Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 92-93.(Budapest, 2000)
SZILÁGYI, JÁNOS GYÖRGY: "Les Adieux". A Column-krater of the Syracuse Painter
height of his career) and a few by his followers or successors. 68 Roughly at the same time begins the aforesaid reintroduction of the column-krater into the Attic repertory, and, almost immediately afterwards, the mass export of such pieces to Italy, lasting right up to the end of their Athenian flowering in the 420s. The Budapest vase reached its site in the first wave of their renewed appearance on the Etruscan market. At this time Cerveteri did not play the central role in the reception of the shape that it had played in the Late Orientalizing period. The leadership in this regard had been definitely seized around the beginning of the century by Spina, which retained it right to the end. 69 Still, this does not mean that interest was dead in Cerveteri. The proportion of types alludes to a change in the function of the shape: in comparison with the way the column-krater dominated Attic production at this time, in Cerveteri the calyxand the volute-krater, rare and representative pieces in Athens, are relatively more common, and at times in the numerical majority. 70 This same tendency can be observed at other Etruscan sites, and from the twenties of the sixth century the Tarquinia frescoes also show that the more pretentious types of the shape, impressive also in their size, together with the scenes connected to them (komos, games), have once again become symbols of the self-assertion of an elite group, from this period on increasingly in the service of funerary-eschatological ideology and bound ever closer to the gradually emerging Etruscan form of the Dionysos religion, with which they had become intimately familiar only a short time before. The importation of ceramic kraters began again at Caere itself as well, after a lapse of a generation, with a few black-figure vases: alongside a column-krater each from the Leagros and the Faina 75 Groups and a few other specimens, with a calyx-krater belonging to the circle of the Antimenes painter; 71 yet at the same time two or three calyx-kraters by Euphronios arrived, and then a calyx-krater by Epiktetos. The Late Archaic period is represented in Caere by four red-figure column- kraters and, on the other hand, by three calyx-, two volute-, and a bell-krater; 72 for the second quarter of the century this centre, still an important 68 Spivey, N.J., The Mkali Painter and his Followers, Oxford, 1987,28, no. 84, pi. 31a-b (see alsoRizzo, M.A., in La ceramica degli Etruschi la cura di M. Martelli], Novara 1987, 171 and 309, no. 126); 40-41, no. 6 and pi. 38c; Boston, MFA 99.530 (Chase - Vermeule - Comstock, Guide, 1972, 195-196, fig. 206 a-b). 69 The first appraisal of the evidence by Rivoldini, M., in Mostra dell'Etruria padana e della città di Spina II, Repertorio, Bologna 1960, 154-203, is still quite useful. A welcome supplement: Lezzi-Hafter, A., Der Eretria-Maler, Mainz 1988, 17, fig. 3 (grave-groups in Spina with column-kraters between 450425). The most recent quantitative analysis clearly shows the importance of the column-krater in the Spina graves (the second most popular shape after the oinochoe), but addresses the problem of the chronological distribution of shapes only in general terms, without concrete statistics (Guermandi, M.R, in Spina e il delta padano [Atti Ferrara 1994, a cura di F. Rebecchi], Roma 1998, in particular 188-189 and fig. 3). One must not forget that even this analysis is based on what is only about a quarter of the Attic vases found at Spina (that is to say, on the published material), see Guermandi, 187. 70 This same trend can be seen in the much richer red-figure material from Gravisca: Huber, K., Le ceramiche attiche a figure rosse (Gravisca, 6), Bari 1999, 128-139. 71 The column-kraters: Beazley, ABV, 376, 224; Para 144, 4 7 ; MonAnt 42 (1955) 867,42 and fig. 200 (L/MC VI [1992] 841,57 and pi. 544); Ibid., 872,7 (A. Departing warrior on chariot, B. Theseus and the Minotaur); Ibid., 1025-1026 and fig. 265 A-B. (inv. 48335), as well as Sapelli. M., in Gli Etruschi e Cerveteri, Cat. Milano 1980, 156-157, no. 11. The calyx-krater: ABV, 280,56 (Burow, J., Der Antimé ne smaler, Mainz 1989, 27, n. 156 and 128, does not include it among the painter's works). 72 Column-kraters: ARV 2 , 234,2; 275,61; 361,9; 362,13. Volute-kraters: ARV 2 , 206, 131, 132. Calyxkraters: ARV 2 , 185,36; 227,12; 360,1. Bell-krater: ARV 2 , 206, 125.
