Mended with the missing pieces restored in plaster and painted, notably much of the figured part. Glaze has abraded in many places. The panel is not placed exactly opposite the handle but slightly to the viewer's left. H. 0.205; diam. 0.18. C. Boulter, Hesperia 22, 1953, p. 67, fig. 1:9, pl. 26:9; Lezzi-Hafter, Schuwalow-Maler, p. 102, cat. no. Ch 5, pl. 76:a, b.

Anodos scene. All that remains of the goddess rising out of the ground is a bit of drapery. At the left is a goat-man (left hand, back, tail, a bit of legs and feet) to right, walking on large rocks that indicate uneven terrain (drawn in relief line). At the right, part of the raised hand of a figure (presumably another goat-man) facing inward. Inscribed in front of this figure:

On the shoulder at the junction with the neck, tongue pattern. Below the figures, stopped-maeander pattern with checkerboard-squares, a dot in the center of each reserved square. Reserved line for side frames. White (flaked):inscription.

For Skirtos, see N. Stambolides, " ΣΚ[Ι⟧ΡΤΟΣ (Παρατηρήσεις στὴν εἰκονογράφηση τοῦ σικελικοῦ κρατήρα 9341)," AAA 15, 1982, pp. 143--151. For anodoi, see Bérard, Anodoi, passim, esp. pp. 110--112 for the anodos with goat-men. The composition on 793 was probably similar to the one on the obverse of Boston, M.F.A. 01.8032 by the Penthesilea Painter (ARV2 888, 155; Paralip. 428, 155; Addenda 302).

Linked by Boulter with the Chicago Painter (Hesperia 22, 1953, pp. 68--69) and attributed to his workshop by Lezzi-Hafter (Schuwalow-Maler, p. 102, cat. no. Ch 5).