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Get a license at www.myfonts.com/fonts/sudtipos/bowling-script/
About the typeface
There is plenty of lyric and literature about looking over one’s shoulder in contemplation. What would you have done differently if you knew then what you know now? This is the kind of question that comes out of nowhere. When it does and whether its context is personal or professional make very little difference. It’s a question that can cause emotions to rise and passions to run hot. It can trigger priority shifts and identity crises. It’s never easy to answer.
Three years ago, I published a font called Semilla. My aim with that was to distill the work of Bentele, a lettering artist from early 1950s Germany. Picking such an obscure figure back then was my way of pondering the meaning and efficiency of objectivity in a world where real human events and existences are inevitably filtered through decades of unavoidably subjective written, printed and oral history. And maybe to pat myself on the back for surviving surprises mild and pleasant.
Having been fortunate enough to follow my professional whims for quite some time now, I took another, longer look at my idea of distilling Bentele’s work again. I suppose the concepts of established history and objectivity can become quite malleable when personal experience is added to the mix. I say that because there I was, three years later, second-guessing myself and opining that Bentele’s work can be distilled differently, in a manner more suited to current cultural angles. So I embarked on that mission, and Bowling Script is the result. I realize that it’s difficult to reconcile this soft and happy calligraphic outcome with the introspection I've blathered about so far, but it is what is. I guess even self-created first world problems need to be resolved somehow, and the resolution can happen in mysterious ways.
Bowling Script is what people who like my work would expect from me. It’s yet another script loaded with all kinds of alternation, swashing and over-the-top stuff. All of that is in here. These days I think I just do all that stuff without even blinking. But there are two additional twists.
The more noticeable one is ornamental: The stroke endings in the main font are of the typical sharp and curly variety found in sign painting, while the other font complements that with ball endings, sometimes with an added-on-afterwards impression rather than an extension of the actual stroke. In the philosophical terms I was mumbling earlier, this is the equivalent of alternate realities in a world of historical reduxes that by their very nature can never properly translate original fact.
The second twist has to do with the disruption of angular rhythm in calligraphic alphabets. Of course, this is the kind of lettering where the very concept of rhythm can be quite flexible, but it still counts for something, and experimenting with angular white space in a project of a very dense footprint was irresistible. After playing for a bit, I decided that it would interesting to include the option of using optically back-slanted forms in the fonts. Most scripts out there, including mine, have a rhythm sonically comparable to four-to-the-floor club beats. So the weirdly angled stuff here is your chance to do the occasional drumroll. Everyone knows we need one of those sometimes.
Bowling Script and Bowling Script Balls fonts comes with 1600 characters and features extended Latin-based language support. There are also a basic version of both fonts without all the alternates and extra OpenType features. Bowling family ships in cross-platform OpenType format.
This is my newest desktop, it is heavily based off of one of Ian Michael Smith's desktops. I basically took many of his ideas and adapted them to my desktop.
Contemporary Script is a new typeface I developed. This typeface is based on the teaching and exemplar of Canadian Calligrapher Mark Lurz. I attended his six week course in the spring of 2013 through the Calligraphic Arts Guild of Toronto and recently developed this typeface. The course was excellent as it focused on a free style of calligraphy which is wildly different from my gothic calligraphy. This course also focused on pen manipulation which is a difficult skill to acquire and almost impossible to learn from a book -- this is a skill best taught in person or by video. Many thanks to Mark for sharing this.
This typeface consists of just under 300 characters including: lowercase, uppercase, numbers, special characters and a few swirls. This typeface is available as beautiful bit map images showing pen opacity. You are looking at the vector letters. These letters can be arranged in Inkscape, GIMP, Photoshop or Adobe Illustrator. Several variations of each letter are provided. Contact me if you are interested in this script.
This free letter style looks amazing against the contrast of a more controlled letter style like gothic.
New font by Ale Paul for www.sudtipos.com
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Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
I was fooling around with iPhone SDK at the very beginning to create an app to give readers short excerpts of blog post, photos, downloads, tweets. Guess what, before I acquired enough skills to actually create one, there is this MotherApp service to do almost everything for you.
Honestly, I don't think people, even myself will read blog posts in an iPhone app but it is fun by itself to create an app that's gonna be on Apple's app store. The Scription app is supposed to be out in January, let's see how it turns out.
More on Scription blog: moleskine.vox.com/library/post/scription-iphone-app.html
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
SUDTIPOS NEWS
--------------------------------------------
We are proud to announce the release of Courtesy Script, our latest ornamental tribute to late S. XiX penmanship.
Get Courtesy > www.myfonts.com/fonts/sudtipos/courtesy-script-pro/
ABOUT COURTESY
--------------------------------------------
As in Victorian times, the precious, hand-lettered look of custom stationery is back in vogue. Enter Courtesy Script, my newest ornamental script typeface.
Courtesy captures the elegance and propriety of finely practiced Spencerian penmanship, in particular the Zanerian school. Its lowercase is notably understated, a simple monoline with very wide connections that ease readability. In the capitals, Courtesy adds variety in both the weight of the strokes, and in degrees of flourish — from merely fancy to over-the-top engrossery.
Based on an alphabet found in a 19th-century penmanship journal, Ale created hundreds of additional, stylistically complementary letterforms. Alternate capitals and lowercase letters, swashed lowercase forms, and ending and ornamental swashes; numerals, punctuation, and non-English and accented characters.
With virtually endless ways to customize its use, Courtesy helps designers create fluid, signature looks on stationery and invitations, book covers, fashion layouts, and packaging.
More fonts
Visit www.sudtipos.com
These are the most frequent scripts made by members of the Scratch Online Community. You can think of them as the collective nuggets of programming wisdom created by a quarter of a million kids from around the world.
This is the result of an analysis of the ~2 million projects on the Scratch website.
The gray ones are the ones without any behavior associated to them, most likely the result of experimentation.
Thanks to members of the Scratch community (MyRedNeptune, Jonathanpb, Scimonster and BWOG) for helping with the creation of this image.
I've been seeing people use flic.kr links (Short URL provided by Flickr) so I wrote a Greasemonkey script that will display the current photo's flic.kr link on the page.
You can read about is and get the script here.
BTW, The Flic.kr link is: http://flic.kr/p/6BsJkW
Flickr Short URL here.
Discussion and Javascript function by ‘Xenocryst @ Antares Scorpii’ here. He wrote the Base58 Javascript function I made use of.
St Mary, Gressenhall, Norfolk
Gressenhall is a large village, not far from Dereham. It sprawls along the gentle valley, merging into neighbouring Beetley, and is home to the Dereham Union workhouse building, which is today the magnificent Museum of Norfolk Rural Life. If Dereham has commuters, then Gressenhall and Beetley are exactly the kind of places that they would live, I suppose, but there is nothing suburban about Gressenhall. It is a pretty place with its village green and cottages, and I liked it a lot.
The parish church of St Mary is a good mile outside the village, set in the narrow sunken lanes to the south. Some churches like this seem to be hiding away, but St Mary is a large, impressive building, sitting boldly in the fields as if it was the church of some great French abbey. The imposing central tower is perhaps a little over-restored, and this gives it an echo of Castle Rising church, but in fact Perpendicular is more in evidence here than Romanesque. The wide, sloping graveyard is a perfect setting. In the silence, apart from birdsong, there was a sense of remoteness.
We stepped into a stillness to match the silence outside. As with all central-towered churches, there is a sense of rooms that open up off each of other, the aisles, chancel and the transepts forming separate spaces of their own. High above the tower arch, a double headed window reveals the Norman origins of the place, but otherwise this feels an early 20th century space in a medieval shell. The 15th century font has been enthusiastically vandalised; most of the panels feature hanging shields, but on one panel in particular the iconoclasts really went to town. I wonder what it depicted. Perhaps more interesting than the font are two other medieval survivals.
One is a relief of the martyrdom of St Stephen. He kneels, and is stoned to death. Such reliefs were once common, but few survived the 16th century Anglican enthusiasm for the destruction of images, and those that did were discarded to be found centuries later under floorboards and sealed up in walls.
Propped up against the south wall are some panels from the rood screen. They depict St Leonard, St Augustine, St Gregory and St Michael, all barely decipherable now thanks to vandalism, although the St Michael appears as if it was a good one. The restored roof of the south transept nearby is very beautiful.
There was once a west gallery. We know this, because on a ledger stone in the nave Robert Halcot is remembered. He died in 1640; in the primitive script of those puritan days his inscription reads HIM HAVE WEE FOR A TIME LOST WHO BILT THIS GALEREY ATT HIS OWNE COST. The brass Latin inscription to John and Sarah Estmond, of some thirty years earlier, retains some of the elegance and erudition of earlier times, and reminds us quite how much educational standards were to drop during the first half of the 17th century.
TBDBITL performs Script Ohio in Ohio Stadium (the "Horseshoe") before the Maryland game on October 10, 2015
While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread as those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather's library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century.
Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling's exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase.
Bellissima has an effusive energy that appeals much beyond its sourcing. It's intended for these modern times of appreciation for old crafty things like stationary and letterpress, where its origins help it shine brightly.
Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.
3D art in that Specimen generously provided by Corey Holms.
To celebrate this new font release there is a 30% off discount at @myfonts and you can get the Pro version for just 55$ or a Redux (a random selection of 256 glyphs) for only 34$
More fonts at:
New font by Ale Paul for www.sudtipos.com
--
Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/
ABOUT AUBERGE SCRIPT
It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.
Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.
Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.
Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.
This is one quill script that no large bird had to die for.
A few technical notes
The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.
Awards
During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.
Take a look of the complet project at on.be.net/15Yq5XY
Marillion.. Script for a jesters tear.
Formed in Aylesbury in Buckinghamshire in 1979,Marillion went on to become one of the most succesful rock bands of the 80's selling more than 15 million albums...I must say im not a great fan of the bands later work...It was the first couple of studio albums that i loved as these created a sound that reflected the bands influences notably Genesis,Pink floyd,Van der graff generator,Yes and early Rush....The first time i heard Fish's poetic lyrics i was hooked [No pun intended]....This is an essential album for any first or second generation Prog Rock fan.
kylix
www.britishmuseum.org/explore/themes/entertainment/ancien...
Object typekylix term details
Museum number1850,0302.2
DescriptionPottery: red-figured kylix:
INTERIOR: Trainer and boxer. A bearded trainer stands to the right, but looks back over his shoulder to the left. He wears a himation (black border; battlement border around shoulder only), shoes and a red apicate fillet in his hair (tails at back). The hair down the median line of his stomach is done with irregular short strokes in dilute glaze. He holds a forked stick out in his right hand; his left is within a bunch of drapery behind his back. On the right stands a naked athlete tying a thong (drawn in relief lines) around his raised right hand and wrist. His left leg is frontal, his right leg flexed behind his left with only the toes touching the ground. He has a red apicate fillet in his hair (tails at back). Preliminary sketch reveals that the trainer's arm was originally intended to have been bent up at 90°, holding his stick vertically.
Border: dotted cross-squares alternating with three units of stopt maeander (anticlockwise); additional maeander unit at 10 o'clock.
EXTERIOR: athletes.
Side A (upper): boxers and pancratiasts. On the left is a pair of boxers in a bout. The boxer on the left has his left arm bent up in front, his right arm back, and there is a dilute line on his cheek. His opponent, facing to the left, is seen in three-quarter back view, his left arm out in front, his right drawn back for a blow. His cheek is heavily marked with relief lines, under the eye and along the cheekbone, to denote swelling. The thongs of both boxers around their hands and wrists are painted in red. In the centre is a pair of pancratiasts down on the ground. On the left, the youth has his torso frontal, his right leg tucked up under resting on the ball of the foot and partially obscuring his genitals, his left leg outstretched to the right. His head is turned to the right, his right arm is out to the left, fist clenched to deliver a blow, his left holds his opponent's head in an armlock, his fingers seeming to claw at his opponent's right eye and the palm and heel of his hand covering his mouth. He has a relief line marking his cheekbone and two dilute creases on his brow. His opponent has a frontal face. His legs are wrapped round the first youth's left leg and he has both hands to that youth's face, his thumbs probably searching for his right eye. Above them hangs a discus in a bag - the discus is decorated with a cross and the mouth of the bag with dots - and a pair of thongs. On the right a bearded trainer steps forward, his forked stick raised over his head to stop the fouls and the fight. He is dressed in a himation (black border) and shoes; his left arm is under the himation. On the far right is a column with a plain one step base and a plain termination at the top.
Side Β (lower): hoplitodromos and boxers. On the left a hoplitodromos moves to the right, wearing greaves and a thick reserved fillet round his head. He carries a shield on his left arm and holds a helmet down in his right hand (missing fragment had part of crest and calf of this figure and, on the inside, part of the maeander border). In front of him stands a trainer, whose torso and left leg are fully frontal, but his inclined head is turned to the right. He wears a himation (black border) and a red wreath and holds a forked stick in his right hand, his left arm akimbo under the himation. In the centre a pair of boxers fight with open hands. They both have red thongs around their hands and wrists and the outlines of the cheeks are marked with dilute lines. The boxer on the left has both legs frontal. His left arm is extended in a defensive position, while with his right he wards off the left arm of his opponent. The boxer on the right has his left arm out in front and his right arm bent up over his head; part of his back is visible. Behind him hangs a pair of thongs. On the right stands a boxer holding a red thong stretched between his two hands. His right leg is frontal and his left is turned to the right, but his head faces back to the left. On the far right is a pillar with fluting done in dilute glaze, a plain single step base and plain termination on top, on which rests a pair of thongs. Ground line: two closely set reserved lines. Graffito under foot.
Relief line contour throughout (except hair); dilute glaze for minor interior markings; thick reserved line lip, thin outside; added red for inscriptions.
Less
Producer nameAttributed to: The Foundry Painter biography
Culture/periodAttic term details
Date490BC-480BC (circa)
Production placeMade in: Attica(Europe,Greece,Attica (Greece))
FindspotExcavated/Findspot: Vulci(Europe,Italy,Lazio,Viterbo (province),Vulci)
Materialspottery term details
WareRed figure term details
Techniquepainted term details
DimensionsHeight: 123 millimetresDiameter: 318 millimetresWidth: 395 millimetres (including handles)Weight: 946 grammesHeight: 12.7 centimetresDiameter: 30.48 centimetres
Inscriptions
Inscription Type
inscription
Inscription Script
Greek
Inscription Position
Interior
Inscription Language
Greek
Inscription Content
Ο[...]ΕΟΣΕΣΕΟΣΝ, ΝΕΝΟΝΝΟΕΟ
Inscription Comment
(Nonsense, Es with their three strokes facing downwards).
Curator's commentsCVA British Museum 9Bibliography: Sale Catalogue of the Emil Braun Collection (Christie's) February 21 1850 no. 40; Hartwig Μ 392-4, 689 no. 9; Murray DGV no. 55; Tonks Brygos 109 no. 21; Hoppin i 457 no. 13; VA 94; AV 186, i; ARV 263, 3; Bloesch FAS 73, no. 20; ARV2 401, 3 and p. 1651; Beazley RG 5 5-6, figs. 6-8; Poliakoff Combat Sports 55 fig. 53 (detail of A); Sweet Sport and Recreation 82 fig. 28 (A); E. Spathari (ed.) Ellada Athletismos Politismos (Athens 1988) 50 fig. 33; R. Jackson, Doctors and Diseases in the Roman Empire (London 1988) p. 35 fig. 5 (A); Beazley Add2 230-1; Beazley Lectures 80, pl. 50, 2 and 51.Given by Hartwig to his Diogenes Master (although he did group together the first three pieces in Beazley's later list of the Foundry Painter; cf. Buschor GV 176), by Murray with some reservation to the style of Brygos and attributed by Beazley to his Foundry Painter. The potting has been attributed by Bloesch to Euphronios.
For the Foundry Painter see, in addition to Beazley's lists and lecture (Beazley RG - Beazley Lectures 78-83), Knauer Foundry Painter and Robertson Art of Vase-painting 107-9. He decorated mainly cups, but also a skyphos (ARV2 403, 37), a phiale (with coral red inside: Getty fragments), a kantharos of type C (ARV2 1651 add as 37 bis), a kantharos with applied masks (Getty 85.AE.263), a head vase (ARV2 382, 184) and a pyxis (Brauron Museum fragments). The earliest works of the Foundry Painter derive from Onesimos' Lykan cups: the Foundry Painter was a pupil of Onesimos (e.g. ARV2 331, 17 [manner of Onesimos]; Para 361, 131 bis [Onesimos]; Para 370 add as 33 bis; AKV2 1651 add as 18 bis; Bloomington see Knauer Foundry Painter, 402, 19). The London athletic cup is an early mature work. Its tondo border ties it to a number of other works by the painter (ARV2 401, 2; 402, 12-13; Para 370, add as 12 bis) and to the Brygos Painter's early mature phase (cf. Vase E68).
The open-handed boxers on the exterior recur on a fragment by the Foundry Painter (ARV2 401, 6) and on an unpublished cup in a New York private collection (Spears) by the Dokimasia Painter (cf. also ARV2 340, 73, Antiphon Painter). They are perhaps engaging in preliminary feints or sparring: see Gardiner AAW 205-6, akrocheirizesthai. On boxing techniques in general see now Poliakoff Combat Sports 80-5.
The pancratiasts on side A demonstrate one of the two forbidden actions of pancratiasts (cf. Aristophanes Birds 442 and Peace 899), namely gouging. We cannot be sure if the pancratiast with the frontal face was biting his opponent, the other outlawed practice, but given the opportunity provided, it seems most likely that he would have done so. For a full discussion of the pankration see Gardiner AAW 212-21 and, most recently, Poliakoff Combat Sports.
For the Foundry Painter's nonsense inscriptions cf. now Immerwahr Attic Script 89: writing 'without bothering to turn the cup'. This is most noticeable in the production of the Es. The retrograde graffito is perhaps more Greek than Etruscan.
More
BibliographyCVA British Museum 9 48 bibliographic detailsOld Catalogue 971* bibliographic detailsVase E78 bibliographic details
LocationOn display: G20a/dc2
Exhibition history Exhibited:1980 5 Jun- 26 Oct, London, BM, The Ancient Olympic Games
2008 1 May-12 Jul, Shanghai, The Ancient Olympic Games
2008 2 Aug-31 Sep, Hong Kong, The Ancient Olympic Games
2009 2 Apr-13 Oct, Alicante, The Body Beautiful in Ancient Greek Art and Thought
2010 30 Apr-30 Aug, Seoul, National Museum of Korea, The Body Beautiful in Ancient Greek Art and Thought 2010-2011 15 Oct-07 Feb, Taipei, The National Palace Museum, The Body Beautiful in Ancient Greek Art and Thought
2010-2011 11 Mar-12 Jun, Kobe City Museum, The Body Beautiful in Ancient Greek Art and Thought
2011 4 July-25 Sept, Tokyo, The National Museum of Western Art, The Body Beautiful in Ancient Greek Art and Thought
2011-2012 25 Oct-12 Feb, Mexico City, National Anthropological Museum, The Body Beautiful in Ancient Greek Art and Thought
2012-2013 6 Oct-6 Jan, Portland Art Museum, The Body Beautiful in Ancient Greek Art and Thought
2013 6 May-6 Oct, Dallas Museum of Art, The Body Beautiful in Ancient Greek Art and Thought
2014 21Feb-9 Jun, Fondation Pierre Gianadda, The Body Beautiful in Ancient Greek Art and Thought
2014, 2 Aug-9 Nov, Bendigo Art Gallery, Victoria, Australia, The Body Beautiful in Greek Art and Thought
Condition Made up from fragments; ancient rivet holes (6 pairs, holding left handle and part of rim).
Subjectswrestling/wrestler term detailsclassical sport term detailsboxing/boxer term details
Acquisition namePurchased through: Farrer biographyPurchased through: Christie's biographyPurchased from: Dr Emil Braun (sale) biography
Acquisition date1850
DepartmentGreek & Roman Antiquities
Registration number1850,0302.2
One Dollar script good for one bottle of St. Drakes 1860 Plantation X Bitters. This is not in my collection but from an article I read some years ago.