The tondo is encircled by a cursorily drawn border of alternately facing units of pseudo-maeander. The crowded composition is viewed as though through a porthole, with several elements - helmet crest, shield rim and folding stool - abbreviated by the overlapping border. At centre, a nude youth, infibulated, bends to right, in the pose of one fitting a greave to his left shank, although here the greave is omitted. Seated in front of him is a bearded elder, wearing a long chiton, generously pleated himation and shoes, his raised right hand gripping a black staff that rests against his shoulder. Dilute glaze for chiton’s upper folds, and for youth’s musculature. Added red for man’s fillet, and for inscription in upper left field, KA . ., for the ubiquitous kalos (beautiful). Relief-line fully contours the figures; and it is doubled for the crown of the head, a distinctive technical feature that, together with type of tondo’s maeanders, points to the hand of an artist in the Dourian workshop, modelling his style on that of Douris'’ late manner. The lack of sophistication both in composition and in line (witness the interesting correction in the relief-line contouring the youth’s back) appears to suggest that this is a prentice work of a painter at the beginning of his career - very possibly the Painter of Munich 2660, one of Douris's early classical followers. Recomposed from numerous fragments, with reconstruction of the cup’s bowl, from outer edge of tondo’s border to rim, roughly from 11 to 4 o’clock. Upper part of youth’s head, forehead, eye and nose of seated man restored, as too man’s wrapped left forearm, together with the adjacent stretch of border, and lower half of shield. Both handles, and stem of foot, modern; footplate ancient, but not belonging. Glaze in places misfired greenish orange, with a clear imprint on the bowl’s exterior from stacking in the kiln.