Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 92-93.(Budapest, 2000)

SZILÁGYI, JÁNOS GYÖRGY: "Les Adieux". A Column-krater of the Syracuse Painter

male figure; this is common, though by no means general: it occurs on several vases of the painter as well as other masters); the right hand of the central figure is hidden in his himation; the man on the left holds a stick in his left hand; the figure on the right lets his empty right hand fall; his stick stands, dropped or discarded, apparently in mid-air at the edge of the picture.

6 On the main side the glaze is uniform black, while on side B, where - unlike the obverse - the neck is undecorated, the background was applied too thinly in places between the figures and the sticks and the glaze turned red-brown after firing. On side B the neck, the area under one of the handles, and, understandably, the inside of the neck were also painted carelessly: horizontal brush-strokes visible on the neck and vertical ones on the sides prove that the painter gave little thought to uniformity of coverage. Added red: for circle all round the vase below the pictures, wreaths on the heads of the men, and double greave-pads on the warrior's ankle. Dilute brown glaze: for lower curls of beards on side B; free-flowing locks of the female figure; upper and, more rarely, lower edges of draperies; here and there a vertical fold on a himation; horizontal line on the long chitons of figures on side A; details of musculature and knees of the warrior; fingers on raised hand of the man standing to his right and folds of the chiton falling across his shoulder; for toes on left foot of left-hand man with sceptre, bosses of the phiale, and breast-ornament of corselet. Wide contour stripe around all figures, red-figure skyphoi, and sticks. Relief contour: on side A, for all details of neck-ornament; shoulders and face profile of the man at right from hairline to tip of nose; legs and left upper arm of the warrior and details of helmet; his spear; neck and brow of the female figure to end of nose; upper part of her mantle facing the warrior; nose and brow of left-hand male figure; his sceptre. On reverse no relief contour except the neck of the man in the center. Relief lines on side A: for eyes, ears, mouths, and napes; for folds on draperies except borders and right shoulder of right-hand man; all fingers except those on the right hand of the man on the right; upper contours of beards; arm holding sceptre of each of the two men at the sides from elbow down; details of the warrior's helmet, shoulder-piece and right edge of corselet; the two circles on the edge of the shield; edges and four horizontal lines at bottom of apron; spearhead; chin of female figure; contours of the fillet in her hair; the phiale, except for the bosses. On side B: for eyes; fingers of hands holding skyphoi; bent arms of middle and left-hand men from elbow down; breastbones of the two outer figures; folds of drapery as on side A. Lines separating tongues and those framing the pictures. Preliminary sketch: traces, difficult to pick out and sketched with several lines, of naked bodies and legs of figures; necks of the two skeptron-holders; spear arm of the warrior; chin and facial profile of the woman; right arm of the two outer figures on side B. On side A, with deeper, quite visible lines the parts of man on extreme right covered by shield and apron: his right elbow, right leg, upper folds of mantle, lower half of spear; in the same manner the crest, left leg and shoulder of the warrior (figs. 8-9). 6 As, for instance, Beazley, in Boston, op.cit. (n.4) pi. 80, 143 (Makron).