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). [Illustration] [Illustration] FIG. 38. CALYX-KRATER FIG. 39. BELL-KRATER In Southern Italy the krater holds the same position as the amphora of the B.F. period.[580] The calyx- and bell-kraters are the two forms chiefly affected in the transition period when Athenian artists were working in Italy, or Italian artists directly under the influence of Athenian (see p. 465), but they are also found among the purely local fabrics, especially those of Cumae and Paestum (_ibid._). The calyx-krater seems to have been reserved for the better and more carefully-executed specimens,[581] and the Italian bell-kraters often have a top-heavy effect from the greater height of their stems. In Apulia (and occasionally also in Lucania—the Campanian potters did not affect large vases) the volute-handled krater once more appears, in great magnificence. Not only is the total size and bulk increased, but the neck is lengthened and the handles are often treated with great elaboration of detail, ending below in swans’ necks spreading over the vase. In Apulia the volutes are generally replaced by medallions (whence the Italian name _vaso con maniche a mascheroni_) decorated with Gorgons’ heads or figures, in relief, painted white, yellow, and red. These vases are sometimes, but incorrectly, called amphorae; they range from two to three or four feet in height. They are generally painted from head to foot with subjects, often of a sepulchral nature, and were no doubt largely made for use at funeral ceremonies. They are more fully described in Chapter XI. [Illustration: FIG. 40. LUCANIAN KRATER.]