Dionysos in Classical Athens

Dionysos in Classical Athens
Religions in the
Graeco-Roman World
Series Editors
David Frankfurter (Boston University)
Johannes Hahn (Universitt Mnster)
Frits G. Naerebout (University of Leiden)
VOLUME 181
The titles published in this series are listed at brill.com/rgrw

An Understanding through Images
By
Cornelia Isler-Kernyi
Translated by
Anna Beerens
LEIDEN | BOSTON
Cover illustration: The youthful Dionysos comes riding in a chariot drawn by two panthers. Behind him a
woman from his retinue is holding a vine leaf over him. The figure flying before him is Eros.
Detail of fig. 117a: side A of a red-figure calyx krater from Athens, dating from around 350 BC. Zrich,
Archologische Sammlung der Universitt 3926.
Photograph by Archologisches Institut der Universitt Zrich, Frank Tomio. Reproduced with kind
permission.
Library of Congress Cataloging-in-Publication Data
Isler-Kernyi, Cornelia.
Dionysos in classical Athens : an understanding through images / by Cornelia Isler-Kernyi.
pages cm. (Religions in the Graeco-Roman world, ISSN 0927-7633 ; volume 181)
Includes index.
ISBN 978-90-04-27011-4 (hardback : alkaline paper) ISBN 978-90-04-27012-1 (e-book)1.Dionysus
(Greek deity)2.Dionysus (Greek deity)Cult.3.Dionysus (Greek deity)Art.4.Vase-painting,
GreekGreeceAthens.5.Vases, Red-figuredGreeceAthens.I.Title.
BL820.B2I7 2015
292.2113dc23
2014032774
This publication has been typeset in the multilingual Brill typeface. With over 5,100 characters covering
Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities.
For more information, please see brill.com/brill-typeface.
issn 0927-7633
isbn 978-90-04-27011-4 (hardback)
isbn 978-90-04-27012-1 (e-book)
Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands.
Koninklijke Brill nv incorporates the imprints Brill, Brill Nijhoff, Global Oriental and Hotei Publishing.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
ortransmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,
without prior written permission from the publisher.
Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided
that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive,
Suite910, Danvers, ma 01923, usa. Fees are subject to change.
This book is printed on acid-free paper.
Contents
Forewordvii
List of Figuresx
Abbreviationsxix
Introduction1
Dionysos in 6th-Century Imagery2
The Retinue of Dionysos: Who are the Satyrs, Who are the Women?4
Dionysos in the 5th Century, and his Transformation after 450 bc8
1 Dionysiac Subjects in Red-Figure Pottery11
2 Dionysos for Athens, Dionysos for All
Dionysiac Pottery around 500 BC16
Late Black-Figure Vases16
Early Red-Figure Vases19
Red-Figure Cups of the Final Quarter of the 6th Century36
3 All Kinds of Satyrs
The First Decades of the 5th Century40
The Painters of Large Vases40
Painters of Cups52
Tentative Conclusions65
4 Dionysos, a God for the Athenians
Developments after 480 bc69
Hermonax and his Contemporaries69
The Imagery of Red-Figure Pointed Amphorae76
The Pelikai of the Painter of the Birth of Athena83
5 Dionysiac Mythology in Flux
Vase Imagery between 480 and 430 bc87
Traditional Dionysiac Subjects87
The Child Dionysos100
Dionysos in Love113
6 Unfamiliar and Unknown Dionysiac Rituals122
Boys and Girls in the Realm of Dionysos122
A Domestic Dionysiac Ritual125
vi
contents
Dionysos Chair135
A Satyr Carrying a Chair136
The Unoccupied Chair142
Dionysos Has Arrived146
Child Satyrs in Dionysos Retinue153
A Ritually Honored Etruscan Dionysos159
7 A New Dionysos at the Parthenon162
Decoration Program and Message162
Dionysos Gigantomachy164
Dionysos in the East Pediment166
Dionysos in the Parthenon Frieze177
Reflections of the West Pediment in Vase Painting180
8 The New Dionysos in Vase Painting184
9 Images of Dionysos from 430 bc onwards211
Dionysos on Stage211
Kratinos Dionysalexandros211
Aristophanes Frogs212
Euripides Bakchai213
Dionysos in 4th-Century Sculpture217
A Look at Vase Painting222
The Derveni Krater229
10 Summing Up234
Anonymous Prototypes234
The Changing Image of Dionysos236
Dionysos in Classical Athens241
Works Cited243
Index
Museums261
Vases Following Beazley266
Vases Following Beazley Archive Database (BA)270
Vases and Other Works Following LIMC274
General276
Foreword
This book is the, provisional, terminal point of the labor of several decades.
As may be gathered from the bibliography, my first studies of single vases,
groups of vases, or issues concerning the ceramics of the Classical period,
were published as articles at the beginning of the 1970s. In addition, I have
made a systematic investigation of representations of Dionysos and his retinue
in Beazleys lists. All of this provides the basis for the present survey of the
Dionysiac iconography of the 5th and 4th centuries BC and its historical contextualization, the aim of which is to open up the relevant original material for
further reflection on the Dionysos phenomenon.
Concerning the use of this book, let me just quote from the preface of its predecessor, Dionysos in Archaic Greece. An Understanding through Images, which
appeared in the rgrw series in 2007: As there are so many notes, I have tried
to make them as concise as possible. For the locations of the pieces quoted,
only the place-name is given when the museum is evident: Athens means
the National Archaeological Museum and London the British Museum. Here,
Copenhagen means the National Museum. Instead of Paris, only the Louvre
or the Cabinet des Mdailles in the National Library is mentioned. For Rome,
the museums are named in abbreviated form, while the Vatican is separate.
However, the names of museums appear in full in the list of figures. The same
principle applies to the citations from Beazleys lists of Attic vases. By means of
the Addenda of 1989, which is the most recent, it is easy to refer back to earlier
references, as indicated by the numbers in brackets. Paralipomena, abv and
arv are mentioned only when the vases have not been repeated in later lists.
I set myself the objective of providing good reproductions of all vases that
are relevant to my argument. Although I am convinced of the importance of
seeing the relationship between the image and the form and function of the
image carrier, I have in many instances fallen back upon old drawings, as they
often more clearly reproduce the images than photographs. I have, unfortunately, not been entirely successful in obtaining a representative selection
of images. As could be expected, some museums replied kindly and favorably to my request for permission to publish, and even sometimes supplied
beautiful new photographs. Some charged me a certain sum, in accordance
with their rules and regulations. Some did not react at all; in these cases I have
assumed they had no objection to publication, provided the relevant information was added. In some cases, however, I not only had to negotiate considerable bureaucratic obstacles in order to obtain permission to reproduce
an image that had already been published, but in addition had to pay a fee
viii
foreword
that is prohibitive for any ordinary scholar. These institutions apparently put
their direct c ommercial interests above long-term scholarly results, in this way
endangering iconographical research. To my extreme regret, I had to decide not
to use these images, although it meant, in a certain sense, putting my reader
at a disadvantage. The reader should, however, with the help of the ba number consistently provided here, be able to consult the literature in the Oxford
Beazley Archive: www.beazley.ox.ac.uk/Pottery database/Full database.
I would like to extend my sincerest thanks to the following colleagues for
publication permissions and photographs: Gabriella Costantino and Donatella
Mangione (Museo Archeologico Regionale, Agrigento), George Kakavas
(National Archaeological Museum, Athens), Laurent Gorgerat (Antikenmuseum
Basel and Sammlung Ludwig), Ella van der Meijden (Skulpturhalle Basel),
Cornelia Weber-Lehmann (Kunstsammlungen der Ruhr-Universitt Bochum),
Nele Schrder (Akademisches Kunstmuseum Bonn), Jean-David Cahn (Galerie
Jean-David Cahn, Basel), Bodil Bundgaard Rasmussen (The National Museum of
Denmark, Copenhagen), Mario Iozzo (Museo Archeologico Etrusco, Florence),
Samantha Sizemore (Kimbell Art Museum, Fort Worth, Texas usa), Frank
Hildebrandt (Museum fr Kunst und Gewerbe, Hamburg), Isabella Donadio
(Harvard Art Museums/Arthur M. Sackler Museum), Angelika Hildebrand
(Badisches Landesmuseum, Karlsruhe), Jrme Bullinger (Muse Cantonal
darchologie et dhistoire, Lausanne), Peter Jan Bomhof (Rijksmuseum van
Oudheden, Leiden), Javier Rodrigo del Blanco (Museo Arqueolgico Nacional,
Madrid), Astrid Fendt (Staatliche Antikensammlung und Glyptothek, Munich),
Teresa Elena Cinquantaquattro and Valeria Sampaolo (Soprintendenza per
i beni Archeologici di Napoli), Marti Anne Funke (University of Mississippi
Museum and Historic House, David M. Robinson Memorial Collection, Oxford
Mississippi usa), Francesca Spatafora (Museo Archeologico Regionale,
Palermo), Ageliki Kottaridi (Archaeological Museum, Pella, 17th Ephorate
of Prehistoric and Classical Antiquities, Edessa), Alfonsina Russo and Maria
Laura Falsini (Soprintendenza per i beni archeologici dellEtruria Meridionale,
Museo Nazionale Etrusco di Villa Giulia, Rome), Sophie Lambert and Aimee
Scillieri (Sothebys New York), Christos Gatzolis (Archaeological Museum of
Thessaloniki), Kathrin B. Zimmer (Antikensammlung des Archologischen
Instituts der Universitt, Tbingen), Florian Kugler (Kunsthistorisches Museum,
Vienna).
In addition, I am most grateful to Thomas H. Carpenter, Franois Lissarrague
and John H. Oakley for kindly giving me permission to use images from their
works.
Special thanks are due to Christoph Reusser, head of the Archaeological
Institute of the University of Zurich, for enabling me to work in the library
foreword
ix
under the best possible conditions. Moreover, he has made it possible for me
to benefit from the skill and kindness of the institutes photographer, Frank
Tomio, whom I would also like to thank most cordially.
The fact that Henk Versnel, who was the first to read my text, was in favor
of including it in the prominent Religions of the Graeco-Roman World series
was a strong incentive for me to make every effort to complete the manuscript
in the shortest possible time. I found a most congenial translator in Anna
Beerens. My sincerest thanks to both of them, as well as to Maarten Frieswijk,
my contact at Brill Publishers. The steo Foundation (Ksnacht, Switzerland)
has generously offered to pay for the not inconsiderable cost of the translation,
for which I would like to express my gratitude.
In the spring of 2012 I was invited by director Alain Supiot to spend several
weeks at the Institut dEtudes Avances in Nantes in order to write a first version of my book. The ambiance was extremely stimulating: I will never forget
the many productive hours with a view of the rising and falling Loire.
Finally, I am deeply grateful to my familymy husband, our children and
grandchildrenfor having put up for such a long time with the demanding
presence of Dionysos. Without their support and understanding this book
could never have been written.
C. I.-K.
Erlenbach (Zrich), June 2014
List of Figures
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Black-figure lekythos, Athens, National Museum 615 (Haspels 1936,

pl. 38.5)18
Black-figure lekythos, Paris, Louvre ele 152 (cva Louvre 28,
pl. 5.45)20
Black-figure lekythos, Athens, National Museum 12273 (Haspels
1936, pl. 30.2 ab)20
Black-figure lekythos, Athens, National Museum 541 (Haspels 1936,
pl. 23.2 ab)21
Black-figure kalpis, Hamburg, Museum fr Kunst und Gewerbe
1908.253 (cva Hamburg 1, pl. 27.3)21
Bilingual belly-amphora, Andokides Painter, Bologna, Museo
Civico Archeologico, 151 (Photo H. Bloesch)24
Bilingual belly-amphora, Andokides Painter, Munich, Staatliche
Antikensammlungen und Glyptothek 2301
a. Herakles (fr pl. 4 B)
b. Dionysos (?) (fr pl. 4 A)25
Bilingual belly-amphora, Psiax, Munich, Staatliche
Antikensammlungen und Glyptothek 2302 (Carpenter 1995, 151,
fig. 5)26
Bilingual belly-amphora, Munich, Staatliche Antikensammlungen
und Glyptothek, 2300 (cva Mnchen 4, pl. 160.1)27
Amphora with twisted handles, Euphronios, Paris, Louvre G 30,
neck image A (Heilmeyer 1991, 156 A)30
Psykter, Euphronios, St. Petersburg, State Hermitage Museum B
1650 (fr pl. 63)31
Stamnos, Smikros, Brussels, Muses Royaux dArt et dHistoire A
717, side A (Pfuhl 1923, iii, 120, fig. 388)33
Belly-amphora, Euthymides, Munich, Staatliche
Antikensammlungen und Glyptothek 8731 (2307), side A
(fr pl. 14.1)34
Psykter, Dikaios Painter, London, British Museum E 767
a. side B (cva British Museum 6, pl. 104, 1a)
b. side A (cva British Museum 6, pl. 104, 1c)35
Cup, Oltos, Rome, Museo Gregoriano Etrusco Vaticano 498
(Albizzati 1938, pl. 69)37
Cup, Oltos, Rome, Museo Nazionale Etrusco di Villa Giulia 50388
(Gerhard 18401858, pl. 85)37
list of figures
17
18
19
20
21
22
23
24
25
26
27
28
29
xi
Calyx krater, Kleophrades Painter, Harvard Art Museum,

Arthur M. Sackler Museum, Gift of Frederick M. Watkins,
1960.236
a. side A: Dionysos
b. side view (right)
c. side B: Hephaistos
d. side view (left)41
Panathenaic-type amphora, Kleophrades Painter, Leiden,
Rijksmuseum van Oudheden pc 80 (cva Leiden 3, pl. 120)44
Amphora with twisted handles, Kleophrades Painter, Harrow,
School Museum 55
a. side A (Beazley 1933, pl. 29, 1)
b. side B (Beazley 1933, pl. 29, 2)44
Belly-amphora, Berlin Painter, Berlin, Staatliche Museen,
Preussischer Kulturbesitz F 2160, side A (fr pl. 159.2) 45
Panathenaic-type amphora, Berlin Painter, Munich, Staatliche
Antikensammlungen und Glyptothek 2311
a. side A (Beazley 1930, pl. 6)
b. side B (Beazley 1930, pl. 6)47
Neck-amphora, Berlin Painter, New York, Metropolitan Museum of
Art 07.286.69 (Richter 1936, pl. 18)47
Stamnos, Berlin Painter, formerly Castle Ashby 72 (cva Castle
Ashby, pl. 48.3)48
Dinos, Berlin Painter, Basel, Antikenmuseum Basel und Sammlung
Ludwig Lu 39
a. view of the vase with Dionysos (Lullies 1979, 111b)
b. detail: head, probably of Peleus, and head of Dionysos (Lullies
1971, pl. 19.23)50
Pelike, Geras Painter, Lausanne, Muse cantonal darchologie et
dhistoire inv 3250, side A (Brard 1966, 95, pl. 21)53
Cup, Onesimos, Boston, Museum of Fine Arts 10.179 (Langlotz 1922,
pl. 8)54
Cup, Brygos Painter, Munich, Staatliche Antikensammlungen
und Glyptothek, 2645, tondo image on a white ground
(fr pl. 49.1)55
Kalpis, Kleophrades Painter, Rouen, Muse Dpartemental des
Antiquits 583.3 (Lissarrague 1987, 88, fig. 22)56
Kalathos, Brygos Painter, Munich, Staatliche Antikensammlungen
und Glyptothek, 2416, detail of side B (fr pl. 64 below)56
xii
list of figures
30
Cup, Douris Paris, Bibliothque Nationale de France, Cabinet des

Mdailles 542 (Brommer 1978, 15, fig. 6)58
Cup, Douris Fort Worth (Tx), Kimbell Art Museum (AP2000.02)
a. Pentheus (Buitron-Oliver 1995, pl. 73)
b. Dionysos (Buitron-Oliver 1995, pl. 73)59
Psykter, Douris London, British Museum E 768 (fr pl. 48)60
Cup, Makron, Paris, Louvre G 144 (Kunisch 1995, pl. 37)
a. medallion: satyr with female partner
b. side A: Dionysos amidst his thiasos62
Cup, Makron, Bochum, Ruhr-Universitt, Kunstsammlungen S 1062
(Kunisch 1995, pl. 119)
a. Dionysos
b. Ares64
Amphora with twisted handles, Eucharides Painter, London,
British Museum E 279 (bsa 18, 1912, pls. 11 [Dionysos] and 12
[woman])67
Pelike, Hermonax, Rome, Museo Nazionale Etrusco di Villa Giulia
50459 (photographs Soprintendenza per i beni archeologici
dellEtruria Meridionale)
a. side A: Dionysos
b. side view (right)
c. side B
d. side view (left)71
Calyx krater, Oreithyia Painter, Agrigento, Museo Archeologico
Regionale C 1538, side A (De Miro 1994, pl. 38)73
Column krater, Agrigento Painter, Rome, Museo Nazionale Etrusco
di Villa Giulia 846, side A (cva Villa Giulia 4, pl. 9.1)75
Column krater, Orpheus Painter, Lecce, Museo Provinciale
Sigismondo Castromediano 603, side A (cva Lecce 1,
pl. 8.1)75
Pointed amphora, Syriskos, London, British Museum E 350
a. side A (cva British Museum 3, iii Ic pl. 18.1b)
b. detail of side A: Dionysos is welcomed by a woman (cva British
Museum 3, iii Ic pl. 18.1d)79
Calyx krater, Syriskos, formerly Malibu, J. Paul Getty Museum
92.ae.6, side A (Lubsen Admiraal 1999, pl. 22a)82
Pelike, Painter of the Birth of Athena, London, British Museum E
410, side A and B combined (Gerhard 184058, pl. 34)85
31
32
33
34
35
36
37
38
39
40
41
42
list of figures
43
44
45
46
47
48
49
50
51
52
53
54
xiii
Calyx krater, Niobid Painter, Ferrara, Museo Archeologico

Nazionale di Spina 2891
a. side view (left), detail of the upper frieze: Dionysos
Gigantomachy
b. side B, lower frieze: Dionysos amidst his thiasos (photographs
Archologisches Institut der Universitt Zrich, Silvia
Hertig)89
Kalpis, Niobid Painter, Ferrara, Museo Archeologico Nazionale di
Spina 2683 (photograph Archologisches Institut der Universitt
Zrich, Silvia Hertig)89
Calyx krater, Altamura Painter, Kunsthistorisches Museum, Vienna
985, detail of side A: Dionysos with Hephaistos (cva
Kunsthistorisches Museum, Vienna 3, pl. 101.1)91
Oinochoe, Achilles Painter, Montpellier, Muse de la Socit
Archologique 140
a. detail: woman in Dionysos retinue (Oakley 1997, pl. 67)
b. detail: Dionysos (Oakley 1997, pl. 67)92
Pointed amphora, Achilles Painter, Paris, Bibliothque Nationale
de France, Cabinet des Mdailles 357
a. side A: Dionysos (Oakley 1997, pl. 4a)
b. side B: maenad (Oakley 1997, pl. 3a)94
Bell krater, Polygnotos, Agrigento, Museo Archeologico Regionale
ag 22797, side A (De Miro 1994, pl. 34)96
Volute krater, Kleophon Painter, Ferrara, Museo Archeologico
Nazionale di Spina 44834, detail of side B (photograph
Archologisches Institut der Universitt Zrich, Silvia
Hertig)96
Pelike, Kleophon Painter, Munich, Staatliche Antikensammlungen
und Glyptothek, 2361, side A (fr pl. 29)97
Cup, Makron, Athens, National Museum Acr. 2.325, fragments of
outside image, side B (gl ii, pl. 20.325)101
Fragment of a krater, artist from the sphere of the Dinos Painter,
Bonn, Akademisches Kunstmuseum 1216.19 (cva Bonn 1,
pl. 33.9)102
Kalpis, Syleus Painter, Paris, Bibliothque Nationale de France,
Cabinet des Mdailles 440 (Arafat 1990, pl. 11a)104
Stamnos, Painter of the Florence Stamnoi, Paris, Louvre mnb 1695
(G 188), side A (limc iii.2, Dionysos 703)104
xiv
list of figures
55
Bell krater, Altamura Painter, Ferrara, Museo Archeologico

Nazionale di Spina 2738, side A (photograph Archologisches
Institut der Universitt Zrich, Silvia Hertig)105
Volute krater, Altamura Painter, Ferrara, Museo Archeologico
Nazionale di Spina 2737, side A (photograph Archologisches
Institut der Universitt Zrich, Silvia Hertig)106
Calyx krater, Villa Giulia Painter, Moscow, Pushkin State Museum
of Fine Arts ii 1b 732, side A (cva Moscow 4, pl. 22.1)107
Pelike, Chicago Painter, Palermo, Museo Archeologico Regionale
1109, side A (photograph H. Bloesch)109
Calyx krater with a white ground, Phiale Painter, Rome, Museo
Gregoriano Etrusco Vaticano 16586 (559), side A (fr pl. 169
below)109
Kalpis, Syleus Painter, Berlin F 2179 (mal 14, 1904, 55,
fig. 18)114
Amphora with twisted handles, Harrow Painter, Oxford (Ms),
University of Mississippi Museum and Historic House, David M.
Robinson Memorial Collection 1977.3.87 AB, side A
(cva Robinson [usa 6], pl. 29.2a) 115
Cup, possibly Foundry Painter, Tarquinia, Museo Nazionale
Tarquinense rc 5291, outside image side A (cva Tarquinia 2,
pl. 18.3)116
Lekythos, Pan Painter, Taranto, Museo Archeologico Nazionale
4545 (Jh 38, 1950, 5, fig. 3)117
Oinochoe, Niobid Painter, Paris, Bibliothque Nationale de France,
Cabinet des Mdailles 460 (Kaempf-Dimitriadou 1979,
pl. 22.35)118
Kalpis, late mannerist, London, British Museum E 184 (cva British
Museum 5, iii Ic pl. 80.3)119
Calyx krater, Kadmos Painter, Siracusa, Museo Archeologico
Nazionale 17427, scroll showing both sides (mal 14, 1904,
pl. I)120
Cup, Triptolemos Painter, Paris, Louvre G 138, view of the inside
(Knauer 1996, 222, pl. 1)122
Cup, Florence 3950 (photographs Museo Archeologico Etrusco)
a. tondo image
b. outside image A: dancing women
c. outside image B: music lesson and sacrificial scene124
56
57
58
59
60
61
62
63
64
65
66
67
68
list of figures
69
70
71
72
73
74
75
76
77
78
79
80
81
82
xv
Cup, Makron, Berlin F 2290 (Frickenhaus 1912, 6 and 7)

a. outside image A: Dionysos idol
b. outside image B: dancing women126
Stamnoi, Villa Giulia Painter (Frontisi-Ducroux 1991, 73)128
Stamnoi, various painters (Isler-Kernyi 2009b, 88 f.,
figs 16)130
Stamnos, Phiale Painter, Museo Nazionale Archeologico, Naples
164332, (Oakley 1990, pl. 64). Su concessione del Ministero dei Beni
e delle Attivit Culturali e del Turismo-Soprintendenza per i Beni
Archeologici di Napoli
a. side A
b. side B132
Stamnos, Phiale Painter, art trade, sides A and B (Oakley 1990,
pl. 67)133
Stamnos, Phiale Painter, Warsaw, National Museum 142465, sides A
and B (Frickenhaus 1912, 13)134
Pelike, art trade, side A (Sothebys, London 1995, 36 Nr. 72)136
Skyphos, Lewis Painter, Moscow, Pushkin State Museum of Fine
Arts ii 1b 600, sides A and B (cva Moscow 4, pl. 39)137
Bell krater, Kleophon Painter (?), Collection S. Rosignoli, London
(photograph Nik Brgin, reproduced with kind permission of
Jean-David Cahn)
a. side A
b. side B139
Bell krater, Phiale Painter, Paris, Louvre G 422 (Simon 1963,
pl. 7.5)140
Chous, Rome, Museo Nazionale Etrusco di Villa Giulia 50511
(photographs Soprintendenza per i beni archeologici dellEtruria
meridionale)142
Chous, Eretria Painter, Athens, National Archaeological Museum
bs 319 (photograph National Archaeological Museum, Athens,
Spelios Pistas)143
Chous, Meidias Painter, New York, Metropolitan Museum of Art
75.2.11 (Richter 1936, pl. 158 a)144
Chous, artist from the sphere of the Dinos Painter, excavation
number A 115 (Hatzidimitriou 2012, 121, fig. 4, drawing
K. Del)145
xvi
list of figures
83
Calyx krater, Polygnotos group, Copenhagen, The National

Museum of Denmark abc 1021, side A (cva Copenhagen 4,
pl. 146 ab)147
Fragment of a stamnos, Hektor Painter, Brussels, Muse dart et
dHistoire R 239 (cva Brussels 1, iii id, pl. 1.2)148
Calyx krater, Villa Giulia Painter, Karlsruhe, Badisches
Landesmuseum 208, side A (cva Karlsruhe 1, pl. 19.1)154
Calyx krater, group of Polygnotos, Tarquinia, Museo Nazionale
Tarquinense rc 4197, side A (cva Tarquinia 2, pl. 18.3)155
Fragment of a calyx krater, group of Polygnotos, Tbingen,
Institut fr Klassische Archologie der Universitt 5439
(ae 1937, pl. 1)156
Cup, Kodros Painter, Wrzburg, Martin von Wagner Museum
der Universitt H 4616, inside image (Avramidou 2011,
pl. 21a)157
Volute krater, Curti Painter, Ferrara, Museo Archeologico Nazionale
di Spina 2897, scroll showing both sides (Aurigemma 1960,
pl. 22a)159
Parthenon, metope east 2: Dionysos Gigantomachy
a. plaster cast, Basel, Skulpturhalle (Berger 1986, pl. 40e)
b. reconstruction by Praschniker (Praschniker 1928, 192,
fig. 119)165
Parthenon, east pediment, Dionysos. Plaster cast in the
archaeological collection of the University of Zurich, made
before 1871
a. frontal view of the head (photograph Archologisches Institut
der Universitt Zrich, Frank Tomio)
b. profile view of the head from the left (photograph
Archologisches Institut der Universitt Zrich, Frank Tomio)
c. Dionysos (reconstruction by C. Isler-Kernyi)169
Handle of a bronze mirror, Copenhagen, The National Museum of
Denmark 4833 (photograph museum)170
Coins from Naxos (Sicily)
a. didrachma: Apollo (Franke/Hirmer 1972, pl. 4 above left)
b. tetradrachm: Dionysos (Franke/Hirmer 1972, pl. 4 above
right)172
Monument of Lysikrates, Athens, detail of the frieze (Ehrhardt
1993, 32, fig. 5)174
84
85
86
87
88
89
90
91
92
93
94
list of figures
95
96
97
98
99
100
101
102
103
104
105
106
107
xvii
Parthenon, east frieze, detail with Hermes, Dionysos, Demeter, and

Ares. Plaster cast in the archaeological collection of the University
of Zurich, made before 1871 (photograph Archologisches Institut
der Universitt Zrich, Frank Tomio)178
Kalpis, workshop of the Pronomos Painter, Pella, Archaeological
Museum 80514 (Drougou 2000, pl. 35.1)181
Kalpis, St. Petersburg, State Hermitage Museum 1872.130
(Pfuhl 1923, 246. fig. 604)182
Stamnos, Dinos Painter, Naples, Museo Archeologico Nazionale
2419
a. side A (fr pl. 36)
b. side B (fr pl. 37 below)185
Dinos, Dinos Painter, Berlin, Staatliche Antikensammlungen,
Preussischer Kulturbesitz F 2402 (Furtwngler 188387, pl. 5657)
a. side A: Dionysos
b. side B: thiasos186
Volute krater, Dinos Painter, Bologna, Museo Civico Archeologico
283 (ad I, pl. 36)
a. side A: Dionysos and Ariadne watching the thiasos
b. side B: Hephaistos riding towards Hera188
Calyx krater, Dinos Painter, Kunsthistorisches Museum,
Vienna 1024, side A (cva Kunsthistorisches Museum, Vienna 3,
pl. 105.2)190
Volute krater, Kadmos Painter, Ruvo, Museo Jatta 1093, scroll
showing side A between parts of side B (fr Text ii, 329,
fig. 107)191
Calyx krater, Kadmos Painter, St. Petersburg, State Hermitage
Museum 0.28 (St. 1807), side B (old photograph from the
Archologisches Institut der Universitt Zrich)193
Chous, Eretria Painter, Basel, Antikenmuseum Basel und
Sammlung Ludwig bs 407 (Lezzi-Hafter 1988, pl. 134)197
Squat lekythos, Eretria Painter, formerly Berlin F 2471 (Furtwngler
188387, pl. 55)200
Lid of a lekanis, Paris, Louvre G 445, details with Pentheus and
Dionysos (Moraw 1998, pl. 23.57)202
Kalpis, follower of the Meidias Painter, Karlsruhe, Badisches
Landesmuseum 259 (B 36), detail of the lower frieze (Burn 1987,
pl. 39)203
xviii
108
109
110
111
112
113
114
115
116
117
118
list of figures
Volute krater, Pronomos Painter, Naples, Museo Archeologico

Nazionale H 3240
a. side A (fr pl. 1434)
b. side B (fr pl. 145)206
Calyx krater, circle of the Pronomos Painter, Madrid, Museo
Arqueolgico Nacional 11011, side A (cva Madrid 2,
pl. 10.2)208
Dionysos in Euripides Bakchai (photomontage
C. Isler-Kernyi)215
Theater of Thasos, metope (bch 84, 1960, 301, fig. 1)216
Dionysos Sardanapalos, Rome, Musei Vaticani, Sala della Biga 2363
(Cain 1997, pl. 16)219
Dionysos Kitharodos, west pediment of the temple of Apollo,
Delphi, Museum 2380 (Croissant 2003, pl. 34, drawing
K. Iliakis)220
Various statues of the youthful Dionysos, Roman Imperial period
(Cain 1997, 78 above left)221
Pelike, St. Petersburg, State Hermitage Museum St. 1793
(fr, Text ii, 47)224
Calyx krater, Athens, National Museum 1376, two views of side A
(Schefold 1934, pl. 46, no. 205)225
Calyx krater, Zrich, Archologische Sammlung der Universitt
3926 (photographs Archologisches Institut der Universitt Zrich,
Silvia Hertig)
a. side A: arrival of Dionysos
b. side B: pair of Dionysiac men227
Bronze krater from Derveni, Thessaloniki, Archaeological Museum
B 1 (photographs Archaeological Museum of Thessaloniki)
a. side A: Dionysos and Ariadne
b. side view (right): Astion(?)
c. side B: bacchantes
d. side view (left): bacchantes230
Abbreviations
aa
abv
ad
Archologischer Anzeiger
J.D. Beazley, Attic Black-figure Vase-Painters. Oxford 1956
Antike Denkmler. Deutsches Archologisches Institut. Berlin
18871931
Addenda Beazley Addenda2. Additional References to abv, arv2 &
Paralipomena, compiled by T.H. Carpenter at the Beazley Archive.
Oxford 1989
Archaiologik Ephemers
ae
American Journal of Archaeology
aja
Mitteilungen des Deutschen Archologischen Instituts, Athenische
am
Abteilung
Antike Kunst
AntK
J.D. Beazley, Attic Red-figure Vase-Painters2. Oxford 1963
arv
ASAtene Annuario della Scuola Archeologica di Atene
Beazley Archive Pottery Database
ba
BABesch Bulletin Antieke Beschaving
British Archaeological Reports
bar
Bulletin de correspondence hellnique
bch
Bulletin of the Institute of Classical Studies of the University of
bics
London
Annual of the British School at Athens
bsa
Corpus Vasorum Antiquorum
cva
Der Neue Pauly. Enzyklopdie der Antike
dnp
A. Furtwngler/K. Reichhold, Griechische Vasenmalerei. Munich
fr
19041932
B. Graef/E. Langlotz, Die antiken Vasen von der Akropolis zu
gl
Athen. Berlin 19231933
Jahrbuch des Deutschen Archologischen Instituts
JdI
Journal of Hellenic Studies
jhs
Lexicon Iconographicum Mythologiae Classicae
limc
Monumenti Antichi pubblicati a cura dellAccademia Nazionale
mal
dei Lincei
Museum Helveticum
mh
Quaderni Ticinesi di Numismatica e Antichit classica
nac
Jahreshefte des sterreichischen Archologischen Instituts in
Jh
Wien
xx
Para
ra
rea
zpe
abbreviations
J.D. Beazley, Paralipomena. Oxford 1971

Revue archologique
Revue des tudes anciennes
Zeitschrift fr Papyrologie und Epigraphik
Introduction
The period that yields most of our knowledge about Dionysos is the 5th century BC. Scholars can draw on the texts of Herodotus, on the great tragedians, especially Euripides, and on the poets. The information, however, does
not come from original sources, but from texts that came into being in later
times and for manifold purposespapyri from the Roman Imperial period or
medieval manuscripts. Moreover, their coverage of the age is very irregular and
almost all of them concern Athens. What they tell us should be seen against
the background of the conventions and agendas of the literary genres of the
time; they cannot offer us a complete picture of the significance of Dionysos
for the people and the role he played in their everyday lives. The images of
Dionysos and his world that Greek art puts at our disposal, however, are original witnesses of their time: the decorative sculpture of the buildings erected
by the polis, the votive reliefs which, although privately commissioned, were
very much part of public space, and the various decorated utensils. As will be
seen, these, too, reveal only part of reality, albeit for different reasons than the
written sources mentioned above. Nevertheless, they are indispensable for our
understanding of Dionysos.
Clay vessels decorated with figures, many thousands of them, belong to this
latter category. Those that concern us here were made in Athens during the 5th
and first half of the 4th century. Many of them have come to us via Italy, mainly
from the Etruscan necropoleis. Although the wealthy and knowledgeable Italic
clientele must have influenced the luxury ceramics produced at the Athenian
Kerameikos, we may presume that the creators of the imagery were, first and
foremost, guided by the values and interests of their own cultural milieu.
Thus decorated pottery not only provides us with material that is evenly
distributed over the period in question and that may be dated relatively precisely, but also presents us with images that must have appealed to the needs
and expectations of the anonymous Athenian consumers for whom it was produced. These images were meant for them and not for the modern beholder;
because of a gap of two and a half thousand years and profound cultural
change, we cannot presume to be able to spontaneously read and interpret
them. We must approach them with great care, step by step, without expecting
comprehensive and absolute interpretations. Much will remain unexplained
or provisional. However, it is better to leave open the way towards future
explanations, than to try to find unambiguous answers at all costs.
koninklijke brill nv, leiden, 5|doi .63/9789004270121_002
Introduction
Dionysos in 6th-Century Imagery

As the Dionysiac world of 5th-century pottery developed from that of the previous age, we should first have a look at the Dionysos iconography from the
beginning of the 6th century until about 520 BC. Apart from the usual representations of Dionysos as the god of wine, emotional eruptions and ecstasy,
6th-century pottery also yields a more differentiated image. In both centuries
Dionysos was the god who allowed ecstasya vigorous extrication from oneself and the boundaries of ones day-to-day life. However, this was only possible because he at first represented these very boundaries; this, at least, is what
the decorated pottery of the archaic period allows us to conclude. Compared
to the many images of Dionysos surrounded by his (dancing) retinue, mythological scenes are rare. The latter, however, show him in the role of keeper of
the order of Zeus and pacifier.1
The important stabilizing influence of Dionysos is apparent from three
myths depicted in decorated pottery. Here he plays a significant role at a
cosmic level. The marriage of Thetis and Peleus, which eventually led to the
establishment of the authority of Zeus, became a subject as early as c. 580 BC.
In this context, Dionysos is presented as the god who personally appealed to
Peleus.2 From around 565 BC vase painters also credited the god of wine with
bringing back Hephaistos to the Olympus. This frequently depicted episode
resulted in the release of the queen of the gods and the restoration of her
powers.3 And, like the other gods, Dionysos was actively involved in bringing
about the victory over the rebellious giants which laid the foundation for the
rule of the Olympians over the cosmos.4
Although Dionysos plays no active role in episodes such as the birth of
Athena and the admission of Herakles to the Olympus, his presence among
the gods makes it clear that he is seen as their equal and is not merely placed
in a counter world.5 The role Dionysos had in the worldview of the original
beholders of the images is that of keeper of the order of Zeus. This explains
his prominent place in the Athenian calendar mentioned in antique literary
sources. Although the festivals dedicated to himincluding the a ccompanying
1 Isler-Kernyi 2007, 215 f.

2 Isler-Kernyi 2007, 7275.
5 Isler-Kernyi 2007, 153 (birth of Athena); Mommsen 2002/2003, 25 (apotheosis of Herakles).
Introduction
dramatic performancespresented an opportunity for ritually controlled

emotional eruptions, their eventual aim was to confirm the order of the polis.6
It is not so hard to transfer to a personal level Dionysos role as protector of
the continuity and stability of a system beset by crises. The day-to-day life of
the individual within the community as well as the community as a whole is
sustained by members who play distinct roles. These roles were determined by
the gender, age, and social status of each individual. Gender is an invariable
and social status, too, usually remained the samewith the exception of liberated slaves. Age, by contrast, is subject to unavoidable change. Over the generations, a community can, therefore, only function when it has the means to
control the transformations and position shifts related to the aging process as
well as the attendant personal crises. The Dionysiac imagery of the 6th century
allows us to develop the hypothesis that the issue of age-related crises, like the
crises acted out on the stage, came under the authority of Dionysos.7 Both on
stage and in real life Dionysos first evoked a crisis and subsequently produced
its solution in order to confirm the value of the established order.
The majority of the vessels decorated with images of Dionysos and his retinue were made to contain wine. They were mostly meant to be used at symposia, festive drinking parties that brought some diversion to the citizens daily
lives. Within normal day-to-day existence, the symposium stood for the nonstandard, the exceptional. It offered the participants the opportunity to step
out of their usual role for a certain time and in a clearly defined space. It therefore functioned as a safety valve, and in this way benefitted the established
order. The consumption of wine made it easier for the symposiast to cast off
the role society had set for him, and to temporarily assume a different character. Thus, on the one hand, wine was the instrument of change. On the other
hand, since wine is in itself the product of a process of changethe grape that
turns into an intoxicating drink, it served as a symbol of this particular experience and of the god who was supposed to be responsible for it.
Although in this way wine became the symbol of Dionysos, it would be a
simplification to merely see him as the god of wine.8 His field of activity was
much larger as it embraced both the human world and that of the gods. It also
6 Spineto 2005, 363 f. In addition see Rudhardt 1981, 90: Le calendrier religieux de la cit
mnage un temps pour la possession bacchiqueque dailleurs le rituel exalte mais discipline du mme coupde manire la rendre possible sans dommage pour lordre social et
bnfique pour la communaut...
8 This is also the conclusion of Gould 2001, 282: We cannot tidy him [i.e. Dionysos] up...simply as god of wine for men and god of possession...for women...
Introduction
went beyond vegetation, fertility of the soil, and the manufacture and consumption of wine. This extensive terrain explains why Dionysos was also close
to those who were, in principle, excluded from the sphere of wine consumption, such as, for instance, women.
The Retinue of Dionysos: Who are the Satyrs, Who are the Women?
In recent years, we have become ever more aware of the significance of these
questions for the understanding of Dionysos.9 In the process, it has become
evident that our own cultural concepts and biases have strongly, and onesidedly, influenced our interpretation of the Dionysiac imagery.10 Because of
their hybrid appearance, satyrsmen with the ears, tails, and sometimes also
the hooves of horseswere mostly seen as mythological beings who either
dwell outside our familiar world or existed in a mythical age.11 Systematic study
of the history of the satyr imagery from the beginning of the 6th century has,
however, yielded a more ambiguous assessment. It is true that satyrs are present in the mythological episode in which Dionysos brings back Hephaistos to
the Olympus. However, we also find situations where satyrs blended with the
anonymous dancers of the present time, that is to say, where dancers behaved
like satyrs, presented themselves as satyrs, and perhaps even felt they were
satyrs.12 Their half-beast aspect should then be seen as a signal that these satyrs
are men in an anomalous Dionysiac state; other scholars have come to comparable conclusions by different ways.13 A prominent sexuality is very much part
9 For a recent summing up of the issue, see Schne-Denkinger 2008.
10 Lindblom 2011, 13.
11 See, for instance, Hedreen 1992, 180 in his Concluding Remarks: ...for one point on
which all will agree is that the silens never really existed. In the same vein, surprisingly,
Lindblom 2011, 125: ...satyrs, obvious creatures of fantasy... of a mythological nature.
12 Isler-Kernyi 2004a, 33 and 62.
13 Collinge 1989, 82: Thus men apparently took delight in leaving behind their own personae
and adopting temporarily the fantasy life of the satyr; Lissarrague 1990, 235: ...the satyrs
are antitypes of the Athenian male citizenry and present us with an inverted anthropoloy
(or andrology) of the ancient city-state; Brard 1992, 16: ...derrire le satyre, sous le
satyre, il y a lhomme... Osborne 1997, 198 note 34: Some artists...seem to have been
very interested in the transformation of men into satyrs and women into maenads in
the presence of Dionysos. Likewise Catoni 1998 (where the interpretation of Dionysos
as the Other is, however, too limited) and 2010, 287; Moraw 1998, 105 and 2011, 241;
Shapiro 2004; Smith 2007, 168: ...the satyr form safely distances masculine humanity
from the negative associations, and 170: a satyr is a stand-in for a human party mode...
Concerning the satyr play see, in addition, Voelke 2001, 408412.
Introduction
of this exceptional state. In this context sexuality does not mean fertility
an equalization typical for our own culture, shaped as it is by Christianity.
Here, however, it is an expression of purposeless, playful vitality.14 In any case,
it cannot be assumed that for the original beholders of the imagery, satyrs only
existed in a mythical world that had nothing to do with the here and now. The
figure of the satyr seems rather to have served to, in a way, disguise the citizen
taking part in the exuberant Dionysiac rituals.15
Moreover, from the history of the imagery it is clear that satyrs played a very
special role in relation to Dionysos. They were, apparently, seen as the first
ones to be aware of the god when he appeared, the ones who disclosed him to
the beholders of the images. Despite, or because of, their prominent sexuality, they were considered the ritual intermediaries of the god. Apart from the
erotic revelry with their female partners and their role as intermediaries in
the encounter with Dionysos, the vase painters attributed an essential cultural
contribution to the satyrs: the manufacture of wine. The images, however, do
not make it clear whether the satyrs were meant to be seen as the ones who,
in mythical times, first managed to make wine following the instructions of
Dionysos, or whether ordinary 6th-century men engaged in wine production
felt like satyrs or were somehow considered to be like satyrs.16 From this discussion of the iconographical situation of the 6th century we must, however,
conclude that, contrary to our modern sense of logic, the original viewers of
the images saw the satyrs as beings of mythological times as well as of their
own time and recognized they were related to Dionysos in an existential way.17
Unlike the satyrs, with whom they often interact, the women surrounding
Dionysos are (apart from one known exception)18 physically no different from
14 Compare Parker 2011, 209: Sexuality was fundamental to some aspects of Dionysiac cults
too, though with the emphasis on potency or virility more than on procreation and 210:
Fertility was the catchall explanation of the past...Today we might be more inclined
to think of conscious violation of decorous norms... For the 18th-century origins of the
dogma of fertility in the history of religions, see Humphreys 2004, 6. Compare also PaulZinserling 1994, 55: Die zahlreichen erotischen Themen...lassen...den Schluss zu, dass
die krperliche Liebezumindest fr den Mannals ein positiver Wert empfunden
wurde...
15 Jaccottet 1998 and 2003, 97. Compare Frontisi-Ducroux 1991, 173 and note 13.
16 Isler-Kernyi 2004a, 80 and 94.
17 Isler-Kernyi 2004a, 81: ...neither Dionysos nor the polis could do without the satyrsor
at least without the satyric element in the citizen...
18 Lindblom 2011, 146 and 269, fig. F: on a bell krater of around 440430 with the return of
Hephaistos (London gr 2000.111.31 [Colossus 15]: ba 213788 [no image]) the woman who
follows Dionysos with oinochoe and torch seems to have the ears of a satyr.
Introduction
women of the ordinary world.19 What distinguishes them is merely their intimate relationship with the god himself, with the satyrs, or with both at the
same time. This relationship is made explicit by the vase painters by way of
special attributes, such as the thyrsos or the fawn skin, or by the depiction of
certain behavior. They serenely stand before Dionysos and devoutly perform
the ritual gestures.20 They dance together or with the satyrs, either in the gods
presence or without him. They accept the sexual advances of the satyrs, or just
flirt with them.21 However, contrary to a widely held notion, among the women
surrounding Dionysos ecstatic dancers are clearly a minority.22
For that reason, the term maenad (a woman in a state of frenzy), which
since Beazley has become a conventional designation for the women around
Dionysos, does not apply to the majority of the cases.23 The term bakch (bacchante) would be more neutral and also more correct, all the more so because
there already were bacchantes in mythical times, as Euripides impressively
shows.24 On the other hand, in, for instance, the Homeric Hymn to Aphrodite
and the famous volute krater by Kleitias and Ergotimos the female partners
of the satyrs are nymphs.25 However, this designation is likewise ambiguous
because it could refer to both mythical and human beings.26
Whatever one might call them, like the satyrs, Dionysiac women belong
neither just to the mythical nor exclusively to the human world. In the context of the symposium, they could be identified with the hetaerae.27 In other,
equally erotic, contexts they could be honorable married women.28 And, like
19 See also Lindblom 2011, 157159, with full references.
20 Compare Vernant 1986, 298 who, apart from thiasos and ecstasy, also refers to other manifestations of the Dionysos cult.
21 For the behavior of the women vis--vis the satyrs, compare Lindblom 2011, 69: In all, the
multi-figured scenes make it clear to us that the womens diverse actions were contrasted
to each other in different ways, probably as a means of emphasizing the ambiguity in the
relation between the women and the satyrs.
22 Fahlbusch 2004, 79.
23 In what follows this term will, therefore, only be used for ecstatic dancers.
24 Bonansea 2008, 121; Lindblom 2011, 135. Compare Paul-Zinserling 1994, 15: Immer aber
kann die Telet die Frau zur Bakche machen...
25 h. Ven. 256263.
26 Isler-Kernyi 2007, 86 f. Bonansea 2008 discusses the issue of the designation of Dionysiac
women on the basis of literary sources and vase inscriptions. Compare Heinemann 2000,
324: ...zwischen dem mythonomastischen Begriff Nymphe und dem Terminus der
Mnade bzw. Bakche...kein inhrenter Widerspruch besteht.
27 Moraw 1998, 118 ff.; Neils 2000, 219226; Villanueva Puig 2009b, 215.
28 Likewise Brard 1992, 1620, and Moraw 1998, 251. Compare Lindblom 2011, 139: ...we
should not interpret the womens behaviour according to what we think was considered
Introduction
the satyrs, they too should be placed in the mental domain that is so difficult
to grasp for the modern viewerthe domain that, on the one hand, belongs
to ritual and, on the other, to vase painting.29 Characteristically, in this special
domain gods and humans can be present together, because human beings who
take part in a ritual assume the role of their mythical models and experience
the presence of the divine. All the same, they are by no means in a mythical
world. From this point of view, the large number of dancing women in the
Dionysiac repertoire is symptomatic.30 Dancein which one, needless to say,
should include musicis the finest expression of a state beyond normal time,
hovering between above and below.
It has now become clear to most scholars that the imagery does not seek
to depict the real and tangible world of its creators and users, but their mental world, which only partly corresponded to the real one. The images were,
therefore, supposed to evoke experiences brought about by ritual, or at least
by extraordinary situations. For the original beholders of the images, this was
obvious and natural; for us, however, looking at even the simplest vase painting requires a mental shift.31 We would be inclined, for instance, to interpret
a thiasos image in a mythological way. We should take into account, however,
that the original viewers would have associated it with a timeless state of bliss
and, at the same time, with a ritual situation. In the second and third quarter of the 5th century, ritual objects (altars, torches) are increasingly depicted.
This does not mean, however, that the thiasos image has now simply evolved
from the mythical world to the ritual present. The image rather enabled the
original addressee to re-acknowledge the image and to simultaneously identify
with a satyr or with a woman of Dionysos retinue.32 In brief, when reading the
as decent or indecent behaviour for mortal women, especially when we cannot say what
behaviour was considered to be decent or indecent for mortal women acting as a maenad and, summarizing, 158.
29 Isler-Kernyi 2004a, 79 f.; Sabetai 2011, 153 and 158: Rituals and painted scenes...belong
to the same imaginary world.
30 Fahlbusch 2004, 76: Das Thema 7 [i.e. the dancing woman without Dionysos, but with
a satyr] gehrt zu dem Frauentyp die tanzende, dem fast 50% der mir vorliegenden
Szenen zuzuordnen sind.
31 Compare Philippe Borgeaud, interpreting Rudhardt: ...il faut renoncer nos manires
de penser, pour raisonner en grec, en cernant les notions grecques dans leurs propres
modes dexpression (Rudhardt 2008, 14). For a meaningful scholarly attitude vis--vis the
gap between our own way of thinking and that of Antiquity, see Versnel 2011a, 1416.
32 On the relationship between life and myth and the identification of human beings with
mythical figures, see Kernyi 1995, 3032.
Introduction
Dionysiac imagery, the as well as will bring us nearer to the original beholder
than the either...or.33
Dionysos in the 5th Century, and his Transformation after 450 BC
As we will see, the Dionysiac imagery of the 5th century BC is at first very
much marked by the developments of the archaic era. After 450 BC, however,
a remarkable change may be discerned: Dionysos sheds his aspect of venerable father or spouse, and transforms into a youthful, often (almost) naked
god. Our sources allow us to surmise that this transformation first took place
at the Parthenon, this enormous representative building on the Acropolis of
Athens, commissioned by the polis, erected by the architect Iktinos, and decorated with countless figures by the sculptor Phidias. After sixteen years of construction, it had been completed in 432 BC, and was now there for all to see.
The pediment on the eastern sidethat is to say: over the main entrance to
the templecontained a representation of the birth of Athena, patron deity
of the city, from the head of her father Zeus, king of the gods and ruler of the
cosmos. This world-shaking event was witnessed by the other gods, framed by
the ascending chariot of the sun god Helios and the descending one of the
moon goddess Selene. Of the majority of the figures, especially those of the
central part of the pediment, only fragments remain. There is, therefore, much
scholarly debate on the exact composition of the most important scene.34
33 What Versnel 2011a, 146 assesses for the history of religions, also holds true for iconographic
research: ...the modern paradigmatic pressure manifest in the either-or approach has
dangerously affected both the presentation and the solution of questions. To what dead
ends our modern logic can bring us is illustrated by the conclusion of Schmidhuber
2007, 367: ...eine sichere Deutung muss offenbleiben. Even more apodictic Carpenter
1997, 69 at the end of his chapter Dionysian Women: ...it is perhaps worth reiterating the point that aside from Semele and Ariadne, the female companions of Dionysos
in fifth century Attic vases are never mortals. By contrast, we should approve of and
keep in mind Paul-Zinserling 1994, 45: Mglicherweise versagt...nur die Trennschrfe
unserer modernen Optik, welche Sachverhalte, die fr den antiken Betrachter ganz deut
lich waren, im Unscharfen lsst, as well as Heinemann 2000, 340: ...gilt es nicht, eine
Interpretation durch eine andere zu ersetzen, sondern lediglich einen von vielerlei mglichen Gedankengngen aufzuzeigen, die von Mythenbildern in der konkreten Situation
des Symposions ausgelst werden knnen.
34
Compare Ellinghaus 2011, 140: Die Rekonstruktion der Gruppe ist jedoch rein
spekulativ....
Introduction
Among the attendant gods, only one figure has been almost completely preserved: that of a naked young man, reclining before the horses of Helios, and
looking towards the south. Most specialists agree that this figure is Dionysos,
because, from 420 BC at the latest, the representation of Dionysos in decorated
pottery is very similar. We are, therefore, faced with the problem to establish
the meaning of the transformation of a god who held such importance for
both the city and the individual.
The written sources do not provide us with a decisive answer; as far as the
sculptures of the Parthenon are concerned, we only have a paltry notice by
Pausanias, who wrote in the 2nd century ad.35 No reference is made to the
sculptures in the records on Phidias, nor in those concerning Perikles, who
commissioned them. Literary sources present Dionysos in various forms. He
appears as a child in a small episode told by one of the heroes in the sixth
book of the Iliad;36 he is a youth in the seventh Homeric Hymn (of controversial date), which relates his capture by Tyrrhenian pirates;37 he features
as a youthful god in the Bakchai, Euripides famous tragedy, which was first
performed after the completion of the Parthenon, in 405 at the earliest. These
literary manifestations of an early period are all the more remarkable in view
of the fact that art before the transformation mentioned above, consistently
depicts him as a mature bearded man. Anyhow, these manifestations demonstrate that even before the 5th century Dionysos could embody various ages; a
youthful appearance was, therefore, not an invention of Phidias or Perikles, but
already part of Dionysos person. It also helps to explain why this appearance
was not only accepted by the vase painters and their customers, but received
with enthusiasm.
In order to approach the meaning of the appearance of Dionsyos and the
transformation it underwent, we can, it seems, only turn to the sources we
do have at our disposal: pottery decorated with figures. We should, however,
always be aware of the special nature of such pieces of evidence. The images
are secondary to their carriers, the vases. The image can only be considered in
relation to its carrier and we should be mindful of how and where the image
carrier was used. In any case, the images spoke to the viewers at a more intimate level than the sculptures of a monument such as the Parthenon.38 Also,
artistic pretentions must have been more modest. Nevertheless, we can clearly
discern gradations, from the roughly executed images of cheap, mass-produced
35 Paus. I 24.5.
36 Bernab 2013.
37 Jaillard 2011, 133 note 2.
38 Also Moraw 2011, 252.
10
Introduction
pottery, to those that were done with the utmost precision and skill for a particular occasion or on special commission. When interpreting the message of
the images, these gradations must, of course, be taken into account.
Let us now have a closer look at the appearance of Dionysos in the decorated pottery of the 5th century in order to determine (without pretense to
completeness) the changes in his looks and his surroundings, and to see what
the meaning of these changes could be.
chapter 1
Dionysiac Subjects in Red-Figure Pottery

What Dionysos meant to the original buyers of vases decorated with figures
produced in Athens may be deduced from the importance of Dionysiac subjects within the image repertoire. Such investigations are now facilitated by a
most helpful tool: the Beazley Archive in Oxford. The following contentions
and considerations are all based on the more than 80.000 Attic vases and vase
fragments dating from the 7th to 4th centuries registered in that archive.1
The relation between this number and the amount of excavated pottery is
unknown. In addition, the question of the ratio between the excavated items
and the total production of the time is a matter of fierce debate.2 In any case,
we cannot but assume that the number of vases unknown to us, is much larger
than the number we know of, and this fact renders any statistics problematic.
Nevertheless, the number of vases available to us through Beazleys inventories
and the files of the Beazley Archive is large enough to assess the importance of
Dionysiac subjects within the larger repertoire.
Dionysiac subjects, just like any others in the repertoire, were not applied in
equal measure to every type of vase. Every scholar who is sufficiently familiar
with figural Greek vase painting knows that, even though certain themes are
found on all shapes, every shape also has its own preferred imagery, depending on the function of the vessel. Therefore, the frequency of a subject much
depends on its appropriateness for the actual use of the carriers of the image.3
In the Athenian production of figure pottery, certain vase shapes are more
common than others. Cups are by far the most numerous, with almost one
third of the total production as known to us. Vessels for mixing wine and water
come next; there are about half as many as there are cups. Already in the 6th
century, however, a difference was made between the sumptuous, ornate and
expensive volute kraters and the more modest column kraters. The calyx krater
came into use around 540 BC, at a time when the image repertoire, too, saw
1 Personal communication from Thomas Mannack, 18 March 2013, for which I am most grateful. The black- and red-figure vases listed by J.D. Beazley constitute less than half of this
number: according to Sparkes 1996, 94 and Mannack 2002, 19 this concerns around 10.000
black- and 20.000 red-figure vases (excluding the 5000 additions in Paralipomena).
2 Kratzmller 2003; van der Put 2009, 38 (less than 1%); Sapirstein 2013, online supplement
9 (c. 0,5%).
3 Schmidt 2005, 25 f.; for Dionysiac subjects in this perspective see Kstner 2008a.
12
chapter 1
important innovations. The bell krater was only invented by the end of the 6th
century at the earliest, for which reason all bell kraters are red-figure. In the
first few decades, bell kraters were quite rare and their decorations often quite
original. After about 44030, however, they were produced in ever greater
numbers; in the 4th century bell and calyx kraters were practically the only
types of mixing vessels. Parallel to this development, the number of volute and
column kraters sharply diminished after the middle of the century; around 400
BC both types had virtually disappeared. The number of amphorae is less than
a third of that of all types of kraters; that of the hydriai about a quarter, around
the same amount as that of the oinochoai.
The share of the individual shapes varies over time and so does the total production itself. It steadily increases during the 6th century as the Athenian market expands into Italy, peaks in the first half of the 5th, and markedly decreases
after about 430 BC. The latter can be easily explained by the economic and
political crises Athens went through as a result of the Peloponnesian War. The
peak production of the second quarter of the century reflects the political and
economic heyday of Athens following the successful outcome of the Persian
Wars. Remarkably, vase scholarship has so far given very little attention to the
question what the one-year evacuation of 479 BC (which took place as a reaction to the approach of the Persian armies), and the extensive damage to the
city meant for pottery production.4
Let us now return to the significance of the Dionysiac subject matter.
Regarding the vase shapes that will be discussed in this chapterthe cup; the
amphora; the column, bell, and calyx krater; the hydria, it should first be
made clear that the human figures the original viewers of the imagery would
most readily have identified with were not the Dionysiac figures, nor even the
mythological ones, but the anonymous, prototypical ones.5 By far the most
common among these is the figure of the beardless youth, followed by the
anonymous woman and the bearded man. Men and youths are more often
found on cupsthe symposium vessel par excellencethan women, whereas
women are the preferred figures to decorate the hydria, a type of vase that,
more than cups and kraters, has female connotations.6
That these figures are anonymous does not mean they had no meaning or,
as Beazley still contended, were mere space fillers. Closer consideration of, for
instance, the youths wrapped in their mantles that are standard figures for
the reverse side of column kraters has revealed that this motif most certainly
4 Isler-Kernyi 1977a, 38; Kunisch 1997, 21; Isler-Kernyi 2009a, 14.
5 For this term see Isler-Kernyi 2007, 111.
6 Schmidt 2005, 222.
Dionysiac Subjects In Red-figure Pottery
13
referred to a specific state of life and also that there could be concrete and
meaningful links with the image on the main side of the vessel.7 However, as
such figures excited less interest than the mythological ones, they have so far
been little studied.8
As far as the cups and our three types of kraters are concerned, the prototypical figures are followed, be it at a considerable distance, by more specific
Dionysiac subjects: Dionysos, satyrs, Dionysiac women, the komos and the
symposium.9 Equally numerous, at least on cups, are anonymous athletes and
warriors. These, on the other hand, were clearly not very popular for hydriai
and amphorae, and even less for kraters. As for the mythological subjects, it is
significant to distinguish between scenes with recognizable protagonists and
general scenes depicting amazons, centaurs, and giants; the fights that took
place in mythical times between heroes or gods and these adversaries are of a
very special nature, and it is no coincidence that they were also often the subject of the sculptural decorations of temples. They represent the preconditions
required for the current world order and are, therefore, of a more comprehensive character than single mythological events concerning only the individuals
in question. Cups and kraters more often feature Dionysiac figures than other
identifiable mythological figuresEros, Herakles, Nike, Athena, and so on.
This is the other way around for amphorae and, especially, for hydriai.
After what has been said about the relationship between vase forms and
imagery, and taking the use of the vessels into account, it is not surprising that
Dionysiac subjects are mostly found on cups. After all, these were, in the first
place, meant to be used at the symposium. The fact that they were found in
graves and must have been given as burial gifts does not at all imply that the
people of the ancient world believed they were actually used by the dead.10
A much simpler explanation would be the surviving relatives wish and hope
that the cups would accompany their deceased to an afterlife as full of delight
as a symposium.11 It should be mentioned that Dionysos himself is not the
most-represented figure in Dionysiac imagery: satyrs are more numerous
(a ratio of 6:1), as are dancing women (3:1). As groups of figures in motion
are more attractive on the surface of a cup than stationary single figures, we
7 Isler-Kernyi 1993b and 1996.
8 Ferrari 1990; Langner 2012.
9 Because of their limited number, volute kraters may be left out of consideration. For the
history and repertoire of the column krater, see Isler-Kernyi 1993b, 9496.
10 This typically modern materialistic projection is still widespread.
11 See a comparable interpretation of the images of bliss on Roman sarcophagi by Zanker in
Zanker/Ewald 2004, 177.
14
chapter 1
usually find Dionysos surrounded by several members of his retinue. The fact
that we find much more satyrs than dancing women may be explained from
the notion that the symposium was primarily a male affair. It also explains
why the cups present us with almost as many representations of komos and
symposium as of satyrs; these were the two occasions that would have made
participants identify with satyrs.12
Parallel to the increase in the production of decorated pottery in the first
half of the 5th century, we see, on the whole, an increase in Dionysiac representations. This again, however, mostly concerns depictions of satyrs and
their dancing female companions, and to a much lesser extent the god himself.
The increase in representations of komos and symposium should probably be
linked to a peak in the demand for column kraters. During the second half
of the century, however, the number of Dionysiac figures and subjects suffers
a decrease of more than 50%. The total number of vases of all types under
discussion also dropped sharply, but this decrease was less than that in the
Dionysiac imagery. At that time, especially after 430, mythological representations, too, went into a decline, while, simultaneously, we see a relative increase
in the use of anonymous figures. This, like the reduction in the number of vase
types already mentioned, is an obvious sign of the decline of red-figure pottery
in general.
It would, however, be wrong to conclude that the interest in Dionysiac subjects had diminished, since Dionysos, Ariadne, satyrs and maenads are the
most popular figures of the bell and calyx kraters of the 4th century.13 These
were now joined by Pan, who had, until then, only made sporadic appearances. During the centuries that followed (the Hellenistic period and the
Roman Imperial period), he became an integral part of the Dionysiac thiasos.14
However, we definitely find fewer representations of the komos and symposium; kraters were no longer symposium vesselsthey had developed into
exclusive burial gifts, as had already happened in Greek Southern Italy and
in Sicily.15 The mythological aura that surrounds Dionysos and his retinue
was more suitable for this purpose than either komos or symposium. In this
context, a comparison with the, less numerous, hydriai is instructive: here the
komos does not appear at all and the symposium only sporadically. On the
other hand, Ariadne, Dionysos, satyrs and maenads are only outnumbered by
Aphrodite and, especially, Eros. A comparison with cups is equally interesting.
12 See above p. 4 f. and notes 1315.
13 Similarly Paul-Zinserling 1994, 12 f. and 46.
14 Schne-Denkinger 2008, 45.
15 Pontrandolfo 1995, 194195; De Cesare 2007.
Dionysiac Subjects In Red-figure Pottery
15
Bell kraters are evidently more numerous than cups, but there are twice as
many cups as calyx kraters. Cups mostly show representations of anonymous
youths, and also many anonymous women and athletes. With Eros and, less
frequently, Nike, Dionysos, satyrs, and maenads are practically the only mythological figures.16 In the worldview of the original buyers of these types of pottery, who no longer lived in Etruria, but in Greece, Spina, Magna Graecia and
on the Black Sea, Dionysos is clearly taking a dominant position.
16 Pellegrini 2009, 201; Lissarrague 2013, 238.
Chapter 2
Dionysos for Athens, Dionysos for All

Dionysiac Pottery around 500 BC
Late Black-Figure Vases
When speaking of Greek decorated vases of the 5th century BC, we usually
think of those produced with the new red-figure technique, invented around
520515.1 At the time of the first two generations of red-figure pottery, however,
most vases were still traditional black-figure ones. Furthermore, it is clear that
the various vase types were produced in different quantities, different average qualities, and, we may presume, at different prices. Almost half of the late
black-figure vases are lekythoi, and about one fifth are cups. We have significantly less large, closed vessels than cups, and among these neck amphorae are
most numerous; hydriai constitute about one third of the amphorae. Kraters
are least numerous. Lekythoi and cups are mostly of poor quality, the decorations executed quickly and carelessly. The amphorae are of a much better
quality although they, in their turn, are inferior to the hydriai, which were,
apparently, the most valuable vases produced with this technique.2
Dionysos and his world is by far the most common subject for late blackfigure vases.3 It even exceeds that of the anonymous women, warriors, youths
and men. This may have to do with the fact that kraters, which often feature
such anonymous figures on their reverse, are much better represented in redfigure than in black-figure production. No other god, not even Athena, has a
comparable presence in the mental world of the users of this pottery, and the
same may be said of the most popular among the heroes, Herakles. Naturally,
Dionysos mother Semele and partner Ariadne should be included in his world,
although we should discount representations of Ariadnes role in the contest
between Theseus and the Minotaur. Mostly, however, the world of Dionysos
is evoked by dancing maenads and, especially, satyrs: their number exceeds
that of Dionysos himself as well as that of the dancing women. Because of the
smaller number of kraters, representations of the komos (i.e. groups of dancing men) are less frequent, as are depictions of the symposium, subjects that
refer to situations where Dionysos was felt to be present through the wine.
1 For setting the date of invention somewhat later than usual, see Rotroff 2009, 256.
2 Brunori 2006, 255.
3 Villanueva Puig 2009b, 175 and 209.
Dionysos For Athens, Dionysos For All
17
Most late black-figure Dionysiac representations are found on lekythoi. This

was by far the most-produced vase type of the decades just before and after 500
BC, and Dionysiac subjects formed its preferred imagery.4 This is also important in view of the fact that these lekythoi were much less frequently exported
than, for instance, cups, kraters, amphorae, and especially hydriai; they were,
apparently, in principle meant for local customers. This indicates that, at least
as far as the occasions associated with the use of lekythoi were concerned,
Dionysos and his retinue held an important place in the mental world of the
Athenians of the time. As perfume phials, lekythoi were used in the home;
they were also used at the symposium and as votive gifts in sanctuaries. Most
lekythoi known to us, however, were found in graves.5 Plentiful finds from
Athenian graves confirm that Dionysiac imagery must have been considered
very appropriate for this purpose.6 This holds especially true for a group of
lekythoi showing women performing a ritual around a kind of Dionysos idol,
which will be discussed below in the context of domestic ritual.7
The black-figure lekythoi produced between 510 and 480 BC and afterwards
were clearly meant for a broad clientele. A recent study concerning the figure of the maenad, which discusses 910 specimens, enables us to have a closer
look at their Dionysiac iconography.8 Dionysos is depicted standing among
his retinue, striding, riding, reclining on the symposium couch, and s itting
an attitude he, incidentally, assumes on many late black-figure cups. He may,
therefore, have been imagined as a stable presence, but also as a sudden manifestation. Several image types show him with a woman, standing quietly before
him, lying with him on the couch, or sitting next to him. As is already the case
in earlier stages of Dionysiac iconography, this figure may be clearly distinguished from the women who, with or without satyrs, dance around the couple. She is, therefore, not a maenad, but it is not clear whether she is supposed
to represent Ariadne, Semele, or an anonymous woman who approaches the
god or shares the delights of the moment with him. After all, in the imaginary world of the vase painters there was nothing unusual in gods and humans
appearing together. The same holds true for the image of a woman mounting a chariot in a Dionysiac context, a metaphor for death as a departure on a
voyage, possibly with the aim of Bacchic fulfillment.
4 Similarly van de Put 2009, 39 f.

5 Schmidt 2005, 31 f.; Lynch 2011, 139 f.
6 Villanueva Puig 2009a, 218 f.; van de Put 2009, 41.
7 Frontisi-Ducroux 1991, 101135. See below chapter 6.
8 Villanueva-Puig 2009b, 189205.
18
Chapter 2
A very frequent type (almost 250 examples) is that of Dionysos among his
dancing retinue of satyrs and maenads, or only maenads. The image is brought
back to its essence with a single woman dancing before the seated god, who
may be flanked by two seated women raising a hand in a gesture of greeting.
With almost 400 examples the most frequent motif is the thiasos of dancing
satyrs and maenads without Dionysos. It is often enriched by erotic elements,
such as an amorous pursuit, a maenad carried off on the shoulders of a satyr,
or satyrs approaching a sleeping maenad for evident purposes.
Another group are the representations of Dionysiac women dancing or
standing in a space that, through the presence of an altar, a mask, or a louterion on a pedestal, is roughly characterized as cultic. It is impossible to
establish if the quite often depicted motif of a figure riding on a mule, surrounded by satyrs or only by vines, refers to Hephaistos or to a corresponding
ritual for which no further evidence happens to exist.9 In this context it is well
figure 1
Black-figure lekythos, Athens, National Museum 615 (Haspels 1936, pl. 38.5).
9 Isler-Kernyi 2004a, 50.
19
to remember that mules, asses and other mounts (belonging to Dionysos himself or to Dionysiac women or satyrs) are often found in this kind of imagery.10
The precise meaning of such images, however, remains unclear. In any case,
they refer to the accessibility of the Dionysiac world to beings from the infinite
wilderness that surrounds the ordered sphere of human culture. Obviously,
Dionysiac representations of this kind cannot be related to any specific mythological or cultic event. They rather refer to the limitless life in the sphere of
Dionysos power.
Four situations characteristic of the relationship between Dionysos and the
women and satyrs stand out among the Dionysiac imagery of late black-figure
lekythoi: the carefree rapture of euphoric dance, the encounter with the god,
the departure on a voyage, and the state of bliss evoked by the motif of the
symposium (Figures 14). As we will see, the repertoire of the late black-figure
painters is not substantially different from that of their colleagues who at that
time worked in the red-figure technique. It is, however, of a lower artistic level,
if only for the outmoded technique. There are few remarkable images; the
paintings mostly reproduce the usual motifs in a cursory manner. Nevertheless,
they never give the impression of being mere empty formulae. The prospective
buyers may have been simple, humble peoplewhen it came to taking leave
of their loved-ones, they seem to have made a well-considered choice from
what was on offer at the Kerameikos.
Because of their shape and size, the contemporaneous black-figure hydriai
are much more distinguished vessels. They were frequently brought to Etruria
and were widely found in graves. Compared to other mythological scenes,
Dionysiac subjects seem to be much less dominant here. On the other hand,
the motif of a fine chariot, with mythological (including Dionysiac) or anonymous figures in attendance, was very popular (Figure 5).11 It enabled the painter
to employ an appealing form to evoke heroic elevation or death-as-departure,
depending on occasion and use. In any case, both in Athens and in Etruria,
production was aimed at the higher social strata.
Early Red-Figure Vases
The so-called Andokides Painter, named after his regular potter who signed
with this name, is said to have been the inventor of red-figure technique. He
may well have been the first to work in this new technique, not only because
10 Villanueva-Puig 2009b, 182 f., and 197.
11 Schmidt 2005, 232 f.; Brunori 2006, 253 f.
20
Chapter 2
Figure 2
Black-figure lekythos, Paris, Louvre ele 152 (cva Louvre 28, pl. 5.45).
Figure 3
Black-figure lekythos, Athens, National Museum 12273 (Haspels 1936, pl. 30.2 ab).
Figure 4
Black-figure lekythos, Athens, National Museum 541 (Haspels 1936, pl. 23.2 ab).
Figure 5
Black-figure kalpis, Hamburg, Museum fr Kunst und Gewerbe 1908.253 (cva

Hamburg 1, pl. 27.3).
21
22
Chapter 2
stylistically he can be placed in its incipiency, shortly after 520 BC, but also
because he decorated one side of a series of belly-amphorae in red-figure technique while leaving the other side to his colleague, the Lysippides Painter, who
worked in black-figure.12 Three of these bilingual amphorae show the same
motif on both sides.13 They may have been meant to point out the advantages
of the new technique to the customers.
Before we turn to the Dionysiac images of this painter and his contemporaries, their preferred medium, the belly-amphora, should be discussed. It may
be described as a large, closed vessel with two handles and a continuous curve:
there is no indentation between neck and belly. Ever since its beginnings in
the late 7th century it was considered a deluxe vase type and rather costly. This
would explain why, from the middle of the 6th century, many belly-amphorae
were exported to Etruria. Let me quote Ingeborg Scheibler, who devoted a
ground breaking study to this vase type: Leading potters and vase painters used
this form to demonstrate their skill, and it was one of the most important Attic
vase types until well into the 5th century.14 It is, therefore, no coincidence that
Beazley, whenever possible, began his lists of the works of individual painters with this vase type. On the basis of the shape of the mouth, the handles,
and the foot, he distinguished three subtypesA, B and C.15 From depictions
of amphorae in vase paintings we may infer that the large and consequently
heavy belly-amphora was mainly used as a storage vessel for agricultural produce, such as oil, wine, and seed; it was not very suitable for transport.16 From
a symbolic point of view the belly-amphora stood for wealth and status, and
could therefore, on the one hand, serve as a representative grave gift, and, on
the other, be employed in a cultic context. More than any other vase type, the
belly-amphora refers to the citizens and the concept of the polissomething
that is already evident from its black-figure imagery.17
From about 560 BC, the belly-amphora was part of the product range of the
three leading black-figure painters, Lydos, the Amasis Painter, and Exekias,
and, with the invention of red-figure technique, of that of Exekias pupil, the
Andokides Painter. As we will see, the belly-amphora also played an important
12 arv 4. 712.
13 Addenda 149 f. (4.7, 9, 11).
14 Scheibler 1987, 59: Fhrende Tpfer und Vasenmaler wiesen sich mit dieser Form aus,
die bis in das frhe 5. Jahrhundert hinein zu den Leitformen der attischen Vasenkunst
gehrte.
15 Beazley 1922, 70 f.
16 Scheibler 1987, 6372.
17 Isler-Kernyi 2007, 108 f. and 121.
23
role in the work of some of the most prominent members of the next generations of vase painters, such as Euthymides, the Kleophrades Painter, and the
Berlin Painter. After 480 BC the production of this vase type declined sharply
and by 400 BC it had almost completely disappeared.18
Her analysis of the image repertoire of the belly-amphora enables Scheibler
to identify a common denominator for the anonymous and mythological representations of young men, horses, and chariot rides: that of the celebration of
the citizens entry into adulthood. Her evaluation of the 730 vases of this type
in Beazleys inventory shows that, among the mythological figures, Herakles is
the most popular role model for young Greek men, but it is rather striking that
Dionysos comes in second place and even leaves the polis goddess, Athena, far
behind him.19 Scheibler explains this in the following way: When Dionysos is
represented on vases of this type, he should be seen as the patron of the young,
of the succession of generations, of the development of human society.20 This
explanation ties in with the conception of Dionysos proposed in our introductory chapter: the god who, both in the case of the individual and that of the
polis community as a whole, controlled the critical transition from one age
group to the next as well as the attendant changes of identity.21
Three of the Andokides Painters belly-amphorae have Dionysiac subjects;
one of these, rather ill-preserved, has as its central image the bearded god playing the kithara, which is unusual in Dionysiac iconography.22 He moves to the
right, towards a woman with libation vessels, and turns his head to observe two
satyrs playing piggybackall in all an original, albeit enigmatic, combination.
Another amphora has on its black-figure side a depiction of Herakles fighting the Nemean lion in the presence of Athena, attributed to the Lysippides
Painter. Its red-figure side, however, shows a solemn encounter: a young
woman, richly dressed, with a budding flower in her right hand and a kithara
in her left hand, approaches the standing god, who is of a larger stature. He
receives her with his usual attributes, the kantharos and the branches of vine
shoots and ivy. The scene is framed by two satyrs standing on either side, the
one on the left with an aulos (Figure 6).23 Is Dionysos welcoming the beautiful
musician to his world?
18 Scheibler 1987, 88 and 116 f. with fig. 39.
19 Scheibler 1987, 89.
20 Scheibler 1987, 118: Wo Dionysos auf solchen Gefssen dargestellt ist, wre er als
Schutzgott der Jugend, der Geschlechterfolge, des Wachstums der menschlichen
Gesellschaft zu verstehen.
22 Orvieto, Faina 64: Addenda 149 (3.5); ba 200005.
23 Bologna 151: Addenda 150 (4.10); ba 200010.
24
Figure 6
Chapter 2
Bilingual belly-amphora, Andokides Painter, Bologna, Museo Civico Archeologico, 151.

Photo: H. Bloesch.
The third Dionysiac amphora is also bilingual. The side decorated by the
Andokides Painter shows Herakles encounter with Cerberus, with Athena
in attendance. The black-figure side, decorated by the Lysippides Painter, has
Dionysos as its central figure. He is wearing a wreath and has the kantharos in
his right hand, the two branches in his left. A young woman, likewise wearing a
wreath, greets him solemnly. She is ready to pour him wine from a raised oinochoe. On the right a satyr is approaching who carries a heavy wine sack; to the
left a pair of satyrs adds the music of kithara and krotala.24
What may be the best-known of the Andokides Painters bilingual amphorae on each side presents a symposiast with a kantharos reposing underneath
a vine. On the basis of the weapons (sword, quiver, and bow) the one on the
black-figure side can be identified as Herakles. That the symposiast on the redfigure side is Dionysos can only be gathered from his impressive size (Figure7).25
This identification is supported by a further bilingual amphora, attributed to
Psiax, who also worked in Andokides workshop. On the red-figure side it
24 Louvre F 204: Addenda 150 (4.11); ba 200011.
25 Munich 2301: Addenda 149 (4.9); ba 200009; Carpenter 1986, 98 note 2 presents iconogra
phical arguments in favor of Dionysos, but finally reaches the conclusion the figure must
be Herakles (p. 112). So does Wolf 1993, 18 f. although apparently unaware of Carpenters
discussion of the style of Dionysos hair and beard in the work of the Andokides Painter.
25
Figure 7
b
Bilingual belly-amphora, Andokides Painter, Munich, Staatliche
Antikensammlungen und Glyptothek 2301.
a. Herakles (fr pl. 4 B).
b. Dionysos (?) (fr pl. 4 A).
shows Dionysos reclining on the symposium couch, with a dancing satyr on

the right, and a dancing maenad with krotala on the left.26 Carpenters convincing proposition that the enigmatic circles underneath the couch are winding snakes could indicate that Dionysos here represents the heros blissful state
26 Munich 2302: Addenda 150 (6.1); ba 200021.
26
figure 8
Chapter 2
Bilingual belly-amphora, Psiax, Munich, Staatliche Antikensammlungen und

Glyptothek 2302 (Carpenter 1995, 151, fig. 5).
after death (Figure 8).27 This would be in accordance with the black-figure
reverse where we see Iolaos steering Herakless chariot towards Hermes, as well
as with the symposiast Herakles on the amphora by the Andokides Painter.
Another of Psiax belly-amphorae has the Delian Triad and Ares on its redfigure side and an equally quiet scene on the other, black-figure one.28 It shows
Dionysos, with kantharos and ivy branches, standing between two striding satyrs
and two maenads with krotala. The image, although carefully executed, seems
somewhat conventional. Remarkable, however, is the satyr standing to the left
of Dionysos. The god looks round to him with lips half opened; the satyr, full
face, looks out of the image, straight at the viewer. About two decades before,
a very similar figure was used to confront the beholder of an amphora from
Orvieto; this satyr, in addition, points his index finger at the god, in this way confirming his role as a mediator between Dionysos and humanity.29 A, stylistically
much weaker, neck-amphora of the same period testifies to the fact that this
motif was taken over by painters working in the red-figure technique.30
Yet another bilingual belly-amphora was decorated by an artist, who
worked carefully, though somewhat stiffly. It shows two dancing maenads,
27 Carpenter 1995, 150 f., fig. 5.
28 Madrid 11008: Addenda 150 (7.2); ba 200022.
30 Boston 03.790: Addenda 151 (11.2); ba 200019.
27
a ccompanying Dionysos who, with drinking horn and kantharos, moves solemnly to the right, next to him a vine and a fawn (Figure 9). Its black-figure side
has Achilles and Ajax playing at dice.31
A young woman approaching Dionysos, framed by dancing satyrs, is very
clumsily depicted on a hydria of the same period.32 An artistically equally
mediocre hydria shows yet another motif; here all three figuresa maenad
looking back towards the god, Dionysos with kantharos and ivy branch, and
a satyrmove energetically to the right.33 The satyr is likewise looking back,
which creates the impression of a procession with other participants following
the ones depicted. The fact that the leader is a maenad reminds us of the distinct role of Dionysiac women wherever the god appears, which may already
be discerned in the work of the Amasis Painter, a generation earlier.34
figure 9
Bilingual belly-amphora, Munich, Staatliche Antikensammlungen und Glyptothek,

2300 (cva Mnchen 4, pl. 160.1).

33 Munich 2419: arv 12.9; ba 200057.
28
Chapter 2
Thus, from the earliest stages of red-figure vase painting, the motif of the
Dionysiac thiasos presents itself in various forms: a young woman approaching
the god in a scene framed by satyrs; Dionysos appearing among satyrs and/or
women; the god as a merry symposiast among his retinue; the Dionysiac procession. And, as was already the case with black-figure vases, one of the satyrs
may, as it were, draw the viewer into the image and turn him into a participant.
Euphronios is, with Euthymides, the leading vase painter of the next generation, which was active around 510 BC and is best known for its large-size, highquality products.35 Among these, the calyx krater is especially characteristic of
Euphronios. This wide, goblet-shaped mixing vessel with its slightly thicker rim
and solid foot, was probably invented by the potter Exekias only a few decades
earlier.36 Like the volute kraterequally ambitious in concept, but less suitable for practical use during the symposiumit made great demands on both
potters and painters and was, probably also for this reason, much sought after
on the Etruscan market. More than any other vase type, the calyx krater offered
the artist a surface which lend itself for large compositions and impressive figures. Mythological scenes of combat and death on the battle field on the one
hand, and the Dionysiac thiasos and symposium on the other, were recurring
subjects for calyx kraters from the beginning.37
It seems typical for Euphronios artistic stature, that of the 54 vases attributed to him, 12 are calyx kratersa number that is only surpassed by his 19
cups.38 We find Dionysiac scenes on three of Euphronios calyx kraters. A very
fragmentary piece with Herakles slaying the Nemean lion on its main side, has
komasts in various imaginative attitudes on its reverse.39 Another calyx krater
shows a splendid symposium on its main side, while on the reversein the
background, so to speakthe wine is brought in and prepared for serving.40
Here we find a more elaborate contrast between main and reverse side than in
Euphronios earliest calyx krater, which opposes preparations for open air discus training and athletes with their small servants in an interior.41 A boisterous
35 The beginnings of the activities of Euphronios as given in Heilmeyer 1991, 46 and 52,
should, on the basis of the findings of Rotroff 2009, be dated about ten years later. The
stylistic evolution of his work as presented by Giuliani 1991 still stands, despite the time
shift. Concerning Euphronios and his time, see Wehgartner 1992.
36 Boardman 1977, 203; Giuliani 1991, 20; Huber 1992, 58 f.
37 Kstner 2008, 58 f.
38 Heilmeyer 1991, 11; Huber 1992, 6568.
39 Louvre G 110: Addenda 152 (14.3); ba 200065; Heilmeyer 1991, no. 2, 7076.
40 Munich 8935: Addenda 152 (14.3bis); ba 275007 (no image); Heilmeyer 1991, no. 5, 8892.
41 Berlin F 2180: Addenda 152 (13.1); ba 200063; Heilmeyer 1991, no. 1, 6169.
29
thiasos in the presence of Dionysos takes up both sides of a third calyx krater.42
On its main side the god, carrying vine branch and kantharos, moves towards
the right in a lively manner. On both sides of him, maenads with thyrsos and
krotala are dancing in opposite directions. Further to the right, a satyr, wine
sack on his shoulder, leads the way. He looks back towards the god with the gesture of surprised acknowledgement that was already characteristic of blackfigure satyrs.43 Of the satyr in the rear, on the far left, only the lower part of
the body remains; his gestures and his relation with the maenad are therefore
unclear. On the reverse, two couples of satyr and maenad perform an exuberant dance to the sound of flute and krotala. The erect phallus of the satyr and
the bare leg of one of the maenads indicate an erotically-charged situation.
We also find the komos motif in other vase types executed by Euphronios.
The two images on the neck of his famous volute krater, for instance, show nineteen energetically moving komasts of various ages, with musical instruments
and wine vessels.44 Other examples may be found on fragments of the reverse
side of a stamnos,45 and in the fragmentary tondo of a cup.46 Euphronios also
left us some highly individualistic interpretations of the symposium motif,
such as the two images on the neck of one of his amphorae with twisted handles, a type of amphora introduced by the artistic circle to which he belonged.47
They show two merry symposiasts reclining on a couch.48 One of them, a cup
in his right hand, is preparing for kottabos. His left hand is lifted to draw the
attention of an invisible partner (Figure 10). The other one indulges in playing
the barbitos. Both are praising the beautiful youth Leagros. One of the most
original depictions of a symposium may be found on the best preserved of
Euphronios two psykters, which was, incidentally, signed by him.49 It concerns
42 Louvre G 33: arv 14.4; ba 200066; Heilmeyer 1991, no. 11, 120126.
43 Isler-Kernyi 2004a, 41 f., figs 22 and 23.
44 Arezzo 1465: Addenda 152 (15.6); ba 200068; Heilmeyer 1991, no. 13, 128136; Scheibler 1992,
108 f.
45 Louvre Cp 11070: arv 15.7; ba 200069; Heilmeyer 1991, no. 15, 140141.
46 New York 1983.524.3a: Heilmeyer 1991, no. 39, 196197.
47 Giuliani 1991, 22.
48 Louvre G 30: Addenda 152 (15.9); ba 200071. Heilmeyer 1991, no. 20, 154156. As the inwardly
curving arms show, the instrument is the barbitos, see Moore 2006, 22 f. The difference
between the lyra and the barbitos can be clearly seen on a calyx krater by the Kleophon
Painter (Syracuse 23794: Para 457 [1144.18]; ba 215158). I would like to thank Angela Bellia
most cordially for this useful information.
49 St. Petersburg B 1650: Addenda 153 (16.15); ba 200078; Heilmeyer 1991, no. 33, 178181.
The other one, of which only fragments remain, showed the death of Dionysos enemy
Pentheus: Boston 10.221: Addenda 153 (16.14); ba 200077; Heilmeyer 1991, no. 32, 174177.
30
Chapter 2
figure 10 Amphora with twisted handles, Euphronios, Paris, Louvre G 30, neck image A
(Heilmeyer 1991, 156 A).
a mushroom-shaped type of wine cooler, which was only produced between

about 520 and 480 BC at the Kerameikos in Athens. This exclusive symposium
vessel would be placed inside a calyx krater. It was especially in demand on
the Etruscan market.50 This unique image shows four naked hetaerae resting
on pillows. All four are named. Each is engaged in a different activity: one of
them plays the aulos; the second raises a skyphos (a drinking vessel mostly
associated with women); the third, spinning her cup with her right hand, is
playing kottabos; the fourth is drinking from her skyphos. She has a cup in her
right hand and looks out of the image, straight at the viewer. She is the only
one to wear a decorated diadem on her uncovered hair, instead of a cap with
a wreath (Figure 11).
The fine figure of a satyr must have adorned both sides of a neck-amphora
of which only two fragments remain.51 One has a cluster of succulent grapes
(executed in relief) in his left hand and puts one of them into his mouth with
50 Scheibler 1983, 18 and 21, fig. 10; for the history of the psykter and its relation to Etruria,
see Isler-Kernyi 1987b, 4850; Kstner 2008a, 63 f. It is a matter of discussion whether the
psykter held the ice or the wine.
51 Princeton University L. 1984.56 and L. 1984.57: ba 9017837 (no image); Heilmeyer 1991,
no. 2526, 163.
31
figure 11 Psykter, Euphronios, St. Petersburg, State Hermitage Museum B 1650 (fr pl. 63).
his right; a part of the face is all that is left of the other satyr. Dionysos himself is only found on a cup.52 The inside image shows a maenad, energetically
resisting the aggressive advances of an ithyphallic satyr; a snake winds itself
around her thyrsos. On the outside we find a thiasos, replete with music and
eroticism, consisting of four satyrs and two maenads. One of the central satyrs
wears a lions skin on his shoulders and extended left arm, and carries a thyrsos
in his right hand. His face is turned to the beholder, whom he seems to address,
just as Lydos might have depicted him half a century before.53 The other side of
the cup shows a highly remarkable procession. Dionysos goes in front, on the
far right, carrying kantharos and vine branch, his head inclined as if in a state
of intoxication. In the middle a satyr playing the flute accompanies a chariot
drawn by four horses. A second satyr, Dionysos charioteer, holds the reigns
one even gets the impression he is pulling them with both hands. His right
foot is on the chariot, his left firmly on the ground. A very similar scene may
be found on a more or less contemporaneous cup by the Nikosthenes Painter.54
Here, too, the procession is headed by Dionysos on the far right; here, too, a
52 Louvre G 34: Addenda 243 (456); ba 212467; Heilmeyer 1991, no. 51, 221223.
53 Isler-Kernyi 2004a, 53, fig. 27.
54 Rome, Villa Giulia 27250: Addenda 176 (124.8); ba 201036.
32
Chapter 2
satyr is the charioteer. Instead of the flute-playing satyr, a striding maenad with
thyrsos accompanies the chariot. However, here, too, the horses seem desirous to stand still, especially if one compares them with Athenas horses on the
other side of the cup. A comparison with a similar image on the outside of a
cup by Oltos may be useful.55 Here we see Dionysos in the act of getting into
his chariot, drawn by four horses and accompanied by maenads and satyrs
the god has already lifted his right heel from the ground. The attitudes of the
horses, too, make us aware of the difference between a chariot that has just
arrived and one about to leave: on Euphronios cup it is the arrival of the god
that causes the boisterous rapture of his thiasos.56
The figure of Dionysos does not seem to have interested Euphronios as much
as those of Herakles and other warrior heroes. From the few representations
that have been preserved, we may, nevertheless, deduce that he still adheres to
the traditions of black-figure vase painting. We find, for instance, both the satyr
making the gesture of salute and the satyr looking, full face, out of the image.
The same holds good for Phintias, a contemporary of Euphronios, whose bellyamphora shows us Dionysos, with his usual attributes, the kantharos and the
vine branch, standing between two couples. The satyr on the left looks out of
the image, while the couple on the right, in a manner that reminds us of the
Amasis Painter,57 draws nearer in an intimate embrace.58 New, and characteristic for that point in time, is the interest in ostentatious symposia. At the end
of the 6th century these were, apparently, not only open to members of the
elite families, but also to the most successful among the vase painters.59
One of these was Smikros, a somewhat younger follower of Euphronios.
In imitation of his models calyx krater, he put the participants in a sumptuous symposium on the main side of a stamnos, relegating the activities of
the servants in an adjoining room to the reverse (Figure 12).60 The stamnos, a
new and likewise distinguished vase type, will be discussed in more detail in
one of the following chapters.61 The main side of another stamnos presents
Dionysos amidst dancing maenads. As in the Euphronios cup, his lowered
head shows his intoxication. On the reverse, a maenad moves forward between
55 Tarquinia rc 6848: Addenda 165 (60.66); ba 200502; Moraw 1998, 285, no. 215, pl. 9, figs 26
ab.
56 Not so Martine Denoyelle in Heilmeyer 1991, 221, who thinks the satyr is leaving.
57 Isler-Kernyi 2007, figs 68 and 69.
58 Tarquinia rc 6843: Addenda 155 (23.2); ba 200117.
59 Giuliani 1991, 1618.
60 Brussels A 717: Addenda 154 (20.1); ba 200102.
61 See below Chapter 6.
33
figure 12 Stamnos, Smikros, Brussels, Muses Royaux dArt et dHistoire A 717, side A (Pfuhl
1923, iii, 120, fig. 388).
two gesticulating satyrs.62 Finally, we find Smikros signature on an incomplete

amphora with twisted handles, which allows us to imagine the decoration of
the neck-amphora by Euphronios of which only two fragments remain, mentioned above.63 Both sides of the vase contain the imposing figure of a satyr;
one performs an ecstatic weapon dance, the other plays the double flute with
great abandon. In a succinct but most impressive way the painter here refers
to the dual nature of the satyr: the aggressive and the artistic.64 This amphora
anticipates the very similar satyr figures of the leading vase painters of the next
generation, the Kleophrades Painter and the Berlin Painter.
Euthymides was a contemporary and competitor of Euphronios. His bestknown work is a belly-amphora with three dancing komaststhe first threedimensional representation of the male body in movement in Greek vase
painting (Figure 13).65 One of his amphorae with twisted handles has a single
satyr with wine vessels on both sides.66 Another shows a satyr playing the flute;
a youth holding a pointed amphora is on the other side, a possible reference to
the fact that this young komast could turn into a satyr.67 The phenomenon of
the satyr as the single subject for one side of a vase is a development that may
62 Louvre G 43: Addenda 154 (20.2); ba 200103.

63 Berlin 1966.19: Addenda 154 (20.3 bis); ba 352401 (no image); Heilmeyer 1991, no. 61,
254257.
65 Munich 8731 (2307): Addenda 155 (26.1); ba 200160.
66 Louvre C 11072: arv 27.7; ba 200148.
67 Warsaw 142332: Addenda 156 (27.8); ba 200149.
34
Chapter 2
figure 13 Belly-amphora, Euthymides, Munich, Staatliche Antikensammlungen und

Glyptothek 8731 (2307), side A (fr pl. 14.1).
also be discerned in the work of Euphronios.68 It will be further discussed in

the next chapter.
All five hydriai that may with certainty be attributed to Euthymides belong to
the new type with rounded shoulders named kalpis, which was invented after
the introduction of the red-figure technique.69 All of them contain Dionysiac
motifs. The imagery of the hydria seems to have been less fixed than that of
other vase types, and is, therefore, more varied, more diversified. This is clearly
also the case with Euthymides hydriai. The images are always applied to the
shoulders of the vase, and are, therefore, of the same limited height as the
decorations on the outside of a cupa height that favors the representation
of reclining and seated figures. One of Euthymides hydriai shows two reclining young symposiasts making music; the image is reminiscent of the ones on
the neck of the neck-amphora by Euphronios mentioned above.70 Another
has three komasts of various ages; the one on the left, playing the aulos, looks
out of the image at the beholder.71 Once we see a crouching satyr observing
women drawing water from a well.72 Dionysos is represented twice, sitting
68 See above note 51.
69 Boardman 1974, 186 f.; Scheibler 1983, 15, fig. 2.
70 Bonn 70: Addenda 156 (28.12); ba 200141.
71 Vatican G 71: Addenda 156 (28.14); ba 200137.
72 Frankfurt, without number: arv 28.13; ba 200136.
35
among members of his thiasos.73 Because of his seated posture, he cannot be

the god who makes a sudden appearancehe must be the person whom one
is ready to approach. The small kid on the St. Petersburg hydria makes it clear
that nature is, apparently, his locale.
The komos on a psykter by the Dikaios Painter, according to Beazley companion and imitator of Euthymides, should certainly be mentioned.74 Five
komasts, moving towards the right with great vivacity, are distributed over
both sides of the vase. They seem to pursue a naked prancing boy. A barbitos
player with a bald forehead is next, followed in his turn by another elderly man
with a cup in his right and a stick in his left hand. The latter looks back towards
the bearded, but more youthful komasts on the other side, the first one holding a large skyphos, the second playing the aulos. Except for the boy, all wear
boots and have a chlamys over their shoulders. We may, therefore, presume the
boisterous procession takes place in the street (Figure 14).
Dionysos is not only depicted with his thiasos, he is also presented in a mythological setting. We find him, for instance, on a hydria, in a procession moving
towards the right, between Hermes and a woman who may be Ariadne. They
are preceded by Poseidon and Amphitrite.75 On another, incomplete, hydria
we see a seated Dionysos, looking on as Athena leads Herakles towards the
Olympus.76 This, incidentally, is a subject that, around 540 BC, may have been
a
figure 14 Psykter, Dikaios Painter, London, British Museum E 767.
a. side B (cva British Museum 6, pl. 104, 1a).
b. side A (cva British Museum 6, pl. 104, 1c).
73 St. Petersburg St. 1624: Addenda 156 (28.15); ba 200132; Lissarrague 2013, 138 f., fig. 111;
Orvieto, Faina 68: arv 28.16; ba 200133.
74 London E 767: Addenda 157 (31.6); ba 200191. The instrument is a barbitos. For the difference between lyra and barbitos, see above note 48.
75 Louvre G 41: Addenda 157 (33.8); ba 200182; Diez del Corral Correidora 2011.
76 Florence 1 B 16: arv 34.9; ba 200183.
36
Chapter 2
introduced as an allusion to the career of Peisistratos: Exekias had already

included Dionysos in the scene, highlighting in this way his high rank among
the gods.77
Red-Figure Cups of the Final Quarter of the 6th Century
Oltos was the most prominent cup painter of Euphronios generation.
Occasionally, he also decorated other vase types, but the majority of his work
consists of cups: first of all, bilingual eye-cups (which do not offer much space
for multi-figure compositions), where we sometimes find a running Dionysos
in the black-figure medallion (Figure 15).78 Apart from numerous satyrs and
maenads, he also depicted the Dionysiac thiasos, contrasting it with the departure of a young warrior on the other side.79 Most remarkable, however, is the
large cup already mentioned, which has on its one side an assembly of the
gods, with Ganymede in their midst, and on its other Dionysos in the act of
getting into his chariot, to the accompaniment of the music of a satyrs kithara,
with two maenads in attendance.80 The one in the front has a snake on her
left arm. She carries a thyrsos and a live fawn. Like Herakles, Ganymede was a
mortal admitted to the Olympus, a change of status that belonged to the type
of events controlled by Dionysos. It is no coincidence that Dionysos is present
among the gods welcoming Herakles to the Olympus in a superb, but unfortunately very incomplete, depiction of the scene on a more or less contemporaneous cup by Sosias.81 We see him here with a partner, Ariadne or Semele,
as the fourth divine couple, next to Zeus and Hera, Poseidon and Amphitrite,
and Aphrodite and Ares. Significantly, this sequence corresponds to that of
the gods present at the marriage of Peleus and Thetis on a dinos by Sophilos,
three generations earlier.82 Cups by Oltos also provide us with the first redfigure versions of Dionysos fighting the giants, paired in both cases with one of
Herakles famous combats (Figure 16).83
77 Mommsen 2002/03, 25 f.
78 For instance Munich 2581: Addenda 163 (55.11); ba 200239 and Vatican 498: Addenda 163
(55.15); ba 200281. In addition see arv 67.3 and 5 (near Oltos).
79 London E 16: Addenda 165 (61.75); ba 200511.
80 Tarquinia rc 6848: see above note 55.
81 Berlin F 2278: Addenda 154 (21.1); ba 200108.
82 Isler-Kernyi 2008a, 76 f.
83 London E 8: Addenda 165 (63.88); ba 200524 and Rome, Villa Giulia 50388: Addenda 166
(65.114); ba 200550.
37
figure 15 Cup, Oltos, Rome, Museo Gregoriano Etrusco Vaticano 498 (Albizzati 1938, pl. 69).
figure 16 Cup, Oltos, Rome, Museo Nazionale Etrusco di Villa Giulia 50388 (Gerhard 18401858,
pl. 85).
38
Chapter 2
Oltos work frequently features mules, but without any link to the return of
Hephaistos to the Olympus.84 With satyrs and maenads they, apparently,
belong to the Dionysiac world in their own right. Sure enough, the motif of
Dionysos riding a mule is found throughout the 5th century, be it not very
often.85 In one case the thiasos celebrates his arrival as a symposiast lying on a
mule.86 On the other side, the god is seated among his euphoric retinue, while
the tondo shows a warrior, in a very frequent combination of the themes of
Dionysiac bliss and the fate of the warrior. Another cup by Oltos shows the
god seated between two mules, one of them mounted by a satyr, while on the
other side two youths are riding towards an older man wearing a himation. In
the tondo a naked hetaera is busy with her sandals.87 Here horses and mules
evoke opposing but complementary worlds: the official one of the polis and
the counter world of the symposium.
Dionysos and his satyrs and maenads are less often found in the work of
Oltos contemporary, the cup painter Epiktetos, and his circle. Epiktetos oeuvre
is dominated by anonymous komasts and symposiasts, and especially by warriors and athletes.88 The god may even be completely absent, as is the case with
the work of the, even less distinguished, Epeleios Painter. He and his circle
mostly depicted komasts.89 A very richly decorated cup by Epiktetos contrasts,
analogous to many of Oltos cups, wildly dancing maenads and the tumult of
combat.90
The satyr is, at this time, the most popular among the Dionysiac figures,
especially because of the many creative ways in which he can be presented
in the circular field of the medallions of cups and dishes.91 In the tondo of
84 The combination satyr-donkey frequently occurs, see Lissarrague 2013, 130.

85 Taranto without number: Addenda 252 (512.8); ba 205744 (Painter of Bologna 228); Cape
Town 15: arv 543.45; ba 206176 (Florence Painter); Berlin F 2334: arv 646.5; ba 207517
(Oionokles Painter); Reading, Univ. 85.3.1: Addenda 330 (1112.1); ba 214706 (Painter of
Tarquinia 707), the other side of the krater shows Hephaistos on a mule, both are preceded
by small torch-bearing satyrs; London E 102: arv 1253.70; ba 217008 (Eretria Painter).
86 Orvieto, Museo Civico 1049: arv 64.103; ba 200539. Compare Dionysos lying on a goat by
the Berlin Painter, Louvre ca 944: Addenda 194 (207.142); ba 201961.
88 arv 7081.
89 arv 146153.
90 Louvre G 6: arv 72.21; ba 200465.
91 Some examples: stand by Sosias, Berlin F 2315: Addenda 154 (21); ba 200110; dish in the
manner of Euthymides, Boston 13.193: arv 29.3; ba 200162; eye-cup, Louvre G 88: arv
48.162; ba 200372; dish by Epiktetos, Cab. Md. 509: Addenda 169 (77.91); ba 200618.
39
a cup by Epiktetos the satyr is combined with Dionysos.92 The Nikosthenes

Painter and Euphronios93 often combine him with a maenad, who fends off
his embrace with snake and vine branch94the satyr looking provocatively
at the viewer.
On a contemporaneous white ground alabastron a maenad is contrasted
with an amazon.95 We may see this as an indication that maenads were by
no means considered harmless. A kantharos attributed to the Nikosthenes
Painter shows Dionysos on both sides.96 On the one he appears as a symposiast in a state of bliss between two satyrs with wine containers; on the other
we see him pouring wine from his kantharos on a burning altar, in the presence of a, seemingly, praying woman between two dancing maenads. This is an
important vase, because it is only in red-figure vase painting (and, mind, this
is a kantharos, a vase with religious connotations) that it becomes clear that
the thiasos not just refers to the symposium, but also has a ritual dimension.97
In the following we will see that, at least as far as maenads are concerned, the
latter is the more prominent aspect.
92 Whereabouts unknown: arv 78.98; ba 200626.

93 Compare Louvre G 34, see above note 52.
94 Tarquinia rc 2066: Addenda 176 (126.23); ba 201051.
95 Athens nm 15002: Addenda 172 (98.2); ba 200860.
96 Boston 00.334: Addenda 176 (126.27); ba 201055 (no image).
97 Hoffmann 2007, 165.
Chapter 3
All Kinds of Satyrs
The First Decades of the 5th Century

The Painters of Large Vases
The great significance of Dionysiac imagery becomes strikingly evident when

we consider the work of the Kleophrades Painter and the Berlin Painter, two
leading painters of large vases such as the amphora, the more distinguished
krater types, and the stamnos. Both artists also painted Panathenaic prize
amhorae, commissioned by the polis, which is an indication of the eminent
position they held at the Kerameikos of Athens already in their own time. It is,
therefore, no coincidence that the earliest known pointed amphora is the work
of the Kleophrades Painter.1 The pointed amphora, one of the rarest and most
valuable types of vases, was inspired by the prize amphora. We will discuss this
vase type below.2
The Kleophrades Painter was probably a pupil of Euthymides and active
between 505 and 475 BC.3 He painted a multi-figure version of the return of
Hephaistos to the Olympus on two of his many calyx kraters, which, unfortunately, have mainly been preserved in a fragmentary state.4 Calyx kraters belonged to the most sumptuous vase types of the time. On the one
Beazley considers a very early work5 the Kleophrades Painter depicted both
Hephaistos and Dionysos, each on one side of the vase, as Lydos did on his
large column krater, now in New York.6 They are accompanied by eight satyrs,
whose attributesmusical instruments, symposium vessels, and the tools of
the smithsubtly refer to the analogy between wine and fire and in this way
to the close relationship between Hephaistos, the divine smith, and Dionysos,
the god of the symposium.7 Interestingly, Dionysos here wears a short chiton underneath the panther skin, which is the way he is depicted in the
1 Munich 8732 (2344): Addenda 186 (182.6); ba 201659.

3 Boardman 1981, 93.
4 a rv 185 f., 3149.
5 Harvard 1960.236: Addenda 187 (185.31); ba 201683; Huber 1992, 63.
6 New York 31.11.11: Addenda 29 (108.5); ba 310151; Isler-Kernyi 2004a, 5156.
7 Lissarrague 1990, 203, pl. 23.
41
All Kinds Of Satyrs
Figure 17 Calyx krater, Kleophrades Painter, Harvard Art Museum, Arthur M. Sackler
Museum, Gift of Frederick M. Watkins, 1960.236 (photographs Imaging Department
President and Fellows of Harvard College).
a. side A: Dionysos.
b. side view (right).
c. side B: Hephaistos.
d. side view (left).
Gigantomachy.8 One of the satyrs, carrying a heavy volute krater, looks out of
the image and in doing so directly addresses the viewer (Figure 17).
8 Compare Carpenter 1997, pl. 1B, 2A, 7AB, and, more than a generation earlier, the frieze of
the Siphnian Treasury, limc iii, Dionysos 651. Compare also a running bearded Dionysos
in a short chiton, probably hastening to the scene of combat, on a somewhat younger calyx
krater by the Oreithyia Painter in Agrigento C 1538: Para 380 (497.7); ba 205992.
42
Chapter 3
This same event is presented in an even more elaborate manner on a later

calyx krater.9 On the one side we see Hephaistos, preceded by Hermes. Rather
clumsily in sidesaddle, he rides towards Hera stuck to her throne. Dionysos,
visibly intoxicated, is the central figure on the other side. He leans on a satyr,
who carries smiths tools. The satyrs have been joined by two ecstatically dancing maenads. In these two very original versions of the myth, Hephaistos tools
indicate that the images depict the mythical event and not, for instance, a ritual re-enactment.10 As in the Franois krater, Dionysos course of action not
only brings about the reconciliation of the Olympian family, but also the introduction to the Olympus of the satyrs and their female partners.11
Further examples of the early work of the Kleophrades Painter are two psykters, one of them depicting a multi-figure thiasos.12 The other shows Herakles
approaching Dionysos at a symposium with satyrs in attendance. The latter
are moving towards the right in a rather peculiar manner: they seem to glide
on their knees while making the familiar gesture of surprised recognition or
salute known since the 6th century, as if this were the chorus of a satyr play.13
Throughout the 5th century, the return of Hephaistos is by far the most
popular among the scarce depictions of episodes from Dionysiac mythology.14
Another of these is the Gigantomachy,15 which may be seen on the fragments
of a stamnos.16 This subject was particularly topical at the time of the Persian
Wars, when the Greeks had to defend themselves against a superior foreign
power, just like the gods had once fought their subversive antagonists. Vases of
the 6th century17 (as well as the Oltos cups mentioned in Chapter 2)18 already
show Dionysos taking part in the battle. In the case of this stamnos his companions are Apollo and Ares. In this way, Dionysos helps to confirm the order
of Zeusthe prevalent order for the original beholders of the vases.19 A snake
9 Louvre G 162: Addenda 187 (186.47); ba 201699; Huber 1992, 64.

13 Hedreen 1992, 112, pl. 35.
14 Natale 2008, 73106.
15 Lissarrague 2013, 175189.
16 Louvre C 10748: Addenda 188 (187.55); ba 201707.
17 limc iv, Gigantes 171, and 175 as well as 289.
18 See above Chapter 2, note 83.
19 Compare the Gigantomachy on the cup of the Painter of the Paris Gigantomachy,
Cab. Md. 573 (Addenda 234 [417.1]; ba 204546). Here we have on the outer side the
Gigantomachy of Poseidon and Hephaistos. A striding, bearded Dionysos between Apollo
All Kinds Of Satyrs
43
serves as his weapon.20 In view of his later iconography, it is significant that he

is naked except for the chlamys he wears on his shoulders.
In short, as far as the subject matter and the role of the participants in the
thiasos are concerned, the Dionysiac imagery of the leading vase painters of
the early 5th century does not differ fundamentally from that of the blackfigure phase. From the fact that we find so many inventive, high-quality representations, we may conclude that the interest in this kind of imagery was
undiminished. The figure of the satyr, however, is clearly more popular than
before; on several amphorae a single satyr dominates the whole of one side. We
came across the earliest examples of this in the work of Euphronios, Smikros,
and Euthymides.21 A Panathenaic-type amphora by the Kleophrades Painter is
very comparable.22 On the one side we see a satyr in counterpose with a barbitos; on the other a young man with a sprouting beard seems to be waiting,
leaning on a stick. He carries a hare, which may be a reference to a budding
love affair. Does the lover identify himself with the musical satyr (Figure18)?
Perhaps the same idea of a change of role from citizen to satyr is hinted at with
a neck-amphora by the Kleophrades Painter.23 On the one side we see two athletes with sporting implements standing side by side, on the other two satyrs
with wine containers are hurrying towards a symposium. And, as is evident
from an amphora with twisted handles, both satyrs and citizens could go to
war. The amphora shows on the one side a satyr with shield and spear walking towards the right, on the other a satyr holding shin guards and a helmet
(Figure19).24
A satyr with a noble appearance who takes up the whole side of a vase also
features in the work of the Berlin Painter, the Kleophrades Painters best-know
contemporary, who was active until well after 470 BC. The most famous version, and rightly so, may be found on the splendid amphora, which gave the
and Ares dominates the other side. He wears a long robe. He entangles his adversary
(whose shield, significantly, carries a kantharos as its emblem) in branches of ivy.
20 Like, for instance, on a kantharos by the Amphitrite Painter of the next generation, Boston
98.932: ba 205038.
21 See above Chapter 2, notes 51, 63, and 66.
22 Leiden pc 80: Addenda 186 (183.7); ba 201660. For the correct designation of the instrument, see above Chapter 2, note 48.
23 St. Petersburg B 1550 (609): Para 510 (184.19); ba 201672.
24 Harrow 55: Addenda 187 (183.11); ba 201664; Lissarrague 2013, 180 ff., fig. 153. A satyr wearing a helmet, who puts on his shin guards in the presence of a woman carrying a thyrsos,
may be found on a somewhat younger pelike by the Deepdene Painter, London E 377: Para
381 (501.35); ba 205622.
44
Chapter 3
Figure 18 Panathenaic-type amphora, Kleophrades Painter, Leiden, Rijksmuseum van

Oudheden pc 80. Photograph rmo.nl (cva Leiden 3, pl. 120).
a
Figure 19 Amphora with twisted handles, Kleophrades Painter, Harrow, School Museum 55.
a. side A (Beazley 1933, pl. 29, 1).
b. side B (Beazley 1933, pl. 29, 2).
All Kinds Of Satyrs
45
painter his name.25 On the one side we find a pensive satyr moving to the
right with a barbitos in his left hand and a kantharos in his right. His name is
Orochares (he who rejoices on the mountain). The reverse shows a satyr by
the name of Oreimachos (he who fights on the mountain) who seems about
to play the barbitos. Next to the satyr, and partly obscured by him, Hermes with
his kerykeion and a kantharos in his left hand and a libation oinochoe in the
other, moves energetically to the right as if to overtake the satyr, who seems
to tarry. Between the two, we see a fawn gracefully lifting its head (Figure 20).
Without any doubt, the artist also had aesthetic reasons for placing the two
figures so very closely together; one look at the amphora as a whole makes this
abundantly clear. The precision and elegance of the image are unsurpassed.
Figure 20 Belly-amphora, Berlin Painter, Berlin, Staatliche Museen, Preussischer Kulturbesitz F

2160, side A (fr pl. 159.2).
25 Berlin F 2160: Addenda 190 (196.1); ba 201809; Moore 2006, 17 f.; Lissarrague 2013, 233 f.,
fig. 203. For the instrument, see above Chapter 2, note 48.
46
Chapter 3
Yet, to us it seems enigmatic. What is Hermes doing here? Does he mean to

take the satyr to Dionysos, who is evoked by the two kantharoi and the delicate
ivy branches on the neck of the vase? The satyr may, however, be more than
a being from mythical times; perhaps he also represents a state that may be
realized by every citizen entering the sphere of Dionysos.26 In that case, the
presence of Hermes, the conductor of souls, is perfectly understandable.
The Berlin Painter presented the satyr with the barbitos again and again.
We also find him, for instance, on one of his Panathenaic-type amphorae
(Figure21).27 A rather badly preserved calyx krater shows that in this role he
is close to Dionysos himself.28 On a bell krater he is awaiting Herakles as a
merry symposiast, with his barbitos and an oinochoe.29 But the Berlin Painter
not only gave the satyr noble features, he also presented him as a comical
character. On a small amphora, for instance, we see him flaunting his belly in
the manner of the padded dancers of the archaic era (Figure 22).30 The latter
are, incidentally, closely related to the satyrs.31 But why are these two satyrs
holding a drinking horn? Is this a reference to primeval times, when drinking
utensils were not manufactured but provided by nature?32 From the satyr play
we know that satyrs already existed in heroic times, in the era that preceded,
indeed prepared, the present.33
Among the Berlin Painters finest works are several stamnoi featuring
Dionysos. The most original version shows him as a symposiast lying on a
goat; Oltos had already similarly depicted him lying on a mule.34 On the other
side, as a parallel, we see Hermes lying on a ram. He holds the kantharos and
the kerykeion in his left hand, and with the right he seems to be beating time
for the music-making satyr who is next in the procession.35 Another stamnos
26 See the Introduction, page 5, note 15. The hypothesis in Moore 2006, 25 f. that the Berlin
Painter alludes to the fact that (on the basis of much later sources) Hermes is often said
to be the father of the satyrs, does not accord with the bearded satyr and the youthful
Hermes. Nevertheless, playful, exuberant satyrs do sometimes resemble Hermes.
28 Syracuse 15205: arv 205.121; ba 201930.
29 Louvre G 174 and Florence 12 B 105: arv 205.123; ba 201932.
30 New York 07.286.69: Addenda 192 (201.70); ba 201878.
33 Brelich 1985, 70: I miti...narrano di un passato tutto diverso dal presente, di un tempo in
cui accadevano cose che ora non accadono pi..., ma in cui sono state gettate le fondamenta dellesistenza reale della societ che li ricorda.
34 Orvieto, Museo Civico 1049: arv 64.103; ba 200539. Compare above Chapter 2, note 85.
35 Louvre ca 944: arv 207.142; ba 201961.
47
All Kinds Of Satyrs
a
Figure 21 Panathenaic-type amphora, Berlin Painter, Munich, Staatliche Antikensammlungen

und Glyptothek 2311.
a. side A (Beazley 1930, pl. 6).
b. side B (Beazley 1930, pl. 6).
Figure 22 Neck-amphora, Berlin Painter, New York, Metropolitan Museum of Art 07.286.69
(Richter 1936, pl. 18).
48
Chapter 3
shows a version that is more like the familiar thiasos. It has, however, two peculiarities: one of the maenads has a small panther on her arm, and Dionysos
carries a gnarled stick instead of a thyrsos (Figure 23).36
A fragment of a volute krater by the Berlin Painter shows a bearded figure in
a short chiton and a panther skin, whose hand reaches out to Dionysos hastening towards the right. He may be Hephaistos, but this is unclear.37 In addition
to the motif of Hephaistos riding a mule, which goes back to the 6th century,
the early 5th century sees the emergence of a new motif, that of the two gods
walking together, supporting each other, which, in any case, shows them in
a much more intimate relationship than the one we find here.38 This motif
Figure 23 Stamnos, Berlin Painter, formerly Castle Ashby 72 (cva Castle Ashby pl. 48.3).
36 Formerly Castle Ashby: Addenda 194 (208.145); ba 201964.

37 Vatican ast 703: Addenda 194 (1634.132 bis); ba 275092.
38 Fragments of a krater, Adria B 515 and B 1412: arv 242.81; ba 202432 (Myson); probably
also on an amphora, whereabouts unknown: Addenda 202 (246 below); ba 202463 (perhaps by the Painter of the Munich Amphora, no image); column krater, Tarquinia 683:
Addenda 210 (290.7); ba 202639 (Tyszkiewicz Painter). For this new motif: Halm-Tisserant
1986, 8 f.; Schne 1987, 44; Natale 2008, 102 f.
All Kinds Of Satyrs
49
underlines the sense of solidarity between these two little-loved scions of the
Olympic family. It is conceivable, that the novelty was inspired by a satyr play,39
and that a discussion about the status of the nothoi (the unlegitimized sons of
Athenian citizens) formed the background to the use of this motif in both the
performing and the visual arts.40
The solidarity with Hephaistos brings us to the question of how the Berlin
Painter treats the relationship between Dionysos and the other gods. The
assembly of the gods on one of his stamnoi is hard to interpret.41 We see Apollo
with his kithara who is hailed by Zeus in the presence of two female figures.
On the left, he is followed by Nike or Iris. The scene is continued on the other
side of the vase where we see Dionysos and Hermes walking towards the right,
i.e. likewise towards the Olympus. Between them is a woman holding aloft two
torches. The young Apollo with his kithara is also the protagonist of one of
the sides of a sumptuous, but fragmentary calyx krater by the Berlin Painter.42
He stands between two youthful women, probably Muses rather than Artemis
and Leto.43 To the left of this group, a bearded Dionysos moves in the opposite
direction. On the other side of the vase we see Athena and her quadriga, hailed
by Zeus and Hermes.
These are two artistically outstanding but rather enigmatic works. The only
thing that may be deduced from them with any certainty is Dionysos connection with the family of Olympian gods and his special relationship with the
two other sons of Zeus, Apollo and Hermes. A magnificent dinos by the Berlin
Painter offers further information about his role in this context (Figure 24).44
This exclusive vessel for mixing wine, a rarity in Greek ceramic art, presents him
and other gods taking leave of Zeus who is about to depart from the Olympus.45
Zeus is shown with Athena, Hermes, Apollo with his kithara, Poseidon with
fish and trident, and Amphitrite. To the left of Zeus, Dionysos follows Nike.
With lips parted, which indicates he is speaking, he turns towards a goddess
carrying a scepter, and an anonymous male figure, possibly a mortal. Dionysos
is the only one among the gods to directly address this man. We do not know
39 Buitron-Oliver 1995, 39 f. In support of this see the calyx krater, Vienna 985 by the
Altamura Painter (Addenda 264 [591.20]; ba 206838), where the two brothers are preceded by a satyr in a phallus costume: Natale 2008, 103, fig. 31 and here 91 fig. 45.
40 Compare Isler-Kernyi 2007, 90 f.
41 London E 444: arv 208.149; ba 201968.
42 Athens, Acr. 2.742 and London E 459: Addenda 193 (205.117); ba 201926 (no image).
43 See Lullies 1971, 53.
44 Basel Lu 39: ba 308 (no image); Lullies 1971, 4455; Isler-Kernyi 2008a, 78 and fig. 8.
45 Kstner 2008a, 62 f.
50
Chapter 3
a
b
Figure 24 Dinos, Berlin Painter, Basel, Antikenmuseum Basel und Sammlung Ludwig Lu 39.
a. view of the vase with Dionysos (Lullies 1979, 111b).
b. detail: head, probably of Peleus, and head of Dionysos (Lullies 1971, pl. 19.23).
All Kinds Of Satyrs
51
the mythological context of this particular leave-taking scene, but because it is

Dionysos who speaks to the man and his divine companion, we may presume
the anonymous mortal is Peleus and the occasion, therefore, is the marriage of
Peleus and Thetis. This would correspond with the role given to Dionysos on a
dinos by Sophilos a hundred years earlier.46 It was Dionysos who, as the only
one among the gods, directly addressed Peleus at his marriage to a goddess.
The mortal hero Achilles, one of the protagonists of the Trojan War, was born
from this marriage, all of which in the end served to confirm the order of Zeus.
A somewhat younger pointed amphora by Syriskos, discussed below, proves
that in the 5th century one was still aware of Dionysos role as a mediator in
situations which threatened the legitimate world order.47
On two of his kalpides, the Syleus Painter, another of this generation of
painters of large-size vases, has depicted elements from Dionysiac mythology
that are not often seen in vase painting: we see Ariadne who is led away by
the god while Theseus is sent away by Athena,48 and Zeus leaving the child
Dionysos in the care of the nymphs.49 We will come back to these motifs in the
context of comparable younger representations.50
Among the lesser painters of this time, we find Myson, the Harrow Painter,
and the Flying-Angel Painter, who all seem to have favored column katers, as
well as the Geras Painter, who preferred pelikai. It is remarkable that, apart
from Dionysos, mythological figures hardly feature in their work. In addition,
their repertoire is dominated by anonymous youths and men, and by athletes
and warriors. The main protagonist in the work of these less eminent, but nevertheless often original artists, is the satyr. We have earlier seen him as the alter
ego of the symposiast, in the role of the musician and the carrier of wine sacks,
mixing vessels and pitchers. Now he is also depicted as an athlete, almost indistinguishable from a normal human one.51 We also see him as Hermes assistant in a ludicrous scene, making a goat dance to the music of his flute.52 He
can play with other satyrs in a childlike manner, or lug about an enormous

47 See below Chapter 4, note 47.
48 Berlin F 2179: Addenda 203 (252.52); ba 202898.
49 Cab. Md. 440: Addenda 203 (252.51); ba 202896.
51 Munich 2381: Addenda 198 (221.14); ba 202099 (Nikoxenos Painter), and New York 12.229.13:
arv 276.80; ba 202679 (Harrow Painter).
52 Samothrake 57.565: arv 232.1; Para 174.23bis; ba 202274 (Eucharides Painter, black-figure).
52
Chapter 3
artificial phallus.53 He can play pranks in front of a statue of Dionysos.54 He

can approach the god in a comical costume.55 He can be scolded by Dionysos.56
Just like normal people, he can get water from a spring,57 cook a meal,58 draw
water from the public well.59 He makes us laugh when he mimes a respectable
citizen60 or eats stolen grapes.61 It is hardly a coincidence that the majority
of these images were created by the Geras Painter. He favored the pelike, a
vase type that must have been predestined to carry unconventional representations.62 But how should we explain the fact that, apparently, satyrs could
damage gravestones or herms (Figure 25),63 or molest or even threaten women
carrying out rituals?64 Would this not also be sacrilege for satyrs?
Painters of Cups
The ascendancy of anonymous figures over mythological ones is even more
evident in the work of the cup painters of the period between 500 and about
470 BC.65 Their output was often very large: Beazley attributed more than 170
items to Onesimos and his circle, over 220 to the Brygos Painter, over 310 to
Douris, and more than 350 to Makron. Almost all of these are cups. However,
53 Boston 98.882: Addenda 208 (279.7); ba 202711 (Flying-Angel Painter) and Copenhagen,
Thorvaldsen Museum 99: Addenda 209 (287.24); ba 202595 (Geras Painter).
54 Louvre G 227: Addenda 208 (283.2); ba 202563 (Painter of Louvre G 238).
55 Boston 64.2032: Addenda 209 (285.2); ba 202577 (Geras Painter).
56 Leipzig T 643: Addenda 209 (286.9); ba 202584 (Geras Painter).
57 Harvard 1925.30.34: arv 285.7; ba 202582 (Geras Painter).
58 Berkeley 8.4583: Addenda 209 (286.10); ba 202585 (Geras Painter).
59 Berlin F 2173: Addenda 209 (286.18); ba 202589 (Geras Painter).
60 Oxford 283: arv 286.21; ba 202592 (Geras Painter); Lissarrague 2013, 200, fig. 170 (Geras
Painter). Satyr-citizens occur in red-figure vases from about 480 BC onwards: Lissarrague
2013, 204. Concerning the black-figure version, see Lissarrague 2013, 291, Annexe 26.
61 Oxford 1922.67: arv 312.1; ba 203213 (Class of Vienna 3717).
62 Shapiro 1997; Schne-Denkinger 2014, 13 f.
63 Louvre ca 1947: Addenda 201 (240.44); ba 202393 (Myson) and Florence V 5: Addenda
208 (281.34); ba 202540 (Flying-Angel Painter), likewise Lausanne 3250: Para 355 center; ba 352524 (no image) (Geras Painter); Brard 1966. In Brard/Bron 1986 he himself
refuted his earlier interpretation, current at the time, of satyrs as a kind of fertility demon;
Lissarrague 2013, 201 ff., figs 173174.
64 For instance Oxford 307: arv 393.37; ba 204235 (Painter of Munich 2676). For a similar
situation, a satyr pursuing a woman who holds a torch, see Louvre G 202: arv 226.4; ba
202223 (Eucharides Painter).
65 Compare Kstner 2008a, 64 f. and 69.
All Kinds Of Satyrs
53
Figure 25 Pelike, Geras Painter, Lausanne, Muse cantonal darchologie et dhistoire

inv 3250, side A (Brard 1966, 95, pl. 21).
Dionysos and his thiasos are depicted rather infrequently; komos and symposium are better represented.
Let us first look at Onesimos, who was active between c. 510 and c. 480 BC
and whose signed cup was produced by the potter Euphronios.66 He was
mainly interested in athletes and horses; his favorite mythological figures were,
appropriately, Athena and Herakles. Among Dionysiac subjects, he favored
komos and symposium, followed by satyrs. His best known satyr is found on
a cup of which only the medallion is decorated. This aged, ithyphallic satyr
is sitting rather unstably on a transport-type amphora in a typical attitude of
indecent exposure (Figure 26).67
The Brygos Painter, a skillful and original artist, seems to have had more
affinity with Dionysiac subject matter. Apart from a few small vases, he mostly
66 Boardman 1975, 133.

67 Boston 10.179: arv 327.110; ba 203364.
54
Chapter 3
Figure 26 Cup, Onesimos, Boston, Museum of Fine Arts 10.179 (Langlotz 1922, pl. 8).
painted cups. His activities began after 490 BC and continued beyond 470.68
Here, too, anonymous figures dominate. Besides athletes and warriors, however, we also quite often find komos and symposium as well as satyrs and
maenads. His thiasoi are rather poetic and music is given an important role:
even Dionysos himself may appear on the scene as an ecstatic barbitos player.69
One thiasos cup deserves special mention because of its high quality: its tondo
shows, on a white ground, a maenad wearing a snake diadem, who brandishes
a small panther (Figure 27). The effect is both graceful and uncanny.70 Even
though figures are rarely seen on this vase in the shape of a drinking horn,
the Brygos Painter also decorated several rhyta.71 The one that is best known
shows, on both sides of the body, a satyr welcoming Dionysos with the music
68 Boardman 1975, 135.

69 For instance Cab. Md. 576: Addenda 225 (371.14); ba 203913.
71 arv 382 f., 185195. For this type of vase: Hoffmann 2007, 161205, especially 165.
All Kinds Of Satyrs
55
figure 27 Cup, Brygos Painter, Munich, Staatliche Antikensammlungen und Glyptothek, 2645,
tondo image on a white ground (fr pl. 49.1).
of the aulos at an altar decorated with ivy.72 On both sides of the opening a
satyr is stealing on a sleeping maenad. The motif of lecherous satyrs surprising
maenads in their sleep can already be found on a kalpis by the Kleophrades
Painter (Figure 28).73 However, it appears more often on cups than on other
vase types.74 The motif refers to the subversive nature of satyrs. Its mythological counterpart is the assault made by satyrs on Hera and Iris depicted on
another of the Brygos Painters cups. This motif may have been inspired by
72 Warsaw, ex Goluchow 119: Addenda 228 (382.185); ba 204084.

73 Rouen 583.3: Addenda 188 (188.68); ba 201716.
74 For instance: Baltimore without number: Addenda 215 (320.10); BA 203260 (Onesimos);
Louvre S 1339, S 1328: ARV 320.11; BA 203261 (Onesimos); Boston (Onesimos); Boston
01.8072: Addenda 244 (461.36); ba 204718 (Makron) and, of a later date, Louvre G 206: arv
530.22; ba 205998 (neck-amphora by the Alkimachos Painter). For this motif, see McNally
1985, 157 f.; Paul-Zinserling 1994, 53 f.; Lindblom 2011, 3845; Lissarrague 2013, 89 f.
56
Chapter 3
Figure 28 Kalpis, Kleophrades Painter, Rouen, Muse Dpartemental des Antiquits 583.3
(Lissarrague 1987, 88, fig. 22).
Figure 29 Kalathos, Brygos Painter, Munich, Staatliche Antikensammlungen und Glyptothek,

2416, detail of side B (fr pl. 64 below).
a satyr play.75 A unique, and rightly famous, cooling vessel in the shape of a
basket, designated as a kalathos, shows a dignified young woman solemnly
approaching Dionysos (Figure 29). On the other side we see the meeting of the
poets Alkaios and Sappho.76
75 London E 65: Addenda 224 (370.13); ba 203912. In addition Schoenmann/Krumeich in:
Krumeich/Pechstein/Seidensticker 1999, 526 f., fig. 29; Lissarrague 2013, 47 ff., fig. 22.
All Kinds Of Satyrs
57
The Briseis Painter, a minor cup painter from the circle of the Brygos Painter,
was mainly interested in the everyday life of women.77 Two of his works, however, are exceptional for various reasons. One of his cups not only stands out
because its outside shows Dionysos dancing like a maenad, but also because
its tondo has an enigmatic encounter between an ephebe and an elderly man
in front of the door to a house.78 The outside of a cup from Ruvo in Apuliaa
site that gains in importance in the late 5th centuryshows quiet scenes with
anonymous figures. Its white background tondo is remarkable for its depiction
of a satyr with a noble appearance in the manner of the Kleophrades Painter
and the Berlin Painter.79
One of the most productive painters of this time is Douris. About three hundred vases are attributed to him. Most of them are cups, but he also decorated
a number of other small vase types. His activities begin shortly before 500
and continue well beyond 470 BC.80 His main theme is the world of men: war,
sport, love, komos and symposium. Douris is no different from other painters of cups in that in his work, too, Dionysos and his thiasos occur more frequently than mythological scenes. His version of the return of Hephaistos is,
however, remarkable.81 Dionysos lovingly leads his half-brother by the hand
in a procession headed by a satyr making music and one carrying a heavy bell
krater. A dancing nymph accompanies them. Hephaistos has his hammer over
his shoulder; a third satyr, carrying the goat skin bellows, brings up the rear
(Figure 30). On the other side, youthful and mature komasts dance in pairs
to the music of a barbitos player. In the tondo Hera sits on her throne in a
dignified manner. She holds a conversation with Zeus who stands before her.
Douris in this way underlines the mythologlical context of the episode, while
at the same time highlighting the analogy between the human komos and the
Dionysiac thiasos. This analogy may also be hinted at in the tondo of another
cup where a komast is apparently leading his friend to the symposium. The
outside has, on both sides, five bearded komasts dancing solemnly towards the
right.82
77 Boardman 1975, 137.
78 London 1843.113.54: Addenda 232 (406.2); ba 204401. Compare a stamnos with Dionysos
dancing, London E 439: Addenda 211 (298 center); ba 203092 (Hephaisteion Painter).
79 Ruvo 1529A: Addenda 232 (408.33); ba 204431.
80 Buitron-Oliver 1995, 3.
81 Cab. Md. 542: Addenda 239 (438.133); ba 205179; Buitron-Oliver 1995, 39 no. 178,
pl. 100.
82 London 1843.113.4 (E 54): Addenda 238 (436.96); ba 205142; Buitron-Oliver 1995, no. 144,
pl. 85.
58
Chapter 3
figure 30 Cup, Douris Paris, Bibliothque Nationale de France, Cabinet des Mdailles 542
(Brommer 1978, 15, fig. 6).
The punishment of Pentheus, best-known from Euripides Bakchai, belongs

to the mythology of Dionysos, but is not often depicted. The tondo of one of
Douris cups shows a bacchante with a thyrsos in her left hand, while her right
hand holds a leopard by the tail.83 On the outside we see two women grabbing
hold of Pentheus arms and head; only his upper body is still intact. Two other
women and a satyr are present at the scene. The latter, appalled, looks out of
the image at the viewer. The other side shows a Dionysos of gigantic stature
sitting on a folding chair with the kantharos and ivy branch in his hands. To the
left a satyr is approaching, playing the double flute. A woman on the left side
and two on the right are moving energetically, each with a part of Pentheus
body in her hands; the two women near the handles are shown en face, a device
for which Douris had, as other images show, a predilection (Figure 31).84
The medallion of another of Douris cups shows Dionysos as a symposiast
on one couch with Herakles.85 The outside has, on both sides, three youthful
pairs of friends in conversation; it is clear that Dionysos and Herakles are their
mythical models.
83 Fort Worth ap2000.02: ba 11686 (no image); Buitron-Oliver 1995, no. 121, pl. 73. Lissarrague
2013, 168 f., fig. 144. In the case of the psykter by Euphronios (see above Chapter 2, note 49)
it is unclear if and how Dionysos was represented.
84 Buitron-Oliver 1995, 35.
85 Private collection: Buitron-Oliver 1995, no. 185, pl. 103.
59
All Kinds Of Satyrs
a
b
figure 31 Cup, Douris Fort Worth (Tx), Kimbell Art Museum (AP2000.02).
a. Pentheus (Buitron-Oliver 1995, pl. 73).
b. Dionysos (Buitron-Oliver 1995, pl. 73).
We find one of Douris best-known Dionysiac scenes on a psykter.86 Ten satyrs,

probably his earliest, are performing various acrobatic tricks with symposium
vessels. Another, exotically attired, satyr is apparently delivering a message to
them; with his kerykeion he seems to be miming Hermes (Figure 32). A painter
from Douris entourage decorated the outside of a cup with satyrs enjoying
themselves in a similarly imaginative manner.87 A comparable scene on a cup
by a painter from the circle of the Nikosthenes Painter is grossly homoerotic.88
The Triptolemos Painter was an artist who belonged to Douris circle. He was
active from the 80s until around 470 BC. He only decorated cups in the early
86 London E 768: Addenda 241 (446.262); ba 205309; Buitron-Oliver 1995, 34, no. 84, pl. 54 f.;
Lissarrague 2013, 146 f., figs 122123.
87 Vatican 16541: Addenda 242 (451.1); ba 205372 (Oedipus Painter).
88 Berlin 1964.4: Addenda 177 (Para 334); ba 275638 (no image); Schlesier/Schwarzmaier
2008, 21, fig. 3.
60
Chapter 3
figure 32 Psykter, Douris London, British Museum E 768 (fr pl. 48).
stages of his career, later he also decorated larger vase types, such as stamnoi,
column kraters and pelikai.89 One of his cups is a good example of a conventional theme depicted in an original manner.90 In the tondo a satyr, full of lust,
is assaulting a nymph, who seems more surprised than frightened. On the outside in the center Dionysos is walking to the right, but turns towards the maenad nearest to him; the maenad to his right is approaching with an oinochoe.
In contrast to the other side, where women are dancing gracefully, the four
women on this side are behaving unusually quietly. In this way the painter has
managed to merge the thiasos theme and the motif of the encounter-salute,
which normally features no more than two figures. Another cup, with a unique
depiction of a ritual, will be discussed in one of the following chapters.91
In the context of the study of Dionysiac imagery, Makron, whose work may
be dated between 490 and 470 BC, is the most rewarding among the cup painters of his generation.92 Most cups, about 350, are attributed to him. Although
anonymous men and youths are also Makrons main subject, he seems to have
been more interested in the Dionysiac thiasos than his colleagues. Numerous
fragments found on the Acropolis testify to his popularity, not only in Etruria
89 Boardman 1975, 139 f.

92 Boardman 1975, 140. For the dating see also Isler-Kernyi 1984, 154156 and Kunisch 1997,
1821.
All Kinds Of Satyrs
61
but also in Athens.93 Many of his tondi are Dionysiac: we find various scenes
depicting the advent of the god or with Dionysos dancing on his own,94 a
single satyr95 or a satyr with a nymph, mostly in non-aggressive relationships
(Figure 33).96 We also find maenads, alone97 or in pairs.98 Single satyrs seem to
be rather the exception.99 The designs of the innumerable, more or less energetic, thiasoi on the outsides are as varied and inventive as those of the tondi.
We find thiasoi with and without Dionysos, sometimes (even though there are
maenads in the tondo) with only maenads,100 once with only satyrs.101 One
never has the impression that the artist is unthinkingly using familiar themes,
on the contrary: he seems to have done his best to constantly come up with
new compositions and gestures. As a rule, the thiasos is supposed to be a circle dance. Occasionally, however, it appears to be a procession moving to the
right, in the direction of an unknown destination.102 This is a novelty that after
480 BC can also be found on other image carriers.
93 Pala 2012, 217 ff. with table fig. 122.
94 Rome, Villa Giulia 50396: Addenda 245 (465.82); ba 50396; Kunisch 1997, no. 63, pl. 25;
Athens, Acr. 2.307: arv 478.38; ba 204990 (no image); Kunisch 1997, no. 168, pl. 62.
95 Brussels R 247: Para 377 (462.41); ba 204723; Kunisch 1997, no. 103, pl. 38; Boston 13.67: Para
378 (478.309); ba 204991 (no image); Kunisch 1997, no. 197, pl. 68; private collection: Para
377 (462.44); ba 204726 (no image); Kunisch 1997, no. 314, pl. 105; Berlin F 2290: Addenda
244 (462.48); ba 204730; Kunisch 1997, no. 345, pl. 116.
96 Louvre G 144: Addenda 244 (462.43); ba 204725 (no image); Kunisch 1997, no. 98, pl. 37;
New York 06.1152: Addenda 245 (463.52); ba 204734 (no image); Kunisch 1997, no. 151,
pl. 54; Florence 3943: arv 478.311; ba 204993; Kunisch 1997, no. 188, pl. 65; Harvard 1972.41:
arv 462.45; ba 204727 (no image); Kunisch 1997, no. 305, pl. 101; Munich 2654: arv 462.47;
ba 204729 (no image); Kunisch 1997, no. 340, pl. 114; New York 20.246: arv 467.118; ba
204800 (no image); Kunisch 1997, no. 377, pl. 130.
97 Basel K 410: Addenda 245 (463.53); ba 204735; Kunisch 1997, no. 128, pl. 44; Louvre G 160:
Addenda 247 (478.312); ba 204994 (no image); Kunisch 1997, no. 160, pl. 57.
98 Baltimore B 10: Addenda 245 (463.51); ba 204733; Kunisch 1997, no. 307, pl. 102; Louvre G
145: arv 463.50; ba 204732 (no image); Kunisch 1997, no. 313, pl. 104.
99 Munich 2657: Addenda 246 (475.267); ba 204946 (no image); Kunisch 1997, no. 507,
pl. 163 (stage satyr in phallus costume, dancing next to a large column krater decorated
with a wreath); Louvre mne 961: arv 475.261; ba 204940 (no image); Kunisch 1997, no. 509,
pl. 164 (satyr performing an elegant dance next to a symposium table with a kantharos).
100 Basel K 410: Addenda 245 (463.53); ba 204735; Kunisch 1997, no. 128, pl. 44; Louvre G 145:
arv 463.50; Kunisch 1997, no. 313, pl. 104.
101 Fragments in several places: Para 377 (462.49); ba 204731; Kunisch 1997, 107 note 449,
no. 109, pl. 39.
102 Tarquinia rc 1118: Addenda 244 (Para 378.46bis); ba 275978 (no image); Kunisch 1997,
no. 133, pl. 46; Baltimore B 10: Addenda 245 (463.51); ba 204733; Kunisch 1997, no. 307,
pl. 102; Private collection: Para 377 (462.44); ba 204726 (no image); Kunisch 1997,
no. 314, pl. 105.
62
Chapter 3
a
b
figure 33 Cup, Makron, Paris, Louvre G 144 (Kunisch 1995, pl. 37).
a. medallion: satyr with female partner.
b. side A: Dionysos amidst his thiasos.
On the outsides of cups by Makron, we usually find Dionysos amidst the members of his thiasos. In one case he appears as a symposiast, but because of
the fragmentary state of the cup it is impossible to determine who his comrade could be. The only remaining symposiast on the other side is definitely
human.103 On a mental level, the presence of Dionysos at a human symposium
103 Oxford 1911.631: arv 467.129; ba 204811; Kunisch 1997, no. 198, pl. 68.
All Kinds Of Satyrs
63
would in any case be considered entirely natural. Makrons famous skyphos

shows how the artist saw Dionysos position vis--vis the other gods. Here we
see him, on the one side, with his ivy branch, as the central figure between
Zeus and Amphitrite, set against Triptolemos, who is on the other side, seated
in his winged chariot amidst the Eleusinian goddesses.104 The juxtaposition of
these two culture heroes is probably also represented on a, unfortunately fragmentary, pelike by the Pan Paintera more or less contemporaneous work of
great artistic quality.105 The theme is likewise found in the work of the Niobid
Painter.106 No less informative is an exquisite cup in Bochum (Figure 34).107 Its
very damaged inside showed Athena welcoming Herakles, its outside has gods
sitting enthroned. On one side we see Dionysos in the middle between Zeus
and Poseidon, with Ganymede, a young womanperhaps Ariadneand
Amphitrite standing next to them. The other side shows Ares in the middle
between Apollo and Aphrodite. Artemis and Nike stand between them; Eros,
coming from the right, is flying towards Aphrodite. Under the handles we can
discern small panthers, ready to jump. Ever since Exekias, the assembly of the
gods on the occasion of the apotheosis of Herakles is part of tradition.108 One
of the most prominent examples, the Sosias cup in Berlin, has already been
mentioned.109 What is unusual here is the conspicuous position of Ares and
his opposition to Dionysos. Kunisch proposes a relationship with the Persian
Wars: the work may be dated in the middle period of Makrons artistic career,
around 480 BC.110 Kunisch proposition is plausible and is, moreover, supported
by the panthers under the handles; the panther symbolizes Asia.111 Dionysos is
presented here as the counterpart of Ares, the god of war and victory. We may
therefore presume Dionysos embodies cosmic peace, which would suit his role
as the peace maker of the Olympic family (we could think of the return of
Hephaistos) to perfection. As we will see, this characteristic of Dionysos will
appear again and again, also in the later iconography.
Makrons oeuvre for the first time shows a subject that would be much in
demand from 480 BC until well after the middle of the century: the handing
104 London E 140 (1873.820.375): Addenda 243 (459.3); ba 204701 (no image); Raubitschek/
Raubitschek 1982, 113; Kunisch 1997, no. 319, pl. 107; Clinton 1992, 124.
105 Malibu 81.ae.62: Robertson 1986, 7288.
106 See below Chapter 5, note 3. We already find the juxtaposition of Dionysos and
Triptolemos on black-figure vases of the early 5th century, see Raubitschek/Raubitschek
1982, 110.
107 Bochum, Univ. S 1062: ba 13378 (no image); Kunisch 1997, 198, no. 352, pl. 118119.
108 Mommsen 2002/03; Knell 1965, 4754.
110 Kunisch 1997, 151.
64
Chapter 3
a
b
figure 34 Cup, Makron, Bochum, Ruhr-Universitt, Kunstsammlungen S 1062 (Kunisch 1995,
pl. 119).
a. Dionysos.
b. Ares.
over of the child Dionysos to the nymphs.112 This motif will be discussed in
more detail in one of the following chapters.113 Makrons famous Berlin cup
presents an evident allusion to a Dionysiac ritual performed by women. We see
Dionysos with a satyr playing the flute in the medaillon, as well as maenads
112
Athens, Acr. 2.325: Addenda 244 (460.20); ba 204701 (no image); Kunisch 1997,
no. 437, pl. 149.
All Kinds Of Satyrs
65
dancing around an altar and a pillar-mask of the god on the outsides.114 This
motif will also receive special attention below.115
In comparison with other vase types, the Dionysiac imagery of the cups from
the first decade of the 5th century seems rather uniform, despite some highly
original examples. Like the prevalence of prototypical male figures, this may
be explained from the relationship between this vase type and the symposium.
Tentative Conclusions
What conclusions may be drawn for the images of the vases of the late 6th and
early 5th century? Although very similar representations of encounter, thiasos, sexual confrontation, and symposiasts bliss may be found throughout the
period, no two versions are identical. The vase painters never contented themselves with the mindless repetition of familiar formulae, but were ambitious
to give their personal interpretation: Dionysos and his world were apparently
always considered topical and challenging. The thiasos and its mythological
variant, the return of Hephaistos, were as important as ever, and have been
innovatively depicted by the most prominent painters.
Compared to earlier stages, the many original representations of satyrs are
a novelty. Lofty or base, solemn or grotesque, there seems hardly anything a
satyralone or with companionscannot do.116 The fact that the emergence
of this new satyr imagery is contemporaneous with the introduction of the
satyr play by Pratinas just before 500 BC cannot be without significance.117
Nevertheless, the hypothesis that there is a connection between vase paintings
and certain satyr plays seems, apart for a few exceptions, less probable than
the idea that both the introduction of the satyr play and the new importance of
the satyr imagery reflect a general interest among the Athenians.118 One should
keep in mind that the satyrs in the chorus of the satyr play were performed by
citizens: in this perspective, identification with satyrs was not merely natural,
114 Berlin F 2290: Addenda 244 (462.48); ba 204730; Kunisch 1997, no. 345, pl. 116 f.
116 Compare Lissarrague 2013, 215: La logique de ces images est plutt de rendre tonnantes
les pratiques les plus banales, et par l les remettre en question. Also Steinhart 2004,
127 (after his discussion of all satyr types and satyr scenes which occur in Bildern mit
Rollenspielen, p. 3): Der Satyr kann...als ein Spiegelbild unterschiedlichster Aspekte
des Menschen verstanden werden.
117 Voelke 2001, 18.
118 See Krumeich 1999, especially 4751; Steinhart 2004, 101104, 131.
66
Chapter 3
it was required.119 Satyr plays were part of the official performance repertoire
of the City Dionysia, which makes us wonder whether this official exhibition
of the identification of citizens with satyrs may have something to do with
the recent reform of the polis by Kleisthenes.120 It is well known that one of
the main points of this reform was a greater involvement of rural Attica in the
polis.121 On the other hand, the Dionysiac iconography of the archaic period
makes it clear that satyrs lived and acted in all three spheres of the mental
world: in the city, in the wilderness, and alsoespecially as manufacturers of
winein the rural countryside, the sphere that connects the two other antithetic zones.122 Seen against this background, the introduction of the satyr
play, and the simultaneous rise of the figure of the satyr in the pictorial world
of the vase painters is consistent and understandable.123
What about the representation of Dionysiac women during this period?
Most frequently they are found in the context of the thiasos, as maenads dancing ecstatically or being pursued by satyrs. Sometimes the roles are reversed
and the maenad is pursuing the satyr.124 It is far from clear whether the maenads view the often aggressive sexual advances of the satyrs with genuine distaste; their reaction could also be one of suggestive playfulness.125 Relatively
often, especially on small neck-amphorae and pitchers, we find Dionysos
approached by a woman who is not in the grip of madness; she is not a maenad,
but a dignified figure carrying a libation vessel.126 In most cases it is impossible
to decide whether this woman is meant to be Ariadne.127 On one of his pointed
amphorae the painter and potter Syriskos128 gives her a name, Nymphaia,
119 Voelke 2001, 411: Ainsi le public, tout en riant du spectacle du satyre, riait sans doute toute
autant du spectacle de concitoyens jouant le satyre et de sa propre exprience, indirecte,
dune telle identit.
120 Voelke 2001, 18.
121 Voelke 2001, 31.
123 Compare Spineto 2005, 353: comunque ai Dionysia megala...che il meccanismo di
definizione dellidentit di Atene attraverso le componenti della societ che partecipano
alla festa si manifesta nella maniera pi chiara.
124 Basel Lu 45: Para 352 above; ba 352509 (Syriskos Painter, no image) and Naples, without
number: arv 287.25; ba 202596 (no image) (Geras Painter).
125 Lindblom 2011, 69.
126 This formula may also be used for a single satyr, see for instance Munich 2343: arv 531.27;
ba 206003 (neck-amphora by the Alkimachos Painter): Dionysos with a woman carrying
a thyrsos on the one side, and with a satyr carrying an askos on the other.
127 For this problem, see Sabetai 2011, 137 f.
128 Formerly known as the Copenhagen Painter: Weiss 1997, 104.
All Kinds Of Satyrs
67
figure 35 Amphora with twisted handles, Eucharides Painter, London, British Museum E 279
(bsa 18, 1912, pls. 11 [Dionysos] and 12 [woman]).
which is, however, a name that could refer to any nubile young woman.129 In
any case, every woman approaching Dionysos in a ritual context could identify
with Ariadne.130 This also holds true for the, less frequently depicted, woman
who mounts a chariot in the company of Dionysos.131 The motif of the encounter is executed with great precision on both sides of an amphora with twisted
handles by the Eucharides Painter, a contemporary of the Kleophrades Painter
and the Berlin Painter.132 The large torch in the womans hand explicitly refers
to a ritual context (Figure 35).
As we have seen, satyrs may appear wherever humans are present, but their
aspect is surprising and unsettling. Moreover, they can misbehave to the point of
sacrilege. In contrast, the outward appearance of their female c ounterparts
the women who interact with Dionysos and the satyrs, or dance as maenads
129 London E 350: Addenda 204 (256.2); ba 202921; Bonansea 2008, 116. For highly comparable
images see a neck-amphora by the Syriskos Painter, Orvieto, Museo Civico 1040: arv 261.20;
ba 202974 and a pelike by the Deepdene Painter, Brussels R 250: arv 501.34; ba 205621.
131 For instance Naples 2410: Addenda 201 (239.18); ba 202367 (Myson). For a black-figure version: Villanueva Puig 2009b, 192 f.
68
Chapter 3
with Dionysiac attributesis the same as that of women active in a different manner or a different place.133 Neither is it possible to ascribe a definite
status to such Dionysiac women.134 As we will see, the Dionysiac ritual brings
together women of various ages and positions.135 It is the male figure of the
satyr that enables vase painters to put the societal role of men into perspective, to give it a comical or dubious twist.136 It must have pleased the Athenian
as well as the Etruscan customers that the most bizarre fantasies could be
depicted on vases. The phenomenon of the satyr provided them with a figure
on which they could project everything that went against the norms and rules
of civilized society,137 especially because satyrs could, as we will see, represent
every age group from children to old men.138 Most of the time he is youthful;
sometimes, however, his bald head and hairy body suggest a more mature age.
Evidently, both young and elderly men could become satyrs, feel like satyrs or
appear as satyrs.
It is illuminating that this figure belongs to the sphere of Dionysos. On the
one hand Dionysos is responsible for all metamorphoses, those of the theater
as well as those that inevitably belong to human life. On the other hand he is
responsible for the order of the polis and for the regulated outbursts of disorder at the symposium and during festivals. Nevertheless, questions arise
that should be kept in mind. Why does the satyr, ubiquitous on symposium
vessels, not appear in sympotic poetry?139 On the other hand, why does he
so often appear on pelikai? These were not characteristic symposium vessels,
but were often used by women in their day-to-day chores.140 And if the satyr
stands for immoderate and therefore reprehensible behavior (that must be
accepted because it exists),141 how can we explain his important role as mediator between Dionysos and human beings?142
133 Lindblom 2011, 158 f.

134 Lindblom 2011, 145.
136 As we have seen in the Introduction, Jaccottet 2003 draws similar conclusions on the basis
of later Bacchic inscriptions.
137 The various details of this subject are extensively discussed in Lissarrague 2013.
139 Catoni 2010, 258.
140 For the imagery of the pelike, see below Chapter 4 with note 63.
141 Shapiro 2004; Catoni 2010, 262 and 287.
chapter 4
Dionysos, a God for the Athenians

Developments after 480 BC
Hermonax and his Contemporaries

We have seen that in the decades before 480 Dionysos was most frequently
depicted among his thiasos of satyrs and maenads, as was already the case
with black-figure vases. Another important motif of that time was his encounter with a standing woman or, less frequently, with a satyr. We also see him,
surrounded by his retinue, as a symposiast or at the arrival or departure of his
quadriga. Depictions of Dionysos participating in mythological events, such
as the return of Hephaistos and the Gigantomachy, are much rarer; the admission of Herakles to the Olympus is found only sporadically. In general, there
does not seem to have been much interest in Dionysos relations with the other
gods. New elements in the iconography of Dionysos are, however, emerging
in the second quarter of the century and becoming ever more visible towards
450 BC. These developments will be the subject of the next three chapters.
As far as Dionysiac imagery is concerned, Hermonax stands out among the
painters of larger vessels of the generation following that of the Kleophrades
and Berlin Painter; Beazley assumes he was a pupil of the latter. Over 160 vases
are attributed to him, an extensive oeuvre even though much of it remains only
in a fragmentary state. His work includes large, high-quality vases (more than
twenty stamnoi, almost thirty pelikai, and one bell krater) as well as many large
and small amphorae, several loutrophoros fragments found in Athens, hydriai,
oinochoai, lekythoi, and even cups.1 Most of his vases with non-anonymous
subjects are Dionysiac in character.
A stamnos that still clearly shows a stylistic indebtedness to the Berlin
Painter has a thiasos divided over both sides.2 It consists of four couples of
a satyr and a maenad in various, more or less peaceful, relationships. On one
side we see a satyr in the center, next to a thyrsos set aside. Playing the aulos, he
is moving towards the right. A maenad greets him cordially. On the left follows
a woman, carrying a torch in each hand. A satyr, partly hidden by the handle
of the vessel, tries to seize her. The next maenad is captured by a satyr coming
from the left, while a fourth, seen from the back, is fending off a satyr with her
1 Isler-Kernyi 1987a, 170; concerning cups by Hermonax, see Isler-Kernyi 1984b.
2 St. Petersburg 4121: arv 484.11; ba 205394 (no image); Peredolskaja 1967, pl. 77, 34.
70
chapter 4
thyrsos. Hermonax not only works with great accuracy, but also nuances the
various relationships in such a way that the viewer gets the impression of a
narrative. There seems to be a purposeful contrast between the satyr with the
aulos and the other ones who behave aggressively.
Of even greater interest is a large, signed pelike showing a thiasos in the
presence of Dionysos (Figure 36).3 It is represented here for the first time in
a clear and readable manner. The god stands in the center on one side of the
vase, with a kantharos in his right hand and the thyrsos in his left. He turns
his head to the left towards a young woman who greets him, an oinochoe in
her lowered right hand. Next to her, below the handle, is an altar with an ivy
branch on it. On the reverse we see a girl, executed at a somewhat smaller
size. She looks back towards the couple following on the left: a satyr clasping
the shoulder of a woman with a thyrsos in her right hand and a torch in her
left. Both are looking towards the left. Next comes a dancing satyr and behind
him a dancing woman. She carries the thyrsos in her right hand, her left arm
is wrapped in the fabric of her robe. Another satyr is below the other handle,
almost on his knees, dancing to the music of a satyr playing the aulos while he
walks towards the right, ahead of the god. All figures on the reverse are looking
towards the left, in the direction of Dionysos. All women are wearing a fawn
skin over their chiton or peplos. All are wearing their hair loose, in a girlish
fashion, except one: the woman who is dancing. She has gathered her hair in
the neck, as is usual for mature women. The altar and the torches indicate a
ritual context. The main event seems to be the meeting between Dionysos and
the young woman, the other figures participating joyfully. One has the impression that Hermonax is referring to a very specific ritual that was of importance
for women and young girls and in which satyrs personified the erotic element.
The scene is very similar to one on a pelike by the Painter of the Birth of
Athena, a follower of Hermonax.4 We see Dionysos moving towards the right,
with his thiasos consisting of maenads with torches and obtrusive satyrs. One
of these is clasping the gods shoulder, as if he were Hephaistos. Likewise quite
similar is the scene on a more or less contemporaneous column krater of lesser
quality.5 Here, too, the thiasos is unambiguously moving in a specific direction,
even more than was the case with some of Makrons cups.6 It has become a
3 Rome, Villa Giulia 50459: Addenda 248 (485.27); ba 205410 (no image); Mingazzini 1971,
pl. 146148 (675).
4 Private collection: arv 495.4; ba 205563 (no image); Ars Antiqua ag Luzern, auction ii
14.05.1960, pl. 62/63 No. 160. On the painter see below p. 83.
5 Caltanissetta 69: Para 385; ba 275997 (probably by the Florence Painter).
71
Dionysos, A God For The Athenians
figure 36 Pelike, Hermonax, Rome, Museo Nazionale Etrusco di Villa Giulia 50459
(photographs Soprintendenza per i beni archeologici dellEtruria Meridionale).
b. side view (right).
c. side B.
d. side view (left).
72
chapter 4
kind of procession and in this way has moved from the mythical to the ritual
(i.e. human) level.
An analogous shift may be discerned in a smaller, less elaborate pelike by
Hermonax.7 A woman, looking over her shoulder, is walking towards the right.
Her hair is gathered at the nape of the neck. She has a thyrsos in her left hand
and her right is covered by the himation she wears over her chiton. One feels
this is a woman moving and acting in a Dionysiac sphere, and not a mythical
maenad. Two women on a more or less contemporaneous column krater give
the same impression. Wrapped in their himatia, they look completely human
as they move towards the right with measured pace amid gesticulating satyrs.8
Probably unique representations may also be found in the work of the lesser
masters of this period. Let me mention Dionysos running in a short chiton on
a calyx krater by the Oreithyia Painter9 (Figure 37) and a neck-amphora by the
Alkimachos Painter.10 Or Dionysos in a stage costume, dancing between two
satyrs on a column krater by the Leningrad Painter.11 We also find scenes that
cannot be interpreted. They may have been inspired by the theater or belong
to lost myths.12 A familiar, though rarely depicted, myth, however, is shown on
a lekythos by the Alkimachos Painter, who is known for his predilection for
Dionysiac subjects: the birth of the god from the thigh of his father in the presence of Hermes.13 The same painter also depicted satyrs, dressed like citizens,
in conversation with a herm14 or offering a hare to a seated youth.15 But what
is the meaning of a satyr wearing a helmet, who puts on leg guards in the presence of a woman with thyrsos and leopard skin, the maenads attributes?16
7 St. Petersburg 727: Para 512 (486.45); ba 205428.

8 Ferrara 1685: Addenda 252 (511.5); ba 205738 (Painter of Bologna 228).
9 Agrigento C 1538: See above Chapter 3, note 8.
10 Naples 81783: Addenda 254 (529.13); ba 205985.
11 Madrid 11040: arv 568.36; ba 206525 (Leningrad Painter). In the work of the Berlin
Painter compare Dionysos in a stiff and ornate robe with a lion on his arm, Munich 8766:
Addenda 191 (198.21bis); ba 275643.
12 For instance St. Petersburg B 201: Addenda 258 (555.95); ba 206338 (hydria by the Pan
Painter).
13 Boston 95.39: Addenda 255 (533.58); ba 206036. This motif will be discussed in the next
chapter.
14 Dresden zv 2635; Addenda 254 (531.29); ba 206005.
15 St. Petersburg 734: arv 531.33; ba 206009. Compare a satyr in a himation who looks on
as a frightened bride is running away from Dionysos on the column krater Ferrara 2818:
Addenda 254 (524.23); ba 205905.
16 London E 377: Para 381 (501.35); ba 205622 (Deepdene Painter).
73
figure 37 Calyx krater, Oreithyia Painter, Agrigento, Museo Archeologico Regionale C 1538, side A
(De Miro 1994, pl. 38) Regione Siciliana-Assessorato Reg.le dei bb.cc. e dellI.S.
In any case, at this stage, too, vase painters treated Dionysos and the satyrs in a
more imaginative way than Dionysiac women. In addition, we find that, apparently, some subjects were at the time considered particularly topical: apart
from the handing over of a child in a Dionysiac setting (which will be discussed
in the next chapter), there is the making of wine, usually by satyrs, but in one
instance by men of various ages.17 The harvest, the transport of the baskets, and
the treading of the grapes in pithoi or large bell kraters were widely depicted
since the middle of the 6th century; the splendid Basel amphora by the Amasis
Painter comes to mind.18 The motif is reproduced in an abbreviated form
one person treading grapesin the medallion of some early red-figure cups.
Now, however, the subject is taken up by several painters of column k raters and
17 Ferrara 42684: Addenda 254 (524.26); ba 205908 (Orchard Painter); Brard/Bron 1984, 131,
fig. 185.
18 Basel K 420: Addenda 43 (151); ba 350468. See also Isler-Kernyi 2007, 132, fig. 68.
74
chapter 4
executed in various manners.19 Apart from the exception mentioned above,

we see satyrs at work, sometimes in the presence of women with thyrsoi or
the wine god himself.20 Another theme that emerges at this time and establishes itself after the middle of the century is a Dionysiac ritual in which a chair
seems to play a certain role. We will return to this motif below.21
The most remarkable phenomenon in Dionysos-inspired vase painting of
the second quarter of the century is the transformation of the circle dance of
satyrs and maenads into a procession-like train accompanied by torches. This
is illustrated by two column kraters by the same mediocre painter, where the
maenads carry torches instead of thyrsoi. It should also be noted that on the
second (see the note) Dionysos, obviously intoxicated and leaning on a young
satyr making music, is now for the first time practically naked (Figure 38).22
The development mentioned above even extends to the motif of the return of
Hephaistos, as is clear from a column krater decorated around 440 BC, where
a woman with burning torches in her hands shows the smith-god on his mule
the way (Figure 39).23 It would, however, show little understanding of the fundamentally unrealistic manner of expression of the vase painters, to assume
that Dionysiac processions had only now arrived in Athens. We should rather
consider this a manifestation of a new need to stress the human side of the
thiasos. For the same reason it is not surprising that, at this point, we sometimes see satyrs who act like caricatures of citizens, and women who almost
imperceptibly turn into maenads.24
As the motif of the altar demonstrates, the ritualization of the imagery is at
this time a general phenomenon. We are not speaking here, of course, about
altars that fulfill a narrative role, as is the case, for instance, in the Ilioupersis
or the story of Busiris, nor about scenes showing the abduction of women. On
red-figure vases before 500 BC altars, as a kind of optional element in traditional depictions of gods, are rare. It is only in the first half of the 5th century
19 Sparkes 1976, 54 f.
20 For instance Louvre C 10774: Addenda 253 (518.4); ba 205809 (Syracuse Painter); Naples,
Capodimonte 960: Addenda 260 (563.4); ba 206429 (Pig Painter); Vatican 16505: arv
1170.7; ba 215533 (Painter of Bologna 322).
22 Agrigento Painter: Vienna 341: arv 575.17; ba 206617, and Rome, Villa Giulia 846: arv
575.20; ba 206620.
23 Lecce 603: Addenda 329 (1104.7); ba 216174 (Orpheus Painter). For the torch-bearing
woman in the context of the return of Hephaistos, see Schne 1987, 45.
24 The fact that, as far as Dionysiac images are concerned, the number of dancing women
on red-figure lekythoi increases significantly after 460 BC, also belongs to this context, see
Paleothodoros 2011, 137.
figure 38 Column krater, Agrigento Painter, Rome, Museo Nazionale Etrusco di Villa Giulia
846, side A (cva Villa Giulia 4, pl. 9.1).
figure 39 Column krater, Orpheus Painter, Lecce, Museo Provinciale Sigismondo

Castromediano 603, side A (cva Lecce 1, pl. 8.1).
75
76
chapter 4
that we find a substantial number of altars, mostly on cups. The motif culminates in the decades around 450 (especially in the work of the Niobid Painter),
after that the number of altars decreases markedly. The motif of the altar is
usually combined with anonymous figures, mostly women. Not surprisingly,
Nike is the one among the gods who is most often shown with an altar, which,
apparently, is there to hallow the moment of her appearance.25 Dionysos is
next and after him comes Apollo; in the case of the other gods, altars are added
only sporadically.26
It seems, therefore, that by 450 BC both the vase painters and their clientele
find themselves involved in a growing religiosity, which also embraces Dionysos
and his retinue. The decision to erect a large new temple on the Acropolis fits
this atmosphere very well, as do the activities of the great tragedians Aischylos
and Sophokles.27
The Imagery of Red-Figure Pointed Amphorae
The second quarter of the 5th century presents us with even more surprising
representations of Dionysos. In these cases, the unusual image carriers as well
as the images themselves allow us to speculate about Dionysos significance
for the people for whom these images were intended. One of the rarest image
carriers was the pointed amphora, a neck-amphora which tapers to a point at
the bottom, for which reason it had to be placed in a ring stand. The pointed
amphora originated shortly after 500 BC and was inspired by the official
Panathenaic prize amphora. From an artistic point of view it was a particularly
demanding vase type.28 So far only five black-figure and ten red-figure specimens are known.29 The latter can all be dated between 500 and about 450 BC.
Two were decorated by the Kleophrades Painter, one by the Syleus Painter, two
by the Oreithyia Painter, four by Syriskos, and one by the Achilles Painter.30 Five
of them are known to have been excavated at the same site, Vulci in Etruria:
25 Isler-Kernyi 1971, 30; Thomsen 2011, 171 f.
26 Of particular interest is a representation of Hades between two altars, Louvre G 187:
Addenda 222 (361.2); ba 203793 (stamnos by the Triptolemos Painter, with Triptolemos on
the reverse).
27 Schneider/Hcker 2001, 113. See also below Chapter 7.
28 Isler-Kernyi 1977b, 10 and 14.
29 Oakley 1997, 85, note 103. Massa-Pairault, 50. In addition, the unpublished amphora Basel
2405, black-figure, with scenes of symposium and winepress: cva Basel 5 (V. Slehoferova),
forthcoming.
30 Syriskos is the name of the Copenhagen Painter: Weiss 1997, 104.
77
the Kleophrades Painters only complete one, the one by the Syleus Painter, the
two by the Oreithyia Painter, and Syriskos London amphora. We may presume
that the three other pointed amphorae decorated by Syriskos were likewise
found here. At any rate, the two which have been adequately published, carry
Etruscan graffiti, which suggest buyers from the institutional elite.31
The oldest known red-figure pointed amphorae are attributed to the
Kleophrades Painter.32 The idea of the official prize amphora being a probable
source of inspiration for this new vase form is supported by the subject of the
neck image of the Munich amphora: young athletes with sports utensils.33 As
is well known, athletes of various disciplines are depicted on the reverse of
every Panathenaic prize amphoraAthena Promachos is on the main side.
Side A of the Berlin amphora shows young warriors arming themselves. This
refers to the background of sports activities: the acquisition of military skills in
order to defend the polis.34 The main image of the Munich amphora is one of
the most famous and beautiful representations of Dionysos surrounded by his
thiasos, here consisting of four ecstatically dancing maenads and three satyrs.
The satyr playing the double flute in the center of the reverse image is shown
en face. The two others are placed beneath the handles; each harasses one of
the maenads. The satyrs have been given the role we already know from 6thcentury imagery: their primary interests are sex and music.35 When shown full
face they are supposed to directly address the beholder. Both the image carrier
and the combination of subjects eloquently illustrate that the Dionysiac thiasos was an essential part of polis life.
Six of these exceptionally high-quality red-figure vases explicitly refer to
the poliss most important festival, not only through their form, but especially
through their subject matter which emphatically focuses on Athenian mythology. The main image of the second amphora by the Kleophrades Painter shows
Theseus slaying the Minotaur in the presence of Ariadne and her wet nurse.
On the reverse we see the afflicted Athenian youths. The shoulder images
of the amphora by the Syleus Painter present the Gigantomachy of Athena
and Poseidon, and Theseus fighting the Marathonian bull in the presence of
Athena. A line of images on the amphoras belly shows heroes and centaurs
in c ombat.36 Here, too, one of the warriors must be Theseus, the founder
31 Martelli 1991, 282 f.; Maggiani 1996, 107 f. and note 53.
32 Greifenhagen 1972 dates both of them to just after 500 BC.
33 Munich 8732 (2344): Addenda 186 (182.6); ba 201659; Lissarrague 2013, 151 f., fig. 125.
34 Berlin 1970.5 (fragmentary): ba 5766 (no image); Greifenhagen 1972, 1321.
36 Brussels R 303: Addenda 203 (249.6); ba 202485.
78
chapter 4
of Athens. Both the second Munich vase and its lost counterpart, formerly
in Berlin, have a multi-figure representation of the abduction of the Attic
princess Oreithyia by the wind god Boreas.37 Boreas was credited with the victory over the Persian fleet at Cape Artemision, for which reason he had his
own cult in Athens since 479 BC.38 The Zurich pointed amphora by Syriskos
contrasts Achilles mourning Patroklos and a victorious Theseus.39 The neck
images depict Centauromachies, also the one involving Theseus.40 The main
image of a Syriskos amphora in a private German collection shows Athena
protecting Herakles in the Garden of the Hesperides.41 In addition, it has several river gods and fresh water nymphs, whose individual names are given. The
three pointed amphorae by Syriskos that have figures on the shoulders present
heroes and centaurs in combat. Again it is clear that not only the image carriers, but also the images themselves (especially those of Athena and Theseus),
were supposed to convey the glory of their place of production to the distinguished foreign clientele.42
Apart from Athena, pointed amphorae regularly celebrate Dionysos. As we
have seen, the Kleophrades Painter presents him in the main image, surrounded
by his thiasos. The neck image of the B side of the Berlin fragment showed a
maenad between two satyrs. On Syriskoss London vasea scene comparable
to the one on the Munich kalathos by the Brygos Painter43Dionysos accepts
the welcoming gift a young woman named Nymphaia offers him at an altar
(Figure 40).44 On the reverse, two women with different hairstyles are engaged
in conversation. In the center of the main image of the pointed amphora by
the Achilles Painter, which we will discuss in more detail below,45 an energetically moving Dionysos is surrounded by a boisterous thiasos consisting of eight
maenads and two satyrs.46
37 Formerly Berlin F 2165: Para 380 (496.1); ba 206421 (no image); Miller/Kstner 2005, 124;
Munich 2345: Addenda 250 (496.2); ba 206422.
38 limc vii.1, 64 (E. Simon).
39 Zurich, Archologische Sammlung der Universitt L 5: ba 275252 (the attribution is out of
date); Isler-Kernyi 1977b.
40 Compare the inscription on its counterpart in a private collection in Germany: Weiss
1997, 108.
41 Private collection Germany: Tiverios 1991; Weiss 1997, 104111; ba 30676 (no image).
42 Compare Massa-Pairault 2007, 47 f. where the choice of subjects for pointed amphorae is
considered from an Etruscan perspective.
46 Cab. Md. 357: Addenda 311 (987.2); ba 213822.
79
a
b
figure 40 Pointed amphora, Syriskos, London, British Museum E 350.
a. side A (cva British Museum 3, iii Ic pl. 18.1b).
b. detail of side A: Dionysos is welcomed by a woman (cva British Museum 3, iii Ic
pl. 18.1d).
80
chapter 4
This brings us to Syriskos New York amphora, which, like the one in Paris,
still has its original, richly decorated stand.47 On the main side we find a
depiction of Peleus leading Thetis to his home. All figures are given familiar names, except one. In the center of the main image the groom is leading
the bride towards the centaur Chiron on her right, who receives the couple
with two torches. Thetis performs the typical gesture of anakalypsis for the
groom. Behind Chiron is his mother, Philyra, likewise carrying two torches. In
the background beneath the handle, two columns with an architrave indicate
the house; inside we can see the bed that has been prepared. Artemis, again
with two torches, follows on Thetiss left, beneath the other handle Apollo,
with kithara, turns towards his mother Leto, who carries a wreath. The scene
seems to continue on the reverse side: in the center we see a dignified standing
Dionysos with his thyrsos, facing him on the right his mother Semele with a
torch, and on the left a young woman with a wreath-like branch. She is referred
to as Hopla, a name otherwise unknown.
So far this version of the famous wedding is unique. From the middle of the
6th century, the scene was usually represented with the couple mounting a
chariot.48 It is important to note who are present: Chiron will raise Achilles, the
son who is born from this union; Artemis is the patron goddess of childbirth,
not because she is a fertility deity (this would be incompatible with her chastity), but because she is responsible for untamed human beingsinfants and
children.49 The image implicitly refers to a future birth. The presence of three
mother figuresPhilyra, Leto, and Semeleis likewise remarkable. Their
appearance seems to highlight the idea of the house, which in turn reminds us
of the concept of the oikos, the family as an integral part of the polis. This concept could already be discerned in Sophiloss marriage of Peleus and Thetis of
a century before, and in Kleitias version on the famous Franois kraterhere,
too, through the inclusion of a house and prominently placed mother figures.50
And Sophilos also depicted Apollo, whose song would immortalize this event
that was of decisive importance for cosmic order.
In the archaic versions Dionysos was the key figure. He was the representative of the gods, the only one of them to speak to Peleus. In the case of Syriskos
New York amphora, he dominates the reverse side of the vase. He is standing
between a mother and a young woman, conceivably because he is responsible
for the transition from one life phase to another and, thus, for all weddings. The
47 New York sl 1990.1.21: ba 43937 (no image); limc vii, Peleus 210.
48 Vollkommer 1994, 266 f. (Peleus 205208 including the note to no. 209).
49 Montepaone 2002, 7072; Isler-Kernyi 2002b, 480 f.
81
reference to Athens is implicit here in the shape of the vase and in the shoulder image, which shows Theseus Centauromachy. This battlethe result of
a mistaken indulgence in wine at a wedding feastis here contrasted with
the most exemplary of weddings. Moreover, the subversive, wild centaurs are
opposed to the one that would be entrusted with the education of the couples
offspring. The shoulder image shows the founding hero of Athens fighting for
the order that is celebrated in the main imageSophilos had already presented Dionysos as its most important guarantor.
The glorification of Athens is particularly appropriate in the years 480470
BC, the decade that follows the victory over the Persians. It is the decade to
which this pointed amphora and the majority of the other ones are dated. It
also fits into the oeuvre of the vase painter Syriskos, whose preference for such
motifs is also evident from other original works. We could think of the stamnos with the tyrannicides,51 or the one showing Theseus slaying the Minotaur
with the Athenian children anxiously awaiting the outcome of the fight on its
reverse (compare the Berlin pointed amphora by the Kleophrades Painter),52
or the Acropolis fragment with the dead Minotaur.53
How much importance Dionysos held for Syriskos is also evident from
a signed calyx krater of about 470 BC on which all figures are mentioned by
name (Figure 41).54 On the main side Dionysos, accompanied by a panther,
solemnly offers Ge Panteleia (the all-embracing earth) a plant, which has been
identified as the branch of a fig tree.55 In his left hand he holds an ivy branch.
Because the kantharos is absent, the scene is evidently not about wine. This
also accounts for the presence of Okeanos, who, with a scepter in his hand,
stands behind the goddess on the left. On the reverse we see Themis (which
is, according to Aischylos, an alternative name for Ge),56 standing between
51 Wrzburg 515: Addenda 204 (256.5); ba 202924.
52 Private collection: ba 202929; Isler-Kernyi 1977a, 6669.
53 Athens, Acr. 2.780: arv 258.28; ba 202946 (no image).
54 Formerly Malibu (Ca) 92.AE.6: ba 28083 (no image); Shapiro 1993, 219221; Lubsen
Admiraal 1999; Smith 2011, 27 f. and 150 vp 3, fig. 3.1.
55 According to Lubsen Admiraal 1999, 239, who studied the vase in great detail. This attribute is extremely unusual. I am therefore most grateful to her for the following personal
communication of August 11, 2013: Dionysos is here a Meilichios/Dionysos Sykeatis (or
Sikitis)...For his association with figs, cf. Ath. iii 78c citing Sosibios telling us that the
introduction of the fig tree took place by Dionysos; Hesychius s. v. sykatis; Usener 1896,
146. Incidentally, the branch of a fig tree may also be discerned on the very fragmentary outside image A of Makrons Acropolis cup depicting the handing over of the infant
Dionysos, see Chapter 3 note 112, Kunisch 1995, no. 437, pl. 149b.
56 Shapiro 1993, 221.
82
chapter 4
figure 41 Calyx krater, Syriskos, formerly Malibu, J. Paul Getty Museum 92.ae.6, side A
(Lubsen Admiraal 1999, pl. 22a).
two mythical kings: Balos, who sits on the left, and Epaphos. These two names
would probably have reminded the original beholders of Egypt and Argos.57
The image on the A side, however, refers to the whole earth, surrounded by
Okeanos and endowed with figs by Dionysos. The tame panther could refer to
Asia, or, like the more or less contemporaneous Gigantomachies,58 designate
Dionysos as the lord of the wilderness.59 What is clear, however, is that, as far
as Syriskos is concerned, Dionysos stature has cosmic dimensions and reaches
far beyond Athens.
57 limc viii.1, 540 Belos ii 1 (M. True) and 574 Epaphos 1 (M. True).
58 See for example Carpenter 1997, pls. 2A and 6A.
59 Because of the great skill and originality of the vase painter, one should actually consider
these two images against the background of Syriskos known oeuvre. Unfortunately this is
impossible here.
83
The Pelikai of the Painter of the Birth of Athena

A representation of Dionysos in a specifically Athenian context may again be
found on a large vase that was made ten to fifteen years later. It concerns a
pelike by the Painter of the Birth of Athena, who was close to Hermonax.60 The
pelike belongs to a group of seven vases of this type by the same painter.
Let us first have a closer look at the vase type. Pelike is currently the conventional term; its antique designation is unknown.61 The pelike is different from
the amphora in that it has a lower belly. It therefore seems to be sagging and
makes a less elegant impression. It has a flanged mouth. Depictions of pelikai
are, almost without exception, also found on pelikai.62 From these depictions
we may conclude that it was mainly used as a container for oil, often perfumed
oil for the womens quarters. Like the bell krater and the stamnos, which will
be discussed in Chapter 6, this vase type was only invented around 520 BC and
was, from its earliest times, produced with both red-figure and black-figure
decoration. As Scheibler did for the belly amphorae, Shapiro studied the about
one hundred known black-figure pelikai, in order to determine their characteristic image repertoire.63 It mainly consists of three themes: firstly, trade
and the work of the artisan, in other words, the world of the banausoi, the
less-distinguished Athenians who had to make a living as laborers and craftsmen; secondly, musicians, especially musical contests in the context of the
Panathenaic festival; thirdly, Dionysiac subjects. The latter far outnumber any
other mythological representations. In addition, it is remarkable that, as far
as the subject of the Gigantomachy is concerned, black-figure pelikai nearly
always feature Athena. It seems evident that the idea of the Panathenaea
dominated the pelikai repertoire, and that this included the lower segments of
Athenian society, which may have been less respected, but nevertheless gave
the city much of its wealth and prestige. This conclusion, moreover, ties in
with the use of the pelike as a container for oil, which was the most important
product of the Attic region.
60 London E 410: Addenda 250 (494.1); ba 205560 (no image).
61 Shapiro 1997, 63 f.
62 Agrigento 34: arv 185.30; ba 201682 (Kleophrades Painter); Adolphseck 42 and Vienna
895: arv 285.1 and 2; ba 202574 and 202575 (both Group of Vienna 895); Berlin F 2173:
Addenda 209 (286.18); ba 202589 (Geras Painter); Bern 12227: Addenda 265 (596.1); ba
206905 (in the manner of the Altamura Painter); Karlsruhe 206 (B10): arv 735.111; ba
209103 (Karlsruhe Painter). Also Shapiro 1997, 64. In addition, rather exceptionally, the
depiction of a pelike in the tondo of a cup at present in the art trade (?): Addenda 242
(451.3); ba 205374 (Oedipus Painter).
63 Shapiro 1997, 6468. See above Chapter 3, p. 52.
84
chapter 4
In the course of the 5th century the red-figure pelike apparently came into
use in Athens as a funerary urn for warriors who died at an early age.64 It can be
assumed that the pelikai found in Etruscan necropoleis were at least eventually meant as grave gifts. This, in any case, holds true for those by the Painter of
the Birth of Athena, which were found partly in Cerveteri and partly in Vulci.
We shall now look at them in more detail.
Their subject matter, with its focus on Athena and Dionysos, very well fits
the black-figure repertoire established by Shapiro. Significantly, they also feature episodes from Athenian mythology, which are only rarely depicted. Two
of his pelikai, probably made as counterparts, show Zeus pursuing Aegina on
one side, and on the other Poseidons pursuit of Amymone.65 The Aegina motif
must have been especially topical at the time: 460 BC was the year the Athenians
conquered the island.66 Poseidon was, of course, Lord of the Aegean and therefore had a special relationship with Attica, whereas Amymone personified the
Peloponnesos. The motif of the amorous pursuit was furthermore a common
metaphor for an early death and therefore appropriate for funerary vases.
A third pelike by the Painter of the Birth of Athena has on the one side Athena
and Zeus with Iris, the messenger of the gods, as well as the Peloponnesian
twins Castor and Pollux, and on the other various warrior heroes among whom
Theseuss rarely-depicted sons Akamas and Demophon.67 Another of his
pelikai shows Theseus taking leave of his human father Aegeus on the one side,
with on the other Boreas and Oreithyia in the presence of this archaic Athenian
king.68 As far as the two remaining pelikai are concerned, the one showing
a Dionysiac thiasos with ritual connotations has already been discussed.69
The pelike fragment in the Louvre is likewise of a Dionysiac nature.70
This brings us back to the eponymous piece showing an episode rarely
depicted in red-figure vase painting: the birth of Athena from the head of her
father (Figure 42).71 The main side shows Zeus seated on his throne. He turns
64 Shapiro 1997, 63 and 68, with note 7.
65 Rome, Villa Giulia 20846 and 20847: Addenda 250 (494.2 and 3); ba 205561 and 205562.
66 Isler-Kernyi 1979, 34 f. (here still 456 BC); Gehrke 2013, 147149.
67 Kurashiki, Ninagawa 40: Addenda 250 (495.5 bis); ba 275985 (no image). The figures on
the reverse are mentioned by name.
68 Hamburg 1980.174: ba 5647 (no image).
70 Louvre cp 11115: Addenda 250 (495.5); ba 205564 (no image).
71 Two further examples: fragments of a volute krater, Reggio Calabria 4379: Addenda 203
(251.27); ba 202504 (Syleus Painter); hydria Cab. Md. 444: Addenda 330 (1112.3); ba 214704
(Painter of Tarquinia 707).
85
figure 42 Pelike, Painter of the Birth of Athena, London, British Museum E 410, side A and B
combined (Gerhard 184058, pl. 34).
to the right, towards a woman who hastens away in dismay, possibly the midwife Eileithyia, while his daughter, depicted at a smaller size, rises from his
head in full armor. To the left we see Hephaistos running away with the axe
he used to split the head of the father of the gods and effectuate the birth. To
the right of Eileithyia, Artemis greats her new-born sister, on the left Poseidon
with his trident is following Hephaistos. Artemis here stands for the region
of Attica; her most famous sanctuary is situated in Brauron at its northeastern border; Poseidon stands for the Aegean, which surrounds Attica. Next to
Poseidon, below the left handle, we see the slightly smaller figure of Nike. The
other side of the vase is rather similar to Syriskoss pointed amphora discussed
above. Here, too, Dionysos (who is named on the vase) dominates the main
image. He moves energetically to the right, but turns his head towards an anonymous bearded man. To the right of the god an anonymous youth is hastening
ahead of him. Analogous to the Syriskos amphora showing Dionysos between
a young woman and a mother figure, the god here seems to mediate between
two male representatives of different age groups. As in the dinos by the Berlin
Painter discussed in the previous chapter, he is again the only one to be in
direct contact with human beings.72 It may be for this reason that, in contrast
to the other figures, he is shown with his feet on the ground.
Both the exclusive group of the pointed amphorae and the pelikai of the
Painter of the Birth of Athena clearly illustrate not only the human dimension
of the god Dionysos, but particularly his special alliance with the Athenian
polis during the Classical period. This may, incidentally, have made him
86
chapter 4
even more attractive for the Etruscan buyers.73 It seems significant, however,
that although he features prominently on the two vases that were discussed
in detail, Dionysos is not shown in the main mythological scene, but on the
reverse, in direct contact with prototypical anonymous figuresfor the original beholders of the images he, more than other gods, was actively involved in
the lives of human beings.
73 Compare for the case of the Kodros Painter, Avramidou 2011, 84.
chapter 5
Dionysiac Mythology in Flux
Vase Imagery between 480 and 430 BC
Traditional Dionysiac Subjects
It is well known that for Athens the decades between the victory over the
Persians and the beginning of the Peloponnesian war were a period of selfconfidence and secured prestige in the Greek world. In Greek art the punctilious late archaic style is followed by the so-called severe style which is most
markedly expressed by the figures of the metopes and pediments of the temple
of Zeus at Olympia, completed in 456. The invention of counterpose for freestanding figures added spatiality and movement to the bodies; the faces were
allowed to express feelings. These changes probably next made themselves felt
in monumental painting, of which no examples remain, and only somewhat
laterand less noticeablyin vase painting. In the more modest production
of column kraters, pelikai and hydriai that Beazley attributes to the so-called
early mannerists, archaic formulae continued in use, albeit in a more fluent
manner.1 Nevertheless, the severe style may already be discerned in Hermonax
oeuvre and also turns up in the work of other painters, in the softer and richer
folds of the robes and in the perspectival traits of the lively bodies.
It is only from 460 BC onwards that the direct influence of monumental
painting becomes manifest in vase painting: figures become bigger, their movements more spatial, the background becomes deeper creating the impression
of a genuine landscapeeven though this could, at the same time, spoil the
aesthetic effect of the curved surface of the vase. As for the Italian exports
of the Kerameikos, it may not be entirely contingent that in these years the
Etruscan cities on the Tyrrhenian coast are superseded by a new market north
of the Apennines: Bologna, Spina and Adria. New consumers meant changes
in the demand. The leading figures in these new developments are, for the
large, closed vases and the kraters, the Niobid Painter, and for the cups, the
Penthesilea Painter.
Next to this new direction, more conservative and academic painters, such
as the Altamura Painter and the Villa Giulia Painter and his circle, hold their
ground. For them, the total effect of the image carrier remains more important than bold perspectival and monumental experiments. As we will see, from
1 a rv Chapter 34.
88
chapter 5
around 430 BC the sculptures of the Parthenon will have a profound influence,
both stylistically and iconographically.
In what follows we will first look at the most important vase painters of
these decades against the background of Dionysiac imagery, and subsequently
discuss Dionysiac mythology as it is presented in different variants by these as
well as other artists. In the next chapter we will examine groups of vases by several painters referring to Dionysiac rituals which have so far been somewhat
overlooked.
Dionysos was not a prominent theme for the Niobid Painter; he hardly features in that painters sculpturesque imagery. To be sure, however, the thiasos
is depicted once on a volute krater and once on a calyx krater, but in both cases
in one of the narrow friezes and therefore at a small size.2 The larger surfaces
present other subjects: the main image of the volute krater, for instance, is an
Amazonomachy. In the upper frieze of the calyx krater we see Dionysos among
other gods, engaged in the Gigantomachy (Figure 43). The Greeks saw both
battles as decisive events in the history of the world. It is therefore remarkable
that in the lower frieze of this same calyx krater the Dionysiac thiasos is set
against the sending out of Triptolemos on the reverse of the vase, as in the skyphos by Makron discussed earlier.3 Not much later it will be said in Euripides
Bakchai that grain and grapes, from which bread and wine are made, enabled
humanity to make the step from nature to culture.4 It seems clear that in these
two Dionysiac images the Niobid Painter transcends the individual perspective
and seeks to express the wider one of the polis. As in the work of Hermonax,
here too, the ritual elementsaltar, torch, and in the case of the volute krater
sacrificial basketsare striking. Moreover, the altar has a prominent place on
one of the painters belly amphorae, one of his neck amphorae and three of
his late hydriai.5 Instead of the thiasos, these vases present the motif of the
encounter between Dionysos and a dignified standing woman (Figure 44).
Apparently, the current trend towards ritualization also affected the Niobid
Painters Dionysiac images. In addition, the use of a static, symmetrical motif
2 Volute krater Ferrara 9355: Addenda 266 (600.14); ba 206942 (no image); calyx krater Ferrara
2891: Addenda 266 (602.24); ba 206956; Raubitschek/Raubitschek 1982, 114.
3 See above Chapter 3, note 106. This juxtaposition may also be found on the volute krater in
the manner of the Kleophon Painter, Stanford University 70.2: ba 8110 (no image); Clinton
1992, 124 and 166 f. fig. 1114; Smith 2011, 154 vp 15.
4 E. Ba. 278285.
5 Belly amphora London E 257: Addenda 267 (604.50); ba 206989; neck amphora New York
99.13.2: arv 605.61; ba 207000 (no image); hydriai Ancona 4862: arv 606.76; ba 207017
(no image); Ferrara 2683: Addenda 267 (606.77); ba 207018 (no image); Naples Stg 199:
arv 606.78; ba 207019 (no image).
89
Dionysiac Mythology In Flux
a
b
figure 43 Calyx krater, Niobid Painter, Ferrara, Museo Archeologico Nazionale di Spina 2891.
a. side view (left), detail of the upper frieze: Dionysos Gigantomachy.
b. side B, lower frieze: Dionysos amidst his thiasos (photographs Archologisches
Institut der Universitt Zrich, Silvia Hertig).
figure 44 Kalpis, Niobid Painter, Ferrara, Museo Archeologico Nazionale di Spina 2683
(photograph Archologisches Institut der Universitt Zrich, Silvia Hertig).
90
chapter 5
enabled him to underline the almost architectural character of the image carriers of the time. We will come back to the, rather rare, depiction of Dionysos
amorous pursuit of Ariadne on one of his oinochoai.6
The Altamura Painter is seen as the Niobid Painters stylistic elder brother.
He produced several unremarkable but nevertheless original Dionysos images.
On one of his calyx kraters Dionysos is leading a staggering Hephaistos towards
the right; a satyr playing the kithara goes in front (Figure 45). On the reverse
a maenad is using a torch to keep off a satyr who has fallen to his knees.7 A
pitcher shows two women handing the god, who is accompanied by his panther, the pieces of armor he will need in the battle against the giants.8 Two
vases by the same painter showing a Dionysiac child have become famous.
These, a sumptuous bell krater and a volute krater, were likewise found in the
Spina necropolis. They will be discussed in more detail below.
The Villa Giulia Painter is the most prominent representative of the socalled academic direction in early classical vase painting. His oeuvre mostly
consists of the more distinguished vase typescalyx and bell kraters, stamnoi,
and kalpides. Among the mythical figures Dionysos, with his retinue of women
and satyrs, dominates. Only anonymous women, men and youths are more
numerous. A number of original representations concerning both Dionysiac
mythology and Dionysiac ritual will be discussed below.9
As far as Dionysiac subjects are concerned, the komos is the most important
motif for the kraters by the early mannerists, followed by the thiasos, with or
without Dionysos, and the symposium; other mythological scenes are much
rarer.10 At any rate, it is notable that the thiasos is no longer a circle dance, but
clearly turning into a procession with ritual implements, as was the case in the
work of Hermonax and the Niobid Painter.
A prominent Kerameikos personality of the third quarter of the 5th century was the Achilles Painter. He and Hermonax were the Berlin Painters most
6 Cab. Md. 460: Addenda 267 (606.83); ba 207024.

7 Vienna 985: Addenda 264 (591.20); ba 206838; Natale 2008, 103, fig. 31. An almost identical
version of the same scene may be found on the calyx krater Naples Stg. 701: Addenda 264
(591.21); ba 206839 (no image). In this case, however, the satyr playing the kithara who
walks in front is not wearing a phallus costume so that there is no explicit reference to
the theater, see Carpenter 1997, 47. Compare in addition a stylistically similar calyx krater
with Hephaistos riding a mule in side saddle, Oxford (Ms) 1977.3.89: arv 597; ba 206922.
8 Bologna 338: Addenda 265 (595.65); ba 206890.
9 See below and Chapter 6.
10 arv Chapter 34. For the history and repertoire of the column krater, see Isler-Kernyi
1993b, 96.
91
figure 45 Calyx krater, Altamura Painter, Kunsthistorisches Museum, Vienna 985, detail of
side A: Dionysos with Hephaistos (cva Kunsthistorisches Museum, Vienna 3,
pl. 101.1).
influential pupils.11 His oeuvre mainly consists of neck-amphorae and lekythoi

and of the latter he made much more whiteground than red-figure ones; whiteground lekythoi were produced as funerary offerings and not meant to be used
at the symposium. The Achilles Painters red-figure activities begin between
470 and 460 and end around 430 BC.12 Dionysos is not among his preferred subjects: apart from the pointed amphora already mentioned, two early oinochoai
(still very much showing the influence of the Berlin Painter) and a later chous
show Dionysiac motifs in a ritual atmosphere.13 The first oinochoe shows a
woman who, with thyrsos and torch, follows Dionysos (Figure 46). He is carrying a kantharos and a thyrsos, and is walking towards the right while looking
11 Oakley 1997, 111.
12 Oakley 1997, 5.
13 For the pointed amphora see above Chapter 4, note 46; oinochoai and chous see Oakley
1997, 43 f.
92
chapter 5
back at her.14 He leads, and she follows him, more enchanted than euphoric.
A woman with the same attributes is the only figure on the other oinochoe.15
The chous, unfortunately, is only fragmentarily preserved: a figure with thyrsos
and kantharospossibly Dionysosis standing in the foreground to the right.
On the left a small satyr is approaching with a casket in his hand. On the floor
between the two is a chous, perhaps a reference to the Anthesteria.16 A stamnos, likewise in a fragmentary state, has on the one side Dionysos between a
satyr playing the barbitos and a woman who salutes the god, and on the other a
satyr between two women; the torches give the latter image a ritual aura.17 The
Achilles Painters middle period is represented by his only preserved komos
on a bell krater.18 It is a rather quiet scene showing a young komast playing
the lyra and an elderly one with cup and stick. A glossy black stamnos with a
a
b
figure 46 Oinochoe, Achilles Painter, Montpellier, Muse de la Socit Archologique 140.
a. detail: woman in Dionysos retinue (Oakley 1997, pl. 67).
b. detail: Dionysos (Oakley 1997, pl. 67).
14 Montpellier 140: Addenda 312 (992.74); ba 213895; Oakley 1997, no. 102, pls. 67 and 68 A.
15 Vienna 350: arv 992.75; ba 213896; Oakley 1997, no. 103, pl. 68 B.
16 Athens, Agora P 5729: arv 993.78; ba 213899; Oakley 1997, 43, no. 107, pl. 69 C.
17 Florence 3988: Para 437 (992.66); ba 213887; Oakley 1997, no. 91, pls. 57 and 59 C. For the
barbitos, see above Chapter 2, note 48.
18 Metaponto 202446: ba 19768; Oakley 1997, 44 and 82 (for the somewhat unusual form of
the krater with a sharp lined lip, concave exterior profile and lug handles), no. 84, pl. 53.
93
comical, prying little satyr walking to the right as a shoulder image is attributed
to his later work.19
As for the pointed amphora, its well-considered composition and careful execution are in perfect accordance with its exclusive shape (Figure 47).20
In the center of the main side, unequivocally determined by the position of
the handles, we see Dionysos, striding briskly towards the right. He wears a
panther skin over his chiton and carries thyrsos and kantharos in his hands.
He turns towards a dancing maenad on his left, likewise with animal skin and
thyrsos. A maenad with thyrsos and torch walks in front of him; a maenad with
a tympanon and a woman playing the flute follow below the left handle. All
women mentioned so far wear their hair loose and uncovered except for an ivy
wreath. On the left an energetically moving satyr with thyrsos and torch makes
up the rear. A maenad with short waving hair, shown from the back, takes the
center on the reverse. In her lifted hands she holds one half of the fawn she
has apparently torn apart. To her left are two women, one of them holding a
snake, the other a thyrsos. Both have their hair neatly gathered up, one even
wears a cap. They are walking in a close embrace, as did, a century earlier, the
two maenads on the neck-amphora of the Amasis Painter in Paris. Like them,
they may be interpreted as a Sapphic pair and as a reference to that part of the
life of adolescent girls they spend away from the city in the sole company of
women.21 Behind them, below the other handle, follow a second dancing satyr,
holding his thyrsos upside down, and a woman who may be playing cymbals.
On the Dionysos side the image can be read as a ritual thiasos. The reverse is
more dramatic: we may presume that the Achilles Painter wanted to depict
the, in the eyes of the citizens, more unpleasant side of maenadismthings
that took place outside the city in unspoiled nature. This would very well fit the
close relationship between image carrier and polis discussed earlier.22
The vase painter Polygnotos, active from around 450 until c. 420 BC, was presumably a pupil of the Niobid Painter.23 He was the leading decorator of stamnoi, kraters and large neck-amphorae of the Kerameikos. His sixteen remaining
stamnoi present original mythological subjects; six of them are of a Dionysiac
19 Munich 2403: Addenda 312 (992.67); ba 213888; Oakley 1997, 43, no. 94, pl. 61 AB.
20 Cab. Md. 357: Addenda 311 (987.2); ba 213822; Oakley 1997, 52 f., no. 2, pl. 2 B-4. It is, however, sometimes hard to determine how much of the image is original and how much is
due to the restorers.
21 See Isler-Kernyi 2007, 134 f. Compare Robertson 1992, 195 about the two women: ...one,
her arm over the others shoulder, looks back and down to her with great tenderness...
22 See above Chapter 4.
23 Matheson 1995, 3.
94
chapter 5
a
b
figure 47 Pointed amphora, Achilles Painter, Paris, Bibliothque Nationale de France, Cabinet
des Mdailles 357.
a. side A: Dionysos (Oakley 1997, pl. 4a).
b. side B: maenad (Oakley 1997, pl. 3a).
nature.24 Komos and symposium inspired him to conduct interesting artistic experiments, such as the daring three-quarter view of the face of one of
the symposiasts on the Rome stamnos and the expansive dance movements
24 Florence 4227: arv 1028.11; ba 213392; Louvre 406: Addenda 317 (1028.12); ba 213393;
Athens, Acr. 18063: Addenda 317 (1028.13); ba 213394 (no image); London E 454: arv
1028.14; ba 213395; Oxford (Ms) 1977.3.96: arv 1028.15bis; BA 213397 (no image).
95
of the komasts on a well-preserved bell krater from the Pezzino necropolis at

Agrigento, which, finally, served as a burial urn (Figure 48).25
Belonging to the circle of Polygnotos, the somewhat younger Kleophon
Painter is stylistically equally innovative and of the same artistic level. He was
active from around 440 until c. 410 BC; his style shows the strongest influence
of the Parthenon sculptures.26 Apart from his numerous stamnoi, with ever
varying komos scenes, and his dinos with symposiasts, three of his vases merit
special mention.27 The most impressive one is the Ferrara volute krater, with a
depiction of a sacrificial procession for the Delphic Apollo on the one side, and,
supposedly, on the other the return of Hephaistos by Dionysos with his thiasos retinue (Figure 49).28 The two scenes, however, are not strictly separated:
the thiasos directly follows the sacrificial procession. Moreover, the youthfulness of the figure on the mule rather suggests a ritual train evoking the mythical return, as it was presumably already depicted in black-figure imagery.29
Apparently, the juxtaposition of Apollo and Dionysos was especially topical
in these years. As we will see, Phidias made the young Dionysos he created for
the east-pediment of the Parthenon resemble Apollomade them brothers
in outward appearance as well.30 We will again find Apollo and Dionysos in
Delphi on an important later calyx krater by the Kadmos Painter.31
The large pelike showing the return of Hephaistoson footin a mythological ambiance, presents Dionysos as a remarkably majestic presence, his
thyrsos vertically fixing the image (Figure 50).32 Over his chiton he wears the
multicolored ependytes and the fawn skin. He walks to the right, followed
by his intoxicated brother, who leans on a helpful satyr. Another satyr walks
ahead, making expressive gestures at a maenad who leads the train with her
tympanon.
25 Stamnos Rome, Villa Giulia 3584: arv 1028.15; ba 213396; bell krater Agrigento ag 22797:
ba 31415 (no image); De Miro 1994, Color plate 34; Torelli 2012, 422 f. The other side has two
standing youths wrapped in their mantles.
26 Isler-Kernyi 1973, 29 f.; Matheson 1995, 135145.
27 Stamnoi: Munich 2414: Addenda 334 (1143.6); ba 215146; St. Petersburg 2353 (810): Addenda
334 (1144.7); ba 215147; Copenhagen ncg 293: Addenda 334 (1144.8); ba 215148; Brussels
A 3091: Addenda 334 (1144.9); ba 215149; Minneapolis (Mn) 09.6: Addenda 334 (1144.10): ba
215150; for the dinos see Ferrara 9379: Addenda 334 (1144.11); ba 215151.
28 Ferrara 44834: Addenda 334 (1143.1); ba 215141 (no image). See also Isler-Kernyi 2002a,
74 f.; Halm-Tisserant 1986, 813 (return of Hephaistos).
96
chapter 5
figure 48 Bell krater, Polygnotos, Agrigento, Museo Archeologico Regionale ag 22797, side A
(De Miro 1994, pl. 34). Regione Siciliana-Assessorato Reg.le dei bb.cc. e dellI.S.
figure 49 Volute krater, Kleophon Painter, Ferrara, Museo Archeologico Nazionale di Spina
44834, detail of side B (photograph Archologisches Institut der Universitt Zrich,
Silvia Hertig).
97
figure 50 Pelike, Kleophon Painter, Munich, Staatliche Antikensammlungen und Glyptothek,

2361, side A (fr pl. 29).
One of the Kleophon Painters bell kraters was noticed by scholars at an early
stage because of its unique depiction of a dithyrambos chorus.33 Five singing
bearded men in embroidered hymatia, and a youthful aulos player are standing
on both sides of a peculiar, seemingly temporary, cultic object, the lower part of
which is swathed in ivy. Interestingly, the precentor is shown full face. On the
reverse we see a satyr in a himation with a torch in his hand walking between
two women with thyrsoi. Is this likewise an otherwise unknown Dionysiac
ritual? The outside images of the only remaining cup of the Kleophon Painter
both have two lively pairs of obtrusive satyrs and vehemently resisting maenads. In the medallion a satyr parades before Dionysos with his aulos.34 The
bell krater in St. Petersburg, with komasts on the one side and youths wrapped
in mantles on the other, is remarkable because of the site where it was found:
Nymphaion on the northern coast of the Black Sea.35 In this area Attic pottery
(and its Dionysiac imagery) dating before the middle of the century is rarely
found. It usually dates after 440 BC, especially the 4th century.
Compared to the great cup painters of the second quarter of the century
the Brygos Painter, Douris, Makronthe next generation shows much less
distinction, and only the work of the Euaion Painter has a sizeable number of
Dionysiac motifs: thiasos, komos and symposium can be found on many of his
33 Copenhagen 13817: Addenda 335 (1145.35); ba 215175.
34 Oxford 1925.621: Addenda 335 (1147.68); ba 215208.
35 St. Petersburg St. 2077: Addenda 335 (1145.30); ba 215170.
98
chapter 5
cups, otherwise populated by anonymous athletes and warriors.36 The work of

the considerably less productive Amymone Painter is quite comparable.37 The
oeuvre of the Euaion Painter makes us aware how quiet the thiasos consisting
of satyrs and maenads has become, compared to the images of, for instance,
Douris and, especially, Makron. The situation is no different for the Pistoxenos
Painter and his circle.38 And neither can the satyrs and maenads on the cups of
the Penthesilea Painter be called innovative.39
Among the cup painters who were active between 440 and 410 BC the
Kodros Painter and the Eretria Painter, who will be discussed later, are the most
important.40 The former is remarkable for some rather original representations
of Athenian mythology. As we have seen, Dionysos held a special place in the
hearts of the Athenians, and it is therefore not surprising that, apart from unremarkable thiasos images, two unique depictions of Dionysos by the Kodros
Painter have survived. We will come back to the inside image of the superb cup
in Wrzburg, showing Dionysos, Ariadne, and other figures.41 Instead of the
traditional lively thiasos, the two outside images each have clusters of quietly
standing figures: three satyrs and two maenads. Here too, the trend towards
restraining the thiasos, already discerned in the work of the Euaion Painter,
cannot be overlooked.
The Kodros Painter also presents Dionysos on another cup, which is dated
to an earlier stage in his career, between 440 and 430 BC.42 The outside images
each have two divine couples, the inside image has one. All are presented
in a symposium situation. Side A shows Zeus with Hera, and Poseidon with
Amphitrite. Side B has Dionysos with Ariadne, and Ares with Aphrodite. The
medallion shows Hades and Persephone. In all five instances the god is reclining on a couch that seems rather too small for him. The goddess is sitting at
his feet so that the heads are all on the same level. This gives the images a
strikingly uniform rhythm, broken by the head of Aphrodite, the only one to
be standing. Because of this uniformity it is all the more striking that only
on the A side a pillar marks the center of the image. Perhaps it indicates the
oikos, a suitable framework for the two regularly married divine couples, a
36 arv 789797, nos 1135.
37 arv 830832, nos 124.
38 arv 859876.
39 arv 883 f., nos 4775.
40 See below Chapter 8; Avramidou 2011, 2325.
41 See below Chapter 8, note 135; Avramidou 2011, 23.
42 London E 82 (1847.99.6): Addenda 356 (1269.3); ba 217212; Paul-Zinserling 1994, 42;
Avramidou 2011, 23.
99
s tatus neither Ares and Aphrodite, nor Dionysos and Ariadne can claim. Zeus
is flanked by the Olympian cup-bearer Ganymede; a satyr is next to Dionysos.
All figures have their names: the satyr is called Komos.43 Like the other male
gods (with the exception of Ares), Dionysos holds a phiale here instead of his
kantharos, and, like Hades, very noticeably so.44 Each god wears a different
headdress; Dionysos has his ivy wreath. As is becoming for mature men and
worthy spouses, all gods are bearded.
Although the decoration seems at first sight quite accessible, due to the
uniqueness of the images there is, in fact, much that remains enigmatic. Let
us only say that the symposium setting in which the divine couples are placed,
expresses at least two things: a salutary state of bliss, which implicitly includes
matrimony and its promise of stability and continuity for the polis, and the
equality of the gods in power and rank.45 Only Hades, placed in the medallion
of the cup, has more prominence.46 It is no coincidence that this reminds us
of black-figure cups whose inside images evoke at the same time Dionysiac
bliss and death.47 The fact that, as far as the goddesses are concerned, only
Persephones feet are not touching the ground must, in the case of a highminded artist like the Kodros Painter, be intentional; it is probably a reference
to her youth.48 The selection of divine spouses for the outside of the cup is likewise significant: they are the same as those in the first three chariots of Thetis
wedding procession on the dinos by Sophilos and later on the Franois krater.
The Kodros Painter adds Dionysos, who played a key role on these earlier vases.
A splendid cup signed by the potter Sosias with the same selection of gods
may be dated around 500 BC, exactly between the earlier depictions and the
Kodros Painters cup.49 As already became clear from our discussion of one of
Syriskos pointed amphorae: the recollection of the fact that the stability of the
43 The same name is given to a satyr boy on the roughly contemporaneous bell krater
Compigne 1025, which will be discussed below, see Chapter 6, note 99. See also Smith
2007, 156158.
44 I am not certain if he, as Avramidou 2011, 43 says, offers it to Ariadne, like Hades offers his
to Persephone. There can be no doubt, however, about the significance of the analogous
gestures of the two gods.
45 Compare Avramidou 2011, 44: ...the cup presents us with a banquet of democratic parity, and 46: The Divine Banquet cup offers a good opportunity for a multiple approach
to its interpretation. Similarly Schmitt Pantel 2011, 134136.
46 For this and for a possible relationship with the Etruscan site where the cup was found,
see Avramidou 2011, 44 f.
48 Compare Avramidou 2011, 43.
49 Berlin F 2278: See above Chapter 2, note 81; Isler-Kernyi 2008a, 76 f., figs 7 ab.
100
chapter 5
order of Zeusthe existing order for the original beholders of the cupwas
guaranteed by the marriage of the goddess Thetis with the mortal Peleus was
apparently still present, and with it the awareness of Dionysos important position on the Olympus.50
The Child Dionysos
We first encountered this motifin a fragmentary but very lavish versionon
a cup by Makron which may be dated shortly after 480 BC.51 The cup was found
on the Acropolis and was therefore a valuable votive gift. Followed by Athena
and Poseidon, Zeus walks towards an altar with the child in his arms, behind
Hermes who is on his right. The child, at the center of the scene, is holding a
vine branch with big grapes. Two women are busy at the altar, which is decorated with a small image of a kid. One is handling a jug, the other scattering
something on the altar from a sacrificial basket. To the right of the women, in
the handle zone of the cup, a hill behind some trees indicates Mount Nysa
unspoiled nature, dwelling place of the nymphs (Figure 51).
The motif of the infant Dionysos handed over by his father may also be found
on a neck-amphora attributed to the Eucharides Painter, as well as on a fine
kalpis by the Syleus Painter, whose work should be dated in about 480470BC.
Both are more or less contemporaneous with Makrons cup. It is furthermore
reproduced on a stamnos by the Painter of the Florence Stamnoi, and finally,
between 460 and 450 BC, on two magnificent kraters by the Altamura Painter
and a more modest pelike by the Nausikaa Painter.52 We should, however, also
take into consideration a number of images designated as the handing over of
the infant Dionysos, where the figure who brings the child is not his father.53
The theme was topical from around 480 until c. 420 BCthe evidence peaks
around 450, its aftermath reaching beyond 400 BC.

51 Athens, Acr. 2.325: see above Chapter 3, note 112. Also Kunisch 1997, 137; Schne 1987, 85;
Carpenter 1997, fig. 20 A; Moraw 1998, fig. 32; Stark 2012, 94103, 238, Cat. D rV 2.
52 Charles Ede, sales catalogue Pottery from Athens V, 1979, no. 22. On a rather badly preserved belly amphora in Bologna, which may be dated around 460 BC (Museo Civico
Archeologico 17100: Pellegrini 1912, 48, no. 153), we see a woman with a child on the left,
and on the right a woman with a kantharos; it is not clear whether the cloaked figure, with
thyrsos and ivy wreath, in the center of the image is Zeus or another nymph.
53 Compare Gasparri 1986, 479 f. In addition the kalpis by Hermonax, see below note 61.
101
figure 51 Cup, Makron, Athens, National Museum Acr. 2.325, fragments of outside image,
side B (gl ii, pl. 20.325).
Three thematically related representations, specifying the mythological situation, can also be added to the group with the handing over of the
Dionysos child. The lekythos by the Alkimachos Painter showing Dionysos
birth from the thigh of his father was made around 450 BC.54 The presence
of Hermes, ready to take his leave, here refers to the handing over of the child
which followed his birth. A fragment of a calyx krater in the manner of the
Dinos Painter, produced about thirty years later, indicates the same event.55
It shows the infant Dionysos rising from the thigh of a seated Zeus. He extends
his little arms towards a figure about to receive him (Figure 52). The famous
hydria by the Semele Painter of about 400 BC has the dead Semele on her
couch as the central figure of an image with an almost theatrical atmosphere.
In the foreground to the left Hermes is carrying away the infant Dionysos, who
holds a large ivy branch.56 Zeus, Aphrodite, Hera, Iris, nymphs, satyrs, and several anonymous figures are present at the scene.
In any case, the depictions of the handing over of the infant just mentioned
do not present an iconographic whole. Makrons cup best corresponds to
54 Boston 95.39: Addenda 255 (533.58); ba 206036; Zanker 1965, 80.

55 Bonn 1216.19: ba 12464; Stark 2012, 247, Cat. D rV 25.
56 Berkeley 8.3316: Addenda 367 (1343.1); ba 217563; Zanker 1965, 80.
102
chapter 5
figure 52 Fragment of a krater, artist from the sphere of the Dinos Painter, Bonn,
Akademisches Kunstmuseum 1216.19 (cva Bonn 1, pl. 33.9).
the familiar myth.57 The Eucharides Painters amphora depicts Zeus striding
towards the right with the swaddled infant.58 On the reverse we see a standing woman who, Muse-like, carries a lyra. It is very well possible that she is
one of the nymphs of Nysa, whose lyra characterizes her as an educator.59 The
luxuriant palmette volute extending from the handles to the images, evokes
unspoiled nature.
As far as the composition is concerned, on the version of the Syleus Painter
and, somewhat later, those of Hermonax and the Painter of the Florence
Stamnoi, the event takes place in a space situated between exterior and interior, as the pillar near the center of the images indicates. In this respect these
images differ from the Makron cup as well as from the amphora discussed
above, and seem more closely related. The Syleus Painter presents Zeus, with
his characteristic scepter, handing the child to a young woman wearing a
58 New York L 1982.27.8: ba 9025040 (no image) (on loan from G. Callimanopoulos); Van
Keuren 1998; Stark 2012, 68, 237, Cat. D rV 1.
59 The literary tradition also refers to Muses as the educators of Dionysos: Privitera 1970, 98.
See below Chapter 6, note 52.
103
d iadem. She is sitting on a folding chair in front of the pillar. On the left another
young woman looks on. She is wearing an ivy wreath and, likewise, holding a
scepter.60 The child and the seated woman both hold an ivy branch (Figure 53).
In the incomplete image of the Hermonax kalpis, Hermes is calmly approaching an edifice indicated by two pillars.61 The gesture he makes with his left
arm probably signifies hushing or whispering; on his right he carries the naked
infant. Inside the building a figure holding a phiale is seated on the leftpossibly the enthroned woman discussed in the next example. The woman standing
before her looks towards Hermes. Instead of ivy branch and thyrsos, two kantharoi on a table in the center of the image indicate the Dionysiac ambiance.62
Most likely, the infant is Dionysos who should be concealed from Hera.
At the center of the image on the stamnos by the Painter of the Florence
Stamnoi stands a young woman holding a child (Figure 54).63 To the right,
turning towards her, is a dignified, bearded man carrying an otherwise undetermined stick in his right hand; the left is hidden in the folds of his himation.
The child is extending its arms towards him. Has he just handed it over or is he
about to receive it? On the left, in a temple-like structure, a mature woman sits
enthroned like a goddess on a taboret without armrests. In her left hand she
holds a magnificent thyrsos, in her right a phiale. On the reverse three women,
wrapped in their himatia, are excitedly deliberating. One of them is holding a
thyrsos. We do not know if the pillar these three versions (datable to c. 470 or
shortly afterwards) have in common stands for the oikos or for a sanctuary. On
the basis of the attributes, the images definitely belong to Dionysiac mythology. However, they sit uneasily with the myth of the handing over of the child
Dionysos to the nymphs of Nysa as represented by, for instance, Makron.
On one side of the Altamura Painters superb bell krater we find an athlete
between a musician and a victory goddess.64 On the other, a seated bearded
man with a thyrsos in his left hand dominates the center of the image. He has
on his thigh a slender boy with a kantharos in his right hand and an ivy branch
in his left. Left of the scene is a woman with flowers in her hands, and on the
right another woman who lifts her right hand in a gesture of wonder, in her left
she holds a piece of cloth. Blossoms and leaves protrude from the handle ornament, underlining the joyful atmosphere of the scene while simultaneously
60 Cab. Md. 440: Addenda 203 (252.51); ba 202896; Stark 2012, 86, 238 DrV 3.
61 Private collection, Greece: ba 5703 (no image); Carpenter 1997, pl. 22 B; Stark 2012, 70 f., 86,
241 DrV 8.
62 Brard/Bron 1986, 20 f. and note 46.
63 Louvre mnb 1695 (G 188): Addenda 252 (508.1); ba 205715; Stark 2012, 86, 240 DrV 6.
64 Ferrara 2738: Addenda 264 (593.41); ba 206865.
104
chapter 5
figure 53 Kalpis, Syleus Painter, Paris, Bibliothque Nationale de France, Cabinet des Mdailles
440 (Arafat 1990, pl. 11a).
figure 54 Stamnos, Painter of the Florence Stamnoi, Paris, Louvre mnb 1695 (G 188), side A
(limc iii.2, Dionysos 703).
105
figure 55 Bell krater, Altamura Painter, Ferrara, Museo Archeologico Nazionale di Spina 2738,
side A (photograph Archologisches Institut der Universitt Zrich, Silvia Hertig).
evoking nature (Figure 55). The fawn skin on the chair has given rise to scholarly debate about whether the father figure is Zeus or Dionysos.65 The artistically more modest, but iconographically similar image on a more or less
contemporaneous pelike by the Nausikaa Painter makes it clear that a father
figure with a scepter should be identified as Zeus.66
The handing over of the infant Dionysos may also be seen on the main side
of the volute krater by the Altamura Painter (Figure 56).67 There can be no
discussion about the identity of the figure here: Zeus is holding his scepter
and the child kantharos and ivy branch. As for the young women on both sides
of the central group: the one on the left has a small wild cat on her shoulder,
the one on the right a flower in each hand. Because of their obvious relationship with nature they must be nymphs. It is, however, not really clear whether
Dionysos is about to be received by his father or by the nymphs: his position
65 Simon 1976, 132 f.; limc iii, Dionysos 705.
66 Possibly in the art trade: ba 6306 (no image); Stark 2012, 67 f., 240, Cat. D rV 7; Carpenter
1997, 54 f. and note 20.
67 Ferrara 2737: Addenda 264 (589.3); ba 207139; Stark 2012, 74 f., 239 DrV 4.
106
chapter 5
figure 56 Volute krater, Altamura Painter, Ferrara, Museo Archeologico Nazionale di Spina
2737, side A (photograph Archologisches Institut der Universitt Zrich, Silvia
Hertig).
between the two is ambivalent. Scenes from the lives of successful young men
provide a counterbalance. The reverse side takes us to the palaestra: it shows
two athletes, a trainer or referee, and an aulos player. On the main side the
smaller neck image shows Nike crowning a kithara player; on the reverse we
find erotic overtures between men and boys.
The images by the Altamura Painter, probably created around 450 BC, are
remarkable for their variety. However, in both cases the child Dionysos holds
center stage and the women involved are nymphs who belong to unspoiled
nature. Comparable discrepancies between images depicting the same
eventwhich highlights the topicality of the thememay be discerned in the
work of the Villa Giulia Painter, who was active around the same time. He will
be discussed in greater detail in the next chapter. Both his bell krater and his
calyx krater have Hermes, with wide-brimmed hat and kerykeion, at the center
of the image, seated on a rock (Figure 57).68 The child he is holding extends
his little arms towards a Dionysiac woman standing before him. On the left
68 Bell krater London E 492: Addenda 270 (619.16); ba 207166; calyx krater Moscow, Pushkin
Museum ii 1b 732: Addenda 270 (618.4); ba 207152; Zanker 1965, 78; Stark 2012, 79, 242 Cat
DrV 12.
107
figure 57 Calyx krater, Villa Giulia Painter, Moscow, Pushkin State Museum of Fine Arts ii 1b
732, side A (cva Moscow 4, pl. 22.1).
another woman is watching intently. On the reverse of the bell krater we see
figures from the palaestra; the reverse of the calyx krater shows an aged king
between two women who hasten away in fear.69 On his hydria an elderly satyr
carries the little boy towards a woman seated on a rock. She wears the nebris
and holds a thyrsos. The child gently strokes the satyrs beard. On the left, a
woman in a coif is holding an object that is hard to define; it may be a wreath.70
The unattributed pelike, which possibly dates from around 450 BC, shows
Hermes, who, coming from the right, walks towards the aged Silenus sitting
on a rock in the center of the image. He carries the child, wrapped in a cloth.
On the left a woman carrying kantharos and oinochoe is approaching in a
69 If the main image had been an amorous abduction, this image would have been more
suitable.
70 New York X.313.1: Addenda 271 (623.69); ba 207223; Stark 2012, 83, 245 DrV 21.
108
chapter 5
respectful manner.71 The pelike is iconographically very similar to another one

that was probably considerably repainted.72
A pelike of about 440 BC decorated by the Chicago Painter, who belonged
to the Villa Giulia Painters circle, shows Hermes handing over the little lad to
a young woman left of him (Figure 58).73 The direction of the gesture is clear
from the way they and the child hold their arms. All figures have their names
mentioned; the young woman is designated Ariagne, probably an allusion to
Ariadne, most famous among Dionysiac women.74 The reverse has two anonymous young women engaged in conversation. On an, iconographically strongly
related, pelike by the Barclay Painter the scene has been reduced to only two
figures.75 Hermes approaches from the right with the child wrapped in a cloth.
He walks towards a woman, whose lifted left hand expresses her willingness
to receive the infant. There is nothing that characterizes this female figure. On
the reverse two anonymous youths, wrapped in their cloaks, are engaged in
conversation.
We will discuss the Phiale Painter in more detail in the next chapter. The
best-known version of the scene on a white ground, however, belongs to his
oeuvre (Figure 59).76 It shows the aged Silenus, wearing an ivy wreath and with
a thyrsos in his left hand. He is sitting on a rock overgrown with ivy, his right
hand ready to take the child, wrapped in a cloth, which Hermes carries towards
him from the left. Behind Silenus a woman, leaning on him, looks on; on the
left, behind Hermes, another woman does the same. She is sitting pensively
on a rock with an ivy branch in her hand. The reverse side of the krater shows
a seated female musicianpossibly a Musebetween two standing women.
The bell krater by the Clio Painter, probably likewise created around 430 BC,
shows a woman handing over the child to a seated satyr, who presents his right
hand. He has a thyrsos in his left. On the right and left two standing women,
each holding a thyrsos, frame the scene.77 According to Beazley, a satyr and a
maenad are represented on the reverse side. On a somewhat later calyx krater
71 Formerly Liverpool: Krumeich/Pechstein/Seidensticker 1999, 254 and note 18; Buschor
19041932, 305, fig. 146; Stark 2012, 245, Cat. D rV 19.
72 Rome, Villa Giulia 1296: Zanker 1965, pl. 6a; Stark 2012, 244, Cat. D rV 17. arv does not
confirm the attribution to the Villa Giulia Painter.
73 Palermo 1109: arv 630.24; ba 207307; Zanker 1965, 78; Stark 2012, 78 f., 241, Cat. D rV 9.
74 According to Carpenter 1997, 58, the vase painter made a mistake here.
75 Rome, Villa Giulia 49002: Addenda 325 (1067.8); ba 214379; Stark 2012, 81, 242, Cat. D rV 10.
76 Vatican 16586 (559): Addenda 315 (1017.54); ba 214232; Oakley 1990, 19, no. 54, pl. 38; Stark
2012, 237 dwgr 1.
77 Naples, Stg 283: arv 1080.3; ba 214510. See in addition the old drawing in Moraw 1998,
fig. 48; Stark 2012, 245 f., Cat. D rV 22.
109
figure 58 Pelike, Chicago Painter, Palermo, Museo Archeologico Regionale 1109, side A
(photograph H. Bloesch).
figure 59 Calyx krater with a white ground, Phiale Painter, Rome, Museo Gregoriano Etrusco
Vaticano 16586 (559), side A (fr pl. 169 below).
110
chapter 5
in the manner of the Dinos Painter Hermes hands over the infant.78 He dominates the center of the image as he moves rather boisterously towards the left
with the swaddled child. Here a woman is waiting. She carries a long stick, possibly a thyrsos. On the right, a white-haired satyr looks on, leaning on one foot.
After 400 BC the handing over of the infant Dionysos also occasionally
occurs in Attic vase painting.79 We find it, for instance, on the lid of a lekanis,
which may be dated around 360 BC. Here the person who brings the child is
a satyr and, for the first time, the event is depicted as a turbulent, eroticallycharged dance scene.80 The multi-colored garb of the aulos player, and the fact
that one of the satyrs wears animal skin trunks can, however, be interpreted as
a reference to the theater. Finally, the image on an important Eleusinian pelike
may be attributed to the heyday of the Kerch style, the decade between 340
and 330.81 On one side it shows Demeter with other gods and heroes, among
whom a youthful Dionysos who resembles the one on the east pediment of
the Parthenon. On the reverse we see a female figure rising from the earth,
who hands Hermes a Dionysiac childpossibly Dionysos-Zagreus, the son of
Persephone. Other gods are looking on, with Athena dominating the scene.
The image is of importance for the present discussion, not only because of
the interpretation of the individual figures, but also because it demonstrates
that the handing over of a Dionysiac child played a part in the Eleusinian
Mysteries.82
What conclusions can we draw from the set of images that belongs to the 5th
century? The thyrsoi and ivy branches, and also the names given to the figures
all refer to the child Dionysos. From literary sources we know that there were
several versions of the myth; this is normal in a polytheistic thought system.83
The person handing over the child may therefore be Zeus, but also Hermes,
and the place where the infant finds refuge from Heras wrath may be a temple
instead of Mount Nysa. The main question remains, however, why vase painters only took up the subject around 480 and applied it over the next fifty years.
78 Louvre G 478: Addenda 337 (1156.17); ba 215317; Stark 2012, 81 f., 85, 243, Cat. D rV 13. On the
reverse, a young man playing the aulos (left) faces a dancing youth in a himation.
79 It remains uncertain whether the little naked boy handed over to Athena on the bell
krater fragment from Paros, dated shortly after 400 BC, is indeed Dionysos. It is equally
unclear if the wreath he is wearing is made from ivy leaves. See Avramidou 2009, 2.
80 St. Petersburg 2007: Stark 2012, 246, Cat. D rV 23; Walter 1959, 21, fig. 14.
81 St. Petersburg St. 1792: Addenda 381 (1471.1); ba 230431.
82 The interpretation of the figures on both sides of the vase remains open, because Clinton
1992, 172 does not support Simons interpretation first published in 1966 (1998b, 182190,
fig. 15, 34).
83 Compare Carpenter 1997, 55 f.
111
In order to answer this question it is advisable to look at both the common and
the distinguishing characteristics of this set of images.
From Makron until about 450 BC there is the marked importance of the
regal father figure: Zeus. With Hermonax and the Villa Giulia Painter we enter
a new phase and Hermes and Silenus make their appearance. As we have seen,
vase paintings may show ritual manifestations of myths in which the role of
the mythical original is taken over by a human agent.84 This insight allows us to
construct a hypothetical relationship between the images featuring Zeus and
Athenian reality. Like many Athenian children, Dionysos had been fathered
out of wedlock. However, because it was his father who, miraculously, completed the pregnancy, he became the most legitimate of the sons of Zeus, and
every Athenian father who acknowledged his son through a legitimization
ritual could identify with Zeus.85 It is possible that the ambivalence of the representation on the bell krater by the Altamura Painter is intentional.86 Its aim
may have been to point at a matter of vital importance to both divine and
human fathers: the legitimacy of their children. In the years just before 450
BC, when Perikles issued his famous law, the subject must have been discussed
openly.87 The athlete who is greeted by the victory goddess on the reverse side
of the vase perhaps evoked the successful future envisaged for the acknowledged son.88
After 450, the father figure and the emphasis on the legitimacy of the child
disappear and the attention shifts to the moment of the handing over of
the infant by the divine messenger and conductor of souls. Why this development takes place remains a problem for which not even Sophocles satyr
play Dionysiskos offers a solution.89 In any case, the important role Hermes
now fulfills, refers to the existential significance the handing over has for the
child. What can be the reason the Villa Giulia Painter chose to depict a seated
Hermes? Did he mean to indicate that, before it was brought to the nymphs,
the child was in the care of the conductor of souls?
85 See Isler-Kernyi 1993a, 9.
86 For the intentional ambivalence of vase paintings, see Sparkes 1996, 135.
87 Welwei 1999, 111; Will 2000, 568.
88 The reverse of the pelike by the Nausikaa Painter shows two youths wrapped in their
mantles, see Beaumont 1993, 465, no. 4.
89 Carpenter 1997, 156; Moraw 1998, 153; Stark 2012, 88; Oakley 1990, 19; compare S. Scheurer/
R. Bielfeldt in: Krumeich/Pechstein/Seidensticker 1999, 253258 and especially 255:
...die Vasenbilder und das Satyrspiel des Sophokles sind ein Reflex davon (i.e. reflect
the fact that in the course of the 5th century Silenus became part of the family idyll surrounding the handing over of the infant).
112
chapter 5
In the images with the father figure, as well as in those featuring Hermes, the
action takes place in the presence of Dionysiac women. These represent the
wilderness as opposed to the polis. The same holds true for the aged Silenus.
This particular Dionysiac world is clearly distinguishable from that of the
ecstatic, erotically-charged dance of the satyrs and their female partners. The
role of the old satyr here seems comparable to that of the good and wise centaur Chiron in the life of Achilles. This suggests that, between 480 and 420 BC, a
third type of Dionysiac women joined the dancer and the woman who, amidst
the noisy members of the thiasos, quietly approaches the god: the nymph who
takes care of children.90 Nevertheless, the event not only concerns the world
of women. To be sure, in three instances the image decorates a kalpis, a vessel
with female connotations. Moreover, judging from the image on the reverse,
the stamnos, the calyx krater, and one of the pelikai likewise mainly seem
to address women. This cannot be said, however, about the two vases by the
Altamura Painter, the Villa Giulia Painters bell krater, and the pelike by the
Barclay Painter. The theme of a little boy fated to be brought up, not by his own
mother, but in the wilderness, apparently carries significance for the entire
polis. The handing over of the child Dionysos to the nymphs of the wilderness
or to the aged Silenustutor and father of the satyrs, known from the satyr
playindicates that the god himself, although a legitimate son of Zeus and
guarantor of his order, went through a phase of taming and cultivation outside
the civilized world. Would there have been real Athenian women who could
take on the role of the nymphs and bring up these little untamed creatures for
the polis?
Within this set of images, the frequent occurrence of the ivy (both the ivy
branch and the ivy wreath) is also rather striking. This ties in with my earlier
thoughts on the ivy in relation to archaic Dionysiac iconography.91 Depending
on whether the branches are old or new, the leaves of the ivy are different:
those of the previous year are dark green and have pointed tipsthe new
ones, however, are a clear green and heart-shaped, as they appear on the vases.92
This eminently suits the idea of Dionysos as the god of all metamorphoses and
is especially appropriate for the Dionysiac child.
90 Compare Carpenter 1997, 69, who presumes all these women are mythical nymphs. About
the women who interact with satyrs, Lindblom 2011, 158, on the other hand, states: ...it
is on iconographical grounds impossible to identify the women as hetairai, maenads or
nymphs.
92 Kaeser 1990, 331, fig. 56. 9ab.
113
Every god has a history that starts with his or her birth, but Dionysos is the
only one of the children of Zeus whose birth and childhood developed into a
theme for the decoration of vases, specifically red-figure vase painting.93 There
was no other god with whom young children could be identified.94 He was
present in every individuals life from its very beginning. Moreover, the images
served as a reminder of the fact that, next to Zeus and his powerful brothers Poseidon and Hades, there was a younger generation of gods, of which
Dionysos was a representative. As we will see, around 450 BC this may have
inspired the new Dionysos concept visible in the Parthenon.95
Dionysos in Love
When a vase painting shows a meeting between Dionysos and a woman,
scholarship usually designates her as Ariadne, even when she is no different
from any other female approaching the god in a ritual context.96 So much
is certain: within mythology as we know it, Ariadne was the only woman to
become Dionsyos regular spouse. In the decades between 480 and 440 BC the
subject of gods in amorous pursuit was popular in red-figure vase painting.97
From these years, we have several representations of Dionysos approaching a
womanwho can be no other than Ariadnewith obvious purposes. In contrast to other famous amorous pursuits, such as those of Zeus, Poseidon or
Apollo, the mythological circumstances of this particular love story, as well as
its fulfilment in marriage, were, from the very beginning, part of this impressive imagery.
At the beginning of the series stands a splendid kalpis by the Syleus Painter
of around 475 BC, with a grand composition of carefully executed figures
(Figure60).98 Two pairs of figures each take up one half of the image: the
left half shows Athena, who, with an imperative gesture sends Theseus away
93 Stark 2012, 91. For similar literary developments, Henrichs 2008, 19.
94 For this reason Dionysos is also sometimes represented as a young boy, for instance limc
iii, Dionysos 692, 699 and Carpenter 1993. Compare the calyx krater in Caltanissetta S 46
(BA 28005) dated around 400 BC: Froning 1996, 107 f. fig. 1.
96 For this problem in black-figure vase painting see Isler-Kernyi 2007, 121123; PaulZinserling 1994, 4144; Diez del Corral Correidora 2007.
97 See the catalogue in Kaempf-Dimitriadou 1979, 76109. This popularity culminated
between 460 and 450.
98 Berlin F 2179: Addenda 203 (252.52); ba 202898; Schlesier/Schwarzmaier 2008, 26 fig. 8,
and 166 f., cat. 17.
114
chapter 5
figure 60 Kalpis, Syleus Painter, Berlin F 2179 (mal 14, 1904, 55, fig. 18).
towards the left, on the right a bearded Dionysos with both hands grasps
Ariadne, who is trying to flee towards the right. The composition of the image
suggests that the subject here is the separation of Ariadne from Theseus, rather
than her union with Dionysos.99 It is striking that explicit reference is made to
the sexual prelude that preceded this scene: the painter shows the naked bodies of both Theseus and Ariadne underneath their sheer chitons. The forceful
presence of Athena, who acts in solidarity with Dionysos, reminds us of the
fact that the Syleus Painter also decorated one of the earliest pointed amphorae, a vase type that celebrates the fame of Athens with an image repertoire in
which the city goddess and Dionysos are the most prominent figures.100
The images of two, more or less contemporaneous, amphorae with twisted
handles by the Harrow Painter are very similar, though not completely
identical (Figure 61).101 On the main side Dionysos right hand lightly grasps
Ariadne, who is fleeing towards the right; the whole of the reverse is taken up
by the figure of a woman hurrying towards the left, possibly one of Ariadnes
99 Compare U. Kstner in Schlesier/Schwarzmaier 2008, 166 f.
101 Rome, Villa Giulia 50471: Addenda 206 (272.1); ba 202837, and Oxford (Ms) 1977.3.87AB:
arv 272.2; ba 202838.
115
companions. Such a figure does not occur in the myth; the painter may have
borrowed her from other representations of amorous pursuits, such as those of
Peleus, Zeus or Boreas, in order to highlight the dismay of the moment. Judging
from the way the robes are depicted, the Mississippi version is the younger of
the two. The difference in size between the overpowering god and the much
smaller pursued girl is striking here; it suits the funerary function of the vessel.
Dionysos himself is absent from a cup from about 480 BC, which may be
attributed to the Foundry Painter, a collaborator of the Brygos Painter.102 In
the tondo a man with a spear, perhaps Agamemnon, leads a veiled woman,
figure 61 Amphora with twisted handles, Harrow Painter, Oxford (Ms), University of
Mississippi Museum and Historic House, David M. Robinson Memorial Collection
1977.3.87 AB, side A (cva Robinson [usa 6], pl. 29.2a).
102 Tarquinia rc 5291: Addenda 231 (405.1); ba 204395. By analogy with the lekythos in Taranto
(see next note) Shapiro 1993, 156 and Borg 2002, 157 f. interpret the small winged figure as
Hypnos. The fact that Hypnos looks like Eros here means that love as well as sleep prevent
Ariadne from noticing Theseus departure. In any case, the message is more important
than the name.
116
chapter 5
possibly Briseis, by the hand towards the right. In one of the outside images a
warrior pursues a woman towards the left, where we see an altar and an inner
room with a seated woman. The naked right breast of the beleaguered woman
allows us to assume that the scene represents Menelaos harassing Helena in
Troy. The other side is dedicated to a third dramatic love story with an unexpected ending. Ariadne is soundly asleep on a rock, in the shadow of a vine
heavy with grapes. From the right Eros is flying towards her with a string of
beads. In the foreground Theseus stoops to fasten his sandals; Hermes, on the
far left, urges him to make haste. The painter presumes that the viewer will
imagine the subsequent scene: the arrival of Dionysos (Figure 62).
The same event is the subject of a large lekythos by the Pan Painter, which
can likewise be dated between 480 and 470 BC (Figure 63).103 Ariadne lies
on pillows, her face towards the viewer, little Hypnos squatting on her head.
Beside her Theseus, woken by Athena, rises. At the foot of the bed lies a boy,
possible the pais amphithales, who in Athens played a role in the official marriage ritual.104 Top left a small, delicate female figure flies away: she may be
Partheneia, the personification of virginity, or Nyx.105 As in the case of the
Syleus Painter, the fact that Athena intercedes in favor of Dionysos and against
her protg Theseus is crucial.
figure 62 Cup, possibly Foundry Painter, Tarquinia, Museo Nazionale Tarquinense rc 5291,
outside image side A (cva Tarquinia 2, pl. 18.3).
103 Taranto 4545: Addenda 259 (560.5); ba 206410.

104 Oakley/Sinos 1993, 37.
105 Shapiro 1993, 157 f.
117
figure 63 Lekythos, Pan Painter, Taranto, Museo Archeologico Nazionale 4545 (Jh 38, 1950, 5,
fig. 3).
A neck amphora by the Alkimachos Painter, who was influenced by the Pan
Painter, presents Dionysos as the pursuer of a young boy, instead of Ariadne.106
He strides towards the right, with the thyrsos in his right hand and the kantharos and an ivy branch in his left. Although he is bearded, he wears a short
chiton, whereas the boy is dressed in a wide himation, his right shoulder bare.
That the pursuit by Dionysos here apparently stands for a sudden and early
death is supported by the provenance of the vessel: the necropolis of Nola.
A volute krater by the Altamura Painter is of a later date, between 460 and
450 BC.107 Here we see Dionysos, thyrsos and ivy branch in his left hand, calmly
leading Ariadne towards the right, holding her hand like a bridegroom. She
wears a veil and a diadem and has a flower in her right hand.108 On the reverse
side a satyr is pursuing a woman wrapped in her himation.109
106 Naples 81483: Addenda 254 (529.13); ba 205985.

107 Vatican 17886: arv 590.5; ba 207147 (no image); Simon 1963, pl. 6.1.
108 Compare Peleus and Thetis on the pointed amphora by Syriskos discussed in Chapter 4.
109 Prange 1989, 159 A 11, pl. 23.
118
chapter 5
Somewhat later, the Niobid Painter, too, represented the same episode on a
large oinochoe (Figure 64).110 Ariadne, a diadem in her hair, flees to the right.
She looks back towards a bearded Dionyos, who wears a short chiton and an
animal skin and carries thyrsos and kantharos in his left hand. She seems bewildered, but the presence of Eros, who comes flying from the left, and Aphrodite,
who watches on the right, indicates the auspicious outcome of the event.
A fragmentary vase in the shape of a mules head, attributed to a very productive minor cup painter from the Penthesilea workshop, shows a rather
curious version of the story, almost a caricature.111 A humpbacked old man,
wearing an ivy wreath, with both hands grasps a girl who is rushing towards
the right. The two protagonists of a skyphos by the Lewis Painter behave rather
more elegantly.112 Dionysos, in a long robe and with the thyrsos in his left hand,
strides towards the right, while on the reverse Ariadne tries to escape. She
wears a heavy diadem and a ritual gown over her chiton, and holds a shawl
which flares out. A late mannerist painter, active around 450 and during the
third quarter of the century, probably decorated the hydria on which Dionysos
pursues Ariadne towards the right, holding his thyrsos. An anonymous woman,
possibly Aphrodite, looks on. Eros is sitting on the far right, and on the left a
seated satyr is playing the aulos.113 In front of Ariadne, at ground level, a pillow is hovering, possibly an allusion to the imminent celebration of the marriage
(Figure 65).114
figure 64 Oinochoe, Niobid Painter, Paris, Bibliothque Nationale de France, Cabinet des
Mdailles 460 (Kaempf-Dimitriadou 1979, pl. 22.35).
110 Cab. Md. 460: Addenda 267 (606.83); ba 207024 (no image); Kaempf-Dimitriadou 1979,
pl. 22. 35.
111 Adria B 482: arv 917.197; ba 211134 (Painter of Bologna 417).
112 New York 56.171.59: Para 435 (973.13); ba 213247.
114 A badly preserved hydria, which may be dated around 470460, in a private collection in
Basel, also has a large pillow on the floor in the center of the image. The hydria, shows the
abduction of Ariadne by Dionysos, with Athena sending Theseus away, see Tiverios 2011,
167, fig. 9.
119
figure 65 Kalpis, late mannerist, London, British Museum E 184 (cva British Museum 5, iii Ic
pl. 80.3).
Two images from the circle of Polygnotos will be discussed below in the context of the satyr boy.115 Let me mention, however, that in both cases it is uncertain whether the bride is Ariadne, her ritual counterpart the Basilinna, or an
anonymous Athenian woman. Both images highlight the imminent wedding.
The same holds true for the youngest piece of our series, a calyx krater by the
Kadmos Painter, which may be dated around 420 at the earliest, but in this case
the image doubtlessly refers to the mythological event (Figure 66).116 In gist
and composition it is similar to the kalpis by the Syleus Painter. In the presence of his father Poseidon, Athena urges Theseus to embark, while the left
half of the image shows a bearded Dionysos with a thyrsos in his left hand, festively dressed and with flowing locks. He approaches a heavily veiled Ariadne,
who, resigned to her fate, is already sitting on the bed. Eros comes flying with
a wreath, whereas Theseus is crowned with a wreath by his patron goddess.
115 See below Chapter 6, notes 129 and 131.

116 Syracuse 17427: Addenda 341 (1184.4); ba 215692; Kaempf-Dimitriadou 1979, pl. 23.34. See
also Chapter 8, note 24. Tiverios 2011, 172 proposes a relationship between this image and
the painting with the same motif which, according to Pausanias (I 20.3), could be seen
in the temple of Dionysos Eleuthereus in Athens. There, however, Ariadne was depicted
sleeping.
120
chapter 5
figure 66 Calyx krater, Kadmos Painter, Siracusa, Museo Archeologico Nazionale 17427, scroll
showing both sides (mal 14, 1904, pl. I).
When one looks at the whole of the series, it is evident that the vase painters
counted Dionysos among the amorous pursuers, such as Zeus, Poseidon and
other gods and heroes, whose affection could be a terrifying intervention in
its objects life. In contrast to the other pursuers, however, in Dionysos case
the outcome of the pursuitthe union of the lovers in marriageis always
manifest. Two elements of the myth are particularly emphasized. Firstly, the
fact that Ariadne, before her meeting with Dionysos, had given herself to
Theseuscompare the two artistically superior examples from about 480 BC.
And what is equally striking, and should also be elucidated, is the intervention
of Athena in favor of Dionysos and to the detriment of her protg. This version of the myth is largely in accordance with the one given by Pherekydes of
Athens in the early 5th century, and the presence of Aphrodite on the Niobid
Painters oinochoe, dated shortly after 450, and on the more or less contemporaneous mannerist hydria seems appropriate in this context.117
Nevertheless, even if we take Calames careful analysis of mythological and
cultic tradition into account, it remains enigmatic how the union between
Ariadne and Dionysos could have become a model for the legitimate bond of
matrimonyhad the gods bride not belonged to another?118 Moreover, what
is Athenas role in this paradox and what the concomitant interest for the
polis? Let me make an attempt at explanation. It seems evident that Theseus
actions against the king of Crete in liberating the Athenian children should
be seen as a mythological justification of the ambitions of the city within the
Aegean region. The fact that the Cretan princess fell in love with him and
117 Calame 1990, 107.
118 Calame 1990, 108 and 250. Compare Isler-Kernyi 2007, 122.
121
followed him on his homeward journey can only be appreciated as a sign of

success.119 At Naxos, the Isle of Dionysos, however, Theseus was confronted
with someone whose superior power was even recognized by the city goddess,
which prompted her to intervene. In this way Dionysos was won over to the
side of the city and integrated into the cult system of the polis.120 This also supports Dionysos dominant place next to Athena as illustrated by the repertoire
of the pointed amphorae and pelikai of the Painter of the Birth of Athena.121
Nonetheless, the history of his birth and that of his union with Ariadne show
elements, which sit uneasily with the ideal solutions proposed by the laws and
precepts of the polis. However, they show the many facets of the reality of life,
legitimized by the language of mythology. This more befits Dionysos, than any
other god.
119 Calame 1990, 198203.

120 Calame 1990, 336 f.
Chapter 6
Unfamiliar and Unknown Dionysiac Rituals

Boys and Girls in the Realm of Dionysos
Amongst the cups of around 490 BC one by the Triptolemos Painter stands
out. It refers explicitly to some Dionysiac ritual.1 In the unusual tondo image
Dionysos is greeted with a libation, but not by a woman or a satyr, but by a boy:
either Dionysos son Oinopion or a boy who, in some ritual context, doubles
as Oinopion (Figure 67).2 This motif is already attested in the 6th century in
the work of Exekias and the Amasis Painter and may, even at this early stage,
refer to a festival during which Athenian ephebes had a ritual encounter with
Dionysos.3 The opinion, still current, that in vase imagery the mythical world
and that of ordinary human life can be distinguished from each other, should
figure 67 Cup, Triptolemos Painter, Paris, Louvre G 138, view of the inside (Knauer 1996, 222,
pl. 1).
1 For the Triptolemos Painter, see above Chapter 3, note 89.

2 Louvre G 138: Addenda 223 (365.61); ba 203853; Knauer 1996, 221239. The image of another
cup by the Triptolemos Painter has been said to refer to the Dionysiac festival known as
the Oschophoria (Knauer 1996, 239246). This interpretation, however, remains uncertain
because of the extremely fragmentary condition of the cup.
3 Isler-Kernyi 2007, 140142, figs 74 and 75.
Unfamiliar And Unknown Dionysiac Rituals
123
really be considered obsolete. On the Triptolemos Painters cup, thirty-four

men and boys solemnly move in pairs towards the right around the medallion
and in one of the outside images. They are wrapped in their himatia and led by
an aulos player.4 Nineteen boys have their name indicated; some of them are
known from kals inscriptions on other vases of the same period. The other
outside image shows a bearded man and four youths, who seem to be looking
at the procession. It is obvious that hereif ever there was an example in vase
paintingwe have the depiction of a particular procession. Elfriede Knauer
has convincingly argued that this procession took place on the third day of the
Dionsysiac festival of the Apatouria. On this day, called Koureotis, the sixteenyear olds came out, accompanied by their fathers, to celebrate that they had
reached the status of ephebe, after the ritual cutting of their long hair.5
A cup that can be dated around the middle of the century from the circle of
the Penthesilea Painter deserves to be discussed in some detail, even though
it is artistically much more modest (Figure 68).6 The interior shows an anonymous woman performing a libation in front of a seated Dionysos who holds
a kantharos in his right hand. On one of the outside images we see a line of
eight girls and women, who stride solemnly towards the right holding hands.
Is this a procession, a quiet dance, or both?7 On the other side two scenes are
juxtaposed. The right hand scene shows a girl, characterized as such by her
uncovered long hair, with a torch in each hand in front of an altar.8 To her left
an older woman holds a skyphos over the altar, possibly for a libation. Next
there are two women interacting by way of a gesture that is, so far, unclear. The
left hand scene also has four figures. On the right stands a young man, dressed
in a himation, who seems to be holding an aulos in each of his lifted hands.
In front of him, also looking towards the left, stands a little girl, wrapped in a
himation. She watches a young man, who plays the aulos in a most lively manner. He is naked apart from a narrow chlamys over his left shoulder. The last
figure in this scene is a bearded komast, seen en face, who swings his gnarled
stick and chlamys as he dances along.
4 Pairs of men (in this case in a pedagogic-erotic sphere) also occur in the tondo image of a
cup by Douris, Louvre G 121: Addenda 238 (434.78); ba 205123; Buitron-Oliver 1995, 26 and 80,
no. 125, pls. 7677.
5 Knauer 1996, 233 f.
6 Florence 3950: arv 914.142; ba 211080; Paleothodoros 2010, 247249, fig. 17.8.
7 Compare the dance of young girls on the eponymous calyx krater by the Villa Giulia Painter,
Rome, Villa Giulia 909: Addenda 270 (618.1); ba 207149. In this case, however, only the aulos
could be an indication that this is a Dionysiac ritual.
8 It is, therefore, improbable that this is one of the gerairai at the Anthesteria as Paleothodoros
2010, 248 supposes.
124
Chapter 6
c
Figure 68 Cup, Florence 3950 (photographs Museo Archeologico Etrusco).
a. tondo image.
b. outside image A: dancing women.
c. outside image B: music lesson and sacrificial scene.
125
How should all this be interpreted? Surely these scenes must show some
ritual occasion of a Dionysiac nature and in the female sphere, as the interior
image of the cup indicatesa ritual in which women of various ages participate. It is rather surprising to find this little girl among the komasts. Is she training for a career as a symposium musician?9 The only parallel piece, though of
far better workmanship, is the cup by the Triptolemos Painter discussed above,
with Dionysos and perhaps Oinopion on the inside, and the processions of
men and boys. One could imagine that the cup with the little girl presents the
female counterpart of the ritual depicted by the Triptolemos Painter.
A Domestic Dionysiac Ritual
In the decades after 470 BC a rather striking Dionysiac motif became popular
at the Kerameikos. It shows a ritual performed by women around a remarkable
idol of the god. The motif is already used between 490 and 480 on a series of
late black figure lekythoi and on the Berlin cup by Makron discussed earlier
(Figure 69).10 From about 470 the motif is found exclusively on the vase type
we now call stamnos. Let us, before investigating the imagery, have a closer
look at the carrier.11
The vases we designate as stamnoi belong to the new shapes introduced by
potters at the Kerameikos around 530 BC. As was the case with several other
shapes, this novelty was intended for the Etruscan market and inspired by
Etruscan examples. In Etruscan territory, its antecedents were used as burial
urns as early as the 7th century.12 Stamnoi were made in Athens for only slightly
more than a century. Their disappearance from the repertoire coincidesbut
not coincidentallywith a decrease in demand on the Etruscan export market. These were always exclusive and probably expensive items. This is not
only clear from their sophisticated and variegated forms, but also from the fact
that their decoration shows greater refinement compared to that of the more
common vase types, such as column kraters and small neck-amphorae.13 Apart
from the ubiquitous anonymous women, men and youths, stamnoi frequently
9 Compare, for instance, the fine interior image of a cup in Paris, Louvre G 135: Addenda 221
(355.45); ba 203728 (Colmar Painter) and the komos accompanied by a young female flute
player on the column krater Cefal 1 (Painter of the Florence Centauromachy): Tullio
1996, 142 f., fig. 12.
10 Berlin F 2290: Addenda 244 (462.48); ba 204730. See above Chapter 3, note 114.
11 What follows is discussed in greater detail in Isler-Kernyi 2009b.
12 Isler-Kernyi 1976, 4145; Sisto 2006, 154.
13 Philippaki 1967 passim, especially 150152.
126
Chapter 6
a
b
figure 69 Cup, Makron, Berlin F 2290 (Frickenhaus 1912, 6 and 7).
a. outside image A: Dionysos idol.
b. outside image B: dancing women.
show figures from the Dionysiac realm: Dionysos himself, women dancing and
performing rituals, satyrs. These figures (and depictions of komos and symposium) are even more numerous than mythological characters, which are also
frequently depicted. Relatively common is the motif of the amorous pursuit or
abduction by a god, which, as is well known, served as a metaphor for a sudden death. I should add, though, that the pursuit of a woman by a male figure
(Thetis by Peleus, Oreithyia by Boreas, Helena by Theseus, Aithra or Amymone
by Poseidon, Aegina by Zeus) is much more frequent than its opposite (for
instance Kephalos or Tithonos by Eos). Also quite common is that other metaphor of death: the arming and farewell of a warrior. It befits the exclusivity
of the stamnos shape that, more than other shapes, it carries unique designs:
Herakles wrestling with Acheloos (by Oltos); Orestes killing Aigisthos (by the
Berlin Painter); Danae and her little son Perseus (by the Eucharides Painter);
the assassination of the tyrants (by Syriskos), and so on.14
14 London E 437: Addenda 163 (54.5); ba 200437; Boston 91.227a and 91.226b: Addenda
195 (208.151); ba 201970; St. Petersburg 1549 (B 642): Addenda 199 (228.30); ba 202231;
Wrzburg 515: Addenda 204 (256.5); ba 202924.
127
What purpose did the stamnos serve? With its small horizontal handles it
asks for circumspection when lifting itas is, incidentally, confirmed by some
images.15 For this reason, and because of its comparatively narrow opening,
the stamnos seems less useful for mixing wine at the symposium than the
krater, even though it may occasionally have been used for just this purpose.
The narrow neck was originally closed by a lid: this has been preserved with
some of the surviving stamnoi.16 The provenance of most stamnoi is unfortunately unknown and thus we have but little clues as to their use. There are,
however, some indications. A grave in Eleusis contained one of the very few
stamnoi with an indisputable Greek provenance.17 That an Attic stamnos
could be used as an urn is proven by an example (preserved with its lid) from
a grave in Capua, legitimately excavated, and still containing the cremation.18
The other usage is ritual. This is not only clear from the stamnos from
Eleusis just mentioned, which featured an Eleusinian procession; it can also
be concluded from the special motif that is our main interest here. The motif
occurs on 29 stamnoi and fragments of stamnoi, eight of them with only minor
variations on a single design. In the center of the symmetrical composition we
see a construction that obviously represents the god Dionysos: it consists of
a pillar on which are fastened a mask, several branches, two round objects at
shoulder height, and a garment that almost reaches to the ground. The interpretation of the round objects has been discussed at length: cakes and libation
dishes have, for instance, been proposed.19 Cultic bronze cymbals are, however, more likelythese have been excavated at several sanctuaries across the
Greek world.20 The identification as cymbals is also supported by the fact that
they are fastened at shoulder height.21 In front of the idol there is a low table,
like the table in symposium scenes, on which are placed two stamnoi. To either
side a woman is, quietly and intently, ladling wine from the stamnoi with ladles
and drinking vessels. The reverse sides of these stamnoi are also quite uniform:
15 See for instance Frontisi-Ducroux 1991, 98, fig. 38, and 157, fig. 94.
16 Isler-Kernyi 2009b, 76, note 10.
17 Eleusis 636: Addenda 321 (1052.23); ba 213653 (no image).
18 Johannowsky 1983, 201 f., pls. 3940; Hamilton 1992, 136 with note 50. This probably also
holds true for an example from Gela: Isler-Kernyi 2009b, 76, note 7. See in addition De
Cesare 2007, 12.
19 Frontisi-Ducroux 1991, 72; Halm-Tisserant 1991, 81 f.
20 Bellia 2012, 314, especially 6, fig. 7.
21 Personal communication from Angela Bellia, August 7th 2012: Luso di appendere al collo
doveva essere funzionale nel corso dei riti e delle processioni: non si correva il rischio di
perderli ed erano sempre pronti per essere suonati.
128
Chapter 6
FIGURE 70 Stamnoi, Villa Giulia Painter (Frontisi-Ducroux 1991, 73).
they show three of four women who, in a measured dance, move towards the
right, carrying thyrsoi, drinking vessels and sometimes an aulos or a parasol.
Because of their uniformity these images have aroused great interest
among students of ancient religion ever since their first publication in 1912
(Figure70).22 This turned into a long-running debate on the question which of
the known Dionysiac festivals these images referred to. Since the fundamental
re-appraisal of the evidence by Frontisi-Ducroux, however, the problem has
been solved.23 These images should not be seen as depicting a certain moment
in an actual ritual, but rather as an evocation. They do not refer to one of the
official festivals of Athens, but, as we will see, to domestic rituals in honor of
the god, for which we have independent evidence.24 Beazley has shown that
of the 29 stamnoi with this motif, thirteen have been decorated by the Villa
22 Frickenhaus 1912.
23 Frontisi-Ducroux 1991, 4163.
24 Compare Paul-Zinserling 1994, 19 f.; Schlesier 1997, 656 (with some question marks).
Compare also Seaford 2006, 46 and 71, although it remains an open question where the
129
Giulia Painter, including the eight nearly identical ones.25 This painter must
have been the inventor of this symmetrical design that was aesthetically pleasing and became popular.
As stated above, however, the motif itself was already present in the repertoire of Athenian vase painters for over a generation. It was also adopted by
other painters, more or less related to the Villa Giulia Painter, and they came up
with their own versions: the little table may be absent, one of the women may
be seated, a sacrificial basket may be added to the composition (Figure 71).26
These variations show that the execution of the ritual was not bound to rigid
rules, as one might expect of a ritual in a private, domestic setting. In every
instance, however, the ceremony is performed by women around a temporary
idol of Dionysos (although men were definitely not completely excluded).27 The
mask, or rather the portrait of the god in frontal view, evokes, together with the
empty garment, the absent godhis gaze, however, is all the more effective
as it is not directed towards the women in the image, but towards the female
viewer who identifies with them.28 Obviously, one of the ritual acts was the
ladling of small amounts of some liquid from the stamnoi. The kantharos, that
is often present in addition to the skyphos, the drinking vessel usually associated with women, implies that the liquid is unmixed wine.29 With the wine the
women ingest the god: their, literally, enthusiast state is reflected in the Bacchic
dance on the reverse side of the vase.30
Individual ritual acts always refer to the deeper meaning of the ritual itself.
In order to identify that meaning we should depart from what we can conclude
from provenance and function. On the one hand, stamnoi could contain the
pure wine that was equated with Dionysos. On the other, they could function as
urns to receive the ashes of the dead. What could be the common denominator
of pure wine and ashes? Both are the result of a metamorphosis, a Dionysiac
event: the grapes change into wine, the dead into ashes. This leads almost automatically to the understanding that, just as the crushed, killed, grape turns
into wine, a new and wonderfully effective substance, the enthusiast human
will after death enter a new, as yet unimagined, existence.
secret cult(as opposed to the official and public one) took place; Schne-Denkinger
2008, 51; Schwarzmaier 2008, 8689.
25 Concerning the Villa Giulia Painter, see above Chapter 5, p. 90.
26 Isler-Kernyi 2009b, 78 and 88 f., figs 16.
27 Frontisi-Ducroux 1991, 146 f. with figs 85 and 170 f. (compare however Osborne 1997, 207).
28 Accordingly Osborne 1997, 210.
29 Frontisi-Ducroux 1991, 80, fig. 18; 152, fig. 89; 155, figs 90 and 91.
30 Osborne 1997, 208.
130
Chapter 6
FIGURE 71 Stamnoi, various painters (Isler-Kernyi 2009b, 88 f., figs 16).
Our perusal of the Dionysiac repertoire on vases of the second quarter of

the century has shown a ritualizing of the imagery, which points to a growing sacralization of the public mood around 450 BC. It is within that context
that we should situate the stamnoi evocating Bacchic ongoings in the private
sphere. It is certain that such ongoings took place in Athens.31 Nevertheless,
considering the provenance of the Athenian stamnoi, especially the group discussed above, we should ask ourselves for what kind of buyers these images
were intended. It can be calculated that of every twenty stamnoi produced at
the Kerameikos, at most just a single one remained in Greece: the others were
exported to Italy.32 All vases decorated with the ritual around the Dionysos
idol of which the provenance is known, have either been found in Etruria,
especially Vulci, or in the north of Campania, culturally much influenced by
Etruria. That the stamnoi by the Villa Giulia Painter and his colleagues were so
131
much in demand in Etruria cannot only be explained from the huge popularity
of Dionysos since archaic times and the adoption of the symposium. Ancient
cultural boundaries were much more permeable than we can imagine in our
own times, so much characterized by national feeling.33 And there are more
direct indications: we have several Etruscan graffiti on vases imported from
Athens around 470 BC that point to the existence, also in Vulci, of a cult of
Fufluns Pachies, i.e. Dionysos Bakchos.34 Thus, our stamnoi may have been used
outside Athens in a way that matches their decoration.35
A series of stamnoi decorated by younger associates of the Villa Giulia
Painter cannot be seen apart from the stamnoi with the Dionyos idol. These
show a female thiasos, without any characteristic accoutrements, but in an
obviously ritual setting.36 Particularly remarkable are the stamnoi by the Phiale
Painter, who was active between 450 and 425 BC. He was a pupil of the Achilles
Painter and one of the leading artists of his time.37 Like his teacher, he mostly
decorated small red-figure neck-amphorae and lekythoi, and a series of whiteground vases. In his work, too, Dionysiac imagery is not pre-eminent, but it has
some interesting individual representations. His white-ground krater with the
handing over of the infant Dionysos has already been discussed.38 Dionysos
rarely appears on the small neck-amphorae. More common are various scenes
with satyrs and maenads who look strikingly human.39 Komasts probably only
appear on some of his rare cups.40 We repeatedly encounter satyrs wearing
himatia, as we did in the oeuvre of the Geras Paintersatyrs presented as
citizens.41 They walk together, stand opposite two Dionysiac women, or are
33 Isler-Kernyi 1999a.
34 Isler-Kernyi 2003, 45 with notes 35 and 36.
35 Similarly La Genire 2013, 33 f.
36 arv 628 f. 712 (Chicago Painter); Addenda 272 (633.8); ba 207343 and arv 633.9;
ba 207344 (no image, Methyse Painter). Frontisi-Ducroux 1991, 100, note 72; Osborne 1997,
206. Compare in addition a stamnos by Syriskos, datable between 480 and 470 BC, in a
private collection in Germany: Wehgartner 1997, 116119 (the reference to the Lenaia is
no longer tenable).
37 Oakley 1990, 6.
38 Vatican 16586 (559): see above Chapter 5, note 76.
39 Oakley 1990, 36.
40 Leipzig T 3376: arv 1023.149; ba 214332; Adria B 604: arv 1024.152; ba 214335; Adria B 626:
arv 1024. 153; ba 214336.
132
Chapter 6
a
b
FIGURE 72 Stamnos, Phiale Painter, Museo Nazionale Archeologico, Naples 164332, (Oakley 1990,
pl. 64). Su concessione del Ministero dei Beni e delle Attivit Culturali e del
Turismo-Soprintendenza per i Beni Archeologici di Napoli.
a. side A.
b. side B.
engaged in conversation with one of these.42 Are these satyrs dressed up as

citizens, or citizens identifying with satyrs?43
On the first stamnos, to be dated at the beginning of his career, around 450
445 BC, each side is decorated with women engaged in ritual acts (Figure72).44
In the center of the main side a woman wearing a diadem appears to carry
42 Naples Stg 240: arv 1015.22; ba 214199 (Nolan amphora); London E 384: arv 1017.48; ba
214226 (pelike); Louvre G 422: Addenda 315 (1019.77); ba 214255 (bell krater).
43 See above Introduction note 13 and 15. In addition Paul-Zinserling 1994, 46 f. As for the
so-called satyre bourgeois: Lissarrague 2013, 204206.
44 Naples 164332: arv 1019.83; ba 214263 (no image); Oakley 1990, no. 83, pl. 64. The stringed
instrument is a barbitos.
133
FIGURE 73 Stamnos, Phiale Painter, art trade, sides A and B (Oakley 1990, pl. 67).
a large stamnos to a woman holding a barbitos on the left, assisted by the

music of a female aulos player on her right. On the reverse, a woman completely wrapped in a himation stands between a female torch bearer (right)
and a woman presenting a drinking horn (left). The presence of the stamnos
makes it probable that this, too, is a representation of the ritual at the temporary Dionysos idol. The imagery decorating a stamnos of about the same period
is comparable.45 The stamnos is absent, but the attributes of the three women
on either side include three thyrsoi, a kantharos and a drinking horn, a barbitos, and two torches. A procession with Dionysos himself between two women
is depicted on the third of these stamnoi (Figure 73).46 The god is bearded,
wears soft shoes with his chiton, and has thyrsos and kantharos in his hands.
The woman who walks on his right appears to be showing the way with her
torch. In her left hand she has an oinochoe to welcome the god and over her
45 Palermo 2183: arv 1019.84; ba 214264; Oakley 1990, 36 and 80, no. 84, pls. 65 AB and 66.
46 Art trade: ba 31374 (no image); Oakley 1990, 36 and 80, no. 8bis, pl. 67.
134
Chapter 6
chiton she wears an animal skin. The woman to the left of the god holds an ivy
wreath and also has an animal skin over her garment. On the reverse a satyr is
seen conversing with two women carrying thyrsoi. Such images are in essence
no different from the Dionysos imagery on other vase types, where we also
encounter Dionysos himself in the thiasos in the company of a young satyr, as
on the bell kraters by the Methyse Painter and Christie Painter to be discussed
below.47
Amongst the stamnoi decorated with the ritual around the idol, the one
by the Phiale Painter is particularly original and informative (Figure 74).48 It
can be seen as a link between the stamnoi with women engaged in ritual, the
images of child satyrs to be discussed in a moment, and the representations
of the handing over of the child Dionysos explored already.49 The main side
shows three women with ivy wreaths. The one on the right is in the act of carefully placing a stamnos, which she holds by its handles, on a small table. A pillar indicates that this scene takes place indoors. The statuesque woman in the
center, the only one to wear her hair loose, turns to the left, towards the child
that her companion on the left extricates from the folds of the chiton gathered
around her waist and hands to her. In her left hand, and therefore prominently
in the center of the image she holds a barbitos. As one of the stamnoi of the
series discussed above confirms, a stringed instrument belonged to the requi-
FIGURE 74 Stamnos, Phiale Painter, Warsaw, National Museum 142465, sides A and B
(Frickenhaus 1912, 13).
47 See below note 128.

48 Warsaw 142465: Addenda 315 (1019.82); ba 214262; Oakley 1991, 36 and 80, no. 82, pls. 62A,
63AB; Frontisi-Ducroux 1991, 156158, figs 94 and 95. Concerning his calyx krater with the
handing over of the child Dionysos, see above Chapter 5, note 76.
135
sites of the ceremony, together with the aulos.50 Also it symbolizes music and,
in this way, enculturation. The truly remarkable thing is that the child is not
the infant Dionysos, nor a human baby, but a newborn satyr.51 On the other
side three women move towards the right. On the left an apparently somewhat
younger woman with a skyphos and an oinochoe, in the center a woman with
her hair done up dances with a skyphos in her left hand, and on the right a
woman with her hair in a coif indicates the way with her torch. It seems as if
the stamnos not only refers to a ritual, but also to three successive stages in a
womans life.
A comparison with the handing over of the child Dionysos is illuminating.
Dionysos is usually entrusted to the nymphs of the uncultivated wild or to the
old satyr, the father and educator known from satyr plays. As stated above, the
god, though a son of Zeus and guarantor of Zeus order, had to go through a
phase of taming and education in nature. The mother of the newborn satyr,
however, apparently hands him to a Muse, in some interior where a stamnos
with the newborn wine has just been brought in.52 A satyr baby will have a
satyr father, and will have been conceived in a state of Dionysiac suspension,
possibly out of wedlock.53 The image therefore suggests that the purpose of
domestic Dionysiac rituals of this kind may have been to integrate even these
children into the family and, in this way, into the polis.54
Dionysos Chair
In the second quarter of the 5th century chairs that may have played some
ritual role appear in a Dionysiac context, even though they figure less prominently than torches and altars. It seems therefore worthwhile to study the
meaning of this requisite, which figures in three different scene types.55
50 For the stringed instrument see Frontisi-Ducroux 1991, 87, fig. 21; Osborne 1997, 205.
51 A detail not noticed by Osborne 1997, 205, although this does not weaken his generally
sound argument.
52 For a Muse at the handing over of the child Dionysos, see above Chapter 5, note 59.
53 Compare Lindblom 2011, 68: No doubt, the child satyrs have to be the ultimate consequence of a sexual relation between satyrs and women. Also ... the satyrs... should be
counted as presumptive and capable lovers of the women that they are shown interacting
with on Attic red-figure vases. Some tragedies also make reference to children sired out
of wedlock in a Dionysiac context: Schlesier 2010, 215217.
54 For comparable conclusions concerning the case of twins, see Isler-Kernyi 2007, 120 f.
55 The first version of what follows will be published in the forthcoming Festschrift for
Michalis Tiverios. For that version as for the present one, I do not claim the documentation to be exhaustive.
136
Chapter 6
FIGURE 75 Pelike, art trade, side A (Sothebys, London 1995, 36 Nr. 72). Photograph Courtesy of
Sothebys, Inc. 1995.
A Satyr Carrying a Chair

Our first example is a sumptuous column krater by the Pan Painter, dated 480
BC or shortly afterwards.56 On the main side Dionysos, dressed in a white himation and crowned with an ivy wreath, strides solemnly towards the left. He is
followed by a satyr who has a kantharos and an ivy branch in his left hand, and
with his right balances an upholstered chair, a diphros, over his head. On the
other side of the vase an ithyphallic satyr comes towards them carrying a large,
apparently full skyphos. The image carrier calls to mind the symposium: one
could almost think Dionysos was expected there. However, when participating
in a symposium the god would recline on a couch and would not need a chair.
56 New York 16.72: Addenda 257 (551.6); ba 206281; see also a pelike, dated around 470, in the
art trade, where a small bearded satyr precedes Dionysos holding the diphros over his
head (Sotheby, Sale ln 5398, 06.07.1995, 36 Nr. 72), (Figure 75) as well as a small column
krater in the art trade on which the satyr carrying the diphros is half dressed: Lissarrague
212, fig. 185.
137
FIGURE 76 Skyphos, Lewis Painter, Moscow, Pushkin State Museum of Fine Arts II 1b 600, sides A
and B (CVA Moscow 4, pl. 39).
The chair is not a realistic element, but a metaphoric one. When one satyr, like
a faithful servant, follows Dionysos with his chair (or precedes him as on the
pelike), and another one receives him with wine, this expresses the expectation that the god will join the fold of satyrs.
Quite comparable is the image on a skyphos typical for the Lewis Painter,
which may be dated around 450 BC (Figure 76).57 Here, too, Dionysos walks
in front, again in a white himation and with a thyrsos in his left hand. Turning
his head, he looks at a small bearded satyr, who carries a kantharos in his right
hand and with the left supports the curved leg of an upholstered easy chair,
a klismos, which he balances on his head. The reverse side, disfigured by a
stray fragment inserted by a restorer, a satyr moves to the right, but looks back
towards a woman with a torch who is following him. His skopeuma gesture,
typical for archaic-period satyrs, can, however, hardly be meant for her, but
must be for the god.58 Accordingly, both sides should be read as a single procession, with Dionysos and his small satyr servant following the bigger satyr
and the torch-bearing woman.59
57 Moscow II 1b 600: ba 19347; cva Moscow, Pushkin State Museum iv, 45, pl. 39, 14
(Russia 190).
58 See Isler-Kernyi 2004a, 36.
59 A similar female torch bearer leading a procession can, for instance, also be found on the
column krater by the Agrigento Painter in Rome, Villa Giulia 846 (arv 575.20; ba 206620),
138
Chapter 6
On a small calyx krater of about 430 BC attributed to the circle of Polygnotos

a bearded satyr of small stature follows the god, who is wrapped in his himation and carries a thyrsos in his left hand.60 The satyr has a torch in his right
hand and with his left supports the klismos he carries on his shoulder. On the
reverse we see a youth with a stick likewise wrapped in a mantle. Is he waiting
or looking on?
The motif of the chair is also used on a bell krater of about the same time
which may be attributed to the Kleophon Painter, the most important of the
followers of Polygnotos (Figure 77).61 It can be dated to 440430 BC.62 The procession shown on this vase is composed of three participants. A woman with
a torch and a thyrsos goes in front, towards the right. She looks back at the
god, who is wrapped in his himation and wears a strange diadem that seems
more suitable for a goddess.63 In his left hand he holds a kantharos and an ivy
branch. As in all examples described here the god hides his right hand in his
himation. Apparently, he does not intend to take any action. He is followed by
a boy satyr who carries a klismos on his right shoulder and holds aloft an ivy
branch. As is the case with many kraters of this period, the reverse side has
three anonymous youths wrapped in their mantles. This very frequent motif
was not some meaningless space filler, but meant to evoke an atmosphere of
reverent expectancy.64
All examples discussed so far of Dionysos accompanied by a satyr carrying a
chair have in common that the god is depicted as striding, but wrapped to his
neck in his himation and with his right hand hidden in the garment. That hand
is therefore idle, while the left hand holds the thyrsos, and in one instance also
the kantharos. A mantle covering the whole of the body generally expresses a
demeanor known as aidos, which may be, according to the context, piousness,
dread and awe in the face of some superior power, or respectful reticence.65
and the calyx krater by the Niobid Painter in Ferrara 2891 (Addenda 266 [602.24]; ba
206956).
60 London E 465: Para 445 (1057.102); ba 213732 (no image); Simon 1963, 21, pl. 7.4; Oakley
1997, pl. 184 A.
61 See above Chapter 5, p. 95.
62 Cahn International ag, Sales London 2429 June 2010.
63 Compare for instance the headdress worn by Ariadne on the skyphos by the Lewis Painter
in New York, discussed in Chapter 5, note 112. It could be a dilettantish modern replacement, but the krater is said to be intact.
64 Isler-Kernyi 1993b, 9699, and 1996.
65 Ferrari 1990, especially 193: ... properly speaking, aidos is neither shame, nor honor, nor
fear, nor disgrace, but stands in some relationship to each.
a
b
FIGURE 77 Bell krater, Kleophon Painter (?), Collection S. Rosignoli, London (photograph
Nik Brgin, reproduced with kind permission of Jean-David Cahn).
a. side A.
b. side B.
139
140
Chapter 6
FIGURE 78 Bell krater, Phiale Painter, Paris, Louvre G 422 (Simon 1963, pl. 7.5).
Aidos is therefore a suitable attitude for those taking part in a ritual event.66
Even gods can be dressed in this manner, when they themselves are ritually
engagedas is evident from a comic depiction of Hermes at an altar.67 Thus,
when Dionysos appears wrapped in his himation, he is on his way to and likely
to participate in a ritual event.
In the instances discussed above, a satyr with a chair follows Dionysos as a
servant, but on a bell krater by the Phiale Painter of about 440435 BC, the satyr,
moving towards the right and looking over his shoulder, precedes a woman
wrapped in a himation, who holds a thyrsos and a kantharos in her left hand
(Figure 78).68 This is remarkable, because usually it is the god himself who carries the kantharos, while a woman pours wine from an oinochoe to welcome
him. As we will see, this unusual formula is also found in an image belonging
to the third iconographic type to be discussed below.69 Here, too, the satyr is
66 For instance limc V.2, Hermes 101; Hermes 147; Hippothoon 10; limc viii.2, Silenoi 43 a.
Compare Knauer 1996, 227, note 12: Mature muffled adults occur almost exclusively in
ceremonial contexts, either as worshippers or mourners.
67 limc V.2, Hermes 820.
68 Louvre G 422: Addenda 315 (1019.77); ba 214255; Simon 1963, 21 f., pls. 7.56; Oakley 1990, 6
(for the date), 36 and 79, no. 77, pl. 59.
69 See below note 110.
141
depicted as a boy. In his right hand he holds a barbitos. He turns his head to
look at the woman behind him. It may very well be assumed that the woman
is on her way to meet Dionysos. Whether a wedding banquet is intended, is
impossible to establish.70 Klismos and diphros are not symposium requisites,
because the married women who were present used to sit at the foot of the
couch.71 On the reverse a woman with a thyrsos confronts a mature satyr, who
wears a himation and leans on a stick, as a citizen would do.
The motif of the citizen-satyr, which even before 450 BC already occurs several times in the work of the Geras Painter and subsequently in that of the
Phiale Painter, seems to assimilate satyrs and anonymous citizens. C. Brard
and C. Bron go further and conclude that the motif in fact refers to the metamorphosis of the citizen into a satyr, a transformation that would be brought
about by Dionysiac ritual.72 As was already shown in the introductory chapter
above, the original viewers of Dionysiac imagery had no objections to normal,
decent women being depicted in the role of ecstatic bacchantes or maenads,
whereas male citizens who in a Bacchic context acted ecstatically or sexually uninhibited, could, because of some taboo, only be shown dressed up as
satyrscreatures of the imagination.73
That the klismos carried by the satyr is intended for Dionysos, is confirmed
by the imagery of a chous from the workshop of the Shuvalov Painter, dated
between 435 and 420 (Figure 79).74 The god stands on the right with his kantharos and thyrsos; his body is shown in frontal view, but his head is turned
towards the left. He looks at the satyr boy approaching from the left who carries a klismos with both hands. Between the two on the floor stands a chous,
which shows that the encounter takes place at the occasion of the festival of
the Choes.
As to the klismos, let me quote an authoritative study of Greek furniture:
...it is the comfortable chair par excellence, less formal than the throne, more
luxurious than the diphros. It is prevalent especially in scenes of womens
apartments, but by no means confined to them...75 We could adduce many
examples of the period under discussion here to support the statement that
70 Simon 1963, 21.
71 As they do, for instance, on the London cup by the Kodros Painter discussed earlier: see
above Chapter 5, note 42.
72 Brard/Bron 1986, 2426.
73 See above Introduction, note 15.
74 Rome, Villa Giulia 50511: ba 526 (no image); Simon 1963, 21, pl. 7.3; Lezzi-Hafter 1976, 111 S
96, pls. 137 CD.
75 Richter 1966, 33.
142
Chapter 6
FIGURE 79 Chous, Rome, Museo Nazionale Etrusco di Villa Giulia 50511 (photographs
Soprintendenza per i beni archeologici dellEtruria meridionale).
this piece of furniture above all evokes the female quarters.76 But as the klismos was also used in other settings, it would be wrong to associate some kind
of chair ritual with women only. However, we can conclude that, whenever
a chair is brought in for Dionysos, this implies that the god came from elsewhere, which in turn suggests that his presence is not permanent and a matter
of course. Another implication is that Dionysos, as the only one among the
gods, was expected to visit people and be with them in their everyday lives.
The Unoccupied Chair
No other kind of vase is so strongly associated with one of the well-known
Athenian Dionysos festival as the chous with the festival of Choes.77 Many of
these small jugs show some combination of characteristic motifs: the small
76 Lissarrague 1998, 182: Ce meuble lui seul ... suffit presque dsigner le gynce. A very
striking example may be found on another skyphos by the Lewis Painter: Addenda 310
(975.38); ba 276060.
77 Schmidt 2005, 152221 also provides the earlier literature. The relationship between the
chous and the Anthesteria develops gradually and is particularly evident after 430 BC, see
especially pp. 174186.
143
FIGURE 80 Chous, Eretria Painter, Athens, National Archaeological Museum BS 319 (photograph
National Archaeological Museum, Athens, Spelios Pistas) Hellenic Ministry of
Culture and Sports/Archaeological Receipts Fund.
child, the jug, the table with gifts, etc.78 However, four of the much less numerous larger choes, between 21 and 23 centimeters in height, carry unique images
depicting ritual ongoings.79 As both the actors and the accoutrements differ, it
seems clear that this is not one and the same ritual. On two of the large-size
choes the klismos makes an appearance.
A very fine large chous by the Eretria Painter, dated to 430425, is decorated
with a swing ritual in which a father figure and boys of various ages take part
(Figure 80).80 Near the right hand edge of the image we see an outsize easy
chair with colorful cloths and laurel wreaths on it. Under the chair stands a
footstool and next to it a three-legged table with three cakes and a gilded bowl.
Apparently the rituala mature man in an artisans outfit puts a small boy on
an improvised swing with two somewhat older boys looking onis performed
78 Hamilton 1992, 83.
79 Athens bs 319 (ex Vlastos): Schmidt 2005, 178, fig. 91 (Eretria Painter); Athens bs 318 (ex
Vlastos): Schmidt 2005, 183, fig. 93 (Eretria Painter); Athens, 3rd ephory, inv. 3500: Schmidt
2005, 184, fig. 94 (Eretria Painter); New York 75.2.11: Schmidt 2005, 177, fig. 90 (Meidias
Painter).
80 Athens bs 319: ba 216950; Lezzi-Hafter 1988, 198201 and 339, no. 214, fig. 66, pl. 136.
Schmidt 2005, 178 dates it around 430420.
144
Chapter 6
figure 81 Chous, Meidias Painter, New York, Metropolitan Museum of Art 75.2.11 (Richter 1936,
pl. 158 a).
in the expectancy of a visitor, someone for whom the chair with the festive
cloths and the gifts on the little table are meant.81
The swing, in the center of the image, and an even larger klismos can also
be found on a slightly younger chous by the Meidias Painter.82 Costly fabrics
lie folded on the swing. These are impregnated with perfumes poured onto
burning twigs. On the left a boy approaches, wreathed and dressed in a festive
himation (Figure 81).
Although both images with swings appear to refer to an actual ritual, it
has proved impossible to identify them with any ritual known from our written sources.83 In any case, the unoccupied chair indicates that during the
Anthesteria women, men, and boys were preparing for the arrival of the god in
a festive mood. Whether the swinging was performed in memory of the tragic
death of Erigone should for now remain an open question.84 Still, it certainly
transports us to a Dionysiac sphere. In swinging, as in dance, one is lifted up,
raised above the ground, and finds oneself between up and down, back and
81 See Schmidt 2005, 179 and 185 f.
82 New York 75.2.11: Addenda 362 (1313.11); ba 220503; Lezzi-Hafter 1988, 201 f. and 341, no. 225,
pl. 195 d; Schmidt 2005, 177, fig. 90, dated 420410 BC.
83 Schmidt 2005, 178180.
84 For critical comments see Humphreys 2004, 242 f.; Schmidt 2005, 179.
145
figure 82 Chous, artist from the sphere of the Dinos Painter, excavation number A 115
(Hatzidimitriou 2012, 121, fig. 4, drawing K. Del).
forthsymbolically in a state of transition, a state brought about by Dionysiac

metamorphoses, for instance from one age group into another.85
The chous by the Marsyas Painter, some two generations younger, is not the
only source to show that the empty chair is meant for Dionysos and not for the
Basilinna.86 The chous shows a youthful Dionysos seated on a klismos standing on top of a low platform. He turns towards an alluring female figure on
his left, who is identified by an inscription as Pompe (procession). On the far
left, Eros is putting on his sandals next to a large sacrificial basket. Apparently,
the woman here personifies a complete procession, on its way to ritually unite
with Dionysos. This particular image can only be read symbolically, but there
is another one, only recently published, that is closer to real life.
This concerns the decoration of a large chous of which only the lower half
has been preserved. It was found in 2010 in Trachones near Athens, and is
likely to have been a grave gift. It has been attributed to the circle of the Dinos
Painter and dated to 420410 (Figure 82).87 A youthful Dionysos dominates the
center of the image. He wears a fillet tied over a wreath of leaves. He sits on a
klismos, turned towards the left and with a thyrsos in his left hand. Whether
he also held something in his right hand is now impossible to tell.88 A woman
approaches from the left. She wears an animal skin over her chiton, and has
her hair in a decorated coif. With her outstretched left hand she offers the god
85 Isler-Kernyi 2007, 59 and 214 f.
86 Similarly Schmidt 2005, 176180; New York 25.190: ba 503 (no image); Schmidt 2005, 191 f.,
fig. 98; Smith 2011, 86 and 171 vp 58.
87 Hatzidimitriou 2012.
88 Hatzidimitriou 2012, 118.
146
Chapter 6
a plate with a giant bunch of grapes. A satyr carrying a plate of sweetmeats

approaches from the other side. In front of him, near the gods klismos, we see
a low three-legged table with more pastries. It is very similar to the table on the
chous with the boys swing ritual just discussed.89 The situation is unambiguous: the god has arrived, sits on the chair that had been prepared for him, and
accepts the gifts of his believers. The prominent bunch of grapes, also a recurrent motif on small choes, should, of course, not be taken in a literal, but in a
symbolic sense: even in Greece there were no ripe grapes in spring, at the time
of the Anthesteria.90 The grapes would rather refer to the young wine in the
choeswine made from the grapes of Dionysos.
Within the series of images presented here, the one just discussed is of
particular importance because it is close to that on a more or less contemporaneous bell krater by the Pothos Painter belonging to another iconographic
tradition to which we will turn now.91 From the imagery explored above we can
conclude that the chair is associated with Dionysos and that it was somehow
part of the Anthesteriasymbolically, but possibly in actual ritual practice.92
Dionysos Has Arrived
Thus, Dionysos was expected during the Anthesteria and when he came, he
was received with gifts. The easy chair prepared for him indicates he came in
order to stay. Of the arrival, or epiphany, of the god and his being greeted with
a libation by a woman or a satyr, there are countless examples in Dionysiac iconography, ever since vase painting began.93 Usually, however, the protagonists
are shown standingalthough for black- and red-figure cups Dionysos sitting
amidst his thiasos was a popular motif.94 After 450 BC, in work by or inspired
by Polygnotos, we encounter a new version of the gods arrival that explicitly
refers to a reception ritual.
As a first example let us consider an early stamnos by Polygnotos.95 The
center of the image shows Dionysos, his name inscribed, sitting on a folding
chair, and a veiled woman who fills the gods kantharos from her oinochoe.
90 Similarly Hamilton 1992, 116.
91 Madrid 11052: Addenda 341 (1188.4); ba 215738 (no image); Queyrel 1984, 134 f., no. 20, fig. 19.
92 Compare also, for instance, the small neck-amphora in Brussels R 249: arv 668.38;
ba 207833.
93 The earliest known example is an impressive Cycladic vase from the late 7th century, see
Isler-Kernyi 2007, figs 12.
94 Compare in addition the medallion image of the Florence cup, see above 124 fig. 68a.
95 Louvre G 406: Addenda 317 (1028.12); ba 213393; Matheson 1995, 34, fig. 22 (dated 450440).
147
figure 83 Calyx krater, Polygnotos group, Copenhagen, The National Museum of Denmark ABC
1021, side A (CVA Copenhagen 4, pl. 146 ab).
The inscription Arsin... possibly refers to Ariadne. The god wears a voluminous headband over his wreath of leaves and holds the thyrsos in his left
hand. Instead of a chiton, the woman wears a peplos with a decorated border.
On the right a satyr energetically strides towards them, carrying a torch in his
left hand. He lifts his right arm in surpriseor is he supposed to be dancing?
On the left another satyr approaches, strumming the barbitos. On the reverse,
three women are quietly standing about: one with an oinochoe, the middle
one with a thyrsos, and the one on the right with a torch. Both images have an
air of reverence.
A calyx krater of about the same date is quite comparable (Figure 83).96 In
the center of this symmetrically composed image we find Dionysos on his klismos, again with a large headband tied over an ivy wreath, with a kantharos in
his right and a thyrsos in his left hand. Before him, shown en face, is another
peplos-clad woman with a thyrsos in her left hand, her hair beautifully done
up. She pours wine for the god from her oinochoe. A second woman in a peplos, wearing a costly diadem, lifts both hands in order to crown Dionysos from
behind with another ivy wreath. From the right a singing satyr is approaching with a barbitos, from the left comes a younger, beardless satyr playing the
aulos. Both satyrs are smaller than the women, and therefore cannot be adult
satyrs. On the other side of the vase, the center of the image is occupied by a
96 Copenhagen abc 1021: Addenda 318 (1035.2 and 1037.1); ba 213467; Brard/Bron 1984, 140,
fig. 201; Matheson 1995, 164.
148
Chapter 6
woman dressed in chiton and himation. Her hair is in a coif and she holds
a thryrsos. On her right a satyr with a kantharos, and on her left one with a
torch. Both satyrs wear the himation of the citizen. In these images, too, there
is pious calm.
Another stamnos, from the circle of Polygnotos and likewise dated between
440 and 430, carries a comparable scene.97 On the far left, Dionysos is sitting on
a klismos covered with an animal skin. He wears an ivy wreath and again holds
the kantharos in his right hand and the thyrsos in his left. Before him, in frontal
view, stands a young beardless satyr, who pours the god a drink from an oinochoe, while holding a wine skin in his left hand. To his right follows a maenad
wearing and ivy wreath, a fawn skin over her chiton and a richly embroidered
robe. She has lighted torches in both hands. She looks back towards another
satyr, this one bearded, who approaches from the right, singing and playing
the barbitos. The maenads name is inscribed as Helike, both satyrs are called
Marsyas. On the reverse, we again find the woman in the coif, holding a long
branch. To her left and right are two naked satyrs. The one on her right seems
to be gesticulating. She may be having a conversation with him.
A fragmentary stamnos by the Hector Painter also belongs to this series.
Of Dionysos, who sits on the left wearing an ivy wreath, only the head and
figure 84 Fragment of a stamnos, Hektor Painter, Brussels, Muse dArt et dHistoire R 239 (CVA
Brussels 1, III ID, pl. 1.2).
97 New Haven (Ct), Yale University 1913.132: Addenda 318 (1035.4); ba 213471; Matheson 1995,
116, fig. 98 (Midas Painter).
149
shoulders are preserved. He is crowned by a woman in a peplos standing

behind him (Figure 84).98
An original variation on the scheme discussed above may be found on an
exquisite bell krater from the same circle, likewise dated between 440 and
430 BC.99 This image, too, shows Dionysos being greeted by two women. Seated
on his klismos, he has drawn towards himself a child satyr whom, like a father,
he gives a taste of wine from his kantharos. Satyrs of various ages figure regularly in the images discussed here, and continue to appear during the second
and third quarter of the century.100 This is hardly surprising. As stated above,
in vase painting satyrs are substitutes for citizens taking part in Dionysiac
ritualsbacchants.101 Childlike and young satyrs fit into this world of vase
imagery just as readily as boys and young men. The name Komos is used repeatedly for satyrs in vase painting after 450 BC.102 It refers to the wild, euphoric
parading before and after the symposium, something the little drinker can
look forward to as he grows up.
When the woman pouring wine to the right of the central group is referred
to as Ariadne, this implies a close relationship with the god. However, it does
not necessarily mean that the scene has shifted from a human to a separate,
mythological plane. In the transition from one age group to the next or one status role to another, any woman could identify with Dionysos bride Ariadne.103
For the modern viewer, the name Tragoidia for the woman who is playing with
a hare on the left remains enigmatic.104 The depiction of Dionysos as a father
in the context of a wine ritual is unique and very striking.
98 Brussels R 239: arv 1036.9; ba 213480; Matheson 1995, 102 and 105, fig. 83.
99 Compigne 1025: Addenda 322 (1055.76); ba 213708; Moraw 1998, 90 and 296, no. 398,
pl. 18, figs 47ab; Matheson 1995, 165; Lissarrague 2013, 35 f., fig. 15.
100 Lissarrague 1998, 186196.
101 Isler-Kernyi 2004a, 61 f., and in addition the Introduction above, note 15.
102 l imc vi.1, 96 f., Komos 620.
104 For other Dionysiac women with this name, see Schmidt 2005, 189191; limc viii.1, 49,
Tragoidia 710. It is well known that the hare, as pet, love gift, or catch was a common
reference to the erotic. It was already used as an attribute for Dionysiac nymphs in the
Archaic period, see Isler-Kernyi 2007, 134 and figs 7, 63, 69, and 70. But even if one keeps
in mind that Attic tragedies not always have a tragic ending, one may wonder what a figure that evokes a genre that is anything but lighthearted is doing with a hare. However, in
view of the fact that the performance of tragedies was part of the ritual of the Athenian
Dionysiac festivals, the presence of Tragoidia in a Dionysiac context is not remarkable:
Lissarrague 2013, 35 f.
150
Chapter 6
A comparable composition as well as a Dionysiac father may be found on

the equally magnificent, but fifteen or twenty years older, bell krater attributed
to the Altamura Painter.105 The comparison with this krater confirms that the
Dionysos on the klismos of the Compigne bell krater should indeed be seen
as a father figure. It seems, therefore, plausible that the seated Dionysos in the
scenes we have just discussed was seen above all as someone fatherlythis in
contrast to his role in the Bacchic thiasos.
To these four more or less contemporaneous representations of the seated
Dionysos celebrated by women and satyrs, we can add a bell krater of about
420 BC attributed to a later Polygnotos circle.106 Again Dionysos (his name is
inscribed) seated on a klismos is the main protagonist. Again he wears the
ivy wreath and holds the thyrsosbut here he is portrayed as a bare-chested
young man with cropped hair. His rejuvenation, often remarked upon before,
has apparently taken place sometime between 440 and 420.107 It can be convincingly connected to the new Dionsyos as represented on the east pediment
of the Parthenon; an image with which Phidias surprised the Athenians in or
shortly before 432.108 The fatherly role attributed to the god on somewhat earlier vases is no longer compatible with this youthful Dionysos. From now on he
is rather the longed-for lover.109
In this same image there is a woman whose name is inscribed as Bakche. She
wears a simple headband over her short hair. With her right hand she offers the
god a kantharos, in her lowered left hand she holds an oinochoe: a surprising
change of attributes, difficult to account for, but not unique as can be seen
from a bell krater by the Phiale Painter, already mentioned above.110 A second
woman, named Orania, seems to touch the back of the gods head. Her long
loose hair appears from under her fillet and she lifts a large tympanon in her
left hand. A satyr, designated as kals, comes from the right while playing the
aulos. The reverse image shows three young men in their himatia. An aryballos
and a strigil over their heads evoke the world of the gymnasium. All three are
characterized as adolescents: beardless and with uncut hair. The middle one,
wrapped in his himation to his neck, seems to listen to his gesticulating companion on the right, while the third one, likewise fully covered, approaches
from the left. The mood of pious expectation, common to numerous scenes
105 Ferrara 2738: see above Chapter 5, note 64 and p. 105 fig. 55.
106 London E 503: Addenda 337 (1159); ba 215344; limc III.1, 80 Bakche 2.
107 Queyrel 1984, 157; Matheson 1995, 187.
108 Carpenter 1997, 92; see below Chapter 7.
151
such as this one, is quite palpable here. It befits the celebration of Dionysos
depicted on the main side of the krater.
All images explored in these paragraphs have in common that they present
Dionysos in an ordinary human environment where he is honored with ritual
acts; the reverse sides of these vases show pious quiet instead of the boisterous thiasos. Taking part in these acts are satyrs of various ages and women in a
range of different garments. These, too, are probably representative of various
age groups and/or social positions. It is unlikely that we will ever know if these
images refer to a specific reception rite. We can merely point at the fact that,
of all the gods, the vase painters only depicted Dionysos in this way, thus highlighting his closeness to ordinary mortals.
The motif of the seated Dionysos who is ritually greeted, is continued in the
work of the Kadmos Painter and the Pothos Painter. A somewhat mediocre bell
krater by the Kadmos Painter, dated after 430 BC, is decorated with a bearded
Dionysos sitting hieratically on a klismos with a kantharos in his right hand
and a thyrsos in his left.111 The libating Nike comes flying from the right, in
front of him a tame feline crouches on the floor. The scene is framed on either
side by satyrs. The bearded one on the left plays the aulos, a lyra at his feet. The
one on the right is younger. On the reverse we again see three youths wrapped
in their himatia.
Quite comparable are three, likewise rather mediocre, bell kraters by the
Pothos Painter, from the early fourth quarter of the century. On two of these
the god is shown bearded, with kantharos and thyrsos; a maenad pours him
wine from an oinochoe.112 A satyr and other women frame the scene. It is
hardly surprising that this obviously conservative vase painter preferred to
stick to the traditional formula of the bearded god as long as was viable. All
the more remarkable is the third vase on which Dionysos appears beardless,
almost naked, and facing left instead of right as in all other images discussed
here, with the exception of the chous from Trachones.113 Moreover, the god is
not received with a libation from an oinochoe, but with a gift of grapes.114 In
this way the vase clearly appears to be iconographically related to the chous
111 Madrid 11074: arv 1185.17; ba 215705.

112 Vienna 1065: arv 1188.3; ba 215737 (the main image incorrectly shows Madrid 11052);
Queyrel 1984, no. 16, 133, fig. 15; Tapley Park (Devon): arv 1188.2; ba 215736; Queyrel 1984,
no. 21, 135, fig. 20.
113 Madrid 11052: Addenda 341 (1188.4); ba 215738 (no image); Queyrel 1984, no. 20, 135, fig. 19.
114 Queyrel 1984, 154. Compare the dinos by the Dinos Painter, Berlin 2402, and the volute
krater by the Kadmos Painter, Ruvo 1093: Queyrel 1984, 152, figs 28 and 29.
152
Chapter 6
mentioned above, so that the whole set of images may be linked to the
Anthesteria imagery featuring a chair.
However, the three examples by the Pothos Painter show a further innovation: the god is no longer seated on a klismos, but on a little knoll. The scene
has, consequently, lost relationship with the human household. It has shifted
to a mythological leveland there it will remain in both Attic and Apulian
imagery. To evoke reverent expectation, in a general way, three youths in their
himatia always decorate the reverse side. The formula will subsequently be
taken into the early 4th century by the Meleager Painter.115
To sum up: there are three series of images sharing the element of the chair
of Dionysos. The first and earliest shows the chair being carried by a satyr in
the gods retinue; the second exclusively attested by the choes of the period
between 430 and 410, shows the klismosempty at first, later occupiedin
the context of the Anthesteria; the third shows the seated god ritually greeted
by his venerators. The chous from the workshop of the Shuvalov Painter
links the first and the second series, and the recently discovered chous from
Trachones the second and third. In Athens during the second half of the 5th
century, three different formulae were, therefore, used to evoke the arrival of
the god at the Anthesteria. Apparently, this was not part of public polis religion, but a ritual in the domestic sphere, in which several family members
were engaged: children, young girls and married women, and, in the guise of
satyrs, young and adult men.116 Possibly, the chair was not merely an element
of the imagery, and thus a mental category, but also part of the actual ritual.
We have to keep in mind that, of all the gods who are represented in vase
painting as seated on an elegant klismos, only Dionysos has it carried before
him; and only Dionysos has a chair prepared for him with cloths and gifts:
no other gods arrival is expected. Only Dionysos arrival is ritualized in this
way: he is the only god who always returns to visit peoples homes. The first
Dionysos chair that is not domestic but plays a part in polis life is depicted on
a bell krater by the Kadmos Painter from just before 400 BC.117
115 See, for instance, Kathariou 2002, 391440, figs 14, 17, 18, and 40.
116 It seems advisable, therefore, to take into account that rituals, including those of the
Anthesteria, changed over time: Humphreys 2004, 223225.
153
Child Satyrs in Dionysos Retinue

Although satyrs of various ages are not a particularly popular motif, satyrs as
child, boy or youth appear regularly in vase painting between 480 and 430.118 If
one understands satyrs to be men in a Dionysiac context or a Dionysiac mood,
it need not surprise that the newborn male, naturally an untamed being, can
also appear as a small satyr.119 We saw this on a stamnos by the Phiale Painter.120
We could see all this as an illustration of the human trait of going through
changes during ones life cycle, i.e. of ones Dionysiac nature.
Some images from around 450 BC allow us to observe changes in the lives of
satyrs. This is not about those images that refer to satyr plays, but about images
that refer to Dionysiac ritual.121 On a calyx krater by the Villa Giulia Painter we
see a Dionysiac procession (Figure 85).122 In front, on the left hand side of the
image, goes a white-haired satyr by the name of Marsyas, playing the aulos.
Next comes a boy satyr, named Posthon, with a lighted torch.123 Behind him
comes a pensive woman, named Mainas (i.e. Maenad) with a thyrsos in her
right hand and a kantharos in the left, and finally an adult satyr, Soteles, also
with thyrsos and kantharos, who is singing with his head thrown back. The
involvement of satyrs of three age groups in a ritual event, the festive nature of
which is palpable, cannot be made more explicit.124
Boy satyrs also often appear in a Dionysiac context with one single maenadlike woman. On a small neck-amphora by the Phiale Painter, a woman with a
thyrsos hastens towards the left behind a young satyr with a heavy wine sack.125
On another of his neck-amphorae, a young satyr wearing a wreath plays the
aulos with total abandon. A maenad, also wearing a wreath, dances wildly to
its music, her thyrsos planted in the ground in front of her.126
Youthful as well as adult satyrs may also accompany the god himself. One of
the painters of column kraters active during the second quarter of the century
presents Dionysos as a participant in a ritual procession on the main side of
118 Lissarrague 1998, 186196 and 2013, 6366. Lindblom 2011, 68 points at 125 vase images in
an unpublished study by J. Michael Padgett.
119 Isler-Kernyi 2004a, 94 f. Also above Introduction note 13.
120 See above note 48 and 134 fig. 74.
121 Satyrs in satyr plays: Krumeich 1999.
122 Karlsruhe 208: Addenda 270 (618.3); ba 207151.
123 According to Lissarrague 1998, 191 this is a term for the penis.
124 Lissarrague 1998, 188191, fig. 36.
125 Madrid L 188: arv 1015.18; ba 214195.
126 Bedford, Woburn Abbey: arv 1015.19; ba 214196.
154
Chapter 6
figure 85 Calyx krater, Villa Giulia Painter, Karlsruhe, Badisches Landesmuseum 208, side A
(CVA Karlsruhe 1, pl. 19.1).
a vase.127 A woman with a large torch in each hand moves in front towards
the right. She is followed by the god, who leans on a young satyr playing the
aulos. Dionysos is bearded, wears nothing but a chlamys over his left arm, and
carries a thyrsos. A woman playing the lyra comes next, and she is followed in
her turn by an adult satyr dancing along with a pointed amphora decorated
with a wreath, and probably filled with wine. Related are a bell krater by the
Methyse Painter and four somewhat later ones by the Christie Painter, who
belongs to the circle of Polygnotos. They show Dionysos moving towards the
right between a young satyr playing the aulos and a torch-bearing woman.128
127 Rome, Villa Giulia 846: arv 575.20; ba 206620 (Agrigento Painter): here 75 fig. 38.
The instrument is the barbitos, see above Chapter 2, note 48.
128 Methyse Painter: New York 07.286.85: Addenda 272 (632.3); ba 207338; Christie Painter:
Vienna 782: Addenda 320 (1047.10); ba 213579; Baltimore 48.74: arv 1047.11; ba 213580; fragments in Syracuse and Athens, private collection: arv 1047.12 and 13.
155
figure 86 Calyx krater, group of Polygnotos, Tarquinia, Museo Nazionale Tarquinense RC 4197,
side A (CVA Tarquinia 2, pl. 18.3).
A unique image decorates a calyx krater of the Classical period from the circle
of Polygnotos (Figure 86).129 Dionysos enters on the left. He is shown as a naked,
staggering komast, with the kantharos lifted in his right hand and a gnarled
stick in his left. A satyr boy with a torch in his left hand and an oinochoe in his
right shows him the way to a house. It looks as if he asks the adult satyr who
sits on the threshold like a guard for permission to enter. Through the halfopen door we see a seated woman, who seems to gesture with her right hand
to be quiet. Her body is shown in frontal view, but her face is turned to the left.
On the reverse a mature satyr, dressed as a citizen in a himation, moves in the
same direction as the couple on the main side between a gesticulating woman
and a woman holding a torch. It is difficult to decide whether both scenes are
related. It also remains an open question whether the scene on the main side
should be interpreted as the marriage of Dionysos and the Basilinna, a ritual
that belongs to the Dionysiac spring festival of the Anthesteria. This interpretation could find support in the oinochoe carried by the boy satyr.130 For our
129 Tarquinia rc 4197: Addenda 322 (1057.96); ba 213726; Paul-Zinserling 1994, 44.
130 Simon 1963, 21, pl. 5.3.
156
Chapter 6
figure 87 Fragment of a calyx krater, group of Polygnotos, Tbingen, Institut fr Klassische

Archologie der Universitt 5439 (AE 1937, pl. 1).
present purpose, however, it is not as important as the presence of a boy satyr

and an adult one within the same scene. The image on a calyx krater from
the same workshop, now in a fragmentary state, was probably comparable
(Figure87).131 It shows a young woman sitting on a bed with a pillow and a
mattress. Before her stands Dionysos, crowned with ivy, leaning on the thyrsos
in his left hand. Eros comes flying from the right behind the woman. He holds
a phiale over her head and touches her upper arm. To the left of Dionysos we
find what seems to be a small satyr, unfortunately badly preserved, with an
oinochoe in his right hand and a kantharos in his left.
We already discussed Dionysos personally taking care of a boy satyr, as portrayed on a bell krater from the circle of Polygnotos.132 The name Komos seems
rather suitable for the little satyr who, as an adult, will certainly take part in
komoi. Once again the identity of the individual figures remains ambivalent,
which seems to hold good for all denizens of the Dionysiac sphere. Instead of
clarifying, the inscribed names rather serve to confirm this ambivalence.
A large chous by the Eretria Painter shows Dionysos and Hephaistos riding a mule.133 It enters on the right, led by a boy satyr, who looks back and
131 Tbingen 5439: Addenda 322 (1057.97); ba 213727. With respect to content, this image is
very similar to the one by the Kadmos Painter showing Dionyos as the bridegroom, see
above Chapter 5, note 116.
157
figure 88 Cup, Kodros Painter, Wrzburg, Martin von Wagner Museum der Universitt H 4616,
inside image (Avramidou 2011, pl. 21a).
raises his thyrsos as if it is a banner. An adult satyr playing the aulos leads the
procession.134
The inside image of an extremely fine cup by the Kodros Painter from
around 420 BC forms a worthy conclusion to this series (Figure 88).135 The
Kodros Painter was the leading cup painter of the Parthenon period; he also
created the beautiful scene with the divine symposium discussed earlier.136 In
the center of this tondo a euphoric Dionysos leans heavily on his companion, who can be no other than Ariadne. He lifts a kantharos by its handle and
seems on the verge of handing it to a boy-like satyr named Komos, who stands
on the right with a torch in his left arm. Ariadne, however, looks towards the
left. She is apparently engaged in conversation with a quietly standing woman
wearing a sumptuous diadem and a heavy peplos. She is named as Pethon
(possibly for Peitho). A young boy is leaning against her. He is called Pophs
134 New York 08.258.22: Addenda 354 (1249.12); ba 216948.

135 Wrzburg H 4616 (491): Addenda 356 (1270.17); ba 217226; Shapiro 1993, 257, no. 118; PaulZinserling 1994, 41 f.
158
Chapter 6
(possibly Pothos), and looks up at Ariadne.137 The boy has neither the ear nor
the tail of a satyr. Peitho und Pothos (persuasion and desire) are figures who
belong to the circle of Aphrodite. The relationship between her circle and that
of Dionysos, especially in the context of his love for Ariadne, is well known
and supports the proposed interpretation of the inscriptions. However, as we
have seen, in vase paintings gods and humans are sometimes brought together:
Pethon could just as well be a prototypical Athenian woman, who presents
her son (whose name could also be Posthon as on the calyx krater by the Villa
Giulia Painter mentioned above) to the divine couple at some festive occasion.
In the eyes of Franois Lissarrague, who focused on the playful irony of satyr
imagery, vase painters used the figure of the satyr child as a device to breach the
boundaries of the polis and put into question the conventions of age and gender. His conclusion is plausible: ...le monde des satyres est un monde enfantin, un monde du jeu qui brouille sous forme plaisante limage de lidentit
masculine, virile et adulte du citoyen.138 This ties in with the fact thatas
we have established for the first half of the centuryin the minds of the vase
painters and their original clients, satyrs perform the same acts, whether meritorious or dubious, as human men.139 The series presented here, which clearly
stands out when one systematically investigates the whole iconography, has
two other salient aspects. First, satyrs can be old, young or childlike, and therefore, like humans, move through various stages of the life cycle and experience the necessary Dionysiac changes. Secondly, satyrs make their appearance
in contexts with obvious ritual connotations, and within those contexts their
behavior is quite different from that shown in most thiasos images found on
cups. Thus, they are not, with the father figure Silenus, the ageless beings of
the mythical world of the past evoked in satyr plays, and neither can they only
be found on the stage, separated from the audience.140 They also belong in
the here and now of the original viewers of the vase imagery. They live in this
worldas we had already established for the dancers and satyrs of the early
6th century, a world permeated by the power of Dionsyos, where identities
are in flux, where men appear as satyrs and satyrs as citizens.141 And satyrs can
even be seen to play a ritually important role in all this.
137 Lezzi-Hafter 1985.

138 Lissarrague 1998, 193196; for satyrs of various ages see also Lissarrague 2013, 6366.
139 See above Chapter 3, p. 51 f. and p. 67 f.
140 Which is the gist of the argumentation of Hedreen 1992, 155 f.
159
figure 89 Volute krater, Curti Painter, Ferrara, Museo Archeologico Nazionale di Spina 2897,
scroll showing both sides (Aurigemma 1960, pl. 22a).
A Ritually Honored Etruscan Dionysos

We repeatedly touched upon the issue of the reception of Greek vases and
their imagery by an Eruscan clientele, for instance when we discussed the
stamnoi with women ritually engaged before a temporary Dionysos idol or the
Kodros cup with divine couples as symposiasts.142 The problem of the relationship between the Athenian vase painters and their Italian customers can
be illuminated with the help of one of the most famous vases of the Classical
period (Figure 89).143
The vase in question is a splendid volute krater, now attributed to the Curti
Painter from the circle of Polygnotos and dated to shortly after 430 BC.144 It
was found with other Attic red-figure vases, including a unique phallus vase
as well as older Etruscan symposium utensils, in an extremely rich grave in
the necropolis of Spina.145 Scholarship has so far neglected this important fact
about the context of our vase. The questions of authorship, date, and especially the identification of the main figures have been approached as if this
vase came from an Attic necropolis. The central element of the vases iconography, a god enthroned, is quite problematic when considered in relation to the
rest of the decoration. This may be divided into three parts. In the center of the
142 See above p. 130 f. and Chapter 5, note 46.
143 Ferrara 2897: Addenda 322 (1052.25); ba 213655; limc iii, Dionysos 869.
144 Halm-Tisserant 1984, 137 and 153 f.
145 A detailed interpretation, based on extensive iconographic research may be found in
Isler-Kernyi 2002a and 2003.
160
Chapter 6
image a divine couple sits on a base between two pillars indicating a building.
From the right approach, with measured pace, three female figures of various
ages. The oldest woman, who leads the procession, carries on her head a liknon
covered with a cloth; the second, younger one plays the aulos; the third one,
a young girl, carries a tympanon. This obviously refers to some mystery cult.
On the reverse a thiasos of twelve individuals, women and men, children and
adults, dances ecstatically to the music of the aulos played by a musician who
stands behind the seated gods, and by another, female, musician in the center
of the image. The sound of the aulos is accompanied by the tympanon and
cymbals held high by a boy under the left handle of the vase.146 Obviously,
a very noisy affair. Some of the participants wear the ependytes, a colorfully
embroidered short garment which makes an exotic impression. Most of them
hold live snakes in their hands or have diadems with snakes on their heads.
Such a diadem is also worn by the enthroned god. The Greeks associated this
type of headdress with the Erinyes, the emissaries of the underworld.
On the one hand the god looks like Zeus, on the other like Hades. He cannot
be Dionysos, because he holds a phiale instead of a kantharos, and a scepter
instead of a thyrsos. Moreover, he does not wear an ivy wreath or a headband,
but this remarkable snake diadem. His partner is represented supporting a lion
on her lower arm. Because of this she has been identified as Kybele, a goddess from Asia Minor, and consequently her male partner as Sabaziosa god
whose ecstatic cult had newly arrived in Athens towards the end of the 5th
century.147 However, women joining Dionysos in the battle against the giants
or Dionysiac nymphs also carry lions in this manner.148 Seen from the perspective of Greek iconography, this god looks most like Hades, also because he sits
inside a house. His partner would then be identified as Persephone.
But when considering the non-Greek clients, we come up against the problem that there is no iconography of the Etruscan Fufluns, that is, independent
of that of the Greek Dionysos. From the Etruscan dedications on imported
Greek ceramics already mentioned above one can conclude with certainty that
at the time our krater was made, there was a mystery cult at Vulci for Dionysos
assimilated with Fufluns.149 What we know of Etruscan religion in general
allows us to state that this god had the same characteristics as the Greek
Dionysos: the symbolism of grapes and wine, the symposium, ecstatic ritual,
146 Concerning the cymbals see above note 20.
147 In this way Halm-Tisserant 1984, 153.
148 Rausa 1991, 57; Carpenter 1997, 72.
149 See above note 34. The graffiti on a column krater found in Pyrgi are also very instructive,
see Isler-Kernyi 2003, 45.
161
and, mediated by the figure of the satyr, male sexuality mostly as an expression of playful vitality. The latter aspect is represented amongst the Spina grave
goods by a vase with a unique shape: a kind of tea mug with a sieve, decorated
with erotic symposium scenes and with three large, plastically formed erect
phalloi attached to its shoulder: a clear allusion to the hoped-for vitality.150 In
addition, there is the relationship between Fufluns and the world of death,
which was much stronger in the case of the Etruscans. Our krater makes this
clear in the prominent place of the snakes in the ecstatic ritual. An Etruscan
red-figure cup from Montepulciano, some three generations younger, shows
Fufluns, slightly tipsy, in a symposium context. He is supported by a satyr, who
wears the same snake diadem as the god on the Attic volute krater.151
If the enthroned god is supposed to be the Etruscan Fufluns instead of the
Greek Dionysos, we must conclude that the volute kraterand, incidentally,
the phallus potwas made and decorated at the Kerameikos after the precise
instructions of an Etruscan customer. Because the Curti Painter probably only
had a very general knowledge of his clients cultural background, he combined
disparate iconographical elements into this figure of a Hades-like Dionysos,
venerated by exotic people of various ages, who was expected to bring succor
to a wealthy citizen of Spina in his grave. Thus, the image of Dionysos was
not set in stone, but could be adapted to the historical circumstances and culture of its beholders. This explains why this god of Athens and of Greece was
enthusiastically adopted and venerated for centuries on the other side of the
Adriatic.152 And it is not surprising that even in Athens itself, on the Parthenon,
the god could be presented in an unfamiliar guisewhich was immediately
taken up by the vase painters, as we will see in the next chapter.
150 Isler-Kernyi 2002a, 79 f., 87, fig. 7.
151 Isler-Kernyi 2002a, 81 and 87, fig. 8. A similar snake diadem is worn by a female figure in
a context that is unfortunately unknown on a fragment of an Attic column krater from
Lokri, dated around 450440 (Reggio Calabria, without inventory number): Giudice 2007,
114, no. 190.
152 Compare Bonfante 1993, whose ideas of Fufluns as a vegetation deity probably simplify
matters too much. For the adoption of the iconography and cult of Dionysos in the
Etruscan cities to the north of the Apennines, see Pizzirani 2009.
Chapter 7
A New Dionysos at the Parthenon

Decoration Program and Message
Around 450 BC it was decided to erect a large new temple for the city goddess
Athena and to provide it with sumptuous sculptural decorations.1 Dionysos
appears thrice, like the other important deities of the Greek pantheon in each
instance on the east, i.e. front, side of the building where the entrance was situated: in one of the metopes of the peripheral colonnade, in the pediment, and
in the frieze around the upper edge of the outer wall of the cella.2 There can,
therefore, be no doubt as to the significance of Dionysos at the time. As the
polytheistic systems of Antiquity and the societies that supported them were
subject to the constant shifts and changes resulting from historical developments, what image of the god the polis sought to present in a prominent representative building of this kind is a question of considerable importance. Even
more so because it was at the Parthenon that Dionysos was first represented as
a young god, a new form which, as we will see, would be of permanent influence for other artistic media, especially vase painting.3
In order to properly understand this alteration of the Dionysiac image, we
should try to grasp the meaning of the sculptural decoration of the Parthenon
as a whole. Before we embark on the analysis of each of the Dionysos images,
we will therefore briefly explore the decoration program and its possible relationship with the political context of the time.4
The 92 metopes were the oldest of the buildings decorations and the ones
that were closest to the viewer. They showed the great battles of primeval
times: on the east side the gods versus the giants, in the south the heroes versus
the centaurs, in the west the Attic hero, Theseus, versus the amazons, and in
the north the Greeks versus the Trojans. These battles mark subsequent stages
in the development of the world order as seen by the Greeks at the time: the
1 Grtter 1958, 121; Welwei 1999, 120 f.; Schneider/Hcker 2001, 113; Hurwit 2004, 94 (towards the
end of the year 449); Jenkins 2006, 76. Compare Isler-Kernyi 2010a, largely unmodified.
2 That Dionysos (and the other gods) appeared in all three of the sculpted fields of the east
side, was probably meant as a stimulus for the viewer to make comparisons, see Osborne
1994, 148 f.
3 Carpenter 1997, 85; See below Chapters 8 and 9.
4 Rolley 1999, 6986; Schneider/Hcker 2001, 142152 (and the relevant literature pp. 229231).
A New Dionysos At The Parthenon
163
order of Zeus. The rebellion of the giants against the Olympian gods had been
the biggest threat to that order; the Trojan War was nearest in time to the present. The battles with the centaurs and the amazons had presented opportunities for the heroes to distinguish themselvesthe heroes, who, as children of
gods and founders of prominent families of humans, were the protagonists
of the transition from the age of the gods to present time.5 The two pediments reminded the viewers of two mythical events, which formed the basis
of Athens pre-eminent position in the world: in the east the birth of the citys
patron goddess Athena from the head of her father Zeus, in the west Zeus final
decision in the dispute between Athena and Poseidon about the domination of
Attica.6 The frieze shows an idealized representation of the procession which
was the culmination of the Panathenaic festival, the main festival dedicated
to Athena; the imagery of the frieze was very likely inspired by it. This festival,
commemorating the birth of the goddess, was celebrated every year and every
fourth year with special pomp and circumstance.7 Recurrent themes of the
sculptural decoration of the Parthenon are, therefore: battle, the pre-eminence
of Athens, the end of the struggle, the celebration of harmony.
A look at the position of Athens at the time of the conception and planning
of the decoration is instructive. As we know, work on the Parthenon started in
the year 447; it must have been preceded by a period of design and organization. We should therefore ask ourselves what motivated Phidias and his patrons
to come up with the image program described above and simultaneously revolutionize the traditional image of Dionysos. The building of the Parthenon followed the transfer of the treasury of the Delian League from Delos to Athens
in 454 BC. Athens was its most important member and the new building on
the Acropolis was meant for the treasurys safekeeping; the transfer allegedly
protected the funds from the Persian arch-enemy. Shortly afterwards Athens
organized military campaigns against the Persians in Egypt and Cyprus.8
The Egyptian fiasco seems to have brought about a change of mind within
Athenian politics, because, in whatever way one dates the individual events,
5 Brelich 1958, 386389 (= 2010, 306309). Compare Rudhardt 1978, 1: Cet illud tempus (= le
temps mythique) comprend plusieurs moments successifs, parfaitement distincts, et les vnements mythiques ne se situent pas tous au mme moment dans cette srie.
6 Knell 1990, 119; Grtter 1997, 122 f.; Rolley 1999, 78; Palagia 2005, 252. That the west pediment
does not show the rivalry between Athena and Poseidon, but the end of the conflict, is evident from a superb Attic hydria found in Pella, see below note 88.
7 Hurwit 2004, 236: ...a distillation of the many processions [...] that characterized Athenian
life in the age of Pericles... For Wesenbergs new interpretation of the scene in the center of
the east pediment, see below note 79.
8 Welwei 1999, 101107.
164
Chapter 7
it is clear that around 450 BC. Athens launched a series of initiatives the aim
of which was to obtain a permanent peace.9 A truce with Sparta was arranged
in 452/1, followed by the Thirty Years Peace in 446/5.10 The so-called Peace of
Kallias between the Delian League and Persia is generally dated in 450/449.
This was followed by an invitation to the Greeks of Europe and Asia to attend
a peace conference in Athens.11 The decision to build the Parthenon belongs to
this political context.12 It is plausible that the idea of a pax atheniensis as the
outcome of the many battles of gods and heroes was the common denominator of the decoration program of the Parthenon.
Dionysos Gigantomachy
When the Parthenon was converted into a Christian church, the metopes on
the east side were (deliberately) so heavily damaged as to be unrecognizable.
As they remained in situ, however, we can be certain of the situation of the
Dionysos metope: the second on the left, near the south edge of the row, in one
field of vision with the Dionysos in the east pediment.13 Praschnikers suggestions for the metopes reconstruction (including the elucidative drawing) of
1928 largely retain their value, all the more so because they are in accordance
with the corresponding, somewhat older, vase paintings.14 Dionysos, wearing a
short chiton and coming from the left, menaces his adversary. He is assisted by
a panther and a snake and probably uses his thyrsos as a weapon (Figure 90).15
A bearded Dionysos in a short chiton already appeared a hundred years earlier
in the Gigantomachy of the Siphnian treasury in Delphi.16 In addition, he is
represented in this way in most of the vase paintings of the 5th century.17 It is
uncertain whether the Dionysos of the Parthenon metope is already a beardless
9 Raubitschek 1979.
10 Welwei 1999, 105 and 125; Will 1995, 59.
11 Plutarch, Perikles 17: Welwei 1999, 120; Musti 2008, 354 f.
12 Welwei 1999, 120121; Will 1995, 58; Castriota 1992, 137.
13 Berger 1986, 55 f.; Schwab 2005, 165.
14 Praschniker 1928, 192, fig. 119. See for Dionysos Gigantomachy in vase painting: limc iii,
Dionysos 609650, 655, 656; Carpenter 1997, 1534.
15 Carpenter 1997, 87. For more information on Dionysos Gigantomachy, see Paul-Zinserling
1994, 3537.
16 limc iii, Dionysos 651.
17 Very exceptionally, Dionysos Gigantomachos is completely naked on the kyathos, Berlin F
2321: arv 333.3: Schlesier/Schwarzmaier 2008, 75 fig. 5; 187 Cat. 37. He wears a long chiton
in the Paris cup Cab. Md. 573: Addenda 234 (417.1); ba 204546; limc iii, Dionysos 648.
165
a
b
figure 90 Parthenon, metope east 2: Dionysos Gigantomachy.
a. plaster cast, Basel, Skulpturhalle (Berger 1986, pl. 40e).
b. reconstruction by Praschniker (Praschniker 1928, 192, fig. 119).
166
Chapter 7
youth, as in the east pediment, or still bearded, as in the vase paintings. It would
not be surprising if the latter were the case: the metopes, as I have already
mentioned, stylistically belong to the older parts of the Parthenon decoration.18
What distinguishes Dionysos from the other gods in the Gigantomachy is the
fact that the enemy seems overcome by the animals that accompany him,
rather than by the strength of the god himself.
Dionysos in the East Pediment
Apart from a few fragments, the figures from the center of the pediment have
been lost. In what way the great event of the birth of Athena was represented
at the Parthenon is, therefore, likely to remain an open question.19 From what
is left we can only conclude that a dramatic sweeping movement emanated
from the central event to both sides, which slows to a halt in the three reclining
figures nearest the ends of the pediment and is finally absorbed in the corners
by the teams of the ascending Helios en the descending Selene. That the young
man reclining just in front of the heads of the horses of Helios team must be
Dionysos can be maintained on the basis of the history of the imagery of the
birth of Athena as well as his hairstyle, as we will see. There can, therefore, be
no doubt as to his position within the whole.20 A Dionysos reposing after a
successful hunt eminently suits the political climate of the time and the pax
atheniensis initiated by Perikles. At the same time, his line of vision includes
the theater of Dionysos on the south side of the Acropolis and in this way the
relationship between the god and his theater is confirmed and secured.21 The
theater was only erected in stone more than a hundred years after the completion of the Parthenon, more or less as it remains now.22 We may, however, presume that, during the 5th century, the performances which were part of the
Dionysian festival took place at the same site, near the venerable temenos of
Dionysos.23
18 Rolley 1999, 68; Schwab 2005, 160.

19 Rolley 1999, 7476; Schneider/Hcker 2001, 142; Palagia 2005, 242 and note 78; Jenkins
2006, 8791 See above 8 note 34.
20 Arguments for and against identification as Dionysos or Herakles are summarized in
Traficante 2007, 7789.
21 Most recently Queyrel 2006, 221 f.
22 Isler 2002, 535.
23 Kolb 1981, 92.
167
In what way is Dionysos represented? He presents himself here as a young

athletic adult, in a relaxed half-reclining position: the image type of the symposiast. The object that supports his back is covered by an animal skin, probably
that of a panther, which strengthens the idea that he is conceived as a successful hunter. He is the only figure in the east pediment whose head remains,
even though it is now so worn away as to seem too small. It has been assumed
he wore his hair cropped as was usual for athletes, and is appropriate for his
body type.24 His exact hairstyle has been lost, however, and so have the attributes he probably carried. The body in itself, however, also presents iconographical problems, because in vase painting the symposiast Dionysos was,
neither before nor after, represented fully naked.25 One gets the impression
the sculptor wanted to draw the attention to the manly beauty of his body.
However, Dionysos fine body can only have been seen and admired during
the time preceding the placement of the figure in the pediment. After that, his
most striking feature must have been his legs which rather protruded from the
pediment.26 We will come back to the beauty of Dionysos below.
Moreover, at the time of the planning and execution of the east pediment,
Dionysos as a young man was even rarer than Dionysos as a nude symposiast.
As the work of, for instance, the Kleophon Painter demonstrated, even around
440 BC, the god was usually represented as a dignified bearded father and/
or spouse.27 Every scholar involved in the history of Dionysiac imagery has
been struck by the abrupt change in his appearance after 430 BC. Naturally, the
change was attributed to the influence of the Parthenon sculptures, which, as
we all know, were completed in 432 BC and were since there for all to admire.28
What did the Dionysos of the east pediment of the Parthenon look like at that
time? The photographs of the badly eroded throat and neck areas published
by E. Pochmarski in 1984 have already shown that Dionysos hairstyle was not
the cropped head of the athlete.29 In addition, more recent photographs of the
old cast in the archeological collection of the University of Zurich clearly show
the original center parting over the forehead and, when the head is seen in
24 According to Brommer 1963, 9, Furtwngler already did so.
25 limc iii, Dionysos No. 362381. This also holds true for other symposiasts, see Dentzer
1982, pl. 1922; 2529; 44117. For an example of a naked symposiast (Herakles): pl. 118, fig.
729.
26 Brommer 1963, 8.
27 Compare for instance the Dionysos figures by the Kodros and the Kleophon Painter:
cup London E 82 (Addenda 356 [1269.3]; ba 217212); pelike Munich 2361 (Addenda 335
[1145.36]; ba 215176).
28 For instance Carpenter 1997, 85; Traficante 2007, 77.
29 Pochmarski 1984, 278280, pl. 26, 2 and 3.
168
Chapter 7
profile, the contour of the plaits horizontally attached to the back of the head
(Figure 91).30 It is probably for this reason that J. Neils assumes Dionysos also
wore the old-fashioned plaits fastened around the head that can be seen in
the figures of the handsome elderly men in the north frieze of the Parthenon.31
It seems to me, however, that Pochmarskis documentation rather suggests a
hairstyle comparable to that of the Acropolis Apollo Parnopios, attributed to
Phidias.32 This hairstyle would not only reconcile the proportions of the head
with to those of the body; it would also be in accordance with the usual representation of Dionysos in vase painting after 430 BC: the oeuvre of the Dinos
Painter presents some good examples, which belong to the earliest representatives of the new iconography.33 A miniature version of the Dionysos of the
east pediment may be found on a bronze mirror from Southern Italy datable
to the 4th century, now in Copenhagen. He wears the Apollo hairstyle and
has boots on his legs (Figure 92).34 This figure of a young Dionysos, nude and
with Apollo hairstyle, but standing, was then taken over by late Classical and
Imperial-period sculptors.35
The fact that the young man wears his hair long rules out the identification
with Herakles, which on the basis of the iconographical tradition of the birth
of Athena was improbable anyway.36 In addition there are the suggestions
made as to the way the attributescup or kantharos, and thyrsosmay have
been held: from the position of the lower right arm we can conclude that the
vessel belonged on this side and that the left arm therefore held the staff. This
is supported by examples from vase painting.37
This reconstruction of the Dionysos in the east pediment of the Parthenon
marks him out as a son figure instead of the traditional father or spouse and,
first of all, defines Dionysos as the son of Zeus. For the Greeks Zeus was representative of the current cosmic order. Mythology abounds in love affairs
30 See also Jenkins 2007, 49 and 51.
31 Neils 2005, 238.
32 Hurwit 2005, 140 also describes figure D as a longhaired nude youth. For the hairstyle of
Phidias Apollo see Pfeiff 1943, pls. 3133; Rolley 1994, 13, fig. 9.
33 See the calyx krater Vienna 1024: arv 1152.8; ba 215261. Also the dinos Berlin F 2402:
Addenda 336 (1152.3); ba 215255. About the Dinos Painter, see below chapter 8.
34 Copenhagen 4833: limc iii, Dionysos 137. These boots would explain the holes in
the lower legs of the Parthenon Dionysos observed by D. Williams (probably the ones
described by Brommer 1963, 3). Compare in addition the statue (unfortunately without
head and attributes) from the 3rd century BC in Olympia: limc iii, Dionysos 142.
35 limc iii, Dionysos 119125 and 128.
37 For the cup by the Kodros Painter, see above Chapter 5, note 42; for the bell krater in
Budapest 50.568: arv 1439.1; ba 218088; Kathariou 2002, 413 fig. 54.
169
c
figure 91 Parthenon, east pediment, Dionysos. Plaster cast in the archaeological collection of
the University of Zurich, made before 1871.
a. frontal view of the head (photograph Archologisches Institut der Universitt
Zrich, Frank Tomio).
b. profile view of the head from the left (photograph Archologisches Institut der
Universitt Zrich, Frank Tomio).
c. Dionysos (reconstruction by C. Isler-Kernyi).
170
Chapter 7
figure 92 Handle of a bronze mirror, Copenhagen, The National Museum of Denmark 4833
(photograph museum).
and the children that resulted. However, none of Zeus children had divine
offspring: at best they produced heroes, of immortal fame perhaps, but nevertheless mortals who, in their turn, sired mortals. Zeus sovereignty could therefore not be contested and he could not be dethroned, like he had dethroned
his own father Kronos, who had dethroned his father Uranos.38 The sons of
Zeus, who as father figures could never be on a par with him, were in this way
guarantors of the future of the order of Zeus. Naturally, Zeus daughter Athena
also belonged to this order. The east pediment of the Parthenon was meant to
show the Athenians, their allies and their subjects, as well as every visitor that,
within the order of Zeus, the birth of Athena inaugurated a new era under the
direction of the city whose patroness she was.
The transformation of Dionysos into a son figure must, at the time, have
made a considerable impression on the beholders: vase painting after 430
abundantly testifies to this, as we will see. The change cannot, however, have
been completely unanticipated. We have already discussed some representations of Dionysos as a naked komast: on the column krater by the Agrigento
Painter, on the bell krater by the Methyse Painter in a ritual procession with
38 Kernyi 1997a, 2628.
171
satyrs and Dionysiac women, on the calyx krater from Tarquinia with the midnight visit.39 As we have seen, the motif of the infant Dionysosespecially
Dionysos as the child of Zeuswas topical in the years around 450 BC.40
In the east pediment of the Parthenon Dionysos presents himself as the son
of Zeus and therefore as the brother of Apollo. Evidence from various art forms
makes it clear that this is not a modern projection influenced by Nietzsches
ideas, but a reality of that time.41 In vase painting, just after 440 BC, we find
a Dionysos who, in the role of punisher of Pentheus, shows a startling resemblance to Apollo in the role of punisher of Marsyas.42 As far as coin engraving
is concerned: Walter Burkert already pointed out that coins from Naxos from
around 460 BC still had the traditional bearded head of Dionysos, but that after
420 BC the god was deliberately made to look like Apollo (Figure 93).43
The increased similarity to his brother Apollo first of all has a mythological
explanation. In the decades after the Persian Wars, Apollo was generally seen
as the one who, among the sons of Zeus, enforced his fathers order in times
of crisis: he took center stage in the west pediment of the temple of Zeus at
Olympia (where, significantly, another protagonist is Theseus, the founder of
Athens), completed some years before the Parthenon. Phidias was commissioned to make the cult statue of Zeusthe same Phidias created the statue
of Athena at the Parthenon.44 In Athens Dionysos had held a comparable role
as guarantor of the order of Zeus since the time of Solon.45 If Phidias and/or
Perikles had the intention to proclaim a new permanent world order under the
39 Rome, Villa Giulia 846: arv 575.20; ba 206620 (Agrigento Painter); New York 07.286.85:
arv 632.3; ba 207338 (Methyse Painter); Tarquinia rc 4197: see above Chapter 6, note 129,
and in addition the representations of Dionysos as a boy mentioned in Chapter 5, note 94.
41 For the theme of Dionysos versus Apollo in the history of the Altertumswissenschaft, see
Isler-Kernyi 2007, 235254.
42 Lekanis Louvre G 445: ba 45070 (no image); Moraw 1998, pl. 20, fig. 50c (Dionysos: here
p.202 fig. 106); volute krater by the Kadmos Painter in Ruvo 1093: Addenda 340 (1184.1);
ba 215689; Sichtermann 1966, pl. 16 (Apollo). Compare Queyrel 1984, 157 concerning the
work of the Pothos Painter who was active around the same time: Ntaient ses attributs,
Dionysos risquerait dtre pris pour Apollon.
43 Burkert 1977, 341; Franke/Hirmer 1972, pl. 4.11 (Dionysos), pl. 4.12 (Apollo), both dated
420403 BC. Compare in addition the tetradrachms from Maroneia, idem pl. 139.431 V,
dated 430400, as well as the later ones from the same town (limc iii, Dionysos 194, 195):
head of Dionysos with Apollo hairstyle.
44 Hurwit 2005, 140142.
45 Isler-Kernyi 2007, 75 and 104.
172
Chapter 7
a
b
figure 93 Coins from Naxos (Sicily).
a. didrachma: Apollo (Franke/Hirmer 1972, pl. 4 above left).
b. tetradrachm: Dionysos (Franke/Hirmer 1972, pl. 4 above right).
leadership of Athens, it would be natural to assign a complementary stabilizing task to both Apollo and Dionysos.
On the other hand, Apollo held a very special position in Athens.46 He had
four sanctuaries here and was therefore very much present in the citys cultic
life. His pre-eminence is also evident in vase painting. Reference to Delos seems
logical in this context: this is where the treasury of the Delian League had been
kept before it was transferred to Athens and it was the traditional religious
center for all Ionians.47 Moreover, the transfer of the treasury to Athensa significant decision in view of the Athenian ambitionshad been the occasion
for the building of the Parthenon. It explains why the statue of Athena in the
cella of the Parthenon was influenced by the cult statue of Apollo at Delos.48 In
addition there is the relationship with Delphi; according to Aischylos, Apollo
had traveled from Delos to Delphi via Athens.49 As the center of the earth, it
was in the 450s of strategic importance for Athens in its rivalry with Sparta.50
46 Shapiro 1989, 5052.
47 For the relationship Athens-Delos before Perikles: Tausend 1992, 52; Ulf 1997, 51 f. After
Perikles: Etienne/Braun 2007, 26 f.
48 Fehr 1979, 7180, especially 77: ...die Parthenos nimmt als die jngere Statue auf das
archaische Apollonbild bezug und legt dem Betrachter einen Vergleich nahe.
49 A. Eu. 811.
50 Welwei 1999, 122 f. Correspondingly Surez de la Torre 2002, 160: Pendant le Ve sicle, on
observe un effort redoubl dassimilation et de rapprochement des traditions mythiques
173
If indeed Perikles intended the conformity of Apollo and Dionysos, it can

hardly be a coincidence that the Athenian tragedians of the time made mention of the presence of Dionysos in Delphi. In this context, it is worthwhile
to quote a recently published study: It can be demonstrated that Apollo and
Dionysos shared the same sacred spaces, cultic practices and mythical tales,
and that their relationship is revealed in their encounter, and their dividing
and even exchanging roles.51 The antithesis is not so much between Apollo and
Dionysos, as has been maintained ever since Nietzsche, as between these two
complementary guarantors of the order of Zeus, and Ares, the god of war.52
Incidentally, from the hypothesis proposed above it follows that the reflection and discussion concerning the relationship between Apollo and Dionysos
(which lies at the basis of the one-sided interpretation of Dionysos in the study
of antiquity)53 was set in motion in the Athens of the 5th century BC, probably
in the circle of Perikles. For this reason it is extremely regrettable that all that
remains of the Apollo on the north side of the east pediment of the Parthenon
are his tortoise-shell armor, the sounding board of his lyra, and part of the arm
that held it.54 We do not know in what way he wore his hair and if he resembled
Dionysos.55 Still, the assembly of gods in the frieze, dilapidated though it may
be, still shows very well that their beardlessness distinguishes the sons of Zeus
from the father figures Zeus and Poseidonwith the exception of Hephaistos,
however, who, as the ancestor of the mythical kings of Athens, was represented
as a father figure.56
dAthnes et de Delphes. The oracle played an important part in the development of
Athenian power, see Knell 1990, 125. For Delphi as the center of the earth: Parker 1985, 303.
51 Massa 20062007, 77: Da questa analisi possibile mostrare che Apollo e Dioniso condividevano spazi sacri, pratiche cultuali e racconti mitici e che il loro rapporto si rivelava
giocato sullincontro, sulla condivisione e talvolta persino sullo scambio delle parti. The
same holds true for Alkaios and his world: Privitera 1970, 106. The Kadmos Painter may
be referring to the reception of Dionysos in Delphi on the calyx krater we will discuss in
detail in the next chapter, note 25 fig. 103, and Gasparri 1986, 509 f.
52 For instance in Sophokles: Massa 20062007, 87.
54 Despinis 1982, 3744: the author is of the opinion that a standing Apollo is more probable
than a seated one. In earlier representations of the birth of Athena Apollo likewise usually
takes part as a musician: limc ii.1, 315 (W. Lambrinoudakis and others).
55 On the basis of their attitudes and the attributes in their left hands as attested by the
sources it may, incidentally, be assumed that the Delian Apollo and Phidias Parnopios
statue were quite similar: limc ii.1, 234, Apollo 390, cf. limc ii, Apollo 295. There was no
canonical image for the Delphic Apollo: Pfeiff 1943, 16.
56 limc iv.1, 629 f. (A. Hermary); Kernyi 1997a, 9496 and 1997b, 172; Shapiro 1995, 13.
174
Chapter 7
figure 94 Monument of Lysikrates, Athens, detail of the frieze (Ehrhardt 1993, 32, fig. 5).
In this regard, the fact that Dionsyos turns away from Athena emerging from
her fathers head in full armor and looks towards his theater instead, acquires
a deeper meaning. Although every genre had its own mode, the antique drama
presented severe conflicts and their solutions in a manner that demanded
strong emotional participation from the audience. In this way, it served as a
beneficial safety valve for the citizens amidst the stresses and strains of society; the same may be said for the symposium. This is typical for the effectiveness of Dionysos and forms the basis of his prestige among the deities of the
state.57 That the optical relationship between the reclining figure in the pediment and the theater is not a modern over-interpretation, is supported by the
Monument of Lysikrates, erected near the Acropolis in 335/4 BC. It shows a
reclining youthful naked Dionysos watching a satyr play (Figure 94).58 Thus,
the idea of a Periclean vision of peace offers an explanation for the fact that
in the Parthenon pediment Dionsyos looks away from the great central event.
We should therefore have a closer look at his appearance in the context of this
event and the tradition of its imagery.
57 Pellizer 1990, 182.

58 limc iii, Dionysos 792; Ehrhardt 1993, 12: locks of hair reach to the neck. The iconographic connection has already been determined by Palagia 1993, 20 and Carpenter
1997, 87.
175
In vase painting the presence of Dionysos at the birth of Athena goes back to
the beginnings of the motif in the first half of the 6th century.59 People apparently believed that Dionysos was already there when the miraculous birth of
Athena inaugurated a new world era. But even though he is present, we rarely
see him near the main protagonists Zeus, Athena and Hephaistos; he is usually placed in a marginal position, which indicates a certain distance.60 At the
Parthenonin the east pediment and, as we shall see, also in the friezehis
proximity to the Eleusinian goddesses is of special significance. In the Carrey
drawings he seems even nearer to them than in the British Museum display or
in the drawing by Ernst Berger.61 This could be an allusion to their cultic propinquity in Eleusis and in Athens.62 After all, the Panathenaic procession came
past the citys Eleusinion.63
As mentioned above, however, it is also significant that he turns away from
the central event: this expresses an inner distance. Whether one assumes a
seated or a standing Zeus, the center of the image was dominated by Athena
emerging in full armor. Aphrodite, who figures near the north side of the
pediment, matches Dionysos perfectly. She looks towards her sanctuary on
the north slope of the Acropolis and expresses the same outward and inner
distance.64 And the same relaxedness: no other deity embodies the idea of
peace as does the goddess of love.65 Perhaps both Aphrodite and Dionysos are
so little impressed by the birth of Athena because the scope of their power
is larger and their influence on the world and on human beings is older and
reaches beyond Athens. The denomination lysios (he who unfastens) presents itself as a suitable designation for the Dionysos in the east pediment of
the Parthenon. On the basis of an Eretrian inscription from the end of the 4th
century BC, Anne-Franoise Jaccottet has demonstrated that Dionysos Lysios
59 limc iii, Dionysos 490492. Concerning the Tyrrhenian amphora Berlin F 1704, see IslerKernyi 2008a, 75 f.
60 To conclude that Dionysos is not an Olympian, as does Neils 2005, 238, is, however, unwarranted in view of his marked presence in the decoration of the east side. Contentions of
this kind are, finally, expressions of long-standing prejudices within the history of the
study of antiquity: Isler-Kernyi 2007, 235254.
61 Knell 1990, 122.
62 Clinton 1992, 123125.
63 Kavoulaki 1999, 300.
64 Queyrel 2006, 222. The relationship between the pediment figures and the topographical situation around the Parthenon has been noted before. It is plausible in the cases of
Dionysos and Aphrodite, but less convincing for other gods.
65 Pironti 2007, 284: ...cette desse est capable la fois dassurer la cohsion de la communaut et de matriser les forces diverses qui traversent tout lensemble civique.
176
Chapter 7
preeminence lies in the fact that he liberated the city in a peaceful way, without combat.66 On the east pediment of the Parthenon, Dionysos embodies the
idea of peaceas does Aphrodite, to whom this role was more familiar.67 As
we all know, Perikles vision of peace would soon be shattered by political reality. This would explain why, outside vase painting, Phidias Dionysos did not
have a lasting effect. The cult statue for the temple in the temenos of Dionysos
next to the theater, created somewhat later by Alkamenes, was again in line
with traditional iconography.68
As far as the attributes of the Dionysos of the east pediment are concerned:
already at this time the kantharos (or phiale) and the thyrsos were closely
associated with him. These two do not refer to the theater, but, as many vase
paintings have shown us, to the ritual aspect.69 The thyrsos was introduced
into the iconography around 530520 BC, at first as an attribute of Dionysiac
women. Dionysos himself uses it in the Gigantomachy and it increasingly takes
the place of his traditional attributes, the branches of ivy and vine. As we have
seen, it is a fixed element of the ritual thiasos, which, from the second quarter
of the 5th century, gradually supersedes the mythical thiasos. The thyrsos, the
ferula communis, is light as a feather, but very tough and therefore eminently
suitable as a weapon for women. That it can be used for the transport and keeping of fire is not so well known.70 Prometheus already did so when he brought
fire to the humans.71 It therefore also symbolizes civilized life. This is remarkable in view of Platos oft-quoted passus about the many bearers of thyrsoi and
the few real bacchantes.72 Apparently, Bacchic rites and a real Greek way of
life were inseparable, as was also Herodotus opinion.73 As an attribute of the
Dionysos of the east pediment of the Parthenon, the thyrsos defines him as the
god of Bacchic celebrations. In the next chapter, we will see that, as the result
of radical changes in the political climate, vase painters after 420 BC address
66 Jaccottet 1990. It is significant that the temple in Thebes was dedicated to this Dionysos.
Like in Athens and Eretria, it was situated next to the theater, see Jaccottet 1990, 152153.
67 It may not be a coincidence that on two vases and an altar from the late 5th century one
of the women in Dionysos retinue is called Eirene: Shapiro 1993, 4548; Smith 2011, 78.
68 limc iii.1, 446 Dionysos 214; Rolley 1999, 144.
69 For the kantharos as a mark of heroes or the transition to the state of heros, see IslerKernyi 1990, 45. For the cultic connotations of the thyrsos, which appears in the Dionysiac
thiasos around 520 BC, see Schne 1987, 192; Krauskopf 2001, 47; similarly Kaeser 1990, 333.
70 Baumann 1982, 61. This confirms the close relationship between Hephaistos and Dionysos.
71 Vernant 1988, 265.
72 Phaidon 69c, compare Krauskopf 2001, 50.
177
themselves to the individual rather than to the collective of the polis and come
to emphasize the Bacchic aspect of Dionysos.74
The third attribute, the animal skin, characterizes Dionysos as the master of
a predator, probably the panther. More than the lion, the panther evokes colorfulness, the untamed, the exotic, in other words: the Asiatic.75 Dionysos, who
in the Gigantomachy was supported by a panther, here presents himself as the
vanquisher of the panther. This is remarkable in the context of Perikles peace
policy of around 450 BC and the allegations made by his political adversaries
that he was too little anti-Persian.76 After 420 BC the Dionysiac world repeatedly presents a third panther type: the tamed, playful one.
Finally we must discuss the unusual nudity of Dionysos. Robin Osborne,
who made an extensive study of this motive in Greek art, ascertains that ...the
beardless body is very often a sculptural construct, an idealization, distanced
from the male body of life by its combination of beardless immaturity with
distinctly mature musculature, and concludes: To show a male figure without
clothes was certainly to invoke the beautiful body of the young athlete...77
The beauty of Dionysos brings us to the consideration of the frieze.
Dionysos in the Parthenon Frieze
For constructional reasons this part of the external sculptural decoration of
the Parthenon must have been completed before the pediment. In its present
form, however, it seems to have been planned after the pediment had been
devised.78 But its place in the total effect justifies taking it into consideration
after the metopes and the pediment: the viewer would, after all, only perceive
it on his way towards the interior of the temple, after he had seen the metopes
and the pediment. The frieze shows a festive procession, in which representatives of the Athenian population, male and female, and of various ages, participate. The procession leads to the assembly of Olympian gods who, divided
74 Paul-Zinserling 1994, 10. Concerning Dionysos in vase painting after 420 BC see below
Chapters 8 and 9.
75 Wiesner 1965, 2213; Isler-Kernyi 2011a, 85 f. For more details on the panther in ancient
thought see also Detienne 2007, 6669.
76 Klein 1979, 501. It is significant that the panther supports Dionysos in the Gigantomachy,
while after 420 BC so many representations show it peacefully at his side.
77 Osborne 1998, 100. Similarly Himmelmann 1990, 47: ...Nacktheit...ist vielmehr die
natrliche Begleiterscheinung von Jugend und Schnheit.
78 Wesenberg 1983, 8386; Neils 2001, 39.
178
Chapter 7
figure 95 Parthenon, east frieze, detail with Hermes, Dionysos, Demeter, and Ares. Plaster cast
in the archaeological collection of the University of Zurich, made before 1871
(photograph Archologisches Institut der Universitt Zrich, Frank Tomio).
into two groups of six persons, are seated to the left and right of a central scene,
the interpretation of which is the subject of controversy.79 As in the metopes
and the pediment, Dionysos is the last figure but one in the left group; only his
brother, the divine messenger Hermes, separates him from the humans in the
procession.
As in the pediment, he presents himself as a young adult, with the thyrsos
in his left hand (Figure 95). Because of the condition of the frieze, his hairstyle cannot be determined, but it was probably smarter than that of Hermes;
he may even have worn a diadem. The face was shown in three-quarter view;
the contours of the right jaw still remain and perhaps some traces of the right
eye.80 The composition suggests a close relationship between Dionysos and
Hermes. This is in line with the iconographic history of the divine assembly,
but it is particularly emphasized here.81 The emphasis on this relationship is
the reason why Dionysos seated body is turned towards the other gods, which
79 Against the traditional reading of the scene as the presentation of the peplos to the
priests of Athena, Wesenberg 2014, with arguments worthy of consideration, proposes
that the scene juxtaposes a ritual belonging to the Arrhephoria and one which took place
during the Plynteria.
80 This is evident from a cast, made before 1871, in the hall of the University of Zurich. I am
grateful to Simone Voegtle and Rolf Fritschi for assisting me in my research. Compare
Brommer 1977, pl. 172. This aspect should be corrected in reconstruction drawings that
still show Dionysos in profile.
81 Isler-Kernyi 2008a, 7577. Compare the ...trs grande familiarit qui existe entre
Herms et Dionysos..., limc V.1, 373 (G. Siebert).
179
necessitates the turn of his head to face the incoming procession. Without
this turn of the head, Dionysos would have his back towards the humans and
remain invisible. On the other hand, his contrary position brings him closer to
the grieving Demeter. This underlines their common quality as mystery gods,
already indicated in the east pediment, and explains the proximity of Hermes,
who is not only the messenger of the gods, but also the conductor of souls,
psychopompos.
This position enables Dionysos to present his fine torso in all its beauty.
The frieze shows Hera in a similar manner, although she is fully dressed. She
is more than just beautiful here: her gesture of unveiling clearly has an erotic
meaning. It is of interest, that the beauty of the Athenian men was very much
a theme of the Panathenaic festival. Beauty contests for men of various age
groups were part of the competitions at many festivals, but the Euandria of the
Panathenaea were the most famous.82 The most beautiful among the mature
men took part in the procession as bearers of olive branches, thallophoroi.
These are perhaps also shown in the Parthenon frieze.83
Taking part in a procession meant making a spectacle of oneself. More
than any other form of ritual behavior the procession is therefore related to
the theater: ...processional ritual shares with theatrical performances...an
explicitly declared emphasis on viewing: processions as well as theatre...are
viewing occasions, spectacles, theorai, thai.84 What did processions represent? First of all: the community itself in its most glorious, timeless form, and
secondly the communitys relation to divine power. The procession is articulated as a response to the authority of the divine but it articulates at the same
time a call for the response of the divine.85 Processions can also fulfil these
roles in the context of a theatrical performance, such as Aischylos Eumenides,
which had its premiere 458 BC.86 Needless to say, the same holds true for the
procession on the Parthenon frieze. The visitor would only behold the frieze
after he had seen the warlike metopes and had experienced the tension and
release of the event depicted on the pediment. All of this supports the idea
that the actual theme of the frieze was the celebration of the alliance between
gods and humans.87
To sum up, at the Parthenon Dionysos successfully embodies various
aspects of peace, its conditions and its consequences: in the metopes he is a
82 Crowther 1985, 285 f. In addition, Goldhill 1994, 355.
83 Berger/Gisler-Huwiler 1996, text volume p. 68.
84 Kavoulaki 1999, 294.
85 Kavoulaki 1999, 303.
86 Kavoulaki 1999, 306307.
87 Similarly Osborne 1994, 148149.
180
Chapter 7
champion of the legitimate order; in the east pediment he represents male

beauty and divine ease following victory; in the frieze he expresses the joyful
alliance between gods and humans. It would have been hard to believe that
this Dionysos had no influence on the vase painters and their clients, and as we
will see in the next chapter his appearance, indeed, underwent a permanent
change. Before moving on, however, we should have a look at two special vases
which help to explain the meaning of the representation in the west pediment of the Parthenon, and in one case document an unusual manifestation
of Dionysos.
Reflections of the West Pediment in Vase Painting
Some years ago a lavishly decorated hydria turned up, which is attributed to
the workshop of the Pronomos Painter and may, on stylistic grounds, be dated
around 400 BC.88 It was found in a necropolis of the Macedonian capital Pella.
The unique and very rich decoration takes up the theme of the west pediment
of the Parthenon: it shows the bolt of lightning sent by Zeus to end the dispute
between Athena and Poseidon about Attica in the presence of several gods
Amphitrite, Triton, Apollo, Artemis, Hermes, the heroes Erechtheus und
Eumolpos, as well as Kekrops, Nike, and, above each handle, a figure which has
been variously identified.89 From the top of the image, on the left, a youthful
Dionysos rides towards Athena on a peculiar horned panther (Figure 96). He is
greeted by a nymph with an ivy wreath, who seems to be rising from the earth.
Dionysos was not represented in the west pediment of the Parthenon and
there are no literary sources mentioning his presence at the event.90 On the
other hand, it is not really surprising to find him on Athenas side in view of the
group of pointed amphorae or the pelikai of the Painter of the Birth of Athena,
which all show his special close relationship with the polis.91 Incidentally,
the scene on the hydria from Pella possibly has a parallel in that on the very
fragmentary lid of a lekanis of about the same date, found on the Acropolis of
88 Pella 80514: ba 17333; Drougou 2000; Tiverios 2005; Neils 2013. This painter will be further
discussed in the next chapter.
89 Tiverios 2005, 306 f.: Kydoimon and a maenad; Neils 2013: Kychreus and the personification of Marathon.
90 Tiverios 2005, 301.
91 See above Chapter 4. Tiverios 2005, 314 also concludes that in the dispute with Poseidon,
the god of the aristocracy, Dionysos, supports Athena, because dieser Gott der politische Gott der Volksherrschaft (dem Gegenteil der Aristokratenherrschaft) und der
Demokratie ist.
181
figure 96 Kalpis, workshop of the Pronomos Painter, Pella, Archaeological Museum 80514
(Drougou 2000, pl. 35.1) Hellenic Ministry of Culture and Sports, 17th Ephorate of
Prehistoric and Classical Antiquities.
Athens. Apart from Athena with her olive tree, it showed Kekrops and probably Poseidonand also a lively Dionysos, who comes running in a short
chiton and boots.92 Michalis Tiverios convincingly links this images with the
peace treaty of 403 between Athens and Sparta, and the reconciliation of
the democrats and the oligarchy within the polis. The mythical model for these
reconciliations is the end of the dispute depicted on the west pediment of the
Parthenon. Still, the hydria painter has pushed Poseidon into the center of
the image, and has highlighted his armor in white: the capital of Macedonia,
with its aristocratic governance, is likely to have been sympathetic to the
Poseidon Hippios of the Athenian elite.93
Dionysos mount on the hydria from Pella is very peculiar indeed. As has
been mentioned above, the panther stands for Asia, for the exotic. The horns,
however, turn it into a creature of the imagination. The god then comes from a
world that is unknown to us. Perhaps it is the world of timeless bliss in which,
as we will see, he is placed by the vase painters active after 430the world
he hurries towards with Ariadne. But how can it be explained that of all the
gods, the one who spoke to humans and walked with them in torch-lit processions now comes riding from unknown territories? The place where the vase
92 Tiverios 2008b, 130, fig. 4.
93 Tiverios 2005, 312 f.
182
Chapter 7
figure 97 Kalpis, St. Petersburg, State Hermitage Museum 1872.130 (Pfuhl 1923, 246. fig. 604).
was found, the necropolis of Pella, perhaps offers a clue for this expansion of
Dionysos domain beyond Asia into the supernatural: ultimately, the image
was meant for a dead person.
Another reflection of the west pediment of the Parthenon, and one of long
standing, is provided by a hydria from the ancient city of Pantikapaion on the
Black Sea, created about half a century later.94 The vase has red-figure paintings, but the bodies of the two protagonists were individually sculpted in relief
and subsequently painted, whereas molds were used for the heads. Several
parts of the image and the decoration were painted over in white or gilded.
From the end of the 5th century, such techniques were applied for sumptuous,
high-quality ceramics not meant for practical use.95 Consequently, our hydria,
too, served as a cinerary urn for a mans grave.96
The center of the image is taken up by an olive tree; above it Nike flies
towards Athena on the left, while on the ground a large snake is moving
towards the trunk of the tree. Athena strides towards the left, carrying her
shield and a raised spear. Poseidon, trident also raised, comes from the right.
His left hand holds the reins of his rearing horse. Dolphins are jumping in the
water depicted next to him, which must have sprung at the touch of his trident.
Behind the horse, a woman wearing a diadem, possibly Amphitrite, is running
94 St. Petersburg 1872.130 (kab 6 a): ba 6988 (no image); Tiverios 2005, 310, fig. 11; Cohen
2006, no. 105, 339341; Brinkmann 2013, 246 and 334 no. 47.
95 Zervoudaki 1968, 37.
96 Cohen 2006, 339.
183
away while performing the familiar gesture of the bride.97 Below, on the right, a
seated male figure with a scepter, possibly Kekrops, is looking on. A schematic
representation of a temple, perhaps the Acropolis, may be seen at the top on
the right. In the foreground, Dionysos, with youthful curls and wearing a short
chiton, a panther skin, and boots with tongues, storms into the image from the
left. He points his thrysos at a slant towards the right, as if it were a weapon. As
in the Gigantomachy metope at the Parthenon, and later in the Gigantomachy
frieze of the Pergamon Altar, he is accompanied by a panther.98 On the left,
above Dionysos, a reclining female figure is looking on. She may be a personification of Attica (Figure 97).99
In comparison to the hydria from Pella, the bolt of lightning is conspicuous by its absence, which creates the impression of a confrontation in progress, with only the figure of Nike indicating the victory of Athena. Dionysos
has been given a more active role here: even more than Athena he seems to
be Poseidons adversary.100 The clear reference to the Athenian myth and the
west pediment of the Parthenon must have been of importance to the original buyer of the vase, a high-ranking citizen of a town on the border with
the barbaric regions; it showed his cultural affiliations. For our discussion the
participation of Dionysos on the side of Athena is significant. His appearance
as Gigantomachos and his role as fellow combatant of the polis goddess are
unusual in 4th-century vase painting, and seem more appropriate for monumental art forms than for the more private ceramic art. Here again, as in earlier
instances, he is close to the goddess of the most Greek of all poleis. The presence of the panther, however, seems to indicate that his influence now reaches
beyond Athens, even beyond Greece, and has come to include Asia.
97
The various possible interpretations are listed in limc iii.1, 19 f., s. v. Attike 2
(G. Berger-Doer).
98 Isler-Kernyi 2010b, 66 f.
99 The various possible interpretations are listed in limc I.1, 291, s. v. Aglauros 38 (U. Kron).
100 Tiverios 2005, 310, fig. 11.
Chapter 8
The New Dionysos in Vase Painting

Shortly after the completion of the Parthenon, striking innovations could be
discerned in the way Dionysos appeared in vase painting: the dignified mature
bearded man was increasingly replaced by a youthful figure, sitting or reclining in a relaxed manner. It is evident that the Dionysos who unfastens in the
east pediment of the Parthenon is behind the changes. It is instructive to have
a look at some examples.
In the work of the Washing Painter, active from just after 440 until around
410 BC, Dionysos is completely absent and only six of his more than fifty pelikai
have satyrs and maenads.1 This may be partly explained from the fact that he
mainly produced vasesloutrophoroi, lebetes, pelikaithat were meant to
be used by women at special occasions, such as weddings; their imagery was
therefore rather uniform and dictated by tradition.
From the perspective of Dionysiac iconography, the Dinos Painter is the
most important painter at this stage. He is said to have been a pupil of the
Kleophon Painter, whose style he continues in a less solemn and a sweeter
form, as Beazley puts it.2 His work may be dated between 430 and 400 BC;
it has its acme around 410.3 He seems to have been particularly interested in
Dionysiac subjects.
His famous stamnos in Naples still shows the strong stylistic influence of
the Parthenon, even though it is by far the youngest of the series depicting a
domestic ritual with a pillar idol of Dionsyos, and may therefore be a nostalgic
revival of the motif (Figure 98).4 The scene with the woman ladling the wine
from the stamnos is here explicitly linked to the procession of women on the
other side of the vase: the woman beating the tympanon to the right of the idol
is looking back towards the approaching dancer carrying torches, who in turn
is followed by the four women on the reverse. All women are wearing the
sleeveless chiton, some with an animal skin over it. Only the last woman in the
procession is wrapped in her himation, which creates the impression that she
is the one to be led to the ritual. The veiled women on the reverse sides of the two
1 a rv 1130. 144149. For the dating see Isler-Kernyi 1973, 28 f.
2 a rv 1151.
3 McPhee 1973, 1; Halm-Tisserant 1988, 8 and 12.
4 Naples 2419: Addenda 336 (1151.2); ba 215254; Frontisi-Ducroux 1991, 84 f., figs 19 and 20; HalmTisserant 1988, 7. See also above Chapter 6.
The New Dionysos In Vase Painting
185
a
b
figure 98 Stamnos, Dinos Painter, Naples, Museo Archeologico Nazionale 2419.
a. side A (FR pl. 36).
b. side B (FR pl. 37 below).
stamnoi by the Eupolis Painter which also belong to the series are very similar.5
Are they also waiting to be introduced? Is the anonymous bearded man in a
himation, who may be seen in one of the images, a member of the family? The
four names added on the Naples stamnosAione, Mainas, Thaleia, Choreia
sound mythological, but in view of the iconography the ritual depicted most
likely reflects human circumstances.6
5 Frontisi-Ducroux 1991, 157, figs 92 and 93.

6 See above Chapter 6. We will return to the issue of inscribed names at the end of this chapter.
186
Chapter 8
a
b
figure 99 Dinos, Dinos Painter, Berlin, Staatliche Antikensammlungen, Preussischer
Kulturbesitz F 2402 (Furtwngler 188387, pl. 5657).
b. side B: thiasos.
Another work by this painter that is of importance for our discussion is the
eponymous dinos, dated around 420; the best-known of the four dinoi attributed to him.7 No less than three of these were found in Athens and several
other vases by the Dinos Painter were also found here. We may therefore
presume these works present the Athenian perspective on Dionysos and his
rituals. The dinos in Berlin shows one of the earliest examples of the young
Dionysos as a symposiasta motif that would be among the most common
ones also in Apulian vase painting.8 The amphora placed against a rock to the
left of the main scene must be a reference to unspoiled nature; the ambivalent
characterization of the locale seems intentional. In addition, it is remarkable
that the satyrs who are present, are of different ages. The one playing the lyra
who sits on Dionysos bed, and the dancing ones on the reverse, are clearly
7 a rv 1152.36.
8 Berlin F 2402: Addenda 336 (1152.3); ba 215255. Similarly Sabetai 2011, 139.
187
younger than the white-haired one who, leaning on his stick, approaches on
the right. A woman stands in front of him, turned towards the left. She solemnly carries a basket with, probably, loaves of bread, andas on the chous
from Trachones, discussed abovea large cluster of grapes.9 She will probably
put these on the podium-like structure in front of Dionysos couch. On the
other side of the god another woman is ready with the kantharos she perhaps
just filled from the amphora: Dionysos is comfortably settled and given a warm
reception (Figure99).
A recently published small calyx krater in Athens, attributed to the Dinos
Painter, shows the Parthenon type, albeit with a himation draped over the
lower body. He is, however, holding kantharos and thyrsos in the appropriate
hands.10 As in the Berlin dinos, Dionysos reclines on a couch. Instead of a satyr,
Ariadne sits at its foot, a wreath in her hands as in the Kodros Painters cup,
discussed above.11 Between the two, Eros can be seen, flying towards Ariadne.
Dionysos brings the kantharos to his lips, his thyrsos is decorated with a ribbon. In the foreground stand a gilded volute krater as well as a podium, highlighted in white, with offerings. Above right a bacchante beats the tympanon,
and another, wearing a colorful ritual robe, is bringing further offerings. A boylike satyr is approaching from the left with drinking horn and oinochoe. On the
reverse, two women are walking towards the rightthe one in front carries a
thyrsos, the other one a tympanon. They seem to be moving towards the scene
on the main side of the krater and the altar visible above the handle between
the two images. In addition there is an elderly satyr in a himation. He is dancing along while looking back with a greeting gesture. Behind him, above the
other handle, we can see an open door. Does this refer to the thalamos, where
the wedding of Dionysos and Ariadne takes place, or to a sanctuary of the god?
Perhaps the door is supposed to represent an ideal transition from inside to
outside world and vice versa, or even what we might call the Final Transition.12
The two satyrs of different ages, and especially the one in the himation, indicate an event which, like the processions discussed earlier, takes us from the
human here and now to an imagined world populated by immortal beingsa
higher world for humans to look forward to.13
10 Sabetai 2011.
11 London E 82 (1847.99.6): see above Chapter 5, note 42.
12 Sabetai 2011, 152 f. The motif of the (sometimes half-open) door on sarcophagi from the
Imperial period very likely refers to this idea of Final Transition. See for instance: Koch/
Sichtermann 1982, figs 258, 290, 291, 523, 529, and 535.
188
Chapter 8
a
b
figure 100
Volute krater, Dinos Painter, Bologna, Museo Civico Archeologico 283 (AD I,
pl. 36).
a. side A: Dionysos and Ariadne watching the thiasos.
b. side B: Hephaistos riding towards Hera.
Of prime importance among the works of the Dinos Painter known to us is

a somewhat younger volute krater from North-Etruscan Bologna, which is,
unfortunately, badly preserved (Figure 100).14 It showed an exceptionally lively
thiasos of women and satyrs accompanying Hephaistos riding his mule. He is
on his way to Hera, who is stuck on the right. She sits like a mourner wrapped
in her himation and is guarded by an aggressively roaring lioness. On the other
side of the vase, a youthful seated Dionysos, half naked and relaxed, is watching the thiasos in the loving company of Ariadne.15 The whole scene, especially
the women dancing ecstatically to the music of flute and tympanon, strongly
reminds us of a vase which was discussed in the previous chapter: the more or
14 Bologna 283: Addenda 336 (1151.1); ba 215253. For the motif of the return and Hera stuck in
her seat, see Halm-Tisserant 1986, 1821.
15 The same motif can be found on a fragment of a bell krater from Phanagoria in the
Crimea, attributed to the Dinos Painter: ba 1012120.
189
less contemporaneous volute krater from Spina decorated by the Curti Painter,
possibly for an Etruscan client.16 Here, however, the male participants are
satyrs (one of them seems to be wearing a himation) and there are no snakes.
One of the dancing women is carrying her small child on the shoulder: this
representation of what must be a woman with mother status, a gyn, is unique.
On the extreme left a satyr looking towards the right is closing off the scene; he
lifts his left hand in what is probably the skopeuma gesture.17 This could indicate that we are witnessing an epiphany of the divine couple. In this juxtaposition of a mythological scene and a thiasos resounding with music, it remains
unclear whether the latter takes place among human beings or in a blissful
other world. What is most striking when one compares this version of the
return of Hephaistos with the earlier depictions of the theme is the difference
in mood between the anxiety of the Hera sidewith the intimidating lioness
providing an ominous touchand the euphoric happiness of the Dionysos
side. There even seems to be an intentional pictorial contrast: on the one side
Hera is waiting to be set free by the son she rejected, while on the other a bacchante and her little son are joyfully taking part in a euphoric thiasos. In any
case, here too, Dionysos is the god of peace, who unfastens, unfetters.
A Dionysos figure that is evidently inspired by the rendering of the god in
the east pediment of the Parthenon is the one on the calyx krater in Vienna
(Figure101).18 He dominates the main side of the vase, and is surrounded by
women in colorful ritual robes (Dione and Opora) who bring giftsamong
which two large clusters of grapes, and by satyrs (of whom the one on the
right is named Komos). As on the dinos, a seated satyr plays the lyra. To the
right of Dionysos head we see Eros who crowns the god with a wreath. The
figure of Eros is highlighted in white, as is the podium-like structure in the foreground, which gives both elements additional significance. A panthers cub
near the podium seems eager to play with the satyr-musician. From now on,
we increasingly see the relaxing Dionysos in the company of a tame panther.
Perhaps it stands for a subdued Asia; in this way the presence of the animal
would be enough to evoke the idea of a utopian peace. On the reverse a satyr is
moving towards a fleeing maenad with alacrity. To the left, a dancing maenad
is turning away. Her gesture is apparently meant to express her disapproval of
the satyr above the right handle who, with obvious intentions, is approaching
an unsuspecting woman (Oinanthe) watching Dionysos. Above the left handle,
a woman (Eirene) is sitting on the left; a satyr (Hedyoinos) who is lying in the
16 Ferrara 2897: see above Chapter 6, note 143.
17 cva Bologna 4, pl. 69.6 with text p. 11 (G. Bermond Montanari).
18 Vienna 1024: Addenda 336 (1152.8); ba 215261.
190
figure 101
Chapter 8
Calyx krater, Dinos Painter, Kunsthistorisches Museum, Vienna 1024, side A

(CVA Kunsthistorisches Museum, Vienna 3, pl. 105.2).
field in a half-reclining attitude turns towards the god, a kantharos in his right
hand.19
Images such as this, often with Ariadne next to Dionysos, were the Athenian
painters preferred imagery from this time onward until far into the 4th century. A comparison between the Dinos Painters return of Hephaistos and the
not much earlier version by the Kleophon Painter convincingly shows the profound changes in the Dionysiac climate in Athens around 420. One only has to
remember the rather solemn procession-like trains with torches and thyrsoi
presented by the Phiale Painter or on the stamnos by the Dinos Painter and
it becomes evident that the ritual event has shifted from the immediate surroundings of the viewer to a seemingly timeless, blissful, distant world, standing out as if on a stage.
A contemporary of the Dinos Painter whose oeuvre contains several interesting Dionysiac images, is the Kadmos Painter. He was active during the same
19 Smith, 2007, 169.
figure 102
191
Volute krater, Kadmos Painter, Ruvo, Museo Jatta 1093, scroll showing side A
between parts of side B (FR Text II, 329, fig. 107).
decades, but, at least as far as his numerous bell kraters are concerned, not at
the same artistic level. His volute and calyx kraters as well as his amphorae
with twisted handles, however, distinguish themselves by their original subject
matter and their careful execution.20 Among these we find several remarkable
representations of Dionysos.
Most richly decorated is the volute krater found in Ruvo, in the Apulian
inland.21 This location provides an indication of one of the possible routes via
which Dionysiac iconography from Athens found its way to the workshops of
Southern Italy.22 The krater has four images: two small ones on the neck and
two larger fields on the belly. One side is completely dedicated to the story of
Marsyas, the musician-satyr. On the neck Marsyas plays the aulos for Apollo in
the presence of a dancing satyr, a woman with two torches, and Hermes. The
center of the image on the belly is dominated by Marsyas (the name is given),
who is represented as an elderly satyr playing the kithara, and Athena, who is
listening. Apollo is sitting in a relaxed attitude to the right of Athena; Artemis
is leaning on his shoulder. Several other figures surround the main protagonists. Below on the left a bacchante holding a thyrsos is conversing with a
young satyr; above them we see a partly veiled goddess (Hera perhaps) with
20 See above Chapter 5, note 116. For the dating of the Kadmos Painter, see McPhee 173, 51.
For the Kadmos Painter see in addition Tiverios 2011.
21 Ruvo 1093: Addenda 340 (1184.1); ba 215689; Sichtermann 1966, K 10, 20 f., pls. 1217;
Shapiro 1993, 235, no. 22; Borg 2002, 220; Lissarrague 2013, 161 f., figs 134135 (the dating
seems too early).
22 Similarly Paleothodoros 2011, 140 and Tiverios 2011, 176.
192
Chapter 8
a young woman whose name, Hebe, is given; above right are Nike or Iris with
Hermes. A tripod is standing on a pedestal in the foreground, a little higher a
palm tree may be seen, in front of Artemis a grazing fawn. Evidently, we find
ourselves in a sanctuary of Apollo, where there is no indication whatsoever of
the further tragic developments. Rather, the atmosphere is one of peace and
relaxation.
The neck image on the other side shows pieces of meat roasting on a spit over
the altar with anonymous boys, mature men, and women in attendance. The
main image is dominated by a youthful Dionysos, whose name is inscribed. He
is reclining on a richly decorated couch and wears an ivy wreath on his head.
In his left hand he holds the thyrsos (Figure 102). The winged boy Himeros
is putting sandals on Dionysos feet. The god is surrounded by women carrying various objects: Eudia is on his left; Opora above has a basket with large
bunches of grapes.23 A matron in festive dress sits on the right in a somewhat
elevated place. She is the only one to wear a halo-like diadem; this is in accordance with her name, Thyone, the name given to Semele after her death. In
addition we see Pothos (who looks like Eros) with a bunch of grapes, as well as
satyrs engaged in various activities (from left to right Simos, Sikinnos, Seilenos
and Oinopion). One of them seems to be trying to lead a mule. Next to Dionysos
a large vine carrying ripe grapes has sprouted, and here, too, there are tripods
and palm trees. How do these two scenes relate? Is this the same locale, as
the presence of bacchante and satyrs on the Apollo side suggests? In any case,
both sides show the relaxed, idyllic atmosphere we also found on the dinos and
the calyx krater by the Dinos Painter.
On one of the Kadmos Painters calyx kraters we again see Apollo and
Marsyas in the company of other gods; the other side has the encounter of
Dionysos with Ariadne discussed above.24 In contrast to earlier versions, in
which the encounter was more like a pursuit, the mood here is one of respectful solemnity.
The other calyx krater was found in Kerch on the Black Sea.25 One side has
a detailed depiction of the Judgment of Paris. In the center we see Paris seated
in the foreground. He is wearing the multi-colored oriental trousers in which
he is first portrayed around 430 BCthis will be further discussed in the next
chapter. He is surrounded by Hermes, Athena, Hera, and Aphrodite. In the
23 Other women are named Eudaimonia, Hebe and Oreias, see fig. 102.
24 Syracuse 17427: see above Chapter 5, note 116.
25 St. Petersburg 0.28 (St. 1807): Addenda 341 (1185.7); ba 215695; limc iii, Eris 7, and vii,
Paridis Iudicum 48 (side A) and limc ii, Apollo 768a (side B); McPhee 1973, 9599;
Shapiro 1993, 233, no. 15.
figure 103
193
Calyx krater, Kadmos Painter, St. Petersburg, State Hermitage Museum 0.28
(St. 1807), side B (old photograph from the Archologisches Institut der
Universitt Zrich).
upper field, framed on the left and right by the chariots of Eos and Selene, we
see two women directly above Paris. Their names are given: Themis is leaning
against Eris, who is wearing multi-colored robes. This prominently-placed pair,
until that time not found in representations of the Judgment of Paris, and the
presence of the celestial bodies of Day and Night, underline the significance
of the event for the history of the world. As we all know, the Judgment of Paris
had been the cause of the Trojan War, Greeces ill-fated confrontation with the
power of Asia, as Herodotus had argued some time before the creation of this
image.26 Themis, the goddess of lawful order, leaning against Eris, the goddess
of strife, means that the war was justified and, in this way, was a condition for
the current order.
The image on the reverse side is unique. In the center we see the omphalos,
which symbolizes Delphi, with immediately above it a large palm tree. The
latter stands for Delos, the other major sanctuary of Apollo.27 The main event
takes place in front of the palm tree: Apollo, dressed like a young citizen, with a
26 Hdt I, 1. 4.
27 Simon 1998a, 457. The palm tree, however, also belongs to Artemis, see Torelli 2002.
194
Chapter 8
laurel branch in his left hand and a laurel wreath in his hair, shakes the hand of
Dionysos who comes from the right. He wears an ivy wreath in his long hair and
is bearded and therefore clearly older than Apollo. Over his chiton he wears
the multi-colored ependytis and he has boots on his feet. We must therefore
conclude that he has traveled far, from the east perhaps. Dionysiac women and
satyrs liven up the scene with the music of tympanon and aulos. In the foreground on the left, a woman is putting a colorful cushion in an armchair. This
is probably where the newly-arrived god will take his seat. The whole scene
radiates quiet solemnity (Figure 103).
We do not know what myth or real event the scene refers to. Nevertheless, it
acquires meaning when we relate it to the image on the reverse which refers to
a war that was inevitablethe war that, for the original viewers, ended the era
of the heroes and inaugurated that of human beings. For did one not calculate
the time according to the generations that had passed since the ancestors of
the great families, the heroes of the Trojan War? The goddess of strife and the
handshake, a symbol of peace, are juxtaposed. The peace in question may be
the one between Dionysos, who comes from afar, and Apollo, god of all the
Greeks and also of the Athenians, who is shown in his sanctuary, the place that,
with the prominently presented omphalos, was seen by the Greeks as the center of the earth.28 This Dionysos, however, is no more an Asian deity than the
Dionysos in Euripides Bakchai, who around the same time speaks of himself
as returning to Thebes from Asia: the difference between his costume and that
of Paris already make this clear.29 Nevertheless, Dionysos represents the world
beyond Greece. In the words of Henk Versnel: Dionysos is a cosmopolitan god
who demands reverence by all people all over the world.30 It may be for this
reason that he is depicted as being older than Apollo, albeit clearly not like a
father figure. A chair is prepared for him, like in Athens during the Anthesteria,
indicating that he should stay.31 An evocation of peace such as this one eminently suits the later stages of the Peloponnesian War. And it is particularly
apt for the place where the vase was found: Kerch on the northern shore of
the Black Sea, that is, the northern frontier of what was then for the Greeks
the known world. It cannot be a coincidence that this location (with its new
concept of a far-reaching Dionysos) is also the one where the hydria of two
generations earlier was found which presented the dispute between Athena
28 Versnel 2011a, 506: quotation from Dem. 18.141 concerning Apollo: patroos esti te polei.
29 E. Ba. 119.
30 Versnel 1990, 164.
195
and Poseidon inspired by the west pediment of the Parthenon, discussed in

the previous chapter.32
Thus we owe the Kadmos Painter three of the most original and therefore
least accessible images of Dionysos. As far as Dionysos outward appearance
is concerned, it is striking that next to the youthful Dionysos inspired by the
east pediment of the Parthenon on the volute krater, the mature spouse-type
could also still be found in his sanctuaries.33 Finally, in the sanctuary of Apollo
in Delphi we meet a very special exotic Dionysos who is neither young nor
elderly. Evidently, the new Dionysos of the east pediment of the Parthenon
had not come to replace the traditional Dionysos; it inaugurated his polymorphism, the variety of forms that would be the hallmark of Dionysiac imagery
(including sculpture) from the 4th century BC onward.34
In all three instances, Dionysos is either placed next to to Apollo or combined with him on the same vessel. As is demonstrated by, for instance, the
work of the Shuvalov Painter (with more than twenty representations of
Apollo) as well as that of the Pothos Painter and the Meidias Painter, in the
years following the Plague of Athens Apollo was more in evidence than earlier
or later: would he have been seen as the cause of the epidemic or as a healer?
In any case, he was the embodiment of a longing for a moral code, justice,
recognition of the divine order, which always seems more pregnant in times of
crisis.35 Moreover, the juxtaposition of the two gods is in accordance with the
fact that at the Parthenon Dionysos is presented as the brother of Apollo, i.e.
as someone who complements Apollo. As far as monumental art is concerned,
this perspective is continued in the decoration of the west pediment of the
temple of Apollo in Delphi, created around 350 BC by an artist from Athens,
where Dionysos appears as Kitharodos, a role associated with Apollo.36
The Kadmos Painter, the circle of Polygnotos, and the cups of the Kodros
Painter present the relationship with Ariadne in a manner that is quite different from that of the somewhat earlier work of the Syleus, Harrow, Niobid
and Lewis Painters.37 This is no longer a dramaticand for Ariadne perhaps
32 St. Petersburg 1872.130 (kab 6 a), see above Chapter 7, note 94.
33 He is also depicted in this way, reclining with Herakles on the symposium couch, on the
more modest pelike London 1956.217.1: arv 1186.31; ba 215720.
34 Compare Plutarch, quoted by Massa 20062007, 82 f.
35 Moret 1982, 134.
36 Croissant 2003, 8587, pl. 34.
37 Circle of Polygnotos: Tarquinia rc 4197 (see above Chapter 6, note 129) and Tbingen 5439
(see above Chapter 6, note 131); Kodros Painter: London E 82 (see above Chapter 5, note
42) and Wrzburg H 4616 (491) (see above Chapter 6, note 135); earlier works: see above
Chapter 5, notes 104, 107, 114, and 119.
196
Chapter 8
even traumaticconfrontation, but a marriage based on mutual agreement,

a situation of joyful companionship.38 It is not a coincidence that Eros now
seems part of the Dionysiac world, even in images where Ariadne is lacking. The winged child not only embodies Dionysos erotic aura, but also, as
Greifenhagen already pointed out, everything that comes into being and is,
therefore, unknown.39 The presence of Eros speaks of a new era beginning
with Dionysos, and now not just for the polis, but first and foremost for the
individual beholder of the image.40
The Kodros Painter, one of the cup painters who were active just after the
completion of the Parthenon, has already been discussed.41 Another prominent artistic personality of the time is the Eretria Painter, whose work may be
dated between 440 and 415 BC.42 Apart from cups, he decorated a number of
the smaller-size vase types.43 As far as cups are concerned, his Dionsyiac scenes,
which, with images of athletes, belong to his most frequently represented subjects, consist of rather conventional depictions of the thiasos with satyrs and
dancing women. In one instance, dated around 430425, one of the outside
images shows Dionysos riding a mule or a donkey amidst ecstatically moving
satyrs. He is bearded, wears a short chiton and boots with tongues, and has a
thyrsos in his right hand.44 There are, so far, no parallels for this image. On the
reverse, we find a satyr, who sits somewhat precariously on his mount, accompanied by two comrades with torches. The inside image shows a satyr riding
in side saddle. It is evident from black-figure iconography that a man riding a
mule in a Dionysiac ambiance is not necessarily the mythological Hephaistos
returning to the Olympus.45 It is quite possible that a carnivalesque ritual of
this kind actually took place in 5th-century Athens. In addition, I would like
to mention another cup which has recently been attributed to the Calliope
Painter, a somewhat older collaborator of the Eretria Painter.46 It shows satyrs
in the citizens himation: on both outside images they are engaged in quiet
conversation with women carrying thyrsoi, in the inside image they are standing
38 Sabetai 2011, 146: In general, the imagery of Dionysos union with Ariadne after the mid5th century BC conveys the idea of conjugal union.
39 Greifenhagen 1957, 24; Isler-Kernyi 1984a, 385; Isler-Kernyi 2004b, 247.
40 As is the case with the east pediment of the Parthenon, see above Chapter 7.
42 Lezzi-Hafter 1988, 23.
43 Boardman 1989, 98.
44 London E 102: arv 1253.70; ba 217008; Lezzi-Hafter 1988, 159 and 312, no. 15, pls. 10
and 53c.
46 Ruvo 1442: arv 1261.54; ba 217123; Lezzi-Hafter 1988, 323, no. 90, pl. 69.
figure 104
197
Chous, Eretria Painter, Basel, Antikenmuseum Basel und Sammlung Ludwig

BS 407 (Lezzi-Hafter 1988, pl. 134).
next to an altar. This is not a thiasos situation, but just men and women meeting in a Dionysiac context.
The Eretria Painters best work is perhaps his large chous. Especially attractive is the calm but suspenseful confrontation of a woman who, armed with a
thyrsos, is sitting on a ivy-covered rock, with a satyr ready to jump (Figure104).47
The chous showing a rather original version of the return of Hephaistos briefly
discussed earlier, dates to the same period: the years between 430 and 425.48
The two gods, bearded and with ivy wreaths, together ride the same mule:
Dionysos is in front with his kantharos, Hephaistos behind him with a smiths
cap on his head and a pair of tongs in his left hand. With his right he salutes
the satyr who walks in front of them. The spaciousness of the composition has
turned the familiar boisterous train of earlier versions into a solemn event.
Scholarship has given special attention to three choes by the Eretria Painter
excavated in Attica and in Athens, and another one of a slightly younger date
47 Basel bs 407: Addenda 354 (1249.12 bis); ba 275512; Lezzi-Hafter 1988, 338, no. 212, pl. 134;
Schmidt 2005, 188, fig. 95.
48 New York 08.258.22: see above Chapter 6, note 141; Lezzi-Hafter 1988, 339, no. 213, pl. 135;
Schmidt 2005, 174, fig. 88; Smith 2007, 157 f.; Lissarrague 2013, 156, fig. 129.
198
Chapter 8
by the Meidias Painter who originally was one of his collaborators.49 The reason for this is that the ritual acts depicted on them can, on the basis of the
image carrier, be associated with the Anthesteria. We already discussed the
two choes with the swing in the center of the image and on the left the outsize
klismos apparently meant for Dionysos.50 The other two choes have a threelegged table at the center of the image, with on it a liknon, a wide basket. On
the oldest known of the two, a large Dionysos mask has been placed inside the
liknon.51 A woman is solemnly approaching from the left with a kantharos in
her hands, on the right a young woman with an ivy wreath is bringing a dish
with grapes. She is followed on the far right by a little girl, who carries an object
that is no longer recognizable. On the left a decorated calyx krater has been put
on another small table.
On the chous that was discovered later, in Athens, the liknon on the little
table is partly covered with a cloth.52 It may have contained the mask that is
hanging on the structure on the far left of the image, but this is by no means
certain. In addition, the mask, shown in profile, is too much damaged to allow
us to identify it as a Dionysos mask. To the right of the table stands a bearded
man, who, apart from the laurel wreath on his head, wears nothing but a loosely
held piece of cloth. With his right hand he seems to offer a youth standing
on the left some laurel branches. This young man wears an ivy wreath and is
only dressed in a piece of cloth wrapped around his hips, like an artisan. He is
shown en face, drinking from a skyphos. His left hand probably takes the proffered branches. On the floor to his left stands a column krater swathed with ivy;
more ivy branches can be seen in front of and above the mask. On the far right,
a naked boy in a wreath approaches with a large chous. Inscriptions make it
clear that the elderly man is called Prometheus, and the youth Epimetheus
figures from mythology with whom the Athenian artisans, who were also
allowed to take part in the Anthesteria, would be able to identify.53
49 Lezzi-Hafter 1988, 208; Schmidt 2005, 177 ff., who largely agrees with Lezzi-Hafter 1988,
dates the ones by the Eretria Painter between 430 and 420, and the one by the Meidias
Painter in the following decade. Tzachou-Alexandr 1997, 480 is of the opinion that the
more recently discovered chous is slightly older: 435430.
50 See above Chapter 6, notes 80 and 82.
51 Athens BS 318 (ex Vlasto), from Anavyssos: Addenda 354 (1249.13); ba 216949; FrontisiDucroux 1991, 160, fig. 97; Lezzi-Hafter 1988, 200 f. and 339, no. 215, pl. 137; Schmidt 2005,
183, fig. 93; Schwarzmaier 2008, 88, fig. 9.
52 Athens, 1st ephory 3500, from a grave discovered underneath the present Pireus Street in
Athens: ba 28128 (no image); Tzachou-Alexandr 1997.
53 Schmidt 2005, 185 f.
199
In contrast to the series with the womens ritual around the Dionysos idol,
these four images are remarkable for their diversity. This may perhaps be
explained from the locations where they were excavated: they were apparently
not part of a series for export, but manufactured for the local market. They
strike us as snapshots of certain rituals, but are actually aesthetic compositions
consisting of combinations of carefully selected motifs: It was by no means
the intention of the vase painters to provide illustrations of the proceedings at
the Anthesteria or to document them. Instead, they chose representations that
would just remind Athenians of what took place during these large collective
festivals in a very general way.54 Nevertheless, they give us a lot of information
on these proceedings: that there were events for women and for men; that children of various ages and citizens who made a living as craftsmen and laborers
also actively participated in them. This latter category not only identified with
Prometheus, but especially with Hephaistos, whom we found on another of
the Eretria Painters choes, riding a mule with his brother Dionysos.55 On two
of our four choes, as on the stamnoi, Dionysos is present through his mask.56
Just his face, even just his eyes can be effective. As Euripides explicitly states
in his Bakchai, being in contact with the god Dionysos is to see him and to be
seen by him.57 On the one hand the empty chair emphasizes his absence, on
the other it tells us that his arrival is imminent and anticipated with joy. None
of these images depicts some kind of official ceremony: the improvised swing,
the babys chair standing upside down, the little three-legged tablesthey all
strengthen our impression that this is about activities taking place in a family
environment in the context of the Anthesteria. These images clearly illustrate
how hard it is to combine our rare literary sources concerning a certain subjectin this case a concrete ritualwith the relevant vase imagery.58 In our
perspective these choes are evidence of the strong presence of Dionysos in
the mental world of the original buyers during the period immediately following the erection of the Parthenonand not only in the life of the polis, but
in the life of every citizen from the days of his childhood. Nevertheless, it is
54 Schmidt 2005, 193: Die Vasenmaler wollten mit ihren Bildern keineswegs die Vorgnge
an den Anthesterien im einzelnen illustrieren oder gar dokumentieren. Sie whlten statt
dessen oft Darstellungen, die jeden Athener an die Ereignisse bei den grossen kollektiven
Festen im allgemeinen erinnerten.
55 Isler-Kernyi 2007, 8992; See above note 48.
56 Frontisi-Ducroux 1991, 161.
57 E. Ba. 470.
58 Similarly Schmidt 2005, 180: Wir mssen vielmehr damit rechnen, dass ein Grossteil
der dargestellten Praktiken nie eine schriftliche Erwhnung gefunden hat. Wozu auch?
Schliesslich waren die Vorgnge jedermann bekannt, da sie jedes Jahr stattfanden.
200
figure 105
Chapter 8
Squat lekythos, Eretria Painter, formerly Berlin F 2471 (Furtwngler 188387,

pl. 55).
striking that in none of the rituals represented the god himself is presentat
best there is a mask. This provides a stark contrast with the images of around
440 BC presenting the train with torchlight and music in which the god himself
participates, and whose other participants can either be identified as mythical
beings or as ordinary humans taking on the roles of nymphs and satyrs in a
ritual situation.59
Although, as we have seen, the Eretria Painter rarely depicted Dionysos, he
was deeply involved in the representation of the gods festivals. This makes
his squat lekythos of around 425, which disappeared during the Second World
War, all the more important (Figure 105).60 Not only was the vase type new
at the timeit was also quite innovative as far as composition and choice of
subject were concerned.61 The god is not represented at floor level, but (like
in the work of the Dinos Painter or the Kadmos Painter) has been placed in
a hilly landscape. In the company of the women of his thiasos, he watches
the whirling dance of one of the younger women. A satyr is sitting next to
him, another one is lying in the lower left corner and looks at the scene with
great curiosity. One of the maenads, completely exhausted, is hanging in the
arms of a companion. Dionysos looks boyish. He wears his long hair loose, his
59 For instance: a pointed amphora by the Achilles Painter, Cab. Md. 357 (see above
Chapter 5, note 20); a stamnos by the Curti Painter, Cambridge (Ma) 1925.30.40: Addenda
320 (1042.1); ba 213538; a bell krater by the Christie Painter, Baltimore 48.74: arv 1047.11;
ba 213580; a bell krater by the Painter of Munich 2335, Louvre G 486: arv 1163.34; ba 215383.
60 Formerly Berlin F 2471: Addenda 353 (1247.1); ba 216937; Lezzi-Hafter 1988, 226 f. and
342, no. 234, pls. 143d145; Shapiro 1993, 256, no. 112; Miller/Kstner 2005, 129; SchneDenkinger 2008, 49.
61 Lezzi-Hafter 1988, 234237.
201
himation leaves his upper body bare. All figures, including the god, have their
names inscribed.62 Could this be because the god is represented in an unfamiliar way? The Eretria Painter may have been inspired by the Parthenons
new youthful Dionysos, but presents a version of his own: it is not the athletic
body, but the grace of the adolescent that he seeks to emphasize.
Like the Kadmos Painter, the Eretria Painter adapts the outward appearance
of Dionysos to the situation, which is rather apt for the god of metamorphoses.
This innovative spirit in the handling of Dionysiac imagery is also evident in
the work of the Dinos Painter. It is all the more remarkable in view of the fact
that the Athenian production of figured pottery diminished sharply after 430
and the whole genre was in a decline. Symptomatic for the situation is the
excessive number of anonymous figures in comparison to identifiable ones.
This phenomenon is perceptible in the work of all painters. Apart from Eros,
Dionysos and his retinue remain well represented, but komos and symposium
all but disappear. In the mental world of the beholders of the images Dionysos
apparently stills plays an important role, but not in the same way as before
430 BC.
Before the 4th century there were still workshops, which produced pieces of
a more than average quality that enriched Dionysiac imagery, for instance the
workshops of the Meidias Painter and the Pronomos Painter. Compared to the
decorators of larger vessels (Beazley speaks of Pot-Painters as opposed to CupPainters) we just discussed, the Meidias Painter and his circle are remarkable
for their rather individual selection of vase types: hydriai, some pelikai, loutrophoroi, lebetes, oinochoai.63 Especially characteristic is the preference for
lekythoi, both normal and squat, and pyxideskraters only appear incidentally. It is evident, that their clientele is very different form that of, for instance,
the Kadmos Painter, which is supported by the provenances of the finds: here,
as in the case of the Eretria Painter, Athens and Attica are relatively better represented. These vase types more belong to the household than to the symposium and are used by women rather than citizens.
There is only one representation of Dionysos that can be attributed to the
Meidias Painter: a very badly preserved kalpis of about 410 BC, which was found
at the Kerameikos.64 The main image shows a scene in the womens quarters;
the frieze of the base has the punishment of Pentheus. Pentheus and a maenad
who holds him by the head form the focal point of the main side of the vessel.
The standing nude Dionysos, only partly preserved, was placed on the reverse
62 From left to right: Silenos, Makaria, Periklymene, Nymphe, and Maia.
63 Boardman 1989, 146; Langner 2013, 152.
64 Athens, Kerameikos 2712: Addenda 362 (1313.6); ba 220498; Schne 1990.
202
figure 106
Chapter 8
Lid of a lekanis, Paris, Louvre G 445, details with Pentheus and Dionysos (Moraw
1998, pl. 23.57).
side in such a way that his thyrsos stands almost precisely underneath the
handle. When the reconstitution of the fragments is correct, Dionysos could
have watched the punishment of Pentheus for where he stood: a position we
also find on a somewhat younger Apulian version of the same event.65 In addition, we have a very comparable Dionysos of about one generation earlier who
watches the maenads tearing Pentheus apart on an unattributed lekanis from
around 440 (Figure 106).66
To the right of Dionysos we can see some remains of a small laurel: does this
mean Apollo was also depicted? In any case, this Dionysos who invisibly takes
his retribution must have looked like a twin brother of the Apollo who, on a
volute krater by the Kadmos Painter mentioned earlier, watches Marsyas the
musician going towards his gruesome death.67 As we have seen in the previous chapter, this resemblance of the two sons of Zeus is far from coincidental:
in punishing Pentheus, Dionysos acts in the way Apollo normally acts, as the
executor of the order of Zeus. This aspect of Dionysos was not new, but had
already been presented in the early 6th century: Dionysos who, on the order of
Zeus, addresses Peleus at the occasion of his marriage to Thetis; Dionysos who
persuades Hephaistos to liberate the queen of the gods; Dionysos who, with
the other Olympians, fights against the giants.
The famous kalpis with the Judgment of Paris of around 400 BC may be
attributed to the inner circle of the Meidias Painter.68 As in the version by the
Kadmos Painter, Paris is represented as an oriental. In the field above him an
awe-inspiring Eris seems to rise from a hillock. Themis is absent, however,
65 limc VII, Pentheus 16. See in addition Chapter 9,note 16.

66 Louvre G 445. See above Chapter 7, note 42 and below Chapter 9, note 16.
68 Karlsruhe 259 (B 36): Addenda 362 (1315.1); ba 220515.
figure 107
203
Kalpis, follower of the Meidias Painter, Karlsruhe, Badisches Landesmuseum

259 (B 36), detail of the lower frieze (Burn 1987, pl. 39).
which may imply that Eris actions should not be interpreted as being of significance for the correct progress of world history.
The narrower frieze image of the base shows Dionysos amidst his gracefully dancing bacchantes. He looks very much like the punisher of the lekanis,
mentioned earlier, and the kalpis by the Meidias Painter, but the situation
seems completely different. Around the god no less than seventeen persons
are gathered in a peaceful atmosphere full of music. In the center, to the left
of Dionysos, sits a beautiful woman. She beats a richly decorated tympanon
placed exactly in line with the head of Eris in the image above. Her rhythms
and the tones of the aulos played by a satyr sitting on the far right, accompany
a girl in a light, colorfully embroidered chiton, who gracefully spins around
her own axis (Figure 107). Two other women dance to the left of the tympanon
player: the one on the right is ecstatic, the one on the left appears to be jumping up and down. Between the two we see a small tree: the scene takes place
in the open air, as in the lost squat lekythos by the Eretria Painter, the dinos
by the Dinos Painter, the cup by Makron, and the Judgment of Paris in the
image just above.69 On the far left, below the handle, the only woman wearing
an animal skin is looking on. Like the woman watching the dance to the right
of the satyr, she holds a thyrsos.
The lower border image on the reverse of the kalpis has a composition with
four pairs of women of various ages and status groups. They wear their hair
uncovered, in a chignon or pinned up with the help of a decorated headband.
They are engaged in friendly conversation, standing or sitting, or with one foot
supported by an objecta familiar formula for the representation of a Muse.
204
Chapter 8
Although here, too, the scene takes place in the open air, the difference between
the main side and the reverse is striking: on the one side Dionysiac ecstasy, on
the other peaceful companionship. Under the sign of Dionysos, the absence
of conflict and tranquil peace are not the same thing. Nevertheless, the whole
frieze is permeated with a feeling of harmonious contentment, which stands
in stark contrast with the ominous quiet of the Judgment of Paris.
The inner circle of the Meidias Painter also produced a sumptuously decorated pyxis found in Eretria.70 The cylindrical part shows women in a feminine
interior, and Aphrodite on the verge of mounting her chariot drawn by erotes.
At first sight, the image on the lid reminds us of the Eretria Painters Dionysiac
idyll. It shows Dionysos with his thyrsos, his face presented in three-quarter
view. Two seated women with lyra and tympanon provide the accompaniment
for the whirling dance of five of their companions. Two women each hold
the leg of a fawn; they are ready to tear it apart, like Pentheus. The woman to
Dionysos left seems to be addressing him. One of the next two dancers holds a
thyrsos, while the other carries a frightened child over her shoulder, just holding it by one of its little legs. Will the child be torn apart, like the fawn?
Although no actual horrors are depicted, a gruesome event of this kind
seems rather unsuitable for a pyxis; the image is unique. In the second half of
the 5th century, the pyxides repertoire is dominated by Eros and images of a
peaceful female world with appropriate requisites such as boxes, baskets and
mirror. Heroes such as Herakles hardly ever occur, and Hermes and Aphrodite
are the most frequently depicted gods. Once in a while one finds satyrs and
their dancing female partners.71 In any case, the contrast between the lid and
the box is striking: does this perhaps refer to the two extremes of female life?
As we will see, a similar contrast may be found in the decoration of the bronze
Derveni krater.72
The box of another, similar pyxis has a decoration of laurel branches; its
lid presents an idyllic image.73 Two erotes are kneeling on either side of the
image. They each have a fillet in their hands. Between them we see Ariadne
with a mirror and a youthful naked Dionysos with his thyrsos. They sit closely
together, but are facing away from each other. This is a simplified version of
70 London E 775 (1893.113.2): Addenda 364 (1328.92); ba 220648; Burn 1987, 34 and 79 f.,
pl. 18 ac, pl. 19 a; Grassigli 1999, 112, fig. 16.
71 Collection unknown: ba 8904 (no image: satyr pursuing a maenad); in the art trade: ba
9021718 (no image: maenad and anonymous figures); Sarajevo 34: ba 9495 (seated satyr).
Concerning pyxides imagery see in addition Schmidt 2005, 119151.
73 Karlsruhe 296 (B 1873): Addenda 364 (1328.95); ba 220651.
205
the so-called pyramid composition that was popular during the 4th century
and continued in use until Imperial times.74 The remaining space is taken up
by a seated naked youth who is approached by a young woman carrying a large
plemochoe, a vessel used for ointments. Divine and human wedding are juxtaposed: a highly appropriate motif for a vase that was frequently given as a
token of love or a wedding present.75
An artistically modest, but stylistically similar kalpis seems to introduce the
Dionysiac imagery of the 4th century.76 In the center of the image we see a
seated Dionysos, youthful and with long flowing locks. He sits in a relaxed attitude as in the east pediment of the Parthenon, and has the thyrsos on his left
arm. He looks back towards an unidentified young woman approaching from
the right. Between the two a small panther is reaching for her hand. A satyr
with a thyrsos appears to have been waiting for her. Aphrodite is seated above
on the left, Hermes above right. An eros is hovering above Dionysos, another
one is approaching Hermes. Below on the right a seated nymph is looking at
the scene. Some flowers and an ivy branch in the field between the figures indicate an open-air situation. Is the nameless woman Ariadne, or is this a mortal
woman play-acting? Did she come for Dionysos or for the satyr?
An exquisite cup fragment from Kerch on the Black See is another forerunner of the 4th century. It shows an, unfortunately incomplete, Dionysos riding
a large panther, which is cheerfully stepping along.77 Instead of his kantharos,
he holds the horn of plenty; his thyrsos is decorated with an embroidered bow.
We already encountered Dionysos riding a panther on the kalpis from Pella,
in a very special mythological context inspired by the west pediment of the
Parthenon.78 Like several other Dionysos figures just discussed, the god wearing elegant lace-up boots on a fine squat lekythos from Corinth seems to have
been inspired by the east pediment of the Parthenon.79
This brings us to the Pronomos Painter, a brilliant vase painter of around
400 BC; only a few of his works are known. His name is derived from the famous
and often-discussed volute krater from Ruvo (Figure 108).80 Its best-known
74 Gasparri 1986, 509.
75 Schmidt 2005, 150.
76 Cambridge (Ma) 1960.347: Addenda 367 (1341.2); ba 217539 (apparently identical with ba
1012159, Braunschweig, A. Loebbecke).
77 St. Petersburg 1867.68.953: arv 1329.117; ba 220672; Burn 1987, 80.
80 Naples H 3240: Addenda 365 (1336.1); ba 217500; Paul-Zinserling 1994, 44; Lissarrague 2010,
and 2013, 3032, fig. 7.
206
Chapter 8
a
figure 108
b
Volute krater, Pronomos Painter, Naples, Museo Archeologico Nazionale H 3240.
a. side A (FR pl. 1434).
b. side B (FR pl. 145).
side shows the young Dionysos, his lower body covered by a rich himation,
watching from his bed a performance by a large group of actors, in the company
of Ariadne who holds him tenderly. As Claude Calame convincingly demonstrates, the image is an idealized representation of a celebratory ritual in honor
of the liberator Dionysos Eleuthereus.81 This celebration of the victory in the
dramatic contest was the high point of the series of theatrical performances
which took place on the occasion of Anthesteria; the closing performance was
81 Calame 2010, 70: ...Dionysos Eleuthereus, Liberator of men who are free, coming from
Eleutherai (Sophokles TrGFr. 172 Radt).
207
a satyr play.82 The image on the reverse side is closely linked to that on the
main side, but, on the other hand, takes us from the ritual to the mythical level.
It shows a naked Dionysos, with a lyra in his hand, and Ariadne, carrying a
torch, moving euphorically towards the right in close embrace. To the left of
Dionysos, Eros, cymbals in his hands, comes flying to escort them. On each side
of the pair a satyr is moving in the same direction, in both cases partly hidden
by an elevation in the landscape. The one in front plays the aulos, the one in
the rear, carrying thyrsos and kantharos, looks back towards the scene on the
other side of the vase. Below, on the left as well as on the right, we see a female
dancer and a satyr, who appear to act out the titillation of their relationship
in a mimic dance. One of the women is holding a thyrsos, the other a lighted
torch. The latter seems to keep in check the panther which appears between
the two pairs, its head shown in three-quarter view. Where is the divine
couple going?
A more or less contemporaneous lekanis from Spina, stylistically more similar to the Meidias Painter, likewise seems to leave this question deliberately
unanswered.83 It roughly shows the same motif, but here it is Ariadne who carries the lyra and leads the way. The aim is, apparently, the blissful unknown
the future promised to the Bacchic initiates in the famous gold tablets that
accompanied them in death.84
A sumptuous calyx krater showing the stylistic influence of the Pronomos
Painter presents Dionysos surrounded by women and satyrs in a paradisiacal
ambiance very similar to that of the Dinos Painters calyx krater of a few years
earlier; the gods pose is almost identical (Figure 109).85 Here the god is flanked
by two erotes; the women do not seem to be engaged in the ritual presentation
of gifts, the accompanying podium is also lacking. One of the women lifts a
bunch of grapes; bunches of grapes can also be seen in the surrounding landscape. There is no panther, however; in the foreground a woman is playing
with a hare. The god looks into the distance, and sees neither the women, nor
the beholder of the vase. The image gives the impression of an apotheosis of
Dionysos in a permanent state of bliss. The contrast with the scene depicted
on the reverse is therefore rather forceful. Two dancing satyrs are blocking
the way of a woman swinging a thyrsos, who is briskly moving towards the
82 Calame 2010, 7178. The vase itself may have been an agalma for Dionysos and Ariadne on
the occasion of a victory in a dramatic contest and, in fact, have been part of a ritual.
83 Ferrara 5388: ba 19154.
84 Calame 2008, 161.
85 Madrid 11011: Addenda 366 (1336.1 below); ba 217505; Paul-Zinserling 1994, 44 f.; Moraw
1998, 300, no. 469, pl. 24 fig. 59 ab.
208
figure 109
Chapter 8
Calyx krater, circle of the Pronomos Painter, Madrid, Museo Arqueolgico

Nacional 11011, side A (CVA Madrid 2, pl. 10.2).
right. Above left and right another satyr and a Dionsyiac woman are watching
the scene.
As far as the Dionysiac repertoire of the vase painters active just after 430 is
concerned, we find that the work of the Pronomos Painter and his milieu confirms the striking changes: the triumph of the new, youthful Dionysos, his idyllic existenceblissful, erotically tintedin a distant world.86 The bearded
Dionysos and his accompanying thiasos only appear in representations of the
return of Hephaistosa myth that apparently remained topical.87 A unique
depiction of Silenos being captured by a group of Orientals looks like a scene
86 In this context it is significant that Eros is increasingly part of the Dionysiac retinue, compare Paul-Zinserling 1994, 52 f.
87 Pelike Munich S 68: Para 482 (1347.1); ba 217593; calyx krater AgrigentoC 1581: Para 482
(1347); ba 217595.
209
from a play.88 The disappearance of the bearded god also meant the ritual procession disappeared from the repertoire; the figures who participated in it now
engage in various activitiesmusic or the preparation of sacrificial gifts, for
instancein the idyllic surrounding landscape. Their identities are no longer
ambivalent: the satyrs cannot be taken for citizens or for the actors from the
satyr play, the women do not belong to the human world.
All of this is borne out by the names that are now increasingly given. This
brings us to the issue of personification. Scholars still use this term to refer
to abstract concepts turned into mythological personages by poets and artists. These are said to have particularly occurred during the late 5th century
BC, and mostly in images with an Aphrodisiac or Dionysiac themeto remain
with Dionysos, for instance Eirene, Makaria, Eudaimonia, etc. The origins and
derivations of these personifications, however, are often far from clear.89 In
addition, inadequate modern projections concerning the very different way of
thinking of the ancient world are, as B. Borg has shown, not very helpful.90 It
seems more useful to investigate in what way the inscription of names changed
the Dionysiac thiasoswhat it was that the vase painters wanted to refer to.
What immediately strikes us is that Dionysos retinue is less and less presented
as a group of anonymous figures engaged in the same actions. Whether they
carry a mythological name or a name that to the modern beholder seems
rather like an abstract concept: every woman and every satyr around Dionysos
becomes an individual. Moreover, the names of these individuals characterize
the gods world: it is a world of peace (Eirene), a world of good fortune and
material wellbeing (Eudaimonia), a world where life ends with a happy death
(Makaria).91
88 Munich 67: Addenda 368 (1347.2); ba 217594. Dionysos on the stage will be discussed in
the next chapter.
89 Gemelli Marciano 2013, 56; compare earlier Isler-Kernyi 1969, 7 f.
90 Borg 2002, 80: So ist uns in vielen Fllen jede Mglichkeit genommen, sicher zu ent
scheiden, ob ein Wesen als gttliche Macht oder als auf Abstraktion beruhende Fiktion
geschaffen oder generell rezipiert wurde and in conclusion p. 233: Dies bedeutet...,
dass es letztlich nicht nur unmglich ist, (bestimmte) Personifikationen von gttlichen
Wesen grundstzlich zu unterscheiden, auch nicht nur unntig, sondern nicht einmal
wnschenswert, denn gerade diese Schnittstelle zum Gttlichen, die grundstzlich
alle Personifikationen besitzen, ist ebenso Ausdruck wie Ursache der Lebhaftigkeit des
Eindrucks, den die Darstellungen vermitteln.
91 Compare Smith 2011, 78 f. (Eirene); Shapiro 1993, 62 (Eudaimonia). The figure named
Hebe on the volute krater by the Kadmos Painter in Ruvo (see above p. 191 fig. 102), for
instance, evokes the daughter of Hera and Herakles bride on the Olympuspost-mortal
conjugal bliss as a reward for a life of suffering; Shapiro 1993, 171.
210
Chapter 8
Vase painting after 430 BC does not only show a significant change in the
outward appearance of the god; his relationship with the figures that surround
him and the environment in which he is shown, have also changed completely.
No longer do we find individual participants addressing the beholders and
engaging them. These, in their turn, can no longer identify with the figures,
but look at the scene as if it takes place on a stage. In addition, this stage and
the polis are not interchangeable; the scene rather refers to a blissful counter
world. Both the deified Semele of the Kadmos Painters volute krater in Ruvo
and Makaria on the lost squat lekythos by the Eretria Painter make it clear that
the scene is set in the futurethe future that is in store for the Bacchic initiates.92 As is evident from Euripides Bakchai, which had its premiere in the final
years of the 5th century, Dionysos is still very well able to interfere in the life
of the community. The vase painters, however, are no longer concerned with
a god who acts for the rightful order, but with one who embodies the hope of
admission to a joyful counter world.
92 For Semele as a prototype of a female initiate, see Isler-Kernyi 2007, 168170.
Chapter 9
Images of Dionysos from 430 BC onwards

Dionysos on Stage
The visual arts did not provide the only means through which in Classical
Athens images of Dionysos were communicated to the public: the appearance of the god on the stage must have been equally effectiveperhaps even
more so. In order to produce the desired effect, Dionysos must have appeared
in a way that was instantly recognizable and at least partly appealed to the
audiences familiar mental picture. In short, his appearance must have been
in accordance with the iconography we know. On the other hand we may presume that the most impressive stage appearances in their turn influenced the
imagery; as will be shown in what follows, this was especially the case with
the Dionysos of the Bakchai. Most of the plays that have come down to us are
incomplete and for this reason it is often impossible to tell if and how Dionysos
was presented. Only three examples from the 5th century allow us to draw some
conclusions concerning the outward appearance of the god. All three may be
dated in the decades between 430 and 400 BC: Kratinos Dionysalexandros,
Frogs by Aristophanes, and Euripides Bakchai. The enormous impact of the
latter was still discernable in Hellenistic times.1
Kratinos Dionysalexandros
Dionysalexandros, a comedy by Kratinos, was first performed in 430 or 429 BC.
Apart from a few fragments of the original text, only a summary (hypothesis),
composed around 200 AD, remains.2 It tells us of Dionysos impersonating Alexandros, otherwise known as the shepherd and Trojan prince Paris,
the protagonist of the Judgment of Paris, which is actually acted out on the
stage. Dionysos-Alexandros subsequently goes to Sparta to abduct the beautiful Helena. Back on the Ida, the two hide for fear of the invading Greeks. The
real Paris appears and decides to turn the couple over to the Greeks. He takes
pity on Helena, however, and makes her his wife; Dionysos is handed over,
accompanied by wailing satyrs. The hypothesis explicitly mentions that the
1 The subject was first discussed in Isler-Kernyi 2011b. For a more complete overview of the
imagery, see Isler-Kernyi 2012a.
2 Bakola 2010, especially 180272; Imperio 2011, 303310. Concerning Dionysos in Attic comedy,
see Casolari 2003, especially 98112 devoted to Dionysalexandros.
212
Chapter 9
plays intention was to draw a bead on Perikles, who had brought war to the
Athenians.
What Dionysos looked like when in Kratinos play he appeared as Paris may
be deduced from the history of the imagery of the Judgment. In the 6th century
the Trojan prince is presented as bearded; from the 5th century onwards he is
youthful.3 It is precisely around 430 BC that vase imagery shows the turnabout
from Greek shepherd to Oriental with multi-colored leggings.4 It is possible
that this change of costume can be attributed to a flash of wit of Kratinos. Just
the idea to cast the god in the role of the young lover could have been an ironic
comment on the new Dionysos of the Parthenon, whose youthful beauty was,
as we have seen, particularly highlighted both in the east pediment and in the
east frieze. If, as Kratinos suggests, it was Dionysos who had caused the Trojan
War, the contrast with the relaxed reclining god must have been all the more
striking. In vase painting the oriental garb of Paris stresses the fact that the war
had turned into a confrontation between Greece and Asia; a Dionysos (who
in reality was strongly associated with the polis of Athens, as we have seen)
decked out in oriental leggings must have produced a paradoxical and shocking effect comparable to the ridiculous Dionysos presented by Aristophanes.
This probably made the criticism directed at Perikles even more acrimonious.
Aristophanes Frogs
Aristophanes comedy is named after its chorus of frogs. It was probably
written after Euripides Bakchai and had its premiere in Athens in January
of the year 405 BC.5 Its comic mood is established right at the beginning
when Dionysos enters with his servant Xanthias, who is riding a donkey. This
would have immediately reminded the audience of the motif of the return of
Hephaistos, so often depicted at the time on vases and in monumental art.6
The announcement that the two were not on their way to the Olympus but
to Hades, must have led to peals of laughter.7 Dionysos was on his way there
to bring back Euripides who had just died. From the words of Herakles and
Charon, with whom he meets, we can conclude that Dionysos is presented
as young and rather chubby.8 During the first half of the play the audience
was regaled with the pairs adventures in the underworld. Dionysos frequent
3 l imc vii.1, 186188 (A. Kossatz-Deissmann concerning Paridis iudicium).
4 Lid of a pyxis, Copenhagen 731: ba 7928; limc vii Paridis Iudicum 40.
5 Lada-Richards 1999, 17.
6 Lada-Richards 1999, 156; for the painting in the temple of Dionysos see Natale 2008, 107 f.
7 Ar. Ra. 69.
8 Ar. Ra. 60 (adelphidion), and 200 (gastron).
Images Of Dionysos From 430 Bc Onwards
213
disguises as Herakles or Xanthias (and the fact that he was just as frequently
unmasked) must have been genuinely funny; we can see him continually putting on the lion skin over his saffron yellow chitonand taking it off again.
Incidentally, it is probable that the traveler as well as the slave wore a short
chiton instead of a long one.9 The many disguises and changes of costume
were very likely meant as a parody of the theater itself.10 In the second part,
in which Dionysos features as adjudicator between Euripides and Aischylos,
he may have appeared as a dignified figure in a long robeas referees are usually depicted in vase painting.11 At the end of the comedy it is not Euripides
who, for the greater good of the polis, is led out of Hades by Dionysos, but
Aischylos who represents the polis good old days. Here Dionysos assumed
his familiar role of mediator and liberatoras he did when he brought back
Hephaistos. Everyone in the audience knew that he had not only accompanied his unfortunate brother back to the Olympus, but also brought his own
mother from Hades to heaven and, in so doing, had granted eternal life to her
who had died so young. Thus, from the moment he came onto the stage and
even before he had uttered a single word, Dionysos delivered a message of
hope and reconciliation to the Athenians just before the disastrous end of the
Peloponnesian War.12
Euripides Bakchai
The subject of Euripides Bakchai is the horrible punishment of Pentheus, king
of Thebes. The sudden entry of Dionysos at the beginning of the play can only
have provided the desired theatrical effect when the god was immediately
recognized by the audience. Even when Euripides would have added new elements to Dionysos outward appearance, it must have answered to the visual
expectations of the audience and fitted into the iconographical landscape of
his time. On the other hand, because of the tremendous success of the play in
the centuries that followed, it is more than likely that this particular Dionysos
had a Nachleben in the imagery.13 What does the text tell us about the way he
looked? From the words of Pentheus we can deduce that the god had long
blonde locks and was young and effeminate.14 An additional element is the
fact that he is said to have just arrived from Asia, that is: from afar.
9 Compare the slightly older representations of Herakles: limc iv, Herakles 1477 and 1562.
10 Tasinato 2003, 1315.
11 Compare for instance Berti-Restani 1988, 72, fig. 17, and 74, fig. 19.
12 Similarly Lada-Richards 1999, 326329.
13 For the successes of the play, see Seaford 1996, 52 f.
14 E. Ba. 235236 und 455459.
214
Chapter 9
The iconography of Pentheus death in vase painting is not very helpful.15 It

starts at the end of the 6th century, with very gruesome images, and continues until about 480 BC. Dionysos only appears on the cup by Douris in Fort
Worth (Tx); bearded and wearing a long robe, he sits dignifiedly as the hectic,
bloodthirsty events take place around him. Only forty years later the subject
comes up again on the lekanis lid discussed earlier, and subsequently on the
badly preserved hydria by the Meidias Painter.16 Dionysos appears on both,
although it is possible that he is supposed to be invisible; he is young, naked,
and very much like the punishing Apollo. Nevertheless, we can hardly presume
he appeared naked on the stage. We do not know if he already appeared as
a young man in the Pentheus tragedies by Thespis, Aischylos and Xenokles,
which preceded Euripides play.17 In view of what we know of his iconography,
this does not seem very probable.
This is everything vase painting has to offer. Of the sculptural types that may
have existed at the time of Euripides, neither the bearded nor the naked god
seems eligible. Likewise improbable, because he wears a long garment unsuitable for a traveler, is the type of the young, long-haired kithadoros in the west
pediment of the temple of Apollo in Delphi.18 On the other hand, the Bakchai
may have inspired a Dionysos type that, for stylistic reasons, is dated in the
early 4th century and is known from several copies and versions in relief.19 He
has long, flowing locks, and wears a short robe and boots, which would be suitable for both the traveler and the actor. As has been mentioned above, the
panther skin refers to Asia, from where the god just came. The femininity of
his appearance is not confined to the face framed by the long locks. None of
the other male children of Zeus would wear a short chiton with an animal
skin over it; only Artemis does. In fact, a votive relief was found not far from
the so-called Chapel of Dionysos on Delos which shows a Dionysos who could
have been Artemis, but for the cluster of grapes and the panther.20 A mold
for a goblet from Hellenistic times makes it clear that this type was known as
15 March 1989; limc vii.1, 315317 (J. Baant/G. Berger-Doer); Weaver 2009.
16 For the cup: see above Chapter 3, note 83 fig. 31. For the lekanis lid: see above Chapter 7,
note 42, and 8, note 66. For the hydria: Chapter 8, note 64.
17 Alion 1983, 251254.
18 Croissant 2003, 8587, pls. 3441.
19 limc iii, Dionysos 128; Cain 1997, 3034.
20 Isler-Kernyi 2012a, fig. 7. In additionMarcad 1996, 182 f.: Et pourtant, de manire
extrmement singulire, cest Artmis que font penser le vtement, la coiffure et mme
les bottines. (Ph. Jockey).
figure 110
215
Dionysos in Euripides Bakchai (photomontage C. Isler-Kernyi).
Thriambos.21 And, after all, this suits the memory of the triumphant Dionysos
of the Bakchai (Figure 110).
This Dionysos type is not only preserved in an impressive Hellenistic bronze
statuette and copies from the Imperial period, but also in some 4th-century
votive reliefs from Greek sanctuaries, as well as sporadic vase images.22 The
neck of an Apulian volute krater provides an explicit reference to Euripides
tragedy, although, unfortunately, the only available photograph presents the
image in a much disfigured form.23 We see Dionysos, who, on the extreme
left, watches the furious maenads killing Pentheus, while Nike flies towards
21 Cain 1997, 34.
22 For the bronze statuette, see Karusu 1975. For the copies: limc iii, Dionysos 128 ac. For
the votive reliefs: Cain 1997, 30 and pl. 3. For an example of a vase image, see the lid of an
Attic lekanis found at the south foot of the Acropolis, Athens Acropolis Museum 1956 nak
232, with Dionysos amidst women and maenads (I am indebted to Victoria Sabetai for this
personal communication).
23 limc vii, Pentheus 16.
216
figure 111
Chapter 9
Theater of Thasos, metope (BCH 84, 1960, 301, fig. 1).
him with a wreath; apparently here, too, he is seen as triumphant. The god
is young and wears a short chiton and boots; whether he also wore an animal skin is now impossible to make out. A relationship between this Dionysos
type and the world of the theater may also be discerned in an, unfortunately
badly preserved, votive relief found near the theater of Dionysos in Athens.24
Other examples are a relief (refurbished in the 2nd century AD) from the
metopes of the scene house of the theater of Thasos, (Figure 111) and one of
the Imperial-period reliefs.25 These latter decorate the stage front of the socalled Phaidrosbema of the theater of Dionysos in Athens and show various
scenes from Dionysiac mythology. Our type is shown in the scene depicting
the presentation of the vine to the Attic heros Ikarioslikewise a tragic tale.26
If indeed the triumphant Dionysos of the Bakchai lives on in this type, it is
not hard to imagine what the audiences visual associations must have been.
First of all, there is the association with Artemis, the ruler of the wilderness
and of untamed womenthe world into which Dionysos the punisher leads
25 Salviat 1960, 314 f.; Daux 1968, 54.
26 limc iii, Erigone I 1.
217
the maenads, cut loose from the well-ordered community. In addition, the
short chiton with the animal skin over it would have reminded the Athenians
of Dionysos Gigantomachos, known from the second metope on the east
side of the Parthenon and from somewhat older vase imagery. Incidentally, this
way of depicting Dionysos as a combatant remains canonical after Euripides,
as is borne out by mirror reliefs and vase paintings of the 4th century,27 and,
eventually, by the Gigantomachy and Telephos friezes of the Pergamon altar.28
If we assume that Euripides really gave his Dionysos the appearance of
the triumphant Gigantomachos, what sense would this have made?29 While
Pentheus was under the impression that he was dealing with an Asiatic member of Dionysos retinue, the audience immediately realized that this was
the god himself: Dionysos who, with the other gods, had fought for the order
of Zeus and had been victorious. The terrible punishment of the blinded
Pentheus cannot have been a total surprise: ultimately, it was all for the good
of the polis.30
Dionysos in 4th-Century Sculpture
We can be sure that at the end of the 5th century at least three very distinct
sculptural Dionysos types could be discerned: the relaxed, naked young god of
the east pediment of the Parthenon; the young triumphant god of the Bakchai;
and the gold and ivory cult statue of the temple at the sanctuary near the theater, created by Alkamenes, a close collaborator of Phidias.31 The latter, as is
evident from coins from Imperial times, reverted to a traditional type: that of
the dignified, bearded enthroned Dionysos, the one who resembled the Zeus
of Olympia.32 Although the Parthenon type was extremely popular in vase
painting and small statuary, it had, as far as we know, no follow-up in monumental sculpture. It has been argued above that this may be related to the fact
that the vision of peace that was at the basis of the sculptural program of the
Parthenon had been rendered obsolete by the outbreak of the Peloponnesian
war. On the other hand, the idea of Dionysos and his promise of Bacchic bliss
27 For instance limc iii, Dionysos 633 and 641.
28 Isler-Kernyi 2010b.
29 It may not be a coincidence that in E. Ba. 537544 the chorus associates Pentheus with the
giants (I am indebted to Richard Seaford for pointing this out to me).
30 March 1989, 65; Seaford 2006, 49.
31 What follows largely corresponds with Isler-Kernyi 2011a.
32 limc iii.1, 446 Dionysos 214.
218
Chapter 9
gained pregnancy in the current dangerous situation and it was given a significant place in vase imagery, which also suited the function of funerary gift.33
There must have been other sculptural representations of Dionysosas
Pausanias tells us: the god had many sanctuaries in Greece.34 Some cult statues were old, or archaistic, xoana and sphyrelata.35 This is illustrated by two
Apulian vase images, where statues of this kind are shown next to the real,
young god.36 Others, of which we know nothing, were newly created in the 4th
century by artists active at the time.
In any case, as we have seen, multiformity seems to have been a characteristic of Dionysos ever since the final years of the 5th century.37 This multiformity
even found ritual expression: a procession with two Dionysos statues (one the
Bakcheios, the other the Lysios) regularly took place in Sikyon.38 Greek coins,
too, show Dionysos in a multitude of guises, although in many cases it is uncertain when they were formed. The standing, bearded god in the long chiton or
the himation that leaves the chest bare was probably a type of the Classical
period.39 The same holds true for the youthful, standing nude figure.40 On
coins from Thessaly, Crete and Athens, Dionysos appears bearded and seated
like Alkamenes cult statue; the earliest of these coins may be dated to around
470 BC.41 He is depicted youthful and seated on Greek coins from the 4th century onwards, as well as on wall paintings from the Imperial period.42 Finally,
the infant Dionysos may be found on coins from Thrace and Asia Minor of the
5th and 4th centuries.43 It is, however, impossible to know whether these figures reflect cult statues or local Dionysiac myths.
The so-called Dionysos Sardanapalos probably appeared in the 4th century
(Figure 112). This Dionsyos, in a long, rich robe, bearded and with an elaborate
long hairstyle, may have been created for the theater of Dionysos in the circle
of Praxiteles.44 A choragic monument of about 340 BC presents a very similar
33 Paul-Zinserling 1994, 1422.
34 Gasparri 1986, 446448, Dionysos 207252.
35 Gasparri 1986, 429 f., Dionysos 6275.
36 Cain 1997, 25 (volute krater in Naples 82922, and calyx krater in Matera without inventory
number).
38 Paus. ii 7. 6.
39 limc iii, Dionysos 7779 and 8486.
40 limc iii, Dionysos 97 and Dionysos/Bacchus 40.
42 limc iii, Dionysos 138140, Dionysos/Bacchus 28.
44 Gasparri 1986, 431 f., and 511, limc iii, Dionysos 89; Cain 1997, 5458.
figure 112
219
Dionysos Sardanapalos, Rome, Musei Vaticani, Sala della Biga 2363 (Cain 1997,
pl. 16).
figure.45 Dionysos Kitharodos of the west pediment of the temple of Apollo in

Delphi, mentioned above, is likewise wearing a long robe, but he is a youthful
standing figure surrounded by the members of his thiasos (Figure 113).46 The
pediment was made by artists from Athens between 360 and 330.47 As we have
seen, after 430 this kind of typological similarity to Apollo can also be found in
vase painting.48 It may be explained from the fact that the two divine brothers
47 limc iii, Dionysos 489 (body) and 205 (head): Croissant 2003, 30 f. and 85 has convincingly shown that the two belong together. The identification of this figure as Apollo in
limc ii, 201 concerning Apollo 101 (Lambrinudakis) has been refuted by the archeological
circumstances and is out of date. A colossal head of Dionysos, datable to around 340 BC
or somewhat later, from the sanctuary of Dionysos on Thasos, is very comparable because
of its effeminate appearance and its erotic aura, see limc iii, Dionysos 206; Holtzmann
2010, 268 f., no. 77.
48 See above Chapter 7, p. 171, note 42.
220
figure 113
Chapter 9
Dionysos Kitharodos, west pediment of the temple of Apollo, Delphi, Museum

2380 (Croissant 2003, pl. 34, drawing K. Iliakis).
had complementary functions in the Olympic family ruled by Zeus and, consequently, in the human world.
The various shapes and forms of Dionysos we have looked at so far, bear out his
multiformity in monumental art and in public space. They completely answer
to modern expectations about divine grandeur and credibility in cult statuary.
The figure of the young, almost or completely naked god in a relaxed attitude,
mainly preserved in copies from the Roman Imperial Period, is, however, different and more problematic.49 The origin of this frequently modified type lies
in the 4th century and is stylistically close to Praxiteles who, according to the
sources, created more than one statue of Dionyos.50 In the years that followed
the prototype underwent several, be it superficial, changes (Figure114).51 The
young and erotic Dionysos whose himation has slipped to his thighs so that his
49 Concerning this issue, see Cain 1997, 1214 and 7779.

50 limc iii, Dionysos 120. For statues by Praxiteles mentioned in literary sources: limc iii,
Dionysos 215217.
51 limc iii, Dionysos 121124; Cain 1997, 78.
figure 114
221
Various statues of the youthful Dionysos, Roman Imperial period (Cain 1997, 78
above left).
genitals are revealed, must be of comparable origin.52 The motif of the effeminate youth expresses itself even more clearly in small statuary and is subsequently applied to larger sizes; here we see a Dionysos who is no longer able to
stand on his own two feet, but is has to be supported by a companion.53
As we have seen, the youthful Dionysos was officially introduced with the
Parthenon sculptures. Phidias gave him the body of an athletic adult. The
Praxiteles type, however, is an ephebe who increasingly resembles Eros and,
like Eros, takes on an effeminate form. A possible explanation for this androgynous Eros may be that Eros, as the god of all commencements, unites several
potential forms of existence: male and female; human, animal and vegetal.54
As Bakchos, Dionysos, too, is a god of initiation, and as such of new beginnings.
52 limc iii, Dionysos 126 and 127, also Dionysos/Bacchus 181 and 186.
53 Pochmarski 1990.
54 Isler-Kernyi 2004b, 247.
222
Chapter 9
Dionysos feminine aspect increasingly goes hand in hand with a passive,

relaxed attitude; all of this was the complete opposite of what was expected
from a citizen. Nevertheless, the god seems to have remained a significant
figure. By revealing his genitals he presents himself as the seducer, not only
of Ariadne, but also of the human beings who met him in the sanctuaries of
Greece and the gardens of Rome.55 The meaning of this aspect of Dionyos will
become clearer when we compare the sculptural type with its counterpart in
vase painting, in other words: when matters are viewed in context.
A Look at Vase Painting
For the vase painters active in the decades between the Dinos and Pronomos
Painters and the so-called Kerch style, Dionysos was clearly the most important god.56 This is not only evident from the output of the Meleager Painter
and his workshop, which mainly produced kraters, but also from the workshop
of the Jena Painter, the leading producer of cups.57 According to Verena PaulZinserling the great importance of Dionysos and his retinue in vase imagery
reflects the significance of Bacchic ceremonies in the lives of the buyers of
the ceramics.58 Because vase painting is allusive instead of descriptive, this is
hard to prove. Nevertheless, as will be clear from what we have seen and from
what follows, the development of Dionysiac iconography certainly supports
this proposition.
As far as choice of subject is concerned, we first of all notice that in the
first decades of the 4th century traditional mythological themes (including
the return of Hephaistos with its special significance for the polis, which regularly occurred until around 400 BC) are as good as absentwith the exception of the Gigantomachy.59 Future scholarship should make a special study
of the marked differences between the image repertoire of the first quarter of
the century and that of the second quarter, and look at the various phenom55 Fragmentary Apulian calyx krater, Taranto 52.230: Isler-Kernyi 2011a, 81, fig. 10; Tiverios
2011, 163 and 169, fig. 11.
56 Boardman 1989, 10 (dating of the Kerch style in the second and third quarter of the century) and 190193 (Kerch style ceramics); for an extensive study of the dating of 4thcentury Athenian ceramics, see Langner 2013.
57 Meleager Painter: Kathariou 2002, 2737; Jena Painter: Paul-Zinserling 1994.
58 Paul-Zinserling 1994 passim, especially 32 and 70. Kathariou 2002, 35 remains sceptical
about this.
59 Natale 2008, 99106.
223
ena against the background of the political and cultural situation in Athens
at the time. Of the types we found in sculpture, the bearded Dionysos does
not appear in vase painting and neither do the fully dressed types such as the
so-called Dionysos Sardanapalos and the Kitharodos type from Delphi. After
the Kadmos Painter, the regal seated Dionysos like the one by Alkamenes no
longer occurs.60 The victorious Dionysos of the very few Gigantomachy scenes
wears only a himation that leaves his chest bare or a long himation, and in this
way differs from Dionysos Gigantomachos in sculpture.61 In any case, a dressed
Dionysos is much rarer than a completely or almost naked one. Images of a
standing Dionysos are not very numerous and rarely correspond to those in
large-size sculpture.62 The walking god may be supported by Ariadne, Herakles,
a satyr or even Eros.63 When, under the influence of music, wine, or love (or all
of these together), he appears in a euphoric mood, this does not seem to refer
to a specific myth, but to a state that is considered characteristic of him. Most
often we find Dionysos as he was depicted by the Dinos or the Kadmos Painter:
naked, in a relaxed seated pose, receiving gifts from the members of his retinue, or being tenderly caressed by Ariadne (Figure 115).64
A standing naked Dionysos similar to the Praxiteles type from sculpture
may be found, for instance, on a calyx krater of the so-called lc Group from
the middle of the century.65 This group of vases of mediocre quality was probably not manufactured in Athens itself, but in a Boeotian workshop.66 The
group, however, shows an image repertoire and iconography that is almost
indistinguishable from those used in Attica as a result of the fact that in the
course of the 4th century manufacture and form throughout Greece, and even
in Greek Southern Italy, had become increasingly similar under the influence
of the magnificent Athenian creations of the Parthenon epoch.67
61 Paul-Zinserling 1994, 3537; limc, Dionysos 660 and possibly also 630; limc, iii Dionysos
631 (= limc iv, Gigantes 389), which seems Attic rather than Apulian, see Kstner 2008b,
188, cat. 38.
62 For instance limc iii, Dionysos 315 and 316.
63 Some examples: limc iii, Dionysos 720 (= Kathariou 2002, 404, fig. 39 B), 583 (bearded
here), 584, 834; Kathariou 2002, 391, fig. 14 .
64 Two examples: bell krater Budapest 50.568: arv 1439.1; ba 218088, and pelike St.
Petersburg St. 1793: Furtwngler/Reichhold 190432 text volume ii, 47. Concerning the
motif: Kathariou 2002, 197, and pl. 414, fig. 57 A; limc iii, Dionysos 731.
65 Athens 1376: arv 1458.34; ba 218307 (no image); Schefold 1934, 25, no. 205 pl. 46. From
Boeotia.
66 Schne-Denkinger 2009, 89 f.; Sabetai 2011, 157, note 83.
67 Borbein 1995, 436 f.
224
figure 115
Chapter 9
Pelike, St. Petersburg, State Hermitage Museum St. 1793 (FR, Text II, 47).
The composition of the image on one side of the vase is very clear (Figure116).
In the middle on the left we see a standing young Dionysos wearing a wreath.
His himation, held by his right elbow, leaves his whole body bare. Behind his
left shoulder we can discern a thyrsos. The god is gazing at a woman who sits on
his right; the uncovered parts of her body are highlighted in white. On the floor
between the two is an altar. Above it, on an elevation in the landscape that is
not indicated, stands Eros. He turns towards the woman, his wings spread. He
has taken a necklace or another piece of jewelry, no longer visible, from a flat
box in his left hand. He wears his hair in a chignon on the top of his heada
feminine style. His body also has the conspicuous white color. To the left of
Dionysos, a satyr wearing a panther skin over his left arm, looks back towards
the main scene. Another woman stands to the right of the seated one. Her
raised hairstyle perhaps indicates she is elderly. Between her and Eros we see
Pan approaching with a ribbon in his right hand. It is only in the 4th century
that the figure of Pan appears in the Dionysiac repertoire of the vase painters.68
As on the Roman sarcophagi of a much later period, he may represent the wild,
unpredictable world beyond what can be experienced by mortalsa world
only known in death.69 The image apparently means to show an epiphany of
Dionysos which precedes the erotic encounter. Beazley is wondering whether
the seated woman could indeed be identified as Ariadne; Metzger interprets
68 Paul-Zinserling 1994, 43.

69 Isler-Kernyi 2012b, 73 and 75.
figure 116
225
Calyx krater, Athens, National Museum 1376, two views of side A (Schefold 1934,
pl. 46, no. 205).
the scene as hirogamie proprement dite.70 At the top of the image, partly
highlighted in white, are the upper parts of three columns with capitals and
architrave. Perhaps this refers to a temple front: together with the altar it would
indicate that this encounter takes place in sacred space.
On the reverse the young, naked Dionysos presents himself in a way we
know from countless other examples: reclining in the familiar pose of the east
pediment of the Parthenon, in the company of Eros, a satyr, and a Dionysiac
woman.71
The idea of blissful peace, communicated by the Dionysos of the Parthenons
east pediment, here finds expression at a personal level in the unmistakable
Bacchic atmosphere. It cannot be a coincidence that Hermes is often present
in scenes of this kindthe god who is responsible for all transitions.72 His
presence indicates the vessel was meant to be used as a grave gift. The meaning of the Dionysiac encounter on vases like the one just discussed, is evident:
it promises erotic bliss. Or better perhapsgiven the idea that vase paintings
should be read in a metaphorical rather than a realistic sense: it promises a
70 Metzger 1951, 117, no. 16. Compare in addition the oinochoe limc iii, Dionysos 731, where
the erotic intent of the meeting is evident.
71 Compare for instance Schefold 1934, pls. 41 ab, 45, and 47.
72 arv 1457 f., 19.21.29.
226
Chapter 9
total state of felicity, like the one experienced in love. Approaching a statue
of the naked ephebe Dionysos in a Greek sanctuary or a Roman garden was
tantamount to having the prospect of perfect happiness.
There were other formulae with which to refer to acquired or prospective Bacchic bliss, for instance the ones we already met in the work of the
Dinos Painter and the Kadmos Painter: Dionysos as a symposiast, alone, with
Hephaistos or with Herakles.73 The idea is expressed in a more dynamic way
when Dionysos, Ariadne close at his side, moves energetically towards the
right, as he was depicted by the Pronomos Painter. Most of the time, however, it is not the god, but his companion who takes the lead.74 A similar role
for women in a Bacchic context is not new and also found elsewhere.75 The
numerous depictions of the seated couple could be considered a quiet version
of the same formula.76 Eros bringing a bunch of grapeswhose death results
in wineclearly alludes to the Bacchic experience.
The examples presented here of the standing, young Dionysos turning
towards Ariadne or a woman identifying with her, of the seated or reclining
god, or of the euphorically advancing couple, were meant for the individual
viewer and for private use. In addition, Attic vases have motifs that may have
been derived from monumental, public art. Apart from the Gigantomachy
already mentioned, the arrival of Dionysos riding a wild animal or enthusiastically driving a chariot drawn by animals also belongs to this category.
A fine example of the latter may be found on a calyx krater, datable to about
350 BC or shortly afterwards (Figure 117).77 It belongs to a manufacture that is
known as Group G because of its many depictions of griffins. A relatively large
number of these vases were found in the Black Sea area, but Kyrenaika (North
Africa) and Spina are also well represented. Others were found in Olynthos
(Macedonia) and in Athens. The usual vase type of this group is the pelike,
followed at some distance by the bell krater. Only two calyx kraters made by
Group G have so far been found. In our example, both the potters work and
the decorated parts indicate that it was an exceptionally ambitious piece for
its time. In the photographs that have been published, the krater subsequently
filed by Beazley, looks like a weaker piece.78 It also shows on one side two
73 Metzger 1951, 125129; limc iii, Dionysos 369, 559, 560.
74 Compare Metzger 1951, 115. Enlvement dAriane is therefore not the right expression.
75 Compare Jaccottet 2003, 8894; Isler-Kernyi 2007, 154; Gasparri 1986, 483 f.
76 Metzger 1951, 118120; limc iii, Dionysos 738740, 743, 748750. For an example with a
standing Ariadne: limc iii, Dionysos 731734.
77 Zurich, Archologische Sammlung der Universitt 3926: Addenda 380 (1470.164); ba
230374; Isler-Kernyi 1982 and 1983.
78 Whereabouts unknown: arv 1470.165; ba 230375.
figure 117
227
a
b
Calyx krater, Zrich, Archologische Sammlung der Universitt 3926
(photographs Archologisches Institut der Universitt Zrich, Silvia Hertig).
a. side A: arrival of Dionysos.
b. side B: pair of Dionysiac men.
v igorously striding men, while the other has Dionysos reclining on the symposium couch.
As far as style and quality are concerned our calyx kraters most resemble bell
kraters of the so-called Falaieff type, whose four fields of images, apart from
griffins fighting amazons, all show the youthful Dionysos.79 In two instances
he is reclining in a manner recalling the east pediment of the Parthenon as
he watches a dancing maenad with a tympanon in her hand. The head of
Dionysos (the delineation of his locks, his ivy wreath, his profile) on the krater
in the Louvre so much resembles that on our krater, that it must have been
created by the same hand. The clusters of grapes filling the space above the
figures are, at any rate, almost identical. But because not much is known about
this vase either, we can only conclude that the Bacchic Dionysos and his world
apparently belonged to the more up-market segment of this manufacture.
The main side of our krater shows the young god wearing an animal skin
over a long, flying chiton. He stands in a chariot drawn by two large panthers.
In front of him a satyr has fallen to the ground in fear. In the upper part of the
image another satyr precedes the god, half dancing, a torch in his right hand
and a large wreathed calyx krater in his left. Eros spreads his wings as he hovers
79 Louvre G 530: Addenda 380 (1469.161); ba 230371; Louvre G 529: Addenda 380 (1469.162);
ba 230372; Stockholm D 19310: Addenda 380 (1470.163); ba 230373 (no image).
228
Chapter 9
above the team of panthers. A woman with a vine leaf or a bunch of grapes is
leaning over from the back. On the right edge of the image, a second maenad
with thyrsos and tympanon is ecstatically turning around her own axis. Making
a gesture of surprise, a third satyr looks on above the handle. Between the panthers, a vine that may have just sprouted from the earth fills up the space with
its grapes. The panthers are shown in three quarter view and seem to detach
themselves from the vase on order to move towards the viewer. It is clear that
the latter should be duly impressed by the wondrous arrival of the god.
On the reverse two men wearing ivy wreaths are striding towards the right.
The younger of the pair has thrown a lion skin over his left arm; the elder is
carrying a thyrsos. It is probable that they are Herakles and Hephaistos. A
cluster of grapes is on the ground between them. A satyr making an inviting
gesture goes in front of them, a small panther makes up the rear. We also see
two dancing women and a seated one who looks on from the left. A winged
creature of indefinable sex hovers above the heads of the two men with a plant
in its hand. In both scenes all satyrs are decked out in panther skins. The question is whether both sides of the vase can be read as one continuous scene.
Unfortunately, the side views of the krater do not provide a decisive answer
either.80 In any case, the level of execution is equally high on both sides: the
sudden appearance of Dionyos and the arrival of the two men must have been
of equal importance to the painter.
Concerning the two men we could ask ourselves who is leading who.
Beazley has designated the elder Dionyos, most likely because of his thyrsos.
However, by this time, Dionysos is rarely depicted bearded. Moreover, how can
we explain that it is he who is looking intently at the inviting gesture of the
satyr and at the beckoning maenad? The famous series of images of Herakles
bringing a bearded man resembling Dionysos up from the underworld, does
not show the theme we have here, but the ephedrismos motif.81 Our motif of
two individuals striding forward, arms around each others shoulders, has, as
we have seen, a long history in Dionysiac imagery. It occurs for the first time
at the beginning of the 5th century in the context of the return of Hephaistos
and subsequently remains in use.82 On the basis of the tradition of the motif
we can identify the elder of the two men on our vase (the one who is led)
as Hephaistos, even when only a pair of tongs or a hammer could dispel all
80 Isler-Kernyi 1982, 145, figs 34.
81 Metzger 1951, 196 f., pl. 26, 13; Paul-Zinserling 1994, 2431.
82 See above Chapter 3, note 38; London F 68 (1865.0103.14): Addenda 378 (1446.1: Pourtals
Painter); ba 218148. On the right side of the image a satyr leads Hephaistos towards
Dionysos and Herakles, depicted as a pair of symposiasts.
229
doubts. Still, if this image depicts the return of Hephaistos, it is rather surprising that it is Herakles who takes the initiative. Our discussion of, for instance,
the handing over of the child Dionysos has, however, already shown the importance of taking into account unknown versions of a certain myth in view of the
fluidity of the mythological tradition.
Whoever the figures in the vase may be, the meaning of the scheme is clear:
euphoric reconciliation, restoration of harmony in a Dionysiac atmosphere
without the comic anecdotal element of the return of the cripple on his mule.
Where are the two men going? Could it, after all, be the event on the other
side of the vase? In that case the scene would unite Dionysos, Herakles and
Hephaistos and, as we have just seen, this is not a unique phenomenon at
this time. Despite their divine origins, all three of them were only admitted
to the sphere of the gods after their vicissitudes in the world of men.83 In this
way, they may have served as examples of the possible destiny of the Bacchic
initiates.
The Derveni Krater
At the end of our exploration of the Dionysiac imagery of the Classical period,
we must have a look at one of the most exquisite examples of Greek art: the
bronze krater from Derveni (Figure 118).84 This elaborate vessel is superbly decorated both in relief and with sculpted figures. It not only served as a funerary
urn for the ashes of a man and a woman, but, as the traces of wax found on the
inside indicate, was especially made for this purpose.85 On the basis of other
objects found in the grave, the krater may be dated between 320 and 290 BC.86
The decoration consists of a frieze of large figures in relief around the belly of
the vessel, an animal frieze above the foot and another below the mouth. The
neck and the upper part of the belly are decorated with branches of ivy and
83 All three not only have a divine, but also an irregular origin: Dionysos and Herakles are
children of Zeus by daughters of heroes; Hephaistos was either born from the secret
union of Zeus and Hera, or brought forth by Hera herself: Kernyi 1997a, 77, 115 and 117.
84 Thessaloniki B 1: limc iii, Dionysos 755; Grassigli 1999 (including the relevant literature);
Holtzmann 2010, 260 f., no. 73. The impression of gilding is caused by an exceptionally
high amount of tin in the alloy, see Grassigli 1999, 109 with note 31.
85 Grassigli 1999, 109; Jaccottet 2008, 42. Tiverios 2008a seems unaware of Grassiglis thorough investigation of the preceding literature and his overall interpretation. On the other
hand, Grassiglis work forms the basis of Jaccottets argumentation.
86 Grassigli 1999, 140. Compare Holtzmann (see above note 84) according to whom the vessel could have been created at a somewhat earlier date.
230
Chapter 9
c
figure 118
Bronze krater from Derveni, Thessaloniki, Archaeological Museum B 1 (photographs Archaeological Museum of Thessaloniki).
a. side A: Dionysos and Ariadne.
b. side view (right): Astion(?).
c. side B: bacchantes.
d. side view (left): bacchantes.
231
vine. Snakes wind themselves around the medallions of the handle volutes. On
both sides the medallions have bearded heads, shown full face. Four sculpted
figures are sitting on the shoulders of the vase. Even after Grassiglis extensive
iconographical analysis of the decoration program, questions remain. In any
case, we must also consider the wreath of myrtle leaves that was put on the
mouth of the vase at the time of the burial.87
The figure of the youthful Dionysos, conspicuous for its height, dominates the aspect of the main side. He is comfortably reclining on a projection
in the landscape which has been covered by a cloth. His right arm is around
his inclined head, and his right leg rests on the left thigh of Ariadne who sits
beside him, her right hand raised in the typical gesture of the bride. We can
conclude from Grassiglis argument that Dionysos is just waking up, which
reminds us of the analogy between sleep and death.88 To the right of Dionysos
we see a crouching panther looking up at the god. Further to the right, a maenad with a small child flung over her left shoulder is dancing furiously towards
the right.89 Below the right handle, a bearded man, a sheath hanging at his
side, strides animatedly towards the left. He carries a spear and wears only
one boot. Among the many suggestions for the interpretation of this figure,
Grassiglis well-founded contention that he should be identified as Astion
the owner of the grave, who is mentioned in an inscription incised at the
mouth of the vasemakes most sense from an iconographical point of view.90
An ithyphallic satyr dancing towards the right leads us to the reverse of the
krater. He looks at an ecstatically dancing maenad, whose left hand touches
the right of a half-naked woman who, exhausted, seems to be falling into the
lap of a companion. Below the left handle two maenads are dancing in opposite directions. Together they hold the legs of a fawn, which seems to be on the
verge of undergoing his diasparagmos.91
With one exception, the lower animal frieze shows the aggressive behavior
of griffins and predators attacking a fawn and a calf, whereas the upper frieze
presents predators and tame animals peacefully moving along. According to
87 Compare the image of the wreath in Grassigli 1999, 111, fig. 14, with the botanical drawing
in Kunze-Gtte 2006, 11, fig. 1a.
88 Grassigli 1999, 128 f.
89 For other examples of the motif, see Grassigli 1999, 112 f.
90 Grassigli, 123126; similarly Jaccottet 2008, 53. Tiverios 2008a, 204 on the other hand
adheres to the identification as Lykourgos.
91 This motif can also be found on a fragmentary bronze krater in Berlin which may be dated
around 400 BC: Schne-Denkinger 2008, 49 and 52, fig. 10.
232
Chapter 9
Grassiglis view this alludes to the reconciliatory effect of Bacchic initiation.92

In his view, the bearded figure with one boot he identifies as Astion is likewise on his way towards Bacchic bliss, because he finds himself between two
possible Dionysiac encounters: a peaceful one, and one characterized by the
bloodthirsty acts of the dancing maenads.93 As in Euripides Bakchai, the two
approaches represent the initiates and the non-initiates.94
Of the four bearded faces in the volute medallions, only the one on the right
of the main side of the vase can be identified with certainty: because of the
lion skin he must be Herakles, the heros who experienced Hades. His counterpart on the left has small bull horns, like Acheloos or Dionysos Tauros. One
of the two faces on the other side of the vase could perhaps be identified as
Hades. However, analogous to contemporaneous Apulian ornate kraters, the
position of the faces also justifies identifications such as Helios or one of the
wind godsdeities who belong to the higher spheres.95 We may presume a
reference to guardian deities or protective beings is intended.
The common denominator of the four seated figures attached to the shoulders of the vase is, again, the moment of awakening. On the main side, to the
left, a young man, possibly Dionysos himself, turns towards a still soundly
sleeping bacchante as he wakes up. On the reverse a satyr is fast asleep on a
full wine sack; the bacchante to his right is just waking up.96 Because of these
figures and the awakening Dionysos, sleep becomes the leading motif of the
main side of the vase, which stands in sharp contrast to the violent movement
of the figures of the Bacchic thiasos on the other. Like sleep, but in a different
way, this movement expresses the state of ecstasy, of being outside oneself. In
what way one imagined a possible life after death remains open. Reference is
only made to a dissolution of boundaries, which is analogous to the one experienced in sleep and in ecstasy, and for which sleep and ecstasy are the visual
metaphors.97 The message of comfort that patron and artist communicated
to the beholder may be summarized as follows: just like the god himself who,
overcome by sleep, will at his blissful awakening find Ariadne at his side, the
Bacchic initiate may envisage a blissful awakening after death. A remarkably
original element in all of this is the fact that Ariadne, the most famous sleeper
92 Grassigli 1999, 136 f.

93 Compare the pyxis from the end of the 5th century introduced above, Chapter 8, note 70.
94 Grassigli 1999, 139. For a different interpretation see Jaccottet 2008, 56, note 40.
95 Isler-Kernyi 2008b, 240242.
96 McNally 1985, 166 f.
97 Similar to Dionysiac sarcophagi of the Roman Imperial period: Isler-Kernyi 2012b, 75.
233
in the history of Greek art, is awake here, whereas Dionysos, who had been the
awakener since at least 400 BC, was overcome by sleep.98
The prospect of felicity in the first place concerns Astion, depicted as a bacchant. Jaccottet stresses that this depiction would have been unthinkable in
the Classical polis.99 The vase imagery of the Classical period presented men in
a state of Bacchic suspension in the guise of satyrs. This brings us to the following question: if the Derveni krater represents the bacchant as a dancer instead
of a satyr, what then is the meaning of the satyr who, to his right, is dancing
with an ecstatic maenad? The observation, made several times in the previous chapter, that after 430 BC the Dionysiac world had increasingly removed
itself from the beholder of the images, may provide an explanation here: satyrs
and citizens were no longer interchangeable. We can assume that the scene
in the main image of the Derveni krater takes place in a paradisiacal world,
which can only be imagined by the living; Astion, the monosandalos in the
transitional space below the right handle, is moving towards it.100 This places
the Derveni krater and its Dionysos at the end of the Classical periodat the
beginning of a new era.
98 McNally 1985, 152; Apulian calyx krater, Taranto 52230: limc iii, Ariadne 96. About this
motif in monumental painting and in later times: limc iii, Dionysos 777 and 778.
99 Jaccottet 2008, 60.
100 After an exhaustive discussion of the motif, Grassigli 1999, 123 comes to the following
conclusion: ... lindossare un solo calzare costituisce uno degli espedienti per dichiarare
alla divinit la propria adesione ai misteri.
Chapter 10
Summing Up
Anonymous Prototypes
Before we focus on the Dionysiac imageryDionysos, satyrs, dancing or otherwise ritually engaged women, the komos and the symposiumwhich clearly
dominates the mythological repertoire of the vase painters of the classical era,
it seems expedient to have a quick look at the possible meaning of the much
more common youths, boys men and women, as Beazley described them.1
As far as one can see, these are typical representatives of distinctive social
groups: indeed boys, young men, adult men, and women. They are frequently
encountered on the B side of large vases: single individuals on amphorae and
pelikai, twos, threes and fours on kraters. As far as their poses, dress and attributes are concerned, they are unremarkable, uniform and rather passive. They
usually just stand around, waiting while leaning on a stick, watching, quietly
talking to each other.2 Apparently, they are supposed to be commentators,
evaluating the event shown on the A side of the vase: mythological chases,
departures of warriors, encounters with the goddess of victory. Like the chorus in ancient drama, they represent the large, anonymous group of those for
whom the vase painters intended their work. For such individuals holds good
what Beat Kaeser has said about the anonymous audience of mythological
scenes on black-figure vases: ...the figures in the audience are witnesses,
whose presence demonstrates the reality and significance of the acts they witness, and at the same time indicates the significance of the society for which
such acts are important.3
1 These are also the terms used in the separate files of the Beazley Archive. The following
extensively illustrated volumes from the Kerameus series have provided the basis for the
present discussion: the volumes about Douris and Makron for the cups (Buitron-Oliver
1995 and Kunisch 1997), the volume about the Eretria Painter for the cups and small-size
closed vases (Lezzi-Hafter 1988), and the volume about the Phiale Painter for the closed vases
(Oakley 1990). In addition to the latter, there is the monograph about the Achilleus Painter of
a similar format, which was published elsewhere (Oakley 1997).
2 For examples see Oakley 1990, pls. 3136 and 58b, 60b, 61b.
3 Kaeser 1990, 156: ...die Zuschauerfiguren [sind] Zeugen, welche die Realitt und Wichtigkeit
der Tat anzeigenund zugleich die Bedeutung der Gesellschaft, fr die solche Taten wichtig
sind. Compare what Ferrari 1990, 186 states about youths wrapped in mantles on the B sides of
kraters: This is not to say...that the image is meaningless. On the contrary: by definition, what
Summing Up
235
Men and youths who are not individualized are grouped on the outsides of
countless cups by Douris and Makron in characteristic but impassive scenes,
apparently familiar to the original viewers of the imagery. There is not much to
distinguish these images from komos scenes or scenes with men and athletes,
which we, too, can recognize. In the eyes of the vase painters they seem to
have been interchangeable. On some cups by Makron, and a few by the Eretria
Painter, we find groups of women, who cannot always be identified as hetaerae.4
Incidentally, such images of anonymous individuals are more characteristic of second-rate painters reluctant to attempt complicated mythological
scenes, than for the leading artists discussed in this monograph.5 Athenians of
the 5th century BC who went to the Kerameikos to acquire a decorated piece
of pottery for a happy or a sad occasion would mainly have seen images they
interpreted as images of themselves. The mental universe of the vase painters
and their customers was not primarily peopled with gods and heroes, but with
mortals in familiar circumstances, handling familiar objects. Nevertheless,
they were not ordinary, but somehow characteristicnot referring to the
individual case, but beyond that to the values and norms of society at large.
However, when the customers were drawn to the more expensive, up-market
merchandise, Dionysos and his world came into view and, in the most exclusive range, also the exemplary images of the divine and heroic mythology. In
such instances, gods and heroes were the object of the gaze and interest of
people like you and me.
Despite the fact that the mental world of the original customers was largely
inhabited by humans, the transition from the here and now to the divine or
heroic sphere was gradual and practicable. It is this characteristic that distinguishes vase painting from other forms of art, especially wall painting, and
gives it a personal touch and a particular communicative quality.6 After all, the
image is part of an object the customer can take in his hand, look at from all
sides, and relate to his own situation or to the specific occasion for which the
object is acquired. Here we should not only think of the Athenian clientele, but
is commonplace is packed with meaning, so consistent and obvious to the viewer toward
whom the image is directed as to be subliminal. Compare in addition Langner 2012.
4 Kunisch 1997, pl. 43, no. 123; Lezzi-Hafter 1988, pls. 1, 24, 67.
5 See for instance the cups by the Euergides Painter, a contemporary of Oltos (arv 8896), by
the Splanchnopt Painter who belonged to the Penthesilea workshop (arv 891898), and by
the so-called Sub-Meidian Cup-Group (arv 13911397).
6
Similarly Schmidt 2005, 281 about the engen Verknpfung der Bildthemen mit der
Gefssform beziehungsweise mit einem potentiellen Betrachterkreis: Mit diesen bewusst
gewhlten Bezgen wurde deutlicher als vorher begrndet, dass es sich bei den Bildern um
Mitteilungen handelt.
236
Chapter 10
also of Greeks and non-Greeks in Italy or elsewhere, whose cultural presuppositions may have modified the reception of the imagery. This permeability of
different spheres is especially characteristic of the Dionysiac imagery, because,
as we have frequently seen, the identity of Dionysos companions is intentionally left indeterminate. In this way the original recipients of the imagery could
identify with the komasts, who in the presence of the god would turn into
satyrs or would feel like satyrs, or with the dancing women, who in the ritual
encounter with the god behaved and felt like the Lydian women in the chorus
of Euripides Bakchai.
The Changing Image of Dionysos
In the decades around 500 BC no new motifs are introduced into Dionysiac
imagery as compared to that of the 6th century. The iconography continues
as usual with the familiar elements: the lively, erotically charged dance of the
gods male and female companions in the implicit or explicit presence of the
god; his epiphany; the solemn meeting with a woman; his blissful existence
as a symposiast. In addition there is the mounting of the chariot as a sign of
heroic elevation, or the riding of a donkey, a mule, or some other animal that
is not a horse, and therefore not the mount of a citizen. This probably indicates the proximity of the riderwhether Dionysiac women, satyrs, or the
god himselfto nature untouched by human activity. It should be noted that
these motifs not only decorate large, prestigious vases in the new red-figure
style, but also late black-figure vases, including the lekythoi largely intended as
grave goods. The latter, in contrast to the white-ground lekythoi of around 450
and after, do not show bereavement and mourning, but the felicity associated
with Dionysos, as an antidote to the tragedy of death. In this context dance
and symposium should not be taken as concrete representations of life after
death. Rather they are metaphors for a timeless and boundless existence, for
the yearning for and hope of a happy vista that would open up in dying, and
could not be represented otherwise.
Very often the Dionysiac worldthiasos, komos, symposiumprovides a
counterpart to the great and strenuous labors of Herakles or the heroic death
on the battlefield. This is not just the case with the most sumptuous vases of
the period: Euphronios calyx kraters. That this counter world was not supposed to be situated in a separate sphere, a mythical past or a hoped-for future
after death, but was rather related to the here and now of the original beholders
of the imagery is borne out by some satyrs who look away from the thiasos and
seek the eye of the viewer.
Summing Up
237
What distinguishes the Dionysiac repertoire of the first generations of redfigure vases from contemporary black-figure ones, are the many idiosyncratic
and often quite prominent satyrs. As we have seen, their typology is extremely
rich and varied, ranging from the beautiful satyr who plays the noble barbitos,
to the one who pushes over herms and desecrates grave monuments.7 As has
been pointed out in the Introduction, satyrs are, in fact, citizens in a Dionysiac
state of suspension, who hide behind the satiric mask. This state of suspension occurred, for instance, at the symposium and the komos, which is why
satyrs are so often depicted on vessels used at the symposium, such as cups
and kraters. The cup in the symposiasts hand was both the counterpart and the
complement to the song that came from his mouth; the poetry recited at the
symposium expressed the positive values of the group.8 The satyr on the cup
was implicitly present as a counter image that was attractive and repulsive at the
same time and provided a challenge to reflect on ones own position in society.
However, in the decades around 500 BC noble satyrs are also found on representative amphorae, a type of vase that evokes status and wealth, and the
comic and paradoxical satyrs frequently occur on pelikai, which were also
used by women in the home. This implies that the citizen was not only confronted with his opposite in komos and symposium, but, in fact, all the time.
The counter image reminded him again and again of the positive and negative opportunities that belonged to his manhood, but which, under normal
circumstances could or should remain unrealized. In this perspective, the satyr
may be seen as the manifestation of unshackled masculinity, for better or for
worseon the one side opened up to a divine, on the other to an animal existence. This unfettered world, that was the antithesis of, but also included the
humanly ordered life of the polis, was the domain of Dionysos. This is why the
satyr, as the manifestation of unshackled masculinity, is predestined to mediate between Dionysos and humans.
If one sees the satyr as both the counterpart and the complement of the
citizen (which is confirmed by the slightly later images of satyrs dressed in
himatia) one is better able to understand two things. First of all it becomes
clear why no counter image was needed for women, who were not citizens,
but at the most wives, mothers, sisters and daughters of citizens. As noncitizens women inherently belonged to Dionysos and his alternative universe.
7 The satyr is, therefore, not merely a negative counterpart of men or a parody, as seems to be
the viewpoint of Steinhart 2004, 101127 and Osborne 2009, 912.
8 For instance the poetry of Anakreon who was particularly devoted to Dionysos: Privitera
1970, 113115. As a significant analogy to this contention it should be noted that satyrs are not
a subject for temple sculpture: Osborne 2009.
238
Chapter 10
Secondly, one can perceive why the satyr motif was so topical in the years
immediately following the Kleisthenic reforms, when it was endlessly varied
upon by the vase painters.
The decades between 480 and 430 BC, the time of Kimon and Perikles, were
the heyday of the motifs of komos and symposiumevocations of moments
of relaxation and merriment that must have been as much part of a citizens
life as athletic, political and military activities. They are the main Dionysiac
subject on the better, but above all on the mediocre cups and the numerous
column kraters. At the same time, Dionysiac imagery is enriched with a plethora of new motifs. The return of Hephaistos, already popular in the 6th century, is presented in a new manner: now that Hephaistos is no longer always
riding a mule, but often moves along in step with his brother, the scene loses
its comic connotations and instead highlights the solidarity of these two gods,
who are not much respected on the Olympus but of crucial importance for
human life. At the time of the Persian Wars and shortly after, Dionysos participating in the battle against the giants and thus contributing to the safeguard of
the rule of Zeus, becomes an important theme. And as ever the god is shown to
be present at the birth of Athena, an event that ushers in a new era. Dionysos
important role at the marriage of Peleus, another significant breaking point in
mythological history, is already there with Sophilos and continues afterwards.
A striking feature of these decades is the fact that vase painters become ever
more interested in the mythology of Dionysos himself: his birth, the handing
over of the infant Dionysos to the nymphs, the dramatic union with Ariadne. It
is truly remarkable how much this biography deviates from the ideals of the
Classical polis. The divine child has a mortal and dying (or dead?) mother, is
brought into the world by his father, and is subsequently left in strange hands in
order to be educated not in a home, but in unspoiled nature, by young women
or an aged satyr. He loves a woman and pursues her out of love, a woman who
belonged to anothera hero of a lesser stature than the godand eventually marries her. The children from this marriage appear, if they appear at all,
only in a single image, even though the vase painters knew about them, just
as mythology knows about them.9 For the vase painters and their customers,
the love story of Dionysos and Ariadne seems to represent not so much the
continuity of the oikos and the family, as the emotional and erotic aspects
of the relationship. This almost human, but nevertheless unusual biography
made it possible for men and women whose life histories ran counter to the
norms of society to relate to Dionysos and Ariadne.
9 For a skyphos by the Lewis Painter, Vienna 1773: Addenda 309 (972.2); ba 213234. For Ariadnes
children: Isler-Kernyi 2007, 122.
Summing Up
239
Most characteristic of the decades from around 480 to after 450 is that the
vase painters and their clientele turned towards a new theme, not yet present
in the 6th century: the ritual around Dionysos. The euphoric, erotically charged
dance of the gods retinue, found especially on cups and kraters, increasingly
becomes a solemn procession on other types of vases, such as stamnoi and
bell kraters.10 There is a shift from the timeless bliss induced by the god to
the ceremonial preparation and attunement that should bring this abouta
motif the viewer knows from his own experience. The satyr-citizens that now
appear quite frequently remind him of the fact, that the transition from citizen
to satyr is just as fluid for him as the transition from normalcy to bacchante
for his wife and daughter.
The procession of women, satyrs, and often the god himself, by torch light
and to musical accompaniment, is joined by a multitude of representations of
ritual activities in honor of Dionysos. These activities apparently took place in
the home, in the family circle, and in addition to the festivals organized by the
polis. We discussed the procession of ephebes with their fathers or educators
at the occasion of the Apatouria, the wine rituals performed by women in
front of a temporary idol with the gods mask, and the preparation of a chair
for the god who is about to arrive. These are subjects that befit their carrier:
a vase used by ordinary people in their day-to-day existence. They also befit
the god who, next to Athena, was of prime importance in the mental universe and the actual life of every Athenian man and woman of the Classical
agesomething that is also borne out by the Athenian festival calendar.11
Dionysos, however, may have been even closer to the individual than the
citys patron deity.
Dionysos could, therefore, not be absent from the two divine gatherings
that decorate the Parthenon on the east pediment and the east cella frieze,
conceived around 450 and presented to the Athenian public in 432 at the latest. The decoration program involved the representation of a here-and-now
governed by Zeus as the outcome of subsequent generations of gods and of
revolutions and struggle.12 Dionysos new youthful appearance as the son of
Zeusan appearance that pointed to the futurebetter fitted this concept
than his venerable traditional form. It was all the more convincing because,
as argued above, Dionysos stood in a very intimate relationship to human
beings. This relationship, involving the Bacchic experience, probably already
10 This subject merits further investigation. For similar ideas about the close relationship
between myth and art in Dionysiac imagery, see Schne-Denkinger 2008, 51 f.
11 Compare Seaford 2006, 46 f.
12 Compare above 163 n. 5.
240
Chapter 10
existed in archaic times and was continuously alluded to in the ever recurrent motifs of early red-figure vase painting: thiasos, encounter with the god,
state of bliss.13 His position and pose on the east pediment show even better
than before that Dionysos, like Aphrodite, was already there when Athena
was born from her fathers head and, in this way, inaugurated a new erathe
era of Athens. As Lysios, he embodies the felicitous peace that in the vision of
those who commissioned the temple would put an end to a period of warfare
for the polis, analogous to what he effectuated in the life of the individual citizen. It is no coincidence that in the frieze, of all the sons of Zeus, Dionysos is
closest to Hermes, the psychopompos who leads the human soul across critical barriers, especially in death. Dionysos turns towards the humans, but as
Bakchos he also belongs to Demeter, the mistress of Eleusis and its mysteries.
Instead of the wished-for peace, another war was followed by a time of crisis
and sadness for the Athenians, and the vase painters above all looked upon
Dionysos, the Bakchos and the Lysios, as the embodiment of a now distant utopia and the prospect of a godlike existence after death. His world moved away
from the present of the polis. Consequently, his life story and the rituals performed for him by women and families shifted to the background. They were
replaced by symbolic elementsgiant clusters of grapes, budding plants, the
playful tame panther, the figure of Erosthat reminded those in the know of
their Bacchic hopes and experiences.
Signs that refer to things that cannot be expressed in words are metaphors
and should be understood metaphorically. We have already cast doubt on the
interpretation of the symposium motif as the promise of a heavenly banquet;
this reading is inadequate and may merely be characteristic of our own materialistic culture. In the same vein, we should not interpret the representations
of Dionysos as lover and betrothed, as he is shown by the vase painters after
420 BC and finally on the Derveni krater, as a promise of concrete erotic experiences. It is much more probable that the Dionysos of these images speaks to
the beholder of the hope of boundless felicity after death.
In contrast to vase painting, however, other forms of art, especially sculpture, had no intention of replacing the old Dionysos by the youthful, erotically
attractive one. Rather we see the emergence of various other appearances,
which would fit different contexts and genres. In late Classical and Hellenistic
art, Dionysos, who is responsible for all metamorphoses, himself becomes a
polymorphous, omnipresent god who holds sway in the world of images.
Summing Up
241

As mentioned at the beginning, vase imagery is only an indirect representation
of historical reality. First of all, because these images do not aim for verisimilitude, but are constructions that refer to mental realities. Secondly, because
they can only relate to the specific context in which they were used, to the
reality that was relevant to the individuals for whom the image was intended
at the moment of use. What the images seek to express, is not valid for the polis
as a whole and only holds true for their own very specific time. They are just
one of the windows through which we are allowed a glimpse of ancient life and
thought. However, a survey of several generations of vase painters, as has been
presented here, should yield some illuminating results.
It is more than obvious that the repertoire of the vase painters on the whole
remains within the existing tradition, but simultaneously takes into account
the carrier and its function. The cups mostly show the Dionysos of the symposium, of drinking wine and of ecstasy, and here we also find the unfettered
satyrs and the euphoric maenads. On many stamnoi and bell kraters, however, the god and his retinue are in a solemn, even pious mood. Amphorae
show satyrs of noble appearance; pelikai rather the comical ones. Dionsyiac
mythology is more popular in one period than in another, while references to
characters and plots of dramas (whose audiences and occasions not necessarily belonged to the circumstances of the vase painters) are rare altogether.
Dionysos has a different guise for every context, as can be expected in a polytheistic world view.14
The Classical period confirms what has been said about the iconography
of the 6th century.15 It is reductionist to see Dionysos as the god of wine, theater and ecstasy. Human beingsmen, women, and childrenexperienced
the presence and the actions of the god at many occasions and in different
situations: happy and sad, solemn and festive, intimate and public. Dionysos
domain embraces both the wilderness and the well-ordered world of polis
and oikos. The wide, boundless and timeless universe of the god encompassed
the narrow world of human order and structured time in a relationship that
was now dialectic, now harmonic. No other god as effectively embraced the
realities of human living and dying. From the days of classical Athens down to
the end of the ancient world, no god was more worshipped, more feared and
more loved.
14 Compare Versnel 2011b, 37: One godas identified by one namealways participates in
a variety of systems. In accordance with each system the god will show a different face.
Works Cited
Alion, R. (1983) Euripide hritier dEschyle. Paris.
Albizzati, C. (19241938) Vasi antichi dipinti del Vaticano. Roma.
Angeli Bernardini, P. (ed.) (2013) Corinto. Luogo di azione e luogo di racconto. Atti del
convegno internazionale, Urbino settembre 2009. Pisa/Roma.
Arafat, K.W. (1990) Classical Zeus. A Study in Art and Literature. Oxford.
Aurigemma, S. (1960) La necropoli di Spina in Valle Trebba I. Roma.
Avramidou, A. (2009) Dionysos in Context: Two Attic Red-figure Kraters of the Early
Fourth Century bc. In: Oakley/Palagia 2009, 110.
(2011) The Codrus Painter. Iconography and Reception of Athenian Vases in the
Age of Pericles. Oxford.
Bakola, E. (2010) Cratinus and the Art of Comedy. Oxford.
Barringer, J.M./J.M. Hurwit (eds) (2005) Periklean Athens and its Legacy. Problems and
Perspectives. Austin.
Baumann, H. (1982) Die griechische Pflanzenwelt. Mnchen.
Beaumont, L.A. (1993) Studies on the Iconography of Divine and Heroic Children in Attic
Red-figure Vase-Painting of the Fifth Century bc. Thesis University College London
1993.
Beazley, J.D. (1922) Citharoedus. In: jhs 42, 7098.
(1930) Der Berliner Maler. Berlin.
(1933) Der Kleophrades-Maler. Berlin.
Bellia, A. (2012) Strumenti musicali e oggetti sonori nellItalia meridionale e in Sicilia
(viiii sec. a. C.). Funzioni, rituali e contesti. Lucca.
Beltrametti, A. (ed.) (2007) Studi e materiali per le Baccanti di Euripide. Storia Memorie
Spettacoli. Como/Pavia.
(ed.) (2011) La storia sulla scena. Quello che gli storici antichi non hanno raccontato. Roma.
Brard, C. (1966) Une nouvelle plik du Peintre de Geras. In: AntK 9, 93100.
(1992) Phantasmatique rotique dans lorgiasme dionysiaque. In: Kernos 5,
1326.
Brard, C./C. Bron (1984) Le jeu du satyre. In: Brard et al., La cit des images. Religion
et socit en Grce antique. Lausanne, 127145.
(1986) Bacchos au coeur de la cit. Le thiase dionysiaque dans lespace politique. In: Lassociation dionysiaque dans les socits anciennes. Actes de la table
ronde, Rome, mai 1984. Collection de lEcole Franaise de Rome 89. Rome, 1328.
Brard, C./C. Bron/A. Pomari (eds) (1987) Images et socit en Grce ancienne.
Liconographie comme mthode danalyse. Actes du Colloque International, Lausanne
1984. Cahiers darchologie romande no. 36. Lausanne.
244
Works Cited
Berger, E. (ed.) (1984) Parthenon-Kongress. Basel.

Berger, E. (1986) Der Parthenon in Basel. Dokumentation zu den Metopen. Mainz.
Berger, E./M. Gisler-Huwiler (1996) Der Parthenon in Basel. Dokumentation zum Fries.
Basel/Mainz.
Berger, E./R. Lullies (eds) (1979) Antike Kunstwerke der Sammlung Ludwig I. Basel.
Bernab, A. (2013) Bacchide, Dioniso e un frammento dellEuropia di Eumelo. In:
Angeli Bernardini 2013, 5161.
Bertholet, F. et al. (eds) (2008) EgypteGrceRome. Les diffrents visages des femmes
antiques. Bern/Berlin.
Berti, F. (ed.) (1991) Dionysos. Mito e mistero. Atti del convegno internazionale, Comacchio,
novembre 1989. Comacchio.
Berti, F./D. Restani (eds) (1988) Lo specchio della musica. Bologna.
Boardman, J. (1974) Athenian Black Figure Vases. London.
(1975) Athenian Red Figure Vases. The Archaic Period. London.
(1989) Athenian Red Figure Vases. The Classical Period. London.
Bonansea, N. (2008) Menade, Baccante o Ninfa? Uno studio sullidentit femminile
dionisiaca nelle fonti letterarie e iconografiche tra viii e V secolo a. C. In: Mythos 2,
107129.
Bonaudo, R. et al. (eds) (2009) Tra Etruria, Lazio e Magna Grecia: indagini sulle necro
poli. Atti del Convegno, Fisciano, marzo 2009. Paestum.
Bonfante, L. (1993) Fufluns Pacha: The Etruscan Dionysus. In: Carpenter/Faraone
1993, 221235.
Borbein, A.H. (1995) Die bildende Kunst Athens im 5. und 4. Jahrhundert v. Chr. In:
Eder 1995, 429467.
Borg, B.E. (2002) Der Logos des Mythos. Allegorien und Personifikationen in der frhen
griechischen Kunst. Mnchen.
Brelich, A. (1958) Gli eroi greci, un problema storico-religioso. Roma (second edition
Milano 2010).
(1985) I Greci e gli dei. Napoli.
Brinkmann, V. (ed.) (2013) Zurck zur Klassik. Ein neuer Blick auf das alte Griechenland.
Exhibition catalogue Frankfurt. Mnchen, Frankfurt a. M.
Brommer, F. (1963) Die Skulpturen der Parthenon-Giebel. Mainz.
(1977) Der Parthenonfries. Mainz.
(1978) Hephaistos. Der Schmiedegott in der antiken Kunst. Mainz.
Brunori, S. (2006) Vulci e le idrie attiche a figure nere. In: Ostraka 15.2, 249278.
Buitron-Oliver, D. (1995) Douris. A Master-Painter of Athenian Red-figure Vases. Mainz.
Burkert, W. (1977) Griechische Religion der archaischen und klassischen Epoche.
Stuttgart/Berlin/Kln/Mainz.
Burn, L. (1987) The Meidias Painter. Oxford.
(2010) The Contexts of the Production and Distribution of Athenian Painted
Pottery around 400 bc. In: Taplin/Wyles 2010, 1531.
Works Cited
245
Buschor, E. (19041932) Polychromer Kelchkrater im Vatikan. Das Dionysoskind. In:

fr, text volume 3, 302306.
Cain, H.-U. (1997) Die Locken lang, ein halbes Weib?. Exhibition catalogue Munich.
Mnchen.
Calame, C. (1990) Thse et limaginaire athnien. Lgende et culte en Grce ancienne.
Lausanne.
(2008) Identits lumineuses, espaces rituels, objets textuels: itinraires initiatiques dans les lamelles funraires dor. In: Estienne 2008, 153164.
(2010) Aetiological Performance and Consecration in the Sanctuary of
Dionysos. In: Taplin/Wyles 2010, 6578.
Capecchi, G. et al. (eds.) (1998) In memoriam di Enrico Paribeni ii. Roma.
Carpenter, T.H. (1986) Dionysian Imagery in Archaic Greek Art. Oxford.
(1993) On the Beardless Dionysus. In: Carpenter/Faraone 1993, 185206.
(1995) A Symposion of Gods? In: Murray/Tecuan 1995, 145163.
(1997) Dionysian Imagery in Fifth-Century Athens. Oxford.
Carpenter, T.H./A. Faraone (eds) (1993) Masks of Dionysus. Ithaca/London 1993
Cartledge, P.A./F.D. Harvey (1985) (eds) Crux. Essays in Greek History presented to
G.E.M. de Ste. Croix. London.
Casolari, F. (2003) Die Mythentravestie in der griechischen Komdie. Mnster.
Castriota, D. (1992) Myth, Ethos, and Actuality. Official Art in Fifth-Century bc Athens.
Madison Wisc. 1992.
Catoni, M.L. (1998) Quando il regazzo si fa satiro. In: Prospettiva 8990, genn.- aprile
1998, 7484.
(2010) Bere vino puro. Immagini del simposio. Milano.
Christopoulos, M. et al. (eds) (2010) Light and Darkness in Ancient Greek Myth and
Religion. Lanham/Boulder.
Clinton, K. (1992) Myth and Cult. The iconography of the Eleusinian Mysteries.
Stockholm.
Cohen, B. (ed.) (2000) Not the Classical Ideal. Athens and the Construction of the Other
in Greek Art. Leiden/Boston/Kln.
(2006) The Colors of Clay. Special Techniques in Athenian Vases. Los Angeles.
Cohen, A./J.B. Rutter (eds) (2007) Constructions of Childhood in Greek and Roman
Antiquity. Hesperia Supplement 41. Princeton (N.J.).
Collinge, A. (1989) The Case of Satyrs. In: Mackenzie/Rouech 1989, 82103.
Colpo, I./I. Favaretto/F. Ghedini (eds) (2006) Iconografia 2005. Immagini e immaginari
dallantichit classica al mondo moderno. Roma.
Coulson, W.D.E. et al. (eds) (1994) The Archaeology of Athens and Attica under the
Democracy. Oxford.
Croissant, F. (2003) Les frontons du temple du ive sicle. Fouilles de Delphes iv.7. Athnes.
Crowther, N.B. (1985) Male Beauty Contests in Greece: The Euandria and Euexia. In:
Antiquit Classique 54, 287, 285291.
246
Works Cited
Daux, G. (ed.) (1968) Guide de Thasos. Paris.

De Cesare, M. (2007) Crateri-cinerari in Sicilia: immagini, riti e credenze religiose. In:
Sicilia Antiqua 4, 931.
De Miro, E. (1994) La Valle dei Templi. Palermo.
Dentzer, J.-M. (1982) Le motif du banquet couch dans le Proche-Orient et le monde grec
du viie au ive sicle avant J.-C. Rome.
Despinis, G. (1982) Parthenoneia. Athens.
Detienne, M. (2007) Dioniso e la pantera profumata. Roma/Bari.
Diez del Corral Correidora, P. (2007) Y Dioniso despos a la rubia Ariadna. Estudio
iconogrfico de la cermica tica (575300 a. C.). bar International Series 1719.
Oxford.
(2011) Anftrite y Ariadna. Ambigedades iconogrficas en una Hidria del pintor de Dicaios. In: nac 40, 129140.
Docter, R.F./E.M. Moormann (eds) (1999) Proceedings of the xvth International Congress
of Classical Archaeology, Amsterdam, July 1217, 1998, Allard Pierson Series.
Amsterdam.
Drougou, S. (2000) Krieg und Frieden im Athen des spten 5. Jahrhunderts v. Chr. Die
rotfigurige Hydria aus Pella. In: am 115, 147216.
Eder, W. (ed.) (1995) Die athenische Demokratie im 4. Jahrhundert v. Chr. Vollendung
oder Verfall einer Verfassungsform? Akten eines Symposiums August 1992, Bellagio.
Stuttgart.
Eder, W./K.-J. Hlkeskamp (eds) (1994) Volk und Verfassung im vorhellenistischen
Griechenland. Stuttgart.
Ehrhardt, W. (1993) Der Fries des Lysikratesmonumentes. In: Antike Plastik 22, 767.
Ellinghaus, C. (2011) Die Parthenonskulpturen. Hamburg.
Estienne, S. et al. (eds) (2008) Image et religion dans lantiquit grcoromaine. Actes du
colloque, Rome, dcembre 2003. Naples.
Etienne, R./J.-P. Braun (2007) Autels de Dlos et autels ioniens. In: aa, 128.
Fahlbusch, G. (2004) Die Frauen im Gefolge des Dionysos auf den attischen Vasenbildern
des 6. und 5. Jhs. v. Chr. als Spiegel weiblichen Idealbildes. Oxford.
Faulkner, A. (ed.) (2011) The Homeric Hymns. Oxford.
Fehr, B. (1979) Zur religionspolitischen Funktion der Athena Parthenos im Rahmen
des delisch-attischen Seebundes. Teil I. In: Hephaistos 1, 7180.
Ferrari, G. (1990) Figures of Speech: The Picture of Aidos. In: Metis 5, 185206.
Fischer-Lichte, E./M. Warstat (eds) (2010) Staging Festivity. Theater und Fest in Europa.
Tbingen/Basel.
Foxhall, L./H.-J. Gehrke/N. Luraghi (eds.) (2010) Intentional History. Spinning Time in
Ancient Greece. Stuttgart.
Franke, P.R./M. Hirmer (1972) Die griechische Mnze. Mnchen.
Frickenhaus, A. (1912) Lenenvasen. 72. Winckelmannsprogramm. Berlin.
Froning, H. (1996) Un Eracle attico in Sicilia. In: Rizza/Giudice 1996, 107119.
Works Cited
247
Frontisi-Ducroux, F. (1991) Le dieu-masque. Une figure du Dionysos dAthnes. Paris/

Rome.
Furtwngler, A. (188387) La collection Sabouroff. Berlin.
Gasparri, C. (1986) Dionysos. In: limc iii.1, 420514.
Gehrke, H.-J. (2013) gineten und Athener. Eine exemplarische Geschichte. In:
Brinkmann 2013, 144151.
Gemelli Marciano, L. (2013) Parmenide: suoni, immagini, esperienza. Eleatica vol. 3.
Sankt Augustin.
Gentili, B./F. Perusino (eds) (2002) Le orse di Brauron. Un rituale di iniziazione femminile
nel santuario di Artemide. Pisa.
Gerhard, E. (184058) Auserlesene griechische Vasenbilder. Berlin.
Giudice, G. (2007) Il tornio, la nave, le terre lontane. Ceramografi attici in Magna Grecia
nella seconda met del V. sec. a. C. Rotte e vie di distribuzione. Roma.
Giudice, G. e E. (eds) (2011) Veder greco a Camarina dal principe di Biscari ai nostri
giorni. Catania.
Giudice, F./R. Panvini (eds) (2006) Il greco, il barbaro e la ceramica attica. Immaginario
del diverso, processi di scambio e autorappresentazione degli indigeni iii. Atti del
Convegno internazionale, maggio 2001. Roma.
(2007) Il greco, il barbaro e la ceramica attica. Immaginario del diverso, processi
di scambio e autorappresentazione degli indigeni iv. Atti del Convegno internazionale,
maggio 2001. Roma.
Giuliani, L. (1991) Euphronios: Ein Maler im Wandel. In: Heilmeyer 1991, 1424.
Goldhill, S. (1994) Representing Democracy: Women at the Great Dionysia. In:
Osborne/Hornblower 1994, 347369.
Goldhill, S./R. Osborne (eds) (1999) Performance culture and Athenian democracy.
Cambridge.
Gould, J. (2001) Dionysus and the Hippy Convoy: Ritual, Myth, and Metaphor in the
Cult of Dionysus. In: Idem, Myth, Ritual Memory, and Exchange. Essays in Greek
Literature and Culture. Oxford, 269282.
Graen, D./M. Rind/H. Wabersich (eds) (2014) Otium cum dignitate. Festschrift fr
Angelika Geyer zum 65. Geburtstag. Studien zur Archologie und Rezeptionsgeschichte
der Antike. bar International Series 2605. Oxford.
Grassigli, G.L. (1999) La fede di Astion. Per uninterpretazione del cratere di Derveni.
In: Ostraka 8.1, 99143.
Greifenhagen, A. (1957) Griechische Eroten. Berlin.
(1972) Neue Fragmente des Kleophradesmalers. In: Sitzungsberichte der
Heidelberger Akademie der Wissenschaften, Philosophisch-historische Klasse.
Heidelberg, 1321.
Grtter, H.T. (1997) Die athenische Demokratie als Denkmal und Monument.
berlegungen zur politischen Ikonographie im 5. Jahrhundert v. Chr. In: Eder/
Hlkeskamp 1997, 113132.
248
Works Cited
Halm-Tisserant, M. (1984) Le peintre de Curti. In: rea 86, 135170.

(1986) La reprsentation du retour dHphastos dans lOlympe. Iconographie
traditionnelle et innovations formelles dans latelier de Polygnotos (440430). In:
AntK 29, 822.
(1988) Le Peintre du Dinos. In: Histoire de lArt 4, 316.
(1991) Autour du mannequin dionysiaque. In: Hephaistos 10, 6388.
Hamilton, R. (1992) Choes & Anthesteria. Athenian Iconography and Ritual. Ann Arbor.
Haspels, C.H.E. (1936) Attic Black-figured Lekythoi. Paris.
Hatzidimitriou, A. (2012) Erythromorphos chous m dionysiaki skini apo tin
Argyroupoli. In: Kephalidou/Tsiaphaki 2012, 117125.
Hedreen, G.M. (1992) Silens in Attic Black-figure Vase-painting. Myth and Performance.
Ann Arbor.
Heilmeyer, W.-D. (ed.) (1991) Euphronios der Maler. Exhibition catalogue Berlin. Berlin.
(ed.) (2002) Die griechische Klassik. Idee oder Wirklichkeit. Mainz.
Heinemann, A.A.J. (2000) Bilderspiele beim Gelage. Symposiast und Satyr im Athen
des 5. Jahrhunderts v. Chr. In: Hlscher 2000, 321349.
Henrichs, A. (2008) Dionysische Imaginationswelten: Wein, Tanz, Erotik. In: Schlesier/
Schwarzmaier 2008, 1927.
Himmelmann, N. (1990) Frhgriechische Jnglingstatuen. In: Idem, Minima archeologica. Utopie und Wirklichkeit der Antike. Mainz, 24-40.
Hoffmann, H. (2007) Divergent Archaeology. Ruhpolding/Mainz, 2440.
Hlscher, T. (ed.) (2000) Gegenwelten zu den Kulturen Griechenlands und Roms in der
Antike. Mnchen/Leipzig.
Holtzmann, B. (2010) La sculpture grecque. Paris.
Huber, K. (1992) Werkstattgesellen. Zur Produktion frher Kelchkratere. In:
Wehgartner 1992, 5772.
Humphreys, S.C. (2004) The Strangeness of Gods. Historical perspectives on the interpretation of Athenian religion. Oxford.
Hurwit, J.M. (2004) The Acropolis in the Age of Pericles. Cambridge.
(2005) The Parthenon and the Temple of Zeus at Olympia. In: Barringer/
Hurwit 2005, 135145.
Imperio, O. (2011) Satira politica e leggi ad personam nellarchaa: Pericle e il
Dionisalessandro di Cratino. In: Beltrametti 2011, 291314.
Isler, H.P., (2002) Das Dionysos-Theater in Athen. In: Heilmeyer 2002, 533541.
Isler, H.P./G. Seiterle (eds) (1973) Zur griechischen Kunst. Festschrift H. Bloesch. 9.
Beiheft AntK. Bern.
Isler-Kernyi, C. (1969) Nike. Der Typus der laufenden Flgelfrau in archaischer Zeit.
Erlenbach (Zrich).
(1971) Ein Sptwerk des Berlinermalers. In: AntK 14, 2531.
Works Cited
249
(1973) Chronologie und Synchronologie attischer Vasenmaler der Parthe

nonzeit. In: Isler/Seiterle 1973, 2333.
(1976) Stamnoi e stamnoidi, genesi e funzione. In: nac 5, 3352.
(1977a) Stamnoi. Lugano.
(1977b) Lieblinge der Meermdchen, Zrcher Archologische Hefte 3. Zrich.
(1979) Un nuovo stamnos del Pittore di Achille in collezione ticinese. In: nac
8, 1135.
(1982) Il trionfo di Dioniso. In: nac 11, 137160.
(1983) Dionysos auf einer attischen Vase des vierten Jahrhunderts: Mythologie
oder Utopie? In: Metzler/Otto/Mller-Wirth 1983, 95100.
(1984a) Boreade oder Eros? In: aa 383386.
(1984b) Hermonax in Zrich iii: Der Schalenmaler. In: AntK 27, 154165.
(1987a) Hermonax e i suoi temi dionisiaci. In: Brard/Bron/Pomari 1987,
169175.
(1987b) Dal ginnasio al simposio: tappe di vita giovanile su di uno psykter
attico a figure rosse. In: nac 16, 4785.
(1990) Dionysos con una sposa. In: Metis 5, 3148.
(1993a) Dionysos und Solon. Dionysische Ikonographie V. In: AntK 36, 310.
(1993b) Anonimi ammantati. In: Nenci 1993, 93100.
(1994) Review of F. Frontisi-Ducroux 1991, in Gnomon 66, 4451.
(1996) Un cratere selinuntino e il problema dei giovani ammantati. In: Rizza/
Giudice 1996, 4953.
(1999a) Il cliente etrusco del vaso greco: uno straniero? In: Villanueva Puig
1999, 445448.
(1999b) Dionysos, la Thrace, la Mer Noire. In: Pontica 32, 3949.
(2002a) Un cratere polignoteo fra Atene e Spina. In: nac 31, 6988.
(2002b) Nuovi contributi su Brauron. In: ASAtene 80 (Serie iii.2, tomo I),
480482.
(2003) Images grecques au banquet funraire trusque. In: Pallas 61, 3953.
(2004a) Civilizing Violence. Satyrs on 6th-Century Greek Vases. Fribourg/
Gttingen.
(2004b) Dioniso ed Eros nella ceramica apula. In: Sena Chiesa/Arslan 2004,
244248.
(2007) Dionysos in Archaic Greece. An Understanding through Images. Leiden/
Boston.
(2008a) Dionysos und die anderen Gtter. In: Schlesier/Schwarzmaier 2008,
7079.
(2008b) Eracle e Dioniso, fiori e cigni. In: Sena Chiesa 2008, 229247.
(2009a) The Study of Figured Pottery Today. In: Noerskov 2009, 1321.
250
Works Cited
(2009b) Retour au stamnos attique: Quelques rflexions sur lusage et le rpertoire. In: Metis 7, 7590.
(2010a) Dionysos am Parthenon. In: Fischer-Lichte/Warstat 2010, 112126.
(2010b) Dionysos am Pergamonaltar. In: AntK 53, 6273.
(2011a) Immagini di Dioniso nel iv secolo. In: La vigna di Dioniso. Vite vino e
culti in Magna Grecia. Atti del xlix Convegno di Studi sulla Magna Grecia, Taranto
2009. Taranto, 7393.
(2011b) Dionysos im klassischen Athen: auf der Bhne und in der Kunst. In:
Acta Antiqua Academiae Scientiarum Hungaricae 51, 207222.
(2012a) Dioniso protagonista. In: Dionysus ex Machina 3, 302317.
(2012b) Immagini e incognite. Riflessioni sui sarcofagi romani con scene dio
nisiache. In: Sena Chiesa 2012, 7175.
Jaccottet, A.-F. (1990) Le lierre de la libert. In: zpe 80, 150156.
(1998) Limpossible bacchant. In: Pallas 48, 918.
(2003) Choisir Dionysos. Les associations dionysiaques ou la face cache du dionysisme. Kilchberg (Zrich).
(2008) Le cratre de Derveni recontextualis ou comment hroser une
femme. In: Bertholet 2003, 4162.
Jaillard, D. (2011) The Seventh Homeric Hymn to Dionysus. An Epiphanic Sketch. In:
Faulkner 2011, 133159.
Jenkins, I. (2006) Greek Architecture and its Sculpture. London.
(2007) The Parthenon Sculpture in the British Museum. London.
Johannowsky, W. (1983) Materiale di et arcaica dalla Campania. Napoli.
Kaempf-Dimitriadou, S. (1979) Die Liebe der Gtter in der attischen Kunst des 5.
Jahrhunderts v. Chr. 11. Beiheft AntK. Bern.
Kaeser, B. (1990) Zuschauerfiguren and Rebe und Efeu. In: Vierneisel/Kaeser 1990,
151156 and 325335.
Karusu, S. (1975) Eine Bronzestatuette des Dionysos aus Aetolien. In: Wandlungen.
Studien zur antiken und neueren Kunst. Festschrift E. Homann-Wedeking. WaldsassenBayern, 205216.
Kstner, U. (2008a) Attische Vasen mit Dionysosdarstellungen. Gefssform und Dekoration. In: Schlesier/Schwarzmaier 2008, 5469.
(2008b) Attische Bauchlekythos: Dionysos im Gigantenkampf. In: Schlesier/
Schwarzmaier 2008, 188 f.
Kathariou, K. (2002) To ergastirio tou zographou tou Meleagrou ke i epochi tou.
Thessaloniki.
Kavoulaki, A. (1999) Processional performance and the democratic polis. In: Goldhill/
Osborne 1999, 293320.
Kephalidou, E./D. Tsiaphaki (eds) (2012) Kerameos paides. Festschrift fr Michalis
Tiverios. Thessaloniki.
Works Cited
251
Kernyi, K. (1995) Antike Religion. Stuttgart.

(1997a) Die Mythologie der Griechen I. Die Gtter- und Menschheitsgeschichten.
Stuttgart.
(1997b) Die Mythologie der Griechen ii. Die Heroengeschichten. Stuttgart.
Klein, R. (1979) Die innenpolitische Gegnerschaft gegen Perikles. In: Wirth 1979,
494517.
Knauer, E. (1996) Two Cups by the Triptolemos Painter. New Light on two Athenian
Festivals? In: aa 1996.2, 221246.
Knell, H. (1990) Mythos und Polis. Bildprogramme griechischer Bauskulptur. Darmstadt.
Koch, G./H. Sichtermann (1982) Rmische Sarkophage. Mnchen.
Kolb, F. (1981) Agora und Theater, Volks- und Festversammlung. Berlin.
Kratzmller, B. (2003) Die Inschrift ig ii2 2311 und die Nicht-Mglichkeit einer
Hochrechnung der antiken Vasenproduktion anhand der erhaltenen Panathe
nischen Preisamphoren. In: Schmaltz/Sldner 2003, 277279.
Krauskopf, I. (2001) Thystla, Thyrsoi und Narthekophoroi. Anmerkungen zur
Geschichte des dionysischen Kultstabes. In: Thetis 8, 4752.
Krumeich, R. (1999) Archologische Einleitung. In: Krumeich/Pechstein/Seidensticker
1999, 4173.
Krumeich, R./N. Pechstein/B. Seidensticker (eds) (1999) Das griechische Satyrspiel.
Darmstadt.
Kunisch, N. (1997) Makron. Kerameus 110). Mainz.
Kunze-Gtte, E. (2006) Myrte als Attribut und Ornament auf attischen Vasen. Kilchberg.
Kurtz, D. (ed.) (2008) Essays in Classical Archaeology for Eleni Hatzivassiliou 19772007.
Oxford.
Lada-Richards, I. (1999) Initiating Dionysus. Ritual and Theatre in Aristophanes Frogs.
Oxford.
La Genire, J. de (2013) Vases des Lnennes cent ans aprs. In: reg 126, janvierjuin
2013.
Langlotz, E. (1922) Griechische Vasenbilder. Heidelberg.
Langner, M. (2012) Mantle-figures and the Athenization of Late Classical Imagery. In:
Schierup/Bundgaard-Rasmussen 2012, 1020.
(2013) Grundlagen der Chronologie sptrotfiguriger Vasen aus Athen. In:
BABesch 88, 127170.
Lezzi-Hafter, A. (1976) Der Schuwalow-Maler. Eine Kannenwerkstatt der Parthenonzeit.
Kerameus 2. Mainz.
(1985) Die Wrzburger Schale des Kodrosmalers trgt Inschriften. In: aa,
249251.
(1988) Der Eretria-Maler.Werke und Weggefhrten. Kerameus 6. Mainz.
Lindblom, A. (2011) Take a Walk on the Wild Side. The Behaviour, Attitude and Identity of
Women Approached by Satyrs on Attic Red-Figure Vases from 530 to 400 bc. Stockholm.
252
Works Cited
Lissarrague, F. (1987) De la sexualit des satyres. In: Metis 2.1, 6388.

(1990a) Why Satyrs Are Good to Represent. In: Winkler/Zeitlin 1990,
228236.
(1990b) Around the Krater: An Aspect of Banquet Imagery. In: Murray 1990,
196209.
(1998) Satyres chez les femmes. In: Veyne/Lissarrague/Frontisi-Ducroux 1998,
179197.
(2010) From Flat to the Volume of the Pot. In: Taplin/Wyles 2010, 3346.
(2013) La cit des satyres. Une anthropologie ludique (Athnes, vieve sicle avant
J.-C.). Paris.
Lubsen Admiraal, S.M. (1999) The Getty Krater by Syriskos. In: Docter/Moormann
1999, 239241.
Lullies, R. (1971) Der Dinos des Berliner Malers. In: AntK 14, 4455.
(1979) Nr. 39 Dinos. In: Berger/Lullies 1979, 108111.
Lynch, K.M. (2011) The Symposium in Context. Pottery from a Late Archaic House near
the Athenian Agora. Hesperia Suppl. 49. Athens.
Mackenzie, M.M./C. Rouech (eds) (1989) Images of Authority. Papers presented to
J. Reynolds on the occasion of the seventieth birthday. Cambridge.
Maggiani, A. (1996) Appunti sulle magistrature etrusche. In: Studi etruschi 62, 95138.
Mann, C./M. Haake/R. von den Hoff (eds) (2009) Rollenbilder in der athenischen
Demokratie. Medien, Gruppen, Rume im politischen und sozialen System.Wiesbaden.
Mannack, T. (2002) Griechische Vasenmalerei. Eine Einfhrung. Darmstadt.
Marcad, P. (ed.) (1996) Sculptures dliennes. Paris.
March, J.R. (1989) Euripides Bakchai: A Reconsideration in the Light of VasePaintings. In: bics 36, 3365.
Marconi, C. (ed.) (2004) Greek vases: images, contexts and controversies. Proceedings of
the Conference, March 2002, Columbia University. Leiden/Boston.
Martelli, M. (1991) Rivista di epigrafia etrusca. In: Studi etruschi 57, 282283.
Massa, F. (20062007) Dioniso e Apollo dal teatro attico alla cultura imperiale: i tratti
salienti di un complesso quadro documentario. In: Mythos 1, 7792.
Massa-Pairault, F.-H. (2007) La domanda di ceramica attica e lautorappresentazione
dei principes. Alcune riflessioni. In: Giudice/Panvini 2007, 4555.
Matheson, S.B. (1995) Polygnotos and Vase Painting in Classical Athens. Madison (Wis).
McNally, S. (1985) Ariadne and others: Images of Sleep in Greek and Roman Art. In:
Classical Antiquity 4.2, 152192.
McPhee, I.D. (1973) Attic Vase-Painters of the Late 5th Century bc. PhD University of
Cincinnati.
Metzger, H. (1951) Les reprsentations dans la cramique attique du ive sicle. Paris.
Metzler, D./B. Otto/C. Mller-Wirth (eds) (1983) Antidoron, Festschrift fr J. Thimme
zum 65. Geburtstag am 26.9.82. Karlsruhe.
Works Cited
253
Miller, M./U. Kstner (2005) Verlustdokumentation der Staatlichen Museen zu Berlin.

Antikensammlung. Bd. V.1. Berlin.
Mingazzini, P. (1971) Catalogo dei vasi della collezione A. Castellani ii. Roma.
Mommsen, H. (2002/2003) Dionysos und sein Kreis im Werk des Exekias. In: 19./20.
Trierer Winckelmannsprogramm, 2044.
Montepaone, C. (2002) Ifigenia a Brauron. In: Gentili/Perusino 2002, 6577.
Moore, M.B. (2006) Satyrs by the Berlin Painter and a new Interpretation of his
Namepiece. In: AntK 49, 1728.
Moormann, E.M./V. Stissi (eds) (2009) Shapes and Images. Studies on Attic Black Figure
and Related Topics in Honour of Herman A.G. Brijder. Leuven/Paris/Walpole, ma.
Moraw, S. (1998) Die Mnade in der attischen Vasenmalerei des 6. und 5. Jahrhunderts v.
Chr. Mainz.
(2011) Visual Differences: Dionysos in Ancient Art. In: Schlesier 2011,
233252.
Moret, J.-M. (1982) LApollinisation de limagerie lgendaire Athnes dans la
seconde moiti du Ve sicle. In: ra 1982, 109136.
Murray, O. (ed.) (1990) Sympotica. A Symposium on the Symposion. Oxford.
Murray, O./M. Tecuan (eds) (1995) In vino veritas. Roma.
Musti, D. (2008) Storia greca. Linee di sviluppo dallet micenea allet romana2. Bari.
Natale, A. (2008) Il riso di Hephaistos. Allorigine del comico nella poesia e nellarte dei
Greci. Roma.
Neils, J. (2000) Others Within the Other: An Intimate Look at Hetairai and Maenads.
In: Cohen 2000, 203226.
(2001) The Parthenon Frieze. Cambridge.
(ed.) (2005) The Parthenon. From Antiquity to Present. Cambridge.
(2013) Salpinx, Snake, and Salamis. The Political Geography of the Pella
Hydria. In: Hesperia 82, 595613.
Nenci, G. (ed.) (1993) Studi sulla Sicilia Occidentale in onore di Vincenzo Tusa. Padova.
Noerskov, V. et al. (eds) (2009) The World of Greek Vases. Analecta Romana Instituti
Danici, Suppl. 41. Rome.
Oakley, J.H. (1990) The Phiale Painter. Kerameus 8. Mainz.
(1997) The Achilles Painter. Mainz.
Oakley, J.H./W.D.E. Coulson/O. Palagia (eds) (1997) Athenian Potters and Painters.
Oxford.
Oakley, J.H./O. Palagia (eds) (2009) Athenian Potters and Painters ii. Oxford.
Oakley, J.H./R.H. Sinos (1993) The Wedding in Ancient Athens. Madison (Wis).
Osborne, R. (1994) Democracy and Imperialism in the Panathenaic Procession: The
Parthenon Frieze in its Context. In: Coulson 1994, 143150.
(1997) The Ecstasy and the Tragedy: Varieties of Religious Experience in Art,
Drama, and Society. In: Pelling 1997, 187212.
254
Works Cited
(1998) Men without Clothes: Heroic Nakedness and Greek Art. In: Wyke 1998,
80104.
(2009) The Narratology and Theology of Architectural Sculpture or What you
can do with a Chariot but cant do with a Satyr on a Greek Temple. In: Schultz/van
der Hoff 2009, 212.
Osborne, R./S. Hornblower (eds) (1994) Ritual, Finance, Politics. Athenian Democratic
Accounts presented to David Lewis. Oxford.
Pala, E. (2012) Acropoli di Atene. Un microcosmo della produzione e distribuzione della
ceramica attica. Archeologia Classica Suppl. 8 (n. s. 5). Roma.
Palagia, O. (1993) The Pediments of the Parthenon. Leiden.
(2005) Fire from Heaven: Pediments and Akroteria of the Parthenon. In: Neils
2005, 225259.
Paleothodoros, D. (2010) Light and Darkness in Dionysiac Rituals as Illustrated on
Attic Vase Paintings of the 5th Century bce. In: Christopoulos 2010, 237260.
(2011) Dionysos a Camarina. In: Giudice 2011, 133143.
Parker, R.C.T. (1985) Greek States and Greek Oracles. In: Cartledge/Harvey 1985,
298326.
Parker, R. (2011) On Greek Religion. Ithaka.
Paul-Zinserling, V. (1994) Der Jena-Maler und sein Kreis. Zur Ikonologie einer attischen
Schalenwerkstatt um 400 v. Chr. Mainz.
Pellegrini, G. (1912) Catalogo dei vasi greci dipinti delle necropoli felsinee. Bologna.
Pellegrini, E. (2009) Eros nella Grecia arcaica e classica. Roma.
Pelling, C. (ed.) (1997) Greek Tragedy and the Historian. Oxford.
Pellizer, E. (1990) Outlines of a Morphology of Sympotic Entertainment. In: Murray
1990, 177184.
Peredolskaja, A.K. (1967) Kraznofigurnje Attischeskje Vasei. Leningrad.
Pfeiff, K.A. (1943) Apollon. Die Wandlung seines Bildes in der griechischen Kunst.
Frankfurt a. M.
Pfuhl, E. (1923) Malerei und Zeichnung der Griechen. Mnchen.
Philippaki, B. (1967) The Attic Stamnos. Oxford.
Pironti, G. (2007) Entre ciel et guerre. Figures dAphrodite en Grce ancienne. Kernos
Suppl. 18. Lige.
Pizzirani, C. (2009) Iconografia dionisiaca e contesti tombali tra Felsina e Spina. In:
Bonaudo 2009, 3749.
Pochmarski, E. (1984) Zur Deutung der Figur D im Parthenon-Ostgiebel. In: Berger
1984, 278280.
(1990) Dionysische Gruppen. Eine typologische Untersuchung zur Geschichte des
Sttzmotivs. Wien.
Pontrandolfo, A. (1995) Simposio e lites sociali nel mondo etrusco e italico. In:
Murray/Tecuan 1995, 176195.
Works Cited
255
Prange, M. (1989) Der Niobidenmaler und seine Werkstatt. Untersuchungen zu einer

Vasenwerkstatt frhklassischer Zeit. Frankfurt a. M./Bern.
Praschniker, C. (1928) Parthenonstudien. Augsburg/Wien.
Privitera, A. (1970) Dioniso in Omero e nella poesia greca arcaica. Roma.
Queyrel, A. (1984) Scnes apolliniennes et dionysiaques du Peintre de Pothos. In: bch
108, 123159.
Queyrel, F. (2006) Le fronton est du Parthnon. Systme visuel et paysage. In: Colpo/
Favaretto/Ghedini 2006, 217234.
Raubitschek, A.E. (1979) The Peace Policy of Pericles. In: Wirth 1979, 350358.
Raubitschek, I.K./A.E. Raubitschek (1982) The Mission of Triptolemos. In: Studies in
Athenian Architecture Sculpture and Topography, presented to Homer A. Thompson.
Hesperia Suppl. 20, 109117.
Rausa, F. (1991) Dionysos nella Gigantomachia: raffigurazioni del mito su alcuni vasi di
Spina. In: Berti 1991, 5569.
Richter, G.M.A. (1936) Red-figured Athenian Vases in the Metropolitan Museum of Art.
New Haven.
(1966) The Furniture of the Greeks, Etruscans and Romans. London.
Rizza, G./F. Giudice (eds) (1996) I vasi attici e altre ceramiche coeve in Sicilia. Atti del
convegno internazionale, marzoaprile 1990, vol. I. Cronache di archeologia 29.
Palermo.
Robertson, M. (1986) Two Pelikai by the Pan Painter. In: Greek Vases in the J. Paul Getty
Museum 3 (Occasional Papers in Antiquities 2), 7189.
(1992) The art of vase-painting in classical Athens. Cambridge.
Rolley, C. (1994) La sculpture grecque I. Paris.
(1999) La sculpture grecque ii. Paris.
Rotroff, S.I. (2009) Early Red-figure in Context. In: Oakley/Palagia 2009, 250260.
Rudhardt, J. (1978) A propos de lhymne homrique Dmter. La rpartition des
tima, articulation centrale des systmes mythiques grecs. Le rapt de Persphone
considr comme un pisode de cette rpartition. In: mh 35, 117.
(1981) Du mythe, de la religion grecque et de la comprhension dautrui. In:
Revue europenne des sciences sociales xix, no. 58. Genve.
(2008) Opera inedita. Essai sur la religion grecque. Recherches sur les Hymnes
orphiques. Lige.
Sabetai, V. (2011) Eros reigns Supreme: Dionysos Wedding on a New Krater by the
Dinos Painter. In: Schlesier 2011, 137160.
Salviat, F. (1960) Le btiment de scne du thtre de Thasos. In: bch 84, 300316.
Samara-Kauffmann, A. (ed.) (2008) I thalassa/La mer. Athens.
Sapirstein, P. (2013) Painters, Potters, and the Scale of the Attic Vase-Painting Industry.
In: aja 117.4, 493510, with appendix: www.ajaonline.org.
Schefold, K. (1934) Untersuchungen zu den Kertscher Vasen. Berlin 1934.
256
Works Cited
Scheibler, I. (1983) Griechische Tpferkunst. Herstellung, Handel und Gebrauch der antiken Tongefsse. Mnchen.
(1987) Bild und Gefss. Zur ikonographischen und funktionalen Bedeutung
der attischen Bildfeldamphoren. In: JdI 102, 57118.
(1992) Euphronios zwischen Tradition und Fortschritt: Die dionysischen
Bilder. In: Wehgartner 1992, 104112.
Schierup, S./B. Bundgaard-Rasmussen (eds) (2012) Red-figure Pottery in its Ancient
Setting. Aarhus.
Schlesier, R. (1997) Dionysos. In: dnp 3, 651662.
(2010) Tragic Memories of Dionysos. In: Foxhall/Gehrke/Luraghi 2010,
211224.
Schlesier, R. (ed.) (2011) A different God? Dionysos and Ancient Polytheism. Berlin.
Schlesier, R./A. Schwarzmaier (eds) (2008) Dionysos. Verwandlung und Ekstase.
Exhibition catalogue Berlin. Berlin.
Schmaltz, B./M. Sldner (eds) (2003) Griechische Keramik im kulturellen Kontext. Akten
des Internationalen Vasen-Symposions, Kiel, September 2001. Mnster.
Schmidhuber, G. (2007) Dionysische Frauen in der griechischen Vasenmalerei:
Nymphen oder Mnaden? In: jh 76, 353370.
Schmidt, S. (2005) Rhetorische Bilder auf attischen Vasen. Visuelle Kommunikation im 5.
Jahrhundert v. Chr. Berlin.
(2009) Between Toy Box and Wedding Gift: Functions and Images of Athenian
Pyxides. In: Metis 7, 11130.
Schmitt Pantel, P. (2011) Dionysos, the Banquet and Gender. In: Schlesier 2011,
119136.
Schneider, L./C. Hcker (2001) Die Akropolis von Athen. Eine Kunst- und Kulturgeschichte.
Darmstadt.
Schne, A. (1987) Der Thiasos. Eine ikonographische Untersuchung ber das Gefolge des
Dionysos in der attischen Vasenmalerei des 6. und 5. Jhs. v. Chr. Gteborg.
(1990) Die Hydria des Meidias-Malers im Kerameikos. Zur Ikonographie der
Bildfriese. In: am 105, 163178.
Schne-Denkinger, A. (2008) Dionysos und sein Gefolge in der attischen Vasenmalerei.
In: Schlesier/Schwarzmaier 2008, 4353.
(2009) cva Berlin, Antikensammlung 11. Attisch-rotfigurige Mischgefsse.
Botisch rotfigurige Kratere. Mnchen.
(2014) cva Berlin, Antikensammlung 15. Attisch-rotfigurige und schwarzgefir
nisste Peliken, Loutrophoren und Lebetes gamikoi. Mnchen.
Schultz, P./R. van den Hoff (eds) (2009) Structure, Image, Ornament: Sculpture in the
Greek World. Proceedings of the International Conference, Athens 2004. Oxford.
Works Cited
257
Schwab, K.A. (2005) Celebrations of Victory: The Metopes of the Parthenon. In: Neils
2005, 159197.
Schwarzmaier, A. (2008) Dionysos, der Maskengott: Kultszenen und Theaterbilder. In:
Schlesier/Schwarzmaier 2008, 8093.
Seaford, R. (ed.) (1996) Euripides. Bacchae. Warminster.
(2006) Dionysos. Abingdon (Oxon)/New York.
Sena Chiesa, G. (ed.) (2008) Vasi immagini collezionismo. Giornate di studio, Milano, 78
novembre 2007. Milano.
(ed.) (2012) Costantino 313. Leditto di Milano e il tempo della tolleranza.
Exhibition catalogue, Milano 2012.
Sena Chiesa, G./E.A. Arslan (eds) (2004) Miti greci. Archeologia e pittura dalla Magna
Grecia al collezionismo. Exhibition catalogue, Milano.
Shapiro, H.A. (1989) Art and Cult under the Tyrants in Athens. Mainz.
(1993) Personifications in Greek Art. Kilchberg (Zrich).
(1995) Art and Cult under the Tyrants in Athens. Supplement: Hephaistos.
Mainz.
(1997) Correlating shape and subject. The case of the archaic pelike. In:
Oakley/Coulson/Palagia 1997, 6370.
(2004) Leagros the Satyr. In: Marconi 2004, 111.
Sichtermann, H. (1966) Griechische Vasen in Unteritalien aus der Sammlung Jatta in
Ruvo. Tbingen.
Simon, E. (1963) Ein Anthesterienskyphos des Polygnotos. In: AntK 6.1, 622.
(1976) Griechische Vasen. Mnchen.
Simon, E. et al. (eds) (1997) Mythen und Menschen.Griechische Vasenkunst aus einer
deutschen Privatsammlung. Mainz.
Simon, E. (1998a) Apollon und Dionysos. In: Capecchi 1988, 451460.
(1998b) Neue Deutung zweier eleusinischer Denkmler des vierten
Jahrhunderts v. Chr. In: Idem, Ausgewhlte Schriften I. Mainz., 173195.
Sisto, M.A. (2006) Forma e decorazione figurata dello stamnos dalla Grecia alla Magna
Grecia. In: Giudice/Panvini 2006, 151163.
Smith, A.C. (2007) Komos Growing up among Satyrs and Children. In: Cohen/Rutter
2007, 153171.
(2011) Polis and Personification in Classical Athenian Art. Leiden/Boston.
Sparkes, B.A. (1976) Treading the Grapes. In: BABesch 51, 4756.
(1996) The Red and the Black. Studies in Greek Pottery. London.
Spineto, N. (2005) Dionysos a teatro. Il contesto festivo del dramma greco. Roma.
Stark, M. (2012) Gttliche Kinder. Ikonographische Untersuchung zu den Darstellungs
konzeptionen von Gott und Kind bzw. Gott und Mensch in der griechischen Kunst.
Stuttgart 2012.
258
Works Cited
Steinhart, M. (2004) Die Kunst der Nachahmung. Darstellungen mimetischer Vorfh

rungen in der griechischen Bildkunst archaischer und klassischer Zeit. Mainz.
Strocka, V.M. (ed.) (2005) Meisterwerke. Internationales Symposion anlsslich des 150.
Geburtstages von Adolf Furtwngler, Freiburg i. Br., JuniJuli 2003. Mnchen.
Surez de la Torre, E. (2002) La rationalit des mythes de Delphes: les dieux, les hros,
les mdiateurs. In: Kernos 15, 155178.
Taplin O./R. Wyles (eds) (2010) The Pronomos Vase and its Context. Oxford.
Tasinato, M. (2003) Sulle tracce dun antico duello: le Baccanti di Euripide a tenzone
con le Rane di Aristofane. In: Simplegadi viii/21, 326.
Tausend, K. (1992) Amphiktyonie und Symmachie. Formen zwischenstaatlicher Bezie
hungen im archaischen Griechenland. Stuttgart.
Thomsen, A. (2011) Die Wirkung der Gtter. Bilder mit Flgelfiguren auf griechischen
Vasen des 6. und 5. Jahrhunderts v. Chr. Berlin/Boston.
Tiverios, M.A. (1991) Ikonographie und Geschichte (berlegungen anlsslich einer
Abbildung des Strymon im Garten der Hesperiden). In: am 106, 129136.
(2005) Der Streit um das attische Land. Gtter, Heroen und die historische
Wirklichkeit. In: Strocka 2005, 299319.
(2008a) The Derveni Krater. In: Kurtz 2008, 203212.
(2008b) Athna et Posidon se disputent les faveurs dAthnes. In: SamaraKauffmann 2008, 125135.
(ed.) (2011) The Cadmus Painter and his Time. In: Giudice 2011, 161176.
Torelli, M. (2002) Divagazioni sul tema della palma. La palma di Apollo e la palma di
Artemide. In: Gentili/Perusino 2002, 139151.
(2012) Semainein. Significare. Scritti vari di ermeneutica archeologica ii. Pisa/
Roma.
Traficante, V. (2007) Quale Dioniso nelle Baccanti di Euripide? Nota iconografica
sullevoluzione dellimmagine di Dioniso nel V sec. a. C. In: Beltrametti 2007,
6593.
Tsingarida, A. (ed.) (2009) Shapes and Uses of Greek Vases (7th4th centuries bc).
Proceedings of the Symposium, Bruxelles April 2006. Bruxelles.
Tullio, A. (1996) I crateri attici del Museo Mandralisca e le maniere del Pittore di
Firenze. In: Cronache di archeologia 30, 1991 (published 1996), 141154.
Tzachou-Alexandr, O. (1997) Apeikoniseis ton Anthesterion k o chous tis Odos
Peiraios tou zographou tis Eretrias. In: Oakley/Coulson/Palagia 1997, 473490.
Ulf, C. (1997) berlegungen zur Funktion berregionaler Feste im archaischen
Griechenland. In: Eder/Hlkeskamp 1997, 3761.
van de Put, W. (2009) Dionysos on lekythoi: a surprising presence? In: Moormann/
Stissi 2009, 3743.
Works Cited
259
van Keuren, F. (1998) The Upbringing of Dionysos on an Unpublished Neck-Amphora

by the Eucharides Painter. In: Idem (ed.), Myth, Sexuality and Power. Images of
Jupiter in Western Art. Providence (usa)/Louvain-La-Neuve, 927.
Vernant, J.-P. (1986) Conclusion. In: Lassociation dionysiaque dans les socits
anciennes. Rome, 291303.
(1988) Promthe et la fonction technique. In: Idem, Mythe et pense chez les
Grecs. Paris.
Versnel, H.S. (1990) Ter Unus. Isis. Dionysos, Hermes. Three Studies in Henotheism. Leiden.
(2011a) Coping with the Gods. Wayward Readings in Greek Theology. Leiden/
Boston.
(2011b) Heis Dionysos!One Dionysos? A Polytheistic Perspective. In:
Schlesier 2011, 2346.
Veyne, P./F. Lissarrague/F. Frontisi-Ducroux (eds) (1998) Les mystres du gynce. Paris.
Vierneisel, K./B. Kaeser (eds) (1990) Kunst der Schale, Kultur des Trinkens. Mnchen.
Villanueva Puig, M.-C., et al. (eds) (1999) Cramique et peintures grecques. Modes
demploi. Actes du colloque international, Ecole du Louvre, avril 1995. Paris.
Villanueva-Puig, M.-C. (2009a) Un Dionysos pour les morts Athnes la fin de
larchasme: propos des lcythes figures noires trouvs Athnes en contexte
funraire. In: Tsingarida 2009, 215224.
(2009b) Mnades. Recherches sur la gnse iconographique du thiase fminin de
Dionysos des origines la fin de la priode archaque. Paris.
Voelke, P. (2001) Un thtre de la marge. Aspects figuratifs et configurationnels du drame
satyrique dans lAthnes classique. Bari.
Vollkommer, R. (1994) Peleus. In: limc vii.1, 251269.
Walter, H. (1959) Vom Sinnwandel griechischer Mythen. Waldsassen-Bayern.
Weaver, B. (2009) Euripides Bacchae and Classical Typologies of Pentheus Sparagmos,
510406 bc. In: bics 52, 1543.
Wehgartner, I. (1992) Euphronios und seine Zeit. Kolloquium Berlin, April 1991. Berlin.
(1997) Dionysos im Kreise von Frauen. In: Simon 1997, 116119.
Weiss, C. (1997) Spitzamphora des Syriskos. In: Simon 1997, 104110.
Welwei, K.-W. (1999) Das klassische Athen. Demokratie und Machtpolitik im 5. und 4.
Jahrhundert. Darmstadt 1999.
Wesenberg, B. (1983) Parthenongeblk und Sdmetopenproblem. In: JdI 98, 5786.
(2014) Parthenonische Peploshresie (Ostfries 3435). In: Graen/Rind/
Wabersich 2014, 6581.
Wiesner, J. (1965) Panther. In: Lexikon der alten Welt. Zrich, 2213.
Will, W. (1995) Perikles. Hamburg.
(2000) Perikles. In: dnp 9, 567572.
Winkler, J.J./F. Zeitlin (eds) (1990) Nothing to do with Dionysos? Athenian Drama and its
Social Context. Princeton.
260
Works Cited
Wirth, G. (ed.) (1979) Perikles und seine Zeit. Darmstadt.

Wolf, S.R. (1993) Herakles beim Gelage: eine motiv- und bedeutungsgeschichtliche
Untersuchung des Bildes in der archaisch-frhklassischen Vasenmalerei. Kln.
Wyke, M. (ed.) (1998) Gender and Body in the Ancient Mediterranean. Oxford.
Zanker, P. (1965) Wandel der Hermesgestalt in der attischen Vasenmalerei. Mainz.
Zanker, P./B.C. Ewald (2004) Mit Mythen leben. Die Bilderwelt der rmischen Sarkophage.
Mnchen.
Zervoudaki, E.A. (1968) Attische polychrome Keramik des spten 5. und des 4.
Jahrhunderts v. Chr. In: am 83, 188.
Museums
Adolphseck 4283 n. 62
Adria B 141248 n. 38
Adria B 482118 n. 111
Adria B 51548 n. 38
Adria B 604131 n. 40
Adria B 626131 n. 40
Agrigento 3483 n. 62
Agrigento AG 2279795 n. 25, 96
Agrigento C 153841 n. 8, 72 n. 9, 73
Ancona 486288 n. 5
Arezzo 146529 n. 44
Athens 1376223 n. 65, 225
Athens BS 318143 n. 79, 198 n. 51
Athens BS 319143 nn. 7980
Athens NM 1227320
Athens NM 1500239 n. 95
Athens NM 54121
Athens, 1st ephory 3500198 n. 52
Athens, 3rd ephory143 n. 79
Athens, Acr. 1806394 n. 24
Athens, Acr. 2.30761 n. 94
Athens, Acr. 2.32564 n. 112, 100 n. 51, 101
Athens, Acr. 2.74249 n. 42
Athens, Acr. 2.78081 n. 53
Athens, Acropolis Museum 1956 NAK 232
215 n. 22
Athens, Agora P 572992 n. 16
Athens, Kerameikos 2712201 n. 64
Baltimore 48.74154 n. 128, 200 n. 59
Baltimore B 1061 nn. 98, 102
Baltimore, without number55 n. 74
Basel 240576 n. 29
Basel BS 407197 n. 47
Basel K 41061 nn. 97, 100
Basel K 42073 n. 18
Basel Lu 3949 n. 44, 50
Basel Lu 4566 n. 124
Bedford, Woburn Abbey153 n. 126
Berkeley 8.3316101 n. 56
Berkeley 8.458352 n. 58
Berlin 1964.459 n. 88
Berlin 1966.1933 n. 63
Berlin 1970.577 n. 34
Berlin F 1704175 n. 59
Berlin F 216045 n. 25
Berlin F 216578 n. 37
Berlin F 217352 n. 59, 83 n. 62
Berlin F 217951 n. 48, 113 n. 98, 114
Berlin F 218028 n. 41
Berlin F 227836 n. 81, 99 n. 49
Berlin F 229061 n. 95, 65 n. 114, 125 n. 10, 126
Berlin F 231538 n. 91
Berlin F 2321164 n. 17
Berlin F 233438 n. 85
Berlin F 2402151 n. 114, 168 n. 33, 186 n. 8
Berlin F 2471200 n. 60
Berne 1222783 n. 62
Bochum, Univ. S 106263 n. 107, 64
Bologna 15123 n. 23, 24
Bologna 17100100 n. 52
Bologna 283188 n. 14
Bologna 33890 n. 8
Bonn 1216.19101 n. 55
Bonn 7034 n. 70
Boston 00.33439 n. 96
Boston 01.807255 n. 74
Boston 03.79026 n. 30
Boston 10.17953 n. 67, 54
Boston 10.22129 n. 49
Boston 13.19338 n. 91
Boston 13.6761 n. 95
Boston 64.203252 n. 55
Boston 91.226b126 n. 14
Boston 91.227a126 n. 14
Boston 95.3972 n. 13, 101 n. 54
Boston 98.88252 n. 53
Boston 98.93243 n. 20
Brussels A 309195 n. 27
Brussels A 71732 n. 60, 33
Brussels R 239148, 149 n. 98
Brussels R 24761 n. 95
Budapest 50.568168 n. 137, 223 n. 64
Cab. Md. 35778 n. 46, 93 n. 20, 94, 200 n. 59
Cab. Md. 44051 n. 49, 103 n. 60, 104
Cab. Md. 44484 n. 71
262
Cab. Md. 46090 n. 6, 118 n. 110
Cab. Md. 50938 n. 91
Cab. Md. 54257 n. 81, 58
Cab. Md. 57342 n. 19, 164 n. 17
Cab. Md. 57654 n. 69
Caltanissetta 6970 n. 5
Caltanissetta S 46113 n. 94
Cambridge (Ma) 1925.30.40200 n. 59
Cambridge (Ma) 1960.347205 n. 76
Cape Town 1538 n. 85
Castle Ashby (formerly)48 n. 36
Cefal 1125 n. 9
Compigne 102599 n. 43, 149 n. 99
Copenhagen 1381797 n. 33
Copenhagen 4833168 n. 34, 170
Copenhagen 731212 n. 4
Copenhagen ABC 1021147 n. 96
Copenhagen, New Carlsberg Glyptotek
29395 n. 27
Copenhagen, Thorvaldsen Museum 9952
n. 53
Delphi 2380220
Dresden ZV 263572 n. 14
Eleusis 636127 n. 17
Ferrara 168572 n. 8
Ferrara 268388 n. 5, 89
Ferrara 2737105 n. 67, 106
Ferrara 2738103 n. 64, 105, 150 n. 105
Ferrara 281872 n. 15
Ferrara 289188 n. 2, 89, 138 n. 59
Ferrara 2897159 n. 143, 189 n. 16
Ferrara 4268473 n. 17
Ferrara 4483495 n. 28, 96
Ferrara 5388207 n. 83
Ferrara 935588 n. 2
Ferrara 937995 n. 27
Florence 1 B 1635 n. 76
Florence 12 B 10543 n. 29
Florence 394361 n. 96
Florence 3950123 n. 6, 124
Florence V 552 n. 63
Fort Worth AP2000.0258 n. 83, 59
Frankfurt, without number34 n. 72
Museums
Hamburg 1908.25321
Hamburg 1980.17484 n. 68
Harrow 5543 n. 24, 44
Harvard 1925.30.3452 n. 57
Harvard 1960.23640 n. 5, 41
Harvard 1972.4161 n. 96
Karlsruhe 206 (B 10)83 n. 62
Karlsruhe 208153 n. 122, 154
Karlsruhe 259 (B 36) 202 n. 68, 203
Karlsruhe 296 (B 1873)204 n. 73
Kurashiki, Ninagawa 4084 n. 67
Lausanne 325052 n. 63, 53
Lecce 60374 n. 23, 75
Leiden PC 8043 n. 22, 44
Leipzig T 3376131 n. 40
Leipzig T 64352 n. 56
London 1843.113.4 (E 54)57 n. 82
London 1843.113.5457 n. 78
London 1956.217.1195 n. 33
London E 10238 n. 85, 196 n. 44
London E 14063 n. 104
London E 1636 n. 79
London E 184118 n. 113, 119
London E 25788 n. 5
London E 27967 n. 132
London E 35067 n. 129, 78 n. 44, 79
London E 37743 n. 24, 72 n. 16
London E 384132 n. 42
London E 41083 n. 60
London E 437126 n. 14
London E 444479 n. 41
London E 465138 n. 60
London E 492106 n. 68
London E 503150 n. 106
London E 6556 n. 75
London E 703205 n. 79
London E 76859 n. 86, 60
London E 775 (1893.113.2)204 n. 70
London E 836 n. 83, 98 n. 42
London E 82 (1847.99.6)98 n. 42, 167 n. 27,
187 n. 11, 195 n. 37
London F 68 (1865.0103.14)228 n. 82
Louvre 40694 n. 24
263
Museums
Louvre C 1074842 n. 16
Louvre C 1077474 n. 20
Louvre C 1107233 n. 66
Louvre CA 194752 n. 63
Louvre CA 94438 n. 86, 46 n. 35
Louvre CP 1107029 n. 45
Louvre CP 1111584 n. 70
Louvre ELE 15220
Louvre F 20424 n. 24
Louvre G 11028 n. 39
Louvre G 14461 n. 96, 62
Louvre G 14561 nn. 98, 100
Louvre G 16242 n. 9
Louvre G 3029 n. 48, 30
Louvre G 3329 n. 42
Louvre G 3431 n. 52, 39 n. 93
Louvre G 406146 n. 95
Louvre G 4135 n. 75
Louvre G 422132 n. 42, 140 n. 68
Louvre G 4333 n. 62
Louvre G 445171 n. 42, 202 n. 66
Louvre G 478110 n. 78
Louvre G 486200 n. 59
Louvre G 529227 n. 79
Louvre G 530227 n. 79
Louvre G 5742 n. 12
Louvre G 638 n. 90
Louvre G 8838 n. 91
Louvre MNB 1695 (G 188)103 n. 63, 104
Louvre MNE 96161 n. 99
Louvre S 132855 n. 74
Louvre S 133955 n. 74
Madrid 1100826 n. 28
Madrid 11011207 n. 85, 208
Madrid 1104072 n. 11
Madrid 11052146 n. 91, 151 nn. 112113
Madrid 11074151 n. 111
Madrid L 188153 n. 125
Malibu 81.AE.6263 n. 105

Malibu 92.AE.681 n. 54
Matera, without number218 n. 36
Metaponto 20244692 n. 18
Minneapolis (Mn) 09.695 n. 27
Montpellier 14092 n. 14
Moscow II IB 600137 n. 57
Moscow II IB 732106 n. 68
Munich 230027 n. 31
Munich 230124 n. 25, 25
Munich 230225 n. 26, 26
Munich 231146 n. 27, 47
Munich 234366 n. 126
Munich 234578 n. 37
Munich 236195 n. 32, 97, 167 n. 27
Munich 238151 n. 51
Munich 240393 n. 19
Munich 241495 n. 27
Munich 241656 n. 76
Munich 241827 n. 32
Munich 241927 n. 33
Munich 258136 n. 78
Munich 260638 n. 87
Munich 264554 n. 70, 55
Munich 265461 n. 96
Munich 265761 n. 99
Munich 67209 n. 88
Munich 8731 (2307)33 n. 65, 34
Munich 8732 (2344)40 n. 1, 77 n. 33
Munich 876672 n. 11
Munich 893528 n. 40
Munich S 68208 n. 87
Naples 164332132 n. 44
Naples 241067 n. 131
Naples 2419184 n. 4, 185
Naples 81483117 n. 106
Naples 82922218 n. 36
Naples H 3240205 n. 80, 206
Naples Stg 19988 n. 5
Naples, Capodimonte 96074 n. 20
Naples, without number66 n. 124
New Haven (Ct), Yale University 1913.132
148 n. 97
New York 06.115261 n. 96
New York 07.286.6946 n. 30, 47
264
New York 07.286.85154 n. 128, 171 n. 39
New York 08.258.22157 n. 134, 197 n. 48
New York 12.229.1351 n. 51
New York 16.72136 n. 56
New York 1983.524.3a29 n. 46
New York 20.24661 n. 96
New York 25.190145 n. 86
New York 31.11.1140 n. 6
New York 56.171.59118 n. 112
New York 75.2.11143 n. 79, 144 n. 82
New York 99.13.288 n. 5
New York L. 1982.27.8102 n. 58
New York SL 1990.1.2180 n. 47
New York x.313.1107 n. 70
Orvieto, Faina 6423 n. 22
Orvieto, Faina 6835 n. 73
Orvieto, Museo civico 104067 n. 129
Orvieto, Museo Civico 104938 n. 86, 46
n. 34
Oxford (Ms) 1977.3.87AB114 n. 101, 115
Oxford (Ms) 1977.3.8990 n. 7
Oxford (Ms) 1977.3.9694 n. 24
Oxford 1911.63162 n. 103
Oxford 1922.6752 n. 61
Oxford 1925.62197 n. 34
Oxford 28352 n. 60
Oxford 30752 n. 64
Palermo 1109108 n. 73, 109
Palermo 2183133 n. 45
Pella 80514180 n. 88
Princeton University L. 1984.5630 n. 51
Princeton University L. 1984.5730 n. 51
Reading, Univ. 85.3.138 n. 85
Reggio Calabria 437984 n. 71
Rome, Villa Giulia 1296108 n. 72
Rome, Villa Giulia 5045970 n. 3, 71
Rome, Villa Giulia 84674 n. 22, 75, 137 n. 59,
154 n. 127, 171 n. 39
Museums
Rouen 583.355 n. 73, 56
Ruvo 1093151 n. 114, 171 n. 42, 191 n. 21
Ruvo 1442196 n. 46
Ruvo 1529A57 n. 79
Samothrake 57.56551 n. 52
Sarajevo 34204 n. 71
St. Petersburg 1872.130 (KAB 6 a)182
n. 84, 195 n. 32
St. Petersburg 0.28 (St. 1807)192 n. 25, 193
St. Petersburg 1549 (B 642)126 n. 14
St. Petersburg 1867.68.953205 n. 77
St. Petersburg 2007110 n. 80
St. Petersburg 2353 (810)95 n. 27
St. Petersburg B 1550 (609)43 n. 23
St. Petersburg B 165029 n. 49, 31
St. Petersburg B 20172 n. 12
St. Petersburg St. 162435 n. 73
St. Petersburg St. 1793223 n. 64, 224
Stanford University 70.288 n. 3
Stockholm D 19310227 n. 79
Syracuse 1520546 n. 28
Syracuse 17427119 n. 116, 192 n. 24
Syracuse 2379429 n. 48
Tapley Park (Devon)151 n. 112
Taranto 4545115 n. 102, 116 n. 103, 117
Taranto 52.230222 n. 55
Taranto, without number38 n. 85
Tarquinia 68348 n. 38
Tarquinia RC 111861 n. 102
Tarquinia RC 4197155 n. 129, 171 n. 39, 195
n. 37
Tarquinia RC 5291115 n. 102, 116
Tarquinia RC 684832 n. 55, 36 n. 80
Thessaloniki B 1229 n. 84, 230
Tbingen 5439156 n. 131, 195 n. 37
Vatican 1650574 n. 20
Vatican 1654159 n. 87
Vatican 16586 (559)108 n. 76, 109, 131 n. 38
Vatican 17886117 n. 107
265
Museums
Vatican 49836 n. 78, 37
Vatican AST 70348 n. 37
Vatican G 7134 n. 71
Vatican, Sala della Biga 2363219
Vienna 1024168 n. 33, 189 n. 18
Vienna 1065151 n. 112
Vienna 1773238 n. 9
Vienna 34174 n. 22
Vienna 35092 n. 15
Vienna 782154 n. 128
Vienna 89583 n. 62
Vienna 98549 n. 39, 90 n. 7, 91
Warsaw 14233233 n. 67
Warsaw 142465134 n. 48
Warsaw, ex Goluchow 11955 n. 72
Wrzburg H 4616 (491)157 n. 135, 195 n. 37
Wrzburg 51581 n. 51, 126 n. 14
Zurich L 578 n. 39
Zurich 3926226 n. 77, 227
Vases Following Beazley

Addenda 149 (3.5)23 n. 22
Addenda 149 (4.9)24 n. 25
Addenda 149 f. (4.7,9,11)22 n. 13
Addenda 150 (4.10)23 n. 23
Addenda 150 (4.11)24 n. 24
Addenda 150 (6.1)25 n. 26
Addenda 150 (7.2)26 n. 28
Addenda 151 (11.1)27 n. 31
Addenda 151 (11.2)26 n. 30
Addenda 151 (12.7)27 n. 32
Addenda 152 (13.1)28 n. 41
Addenda 152 (14.3)28 n. 39
Addenda 152 (14.3bis)28 n. 40
Addenda 152 (15.6)29 n. 44
Addenda 152 (15.9)29 n. 48
Addenda 153 (16.14)29 n. 49
Addenda 153 (16.15)29 n. 49
Addenda 154 (20.1)32 n. 60
Addenda 154 (20.2)33 n. 62
Addenda 154 (20.3bis)33 n. 63
Addenda 154 (21)38 n. 91
Addenda 154 (21.1)36 n. 81
Addenda 155 (23.2)32 n. 58
Addenda 155 (26.1)33 n. 65
Addenda 156 (27.8)33 n. 67
Addenda 156 (28.12)34 n. 70
Addenda 156 (28.14)34 n. 71
Addenda 156 (28.15)35 n. 73
Addenda 157 (31.6)35 n. 74
Addenda 157 (33.8)35 n. 75
Addenda 163 (54.5)126 n. 14
Addenda 163 (55.11)36 n. 78
Addenda 163 (55.15)36 n. 78
Addenda 165 (60.66)32 n. 55
Addenda 165 (61.75)36 n. 79
Addenda 165 (63.88)36 n. 83
Addenda 166 (64.102)38 n. 87
Addenda 166 (65.114)36 n. 83
Addenda 169 (77.91)38 n. 91
Addenda 172 (98.2)39 n. 95
Addenda 176 (124.8)31 n. 54
Addenda 176 (126.23)39 n. 94
Addenda 176 (126.27)39 n. 96
Addenda 177 (Para 334)59 n. 88
Addenda 186 (182.6)40 n. 1, 77 n. 33
Addenda 186 (183.7)43 n. 22

Addenda 187 (183.11)43 n. 24
Addenda 187 (185.31)40 n. 5
Addenda 187 (186.47)42 n. 9
Addenda 188 (187.55)42 n. 16
Addenda 188 (188.65)42 n. 12
Addenda 188 (188.68)55 n. 73
Addenda 190 (196.1)45 n. 25
Addenda 190 (197.9)46 n. 27
Addenda 191 (198.21bis)72 n. 11
Addenda 192 (201.70)46 n. 30
Addenda 193 (205.117)49 n. 42
Addenda 194 (1634.132bis)48 n. 37
Addenda 194 (207.142)38 n. 86
Addenda 194 (208.145)48 n. 36
Addenda 195 (208.151)126 n. 14
Addenda 198 (221.14)51 n. 51
Addenda 199 (226.1)67 n. 132
Addenda 199 (228.30)126 n. 14
Addenda 201 (239.18)67 n. 131
Addenda 201 (240.44)52 n. 63
Addenda 202 (246 below)48 n. 38
Addenda 203 (249.6)77 n. 36
Addenda 203 (251.27)84 n. 71
Addenda 203 (252.51)51 n. 49, 103 n. 60
Addenda 203 (252.52)51 n. 48, 113 n. 98
Addenda 204 (256.2)67 n. 129, 78 n. 44
Addenda 204 (256.5)81 n. 51, 126 n. 14
Addenda 206 (272.1)114 n. 101
Addenda 206 (272.2)114 n. 101
Addenda 208 (279.7)52 n. 53
Addenda 208 (281.34)52 n. 63
Addenda 208 (283.2)52 n. 54
Addenda 209 (285.2)52 n. 55
Addenda 209 (286.10)52 n. 58
Addenda 209 (286.18)52 n. 59, 83 n. 62
Addenda 209 (286.9)52 n. 56
Addenda 209 (287.24)52 n. 53
Addenda 210 (290.7)48 n. 38
Addenda 211 (298 center)57 n. 78
Addenda 215 (320.10)55 n. 74
Addenda 221 (355.45)125 n. 9
Addenda 222 (361.2)76 n. 26
Addenda 223 (365.58)60 n. 90
Addenda 223 (365.61)122 n. 2

Addenda 224 (370.13)56 n. 75
Addenda 225 (371.14)54 n. 69
Addenda 225 (371.15)54 n. 70
Addenda 228 (382.185)55 n. 72
Addenda 228 (385.228)56 n. 76
Addenda 231 (405.1)115 n. 102
Addenda 232 (406.2)57 n. 78
Addenda 232 (408.33)57 n. 79
Addenda 234 (417.1)42 n. 19, 164 n. 17
Addenda 238 (434.78)123 n. 4
Addenda 238 (436.96)57 n. 82
Addenda 239 (438.133)57 n. 81
Addenda 241 (446.262)59 n. 86
Addenda 242 (451.1)59 n. 87
Addenda 242 (451.3)83 n. 62
Addenda 243 (456)31 n. 52
Addenda 243 (459.3)63 n. 104
Addenda 244 (460.20)64 n. 112
Addenda 244 (461.36)55 n. 74
Addenda 244 (462.43)61 n. 96
Addenda 244 (462.48)61 n. 95, 65 n. 114,
125 n. 10
Addenda 244 (Para 378.46bis)61 n. 102
Addenda 245 (463.51)61 nn. 98, 102
Addenda 245 (463.52)61 n. 96
Addenda 245 (463.53)61 nn. 97, 100
Addenda 245 (465.82)61 n. 94
Addenda 246 (475.267)61 n. 99
Addenda 247 (478.312)61 n. 97
Addenda 248 (485.27)70 n. 3
Addenda 250 (494.1)83 n. 60
Addenda 250 (494.2)84 n. 65
Addenda 250 (494.3)84 n. 65
Addenda 250 (495.5)84 n. 70
Addenda 250 (495.5bis)84 n. 67
Addenda 250 (496.2)78 n. 37
Addenda 252 (508.1)103 n. 63
Addenda 252 (511.5)72 n. 8
Addenda 252 (512.8)38 n, 85
Addenda 253 (518.4)74 n. 20
Addenda 254 (524.23)72 n. 15
Addenda 254 (524.26)73 n. 17
Addenda 254 (529.13)72 n. 10, 117 n. 106
Addenda 254 (531.29)72 n. 14
Addenda 255 (533.58)72 n. 13, 101 n. 54
Addenda 257 (551.6)136 n. 56
Addenda 258 (555.95)72 n. 12
Addenda 259 (560.5)116 n. 103
Addenda 260 (563.4)74 n. 20
267
Addenda 264 (589.3)105 n. 67
Addenda 264 (591.20)49 n. 39, 90 n. 7
Addenda 264 (591.21)90 n. 7
Addenda 264 (593.41)103 n. 64
Addenda 265 (595.65)90 n. 8
Addenda 265 (596.1)83 n. 62
Addenda 266 (600.14)88 n. 2
Addenda 266 (602.24)88 n. 2, 138 n. 59
Addenda 267 (604.50)88 n. 5
Addenda 267 (606.77)88 n. 5
Addenda 267 (606.83)90 n. 6, 118 n. 110
Addenda 270 (618.1)123 n. 7
Addenda 270 (618.3)153 n. 122
Addenda 270 (618.4)106 n. 68
Addenda 270 (619.16)106 n. 68
Addenda 271 (623.69)107 n. 70
Addenda 272 (632.3)154 n. 128
Addenda 272 (633.8)131 n. 36
Addenda 29 (108.5)40 n. 6
Addenda 309 (972.2)238 n. 9
Addenda 310 (975.38)142 n. 76
Addenda 311 (987.2)78 n. 46, 93 n. 20
Addenda 312 (992. 67)93 n. 19
Addenda 312 (992.74)92 n. 14
Addenda 315 (1017.54)108 n. 76
Addenda 315 (1019.77)132 n. 42, 140 n. 68
Addenda 315 (1019.82)134 n. 48
Addenda 317 (1028.12)94 n. 24, 146 n. 95
Addenda 317 (1028.13)94 n. 24
Addenda 318 (1035.2)147 n. 96
Addenda 318 (1035.4)148 n. 97
Addenda 318 (1037.1)147 n. 96
Addenda 320 (1042.1)200 n. 59
Addenda 320 (1047.10)154 n. 128
Addenda 321 (1052.23)127 n. 17
Addenda 322 (1052.25)159 n. 143
Addenda 322 (1055.76)149 n. 99
Addenda 322 (1057.96)155 n. 129
Addenda 322 (1057.97)156 n. 131
Addenda 325 (1067.8)108 n. 75
Addenda 329 (1104.7)74 n. 23
Addenda 330 (1112.1)38 n. 85
Addenda 330 (1112.3)84 n. 71
Addenda 330 (1113.4)118 n. 113
Addenda 334 (1143.1)95 n. 28
Addenda 334 (1143.6)95 n. 27
Addenda 334 (1144.10)95 n. 27
Addenda 334 (1144.11)95 n. 27
Addenda 334 (1144.7)95 n. 27
268
Addenda 334 (1144.8)95 n. 27
Addenda 334 (1144.9)95 n. 27
Addenda 335 (1145.30)97 n. 35
Addenda 335 (1145.35)97 n. 33
Addenda 335 (1145.36)95 n. 32, 167 n. 27
Addenda 335 (1147.68)97 n. 34
Addenda 336 (1151.1)188 n. 14
Addenda 336 (1151.2) 184 n. 4
Addenda 336 (1152.3)168 n. 33, 186 n. 8
Addenda 336 (1152.8)189 n. 18
Addenda 337 (1156.17)110 n. 78
Addenda 337 (1159)150 n. 106
Addenda 340 (1184.1)171 n. 42, 191 n. 21
Addenda 341 (1184.4)119 n. 116
Addenda 341 (1185.7)192 n. 25
Addenda 341 (1188.4)146 n. 91, 151 n. 113
Addenda 353 (1247.1)200 n. 60
Addenda 354 (1249.12 bis)197 n. 47
Addenda 354 (1249.12) 157 n. 134
Addenda 354 (1249.13)198 n. 51
Addenda 356 (1269.3)98 n. 42, 167 n. 27
Addenda 356 (1270.17)157 n. 135
Addenda 362 (1313.11)144 n. 82
Addenda 362 (1313.6)201 n. 64
Addenda 362 (1315.1)202 n. 68
Addenda 364 (1328.92)204 n. 70
Addenda 364 (1328.95)204 n. 73
Addenda 365 (1330.9)205 n. 79
Addenda 365 (1336.1)205 n. 80
Addenda 366 (1336.1 below)207 n. 85
Addenda 367 (1341.2)205 n. 76
Addenda 367 (1343.1)101 n. 56
Addenda 368 (1347.2)209 n. 88
Addenda 378 (1446.1)228 n. 82
Addenda 380 (1469.161)227 n. 79
Addenda 380 (1469.162)227 n. 79
Addenda 380 (1470.163)227 n. 79
Addenda 380 (1470.164)226 n. 77
Addenda 381 (1471.1)110 n. 81
Addenda 43 (151)73 n. 18
ARV 320.1155 n. 74
ARV 543.4538 n. 85
ARV 1015.18153 n. 125
ARV 1015.19153 n. 126
ARV 1015.22132 n. 42
ARV 1017.48132 n. 42
ARV 1019.83132 n. 44
ARV 1019.84133 n. 45
ARV 1023.149131 n. 40

ARV 1024.152131 n. 40
ARV 1024.153131 n. 40
ARV 1028.1194 n. 24
ARV 1028.1494 n. 24
ARV 1028.1595 n. 25
ARV 1028.15bis94 n. 24
ARV 1036.9149 n. 98
ARV 1047.11154 n. 128, 200 n. 59
ARV 1047.12154 n. 128
ARV 1047.13154 n. 128
ARV 1080.3108 n. 77
ARV 1130.144149184 n. 1
ARV 1151184 n. 2
ARV 1152.36186 n. 7
ARV 1152.8168 n. 33
ARV 1163.34200 n. 59
ARV 1170.774 n. 20
ARV 1185.17151 n. 111
ARV 1186.31195 n. 33
ARV 1188.2151 n. 112
ARV 1188.3151 n. 112
ARV 12.927 n. 33
ARV 1253.7038 n. 85, 196 n. 44
ARV 1261.54196 n. 46
ARV 1329.117205 n. 77
ARV 13911397235 n. 5
ARV 14.429 n. 42
ARV 1439.1168 n. 37, 223 n. 64
ARV 1457 f., 19. 21. 29225 n. 72
ARV 1458.34223 n. 65
ARV 14615338 n. 89
ARV 1470.165226 n. 78
ARV 15.729 n. 45
ARV 185 f., 314940 n. 4
ARV 185.3083 n. 62
ARV 205.12146 n. 28
ARV 205.12346 n. 29
ARV 207.14246 n. 35
ARV 208.14949 n. 41
ARV 226.452 n. 64
ARV 232.151 n. 52
ARV 242.8148 n. 38
ARV 258.2881 n. 53
ARV 261.2067 n. 129
ARV 27.733 n. 66
ARV 272.2114 n. 101
ARV 276.8051 n. 51
ARV 28.1334 n. 72
ARV 28.1635 n. 73
269

ARV 285.183 n. 62
ARV 285.283 n. 62
ARV 285.752 n. 57
ARV 286.2152 n. 60
ARV 287.2566 n. 124
ARV 29.338 n. 91
ARV 312.152 n. 61
ARV 327.11053 n. 67
ARV 333.3164 n. 17
ARV 34.935 n. 76
ARV 382 f., 18519554 n. 71
ARV 393.3752 n. 64
ARV 4. 71222 n. 12
ARV 462.4561 n. 96
ARV 462.4761 n. 96
ARV 463.5061 n. 100
ARV 467.11861 n. 96
ARV 467.12962 n. 103
ARV 475.26161 n. 99
ARV 478.31161 n. 96
ARV 478.3861 n. 94
ARV 48.16238 n. 91
ARV 484.1169 n. 2
ARV 495.470 n. 4
ARV 501.3467 n. 129
ARV 530.2255 n. 74
ARV 531.2766 n. 126
ARV 531.3372 n. 15
ARV 543.4538 n. 85
ARV 568.3672 n. 11
ARV 575.1774 n. 22
ARV 575.2074 n. 22, 137 n. 59, 154 n. 127,
171 n. 39
ARV 590.5117 n. 107
ARV 59790 n. 7
ARV 605.6188 n. 5
ARV 606.7688 n. 5
ARV 606.7888 n. 5
ARV 628 f. 712131 n. 36
ARV 630.24108 n. 73
ARV 632.3171 n. 39
ARV 633.9131 n. 36
ARV 64.10338 n. 86, 46 n. 34
ARV 646.538 n. 85
ARV 668.38146 n. 92
ARV 67.336 n. 78
ARV 67.536 n. 78
ARV 708138 n. 88
ARV 72.2138 n. 90
ARV 735.11183 n. 62
ARV 78.9839 n. 92
ARV 789797, nos 113598 n. 36
ARV 830832, nos 12498 n. 37
ARV 85987698 n. 38
ARV 883 f., nos 477598 n. 39
ARV 8896235 n. 5
ARV 891898235 n. 5
ARV 914.142123 n. 6
ARV 917.197118 n. 111
ARV 992.7592 n. 15
ARV 993.7892 n. 16
Para 174.23bis51 n. 52
Para 352 above66 n. 124
Para 355 center52 n. 63
Para 377 (462.41)61 n. 95
Para 377 (462.44)61 nn. 95, 102
Para 377 (462.49)61 n. 101
Para 378 (478.309)61 n. 95
Para 380 (496.1)78 n. 37
Para 380 (497.7)41 n. 8
Para 381 (501.35)43 n. 24, 72 n. 16
Para 38570 n. 5
Para 435 (973.13)118 n. 112
Para 437 (992.66)92 n. 17
Para 445 (1057.102)138 n. 60
Para 457 (1144.18)29 n. 48
Para 482 (1347)208 n. 87
Para 482 (1347.1)208 n. 87
Para 510 (184.19)43 n. 23
Para 512 (486.45)72 n. 7
Vases Following Beazley Archive Database (ba)

30849 n. 44
503145 n. 86
526141 n. 74
564784 n. 68
5703103 n. 61
576677 n. 34
6306105 n. 66
6988182 n. 94
7928212 n. 4
811088 n. 3
8904204 n. 71
9495204 n. 71
1168658 n. 83
12464101 n. 55
1337863 n. 107
17333180 n. 88
19154207 n. 83
19347137 n. 57
1976892 n. 18
28005113 n. 94
2808381 n. 54
28128198 n. 52
3067678 n. 41
31374133 n. 46
3141595 n. 25
4393780 n. 47
45070171 n. 42
5039661 n. 94
20000027 n. 31
20000523 n. 22
20000924 n. 25
20001023 n. 23
20001124 n. 24
20001926 n. 30
20002125 n. 26
20002226 n. 28
20005427 n. 32
20005727 n. 33
20006328 n. 41
20006528 n. 39
20006629 n. 42
20006829 n. 44
20006929 n. 45
20007129 n. 48
20007729 n. 49
20007829 n. 49
20010232 n. 60
20010333 n. 62
20010836 n. 81
20011038 n. 91
20011732 n. 58
20013235 n. 73
20013335 n. 73
20013634 n. 72
20013734 n. 71
20014134 n. 70
20014833 n. 66
20014933 n. 67
20016033 n. 65
20016238 n. 91
20018235 n. 75
20018335 n. 76
20019135 n. 74
20023936 n. 78
20028136 n. 78
20037238 n. 91
200437126 n. 14
20046538 n. 90
20050232 n. 55
20051136 n. 79
20052436 n. 83
20053538 n. 87
20053938 n. 86, 46 n. 34
20055036 n. 83
20061838 n. 91
20062639 n. 92
20086039 n. 95
20103631 n. 54
20105139 n. 94
20105539 n. 96
20165940 n. 1, 77 n. 33
20166043 n. 22
20166443 n. 24
20167243 n. 23
20168283 n. 62
20168340 n. 5
20169942 n. 9
20170742 n. 16
20171542 n. 12
20171655 n. 73

20180945 n. 25
20181746 n. 27
20187846 n. 30
20192649 n. 42
20193046 n. 28
20193246 n. 29
20196138 n. 86, 46 n. 35
20196448 n. 36
20196849 n. 41
201970126 n. 14
20205467 n. 132
20209951 n. 51
20222352 n. 64
202231126 n. 14
20227451 n. 52
20236767 n. 131
20239352 n. 63
20243248 n. 38
20246348 n. 38
20248577 n. 36
20250484 n. 71
20254052 n. 63
20256352 n. 54
20257483 n. 62
20257583 n. 62
20257752 n. 55
20258252 n. 57
20258452 n. 56
20258552 n. 58
20258952 n. 59, 83 n. 62
20259252 n. 60
20259552 n. 53
20259666 n. 124
20263948 n. 38
20267951 n. 51
20271152 n. 53
202837114 n. 101
202838114 n. 101
20289651 n. 49, 103 n. 60
20289851 n. 48, 113 n. 98
20292167 n. 129, 78 n. 44
20292481 n. 51, 126 n. 14
20292981 n. 52
20294681 n. 53
20297467 n. 129
20309257 n. 78
20321352 n. 61
20326055 n. 74
20326155 n. 74
20336453 n. 67
203728125 n. 9
20379376 n. 26
20385060 n. 90
203853122 n. 2
20391256 n. 75
20391354 n. 69
20391454 n. 70
20408455 n. 72
20412956 n. 76
20423552 n. 64
204395115 n. 102
20440157 n. 78
20443157 n. 79
20454642 n. 19, 164 n. 17
20470163 n. 104, 64 n. 112
20471855 n. 74
20472361 n. 95
20472561 n. 96
20472661 nn. 95, 102
20472761 n. 96
20472961 n. 96
20473061 n. 95, 65 n. 114, 125 n. 10
20473161 n. 101
20473261 n. 98
20473361 nn. 98, 102
20473461 n. 96
20473561 nn. 97, 100
20480061 n. 96
20481162 n. 103
20494061 n. 99
20494661 n. 99
20499061 n. 94
20499161 n. 95
20499361 n. 96
20499461 n. 97
20503843 n. 20
205123123 n. 4
20514257 n. 82
20517957 n. 81
20530959 n. 86
20537259 n. 87
20537483 n. 62
20539469 n. 2
20541070 n. 3
20542872 n. 7
20556083 n. 60
20556184 n. 65
20556284 n. 65
271
272
20556370 n. 4
20556484 n. 70
20562167 n. 129
20562243 n. 24, 72 n. 16
205715103 n. 63
20573872 n. 8
20574438 n. 85
20580974 n. 20
20590572 n. 15
20590873 n. 17
20598572 n. 10, 117 n. 106
20599241 n. 8
20599855 n. 74
20600366 n. 126
20600572 n. 14
20600972 n. 15
20603672 n. 13, 101 n. 54
20617638 n. 85
206281136 n. 56
20633872 n. 12
206410116 n. 103
20642178 n. 37
20642278 n. 37
20642974 n. 20
20652572 n. 11
20661774 n. 22
20662074 n. 22, 137 n. 59, 154 n. 127, 171 n. 39
20683849 n. 39, 90 n. 7
20683990 n. 7
206865103 n. 64
20689090 n. 8
20690583 n. 62
20692290 n. 7
20694288 n. 2
20695688 n. 2, 138 n. 59
20698988 n. 5
20700088 n. 5
20701788 n. 5
20701888 n. 5
20701988 n. 5
20702490 n. 6, 118 n. 110
207139105 n. 67
207147117 n. 107
207149123 n. 7
207151153 n. 122
207152106 n. 68
207166106 n. 68
207223107 n. 70
207307108 n. 73
207338154 n. 128, 171 n. 39

207343131 n. 36
207344131 n. 36
20751738 n. 85
207833146 n. 92
20910383 n. 62
211080123 n. 6
211134118 n. 111
21246731 n. 52
213234238 n. 9
213247118 n. 112
21339294 n. 24
21339394 n. 24, 146 n. 95
21339494 n. 24
21339594 n. 24
21339695 n. 25
21339794 n. 24
213467147 n. 96
213471148 n. 97
213480149 n. 98
213538200 n. 59
213579154 n. 128
213580154 n. 128, 200 n. 59
213653127 n. 17
213655159 n. 143
213708149 n. 99
213726155 n. 129
213727156 n. 131
213732138 n. 60
2137885 n. 18
21382278 n. 46, 93 n. 20
21388792 n. 17
21388893 n. 19
21389592 n. 14
21389692 n. 15
21389992 n. 16
214195153 n. 125
214196153 n. 126
214199132 n. 42
214226132 n. 42
214232108 n. 76
214255132 n. 42, 140 n. 68
214262134 n. 48
214263132 n. 44
214264133 n. 45
214332131 n. 40
214335131 n. 40
214336131 n. 40
214379108 n. 75

214510108 n. 77
21470484 n. 71
21470638 n. 85
214724118 n. 113
21514195 n. 28
21514695 n. 27
21514795 n. 27
21514895 n. 27
21514995 n. 27
21515095 n. 27
21515195 n. 27
21515829 n. 48
21517097 n. 35
21517597 n. 33
21517695 n. 32, 167 n. 27
21520897 n. 34
215253188 n. 14
215254184 n. 4
215255168 n. 33, 186 n. 8
215261168 n. 33, 189 n. 18
215317110 n. 78
215344150 n. 106
215383200 n. 59
21553374 n. 20
215689171 n. 42, 191 n. 21
215692119 n. 116
215695192 n. 25
215705151 n. 111
215720195 n. 33
215736151 n. 112
215737151 n. 112
215738146 n. 91, 151 n. 113
21617474 n. 23
216937200 n. 60
216948157 n. 134
216949198 n. 51
216950143 n. 80
21700838 n. 85, 196 n. 44
217123196 n. 46
21721298 n. 42, 167 n. 27
217226157 n. 135
217500205 n. 80
217505207 n. 85
217539205 n. 76
217563101 n. 56
217593208 n. 87
217594209 n. 88
217595208 n. 87
218088168 n. 37, 223 n. 64
218148228 n. 82
218307223 n. 65
220498201 n. 64
220503144 n. 82
220515202 n. 68
220648204 n. 70
220651204 n. 73
220672205 n. 77
220684205 n. 79
230371227 n. 79
230372227 n. 79
230373227 n. 79
230374226 n. 77
230375226 n. 78
230431110 n. 81
27500728 n. 40
27509248 n. 37
27525278 n. 39
275512197 n. 47
27563859 n. 88
27564372 n. 11
27597861 n. 102
27598584 n. 67
27599770 n. 5
276060142 n. 76
31015140 n. 6
35046873 n. 18
35240133 n. 63
35250966 n. 124
35252452 n. 63
1012120188 n. 15
1012159205 n. 76
901783730 n. 51
9021718204 n. 71
9025040102 n. 58
273
Vases and Other Works Following LIMC

I.1, 291, Aglauros 38183 n. 99
II, Apollo 295173 n. 55
II.1, 201 Apollo 101219 n. 47
II.1, 234 Apollo 390173 n. 55
II.1, 315173 n. 54
III, Ariadne 96233 n. 98
III, Dionysos 119125168 n. 35
III, Dionysos 128168 n. 35, 214 n. 19, 215 n. 22
III, Dionysos 65141 n. 8, 164 n. 16

III, Dionysos 731223 n. 64, 225 n. 70, 226
n. 76
III, Dionysos/Bacchus 181221 n. 52
III, Erigone I 1216 n. 26
III, Eris 7192 n. 25
III.1, 19 f., Attike 2183 n. 97
III.1, 446 Dionysos 214176 n. 68, 217 n. 32
III.1, 80, Bakche 2150 n. 106
IV, Gigantes 17142 n. 17
IV, Herakles 1477213 n. 9
IV, Herakles 1562213 n. 9
IV.1, 629 f.173 n. 56
V.1, 373178 n. 81
v.2, Hermes 101140 n. 66
V.2, Hermes 147140 n. 66
V.2, Hermes 820140 n. 67
V.2, Hippothoon 10140 n. 66
VI.1, 96 f., Komos 620149 n. 102
VII, Paridis Iudicium 40212 n. 4
VII, Paridis Iudicium 48192 n. 25
VII, Peleus 21080 n. 47
VII, Pentheus 16202 n. 65, 215 n. 23
Vases And Other Works Following Limc

VII.1, 186188212 n. 3
VII.1, 315317214 n. 15
VII.1, 6478 n. 38
VIII.1, 49, Tragoidia 710149 n. 104
VIII.1, 540 Belos II 182 n. 57

VIII.1, 574 Epaphos 182 n. 57
VIII.2, Silenoi 43a140 n. 66
275
General
abduction74, 78, 107 n. 69, 118 n. 114, 126
Acheloos126, 232
Achilles27, 51, 78, 80, 112
Achilles Painter76, 78, 9093, 131, 200 n. 59
acrobat, acrobatic59
Acropolis8, 60, 76, 81, 100, 163, 166, 168,
174175, 180, 183, 215 n. 22
actor143, 206, 209, 214
adjudicator, see referee
adolescent, see youth
Adria87
Adriatic Sea161
adult, adulthood23, 140 n. 66, 147, 152158,
160, 167, 178, 221, 234
Aegean Sea8485, 120
Aegeus84
Aegina84, 126
Agamemnon115
age, aging14, 23, 68, 8485, 145, 149, 151,
153, 158, 163, 179
Agrigento95
Agrigento Painter74 n. 22, 137 n. 59, 154
n. 127, 170, 171 n. 39
aidos138, 140
Aigisthos126
Aione185
Aischylos, Aischylos Eumenides76, 81, 172,
179, 213214
Aithra126
Ajax27
Akamas84
alabastron39
Alexandros, see Paris
Alkaios56, 173 n. 51
Alkamenes176, 217218, 223
Alkimachos Painter55 n. 74, 66 n. 126, 72,
101, 117
ally, alliance85, 179180
Altamura Painter49 n. 39, 83 n. 62, 87,
9091, 100, 103, 105106, 111112, 117, 150
altar7, 18, 39, 55, 65, 70, 74, 76, 78, 88, 100,
116, 123, 135, 140, 176 n. 67, 183, 187, 192, 197,
217, 224225
Amasis Painter22, 27, 32, 73, 93, 122
amazon, Amazonomachy13, 39, 88, 162163,
227
Amphitrite3536, 49, 63, 98, 180, 182

Amphitrite Painter43 n. 20
amphora, amphorae, see also Panathenaic
prize-amphora, Panathenaic-type
amphora1213, 1617, 2224, 26, 2930,
3234, 40, 43, 4546, 51, 53, 55 n. 74, 6667,
69, 7273, 7678, 8081, 83, 85, 88, 91, 93,
99100, 102, 114, 117, 121, 125, 131, 132 n. 42,
146 n. 92, 153154, 175 n. 59, 180, 186187,
191, 200 n. 59, 234, 237, 241
Amymone84, 126
Amymone Painter98
anakalypsis80
Anakreon237 n. 8
Anavyssos198 n. 51
Andokides Painter19, 2224, 26
androgynous221
animal166, 189, 221, 226, 236237
animal frieze229, 231
anonymous1, 4, 1217, 19, 23, 38, 49, 5152,
54, 57, 60, 69, 76, 8586, 90, 98, 101, 108,
118119, 123, 125, 138, 141, 185, 192, 201,
204 n. 71, 209, 234235
Anthesteria (festival)92, 123 n. 8, 142 n. 77,
144, 146, 152, 155, 194, 198199, 206
Apatouria (festival)123, 239
Apennines87, 161 n. 152
Aphrodite6, 14, 36, 63, 9899, 101, 118, 120,
158, 175176, 192, 204205, 240
Apollo, Apollo Parnopios42, 49, 63, 76,
80, 95, 113, 168, 171173, 180, 191195, 202,
214, 219
apotheosis2 n. 5, 63, 207
appearance, see epiphany
architrave80, 225
Ares26, 36, 42, 43 n. 19, 63, 9899, 173
Argos82
Ariadne8 n. 33, 14, 1617, 3536, 51, 63,
6667, 77, 90, 9899, 108, 113114, 115 n. 102,
116121, 138 n. 63, 147, 149, 157158, 181,
187188, 190, 192, 195196, 204207,
222226, 225226, 231233, 238
Ariagne108
aristocracy, aristocrat, aristocratic180 n. 91,
181
Aristophanes, Aristophanes Frogs211212
General
armor, see also helmet, leg guard, shield85,
90, 173175, 181
armrest103
arrival, see also epiphany32, 38, 69, 116, 144,
146, 152, 199, 226, 228
Arrhephoria (festival)178 n. 79
Artemis49, 63, 80, 85, 180, 191192, 193 n. 27,
214, 216
artisan, see craftsman
aryballos150
ashes129, 229
Asia Minor160, 218
Asia, Asiatic63, 82, 164, 177, 181183, 189,
193194, 212214, 217
assassination126
assembly of gods36, 42, 63, 173, 177178
Astion231233
Athena2, 8, 13, 16, 2324, 32, 35, 49, 51, 53,
63, 7778, 8384, 100, 110, 113114, 116,
118 n. 114, 119121, 162163, 166, 168, 170172,
173 n. 54, 174175, 178 n. 79, 180183,
191192, 194, 238240
Athena Promachos77
Athens, Athenians1, 8, 1112, 19, 30, 40, 61,
69, 74, 7778, 8182, 84, 87, 114, 116,
119 n. 116, 120, 125, 128, 130131, 145, 152,
154 n. 128, 160161, 163164, 171173, 175,
176 n. 66, 181, 183, 186187, 190191, 194198,
201, 211212, 215 n. 22, 216, 218219, 223,
226, 240241
athlete, athletic13, 15, 28, 38, 43, 51, 5354,
77, 98, 103, 106, 111, 167, 177, 196, 201, 221,
235, 238
Attica, Attic8 n. 33, 11, 22, 66, 78, 8385, 97,
110, 127, 135 n. 53, 149 n. 104, 152, 159,
161163, 180, 183, 197, 201, 211 n. 2, 215 n. 22,
216, 223, 226
audience158, 174, 211213, 216217, 234, 241
aulos, flute23, 30, 3435, 55, 6970, 97, 106,
110, 118, 123, 128, 130, 133, 135, 147, 150151,
153154, 157, 160, 191, 194, 203, 207
axe85
baby135, 199
bacchant149, 233
bacchante, bakche, Dionysiac woman, see
also maenad, nymph6, 58, 106, 141, 150,
176, 187, 189, 191192, 203, 225, 232, 239
Bakchos, see Dionysos
277
Balos82
banausos, banausoi83
barbaric regions183
barbitos29, 35, 43, 4546, 54, 57, 92,
132 n. 44, 133134, 141, 147148, 154 n. 127,
237
Barclay Painter108, 112
Basilinna119, 145, 155
basket56, 73, 88, 100, 129, 145, 187, 192, 198,
204
battle, battle field28, 42, 81, 88, 90, 160,
162164, 236
beard, bearded9, 12, 23, 24 n. 25, 35, 41 n. 8,
42 n. 19, 43, 46 n. 26, 4849, 57, 85, 97, 99,
103, 107, 114, 117119, 123, 133, 136138, 148,
150, 151, 154, 164, 166167, 171, 184185, 194,
196198, 208209, 212, 214, 217218, 223,
228, 231232
beauty167, 177, 179180, 212
Beazley6, 1112, 2223, 35, 40, 52, 69, 87, 108,
128, 184, 201, 224, 226228, 234
bed, see also couch80, 116, 119, 156, 186, 206
bellows57
Brard, C.141
Berger, E.175
Berlin Painter23, 33, 38 n. 86, 40, 43, 46,
4849, 57, 67, 69, 72 n. 11, 85, 9091, 126
birth72, 80, 85, 101, 113, 121, 163, 238
birth of Athena2, 8, 166, 168, 180, 173 n. 54,
175, 238
birth of Dionysos101
Birth of Athena, Painter of the70, 8385,
121, 180
Black Sea15, 97, 182, 192, 194, 226
bliss, state of, see happiness
blossom, see flower
body29, 33, 54, 58, 68, 138, 141, 155, 167168,
177178, 187, 201, 206, 219 n. 47, 221, 224
Boeotia, Boeotian223
Bologna87, 100 n. 52, 188
Bologna 228, Painter of38 n. 85, 72 n. 8
Bologna 322, Painter of74 n. 20
Bologna 417, Painter of118 n. 111
boots, see also sandals, shoes35, 168, 181,
183, 194, 196, 205, 214, 216
Boreas78, 84, 115, 126
Borg, B.209
boundaries, see frontier
bow24, 205
278
bowl143
box204, 224
boy, lad, see also child35, 99 n. 43, 103,
106107, 110 n. 78, 112, 113 n. 94, 116117, 119,
122123, 125, 138, 141, 143144, 146, 149, 153,
155158, 160, 171 n. 39, 187, 192, 198, 200, 234
branch, see ivy, laurel, vine2324, 2627,
29, 3132, 39, 43 n. 19, 46, 58, 63, 70, 8081,
100101, 103, 105, 108, 110, 112, 117, 127, 136,
138, 148, 176, 179, 194, 198, 204205, 229
Brauron85
bread88, 187
breast116
bride, bridegroom72 n. 15, 80, 117, 119120,
149, 156 n. 131, 183, 209 n. 91, 231
Briseis116
Briseis Painter57
Bron, C.141
brother57, 90, 95, 113, 171, 178, 195, 199, 202,
213, 219, 238
Brygos Painter5255, 57, 78, 97, 115
building, see edifice
bull77, 232
burial, see grave
Busiris74
cake, see also sweetmeats, pastries127, 143
Calame, C.120, 206
calendar2, 239
calf231
Calliope Painter196
cap, see also coif30, 93, 197
Cape Artemision78
capital180181
Capua127
caricature74, 118
Carpenter, T. H.25
Carrey, J.175
casket92
cast167, 178 n. 80
Castor84
cat105
centaur, Centauromachy13, 7778, 8081,
112
Cerberus24
Cerveteri84
chair, stool, footstool, see also diphros,
klismos58, 74, 103, 105, 135138, 140146,
152, 194, 199, 239
General
chariot, charioteer8, 17, 19, 23, 26, 3132, 36,
63, 67, 80, 193, 204, 226227, 236
Charon212
chastity, see virginity
Chicago Painter108
chignon203, 224
child, children, childhood, infant9, 51, 64,
68, 73, 80, 81 n. 55, 90, 100103, 105108,
110113, 120, 134135, 143, 149, 152153, 158,
160, 163, 170171, 189, 196, 199, 204, 214, 229,
231, 238, 241
Chiron80, 112
chiton40, 41 n. 8, 48, 70, 72, 93, 95, 114,
117118, 133134, 145, 147148, 164, 181,
183184, 194, 196, 203, 213214, 216218,
227
chlamys35, 43, 123, 154
Choes (festival)90, 141142
Choreia185
chorus42, 65, 97, 212, 217 n. 29, 234, 236
chous, choes91, 141146, 151152, 156, 187,
197198
Christ, Christian, Christianity5, 164
Christie Painter134, 154, 200 n. 59
church164
citizen3, 5, 2223, 43, 46, 49, 52, 65, 66, 72,
74, 93, 131132, 141, 148149, 155, 159, 161,
163, 174, 183, 193, 196, 199, 201, 209, 222, 233,
236240
City Dionysia, see Dionysia megala (festival)
Clio Painter108
cloak108
cloth103, 107108, 143144, 152, 160, 177, 198,
231
Codrus Painter, see Kodros Painter
coif, see also cap107, 135, 145, 148
coin, coinage171, 217218
Colmar Painter125 n. 9
column, colonnade80, 225
combat, combatant28, 36, 38, 41 n. 8, 7778,
176, 183, 217
comedy, see also theater211213
comic, comical46, 52, 68, 93, 140, 212, 229,
237238, 241
community3, 23, 179, 210, 217
Copenhagen Painter66 n. 128, 76 n. 30
Corinth205
costume49 n. 39, 52, 61 n. 99, 72, 90 n. 7,
194, 212213
General
couch, see also bed17, 25, 29, 58, 98, 101, 136,
141, 187, 192, 195 n. 33, 227
counter world2, 38, 210, 236
counterpose43, 87
countryside66
couple17, 29, 32, 36, 6970, 8081, 9899,
155, 158160, 189, 207, 211, 226
craftsman, artisan83, 143, 198
cremation127
Crete, Cretan120, 218
Crimea188 n. 15
crown106, 119, 136, 147, 149, 156, 189
cult, cultic6 n. 20, 1819, 22, 78, 97, 120121,
127, 129 n. 24, 131, 160, 161 n. 152, 171173,
175176, 217218, 220
culture, cultural, enculturation1, 4, 5, 19, 63,
88, 130131, 135, 161, 183, 223, 236, 240
cup1117, 2832, 3436, 3839, 42, 5255,
5760, 6265, 6970, 73, 76, 81 n. 55,
83 n. 62, 87, 92, 97102, 115, 118, 122 n. 2, 123,
125, 131, 141 n. 71, 146 n. 94, 157159, 161,
164 n. 17, 167 n. 27, 168, 187, 195196, 201,
203, 205, 214, 222, 234 n. 1, 235 n. 5,
237239, 241
Curti Painter159, 161, 189, 200 n. 59
Cyclades, Cycladic146 n. 93
cymbal93, 127, 160, 207
Cyprus163
Danae126
dance, dancer, dancing2, 4, 67, 1314,
1619, 2527, 29, 3233, 3839, 42, 46, 51,
57, 6061, 6567, 70, 72, 74, 77, 90, 9394,
110, 112, 123, 126, 128129, 135, 144, 147,
153158, 160, 184, 186189, 191, 196, 200,
203204, 207, 227228, 231234, 236, 239
daughter85, 170, 209 n. 91, 229 n. 83, 237,
239
Day (personification)193
dead, death8 n. 33, 13, 17, 19, 26, 28, 29 n. 49,
81, 84, 99, 101, 117, 126, 129, 144, 161, 182, 192,
202, 207, 209, 214, 224, 226, 231232, 236,
238, 240
Deepdene Painter43 n. 24, 67 n. 129
Delian Triad26
Delos, Delian163164, 172, 193, 214
Delphi95, 164, 172173, 193, 195, 214, 219, 223
Demeter110, 179, 240
democracy, democrat99 n. 45, 181
279
Demophon84
departure17, 19, 36, 69, 115 n. 102, 234
Derveni krater204, 229, 233, 240
desire158
diadem30, 54, 103, 117118, 132, 138, 147, 157,
160161, 178, 182, 192
diasparagmos231
Dikaios Painter35
dinos36, 49, 51, 85, 95, 99, 151 n. 114,
168 n. 33, 186187, 189, 192, 203
Dinos Painter101, 110, 145, 168, 184,
186188, 190, 192, 200201, 203, 207,
222223, 226
Dione189
Dionysiac woman, see bacchante, bakche,
maenad, nymph
Dionysia, Dionysia Megala, City Dionysia
(festival)66 n. 123
Dionysos Bakcheios, Dionysos Bakchos131
Dionysos Eleuthereus119 n. 116, 206
Dionysos Gigantomachos164 n. 17, 217, 223
Dionysos Kitharodos219
Dionysos Lysios175
Dionysos Meilichios81 n. 55
Dionysos Sardanapalos218, 223
Dionysos Sykeatis81 n. 55
Dionysos Tauros232
Dionysos Thriambos215
diphros, see also chair136, 141
discus28
disguise5, 213
dish38 n. 91, 127, 198
dithyrambos97
dolphin182
domestic, see house, home
donkey, see also mule38 n. 84, 196, 212, 236
door57, 155, 187
Douris52, 5759, 9798, 123 n. 4, 214,
234 n. 1, 235
drama, dramatic, dramatic contest, see also
theater, play3, 93, 116, 166, 174, 195, 206,
207 n. 82, 234, 238, 241
dress, garment192, 234
Duris, see Douris
ear158
ecstasy, ecstatic, rapture2, 6, 19, 3233, 42,
54, 66, 77, 112, 141, 160161, 188, 196,
203204, 228, 231233, 241
280
edifice, building1, 8, 103, 160, 162163, 172
education, educator81, 102, 135, 238239
Egypt, Egyptian82, 163
Eileithyia85
Eirene176 n. 67, 189, 209
Eleusis, Eleusinian, Eleusinion63, 110, 127,
175, 240
elite32, 77, 181
embrace32, 39, 93, 207
encounter, see meeting
Epaphos82
Epeleios Painter38
ependytes95, 160
ephedrismos228
epidemic195
Epiktetos3839
Epimetheus198
epiphany, sudden appearance see also
arrival35, 76, 146, 189, 211, 213, 224, 228,
236
era8, 46, 170, 175, 194, 196, 233234, 238, 240
Erechtheus180
Eretria Painter38 n. 85, 98, 143, 156, 196197,
198 n. 49, 199201, 203204, 210, 234 n. 1,
235
Eretria, Eretrian204
Ergotimos, see Kleitias
Erigone144
Erinyes160
Eris193, 202203
Eros, erotes1315, 63, 115 n. 102, 116, 118119,
145, 156, 187, 189, 192, 196, 201, 204205, 207,
208 n. 86, 221, 223227, 240
erotic, erotical56, 18, 29, 31, 70, 106, 123
n. 4, 149 n. 104, 110, 112, 161, 179, 196, 208,
219220, 224225, 236, 238240
Etruria15, 19, 22, 30 n. 50, 60, 76, 130131
Etruscan1, 28, 30, 68, 77, 78 n. 42, 84, 8687,
99 n. 46, 125, 131, 159161, 188189
Euaion Painter9798
Euandria (festival)179
Eucharides Painter51 n. 52, 52 n. 64, 67, 100,
102, 126
Eudaimonia192 n. 23, 209
Eudia192
Euergides Painter235 n. 5
Eumolpos180
Euphronios2829, 3234, 36, 39, 43, 53,
58 n. 83, 236
General
Eupolis Painter185
Euripides, Eiripides Bakchai1, 6, 9, 58, 88,
194, 199, 210215, 217, 232, 236
Europe164
Euthymides23, 28, 3335, 38 n. 91, 40, 43
Exekias22, 28, 36, 63, 122
export17, 22, 87, 125, 130, 199
face, see also frontal view26, 3132, 58, 77,
87, 94, 97, 116, 123, 147, 155, 178, 198199,
204, 214, 231232, 241 n. 14
Falaieff type227
family42, 49, 63, 80, 111 n. 89, 135, 152, 185,
199, 220, 238239
farewell126
father8, 46 n. 26, 72, 8485, 100101, 105,
111112, 119, 123, 135, 143, 149150, 158, 163,
167168, 170171, 173174, 194, 199200,
238240
fawn, fawn skin, nebris6, 27, 36, 45, 70, 93,
95, 105, 107, 148, 192, 204, 231
felicity, see happiness
feline151
fertility45, 52 n. 63, 80
ferula communis176
festival, see also Anthesteria, Apatouria,
Arrhephoria, Choes, Dionysia, Euandria,
Koureotis, Oschophoria Plynteria,
Panathenaea2, 68, 77, 83, 122123, 128,
141142, 149 n. 104, 155, 163, 166, 178 n. 79,
179, 199200, 239
fig81 n. 55
fillet, see also headband145, 150, 204
fire40, 176
fish49
Florence Centauromachy, Painter of
125 n. 9
Florence Painter38 n. 85, 70 n. 5
Florence Stamnoi, Painter of the100,
102103
flower, see also blossom23, 103, 105, 117,
205
flute, see aulos29, 3133, 51, 58, 64, 77, 93,
125 n. 9, 188
Flying-Angel Painter51, 52 nn. 53, 63
foot (of a vase)22, 28, 229
foot, feet31, 85, 95, 9899, 110, 116, 141, 151,
187, 192, 194, 203, 221
footstool, see chair
281
General
fortune, good fortune209
Franois krater42, 80, 99
frieze41 n. 8, 88, 162163, 168, 173, 175,
177180, 183, 201, 203204, 212, 217, 229, 231,
240
frog212
frontal view, full face, en face26, 32, 58, 77,
97, 123, 129, 141, 147148, 155, 198, 203, 231
frontier, boundaries2, 131, 158, 194, 232
Frontisi-Ducroux, F.128
Fufluns Pachies131, 160161
funerary, see grave
Ganymede36, 63, 99
garden78, 222, 226
garment, see dress127, 129, 134, 138, 151, 160,
214
Ge Panteleia81
gender3, 158
genitalia, genital221222
Geras Painter5152, 66 n. 124, 83 n. 62, 131,
141
giant, Gigantomachy2, 13, 36, 4142, 69, 77,
83, 88, 90, 160, 162164, 166, 176177, 183,
202, 217 n. 29, 222223, 226, 238
gift1314, 17, 22, 78, 84, 100, 143146,
149 n. 104, 151152, 189, 207, 209, 218, 223, 225
girl70, 93, 115, 118, 123, 125, 152, 160, 198, 203
glory78
goat38 n. 86, 46, 51, 57
goblet28, 214
gold, gilded143, 182, 187, 207, 217
graffiti77, 131, 160 n. 149
grain88
grape, see also treading grapes, vine3, 30,
52, 73, 88, 100, 116, 129, 146, 151, 160, 187, 189,
192, 198, 207, 214, 226228, 240
Grassigli, G. L.231232
grave, burial, funerary1314, 17, 19, 22, 84, 91,
95, 115, 125, 127, 145, 159, 161, 182, 198 n. 52,
218, 225, 229, 231, 236237
gravestone52
Greece, Greek15, 42, 88, 130, 146, 160162,
164, 168, 183, 193194, 211212, 218, 222223,
236
greave, see leg guard
Greifenhagen, A.196
grief, see mourning
griffin226227, 231
Group G226
gymnasium, see also palaestra, sport150
gyn189
Hades76 n. 26, 9899, 113, 160161, 212213,
232
hair, hairstyle24 n. 25, 30, 70, 72, 78, 93, 118,
123, 134135, 145, 147148, 150, 166168,
171 n. 43, 173, 174 n. 58, 178, 194, 200, 203,
214, 218, 224
hammer57, 228
handle (of a vase)22, 29, 33, 43, 67, 92 n. 18,
93, 114, 127, 134, 157, 191, 231
handshake194
happiness, felicity, bliss7, 13 n. 11, 19, 25,
3839, 65, 99, 181, 189190, 207210, 217,
225226, 232233, 236, 240
hare43, 72, 149, 207
harmony163, 229
Harrow Painter51, 114, 195
harvest73
hat106
headband, see also fillet147, 150, 160, 203
healer195
heaven, heavenly213, 240
Hebe192, 209 n. 91
Hector Painter148
Hedyoinos189
heel, see also foot32
Helena116, 126, 211
Helike148
Helios89, 166, 232
helmet, see also armor43, 72
Hephaistieion Painter57 n. 78
Hephaistos2, 4, 5 n. 18, 18, 38, 40, 42, 4849,
57, 63, 65, 6970, 74, 85, 90, 95, 156, 173,
175176, 188190, 196197, 199, 202, 208,
212213, 222, 226, 228229, 238
Hera36, 42, 55, 57, 98, 101, 103, 110, 179,
188189, 191192, 209 n. 91, 229 n. 83
Herakles2, 13, 16, 2324, 26, 28, 32, 3536,
46, 53, 58, 63, 69, 78, 126, 166 n. 20,
167 n. 25, 168, 195 n. 33, 204, 209 n. 91,
212213, 223, 226, 228229, 232, 236
herms52, 237
Hermes26, 35, 42, 4546, 49, 51, 59, 72,
100101, 103, 106108, 110112, 116, 140,
178180, 191192, 204205, 225, 240
Hermes Psychopompos240
282
Hermonax6970, 72, 83, 8788, 90,
100 n. 53, 102103, 111
hero, heroes, heroic9, 13, 16, 19, 25, 32, 46,
51, 63, 7778, 81, 84, 110, 120, 162164, 170,
176 n. 69, 180, 194, 204, 216, 229 n. 83, 232,
235236, 238
Herodotus1, 176, 193
Hesperides78
hetaera, hetaerae6, 30, 38, 235
hill, see landscape
Himeros192
Hippothoon140 n. 66
home, see house
Homer, homeric6, 9
homoerotic, homosexual59
hope13, 210, 213, 236, 240
Hopla80
horn, drinking horn27, 46, 54, 133, 187, 205
horse4, 9, 23, 3132, 38, 53, 166, 182,
236
house, home, domestic17, 57, 80, 128129,
135, 152, 155, 160, 184, 216, 237239
household152, 201
hunt, hunter166167
hydria, hydriae1214, 1617, 19, 27, 3435,
69, 8788, 101, 107, 118, 120, 163 n. 6,
180183, 194, 201, 214
Hypnos115 n. 102, 116
hypothesis173, 211
Ida, mount211
idol5, 17, 125, 127, 129131, 133134, 159, 184,
199, 239
Ikarios216
Iktinos8
Ilioupersis74
infant, see child
initiation221, 232
inscription, inscribe6 n. 26, 68 n. 136, 78 n.
40, 123, 145148, 150, 156, 158, 175, 189, 192,
198, 201, 209, 231
intoxication, intoxicated3, 3132, 42, 74, 95
inventor19, 129
Iolaos26
Ionian172
Iris49, 55, 84, 101, 192
island, isle84, 121
Italy, Italian1, 12, 14, 130, 87, 159, 168, 191, 223,
236
General
ivory217
ivy, see also branch23, 2627, 43 n. 19, 46,
55, 58, 63, 70, 81, 93, 97, 99, 100 n. 52, 101,
103, 105, 108, 110, 112, 117118, 134, 136, 138,
147148, 150, 156, 160, 176, 180, 192, 194,
197198, 205, 227229
Jaccottet, A.-F.175, 233
Jena Painter222
jewelry, see also necklace224
judgment192193, 202204, 211212
jug100, 143
justice195
Kadmos Painter95, 119, 151152, 156 n. 131,
171 n. 42, 173 n. 51, 190192, 191 n. 20, 195,
200202, 209 n. 91, 210, 223, 226
Kaeser, B.234
kalathos56, 78
Kallias164
kalpis, kalpides34, 55, 100, 103, 112113, 119,
201203, 205
Karlsruhe Painter83 n. 62
Kekrops180181, 183
Kephalos126
Kerameikos1, 19, 30, 40, 87, 90, 93, 125, 130,
161, 201, 235
Kerch, Pantikapaion, Kerch style110, 182,
192, 194, 205, 222
kerykeion4546, 59, 106
kid35, 100
kithara2324, 36, 49, 80, 90, 106, 191
Kleisthenes66
Kleitias, see also Franois krater6, 80
Kleophon Painter29 n. 48, 88 n. 3, 95, 97,
138, 167, 184, 190
Kleophrades Painter23, 33, 40, 4243, 55,
57, 67, 69, 7678, 81, 83 n. 62
klismos, see also chair137138, 141152, 198
Knauer, E.123
knoll, see landscape
Kodros Painter86 n. 73, 9899, 141 n. 71, 157,
167 n. 27, 168 n. 37, 187, 195196
Komos99, 149, 156157, 189
komos, komast1314, 16, 29, 35, 5354, 57,
90, 92, 9495, 97, 125 n. 9, 126, 155, 201,
234238
kottabos2930
Koureotis (festival)123
General
krater, bell krater, calyx krater, column krater,
volute krater5 n. 18, 6, 1117, 2830, 32,
38 n. 85, 4042, 46, 4849, 57, 6061 n. 99,
6970, 7274, 8081, 83, 84 n. 71, 88, 90,
9293, 95, 97, 99101, 103, 105108, 110 n. 79,
111112, 113 n. 94, 117, 119, 123 n. 7, 125 n. 9,
127, 131, 132 n. 42, 134 n. 48, 136, 137 n. 59,
138, 140, 146147, 149156, 158161,
168 n. 33, 170171, 173 n. 51, 187189, 191192,
195, 198, 200 n. 59, 201202, 204205,
207209 n. 91, 210, 215, 218 n. 36, 222223,
226229, 231234, 236241
Kratinos, Kratinos
Dionysalexandros211212
Kronos170
krotala2426, 29
Kybele160
kymbalon, kymbala see cymbal
Kyrenaika226
laborer83, 199
landscape, hill, knoll87, 100, 152, 200, 207,
209, 224, 231
laughter212
laurel, see also branch143, 194, 198, 202, 204
law, lawful111, 121, 193
LC Group223
Leagros29
lebes, lebetes184, 201
leg29, 137, 167168, 204, 231
leg guard, see also armor72
leggings, trousers192, 212
legitimacy, legitimate, legitimization51,
111112, 120, 180
lekanis, lekanides110, 171 n. 42, 180,
202203, 207, 214215 n. 22
lekythos, lekythoi1617, 19, 69, 72, 74 n. 24,
91, 101, 115116, 125, 131, 200201, 203, 205,
210, 236
Leningrad Painter72
leopard, leopard skin58, 72
Leto49, 80
Lewis Painter118, 137, 138 n. 63, 142 n. 76,
195, 238 n. 9
libation23, 45, 66, 122123, 127, 146, 151
lid110, 127, 180, 204, 212, 214215 n. 22
283
lightning180, 183
liknon160, 198
lion, lioness, lion skin23, 28, 31, 72 n. 11, 160,
177, 188189, 213, 228, 232
Lissarrague, F.158
locks, see hair119, 174, 205, 213214, 227
Lokri161 n. 151
Louvre G 238, Painter of52 n. 54
love, lover43, 57, 113, 115 n. 102, 116, 120,
135 n. 53, 149 n. 104, 150, 158, 168, 175, 205,
212, 223, 226, 238, 240
louterion18
loutrophoros69, 184, 201
Lydos22, 31, 40
lyra29 n. 48, 35 n. 74, 92, 102, 151, 154, 173,
186, 189, 204, 207
Lysikrates174
Lysippides Painter2224
Macedonia, Macedonian180181, 226
mad, madness66
maenad, see also bacchante, bakche,
Dionysiac woman6, 1418, 2527, 29,
3132, 36, 3839, 42, 48, 5455, 57, 6061,
64, 6667, 6970, 72, 74, 7778, 90, 93, 95,
9798, 108, 112 n. 90, 131, 141, 148, 151, 153,
180 n. 89, 184, 189, 200202, 204 n. 71,
215217, 227228, 231233, 241
Magna Graecia15
Maia201 n. 62
Mainas153, 185
Makaria201 n. 62, 209210
Makron52, 55 n. 74, 60, 6264, 70, 81 n. 55,
88, 9798, 100103, 111, 125, 203, 234 n. 1, 235
man, men, manhood35, 9, 12, 16, 23, 35, 38,
43, 49, 51, 57, 60, 68, 73, 85, 90, 97, 99, 103,
106, 115, 118, 123, 125, 129, 143144, 149150,
152153, 158, 160, 166168, 179, 182, 184185,
192, 196197, 198199, 206, 214, 227229,
231235, 237239, 241
Mannerists, early87, 90, 118, 120
mantle12, 95 n. 25, 97, 111 n. 88, 138, 234 n. 3
manuscript1
Marathonian bull77
market12, 28, 30, 87, 125, 199, 227, 235
Maroneia171 n. 43
284
marriage, wedding2, 36, 51, 8081, 99100,
113, 116, 118120, 141, 155, 184, 187, 196, 202,
205, 238
Marsyas148, 153, 171, 191192, 202
Marsyas Painter145
mask18, 65, 127, 129, 198200, 237, 239
matrimony99, 120
mattress156
meal52
medallion, tondo29, 38, 5354, 5758,
6061, 64, 73, 83 n. 62, 9799, 115, 122123,
157, 231232
meeting, encounter5, 19, 2324, 5657, 60,
65, 67, 6970, 88, 113, 120, 122, 141, 173, 192,
197, 224225 n. 70, 232, 234, 236, 240
Meidias Painter143144, 195, 198, 201204,
207, 214
Meilichios, see Dionysos Meilichios
Meleager Painter152, 222
Menelaos116
messenger84, 111, 178179
metamorphosis129, 141
metaphor, metaphorical17, 84, 126, 137, 225,
232, 236, 240
Methyse Painter131 n. 36, 134, 154, 170171
n. 39
metope87, 162, 164, 166, 177179, 183,
216217
military77, 163, 238
Minotaur16, 77, 81
mirror168, 204, 217
mold182, 214
monosandalos233
monument, monumental9, 87, 174, 183, 195,
212, 217220, 226, 233 n. 98, 237
mortal78 n. 33, 36, 49, 51, 80, 100, 151, 170,
205, 224, 235, 238
mother16, 80, 85, 112, 135, 189, 213, 237238
mountain45
mourning, mourner, grief78, 140 n. 66, 188,
236
mouth30, 237
mouth (of a vase)22, 83, 229, 231
mug161
mule, see also donkey1819, 38, 46, 48, 74,
90 n. 7, 95, 118, 156, 188, 192, 196197, 199,
212, 229, 236, 238
multiformity, see polymorphism218, 220
Munich 2676, Painter of52 n. 64
General
Munich Amphora, Painter of the48 n. 38,
7778
Muse49, 102, 108, 135, 203
music, musical, musician7, 2324, 29, 31, 34,
36, 40, 43, 46, 51, 54, 57, 70, 74, 77, 83, 103,
108, 125, 133, 135, 153, 160, 173 n. 54, 188189,
191, 194, 200, 202203, 209, 223, 239
myrtle231
Myson48 n. 38, 51, 52 n. 63, 67 n. 131
mystery, mysteries110, 160, 179, 240
myth, mythic, mythology, mythological2,
47, 1215, 19, 23, 28, 35, 42, 46, 5153, 55,
5758, 65, 69, 72, 77, 8284, 86, 88, 90, 93,
95, 98, 101103, 110113, 115, 119122, 126, 149,
152, 158, 163, 168, 171173, 176, 181, 183, 185,
189, 194, 196, 198 200, 205, 207209, 216, 218,
222223, 229, 234236, 238239 n. 10, 241
Nachleben213
naked, see also nude89, 30, 35, 38, 43, 74,
103, 110 n. 78, 114, 116, 123, 148, 151, 155, 164
n. 17, 167, 170, 174, 188, 198, 204205, 207,
214, 217, 220, 223, 225226, 231
nature35, 46, 88, 93, 100, 102, 105106, 135,
186, 236, 238
Nausikaa Painter100, 105, 111 n. 88
Naxos121, 171
nebris see fawn skin
necklace, see also jewelry224
necropolis90, 95, 117, 159, 180, 182
Neils, J.168
Nemean lion23, 28
newborn, see baby135, 153
Nietzsche, F.171, 173
Night (personification)193
Nike13, 15, 49, 63, 76, 85, 106, 151, 180,
182183, 192, 215
Nikosthenes Painter31, 39, 59
Nikoxenos Painter51 n. 51
Niobid Painter63, 76, 8788, 90, 93, 118, 120,
138 n. 59, 195
Nola117
nothos, nothoi49
nude, nudity, see also naked167168, 177,
201, 218
nurse77
nymph see also Dionysiac woman6, 51, 57,
6061, 64, 78, 100103, 105106, 111112, 135,
149 n. 104, 160, 180, 200, 205, 238
General
Nymphaia66, 78
Nymphaion97
Nymphe201 n. 62
Nysa, mount100, 102103, 110
Nyx116
Oedipus Painter59 n. 87, 83 n. 62
offering91, 187
oikos80, 98, 103, 238, 241
oil22, 83
Oinanthe189
oinochoe, oinochoai5 n. 18, 12, 24, 4546,
60, 6970, 9092, 107, 118, 120, 133, 135, 140,
146148, 150151, 155156, 187, 201, 225 n. 70
Oinopion122, 125, 192
ointment205
Okeanos8182
oligarch, oligarchy181
olive179, 181182
Oltos32, 36, 38, 42, 46, 126, 235 n. 5
Olympia87, 168 n. 34, 171, 217
Olympus, Olympian, Olympic2, 4, 3536,
38, 40, 42, 49, 63, 69, 99100, 163, 175 n. 60,
177, 196, 202, 209 n. 91, 212213, 220, 238
Olynthos226
omphalos193194
Onesimos5253, 55 n. 74
Opora189, 192
Orania150
Orchard Painter73 n. 17
Oreias192 n. 23
Oreimachos45
Oreithyia72, 78, 84, 126
Oreithyia Painter41 n. 8, 72, 7677
Orestes126
Oriental, oriental202, 208, 212
oriental dress192, 212
Orochares45
Orpheus Painter74 n. 23
Osborne, R.177
Oschophoria (festival)122 n. 2
painting, monumental painting, wall
painting87, 119 n. 116, 212 n. 6, 218, 233
n. 98, 235
pais amphithales116
palaestra see also gymnasium, sport106107
palm192193
palmette102
285
Pan14, 224
Pan Painter63, 72 n. 12, 116117, 136
Panathenaea (festival)83, 179
Panathenaic prize-amphora, Panathenaictype amphora40, 43, 46, 7677, 83, 163,
175, 179
pantheon162
panther, panther skin40, 48, 54, 63, 8182,
90, 93, 164, 167, 177, 180181, 183, 189, 205,
207, 214, 224, 227228, 231, 240
Pantikapaion, see Kerch
papyri1
Paradise, paradisiacal207, 233
parasol128
Paris Gigantomachy, Painter of the42 n. 19
Paris, Paris-Alexandros, DionysosAlexandros192194, 202204, 211212
parody213, 237 n. 7
Paros110 n. 79
Partheneia116
Parthenon89, 88, 95, 110, 113, 150, 157,
161164, 166168, 170177, 179184, 187, 189,
195196, 199, 201, 205, 212, 217, 221, 223225,
227, 239
pastries, see also cake, sweetmeats127, 143,
146
Patroklos78
patron, patroness8, 23, 80, 119, 163, 170, 232,
239
Paul-Zinserling, V.222
Pausanias9, 119 n. 116, 218
pax atheniensis164, 166
peace, peaceful63, 69, 164, 174177, 179, 181,
189, 192, 194, 203204, 209, 217, 225,
231232, 240
pedestal18, 192
pediment8, 87, 95, 110, 150, 162164,
166168, 170171, 173184, 189, 195196
n. 40, 205, 212, 214, 217, 219, 225, 227,
239240
Peisistratos36
Peitho157158
Peleus2, 36, 51, 80, 100, 115, 117 n. 108, 126,
202, 238
pelike, pelikai43 n. 24, 5152, 60, 63, 6770,
72, 8385, 87, 95, 100, 105, 107108, 110112,
121, 132 n. 42, 136137, 167 n. 27, 180, 184, 195
n. 33, 201, 208 n. 87, 223 n. 64, 226, 234, 237,
241
286
Pella163 n. 6, 180183, 205
Peloponnesos, Peloponnesian12, 84, 87, 194,
213, 217
Penthesilea Painter87, 98, 123
Penthesilea Workshop118, 235 n. 5
Pentheus29 n. 49, 58, 171, 201202, 204,
213214, 215, 217
peplos70, 147, 149, 157, 178 n. 79
perfume17, 83, 144
Pergamon183, 217
Perikles9, 111, 166, 171173, 176177, 212, 238
Periklymene201 n. 62
Persephone9899, 110, 160
Perseus126
Persia, Persian12, 42, 63, 78, 81, 87, 163164,
171, 177, 238
personification116, 180 n. 89, 183, 209
persuasion158
Pethon157158
Phaidrosbema216
phallus, ithyphallic2931, 49 n. 39, 5253,
61 n. 99, 90 n. 7, 136, 159, 161, 231
Phanagoria188 n. 15
Pherekydes120
phiale99, 103, 156, 160, 176, 190
Phiale Painter108, 131, 134, 140141, 150, 153,
190, 234 n. 1
Phidias89, 95, 150, 163, 168, 171, 173 n. 55,
176, 217, 221
Philyra80
Phintias32
Pig Painter74 n. 20
piggyback23
pillar65, 98, 102103, 127, 134, 160, 184
pillow30, 116, 118, 156
Pistoxenos Painter98
pitcher51, 66, 90
pithos, pithoi73
plague195
plait168
plant81, 153, 228, 240
plate146
Plato176
play, playful, satyr play see also theater4
n. 13, 5, 23, 27, 30, 42, 46, 49, 5152, 56,
6566, 111112, 135, 149, 153, 158, 161, 174,
177, 189, 205, 207, 209, 211214, 240
General
playing of an instrument23, 2935, 45, 54,
5758, 64, 69, 70, 77, 90, 9293, 97, 106,
110118, 123, 125 n. 9, 133, 147148, 150151,
153154, 157, 160, 186, 189, 191, 203, 207, 237
plemochoe205
Plutarch164 n. 11, 195 n. 34
Plynteria (festival)178 n. 79
Pochmarski, E.167168
podium187, 189, 207
poetry68, 237
polis1, 3, 8, 2223, 38, 40, 66, 68, 77, 80, 85,
88, 93, 99, 112, 120121, 135, 152, 158, 162, 177,
180181, 183, 196, 199, 210, 212213, 217, 222,
233, 237241
Pollux84
Polygnotos93, 95, 119, 138, 146, 148, 150,
154156, 159, 195
polymorphism, multiformity195, 218, 220
polytheistic110, 162, 241
Pompe145
Pophs157
Poseidon3536, 42 n. 19, 49, 63, 77, 8485,
98, 100, 113, 119120, 126, 163, 173, 180183,
195
Poseidon Hippios181
Posthon153, 158
Pothos158, 192
Pothos Painter146, 151152, 171 n. 42, 195
potter19, 28, 53, 66, 99
Pourtals Painter228 n. 82
Praschniker, C.164
Pratinas65
Praxiteles218220, 223
precentor97
pregnancy111, 218
prince, princess78, 120, 211212
procession, see also thiasos2728, 31, 35, 46,
57, 61, 72, 74, 90, 95, 99, 123, 125, 127, 133,
137138, 145, 153, 157, 160, 163, 170, 175,
177179, 181, 184, 187, 190, 209, 218, 239
Prometheus176, 198199
Pronomos Painter180, 201, 205, 207208,
222, 226
prototype, prototypical1213, 65, 86, 158,
210 n. 92, 220
Psiax24, 26
psykter29, 30 n. 50, 35, 42, 58 n. 83, 59
General
punishment58, 201202, 213, 217
pursuit18, 84, 90, 113, 115, 117, 120, 126, 192
pyramid205
pyxis, pyxides201, 204, 212 n. 4, 232 n. 93
quadriga49, 69
quiver24
ram46
rapture, see ecstasy19, 32
reception, ritual of146, 151, 173 n. 51, 187
reconciliation42, 181, 213, 229
referee, adjudicator106, 213
reigns31
rejuvenation150
relief (bas relief)1, 30, 182, 214217, 229
religion5 n. 14, 8 n. 33, 128
retinue2, 3, 7, 14, 1718, 28, 38, 69, 76, 90, 95,
152, 176 n. 67, 201, 208209, 217, 222223,
239, 241
revival184
revolution239
rhyton, rhyta54
ribbon87, 224
rider236
ritual3, 57, 1718, 39, 42, 52, 60, 64, 6768,
70, 72, 74, 84, 88, 9093, 95, 97, 111, 113, 116,
118119, 122123, 125135, 137, 140146, 149,
151153, 155, 158159, 161, 170, 176, 178179,
184187, 189190, 196, 198200, 206207,
209, 218, 234, 236, 239240
rock106108, 116, 186, 197
Rome, Roman1, 1314, 94, 220, 222, 224, 226,
232 n. 97
Ruvo57, 191, 205, 209 n. 91, 210
Sabazios160
sacrifice, sacrificial88, 95, 100, 129, 145, 209
sacrilege52, 67
safety valve3, 174
saffron213
salute, gesture of29, 32, 42, 60, 92, 197
sanctuary, temenos17, 85, 103, 127, 166, 172,
175, 187, 192195, 215, 217219 n. 47, 222, 226
sandals, see also shoes, boots38, 116, 145, 192
Sappho, Sapphic56, 93
sarcophagus, sarcophagi13 n. 11, 187 n. 12,
224, 232 n. 97
287
satyr47, 1319, 2336, 3843, 4546, 49
n. 39, 5161, 6470, 7274, 7778, 90, 9293,
95, 9799, 101, 107108, 110, 112, 117119, 122,
126, 131132, 134138, 140141, 146158, 161,
171, 184, 186189, 191192, 194, 196197, 200,
203205, 207209, 211, 223225, 227228,
231234, 236239, 241
satyr play, see also theater4 n. 13, 42, 46, 49,
56, 6566, 70, 77, 111112, 135, 153158, 174,
207, 209
scene house, see also theater (building)216
scepter49, 81, 102103, 105, 160, 183
Scheibler, I.2223, 83
sculpture, sculptor, sculptural1, 89, 13, 88,
95, 162163, 167168, 177, 195, 214, 217218,
221223, 237 n. 8, 240
Second World War200
seed22
Seilenos, Silenos see also Silenus192, 201
n. 62, 208
Selene8, 166, 193
Semele8 n. 33, 1617, 36, 80, 101, 192, 210
Semele Painter101
servant28, 32, 137, 140, 212
severe style87
sex, sexual, sexuality46, 6566, 77, 114, 135
n. 53, 141, 161, 228
Shapiro, H.A.8384
shawl118
sheath231
shepherd211212
shield, see also armor43 n. 19, 182
shin guard, see leg guard43
shoes, see also boots, sandals134
shoulder18, 29, 31, 35, 43, 57, 70, 72, 105, 117,
123, 127, 138, 140, 149, 189, 191, 204, 224, 228,
231
shoulder (of a vase)34, 7778, 81, 93, 161,
231232
Shuvalov Painter141, 152, 195
Sicily14
sidesaddle42
sieve161
Sikinnos192
Sikyon218
Silenus107108, 111112, 158
Simos192
Siphnos, Siphnian41 n. 8
288
Siphnian Treasury164
sister85, 237
skin, animal skin6, 31, 40, 48, 57, 70, 72, 93,
95, 105, 110, 118, 134, 145, 148, 167, 177,
183184, 203, 213214, 216217, 224,
227228, 232
skopeuma137, 189
skyphos30, 35, 63, 88, 118, 123, 129, 135138
n. 63, 142 n. 76, 198, 238 n. 9
slave3, 213
sleep, sleeper, sleeping18, 55, 115 n. 102, 116,
119 n. 116, 231233
Smikros3233, 43
smith40, 42, 74, 197
snake25, 31, 36, 39, 42, 54, 93, 160161, 164,
182, 189, 231
Solon171
son49, 80, 84, 110112, 122, 126, 135, 158, 168,
170171, 173, 189, 202, 239240
song80, 237
Sophilos36, 51, 8081, 99, 238
Sophokles, Sophokles Dionysiskos76, 111
n. 89, 173 n. 52, 206 n. 81
Sosias36, 38 n. 91, 63, 99
Soteles153
soul, see also Hermes46, 111, 179, 240
Southern Italy, see Italy14, 168, 191, 223
Sparta164, 172, 181, 211
spear, see also armor43, 115, 182, 231
sphyrelaton, sphyrelata218
Spina15, 87, 90, 159, 161, 189, 207, 226
spit192
Splanchnopt Painter235 n. 5
sport, sporting, see also gymnasium,
palaestra43, 57, 77
spouse8, 99, 113, 167168, 195
spring52, 146, 155
staff168
stage, see also theater3, 72, 106, 158, 190,
210211, 213214, 216
stamnos, stamnoi29, 32, 40, 42, 46, 49, 57
n. 78, 60, 69, 81, 83, 90, 9295, 100, 103, 112,
125135, 146, 148, 153, 159, 184185, 190,
199200 n. 59, 239, 241
stand, ring stand38 n. 91, 76, 80
statue, statuette52, 168 n. 34, 171173 n. 55,
176, 215, 217218, 220, 226
status3, 22, 36, 49, 68, 99, 123, 149, 189, 203,
237
General
stick35, 43, 48, 92, 103, 110, 123, 138, 141, 155,
187, 234
stool, see chair143
street35
strife193194
strigil150
struggle, see also combat163, 239
Sub-Meidian Cup-Group235 n. 5
sweetmeats, see also cake, pastries146
swing123, 143144, 146, 198199, 207
sword, see also armor24
Sykeatis see Dionysos Sykeatis
Syleus Painter51, 7677, 84 n. 71, 100, 102,
113114, 116, 119, 195
symposium, symposiast3, 6, 1214, 1617,
19, 2426, 2830, 32, 34, 3840, 4243, 46,
51, 5354, 5759, 6162, 65, 6869, 76 n. 29,
9091, 9495, 9799, 125127, 131, 136, 141,
149, 157, 159161, 167, 174, 186, 195 n. 33, 201,
226228, 234, 236238, 240241
Syracuse Painter74 n. 20
Syriskos51, 6667 n. 129, 76, 78, 8082, 85,
99, 117 n. 108, 126, 131 n. 36
table103, 127, 129, 134, 143144, 146, 198
tablet, gold tablet207
taboret103
tail4, 58, 158
Tarquinia171
Tarquinia 707, Painter of38 n. 85, 84 n. 71
Telephos217
temenos, see also sanctuary166, 176
temple8, 13, 76, 87, 103, 110, 119 n. 116, 162,
171, 176177, 183, 195, 212 n. 6, 214, 217, 219,
225, 237 n. 8, 240
thalamos187
Thaleia185
thallophoros179
Thasos216
thai179
theater (building)166, 174, 176, 216, 217218
theater, drama, see also play68, 72, 110, 166,
176, 179, 213, 216, 241
Thebes176 n. 66, 194, 213
Themis81, 193, 202
Theseus16, 51, 7778, 81, 84, 113, 116, 118121,
126, 162, 171
Thespis214
Thessaly218
289
General
Thetis2, 36, 51, 80, 99100, 117 n. 108, 126,
202
thiasos, see also procession6 n. 20, 7, 14, 18,
2829, 3132, 3536, 3839, 4243, 48,
5354, 57, 6062, 6566, 6970, 74, 7778,
84, 88, 90, 93, 95, 9798, 112, 131, 134, 146,
150151, 158, 160, 176, 188189, 196197, 200,
208209, 219, 232, 236, 240
thigh72, 101, 103, 221, 231
Thrace218
threshold155
throne, enthroned, dethroned42, 57, 63, 84,
103, 141, 159161, 170, 217
Thyone192
thyrsos6, 29, 3132, 36, 43 n. 24, 48, 58, 66
n. 126, 6970, 72, 80, 9193, 95, 97, 100
n. 52, 103, 107108, 110, 117119, 133134,
137138, 140141, 145, 147148, 150151,
153154, 156157, 160, 164, 168, 176, 178, 187,
190192, 196197, 202205, 207, 224, 228
Tithonos126
tondo, see also medallion29, 38, 54, 5758,
6061, 83 n. 62, 115, 122123, 157
tongs197, 228
torch5 n. 18, 7, 38 n. 85, 49, 52 n. 64, 67,
6970, 74, 80, 88, 9093, 97, 123, 133, 135,
137138, 147148, 153155, 157, 181, 184,
190191, 196, 200, 207, 227, 239
tortoise-shell173
Trachones145, 151152, 187
tragedy, tragic, see also theater9, 144,
149 n. 104, 192, 216, 236
Tragoidia149 n. 104
trainer106
transition, transitional23, 80, 145, 149, 163,
176 n. 69, 187, 225, 233, 235, 239
transport22, 53, 73, 176
traveler213214
treading grapes73
treasury163164, 172
tree81, 100, 181182, 192193, 203
trident49, 85, 182
tripod192
Triptolemos63, 88
Triptolemos Painter59, 76 n. 26, 122123,
125
Triton180
trousers, see also leggings192
Troy, Trojan, Trojan War51, 116, 162163,
193194, 211212
truce164
twig, see also branch144
tympanon93, 95, 150, 160, 184, 187188, 194,
203204, 227228
tyrannicides81
tyrant126
Tyrrhenian Sea9, 87
Uranos170
urn84, 95, 125, 127, 129, 182, 229
utopia189, 240
vegetation4, 161 n. 152
veil117
Versnel, H.S.194
victory, victorious2, 63, 78, 81, 87, 103, 111,
180, 183, 206207 n. 82, 217, 223, 234
Vienna 3717, Class of52 n. 61
Vienna 895, Group of83 n. 62
Villa Giulia Painter87, 90, 106, 108, 111112,
123 n. 7, 129131, 153, 158
vine, see also branch18, 2324, 27, 29, 3132,
39, 100, 116, 176, 192, 216, 228, 231
virginity, chastity80, 116
visit, visitor142, 144, 152, 170171, 179
voyage17, 19
Vulci76, 84, 130131, 160
waking up, awakening231233
war, warfare, warrior1213, 16, 32, 36, 38,
4243, 51, 54, 57, 63, 77, 84, 87, 98, 116, 126,
163, 171, 173, 193194, 200, 212213, 217, 234,
238, 240
water11, 34, 52, 78, 182
wax229
wedding, see marriage8081, 99, 119, 141,
184, 187, 205
wedlock (out of)111, 135
wellbeing209
wife, see also spouse211, 239
wild, wilderness19, 66, 8182, 105, 112, 135,
149, 216, 224, 226, 241
290
window241
wine, wine sack25, 11, 16, 22, 24, 28, 2930,
33, 3940, 43, 49, 51, 66, 7374, 76 n. 29, 81,
88, 127, 129, 135, 137, 140, 146149, 151,
153154, 160, 184, 223, 226, 232, 239, 241
wing, winged figures63, 115 n. 102, 143, 192,
196, 224, 227228
witness8, 234
woman, women38, 1219, 2324, 2728,
30, 3435, 39, 43 n. 24, 49, 52 n. 64, 5658,
60, 6364, 6670, 7274, 76, 78, 80, 83, 85,
88, 9093, 97, 100, 102103, 105108, 110,
112119, 122123, 125129, 131135, 137138,
140142, 144160, 171, 176, 182184, 187189,
191194, 196201, 203205, 207209,
215217, 224226, 228229, 231, 234241
workshop24, 118, 141, 152, 156, 180, 191, 201,
222223
wreath24, 30, 61 n. 99, 80, 93, 99, 100 n. 52,
103, 107108, 110 n. 79, 112, 118119, 134, 136,
143145, 147148, 150, 153154, 160, 180, 187,
189, 192, 194, 197198, 216, 224, 227228, 231
General
Xanthias212213
Xenokles214
xoanon, xoana218
youth, adolescent9, 12, 1516, 29, 33, 38, 51,
60, 72, 77, 85, 90, 95 n. 25, 97, 99, 108, 110
n. 78, 111 n. 88, 123, 125, 138, 151153, 166, 168
n. 32, 198, 205, 221, 234235
Zagreus110
Zeus2, 8, 36, 42, 49, 51, 57, 63, 84, 87, 98102,
105, 110113, 115, 120, 126, 135, 160, 163, 168,
170171, 173, 175, 180, 202, 214, 217, 220,
229 n. 83, 238240

Dionysos in Classical Athens

Uploaded by

Copyright:

Available Formats

Dionysos in Classical Athens

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Dionysos in Classical Athens

Uploaded by

Copyright:

Available Formats

Dionysos in Classical Athens

The titles published in this series are listed at brill.com/rgrw

Dionysos in Classical Athens

Erlenbach (Zrich), June 2014

Black-figure lekythos, Athens, National Museum 615 (Haspels 1936,

Calyx krater, Kleophrades Painter, Harvard Art Museum,

Cup, Douris Paris, Bibliothque Nationale de France, Cabinet des

Calyx krater, Niobid Painter, Ferrara, Museo Archeologico

Bell krater, Altamura Painter, Ferrara, Museo Archeologico

Cup, Makron, Berlin F 2290 (Frickenhaus 1912, 6 and 7)

Calyx krater, Polygnotos group, Copenhagen, The National

Parthenon, east frieze, detail with Hermes, Dionysos, Demeter, and

Volute krater, Pronomos Painter, Naples, Museo Archeologico

J.D. Beazley, Paralipomena. Oxford 1971

koninklijke brill nv, leiden, 5|doi .63/9789004270121_002

Dionysos in 6th-Century Imagery

1 Isler-Kernyi 2007, 215 f.

dramatic performancespresented an opportunity for ritually controlled

Dionysiac Subjects in Red-Figure Pottery

koninklijke brill nv, leiden, 5|doi .63/9789004270121_003

Dionysiac Subjects In Red-figure Pottery

Dionysiac Subjects In Red-figure Pottery

Dionysos for Athens, Dionysos for All

koninklijke brill nv, leiden, 5|doi .63/9789004270121_004

Dionysos For Athens, Dionysos For All

Most late black-figure Dionysiac representations are found on lekythoi. This

4 Similarly van de Put 2009, 39 f.

9 Isler-Kernyi 2004a, 50.

Dionysos For Athens, Dionysos For All

Dionysos For Athens, Dionysos For All

Black-figure kalpis, Hamburg, Museum fr Kunst und Gewerbe 1908.253 (cva

Dionysos For Athens, Dionysos For All

Bilingual belly-amphora, Andokides Painter, Bologna, Museo Civico Archeologico, 151.

Dionysos For Athens, Dionysos For All

shows Dionysos reclining on the symposium couch, with a dancing satyr on

Bilingual belly-amphora, Psiax, Munich, Staatliche Antikensammlungen und

Dionysos For Athens, Dionysos For All

Bilingual belly-amphora, Munich, Staatliche Antikensammlungen und Glyptothek,

31 Munich 2300: Addenda 151 (11.1); ba 200000.

Dionysos For Athens, Dionysos For All

a mushroom-shaped type of wine cooler, which was only produced between

Dionysos For Athens, Dionysos For All

Dionysos For Athens, Dionysos For All

two gesticulating satyrs.62 Finally, we find Smikros signature on an incomplete

62 Louvre G 43: Addenda 154 (20.2); ba 200103.

figure 13 Belly-amphora, Euthymides, Munich, Staatliche Antikensammlungen und

also be discerned in the work of Euphronios.68 It will be further discussed in

Dionysos For Athens, Dionysos For All

among members of his thiasos.73 Because of his seated posture, he cannot be

introduced as an allusion to the career of Peisistratos: Exekias had already

Dionysos For Athens, Dionysos For All

84 The combination satyr-donkey frequently occurs, see Lissarrague 2013, 130.

Dionysos For Athens, Dionysos For All

a cup by Epiktetos the satyr is combined with Dionysos.92 The Nikosthenes

92 Whereabouts unknown: arv 78.98; ba 200626.

All Kinds of Satyrs

The First Decades of the 5th Century

The great significance of Dionysiac imagery becomes strikingly evident when

1 Munich 8732 (2344): Addenda 186 (182.6); ba 201659.

koninklijke brill nv, leiden, 5|doi .63/9789004270121_005

1 Isler-Kernyi 2007, 215 f.

4 Similarly van de Put 2009, 39 f.

9 Isler-Kernyi 2004a, 50.

31 Munich 2300: Addenda 151 (11.1); ba 200000.

62 Louvre G 43: Addenda 154 (20.2); ba 200103.

84 The combination satyr-donkey frequently occurs, see Lissarrague 2013, 130.

92 Whereabouts unknown: arv 78.98; ba 200626.

1 Munich 8732 (2344): Addenda 186 (182.6); ba 201659.

9 Louvre G 162: Addenda 187 (186.47); ba 201699; Huber 1992, 64.

36 Formerly Castle Ashby: Addenda 194 (208.145); ba 201964.

46 Isler-Kernyi 2007, 75.

66 Boardman 1975, 133.

68 Boardman 1975, 135.

72 Warsaw, ex Goluchow 119: Addenda 228 (382.185); ba 204084.

89 Boardman 1975, 139 f.

133 Lindblom 2011, 158 f.

7 St. Petersburg 727: Para 512 (486.45); ba 205428.

6 Cab. Md. 460: Addenda 267 (606.83); ba 207024.

50 See above Chapter 4, note 47.

54 Boston 95.39: Addenda 255 (533.58); ba 206036; Zanker 1965, 80.