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202:. The statue, still headless, is lying on a sand or clay support; a workman is holding one of its arms, carefully manipulating it with a hammer. The statue's head lies at his feet. A line between the statue's arm and hand indicates that the two parts are not fully joined yet. The
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cap, are smoothing or polishing its surface. They are flanked on each side by a man leaning on a crook and watching the workmen. They appear to neither represent additional workmen, nor the owners of the workshop, but rather random passers-by on the way to or from the
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are folded upwards; the painter probably used this to depict the statue's face more clearly. The statue appears to be in the final stages of production, since two workers, one of them marked as a smith by his characteristic
241:. Thus, it is likely that the Foundry Painter's depiction of the workshop is based on personal observation. Some details, such as the furnace, are, however, depicted in a way that differs from the known
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evidence. This is probably simply because certain adjustments of reality were necessary to effectively paint or compose the scene. At least some of the depicted workmen appear to be
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In contrast, the exterior image is unusual. It depicts a bronze workshop. The production of a variety of bronze statues is shown at different stages. At the centre of one side (
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to kindle the fire; in front of it, a seated workman appears to be heating a metal rod.
132:. Like other scenes connected with the Trojan War, it is a common motif on Greek vases.
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490/480 BC. Its diameter is 30.5 cm. Originally, such cups were used at the
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249:. For example, the man in front of the oven is crouched in such a way that his
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60:. Its most striking feature is the exterior depiction of activities in an
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held in his left hand; his right hand is about to thrust a raised
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98:) of the cup has a direct connection with metalwork. It depicts
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Metal workshops existed in the
Athenian potters' quarter, the
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198:), a second statue is being made. It appears to be that of an
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118:. Achilles is going to use them to avenge his slain friend
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48:(drinking cup) from the early 5th century BC. It is the
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Trinkschale. Namensgebendes Werk des Erzgießerei-Malers
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are visible, a style of depiction normally limited to
167:. They were probably going to (or just did) engage in
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370:Die Antikensammlung: Altes Museum. Pergamonmuseum
230:. Behind the furnace, a youth is manipulating a
206:to join them (in reality it would have been an
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327:. Currently, it is on display in section 15 (
190:with furnace and assembly of athlete's statue
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56:vase painter known conventionally as the
372:, von Zabern, Mainz 2007, p. 68f.,
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303:. The Foundry cup had been exported to
143:. His body his protected by a circular
151:. Unusually, the cheek-guards of the
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226:) is probably being prepared in the
638:Archaeological discoveries in Italy
315:. In 1837 it was acquired for the
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16:5th century BC Greek drinking cup
110:armour and weaponry for her son
331:- "The Gods of Greece") of the
102:, the god of crafts, including
71:. It is an important source on
623:Individual ancient Greek vases
1:
267:on the vase: On the interior
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122:. The scene is described in
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329:"Die Götter Griechenlands"
289:this boy is beautiful, too
281:Diogenes is beautiful, too
283:) and on exterior side B
179:) suspended behind them.
114:, who is fighting in the
653:5th-century BC Greek art
633:5th-century BC artifacts
76:metal-working technology
663:Ancient Greek metalwork
628:Ancient Greek sculpture
410:Inventory number F 2294
295:in style, and dates to
94:The interior image (or
550:Brygos cup of Würzburg
384:Antike Werkstattbilder
307:and was discovered in
275:), on exterior side A
194:On the opposite side (
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106:, handing the goddess
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36:
24:
565:Oxford Palmette Class
277:DIOGENES KALOS NAICHI
185:
89:
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273:the boy is beautiful
595: /
476:Chalcidianising cup
285:O PAIS KALOS NAICHI
90:Interior of the cup
23:Detail of the tondo
545:Berlin Foundry Cup
535:Typology of shapes
491:Little-master cups
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37:Erzgießerei-Schale
29:Berlin Foundry Cup
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648:Greek gods in art
599:52.519°N 13.398°E
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378:978-3-8053-2449-6
169:athletic activity
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560:Merrythought cup
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350:Lost-wax casting
345:Bronze sculpture
311:, probably in a
260:There are three
186:Exterior image,
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58:Foundry Painter
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481:Dionysus Cup
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356:Bibliography
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293:Late Archaic
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269:O PAIS KALOS
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265:inscriptions
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259:
257:and slaves.
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175:flask and a
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67:workshop or
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28:
26:
602: /
509:Gordion cup
222:with a low
141:scaffolding
643:Hephaestus
617:Categories
590:13°23′53″E
587:52°31′08″N
555:Komast cup
514:Kassel cup
398:References
239:Kerameikos
116:Trojan War
100:Hephaistos
41:red-figure
570:Siana cup
504:Droop cup
301:symposium
204:soldering
164:palaistra
120:Patroclus
50:name vase
499:Band cup
468:Eye-cups
339:See also
251:genitals
216:antimony
112:Achilles
62:Athenian
519:Lip cup
460:Kylikes
325:Germany
305:Etruria
232:bellows
228:furnace
200:athlete
177:strigil
158:leather
82:The cup
69:foundry
52:of the
39:) is a
658:Thetis
390:
376:
321:Berlin
255:satyrs
247:slaves
196:side B
188:side B
153:helmet
145:shield
137:side A
108:Thetis
104:smiths
65:bronze
33:German
528:Other
313:grave
309:Vulci
297:circa
263:kalos
208:alloy
149:spear
129:Iliad
124:Homer
96:tondo
54:Attic
45:kylix
388:ISBN
374:ISBN
218:and
212:lead
27:The
319:at
220:tin
210:of
173:oil
126:'s
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335:.
323:,
214:,
78:.
35::
452:e
445:t
438:v
287:(
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31:(
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