This satyr could be the younger brother of the previous one. They look alike, they are engaged in similar activities, and the composition is somewhat similar. The revelry and merriment, however, seem to have intensified with this later kylix. He is in an extremely advanced degree of inebriation. This is apparent from his crinkled forehead, which indicates intense concentration. He is most likely concentrating on keeping himself aloft the pointed amphora, which because of its rounded shape and the satyr's impaired coordination, seems determined to throw him. His arms and legs are splayed about in is attempt to balance himself. This little satyr is just as randy as his predecessor, if not more so, as he cannot help declaring his admiration and desire for at least two beautiful youths. The kylix tondo would have provided the drinker with basically the same experience as the earlier example. However, owing to the composition of the painting, the satyr's limbs flailing about on an extremely unstable object, and the presumed dizziness of both the satyr and the actual user of the kylix, the wine sloshing back into the mouth as the vessel was tipped must have produced a heightened sensation of movement and vertigo.

While satyrs and the god Dionysos are the subjects of a good many kylikes, ordinary human beings are also used, usually when the theme revolves around drinking, sex, or both. In an Attic red-figure kylix dating from c. 480-470 BCE, a fully clad youth carrying a knobbed staff stands in front of a seductively dressed young woman. He offers the woman a flower, as she inspects the youth rather nonchalantly. She holds a mirror in her left hand, and her right arm is held behind her. There is a bed in the background.⁴

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