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From Haán lived in Rome but in returned home for a brief period when he sold his collection to the Gyula Museum; he later returned to Italy and died on the island of Capri. There are no records of the source of the fragments, but they must have come originally from one of the Etruscan cemeteries, such as Cerveteri or Vulci, and passed into the Roman antiquities market in the middle of the nineteenth century.
To appropriate and abuse a phrase from one of the seminal works pénisz az öntödén Claude Lévi-Strauss, as many others have done in different contexts, fragments are good to think with—but before we think, we must look, and look very closely. It is a lively affair. One fragment inv.
Munkás, öntés, molten fém, alatt, öntöde
A second fragment inv. All three figures lean against partially inflated wine-skins, which we sometimes find being used as cushions instead of the more usual cushions with decorative woven covers.
The central auletes figure A 2 has a himation wrapped round his legs and wears soft shoes; the krotala player figure A 3 is naked, his penis is infibulated;3 the figure on the far left figure A 1 wears a himation with a black selvedge. Between the auletes and the krotala player is a suspended basket, while between the legs of the left hand figure and the handle is an aulos case sybene and in the background behind the high-kicking symposiast is part of a knotty stick.
The other side of the cup is even less well preserved. On the far left of the third fragment inv.
A görbe pénisz egy betegség
Between this youth and the central figure is a straight stick with its T-shaped top. Of this central figure only part of the right shoulder and raised arm is preserved figure B 2. His head was turned to the pénisz az öntödén and in front of the small section of the back of his neck that is preserved pass two lines that very probably formed part of the trailing tail of a plain cloth hair-band.
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A final, small fragment inv. Below these symposiasts runs a zone of vessels and other objects, all done in black silhouette—a cup, a taller vessel, perhaps a skyphos, a pair of soft shoes and, on the second fragment, what seems to be a bell- shaped krater but was probably rather a skyphos.
Very little remains of the scene on the interior of the cup other than a double reserved line border that once surrounded the tondo scene fig.
Nevertheless, on the extreme lower right a vertical leg of a couch kline can be made out and a horizontal element of a table trapeza underneath it, from which hang three red blossoms, parts of garlands that were draped over it in a fashion to be found on many other contemporary depictions of symposia.
On the other fragment there is a touch of a plain stick which must have leant against the border.
The scene was then a further excerpt from the symposium and will most probably have shown a single reclining banqueter. The interior scene secures the arrangement of the fragments set out above. Tragemata delicacies or dorpa snacks were also served to chew on while the symposiasts drank, played music, sang, told riddles, talked and amused themselves with the other guests.
The way that the iconography of the figured scenes on Athenian pottery appears to be socially coded encourages a careful examination of even the smallest details in the anticipation that they might help to broaden our understanding of sympotic activities, provided we remain aware, on the one hand, of the likelihood of their semantic polyvalence and, on the other, of the unlikelihood that images on vases are ever exact records of moments in Athenian life.
Ezek is érdekelhetik
Such circumspection is, of course, also necessary in the handling of the literary sources which present contextual difficulties whether the result of date or ideology.
If we turn now to the Budapest fragments, how can we begin to explain and supplement what we have seen? Firstly, we should note that the lost symposiast on the interior must have been reclining on a couch, a table beside it, while those on the exterior, who would all seem to be males, are shown reclining directly above a reserved strip on which appear, in silhouette, some of the regular parapher- nalia of the symposium that are normally pénisz az öntödén either on the tables or on the ground, vessels and shoes.
There has been much recent scholarly discussion as to whether symposiasts that do not recline on 25 couches might be part of outdoor events. When it is simply a matter of an absence of couches, however, the same conclusion need not be drawn.
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Simi- lar friezes of silhouette vessels to that on pénisz az öntödén Budapest fragment are to be found on some thirty other red-figure cups. John Board- man published an interesting example on a cup attributed to the Tarquinia Painter and dating from the s on which the frieze is interrupted by the figure of a naked black Kenőcs az erekció késleltetésére servant—a nice conceit as he is also rendered in silhouette.
On the pénisz az öntödén in Compiègne the frieze of pénisz az öntödén has an 14 allusive purpose, for it is used to signify the general context as a symposium, rather than the real presence of klinai or benches, since the satyrs above are represented performing a sort of crawling, ecstatic dance in pairs, one shown frontal and one in back view. In the case of the symposiast on the interior of the Budapest cup fig.
Some representations add a cup and breads or cakes the tragemata fig. The auloi, like the lyre, accompanied the singing of hymns and skolia, so we might wonder whether one of the symposiasts could have been shown singing.
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None, however, seems to be posed as a singer might be, that is with a hand to his head,19 and, indeed, the playing of krotala to the music might suggest that the rounds of singing have ended. The boisterousness of the Buda- pest symposium indeed perhaps suggests that the participants are well beyond their third krater of wine, the last krater for the wise as Dionysos put it, and may even be in the middle of their fifth.
The idea that representations of the symposium might reveal different moments in the event must be con- sidered with caution, but, in broad, terms it would seem likely that an- cient users would have recognised 4. Soft shoes, sandals and soft low, calf-height boots are sometimes seen being worn by men and women, but such shod pénisz az öntödén are fairly rare and are usually only to be found outside the house e.
I know of no other example of a symposiast wearing shoes once he or 5. Another unusual feature is the fact, already noted, that the symposiast A 3 to the right of the auletes has been depicted with an infibulated penis.
Infibulation, the pénisz az öntödén up temporarily of the foreskin over the end of the glans, can be seen especially on athletes for whom it was perhaps thought to be a convenience.
This suggests that infibulations could be used to mark self-imposed sexual restraint at least in the case of the humans.
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This would also seem to be the case with our symposiast, who is at the same time shown excessively abandoned to the rhythm of his krotala—perhaps deliberately to reveal his excessive tendencies. Although on other vases we see the beginnings of lovemaking at the sym- posium, both between a male and a female and between two males,25 the more explicit scenes of intercourse on and around couches and stools may well have been set in brothels.
From the Budapest fragments we must presume that the participants brought with them their sticks. Sticks, whether knotty or plain, are frequently seen on other Athenian red-figure vases, in use or at rest.
Hány srácnak van 7 hüvelyk feletti?
They were clearly fashion accessories and are sometimes identified as symbols of the leisured life of the citizen. This sort of decoration of a knotty stick is sometimes, though very rarely, found in the hands of both mortals and heroes fig.
The basket hung up in the centre of one side is a frequent sight at symposia fig.
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