86 Sentences With "kraters" | Random Sentence Generator

Kraters are a common image in artifacts of that time and place.

Basil E. Frankweiler Step Two: Scatter your belongings: Good hiding places include the many urns and terracotta kraters in the Greek Wing, or this marble sarcophagus, carved in Rome in the early 300s, when Christianity was first recognized as a legal faith within the Roman Empire.

The quality of the vessels is very high. The clay was well slurried and was given a cream-colored coating. Amphoras, hydriai, column kraters (called krater lakonikos in antiquity), volute kraters, Chalcidic kraters, lebes, aryballoi and the Spartan drinking cup, the lakaina, were painted. But the index form and most frequent find is the cup.

One vase was found in Samaria and one in Lebanon. The majority of the Dinos Painter’s works include Bell Kraters. However, Calyx kraters, Amphorai, Lebetes, Pelikai, and one Loutrophos fragment have been found.

Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native warriors. The backs often show cloaked youths.

The most popular shape is the bail-amphora. Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native Samnite warriors.

They mainly painted bell kraters, neck amphorae, hydriai, lebes gamikos, lekanes, lekythoi and jugs, more rarely pelikes, chalice kraters and volute kraters. Characteristics include decorations such as lateral palmettes, a pattern of tendrils with calyx and umbel known as "asteas flower", crenelation-like patterns on garments and curly hair hanging over the back of figures. Figures that bend forwards, resting on plants or rocks, are equally common. Special colours are used often, especially white, gold, black, purple and shades of red.

He is probably the most important painter of his generation. He painted a wide variety of vase shapes, including even kylikes, a rarity among his contemporaries. His conventional name is derived from several vases depicting hunters, including Atalante and her lover Meleagros. Colonette kraters and bell kraters by him normally bear dionysiac motifs.

The Paestan vase painting style was originated by Sicilian immigrants around 360 BC, and was the last of the South Italian styles to develop. The first workshop was controlled by Asteas and Python, who are the only South Italian vase painters known from inscriptions. They mainly painted bell kraters, neck amphorae, hydriai, lebes gamikos, lekanes, lekythoi and jugs, more rarely pelikes, chalice kraters, and volute kraters. Asteas and Python had a major influence on the vase painting of Paestum, clearly visible in the work of the Aphrodite Painter, a likely immigrant from Apulia.

The first largely eschews additional colouring and was mostly used for the decoration of bell kraters, colonet kraters and smaller vessels. Their decoration is quite simple, the pictorial compositions usually include one to four figures (e.g., works by Sisyphus Painter, Tarporley Painter). The motifs focus on mythical subjects, but also include women's heads, warriors in scenes of battle or departure, and dionysiac thiasos imagery.

The Met's Dipylon krater is tall and has a circumference of . The monumental vase is hollow, with a hole at the bottom, indicating that it was not used as a mixing bowl like regular kraters. At the Dipylon Cemetery, where it was found, kraters marked the graves of men. Decorations occupy the entire vase, separated into registers containing abstract motifs or figural designs in a dark-on-light style.

He painted several large chalice kraters, often with two registers of figures; unlike his master, he seems to have preferred larger vessels in general. This is shown by his white-ground works, which are not well known, but more expressive than those of the Achilles Painter. Apart from a number of lekythoi, he painted two chalice kraters in white-ground technique, a rarity at the time. His themes may be partially influenced by contemporary theatre.

Ornamental stone kraters are known from Hellenistic times, the most famous being the Borghese Vase of Pentelic Marble and the Medici Vase, also of marble. After rediscovery of these pieces, imitations became a staple of garden decoration in the Baroque and Neoclassical periods. The French artist and landscape designer Hubert Robert included the Borghese Vase, both alone and together with other stone kraters, in several of his works.Grasselli, Margaret Morgan, Yuriko Jackall, et al.

The clay of the vases is pale pink, the black paint is off matt tone and has a tendency to flake off easily. Particularly typical of Sicilian vase painting is the use of additional colours, notably of white paint. Especially in the initial phase, large vessels such as chalice kraters, volute kraters and hydriai were painted, but small vessels such as bottles, lekanes, lekythoi and skyphoid pyxides are also typical. Popular themes included scenes from female life, erotes, women's heads and phlyax scenes.

Exekias does not seem to have specialized in a specific vessel type. Among the vases made or decorated by him are neck amphorae, Type A and B amphorae, calyx kraters, column kraters, Type A cups, dinoi, hydriai, and at least one Panathenaic amphora. Probably his most unusual work is represented by two series of funerary plaques found in Athens (Berlin Antikensammlung 1811, 1814). The plaques, showing the funerary ritual for a deceased man, were probably attached to the walls of a funerary monument.

Stamnoi have a similar function to Kraters, and are thought to have been used to stir wine and water together to dilute them. However, some Stamnoi have lids, indicating that they were used for storage too.

Ancient Greek pottery from ca. 440 BC Parasols are first attested on pottery shards from the late Mycenaean period (c. 1320–1190 BC). Joost Crouwel: A Note on Two Mycenaean Parasol Kraters, The Annual of the British School at Athens, Vol.

The suevite was formed from mesozoic sediments shocked by the bolide impact.Johannes Baier: Die Auswurfprodukte des Ries-Impakts, Deutschland, in Documenta Naturae, Vol. 162, München, 2007. ; Johannes Baier: Zur Herkunft der Suevit-Grundmasse des Ries-Impakt Kraters, in Documenta Naturae, Vol.

Herakles fighting Geryon, amphora, circa 540 BC, Louvre F 55. The main vase shape painted by the group E artists was the belly amphora of type A. Older shapes were abandoned totally (e.g. ovoid neck amphorae) or mostly (e.g. column kraters).

The grave goods included different types of ceramic pottery. These consisted of kraters, amphorae, kantharoi and some oil lamps. They were arranged on the ground and hung from the lower sections of the walls. The pottery had symbolic and funerary significance.

The , an example of a krater from the Dipylon cemetery, at the National Archaeological Museum, Athens. Dipylon kraters are Geometric Period Greek terracotta funerary vases found at the Dipylon cemetery, near the Dipylon Gate, in Kerameikos, the ancient potters quarter on the northwest side of the ancient city of Athens. A krater is a large Ancient Greek painted vase used to mix wine and water, but the large kraters at the Dipylon cemetery served as grave markers. Vases representative of this larger "Dipylon Style," are housed in the National Archaeological Museum, AthensΑ 00990, Attic geometric krater.

Popular shapes included volute kraters, kantharoi, oinochoai and askoi. A common motif were female figures, standing on a small pedestal. Additionally decoration included applied plastic winged heads, gorgons and similar motifs. The paintings often depicted Nike, chariots, battle scenes, naiskoi and winged female figures.

Rhodes also produced large vases, including tall-footed kraters. The distinguishing feature of East Greek vase painting were diagonally hatched meanders, triangles and rhomboids. Later, waterfowl were added as a motif. The Attic system of metope-like panes was also adopted, but abandoned soon after.

In the execution of detail, he frequently followed older precepts. Besides amphorae and hydriai, he also painted kraters, bowls and lids. A votive plaque attributed to him bears the inscription ΣΟΝΟΣΈΠΙΣΤ (sonos epist), indicating that he was literate; it is the oldest known painted inscription in Greek.

At a Greek symposium, kraters were placed in the center of the room. They were quite large, so they were not easily portable when filled. Thus, the wine-water mixture would be withdrawn from the krater with other vessels, such as a kyathos (pl. kyathoi), an amphora (pl.

Oil flasks (alabastra, aryballos), pyxides, kraters, oenochoes and cups were the most common vessels painted. Sculptured vases were also widespread. In contrast to Attic vases, inscriptions are rare, and painters’ signatures even more so. Most of the surviving vessels produced in Corinth have been found in Etruria, lower Italy and Sicily.

Almost all the Daunian pottery was made by hand, but in a few of the finest kraters from Ruvo the wheel seems to have been used. The decorative designs were painted in two alternating colours, red and dark violet, generally but not always laid on a background of whitish slip.

Herakles fights Busiris, pelike by the Pan Painter, circa 470 BC. Athens, National Museum. In archaeological scholarship, the term Mannerists describes a large group of Attic red-figure vase painters, stylistically linked by their affected painting style. The group comprised more than 15 artists. They preferred to paint column kraters, hydriai and pelikes.

Arrival or departure of a young warrior or hero, volute krater, circa 410/400 BC. London, British Museum. His early work includes a variety of bell kraters, usually decorated with three figures. He mainly painted scenes of everyday life or dionysiac scenes. On the backs he always painted two or three cloaked youths.

The backs usually have images of cloaked youths. After the middle of the fourth century, the simple style became increasingly similar to the ornate one (see, e.g., the Varrese Painter). The artists of the Ornate Style preferred bigger vessels with space for larger images, such as volute kraters, amphorae, loutrophoroi and hydriai.

Ancient Greek funerary vases were made to resemble vessels used for elite male drinking parties, called symposiums. Funerary vases were often painted with symposiums, or Greek tragedies that involved death. There are many types of funerary vases including amphorae, kraters, oinochoe, and kylix cups. Funerary scenes show us how the Greeks treated the deceased.

He was the leading artist of the Gorgoneion Group. He mainly decorated kylikes and kraters. His favourite subject, found on nearly all his cup exteriors, were his eponymous scenes of horsemen; he also painted fighting scenes and animal friezes. As usual within his group, the interiors of the cups were decorated with a gorgon’s head.

Additionally, internal details could be added by incision. The themes depicted include erotes, images from the life of women, theatre scenes and dionysiac motifs. Figural, painting is often limited to the upper half of the vessel body, while the bottom half often bears only ornamental decoration. The most common shapes were bell kraters, pelikes, oinochoai and skyphoi.

During the second half of the century, Volterra became a main centre. Here, especially rod- handled kraters were produced and, especially in the early phases, painted elaborately. During the 2nd half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan painters. They were replaced by female heads and scenes of up to two figures.

The most typical feature of Sicilian vase painting is the use of additional colours, especially white. In the early phase, large vessels like chalice kraters and hydriai were painted, but smaller vessels like flasks, lekanes, lekythoi and skyphoid pyxides are more typical. The most common motifs are scenes from female life, erotes, female heads and phlyax scenes. Mythological scenes are rare.

One where she dies, and the other is where her body is replaced with the corpse of an animal by Artemis, who saves her. The pottery depictions are mostly by the black-figure and red-figure techniques. They are also mostly amphoras and kraters. In my page, I wanted to include depictions of Iphigenia from all artistic aspects, not only pottery.

Nonetheless, the 8th- century ceremonial Kraters attributed to the Trachones workshop and used in burial tombs throughout Geometric Greece are considered some of the best examples of Athenian Geometric Pottery that have been discovered to date. In 1914, the Metropolitan Museum of Art in New York City acquired two specimens, which are on display as part of its permanent collection of Greek and Roman Art.

Most of the pottery that has been attributed to Mannerists are pelikai, hydriai, and kraters. Though the original names of the artists are unknown, historians have given artists names based on pieces that seem to be painted by the same person or group of artists; some Archaic Mannerist artists are: the Pig Painter, Agrigento Painter, Oinanthe Painter, Perseus Painter, Leningrad Painter, and Pan Painter.

Samian vase painting was a regional style of ancient Greek vase painting; it formed part of East Greek vase painting. Vases were produced on Samos since the Geometric period. At the Heraion of Samos, many Geometric vases were discovered, including high-footed kraters, kantharoi, kotyles, skyphoi and round-mouthed oinochoai. Details such as the diagonally hatched meanders and four-leafed starts betray an Attic influence.

The leading shape is the neck amphora, providing about a quarter of all known Chalcidian vases, followed by Eye-cups, oinochoai and hydriai; rarer shapes include kraters, skyphoi and pyxides. Lekanes and Etruscan-style cups occur exceptionally. The construction of the vases is straightforward and simple. A typical feature is the Chalcidian cup foot, sometimes imitated in Attic black- figure and (rarely) red-figure vases (Chalcidizing cups).

Frimkess' early work included a variety of both ceramics and bronze or aluminum sculptures. These early pieces were often more free-form and less utilitarian, taking a cue from his mentor and teacher, Peter Voulkos. His interest and skill in making classical pottery forms began to increase in the mid-1960s. Examples of his work include Greek volute kraters, Zuni pots, and Chinese ginger jars.

Gigantomachy krater by the Underworld Painter, circa 340 BC. Berlin: Altes Museum. The artists using the ornate style tended to favour large vessels, like volute kraters, amphorae, loutrophoroi and hydriai. The larger surface area was used to depict up to 20 figures, often in several registers on the body of the vase. Additional colours, especially shades of red, yellow-gold and white are used copiously.

The Gorgoneion Group was a group of Corinthian vase painters working in the black-figure technique. They were active in Middle Corinthian Period (circa 600 to 575 BC), around 580 BC. The Gorgoneion Group mainly decorated kylikes and kraters. The striking decoration of the insides of cups with gorgon heads is the base of its modern name. Its leading artist was the Cavalcade Painter.

The main difference between them is that the plain style favoured bell craters, column kraters and smaller vessels, and that a single "plain" vessel rarely depicted more than four figures. The main subjects were mythological scenes, female heads, warriors in scenes of combat of farewell, and dionysiac thiasos imagery. The reverse often showed youths wearing cloaks. The key feature of these simply decorated wares is the general absence of additional colours.

These workshops dominated the Etruscan market into the 4th century BC. Large and medium-sized vessels like kraters and jugs were decorated mostly with mythological scenes. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. New centres of production developed in Chiusi and Orvieto. Especially the Tondo Group of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important.

Psiax mostly painted smaller vessels, appropriate to his fine painting style. Nevertheless, larger vases by him are also known, such as amphorae, hydriai and chalice kraters. On those, too, his figures are not so much powerful and lively but rather dignified and restrained. Although he experimented with the possibilities offered by the new technique (perspective), he concentrated more on the fine detail and decorative effect typical of Late Archaic art.

He painted especially on bell kraters, on which he often depicted dionysiac themes and theatrical scenes. His work includes the first known phlyax vase, showing the punishment of a thief, accompanied by a metric verse inscription. Mythological scenes by him are rare. There appears to be an especially close relationship between the work of the Tarporley Painter and that of the Dolon Painter, perhaps they cooperated directly for some time.

The excavated necropolis of Casabianda's rock-cut tombs have revealed treasures and goods, left or placed with the buried, that include fine works of art, jewels, weapons, metalware, bronze and ceramic plates and dishes in particular, rhytons, distinctive kraters decorated by some of the first rank Attic vase- painters.Stillwell. Portable antiquities found in the Aléria commune are presented for public viewing in the Musée Jérôme Carcopino in Fort Matra in the village of Aléria.

About 400 vases are ascribed to the group; most of them are hydriaI and neck amphorae, constituting about half of the group's surviving products. Additionally, they painted other types of amphorae, kraters, lekythoi, and, in small amounts, some other shapes. The group's conventional name is derived from five vases with kalos-inscriptions mentioning the ephebe Leagros. Herakles carries the Erymanthian boar to Eurystheus, who is hiding in a large sunken storage vessel.

Medea killing one of her children, neck amphora by the Ixion Painter, circa 330 BC. Paris: Louvre. Campania also produced red-figure vases in the 5th and 4th centuries BC. The light brown clay of Campania was covered with a slip that developed a pink or red tint after firing. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters. The most popular shape is the bow-handled amphora.

Many of them were different types of pottery, such as amphorae, kraters, pelikei, and many others. The Altamura Painter's pottery work is dated from 475 BC to 425 BC. The Altamura Painter mostly painted mythical gods and goddesses, as well as ordinary people. The Altamura Painter was the stylistic "older brother" of the Niobid Painter. They worked on new techniques which gave their characters different levels of depth and space on the paintings.

The Eucharides painter was working in Athens in the years from about 500 BC to 470 BC. At this time the technique of vase painting switched from black-figured to red-figured illustrations, a process commonly attributed to the Andokides Painter. Correspondingly, both black-figured and red-figured vases are attributed to the Eucharides painter. Their shapes range from large kraters to small cups. Scenes were drawn from mythology and daily life.

Sophilos' signature: "sofilos me grafsen" (“Sophilos painted me”) Sophilos (; active about 590 - 570 BC) was an Attic potter and vase painter in the black- figure style. Sophilos is the oldest Attic vase painter so far to be known by his true name. Fragments of two wine basins ('’dinoi’’) in Athens are signed by him, indicating that he both potted and painted them. In total, 37 vessels are ascribed to him, mostly amphorae, '’dinoi’’, kraters, as well as three pinakes.

While the historical term for two- handled vases with a large, bulbous bodies, such as this one, remains unknown, the term pelike (pl. pelikai) is generally used to refer to such vessels today. These vessels were used to store various liquids, such as wine and oil. It is highly likely that this specific pelike was once used as a wine container, as theatrical scenes primarily appear on vessels that relate specifically to wine consumption, such as kraters and oenochoai.

The Baltimore Painter was an Apulian vase painter whose works date to the final quarter of the 4th century BC. He is considered the most important Late Apulian vase painter, and the last Apulian painter of importance. His conventional name is derived from a vase kept at the Walters Art Museum in Baltimore. The Baltimore Painter's early work was strongly influenced by the Patera Painter. He mainly painted large format volute kraters, amphorae, loutrophoroi and hydriai.

Lydos decorated other types of vessels besides hydriai and dinos, such as plates, cups (overlap Siena cups), column kraters and psykters, as well as votive tablets. It continues to be difficult to identify Lydos’ products as such since they frequently differ only slightly from those of his immediate milieu. The style is quite homogenous, but the pieces vary considerably in quality. The drawings are not always carefully produced. Lydos was probably a foreman in a very productive workshop in Athens’pottery district.

The krater was discovered buried, as a funerary urn for a Thessalian aristocrat whose name is engraved on the vase: Astiouneios, son of Anaxagoras, from Larissa. Kraters (mixing bowls) were vessels used for mixing undiluted wine with water and probably various spices as well, the drink then being ladled out to fellow banqueters at ritual or festive celebrations. When excavated, the Derveni krater contained 1968.31 g of burnt bones that belonged to a man aged 35–50 and to a younger woman.

Again in this period we can see that the majority of this group is red paint on black background. The most common vessels that we find this type in are kraters, jars and jugs. This group, after being tested with neutron activation techniques shows that it was imported from eastern Cyprus; this includes Cypriot Bichrome ware. The major controversy is whether the Cypriot market produced Canaanite styles for exporting purposes, or whether Canaanites were producing the pottery for the home consumption in Israel.

Several monarchs of Asia Minor in the Archaic Period, at the height of the influence of the Oracle of Delphi, bolstered their claims to rule through oracles from the Pythia. Herodotus relates that Gyges ascended the throne following a Delphic oracle, which convinced the Lydians to accept him. However, the Pythia had also predicted that the revenge of the Heracleidae would fall upon his fifth descendant. For this oracle Gyges rewarded the oracle with precious ex-votos: six golden kraters were offered to the sanctuary of Apollo.

They weighed thirty talents. At the time of Herodotus these kraters were displayed in the Treasury of Corinth. He dedicated other more precious ex-votos, made of gold and silver, which are not, however, mentioned in detail. Nevertheless, Herodotus seems to have added the detail about the Delphic oracle, and the prediction about the fifth descendant of Gyges who will be revenged by the Heracleidae as a way to account for the fall of King Croesus of Lydia, who belonged to the Mermnadae dynasty.

It was there that he met his future wife and frequent collaborator, Magdalena Suarez, who had come to the Art Center from Venezuela as part of a fellowship program. While on the east coast, Frimkess was instructed to visit museums in New York and Boston to study Greek and Chinese forms of pottery. He also began learning the technique of "dry throwing" clay rather than using water. Much of his work after 1965 replicated classical forms like Greek volute kraters, Zuni pots, and Chinese ginger jars.

V. Philadelphia: University of Pennsylvania Museum of, 1993. 119. Print. but Corinthian pottery does not supply conclusive evidence for or against the rituals. However, of the imported pottery vases, minimal observations of two exclusive types may provide some insight concerning this ongoing issue: vases associated with personal use (perfumed- oil containers, small boxes, etc.) and those with wine, its preparation, serving and consumption (kraters, cups, and oinochoai). The pottery vases categorized as having a personal use may have served as dedicationsto Persephone and her divine mother (Demeter).

Case 10 contains large stemmed beakers, kylikes, kraters and ladles from pantry 20 of the Palace of Nestor. Case 19 also contains pottery and drinking vessels from pantry 20, as well as some pottery from room 38, including stripes for sealing jars. One krater is mattpainted with wavy decoration, similar to a krater from the excavations at Vlachopoulo that is displayed in the museum of Pylos. There is also a stone oil lamp of Minoan origin made of white marble and decorated with spiral patterns.

The madness of Heracles, side A from the Madrid Krater signed by Asteas, National Archaeological Museum of Spain Asteas (active between 350 and 320 BC in Paestum, Southern Italy) was one of the more active ancient Greek vase painters in Magna Graecia, practicing the red-figure style. He managed a large workshop, in which above all hydriai and kraters were painted. He painted mostly mythological and theatrical scenes. He is one of the few vase painters of the Greek colonies whose name comes down to us.

Only towards the end of the 5th century was the true red-figure technique, with the figures as reserved areas remaining in the actual clay colour, introduced to Etruria. The first such workshops developed in Vulci and Falerii, but also produced for surrounding areas. The original workshops were probably founded by Attic masters, but the early vessels also already display a South Italian influence. These workshops dominated the Etruscan market until the 4th century BC. Large and medium format vessels like kraters and jugs were mostly decorated with mythological scenes.

Campania produced red-figure vases in the 5th and 4th centuries BC. The sand-coloured to light brown clay (lighter than other South Italian clays) of Campania was covered with a slip that developed a pink or red tint after firing, creating an appearance very similar to that of Attic vases. The popular white or bright paints were visually especially striking on this. Women are usually by the use of white paint to depict their skin. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters.

A conical rhyton decorated with palm trees and nilotic floral motives in a Minoan style. The case also contains a stirrup jar with an ivy-leaf decoration, a prochous with the same floral pattern and two tall Keftiu cups with a spiral decoration. Case 22 contains pottery from the Palace's pantries and from the dumps of the acropolis including cups, kyathoi, kraters and some beveled jugs. Case 23 contains pottery items which were blackened and deformed by the fire which consumed the Palace, as well as grave goods from the pit grave in room 97.

Incised rosettes continued to be put on vases; they are lacking on only a few kraters and cups. The most outstanding piece of art in this period is the Amphiaraos Krater, a column krater created around 560 BC as the major work of the Amphiaraos Painter.. It shows several events from the life of the hero Amphiaraos. Around 550 BC the production of figured vases came to an end. The following Late Corinthian Style II is characterized by vases only with ornaments, usually painted with a silhouette technique.

At the beginning of the 1980s Taylor's work in glass turned to classic vessel forms based on ancient Greek kraters, lekythoi and amphoras. At first the surfaces of these bulging forms displayed colorful spots and splotches that contrasted with the solid body color of the vessels; but a trip to the desert regions of Idaho and Oregon influenced Taylor to wrap the surfaces of his vessels in landscape-like configurations of color. In 1980 Taylor returned briefly to ceramic, folding and draping slabs of porcelain into twisting, gestural forms. These he airbrushed in black and brown glazes to emphasize the forms' depth.

The Sisyphus Painter was an Apulian red-figure vase painter. His works are dated to the last two decades of the fifth century and the very early fourth century BC. The Sisyphus Painter is only known by this conventional name, as his true name remains unknown. He is one of the most influential painters in the Apulian vase painting tradition, and thus in all South Italian vase painting. His conventional name is derived from the inscription on the heart- shaped gift held by a youth as part of the depiction of a wedding on one of his volute kraters.

Some of the most famous of the Apulian vase painters at Taras are now called: the Iliupersis Painter, the Lycurgus Painter, the Gioia del Colle Painter, the Darius Painter, the Underworld Painter, and the White Sakkos Painter, among others. The wares produced by these workshops were usually large elaborate vessels intended for mortuary use. The forms produced included volute kraters, loutrophoroi, paterai, oinochoai, lekythoi, fish plates, etc. The decoration of these vessels was red figure (with figures reserved in red clay fabric, while the background was covered in a black gloss), with overpainting (sovradipinto) in white, pink, yellow, and maroon slips.

Many of his works, mostly volute kraters, amphorae and loutrophoroi, are of large dimensions. He most frequently depicted theatrical scenes, especially ones from the Classical tragedies by Euripides,The depiction of Darius on his name- vase is possibly derived in its details from the Persae of Phrynikos, C. Anti concluded in 1952, and Schmidt 1960 follows him. However Oliver Taplin notes in Pots and Plays, 2007, p.235-7, the only strong indications of tragic reference are Darius himself and the old man in paidagogos outfit on the plinth inscribed ΠΕΡΣΑΙ, who might be performing the messenger role.

Euphronios & Euxitheos, Cratère attique à figures rouges, 515–510 BC, Louvre These are among the largest of the kraters, supposedly developed by the potter Exekias in black figure though in fact almost always seen in red. The lower body is shaped like the calyx of a flower, and the foot is stepped. The psykter-shaped vase fits inside it so well stylistically that it has been suggested that the two might have often been made as a set. It is always made with two robust upturned handles positioned on opposite sides of the lower body or "cul".

This occupation was violently destroyed, leaving large amounts of pottery, including collar-rim jars, pyxides, carinated jugs and kraters. On the floor of one of the rooms were several jewelry items, including an amethyst scarab set in a gold ring that belongs to the time of the Egyptian Middle Kingdom. Replacing the destroyed cultic(?) area was a layer of domestic nature, with many ovens and earthen floors. Directly above this, a very finely constructed complex was built, comprising a courtyard-like building on the east, a building complex on the west with a large open space on the south and room(s) on the north.

His conventional name is derived from his name vase, a volute krater in the British Museum with depictions of the iloupersis (the sack of Troy). He followed the tradition of the Dijon Painter, but was an innovative artist who introduced significant aspects to Apulian vase painting. Thus, he introduced the depictions of grave scenes (naiskos vases) into the repertoire of motifs, started the habit of rippling the lower parts of vessel surfaces, and invented the decoration of the handles of volute kraters with circular medaillons depicting faces. The motif of a female head rising between tendrils from a flower was also first painted by him.

Entirely different from the Daunian pottery, both in spirit and in choice of shape and subject, is the Peucetian pottery. Fantastic ritual vases are unknown in Peucetia; kraters, bowls and jugs are the only forms permitted, and these are decorated in a style which is both simple and harmonious. There are two main classes of peucetian ware, the one painted in red and black (...), contemporary with imported Corinthian vases and considerably influenced by them, the other in plain black and white with a more restricted range of motives (cf. Gallery). There are four principal motives in the black and white, two of which, the swastika and the comb, overshadow the others.

The area displays some of the earliest urban settlements in Europe, with archeological sites showing continuous development from the Neolithic and Bronze Age periods. Major archeological finds include Early Helladic fortifications, Mycenaean era workshops and necropolis, a classical era amphitheater, and Paleochristian and Byzantine temples. Some of the earliest and best preserved specimens of Athenian Geometric pottery have been attributed to the Trachones workshop and are featured in museum collections, including two kraters on display at the Metropolitan Museum of Art in New York City. At its peak during the 5th and 4th centuries BCE, the area was the center of the Deme of Euonymos, one of the most populous communities of Ancient Athens.

Many of the surviving objects of this period are funerary objects, a particularly important class of which are the amphorae that acted as grave markers for aristocratic graves, principally the Dipylon Amphora by the Dipylon Master who has been credited with a number of kraters and amphorae from the late geometric period. Linear designs were the principal motif used in this period. The meander pattern was often placed in bands and used to frame the now larger panels of decoration. The areas most used for decoration by potters on shapes such as the amphorae and lekythoi were the neck and belly, which not only offered the greatest liberty for decoration but also emphasized the taller dimensions of the vessels.

The Perseus Project - The Harrow Painter Along with the Kleophrades Painter, the artist was the subject of one of Beazley's earliest articles, in which he attributed 39 vases to this "minor" pot-painter, whom he later called "a poorly-equipped painter whose ordinary employment was daubing cheap neck-amphorae column-kraters with dull and ill-drawn forms." These are harsh words, though not wholly inaccurate, for although he has been justly called "more than ordinarily competent," the Harrow Painter was indeed a minor talent, notwithstanding the undeniable charm of some of his works. If, however, one looks beyond the quality of his line and his relatively low standing in the artistic pantheon, one discovers in him many elements of interest and more than a few delightful pictures.

Furthermore, excluding evidence for "cheaper" markets, artifacts from the Sanctuary also provide information about the local elites' interests in trade and commerce, as Corinthian black-figure pottery, some of the finest products of Corinthian workshops, were abundantly imported into Cyrene. Thus, based on these observations, conclusions drawn by the earlier study of the East Greek, Island and Laconian pottery, particularly kraters (in Greek: κρατήρ, kratēr, from the verb κεράννυμι, keránnymi, "to mix"), that Cyrene avoided Persian attack circa 515 BCE, were confirmed upon careful examination of the Corinthian pottery. In addition, Professors Donald White and Gerald Schaus have discussed in detail the question of ritual feasting or dining at the Sanctuary,White, Donald. The Extramural Sanctuary of Demeter and Persephone at Cyrene, Libya: The site.

Throughout these places, various types and shapes of vases were used. Not all were purely utilitarian; large Geometric amphorae were used as grave markers, kraters in Apulia served as tomb offerings and Panathenaic Amphorae seem to have been looked on partly as objets d’art, as were later terracotta figurines. Some were highly decorative and meant for elite consumption and domestic beautification as much as serving a storage or other function, such as the krater with its usual use in diluting wine. Earlier Greek styles of pottery, called "Aegean" rather than "Ancient Greek", include Minoan pottery, very sophisticated by its final stages, Cycladic pottery, Minyan ware and then Mycenaean pottery in the Bronze Age, followed by the cultural disruption of the Greek Dark Age.

The unfortified site continued in use until tensions between the Athenians and the Macedonians the 3rd century BCE caused it to be abandoned. After that time, no archaeologically significant activity occurred at the site until the erection of a small church in the 6th century CE. Votive dedications at the sanctuary include a number of statues of young children of both sexes, as well as many items pertaining to feminine life, such as jewelry boxes and mirrors. Large numbers of miniature kraters (krateriskoi) have been recovered from the site, many depicting young girls — either nude or clothed — racing or dancing. The Archaeological Museum of Brauron — located around a small hill 330 m to the ESE — contains an extensive and important collection of finds from the site throughout its period of use.

375 BC play Semele or Dionysus, Eubulus has the god of wine Dionysos describe proper and improper drinking: > For sensible men I prepare only three kraters: one for health (which they > drink first), the second for love and pleasure, and the third for sleep. > After the third one is drained, wise men go home. The fourth krater is not > mine any more – it belongs to bad behaviour; the fifth is for shouting; the > sixth is for rudeness and insults; the seventh is for fights; the eighth is > for breaking the furniture; the ninth is for depression; the tenth is for > madness and unconsciousness. In keeping with the Greek virtue of moderation, the symposiarch should have prevented festivities from getting out of hand, but Greek literature and art often indicate that the third-krater limit was not observed.

Items of note in the Argos Archaeological Museum include a Minoan style bridge-mouthed pot of sub-Mycenaean times, a reddish pot (460–450 BC) representing the fight of Theseus and the Minotaur, attended by Ariadne, a compass of the early geometric times, which is decorated with meanders and parallel lines, and a mosaic floor excavated from a house of the 5th century, in which symbols represent the twelve months. The museum contains many notable kraters (vases with handles), including a post- Geometric one with two horizontal and two vertical grips decorated with a metope representing woman dancers and water birds, the fragment of a krater of the 7th century BC representing Odysseus and his companions blinding the Cyclops Polyphemus, and a krater from an Argive atelier, decorated with metopes of geometrical jewels, horses and water birds. The museum also has many sculptures, including the Roman Heracles, which is a copy of the prototype by Lysippus for the market of Sikyon. On the downstairs floor of the museum the "Lerna Room" is dedicated to the archaeological discoveries at Lerna.

By the reign of Archelaus I of Macedon, the Macedonian elite started importing significantly greater customs, artwork, and art traditions from other regions of Greece. However, they still retained more archaic, perhaps Homeric funerary rites connected with the symposium and drinking rites that were typified with items such as decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs.. Among these is the large bronze Derveni Krater from a 4th-century BC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had a military career.. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6th century BC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.. Surviving Macedonian painted artwork includes frescoes and murals on walls, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the Alexander Sarcophagus.; .

By the reign of ArchelausI in the 5th century BC, the ancient Macedonian elite was importing customs and artistic traditions from other regions of Greece while retaining more archaic, perhaps Homeric, funerary rites connected with the symposium that were typified by items such as the decorative metal kraters that held the ashes of deceased Macedonian nobility in their tombs.. Among these is the large bronze Derveni Krater from a 4th- centuryBC tomb of Thessaloniki, decorated with scenes of the Greek god Dionysus and his entourage and belonging to an aristocrat who had had a military career.. Macedonian metalwork usually followed Athenian styles of vase shapes from the 6thcenturyBC onward, with drinking vessels, jewellery, containers, crowns, diadems, and coins among the many metal objects found in Macedonian tombs.. Alexander (left), wearing a kausia and fighting an Asiatic lion with his friend Craterus (detail); late 4th-centuryBC mosaic,. Pella Museum. Surviving Macedonian painted artwork includes frescoes and murals, but also decoration on sculpted artwork such as statues and reliefs. For instance, trace colors still exist on the bas-reliefs of the late 4th-century BC Alexander Sarcophagus.