- Museum number
Pottery: red-figured kylix.
INTERIOR: woman playing pipes and girl dancing. On the left sits a woman on a folding stool. She wears a transparent chiton and a himation (line border) around her hips and legs and plays a pair of pipes - dilute wash on pipes and for indication of holes. She wears a disc earring; her hair has two reserved lines at the back and there are traces of a double red band in her hair with a loop and long ties at the back. There is a relief line down from her nose towards her chin to indicate that her lips are pursed. The stool has an elaborately decorated seat with running maeander, circular end-pieces and cross-over; the feet are in the form of animal paws. The long cushion is decorated with zip patterns separated by zs, line-battlement and zigzag. On the right a girl in a transparent chiton (wavy lines in dilute glaze above waist), tied at the waist with a red cord, dances to the left, a pair of krotala in either hand (right low in front, left up over head). She kicks her left leg off the ground behind her. Her hair is tied up with a red band with a loop and long ties at the back. She wears a disc earring and a necklace. Border: complex running maeander (five-stroke core, anticlockwise).
EXTERIOR: men, youths and women.
Side A (lower): three bearded men with two women playing pipes. On the left a man in a himation (line border) and with a red wreath in his hair leans on a knotty stick to the right, right leg and foot frontal. His right hand rests on his hip (little finger doubled up) and he holds out a purse in his left. In front, a woman in chiton and himation dine border) stands to the right playing a pair of pipes. Her hair is cut short (relief line arcs over brow and nape), but has a red band with a loop and triple tassels at the back. In the centre, stands a man to the left. He wears a himation (line border) and has his left hand on top of a knotty stick, almost leaning on it, as he holds a red flower up to his nose with his right hand. He has a red wreath in his hair and the whole of his chest is lavishly stippled with dilute glaze to indicate hair. Back to back with him sits a woman on a stool. She plays a pair of pipes and wears a chiton and a himation (line border) round her hips and legs. Her hair is tied up with a double red band (loop and tassels at the back). On the far right is a man with the same accoutrements and in the same pose as the man in the centre.
Side Β (upper): three youths and two women. On the left a youth, wearing a himation and with a red wreath in his hair, leans on a knotty stick, right leg and foot frontal. His right hand rests on his hip and he holds out a purse in his left hand. In front of him a woman sits on a folding stool with a cushion (compare that on the interior), holding out a red wreath in both hands. She wears a chiton and has a himation around her hips, while her hair is tied up with a double red band with triple tassels and there is a disc earring in her ear. In the centre stands a youth with a red wreath in his hair, a himation round his back and tucked up under his right armpit, as he leans on a knotty stick, and falling over his left forearm, his body thus exposed. His left hand rests on his hip and he gestures with his right at the lap of the seated woman. On the right stands a woman in a transparent chiton and a himation. Her chest and right leg are frontal, her head is turned to the left and she has a red band with large blooms in her short cut hair (relief line arcs over brow and neck). She holds a pipe up in either hand. On the far right stands a youth who wears a himation. His left hand rests on top of a knotty stick and his right hand holds a red flower up to his nose.
Under the handles: a palmette with enclosing tendrils ending above in spirals.
Ground line: single reserved line.
Relief line contour throughout (sometimes for hair, sometimes not); dilute glaze for minor interior markings; reserved line inside and outside lip.
Made up from fragments; four pairs of ancient rivet holes to hold centre of tondo (with foot) in place; five other main areas of chipping and fracture on the bowl.
- Production date
Diameter: 14 centimetres (of exterior ground line)
Diameter: 12 centimetres (of foot plate)
Diameter: 15 centimetres (of tondo)
Diameter: 32.70 centimetres
Height: 13 centimetres
Weight: 1.112 kilograms
Width: 40.90 centimetres
- Curator's comments
CVA British Museum 9
Bibliography: J. de Witte and T. Panofka, Bdl 1832, 114; Cabinet Durand lot 758; De Witte Fabricants 52 xxxv no. 4; Klein M2 165-6 no. 6; Murray DGV no. 40 (I), p. 14 fig. 7 (B); Klein M2 165, 6; Hartwig Μ 279 and 687 no. 6; Leonard Hieron 12 no. 15; F. Leonard in RE sv Hieron, 1523, 7; VA 104 no. 62; Hoppin ii 59 no. 12; AV 217, 88; ARV 307, 101; Bloesch FAS 92, no. 22, pl. 25, 4 (B and foot); ARV2 468, 145 and p. 1654; Baker Furniture 276 fig. 434 (I); Boardman ARFV Archaic fig. 317 (part of I); Nachbaur Makron 68-9, 169-70 (cat. Μ 29); M. Meyer, JdI 103 (1988) 105 with figs. 9-10 (A-B); Beazley Add2 245.
Hartwig attributed the cup to Hieron. Fürtwangler, by implication, gave it to Makron (FR ii 129—31) and in this he was followed by Leonard and Beazley. Nachbaur places it in her middle phase (480-475 BC); Isler-Kerenyi (AntK 27  157) puts it in her early phase (c. 490-480 BC). It is a mature work of the painter. Signed by Hieron as potter; for the incised signature see Bothmer in Eye of Greece 45, Immerwahr Attic Script 89-90 and B. Cohen, MetrMusJ 26 (1991) 70 fig. 37. The error in Hieron's name (P for R) recurs on ARV2 472, 209.
The women on the interior and exterior are all presumably hetairai and the men are come to purchase their services. The sections of the cup seem deliberately organised: the hetairai have the tondo to themselves, while on one side the visitors are mature men and on the other they are youths. Beazley suggested that the seated woman with the wreath was actually twining it and that the plant is smilax, our bindweed (AJA 25  334).
For purses see Koch-Harnack 161-71 and M. Meyer, Jdl 103 (1988) 87-125. For the pose of the dancing girl on the tondo compare the maenad on the cup in the Faina collection (ARV2 461, 39). The little bunch of drapery on the shoulders of three of the women has been explained by Beazley as the result of a draw-cord in the neck of the garment (CB iii p. 32 on no. 139). The stippling of the whole of the mature male chest occurs on a number of pieces by Makron (e.g. ARV2 459, 11; 460, 13; 461, 39 [satyr]; 463, 52 [satyr]; 466, 102; 468, 146; 469, 148; 470, 182; Vatican, Astarita 750 ft., ARV2 1648, removed from the Triptolemos Painter and given to Makron by Guy).
Makron painted a large number of cups with courting scenes, among which the Cambridge cup is quite early (ARV2 468, 144). For a girl holding pipes in such a setting, compare a figure on the Vatican cup (ARV2 469, 154; cf. also the Louvre fragment ARV2 465, 98). The New York cup (ARV2 468, 146) takes the events one stage further.
For the palmettes under the handles see Bothmer in Eye of Greece 42-3; he notes that the type on this cup recurs on Vase E62, on ARV2 468, 146 (with lotus bud) and on a piece in Centre Island (loc. cit. no. 187A).
For a discussion of the scene, see Lewis 2002, 94-5 (and fig. 3.4).
Lewis, S. 2002, The Athenian woman. An iconographic sourcebook (London; New York: Routledge).
- On display (G20a/dc2)
- Exhibition history
2010-2012 20 Oct-9 Dec, Luton, Wardown Park, Ancient Greeks
- Acquisition date
- Greek and Roman
- Registration number