As previously mentioned, the neck-amphorae with twisted handles should date to around 480, when the Berlin Painter produced his; the amphora with the capture of Silenus, just described, has a restored foot and handles but was probably of this type. The neck-amphorae with triple handles date mostly to the 470s, while those with ridged handles were produced in the late 470s and 460s. The painter's late works exhibit some of the characteristics of the Early Classical style, with broad, flowing drapery, fewer relief lines, less fastidious detail, and more cursory execution of ornament; e.g. the column-krater Philadelphia MS2464; Illustration 16; Illustration 17 (ARV2, 278, 2).[18]

Illustration 16

Illustration 17

The Philadelphia vase is decorated with a symposium scene, and some other column-kraters with this subject are also late in style, especially those with ivy on the neck.[19] These and other late works have a mass-produced look that is only occasionally alleviated by a sudden outbreak of charm, such as the satyr and fawn on a late oinochoe in Schwerin.[20]

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[18]Beazley hesitated over the attribution of the Philadelphia krater, but there is no doubt that it is by the Harrow Painter. Beazley also considered the column-krater Palermo V 792 (ARV2, 275, 58) a late work; cf. another late column-krater, formerly in the London art market: Christie's, December 10, 1986, no. 220; Padgett 1989 (supra) 185, no. H.58A.

[19]E.g. Florence 3999 and Montaubon MI.87.4.14 (ARV2, 275, 47-48).

[20] Schwerin 1293; ARV2, 273, 19.

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