Here, the metaphorical resurrection of the dead is taking place as an act of cosmogenesis, the creation of the Cosmos by Chaos-death. Chaos in myths is an androgynous creature, it splits into two halves, and its active female part separates a passive male one from itself. Completely divided into the Base and the Top, the waters and the sky, the moon and the sun, they marry, creating all life. Southern Italian vases we exclusively see the mature female "mothers", in their solemn, lush robes, and the headdresses of married matrons (Sakkoses and Kekryphaloses), and fragile, defenseless (almost always naked) young men – "sons". In the era of the dominant "male" culture, which was the Classical Greece, men took the ancient ritual of salvation from women, and the immortal "mothers" were then dying. However, in art all the archaic formulas were preserved.

The lower tier splits into two parts, which is indicated by the axis of symmetry – a hanging taenia and a vertical branch. Each contains a group of three figures, with a central person (the deceased) sitting. The right side of the vase (the viewer’s left) depicts the resurrection of a young man, the left one – a woman. They are being presented with gifts – symbols of "life". The double symbolism is obvious: a forked tree trunk (by Pan), a wreath with two ears (not yet perfect, not ring-shaped), a tree with two branches, and a musical instrument in the form of a ladder, the so-called xylophone with two racks, or even just a hand gesture with two extended fingers. Two women in the role of goddesses are resurrecting the young man who, rising from the dead, is himself helping to save the deceased woman. He is standing behind her, she is turning around, meeting his eyes, but it is noteworthy that the power of life is still coming from the ancient savior, the goddess facing the deceased. Both are mysteriously contacting only with their hands, an invisible spark between them, like Michelangelo's fresco with God creating Adam.