|Collection:||Martin von Wagner Museum, University of Würzburg|
|Summary:||Side A: Helen and Paris, Andromache and Hector, Kebriones riding a horse
|Ware:||Chalcidian Black Figure|
|Painter:||Attributed to the Inscription Painter|
|Date:||ca. 540 BC|
H. with lid 0.457 m. Without lid 0.379 m.
Small gaps. The added white in the face, arms and feet of Helen and Andromache is often missing
Side A: Two Homeric couples, Helen and Paris, Andromache and Hector, and Kebriones, Hector's squire. All the figures are inscribed. In the center of the scene, which is not symmetrically arranged, Hector takes his leave from Andromache; on the left are Helen and Paris, and on the right Kebriones with horses. From left to right, Helen, with a band on her head, wrapped in a purple himation, turns her face away from Paris who is looking at her. The white of her face is fairly well preserved. Near her legs there is the inscription of her name: (retr.)
The next figure to the right is Andromache, who, dressed in a long chiton, opens up to her husband her purple himation which covers most of her body as well as her head. The white which covered her flesh has largely gone, leaving a dull black surface. The inscription
Behind Hector in the right part of the vase a youth mounted on one horse and leading another. He must be Hector's squire and is called Kebriones by the inscription (retr.)
Side B: Two youths dressed in short purple tight-fitting chitons are galloping on horses. In the free spaces of the side there are four birds. Arias suggests that one of them seems to be a duck, the rest are birds of prey; Simon suggests they are a vulture, a swan, and two other kind of birds. Much use of the purple for details on the horses and birds which are between the horses' legs, or flying in the background. The horses are large black magnificent animals. The one at right is bending his head down.
Under the handles there are two small figures. Under the left one, a bearded nude male running; his face is contoured with incision. Under the right, a walking man wearing a purple chlamys.
There is almost no doubt about the interpretation of the scenes in this extraordinary Chalcidian krater. It was assumed that the presence of the two Homeric couples on side A set the scene in Book 6 of Homer's
Iliad ( Iliad. Simon, and with her most of the authors in Iliad (
The representation on side B seems to be mostly decorative. This may be no more than a new interpretation of the ancient frieze of galloping horsemen, but it might also be seen as the battle that is going on while the meetings on side A are taking place.
The figures of small naked youths and men running under the handles recall the same type of figures used many times on the works of The Affecter (see the figures on
The lip of the krater flares out slightly and is decorated with a dense stepped pattern. The neck is black but decorated on each side with four solid circles in purple surrounded by white dots. At the junction of neck and shoulder a tongue pattern, black and purple. Underneath the figure scene a zone of linked buds and flowers of buxom type typical of Chalcidian, then vertically sloping zig-zag lines, followed by rays springing from the base the foot. The disk is black on its top surface and purple on the upper third of the side. The rest of the side is reserved. A thick fillet painted purple at junction of body and foot.
Lid: On the lid is painted an old animal motif. From the center outwards rays, then linked flowers and buds, then a circular frieze consisting of seven large black boars moving to the left. It recalls the old animal friezes on the Chalcidian vases, but the trick of overlapping two of the animals changes the impression and turns it from a simple frieze to a living, running flock of boars. Much purple and incision. Filling rosettes
This is one of the four different types of kraters most frequently used in the Chalcidian production. Lid with knob fashioned in the shape of a small vase. The handles are stirrup-shaped rather than columns, and their peculiar form occurs also on Corinthian and Laconian kraters
Beside each figure on side A the correspondent name: (retr.)
From Collection Feoli