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  • Part three. Games of love and chance
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  • Chapter II. Ephedrismos
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    Plan détaillé Texte intégral The tamed filly Satyrs and maenads riding each other Eros riding and throwing a ball Notes de bas de page

    Play as Metaphor

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    Chapter II. Ephedrismos

    p. 217-228

    Texte intégral The tamed filly Satyrs and maenads riding each other Eros riding and throwing a ball Notes de bas de page

    Texte intégral

    1The dual meaning of the verb paizo, ‘to play’ and ‘to banter’, is explicit in the female variant of the balancing game known as ephedrismos or en kotylei, the ‘carrier’s’ game. In the previous part, we described how boys played this game.83 The rule has been partially handed down in Pollux’s dictionary (2nd cent. BCE), who refers to it as a game, paidia. In the first stage, which is sometimes played on its own, the role of the mount or the rider is decided by aiming a projectile at a target. On a pyxis in New York (fig. 3.16; 425- 400)84 and a lekanis lid in Athens (fig. 3.17; 425-400),85 girls throw an unspecified object, ball or stone, towards a target in the form of a post or an upright stone. The winner then rides on top of the loser. Except for a few vases from the late Archaic period (fig. 3.18), where both legs are held on the same side, the rider is usually carried with one knee in the carrier’s hands, the other leg dangling freely. This stance is particularly well suited to the clothing constraints of the girls, who can play in a long chiton. The rule may have been invented especially for them, but boys also adopted it in the 5th century, as we have seen (figs. 2.16, 2.17). The aim is then to guide the ‘horse’ towards a target.86 The main variants concern whether the horse is blinded or not (figs. 3.18-3.21), and the addition of a ball thrown by the rider or the supernatural mount (figs. 3.21, 3.22). What these vases and terracottas have in common is that the couples are made up exclusively of female partners, no doubt because of the intimate physical contact, apart from supernatural male figures like Eros or a satyr.

    Fig. 3.16a, b, c. Unattributed pyxis, 425-400. New York, Metropolitan Museum of Art 06.1021.119.

    Fig. 3.17. Lekanis lid, near the Meidias Painter, 425-400. Athens, National Museum 17534.

    The tamed filly

    2The ephedrismos game is used metaphorically on an Apulian skyphos attributed to the workshop of the Ilioupersis Painter (fig. 3.18a; 375-350).87 One side features Eros on the back of a young woman, his left knee resting in the curled arms and his hands covering her eyes. The woman looks like a desirable nymphe in prenuptial age, dressed in a fine sleeveless chiton and adorned with a necklace and bracelets. Despite his wings, Eros seems to be heavy, and the girl bends forward as if she were burdened by a huge load. This imaginary charge symbolises the constraint he is imposing on her. She is feeling her way towards the target, a sort of pile of pebbles painted in white.

    Fig. 3.18a, b. Apulian skyphos attributed to the workshop of the Ilioupersis Painter, 375-350. Providence, Rhode Island School of Design 25.089.

    3The scene is a visual pun. The girl being straddled refers to marriage and to the training of a filly, a common metaphor in Greek literature. The poet Anacreon compares the beloved to a mare that dodges him while leaping through a flowery meadow, a fragrant space where Eros flutters about:

    I could neatly put the bridle on you and with the reins in my hand wheel you round the turnpost of the racecourse; instead, you graze in the meadows and frisk and frolic lightly, since you have no skilled horseman to ride you.88

    4The damp meadow, poetically compared to the maiden’s fertile body, is a place of erotic seduction. It was here that Core-Persephone was abducted by Hades while she was playing with her friends.89 Euripides also describes Iole, the daughter of Eurytos, King of Oechalia, as a polos, a filly, “unjoined as yet to marriage bed, unhusbanded, unwed, Cypris took from the house of her father Eurytus and yoked her like a footloose Naiad or a Bacchant”.90

    5To be married is to be yoked, explains Pierre Brulé.91 Many female anthroponyms are formed from the name of the mare (Hippe, Hippodamia, Lysippe, Xanthippe…). Hera Teleia, ‘the fulfilment’ of marriage, also bears the epiclesis Syzygia ‘the yoke’.92

    6On the Apulian skyphos, the group combines all these elements. It symbolises both the blindness of love, for which Eros is held responsible, and the feeling of uncertainty it provokes, as well as the submission to the binding forces of Aphrodite and Eros. The walking movement is an image of the process of transition that is taking place. A fringed sash hangs above the target. It could allude to the belt that symbolises the success of the feminine agon in love as part of the bride’s finery; it accompanies the change from the status of the maiden to that of wife, then the transition to the status of gune, the wife accomplished by the birth of her first child.93 In its own way, it represents the equivalent of the headband that crowns the victorious athlete. On the other side (fig. 3.18b), the painter has reunited the ideal couple. The man is standing naked, a chlamys draped casually over his shoulders, wearing a headband, facing a maiden seated on a rock; he is holding a strigil, a sign of an athletic body. The woman is adorned with earrings, a necklace, and bracelets, dressed in a fine fabric that hugs her shape, and a bird perched on the back of her hand, perhaps a dove, symbolises her grace and the presence of Aphrodite.94 In the background, above the maiden’s head, a circular rosette-shaped motif could allude to the ball game. A similar skyphos from the workshop of the Ilioupersis Painter confirms this nuptial interpretation;95 on one side, Eros pours the water for the prenuptial bath over the naked girl crouching before a basin, while the other shows a couple, a young man standing and a young woman seated with a bird in her hand.

    Satyrs and maenads riding each other

    7The oldest ephedrismos scenes belong to the world of Dionysus where the motif may have originated. At the end of the 6th century, satyrs and maenads took part in the jubilant Dionysian procession, carrying each other in a variety of ways, on the shoulders, in the arms,96 whilst intoxicated komasts also carried each other in obscene ways.97 On an oinochoe in a private collection (fig. 3.19; c. 510),98 two pairs of satyrs and maenads take a dance step in the procession. In this festive atmosphere, conducive to role and gender reversals, a maenad carries a satyr on the left, a satyr carries a maenad on the right, but each in his or her own way; the maenad has placed both her knees in the arms of the ‘horse’, while the satyr clings to the maenad whose arms are free. On the red-figure lekythos attributed to the Karlsruhe Painter (fig. 3.20; 470-460),99 the group is rushing forward with liveliness. This time, the posture is set, one of the rider’s legs is dangling freely and the rider is closing the eyes of her satyr-horse, which seems to be boldly moving forward under her direction.100

    Fig. 3.19. Oinochoe attributed to the Class of Altenburg, c. 510. Private collection (ex Rome, coll. Signorelli).

    Fig. 3.20. Lekythos attributed to the Karlsruhe Painter, 470-460. Malibu, J. Paul Getty Museum 71.AE.444.

    Eros riding and throwing a ball

    8In 4th century vase-painting, the game may be combined with Eros throwing a ball to express the spur of amorous desire, as discussed above. On an Attic Kerch-style lekythos in Sofia (380-360),101 Eros is about to throw a ball to his partner riding on a girl’s back; the large ball between his feet could allude to the beginning of the game, when an initial competition defines the players’ roles. The motif is very popular with South Italian vase-painters and comes in several variations. On a Campanian amphora by the Ixion Painter (fig. 3.21; c. 330),102 a small Eros, tiptoeing in the hands of a young woman, clutching her forehead with one hand, throws a ball to another woman who turns round and stretches out her arms to receive it. Between the figures, a disc seems to echo the ball motif. Sometimes the motif of the girl with Eros is isolated. On an Apulian pelike in the Gnathia style in Bari (fig. 3.22; 325- 300),103 a tiny Eros with outstretched wings is carried on a woman’s back. He brandishes a ball while the maiden takes long, determined strides, her garment billowing with her speed as she turns towards him. The couple is framed by two plant pillars that emphasise the group’s expression of vital energy.104

    Fig. 3.21. Campanian amphora attributed to the Ixion Painter, c. 330. Paris, Musée du Louvre CA 3202.

    Fig. 3.22. Gnathia style Apulian pelike, 325-300. Bari, Museo Archeologico Provinciale 2736.

    9A nuptial context may be explicit. A Sicilian krater from Palermo (fig. 3.23; 410-380)105 features a bare-chested female dancer in arms, wearing a kind of loincloth (perizoma), a helmet, a bow and shield, whilst on the left stands a group of two women and on the right Eros sits on the shoulders of a satyr. The pyrrhic dance, performed by ephebes at festivals, was also performed by young women during wedding rites, probably for Artemis.106 On a late 5th century Boeotian krater, a female dancer in arms is standing behind a basin on which Eros is seated, facing a young woman who is looking at a mirror to get ready; Victoria Sabetai interprets this dance as a rite of inversion of feminine/masculine norms during the transitional moment of marriage.107 On a krater in Palermo (fig. 3.23), the stance of the seated woman, lavishly dressed, is typical of a bride-to-be, like the one depicted on an Apulian pelike from Matera that we will discuss later (fig. 3.33). The group of Eros riding a satyr, placed to the right of the dancer in arms, echoes symmetrically the two women on the left. The scene operates metaphorically on two levels: Eros on horseback expresses the mastery of the wild forces personified by the satyr, and the effervescence that drives the girls, fillies to be tamed, like the bride-to-be seated on a rock, while the band (or belt) he is holding, like the band suspended between the women and the dancer, intensifies the announcement of the wedding and the vow of prosperity.

    10The nuptial discourse is more allegorical on a Kerch-style krater in Munich, in which all these divine figures—satyr, Eros and Aphrodite—are gathered around two maidens riding each other and advancing towards the centre (fig. 3.24; 330-320).108 Their hair is pulled into a bun, a hairstyle that evokes an epigram by Antipater of Sidon in which Hippe pulls up the locks of hair that she will cut and dedicate to Artemis on the eve of her wedding.109 They are preceded by Eros, who is stepping over a ball lying on the ground, perhaps the one dropped by the rider. The group is flanked by two figures who raise an arm to encourage them, a satyr on the left and a third woman on the right, her hair held back by a headband, who is lifting the lower part of her tunic with one hand to walk faster. The presence of Aphrodite in the image is suggested by a dove taking flight.

    Fig. 3.23. Siceliote calyx-krater attributed to the Chessboard Painter, 410-380. Palermo, Collection Mormino 285.

    Fig. 3.24. Bell-krater attributed to the Painter of Group G, c. 330. Munich, Antikensammlungen 2396.

    11The ephedrismos motif is found in Classical and Hellenistic statuary. The charm of the subject and its roots in the Dionysian world may explain the sculpted group of two young women riding each other on the west pediment of the Temple of Hephaistos on the Agora in Athens.110 It was widely used in the production of terracotta workshops from the 4th to 2nd centuries, and spread throughout the Greek world, from mainland Greece to southern Italy and Cyrenaica.111 The terracottas come from a variety of archaeological contexts, mainly funerary and votive.112 The girls in a Corinthian group are very young (fig. 3.25; late 4th cent.);113 they are dressed in a fine chiton and wearing large floral wreaths, which seems to indicate that the game is being played at a festival. The beginning of this production could be linked to rituals in the sanctuary of Demeter and Core in Corinth, deities who accompany the marriage process.114 On a Boeotian terracotta in Munich, the rider is throwing a ball (fig. 3.26; c. 300-200).115 The ‘filly’ holds it on a Corinthian example in Munich, ridden by a deity, Nike (fig. 3.27; c. 240),116 elsewhere by Eros or Aphrodite, no doubt with the same meaning as on the vases. The activity shows the skill and physical mastery expected of girls of marriageable age, while the supernatural presences demonstrate the symbolic dimension of the game. The maidens accept, without wavering, even if the stakes are high, to be led towards a destiny as a wife. Some figurines might place the game in an entirely Dionysian context, when a silenus carries a young woman who could be a maenad, as on some vases (figs. 3.19, 3.20).117 A mirror from the Hellenistic period (c. 300) depicts the victory of Aphrodite, carried by Pan, preceded by a nuptial Eros carrying a torch.118

    12Absent from Etruscan iconography, depictions of this game mainly imitate a Greek model in Republican and Imperial Italy. This limitation suggests that it had a specific cultural importance in festivals and rituals for women in Greece with no equivalent in the Roman world. The unusual behaviour of the girls evokes that of the maenads in the Dionysian thiasus. The votive context of certain terracottas and the floral wreaths worn by the players (fig. 3.25)119 suggest performances expressing both the wild nature of the girls and their bodily mastery in the festive context of nuptial ceremonies. This festive dimension could shed light on the meaning of an Archaic amphora in Stuttgart (fig. 3.39a; 530-520).120 Two girls wearing a peplos are standing back-to-back holding each other’s arms so that they can tip over onto each other’s backs each in turn. At the far left, a woman raises her hands as if to comment on their skill, and at the centre a bearded man turns to look at them; he is holding a trainer’s staff, which gives the game a value of exercise and discipline that goes beyond that of a recreational activity. On the other side of the vase, the swing scene relates to the spring festival of the Aiora as part of the Anthesteria, where young people are seen as a promise of renewal for the community, as we will see later.121

    Fig. 3.25. Terracotta figurine (H. 13,8cm), c. 300. New York, Metropolitan Museum of Art 07.286.4.

    Fig. 3.26. Terracotta figurine (H. 22,5cm), 300-200. Munich, Antikensammlungen 187.

    Fig. 3.27. Terracotta figurine (H. 33,7cm), c. 240. Munich, Antikensammlungen TC 6758.

    Notes de bas de page

    83Poll. 9.199 and 122. Scheffer 1996; Mandel 1999; Schmöder-Veit 2004a. See above Part 2. Gymnastic games.

    84Rf pyxis, New York, Metropolitan Museum of Art 06.1021.119; BAPD 4193.

    85Rf lekanis, Athens, National Museum 17534; ARV2 1690; BAPD 275530 (Near the Meidias P.); Mandel 1999: 220-221, fig. 3.

    86Poll. 9.119.5.

    87Rf Apulian skyphos, Rhode Island School of Design 25.089; RVAp I: 208, no. 136 (Workshop of the Ilioupersis P.); Reho-Bumbalova 1981, fig. 5; Scheffer 1996, fig. 6.

    88Anac. frgt 417 Page (transl. D.A. Campbell, Loeb). Alcm. frgt 58 Page-Davies = 147 Calame.

    89HhD 2.21.

    90Eur. Hipp. 546 (transl. D. Kovacs, Loeb). On marriage as a yoke: e.g., Stewart 1995; Calame 1996: 164-167 (with previous bibliography). Arist. Hist. an. 6.18.572a30, uses the verb paizo to refer to mares in heat ‘frolicking’ with one another.

    91On female anthroponyms related to horses, Brulé 2007: 81-83.

    92See Poll. 3.38.

    93See the belt offerings to Athena Apatouria in Trezene before the wedding, and the image of the belt being undone by the bridegroom to signify sexual union; Schmitt Pantel 1977, 2012 and 2019. How and when the belt is fastened, Sabetai 1997, esp. 333, n. 40.

    94See Celle 1995. The bird may also indicate an age group. On the association of the bird motif with pre-adult individuals, see Cohen 2007.

    95Rf skyphos, Bari, private collection, Ashmead, Philips 1976: 51. In Attic vase-painting, see also a rf krater fragment with Eros carried by a female figure; Athens, Agora Museum, P 19433; ARV2 1084.7; BAPD 214547; http://ark.dasch.swiss/ark:/72163/080e-768c82350b265-c.

    96Scheffer 1996, with a list of different ways of carrying, which can also be associated with abduction: 179, n. 48. See also Schöne 1987: 107-111. On maenads, Villanueva Puig 2009.

    97Bf oinochoe, Athens, National Museum 1045 (CC691); ABV 186, Add2 51 (signed by Xenokles as painter and Kleisophos as potter); BAPD 302454; Scheffer 1996, 172, fig. 2.

    98Bf oinochoe, private collection, Cahn 1964: 13, fig. 14. See also the satyr carrying a maenad on a bf oinochoe in Basel, Antikenmuseum und Sammlung Ludwig Z361; Para 182.4bis, Add2 109 (Class of Altenburg); BAPD 351320; CVA Basel, Antikenmuseum 1, 1981 (J.-P. Descoeudres): 119, pl. 53, 5 and 8.

    99Rf lekythos, Malibu, The J. Paul Getty Museum 71.AE.444; BAPD 5767 (Karlsruhe P.); Scheffer 1996: 174, fig. 3; Neils, Oakley 2003: 276, no. 84.

    100See also the maenad riding a satyr on a rf fragment from the Pnyx P 64; Scheffer 1996, no. 18, fig. 5. Conversely, a satyr rides a maenad on the rf cup in Jena, Friedrich-Schiller-Universität 0491/394; ARV2 1511.6, Add2 383 (Iena P.); BAPD 230962; Scheffer 1996, no. 12, fig. 4.

    101Rf lekythos, Sofia, National History Museum 7565; BAPD 7449.

    102Rf Campanian amphora, Paris, Musée du Louvre CA 3202; LCS: 338, no. 793 (Ixion P.). See also Eros (holding a whip or a garland?), Aphrodite and two women engaged in a game of ephedrismos, surrounded by circular motifs suggesting balls, on a rf Campanian hydria in Paris, Musée du Louvre ED 640; LCS: 545, no. 829.

    103Rf Apulian pelike, Bari, Museo Archeologico Provinciale 2736; Forti 1959.

    104The type is well attested in South Italian terracotta figurines. See the similar pose of a girl with Eros on a terracotta in Basel, Antikenmuseum und Sammlung Ludwig, loan coll. Schwitter, Steininger 1994, pl. 10, 1-4.

    105Rf Siceliote calyx-krater, Palermo, Collection Mormino 285; LCS: 197, no. 4, pl. 78.4 (Chessboard P.); Hermary et al. 1986, no. 761; Schauenburg 1976a: 45, fig. 13.

    106On these dances, Delavaud-Roux 1993; Ceccarelli 1998; CVA Thebes, Archaeological Museum 1, 2001 (V. Sabetai): 29-32 pls. 16 (dancing in a symposion) and 18 (dancing with a flute-player). I wish to thank Susan Langdon and Maya Muratov for engaging in further discussions at their presentations of dolls as pyrrhic dancers for the conference “Articulated Figurines in Ancient Greece and Beyond. Archaeological and Regional Contexts” in Fribourg in June 2023, publication in preparation. See also further ch. III.

    107Rf boeotian krater, Athens, National Museum 1367; Avronidaki 2014: 91, fig. 13; Sabetai 2012a: 85, fig. 4; Sabetai 2012b: 127-128, figs. 8-9.

    108Rf bell-krater, Munich, Antikensammlungen 2396; ARV2 1468.139; BAPD 230348 (P. of Group G); Scheffer 1996: 175; Schmöder-Veit 2004a: 430, fig. 47.9.

    109Anth. Pal. 6.276.

    110Marble, fragmentary statue group, Athens, Agora Museum S 429; Scheffer 1996: 179- 181; Stewart 2018: 696-699, no. 7, fig. 15, on the Dionysian context of a scene of the return of Hephaestus to Olympus. See also the Hellenistic marble group, Rome, Palazzo dei Conservatori, 1465; Mandel 1999: 228-229, pl. 66, 3.

    111See the catalogue of over 30 copies in Villard 2022 and his unpublished thesis. On a figurine in an assortment of figurines relating to the expectation of marriage in a Boeotian tomb in Akraiphia, Sabetai 2022a: 353-360, fig. 16.6 and Sabetai 2022b: 163-164, pl. 7b, c.

    112In several tombs in the Taranto necropolis, Graepler 1997: 258, and the grave of a young man, in northern Greece, Sismanidês 1997, no. 1, fig. 24.

    113Corinthian terracotta, New York, Metropolitan Museum of Art 07.286.4; Neils, Oakley, 2003: 275, no. 83. See the Corinthian group in the Louvre, without a ball, where the two women look at the viewer; Paris, Musée du Louvre MMNB 496 and MNB 496 bis, 238-239, no. 181 (Néguine Mathieu).

    114Merker 2000: 248-249, nos. H390, H391, pl. 55. See also the figurines from a group of discarded votive objects from the sanctuary of Demeter and Ceres in Isthmia, Anderson-Stojanović, Reese 1993, pl. 63.79.

    115Boeotian terracotta, Munich, Antikensammlungen 187; Schmöder-Veit 2004a: 427, fig. 47.3, no. 249.

    116Corinthian terracotta, Munich, Staatliche Antikensammlungen TC 6758; Schmöder-Veit 2004a, fig. 47.7, no. 252.

    117E.g., terracotta, Hamburg Museum für Kunst und Gewerbe 1927.40; Scheffer 1996: 175-176, fig. 8. Terracotta, Paris, Musée du Louvre D 96 (CA 464); Scheffer 1996: 175-176, fig. 9. Could it be part of a choreography? I thank Marie-Christine Villanueva Puig for this observation.

    118Bronze mirror, formerly Paris, coll. Gréau; Delivorrias 1984, no. 1344; Scheffer 1996: 177, no. 30; Mandel 1999: 215, fig. 1 (with a star).

    119Scheffer 1996: 180-181 also notes this ritual dimension of physical trials. See the race of the ‘little bears’ at the sanctuary of Artemis at Brauron. On this aspect of girls’ coming of age, see the abundant bibliography, e.g., Cole 1984, several contributions in Reeder 1995 and the monograph by Kossatz-Deissmann 2011: 33-34.

    120Bf amphora, Stuttgart, Landesmuseum Württemberg 65/1; BAPD 9134 (Princeton P.); Böhr 1982: 52, pl. 163. Two other vases also depict the scene: bf amphora, Boston, Museum of Fine Arts 98.918; ABV 306.41, Para 132, Add2 81 (Swing P.); BAPD 301521; Neils 2003: 149, fig. 8; Sabetai 2008: 290, fig. 1. Bf amphora, Paris, Musée du Louvre F 60, from Vulci; ABV 308.74, Para 133, Add2 82 (Swing P.); BAPD 301554; Shapiro 1989, pl. 37c.

    121See further ch. IV and Part 4. Childhood at play.

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    83Poll. 9.199 and 122. Scheffer 1996; Mandel 1999; Schmöder-Veit 2004a. See above Part 2. Gymnastic games.

    84Rf pyxis, New York, Metropolitan Museum of Art 06.1021.119; BAPD 4193.

    85Rf lekanis, Athens, National Museum 17534; ARV2 1690; BAPD 275530 (Near the Meidias P.); Mandel 1999: 220-221, fig. 3.

    86Poll. 9.119.5.

    87Rf Apulian skyphos, Rhode Island School of Design 25.089; RVAp I: 208, no. 136 (Workshop of the Ilioupersis P.); Reho-Bumbalova 1981, fig. 5; Scheffer 1996, fig. 6.

    88Anac. frgt 417 Page (transl. D.A. Campbell, Loeb). Alcm. frgt 58 Page-Davies = 147 Calame.

    89HhD 2.21.

    90Eur. Hipp. 546 (transl. D. Kovacs, Loeb). On marriage as a yoke: e.g., Stewart 1995; Calame 1996: 164-167 (with previous bibliography). Arist. Hist. an. 6.18.572a30, uses the verb paizo to refer to mares in heat ‘frolicking’ with one another.

    91On female anthroponyms related to horses, Brulé 2007: 81-83.

    92See Poll. 3.38.

    93See the belt offerings to Athena Apatouria in Trezene before the wedding, and the image of the belt being undone by the bridegroom to signify sexual union; Schmitt Pantel 1977, 2012 and 2019. How and when the belt is fastened, Sabetai 1997, esp. 333, n. 40.

    94See Celle 1995. The bird may also indicate an age group. On the association of the bird motif with pre-adult individuals, see Cohen 2007.

    95Rf skyphos, Bari, private collection, Ashmead, Philips 1976: 51. In Attic vase-painting, see also a rf krater fragment with Eros carried by a female figure; Athens, Agora Museum, P 19433; ARV2 1084.7; BAPD 214547; http://ark.dasch.swiss/ark:/72163/080e-768c82350b265-c.

    96Scheffer 1996, with a list of different ways of carrying, which can also be associated with abduction: 179, n. 48. See also Schöne 1987: 107-111. On maenads, Villanueva Puig 2009.

    97Bf oinochoe, Athens, National Museum 1045 (CC691); ABV 186, Add2 51 (signed by Xenokles as painter and Kleisophos as potter); BAPD 302454; Scheffer 1996, 172, fig. 2.

    98Bf oinochoe, private collection, Cahn 1964: 13, fig. 14. See also the satyr carrying a maenad on a bf oinochoe in Basel, Antikenmuseum und Sammlung Ludwig Z361; Para 182.4bis, Add2 109 (Class of Altenburg); BAPD 351320; CVA Basel, Antikenmuseum 1, 1981 (J.-P. Descoeudres): 119, pl. 53, 5 and 8.

    99Rf lekythos, Malibu, The J. Paul Getty Museum 71.AE.444; BAPD 5767 (Karlsruhe P.); Scheffer 1996: 174, fig. 3; Neils, Oakley 2003: 276, no. 84.

    100See also the maenad riding a satyr on a rf fragment from the Pnyx P 64; Scheffer 1996, no. 18, fig. 5. Conversely, a satyr rides a maenad on the rf cup in Jena, Friedrich-Schiller-Universität 0491/394; ARV2 1511.6, Add2 383 (Iena P.); BAPD 230962; Scheffer 1996, no. 12, fig. 4.

    101Rf lekythos, Sofia, National History Museum 7565; BAPD 7449.

    102Rf Campanian amphora, Paris, Musée du Louvre CA 3202; LCS: 338, no. 793 (Ixion P.). See also Eros (holding a whip or a garland?), Aphrodite and two women engaged in a game of ephedrismos, surrounded by circular motifs suggesting balls, on a rf Campanian hydria in Paris, Musée du Louvre ED 640; LCS: 545, no. 829.

    103Rf Apulian pelike, Bari, Museo Archeologico Provinciale 2736; Forti 1959.

    104The type is well attested in South Italian terracotta figurines. See the similar pose of a girl with Eros on a terracotta in Basel, Antikenmuseum und Sammlung Ludwig, loan coll. Schwitter, Steininger 1994, pl. 10, 1-4.

    105Rf Siceliote calyx-krater, Palermo, Collection Mormino 285; LCS: 197, no. 4, pl. 78.4 (Chessboard P.); Hermary et al. 1986, no. 761; Schauenburg 1976a: 45, fig. 13.

    106On these dances, Delavaud-Roux 1993; Ceccarelli 1998; CVA Thebes, Archaeological Museum 1, 2001 (V. Sabetai): 29-32 pls. 16 (dancing in a symposion) and 18 (dancing with a flute-player). I wish to thank Susan Langdon and Maya Muratov for engaging in further discussions at their presentations of dolls as pyrrhic dancers for the conference “Articulated Figurines in Ancient Greece and Beyond. Archaeological and Regional Contexts” in Fribourg in June 2023, publication in preparation. See also further ch. III.

    107Rf boeotian krater, Athens, National Museum 1367; Avronidaki 2014: 91, fig. 13; Sabetai 2012a: 85, fig. 4; Sabetai 2012b: 127-128, figs. 8-9.

    108Rf bell-krater, Munich, Antikensammlungen 2396; ARV2 1468.139; BAPD 230348 (P. of Group G); Scheffer 1996: 175; Schmöder-Veit 2004a: 430, fig. 47.9.

    109Anth. Pal. 6.276.

    110Marble, fragmentary statue group, Athens, Agora Museum S 429; Scheffer 1996: 179- 181; Stewart 2018: 696-699, no. 7, fig. 15, on the Dionysian context of a scene of the return of Hephaestus to Olympus. See also the Hellenistic marble group, Rome, Palazzo dei Conservatori, 1465; Mandel 1999: 228-229, pl. 66, 3.

    111See the catalogue of over 30 copies in Villard 2022 and his unpublished thesis. On a figurine in an assortment of figurines relating to the expectation of marriage in a Boeotian tomb in Akraiphia, Sabetai 2022a: 353-360, fig. 16.6 and Sabetai 2022b: 163-164, pl. 7b, c.

    112In several tombs in the Taranto necropolis, Graepler 1997: 258, and the grave of a young man, in northern Greece, Sismanidês 1997, no. 1, fig. 24.

    113Corinthian terracotta, New York, Metropolitan Museum of Art 07.286.4; Neils, Oakley, 2003: 275, no. 83. See the Corinthian group in the Louvre, without a ball, where the two women look at the viewer; Paris, Musée du Louvre MMNB 496 and MNB 496 bis, 238-239, no. 181 (Néguine Mathieu).

    114Merker 2000: 248-249, nos. H390, H391, pl. 55. See also the figurines from a group of discarded votive objects from the sanctuary of Demeter and Ceres in Isthmia, Anderson-Stojanović, Reese 1993, pl. 63.79.

    115Boeotian terracotta, Munich, Antikensammlungen 187; Schmöder-Veit 2004a: 427, fig. 47.3, no. 249.

    116Corinthian terracotta, Munich, Staatliche Antikensammlungen TC 6758; Schmöder-Veit 2004a, fig. 47.7, no. 252.

    117E.g., terracotta, Hamburg Museum für Kunst und Gewerbe 1927.40; Scheffer 1996: 175-176, fig. 8. Terracotta, Paris, Musée du Louvre D 96 (CA 464); Scheffer 1996: 175-176, fig. 9. Could it be part of a choreography? I thank Marie-Christine Villanueva Puig for this observation.

    118Bronze mirror, formerly Paris, coll. Gréau; Delivorrias 1984, no. 1344; Scheffer 1996: 177, no. 30; Mandel 1999: 215, fig. 1 (with a star).

    119Scheffer 1996: 180-181 also notes this ritual dimension of physical trials. See the race of the ‘little bears’ at the sanctuary of Artemis at Brauron. On this aspect of girls’ coming of age, see the abundant bibliography, e.g., Cole 1984, several contributions in Reeder 1995 and the monograph by Kossatz-Deissmann 2011: 33-34.

    120Bf amphora, Stuttgart, Landesmuseum Württemberg 65/1; BAPD 9134 (Princeton P.); Böhr 1982: 52, pl. 163. Two other vases also depict the scene: bf amphora, Boston, Museum of Fine Arts 98.918; ABV 306.41, Para 132, Add2 81 (Swing P.); BAPD 301521; Neils 2003: 149, fig. 8; Sabetai 2008: 290, fig. 1. Bf amphora, Paris, Musée du Louvre F 60, from Vulci; ABV 308.74, Para 133, Add2 82 (Swing P.); BAPD 301554; Shapiro 1989, pl. 37c.

    121See further ch. IV and Part 4. Childhood at play.

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