The British Museum possesses two or three πίθοι of exceptional size, ornamented with bands of geometrical patterns in relief, which were obtained from Mr. (now Sir A.) Biliotti’s excavations at Ialysos in Rhodes, and belong to the Mycenaean period. In 1900 Mr. Arthur Evans, among the remains of the Minoan palace at Knossos in Crete, came upon a courtyard round which stood a number of similar πίθοι, with decorations of a Mycenaean character (see Fig. 21).^[518] These may be considered to belong to the middle of the second millennium B.C., and it is therefore evident that the πίθος may claim an antiquity second to none among forms of Greek vases.

Among examples of later date may be mentioned the large series recently found in Thera by German explorers, some plain, others with painted geometrical decoration; they are partly of native make, partly importations from Crete, and date from the seventh century B.C.^[519] Dr. Dörpfeld found examples of πίθοι in the remains of the earlier cities at Hissarlik, from the second to the seventh layers. These were used for keeping all sorts of liquids and solids, and also apparently formed part of the cooking apparatus.^[520] Others were found in the excavations of Mr. J. Brunton on the site of Dardanus in the Troad; they were of pale red clay, with a stone cover. In excavating between Balaclava and Sevastopol Colonel Munroe discovered no less than sixteen, about 4 ft. 4 in. in height, within a circular building, apparently a storehouse; they were also of pale red ware. One had incised upon its lip ΔΔΠΠ ΠΙΙΙ, apparently indicating its price. Similar πίθοι have been found in Athens, some having fractures joined by leaden rivets. Large πίθοι with archaic reliefs have been found in Crete, Rhodes, Sicily, and Etruria (at Cervetri); they are imitated from metal vases, with designs of Oriental character.^[521]

Perhaps of all the ancient vases the best known is the Amphora (ἀμφορεύς or ἀμφιφορεύς), which was used for a variety of domestic and commercial purposes. So numerous are the vases of this form, found all over the Greek world, that they merit a lengthy description. They were principally used for wine, but also for corn, honey, oil, and other substances,^[522] and to the use of the word as a measure of capacity we have already alluded. It should be borne in mind that the conventional use of the word amphora in speaking of the painted Greek vases implies a quite different form from the plain wine-amphorae, which were neither painted nor varnished; the type of vase is the same, but the painted examples are smaller and stouter, with a proper foot. For the present we confine our description to the unadorned amphora of commerce.

Besides the two handles from which the word derives its name,^[523] the wine-amphora (Fig. 22.) is distinguished by its long egg-shaped body, narrow cylindrical neck, and pointed base; this form is often known as diota (the Latin equivalent). The base is sometimes supplied with a ring to stand on, but is more usually pointed, in order to be easily fixed in the earth in cellars. The mouth was sealed by means of a conical cover terminating in a boss.

Remains of these amphorae have been discovered not only in Greece itself, but also wherever the Greek commerce and settlements extended, as in Alexandria, Kertch (Panticapaeum), Corfu, Rhodes, Sicily, and Asia Minor. They appear to have been used at a very early period, plain specimens of red ware being found not only in the early Greek tombs, like that of Menekrates in Corfu (p. 54), but even in tombs of the Bronze Age period, as in Cyprus. The typical long shape, however, did not come into fashion until about 300 B.C., when the island of Rhodes was a great trading centre, carrying on an active commerce all over the Mediterranean. Amphorae of this form are represented on the coins of Chios and Thasos with reference to their trade in wine, and on the Athenian silver tetradrachms which belong to the period subsequent to about 220 B.C.; they are shown on the reverse, lying horizontally, with an owl above. In this case the reference may be either to the large Attic trade in oil or to the use of the amphora for voting at the election of magistrates (see p. 167).

The most interesting feature of the wine-amphorae is the device or impression stamped on the handles either in a circular medallion or an oblong depression. This was done by means of a stone or bronze stamp, while the clay was still moist. They are found in all parts of the ancient world, but the greater number can be traced to a few places of origin, of which the most important are: Rhodes, Knidos, Thasos, Paros, and Olbia in Southern Russia. As regards the stamps, the usage differs at each centre; but apart from them the handles can be distinguished by their shapes and material, as will be seen in the subsequent description.

The Rhodian amphorae, of which large numbers have been found at Alexandria as well as in the island itself, were of a very pure and tenacious clay, with a fracture as sharp as that of delf. The colour is pale, deepening to a salmon hue. The numerous separate handles which have also been found have all belonged to the same form of amphora, with long square-shouldered handles, as on the Athenian and Chian coins. An entire vase, but without a stamp,^[524] which was brought from Rhodes, was 40 in. in height, and the height of the handles alone was 10 in., the upper part attached to the top of the mouth being 3 in. long. This is a typical instance for the shape. The seal when found is impressed on the upper part of the handle, the size of the label being generally about 1½ in. or 1¾ in. long, by ⅝ in. wide, except when they are oval or circular. At Alexandria eight distinct varieties of handles were found, broken from amphorae of different countries, but only one inscribed; the base also assumed various forms.

In the Rhodian amphorae two stamps are in use, a principal and an accessory one (Fig. 23.a).^[525] The former has a device of the head of Helios, the Sun-God, or the emblematic rose, both of which types occur on the coins; it is accompanied by an inscription, in the form ἐπὶ τοῦ δεῖνος, sometimes explicitly described as ἱερέως, i.e. in the year of the eponymous priest of the Sun. This is followed by the name of a Rhodian month. The accessory stamp contains the name of a person, usually in the genitive. The months belong to the Doric calendar, and are as follows: Thesmophorios, Theudaisios, Pedageitnyos, Diosthyos, Badromios, Sminthios, Artamitios, Agrianios, Hyakinthios, Panamos, Dalios, Karneios, and the second Panamos, an intercalary month.^[526] The object of the stamps is involved in obscurity, but they were probably intended to certify that the amphora (which was also a measure) held the proper quantity. It is clear that they could not have been intended to attest the age of the wine, as the vessel might be used for any sort, and the stamps bear the name of every month in the year.

Other handles of Rhodian amphorae, stamped with an oblong cartouche or label, may be divided into two classes: (1) Those inscribed with the name of a magistrate and an emblem. The latter resembled the “adjuncts” found on the coins of some Greek cities, but it is uncertain whether they were selected on any fixed principle, or merely adopted from caprice. They may perhaps allude to the deity whom the magistrate particularly honoured as the patron god of his tribe or village. The same symbol was, however, often used by many individuals, and on the whole the number known is not large. (2) Those bearing the name of a magistrate, accompanied by that of a month of the Doric calendar, but without any emblem (Fig. 23.b).

Many handles of amphorae from Knidos have been found on different sites. Their clay is coarser than the Rhodian, its colour darker and duller, and the amphorae differ also somewhat in form, nor are they of so early a date, being mostly as late as the Roman Empire. The stamps on the Cnidian amphorae, like those of Rhodes, are inscribed with the name of the eponymous magistrate, and also with that of the wine-grower or exporter of the produce, which is always marked as Cnidian. The stamps show a great variety in the matter of emblems. Remains of Cnidian amphorae have been found in Sicily, at Athens, Alexandria, and Olbia. The palaeography of the inscriptions covers a period of two centuries, from Augustus to Marcus Aurelius, or even later.

Numerous examples have been found of handles of amphorae, in which the celebrated wine of Thasos was exported to places such as Thasos and Olbia. The stamps are nearly square, with a device in the middle, the inscription ΘΑΣΙΩΝ, and the name of an official. The names are usually in the nominative, but in one instance at least the genitive is used. The symbols include an amphora, kneeling archer, cornucopia, dolphin, etc. (Fig. 24).^[527] The known stamps of Paros are few in number; they are simply inscribed ΠΑΡΙΩΝ, which in one instance is written retrograde.^[528]

Handles inscribed with the name of an aedile (ἀστυνόμος) and of another person, probably a magistrate, have been found on various sites in the Crimea and Southern Russia, principally at Olbia. At Panticapaeum (Kertch) two amphorae were found with stamps across the neck, thus:

ΕΥΑΡΧΟ ΑΡΙΣΤΟΝ : ΕΠΙ ΚΑΛΛΙΑ ΕΟΠΑΜΟΝΟΣ the upper name being that of the magistrate.^[529] These vases appear to have been made on the spot.

Stoddart also mentions amphora-handles as having come from Corinth,^[530] with names which can be traced to the time of the Roman dominion. Falkner found at Pompeii an amphora with a Greek inscription of three lines painted in red and black, with the name of Menodotos and the letters KOR. OPT., which may mean “the best Corcyraean brand.”^[531] A bibliography of the subject is appended below.^[532]

Among painted vases the amphora holds a high place, especially in the black-figure period, during which it was most prominent. It is distinguished from the plain type, as already pointed out, by the proportions of the body, as well as by the graceful curve of the handles and the flat circular foot. The variations in its form at different places and periods are so marked that they have led to the adoption of qualifying adjectives for each kind. Although these names cannot now be accepted in a strict sense, they are sometimes useful as conventional expressions. We proceed to describe these in detail.

(1) The origin of the Greek amphora is clearly to be sought in the pithos of primitive times, as may be seen in the vases of the Melian and Proto-Attic classes, and in the early vases with reliefs from Boeotia, Crete, Thera, and elsewhere. It is not found in the Mycenaean style, the large vases of which come under the heading of the krater (see below); and its appearance in Greece dates from the developed stage of the Geometrical period. The earliest specimens among the painted vases are virtually small pithoi, characterised by a long cylindrical neck, and large elaborate handles obviously imitating metal (see p. 495). Of this type are several of the Boeotian Geometrical and Proto-Attic vases discussed in Chapter VII.,^[533] and the Boeotian vases with reliefs.^[534] Among the Proto-Attic vases found at Vourva a development occurs, in which the neck is greatly elongated, and the body becomes exceedingly slim, while the handles are simplified into plain flat bands united to the neck by bars of clay (see Fig. 89, p. 299). This form is found still further developed in the prothesis-amphorae of the B.F. period^[535]; but these are comparatively rare, and the more normal evolution of the amphora with cylindrical neck is to be traced in the varieties (2) and (6) described below.

(2) The early amphorae preceding the ordinary B.F. Athenian types were divided by Gerhard into two classes, “Egyptian” and “Tyrrhenian.”^[536] He describes the former as a vase with tolerably pronounced curve of body, entirely covered with horizontal bands of figures; the latter as of similar form, but with decoration confined to a panel on either side. As regards shape, therefore, the two are actually one, and may be regarded as such for our present purpose; but it is curious to note that the particular class called “Egyptian” by Gerhard has since his time been generally known as “Tyrrhenian,” while his “Tyrrhenian” class has now received, from the peculiar mannerisms of the paintings, the name of “affected” vases.^[537] At all events the word is convenient to adhere to for the description of this particular shape (Fig. 25), with its long, egg-shaped body, the vertical section of which is almost an ellipse, a shape common to all early B.F. fabrics—Athenian, Rhodian, Ionic, and Corinthian—but best illustrated by the “Corintho-Attic” class described by Thiersch.^[538] It is seldom found in purely Attic examples, and disappears after the middle of the sixth century.

(3) Gerhard’s next class is that of the Panathenaic amphorae, which have a long body shaped something like a top, and tapering sharply downwards; the mouth, handles, and neck are small, as is also the foot (Fig. 26). It is so called as being the characteristic form of the earlier (sixth-century) Panathenaic prize-vases, but is also occasionally found in the ordinary fabrics. This type, together with the two following examples, not mentioned explicitly by Gerhard or the other early writers, form the class of “black-bodied” amphorae, as they may conveniently be termed, in order to distinguish those with panel-decoration from those in which the body is entirely covered with red glaze (see below).

(4) The second variety of “black-bodied” amphora (Fig. 27.) is closely akin to the Panathenaic, but the body is better proportioned. It is characterised by the wide mouth in the form of a thick ring, the cylindrical handles, and the concave curve of the shoulder. From the style of the paintings it is probable that this variety must be placed early in the black-figure period.

(5) This type, on the other hand, is later in the period, being developed out of the last, from which it is marked off only by the form of the handles, which are broad and flanged, and often decorated with patterns. These vases are mostly of large size, and are transitional, some R.F. varieties being known. The paintings on them are in the style of Exekias, Andokides, and Euthymides (see for an example Plates XXXI., XXXII.).

(6) The shape of the “red-bodied” amphora (Fig. 28) is peculiar to the black-figure period.^[539] Its characteristic features are the straight, cylindrical neck, with its chain of lotos-and-honeysuckle, the width of the shoulder, and the ribbed handles, formed from moulds in two or three parallel pieces. Artistically it is far superior to the black-bodied, and includes some of the finest specimens of B.F. painting (as in the vases of Exekias), while the decorative element reaches the perfection of beauty and symmetry.

(7) The red-bodied amphora seems to have been the prototype of what is the most characteristic form of the red-figure period—the so-called “Nolan” amphora (Fig. 29).^[540] These have been largely, but not exclusively, found at Nola, whither they seem to have been imported in large numbers from Greece. The whole vase is covered with black, and the decoration confined to one or two figures each side, while the elegant and beautiful outline, the lustre of the varnish, and the restraint of the designs combine to render these perhaps the most beautiful products of Athenian ceramic art. The handles are sometimes four-sided, more often ribbed, and sometimes formed of two twisted strands, produced by rolling up the soft paste; the general outline is that of the last class, but the proportions are far more slender and graceful.

(8) The Apulian amphora (Fig. 30) illustrates the form which, though generally adopted in Apulia, may have had its origin at Athens, as it is adopted for the fourth-century Panathenaic amphorae.^[541] It is distinguished by its great size and egg-shaped body; the mouth is thick and high, spreading out like an inverted cone, and the neck is not cylindrical, but merges into the shoulder. A variety of the Apulian amphora, hardly common enough to form a separate class, was formerly known as the “candelabrum-amphora,” from its resemblance to an incense-burner (an object wrongly interpreted formerly as a candelabrum, or lamp-stand). Its peculiarities are the cylindrical body, tall neck, and elaborate handles in the form of double scrolls.^[542]

(9) The Campanian amphora is derived directly from the “Nolan,” and is in fact a local adaptation, but it was chiefly manufactured at Cumae.^[543] It generally has twisted handles, and is painted in polychrome; the proportions are somewhat more elongated than those of the “Nolan” class.

(10) A rare variety of the amphora is sometimes found in the red-figure period, with large spheroidal body and pointed base, intended to be placed in a separate stand. The conventional name of diota is sometimes given to this form, from its imitation of the pointed base of the wine-amphora.^[544]

(11) The last variety of the amphora which calls for consideration is the wide-bellied type, usually called (on very slight authority) a pelike, πελίkη (Fig. 31).^[545] The name was invented by Gerhard, and has been generally adopted since, but is only to be regarded as a conventional term. This form, which swells out towards the base, and has no stem or neck, is very rarely found before the fifth century,^[546] but is common in the R.F. period, and in the Apulian style, in which its proportions are usually more slender.

The amphora when complete usually had a cover of clay, either coated with a plain black varnish or decorated with bands and patterns; it was lifted by means of a central knob. An amphora in the Berlin Museum (Cat. 1860) has a double cover, the inner one being of alabaster.

Of the other names which seem to denote vases adapted for containing and storing wine or other commodities, the most important is the Stamnos (στάμνος), used for holding wine and oil. It is mentioned by Pollux^[547] in his list of wine-jars, and he quotes a line from Aristophanes about “a stamnos of Chian wine arriving.” The diminutives σταμνίον and σταμνάριον are also found, and Aristophanes speaks of a “small Thasian stamnos of wine.”^[548] The amphora is defined in the Etymologicum Magnum as “a two-eared σταμνίον.” It has been generally identified with a form well known in the R.F. period, but only found in that style: a spherical jar with short thick neck and small side-handles, of which some very beautiful specimens exist (Fig. 32). The word is still in use in modern Greek.

The βῖκος is described by Hesychios as a στάμνος with ears, and by Eustathius as a vessel holding wine^[549]; it was also used for figs and salted food.^[550] It is probably only another name for the στάμνοςστάμνος, but it seems to be inaccurately described by Athenaeus^[551] as “a saucer-shaped drinking-cup” (φιαλῶδες ποτήριον). It was apparently identical with the ὕρχη,^[552] a word used by Aristophanes,^[553] but more commonly by Roman writers in its Latin form orca.

The names of Apulian stamnos or λεκάνη have at different times been given to a late form of painted vase found in Southern Italy, with high or low stem, upright handles, and cover, which latter often takes an elaborate form, being surmounted by one or more small vases, also with handles (Fig. 33.). The word λεκάνη,^[554] however, seems to indicate a large bowl rather than a covered jar, and no satisfactory name has as yet been found. A similar but flatter form of vase, like a covered bowl or dish, has been named λεκάνη, λεπαστή, or covered pyxis, but no name is satisfactory.

The λαγυνος or λαγυνίς seems to have been a narrow-necked jar of considerable size. Athenaeus^[555] says the word represented a Greek measure, equivalent to twelve Attic κοτύλαι, or six pints, and that it was in use at Patrae. The word is used by Plutarch for the jar in which the stork offered entertainment to the fox^[556]; it frequently appears in the Latin form lagena (see Chapter XXI.). A wicker-covered λαγυνος was known as a πυτίνη.^[557]

Another form of the same class is the κάδοs, with its diminutive καδίσκος, which is represented by the Latin situla, or bucket, the latter word being the one usually employed by archaeologists. It is a form easily to be recognised in Greek art, but is more usually found in metal-work, e.g. in Etruscan and Italian bronzes, than in pottery.^[558] The painted situlae, of which a few late examples from Italian tombs exist, are obviously direct imitations of the metal buckets, and in some cases actually have movable bronze handles attached. The situla appears to have been used not only for keeping wine in the cellar, but for serving it up at banquets^[559]; the word is also used by Aristophanes for a voting-urn and a well-bucket.^[560] In Latin the uses were probably distinguished, cadus denoting a wine-jar, situla a water-bucket. Athenaeus obviously goes astray in regarding it as a drinking-cup.

A vase which was used almost exclusively for carrying water was the Hydria, as is implied by its name (ὑδρία, from ὕδωρ). Its most essential characteristic is the possession of three handles, a large one at the back for carrying when empty, and two small horizontal handles at the sides for carrying when full. The shape of the body varies at different periods; in the B.F. period the shoulder is flat and marked off by a sharp angle from the body (Fig. 34); but about the beginning of the fifth century this is replaced by a form with more rounded outline and smaller handle at the back, generally known for the sake of distinction as a kalpis (Fig. 35). In the earlier variety (of which some R.F. examples are known) there are always two subjects, one forming a frieze on the shoulder, the other treated more in the manner of a metope on the body; they are invariably enclosed in frames or panels, as on the “black-bodied” amphorae. Sometimes a third subject in the form of a frieze of animals is added below. In the earlier stages of the B.F. period this form is seldom found, except in a class known as the “Caeretan hydriae,” distinguished (as far as concerns their shape) by their round, plump body, as also by the florid character of their ornament and curious treatment of subjects (p. 353). These vases were closely copied by the Etruscans. The kalpis form sometimes occurs with black figures, but only in small late specimens, chiefly found in Rhodes. In the vases of Southern Italy the kalpis is fairly popular, but the body is more cylindrical and the foot higher.

Any doubt that might have existed as to the identification of the ὑδρία is solved by the appearance of the word inscribed over the pitcher which Polyxena dropped in her flight from Achilles, on the François vase. In a scene very common on B.F. hydriae, which represents women drawing water at a fountain, this form of vase is invariably depicted. The word seldom occurs in Greek literature, but Kallimachos speaks of καλπίδες placed on the roof of the Parthenon (?) at Athens, not, he says, by way of ornament, but as prizes of wrestlers.^[561] Hence the idea was conceived by Panofka that Panathenaic prize-vases were of this form.

Pollux (x. 74) thinks that the hydria was also a wine-vase, and suggests its identity with the πλημοχόη, a vase with broad base used in the Mysteries; but Athenaeus^[562] implies that this was used for pouring, and it must therefore have been some kind of jug. The κάλπις is actually identified with the ὑδρία by Aristophanes, as may be seen by a comparison of two lines in the Lysistrata.^[563] From a passage in Isocrates^[564] it would appear that the hydria was used as a voting-urn or ballot-box, but the κάδος was more generally used for this purpose. That the amphora was also so used we know from Athenian coins.

The next class to be considered is that of vases employed for mixing wine and water for drinking, for which the generic name is that of κρατήρ (from κεράννυμι, “I mix”). Before discussing this form, however, allusion must be made to a vessel which is variously described as a hydria or a krater, and is therefore a link between the two varieties; it was at any rate pre-eminently a water-jar, and was known as a κρωσσός (connected with Fr. cruche = Eng. “crock”). We have no indications of its form except that it had two handles^[565]; Pollux (viii. 66) ranks it with the ὑδρία and κάλπις as a water-vessel.^[566] It was also used for holding ashes,^[567] and Plutarch enumerates it among the vessels in the bath of Darius.^[568] Of the same character was perhaps the ἀρδάνιον or ἀρδάλιον, described as a water-pot.^[569] Athenaeus also mentions a πρόαρον, or wooden vessel of the krater type, as used in Attica.^[570]

The Krater is distinguished from the amphora by its larger body, wider mouth, and smaller handles. It was often placed on a stand, called ὑποκρατήριον, or ὑποκρατηρίδιον,^[571] which was either of pottery or metal such as bronze. This either took the form of a hollow cylindrical base, painted with subjects, or of an elaborately moulded stem with egg-and-tongue and other patterns.^[572] It is constantly mentioned in Homer, but the kraters standing in the halls of the great palaces, as in that of Odysseus, were made of gold or silver. It is on the average the largest of all Greek vases (except the pithos), some of the later Apulian specimens (of which F 278 in the B.M. is one) reaching a height of about four feet; the ordinary examples have a capacity of three or four gallons. The names Argolic, Lesbian, Laconian, Corinthian, and Thericleian are applied to it by various ancient authors.^[573]

In the different fabrics of Greek pottery it takes several distinct forms, to which convenient descriptive names have been given by Italian dealers, and some attempt has been made to identify names given by classical authors as forms of the krater, but without any success. The Italian names, however, which will be mentioned in due course, are somewhat cumbersome for English use.

Among Mycenaean vases there is a variety almost confined to Cyprus, to which the name of krater may fairly be given.^[574] Its chief characteristics are a wide spheroidal body, hardly contracted at the neck (which in some varieties is non-existent), flat vertical side-handles, and a high stem. We hardly meet with this form again until the end of the Corinthian style, when it suddenly leaps into popularity.^[575] The form in which it appears recalls, though it can hardly be imitated from, the Mycenaean krater, but the stem disappears, and the body is in section about two-thirds of a circle.^[576] It is clearly a local invention, and on the evidence of finds at Syracuse, its first appearance may be traced to the first half of the seventh century. Its distinguishing feature, however, is in the handles, each of which is composed of two short vertical bars, sometimes meeting in an arch, supporting a flat square piece formed by a projection from the flat broad rim, which is generally decorated. From the columnar appearance of these handles, the type has received the name of vaso a colonnette, which at all events is a more accurate description than the name κελέβη which, first proposed by Gerhard, has been generally employed by archaeologists, on what grounds it is not clear. This word, as described by Athenaeus, is clearly intended to imply a drinking-cup of some kind^[577]; he quotes from Anakreon (frag. 63, Bergk), who speaks of drinking its contents at one draught (ἄμυστιν). On the other hand he quotes the authority of Pamphilos for identifying it with the θερμοπότις, or “water-heater,” a kind of kettle. The probability is that it was a general and loosely-employed word.

The column-handled krater is also found in the Naukratis wares of the sixth century, as well as in the imitations of Corinthian fabrics in which the Campana collection of the Louvre is so rich; the clay, style, and inscriptions of the latter clearly show their Corinthian origin, apart from the form. This krater is often decorated with friezes of figures (as in the famous Amphiaraos krater, p. 319). In the few existing Attic examples with black figures the subjects are in framed panels. This form, after dying out before the end of the sixth century, is revived towards the middle of the fifth in the later R.F. fabrics, but in a much altered form, which gives greater prominence to the columnar character of the handles. The neck is higher and narrower, and the handles consequently lengthened, the square tops being much diminished, and the body also takes a narrower and straighter form. In the fabrics of Southern Italy this development is even more strongly marked, and the elongated neck is adorned with an ivy-wreath in a panel; this type enjoyed some popularity both in Apulia and Lucania. The system of panel-decoration is employed throughout in all these cases.

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).