Plates were favored by some of the major vase-painters, both black-figure and red-figure, during the last decades of the sixth century B.C. The tondo presented the same challenge as the interior of a cup. This young man astride a rooster touches the bird's neck with his right hand and, curiously, rests his toes on the framing circle. The meaning is not evident, but the reference undoubtedly has to do with the rooster as a love gift.
Signature: Signed by Epiktetos as painter
Bonaparte, Lucien. 1829. Museum etrusque, fouilles de 1828 à 1829. Vases peints avec inscriptions. p. 103, Viterbo, Italy.
Boardman, John, Martin Robertson, and C. Martin Robertson. 1979. Great Britain--Castle Ashby, Northampton, Corpus Vasorum Antiquorum, Vol. 15. no. 65, Oxford: Oxford University Press.
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Kossatz-Deissmann, Anneliese, Brigitte Servais-Soyez, Fulvio Canciani, Giovannangelo Camporeale, Hans Peter Isler, Ingrid Krauskopf, Odette Touchefeu-Meynier, Marcel Le Glay, and Dr. Jean-Charles Balty. 1990. Herakles-Kenchrias, Lexicon Iconographicum Mythologiae Classicae, Vol. 5. Hippalektryon, no. 83, Zürich: Artemis Verlag Zurich und Munchen.
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