The style of this vase represents the transition from Geometric, with its preponderance of ornament and its spare artistic idiom, to what would become the black-figure technique, which at this time was already practiced in Corinth. The main scene on the body continues the tradition of chariots in procession.
Richter, Gisela M. A. 1923. "Early Greek Vases." Bulletin of the Metropolitan Museum of Art, 18(7): pp. 176-7, fig. 1.
Alexander, Christine. 1939. Early Greek Art: A Picture Book. New York: The Metropolitan Museum of Art.
Cook, J. M. 1947. "Athenian Workshops Around 700." Annual of the British School at Athens, 42: p. 151.
Richter, Gisela M. A. 1953. Handbook of the Greek Collection. pp. 26, 176, pl. 16b, Cambridge, Mass.: Harvard University Press.
Rombos, Theodora. 1988. The Iconography of Attic Late Geometric II Pottery. pls. 15, 29b, Jonsered: Paul Aströms Förlag.
Bonfante, Larissa. 2002. "The Greeks in Etruria." The Greeks beyond the Aegean : from Marseilles to Bactria : papers presented at an international symposium held at the Onassis Cultural Center, New York, 12th October, 2002, Vassos Karageorghis, ed. pp. 44-5, fig. 1, Nicosia: Kailas Printers and Lithographers Ltd.
Moore, Mary B. 2003. "The Passas Painter: A Protoattic 'Realist'?." Metropolitan Museum Journal, 38: pp. 7, 15-23, 26, 28, 32-35, figs. 3-9, pl. 1.
Koehl, Robert. 2013. Amilla. The Quest for Excellence. Studies Presented to Guenter Kopcke in Celebration of His 75th Birthday pp. 424, 428, fig. 31.1, Philadelphia: INSTAP Academic Press.