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Harvard 1925.30.125


Lent by the Fogg Art Museum, Harvard University; bequest of J. C. Hoppin (1925.30.125)

Height: 13 2/16 in. (33.4 cm.); diameter of rim: 14 in. (35.6 cm.)

Broken and repaired; glaze worn in places. The numerous rivet holes result from ancient repairs; bronze rivets would have connected the broken pieces.

Side A: frontal chariot. The charioteer, in long chiton and brimmed hat, holds the chariot in readiness. On either side a group of warriors fight; on the left one attacks and the other tries to escape; on the right one lunges against the other who has fallen to his knee. All wear corslets, greaves, Corinthian helmets, and carry Boeotian shields. The shield of the warrior on the far right has a particularly noteworthy device; it consists of the forepart of a threatening snake shown in the round. Two birds fill the spandrils between the horses' heads. The symmetry is pervasive but varied.

Side B: a sphinx between two lions with averted heads. The symmetry is enhanced by the balancing curves of the lions' tails and the tendrils ending in lotus buds which fill the space beneath the lions. Incision describes the texture of the lions' manes. On both handle plates, sphinxes; around the rim, lotus buds. Above the figured panels, alternating red and black framed tongues; below, two red lines which circle the vase.

Red, side A: helmets and greaves of the warriors, the insides of two shields, the upper part of the charioteer's chiton, and the wings of the birds. Side B: wings and thigh muscles of the sphinx, her fillet; faces, breasts, and thigh muscles of the lions. On the rim: wings, faces, and muscles of the sphinxes, buds of the lotuses.

Attributed to Lydos [Rumpf] ca. 565 B. C.

The name of Lydos is known from two vases, one in Athens (Athens, Acr. 607; ABV, 107, no. 1) and one in the Louvre (Louvre F 29; ABV, 109, no. 21); in each case he signs as painter. Payne places the vase with the early work of Lydos, probably in the middle of the second quarter of the sixth century (Payne 1931, 346, n. 1). Beazley in his discussion of this krater says that the motif of the frontal chariot may have been originally Corinthian; it reached Attica early in the sixth century and was greatly favored by black-figure artists (Beazley 1951, 43). The shape, so called because of its columnar handles, is probably also of Corinthian origin. The wide body, short neck, and echinus foot of the present example point to an early stage of development.


CVA, USA 1, pl. 3; Beazley, Review CVA USA 1 by Hoppin, JHS 47 (1927) 148-149; C. Albizzati, "Tre Opere d'un Ceramografo d'Atene ai tempi di Pisistrato," Historia 3 (Milan 1929) 81 ff, fig. 2, p. 83; Thieme & Becker 1929, 23, 491, no. 9; Deonna 193, 234, fig. 3, 6, p. 235, fig. 4, 7; Rumpf 1947, pl. 12 c; Beazley 1951, 43-44; ABV, 108, no. 9.

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