Large red-figured Oinochoe of shape I of the Baltimore painter. A nude, young warrior with Pilos helmet, Chlamys and spear stands with his horse in front of a richly decorated woman sitting on a Diphros. Her left hand reaches out and holds the Phiale and a wreath. Her right hand points down and holds an Oinochoe, painted yellow, also of shape I. Behind the noble warrior stands another woman with wreath in her right hand and Situla in her left hand.
The pitcher form served as a wine pitcher and is based on richly decorated, expensive metal vessels. The depiction is seldom in Apulian vase painting, the interpretation is of special interest. The farewell of a warrior could be meant, or because of the use as a grave vase, a Euandria scene. Along with the libation vessels, the three points above the phalera, which are often interpreted as eggs or fruits and are in a chtonic relation, would support this thesis.
Also the way the warrior holds his hands allows for the interpretation of a last handshake. Furthermore, the female slave (?), who attends the scene from the right side, would support the Euandria scene. However, the horse should not face the other direction – ready to leave? Thus, the other option would be the interpretation as a welcome scene for a victorious warrior. There are comparable motifs in southern Italy and the scene was popular in Campania for libation painters and Astarita painters. The same libation vessels and wreaths would match. However, a drinking cup should be expected in the hand of the warrior.
The horse finds numerous counterparts in the Naiskos and mythological scenes of the large vases of the Baltimore painter, who is considered tob e one of the most important representatives of his time. The warrior with Pilos finds his counterpart on a volute crater in a mythological context.