![]() ![]() ![]() 10 There is no oblique line connecting the petasos to the rope in Pentheus’ left hand. ![]() Its color is the result of the almost 15 percent (14.88 percent) tin content of its bronze alloy. ![]() The krater is not “gilded,” as frequently described. The final use of the krater as a burial urn was, accordingly, an appropriate one.ĢAlmost a meter high, the krater was found more than forty-five years ago in one of five undisturbed cist tombs dated by Attic pottery to the last third of the fourth century BC, near the ancient Macedonian settlement of Lete, 12 kilometers northeast of Thessaloniki. The elaborate eschatological iconography of the Derveni krater, produced two centuries later, suggests its original purpose was for an initiation or some related Dionysian ritual. Cows encircling the neck of an Archaic krater, Rolley suggested, indicate its probable initial purpose as a sanctuary dedication 1. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.1As Claude Rolley pointed out in his text on the Vix krater in La Tombe princière de Vix, the iconography of Greek bronze kraters varies notably from that of ceramic examples and is frequently suggestive of the original purpose of the vessel. The free online edition of this open-access book is available at and includes zoomable figures and tables. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. The study of large-scale ancient bronzes has long focused on aspects of technology and production. The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. ![]()
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