Lexicon Iconographicum Mythologiae Classicae (LIMC). 'Footwork in Ancient Greek Swordsmanship.' Metropolitan Museum Journal, 24: p. 'Aison, der Meidiasmaler? Zu einer rotfigurigen Oinochoe aus dem Kerameikos.' Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung, 90: p. Attic Red-Figured Vases: A Survey, Revised Edition, 2nd edn. 81b, Cambridge, Mass.: Harvard University Press. 127, 171, New Haven: Yale University Press. Red-Figured Athenian Vases in the Metropolitan Museum of Art. 253, New York: The Metropolitan Museum of Art. 'Three Red-Figured Greek Vases.' Bulletin of the Metropolitan Museum of Art, 20(11): pp. The firing was stopped before the slip turned red once again.Richter, Gisela M. 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. These formed the nucleus for Hope's own collection of vases, which he displayed at Duchess Street. 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. The most important of these publications was Household Furniture and Interior Decoration.

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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