Vase Catalog Number: Harvard 1972.41

Parallels:

Makron represented satyrs and maenads on numerous cups, sometimes with Dionysos present, apparently delighting in the opportunity to depict swirling drapery, spotted leopard skins, and a variety of animated postures. A satyr and maenad appear in more than one of his cup tondos, but not in this same arrangement; cf. Louvre G 144 and Munich 2654 (ARV2, 462, 43 and 47). The pair in the Harvard tondo are best compared with a satyr and maenad on side A of the Munich cup. For the goat under the handle, cf. Baltimore, Hopkins AIA B10 (ARV2, 463, 51). For the satyr under the handle, cf. a cup by the Brygos Painter, London E 65 (ARV2, 370, 13).

For Makron see, Beazley 1989, 84-97 [lecture given in 1955]; J. D. Beazley, "A Cup by Hieron and Makron," BABesch 29 (1954) 12-15; D. von Bothmer, "Notes on Makron," in D. Kurtz and B. Sparkes, eds., The Eye of Greece (Cambridge 1982) 29-52; and Robertson 1992, 100-106.

Collection History:

Bequest of Frederick M. Watkins. In the Watkins catalogue of 1973, the cup is said to be from Athens, but in ARV2, Beazley said it was from Vulci.

Condition:

Broken and repaired from numerous fragments, with some repainting of cracks and wide fissures. The edges of the fragments are worn and irregular. The painted surface is eroded in places, with loss of relief lines, particularly in the very center of the interior, where the right arms and hands of both figures are lost, and the satyr and maenad on the right of side B.

Shape Description:

Kylix of type B, the type most often decorated by Makron. Broad, shallow bowl; tall concave stem; flattened foot with slight ridge about two-thirds oy from stem; two horizontal handles, tilted upward. The potter who produced most of Makron's cups, and who signs several of them, was Hieron, but it is not clear that he was responsible for this example; in particular, the band on the underside of the foot is rather wide compared to others signed by him.

Sources Used:

Watkins 1973.

Other Bibliography:

Watkins 1973, 54-57, no. 21

(Michael Padgett)