Mrs Ure has recalled attention in recent JHS Notes (lxxxviii [1968] 140 f.; lxxxix [1969] 120 f.) to the class of fifth-century Corinthian cups and other small vases studied formerly by Sam Wide (in AM xxvi [1901] 143 ff.) and her (in JHS lxix [1949] 18 ff.). It is surely time the class had a name and, with Mrs Ure's approval, I suggest ‘The Sam Wide Group’. Mrs Ure mentions a cup of the group in Oxford and I take this opportunity to publish it. It is in private possession but at present exhibited in the Ashmolean museum, whose photographs of it are shown here (Plate II 1–2). The fabric and the outside decoration (partly painted handles, tongues on the lip, a band within the concave foot) are wholly normal for this group. The cup interior, which carries the figure decoration, measures 9.2 cm across. The paint is a reddish brown, used with varying intensity from the pale wash for hatching to heavy stippling over painted areas (as the cloak). The scene is of Oedipus and the Sphinx—with a difference which is easier to describe than explain. Oedipus sits at the left, his petasos slung behind his neck, his sword drawn and held upright over his knees. A chlamys fastened round his neck appears to be raised in a protective gesture over his head. Passing from the ridiculous to the sublime we might compare the gesture of a Niobe protecting her child. The left arm holding the drapery is not shown, but this explanation seems the most plausible. The only alternative is that this is the rock on which we might expect the Sphinx otherwise to be sitting, and which can be shown in this form. The monster is perched on a column with a volute capital which is not strictly Ionic but of the type commonly seen on vases for structures or furniture. A high plinth over the volutes serves as base for the creature, rocking back on its haunches, balancing, it seems, on a springy tail.