 37 centimetres
- Curator's comments
- CVA British Museum 9
Bibliography: E. Braun, AdI 1839, 251-55 Collection D. Raoul-Rochette (sale, Paris 30 April-1 May 1855) 12 no. 47; anonymous sale (PBasseggio), Paris, 30 April, 1, 3 and 4 May 1857, lot 316; Murray DGV no. 42; Hartwig Μ 330 and 688 no. 27; Hoppin i, 131 no. 59; Tonks Brygos 109 no. 23; AV 54, lower no. 2; ARV 299 no.7j;ARV2 455 no. 9 and p. 1654; S. Kaempf-Dimitriadou, Die Liebe der Götter in der attischen Kunst des 5. Jahrhunderts v. Chr. (11th Beiheft AntK, Bern 1979) 32-3 (no. 314), pl. 24, 2-4; Schefold GkhK 205-7; Beazley Add2 243; Korshak Frontal Faces fig. 65 (A).
Hartwig gave the vase to Brygos; he was followed by Hoppin. Beazley attributed it to his Ashby Painter. Beazley's Ashby Painter seems to have two definite phases - the early pieces (ARV2 454-5 nos. 1-6 and 12) in a spare, almost early Oltan style, and the mature works in a powerful 'Panaetian' manner (ARV2 455 nos. 7-11) - the early vases were only added by Beazley to his list in ARV2. The name vase itself, the Castle Ashby cup, now New York 1993.11.5, is properly Proto-Panaetian and thus something of a transitional piece. To the artist's mature phase should be added a cup once on the Philadelphia market (photographs in the Beazley Archive). The black glaze is badly flaked, but the splendid drawing is clear. It has two young warriors in the tondo and a very musical symposium outside with several impassioned listeners. There is also below the scene a frieze of vessels that includes a basket, a stick, and boots. Robertson (Art of Vase-painting 52) calls the Ashby Painter a pupil of Euthymides, but without explanation.
The shape of the London cup was not commented on by Bloesch, but the richly profiled edge of the foot and the prominent stand-ring recall the Berlin Peithinos cup (ARV2 115, lower no. 2; Bloesch FAS 54). The New York vase has a similarly profiled edge to the foot, but lacks the stand-ring (CVA Castle Ashby drawing no. 58).
The tondo of the London cup is particularly large, recalling two of Onesimos' very early cups (Berlin F 2280-2281 and Vatican fragments [ARV2 19 nos. 1-2] and Basel, Cahn 106 [ARV2 316 no. 3]; for both see D. Williams, JbBerlMus 18  11, 13-14 and 19) that have palmette borders. A similar palmette border is found on the interior of the fragmentary phiale from Pyrgi, also by Onesimos (see M.P. Baglione in Copenhagen Colloquium 18 fig. 1, there attributed to the Brygos Painter). These and other large tondi may well have been prompted by the decoration of such elaborate phialai (for others of the same type see the phiale by Douris, M. Robertson, Getty Vases 5  75-98).
The tondo is the earliest occurrence of a god involved in an erotic pursuit scene. Unfortunately, there are no clear icono-graphic indications as to Apollo's prospective victim. Braun called her Boline (personification of a town in Achaia), but Smith was more cautious, preferring to label her simply a nymph. More recently, Schefold has argued for Daphne (GkhK 205-7) and he has been followed by Robertson (Art of Vase-painting 52). Nevertheless, the date and the very lack of attributes might be thought to exclude Daphne, as well as Marpessa and Kyrene. An alternative would be Kreusa, the future mother of Ion, a very Athenian figure whose story might well have suddenly become popular at the time of the Ionian Revolt. On divine pursuit scenes see further Kaempf-Dimitriadou op. cit.; on Apolline pursuits, O.Palagia and G. Kokorou-Aleuras in LIMC ii (sv Apollon) 313 (this vase no. 1085) and 321; on erotic pursuits in general, C. Sourvinou-Inwood, 'Reading' Greek Culture (Oxford 1991) 29-98.
For friezes of vessels see Hartwigikf 329-31; CVA Berlin 2, 21; Agora xii 15, note 28; J. Boardman in A. Cambitoglou (ed.), Studies in Honour of Arthur Dale Trendall (Sydney 1979) 3 5; C. Weiss, CVA Karlsruhe 3, 71-2. Most occur on cups, but there are some exceptions. Examples include (cups unless otherwise indicated): ARV2 132 middle (kantharos); 188 no.6 (psykter); 1647, add as 344 no. 55 bis; 344 no. 56 with New York 1976.20.3, (added by Bofhmer); 355 no. 39; 364 no. 52; 372 no. 30; 421 no. 78 ( Vase E 70); 421 no. 80 (now attributed by Guy to the Triptolemos Painter); 801 no. 22; 831 no. 13 bis; 834 no. 1; 871 no. 9; 1612 (Florence PD 315 and Gottingen fragment); 1612 (once Hamilton Grey). Also Cambridge 37.19 (CVA pl. 7, 2); Berlin 2299 (CVA pl. 95); Karlsruhe 69/35 (CVA 3, pl. 120, 2); Centre Island, private, fragments (with letters, as ARV2 1612); Basel, Cahn 620 fragment (Painter of the Paris Gigantomachy); Lugano market (Painter of the Paris Gigantomachy); Chamay fragments (Painter of the Paris Gigantomachy); Basel BS 1417 (Hermonax); Zurich Arch. Inst. (Hermonax: AntK 27  pl. 23); Philadelphia market (Ashby Painter: see above); Princeton Univ. y1989-69 (psykter; Kleophrades Painter: Princeton Record 49, 1  46); Cerveteri fragments (F. Gilotta, Prospettiva 46  42-5, solid dais with silhouette vessels on one side only). This scheme seems to have first been thought of in the last decade of the sixth century; it continues until almost the middle of the fifth. In addition to vessels, there are also boots, shoes, flute-cases, sticks, baskets and footstools. On the Princeton psykter there is a silhouette dog and on the Aberdeen cup (ARV2 871 no. 9) a particularly pleasing conceit, a silhouette Ethiopian. Most of the vessels are of normal type, except for the phallos-skyphos, which also appears as a silhouette on ARV2 427 no. 2 and 364 no. 52. A vessel of this shape is seen in use on ARV2 450 no. 22 (see further J. Boardman, AA 1976, 289). The Princeton psykter has a phallos-rhyton.
The frontal headed piper is known in both his human and satyr forms (see Korshak op. cit. figs. 59-66). The Ashby Painter's cup is the only one to have a bearded human figure. The plektron, with its spoon-like depression, is drawn with particular clarity. On these see most recently F. Jurgeit in Dohrn Festschrift 53-62.
The figure with his head thrown back in passionate song recalls Ekphantides on Euphronios' calyx-krater in Munich (see most recently, Euphronios no. 5) and is repeated many times thereafter. The type is discussed by F. Hauser in FR ii, 230, by P. Jacobstahl, Göttinger Vasen (Berlin 1912) 59-60 and by J.D. Beazley in Studies Robinson ii 75. Some examples are also mentioned in Lissarrague Flot d'Images 124-6.
- On display (G20a/dc2)
- Exhibition history
1980 5 Jun- 26 Oct, London, BM, The Ancient Olympic Games
- Made up from fragments. Interior surface much rubbed.
- Acquisition date
- Greek and Roman
- Registration number