Wall fragment. Glaze thin in places on outside. Max. dim. 0.113.

A, male pursuing a woman. Parts of three figures remain: at the left, a bit of the himation and chiton, and left foot of a woman running to left, then part of the legs and right toes of a man pursuing a woman (bottom of skirt of chiton, heel of one foot) who runs to right. Preliminary sketch. Relief contour: right leg. Dilute glaze (very faint): muscles. Red: line below figures that continued around the vase.

Boreas comes to mind as the pursuer on 183, but he should probably be ruled out because he always moves much faster (often flying) than the male on 183 does. This scene may represent Zeus pursuing Aigina, for in illustrations of this subject Zeus is often nude except for a cloak over both shoulders, and he moves in much the same manner as the pursuer does on 183. For a good comparison, see a stamnos attributed to the Painter of the Birth of Athena, Kassel, Alg. 59 (ARV2 495, 8; Addenda 250). For the subject, see LIMC I, 1981, pp. 367--371, s.v. Aigina (S. Kaempf-Dimitriadou).

The Florence Painter or the Boreas Painter (ARV2 545, 1). The border of esses for the bottom of the woman's chiton is a distinctive pattern that appears in the work of both painters: the Boreas Painter: New York, M.M.A. 96.19.1 (ARV2 536, 5; Addenda 255) and Munich 2375 (ARV2 537, 9; Addenda 255); the Florence Painter: Syracuse 21189 (ARV2 541, 4) and Louvre G 360 (ARV2 541, 8). What remains on 183 suggests an ambitious composition, with considerable overlapping of the figures and hence seems a bit closer to the Boreas Painter than to the Florence Painter, who, except for the Centauromachy on his namepiece (Florence 81268 = 3997: ARV2 541, 1; Paralip. 385, 1; Addenda 256), tends to prefer quieter and simpler compositions.