Six non-joining fragments, a of rim, neck, shoulder, and start of one handle column, b + d of shoulder with swelling for handle root and part of wall, c, f, and g of wall. Glaze dull in places on outside; a bit abraded on topside of rim. Burned slightly on Side A. Est. diam. of rim: 0.32; W. of rim 0.04; P.H. a) 0.138, max. dim. b) 0.213, c) 0.109, d) 0.132, f) 0.089, g) 0.05.

A, satyrs making wine. Fragment b + d (illustrated) shows a satyr (most of face, arms, torso, part of tail, and part of left leg) to right, facing another (front of torso, right leg, start of left thigh), who treads grapes in a large vat set inside another, probably one with a sieve in the bottom (see below). His right arm was raised (a little bit of reserve at the break makes this clear), perhaps holding a loop or ring above his head as in other such scenes. Fragment c (illustrated) preserves the shaggy beard, most of the body, part of the legs, arms, and tail of another satyr treading grapes. At the very bottom of the fragment is part of the trough or, more likely, the basket (see below), and in the upper left there is the hand of a satyr holding a basket of grapes he is about to dump into the treading basket. Fragment g (illustrated) probably comes from this side, but it is unclear what it preserves. To judge by the surface and the thickness of the wall, it comes from the part of the composition about level with the thighs of the satyrs, and it may be part of the satyr who is about to empty his basket of grapes. B, Komasts. Fragment a preserves on the far left the raised right arm and the back of the filleted head of a komast to right and on the right, most of the filleted head and raised right hand of one to left. Fragment f gives the lower right corner of this panel with the komast's left foot to right. Tongue pattern on the shoulder at the junction with the neck; ivy at sides of each panel. Ivy on overhang of rim. Preliminary sketch. Relief contour. Dilute glaze: left satyr's beard on b + d. Red: line on inside of rim; line below figures that continued around the vase (fragment f); grapes; fillets.

For the subject, see L. Jehasse, MonPiot 58, 1972 [ pp. 25--41], pp. 36--41; J. Hemelrijk, BABesch 49, 1974 [ pp. 117--158], pp. 152--155; B. Sparkes, BABesch 51, 1976, pp. 47--56; also, the brief discussion by G. Hedreen, Silens in Attic Black-Figure Vase-Painting: Myth and Performance, Ann Arbor 1992, pp. 85--88: here the focus is on vintage scenes as they relate to Dionysos and Naxian wine. There are not very many red-figured examples of satyrs making wine, and 173 seems to be one of the earliest, preceded slightly by the scene on a bell-krater in Basel, Antikenmuseum und Sammlung Ludwig, BS 482, attributed to the Kleophrades Painter (ARV2 1632, 49 bis; Addenda 188; CVA, Basel 3 [Schweiz 7], pl. 11 [323]:2, 4); 173 seems to be the only example in which there are four satyrs by themselves. Usually, Dionysos is present, as in the scene by the Cleveland Painter in New York (M.M.A. 41.162.10: ARV2 516, 4; Paralip. 382, 4; Addenda 253) or there may be three satyrs by themselves (e.g., Lecce 602 by the Leningrad Painter: ARV2 569, 39; Paralip. 390, 39; Addenda 261).

173 presents a number of problems concerning interpretation of details. First of all is the vat on fragment b + d. Normally this is a simple, plain vessel without handles (e.g., Lecce 602; Naples, Capodimonte 960 by the Pig Painter: ARV2 563, 4; Paralip. 389, 4; Addenda 260). The one on 173 is clearly set inside another vessel and presumably should be thought of as having a sieve in the bottom (for such a vessel with a strainer or shallow dish set into it, but without a satyr standing in it, see Basel, Antikenmuseum und Sammlung Ludwig, Kä 420 by the Amasis Painter: Paralip. 65; Addenda 43). The satyr on 173 must be thought of as standing in the vat; otherwise his legs would not be long enough to reach the ground (compare the length of the left satyr's leg). Furthermore, this satyr cannot be the one on fragment e, who is about to dump the basket of grapes, for in these scenes, the feet and head of such a figure face the trough, although one foot may be raised above the ground, as on Naples, Museo di Capodimonte 960, on which the satyr steadies the basket on his thigh. The left arm of our satyr on fragment c was probably bent rather sharply, cradling the basket; otherwise, given the amount of room in the composition, he would overlap considerably the grape-treading satyr behind him on fragment b + d; in these scenes there is not very much overlapping of the figures. In wine-making representations in which the grapes are treaded in a wooden trough, there is always a basket with handles through which the grape juice is pressed. The woven character of this basket is usually indicated, but occasionally its surface is smooth, as on Lecce 602, where its rim is almost horizontal rather than curving upward somewhat sharply (cf. by contrast Naples, Museo di Capodimonte 960). This is very likely what the small reserved area at the bottom of fragment c represents. The trough itself would have to be rather deep, so that it will not appear that the satyr's legs are too short. A good parallel is the trough on Bologna 241 by the Orchard Painter (ARV2 524, 25; Paralip. 383, 25; Addenda 254) or Ferrara 42684 = T.254 C VP, a later work by the same artist (ARV2 524, 26; Paralip. 383, 26; Addenda 254). In these scenes the satyr stands near the end of the trough opposite the spout and facing it; presumably ours did too. This would mean that the vat for catching the juice would probably overlap the legs of the satyr with the basket of grapes. For two reasons the trough cannot empty into the vat on fragment b + d. First of all, the curve of the fragments indicates that the beards of the two satyrs appear at the same height in the composition; therefore, the rim of the vat on fragment b + d would be too high for the spout of the trough, even if it were a very shallow one, as on Lecce 602. Second, if the vat on fragment b + d were the receptacle for the juice pouring from the trough, the treading satyr on b + d and the basket-bearing satyr on c would overlap considerably, resulting in a very crowded section of the composition, and in other representations of this subject there is practically no overlapping of major parts of the figures. Furthermore, the trough would not empty its contents into a vat in which a satyr is treading grapes. Thus the composition of 173 appears to be a carefully balanced one of two pairs of satyrs making wine: one satyr treads grapes in a vat, the other presses them in a trough. For a parallel, cf. Naples, Museo di Capodimonte 960 by the Pig Painter. Here, however, Dionysos presides over the wine-making, whereas on 173 there is, instead, a fourth satyr.

The Flying Angel Painter (ARV 1 184, 25; ARV2 281, 30).