![]() ![]() Through the addition of Herakles, however, the subject has been transformed into one of the hero's labors. The zone of cattle that circumambulate the krater below the main scene might appear to be simply the continuation of an earlier tradition. The well-preserved surface shows not only the fine incision but also the liberal application of red and white color. Moreover, there are numerous inscriptions giving the names of the figures and identifying the donkey. ![]() However incomplete, the sections below the handles make clear that wine is being liberally dispensed, and the central portion with Hephaistos depicts some of the consequences. The fragmentary krater 1997.388a–eee offers a decidedly more vivacious interpretation. And although there is the paraphernalia of drinking-wineskins and drinking horns-everyone is sober. While every figure is characterized by his pose and painstakingly articulated, there are no identifying inscriptions. ![]() The gods are thoroughly integrated, however, into the line of satyrs and maenads who advance at a deliberate pace one can almost hear their heavy steps. The complete column-krater 31.11.11 presents the two protagonists, Hephaistos and Dionysos, as focal points on opposite sides. One side, Hephaistos on a donkey accompanied by satyrs and maenads Under one handle, satyrs filling a krater, satyrs and maenads Under the opposite handle, satyr filling a vase at a volute-krater, maenad with wineskin Below, Herakles driving the cattle of Geryon The Metropolitan Museum of Art is exceptionally fortunate in being able to juxtapose two monumental depictions of the same subject, on the same shape, by the same superlative artist. ![]()
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