DOI Page / Citation link:
https://doi.org/10.11588/diglit.4761#0021
INTRODUCTION.
15
after about B.C. 460 it takes a somewhat lighter form, approximating more to
the calix of a flower. This vase offers an excellent field for large compositions :
a band of pattern round the lip, and another on a level with the handles, give
a natural limit for a design of unusual size : the subject is mostly treated in a
large simple composition involving few figures. E 458 is an instance of the
earlier style. E 460 is somewhat later: still later are E 463-465 ; in E 462 the
shape has been treated with a continuous frieze around the body and figures
arranged on different planes. In E 467 the field is divided horizontally into two
friezes, forming four separate scenes.
A crater of rather later origin is the bell-shaped oxybaphon (see e.g. E 492) :
the earlier type of this form is splay-footed and heavy ; gradually it becomes
lighter, with a foot relatively higher, and in this type is a favourite form of the
next period (see vol. iv., fig 1) • a special characteristic is the laurel wreath
around the lip.
Fig. 10. KELEBE.
Fig. 11. VOLUTE CRATER.
Another development of the crater is the kelebc with columnar handles
(fig. 10), which is a descendant of the Corinthian (vol. ii, fig. 7), and continues
in use down to a late period of the fourth century. The designs almost
invariably show traces of archaism. They are usually enclosed within borders,
and very often the lip is decorated with a frieze of animals in black figures
roughly drawn.
A third form of crater, which comes in towards the end of the cup-painting,
and continues down to a late period, is that with voluted handles rising above
the lip (fig. u) : this form rarely occurs in the black-figure style {e.g. B 364),
and is apparently derived from the older kelebe (vol. ii, fig. 7) ; the earlier
examples are characterised by simplicity of design ; one instance (E 468)
has only a narrow band of design on the neck ; in another later instance
(E 469) the design occupies both body and neck, and a profusion of elaborate
15
after about B.C. 460 it takes a somewhat lighter form, approximating more to
the calix of a flower. This vase offers an excellent field for large compositions :
a band of pattern round the lip, and another on a level with the handles, give
a natural limit for a design of unusual size : the subject is mostly treated in a
large simple composition involving few figures. E 458 is an instance of the
earlier style. E 460 is somewhat later: still later are E 463-465 ; in E 462 the
shape has been treated with a continuous frieze around the body and figures
arranged on different planes. In E 467 the field is divided horizontally into two
friezes, forming four separate scenes.
A crater of rather later origin is the bell-shaped oxybaphon (see e.g. E 492) :
the earlier type of this form is splay-footed and heavy ; gradually it becomes
lighter, with a foot relatively higher, and in this type is a favourite form of the
next period (see vol. iv., fig 1) • a special characteristic is the laurel wreath
around the lip.
Fig. 10. KELEBE.
Fig. 11. VOLUTE CRATER.
Another development of the crater is the kelebc with columnar handles
(fig. 10), which is a descendant of the Corinthian (vol. ii, fig. 7), and continues
in use down to a late period of the fourth century. The designs almost
invariably show traces of archaism. They are usually enclosed within borders,
and very often the lip is decorated with a frieze of animals in black figures
roughly drawn.
A third form of crater, which comes in towards the end of the cup-painting,
and continues down to a late period, is that with voluted handles rising above
the lip (fig. u) : this form rarely occurs in the black-figure style {e.g. B 364),
and is apparently derived from the older kelebe (vol. ii, fig. 7) ; the earlier
examples are characterised by simplicity of design ; one instance (E 468)
has only a narrow band of design on the neck ; in another later instance
(E 469) the design occupies both body and neck, and a profusion of elaborate