Large amphora by the “Berlin Painter”

There are many reasons why this amphora is a notable example of Greek ceramic art in the early 5th century BCE. What first stands out is the careful craftsmanship that went into the construction of the amphora with its extraordinarily well thought out proportions: the widest radius (41 cm) is the same as half the total height of the vessel and is positioned at exactly this point; the radius of the foot corresponds with the narrowest part of the curve of the neck (both with a diameter of 23 cm), this measurement is repeated in the distance between the lower edge of the picture and ground level (23 cm) and between the point where the handles are attached to the body and the ground (46 cm). Imperfections on the back of the vessel testify to the difficulty of firing such a large container. Also noteworthy is the painting and ornamentation of the amphora which was recognised in 1910 as the signatory style of one of the most important Greek vase painters during the transition from ancient to classical art. He was named the Berlin Painter after this vase. The richest decoration is limited to a few bands on the foot, neck and the handles. The related images on both sides of the body are not framed, instead the figures are standing freely on narrow platforms with spiral motifs against a black background. They mainly consist of satyrs and tree nymphs with the tails and ears of horses, more interested in wine than in music. One figure on the back of the vase tries his hand at combining drinking cup and music instrument. The other on the front, identified in a fine, vertical inscription as Oreimachos, carries a lute (barbiton), holding the plectrum to pluck the strings hesitantly at some distance. However, Hermes, the god known for his swiftness with winged sandals and cap has taken charge of the wine jar and – together with his herald’s staff in his outstretched left hand – the drinking cup. A deer between the two figures looking up at them shows that the group is moving through a forest. Approximately 300 vessels or fragments of vessels have been ascribed to the Berlin painter, none of which bears his signature. His style can be observed in the work of a well-known circle of workshops and many students of the master have been identified. They were family-sized workshops in Athens, which were guaranteed considerable sales through the excellent quality of their vases, their form, decoration and painting at the beginning of the Classical period. The connection with distant Etruria where the vase was found is unknown.