Hostname: page-component-848d4c4894-m9kch Total loading time: 0 Render date: 2024-06-08T04:42:40.236Z Has data issue: false hasContentIssue false

Musical Drinking-Cups

Published online by Cambridge University Press:  23 December 2013

A. Seeberg
Affiliation:
Oslo

Extract

B. Shefton and M. Vickers recently called attention to a kind of drinking-cup having clay pellets inside the hollow rim of the foot, or inside the hollow lip, which rattle when the cup is moved. The examples noted belong in part to the beginning of the fifth century, in part to the mid-fourth.

A cup of the earlier series (Oslo University ES 36266, ex Hope) appeared in CV Norway (1) pl. 50, 2. X-ray photographs provided by the laboratory of the Historical Museum, Oslo, can now supplement the description; comparison with the published X-rays of other rattle-cups shows interesting variety in the preparation of such vases. There are nine small pellets in the channel inside the foot. They appear to be of uniform size and regular shape, so it is perhaps not likely that any got in by accident later, although there is an unplugged hole (compare the foot of the cup by Skythes in Toronto, Vickers, pl. 5, 2). In our CV publication the open hole was interpreted as a convenient solution to the combined problems of trapping the pellets and letting the air out, on the theory that the pellets had been previously fired and would not shrink in the kiln as the cup and the hole would. The X-ray reveals an unexpected second hole placed some 120° away from the other and carefully stoppered. No obvious parallel comes to mind except for the cat-hole and kitten-hole in the old story, which is not illuminating; one might cautiously conclude that in the case of one potter at least, the process of preparing a rattle-cup was still a matter for experiment.

Type
Notes
Copyright
Copyright © The Society for the Promotion of Hellenic Studies 1972

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Archaeological Reports for 1969–70 61 f.; JHS xc (1970) 199 ff.

2 In ‘playing’ it is not possible to vary the tone of the cup by placing a finger over the open hole.

3 EM 6906, EM 6908 (ex H. Schliemann): CV Norway (1) pl. 1, 2–3; Institutum Romanum Norvegiae. Acta ad archaeologiam et artium historiam pertinentia iv (1969) 7 ff. Similar (fragmentary): Perachora i (1940) pl. 25, 1–2; Monumenti Antichi xxv (1919) 544 f., fig. 132, top.

4 Kirsten, E. in Charites. Festschr. E. Langlotz (1957) 110 ff.Google Scholar; Leroy-Molinghen, A., Byzantion xxxv (1965) 208 ff.Google Scholar; Mingazzini, P., AA 1967, 344 ff.Google Scholar, with convenient catalogue of ancient sources; Scheibler, I., AA 1968, 389 ff.Google Scholar; Ross, R. C., AJA lxxiv (1970) 202 f.Google Scholar; lxxv (1971) 195, inscribed vase from Isthmia.

5 Reference to relevant (and some irrelevant) passages in Daremberg-Saglio s.v. Bombylios ou Bombyle; add especially (LS) the inscription IG xi (2) 154, line A 68, a Delian temple inventory where one bombylios is listed between kraters, dinoi, stands and psykters. If the word originally meant a rattle-cup (with the necessary implication of a thick lip) a shift in favour of the secondary meaning as recorded in late sources seems possible.

6 E.g., Napoli, M., La Tomba del Tuffatore (1970)Google Scholar fig. 20 (colour), cf. pp. 128–33; contrast Trendall, A. D. and Webster, T. B. L., Illustrations of Greek Drama (1971) 123Google Scholar, a fourth-century Paestan vase.