Seven non-joining fragments, mostly of wall, a / e and f with shoulder, g of overhang of rim from near handle plate. Glaze rather dull on b and d. Max. dim. a/e) 0.107, b) 0.088, c) 0.073, d) 0.053, f) 0.06, g) 0.51, h) 0.064. H. A. Thompson, Hesperia 27, 1958, pl. 42:n (fragment a); Agora XIV, pl. 65:b; S. N. Koumanoudi, ἈρχἘφ 1976, p. 214, fig. 1 (fragment b); Langridge, "Eucharides Painter," p. 348, cat. no. E 17.

A, departure with chariot(?). Fragment c (illustrated) shows a little of the right-hand trace horse, the yoke, yoke pad, end of the chariot pole, and part of the pole-stay, the team to right. On the left-hand side of the horses, the drapery (himation[?]) of a figure and at the upper left, some relief lines that look like hair (end of a beard[?]). At the right, a wavy line that is a long lock of hair hanging over the left shoulder of this figure. Fragment f shows the upper left corner of the panel and the crest of a warrior's helmet, probably one who stands in the chariot. Fragment h preserves the end of a fold of his drapery and the stopped-maeander pattern framing the panel. Fragment a / e (illustrated) shows the upper right corner of the panel, with the head and shoulders of a small boy, probably sitting on the shoulders of a man, the back of whose head appears at the left break. Above, tongue pattern on the shoulder at the junction with the neck; at right, stopped-maeander pattern for frame, and at the far right, the start of the tongue pattern around the handle root. B, Herakles. On the right of fragment b (illustrated) is the buttock, thigh, and calf of Herakles striding to right, wearing a lionskin (one leg). Overlapping the skin is part of an object that looks like the end of a quiver (the black part might be part of the bow, except that it is too straight). Behind him stands another figure (indicated by a little drapery), who holds a spear and a round shield seen from the inside (part of each with the end of a tassle inside the shield), presumably Athena. Fragment d (illustrated) gives a little of his opponent: a bit of his right thigh and most of his right hand holding the pommel of a sword. At the left, drapery. On overhang of rim, fragment g, horizontal encircled palmettes in black glaze to right. Relief contour. Dilute glaze (very faint): muscles. Rim of shield incised (compass-drawn).

The scene with Herakles is probably his combat with Kyknos, a theme far more popular in black figure than in red figure. For the subject, see LIMC VII, 1994, pp. 970--991, s.v. Kyknos (A. Cambitoglou and S. Paspalos). If this identification of the subject on 165 is correct, the composition showed Athena at the left preceded by Herakles who strides to right toward Ares, rushing in to assist his son. Something of a parallel would be the cup in London by Oltos, only here the friezelike format allows the inclusion of extra figures (B.M. E 8: ARV2 63, 88; Addenda 165). The problem with this identification is the interpretation of the little bit of drapery at the left of fragment d. In black figure, this figure would be Zeus, who either intervenes or, as Shapiro suggests (AJA 88, 1984 [ pp. 523--529], p. 526), encourages Herakles. For good examples, see Berlin 1732 by Lydos (ABV 110, 37; Paralip. 44, 37; Addenda 30) and London, B.M. GR 1861.4--25.50 = B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip. 128, 1; Addenda 77). In the known red-figured representations of Herakles in combat with Kyknos, Zeus is not present, although occasionally Athena is there, a good example being the calyx-krater by Euphronios in the Levy-White Collection (Euphronios, cat. no. 6). Still, since there is considerable variation in the red-figured compositions of this theme and in the number of participants, one should perhaps not rule out the possibility that Zeus appeared on 165.

The Eucharides Painter (ARV2 230, 50; Addenda 199).