The top part of the krater is decorated with motifs both ornamental (gadroons, palm leaves, acanthus, garlands) and figurative: the top of the neck presents a frieze of animals and most of all, four statuettes (two maenads, Dionysus and a sleeping satyr) are casually seated on the shoulders of the vase, in a pose foreshadowing that of the Barberini Faun.

Such highlights include the silver garlands of vine and ivy around the krater, the silver and copper stripes on the vipers at the handles, and the silver ords of the eyes of the volute masks. The main alloy used gives it a golden colour, but at various points the decoration is worked with different metals as overlays or inlays of silver, copper, bronze and other base metals. The vase is composed of two leaves of metal which were hammered then joined, although the handles and the volutes (scrolls) were cast and attached. When excavated, the Derveni krater contained 1968.31 g of burnt bones that belonged to a man aged 35–50 and to a younger woman. Kraters (mixing bowls) were vessels used for mixing undiluted wine with water and probably various spices as well, the drink then being ladled out to fellow banqueters at ritual or festive celebrations. The krater was discovered buried, as a funerary urn for a Thessalian aristocrat whose name is engraved on the vase: Astiouneios, son of Anaxagoras, from Larissa.

Large metalwork vessels are extremely rare survivals in Ancient Greek art, and the Derveni Krater is the outstanding survival from Hellenistic art, as the Vix Krater is from the Archaic period. It is dated to the 4th century BC, and was probably made in Athens. Weighing 40 kg, it is made of a bronze with a high tin content of about 15%, which endows it with a superb golden sheen without use of any gold at all. The Derveni Krater is a volute krater, the most elaborate of its type, discovered in 1962 in a tomb at Derveni, not far from Thessaloniki, and displayed at the Archaeological Museum of Thessaloniki.

Download free the derveni krater