Brooklyn-Budapest Painter, Bell Crater (Caricature of Hermes), Clay, quickly turned, painted (ceramic), alternately fired, Clay, Total: Height: 35.7 cm; Diameter: 38.2 cm; Base diameter: 17.2 cm, Ceramics, Festivities, History of Mercury (Hermes), Late Classicism (Greek Antiquity), Due to its shape, this vessel is called a bell crater. It was used to mix wine and water and was used at the symposium, a ritualized drinking feast of distinguished men. Unusual and unique is the scene on side A: In the center is a male figure turned to the left, whose attributes - Kerykeion (messenger's staff) in the left hand, Petasos (travel hat) and boots - identify it as the god Hermes. In his right hand Hermes holds a pomegranate. Around the shoulders is a small coat. The Petasos, which is otherwise drawn deep into the forehead, is pushed backwards. The facial features with a pointed nose, wide open eyes and a distorted, curved eyebrow, the posture with a bulging belly, spiky thin legs and an oversized phallus with a wreath hanging from it, are distorted into the grotesque. Opposite him stands a woman in a long chiton and a bloated cloak. She has lifted her left leg and almost seems to place it on a table standing between her and Hermes, on which pyramis cake, two loaves of bread (?) and other food are lying. In her left hand she holds a donation bowl, with her raised right hand she holds a wreath out to Hermes. A naked satyr approaches dancing from the right. In his left hand he carries a situla (bucket), on his right shoulder is a large thyrsos staff, a sign of the wine god Dionysus and his retinue, laid down with two vines. The hair is bound with a bandage. Why is Hermes a caricature of himself? Is it about satyr and maenad who fool Hermes? The exhilaratingly hurried satyr seems to be the solution to the riddle, because he refers the scene's exuberant, erotically charged sphere into a Dionysian context - obviously much to Hermes' displeasure. This may well be understood as a refe.

Brooklyn-Budapest Painter, Bell Crater (Caricature of Hermes), Clay, quickly turned, painted (ceramic), alternately fired, Clay, Total: Height: 35.7 cm; Diameter: 38.2 cm; Base diameter: 17.2 cm, Ceramics, Festivities, History of Mercury (Hermes), Late Classicism (Greek Antiquity), Due to its shape, this vessel is called a bell crater. It was used to mix wine and water and was used at the symposium, a ritualized drinking feast of distinguished men. Unusual and unique is the scene on side A: In the center is a male figure turned to the left, whose attributes - Kerykeion (messenger's staff) in the left hand, Petasos (travel hat) and boots - identify it as the god Hermes. In his right hand Hermes holds a pomegranate. Around the shoulders is a small coat. The Petasos, which is otherwise drawn deep into the forehead, is pushed backwards. The facial features with a pointed nose, wide open eyes and a distorted, curved eyebrow, the posture with a bulging belly, spiky thin legs and an oversized phallus with a wreath hanging from it, are distorted into the grotesque. Opposite him stands a woman in a long chiton and a bloated cloak. She has lifted her left leg and almost seems to place it on a table standing between her and Hermes, on which pyramis cake, two loaves of bread (?) and other food are lying. In her left hand she holds a donation bowl, with her raised right hand she holds a wreath out to Hermes. A naked satyr approaches dancing from the right. In his left hand he carries a situla (bucket), on his right shoulder is a large thyrsos staff, a sign of the wine god Dionysus and his retinue, laid down with two vines. The hair is bound with a bandage. Why is Hermes a caricature of himself? Is it about satyr and maenad who fool Hermes? The exhilaratingly hurried satyr seems to be the solution to the riddle, because he refers the scene's exuberant, erotically charged sphere into a Dionysian context - obviously much to Hermes' displeasure. This may well be understood as a refe

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