Professional Documents
Culture Documents
HISTORY OF ANCIENT
POTTERY
PLATE XLIX
HISTORY OF ANCIENT
POTTERY
GREEK, ETRUSCAN, AND ROMAN
BY H. B. WALTERS, M.A., F.S.A:
BASED ON THE WORK OF
SAMUEL BIRCH
IN
TWO VOLUMES
VOLUME
II
COLOURED PLATES
NEW YORK
CHARLES SCRIBNER'S SONS
1905
PRINTED BY
HAZELL, WATSON AND V1NEY, LD. f
LONDON AND AYLESBURY,
ENGLAND.
CONTENTS OF VOLUME
II
PAGE
CONTENTS OF VOLUME II
''.'.
LIST OF PLATES IN VOLUME II
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II
PART
v
ix
xi
III
XII
on vases
to
literature
in ancient literature
of subjects
The Gigantomachia
subjects The Olympian deities
birth of Athena and other Olympian subjects
Zeus and
The
CHAPTER
1-53
XIII
Names
of Satyrs and
Ariadne,
Maenads
General
54-92
CONTENTS OF VOLUME
vi
II
CHAPTER XIV
HEROIC LEGENDS
PAGE
....
93-153
CHAPTER XV
SUBJECTS
Religious subjects
Sacrifices
burlesques
Athletics
154-186
CHAPTER XVI
life
Armour and
and
Monsters
shield-devices
tecture
different fabrics
187-235
CHAPTER XVII
INSCRIPTIONS
ON GREEK VASES
........
236-278
CONTENTS OF VOLUME
II
vii
PART IV
ITALIAN POTTERY
CHAPTER
XVIII
in
terracotta
Architectural
Italy
decoration
Sarcophagi
fabrics
279-329
CHAPTER XIX
Clay
in
tion
architecture
Tiles
List of subjects
Uses
at
Roman
Rome
sculpture in terracotta
Money-boxes
Statuettes
Gaulish terracottas
Subjects
....
Miscellaneous uses
Coin-moulds
330-392
CHAPTER XX
ROMAN LAMPS
Introduction of lamps at Rome Sites where found Principal parts
of lamps Purposes for which used Superstitious and other
uses
Technical processes
Subjects
Deities
393-429
CONTENTS OF VOLUME
viii
II
CHAPTER XXI
SHAPES,
PAGE
Drinking-cups
cation of
names
Dishes
Sacrificial vases
Identifi-
43-~473
CHAPTER XXII
Centres of fabric
"Samian" ware
Characteristics
stamps
CHAPTER
ROMAN POTTERY
Distribution of
Roman
(continued};
pottery in Europe
to provincial wares
Terra sigillata
fabric
Potters' stamps
Subjects
474-496
XXIII
PROVINCIAL FABRICS
Transition from Arretine
INDEX
497-555
557
LIST OF PLATES IN
VOLUME
II
Museum]
PLATE
XL1X.
(colours)
LI.
LII.
Baumeister)
Kotyle by Hieron
Triptolemos at Eleusis
The Under-world', from an Apulian vase
L1V.
The Sack
LVI.
LV1II.
LIX.
LX.
LXI.
LXII.
LXIII.
LXIV.
LXV.
LXVI.
LXVII.
LXVIII.
LXIX.
Frontispiece
TO FACE PAGE
...
LIII.
LVII.
LV.
at
Munich (from
.....
66
78
...
(
:
ist
134
158
300
302
308
......
....
.
Roman lamps
Roman lamps
Roman lamps
24
26
....
miscellaneous subjects
Moulds and stamp of Arretine ware
322
366
370
402
century B.C)
316
.412
.....
.....
.....
....
.
4*6
49 2
52
544
ix
5 2^
LIST OF TEXT-ILLUSTRATIONS IN
VOLUME
II
PAGE
FIG.
Hi.
112.
113.
114.
i
[5.
116.
Mon.de II'Inst.
Gerhard
(vase at Vienna)
Mm.
Wiener
Brit.
Ant.
Denkm.
118.
Brit.
Hermes with
Baumeister
120.
121.
Maenad
122.
124.
125.
Brit.
123.
126.
127.
128.
129.
130.
(cup
at
Munich)
Nemean
lion
97
Arch. Zeit.
107
Mus.
121
Wiener
in Berlin)
134-
135.
136
Brit.
xi
Brit.
Brit.
59
70
......
51
Mus.
Mus.
Mus.
Mus.
Brit.
133.
132.
Mus.
48
Baumeister
Brit.
131.
30
63
Brit.
23
Baumeister
Brit.
Mus.
16
43
hydria)
in frenzy
Mon.dell 'fnst.
119.
U
20
Vorl.
117.
13
Vorl.
Mus.
Mus.
88
96
122
I2 9
142
Baumeister
150
Baumeister
152
Brit.
Mus.
Brit.
Mus.
Baumeister
161
163
170
xii
TEXT-ILLUSTRATIONS IN VOLUME
II
FIG.
137.
Warrior
in
138.
139.
140.
141.
142.
143.
arming
archers (Euthymides
amphora
Hoppin
Brit. Mus.
Munich)
.176
181
212
..........
........
Maeander (Attic)
Maeander (Ionic)
Maeander and star pattern
Maeander (Attic, 5th century)
....
.
212
212
212
.213
144.
Maeander
145.
Net-pattern
146.
Chequer-pattern
147.
Tangent-circles
148.
149.
Wave-pattern (South
150.
Scale-pattern (Daphnae)
Guilloche or plait-band (Euphorbos pinax)
218
151.
152.
Tongue-pattern
153.
Egg-pattern
Leaf- or chain-pattern
219
220
154.
(Attic,
..
213
215
.216
.216
.217
218
Italy)
.
219
221
155.
222
156.
222
157.
158.
Vallisneria spiralis
59.
160.
161.
162.
163.
164.
165.
223
(Mycenaean)
Lotos-flower (Cypriote)
Lotos-flowers and buds (Rhodian)
Palmette- and lotos-pattern (early B.F.)
....
167.
169.
170.
225
225
226
226
227
228
228
230
Rosette (Rhodian)
Rosette (Apulian)
23I
231
172.
Scheme
175.
229
173.
174.
Italian)
171.
224
Riegl
166.
168.
224
pinax
Facsimile of signatures on Francois vase
Mus.
Brit.
Ath. Mitth.
242
.
243
248
.
Roehl
.251
257
TEXT-ILLUSTRATIONS
IN
Askos of
Apulian fabric
local
Concrete wall
at
"
Rome
Roman
Method
terracotta antefix
of heating
Flue-tile with
ir
ornam
Stamped Roman
Inscribed
tile in
Inscribed
tile
tile
Gui
from London
of potter
Terracotta coin-mould
Lamp
"
Delphiniform lamp
Lamp with volute-nozzle
Lamp
Lamp
Lamp
Lamp
Mould
Lamp
for
lamp
Roman
Ampulla
VOLUME
Brit.
II
Mus.
xiii
TEXT-ILLUSTRATIONS IN VOLUME
xiv
II
PAGE
FIG.
218.
219.
217.
"
467
:
222.
223.
Gaulish bowl of
221.
Form
Philologus
Brit.
Brit.
Italian
225.
226.
Vase of Banassac
484
488
491
500
501
502
Dechelette
227.
from Pompeii
Medallion from vase of Southern Gaul
228.
229.
230.
fabric
Dechelette
Mus. Borb.
Atalanta and
.....
Ribchester
Hippomedon
.
517
525
531
518
scene
Brit.
Mus.
Mus.
37
224.
"
Megarian bowl
Gaulish bowl of Form 29
Gaulish bowl of Form 30
220.
death of Phaethon
Mus.
Gaz. Arch.
Brit.
Mus.
Brit.
Mus.
532
537
551
PART
III
XII
ment
Interpretation
deities
subjects
deities
life
classification
The
The
of
birth of
subjects
Eleusinian
THE
and
The Gigantomachia
deities
know
that
fictile products.
the artistic instincts of the Greeks led them
We
to
made
But the
been
fictile vases, from the enormous numbers which have
preserved, the extraordinary variety of their subjects, and the
fact that they cover such a wide period, have always formed
our chief artistic source of information on the subject of Greek
mythology and antiquities.
Although (as has been pointed out in Chapter IV.) ancient
for votive
or other non-utilitarian
any
purposes.
we have many
VOL.
II.
Idyll of Theocritus
first
so-called
Homeric
verses,
4
and other
rape of the
or
Palladion,
10
Orpheus
"
storied
Roman
later
such as the
are
subjects
We
"
on the exterior.
In attempting a review of the subjects on the painted vases,
we are met with certain difficulties, especially in regard to
arrangement. This is chiefly due to the fact that each period
has
its
//.
xi.
635
cf.
27
Athenaeus,
ff.
i.
cf.
Athen.
Vol.
xi. p.
I.
xi.
489 F.
p. 180.
489 B.
Stat. Theb.
I0
Virg.
"
Ed.
Robert
sim
Od.
progr. 1890.
H.N.
12
xxxiii. 155.
Ibid. 156.
Mart.
viii.
cf.
Juv.
i.
76.
46.
in $<?**
Suet. Ner. 47
185, 499.
51:
543-
Ibid. p. 782 B.
5.
i.
iii.
Winckelmannsfest-
see Vol.
I.
pp. 134,
that
it
will
will, as far
Greek myth
and legend, the subjects on Greek vases are yet not invariably
those most familiar to the classical student, or, if the stories
are familiar, they are not always
treated
in
accordance with
On
books
is
largely based on
later
Roman
compilers,
folk-lore
course,
This
be seen
will
in the list
of
126
on vases to Greek
literature
is
Cf.
>
p. ii;
I.
p. 13.
The
antiquity
for instance,
the egg of Leda, and the Kypria included the whole story of the
marriage of Peleus and Thetis, the subsequent Judgment of
Paris, and his journey to Greece after Helen, scenes from all
3
The
being extremely popular on the vases.
the
Patrokleia deals with the events of the earlier years of
war,
the Aithiopis of Arktinos with the stories of Penthesileia and
these events
Memnon, and
1
See on
Phil. Suppl.-Bd.
Lesches with the events of the tenth year down to the fall of
Troy. All provided frequent themes for the vase-painter, as may
be seen by a reference to a later page (i 19 ff.). The Iliupersisvi
Arktinos and Lesches might almost be reconstructed from two or
three large vases, whereon all the episodes of the catastrophe are
collected together (see p. 1 34) ; but when we come to the Nostoi
right
method
of
different periods,
and
method of
their
treat-
approximation
(//.
xxiii.)
We
Op.
2
cit.
p.
The only
493
in others the
ff.
cf.
B.M. B 130-31.
case.
we come
to
heroising tendencies
illustrate
the
For instance,
the fate
familiar
of
legends
in the
Kroisos,
Herodotean
there
the
version,
curious
is
p.
commemorate.
which he describes
poets
in
deviation
from the
The only
vase-painting dealing
150) apparently reproduces this
tradition.
With the
1
See on
this subject
andf.ff.S.
2
x. p.
Comtn. in hon.
Mommsenii
7'.
p.
5
6
13
ff.
elsewhere.
Scut. 345
ff.,
178,
ff.
On
Eur. Trag.
in
Huddilston, Gk.
Vase-paintings
Tragedy
Engelmann, Arch.
the
the
in
Italy,
exception
have made
said to
fourth
century
be traced
B.C.,
but
indications
of
the
may
in
many
as
was performed.
it
The whole
question
is
admirably
summed up by Luckenbach 2
following manner
(i) The Epos is the chief source
vase-paintings from the earliest time to the decadence
inclusive, and next comes Tragedy, as regards the later vases
in
the
of
all
only
of
of the
myths
influence
of
other
there
in
on the formation
no established example.
poetry
is
vase-paintings
Vase-paintings are not illustrations, either of the Epos or
of the Drama, and there is no intention of reproducing a story
(2)
hence
great
extension of scenes by means of rows of bystanders, meaningless, but thought to be appropriate, is of course a development of the artist's, conditioned by exigencies of space.
named
or always to be
indicated.
(6)
Reinach,
i.
p. 114.
Op.
particular passage
cit.
p. 636.
The
collecting,
assorting,
and
poem
now
many years to
discussing the material
diminished the difficulties of
paid
for
critically
this
When
in
from the
first
that
investigator very
far,
such interpretations
and even
did
in the eighteenth
not
carry the
century other
who regarded
the
1
subjects as of historical import.
Subsequently Panofka endeavoured to trace a connection between the subjects and the
names of
artists or
stances
but
it
is
latter
seen in
idea,
many
or,
of
in-
The
The
any
detail.
tionised
Vol.
2
I. p.
21.
some
modifications,
may
be regarded as
The Olympian
deities and divine beings in immediate connection with them, such as Eros and marine deities.
(a) In general ; (b) individually.
(Chapter XII.)
Dionysos and his cycle, Pan, Satyrs, and Maenads. (Page 54 ff.)
Chthonian and cosmogonic deities, personifications, and
minor deities in general. (Page 66 ff.)
IV. Heroic legends and mythology in general.
II.
III.
(a)
Herakles
(<c)
local
(b)
or
Trojan stories;
V. Historical subjects.
(e)
monsters.
(Page 149
life
(Chapter XIV.)
ff.)
(for detailed
quite
been made
distinct
in
some
1
cases, as
in the
io
On
connection. 1
of the
artist
as on
The great
a striking example of a mythology in miniature, containing as it does more than one subject
treated in the fullest detail.
And here reference may be made
or
Florence
Francois vase in
the
sack
of
Troy.
is
to the
scenes
times
it
art.
all
is
is
it
also
well
of Troilos.
illustrated
in
the
of
Hector
forth
without the
to
repetition of
Morgenthau, Zusammenhang
d.
Bil-
Cf.
for instance
E 39,
B.M.
8
See below,
See p. 134.
This subject
treated
(Eng. edn.),
p. 108.
has
by Wickhoff
p.
136.
been
in his
admirably
Roman Art
it
should be
where (Vol. I. p. 370) : but as it is unique in its comprehensiveness, and as a typical presentation of the subjects most popular
at the time when vase-painters had just begun to pay special
attention to mythology, it may be worth while to recapitulate
The subjects are no less than eleven in
its contents here.
;
mythology
and (2) the landing of Theseus and
accompanied by dancing youths and
:
Ariadne
at
maidens.
(3)
Naxos,
On
the shoulder
(5)
chariot
at the
race
funeral
(4)
On
in procession.
(6)
On
the
body the death of Troilos (see above), and (7) the return of
Hephaistos to Olympos. (8) On each of the handles, Ajax
:
and on the
stag, Gryphons, Sphinxes, and other animals
upper part of the handles (11) Gorgons and figures of the
Asiatic Artemis (see p. 35) holding wild animals by the neck.
and
be
also
The
1
remembered
that
are
many
disputed meaning.
succeeding review must therefore only be considered as a
The
publication
of
this
vase
were
The
now
superseded
all
previous
illus-
trations
by
of
'
is
P-
in
12
general
at omitting
regard
eminence.
We
have
as
the
as
Olympian
will therefore
reference
to
any particular
signification.
will
It
then be
convenient
to
We
beings,
and
be discussed
historical
all
of the Greeks.
THE OLYMPIAN
DEITIES
One
the
them.
We
it
is
unnecessary to differentiate
combat of Zeus
following
(Vol.
I.).
notes
see
the
in
the
Bibliography
Munich 125
Furtwaengler and
B.M. F237
cf.
Reinach,
ii.
Reichhold,
also
B.M, 662.
is
120
pi.
32
THE GIGANTOMACHIA
of course the frieze of the great altar at
bear
13
Pergamon (197
almost
representations
as
B.C.),
complete,
Ephialtes.
FIG.
III.
"
"
stay-at-home
goddess of the
hearth,
depicted
The
amples
and most
best
are
B.M.
2531 (both in
5
ex-
B.M.
Wiener
Vorl.
viii.
7),
on which no
less
732.
6208; Reinach,
R.F.
complete
follows:
as
i.
162 = Louvre
47,
573 = Reinach,
B.F.
ii.
256.
Bibl.
Best of
Nat.
all (late
found in Melos
R.F.), a
grand vase
(Monwn.
P ls
l'2
E 732
in
Louvre, and
the interior of
Berlin 2531.
2
p. 8.
DEITIES
in
them
FIG.
112.
The
as his
by
inscrip-
Louvre
732
2
3
Reinach,
B.M.
B. M.
ii.
i88 =
E 47 Berlin
B 253, E 443
;
/.
Cer.
4
i.
5.
(and see
p. 56).
Bull,
pi. 7
2293.
cf.
treasury at Delphi.
15
47.
Hephaistos and Euryalos B.M.
Hephaistos and Klytios Berlin 2293.
Athena and Enkelados B.M. 6252; Louvre
:
732;
i.
l.
Ccr.
8.
Nat. 299
Bibl.
= Reinach,
pi.
7.
88.
i.
ii.
255.
Among
him
fully
developed,
in
as
This
centre of the east pediment of the Parthenon.
is commoner on B.F. vases, and does not appear at
the middle of the
fifth
deities
are
Olympian
wields
Hephaistos
century.
scene
the
away
in
sometimes
terror
at
the
Athena
flies
goddesses
a R.F. vase in the
On
Bibliotheque Nationale
head. 6
after
spectators of
axe or runs
his
subject
all
In
P-
B.F.
B.M.
(Fig.
424;
113),
good).
Reinach,
R.F.
ii.
147
much
B.M.
(a
very
restored),
Berlin
1704
410
15,
fine
244
(also
(fine)
Reinach,
171.
127,
traces
the
origin.
B.M.
B.M. B
6
i.
p.
Megarian
207.
1901,
Vases,
ii.
p. ii.
Cat. 444.
subject
to
INTRODUCTORYTHE OLYMPIAN
16
DEITIES
to the
composition.
and
Olympian
deities or
FIG.
The
Zeus
of
representations
and
Hera enthroned
113.
among
the
3
partaking of a banquet.
Hera
a magic chair by
Hephaistos, and her subsequent liberation by him, is alluded
to on many vases, though one episode is more prominent than
story of the enchaining of
in
the others.
find
See B.M.
1899
l.
157,
Cer. i.
341
22)
also Berlin
and Reinach,
pi.
4
21, 2.
ii.
E.g.
B.M. 6197
(a fine vase, by
see on the subject
und Hera.
B.M.
I,
Petersburg 355
Wiener
a
82
= Reinach,
Reinach,
i.
14
5 (also interpreted as
off a statue of
finishing
Vorl.
sculptor
Hera).
266.
iii.
with Ares,
forces
him
to liberate Hera.
The
17
episode most
that
is
later
we
Dionysos or a
see
than some
Zeus appears
alone
but
less frequently
still
there are
respec-
642
(Plate
628
ter,
pi. 93,
Berlin 2060;
i,
fig.
Ath. Mitth.
instance,
161.
1894, pl.
R-F.
Vorl.
See below,
(Sosias);
9, 3.
107
(in Berlin).
VOL.
p.
II.
ii.
i.
9
76
Reinach,
98
i.
194
Reinach,
(Dareios
i.
in
8
i.
Petersburg 419
council).
= Wiener
3
157,
iii.
Bibl. Nat.
pl.
B.M.
Reinach,
lively
in the
}a
i.
i.
99
355; B.M. F27O.
18
Louvre 1
or again in his
in
6
reception into heaven.
15
On a fine late vase
bowling a hoop or otherwise at play.
with Latin inscriptions Ganymede appears in Olympos, 16 and
he is also depicted as a shepherd. 17
in
Reinach,
B.M. 6425
El.
Ccr.
i.
cf.
Mus. Greg.
82 (also
i.
22
ii.
21,
?),
30 (may be Poseidon) ;
Micali, Mon. Ined. 37, 3; B.M.
432
(Artemis) ; Naples S.A. 702 = Reinach,
i. 499 and Reinach, ii. 183
(Aphrodite)
Bibl. Nat. 229 (Zeus with Hera, Athena,
El. Cer.
and
1898, p.
Arch. Anzeiger,
Hermes)
189, and Boston Mus. Report
"
66,
12
262
13
El.
Ch:
l6
'
19
i.
Reinach,
&
13
in
(now
Reinach,
&r.
i.
i.
B.M.)
38
p.
(fine
in Berlin).
EL
Cer.
20.
i.
Roscher,
iii.
p. 969.
pi.
68
Prep,
(in
evang.
29 A (doubtful).
335, 2.
18 (= Helbig,
Bibl. Nat.
416
ii.
p. 310,
Reinach,
B.M.
66.
i.
Berlin 2032
Reinach, i. 334.
Rom. Mitth. 1887, pi. 10.
the
i.
Eusebius,
472
14
Meistersch.
Hartwig,
cf.
Louvre)
"i- 84 b.
No. 104)
6379, 6424,
B.M. F 278
',
B.M. B
156,
i.
i.
Ctr.
polychrome pyxis
10
B.M. E 381 ;
ii.
Ares,
El.
Munich 345
I.
and
Vienna 329.
5
F 542313; Reinach,
i.
408.
i.
'i
19
2
1
(3) the handing over of
(2) the actual birth scene
thigh
3
Of his visit to Alkmena there are
the child to the Nymphs.
no certain representations, but two comic scenes on South
;
talian vases
;ast
one case he
but in
is
Leda with
the egg. 6
He
Danae
also
gold on
8
and
Thaleia
Aegina
is
Nymphs
he provides a very
rides,
i.
pi. 2, p. ijgff.
Bibl.
pi.
see
also
Marchen,
3
B.M.
Reinach,
4
the
for
182;
260; and see
ii.
B.M.
6
7
xi.
B.M.
B.M.
I.
440=
p. 55,
note 21.
i.
(1886),
p. 473).
pi.
Baumeister,
711;
i.
p.
Petersburg
406,
fig.
1723=
447
(both
R.F.).
8
Aegina
Helbig,
ii.
Nat.
Bibl.
J.H.S.
Arch.
Robert,
pi. 3, p. 189.
p.
first
One
where
to fetch her. 11
by Zeus
bull sent
In the
p.
10
ii.
= Jahn,
B.M. F 184
pi. I
pi. 6, fig.
13.
20
The
story of lo
on the vases:
find illustration
when she
Artemis
after her
wanderings
3
(2) lo in the form of a cow, guarded by Argos
(3) the
4
her
Hermes
of
deliverer
Hermes
attacks
and
appearance
(4)
;
Argos
slays
(Fig. II4).
From Wiener
Vorlegebldtier.
FIG. 114.
IN
8
7
of Prometheus, the combat of Herakles and Kyknos, or the
9
at the sending
weighing of the souls of Achilles and Hector
of Triptolemos, the flaying of Marsyas, the death of Aktaeon,
;
El. Ccr.
3
4
and
Reinach,
Ibid.
1890-91,
5
i.
III, 2
Report
',
ii.
i.
12,
164
Wiener
See
mythol.
407.
pi.
iii.
.97;
Reinach,
Vorl.
B.M.
16
25, 26.
i.
Ctr.
$-$= Wiener
i.
i.
363; Vienna
1890-91,
ill,
pi.
II,
= EL
=
=
generally
ii.
p.
27
ff.,
Overbeck,
181
Kunst-
ff.
Reinach, i. 388.
See p. 101 ; Zeus defending Athena
against Ares after the combat, Arch.
8
302
Jatta 1498
See
p. 130.
HERA
and that of Archemoros
l
;
21
at 'the creation of
Judgment of
Paris
Hera apart from Zeus appears but seldom, but there are a
few scenes in which she is found alone of those in which she
;
is
As
her figure
attributes,
is
it is
a single figure she forms the interior decoration of one fine R.F.
7
kylix, and her 6avov or primitive cult-idol, is sometimes found
as an indication of the scene of an action. 8
On one vase she
t
9
represented at her toilet.
There is a vase-painting which represents Hera on her throne
offering a libation to Prometheus, an aged figure who stands
is
before her. 10
E 140
B.M.
ibid.
Reinach,
8
i.
342, 405,
229 ; i. 235.
2
B.M.
467 andJ.ff.S. xxi. pi. i;
Petersburg 1807 = Reinach, i. 7.
3
B.M. 6316;
224; Naples 2638 =
452
Reinach,
4
i.
i.
Munich
Furtwaengler
See above,
Munich
Atlas,
more
tended.
11
13
and
11
i.
pi.
probably
Aphrodite
is
in-
op. cit.
Ctr.
i.
Reinach,
B.M.
B.M.
B.M.
iii.
p. 18
Reinach,
1 6.
Bibl. Nat.
in,
15
KunstOverbeck,
head only,
9,
19
l.
Cer. i. 29 ; also perhaps in Naples
2900 = Baumeister, iii. p. 1653, fig. 1714 ;
but
l.
p. 16.
336
ii.
9
10
12
745
Overbeck,
231,
78.
mythol.
i.
34.
542
i.
= Reinach,
i.
155.
467.
164
Berlin 3164
Reinach,
4.
B.M.
F 107.
16
cf.
141.
388.
17
Reinach,
ii.
3:
4.
18
19
i.
253
= Reinach,
i.
Furt-
399.
22
The
scene
the
at
slaughter
of
Niobids
the
6
;
Athena. 6
She appears sometimes with Hebe, Iris, and Nike, from whom
she receives libations 7
and in one scene, apparently from a
she
and
Iris
are attacked by a band of Seileni
Satyric drama,
;
higher and
cf.
Sparta (Paus.
iii.
at
the
4
5
6
Bull
Reinach,
i.
Reinach,
i.
Reinach,
i.
Reinach,
(Hebe)
ii.
9,
Reinach,
5,
Dubois-Maisonneuve,
321 and El. Cer.
i.
30
ii.
410.
Berlin
ii.
188
deities
Berlin 2531
= El. C<!r.
ii.
ii.
= Mus.
B.M. B 166; Berlin
76; Louvre F 30 =
304, No. 81
p.
pi. 56, i)
ii.
(1889),
13
Apollo,
Rev. Arch,
325 (Iris).
65 = Reinach, i. 193.
B.M. E
B.M. B 147,
10
B.M. B 197.
11
B.M. E82
Denkm. i. 9.
8
i.
Greg.
463.
Naples2202
p. 13 (esp.
2278; Reinach,
175.
See above,
and Helbig,
Jatta 1093
12
with
the Eleusinian
Hades 13
among
Hera aiyofayos
15, 9).
1792
Petersburg
14
2278
Ant.
Ares, Herakles)
Bourguignon Sale
Cat.
POSEIDON
23
:
and occasionally in
the sending forth of Triptolemos
2
As a
Dionysiac scenes as a companion of the wine-god.
at
single figure he is
tablets or pinakes
found
B.M.
140.
Reinach,
ii.
35
and
see
B.M.
445.
3
Berlin 347'473 (alone), 474-537 (with
see also 787-833 ; specimens pubA.)
:
lished in Ant.
Fig.
115
Denkm.
Berlin 495).
i.
pis.
7-8 (e.g.
B.M.
Nat. 363
E 322
Berlin
Reinach,
ii.
2164 ; Bibl.
4 ; ibid.
257,
With
22, 8; Petersburg 1531, 2164.
Wiener
Amphitrite pouring a libation
Vorl. vii. 2 (Duris in Louvre).
5
Reinach, ii. 35.
ii.
Athens 880;
24
l
he watches the Sun-god in
Amphitrite and other deities
2
and one vase has the
his car rising out of the waves
;
Hermes engaged
6
Aithra, are common subjects, but in many cases the object
7
He receives Theseus under
of his pursuit cannot be identified.
8
the ocean, and possibly in one case Glaukos, on his acceptance
9
as a sea-god
he is also present at the former's recognition
10
He is seen at the death of Talos, 11 and with
by Aigeus.
;
12
In conjunction with other deities,
Europa crossing the sea.
chiefly on late Italian vases, he is present as a spectator of
various
ii.
by
Naples 32 19 = Reinach,
El. Ctr,
Plate
Reinach,
iii.
L.
ii.
cf.
= Rayet
222
and Collignon,
20
Bibl.
;
No.
102.
iii.
= Millin-Reinach,
20-25
Bibl Nat
-
ii.
37
terior of this
cup
J.H.S.
may
refer to
Kychreus,
xviii.
14 (Louvre
Salamis, and
Athens 1551 =
i,
pi.
fig.
2,
Poseidon pursuing a
277-79,
pp.
and
cf.
G 104,
by Euphronios),
where Theseus is received by Amphitrite.
9
Bibl. Nat. 418=7. H.S. xviii. p. 278.
10
B.M.
264.
pi.
n
12
13
Reinach,
Ibid.
i.
i.
i.
361.
36.
Reinach,
Reinach,
Nat. 432
El. Cer.
to represent
is
Nereid.
Nat.
Bibl.
p. 121.
ii.
seems
125.
14.
25i
i.
14
i.
379;
i.
99; B.M.
2634;
467;
B.M.
279; Reinach, i. 98.
" EM. B
196, Munich 114 = Reinach,
i.
and see
422; Reinach, ii. 61
B.M. 6228; Reinach, i. 301; ii. 66
;
(Kyknos).
ls
B.M. 657.
*Z2
-^v
-\
-\
v->i,i.t^
*''
-!~-L_-
l7^;i"\
MARINE DEITIES
also seen with Perseus on his
to slay
way
25
Of
name of Okeanos
The figure itself has
these the
Nereus appears as
inscription, remain.
3
Nereid.
He
also
watches
contest of Herakles
the
with
On
Triton, himself encountering the hero in some cases.
one vase Herakles has seized his trident and threatens him
7
He appears at Herakles'
by making havoc of his belongings.
8
combat with Kyknos, and at his apotheosis, 9 and also offers
10
a crown to Achilles.
In one case he is found in Dionysos'
11
With
his
company.
daughter Doris he watches the pursuit
6
12
by Poseidon.
of another Nereid
Triton
is
engaged in
15
through the sea to Poseidon, and watches the flight of Phrixos
10
and Helle over the sea.
The group of deities represented
by Ino and Leukothea, Palaimon, Melikertes, and Glaukos
1
Mon.
Graiae) ;
Louvre).
Grecs,
10 (with the
1878, pi. 2 (in
pi.
Millin-Reinach,
ii.
(Micron):
6
all
R.F.
B.M. B2oi
B.M. B 225,
ii.
61.
See also
p. 101.
10
1<J
l3
ii.
p. 120.
See
Reinach,
4.
Reinach,
i.
339.
1732
Reinacb,
ii.
66
(in-
Reinach,
Berlin
ii.
ii.
76.
B.M E
109
Berlin 1676
Louvre F 148.
u B.M. B
223, 311
See p. 101.
61, i.
22
'
16
i.
485.
B.M. 6551.
Athens 1551.
= Reinach,
J.H.S. xviii.
Naples 3412
Reinach,
i.
p. 277.
Reinach,
i.
498.
227,
26
appear
in isolated instances,
as
the
latter as single
with
the
also
at
present
the
reception
and with
of
Theseus,
the
Europa on the
contest
11
bull.
of
Kymo-
12
thea offers a parting cup to Achilles
the Naiads, who are
similar beings, present to Perseus the cap, sword, shoes, and
13
14
wallet.
They are also found grouped with various deities,
;
the under-world. 15
The Eleusinian
deities
Kore)
(or
gods.
1
B.M.
(Leukothea
166
(Palaimon?),
;
to
p.
779,
780,
914,
and
9
I0
Louvre
Ctr.
iii.
31
314.
Ibid.
ii.
i.
i.
Reinach,
i.
311.
83, 232.
61.
3241
Roscher,
i.
218;
iii.
21.
B.M. B 155.
Bourguignon Sale Cat. 41
and
ii.
in
76.
15
}s
i.
= Reinach,
I. p.
Jatta i496
643
Reinach,
" Berlin
l.
i.
Waffen.
Scenes
and 326
cf.
G 3.
17
.231.
69
112; Reinach,
2635.
B2OI.
3
B.M. F2i8.
4
17
Gigantomachia.
B.M.
156
see p. 136)
Reinach, i. 319
possible instances of Meli-
8
ii.
Naples
Atlas
the
7
(Ino?): for
kertes see Berlin
Roscher,
in
Mon.
ELEUSINIAN DEITIES
27
which
refer
deities
Polydeukes
the
in
3
Lesser Mysteries of Agra
another, the
alone
is
seen,
11
13
with the laws (tfecr/W) of her cult.
Closely connected with Eleusis is the subject of the sending
forth of Triptolemos as a teacher of agriculture in his winged
car.
This
found on vases of
is
14
all
but
periods,
is
best
The
best
example
is
i)
pi.
1968=
i.
Hermes, Dionysos,
B.M. F68.
pi. 9,
P-
39 (Berlin)
p. 140
:
and see
and
Hekate.
pi. 8.
ls
Arch.Anzeiger, 1895,
'E<. 'A/>x- 1893,
below.
cf.
in Eleusinian scenes,
a votive plaque
B.M.
281,
Reinach, i. 10 ;
Reinach,
12
183,
Petersburg
Helbig, 127
Millin- Reinach, 11.31, and i52 = Reinach,
350
ii.
34; Wiener
i.
Vorl.
i.
6.
28
seen.
Triptolemos
is
or
mounting
On
it
another he
in
is
just
On
it.
a vase in
him with
Demeter presents
holding a ploughshare
4
holds
and
torches.
corn,
Persephone
;
who, according to
lacchos,
her son or brother.
was
various accounts,
seen with
also
is
Persephone
of
ears
6
Aphrodite and Adonis, and one vase is supposed to represent
the dispute between her and Aphrodite over the latter, which
The
the
in
confined
8
the
to
later
vases,
especially
incident of
the
the
rape.
In
on
late
the
in
Hermes,
his character of
seen preparing
is
Psychopompos,
12
to conduct her back from the nether world (see Plate XLV.),
or actually on his way. 13
In another semi-mystical version of
l.
Cer. iii. 62 ; a newly acquired
R.F. amphora in B.M. see also Roscher,
s.v. Keleos,p. 1028 ; Reinach, i. 286 (?) ;
:
Munich
2
336.
B.M.
s
6
Reinach,
4,
Ibid.
i.
i.
124.
156,
n
12
i.
Plate
401.
iii.
p.
i-
7,
pi.
144
1
8,
Overbeck,
12.
ii.
for
earlier
(=
Naples
Munich 728 =
Late: B.M.
48.
F332 =
XLV.
i.
522,
1378; Baumeister,
Reinach,
99> !56, 2;
i.
21,
i.
Roscher,
p. 423,
fig.
ii.
463
(inscribed).
67
ii.
" Reinach,
14,
p.
Greg.
B.F.
Reinach,
see Apollod.
Mus.
examples.
10
Reinach, i. 389 and 401
S.A. 11); ibid. ii. 70.
See below,
and
Kunstmythol.
Ailas,
348
p.
to
Reinach,
i.
Arch.
(Boston;;
37 (Berlin)
Gk. Religion,
Anzeiger,
1895,
Harrison, Prolegomena
p.
Satyrs astonished
Hermes
present).
PERSEPHONE
HADES
IN
29
The number
Delphic deities
represented
usually
He
standing,
seated.
is
Nomios?).
17
Skopas.
1
Reinach,
Baumeister,
2
144 = Louvre
i.
i.
p.
445,
fig.
311
277 ff.
For a more complete tabulation see
Overbeck,
4
5
6
7
= Reinach,
257.
El. Ctr.
ii.
3;
ii.
6 A = Petersburg 411.
286.
ii.
2641
14
=1.
41
1
18
ii.
Ct'r.
ii.
44.
Helbig, 97 = Reinach,
meister,
B.M. B
260, 68 1.
B.M. 6592; Berlin 1868.
'
ii.
B.M. E 80.
" B.M. E
516 EL Cdr. ii. 4.
12
B.M.
232; Reinach, ii. 157, 296;
Wiener Vorl. A. 10, 2.
13
B.M.
543 Reinach, ii. 228 Berlin
19 to end.
pis.
195,
29.
10
to
ii.
Reinach,
see/^.S.
B.M.
Reinach,
493.
i.
Bau-
i.
79
Petersburg
Millin-Reinach,
Cei: ii. 6 A.
i.
46
=El.
B.M.
F 31 1
97 A.
17
Reinach,
ii.
Naples 2902
310
= El.
C<*r.
ii.
/.
Gfr.
65.
30
INTRODUCTORYTHE OLYMPIAN
When
he
carries
another
is
bow and
but more
DEITIES
together,
engaging
in a
without
chariot.
also included
From Mon.
delU Inst.
may
denote Leto
ix.
FIG.
Il6.
with her infants, though it is more probably a symbolic representation of Earth the Nursing-mother (Gaia Kourotrophos see
6
Tischbein published a vase of doubtful authenticity,
p. 73).
;
Vienna
331
>
pi.
3),
B.M. B68o,
256; Reinach, ii. 27-8,
45 (Naples S.A. 192); Athens 1342.
5
Athens 1962 (Leto about, to bring
forth, assisted
by Eileithyia).
B.M. B 1 68, 213 Mus. Greg. ii. 39,
.L Cr. ii. 2.
I a ;
Nyx (Night) was
similarly represented on the Kypselos
6
i).
AND LETO
APOLLO, ARTEMIS,
31
which represents Leto with the twins fleeing from the serpent
but in two instances Apollo certainly
Python at Delos
in one case shooting the Python with
in
Leto's
arms,
appears
l
bow. 2
his
With these
instance
three
at
is
sometimes
as
indicated
Hermes
joined
by the
one
in
of the
presence
Delphi,
or,
again, Hermes appears with Apollo alone,
omphalos*
4
Poseidon is seen with Apollo,
or with Apollo and Artemis.
;
accompanied
generally
Nike, and
other female
by
figures
Herakles. 6
also with
With
Hermes,
is
On
Berlin
El. Cer.
3
ii.
Berlin
2645= Reinach,
184 (Fig.
phalos);
B.M.
116);
502
Reinach,
ii.
35
29
i.
(omfine
example).
4
47), 25, 30
A.
397 (Apollo
on omphalos, with hind) ; Reinach, ii.
26 (Louvre F297), 28 (Bibl. Nat. 443),
i.
B.M.
215, 245
10
ii.
24 (Munich
B.M.
= El.
Ibid.
ii.
ii.
ii.
183.
25
(?),
32,
72-73
w B.M.
B6
Reinach,
i.
ii.
B.M.
Overbeck,
Ctr.
42.
785.
Reinach,
Naples 1891
is
KunstReinach,
see Vol.
253
I. p. 344.
El. Cer. ii. 47-48
(also Iris).
32
7
8
accompanies Ariadne's chariot or the returning Hephaistos
9
listens to the Satyr Molkos playing the flutes, or is grouped
10
More important and of
with Satyrs and Maenads at Nysa.
are
the
interest
scenes
which
depict the legend of
greater
and
find
a
The story is
they may fitly
place here.
Marsyas,
;
told
in
thus systematised
1.
be
may
Baumeister,
ii.
flutes
1001,
p.
dropped by Athena:
cf.
1209:
fig.
Berlin
Reinach,
i.
2418
342
(in
Boston).
2.
First
3.
The
4.
Millin-Reinach,
6.
i.
Berlin 2638.
Baumeister,
5.
7.
Condemnation of Marsyas:
ii.
Berlin 2388
Roscher,
El. Cer.
(a fine example)
ii.
ii.
Jatta 1538
B.M.
ii.
ii.
for
Reinach,
Reinach,
i.
405;
Roscher,
ii.
195,
255-56,
'
Reinach,
fig.
77
Reinach,
Reinach,
ii.
ii.
31.
= El.
287
AEAIOZ
Millin-Reinach,
i.
i.
no.
Munich 62 = Reinach,
B.M. 6179.
(inscribed
258
23.
ii.
(a vase with
406
i.
Petersburg 1807
Baumeister, i. p. 104,
298; B.M. B
.7,
B.M. .B
Reinach,
44.
Wiener VorL
Naples 3231
Bi97,
257,
Reinach, ii. 154, and Millingen-Reinach,
842.
86
Reinach,
15,
ii.
i.
Cer.
324.
Flaying of Marsyas
reliefs)
= EL
ii.
Reinach,
8.
6.
ii.
ii.
75.
C<!r.
ii.
62
33
Among
(in
rescued
is
is
by Apollo)
repre3
and
The
various love adventures in which Apollo is concerned.
name of the Nymph pursued by him in the latter scenes cannot,
one vase appears to represent him con5
He also
Idas
for
the
with
possession of Marpessa.
tending
6
heals the Centaur Cheiron (this appears in burlesque form), and
as a rule, be identified
He
lyre.
is
mouse was
reference
to
especially associated.
whom
the
13
more or
less interested
some of
these
442.
p.
Late
Jatta 424
Reinach,
i.
864), 245;
Bibl. Nat.
171
ibid.
ii.
R.F.
B.M.
278.
Louvre G 42 = Reinach, ii. 26.
4
B.M. 64 (= Reinach, i. in), E 170
(= id. i. 185); l. Cdr. ii. 21 ; and see
252.
see
also
ii.
253.
B.M. Fi5i.
Reinach,
i.
375.
i.
357
id.
Millin-Reinach,
5
Munich
VOL.
II.
i.
745
71.
Reinach,
i.
67
14
Reinach,
i.
355.
Millin-Reinach,
Reinach,
ii.
ii.
25.
297.
Petersburg 1777
Reinach,
i.
153.
34
of the
occurrence.
is
subsequent reconciliation,
of very
As Apollo
frequent
3
with Herakles over a stag, which may be another version of the
4
story of the Keryneian stag, a scene in which he also occurs.
He
8
Apollo and Artemis watch Kadmos slaying the dragon, and
one or other of them is present at the liberating of Prome-
theus
Apollo alone
is
by her
sons.
He
13
is,
14
The
sometimes
from Ajax
before
it,
17
instead of the usual statue of Athena.
The appearances
detain us long
she
Wiener
p. 103.
B.M. F479.
Reinach,
Ibid.
\.
ii.
56, 3
1S
see p. 97.
233.
Berlin 1732
Reinach,
ii.
66.
vi.
7 (Duris in
i.
218.
and
i.
504
9
10
76.
Helbig 232
Reinacb,
Berlin 2633
pi.
2,
ii
15
16
9,
Helbig
ii.
59
.6.
17
ii.
87
(?)
468,
Reinach,
i.
Reinach, i. 321.
Arch. Anzeiger, 1895, p. 39 (Berlin).
B.M.
336 cf. Reinach, i. 218 and
:
Reinach,
Vorl.
= Reinach,
1890, p. 90 (Berlin).
H Reinach i.
105 (Naples 3223) and
B.M. F 166, Berlin 3256, Naples
Reinach,
388.
1894,
Wiener
Louvre); B.M.
101
1984
i.
Jahrbuch,
Francois vase
ii.
Berlin 2634.
F 1 59
Reinacb,
B.M.
106
ii.
E. II
Vorl.
252.
p.
Overbeck, Kunstmythol.
iv. p.
15.
ARTEMIS
35
called the
Oripwv or mistress of the brute creation, sometimes
2
On an early Boeotian vase (with
Asiatic or Persian Artemis.
is
lion.
7
Or, again, she is attended by a cortege of Nymphs or rides in
8
a chariot
Like that of Apollo, her %6avov is sometimes introduced into a scene as local colouring. 9
chiefly associated
is
may
though
that of
is
most cases
in
10
Aktaeon alone
is
Meistersch.
67,
pi.
(cultus-statue
of
Artemis Munychia)
i; Hartwig,
ibid.
2;
the
p.
moon
602
ff.
Vol.
6
7
4.
vase;
I. p.
Arch.
1890,
Anzeiger,
p.
see
Reinach,
i.
517: see
and
lyre)
B.M.
432.
Millin-Reinach,
B.M.
EL
262
Cer.
ii.
77.
Reinach,
2200
Gr.
B.F.
Athens 882
Vas.
pi.
8,3; El.
176,
Berlin
3239
F48o
El.
Cer.
pi.
France,
5
El.
Reinach,
8,
43
Naples 3253
i.
ii.
103 C.
103
ii.
13
14
B.M.
pi. 4.
ii.
and
(Etruscan);
Mitth.
1890,
8.
12
Ctfr.
Heydemann,
Cer.
B.M. F
Froehner, Miisdes de
Late:
45
Reinach, i. 379;
ii.
16 (?).
365 = Reinach, ii. 257 (drawing arrow from quiver) ; Bibl. Nat. 49 j =
Gas. Arch. 1885, pi. 32; Reinach, i. 494
Bibl. Nat.
ii.
9 (in Louvre).
ii.
Naples
I0
Athens 462
F274; Reinach,
(Karlsruhe).
3
194; B.M.
i.
228.
goddess,
Reinach,
ii.
159.
Reinach,
i.
Athens 1921
Reinach,
i.
511.
36
2
l
Delphic tripod by Herakles and the subsequent reconciliation,
3
The two deities someor the appearance of Orestes at Delphi.
significance.
a child with
of the Niobids.
6
Other scenes in which she is found are the Gigantomachia
7
or she is seen accompanying the
and the Birth of Athena
9
8
and
Demeter
of
chariots
Athena, and with Aphrodite and
10
She disputes with Herakles over the Keryneian stag 11
Adonis.
12
and is also present when he strangles the snakes, and at his
;
13
She attends the combat of
apotheosis in Athena's chariot.
14
and as protecting deity of Attica she
Paris and Menelaos,
15
vase in Berlin,
watches a combat of Greeks and Amazons.
the
Museum 20
British
B.M.
6316,
195,
cf.
i.
the
ii.
255;
9
10
II
Bibl.
Cer.
also
Reinach,
ii.
154
90.
16
18
32.
B.M. 6231
20
Reinach,
76.
Vorl. vi. 7
Millin-Reinach,
ii.
Duris kylix in
25.
P-
3&
B.M.
47 Berlin 2293.
B.M. 6147, 6244; B.M.
499.
;
of
19
B.M. 6203.
i.
in
birth
Louvre.
410.
Reinach,
ii.
H Wiener
p. 15.
ii.
vases
the
B.M.
B.M. 6320; Reinach, ii. 72; in
Olympos, B.M. B 379, Berlin 2278, and
17
Reinach,
present
fine
at
)2
l5
ii.
two
13
132.
See above,
B.M.
is
252.
EL
he
i.
233.
410;
HEPHAISTOS
37
the
3
He is also
forge of Hephaistos and his Cyclopean workmen.
5
4
seen with Athena, at the punishment of Ixion, and taking part
6
in a banquet with Dionysos.
deities, for
and Artemis
(p. 31),
or in Eleusinian
17
i.
Bibl.Nat. 820
Reinach,
i.
Reinach,
ii.
259
(?).
330.
Ii.
11
12
i.
88 (Etruscan).
D4 E 467.
B.M.
and seep.
182;
i.
Relnach, i. 66
Reinach, i. 113.
l3
Reinach,
1792
372; Munich
Wiener
Vorl.
iii.
Bibl.
126
for other
216
El.
Nat. 820
examples
iv.
96
Reinach,
ii.
Ctfr.
259 (Hephaistos).
nach,
p. 52,
Reinach,
i.
note
6.
ii.
Vorl.
B.M.
i.
see p. 122.
ls
Bibl. Nat.
17
Petersburg
Athens 1962.
24.
i.
Berlin 2537;
Hermes,
Plate L.
Reinach,
16
Berlin2957 = ^7.C<?r.
B.M.
(Ares)
p. 67.
10
345
38
simply
standing
him
refreshes
Some
together
after
in
8
his
and
labours,
in
one
case
It
unnecessary
is
he
is
connected
with the
the
fight with
the
wrath
(see
of Ares. 11
12
and she
is
one in which, after
Zeus protects her from
Herakles myths
Kyknos
p.
Another
101),
of
her
heroes
favourite
is
Theseus,
is
fig.
i.
Reinach,
i.
Berlin 2418
1209
Reinach,
463.
Baumeister,
B.M.
cf.
ii.
p.
1001,
i.
175, 510,
EL
ficing,
4
Cer.
i.
68, 76
with N. sacri-
B.M.
i.
82 (A.
Sabouroff,
i.
Stackelberg,
pi.
15.
" Arch.
Anzeiger, 1898,
p. 51 (vase in
Boston).
I2
Berlin 2179 = Wiener
B.M.
48
VorL iii. 6; Boston Mus. Report, 1900,
No. 25; Reinach, i. 55, 6 (Petersburg
;
A;
she
75 (doubtful).
ii.
lu
67; Millin-Reinach,
ii.
41.
i.
Reinach,
16
Ibid.
17
B.M.
i.
i.
290;
pi. 2.
Petersburg
102, 226.
696.
271
181, 493,
Keinach,
(?).
i.
ii.
2.
2189
ATHENA
39
1
2
Oreithyia by Boreas, at 'the punishment of Ixion, and
3
at the stealing of Zeus'
at the setting out of Amphiaraos
of
4
also at the rape of the Leukippidae
golden dog by Pandareos
5
by the Dioskuri, and of Basile by Echelos (see p. 140), and
;
in a scene
of course Achilles
13
subject of two heroes casting lots before her statue
lastly,
she appears as the friend and patron of Orestes when expiating
the slaying of his mother. 14
;
As
and
with
16
meditation,
of a ship 18
writing on
tablets
playing on a lyre
Reinach,
B.M.
i.
21
;
Vase
Reinach, i. 231.
Arch. Anzeiger, 1895, p. 39 (Ber.
i.
363.
Ibid. ii. 296 : see pp. 77, 128.
At meeting of Paris and Helen,
Louvre) ; at dispute
over the arms, B.M. E 69 ; and see for
other instances,
174,
10
218;
ii.
Reinach,
Reinach,
59, 266.
ii.
or flutes,
with a man
No.
i.
480.
Bull, de Corr. Hell. 1898, p. 586.
Reinach,
no.
or
19
184.
155.
Reinach,
lin
17
i.
3,
82, 138,
in
22
making a helmet,
6.
12
See below,
13
B.M. B 541,
160.
Reinach,
(?),
14
p. 124.
i.
158, 390;
i.
262
18
19
(=
416
1185),
B.M.
299.
Berlin 1846 = Reinach,
Dionysos).
~
Reinach,
21
123
Arch.
Ibid.
ii.
1896, No. i.
22
El. Cer.
i.
30 (before
342.
166
\.
ii.
83.
40
making the
or herself
On
workshop.
3
or she
an
of
figure
early
vase
is
Amazons
she also
warrior home. 11
in defensive attitude,
(earlier,
Berlin 2415
Trojan horse ?).
Vol.
I.
i.
343 (the
F
i.
Reichhold, 34.
501.
Benndorf, Gr.
tt.
Reinach,
10
II
Ibid.
=
i.
ii.
Rein.
Vasenb.
Sic.
Millin-Reinach,
ii.
125,
ii.
44.
44.
232, 256
13
ii.
B.M.
515, 519.
Rom. Mitth. 1897, pi. 12; Bibl. Nat.
260; Louvre
380.
7
B.M. B203 Reinach, ii. 73 with
with Hermes,
Poseidon, Athens 836
8
12
i.
Reinach,
Ibid.
Reinach,
pi. 4, i.
254.
vase); arid
Bibl.
Nat.
cf.
219
I6
B6n
B.M. B 222,
15
E 324, E 515
;
EL
716 (moulded
(Nikephoros).
305
Cer.
XXXVI.),
(PI.
i.
82
Bibl. Nat.
machos
25.
130
14
see
Athens
1169
XXXIV.
XXXIII.,
examples
also
130-46, 602-12.
Benndorf,
and Plates
the B.M.
ARES
41
l
or as the recipient
sented as standing in a shrine or heroon
2
Her head or bust alone appears
of a sacrifice or offering.
;
on several vases. 3
few instances in which he appears on vases, is
he is a spectator at the
a subordinate position
4
and appears twice on the Frangois vase, at
birth of Athena
the wedding of Peleus and Thetis, and again in an attitude
in the
Ares,
generally in
his
He
Hebe. 13
is
14
of Pandora,
the punishment of Ixion, 15 the slaying of the
10
17
Niobids, the apotheosis of Herakles, and the contest of that
18
hero with the Nemean lion.
In some cases his type is not to
EL
Cer.
7
i.
67.
B.M. B8o;
Collignon,
1686
Reinach,
Rayetii.
122 ;
Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka) ; for the
trophy-like form of the figure on the
last-named
the
cf.
inscribed 'AQrjvas
for a curious
Vasenb.
Sic.
3
Reinach,
4
5
Na
B.M.
B.M.
t-
573
i.
coins
of
NiKyfidpov
Pergamon
see
subject Benndorf,
also
Gr. u.
fig.
10
Bibl.
Nat.
472
Reinach,
i.
Arch. 1876,
i.
506.
B.M. 6551
EL Ch\
98.
14
B.M.
467.
15
B.M.
155.
(vase in Boston).
51
Ccr.
iv.
96)
Reinach,
i.
463.
18
19
p.
iv.
17
ii.
subsequent attack
EL
pi. 34.
12
16
for his
216 (=
13
156.
1259 = Reinach,
6
See p. 101 ;
Bibl. Nat.
11
EL Cei: iv. 94-9$; B.M. 82, and
Berlin 2278 (in assemblies of gods) ; Gaz.
131, 4.
147
4.
and 229.
D 22
B.M.
B.M.
82
Reinach, i. 203.
67,
B.M. B 191, 6228.
Amer. Journ. of Arch. 1896, p. 6,
;
Berlin
pi.
in
Reinach,
EL
ii.
C<!r. iv.
91.
99.
42
but as she
there
is
in
is
This
personality.
is
which
is
but
little
differentiated
from
is
Heavenly
Pandemos
is
sea,
or she
is
or sails in a shell, as in
or
by a
lion, wolf,
12
at her toilet
Rom.
Taus.
2
or bathing,
MittheiL
vii.
8.
B.M.
108,
and pair of
1899,
373
(? )
i.
pi.
13
cf.
Reinach,
41
4
(?).
i.
Baumeister,
Reinach,
B.M.
D2
i.
J.H.S.
pi.
iv.
and 2688
5)
Vasenb.
37,
3)
is also represented
case in the attitude
Berlin 2660.
EL
Arch.
Ccr. iv. 6.
Anzeiger.
1898,
p.
137
156.
1886,
II,
iii.
She
Millingen-
11
in the latter
boars.
xii. pi.
13
Berlin 2636
= Benndorf,
Reinach,
Jahrb.
(EL
Ctr.
Gr. u. Sic.
ii.
7,
183.
"
>
Reinach,
B.M.
i.
353.
230,
F3U
Athens 1588 =
iii.
p.
13
1889, p.
Coll.
Reinach,
ii.
301, 320
Berlin 2707
APHRODITE
43
or
caressing a hare,
or
in
company with
in
young
hunter,
Pothos
Himeros
(Longing) and
(Orderliness),
From
'E<f.
'Apx- 1897.
FIG.
IIJ.
2
3
1
Berlin 4126
B.M.
B.M.
Reinach,
699 =J.H.S.
E 224,
i.
128.
9-10
p.
xi. pi. 4.
;
Berlin
Fig.
4.
Mon.
(without
Grecs,
names)
i.
Reinach,
65
7
Reinach,
B.M.
315
i.
Millin-Reinach,
L Cer.
198.
230,
Baumeister, i.
p. 57, note 8).
9
ii.
iv.
p.
38.
289, and
618,
fig.
cf.
687
F3II
(?
see
44
is
Their heads
that of Aphrodite
alone. 2
found
at the marriage of
in the
Gigantomachia
7
and
deities,
the Eleusinian
Athena and
of
chariots
Demeter. 9
is
chiefly
connected
21
in
13
Stackelberg,
Reinach,
i.
two Erotes).
See above, p. 17.
B.M. E 15 Reinach,
B.M. B 197.
;
Mon.
I56(B.F.).
Reinach,
10
11
i.
Helbig 118
i.
355-56,
Reinach,
i.
526.
I8
Reinach,
B.M.
B.M.
i.
224.
Reinach,
i.
91.
E 224.
(Kadmos);
1
Reinach,
Berlin 3239.
Overbeck, Kunstmy-
416.
12
16
1!>
479.
9
14
l5
i.
Reinach,
197.
= Reinach, i.
Petersburg 350, 525
11-12; Rev, Arch, xxxvi. (1900), p. 93.
8
ii.
21
i.
401 (Meleager).
See below, p. 122.
45
meant.
She is present at the
2
at the toilet
Peleus
and
Thetis
of
first meeting and wedding
3
she assists her son
of Helen, and at her carrying off by Paris
Anchises be
Paris, unless
here-
in his
7
aged Anchises from Troy.
is
section to himself.
On
is
figure
Concurrently with
his
increasing popularity
we note
the
it
B.M.
424; Francois
Reinach,
B.M.
(now
i.
73
in Boston).
Tyszkirwicz Coll.
B.M. F
209.
Reinach,
B.M. F2;8
vase.
i.
222,
pi.
18
116.
B.M.
6173,
and
cf.
of A.);
(statue
Vergers, Etrurie^
437.
;
iii.
i.
437 and
Noel des
pi. 39.
280;
Reinach,
ii.
46
Love plays
such as the
a part,
6
5
Jason and Medeia, Phaidra and Hippolytos, Peleus
and Thetis (or Theseus and Ariadne)/ Pelops and Hippo9
8
as also at
dameia, Paris and Helen, he is also to be seen
stories of
10
the carrying off of Persephone.
Moreover, he occurs in several
scenes where the reason is not so apparent, as at the birth of
12
11
Erichthonios, in the Garden of the Hesperides, at the suckling
13
14
of Herakles by Hera, with Herakles and a Centaur, and in
15
later vases,
is
to be attached to
meaning
on the back of a Seilenos. 21 In many of these scenes he merely
accompanies Aphrodite, and they do not therefore require
Lastly, he is
the great poetess of Love.
enumeration.
seen
B.M.
289 Reinacb, i. 7, 15, 126
Wiener Vorl. A. 10, 3.
2
B.M. F 108 (anointing Adonis' hair).
3
B.M. E 129.
4
B.M.
Zeus and Danae
711;
231, F 184, Naples 3218
Europa B.M.
(Eros on bull) Reinach, i. 22, 24.
1
Reinach,
i.
449.
B.M.
F 271,
Reinach,
i.
331
9,
15
Reinach,
fig. 2.
16
11
12
13
i.
66; id
194; Gerhard,
pi. 7, fig. i
i.
Ibid.
i.
B.M.
B.M. F
i.
66.
156,
ii.
309.
B.M.
cf.
F399.
74
107.
and
102
(Herakles).
18
235.
B.M. F3ii
B.M. F9O.
B.M. F69:
cf.
Bonrguignon Sale
Cat. 41.
60,
72,
(offers
2l
227.
355, 455
B.M.
100, 167
Akad. Abhandl.
B.M.
Reinach,
i.
(with Helios
79, note 8) ;
437.
10
22.
i.
Reinach,
152,
19
i.
Reinach,
B.M.'F2;o; Reinach,
(with Orpheus).
1T
XXXIX.
22
company with Sappho,
in
Millin-Reinach,
Reinach,
i.
i.
20.
525, 526.
EROS
47
and incense-gathering
scenes of fruit-
or pourwith
Agon (see p. 89)
appears
10
He pursues a youth or a girl, 11
training in the palaestra.
offers
embraces a girl, 12 or is carried by her pick-a-back 13
feet
in
He
14
or drives a youth with a whip from an
a hare to a youth,
15
and in one instance is about to chastise with a slipper
altar
;
two youths who are playing with a top and hoop 16 these two
latter scenes may be regarded as implying the power of Eros
He is also seen shooting an arrow at a woman, 17
over youth.
an idea characteristic of Anacreontic and Alexandrine poetry.
Another scene which recalls the wall-paintings of the Hellenistic
;
Age
on a vase
is
in the British
in scales.
18
being weighed
As a single figure he pursues a hare or kills a snake 19
crouches before a plant 20
is represented armed with shield
;
and spear 21
is
borne in
I
B.M.
Fi38, 308,
*
3
4
Reinach,
i,
206.
B.M.
B.M. F 123
13
14
I5
i.
205 (?)
ii.
315
(cf.
Reinach,
p.
i.
412.
note 2)
50,
Baumeister,
ii.
p.
780,
B.M.
704;
315.
ii.
note 12).
191.
Naples 296 1.
B.M.
297.
Reinach,
i.
232.
10
Bull, de Corr. Hell. 1899, p. 158=
Burlington Club Cat. 1903, p. 97, No. 1 1.
B.M.
721.
II
Reinach,
397, Reinach,
ii.
142
B.M.
on
ii.
834.
fig.
ii.
He
16
Reinach,
Reinach,
B.M.
126, 189, 191.
B.M. F 4 8.
Athens 1946 = Dumont-Pottier,
21,5.
pi.
[10,332.
22
tripod.
or rides
21
B.M.
B.M.
Bibl.
293
Reinach,
Nat. 366
K B.M. E
23
i.
465.
652.
l.
526, 528.
Reinach,
i.
479
Ibid.
i.
57.
48
dove, swan
resembles a wheel, and was probably used for magic purposes,
as several passages of litera;
ture indicate. 7
we
Lastly,
survey of
must
give
the
re-
frequent
presentations of Eros flying
air
through the
carrying
some attribute, which are so
universal on the Italian vases,
though some of the earliest
this
8
;
dove
or
hare,
bird
other
or
(such as grapes
fruit
fruit,
1
Rcinach,
55, Millin-Reinach,
i.
ii.
i.
277.
3
Baumeister,
iii.
1633
p. 1573, fig-
B.M. E 501.
4
B.M. E 706, Naples 2872 = Reinach,
ii.
296, EL Ccr. iv. 49;
169; B.M.
B.M. F22I.
5
B.M.
241, Reinach, i. 229, ii. 302;
EL
6
B.M.
E 213
Reinach,
F68, F44i.
7
B.M. F 223, 279, 373
30
(p6M/3o$)
B.M.
Reinach,
i.
36
B.M.
i.
(cock).
FIG.
IlS.
'
B.M.
Reinach,
i.
13
528,
F 294,
F 17,
B.M.
340,
378
308, 409.
',
:
;
thyrsi,
strigils,
toilet-boxes, strings
49
parasols, mirrors,
balls.
Among
and
are, in fact,
are the
Talas
more
Sappho.
in
is
Pothos and Himeros are seen floating over the sea with Eros
on a fine R.F. vase in the British Museum, 18 and at the Judgment
19
and grouped together generally as Erotes, they may
of Paris
be distinguished on some late vases.
Pothos attends at the
;
389
310
B.M.
222
also at
the toilet of
8.
518.
2
B.M. F 349
E 242, F 391
Bau-
i.
p. 498,
fig.
i.
124.
9
292, 325;
293, 388,
"
;
13, 219,
(at
5
Naples S.A.
n=
Reinach,
i.
death of Meleager).
Abhandl. d. k. sacks. Gesellsch,
pi. i, fig.
VOL.
(with Sappho),
II,
10
401
12
l3
B.M.
188.
i.
224.
Reinach,
i.
437.
B.M. E 224.
Noel des Vergers,
1S
Rom. Mitth.
1G
17
viii.
Reinach,
Reinach,
i.
Roscher,
ill.
1899, pi.
7.
526.
p.
1811.
E 440.
18
B.M.
18
Berlin 2633.
50
toilet
ing)
crown
him in a scene of preparation
presenting a
is
accompanying
drama. 7
common
on
figure
vases of
all
making a
libation
14
or sacrificing a goat. 15
He presides over
17
is also seen standing between
Sphinxes,
The
23
represented with his mother Maia, and disputing with Apollo
24
The only other myth in
over the lyre which he invented.
which he plays a chief part is his pursuit of the Nymph Herse
1
12
B.M. E226.
Reinach,
ii.
Reinach,
ii.
1571,
fig.
I3
B.M. 6549.
"
EL
15
B.M.
19
20
2I
276.
9
Berlin
4003
Coll.
Sabouroff,
11
B.M. E 58.
Louvre Fi59; El.
iii.
87.
76.
51.
276.
B 32;
pi. 2.
Reinach,
El. Cer.
ii.
iii.
Helbig, 227
i.
ff.).
25.
14 and 75.
^ Louvre E
702
a
Cer.
ii.
i.
B.M. B 332.
Vienna 321 (cf. Ar. Ach. 729
meister,
pl. 50.
10
i.
159;
i.
73 (Hermaios),
iii.
Reinach,
18
Cfr.
17
1893,
200.
and Reinach,
Millin-Reinach,
1(j
1632.
Jatta 1093.
ii.
Berlin 2727
Berlin 1881.
Reinach,
Reinach,
i.
i.
357
354
Bau-
Reinach,
ii.
25
De
Witte,
ii.
Coll.
259.
HERMES
1
in the
He
3
frequently at the birth of Athena, and with the
4
also in numerous assemblies
bridal cortege of Zeus and Hera
2
charioteer),
of the
Olympian
deities, especially
Pandareos. 9
He
10
at Poseidon's
present at the return of Hephaistos,
12
11
of
with
Amymone,
Aphrodite mourning for Adonis,
capture
is
From Baumeister.
FIG. 119.
and with Apollo slaying Tityos and the Niobids and contending
with Marsyas, 13 also at his reconciliation with Herakles. 14 He
15
accompanies the chariots of Poseidon, Apollo, and Athena, and
16
also those of mortals, especially in wedding processions
and
;
70
JZl.
;
2
3
Cer.
93
ii.
330.
Reinach,
iii.
M illin-Reinach,
i.
11
see p. 15.
4
5
6
i.
ii.
266.
B.M.
See
Louvre
234.
Ibid.
i.
499.
/Wrf.
i.
244; 1.463;
14
Ibid.
ii.
i-
175-
4.
;
Reinach, ii.
Benndorf, Gr. u. Sic. Vasenb.
4, i.
16
p. 20.
A 478 (Hermes,
i.
124.
12
22, 26, 73
E 65.
i.
13
15
472.
Reinach,
Ibid.
1898, p. 638)
ii.
B.M. 6340;
44,
459; Reinach,
52
he
is
He
of Pandora. 5
and
Athena,
Pandemos
and to him
7
is
specially
associated
Dionysiac scenes
is entrusted the newly born
Dionysos to be handed
over to the Nymphs of Nysa. 9 On B.F. vases he is frequently
;
Nymphs.
in
10
the
to
and
12
As Psychagogos or Psychopompos
carrying off of Persephone.
he is seen in Hades waiting to conduct Persephone to earth,
or actually en route with her. 13
He frequently performs the
same office for mortals, conducting them to Charon's bark. 14
He
15
company with Thanatos, and with Hcrakles
16
A unique scene with Hermes in his
bringing back Alkestis.
is
also found in
winged
figures
Athens 1345
Millin
= J.ff- S.
Reinach,
ii.
37
xix.
pi.
(Lasimos
10
in
3
4
Millin-Reinach,
Reinach,
Ibid.
i.
i.
ii.
10
44.
ii.
388.
Reinach,
520 (Athens 477),
(Bibl. Nat. 220).
i.
ii.
25, 21
B.M. B 257, 259, 267, 302 (banBerlin 2160 (with the Satyr
queting)
8
12
p.
i.
129 (playing
Ctfr.
"
209
1S
p. 69.
B.M. F 277
iii.
91,
Reinach,
Athens
ic>93
= Roscher,
ii.
p.
2678
Berlin 2991.
16
17
18
lyre).
B.M. 6424,
cf. Rev.
; Reinach, i. 99
Arch, xxxvi. (1900), p. 93.
13
See p. 28 ; also Naples 1989 = El.
Oreimachos); Reinach,
9
i,
29.
" See
380.
ii.
note 22.
Louvre).
2
Reinach, i. 93,
Mitth. 1889, pi.
Louvre
F 60.
cf.
the story of
I.
p.
152
53
Herakles to Cheiron
Hades
He
scenes
in
for instruction,
Kerberos
to fetch
he
to
is
with him, 3 and in company with him and Athena, 4 and most
5
With Theseus
frequently in connection with his apotheosis.
he
Perseus in his
he
is
found more
is
rarely
flight
but
he
7
frequently accompanies
In other heroic scenes
on Apulian
one instance he
In
vases.
8
seen banqueting with an unidentified hero.
is
Cheiron.
He
10
also
Zeus
assists
weighing the
in
present in
in
souls- of
12
11
and is
conducts Priam to Achilles,
Hector,
recounted
scenes
need
not
be
other
which
many
Achilles and
detail.
scene
difficult
accompanying Odysseus
of explanation
in a chariot.
represents
him
13
A Herm
made
to
15
it.
2
3
Munich 611
Reinach,
B.M.
i.
Reinach,
ii.
389,
167,
301
i.
419.
10
32, 70.
11
229.
Reinach,
5
117
6
297, 323,
i.
Reinach,
i.
Bibl. Nat.
ii.
222, 368,
172
Louvre
ii.
116-
76.
i.
91,
ii.
271.
7
B.M.
Nat. 277
Mon.
6248,
Reinach,
Grecs,
1878,
earlier episode).
8
B28o,
i.
pi.
290
Bibl.
493;
;
13
11
Reinach,
12
70, 74-75.
id.
ii.
48
2 (represents an
See
p. 122.
Athens 966.
Reinach,
Ibid.
i.
89, 144.
ii.
138,
i.
99.
Ch:
see Roscher,
iii.
i.
78-81
Bibl. Nat.
839
p. 2393.
15
B.M. 6362, 627,
585; Berlin
1928, 2172; Schreiber- Anderson, 16, 8,
and
16
14, 3.
B.M. 6345,
Reinach,
17
i.
203
Form an
pi.
i.
CHAPTER
XIII
Hebe
Maenads
Personifications
The Muses
and countries
names.
i.
THE
proportion even to
scenes.
Suffice
on the vases of
it
all
onwards.
are, besides Dionysos himself, his spouse Ariadne, Pan, with his
"double" Aegipan, and the motley rout of Satyrs, Seileni, and
Maenads, who appear either in the wine-god's company or by
themselves.
Dionysos
more Maenads or
is
by one or
some definite
generally accompanied
whether engaged in
wine or playing flutes, or no
Seileni,
54
but he
is
DIONYSOS
55
vases he
is
elderly
He
beardless.
form of a man-headed
a
pouring
~
altar,
the earlier
bull.
He
or
libation,
and
later youthful
2
occasionally represented with horns, or
is
On
the
in
depicted sacrificing at
is
fawn
slaying
or
an
goat
He
banqueting, or playing on the lyre.
(Xipaipofyovos)
13
10
11
12
or
in
a
rides on a bull,
or
mule,
winged
goat,
panther,
9
14
in
Athens. 19
at
His birth
it
is
When handed
over to Hermes, 21 the newly born infant is conveyed by that god to Nysa, where he is finally delivered to a
22
Or he is
Seilenos, to be nursed by the Nymphs of that place.
handed
directly to a
on the
confusion
1
B.M.
589,
B 693
Nymph by
artist's
;
part,
180 (between
Arch.
1900,
pi.
i,
p.
185
(Duris
in
Boston).
2
3
4
i.
7,
fig.
p. 291.
9
Bibl. Nat.
I-
Reinach,
12
Ibid.
by a curious
error or
future
bride.
ii.
13
B.M.
17
ii.
H
15
429
Reinach,
= Reinach,
Reinach,
ii.
Millin-Reinach,
168,
i.
32
(cf.
ii.
i.
B.M. 679.
l7
Mm.
18
Munich 339
Cat.
57
Man.
Greg.
3, 3 a.
ii.
Reinach,
ii.
36
B3 7 8, 6426,
102;
22
35.
159.
B.M. 6225,
60,
302.
Triptolemos).
Bourguignon Sale
16
"
i.
24
18.
p. 223.
10
11
Louvre
i.
13.
B.M. E 4 39.
B.M. E 362.
Athens i583 = Rayet and Collignon,
Pi- 33,
or,
to Ariadne, his
(Nikosthenes in Boston).
7
23
Zeus,
2I
= Reinach, i. 7.
Petersburg 2007
Bibl. Nat. 440 = Reinach, ii. 260.
Reinach,
i.
93.
56
There
is a possible
representation of the Indian Dionysos or
1
Bassareus, India being the land whence he was fabled to come
and other vases represent various events connected with his first
;
He
combat,
Baumeister,
i.
p.
434,
fig.
483
cf.
i.
ii.
Naples 3237
Baumeister,
B.M.
Baumeister,
p.
835,
fig.
35
74-
i.
919.
Munich 807
p. 1204, fig.
1396 \Jahr-
= Reinach, i. 498
Naples S.A. 172
Louvre F 136 and F3ii (Reinach,
144).
1961, 2278.
3
Berlin 3257.
4
Munich
Her. Bildw.
Berlin 1904.
B.M.
Bibl.
773
15
Berlin 1732
IG
B.M.
17
See
Nat.
231
Athens
Apollo)
903
(Ares,
p. 210.
Reinach,
ii.
66.
65.
p. 17.
18
24,
cf.
47,
Rei-
and 75 (Munich
131
i.
42
Millingen-Reinach, 2
= Fig.
ii.
ii.
ii.
E 775
Millingen-Reinach,
Munich 157
;
8 (Petersburg 1807), 203,
Hermes, Herakles)
nach,
pi.
6 (Seileni).
cuirass, while
his armour.
He
Athena
and
Nike 3
and
Poseidon
with
also
is
seen
is
57
in
Olympian deities.
His wooing and consoling of the deserted Ariadne 6 is an
attractive and popular subject, and several vases seem to
the
represent
preparations
toilet.
7
nuptial ceremonies between the pair, or the
for the same, with Eros assisting at the bride's
Numerous
the
are
instances
which
in
he
seen
is
9
grouped with Ariadne, often in loving embrace, and generally
10
surrounded by his cortege, but also alone. Or, again, he and
quasi-Etruscan style
may next
circumstances,
be mentioned, though
Bibl.
49
no e
Wiener
Vorl.
iii.
14
6.
15
Millin-Reinach,
B.M. B
F37>
p.
441,
i.
l6
p. 618, fig.
491
i.
161
(doubtful);
129,
E 279,
Baumeister,
Millin-Reinach,
Petersburg 1427
Reinach,
ii.
Reinach,
B.M. B 179
B.M. B 206.
B.M. 6302,
l8
19
ii.
16,
6476,
Millin-Reinacli,
Reinach,
i.
18.
bridge 48.
i.
i.
37, 6.
687.
B 256-59, E
198,
Reinach,
fig.
17
43
ii.
Baumeister,
B.M.
1.482.
13
9, p. 56.
Berlin 2179
arms
12
203: see
into
"
pi.
i.
himself
10
i.
p. 30.
B.M.
445.
B.M. 6203.
B.M.
444; Reinach,
throws
not necessary
of A.).
and
(D.
it is
215.
i.
37.
6556;
i.
Bibl.
38; Cam-
58
to cite
5
;
torches
11
dancing in armour, or dances himself to the flutes
12
an actor.
In one instance he is seen leaving his
13
in another he
join in the revels of his followers
14
in the orgies of the Scythian Agathyrsi,
and he
a drunken condition, supported by one of his
played by
chariot to
takes part
is seen in
He
followers.
15
personified
figures
Komos
such as
18
(Revelry)
or
Oinopion
19
(Wine-drinker).
Pan
in
Dionysiac groups,
wares when he is depicted with goat's legs and squat propor;
B.F.
6427;
Reinach,
Wiener VorL D.
R.F.
462
55;
vii.
B.M.
75,
362,
i.
2; Roscher,
i,
iii.
p. 2118.
Reinach,
10
(receiving
Berlin 2402
Coll. Sabouroff,
Berlin 2290
Baumeister, i. p.
i.
fig.
592
Wiener
ii.
289,
(Hieron)
Reinach,
ii.
13
56.
37, 275; in
F273 Ariadne
B.M.
E 66,
786.
Anzeiger, 1895, P-
4-
(1886), p. 278
i.
B.M.
cf.
Hartwig, Meistersch.
pi.
Louvre
14
19
and
511,
15
)8
153.
634.
555,
155
6.
57
301.
188.
17
from
wine
B.M.
B.M.
ii.
Jahrbuch,
ii.
F204, 043.
3
B.M.
350
Nymph).
4
B.M. E 184.
465,
Reinacb,
similarly occupied.
Late:
See
2
See B.M. Cat. and Reinach, passim
B.M. 6148, EIIO, 253, 503, Fi49;
Berlin 2174; Bibl. Nat. 222 = Reinach,
ii.
251 ; Louvre
3, F 5, F 101, F 124,
200.
228,
B.M.
3 (D. in chariot).
55,
pi.
B.M.
I,
Ei6,
B.M. F 114
Reinach,
38.
ii.
Millin-Reinach,
ii.
21.
Cat.
18 (both Exekias).
^ B.M.
Reinach,
301
163,
270;
Millingen-Reinach,
2.
59
60
tions,
he
is
indicated
5
patron of tragedy, presenting a tragic mask to a young actor ;
he also appears in an elaborate scene representing the preparaAs the object of worship he is sometions for a Satyric drama.
sacrificial
to him.
10
We
They
are,
indeed,
which he takes
2
3
4
B.M.
B.M.
228,
Anderson,
F203, F253.
F 437.
Petersburg 2161.
i.
154.
10
1.383.
'
Naples 3240
Buimeister,
i.
Minervini,
Reinach,
pi. 5, fig.
i.
114
I3
14
pi. 7-
I. p.
141)
and
cf.
B.M.
642
XXL).
Mon. du Barone,
B.M.
451-52, 471; Berlin 1930,
2290 (== Wiener Vorl. A. 4) ; Naples
2419 = Furtwaengler and Reichhold,
pis.
Bologna 286.
B.M. 6332.
See p. 17;
(Plate
422.
pi. 14, 8.
Schreiber-
and
p.
69
ff.
Reinach,
Harrison, Prolegomena
p.
277
to
29, 73.
i.
144,
228;
Gk. Religion,
performing
only to
not'
sacrifices,
but also to
Dionysos,
Hermes.
61
We
turn next
is
4
those in which they rush along
groups of Satyrs and Maenads
in frenzy and unrestrained licence, brandishing their thyrsi, or
;
revels
strictly
licentious
instruments
encircling a vase.
As a pendant to these,
many
We
subjects in
See
B.M.
3
4
p. 60,
note
8.
single figure,
505.
Reinach,
472,
i.
ii.
198.
77,
80- 1, 156.
5
124
57
(= Wienr
Vorl. 1890,
5, 3),
120,
033,
Hartwig,
Vorl. E. 12,
op.
i
cit.
pi.
Mus. Greg.
Hartwig,
ii.
Wiener
79, 2 a
pi.
Furt-
Forman
ii.
75
(Mu-
Vienna 231.
10
Louvre
F 334,
62
sunrise.
10
Satyrs
attired
1
pi.
Bibl. Nat.
Reinach,
Wiener
ii.
Vorl.
19
as
or
athletes,
320
3,
pi.
B.M.
B.M. B 265,
Reinach,
Louvre
ii.
161,
i.
340,
261 (Bibl.
F 381, G
Bibl. Nat.
l.
34
539
45;
Hartwig,
Cr.
(=
Munich 184
=-
Furt-
pi.
8
2 (in Berlin).
Sale Cat. Hdtel
1903, No.
9
62.
Reinach,
1895, p. 95
15
16
201.
vii. pi.
Reinach,
p.
847,
Plot,
ii.
Bibl.
510;
cf.
Monuments
vii.
pi.
117; and
cf.
357 = Monuments
Munich 8o7 = Millingen-
Bibl. Nat.
pi. 5.
77
17
18
1D
man
Millin-Reinach,
B.M.
515,
12.
567.
Millin-Reinach,
Munich 542
ii.
ii.
49 A.
Stackelberg, 24
For-
driving Maenads).
Drouot,
II
May,
ing)
i.
ii.
ii.
253, and
i.
pi. 6),
7
B.M.
Nat. 357
Piot,
E 368
261;
046.
B.M. Fi92;
ii.
burlesque guise,
20
with the
928.
fig.
12
B.M.
510.
3
B.M.
49,
227.
437,
439,
4
B.M. E 319 Mus. Greg. ii. 72, 2 a
Munich 408 = Furtwaengler and Reich-
in
warriors,
Roscher, i. 1998.
n Munich
332 = Baumeister,
(Nikosthenes).
2
as
10
Peters-
and panthers, 17
hinds, goats,
in
and acting
B.M. B 426
burg 9
by
B.M.
63
may
the
(?)
From Baumeister.
FIG.
121.
MAENAD
IN
acting as footman to
9
a girl and carrying a parasol
flogging a youth, or holding
n
10
a boy Satyr on his hand
and so on.
caressing a hare
fishing
Millin-Reinach,
i.
20.
See Vol.
Berlin 2589
I. p.
= Baumeister,
iii.
p. 1684,
ii.
80, la.
1766.
fig.
9
Helbig, iS6
10
Berlin 2550.
11
B.M. B
148.
= Mns.
Greg.
64
2
sport with deer and other animals
3
4
ride on goats, asses, and mules, or lead them along
and in
one instance a Satyr has fallen off his mule, and a companion
also
11
12
these
whom
also
is
a curious representation
unmixed wine
(a
liquid
which to
Berlin 2578.
ii.
5
6
7
12
98; with a
B.M.
18
the deity of
Akratos,
the Greeks implied an
B.M.
of
2,
E 768.
op. cit.
Hartwig,
pi.
I.
13
14
338.
139,
530,
35,
Berlin 2267
Reinach,
ii.
303.
Cat. 57; Louvre
Ggi.
B.M. 387,
467.
16
Berlin 2243
B.M. 6560,
583
Louvre
204 = Amer. Journ. of Arch.
Bourguignon
15
Millingen-Reinach, 59.
Boston Mus. Report, 1900, No. 14.
Inghirami, Vasi Fitt. ii. 199.
363; Wiener
Hartwig, Meistersch. pi.
VorL C.
7, I
45, p.
9
Naples 3235
Roscher,
18
iii.
J.H.S.
i.
Reinach,
861.
vii.
p.
555,
i.
103
fig.
65
the undiluted
somewhat conventional. 2
of necessity
of
noted elsewhere. 3
The young
beardless Satyr
mostly found
is
The number
by name
is
Museum
the
Seileni
are
Iris
attacking
styled
Babacchos,
12
13
Hybris (Insolence),
Naples
572
See Loeschcke
in
2118;
P-
Lambert,
Reinach,
9
I.
Bakchennamen.
Reinach,
ii.
See
253;
VOL.
Coll.
V Hdtel
i.
B.M.
253.
Reinach,
i.
249;
Roscher,
iii.
p.
2115.
De
Witte, Coll. a
V Hfoel Lambert
',
27.
12
268.
Reinach,
ii.
200.
13
65.
8
10
i'
Cat. 2471.
Witte,
pi. 6.
p. 521.
Vol.
De
Hedyrneles
also Jatta
Naples
II.
Coll.
2369;
1093
Roscher,
B.M.
iii.
(see
cf,
66
Komos
(Sweet
Song),
Kissos
(Revelry),
Molkos,
(Ivy),
Oinos,
Bacche,
16
Hebe
(Calm),
17
(Youth),
19
18
20
22
21
Lilaia,
Mainas,
Kalyke (Bud),
Nymphaia,
23
24
and
Oreias
Opora (Harvest)
(Mountain-Nymph), Oinanthe,
(Tragedy),
26
25
Pannychis
(All-night
Polyerate
Revel),
(Well-beloved),
28
Philomela,
31
(Rose),
27
which
render in
Heydemann,
Reinach,
9
2471,
426,
ii.
Berlin 2160.
Munich 780
ii.
Jatta 1093
11
12
13
14
15
16
connection
Millin-Reinach,
i.
38.
Heydemann,
op. cit. p.
29
(/3).
B.M.
2471.
302.
23
Jatta 1093.
Reinach,
ii.
268.
24
;
25
Naples 3235.
Bologna 286.
26
Heydemann,
Jatta 1093
op. at. p.
Reinach,
28 (x).
ii.
27
28
302.
29
Jatta 1093.
Berlin 3257.
Reinach,
ii.
Jatta 1093.
Heydemann,
p.
Heydemann.
p. 19 (u).
i.
498.
30
E 253.
17
19 (u).
Naples 2369.
B.M.
ii.
ii.
by a natural
in
Ibid.
10
and
ruhe
Berlin 2532.
Reinach,
results
Ibid. (a).
6, 38,
21
19
2532;
ii.
Molpos).
Reinach,
Reinach,
<2
i.
200.
3
18
Bakchen-
u.
Satyr-
namen, p. 29 (jy)2
B.M.
82; Berlin
Naples 2369
the
2.
The Chthonian
denotes
6.
',
1 1 1
= Boston
it
will
67
life
of the nether
regions.
is
found
1
sending forth of Triptolemos, or at her
2
return to the upper world, as well as at the rape of his consort.
He is frequently seen in company with her, as the rulers of
banqueting together.
As king
he
world
of the nether
is
is
He
and cornucopia. 7
E.,
(1)
(2)
(3)
(4)
(5)
Munich 849
Naples 3222
Karlsruhe 388
Wiener VorL E.
pi.
Reinach, .258
pi. 2
=
S.A.
Naples
709 =
Petersburg 424 =
.167
pi. 3, i
pi. 3, 2
pis.
=
=
455
4 and
5> I
(6)
Petersburg 4 26
B.M.
183.
B.M. 6261, 6425, F332
XLV.).
3
Munich 728; Mus. Greg. ii.
pi
5
B.M.
108
6, 2
6425:
355
479
=
Mus.
cf.
Greg.
ii.
list
(Plate
21,
6
21,
given below.
i.
Millin- Reinach,
ii.
10
Roscher,
i.
p. 1802.
Ber.
d. siichs.
68
No.
On
a smaller scale, or
498
(7) Petersburg
(8)
Wiener
Vorl. E. pi. 5, 2
B.M. F27o
(n) Naples
There are
also
pi. 6,
pi. 6,
pi. 6,
pi. 6, 5
three
B.F.
vases
=
=
=
=
Reinach,
i.
i.
i.
i.
having reference
356
455
356
401
the
to
accompanying
the locality
(12)
(13)
mark
ii.
48
(similar scene).
and Sisyphos
only).
On
spouse stand or sit round this are grouped various figures and
episodes connected with the nether regions Herakles carrying
;
off
by
Kerberos
Eurydike
sometimes accompanied
undergoing punishment, such as
lyre,
persons
3
Tantalos threatened with a rock,
Sisyphos with his rock
4
the Danaids
not as in the usual legend suffering from thirst
5
Theseus
and
Peirithoos
and
with their hydriae
sitting
6
In one instance a
with their hands bound behind them.
;
the other
another
we
See below,
p. 99,
and Louvre
See No.
and/". H.S.
xviii.
the legend,
rock version of
cf.
Find.
OL
i.
90.
F 382.
for the
from
).
to depart
1 1 1
p.
153,
and about
Nos.
No.
No.
2, 3,
10.
i.
69
the
Among
Of
Ananke
(Justice),
Chthonian
the
Hermes,
Poinae
or
(Necessity),
(Punishments).
Hekate,
Triptolemos,
and lacchos are present.
Olympian deities are also sometimes introduced as spectators. 10
Other figures introduced
n
are Megara with the two children of Herakles
Pelops with
12
of
Blessed
and
a
the
Shades 13
Myrtilos
Hippodameia
group
deities,
Oknos with
The
depicted by Polygnotos in his great fresco at Delphi.
of
is
found
Ixion
on
wheel
the
usually
subject
by itself, but
occurs on the neck of one of the Apulian vases. 15
Another subject which may be associated with the above
is that of Charon and his bark
on the vases, however,
scenes
its
significance
is
purely sepulchral, as
it is
"
I.
p. 459),
the grim ferryman that poets write of," but Ckarun, a hideous
In one instance he
a huge hammer. 17
demon wielding
Alkestis
separates
from Admetos
18
;
another
in
he watches
19
Nos.
i, 2, 5, 9.
Nos.
1-6, 10,
Nos.
i,
Nos.
3, 6, 10.
Nos.
No.
10
11
16
iii.
p. 1928).
(
2, 3, 9.
i.
12
14
x.
No.
No.
2.
I.
Reinach,
29,
i.
i.
B.M.
D6i
Reinach,
pis. 1-2).
Berlin 3O23
i.
i.
in
the
= Reinach,
p. 767, fig.
821
457)
Munich 209
xi.
x. 29, 7.
13
155
part
11.
i.
B.M.
330 = Baumeister,
and No. 5 above.
n.
4, 10.
Nos.
important
408 (parody)
cf.
Paus.
i.
70
scenes,
From Baumeister,
FIG. 122.
2.
for 1899,
No.
Ibid.
i. 204,
290 (Berlin 3072).
Naples 3221= Ibid. i. 402.
B.M.
"
No. 8 above.
38.
10
155
CHTHONIAN DEITIES
Hekate as a Chthonian
under-world vases
she
71
is
conjunction with
Hypnos
(Sleep)
Memnon
See above,
B.M. F68;
note
p. 69,
B.M.
is
Rei-
Reinach,
ii.
id.
i.
522,
i,
and Baumeister,
i.
l.
Cer.
iii.
37 A.
Greek
781
vases.
i.
cf.
1093
149
Roscher,
2678
ii.
Baumeister,
i.
p. 727,
B.M. D58
Wiener Vorl. D.
Sarpedon).
= Fig.
Ei2
123),
i654 = Dumont-Pottier,
i.
pi.
Athens
29; Arch.
Thanatos, p. 22 ff. He
doubts the possibility of the identification
See Ubell,
of Thanatos on
Athens
324.
Reinach, i. I
Petersburg 1792
cf. Rev. Arch, xxxvi.
(1900), p. 93.
5
B.M. F277 Reinach, i.gg (and see
155)
8
Egypt, and
Reinach,
fig.
183
D 58).
this type is
on the funeral lekythi) in
borne " to his long home." 9
7.
Petersburg 525
i-
in
BRIT. MUS.
(e.g.
n.
i.
FIG. 123.
nach,
pi.
2.
lekythi.
i.
pis. 27-28, zn&Jahrbuch, 1895,
All but two of these are funeral
72
may
3
or Harpies, and of Kfjpes Qavdroio, or small winged
4
figures boding or signifying death, are by no means uncommon.
It has been held by some writers that the personifications of
demons
he
floats
through
3.
Reinach,
B.M.
i.
Vasenb.
278.
combats, Reinach,
against
Berlin
1713,
63,
latter case
Aeneas
ii.
Ker in
126 (Munich
also for a
Diomede)
protecting
also
i.
113
223, where they
of good or evil accord;
1714),
represent demons
ing to the will of the gods.
5
xii.
345.
255, 451,
maybe
p.
and J.H.S.
over
100) in Reinach,
Hypnos
Koepp
Gr. u.
Sic.
i.
165
33 ; Athens 688 =
Roscher, ii. 1147;
i.
is armed ;
in the latter the
winged figure may be the K??p. There
often seems to be a confusion between
the e?5wXo' or ghost and the Kifa or
Aaifji.w, both in its functions and its artform.
Thus, on the vase given in J.H. S.
the soul
xx.
the jar, which are here intended to represent evil spirits or maleficent ghosts, like
the evils let out of the jar by Pandora.
"
B.M. 6639 ; Reinach, i. 89 ; Millin-
Reinach,
426*".).
14,
pis.
Reinach,
155.
i.
19.
COSMOGONIC DEITIES
73
Chief among these personages is Ge or Gaia, the Earthmother, half Titanic, half Chthonian, who is usually represented
as a figure rising half out of the ground, with flowing hair.
sons
her
tecting
As
Athena. 2
to
Tityos
and
Antaios
Herakles
also in
respectively
as the Nursing-mother
;
vases
children
in
men
are represented
hammering
The
by
on
story of Kronos,
Rhea
his wife
the
Fig.
112,
i.
p.
181
14;
cf.
i.
Naples
2883=
Reinach,
i,
66,
113,
278, Reinach,
i.
Bibl. Nat.
J.H.S.
298 = Reinach,
(and
cf.
249,
4=
ibid. xix.
B.M.
France, p. 69
147; Froehner,
;
Musks
Harrison, Prolegomena
p.
to
open
cf.
de
to
(1891), p. 113
planation,
194
p.
if.
= Reinach,
i.
p.
also
Religion,
is
29.
(20u/oo/c67roi)
B.M.
him
244 (Louvre
864), 245, 249; B.M. 6196.
4
B.M. B 168, 6213
El. Cei: ii.
I, 2.
5
Gk.
p.
6
208.
3
other-
genuineness thereof
Reinach,
Reinach,
who swallowed
see
ff.,
also Jahrbuch,
and
for
vi.
another ex-
Arch.
Robert,
Marchen,
vase in Berlin (Cat. 2646
i.
229=7. ff.S.
xix. p.
232)
74
The
doubt.
stone
is
in
enveloped
of
in
Apollo
occupation
Bum.
the
which
lion
is
usually associated
and Pratoleia.
on an under-world vase
as Mitos
deities
in the
Turning next
to
Roscher,
B.M.
ii.
E 246
myths which
Berlin 2538
p. 1550.
:
seef.ff.S.
xi. p.
i.
Petersburg 1807
B.M.
649 =
Reinach,
Reinach,
i.
ii.
by
we have
but
7.
122;
Millin-Reinach, i. 50.
7
See Ath. Mitth. xiii. (1888),
and J.ff.S.
ii.
Petersburg
see below, p. 125.
5
343.
= Reinach,
162.
3
1793 = Reinach,
corre-
described
as
Museum
British
deities
xiii.
p.
77
ff.
p.
412
also Vol.
ff.
I.
p. 391.
8
B.M.
F27O
Saglio, Diet.,
s.v.
see
pi. 9.
Daremberg and
Cabeiri.
COSMOGONIC DEITIES
Hesiod of Prometheus and
may
in
the
British
Atlas.
Pandora,
it
and
has
1
only a variation of Gaia, and this is
her
on
a
beautiful
polychrome
given to
is
already noted,
rne out by the name
cup
Pandora
-the creation of
include with
75
Museum
2
She is there named
by Hephaistos and Athena.
"
from the earth.
who
sends
i.e.
She
up
gifts,"
'Avea-iSwpa,
The subject is not so popular as might have been expected,
pleted
way
its
into
but
art,
connection
its
curiously illustrated
is
one instance. 4
in
On
cup he
Cyrenaic
at
is
while
his
breast,
pecking
burthen of the heavens. 7
to the
visit
Garden of
the Hesperides.
Either he is actually present in the Garden 8
or is confronted with the hero, who in some cases bears his
burden
for
in
We
now come
He
apples.
is
also seen
10
divine personages
who do
not
fall
into
categories.
1
See above, p. 73, note 6, for representations of Ge- Pandora rising from the
earth,
in con-
P.
D4.
Baumeister,
Zeus and
Hermes
1
are present).
f.H.S. xx. p. 101
Bibl. Nat.
6
Berlin 1722 == Wiener Vorl. D. 9, 8,
and another B.F. vase in Reinach, i. 388 ;
Jahrbuch, iv. (1889), pis. 5-6, fig. I.
7
Helbig, 275 = Reinach, ii. 48 =
542
8
i.
B.M.
xiii. pi.
10
141.
p.
236.
9
Berlin 3245
1411,
fig.
1567.
Naples 3255
= Reinach,
Abhandl.
Reinach,
iii.
F 148;
pi.
Reinach,
i.
471.
76
There
on vases.
is,
in
fact,
-j
by her wings.
She
is
in
8
In company with Hera she is attacked by a
of the gods.
and defended by Herakles, 9 and on another
of
Seileni
troop
10
She
similarly surprised by a troop of Centaurs.
11
12
of
assists at the creation of Pandora,
at the Judgment
Paris,
vase she
is
13
wedding of Peleus and Thetis, and also appears
14
She is also seen with
in the Garden of the Hesperides.
15
and with Menelaos fetching her
Paris carrying off Helen
and
at the
sibly
Anzeiger,
1890,
p.
Prolegomena
to
B.M. E 224,
698.
*
B.M. B2i8, 244 (Fig. 113),
410;
Louvre E 861 and Berlin 1704 = Reinach,
2
i.
ii.
U.
=
p.
156, 198.
i.
i.
Millin-Reinach,
62;
Roscher,
ii.
1895, p. 38 (Berlin).
u
B.M.
2591
"
cf.
" B.M.
12
"
1S
J.H.S.\.v\.
13
65
Reinach,
Bibl. Nat.
Athens 1962.
Ibid. 466 = Plate XLVII.
6
B.M.
720; Munich 351 = Reinach,
46; Berlin 2248 = Benndorf, Gr.
Vasenb. 27, 2j Bibl, Nat. 841
Sic.
i.
193
840 = Reinach,
Berlin
ii.
260.
3.
467.
Berlin 1895.
Francois vase.
Reinach, i. 301.
B.M. R.F. amphora (uncatalogued).
'
AND HEBE
IRIS
1
back
and
source
77
in
(//. viii.
2
She
war, at the behest of Zeus.
3
is
and
the
Centaur
to
Herakles
the
infant
Cheiron,
conveys
4
also seen in company with a warrior.
in the
with
associated
also specially
is
as his
appearing
Besides these, she frequently appears
apotheosis,
8
gods, or at
10
of Paris.
several
assemblies of the
4.
instances. 7
in
in
bride
or the
Judgment
PERSONIFICATIONS
we have
deal
to
is
great
numbers on vases of
These naturally
the
under
fall
of the classification
lines
11
valuable article on the subject,
Physical (Sun,
5.
8.
Social enjoyments
ii.
296
Ibid.
ii.
47.
Ibid.
ii.
279.
fig.
see p. 39.
ii.
9),
l.
33
(=
Cer.
id.
ii.
i.
76, 161.
B
i.
201,
399
In Olympos: B.F.:
Reinach, ii. 186.
20, 31
321).
700
etc.).
i.
p. 630,
see p. 108.
Berlin 2278
i.
Petersburg 1807
" Mon.
Grecs,
also
Reinach,
Ant. Denkm.
(with Aphrodite).
9
Jatta 1093 ; Reinach,
10
Reinach,
Reinach,
34.
:
B.M. E38i(?);
ii.
etc,).
Descriptive names.
Reinach.
etc.).
9.
10.
(=
etc.).
6.
7.
Reinach,
4.
ii.
1.
in
distribute as follows
2.
3.
Ibid.
M. Pettier
adopted by
we may
i.
iii.
175.
Reinach,
1889-90,
i.
p. 21 19
p.
i.
ff.
7.
:
see
article
78
rest
we now proceed
consider in
to
firstly
order,
those of an
beginning
astronomical
character.
some
is
senses, especially in
identical with
the
Phoebus Apollo,
1
He is usually depicted
only once so identified on vases.
in his four-horse chariot rising out of the sea (as on the eastern
is
depicted
Lykourgos,
at
the
Judgment of
and
Paris,
in
the Garden
10
of the Hesperides.
j/. Cer.
ii.
62 = Reinach,
ii.
287
see
out of a boat,
4
above, p. 32.
2
B.F. : Berlin 1983; Bibl. Nat. 220
and Reinach, ii. 211 jl. Cer. ii. 115-116
(in the former case the solar disc is on
his head).
Late: B.M. F3O5; Reinach,
Reinach,
view
in
i.
232.
466 = Plate LI 1 1.
B.M.
colours,
A general
Art Journal,
Sept.
1904.
6
7
Reinach,
Ibid.
i.
ibid.
i.
Wiener
i.
i.
99.
100.
125.
VorL
1894, p. 252.
10
Reinach,
" Ibid.
i.
i.
109.
236.
E.
II
Jahrbiich,
of his
79
who endeavoured
of the scenes
many
Blacas
the
to stay his
krater.
already
She
is
2
or driving a
depicted under two types, either on horseback
3
both as a single figure and in other
chariot like Helios,
and she is sometimes characterised by the lunar disc
scenes
;
or
Besides
crescent.
the
scenes
referred
already
to,
she
4
and at the
appears on horseback at the birth of Dionysos
5
The
arts
used by
Medeia
of
Jason.
by
magic
pursuit
Thessalian witches to draw down the moon from heaven are
6
where two women essay
also the subject of a vase-painting,
to
feat
this
perform
"
Lady Moon
by means of a
rope, addressing
her,
"
!
Stars
are
may
be identified
8
moon and
in this con-
Pegasos.
she
uncommon
an
figure, especially
xix.
pi.
10.
The
may be perhaps
Reinach,
Ibid.
3.
402.
339
9
ii.
B.M.
;
B.M.
cf.
573,
658,
659,
and Art
" R.F.
B.M.
776 (.'Nyx;
449.
above); Helbig, 132 = Reinach, ii.
Late Millin- Reinach, ii. 37 (with
46.
Hermes; vase by Lasimos in Louvre).
:
see
i.
i.
8o
She
is
At
at
other
mother, Thetis,
with
Zeus for her
pleads
his
after
the
fatal issue of
body
away
She
the
the
also
Next we have
figure.
manner
l.
Ct'r.
ii.
B.F.
R.F.
354.
i.
Mon.
463
(=
= Helbig,
E 702 =
Louvre
:
B.M.
72,
Bibl. Nat.
pi. 5
vi. 7.
8
Reinach,
i.
466; Reinach,
and ii. 81
423),
80); Reinach,
i.
JEl.
9
= Millin- Reinach,
107 = Hart-
i.
48.
Late Millin34.
Eos carrying K. Berlin
ii.
B.M. F
10
6
7
i.
ii.
144,
105
ii.
B.M.
254
i.
156,
Reinach,
i.
347
I.
p.
351
Vorl.
and
cf.
ff.
" B.M.
12
F 39
B.M.
212.
;
Berlin 2305
Hartwig,
13
B.M.
H B M.
D 59.
480,
512; J.H.S. xviii
6; Berlin 2165 = Reinach, i. 352;
Munich 376 = Reinach, i. 240 = Bau-
pi.
Reinach,
Cat. 19
31
Wiener
137;
p.
149.
Reinach,
Reinach,
iii.
1265
104 = Vol.
B.M.
Ctr.
i.
Roscher,
Cat. 318.
Reinach,
to the
De
i.
08 A = Roscher, i. 1257 ;
a rmtel Lambert, pi. 6.
Witte, Coll.
2
body of a warrior
13
Hypnos and Thanatos.
as
(Bibl.
E 468
see
Nat. 207).
i.
meister,
i.
Bottrguignon Sale
Man.
i.
305
Wiener
p.
i.
p.
352,
Helbig, 101
Vorl.
ii.
373 ; Reinach,
Reinach, ii. 78
fig.
WINDS
81
Nymphs
Erechtheus. 1
Boreas
also depicted in
is
latter's
friend
Parebios. 2
On some
be styled Boreades,
we
find
may
conjunction with
in
Harpies, apparently
3
representing the influences of good and evil winds respectively.
Zetes and Kalais, the sons of Boreas, will be treated of in the
4
The Aurae or breezes' have been
story of the Argonautika.
identified on a well-known
on an Apulian vase in the
edly intended for Aura.
two instances extinguish
same
collection
The Hyades
the
flames
or
of
5
Museum, and
a head undoubt-
is
in
rain-goddesses
funeral
at
pyre
Arethusa
9
Dionysos.
and Premnusia.
They
Echo belongs perhaps
receive
also
rather to the
the
infant
Dionysiac
10
cycle, appearing as the beloved of Pan.
We may
209; Ann.
iii.
Roscher,
3
iii.
dell' Inst.
1882, p. 90 ff.
see
Studniczka,
6
7
VOL.
II.
Munich
De
p.
xiii. p.
109
135.
10
384
Reinach,
i.
130
481.
Witte, Coll. a
cf.
11
ff.
i.
V Hotel Lambert,
Reinach, i. i.
B.M. E 228 (see note in Cat.) F 381.
See especially Studniczka, Kyrene,
pi. II
9
;
p. 1566.
Reinach,
ix.
82
just
present,
Eleusis
is
as
included
in the British
Museum,
with Apollo,
to have derived
their
who
and
Zeus,
these
are
Poseidon,
quasirepresented pursuing
9
we may also regard Europa as coming
personified figures
Zeus also pursues Taygeta, who is
under that category. 10
11
On one vase we
connected with the mountain in Laconia.
;
and Lemnos
Maenads
and a Satyr
two
given, presumably
A
in a Dionysiac scene where all the figures are named.
more genuine instance is that of the Nymph Krete on the
find the
names of the
in
B.M. F27I.
B.M. E 140
Delos, Euboea,
pure fancy, to
Turning to other
islands
13
locality.
Plate LI.
u
10
= Reinach,
i.
235
6
"
G 104.
;
B.M.
:
1887.
i.
2,
p.
ff.
341
we have Mount
features,
geographical
24.
Reinach,
see
and
18,
10
144
ii.
Apollod.
Paus.
iii.
10,
iii.
i,
3,
i;
Hartwig, Meistersch.
12
48,
De
p. 491, note.
Witte, Coll. a fHdtel Lambert,
pi. 28.
1S
Jatta
Reichhold,
1501
pi. 38.
Furtwaengler
and
CITIES
AND COUNTRIES
83
1
III.
Natural
such as Oinos
products,
are
Wine), Kissos (Ivy), Kalyke (Bud), and Rodo (Rose), the three
coming more under the heading of pet-names than of
latter
strict personifications.
Our next
IV.
(all
all
includes
class
feminine) which for the most part hold their own throughout
periods of art and literature, and are, so to speak, more
so
in
frequently
vase-paintings
in
Naples 3235
Roscher,
2
B.M.
iii.
Reinach,
i.
103
861.
E 437
(fish-body)
and
see
P. 101.
= Reinach, i. 12.
Naples 3226 = Millingen, Anc. Uned.
Man. i. pi. 27 (Ismenos and Krenaia)
Petersburg 350
Millin-Reinach,
Dirke
is,
sented in
ground
ii.
according to
the
7.
The nymph
Robert,
repre-
his birth
i.
Cfr.
/.
Reinach,
cf.
Reinach
(otherwise Gaia)
Arch. Marchen,
figure
Wiener
6
i.
see his
p. 185.
86
ii.
391
(see
Munich 805
ibid.
p.
277)
=
=
Vorl. iv. 4.
B.M.
805; Berlin 2391,
2401 (Klio and Terpsichore) cf. Bull.
de Corr. Hell. 1895, p. 102 (in Louvre
nuptials);
three figures
named Ourania,
and Melpomene).
Kalliope,
84
as characterisation
is difficult,
by means
or scenic
musicians.
Thamyris,
Apollo.
The Horae
interior group. 4
or Seasons appear (without distinctive names) on the Francois vase at the nuptials of Peleus
and Thetis, and on the Sosias cup 5 in an Olympian assemblage
each case)
in
(three
also
two of them
V. The personifications having reference to physical conditions (as distinguished from ethical ideas) are comparatively
few in number. They include Hebe (Youth), who by virtue
of her divine attributes has already been discussed in another
Hygieia (Health), who is also a fully developed
the
among
has
B.M.
Reinach,
whom
Jatta 1538.
'
See
F478;
Arch.
526
71).
271.
i.
(p.
p. 32.
1880,
instance.
pi.
19,
for
Gaz.
possible
a winged
Herakles overcame while
Hypnos
Berlin 2278
Ant. Denkm.
= Reinach,
E86i = Reinach,
Petersburg 350
Louvre
See p. 70; and also
Orestes.
9
as
B.M.
290.
p.
i.
i.
9.
12.
i.
156.
137, under
MISCELLANEOUS PERSONIFICATIONS
85
mortal,
to the tomb.
8
Altogether her appearances rival those
examples.
of Eros in number, though on the Italian vases they are far
Whether Nike ever occurs on B.F. vases is a very
fewer.
beautiful
doubtful
some
on
Reinach,
i.
pi.
a
Dumont-Pottier,
Berlin 2661
i.
pis. 27-8.
For Ploutos
See
ii.
47 (more
probably Iris).
7
Rev. Arch, xxxvi. (1900), p. 93.
unless
B.M.
287,
574 (Plate
Oxford 312-314.
Studniczka, Siegesgottin (1898), and
in Reseller's Lexikon, iii. p. 318: see
also Sikes, Nike of Archermos (Came.g.
XXXVI.),
p. 72).
B.C.,
643
I25 2 ,
B 334
Jahrbuch, 1889,
pis. 5-6,
figs. 2,
pi. 5.
The
86
"
the " Nike
of Archermos
is
be so identified
to
seems
it
from
scenes
in
*
groups apart from action
usually
she pours libations to them, or crowns them in reference to some
mythology or
in
Thus we
2
3
Zeus, with Hera, with
Athena, with Poseidon and Dionysos, with Apollo (especially
6
at his victory over Marsyas), with Artemis Elaphebolos, 7 and
8
with Aphrodite.
She frequently crowns or pours libations
achievement.
9
on the later
Herakles, or attends him at his apotheosis
vases she takes Athena's place in conveying him in a chariot
to
to
10
Olympos.
Among
the
which Nike
in
and possibly
She
is
B.M.
.444; Reinach, i. 157, i;
Mus. Greg, ii. 21, I Berlin 2278 = Ant.
Denkm. i. 9.
1
El. Cer.
i.
i.
Naples 3373
Reinach, i.
6 10, E 523
5
B.M.
8
9
i, 3, 5,
35
B.M.
Cer.
37, 158 ;
i. 68.
i.
76
cf.
B.M. B 608,
B.M.
Pottier,
ii.
;
i.
14,
11
ii.
12
13
14
17
El.
18
19
48.
ii.
290.
262; Reinach,
i.
22,
251;
pi.
Mon.
Athens
B.M.
the
Dumontp.
69
3.
Grecs, 1875, pl s
1346
isJahrbuch, 1892,
Reinach,
i.
-2; Peters-
467.
410.
Reinach,
B.M.
B.M.
20
F
E
286
i.
109
182
Reinach,
i.
(?),
398
Reinach,
i.
Reinach,
i.
113
Berlin 3023
(Berlin
and
cf.
7.
i, 3.
B.M.
E 788.
Reinach, i. 330.
Overbeck, Her. Bildw. 18, 7.
Millingen, Anc. Uned. Mon. i. 22
Reinach,
be Eris).
432.
Telephos
at the carrying
2521).
15
Naples 1891
178;
i.
burg 523
310;
ibid.
and
445.
Reinach,
B.M.
El.
El. Ctr.
Reinach,
ii.
19
16
406, 511,
Cer.
ii.
Memnon,
i.
Naples 3231
= Reinach,
i.
299.
may
NIKE
87
Dionysos.
or other attribute
and caduceus.
On
on a
altar.
On
19
Reinach,
Ibid.
i.
or
She pursues a
youth.
bull
sacrificial
17
16
5
6
Reinach,
Ibid.
Ibid.
i.
i.
attributes
;
Inghi-
49
10
390.
98.
i.
197, 8,
ii.
Vasenb.
19,
3 (torch); B.M.
251,
513, Roscher, iii. 329, Benndorf, op. cit.
B.M. E 574
47. 2 (incense-burner) ;
Oxford 274,
(lamp)
Reinach, ii. 235, 310,
a FHtitel Lambert,
Athens
De
nach,
48,
i.
180
(lyre)
410 (tripod)
(wreath).
plays on a lyre.
On
On
330
'-
Reinach,
i.
14
Jatta 1050.
455-56;
ibid.
Reinach,
403, 428
i.
46: see
Reinach,
i.
i.
195,
Roscher,
iii.
6.
492.
'
lfi
17
Athens 1026
Vasenb. 23,
18
op. cit.
ii.
4,
Benndorf,
iii.
13
Witte, Coll.
Benndorf,
Athens 1362, Reipi.
47,
1362,
Petersburg 355
B.M. F 109
" B.M.
ii.
op. cit.
Roscher,
108, 195.
B.M.
see
generally
330.
p.
i.
198, 287.
7
236.
ii.
a hydria on a fountain or
18
or offers a bird to a
places
she rides
or, again,
i.
15
i.
2.
Oxford 265
B.M.
100.
19
Reinach,
ii,
216.
538
l.
CVr.
88
holds
in
athletic
scenes,
FIG.
124.
11
charioteer,
13
torch-races,
B.M.
i.
608
9 6.
2
iii.
Berlin 2211
= EL
Cfr.
12
6
7
Reinach,
;
ii.
Millin-Reinach,
Jatta 1050.
B.M.
B.M.
B.M.
ii.
Reinach,
i.
268.
ii.
72.
13
i.
Pitt. 363.
14
45, 378, 2,
E 379.
E 128
i.
P- 257-
24
Reinach,
;
11
Berlin 2661
10
291
F 550.
or
the inscription).
B.M.
10
rider,
athlete,
ii.
B.M.
Roscher,
crowning a victorious
Reinach,
i.
322.
Tyszkiewicz Coll.
Inghirami, Vasi
NIKE
89
functions,
1
in the figure of a
is
vases,
crowning
She crowns
a
poet
(?).
recognised
athletic contests.
On
other reason.
ethical ideas.
later,
unlimited play
is
mythological import.
Among
these,
by
far
We
have already
course, those relating to the passion of Love.
traced the development of the type and conception of Eros in
vase-paintings, and in the same place we have had occasion
speak of the associated ideas which became personified as
subsidiary conceptions to that of Love, such as Peitho
(Persuasion), Pothos (Yearning), and Himeros (Charm), Phthonos
(Envy or Amor invidiosus\ and Talas (Unfortunate or Unto
6
Of a similar type are the feminine conceptions
requited Love).
associated with Aphrodite Eudaimonia (Happiness), Euthymia
7
(Cheerfulness), and the like.
ii.
B.M.
274.
2
Vol.
3
4
E 460,
Reinach,
i.
49, 378,
I.
i.
ii.
63.
(?)
Petersburg 183 =
;
Reinach, ii. 126
;
Daremberg and Saglio, Diet. s.v.
Agon, fig. 1 80 Louvre F 109 see also
Burlington Fine Arts Club Cat. (1903),
(?)
Reinach, 36
223.
p.
Reinach,
B.M.
469
6
'
See above,
See p. 43.
p. 49.
= Reinach,
but more probably the scene
refers to Orestes and Pylades in Tauris.
*
i.
Jahreshefte, 1899, p. 16
279
90
overcoming Adikia
with
(Injustice)
in
he
may
see
p. 8 9 ).
of
athletics
(see
above,
VIII.
The metaphysical
down
3
4
for
= Reinach, i. 239.
Naples 3233
Berlin 1732 = Reinach, ii. 66; B.M.
B 364, B
5
Reinach,
i.
ii.
26,
B.M. 6334;
ruhe 259
i.
p.
18,
ii.
fig.
26,
i,
161
Bau-
20.
(Nikosthenes).
p. 255.
7
Class.
4 (in Louvre).
Berlin 1775
Kails-
Reinach,
Petersburg 1807
7 (at Judgment of Paris) ; Reinach, i.
;
12
fig.
Review, 1899,
p.
468).
other interpretations.
ABSTRACT -IDEAS
and Nemesis (Vengeance)
1
the
in'
with reference to
its
Thyestes,
tragic circumstances the latter
is
91
In less
fate-fraught character.
a
in
bridal
scene, with
present
flower
children
4
;
and Oistros
when Medeia
functions
(lit.
is
such as
to social enjoyments,
Thus
same connection.
in
Komos
and
Tragedy),
revels
X.
Komodia
(Revelry),
and
Pannychis
their consequences.
there
Finally,
personifications
of
are
what M.
has
Pettier
under which
individualities,
described
heading
as
fall
many
given
between
personal
2
3
Millingen-Reinach, 23.
Reinach, i. 173.
Ibid.
i.
229
(in
Boston)
ii.
p.
834,
fig.
The name
918
B.M. F279;
331,
I.
Vol.
I.
p.
in
Ma-
drid).
a
Munich 810
See above,
B.M.
Reinach,
i.
363.
Karls-
ruhe 208.
8
Berlin 2471.
B.M. B2io
92
3
4
B.M.
224.
B.M.
455.
Munich 378.
6
7
B.M.
Fin.
CHAPTER XIV
HEROIC LEGENDS
Kastor and Polydeukes Herakles and his twelve labours Other contests
Relations with deities Apotheosis Theseus and his labours Later
scenes of his life Perseus Pelops and Bellerophon Jason and the
Argonauts Theban legends The Trojan cycle Peleus and Thetis
The Judgment of Paris Stories of Telephos and Troilos Scenes from
the Iliad The death of Achilles and the Fall of Troy The Odyssey-
The
Oresteia
Monsters
Attic
Historical
Troy
appear
in
Athens 1259
= Reinach,
i.
506
They
2
Mon.
93
are present
B.M.
F 68.
Reinach,
ii.
186.
when
HEROIC LEGENDS
94
Leda
6
the Merope of Euripides, and at the slaying of the Sphinx by
8
7
They take part in the hunt of the Calydonian boar,
Oedipus.
and
many
in
of Talos,
the punishment of
11
There
meaning.
is
their
12
HERAKLES
Of all the heroic legends the most numerous and the most
important are those of the Herakleid. They appear on vases
of all periods, though in the largest proportion on the blackfigured varieties, and include every event in his life, from his
birth to his deified life in Olympos.
Of the visit of Zeus to
(now
Wiener
"
Jatta 1095
scene)
I2
Lexikon,
(Exekias).
3
l3
ii.
79
= Reinach,
Reinach,
Reinach,
853),
ii.
5.
i.
119 (Phineus
226 (in Louvre).
231, 507 (= Athens
i.
i.
see
Roscher's
generally
s.v.
Leukippiden.
E 224 = JFurtwaengler
B.M.
and
probably influenced
by the painting by Polygnotos of this
i.
9.
5
Reinach,
Ibid.
i.
i.
244.
E 696.
B.M.
Fran9ois vase
15
Reinach,
i.
Reinach,
361
B.M.
i.
I. p.
484
443).
:
Bibl.
cf.
B 633 = Wiener
I6
i.
230,
ii.
119.
Reinach,
8-9
pis.
Nat.
388.
363.
Reichhold,
Furtwaengler and
Inghirami,
Vast Fitt.
Vorl. iv. 9, 3.
ii.
187
cf.
HERAKLES
95
for she
is
him
at her breast.
Next he
is
by Hermes
to Cheiron the
Of all
We
Herakles
may
be described as common.
by Athena
is
usually accompanied
frequently, by lolaos and Hermes.
I.
In
all
;
these scenes
but
also,
less
"
Of
this subject
we
two
find
less stereotyped.
is
lion's
neck
H.
strangles lion:
(Exekias);
(2)
B.M. F479
Arch. 1875,
2
3
4*9>
4
pi.
Reinach,
i.
229; Gaz.
14 (in Louvre).
B.M. F 107.
Munich 611 and 291 =1leinach,
i.
47-
Munich 371
= Ber. d.
Reinach,
i.
Linos).
sacks. Gesellsch.
fl
ii.
p. 13.
HEROIC LEGENDS
96
Abnormal
(3)
Reinach,
Wiener
Lion on
ii.
52.
i,
5 (Nikosthenes).
below):
Crouching type:
(2)
i.
FIG. 125.
We may
which Herakles
Nemea
own
(BRITISH MUSEUM).
wear.
II.
The Cretan
Type
Bull.
with
a cord.
B.M. B 309
B.F.
55, 5
B.M.
R.F.
in
= Baumeister,
Boston)
i.
Reinach,
ii.
(Nikosthenes,
Athens 1931.
Berlin 3145 = Millingen-Reinach,
;
See also a very remarkable vase in Forman Sale Cat. No. 305
(now at Boston), where the same subject appears each side, one
2
B.F., the other R.F. (by Andokides).
Late.
Reinach,
ii.
subject
70.
Furtwaengler,
however,
thinks the
is
Vasenmalerei, p. 16
LABOURS OF HERAKLES
III.
97
p. 87).
(1)
The
(2)
capture:
;
FIG. 126.
(BRITISH MUSEUM).
in
:j
R.F.
pi.
Reinach,
ii.
55,
Helbig, 37
B.F.
B.M.
R.F.
Reinach,
169,
i.
6231.
233.
dispute between Apollo and Herakles over a stag (Rein. ii. 56, 3
34) may perhaps be referred to this subject, as the myth is
:
see p.
VOL.
II.
is
more
usually Artemis
who endeavours
7
HEROIC LEGENDS
98
bow and
arrow.
and
in
is
also visible.
i.
389; Jahrbuch, 1898, pi. 12; Reinach, i.
118 (6)
Louvre
851.
Later: Reinach, i. 118 (i) = Berlin 1854 (crab); ibid. 118 (3);
118 (5) = Louvre F386 = Millin-Reinach, ii. 75 (Athena
ii.
53 = Baumeister, i. p. 657, fig. 724;
Wiener Vorl. 1889, 7, 3
see also Athens
Gr.
Vasenb.
two successive
where
Heydemann,
pi. 4, i,
slays crab);
Reinach,
Berlin 1801
792 =
cuttle-fish
heads.
Reinach,
297
ii.
(?).
Not found on
vases.
some of the
only
Cattle.
finest specimens.
three-headed, then
armed warriors
Geryon
is
triple-bodied,
wounded.
"
at
first
winged and
represented
whom
generally
"
Proto-Corinthian
B.M. h.^=J.H.S.
Early B.F.
Chalcidian: B.M. 6155; Bibl. Nat. 202 = Reinach,
:
253
= Plate XXII.
1
three
as
JI-
V01-
v.
ii.
p.
fall
176.
58 and
LABOURS OF HERAKLES
Louvre F 53
Late B.F.
99
= Reinach,
ii.
59
Late.
The
B.M.
104; Reinach,
ii.
58, 5
also represented
is
p. 6r.
B.F.
Late.
Naples 3241
Reinach,
i.
384.
Cat
R.F. B.M.
lolaos or Telamon.
B.M. B
Sale
by
;
vii. 4,
(Duris).
Late.
XL
The
in
J.H.S.
xviii. p.
296
as typical
examples
R.F.
Late.
ii.
32.
Jahrbuch
On
Golden
Apples
from
the
Garden of
ttie
Hesperides.
be
the
earlier,
this
Atlas fetches
myth.
HEROIC LEGENDS
ioo
B.F.
Benndorf, Gr.
Vasenb.
u. Sic.
pi.
42,
i.
R.F.
Baumeister,
i.
p.
686,
fig.
745.
Parody.
506
i.
(?).
Gaia
is
generally
present.
some
(Sleep), but
Hypnos
Seep.
106.
Isthm.
iii.
B.F.
Reinach,
example
Reinach,
90.
in
i.
ii.
62
Munich
an early Athenian
R.F.
v.
(Euphronios) ; Athens
See also Vienna 322 = Reinach,
1166.
i.
339 and Munich 605 = Ber. d. sacks.
Louvre
103
i.
=
5,
i.
p. 49, fig. 56 ; Reinach,
The only R.F. examples pub451.
lished are Munich 401 (= Furtwaengler
Baumeister,
i.
and Reichhold,
pi.
d. sacks. Gesellsch.
5
See above,
iv.
Cambridge
46.
(=
Ber.
p. 72.
43:
cf.
Find.
Nem.
ADVENTURES OF HERAKLES
101
in the
2
One late R.F. vase
appears in the midst to interrupt them.
seems to show the preparations for the combat, in the presence
3
another vase,
Amazon, a Fury, and other personages
the subsequent attack made on Athena by Ares. 4
We find him in combat with Acheloos, the river-god, repre-
of an
is
myth
is
unknown
whom
also the
Of
in literature.
similar import is his combat with Nereus, the old man of the
sea ( 'A\t,os Pe/owi/), who appears in human form as an aged
r
"
the " type
employed on B.F. vases is similar to that
Peleus wrestling with Thetis (see below, p. 120), with
man
of
Herakles
is
represented
Nereus'
in
house. 9
Another important
Herakles'
adventures
xiii.
/.ff.S.
B.F.
Vorl.
1890-91,
Berlin 1732
Vorl. 1889,
I,
6,
I,
2 (Kolchos).
ii.
i.
B 364 ( = Wiener
Nikosthenes) ;
Reinach, ii. 66 = Wiener
pi.
E 73 Reinach,
= Wiener Vorl.
Jatta 1088
iii.
4 see
Vorl.
197,
47, 68,
D.
R.F. B.M.
(?), and i. 223
:
(Pamphaios).
Reinach, i. 475 = Wiener
pi. 5
pi.
227.
5,
3 (Timagoras)
fig.
No
Reinach,
good
i.
:
Reinach,
examples
346).
ii.
61.
R.F.
B.M. B 225
Athens 1202
51 (vase in
p.
to his early
6
B.M.
437 = Reinach, ii. 62 =
Wiener Vorl. D. 6, 2.
7
Berlin
B.F.
B.M. 6223, 6311
1906; Louvre F38 = Wiener Vorl. 1889,
Reinach,
8
B.F.
Boston).
5
made
with
under
fall
259.
1894, p. 285.
Rom. Mitth.
concerned
is
Centaurs, which
the
pp. 71-2.
B.M.
with
several headings.
group of subjects
Reinach,
i.
R.F.
255 =
162;
Bibl. Nat.
:
Benndorf,
4.
339 (R.F.).
B.M.
Gr.
i.
(see
Sic.
HEROIC LEGENDS
102
other
on
subject, as also
later ones.
We
him
also find
in
combat
with
Busiris
in
Egypt,
10
negro attendants.
destruction
the
13
capture of his heralds.
64
ii.
1272, curious).
2
B.F.
1900,
/.ff.S.i. pi. I ;
pi. 6 (Proto-Corinthian)
Berlin 336 (= Reinach, i. 448), 1670
;
ibid.
Late:
221.
i.
Reinach,
R.F.
ii.
i.
F 43
B.M.
Millin-
68.
= Reinach, i. 40.
Petersburg 1787
*
B.M. B 30; Berlin 1702 ;
B.F.
= Ant. Denkm. i.
Helbig, 5 Athens 657
:
852
42,
Man. Antichi,
Reinach, 33.
2
fahrbiich,
Bibl. Nat. 393
pi. 5,
9
10
B.F.
ix.
ibid. p.
pi.
10
3 (in
B.M.);
Millingen-
p. 280.
i.
Reinach,
Vienna 21 7
i.
= Reinach,
B.M.
(Caeretan hydria). R.F.
Athens ii75 = Dumont-Pottier, i.
397.
i.
169
38;
pi.
18
Berlin 2534.
p. 53, note i.
B.M.
12
Reinach, i. 156.
176; Boston Mus.
Naples 3089
388.
Reinach,
Louvre
57
B.M.
R.F.
i.
Louvre F 60.
8
Oxford 249; Berlin 766-67 Munich
783 Reinach, ii. 59, 10. Late R.F. Berlin 2359.
Parody Schreiber-Anderson,
7
is
1S
ii.
Reinach,
p.
423
i.
i. 475 and
633 (capture of
Louvre
ii.
4,
"
ADVENTURES OF HERAKLES
163
1
depicted dragging two Satyrs in a leash, depicts an unknown
as do those which represent him contending with
myth
2
Geras, a personification of Old Age, and beating a winged
;
other
or
which
deities,
often
take
the form
of
in
is
the
at
to
from
10
later stage of the story
preparing to discharge his arrows.
is illustrated by a fine R.F. vase, where he
voyages over the
sea in the golden bowl given him by Helios. 11
Lastly, he
Hera and
defends
12
Seileni.
it
gods,
is
In
troop of
with the
2
3
Athens 970.
B.M.
i.
290.
P-
37 (R.F.
in
Berlin).
Stackelberg,
Nat.
251
B.M.
255
Reinach,
fig.
ii.
(= Hoppin,
318,
5);
Wernicke-Graef,
pi.
252.
R.F.
10
2159=
pi.
ii.
Euthymides,
458; Berlin
Ant. Denkm.
Munich 401
pi. 15.
27,
Furtwaengler and
pi. 9.
ibid.
xix.
"
Helbig, 232 = Reinach, ii. 59; a
B.F. example in Rom. Mitth. 1902, pi. 5.
2
B.M.
65 = Reinach, i. 193.
'
HEROIC LEGENDS
104
l
Omphale
of his
or, again,
3
carrying off of his daughter lole, and the subsequent fight
4
His rescue of Deianeira from the Centaur has
with Eurytos.
may
8
possibly be intended for Athena.
remarkable vase-painting
in
fit
his
from a bow. 16
figure shooting
He
7
8
a
lo
21-2 (1893-94),
3
i.
B.M. B 165
pi.
;
14 (in Louvre).
J.H.S.
p. 64.
12
;
Monuments
Piot,
ii.
p. 53.
"
19 Jahreshefte, 1900,
slaying of Iphitos is reprea white-ground cup in the
Reinach,
'
represented per-
ii.
Oxford
322
iii.
p.
ii.
71.
75.
I.
p.
480.
Reinach,
ii.
62
762.
Naples 3359
see note
The
sented on
Louvre,
xii. pi.
often
Millin-Reinach,
Roscher,
is
Reinach. 1.403
and
5.
B.M. F 68.
Ber.
d. sacks. Gesellsch.
See above,
15
p. 67.
Reinach,
i.
226.
HERAKLES
forming an act of
sacrifice,
where he
scenes,
the xoanon
to
sacrifices
1
or in
a single figure
2
Some of these
animal.
either as
ram or other
groups, sacrificing a
105
of
a local
Chryse,
deified
games.
Finally, there is a series of subjects which (as in the
case with most of the preceding section) may be concerned
with Herakles either before or after his apotheosis.
7
Among
numerous vases
where
(especially B.F.)
her
intervals
in
between
Olympos
labours, or
his
Many
below).
(see
to
his reception
vases
represent
by
him
in
company with Dionysos and other
With Hermes and lolaos he takes part in a pro-
banqueting, usually
deities.
10
n
and he
accompanied by music
overcome with wine and forming a subject
cession
(Nikosthenes)
ii.
B M. E 494
Reinach,
ii.
180
?).
On
B.M.
Jatta 423
Reinach,
i.
205.
Reinach,
F278
for
H.
i.
ii.
25.
257; and
at
Olympia
Reinach,
(with Seilenos)
ii.
43
Berlin
2534
Furt-
Munich 388
Millin-Reinach,
=
Helbig, g^ Mus. Greg.
F233.
5
while
54, 2.
1961
12
mockery,
Millingen-Reinach, 51.
also represented
is
for
cf.
;
B.M.
F2H,
also Stackel-
ii.
i.
74-5
297
pi. 3, i.
(in Petersburg).
pi.
44
HEROIC LEGENDS
io6
from
Satyric
2
and
(this
Or he
drama).
fountain
in
common
Exceedingly
6
lyre, as Kitharoidos.
last scenes of Herakles' earthly
ances with a
The
life
which
apotheosis
his
body
in the chariot
The
vases
is
the
exclusively
relating
fall
apotheosis
into
two main
(1) his
Athena
is
in
almost confined
R.F. period
it
The
Olympos.
;
B.F. vases
to
occurs
rarely
on those of the
and on the
Italian
vases her
place
is
Hermes
Reinach,
ii.
318
Helbig,
Millingen-Reinach, 35
ii.
p.
327
Philologus, 1868,
pi. 2.
2
B.M.
B 229
cf.
lides,
l.
Ctr.
iii.
Reinach,
i.
467
l.
Petersburg
Cer.
i.
523=
B.M.
Munich 384
Mon.
I-
370.
Baumeister,
i.
i.
p.
481.
10
14.
Berlin 2293,3988
Od. 16
814.
3
pi. 3, 2.
See B.M.
RF
307,
Reinach,
fig.
322
I99' 201
130 =
Reinach,
i.
2I1
PL
Reinach, ii. 72 ;
Oxford 212 (no deities). R.F. Helbig,
230 (A. about to mount chariot).
XXIX.),
230, 317-21
APOTHEOSIS OF HERAKLES
Hebe performs
side
or, again,
red-figured vases
same
office.
the chariot
the late
limited
to
is
its
way.
The
first
his introduction to
into
Olympos
common on
The attendant
deities
is
both
vary very
greatly
seen
On
the
107
From Arch,
FIG.
Zeit.
127.
there are
deities, usually
Bibl.
Nat.
and 254.
2
ii.
Reinach,
i.
399
B.F.
Berlin
Berlin 1827
nach,
253
Reinach,
ii.
With Athena:
B.M.
B
;
B 379, B 424
166,
Reinach,
i.
359,
i,
B.M.
481, and
B.M. E 262 =
76 (in Berlin). R.F.
Reinach, ii. 75 ; Berlin 2278 = Reinach,
i. 70 = Ant. Denkm. i.
9 (Sosias) ; Furtwaengler and Reichhold, pi. 20 Reinach,
Late: Naples
i.
222, 408 (Fig. 127).
74
Rei-
161.
1691, 1857
B.M. F238
With Nike
Mil-
ii.
HEROIC LEGENDS
io8
life
added the
completion of his
two or three
attendant
among
fine
is
deities.
The adventures
when
his cult
(see Vol.
I.
was coming
p.
Of
418).
into special
his
seven
prominence
labours
the
hero, are
the later
"strong"
at a time
Athens
only one
in
commonly found on
we have
and an
mother Aithra, apparently wielding the newly found sword. 6
There are only two R.F. kylikes which give the complete
in the British
B.F.
xiii.
F 30 = Rev. Arch.
F 116-117
4 (Amasis)
297 = Wiener VorL
Louvre
(1889),
pi.
Reinach,
i.
76,
2
86.
B.M.
1892, p.
Pottier,
i.
262
69
pi.
15
Museum
B.M. F 178
Reinach,
i.
251
3
(all
R.F. or
late).
B.M.
3).
= Reinach,
Petersburg 830
Wiener VorL A. 8 (Hieron).
6
i.
150
LABOURS OF THESEUS
109
We give
with Periphetes appears to be confined to literature.
1
list as follows, with the vases on which they may be seen
the
(1)
The pine-bender
B.F.
(2)
Athens 879.
and ii. 280.
woman, the
459
i.
to be identified
(4)
The
i.
Megara)
by the foot-pan and the
(in
pi. 14.
this scene
usually
tortoise.
Kerkyon
(at Eleusis).
324.
i.
Athens 879.
pi. i
R.F.
Bibl.
E 441-42
B.M.
Athens 1166
Nat.
bull.
174.
R.F.
B.M.
442;
The
= J.H.S.
Millingen-Reinach, 9-10.
The Marathonian
B.F.
is
119.
i.
1889,
(7)
B.F.
(6)
Reinach,
wrestling with
Reinach,
(5)
Reinach,
of
or old
Reinach,
(3)
R.F.
The sow
Nymph
Sinis.
i.
Naples 2865 =
43: Noel des
Chapter XVIII.).
B.F.
B.M.
Wiener
6148,
Vorl.
1889,
1698= Wiener
Berlin
Vorl.
iii.
7,
i;
ii.
iii.
Millin-Reinach,
119 =
7, 2;
ii.
61
(Taleides).
R.F.
iii.
B.M.
p.
1790,
441; Helbig, 80
fig.
Reinach,
ii.
81
1874.
Ital.
iii.
p. 235.
Baumeister,
HEROIC LEGENDS
io
The complete
B.M.
set of
seven
on the following
to be found
is
84,
interior of the
Ant. Denkm.
The
ii.
following are
(kylix
by Aeson).
more or
less
i.
complete
I.
(by Duris
five scenes).
528-32.
Poseidon and
Amphitrite under the sea, whither he is borne by Triton. It
occurs on the beautiful Euphronios kylix in the Louvre (G 104)
and elsewhere. 3
Next
in .point of
We
nuptial ceremonies
by the
followed
pretations.
4
Bologna
1999,
fig.
273
2149.
Baumeister,
vase
The B.M.
iii.
p.
264
the clue
is
"
a sort of " short-hand allusion
See also
ADVENTURES OF THESEUS
in
The
Peirithoos
and
in
another version
it
is
Antiope
whom
he
4
3
overcomes, or the subject is treated in a more general fashion.
This scene is supposed to take place in Attica but the story
of the Centaurs belongs to Thessaly, the home of Peirithoos.
;
The Centaurs
and other
is
treated
his friend.
Helene
whom
(see above).
by
vases.
1
10
vase signed
=
=
Berlin 2179
Reinach,
222
i.
iii.
XXXIX.
(also
Vienna)
(in
Plate
Vorl.
as
interpreted
p. 120)
Wiener
No.
Reinach,
Nat. 421).
91
i.
Mus. Report
25.
;
ii.
264
(=
Bibl.
i.
Mus.
has
Millin-Reinach, i. 10 ;
Naples 2421, 3253, and R.C. 239 =
Reinach, ii. 278, i. 330, i. 482 (the first
and
nificent
of
example)
these
5
B.M.
by
given
Reichhold,
Furtwaengler and
pis. 26-8).
F 272
Munich 368-Hartwig,
Berlin 1731
been
Roscher,
interpreted
as
iii.
p. 1782,
the rape of
Helene.
8
Jatta 1094
Reinach,
10
i.
= Reinach,
108, 455,
Munich 849
i.
356 see also
and above, p. 68.
Reinach,
i.
258.
HEROIC LEGENDS
ii2
seated
in
significance
open
l
;
but
its
mythological
to question.
of*
Theseus
is
identified
in
case.
any
There
however,
is,
undoubted
an
Next
9
in one or
generally accompanied by Athena and Hermes
two instances we see Perseus approaching his victim unob;
10
Ant. Denkm.
See B.M.
B.M. B 155,
490 (?).
B.M. F8s.
Athens 1956 = Ath. Mitth.
i.
59 (in Boston).
123 and
272; also a
Phaidra; Hippolytos
also
Naples 2900
is
present.
Petersburg
and
1357
723 = Baumeister,
Reinach,
i.
244,
448 ;
Naples 3140 = Mus. Borb. ii. 30, 4;
Monuments Piot, x. pi. 8 (in Boston)
and cf. Berlin 2300 = Reinach, i. 273.
1
87
9
B.M. F279.
i.
p. 406, fig.
B.M.
6471= Fig.
Berlin 3022
1 1
41.
3
Cf.
Millingen-Reinach,
xi.
(1886),
10.
pi.
= Reinach,
= Reinach,
ii.
109:
97, Vol.
i.
cf.
I. p. 382
172; Munich
Bibl. Nat. 456.
F 500
Berlin 1682
= Reinach,
i.
399;
181,
Reinach,
290
i.
441
Munich
pi.
PERSEUS
1
remaining with the corpse'
2
to Poseidon for help.
or
in
113
We
rare
the
Finally,
subject.
petrifaction
5
Gorgon's head.
to Satyrs, 6 or placing
Maenads
with
holds
the
or in combat
accompanied by Athena, who
is
(/ci/Bicris*),
Gorgon's
the reflection. 9
at
Lastly,
his
wearing
The
he
or, again,
in the wallet
it
winged cap.
story of Pelops
Oinomaos
his visit to
is
depicted
10
is
Olympia, and
12
;
Reinach,
172 (Louvre
i.
and Stackelberg,
2
49,
'
4.
B.M.
185
and
cf.
fig.
"
pi.
46
Reinach,
B.M. E6io,
B.M. B
named
i.
p.
vase
see
Petersen
in
op.
cit.
Berlin
Roscher,
1652
and
Reinach,
217;
i.
13
inscribed
1891, p.
Reinach,
i.
i.
cf.
Wiener
188.
344
Jahrbtich,
vii.
Millingen-Reinach, 3:
gus, 1868, pi.
II.
i, figs.
see Philolo-
Vorl.
14
Naples
fig.
i.
Reinach,
pi. 3.
VOL.
cf.
Reinach,
Reinach,
i,
(1892), p. 38:
fig.
284.
= Reinach,
; Naples 1982
292 (very doubtful ; Oinomaos absent
a fine
iii.
instance);
708
i.
104 ff.
4
289.
Oinomaos.
12
B.M. F33I
4).
Reinach,
i.
Introd.
ii.
8
9
39.
Millin-Reinach,
ii.
857),
Berlin 2377
i.
i.
pi. 10,
Naples 2858 =
(subject doubtful).
3255 = Reinach,
i63 = Baumeister,
ii.
2-3, p. 16.
i.
235;
p. 1203,
HEROIC LEGENDS
114
The adventures
of
its
Proitos
we
next
cnj^ara \wypd to
him
see
lobates, the
5
king of Lycia, and then, mounted on Pegasos, slaying the
6
Chimaera.
Subsequent events represented on vases are the
Nor need
from
us
Scenes
long.
Calydonian boarJ
periods, especially on early vases.'
Kastor and Polydeukes, Peleus, and other heroes, together with
all
names of a
given, or only
is
fanciful kind,
11
There is one vase which appears to
way.
12
represent the death of Meleager.
identified in this
Berlin 3072
Reinach,
i.
3 (see Vol. I. p.
detf Inst. 1874, p. 35).
Fitt.
204.
ibid.
ii.
282;
Reinach,
i.
287,
ii.
318.
ff.).
9
late
B.M.
Reinach,
105,
i.
195
Petersburg
B
;
162
ii.
279,;
and see
Naples 3253
Inghirami,
Argonautenbilder,
Vast
p.
ii.
ii.
90; Reinach,
i.
R.F.
230.
162, 2IO.
Roscher, iii. p. 1811.
Reinach,
10
Angebl.
ii.
"
E.g. B.M. B 37 (Plate XXL), F 154
Vienna 217 = Reinach, i. 170. See also
;
p. 166.
Berlin 3258.
427
Greg.
i.
B.F.
Reinach,
2,
i.
Flasch,
Roscher,
i.
and
p. 303, fig. 319
331, and Munich 805 =
277 (the latter so interpreted by
Baumeister,
see Reinach,
30
Naples S.A.
ii
Reinach,
i.
401.
Jason,
relating to the
Phineus, and Talos.
which gave
have to deal
whom we must
with
subjects
Helle,
whom we
115
The legend
rise to
or the former grouped with her mother Nephele and her brother
2
Phrixos, who accompanied her on her flight. The pursuit of
his
n
slaying the dragon
(in
Naples
S. A.
270
Reinach,
Reinach,
fur
5
6
201
pl.
i.
i.
226, 1-3
O. Benndorf, p. 67
See p. 81.
and
i.
319.
see Festschrift
p. 133,
note
Bibl. Nat.
Furtwaengler
and
i.
Reichhold,
Wiener
442
Reinach,
ii.
79
J.H.S.
x. p.
118
Reinach,
Millingen- Reinach, 51
180 see above, p. 105.
i.
226.
= Reinach,
ii.
10
Munich 805
Wiener
Vorl.
iv.
Angebl. Argonautenb.
Reinach, i. 277 =
but see Flasch,
;
p.
30 ff., and
p.
137
5.
i.
1682.
its
HEROIC LEGENDS
ii6
1
mouth
with
his contest
capture
represented as bringing to
4
Pelias on his return.
The only important event relating to
the homeward journey is the death of Talos. 5
Among the events of his later life are the boiling of the
),
of the
which he
fleece,
also
is
Glauke
wife
his
Medeia's
by
agency
and
the
latter' s
10
11
Medeia
slaughter of her children, with her pursuit by Jason.
also appears in another connection at Theseus' leave-taking
with Jason, the funeral games held after the death of Pelias 14
must also find mention here.
Scenes therefrom are represented
more
on
one vase
than
such
the
as
the
in
chariot-race
of
presence
three
less
"
of Thebes
tale
"
Reinach, i. 102
Helbig, ii. p. 328
i.
Baumeister,
129
fig.
p. 124,
Reinach, i. 137 ; but see Flasch, Angebl.
Argonautenb. p. 24 ff.
Naples 2413 = Roscher, ii. 81, and
3252 = Reinach, i. 449.
3
= Roscher, ii. 83.
Naples 3248
4
= Wiener VorL
Millingen-Reinach, 7
ii.
8.
3
Jatta 1501
Reinach,
Helbig, 179
i.
361
pis.
Reinach,
Furt-
i.
359 (ram
present).
Helbig
Reinach, i. 336 ibid. 359
179 (P. led to slaughter by daughters;
M. waiting with knife).
;
man
10
Baumeister,
i.
ram
in
ii.
p. 903, fig.
980
363 =
Reinach.
i.
402.
11
Naples 3221
Bologna 273
12
13
B.M.
11
Cf.
tTTi
= Reinach,
= Baumeister,
i.
402.
iii.
1999,
2149.
38-39.
B.M.
episodes, more
to the story
relate
caldron).
fig.
which
various
into
falls
E 224.
the
poem by
IleXtp.
)s
Vol.
Berlin 1655
I.
Stesichoros,
Reinach,
i.
*A0Xa
199: see
p. 319.
16
THEBAN LEGENDS
and
of Oedipus
city is the
his
line.
founder
as
Conspicuous
Kadmos, whose
Phoenician
117
encounter
of
the
with
the
On some
dragon is depicted on vases of various periods.
he receives from Athena the stone with which he is to
2
on others he is seen approaching the
slay the monster
fountain of Ares, where he was to meet it 3
and, lastly,
we have the actual slaying of the dragon, 4 sometimes in the
;
Harmonia
of
presence
Kadmos
subject
and
deities
personified
to
sacrifices
the story
and various
Thebes.
figures, including
is
is
his
her
tied
is
to
wild
bull
rarer
Amphion
while a later
by
The only
stories
tragic
Septem
vases
literary
(before
source for
Roman
times)
is
these
in
the
poets.
But
and
Mitth.
5
B.M.
Reinach,
3
E8i;
i.
Petersburg
2189=-
p. 155,
tion
Reinach,
i.
396
see
Frazer, Pattsanias,
Wiener
and
v. p. 49.
Vorl. C. 7, 3
Roscher,
ii.
842.
represent
8
B.M. 6505-6.
Louvre
Millin-Reinach,
and
Zethos
Amphion with
Antiope.
5.
(1890), p. 343.
Athens 1858
period
to the text.
v.
seated on a rock
is
ii.
7 (in
Louvre); Rom.
Reinach, i. 379.
Berlin 3239; Naples 1769
Vorl. vi. ii
'"
Bibl. Nat.
Baumeister,
"
B.M.
ii.
Roscher,
372
p.
1049,
i.
Reinach,
fig.
696 =J.H.S.
Wiener
p. 903.
i.
92
1266.
viii. pi.
81.
HEROIC LEGENDS
or column. 1
hitherto
here to
"
with
inscribed
of
couplet
which
at
verses,
two
stand
youths.
on vases. 6
scenes.
becomes, in
It
We
also
"
"
adopted in ordinary
on the reverse of one of the vases
find
fact,
type
in
The names
chariot.
are
curious subject
given.
bosom of his
Another event
by a
is
13
serpent.
14
body by his mother Eurydike and others.
The subsequent fight of Tydeus and Lykourgos, interrupted
16.
1897,
See
seizing
3
4
p.
147
also
q.v.
for
8
9
Ibid.
8,
iii,
Munich i5i=Overbeck,
1650= Reinach,
Petersburg
Millingen-Reinach, 20.
Ath. Mitth. 1899, p. 361.
10
Sphinx
11
Vorl. 1889, 9, 6.
pi.
see Roscher,
Theban youth.
Wiener
iii.
1 20,
pi.
i.
pi. 73.
R.F.
p. 295.
op. cit.
Athens 960
Wiener
i.
461
see
18*
Vorl.
11,8.
Reinach,
i.
p. 736.
376
12
:
9, 10.
Jahrbuch,
viii.
(1893),
pi.
see
i.
466
14
Wiener
Naples 3255
Baumeister,
i.
p. 114,
also Millin-Reinach,
Louvre)t
Reinach,
ii.
I.
235
120; perhaps
37 (Lasimos in
fig.
i.
119
sister
stage.
We
now
which are
led
nine years of
it
(2)
The
on the
lines of
which
all
Munich 144
cf.
Naples 1766 =
and
Overbeck, Her. Bildw. pi. 4, 4
see Reinach, ii. 284, Roscher, i. p. 296,
and Stat. Theb. v. 699 ff.
Kopenhagen 64
Baumeister,
i.
Reinach,
i.
259
Louvre
640 = Reinach, i. 147 =
Wiener Vorl. 1889, 1 1, 4; Millingen3
Reinach, 22
5
6
Vorl.
Reinach,
i.
161
3.
Jatta 423
205, 409
figs. 14, 12
B.M. F 175
Jatta 414
Vorl. B. 4,
iii.
J.H.S.
i.
(?).
Petersburg 452
Wiener
Reinach,
2.
Reinach,
i.
273.
i.
(?)
467
see also
Wiener
HEROIC LEGENDS
120
referred
is
subject
on
to
moment chosen
when
being that
The
first
on vases, 3 Peleus
the
is
art, especially
forcibly capturing Thetis from
Nereids, while she tries to elude
depicted
of her
company
In ancient
sister
conventionally indicated
the vase-paintings.
Some vases represent the approach
4
of Peleus and his pursuit of Thetis, the majority the actual
5
struggle (Fig. I28), and one or two the announcement of the
all
in
nuptials,
Catullus,
and
Achilles
2188
Petersburg
in
be
to
Berlin 2430
if quaintly, depicted on
due course by Peleus bringing the young
educated by Cheiron, 9 and his subsequent
vividly,
followed
vase,
ibid.
forth); Reinach,
Reinach,
i.
i.
i.
R.F.
B.M.
1799, fig. 1882.
424;
Berlin 2279
Baumeister, iii. p. 1797,
Athens 1202 =
fig. 1881 (Peithinos) ;
:
p.
Benndorf,
hold,
i.
p.
myth
2
For
collected
list
of
all
p. 70,
B.M.
647
gen-Reinach, 4
buck, 1886, pi.
and see ibid. i.
(otherwise interpreted, p. 1 1 1 ).
5
B.F. : B.M. 6215 (Fig. 128)
380
Reinach,
ii.
115
Munich
Baumeister,
iii.
Gr.
u.
Sic.
Vasenb.
32,
Bildw.
6
vase-
fahrbuch,
described by
the Frangois
Overbeck, Her.
24 (Duris)
8 (in Vatican).
;
pi. 7, fig.
B.M. Eg,
73;
and
see
above,
Palermo
Bildw.
pi. 8,
1503
6
fig.
=
:
Overbeck,
Her.
p. 146.
8
9
Athens
Louvre
pi.
87
121
1
There is one possible representation of the
sojourn in Skyros.
of
Achilles
in
the caldron to secure his immortality. 2
seething
FIG.
Oenone,
in
us with
the
128.
the
telling
of which
Tennyson has
familiarised
We
Bibl.
(doubtful)
and
538 = Reinach,
Jahn. Arch. Beitr. pi.
Nat.
;
see p. 352
ff.
i.
1 1
90
2
*
(?),
Reinach,
ii.
43.
Reinach,
i.
87.
HEROIC LEGENDS
122
is
in
of Eros.
assistance
The
may be
rest
as
classified
follows
Hermes
(i)
Only on B.F.
Paris absent.
From Wiener
vases. 3
Vorlegebldtter
FIG. 129.
preserved,
(2) Procession-type
is
IN BERLIN).
Type
present, standing.
(3)
Reinach,
i.
SeeJ.ff.S.
126
vii. p.
Paris seated
E 445
196
ff.,
whence
5
landscape introduced (see Fig. i2g).
this
classification is taken.
3
9,
21
pi.
fig.
Her. Bildiv.
Overbeck,
2 (Xenokles)
J.H.S.
vii.
B.F.
B.M. 6312.
B.F.
R.F.
B.M.
Overbeck,
2536
Roscher,
iii.
B.M. B 171
op.
cit.
9,
Munich 1269
6.
R.F.
Berlin
Louvre); Roscher,
pyxis
Berlin
p. 1615.
in
Kopenhagen
in chariots).
iii.
p.
1617 (fine
the
goddesses
JUDGMENT OF PARIS
(4) Procession-type
abandoned
123
1
In one
figures.
Only on R.F. and later vases.
the godinstance two stages seem to be represented
first,
attendant
we know,
we
next
find him
Accordingly
wife in Greece."
the fairest
arrived at Sparta and carrying of! the fair Helen as his bride.
The vases (all of the R.F. and late periods) depict him on
4
his arrival at Menelaos' palace introduced to Helen, or else
we
Helen
see
consort
at her toilet
Paris leads
next,
and finally
on his return home. 7
The war having now broken out, we are introduced to the two
chief heroes on the Greek side, Achilles and Ajax, as they bid
his
chariot,
and
Menoitios, and
8
other heroes, bids farewell to his parents Peleus and Thetis
he also pays a farewell visit to his grandfather Nereus, who
9
presents him with a crown, and receives a valedictory libation
ment.
Achilles,
accompanied by
Patroklos,
from a Nereid. 10
1
Berlin
2633
Reinach,
i.
Petersburg
B.M.
109,
1807
Karlsruhe 259 =
3240
waengler and Reichhold, pi. 30 ; Ath.
Mitlh. xxiv. (1899), p. 67 (R.F. kotyle
Berlin
in Berlin,
2
Hermes
omitted).
Wiener VorL E.
1 1
72 = Roscher,
iv.
ix.
B.M.
vase in
Thebes).
pis.
i.
= Reinach,
i.
Reinach,
375.
B.M.
i.
292
(?
1961.
B.M.
i.
= Jahrbuch,
(1894), p. 252.
i.
167 ;
Furt-
Reinach,
El. Cer.
(?).
11-12,
Berlin
9, 4.
Naples 3352
Roscher,
ii.
s.v.
1737
= Reinach,
= Reinach,
R.F.
(fine
175
A.U.M. i. 21
Rom. Mitth.
Louvre)
VorL B.
i.
Naples 1982
Millingen,
i.
i.
(1887),
Wiener
485
83
and
also
Nereus.
Reinach,
i.
Wiener VorL B.
286
9,
2 (Epigenes),
HEROIC LEGENDS
124
but as in one of the latter cases the names are wrongly applied
on the vase, it may only represent an idealised departure of an
ordinary warrior. There is also a vase which represents Nestor
"
4
arming (putting on a greave) in presence of Euaichme.
We next find the warriors gathered in Aulis, waiting for the
favouring breeze, and whiling away the time (as Euripides
5
describes ) in the game of Trea-aoi or draughts, which is played
by Ajax and Achilles (names usually given) seated at a raised
board in full armour, with the statue of Atfrena behind them. 6
There is another variety of the type, in which the presence of
Athena seems to have more meaning. Here the two heroes
cast lots with dice before the statue, and there may be some
reference to the dispute of Ajax and Odysseus for the arms
7
The story of the
of Achilles, which was settled by Athena.
sacrifice of Iphigeneia, though popular with poets and painters,
for some reason never found its way on to the vases until the
influence of great pictures and plays was beginning to make
and then only appears in one instance, where the
itself felt
;
transformation
incident
of
into
the
is
carrying
sacrifice to
off
287
Patroklos).
the war, it
= Roscher,
iii.
As
iii.
295: see
1697-99 (setting out of
Nestor himself went to
fig-
3
B
the
is
276.
other
halt
at
10
Helbig,
Wiener
to be left behind
Vorl.
78=
daughter
Reinach,
1888,
6,
i.
96
of
(Exekias).
p. 102.
:
Reinach,
pi. 13, 7, p.
us
i.
The only
Reinach,
indicated.
which concerns
is
bitten
on account of his
the
deer
voyage
50
fig.
ibid.
145
i.
1479
i.
frontispiece.
Vorl. v. 9, 3.
358 = Millingen-Reinach,
Milani,
WAR
125
is
one
possible representation.
Two doubtful references to opening scenes of the war are to
be found in a supposed consultation of Zeus with Themis among
2
Olympian deities, and a representation of the Greeks
3
formally demanding back Helen, a demand which of course
was not granted. The story of Telephos also belongs to an
In one
early stage, and three incidents therefrom are found.
case he is represented as wounded by the spear of Achilles 4
again, entering the Greek camp disguised as a beggar, in order
the
not granted. 6
At
much
later
Troilos, a subject
ii.
in, note
see p.
for
Petersburg 1275
Reinach,
cf.
Mon.
i.
i.
152
22
:
pi.
141
7
B.M.
= Reinach,
;
Reinach,
Hi.
p.
Reinach,
i.
Reinach,
ii.
B.M. B
153.
'-'
i.
ii.
114-15
Baumeister,
2000 (Euphronios)
=
285, 3 ; Louvre G 18
203, 3; Louvre
703 =
92 ; B.M. B 326.
1901,
Reinach,
382
i.
(signed by Hieron).
8
282
8.
fig.
Munich 124
Reinach,
ii.
113.
HEROIC LEGENDS
126
in literature pro-
Book
187
I.
The dispute
ff.
Agamemnon and
of
Achilles.
u. Lied, p. 213.
320
Agamemnon and
ff.
Reinach,
i.
i48
= Baumeister,
i.
Briseis.
p. 721, fig.
Reinach,
430
ff.
ii.
91.
Engelmann-Anderson, Atlas
Book
II.
50
B.M. B
Agamemnon
ff.
Thersites insulting
Agamemnon.
196.
(the
(cf.
*
Reinach,
Ibid.
i.
ii.
12.
in council.
iii.
149.
212
B.M.
ff.
to Iliad^
198.
306
Wiener
Vorl.
iii.
Wiener
Vorl.
1 888,
i,
3 (Chares pyxis).
HOMERIC SUBJECTS
Book
III.
259
Jahrbuch,
ff.
iv.
(1889),
127
in his chariot.
pi. 10.
Combat
Book V. 95-296.
Diomedes
of
reminiscence
vi. 7
and
Engel-
Pandaros
(a
of).
Berlin 764
p.
Combat
3i2ff.
Diomedes
of
latter protected
B M. E
by Aphrodite.
ii.
the
Aeneas,
now
in
97 (B.F.).
ff.
Stackelberg,
pi.
and
pi.
258
(i) Hector arming.
Munich 378 = Reinach, ii. 94 = Furtwaengler and Reichhold,
ff.
pi.
14.
(2)
Helbig, 134
Reinach,
(3)
J.H.S.
ix. pi.
(4)
321
ii.
ff.
ii.
= Engelmann-Anderson,
94
282
Reinach,
Louvre
E638(=
Jahrbuch,
ii.
255
iv.
Reinach,
iii.
38.
ii.
Homeric scenes on
sometimes used
an ordinary warrior
taking leave of
i.
243),-
642;
(1889), p. 260.
is
Priam and
Departure of Hector.
(?);
160
to
= B M. E
battle.
255.
his family,
is difficult
it
HEROIC LEGENDS
128
Combat
Helbig, 6 =
of
ff.
Munich 53;
Reinach,
i.
xiv.
402
ff.)
Anderson,
Book VIII.
89
Reinach,
ii.
vii.
42).
Combat
ff.
96.
261
ff.
397
Reinach,
Book IX.
above passage, or to
may
ii.
ff.
xii.
370 ff.,
ff.
Iris
Athena
interrupting
296.
Jahrbuch,
173
(1892),
i.
pi.
Embassy
ff.
B.M.
56
282),
= Wiener VorL C.
2326 ( = Reinach,
Reinach,
i.
3,
i.
3; Berlin 2176
431
Reinach,
14;
i.
Roscher,
148
Reinach,
i.
658); MillinVorl.
C. 6
iii.
= Wiener
Book X. 330-461.
of
Episode
Odysseus.
526
Reinach,
*fi$
i.
Dolon
his
= Jahrbuchi v. (1890),
= Wiener VorL v.
89
p.
capture
143
by
Bibl. Nat.
(Euphronios)
Reinach,
i.
334
469-525.
Rhesos and
his horses.
B.M. B 234-35
p.
Book
xix.
320 ff.
ff.
The
129
of Diomedes.
Book
XL The fight
at the ships.
Book XIV.
Reinach,
ii.
99
Baumeister,
i.
vii.
162
1.
(?
i.
402
104
i.
ff.).
Helbig, No. 6
ff.).
fflfl^A"Ayj(Am^
CAPTURE OF DOLON (LUCANIAN KRATER
FIG. 130.
Book XVI.
666
ff.
Sarpedon
carried
IN BRITISH MUSEUM).
off
by
Hypnos and
Thanatos.
See Louvre
Book XVII.
60
ff.
B.M.
1
The
text
Menelaos
A 749
is
kills
Baumeister,
i.
VOL.
II.
body.
p. 730, fig.
784
*
;
and see
E 20.
Possibly
a confusion with the Patroklos
episode below.
there
is
HEROIC LEGENDS
130
123
Exekias kylix
Millin-Reinach,
Vorl. D.
Wiener
49
i.
ii.
36) ; Reinach, ii. 95
Berlin 2264 (Oltos and Euxitheos) =
= Engelmann- Anderson,
2,
of Patroklos.
xiv. 76.
of Hephaistos.
(2)
Rom. Mitth.
Book XIX.
(1887), p. 242.
ii.
1-18.
to Achilles.
(a)
B.M.
363; Millin-Reinach,
364
4, 7
Book XXI.
i.
14.
Achilles arming.
ff.
Athens 671
221-24;
iii.
Wiener
Vorl.
ii.
14
Combat
ff.
xviii.
5).
B.M. Fi73.
Book XXII.
Reinach,
No.
88
ii.
fT.
fT.
B.M. B 639
The "
Museum Report
for 1898,
19
see
42).
209
i.
Nat.
Baumeister,
"
Psychostasia
Bibl.
is
385
ii.
p.
in
his
Reinach,
921,
fig.
i.
89
Millin-Reinach, |
994.
Memnon
(p. 132).
131
Death of Hector.
ff.
B,M.
Odyss.
Hi. 15.
437
ff.
only).
B.M.
509.
fT.
175
etc.).
Sacrifice of
ff.
of Patroklos.
Naples 3254
Book XXIV.
Reinach,
i.
187.
i6ff.
B.M.)
141
Berlin 1867
Achilles
ff.
Cat. 306
= Reinach,
offering
ii.
Reinach,
ii.
100 (now
his
to
the
river
Spercheios.
B.M.
555
(?).
448
ff.
= Reinach,
Baumeister,
Athens 889
580
ii.
i.
p. 739, fig.
= ^#.
ff.
Bildiv.
Mitth. 1898,
pi.
Reinach,
pi.
20,
3),
Reinach,
i.
and
i.
890
138
Among
and the
fall
of Troy, those
which
relate
to
the
final
See, for a revised drawing of this vase, Hill, Illustrations of School Classics, p. 105.
HEROIC LEGENDS
132
encounters with
and
remaining.
out,
or
in
Penthesileia
The
by Zeus
The body of
(see p. 130), has also been referred to this event.
Antilochos is finally rescued and carried off by Nestor. 10
Lastly, we find a few possible representations of the death
of Achilles, 11 and others, more certainly to be identified, of the
1
B.M.
pi. 6, 2,
1889,
1888,
468
105),
ii.
hold, 6.
i.
ii.
105.
Millingen,
A.U.M.
i.
4 = Engelmann-
iii.
ff.);
15
(?
105, 2.
6
B.F.
Mus.
Greg.
Berlin 1147
ii.
28,
i,
Helbig,
and
38,
see
Reinach,
8,
;
31
Bibl.
254.
R.F.
B.M,
49= Reinach,
is slightly
ii.
Millingen-Reinach,
Boston),
Reinach,
B.M.
Reinach,
i.
12
149
=
;
Wiener VorL D.
Louvre F 388 (?)
3,
:
see
p. 71.
8
vi.
i.
347 = Bourguignon Cat. 19 :
Athens 1093 = Roscher, ii. 2678
(Eos, together with Thanatos and Hypnos,
two Keres).
Reinach,
cf.
also
10
B.M.
E 808
(?).
ii.
49, 2.
133
it.
representation
of the ghost of a warrior, winged and fully armed, flying over a
4
ship, is to be regarded as that of Achilles, though to what event
The dispute over the hero's armour
it alludes is not clear.
8
according to another version, they cast lots before her statue.
9
The armour is then awarded to Neoptolemos, who, according
mad
is
however, represented.
'I\iov Ilepa-w, or sack of Troy, which is so vividly
represented on many of the vases of advanced and late style,
not,
The
may be
11
It is rapidly followed
by Odysseus and Diomede.
horse
the
of
wooden
and its entry into
the
construction
by
Palladion
2
ii.
Reinach,
82.
i.
B.M. B 172
115; Helbig, 77
below,
p.
177)
ibid.
ii.
107 (see
= Reinach,
5,
Reinach,
The
Vorl. C. 8, 2.
2 (in Louvre)
i.
is
type
313
derived from
that of Herakles
7
B.M.
Millin-Reinach,
i.
Wiener
101).
vi.
66.
(Thetis present)
8
Louvre
ibid.
*
ii.
d.
Reinach,
i.
311
(?).
240
Reinach,
see p.
zu
107
B.M.
643
i.
fig.
6397,
13;
10
i.
151
278.
"
Wiener
Reinach,
366.
i.
299,
102
parody, B.M.
HEROIC LEGENDS
34
is,
Laokoon
traitorous Sinon.
other scenes
flight
leading back
the sacrifice of
of Aithra
General.
I.
Berlin
1685
26,
pi.
i)
and 2281
LIV.
i.
IL
(a)
Ajax
seizing
Kassandra
Athena.
at the altar of
B-F.
R.F.
ii.
Priam only.
B.M. B 241 Rom. Mitth.
(1)
Priam
(2)
Hi.
[Priam dead in
Berlin 3996.
usually
all
on
seated
Reinach,
>
ii.
109
except second.]
altar
Neoptolemos
xiv. pi. 9.
Andromache
(3)
Millin-Reinach,
Archemoros
1
Bibl.
(1892), pi.
ii.
186
Nat.
2
37
ii.
i.
ii.
109
J.PT. S.
(Lasimos
= Jahrbitch vii.
= Reinach,
1279.
221,
seep. 118).
t
Munich 400
116; Roscher,
or
i.
I.]
Man. Antichi,
ix.
pi.
15: see
Ja
135
B.M.
ii.
34; Helbig, 43
=
i.
Baumeister,
325
(
p. 746,
Greg.
49, 2),
Millingen, Anc. Uned. Mon. pi. 32; Louvre 03
fig. 798);
(Pamphaios) ; Reinach, i. 222 = Wiener VorL D. 8, i Noel
263; Reinach,
161,
= Mus.
(
437, 3 (Hieron),
i.
and
ii.
ii.
p.
pi. 39.
B.M. B 244
(e)
iii.
with Aithra.
(?),
pi. 26,
13.
B.M. B
173,
280
Baumeister,
85,
Reinach,
p.
Naples
Wiener
i.
31,
2481
ii.
fig.
;
no = Munich
(
32
Bibl.
= Mus. Greg.
Helbig, 201
Nat. 261 ; Louvre Fi22
ii.
i.
XXIII. =/.#:
xviii. pi.
15 (B.M.)
(g)
Polymestor blinded.
Reinach,
i.
p.
170 (now
in B.M.).
(k)
Reinach,
i.
(?).
88.
.
Among
The house
to have attracted the painter less than the more stirring events
of the Iliad.
The following, however, have been identified
:
Book
II.
94
Reinach,
ff.
i.
HEROIC LEGENDS
136
Book
I2ff.
III.
Pylos.
= Roscher,
Berlin 3289
Oxford
= Engelmann-Anderson,
iii.
13.
ff.
Naples 1767
Book V. 228
298
iii.
ff.
Cat.
262,
26
pi.
raft.
(burlesque).
156
Nausikaa washing
ff.
110
ii.
clothes.
= Roscher,
s.v.
i.
153.
ff.
371
Plate
ff.
XVI. = Helbig,
i.
Reinach,
190
Arch. 1887,
ff.
i.
pi. i
Jahrbuch, 1891,
420
482
pi.
Reinach,
Karlsruhe 167
Reinach,
(&)
Reinach
=J.H.S.
generally,
p.
28
2.
iv. p.
249; Louvre
J.H.S.
iv.
p.
248
pi-
ff.,
and
ff.
(a) Arrival of
i.
Odyss. pert, p.
64:
i.
2ioff.
Monum. ad
see Bolte,
Book X.
p. 60.
(see J.H.S.
xiii. p. 82).
Odysseus.
142 = Roscher,
ii.
1195.
Transformations of comrades.
i.
= ibid.
i.
J.H.S.
xiii.
pis. 2
(Athens 956), 4
i.
142.
(in
B.M.),
p.
81 (Oxford 262);
Odysseus
ff.
23
Bibl. Nat.
422
137
Reinach,
i.
126
Baumeister,
ii.
Hades.
1040,
p.
fig.
1254.
200.
Athens c)$%=J.H.S.
vi.
49, p.
pi.
xiii.
20
pi.
Book XVIII.
Reinach,
35
ii.
i.
ff.
p. 31).
Odysseus and
Iros.
357.
last
B.M.
i;
ff.
191.
394
ff.
The
story of Autolykos.
90
ff. ;
i.
The
The
ff.
217.
same ground
We
the murder of
Agamemnon
1
by Klytaemnestra with her axe.
in
modern
Berlin 2301 = Reinach, i. 381; Petersburg 812 = Reinach, i. 381 = MillinReinach, i. 58 (doubtful).
2
Reinach, ii. 16 ; Naples 2858 =
1
is
= Baumeister,
1761
iii.
pi.
28, 5; ibid.
p. 1848, fig.
1939;
HEROIC LEGENDS
138
The same
he
is
seen
also
at
hand of Orestes
at Delphi.
10
ATTIC LEGENDS
now be
of
particular legend.
There
are,
Reinach,
ii.
175:
cf.
Boston Mus,
Report
3
1113,
p.
Roscher,
*
ii.
B.M.
ii.
169
381;
i.
24.
= Reinach, 19 ibid.
Naples 1984 = Baumeister,
i.
316;
B.M.
Louvre)
66
Reinach,
Millin-Reinach,
ii.
132 (in
i.
68
Reinach,
Naples
390;
i.
1890,
p.
90 (Berlin);
Reinach,
i.
105
= Naples
3223
ibid.
808
ibid.\. 158 = Petersburg 420 ; Naples S. A.
24 ; and see B.M. F 155, and Reinach,
133
p.
Baiimeister,
i.
p.
757,
fig.
279.
10
ii.
cf.
Pylades at omphalos?).
8
Petersburg 2189 (according to Robut see Reinach, i. 5>
scher, iii. p. 993)
and above under Kadmos.
i.
446.
Petersburg 349
9,
Anzeiger,
and
iii.
Millin-Reinach,
6
143;
i.
Vienna
Roscher,
5
Reinach,
1310;
fig.
Arch.
i.
321 == Baumeister,
1215 (Jatta Coll.).
Reinach,
1009,
fig.
" See
generally on Athenian
illustrated
ff.
cults, as
by vase-paintings, Harrison,
ii.
of Athens,
Introd.
ATTIC LEGENDS
139
by Eos
(p.
There remain
80).
vases
(p. 19).
B.M.
372
Berlin 2537
= Reinach,
The
i. 208= Wiener
VorL B. 12;
and Reinach, i. 113 = Wiener
2.
iii.
66
i.
788.
of
reception
Attica (by
in
Dionysos
Ikarios
or
Amphiktion).
149,
this,
(3)
The
Philomela.
(a).
153,
and
story
of
Museum
See above,
Tereus and
his
appear to refer to
p. 56.
Prokne and
daughters,
in chariots.
Naples 3233
(b)
= Reinach,
Reinach,
i.
308
240.
i.
dumb
Philomela
(in Louvre).
a).
The
Reinach,
1
On
i.
5io
= Roscher,
ii.
by a
hill,
and
Pallas,
with
2187.
3
Cf.
Strabo,
ix.
392,
and
see for
124 above,
In the vase here given they witness the
exploits of their kinsman Theseus (on the
obverse).
p.
HEROIC LEGENDS
140
(5)
The death of
B.M.
(6)
E 477
i.
375
cf.
Reinach,
(8)
i.
244
Echelos carrying
The
off Basile.
p.
39
(?).
4, 2 (in
Louvre).
see p. 27.
iii.
Ion.
ff.
in Attica
Wiener Vorl.
Reinach,
(7)
Prokris
eponymous deme-hero
(?).
116.
xiii. p.
Bologna 273
= Baumeister,
iii.
p.
1998,
fig.
2i^=Jahrbuch
1898,
pi. 4.
in
Wiener
Vorl.
i.
4)
is
The
Ajax taking leave of Lykos and Aigeus and Ajax (Aias) are
eponymous heroes of two Attic tribes. On the Meidias vase in
;
Museum we
2
the British
(1)
i.
See also
395
= Dennis,
JZtruria 2 ,
ii.
frontispiece.
p. 69.
(2)
i.
130
ff.,
Furtwaengler
MISCELLANEOUS LEGENDS
(3)
B.M.
p.
(4)
155
altar.
141
125.
Atreus and
(5)
as
latter
Thyestes (the
suppliant
in
the
former's palace?).
Millingen-Reinach, 23
= Wiener
(6)
Naples
1767 =
Glaukos
(7)
B.M.
Reinach,
i.
pis. 1-2.
tomb brought
D 5 = Plate XL.
to
see Apollod.
i.
flight of.
in the
Kanaka's
(8)
Vorl. B. 4,
life
iii.
3,
by the
seer Polyeidos.
i.
suicide.
448.
B.M.
(10)
177
cf.
Lykourgos destroying
pp. 834-35.
Thoas
and
i.
when
p. 154.
32 19 = Reinach,
i.
125,
i.
p. 56.
T 7
60
Merope
= Millingen-Reinach, 52=
(a scene
Wiener
Vorl. B. 4, 3.
i.
363
see
p. 118.
(13)
Louvre
p.
A 478 =
586.
Hermes 1898,
p.
stole.
HEROIC LEGENDS
142
Munich 125
pi.
31),
= Reinach,
i2o = Furtwaengler and
= Reinach,
88; Bibl. Nat.
ii.
and 584
Arch. 1880,
pi.
ii.
14; Micali,
Mon.
Ined.
pi.
Reichhold,
= Gaz.
818
41.
FIG.
(16)
= Reinach,
ii.
162
cf.
Apollod.
iii.
13, 3.
131.
frenzied Maenads.
B.M.
775
fig.
1879,
(17)
pis.
4-5
(?).
MISCELLANEOUS LEGENDS
(18)
143
E 291 =
B.M.
Wiener ForI. C.
8, i.
(19)
The madness
of Salmoneus.
',
Gk. Religion,
(20)
to
p. 61.
Thoas placed
Berlin
cf.
in the chest
2300 = Reinach,
i.
273
by Hypsipyle.
see Ap.
Rhod.
i.
622,
and Hartwig,
Meistersch. p. 374.
(21)
Jahrbuch, 1902,
658
pi. 2
Boston): see
The foundation
(22)
(in
vii.
reference).
ibid.
p. 68,
//.
ii.
513 and
42.
of Boiae in Laconia
by the appearance
of a hare.
Reinach,
ii.
333
is
exceedingly
doubtful).
(23)
Two
Wiener
boys delivered to a
Nymph (unknown
myth).
Vorl. E. 12, 3.
The
2
group of Thracians (the men recognisable by their
costume, see p. 179), and his pursuit by the Thracian women \
and subsequent death at their hands. 4 In one scene his head
5
after his death is made use of as an oracle.
He is often present
in under-world scenes (see p. 68), but not always in connection
with the fetching back of Eurydike. 6
lyre
among
Furtwaengler (jo
festprogr. p.
scenes to the
163)
tes
refers
Winckelmannsthe
Lykourgeia.
Orpheus
i.
186, 327 (
Roscher,
iii.
= Roscher,
p.
1184
iii.
p.
1185-86)
B.M.
390; Naples 1978, 2889,
3143 (see Reinach, i. 176); Reinach, i.
=
403
Roscher, iii. p. 1181 ; Roscher, iii.
p.
1179
(in Berlin).
p. 143.
HEROIC LEGENDS
144
;.
historical persons
6
caught in his rose-garden and is led before him with hands tied
and Minos, who appears at the slaying of the Minotaur by
6
7
Theseus, and in the under-world as one of the judges of souls.
;
a large part on
queen Penthesileia
their
by
in the
War
Trojan
8
;
and we
also
find
them
in
many battle
may also be
identification.
12
They
13
9
I0
Reinach,!. 176.
2
3
Reinach,
526.
1344 = Dumont-Pottier,
Jatta 1538
Athens
pi.
5,
Ibid.
iii.
p. 285.
i.
i.
pi. 144
10
" B.M.
F6, 85, 230; Reinach, i. 492,
" 2 9512
B.M. Fi58, 278; Naples R.C. 239
= Reinach,
330= Wiener
p. 160).
B.M.
447
Reinach,
189 =
Benndorf,
Gr. u.
Sic.
Vasenb.
53,
Reinach,
Munich 849
i.
147, 509;
ii.
= Reinach,
8 1, 271.
i.
258.
Reinach,
Reichhold,
482), 3253
i.
= Reinach,
i.
and 2421
Furtwaengler and
ii.
278
26-8) ; Millin-Reinach, i.
= Bibl. Nat. 427) and 61 ; Millingenpis.
56 (
Reinach, 37.
13
B.M.
12
F2O3; Munich 4
Reinach, ii. 56.
u Wiener Vorl.
158, 566
1889,
6,
2; BJ
145
a besieged
city
animal,
Greek
Nearly
7
or fastening a shoe ; or in peaceful converse with a
9
8
or else without any distinguishing action.
warrior,
all
women
found on
and
creatures
mythical
Minotaur.
like
the
torrents or
10
;
or, again, in
the
thoos,
Vasi
Inghirami,
Thiersch, Tyrrhen.
2
B.M.
pi. 2, fig.
40;
i.
Amph.
Hartwig,
2 (Louvre
2; Reinach,
Fitt.
035)
iv.
304
p. 64.
Meistersch.
ibid. pi. 22,
166.
Engelmann-Anderson,
Iliad, v. 24,
vi. 25.
4
B M. E
19
Vorl 1890-91,
5
i.
B.M.
Vienna 231
Wiener
i, 6.
B 591
B.M.
253,
295.
B.M.
573.
I0
See above, p. 102.
" See
above, p. in.
12
Frar^ois vase ; B.M.
F277;
Reinach,
Louvre
256
= Jahrbuch,
i.
1887,
i.
154
176,
(= Naples
II.
162,
2411),
1S
473 J.H.S.
Fra^ois vase ; B.M.
Munich 846 = Millingenpi. 6
Reinach, 8; Mon. Antichi, ix. pi. 2;
;
Reinach,
i.
22, 474,
ii.
272.
see p. 102.
pi. ii.
VOL.
508, 4.
6
10
HEROIC LEGENDS
146
7
they are middle-aged.
ornament of B.F.
11
kylikes.
Reinach,
i.
91 (Achilles);
ii.
Munich 611
419 (Herakles)
B.M. B 77
Reinach,
Fig. 98
B.M. F3;o.
See above,
Frar^ois vase
(parody).
i.
Re
'
Reinach,
B.M.
cf.
4
Athens 1246
680
i.
ii.
Vasenb. 8,
58,
82, 2 b
Benndorf, Gr. u.
12
B.M.
F 550
Wiener
nacn
>
i.
cf.
E.
pis.
259.
180.
c*t>
Aen. iii. 216 (virgineat
vultus) and 241 (pbscenae volucres).
See f. U.S.
H B.M.
64,
p. 2.
Vorl.
Cf. Virgil,
13
2.
226.
Reinach,
Mus. Greg.
Sic.
209, 289
ii.
332, 429.
S l '9> 943
p. 112.
p. 344.
xiii. p.
16
103
(?)
ff.
see
Vol.
MONSTERS
Phineus
is
to
probably
at
Harpy appears
the
147
1
A
explained on these lines.
from
Zeus'
of
recovery
golden dog
be
Pandareos. 2
is
Harpy monument
7
On some vases we find a Siren
depicted crowning the dead.
8
a
flute
or
a
lyre (probably merely fanciful subjects)
playing
As mere
or,
decorative
are
or, again,
More
14
rarely they are seen flying.
16
119, 201
name
2
3
1682
= Reinach,
Louvre A 478.
B.M.
440 -,J.ff.S.
i.
441.
pi.
10
B.M. 6510:
Weicker,
E.g. B.M.
cottas,
Strena
Der
cf.
Weicker,
p. 48.
A 1135
Cat. of Terra-
667,
Munich 1077.
12
Munich 1050.
13
B.M. 6215 Louvre A44I,
;
858
See/en-
Berlin 1727
cf. Athens 531 and Wilisch,
Altkor. Thonindustrie, pi. 3, fig. 38.
B.M. 6429.
See above, p. 117 ; and cf. Bibl. Nat.
278 and Athens 1480 = Wiener Vorl.
vogel(igo2).
on B.M.
B.M. 6651.
Louvre
1893, P- 238.
667
14
ls
1889, 9, 8.
16
" Louvre
xiii.
Helbigiana, p. 31.
*
On Sirens generally, and especially
story, Berlin
many
of a
meaning.
i.
man and
17
= Bull,
de Corr, Hell.
xix. p. 235.
HEROIC LEGENDS
148
1
2
grouped with other figures, such as Atlas or a Seilenos
a
scene
from
a
Like the
Satyric drama).
(the latter probably
3
Siren, she is exceedingly common as a decorative figure,
especially in the friezes of animals and monsters so dear to
Her invariable form is that of a
the early vase-painters.
or
with
a
lion
woman's bust.
dog
winged
The Gryphon, a kind of dragon composed of an eagle's head
and lion's body and legs (occasionally a bird's), is almost exclusively
but on the later vases we find the fabulous comdecorative 4
and
is
p. 103.
3
B.M.
5
6
1
8
9
"
Reinach, i. 471.
Naples 2846 = Festschr.fiir Overbeck,
Reinach,
i.
B.M.
434; Reinach,
See above, p. 144.
Ath. Mitth. 1887,
ii.
236.
16
i.
"
p. 64,
ii.
314.
Benndorf, Gr.
2;
29 above.
I
(Pegasos) B.M. 6105, B 417,
Louvre A 307 (Chimaera).
14
B.M.
170; Reinach, ii. 309.
8,
No. 21 (B.F.).
10
p.
23, 53.
pi. II.
See
ls
i.
Cat. 57.
Bourguignon
12
pi.
seef.ff.S.
xi. p.
MONSTERS
149
a single figure 3
and Lamia, a vampire or ogress in
the form of a hideous old woman, who is seen undergoing
or
as
and
Satyrs,
type of monster,
from
torture
Another
already been
has
in
another
the
serpent-footed
mentioned. 6
scene.
unexplained
giant Typhon,
a unique
type
logical, is the
iTnrdKeKTpvtov or
"
8
head, which appears on some B.F. vases ridden by a youth.
This may also be a convenient place for mentioning the common
HISTORICAL SUBJECTS
The number
names
(i)
The weighing
Reinach,
Ibid.
i.
i.
188.
498.
7 3
B.M. F2i8.
Athens 961 = Ath. Mitth. xvi. pi. 9
(p obably taken from a Satyric drama).
Reinach, i. 459.
See above, p. 12.
Munich 468
= J.H. S.
i.
xix. p.
217
= H e ydemann,
Gr. Vasenb.
pi. 8,
Frangois vase
Reinach,
i.
cf.
27, 54,
470,
ii.
I.
HEROIC LEGENDS
150
(B.C.
545).
= Reinach,
Fig. i32
king of Lydia, on
See above, p. 6.
the
(2) Kroisos,
i.
85
= Baumeister,
ii.
the
p. 796, fig.
funeral
860
(in
pyre
Louvre).
From Baumeister.
FIG.
(3)
132.
B.F.
(B.C. 510).
Arch.-epigr.
Reinach,
(B 605).
i.
Mitth.
aus
Oesterr.
late
iii.
(1879), P 1 6
Panath.
amph.
in
RF
-
B.M.
HISTORICAL SUBJECTS
death with arrows,
Paus.
i.
p.
255, and
The
(5)
p. 15
1892,
B.C.
479
See
(?).
note.
p.
Reinach,
ii.
under Gigantomachia).
Helbig, p. 281
The
(6)
and Frazer's
= Jahrbuch,
Nat. 299
Bibl.
23, 3,
151
Reinach,
i.
p.
525).
Petersburg, 1790
Reinach,
i.
23 (Xenophantos):
cf.
Naples 2992.
(7)
fications as spectators.
Naples 3253
Reinach,
of
(8) Battle
i.
Baumeister,
194
and
Greeks
i.
Persians
pi. 6, fig.
(with
449.
spectator-
deities, etc.).
= Reinach,
Hartwig, Meistersch.
Naples 3256
(9) Battle of
Berlin 3264
II. (i)
55-56 and
p.
p.
179; Reinach,
ii.
84;
518.
i.
270.
Sappho.
(a)
De
i.
pis.
As
single figure.
Witte, Coll. a
(b)
Fig. 133
(c)
I'
Hotel Lambert,
With Alkaios.
= Munich 753 =
pi. 3.
Baumeister,
iii.
p.
1543,
fig.
1607.
Athens 1241
Dumont-Pottier,
pi.
Reinach,
i.
526.
Jatta 1538
(e)
Abhandl.
(2)
i.
526.
Gesellsch.
Talas).
viii.
(1861),
pi.
Aesop.
Helbig, 154
pi.
12,
fig. 2.
i, fig.
see p. 49.
HEROIC LEGENDS
152
Anakreon.
(3)
B.M.
(1861), p. 699
(4)
ff.
From Baumeister.
FIG. 133.
p.
vellers
torical
is
= Jahn,
exceedingly doubtful.
op. tit. pi. 4, fig. i.
Mention should also here be made of the names of hisrenown which often appear on R.F. vases with the word
(see Vol. I. p. 403, and below, p. 267), such as Alkibiades,
153
Glaukon, Hipparchos, Klefnias, Leagros, Megakles, and MilThe question is dealt with elsewhere, and it has been
tiades.
Cf.
(Hipparchos);
Naples 2609
Athens 1162, and Louvre
Athens 1020 = Jahr103 (Leagros)
B.M.
on the
46,
vases.
CHAPTER XV
SUBJECTS FROM ORDINARY LIFE
Religious subjects Sacrifices Funeral scenes The
Athletics
Sport and games Musical scenes
Drama and
burlesques
Animals.
IT is hardly possible to give within brief limits all the illustrations that the vases afford, either directly or indirectly, of
the religious and secular life of the Greeks.
It is, however,
to give a
Thus we have
1.
2.
3.
4.
5.
6.
7.
8.
9.
of the
list
:
10.
i.
RELIGIOUS SUBJECTS
altar,
in the
form of
sacrifices, either
some
before
deity, a cult-image,
RELIGIOUS CEREMONIES
155
or terminal figure.
Thus we have representations of the offering
of a bull to Athena, 1 sacrifices to a primitive image of Dionysos 2
or to a terminal figure of Hermes, 3 or a sacrifice or libation
procession of six
game is probably in
we have the Dioskuri
the various
deities.
Olympian
we
In other instances
see the
14
accompanied by a
doubtless
is
In
flute-player.
intended
to
many
a dramatic, agonistic, or
celebrate
other victory. 15
Among other religious scenes we have the dedication of
a tripod, 16 religious festival dances, 17 praying figures, 18 men
women burning
or
or
1
of libation, 20 a
scenes
ii.
ii.
See
See
13
p.
53
also Reinach,
4 (both Dionysiac).
Oxford 292 (Persephone)
i.
472 and
u B.M.
l5
B.M.
meister,
16
8
9
B.M. 6633.
B.M. 284 = Mon.Antichi, ix.pl.
B.M. B 80, B 585, B 648.
Naples 2858 Mus. Greg. ii. 71, i
;
a.
10
i.
= Heydemann,
Gr. Vasenb.
pi.
n,
l.
Cer.
ii.
(Louvre).
B 3.
455;
i.
p.
21
Athens 1858
1, fig.
165
Bau-
Reinach,
i.
B.M.
Reinach,
I.
456, 494
Millin-Reinach, i. 8 ; Micali,
97, fig. 2 ; Bull, de Corr. Hell.
396.
Storia, pi.
Reinach,
Berlin 2129) :
321, 4; ibid. 122, 2 (
see Hartwig, Meistersch.
p. 48, note ; also
l. Cer. ii.
108, and Reinach, ii. 286.
ii.
E 455,
B.M.
1895, P- IO
198,
priest
(sacrifice to
105, 108
p. 60.
19
122.
2
or
Metragyrtes
Collignon,
mendicant
403
Weihgeschenke, p. 80).
" Berlin
1727, 2010.
18
B.M.
Reinach,
114,
ii.
291
Bibl. Nat.
94;
135.
19
B.M.
88; Mus. Greg. ii. 78, 2b ;
and see Stackelberg, pi. 35.
20
Wiener Vorl.
Reinach, ii. 286
1890-91, pi. 7, 2= Rom. Mitth. v. (1890),
I b.
p. 324; Mus, Greg. 71,
;
156
1
praying before devotees, and a priest examining the entrails
An
of a ram. 2
scene
illustrative
of the
IliOoiyia,
an Athenian feast
7
;
and
Greek
religious belief
and
FUNERAL SCENES
2.
Closely connected
with
these
religious subjects
are
those
of Greek
vases to the
in
the
life
discussed
elsewhere
Naples
3358
Schreiber- Anderson,
Reinach,
20,
3:
i.
see
313 =
Miss
De
cf.
De
cit. pi.
22.
9
10
11
Berlin 2213
Naples
B.M,
494,
iii.
pis.
79, 80.
They appear
legomena
Cdr.
figures.
B.M. 1)641.
Athens 695.
EL
to
Witte, op.
6
7
pi. 29.
3
use of
it
in
this section.
It
must,
of
I.
only conjectural.
i.
271.
= Munich 51.
p. i4O
585; Bull, de Corr
FUNERAL SCENES
157
(Vol.
amphorae, made
In the B.F. period there are the prothesislikewise for placing first round the bier and
Among
vases, the
On
commonest subject
is
the prothesis or
mound
(%&>//<
201
p.
Baumeister,
2
3
pi?.
5
iii.
1943,
p.
fig.
2071.
Bibl.
pi. 96,
6
i.
fig.
321
Bau-
1893,
p. 71.
Reinach,
p.
Cat.
in
(now
279
B.M.)
B.M.
i.
164.
D 62 = Plate
LV.
l65i=Dumont-Pottier,
dorf, Gr.
R.F.
Sic.
example
i.
fig. i
pi.
in
Athens
32; Benn-
Monuments
fine
Ptot,
i.
353
Micali,
Storia,
1-2.
= Baumeister, i. p. 306,
Reinach, i. 164; Anzeiger,
86 (Berlin).
Cf. Fig. 123,
Athens 688
Sale
Nat.
figs.
P-
Jahrbuch, 1891,
228 ; Athens 688.
pi.
4; J.H.S. xix
=B.M. 070.
158
Southern Italy
altar-like base,
is
it
tall
column with
with columns
in front
making
and
again, we may
Or,
reliefs
women 9
stele
indicated
is
by
his armour. 13
The
interior of a
tomb
is
occa-
14
or a series of vases, 15
In one instance a group
it,
17
of figures is placed on the top of the tomb.
Mythological
as
sometimes
Charon
the dead
are
introduced,
ferrying
figures
in
bark,
18
or
F93
that
B.M.
Vol.
I.
F 276,
1 06,
p. 477)-
B.M. F353-
Millin-Reinach,
ii.
29.
B.M. D 51.
B.M. F352 = Fig. 106.
10
B.M. (uncatalogued).
" B.M. D 21.
12
B.M. D6o.
13
B.M. D 58.
14
B.M. D 35 Engelmann-Anderson,
8
B.M.
Odyssey,\\\.\&.
15
16
p. 143.
6
1694
Benndorf, op.
I9 2
pi.
a youth, or a
Occasionally we see the
warrior,
212.
of a
the tomb. 20
stele
cit. pi.
F 212-13,
17
and
18
pi. 2,
I
ibid.
18,
copied
25.
19
20
No.
p.
104,
i.
512.
scher,
Pettier,
pi. 2.
ii.
i.
2678),
pis.
1653-54
27-9)
(= Dumont-
fahrbuch, 1895,
PLATE
PROTHESIS
2,
CULT OF TOMB.
LV.
FUNERAL SCENES
soul of the deceased as a small flitting
159
winged
figure.
On
the
figure
3
dog,
are always surrounded
of offerings,
mourners. 5
by
figures of
women
bearing baskets
6
Apart from the under-world scenes already described, the
future life is not illustrated by the vases, except in a curious
scene on a B.F. Cyrenaic cup, representing a banquet of the
7
There is also one single repreblessed, attended by Sirens.
sentation of the subject so common on later Greek reliefs the
sepulchral banquet.
3.
THE DRAMA
scenes
of the
pis.
2
3
"
32-334
See
B.M. F28i.
B.M. F276, 279-84, 352
(Fig. 106)
Millin-Reinach,
6
Louvre
1893, P- 238.
p. 68.
ii.
38.
processions
;
or
sacrifices
Athens
1132,
1136, 1138.
10
pi. 14,
ii.
i6o
others
may
myths
Judgment
Zeus
visiting
Alkmena
loc. cit. p.
cf.
etc.).
Schreiber-Anderson,
B.M.
which
in
5,
= Heydemann,
276
150.
Apollo healing the Centaur Cheiron B.M. F 151.
(3) Herakles at Delphi ; Apollo takes refuge on the roof of the
temple: Reinach, i. 153, 2 = Rayet and Collignon, p. 318.
of Hephaistos (Daidalos) and Ares (Enyalios)
Combat
B.M.
(4)
:
(2)
F
(5)
269.
mann,
(6)
(7)
5, 2
= Heyde-
p. 281.
= Heydemann,
23
Fig.
105, Vol.
I. p.
474
Reinach,
i.
p. 279.
Reinach,
i.
273.
B.M. F 366.
(8)
Rape
(9)
(10) Odysseus
(n) Odysseus
in
Phaeacia: Reinach,
i.
153,
i.
J.H.S.
B 77 = Fig.
p. 77
2
ff.
xiii.
pi. 4,
and
p. 81
B.M.
xiii.
ii.
p.
4
5
6
7
821,
fig.
904 (sztjahrbuch,
i.
p. 283).
B.M. F233:
cf.
Reinach,
5, 10
Schreiber-Anderson,
mann,
p.
307
Reinach,
ii.
i.
332,
114.
Heyde5.
161
scenes, again,
FIG. 134.
2
8
B.M. F/543.
B.M. FiSg = Fig. 134.
Naples 3240 = Reinach,
VOL.
II.
Eaumeister,
4
i.
114
i.
flute,
pi. 5, fig.
B.M.
65.
See Philologus 1868,
t
or dancing,
422
pis. 1-4, p. iff.
II
162
many
scenes,
and
costumes of the
figures.
4.
From
in the elaborate
Many
R.F.
engaged
9
boxing, wrestling, running, and leaping
\$2%=Jahrbnch, 1886,
Jatta
B.M.
p.
273;
= Festschr. fur
Overbeck, p. 103.
2
nach,
3
4
6
6
ii.
324, 5
(Satyric chorus)
ii. 288.
Rei-
i.
8
See Vol. I. p. 389, and Plates
XXXIII.-IV. for a complete series of
illustrations, Man. deW Inst. x. pis. 47-8
;
3,
$c
Millin-
I. p.
iv.
p.
472
10
ii.
129.
see also
B.M.
Cat. of
5),
Berlin
664;
R. F.
VorL D.
Reinach, i. 210-15.
B.F. : B.M. 648,
1655, 1805
20.
we have
subject
Jatta 1402
Reinach,
7
E 467
B.M.
in other cases
354
Reinach,
Hartwig,
Meistersch.
pis.
15-6
Bibl.
Nat. 523.
ATHLETICS
163
2
1
single groups of boxers or wrestlers, or of the Tray/cpdrtov, a
boxer is sometimes
somewhat brutal combination of the two. 3
FIG.
135.
we
Here, again,
134).
or
javelin -throwers,
B.M.
Bibl.
Nat.
191,
522
B 295, B
603
Hartwig,
E 94, 95
Meistersch.
pi. 15, 2
332
i-
433. i=Baumeister,
Reinach,
i.
272,
ii.
i.
p. 573, fig.
128.
Arch.-epigr.Mitth.ausOesterr.
126,
G37;
De
Witte,
88 1,
330
p.
613,
ff.
B.M. 6136,
pi. 4-
i.
Baumeister,
611
See on the
fig.
672
Reinach,
Louvre
B.M. B 361.
64
3
Other important
target as they rode past.
4
the horse-race, generally taken
contests are the foot-race
5
the chariot-race 6
the torchpart in by boys (^eX^re?)
1
and the race of armed warriors
race (XafjbTraSijSpofjiLa)
up as a
shield set
12
and a variation
in
B.M.
B.M.
Cat, 358
fahrbuch, 1895,
164.
xxiii. p. 164.
3
i.
45
43,
E 101
Reinach,
Meistersch. p. 45,
433,
i.
No.
p. 100,
10
Francois vase.
59 ; Tyszkiewicz
35
Reinach,
11
Bourguignon Sale
2307
pi.
Reinach,
13
Mus.Greg.
14
Munich 476
ibid.
ii.
22;
127,
and 803
15
;
278.
4 b ]Jahrbuch, 1895,
11.71,
E6,
xxiii. p.
Hartwig,
p. 522.
6143;
Berlin
608
i.
B.M.
12
49
;
J.H.S.
meister,
Cat.
i.
99:
Bau-
320
298,
p.
ii.
ii.
Reinach,
p. 191
ff.
Coll.
pi.
Bour-
17.
1895, p. 190;
E 389, F
op. cit.
trainer
cit.
B.M.
Hartwig,
Hartwig,
196
Jahrbuch, 1895,
pp. 185-88; J.H. S. xxiii. p. 268 ff.
5
B.M. B 133, B 144; Berlin 1655,
Munich 805 ; Athens 1546 ;
1722, 2282
Reinach, i. 12, 100, 199, ii. 61, 253 ; and
fig.
p.
Runner with
Reinach,
I.
pi. 62,
17
16
See/.//.^
B.M. B 144
loc. cit.
Reinach,
:
cf.
ii.
262, 291,
B.M. B 628.
i.
346 = Bourguignon Cat.
Louvre G 17, 036.
See under Nike, p. 88, note 9.
Reinach,
ATHLETIC SUBJECTS
Among more
miscellaneous scenes
may
165
be mentioned athletes
2
1
the /ccopvKo^a^la
anointing themselves and using the strigil
4
3
a girl-runner wounded in
or quintain
an athlete expiring
acrobats 7 and female tumblers
the foot 5 men rolling discs 6
;
To
the
list
10
The athletes are often
preparation for or after their contests.
accompanied by trainers, who use a forked stick to direct their
On
movements. 11
is
it
Berlin 2180
2314
Meistersch.
25
p.
G 38 = Hartwig,
Arch.-epigr. Mitth.
1881, pi. 4
;
Reinach, i. 324.
Petersburg 1611 = Baumeister,
247,
4
extracting a
Reinach,
Reinach,
i.
thorn
106.
ii.
424.
Schreiber-Anderson, 24,
2.
1156
B.M.
Reinach, i. 514;
Baumeister, i. p. 242,
inscribed
A HMO!
=
Anderson,
ibid.
fig.
A);
ii.
292
1893.
134,
275
p.
Dogs
(3)
B.M. B 678,
accompanied by hunters
D 60 ; Berlin 306, and 1727 = Reinach,
i. 431
Oxford 189 (Oikopheles) ; Bibl.
;
Nat.
S.A.
187; Naples
1050
333
Ant. Denkm.
Plate
"B.M. B
XIX.
147
fig.
ii.
206
275.
200;
;
B.M.
Reinach,
A
ii.
44-5.
Helbig, 7;
Reinach, ii. 275
(cover);
ii.
227.
p.
Schreiber-
(using sponge)
ii.
Hell.
i,
Reinach,
Corr.
219 (basin
21, 9
Reinach,
Hartwig, Meistersch. pi. 67,
;
i.
i.
Bibl. Nat.
57
Millin- Reinach,
12
p.
13
Munich 895
goal).
i.
226.
fig.
Mon,
i.
23
An-
80,3.
pi.
66
type.
here,
among
on horseback, 13 often
On
is
sometimes depicted
15
exception to the preference of the time,
three-horse chariot takes the place of the
and sometimes a
16
Among miscellaneous chariot-scenes may be menquadriga.
17
tioned a goddess (?) and a hero mounting chariots, a girl in a
chariot
cart.
drawn by hinds
the various
Among
1
Ant. Denkm.
B.M. B37 (=
Louvre
217
18
;
ii.
Games popular
XXL), Fi54
12
;
cf.
Burlington
Fine Arts Club Cat. 1903, p. 115, No. 62,
for B.F. jug with man hiding in tree and
I.
p.
316:
Reinach,
ii.
5
6
i.
Louvre
Forman
ii.
179.
;
337
and
Reinach,
i.
Reichhold,
238
22
pi.
Mon.
flf.
cf.
Monuments
Cf. also
Piot,
Louvre
15
16
293.
1890, p. 146
290.
B.M.
(in Louvre).
ii.
Mon.
11
ibid.
i.
u Munich
F 223.
10
country
see p.
18.
Millin-Reinach, ii. n.
Berlin 1900
Reinach,
(see p. 129)
423
Reinach,
(Euphronios)
144, 223.
Millin-Reinach,
i.
B.M.
Furtwaengler
p.
a-
Nat. 277
44-5.
Plate
in
19
i.
and
pis. 5-6
G 26.
p. 176.
;
Berlin 2154:
5.
18
fig.
19
Benndorf, Gr.
5.
B.M. B
xxiii.
17
Munich 903
see J.H.S.
167
is,
opponent
pair,
Women
was known as
ey/corvXij.
and children
3
also play at ball, as does Eros.
Equally popular was cock4
see
a
and we also
group of boys shooting with
fighting
;
popinjay or figure of a
at a
the
bird.
Of indoor
r6rra/3o?, a
popular relaxation
6
after a banquet, often seen on kylikes and other R.F. vases.
is
= Reinach,
Berlin 2417
Baumeister,
425
Reinach, ii. 191 Oxford 250.
2
Reinach, i. 8l.
i.
ii.
p. 781,
fig.
836
467 (Satyrs) ;
339, F 197,
Berlin 2710 = Reinach. i. 425
245
(Eros)
Naples 2872 = Millingen, Anc.
Uned. Mon. pi. 12 = Reinach, ii. 169
(Eros) Louvre 036 (ephebos).
4
Louvre F9O and
$(&=* Rev. Arch.
B.M.
Louvre
Hartwig,
9
(1893),
Baumeister,
i.
pli.
5;
Helbig,
p. 622, fig.
p.
695
327=
Reinach,
80,
6
Naples 922
Schreiber
Anderson,
B.M.
70, 453-54,
P- 793. fig-
Louvre
857
G 30.
Archaeologia y
\\.
pl.
iii.
B.M.
p.
1$
15
ii.
14;
p. 181.
xviii. p. 130.
37, 273,
420;
l3
495,
i.
B.M. E2O5(?).
" B.M. F
Louvre F6o; Berlin
123
Baumeister,
387 (Seileni)
fig. 1633 (Eros); Gerhard,
;
1573,
Ant. Bildw.
7.
Reinach,
I0
12
G8i;
xxi.
72, 2.
woman)
pl. 53.
Naples 3151
Anzeiger, 1890,
Reinach,
p.
(F223,
etc.),
and Jahn
i.
400.
89 (in Berlin).
iv.
p.
no
in Ber. d. sachs.
68
made
for playthings
tortoises,
man
this
XXX
others
we
undergo
see a youth
7
8
a man reading
writing on a tablet, or on his way to school
9
and a vivid representation of a schoolmaster
from a roll
;
10
giving a writing lesson.
12
in
music,
11
singing,
9
10
Geseilsch. 1854, p.
2
B.M. Fioi=Fig.
Reinach,
3
Bibl.
i.
fF.,
12.
pi.
Nat.
361= Reinach,
Cat. 52 (in
B.M.)
ii.
262;
Reinach,
Reinach,
meister,
i.
294:
cf.
iv.
387.
ii.
137
B.M.
p.
765, and
Baufor
323.
E
i.
171-72
p. 554, fig.
Oxford
591 (flute)
i.
266
:
cf.
kylix (Plate
l2
XXXIX.).
Reinach,
B.M.
i.
248.
185
H See
p. 95.
cf.
i.
pi. 66.
705, fig.
women with pets see below, p. 173.
6
Berlin 2285= Reinach, i. 196:
i.
Reinach,
333.
" B.M.
l3
207 (hare).
4
ii.
Baumeister,
294.
Bourguignon
i.
243
Naples 2004
Ibid.
169
1
a girl dancing to the flute or with castanets, or a youth to the
2
the
of
a
a
woman
music
Pyrrhic dance in the
girl
dancing
;
R.F. vases. 15
5.
The
varied,
E 61
B.M.
Forman
G 18 (castanets).
Louvre
22
Reinach, i.
Rev. Arch.
61, 372, 469 (Naples 3010)
Stackelberg,
pi.
271
B.M.
xviii. p.
271;
Reinach,
Athens 1019
B.M.
B.M.
Bologna
Plot,
ii.
16;
pi.
10,
Girls playing
ii.
pis.
5-6 (in
ii.
187, 3.
8
B.M.
270,
tersch. pis.
65-6.
469
9;
Schreiber-Anderson,
and
7,
14
1260
Monuments
(Euphronios).
" B.M.
Louvre).
7
1603
Cat.
1662;
287.
Berlin 1686
-cf.
p. 412.
szeJ.H.S.
Petersburg
G =
p.
10
Anzeiger, 1895, p. 40
of Terracottas,
Vienna 234.
;
B.M. B 1 88,
354; Reinach, ii.
Louvre G 103 = Atlas, pi. 101
274
9
B.M. B 139, B 141 Louvre
Amer. Joitrn. of Arch. 1896,
Hartwig, Meis-
90
Dumont-Pottier,
i.
Mus.
16;
Helbig,
Benndorf,
J2
1158
2127
Baumeister,
/. Ctr. ii. 16
iii.
:
37; Athens
1984, fig.
see also Hartwig,
p.
70
Besides these
we
same
in the
From Baumeister.
FIG. 136.
IN BERLIN).
4
vases on the wheel, painting them, or finishing them off, as
already described in a previous chapter one vase represents the
:
Ant. Denkm.
pi. 8,
also Nos.
i, 4,
12, 19
22, 26 (
= Berlin
See
Vol.
*
B.M. 6432
Munich 731
also
Fig. 67,
p.
213
interior of a potter's
171
in various
man
stages
l
;
Young
painting the design with a sort of quill.
men and girls are depicted negotiating the purchase of com3
Another of the Corinthian pinakes^
pleted vases in the shop.
another, a
Metal-work
is
5
represented by a well-known R.F. kylix in Berlin, showing
a bronze foundry, with statues in various stages of completion
;
(see p. 37).
man
7
depicted finishing off a bronze helmet,
8
and of similar
completed terminal figure
is
carrying a
9
import is the subject of Athena modelling a horse.
Agriculture is represented by vases in Berlin and the Louvre
or
well.
A man
11
seen cutting down a tree, 12 and another birds'Shepherds with flocks of sheep and goats are seen on
13
nesting.
is
vases,
14
16
press,
1
and
lastly the
I.
p.
I.
p. 228.
218.
iii.
(1904), p. 45
Berlin 2294
Baumeister,
i.
meister,
iii.
J.H.S.
Reinach,
p. 1582, fig.
xxiv.
p.
>
73
See
p. 16,
10
224
74.
13
Louvre F68.
" Louvre
F6Q
pi. I, figs.
Wiener
Vorl.
Vienna 335
64, figs.
Bau-
1639 ( in Boston).
\.
83.
17
1,3;
Schreiber- Anderson,
Reinach,
meister,
18
40
cf.
Berlin 1 806
Fortnan
F77 =
ibid.
fig.
13
Froehner,
cf.
Berlin
Sale
ii.
p.
and
1855
Cat.
323 (now in
of Terracotta,
Reinach,
1047,
=Bau-
1259.
fig.
Cat.
B.M.
Helbig, 70
meister,
6 (in
90.
p. 1047,
ii.
D 550.
19
= Fig. i36(Nikosthenes);
ii.
B.M. 6226;
Boston)
7-
p.
16
1888,
9-10;
note 4.
Louvre
ff.
ii.
El. Cer.
pi.
305; Branteghem
Cat. 44.
i.
19
and Robert,
B.M. B 507
oil.
(sowing).
198
pi. 5, p.
Berlin 2274
13,
p. 73,
p. 506,
547-
son
12
15
ff.
Arch. Mcirchen,
Berlin 831
3 a.
fig.
selling his
i.
figs.
p.
106
Bau-
1260-1261;
69,^0.
24.
A butcher
1
represented cutting up meat, and also the preparing
2
and cutting up of a tunny-fish, and the baking of bread 3
on a B.F. vase two men weigh goods in a balance 4 and the
is
mentioned
here.
(?)
Lastly,
we have
DAILY LIFE OF
6.
WOMEN
Scenes from the daily life of women form our next heading,
and we include therewith those relating to marriage or preparations for nuptials, which play so important a part in woman's life.
The "type" of a marriage procession on B.F. vases is, as we
have seen (p. 16, and Vol. I. p. 378), liable to be confused with the
subject of the marriage of Zeus and Hera the bride and bride;
in a four-horse chariot,
groom appear
accompanied by persons
We
and the
the bridal pair on their marital couch (lectus genialis)
13
Other scenes may
return of the bride after the ceremonies.
15
14
a bridal
possibly represent a betrothal,
Louvre
635 = Reinach, i. 151 ;
Boston Mus. Report, 1899, p. 70, No. 25.
2
Berlin 1915 = Reinach, ii. 155.
1
kneading dough).
4
5
B.M. E86
meister,
7
8
9
10
iii.
B.M.
p. 149.
= Baui. 224
1649 (in Boston).
Reinach,
p. 1587, fig.
toilet,
or a nuptial
= Coll.
Sabouroff,
i.
pi. 58),
1588 = 'E0. 'Apx- 1897, pi- 10, 2 (preparations for marriage, with fancy names):
see generally Wiener Vorl. 1888, p 1 8.
.
12
Baumeister,
i.
p.
313,
fig.
328.
ls
23.
fig. 3.
F 10, F 56.
B 257 B 485
;
1S
;
Reinach,
i.
173
J.H.S.
xxiii. p. 133'
DAILY LIFE OF
WOMEN
173
1
and, finally, the arrival of the bridal pair at their house,
with a servant preparing the marriage-bed. 2
More common, especially on R.F. vases of the fine style,
sacrifice,
from the
scenes taken
are
of
life
women's apartments
the
5
4
(yvvcuKwvlris)* such as women at their toilet, spinning wool,
7
6
or bleaching linen, or embroidering.
Under the heading of
toilet scenes are included single figures of women arranging
on their girdles 10 or
shoes,
11
12
They
18
groups of Aphrodite, the Graces, etc.
A favourite subject, but almost confined to the B.F. hydriae, is
that of maidens with pitchers on their heads fetching water from
a fountain, which is usually in the form of a building with
Petersburg
A niph.
3
151 = Thiersch,
Tyrrhen.
pi. 5.
Berlin 1841
=Reinach,
ii.
44 (B.F.)
i.
(Petersburg
472
1791),
= Naples
<
B.M.
12
13
14
15
16
Reinach,
rpov)
i.
Stackelberg, 34
Reinach,
i.
iii.
Dumont-Pottier,
Anderson, 82, 4.
i.
pi.
Schreiber-
Baumeister,
Boston Mus.
No.
p.
1711,
Report
',
fig.
1796.
1900,
p.
10.
Baumeister,
iii.
41,
114
2034
p. 1919, fig.
Plate
XXX.
B.M.
B.M.
19;
;
meister,
(=
i.
p. 243,
Coll. Sabouroff,
Reinach,
i.
ii.
p. 242, fig.
146, 328,
220
Louvre
B.M.
Bau-
D 29,
197 and
F 203 = Amer.
14.
= Baumeister,
62, 2)
i.
17
iii.
fig.
90, 201-2
89
207.
Berlin 1843 (
piece)
iii.
Berlin
p.
148.
Schreiber-Anderson, 83,
366
7,
668.
fig.
Schreiber-Anderson, 82, 12
pi.
ii.
ii.
Louvre
eirtvr]-
420,
609,
p.
4.
B.M. B598,
87,
193,
215,
13 ; Athens 1550, 1552, and 1589 =
i.
Baumeister,
F 101,
F 3 o8, 310;
773-74,
225,
B.M.
Reinach,
Schreiber-Anderson, 83,
Ibia.
11
S.A. 316,
10
Schreiber-
l.
Ctr. iv.
1/4
six in
full
2
or (on late R.F. vases) frankincense. 3
orchards, gathering fruit
Other miscellaneous scenes which cannot be classified are
:
woman
in
bed,
7
from a
woman
burning
scroll,
which women,
i.e.
subject
or
in
common
however, are so
that
the decoration
they hardly
these,
for
call
detailed
20
description.
1
B.M.
Reinach,
6329-38;
ii.
Athens 1429
151
cf.
Louvre F2g6;
B.M. E 159 and
Heydemann,
Gr. Vasenb.
1841
B.M.
D6
Munich 142
cf.
Berlin
l4
15
Reinach,
ii.
B.M.
241,
Sale Cat. 98-9.
4
13
B.M. B
53,
6163,
Coll. Sabouroff,
Bibl. Nat.
Berlin
409;
i.
pi. 51.
Plate
XLV1I.
pi. 9, 2.
2
l2
3993
Athens 1550
44.
721;
Branteghem
16
17
Heydemann,
op. cit.
Oxford 320.
B.M. E 396.
Branteghem
Cat. 163.
Petersburg 875
= Reinach,
Hartwig, Meistersch.
i.
39:
cf.
pi. 27.
pi. 9,. 5.
B.M. E 34.
B.M. E 769.
B.M. E 190.
B.M. E88.
11
19
Seep.
169.
20
ff.
MILITARY SUBJECTS
175
7.
In
these cases
all
difficulty as to
such as the
ficance.
Especially on B.F. vases, familiar types
departure of Hector or the combat of Achilles and Memnon,
occur again
to be identified in other cases by inscriptions
and again
in
the
by the varying
diversified
number
find
B.F.
xviii.
See pp.
p.
B.F.
Louvre
Hartwig, Meistersch.
12,
Reinach,
ii.
J.H.S. xviii.
Reinach, ii. 95.
7
Athens 623
B.M.
7,
Bourgnignon
Cat. 14.
K&&
6400;
R.F.:
Rom. Mitth.
B.M. F 175, 215.
Horseman and foot-soldier
two uncatalogued in B.M.
33,
l8 90, p. 332.
43,
Late
=
ii.
p.
293
Bibl. Nat.
203 =
Munich 374
Reinach,
i.
127.
p.
B.M.
405.
87; Reinach,
p.
126.
3, 7,
cf. Reinach,
Anzeiger, 1892, p. 165
133 and Ar. Ach. 574.
lu
Louvre 05: see Hartwig, Meistersch.
:
ii.
p. 122, note.
u B.M.
Sale
Cat.
cit.
14, i: cf. Berlin 2296 =
pi.
Reinach, i. 428, and B.M. E 598.
12
See note 10
also Festschrift fur
op.
O. Benndorf, p. 66
warrior
him
"type"
1655),
is
woman sometimes
give
This
From Hoppin.
FIG. 137.
4
Or, again, the warrior
placing the quadriga to the front.
5
his
on
is seen
horseback, accompanied by
groom, or a company
6
On later vases the more
on foot set out in marching array.
B.M.
6303-05;
Berlin
Reinach,
124 ; Jahrbuch,
F 345.
pi. 10 ; Louvre F 285,
ii.
2
3
4
iv.
1897
(1889),
Cat.
fig.
6
Louvre
1888,
No.
08 =
1903,
p. 102 (Andokides).
5
Athens 6 i8 = Baumeister,
iii.
No.
21,
p. 1963,
2098.
Reinach,
E 609 =
ii.
128; B.M.
Reinach,
I. p.
i.
624; Louvre
297.
MILITARY SUBJECTS
usual
version
from
stirrup-cup
of
that
is
"
"
177
an ambuscade,
tioned
Among
8
a warrior protecting himself from darts, the capture
10
9
of a prisoner, warriors carrying dead bodies, or human heads
7
battle,
as
of victory. 11
trophies
Besides
13
12
14
heralds,
of warriors,
often appear; or
or of the A OKI (Madia
figures
single
and archers
15
trumpeters,
1G
representations of the armour of a warrior
17
Of a somewhat
or parade of Athenian knights.
slingers,
character
is
scene depicting
warriors
burlesque
on ostriches
riding
and dolphins. 18
Naval scenes are very
B.M.
B.M.
43-4: see
i.
476
7; Petersburg 1692,
ii.
vii.
Louvre F 19,
Wiener VorL
(Duris).
B.M. 651
Berlin 1718
ii.
p. 301,
we
but
10
Reinach.
No. 77
393
Reinach,
i.
Hel107
ii.
Szejahrbuck, 1901,
B.M. 6658.
11
Nat.
Reinach,
400;
ii.
131,
G 25
xiii.
Berlin 1879.
Berlin 2304.
77
i.
VOL.
II.
i.
ii.
70
57
14
B.M.
pi. 18,
15
Sic.
Vascnb.
i.
46,
pi.
Gr.
Benndorf,
I,
See
XXX VI
E 285
p.
F.
Hartwig, Meistersch.
and see
p.
fig.
185.
note
179,
also
Plate
2,
pi. 4.
16
Hartwig,
17
i.
p.
428
1 1
Helbig, 54
Man.
Grecs, 1885-88,
Eine Heerschau
ff.
Reinach,
\.
$6 = Boston
Cat. p. 137.
Reinach,
71
pi. 3.
13
Louvre 046.
5
Reinach, i. 203 = Wiener Vorl. D. 2,
B.M. B 380 Louvre F 127, G 5
2-3
bust of warrior, Louvre F 137.
6
B.M 6470, B6i8; Louvre F292,
(hoplite taking oath)
early
12
Bibl.
occasional
find
big,
65,
70,
rare,
G 54 = Reinach,
1711 = Reinach,
Louvre
372.
12
i;8
3
or merchant- vessels, 4 usually in
war-galleys
such as -the outer edge of
places suitable for a row of ships
a kylix 5 or the broad rim of a deinos or large bowl.
These
vases
we
find
"
"
mixed
are specially common on vases of
The
technique.
"
of
the
administered
to
keel-hauling,"
punishment
subject
7
also
find
a
here.
must
place
refractory sailors,
8.
Oriental figures which can neither be classified as mythological, historical, or genre subjects sometimes appear on vases.
have already made mention of such quasi-mythological
We
is
Archers
Oriental
in
caps with
close-fitting
190, 4, 328, 6,
2
J.H.S.
532; Mon.
A 526
Louvre
B.M. B6o;
XVI. (Aristonoos
krater)
Bibl. Nat.
Plate
Reinach,
Grecs,
ii.
(1882-84),
pi.
19
4,
Baumeister,
iii.
p.
1599,
235 ; Naples
R.C. 246; Munich 781 = Reinach, ii.
126; Petersburg 10 and 86; Wurzburg
337 = Reinach, ii. 141 Rev. Arch, xxxvi.
;
(1900),
Athens 969
See above,
Wiener
Reinach,
Vorl.
i.
1888,
415.
p. 148.
323;
"
1662.
p.
pi. 5, 3.
fig.
Cat.
F 123, F 145.
Louvre F62 Vienna
;
xix.
pp. 44-57
14; Louvre
i.
179
1
arrows, on foot or on horseback, or accompanying the chariots
2
3
as also
of Greek warriors, or taking part in general combats
;
is
by Mikon of the
a
battle of
is
sort
on
riding
Those of undoubted
historical signification
or unmounted
appear
horseman
is
attacked by a lion, 11 a
archers,
Scythian
12
Scythian pursues two courtesans, and there is a curious scene
mentioned.
10
mounted
as
Scythians
13
Thracians,
depicting the revels of the Scythian Agathyrsi.
in the typical local costume of ^elpa (a thick cloak) and aXwrre/crj
(a
Boreas
B.M.
G45;
1889,
126,
pi.
184,
207,
6426
Vorl,
vi.
B.M. B 590-91.
B.M.E
B.M.
695.
Ath. Mitth. 1892,
(1887),
9,
pi.
fig. 2.
473 = Reinach,
Boston Mus. Report, 1900,
Hartwig, faeistersch.
pis.
i.
131.
p. 72.
38-9
and
p. 151.
14
B.M.
481-82
15
Louvre
G26
pi. i
Oxford 310
and
cf.
Mon.
Grecs, 1885-
p.
See
ii.
Bibl. Nat.
13
Bonrguignon
Mitth.
11
Reinach,
12
Wiener
Rom.
(?).
p.
XXXVII.
B
Cat. 14.
ii.
10
F388,
4; and see
p. 177.
B.M. B
376
i.
Louvre
Jahrbtich,
above,
2
6;
Munich 337
Klein, Euphronios,
Mon. Grecs, 1885-88, pi. 5 and
82
B.M.
nach,
i.
63,
301
f.H.S.
ix. pi.
Rei-
i8o
costume of
battle-axe.
trousers,
etc.,
one case
In
accompanies
negro
camel".
combats
of Campania, represent
Osco-Samnite warriors,
cuirass, gaily
leave-takings of native
costume of triangular
or
in their typical
tunic.
vases
all
so far enumerated,
and
"
revels,
is
"
type
In this fashion
a drinking-cup or other appropriate attribute. 7
the gods such as Dionysos, Hermes, or Herakles after his
2
3
4
5
6
Petersburg 1603.
Benndorf, Gr. u. Sic. Vasenb.
pi. 42.
Louvre G 100.
B.M. B 106,.
B.M. F 197, 241-42(566 PlateXLIV.),
Reinach, L 292-93.
B 4 6, 6382, 6679;
Louvre F2, F2i6, F3I4; Gaz. Arch.
7
B.F.
B.M.
i.
R.F.
B.M.
38, 49,
68, 70
tersch.
Munich 272
pi.
Reinach,
15,
ii.
4.
Hartwig, Meis-
B.M.
Late:
495,
Millingen-Reinach,
Reinach, ii. 58.
8
pi.
Millin-
B.M. E 351,
474.
" B.M.
646, 301-2, 382, 679, E66,
I0
454.
BANQUET SCENES
replenish
funnel. 2
their
cups.
The
181
of
results
over-indulgence
sometimes
are
3
After the drinkingrealistically indicated on the R.F. cups.
bouts come amusements of various kinds, notably the game
of the kottabos. 4
No
FIG.
138.
it
is
usually
Louvre
Mitth.
Kleisophos)
Greg.
ii.
81,
691 = Ath.
13-4 (Xenokles and
Gg8; Athens
1889,
pis.
Cab. Poitrtales, 34
Reinach,
i
Mus.
a.
ii.
247
a collected
5
So.
list
of examples
p. 115, for
;
also
the
following notes.
p.
p.
Louvre
25 ; Mus. Greg. ii. 81, I b ;
Hartvvig, Meistersch. pis. 14, 2, 48, and
Louvre
161,
G^o B.M. E 70 =
454,
795;
Fig. 138,
Berlin 4221;
82
of the
part
apparatus to
latest
On
fall
is
the
often
2
represented as well, not only in
the form
male and
7
The women jugglers,
young girl dances for their amusement.
who
and
acrobatic
sword-dancers
often appear on
tumblers,
8
no doubt often contributed to the entertainment
late vases
to
"
of their day.
Sometimes a banqueter
represented reclining on his couch and singing, the words
in one or two cases being inscribed as proceeding out of his
Not only men but women are represented banmouth. 9
is
Reinach,
i.
and
Vol.
see
337
I.
Archaeologia,
p.
452
for
li.
pi. 14 ;
a curious
Fitt.
4
ii.
197.
pis.
273,
ii.
B.M.
14,
61, 68
38,
Reinach,
4.
8
9
174.
;
and see
p. 169.
(/cuj/xos
of
women).
F 425
11
variant.
3
356.
It must
have disappeared from social life about
the end of the fifth century.
2
B.M. F 37 ; Naples 903, S.A. 302,
R.C. 144, 145, 2308
Berlin 2416 =
81,
F 579 =
F275, F3O4,
Fig. 1 18 (Eros).
30 ; Mtts. Greg. ii. 83,
5
i
Louvre G
and 85, 2 b.
6
Louvre F2i6; Reinach, ii. 329, 5:
see also ibid. ii. 6, 304, 5 ; Mus. Greg. ii.
burg).
13
B.M.
46,
33,
;
53,
Reinach,
B.M. B 299
and
508; Fortnan
ii.
120.
REVELS
183
1
playing the lyre, flute, or other instruments, carrying drinking2
3
cups and other vessels, or balancing them in sportive manner.
banquet
On
from the
indulging in
sorts of buffoonery
all
vases,
is
occur on
belong to an age
century
1
B.M.
137,
ii.
n,
3
B.M.
ii.
54,
cit.
Hartwig,
pi.
68,
i
op.
cit.
Hartwig,
op.
cit.
Louvre
pis.
8,
129,
fig- 2.
See above,
B.M.
Bibl. Nat.
pis.
G 73
Cat.
905
57
ff.
is
I.
Froehner,
iv.
of Vases,
passim
quisitions, passim.
and see
B.M.
648,
778-83
705-9,
XLII.) ; Athens
Vasen mit Goldschmuck,
Plate
.
p.
36,
Hartwig,
See Vol.
37;
and
a,
20.
B.M.
clearly fanciful,
E 54
all
488; Reinach,
are
They
their artificiality.
in
when
1941
pi.
i.
(see
= Jahn,
84
Finally,
ciently
definite
scenes
so
to
Such
common on
the
are
kylikes, which
we have
sandals,
6
carrying a wine-amphora or a lyre, playing with castanets,
7
or pursuing a hare
armed with a
reclining at a banquet
club or a large stone 9 a man leading a leopard, 10 and a man
;
11
subjects which appear to have a meaning, yet are not mythological, and cannot be satisfactorily explained; such instances
it
10.
The
deal
1
is
ANIMALS
Berlin
= Millingen= Hartwig,
2279
Meistersch.
207
87
p.
6
26, and
p.
I. p.
Athens
Hartwig,
4
B.M.
pi.
E2
cf.
16,
27
Louvre
17
Wiener
Vorl.
10.
Cambridge
B.M.
Wiener
Louvre
9
Louvre
10
B.M.
see
161
pi.
19, 2 (in
Hartwig, pi.
178; Louvre
71
Hartwig,
pi.
2,
3.
fig.
also
426.
Athens 1162
1890,
detail.
Reinach, 26
i.
in
46; Hartwig,
p.
86; and
Vorl. vi. 8.
G 40.
G 70,
96.
57.
Hartwig,
pi. 70,
33.
ANIMALS
or objects of
185
vases (Vol.
need be made
as subjects they
On the
interest.
sufficient
a deer. 3
or
itself
grazing,
or
other animals
we have an
and
in
its
pack.
ass with
a
7
11
J.H.S. xvii. p. 75
fount, of Arch. 1890,
Arch. Anzeiger, 1893,
Fig. 82
Aier.
22, p. 437
pi.
ff. ;
9 (vase in Mar-
P-
Berlin 2324
7,
pi.
:t
ii.
Wiener
Vorl. 1890-91,
I-
I5.M.
I\lns.
Ei;
Bihl.
2;
31,
128; Boston
Nat.
Reinach,
ii.
Mm.
Greg.
Gsell,
Fouilles de
B.M. B382,
54
4; Louvre F 84 and
I.
Reinach,
ii.
171.
bull,
tersch. p. 565.
7
11
12
p. 381.
Louvre F3I3.
Apes,
Sale Cat. Hotel Drouot, May 1903,
No. 7 1
See generally Hart wig, Meis-
10
Boston).
5
Lion and
panther fighting).
F38o;
seilles).
-
Hartwig,
pi. I.
pi. 65.
Reinach,
iii.
p.
on
1985,
fig.
i.
2128.
96
Baumeister,
Chapter XVII.
86
2
cocks
early Ionic vases, such as geese, quails, or guinea-fowl
and hens confronted are more common, especially in the B.F.
;
and one
period,
Italian vase
late
a flute-case, 7 a lyre, 8
a collection of objects for the
basin,
See Schreiber-Anderson,
pi.
toilet.
63, 6
XLIV.
ii.
92
note
703
and see
Collignon,
see p. 273.
p.
Munich 1170.
Munich 1223.
B.M.
771.
note
185,
330 =
p.
6.
Rayet and
Reinach, i. 503
Reinach,
10
distinct
armour of a
B.M.
and
Ah,
in figure subjects,
"
10
CHAPTER XVI
DETAILS OF TYPES, ARRANGEMENT, AND
ORNAMENTA TION
Costume and attributes of individual deities
Distinctions of types
Monsters
Heroes
sonifications
Personages in every-day
Perlife
Armour and
may
with a
stages of
Greek vase-painting.
i.
DISTINCTIONS OF TYPES
imilar
ases
it
nd limitation
ven
in sculpture
may
be observed not
i88
TYPES,
the female
ARRANGEMENT, ORNAMENTATION
tion,
or
differentiation
vidualised
To
3
lotos-bud, curiously conventionalised.
Hera is distinguished by the stephane or broad diadem,
often ornamented, and covered with the bridal veil, the edge
in
is
the
form of a
Her sceptre
considered typical of brides.
mounted by her emblem the cuckoo.
is
in
the attitude
sometimes
sur-
he
their
emblems.
Where he
holds
in
a dolphin
addition
or
out
difficulty
2
Cf.
by the reader,
B.M. B 147
;
for
See/.^.S*.
xiii.
other
in,
p. 19.
113,
repre-
114
TYPES OF DEITIES
1
which
lotos-bud,
is
189
The
deities
generally.
clearly defined type.
fish-tail in which his
more
The
is
Nereus, on the
body
other hand, is represented as an old man, bald and greyIn this form he contends with Herakles (see p. 101),
bearded.
it
and
may be that the differentiation was necessary to avoid
the
terminates.
[brm
known
as kithara (on
later vases
hair
SeeJ.ff.S.
9
El. Ctr.
Cf.
a chelys)
he
is
and
He
curls
is
also
represented holding a
is
in
fully draped
long chiton,
on his shoulders, or is gathered in a
Unlike most gods, he is at all times youthful and
falls in
3i>Ao?.
icardless.
it
iii.
loc. cit.
pi.
32 B.
laurel-branch,
by Skopas
in
An
exception
where he
is
is
El.
Ctlr.
i.
pi.
62,
ARRANGEMENT, ORNAMENTATION
TYPES,
190
shooting an
or
arrow from
Gryphon,
Artemis
is draped in
long chiton and mantle, and often
wears a high cap on B.F. vases it is not until the later R.F.
period that she appears in hunting costume, with knotted-up
sister
hair,
mides
Hermes
guished.
as
Athena on the
an
from
ordinary
woman
later,
is
the
helmet,
spear,
shield,
See
pis.
04;
l.
Ctr.
TYPES OF DEITIES
191
small mantle
or
The
latter
is
Aphrodite
rate
on the
is
is
(as
40).
earlier vases,
p.
less individualised
in
Judgment of
On
represented armed.
Paris scenes).
later vases
the
Occasionally she
the influence of
bathing or washing), scantily clad or half draped, and in transparent Coan draperies, through which the outlines of her form
are
visible.
She has no
characteristic
attribute,
but
is
fre-
192
TYPES,
ARRANGEMENT, ORNAMENTATION
by her
figure,
later
is
vases,
he
human
legs
when, however, he
feet,
is
aspect.
in all
Satyrs are either elderly and bearded, or youthful
cases with pointed ears and horses' tails, and undraped except
for the fawn-skins which they frequently wear.
They carry
;
tails,
Seileni are
2
The Maenads
shaggy skin.
on B.F. vases) as ordinary
Of
is
3
Hekate
two, but once or twice he has only one.
has torches for her customary attribute, and the Furies, who
number
is
only occur on
1
B.M.
2
South
Italian
various
228.
For an attempted
vases,
distinction of the
SeeJ.Jf.S.
p.
see
521
xviii. p.
Loeschcke
ff.
296.
in
cross-belts
hair, in
193
bearded
there
(cf.
Fig.
in his appearance.
123)
The
life,
rarer figure
is
Among
Nymphs
are identified
is
See B.M.
(the
lenvogel, passim.
3
VOL. IL
or breezes
The Aurae
;
iii.
p. 330.
13
TYPES, ARRANGEMENT,
194
ORNAMENTATION
on
found
only
B.F.
vases,
resembles
the
Gorgons
(see
torches.
on R.F. vases
and short
who only
Among
man
the
and Cities and Countries are occasionally indiFor instance, Thebes, on a vase by Assteas, wears
a turreted crown
Sparta appears as a Nymph on horseback
instruments
vidualised.
is
Only on B.M.
271 and
3237 elsewhere unwinged.
2
See p. QT.
1
See f.H.S.
ix. p.
47
ff.
Naples
Note
TYPES OF HEROES
195
covers
his
identified
club.
costume and a
richly embroidered
tiara or
embroidered cap.
The Homeric
when he takes
with bow and
Kekrops, the
serpent's
tail,
combats he
is attired
as an archer,
Phrygian cap, jerkin, and trousers.
mythical king of Athens, usually ends in a
to denote his autochthonous origin
Midas has
in
part
quiver,
ears
Orpheus
is
armed, frequently
kidaris
(vi.
19,
i),
as
"three
men
upwards.
1
The Centaurs on
E.g. Reinach,
ii.
80.
the
more archaic
2
vases, as
Munich
125.
on those
196
TYPES,
ARRANGEMENT, ORNAMENTATION
of Ionia, appear as men with the body and hind legs of a horse
attached behind
by the middle of the sixth century they
in
the
familiar
form of a human bust conjoined with
appear
a horse's body. The Gorgons are always rendered in grotesque
;
hair intertwined
is
at all periods
Harpy more
of the
in
2
running attitude.
as
4
having human arms.
The Sphinx
is
always a woman-headed
with eagle's beak, and often with erect ears the winged
Pegasos and the bull-headed Minotaur require no description.
lion
Turning now
1
2
3
B.M. B 4.
Lexikon, vol.
i.
197
at different
their
Their dress is often very elaborate on the later vasesActors and musicians both wear appropriate costumes.
The
former, who hardly occur except on the Italian vases, wear
lappets.
Italy there
is
especially in
of costume.
E.g. B.M.
198.
p.
61
ff. ;
Vol.
E.g.
I.
270;
EL
Cer.
ii.
16 and
iv.
90-93; B.M.
308.
p. 472.
B.M.
Hartwig, Meis-
E.g. B.M.
B 59, B
103,,.
Charioteers
the
to
ORNAMENTATION
TYPES, ARRANGEMENT,
198
are
feet,
They
and
B.F. vases
are
equipped
in
the descriptions of
Homer. 1 Their armour usually consists of a crested Corinthian
helmet, a metal cuirass, under which is a short chiton, and
greaves, to which are
known as parameridia.
sometimes
Some
peculiarities
may
also be noted
Of
and
heraldic
significance
full
shield.
they are
ff.,
2
3
Vol.
I.
p. 353.
E.g. B.M.
Cf.
On
342.
263,
469.
Cat. of Bronzes, 2823-24.
this subject generally see T. Ely
B.M.
in Archaeologia,
li.
p.
477 ff.
leg, a serpent,
of
which the
199
in the Septein
shield-devices
of
the
found on the
often
is
earlier
R.F. vases
black on red
in
the letters A to
or a
warrior
9
mask
variation
is
in relief
when
Satyr-mask,
10
Phobos
the
8
11
or a Gryphon,
or a
(Panic),
shield
is surrounded by a
rearing serpent
fringe
of serpents. 13 Shields frequently have a piece of fringed and
Gorgoneion,
12
of
or
when a
embroidered
Xen. Hell.
Paus.
iv.
234
28, 5
Vit.
iv.
4,
10,
vii.
5,
20
7
;
Apophth. Lacon.
Demosth. 20 ; Bacchyl.
;
Plut.
9
10
frag.
2
41 (Bergk).
B.M. 6574:
cf.
B6o8 and
Urlichs,
p.
Reinach,
Inghirami,
i.
453
pi. 109, 2.
4
12
;
Vast Fitt.
B.M. E575.
Cambridge 70.
i.
77
i.
508, 6
See above,
ii.
94, 270.
p. 90,
and Roscher,
iii.
ff.
Reinach,
Berlin
Reinach,
13
2389
11
Vienna 332.
Reinach,
Reinach,
ii.
i.
181
3988,
Berlin 1701.
3992; B.M.
364
63.
Reinach,
in.
" Cf. B.M.
i.
513; Louvre
E 732 =
Fig.
200
The
ARRANGEMENT, ORNAMENTATION
TYPES,
of
details
Oriental
is
worn by Boreas
also
of the fifth
(see above).
In the
first
half
period
On
down
to the
On
Men
side
(known
is
sometimes
as
the XITWV
known
over-garment,
men
are often
as
the diplois.
On
the
earliest
vases
Cf.
B.M. B
io6j,
(p. 102).
TREATMENT OF COSTUMES
The
201
richly emand
purple
patterns, represented by incising
and white colours on the B.F. vases, by black paint on the
R.F.
On the former the women's chiton is often covered
chitons, are often
with
broidered
in
with circles
women)
are covered
filled
become exceedingly
rich
and varied
chequers,
kotyle.
of the
statue
of which
The
is
hair of
of men, usually
women on
falls
wear
as the
in
tcp(*)ftv\o<i,
which, as
B.C.
is
and Reichhold,
pi.
pi.
1885, pi. 5,
fig.
1890,
3
4
pi.
often
Men
seen.
are
II (on head-band),
Mirab. 96.
Kavvadias, Fouilles dt Lycosura,
A^lscult.
Argonaulica,
i.
729
ff.
ff.
pi. 4.
202
TYPES,
ARRANGEMENT, ORNAMENTATION
seldom represented with long hair after 480 B.C., but they
usually wear a wreath or plain fillet.
Head-coverings are rarely
worn by ordinary persons, with the exception of the traveller's
and huntsman's petasos but Oriental personages usually wear
a high cap of some kind (see above, under Barbarians).
;
Jewellery
is
same conventional
and mortals alike
smile,
so
all
See on
this subject
p. 7
(T.
PHYSIOGNOMY ON VASES
by a change of
subtle touch
203
hand
In the different
is, no doubt, an
a more lively expression by means
of the round pupil, while the oval form of the woman's eye
The neglect of this
gives her a softer and less intense look.
man
At an
early date
we may observe
a special treatment
as closed, in the case of a blind or
in the
3
Attic vase, or the quarrelling heroes on a vase in the Louvre
(F 340). It is also used to express the agony of a dying or
4
injured person, as on a vase with the outraged Polyphemos,
with which we
pediment.
But
may compare
all
B.F. vases.
itself felt,
Louvre (Vol.
this
time.
The
I.
is
with face to the front and eyes closing on the other, in the
Argonautic scene, a warrior holding his knees, with lower lip
;
Cf. a funerary
where
754
see also
3
643, 808
B.M.
Jahrbuc/i, 1893,
Ant. Denkm.
Anzeiger,
Louvre E6i2
24, 15.
pi-
i>
pi. 57.
p. 35, fig. 9:
and Ant. Denkm.
1895,
bis,
cf.
ii.
204
TYPES, ARRANGEMENT,
ORNAMENTATION
figures
tragic
is
is
of Troy.
(Fig.
But
107),
in
much
apparent.
artist
for
floral
ground-ornaments
more developed
In the
vase-paintings
or a house
and so
it
is
nails.
considerable attention
is
The Frangois
1
6.
Grecs,
1895-97,
p.
Furtwaengler
Vasenm. p. 8.
and
Reichhold,
Gr.
205
as a
Scenes
good and early instance of a new development.
settings are rare, but an exception may be
architectural
in
noted in the case of some of the late R.F. vases with scenes
in
the
careful attention
is
paid to the
For
rest,
by a strigil
or oil-flask suspended, or a pair of jumping-weights
musical
gatherings by a lyre or a flute in a case
banqueting-rooms
by cups and other vases hung up, or by rows of boots. Simiit
larly,
or
to excess.
scattered
the design
as balls, sashes,
and mirrors.
On
E.g.
B.M.
is
invari-
TYPES, ARRANGEMENT,
206
ORNAMENTATION
it is intended
Flowers grow about in rich profusion. In the
mythological scenes an elaborate architectural background is
frequent, and altars, tripods, and columns serve the same end
able,
to be rocky.
tomb
in the sepulchral
In
have already been described.
athletic
scenes,
of
the
a
on
the
reverse
a
ball,
kraters,
especially
stylus and
scenes
"
"
2.
ARRANGEMENT OF SUBJECTS
The next point to be considered is the method of arrangement and composition of the figures in general on Greek vases.
As regards the Mycenaean, Geometrical, and other early wares,
they may be
ornamentation
left
out of consideration,
firstly,
because their
bands, and
The
first
in the vases
in
all
filled in
with ornament.
Roughly speaking,
two main tendencies, one characteristic of each line of
development the procession and the heraldic group. Both are
there are
essentially Oriental
latter
See on
this
p. 27
ff.
ARRANGEMENT OF SUBJECTS
207
some
extent, especially where friezes of animals are introduced but there is much greater freedom of treatment within
the limits of the field available.
Generally speaking, however,
to
The
frieze style,
which
is
seen on
In the pediment
a centre-point, in
concentrated, as in such
is
Herakles)
to speak, are
B.M. B
Ibid.
147.
6313.
I.
208
TYPES,
ARRANGEMENT, ORNAMENTATION
occupied by groups of bystanders, often nameless and uncharacterised, who are in fact only included to fill up the space
required.
The metope
in the composition.
a
there
are
limited
number
of cases where a single
Lastly,
as
in
found
the
interior of kylikes, on the
sufficient,
figure was
1
circular pinakes, and sometimes on the vases where the large
friezes),
2
eyes take up most of the space.
Subordinate designs, bordering the main design of an amphora
above or below, or decorating the cover, are usually in the form
The
Italy.
earlier R.F. vases preserve the principles of the preceding
3
but usually the
shoulder, containing a frieze of several figures
Designs in framed
design runs into both shoulder and body.
;
B.M. 6589-91.
E.g. B.M. B 264, B 428,
etc.
Cf.
B.M.
164
ff.
ARRANGEMENT OF SUBJECTS
209
The
compositions, by the introduction of landscape and perand the depicting of figures at different levels. This
the
spective,
in
in the large
at
patterns encroaching
3.
all
ORNAMENTAL PATTERNS
Although by
artistic
both respects. 2
in
1
They
69
p.
Plate
2
XLV.
This subject
little
has hitherto
from archaeologists.
VOL.
II.
the plates of
or no general scientific
received
treatment
interwoven with
Riegl's Stilfragen
14
210
TYPES,
ARRANGEMENT, ORNAMENTATION
the
an extremely
common
left
to
That
is
there
is
compared,
mediaeval art
but
it
as
should be
remembered that as their architecture shows the Greek principle was to achieve the highest results within a limited sphere.
Their system was conventional, but its conventions are forgotten
in the artistic effect that
it
produces.
advisable
to
treat
Some have
seen in the
ORIGIN OF
ORNAMENTAL PATTERNS
211
patterns architectural adaptations, suggested by the ornamentamembers of a temple, such as the maeander,
of the subject
But
is
It
will
We
circles,
and patterns in
divide them under three
heads
first
may
be found convenient to
class the
pattern
Of the
and vegetable or floral.
most consistently popular is the typically Greek
rectilinear, curvilinear,
known
It first
ORNAMENTATION
TYPES, ARRANGEMENT,
212
appears
with
Geometrical
the
style,
which
in
it
an
plays
_^^^_^^^^^^^^^
mnr
Three
MAEANDER OR
EMBATTLED PATTERN.
FIG. 139.
pattern
the
slightly
Fig.
140,
Vol.
Proto-Corinthian fabrics
varieties are
battlement
I.
more
found
(Fig.
a simple
and
139),
elaborate
forms,
p.
Fig.
In
83.
in
the
it is
"
"Rhodian" and
Samian
"
one of these
Fig. 141, and
fabrics of Ionia
given in
another consists of
is
squares
of the same alternating with
crosses
We
or
stars
in
FIG. 140.
MAEANDER OR KEY-PATTERN
/ (ATTIC).
(
panels.
^^^
^jj
in
latter
variety
so-called Pontic class and on
141.
MAEANDER OR KEY-PATTERN
(IONIC).
rosettes (Fig.
becomes
almost
distin-
is
plicity.
for
a return to sim-
Here we
find
in
it
the
MAEANDER PATTERNS
development
is
most important
for
213
of
it is
on
appearance
frequent
FIG. 1143.
MAEANDER
5TH CENTURY).
(ATTIC,
all
consists
it
of
with squares
144).
The
the R.F. and white lekythi along the top of the design.
3
always painted in black on the clay ground.
similar form of
maeander
prevails
It is
in
(except
pania);
it is
Cam-
found on the
amphora, lebes,
and is almost
But there is
one unique variety which
is occasionally found on
krater,
kotyle, etc.,
invariable.
MAEANDER
FIG. 144.
the
the
1
maeander
is
ABOUT 480
is
that
represented
This
is
on a B.F. vase in
(6330) see Hartwig,
220; also B.M. E 84;
also found
Meistersch.
p.
on
of the
B.C.).
as
kraters,
the
Apulian
type
great
Museum
(ATTIC,
278
pattern
the
in
in
144,
Fig.
in perspective, being
British
but
painted in
pi. 5
Arch. Zeit.
1873, pi. 9.
3
The Pamphaios hydria in the British
Museum (B 300) has bits of red-on-black
maeander down the sides of the design on
the shoulder.
ARRANGEMENT, ORNAMENTATION
TYPES,
214
left
in
the
colour of
the clay.
Of
V^^
Another pattern,
JUinTj
or
which
'>
may be called a variety of the maeander,
is frequently found as a continuous border on early vases, such as
the Phaleron and Proto-Corinthian wares, and occasionally in the
B.F. period.
Next there
ways, either
or
WWV
in
Cyprus
On
occurrence,
vertically,
or
^,
occur
in
many
instances
(Fig.
83).
mark
also a distinguishing
of the Boeotian Geometrical fabrics (cf. Fig. 85)
they
;
They
are
either
employed
as
ground-ornaments
to
fill
in
RECTILINEAR PATTERNS
employed
as
composed of a
ground-ornament
cross,
on
early
215
Ionic
vases,
is
between
the arms.
ment of
in
cross lines
$WW)(
even
to an elaborate diaper-pattern,
in
later
times.
and
Beginning with
use on the
vases
of the
Greece and
in
FIG. 145.
NET-PATTERN.
this fashion.
It is also frequently
resembling the knots of a net (Fig. 145).
found on the later Corinthian vases. Chequer-patterns are often
used with great effect, at all periods from the Geometrical vases
Room, B.M.
in
Cases 24,
25,
28,
Second Vase
TYPES, ARRANGEMENT,
216
down
ORNAMENTATION
neck of a vase
The
on the
(Fig. 146).
FIG.
146.
CHEQUER-PATTERN.
derived
in
is
practically confined
to
systems of
2
FIG. 147.
arranged
in
in
E.g.
It
B.M.
151,
15,
205,
Fi78.
cenaean
A 253,
323,
324,
and Excavations in
217
vase while turning on the wheel, first in its natural position and
then on its side. Artistically, of course, the principle is a wrong
one, and this is most glaringly conspicuous in the barrel-shaped
lekythi, in
is
regarded as horizontal
of vases.
The_.sgt'ra/
Mycenaean
which
forms
decorative
art,
SPIRALS
FIG. 148.
element
such a conspicuous
UNDER HANDLES
I.
p.
in
(EXEKIAS).
302),
Systems of
arranged
to
the
It
fill
same
feature
may
in
a class
comand
Samian or
combined
in various
Riegl,
155.
patterns,
and merging
TYPES,
218
ARRANGEMENT, ORNAMENTATION
But
in
old
who,
the
in
it
red-bodied
form, notably
in place of the usual palmette-and-lotos ornament under
the handles, contrives an
elaborate system of large
^BH
to
spirals
fill
the space
148).
this
FIG. 149.
WAVE-PATTERN (SOUTH
ITALY).
is
the
sometimes
y
which
figure
of
Museum
continuous,
is
ornament,
eight
of
variation
class,
(Fig. 87).
The wave-pattern
FIG.
150.
SCALE-PATTERN (DAPHNAE).
in
it is arranged
which probably borrowed it from Samos
bands alternating in colour, black or purple and white. Another
occurs on
typically Ionic ornament is the scale-pattern, which
from
those
also
on
and
Rhodian
so-called
of
the
vases,
many
;
Daphnae
In the former
(Fig. 150).
1
E.g.
BM.
it is
produced by means of
13209, B2io.
CURVILINEAR PATTERNS
incising
219
coloured purple
it
is
painted in outline.
on an early
Curiously enough,
Like other
group of Corinthian vases (Plate XIX. fig. 3).
patterns, it can be traced to a Mycenaean origin, being very
it
FIG. 151.
GUILLOCHE OR PLAIT-BAND
(IONIC),
common
is
It
in that style.
Subsequently it occurs but rarely, but
sometimes employed on the neck or shoulder of a vase. 1
differs from most other patterns in that it does not lend
itself to
extent.
its
The
and seems
to
FIG. 152.
TONGUE-PATTERN
(B.F.
(cf.
A 209 in B.M.).
PERIOD).
fcarg
564.
220
TYPES,
ARRANGEMENT, ORNAMENTATION
wares
it
is
treated
in
On
white alternately.
it
this
FIG.
below
153.
the
EGG-PATTERN
designs
(R.F.
PERIOD).
round the
also
form
is
it
hydriae, and
other shapes
lip
of
the
usually
in
many
above or
vase.
The
its
variants,
still
naturalistic character.
1
preserve,
To
in
pis.
35-6:
cf.
B.M. F2;8.
LEAF-PATTERNS
which
of
is
221
too
above the
upwards.
found
is
It
it
foot, so that
in
most
fabrics,
down
continuing
the
amphorae (Vol.
I.
p.
is
On
smaller
the
"affected"
B.F.
of rays. 2
'
LEAF "
in
panel
remarkable
now and
is
;
is
found
3
The
together in a sort of ribbon or chain-pattern (Fig. 1 54).
in
of
is
even
the
B.F.
this
ornament
that
peculiarity
period it
is
on
imitations
made
in
and
Etruria.
on the
These are usually treated in a
Double rows of smaller leaves,
to a considerable extent
manner.
forming a straight wreath, constantly occur as borders to the
very naturalistic
E.g.
B.M.
212,
6593,
6677,
B679:
<
E.g.
B.M. B 63
(Plate
LVIIL).
222
TYPES,
ARRANGEMENT, ORNAMENTATION
_MMMBsMBBM
and
it
that
should be noted
they
painted
FIO.
155
IVV-WHEATH
(B.F.
are
method (black
PER.OD).
always
the
in
B.F.
leaves on
rare,
British
but there
FIG.
naturalistic
it
is
also
Kabeirion
a good
is
Museum (F
156.
503),
instance
where
it
on a
is
late phiale in
treated
in
very
VASES).
Thebes
(Vol.
I.
p.
391).
The pomegranat
AsonthePythonkrater,B.M. F
149.
AND LAUREL-WREATHS
IVYinterlacing lines.
The acanthus
223
is
FIG. 157.
the late
R.F. period
(Fig.
should
157).
These
be noted, are
opaque white
and accuracy.
The
history of the development of the palmette (or honeysuckle), the lotos-flower and bud, and of continuous foliated
To
patterns in general, has been skilfully treated by Riegl.
write a complete account of this class of ornamentation would
2
P-
44>
te
5-
and
178.
ff.
224
its
TYPES, ARRANGEMENT,
way
ORNAMENTATION
medium
of Phoenicia
FIG. 158.
is
so frequently found on
Mycenaean
1
vases (Fig. I58).
They are found not only as single motives,
isolated or repeated, but also combined together, or forming
part of elaborate systems of floral ornament, with stems and
in
some
elaborate
is
thus found on the
It
Melian amphorae in combination with
3
though on the
systems of spirals
ventional.
FIG.
159.
LOTOS-FLOWER
ON CYPRIOTE
VASE.
flower and
bud
see Riegl, p. 48
ff.
3
see also an early
Riegl, p. 155
Boeotian example in the B.M. (A 564 =
:
Riegl, p. 173).
THE LOTOS-FLOWER
FIG.
of
Ionia,
earlier
225
is
obviously as yet
with it in the vases
It is
Next we meet
160.
especially
in
those of the
so-called
Rhodian and
Caeretan hydriae
(cf.
But
XXVI.).
most of the fabrics
Plate
in
have been
to the
preferred
open flower of
the ornament. 1
of
lotos-buds
by
tendrils,
Rows
linked
upright
FIG.
l6l.
fabrics,
is
Peloponnesian
the form
;
VOL.
II.
found in
Corinthian
points.
Attic,
fabrics
226
TYPES,
ARRANGEMENT, ORNAMENTATION
the
so-called
lotos-flower
is
found, combined
LOTOS-BUDS (ATTIC
FIG. 162.
in
various
B.F.).
amphorae
Its development in
century.
this direction really belongs to
the R.F. period.
But in com-
bination
seen,
in
is found, as we have
Corinthian and Attic
it
of styles
double
chain,
each
pattern
being
alternately
upright
and
form it
reversed,
usually found
Fig. 163
This
on the neck, or as an upper border to the design.
as
in
in
this
is
p,
227
palmette
which at
is
here
first
always predominates.
Another
variety,
which
may
be described as a metope-like
FIG.
164.
B.F.).
Corinthian
"
neck,
heraldic
or in
"
the
On
type.
middle of a
the red-bodied
B.F.
E.g.
B.M. Ei6g.
"
The
be carefully distinguished.
Corinthian
vases have a composition of lotos-flowers
only; Chalcidian, palmettes only (cf.
Vienna 219 ; B. M. B 34).
In the
"
Tyrrhenian
amphorae,
and subse-
lotos-flowers,
228
TYPES, ARRANGEMENT,
ORNAMENTATION
-"(Fig.
FIG.
165.
is
is
longer a
stiff
FIG.
66.
ENCLOSED PALMETTES
(R.F.
PERIOD).
THE PALMETTE
229
aimed
at being
FIG.
167.
R.F.).
the handle returns to the old erect unframed type, and increases
enormously in size, so that one or at most two vertically
suffice to fill the space.
In this form it appears on
the bell-shaped kraters and hydriae of Southern Italy, and
especially those of Campania, surrounded by elaborate scrolls
opposed
have palmettes
see British
pi. 41.
2
Cf.
p. 415-
Riegl, pp.
201-3,
and Vol.
I.
230
TYPES,
ARRANGEMENT, ORNAMENTATION
In the Apulian and Lucanian vases there
no
rule as to the
there
is
is
of
its
FIG.
Jfoom any
forms,
168.
particular plant.
the
may
1
disc,
VASE).
the
They
are distinguished by
German
star
writers as "Blattrosette"
form
is
by no
THE ROSETTE
231
common
circles.
In
some of the smaller groups.
the Rhodian and Naucratite wares it assumes
well as in
(e.g.
Fig.
169,
FIG. l6g.
ROSETTE
(RHODIAN).
from the
these
often
disappeared.
B.E. vase. 4
a
of
years,
the
rosette
FIG. 170.
(APULIAN).
may
It
1
Cf.
Furtwaengler
Myken. Vasen,
J.H.S. xxiii. pi.
l
E.g.
244
'
(Vol.
3
I. p.
pis.
4,
and
Loeschcke,
25,
5 (Crete).
in B.M.,
28, 37,
38;
Assyrian fashion.
and Fig. 76
254).
See Riegl,
He
points
4
cf. also
E.g. B.M. B 51, B 197 ff.
the Proto-Attic vase, Ant. Denkm. i. 57.
:
232
ORNAMENTATION
TYPES, ARRANGEMENT,
is
or formalism.
like rule
The
restricted
282
p.
cf.
165.
vii.
two combined
in
233
a series of heart-
Geometrical system.
rosettes of dots,
cross,
The ground-ornaments
and
of maeander
bits
are
;
the hook-
the bands of
toothed patterns.
adopting the
most cases
frieze principle in
in the
it is
chief feature of
The
teristic,
shoulder,
period.
situlae
2
(B.M.
See
Altkor.
Wilisch,
41 flT., for Corinthian
generally
Thonindustrie,
on the Daphnae
ornamentation.
s
105-6).
p.
See
former Thiersch,
p.
69
ff.
on the
Tyrrhen.
Amphoren,
234
TYPES,
ARRANGEMENT, ORNAMENTATION
On
neck, with elongated tongue-pattern immediately below.
the hydriae, tongue-pattern above the shoulder-design, borders
to the panels (maeander above, ivy or network down the sides,
lotos-buds or framed palmettes below), and calyx round the foot.
On
large eyes).
In the R.F. period the same system of appropriate patterns
for each form of vase is in the main adhered to, but with greater
freedom
there
is
also a
interior design,
235
amphorae) have a short noncontinuous border, such as egg-pattern or maeander, above and
below the figures, with similar patterns on the lip and round the
bases of the handles. The stamnos has egg-patterns round
the lip and handles, tongue-pattern round the shoulder, and a
system of palmettes between the designs. The red lekythi have
egg-pattern or palmettes on the shoulder, and maeander-pattern
the white have black
(with crosses) above or below the design
and
red
on
or
black
red
palmettes on white on the
rays
ground
The bell-krater and
shoulder, and maeander above the designs.
style (including the wide-bellied
wide-bellied
amphora of the
late
Southern Italy, have a band of oblique palmettes or a laurelwreath round the top, maeander with crosses below the design,
palmettes grouped under the handles, and egg-pattern round
The column-handled krater, on the other hand,
adheres throughout to the B.F. system of ornamentation, with
their bases.
ivy-wreaths and elongated lotos-buds on the rim, similar lotosbuds on the neck, panels bordered with tongue-pattern and
debased ivy-wreaths, and the calyx round the foot. The widebellied lekythi have palmettes or egg-pattern above the design,
is,
as a rule,
no system
of Lucania
Campania
the
designs
vreath of
;
it
is
the shoulder.
Generally
CHAPTER
XVII
THE
South
record
and some of
have the appearance
called by the Greeks backwards-and-forwards (/Sov<rTpo<j>r)bv),
at the end of the verse the second line
which is like this
And
turns round again like a runner half through his course.
on
in
a
tortuous
the
are
written
the
chest
inscriptions
any way
There is, however, no
and hardly decipherable fashion."
Athenaeus
mention of inscribed vases until a much later date
inscriptions
written
them read
straight,
in
the archaic
but
other
characters
letters
'
'
name
of Zeus
Soter
upon
it,
2
v. 17, 6.
236
xi.
466 D-E.
237
first
place, they
Greek vases against Gori and the other " Etruscans (see Vol. I.
p. 19).
They are, in fact, if such were required, an incontestable
of
Greek manufacture. Secondly, -in more modern times,
proof
been of inestimable value in enabling scholars to
have
they
the
in situ,
vases.
inscriptions
brms as
vivs
for
f/o'?,
and
Trlei
for Trie
(see below,
p.
255).
influence in the inscriptions, as in the freoccurring Doric forms, imply that many of the
Traces of foreign
[uently
We
vases in antiquity.
etc.,
Hence
inet,
inets,
Die griechischen
GUtersloh, 1894.
Vaseninschriften,
238
Roman
of the
The
much
with
first.
and Lasimos
in
Southern
On
Italy.
7
adopted, except that the paint used is white.
(2) Of inscriptions scratched under the foot a considerable
number remain,
on B.F. vases.
They are often
difficult to decipher, being in the form of monograms, and
In many cases they
frequently appear to be meaningless.
may have been private marks of the potter or his workmen
especially
Arch.
Cf.
Berlin
2866 and
the
vase
of
fig. 6.
Vol.
162
p.
p. 96.
2
Zeit. 1879,
I.
p.
436
Klein,
by
the
in
his
Meistersig.
fiT.
Vol.
ff.
INCISED INSCRIPTIONS
239
batch, or
HVAPI
SKV
AHK
AHKV
or
Among
valuable
KPATEPE*
TIME hhhh
PI
OIAL*
BAOEA
Pill
AAH
^M
reWapcs
<5#8es
dr.
ob.).
is,
AHKY0IA A
OINOXOAI II
Se'/ca
\rjKv6ia
oti/oxoai Svo
Museum
(E$04 ):
KPATEPE
[lEAAINIA
PI
All
AA
:
i.e.
hhhh
fcpori/pefc)
TrcAAiVta
III
o#8es
III
AAhl
rcWopes
StoSe/ca rpcTs
ei/coVt
6&pa<j>a
rp
cwcdo-t
rs
(at
dr.
ob.)
see
Chapter IV.
2
B.M.
497; Schone in Comm. Phil.
in hon. Mommseni, p.
658, Nos. 29-32.
3
In this and
Op. cit. p. 651, No. 5.
the other examples
it
will
be understood
that
denotes 10 (5eW),
and so on
4
for a
drachma.
5
A diminutive of TrAXo, a large deep
cup or bowl (see Vol. I. p. 186).
240
Another
KPATEPE*
BAOEA
OEEIAES
Vienna
in
hhhh
oi'Ses
same
2
Petersburg we
'**
Ti
reWapes (4 dr.)
H I 1 dr i ^-)
>
Sea
two preceding.
effect as the
find
^ n^
"parses
hi
to the
is
TIME
TIME
PI
AA
A
On
a hydria at
YATPIAPAXPOI
A/
or
three
example
hydriae worth
AYAIA ME in
toa(?)'
Here the
five
drachmae one
letters
The
obol.
is
AEPASTIAE*
last
3
:
IE
AvSta
century.
given,
it
fifth
responds with the first item. Jahn and Letronne originally held
the view that these marks were made by the potter on the feet
of the vases before they were attached to their respective bodies. 4
Schone, in the light of the examples already quoted, makes
the ingenious suggestion that each list represents a different
"
"set of so many vases of different forms, and used for different
"
"
purposes, sold together in a batch, like a modern dinner-set
"
Thus we have in our fourth example
or toilet-set" of china.
a set of six
(3^.)
apiece, ten
and twenty
Some
obols,
1
2
3
or
roughly
Schone, op.
apiece;
\\d.
AH KV
meaning of
3.
Jbid.
8.
IT: A,
The
Ber.
thirteen
lekythi
d. sticks. Gesellsch.
1854, p.
INCISED INSCRIPTIONS
eleven
for
at
obols,
lower
slightly
241
Aristophanes
price.
on
inscription
at
i.e.
KAAIA
vase,
twelve drachmae,
about 2|
All,
or
/cdSia
five
An
dr.
apiece.
value
inscription
come
same
inscription of the
(3) Inscriptions
be mentioned as having an
may
class.
incised
to
A*TYO+iAA
IAAMENHO
I
am
on two B.F. cups from Rhodes. 6 Somean extended and metrical form, as on
Astyochidas' "),
times this appears in
another B.F. kylix from the same
("
site
<NATO*HMITA*l<AAA*AI<YA!+*AnOII<IAA
^lA/nos
rjjjil
KuAi
lav
Se
'
TIS
Trapa
TroiKi'Aa
a.
Kard^y
Spa.^fJirjv
S^poy ov
ctTroTCiVet
H/o.
;
if
gift
let
him pay
Cumae
1
Seejahn
Ran. 1236.
Pac. 1202.
Schone,
5
595
VOL.
see Vol.
II.
I.
No.
13.
\.
545.
Aio54=Roehl, I.G.A.
524, p. 151.
3-4.
p. 135.
1
242
FIG.
Tarair/s
" I
am
e/xt
Tataie's oil-flask,
Others, again,
gave
"
XT^OV^OS os
me
to
and he
Charopos"
K\(f>crr]
/xe
TE^AISOI
2
down."
MH KAT0H,
Epainetos
OAEMO5 AIAO5I:
A boat-shaped vase
on it
not
do
"Drink,
the
incised
found
is
me."
steals
"
of the vase, as
gift
gives to thee."
British Museum has
(kymbion) in the
exhortation PPOPINE
eorat
6v(f>Xo<s
shall
record the
1
ay
Thoudemos
Lo, this
me
8'
171.
lay
the nominative
in
APICTANOC,
'Apio-rdpxov
'Apioravo?
APICTAPXO
AAEilAAMA
of
class
votive
or
formula at Naukratis
is
Beiva
at Thebes.
dveOrj/ce
The
usual
rfj
'ATTO\\(OVI)
el/j,!,
the owner.
One
Ibid. 2
B.M.
4
5
p. 252.
A 1512.
p. 186.
6
Naukratis
Naukratis //.,
Sch.
7
/.,
pi.
32-4,
pis.
21,
Annual, 1898-99,
p.
62
p. 53.
p.
ff. ;
54^-5
Brit.
INCISED INSCRIPTIONS
243
of
all
FIG.
172.
who now
are
open
to
inscriptions
are
by
Museum (F
594).
The painted
black-figured style,
Rare
at
first,
become
rarer
and
rarer, until
the
of the
The
p.
Ath.
225
p. 291.
Mitth.
1881,
Kretschmer,
p.
107
p.
no
;
1893,
also Vol. I.
Mon.
I. p.
493.
244
are explanatory
of the subject
Sometimes not
represented.
only
In almost
all
we can be
cases
and
itself.
The explanatory
amphorae
B.
M. B 134
Urlichs,
Beitrdge,
2
3
Berlin 2314.
Examples
(Brygos),
258 (Euxitheos)
and
cf.
Fig. 129.
14.
pi.
we
Perrot,
in the
457 (Pamphaios),
B.M.
E6i
are
12
(Hieron),
and
65
Hist, de I'Art,
iii.
at
p.
670.
Larnaka,
245
any other
account.
The
in
a),
and
all
we
islands,
as
earlier
alphabets.
Greek
On
Press).
i.
p. 154.
the subject generally see Roberts,
',
Epigraphy,
vol.
i.
(Cambridge
246
is
The vase-inscriptions
Island varieties, are scarcely represented.
and Athenian in
heads
Corinthian
three
under
mainly
fall
the Eastern
group, Chalcidian
the Western.
in
During the
fifth
unification
two ways firstly, by the fact that Attic became the literary
and therefore the paramount language in Greece secondly,
by the fact of her artistic pre-eminence, which crushed out
the other local fabrics.
Finally, by the time of the archonship
of Eukleides in 403 B.C., the alphabet, if not the language, had
become entirely unified, and the Ionic forms universally adopted
For private use they had, of
for public and official purposes.
but the official enactment
Athens
known
at
been
course, long
:
source of evidence.
earlier
than the sixth, century, the oldest being perhaps the elec-
the sign
is
in place of
to denote eta,
which has not been found on any vase with the Ionic alphabet,
and therefore betokens a very early date. Next comes an Attic
stater of about 560 B.C., with the legend
on which
fitly compared with the oldest Panathenaic amphora,
The earliest coins of Haliartos in
the dotted O is also found.
Boeotia have the curious form
is
it
fifth
dropped
entirely.
At Himera
spiritns asper,
in Sicily
and
is
See Hill,
in the
Roman Coins, p.
3
B M. 6130.
T
B occurs
followed by the H
208
ff.
On
West
is
employed down
247
to about
400 B.C.
form of ^
is found (550
480 B.C.), being also characteristic of Corinthian
vases of the sixth century it also lingers on in Crete, but in
Sicily and elsewhere the $ form of Attic and other alphabets
;
more
is
by
Z.
Of
the
of the
of date by
itself,
0HIEYI
it
often occurs
The
Cretan, and
fabrics
Mycenaean,
Cycladic generally
belong to an epoch when writing, if not unknown, was at any
4
nor have any inscriptions been found
rate little practised
;
See
No. 250.
No. 385 (Didot).
4
It should be borne in mind that
Mycenaean vases have been found in
3
elsewhere, with
the handles, of
parallels to
later
Cypriote syllabary.
248
EARLY ALPHABETS
249
in
of Polygnotos.
On the Euphorbos
names
of
4
pinax already mentioned
appear the
(Mk^khAM), Hector (SOTH3), and
Menelaos
signature,
in
fabric,
origin
is
to denote
F,
n)
p. 102.
p. 7.
6
see Vol.
I.
p. 92.
4
characteristic letters
said,
7
by several scholars
but Kretschmer (p.
all
uncertain.
It is, however, as
probably a seventh-century product of an Ionian
The
has been taken
on the coast of Asia Minor.
have
its
I.
p. 335.
p.
263
I.
p.
p. 264.
'
Jahrbuch, 1891,
Vol.
Kretschmer,
for
E.g.
Ramsay inJ.H.S.
x. p.
187.
250
We
superfluous
it
most probably a
is
letter.
Early
all,
2
those found on Corinthian vases.
be dealt with
to
in detail
class of inscrip-
numerous
They
Kretschmer mentions nearly fifty
are too
They
viz.
One
315).
sixth.
4
the Dodwell pyxis at Munich, representing a boar-hunt.
figures are inscribed with fanciful names, such as
I.
is
The
A<AMbM^Oy
AO[>MAXOM
(Dorimachos, or "spearman"),
A
krater in the British Museum
and
so
on.
PA9OV (Pakon),
(Plate XXI.) represents a similar scene, also with fancy names,
Another famous vase is
such as Polydas and Antiphatas.
(Agamemnon),
twenty names
Of
are inscribed.
these,
(Hippalk(i)mos)
1
Studniczka, Kyrene, p.
flf.
Vol.
I.
342.
p.
iii.
by Blass, Dialektinschr.
and Wilisch, Altkorinthische
Collected
3120
flf.,
Thonindustrie, p. 156.
3
Roberts (Gk. Epigraphy,
134)
(Baton) and
other
palaeo-
p.
illustrate
distinguishes three periods in the Corinthian alphabet from 700 to 400 B.C., but
i.
^ATO^
Vol.
I.
p. 316, Fig. 90.
Cat. 1655: see Vol. I. p. 319.
CORINTHIAN INSCRIPTIONS
251
owner
(AS^BTA
is signed
by Timonidas, another by Milonidas, while others
bear interesting inscriptions, such as Fig. 174:
FIG.
174-
UeipaeioOev
We
"
it
"
4
;
TVA&AOMXAKBMA^ A^OPMAN
TV Se 809 %apio-((r)av
"And do
|
and so on.
The
thou
make
d<p>opiJ,dv,
a graceful repayment"
iThe dialect
often
differ
is
tomed
produce
and
this is increased
many anomalous
results.
I,
3
4
5.
1855,
pi. 20.
is
p. 28),
252
pyxis, and
the pinax
consonant,
in
PBPAkO<8>B^
already quoted.
in the names of Amphiaraos
as
(A^SAPfcOM)
k.
(MXMNON).
ZPAI/^XTOM ^
'ETraiVeros
//,
attained
to
the
importance of the
Museum,
are
in the
p. 14,
No.
22.
p.
p. 411.
IONIC INSCRIPTIONS
253
As
and Amorgos.
POAVBOTE
Naxos or Amorgos.
Other vases are undoubtedly of Ionic origin, but their actual
home is uncertain they are usually assigned to the coast of
Asia Minor. For some reason, however, it is very rare for these
not occur in
bear inscriptions
in all the numerous instances now
half-dozen
with inscriptions can be found. 1
some
collected, only
vase's to
One
of these
is
On
Vulci, published by Gerhard, which has since disappeared.
both of these we find the characteristic Ionic letters f! for co,
H
for
?;,
for %,
for X,
and
Both vases
are of the sixth century, and other details attest their Ionic
origin.
We
now come
somewhat puzzling
the Chalcidian alphabet. 3 The
number of these is hardly more than a dozen, but such as they
are they have enabled archaeologists to establish a Chalcidian
to a very important but
in
(^T
W V\OjV^AD (rapvF6vs = rr)pvov7]^
AtlUUEV* f^XAeu?);
for
See Vol.
note.
p.
and Y
^O0V\A+
U for A
as in
x.
E,
as in
for X, as
WAH
3,
see Vol.
I.
p. 357.
3
See Vol.
p. 62.
I.
p.
254
is
by
represented
one
in
(D
instance
(M[~~|OO =
M<V> 0-^09).
Kretschmer has compiled a list of twelve vases with inscriptions in this alphabet, to which one or two may be added, but
for a fuller
is peculiarly Chalas
the
characteristic
letters
to
be wanting. In
cidian,
happen
some instances, as Kretschmer points out, the Aeolic fondness
for the
vowel v
is
to be traced,
as in
^VMQV^,
KVKVVS
for
Nrjt'Ses.
must, be borne in
the colonies on the coast of Italy, such as Cumae, and this may
partly account for the mixed character of the dialect on some
made
that
to
manufacture.
is
of the
"
Proto-Corinthian
650
B.C.
it
"
bears the
name
its
I.
is
eTTolrjcrev
'AyacriXeFov,
Rev. Arch.
xl.
(1902), p. 41.
inscription,
p.
308),
Th<
and
of the maker,
p
and
a vase
colonies.
Pyrrhos
is
ATHENIAN INSCRIPTIONS
255
ATHENIAN VASES
Under
this
all
remaining vase-inscrip-
it is
just as the
vernacular of
the
In
second.
on the Hellenistic
light
small
countless
details
the
of
and
probability their
1
Hence we constantly find such
spelling was purely phonetic.
forms as Trta for Trie, vivs for vios, or O/ycru? for Sv)<Tev<; (see
above, p. 237) and even the rich potter Hyperboles is ridiculed
craftsmen,
little
education,
in
all
is
actually a slave's
name
('ETrt/m/To?
"
acquired
").
many
un-Attic
As
is
often
the
For
the
seventeenth-century inscriptions.
2
Frag. Com. Gr. (Script. Gr. Bibl.,
/^rot/cot cf.
248.
Notizie degli Scav i, 1903, p. 34.
Lys. 2230,
xlii.), p.
3
Vit.
lostratus,
Soph.
ii.
I,
u7ro/3a/>j3a/>/foJTes
256
HIMEPOPA
for
Aaidveipa
Arfidveipa
OIAIPOAA*
440);
A A AN El PA,
for H, of
the
for
Attic
for
(B.M.
'I^po-m]
Ol&nroix;.
Such forms
|<AAA KOPINGAI.
On
one of
TE5APA,
On
a B.F.
Exekias
Kretschmer
Teo-(cr)<zpa, but, as
an Athenian.
PANTOiEENA
signed vases
his
in
amphora
Rome
use of non-Attic
Greek on
a vase
in
is
and
Macedonian
HYXo>i>,
These were
U/XtTTTro?.
at
used
home
of
this
dropping of the
aspirate.
The
into three
Naples
3089
33-4.
2
Bibl. Nat. 372
3
Bibl. Nat. 846
Millingen-Reinach,
= Reinach, 92.
= Klein, Lieblings-
inschr?
4
i.
p. 129.
"
love-names
"
mer, p. 81.
5
Ar. Thesm. 1084-1225.
6
it
Athenians as
as F.
PH
in
"
seems
by the
hap-h?.zard," not
ARTISTS' SIGNATURES
257
or " pet-names," and interjections such as " hail," " drink deep,"
etc.
The incised inscriptions have already been discussed.
The
artists'
signatures
consideration.
In relation to
their
inscriptions.
(3)
method
masters
in
the
is
usually (i)
or
or
(2)(3),
'EfyKias eypaifre
/caTroirja-e /ze
FIG.
The form
(3)
but
it
VOL.
is
II.
may
Franois vase
175-
17
258
iambic trimeter.
it is
indicating completeness.
added by the earlier artists,
aorist,
usually
as
the
in
instance
to be seen
rwv
of Bias)
rival
Euphronios,
e?
EVf>ONlO^,
"
ovSeTTOT(e) Ev<f>povio$,
like this."
i.e.
xi,
Zypafa:
2
3
p. 13.
B.M. F594.
Gardner, Ashmolean
We
OtKo0e\7?s.
pi. 26: 'E/tepdyueuo'ei' e/i
are reminded of the jest about Chairestratos
474 B).
See list
at
Munich
Reichhold,
378
pi. 14.
and
Furtwaengler
See Vol. I. p. 428.
ARTISTS' SIGNATURES
found
on
addition
by
the latter
1
kylikes of the Epictetan school
the artist of his tribe or nationality.
R.F.
we have Kleomenes,
Teisias,
259
;
or
the
Among
style themselves 'AQrjvalos, and Nikias, who not only gives his
father's name, but also his deme in Attica
:
FIG.
176.
'
as E\_P~\}JLOK\OV<$
Two
other artists
call
themselves
We
Munich over a
in
foot-race
is
written,
5TAAIO ANAPON
NIKE, o-raSlov
collection
AIONV5IA(l<)A.
PATPOKAIA,
1
On
and
in.
Monuments
on
vase
one
P-33-
107
see
with
3
Klein, Meistersig. p.
2
with
Piot,
ix.
a
a
Homeric subject is
scene from Theban
Naples 3415.
Munich 498 = Reinach,
Cat. 1152.
i.
215.
26o
KPEONTEIA.
legend
the
More
girls
drawing water
fountain
the
at
of
names
Munich
often
124),
AMMONIA,
being
in
usually
the
"
"
the ship's captain ; Kco/za/^o?, " leader
scenes, as 'Apxevavrrjs,
"
of the revels
or, again, II\r/t;i,7r7ro<; for a horseman, Tofa/xts
;
a Scythian bowman. 7
Names of real conare
occasionally introduced, as on a hydria
temporary persons
on
which
his
comrade Euthymides and the " minor
by Phintias.
and
Kijufjiepios for
"
artist
'
Munich
380, 810
Reinach,
7
ii.
115,
363.
2
3
Reinach,
E.g.
5
6
Kretschmer, p. 85 see
Munich 6 see Vol. I.
:
Louvre
852
ii.
Reinach,
i.
156.
Hoppin, Enthymides,
Monuments
292.
B.M. F62.
F 297 = Reinach,
ii.
26.
Louvre
10
Berlin 1737.
"
Munich 333
K Berlin
Vol.
I. p.
So
Kv\\rjvio<;.
H
i.
12
clfil
p. 92.
p.
428, and
p. 18.
= Reinach,
= Reinach,
1704
326.
also
ii.
119.
i.
198;
EXPLANATORY INSCRIPTIONS
we
Nereus
for
sea,"
"
HAUIO5 HE PAN
find
AIO5
1
;
Aw
O5
NE5TOP PVUO*
for
<<y?,
Dionysos
261
man
of the
"Nestor of Pylos" 2
AIO5 PAI5, " the
son of Zeus," for Herakles 4 ravpos 0o/)/3a?, " the grazing bull,"
5
for the metamorphosed Zeus (a doubtful instance).
;
Besides the
names
of figures
and
objects,
They vary
in
length and
purport, but
some
in
cases
they
vases, but
if
mouth.
HA
the
"
first
vi/ca$,
Hokv^ev^v,
Amphiaraos is exhorted to
mount his chariot with the word avafta? or one personage
9
K0^
Sometimes the words are
says to another, x aty or 7r *
a
a
those
of
as
on
R.F.
evidently
kylix at Athens, where
song,
a man lying on a couch sings an elegy of Theognis beginning
" 10
"
Another sings
<w
TraiStoV tcaXXia-re,
Fairest of boys
again,
I/
<
MAMEKAIPOTEO,
11
teal
KOI fidopcu.
(E 270) a man
irodrjw
Museum
On
a red-
accompanied
a
has
his open
an
from
by
flute-player
inscription proceeding
mouth, which runs, HOAEPOTENTVFINOI, <we TTOT ev
"
Here once in
TvpwOi evidently the beginning of a song,
."
On
a
in
stamnos
the
British
Museum
Tiryns
(439)
;
"
Berlin 1732
Plate XXII I.
Reinach,
:
Louvre
see Vol.
Uned. Mon.
F385 =
pi. 38.
Reinach,
ii.
Kretschmer,
49.
p. 86.
ii.
66.
I. p.
326.
9
Millingen,
Anc.
10
"
Reinach,
128.
ii.
Kretschmer,
iii.
loc.
cit.
cf.
pi. I.
Bergk,
262
NON
the letters
1
evidently represent notes of music.
On a psykter by Euphronios 2
kottabos casts the drops out of
<I1A3\/O^ATAN/?AV\ATV\IT,
"To
thee,
(Munich
371)
saying, ov
To turn
represents
"
Swap
ov,
with
cup
rlv rdvSe
playing at
the words
Xarda,
Aeayp(e\
Another kylix
drops."
surfeited drinker on a couch,
these
can no more
courtesan
"
!
we have
to
Panathenaic amphora
a herald
dash
Leagros,
in the British
proclaims a victor
in
Museum (B
the
144),
horse-race
on which
as
follows
class
one
is
cries,
KAUO*TOH<VBI*TEITOI,
to
it,
acrobat."
MEAITAIE, MeXmue
charioteer calls
"
his
dog
6
Maltese
"
rot,
tcvjBicnf)
(/>.
whom
5
AcaXw?
dog").
(?)
Gee up
"
Women
"
"
8
In a repreweeping over a corpse cry, olpoi, Woe is me
sentation of Oedipus and the Sphinx on a R.F. vase in Rome
the words HAITPI[POYN], Kal Tplirovv, occur, evidently with
9
reference to the well-known riddle.
An interesting bit of dialogue appears on a B.F. vase, 10 which
represents boys and men watching a swallow, evidently the
one boy says, IBov %eXt8o>i/, " See,
first of the returning spring
"
"
to which a man replies, vrj rbv 'Hpa/cXea,
the swallow
Yes,
"
"
Another boy joins in with avrtjl, There she
by Herakles
"
Another good instance
It is already spring."
is," and cap 77877,
11
On one side we see the
is on a B.F. vase in the Vatican.
oil from the olives,
of
an
olive
extracting
garden
proprietor
!
with
1
the
prayer,
OlEYPATEPAIOEPUOV$IOSrEN,
is
Kretschmer,
p. 88.
lu
Reinach,
294.
Kretschmer,
p. 91.
pi. 8, 6.
I.e. KvpiarriTript.
i.
Kretschmer points
Probably,
as
Zev
"
Reinach,
i.
96.
Reinach,
i.
106.
EXCLAMATIONS
irdrep,
"
rich
aWe
the
to
cries
on
while
av,
ryevfafi
he
other
the
purchaser,
my
beyond
needs."
Father Zeus,
over
sits
full
may
be
and
vessel,
far
"
TrXovcrios
263
it
has gone
To
(now nearly
obliterated)
dvSpos a7r[o(/>&//,]o>oto
a vile rag of a dead
on
a
Similarly,
sepulchral plaque at Athens are the
*HMATOAE*TIN APEIOY, "This is the grave of
"
man."
words,
Here
lie I,
eirea Trrepoevra
4
;
and
in
a teacher
hymns)
holds
roll,
combined
and
dialect,
MOI^AMOI
Moto-a
EVfrANAR+OMAI
AEINAEN
de t'<v>3c t v. 6
/xot
Oxford),
legend,
1
ful
-
3
4
an inscribed
a-rrjai^opov
This translation
:
see Reinach,
Cat.
688
Reinach,
Athens
figure unrolls
=
i.
is
scroll,
VJJLVOV
somewhat doubti.
seated
the boustrophedon
another figure, of
is
pi. 6.
5
Plate
On
164.
XXXIX.
see below,
p. 268.
513.
1241
while
ayoicrai,
loc. cit.
Reinach,
on which
Dumont-Pottier,
7
i.
Brit. Sch.
Annual, 1898-99,
p. 65.
264
is
writing
on a tablet
I77>
a very puzzling scene on a R.F. vase of fine style,
generally supposed to have some reference to the Argonautic
expedition, one figure holds up an object inscribed with the
name |Y4>O$. 1 This object has generally been interpreted
as a tessera hospitalis, or "letter of introduction," as we
(Fig.
In
should say.
Lastly, there
2
is
the
They
inscriptions.
class
fall
into
two
added, "(I am) from the games at Athens"; (2) the names
FIG. 177.
B.C.
(see Vol.
I.
p. 390).
(especially in the B.F. period) are covered
with meaningless collocations of letters, either separate or in
Some ingenious explanations of these
the form of words.
Sometimes vases
The third class of inscriptions on Attic vases is composed of those which have no direct relation to the vase
see on the subject,
277
Hermes, 1898, p. 640; Notizie degliScavi,
1895, 86 ff.; and above, pp. 115, 137.
1
Reinach,
i.
p.
33
Beitriige,
KAAOS-NAUES
used
in
making
"
to
invocations
include
They
itself.
libations,
such
deities
"
ACos
e.g.
265
2*0)7^/009,
were
as
To Zeus
the
Saviour
or, again, the exhortations so frequently found
"
on B.F. kylikes of the " Minor Artists'
school, of which
"
the commonest is %^/ae KOL iriei ev,
Hail, and drink
*
On
"
"
3
"
Hail, and drink this
^atpe KOI Trlet rtjvSe,
a number of R.F. kylikes appears the word TTpoo-ay opeva),
"
deep
or
salute you."
/caXo? attached.
is
which
of
is
So/eel,
the
inscription
val'
^arepo?
Nifc6\a
AwpoOeos #aXo9
Mefivwv fca/jLol /ca\bs
far the word /eaXo'? should
KCL\QS
7ra?
KaXo?,
be
handsome "
or
but
"noble";
Athen.
vases, but
2
3
xi.
cf.
466
B.M.
mer,
p. 82.
p.
Instances are
B 631, E
F 548.
10
Kretsch-
330,
6339,
B.M.
in
718.
is
;
182,
far
i.
cles told
by Cicero,
De
The
79.
OJfic.
vase
and Sopho\.
40, 144.
266
more or
connection
Vol.
p.
I.
direct
less
which
results
403).
proper
The
name
is
given.
chief question
which
calls
is
their purport,
1
Aristophanes indicate. In the Acharnians'
"
"
of
he describes the Thracian Sitalkes as being such a lover
"
on
The
he
wrote
the
Athenians
are
Athenians
that
the
walls,
two references
as
fair"
in
who
is
the
6 TTCM?), or at
any
rate of
young
5
day,
edn., 1898.
2
143 ff. There is, of course, a play
here on the word e'pcumjs.
3
97 ff. Demos is here a proper name;
2314, a
Kf)(j.bs
means
on Paus.
vi.
10.
title.
life.
HEKTOP KAAO*.
We
relation to the
figures
on the vase, as
in this series,
much
valuable
Of
these one
is
Stesileos, occurring
who
on two vases
Marathon
at
fell
in Berlin,
in 49O.
and
On
two lekythi (one late B.F., the other R.F.) the name of Glaukon
son of Leagros 4 appears, and these two names have also been
identified with Athenian strategi, Leagros having fallen in battle
against the Edones in 467, while Glaukon commanded at
2
8
Hartwig, Meistersch.
Reinach, ii. 94.
Hartwig
in
pi. 17, I.
10 note.
4
The name
Klein, Lieblingsinschr.- p. 87
violean Vases No. 310.
,
of Leagros occurs on
many
= Ash-
268
now
is
peculiarities
some of the
discuss
necessary to
of the Attic
vase-inscriptions,
in
principal
to
regard
The variety in
palaeography, orthography, and grammar.
the forms and uses of the letters is somewhat surprising
1
at
first
but
sight,
were always
influences
remembered that
must be
it
as
strong,
has
indeed
non-Attic
already been
pointed out.
is
found
and
for
,
V,
while
The minor
for
sign
and
artist
the
aspirate
occurs
first
as
g,
afterwards
as
H,
and the
examples
"
allied
"
group
Tyrrhenian
of the use of
<p
for
K.
give some
Thus we find
interesting
^OPA-M
stand side by
have
1
p.
See
94 ff.
side.
So on a vase
in the
lAEV* =
for
this
section,
Kretschmer,
2
3
Louvre (E 852) we
See Kretschmer, p.
See Vol. I. p. 326.
ATTIC ORTHOGRAPHY
As
and
ft>
269
KVMOAAKE
'AXfcl/jiaxos AraXo?,
we
and
77,
and
'
find
for KV/JLO^OKTJ,
OHTU
for
6ert9,
AOENAA
in
+IPON
for 'Afyvaia.
and 5IUENO$ (^e/X??^?), the diphthong ei is represented by its other member I. On the other hand, we find
EIOAEO5 for 'loXew? (B.M. 6301). The general vagueness
of the Attic craftsmen's orthography is well illustrated by
Kretschmer in the word 'OSvao-evs, which is not only invariably spelled with a A, reminding us of the Latin form Ulixes,
(Xeiputv')
but
forms
OUVTEV5
OUVTEV, OUUVTEV^ OUVTTEV5, OUVTE5, OUVSEV/,
occurs
the
in
and .n.UV$$EV$,
ordinary S-form
following different
The
this order
is,
+A+PVUON
for ITayiK/>ai09.
The
|<APIOAIO5
the
case
AN-HPOS
of
for "^4y^7T7ro9.
Another peculiarity
is
for
'^TaXa(T77,
TYTAPEO
UAPON
Nv(n)(t)ai,
sonants, as
in
Tlepa-e^arra
A or double
is
ME5IUA
HUVTAIME5TPA
On
for
There
'E(7)/ceXaSo?.
for
as
in
for
for
MV^crtXXa, API
KXvrai^v^rpa,
common
OUVTEV5
AN E for 'ApidSvrj,
PEPO^ATA for
in the case of
and ME5IUA
double
just quoted.
p.
Kretschmer,
Berlin 2291.
Munich 340
p. 146.
Louvre F53
Reinach,
ii.
kias).
for
this is especially
I,
ATAUATE
Tv^Sapew? IA<W ^\
EKEUAAO^
Ad^Trcov, and
for
156.
./.. 7433
59 (Exe-
270
without reason, as
for Tpfc7TTo'Xeyu,o9,
in
KAS^TOP
MEMMNON
and p.
with
I<AMOI
for teal
Among
fj.oi,
of inflection
may
OESVS
misspellings)
PAVS
KOI
and
erepos
peculiarities
course be mere
PISTOLE NO*.
for Trat?,
also the
-KENOKUEES, and
From
the
mass of
this
detail
it
is
possible
to
deduce certain
fabrics.
Excluding the
520
B.C.,
of the
the same
sixth century (not later, as the closed El shows)
date will also apply to the earliest Panathenaic amphora
;
(B.
B.M.
224;
Karlsruhe
(OPEZZTEZ)
Berlin 2184
(TRITON N05)
2
3
Kretschmer,
Ibid. p.
80.
p. 179.
209: cf.
and 1906
Munich
The two
334.
p. iioff.
Denkni.
i.
57
271
down
to the end.
The
come
in
with the
"
fine
"
B.C.,
and
for
some
time we find a mixed alphabet on the vases. 2 It is also interesting to note the appearance in some cases of the Thasian
alphabet,
B.M.
with
318),
Polygnotos.
We
its
use of fl for
which
has been
(as
traced
in
to
A\iUfA&)(ws /ca\w$,
the influence of
interesting.
The inscriptions are for the most part in the Doric dialect and
Ionic alphabet, with the addition of the Doric sign h for the
Generally speaking, these Doric forms are found on
aspirate.
the Apulian vases, whereas on the products of Paestum they are
mainly Ionic, with admixtures of Doric. Attic forms also occur.
inscriptions are
ATEA
F- 10 S-
See Kretschmer,
p.
211
Dtimmler's
168
ff.
ff.
272
We
EFPA^E-
use
the
of
the
imperfect tense
AAKMHNH,
(p.
'
h in
r-E$$PEPIA$
and so on
AXtcfiiyvr),
AA,
NHAIH
for Nyo-ala.
Some
of Lasimos
AA^IIMO^I EfPAYE,
He was
Adcri/jios eypatye.
title
the
in
AIA,
On
Museum (F26Q)
HPPOAAMEIA,
PEAOt,
Tle\o^
'
iTnro&dfAeta, etc.
OINOMAO,
On
the
altar
Oivofiaos
is
painted
"
dv
is
is
"
You might send me the ball." The +
TOV a($(a)lpav,
This inscription, be it noted,
an error for h, the H for H.
painted, contrary to the general rule in these vases, as they
iJLOi
many
correspondence of
p. 479.
common,
The name
is
perhaps a by-form of
In the
as in
5a/f/>tfs
I.
p.
and
The<
478).
is not un-.
lacrima.
Museum
curious
is
inscribed
on an amphora
by
far the
in 'Naples
273
most
stele is
NnTniMOAAXHNTEKAIA!<J>OAOAONTTOAVPIZON
KOATTniAOIAITTOAANAAIOVlONEXn
/XoXtt^V T Kttt ttCT(o8oA.Ol/ 7TO\VplE,OV
OiSiTrdoW Aato(v) wov c^w
VtoTto [/X-ev]
KoATrw
"On my
back
8'
bosom Oedipus,
Laios' son."
curious
is
my
found engraved on a
"
This fellow
ouro? rov Sapov e<pa irovapov,
said that the people were a depraved lot." 3
The rj of Trovrjpov
was first written E, and then corrected into A, the Doric form.
It
may be supposed
is
due to a workman
who
at rov
is
ANHXXAoTIA, OTONEAETPYTONA
"
v eA.TpvyoVa, or, "What, the goose ?
x^ a
?
<*>
the cock!"
"Oh,
Aristonoos
VII.)
274
Iphitadas
Menaidas
Mnasalkes
Theozotos
eiroitjcre
Boeotian
tiroirjffe
do.
eTroiT/o-e
do.
ewoiyo-e
II.
Amasis
do.
(Vol.
I.
p. 379).
fig.
p.
56
275
276
Hegesiboulos
ARTISTS' SIGNATURES
Kleomenes
Kriton
Lydos
Lykinos
Lysias
Myson
Prokles
Teisias
Therinos
Modelled vase
en-oojo-e
AND KAAOZ-NAMES
in
pis.
277
16-17
278
Lichas
Lyandros
Lykopis
Chairias (Phintias)
Chairippos
Charmides
Megakles
Megakles
Damas
Diogenes (see Hartvvig, chap, xv.)
Diokles
Memnon
I.
(Phintias, Euthymides)
II.
(Chelis, Chachrylion)
Dion
Midas
Mikion
Dionokles
Miltiades
II.
Diphilos
Naukleia (Hieron)
Dromippos
Nikodemos
Nikon
Elpinikos
Nikophile
Epidromos (Chachrylion ?)
Epileios
Oinanthe
Epimedes
Erosantheo
Erothemis (Euphronios and Onesimos)
Euaion
Eurymachos
Pedieus
Perses
Phayllos
Pheidiades
Euryptolemos (Apollodoros)
Glaukon (Euphronios)
Heras
Pheidon
Philon
Hermogenes (Duris)
Praxiteles
Hiketes
Sekline
Hipparchos (Epiktetos)
Hippodamas (Duris and Hieron)
Sikinnos
Euphronios)
Simiades
II.
Hippon
Smikythos (Euthymides)
Sokrates
Hygiainon
Kallias II.
Solon
Kallides
Sophanes
Kallikles
Sostratos
Kal'isto (Hieron)
Thaleia
Karton
Theodoros
Thero (Oltos)
Timarchos
Timokrates
Timoxenos or Timaxenos
Kephisios
Kephisophon
Kleinias
I.)
Tleson
Krates
Laches
(see
Hartwig, chap,
Xenon
xx.)
Xenophon.
theos)
[The foregoing
occurring
list
is
names;
Lieblingsinschriften,
1898 edition.]
PART
IV
ITALIAN POTTERY
CHAPTER
XVIII
Roman
pottery from
with
extended.
In the present chapter the first two branches of the subject
namely, Etruscan pottery, and the local fabrics of Southern
will be discussed
the period of time which they cover
Italy
;
is,
of Greek
by the history
Age down
to
280
ETRUSCAN POTTERY
BIBLIOGRAPHY
Helbig, Die Italiker in der Poebene Ann. deW Inst. 1884, p. 108 ff., 1885,
Karo, Ccnni sulla cronologia preclassica, Parma, 1898 Von Duhn
p. 5 ff.
in Bonner Studien, p. 21 ff., and in J.H.S. xvi. p. 125 ff.
Martha, L'Art
Etrusque, passim Dennis, Cities and Cemeteries of Etruria, 2nd edn. (good
for topography; archaeology out of date) J.H.S. xiv. p. 206 ff. (C. Smith
on Polledrara ware) Gsell, Fouilles de Vulci Pottier, Cat. des vases ant.
du Louvre, ii. p. 285 ff. (the best general survey) Notizie degli Scam,
passim, for excavations Brit. Mus. Cat. of Bronzes, p. xlivff.
;
(l)
As
regards Etruria,
it
will
Etruscan
working
It
art.
is
in clay in Etruria
In regard to the pottery, careful scientific excavations, such as those undertaken by M. Gsell at Vulci (Vol. I.
much to increase our knowledge of all periods,
p. 77), have done
this head.
and
inquirer.
met
with
Who
two
we
were
are naturally
the earliest
questions: (i)
inhabitants of the country, particularly in the region afterwards
known as Etruria, in which the first signs of artistic develop-
ment appear?
(2)
At what
period
P-
See especially
Pottier,
Louvre Cat.
ii.
p.
285
ff.
and
Gsell, Fouilles de
Vulci,
question
second
origin of the
as old as Herodotos.
is
first,
of the
281
Etruscans, to
As
well
is
take the
known, the
the
by land and not by sea, and that they came from Central
Europe by way of the Rhaetian Alps. He has been followed
by most writers since above all by Mommsen, who was the
point out the absurdity of identifying the Lydian
It
Tvppifvoi or TvpprjfJoi with the Italian Tusci or Etrttsci.
first
to
that
of a
it
new
appears at
first
sight.
It
is
true that
many
nations,
founded
cities
along)
they
instead
of
Lydians,
inhabit
their
name
them to this
was changed
3
i.
and
94-
Sat.
i.
i.
6, I.
day
to
3-
Op.
tit.
p. 297.
where
and
that
of
282
Additional evidence
Tyrrhenians."
is
in
classical times,
known
as the
Terramare, we shall presently describe, and it was this civilisation, transformed and developed, which was carried by the
now to be known
be noted that this theory at least satisfactorily
combines the land and sea migrations of the Etruscans into
Etruria, though it does not profess to dogmatise as to the
invaders over the Apennines into the region
as Etruria.
It will
The two
new Etrusco-Umbrian
development of geometrical decoration and
the predominance of a metallurgic element, both of which are
obviously derived from Eastern sources, whether Hellenic or
chief characteristics of this
Oriental.
rhenians
will
It
suffice
"
Tyr-
"
Mediterranean, such as
natural
Mycenae, and
acquisitiveness and
is,
Frag.
p.
45
iiri
as
we have already
Hist.
Grace,
"Lirivr)Ti
ed.
Didot,
irora/xy (the
He
calls
name
i.
of
them here
dans
73
p.
Bertrand
"
Celtes
flf.
cf.
du Po
Cf.
i.
et
du Danube,
gauloise, p. 205.
3
Pelasgians.
valties
les
27 with
vii.
3.
et
283
from the remains discovered -in that district, covering the basin
Eridanus or Po, but chiefly between Piacenza and
of the
We
Bologna.
whom
to
it is
description.
find among their remains, besides rude objects in bronze
We
and other substances, pottery of the very simplest kinds, handmade and roughly baked. This is not found in tombs, but
mingled with the debris of the dwellings. The shapes comprise
cups and pots, and there are few attempts at decoration beyond
rows of knobs or bosses.
A crescent-shaped or lunulated
handle is attached to many of the vases, serving as a support
thumb
for the
but this
is
Iron, glass,
on the
include
of
the
tools of
bronze-
1500
the end
and seems
B.C. at least,
to
B.C.
See
ajso
Die
Helbig,
Poebene^ for a
full
Von Dunn
Italiker
in
der
in
J.H.S.
xvi.
p.
128,
previously cited,
to differ
of other writers
284
The next
name
at Bologna.
lasts for
It
its
traces are
B.C.,
and
much more
civilisation,
such
as
In
Bologna, Corneto, Vetulonia, etc.
shows a marked development on the
it
We now for the first time meet with tombs, the characteristic
form of which is that of a well or pit, ending in a small circular
chamber, in which the remains are deposited. Italian archaeoThe
logists have given to these tombs the name of a pozzo.
method of
burial
but
incineration,
practised
it
was
the inhabitants
of
eighth century.
It has been
universal
Oriental
influence
in
Italy
has
p. xlv.
285
We
fairly
means
fashioned
are
from
guished
(see p. 301)
fact
that
by
the
its
It
is
later
to
known
be distin-
bucchero
quality,
nero
and by the
always wheel-made. The clay is irregularly baked over an open fire, and
the colour of the surface varies from
From Ann.
dell' Inst.
TOMB A POZZO
WITH CINERARY URN.
FIG.
178.
red-brown
is
It
to greyish black.
covered with a polished slip, and there is no doubt that it
was the intention of the potter to give the vases a metallic
As
body
cisions
1
The ornamentation
consists of geometrical
in
p. III.
15, 16.
pi. 5,
Nos.
286
surface.
found
in
the tombs.
The common
not so
much
in
its
character exhibit
The
difference,
much
indeed,
in a
development of technique as
From
FIG.
179.
Age tombs
wanting evidences of commercial intercourse with and importaBut two salient features
tion from the Eastern Mediterranean.
of the Italian wares are the employment of handles and the
unique form of the hut-urn (see below).
clay is mostly of the same kind as that of the urns,
the smoked and irregularly fired surface shows that
The
and
The technique
is
fire
sufficed
th<
VILLANUOVA POTTERY
Greeks
in
their products.
all
The shapes
287
described.
in
colour,
century,
coincident with
The
in the
the
first
undoubtedly
tombs.
in
//. xi.
633
Od.
Bumont- Pettier,
2
On
i.
iv.
615,
vi.
232.
See
p. 152.
made
to
Bohlau's
Villanovaperiode (1895).
3
Gsell, Fouilles de Vnlci, p. 254.
288
numbers
at
Bologna, Vetulonia,
and elsewhere.
They fall
on Hellenic sites such as
On
2
traced, as in the fibulae, with the Hallstatt civilisation.
the
other
hand,
they
are
entirely
free
influence.
in
the tombs
of this period
take the form of huts (tuguria\ though these are more often
found in the neighbourhood of Rome, as at Alba Longa.
They
Italiote people
Latium, which they probably colonised
by moving southward through Umbria and Picenum, leaving
on
to
Etruscans.
the
these hut-urns
that
is
produced by friction. They are occasionally painted with patterns in white, inlaid in grooves.
On the Museum example
are fragments of maeander.
They are usually found inside
large vases, which protected them from falling earth and other
accidents.
originally
but in
The
led
fact that
to
primitive use.
very
An
interesting
account
of the
of exploration
by
local
from
about
turies
B.C.,
Mycenaean"
the
tenth
to
ninth
cen-
is
early
given
settlements
by Von Duhn,
archaeologists
on the
the
in
4
as the
sites
of
Banner Studien,
Vulci, p. 258
(Von Duhn); and J.H.S. xvi.
;
(id.).
4
J.H.S.
xvi. p. 125.
p.
p.
24
127
HUT-URNS
289
Falerii
In
primitive
Italy.
it
for
situations.
The
hut-urn type.
The common
made
black
THIRD PERIOD
(3)
TOMBS A FOSSA
FIRST
GREEK INFLUENCES
is
This period
becomes
fairly
general.
strongly
advance
the
what
may
is
tombs.
is
pottery
destined to
namely, the
1
VOL.
marked
in
II.
See also
for
become the
iv. pt.
I, p.
105
(T.
I9
290
the period the Greek influence, as evidenced by finds of wheelmade vases with Geometrical decoration, or even of the so-called
It was no doubt
Proto-Corinthian type, becomes widely felt.
in
the
south of Italy,
of
colonies
to
the
foundation
due
largely
such as Cumae.
found
in these
origin, as
does
it
not appear that the wheel was in regular use before the middle
of the sixth century. 1
that
now
necessary to turn our attention to the local handAnd, in the first place, it is worthy of note
of
the Villanuova type actually survives the
pottery
It is
made
varieties.
pottery
in
common
as de luxe
use,
the
imported
or else, as
objects
only
being
2
regarded
Helbig suggests, the
former types were preserved for religious reasons connected
with burial rites, as was often the case in Roman religion.
;
Prof.
linear decoration
but
it is
better baked, and the surface is someare also found, and yellow
Red wares
is
trefoil-mouthed oinochoe
now
for the
first
time appear.
The
M.
Pettier
states
that
a primitive
that
it
till
the sixth
POTTERY OF TRENCH-TOMBS
291
ducks, which are also found ,on the contemporary bronzes, now
M. Gsell, describing in detail the various
first find a place.
2
fabrics found in the Vulci tombs of this period, speaks of pottery
1
and
kind of wheel (see above) must have been used to produce these.
some of the impasto wares there is a decided advance in
In
technique, the clay being better levigated and the walls of the
Some black wares seem to have been fumigated
vases thinner.
like the later
bucchero.
class,
we should
in
these
ornaments
in
brown turning
to red
the
commonest form
is
the oinochoe, and the patterns include circles, zigzags, wavy lines,
embattled patterns, etc. These are all wheel-made, and are, in
the same types as are found in the Dipylon cemetery
Athens and in Boeotia (Chapter VII.); the earliest instances
belong to the end of the eighth century, in some late pit-tombs
fact,
at
2
3
cf.
ff.
= 338
for the
style a vase
from Tamassos,
Museum
{Rev.
292
"
"
which also
into Etruria.
way
It
Proto-Corinthian
should be borne
for their
own
in
mind
contents.
To
The
with Caere. 1
first class
and
the metope
in
The
of the
iriQoi
in
tombs
is
not quite
clear,
use
to those found
The
3
suggestion of a Sicilian origin has
is more
likely that they are native
ii.
363 ff.
See Vol.
p.
-
I.
Hist, de fArl,
p.
vi.
E.g.
Ann. del?
ff.
but
293
avadrjfjLara of
The
reliefs.
LOUVRE)
(IN
BIRTH
and a
it,
a mixture of chalk
and
lime,
is
by
The pigment,
The process can
polishing.
Hdt.
i.
14,
25
Paus.
x.
in part
from
16.
Plate
XLVH.
pis.
we
28,
Louvre,
29,
32-3
pis. 33-4.
Pettier,
Vases
du
294
vases again are certainly local, as are the animal forms, which
resemble those incised on the bucchero wares. The drawing is
usually crude in the extreme.
It
is
is
(4)
Our
FOURTH PERIOD
fourth
period,
CHAMBER TOMBS
which
of the
in
many
ORIENTAL INFLUENCE
shows a close
respects
tombs a
by two circumstances
At Corncto the
fossa,
is
nevertheless
the adoption of a
new type of tomb, doubtless developed out of the fossa, which
takes the form of a large chamber, and is therefore known as
a camera
firstly,
with an
less
detailed
finds of
of exceptional interest.
1
Louvre
151.
1884, p. 163.
PERIOD OF CHAMBER-TOMBS
295
"
family vault."
While on the one hand the ceramic types of the Villanuova
period still linger on, as in the retention of ossuaria for the
receipt
of ashes, on
is
a great advance in
is
and
later
wares.
Corinthian
The
fabrics,
and
by the Ionian
by the Athenian
the sixth century, and
finally
all
later
or
painted in
white.
of bucchero forms.
much more
they
Rom. Mitth.
1886, p. 135.
B.C.,
and
296
about 665
train,
account
partly
civilisation.
that
Italy
the
for
It
the
certainly to the
is
Phoenician
objects
Carthaginian influence in
found in the seventh
that
is
late
it
and of
and commerce
Ionian art
2
and,
part throughout in the civilisation of Etruria
further, that Oriental art found its way mainly through these
larger
to
king
the
Olympia, now in
may further define
at
We
the British
Museum.
Greek
descriptive.
The
Cf.
B.M.
earliest
influences
Greece
'from
has
as
came,
297
been
as testified
Corinthian
vases
Cervetri, at
in
the
Campana
collection
at the Louvre.
I.
p. 76).
It
B.C.,
War
;
but
isolated instances of
dated
of
examples
(Vol. I. p. 390).
In sketching this
B.C.
336
outline of
have
been
Hellenic
found
influence
at
in
Cervetri
Etruria
Polledrara ware.
Vulci has been
The Grotta
d' Iside
or Polledrara
tomb
at
Nearly
are
now
Saloon,
all
in the British
Case?
Museum
126-35)
tomb
(Etruscan
see
Mjcali,
Man.
i.
p.
457
p. ZQ(J.
298
Although
at first sight
slip.
blue,
red,
It is
fired.
The
red
is
which
were
laid
blue fairly
The
so,
On the two
only of isolated bits of key-pattern.
of
rows
are
from
Theseus
scenes
the
and Ariadne,
story
upper
and
other
with
Centaurs, Sphinxes,
together
accessory figures.
consists
On
incised lines
may
also be noted.
is
known
an oinochoe
in
Berlin,
two vases
6
in
it
may
fairly
be
this
Mr.
F.
Anderson,
is
given in J.H.S.
3
4
cit. pi.
Cat.
617-18.
Bull,
deir
Micali, op.
Cat. 1543.
No.
26.
In St.
5, fig. 2.
1881,
p.
167,
POLLEDRARA WARE
299
and
among
it
is
worthy
the contents of
the tomb.
mummy-cases
centre
of
its
Naukratis,
through
As
representation of
described below (p. 319).
realistic
the
Etruscan
people.
They
are
subject and
style, lead to a comparison with the large Etruscan terracotta
sarcophagi, of which the most remarkable is that in the British
Museum. 2 Here, as in the Polledrara bronze bust, the rude
in
of a
tomb
at Veii. 3
fabrics (see
Chapter VIII.).
2
3
Micali,
Etruria,
i.
p.
34
ff.
3 oo
Mr. Cecil Smith sums up " The Polledrara ware was probably local Italian, made at Caere under the combined influence
of Ionian and Naukratite imports, acting on an artistic basis
:
we
It
only remains to
1
much
The
faded.
and a ship.
Three other tombs which
rival the
2
importance are the Regulini-Galassi tomb at Caere, the Tomba
3
del Duce at Vetulonia, and the Bernardini tomb at Praeneste. 4
Although the finds of pottery herein were small, they are yet
of great interest for the history of Etruscan art in general,
In
especially as they afford evidence for approximate dating.
The Caere
the two former Etruscan inscriptions were found.
and Praeneste tombs are probably the earliest, about 650 B.C.,
and the Del Duce and Polledrara tombs are not
end of the seventh century.
later
than the
In the Regulini-Galassi
of
by the
Mus.
Greg.
i.
pi.
P-
344
ff-
ff.
>Helbig,
P ls
<\'
%-
Bull.
deW
Mon. deW
Inst. 1876, p.
ii7ff.,
The
and
art
sides, to
acquired
301
similar
including
tombs
I.
p.
75).
Bucchero ware.
Etruria.
Its
natural or
artificial.
may
this result
made
be obtained by
wax and
and polished,
resin,
like
70 parts.
12
Carbonate of lime
Magnesia
Water
Carbon
60
t ,
Clay earth
Iron oxide
...
......
.
16
12
8
10
,,
,,
,,
soon appears,
of
first
all
2
3
in
which
Technologic,
ii.
p.
62.
It
may be com-
302
deer,
etc.,
Oriental style.
Both
metallic prototypes.
in
derived from
The
projecting Gryphons'
heads mentioned above are also typical of this class.
In tombs of 560
500 B.C., along with Corinthian vases, a
elegant forms
The ornament
cups,
is
chalices,
figs.
1-3,
is
in
5.
The
such
Some
in
meaningless juxtaposition.
patterns, such as palmettes,
all
is
maritime
braziers,
1
and vases
Cf. Micali,
Mon. Ined.
Micali, op.
cit.
Cf.
pis.
in the
form of birds or
and the
pis. 28-30.
1877,
28-32.
pi.
8, fig.
I,
reliefs
fishes.
They
are
pis. 20-4.
Cf.
Ann. del?
If
BUCCHERO WARE
303
ornamented with
much
the
same
birds
(cf.
Plate
stamped
in
LVII.
fig. 5).
The
figures
to
imitate
it
at
times,
We may
down
is
found at
that Etruscan
fairly lay
limited to the perfecting of the technique
combination of the borrowed elements and art-forms.
invention
is
and the
Many
of the
flat reliefs
2
In short, they
aryatid supports given in Plate LVII. fig. 2.
produce for us what is wanting in our knowledge of early
Arch.
Louvre Cat.
Etrusque,
Gas.
Cf.
p.
1879,
ii.
p.
p. 314*?.
462
de Vulci, p. 445
ff.
ff.
99 ff.
Pettier,
Martha, L'Arf
;
304
the
Numa
time of
"
:
ladle (sintpuvium]
Tuscum
it
fictile,
Who
"
ridicule the
to
mummies. 4
These Etruscan canopi are rude representafigure, the heads, which are often attired
in Egyptian fashion, forming the covers.
The eyes are sometimes inlaid, and the female heads have large movable earrings
and other adornments. In the tombs it was customary to place
these vases on round chairs of wood, bronze, or terracotta.
An
example may be seen in the Etruscan Room of the British
Museum, where the chair is plated with bronze, covered with
archaic designs in repousse relief, 5 and another is shown in
Similar chairs were discovered in the Tomba delle
Fig. 1 8 1.
of their
of the
tions
human
Sedie at Cervetri
to
Chiusi.
The
to be observed.
is
The lower
was
sometimes found
1
in the earliest
vi- 343
cf- Pliny, H.N. xxxv. 158and Chapter XXI.
:
59,
'
z
ii.
s
4
60.
xiv.
98 cf. p. 479.
See Perrot, Hist, de I' Art, i. p. 308.
See Cat, of Bronzes; No. 600, and
:
Cat. of Terracottas,
D2I5.
The bronze
This practice
Etruscan tombs.
chair
*
is
modern.
Mus. di Ant.
Class,
many examples on
Fig. 181
is
from
i.
pis.
p.
299
9,
a,
a.
pi. 9, figs. 9,
ff.,
with
n-13-
CANOPIC JARS
305
head fashioned
in
may be observed
from the vase with human head to the complete human figure.
cover
From Mus.
di ant. class.
FIG.
l8l.
Finally, its place was taken by the reclining effigies on the covers
of the sarcophagi (p. 320).
The earliest jars are found in the
tombs
of
the
eighth century, the evolution of the head
\pozzo
modelled
jars cease to
1
H 148
be manufactured.
in the British
Museum
is
VOL.
II.
helme
und Sepiilcraltnasken,
pi.
20
Gesichts-
n,
p. 42.
306
The
human
developed
They
Museum
in
The
jars are
uncoloured.
British
Museum 2
there
are
two
seated
chitons
Some
of
later
to
the dead.
(5)
the
skill
in
in gold,
pottery.
The
The
total failure
1
Cat. 3976-77.
Cat. of Terracottas,
D 219-220.
a;
307
mirrors
and
clearly that
cistae.
it
respect.
the
flat
fabrics begin to
make
their appearance.
The
latest
develop-
See Vol.
I.
p. 321,
308
We
Dummler
F.
of
as
is
fugitives
Accessory pigments are rare, and the incised lines are sketchy
and careless
great prominence is given to the bands of
ornament bordering the designs, this being a feature borrowed
;
Museum (B 64)
and palmettes
is
Rom. Mitth.
1888,
p.
I74ff.
see
the
It
class (Vol.
I.
p. 359).
may be compared
with
659
in
C/3
<U
309
all
characteristically Etruscan,
heavy and
and the
The shapes
Ionia. 1
of the
inartistic,
altogether un2
of
the
is
here
pleasing.
principal examples
appended.
When at last the imitative instincts of the Etruscans did in
vases
are
effect
list
them
copying the
unmistakable, not only from the style, but from the pale yellow
clay, dull black glaze, and bizarre character of the ornamentation.
Nevertheless, in
obtained, as in the B.M.
some
kylix
cases
good
478, which in
fairly
results
are
interior
its
design
events
all
is
"
vases of the
fine
are executed in
dry and
is
lifeless
See
Vasenm. p. 51;
Endt, Ion.
Louvre Cat. ii. p. 413.
2
B.M. B 61-74; Louvre
754-81
(some of these do not show distinctive
Pettier,
Etruscan
Italy)
Maisonneuve,
Mus. Chius. 72
Introd.
;
34;
Inghirami,
87.
about
Ac200
is
x. pi. 51.
310
two already
described.
on one
.),
side,
of Achilles.
Another vase of this class has for its subject the farewell
Admetos and Alkestis, 1 with Etruscan inscriptions accompanying the figures, and a speech issuing from the mouth of one
Behind Admetos is one of the demons of the Etruscan
of them.
of
hell,
tunic
Charun with
his
On
mallet.
Penthesileia
On
a third
Leda
is
and Orbetello,
at Orvieto
4
;
Campanian
vases.
The
common.
Inscriptions on Etruscan vases are rare as compared with
Greek, and in many cases have only been scratched in after the
Bibl. Nat.
3
ii.
frontispiece.
2
Reinach,
i.
p. 88.
Mon. Ined.
Mon. dell" Inst.
Micali,
pi. 38.
Cf.
xi. pis.
iv.
358.
4-5
also
ETRUSCAN INSCRIPTIONS
as in the case of a vase
Museum (A
BAI|NA5
1137, from
t
311
in'
Veii),
on which
The
felthur hathisnas.
is
earliest
incised
F^UVP
known
are incised
Cumae
probably through
group),
above,
(see
inscriptions
Etruria.
forms
on which
at
bary" or spelling
6,
//,
in
In 1882 an
8, e, f,
these
295)
p.
their original
i,
The alphabet
exercise.
K,
ft, v,
o, TT,
ffl,
M,
p,
<r,
as follows
is
+,
T, v,
"
syllaa,
0, Y.
j3,
7,
This
is
letters
Phoenician letters
+ (=
The
Semitic order.
in their
four additional
ones are
v,
f),
ffl
</>,
is
shin or san
The Caere
also
is
247).
(cf. p.
alphabet, on a vase
now
Museo Gregoriano,
in the
such forms as
the alphabet
from Formello, except for the omission of
the ?, and the v\, which represents san.
A third alphabet
of the same type, extending as far as o, was found at Colle
resembles
gu, ge,
etc.
that
On
near Siena. 3
and now
bi,
in
be
of
650600
1
Roberts,
(y.v.
for
same date
the
the
as
Regulini-Galassi
tomb, about
B.C.
Gk.
Epigraphy,
facsimile)
Bull,
i.
del?
p.
Inst.
3
4
1882, p. 91.
*
Roberts, p.
Dennis,
17:
for a facsimile
see
i.
p. 271.
Roberts, p. 18.
Dennis,
i.
Forsch. u. Stud.
p.
iv.
273;
(1883)
Deecke, Etr.
p. 39.
3 i2
*>
>
& X>
>
a, 7,
e,
F, f,
77,
0,
i,
\,
M,
ju, v, TT,
p,
</>
FIG.
l2.
museum
at Grosseto,
which the
in
letters are
In
practically the same, but with the addition of K and ?.
the first named the form f for Z should be noted, and in both
occur the san and two forms of </>, which in Etruscan generally
other instances of early Etruscan inon the Louvre vase from Caere, with white
see p. 294), which dates from
paintings on red ground (D 151
the seventh century
and on objects from the Regulini-Galassi
and Del Duce tombs (pp. 295, 300). They are, however, very
rare on the pottery of the next two centuries, with the exception
of those incised on the plain pottery, which bear no essential
relation to the vase itself. 3
These, as has been noted, are also
Among
appears as $.
found on imported
4
being the kylix of Oltos and Euxitheos, at Corneto, on the
foot of which is an inscription of thirty-eight letters not divided
5
Occasionally also painted inscriptions are found.
however, we come to the imitation Greek vases of the
into words.
When,
scription
ECH
2
3
Dennis,
Ibid.
See
ii.
i.
EA8CE
MUC
ATPANM
On
8AEPOPCE.
p. 172.
55,
pi.
p. 224.
Greg.
Mon.
Ined.
ii.
7;
ibid.
Storia,
pi.
101
as
Mns.
pi. 99.
Reinach, i. 203.
E.g. Fabretti, C.
I. Ital.
2606, 2609.
ETRUSCAN INSCRIPTIONS
313
word
ANAv
Lasna. 1
2.
to
some extent
in
general
of work
Chapter
III.,
in
in
in
classical
times.
even
if
they failed
in their
it
skill in
its
use.
He
attributes
its
introduction to the
three
craftsmen
whom
nor,
making
terracotta
For
figures.
their statues
the
many
excellence,
it
Etruscan statues
1
Ann. deir
also Fabretti,
2
Inst.
is
in
Roman
passages in
and
chiefly
1831, p.
176
cf.
4
Ibid. 152.
Orat.
ad
Grace,
i,
314
Volca of Veii
certain
tracting in
roof had
furnace, swelled
to
to
taken
off.
Pliny goes on
places even
to
in his day.
Rome and other towns with remarkable sculptured pediments and cornices the existing remains of some of these
will presently be discussed.
There is no doubt that the use
of terracotta for the external decoration of temples was even
more general in Etruria than in Greece and, whereas in Greece
in
ceased
it
Roman
the
in
times.
fifth
The
down
to
to have
Pliny,
2
The
xxviii.
story
I.
Pliny,
told
p.
13.
Etruria,
i.
p.
ii.
8, 9.
12.
6.
2.
xxxiv. 33.
Etrusker\
1 1
H.N.
Poplicola,
by Pliny, H.N.
and Plutarch,
16,
See Vol.
xxxv. 157.
is
Theil,
p. 5.
TERRACOTTA
IN
ETRUSCAN ARCHITECTURE
315
cavations shows.
I.
p. 100), was largely practised
even
and
and
Italy
spread thence to Greece, as at
Sicily,
is
not
alluded
to
by Vitruvius in his description
Olympia,
saw
in
in
of Etruscan temples
(iv.
7),
;
may
slabs.
Earlier restorations made after his descriptions are
imperfect in this respect, only regarding construction and not
It is at any rate clear that the roof had a
decorative effect. 2
1
Araeostyle temples,
portico.
wooden
architraves
The
in
terracotta.
to
the construction
of
tiles.
We
this
method,
or,
rather, of their
least
four
terracotta
temples built in
from
decoration
Museum
'astellana (i886). 3
schr. (Jdhrb.
756
).
ff.
Borrmann
in
Durm's Hand-
*>uch,
i.
1898, p. 429
ff
Class.
1899, p. 329.
Mon. del?
Cat. of Terracottas,
626.
ff.
Ke-
316
polychrome decoration.
Another example
in
Berlin
appears
illumi-
The
form of a pediment supported on columns, with ornamental raking cornices, and akroteria in the form of figures or
groups.
Along the sides and back ran gutters, with lion-head
in the
lotos-flowers, or various
The
1
Cat.
Arch.
Zeit.
1871, pi.
trated in Plate LIX.
i.
3621-23:
B62I
cf.
is illus-
monumental sculpture
Panofka,
Terracotten des
k.
in
Mus\
pi. 10.
3
SeeFurtwaengler,A/mterzew-/<?,p.25O.
TERRACOTTA
ARCHITECTURE
IN
317
Some of the archiclay are, a's has been indicated, not large.
tectural antefixes are almost important enough to be included
under
modelled almost
round.
the
in
to the
in the
century B.C., and the finest
Berlin Museum from the Cervetri find already mentioned, reprel
it is in the style of about
senting Eos carrying off Kephalos
fifth
480
B.C.
smaller
but
still
a Satyr and
With these
is
the
Museum, representing
Maenad awaiting
must be
the British
Museum
5
vase-paintings of the period.
One of the earliest instances, and perhaps the most remarkable,
of Etruscan clay modelling in the round, for its size and execu-
tion, is
British
reclining
"
on a couch, are
life-size,
in
which a
Arch.
Martha,
Zeit.
L'Art
1882,
pi.
trtisque,
15
p.
cf.
324
also
(in
Louvre).
2
3
J.H.S.
xiii.
p. 316.
pis.
B.M.
p. xlvii.
See
Cat. of Bronzes,
p.
For
full
description
of this sarco-
9-11.
4
terwerke, p. 250.
It is interesting to
figures
3i8
There
style of the reliefs round the lower part is very marked.
are similar sarcophagi in the Louvre, and in the Museo Papa
Rome. 1
Giulio at
M. Martha notes
in
FIG. 183.
Of
Luni
1
in
by
Mon. deir
Antichi,
gnoni).
viii.
The
instances
are compara-
tively few,
Inst.
vi.
pi.
59
Man.
13,
p.
Cf.
Mon. Antichi>
viii. p.
531.
ii
TERRACOTTA SCULPTURE
Florence. 1
of the
Their date
Olympian
is
about 200
deities,
few
remains of similar
be
may
It
319
con-
monuments
in terra-
an interesting
manner the achieve-
in
ments
Etruscan
of
the
in
painting
This
archaic period.
is a series of terracotta
the
which
slabs,
were
inserted
of
walls
tombs
into
small
at Cervetri to
the painted
decoration which the
receive
Etruscans considered
such
an
feature
important
of
their
sepulchral
3
ments.
Two
arrangesets
Museum
184.
Mus.
Ital.
di Ant. Class,
i.
p.
89
pis. 3-7.
ff.,
Man.
dell' Inst.
x. pi.
7, p.
Dennis, Etrtiria,
3
Martha,
LArt
ii.
ii.
p. 48.
Etrttsque,
pi.
p. 412.
243
ff.
vi.-vii.
;
pi.
Pettier,
Louvre Cat.
320
The
1
\ei)K(ofJia of early Greek paintings, on which the designs
were sketched with a point and filled in with red and black
slip or
outlines or washes.
of
women and
coloured red.
for the
left
flesh
for
men
being
Of
more
it
Grotta
rate,
not
in
painting, while
works
at Veii (Vol.
Campana
if
still
in terracotta,
any
examples of Etruscan
under Oriental influence. But not being
they do not strictly concern us here.
date,
are
the
I. p.
oldest
enough
to
receive
body
laid
at
full
length.
Two
The edges
These have on
branches of
trees, incised
Other sarco-
Cf. the
Thermon metopes,
I. p.
92).
'E0. 'Apx.
'
Cat. of Terracottas,
D 799.
800.
TERRACOTTA SARCOPHAGI
They
reclining posture.
in relief, freely
modelled
321
unarmed
Admetos
hero
Kadmos
roof.
and the
of Ares. 2
at the fountain
painted in
on a small sarcophagus
in the British
Museum
(Plate LIX.).
Here the flesh is red, the eyes black, the hair red, the wreath
green, and the drapery of the figure is white, with purple and
crimson borders
imitate
(to
red
to an
The background
is
is
rendered
on white, all the colours being marvellously fresh and well prebut the general effect is gaudy, fantastic, and scarcely
It may also be said in regard to the whole series
appropriate.
that the subjects are monotonous and unpleasing, and the
served
dragon
p. 165.
2
See
VOL.
generally
II.
Brunn
and
Korte,
vols.
B.M.
Cat. of Terracottas,
787-98.
3
Cat. of Terracottas,
795.
4
Martha,
Ant. Denkm.
cottas,
D 786,
V Art
i.
pi.
Etrusque,
20
p.
351;
Cat. of Terra-
21
322
whose
effigy, life-size,
of Etruscan
and
in
portrait-sculpture,
is
Seianti Thanunia,
most
realistic
splendid
specimen
preservation.
still
preserved, together
very similar specimen, that
in the Museum at Florence, 1 and from
of Larthia Seianti, is
the coins found therewith the date of these two
at about
50
B.C.
The
was
may
cast in
be fixed
two halves,
the joint being below the hips she is represented as a middleaged matron, her head veiled in a mantle which she draws aside
;
On
the right arm are bracelets, and on the left hand six rings,
the bezels of which are painted purple to imitate sard-stones
in gold.
is
freely
pilasters, triglyphs,
and
quatrefoils.
for
instance, being
made
in several
pieces
in
these
it
will
generally be noted that the head and torso are modelled more
carefully than the limbs.
M. Martha
terracottas
on
Mon. deW
I.
L?Art Etrusque,
p. 300.
TERRACOTTA SARCOPHAGI
as a rule. 1
323
The dark
red pigment usually applied for fleshcolour on the sarcophagi may suggest the minium with which
In later work
the statue of Jupiter Capitolinus was smeared.
the tints are lighter and much more varied, as we have seen,
and this is especially noticeable on the figures from the Luni
SOUTHERN ITALY
Italy
in
us,
"
is
that
com-
>f
[B63O)
(as also
on the
Polleclrara hydria).
line
324
and the Osco-Samnites, who occupied Campania and the mounSamnium on its north-eastern border. In
Lucania the district of Sala Consilina has yielded local pottery. 1
The Osco-Samnites appear to have been more amenable to
the influence of Greek civilisation than the others, owing to the
tainous district of
I.
p. 484).
and also at Nola, " ProtoCorinthian and Corinthian wares have been found during the
sixth century Ionic and Attic B.F. wares make their appearance,
2
At Cumae
in particular,
"
rise to
finds of vases
3
The general scarcity of imports is due,
specimens.
to the restricted intercourse between the
Patroni
thinks,
Signor
colonies on the coast and the interior districts peopled by hostile
isolated
local tribes.
After the
Greek
were established
artists
fifth
the
art.
i.
p. 7.
See also
those
Vienna.
in
the
Reinach,
ii.
Imperial
242-43,
for
Museum
at
itself felt,
may
be called "archaic"
but
it
must
at the
325
same
It is
resemblance
wares
in
learned Italian, on
of development, not of direct imitation.
first seeing some of the local pottery excavated in Apulia, ex"
claimed, This is the Mycenaean style of Italy." Chronologically
Mycenaean
There
mouthed
may
be traced
in
pottery.
also a favourite
Museum (F 508
Fig. 185, and F 509), which is obviously
"
derived directly from the Mycenaean " false-necked amphora
It is not a Hellenic type, although it is
(see Vol. I. p. 271).
the forerunner of a form of askos found
the painted
vases of Apulia.
Another favourite form, which Signor Patroni
calls the orcio appulo, a jar with three vertical handles round the
among
some
of the
the extremity
lapygians.
by Messapians,
The
or,
as
they arc
also
styled,
vases,
326
in various places
PIG.
185.
32;
inwards, without
seen in Chapter
lip.
in
The
is
decoration includes
point
to
calls
Mayer
the
"
hour-
ornament.
in panels,
in the
"
4
but
lapygian," appear to be imitations of B.F. amphorae
if they are imitations they must be almost contemporaneous
with their prototypes, and cannot be later than the fifth century.
;
coin-types of
Hellenised.
other shapes are a kind of askos with simple decoraa jug or pitcher with discs attached to the handles, also
with simple patterns, and a unique variety of the krater with
Among
tion,
Ibid,
Drouot,
5
pis.
linear
19,
May n,
21
and natural
Sale Cat.
Serv.
Hfoel
328
forms.
characteristic motive
is
The
a sort of chain-pattern.
The shapes
askos, as given in
the
between
handle
arched
mouths, or a kind
Fig. 185, with an
on
a
two
of double situla, formed of
jars
cylindrical stand
with a vertical handle between.
(see below)
where
district,
influence
of Peucetia
was
felt
vegetable
ornaments,
suggests,
have
with those of
vases.
hardly be
fifth
he
affinities
"
"
The
The
Rhodian
can
date
earlier
than the
century.
The
of
fabrics
Central
They
are
all
of a
mentation
186.
freer
is
in
and
the
They are
Messapian
easily recognisable by their forms and characteristic designs,
Here, again, the typical form
painted only in brown or black.
is a krater, in which the handles are either arched in vertical
It has a shallow, spreading
fashion or else form flat bands.
in
are
The
panels and bands, and are
arranged
patterns
lip.
class.
zigzags,
lozenges
filled
the
with
Fig.
The
Lucania. 2
in
"
hour-glass," hook-armed
reticulated pattern, neatly
crosses,
and
arranged
in
saltire-wise.
Round
329
is
often found
some vases
is
orcio
krater from
Ruvo
previously supposed
they are certainly not late archaistic
work, and time must be allowed for their disappearance when
the Hellenic fabrics of Apulia begin.
In placing the majority
;
Rom. Mitth.
both fabrics
at
600
450
B.C.
Rom. Mitth.
Louvre Cat.
p. 372.
CHAPTER XIX
TERRACOTTA IN ROMAN ARCHITECTURE AND
SCULPTURE
Clay
in
Roman
architecture
Use
sculpture in terracotta
Gaulish terracottas
THE uses
of clay
much
same
the
tecture, in
Methods of construction
of bricks
Inscriptions on
Mural reliefs List of subjects Roman
Uses at Rome Types and subjects
Statuettes
Potters and centres of fabric Subjects Mis-
Ornamental antefixae
bricks and tiles
Military tiles
Tiles
Other uses
Flue-tiles
Coin-moulds.
Money-boxes
at
some cases as
Rome, in others
in architecture
its
use
less
The Romans
in
I.
ARCHITECTURE
I.
BRICKS
AND
Chap.
III. of this
work
TILES
two
classes
divided the
Pliny,
H.N.
330
Re Rust.
iii.
n,
9.
must be borne
It
331
in
mind, however,
we employ
;
they only
tiles,
or stucco.
The word
mly) coquere.
later
but testa
when burnt
also used
is
brick
intended.
The sun-dried bricks were the earlier and simpler
brm, used for building walls and cemented together with clay
or mud. 5
Vitruvius in his account of brick-making (ii. 3)
s
to
'
Etyni. xv. 8,
Pliny,
p.
cf.
xxxv.
170
Nonius,
445, 22.
8
H.N.
5,
'Vitr.
ii.
8,
Varro,
Re Rust.
ii.
3, 6.
ii.
i.
Pliny,
H.N.
xviii.
301.
332
foot
in
Roman
tegula
sesqui-
pedalisl
frequent arrangement, he says, was to employ
half-bricks in alternate courses with the ordinary sizes, which
served to bind the walls together and present an effective as
and thin
as has been
tiles,
already noted
resemble
or at least rectangular.
But there were also tegulae bessales
of a foot square, i.e. about
two-thirds
measuring
or bricks
and triangular
8 inches,
all
The
Roman
existing
thickness
varies
of concrete with
walls
from
ij to
p.
used
as
337),
we
with
alternately
see them in
They
the
facings.
are
edges
not
being
In military works
and stone (see
flint
England,
4
brick
inches.
places.
at
Colchester,
At Verulam
the
tegulae bessales,
Vitr.
H.N.
i.
ii.
19,
and
2793-94;
Cf.
3, 3.
xxxv. i7off.
and
40, 2
Marini,
4,
p.
5
2; Pallad. Agric.
Wilmanns, Exempla,
Iscriz.
ant.
doliari,
Wright,
Cf.
Rome,
i, fig.
pi.
Celt,
88.
p.
59 (cut)
Archaeologia,
942-944.
li.
5.
Marquardt. Privatalterthitmer,
p. 6f8.
square
in
some
floors
upper
cases, as
333
bricks
20 inches
these were flanged
were from
at Cirencester, 1
18 to
tiles (see
The
below).
general size of
sesquipedales, \ by
as 1 5 by 14 inches.
by
foot
by 4
inches.
Palace of Constantine
2 feet
The
is
Prof.
Vitruvius
stony or
and so
full
of loose
liable
flints,
and
to split
fall
when
out
affected
rain
by
it
ochre)
(sabulo masculus]
made
light
easily
tiles,
with
set.
The
coarse
The
clay was
sand
process of
first care-
fully
Buckman and
Art in
Newmarch, Roman
Cirencester, p.
64
Marquardt,/Vwa/fl/te;Y/6/V//^r,p.6i8;
3
Collect.
Antiq.
cit.
Jahreshefte (Beiblatt),
Roach-Smith,
Loc.
ff.
ii.
p. 91.
i.
p.
12:
see also
Archaeologies^ xlix. p. 427, where
it is
pointed out that measurements of
ii.
i.
p.
123.
3, i.
foot-
ii.
p.
18).
334
with the imprint of a goat's feet. Others at York and Wiesbaden show the nails of a boy's shoes. 1 These impressions
of feet (where human) may also be referred to the practice of
using the feet to knead the bricks.
The bricks were then ready for use, but were kept for two
years before being employed, otherwise they were liable to
contract,
to collapse.
At
off
moist, so
that
2
when
contracted
and
It
roof-tiles
Roman
bricks
are nearly
always of well-tempered
Cf.
Roman, and
also Wright,
Celt,
Scucon 4 , p. i86.j
2
Vitr.
Agric.
vi.
ii.
varieties
Domus may
ascribed
to
be
found
cited.
their
in the
The
same
building,
preparation and
life
than modern
longer
careful
Aurea
Nero's
Roman
of
durability
335
tiles
seasoning,
is
which
hence they
tiles
them a much
were frequently used up again in early mediaeval buildings
and in Romanesque churches in England, as at St. Albans,
St. Mary-in-Castro, Dover, and St. Botolph's and Holy Trinity,
give
Colchester. 2
During
period
of the
Rome
outside
with burnt-brick
mentions
Pliny
exceptional.
cornices,
walls
of
sun-dried
bricks
at
Vitruvius'
used
(the
(structura testacea) for the outer walls, concrete for the partyHe explains the
walls, and wood for the roofs and floors.
of
cessation
use of unburnt
the
brick
as
more
only
if
theatres,
such as
Cumae and
,
i.
magnificent
Pozzuoli.
See
London^
Roach Smith,
-
p.
lllnstr.
Rom.
De
Vitr.
12.
Apud Non.,
p.
48
(s.v.
suffundatum).
Div,
H.N.
Vitr.
Ibid.
ii.
ii.
47,
99
8, 18.
xxxv. 173.
ii.
8, 17.
336
left it
marble
but
it
must be remembered,
that
unburnt brick
secondly, that
the
phrase
is
may
firstly,
denote
probably to be
to
crustation.
was
It
always
the second
covered
century of
over
with
the
Empire.
in
of
the
of
time
brick,
sepulchral buildings wholly
Examples
of Hadrian, may be seen in the tomb before the Porta San
Sebastiano at Rome,
This has Corinthian
bricks
known
being
members, yellow
for the
Of
layers of bricks.
capitals are formed of
Hadrian's time are also the guard-house of the seventh cohort
walls
the
See
Daremberg
Aquaeductus
Ancient Rome,
;
Suet.
Aug.
and
Saglio,
s.v.
Middleton, Remains
ii.
p. 323.
28.
of
3
Borrmann, Die Keramik in der
Baukunst (Durm's Handbiich d. Archi-
tektur], p. 51..
USE OF BRICK
BUILDINGS
IN
337
is
still
or
inch
thick,
contain
bricks
in
triangular
in
are used
sea-sand,
and
(cf.
p.
The
334).
earlier
the
are
walls
good
in
In
Britain.
this
horizontal
examples of
(44 B.C.) and
1
brick
Roach- Smith,
Collect.
four
is
courses,
Roman
in
into
Antiq.
iv. p.
It
Regia (35
II,
pis. 5-6.
VOL.
baking),
characteristic of
methods.
the
p.
26
(made by 'dividing
before
is
B.C.),
found
the
in
laid
flat
the
Rostra
the
earliest
existing
p. 38.
4
;
Archatologia,
lii.
in
earliest
p. 664.
22
338
1
The back wall of the Rostra is of concrete faced
examples.
with triangular bricks i| inch thick, the sides 10 inches
The same arrangement may be seen in the Pantheon,
long.
the
in
(see
or
bricks
triangular
with
known
method
down
lasted
130 in Italy.
however, be noted that
SECTION OF ANGLE.
FIG. 187.
Faced
with
CONCRETE WALL,
(A)
incerium,
opus
c shows the
(*}pus reticulatum
moner
was used
tufa
for
stone than
latter material
It
it
in
not having-
should,
come
into
when
when
in
about
to
A. D.
This
it
was employed. 4
the reticulated
But even
work, bricks
or
tiles
were used
for
i.
p.
id. in
Archaeologia> xlix.
426.
2
3
See Dressel
in C.I.L. xv. p. 9.
Mau-Kelsey,
p.
38
dleton, op.
cit.
i.
p. 55? fig. 6.
p. 146,
Mid-
METHODS OF CONSTRUCTION
339
baths
Fig.
Vitruvius
189).
the
vises
bipedales
wooden
of
use
to
ad-
tegulae
protect
the
over
the
joists
from
vaults
being rotted
by the steam from the hot
4 feet
bathrooms
they were to
be placed over the whole
;
under-surface
of
con-
the
supported on
were
girders, which
from
the
concrete
suspended
crete
vault,
iron
The
term
vailed
later
opus mixtum
not classical)
is
regularly
Empire,
(the
preFIG. 188.
under the
from
the
SECTION),
The method
tion
son
is
shown
V. 10, 2.
See also on
and
Greece
FIG. 189.
CONCRETE ARCH
HALF WITH
this subject
tit.
i.
Ander-
Architecture
Spiers,
and Rome,
dleton, op.
fig.
p.
I37ff.
p. 66,
ii.
oj
Mid-
p.
120,
64.
See Middleton,
Archacologici)
li.
op. fit.
i.
pi. 2, fig. 5.
p.
62
340
The
Rome may
have
been the scarcity of wood for fuel for the kilns. But
any
pointed backs of the bricks made a good bonding
with concrete, and presented a large surface with a comin
case the
amount of
paratively small
durability of
Roman
ful
In the
From
clay.
The
secret of the
wonder-
is
buildings
to the excellence of the concrete.
owing
is
nearly 20 feet
Blutnner.
FIG. 190.
inches.
The
character
of the brick
on
this principle,
The word
Isidorus
as
1
Middleton,
for a
tile,
tegula,
is
derived from
i.
Etym.
xv. 8, 15
2
;
the
ROMAN
TILES
341
these
which
flanges,
when placed
one another
into
fitted
side
parts of buildings
employed
which were
mammata, a
the tegula
plain
square
-tile
The
damp.
in party-
tiles
were
by
points of the projections into the concrete,
a
leaving
space between in which the warm air could
the
inserted
thus
circulate freely.
in
and
placed together
The
after
in
tiles
manner prevalent
1
Henzen,
Inscr.
in the
6445,
7279-80.
DOL
There are
DELIC,
marked
tiles in
'
i.e.
on
The arrangement
pi.
flat
or curved
6 of Campana's Ant.
tiles
opere
in
existence
(Marquardt, FnvataUerthiimer,
4
is
p. 619).
well illustrated
Vitr. v. 9, 7
Brongniart,
viii.
7,
Trait^
i.
I.
p.
374; Mar-
Studien, p. 65
ff.
342
overlapping like scales and for this purpose the tiles seem to
have been pierced with holes at one corner, and so attached to
;
one another.
in the
Roman
villas
in
An
tiles.
found at Niederbrunnen
inscription
speaks of attegia
tegulicta, or
in
Germany
tiles,
erected in
honour of Mercury. 1
Tiles with turned-up edges or flanged tiles were principally
employed, as has been indicated, for roofing but some were
also placed in walls where required, especially where a space
;
for the
the imbrex, but have no holes for nailing to the rafters. The
ends of the sides were cut away in order that the lower edge
of one tile might rest on the upper edge of the one adjoining.
tiles
military castra in
colour
have been found, the latter with fragments of red
yellow
tiles mixed in the clay.
They are also often found in the ruins
In
the
of villas.
flange
tile
in the British
and
it
Caumont, Cours,
3
*
2,
ii.
p. 182.
together,
Ibid. p. 184.
Brongniart and
Sevres,
13.
p.
d.
flat tiles
i.
Riocreux,
Alus. de
p. 18.
pi. 14, p.
185.
ORNAMENTAL TILES
343
thus rendering the roof compact, were quite plain, with the excepThese were in the form
tion of the end ones over the gutters.
of antefixal ornaments like the Greek examples (Vol. I. p. 98),
an upright semi-oval termination ornamented with a relief or
Many
painted pattern, with an arched support at the back.
1
and
elsewhere
at
exist
Ostia,
(see
below),
Pompeii
examples
but artistically they are far inferior to the Greek examples, and
of simpler design.
Most of them have a simple palmette or
head of a deity
is
times
such
Zeus
added,
as
Ammon, Medusa,
Bacchic
some-
head, or
Museum (0690
191)
she
Fig.
carries
No
FIG< I 9 I
example of
better
of ornamental
architecture
in
tiles
can be
selected than the remains found at Pompeii, which are exceedTerracotta seems to have been used here
ingly numerous.
especially for such parts of the decoration as were
3
wet, as well- mouths, gutters, and antefixal tiles.
exposed to
istic
pi.
2
of the
feature
Campana,
Ant.
opere
decoration of
in plastica,
below,
p.
371
and
cf.
xxxiv. 4.
6.
For references
cotta antefixes
character-
in
to
ornamental
terra-
Latin literature
see
See for
Rohden,
also
J^erracotten
Mau-Kelsey, Pompeii,
p. 251.
344
in the
foreparts,
between
square section.
Antefixes and gutter-cornices, where they occur, must always
be regarded as serving ornamental rather than necessary purAll early work in
poses.
may
also
this is not
There
is
much terracotta
Comic
masks were used both as spouts and as antefixes, the exaggerated mouth of the mask serving admirably for the former
3
These date from the reigns of Nero and Vespasian,
purpose.
and all seem to be from the same fabric, although there is
considerable variety in the types the use of masks for these
work
also
in
purposes
above).
floral
scrolls,
dolphins
and Gryphons.
The
with
Von Rohden,
Casa dei Niobidi.
1
2
3
pi. 7, fig.
I,
from the
and 6, I.
For examples of this type see B. M,
Ibid., pis. 5, 2,
66 (from Corneto),
Terracottas,
700
(from Cumae), and
706 (from Capua).
Mau-Kelsey, Pompeii,
p. 36.
ROOF-TILES AT POMPEII
345
These
The
examples are
earliest
found. 2
in
Von Rohden,
in
summing up
(p. 14),
is
are
as
many
atrium and peristyle roofs, and nearly all of these are of late
date.
The discovery of isolated pieces in a house seems to
in
the
restorations
among
after
those
which have been found at Ostia, both in baths and private houses
some of the latter came from a house of which the brickwork
bore inscriptions with the names of consuls of Hadrian's reign.
;
The arrangement
the antefixal
cf.
Von Rohden,
B.M.
Cat.
from Pompeii.
pis.
of
14-16; 18,
Terracottas,
fig.
0699,
'- Ibid.
pis. 11-13.
3
pi.
in
plastica^
346
walls of rooms.
known
They
from the hypocausts and warm the rooms. In the cold climate
of Britain the Romans found this a universal necessity, and
instances may be observed in many of their villas but, as far
as can be observed, the general method of warming was by an
extensive system of pipes under the floors rather than up the
5
These tiles are pierced with holes, by means of which
walls.
;
Campana,
pi.
CT.
for
the story
'
vii. 4, 2.
Rom.
See Middleton
Mythol.
2
ii.
p. 55.
Archaeologia, xiv.
Brongniart, Trait^
3
i.
p.
i.
pi.
13, p.
64
cf.
p. 367.
p. 181,
ii.
p. 121
ff,
in Archaejlogia, Hi.
j
663, for a general discussion of the*
subject
Antiq.
vi.
also
Roach
Roach-Smith,
26, p. 114
Smith,
Collect.
p. 122.
Ilhistr..
Collect.
Anliq.
Rom. London,
iii.
pl.j
p. 115.
347
with a hole in the side for the escape of the air which traversed
1
them, the usual dimensions being- about 16 by 6 by 5 inches.
Seneca speaks of pipes inserted in walls, which allowed the
warmth
to circulate
2
equally
and
(fenestrae) in
the
From
be
AA
B
CC
DD
EE
FF
GG
HH
a,
JJ
LL
at
pleasure.
Middleton.
FIG. 192.
regulated
IN
Concrete wall, faced with brick, shown in vertical and horizontal sections.
Lower part of wall, with no brick facing.
Marquardt,
Privatalterthiitner,
p. 620.
2
So
also in the
Roman
Ep. 90, 25
(xiv. 2).
/.
vii.
ii.
17, 23.
p. 198).
villa at
Wood-
348
sides with
calla, is
jointed
(as in
193), the
Fig.
patterns scratched
initial
in
Tx
and another,
pattern the letters Px
from Plaxtol in Kent, the local maker's
3
4
name, CABRIABANTI. These hollow tiles,
which are generally of the same clay as
the roof-tiles, were also occasionally used
5
hypocausts, but for this
purpose columns of tegulae bessales were
more usual, as Vitruvius implies. 6 Many
as
FLUE-TILE WITH
ORNAMENTAL PATTERNS.
FIG. 193.
examples
be seen
may
Cirencester, Chedvvorth,
Middleton,
id. in
2
tiles,
cit.
op.
in the
ii.
p.
113
5
ff.
Roach-Smith,
11.
pi. 3-
Collect.
C.I.L.
vii.
Rom. Land. p.
4
CJ.L. vii.
Archaeologia
;,
Archaeologia^
Antiq.
ii.
p. 21,
1250; Roach-Smith,
fig.
1238.
of Britain, as at
In a
villa
3.
///.
vii. 4, 2.
114,
villas
Isle of
Roman
Wight, the whole bath was conthe floor supported by pilae of the same. 7 At
found at Carisbrooke,
structed of
of
pillars
Essex.
FLUE-TILES
Bath the hollow
and vaults. 1
tiles
349
what they
for this is
practically
were
made up
the
the wall
tiles
of hot
the ventilation.
purpose at
walls.
made
partly
for
The Venafrum
lead
inscription,
6
they were of masonry.
Pliny speaks of tubi fictiles used for
conduits from fountains, 7 and Vitruvius recommends the use of
cf.
Cf. Vitr.
17
loc. cit.
Micklleton,
Vitr.
;
5
G
ii.
p.
4
123.
"
s.v.
and
8
viii.
Examples of clay
7,
C.I.L.
viii.
x.
4842.
7, i.
H.N.
viii. 7,
xxxi. 57.
10.
Isid.
Etym.
xv.
8,
350
tube
another
which curved
These date from the fifth century. B.C. Other
upwards inside.
2
examples have been found in Rome and Italy, and specimens
found on the Rhine were 21 J inches long, of which f inch
was inserted into the adjoining pipe, and 3^ to 4^ inches
Terracotta was also used for cisterns, as at
in diameter.
3
and
for aqueducts
but Lanciani has pointed out
Taormina,
was
confined to irrigating purposes.
that its use in these ways
The Campagna of Rome was formerly extensively drained
with these tiles, and owed to that circumstance much of its
wall
the
through
into
fitting
ancient healthfulness.
Of
the use of
Roman
in
writers.
seldom used,
at
in
as in the villa at
uncommon,
all
On
or for baths
cisterns.
This was made of a
stamped and pounded into a firm
and
It corresponds
to the
mass, combined with mortar.
testis tunsis of Vitruvius, which (to a depth of six
On this
inches) was laid on the nidus or coarser concrete.
solid
nucleus ex
was
1
Mon. Antichi,
pi. 6, p.
326.
Archaeologia,
p. 8.
4
iii.
161
ff.
Micklleton,
i.
p. 80.
Remains
of
li.
pi. 3.
Art in Cirencester, p.
7
H.N. xxxv. 165;
Geoponica,
Ancient Kotne,
slabs,
5
i.
Lincei, Ser.
3
marble
ii.
Cato, Agric.
Columella, i.
ix.
i, 2.
27,
xviii.
6,
13
7:
;
64.
xxxvi.
Pallad.
Vitr.
viii.
15,
188
i.
vii.
3,
9,
i,
17,
cf.
4;!
i;
AND TOMBS
351
afford a
black
this practice,
colour.
Vitruvius and
producing
made
In the
on edge to form a herring-bone pattern.
of
of
a
tesselated
Guildhall Museum is part
concrete,
pavement
faced with small bricks about an inch square.
One of the most interesting uses of tiles by the Romans
inch, set
is
tegulae
bipedales
were
this
tomb found
at Litlington in
5
In some of the tombs
flanged tiles, each side in rows of four.
of Greece belonging to the Roman period semi-cylindrical tiles
were used for this purpose. In the provinces the tiles often
Roman tombs
at
York
names of the
the
LEG
VI
(Isca
iiigustan legion
legion may also
be traced at Chester
Middleton,
Cf.
op. cit.
ii.
in Cirencester, p. 49
Vitr. vii.
;
Stat. Silv.
4;
i.
ff.
Pliny,
3. 54.
H.N.
xxxvi.
in
this
manner
Archaeologia, xxvi.
Roach-Smith,
C.I.L.
vii.
///.
the
pi. 44, p.
Rom. Lond.
tiles
370.
p. 113.
1223-24.
7
Ibid. 1222 (in B.M.)
Brecon and Abergavenny.
others from
352
are inscribed
tomb
the
LEG
XX
v.
They were
tile.
The
To
of the buildings for which they were intended been less rare,
they might often have afforded valuable evidence as to doubtful
settle
names of
to the
Roman
nobility.
semicircular,
bricks
circular,
C.LL.
The
vii. 1225.
inscribed tiles found
Rome
the
Others are
STAMPS ON TILES
also
known
353
tile.
is
stamp, thus
Oj>
known
the orbiculus
as
"
"
of the
and
after the
Punctuation
E M,
,
S.
in
mark
the
afterwards
At
becomes
vague
in
form.
Ligatured
letters are rarely found after the time of Diocletian, but are
sometimes more than two
common in the best period
;
combined. 1
preserved.
In the centre of the
emblem
or device of
used several.
the countermarks or
small adjuncts on the coins of the Republic, and the seals and
stamps on the wine-amphorae of Thasos (Vol. I. p. 1 58). Figures
of gods, such as Mars, Cupid, and Victory, animals, and even
groups of
I
emblems
VOL.
II.
in certain
p. Ixviii.
23
354
the
estates
(praedid)
clay,
officina],
potter
who prepared
it
who moulded
even
its
the
tile,
and
very dimensions.
194.
is
in the
has
Catacombs
at
Rome.
round which
the inscription in two lines, beginning with the outer band
OPVS DOLfare) DE FIGVL(*/J) PVBLINIANIS
(ex) PREDIS AEMILIAES SEVERAES
It
is
stamp a
figure of Victory,
"Pottery
The
in the centre
is
"
2
3
Cat. of Terracottas,
148-49.
Opus doliare is the invariable
Roman
inscriptions,
1212; 398.
word
the,J
STAMPS ON TILES
355
The
earlier
later
We
made
tiles for
the purpose, 1
and on the tiles bearing his name he is styled " The good
and glorious king," with the additional exclamation, " Happy
Rome!"
is
The
are
estates
for
the
tiles
was produced
rationes
privata (private property)
possessiones
or
more
insulae
The
generally, praedia.
(blocks)
(shares)
latter word, indeed, is almost invariably used down to the third
called
tiles
give
it
is
2
3
Cassiodorus, Variar.
C.I.L. xv. 1668-70.
Cf.
C.I.L. xv.
p.
i.
25
cf.
204, Nos.
ii.
23.
1627, etc.
4
1616,
i.
M\<\d\eton,JRemamsofAncient Rome,
p. 13.
356
of inferior
well
figlinae
or workshops.
lowed by the
is
usually fol-
name
by the name
of the potter (pfficinator).
The former expression is by far
the commoner, and the latter (OF or OFFIC) is more usually
found on lamps and vases, although after the third century it
is invariable on the tiles.
The figlinae are always mentioned
in a subordinate manner to the praedia, when both are men-
Ibid. 4090,
C.I.L.
xv.
No.
Ann. del?
from Ostia.
7,
14.
478
ff.
cf.
683,
and
Inst.
Ibid. 677-82.
Ibid. 389.
1840, p. 240.
TILE-POTTERIES
357
Oceanae.
Neronianae, Domitianae
as
FIGLINIS
PRIMIGENI
of
SERVI
DNl NOSTRI
slave
IMP" From
EX
the
of
Emperor."
Imperial slaves owned many potteries, and others were owned
by the emperors or other wealthy proprietors, and administered
by freedmen or slaves. The officinae served to distinguish the
potteries
Primigenius,
or they are
is
distinguished by
The tiles from the potteries of Asinius
Domitianae, and so on.
Pollio bear the name of C. Cosconius as maker, as do those
of Julia
Procula's
potteries,
being
further distinguished as
It would appear that the
and SesquipedaUs*
of private proprietors were under the direction of
freedmen, while those of the imperial estates were chiefly
managed by slaves, from whose labours large revenues were
doliares, bipedales,
potteries
obtained.
B.M.
[2793
3
Cat. of Terracottas ,
E.g. Wilmanns.
Exempla
150.
Inscr. Lat.
a.
See
Blanchet,
Melanges
Gallo-
ii.
(1902), p.
name only
no.
358
2
Tiles found
from Rodmarton in Gloucestershire.
in the provinces also have the maker's name simply, without
indications of date or the owner of the pottery, as on those
r,
from
Seligenstadt
other
names
Daedalus, Peculiaris,
On
name
life.
Primigenius, Zosimus
Yet the occurrence of a
given,
On
and freedmen
the
tiles
three.
On
4
of the representative of the family in the genitive.
other tiles we find such expressions as VTAMVR FELICES,
name
"May we
use
it
.and
be
happy"
5
;
FORTVNA COLENDA,
"
"
and
Fortune is to be worshipped
(a second-century tile)
on others of post-Diocletian date, VRBIS ROMAE, "The city
"
of Rome 7
SECVLO CONSTANTINIANO, " The age of Con;
"
"
stantine
live happily."
2
8
4
C.LL.
vii.
Cf.
see
"
p.
Ibid. 1668-70.
Steiner, op.
cit.
i.
p.
275.
5
1255, 1257.
Ibid. 1242.
ii.
p, 92,
legion."
two metrical
tile
found
in
Hungary had
incised.
Idle
the
in
boys
scratched
upon
it
359
discit bene
2
;
Tertius,
brickfields
on the Anger 5
the
letters
IKLM
on one at Winchester
DIBV5
FIG.
195.
Guildhall
IIK
Museum
is
... E FVELLAM. 7
Steiner,
1373C.I.L.
i.
iii.
p. 75,
p.
962
No. 171
;
?r;chte,x.\\. (1855), p.
3
tile
in
On
in
ire
>f
on another at Silchester
ic
ii.
Wiener Sitzungs133.
Steiner,
ii.
p.
Now in
Pesth
C.I.L.
vii.
Ibid.
Hants,
8
C.I.L. ibid.
p. 248,
vii.
i.
1259
282
p.
Cat. p. 73,
Museum
{C.I.L. ibid.).
1260.
Victoria
No. 56
(1892), p. 344.
County Hist, of
other examples).
(q.v. for
;
Ephem. Epigr.
360
two
lines
of the
in
excellent
cursive
1
century after Christ.
The Roman tiles, if rightly used, are found very useful for
judging the dates of buildings. For instance, a study of those
characters of the
first
in the
the
dates
cannot
be
definitely
but
ascertained,
before his
lines
end of the
period.
first
century
down
do
these
to
Many
have
of
been
lists,
and
their
suffecti,
temporary
elevation.
They
are fewer in
number
those which have merely the names of praedia or potteries, but are yet sufficiently numerous to be an invaluable
than
C.LL.
ii.
cf.
Victoria
4967, 31
County Hist, of Hants, i. p. 275.
B.M.
149: seep. 354.
See Dressel in C.LL. xv. p. 10,
E.g.
CHRONOLOGY OF STAMPS
361
in
COSS
*
;
the date
is
name being
emperor (COSS
is
(a)
(either
of praedia
or
Asini Pollionis.
(b]
or potter
C. Cosconi.
2. (a)
(b)
(a)
of
the
pottery),
or
Tegula
3.
(lessee
C. Cosconi> figuli
Asini
Pollionis.
name of pottery
Amoeni duorum Domitiorum Lucani
et
Tulli,
ex figlinis Caninianis.
(b)
name
of pottery
(a)
(b)
Rheni,
2
ii.
p.
Rom. Danub.
et
362
Ex
(b) C.
Ex figlinis
Publiciaes Quintinae.
3.
(a)
Ex
(b)
praedis)
Caepionianis
Isauricae, fornace Peculiaris servi.
figlinis
(vel
trorum,
figlinis
Primitivi.
Domitianis
minoribus,
Plotiae
nos-
Fulvi
in
Many
new
of the officinae
and
for the
as
In place of praedia
rationes, or possessiones.
workshop.
statio^
P,
ratio
sacrae
See
xv. p. 387.
MILITARY TILES
replaced
363
given, as
and
is sometimes mentioned.
We
which the tegulae were stored
1
LICINI, or the name of the building
2
CASTRIS
for which they were destined, as PORTVS AVGVSTI,
for distribution, as
PORTU
3
Some
PRAETORT(J) &vG(ustt) N(Wr/), HORREIS POSTVMiANis.
on
in
Lambeth
the site of the
tiles dug up
Hill, London,
Post Office, now in the British and Guildhall Museums, 4 were
letters
BR
LON
or
FIG.
196.
PR
BR
LON
Londinienses!'
Tiles
made
for
are exceedingly
period, and the
a double use.
military purposes
in the later
common
In the
first
place, they
there
with
many men
handicrafts.
acquainted
Secondly,
they
INSCRIBED TILE
FROM LONDON.
private individuals.
Of
stamped on
tiles
which
the military divisions stationed throughout the provinces of the vast empire. These are found in soldiers' graves (see
relate to
extent of
1
3
1
B.M.
Roman
conquest.
Thus
5
152.
the
route of
the
C.I.L.
thirty
vii.
1235 ; Roach-Smith,
see also
Antiq. i. p. 143
Journ, Brit. Arch. Assoc. xxxix. p. 389.
Collect.
364
and in Britain
legions through Germany has been traced
an examination and comparison of such tiles shows the dis;
tribution
the
of
migrations
different
The
pressed, as if from a metal die.
are
either
in
initials
given
legions
names and
or
in
titles
of the
contractions,
as
sometimes the
LEG>II-P(artfa'cai) and so on (see above, p. 351)
is
name
with
or
FIGVLVS
FECIT.
added,
potter's
The tiles of the first legion have been found at Mainz and
t
At Bonn
have
the thirtieth.
tiles
xiii.
of the
3
4
C.I.L.
Ibid.
vii.
1231
Rom. London,
Latin Corpus.
2
p.
see
Roach-Smith,
116.
2.
1228.
C.I.L.
iii.
Suppl.
i,
iii.
Steiner,
ii.
3756.
p. 250,
No. 1379.
///.
MILITARY TILES
365
and
Xanten
at
>K(itannicd),
in
Germany.
2.
at
fleet, Chassis)
2
Boulogne, Lympne, and Dover.
Romans
form of
slabs,
ornamented with
reliefs,
at Civita
at
also
Atticus, says,
"
entrust to
The
high,
found
you the
my
little
bas-reliefs (typos)
atrium."
which
and
7
Lavinia, Cervetri, Nemi, Pompeii, and Atri in Picenum.
4
;
Vilr. iv. 6.
Ant.
Campana,
opere
The
in plastica,
31.
p.
5
S.v. Antefixa or
Ep. ad Alt.
i.
B.M. 0543,
1886, p. 173
p. 188.
Impluvium.
10.
576, 594;
Rom. Mitth.
366
Museum
Museum examples
;
before baking.
the sleeping Endymion the hair is so fine and deeply cut that
could not possibly have been produced from a mould. The
moulds may have been made of various materials wood, stone,
;
it
collective
reliefs is
publication
of
these
German
Archaeological Institute.
3
408
ii.
pp.
272,
ff.
I.
p. 119.
u
c/3
S5
a 1
li
55
< o
MURAL RELIEFS
These colours are not
purple, or white.
terracotta reliefs,
367
as in the earlier
fired,
but
in
in outline or
open-work.
The
art
The compositions
are either
the
in
form of narrow
friezes,
style,
especially the
These are
earlier
Nereid
than the
names of
Annia Arescusa(na)
century, as in
fifth
the British
Museum (D
the
4
full-grown youth, in the Campana collection.
Others, again,
of
present points
comparison with the Hellenistic reliefs, as is
/'/,
pi.
20
Von Rohden,
Terracotten von
Pom-
0626-27:
cf.
fahreshefte,
25.
p.
4
pi.
14.
1903,
3 68
number which
a single figure of
the figures in
some
cases
tail off
128.
2
B.M.
520,
527;
Campana,
pis.
47-8.
3
62:
B.M. 0583-85
cf.
Campana,
pis. 61,
219,
p.
488.
B.M. 0561
B.M. 0501
Campana,
Campana,
Campana, pi. 3.
B.M. 0505 Campana,
B.M. 0507; Campana,
;
1-2.
pi.
18.
pi.
19.
SUBJECTS OF
MURAL RELIEFS
369
or on a goose. 1
Ammon, and
The Dionysiac
deities,
Demeter, Persephone,
interest,
definite action.
in the
best
house of a mortal, 5
Athens
little
The
by
Ikarios at
this
is
Among
other scenes
may
ceremonies
and
friezes of
Helbig 1459
thai.
4
Overbeck, Ktmstmy-
VOL.
II.
D 525
Campana,
pi.
295.
See for these B.M.
D 526,
534-52.
29-30.
50: see
xxiii. p.
B.M.
J.H.S.
2A
370
spoken
Of
Pollux
Nemean
with the
lion,
Marathonian
bull, or
overcomes a Centaur
to Achilles
Penelope mourning for the
and
Odysseus recognised by Eurykleia
Orestes on the Delphic omphalos. 5 There are also numerous
bringing offerings
absent Odysseus
and Gryphons. 6
reign
lions
2
3
Otherwise
Fiihrer-,
5
B.M.
ii.
Helbig,
p. 418.
D 606-609
B.M.
B.M.
89-96
hefte,
Campana,
pis.
D 611-617;
1190, 1456.
Campana,
pis.
74-81.
7
1188.
interpreted,
0624-632;
Helbig, 1466
1903, p. 1 6 ff.
;
Campana, pis.
and see Jahres-
ROMAN SCULPTURE
TERRACOTTA
IN
371
effective.
II.
I.
SCULPTURE
art.
Roman
feet.
To women
the privi-
lege of having statues was not conceded until much later. Pliny
constantly compares the luxury of his own day with the simplicity
make
a display
Romans were
of terra-
statues of the
their
that,
surprise
clay.
since
114,
2
1
4
B.M.
0633-638;
Campana,
pis.
6
115-
Plutarch, Vit.
Sat.
xi. 1 1 6.
iv. (v.),
i, 5.
Num.
viii. 8.
H.N.
i".
2(3), 5.
Div. i. 10,
De
xx vi. 23.
16.
372
and Seneca. 1
low ebb
in fact,
Roman
The
Tuscanica.
made by
artists
alluded to
by Vitruvius
in the
in style, as
we have
seen
made by order of
Lucullus.
It
1
Ovid, Fast. i. 202 ; Seneca, Cons,
cf. Ep. 31 (iv. 2, 11).
Helv. 10, 7
ad
Pliny,
4
Pliny,
Num.
17.
H.N.
xxxv. 159
Plut.
Vit.
H.N. xxxv.
Ibid. 155.
Ibid. 156.
154.
ROME
IN
373
in Italy,
ornaments
of
and
Corinth
Athens, and
Roman
deride
the
For
terra-
gods.
my part
prefer
these propitious gods, and hope they will continue to be so, if
we allow them to remain in their places." l Yet up to the close
cotta antefixes of the
of the
executed
in terracotta,
made
Lucullus
for
material,
is
which we
probably of early
Imperial date.
A head
had been mortised separately.
on the Esquiline, was
two to four
Latin a at
Nollekens,
1
feet in height,
Rome
who
in I76/.
restored
was found
H.N. xxxv.
Helbig, Fiihrer,
Cat.
D 439.
ii.
them and
155.
p. 272,
in
Livy, xxxi. 4.
Cf. Pliny,
8
4
No. 1177.
them
sold
the sculptor
to Mr. Tovvneley,
B.M.
and see
lekens
ibid.
i.
p. 10.
374
whom
from
are
made
of the
identified,
Muses Ourania,
Calliope,
At Pompeii
in
in terra-
to
be
identified
as
Aesculapius
is
it
and
2
Juno, making, with the bust, the triad of Capitoline deities,
a subject found on lamps at Pompeii. The execution is careful,
and they seem to date from the latter half of the first
century
They formed
B.C.
the
of
cult-statues
the
temple.
for
employed
adorning
which are a
a colossal
ornament 5
wall
as
an
Minerva found
in
been attached
to
a fragment of
is
of the
period
Of
later date is a
7
epoch.
Pettier,
P-
Statistics
de
Terre
Cuit
2332
Von Rohden,
Terracotten von
8,
21
Pom-
Pettier, op.
cit.
Von Rohden,
pi. 32.
Ibid. pi. 25
cf. pi.
26.
375
period,
and
known
to the
in
same
Thus
subjects are found applied to all these uses.
in the lararia were placed not only figures of deities, such as
the
milk.
It is
H.N. xxxv.
153.
Ibid. 156.
Ibid. 155
see also
Wickhoff,
42
p. 33.
4
Roman
Art,
on
this
English edn.,
Bliimner, Technologic,
Gardner, Handbook of Gk.
p.
iii.
p.
190
Scidpture,
Cf.
Von Rohden,
subject
Ibid.:
cf.
3;6
Romans
preferred
A few
authors.
Persius speaks
to
4
Venus, and
in the Satires of
Macrobius
7
relating to the festival of the Sigillaria, at which large numbers
of terracotta masks and figures were in demand. This festival
took place on the twelfth to the tenth days before the Kalends
named from
his return
xiv. 178.
Ibid. 171.
ii.
70
cf.
tung,
Lactant. Div, Inst.
ii.
4.
10
iii.
Roman
fer.
rom. 31
(Teubner edn.
p.
iii.
Sat.
p. 563.
i.
10, 23.
15.
i.
Fowler,
De
cf.
Festivals, p. 272.
Warde
Cf.
Mythol.
ii.
p. 135).
377
and put on
them
to those
who
4
did not expect to receive them.
Similarly,
when a
child,
makers came
to be
a
and
known as sigillarii, or figuli sigillatoresf
street in which they lived was known as the Via
There was also a market for the
SigillariaJ
for terracotta figures, the
Pantheon. 8
found on
The
moulds.
social
condition of the
FIG. 197.
MASK OF SATYR,
WITH NAME OF
Q.
VELIUS PRIMUS
(BRIT. MUS.).
Roman
potter seems to have been much lower than that of the Greek,
who was often a person of respectable position but this may
be partly due to the fact that his clientele was drawn mainly
;
Sat.
i.
II,
46-49:
cf.
2
3
Sat.
i.
references
Technol.
II, I.
Cf. Seneca,
other
Preller-Jordan,
loc. cit.
ii.
Ep.
12
given
(i.
by
12, 3),
Bliimner,
and
ii.
Suet.
3,
p. 125.
Claud.
5,v. 4,
Dio Cass.
16,
Nero 28
Cell.
Gellius,
i.
lix.
ii.
3, 5.
373
often
lamps.
On
Roman
terracotta
figures little
The
need be
said.
and
built
made
after the
terracottas
is
Hellenistic
much
period.
the
At
is
mask
4
of a youth in a Phrygian cap.
preference shown
for portraits
There
and grotesques.
a decided
is
Von Rohden, 5
by such wide
He
the
p.
2
Tert. Apol.
12
Greek word
in.
is
iv.
15.
dates
and ad Nat.
Ka.va.pos: see
i.
12
Vol.
Von Rohden,
Ibid. p. 21,
I.
Op.
cit.
p.
pis.
36-45.
fig. 14.
22:
see
also
Pettier,
TERRACOTTA STATUETTES
379
life.
terra-
At Praeneste
in 1878, on
the site of the temple of Fortuna Primigenia, were found genre
1
and similar ex votos have come
figures and votive objects,
of inferior
to light at Gabii.
are obviously of
From time
At Nemi
Roman
to time finds
figures
some of considerable
date,
in
Rome, and
size.
there
is
The industry
and even
as at
in
terracotta
Britain
Richborough
Rome
extended from
also
4
to
the provinces,
figures
at Caistor,
the Guildhall
GAULISH TERRACOTTAS
2.
In
factures
Julius Caesar
Roman
in
58
These
B.C.
who
made
statuettes were
for the
own
types
but
the
makers
were
local
craftsmen.
religious conceptions,
Potteries have been unearthed at Moulins on the banks of
colonists,
latet
Paris,
3
Rom. Mitth.
chaeologia,
1.
Wright,
281.
66, 21 iff.
p. 156.
1886, p. 176
p.
:
cf.
Ar-
Celt,
of
the
Victoria
'County
their
Hist, of Norfolk,
291.
6
Cat.
p.
71,
Nos.
39,
46;
p.
70,
No. 30.
pis. 8, 9.
P-
introduced
4
,
Handbook of British
p. 77.
Pottery,
1893,
380
even
in
berg
in
The
finds
on
in
the
made
Allier,
in
1857,
give
they are
practically
collected
now
all
found here are not from tombs, but were unearthed from the
of the potteries and from ruins of buildings
they are
all made in a peculiar white clay, whereas the figures of the
Gironde district are grey or black, and those of the Rhine
sites
The technique
is
resembles
and the
and
as a whole
appeared, in
was given. 3
present account.
In dealing with the technical
found
in Gaul,
which
many
universal
are
some
are
see for
abstracts
vi.
p.
Memoires
145
ff.
la
Soc.
Nat,
p.
de
This appears
ff.
des
p.
Ix.
GAULISH TERRACOTTAS
381
Germany.
is
the arms
The mould
plinth.
IOPPILLO on the
are quite
distinct
Tudot,
pi.
Rom. Lond.
9,
and
p.
109.
E 48
49
Roach-Smith,
cf.
sigillata.
3
See the lists given by Tudot
and Blanchet (p. 83).
4
PI. 3
See
///.
(p.
64)
382
is
FORM
AVOT
SACRILLOS CARATRI'
fecit forma Caratri,
Among
the
"made by
2
Sacrillos from Caratrius' mould."
Priscus, Taurus,
Graeco-Roman
art.
3
M. Blanchet considers
same workshops (see above).
in Western
manufacture
and
a
was
that there
important
large
Allier
the
been
have
workshops,
inspired by
France, which may
the
in
may
be located), Bourbon-Lancy in Saone-et-Loire, and St. Remyen-Rollat (see p. 516), where vases also were made of the local
1
ur
2
Blanchet, p. 89.
For a complete
which
Blanchet,
also
3 g 4>
3
on
list
of Gaulish sites
(1902), p.
Ot. cit.
Ix. p.
204.
PLACES OF MANUFACTURE
383
fabric
From
FIG. 198.
Blanchet,
An
in the reign of
important maker,
Pistillus,
Postumus
260
27O).
his
pottery at Autun
(A.D.
had a
and the name appears on
;
Dijon)
li.
p. 96.
for a
list,
cit.
384
vases
coins,
it
both
recumbent
including
caricatured
and a buffoon.
The
figures.
seated
rest are
figures
more or
less grotesque,
in
Arch.
3
228
xi.
Roach-Smith,
ff.,
pis.
46-47.
Collect.
Rev.
6.
Antiq.
vi.
p.
63
Op.
cit. p.
106 if,
vii.
385
in
Roman
the
chronological
accepted
to
Where
at
the beginning of
a question of decadent
the Imperial period.
or barbaric style, as is undoubtedly often the case, it does not
necessarily imply a late date, but only that the inferior work
is
due
to
the
incapacity of
there
some
is
local artist,
and
figures of
which the
first
is
familiar in
VOL.
See Blanchet,
p.
120 ft".
Cf.
Louvre,
Heuzey,
Figurines
pis. 2-4.
25
ant.
du
386
1
this is not
Kovporp6<f>os, suckling a child
is
found
in
the
terracottas
of
Southern
peculiar to Gaul, but
Mother-Goddess or
2
Italy.
We may
compare
on
Roman
coins. 3
Goddess.
Among
Pallas,
other
mythological
types
familiar
in
Slaves, caricatures,
Greek sculpture.
and busts of ladies
wearing the
under
the
Many
category.
of these are exceedingly rude and
barbaric
children are transformed
latter
From
Blanchet.
GAULISH TERRACOTTA
THE GODDESS EPONA.
FIG. 199.
also
stream
of influence
at
Rouen
see
Cf.
D 229
B. M.
Cat.
of
Terracottas,
ff.
See Roscher,
Southern
Blanchet, p. 167.
2
from
s.v.
Fecunditas.
Op.
cit. Ix. p.
See
p. 489.
Italy,
especially
198.
GAULISH TERRACOTTAS
Campania, whence, as we
types were largely derived.
As
much
Mother-Goddess
the
seen,
equally to Gaul.
and
do
seem
not
they
but
have
387
in wells
in
tombs,
l
but
rivers, and on the sites of sanctuaries
to have had any special funerary significance.
;
for various
domestic purposes
Those found
maybe
it
is
and
in wells or
well
known
that the Gauls were fond of throwing votive figures into rivers
or springs.
3.
It is
impossible to enumerate
all
and round
reliefs.
They
are
all
curved slabs
of compara-
Small
altars, or
this material.
by
was customary
Pompeii,
3
it
fig.
5
pi. 27, p. 5.
Daremberg and
4607
Re
ix. 6.
3 88
amphorae of
or
clay.
circus
the
masks or
counters, with
is
Herr Graeven,
collected
all
the
in
Fortune and
figures of
an example
a very
Isis,
interesting
have also
from
Museum
in the British
article,
has recently
fifty) of
Asia Minor, 6
Priene
in
in the top.
slit
Of
1
2
3
the
Antr.
Roman money-boxes
Nymph.
3,
14
ff.
(Teubner).
Daremberg and
Forma,
fig.
fahrbiich,
1901, p.
pi.
48
cit.
;
Loculus,
3186.
161
ff.
see also
Op.
s.v.
may
visited
p. 65.
4
who
p.
66
Tudot, Figurines,
Daremberg and
fig.
4512.
Saglio,
s.v.
MONEY-BOXES
The
be distinguished.
at Pompeii, 1
and
may
type
is
first,
389
is
of a
that
money-box
in
in jars (pllae, p.
The
any ornamentation
is
These appear
The next two types are of much greater interest, not only
from their ornamentation, but from their form and the inscripIn the one the box takes a flat circular
tions which they bear.
form, closely resembling the body of a lamp (the shape is that of
One
Fig. 207), with a design similarly placed in a medallion.
actually has a figure of Victory with a shield, which reproduces
solicit
New
Year's
Day
to
Fortune and
Hermes
in
Roman
8
lamps, another detail which shows the close connection
between these two classes of objects.
Jahrbuch) 1901,
2
3
p. 168.
Ibid. p. 170.
Cf. also Hor. Sat.
Jahrbuch,
5
loc. cit.
Miscellanies, p. 26.
xv.
ii.
6, lo.
Jahrbuch,
1901,
p.
178
C.I.L.
6068.
390
Among
shrine.
charioteer,
the
that
and the
coins,
AEL MAX.
this
maker's
name,
D'Agincourt suggested
type of box was carried
about by victors
the
in
receive donations.
to
games
Lastly,
there
is
first
Empire, or slightly
From Jahrbuch.
TERRACOTTA
FIG. 200.
the
in
century of the
later.
moulds
Terracotta
for
or
false
MONEY-BOX,
have
frequently
been
discovered
in
different
parts
of
the
cit.
Op.
2
3
p. i83ff.
B.M.
for
ibid.
See
on
6073
4
roniaines,
this
subject
157
throughout
i.
i.
p.
955 (with
full
Victoria
p. 198.
et
bibliography).
p.
COIN-MOULDS
391
made
and
at
Bernard
left
La Coulouche.
The
in Tunis.
British
Domitian
at the other.
Caracalla and Elagabalus are frequently reprein the British Museum include Albinus,
Crispus, Constantine,
Damery
Galerius,
Licinius,
and Macrinus.
The
of Constans
chisels
392
to enter.
1
through the holes as required.
in
in
joined
served
groups of three
of this there
is
for
Lyons
in
a bronze tube.
lent purposes
for instance,
Damery,
which would
be
too
prominent a
It
much more
FIG.
TERRACOTTA COINMOULD.
201.
fill
therefore
money in the third century, which was not only forced upon
the State, but was also readily taken advantage of by forgers.
of base
Forma,
fig.
Daremterg
3187.
and
Saglio,
loc.
'/.,
CHAPTER XX
ROMAN LAMPS
Rome Sites where found Principal parts of
Superstitious and other uses
Purposes for which used
Technical processes
Subjects
Chronological account of forms
Genre subjects and
Deities
Mythological and literary subjects
animals Inscriptions on lamps Names of potters and their distribution
Centres of manufacture.
Introduction of lamps at
lamps
BIBLIOGRAPHY
Bartoli,
Le
Kenner, Die
zu Wien, 1858
Wieseler
in
Gottinger Nachrichten,
1870 (Kestnersche
resume by Toutain)
1900, p. 685 ff.
all vol. xv. pt.
Fink
2,
p.
782
in Sitzungsber. d.
(Dressel).
in
Air^z/o?,
and
this
word
2
comparatively rare
all
18.
393
ROMAN LAMPS
394
originally
By
Italy.
the time
of
the
their
Empire
therefore,
Southern
use had
become
their
times there
is
p.
396).
The
sites
Africa, Sicily,
Greek
I.
p.
108).
Of
same
The
Ann. del?
below,
p. 399.
'
Inst, 1880, p.
265
fif.
see
395
(inargo)
(3) the nozzle, with a hole for the insertion of the
wick (rostrum?- nasus, myxus 2 the wick was called ellychniuni)
(4) the handle (ansa, manubriunt), which was not indispensable.
;
.;
hole, the
The number
have so
many
employed
the
was a vegetable
oil
oil
some
of
Some-
kind.
Moretum
(ioff.),
a dying
Admovet
The purposes
were various, but
of illumination
occasions
for
fall
in
of rejoicing
(2)
as
offerings
in
temples
as
(3)
funerary furniture.
In small
or
walls
in
terracotta
"
/*>
3
Petronius,
21)
p.
4
Sat.
30 (Teubner
Orelli, Inscr.
3678.
Pliny,
H.N.
xxv. 121.
17,
xxxv. 175.
La Blanchere and
Gauckler.
xiv. 41.
:>
edn.
Moretum,
xxviii. 168,
Daremberg andSaglio,
s.v.
Mus.
Ant. di
Lucerna,
ROMAN LAMPS
396
being few
there
in
terra-
life,
For
their use in
knobs for hanging, (2) those with handles for carrying, (3)
those without handles for placing on tables or brackets.
Many passages in Latin writers afford evidence for the use
of
lamps
in
processions
or
illuminations
for
Cleopatra,
at
Nero, and so
on.
Caligula
had
times
at
of
the return of
representations
took place.
C42I
fig.
of Terracottas,
4) ; Mns. Alaoui,
No. 484.
2
B.M. Nos. 2, 393.
3
C.LL. xv. 6609-10 Daremberg and
Ant. di Ercol. viii.
Saglio, fig. 4607
Apol. 35
9
12
10
Epigr.
xiv.
39
Moretum, 10
fif.
Lampridius,
pi.
Vit.
xii.
Cf.
cf.
Vit. 24.
ad uxorem,
ii.
6.
92.
C. I.
L. xv. 6221
and B. M.
USES OF LAMPS
397
"
in
Italy.
to the
the
and
Another
Whosoever
inscription in an elegiac couplet says
a
places
lighted lamp in this tomb, may golden earth cover
8
his ashes."
fourth inscription directs the daily offering of
a lamp at the public expense to the manes of a deceased person. 9
:
servant-maid
is
xii.
iii.
p. 1169,
No. 4380
(1892), p. 116
8
ff.
Roach-Smith,
Collect.
4
i.
Cf.
Ellis,
///.
pt. 4,
No. 30102
pi. 44,
Rom. Land.
Townley Gallery,
ii.
p. 250.
Orelli, 4416.
I0
Roach- Smith,
vi.
Antiq.
p. 123.
5
p.
Ibid.
Sat.
in
(Teubner
ed. p. 77).
ROMAN LAMPS
398
with the
Omens were drawn from the
tomb, were not uncommon.
2
way in which the flame burned, and Chrysostom describes
a method of
presents.
NOWM
"A
field
5
century after Christ.
lamp
of the same class in the Guildhall Museum has on the shield
first
note
It is interesting to
Feltc(i)t(asY
7
lamps are found in tombs
they
FIILICTII,
New Year
that
the
may, of course,
have been preserved and buried as mementoes; but at the
same time, it is not essential that the subject on a lamp should
have any relation to its purpose, as we have seen in the case
;
inscribed Saeculares?
The Helioserapis lamp (see
and
those with Phobos as a bear may, indeed, be
p. 403)
instances to the contrary, but on the whole it would seem that
the same rule would apply as in the case of the terracottas
of those
(see Vol.
1
I.
p.
122).
ff.;
and
A mer. Journ.
cf.
Library
4
xv.
ii.
4969, 3
x.
6
7
fig.
8053, 5
413, 420,
5.
Cf. C.I.L.
I.
iii.
p. 1339).
399
with
covered
black
Greek
the
like
glaze,
examples.
Lamps
LAMP FROM
FIG. 202.
THE' ESQUILINE.
mould.
ones, in a
3
the Esquiline lamps, also clearly refer to funeral usage.
In the first century B.C. the lamps,
still
nozzle
)\
with
shallow
known
"
"
and
The
examples figure-subjects are introduced.
ones have large single letters or monograms underneath
Ann. deW Inst.
Mus. Alaoui, pi. 34, Nos.
1880,
pi.
See Ann.
C.I.L.
6631,
6900
ff.
Ann.
B.M.
plate,
s.v.
deW
xv.
is
in the later
earlier
Italy,
The top
"DELPHINIFORM" LAMP.
FIG. 203
25-26
No. 2
C.I.L.
xv.
Daremberg and
part
2,
Saglio,
Lttcerna, p. 1323.
149,
ROMAN LAMPS
4OO
for
potters'
marks
We
over Europe and the basin of the MediterThey have not as yet been very
but so far
systematically studied and classified
all
ranean.
are fairly
FIG. 204.
WITH VOLUTENOZZLE
CENTURY
FIRST
B.C.
it
if
it
century
being
CENTURY B.C.
decorated top, are ornamented with all kinds of
3
thehandle when present is often ornamented as in the cu
subjects
;
On
the
evidence
yielded
by
the
LXIV.-LXV.
Lamps
401
last,
nozzle,
handle. 1
(3)
but
small
distinct
almost
class,
name underneath
groove
nozzle.
of the
to
passes
Empire
GROOVED NOZZLE
somewhat elongated
the
century
some being found
CENTURY
FIRST
first
LAMP WITH
206.
FIG.
AFTER CHRIST.
The names
*
/^\j$^\
^r~^=>^
x
Communis,
raised
(see
of
Fortis,
letters,
Fig.
the
210).
makers,
impressed
They
Strobilus,
are
etc.,
in
the
in
good
mould
are found in
all
they
(4) In
this
class (Fig.
at Mutina.
FIG. 207.
xv. pi. 3.
2
Cf. C.I.L.
VOL.
II.
pi.
2,
Cf. C.I.L.
No.
26
5= Fig.
ROMAN LAMPS
4-O2
design
is
Many
of these
Vol.
p. 108),
I.
signatures
The
rare.
Some
FIG.
THIRD-
208.
CENTURY TYPE
OF LAMP.
have a
leaf,
or
The
palmette.
as
is
replaced
enthroned
in a niche.
is
pierced.
Lamps
mask
is
modelled,
3
Satyric, theatrical, or grotesque.
Among
the entire
5
4
figures which form lamps occur Artemis, Eros, Victory slaying
6
a bull, and various animals
more common are heads of Zeus
;
ion,
2
fig.
s.v.
B.M.
Plate IV.
p.
4381.
B.M.
Cat.
5
6
3, 13.
C.I.L.
fig. 4.
xi. 6699.. 5.
In the Louvre.
PLATE
(BRITISH MUSEUM).
LXIII.
FORMS OF LAMPS
Ammon,
Pan, Seilenos,
403
negroes,
as oxen,
6
others form fruit,
ware, in the form of a gladiator's helmet
7
In
are modelled in
the
which
or
crescents.
lamps
pine-cones
;
is
9
example in the British Museum (Plate LXIII. fig. i),
in
the
is
of
a
not
which
boat, but is decorated with
only
shape
able
numerous holes
temple of
Isis
is
for
and Sarapis.
On
is
it
the inscription
EYPAOIA,
"
may
Helioserapis,"
be intended.
Ibid.
Kenner,
^334)
B.
M. 14-17;
Kenner, 434-35.
which they
Ant.
light
C. I. L.
xv.
6287;
(artichoke)
di ErcoL
ibid.
B.M. 24 (walnut)
viii.
6393
Ant.
5.
Metam.yj.. 245.
No. I = Cab. Dnrand, 1777
cf.
Lafaye, Culte des DivinitJs d'AIexandrie,
:
122, 303,
pp. 209, 216.
pp.
No.
I.
ROMAN LAMPS
404
indicated
been feeble.
The average
size of a
lamp
is
inch over the diameter, and they are mostly about an inch in
The top of the lamp is almost always circular in form,
height.
2
occasionally oval, and rarely rectangular, and is usually slightly
depressed, being thus shaped to enable any overflow of oil to
come
form
work, vary very
they have ovoid instead of
circular bodies, a plain rounded nozzle, and a small solid handle,
and the design is always encircled by a band of ornamental
little
in
3
pattern or symbolical devices.
The
due
See
for
examples
in
and B.M.
3
See Dalton, B. M. Cat. of Early\
Christian Antiqs. pi. 32, p. 148.
METHODS OF MANUFACTURE
405
Greek
sites,
lamps are sometimes found, and those from Naples are usually
of a dull brown or yellow colour.
Lamps found in France
and England are often imported from Italy, and therefore of
the ordinary red clay, but those of local manufacture are of a
white or yellowish tone.
The earliest undecorated examples are made on the wheel,
as are those from the Esquiline and from Carthage, in which
the decoration
is
only incised
but subjects
in relief required
a different technique.
but we find that from
first
century
B.C.
by hand,
the
onwards they
made
in
was divided
into
two
parts, ad-
FIG
visible
projections
varieties
on
certain
the
The two
discus.
The
1
clay
plaster.
was impressed
into the
xiv. 114.
ii.
Cat.
of
fingers,
Fig. 209.
logic,
Terracottas,
81-83:
see
Mus. Alaoui,
Nos.
396-97
(Christian).
5
Cat. p. 51, Nos. 117-1 8 (from
London
Wall).
p.
253,
ROMAN LAMPS
406
Important
baking.
number
of moulds
extracted,
but
wood which
may have
in
2
and it
closely together or superimposed,
a
number
are
found
united
that
together
happens
coalesced firmly in the furnace, as in Sir Charles
in
batches, placed
sometimes
which had
Newton's excavations
Subjects are
first
at Knidos.
found on lamps
in the
second century
B.C.,
See also
Cf.
Sia'It a,
395 above.
Avolio, Failure di argille
p.
p.
123.
in
Mus.
A'laoui, p. 148,
No.
13.
86;
SUBJECTS ON LAMPS
407
incised
The number
figure,
As
three.
is
careless
art,
such as
the
The types
of Victory and
Venus types
much
like the
to
us
as
illustrations
own religion.
As the number of published lamps and catalogues
of collec-
is
Rlus.
Alaoui)
p.
156,
Nos. 74-81
cf.
the
Roman lamps
ROMAN LAMPS
408
Dressel
We
eight classes
deities.
(1)
Olympian
(2)
Miscellaneous
(3)
Heroic legends,
(4). Historical
deities.
and
etc.
literary subjects.
Genre subjects.
Animals.
(6)
(7) Inanimate objects.
(5)
(8) Floral
The Olympian
and decorative
deities
devices.
represented,
some not
at
in the
deities of
notes
are
Catalogue
those
of
of
in the following
the
Roman
lamps
Greek and
Department
of
Antiquities.
2
See also
C.I.L.
in
the
Roman
///.
forthcoming
Plate IV.
7
xv.
6195-751
for
cf.
Roach-Smith,
viii. i.
B.
M. 604
fig. i.
475
Lond.
:
also
cf.
pi.
Bartoli,
Roach-Smith,
///.
ii.
Rom.
viii.
i;
OLYMPIAN DEITIES
The
eagle and
409
alone,
or
the
mask may be
kalathos
Cerberus
6
also found alone.
is
is
it
in the
British
of Attica
Hera, except
west
the usual
a panther
be the symbols of
may
13
Persephone.
15
16
in a chariot, 18 or
Hermes appears
goat, or cock
who
is
20
;
Ares or Mars
21
accompanied by Herakles.
cf.
Inst.
his
1356.
Kenner,
H B.M.
572
16
17
18
3.
20
10.
Cyprus
19
Kenner, No.
ls
10
is
415, note
subject
A common
n B.M.
271, 398, 571; Cyprus Mus.
Cat.
12
1866,
1385-86.
p.
armour. 19
G.
pi.
steals his
in
1
Gottinger Nachrichten, p. 177, No.
18; Kenner, Nos. 227, 228, 425.
who
21
151.
574.
28.
ROMAN LAMPS
4io
and caduceus
the
bath or
or at the
toilet,
or
in
the
Cnidian type, 6
of
these
all
known works
of
art.
types being probably reproductions
She is also accompanied by Eros, who assists in arming her;
this type is known as Venus Victrix, and is seen in a group of
7
Aphrodite and Eros in the Louvre.
More common than all the Olympian deities put together is
Eros or Cupid, who appears in all sorts of attitudes and actions,
He sits on a chair or reclines
besides those already mentioned. 8
10
is represented in motion, carrying a hare
or a
or
or
a
branch
of
vine
a
a
dish
of
fruit
bird,
palm,
cup, situla,
or torch n
or plays on the lyre, flutes, or Pan-pipes 12
or
13
He rides on a
sacrifices a pig, or pours wine into a krater.
on a couch, 9 or
15
16
14
donkey, a dolphin, or a crocodile, or sails in a boat ; plays
18
17
He is reprewith a chained lion, or is himself tied to a tree.
sented in the character of Ares, armed with spear and shield
.
in
one instance
in the
21
One of
character of gladiators fighting, in another of boxers.
the most remarkable lamps in the Museum collection (No. 168)
B.M.
175,
176,
333,
4H-4I3;
cf.
M. 575
Guildhall Mus.
B.
Alaoui, No.
6
7
Cat. p.
181.
24-5
48, No. 46 ; Mus.
iii.
343,
1399; B.M.
11
12
13
Terracottas,
B.M. 407-409,
B.M. 478, 406.
lfi
19
Sculpt.
308, 97.
170, 171.
Gcttinger Nachrichtcn, p.
Anzeiger,
B.M.
79,
No.
loc. cit.
92, 613
98
404.
21
Rom.
B.M.
B.M.
18
///.
B.M.
15
9
10
and Mediaeval:
6 (Brit,
14
D286.
30,
553-
17
pi.
Dept.).
684
Lond.
i.
7.
Bartoli,
ii.
2<
411
"
SODALES, Help, comrades
Dionysos is another surprisingly rare figure on the lamps,
though his followers, the Satyrs and Maenads, have their full
!
He
share of representation.
2
appearance, and
kantharos to drink
4
recognised.
Pan
is
12
their
also
common. 13
The shaggy-haired
14
Maenads are deoccasionally represented.
the
picted dancing, in frenzied attitudes, or sacrificing kids
"
"
type is often that of the new-Attic reliefs, derived originally
Papposeilenos
is
masks
Among
1
the
minor
deities
cf.
we
C.I.L.
6230.
also occur. 16
find
No.
Selene
34.
Bartoli,
Arch.Zeit. 1852,
pi.
ii.
20.
39 (in Berlin).
12
>
618
No. 8
Comm. Arch.
cf.
Hauser,
154, Nos. 25-32.
p.
Kenner,
Bull.
'
B.M.
100, 582.
1887, p. 366,
Neu attische
JReliefs,
ROMAN LAMPS
412
1
2
(Sol and Luna) are often depicted together, or Selene alone, or
3
4
else their busts together, or separately
in one case there is
a simple representation of the solar disc for Helios. 5
curious
;
bination of
the
11
are found.
i)
testified to
by
The
popularity
the occurrence,
found. 16
On
Sarapis and
two Kabeiri
the handle of a
Isis,
and a Muse with lyre 20 others are all typically Roman, such
as a -bust of Africa on a lamp from Carthage, 21 and such types as
Abundantia 22 (or two cornucopiae as her symbol 23 ), Vertumnus, 24
;
B.M. 476.
B.M. 514.
3
B.M. 513; Bartoli, ii. 13.
4
B.M. 83, 334, 399, 400,
Masner, Wiener Vasens. 695
12
B.M. 465 Ant. di Ercol. viii. 1 1
Mus. Alaoui, No. 113 C.I.L. xii. 5682,
5
6
Kenner,
;
and see No. 23.
13
Kenner, No. 77.
14
B.M. 370, 467, 508 190, 297, 280;
Ant. di Ercol. viii. 2
Kenner, No. I
71
157,
;
606;
Bartoli,
ii.
ii.
No.
3,
B.M. 401.
No. 535
cf.
also
B.M.
cf.
15
20.
7
B.M.
C.I.L. x. 8053,
17
!)
18
20
di Ercol.
22
10
11
viii.
21
30.
B.M. 167
Masner, 685
Castra Vetera, pi. 8, No. 3.
;
23
;
D 285.
4381.
fig.
19
Nos. 103-4.
Terracottas,
B.M. 337.
B.M. 369; Mus. Alaoui, No. 134.
Daremberg and Saglio, iii. p. ion
16
1578
Fiedler,
34
B.M. 281.
B.M. 468-470.; Bartoli,
B.M. 104, i85(?).
Mus. Alaoui, No. 82.
Kenner, Nos. 66-7.
Ibid. Nos. 233-4.
Ibid.
Nos. 72-3,
ii.
42.
MISCELLANEOUS DEITIES
413
Roman
the
of
The
latter
is
goddess
frequently
4
bearing a wreath, a trophy, or a shield, sometimes
5
or again between two Lares 6
reclining or in a chariot
period.
found,
(Plate
LXIV.
fig.
5).
"
Occasionally the inscription is varied, and appears as For the
10
11
of
the
or
state"
Two Lares consafety
"Happiness" simply.
12
fronted, holding cornucopia, etc., are also found without Victory.
Of
p.
Coming now
3
4
103,
187,
188,
B.M.
it.
7
11
583;
1852, pi.
B.M. 186.
See
Bartoli,
iii.
367,
483:
cf.
pi.
p.
229.
2;
15.
B.M.
i.
p.
p.
420
13-14.
15
p. 229.
Marquardt, Privatalterthilmer,
pi.
4.
14
139-40.
16
iii.
13
39.
p.
Bartoli,
Arch,
5.
ii.
iii.
336;
3 (with wreath).
rtoli, iii.
Bartoli,
cf.
368,
584, 585
17
18
1!)
B.M. 415.
B.M. 521.
B.M. 337 (Plate LXIIL), and 486.
Anzeiger, 1889, p. 167; Mus. Alaoiti,
No. 131.
ROMAN LAMPS
4H
1
hydra,
4
He is also represented as a single figure,
freeing of Prometheus.
5
6
of
the
the
apples
Hesperides, leading kids, or with a jug
holding
7
or drinking-cup, or his head alone (both bearded and beardless
types).
Philoktetes,
who
2
3
4
lion's skin).
9
11
di Ercol
B.M. 619.
B.M. 192, 587.
Cyprus Mus. Cat. 1358.
B.M. 416.
B.M. 620; 338, 339; Ant. di
and
p. 48,
16
Ercol.
17
1S
12
Arch,
14
No.
15
is
seen grieving
xxxiii.
126-27
Rev.
(1898), p. 229.
p. 182,
72.
Bartoli,
ii.
24
Ant.
20
39.
;
Gottinger Nachrichlen,
No. 123.
Kenner, Nos. 79,
pi. 39.
Ibid.
21
^ B.M.
a B.M.
p.
viii.
19
No.
B.M. 108
p.
13
Ajax
23
viii.
foot
24
after his
his son
wounded
fans his
80.
371.
590
Roscher,
Lexikon,
iii.
2338.
24
Masner,
Bull. Arch.
415
2
the Sirens, 1 and offering a cup to Polyphemos, but sometimes
Orestes appears at his trial before
also without the Cyclops.
Centaur is seen
Athena in the presence of a Fury. 3
off a
woman, and
carrying
with a lion, 5 carrying an
in
also
An
amphora, or playing flutes.
Amazon wounded, standing at an altar, and accompanied by
of subjects. 8
single figure
the Gorgoneion or Medusa-head, 10 are not
among
the
list
literary character.
LXIV.
latter
is
6).
fig.
14
and various Roman
portraits are busts of Aesop,
as
such
Hadrian, Antonia, Trajan, Marcus Aurelius,
personages,
Among
15
Lucius Verus, 16
Septimius Severus, Commodus, Julia Domna,
17
A scene from the
and others who cannot be identified.
to Virgil's
first
10
and
berg
Saglio,
Diet.
iii.
p.
C.I.L.
x.
Collect.
Antiq.
ii.
pi.
Guildhall
Roach-
15 (from
Ichester).
13
14
12
15
Vit.
14.
Mon. detf
Inst.
iii.
14,
pi.
8053, 194.
Alexandri,
Smith,
;
Cyprus Mus. Cat.
Kenner, Nos. 68-70.
" B.M. 682.
35 1
1329,
4601.
fig.
i.
fig.
p. 56.
85-6, 88-90.
16
Arch. Zeit. 1861, Anzeiger,
Kenner, No. 87.
17
Guildhall Mus.
I4-I5
18
C.I.L.
xi.
Cat.
6699, 4.
p.
p.
157
47, Nos.
ROMAN LAMPS
416
l
the shepherd, whose
Tityrus on a lamp found at Pozzuoli
name is given, is seated among his flocks. Several lamps
2
illustrate the well-known fable of Aesop, of the Fox and Crow.
;
The
some
fable,
is
which a mouse
in
is
its
beak a balance,
weighed
elephant.
against
in the fact that the mouse
humour
The
an
is
seen
illustrated
on
in
gladiator
single
the
characteristic
armour,
with visored
6
the next
helmet, greaves, and arm-guards, sword and shield
in
which
the
a
of
two
combat
LXV.
(Plate
represents
fig. 5),
one is usually worsted and falls at the other's feet, his shield
on the ground beside him. 7 An interesting example in the
;
n g-
3)
(No.
P-
216
iv.
(1856),
pi.
10,
Plate
LXIV.
fig.
3)
4,
///.
Rom.
Lond.
Gottinger
Nachrichten,
1870,
p.
190,
p.
Lucerna,
B.M. 139
35
(Paris,
1886),
p.
6
"
cl.
H. Hoffmann
p.
p. 1326.
:
Coll.
Daremberg and
man weighs
and
rich, xvii. p.
97
ff.).
leases
ornJsA
417
circle
a bull-fight 3
a bestiarius concontest in the amphitheatre
4
5
a
man
over
a
boars
bull
and boxers. 6
with
leaping
tending
remarkable lamp in the British Museum (No. 164= Plate LXV.
;
fig.
we
the chariots started, the spina down the middle of the course,
adorned with shrines and obelisks, and rows of seats full of
four chariots take part in the race.
Next there
spectators
are scenes such as an athlete crowning himself, a victorious
;
7
quadriga, or a victory in the horse-race.
Of more miscellaneous character are such subjects as a chariot
drawn by four men, a two-horse or four-horse chariot by itself,
charioteer
or a
man
his
in
or
8
boy on horseback.
12
of an eagle and
standard, and of a trophy perhaps commemorating a victory
over barbarians. 14
representation of a ship or galley is not
but
sometimes
it is
not easy to distinguish these
uncommon,
tions of
car,
13
B.M. 121,
159,
xii.
222.
231,
fig.
5682, 74.
xxxiii. (1898),
p.
VOL.
II.
= Daremberg
and Saglio, iii. p. 1327, fig. 4590.
12
Kenner, No. 98; Mus. Alaoui, No.
200.
27.
Wumism.
viii. 9.
B.M. 558.
B.M. 318 ; Rev. Arch,
p.
Some lamps
IS
27
ROMAN LAMPS
4i8
the
in
or a hunter
i),
fig.
accompanied by a
Among
background.
pastoral
porter, with
scenes
town
we have
also,
foliage of trees
fishermen,
the bath
10
innumerable
and
two skeletons
17
dancing.
B.M.
79.
Alaoui,
Nos.
B.M.
Cf.
233-34;
Cat. of Bronzes,
also
No.
884.
2
B.M. 625
(hunter only).
3
B.M.
126,
122.
4
B.M. 79
Arch,
Plate
LXV.
fig.
Rev.
p.
d.
6
7
15
l6
and
192.
Roach-Smith,
pi.
No. 182.
///.
Rom.
London,
30. 2.
lr
18
231.
p. 186,
i39ff.
j
ANIMALS
419
boars, bears, wolves, deer, horses, oxen, sheep, goats, dogs, rabbits,
3
ostriches,
peacocks,
donkey
8
dog on a couch, fighting with a goose,
10
9
two monkeys in a boat 11
or attacking a stag, hind, or boar
12
a bird on a twig,
a hare or rabbit nibbling at a plant
monkey and
vine
especially in Cyprus,
and
at
Mm.
5
"
7
Ant. di Ercol.
viii.
23.
No.
13
B. M. 238-241, 296,
Masner, No. 693.
u Ant. di Ercol. viii.
5.
}6
2.
17
18
C.I.L. x. 8053,
19
10
p.
p.
443,
B.M. 76, 82
B.M. 77 cf.
Roach-Smith,
no.
444;
p. 232.
127.
p. 232.
Nos. 163-166.
I3
Many lamps
and rosettes.
Greek sites,
Rom.
London,
ROMAN LAMPS
420
The
life
number
all
favourites.
Roman lamps
have inscriptions,
either impressed in relief or hollow letters from a stamp, or
engraved with a pointed instrument the stamps were probably
of bronze.
Potters' signatures and trade-marks are always
underneath the lamp, and those found on the top usually relate
in some way to the subject. Sometimes, as in lamps from Pozzuoli
and Naples, 2 the inscriptions are in relief on the surface, in small
tablets.
They may, however, be classified under four headings:
(1) Inscriptions referring to the circumstances under which
or for which the lamp was made, as, for instance, with reference
considerable
of
(3)
public.
(4)
this class
is
by
far
To
the
belong some of the formulae to which allumade (pp. 396, 398), such as those on the
ANNVM NOVVM FAVSTVM FELICEM MIHI HIC
class
first
New Year
lamps
occasionally
(or TIBI, or to some person whose name is given)
this is varied by formulae such as FIILICTII (for FELICITAS ?),
;
"
"
Happiness
you)
(to
See
De
iii.
AJns.
p. 1328
Ant. V* Ercol. viii.
Saglio,
OB GIVES SERv(0tar), " For the preserG p R F, Genio populi Romani feliciter 5
3
Dalton, B. M. Cat,
Christian Antiqs. p. I39ff. ;
Daremberg and
4986".;
generally
of Early
45-7
"
fif.
Rossi,
Delattre,
Chr&ien, 1889-93,
etc.
Roma
in
Sotterr.
Revue de
ii.
p.
r Art
(Carthage).
p. 47,
No.
26.
INSCRIPTIONS ON LAMPS
"
EX S
"The
"
421
FIDES PVBLICA,
and the SAECVLI, SAECVLO, SAECVLARES
3
group of inscriptions, which may in a few cases refer to the
Ludi Saeculares, but more probably are of similar import
C,
By
the
public trust,"
"
the
235
deities for
the
On
same. 9
figure
clear.
Ibid. 6222.
See
5
6
7
ibid.
6221
B.M.
164, etc.
Ibid. x. 8053, 4.
Inscr.
or of charioteers in the
13
w
13
6.
This and
= Ann.
1866, pi. G.
10
C.I.L. xv. 6236.
" Ibid. xi.
6699, 4.
Ibid. 6699, 5.
deW
Inst.
ROMAN LAMPS
422
circus-races, as C.
won him
Games
:
;
LICERET,
3
chance."
is
To
"
mourn." 6
belong such
I
class
expressions as HAVE,
"
"
VIVAS or VALEAS, " Long life
VTERE, Use
" 8
"
AVE ET VALE, Greeting and farewell," on a lamp
this
from Cologne 9 and on another from the same site, HAVE
MACENA VILLIS HAVE LASCIBA VALE, 10 which seems to have
a somewhat coarse significance. Others allude to the future
11
QVI FECERIT VIVAT ET
purchaser, as EME ME, "Buy me"
"
"
and
EMITE
the
EMERIT,
May
potter
purchaser flourish
Q(#/)
LVCERNAS AB ASSE COLATAS, "Buy lamps for an as" 12 BONO
13
"
QVI EME(W/),
May it be for his good who shall buy it."
The latter class are chiefly found in North Africa. Mention
has already been made of the inscriptions on the Esquiline
these are not found on lamps of
lamps, such as PONE FVR
imperial times, and appear to be peculiar to the early fabrics.
14
On a lamp
Mr) aTTTov has been found on a lamp at Athens.
"
Hail
the
"
third
cf.
Pliny,
H.N.
viii.
Daremberg and
Saglio,
Diet.,
above,
6
7
p.
x.
8053,
8;
411.
Ibid. x. 8053, 6.
Ibid. xi. 6699, 8-10.
12
s.v.
ooo i,
Ibid.
viii.
The meaning
p. 1330.
C.I.L. xv. 6254-55.
Ibid.
Ibid,
20.
Lucerna,
4
10
60.
F.
xv.
6230:
see
lit.
13
Ibid. xv.
6752
I. p.
107.
Inst.
xi.
6699,
1868,
7.
p.
59
see
EXCLAMATIONS
from Spain
"
is
inscribed
423
G IVLIVS ARTEMIDOR
LVCERNAS
C. Julius
D,
them."
In
placed in a panel or tablet, or within the outline of a foot.
3
rare instances they are found on the handle, or on the top.
Greek lamps which are not of Roman origin are never signed,
earlier
confined to letters
Fig.
1
C.f.L.
Ibid.
ii.
xv.
4969,
6265
i.
:
see
Arch.
Zeit.
1861, p. 167.
3
xii.
Ann.
Daremberg and
Lucerna,
E.g.
Saglio, Diet.
s.v.
p. 1330.
A,
B,
8053,209-14;
C,
xii.
H,
I,
5682, 131
6342.
6334,
"
C.I.L. xii. 5682, 57.
C.f.L.
x.
xv. 6266,
ROMAN LAMPS
424
stamp
star.
(cf.
These varieties of
marks were probably intended
333)-
P-
the
in
products of a single
pottery.
The
being ex
officina (pfficinatoris),
the
On
in the genitive.
lamp
rarely
the
under the
nominative
is
Empire,
B.
used A.
fecit, or more commonly A. B.f. Thus we have
:
FIG. 210.
UNDER
SIDE OF
SIGNATURE OF FORTIS
it is
rarely full
LAMP WITH
(BRIT. MUS.).
enough
the potter Diomedes
to
show the
calls
case.
On
a lamp at Dresden
himself LVCERNARIVS. 3
From
the
sented by the third class (see p. 401) nearly all the signatures
are cognomina simply, as ATIMETI, COMMVNIS, FORTIS, STROBILI,
all in the genitive.
In the fourth class, or lamps of the second
the names are usually
century, the nominative is very rare
;
abbreviated,
1
See Fink in
examples.
Anzeiger, 1889,
6263.
p.
170
C.LL.
xv.
POTTERS' SIGNATURES
or three
may
be found.
Potteries were, as
425
we have
are
seen, often
uncommon.
not
instance,
for
SAE,
L. Fabricius
or Draco,
one business.
occurs with
name
of a
workman PVLCHER
of Fabricius
4
Greek names, where they
Oppius Restitutus.
to imply that the potters were freedmen, as in
the case of Dionysius, Phoetaspus, and others.
The following list gives the names most frequently found,
with the localities in which they occur 5
PRIMVS with
occur, seem
C.
Ostia.
Rome,
Z. Caecilius Saevus (L
CAE SAE)
Rome, Southern
Italy,
Sicily,
Communis
,
Rome, Pompeii,
MASC)
Rome,
Gallia Cisalpina,
Africa.
Florentius (FLORENT)
Rome,
Italy, Sicily,
Britain.
Fortis
: Rome,
Italy, Sicily, Dalmatia, Germany, Gaul,
Gabinia: Italy, Sardinia, Africa, Gaul.
Z. Hospidius Crispus (L HOS CRI) Gaul.
Britain..
C.LL.
Lucerna,
by Fink
Ibid. 6560-65.
Ibid. 6434, 6593.
See
Daremberg
p.
lists
given
Munch. Akad.
1900, PP' 689, 692 ff., and the various
volumes of the Corpus under Inst rumen turn
Ibid. 6501-03.
and
Saglio,
s.v.
in Sitzungib. d.
Domesticum, especially
vol. xv.
ROMAN LAMPS
426
C.Julius Nicephorus (c
C. Junius Alexis
-IVLI
NICEP)
C.
Italy, Gaul.
Rome, Campania,
Sicily,
Sardinia,
Gallia
Africa,
Narbonensis.
L.
Mar. Mi.
Rome, Campania,
N. Naevius
NAEV LVC)
M. Novius Justus (M NOV IVST)
Luc. (N
Rome,
Africa.
Italy, Sardinia,
Spain, Gaul.
Rome, Naples,
Sicily, Sardinia,
Passenus
Augurinus
Phoetaspus
Italy,
Strobilus
Rome,
Vibianus
Gaul, Pannonia.
C.
Viciri
Italy, Africa,
Agathopus (c
VICIRI
AGAT)
Italy,
Gallia
Sardinia,
Cisalpina.
It will
the others
fall
are found at
all
into geographical
the
groups
seldom found both in the north and south of
Fortis is not found in Africa, Oppius Restitutus only rarely in
Gaul.
Certain names are entirely localised, as Annius Serapiodorus at Rome and Ostia, L. Hos. Cri. and Marcellus in Gaul,
Q. Mem. Kar. and Pudens in Sardinia. The name of Vindex,
;
The
able.
lamps
383),
p.
in particular is
remark-
in
and Louisendorf
in
Germany
5
;
in
London
6
;
in
Spain
and
p. 112.
2
C./.Z.
Ibid.
v.
xiii.
8114, 54.
10001, 136
Ibid.
xii.
5682, 50;
in
136.
also Steiner, Cod. Inscr.
Rom.
Ibid.
8076, 16.
iii.
3215,
7;
ibid.
Suppl.
I,
CENTRES OF FABRIC
Rome and
Italy.
these results
made
is
427
seem
to have been
and
it
lamps found
Mutina (Modena) and that this was the place where the lamps
3
Outside Italy there
of Class III. (see p. 401) were chiefly made.
have
been
manufactures
in
North Africa, where lamps
may well
are so plentiful, and in Gallia Narbonensis, to which region some
Evidence of a lamp-manufacturer in
signatures are peculiar.
Africa seems to be afforded by the mention of praedia Pullae-
norum
in
we
xi.
ix.
6699, 89
-
cf.
3
be
6081, 33;
x.
From
vol.
seen
how common
v.
8114,
n,
Carton,
CJ.L.
viii.
s.v. p.
1332
18.
p.
254
cf.
Boeckh,
5685
B.
M.
s
Ddcouvertes,
x.
2405,
10478, 33-4.
CJ.L.
xiv.
83;
8053,
xv. 6450.
C.I.Gr.
iii.
p.
660,
303.
Inscr. Gr. xiv. 2405, 35.
Cf. Cesnola, Salaminia y p. 284.
No.
and
ROMAN LAMPS
428
Germany.
Mention must also be made here of the recent researches of
Herr Fink 3 with the object of ascertaining the chronological
succession and general distribution of the signatures on lamps
of the Imperial period.
Starting with the four main classes of
forms which have already been laid down as the basis 4 (the distinction resting mainly on the various forms of the nozzle), he
has obtained, by comparison chiefly of the lamps in the British
Museum,
Berlin,
and Munich
results.
Class
in
only, L.
II.
Fabricius
Masculus
in
ing to note that there are lamps in Class IV. with the Christian
monogram and the figure of the Good Shepherd. In Class L,
in Class III. they
generally speaking, signatures are very rare
of
are almost invariable, but the total number
lamps is relatively
Another curious result is that certain signatures, such as
small.
;
signature
1
Vol.
See C.I.L.
I.
viii.
is
iii.
He
p. 108.
(C./.Z.
p.
it
thus, in Class L,
Miinchener
685
ff.
L CAEC SAE
On
p.
Sitziingsberichte,
1900,
in
II.,
L CAE SAE
p. 389).
pi. 3,
No.
15.
CHRONOLOGY OF SIGNATURES
in
III.,
L CA
SAE
while in IV., L
CAE SAE
429
occurs no less
still
ornament
Roman
motives appear
In Class
I.
Greek
In Class
gladiators, combats,
II.
the typically
and hunting-scenes
this form,
CHAPTER XXI
ROMAN POTTERY: TECHNICAL
SHAPES, AND USES
PROCESSES,
Geographical and historical limits Clay and glaze TechniStamps and moulds Barbotine and other methods
Kilns found in Britain, Gaul, and Germany Use of earthenware
among the Romans Echea Dolia and Amphorae Inscriptions on
Introductory
cal processes
amphorae
Cadus,
Sacrificial vases
Ampulla, and
Identification of
i.
Lagena
Drinking-cups
Dishes-
names.
INTRODUCTORY
ROMAN
the
without merits of
vases that
all
its
Roman
in
relief.
be regarded as commensurable.
may
word, require only the skill of the potter
Roman
still
style
they
vases, in a
for
some
definition
of
geographical
demarcation.
Ii
431
But
in
spite
of
increased
of luxury, it is obvious
by metal could never have
habits
to give
metal.
tendencies
Instances
of
these
better
Eze and
I.
p. 502).
H.N.
xxxiii. I54ff.
ROMAN POTTERY
432
latter
that
district
we
(see
p.
find springing
292
ff).
in
up
to
as
the time
world.
death-blow to
all
the
manufacture of
i.
p.
TECHNICAL PROCESSES
433
to
Roman
investigation.
The
latter
to
the countries
of
Britain,
Roman Empire
victorious
in merit,
is homogeneous in character,
and so far as it can be traced
purely
Roman
2.
TECHNICAL PROCESSES
Roman
is
to
in
some ways
the
vases
now
is
on
collected
in
the
Museums
gradually impelling
Roman pottery the
pursued
in
methods now
work we
scientific
other directions.
Of
their
universally
shall
speak
more
in
detail
in
another chapter
at least
under the
for
late
not hold the art of pottery in very high estimation, and their
[did
28
VOL. ii.
ROMAN POTTERY
434
useful,
part
far as
therefore, surprising
that
we should
find
them making
use of a less fine and compact paste for the greater proportion
of their vases.
With the exception of the fine red wares with
terra sigillata?
The
pebbly character.
3
In Italy, as a rule,
clay as the terracotta figures (p. 382).
careful attention seems to have been paid to the preparing
and mixing of the clay, and in the glazed red wares it is
uniformly good.
In
and appearance of
fact,
this
1
The term is applied to clay suited to
receive stamps (sigilla) or impressions.
Kojnaine^
3
Ibid.
ii.
i.
p. 335.
p.
41
fT.
Gauk
435
"
As Semper
for this
is
iron
the
in
paste,
But
and uniform
is
in
the
baking.
state
was of an
essentially
alkaloid
nature.
how
5)
from
(3)
late provincial
Der
Stil,
ii.
p. 148.
Banner Jahrbiicher,
xcvi. p. 20.
ROMAN POTTERY
436
i.
Without glaze
1
:
437
definite.
Fabroni had thought that the iron oxide
was combined with a vitreous paste, and Keller, by practical
experiments, essayed to show that borax was employed to
2
provide the required appearance, and further maintained that
the furnace at Castor already alluded to was used for dissolving
that substance.
He was not far from the truth, but the
results obtained by Dragendorff seem to militate against his
but not so
conclusions.
to resemble coral,
that
it
details,
in this
It seems to
again evincing
superiority to modern glaze.
have been applied not with the brush, but by dipping the
vase into the liquid. 3
Black glaze, such as occurs on the
its
brown
century of Empire)
(3) grey or ash-coloured
to
end
of
the
the
Western
(down
Empire) (4) black (mainly
This
was
in
its general lines adopted
distribution
provincial).
;
first
Buckman 6 and
by subsequent
felt
to
They
writers,
such as
be
will
be considered
in fuller detail in
a subsequent chapter.
as
Brongniart,
Dechelette,
4
ii.
Trait*?,
i.
p.
423
6
;
p. 339.
Bliimner, Technol.
ii.
p. 91.
Op.
cit.
i.
p.
381
cf.
Bliimner,
ii.
p. 64.
vii.
iii.
2,
35
p. 77.
Pliny,
H.N.
ROMAN POTTERY
438
made by
Horace
Latin
the
as
poets,
in
well-known
the
of
line
l
:
Amphora
Institui
cepit
and other
writers.
The
of potters'
these are
made
axis of the
in the
of
which were
built
up on a frame
with
reliefs
or
dolia,
casks,
large
an
like
additional
ii.
Capt.
ii.
3,
Persius,
iii.
23
9.
I
Henry
VI. , Act
I,
Oberbayr.
xxii.
\.
p.
I. p.
3, 48.
also Vol.
see below, p. 480
~
Vases ornds, ii. p. 338.
7, 86.
i.
p.
844:
207.
423
ff.
Von Hefner,
STAMPS
moulds
the
of
making
the
439
third,
the
impressing
clay in
the mould.
British
fig.
2),
Museum, with
which finds
its
From
fire,
and shielding
the
same
site are
of Paris or Atys
at York.
the Sevres
>ritish
museum
in the
German
potter,
fi
whose name
lion in
name
of Cerialis,
also occurs on a
for
icluding
1
in the
Museum
a well-known
mould
is
Other stamps
g- 4-
Plandbopk
to
Mus. (1891),
p. ill,
ROMAN POTTERY
440
Cobnertus. 1
Rheinzabern
at
with a figure
a horse. 2
Lezoux
at
for
in
to
on
the
on
ridge
convenience
FIG. 211.
in
handling
were
made
whole, not
they
sometimes
in halves, but
made
was
first
the vase
plain, and the figures were
then attached from separate
or
moulds,
"
499).
p.
Vases
have
been
"
Megarian
found
in
in all are
known
the
(pp.
Rhone
cit.
i.
p. 337).
Oberbayr. Archiv
fur
vaterl.
Gesc/i.
fig.
p. 19.
fifty
I.
valley
p. 179.
made
rather
bowls (Vol.
pi.
fig.
30
8.
p. 24.
MOULDS
441
they are
for the
centres of fabrics
ii.
P-235ff.
-
Dechelette,
Blilmner, Technol.
ii.
p. 112.
ii.
p.
pp. 106,
Gaz. Arch.
525
3
17
Bron-
p.
141
ff.,
and
see also
below,
ff.
Cf.
Ana'ens,
1881-82, p.
i.
(1903), p. 42.
tudts
ROMAN POTTERY
442
Various tools
or
damaged
1
the sites of ancient potteries, as at Arezzo, but their use cannot
be accurately determined.
The method
of decoration
known
as
en
barbotine,
which
on
thick
in
The
a thick white
are painted in
not necessarily
white.
compared
Painted decoration
and
is,
on cakes. 2
in fact, confined
almost unknown
to
the
in
POCOLOM
Roman
pottery,
described in
series
Engraved
or
incised
decoration
is
exceedingly
rare,
and
of
four
leaves
CY)
>K
cut
in
the
soft
(A)
cf. Von
Bliimner, ii. p. no, fig. 25
Hefner in Oberbayr. Archiv, 1863, p. 56 ;
1
clay,
Bliimner,
Saglio,
3
Cf.
ii.
art.
ii.
p.
continuous
or
in
Figlinum,
von Hefner
in
Daremberg and
1130.
Oberbayr. Archiv
p.
443
It
The next
for
vases
those
preparation
glaze,
applied, followed by the baking.
3.
ROMAN POTTERY-FURNACES
which
it
was
'
of the furnaces.
found
in
Vases ornds,
ii.
p. 312.
Mau-Kelsey, Pompeii,
delF Inst.
i.
*9 2
'>
p.
386
Mon
<
Bull.
Antichi,
xxii. (i
863), p.
56 ff.
ii.
p.
ii.
art.
*
23
ff.,
Figlinum.
Bullet. Arch.
Melanges
p. 93 ff.
Gallo
1898, p.
18
romaines,
ii.
Brongniart,
i.
p. 439.
ff.,
and
(1902),
ROMAN POTTERY
444
was
The
latter
Westerndorf. 2
from those
212}
(Fig.
was found
the
in
Nene
the
were
first
Artis
in
published
They
valley.
by
explored
1821
who
27,
magnificent
entitled Durobrivae
tion,
these he supplemented by
a full description in the
FIG. 212.
Metres
i
o
TOO 50
Archaeological Associa5
Castor and Chester-
tion.
HEDDERNHEIM, GERMANY.
Roman
same
age.
Rev.
Arch,
xviii.
(1868),
23,
pi.
See
for a full
account of the
in op.
cit.
p.
to
Westdeutsche
in
ff.,
pi.
U,
refer.
last-
p. 56, pi. 4.
3
described
Zeitschrift,
xviii.
p. 297.
Victoria
County
p.
and
Coll.
ff.,
Antiq.
iv.
vi.
p. 81,
p.
181
ff.
POTTERY-FURNACES
IN
BRITAIN
445
a depth of 26 feet.
They were made of loam,
which had been converted into brick by the action of the
fires, and were full of coarse pots and dishes
they measured
building, at
each way.
the Sloane
feet
MSS.
is
preserved
In the kilns
Museum.
was found pottery of the kind typical of London and the
among
in the British
neighbourhood.
1878,
when
came
to light.
To
describe
all
these
Proc.
Soc.
Antiqs.
xvii.
1898,
p.
Archaeologia,
p.
Viet.
fig.
Op.
cit.
5
G
County
291,
7
i.
Hist,
Ibid. p. 322.
Viet.
p.
Roach-Smith,
I ff.,
pis.
op. cit.
ii.
p.
38
vii.
1-3.
of Norfolk,
p. 314.
91
p. 306.
9
p.
i.
262.
3
xxxv.
\.
p.
ROMAN POTTERY
446
may
down
further be laid
same
many
and
The
Rheinzabern.
Through this the fuel was introduced,
The
consisting chiefly, as charcoal remains show, of pine-wood.
fire-chamber was either divided up, as at Castor, by walls radiating
as at
from a central
pillar
roof, or
by rows of
which the holes were bored. The oven where the pots were
placed has been destroyed in most cases, but we know that it
consisted of a floor, a wall with entrances, and a vaulted dome.
The pots were ranged partly on the floor, partly on terracotta
2
at
stands over the holes, as at Rheinzabern and Heiligenberg
;
support them.
made
in the
Cf.
447
One
foot in length.
The
of perforated angular bricks meeting in the centre.
vaulted dome was composed of bricks moulded for the purpose,
1
and the
thick
edgeways in a
Brongniart compares the
2
burg,
Rhine
which
in
valley
Samian " ware was made.
Another kiln found in
"
1844
Artis
describes
common
the
coloured
as
for firing
blue or slate-
pottery,
and had
FIG. 213.
were
still
apparent."
See Haverfield in
of Northants,
i.
Viet.
p. 207.
County Hist,
Trait,?,
i.
p.
426.
ROMAN POTTERY
448
Hence he denominated
He
kilns in
which
this
ware was
mouth of
has pointed out, 1 the dark colour may be due to the chemical
action of the carbonaceous vapour of the smothered kiln rather
than to any " colouring exhalation."
The circumference
of the bulk
Viet.
i.
p. 209.
KILNS AT CASTOR
449
on
Over
it
Whether
of iron oxide.
this is so or not,
it is
interesting to note
The
for
for a slight
feet
peat
in thickness,
further
peculiarities.
See Haverfield,
Archaeologia,
VOL.
II.
xxii.
pi.
36,
p.
413;
'>
Fornax,
figs.
3^01-02.
29
ROMAN POTTERY
450
FIG. 214.
Numerous
pipes of
to
The upper
of
the
part or
kiln
is
dome
never
found
entire,
having
been generally destroyed
here,
the
earth.
as
elsewhere,
by
superincumbent
Walls of strong
flue
made
and
the
furnaces were
walls
of terracotta
in
of
tiles.
1858,
KILNS AT HEILIGENBERG
451
but
all
was over
about 28 by
some
1.6
inches in
size.
The
ovens were
floors of the
cases
The
i.
Arezzo
Modena
Oria
See
Marzabotto
Pompeii
Pozzuoli
2.
Dept. of Ain
ITALY
479
p.
ff.
Mon.
Antichi,
Bull,
dell* Inst.
i.
p.
282.
X
1875, P-
92
Mau-Kelsey, Pompeii,
Bonner Jahrb.
p. 386,
xcvi. p. 54.
FRANCE
St.-Martin-du-Mont
Blanchet, Melanges, p.
Champ-Lary
Blanchet,
107.
Allier
Lubie
.
St. -Bonnet
p. 89.
P- 95p. 96.
St.-Didier-en-Rollat
p. 96.
St.-Remy-en-Rollat
p.
chelette,
Vichy
Nogent-sur-Seine
Aveyron
Graufesenque
,,
p. 429.
p.
41
ff.
p. 106.
p.
chelette,
i.
96; De-
Blanchet, p. 95.
Aube
Brongniart,
i.
Von Hefner
(1863), p. 58.
in
i.
Oberbayr.
Archiv
ROMAN POTTERY
452
Dept. of Bouches-du-
Rhone
Somme
Tarn
Amiens
Montans
453
Blanchet, p. 106.
p. 97.
Tarn-et-Garonne Castelnau-de-Montra-
...
tier
Muret
Vendee
Yonne
....
Trizay
Sens
ff.
p. 97.
p. 97.
,,
p. 102.
p. 106.
,,
GERMANY
Alttrier,
Luxemburg
Bergheim
Von
Hefner,
p. 60.
Gallo
Melanges
Blanchet,
rom.
ii.
p. 108.
Bonn
Banner Jahrb.
Ixxiv. p.
152;
Ixxxiv.
p. 118.
Cannstadt
Cologne
Commern
Dalheim, Luxemburg
Dieburg
Giiglingen
Von
Hefner, p. 61.
Bonner Jahrb.
Ibid.
Von
iv. p.
p. 61.
.
Heddernheim
Heidelberg
Heiligenberg
p.
.
Von
(1899),
Hefner,
u.
Kunst^
227.
p. 61.
p.
p.
Rottenburg
Schonbuch, Wiirtemberg
'
.
Waiblingen
Westheim
pi. 4, p.
p. 61.
Luxemburg
ii.
p. 61.
Rheinzabern
Trier
427; Blan-
Gallo -rom.
Melanges
Nassenfels
Riegel
p.
183.
1 08.
xviii.
Herbishofen
i.
Brongniart, Traite,
chet,
Petzel,
p. 61.
Hefner,
Heldenbergen
Ixxix. p. 178.
203.
Westerndorf
iv. p.
p. 108.
p. 108.
Von
Brongniart,
Hefner, p. 61.
Bonner Jahrb.
429.
Blanchet,
Von
61
Hefner,
p. 61.
p. 62.
p. 62.
141.
i.
ROMAN POTTERY
454
4.
Dorset, Milton
ENGLAND
Roach Smith,
Abbas
Collect.
vi.
Antiq.
p. 191.
Ashdon
Essex,
Colchester
vii. pis.
Arch. Assoc.
Shoeburyness
Hampshire, Alice Holt Forest
.
,,
New
Forest
ii.
p. 38,
Journ. Brit.
xxxiii. p. 267.
Hertfordshire, Radlett
i ff.
1-3, p.
2nd
i.
p.
2nd
306.
Newton
Viet.
Roach Smith,
-
Kent, Upchurch
p.
Lancashire, Warrington
London
Middlesex,
Roach-Smith,
Viet.
County Hist.
Ibid.
Caistor-by-Norwich
291
p.
li.
75.
vi.
p. 467.
Rom. Lond.
\.
p.
p. 79.
314.
Archaeologist
p.
263.
p.
///.
i.
Antiq.
178; Archaeologia,
Reliquary, 1900,
(St. Paul's)
Brampton
Norfolk,
Collect.
xxxvi.
P- 4i3-
Caistor-by- Yarmouth
Journ.
p.
Weybourne
,,
Viet.
Assoc.
xxxvi.
County Hist.
i.
p.
322.
Oxfordshire, Headington
Littlemore
Arch.
Wansford,
Northants,
Castor,
Bedford Purlieus
Brit.
206.
Ibid.
.
liv. p.
349.
Worcester
Viet.
County Hist.
i.
p.
207 (a model
in Brit. Mus.).
Traite,
426
i.
De Caumont,
in
Westdeutsche Zeitschrift
Bliimner, Technologic,
(art.
ii.
p.
FICTILE)
93
ff.]
and
for
ii.
Gaulish
sites,
POTTERY
4.
POTTERY
IN
LITERATURE
LATIN LITERATURE
IN
455
of the
costly
"
"
"
of Jupiter, placed
fictile
served
in
his
fictile
vessels,
Romans
replaced
bottles
Roman
1
Cf. Tibull.
i.
I,
38
Pliny,
P' 95
"Nee
"
fecit
aerestis
Pocula de
facili
composuitque luto."
>
3
4
Sat.
ii.
60.
Sat.
iii.
168.
Florus,
i.
8, 22.
72
xxxiii. 142.
Alhen
vi -
22 9 L-
He
uses
which
marble
for
-
AP ud
^ e cur
H.N.
^W*
tiles
ROMAN POTTERY
456
which from
its
and
their
names we
shall
in detail.
speak presently
Vases were
also used in religious rites, but metal was probably more general
Plautus describes a miser who sacrificed to the Lares in earthen;
ware (vasis Samiis] because he was afraid that they might steal
6
silver vessels.
They were also used for various operations in
but above all
agriculture, medicine, and household economy
;
for the
vine-sprouts.
among
the
Romans
as
among
9
At the latter place a tomb contained a
Cambridgeshire.
sort of colander perforated with holes which formed the letters
in
iv.
72, 131
Suet.
Vit.
cf.
Mart.
VitelL
xiii.
81.
13 (clypeum Mi-
'
Capt.
7
Ibid. 163.
iv.
88.
ii.
2, 41.
I ff.
cf.
Archae
Similar
are
finds
from
recorded
457
Arnaise
in
France.
Saguntum
in
and
lead
now
Maidstone Museum. 6
Vitruvius, in his chapter on Ec/iea, or vases distributed around
the ancient theatres for acoustic purposes, mentions that they
were often made of earthenware for economical reasons 7 but
they were usually of bronze. Seneca, too, alludes to this practice
when he speaks of the voice of a singer falling upon a jar
It is certain that the Greeks and Romans often
(dotium).*
made use of earthenware jars in architecture, but it is probable
that this was more often done with the object of diminishing
weight than for acoustic reasons, or, as some have thought, for
want of better material. The dolium, amphora, and olla seem
to have been the forms most usually employed.
There are
various examples in walls and substructures of the Augustan
period, and they are also found in vaults, where their purpose
being
in the
In the circus of
undoubtedly to lighten the weight.
Maxentius a number of large amphorae were found embedded
in the vaulting and upper part of the walls, arranged neck
downwards and with their axis inclined obliquely to the wall. 10
All are now broken, but they illustrate the ingenious method
is
C.I.L.
vii.
1335,
i.
The
vase
is
now
at Clare College,
2
3
Cambridge.
H.N. xxxv. 1 60 (Jictilibus
Arch. Journ. x. (1853), p.
Rom. Land.
p. 88,
Quaest. Nat.
xi.
230..
inanibus.
and see
8,
(in
p. 550.
10
vi.
19
soliis).
*
Archaeologia, xiv. pi. 6, p. 37
B.M.).
5
Arch. Joum., loc. cit.
///.
v. 5, 8.
cf.
Arist. Probl.
xi.
270, doliis
Rome,
ii.
p. 56.
ROMAN POTTERY
458
in
the. building
is
usually
about a foot
was
5 feet
San Stefano
alia
at
built
Ravenna,
Rotonda
at
Rome, and
by Justinian
the
dome
of
San Vitale
is
similarly
3
The
constructed, with an elaborate system of tubes and jars.
seems
to
have
been
Middle
continued
the
Ages,
during
practice
We
now proceed
Roman
at
vases, so far
or
lines as in
the Greeks, such as the amphora, the krater, and the phiale
or patera, and in several instances (such as the cyathus and the
scyphus) the Greek name is preserved.
as for wine
in cellars,
we take
from
its
general
usage gave
first
to
which
7n'0o9 (Vol.
rise
for liquids,
fruit,
the
I.
p.
152),
which
doliare,
2
3
Middleton,
xv. p.
Joe. cit.
303
65
IT. ;
fount.
Architects,
Nissen, ibid.
Tourn.
iii.
p.
I ff.,
2,
p.
DOLIA
459
l
Columella
speaks of dolia sesquiappearance.
culei
or thirty amphorae.
culearid) i.e. holding one-and-a-half
They were buried in the earth of the cellars, and have been
idea of
its
corn,
oil,
and
were used
salted
new
for
wine, being
or gypsum. 3
described
is
latter, set-iota,
in Syria.
as
a wine-vessel
invented
up
cracks.
10
They
made both
are
'
Brongniart, Traiti,
3
4
5
8
p.
407
Bull.
Arch.
x.
Nap. N.S.
8047, 10,
vii.
1
46
(Miiller).
xii.
28,
Plaut. Capt.
9 ("preserve-jar").
Isid.
Etym.
xx. 6.
"
Agricult. 39.
1859,
10
8.
Fest. p.
Columella,
iv. 4,
ft.
ix. 58.
84; C.I.L.
p.
i.
ex
2.
ROMAN POTTERY
460
name
the
of T. Cocceius Fortunatus. 1
'dolia
Next
p. 457).
In Cicero's time
a tripod-stand of metal or wood (incitega)?
the regulation size was equivalent to a quadrantal or two urnae?
The use of this vase was very varied and extensive among the
Romans
it
cellars
in
and granaries,
even where
nowadays
preferred.
1
2
3
Marini, No.
4.
Formen der
Thongef.
p.
1 6,
Cf.
Cf.
Pamph.
pis. 1-8.
4
i.
9, 7-
Pliny,
p. 154.
7
r'om.
Od.
I.
Koenen, Gettsskuttde,
pis.
10-12.
H.N.
Jahn,
xiv. 135.
Wandgem.
d.
pi. 5, p. 42.
p. 113.
VilL
AMPHORAE
461
D'Agincourt
But they are so universal all over the Roman Empire that to
list would be tedious.
Many, however, evoke a
reason
of
their
interest
by
special
stamps and inscriptions,
and a few typical examples may profitably be given. 3
The inscriptions vary in form and character some amphorae
give the name of the maker in the genitive, offidna being
others the consuls for the year in which they
understood
were filled others, again, the name of the wine or other phrases
and others complimentary inscripdescriptive of their contents
tions to their owners.
Among names of makers both single,
double, and triple names are found, and among the former
enlarge the
are
names,
that
showing
freedmen,
are
M.
the
potters
Aemilius
Roman
were
from
Rusticus
or
citizens
Caerleon,
and
'
Recueil) p. 46.
-
Roach-Smith,
Collect.
Antiq.
ii.
///.
Rom. Lona.
p.
87;
Ivi.
*
p. 26.
p. 299.
C.I.L.
Steiner,
for
1331, 22,
Inscr.
Rheni,
ii.
C.I.L.
xiii.
e.g.
vii.
Cod.
C.I.L.
xiii.
10005, 25;
Rom. Danubii
;
et
1331, 6, 13.
ROMAN POTTERY
462
ments
FECIT,
"
A.D. 26.
The
character or origin
stored in the
KOR OPT
amphorae
("
Ibs.
of the
best
is
Corcyrean
weight"),
all
RVBR VET v
"),
en
("
in red
old
and
black.
"
Tusculan wine from
TOSCOLA(TZ)ON (ex) OFFICINA scAv(r/),
10
of
the
other
Scaurus."
On
the manufactory
hand, LIQVAMEN
OPTIMVM ("best pickle"), or such expressions as SCOMBRI
Among
etc.,
fish.
11
MARCELLAE
"
12
C.I.L.
x.
8056, 260.
I0
ll
I.
C.I.L.
Vol.
cf.
8
x.
I. p.
C.I.L.
I.
12
iv.
2584, 2616:
158.
iv.
2603:
2555.
Ibid. 2589-94,
2575
ff.
On
inscribed
see also
Mau-
p. 158.
8055, ii
iv.
See Vol.
c.l.L.
Ibid. 2625.
cf.
Pliny,
H.N.
Doni,
Aventine,
13
Ber.
p.
now
d.
Found on the
Museo Kircheriano.
Ixxxvi.
in the
sacks.
Gesellsch.
1857, p.
199.
xiv. 75.
WINE-JARS
The
may
list
463
found
in
among
the ruins
eight congii
on
may
pitch
see
;
names
written
are
with
there
in
letters
in
with
sealed
clay,
letters
and
foot
half
long."
epistles
the
jar
4
ownership."
Juvenal speaks of wine whose
had
been
and
brand
obliterated by old age through
country
5
long hanging in the smoke.
its
proclaims
C.I.L. xv.
pt. 2,
No. 4719.
Poen.
epistolas
Rud.
literatas fictiles
iv.
2,
14
the double play on the words
:
v. 33.
ii.
5,
21.
Cf.
also
Plaut.
Aen.
Virg.
i.
195
Amph.
(for
i.
the
i, 273;
wine of
Acestes).
7
Od.
iv.
i.
19, 2
i.
56
9
lu
x. 36.
n, 2;
:
cf.
iv.
12, 17.
Juv.
66.
vi.
ROMAN POTTERY
464
fruit,
oil,
are
example
The vinariumf
jeer at the
wine-jar (oenophoruui]
was similarly
used for carrying water, and also for casting lots, or as a votingurn n in the latter sense Cicero actually uses the word hydria^
Both the urna and
Its size was half that of the amphora.
;
bucket, with
14
for
lots,
Mart.
i.
diminutive
its
44,
8;
Pliny,
H.N.
Sat.
H.N.
Mart.
vi.
H.N.
xiv.
in
Hor. Sat.
6
ii.
Isid.
4,
Etym.
66
Varro, R.R.
i.
usually
Etym.
Isid.
iv.
cf.
Isid.
in Verr.
Cic.
Cic.
i.
8, 5.
Isid.
Etym.
iii.
4,
15
34
14,
Marquardt,
Lucan,
Prirataltert.
v.
vii.
629, note 3.
In Verr. ii. 51, 127 cf. Plutarch,
Vit. T. Gracch. ii ; also Isid. Etym. xx.
6
Vast's genus aquatilis.
:
See
Orelli,
Varro,
and
4546,
Lucan,
vii.
for
urna,
819; Ovid,
passim.
27, 62.
de Fin.
6,
p.
13
522.
Sat. ii. 8, 39
cf.
Suet. Calig. 15
Fastt, v.
R.R.
394:
Hor.
i.
Persius, v. 140
xx. 5.
1
is
it
12
Etym. xx. 6.
As often by Virgil and Ovid,
;
426
27, 6.
96;
Isidorus says
Hor. Sat.
vi.
and
xx. 6.
xv. 82.
13,
10
xviii.
307.
2
was
sitella,
16.
Plaut. Cas.
ii.
6, ^11
Livy, xxv.
3.
MISCELLANEOUS SHAPES
The cupa and the cumera
a8o? (Vol. I. p. I65).
the
have been of wood rather than earthenware 2
1
the Greek
seem
to
former was a kind of tub, the latter was used for keeping grain,
and
flasks,
and an
as
is
corresponding thus
oil-flask,
10
It
and
to
is
An
Etym.
xx. 6.
(urceoli sex}
iv.
Civ.
ii.
1 1
Lucan,
420.
Paul, ex Fest. ed. Miiller, p. 63, 12.
Plaut. Cure. i. I, 75 Rud. v. 2, 32 ;
8
4
Poll.
v.
2,
iv.
vii.
33
Varro, L.L.
123.
5
For
6
Fain.
vii.
\ulul. iv. 2, 15
7
10
11
Ad
Plaut.
Pers.
cf.
iii.
Amph.
Igricult. 81
Martial,
VOL.
29
II.
also
Plaut.
22.
i.
I,
273 ; Cato,
Varro, ap. Non. 546, 23.
xiv.
106
Juv. iii. 203
;
id.
Pers.
i.
3,
43
A. P.
Hor.
97
cf.
Plin.
Ep.
Florida,
with
vessels
pi.
Treb.
Merc.
Cic. Fin.
in
30,
2
9,
6; Mart.
:
cf.
in
reliefs
>
I.
&\so
\rjKvdiov
p.
196)
xiv.
no.
the terracotta
the
Mus.
British
Greg.
10;
Isidorus
bulla,
iv.
ii.
D 204-5
Museum,
i.
the
Plaut. Stick,
86
;
Varro, R. R. i. 22
Claud. 17 ;
Plaut.
12, 30.
md
Vit.
reference
(Ety/n. xx.
to
its
rotund form
5).
30
ROMAN POTTERY
466
made
still
of the
in Spain.
same
Another
The lagena
(Greek, \d yvvo<$) was a jug or
bottle with -narrow neck, wide
white (Fig. 216).
r
brandy -flask"
FIG. 216.
AMPULLA
(BRITISH MUSEUM).
Roman barmaid
7
and
the tavern,
^^ ^
LAGONAM,
SOL(z)DAM
1
Rev.
Arch,
"
whole
flask
3
xviii.
(1868),
pi.
Pliny,
22,
c
p> 225.
*
3
4
Mart.
vii.
lor.
Ep.
61,
ii.
ac
{panarium
5.
Martialis,"
H.N.
Hor. Sat.
CJ.L.
ii.
xiii.
and
xvi. 128.
Pliny, Ep. i. 6
Juv. viii. 161.
cf.
Juv.
8, 41.
10008,
4.
MARTIALI
*
to
2, 134.
it
in
xii.
60.
gives
clue
form
the
to
associated
with
467
word
this
(see
Fig. 217).
The words
in
1
the Greek icvados (Vol. I. p. I79), in measure equivalent to
one-twelfth of the sextarius or pint, and simpulum or simpuvium.
The
latter
and
sacrifices,
will
be
dealt with
later
We
in
Of
as
large
2I7
'
LAGENA FROM
FRANCE, INSCRIBED.
of
for a
this
-for
TTOTT^HOI/,
as
just
has already been met with in the series of small bowls with
Latin inscriptions described in Chapter XI. (p. 490).
Many
Hor. Od.
2
i.
71
cf.
iii.
8, 13
viii.
51,
19, 12.
21
ix.
56
95
xi.
l)e rg
3
Isid.
is
wash-hand
37
given.
4
Virg.
Ed.
vi.
v. 2,
as
Etyin.
xx.
basin.
6,
describes
it
as
ROMAN POTTERY
468
of the
leaves
pods of the
or
use
is
4
Egyptian bean.
Other names of which
or
colocasia,
well known.
we hear
in use,
commonly
by poets and prose writers. Those
to
and
all
constantly referred
of terracotta could often
is
10
buying two calices for an as and taking them home with him.
We have no exact information as to its form, but it must
have been something like the Greek kylLr, only probably
without handles
was also used for solid food such as
it
11
herbs.
Seneca speaks of calices Tiburtinae, which seem from
the context to have been of earthenware. 12 Varieties of the
;
The former is
largest were the lanx and the patina.
described by Horace and Juvenal as large enough to hold a
whole boar, 13 and was probably of metal the patina is described
the
dragged
1
iv -
Plaut. Stick, v. 4, ii
Cic. in Verr.
to his death,
9
10
7>
Porphyrion ad Hor.
loc. cit.
iii.
Etym.
19, 46.
xx. 5.
ll
xi.
ix.
145.
60, 22.
Varro, L.L.
v.
Ep. 119, 3.
Hor. Sat. ii.
" Hor. Sat. i.
3,
5.
127
Ovid, Fast.
v.
509.
12
13
43, 55.
4, 41
80
Juv.
v. 80.
ii.
95
2,
ii.
8,
469
or dish-maker.
also
is
It is
scutelld]
as
it
the latter
is
quadrangular,
obscurely-named dishes
6
:
as a vessel of black
the catinus (a
dish) was large enough to hold a gooda tunny, 8 and the catillus appears to have
fictile
known
or cups,
as acetabula (the
Greek
in small dishes
which were
o%vjSa<j>ov\
9
the catellus held pepper, 10 and the
evidently of earthenware
concha or shell was used for a salt-cellar, also for unguents. 11
;
The
Suet. Vitell. 17
xx.
Isid. Etyin.
cf.
13.
dispansis paten-
115
Phaedr.
Hor. Sat.
;
Ep.
i.
Juv.
Ep.
6
26.
i.
iii.
xi.
Etym.
iii.
20
i.
Isid.
3,
90;
ii.
4,
75;
i.
6,
5, 2.
142; Mart.
Isid.
32, 18
xi.
Etym.
cf.
vii.
47,
28; Alciphr.
3.
Isidorus,
cavata.
81
v.
79,
see Isid.
Etym.
Hor. Sat.
Etym.
ii.
xx. 6.
77
4,
Pers. v.
182
xx. 4.
xiii.
8.
8
tibusque arts.
3
xx.
Hor. Sat.
13
Hor. Sat.
Sat.i.6,
ii.
ii.
ii.
4, 75.
7,
23
8, 86.
1 1 8.
Sat.
i.
3, 14.
ROMAN POTTERY
470
name
general
for
an
oil-flask or cruet.
It
was
either a small,
Of
name
for
as a funerary urn,
it
as
scented with
Falernian wine.
It is usually identified with the mortarium^
a large, shallow, open bowl with a spout, frequently found in
it is of coarse
Britain and Central Europe (see below, p. 550)
;
light-red clay, and often has the potter's name stamped upon
it.
That it was used for pounding substances is shown by the
that
fact
it
of the interior.
and appears
its
to have been used only in Republican times
1
Imperial successor was the cacabus? The trua or trulla was
numerous examples in bronze,
a saucepan with a flat handle
;
silver,
those
iii.
Juv.
sacrificial
xi.
263;
158:
cf.
Vol.
I.
Collect.
v. p. 8.
Antiq.
For
Juv. xiv. 171.
examples of ollae see Overbeck, Pompeii,
p.
Pl.
Catull. 94, 2
414,
fig.
Isidorus
was used
Daremberg and
LXIX.
550.
vi.
rives
expressly states
for boiling
that
it
it
430.
Cato,
A'. A'.
157
Etym. xx.
Varro ap. Non.
B.M.
Plant. Pers.
i.
3,
8.
p. 19, 14.
2465
Romaine,
;
capis
from /#/&$.
Isid.
Cf.
The
ii.
p. 316.
SACRIFICIAL VASES
471
l
or capedo was probably a kind of jug (from capere, to contain)
Cicero refers to the capedunculae which were a legacy from
Numa. 2 The praefericulum* was not, as usually supposed in
popular archaeology, a jug, but a shallow basin of bronze
The simpulum
is
With
"a storm
in a teacup."
10
metal, but Pliny speaks of fictile simpula
represented on coins and sacrificial reliefs.
the simpuvium
is
to
for offerings to
Bacchus,
evidence that
is
its
14
(j)id\rj
(Vol.
sented
its
I.
and
p. iQi),
essential feature
in the centre,
and
older than
is
it
was
is
to the
its
Greek
either
made
of metal or earthenware.
The
Non. 547,
18; Livy, x.
Varro ap.
H.N.
Rep.
xxxvii.
vi. 2,
II
De
The word
id.
Nat. Deor.
is
Parad.
iii.
12
7,
i.
9
;
10
Pliny,
Cic.
;
2, II.
17, 43.
Varro
ap.
An example
of a
(Case E).
19.
13
ii.
394.
729.
i.
vi. 2,
16, 36.
12
P-
iii.
xxxv. 158.
Virg. Georg.
Non. 547,
note.
6
Cic. Legg.
H.N.
"
10
ii
Juv.
vi.
343.
15
Ov. Fast.
Plaut. Cist.
ii.
ii.
i.
634
46.
Juv.
v.
85
cf.
ROMAN POTTERY
472
pollubrum (Greek,
TroSaviTrrrjp)
as
sessitis,
6
squat and flat-bottomed.
-
i.e.
The
culeus,
congius,
heinina,
vases
amphora, or six
forms
is
sextarii,
hopeless
clues
in
the literature
any Roman
be
is
too late to
present little
of
the
forms of
different
way
collecting
a
valuable
on
the subject was
treatise
existing vases, but
by the late O. Holder, a Wurtemberg
recently issued
Varro,
xii.
H.N.
vii.
185
V.
12.
Petron. 42
vii.
Colum.
7;
Gels.
Varro
7
ap.
Cato,
Pliny,
diesseits
1897).
148
see
Non.
R.R.
H.N.
146, 8
545,
13
2.
Livy, xxv. 2, 8;
xiv. 85, 144.
For a bronze
57;
Metrologie,
p.
123
also
On Roman
Saglio, s.v.
metrology generally see Krause, Angeiol
p. 454, and Hultsch, op. cit. p. ii2fT.
2, II.
6
Hultsch,
Daremberg and
14.
7hongefcisse,
DIFFICULTIES OF IDENTIFICATION
473
Nor must
it
be forgotten
that
in
Roman
pottery the
CHAPTER
XXII
Roman
Subjects
their
manufacture
still
false
according to artistic merit, as Arretine, Samian, and
"
Samian." The latter term " Samian has indeed acquired such
popularity that it has passed into the language as a conventional
term of almost every-day use but to the scientific investigator
it has long been apparent that in point of accuracy it almost
;
"
stands on a level with that of Etruscan vase."
That of
"
false
"
Before however
we attempt
"SAMIAN" WARE
on the basis of recent researches,
the statements of the classical
475
be as well to investigate
writers and weigh the evidence
it
may
Samian ware
vessels.
dinner services
in Italy,
and
Saguntum
for
is
commended even
this reputation
is
at the present
day for
Arretium
up by
also kept
in Spain,
from
Isidorus, who largely quotes from Pliny, gives the tradition that
Samos was the seat of the original invention of pottery, " whence
He goes on to say that " Arretine
too came Samian vases." 2
it is
a corruption of Samnia.
for
Campania was
we have
in
the
Herein he
is
is
We
class
for its
chapter
H.N,
xxxv. i6off.
Elyin. xx. 4,
3.
Hor. Sat.
ii.
8, 39.
476
this
so
is
"
term
or
not,
"
Samian
Roman,
and that
"
became
it
"
China
a jesting
heroines:
allusion to
Samos
as the
"
home
"Take
To
one
to the other,
ad Herenn.
i.
2
3
ii.
2, 65.
Cic.
51.
Apol. 25.
Stick, v. 4, 12:
Non.
iv.
2, 22.
Lucil. ap.
p.
cf.
398
Mart.
5
iii.
Tibull.
8l, 3
47 ;
Cornif. Rhet.
ii.
3,
Banner Jahrbiicher,
14.0: cf.
ibid. xcvi.
Technol.
ii.
p. 103.
p. 25,
ci.
(1897),
and Bltimi
POTTERY-CENTRES IN ITALY
477
find of
I. p.
71), together
are
426),
also
were
Here, too,
"
"
i.
vi.
19
Cf.
344.
Agric. 135.
" in
Paul, ex Fest. ed. Miiller, 344
Ssquilina regione figulo cum fornax plena
Bull.
^asorum coqueretur."
p. 192.
xxxv. 161.
1875,
478
mentions that
B.C.
of "
made more
In
in 176
kinds of vases,
all
Campania
Calene and
of the
in general
Etrusco-Campanian
is
fabrics
of the third
The
by
Martial.
vases
made
It
at the
Museum. 10
British
Allifae in
Sat.
xiv.
xcvi.
fi
118
6,
cf. ibid.
ii.
3, 144.
Cf. id.
xiii.
good enough
xiv.
us from ancient
Inst.
1875, p. 66; Marquardt,,
Privatnlterthiimer^ p. 640, note 2.
7
Banner Jahrb. xcvi. p. 54 Bull.
;
i.
rotae."
are
made at
known to
deW
xli. 18.
p. 53.
3
11
Samnium, and
Rhegium and Cu-
114
cf.
no: "
C.I.L.
Surrentine cups
wine."
I0
3, 48; Bull.
'-
for Surrentine
Tibull.
ii.
" Sat.
ii.
H.N.
x.
8056, 229.
8, 39.
xxxv. 164.
POTTERY OF CAMPANIA
479
writers.
who speaks
1
Saguntine clay
"
not thrown any light on the character of the local fabric (p. 540)
it is only at Tarragona that terra sigillata has been found.
3
;
The
An
epigram
monemus;
fictilibus.
in the
we
written
Coming down
less direct/'
to
more modern
actually find
by
Sig.
in his
the discovery of red ware about a mile from the city, and
Vasari tells us that in 1484 his grandfather found in the
Further
neighbourhood three vaults of an ancient furnace.
in the writings of Gori (1/34) and Rossi
and
in
1841 Fabroni published a history of Arretine
(1796);
7
in
which
the above facts are recorded.
He tells us
ware,
xiv.
08
viii.
cf.
Juv.
v.
29
4
:
Saguntina lagena."
-
my
iv.
46, 15.
See also C.I.L.
ii.
1008; Dechelette,
i.
p.
in
also
;
pp. 16,
Bull. deW Inst. 1875, p. 2 5> and C.I.L.
xv. 2632 for an amphora found on the
p.
xiv. 98.
"O
father's table,
"
(referring to
its
6
Pers.
i.
130:
see
also
C.I.L.
xi.
p. 1081.
7
Arezzo, 1841.
Vasi
tf/7.
aretini,
480
in
cotta,
about
1 1
inches in diameter
by
(3)
which, as we have seen (p. 437), was perhaps borax
the great variety of forms employed, which show in a marked
degree the influence of metal-work (4) the stamps with potter's
names, which are almost invariably found. The duration of
;
this pottery seems to have been from about 150 B.C. to the
end of the first century of the Empire, at which time pottery
in Italy had reached a very degenerate stage, and the height
of its success and popularity was during the first century B.C.
Analyses of the vases show that practically the same results
as to their composition are obtained from different periods.
During the last century these vases have been found in large
numbers at Arezzo, and there is now a considerable quantity
See above,
museum
2
p. 438.
C.I.L.
ii.
4970, 519.
481
made
finds
in the city
relief
p.
492)
Names
or imported from Gaul, Northern Italy, and elsewhere.
in
numbers
also
found
are
at
Arretine
of
Modena,
large
potters
Rimini, and other places in Northern Italy, in France, Spain,
and elsewhere.
in
B.C.,
lov.
).
100
a time
for
1884,
p.
369,
1883,
pis.
8,
p.
265;
1890,
1082.
3
C.I.L.,
VOL.
loc. cit.,
II.
ff.
Ann.
p. 702,
Nos. 49258".
cf.
265 ff.
for
the
Arretine
ff.
ibid.
2,
1872,
p.
xi.
284
ff.
31
482
common
very
than the
On
of the stamps
later
than 146
is
B.C.
The
in
He employed no
less
with
the
inscription, AVGVSTVS,
3
Previous to the discovery
which gives the date of the fabric.
of this in 1893 Gamurrini had supposed that Cornelius was!
one of the colonists placed at Arezzo by Sulla. Many of his
vases are found at Rome, and also in Spain and Southern
Italy.
The
vases with
probably not
his.
He
Cf.
CORNELI
C. Tellius
Some may be
and
time
C. Cispius.
see Notizie, 1883, p. 269
ff.
p. 7 iff-
in
referred
to
Sulla's
1890,
NAMES OF POTTERS
Among
all
483
commoner than
that
seem
1
stamps varies greatly, the commonest being M. PERENNI
M. PEREN., M. PERE., and M. PER. are also found, and even
seventeen
name
His
whom
of
slaves,
as
appears
the
He employed
monogram.
best
TIGRAN,
known
is
or
TIGRA,
Tigranes.
TIGR, and
These two
always in conjunction with that of Perennius.
are found on a vase with Achilles and Diomede fighting
2
against Hector, and on three Arretine moulds in the British
in
slave, Cerdo,
Another
made
being inscribed
produced vases of more than average merit was Bargates,
whose name is found on a fine vase in the Boston Museum
5
lies
Helios
his downfall.
and the
is
is
seen collecting
occupied with
been
in
Gradi
Maria in
a
branch
had
have
may
manufactory at
6
Cincelli or Centum Cellae.
notes
that his name
Signer Pasqui
occurs alone on the interior of plain bowls and dishes.
Next
'Fifty
'slaves'
the city
itself,
but he
varieties,
also
with
the
different
C.I.L.
xi.
6700, 435.
2
3
4
Philologus,
Graec,
xiv.
2406,
28
2.
Banner fahrb.
xcvi.
p. 70.
482
p.
Iviii.
Roscher,
iii.
(N.F.
p.
xii.),
2195
pi.
46
6
;
4,
see for
484
NAMES OF POTTERS
485
to these
Bargates,
rt
who
/
also
worked
for
form
being in the
rSAKLiA
1 C, N
lastly
);
associated
Cornelius,
with
is
more names of
slaves
Rome
than
any except
than at Arezzo 2
P.
;
it
Of
by C. Memmius.
in
*
3
4
CJ.L.
Banner /ahrb.
i.
Vases
p. 116.
in Etruria.
cii.
p.
119;
de
xv. 5496.
See
Dechelette,
maine,
is
la
Gaule
potter of the
SEX
F,
Rosame
found
486
Salinator Seriae
OF FELICIS,
4
;
those
either
the genitive
Four
the
slave's
name
is
by
name
POTVS
P COR
difficulty
when
the
T>
CORN
sometimes
stamps
master, on
for instance, it is not
name
POTI
name
CORN
CORN
denote one
POTI
POTVS
slave's
as
A-V1BI
DIOM
or
CORN ELI
ANTHVS
P-
8
the master has three names.
It
is
where
name denotes
much
1
in
C.I.L.
favour.
its
xi.
There
cii.
are,
Op.
7
p. 125.
2
Ibid. 5572.
4
5
Cf. Dechelette,
xi.
6700, 752.
i.
cit.
See on
p.
40;
cii.
p.
Bon-
126.
No. 5374
#*
FORMS OF SIGNATURE
487
P.CORNELI
P-MESEINI
which of course>
or
FIRMV-S F(*/)
AMPLIO
(ervus)
no room for doubt. In later examples the praenomen is
,
leave
often
CINNA C L TITl(orum}
s(ervus)\
occasionally also, as in
the
from
example
or
logus, L. Gellius
two
firms,
of marks, such as wreaths, stars, or branchesDr. Dressel gives no less than eighty-seven types from Rome, 4
of which thirty-three are rectangular with ornamental edges.
The forms of the letters are not always an indication of date,
other varieties
||
from right
written
letters
to
for
Docimus,
DOCI
ROM
or
left,
reversed or inverted
for
to
left
right
with
separate
or the
and
Romanu(s),
so
on.
taken
are
The
from
seal-rings.
.;.
The forms
of
Arretine vases
are
.';;:&
wi&O
without
exception,
borrowed from metal originals, and in their contours display
the same tendency.
But, as compared with the Hellenistic
forms they show great simplicity, and almost, as it were, a
all,
return to archaism.
size,
1
delF
C.I.L.
C.I.L.
xi.
6700, 311.
xv. p.
Inst.
1880, p.
488
them.
They
Museum
with
a
collection appear to
flat
type which
hemispherical
finds
bowl
LXVI.
(Plate
lip
for a
deep cup
fig.
5),
of
FIG. 219.
rare,
the
beautiful
krater
in
the British
the
chapter,
to
peculiar
to
Fabroni
(p.
37)
urns,
tiles,
this
fabric.
lamps, and
reliefs
states
cinerary
in the potteries at
Arretium.
1
that
p. 286.
the forms
we have
489
Italy.
But
it
is
of ceramic
Arretium.
development
It
recalls
its
contributed
some
in
relief-wares
discussed in
the third
tik, p.
p.
291
ff.;
ciii.
401
ff.
H.N.
xxxiii. I$4ff.
ff. ;
Pliny,
490
much more
is
likely to
in
relief
The
of vases
and bordered
scrolls, or
garlands
and other
devices.
is
added, with such motives as Erotes, masks, dolphins, and oxThe bowl of Popilius published by Hartwig
skulls repeated.
a fight between Greeks
undoubted reminiscence of the
is
Rom.
Bonner Jahr-
biicher, xcvi.
p. 37
1889, pi. 7, p. 288.
Melanges d'Arch.
its
effect;
each ornamental
motive
is
491
produced from a
To sum up
with
Dragendorff,
FIG. 220.
Roman.
is
clear
that
careful
L.
it
is
of
received.
Greek relief-wares
with
black
varnish,
Op.
cit.
p. 38.
492
brought to perfection
We
in Italy.
krater from
friezes of
repeated, or of
groups of figures all of the same size, sometimes divided by
Ground-ornaments are rare, and the
pillars or terminal figures.
They
are
characterised
by
figures
SUBJECTS
493
figures
reliefs (p.
often
shafts,
But
figures.
reliefs
attitudes
altars
the
style,
figures,
or
in
the
Victory
last-named
duli,
Of
human
the dancing Maenads and Satyrs, the Hierosacrificing a bull, or the figures of Seasons.
choice of themes
the
fine
instance
is
the
beautiful
krater
from Capua, now in the British Museum (Fig. 219), the figures
on which are most delicately modelled. A stamp in the same
collection from Arezzo has a figure of Spring, which repeats
the type of the
Capua vase
LXVI.
see p. 439).
development, corresponding to the second
class described above, seems to draw its inspiration rather from
somewhat
Cf.
(Plate
a mould
fig.
later
fig.
5),
cottas,
0646.
Cat. of Terra-
494
with
style,
whom
has
felled,
with an axe.
in
one substance
in another.
He
is
classic
art,
largely
eclectic
art
of
the
Augustan
to
imitate
the
style
its
therefore, be fairly
may,
came
day.
provincial,,
at
is
all
phases of
1
Roman
style
I, 9, 10, .21,
Ibid.
article the
it
the contemporary
ciii.
p.
103.
On
the
same
largely based.
*
xcvi. p.
uncertain, but
is
art.
etc.
-:.*
their
Roman
p.
i8ff.
DISTRIBUTION OF THE
WARE
495
The
not, as
at
6
From these details two conclusions may
Minor, and Cyprus.
be drawn, either that there were various centres scattered over
the
Empire
"
as
The Arretine
during the
first
had
period
What
arises,
took
Not the
the rapid
Roman
pottery
is
rise
manufacture of pottery
1
p. 702.
E.g. CJ.L.
6700,
xi.
2,
in
of
4
A fine example has been found at
Neuss on the Rhine (Banner fahrb. ciii.
p.
See
Dumont,
Inscrs.
Ctramiques t
390.
6
Cyprus Mus. Cat. p. 94, No. 2116,
PRINCEPS TITI, from Salamis.
496
and the
as elsewhere,
we have already
that .the
pottery
made
and
wares found
sigillata,
in
it
it
is
importations from
and
be
tiles,
made
we have
the fourth
owing
to
capable of
in
the
way
of
artistic
in
CHAPTER
ROMAN POTTERY
XXIII
(continued)-,
PROVINCIAL
FABRICS
Roman
Distribution
wares
provincial
Conclusion.
GENERAL CHARACTERISTICS
i.
THE
known
regard to
lustrous, of a brighter yet darker red colour (i.e. less like coral)
than that of Arretine ware, but the tone of the red varies with
The most important feature is the fine
the degree of heat used.
p.
laid
wax.
The
glaze varies in
lustre
VOL.
II.
it
Gentleman's
the
Magazine
Romano- British Remains, ii.
497
Library,
p.
32
547
ff.
498
principle at
all
periods and in
The ornamentation
is
all fabrics,
Italian
and
provincial.
nor
is
all
is
Wherever found,
it is
in its
main
characteristics identical,
and
exclusion of the
rest,
Roman
sites
points to two
its
manufacture
fabrics or importations.
the
museum
at
Dimitzana
in
is
In
Banner
499
ments from Olympia, 1 one with OCT SALVE, and fragments have
There are a few cups from
also been found at Pergamqn.
at
Museum
St.
in
the
Germain-en-Laye, and others at
Cyprus
2
Nicosia.
But it must not be forgotten that, as has already
been noted (p. 476), there is evidence of manufacture of red
relief wares in Greek lands under the Empire, and much
of the above-mentioned material
may
tum
finds of
scientific
Von
researches of
first
we
shall devote
sigillata,
liarities of"
separate fabrics.
In his invaluable treatise on terra sigillata* the first comprehensive attempt at a general scientific discussion of the
subject which has been
DragendorfT collected a
forms (almost exclusively cups,
contributed
*
.-
*.
206
p.
ibid. v. p. 783.
cf.
2
s.v.
3
on
M.
p. 93,
and index,
Dechelette's epoch-making
Roman
proper use of
practically
it
have remodelled
essential,
work
iv.
it
but
where absolutely
work
'(
which it is
hoped may suffice in some measure.
Moreover for some of the fabrics I have
had the advantage of his articles previously published in the Revue Archtol.
xxxviii. (1901) and the Revue des Etudes
Anciens, v. (1903), which he has since
to
his
in
foot-notes,
Terra Sigillata,
in
Banner Jahr-
500
considers the
first
and seem to be undoubted examples of early importaSuch vases are found at Andernach, Neuss, and Xanten
on the Lower Rhine, 1 bearing the stamps of Ateius, Bassus,
Primus, and Xanthus, who are also frequently found in Southern
2
With regard to the first-named, however, there is eviItaly.
dence to show that he may have worked in Southern Gaul, and
the Italian origin of this pottery is not absolutely certain. 3 At
Arretine,
tions.
FIG. 221.
all
29)
Germany
FIRST
to
which a date
in the
first
and
is
Koenen, Gefasskunde,
2
280
C.I.L.
ff.
x.
p.
152
ff. ;
p. 88.
8055, 4-9
ibid. v.
8115, 97.
8056.
See Dechelette,
Jahrb.
5,
46-52,
ci.
p.
i.
p.
16;
Banner
22.
Cf. Dragendorff's
501
all
first
for
FIG. 222.
FIRST
30)
first
of vases found in
Bonner Jahrb.
2
See Dechelette,
i.
p. 66,
and below,
Roman
3
Bonner Jahrb.
It
xcvi. p. 86.
Dechelette,
5
p. 520.
to represent a period
(and the local native)
i.
B.C.
p. 93.
Bonner Jahrb.
xcvi. p.
87
IT.
See
502
mere
polishing,
2
beaker or tumbler-shaped cup, and a slim jar with characteristic
incised ornament.
They are found in the oldest Roman tombs
3
Andernach, about A.D. 6o.
Contemporary with this (from
Augustus to Vespasian) was a kind of black ware with incised
at
FIG. 223.
37); A.D.
heading
(p.
515);
light-red ware,
and
is
La Tene pottery,
The
Gaulish, not Roman.
older
under a subsequent
same
bears
it
70260.
the
centre of fabric
for
these wares,
cf.
6, 4,
9-10
Op.
cit.
cf.
xcvi. p. 87.
503
It
they are mostly found in the province of Gallia Belgica.
became
in
as
the
that -province
is conceivable that,
organised
Britain.
The
and
those on
dorff in
Ixxxvi. p. 164
2
C.LL.
ff.,
vii.
Ixxxix. p. 51
1336, 790
is
ff.
an isolated
Banner Jahrb.
chelette,
4
///.
xcvi.
64 ff.
Rom. Land.
i.
p.
p.
p. 98.
103
ff.
in
De-
504
from
no
this
in
manufacture of terra
local
(1)
(2)
are
known
to be
peculiarities,
such as
for
O, B for
(4)
(5)
for
L,
are
for
A,
II
found,
frequently
for E,
as
also
for
in
Julios
F,
and
Gaulish
That he was working on the right lines has been now shown
by M. Dechelette, who has employed as the basis of his researches the more conclusive evidence of discoveries, especially
But of this more
of finds of moulds and remains of potteries.
will
be said subsequently.
On
and
at Westerndorf, in Southern
Collect.
Land.
Antiq.
loc. cit.
vi.
p.
70
///.
Rom.
p. 105.
CENTRES
IN
505
One form
34)
is
pebbles
make
for
their
Britain.
See his
vol.
i.
p. 29,
Ibid.
ii.
pis. I, 2.
xcvi. p.
126
ff.
506
outlines, as
The
in
stamps are
potters'
the interior, as on the plain wares, but subsequently on the exterior, in the middle of the design.
At first there is a general absence of figure subjects, and
found at
in
first
noted,
such an
single detached
leaves
or
flowers,
is
modelled
either
other
the
"
hand the
free
"
"
to
of
potteries
2
With
Cevennes).
Condatomagus
(Graufesenque
in
the
and
at
The
1
final
.Cf.
figs,
i,
stage
is
reached when
and
Dechelette,
LXVII.
pp.
70,
consists
180, pi. 6.
2
i.
the decoration
See below,
p.
520
of
either
figures
507
friezes,
artistic
degeneration.
regards the subjects, it may be generally observed that
In many
the conceptions are good, but the execution is poor.
As
and
The
2
idyllic subjects, as in the scenes with fowlers or fishermen.
"
"
reliefs furnish models for types, as in other
new-Attic
branches of Roman art (see pp. 368, 489), and Eros, Herakles,
and Dionysiac subjects are universally popular.
Among the mythological types DragendorfT has collected
the following 3
Zeus, Poseidon, Apollo, Hephaistos, Hermes,
Aphrodite, Artemis, and Athena Dionysos, Herakles, Victory,
Fortune, and Cupids Amazons, Giants, sea-monsters, Gryphons
and Sphinxes, Pygmies and cranes Bellerophon, Aktaeon, the
rape of the Leukippidae, and Romulus and Remus suckled by
:
The
the wolf.
Roman
one
is
in
which
(p.
4t6).
draw
1
2
3
An
91
exhaustive
ii.
p.
4
i.
p. 219.
if.
and ornaments of
list
all
of types, figures,
kinds, as found in
given
by
Dechelette
volume, p. 5
ff.
See Roach-Smith,
///.
Rom. Land.
p. 95.
in
his
is
second
5
See also the useful list given by Von
Hefner in Oberbayr. Archiv, xxii. (1863),
p. 28 ff., giving the chief types on German
wares from Westerndorf and elsewhere,
508
of the
copies of statues of
Venus (of the Cnidian or Medici type) the labours of Hercules,
Bacchanalian orgies and processions, and such deities as
Victory, Fortune, Cupids, and Anubis, as well as Satyrs and
Daphne
pursuing
On
Venus
at
her
toilet,
Diana with a
2,
stag,
the
vase of
the
subjects
and a Silenus
pi.
Antiq. passim
2
3
4
also Plate
LXVIII.
There
Collect.
of Sabinus in
(Dechelette,
inclined to
fifth
century
Even
in
the
is
first
century
debased style are found.
were two potters of the name
impossible.
vases of this
i.
the
p.
first
297).
century in Gaul
509
Some
that time not only rare, but exceedingly degenerate.
found at Andernach can be attributed to the reign of Magnus
Maximus (A.D. 388), and in others, apart from the style, the
costume of the figures resembles that of the fourth century l
;
by
this
arguments
are
is
letters,
which are
are
either
in
F,
FEC, FECIT,
with more than one name, and probably few of the Gaulish
3
on the other hand, there are
potters were Roman citizens
;
PRIMI
PATER(/Z/),
SECVND(Y)
RVFIN(/)
in
Ibid.
Britain
is
p.
20.
An
example
cf.
from
vii.
1336, 346:
cf.
Roach-Smith,
Antiq. \. p. 155).
4
C.I.L. xiii. 10006, 95,
tarium.
Collect.
on a mor-
5io
Westerndorf we
find
COMITIALIS
FE
COMITIALIS
SEDATVS
MAIANVS
CSS
Rheinzabern
at
EROT
ER
[CSS
\CSS MAIANVS
CSS ER
CSS ER
CSS
CERIAL
CONSTANT
FE
COMITIALIS
FE
f IOVENTI
LATINNI
|
ISECVNDAIANI
1
C.f.L.
xiii.
C.I. L.
vii.
looio, 1670.
1314
cf.
Rev. Arch.
Dechelette,
i.
p.
86,
pi.
13;
Rev.
CJ.L.
iii.
6010,
68;
Dechelette,
p. 210.
5
Banner fahrb.
vaterl.^
fig-
xcvi. p. 136.
511
The names Comitialis and Cerialis are found on stamps interspersed among the designs, and therefore made with the vase
the mould, but those with CSS occur on the rim, and were
added subsequently. It will be noted from the above
in
therefore
are
common
Primitives
like Comitialis
to
is
another
the decoration
of decoration
both at
unknown
in
Gaulish art
inscriptions.
Some
their
in
the
cloak
also,
as
for
On
black ware. 3
is
represented,
lagena
background, and
an inscription which runs, L. Aurelius Sabinus doliarius fecit
sibi et suis^
Several inscriptions found in Germany speak of
with an amphora,
artis
negotiatores
what
for
cretariae,
we should
the
of
sale
olla,
and
call
"
Oberbayr. Archiv,
CJ.L.
vii.
xxii.
(1863), p. 43.
1337, 22.
Blanchet in Bullet.
Orelli, 4189
ArchtoL 1898, p. 29, and id., Melanges
;
Gallo-romaines ,
ii.
(1902), p. 109.
the
commercial
in
is
travellers
"
refer to
"
or " agents
In an inscription found at
mentioned in this capacity,
4
See
Marquardt,
Privatleben
der
cit.
Si2
and
of
in
Britain.
GENIO
TVRNACENSIVM,
"To
the
Genius
Turnacum "
of
inscription.
We
ii.
p.
2
305;
Danub.et Rheni,
Orelli, 2029.
Orelli, 4302
Smith,
6
loc% dt,
Steiner, op.
p. 58, No. 130.
Other names of consuls from 199 to 228
8
cit.
i.
Steiner,
ii.
p.
xv.
p.
61
Collect.
Antiq.
iii.
vii.
iv. p.
364.
1335, 4-
BARBOTINE DECORATION
513
art
method employed
the
in
is
for
the
of the
gilded vases
At
first
and fourth centuries (see Vol. I. p. 210).
appearance it occurs on vases of common grey or black
unglazed ware, found at Andernach with coins of Claudius and
1
Nero, but by the end of the first century it is also employed
on glazed wares, red or black, and even on the enamelled
The ornamentation
glazed vases of Gallic or German origin.
fifth
its
Its chief
merit
that
is
it
is
and crowding of
and degeneration
is
manifested
ware,
detail.
(early
German
human
In Gaul, barbotine
is
The
down
to the fourth. 4
clay
actually red, with thin walls, but is covered with
a black or dark-brown varnish, often with a metallic lustre,
is
p.
VOL.
ii.
it
is
found in the
first
century B.C.
Dechelette,
4
ii.
p. 309.
Koenen, GefdsskunJe,
p. 101.
33
On
also in
Germany and
Britain,
or of lanceolate
described below
dorff gives
(p. 529).
vincial glass
glass technique,
1
Banner Jahrb.
xcvi. p. 120.
(flasks
2
Op.
121
cf.
Mus. Borb.
v.
13.
ORNAMENTATION
INCISED
515
The
Marne
in the British
are
patterns
Museum
La Tene
period.
character-
istics
Germany, and
known
same time
to indicate
the fabrics of
Gaul,
Britain.
2.
The
See
for
examples Dechelette,
Banner fahrb.
p.
109
Ixxxiv. pi.
Roach-Smith,
///.
2,
ii.
pi. 5
figs.
2-5,
Rom. Land.
p.
fig.
2
93
II
Vol.
Oberbayr. Archiv,
and Plate LXIX.
ii.
p. 325.
1863, pi.
fig. 4.
4,
516
mass
But since the indispensable and exhaustive work of M. Decheof material
the
lette
has appeared,
literature
on
it
his careful
on certain
excavated
by
sites
in
just taking root in Gaul, and had hardly freed itself from
In one section of his work he deals with
Italian influences.
the finds
about
made
in
1895
from
miles
four
2
1901-02 at Graufesenque, near Rodez, in the Cevennes region,
3
With
and thirdly with the important fabrics of Lezoux.
these
less
importance we
shall
deal
At Saint-Remy no
traces
of actual
furnaces were
found,
from finds
in
be dated not
later
than
5 B.C., at
The forms
of the vases
fall
under
five clearly-defined
3
41
ff.
i.
p.
i.
p. 64ff.
i.
P.
138
ff.
heads
SAINT-REMY FABRIC
517
Fig. 221)
(Dragendorff's No. 29
In
introduced here as elsewhere.
The
the
Saint-Remy
type.
The
latter
****''"*
FIG. 224.
style
of signature.
Ornavasso, and at
Klagenfurt in Pannonia, where a fragment was found (Fig. 225)
with his name and an inscription which runs " Life is short,
also
occurs
in
Lombardy
at
are
kindled
let us drink,
come, (the lights)
2
He certainly belongs to the
comrades, while it is light."
Augustan epoch, and may be regarded as the immediate inspirer
hope
is
C.LL.
frail
xiii.
10009, 3
Dechelette,
2
i.
CJ.L.
lette,
i.
iii.
p. 34.
5i8
Saint-Remy and
district
"
began to exploit
"
be recognised
may
is
Some
form.
tion
is
From
flasks, in
the form of
De'chelette.
FIG. 225.
The
same
district.
from Graufesenque*
results obtained
in the
Department
This place
of Aveyron, have been even more remarkable.
in
ancient
the
the
country occupied
Condatomagus,
represents
by
the
by
the
Dechelette,
i.
in his
p. 60.
519
first
discovered in
1882 by the
it
varieties
of technique
applique medallions,
separately
in
Revue
des Etiides
Bohemia:
pis. 5,
6,
196
ff.
520
linear patterns
tool
in
In
the
terra
wares three
sigillata
forms
came
the
to
assume marked
Lezoux
this
mediate No. 30
Volusenus. 2
About
scrolls
(a) simple winding scrolls; (fr)
with
combined
scrolls
medallions
in
with
combined
(c)
figures
"
"
semicircles
of
bands
arrow-head
(d)
pattern
panels of
in
(e) figures
enclosing volutes which terminate in rosettes
In this form the decoration is almost always in two
metopes.
vase the
friezes, a natural consequence of the shape of the
821.
3
See Dechelette,
Op.
cit.
i.
i.
pis. 6, 7, p. 69.
pi. 8, p. 74.
PLATE
LXVII.
521
i).
is
may
prove of use
in
fabrics.
In
absence
of
mythological themes.
who worked
at
The
potter
Lezoux about
Libertus (see
100, stands
A.D.
below, p. 527),
out as the foremost potter and modeller in Gaul, who, brought
up on classical traditions, influenced the whole pottery of the
country.
The
1
Reliefs, pi. I,
fig.
for a
genre type,
cf.
ii.
p. 91,
522
In Italy
Lezoux, representing the second.
this ware is found at Rome and Pompeii, and of the typical
Rutenian subjects some twenty have been noted among the
other
half
terra
sigillata
Jucundus,
to
The
Roman museums.
in
Mommo, and
others of Rutenian
potters Bassus,
are found
origin
Rome, whereas
at
there
Albucius
is
they show,
full
activity
The list
xiii.
part 3,
(Britain),
etc.,
x.
fasc.
see
also vols.
vii.
and Dechelette,
Op.
4
p.
105
ff.
Cf.
cit.
British
and Guildhall
p. 112.
i.
C.I.L.
xv.
5059,
5273,
5355
494$5
i.
in
Examples
Museums.
C.LL.
x.
8055, 27
cf.
Dechelette,
i.
p. 9 6ff.
523
1
This is
Carthage and on the east coast of Spain.
additional testimony to the extent and quantity of exportations
from this centre, and to its position as the most flourishing
afield as
manufacture
in
Roman
the
This popu-
it
wares
have
penetrated
in full activity,
Central
into
M. Dechelette notes as an interesting fact that in some collections of Roman pottery debased wares with Arretine stamps
are to be seen, apparently not later than A.D. 80, and evidently
these bear the names of L.
imitations of Rutenian ware 2
Rasinius Pisanus and Sex. M. F., of whom mention was made
in the last chapter (p. 485).
There is no evidence that this
was
in
existence
after
A.D. 100, and its rapid dispottery
is
rise of Lezoux, where, as
due
to
the
appearance
certainly
noted below, Rutenian potters' stamps are not uncommon
;
names of Rutenian
hundred
and thirty-two
potters, which are distributed over two
3
vases or fragments known to him.
On form 29 the stamps
are only found in the interior of the vases, and hence are not
found on the moulds, but both were probably made by the
same potters. Vases of the other two forms are often unsigned.
Dechelette
Of
has
individuals
collected
Mommo
The same
forty-three
occurs
sixty-three
times,
Germanus
thirty-eight.
points out that the evidence
from Graufesenque would overthrow any theory of itinerant
potters, if on no other grounds, from the fact that the moulds
j
writer
Carthage,
Vol.
Op.
*
i.
p. 113.
cit.
i.
p. 79.
Banner fahrb.
morirung")
xcvi.
p.
97 ("Mar-
i.
p. 67.
524
with veins
at
The
latter
fact gives a terminus ante quern for their date, and it is probable
that some place in Southern Gaul was the centre of the fabric.
it
probably an
is
imitation of glass.
numbers
in the
place fragments have been found on the site of a potThe most notable
tery, showing that they were made there.
latter
example
(Fig. 226)
Naples
Museum
friend,
from
and
my
was found
it is
at Pompeii,
inscribed BIBE
and
now
is
in
the
sentiments as Gabalibus
1
felicit(er),
i.
Remis
(felici^ter,
Sequanis
p. i2off.
3
Mus.'Borb.
8056, 4
vii.
Dechelette,
pi.
i.
29;
p. 121.
C.J.L.
x.
525
feliciter
Terra sigillata
fabric from the region of the Rhine (p. 538).
was also made here and at Montans in the Department of
Tarn the decoration is in the form of metopes, denoting the
;
No
transitional
The
studied
potters'
names are
Dechelette
(i.
p.
named.
in
his
(i.
own
i
3 8ff.).
account of the
potteries
526
seemed
site is
by coins of Gallienus
indicated
names are
potteries
the
in
in the later
name
in
there
the genitive.
as
As
noted
to the distribution of
Lezoux
exportation before
A.D. 100, but after that time they prevail over Britain and
Germany. Dechelette gives ninety-two examples with potters'
vases,
was,
below,
little
stamps in Britain, including twenty-one names. A few specimens have been found in North Italy Paternus occurs at
;
found
The
noted
(p.
ning
1
scroll
is
replaced
by a
71,
3
See Dechelette,
and
p. 149.
Op.
V.*p.
1786.
i.
pis. 4, 5,
Nos. 63-
PLATE
LXVIII.
bands of rosettes or
circles.
is
The
The
527
reliefs
more
delicately
whom
modelled.
all
of
at
To
and 37, and a peculiar type of egg- or astragalus-pattern (borrowed from Arretium) is used by Butrio and Libertus. Figure
subjects, introduced
and Putrius.
The
by
third period
the
form
medallions and
(no
37 with
wreaths
a few
30 and
examples of form
The
(Dechelette's No. 68: cf. p. 529) are found.
chief potters' names are Advocatus, Banuus, Catussa, Cinnamus
the
olla
(Plate
Servus.
commerce.
appearance
and of
its
export
The
It is difficult to
(see below).
came to an end, but there is
was manufactured
and Plicque
destruction
their
to
the
is
pro-
German
528
places
in the
manufacture.
barbotine
Lezoux was
found.
ornamentation, or bronzed
in
vailing types.
The salient points of difference between the earlier and later
The clay of the earlier is only
fabrics, says Plicque, are these.
baked
exceedingly porous.
It
is
also
and
Subsequently
it
in his
by
(manu*) or QY(fictna).
characteristic
(J
for
v found
529
in
Among
able
is
is
made
separately
from moulds (p. 440), and attached with barbotine, either in the
form of a medallion or with an irregular outline, varying with
Barbotine in many cases is also employed for
the figure.
handles.
It
may be
noted
in
No
been found on
they occur
these
vases, but
potters' signatures
all
have
over
Gaul,
In the
including Belgium and Switzerland, and also in Britain.
British Museum (Romano-British Room) there are two very
fine
in
one of which is
others from
Suffolk,
3
London, York, and Richborough, and they are also known at
Evreux in France. A good but imperfect example from Gaul
is in
the Morel Collection, now in the British Museum, and
has figures of Herakles and Maenads. The modelling in some
cases is admirable, especially in the Felixstowe vases, and in the
London specimens published by Roach-Smith, with masks and
These vases represent the latest stage of the
figures of Cupid.
ceramic industry of Lezoux.
Another class of vases made at this centre which may be
mentioned here includes a series of paterae, oinochoae, and
trullae (p. 470) with ornamented handles, all obviously made in
imitation of metal. 4
1
Of
the
stamnos
(Vol.
I.
///.
a good
Rom. Land.
of London Antiqs.
Richborough,
example
pi.
7,
p. 74.
164).
VOL.
Greek
Cat.
is
Dechelette,
II.
ii.
p. 316.
34
pi.
29;
fig.
530
the British Museum from the Towneley Collection, ornamented with athletic contests and cock-fights round the edge.
M. Dechelette (ii. p. 319) thinks some of the oinochoae made at
in
wrongly
reliefs,
4
Orange or Vienne, the
at
reference should be
ii.
p.
235
ff.
made
to Dechelette,
of
Emperor
for the
531
whole
series.
Venus
having CERA
Victrix
FELICIS, which probably refers to the
wax in which the figures were first modelled, though some
have thought that it represents the Greek Kepa(iie<0<i). Another
trio from Orange
represent respectively:
(i) a chariot race in
1
FIG. 227.
LOGISMUS
(a horse's
"
name), and PRASIN(tf) ?(actio\ the green party
(2) Fig. 227,
a scene from a play, probably the Cycnus, in which Herakles is
saying to Ares, the would-be avenger of his son, "(Invicta) virtus
;
"
god proclaiming Adesse ultorem
nati me credas mei"; in the background, on a raised stage or
There
OeoXoyelov, are deities
(3) an actor in female costume.
nusquam
second
The
the
British
Museum
(in the
Morel Collection),
ii.
p. 290.
532
are
From
FIG. 228.
Gaz. Arch.
ATALANTA AND
HIPPOMEDON.
An
interesting
Rendu, 1873,
p. 67.
id.
Compte-
Recueil,
vi.
107
see Dechelette,
pi. 15.
ii.
533
of
Isis,
Velox
in
given in Blanchet's
the
made
at
Gaulish terra
sigillata.
3.
In
j
the oldest
Germany
sites for
pottery
where however,
it
Op.
3
xix.
(1892),
pi. 11,
art.
xii.
literature is
now
work
(vol.
lette's
313; Daremberg
Forma, figs. 3184,
p.
5687.
All previous
superseded by Decheii.
p.
235
ff.).
No.
5
cit.
i.
p. 27.
Ibid. p. 204.
Ibid.
The
form employed
is
his
69.
Overbeck, p. 165
Jahrb. Ixxxvi.
ff.
Koenen
p. I52ff.
in
Banner
534
manufacture
its
is
importance
objects
finding
as
mainly
The
down
in
parallels
site
yielding
we have included
in the
foregoing survey
barbotine,
the hand.
incised
thumb, and
worked with
the third century painted decoration is introduced, as in the black ware drinking-vessels with inscriptions
described below (p. 537).
In
At Xanten (Castra
Vetera), lower
down
down
to the third.
During
a steady degeneration
this period
may be observed, although glass fabrics correspondingly improve in the time of the Antonines the clay
is coarse and often artificially coloured with red lead or other
in
the pottery
ingredients, producing
"
Samian
ware. 1
1
Bonner Jahrb.
v.
p.
40
and
p. 422, pis. 13-4;
Rheni,
ii.
''false
No. 1317.
p. 225,
GERMAN FABRICS
535
An
non-lustrous grey or
the
have
latter
very
reddish
slip,
or
walls
thin
The
of a covered
jar
or pyxis,
Of some
being both in
the
used,
relief
potter
and
incised.
Sentis, for
way
and
genitive, with
instance, using
Names
thorn-twig by
in
4
Local names are
FECIT, in the other of MANVS or OFFICINA.
clearly to be seen in those of Belatullus, lassus, and Vologesus.
Another important centre of fabric in Germany is Rheinzabern (Tabernae Rhenanae) near Speier, which probably shared
with Westerndorf a monopoly of the moulded wares. 5
The
is
it
mostly in the Speier Museum
and
the
its
with
37,
typical decoration,
fabric does not seem to have been established before the second
pottery
almost
found here
all
The
century.
nertus,
1
of
Oberbayr. Archiv
fur
Hefner, p. 28.
chief potters'
Comitialis,
is
form
Julius,
names
vaterlandische
I ff.
given by
Von
p.
Mammillianus, Primitivus,
Juvenis,
Ibid. p. 42.
&
See Roach-Smith,
99
Dechelette,
i.
///.
p. 210.
Rom. Lond.
536
and Reginus.
1
;
British
friezes
amount
to Britain.
barbotine wares, 2 which bear a remarkable superficial resemblance to that of Castor (see below, p. 544), and have been
3
but they are not found at Castor,
wrongly identified therewith
;
and
Haverfield. 4
The ornamentation
classical
in
its
only
unconventional.
is
models, whereas
of classical
imitation
elements, and
and
is
the
Castor
ware
is
mentioned
in a
chiefly
other
Roman
times
made wares
are
clearly
of native make, and like the similar wares of Britain and Gaul
hardly come under the heading of Roman pottery, though sub-
is
divided
Roman
2
3
*
Dechelette,
ii.
Archaeologia,
Victoria
p. 211.
Roman
p. 319.
Ivii.
Depart-
p. 104.
p.
in
p.
Gefasskunde
wares
in
first
den
appear
Rheinlanden,
65
147
6
See
p. 51
ff.
Ixxxiv. p. 108
Rev.
Arch,
ff. ;
Ixxxix. p.
xxxix.
I ff.
(1901),
Augustus, and at
of
coins
La Tene
influence on the
this
period
537
much
exercise
types,
style, usually of
ornament,
sigillata
is
outlines
and
sigillata]
difficult,
is
particularly
we are
because
which
consequently preserved
forms unaltered
its
through a considerable
period moreover, there
must have been many
;
local fabrics
and
makes
little
which
exportation,
comparison
difficult.
To
fabrics
the
German
belong a group
found
FIG
on
Lower -r,,
Rhine, and
the
that of a round-bellied
cup or jar (Fig. 229), with a
is
less
deutsche Zeitschr.
xviii.
y
fur
Gesch. u.
Kunst,
(1899), p. 213.
n.
ii.
p.
xiii.
61
p.
ff.,
io6ff., xxxv.
xcvi. p.
p. 311, p. 312,
Roach-Smith,
P- 3-
p.
Ixxxvii.
Dechelette,
4
Their ornamentation
Banner Jahrb.
p. 46,
more or
Collect.
note
Antiq.
i.
101
3.
pi. 4,
538
is
first naturalistic,
are painted in
the following
BIBE
PIE,
DA BIBERE, DA MERVM, DA
DE ET DO, DOS (= So?). 6
VIVAS,
BIBE
VIVAS
DA VINVM. 6
MI,
EME. 7
FAVENTIBVS. 8
FELIX. 9
TIBI DVLCIS. 10
VINVM
FE(r)0
11
GAVDIO.
IMPLE. 12
LVDE. 13
14
MISCE, MISCE MI, MISCE VIVAS.
MITTE MERVM. 15
PETE. 16
ME COPO
REPLE, REPLE
MERI. 17
cf.
Steiner,
iii.
op.
100; Gerhard,
p.
Smith,
Antiq.
IbicL
xiii.
64; Steiner,
B.M. (BIBE).
5
pp. 109,
op.
Op.
cit.
Op.
cit.
Op.
cit.
xxxv, p. 49.
Op.
cit. xiii. p.
cit.
i.
p.
pi.
4,
p.
63.
p. 113.
113, Ixxxvii. p.
155; and in
66;
n
12
Antiq.
13
i.
Ixxxvii.
cit.
Op.
p.
67;
Collect.
p. 3.
Berliner
Verzeichniss,
Levezow,
No. 1470; Banner Jahrb. Ixxxvii.
p. 366,
p. 68.
14
p.
Banner Jahrb.
xiii.
p. 107, Ixxxvii.
p. 69.
BannerJahrb.
p. 47, Ixxxvii. p.
6
xiii.
B.M.
47.
cit.
113.
p. ill, Ixxxvii. p.
cit.
Op.
10
Ed.
Virg.
2
cit. xiii. p.
Op.
9
xiii.
65
xxxv. p. 49.
xxxv. p. 48, Ixxxvii. p. 66.
ls
I6
"
Ibid.
Op.
cit.
Op.
cit.
Ixxxvii. p.
78
cf,
DA).
= ZESES =
SESES
SITIO, SITIS.
539
&(TaiS.
2
3
VALE, VALIAMVS.
4
VINVM, VINVM TIBI DVLCIS.
VITA. 5
6
VIVE, VIVAS, VIVAMVS, VIVAS FELIX, VIVE BIBE MVLTIS.
To
class
this list
found at Mainz
ET TRADE SODALI,
si)TlE(n)S
me on
"
are thirsty
and pass
to
ROMAN POTTERY
4.
IN
BRITAIN
and Belgium
In Holland
and
potters'
various
many names
of
Op.
Op.
Ixxxvii.
cit.
cit.
71
p.
Levezow,
op.
cit.
No.
1469.
Op.
no;
cit. xiii. p.
Levezow, No.
Op.
cit.
xiii.
p.
107,
xxxv. p. 49,
Op.
6
Op.
cit.
Ixxxvii. p.
cit.
Ixxxvii. p.
73
xiii.
;
p.
72; B.M.
no, xxxv.
B,M. (VIVAS).
48,
iv.
p. 276,
No. 1449,
Bonner Jahrb.
lette,
p.
Altert.
(1900),
at
Voor-
p. 293,
No.
1484.
9
Ixxxvii. p. 72.
1471.
Gesch.
p. 266.
8
Zeitschr. des
d. rhein.
i.
p.
103.
Leiden Museum,
xlvi. p.
They
are
540
In Spain finds have been made on various sites, and there are
numerous examples in the museum at Tarragona 1 at Murviedro,
;
Roman ware
have come to
some with
light,
select typical
Roman
must
It
pottery
difficult to
is
it
be borne
also
mind
in
that,
from Gaul, as
is
shown by
is
We
occur on the Roman Wall, and we have already seen that they
are not later than Hadrian's time but they are common in the
;
4
South of Britain, as at London and Colchester. Roach-Smith
and other earlier writers have published specimens of these
older forms decorated with figures which have been found in
5
The earliest
London, Bath, York, Caerleon, and elsewhere.
dateable examples of form 37 have been found with coins of
Nerva at Churchover in Warwickshire 6 this type is indeed
common all over Britain, and is one of the few varieties of
;
See
C.I.L.
Brongniart,
ii.
4970,
i.
p.
and
453
512;
Deche-
p.
;
i.
p. 16; and above, pp. 479, 499.
See above, p. 536.
3
See Haverfield in Cumberland and
Westm. Arch. Soc. Trans, xv. p. 191.
4
///. Rom. Lond. pis. 24-8, p. 89 ff. ;
lette,
pi. 3.
Wellbeloved,
Scarth,
Aquae
Silurum^
6
Richborough,
found
Traitd,
is
South
at
in Scotland at Birrens in
Dumfriesshire.
It
i.
Viet.
is
represented
Eburacum,
Solis,
pi.
43
pi.
16;
Lee, Isca
p. 230.
7
Arch. Aeliana,
Ant.
x. p.
268
i79
Proc. Soc.
ff-5
Haver-
541
it
is
was made
we have
already
Lezoux. 2
is
appears
as
"
false
in several varieties.
Samian
The
"
(Dragendorff s
light red or
orange
produced by a kind of slip of pounded pottery
laid over the surface.
Vases of this type, glazed within and
without with a thin reddish-brown and somewhat lustrous
hellrotli}
colour
is
glaze,
in
Haverfield's
fig.
(loc. cit.}.
Haverfield, op.
and see p.
p. 193
cit.,
pi.
7,
fig.
528 above.
Cf. Roach- Smith, Collect. Antiq.
7,
pi.
p. 35,
ii.
Northants, p. 219.
iv.
oj
542
and
it
colour,
to
seems
is
in
the
in
firing.
The number
the
of
origin
Artis,
3
Durobrivae,
Handbook
of Pract.
i.
to
p. 282,
ii.
p. 71,
to
pi. 30, figs, i, 4.
Supplementary lists
are given in Arch. Journal, xxxv. p. 289.
5
See CJ.L. vii, p. 238 for bibliography.
6
III. Rom. Lond. pp. 102, 107.
vii.
1334-36.
General reference
the
archaeological
may
also be
journals
made
of
the
London and
the volume
$43
and uncatalogued collections, would be a truly gigantic achievement. It should, however, be achieved but this will only be
by co-operation, each county performing its share of the work,
;
done
in
a few cases.
and
Victoria
it
is
to
elsewhere.
We now
many
places, as the
numerous
re-
mains of kilns show (cf. p. 454), there are only three distinct
fabrics to be mentioned.
In all of these the ware is black, with
or without a glaze, but the style of ornamentation varies.
By far the most important centre, not only for the quantity
of pottery it has yielded and the extent of its furnaces, but
also for the artistic merit of its products, is that of Castor, in
Northamptonshire. Of the numerous traces of furnaces and
workshops discovered here, in the neighbouring villages of
Wansford, Sibson, Chesterton, and in the Bedford Purlieus, we
have already spoken in a previous chapter (p. 444 ff.) it now
only remains to discuss the technical and artistic aspects of
;
the pottery.
Artis has recorded
machine-turned
"
or
lip
'Cumberland
reford,
and
Westmoreland,
and Lanca-
Hertford, Kent,
See Haverfield,
of Northants,
in Viet.
is
that
County Hist.
ROMAN POTTERY
544
PROVINCIAL FABRICS
Some
of a small jar on a stem with plain cylindrical mouth.
are merely marked with indentations made by the potter's
1
thumb, or with rude patterns laid on the intervening ridges
;
in
3
The barbotine variety
holding an axe.
It
is by no means confined to this site.
is
is
are
incised.
The
subjects,
in
arranged
friezes,
and
is
is
inscribed,
SAC
VIIII
meaning of the inscriptions is not quite clear, but the last one
certainly seems to allude to games taking place at the post
of the thirtieth legion
i.e. the
Lower Rhine. For this and
other reasons Mr. Haverfield is of opinion that the vase may
have been made
Britain.
Oxford. 6
2
8
4
p.
fig.
33.
Ibid. p. 209.
p.
211
5
lette,
6
C.I.L.
vii.
1335,
p.
3.
p. 311.
Arch. Journ.
liv. p.
349.
CASTOR WARE
545
the British
in
illustrated
that the complete subject was that of the seven deities represented by the days of the week. 3
Otherwise the potter is
as
content with animals, such
dolphins or fishes, or mere
foliations,
engrailed
ivy-wreaths,
lines,
patterns.
it
thumb
"
for
XXL,
seen in Chapter
by the process
with
affinities
p. 448,
known
late
as
"
Celtic
pottery.
Dechelette
p.
(ii.
310)
would date the ware towards the end of the third century. As
has already been pointed out (p. 536), it is only the elements
1
Artis,
Durobrivae,
VOL.
II.
28
pi.
p.
1
8,
Viet,
211,
p.
2
3
fig.
192
Collect,
Ibid.
Antiq.
iv.
p.
iv. pi.
91:
tioned on p. 539.
*
Brit. Arch. Assoc.
cf.
24.
the vase
Jown.
i.
35
p. 5
menff,
546
of the decoration
that
are
classical
Gaulish
British
such as
art,
and
is
Gallic coinage.
ment of the
finely-moulded
else
made
Upchurch
is
it
probably of
The
The vases
greyish, like that of London clay, to a dull black.
are mostly small (cups, bottles, jugs, small jars, and occasional
mortaria], and some have ribbed sides the ornamentation is
always either in the form of impressed lines or raised patterns
;
made by applying
1
Haverfield,
of Northants, p.
2
Arch. Journ.
vii.
3
in
Viet.
County Hist.
212.
xiii. p.
173:
cf.
CJ.L.
this
vi.
Lond.
p.
247
fif.,
P- 260.
1336, 220.
See on
Antiq.
178, pi.
p.
82;
and
was baked,
36,
and
///.
Rom.
Uriconium, p.
1
Roman, and Saxon
Wright,
Celt,
potters'
Roman
Medway
made
in
the
light,
remains.
district,
nor
is
this
547
ware found
colour.
a rude
and
inartistic fabric, of
found on
is
2
The date is
(Clausentum), and even as far north as Oxford.
probably the third century of our era. With the kilns there
5.
PLAIN
firing.
ROMAN WARES
Haverfield, in Viet.
Hants,
i.
County Hist, of
p. 326.
Archaeologia.)
xxxv.
p.
91
Arch.
xxx. p. 319
ii.
p.
285,
iv.
548
it
this
not likely to
it is
But up
instances.
and
536).
p.
Many
to reddish-brown
In the
wares.
first
Roman ware
of the
first
The obvious
its
at
all
all
of the
dishes,
first
and
class,
flasks of the
is
distinguished
3
Traitt,
i.
p.
Roman Art
381.
in Cirencester, p. 77.
by
its
coarse clay, of a
ii.
p. 65.
549
for
Some
We
glass vessels.
mortaria
made
and
Another remarkable variety may
in this ware.
be described as a kind of
olla
its
human
is
that
in the
same
peculiarity
head,
much
it
is
style
The
To
D(f)o MIIRCVRIO,
micaceous, was used for making the smaller vases, which are
and light, and all turned on the wheel. 3 They are some-
thin
little
as
sometimes been
well
painted inside
with patterns in a dull red or brown.
They seem to have
formed a kind of finer ware for ornamental purposes, as well as
found,
The second
irgest
)f
division of
the kinds
forms and
or
1
slip,
class, that
Roman
plain pottery,
by
far the
sizes, all
1878, p. iigff.
2
Proc. Soc. Ant.
Ann.
dell'
Insf.
This class
440 (now
p.
may be
in
B.M.):
2nd
Ser.
iii.
(1867),
Brongniart,
i.
p. 435.
considered
cf.
Artis,
Duro-
550
include
to
all
of red
varieties
as a rule the
and
coral,
varies
clay
in quality
sary,
British
Museum
Roman
pottery
and
exhibit
The
fact
in
all
any
the
so-called
"
also
Morel Collections
in
the
representative collection of
illustrated
in
the treatises of
in
ollae
are
usually
usually
made
were two
there
made
varieties
and
its
or for
the
p.
colour of the
milk-pans,
Cf.
is
light
brittle,
with overlapping
359 ff.
first-named
fire.
flat,
The
pi. 14, p.
108;
Brongniart,
i.
p. 437.
i.
being
opening
p.
239; and
MORTARIA
They appear
front.
in
many
food
551
of
hard coarse texture, but compact and heavy, and their colour
varies from pale red to bright yellow or creamy white.
They are frequently stamped with the name of the potter,
placed in a square or rectangular panel on the rim and often
arranged in two lines. The names are either single, denoting
Albinus, Brixsa, Catulus, Sollus, and
Marinus, or double and occasionally even triple, for the work
of freedmen, as Q.
the
work of
slaves, as
Q. Averus Veranius,
and so on. 1 The ex-
..N
l(ecif).
A
A
FIG. 230.
mortanum
up in
Bow Lane, London, now in the Guildhall Museum, has the
name of Averus Veranius with O GARR FAC in smaller type
between the words, apparently referring to the place of manu2
One of the commonest names is that of Ripanus
facture.
who
Tiberinus,
gives the name of the place where he worked
RIPANVS TIBER F LVGVDV FACT, Ripanus Tiber(inus] f(ecif) ;
Lugudu(ni) fact(uiri)? The potters' names are usually accompanied by the letters OF or F. The mortaria vary from seven
to twenty-three inches in diameter, and are found in England,
Of the second or heavier
France, Germany, and Switzerland.
a
curious
vase
in
the
of
a human head was found
form
variety
recently
dug
p.
vii.
1334.
p. 104,
No. 641, Q
C.I.L.
3
vii.
ERIV
Roach- Smith,
C.I.L.
vii.
GERMANVS):
see also
1334, 63.
///.
1334, 43.
Rom. Lond.
p.
89;
$$2
at Castor
the
Of
black ware
many
varieties
in
Gaul and
Britain, besides the special local wares which have already been
described.
Some were employed as funerary urns, but the
majority are of small size, and in quality they vary from the
extremest coarseness to a
4
The clay
Belgic black ware."
is bluish-grey, with black polished surface produced like that of
the bucchero ware by smoke, not like the black glaze of later
described
Roman
by Dragendorff
ware.
as
than German. 5
may be
described
as
a continuation of
pre-Roman pottery
Xanten and
Andernach, but is not found on the Limes, and is rare in
it does not seem to have been made after the beginning
Britain
of the Flavian epoch, when it was largely superseded by the
influenced
by
Italy.
It
is
well represented at
ordinary
Roman
romaine, pp.
6,
30.
fig.
1.
Banner Jahrb.
Ibid.
p.
89;
xcvi. p. 88.
Hettner in
in the
Festschr.
553
name
late letters, as
in
F(/>)MINVS F, SEWO F,
well-known name of Fortis has
L CASSI
O,
F (from Aix).
The
been found on black ware from Aix.
In Britain black ware is, as elsewhere, exceedingly common,
1
SIMILIS
also
now
found
varieties
afforded
is
by a
series of five
in
Roman
domestic
style
is
and elsewhere. 3
At Wroxeter the excavations yielded two new classes of
pottery, one consisting of narrow-necked jugs and mortaria?
very beautifully made from a white local clay, which has been
found at Broseley in the neighbourhood,
nowadays supplying material for the manufacture of tobaccoThe surface is decorated with red and yellow stripes.
pipes.
The other kind is a variety of red ware which has been styled
identified with
that
"
valley,
In conclusion,
1
C.I.L.
M.
B.
xii.
it
may
Cat.
Celt,
others in
tile-stamps),
amples
2
3
provincial
Wright,
of Terracottas,
145-47
(wrongly included in that volume among
all
may be
Museum.
p.
74
5
;
Wright,
ibid.
p.
p.
252,
278.
and
Celt,
554
museums contain more or less complete collections of the ordinary plain fabrics, they are for the most part of strictly local
But
origin, and not in themselves sufficient for general study.
since the
Museum
not only the fabrics of Britain, but also those of Gaul, of which
an exhaustive series is now incorporated in our national
collection.
With
this
Roman
We
while other
have
left
tions,
and
arts,
some
like the
this is
lampada tradunt,
its
itself out,
and had,
earliest beginnings.
The
in
fact,
it
would
returned
decorative element
ments irrevocably
lost, its
CONCLUSION
555
sided
interests
secondly,
art
to
of
the
point out
and mythology
historical
its
study
value to
and that
it
is
of
ancient
the student of
pottery
ancient
INDEX
Names of
NOTE.
and Ka\6s-names
artists
in those given in
Abaskantos, lamp-maker,
i.
i.
in Cyprus,
Acheloos,
vases
I2off.
ii.
fight over
i.
Acratophorum,
40, 41
ii.
ii.
Aithra,
119
ii.
Aecetiae pocolom^
ii.
personified,
i.
54, 308,
19,
5/caros,
i.
82
54
ff.
of,
Aeneas on vases,
ii.
ii.
i.
35, 66,
246
141
i.
119,
i.
pottery
135
i.
173
i.
88,
64
it.
97
flf.
of,
i.
339,
dXa/JewTO^K?;,
Alabastron,
i,
Alba Longa,
288
14
ii.
86
138
30
" Affected
axpurripia,
62
i.
Akratos,
414, 421
ii.
i.
24
ii.
a.KpaTO<f>6pos,
vases
492
Aegisthos, death
of, ii.
490
i.
Aegean
Aegina,
140
42
ii.
ii.
126, 137
i6off., 197
411, 422
Alkestis,
myth
Agrios,
ii.
Adrastos,
ii.
Admetos and
vases,
464
ii.
Agamemnon on
323
i.
of,
98
i.
tf-yaX/Aa,
Aco
Aeolus,
36
412
ii.
i.
83, 101
ii.
Achilles on vases,
347,
i.
in,
Achaeans
ii.
tombs
i.
lamp,
from,
will be found
list
273^.
from,
484
312
Adonis,
II. p.
Africa, types of
108
body
Vol.
ii.
415
i.
133
79
492
hut-urns from,
ii.
416
amphorae, i. 387
ii.
494
557
INDEX
558
Alexandria, vases from,
ware
celain
from,
i.
67, 146
i.
Amykos,
por-
418
ii.
on Arretine
vases,
Anakreon on
ii.
Admetos
ii.
480,
i.
ii.
ii.
of,
533
clay
dXuireKTj,
ii.
380 ff.
ii. 434
for
pottery,
200
179,
246, 268
248;
ii.
i.
Attic,
early Etruscan,
ii.
12,
296,
3U
Altemura, vases from,
Alyzia, inscribed
from.
tile
i.
IO2
vase>,
195; on lamps,
ii.
America, museums
36, 66,
i.
147,
415
of,
ii.
26, 30
i.
i.
56,
ii.
469;
411;
118
Attic,
i.
i.
Nicosthenic,
&/j,(f>wTis ,
i.
154
ff.
113
75
Roman,
86
168, 173
Annia Arescusana,
potter,
ii.
367
ii.
398, 420
Ansae lumilatae,
ii.
287
tion
317; Roman,
ii.
i.
97
ii.
343
ii.
52
ff.
ff,
ff.
90
vases,
i.
355,
ii.
185
i.
295,
322;
385 ;
ancient
used as
ii.
4600.
on cup
in
of,
on
vases,
B. M.,
i.
ii.
42
191;
with
ff,
434, 457;
Apollo, dedications
sentations
of,
ii.
terracottas,
;
385
to,
i.
139, 345
on vases,
ii.
29
repre-
189;
ff,
with
Gigantomachia, ii. 13, 15
Herakles, ii. 33, 97, 103; on mural
on lamps, ii. 409 and
reliefs, ii. 368
see Helios
in
>
inscrip-
sentations
;
i.
ii.
ii.
i. 49, 278
Aphrodite, in terracottas, i. 123 ff. ; dedications to, at Naukratis, i. 345 ; repre-
wine-jars,
500,
Chalcidian,
Melian,i. 57,301
ii.
pets,
Apate,
23, 189
162,
i.
372,
368,
Andromeda,
'Ave<ri5upa,
Apes on
262
ii.
250, 253
Amazons on
pottery from,
Etruscan,
439
i.
301, 435
85
i.
ii.
203,
475, 478
ii.
152
i.
21
valley of, as
Allier,
ii.
178
Roman
Andernach,
19
i.
vases,
ii.
dva!;vpi8e$,
Alkmena,
ii.
ii.
Analyses of pottery,
Ananke, ii. 69, 90
489
Alkestis, see
115
24
Anakles, potter, i. 384
I54ff.
ii.
Amymone,
129; wine-amphorae
i.
of,
ii.
490
INDEX
Applique
ii.
529
and see
ii.
323
468
ff.,
485,
ff. ;
at
Lezoux,
e/i/3\?7/Aara
403
83
ii.
Apuleius quoted,
497
119,
i.
reliefs,
;
ff.
i.
local pottery
painted pottery
i.
of,
178, 179,
ii.
ii.
67
ii.
ff.
336
Archers,
i.
374, 384
Architecture, terracotta used
tiles in,
vases
91
i.
ii.
in,
314^
ii.
ii.
330
ff.
ff.,
ii.
457
336
343
ff.,
treatment
ff. ;
91
Rome and
at
i.
in,
use of
vase-
of, in
ii.
205 ff. ; imitations of, in
arrangement of designs, i. 378, ii. 207 ;
in patterns, ii. 211
paintings,
Archons, names
Ares on vases,
machia,
Arezzo,
ii.
i.
ii.
190
41,
13, 15
69, 390
i.
i.
ii.
409
29, 72,
ii.
and stamps
and see
;
tools
ii.
i.
i.
51
as centre of
i.
inscrip-
249
Argonauts on vases,
see
ii.
i.
442,
ii.
115,
and
104
guardian of
i.
lo,
52
ii.
20
i.
i.
312,
168, 297,
ii.
i.
to,
i.
i.
15; as Aidos,
13,
ff,
ii.
149
on
in Giganto-
ii.
ii.
35
90;
Dik-
13,
and see
20
i.
Artists' signatures,
list
of,
420
ff,
ii.
244, 257 ff, 272 ;
273 ff; Athenian, i. 379 ff.,
ii.
ii.
257ff.
i.
i.
312
179
179
Aryballos,
i.
later type,
412, 492
see Oxford
i.
Ashmolean Museum,
i.
of,
in,
i.
108
30
i.
vase-finds in,
i.
61,
porcelain
i.
52
on lamp (?), ii. 416
Askos, i. 119, 129, 199; local Apulian,
". 325, 326
76
ii.
ff,
i.
i.
i.
64, 280,
8;
i.
295, 333
Asti, see
340
62
81, 83, 472, 474,
ii.
enamels,
i-
341
409
ii.
tynna,
497, ii. 35
Artis on kilns at Castor, ii.
435, 447 ff.
Artistic aspects of
study of vases, i.
333> 334
444
Arkesilaos of Kyrene,
107,
104, 271
Assyrian bricks and cylinders,
249
ii.
i.
478
i.
75
190;
35,
Assteas, vase-painter,
ff,
320, 395
ii.
Asiatic,
Asklepios,
30
ii.
tombs
machia,
i.
Arretium
fabric,
dpv<rTrip, dpv<rTi%os,
in Giganto-
on lamps,
potters'
207,
ii.
dpuraiva,
479, 481
from,
on vases,
of,
167
i.
dpddvtov,
of warriors,
ii.
ff.,
vases,
Archikles, potter,
Pompeii,
Arming
477
ii.
in Etruria,
Artemis, on lamps,
92
'Apxeyai/njs,
ii.
ii.
in,
559
influence on
;
Hasta
i.
textile fabrics,
6,
i.
312,
Greek pottery,
and see Oriental
INDEX
560
on
'A(TTvv6fji.oi
Astyanax,
Atalante,
101
i.
tiles,
see Attic
131, 134
ii.
141, 142
ii.
on Gaulish vase,
attire of,
532
ii.
Ate,
ii.
90
Atlas,
Attegia
449,
or
artists
255
ii.
ff.,
ff.
migration
other parts,
to
of,
156
i.
festivals, ii.
464, 465
horsemen or knights, ii. 166, 177,
179
sepulchral reliefs,
tribal heroes,
255
i.
Cyprus,
140
ii.
n,
with Ionian,
401
i.
of,
i.
463,
ff.,
48,
86,
54,
142,
132,
196,
i.
454 ff.,
Athens, history
vases,
i.
ii,
vases
at,
i.
108
finds
i.
at,
forgers
quarter at,
at,
tombs
modern
connection with
in
of,
museum
Acropolis,
402
i.
i.
of,
on,
i.
i.
26,
i.
at,
89, 231
48,
33,
33, 47,
43
30,
142,
;
48
138,
147
potters'
public measure
i.
135 ; early artistic position of,
235, 292, 369; art of painting at,
454; pottery
of, see Chapters VI., VIL, IX.-XI.
passim its native origin, i. 20, 278
ii.
355 ff,, an.4
inscriptions on vases,
i.
396
417, 476,
162
ii.
ii.
374
75
Attic alphabet,
ii.
i.
ii.
141
342
ii.
tegtilicia,
lect,
ff.
246, 268
ii.
12,
237, 255
ii-
255
ff.
i.
inscriptions,
dia-
291,
palaeo-
ii.
I38ff.
Auge,
i.
474,
ii.
ii.
124
81, 193
Auvergne, potteries
Lezoux
Avot
ff.
104
49, 278
i.
for fecit,
ii.
ii.
504
ii.
in,
359
28
i.
of,
.and see
382, 509
Babylonia,
bricks of,
i.
8,
6,
i.
91,
94;
enamels,
Kilns
157
i.
i.
197
other
to
exported
parts,
ii.
Aurae,
379 ff.,
i.
potters,
;
ii.
Athenian
termination of vase-paint-
53
i.
ff.,
409,
441
ff-,
ii. 167
Banassac, fabric of,
Ball-games,
ii.
524
iSoflf.
ii.
Banquet-scenes,
in, i. 188
use of kylix
in
536 ; at Lezoux,
ii544
Bargates, potter,
Bari, vases from,
of,
ii.
ii.
Germany,
528,529
ii.
483
i.
84,
86
51 3,
local pottery
326
Pasjle
ii.
at Castor,
i.
242
INDEX
Bathing-scenes, ii. 165, 173
Baths, use of tiles in, i. 103, ii. 342, 346 ;
use of bricks in, ii. 331, 335, 339-;
vessels used for,
of Caracalla, arrangements
347
ii.
of,
Bellerophon on vases,
114
ii.
i.
129
i.
68 ; porcelain
and see Cyrenaica
524
ii.
178
Blacas krater,
i.
291,
i.
409, 443,
wares
i.
Latin
Roman,
ii.
552
ii.
291
men-
304;
and see Etruria,
ii.
literature,
;
Black-figured vases,
ff.
375
i.
ii.
artists of,
i.
ff. ;
379
ff., ii.
of subjects on,
i.
of,
219,
i.
subjects,
ii.
i.
393,
370;
274
207
i.
arrangement
/caX6s-names
amphora
in,
i.
159
it-shaped vases,
i.
i.
52
102; terracottas from,
VOL.
II.
i.
tiles
118,
from,
123,
285
red glaze,
81, 115, 116
437
ii.
551
ii.
26, 30
i.
vase
i.
483
50, 53,
for libations,
^5, 499;
34>
ii.
in,
i.
140,
"
Boxers,
ii.
163
i.
105
Bricks, use
of, in
ii.
89
i.
Pompeii,
of
ii.
at
on,
ii.
Boreas,
330,
ff.
198
ii.
from
376
497
artists' signatures,
of, for
Greece,
ornamentation,
372
234
other
151;
i.
i.
219, 368
from Ionia,
technique
ff.,
255
i.
shapes,
i.
/3o/^3u\ios,
Braziers,
Black-bodied amphorae,
vases, i. 221
356
civilisation at,
192,
Naukratis, etc.
Cyprus,
252
ii.
of,
300,
i.
i.
reliefs,
(Etruscan),
in
242
i.
Proto-Corinthian
vases with
Boston Museum,
78, 79
ii.
290
Boriedus, potter,
ii.
plain
391, 451
Boreades,
387
Biremes on Geometrica vases,
i.
''Bilingual" vases,
tioned
307
i.
274
286; bronze
159,
52,
i.
of,
i.
Borax, use
164
/3(/cos, i.
fibulae
i.
ii.
252, 273
Boiae, foundation of (?), ii. 143
Bologna, vases from, i. 72 ; Villanuova
on lamps,
ware from,
Geometrical,
alphabet
414
ii.
290
vases,
176
i.
561
Rome,
33 1
91
6,
in Etruria,
in
314;
ii.
sizes of
ii.
ii.
Roman,
construction
in,
inscriptions
Tiles
on,
methods of
stamps and
and see
352 ff.
332
ii.
ii.
337
ii.
ff.
i.
Babylonia,
ff.
ii.
from,
ii.
i.
27
use of
332, 337,
amphorae,
found
ii.
in,
461
ii.
540
ii.
504, 540
Roman
ff.
ii.
from,
ii.
542
plain wares,
New
pottery
imported wares,
subjects, 508 ; types and
;
ii.
Forest,
ii.
540
;
ff.
bar-
529; "false
potters'
local fabrics,
549
Rutenian,
ii.
names
543
ff.
Upchurch
36
INDEX
British
Museum,
i.
School
i.
27; prices
24,
17,
i.
43
ff.
Athens, excavations
at
of,
265
1 86
i.
po/*/ay,
of,
wares,
ii,
301
i.
203
on
on plain Roman
528, 552
ii.
pottery,
in
Age
ii.
in
Bularchos, painter,
vases,
i.
i.
361, 363
Burial scenes,
295
in, see
Funeral
1
ii.
59
Comedy
Busiris,
i.
Cacus,
Cadus,
ii.
ii.
Candelabrum-amphorae, i. 162
i.
and see Vulci
44, 76
;
i.
502
Canopic jars (Etruscan), ii. 304
Canosa, vases from, i. 84, 118, 146, 487
Capedo, capis, ii. 471
from,
made
at,
100
463
ii.
406,
Caeretan hydriae,
allied fabrics,
i.
forgeries
42
ware
of,
ii.
of,
ii.
ff.
543,
and
ff. ;
ii.
308
356 ff.
finds of vases at
134
ii.
Regulini-Galassi
abecedaria from,
Calydonian boar-hunt,
from,
Cesnola,
ii.
114,
294
ii.
i.
496,
ii.
27
KCU
"
at,
311;
ii.
292
319
>
300;
sarcophagi
317, 321
65
Chachrylion,
i.
ii
299,
potter,
i.
420,
43
Museum,
75?
315, 317;
ii.
i.
tomb
ii.
i.
architectural
292
191, 502
i.
i.
ii.
488, 493;
vases with gild-
and see
Corinth,
i.
i.
81,
i.
98, 103
i.
527
ii.
Bibliography in Vol. I.
Catinus and catillus, ii. 469
123
no
98,
Butrio, potter,
i.
fabrics
227, 484
i.
475, 478
ii.
102
ii.
80, 146;
484
local,
pottery in,
Castor, kilns
Burlesques,
ff.
351,
ff.
Burgon
Roman
482
ff.,
ing from,
467
i.
ii.
in,
i.
in,
162, 469,
i.
of,
Canino,
437, 548
ii.
456
Campania, vases found
amphorae
57, 262,
Roman tombs
Cambridgeshire,
trlet eS,
i.
373,
ii.
265
424, 427,
INDEX
Chalcidian vases,
ff.
321
i.
alphabet and
Chalcosthenes or Caicosthenes, i. 92
Chalkis as pottery centre, i. 55, 307,
32 iff., 495
Chares, vase-painter,
ii.
294
ff.
Charun,
ii.
Cheiron,
459,
ii.
ii.
i.
i.
for
Chimaera,
ii.
ii.
i.
137
vases from,
on vases,
i.
73
i.
ii.
372,
ii.
399 ff.;
516 ff.
Chrysaor,
Chryse,
Chrysos,
ii.
ii.
ii.
i.
ii.
ff.,
112
i.
terracottas,
123
ff.
on lamps,
ii.
144
ii.
404
for
Roman
35> 354
i. 62,
64, 330,
as centre of Ionic fabiic, i.
sarcophagi
vases,
of,
i.
i.
62, 362 ff
350
ff.
for,
i.
106,
ii.
ii.
246
;
321
i.
ff. ;
i.
116; for
230 in Etruscan art, ii. 299,
for mural reliefs, ii. 366
;
ii.
175 ff. ; and see Gladiators
Comedy, scenes from, on vases, i. 473,
ii.
"
480, 483
ff. ;
160
Comitialis, potter,
Etruscan,
on mural
417, 422
reliefs,
Complementary
tation,
ii.
ii.
Combats,
285,
370
ff. ;
333
models,
xvTpotr\d6os, i. 232
Ciborium, i. 186, ii. 468
Cicero quoted, ii. 365, 371
i.
for lamps,
354> 356
vases,
174
Cinerary urns,
366
85, 88
ii.
for
of existing, i. 27 ff.
Colours used for terracottas,
Chthonian deities, in
on vases, ii. 67 ff.
ff.,
of,
used
compared with
as centre for
104
200
Chivtsi,
90
i.
uses
subjects
114, 148
of,
i.
ff. ;
ii.
167, 174
Chiton, treatment
tiles,
214
and
sarcophagi,
i.
113, 204
i.
i.
in,
varieties of,
i.
Chevron-patterns,
89 ff.
for bricks
310
Chelis, potter,
98,
ii.
69, 193
69, 193,
i.
316, 317
Vecchia, vases from, i. 74
Classical literature, see Literature
101,
315
i.
Charon,
307
ii.
Chamber-tombs (Etruscan),
with vases,
Etruscan, compared
Cistae,
253
ii.
inscriptions,
563
ii.
ii.
Concentric
ii.
"
511
method of represen-
10
circles,
Cypriote,
i.
25 1;
ii.
216
Conclamatto, ii. 157
Concrete, use of, in
335
Roman
buildings,
ff
ii.
INDEX
564
names
Consuls,
ii.
vases,
on
of,
360
ii.
tiles,
on
462, 512
ii.
Convivial inscriptions,
early commercial
its
pottery
at,
n,
i.
importance,
i.
and
i.
artistic
of
finds
303;
307
Corinthian krater,
painters,
i.
168; kylix,
i.
23,
170,
i.
304
251
249,
sites
ff. ;
classification,
305
i.
316,
i.
ii.
vases generally,
where found,
ff. ;
i.
304
shapes,
i.
ff.,
"
Courting "-scenes,
Crater, see Krater
Crescent patterns,
Cretan bull, ii. 96
ii.
i.
183
ii.
in,
i.
i.
145, 272
218
59, 152,
i.
214
and
see
56
i.
in,
Kyathos
early pottery
i.
9, 56,
ii.
4,
in,
34
i.
ff.
ii.
of,
Cylinders, Assyrian, i. 7
Cyprus, vase-collections in,
30
i.
finds of pottery,
i.
531
tombs
65, 237,
236
Mycenaean
Graeco-Phoenician,
i.
lenic,
255
i.
pottery,
ii.
ethnology of inhabitants,
chronology of pottery,
Cyrenaica, tombs
i.
i.
ff.
499
495,
i.
244
Hel-
239,
247
i.
Roman,
240, 248;
250
i.
i.
417*
ii.
ii.
I72ff.
i.
fabrics
vases,
210;
80,
i.
449,
ii.
158
ii.
Daily
475,
158
190;
i.
pinakes,
51,
476,
Tomb"
ii.
460,
ii.
"Cult of
i.
90,
i.
92;
158
of
Danaids,
Danaos
ii.
(?),
68
ii.
140
ff.
pottery from, i. 68, 349
Eikellura style at, i. 338, 352 scaleii. 218
pattern used at, i. 311, 337, 352,
Daphnae,
INDEX
Daulis, vases from,
see Eos
Diogenes on lamp,
53
i.
Dawn,
i.
in
Decoration of vases,
artistic
value
i.
17,
122;
Dioskuri on vases,
lamps, ii. 413
Diota, i. 154, 163,
i.
i.
105
32,
ii.
64
racotta,
103,
ii.
93,
braziers,
105
i.
in ter-
of,
and see
basin,
A^/Aicrtof
on
tiles,
102
i.
260
on a measure,
on a washing-
460
ii.
291
Demosthenes,
135
allusions to vases
of,
in Etruria,
i.
i.
in,
in the Cyrenaica,
in Sicily, i.
;
38
87
Departure-scenes on vases,
S^raj, i. 148, 181
Z)eflositio-scene.s,
i.
459,
ii.
Descriptive names,
ii.
91,
Devices on shields,
ii.
198
ii.
(?), ii.
176
69,
353, 362
i.
i.
260
Divixtus, potter,
194
of,
ii.
i.
use,
i.
194,
ii.
Roman,
468
ii.
163
527
259
of Athenian knights,
61,
i.
153, 257,
ii.
ii.
177
457, 511
;
see
;
549
252
Roman,
i.
ii.
136, 138,
ii.
ff.,
ff
and
455
431,
i.
395
ii.
54
in
of,
ii. 438,
457 ff. and see Pithos
Dolls of terracotta, i. 113, 114, 120
Dolon, story of, 1.363, ii. 128
107
tile-stamps
i.
of vase,
ii.
Dolium,
157
89
(of lamps),
Diocletian,
part of lamp,
Doliarius,
151
name
(Sar/cos),
unknown
243
ii.
06
AoKifjuuria,
ii.
469
Dodwell pyxis,
Dennis, explorations
36
105,.
Diskos, throwing
i.
H2
133,
33 ffDiscs of terracotta of
Dishes, Greek,
ii.
on
Discus
Death-deities
ATj/^cria
on
115, 194;
123
i.
91
ff.,
54, 57ff.
Demons, on
Dike,
ii.
ff.,
138
i.
140
ii.
?,
ii.
98
ii.
Gaulish,
of,
ii.
at,
421; tub
(tribal hero)
scenes on vases,
14
ii.
of,
Dionysiac personifications,
i.
of,
415,
Trojan scenes,
Diomos
5i6ff.
ii.
151
Diomedes, horses
Death-deities,
5046,
565
ii.
i.
94
503
INDEX
566
on provincial ware,
489 ff.
on Roman red glaze, ii. 435
499
ii.
ff.
Egyptians on vases,
etduXa,
Drama,
on
subjects from,
late vases,
i.
ii.
15,
85
ii.
tile-stamps,
i.
Emperors' names on
pottery, ii. 462
Enamelling,
i.
Endt on Ionic
308
21, 421,
tiles,
ii.
vases,
i.
350, 354
i.
Pan
Ephebi on R.F.
220
tyiflSos,
ii.
167
Egnazia, see Gnatia
Ephialtes,
379, 422,
i.
Egypt,
enamels
i.
of,
pottery
i.
on Cypriote
i.
pottery,
239,
247
ff.
naean pottery,
Egyptian
jects
situla at
in-
vases,
reliefs,
Gaulish terracottas,
ii.
ii.
Daphnae,
on Caeretan
Roman mural
267, 271
266,
i.
ff.
ii.
80
i.
ii.
i.
ii.
386
355 ; in
in
370
on lamps,
;
vases,
i.
417
179
i.
e0e/n<r/i6s,
form of signature,
ff, 273 ff.
i.
98,
system of interpretation,
Epexegetic
tyKOT6\i),
found
i.
20
in,
ff.
257
on
8, I26ff.
ii.
354 ff.
434 ff.,
263, 268
ii.
personi-
reliefs
Duris, vase-painter,
130
i.
e'yu/3X?7jiiaTa,
ii.
124
i.
49
i.
107
i.
')
typa\}/e,
ii.
379,
82
ii.
fied,
Egg-pattern,
i.
396
ii.
form of signature,
440,
76
Dressel on
Eileithyia,
Eirene,
180
ii.
72, 193
258
i.
ii.
eVepct/x,ei/<re,
460,
i.
ii.
ii.
167
13
Epiktetos, vase-painter,
422, 425
425
ff.
of,
i.
417,
ff.
Epilykos, vase-painter,
cirivTjTpov,
i.
i.
424
199
257
ff,
INDEX
Ergotimos, potter,
i.
ii.
257
Erichthonios, birth of,
Erinnyes, see Furies
139
Eris,
on
vases,
i.
ii.
45 ff., and see
89 types of, i. 486, ii. 45, 48, 191 ;
with Aphrodite, ii. 42 ff. ; on mural
reliefs, ii. 369 ; on lamps, ii. 410
;
Ethiopians,
180
Ethnography of Crete,
naeans, i. 275
264
i.
of Myce-
i.
10
180
i.
ervripvais,
i.
19,
72
ff.
tombs
of,
37,
78,
313
ii-
ff.;
cotta,
ff.
307
ii.
289
ii.
292,
292
ii.
282
ff.
vase-painting in,
i.
358,
relief
ff. ;
319
299,
ff.
civilisation of,
earliest
ii.
372 inscriptions on vases,
310; pottery, see Bucchero, Cerve-
ii.
tri,
Polled rara
Euboea
>
i-
i.
painter,
potter
of,
ii.
281
vases found
personified, ii. 82
an d see Chalkis, Eretria
j
;
55
icheiros, painter,
i.
395
335,
i.
398,
on
ii.
i.
vases,
472,
415, 421
19
ii.
Eurystheus,
i.
151,
ii.
97
Euthymides, vase-painter,
ii.
334,
and painter,
Europa,
i.
ff.,
i.
427,
421,
258
of,
i.
59,
ff.
i.
198
217
138; and
i.
i.
Explanatory
259 ff.
ii.
218, 257
on
inscriptions
Expression of figures,
202 ff.
vases,
398,
i.
408,
Eyes on
427
vases,
i.
257, 357,
410,
ii.
ii.
on
426,
ii.
424, 425
made
or
at,
i.
75, 485,
ii.
ii.
301, 309
289
False
Eumaros,
ii.
Rome,
424
ii.
earliest pottery,
i.
td\enrTpoi>,
175
i.
^fytos,
i.
Euergides, potter,
Euphronios,
126
i.
ii.
Eucheiros, potter,
Euphorbos-plate or pinax,
ii. 129, 249
118
ii.
Eriphyle,
ii.
567
ii.
on
vases,
i.
473,
I59ff.
at,
i.
85
and see
345
and see
i.
138
INDEX
568
i.
terracotta
67
coin-moulds from, i. 106, ii. 391
Feather-brush or pen, use of, in vase-
i.
painting,
Fecunditas,
227ff.
Fidelia,
ii.
i.
vases,
281
314
ff.,
ff.
Roman
Fish-plates,
ii.
i.
lamps,
ff.
ff.
ii.
346
186
ii.
i.
Forms of vases,
France, vase-collections
findsin, Chapter
cottas from, ii.
390 ff.
ii.
379 ff.
clay of,
ff.
on
terra-
coin-moulds
ii.
potters'
434
kilns
stamps
in,
i.
313
ii.
ii.
10,
1 1
257, 270
style at
ff.,
ii.
207
general treatment
Funeral lekythi,
masks, i. 123
ii.
305
298
i.
i.
on Ionian,
of,
ii.
earth,
30, 73
ii.
122
i.
ff.
73,
type
of, in
rising
from
see also
Pandora
of children,
167
ii.
18
ii.
ii.
129
i.
terra-
ii.
529
533
in,
ii.
doubtful pottery-centres
pottery from, in Britain,
513,
in,
ii.
ii.
522,
potters
represented
potters'
art,
ii.
ii.
ii.
504
511
461, 504,
i.
yflffov,
96
Gela, tombs
196
Gems compared
i.
on
43
on Boeotian,
vase,
inscriptions on,
" Free"
270
i.
terracotta figures,
526
;
27 pottery -
i.
of,
XXII I. passim
443, 451
;
Roman
of
ff.
see
Shapes
Fortis, potter, ii. 423ft, 477
Fortune on money-boxes, ii. 390
lamps, ii. 413
/<?.v.z-tombs in Etruria, ii. 289 ff.
Fox and Crow, fable of, ii. 416
503
286
of,
169
ii.
Foreshortening, i. 398
Forgeries of vases, i. 40
ii.
397
forgeries,
Mycenaean vases,
lamp-fabric,
ff.
Flute-players on vases,
Fra^ois
ii.
cottas from,
ii.
ii.
i.
456, 550
ii.
Ganymede,
421, 440
i.
400, 428
ii.
194, 487,
336
i.
in,
of lamps,
ff. ;
Gaia, Kou/)OT/>60os,
Greek
in Etruria,
at Castor, 544
;
"
Fikellura
or Samian ware,
from,
I56ff.
465
527
Flue-tiles,
ii.
511
Fink on
on Dipylon,
Furtwaengler on
i.
ii.
"
141
Furies,
289
Fictiliarius,
158
398, 413
ii.
ii.
general,
pottery,
384, 386
ii.
on lamps,
Felicitas
ii.
142,
207
458
i.
331
ff.
ff.,
32
of
Roman,
ii.
ii.
81
personifications,
ff.
ii.
157;
imitated in Etruria,
i.
476,
56
in
in Boeotia,
Athens,
i.
294, 298
in
Boeotia,
i.
INDEX
300
i.
in
Melos,
306, 308
Etruria,
at
Corinth,
351 ; in
in Southern Italy,
Daphnae,
289 ff.
ii.
302
i.
at
i.
202
flf.,
Germany, vase-collections
scribed
tiles
cottas from,
pottery
in,
from,
432
ii.
439
from,
ii.
early
Roman
504, 533
kilns in,
ff. ;
and
ii.
i.
Gigantomachia,
ii.
ii.
536
ii.
535
barbo;
in-
plain black
98, 195
195
12
ii.
ff,
537
ii.
de-
ff. ;
501
pottery-centres,
ii.
322, 432,
of,
509
ii.
scribed pottery,
wares, ii. 552
Geryon,
classification,
potters' names,
tine decoration,
Giants, types
in,
pottery
ff.
in-
scription of fabrics
ii.
ii.
383
ii.
28
i.
in,
ff.
Gilding of terracottas,
of vases,
86,
Gladiators on lamps,
on
pottery,
of, in
pottery,
i.
i.
416,
ii.
ii.
421
8, cf.
ii.
64, 130,
pottery,
ii.
vases,
435
203
i.
ff. ;
ii.
497
of,
i.
ii.
436
Fasano),
i.
250
522
ii.
i.
7,
206
277 ff.
tombs
i.
46
Greek
in,
i.
33
i.
in,
54 ff.
i.
30
i.
colonies,
in,
10,
9,
ff.
i.
80
60,
early pottery
of,
ii.
476, 498
ii.
islands, finds
i.
9,
262
I54ff.
of,
ii.
ff.
and
151,
179
on
of,
i.
77,
ii.
280, 291
Guildhall Museum,
ii.
359, 379
Guilloche pattern, ii. 219
ywatKwcTis, scenes in, ii. 173
Gutter-tiles,
ii.
343
i.
97,
ii.
341
at
Pompeii,
ff.
i.
i.
ii.
469
in
at,
i.
ii.
477
ii.
201
105, 106
i.
17, 43
Hampshire, pottery from, see New Forest
Hancarville (D ), i. 17, 22
Handles of vases, i. 208, ii. 443 of wine5
i.
374,
potters,
where found,
519
Roman
on Castor
488
64
Gorgasos and Damophilos, ii. 372
Gorgoneion in interior of kylikes,
400, 427
of,
Gypsum,
on
ff. ;
analyses
on provincial wares,
ii.
504, 515 ff.
ornamentation, ii. 506, 520 graffiti
on, ii. 510; forms and decoration, ii.
Guttus,
153, 267
on Greek
Graufesenque potteries,
Roman
117
i.
i. 201, 210,
231, 449, 498
Girgenti (Agrigentum), vases from,
87 ; moulds from. i. 115
Glass, enamels,
569
amphorae, stamped,
Hare-hunts,
ii.
Harmodios and
Harpies,
ii.
i.
155
ff.
165
Aristogeiton",
72, 146,
vase from,
ii.
508
ii.
150
196
at,
ii.
348
INDEX
570
Hartwig on the feather-pen,
R.F. cup-painting,
KaXos-names, i. 404
i.
227
398, 4246.
i.
on
on
Hermaios, potter,
Roman
Hebe,
pottery,
Hector,
ii.
ii.
126
ii.
ff.
Heddernheim, kilns
at,
Hegesiboulos, potter,
Heiligenberg, kilns
i.
i.
Hegias, vase-painter,
at,
444
445
421, 444
ii.
ii.
and see
i.
influence of
i.
237, 250,
Mycenaean
on,
276
on Arretine
507
porcelain
Hemera,
128
i.
pottery
125
i.
terracottas,
of
78, 79
ii.
i.
T1fjuKOTi'>\ioi>,
135, 183,
ii.
241
174
i.
r//xtro/*os,
256
i.
Cyprus,
ii.
190
36,
in
17; smithy
Hera on
vases,
of,
ii.
Juno Lanuvina
Heraion at Argos,
ii.
16, 21,
i.
322
ii.
194
ii.
94 ff.
on Corin;
i.
ii.
545; skyphos
Erotes with club of, ii. 411
5o8,
531,
ii.
158, 159
477
Hesiod and vase-paintings, ii. 6
Hesperides, ii. 92 ; garden of, ii. 75, 99
Hestia on vases, ii. 53, 190
Hierarchic des genres, law of, i. 245, 284,
Hieroduli,
i.
ii.
492, 493
421, 436,
i.
ii.
238, 259
Himeros,
49
ii.
ii.
149
Hipparchos *aX6s,
ii.
Hippolyta.
Hippolytos,
99,
ii.
i.
403
in
112
i.
379, 420, 422, 424
Hissarlik, see Troy
Historical methods of study, i. 22, 235
limits of subject, i. 31, ii. 430 ff.
Hischylos, potter,
ii.
ii.
403,
415
Roman
Holder on
in con-
ff.
463
460, 472,
ii.
pottery,
oX/cfto^,
thian vases,
537
i.
at
how
476,
i.
subjects
Hephaistos on vases,
ii.
260
ii.
Hippalektryon,
ware,
i.
114,
126;
190; KuXX-^rtos, i.
on lamps, ii. 409
ff.,
Hieron, potter,
253, 255
420, 424
i.
50
ii.
325, 326,
207
315, 332
403
ii.
209, 216
ii.
on vases,
ii.
318,
terracottas,
156
Helioserapis lamp,
i.
in
Heroon,
i.
Hermes
i.
of,
i.
185;
Holland, collections
from,
ii.
ii.
i.
267
175
522, 539
in,
28
i.
inscribed
pottery
tiles
from,
6X/xoy,
i.
145,
176
references to vases
Homer,
148,
potter's
wheel
ethnography,
vases,
i.
in,
i.
89, 132,
i.
i.
in,
264
335, 499,
ii.
207
on Cretan
subjects from, on
3ff, 126
ff.
INDEX
Homeric bowls, i. 134, 185, 499, ii. 2
Hopkinson on Melian vases, i. 302
OTr\iTo5po/j.ia,
164
ii.
Hoppin on Euthymides,
Inftindibulum of lamp,
Inghirami, i. 18, 42
428
i.
Inhumation,
164
taming, ii. 166
Horsemen, ii. 166
Human
ii.
i.
281
vases,
Hydria,
i.
ii.
359
197 ; on
on Castor
88
i.
98
372
ff.,
ff.,
348, 35 iff,
ii.
360 ff;
on
420 ff.
ii.
ff.
243
268 ff.
ii.
incised,
ii.
painted,
ff.
palaeoCorinthian,
;
Boeotian,
255
ff.
ii.
253
Attic
411
tory,
538
ii.
261
ii.
ii.
252
Chalcidian,
ii.
403,
ff.
259
ii.
271
ii.
Italian,
257
265
ff-
ff.
artists'
explanatory on
ff. ;
exclama-
ii.
265, 524,
of vases (names and
239 ff. ; on Etruscan vases,
ff.
under
prices),
i.
vases,
ii.
South
signatures,
165
ii.
ff.
236
ii.
149,
/taX<5s-names,
Hypnos,
237
107, 108,
i.
ii.
of,
101,
chronology
'
Hydra,
on Greek
i.
i.
tiles,
394
284
ii.
145,
on lamps,
3i4ff.
ff.,
35 8
357.
vases,
i.
Inscriptions on
91
ii.
ii.
convivial,
feet
ii.
ff.
Gaulish
531
Stamps
lacchos,
27
ii.
i.
lapygians,
of,
ii.
323
270
323, 325 ; pottery
i.
58, 152,
ii.
172,
ff.
Ikaros on lamp,
ii.
i.
i.
330
influence
4; scenes from,
ii.
Oriental
i.
art,
ii.
5,
133
i.
96,
ii.
341
ii.
396
ff.
ii.
Incense-burner, i. 140
Incised lines, i. 311, 313, 314, 331
scriptions, ii. 237 ff., 271
see Graffiti, Inscriptions
on provincial wares,
ii.
on Etruria,
ii.
296, 299,
ff.,
;
359,
Ionic alphabet,
;
in-
and
decoration
505, 515
in,
;
i.
Italico,
Mycenaean
i.
Imbrications,
of
i.
ff.
i.
i.
'IXt'ou II^o-is,
vases,
of
277, 329 ff;
331 ff ; influence of, on
on,
Attic vases,
ii.
on
62, 224,
civilisation
subjects
ii.
of,
I26ff.
Impasto
21,
of,
Imbrex;
of
Interpretation
tions,
i.
68,
i.
345
ii.
ii.
357,
ff.
ii.
54
and
inscrip-
pottery in Egypt,
type of kylix, i. 357,
252
374
Iphigeneia,
i.
INDEX
572
ii.
76, 128, 193
Ischia, vases from, i.
Jumping on vases,
Juno Lanuvina, ii.
Iris,
Roman
Isidorus on
88
464, 469,
ii.
pottery,
475
Isis
Jupiter,
on lamps,
ii.
ii.
of,
in
163
22, 103
i.
Capitoline,
ii.
116,
314, 371,
worship
ii.
"
' '
10.
ii.
Italian
Megarian
Italy, vases
tions in,
found
bowls,
in,
i.
22,
ff.
col lec-
ii.
Ionic
pottery in, i.
modelled vases in,
wares
i.
in,
358,
494
i.
498,
496,
308
ii.
and
ff.,
terracotta architecture
315
ff.;
i.
in,
ii.
sculpture,
centres of lamp-manufacture
ii.
pottery-kilns,
Roman
pottery,
sigillata in,
vincial
ii.
fabrics
443, 451
475
ii.
495
98, 101,
313,
in,
371
ii.
ff.
427
centres for
end of terra
ff. ;
transition to pro-
ii.
in,
515 ff;
500,
in,
ii.
498, 522,
524, 526
;
of vase-painting in,
and moulded vases
i.
in,
of,
ii.
i.
ff. ;
plastic
494,
323
498,
Ka\6s-names,
379, 402
list
ii.
ff,
ii.
265
221
in, 209
Kdvafios,
i.
Kanake,
ii.
141
i.
KdvvoLfios,
152
Kantharos,
410
187,
i.
88
i.
Karpathos, tombs
i.
i.
in,
34
pottery from,
58
55
i.
ii.
Keel-hauling,
Kekrops,
ii.
178
ii.
139
169
i.
164
Keos. fabric of.
ii.
vases,
i.
Jason,
ii.
ii.
457
ii.
Kephalos,
115
Jatta collection,
KT]p 6a.va.TOio,
i.
Javelin-throwing,
Kerameikos,
26, 29
ii.
163
i.
56, 357,
ff.
i.
Kepdfuov,
i.
364
Ke'pa/nos,
i.
Kerberos,
Kerkyon,
ii.
72, loo
ii.
i.
97
136
89, IOO,
ii.
ii.
253
80, 140
Kpz/j.ides \eovroK^(f)a\OL.
96
Kalymnos, vases from, i. 58
Kamaraes, vases from, i. 59 ; fabric so
called, i. 264 ff.
Kamarina, vases from, i. 87
Kameiros, tombs at, i. 34 ; vases from
i. 59, 127
terracottas from, see Rhodes
i.
j,
Jahn on
ff.
66
s, i.
277
ii.
of,
i.
134
Kastor, see Dioskuri
69
ii.
145
Kalliades, potter,
Kassandra,
ff.
21
Ivy-leaf patterns,
Ixion,
487
i.
i.
ii.
Kapxnviov,
vases
Southern, tombs in, i. 37
found in, i. 79 ff. R.F. vase-painting
in, i. 465 ff. ; fabrics of, i. 479 ff. ; end
of,
117
165
Kaineus,
159
ii.
ii.
i.
/cd5oj,
relief-
501
ii.
74
ii.
Kadmos,
490
ii.
69
i.
305(7., 318,
Kabeiri,
52, 391,
"
70,
ii.
455
99
109
or Ktpxvos,
i.
195, 201
280
INDEX
Kertch, vases from,
497
464,
tiles
amphorae from,
Keryneian
i.
from,
101
i.
wine-
97
upiov, see Ciborium
Kilns for Roman pottery, existing remains
443
ii.
of,
ii.
stag,
detailed
ff. ;
Kimon,
list of,
of, see
representations
i.
painter,
215
i.
451
ii.
ff. ;
statesman,
how
408,
ii.
418
i.
represented on vasas,
ii.
97
80
i.
Kittos, potter,
ii.
ii.
257
on
on
/ca\6s-
Klytaemnestra,
from,
108,
i.
370, 379,
ii.
330
ii.
64,
Koenen on German
Kolchos, potter,
Kolias, Cape,
Kopd\\ia,
at,
536
i.
ii.
179
74
i.
ii.
105,
37,
i88ff.
i.
early types,
Athenian,
i.
272, 287,
i.
Kyme,
i.
i.
62, 356
i.
54,
ii.
31, 81,
315
370
i.
28, 286
139
i.
i.
58,
i.
112
i.
KOTvXlffKOS,
i.
188,
ii.
Lamps,
167, 181
393
184, 195
i.
135, 183, 212, 217
KovpoTpb<f>os types in terracottas,
386
Gaia
on vases,
ii.
ff.
30, 73
i.
123,
and see
164
106
ii.
Greek,
uses,
137
i.
395
ff. ;
Roman,
forms,
ii.
399 ff.
inscriptions, 420 ff.
ff.
406 ff.
Landscape on vases, i. 409, 470, ii. 204,
205 in scenes on lamps, ii. 418
subjects,
Kotyle,
ii.
140, 187
Kottabos,
ii.
194
180
i.
i.
KOpOTT\adoi or KOpoirXaffTai,
Ka'tfwi',
ii.
U2ff.
i.
Kybele,
82, 109
236
Kyrene, goddess, i. 124, 343,
82 ; and see Cyrenaica
379
i.
ii.
ii.
Kopenhagen, vases
Kopai,
152,
125
pottery,
140
ii.
182
ii.
KcD/xos,
i.
i.
150
313, 341
257
lamps
397, 418, 423, 427
i.
i.
Polyphemos
Kyknos, ii. 101
137, 138
ii.
488,
167
86
i.
i.
Kyathos,
Kylix,
i.
local
73
ii.
Kyklopes,
105
i.
ii.
KinreXXov,
266
Klitias, vase-painter,
22
464
ii.
Kvfuvodoxov,
517
and see
i.
482;
468,
326; Arretine,
ii.
KtipfiLov,
411,
ff.,
Italian,
Kpu<r<r6s,
379, 391
i.
ii.
167
501, 520
Kronos,
names,
classification of vases,
i.
Krommyon,
136
vvfiiov,
Krater,
ff.
430, 455
Kings,
Kirke,
Kramer's
South
158
i.
573
INDEX
574
Libation-scenes,
339
Larnaka, vases from,
62,
i.
66
i.
"Late
fine" style,
Laterariae^
i.
91,
478,
i.
272
ii.
Lateres,
i.
/caX6s,
see
i.
221
ii.
re-
ff.
ii.
152,
of,
i.
i.
199
and
86
i.
ii.
19, 120,
508
Legions,
stamps
of,
Lekythos,
on
i.
ii.
tiles,
351,
i.
376; R.F.,
i.
i.
57
fabrics of,
i.
terracottas in,
i.
in,
no,
i.
ii.
13,
in,
ii.
in,
i.
107,
ii.
371
ff. ;
liefs
from,
i.
ii.
388
Loeschcke on " Corintho- Attic "
vases,
324
53
i.
found
tiles
ii.
348, 359, 363 ;
kilns found in, ii. 444 ; pottery from,
"
5 29
54; and see British
in,
30, 31
i.
of,
in
in Boeotia,
223
ii.
i.
ff.
176
i.
\ovrripiov,
142
i.
XouT/jo0<5/>os,
\i>Xvos,
397, 454,
Lezoux,
potteries
kilns at, ii. 525
ii.
481
i.
i.
83,
144,
172;
ii.
of,
;
ii.
potter's
504,
ornamentation,
525
ff. ;
wheel from,
440 ; moulds
107
i.
320
501, 526
224
324, 328
339. 347
i.
at,
ii.
506, 527 ;
130 ; incised
ii.
443, 515? barbotine decoration, ii. 513; other fabrics, ii. 528 ff.;
termination of potteries, ii. 432, 526
vases,
lamps
i.
Lotos-ornament
177
438
ff. ;
ff.
vases,
pottery
of vases
Museum
469
195; B.F.,
ii.
395
458
ii.
London,
ii.
ff,
names
ff- >
i.
Leto,
148
Roman
53
i.
\Kavofj.avTia,
Xeu/tw/Ad,
475
455>
and
classical,
i ff.
ii.
132,
i.
363
Lekane,
530,
Loculi,
242, 243
Burgon
Leda,
ii.
i.458
Leather, imitations
Lebes,
130; vases
i.
Leagros
267
i.
79
i.
Literature,
485, 490 ;
see Literature
ff.,
331
86
18, 31,
541
421, 4486.
i.
ii.
ii.
140,
Liniare, i, 396
Lion's head spouts, vases with,
Lasimos, vase-painter,
i.
155
ii.
ii.
471
see
ii.
literature,
Luni,
ff.
terracotta
sculpture
from,
3i8
Luynes,
Due
de,
i.
18,
i.
22
64
ii.
56, 141
169
Lyric poetry and vases,
Lyre-players,
Lyssa,
ii.
ii.
91, 194
ii.
ii.
281
ii.
INDEX
Mackenzie on Cretan pottery, i. 265 ff.
Macmillan lekythos, i. 309
Macrobius on the Sigillaria, ii. 376
Maeander-pattern, ii. 212 ff,; on R.F.
415
Maenads on vases, ii. 55 ff., 192; names
of, ii. 65 ; on lamps, ii. 411 ; on Arrevases,
i.
tine vases,
i.
99
bull of,
ii.
i.
49
tile
from,
ii.
vases,
ii.
272,
16,
36,
172
i.
69
art,
Martial quoted,
ii.
305
/zcwrfo,
Matt
>
imitation
use
i.
i.
of,
469,
ii.
350
ii.
344
86
colour,
463, 472
vases,
ii.
441,
530 ff.
Medeia, ii. 116
Medusa, see Gorgon
Megakles
i.
i.
12,
i.
92,
1 1 1
Megarian bowls,
103
temple
i.
49, 273
pottery of,
2; use
ii.
of,
ii.
85
ii.
90
tile
from,
97
Metope
ii.
i.
style of decoration,
i.
282, 378,
208
ii.
i.
painter,
442
Millin,
i.
ff-
17
i.
22,
ii.
/x/Xros,
i.
445
statesman,
129, 135
Millingen,
428
i.
Kct\6s,
potter,
ii.
in Etruria,
ii-
on Gaulish
132
i.
Midas,
ii.
Mikon,
246
i.
i.
amphorae, i. 301 ;
ii.
232
57, 262 ; and see
425
Menaidas, potter, i. 52, 301
Mending of vases, i. 39, 147
Menekrates, tomb of, i. 54
i.
terracotta,
322
478, 479
Masks of
" 377
141
ii.
32
Martha on Etruscan
ii.
ii.
446
120
i.
reliefs,
Menelaos,
i.
incised pottery
ii.
Melian
i.
Proitos,
114
ii.
Meleager,
Ka\6s,
"
Marsyas,
Melampus and
Memnon,
" Marbled
vases, ii. 523
Marine subjects (Mycenaean),
185 ; and see Sea-Deities
of,
100
Meidias, potter,
Melian
109
Roman pottery,
treasury at Olympia, i.'
prototypes of
475,489;
539
361
ii.
436
88
i.
i.
Mandrokles, painter,
Mania, ii. 91
as
their ornamentation,
492, 493
Mainz, inscribed vase from,
ii.
Makron, vase-painter,
2
ii.
575
at,
53, 134,
i.
94
185, 499,
Minor
Minos,
ii.
Artists,
ii.
Minotaur,
144
ii.
i.
thalassocracy
109, 148
of,
i.
264
INDEX
576
Myres on Cypriote
307
"Mixed"
no,
6,
i.
ii.
114,
Mommo,
522
388 ff.
ii.
Monochrome
Montans, pottery
of,
Moretum
ii.
quoted,
Morra, game
Mortariunii
ii.
South
ii.
386
Naples,
106,
in,
105,
390 ff.
ii.
388
ii.
for coins,
for terracottas,
ii.
381
for bricks,
ii.
405
Arretine,
in
Roman
ii.
ii.
333
i.
114,
use
of,
(Roman),
white-ground vases,
Muses, ii. 83
23
ii.
ff.
i.
ii.
i.
27
ff.
i.
71,
i-5i
pottery,
i.
269
ff.
subjects
272, 276,
338, 341
i.
Naval
ii.
shapes,
i.
ii.
in
289
ii.
82
338
local
other pottery
connection with Etruria,
ff. ;
i.
285, 291,
i.
ii.
178
379, 383
ii.
179
82
283
Neoptolemos,
Nereids,
185, 206,
Nestor,
ii.
133, 138
Neptune on Roman
and see Poseidon
Nereus,
i. 302 ; Ionian, i.
329 ff,
Southern Italy, ii. 324, 325
Melian,
80
ii. 91
Neolithic Age, i. 4, 5 ; pottery of, in
Crete, i. 265, 267 ; remains in Etruria,
ii.
ii.
roof-tiles,
ii.
345
>
ii. 124 ;
cup of, i. 148, 172,
Nether World, see Under-world
Network
338, 352
subjects,
on
299
ii.
68, 138,
i.
224, 345
Nearchos, potter,
Netherlands,
i.
at,
i.
at,
42
and orna-
Proto- Attic,
41,
i.
298, 299
at,
Nemesis,
at,
ii.
495 as centre for lamps, ii. 401,
427 ; for vases, ii. 477
;ui'6s (tnyxus), i. 107, ii. 395
Mycenae, tombs at, i. 33 ; pottery from,
mentation,
Mycenaean
i.
of,
at,
Negroes on vases,
458, 461
list of,
pottery
ii.
i.
ii.
i.
at,
Musicians,
12, 13,
i.
at,
Museums,
419
i.
vases found
made
Naukratis, finds
438, 440
of terracottas
reliefs
of,
45
i.
imitations
i.
for lamps,
488, 494
ii.
pottery,
Moulins, manufacture
Mural
terra-
ff.;
Museum
and see
i.
339
i.
123
i.
7/>600J
Moulds,
Italian,
cottas,
ii.
525
395
470, 550
Mother- Goddess,
240 ff.
i.
62,
167
ii.
of,
i.
395
i.
painting,
ii.
potter,
Money-boxes,
64, 340
i.
pottery,
Roman
ii.
pottery from,
ii.
539
patterns, ii. 215
121
i.
vevpoffiraffTa,
"
New
Attic
439, 49 2
".
reliefs,
493>
57
ii.
368, 407, 41
1,
INDEX
--
New
Forest ware,
ii.
547
Nikias, potter,
259
ii.
446,
i.
Niobids,
ii.
371
ii.
33
Poseidon,
ii.
58
i.
as
weapon of
13
82
i.
varnish
i.
of,
"Nolan" amphorae,
imitations
of,
i.
484
i.
Normandy,
444, 543
ii.
ii.
135
5,
Nozzles of lamps,
classification,
Numa,
ii.
ii.
395
399 ff.
basis of
as
ii.
304, 455,
476, 477
Oinochoe,
Oinomaos,
91, 194
Olympian
Of us
ii. 472
Obrendarium,
ij
|!
ii.
ii.
use
of,
in
tile-stamps,
Roman
VOL.
II.
ii.
potters'
ii.
ff.;
258
other
ii.
73
i.
ii.
353, 360
ii.
53
i.
137
i.
295, 298
ii.
ff.
at Corinth,
i.
334;
304 ;
206
Ornamental
from,
ff.
motives on vases,
ii. 464
meaning of, on
356, 362
stamps,
338
medallions
4, I35ff.
117, 118
Oenophorurn,
Officina,
ii.
Gaulish
Orbiculus on tile-stamps,
456
337, 339
ii.
reticnlatum,
'5
ii.
doliare,
mixtum,
Obba,
25
530
58, 91
ii.
Oistros,
ii.
469
113
ii.
Oinopion,
Okeanos,
making and
171, 262
ii.
i.
ii.
ff.
195
i.
vases,
180
i.
obrftpvtnS)
Orange,
on
selling of,
H3
42, 46
NovTol,
577
rectilinear,
216
ff. ;
21
iff.
vegetable and
ii.
210
curvilinear,
floral,
ii.
37
ii.
220 ff.
INDEX
578
treatment
in
of,
different fabrics,
ii.
metrical,
Melian,
302
232
ff.
Rhodian,
334
i.
Caeretan,
Corinthian,
312
i.
Naucratite,
ff.
348
i.
Painting. Greek,
450; Ionic,
vases,
red-figured,
ii. 438 ;
of Gaulish wares,
520, 521, 526; of barbotine wares,
514, 544; incised or indented, ii.
i.
361
ii.
203 ; on terracotta,
454; Etruscan, on terracotta,
272
Orthography of Attic
377
Osco-Samnites,
Oscilla,
ff.,
268
ff.
krater from,
ii.
203
terra-
319
ii.
i.
ii.
103, 483,
ii.
273
483,
i.
ii.
ii.
Cinerary urn
i.
12,
ii.
345
ii.
i.
i.
89
i.
136,
i.
27
171, 194,
ii.
239
of,
i.
202
ff.;
classification,
examples in Greece,
i.
239, 243, 260, 265 ; in Etruria, ii.
2 93? 36 ff.
Roman, ii. 442 ; termination of, in Greece and Italy, i. 487 ff.,
ii. 310,
431 ; and see Vase-paintings,
Vases
219 ff.
earliest
ff.
60, 389
422
379, 420,
i.
46,
69,
inscriptions on,
ii.
ff.,
132,
264,
i.
185,410 ; and see Kotyle
Pandareos, ii. 141
Pandion, sons of, ii. 139
" box "
Pandora, ii. 75
of, i. 152
Panels on vases, i. 160, 169, 221, 356,
Panofka, theories
2 S
of,
i.
149
21,
Rome, date
at
of brickwork,
ii.
338, 360
Panticapaeum, see Kertch
ff.,
127, 195
Tra/oo^ts,
157
i.
i.
270
Paros,
manufacture
413
ff. ; on Boeotian
288; on B.F., i.
239
ii.
194,
i.
Pantheon
541
395, 455
6&pa<f>ov,
i.
103
<5ts,
224
ii.
87
i.
133
Ostracism,
on R.F.,
26, 189
ii.
Pamphaios, potter,
427, ii. 259
245
IlavaQTjval'Kd,
145, 272,
i.
of,
ii.
i62ff.
ii.
ii.
Geometrical vases,
145,
ii.
Ossuaria,
314,
Palmette-pattern,
264
92, 397,
299, 319
375
vases,
Oscan
i.
Palladion, rape
i.
i.
ii.
Palaeography of vase-inscriptions,
of Attic inscriptions, ii. 268 ff.
Palaimon,
ff.,
on
of,
440^,450,455,
471,
influence
ii.
SH. 546
223, 227,
14. 320,
i.
i.
produced,
ii.
i.
228
i.
Parrhasios,
i.
i.
262
450
i.
Ill,
375
lamps,
ii.
i.
21
collection of
408
ii.
418
and
INDEX
Patera^
469
ii.
Patella,
Paternus, potter,
Patina,
ii.
ii.
529
Phiale,
games
for,
ii.
tomb of, ii. 131
131
Patroni on Italian vases, i. 467, 479, 483,
;
ii.
323
Ornamental
i.
of Kypselos,
ii.
ii.
Peleus,
ii.
i.
Pelvis,
421, 438
i.
games
i.
for,
319,
ii.
116
and
cf. ii.
239
Perseus,
51, 139,
26
ii.
67, 189
ff.,
Persians on vases,
i.
64
420,
ii.
on
vases,
Perspective, conventional,
i.
398
450, 470
Pile Cinq-Mars,
ii.
i.
Pinax,
151, 179
ii.
92,
77
260
bos,
ff.
Italian,
470
;
pottery
ii.
170,
i.
194
ii.
112
Phaleron ware,
i.
in-
ff. ;
i.
53
i.
215
i.
379, 384
i.
of,
57,
262
77
ff.,
vases,
ii.
409, 440
ff.,
of,
49,
298
ii.
i.
335,
i.
on
i.
Rhodian,
i.
ii.
i.
vase-subjects,
139, 454,
ii.
comparison
ii.
156
of,
6
ii.
383
217
335
and
249
132
Ui6oiyta,
i.
Pindar quoted,
of,
337
ii.
votive,
Pistillus, potter,
Phaidra,
i.
249
see Pinakes
286, 312; on
on South
Ii
247
84
316,
R.F. vases,
i.
ii.
102, 146
ii.
Pinakes, Corinthian,
ii.
Personifications
254; as
62, 64,
i,
354, 360
Physiognomy, treatment
202 ff.
Pictorial style on vases,
132
112, 195
Persia, vases from, i.
i.
i.
56, 142
ii.
i.
Phylakopi, pottery
Persephone,
259
on lamps,
ii.
90, 199
Cyprus,
Phosphoros, ii. 79
0o6s, meaning of,
Pentheus,
in
Phrynos, potter,
Phthonos, ii. 49
ii.
ii.
160
ii.
Pholos,
113, 195
Penthesileia,
ii.
vases,
421, 428,
i.
ii.
85, 473,
203
414,415, 421
Phoinix, ii. 126, 128
469
ii.
i.
<J>\va.Ks,
143; cup
115,
ii.
357,
Phintias, vase-painter,
500,
186, 391
ii.
Pelops,
81,
ii.
i.
296, 303
Phoenissae of Euripides, scenes from,
"Pelike,"i. 163,411
?rA\a,
139
120, 142
Pelias, funeral
ii.
Phoenicians,
49
42,
Philomela,
124
ii.
Philoktetes,
centre of fabric,
304, 369
i.
Peithinos, vase-painter,
Peitho,
207
ii.
in
ii.
Peirithoos,
and see
Patera
ii.
Peisistratos,
424
i.
140,
398
Phocaea, vases from,
350
ii.
in,
Pediment-style of composition,
Pegasos,
i.
Phobos on
236
used
ii.
tiles
Pavements,
on the chest
340
61,
Parthenon
Phineus, i. 136,
with subject of,
ff.
Patterns, see
i.
142
ii.
Pheidippos, vase-painter,
ii.
Patroklos,
Phaon,
Pheiclias, see
527
456, 468
ii.
579
347
ff.
with
INDEX
5 8o
Pithos,
i.
i.
reliefs,
209, 216
ff.,
292
ii.
496,
with
Etruscan,
ii.
284
ii.
Plastic art,
i.
no
6,
nature of clay,
ff.
and
i.
i.
ir\lv6os, i. 94, 95
Pliny, traditions recorded by,
Pothos,
i.
91, 92,
i.
ii.
80,
90
69,
i.
67, 250,
297
ii.
ff.
at Naukratis,
347
painter,
459,
ff.,
ii.
i.
409, 421,
vases in style
15,
202, 209
Polykleitos,
i.
Polymestor,
ii.
Polyphemos,
112
ii.
at,
367
ii.
342 ff.
mural
reliefs
458;
522, 524
ii.
ii.
441
and
i.
208, 209,
480 ff.
ii.
509
ff.,
522, 526
535
in Britain,
Gaulish,
in
ii.
i.
ii.
Germany,
542
ii.
504,
510,
on mortars,
206
and Neolithic,
ii.
379 ff. ;
on Arretine
ff. ;
7,
Palaeolithic
characteristics of
Greek,
i.
9 ; primitive Greek, i. 64,
206, 237 ff., 256 ff.; Greek terms for,
i.
89 ; use of, in daily life, i. 135 ff. ;
shapes, i. 148 ff., ii. 4581!.; imitations
i.
in,
manufacture, 202
Greek
i.
252,
vases,
i.
ii.
9,
548
ff.,
ff.
ff.
298. 305,
ii.
374 ; statuettes, ii. 375, 378 ; miscellaneous terracotta objects, ii. 387 ;
echea,
406, 423
Praedia on tile-stamps,
222
ii.
ii.
Arezzo,
im;
533
at
in,
170;
ii.
Pomegranate-patterns,
from,
ii.
ware,
Pettier on
136
tiles
ff.,
504,
sites of,
unpainted domestic,
135
ii.
scenes
ff.,
421, 445
i.
ff.
ii.
511 ; list
or stamps of, on terracottas,
of metal
443
vase- painter,
356
ii.
ii.
441
ii.
in Gaul,
on lamps,
Polledrara ware,
119
Kerameikos
213, 216
of,
tile-makers,
480 ff.
89, 233
i.
i.
467
ii.
176
255
i.
of
ii.
ii.
80
49
Greek,
vases,
see
i.
TroSavnrrrip,
Poinae,
ii.
Potteries,
on
i.
portance of fixing
85
ii.
Poculuni)
Poli
TTOT-/IPIOV,
475
ii-
Ploutos,
409
ff.
Porttis
principle in pottery,
98,
490
ii.
26
i.
Portraits
ff.
96
i.
359
i.
vases,
Porcelain vases,
292, 300
Tr\al<riov,
"Pontic"
Gaulish
pottery
at,
ii.
Praefericulum,
Praefumium^
ii.
ii.
355
471
466
i.
256 ff.
Priam, ii. 127, 131, 134
Priapos, potter,
Prices of vases,
the foot,
ii.
i.
i.
147
43
238 ff.
ff.
scratched under
INDEX
Primitive pottery in Cyprus,
Greece, 256
236 ff. ; in
284 ff.
i.
in Etruria,
ff. ;
ii.
167
i.
Processions,
of Paris
irpbxoos,
ii.
Prometheus,
ii.
TrpoTr\a.<TjJ.a.Ta,
ii.
i.
7i7>606<m,
i.
75
as potter,
ii.
ii.
Psiax, vase-painter,
i.
as
i,
wvpoppayris,
Purple, use
"
3",
i.
ii.
ii.
221, 231,
478, 492
308,
i.
Etruscan sarcophagi,
Glaze
vases,
Roman,
sites,
ii.
ii.
529
ii.
154
ff.
i.
from,
441
ii.
ii.
ii.
476,
at,
kilns at,
504, 535
ii.
ii.
mould
potters'
names
i.
57,
302
272
and see
ii.
ii.
380, 383
of,
i. 152;
wine-amphorae and
stamps from, i. 155 typical oinochoe
of, i. 177; Mycenaean vases from, i.
274, 276; Corinthian, i. 311; B.F.
kylikes, i. 357 ; vases with reliefs, i. 497
7ri'0oi
from,
485, 523
Rhodian
tion,
i.
446, 450;
510
ii.
pottery
42
ii.
438 ff,
; and
ii.
pottery,
ii.
glaze,
Roman
Rhesos,
149
254
Python, potter, i. 423, 434
vase-painter, i. 147, 478 ff.,
Pyxis, i. 198, 201, 412, 449 ;
Dodwell
i.
ff.,
ff. ;
potteries of,
Puteoli as vase-centre,
Greek
365
ii.
for details,
300
Roman
119;
i.
ii.
315
ii.
98,
193
Restoration of vases, i. 40, 147
Revels on vases, ii. 182
37 1
Pyrrhos, potter,
i.
terracotta,
ducing, in
on
Red
345;
ptovTa,
215
of,
at Cervetri,
105
i.
tomb
architectural,
appliqu^ at Lezoux,
see Terra sigillata
129
i.
Etruscan imita-
309
ii.
505
ii.
i.
412 ff., ii.
416 ff. ; arrangement
208 ; relation to B.F.,
254
130, 132
of,
369
421, 429
Ptolemies, representations
161, 221,
mural,
Roman,
157
i.
i.
Provincial
Psychostasia,
of subjects on,
343>
157
\f/vKT-f)p, i.
i.
Reliefs,
ii.
ornamentation,
subjects,
Regulini-Galassi
26, 136
142, 459,
241, 251
i.
549
ff.;
tions of,
378
ii.
375, 378
ii.
Ill,
ii.
i.
109
ii.
wares, Cypriote,
plain,
409
234
493
i.
139
ii.
Prokrustes,
Proteus,
178
i.
Prokles, potter,
Prokne,
155
Red
Red-bodied amphorae,
581
124
on
317, 321
pottery,
i.
334,
ii.
i.
333
ff.
ornamenta-
" mixed"
found at Troy,
338
technique of,
i339 > compared with Naukratis, i.
i.
345
ff.
influence
294. 2 95
Rhoikos,
i.
10
on Proto-Attic,
i.
INDEX
5 82
Rhone
valley as pottery-centre,
ii.
Roofs and
440,
Ripanus Tiberinus,
ii.
River-gods,
loos, Nile
194
551
Megarian bowls,
i.
147
pottery,
ii.
442, 445
i.
503,
on
499
i.
ii.
370; on lamps,
tiles in,
ii.
346,
540
compottery, uses of, ii. 387, 455 ff.
pared with Greek, ii. 430, 472 ; limits
of subject, ii. 430 ff. ; extent of use of,
ii- 431, 433, 455,
473. 496 ; development of, from earlier, ii. 43 1 432, 489 ff.
;
ii.
termination
ii.
processes,
432, 495
ii.
of,
433
fesenque
Rutenus, potter (?), ii. 510
Ruvo, vases found at, i. 83
215
486
technical
plain wares,
kilns for, ii. 443
ff. ;
ii.
ff.
centres
shapes and names, ii. 458 ff.
of manufacture, ii. 474 ff ; transition
;
Saguntum
385, 516
clay
328
Salamis
Wroxeter,
ii.
i.
at,
terracotta
79,
at, for
at,
tiles
29
i.
sculpture,
ii.
tiles at,
from,
456, 461
ii.
stamped
ii.
423,
from
553
collections
found
ii.
Rome,
ff.
ii.
Britain,
ii.
352
pottery
use of
314, 372
ii.
ff.
331 ff. ;
evidence
ii.
376
ff.
use of lamps
393, 396 ; as centre of lampfabric, ii. 427 ; echea found at, ii. 457; as
centre for pottery, ii. 477; Arretine
at,
ii.
stamps
at,
ii.
at,
ii.
481
498, 522
ff.
i.
provincial wares
140
repre-
ii.
of,
ii.
479, 499,
of,
ii.
382,
434
lamp from,
496, 500
i.
540^
St.-Remy-en-Rollat, potteries
Germany,
at,
155
as pottery-centre,
vases from,
ii.
ii.
Saeculares on lamps,
in
to provincial wares,
furnace
ii.
use of
villas in Britain,
i.
158; and see
Kertch, Olbia
Rutenian pottery and potters, see Grau-
i.
489,
348
i.
205, ii. 404
vases from,
Russia, collections in, i. 28
i.
60 ; tiles from, i. 101 ; stamped
Rubrica,
Roach-Smith on Roman
ii.
96 ff.,
i.
Roman
ii.
potter,
83,
roof-tiles of terracotta,
vases from,
(Cyprus),
Salmoneus,
ii.
personified,
ii.
82
66, 245
ii.
54
i.
i.
409
143
493
i.
112, 122
\i
Sappho,
from Clazomenae,
i.
Tharros
Sardis, pottery from,
Sarpedon,
ii.
129
i.
64
88
and
ff.
NDEX
Sarteano, vases from,
Saticula, fabric of,
73
i.
484
81,
i.
R.F.,
376
397
Satyric drama, subjects from,
mask
of terracotta,
i.
ii.
161
ii.
Satyrs,
192
ff,
218
ii.
Scale-patterns,
361
i.
i.
435,
no;
6,
168,
ii.
Etruscan,
i.
vase-paintings,
Scutra,
ii.
450
Scythians, on vases,
179
ii.
i.
ii.
25,
314,
ii.
Seasons on mural
Arretine vases,
dialect of (?),
189
on Corinthian
26, 189
reliefs,
368, 370
ii.
488, 493
ii.
on
and see
Spring, Horae
ii.
on lamps,
ii.
Selinus,
412
i.
87
C,
i.
461, 477,
ii.
ii.
511
with vases,
potter,
Tomb
"Severe"
422
style
of R.F. vases,
i.
420,
ff.
ii.
local
ii.
ff.
i.
i.
i.
375
ii.
Sigillaria,
i.
61
of,
i.
ff.
376
ii.
511
forms
379, 422
Gaulish potters,
of
ff. ;
258 ;
271;
Sikelos, vase-painter,
i.
51
at
Thera,
i.
261
Geometrical,
i.
ii.
321, 381,
252
i.
ii.
ff.,
ii.
381,
510; of
391
Mycenaean,
281,
287;
alphabet
395
ii.
522
i.
of,
220, 285,
i.
on Clazomenae sarcophagi,
>
362
at
Kyrene,
i.
342
i.
ii.
ii.
ii.
i.
i.
64
147, 196
ii.
68
165,
350
<7Kd<f>rj, i.
Skiron,
inscrip-
465
Sisyphos,
Situla,
261
109
ii.
i.
204
Sinus,
Sexes, distinction
i.
458 ff. ;
provincial, ii. 500 ff.,
Septimius Secundanus,
i.
302
ff.,
Roman,
100
Silphium
in,
i-
6,
lamp-makers,
Sea-deities,
Selene,
tombs
257
256
vases,
ii.
scape, etc.,
Signatures,
i.
488
ii.
285
ii.
ff.
ii.
198
178; on Dipylon vases, i. 285,
291 on lamps, ii. 417
"
"
Short-hand system of indicating land-
Sigillarius,
470
Scyphi Homerici,
ii.
15,
325
ii.
Ships,
i.
i.
ii.
256
i.
263"
Sculpture, in clay,
Etruscan,
Italian,
School-scenes on vases,
i.
Corinthian,
Proto-Corinthian,
i.
Corinthian,
313,
317;
i.
334 ; Attic B.F., i. 372 ff.
Arretine,
377
ii.
104,
7,
i.
456
i.
485
ii.
of,
308;
Rhodian.
i.
583
ii.
175
109
ii.
and
cf.
464
ii. 264
from Daphnae,
i.
INDEX
584
184
s, i.
Skylla,
Strabo quoted,
i.
198
Smikros, vase-painter,
<T/xT7jUaro0?7/c?7,
259
ii.
421, 440,
i.
etc.,
ii.
personified,
i.
51
Sosias, potter,
457
Southern
191. 410,
i.
421, 445,
Campania,
Lucania, Italy
Spain,
Roman
Sparta personified,
i.
82
ii.
i.
i.
21,
Theban,
ii.
of.
Proto-Attic,
48
Stag-hunts,
3Hff.
457
i.
Drama
483
301
Corinthian,
376
i.
ff.;
.White-ground,
474 ff.
i.
Italian,
;
i.
Etruscan,
Cam-
292, 302,
ii.
i.
pottery,
i.
246
ii.
134,
ii. 512
Sun-dried bricks, i. 89 ff., ii. 33.1, 333
Susa (Persia), vase from, i. 64
ii.
185, 262
ii.
173
from Daphnae,
309
416 ff.
i.
South
panian,
Melian,
i.
Black-figured,
Red-figured,
Swimming-scenes,
165
163, 411
i.
cTci/wos,
296
i.
Proto-Corinthian,
Swallow-scene,
18, 42,
literature,
336
Sumlocene, vases from colony of,
439, 493
ii.
I ff.
Suetonius quoted,
217
ii.
57
i.
loff.
i.
341
i.
interpretation
8; relation to
ii.
Sub-Mycenaean
Spiral patterns,
i.
its uses,
417,
i6ff.
i.
history,
i.
vases,
49
147, 196
ii.
249,
Stackelberg,
50, 134
i.
i.
ii.
pottery in,
Sphinx,
117
its
i.
see Apulia,
Italy,
and see
398
421
Studniczka on Cyrenaic vases,
ii.
421, 439
i.
potter,
4,
of,
Sotades,
ii.
96
i.
Strenae,
37, 171
ii.
85, 91
<T<jj\TJve5 t
i.
of,
Neolithic
ii.
i.
35 2
363
provinces,
ff.
on
amphorae,
ii.
i.
357
ii.
dolia,
155
ff.,
vases,
ii.
ii.
ff.
military,
459
ii.
Taleides, potter,
461
ff.
438
ii.
and
Roman,
ii.
ffTeyaffrrjpes,
ii.
375 ff.
i.
96
Gaulish,
ii.
ff.
10
379
ff.
ii.
on
vases,
185
ii.
53, 451
terra-
144, 160
vases
from,
i.
85
moulds
ff.
272
249
i.
68
ii.
Taras,
ii.
i.
i.
i.
Tantalos,
Tarentum,
79
379, 380
Talos,
for
i.
116
in
on wine-
212
i.
352
i.
ii.
108
242
enamelled
INDEX
Technical
H3ff.
for
processes,
Greek
for
i.
terracottas,
202
i.
vases,
for
ff. ;
lamps,
433
ff.
R.F.,
455
South
\.
Tegulae,
;
351
405, 449;
i.
348
for
340
ii.
96,
ii.
332,
deliciares,
colliciares,
mammatae,
ii.
bessales,
341
ii.
92
67
i.
i.
in Italy,
ff.;
i.
ii.
ii.
methods of manufacture,
378
322
painted panels,
98,
314;
ii.
IOI,
i.
i.
H3ff,
116.
i.
ii.
92,
ii.
i.
i.
495
Tharros,
ware from,
from,
128
i.
88
i.
porcelain
Tereus,
ii.
476, 498 ; provincial,
centres of fabric of, ii. 503
520
ii.
Lezoux,
in
at
barbotine,
ii.
525
at
termination
the
in
508, 526
Terracotta, use
ff.
Rutenian,
529
ii.
495
ii.
497
ii.
;
in
ii.
Britain,
Italy,
Banassac,
526
ii.
for
of,
for tiles,
of,
in
provinces,
ii.
bricks,
i.
ii.
7,
334 ff.
343
ff.;
tombs,
i.
i.
for pipes,
ii.
104,
i.
coin-moulds,
106,
laneous uses,
Greek terms
119,
i.
97
ii.
sculpture
statues,
i.
89
for
for
for im-
models
miscel-
375;
105,
90,
for,
457;
;
387 ff.
invention of
ii.
i.
no;
reliefs,
i.
ii.
ff,
i.
106
ii.
moulding,
118, 146, 201 ;
i.
of,
i.
ff.,
390 ff.
and
modelling
vases
for sarcophagi,
ii.
in,
i.
statues,
349; in
ii.
103,
;
317, 320
ii.
i.
i.
351
i.
Etruria,
109,
ii.
i.
architectural
ii.
371 ff;
317,
318;
statuettes,
211
ii.
139
ff,
19
321,
69
312, 333,
i.
283
ii.
ii.
ii.
299, 319
of,
Thaleia,
Roman,
ii.
Tempera painting,
H2ff,
Etruscan,
use
470
i.
Italian,
bipedales,
i.
White-ground,
i.
585
personified,
of, ii. ii6ff.
Themis,
ii.
ii.
and
82,
see 83
i.
157
470
390
legends
74
Theocritus quoted,
Theodoric, tiles of,
Theokosmos,
i.
ii.
355
ii.
in
92,
Thermon metopes,
i.
OepfAOirbris,
Thersites,
ii.
i.
189
175
i.
92
169. 175
126, 132;
and
see
i.
215
ii.
108
in Crete,
ff. ;
ii.
in
10
Hades,
at
ii.
ii.
Athens,
i.
68,
ii.
ii.
Thracians,
54
120, 130
Thoas,
1 1 1
1 1 1
i.
324 ff.
143
ii.
and
seeii.
166
INDEX
586
Tigranes, potter,
Tiles, Greek,
1
02
i.
Roman, used
335
ff.
ii.
warming,
ii-35o>
ii.
for,
341,
ii.
343
ii.
for
341
332,
for roofs,
342;
346 ff.
ii.
for tombs,
for
Roman
in
332
ornamental,
331
ii.
of,
ii.
varieties
flanged,
342
341
ii.
101,
i.
104
i.
as bricks,
other purposes,
walls in Britain,
"
Trades on vases,
ii.
483
96 ff. ; inscribed,
ii.
used for
pavements,
351; potteries
ii.
ii.
351
ff.,
ii.
169
ff.
i.
471,
ii.
193
Traits reserves, i. 362
Treasury of Gela at Olympia, terracotta
used in, i. 100
.
Trench-tombs
in Etruria,
Trier as pottery-centre,
1
i.
Tpir/prjs,
ii.
ii.
289
86
Triton,
ii.
342, 346, 348, 350, 359, 363
chronological evidence of, ii. 360 ff.
Britain,
Tiryns, finds
at,
i.
ii.
ii.
480, 485
cult of,
on
vases,
i.
143
172,
ff.,
459
ff.,
477, "
158
Tombs, Greek, i. 33 ff.; Cypriote, i. 35.
2 37, 250, 255, 256
in Cyrenaica, i.
;
36
in
in Sicily, i. 37 ; in Italy,
at Athens, i.
Dipylon
i.
37
280
ff. ;
in
a fossa,
ii.
ii.
depicted on vases,
157, 158
ii.
by Roman
potters,
ii.
437
ware,
ii.
i.
227
ii.
107
i.
61, 256,
i.
at,
257
i.
of,
339 ; early
and see 491;
ff..
470
ii.
194
Tudot on Gaulish terracottas,
i.
rpv(3\iov,
Tuguria,
ii.
Tychios, potter,
R.F.,
187
380
ii.
ff.
288
i.
379, 383
418
ff.;
ii.
12,
149
i.
377, 388;
distinction?
of,
on
ii.
ff.
Typhon,
Umbrian
of,
125
ff. ;
on Arretine
489
167
433,
ff.
i.
pottery
Tomb,
rpox^Aaros, of lamps,
Troy, finds
ii.
27, 189
i.
ii.
Troilos,
51
17
Titius, A., Arretine potter,
ii.
Triptolemos,
7,
162
civilisation,
Under-world on
159
see
282
ii.
vases,
i.
types of persons
476,
in,
ii.
Hades
Upchurch ware,
Urceus.
ii.
ii.
546
465
i.
150
ff.
ii.
66 ff.,
192; and
INDEX
Vallisneria spiralis,
Varnish,
405
black,
Vindex, potter,
371,
369,
ff.,
219
i.
379
ff.,
405
ff.,
ff.,
ff.
235
i.
i.
462 ff.,
drama,
ff. ;
ff.;
ii.
I59ff.
ff.
i.
i.
ii.
in
literature
14,
exportations
of, to Italy,
i.
of,
Etruscan origin
18
i.
of,
ff.
and
242
classi-
71
132
ff. ;
uses
ff. ;
antiquity,
i.
manufacture,
of,
i.
147
135
ff.
202
repair of, in
shapes
of,
i.
148
Votive lamps,
of,
ff.
457
ii.
at,
ii.
Veii
at,
(Isola
i.
38,
i.
312,
Farnese), Campana
320 ; vases from,
ii.
ii.
tomb
i.
75
Venice, forgeries
Venus, Gaulish,
wares,
ii.
made
Tomba
pinax,
41
Victors in contests,
Victory, see Nike
ii.
164, 169,
417
at,
i.
284
ff.
i.
292,
138,
ii.
tombs
and see
158; on painted
ii.
of,
on
vases,
i.
297
i.
?),
475, 483,
285,
ii. 218
Weddings, see Marriage
20, 41
i.
Westerndorf, pottery
of,
ii.
potter's,
i.
made
on, in
ii.
ii.
ii.
441
437 ; earliest
Greece, i. 260, 266 ;
patterns,
ii.
290
i.
294, 331,
i.
Romano-British,
vases,
of lamps,
i.
i.
ii.
i.
ff.
395, 403
pottery,
16, 19,
397
553
224, 454
107,
i.
Winckelmann,
520
206,
7,
Wide on Mycenaean
441, 530
i.
156,
397, 454
White-ground
28
ii.
vases,
156
Wave-pattern,
Wicks
Vienne as pottery-centre,
ii.
251
30x3
ii.
Warrior-vase (Mycenaean
White
ii.
i.
Warriors,
vases
385
early
del Duce at,
Vienna, collections
i.
ii.
37, 78,
in Etruria,
on provincial
;
and see Aphrodite
remains at, ii. 284
ii.
507, 508
Vetulonia,
at,
i.
Wedgwood,
522, 539
400
ii.
offerings,
397
Pinax
Warrior, tomb
ii.
primitive,
ii.
51,
see
134
Polledrara
ii.
i.
ii.
314
at,
i.
ff. ;
echea^
i.
on
n,
alleged
79
ff,
i.
tiles,
457
tablets,
i6ff.
i.
of,
23
17,
ii.
and
372;
371,
Volca of Veii,
loff.
ii.
sculpture,
Vivenzio vase,
Greek mythology,
456
ii.
ii-
the
to
of,
i.
522
Greek,
decadence of, i.
to
of,
earliest
relations
487
i.
383, 426
ii.
ii.
Vitalis, potter,
ff.
Vase-painters,
421
219
224
ii.
272,
i.
i.
587
79
i.
i.
276
304 ff.
on
INDEX
588
Winds, ii. 80, 194
Wine-amphorae, i. 154 ff.,
Winged
Witte
figures, $.460,
i.
(J. de),
169
as
of,
of, on vases,
200 ff.
Wrestlers,
ii.
ii.
167
ii.
Dionysos,
35
of Athena,
ii.
40
of
60
ii.
194
ii.
as dancers.
174, 182 ;
1726. ; dress of,
jugglers,
life
ii.
460 ff.
23
Women, games
ii.
ii.
Artemis,
ii.
ii.
163
" 553
Zagreus, ii. 74
Zakro, pottery from,
fripd,
i.
60,
268
179, 200
ii.
Zephyros,
ii.
80
i.
374, 379, 383
Xenophantos, potter, i. 61, 421, 447. 464
Xenotimos, potter, i. 421, 444
%6avov in terracotta, i. no,
122; of
Hera, ii. 21 ; of Apollo, ii. 34 ; of
Printed by Hazellt
IVfti&oti
&
Zethos,
ii.
117
Zeus on vases,
machia,
ii.
ii.
17
13, 14
ff.,
;
188
in
at birth of
GigantoAthena,
ii.
15 ; 'E/Hcetos, ii. 18 ; weighing souls
of heroes, ii. 130, 132 ; on mural reliefs,
ii.
369
on lamps,
ii.
408
441, 471
Zigzag patterns, see Chevrons
Zeuxis,
Viney, Let.,
i.
London and
Aylesbttry.
TORONTO LIBRARY