The Metropolitan Museum of Art, New York, Rogers Fund, 1907 (07.286.84) Terracotta volute-krater (bowl for mixing wine and water), ca.

In fact, scholars rarely questioned about the reasons of the end of the Sicilian red-figure, while the new model of production of this final stage, the new subjects on vases, the increasing rarity of large-scale vessels and, finally, the same cessation of the red-figure vases may be associated with the new social and political reality of the island at that time.Attributed to the Painter of the Woolly Satyrs (namepiece). Serious chronological problems also weigh on the final phase of Sicilian vase painting (the end of IV B.C., according to Trendall, or the middle of next century, according to Bernabò Brea and Madeleine Cavalier). and on the reconstruction of the Syracusan workshop of the Chequer Painter (like a protos euretes of Sicilian red-figure vase painting), and a more complex production reality that gives strength to the idea of a plurality of modes of production – both in terms of languages, times and areas of production – at the first appearance of the phenomenon of vase painting in Sicily. The problem of the origin, recently lively debated, is between the hypothesis of Trendall, based on the date of the 415-413 B.C. The aim of this article is focus attention on two very important stages of the Sicilian production: the beginning and the end.

However some critical questions are still open. Trendall’s studies allow us today to have a sufficient knowledge about the Sicilian red-figure vase painting of V and IV B.C.

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