"That is a calyx-krater, so called because the shape of the handles brings to mind a flower's calyx," Mr. Murray told me. "It would have been used in antiquity as a vessel in which one would mix water with wine. I believe it was Lord Ashton's favorite. He had a difficult time parting with it but felt strongly that it belonged where others could study it. It is a fine example of red-figure vase painting."

"The detail is exquisite," I exclaimed, leaning closer to the object. "Even the eyelashes are visible on the man's profile."

"The red-figure technique allows for more realism than black-figure because the details are painted onto the unglazed figures. This artist is known for his attention to such things. Note how he shows individual strands of hair and the way he has shaded the folds of fabric on each cloak."

"There is something in it that brings to mind the Parthenon friezes."

"A keen observation, Lady Ashton. The style is very similar to those figures found at the Parthenon. This vase painter is credited with being the most classical of all his colleagues."

"Who was he?"

"I'm afraid we do not know his name, but his work is recognized on hundreds of vases."

"All red-figure?"

"No. Black-figure and white-ground lekythoi, too. If you'll come this way, I'll show you one of the lekythoi. They are the ones for which he is best known."

I did not respond immediately to Mr. Murray but continued to examine the piece before me. "Look how graceful his hand is holding the apple. Whom do the figures represent?" I asked.

Mr. Murray moved closer to the case. "Those are the goddesses Athena, Hera, and Aphrodite. They have just attended a wedding ruined by Eris, or Discord. Furious not to have been invited to the celebration, she determined to cause a scene and dropped a golden apple among the guests."