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The Derveni Krater is a volutekrater,^[1] the most elaborate of its type,^[2] discovered in 1962 in a tomb at Derveni, not far from Thessaloniki, and displayed at the Archaeological Museum of Thessaloniki. Weighing 40 kg, it is made of a bronze with a high tin content of about 15%, which endows it with a superb golden sheen without use of any gold at all.^[3] It is dated to the 4th century BC, and was probably made in Athens. Large metalwork vessels are extremely rare survivals in Ancient Greek art, and the Derveni Krater is the outstanding survival from Hellenistic art, as the Vix Krater is from the Archaic period.

Discovery[edit]

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.

Technique and decoration[edit]

The vase is composed of two leaves of metal which were hammered then joined, although the handles and the volutes (scrolls) were cast and attached. The main alloy used gives it a golden colour, but at various points the decoration is worked with different metals as overlays or inlays of silver, copper, bronze and other base metals. Such highlights include the silver garlands of vine and ivy around the krater, the silver and copper stripes on the vipers at the handles, and the silver ords of the eyes of the volute masks.^[4]

The top part of the krater is decorated with motifs both ornamental (gadroons, palm leaves, acanthus, garlands) and figurative: the top of the neck presents a frieze of animals and most of all, four statuettes ( two maenads, Dionysus and a sleeping satyre) are casually seated on the shoulders of the vase, in a pose foreshadowing that of the Barberini Faun. On the belly, the frieze in low relief, 32.6 cm tall, is devoted to the divinities Ariadne and Dionysus, surrounded by revelling satyrs and maenads of the Bacchic thiasos, or ecstatic retinue. There is also a warrior wearing only one sandal, whose identity is disputed: Pentheus, Lycurgus of Thrace, or perhaps the 'one-sandalled' Jason of Argonaut fame.

Dating[edit]

The exact date and place of making are disputed. Barr-Sharrar thinks it was made around 370 BC in Athens. Based on the dialectal forms used in the inscription, some commentators think it was fabricated in Thessaly at the time of the revolt of the Aleuadae, around 350 BC. Others date it between 330 and 320 BC and credit it to bronzesmiths of the royal court of Alexander the Great.

Inscription[edit]

The funerary inscription on the krater reads:

ΑΣΤΙΟΥΝΕΙΟΣ ΑΝΑΞΑΓΟΡΑΙΟΙ ΕΣ ΛΑΡΙΣΑΣ

The inscription is in the Thessalian variant of the Aeolian dialect: Ἀστιούνειος Ἀναξαγοραίοι ἐς Λαρίσας (Astioúneios Anaxagoraīoi es Larísas), 'Astiouneios, son of Anaxagoras, from Larisa.^[5] If transcribed in Attic, the inscription would read: Ἀστίων Ἀναξαγόρου ἐκ Λαρίσης (Astíōn Anaxagórou ek Larísēs).

Notes[edit]

1. ^Volute-krater: see Typology of Greek Vase Shapes,
2. ^John Boardman, 'Greek art and architecture' in J. Boardman, Jasper Griffin, Oswyn Murray, Greece and the Hellenistic World (Oxford History of the Classical World, vol. I) 188, illus. p. 301.
3. ^Barr-Sharrar, Beryl (2012). Martine Denoyelle, Sophie Descamps-Lequime (ed.). The Eschatological Iconography of the Derveni Krater. Actes de colloques. INHA.
4. ^'Derveni Krater', Barr-Sharrar, Beryl, in Ancient Greek Art, Ed. Michael Gagarin, 2009, Oxford University Press, Inc. ISBN0195170725, 9780195170726
5. ^Lete Derveni — ca. 350-300 BC SEG 24:571

Bibliography[edit]

• E. Giouri, Ο κρατήρας του Δερβενίου, Athènes, Goebel, 1978. (Tr. 'The krater of Derveni')
• Πέτρος Γ. Θεμελης, Γιάννης Π. Τσουράτσογλου, Οι Τάφοι του Δερβενίου, Ταμείο αρχαιολογικών πόρων, Athens, 1997. ISBN960-214-103-4. (Tr. Petros G. Themelis and Giannis Tsouratsoglou, 'The tombs of Derveni'. In Greek with English summaries).
• Bernard Holtzmann and Alain Pasquier, Histoire de l'art antique : l'art grec, Documentation française, coll. « Manuels de l' École du Louvre », Paris, 1998 2-11-003866-7, p. 216-217.
• G. Mihaïlov, « Observations sur le cratère de Dervéni », REA 93 (1991), p. 39-54.
• B. Barr-Sharrar, The Derveni Krater: Masterpiece of Classical Greek Metalwork, Princeton, American School of Classical Studies at Athens, 2008. ISBN978-0-87661-962-9.
• J.H. Musgrave, 'The cremated remains from Tombs II and III at Nea Mihaniona and Tomb Beta at Derveni', The Annual of the British School at Athens, Vol. 85 (1990), pp. 301–325.
• Sideris, A., 'Les tombes de Derveni. Quelques remarques sur la toreutique', Revue Archéologique 2000, pp. 3–36.

Attribution[edit]

• This page draws heavily on fr:Cratère de Derveni article in the French-language Wikipedia, which was accessed in the version of Nov. 12, 2006.

External links[edit]

Media related to Derveni krater at Wikimedia Commons

The Euphronios Krater (or Sarpedon Krater) is an ancient Greekterra cotta calyx-krater, a bowl used for mixing wine with water. Created around the year 515 BC, it is the only complete example of the surviving 27 vases painted by the renowned Euphronios and is considered one of the finest Greek vase artifacts in existence. Part of the collection of the Metropolitan Museum of Art from 1972 to 2008, the vase was repatriated to Italy under an agreement negotiated in February 2006, and is now in the collection of the Archaeological Museum of Cerveteri as part of a strategy of returning stolen works of art to their place of origin.^[1][2]

Description[edit]

The Euphronios Krater stands 45.7 cm (18 inches) in height and has a diameter of 55.1 cm (21.7 inches). It can hold about 45 L (12 gallons). The style of the vase is red-figure pottery, in which figure outlines, details, and the background are painted with an opaque black slip while the figures themselves are left in the color of the unpainted terracotta ceramic clay.^{[citation needed]}

The krater is decorated with two scenes.^[3] An episode from the Trojan War is shown on the obverse; this illustration depicts the death of Sarpedon, son of Zeus and Laodamia. The reverse of the krater shows a contemporary scene of Athenian youths from the sixth century BC arming themselves before battle. In the scene of Sarpedon's death, the god Hermes directs the personifications of Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to his homeland for burial. While the subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic but accurate anatomy. This style is emblematic of the Pioneer Group of late Archaic painters, of whom Euphronios is considered the most accomplished.^{[citation needed]} The scene of the anonymous Greek youths on the reverse shares this naturalistic style, using all the Pioneer Group's characteristic techniques of anatomical accuracy, natural poses, foreshortening, and spatial illusion.

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Also characteristic of the Pioneer Group is the narrative tension created both by pairing these two scenes on the same piece, and by painting them in a common style.^{[citation needed]} The death of Sarpedon, a quasi-mythological story which would be familiar to anyone viewing the krater, is an episode involving specific historical and mythological figures. The other scene, of the anonymous youths preparing for war, is both more general and explicitly contemporary. The young men are not heroes of legend; with their finely detailed features, they are given personality and character, but they could be any of the youthful soldiers in the Greek army. Both scenes are painted with similar styles, making the historical scene appear more contemporary; likewise, the contemporary scene begins to share some of the other's mythological qualities. The two scenes invite comparison between the narratives they depict; certainly, the hero Sarpedon was no less youthful than these anonymous boys, and Death and Sleep may well come for them as they did for him.^{[original research?]}

The vase is signed both by Euxitheos as potter and Euphronios as painter. While it was customary for the painter to sign the finished work, it was less common for the potter to add his own name. The presence of both signatures indicates that Euxitheos felt the vase to be one of his finest works. Besides the artists' signatures on the obverse side, it also carries the inscription 'Leagros is handsome.' on the reverse.^{[citation needed]} This inscription has allowed art historians to date the krater to approximately 520-510 BC, because at this time Leagros was considered the handsomest man in Greece.^{[citation needed]} All names are written in Attic letters.

History[edit]

Records in Italian courts of an investigation indicate that the krater was looted from an Etruscantomb in the Greppe Sant'Angelo near Cerveteri in December 1971. The krater was sold to the Metropolitan Museum of Art by Robert E. Hecht, an American antiquities dealer living in Rome, for US$1.2 million on November 10, 1972.^[4] Hecht, who was accused of trafficking in illicit antiquities, claimed to have acquired the krater from Dikran Sarrafian, a Lebanese dealer, whose family had been in possession of the piece since 1920. Evidence suggests that Hecht may have purchased the krater in 1972 from Giacomo Medici, an Italian dealer who was convicted of selling stolen art in 2005.^[5] Hecht denied the charges.^[6]

Thomas Hoving, director of the Met and the primary negotiator in the purchase, later said in his memoirs, Making the Mummies Dance, 'An intact red-figured Greek vase of the early sixth century B.C. could only have been found in Etruscan territory in Italy, by illegal excavators'.^[7] To allay concerns, some six months after the krater was bought he prompted the Metropolitan Museum to send a private detective to Zurich in an endeavor to reinforce the cited Sarrafian provenance.^[8]

In 2006, following the trial of Giacomo Medici and related disclosures about antiquities smuggling, the Metropolitan Museum of Art and the Italian government signed an agreement under which ownership of the Euphronios Krater and several other pieces of art was returned to Italy in exchange for long-term loans of other comparable objects owned by Italy. The krater remained on display at the Metropolitan Museum until January 2008, when it returned to Italy. It was unveiled in Rome on 18 January.^[6] The krater was displayed at the Villa Giulia National Etruscan Museum in Rome from 2008–14 until it was moved as part of a temporary display in the Cerveteri Museum celebrating the UNESCO World Heritage Site affiliation for the necropolis at Banditaccia. Following the increase of attendance at the museum, the Cultural Heritage Minister, Dario Franceschini, has announced that the krater will remain at the Archaeological Museum of Cerveteri as part of a strategy of returning works of art to their place of origin.^[2]

Details from the krater's obverse have been used as a book cover illustration. The Penguin Classics deluxe edition of Robert Fagles' English translation of the Iliad employs a close-up of Thanatos for its front cover, and a close-up of Sarpedon for its back cover.^[9]

References[edit]

1. ^Stokstad, Marilyn and Michael W. Cothren. Art History. Fourth Edition, vol. 1. Pearson Prentice Hall, 2011. p119.
2. ^ ^ab'Archeologia, Franceschini: 'Il cratere di Eufronio resta a Cerveteri''. la Repubblica (in Italian). 7 November 2015. Retrieved 15 January 2020.
3. ^Karl Schefold; Luca Giuliani (3 December 1992). Gods and Heroes in Late Archaic Greek Art. Cambridge University Press. pp. 250–. ISBN978-0-521-32718-3.
4. ^New York Media, LLC (7 December 1981). New York Magazine. New York Media, LLC. pp. 68–. ISSN0028-7369.
5. ^Peter Watson; Cecilia Todeschini (2007). The Medici Conspiracy: The Illicit Journey of Looted Antiquities from Italy's Tomb Raiders to the World's Greatest Museums. PublicAffairs. pp. 201–. ISBN978-1-58648-438-5.
6. ^ ^abPovoledo, Elisabetta, Ancient Vase Comes Home to a Hero’s Welcome. New York Times (19 January 2008).
7. ^Thomas Hoving (15 February 1994). Making the Mummies Dance: Inside The Metropolitan Museum Of Art. Simon and Schuster. ISBN978-0-671-88075-0.
8. ^Dr Saskia Hufnagel; Professor Duncan Chappell (28 October 2014). Contemporary Perspectives on the Detection, Investigation and Prosecution of Art Crime: Australasian, European and North American Perspectives. Ashgate Publishing, Ltd. pp. 18–. ISBN978-1-4094-6313-9.
9. ^Homer (1998). Knox, Bernard (ed.). The Iliad. Translated by Fagles, Robert (Penguin Classics Deluxe ed.). Penguin. ISBN9780140275360.

External links[edit]

• 'The Euphronios Krater,' poem by Jared Carter