Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)
JÁNOS GYÖRGY SZILÁGYI: A Boar Hunt
for the most part by Trumpf-Lyritzaki); J. V. M. Derksen, BABesch 68 (1993), 171-4 (from Athens); M. Tsimbidou-Avloniti, in Agalma... G . Despini, Thessaloniki 2001, 223-32 (Attic); CVA Mannheim 2 (2003), Taf. 27 (Attic). Trumpf-Lyritzaki 1969, 107-9; Tsimbidou-Avloniti 2001, 226 and n. 20. The latter mentions two pieces from Pella, supposed to be locally-made (non vidi). H Trumpf-Lyritzaki 1969, 112, and one further lekythos in the shape of a dancing bacchant from Palestrina, found in grave 1 (female) of the Selciata necropolis (second half of the fourth century), Palestrina, Museo Nazionale Archeologico (A. M. Reggiani, Arch. Laziale 11, 1993, 199-200, on the grave find; P. Pensabene, Terrecotte del Museo Nazionale Romano II, Rome 2001, 109 and tav. X, 8). 9 Trumpf-Lyritzaki 1969, 109-11; Reeder Williams 1978, 357, note 2. 10 Trumpf-Lyritzaki 1969, 44, Nr. 122-4. 11 On the decoration of the back Trumpf-Lyritzaki 1969, 118. On the appearance of new types in the second half of the fourth century, and the brief renaissance at the end of the third, see Reeder Williams 1978, 365-6. 12 Ps. Oppian. Cyneg. 1, 97-101. For the translation, see A. W. Mair, Oppian Colluthus Tryphiodorus, Loeb Classical Library, London, and New York 1927, 13. In most representations, the boar is depicted charging the rider, but the scheme of the Budapest vase, which is technically quite justified, and in which it seems to be fleeing in the same direction as the hunter, is certainly not unknown even on later reliefs. See e.g. Z. Goceva, and M. Oppermann, CCETll, 2, Leiden 1984, pi. 46, no. 593; LIMC VI (1992), pi. 705, no. 468. 13 E. Will, Le relief cultuel gréco-romain, Paris 1955, 56f; G. Rodenwaldt, Griechische Reliefs in Lykien, Sitzungsberichte d. Preuss. Akad. d. Wiss., Philos.-hist. Kb, Berlin 1933, 1042-43; Ch. Picard, MonPiot 38 (1941), 79; M. Cremer, Hellenistisch-römische Grabstelen mi NW Kleinasien I Bonn 1991, 19-24; M. Mackintosh, The Divine Rider in the Art of the Western Roman Empire, Oxford 1995, 12-19, 50-51. 14 S. Reinach, Rev. arch. 1900-1901 (published in installments); Rodenwaldt 1933, 1038-43; Picard 1941, 78-82 (on the basis of the dissertation of M. R. Leford des Ylours); Will 1955, 82-88 (earlier bibliography: 82, n. 1). 15 J. M. Barringer, The Hunt in Ancient Greece, Baltimore, and London 2001, passim, see General Index, s.v. boar; for vase-paintings, see esp. 60-63; J. Fornasier, Jagddarstellungen des 6.-4. Jhs. v. Chr., Münster 2001, 7-101, 289-321 (with catalogue of sixth-fourth century vases). On the earliest Greek representations see Kl. Fittschen, Untersuchungen zum Beginn der Sagendarstellungen bei den Griechen, Berlin 1969, 60-61. A. Schnapp, Le chasseur et la cité, Paris 1997, 400-2 provides exciting if controversial observations on the subject. According to one Greek mythological tradition (Ps. Oppian. Cyneg. 2, 14), Castor was the first man to hunt on horseback.
