Mr. A. D. Trendall 's welcome publication (JUS liv, 175) of a volute crater in the Taranto Museum brings to light the second of two very important early South Italian vases. The other was published two years ago by Wuilleumier in RA 1933. ii, 3, and now that they have both been revealed it is time for them to sever partnership. Theyhave long left a gap in the history of South Italian vase painting, and have not unnaturally been usually classed together as the two important unpublished Taranto craters. One began to think of them automatically as companion pieces, probably by the same hand. But this they are now shewn not to be. This conclusion, which I can base on a study of photographs only, is confirmed by Mr. Trendall. His vase, with the Birth of Dionysos on the obverse, and an Amazonomachy on the reverse, is so like the well-known volute crater Naples 2411 (Sacrifice to Dionysos and a Centauromachy), as he has already indicated,8 that I do not hesitate to say that they are by the same hand, and to suggest that a name must be found for this important artist, whom I still disassociate from the Sisyphus painter, though he follows closely in his tradition. He also painted the Brussels volute crater A1018 with the Apotheosis of Heracles.