Öz The frieze on the silver stag rhyton in the Norbert Schimmel Collection, New York, has been described and discussed several times (1). Here I only want to discuss the composition of the frieze, i.e., the question of where it begins and ends. The importance of determining the proper beginning and end of a composition running around a cylindrical surface is well known to anyone who ever looked at cylinder seals. In the case of the stag rhyton I have long been wondering why the first presentation of the entire frieze in Muscarella’s catalogue was cut the way it was, and why this arrangement was retained in ali subsequent publications. In the case of the photographic reproductions the reason may simply have been the availability of certain photographs and no others.