The firing was stopped before the slip turned red once again. The fresh oxygen supply turned the pottery back to red. The kiln was then starved of oxygen and filled with carbon monoxide (by using wet fuel), causing the slip to turn black. Careful control of the firing process allowed Greek potters to oxidise the body of the pot, turning it red, by keeping the kiln well ventilated.
The vase is decorated in the 'red figure' technique in which the areas surrounding the figures are painted in a slip (mixture of clay and water), leaving the red pottery showing through. The Harvard Art Museums Bell Krater: Torch Race (1960.344, dated c. These formed the nucleus for Hope's own collection of vases, which he displayed at Duchess Street. In preparation for exhibition, an ancient Greek terracotta krater received treatment. In 1801 Hope purchased the second collection of ancient vases formed by Sir William Hamilton, formerly the British Ambassador to the Naples court. (1807), illustrating objects he had designed for his London house at Duchess Street. Topics: Europe, Greek, South Italian, Campanian, Kraters, Greece, Terracotta. The most important of these publications was Household Furniture and Interior Decoration. Terracotta bell-krater (mixing bowl) Publication date: ca.
The vase was once owned by Thomas Hope (1769-1831), the collector, connoisseur, patron and designer, who published a number of influential books of designs. The krater was an ancient Greek vase with two handles that was used to mix wine and water.
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