FIG. 37. VOLUTE-HANDLED KRATER.
The only other form of krater found in the B.F. period—and that but rarely—is that known as volute-handled (a rotelle), from the large handles reaching above the lip and curved round in a scroll (Fig. [37]). It has an egg-shaped body and large neck. The best and earliest example is the François vase (p. [370]), from which it may be clearly seen that the form is derived from the columnar-handled krater. The British Museum also possesses a fine example signed by Nikosthenes, with a design in a frieze on the neck (B 364). The same shape and method of decoration appear in some fine examples of the severe R.F. style (cf. B.M. E 468, 469). During the R.F. period, two entirely new forms of krater suddenly appear, known respectively as the vaso a calice and the vaso a campana, or “calyx-krater” and “bell-krater”; the former is first used by Euphronios.[[578]] These names give a very accurate description of the forms, the one being like the opening calyx of a flower, the other like an inverted bell (Figs. 38, 39). In each the lip projects above the body, the neck having entirely disappeared, while the handles of the calyx-krater drop to the lower part of the vase, and those of the bell-krater are attached horizontally to the sides. Both types of handle are evidently adapted to carrying full vessels, like the side-handles of the hydria. The name of ὀξύβαφον was given by Gerhard[[579]] to the bell-krater, again without any real authority, and probably owing to an error, from finding the name scratched underneath one example. Comparison, however, with similar inscriptions (see Chapter [XVII].) shows clearly that the ὀξύβαφον was a small measure, less even than a κύαθος, or ladleful. Athenaeus (xi. 494 B) is very explicit on this point. He derives the name from ὀξός, vinegar, which liquid the vessel was used to contain, and describes it as εἴδος κύλικος μικρᾶς. It was therefore a small cup of some kind (see p. [194]).
FIG. 38. CALYX-KRATER
FIG. 39. BELL-KRATER
In Southern Italy the krater holds the same position as the amphora of the B.F. period.[[580]] The calyx- and bell-kraters are the two forms chiefly affected in the transition period when Athenian artists were working in Italy, or Italian artists directly under the influence of Athenian (see p. [465]), but they are also found among the purely local fabrics, especially those of Cumae and Paestum (ibid.). The calyx-krater seems to have been reserved for the better and more carefully-executed specimens,[[581]] and the Italian bell-kraters often have a top-heavy effect from the greater height of their stems.
In Apulia (and occasionally also in Lucania—the Campanian potters did not affect large vases) the volute-handled krater once more appears, in great magnificence. Not only is the total size and bulk increased, but the neck is lengthened and the handles are often treated with great elaboration of detail, ending below in swans’ necks spreading over the vase. In Apulia the volutes are generally replaced by medallions (whence the Italian name vaso con maniche a mascheroni) decorated with Gorgons’ heads or figures, in relief, painted white, yellow, and red. These vases are sometimes, but incorrectly, called amphorae; they range from two to three or four feet in height. They are generally painted from head to foot with subjects, often of a sepulchral nature, and were no doubt largely made for use at funeral ceremonies. They are more fully described in Chapter [XI].
