Chapter III. Spinning tops and twirling objects
p. 149-164
Texte intégral
1Spinning tops are special in that they belong to a category of objects whose function was purely recreational. They were referred to in Greek by several terms (bembix, konos,113 turbe, trochos, rhombos,114 strobilos, etc.115) that seem to refer to a wide variety of shapes, materials and ergonomics: from the toton spinning top, a simple disc or dried fruit with an axis through it, to the more massive conical type, set in motion by a string unwound with a sharp blow, to the conical spinning top116 whose rotation, initiated by the string, is restarted with a whip, mastix, which strikes it with repeated blows to steer it. These objects have in common the fascinating ability to spin on their tip while remaining in balance.117 They seem to possess a disquieting autonomy, suggested by names that evoke the sound of a bee or a horsefly.118 Most of the examples archaeologically preserved, in terracotta or stone, are probably votive simulacra, in various sizes, sometimes miniature, which give however an idea of their morphology and ergonomics.119 The images show how the toy was manipulated and activated by a whip, which requires fine motor skills. The game is typical of grown boys, in their pre-ephebic years, in the context of the palaestra and other physical activities.
Fig. 2.21a, b, c. Unattributed aryballos, c. 400. Würzburg, Martin von Wagner Museum H4540.

Hermes’ spinning top
2On several vases, the painter depicts the control of the spinning top’s movement as a metaphor for the discipline that young men had to undergo to conform to physical and civic norms. An aryballos in Würzburg (fig. 2.21; c. 400)120 showcases this secondary meaning. Two groups of young athletes are training: on one side, they are throwing or preparing to throw two circular objects, on the left a ball, on the right a discus, followed by two boys wrestling. The last group on the vase also has a trainer in a himation who is following the activities of the wrestlers, a long stick in his hand. Behind him, a boy, also draped, is spinning a top vigorously with his whip. The parallel arrangement of the figures, both facing the same direction and clothed, while the athletes are naked, seems to establish an analogy between their attributes and their functions. The trainer’s stick, which signify encouragement, control, and sanction of the athletes’ activity, is matched by the player’s whip, which strikes the spinning top to make it spin straight.
3The divine spinning top player is Hermes, who embodies the vitality of an inventive and cunning youthful metis that ensures him his share of divine honours in the myth.121 Described as a kosmetes (kosmetor ephebon),122 as the guardian of the gymnasium (episkopos gymnasiou),123 he also watches over the paideia of the palaestra, which prepares students for the hoplitic discipline. The whip (mastix),124 which he received from Apollo in exchange for his lyre to guard his flocks, symbolises his power over the ‘uncontrolled forces of adolescence’,125 which he must direct like a herdsman herds his flock.126 On the Würzburg aryballos (fig. 2.21), by comparing the whip that spins the spinning top to the trainer’s staff that guides the athletes, the painter introduces an analogy between the education of adolescents and animal domestication, which forms part of a wider reflections on the relationship between order and disorder amongst humans and animals.127 The animal obeys the whip,128 but one must show some restraint, recommends Xenophon, to avoid making the horse fearful.129 In the gymnasium, the whip or the rods, rhabdoi, were used to punish transgressive behaviour (theft, fighting, aggression).130 The ephebe mentioned by the Cynic philosopher Teles (3rd cent.) complains of the ill-treatment that frightens him and is inflicted on him as if he were a restive foal: “Here he is, an ephebe. Once again, he fears the kosmetes, the pedotribe, the master-at-arms, the gymnasiarch. He is whipped by all these people, closely watched and yoked”.131 He suffers from the same discipline as a hoplite: “He is out of the ephebia and already twenty years old. He still fears and is on the alert against both the gymnasiarch and the strategos”.
4Hermes also watches over young people as they transition from one age to another. Pausanias132 explained the importance of this role in the Boeotian city of Tanagra, where a shrine was erected to Hermes Promachos, the ‘fighter’ who was involved in ephebic training. The same city also hosted the Hermaia, one of the few festivals dedicated solely to Hermes Kriophoros, the ‘ram-bearer’, which spread throughout Greece from the end of the 6th century onwards. The best ephebes were chosen to perform the rites celebrated in honour of Hermes Kriophoros. According to Pausanias, the champion had to display the qualities acquired through training: poise (euexia), discipline (eutaxia) and endurance (philoponia).133
5On three red-figured vases from the first half of the 5th century, the god seizes the spinning top he is whipping. At a first glance, the scene could relate to an offering context such as that of the Apatouria civic festival, where young men dedicated objects to Hermes to symbolise that they had to leave childhood behind to enter the ephebia?134 Its meaning could refer more broadly to the educational process that the young man is about to undergo to become the best in strength, beauty, and resilience.
Fig. 2.22. Cup attributed to Douris, c. 480. Baltimore, Johns Hopkins Archaeological Museum B9.

Fig. 2.23. Lekythos attributed to the Painter of London E 342, c. 450. Tübingen, Archäologisches Institut S.10814.

Fig. 2.24. Cup attributed to Brygos, 490-480. Florence, Museo Archeologico Nazionale 80528.

6On two vases, Hermes demonstrates his skill to a young man wrapped with modesty, aidos, in his himation hiding a desirable body.135 The red-figure cup attributed to Douris (fig. 2.22; c. 480)136 features the heavy spinning top lying on the ground in the centre of the tondo between the two leaning figures. Hermes has placed his left hand on his thigh to stabilise his bent-over pose; he raises his right arm in a sweeping gesture that suggests the strength and precision of the whip about to strike. The fascination and excitement of his young viewer is conveyed by his open hand stretched out towards the object.137 The circular space of the tondo reinforces the suggestion of the rapid rotation of the ‘hoof’ spinning top, whose horizontal stripes suggest its perfect balance. The god achieves the expected perfection described by Plato in the Republic: “[…] spinning tops, at any rate, are completely at rest and moving at the same time when they spin but have their pivot fixed on the same spot.”138 The painter’s aim, however, is not to teach how to play. He is showing metaphorically that the god controls the random movements of the toy just as he manages the vitality of the young men in the gymnasium.139 His discourse is normative. Under his guidance, the young man will learn to ‘turn straight’ by obeying the discipline imposed on him. This will be the price he must pay to achieve the beauty suggested by the vegetal elements in the image, and enhanced by the inscription kalos in the left-hand part of the scene.140 On a red-figure lekythos in Tübingen (fig. 2.23; c. 450),141 the god holds his kerykeion in his left hand and raises his right arm to whip the spinning top placed at the centre. The young spectator is once again completely wrapped in his cloak, with only a finger pointing at the divine virtuosity. An additional detail indicates his age. He still wears his hair long, which will be cut on the third day (koureotis) of the Apatouria festival. The bag of knucklebones suspended between the two figures refers to the boys’ games in the gymnasium, where the perfumed oil in the lekythos was also used.142 Several texts refer to the use of knucklebones in different games. In the Lysis dialogue,143 Socrates goes to a private palaestra after the Hermaia, in which young people competed in different age groups (paides, neaniskoi, neoi, epheboi).144 A group of boys, still in their party clothes, are in the cloakroom playing a game of odd or even with knucklebones, trying to guess how many are hidden in their opponent’s hand. The players are surrounded by friends who watch the game attentively, like Lysis, about twelve years old, who gives his name to the dialogue.
7On the third vase, the tondo of a cup attributed to Brygos (fig. 2.24; 490-480),145 the god is making the same gesture, striking with his right arm, his caduceus in his left hand. He is alone, outdoors, as suggested by a tree behind him, facing a spinning top where there is usually also a spectator. The object could represent a metaphorical substitute for the boy the god is dragging along. The spinning top is placed on a pedestal that refers to a palaestra scene. The vase-painter has translated to the divine plane the pair depicted on the tondo of a contemporary cup (fig. 2.25; c. 500),146 where the trainer holding his wand is facing a victorious young athlete, standing on a stepped podium, his head crowned and a javelin in his hand.
8The theme of the boys being trained at the palaestra is sometimes depicted without any divine intervention. The exterior decoration of an Attic cup attributed to the Tarquinia Painter in Princeton (fig. 2.26; c. 460)147 brings together two groups of three boys in an area with benches, probably at the palaestra. On one side, a seated young man, draped, holds a citizen’s staff. He is watching a boy wrapped up in his himation who is staring, head bent, at a young naked athlete who is whipping vigorously a heavy spinning top. The activity could symbolise the demanding training to which the newcomer will soon be subjected. A bag containing a strigil and an aryballos with oil is suspended above the spinning top. It sums up the world of the palaestra where athletic practice takes place.
Fig. 2.25. Cup attributed to the Kiss Painter, c. 500. Baltimore, Johns Hopkins Archaeological Museum B5.

Fig. 2.26. Cup attributed to the Tarquinia Painter, c. 460. Princeton, University Art Museum 1945-182.

Fig. 2.27. Volute krater attributed to the Group of Copenhagen 4223, 350-340. Brussels, Musées Royaux A730.

9A ball and a spinning top are combined as attributes of a young man’s youth and skill on a funerary Apulian volute krater in Brussels (fig. 2.27; 350- 340).148 The deceased, naked with a short cloak draped over his shoulders, is standing in a naiskos, an imaginary funerary monument that heroizes him.149 He dashes confidently to the left, his left hand resting on his hip, his right hand raised and open, suggesting that he is throwing the ball painted above. At his feet, a wobbling spinning top seems to signify both his youth and his fall, compared to that of the object itself.
Eros’ whip
10Painters also used the spinning top to convey the emotional turmoil of a particular age group, in this case the violence of adolescent love and desire. On a cup attributed to Douris, formerly in Berlin (fig. 2.28; c. 480),150 Eros appears to abruptly interrupt two young men elegantly dressed in finely pleated himatia, who are twirling a spinning top and a hoop, as if seized by the beauty of their exercises; he is about to strike with a sandal, an erotic gesture,151 the player on the right who has dropped his spinning top and whip, while his companion escapes, taking his hoop and stick with him. On the other side, an older, naked athlete turns his head towards the main scene while others perform ablutions. On a pelike by Hermonax (fig. 2.29; 470- 460), the irruption takes place at the palaestra suggested by the pillars below the handles.152 Zeus takes over the role of Eros and bursts into a group of young men to seize the young Ganymede, identifiable by his hoop and the rooster, his head turned backwards as he flees. Zeus, however, has already put a hand on his shoulder to stop him. His gesture is reinforced in the foreground by the position of his sceptre, which seems to be blocking the boy’s path. Behind the god, a boy runs off with his spinning top and the mastix. The scene continues on the other side, where four other comrades are bustling about. All the boys are wearing a garment, as if they were caught near the changing room, wearing ivy crowns suggesting a festive context, like that of the Hermaia.
11On several vases, the spinning top is absent, and all that remains is the whip brandished by Eros. On an aryballos signed by Douris in Athens (c. 480),153 a young man is pursued by two winged figures, one of whom, perhaps Pothos, ‘Desire’, is brandishing a whip; the boy’s tender age is underlined by his gesture of pinching his chlamys with one hand, like a maiden.154 Throughout the series, the violence of Eros expresses the imperious nature of the first stirrings of love at puberty, while at the same time expressing their tension and vertigo.
Fig. 2.28. Cup attributed to Douris, c. 480. Berlin, Antikensammlung F 3168.

Fig. 2.29. Pelike signed Hermonax (painter), 470-460. Basel, Antikenmuseum und Sammlung Ludwig BS 483.

Bobbin, rhombos or yo-yo?
12The category of twirling sound-producing objects could include a still enigmatic object depicted on some red-figured Attic vases from the second half of the 5th century. A boy wearing a himation, alone or accompanied by friends, holds a disc suspended by a long string.155 The context of the palaestra can be seen on an oinochoe in Erlangen, where a young man is holding a bobbin decorated with a naked athlete (fig. 2.30; 435-400).156 In the tondo of a cup in Chiusi (c. 450), a young man is standing next to a seat, a bag of knucklebones suspended behind his head.157 In the tondo of a cup in Berlin (fig. 2.31; 425-420),158 an altar behind the boy wearing a headband suggests a ritual setting.
Fig. 2.30a, b. Unattributed oinochoe, 435-400. Erlangen, Antikensammlung I 276.

Fig. 2.31. Cup attributed to the Karlsruhe Painter, c. 425. Berlin, Antikensammlung F 2549.

13No ancient author refers to this type of game, but around twenty Attic terracotta bobbins measuring between 11 and 13 cm in diameter could be a material trace of it.159 Produced between 470 and 425, they are mainly identified with the workshop of the Penthesilea Painter. Most of the objects come from Athens,160 from the Agora. The object is complete, consisting of two discs assembled by a central axis that serves as a hub (fig. 2.33)161. Its fragility and the complexity of its manufacturing technique suggest that it is not the toy itself but a simulacrum, discovered in a votive and funerary context. H. Alan Shapiro notes that the six examples from the Agora in Athens162 could be linked to offerings in the sanctuary of Aphrodite Pandemos and Peitho, the personification of erotic persuasion.163
14The search for an ancient and modern term to designate the object is difficult. Bobbin, a word which we have retained here by convention, suggests that it was used to wind thread, with the tempting hypothesis of a duplicate of an object used in textile production.164 Following in the footsteps of Ludwig Deubner, H.A. Shapiro suggested that it was a rhombos, an object similar to an iynx, characterised by the sound produced by its rotation.165 As with the iynx, the spinning of the disc is thought to be a means of capturing rebellious love. Whatever its function, we still have to work out how it was handled: was it moved up and down by a string attached to the axle, like the modern yo-yo, or was it moved in some other way?
Fig. 2.32a, b. Bobbin attributed to the Penthesilea Painter, 475-425. New York, Metropolitan Museum of Art 28.167.

Fig 2.33. Unattributed bobbin, c. 470. Athens, National Museum A 10459.

15The red-figure or white-background decoration on the objects themselves often relates to Eros, and more specifically to love as conquest in a homoerotic or nuptial context. In the abduction of Ganymede, he is being coerced by Eros or another deity, like Zeus or Hermes.166 On a bobbin with a white background from New York (fig. 2.32; 460-450)167 a young man with long curls, identified with Eros or Zephyrus,168 grasps the arm of a young boy with a lyre, exchanging a close look that expresses the erotic impact of the young musician’s talent; on the other side, Nike crowns a naked young man, engaged in a dancing movement, holding his chlamys in one hand. On both sides, the praise ho pais kalos celebrates irresistible beauty. Two holes close together at the top of the disc suggest a votive use. Women are also the object of sexual lust. On the bobbins, Europa, the Leucippides and Thetis169 are abducted. Other objects evoke the dangers that boys must overcome as they pass into adulthood. On an example from the Theban Kabirion, one side bears the image of Perseus running with his harpe (fig. 2.33a; 470) to decapitate Medusa, who lies asleep, incapacitated on the other side (fig. 2.33b).170 Victoria Sabetai has shown that the whole thing could refer to the tests of courage expected of boys. Hermes, who accompanies the ephebes to the outskirts of the city, the eschatiai, is also present on a fragmentary bobbin from Munich (c. 480).171
Notes de bas de page
113From the cone of the pine tree, synonymous with strobilos in Hesychius and Photius; Amigues 1978.
114The two words suggest the roar of the spinning movement; Skoda 1982: 68; Scala 2023.
115Both terms are associated with strepho, ‘to spin’.
116The modern French term ‘sabot’ is thought to derive from the name of the conical bollards used on racetracks. On the whip, mastix: Ar. Av. 1460-1469. Also in Rome: Verg. Aen. 7.378-383.
117Giuman 2020.
118On these insect zoonyms, Scala 2023.
119On the bronze, stone and terracotta votive spinning tops from the Theban Kabirion, Wolters, Bruns 1940: 36 and 123-124, nos. 148-160, pl. 18, 2, 4-11 and pl. 19, 4-6; Sabetai 2022b: 154-158, pl. 2. See also the votive spinning tops at the Magna Mater sanctuary in Rome, dal Monte 2023.
120Rf aryballos from Taranto, Würzburg, Martin von Wagner Museum H4540; BAPD 1006992 (Apulian?); Schmölder-Veit 2004b: 436, fig. 48.15a-c; Lojacono 2023: 118, fig. 3.
121On his trickery to deceive Apollo after stealing his cows, see e.g., HhH 68 sq.
122Epigr. Gr. 952.1 and 965; Jaillard 2007a: 183.
123Anth. Pal. 11.176.1.
124HhH 497. The term rhabdos also refers to the whip used by the gymnasiarch in the gymnasiarchic law of Beroia (Macedonia) in the Hellenistic period; Gauthier, Hatzopoulos 1993: 68.
125Calame 1977: 414; Georgoudi 1986. See Pl. Lg. 2.653d-e, about children’s nature, always in motion, unable to stand still.
126Borgeaud 1979: 185-192, on Pan’s mastix, both spur and instrument of mastery. On Hermes as an educator, Jaillard 2007a: 181-185
127The punishment of flogging is a disgrace because it likens humans to animals. See the whipping inflicted by Hera on Io, transformed into a cow; Esch. Supp. 563-564; Borgeaud 1979: 190.
128Soph. Aj. 1254: “A huge ox goes straight along the road, guided by a small goad, mastix” (transl. H. Lloyd-Jones, Loeb).
129This is what is recommended by Xen. Eq. 10.5.
130See the law of Beroia (Macedonia), Gauthier, Hatzopoulos 1993 and the monograph by Legras 2008.
131Teles, frgt 5 Fuentes (transl. A. Mitchell after Festugière 1977: 3).
132Jaillard 2007b on the importance of this festival in Tanagra, which was celebrated throughout the city.
133Paus. 9.22.1.
134Laribi-Glaudel 2022a. See also Lambert 1993, 152-189.
135On the modesty, aidos, expected from a youth, Shapiro 1992; Brendle 2019.
136Rf cup from Chiusi, Baltimore, Johns Hopkins Archaeological Museum B9; ARV2 444.251, Add2 241 (Douris); BAPD 205298; Neils, Oakley 2003: 216, no. 16.
137On youthful gestures, Mcniven 2007: 85-99. See Il. 14.411-413, on Hector, struck by Ajax, spinning ‘at random’ like a hoof, strombos.
138Pl. Resp. 4.436d (transl. C. Emlyn-Jones, W. Preddy, Loeb).
139It should be noted that the image of the hoof is used metaphorically to mean education in Jacob Cats’ Emblems (17th cent.). I would like to thank Michel Manson for this information.
140Kéi 2022: 332, 501, pl. 8. On the inscription, https://www.avi.unibas.ch/DB/searchform.html?ID=2058.
141Rf lekythos, Tübingen, Archäologisches Institut S.10814; ARV2 463.5 (P. of London E 342); BAPD 4088; Vanhove 1992: 164, no. 17; Giuman 2020, pl. V, b.
142On the objects possibly contained in the bags (marbles or knucklebones), Williams 2022a.
143Pl. Lysis, 206e-207a.
144On Hermaia, Hermes and the coming of age of different age groups of boys, Johnston 2002: 116-119; on Hermaia in Greek cities, Gauthier, Hatzopoulos 1993: 95-123.
145Rf cup, Florence, Museo Archeologico Nazionale 80528; ARV2 377.113, Para 366 (Brygos); BAPD 20401; Donati 1989: 157, fig. 58, pl. 60.41; Giuman 2020: 18, fig. 6.
146Rf cup, Baltimore, Johns Hopkins Archaeological Museum B5; ARV2 177.3, Para 339, Add2 185 (Kiss P.); BAPD 201626.
147Rf cup, Princeton University Art Museum y1945-182, gift of Allan Marquand, Class of 1874; ARV2 868.37 (Tarquinia P.); BAPD 211430.
148Apulian rf krater, Brussels, Musées Royaux d’Art et d’Histoire A730; RVAp II, 17/64 (Group of Copenhagen 4223); Todisco 2012: 179-182.
149On the naiskoi, Pontrandolfo 1988: 181-202; Söldner 1993; Lippolis 2007: 80-100.
150Rf cup, from Etruria, Berlin, Antikensammlung F 3168; ARV2 428.13, Para 374, Add2 236 (Douris); BAPD 205057; Olshausen 1979: 18, fig. 1.3 (drawing); Greifenhagen 1957: 57 (Eros is holding a sandal); Pfisterer-Haas 2004: 416, fig. 44.5 (Eros wields a knife to cut the boy’s hair); Giuman 2020: 21-23; Fendt 2022, figs. 8-9.
151The sandal can have an erotic value on red figure vases. Cf. the toilet scenes in which Eros ties the sandal of a naked woman; chous rf Athens, National Museum VS47; ARV21323.36 (Manner of Meidias P.); BAPD 220589; van Hoorn 1951, fig. 23. In several scenes a sandal strike is associated with a sexual act, e.g., rf cup, Berlin, Antikensammlung 3251; ARV2113.7, 1626, 1592, Para 32, Add2173 (Thalia P.); BAPD 200964; young 2020, fig. 7 (with parallels). See the father (?) throwing his sandal on the floor in a wedding scene, as the bride leaves, but without any threat; rf calyx-krater, Athens, National Museum 1388; ARV2 1317.1, Para 478, Add2 363 (Athens Wedding P.); BAPD 220526; Oakley, Sinos 1993: 33, figs. 87-88; Levine 2005, 59-61; Avronidaki 2008: 328-329, no. 147.
152Rf pelike, Basel, Antikenmuseum und Sammlung Ludwig BS 483; ARV2 485.26, Add2 248 (signed by Hermonax, as painter); BAPD 205409; Kaempf-Dimitriadou 1979b; Sichtermann 1988, no. 40, pl. 79.
153Rf aryballos, Athens, National Museum 15375; ARV2 447.274, 1653, Para 118, Add2 241 (signed by Douris as potter); BAPD 205321; Greifenhagen 1957: 57-58, figs. 43-45; Calame 1996: 48-51. See also Eros looming up with a whip above an altar (to Eros?) on an amphora in Rome, Museo Nazionale Etrusco di Villa Giulia 47214; ARV2 280.13, Add2 208; BAPD 202716; Shapiro 1992: 66, fig. 3.8, and in London, British Museum E 297; ARV2 647.13, Add2 275; BAPD 207525, Greifenhagen 1957: 58, fig. 46.
154See Blundell 2002.
155Identification is sometimes uncertain, as the object may be mistaken for an aryballos suspended by a cord.
156Rf oinochoe, Erlangen, Antikensammlung I 276; unattributed; BAPD 41910; Pfisterer Haas 2004b: 418, fig. 44.9.
157Rf cup from Chiusi, Chiusi, Museo Archeologico Nazionale 1839; ARV2 867.32, Add2 299 (Tarquinia P.); BAPD 211425; CVA Chiusi, Museo Archeologico Nazionale 2, 1982 (A. Rastrelli): 13, pl. 24- 25. See also the group of young people in himation and stick, with a cithara player, rf cup, Munich Antikensammlung 2692; ARV2 908.22 (P. of Bologna 417); Pfisterer Haas 2004b: 417, fig. 44.8, no. 234.
158Rf cup, Berlin, Antikensammlung F 2549; unattributed; BAPD 3407 (Karlsruhe P.); Callisto 1109; May 1991: 77, fig. 67; Lezzi-Hafter 1988, no. 150, pl. 104.
159See the annotated catalogue of Wehgartner 1983: 154-160 (6 examples); Shapiro 1985, and the historiographical review with new avenues of research by Ciobotaru 2017. See smaller copies without decoration; Weiss, Buhl 1990.
160Ciobotaru 2017: 46, Agora (7 or 6), Keramikos (2), Vari (1), Aegina (1), Theban Kabirion (1), Rineia island (1). Six others of uncertain provenance (probably from Attica).
161Rf bobbin, Athens, National Museum A 10459; unattributed; Sabetai 2022b: 158-159, pl. 4.
162From the Agora of Athens: bf, Athens, Museum of the Agora P 5113; unattributed; BAPD 9655 (Brygos) (Helios on his chariot); rf, Athens, Agora Museum P 10617 (winged figure); rf Athens, Agora Museum P 5492 (lyre player); rf, Athens, Agora Museum P 19837 (satyr); rf, Athens, Agora Museum P 2501; rf, Athens, Agora Museum P 23688.
163Paus. 1.22.3; Shapiro 1985: 117-118, Also notes the presence of the altar of Aphrodite Ourania. See Pind. Pyth. on the invention of the iynx by Aphrodite, and Anth. Pal. 5.205, on the offering of the (gold-inlaid) object to Aphrodite.
164See Richter 1928; Ciobotaru 2017.
165Deubner 1930: 167-168; Shapiro 1985. See the rhombos spun by a magician in Theoc. Id. 2.30. On the iynx, see also Part 3. Games of love and chance.
166Ganymede: Athens, Kerameikos Museum 1961; ARV2 890.76, Add2 302 (Penthesilea P.); Wehgartner 1983: 156, no. 4, pl. 53, 3; http://ark.dasch.swiss/ark:/72163/080e-75339e5ad0239-4. Hermes and Ganymede: Athens, Agora Museum P 29670; BAPD 848; http://ark.dasch.swiss/ark:/72163/080e-74bffcf0eba41-5. Zeus? and Ganymede: Athens, Kerameikos Museum 1962; Wehgartner 1983: 156, no. 5, pl. 53, 2.
167Rf bobbin, New York, Metropolitan Museum of Art 28.167; ARV2 890.175, 1673, Add2 302 (Penthesilea P.); BAPD 211738; Kaempf-Dimitriadou 1979a, pl. 7,1; Wehgartner 1983: 157, no. 6, pl. 53,1-2.
168Greifenhagen 1957: 64 (Eros); Schefold 1981: 326-327, figs. 478-479 (Eos and Tithonus, Zephyrus and Hyacinth); Shapiro 1992: 70, fig. 3.10 (Eros and an anonymous youth).
169Europa and Leucippides: Bf bobbin, Athens, National Museum 209560; ARV2 775.3 (Sotheby P.); BAPD 209560; Wehgartner 1983: 156, no. 1, pl. 52,1-2. Thetis: Rf bobbin, Athens, National Museum 2192; ARV2 863.32, Para 425; BAPD 211360.
170On Medusa’s power, Frontisi-Ducroux 1996: 87; Topper 2007.
171Rf bobbin, Munich, Antikensammlungen 8956/142; ARV2 798.152 (Euaion P.); BAPD 209861; Wehgartner 1983: 221; Pfisterer-Haas 2004b: 418, fig. 44.11, no. 235.
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