; "I ■• .. n i'. ■; ' ':^ ■ ,■' -
''SMQUM
y
OF riu '^
ARKESILAOS, KING OF KYRENE, WEIGHING SILPHIUM.
(KYLIX, FROM VULCI.)
Page 192. — Frontispiece.
PBINTEn IN COLOURS BY WII.I.IAM f I.O\VKS AND EONS.
HISTORY
OP
ANCIENT POTTEEY,
EGYPTIAN, ASSYRIAN, GREEK, ETRUSCAN,
AND ROMAN.
By SAMUEL BIRCH, LL.D., F.S.A., Etc.
3HA. JO
NEW AND REVISED EDITION.
WITH COLOURED PLATES AND WOODCUTS.
LONDON:
JOHN MUERAY, ALBEMARLE STREET.
1873.
The right of Translation is reserved.
\0^
oc
-y^i' .•>,
LONDON:
PRINTED KY Wirj.IAM Cf.OWES AND SONS, STAMFOW) STUEKT,
AND CKAKING CROSP.
,r>'^^
I
PEEFACE.
'he present Work was commenced many years ago as
one of a series on the subject of the history of the
Pottery of all nations. It comprises the principal
features in the history of the art, from the most ancient
period till the decadence of the Eoman Empire. In the
Oriental division it embraces the pottery of Egypt and
Assyria — the two great centres of primaeval civilisation.
In classical antiquity it treats on the pottery of Greece
and Eome ; it ends by a concise account of that of the
Celtic and Teutonic nations. A work has been long
required which should embody the general history of
the fictile art of the ancients^ combine the information
scattered through many memoirs and treatises, and give
one continuous account of the rise and progress of this
branch of archaeology. The technical portion of the
subject has been already elaborately treated by M.
Brongniart, and others, and the relation of this art to
literature has been the repeated object of the investi-
gations of the learned for the last two centuries.
The great advance recently made in the science of
archaeology, by the more accurate record of discoveries,
the great excavations made upon ancient sites, the new
light thrown upon the subject by deeper and more
minute examination of ancient authors and inscriptions,
> i 1 4
IV PREFACE.
added to the immense quantity of fictile remains now-
existing in the Museums of Europe, and the collections of
individuals, has given to this branch of the study of
antiquity a more important place than it formerly occu-
pied. To render the work available to those who wish
to pursue the investigation further, the author has added
references to all statements of the principal facts, and
appendices and lists of the most important inscriptions on
vases and other terra-cotta objects. He cannot close his
labours without thanking many friends, and acknowledg-
ing the assistance and information he has received from
several — amongst whom he must name, Miss Cornwallis,
Mr. Layard, Mr. Newton, Mr. Norris, Mr. Dyer, Mr. A, W.
Pranks, Mr. N. E. Hamilton, and Mr. Vaux. To the late
Mr. Bandinel he was also more particularly indebted, as
it was at his suggestion and advice that he undertook
so grave a task. He can only deplore that he was not
spared to aid him by his counsel, and see the completion
of one portion of his great project.
London, Oct. 19, 1857.
PREFACE TO THE SECOND EDITION.
IXTEEN years have elapsed since the first publication
of this Work, and the progress of the knowledge of
ancient Pottery, and discovery of new monuments, have
required considerable additions and corrections to the
former volumes. The two have been condensed into a
single volume, as better suited for the object of the
work ; the headings of subjects, which broke the con-
tinuity of the text, have been omitted, their absence
supplied by a full and exhaustive index. Much addi-
tional matter has been added to the different sections,
and the whole corrected and revised. Reference has
been made to new and important theories, and the
whole subject of ancient pottery brought before the
reader. In archaeology, however, the accumulating
number of facts brought to light by excavations do
not, on the whole, seriously alter the views already
entertained, for there are many repetitions and not
great varieties in the general character of the monu-
ments of ancient art. This law particularly applies to
pottery, many divisions of which have been long since
classed and determined. The criteria remain much the
same ; fabric, contemporary art, palaeography and phi-
lology have already contributed their share to the
solution of the problem of the relative ages of inscribed
VI PKEFACE TO SECOND EDITION.
and painted pottery. Tlie present age, remarkable for
the discovery of the mode of deciphering and reading
languages supposed to be extinct, has opened new
paths of inquiry, and supplied fresh data for the history
of nations which had escaped the world's age. But
although the field of Grreek and Roman archaeology has
been almost exhausted by the labours of the learned for
two centuries, that of civilized Africa and Central Asia
is still far from explored. The same can also be said
of another branch of archaeology which has suddenly
grown into existence, the investigation of the remains
of primitive and ante-historic races, the contemporaries
of a past which possessed no art of writing or of con-
necting the arts they practised with the languages they
spoke. Here the question of the relative date of the
pottery can only be solved by the conditions under
which it is found, and the remains with which it is
associated. These belong to the department of science,
and not of literature, and consequently do not offer so
large a scope for hypothesis or ilhistration. But the
extent of the subjective relations of pottery to all
cognate branches of knowledge is so great that it be-
comes an essential addition to the mythology, history,
and arts of all nations. In conclusion, the best thanks
of the writer are offered to many friends who have
imparted their advice and information, and aided the
revision and correction of the work. Amongst them
he would mention Professor Churchill Babington, Mr.
A. W. Franks, Mr. A. Murray, and Mr. G. Smith.
To his son, Mr. W. de G. Birch, he is indebted for
much assistance in the revision, and the Index which
closes the volume.
CONTENTS.
INTRODUCTION Page 1
PAET I.
EGYPTIAN AND ORIENTAL POTTERY.
CHAPTER I.
Antiquity of the art — Unbaked bricks : material, size, fabric — stamps and in-
scriptions — Figures and other objects in sun-dried clay — Baiced clay ;
red unglazed terra-cotta — bricks— sarcophagi — sepulchral cones — inscrip-
tions—sepulchral figures — sepulchral vasts — Vases for liquids, &c,, pots,
bottles, amphorae — Mode of manufacture — lamps— architectural ornaments —
polished pottery ; red variety Page 7
CHAPTER II.
Glazed "Ware — Analysis — Glaze — Colouring matter — Use of glazed ware in
architecture and inlaying — Vases of various kinds — from the Sarabut El
Khadem — Graeco-Egyptian vases — Inscribed tiles — Toys and draughtsmen
— Amulets — beads — bugles — pectoral plates — scarabaei — Small figures of
the gods — Porcelain finger-rings — Sepulchral figures — Glazed stone vases,
rings, and other ornaments of this material Page 47
CHAPTER III.
ssyrian pottery — Sun-dried clay — Kiln-baked bricks — Inscriptions — Terra-cotta
writings — Unglazed pottery — Terra-cotta figures — Glazed ware — Bricks —
Vases — Enamelled bricks. Babylonian pottery — Sun-dried bricks — Kiln-
baked bricks. Unglazed ware — Babylonian writings — Bas-reliefs and
figures in terra-cotta — Glazed ware —Coffins. Jewish pottery. Phoenician
pottery Page 75
Viu CONTENTS.
PAET 11.
GREEK POTTERY.
CHAPTEE I.
Etymology — Division of the subject — Sun-dried clay — Terra-cotta — Bricks
and tiles — Friezes, &c. — Statues and figures — Colouring — Subjects —
Beliefs — Prices — Cattle Cones — Dolls — Lamps. . . . Page 1 1 2
CHAPTER II.
Greek vases — Casks — Various kinds of vases — AmpliorsB — Stamps _ — Names
of magistrates — Emblems — Knidian^mphorse — Stamps — Thasian amphorae
— Panticapsean amphorae discovered at Olbiu — Bosphoran — Heraclean —
Teuthranian — Sinopean — Korinthian — Miscellaneous — Sepulchral vases.
Page 134
CHAPTER III.
Glazed vases — Number of extant vases — Places of discovery — Tombs — Lite-
rary history — Present condition — Frauds of dealers — Earliest mention of
Greek vases — Ancient repairs — Age — Criteria — Classification of D'Han-
carville — of the Due de Luynes — Pastes — Clays — Sites — The potter's
wlieel — Modelling — Moulding — Moulded rhy ta, phialai, &c. — Painting —
Tools — Colours — Glaze — Furnaces Page 148
CHAPTER IV.
Glazed vases continued — Kise of the art in Greece— Painting of Vases — Earliest
style, brown figures — Second period, maroon figures — Development — Ear-
liest black figures — Doric style — Old style, later^ black figures — Cream-
coloured ground and black figures — Ked figures — Strong style — Fine
style — Florid style — Polychrome vases — Decadence — Mode of treatment
— Progress of painting. Page 179
CHAPTER V.
Glazed vases continued — Subjects — Carved wooden and metal vases — Diffi-
culty of the inquiry — Sources — Various hypotheses — Millingen's division
of subjects — Panofka's division — Compositions embracing entire myths —
Fran9ois vase — Method — Gigantomachia — Subjects with Zeus — Hera —
Athene — Poseidon — Demeter and Kora — Delphic deities, Apollo — Arte-
mis — Hephaistos — Ares — Aphrodite — Hermes — Hestia — Dionysos —
Sileni, Nymphs and Satyrs — Pan — Bacchanals on Lucanian vases — Mar-
syas — Erotes — Charites — Muses — Hygieia — Erichthonius — Kabeiri —
Atlas — Prometheus — Hades — Moirai — Erinnyes — Hypnos — Thanatos —
The Keres — Hecate — Gorgons — Helios — Heos — Nereus — Triton — Glaucos
Pontios — Scylla — Naiads — Personifications Page 221
CONTP]NTS. IX
CHAPTER VI.
Glazed vases — Subjects continued — Heroic legends — The Herakleid — Attic
legends — The Theseid — The Kadmeid — Legend of CEdipus — Various
Theban legends — Myth of Athamas — Legends of Northern Greece — Argo-
nautic expedition — Calydonian boar — Kephalleniac traditions — Bellerophon
— Perseid — Pelopeid — Dioskouri — Kentauromachia — Minotaur — Hyper-
borean legends — Phrygian legends — Orpheus and Eurydice — Troica —
Ante-Homerica — Homerica — Post-Homerica — Unidentified subjects — The
Nostoi — Odyssey — Tclegoniad — Oresteid — Semi-mythic period — Histori-
cal subjects — Religious rites — Civil life — The Palaestra — Pentathlon —
Dramatic subjects — Banquets — War — Immoral scenes — Temples — Ani-
mals — Relation of the subject to Hellenic literature — Homeric poems —
-^thiopika — Cyclic poems — Cypria — Nostoi — Telegonia — Hesiod's poems
— Thebaid — Poems of Stesichorus — Epigrams and fables — Threni —
Oresteid — Emblems, attributes, costume — Expression — Scenery or ad-
juncts Page 251
CHAPTER VII.
Glazed vases continued — Ornaments — Their nature and use — The maiander —
Chequered bands — The fret or herring-bone ^- Annulets — Egg and tongue
ornament — Scales or featliers — The Helix — Antefixal ornament — Wreaths
— Petals — Vine branches — Akanthos leaves — Flowers — Arrangement —
Sources from which the vase-painters copied — Inscriptions — Form of the
letters — Position — Dialects — Orthography — Different kinds of inscriptions
— Names of figures and objects — Addresses — Artists' names — Potters'
names — Laudatory inscriptions — Unintelligible inscriptions — Memoranda.
Page 300
CHAPTER VIII.
Ancient Potters — Athenian Potteries — Names of Potters: Alides — Amasis —
Andokides — Archikles — Bryllos, or Brygos — Kalliphon — Kephalos — Chares
— Chachrylios — Cliairestratos — Charitaios — Kleophradas — Cholchos —
Chelis — Charinos — Deiniades — Doris — Epitimos — Epigenes — Erginos —
Ergotimos — Euergetides — Eucheros — Echekrates — Exekias — Euplironios
— Euxitheos — Glauky thes — Hermaios — Hermogenes — Hechthor — Hieron
— Hilinos — Hischylos — Meidias — Naukydes — Neandros — Nikostlienes —
Oinieus — Pamaphios — Phanphaios — Pamphaios — Philinos — Pistoxenos
— Priapos — Python — Simon of Elca — Smikylion — Sokles — Sosias —
Statins — Taleides — Theoxetos — Thypheitheides — Timagoras — Timandros
— Tlenpolemos — Tleson — Tychios — Xenokles — Xenophantos — Names of
Vase Painters : Ainiades — Alsimos — Amasis - — Aristophanes — Asteas —
Bryllos, or Bryaxis — Klitias — Cholchos — Doris — Euonymos — Epiktetos —
Euplironios — Euthymides — Exekias — Hegias — Hermonax — Hypsis —
Onesimos — Pheidippos — Philtias — Phrynos — Pothinos — Praxias — Poly-
gnotos — Priapos — Psiax — Sosias — Takonides — Timandros — Zeuxiade:?.
Page 333
CHAPTER IX.
Uses of Vases — Domestic use — Vases for liquids : for the Table ; for the Toilet
— Toys — Decorative Vases — Prizes — Marriage Gifts — Millingeu's division
X CONTENTS.
of Sepulchral Vases — Grecian usage — Names and shapes of Vases — The
Pithos — Pithakne — Stamnos — Hyrche — Lagynos — Askos — Amphoreus —
Pelike — Kados — Hydria — Kalpis — Krossos — Kothon — Rhyton — Bessa —
Bomby lios — Leky thos — Olpe — Alabastros — Krater — Oxybaphon — H ypo-
kraterion — Kelebe — Psykter — Dinos — Cliytra — Thermanter — Thermopotis
— Tripous — Holmes — Cliy tropous — Lasanon — Chous — Oinochoe — Prochoos
— Epichysis — Arytaina — Aryballos — Arystichos, aryter, arytis, &c. — Oine-
rysis — Etnerysis — Zomerysis — Hemikotylion — Kotyliskos — Kyathos —
Louterion — Asaminthos — Puelos — Skaphe — Skapheion — Exaleiptron —
Lekane — Lekanis — Lekaniskos — Podanipter — Cheironiptron — Holkion —
Perirhanterion^Ardanion, or Ardalion — Excellence of the Greek cups — The
Depas — Aleison — Kissybion — Kypellon — Kymbion — Skyphos onychionos
— Ooskyphion — Bromias — Kantharos — Karchesion — Kylix — Therikleios —
Hedypotis — Rhodiake — Antigonis — Seleukis — Phiale — Phiale Lepaste —
Akatos — Trieres— Kanoun — Pinax — Phthois — Petachnon — Labronia —
Gyalas — Keras — Vases for Food — Kanoun — Pinax — Diskos — Lekanis —
Paiopsis — Oxis — Embaphion — Ereus — Kypselis — Kyminodokos — Try blion
— Oxybaphon. Page 353
CHAPTER X.
Sites of Ancient Potteries, and where Pottery has been discovered in Asia Minor
— Grecian Islands — Continent of Greece — Athens — Solygia — Sikyon —
Argolis — Delphi — Korinth — Patrai — Megara — Laconia — Corfu — Italy
— Classification of Lenormant and De Witte — Hadria — Modena — Pollenza
— Gavolda — Mantua — Etruria — Vulci — Ponte dell' Abbadia — Castel
d'Asso — Cometo — Toscanella — Chiusi — Orbitello — Perugia — Sarteano
— Volterra — Bomarzo — Orvieto — Veii — Cervetri — Civita Vecchia — Theories
respecting these vases — Arezzo — Selva la Rocca — Sommavilla — Monterone
— Poggia — Central and Lower Italy — Periods — Naples — Cumse — Terra di
Lavoro — Nola — Acerra — Capua — St. Agata dei Goti — Telese — Prin-
cipato Citeriore — Pesto — Eboli — Battipaglia — St. Lucia — Sorrento —
Principato Ulteriore — Capitanata — Basilicata — Anzi — Armeuto — Potenza
— Grumento — Puglia — Polignano— Putignano — Bari — Canosa — Ruvo —
Ceglie — Calabria — Locri — Brindisi — Taranto — Castellaneta — Ischia —
Sicily — Girgenti — Malta — Africa — Bengazi — Naukratis — Alexandria —
Kertch, or Panticapseum — Sites of supposed Egyptian ware — Imitations
and forgeries of Greek vases — Prices Page 386
PAET III.
ETEUSCAN POTTEEY.
CHAPTER I.
Etruscan terra-cottas — Statues — Busts — Bas-reliefs — Sarcophagi — Vases —
Brown ware — Black ware — Red ware — Yellow ware — Painted vases —
Imitations of Greek vases — Subjects and mode of execution — Age — Vases
of Orbitello and Volaterra — Vases with Etruscan inscriptions — Latin in-
scriptions — Enamelled ware — Other sites. . . . . . Page 440
CONTENTS. XI
PART IV.
EOMAN POTTEKY.
CHAPTER I.
Bricks — Lydia — Tetradora — Pentadora — Size — Paste — Use — Houses — Tombs
— Graves — Tiles — Tegulse — Imbrices — Antefixal ornamentation — Tile-
makers — Flue tiles — Wall tiles — Ornamentations — Drain tiles — Tesserae
or tessellsB — Inscriptions on tiles — Stamps — Farms — Manufactories —
Legionary tiles — Devices — Columns — Corbels — Spouts — Friezes.
Page 465
CHAPTER II.
Statues — Signa Tuscanica — Numa — Gorgasus — Cato — Possis and Arkesilaos —
Size — Models — Sigillaria — Festival of Sigillaria — Fabric — Potters — Mis-
cellaneous uses of pottery — Coiners' moulds — Crucibles — Toys — Lamps —
Names — Parts — Shape — Age — Subjects — Great Gods — Marine deities —
Hercules — Fortune — Victory — Foreign deities — Emblems— Poetical subjects
— Fables — Historical subjects — Real life — Games of Circus — Gladiators —
Animals — Miscellaneous subjects — Christian lamps — Inscriptions — Names
of Makers — Of places — Of pottery — Of proprietors — Date of manufactures
— Dedications to deities — Acclamations — Illuminations — Superstitions.
Page 495
CHAPTER III.
Vases — Koman pottery — Paste— Coloui*s — Drying — Wheel or lathe — Modelling —
— Moulding — Stamps — Inscriptions — Furnaces — Construction for glazed
ware — Heat — Smoke kilns — Northampton kilns — Chichester kilns — For gray
ware — Dimensions — Prices — Uses of vases — Transport of eatables — Feet
of tables — Sham viands — Dolia, or casks— Hooped with lead — Eepaired —
Inscribed — Doliarii — AmphorsB — Inscriptions — Memoranda — Use of amphoras
— Size — Makers — Sarcophagi — Obrendaria — Colander — Early use of terra-
cotta vases — Names of sacred vessels — Cadus — Diota — Paropsis — Putina
— Patera — Patella — TruUa — Catinus — Lanx — Scutula — Gabata — Lagena
— Crater — (Enophorum — Urceolus — Poculum — Calix — Cotyle — Scaphium
— Cantharus — Carchesion — Scyphus — Rhyton — Acetabulum — Ampulla
— Guttus — INIatella — 011a — Sinus — Obba — Places where made — Archi-
tectural use Page 525
CHAPTER IV.
Division of Roman pottery : Black — Gray — Red — Brown — Yellow ware — Red
ware — Shapes — Paste — Shapes — False Samian — Paste and shapes — Lamps
of the Christian period — Ollae — Gray ware — Paste — Mortaria — Pelves
— Trullse — Names of makers — Black ware — Paste — Colour — Mode of
ornamentation — Brown ware — Paste — Shapes— Ornamentation. . Page 544
xu CONTENTS.
CHAPTER V.
Glazed Eoman pottery — Proto-Samian — Samian — Crustse — Emblemata — Glaze —
Aretine vases — Polish — Paste — Slip — Lead — Salt — Moulds — Barbotine
— Separate figures — Master-moulds — Dies — Moulds of Cups — Stamps of
Potters — Furnaces and Apparatus — Ornamentations — Use — Kepairs —
Makers — False Samian — Black ware — Glaze — Varieties — Inscriptions —
Sites Page 553
PART y.
CELTIC, TEUTONIC, AND SCANDINAVIAN
POTTEEY.
CHAPTER I.
Celtic pottery — Paste — Fabric — Ornamentation — Size — Shapes — Sepulchral
use — British — Bascauda — Ornamentation — Triangular pattern — Bosses
— Distribution — Scottish — Irish — Type of urns — Ornamentation — Dis-
tribution — Teutonic — Paste — Shape — Hut-vases — Ornamentation and
distribution — Scaudinaviau pottery — Type — Analogy with Celtic . Page 584
APPENDIX ,,600
INDEX ,,615
LIST OF ILLUSTKATIONS.
PLATES.
Arkesilaus, King of Cyrene, Weighing Silpiiium. (From a Cup,
VuLCi.) Frontispiece.
Glazed and Inlaid Tiles from Tel El Yahoudeii Page 50
Terra-Cotta Head of Pallas Athene. (From Calvi.) „ 120
Homer in the Samian Pottery. (From a Painted Greek Vase.) . „ 177
Death of Achilles . „ 193
Revels of Anakreon. (Kylix, Vulci.) „ 200
Birth of Athene. (Pelike, Vulci.) „ 203
Ornaments of Vases „ 306
Elektra at the Tomb of Agamemnon. (Lekythos from Athens.) . „ 395
Bacchante. (Kantharos from Melos.) . ,,396
Ulysses and Polyphemos. (Kylix from Vulci.) = . . . . . „ 409
Athenian Prize Vase. (From near Bengazi.) „ 430
* Parting of Admetos and Alkestis. (Vase from Vulci.) . . . „ 460
No. PAGE
1 Brick stamped with the prseno-
men of Thothmes IIL ... 10
2 Brick from the Pyramid of
Illahoon 10
3 Brick stamp bearing the praeno-
men of Amenophis III. ... 12
4 Bi'ick-making 14
5 Brick arch 15
6 Sepulchral cones . . . . . 18
7 Cone, showing the inscription . 19
8 Embalmer's model coffin ... 22
9 Vase in shape of Tuautmutf . 23
10 Ibis-mummy pot 25
11 Group of plain terra-cotta vases 27
12 Group of vases of unglazed terra-
cotta 28
13 Bottle of unglazed ware, orna-
mented with grotesque head
ofBes 29
14 Pithos, on a stand .... 30
15 Vase for holding oil, in unglazed
terra-cotta 31
16 Pottery. From a tomb at Beni-
hassan 34
17 Painted vase of unglazed ware . 35
18 Painted jug 36
19 Painted vase 36
20 Double cruse of glazed ware . 40
21 Bowl of red polished ware . . 41
22 Jar-shaped vase 41
No. PAGE
23 Bottle of red polished terra-
cotta, in form of a lady play-
ing on a guitar .... 42
24 Gourd-shaped vase .... 42
25 Vase of red terra-cotta, in shape
of a chastodon or latus . . 42
26 Wine jug of polished red ware . 43
27 Fine glazed red ware .... 43
28 Balsam vase of red ware . . 43
29 Bottle in its stand of polished
red ware 44
30 Fragment of a Graeco-Egyptian
cup 44
31 Tile for inlaying, inverted, to
show manner of insertion . . 49
32 Inlaying tile of dark porcelain,
from the Pyramid of Saqqara 49
33 Beard of blue porcelain ... 51
34 Porcelain finger for inlaying. . 51
35 Coffin of Horus ; eyes and beai'd
inlaid with porcelain ... 51
36 Stibium case 52
37 Painter's pallet of blue por-
celain 53
38 Stand for four little vases . . 53
39 Aryballos 54
40 Bowl of blue porcelain, orna-
mented with flowers ... 55
41 Bowl ornamented with fish and
plants 55
XIV
LIST OF ILLUSTRATIONS.
No. PAGE
42 Bowl inlaid with titles of Ram-
eses II 55
43 Draughtsman, of blue porcelain . 56
44 Draughtsman, having the head
of a cat 56
45 Striped ball of blue porcelain . 57
46 Toy in shape of a date of the
doum-palm 57
47 Toy or ornament, in blue por-
celain, in shape of an egg . . 57
48 Beads in shape of fruit and
flowers 60
49 Pectoral plate from a mummy . 60
50 Kabhsenuf, from a bead work . 62
51 Tauti (Thoth) 63
52 Taur (Thoueris) 63
53 Tauti (Thoth) 63
54 Porcelain finger-ring .... 65
55 Ring of red porcelain, with the
name of Ankhutamen, of the
18th dynasty 65
56 Sepulchral figure 67
57 Porcelain sepulchral figure in
shape of a mummy ... 67
58 Sepulchral figure with slab be-
hind 67
59 Sepulchral figure of the 19th
dynasty 68
60 Sepulchral figure of the 20th
dynasty 68
61 Vase of glazed schist bearing
name and title of Thothmes I. 70
62 Scarabseus of glazed steaschist
set in a signet ring . . .71
63 Hexagonal prism, inscribed with
the records of a king's reign.
From Kouyunjik .... 79
64 Terra-cotta tablet sealed by a
cylinder 80
65 Inscription of edge of No. 67 . 80
66 Terra-cotta tablet impressed with
seals . 81
67 Terra-cotta tablet with seals . 81
68 Seal from Kouyunjik ... 82
69 Seal from Kouyunjik ... 82
70 Inscribed seal from Kouyunjik . 83
71 Seal of Sabaco and Sennacherib . 83
72 Egyptian seal, enlarged ... 83
73 Egyptian seal 83
74 Back of seal, with marks of coi'ds
and fingers 83
75 Small heai't-shaped vase. . . 84
76 Bowl covered with a coating and
polished 84
77 Group of Assyrian vases . . , 85
78 Lamp from Nimrud .... 86
79 Bowl with Chaldee inscription . 86
80 Bowl with Hebrew inscription . 86
81 Bowl with Syriac inscription . 86
82 Stamp on a vase, apparently Sas-
sanian .87
No. PAGE
83 Terra-cotta figures of Assyrian
Venus 87
84 Terra-cotta dog. From Kou-
yunjik 88
85 Blue corbel 89
86 Vase discovered in tombs of the
central mound at Nimrud. . 91
87 Brick stamped with the name of
Nebuchadnezzar .... 94
88 Birs Nimrud, restored ... 95
89 The Mujellibe or Kasr ... 96
90 Terra-cotta horn 98
91 Bas-relief of man and dog . .103
92 Glazed Aryballos 104
93 Supposed Sassanian coffin . , 105
94 Cover of coffin 105
95 Supposed Sassanian coffin . . 106
96 Terra-cotta model of a coffin . 106
97 Interior of inscribed bowl . . 108
98 Cruse of polished ware . . . 109
99 Cornice with lion's head . . .116
100 Spout in shape of the forepart
of a lion 116
101 Terra-cotta figure of Pallas
Athene 122
102 Coloured figure of Aphrodite . 125
103 Cones. From Corcyra . . .129
104 Terra-cotta doll, from Athens . 130
105 Pithos of Diogenes .... 135
106 Stamped handle of Amphora . 136
107 Rhodian stamp. Head of Apollo
Helios 137
108 Rhodian stamp. Rose . . .137
109 Cnidian lozenge-shaped label . 139
110 Cnidian square label . . . 139
111 Circular stamp with bull's head 142
112 Painted kernos 147
113 Tomb at Veii, containing vases 149
114 Tomb of Southern Italy, with
vases 150
115 Tomb of Southern Italy, with
skeleton and vases .... 151
116 Potter moulding the handle of
a cup 165
117 Situla, with stamped ornaments 165
118 Moulded phiale omphalotos —
chai'iots of gods . . . .168
119 Askos, moulded lion's-head spout 168
120 Early moulded vase, in shape of
Aphrodite 169
121 Fragment, prepared for painting
the background .... 172
122 Diota of the earliest style . . 180
123 Kylix of the earliest style . .180
124 (Enochoe of the earliest style . 182
125 Two-handled vase with lions . 184
126 (Enochoe, showing animals and
flowers 185
127 Group of vases of Archaic style,
exhibiting the principal shapes 186
128 Aryballos, lions and flower . 187
LIST OF ILLUSTRATIONS.
XV
No. PAGE
129 Cover of vase, with boar hunt . 188
130*Animals, from the wall paintings
at Veil . . . . • . . .189
131 Men and animals, from the wall
paintings at Veii .... 190
132 Scene of water-drawing from a
hydi'ia 195
133 ^neas bearing off Anchises . 196
134 Imbrex of the old style . .197
135 Kylix, with Gorgon and eyes . 200
136 Interior of a Kylix, Peleus and
Thetis 201
137 Departure of Achilles . . .204
138 Last night of Troy . . . .206
139 Last night of Troy . . . .207
138tlncised inscriptions on vases , 331
140 Stamnos 360
141 Askos 360
142 Bacchic amphora .... 362
143 Hydria 364
144 Kalpis 364
145 Skyphos, or Kothon . . . 365
146 Rhyton ,.-.... 365
147 Bombylios 366
148 Lekythos 366
149 Olpe 366
150 Alabastron 367
151 Alabastron 367
152 Holmos 368
153 Kelebe 368
154 Krater 369
155 Oxybaphon 369
156 Krater with Volute handles . 369
157 Prochoos 372
158 Prochoos 372
159 Aryballos 373
160 Aryballos 373
161 Epichysis ...... 373
162 Late Aryballos or Lekythos . 373
163 Kotyliskos 375
164 Kyathos 376
165 Kyathos 376
166 Kantharos 380
167 Karchesion 380
168 Early kylix 381
169 Later kylix 381
170 Late kylix . . . . . .381
171 Early kylix with black figures . 382
172 Jar of enamelled ware, Vulci . 433
173 Lekythos, Triumph of Indian
Bacchus 438
No. PAGE
174 Etruscan female bust. Vulci . 443
175 Tugurium vase from Albano . 446
176 Group of vases, one in shape of
a hut, from Albano . . . 447
177 Cone. Vulci 448
178 Vase with moulded figures and
cover. Vulci 449
179 Oinochoe of black ware . . . 450
180 Tray, or table of vases of black
ware. Chiusi 451
181 Oinochoe of black ware, Perseus
and the Gorgons .... 453
182 Painted ostrich egg. Vulci . 455
183 Etruscan Kanopus of terra-cot ta 457
184 Flange tile, London .... 469
185 Flue tile ornamented . . . 476
186 Stamp on tile 481
187 Lamp, crescent-shaped handle . 506
188 Lamp, with bust of Serapis . 506
189 Group of lamps 507
190 Mould of a lamp . . . .509
191 Lamp: Mercury, Fortune, and
Hercules 512
192 Lamp, Games of the Circus. . 516
193 Lamp, Monogram of Christ . 518
194 Lamp with golden candlestick . 518
195 Foot of Lamp, with name of
Secular Games 522
196 Dolium containing body . . 532
197 Terra-cotta amphora . . . 533
198 Proto-Samian cup with an Ama-
zonomachia, in relief. From
Athens 554
199 Patina of Aretine ware . . . 558
200 Ciborium of red Saniian ware,
with the name of Divix . . 561
201 Master mould, with the name of
the potter Liber .... 564
202 Fragment of a mould found near
Mayence 564
203 Vase of red Samian ware, orna-
mented with arabesques . . 567
204 Cups of black ware .... 574
205 Group of vases of inscribed black
ware 577
206 Cup of black glazed Castor ware 578
207 Group of British vases. The one
in the centre is that of Bronwen 587
208 Anglo-Saxon Urn from Norfolk 593
209 Group of German hut-shaped
vases 595
From Mr. Dennis's well-known work 'The Cities and Cemeteries of Etruria,' from which
are also taken No. HI, and No. 155. A few cuts are also from Sir G. Wilkinson's 'Manners and
Customs of the Ancient Egyptians,' and Mr. Layard's ' Nineveh and its Babylon.'
INTRODUCTION,
To trace the history of the art of working in clay, from its rise
amongst the oldest nations of antiquity till the period of the
decline of the Roman empire, is the object of the present
work. The subject resolves itself into two great di\isions,
which have eno:a2:ed the attention of two distinct classes
of inquirers ; namely, the technical - or scientific part,
comprising all the details of material, manipulation, and
processes ; and, secondly, the historical portion, which embraces
not only the history of the art itself, and the application of
ancient literature to its elucidation, but also an account of the
light thrown by monuments in clay on the history of mankind.
The inquiry, therefore, is neither deficient in dignity, nor
limited to trifling investigations, nor rewarded with insignificant
results. A knowledge of the origin and progress of any branch
of art must always be of immense importance to its future
development and improvement ; and this is particularly true
of the art of working in clay, both from its universal difi'usion,
and from the indestructible nature of its products.
It is impossible to determine when the manufacture was
invented. Clay is a material so generally diffused, and its
plastic nature so easily discovered, that the art of working it
does not exceed the intelligence of the rudest savage. The
baking of it, so as to produce an indestructible tenacity, must
have been a great stride in the art, and was probably discovered
by accident rather than by design. In few countries is the
condition of the atmosphere such that objects of sun-dried clay
can survive a single winter; and, however applicable to the
purposes of architecture, such a material was unavailable foj:
vessels destined to hold liquids. Egypt, Assyria, and Babylonia,
the triple cradle of the human race, have alone transmitted to
posterity the sun-dried products which represent the first efforts
of the art.
4^
I INTKODUCTION.
From the necessity for symmetrical buildiogs arose the
invention of the brick, which must have superseded the rude
plastering of the hut with clay, to protect it against the sun or
storm. In the history of the Semitic nations, of the Baby-
lonians, and of the Phoenicians, the brick is classed amongst
the earlier inventions of the art, and has descended, with various
modifications, from the building of the Tower of Babel to the
present day. It is essential that bricks should be symmetrical,
and their form is generally rectangular. From their geometri-
cal shape, they have preserved the canon of ancient measure ;
while the various inscriptions with which they have been
stamped have elevated them to the dignity of historical monu-
ments. Thus the bricks of Egypt not only afford testimony tOx
the truth of Scripture by their composition of straw and |
clay, but also, by the hie^'oglyphs impressed upon them,
transmit the names of a series of kings, and testify the existence
of edifices, all knowdedge of which, except for these relies,
would have utterly perished. Those of Assyria and Babylon,
in addition to the same information, have, by their cuneiform
inscriptions, which mention the locality of the edifices for which
they were made, afforded the means of tracing the sites of an-
cient Mesopotamia and Assyria with an accuracy unattainable
by any other means. AVhen the brick was ornamented, as in
Assyria, with glazed representations, this apparently insignificant,
but imperishable object, elevated to the rank of a work of art,
has confirmed the descriptions of the walls of Babylon, which
critical scepticism had denounced as fabulous. The Eoman bricks
have also borne their testimony to history. A large number of
them present a series of the names of consuls of imperial
Rome ; while others show that the proud nobility of the eternal
city partly derived their revenues from the kilns of their Cam-
panian and Sabine farms.
Fronj the next step in the progress of the manufacture, namely,
that ofSnodelling in clay the forms of the physical world, arose
the plastic art ; to which the symbolical pantheism of the old
world gave an extension almost universal. Delicate as is the
touch of the fi.nger, which the clay seems to obey, and even by
its servility to comprehend the intention of the potter's mind,
yet certain I'orms and ornaments which require a finer point than
the nail, caused the use of pieces of horn, wood and metal, and
thus gave rise to the invention of tools. But modelling in clay
was soon completely superseded by sculpture in stone and metal.
INTRODUCTION.
L.
^■enabling the sculptor to elaborate his first conceptions in a
^p material which could be modified at will; and that of pro-
ducing in a small form, and in a rapid and cheap manner, for
popular use, copies of the masterpieces of ancient art. The
invention of the mould carried this last application to perfection,
and the terra-cottas of antiquity were as numerous and as cheap
as the plaster casts now sold by itinerants.
The materials used for writing on have varied in different
ages and nations. Among the Egyptians slices of limestone,
leather, linen, and papyrus, especially the last, were universally
employed. The Greeks used bronze and stone for public monu-
ments, wax for memorandums, and papyrus for the ordinary
transactions of life. The kings of l*ergamus adopted parch-
ment, and the other nations of the ancient world chiefly
depended on a supply of the paper of Egypt. But the Assyrians
and Babylonians employed for their public archives, their
astronomical computations, their religious dedications, their
historical annals, and even for title-deeds and bills of exchange,
tablets, cylinders, and hexagonal prisms of terra-cotta. Some
of these cylinders, still extant, contain the history of the
Assyrian monarch, Tiglath-Pileser Assurbanipal, and the cam-
paign of Sennacherib against the kingdom of Judah ; and others,
exhumed from the Birs Nimrud, give a detailed account of the
dedication of the great temple by Nebuchadnezzar to tbe seven
planets. To this indestructible material, and to the happy idea
of employing it in this manner, the present age is indebted for
a detailed history of the Assyrian monarchy ; whilst the decades
of Livy, the plays of Menander and the lays of Anacreon, con-
fided to a more perishable material, have either wholly or partly
disappeared amidst the wreck of empires.
The application of clay to the making of vases probably soon
caused the invention of tbe potter's- wheel, befoi'e which period
only vessels fashioned by the hand, and of rude unsymmetrical
shape, could have been made. But the application of a circular
table or lathe, laid horizontally and revolving on a central
pivot, on which the clay was placed, and to which it adhered,
was in its day a truly wonderful advance in the art. As the
wheel spun round, all combinations of oval, spherical, and
cylindrical forms could be produced, and the vases became not
only symmetrical in their proportions, but true in their capacity.
The invention of the wheel has been ascribed to all the fzreat
B 2
4 IN^i'RODUCTION.
nations of antiquity. It is represented in full activity in the
Egyptian sculptures ; it is mentioned in the Scriptures, and was
certainly in use at an early period in Assyria. The Greeks and
liomans have attributed it to a Scythian philosopher, and to
the States of Athens, Corinth, and Sicyon, the three great
rivals in the ceramic art. The very oldest vases of Greece,
some of which are supposed to have been made in the heroic
ages, bear marks of having been turned upon the wheel.
Indeed, it is not possible to find any Greek vases except those
made by the wheel or by moulds ; which latter process was
applied only at a late period to their production.
Although none of the very ancient kilns have survived the
destructive influence of tinip, yet among all the great nations
baked earthenware is of the hi<^iest antiquity. In Egypt, in
the tombs of the first dynasties,- vases and other remains of
baked earthenware are abundantly found ; and in Assyria and
Babylon, the oldest bricks and tablets have passed through the
furnace. One of the poems of the Homeric age, addressed to
the Samian potters, details in heroic bombast the baking of
earthenware. The oldest remains of Hellenic pottery, whether
in Asia Minor, as at Sipylus, in the Isles as at Thera, or in
the Peloponnese, as at Mycenae, owe their preservation to their
having been subjected to the action of fire. To this process, as
to the consummation of the art, the other processes of preparing,
levigating, kneading, drying, and moulding the clay, must have
been necessary preliminaries.
The desire of rendering terra-cot ta less porous, and of pro-
ducing vases capable of retaining liquids, gave rise to the
covering of it with a vitreous enamel or glaze. The invention
of glass ha.s been hitherto generally attributed to the Phoeni-
cians : but opaque glasses or enamels, as old as the Eighteenth
dynasty, and enamelled objects as early as the Eourth, have been
found in Egypt. The employment of copper to produce a bril-
liant blue-coloured enamel was very early both in Babylonia
and Assyria, but. the use of tin for a white enamel, as recently
discovered in the enamelled bricks and vases of Babylonia
and Assyria, anticipated by many centuries the rediscovery of
that process in Europe in the fifteenth century, and shows the
early application of metallic oxides. This invention apparently
remained for many centuries a secret among the Eastern nations
only, enamelled terra-cotta and glass forming articles of com-
mercial export from Egypt and Phoenicia to every part of the
INTRODUCTION. 5
Mediterraneai). Among the Egyptians and Assyrians enamel-
ling was nsed more frequently than glazing, and their works
are consequently a kind of fayence consisting of a loose frit or
body, to wliicli an enamel adheres after only a slight fusion.
After the fall of the Koman Empire, the art of enamelling
terra-cotta disappeared amongst tlie xirab and Moorish races,
who had retained a traditionary knowledge of the process. The
application of a transparent vitreous 'coating, or glaze, over
the entire surface, like the varnish of a picture, is also refer-
able to a high antiquity, and was universally adopted either
to enhance the beauty of single colours, or to promote the
combination of many. Innumerable fragments and remains
of glazed vases, fabricated by the Greeks and Eomans, not only
prove the early use of glazing, but also exhibit in the present
day many of the noblest efforts of the potter's art.
In the application of form in art, the Greeks have excelled
all nations, either past or present. The beauty and simplicity
of the shapes of their vases have caused them to be taken as
models for various kinds of earthenware ; but as every civilised
people has received from other sources forms sanctioned by
time, and as many of the Greek forms cannot be adapted to
the requirements of modern use, they have not been servilely
imitated. Yet, to every eye familiar with works of art of the
higher order, the cleverest imitations of nature, and the most
elegant conceits of floral ornaments, whether exhibited in the
efforts of Oriental or European potters, appear coarse and
vulgar when contrasted with the chaste simplicity of the Greek
forms.
By the application of painting to vases, the Greeks made
them something more than mere articles of commercial value
or daily use. They have become a reflection of the paintings
of the Greek schools, and an inexhaustible source for illus-
trating the mythology, manners, customs, and literature of
Greece. Unfortunately, very few are ornamented "with his-
torical subjects; yet history receives occasional illustration from
them ; and the representations of the burning of Croesus, the
orgies of Anacreon, the wealth of Arcesilaus, the tributes of
Darius, and the meeting of Alcaeus and Sappho, lead us to hope
that future discoveries may offer additional examples.
The Ehapsodists, the Cyclic poets, the great Tragedians, and
the writers of Comedy, can be amply illustrated from these
remains, which represent many scenes derived from their, im-
6 INTEODUCTION.
mortal productions ; and the obscurer traditions, preserved by
the scholiasts and other compilers, receive unexpected eluci-
dation from them. Even the Roman lamps and red ware,
stamped with subjects in relief, present many remarkable repre-
sentations of works of art, and many illustrations of customs
and manners, and historical events ; such as the golden candle-
sticks of the Jews borne in the triumph of Titus, the cele-
bi'ation of the saecular games, and the amusements of the
Circus and Amphitheatre.
PART I.
EGYPTIAN AND ORIENTAL POTTERY.
CHAPTER I.
Antiquity of the art — Unbaked bricks : material, size, fabric ; stamps and in-
scriptions — Figures and other objects in sun-dried clay — Baked clay ; -
red unglazed terra-cotta ; bricks ; sarcophagi ; sepulchral cones ; inscrip-
tions ; sepulchral figures ; sepulchral vasfS — Vases for liquids, &c., pots,
bottles, amphorae — Mode of manufacture ; lamps ; architectural ornaments ;
polished pottery ; red variety.
The inquiry must commence with Egypt, since the earliest
specimens of the art belong to that country, and are of a period
when Central Asia offered no material proofs of civilisation.
There is a gulf of several centuries between the Pyramids
and the palaces of Nimroud, while all that can be traced of
Babylon belongs to an age not more ancient.
The term Pottery is supposed to be derived from tlie French
j)oterie, which comes from the Latin jpoterium, a cup or drinking-
vessel — originally made of clay, whence it was extended to all
kinds of earthenware.^ In Egypt the art of pottery is attri-
buted, like the other arts and sciences, to the invention of the
gods ; an unequivocal proof that it was in use before tlie his-
torical period. Thus Thoth, or Hermes, taught man speech
and writing ; Neith, the use of the loom ; Athor, music and
dancing ; Anubis, the craft of the embalmer ; Isis, husbandry ;
Osiris, the method of making wine ; whilst Num, the directing
spirit of the universe, and oldest of created beings, first exer-
cised the potter's art, and moulded the human race on his
wheel. He had previously made the heavens and the earth
^ riautus, Stich, v. 4, 11 ; Trin. iv. o, 10.
8 EGYPTIAN AND ORIENTAL POTTERY. Pakt I.
the air, the liills and streams, wlience sprung the terrestrial
gods ; and hung the sun and moon betwixt " the green sea
and the azure vault," which Phtha, the artisan-god, had
formed upon his lathe in tlie shape of an egg. Man was
the last of his productions, whom he modelled out of the dark
Nilotic clay, and into whose nostrils he breathed the breath
of life.
There is evidence that the existence of earthen vessels in
Egypt was at least coeval with the formation of a written
language. Several hieroglyphs represent various kinds of ves-
sels of red earthenware ; and these signs date from the remote
j^eriod of the Third and Fourth dynasties, whose epoch may be
placed between B.C. 3000-2000. In sepulchres of the Fourth
and subsequent dynasties earthenware vessels are represented
as employed for the ordinary purposes of domestic life ; as jugs
for water and other liquids ; jars for wine and milk ; deep pans
or bowls to serve up dressed viands ; and conical vessels on
stands, round which is twined the favourite or national flower,
the lotus. And numerous small cups of burnt red clay have
been found in the debris of the tombs of the Fourth, Fifth,
and Sixth dynasties at Sakkarah. A series of monuments
enables us to trace the development of the art from this
period to that of the Roman empire ; whilst the manner in
which it was exercised is practically illustrated by abundant
specimens of many kinds of pottery. Vast mounds, or
monies testacei, which lie around the ruined cities and
temples, mark at once their former magnificence and grandeur,
and the extraordinary abundance of the produce of this art.
Unfortunately neither these remains, nor the vases found in
the tombs, have been examined and classed with that scientific
accuracy which the subject deserves. The hieroglyphs are
our principal guide, which give, within certain limits, the
date of every inscribed specimen. These become the data
for determining the age of vases, the paste of which is of
similar composition, and the type and ornaments of the same
kind.
The art of making bricks, which appears to have preceded
that of vases, is so intimately connected with it, that it is
necessary to give some account of the principal varieties of
bricks. In general they are rectangular plinths, curved forms
being very rarely found in Egypt. The greater portion of
them is made of unbaked clay, mixed with various substances
Chap. I.
SUN-DRIED BRICKS.
9
to bind it together. They were called in hieroglyphs teha, the
same word as a box or chest, probably derived from the small
wooden box or mould from which they were turned out. In a
climate like that of Egypt, wliere rains fall only four or five
times, at most, during the year, such bricks sufficed to resist
the weather, and retained their shape for centuries. Extensive
ruins of edifices constructed of them are found in all parts of
the country. The pyramids of Dashonr, Illahoon, Hovvara, Aboo
Koash, Drah Aboo Nagger ;^ the walls of Sais ; the fortresses at
Samneh, Contra Pselcis, Hieraconpolis, Abydos, and El Haybeh ;
those at the edifice called the Memnonium of Thebes ; several
private tombs, and the great wall which enclosed Egypt on the
eastern side, extending a distance of 1500 stadia from Pelusium
to Heliopolis, as well as the wall built by Sesostris across Egypt
(now called the Gisr-el Agoos), and a chapel at Ekmin^ or
Chemmis, are constructed of them. The Fayoom and the Delta,
which abounded with rich alluvial soil, and which are remote
from the principal quarries, must have presented, at the most
ancient period of the national history, the appearance of a vast
brick-field. The mud brought down by the river was particu-
cularly adapted for bricks and pottery :, when analysed, it has
been found that about one-half is argillaceous earth, one-fourth
carbonate of lime, while the residue consists of oxide of iron,
carbonate of magnesia, and water. Close to the river's banks it
is much mixed with sand, which it loses in proportion as it is
carried by the water farther from them, so that at a certain
distance it consists of pure argil, or clay, which, at the present
day, forms excellent bricks, tobacco-pipes, terra-cotta, and
stucco.^ Some of the earliest bricks were undoubtedly those
made for the various brick pyramids, although it is not possible
at present to determine the relative antiquity of all these
edifices. Several, however, are tombs of monarchs of the
Twelfth dynasty ; and at the period of the Eighteenth, the
sepulchres were tunnelled in the rocks. These bricks are all
parallelopipeda, of Nile-mud or clay, of a dark loamy colour,
held together by chopped straw, either of wheat or barley, or
else by means of broken fragments of pottery. They were
^ Vyse, Journal, i. 9, 91 ; iii. 58.
^ Sir G. Wilkiilsou, in the Proceed.
Roy. Soe. Lit. vol. iv. p. 94 ; 'Manners
and Customs,' i. 105.
^ Malte Brun, iv. 26. The analysis
(Descr. de I'Egypte, folio, Paris, 1812,
torn. ii. p. 406) gives the following re-
sults : — Alumina, 48; carb. lime, 18;
carb. magn. 4 ; silica, 4 ; ox. of iron, G ;
carbon, 9; water 11 = 100.
10
EGYPTIAN AND ORIENTAL POTTERY.
Paut I.
made by the usual process, and stamped out with a square box.
All the bricks in the same pyramid are of the same size.
MAJTr/MS'
No. 1. — Brick stamped with the pra;-
noraen of Thothtnes \\l.
No. 2.— Brick from the Pyramid of
lUaboon.
Unburnt bricks were found in the joints near the foundation
of the third pyramid of Gizeh, built by Mycerinus, of the
Fourth Memphite dynasty, and others near the building-, some
of which were 20 inches long. Those in the pyramid at
Aboo Roash had no straw. The bricks of the pyramid at Saq-
qara had only a little straw on the outside. The pyramid of
Howara was built of bricks, measuring 17^ inches long, 8f
inches wide, 5^ inches thick, and containing much straw. That
at Illahoon was also made of bricks composed of straw and
Nile-mud, 16f inches long, 8f inches wide, and 5J inches thick.
The Northern pyramid of Dashour, which seems, from the
fragment of the construction there found, to have been the
sepulchre of a monarch of the Twelfth dynasty, was built of
bricks, from A.\ inches to 5 J inches thick, 8 inches wide, and 16
inches long. Particular marks were found among them accord-
ing to their quality, whether formed of alluvial soil only, or of
sand mixed with alluvial soil in two different proportions;
others were mixed with straw, and many curious organic and
inorganic remains, which have been investigated under the
microscope,^ and made of a dark tenacious earth. This is,
perhaps, the pyramid, the bricks of which were said in the
1 Vysc, Journal, i. 193; iii. 9, 39, 62, 70, 81, 83.
Chap. I. SUN-DlllED BRICKS. 11
legend to be formed of the mud deposited by the Nile in
the Lake Moeris.^ Those of the Southern pyramid at Dashour
measured 15^ inches long by 7| inches wide, and 5-| inches
thick, or ISJ inches long by 6^ inches wide, and 4^ inches
thick, and contained a great deal of straw. Most of them had
been made of rnbbisli, containing broken red pottery and pieces
of stone. The kinds were distinguished by various marks made
with the finger on the brick before it was dry. In one instance
this seems to have been effected by closing the fingers and
dipping their points into the clay. Bricks of this class were
made from the time of the Eighteenth and Nineteenth dynasties
till about the tenth century before the Christian era. In general
proportions the width was twice and the length three times
the thickness.
I am enabled, through the kindness of Mr. Perring, the
opener of the pyramids of Gizeh, to give some additional par-
ticulars. In sending me the tracings of fourteen bricks, found
near the Memnonium at Thebes, he observes, that there are at
that spot a number of brick arches from twelve to fourteen feet
span, built of crude bricks in concentric rings, and well and
scientifically formed. Five of these bricks bear the prsenomen
of Thothmes III., a monarch of the Eighteenth ^ dynasty, who
reigned about B.C. 1440 ; two are 5^ inches, and three 5 inches
thick. It is probable that they were made about one cubit
long, which measures 1*713 English feet.
In the time of the Eighteenth dynasty bricks were impressed
with a stamp on which certain hieroglyphs were cut in
intaglio, so as to present them in relief on the surface of the
brick. One of these stamps, of an oval shape, bearing the name
and title of Amenophis III. ; ^ another, like a cartouche sur-
mounted by feathers, but with an illegible inscription,^ and a
square one, for bricks for the granaries of the temple of
Phtha,^ are in the national collection. The earlier, or oval,
impressions are about 4 inches long by 2 inches wide ; but the
square inscriptions are 6^ inches long by 2J- inches wide. The
object of this stamping was to mark the destination of the
bricks. The stamps are not, as some have supposed, any proof
^ Professor linger in the ' Athenseum,' 684-5.
1866, pp. 119-120. 3 Egyptian Room, No. 5993 ,• Wil-
2 Lepsius, ' Einleituug/ s. 29, found kinson, ' Manners and Customs,' ii. 97.
bricks here of Rameses II. ' Revue * Egyptian Room, No. 5994.
Archeologiquc,' 8vo, Paris, 1844, pp. ^ Ibid., No. 5995.
12
EGYPTIAN AND ORIENTAL POTTERY.
Part 1.
of an ancient Stamp Act. Two of them, indeed, bear the name
of a deceased high-priest of Amen Ka, the Theban Jupiter ; but
this only shows that they were destined for
his tomb, and does not imply that the stamp
was used for fiscal purposes. Other bricks
from the vicinity of Thebes are impressed
with the prsenomens and names of the
monarchs, Thothmes I.^ and 11.^ and III.,^
Amenophis II.,* Thothmes IV.,^ and Ame-
nophis III.,^ of the Eighteenth dynasty ; of
Eameses II.,' of the Nineteenth ; of the
high-priests of Amen Ra, named Ptah-
meri,^ Parennefer, and Rum a ; ^ and of
Paher, a nomarch, governor of the country.
This last functionary was the son of a high-
priest of Amen Ra, named Nebenneteru,
surnamed Tenruka.^" Phtha Meri is called
the blessed of Phtha-Socharis-Osiris, the
tutelary god of Memphis. Other bricks
bear the name of Khonsu, or Chons, scribe
of the royal treasury .^^ Those which bear the names of kings
appear to have been destined for the public works ; while the
others, with the names of simple functionaries, were apparently
used for private houses or tombs. Some bricks of a very
interesting^^ kind were also found at Medinat El Giahel,
between Luxor and Abadieh, on the right bank of the Nile, a
few miles below Girgeh, among the remains of the old Egyptian
city of Tanis or Zoan. They were of the usual dimensions, and
made of sand and stone, mixed with straw and clay, and stamped
with the name of Hesiemkheb, the last ruler of the Twenty-first
or Tanite dynasty, chief governor of the city of Tan, or Tanis,
No. 3.— Brick stamp bear-
ing the praBnomen of
Amenophis III.
^ Egyptia-i Room, No. 6009.
2 Ibid, No. 6010; Prisse, Mon. Eg.,
PI. 23, No. 15, from the Necropolis of
Thebes.
3 Ibid , No. 6011-1.3, Prisse, Mon.
Eg., PI. 23, Nos. 10-13, from the Valley
of the El Assasif ; Vyse, Journ,, i. 89.
4 Ibid., No., 6014.
^ Ibid., No. 6015 ; Piisse, loe. cit ,
No. 8.
« Ibid., Nos. 6016-17.
7 Ibid., No. 6018-22; Prisse, loe. cit./
No. 9 ; Vyse, Journ., i. 89 ; Lepsius,
Denkm. Abth. iii.
« Prisse, Mon. Eg., PI. 23, No. 9.
» Ibid., Mon. Eg., PI. 23, No. 1.
'" Egypt'an Collection, British Mns.,
No. 6023-24 ; Prisse, Mon. Eg., PL 23,
No. 3 ; Vyse, Journ., i, 89.
^1 Perring, MS. Journal; for other
bricks see Lepsius Denkm., iii. BI. 4,
25 6?\s 26, 39, 62, 69, 78.
^■■^ Roscllini, Mon. Civ., t. ii. tav. ann.
p. 174, No. 4 ; Prisse, Mon. Eg., PI. 23.
I
Chap. I. SUN-DIUED BRICKS. 13
and son of the monarcli Pasnom, the priest of Amen Ra. This
prince took the pra3nomen or first royal title of Ramenkheper,
or the " Siin-establisher of Creation," the same as that of
Thotlimes III., which helps to remove some difficulties about the
antiquity of certain remains. It is thus that the archa^ohigist
avails himself of the fragments of the past to reconstruct its
history ; and objects, apparently insignificant, have often solved
some of the most important enigmas in the history of the
human race. No brick appears to have been impressed before
the Eighteenth dynasty, nor later than the Twenty-first. There
are two inscribed with religious inscriptions in the museum of
Ley den. ^
These bricks were called in the hieroglyphics tehi, a word
which the Coptic Lexicons still preserve as todbi or toohe, and
which is in Egyptian Arabic tubi? They were laid in regular
layers, and, occasionally, were formed into arches. A most
interesting representation of the art of brick-making, of which
the annexed cut is a copy, is depicted in the tomb of Rekmara,
an officer of the court of Thothmes III. of the Eighteenth
dynasty, about 1400 b.c.^
Asiatic captives are employed in the work under the superin-
tendence of taskmasters ; and the scene forcibly recalls to mind
the condition of the Hebrews in the house ^f bondage. The
process appears to have been nearly the same as at the present
day ; for, with the exception of the mill to grind the clay, little
progress has been made in this primitive art, the use of
machinery being found unprofitable. The picture may be
explained as fallows : Labourers are mixing with their hoes
mud, clay, or alluvial soil, to a proper consistency (7, 9, 12, 13),
the water being brought from a tank constructed for the pur-
pose, and protected from too rapid evaporation by the lotus
within it, and the trees planted around it. Other labourers are
carrying the water thence in large jars to supply the brick-
makers (14, 1^). When sufficiently kneaded, the clay is trans-
ferred to pans (10, 7), and thrown down in a heap before the
brick-maker (7 i), who stamps them out of a mould (8, 14), and
* Leemans, Mon. Eg. Pt. ii. PI. Ixxxix. j ^ Mon.Civ., ii.251. Wilkinson, 'Man-
147, 148. I ners and Customs,' ii. 99 ; Rosellini,
2 Nestor I'Hote, ' Lettres Ecrltes , Mon. Civ., tav. xlix., for the other
d'figypte,' 8vo, Paris, 1840, p. 30; Prisse,
' Revue Archeologique,' 1844, p, 721 ;
Mon. % , PI. 23, Nos. 4, 5, 6, 7, 11.
scenes in the tomb see Wilkinson,
ibid. ; Hotkins, ' Ethiopia,' Tomb at
Thebes.
14
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
then lays tliem in single rows to dry in the sun. When ready
for drying or for the furnace, they were carried, like modern
pails, suspended on poles. Six of them appear to have been a
man's load (4 g). The occupation was not, apparently, much to
the taste of the employed, for the stick seems to have been
liberally used (3, 6). The inscriptions on the picture record
/HAl*. I.
FIGURES IN SUN-DRIED CLAY.
15
•^tliat they are bricks made by royal captives, or slaves, to build
the temple of Amen Ka at Thebes. Althougli the art of brick-
making was ignoble, traces of its ancient importance appear in
the ceremony of Tahraka, B.C. 715-658, tlie Ethiopian ruler
No. 5. — Brick Arch. Tliebes.
being represented at Medinat Haboo employed on his knees in
this occupation. This may be compared with the symbolical
ploughing of the Emperor of China, and the laying of the first
stone of a foundation by an European prince.^
Crude clay was, however, better adapted to the purposes of
the modeller than those of the potter. Few objects, indeed,
of this material have been preserved, even in a climate so
serene as that of Egypt ; and those which have come down to
us are either votive offerings, or decorations of the interior
of tombs. In the collection in the British Museum are a few
heads of rams,^ figures of vultures,^ of the ura^us serpent,* and
a scarabaeus with a human head, and the name of Amenhept,
or Amenophis, inscribed on the base in linear hieroglyphics.^
This specimen is probably as old as the Eighteenth dynasty.
All these objects are unpainted ; but the ursei have inscrip-
tions on the breasts, traced in outline in white paint, and con-
taining the name of Rennu, the goddess of the harvest, whom
* ChampoUion, ' Notice descriptive,' ; Mon. Eg,, xxiv. 350.
p. 322. I ^ Ibid., Nos. 2002-3 ; Lecmans, Mon.
2 Egypt. Koom, Nos. 1668-91 ; Lee- Eg , xxv. 500.
mans, Mon. Eg., PI. xxiii. p. 305. ! ^ Ibid., No. 4376 «.
3 Ibid., Nos. 1090-1920 ; Leemans, '
16 EGYPTIAN AXD OlUENTAL POTTERY. Part I.
the serpent represented. There is also in the same collfction
a small cylindriral bottle^ of unbaked clay, coloured bine and
red, supposed to be one of the models which the undertakers,
or the relatives of the deceased, deposited in the tomb, in place
of a more precious vase which they retained. This has been
turned on the potter's wheel. Similar objects are often fonnd,
made of terra-cotta or of solid pieces of wood. They are gaudily
painted in imitation of opaque glass, which seems to have been
an article of luxury.^ For the poorer classes small sepulchral
figures, called slidbti or shah-shah, were made of unbaked clay,
representing the deceased wrapped up in bandages like a mummy,
with a pick-axe in one hand, a hoe in the other, and a basket
for transporting sand slung over tlie right shoulder.* The minor
details of these figures ai-e traced out with a red or black out-
line, and the whole ground washed over in distemper with green
paint, in imitation of Egyptian porcelain, or with white to repre-
sent calcareous stone. A fuller description of them will be
given in the sequel.
The coarse, dull, unpolished earthenware must be considered
as the next step in the development of the art. The material
of this pottery has not been analysed ; but it appears to be
made of the ordinary Nilotic clay, deposited at the margin of
the inundations, whicli is unctuous, plastic, and easily worked
on the wheel or lathe. Its colour is red, running externally
into purple when well baked ; whilst tlie specimens less per-
fectly submitted to the action of fire are of a reddish-yellow
colour. The purple hue is said to be owing to a natural or
artificial protoxide of iron, easily removed by a damp linen rag
when the piece is slightly baked. The vases made of this clay
are very absorbent, but do not allow water to escape, even after
it has stood in them eight-and-forty hours. They are, however,
then covered with a saline efflorescence. The vases of this
kind appear to be similar to the Egyptian hydrocerami.*
The first specimens of baked pottery which we have to con-
sider are the Egyptian bricks. These are externally of a rose-
red colour, but break with a deep black fracture at about ^ of
an inch from the surface. These bricks are smaller than those
* Egypt. Room, No. 4S82. I 3 Eg-ypt. Room, Nos. 9457-68-73-80.
2 Rosellini, Moii. Civ., ii. 31G. | •* lirongniart, ' Traite,' i. 502.
I
Hap. T. SAT?C0PHAGI. 17
made of sun-dried clay, and were chiefly used in places where
■the constructions came in contact with water. Kosellini found
^ wall of them fifteen feet thick at Luxor, which was older
ihan the edifices of the Eighteenth dynasty.^ In the British
Museum^ are two bricks of this class. The . first, which is
arched in a peculiar manner, has on the inner edge a line of
hieroglyphics, but it is illegible.^ The other has on the narrow
side or edge the name of Tetmes or Thothmes, a steward or
housekeeper, for whose tomb it was made.* It is not known
from what part of Egypt these bricks came. The last is pro-
bably contemporary with the kings of the Eighteenth dynasty.
A flat brick, 1 ft. square and 1^ in. thick, stamped with the
name of a functionary and his wife in hieroglyphs, within an
oval, 37 times repeated, and not later than the Nineteenth
dynasty, shows the use of baked bricks at that period.^ At
Medinat El Giahel, or Tanis, baked bricks were found inscribed
with the name of a deceased person called Thothmes. Many of
the burnt bricks found in Egypt appear to be Roman.^ Some
indeed have denied the use of baked bricks anterior to the
Roman period, and their use was no doubt exceptional.
There are also in the same collection some portions of coffins
or sarcophagi of the same material.^ The workmen of the
Tourah quarries were buried in terra-cotta sarcophagi.^ The
lower part of one of these sarcophagi, depicted in tlie work of
Sir G. Wilkinson, exhibits the singular manner in which the
upper and lower parts w^ere fastened together. Another speci-
men, constituting the upper part of the cover, and which has
an elaborate water-colour painting, representing the deceased
attired in the collar or tippet, tischj often worn round the neck,
was removed by Belzoni from the sepulchres of Sobah in the
oasis of Ammon. A similar one, w^hich came from the same
locality, is described and figured by Biongniart, in his Cata-
logue of the Museum at Sevres.^ These objects are compara-
tively recent, as the settlement there was not earlier than the
Persian dominion in Egypt. Two other sarcophagi of this
> Mon. Civ., ii. 250. ^ Egypt. Room, No. 9730 g.
2 Egypt. Room, No. 4S3. ^ Vyse, Journ., i. 59, 202.
3 Ibid., No. 2461. ' Egypt. Room, No. 6955.
^ P^erring, MS. Journal; Prifse, Mon. ^ Vyse, Journ., iii. 91.
Kg., ri. 28; ' Revue Arclieologiquc,' 8v<), '* Mus. Cer., PI, i. Hg. 2.
Paris, 1844, p. 725.
C
18
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
material, in the national collection, exhibit such wretched
modelling that they may be referred to the fourth century
of our era. The use of terra-cotta sarcophagi was rare among
the Egyptians, the lich availing themselves of hard stones, such
as granite, breccia, basalt, and alabaster, as well as of sycamore,
cedar, and sontal or acacia wood.
Certain objects, deposited with the dead, were always made
of this red-brick earthenware. These were the sepulchral cones,
which, as their name implies, were rude cones turned on the
potter's wheel, and stamped on their bases witli a hieroglyphical
inscription in bas-relief, impressed from a mould. ^ Their in-
scribed end is often painted red. A brick has been found thus
impressed.
These cones have been found placed over the doors of the
tombs, or scattered on the floor amidst the debris. Although
it is evident that they were
part of the sepulchral furni-
ture, their use proved a rid-
dle to Egyptian archaeolo-
gists. Their dimensions are
from six inches to a foot
in length, and about three
inches in diameter at the
base. From recent disco-
veries made at Warka in
Babylonia, it will be seen
that these cones were in
reality bricks, which were
introduced into walls, in
such a manner as to form
patterns of ornamental brickwork, their inscribed bases being
placed outwards. The inscriptions are always of funereal im-
port, and the words, "the devoted to," or "blessed by Osiris,"
often precede the name of the dead. Some of the oldest
cones, made for functionaries of state deceased during the
Twelfth dynasty, have their inscriptions running round the
base, like the legend of a coin. Others have a line of hiero-
glyphs stamped in an elliptical or square depression, like
the brickmarks.^ From the Eighteenth to the Tvventy-sixth
No. 6.— Sepulchral Cones.
^ Wilkinson, 'Manners and Customs,' vol. v. p. 398.
2 Egyptian Room, Nos. 9641-43.
Chap. I. SEPULCHRAL CONES. 10
dynasty, the inscriptions are disposed in horizontal or vertical
lines.^ None are known of a later age than the Twenty-sixth
dynasty, which flourished just previously to the invasion of
Egypt by the Persians, llepre-
sentations of scenes are rarely
found on tliem, and such as do
occur are of sepulchral import :
the deceased is seen seated by
his wife,^ or standing in adora-
tion,^ or praying to the solar orb
., 7, . ., , , - . No. 7. — Cone showing the inscription.
as it sails in its bark or bans
through the ether ,^ or worshipping the monarch of whose court
he was an officer.^ The impressions were made with a wooden
stamp when the clay was moist ; several cones, as many as
fourteen, having been found stamped with the same mould.
Occasionally they have double impressions. The inscriptions
offer many interesting particulars, on account of the numerous
functionaries mentioned, and their relative degrees of pre-
cedency. In common with the other monuments of the
country, they help to show the interior organization of this
vast Empire.
As an example of the inscriptions may be cited that on one
of the cones of Merimes, which runs as follows : —
AmalJii clier Hesar suten sa en Kisli Merimes malchru ; that
is, '* Merimes, the prince of Ethiopia, devoted to Osiris, the justi-
fied." ^ We know from other sources, that this person was one
of the king's scribes or secretaries, who was invested with the
viceroyalty of that country during the reign of Eameses If.
Of the sacerdotal functionaries, who held the highest rank in
the state, several cones have been preserved. These bear the
names of Kamenkhepeij nomarch or lord-lieutenant of a pro-
vince, and high priest of Amen Ea,'' of Amenusha, also nomarch
and priest of the temple of Amen Ra,® of Petamennebkata,
the second priest of Amen Pa/ of Amenhept or Amenophis,
the fourth priest of the same god, on whose cones are placed the
» Prisse, Mon. Eg., PI. 23 ; Egypt, j ^ ibid.
Room, Nos. 9661, 0670. ! " Egypt. Room, Nos. 9648-52 : Cham-
' Egypt. Room, No. 96 U. • pollion, Miis. Cl.arles X., p. 164.
3 Prisse, Mon. %., PI. 28. i ' Egypt. Room, Nos. 9G54-55.
4 Ibid., E. R., Nos. 9732-35 ; Mu-\ I » Ibid., No. 96f)9.
Dismay, Pt. ii. PI. xcv. p. 229. " Prisse, Mon. %. PI. 27.
c 2
20 EaYPTIAN AND ORIENTAL POTTERY. Part I.
name of his wife, Neferhetep or Nepherophis/ of jVIentuemlia,
a similar functionary, and his wife Shepenmut,^ who had the
appellation of king's relation ; and of Mentuhemha, a priest of
the same god.^ There are also cones with the names of priests
of Osiris,* one of which is inscribed with the name of Khem,"^
and others with that of Mentu, who was priest of the god
Khem.^ Some have inscriptions in honour of Sebekmes ' and
Tenruka,^ priests of the Heaven, or of priests of the god
Enpe.^ Besides priests of the gods, two high priests of Ame-
nophis II. of the Eighteenth dynasty are mentioned on them.
One of these, named Nishni, was also scribe, or clerk of the
food of the temple of Amen, in Thebes.^" The other, Nefer-
hebef, associated with his own name that of his wife Tauai,"
who was also his sister. Of the scribes, ready writers, clerks,
accountants, copyists, and royal secretaries of state, there are
several cones. Amongst those of the caste of sacred scribes, and
those not exercising any particular function are found the
names of Paru ^^ and Thothmes,^^ Nefermen, scribe of the temple
of Seti or the Typhonium,^* Bentehahar, sacred scribe of the
books or registers ;^^ a sacred scribe of the god Enpe;^*^ Meri,
chief scribe of the god Khem, who was also king's cousin and
major-domo of the queen's palace ; " and Neferhept, chief scribe
of Amen Ka.^^ These belonged to the ecclesiastical division.
Hardly inferior to them were the royal scribes. One of these
was charged with the care of the domains of lower Egypt.^^
Amenophis, another, kept the king's accounts.^^ Barneses, a
third, was seal-bearer, privy councillor, "the king's eyes and
ears," and high treasurer of the Ethiopian monarch, Taharka,
' Egypt. Room, Nos. 9663-67; Prisse, ; " Egypt. Room, Nos. 9671-91.
loc. cit. ; Champollion, Mus. Charles X., j '^ Prisse, 1. c.
p. 165. I '3 Egypt. Room, Nos. 9718, 9719,
^ Prisse, 1. c. ; Brongniart, Mus. Cer., ; 9658.
PI. i. fig. 12, p. 22. ! 1* Prisse, 1. c. No. 1.
3 Champollion, Mus. Charles X., '^ Ibid., 1. c. ; Brongniart, Mus. Ccr.,
p. 166. i PI. i. 12 ; E. R., Nos. 9713-16.
■^ Egypt. Room, No. 9661. | i« Champollion, Mus. Charles X., p.
5 Ibid., No. 9660.
^ Champollion, 1. c.
165.
»^ Egypt. Room, No. 9715.
7 Egypt. Room, Nos. 9645-47. \ '^ Ibid., No. 9722.
8 Ibid., Nos. 9657, 9858 ; Prisse, Mon. | ^'^ Champollion, Mu^. Charles X., p.
Eg., PI. 27. I 165.
» Champollion, 1. c. | 20 Egypt. Room, No. 9707.
'o Prisse, 1. e. 1
3JIAP. I. SEPULCHRAL CONES. 21
/ho reigned B.C. 715-688.^ NechtsebaV another of these
|uuetionaries, was scribe of the royal trooj^s. Two others,
tamenkheper ^ and Ka/ were scribes of the granaries of upper
id lower Egypt. Amenemha^ was scribe of the account of
|he bread of upper and lower Egypt ; and Senmut was scribe
>f the silver place, or a clerk in the treasury.^
The list may be closed with the titles of various functionaries,
the chief of whom were the dukes, or nomarchs of the first
rank, called in the hieroglyphs, rejpa-ha. Besides those of
the same name already mentioned are two called Khem, one
of whom was also a sphragistes, or sealer ; the other was
governor of Abu, the Ivory island, as Elephantine was called in
the inscriptions.^ One cone shows that Hepu had charge of
the alluvial^ country, and on another is mentioned a king's
follower in all lands.^ Besides these are mentioned Abi " and
Pahar,^^ chamberlains of the queens of the Twenty-sixth or Saite
dynasty ; Amenemapt, a prefect of the palace ; ^^ Petamenapt,
guardian of the king's hall.^^ Parennefer, the incense-bearer of
Amen Ea,^* and Ameneman, who had the charge of the balance,
are, perhaps, of the class of priests.-^^ Senmut, a captain of
soldiers, closes the list.-^^ Cones having the names of females
only are rare.^^ After the Twenty-sixth dynasty, or about the
6th century, B.C., they ceased to be used. Kectangular and
pyramidal bricks of the same material, and stamped with the
same impressions, have been also found.^^ This long list might,
without doubt, be augmented ; ^^ and as the eye ranges over
these tickets of the dead, we are forcibly reminded of the visit-
ing cards of the living. The t-enants of the sepulchres of the
ancient No-Ammon or Diosopolis, and still older Noph or
Memphis, seem to have left them behind, as if to make a call
on posterity.
The sliabti, or sepulchral figures, which were deposited with
Prisse, 1. c. | " Ibid., No. 9710.
2 Egypt. Room, No. 9706.
3 Ibid., No. 9709.
* Ibid., No. 9717.
* Ibid., No. 9639.
« Ibid., No. 9730.
Ibid., No. 9660.
»2 Ibid., No. 9728.
" Ibid., No. 9725.
^* Ibid., No. 9711.
" Ibid., No. 9724.
»« Ibid., Nos. 9729-31.
" Ibid., Nos. 9692-9702.
« Prisse, I.e. " Ibid., 9730,/-/.
» Egypt. Room, No. 9723. i " Leemans, Cat. Rais. dii Muse'e de
'» Ibid., Nos. 9735-36. | Leide, 8vo, Leide, 1842, last page.
22
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
the dead, and formed part of the funeral relics, were also made
of terra-cotta.^ ^like those of unbaked clay tliey are generally
of a late period, probably of the age of the Koman dominion.
In some instances they have been rudely modelled, and a line
of hieroglyphs, expressing the name and titles of the deceased,
scrawled upon them.^ Others have been stamped in a mould
and the formulae with which they are covered impressed in
hieroglyphs.^ In some instances the entire ground was coloured
white or yellow, and the hieroglyphs and other decorations
inserted in red, blue, and yellow. Even after this process, some
specimens were varnished with the same substance which covers
the fresco paintings of the coffins. All the figures are of persons
of inferior condition, and were executed at a period when the
arts had irrevocably sunk. They were deposited in little chests
No. 8.— Embalmer's Model Coffin. Ecyptiaii Room, Xo. 9729.
made of wood, and painted in tempera, on which was inscribed
a dedication to Osiris, or the 6tli chapter of the ritual ; and
they were then placed by the coffins in the sepulchres. Besides
these figures, little sarcophagi are occasionally found in the
tombs, painted in exact imitation of the larger coffins, and are
supposed to be the models which Herodotus states were shown
by the undertakers to the relatives of the deceased.* Some-
times they contain a little terra-cotta or wooden mummied
figure, and are then complete models of the coffin. They were
also part of the funeral decorations, but the reason of their
employment is not obvious.
' Egypt. Room, Nos. 9487-0539.
2 Ibid., Nos. 9188-70-82.
3 Ibid., No. 9503.
* Ibid., No. 8513.
Chap. I.
VASES.
23
Another of the many uses of this pottery was for vases or
jars to liold the entrails of the dead. In order to preserve the
body efiectually, it was necessary to remove the softer portions,
such as the thoracic and abdominal viscera, and these were em-
balmed separately. In some instances they were returned into
the stomach, with wax models of four deities, commonly called
the four genii of the Araent or Hades. It was, however, usual
in the embalmment of the wealthier classes to soak them care-
fully in the requisite preparations, tie them up in neat cylindrical
packets, and deposit them in vases having the shape of the four
genii. The bodies of these deities, which were usually repre-
sented as mummied, formed the bodies of the vases, and were
cylindrical below and rounded above. The mouths of the jars
were sometimes countersunk to receive the lower part of the
covers whicli fitted into them like a
plug. The jar of the first genius,
whose name was Amset, '' the de-
vourer of filth," held the stomacli
and large intestines,^ and was formed
at the top like a human head. This
genius typified, or presided over, the
southern quarter of the compass. He
was the son of Osiris or of Phtha
Soccharis Osiris, the pygmean god of
Memphis. The second vase of the
series was in the shape of the genius
Hajai, the "concealed." Its cover
was shaped like the head of a cyno-
cephalus, and it held the smaller
viscera. This genius presided over
the North, and was also the son of
Osiris. The third vase was that of
the genius Tuautmutf. " the adorer
of his mother." It had a cover in
shape of the head of a jackal, and
held the lungs and heart. This genius presided over the East,
and was brother of the preceding. The last was that of the
genius Kehhsnuf, the "refresher of his brethren." It had a
cover shaped like the head of a sparrow-hawk, and held the
liver and gall-bladder. This genius presided over the West,
No. 9. — Vase In shape of Tuautmutf.
* Pettigrew, on the Jersey Mummy, * Archseologia.' xxvii. 2(52-278.
24 EGYPTIAN AND ORIENTAL POTTERY. Part I.
and was also brother of the preceding. Three vases of a set, in
the British Museum, have all human-shaped lieads, and are
provided with handles at the sides of the bodies. Specimens
of a very unusual kind are also to be found in the same col-
lection,^ having the whole body formed without a cover, in the
shape of a dome above, and surmounted by a rudely modelled
figure of a jackal, couchant upon a gateway, formed of a detached
piece. The entrails were introduced by the rectangular orifice
in the upper part. In some other instances the covers appear
to have been secured by cords passing through them to the body
of the vase. When secured, the vases were placed in a wooden
box, which was laid on a sledge and carried to the sepulchre,
where they were often taken out and placed two on each side of
the coffin. It was only the poorer classes that used pottery for
these purposes. The viscera of high officers of state were em-
balmed in jars of fine white limestone, and the still more valu-
able oriental alabasters or arragonite, obtained from the quarries
of Tel El Amarna, or the ancient Alabastron.
The potter, however, chiefly exercised his skill in the pro-
duction of vases for domestic use, the largest of which were
several feet high, the smallest scarcely an inch. These, which
ive coloured red in the hieroglyphical inscriptions, to show that
they were made of terra-cotta, were called han, or '' vase " ; ^ a
word which also meant a measure of liquid capacity. Those of
a jar shape held various kinds of liquids. Others, which con-
tained the Nile water offered to the gods, were tall and slender,
with a spout like that of a coffee-pot.^ Bread, roast meats, and
waterfowl, were placed in deep dishes.* Oils and drugs were
kept in tall conical jars,^ carefully covered and tied down.
Ointments, salves, and extracts, in small pots.^ Other cosmetics
were held in a jug with a spout.' Wine, honey, and other
liquids were deposited in open-mouthed jars, out of which they
could readily be drawn.^ Many vases of these forms are found
made of bronze, alabaster and stone, but they were also often of
pottery, either dull or glazed. These forms are found in the
1 Egypt. Room, Nos. 9552-54-55. ' Ibid., p. 550, No. 138 ; Champ. Diet.
2 Champ. Diet., p. 241, No. 256 ; p. 413, No. 489.
Gram, p. 227. | « Bunsen's 'Egypt's Place,' vol. i.
3 Bunseu's ' Egypt's Place,' vol. i. p. j 140-143.
532, Nos. 5158-72 ; Champ. Diet., p. 425, I • Ibid. ; and Champ. Diet., pp. 424,
Nos. 510-513. 504.
4 Ibid., Nos 576-86; cf. No. 141. « Champ. Diet., pp. 424, 501-503.
I
irAP
VASES.
25
i
I
liicroglyplis ; but tlie sepulchres have yi(4ded a very large
number of* vases, the majority of which, there is no doubt, were
employed for the uses of daily life. These vases of red terra-
otta, unglazed, are in fact some of the very earliest examples
bf the potter's art, and many specimens have been found in the
tombs of the old dynasties in the plains of Memphis, especially
at Saqqara. They were made with the wheel, and many are
of small size.-^
Of the coarse red brick pottery were also made the pots which
held the embalmed and sacred ibis at Memphis. The bird was
duly prepared, and then neatly wrapped up
in linen bandages, in the shape of a large
tongue or heart. In the plains of Saqqara
and Memphis the ibis-mummies are found
placed in conical pots, of the shape of an in-
verted sugar-loaf. Their material is generally
the coarse brick pottery ; sometimes, how-
ever, it is of glazed ware, and a few pots of
stone have been found. Their walls are about
the thickness of a tile. The body has been
turned on the potter's wheel, and the exterior
is ribbed with broad grooves, made with the
potter's fingers. The cover is convex, like an
inverted saucer, and is cemented to the body
by a coating of lime and plaster. Thus pro-
tected, the ibis was deposited, enwrapped in
linen, in one of the mummy pits, in which n<>. lo.-ibi^mummy Pot.
the pots were placed vertically, the pointed
end being thrust into the ground, with the mouth upwards.^
The pits are subterraneous galleries, with niches 8 feet high
and 10 feet wide, in which the pots were placed like jars in a
cellar.^ At Thebes this bird, when mummied, was deposited
in its envelopes alone ; but at Hermopolis it was placed in oblong
cases of wood or stone.*
The amphoree^ or two-handled vases in the collections of the
Museum are of the shape seen in the pictures of the tombs, and
are of a pale sandy-coloured unpolished ware. The walls are
^ Lepsius, Denkm., Abth. ii. Bl.
2 Pocoeke, ' Travels in tlie East,'
vol. i. PI. Ixx. p. 233.
' Denon, vol. ii. p. 40 ; Pi. xcix. p.
xxxi.
* Pettigrcw, History of Mummies, p.
209 ; Passaluccjiia, Catalogue Raisonne'e,
p. 847 ; one of tlicse pots is figured, Pct-
tigrew, PI. xiii. fig. 5.
^ Egypt. Room, Nos. 4945-46.
26 EGYPTIAN AND ORIENTAL POTTERY. Part I.
thick, and their shape calls to mind those which are seen on
the coins of Athens, and which are supposed to have been used
as packages for exported products, particularly oil. On one of
them is written, in coarse large hieroglyphs, the word han, or
" tribute " ;^ and on another is a hieratic inscription only half
legible, in which can be distinguished the expression, "the
Palace of Sethos I.,"^ showing that these vessels contained
some of the tribute deposited in the vaults of that edifice. In
the grand triumphal procession to Thothmes III.,^ similar vases,
containing incense, wiue, and asphalt, are brought to the Great
King by the Eutennu or Ludenu or Ludin, an Asiatic race,
situated " north of the great sea." It appears from Herodotus,*
that in his days wine was exported from Syria to Egypt in such
vases, which were afterwards filled with water, and sent up to the
stations in the Arabian desert. It is highly probable that
the amphorae in the Museum were part of the tribute of some
Asiatic people contemporary with the Nineteenth dynasty, and
they consequently afford an insight into the art of other Oriental
nations at the same epoch. The mode in which these vases
were brought to the table has been already mentioned. Several
vases of this shape are known in the different collections. To
some the potter has given an extra elongation in the lower part,
in order that tliey might be fixed into the floors.^ These am-
phorae measure about 3 feet in height, and 1 foot in diameter.
There is a handle of one of these amphorse, found at Tel El
Amarna, stamped in relief with the names of one of the heretic
monarchs of the Eighteenth dynasty, which reigned in the
fifteenth century B.C., probably the earliest instance of this
practice which was almost universally adojlted at a later time
by the Greeks and Komans.® There is an amphora of this class
probably of a later date than those just alluded to, and made in
Egypt, coming in fact from the vicinity of the ancient Antinoe.'^
The neck of it is cylindrical, and the body decidedly conical ;
but the whole of the latter is covered with deep regular grooves,
which run in parallel circles round the axis of the vase, and
have been made either with the potter's fingers, or else with a
broad tool laid at the side while the vase was revolving on the
1 Egypt. Room, No. 4947. | » R. seliini, M. C, Ivi. No. 122.
2 Ibid., No. 4946. j « Egypt. Room, No. 4947 a.
3 Wilkinson, Mann, and Gust., vol. i. | ^ Descr. de 1'%. Ant., vol. v. PI. 84,
PI. iv. ; Hoskins, 'Travels in Ethiopia,' | No. 56; A., vol. v., PI. 75-33; Brong-
4to, Lond. 1835. * Herod., iii. 9. '' niart, ' Traite; ' cf. E. R., No. 5270.
Chap. I.
VASES.
27
lathe. This may have been done for ornament ; but it is pos-
sible that the object of it was to allow of the vase being encased
in linen or plaited palm-leaves, or even that the hand might
hold it more securely. It probably contained a liquid. Some
of the smaller amphora?, which are of the same shape, and are
only 9 inches high, appear to have held asphalt, barley,^ and
dates. These have often rounded bases, and the body more or
less globular, while some are provided with a foot,^ like the
Greek amphorae. Such vases were convenient for various domestic
purposes, especially for carrying a small quantity of liquid.
Their mouths were wide or narrow, according to the nature of
the substance to be held ; but unfortunately neither the hiero-
glyphics nor the inscriptions afford much information respecting
the manner in which they were used. The offerings to the
gods, of milk and wine, appear indeed to have been made in
No. 11.— Group of plain tena-cotta Vases. P^gyptian Kcom, No?. 5074, SO'iP, 5267, 5C75.
little amphorae, many of which come from Saqqara. Some of
these vases represent those of another class, in which the body
is long, but also terminates in a point, while the handles are
very small. It would also seem that they should be classed
with other little vases having four small handles^ round the
neck or collar, which are about ^ inch in diameter, so as to
admit of their being slung on a small cord of palm-fibres, and
thus transported from place to place. Probably the larger
vases contained water,* and the smaller ones^ may also have
» Eosellini, M. C, liv.-lvi. 59-74,
75-9-120; E. E., 5101-4; Descr. de
1'%. E., 75, 1 K 15, 20, 22, 30.
2 Eosellini. M. C, Iv. 66-8, Ivi. 113;
E. E., 5099.
3 Descr. de I'Ec?. Ant., vol. v. PI. 73,
fig. 12 ; found at Saqqara.
^ E. E., 5111-5268-67; Eosellini,
M. C, Iv. 85 Dei-cr. de I'Eg., Fl. 75-
34. -^ Eo.cllini, M. C, Iv. 87, 88.
28
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
held enough to take a draught out of the cask, or else to keep
it ready suspended and cooled. These are also generally of
unpolished ware, but are often stained by the liquids which
they have held. With them must be classed three-handled
vases, resembling the Greek hydriai, or water-jugs, and, like
them, probably employed as pitchers. Of the former vases the
body is in the shape of an egg, or else of a compressed globe,
while the mouth is in general wide, but occasionally narrow.
Some variety is observable in the position of the handle, which
either touclies the lip and shoulder, or is placed under the lip,
or entirely on the shoulder. It is generally placed in a vertical
position on the vase, but in some instances obliquely or hori-
zontally,^ which appears to have been done only when the vase
Avas intended to be carried about by tlie hand from table to table.
No. 12.— Group of Vases of unglazed terra-cotta. Egyptian Room. Nos. 5071, 5023, 5067, 5'j73.
Next to the vases with several handles, may be classed those
with one. These are undoubtedly jugs, and their shape, although
by no means so elegant as the Greek, marks them as the un-
equivocal prototypes of their Hellenic successors. The jugs
made of this unpolished clay are from about a foot to a few-
inches in height ; their shapes are very different, but they
exhibit the Egyptian type of the pointed base. The prevalent
one is the jug with a tall neck and handle, probably used to hold
milk or water ;^ another variety has a small handle in front,
and a small orifice^ at the bottom, and was, perhaps, a water-
^ Eosellini, M. C, Ivi. lOJ, 107. '^ Rosellini, M. C, Ivi. 115.
•^ E. R., 5089.
Chap. I.
VASES.
29
vase. At a later period the statue of Canopiis had a fictile
hydria or water-vase through which the water |)ercolated, and
Galen calls these hunlahs or water-bottles statiha} These
jugs appear in the hieroglyphs as the determinative of the
names of several liquids which were kept or mixed in vases of
this shape. Other jugs ^ have an oval body, with a broad handle,
arched over the lip, but are of small
dimensions, and must have been used
for drugs and spices. Their mouths
are wide. There are several jugs
with tall necks, oval bodies, and flat
circular bases, which have rudely
modelled in front the features of the
god Bes.^ These are water-bottles,
and from their ornaments and shape
are of a late age — probably Roman ;
they are the Bessa of the Greek and
Roman writers,* so called from the
god's image affixed to them. Some
of these jugs resemble the Greek.
An defiant vase eno^raved in Rosel-
lini's work^ is scarcely distinguish-
able from the elegant Greek shape
called the oenoclioe, or wine-bottle ;
and a small vase in the Museum,^
of a pale red ware, exactly resembles a lecythus, or oil cruse,
from a sepulchre of ancient Greece or Italy. One of the most
distinct forms is that apparently of the oil cruse.' The body is
of a compressed globular shape ; the neck, remarkably small and
short ; the orifice, scarcely J of an inch in diameter. Vases of
this kind are generally of a dark colour, as if they had been
stained by the contents which they have held. They correspond
with the Greek aryhalloi.^ Besides these jugs many of the tall
No. 13. — Bottle of ungUized ware, orna-
mented with grotesque head of Bes.
Egyptian Room, No. 5696.
1 Ruffinus, Hist. Eccl., lib. ii. c, 26 ;
Suidas, 'TSpta ; Hesychius, Statika ;
Galeu de Simpl., 1. c. 4; PLilostorg.
Exc. Hist. Eccl., 1. c. 4; Aristotel.
Meteor., 20; Johann. Cassan. de Inst,
renunt., c. 16; Palladius, Hist. Lausiac,
XX. ; Coteler. Mon., i. p. 36 ; Jablonski,
Panth., iii. c. 147.
'' Rosellini, M. C, Ivi. 114.
^ Rosdliui, ibid. 96; Descr. de I'Eg;.
Ant., vol. V. PI. 75-7. Several varieties
of this shape are engraved, ibid. 12-1.
* Atliena^us, xi. 784.
» M. C, Ivi. 108; E. R., 5071-73.
« M. C, Ivi. 108; Descr., I.e. 1-37;
E. R., 5074. 7 E. R., 5074-75.
* E. R.. 5076-79 ; Descr. de I'Eg.
Aut., vol. V. PI. 84-25.
30 EGYPTIAN AND ORIENTAL POTTERY. Paht I.
vases with one handle were of the nature of cups, and were nsed
as such by tlie poorer classes, or by the slaves of a family. They
are distinguished from the jug by their wide mouths and small
handles. Their bodies are cylindrical, and in some the lip has
a spout, which makes them resemble jugs or basins. One has
been found containing corn.^ But it is evidently impossible to
determine the manifold uses to which they may have been
applied ; for another, of nearly the same shape, found at the
Pyramid of Abooser, contained white paint. The last class of
vases with handles ar^ little jugs with handles passing entirely
over the body, thus giving them the appearance of little baskets.
It is evident that these are sihdse, or buckets, such as those of
larger size, and made apparently of metal, seen in the hands of
the statues of Isis. These vases are, however, so small, being
only about two inches high, that it is impossible to conceive
they were anything but children's toys.
The vases without handles are of very different proportions,
as different, indeed, as the deep jar of several feet in length and
the small cup. The larger of these, to which it will
be necessary to allude first, are the casks. They are
equivalent to the Greek j)itJioi. The Greek were too
large to be made on the lathe, and were fashioned
in a particular manner : but the Egyptian, which
are of smaller diameter, show from the marks upon
them that they were turned. Their form is also
different, being elongated, convex above, bending
No. 14.- pithos, inwards at the centre, and terminatino^ in a point,
on a stand. i • i i i i • i i i
which seems to have been thrust into the sand that
covered the floors of the cellars. They are of a coarse,
gritty, and not very compact texture ; black in the inner
surface, but externally of a pale red colour. Their use was,
like that of the amphorae, to preserve large quantities of
viands. Ducks, salt-fish, meat, wine, and all the requisites of a
well-stored pantry, were preserved in them. They are among
the largest products of the fictile art. It is probable that they
were in use in all ages, and that little improvement ever took
place in their manufacture. One, however, in the collections of
the ^luseum, which is covered with a demotic inscription, cannot
date earlier than the Ptolemies, and is possibly as late as the
Roman dominion. Smaller vases of this class, also destined to
' Descr. cle I'Eg. Ant., vol. v. IT. 81-16 ; E. R., 50;:0, 5079.
CllAV. I,
VASES.
31
preserve viands and other substances, are distinguished by
liaving their bodies more or less elliptical and egg-sliaped.^ As
the necks become longer tliey gradually^ approach the shape of
botth?s,^ and of these there are several varieties, many being
distinguished by the narrow aperture through which the liquid
dropped or gurgled, and which procured for such vases, among
the Romans, the name of gutturnia} Those with a short neck,
however, were jars, and some few of these were decorated, like
the bottles, with heads rudely modelled in bas-relief Even the
gutturnia have occasionally a female head modelled in bas-
relief.^ Few of these vases exceed a foot in length, whilst many
of them are not more than a few inches long.
With these may be classed many small ones, of
the nature of crucibles, which have little spouts
to pour off the liquids they contain;® small jars,
in the shape of an inverted truncated cone, some
with spouts, others with a compressed globular
body,' in which have been found dates and other
eatables ; cruses or bottles, with narrow necks and
small orifices, similar to those with handles already
described ; ^ and the lecytlioi or unguent vases,
with oval bodies more or less elongated, and small
necks, like those found in the Roman sepulchres of
England and the Continent, and formerly called
lachrymatories.^ The last of this division are the
wide open-mouthed pans or bowls, which were ap-
plied to a multitude of uses, especially to hold the
fruit or viands serv^ed at table ; they seldom occur
larger than about one foot in diameter, and generally have a
broad, flat, and moulded lip. They are of a pale yellow or red
unglazed pottery.^° Similar vessels are represented in the tombs
of a more conical shape, like the cdlathoi or basket- shaped vessels
of the Greeks, and were used in the place of buckets. -^^ The
smaller vases of this class were plates or drinking-cups.^
No. 15. — Vase for
holding oil, in un-
frlazeti terracotta.
Kgyptian Room,
No. 5033.
12
' Eos. M. C, Iv! 90-3, t. ii. p. 335.
2 Ibid., liv. 89, 2 ft. 1 in. long;
Descr., 1. c. PI. 86-50 ; PI. 75-3G.
3 Cf. Rosellini, M C, Hi. 16-19; Iv.
104-121 ; Descr., 1. c. PI. 84-18.
* Cf. Rosellini, M.C..lv.90; Ivi. 121;
liv. 48 ; liii. 29 ; E. R., B. :M., .5092-93.
^ Ibid., liii. 8.
* Ibid, liii. 15; liv. 57.
' Ibid., Ivi. 125.
» Ibid., Iv. 62, 63 ; liv. 58.
« Ibid., liv. 55.
'" E. R., 4976; cf. Rosellini, M. C,
liv. 60.
>' Ibid., 4977-79.
'- Cf. Descr. de I'Eg. Ant., vol. v.
PI. 78, Nos. 26, 38, 39; PI. 84-lS; of.
Rosellini, M.C., liii. 25; E. R., 4981-95.
32
EGYPTIAN AND ORIENTAL POTTERY.
Part 1.
The use of pottery was very extensive among the Egyptians.
Conical jars were employed to raise tlie water out of wells by a
process like the modern shadoof} The water-carrier used wide-
mouthed jars slung at each end of a pole by a palm-fibre cord.^
The poulterer deposited liis plucked and salted geese in tall
open-mouthed amphorae, which were fixed upright by their
pointed ends in the floor of his house, or in his cellar.^ The
butcher and the cook disposed of their viands in the same
manner.* The weaver used terra-cotta vessels to hold his flax,
and reeled it out of them.^ Figs were gathered into bottles.*'
Wine was squeezed into a pan with low square handles, and
deposited, as has been already remarked, in amphorjie, which
were sealed with clay, and placed on a low four-legged stand, or
on stone rings. The wine was poured into these amphorae by
means of large bowls, provided with a spout in front, the necks
being carefully sealed.' Some curious examples of the mode
of fastening these amphorae are given by Sir Grardner Wilkinson.
They were surmounted with tall conical seals or burgs of clay
stamped with hieroglyphs, and coloured white and red ; one has
the titles of a monarch of the Nineteenth dynasty.
A kind of tall cup or bowl of this substance was held by the
worshipper to present his offering, or by the servant to assist
her mistress.^ Various pots and pans — the celebrated flesh-pots
of Egypt — were used by the cooks in the same manner as iron
pots are employed at present.^ Cups of this material were used
for drinking wine or to take it out of the amphora.^" The water-
bottle placed under the table, and round whicli was twined the
lotus flower, as well as the table itself, were made of it.^^ The
jars held the colours of the varnisher, and the plasters of
the plasterer ; ^^ the grains of corn before they were pounded
in the mortar, and the flour after it was returned from thence ;^'^
the embalmer's bitumen ; ^* and ^vater for the use of the scribes.^^
A kind of hrater^^ was used as a receptacle for the wine or water
drawn from the amphorae. Large jars were employed for water-
» Wilk., M. and C, s. 1, vol. ii. p. 4.
2 Ibid., pp. 5, 99-137.
3 Ibid., p. 19 ; Roscllini, M. C, iv.
* Ibid., p. 3^5.
^ Ibid., p. CO.
« Ibid., p. 146,
' Ibid., PI. X. pp. Ir35-1G0; PI. xx.
« Ibid., p. 107.
" Ibid., p. 388. »« Ibid., p. 391.
" Ibid., pp. 3!i3-9.
^2 Ibid., iii. p. 174, No. 364 ; p. 31 1
No. 385.
'3 Ibid., iii. p. 181, No. 367.
'< Ibid., p. ISa, No. 368.
1^ Ibid., p. 315, No. 387.
i« H.M., p. 341, No. 394.
Chap. I. MODE OF MANUFACTURE. 33
ing cattle, for the labourer's hod/ the smelter's bucket and
crucible, the jar of the cow-doctor, and the pail of the milk-
man.^
' Although it has been denied that the Egyptians had a type
of fabric distinct from that of other people, a practised eye will
undoubtedly at once detect their vases by their simpler forms,
by their want of high mechanical finish, by the prevalence of
pointed bases, and by the extreme "femallness of the neck and
orifices. After the subjugation of Egypt by the Greeks and
Romans, some of the Egyptian vases resemble, indeed, those of
their foreign masters ; but during the national independence the
workmanship is totally distinct, being distinguished by the
purity of its outline, and by the tendency to imitate the forms
of fruits and flowers. The Egyptian potters had not, it is true,
that highly refined sense of the beautiful which the Greeks
possessed, but they were by no means entirely destitute of it.
The high civilisation of Egypt, however, and the abundance of
gems and of the precious metals, directed the national taste to
working in metal rather than in clay ; and with the exception
of the^Egjptian fayence or porcelain, the works in. terra-cotta,
were for domestic use rather than for decorative purposes. The
mode of transporting these vases has not varied for centuries,
and at the time of the Eomans rafts of them floated down the
Nile as they do at the present day.^
Fortunately, some scenes depicted at Beni Hassan represent
potters at their work, and thus enable us to see by what simple
means the craft was carried on. Various members of this fra-
ternity were undoubtedly attached to the palace of the monarch,
and to the houses of the nobility. In Egypt they were probably
thus employed as early as the Fourth dynasty. They appear to
have used only the simplest processes. After the clay had been
dug up, it was prepared by an operation called hi hat, or " knead-
ing" with the feet. A workman rolled out the paste or unbaked
clay, which is coloured in the paintings of a deep grey, to pre-
pare it as a lump to be laid on the wheel. Making it was
called spa or sa]^i. Masses, of convenient size, were then taken
up and placed on the wheel. This consisted of a flat circular,
or hexagonal, table, placed on a stand, and appears to have been
^ Rosellini, M. C, xlix.
2 Ibid., M. C, 1. 2 a. Wilk. M. aud C,
scr. 2, vol. i. or iv. p. 130, No, 441,
p. 13 ', No. 444 ; Iloscllini, M. C, 1. 1 a,
2 c, xxvii. xxxi.
^ Juvonal, Sat. xv. 127, 128.
D
34
EGYPTIAN AND ORIENTAL POTTEEY.
Part I.
turned with the left hand, whilst the vase was shaped with the
right. The potter either sat on the ground or on a low stool to
turn the spindle. The chuck was formed by the lower part of
the mass; indeed, it would seem as if the wheel marked 1, 2, 3,
Chap. I.
MODE OF DECORATION.
35
which revolved on a pin, was turned occasionally from the chnck.
Cups and other vessels were hollowed out with the thumb or
finger, and the vase fashioned externally with the hands.
The mode of making the handles and other parts is not
represented ; but they were made separately, and then stuck
on, as well as the ornaments, which were made by another class
of workmen. The larger dishes and pans were made with the
hand. The furnace, which had a blast, consisted of a tall,
cylindrical chimney, 6, 8, in which the fire was probably placed
half-w'ay up, and a current of cold air admitted by a giating
beneath, so as to drive the flames through the top of the
chimney, which has been conjectured to have been almost two
metres, or G'SOOl-l English feet high. When the vases were
baked they were carried away in baskets, slung on a pole, and
borne across a man's shoulder.^ '
In general, such vases were adapted for culinary and other
purposes ; but for those which were used for entertainments, or
which stood in the domestic apart-
ments where they could be seen, some
kind of decoration seems to have been
required. The simplest decorations
were annular bauds, of a black or
purple colour, running round the body
or neck.^ In some cases a wreath
w^as painted round the ' neck f and
certain jars and bottles have the re-
presentation of a collar pendent from
the shoulder of the vase, painted in
blue, black, and red.* Others are
coloured entirely with broad bands,
of a faint purple and black colour.
Occasionally the annular bands are
united by hatched lines, ^ and some-
times, but very rarely, a few leaves
are painted on the vases.** The most
elaborate mode of colouring was to
paint the whole vase with a ground, in distemper, — sometimes
No. 17.— Painted Vase of unglaz(4
ware. Egypt. Room, No, 4887.
^ Rosellini, M. C, 1. ; Biongniart, i
Traite, PL iii. ; Wilkinson, Man. and'
Cust., i. p. 164. i
- RosL-llini, M. C, liii. 19-26 ; liv. 51 ; j
Iv. 67-8-72-86-7, &c. ; hi. 124. !
3 E. R., 4897, 4898.
* Rosellini, M. C, liii. 16, 17, IS; Iv.
62; Lepsius, Drnkra., ii. 153.
' Rosellini, M. C, hi. 117.
« E.R., 4913, 4885.
D 2
36
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
blue, with festooned bands of narrow lines of white, red, and
yellow colour — and then to cover it entirely with a resinous
varnish, to which time has imparted an orange colour.^ Thus
prepared, they were humble imi-
tations of the opaque glass vases
— the Egyptian murrhine — and
are considered to have been placed
in the tombs instead of the real
ones, which the relatives of the
dead desired to retain. Others
were coloured white and marbled
with white and black lines, or else
of a warm red colour, marbled
with crimson or brown lines.
These are also covered with the
same resinous varnish. On some
is painted a small tablet, contain-
ing an inscription with the names
and titles of the deceased,^ which
is generally sepulchral in its
tenor. Occasionally mere names
of persons are found in these in-
scriptions ; but sometimes the substances contained in the vases,
or their destination, are mentioned. The highest efforts of the
artist seldom exceeded a stiffly-
drawai lotus or papyrus flower, or
a fanciful ornament. The cylin-
drical vases with rounded bases,
used to drink water, were de-
corated with painted collars or
wreaths.^ A more elaborately-
painted vase is given by Rosellini
from the wall-painting of a tomb
at Thebes. It is an amphora
with a yellow ground, on which,
in red and blue outline, are de-
picted calves disporting amidst
shrubs and a bunch of pendent lotus flowers.* It is a distant
No. 18. — Painted Jug. Egyptian Room,
No. 4936,
No. 19. — Painted Vase. Egyptian Room,
No. 4910.
• Rosellini, M. C, liv. 61. Cf. Lee- 250, 251.
mans, Mon. Eg., Ixii. 349 ; Ixv. 404,405. | ^ Rosellini, M. C, liii. 16-18; Lee-
2 E. R., 4875; Minutoli, Reise, Taf. ; mans, Mon. %., Ixiii. 367.
xx.xi. fig. 8 ; I<eemans, Mon, Eg., lix, * Ibid., Ix.
Chap. I. MODE OF DECORATION. 37
approach to the vases of tlie style called Phoenician found in
Greece. The colours were laid on after the vase was finished,
in water-colour or tempera, and the vases were not returned to
the furnace, like the Grecian, in order to vitrify them. Several
dishes or bowls are ornamented inside with single figures, or
processions of deities, drawn in white or black outline.^ These
scrawls are far inferior in drawing to the efforts even of archaic
Greek art. It is evident that the potter's art held a very low
position in Egypt, and that the occupation was pursued by
servants or slaves.
It has been already mentioned that the colour of the paste
varies from a fine red to a pale yellow, and that this diversity is
said to depend on the baking, or on the quantity of iron present
in the clay. The vases are exceedingly soft, easily scratched
with the nail or cut with a knife. Their size varies from three
or four feet to a few inches in height, and their shapes are too
numerous to specify in detail. All these vases were taken out
of the sepulchres in which they were placed as part of the
furniture of the " eternal houses " of the dead.^
Of this fine teiTa-cotta the Egyptians made at a later period
those votive figures called sigillaria by the Komans. They are
the work of the modeller rather than of the potter, though some
appeared to have been pressed out of models. They are
generally hollow, open at the base, and with a hole in the back,
commonly of the thickness of a finger, to admit of their being
hung upon a wall. They were whitewashed with a coat of fine
lime, upon which were painted gaudy colours in tempera, with
a vehicle of eggs and vinegar.^ The Egyptian paste or clay is
remarkably red, and sometimes so coarse as often to approach a
red brick. Thus prepared, they were fit either for the votive
gifts of the pious, the decorations of the tombs, or the toys of
the child. In this respect, then, they resemble the modern
plaster of Paris figures, which embellish our gardens and
houses, the shrines of the Virgin, and the nurseries of children.
Those found in Egypt are nearly similar to those discovered in
Greece or Italy, except that they are of a coarser style, and
more frequently modelled in the form of Hellenised Egyptian
deities. Of these, Isis and Horns, or Harpocrates, are the
* Leemane, Mon. Eg., PI. li.-liii. j iv. p. 199 ; Passalacqua, Cat. Eais.
2 Cf. Eosellini, M. C, t. iii. p. 315; ; ' Taylor, 'Fresco and Encaustic
Ab. d'Allatif, Kel. de I'Egypte, lib. i. c. Painting,' 12rao, Lond. 1843, p. 5.
38 EGYPTIAN AND ORIEN'J'AL POTTERY. Part I.
prevalent deities, though we occasionally find Serapis; other
subjects are derived from Hellenic myths, and beh)ng to that
class of art.^ These figures are often characterised by a prurient
indecency, which would seem to have had a satirical, rather
than a religious, motive. Besides these are figures which are,
unequivocally, caprices of the artist, and exhibit a corrui)t tone
of [)ublic morals. Such examples are not exceptions, but rather
the rule. The greater portion are of the period of the Roman
domination ; and some are so inferior in design and execution,
that they may be as late as the appearance of the Gnostic and
Marcian heresies. They chiefly came from Alexandria, Coptos.
Memphis, Elephantine, and the Fayoum.
The lamps ^ of Egypt are generally of a coarse brown clay,
imperfectly baked,^ of the usual shoe shape of the Roman
lamps, with a place for a single wick, and a hole in the body of
the lamp to pour in the oil. They seem to have been made by
pressing the terra-cotta into a mould. Their black and burnt
nozzles indicate their former use. They were mounted upon
candelabra, placed in stands, suspended from the ceiling by
chains, or else hung by a hook from the wall. None are
earlier than the Roman Empire, and most of them were made
after the introduction of Christianity into Egypt. It is very
usual to find the upper part modelled in the shape of a toad.
Some have eagles^ palm branches, and other ornaments, but
none are decorated with the curious mythological and other
subjects found on the Roman lamps. Those of the Christian
period, as late as the fourth and fifth century, have* on their
u[)per surface a border of crosses and other ornaments stamped
in a low bas-relief; and round the upper edge are sometimes
found inscriptions, such as, " Theology is the grace of God ; "
^' Light of light;" *' The holy Chrystina;"^ " Of the holy
Cyriacus;" in language more orthodox than grammatical.
Some of these Christian lamps are of a better ware than the
earlier ones, being redder and brighter, and of a finer grain.
But, as a general rule, even this branch of the art seems to
have been in a very low condition in Egypt, and certainly
^ Descr, de I'Egypte Ant., vol. v. PI. | ^ Descr. de I'Egypte Ant., vol. v. Pi.
72, No. 11 ; PL SG, Nos. 2, 6; Pococke, I 73, 6. 76, 18, 19. 78, 15, 17. 86, 63. 89,
Travels in the East, fol., London, 1743, 28 ; Leemans, Mon. Eg., pi. Ixxiii.
I. PI. Ixiv. p 214; Leemans, Mon. Eg., [ * Private plate of Mr. Sams' Collec-
Pl. xxiv.-xxvii. I tion, title-page; E. E., 5207, 5208;
2 E. R., 5183-5228. ' Agincourt, Sculpt. Ant., xxii. fig. xiv.
POLISHED POTTERY. 39
inferior to its state in Kome and the provinces of Greece
and Asia Minor. There are none of a style of art resembling
that of the age of Herodotus, and which could have been used
in the grand illumination or feast of lamps which he mentions,
and it is remarkable that no terra-cotta or other lamp prior to
the Eoman period is known.
A furtlier improvement in the art consisted in polishing the
vases, polished vases as forming another class. It is difficult to
determine whether this polish was produced by a vitreous glaze
so thin as almost to defy analysis, or by a mechanical process.
Some derive their polish from mechanical means, and other
vases of the fine red ware owe their lustre to a fine alkaline
glaze, or to a varnish of an organic nature. Another mode of
polishing consisted in covering the body of the vase with a
coating of lime, which was then polished, and thus gave the vase
a white or cream-coloured appearance.
The material of which the polished vases are made is finer
than that of the vases previously described, and is sometimes as
hard as sandstone. It is generally of a pale red colour ; but in
some instances it is brown, black, or of a vermilion colour
throughout. As a general rule, these vases are more finely
shaped and more carefully baked than those of the first class.
Being also probably rarer, their smaller size and superior
durability and portability have caused them to be preserved by
archsBologists and travellers.
Different clays were applied to particular uses. The cruse,
or ancient Egyptian lecythus, a vase adapted for holding a
small quantity of liquid, probably oil to feed lamps, or medi-
caments of which only a small quantity was required, was of a
brown or black paste. These vases seem to have been in use in
Palestine, one having been found amidst the ruins of Tyre ; and
their clay and varnish^ enable us to comprehend the nature of
the Semitic potteries. Some are of a light red-coloured paste.^
A peculiar variety of this vase are the double lecythi, the bodies
of which are united by a band.^ All these vases have globular
bodies, tall narrow necks, and small mouths. Other vases, as
well as jugs or bottles, with oval bodies and narrow necks, are
made of a black clay, and one specimen, with a compressed
globular body, has a lustre indistinguishable from the lustrous
* Biongniart et Riocroiix, Mus. de Sevres, PI. xiv. 8, pp. 60, 474.
2 E. R., 4818, 4819. ' E. R., 4825.
40
EGYPTIAN AND ORIENTAL POTTERY.
Pakt T.
glazes of Nola and Vulci.^ Among this polished ware, but of
pale red clay, covered with a white cretaceous coat, are tall juo^s
or bottles with long necks, oval bodies, and pointed bases, like
the lagena. From bottles such as
these the stork might have de-
voured his feast in the presence of
the disappointed fox or jackal of
the fable.^ Another kind of jug,
some specimens of which still con-
tain a fragrant and balsamic pre-
paration, had a compressed body
and wide-open mouth, in order to
allow an easy flow of the viscous
fluid which they contained.^ These
vases sometimes have two handles,
like amphorae or diota?.* Smaller
vessels of this shape are found
united by a band to the circular
double-handled aryballoi, evident-
ly for uses of the toilet ; one hold-
ing the ointment, the other the perfume for the fair Zuleikas of
Egypt. It is evident that these are imitations of the more
valuable alabaster and porcelain vases. The aryballoi, or vases
with a compressed globular body and two small handles, are sup-
posed to have been toilet vases.^ They are generally made of a
pale red clay, but are often covered with a cretaceous coating.
Perhaps the idea of these vases was taken from the pendent fruit
of the pomegranate, a favourite emblem. Their necks are short
in proportion to their bodies, and their handles reach from the
shoulder to the lip, which is always turned with a ridge. The
more elegant vases of this class were of the enamelled earthen-
ware, but many were obliged to content themselves with polished
terra-cotta.^ At a late period of the Roman Empire they are
of a flat compressed shape in unpolished terra-cotta, with
the figure of St. Menas holding a lion by the tail with both
hands, modelled upon them, and have crosses^ at the sides.
One lecythus in the Museum has no handles, and is of a black
paste.^ There are a few^ vases of this style, with two or more
No. 20. — Donble Cruse of glazed ware.
Egyptian Room, No, 4824.
* E. E., 4812. This unique vase is
probably Greek.
2 Ibid., 4828-29.
3 Ibid., 4935-38.
* Ibid., 4904. » n-^^^i^ 4845-57,
« Ibid., 4848-54.
' Ibid., 52^0-34.
^ Ibid., 4804 h.
Chap. I.
RED VARIETY.
43
No. 21..
-Bowl of red polished ware.
No. 5120.
Egyptian Room
handles, resembling those of the unglazed ware, but of snutij]
proportions,^ and a tall egg-shaped vase with two small handles
at the side, the giant of its class, seems to have been designed
to hold a large quantity of some substance. The ampullie vases
are common.^ Their colour is either white, with a cretaceous
coat, or else red, like the Roman ware.^
The red ware was essentially a polished ware, to judge from
the majority of specimens
of that description, which
are very abundant. It
generally consists of line
and small vases like other
polislied and glazed ware;
and was doubtlessly used
for culinary purposes. It
was pi'obably the oldest
of all Egyptian pottery.
Its grain is red through-
out, and the exterior surface is not heightened with coloured
glaze, which gives it a deeper and warmer tone. The vases
made of it were choicer specimens than those made of the first
class of unglazed ware. M. Bron-
gniarf^ has published one in the
shape' of Isis suckling Horns. In
the collection of the British ^luseum
is an exquisitely modelled vase of
this red ware, representing a female
standing and playing on a guitar,
heni,^ which she holds under her
arm. Her eyebrows and the acces-
sories of her dress are touched up in
black paint. This elegant specimen
cannot be much later than the
Eighteenth or Nineteenth dynasty.
The orifice consists of a short cylin-
drical neck, and the interior con-
tains a viscous fluid. Another vase
in the same collection has been sup-
posed by Sir J. Gardner Wilkinson to have been adapted for
placing on the thumb of a painter, or of a scribe,^ and to have
No. 22. — Jar-shaped Vase.
Room, No. 5 1 54.
Egyptian
' E. R., 4843. 2 n,i.i^ 4948-51. ^ i^i,]^ 4^33
* Brongivait, Traite, PI. xxi. 2. ^ 3 ^i p^ n 5114 e -^ ^ .^jjy
40
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
^ .^ii intended for holding u little water widi whicli to moisten
his ink; on it is insi-ribed, "for An," the end of a sepulchral
formula. A thiid is in the shape of the fish chsetodon, and the
fourth and last vase represents a lamb
couchant, and is of the , Roman period.
Two stands or tables, trumpet-sliaped,
No. 24. — Gourd-shaped Vase. Egyptian Eoom, No. 5117.
measuring about three feet high, and hol-
low throughout, are in the British Mu-
seum.^ Similar stands are occasionallv
No. 25.-
No. 23. — Bottle of red po-
lished terra-cotta, in form
of a lady playing a guitar.
Egyptian Room, No. 5 1 14.
-Vase of red terra-cotla, in shape of the fish Chastodon, or
Latus. Egyptian Room, No. 1116.
represented in the hands of functionaries,
with offerings on them, w^hich they hokl
out to divinities. There are also bowls of this ware of the usual
shape^, and some with the lips bent inwards, as if to prevent
liquids from overflowing. Others, of a flatter shape, have on
them processions of deities and inscriptions traced in white or
black outline,^ apparently to show that they were destined to
sepulchral or religious uses. Some have been used to record
memoranda. Besides these vases, there are cups, apparently
for drinking, and others similar in shape to the elegant vases of
arragonite, which still contain traces of the precious unguents
which they held. There are also jugs of a very elongated shape,
with a narrow neck, resembling the lagena,^ which are generally
» E. R., 5118-19. « Ibid., 5120. ^ ibj^^ 5130-41.
* Brongniart, Traite, xxi. 4.
1
Chap. T.
IIED VARIETY.
43
of the red polished ware, and rarely of any other, and still
contain a viscous vegetable fluid, which has not yet been
analysed, — perhaps the lees of wine. The bottles
for water, which were placed nnder, and not upon
the table, were also of the same ware. Tlieir
body is oval, with a tall and wide neck, and they
were placed upon hollow cylindrical stands.^ Some
other vases of smaller dimensions, but which must
have been also placed upon similar stands, probably
held other liquids for the table.^ Those which are
provided with side handles seem to have been made
for carrying or suspending. As a general rule, they
are all of a more valuable kind of w^are, and of more
careful execution and finish than the yellow and
pale vases, which have neither polish nor glaze.
This ware is, however, after all, far inferior to the
red pottery of the Romans, presenting neither the
compactness, the briglit glaze, nor the clean frac-
ture. It is soft and tender, easily scratched with
a knife, but undoubtedly possessing the required
property of cooling the liquids which were poured
into it.
It is not certain whence the clay was procured
of which it w^as made, and it was so easy to trans-
port it down the Nile, that no conclusion can be drawn from
No. 26. — Wine Jug
of polished red
ware. P^yptiaii
Room, No. 5173.
No. 27. — Fine glazed red ware.
Egyptian Koom, No. 5164.
No. 28. — Balsam Vase of red ware.
Egyptian Room, No. 5167.
» E. R., 5173-7G.
2 Ibid., 5178.
44
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
local finding. Some, indeed', of these vases were found in the
cemeteries of Thebes.
The vases made after the subjection of Egypt by Alexander
form a separate class, distinguished by their
colour, ornaments, and texture, but belong-
ing to the class of polished or glazed vases.
The texture of this ware is, in some speci-
mens, very coarse, and mixed up with grains
of white calcareous stone, or of grey argil-
laceous schist, while in other instances it is
finer and more homogeneous. Its external
colour is of a pale tone, either grey or rosy,
or else of a brick red or of a deep grey.
The inner clay is of a pjile dull red colour,
equally diffused, and in thick pieces ; it is
externally red, and black at the centre, the
colours running into each other and indi-
cating the action of the fire. The vases are
painted with bands, spirals, animal forms,
flowers, and architectural ornaments in red
or black mineral colours,^ which adhered in
the baking to the body of the vase. These
colours are not affected by the action of
water, fire, or acids, although the ware itself,
apparently from tlie cretaceous nature of its body, is more or
less injured by all these agents. The vases of this class are
generally well made, but do not ex-
hibit the great beauty of outline
discernible in the vases of the pure
Egyptian epoch. They are chiefly
large jars,^ or bowls for liquids or
viands. Some are found of a pecu-
liar shape having a globular body,
cylindrical upright neck, and handle
from the body to the neck ; ^ vases
of the same form have, however, been
discovered in the sepulchres of the
No. 3o.-Fragmentof aGr^o-Eg^tian Ramcssid mouarchs of the Twentieth
Cup. Egyptian Room, No. 4863.
dynasty,'* and have also been found
in Greek and Asiatic tombs: perhaps they were Phoenician.
No. 29.— Bottle in its ^tand.
of polished red ware.
Egypt. Room, No. 5718.
» Brongniart, Traite, p. 500; Mus. Cer., tav. xiv., Nos. 14-19 ; E. K., 48G3-65.
2 Ibid., xiv. No. 23. ^ E. R., 4855-58. * Eosellini, M. C, lix.
Chap. I. INSCRIBED TILES. 45
Another vase referable to this class is a tall upright cylin-
drical jar, with a pointed base, having round the inside a ledge
perforated with a row of small holes ; it may have been destined
to hold flowers. On the exterior it has paintings of the phcKnix
and flowers of the papyrus.^ These vases principally come from
Coptos, Elephantine, and the Fayonm.
It is owing to the circumstance of the Egyptians depositing
these vases in their tombs, filled with various kinds of food and
other substances for the future use of the deceased, that so
many in a perfect state have been preserved. In them have
been found corn, barley, lentils, the dates of the doum palm,
the fruit of the mimusops, that of the balanites, or heglyg,
eggs, and the clayey sediment of Nile water : as well as traces
of articles of luxury, or medicaments, such as a thick viscous
fluid, the lees of wine, fragrant solid balsamic and unctuous sub-
stances, asphalt, and paste composed of bitumen combined with
some other material, a snuff-coloured powder, and chopped straw.
The celebrated historical papyri of Kameses II. were said to
have been found in vases, and the Greek ones of the Turin
collection came from these fictile repositories in the tombs of
the western bank at Thebes. In fact, vases answered, at that
period, the purposes for which caskets or boxes are employed
now. It would be an endless task to attempt to detail all their
manifold uses, as they were the silent companions and humble
ministers of all classes, from their cradles to their graves.
One of the most singular modes of employing this pale glazed
ware of the Graeco-Egyptian class, was for writing on it, for
which, sometimes, the yellow ware was also used. In the tombs
of the kings and other places, slices of calcareous stone have
been found, on which have been sketched figures of deities or
other subjects, resembling the working sketches of a painter, as
well as inscriptions, chiefly in the hieratic character.^ At the
Roman period inscriptions were often written upon potsherds,
or trapezoidal fragments of vases about two or three inches
square. Many of these pieces have their inner sides turned in
concentric bands, as if they had originally formed part of cylin-
drical vessels, or the necks of jars. The same custom prevailed
among the Copts, and many of these fragments have Coptic
inscriptions on them. The prophet EzekieP speaks of drawing
a city upon a tile, which shows that a similar custom obtained
» E. R., 5282. 2 ibia., 1-2-10; Young, Hieroglyphics, PL 53, foil. ' Ez. iv. I.
46 EGYPTIAN AND ORIENTAL POTTERY. Part T.
among the Jews ; and the Chinese schoolboy still learns the
difficult characters of his language by tracing them upon a
similar object.^ The Egyptian inscriptions have been written
on them in the usual black ink with a thin writing-reed. Ii>
scriptions in the hieratic or Egyptian writing-hand are not
common ; they are chiefly religious,^ but lists, memoranda and
other subjects are found on them. Those in the demotic or
popular writing, which was used after the Persian rule till the
close of the first century of our era, are probably receipts ; but
their contents have not yet been explained.^ The Greek in-
scriptions on those brought principally from tlie Roman stations
of Syene and Pselcis, commencing with the reign of Yespasian
and terminating with that of the Antonines, consist of short
memoranda, receipts, and epistles. Those from Syene are
acquittances by the tax-gatherers and publicans, or contractors
of *' the sacred gate of Syene" for payments of the tax paid^
for the poll or income tax which rose from 10 to 18 drachms
under the increasing fiscal regulations of the Eoman Empire.^
One more curious than the rest, is an acquittance from Antonius
Malchaeus, the port-admiral, to Harsiesis, a goose-feeder.^ Those
from Pselcis are receipts of the soldiers to the commissary for
their rations."^ Most of these were written by clerks, and, from
the fact of their being found in duplicate, it is probable that
they were used as tallies — one copy being kept in the public
office, and the other given to the payer, which accounts for
their discovery near the stations. One is a letter written about
the time of the reign of Severus. In the chapter which treats
of the pottery of Assyria and Babylon there will be occasion to
advert to a similar practice. ^
The Coptic inscriptions are almost all religious, with some
few exceptions consisting of memoranda or short letters ; and
probably belong to the age of Coustantine. They are not dated
either by indictions or by the Diocletian era.^
' Morri-on, Chin. Gram., Preface, 4to, Athens, 1842, p. 6G.
2 E. R., 5G43, 5644.
3 E. R., 5677-5760 ; Young, 1. c.
* E. R., 5790-584U ; Bockh, Corp. Insc.
Grajc, No. 4863 6-4891 ; Minutoli,
Reise, xxxii. 17 ; Young, Hieroglj^phios,
PI 53, 54, 55 ; Rhangabe, Ant. Hell.,
5 Rev. Archeol., 1869, p. 226.
« E. R., 5790 ; Bockh, 1. c. 4864.
^ Niebuhr in Gau's Nub. Tab. viii. ix.
pp. 18-20; Bockh, Corp. In>.cr., No,
5109, p. 458.
» E. R., 5863-5894.
Chap. TI. GLAZKD WARK. 47
CHAPTER II.
Glazerl Ware — Analysis — Glaze — Colouring matter — U.so of glazed ware in
architecture and inlaying — Vases of various kinds — from tlie Saralnit FA
Khadcm — Gra3co-Egyi)tian vases — Inscribed tiles — Toys and draughtsmen
— Amulets, beads, bugles, pectoral plates, scarabaii — Small figures of
the gods — Porcelain finger-rings — Sepulchral figures — Glazed stone vases,
rings, and other ornaments of this material,
HiTHEKTO that kind of Egyptian pottery has been described
which was unglazed, and which, consequently, being only used
for common and domestic purposes, did not require any high
degree of skill in the potter. We are now about to examine
those kinds to which the Egyptians applied a vitreous glaze, and
which corresponded to the porcelain of the present day and the
fayence of the middle ages. The term porcelain, however,
which archaeologists and others have applied to this ware, is not
strictly correct, since it exhibits neither the translucence, the
compactness, nor the hardness of that substance. Nor can it
be defined as glazed terra-cotta, since the body of the ware is of
a different substance from that material. It is of a white or
grey colour, and of a sandy, friable texture, the particles of
which it is composed being hard, but having little or no co-
hesion. The constituent parts consist of silica and alumina,
carbonate of lime, magnesia, oxide of iron, and water ; but the
analyses present results so different, that no very satisfactory
conclusion can be drawn as to the true proportions of the sub-
stances employed. These were probably different, according
to the manufactory, and the period in which the ware was made.
The heat used, however, was only just sufficient to hold the clay
together ; and a small quantity of soda found in it seems to
have been introduced to effect the glazing. Its specific gravity
is 2'613, and it is not fusible even at a white heat. This paste,
or body, which was the core of the glaze, could have very little
plasticity, presenting a gritty, sandy mass, difficult to form into
vases, and concave pieces turned on the wheel ; it was, however,
more easily stamped in moulds, in the shape of small figures of
various kinds. The reason why the Egyptians used this kind
48 EGYPTIAN AND ORIENTAL POTTEIIY. Paut I.
of paste appears to have been that their argillaceous clays would
not combine with their siliceous glazes. When placed on vases
of the kind described in the preceding chapter, this glaze would
have bubbled, peeled, scaled, or fallen off. The use of lead in
glazing had not yet been discovered, and the siliceous glaze
required to be held by other siliceous particles, which were all
retained in a granular state by the clay.^ When the object had
assumed the intended shape, the glaze was laid on. It was com-
posed of silica — probably a finely ground or triturated sand,
and soda, to which were added certain metallic oxides to produce
the colour requirdll. For the fine celestial blue, which is still the
admiration of all who view it, and scarcely rivalled after thirty
centuries of human experience, an oxide of copper was em-
ployed.^ The green glaze, which, in many instances, seems to
be the blue changed by the effects of time, is also stated to
have been produced by another oxide of the same metal. The
red glaze, but rarely seen, is conjectured to be a protoxide of
copper ; the violet, to be formed by an oxide of manganese,
although capable of being produced by gold. Yellow was,
perhaps, made with silver ; the white glaze with tin, or a white
earth.^ No very recent analysis has, however, been made ; and
it is to be regretted that we are compelled to acquiesce in the
conjectures of archaeologists, rather than to adopt the tests of
chemists.* Of these colours the celestial blue is the predomi-
nant one, the rest being occasional varieties, used for objects
made in the Greek and Roman epochs, when foreign ideas and
tastes had superseded the genuine national feelings. The glaze
is often thick and tender, susceptible of injury from the action
of air, and liable to become covered with a saline efflorescence ;
it only partially resists strong acids. From the impression of
linen cloths^ which some objects bear, it would seem that the
glaze was laid on with pledgets of linen, unless these were used
in the furnace to prevent adhesion of contiguous pieces. The
application of this porcelain in the arts was very extensive. It
was highly prized, and was esteemed valuable enough to be
exported — objects made of it have been found in Greece and
' Brongniart, Traitc, i. 505. j * See, liowever, the geneial account of
2 Boudet, ' Notice Histoiique de I'Art , this ware, Mus. Pract. Geol. Cat. p. 32.
do la Verrerie ne en ^Egypte ' ; Descr. de i * Compare, for example, sj^ecimens,
r%ypte Antiq. Mem., t. ii. p. 17. B. M., E. Pt., 1120-27, on the back of
* Passalaequa, Cat. Pais., pp. 254, 258, j which are the traces of linen,
and foil. i
TILES AND INLAID OBJECTS.
49
taly: but of the technical means employed in its preparation
there are no representations in the sepulchres. It is as old as
tlie Sixth dynasty. In all cases where beauty of decoration was
required, and the object was not much exposed to the influence
of moisture, this elegant material was used.
^m One of the earliest instances of its application is to df corate
^^^e jambs of an inner door of the Pyramid at Saqqara, in the
style of the chimney-pieces plated with Dutch tiles which were
in fashion about half a century ago. Tlie tiles are two inches
long by one broad, and almost an eighth of an inch thick. ^
Some are of a bright blue colour, slightly convex on the e^jterior,
having a plate behind which was perforated horizontally, and
was let into a layer of plaster — a wire having been probably run
through the tiles to secure them to the jamb. They seem to
have been made expressly for the doorway, for some of them
have numerals in hieratic characters at the back. Other tiles are
rectangular, bevelled inwards, so as to fit into plaster,^ They
are of a dark colour, almost black, and thinner than those just
[escribed.^ A tablet* had the usual representation of the cow
No. 31.— Tile for inlaying, inverted to i^how
manner of insertion. Egyptian Room,
No. 2440.
No. 32.— Inlaying Tile of dark porce-
Iain, from the Pyramid of Saq-
qara. Egyptian Room, No. 2445,
jf the goddess xithor, iidaid in blue porcelain on the calcareous
3tone in which it was sculptured. But the most extensive use
of these tiles known is in the ruins of the Tel El Yahoudeh, the
ancient Vicus Juda3orum in the Temple of Eameses III. or
Eampsinitus formerly built of unbaked bricks at that spot.
The walls of this edifice were revetted with porcelain tiles con-
taining the legends and conquests of the monarch. Some of the
tiles consisted of long rectanguhir slips with the hieroglyphs
incused and inlaid with pastes or coloured glass fitted into the
incused portions. The backgrounds of these tiles were generally
' E. IJ., 2437-42.
- Vyee, Journal, iii. 45 ; Miniitoli,
lleise zum Tern pel des Jupiter Ammon^
.-<. 405-407 ; Taf. xxviii. fig. 6, a, h, c,
7, 8 ; Segato, ' Saggi Tittorici,' folio.
Fir. 1827, fasc. ii.
3 E. K., 2444-45.
* Belmore Collootion, PI. 7. fig. 1.
50 EGYPTIAN AND ORIENTAL POTTERY. Paut T.
blue. Some square tiles have a yellow background with the
hieroirlvphic name and titles of the monarch inlaid in coloured
pastes, producing a varied and lively eifect. Another class of
tiles representing Asiatic and Negro prisoners conquered by the
same king are of an entirely novel cliaracter, and resemble
modern Palissy ware. The figures of the prisoners are in reliefs,
upon a flat rectangular ground. Portions of the garments and the
backgrounds are inlaid with coloured pastes of various colours,
the features and flesh of the limbs are appropriately glazed, and
the hair or head-dress — especially of the negroes — of coloured
pastes. They are well made, and fine specimens of toreutic
work in relief. Among the Asiatic tribes were the Kliita, the
Kubu, the Tahennu, and others. Beth black and copper-coloured
negroes appear at this period in their dresses of linen or panther
skins ornamented with spots, stars, and other devices. Along
Avith these tiles were found portions of alabaster and calcareous
stone, in shape of the heads and arms of inlaid figures. The
early statues of Egypt seem, like the acrolithic ones of Greece,
to have been often composed of different materials, such as ivory
and ebony, or wood and porcelain. When porcelain or vitreous
pastes were inlaid, the portions made of this material were the
extremities, as the fingers and toes, the beard and eyes, and
parts of the dress, such as the collar round the neck, the bracelets,
and anklets. One of the finest specimens of this application of
porcelain in inlaying, is a head-dress or wig, found at Thebes,
which formed part of a small figure of a king,^ probably about
three feet high. The mass of which it is composed is of a deep
blue colour, the fashionable head-powder of the day being pro-
bably of that hue. So regular is the ar/angement of the curls,''
that they appear to have been pressed out- of a mould. A rich
fillet or diadem which passed round the head, is inlaid with
small tesserae about half an inch long, and one-eighth of an inch
wide, of bright red paste, imitating jasper and gilded porcelain.
The royal asp or urseus is wanting. It was secured on the statue
by a plaster of fine lime, and the whole presented an appearance
like the Lucca della Robbia ware. In the collections of the
British Museum is a beard of deep blue porcelain, probably
from a mummy case,^ and some fingers and toes,^ for inlaying
into a figure. The ends consist of long plugs, and the pieces
were fixed in with pins of glazed ware. Sometimes only a part
» E. R., 2280. 2 E. R., 6894. ^ j^ r^ 2409-2418.
GLAZED AND INLAID TILES FROM TEL EL YAHOUDEH.
Chap. TI.
TILES AND INLAID OBJECTS.
51
of the inlaid work was in porcelain ; thus in the ct)ffins belong-
ing to the mummies of Tenamen^ and of Horus,^ in the Museum,
the eyes have only their brows and lids
of blue porcelain, the white being com-
posed of ivory, and the pupils of obsi-
dian ; — while in the coffin of Horus, a
priest, the plaits of the beard are inlaid
with paste or blue composition. Even
at au earlier period, when the coffins
were made in the shape of rectangular
chests or boxes, the two eyes, called
the symbolical eyes, inlaid into the
sarcophagi, were of various substances,^
and without doubt occasionally of blue
porcelain.
Besides the inlaying of coffins, porce-
lain seems to have been applied in the No. ss.-Beard of i.iue porcelain pnn
(, -, . babiy from a mummy-case, i'-gyp-
same manner to a variety of domestic tian Room, no. 6894.
objects. A box of dark wood, in the
British Museum, which was taken out
of a sepulchre at Thebes, has at the
sides, and on the cover, a square border no. 34.-Porceiain Finger for inlaying.
made of rectano^ular tesseraB of blue
porcelain, alternating with similar pieces
of ivory, stained red.* Several objects
are met with which were evidently
inlaid into various articles, either used
as furniture, or for sepulchral orna-
ments. These have a bas-relief on one
side, and a rough fiat surface on the
other, enabling them to adhere by a
mordant to the wood or other substance
to which they were attached. Among
examples of this class may be cited a
small seated figure of a hawk-headed
deity, so vitreous as to be almost a
paste ;^ a kneeling figure of Isis, de-
ploring the death of her brother Osi-
ris;® some uraei,^ or serpents; a representation of the heavens,^
Egyptian Room, No. 24 Os.
Xo. 35. — CoCBn of Horus; eyes and
beard inlaid with porcelain. Egyp-
tian Room, No. 6659.
» E. R., GG60.
2 E. R., 6659.
3 E. R., 6654.
* E. R., 5897
* R. R., 83G.
« E. R., 836.
' E. R., 1973-74.
« E. R., 2050
!•: 2
52
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
and various legs, arras, and heads of deities or monarchs, in
a thick opaque glaze, of a dark red colour, intended to imitate
red jasper.^ The pectoral plates,^ called uta, described below,
were also often inlaid with narrow borders of coloured porce-
lain, and even the whole figures of the gods and other
emblems upon them, are composed of pieces of the same
material, which formed a coarse mosaic.^ The art was also
applied to minute objects. An excellent little specimen of a
scarabaeus, about an inch long, in the possession of the Duke of
Northumberland, has the body made of steaschist, covered with
a vitreous green glaze, while the elytra are inlaid with coloured
porcelain. There are in the British Museum two most remark-
able pieces intended for inlaying. One is a tile of blue porcelain,
six inches long by four inches wide, on which, in outline of a
darker blue colour, is traced the figure of a royal scribe, named
Amenemapt, worshipping Osiris;* the other, which is circular,
has a curious representation of a spider in the centre of its web.^
The vases made of this porcelain are of small size, and few in
number; for it was difficult to manipulate the coarse gritty
paste into forms either complicated or of large dimensions.
Few objects occur of a foot in height.
Those made of it were rather ornamental
than useful, and were not well adapted for
the rougher domestic purposes. Some few,
such as the bowls and deep cups, may in-
deed, upon special occasions, have held
fruit or liquids ; but the smaller jars were
apparently for holding cosmetics, and the
boxes for salves or ointments. The cases
which held the black antimony powder for
colouring the eyes, called by the Egyptians
stem or stibium, were sometimes of this
ware. They are generally of cylindrical
shape, in imitation of slips of reed, of which
they were usually made.^ A remarkable
one of white porcelain, in the British Museum, is inscribed with
the name and titles of Anchsenamen, the wife of King Amen-
anchut, one of the later kings of the Eighteenth dynasty,^ and
another has the name and titles of Amenophis III. Perhaps
No. 36.— Stibium Case. Egyp-
tian Room, No. 2610.
1 E. B., 6247-55.
* E. R., 6133.
^ E. R., 2573.
2 E. R., 7846-70.
^ E. R., 6134.
3 Cf. E. R., 7861-62, 66.
« E. R., 2610-11, 2588.
CllAl'. II,
VASES.
53
tlie small plinths, to which are attached rows of little vases,
were iiflaptcd for some use connected with the toilet, or for
holding drugs, although they have been generally supposed to
be part of the painter's pallets.^ Some of the other vases, such
No. ;]7.-i
i'^gyptian Room, No. 5541.
No. 38.— Stand for four little Vases.
Egypt. Room, No. 5537. Rosel-
lini, M. C, No. 80,
as the open-mouthed ones, seem adapted for unguents, while the
smaller sizeJ Lotties may liave contained essential oils or per-
fumes. One vase, of elegant oval shape, resembling a cartouche,
has two holes for red and black paint, and was decidedly used
as an inkstand. Some flasks made of this material are of a
complicated form, the Ijody being an
oblate compressed sphere, the neck
slender, the lip imitating the flower of
the papyrus, the orifice of the moutli
exceedingly small, as if intended to allow
oil, or some similar thick liquid, to ooze
out drop by drop. Eound their necks is
usually modelled the Egyptian collar
called useh. There are generally two small handles at the neck,
which sometimes represent apes seated and holding their fore-
paws to their mouths, or else the head of the ibex ; and at their
sides are broad bands on which are inscribed lines of hiero-
glyphs, consisting of a short iuAT^cation to the principal gods
of Egypt, such as Ainen-Ra or Jupiter, Mut or Juno, Chons or
Hercules, Phtha or Yulcan, Pasht, the wife of Phtha, and Atum
Nefer, their son, to confer health or a happy time on the pro-
prietor of the vase. One of these vases in the Museum of
Ley den has on it the name of Amasis, who reigned B c. 569.^
They are not of the fine blue porcelain, but of a pale or dull
green, and sometimes of a bluish colour. They appear to have
been imitations of vases in the precious metals, as their
decorations resemble those of the gold and silver vases repre-
sented in the sculptures. The most singular fact connected
' E. R., 5537-39-40-41.
E. R., 4767-78 ; Leemaiis, Mou. Eg. PI. Ixviii. 441.
54
EGYPTIAN AND ORIENTAL POTTERY.
Paut I.
No. 39.— Aryballos. Egj-ptian Room,
No. 4770.
with them is their discovery in the sepulchres of the PoUedrara^
in Etruria, amongst other remains bearing an Egyptian cha-
racter. From their style, which
is not of the best period of Egyp-
tian art, it is probable that they
were made about the age of the
Psammetici in the Twenty-sixth
dynasty, or the seventh century
B.C., when the Tyrrhenians^ were
masters of the seas, and obtained
these and other trinkets from
Egypt by their extensive com-
merce.^ In colour and the texture
of their paste they much resemble
the half of a small box inscribed
with one of the royal names of
Amasis II., the last monarch of the
Twenty-sixth dynasty, who fell
into the power of the Persian
monarch Cambyses, when he conquered Egypt, B.C. 525.*
This box is decorated with wino^ed figures of bulls and other
animals, in the Assyrian style ; a proof of the ascendancy of
the Chaldean religion in Egypt at the time of its manufacture.
Of similar ware, more compact in its texture, but of the saine
dull green varnish, are several small bottles in the shape of
gazelles ^ and porcupines,^ with small circular mouths and short
necks. Like those before described, they probably held oil. It
is probable that no vases of this peculiar fabric are older than
B.C. 900-800 ; at all events, none can be identified as being of
an earlier age, for, during the Nineteenth dynasty, the bright
blue fayence was more fashionable. An elegant little bottle of
this ware has its side cut in six facets, and is ornamented at the
angles with the representation of leaves.' Hound the neck is a
triple row of beads. Another of brighter blue is in the shape
of a goose trussed ready for the table, the handle being inge-
niously formed by the head and neck.^
A few vases of this ware appear to have been made for the
^ Micali, Mon. In. tav. vii. fig. 4, 5,
Abeken, ' Mittelitalien/ s. 399.
2 E. R., 4767-4777.
3 Rosellini, M. C, Iv. 81.
* E. R., 47C6. Trans. Roy. Soc. Lit.
vol. iii. p. 177.
' E. R., 4765.
« E. R., 4763-4.
' Prisse, Mon. fii
8 Ibid., 13.
Pi. xlix. 14.
llfAP. II.
VASES.
55
No. 40 — I?owl of I'lne porceljtin. ornamented with
flowers. Egyptian Room, No, 4790.
I
^Sideboards of the powerful and wealthy, such as cups in tlie
^^ha[)e of modern wine-glasses, tumblers, and mugs, one of which
being inscribed with the
name and titles of a son of
Kameses II., must have
been specially made for
his use. I'hese cups are
ornamented with lines
of a darker colour, also
glazed, imitating the pe-
tals of the lotus, or of
papyrus : the hieroglyphical inscriptions are also traced in t\\o
same darker colour, over which the whole glaze was fused.^
Bowls of this colour, some of about
a foot diameter, were also made.
Some smaller and deeper ones seem
to liave held various viands for the
table. They are occasionally de-
corated with ornaments in a darker
outline, such as flowers of the papy-
rus rising out of the centre.^ One
has an ornament crossing the dia-
meter, representing a closed flower
of the papyrus between two buds,
and on each side a chaetodon,^ a fish
of the perch species, eating a young
stalk of a water plant, the bud No. 41.— BowI ornamented with Fish an l
1 . „ . , ,^, . Plants,
hangmg irom its mouth, ihis was
a favourite device.* One of the
most remarkable of these objects is
a bowl in the British Museum. It
is nearly hemispherical, and the
body is of a dull purple ground.^
Round the lip is an inscription in
porcelain of a yellow colour, con-
taining: the names and titles of
Eameses II., monarch of the Nine- no. 42.— i>uui ..liuu with titles of Ra-
teenth dynasty. The foot is orna-
meses IL, XIX. dyn.
No. 4796.
Egypt. Room,
> E. R., 4779-87. Cf. Champ. Not.
Mu8., ch. X. p, 94 ; Prisse, Mon, Eg.
xlix. 1 ; Eosellini, M. C, liv. 56, Ivi.
10.
' E. R, 4794.
^ Leemans, Mon. Eg,, liv. lix.
* Cf. Wilkinson, M. C, t. ii. p. 398.
' E, R., 4796.
56 EGYPTIAN AND ORIENTAL POTTERY. Part I.
niented with a band of circles, consisting of the usual petals of
lotus flowers. Certain jars were also made of this ware, and their
covers were often very elegant, ornamented with the petals of a
flower in relief, or with handles either looped or ringed, or formed
by cutting away part of the curved surface. Some other vases
of this class in the Leyden Museum have a seated female musi-
cian, attended by her ape, together with animals and inscriptions.
An excavation undertaken by Major Macdonald, in 1847, on
the site of the temple of Athor, which formed at once the
temple and station of the miners at the Sarabut el Khadem,
near Mount Sinai, brought to light a considerable quantity of
fragments of vases and other objects of this glazed ware. None
of those deposited by Major Macdonald in the Museum are
remarkable for their size, but they are exceedingly interesting,
being fragments of figures,. cups, bowls, handles of jugs, and
other vessels, many inscribed with the names of monarchs,
commencing with Thothmes III. and his regent sister Hatasu,
of the Eighteenth, and ending with Rameses III., or Miamoun,
of the Twentieth dynasty. As many of the inscriptions state
that the monarchs were beloved of Athor, the goddess of the
Temple, " who rules over Mafka," or turquoise mine, it is evident
that these vessels were made expressly for the service of the
station. From their peculiar appearance, it is probable that they
were fabricated upon the spot.^ Glazed vases in shape of the Greek
jug, or oinochoe, continued to be made in the furnaces of Egypt
till the time of the Ptolemies and the Eoman Empire, when
lamps of this material were fabricated. A jug inscribed with the
name of Berenice, B.C. 239, and another with that of Ptolemy
Philopator, B.C. 220, are of pale blue colour and elegant shape.^
Draughtsmen, called ahu, of conical or cylindrical shape, were
sometimes made of porcelain.^ They vary in shape ; some had
No. 43. — Draughtsman (abtt) of blue porcelain, No. 44. — Draughtsman (dbu), having the
Egyptian Room, No, 6413. head of a cat. Egyptian Room, No. 6414.
human heads, others those of the dog or jackal, and the pieces
for this game were called latrones, or " robbers," by the Eomans,
1 E. R., 2405 a, 2417 a and foil., 4795 a, 4803 a, &c. ^ Beule, Journ. d.
Savants, 1862, p. 163 ; De Witte, ' Etudes,' p. 106. ' E. R., 6411-14.
,IIA1'.
II.
TOYS, BEADS, AND AMULETS.
iiid Jcuiies, or dogs, by the Greeks. One of the usual conical
ihape, with stud at the top, is inscribed witli the name of* tlie
No. 45. — Striped Ball of blue porcelain.
Egyptian Room, No. 6390.
No. 46. — Toy in sliapo of a Date of tbedoum
ralm. Egyptian Room, No. 6400.
Pharaoh Necho, B.C. 610, and is of the pale green ware of the
period. Striped balls, of a blue and dark blue colour, supposed
to have been used as children's toys,^ egg-
shaped objects,^ imitations of the date of
the doum palm,^ and studs of hemisphe-
rical shape, which were used as ear-rings, ^^,, ,,_,,^y ,,„,„,„,,„,.„ t,,,^
and inserted into the ears with a pin, porcelain in shape of an egg.
A ' Egyptian Room, No. 6401.
have also been found.
Amulets of this ware, in the shape of small figures, were
extensively manufactured by the Egyptian potters. If we may
judge from the quantities still found after twenty or thirty
centuries of devastation, millions of these objects must have
been made for the decoration of the dead or living. They even
formed an article of export, having been found in Greece and
the Isles of Italy, and among the ruins of Persepolis and of
Nineveh. It is probable that the mode of making them was
long a secret to the Greeks and Romans, for no imitation, which
can be referred to an early period, is known. They bear evi-
dent marks of having been stamped in moulds, and it would
seem that a well-finished model was fii*st prepared in terra-cotta,
from which, after it had been baked, impressions were taken in
a fine clay, flattened in a thick and circular shape.* These
impressions formed moulds, which, when they had been duly
baked, were ready for use. The paste or core of fine sand,
mixed with a small quantity of argillaceous clay, was then
pressed into the mould, the line left by the gates pared away,
and the specimen, if of very fine work, retouched where defec-
' E. R., 6389-93 ; Wilk., M. C, ii. 432. ^ g. R., G401-4. ' E. R., 6400.
♦ Cf. E. R., 34 et seq. ; Descr. de 1'%. Ant, vol. v. PI. 87, fig. 19, 20, 21.
58 EGYPTIAN AND ORIENTAL POTTERY. Part I.
tive. Separate impressions were taken of the hinder and fore
parts, and the orifice, by which they were intended to be strung,
was then made with a wire. After the glaze bad been laid on,
the figures were baked in a furnace — being deposited side by
side — for marks in the glaze on some specimens show w4iere
they have adhered. The objects made by this process exhibit
a great variety of forms, and range from six or nine inches to a
quarter of an inch in length. They comprise amulets in the
shape of various deities of the Pantheon ; of the sacred animals,
and religious emblems; studs for the hair;^ drops for ear-rings;
beads, and pendants representing flowers, and other emblems,
which, strung in concentric rows, formed collars, necklaces,
bracelets, and anklets ; scarabapi, of various dimensions, the
larger ones inscribed with certain formulae relative to the heart ;
large pectoral plates, which were hung round the neck, and
finger-rings. The application of this material to the decorative
arts was most extensive ; but it was much too fragile for the
ordinary wear and tear of life, and must have been principally
used for the imitative jewellery of the dead ; especially for the
beaded network with which the corpse was covered. The mean-
ing of this practice is as yet entirely unknown ; and, although
in certain pictures and bas-reliefs, Osiris, who is always mum-
mied, is seen encased in such a network, yet the hieroglyphic
legends do not aiford any explanation. Perhaps this custom
may be symbolical of the discovery of the lost limbs of Osiris
in the Nile. The most perfect examples of these networks,
which are made of bugles and beads, have a scarab with out-
stretched wings over the region of the heart, and at the sides
the four sons of Osiris, the genii of the internal viscera. The
beads are of various sizes and dimensions, some being several
inches, others scarcely a tenth of an inch long. The larger
ones seem to have been stamped out of a metal, stone, or terra-
cotta mould, and many of the smaller may have been made by
the same process. The bas-relief amulets have sharp edges ;
much sharper, indeed, than terra- cotta moulds could have
produced. Among the beads are bugles of blue porcelain,
generally about seven-eighths of an inch long, and perforated
with a rather large hole ; other bugles of a more conical shape ;
beads, generally made of a glassy paste, slightly rounded at the
base ; spherical beads sometimes of rather large size ; and
* Descr. de I'Eg. Ant., vol. ii. c. xviii. p. 18.
I
HAi'. II. BEADS AND AMULETS. 59
jrlobular ones of smaller dimensions. Tlieie are also annular
beads, generally of small size, distiugnisliod by Laving large
Kirifices and small bands of porcelain ; and flat plate beads, like
►one buttons, which occasionally are crenated.
The bugles were strung in nets and foruied, with the other
mall globular beads, the exterior beaded network of mummies.
They often had small globular beads placed between them in
order to conceal the thread at the angle. The conical beads
were apparently strung, but I am not aware that any network
of them has been found. The globular beads were also strung
on network ; but the flat circular beads, like bone buttons, were
diapered in fillets, which passed like a ribbon under the chin :
at least they are so arranged on the mummy of a priestess in
the British Museum.^ The annular beads are generally of
various colours, and are often elaborately worked into patterns
representing the winged scarabseus thrusting forward the sun's
disc, or into lines of hieroglyphical inscriptions. They are
threaded and netted together in compact masses, and form a
mosaic of thin cylinders, the respective parts being only in
beads coloured blue, red, white, and yellow. These beads are
certainly as well executed as they could be at the present day ;
and some are extremely small, being not more than one-tenth
of an inch diameter.^ In one of the Theban tombs a repre-
sentation of the process of threading these bugles and beads
was found by Kosellini.^ Three men are seen hard at work.
One stands filing bugles of green porcelain. Another, seated,
has before him a basket full of these bugles, some of which he
has filled in rows ready for a collar. The third man drills a
hole in a piece of wood.
It would appear that some of the mummies were still more
elaborately decorated — their breasts having been covered with
a collar of beads of various colours and sizes, similar to those
which are seen depicted on the coffins of mummies. These
beads are moulded in bas-relief on the side presented to the
spectator, while the side towards the body is flat. They have a
small ring above and below, formed of a separate piece fitted
on before they were baked. Some represent bunches of grapes,
* Mummies covered with these ricli xxxviii. ; cf. Mummies, B. M., E. 11.
vebts are engraved in Alexander Gor- 6(iG9, and foil.
don's Essay, and in Pettigrew's History - E. 11., 7041-77, various specimens.
of Mummies, PI. vi. Minutoli, Eei^se ; ' Mon. Civ., t. ii. pp. 307, 308.
zum Tempel des Jupiter Ammon, Taf. i
60
EGYPTIAN AND ORIENTAL POTTEKY.
PAltT I,
and are appropriately coloured purple.^ Others in shape of
the date of the doum palm, are of a deep red colour. Those
intended to represent the edible fig, are of a yellow colour,
while those which are imitations of the leaves of the palm-tree
are coloured green or white. These gay and various colours
seem, however, to have been reserved for mummies embahned
in the most expensive manner.'^ Persons of ordinary rank had
only the usual blue bugles. These seem to have been pressed
from moulds, and are probably not much older than the
Twenty-sixth dynasty, or about eight centuries before Christ.
No. 48. — Beads in shape of fruit and flowers. From beaded work of a Mummy.
Besides the beaded work, another ornament was the pectoral
plates, hung by a cord to the neck, and called in Egyptian uta
or uja, which name was also given to the Sun's eye, generally
P called the symbolical eye. These
plates are usually in the shape of an
Egyptian doorway with its recurved
cornice.^ The subjects represented
on them alwa^^s have allusion to
sepulchral rites. The most usual
subject is the scarabseus, hheper,
representing Osiris, or the Creator
No. 49.-Pectorai Plate from a Mummy, ^un, placcd Upright in a boat, and
hailed by the goddesses Isis and
Nephthys.* The base of the scarabaeus, which is of an oval shape,
is generally inscribed with the thirtieth chapter of the Sepulchral
^ The beads in the Collection of the
British Museum are numbered. E. E.,
7502, and foil.
2 Passalacqua, Cat. Kais. 8vo, Paris,
1826, p. 146 ; Roscllini, M. C. Teste, 8vo,
Fir. 1834, t. ii. p. 307.
^ Pettigrew, 'History of Egyptian
Mummies,' 4to, Lond. 1834, PI. viii. ;
E. R., 7846-68.
* Champ. Mus. Charles X., p. 125;
Leemans, Mus. Lcid ; Mon. %., PI. i.
and foil.
;HAr. ir. BEADS AND AMULKTS. 61
1^
Kitual/ move or less complete; in allusion to the jndgment of the
dead, mystical transformations which the deceased had to undergo
before lie could obtain his heart. Tlie scaraba3us was sometimes
let into the plate by leaving a hole in it for the purpose. On
plates in which no scarabneus is inserted, the subject is traced in
outline, and may then represent the deceased standing and ador-
ing Osiris, or the jackal of Anubis seated on a doorway, or a
train of goddesses. These plates have in their cornice a series
of holes, by means of which they were attached to the network of
bugles thrown over the external linen wrappers of the bodies.
Specimens of finer workmanship are often made of a talchose
steaschist, covered with a siliceous glaze, and have their subject
carved in flat Egyptian bas-relief, or else have the figures inlaid
in colouied paste or porcelain. Although green is the favourite
colour, yellow and white are also found. A few small scarabaei
similar to that made of talcose schist appear to have been used
at the time of the Ptolemies. They bear the name of the
monarch Khufu or Cheops, and Shafra or Chefren, w^ho had a
worship and priests or flamens at that period. Some have sup-
posed that the smaller scarabsei were used as coins.
Besides the ornaments of the external wrappers, various other
amulets and beads are found strung round the necks of mum-
mies. Some have supposed that they were the necklaces worn
during life, but it is more probable that they were made ex-
pressly for the dead. What figures were to be made in this
material, seems to have been fixed by some special rule ; certain
forms being of very great rarity, while others are extremely
common. Osiris, for example, seldom occurs, while Isis and
Nephthys are constantly found. They are seldom more than six
inches high, but sometimes reach more than a foot at a later
period. One specimen in the British Museum, of the Greek
period, representing Jupiter Serapis, is about one foot high ;
but the majority of these figures are from one to two inches in
height. They are evidently copies of statues, as they have the
same heads and head-dresses as the figures of the gods. The
left foot is generally advanced when the figures are represented
walking, and the hands are extended and pendent by the thighs.
The spaces between the limbs are reserved, i.e. not cut away,
so as to show the limbs. The figures stand on a small rectan-
gular base, and have behind an upright j)linth, generally per-
* Lepsins, * Todtenbuch/ Taf. xvi. c. 30.
62
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
forated at the top. Some of these figures are of exquisite style,
and rather resemble gems than porcelain in the fineness of their
details. The oldest dated fiorure of this class is one of the sfod
Mentu-Ka, the Egyptian Mars, crowned with bronze plumes, and
having down the back the names and titles of the monarch
Sabaco, wlio reigned B.C. 716-704. It is of pale green porce-
lain.^ Most of the others are extant of an earlier
date than the Twenty-sixth dynasty, or from the
sixth to the eighth century B.C., although it is
probable that some were manufactured before
that period. A coarser kind, of later style, in-
stead of a plinth behind, have merely rings to
hang them to the necklaces. These have the
limbs detached or in open work, and, although
much less elegant in design, occasionally show
more freedom of position. The ring is placed at
the nape of the neck. A few of the figures
are seated, but these are rarely ringed, and for
the most part have perforated plinths. When the
figure had neither ring nor plinth, it was per-
forated vertically. Some are in profile, and the
genii of the Amenti, as they are called, are often
merely flat slices of porcelain cut out in outline,
as if with a pair of scissors, and with one or two
holes at the feet and head to connect them with the reticulated
bugle-work. Others, however, are in bas-relief, and of much
better style. These figures have their collars and sashes in
bas-relief; and their decorations are sometimes painted red and
yellow. ^
Among the figures of the gods are those of x\men-Ba, repre-
sented as a man, walking or seated, wearing on his head the disc
of the sun, and two tall plumes ; of Mnt, the mother goddess,
the companion of Amen-Ka, wearing on her head the psclient,
or Egyptian crown ; of Chons, their son, mummied, wearing
the lunar disc, sometimes hawk-headed, seated, holding his
emblem, or the left symbolical eye, that of the moon ; of Phtha
Socharis, the pigmy or ^^atamos, the Yulean of Memphis, a bow-
legged, naked dwarf, having on his head the scarabaens, khejper,
emblem of his power as the creator, and standing on two
crocodiles, or else holding swords and snakes, supported by
"^liftDa
No. 50. — Kabhsenuf.
From a bead work.
E. R., 1189 a.
^ Egyptian Room, No. 345 a ; Rosellini, M. R.
CuM\ H.
BEADS AND AMULETS.
68
Bast, the lioness-headed goddess', and by Isis and Neplithys.
In some cases he has a double head — that of a hawk in addition
to his own. The lion-headed goddesses Pasht-Merienptah, Bast,
and Tafne, wearing the sun's disc, a disc and plumes, a serpent,
and seated upon a throne, holding a sistrum, often occur, with
inscriptions recording their names and titles. Athor, or Venus,
cow-headed, or as a female bust with cow's ears, occasionally
surmounted by her emblem, the pro]puJon, is also found. Ra,
the midday 8un, a hawk-headed god, is represented standing
and wearing the sun's disc ; while Nefer-Atum, the son of Bast
and Phtha, having on his head a lotus flower and plumes, is
either advancing or standing on a lion. Her or Labu, the
No. 51.— Tauti (Thoth).
E. R., 520.
No. 52.— Taur (Thoueris).
E. R., 1347.
No, 53.— Taut (Tholh) ringed.
E. R., 518.
lion-headed god, probably a form of Horus, wears the crown
called atf.
Besides these, there are Thoth, the Mercury of Egypt, ibis-
headed, writing on a palette, or holding in his hands the left
eye of the Moon, with Ma, or the deity Truth, seated,
and wearing on her head the ostrich feathers, her emblem.
Also Shu, or Light, kneeling on his right knee, and holding up
the sun's orb; and Taur or Thoueris, Apt, and the other
goddesses, figured as hippopotami, standing upright, and having
the tail of a crocodile down the back. Osiris is represented
seated on his throne, wearing the cap of Truth, mummied, and
* Champollion, Not. Descr. du Muse'e tab. i. ; Descr. de I'fig. Ant. vol. v. PI.
Charles X. Kjmo, Paris, 1827, p. 1, &c. ; (".2-89. Minutoli, Reise, PI. xxxiii. ;
Leemans, Mon. du Musee de Leide, 8vo.
Leide, p. 1 and foil. ; Birch, Gallery,
Pt. i. ; Prosper Alpin, Hist. Eg. Nat.
Pococke, Trav. in East, 1. c. ; Caylus,
Recueil d'Antiquites, torn. i. Egyp-
tiens.
64 EGYPTIAN AND OR[ENTAI. POTTERY. Part I.
holding the crook and whip ; Phtha as the Tat, in shape of a
Nilometer. The celestial Isis stands, wearing the disc and
horns, or else is seated, and nurses her son Horus ; while the
terrestrial Isis has a throne, her hieroglyph, walks, or seated
suckles Horus, or kneeling deplores the death of her brother
Osiris. Nephthys, the sister of Osiris, has her phonetical name,
the basket and house upon her head — Nahanu-ua, the first her
emblem. Small plates often occur, apparently little pectoral
plates, having Horus, the Sun, in his nascent state, or at the
dawn, walking band-in-hand with Isis, his mother, and Nephthys,
his aunt. Horus appears either in his character as the elder
Horus, and brother of Osiris, or else as the younger Horus, the
son of Osiris and Isis, hawk-headed, and wearing the j^schent.
Anubis, jackal-headed, the presiding deity of embalmment, is
represented holding a Nilometer, or w'alking. A very common
type is the god Bes or Besa, a grotesque leonine pygmean deity,
formerly supposed to be Baal or Typhon, either standing or
kneeling, holding a sword, or playing on the tambourine; on
his head are feathers or plumes, and a lion's skin is thrown
across his back. To this lono- list mav be added some of the
inferior deities, such as the four genii of the Amenti, already
described, and deities with the heads of tortoises, snakes, and
hawks.
Nor are only the divinities represented, but also the principal
animals sacred to them, such as the cynocephali or dog-headed
baboons, emblems of Chons and Thoth, seated, and sometimes
wearing the lunar disc ; lions, emblems of Phtha and Pasht ;
the dog and the jackal, emblems of Anubis ; cats, the emblem
of Bast ; the bull Apis ; some of the sacred cows, emblems of
Athor; the pig, the emblem of Typhon, and the ibex, indicative
of the same god ; tlie hedgehog and hares, the sacred animals of
Osiris Onnophis, are also found. Of the feathered tribe com-
paratively few occur. The chief of them, the hawk, wears the
pschent of Horus, the disc and uraeus serpent of the Sun, the lunar
disc, the plumes of Mentu-Ba, the cap of Socharis : besides these
are found the vulture, emblem of Mut, the ibis of Thoth, and
the Bennu, or nycticorax, of Osiris. Among the reptiles repre-
sented, are the crocodiles of Sabak, uraei or cobra-capello snakes,
emblems of the goddesses, human-headed, to indicate Kennu
or Mersekar, scaralsei, some with human and others with lions'
heads. Among fishes, the latus, the bulgad, and the oxy rhyncus ;
among flowers, the lotus and papyrus. Mixed types are much
ill A p. ir.
PORCELAIN FINGElNRINnS.
05
irer ; of these tliere are the sphinx and the human-headed
lawk or soul. The objects most commonly found are the
inbolical eye, emblem of the Sun or the Moon ; the papyrus
5eptre, the buckle or emblem of life, familiarly known as the
IX ansata, or key of the Nile, the easel or upright with bars,
)y some also called the Nilometer, emblem of stability. Of
rarer occurrence are the animal-headed sceptre, crowns of the
upper or lower region, feathers of the cap of Phtha Socharis,
little pillows, curls, and staircases. On reviewing this list,
which by no means comprises all the objects found in the debris
of the sepulchres, it will be seen that they are principally the
mystical amulets, mentioned or figured in the Book of the
Dead, and ordered to be placed on certain parfs of the body,
either to confer benefit or to avert evil. Woe betide the un-
provided mummy !
The porcelain finger-rings, tehu, are extremely beautiful, the
band of the ring being seldom above one-eighth of an inch in
thickness. Some have a plate on which,
in bas-relief, is the god Bes, full-face or
playing on the tambourine, as the inventor
of iMusic ; others have their plates in the
shape of the right symbolical eye, the
emblem of the Sun ; of a fish, of the perch
species ; or of a scarabseus, which is said
to have been worn by the military order.
Some few represent flowers. Those which
have elliptical plates with hieroglyphical
inscriptions, bear the names of Amen-Ka,
and of other gods and monarchs, as Ame-
nophis III., Amenophis IV., and Amenan-
chut, of the Eighteenth and Nineteenth
dynasties. They are of a bright blue and
green porcelain. One of these rings has
a little bugle on each side, as if it had been strung on the beaded
work of a mummy, instead of being placed on the finger. Blue
is the prevalent colour, but a few white and yellow rings, and
some even ornamented with red and purple colours, are found.
It is not credible that these rings, of a substance finer and more
fragile than glass, were worn during life. Neither is it likely
that they were worn by the poorer classes,^ for the use of the
No. 54.— Porcehun finger-ring.
E. R.. 2977.
No. 55.— Ring of red porcelain,
Willi name of King Ankhuta-
men, of XVIII. rtyn. E. R., 3027.
» Eosellini, M. 0., ii. 307 ; Passalacqua, Cat. Rais., p. 14G.
F
66 EGYPTIAN AND ORIENTAL POTTERY. Part I.
king's name on sepulchral objects seems to have been restricted
to functionaries of state. They appear to belong to the
funereal decorations. Some larger rings of porcelain of about
an inch diameter, seven-eighths of an inch broad, and one-
sixteenth of an inch thick, made in open work, represent the
constantly-repeated, lotus flowers, and the god Ea,^ or the Sun,
seated, and floated through the heaven in his boat. Common
as these objects were in Egypt, where they were employed as
substitutes for the hard and precious stones, to the Greeks,
Etruscans, and Italian Greeks they were articles of luxury, just
as the porcelain of Cliiua was to Europeans some centuries ago.
The Etruscans set these bugles, beads, and amulets in settings
of their exquisite gold filigree work, intermixed with gold beads
and precious stones. Strung as pendants they hung round the
necks of the fair ones of Etruria. In one of the tombs already
alluded to at the Polledrara, near Yulci, in Italy, was found a
heap of annular and curious Egyptian bugles, which had
apparently formed a covering to some bronze objects, but the
strings having given way, the beads had dropped to pieces.
These, as well as the former, had been obtained from some of
tlie Egyptian markets, like that at Naucratis ; or from the
Phoenician merchants, in the same manner as the flasks. One
of the most remarkable of these personal ornaments is a bracelet
composed of small fish strung together and secured by a clasp.
Sepulchral figures, called Shdb-ti or sliah shah, formed an
extensive branch of the porcelain manufacture. They were
ordered to be made according to the Egyptian Ritual. They
represent the deceased, and only two or three types are known.
The most common is that depicted in cut !Ko. 56, in which the
deceased is represented wearing on his head the wig called
namms. To his chin is attached a beard, and his form,
enveloped in bandages from which the hands alone emerge,
resembles a mummy set upright. In the right hand is a
pickaxe, in the left a hoe, and a cord, to which is attached a
basket, to carry sand. The sixth chapter of the Great Ritual is
either traced in linear outline or else stamped in intaglio in
hieroglyphics, and generally on horizontal lines, round the body.
This chapter is called that of making the working figures of
Hades or Karneter ; and the formulas, which vary, refer to the
labours in which the figures are supposed to aid the deceased in
» Wilk. M. and C, iii. p. 374, n. 408-22-23.
CifAP. rr.
sepuu;hiial figures.
the future state.^ The figure stands on a plinth, whicli is occa-
sionally covered by the inscription ; and behind is a sort of
pillar, intended apparently to attach it to a wall, and occasionally
inscribed. A rarer type, which prevailed at the time of the
Nineteenth and Twentieth dynasties, represented the deceased
standing, and in the costume of the period. A short and
■:SMJ'
Nos. 56, 57. — Sepulchral Figures.
No. orf. — Sepulchral Figure
with plinth slab behind.
common formula^ not sanctioned by the Kitual, merely contains
the name, titles, and occasionally the genealogy of the deceased,
preceded by the word sliet, " illustrious " or '* luminous is the
dead." There were two modes of inserting the inscription.
The hieroglyphs were either drawn in darker outline, with a
* M, Chabas, in the Societe Historique ^ For examples of these figures, see
et Archcologiquc do I.angrcs. Ito, 1863 5 Dcscr. de I'fig. Ant., vol. v. PI. 02, 15, 16;
Bird), Zoitsehr. fiir ilgyptische Sprachc, \ PI. 65,- 6 ; PI. 78, 11, 12.
1861-5. i
F 2
68
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
kasli-reed duly prepared, wliich is the manner in wliieh the
sepulchral figures of porcelain of Amenophis III., Sethos I., and
others, were inscribed ; or else they
were impressed with a stamp, in imita-
tion of those carved in stone, wood,
and other materials. Such is the
method observed on figures used for
the funerals of officers deceased, in the
reigns of the kings of the Twenty-sixth
dynasty, B.C. 800-525. In other in-
stances they were prepared blank, and
the relations were content with allow-
ing a scribe to write the hieroglyphs
with a fine reed on the surface of the
porcelain. These inscriptions are exe-
cuted vvith more or less care, sometimes
consisting merely of the name and
titles of the deceased ; at other times,
of the whole chapter of the funeral
Eitual. They are arranged horizon-
tally down the front, and perpendicu-
larly down the back, rarely passing
over the feet. Many figures appear to
have been left without any inscription.
These are generally small and of in-
ferior style ; they seldom have a plinth
behind, and the arms, whip, crook, and
other accessory details, are often in-
serted in blank outline. These figures
were deposited in boxes of sycamore
wood, and drawn to the sepulchre on
sledges.^ The rich and powerful had
them also made of stone, wood, and
other materials. Great numbers of
them are found, all repetitions of one
model, which varies from nine inches to
one inch in height ; and from their type
and inscription, it is evident that they
must have formed the staple of the pot-
ter's trade. The prevalent colour of them is blue, sometimes of
No. 59. — Sepulchral Figure.
XIX. dynabty.
No. 60.— Sepulchral Figure.
XX. dynasty.
* Lepsius, * Todtenbuch,' ii. c. 6.
Chap. II. GLAZED STONE. 60
a deep and almost purple hue, but generally of the cobalt or
celestial tint. Green rarely occurs, white is still more uncom-
mon ; and in figures of that colour the hieroglyphs are brown
or purple. Yellow and red figures are also of rare occurrence.
Sometimes these figures are of fine execution, the modeller
having exerted his utmost talent to execute them in his con-
ventional style. All the inscriptions commence with the formula
shet Res-ar, "luminous Osiris," or " Osirified," i.e. the deceased
Then follows the text of the sixth chapter ^ of the Eitual, entitled
" the chapter explaining how to make the labouring figures of the
Osiris in the Hades." It appears from the contents of the formula
that the use of these figures was to aid the deceased in his labours
of preparing and irrigating the ground, and raising the crop in
the mystical fields of the Aahenru or Aahlu, probably the bean-
fields, or Elysium, and in the transport of the sand from the west
to the east. It has been conjectured that they were deposited
by the relations, but it would rather appear that they were like
the Chinese yung, or dummies, the substitutes for human victims
formerly offered at the grave in order to assist the deceased in
his labours in the future state. It would be tedious to detail
the names of all the functionaries of whom figures are known ;
it suffices to say that they were essential to all classes of society,
from the monarch to the priest, or the village scribe. *They
have been found only in Egypt and her possessions ; yet as they
were often kept ready-made, there is no reason why they may
not, like other undoubtedly sepulchral objects, have occasionally
found their way into the foreign market.
The last process which we have to describe is the application
of a vitreous glaze to different substances carved in certain
hard materials, so as to produce a peculiar glazed ware. The
substance chiefly employed was agalmatolite or a talcose schist,
closely resembling the soapstone of which the Chinese figures
are made. The advantages obtained by the process \n ere, greater
sharpness of the edges, and greater density of the substance;
which before it had undergone the fire of the kiln, was exceed-
ingly soft, and easily carved. The method of proceeding was
as follows : The object was first of all made of the required
shape, either on the lathe or by the graver ; and after it had
been coated witli a layer of glaze, which was generally of a
uniform colour in each specimen, it was transferred to the
* Pastalacqua, Cat. Rais., jip. 172-o.
'0
EGYPTIAN AND ORIENTAL POTTERY.
Part I.
furnaces. This material was especially use 1 for minute objects
in which carving or engraving of any kind was deemed requi-
site. The earliest dated specimen of it is of the Fifth dynasty.
It was used for most of the purposes to whicli porcelain was
applied, but it was undoubtedly the most highly prized of all
the vitrified wares, except perhaps pastes or glass. In the
British Museum are preserved a leg of a footstool, of this
material, six inches high, turned and provided with mortises,
evidently showing that it was joined to some otiier material,
and a vase for holding colours or stibium^ in the shape of four
cylinders united together, on Avhich is neatly incised, " Health
to the scribe Amasis." Another vase for holding kohl or anti-
mony powder for the toilet, of the ordinary shape of these
little pots, stands on a small pedestal of the same material,
and has carved round it in open work, a frieze of guitars and
feathers, expressive of the idea, '*good and true." Another
elegant, but mutilated vase, of
this kind, possibly of a kind
of sandstone, with a globular
body, wide cylindrical mouth,
and elegant stem, bears in front
on a small tablet the pra^no-
men and name of Thothmes I.
On all these objects the glaze
is of an olive -green colour.
Sepulchral figures, sJiabti, for
the funerals of persons of
high rank, similar to those
already described in porcelain,
but sharper and finer, were
made of this material; and
frequently also the pectoral
plates called uta, or uja. Jars
of it for the entrails are seldom found. Subjects are often
carved on articles of this description in intaglio or bas-relief,
and the details inlaid with pieces of porcelain and vitrified
steaschist of various colours. One of the most remarkable
objects in this substance is a painter's pallet, inlaid with a
figure of Osiris. Under this class may also be mentioned the
small figures which decorated the net-works or necklaces of
mummies, similar in all respects to those described in the ac-
count of porcelain, being the amulets and charms of persons of
No. 61. — Vase of a glazed schist, bearing the uanie
and title of Thothmes I. E. R., 4762.
Chap. H.
GLAZED STONE.
71
rank, and ropresenting tlie principal deities who presided over
tlie care of tiie soul, and the welfare of the body. Besides
these, some little statues, made of this glazed steasehist, not
strung, but deposited with the dead, perhaps their household
gods during life, are found ; and theie is in the Museum of the
Duke of Northuniberkmd, at Alnwick Castle, part of a iigure
of Amenophis III. of this material. It was never employed
br domestic uses, probably from the difficulty of obtaining it in
masses sufficiently large, and from the precious nature of the
objects made of it ; for many must have failed in the furnace.
Its chief use was for seals, and amulets, worn as objects of per-
sonal attire ; for while its superior compactness secured it from
being readily broken or injured, it was also capable of receiving
a higher finish, and much sliarper impression of the subjects
executed, than porcelain. The principal shape employed for
seals of this material was the scarabseus
beetle,^ called in Egyptian Idieioer, or " cre-
ator," and the sacred emblem of the god
who made all things out of clay. The
insect stands upon an elliptical base, on
which are engraved the requisite hiero-
glyphs. The elytra of the beetle are
plain, rarely having a symbol engraved
upon them ; a rare specimen already men- no. 62.-scaraiwusofgiazpd
tioned, and one of the most beautiful, has
the elytra inlaid Avith coloured pastes. The
glaze of these beetles is of a deep blue or green, rarely of a
red or yellow colour. They measure from 3 inches to J in.
long, from ^ in. to -pV in. broad, and from 1^ in. high. The
ordinary size is about | in. long, ^ in. broad, J in. high. Besides
scarabasi, other types are met with, such as oval tablet-shaped
amulets, having on one side the god Bes or Besa, hippopotami,
cats, the Egyptian hedgehog, the cynocephali, aani, wearing
the disc of the moon and seated, the fish chaetodon, of the
perch species, which was probably the latus, rami, grass-
hoppers, hema, flies, af, cowries, and the symbolical eyes of the
sun and moon. Among the geometrical shapes are squares, rect-
steaschist set in a signet
ring. E. R.,2935.
^ Stcinbuchel, Bcschroibung d. k. k. I Plato, lapillis qiubiisdam insculptis pro
S:immlung agypt. Alterthum. 12mo, j 7i?jmis usi sunt : eVSe t?" At0iO7n'a. inquit,
Wien, 1826, s. 70, n. 25; Salmas. de j \i6ois iyyey\vfi4vois xpSivTai, ois ovSev
Usur. lib., Liigd. Bat. 8vo, 1638, p. 468. j &v exot XP^<''«<''^"' AaKwyiKos af^p."
" iEtbiopes eo sa^ciilo, quo scribebat ■
72 EGYPTIAN AND ORIENTAL POTTERY. Part. I.
angles, ovals, circles, cubes, prisms, parallelopipeds, cones, and
})yramids. They are all pierced either through their long axis
or diameter with a narrow cylindrical hole, were strung on linen
cords when worn as necklaces,^ or else on a gold or silver wire
when set in the bezels of rings, in which they revolved. In
some instances they were encased in a little frame of gold or
silver, in order to protect them more effectually from injury.
The hieroglyphs engraved upon these scarabsei are executed
in flat intaglio, sometimes with a wonderful accuracy and deli-
cacy, completely rivalling those on gems. In fact, they corre-
sponded in point of art with the objects engraved on carnelian
and other precious stones among the Etruscans and Greeks, and
on the vitreous pastes of the Komans. The author of a tract on
Egyptian glass, observes the minute delicacy with which on
a little scarabseus, five millimetres long, is engraved the hiero-
glyph of a scaraba3us scarcely one millimetre in length,^
•03937079 of a foot. On some only a solitary hieroglyph is
cut ; but on others as many as three lines of these symbols are
inscribed.^ They are of all ages, from the Fifth dynasty down
to the Koman empire. The principal period of their manu-
facture was, however, the reign of Thothmes III. of the Eight-
eenth dynasty, one-tenth of these amulets bearing his name. A
great number of others are referable from their style to the
Eighteenth, Nineteenth, and TAventieth dynasties. The other
amulets are also chiefly of the same age; perhaps, however,
towards the commencement of the Nineteenth dynasty, rect-
angular and geometrical shapes became more prevalent.
The cylinders are of an earlier period, and are chiefly in-
scribed with royal names. One in the Il^ational Library at
Paris bears the titles and name of Shafra, a monarch of the
Fourth dynasty, and some in the British Museum, those of
Osertesen or Sesortesen II. and III. and the queen Sebaknefru
or Scemiophris, monarchs of the Twelfth dynasty. One at
* Passalacqua, Cat. Rais p. 146.
2 Descr. A., vol. v. PL 85, figs. 17-20 ;
Ant. Mem., vol. ii. c. xviii. p. 18 ; Palin
N. G. in the K. Villerhets Historia, 8vo,
Stockholm, 1833, 11.
^ For further information and en-
gravings of these amulets, of. Klaproth,
intorno diversi argomonti d'Archseo-
logia,' vi. ; Descr. de I'Eg. A., vol. v.
PI. 79 and foil. ; Steinbuchel, Scarabees
Egyptiens figure's du Musee des Ant.
de S. M. I'Empereur, Wien, 1824 ; Bel-
lermann, iiber die Scarabeen-gemmen,
Berl. 1820-21. Tassie, Cat. Gems ;
Collection Palin, 4to, Paris, 1829; Lee- ! Champollion, Not. Descr., pp. 50^52 ;
mans, Mon. Eg., pi. xxvii. ; xli.-xliv. j E. R., 3522-4374.
Not. Descr., p 21 ; St. Quintino, 'Lezioui
Chap. II. GLAZED STONE. 73
Vienna lias the name of Petamen, a scribe, and is probably of
the Twenty-sixth dynasty. In general they are executed with
more than nsual care, and it is extraordinary to find them in
use at this early period, as no impressions made from cylinders
have been found.
It is important to observe that these objects attest a com-
munity of art in Assyria and Egypt. Some of the amulets, in
shape of a liead, wearing a round cap, are supposed to be of the
Persian period. The mottoes or hieroglyphs found on them
are of diiferent purport, probably varying according to the
caprice or sentiment of the wearer. Some are the figures,
names, and titles of the principal gods of Thebes and Memphis ;
such as Amen-Ra or Jupiter, Mut or Juno, and Chons or Her-
cules ; Phtha or Vulcan, the tutelary god of Memphis ; Bast,
Pasht, or Bubastis, the Egyptian Diana ; and Nefer Atum, the
son of Phtha and Pasht. The names of Osiris, Isis, Horus, and
some of the inferior deities of the Pantheon occur, and the
principal animals, such as lions, cynocephali, the bull Apis,
the cow of Athor, which produced the Sun, jackals, cats, and
other sacred animals ; besides many combinations of serpents,
scarabsei, lotus flowers, and other emblems and symbols, such
as masanders, and curved and spiral lines, the meaning of which
it is not easy to determine. These subjects were probably ap-
propriate for the signet-rings of the numerous religious bodies
attached to the temples. Another large class of these objects,
adapted for the public functionaries, are inscribed with the
names, prsen omens, and other titles of the kings of Egypt, and
are most valuable for the illustrations which they afford of
Egyptian history, some of the names being scarcely known
except from these sources. The information they convey is,
of course, generally very laconic, but sometimes the names are
coupled with some facts connected with them ; such as, that the
king is the son of a certain queen, or that he is beloved of
the god Amen-Ra, or that he has conquered the foreigners.
In the reign of Amenophis III., of the Eighteenth dynasty,
scarabeei of the unusual length of three inches, and inscribed
with several lines of hieroglyphs, were issued. They record
the marriage of this king with Taia, the name of the queen's
parents, and the limits of the Empire of Egypt — ^Naharaina or
Mesopotamia on the North, and the Kalaas on the South ; ^ the
» E. R., 4096 ; Roselliui, M. E., xlvi.
74 EGYPTIAN AND ORIENTAL POTTERY. Part T.
number of lions ^ killed by the king in the first ten years of
his reign ; and the dimensions of a gigantic tank or lake, made,
in his eleventh year,^ to celebrate the festival of the waters, and
to receive the boat of the disc of the Sun. None of these objects
are of a later period than the age of the Ptolemies, when engraved
stones came into use. The last division consists of those which
are inscribed with names or mottoes, such as, " A happy life !"
— " Sacred to Amen ! " — " May your body be well, your name
endure I" — "Good luck!" Such seals were probably used
in epistolary correspondence, and generally served as rings ;
but they were often inserted among the beads of necklaces or
bracelets. It has been supposed that the amulets were also
used as money for the purpose of barter or exchange, though
it is evident that this could not have been the case, not tlie
slightest trace of any such custom being discoverable among
the hieroglyph ical inscriptions, nor in any of the scenes depicted
in the Tombs ; while, on the other hand, clay seals, which have
evidently been impressed from similar objects, are found on
letters written during the time of the Ptolemies.
Here closes the account of the potteries of Egypt, which
never attained a higher excellence in the art of making porce-
lain. Yet this porcelain was regarded by contemporary nations
with as much admiration as that of the Chinese excited in
Europe in the seventeenth century. But a further step was
undoubtedly required to produce a ware at the same time com-
pact as stone and brilliant as glass, and the discovery of this
is due to the Chinese. The Egyptians, although they possessed
the requisite materials, failed to combine them so as to make
a true porcelain.
* E. R., 4095 ; Young, Hieroglyphics, j the Age of the XVIII. Dynasty of
PI. xiii. ; Descr. de I'Egypte Ant., vol. v. | Mauetho, Trans. R. Irish Acad., vol. iii.
Pl. 81, fig. 6, No. 2. Part 1, p. 7, 4to, Dublin, 1843.
2 Rosellini, M. R., xliv. ; Hincks on |
CiiAi>. I If. SUN-DIllED CLAY. 75
CHAPTER III.
Assyrian jwttery — Sun-dried clay — Kiln-baked bricks — Inscriptions— Terra-cottu
writings — Unglazcd pottery — Terra-cotta figures — Glazed ware — Bricks —
Vases — Enamelled bricks. Babylonian pottery — Sun-dried bricks — Kiln-
baked bricks. Unglazed ware — Babylonian writings — Bas-relief sand
figures in terra-cotta — Glazed ware — Coffins. Jewish pottery. Phoenician
pottery.
Although the pottery of Assyria and Babylonia bears a
general resemblance in shape, form, and use to that of Egypt,
it has certain specific differences. As a general rule, it may be
stated to be finer in its paste, brighter in its colour, employed
in thinner masses, and for purposes not known in Egypt.
Hence it exhibits great local peculiarities ; but, as prior to the
excavations of M. Botta and Mr. Layard, only a few specimens
were known, and as even now their number is comparatively
small, the Assyrian pottery has afforded less opportunity for
investigation than the Egyptian or the Greek. The Assyrian
sculptures, too, do not give that insight into the private life of
the people wliich is presented by the wall-painting of the
Egyptian tombs ; and less is known of the arts and sciences of
Mesopotamia.
The plains of Assyria, like the valley of the Nile, being
abundantly supplied with clay by the inundations of the Tigris
and Euphrates, the potter v>'as as well provided with the
material of his art as the Egyptian in the Fayoum or the
Delta. It was most extensively employed for the manufacture
of bricks, which were easily formed of the common clay
moistened with water and mixed with a little stubble to bind it
together. The chief use of bricks was for forming the high
artificial platforms or mounds, generally about thirty feet high,
on which the Assyrian edifices were placed; and, for this
purpose, they were fabricated out of the clay dug from the
trench or dry ditch ^ with which the city was surrounded.
They were also employed for the walls of the town, for the
liouses of the inhabitants and the tombs of the dead.^ They
» Layard, Nineveh, ii. 275. 2 jbi^]^ n 243.
76
ASSYRIAN POTTERY
Part T.
were cemented witli a mortar made of wet clay and stubble ;
and when employed for military purposes, were revetted with
blocks of the grey marble of Mosul, a kind of very calcareous
gypsum, to prevent them from crumbling, and to enable them
to offer greater resistance to those ancient siege-pieces — the
battering-rams. In some instances, as at Mespila and Larissa,^
tlie walls were demi-revetted, or faced with stone only half-way
up ; namely, about fifty feet from the bottom of the ditch,
quite sufficient to resist the attacks of the ram. When used in
the internal portions of the great edifices, they were also faced
with slabs of the Mosul marble, on which historical and re-
ligious subjects were carved in bas-relief, and painted; or were
covered with stucco, on which similar scenes were depicted. ^
Some of these bricks have been even found gilded f and there
is every reason to believe that the unrevetted walls of the
Assyrians, like those of Ecbatana, were coloured externally
white, black, purple, blue, and orange, as well as silvered and
gilded.* It would appear that the bricks were made in a square
wooden frame or mould, and some are inscribed or impressed
with a mark, like the Egyptian. There is some difficulty in
measuring them accurately, as they are not so carefully and
truly made as the bricks of Babylon and Egypt.
Unbaked figures, bearded, and with a conical cap like that of
the deity Bel or Ninip, were found under the pavement-slabs
of the Assyrian palaces, as if deposited there for propitiatory
purposes.^ These are the only methods in which sun-dried
clay is known to have been employed in Assyria.
Although the Assyrians employed baked bricks less fre-
quently than the Babylonians, still they were sufficiently
common among them ; and these indestructible records have
preserved some most important facts in the history of the
people. They were made by the same process as the sun-dried
bricks, being mixed with loam and sand, and also with stubble
or vegetable fibre, apparently to hold them together before
they were sent to the kiln. They are slack-baked, light, and
of a pale red colour. Like the Egyptian baked bricks, they
were chiefly employed to keep out moisture, hence their use for
the ground floors and outer walls of the palaces. Some of the
' Xenophou, Anub. III. iv. 7-10.
'^ Lay aid, ii. 12, 3(3, 38, 40.
3 Ibid., ii. 261.
* Herodotus, i. 98 ; cf. Rawlinson in
Geogr. Soc, x. p. 127.
* Layard, ii. 256, 37, 1.
Bhap. in. KILX-BAKKD BRICKS.
I
^■ombs were made of them.^ They were laid in two tiers, with
^^tiyers of sand between tliem, apparently to keep thera level, or
^else to repel the damp.^ Sometimes tliey were cemented witli
^ftitumen,^ bnt never with reeds and asphalt, as at Babylon.*
^Vhe bricks from Nimriid, stamped with the name of the
^fconarch Assnrnazirpal, who leigned about B.C. 880, are from
^l4 to 14J inches long, from 12 to 6 inches wide, and 4 to 4J
inches thick. Those of Shalmaneser II., his successor, B.C. 850,
are from 18J to 14 inches long, 18J to 12^ inches wide, and 4J
to 3 inches thick, they come from Karamles. Those of Sar-
gones or Sargon, his successor, about B.C. 709, from Khorsabad,
are about 12 J inches square and 4 J inches thick. The bricks
of Sennacherib, at Kouyunjik, B.C. 720, are from 22 to 12^
inches long, and with a thickness of from 4 to 3 inches.
Those of his successor Esarhaddon have been found at Nimriid.
The bricks of Assur-ebil-ili-kain, the last monarch, about
B.C. 629, are from 14J to 13^ inches long, and from 6J
to 7 J inches wide, and 4^ to 3 J inches thick. Some bricks
from the Nebbi Yunus measured 12 inches square by 4
inches wide. The general squire was 14 inches, or two-thirds
of a Babylonian cubit.^ It will be at once perceived that they
are of two classes : — the one consisting of square bricks measur-
ing from 22 to 12 inches, and varying in thickness from 4 to 3J
inches ; the other of rectangular bricks of about 14 inches long,
7J to 6 inches wide, and 4J^ to 4 inches thick, — thus, like the
Egyptian, being twice as long as they were wide, and three
times as long as they were thick. Those at Kalah Shergat
measured 14 inches square, by 3 inches thick. In all pro-
bability the above dimensions contain as their base the true
elements of the Assyrian cubit. Each brick had an inscription
impressed on it in the Assyrian arrow-headed character ; not
stamped, as in Egypt, in a small square or oval depression in
bas-relief, but intaglio, and either covering one of the broad-
sides, or running along the edge. Some semicircular bricks in
the collection of the British Museum, measuring about one foot
diameter, have the inscription on the edge. It has not been
' As at Kouyunjik, Rich, Residence, ! ^ Layanl, ii. 16, IP, 37, 38.
c. xiii. 36.
' Layard, ii. 18 and 261. On some
were found rude drawings and scrawls
of men and animals. Ibid., 13.
* Rich, Residence, p. 36.
' These dimensions were communi-
cated by Mr. Layard.
78 ASSYRIAN POTTERY. Part T.
stated how tlie bricks were laid at Nimriid, but at Babylon the
impressed face was dowD wards.
It is not easy to pronounce whether these characters were
stamped, or inscribed by a potter with a style. Probably,
however, they were made by the former means, as the trouble
of writing upon each brick would have been endless. The
knowledge of the history of the country, and especially of its
geography, depends greatly on the deciphering of these inscrip-
tions; since they not only record the name of the king who
erected the edifice which they compose, but sometimes also his
genealogy for two or three generations, and the name of the
place in which the building stood. The formula on each brick
was the same, with unessential variations, such as the inter-
change of certain homophones or signs, which are of great value
to philologists. It is these variations which teach the secret of
the language. The inscription on the bricks of the north-west,
or oidest palace at Nimrud, contain the name and titles of
Assurnazirpal, who flourished about B.C. 880, and of his father
and grandfather. Those in the central palace had seven lines of
inscriptions.-^ The bricks of the south-west palace contained
also inscriptions in three lines, recording itsfounder, Esar-
haddon, his father Sennacherib, and grandfather Sargon.^
In the same manner the bricks at Nebbi Yunus, at Kouyun-
jik, and Khorsabad, are found to record the mounds and sites of
the cities of Nineveh, Mespila, and Sargon. The inscriptions
on those of Gerdapan, Sherleker, and other localities, have not
yet been published. At Karamles w^as found the usual platform
of brickwork, the bricks bearing a name supposed to be that of
Sargon.^ Kich found bricks at Arbila, bi/t uninscribed,* as well
as at Khistken,^ and at Denbergard, the favourite residence of
Khusroo Purvis,^ in the Zendan.
The Assyrians, unlike any other nation of antiquity, em-
ployed pottery for the same objects, and to the same extent, as
papyrus was used in Egypt. Thus bulletins recording the
king's victories, and even the annals of his reign, were pub-
lished on terra-cotta cylinders, shaped like a rolling-pin, and
usually hollow, on hollow hexagonal prisms. These are of a
' They are given in Layard, ii. 194. | linson's Memoir, p. 428,
For the reading, of. Sir H. Ravvlinson's | * Layard, i. 52.
INIemoir, p. 415, 417. : * Rich, Residence, c. xii. j3. 18.
2 Layard, p. 197. Cf. Sir H. Raw- i ^ II., 276. « II., 253.
HAP. II r.
TERRA-COTTA WRITINGS.
79
?markably fine material, sometimes unpolished or imglazed,
id at others covered with a vitreous siliceous glaze or white
)ating. On the cylinders the inscriptions are engraved length-
rise ; on the prisms they are in compartments on each face.
5ach wedge is about one-eighth of an
ich long, and the complicity with
rhich tlie characters (a cuneiform
writing-hand) are arranged is won-
derful, and renders them exceedingly
difficult for a tyro to read. The prin-
cipal hexagonal prisms and cylinders
are those of Tiglath Pileser II., found
at Kalah Shergat, of Sargon, of Sen-
nacherib, detailing his annals from
the first to the ninth year of his reign,
and recording the conquest of Judaea,
those of Esarhaddon and Assurbanipal,
found at Koujnnjik.
Sales of land and other title-deeds
were also incised on rectangular pieces
of this polished terra-cotta, slightly
convex on each side, and, in order
to prevent any enlargement of the ^"o- 63.— Hexagonal Prism, inscribed
, T 1 1 ^itb the records of a king's reign.
document, a cylmder was run round From Kouyunjik. Brit. mus.
the edges, or across, leaving its im-
pression in relief; or if the names of witnesses were affixed,
each impressed his oval seal on the wet terra-cotta, which was
then carefully baked in the kiln. The celebrated cylinders
of carnelian, chalcedony, and other substances, were in fact
the official or private seals by which the integrity' of these
documents was attested.^ These title-deeds are portable docu-
ments of four or five inches square, convex on each side, and
occasionally also at the edges. Their colour varies, being a
bright polished brown, a pale yellow, and a very dark tint,
almost black. Some of these sale tablets, as they are called,
record the sale of Phoenician slaves, in which case the name of
the shave was inscribed in PhoBnician on the edge. The paste
of which they are made is remarkably fine and compact. The
* A fmgment of one of these is given Sir W. Oiiseley, Travels, i. p. xxi.
in Rich, Residence, pi. xxi. p. 38, and | also '' Babylonian Pottery."
df's<-riW<l as of a yellowish paste. Cf. |
See
80
ASSYRIAN POTTERY.
Part I.
manner in which the characters were impressed on the terra-
cotta barrels and cyh'nders is not known ; those on the bricks
No. 64. — Terra-cotta Tablet sealed by a cylinder. From Kouyunjik.
used for building were apparently stamped from a mould/ but
those on the deeds and books were separately incised — perhaps
with a prismatic stick or rod, or, as
''^^^^^'^^■^^ others have conjectured, with the edge
of a square rod of metah In some
No. 65.-Phoenician Inscription (name instances, wlicre this SubstaUCe WaS
of a slave) on edge of 67. i r i ^ - , • , ' j
used lor taking accounts, it seems just
possible that the moist clay, rolled up like paste, may have been
* Cf. Nasmyth, Landseer, Trans. Roy. Soc. Lit., ii. 310 ; Layard, ii. 184.
2 A fragment with seals is also given in Sir R. K. Porter's Travels, 4to, Lond. 1822.
iiAP. in.
TEBRA-COTTA WRITINGS.
81
irolled and incised with rods. The characters are often so
^autifiilly and delicately made, that it must have required a
inely-constructed tool to produce tliem.^
Xo. 66. — Terra-cotta Tablet impressed
with seals.
No. 67. — Terra-cottd i'ablet with seals.
Some small fiat fragments of a fine reddish-grey terra-cotta
Avhich have been found among the ruins, appear to contain
calculations or inventories, whilst others are perhaps syllabaries
or vocabularies, to guide the Assyrian readers of these difficult
inscriptions. A large chamber, or library, of these archives
comprising histories, deeds, almanacks, and spelling-books, was
found in the palace of Sennacherib at Kouyunjik.^ It is sup-
posed that altogether about 20,000 fragments of these clay
tablets or ancient books of the Assyrians, containing the lite-
rature of the country, have been discovered. Some of the finer
specimens are covered with a pale straw-coloured engobe, over
which has been thrown a glaze. Some horoscopes have been
already found on stone, and careful examination has now
detected the records of some astronomer royal of Babylon or
Nineveh inscribed on a brick. The most remarkable of these
tablets, which vary in size from nearly a foot to an inch square,
are the canons or lists of the eponymous officers by whose name
' Layard, ii. 187.
- Many of tliese were found at Nimrud and in Assyria,
G
82
ASSYRIAN POTTERY.
Part I.
the public documents were dated from B.C. 911 to B.C. 6^S;
three recording the conquests of Egypt and Elam, and men-
tioning Gryges king of Lydia in the reign of Assurbanipal ;
the numerous documents dated in the years of the eponymous
officers, the mythological records, with names of the deities, and
the poem describing the descent of the goddess Ishtar from
heaven. There are observations of lunar and solar eclipses, and
of the movement of the planet Venus, petitions and letters
addressed to Assyrian monarchs. The laws and religious rites
and prayers, in two dialects ; the Accad, or earlier, and the
Assyrian, or later, language ; the tablet dated in the twenty-
second year of Sennacherib, and explanations of portents. Thus,
while the paper and parchment learning of the Byzantine and
Alexandrian schools has almost disappeared after a few centu-
ries, the granite pages of Egypt, and the clay leaves of Assyria,
have escaped the ravages of time and the fury of barbarism.
In Egypt some receipts and letters have been discovered
written on fragments of tile, and on the fine porcelain of the
Chinese are often found extracts of biographical works, snatches
of poetiy, and even whole poems ; but the idea of issuing
journals, title-deeds, inventories, histories, prayers, and poems,
not from the press, but from the kiln, is startling in the nine-
teenth century.
The fact that baked clay was employed in this manner was
by no means unknown to the ancient Greek
and Latin writers. The Chaldjean priests in-
formed Callisthenes,^ who accompanied Alex-
ander the Great to Babylon, that they kept
their astronomical observations on bricks baked
in the furnace, and Epigenes, who lived pro-
bably in the early part of the third century B.C.,
is stated by Pliny ^ to have found, at Babylon,
astronomical observations, ranging over a period
of 720 years, on terra-cotta tiles. Another use
of this plastic material in Assyria was for seals,
which were attached to rolls of papyri, linen or
Nos. 68, 69.— Seals. From i ,i , , i . , 1.1 /» .i
Kouyunjik. leatuer, and placed either on the side oi the
* Plm. Hist. Nat., I. vii. c. Ivi. s. 57,
ed. Sillig., although Voss, De Hist. Grsec.
Westermann, p. 437, 8vo, Lips. 1838,
supposes him of uncertain age ; but as
he was a Greek, it is probable that he
was one of those who accompanied
Alexander to Babylon.
2 IV., V. 1.
Chap. TIT.
TEKUA-COTTA WHITINGS.
83
roll when it was made up, or else appended by a slip or string.
Several such seals were found in the chamber supposed to con-
tain the royal archives at Kouyun-
jik ; among them was one of Sa-
baco, king of Egypt, who reigned
B.C. 711, and was probably con-
temporary with the Assyrian king,
Sennacherib.
It is evident that these seals can- p^
not have been appended to the
document in the baked condition No. 70.— inscribed Seal. From Kouyunjlk
in which they are found, and some
exhibit the traces of the fingers by which they were squeezed,
and of the cloth or strap by wjiich they were appended to the
Xo. 71.— Seal of Sabaco and Sennacherib.
From Kouyunjilc.
No. 72 — Egyptian Seal, enlarged.
royal muniments. These could only have been impressed while
the clay was moist. Similar seals of unbaked clay, have con-
stantly been found attached
to Egyptian papyri, some-
times bearing royal names.
\o. 73. — Egyptian Seal. From Kouyunjik.
No. 74. — Back of Seal, with marks of cords and fingers
It is, therefore, interesting
to reflect, as in the case of
the seal of Sabaco already
mentioned, that if the autograph of Sennacherib, or of Nebu-
G 2
84
ASS YET AN POTTERY.
Part I.
No. 75. — Small heart-shaped
Vase, polkhed. From Nimrild.
chadnezzar, has been lost, time may have yet preserved an im-
pression of the royal finger.
The researches of Botta and Mr. Layard brought to light
some of the terra-cotta vessels of unglazed or unpolished ware
which were in use among the ancient
Assyrians. These wares were found under
different circumstances. One saucer-shaped
vase, or patera, Mr. Layard found built into
the back of a wall of the N.W. palace at
Nimriid, evidently through the blunder of
the workman. It must consequently have
been of the age of that palace.^ It has
rather thick sides, and is of a pale reddish-
yellow clay. Another vessel, having equal
claims to antiquity, which was found be-
tween two colossal bulls at the entrance of
a chamber of tlie N.W, palace, is a cylin-
drical jar, with two small handles, and ornamented at the sides
with two figures of a god with an Egyptian head-dress, a bird's
body, human head and arms, and four wings. It is 1 foot 6 inches
high, 1 foot 7 inches in
diameter, and about ^
inch thick. The clay is
of a pale yellow colour,
and gritty texture. Mr.
Layard also found at the
S.E. corner of the same
mound an earthen sarco-
phagus, about 5 feet long,
and very narrow, having
two jars made of baked clay, of a red colour, placed at its side.
Upon the covering slab was the name^ of the Assyrian king
Shalmaneser, who built the central palace. Vases of baked clay
were found inside another sarcophagus, scarcely 4 feet long, which
was in the shape of a dish-cover. Similar coffins were exhumed
at Kalah Shergat.^ A few vases and otlier objects of pottery were
picked up above the edifices of Kouyunjik. Some of these vessels
were evidently used f )r purposes of sepulture, as they contained
burnt human bones.* The vases from Nimriid were chiefly
found in the tombs in the mounds above the palaces, which
Ko. 16. — Bowl covered with a coating, and polished.
From Nimrild.
* Layard, ii. 13.
Ibid., ii. 52. » ii,[^ ^ j 352- ^ jg 4 i^id,^ i. 14.
Chap. HI.
UNGLAZED TOTTKllY.
85
seem to have been tenanted after they had fallen into decay.
The clay of these vases is generally fine, and rather yellow in
tone. They consist of ampliora} with rounded bases, some
small jugs, little jars, jugs resembling those of the ancient
Egyptians, shallow patprte, or little cups, one ribbed,^ like those
represented in the hands of monarchs, a vase of a purse-shape,
like the Greek aryballos, and various unguent vases exactly
resembling those found in Koman graves in Italy and other
parts of Europe. A group of the pottery would in fact exhibit
No, 77.— Group of Assyrian Vases.
very little difference in respect to shape from that found in
ordinary Eoman sepulchres. With these objects were also
found certain lamps, which, from the helices, or architectural
ornaments on their handles, were evidently of Greek fabric, and
of the period of the Seleucidae ; and some terra-cotta figures,
also the work of Greek artists, and presenting well-known types.
Some of the lamps are of a peculiar shape, with long recurved
nozzles, still black from the effects of burning,^ and such as
might have been lighted at Belshazzar's feast. The vases, few
of which are of any great size, range from 1 inch to 2 feet high.
Their ornaments are of the simplest kind, consisting of a few
annular lines or concentric rings, sometimes dfversified with
bands of hatched lines, resembling the continuous repetition of
a cuneiform wedge.
» Layard, Mon., PI. 95, 96, 97.
« Ibid., PI. 95, 96.
86
ASSYRIAN POTTERY.
Part I.
Several vases of this kind were found in the excavations
which were made at Khorsabad. They contained burnt bones
and were in the shape of urns with oval bodies and covers,
having a hatched ornament round the body. Each of these
vases with its contents was placed in a separate cell ; and they
were evidently contemporaneous with the palace.^
That this ungiazed ware continued to be made till a late
period is proved by certain basins, brought from Chaldsea, each
having a lid or cover, in-
scribed with Hebrew and
Syriac characters. These
inscriptions have been
deciphered by Mr. Ellis,
and their exact age can
therefore be determined ;
but when we consider
No.TS.-LampfromNimnld. ^^OW COUStaut WaS the
habit among the Assy-
rians of covering every object with their arrow-headed in scrips
tions, and that none occur on any of their earthen vessels, but, on
No. 79.— Bowl with Chaldee inscription.
No. 80. — Bowl witb Hebrew inscription.
the contrary, inscriptions in the square Hebrew and Estranghelo-
Syriac characters, it is evident that the greater part of this
pottery is not of the old Assyrian
period. It belongs probably to about
the fourth century of our era. When
the palace fell to decay, consequent
on the downfall of the empire, the
huge mounds were tenanted by the
Chaldsean, the G-reek, the Roman, and
the Arab, and it is probable that to
some of these races many of these
Various kinds of ornament were
No. 81. — Bowl with Syriac inscription.
vases must be referred.
» Botta, Mon. de Nineveh, PI. 165.
?HAP. III.
TERRA-COTTA FIGURES.
87
No. 82.— Stamp on a vase, appa-
rently Sassanian.
idopted. On some, hatched lines, forming continuous bands,
rere impressed with a tool while the clay was moist. Others
lave continuous perpendicular and hori-
Kontal lines, formed apparently by the
repetition of an arrows-headed character.
)n one specimen is a series of goats and
^pomegranates, resembling in treatment
the designs found on the gems of the
Sassanian monarchs of Persia, but pos-
sibly old Assyrian. Painting is rarely
seen on the unglazed vases. Some frag-
ments from Karamles and other localities
had pale yellow backgrounds with hori-
zontal or vertical lines of a dark brown
colour. On some specimens a few cha-
racters resembling the Phoenician have
been written in a dark carbonic ink.
Although there can be no doubt that many figures of the
Assyrian deities, and many of the architectural ornaments
employed by that people, were
mr.de in terra-cotta, few have
reached the present time. Pro-
bably, as in Babylon, they were
cased with gold and bronze,
which attracted the cupidity of
the spoilers. Several small terra-
cotta figures made of a fine clay,
which has turned of a pale red
in baking, were found at Nim-
riid^ and atKliorsabad.^ Amongst
them are figures of Ishtar, the
Assyrian Yenus, and Dagon, or
Annu, covered by a fish as the
god of the W'aterS. They are No.SS.— Terra-cotta figures of Assyrian Venus.
coloured with a cretaceous coat-
ing, and resemble in all respects the Greek pottery. They are
probably of the age of the Seleucidse, though some may be referred
unhesitatingly to a period prior to the fall of Nineveh. In some
^ Layard, Monuments, PI. 95, Nos.
5,6.
^ Those found at Blhorsabad, as well
as the ditch or trench in which they
were, are figured. Botta and Flandin,
Mon. de Nineve, PI. 165,
88
ASSYRIAN POTTERY.
Part I.
of the corbels of the N.W. palace, the part projecting from the
wall was moulded in terra-cotta in the shape of five fingers, and
inscribed with the usual formula, '' The Palace of Assurnazir-
pal, the great king."^ These are of a pale red colour, like
the cylinders. There are also some weights in the shape of
sleeping ducks, made of a fine yellow clay, and inscribed with
numerals.^ Moulds for making small figures have also been
found in terra-cotta. Some seals, about an inch in diameter, of
fine dark clay, were discovered at Khorsabad, impressed from a
circular or conical gem, with the subject of a king stabbing a
lion with a sword.^
In removing one of the numerous slabs representing the
hunting scenes of As-
snrbanipal at Kou-
yunjik, there were
found several little
terra-cotta figures of
dogs, standing, made
of a coarse clay,
covered with blue,
red, or black paste,
and having names
inscribed on them,
such as the guardian
of the house, the
lion-tamer. These
are supposed to be
images of hounds of the royal pack, probably those which had
been killed in hunts of lions and other animals.
Specimens of Assyrian glazed ware or porcelain are compara-
tively rare ; but enough have been found to show that it was
extensively employed in the same manner as among the Egyp-
tians for architectural decoration, religious purposes, and
domestic uses. It is, however, far inferior in all essential
qualities to the Egyptian manufacture, being coarse and dull,
and having want of cohesion between the body and the glaze,
while the vases and other objects made of it are deficient in
the beautiful and elegant outlines of the Egyptian pottery.
'The application of a glaze to bricks, in order by this means
No. 84. — Terra-cotta Dog, from Koiiyupjik.
' Tliey are flepositGd in the Ikitish Museum.
2 Layard, Monuments PI. 95, No. 17. ^ Butta, Mon. de Niueve PI. 164.
HAP. II r.
GLAZED BRICKS.
81)
give the appearance of fayence, to the sides of the rooms
id even (if we may believe the mythological accounts) to the
blls of cities, was probably derived by the Assyrians from the 7
Egyptians, who at a very early period had inlaid in this manner J
le chambers of the pyramid at Saqqara, and later the temple
Eameses III. at Tel El Yahoudeh or Oneias. The glazed or
inamelled bricks from Nimriid are of the usual kiln-dried kind,
leasuring I'S^ inches square, and about 4^ inches thick. They
jevo laid in rows horizontally above the slabs of sculpture of
le Mosul marble, and seem to have been employed in the
mstruction of cornices. They are glazed on one of the narrow
ides or edges only, having on this edge various patterns, chiefly
5f an architectural nature, such as guilloche or chain ornaments,
bands of palraettes or helices,^ and fleurettes or flowers of many
|)etals. The colours employed were blue, black, yellow, red, and
white. The glaze, which is much decomposed, easily exfoliates,
and the colours have lost much of their freshness.^ It would
appear that patterns of tolerably large size were executed in
this manner, each brick having its appropriate portion enamel-
led upon it. Thus, for example, there is a foot in a sandal and
part of the leg of a figure,^ about 2 inches long, which indicates
a figure about a foot high, on one brick in the British Museum,
and on another is the head of a goat, apparently also part of a
figure. Another brick found in N.W. palace of Nimiiid had a
horizontal line of inscription in arrow-headed characters of a
dark colour, and with square heads, like nails. Its tenor was of
the usual purport, " The
palace of Assurnazirpal." *
Bricks of this glazed kind
were found chiefly in the
space between the great
bulls which flanked the
entrances of the chambers.
From Nimriid were also
brought corbels of blue fay-
ence, or what has been called
porcelain,* the under part
modelled to represent the five fingers of the hand. They were
No. 85.— Blue Corbel, from Nimnid. Brit. Mus.
* Layard, 'Monuments of Nineveh,'
fol., London, 1849, PI. 84, 86, 87.
•-= Cf. Layard, ii. 112.
3 Ibid., PI. 84, 87.
* Layard, ii. 180.
* Layard, Monuments, PI. 84.
90 ASSYRIAN POTTERY. Part I.
let into the wall to hold some architectural member, and are
8 inches long and 4 inches broad, that part only which projected
from the wall being vitrified. A brick brought from the second
excavation at Nimnid has on it the subject of the monarch
receiving a draught of wine from a eunuch. It is traced in a thin
dark outline upon a blue ground, and resembles a Dutch tile, like
those which used to ornament the stoves and chimney-flues of
our ancestors.
The analysis, made in the Museum of Practical Geology, of
the colours of the enamel employed in this brick, shows that
the opaque white was produced with tin, the yellow with anti-
moniate of lead, or Naples yellow, the brown with iron, the
bine and green with copper. The flux and glazes consisted of
silicate of soda aided by lead. The body or paste of the brick
is of a very calcareous quality, and to aid the adhering of the
enamel to the brick, it was only laid upon one surface, which
was placed horizontally when baked.^ This is proved to have been
the case by the melted enamel having trickled down the sides.
The brick appears to have been first slightly baked, and after
being painted, when cold, with the required colours, to have
been a second time sent to the furnace. This glazed ware was
probably produced at a lower temperature than that made at
present, which it is difficult to manufacture without its warping
in the kiln. The enamelled bricks from the palace at Ninirud
show that whole w^alls were composed of them, and formed a
kind of mosaic work, representing subjects of considerable di-
mensions ; for not only are there fine architectural ornaments, —
such as the guilloche, rosettes, leaves, and flowers, goats, and
winged animals, — but also part of the face of a figure which
must, when complete, have been about three feet high, and sub-
jects like those of the friezes in alabaster. These had their
subjects in white outline on pale blue, olive-green, and yellow
grounds. Many enamelled bricks were also found at Khorsabad.^
Similar bricks have been found in the palace of Susa by Mr.
Loftus, with the remains of a Persian cuneiform inscription, and
other ornaments. Columns and pilasters were also made of
semicircular bricks.
Several vessels of fayence or porcelain, which resemble in
their general character Egyptian vases, have been found amidst
^ Sir H. De la Beche and Mr. Tren- I ^ For some specimens, see Layard,
ham Reeks, Mus. Pract. Geol. Cat. of | Monuments of Nineveh, foh, Lond.,
Spec., 8vo, Lond. 1850, 30-32. | 1849, PI, 84.
K III.
VASES
91
le ruins of the Assyrian palaces, chiefly in the tombs of the
lounds. Two, in the shape of amphoiao, with twisted handles,
reve discovered in a sepulchre of the central mounc]/ and are
low in tlie British Museum. Others were found at Kalah Shergat,
[ouyunjik, and Karamles.^ All the mounds of Assyria, in fact,
iave scattered among their debris
le remains of the vessels of fav-
ince which formerly decorated
he palaces. Fragments in the
British Museum, show that vessels
led with coarse blue glaze were
use in Assyria. The clay of
lese vases is the same as that of
le bricks, except in one or two
istances, in wliich it is of a fine
fchite colour, like that of the body
|f the Egyptian figures. A small
glazed scarabaeus was found at
Khorsabad.^ The prevalent colour
of this ware is a fine bright blue,
verofins: to a screen when the sur-
face has been slightly decomposed.
Other fragments, found in dif-
ferent localities, were of a pale lilac colour, or of a yellow
pattern on a blue ground. In some instances the ground was
white, with stripes of a brown and of a purple colour.* Few
specimens are found, and there is consequently every reason to
believe that this porcelain was rare and highly prized. As it
has been discovered only very recently, no analysis has as yet
been made, either of its composition or its colouring matter;
but there is every reason to believe from its appearance that
it is the same as the fayence of Babylon — the fine clay of
the country forming its body, and the glaze being a vitreous
silicated substance coloured with metallic oxides, principally of
copper. A very remarkable series of fragments of votive dishes,
made of a pale yellow and light red pottery were found in the
temples of Nineveh and Sherif Khan. They had round them in
circular horizontal lines inscriptions containing the royal names
and titles from the time of Shalmaneser I., B.C. 1300, to that of
Sennacherib, B.C. 705.
No. 86.-
Vase discovered in tombs of central
mound at Nimnld.
» Layard, ii. 18 ; Mon. of Nineveh, PI. 85. 2 i^^^^
3 Mon. de Nineve. ^ Layard, Monuments, PI. 85.
92
BABYLONIAN POTTERY.
Bart I.
Some egg-sliaped amphorae, with a blae glaze, have been
discovered at Araban, besides several plates and bowls of a
yellow paste, glazed with brown and purple arabesque and floral
patterns, probably to be refered to a later period than the
Arabian dominion. Some of the fragments dug up at Sherif
Khan were overlaid with a white engobe. Two large discs
found at Baashok, with raised studs, ornamented with a pattern
of leaves resembling the antefixal ornament of the Greeks, and
alternate flowers of the pomegranate, were also painted in dark
brown upon a cream-coloured engobe, and glazed.
The structures of Babylon, like those of Assyria, were erected
on platforms of sun-dried bricks, and the inner portions of
the walls, and the more solid masses of the buildings, were
made of the same material. Hence sun-dried bricks were found
in all the great ruins of the country ; at the Mujellibe,^ the
Birs Nimriid,^ the Akerkuf,^ Niffer,* and in the immense
mounds'^ which mark the walls or other sites of the ruined
cities of the plains of Shinar.^ These bricks, not being often
found entire, have proved less attractive to the traveller and
archaeologist than the kiln-dried bricks, and hence their dimen-
sions have been left unrecorded. They are rudely shaped,
resembling clods of earth, and are composed of a kind of clay-
moiiar, intermixed with chopped straw, grass, or reeds. Those
of the Akerkuf have no straw. These bricks were made by the
usual process of stamping out of a wooden block mould. They
were laid with slime or clay, and reed.'^
Besides these sun-dried bricks, remains of kiln-baked or
burnt bricks are found in all the principal ruins of ancient
Babylonia, and were used for the purpose of revetting or casing
the walls. Like the sun-dried bricks they are made of clay
mixed with grass and straw, which have, of course, disappeared
in the baking, leaving, however, traces of the stalks or stems in
the clay.^ Generally they are slack-burnt, of a pale red colour,
with a slight glaze or polish.^ The finest sort are white,
approaching more or less to a yellowish cast, like the Stour-
bridge, or fire-brick ; the coarsest are red, like our ordinary
* Layard, Discoveries, pp. 165-167 ;
Mon., PL 53, 54-55.
2 Layard, Discoveries, 1853, p. 132.
3 Eennel, in ' Archseologia,' xviii. 249 ;
Sir E. K. Porter's Travels, ii. 329 ; Pietro
della Valle, 4to, 1616; Rich, Memoir, 28.
"* Rich and Porter, loc. cit.
* Rich, Memoir, 8vo, Lond., 1815, 62.
® Rawlinson, Mem., cf. infra.
' Porter, ii. 277. ^ Ibid., 329.
9 Ibid., 310.
I Lap. ITI. KILN-DRIED BRICKS. 93
|rick. Some have a blackish cast, and are very hard.^ The
nest are those which come from the ruins of the Alvcrkuf. The
general measurement of the kiln-dried bricks, at the Birs Nimriid,
gjs 1 ft. 1 in. square, and 3 in. thick.^ Some are submultiples, or
If of these dimensions. A few are ojf different shapes for
particular purposes, such as roundinp^ corners.^ Those at the
Akerkuf measured a trifle less, or 121 in. square, and 2|- in.
thick,'^ and are placed at the base of the monument. The bricks
of Al Hymer, on the eastern bank, measured 14 in. long, 12| in.
broad, 2J- in. thick, and are of fine fabric.^ There are bricks of
two dimensions at this ruin of Birs Nimrud ; those on the
northern brow, a little way down it, measure 12 in. square, and
8^ in. thick ; they are of a pale red colour, and used for revet-
ting the monument. Lower down to the east of this, they are
4f in. broad, and 12| in. long.® Similar bricks were found at
the Mujellibe, and in one place was an entire wall of them 60
feet thick.^ The whole plain here is covered with masses of
brick-work, and on one of the mounds the bricks are so red,
that it looks one bright gleaming mass.^ The bricks from the
Mujellibe or Kasr are described as very hard, and of a pale
yellow colour; and this edifice presents a remarkable appear-
ance of freshness.® A fragment of a brick from Niffer is of
a white or rather yellowish-white colour, and sandy, gritty
texture, ""^-^iiis spot, it will be remembered, is supposed to be
the site of old Babylon. The general proportion of the bricks
^*s two-thirds of a Babylonian cubit square. The oldest are those
I of the Chaldsean monarch XJrukh, supposed to have reigned B.C.
\ 2200, and his name is stamped on those of Mugheir, Senkereh,
1 Niffer and Warka. Three of his successors, Dungi, are found at
-LWarka, while bricks of Ismidagan are found at Mugheir, of
Khammurabi at Senkereh, of Durigalzu at Mugheir, of Merodach
Baladan at Warka. Of the later Babylonian dynasty those of
Nebuchadnezzar, B.C. 604, and Nabonidus B.C. 550, have been
found at Babylon, as also those of Cyrus at Senkereh,
B.C. 538, but none of any monarchs later than the Persians
in the cuneiform character, although bricks of the Sassanian
period with illegible inscriptions have been discovered. All
these bricks are made by the same process as those of
» Brongniart, Traite, ii. 89, 90. i * Porter, Travels, ii. 277, PI. Go.
2 Kich, Memoir, 62 ; Brongniart, ^ Porter, ii. 396. « Ibid., 313.
Traite, 316. I ~ Rich, Mem., 28. » Porter,ii. 313.
2 Rich, Memoir, G2. ^ Porter, ii. 355, 36.5, 366.
94
BABYLONIAN POTTERY.
Part I.
Assyria, namely, stamped out of a wooden or terra-cotta
mould, and are also impressed with several lines of cuneiform
character. The impression is always sunk below the super-
ficies, rectangular, and often placed obliquely on the brick,
with that disregard
to mechanical sym-
metry which is so
usual on works of
ancient art. The
stamp is generally
about 6 inches long,
by 4 inches wide,
and the number of
lines varies from
three to seven : an
arrangement quite
different from that
observed on the
bricks of Assyria,
and rather resem-
bling that adopted
by the brick-makers of Egypt. The inscriptions sometimes
commence with a figure of a lion, a bull, or what may be
intended for an altar.^
Since the period of the researches of Porter, Kich, and
Fraser, a careful excavation and examination of the ruins of the
supposed temple of Belus at the Birs Nimriid has been made
by Sir H. Eawlinson in 1854. From ^he remains of three
terra-cotta cylinders found at the corners of the stages of the
brick-work, he has discovered that it was dedicated by Nebu-
chadnezzar to the seven planets. It was a kind of step-shaped
pyramid, constructed like the tops of the obelisks found at
Nimriid and Kouyunjik, each step being formed of bricks of a
different colour, and appropriate to one of the planets, to which
the edifice was consecrated.^ The highest part, the second
original step, composed of vitrified bricks of a greenish-grey
No. 87. — Brick stamiwd with name of Nebuchadnezzar, lioyal
Society of Literature.
' Beauchamp, ' Journal des Savans,'
1790; European Mag., May, 1792.
* It is interesting to compare this
with the rings of the seven planets worn
by Apollonius Thyanei:s (liv. iii.) and
the towers of nine pavilions consecrated
to the planets, stars, and heaven, built
by a Persian princess, and supposed to
assure them against the ills of fate. —
Reinaud, Mon. Musulm. due de Blacasj
ii. 389.
BIRS NIMRtlD.
95
colour, is supposed to have been the step of the moon; the
next, a mass of blue vitrified clay, produced by the application
of fire to the mass of brickwork on the spot, is thought to have
represented the planet Mercury. The fourtli stage, built
of a fine yellow brick, is conjectured to have been anciently
gilded, and to have been sacred to the sun; the fifth, of
bricks of a roseate pink hue, to have been the tier of the
planet Mars ; the sixth, of red bricks, to have belonged to
the planet Jupiter ;
the seventh, of black
bricks, daubed over
with bitumen, to have
been sacred to the
planet Saturn. The
base, or platform,
was of crude un-
baked bricks. The
pink bricks measured
_i4 X 14 X 4 inches,
No. 88. — Birs Niinrud, restored.
the yellow
IH^x
13*
X 3t, the blue
>§ X 12| X 31 the grey 12 x 12 x 3, and the red 14 x 14 x 5
inches.^ Sir H. Eawlinson has endeavoured to trace a certain
harmony of the proportions of the bricks to that of the stages
or platforms, and that of the celestial spheres ; an ingenious
idea, which, however, he has reluctantly abandoned. The walls
of the Median Ecbatana were built of different coloured bricks
on the same principle, which must be regarded as one of the
most remarkable adaptations of coloured brick-work to religious
or symbolical uses.
The bricks at theMujellibe had an inscription of seven lines ;^
those at the Birs Nimriid, three, four, or seven lines :^ others
from the neighbouring ruins have five. Those from Niffer have
five lines. The bricks at the Kasr had seven lines ; those at
Al Hymer, on the eastern bank, ten lines.* Some of the bricks
found on the hill of the Mujellibe had their inscriptions at the
edge.^
Sir H. Eawlinsnn examined on the spot bricks of above one
hundred different towns and cities in an area of about one
' See Rawlinson, Lecture Roy. Inst., i ' Ibid., 312 ; Maurice, * Ruins of Ba-
for details; Layard, Nineveh, p. 495, for bylon,' PL 4, 34 ; Porter, ii. 354.
a general description of the Birs.
* Porter, ii. 345.
* Porter, ii. 394.
5 Ibid., 355.
m
BABYjLONIAN POTTERY.
Part \.
hundred miles in length, and thiity in breadth, which comprises
Babylonia Proper, and that all have the name of Nebuchad-
nezzar. The ruins of Niffer, in Lower Babylonia or Chaldsea,
are stated to be more e^xtensive than those of Babylon, and the
bricks are stamped with the name of Dungi. At Warka, which
has been only recently examined by Mr. Loftus, the ruins are
of a stupendous character, and the king's name, Urukh, on the
bricks differs from any known ; at Mugeyer and Umwaweis are
also brick ruins, bearing stamps of their royal founders/ TTrukh,
Kudurmarbuk, Ismidagan, and Nabonidus. The details of
••> ' ■• ■ '■■'•'■■- - ' ■
Xo. 89. — The Mujellibe or Kassr, exliibiiiug the biickwoik.
their dimensions and other particulars, however, have not been
given; but it may be supposed that they resembled the other
bricks of Chaldsea. The impressed marks were made, of course,
previously to the baking, and the bricks were then carried to
the brick-field, and laid in the sun for some time, since tlie
marks of the feet of weasels and birds are found upon the clay ;
and on some of the bricks of the Mujellibe are impressions of
the ^Ye fingers, or of a circle, probably the brickmaker's private
^ Eawlim^on, Memoir, 476, 481, 482.
Cfiap. Iir. DIMENSIONS OF BRICKS.
io
AllSW3AINn
3HX O
marks.^ It does not seem to have occurred to any one that
they may have been baked after they liad been built up into
phitforras ; at all events, without some such explanation, it is
difficult to comprehend the statements of travellers about the
extensive vitrification and even masses of slag on the Birs Nim-
nid.^ In building, the inscribed face of the brick was always
placed downwards, and deposited on a layer of straw with a
mortar or cement of lime.^ This mortar is sometimes thin,
sometimes about one incli thick. Bitumen was found to have
been used as mortar only in the foundation walls.* Notwith-
standing the interest of the subject, and the repeated observa-
tions made at the Birs Nimriid, as well as at the mounds in
Lower Babylonia, no detailed account has been given of the
manner in which the bricks are laid.
The rest vary from 14 inches square by 4 inches thick to
IH inches square by 2^ inches thick. They are all very
imperfectly baked, of a light-red or even, ash-coloured paste,
but made with considerable accuracy and sharpness, and are
intermediate between the tile and brick. Those from one
site only resemble in their proportions the brick in use at
the present day.
This mode of brick-making was of the highest antiquity in
Babylon. It is mentioned in the Book of Genesis that burnt
bricks were employed soon after the Flood, to build the founda-
tions of the celebrated Tower of Babel, and these were cemented
together with asphalt or bitumen, vahakhemar hayah lakhem
lakhomer, "and slime," or "bitumen,"^ says Moses, "was to
them instead of mortar." The mode of building here described
exactly coincides with the manner in which the foundations of
the buildings, both in -Assyria and Babylonia, are constructed.
According to Herodotus,^ the clay dug out of the ditches which
surrounded the cities of Babylonia, served to make the bricks
with which their walls were built. These were either entirely
constructed of sun-dried bricks, or else of sun-dried revetted
with kiln-dried or glazed bricks, or with stone. Towering to
the astoundinoj height of above a hundred feet, and of a breadth
1 Eich, Kordistan, 289.
' Porter, 312.
^ Ibid. 311 ; Kich, 28, 29 ; Arch, xviii.
p. 258. •* Porter, ii. 312.
' Kal 6761/6X0 avTols 7] irKiyOos its
\idov' Ka\ atTcpaXTOs i)V avTo7s u TrrjAos-
GeD. xi. 3.
^ Herodot., i. 79 ; Ctesias, a Miillcr,
8vo, Paris, 1844, 19, 6; Berosus, Joseph,
c. Apion. i. 19; Plilegon de MirahiHbiis ;
Schol. Aristoph. Aves, 552, ed. Diiid
Heeren, Idcoii, i. s. 117.
H
98 BABYLONIAN POTTERY. Part T.
sufficient to allow large armed bodies of men, and even chariots,
to traverse them, and well protected with battlements, they
defied the marauding Arabs, and could only be taken by regular
siege, — no easy task, when the most destructive siege artillery
consisted only of a strong, heavy, metal-shod beam called the
ram, the lever, and the chisel. Hence, while vast structures
of stone have been utterly corroded by the devastating hand of
time, or dilapidated for the uses of successive generations, the
meaner edifices of brick have survived, and Babylon the Great
is as well known from its bricks as Greece and Eome from their
temples and medals.
A part of one of the mounds at Warka, called the Waswas,
exhibited a kind of ornamental brickwork very remarkable in
its kind, the curtain having its bricks arranged in a lozenge
pattern, the buttress in Vandykes or chevrons.^
The state of the arts in Babylon and Egypt helpt? to elucidate
some obscure points in the history of brickwork. At the large
temple at Warka, Mr. Loftua found an edifice built of cones
3^ inches long, laid horizontally, apex and base alternately,
and imbedded in a cement of mud aud straw. Some of the
cones dug up on the platform had straw still adhering to their
sides. The clay of these bricks was of a dingy yellow, but
many had their bases dipped in black or red [)aint. By means
of these colours they were arranged in ornamental patterns of
diamonds, stripes, and zigzags. They show the use of similar
cones found in Egypt, which
must have been worked into
walls of tombs, and which have
been already described. At an
edifice called the Waswas, and
at the large temple at Warka,
Mr. Loftus discovered moulded
No. 90.-Terra-cotta object, with Babylonian • : 1 hripk«? wlnVh
Inscriptions. From Warka. Semi - ClI CUldr UriCKS, WniCn,
being joined at their bases,
formed perfect cylindrical columns. Other pieces of similar
colours were found in a mound outside the south wall.
The objects represented in the cut, which projected out of the
walls of Warka, and were inscribed with Babylonian cuneiform
characters, containing the names and titles of the patasis or
' Report of Assyrian Excavation Fund, April 28, 1854, No. i. p. 4.
rHAP. irr. teuha-cotta horns. :>•»
Rulers and kings of that country, \\ere votive dedications to the
leities who represented the powers of nature and creation.
At the Was was buiUling Mr. Loftus also discovered glazed or
mamelled bricks, ornamented with stars having seven rays.
]heir glazing was bhick, white, yellow, blue, and green. A
)avement of vitrified slabs, 2 feet 4 inches square, was found in
the south ruins of Warka. Glazed terra-cotta lamps of the
jassanian period were exhumed from the cemetery.
The researches of Mr. Loftus also discovered sun-dried bricks
at the ruin called Bouarieh, at Warka. Their dimensions
ranged from 7 inches to 9 inches in length, and from 3 inches
to 3J inches in thickness, while they were 7 inches wide. The
walls in which they were used were bonded like the Koman with
layers of reels, three or four in number, placed at intervals of
from 4 feet to 5J feet. Each layer of reeds had four or five
rows of bricks placed above it. The remainder of the building
was constructed of similar bricks, disposed lengthwise on edge,
the flat surfaces and narrow edges of the bricks being placed
alternately. The cement with which the bricks were united
contained barley straw. This arrangement of brickwork Mr.
Loftus supposed to be Parthian. Stamped sun-dried bricks
were discovered at the upper part of the edifice. It had also
kiln-dried bricks stamped with an inscription in 8 lines, record-
ing the dedication by King Urukh, B.C. 2200, to the Moon.
Some others bore the name of the King Kudurmabuk, who
reigned about B.C. 1500. Small red kiln-dried bricks, pierced
with six holes and imbedded in bitumen, were found at the base
of the construction.
Cones of red brick, similar to those of the Egyptians pre-
viously described, with bases coloured red, were found in a wall
at Warka by Mr. Loftus, imbedded in a cement of mud and
straw. They were only 3^ inches long, by 1 inch diameter at
the base.
Another kind of construction, of which, indeed, instances
occur in Sicily and elsewhere, was found at the south-west
building at Warka. Above the foundation were a few layers of
unbaked bricks, on which were three rows of vases arranged
horizontally one above another, with their mouths placed out-
wards. Above the last row was a mass of brickwork. Although
the conical end was solid, many were broken. Perhaps they
were intended for places in which sparrows or mice might build
H 2
100 BABYLONIAN POTTERY. Bart 1.
their nests. But vases and pipe tiles are used to the present
day by the natives of Mosul to decorate the parapets of their
houses.
At the Sassanian period, unbaked bricks, rudely plastered,
were placed inside edifices, and the mode of construction at this
time was by placing the bricks alternately with their edges and
flat sides outwards. Cornices, capitals, and other objects of
terra-cotta, covered with a coating of stucco or plaster, and
painted and gilded, were discovered at Warka.
Kich^ mentions the discovery of various earthen vessels in
the Mujellibe, but the mounds of Babylonia, formed apparently
of the walls and foundations of the great edifices, have yielded
as many of these relics as the mounds of Assyria ; and as they
have been used at all epochs for sepulchres, it is not possible to
determine accurately the age of the few specimens discovered.
Some of the vases found among these ruins contained burned
bones supposed to be the ashes of Greeks, and are consequently
subsequent to the Macedonian conquest. There seems to be no
doubt, however, that the statues of the gods of Babylon were
made of terra-cotta. Such was that seen by Nebuchadnezzar in
his dream, which was composed of clay and metals,'^ and that of
Bel, which was of clay, plated externally with brass,^ and pro-
bably also the colossi mentioned by Diodorus.*
The Babylonian earthenware is scarcely to be distinguished
from that of Assyria, and presents the same general charac-
teristics of paste and shape. It consists of cups, jars, and other
vessels. The paste of the terra-cottas is generally of a light
red colour and slightly baked. The figures have been made
from a mould, perhaps of the same material as that in use
among the Egyptians. The vases are of a light red colour, and
of bright clay, occasionally, however, of a yellow hue, with a
tinge of green. They were made upon the wheel, and are not
ornamented with painting or any other kind of decoration.
Probably modelled figures of deities were sometimes introduced
at the sides and handles, as in some of the vases of large
dimensions found in Assyria.
Several earthenware documents of a similar nature to those
found in Assyria, have been discovered in the ruins of the
ancient Babylonia Proper, consisting of grants of lands, receipts
Mem. 28. - Daniel, ii. 33-35. ^ jj^j^^^ ^iv. 6. " Diod. Sic, liv. ii. 9.
Chap. III. CYLINDERS. 101
for taxes, archives, and other instruments the purport of wliich
has not yet been determined. They are of the same shapes as
the Assyrian, and made of a very fine terra-cotta, sometimes of
a pale straw colour, and of a iine but gritty texture, or else of
a light brown, and occasionally even of a dark colour. The
forms of these terra-cottas are very various ; some are cylin-
drical, or, to speak more accurately, in the shape of two trun-
cated cones joined at their bases. These were probably turned
on a pillow lathe. The rest are oblong, triangular or circular
in form, varying considerably in thickness; the inscribed sur-
faces are usually convex, sometimes concave, or nearly level.
Many of the oblong pieces are rectangular, and so flattened as
to approach the shape of tablets. One of the most valuable is
a fragment of a great cylinder, the transcript of an inscription,
now in the East India House,^ containing a copy of the Hiera-
ti(ial Statistical Tables of Nebuchadnezzar, which enumerated
all the temples either built or endowed in Babylonia by that
monarch. It is of a pale straw colour, and the inscription is
finely written. Another fragment, apparently a deed, has the
seals and names of the attesting witnesses at the edges. The
material is a fine compact light brown clay, with a polish or
slight glaze on the exterior. Several cylinders are preserved in
the various museums of Europe, and some of the inscriptions
have been published by writers on the subject.^ All are in the
hieratical or ancient Babylonian handwriting, which stands in
the same relation to the complex character on the bricks as our
handwriting does to black-letter.
The most remarkable of these tablets are those dated in the
reign of Khammurabi, found at Warka. They have been called
case tablets, and have inside them a second tablet which was a
duplicate of the outer one, containing the same deed of sale or
other matters in the same terms and sealed in the same manner,
with impressions from a cylinder with cuneiform characters.
They are about 6 inches long by 3 inches wide externally, and
the discovery of the inner tablets was quite accidental, a frac-
ture having revealed them. In shape they resemble a pin-
cushion, rectangular and convex on each side. Another series
^ Engraved, Porter, ii. PI. 78 ; Dr. ! Grotefend, * Bemerkungen zum Insclirift
Hincks, Trans. Koy. Ir. Acad., 1847, p. i eines Thongefasses mit Babyloniseher
13 ; Rawlinson, Memoir, 478. Keilsclirift,' 4to, Gottiugon, 1848.
"^ Sir W. Ouseley, Travels, i. PI. xxi. : |
102 BABYLONIAN POTTERY. rAirr. L
of these sub-tablets found at the same spot, not cased and of
smaller dimensions, commences with Nubopallasar, in whose
reio-n they are dated B.C. 600, continue through the later Baby-
lonian reigns of Nebuchadnezzar and Nabonidus, and those of
the Persians, Cyrus, Cambyses, Darius, and Artaxerxes, and
finish under the great dynasty of the SeleucidsB, about B.C. 125,
when the cuneiform writing was discontinued and superseded by
the Pehlevi. At this later period the use of preparing clay
documents disappeared, papyrus, leatlier, and parchment having
come into more general use.
The Babylonian cylinders ^ are : 1. Fragment, containing an
abridgment of the dedications of the temples of Babylonia by
Nebuchadnezzar. 2. Another, recording the clearing of the
canal which supplied the cisterns of Babylon, 3. The Sinkarah
cylinder, recording the building by Nebuchadnezzar of the
temple of the Sun at Larrak. 4. The Birs cylinders, con-
taining the rebuilding of the temple of the Seven Spheres at
Borsippa. 5. The Mugheir cylinder, commemorating the re-
pairs of the temple of the Moon at Bur. 6. The great cylinder
of Nabonidus, describing the architectural repairs of the temples
of Babylonia and Chaldsea. These later Babylonian cylinders
were placed under the corners of the platforms of temples to
record the foundations by the monarch, like coins, medals, and
inscriptions at the present day. The clue tliey afforded to their
position will guide future excavators to discover other of these
important documents of ancient history.
A few small slabs, or pieces of terra-cotta, in bas-relief, have
been found at Babylon, the largest being npt more than 3 inches
square and about J of an inch thick. On one of those brought
by Rich from Hillah, and now in the British Museum, is a repre-
sentation of a seated deity, holding in one hand a dove, and
having a seated figure behind. One another is a female, pro-
bably a goddess, holding a lotus flower, like that often found on
gems, especially on the conical ones. A third specimen, which
is the best of all, represents a man holding by the collar a
gigantic dog of the Thibet breed, resembling those mentioned
by Herodotus^ as forming the kennel of the kings of Persia,
and to the support of which three villages were assigned. This
' llawliusou's ' Notes on the History of .. - Lib. i. 192. This specimen was pre-
Babylonia,' 8vo, Lond. 1854; Layard, | seuted by Prince Albert to theBiitisli
Nineveh, p. 315. I Museum.
Chap. III.
BAS-KELIEFS.
103
design has not been stamped from a mould, but modelled with
the hand, and tlie execution is remarkable for boldness and
freedom. This specimen was obtained by Sir H. Rawlinson in
the neighbourhood of Babylon, and is now in the British
Museum. It is difficult to say for what purposes these bas-
reliefs were made. Perhaps they may have been the first
sketches of an artist, intended to guide him in more important
works, and that last described may have been a study for a
group in a frieze, representing the bringing of tribute. The
No. 91. — Bas-relief of Man and Dog.
clay of which they are made is fine, like that of the cylinders,
and delicately manipulated.
IMany figures of a naked female, having only a chain round
her neck, to which was suspended a heart-shaped ornament, and
holding her hands beneath her breast, probably the goddess
Ishtar or Aphrodite, were found at Warka. Some of these are
of a pale, others of a light red, terra-cotta. They are in bas-
relief, and all have been produced from a mould, the marks of the
fin<>ers being: visible at the back. These fi<ijures, indeed, mav
104
BABYLONIAN POTTERY.
Taut I.
No. 92. -Glazed Aiybsllos.
From Babylon.
not be earlier than the time of the Roman Empire, remains of all
ages having been found in the various mounds and excavations.
All over the ruins of ancient Babylonia are found fragments
of glazed ware, consisting of pieces of the bricks with which the
inner walls were revetted, of the cornices
of the chambers, or of vases which deco-
rated the apartments of the palaces, or
served for the use of the temple.^ Some
fragments of this ware, brought by the
Abbe Beauchamp, in 1790, from the Birs
Nimriid, Borsippa, and presented by
him to the Bibliotheque Nationale, were
analysed by Brongniart and Salvetat.
The material of these specimens was the
same as that of the unbaked bricks, of
coarse texture, and of a pale grey colour,
rendered red by baking. They were glazed light blue and yellow.
The researches of Salvetat showed that this glaze contained
neither lead nor tin, but that it was composed of a vitreous coat
of an alkaline silicate of alumina, coloured with metallic oxides,
like the Egyptian glazes. The yellow part manifested the pre-
sence of oxide of iron ; the blue, of a deep purplish tint, might
have been produced by cobalt ; the colouring matter of the white
glaze is not stated.^ A more recent analysis of similar colours
from Assyria, made by Dr. Percy in the Museum of Economic
Geology,^ has shown that with a base of silicate of soda, or soda,
glass, and oxide of tin, the opaque white has been produced ;
yellow with the same and antimoniate of lead, or Naples yellow ;
blue, with copper, while lead is also present in the blue, pro-
bably having been employed as a flux. These results are quite
different from those of Salvetat. This ^laze is generally laid
on very thick, and does not adhere well to the body of the
brick. The thickness is about ^ of an inch. This ware is far
inferior to the best Egyptian, although some of the vases appear
to be more compact in their paste than the bricks, and have a
thinner and more tenacious layer of glaze. According to
Ctesias,* the three circular walls of the palace of Babylon were
ornamented with glazed ware, on which were represented
' Rich, Memoir, pp. 28, 33
1815.
- Brongniart, Traite, ii. 89-90.
^ Museum of Practical Geology, Cata
8vo, logue of Specimens, 8vo, Lond. 1855,
p. 30.
^ Diodor. Sic, lib. ii. 8. Ctesias, a
Miiller, 8vo, Paris, 1844, p. 23.
CiiAi'. HI.
COFFINS.
105
jininials richly coloured, scenes of hunting and warlike exploits
performed by Semiramis and her son Ninyas; and the bricks
discovered in the Assyrian [)alaces seem to confirm this account.
Those of Assurnazirpal, for example, have traced in outline
the king and his attendant cortege, and other subjects, while
gkized corbels in the shape of extended hands, inscribed with his
nuiiie and titles, were found in the palaces of Nimriid. Soffits
also of circular shape with raised central bosses and ornaments
of leaves resembling the helix, have also been found amongst
the ruins. The use of glazed ware as an adjunct of architec-
tural ornamentation was common under the Assyrians and
Babylonians. The different members of the composition were
painted on the edge, and the whole formed a kind of mosaic.
On one of the chambers of the Mujellibe, fayences of the sun,
moon, and a cow are said to have been found.
The researches and excavations made at Warka, which, there
is every reason to believe, is the ancient Ur of the Chaldees,^
No. 93.— Supposed Sassanian Coffin. From Warka.
sliow that the Babylonians used this glazed ware for coffins.
These are described as shaped like a slipper, but having a large
oval aperture above, through which the body
was introduced, and which was then closed
with a lid of earthenware. The enamel is
bluish-green, and the sides were ornamented
with fif^ures of warriors dressed in enormous
head-dresses, short tunics, and long under gar-
ments, having a sword by their sides. The
hands rested on the hips, and the legs were
apart. These coffins were found piled upon
one another to the height of forty-five feet.
The description of the head-gear calls to mind
the figures of the bulls at Khorsabad, and of the Sassanian
No. 94.— Cover of Coffin.
From Warka.
» Beauchamp, in Europ. Mag., 1792; 'Journal des Savans,' 1790, p. 197.
Cf. Maurice, Observations on Rich's Memoir, 8vo, 1816, p. 92 et seq.
"^ RawlinsoTi, Memoir, p. 481.
106
JEWISH POTTERY.
Part !•
kings/ At Miigeyer or Umger was found another of these pan-
like sarcophagi, of oval shape, and made of yellow paste, but
having no glaze remaining.
It appears from Mr. Loftiis's researches and excavations, that
these glazed coffins were of the Sassanian period. The paste of
No. 95.— Supposed Sassanian Coffin. From Warka.
the coffin was of a pale straw colour, and had been mixed with
straw and imperfectly baked. On the upper surface of the
inside, and at the bottom, were traces of the
frame of reed matting on which the coffin
was laid. The glaze, which was of a blue
colour, but has become greenish through
age, was laid on and baked when the coffin
was placed upright on its foot. The most
ornamented of these coffins had five rows of
male figures, v/ith bushy hair, like that on
the heads of the Parthian and Sassanian
monarchy. They are dressed in a close
tunic, breeches, and full wig, and have
their hands placed on their hips. Other
coffins had the figure of a female carrying
a box, and many were plain, without either
glazing or figure. The figures appear to
have been stamped from a model; the
coffins were moulded by the hand. Some Parthian coins were
found strewn on the earth, close to the coffins. The latter w^ere
either placed by themselves, or else in vaults, formed with bricks
of a light sandy yellow colour, almost 8 inches square. So
many thousands of these coffins were found, that it appeared as
if all Babylonia, in its later days at least, had been buried at
Warka.
Kemains of earthen vessels used by the Hebrews have been
No. 96. — Terra-cotta Model
of a Coffin.
1 ' Athenaeum,' 3rd Aug. 1850, No. 1185, p. 821.
5nAi'. liT. VASES. 107
)und amongst them — vases resembling the Egyptian in shape,
nth thick coarse red walls, and slightly glazed or polished, and
^thers of Pha3nician style and fabric. The vases are generally
lall, and have been i'ound at Jerusalem ^ and different sites of
Palestine, as near the so-called Tomb of Rachel, at Bethlehem,
id elsewhere. A good deal of the pottery found in Palestine
referable to a later period, and the red Roman or so-called
imian, and other terra-cotta wares, of late style, are found
lixed with the earlier examples. At Jerusalem there was a
fuild of potters, and one of the doors of the city was named
Fter them.^ They used the wheel, glazed, and baked their
rares in tlie kiln. The potter sat at his task, turned the wheel
rith his foot, worked the clay with his arm, and made the
[laze cover the vase entirely, and kept the kiln clean. The
bttery which is occasionally found on the site of Jerusalem, is
bincipally the red Roman ware, or that called Samian. The
lepth of debris in some places reaches 40 feet. The low state
if the art among the Jews may have caused the fragments,
^hich must always abound in the vicinity of great cities, to be
neglected. It is, however, possible that the Jews obtained the
principal earthenware they required from Egypt, and that, as
some other Oriental peoples, metallic vessels were preferred for
the kitchen or the table. The notices of the potter's art in the
Scriptures are comparatively few ; and though the manufacture
of bricks is mentioned, it is generally with reference to other
nations, as in the account of the Tower of Babel, and of the
Egyptian forts of Pithom and the Migdol-en-Rameses, or " Fort
Rameses."
Some of the later prophets, indeed, especially those who had
been in captivity in Babylon, speak of the treading out of the
clay^ with the feet, of the making it into bricks, and baking
them in the furnace. The prophet Jeremiah describes the
potter working at his wdieel. This, called ohna-im in Hebrew,^
was formed of two round stones, or two wheels of wood placed
one on the other, the upper one being smaller than the lower.
It has been supposed that the Jews knew the process of glazing
vases by means of litharge.*
' Morrison, W., 'The Recovery of 14 ; 2 Cliron. xxxv. 13; Judg. vi. 19.
.Icrusalem,' 8vo, Loud. 1871, pp. 472- ' Naliumiii. 14; 2 Samuel xii. 31.
488. * Munk, Palestine, p. 3S9 ; Jahn
^ Jeremiali xviii. 1, xix. 1 ; 1 Sain. ii. Archaiologia, I. i. p. G42, c. v. ; Proverbs
13, 14; Isaiah xxviii. 30; Josli. xxx. ' xxvi. 23.
108
JEWISH POTTERY.
Part I.
Certain vases of pale straw-coloured clay, with Chaldaean
inscriptions in the square Hebrew character, and Estranghelo-
Syriac, supposed to contain magical incantations to demons,
were found at Amram and other places in Babylonia.^ These
were deciphered by Mr. Ellis, and have been considered as old
as the captivity of the Jews ; but their date is much more
recent-: and it may be doubted if they are ancient at all, vessels
so inscribed being said by good authorities to be in use among
the Jews of Turkish Arabia up to the present hour.
No. 9Y.— Interior of Inscribed Bowl.
M. De Saulcy^ obtained from a place to the east of the
Moabitis, a fragment of pottery resembling that found at
Mycenae, of the earlier Greek style, and supposed by some to
be Phoenician or Assyro-Phoenician ; ^ and, at Jerusalem, also.
^ Layard, Nineveh, p. 509 et seq.
2 ' Journal Asiatique,' 1855, vol. x. pp. 418, 419.
^ Layard, Nineveh, ii. p. 166.
Up. in.
VASES.
100
I
■ks lately been found one small terra-eotta bottle or lecythiis,
^mvino; in relief at its sides bunches of grapes and leaves, resem-
J^ng the subjects on the later coins of Judaia.^
^^■The pottery found on the coast of 8yria is princip>ally of the
^^Bcond period of the Greek and Roman occupation of the
country — few or no specimens being re-
ferable to the time when the Phoenicians
were under their own monarchs. In the
collections of the Museum at Sevres is a
lecythus or oil-cruse, found at Tyre, of
the lustrous or polislied Egyptian ware,
and exactly similar to those which come
from Egypt. Notwithstanding the space
which the Phoenicians occupy in ancient
history, and the traditions of their skill
in navigation and in the manufactures,
they have left behind them few or no
remains. Glass and purple dyes were
their staples, and their pottery was pro-
bably for domestic use. At an early
period, in common with the Aramaean
nations, they were celebrated for their
toreutic and metallic work, their stained
ivories, and their glass manufactures. According to the legend
of Sanchoniatho, they claimed the invention of brick-making —
or rather their own story w^as that Hypsuranius^ invented in
Tyre the making of huts with reeds, rushes, and the papyrus.
Alter the generation of Hypsuranius were Agrieus, the hunter,
and Halieus, the fisher, the inventors of the arts of hunting and
fishing. These were followed by two brothers, one of whom,
Chrysor, or Hephaestus, was the first who sailed in boats, whilst
his brother invented the way of making walls with bricks. From
this generation were born two youths — one called Technites, the
workman, and the other Autochthon, earthborn, who invented
the method of making bricks with loam and straw, and drying
them in the sun ; they also invented tiling, — all moral fables
recording the progress of civilisation. It is much to be re-
gretted that travellers, Avho have often remarked the fragments
of pottery which exist in the ruins of the now desolate cities of
No. 98. — Cruse of polished ware,
Egyptian Koom, No. 4710.
* ' Athenjeuin Fran^ais,' 1856 ; Bull. Arch., p. 4.
2 Sanchoniatho, ab Orellio, p. 17 ; Cory, Ancient Fragments, p. 8.
110 PHCENICIAN POTTERY. I^rt I.
Phoenicia, have not thought of depositing some of thcni in the
European museums, where they might have been scientifically
examined. Very few fragments of Phoenician pottery have been
discovered. Of two which came from the Palace at Nimriid,
inscribed with Phoenician inscriptions in black ink, one was part
of the neck of a jug or amphora, of pale red terra-cotta, and
the inscription harat lebah. The other, part of tlie shoulder
of a vase, was glazed, and ornamented with two bands or zones
or broad and narrow lines which had passed round the neck,
and had between them an illegible Phoenician inscription. The
vase itself had been intermediate between the early Athenian
and Corinthian ware. Two handles of amphorae, with circular
stamps containing a device, and the names of two kings, whose
names began with Zepha and Shat, in Phoenician characters,
have been found at Jerusalem. Terra-cotta vases, very like the
Greek, were found in the cemeteiies of Tharros, and unglazed
terra-cotta vases, with Punic inscriptions, have been found on
the site of Carthage. A terra-cotta vase, with scratched Punic
inscription, supposed to read " Hatherbaal, son of Melak," was
found in Sicily.^ A certain kind of vase found at Cyprus and
Egypt, with globoid body, small spout, and two small handles
cemented on a stud on the top of tlie vase, is also probably
Phoenician. Many of the vases found at Cyprus are probably
Phoenician, but the early population of the island was so mixed
in its Semitic and Hellenic element, that it is difficidt to deter-
mine, in the absence of inscriptions, to which race they belong.
The question of the vases called Phoenician found in Greece
and Italy will be treated of under those localities. According
to Herodotus, the wine which came froni the Syrian coast to
Egypt in his day, probably of the celebrated vintage of Helbon,
was imported in amphorae. A lamp, with a Palmyrene inscrip-
tion, has been found at Palmyra.^ At the same spot have also
been found several small terra-cotta objects, -|- inch square and
J inch thick, having impressed in relief recumbent figures;
others holding military standards, radiated and female busts,
with emblems of the sun and moon, and Palmyrene inscriptions.
They were of a fine red clay and of the Roman period.
The Persians condemned malefactors to drink poison out of
earthen vessels, a proof that they used earthen vessels, but none
^ G. Ugulena, ' Sulle Monete Punico-Sicule,' 4to, Palermo.
- Ath. Frail?., 1855; Bull. Arch., p. 102.
(hap. III. VASES. Ill
rhich can be identified with that people can be found. Pro-
ibly some of the vases from the Assyrian and Babylonian
ptes are early Persian and others of the later Parthian dynasty.
■o this period also are to be referred some of the terra-cotta
Jgures of a pale yellow clay, representing the Greek Aphrodite, or
^enus. The vases stamped with medallions of a goat, or other
emblems with a figure of a cross, are of a still later period, and
belong to the close of the Sassanian dynasty. Some small
terra-cotta bas-reliefs used for those or other purposes are also
of the Parthian or Sassanian epoch.
PART II.
GKEEK POTTEEY.
CHAPTEE I.
Etymology — Division of the subject — Sun-dried clay — Terra-cotta — Bricks
and tiles — Friezes, &c. — Statues and figures — Colouring — Subjects —
Beliefs — Prices — Cattle Cones, &c. — Dolls — Lamps.
We have already alluded to the antiquity of the fictile art
among the Greeks. Their term for pottery, keramos, is sup-
posed to be derived either from leer as, a horn, probably the
most ancient material of which drinking- vessels were formed,
or else from Jcerannumi, to mix. They likewise applied the word
ostrahon, the name for an oyster-shell, to pottery : ostrahina
toreumata is their generic term for works in terra-cotta.
The art of working in clay may be considered among the
Greeks, as among all other nations, under three heads, according
to the nature of the process employed : namely, first, sun-dried
clay ; secondly, baked clay, but without a ^laze, or terra-cotta ;
and thirdly, baked clay with the addition of a glaze or porcelain.
It is under these three heads that it is proposed to treat the
subject. The first, from its limited use, will occupy our atten-
tion but very briefly.
Sun-dried clay was used by the Greeks for modelling objects
intended for internal decorations. Thus Pausanias mentions
having seen in the Basilica at Athens objects modelled in this
material, by Chalcosthenes.^ It may be inferred, from another
passage of the same author, that bricks of sun-dried clay con-
tinued to be used in Greece at least till the time of the Roman
' Pausanias, x. 4. Plin. N. H. xxxv. I Chalcosthenes and another potter of the
12, § 45 ; xxiv. 8, § 9. There is some I same name, but the former must hav
difficulty in distinguishing between this ' belonged to an early period of the art.
("itAi'. I. BKICKS AND TILES. 113
(lominion ; since he relates that Antoninus, a man of senatorial
rank, repaired tlie temple of TEsculapius at Epidanvus, which was
constructed of unbaked bricks.^ The temple of the Leproean
Demeter in Arcadia,^ that of the Stirian Demeter in Stiris,'' and
the cliapel of ^sculapius at Panopeus,* were all of this material.
The walls of many fortified cities, as Mantinea, for example,
seem to have been made of sun-dried bricks,^ which resisted the
battering-ram better than baked ones. A statue of Prometheus,
of imbaked clay, still existed at Pan opens in the time of Pau-
sanias.*^ Prometheus was the first worker in this material, for,
according to Hesiod, he made Pandora out of earth and water,
and some of the later sarcophagi and vases represent him
moulding the human race out of clay or Sinopic earth.'^
The edifices of crude clay have disappeared, and the dimen-
sions of the bricks are consequently unknown. They were
probably of the same dimensions as the baked bricks, but
the nature of the material required them to have a greater
thickness.
The use of terra-cot ta among the Greeks was very extensive.
It supplied the most important parts both of public and private
buildings, as the bricks, roof-tiles, imbrices, drain-tiles, columns,
and other architectural members. It also served for pavements,
and for the construction of lining of cisterns and aqueducts.
Among its adaptations to religious purposes may be noticed
the statues of the gods which stood in the temples, besides
copies of them on a reduced scale, and an immense number of
small votive figures. It also supplied the more trivial wants
of e very-day life, and served to make studs for the dress, bases
for spindles, tickets for the amphitheatres, and prizes for victors,
in the games. Of it were made the vats or casks in which wine
was made, preserved, or exported ; the pitcher in which it was
served, and the cup out of which it was drunk ; as well as all
the various culinary and domestic utensils for which earthenware
is used in modern times. It furnished the material for many
small ornaments, especially figures, which are often of a comic
nature ; and supplied the undertaker with bas-reliefs, vases,
imitative jewellery, and the other furniture of the tomb.
Althouo;h the Greeks sometimes used bricks for building their
J Paus., ii. 27, 7. ^ jbi^]^ y, 5^ 4_ 3 jtid., x. 35. " Ibid., iv. 4.
* Xenophon, Hell. v. 2; Mem. iii. 1. Vitruv., i. 5; Pans., viii. 8, 5.
^ Paus., X. 4. ^ Welcker, Jahrb. von. Altherth. fr. im Rheinl. xxviii.
Taf. xviii. s. 54, n. f.
I
114 GREEK POTTERY. Part II.
temples, tombs, and houses, yet tbey were not altogether indis-
pensable in a country abounding, like Greece, with stone. They
are mentioned by Greek authors chiefly when speaking of foreign
or barbarian edifices, and in a manner which shows that they
were not much employed in Greece at the time when they wrote.
They are said to have been used in the Homeric age. The
altar of the Herceian Jupiter at Troy, on which Neoptolemus
slew Priam, was constructed of bricks. The palace of Croesus
at Sardis, that of Mausolus at Halicarnassus, and of Attains at
Tralles, were built of the same material ; as well as the Phi-
lippeum at Olympia, and the monument of Hephsestion at
Babylon.^ The temple of Apollo at Megara is said to have
been made of brick,^ the stoa of Cotys at Epidaurus, of Anto-
ninus lU Hyperbius of Crete, and Euryalus, Euryades, or
Agrolas, are stated to have erected the first brick wall. But
tlie very epithet, " brick-bearers," which the Greeks applied to
the Egyptians,^ shows that they regarded the use of bricks with
a certain contempt, or, at all events, as a characteristic dis-
tinction ; and indeed it appears, from the vestiges of Grecian
temples, that stone was uniformly employed in preference.
Some fragments of baked bricks of a red paste from Athens,
and of tiles of a red and yellow paste from Cape Colonna
or Sunium, together with a drain-tile of red clay from Ephesus,
are in the Museum at Sevres ; but these may belong to a late
period of Grecian history.^
At Alexandria Troas were found, either in the walls of the
old city or in those of an aqueduct, triangular bricks, apparently
half of the didoron, divided through the diameter. They formed
a right-angled triangle, the base of whicli measured 14| inches,
and the perpendicular line from the apex 7 inches, with a thick-
ness of 2^ inches. They were a fine red clay, and were worked
into the wall so as to form lozenge-shaped panels — a mode of
brickwork w^hich prevailed during the time of the Koraan em-
pire. The long walls of Athens, 01. cxi. 3 — cxii. 3, were partly
constructed of bricks,® in the administration of Habron, son of
Lycurgus, and with tiles for the roofs called Laconian.^
Avolio mentions remains of w^alls at Hyccarra, Minoa, Lily-
bseum, Heraclea, Himera, and Tyndaris. At Catania are the
^ Hirt, Geschicliteder Baukunst, 121. ^ Brongniart and Riocieux, Miis. de
2 Puas., I. c. xlii. 5. Sevres, 19.
3 Plin., N. H., vii. c. 56. « Ehangabe, Antiq. Hell. ii. p. 388.
* Aristoph. Aves, 1134. ' Pallad., K. R., xix. 11, 1.
CiiAi>. I. DIMENSIONS OF BRICKS. 115
remains of a Koman odeum and brick theatre. At Tanrome-
niiim are a naumacliia and brick vaults belonjjinji: to the corridor
of an amphitheatre; also some brick tombs. The brick remains
of the pharos, erected by the architect Orion on the bay of
Pelorus, may still be traced; and ruins of similar bnildings
occur at Cape d'Orlando, the ancient Agathyrnum. Other
remains of red-coloured bricks were found to the west of ^^tna,
and some large bricks near Hiuiera.^ The Greek bricks were
named after the ancient word down, or palm, to which their
dimensions were adjusted. There were three kinds : ihedicldroriy
or two-palm brick, measuring a foot in length, and half a foot,
or two palms, in breadth; the tetradoron, or four-palm brick,
measured four palms on eacli side ; and the pentadoron, or
brick of five palms on each side. The pentadoron was employed
in the construction of public edifices; the tetradoron for private
buikiings. Another kind, called the Lydian, was one foot and
a half long, and one foot broad, and derived its name from its
use in Lydia. They were made in a mould called plaision,
formed of boards united together.^ The mode of their manu-
facture is described by Vitruvius. At Massilia, or Maxilua, and
Calentum in Spain, and at Pitane in Mysia, bricks were made
so light tliat they floated in water.^
Tiles were extensively used in Greece for roofing. They
were said to have been invented by Cinyras, in Cyprus.* Those
for house use are square and flat, and have the sima of the
cornice turned up.^ This part was painted with lotus-flowers,
the elegant ornament called the helix, or honeysuckle, and
mpeanders in red, blue, brown, and yellow colours. Two tiles
of this description, in the British Museum, measure 2 feet
3 inches wide, and 8 inches broad. Similar tiles have also been
found in Greece, but with a hollow gutter to carry off the lain,
and having lions' heads moulded in salient relief, with tlie
mouth open, to act as spouts.^ In Doric architecture the mouths
of these lions were closed. Vitruvius says, that the lions' heads
ought to be sculptured on the sima of the cornices. According
to the traditions of the potters, one of the earliest applications
of the plastic art was to the making of these tiles. Dibutades,
* Avolio, 42-47. ' xxxv. 14 ; Strabo, xiii. p. 614, c.
= Aristoph. Ran. 813; Pollux, x. ♦ Hirt, Geschichte, i. 193, s. 4.
148 ; Beck, comment, ad h. c. t. v. 202 ; ! » Slackelberg, Die Ghiber, Taf. v.
rintarch, A'it. Sol. . I « Dodwell, ' Tour in Greece,' i. 333.
^ Vitruvius, ii. c. 8, 9; Plinj^, N. H., | Stackelberg, Die Graber, Taf. vii.
I 2
XXll
GREEK POTTER 1,
Part it.
a Sicyonian potter, was the first who placed these heads or
masks at the extremity of the imbrices, or gutter-tiles.^ Spouts
were modelled in various other forms, such as tlie forepart of a
lion, or the mask of a Silenus or Satyr, crowned with ivy.^
No. 99. — Cornice with Lion's Head. British Museum.
It is also probable that in Greece, as among the Jitomans,
the hollow floors of the hypocausts, as well as the flue-tiles of
the hot baths, were made of terra-cotta. Tiles were also em-
ployed for constructing graves, in
which the body was deposited at full
length. In the oldest sepulchres of
this kind, it appears that after the
floor had been paved with flat tiles,
the body was laid upon it, and then
covered with arched tiles. The latter
had an orifice at the top, in order
that they might be carried with the
hand ; and after they had been placed
in the ground, this aperture was
covered with /lead. The flfit and
square tiles were in use at a com-
paratively late period. Some graves
had a second layer of tiles to pro-
tect the body from the superin-
cumbent earth. ^
Some rare specimens of Greek
tiles were found at Acrse in Sicily.
Those used for carrying off the rain were 3 palms 3 inches
long, and 1 palm 3 inches broad. They were stamped on the
outer side, close to the border, with the letters ^ (j) ov <3? E
in a circle. The tiles which covered these were 3 palms
No 100..— Spout or gargoile in shape of the
forepart of a Lion, British Museum.
* Pliny, Nat. Hist. xxxv. 12, 43. « British Museum.
' Stackelberg, Die Graber, Taf. vii. ; Ddl:lwell, Tour, i. 452.
Chap. r. TILES. 117
3 inches long and 9 inches broad. On some other Sicilian tiles
the potter had placed the triskelos, or three legs, as an emblem
of the country. Besides these, some bore the Greek inscription
Sosimus or Sosinus ; at Solentium others the Latin ones, Caius
Murrius, decurio of the colony, and Galba,^ the name apparently
of the emperor. At Nebi in Sicily tiles had impressed upon
them the names of Polystratus, son of Eunomos, and Dio-
phantus.^ At Syracuse otliers had that of Artemidorus of
Side, a maker who must have lived under the Anton ines.^ At
Messana they were stamped " of the Mamertini," and *' sacred
to Apollo," * probably referring to the edifices to which they
belonged. The name of Eutyches was found on a tile at Alcami
or Tela.^
Several of the tiles found at Olbia near Nicolaief, have oblong
labels stamped upon them, with the names of the Greek edile
of some state during the period of whose office they were made,
in exactly the same form as those found on the handles of
amphorsB, which will be hereafter described; as " Chabrias
being edile — Ariston being edile," — whilst the other names,
Heracleides and Poseidonius, probably indicate the proprietors
of tlie pottery.^
At Corey r a, tiles and bricks are also found stamped with
the names of magistrates, apparently those of the Prytaneis,
indicating the existence of some public regulation respecting
the potteries. A list of these inscriptions will be found in the
Appendix.
Tiles discovered by Dr. Macpherson at Kertch, the ancient
Panticapseum, had impressed upon them in oblong labels, letters
in relief, reading Basilike '' the Koyal," probably referring to the
house or palace, and the date of the archonship of Ugianon, the
letters A . . . th, and some other mutilated inscriptions. These
are of a remarkably fine bright red paste, with flanges and
the usual border above, and depression below for fixing the tiles
upon each other. They measure 1 foot 6 inches long by 1 foot
wide, and are probably of the sort called LydioUy which had
these dimensions, and was named from its use in Lydia. The
imbrices which covered the joints had upright sides and an
^ Avolio, 27, 31, 37.
2 Castelli, Inscr. Sic, p. 225 6.
' Ibid., cl. 46.
■• Bockh, Corp. Iiiscr. Grtec, i. 3, p. pp. 492, 496.
626.
» Ibid., i. 605.
* Bekker, ia the ' Melanges Gre'co-
Eomaines,' 8vo, St. Petersburg, 1854,
118
GREEK POTTERY.
Part II.
n relied top, and were 6 inches broad. These were not stamped.
Otiier tiles discovered by Mr. Biirgon, in excavations made at
Athens, had in a label, A0E, tlie commencement of the word
" Athenian." Tiles found by Mr. Kevvton, in the graves at
Calymna, had the word AIO in intaglio, or circular labels with
monograms in relief, on the body of the tile. One had " of
Euphamus," the name of a maker, or magistrate, in a label on
the edge.
At Caudela, the site of the ancient Alyzia, one hour's journey
north of Alytica, a small port on the west coast of Acarnania,
Mr. Colnaghi found tiles stamped in labels, 10^ inches long
and 2 inches wide, " of the Alyzians," showing the tiles to have
been made for a public building. The paste is pale red.
The A and I are about the age of Hadrian, or the first
century. Some inscriptions were occasionally scratched on
tiles, as " Hippeus " or " The Knight seems handsome to Aristo-
medes." ^
Tlie joints of the flat roof tiles were covered by the imbrex,
or rain-tile, which was made semi-cylindrical, the sides generally
upright with an arched top. These tiles were made by the same
process as the flat tiles, and were moulded. They are not
inscribed, but some found at Metapontum were painted with
maeanders and egg-and-tongue ornaments. Some at Kertch
were 4 inches high and 8 inches broad. The mode in which
they were adjusted may be seen in the works of Campana^ and
Canina.^ Another kind of tile was that which terminated in
the antefixa. It was made in imitation of the marble tiles
which had the same ornament, and consisted of a long horizontal
bevelled body, terminating in a semi-elliptical upright, on which
was fixed some moulded ornament, generally the helix, in bas-
relief. These tiles were laid on the ends of the other tiles at
the sides of the building, to prevent them from slipping. They
were sometimes inscribed.* Tiles served as missiles during
sieges or civil disturbances, and it was with such a weapon that
Pyrrhus was killed. The tiles just described are made of a fine
clay. Those from Metapontum were found to be more compact
and fine at the elliptical end than in the body. Sometimes the
whole of a naos, or chapel, was constructed of tiles; as that
* Pouqueville, Voy. iv. 74, c. 1, c. 341.
^ ' Opere en Plastica,' tav. vi.
^ ' Arcliitcttiira Antica,' sez. ii. tav.
xcvii.
* British Museum, Elgin Saloon, No.
297; Seroux d'Agiiicourt, Recueil, pi.
xxi.K.
Chap. T. FlllKZES. 1 lli
>acr(}d to Diana, seen by Pausanias at PLocis, and another on
the road leading to Panopeus.
Till Byzes of Naxos^ invented, 01. L., B.C. 574, the art of con-
structing the roofs of temples with slabs of marble — the method
which he employed in building the temple of Jupiter at Elis —
the ancient temples of Greece were roofed with terra-cotta tiles,
and the pediments, friezes, and other members were made of the
same material. The recent excavations on the site of the Erech-
theum^ show that the temple which existed there before the
Persian invasion was decorated with painted terra-cotta members.
The temple of Apollo at Megara and other old temples were
also built of terra-cotta. An antefix was found at Pella in
Macedon by Cousinery.^ As the art became more developed,
the pediments of Doric temples were ornamented with bas-
reliefs in terra-cotta, which were ultimately superseded by
marble groups in alto-relievo. Tliese early reliefs, called jpro-
typa, or bas-reliefs, and eeti/pa, or high-reliefs, were also used
for decorating houses and halls.
In the ostracism of the Athenians, the act of voting, or ostra-
cophoria, was performed by means of fragments of tiles or vases,
on which were inscribed the names of those whom they wished
to banish.*
There was a guilloche cornice in the museum of Syracuse ;
also another at Eryx, ornamented with gryphons, and some
representing scenes from the Dionysiac or Isiac worship.^
Many of the architectural members of the Greek temples
were undoubtedly made of terra-cotta. Such remains, however,
are rare, and most of the fragments of friezes hitherto discovered
appear to belong to the period of Roman domination rather
than of Greek independence. Those discovered amidst the
remains of the old cities of Italy, chiefly those of maritime
Etruria, are the work of the Etruscans ; nor are those of Southern
Italy and Magna Gra3cia entirely Greek. A fine specimen of
an egg-and-tongue moulding, glazed internally, of a light red
colour, has been recently discovered at Kertch. It probably
formed part of the cornice of a tomb.
' Campana, loc. cit, p. 8. Byzes was j Atheniensium,' 8vo, Lugd. Bat. 1793,
contemporary with Alyattes and Asty- 5, 6 ; Plutarch in Pericl., 161 ; Pollux,
ages, Pausan., v. 10; cf. Liv., xlii. 2 I viii. 20; Hesychius and Suidas, voce
^ Campana, loc. cit. KepajxeiKr) fidari^. Nepos, in Themist.
^ Dubois, Cat. de M. L. Dufonry, 8vo, | viii. 2 ; in Cimon, iii. 1 ; Aristid., i. 2 ;
Par. 1819, p. 5. i Pint, in Aristid., 211, 322.
' Hoe Piirudus., J. A., ' Dc Ostracismo j * Avolio, 97, 98.
120 GREEK POTTERY. Pakt II.
The pipes by which water was distributed from the aqueducts,
or drained from the soil, were also made of terra-cotta. A drain-
tile of red terra-cotta, found at Ephesus, is in the Musetira of
Sevres/ Similar pipes, supposed to have been used for con-
ducting water from an aqueduct, have been discovered at Old
Dardanus, in the Troad. They have been turned upon the
lathe, are smootli outside, but grooved inside. Their dimensions
are 1 foot lOJ inches long, 4J^ inches diameter at the bore, and
about 1 inch thick. They are neitlier stamped nor ornamented,
except by an annular grooved line at each end. Cylindrical in
shape, they are broader at one end than the other, with a collar
at the narrow end to insert into a similar tile as a joint. The
clay of which they are composed is of a pale red colour, and
rather coarse. They were united at the joint by a mortar made
of lime, white of egg, and tow, and, except that they are
unglazed, resemble the drain-pipes now in use.
Another branch of works in clay, the terra-cotta figures, are
made of a paste distinguished from that of the vases by its being
softer and more porous. It is easily scratched or marked with
a steel instrument ; it does not ring a clear sound when struck ;
nor does it when submitted to a high temperature become so
hard as stone-ware."'* Its colour ranges from a deep red to a
pale straw, and its texture and density vary in specimens found
in different localities. Ancient works in terra-cotta are distin-
guished from the modern by tlieir greater lightness and softness.
The mode of working in this material was by forming the pre-
pared clay into the required shape by means of the fingers, or
with peculiar tools called kanaboi. To give the finer touches,
the nails were employed, as has been alrea'dy mentioned.
The art of working thus in terra-cotta was of great antiquity.
The invention of it was claimed by the Corinthians, who are
said to have exhibited in the Nymphseum of their city speci-
mens of the first efforts in it from the hand of the celebrated
potter Dibutades. In order to preserve the likeness of his
daughter's lover, he moulded in terra-cotta the shadow of
his profile on the wall ; and this production is said to have
existed in the Nymphseum when the city was stormed by Mum-
mius.^ The invention was, however, also claimed by the Sa-
mians, who maintained that Rhoecus and Theodoras, who were
sculptors in bronze, and who flourished about the Olympiad xxx.
* Brongniait and Riocreux, Mus. de Sevres, p. 19.
2 Brongniait, Traite', i. 305. ^ Plin., xxxv. 12, 43.
TERRA-COTTA HEAD OF PALLAS ATHENE. FROM CALVI..'
I'AOiE h:
Bhap. I.
STATUES.
121
B.C. ()57, had first practisetl the art of modelling.^ As tlie
arly sculptors cast their bronzes solid, like the Egyptians, who
e supposed to have been the fathers of the art, it is evident
at modelling in clay must have preceded working in bronze.
o Dibutades is also ascribed the mixing of ruddle, or ochre,
with the clay, in order to impart to it a warmer tone.
Pansanias mentions having seen in the Basilica at Athens two
remarkable terra-cotta groups in salient relief, representing
Theseus killing the robber Skiron, and Heos or Aurora carrying
off Kephalos. These groups, which were of considerable size,
were modelled.'* It appears certain that the Sicyonian artist
Lysistratus, brother of the celebrated Lysippus,^ was the first
to make casts of statues by means of terra-cotta moulds. By
this means the principal statues of Greece were multiplied, just
as works of art are in the present day by plaster-casts. A few
ancient statues of terra-cotta existed in the shrines of Greece
in the time of Pausanias, as that in the temple of Ceres and
Proserpine at Tritsea in Arcadia ; and in the temple of Bacchus
at Athens, where there was a composition representing one of
the kings of Athens entertaining Bacchus and the other gods at
table.^ Some artists of the later schools combined the plastic
art with that of painting, and the celebrated Zeuxis was accus-
tomed to model in terra-cotta the subjects which he afterwards
painted. Many of his works existed in Ambracia at the time
that city was captured, and its masterpieces of art were dragged
to Rome by Fulvius Nobilior. Pasiteles, an artist who lived at
Rome in the time of Pompey, always first modelled his statues
in terra-cotta, and used to call the plastic art the mother of
statuary and carving.^ One Aphrodisius Epaphus, son of De-
metrius, is called a sculptor making painted figures in encaustic,
perhaps of terra-cotta, in an inscription.^ Some clay figures
appear to have been of a toreutic nature, having parts of the
body executed in a different material. Such works, indeed,
were rare ; but the extraordinary nature of the combination was
much modified by the colours with which all terra-cotta figures
were painted. Nor were such works unknown in Assyrian art.
' Plin., XXXV. 12, 43; Panofka, Kes.
Samior., 91.
"" Paus., i. 3, 1 ; Pliny, N. H., xxxv.
c. 12 ; Barthius, Adversar., xlii. 28 ;
Ritterhusius, Sacr. Lect., viii. c. 9 ;
Triller, Obs. Crit., iv. 6.
' Plin., xxxv. 12, 44 ; Campana, ' An-
tiche Opere in Plastica,' Roma, 1842,
p. 7.
* Pans., i. 7.
* Campana, loc. cit. ; Sillig., Diet, of
Artists of Antiquity, 8vo, London, 1836;
Pliny, Nat. Hist., xxxv. 12, 45.
' Bockh, Corp. Inscr. Graec. iii. 349.
122
GREEK POTTERY.
Part II.
That these models were also made in plaster, appears from
the account given by Pausanias of the statue of the Olympian
Jupiter at Megara. Theocosmos, an artist of that town, had
undertaken to make the statue of gold and ivory ; but the
breaking out of the Peloponnesian war put a stop to his labours.
Wlien Pausanias saw it, only the head of the god was con-
structed of gold and ivory, the other portions of the figure being
made of gypsum and terra-cotta.^ The Athene Skiras^ was
made of clay or plaster, and one of Am-
phictyon^ was of the same material. At
a later period the Roman writers mention
an Apollo of gypsum^ and a Liber Pater.^
Portions of ancient statues of gypsum, of
fine workmanship and appropriately co-
loured, have been found in Cyprus, and
are now in the British Museum.
The immense number of terra-cotta
objects at Athens is alluded to by the
pseudo-Dicsearchus^ and by Demosthenes.'^
It appears that on certain festive occasions
in Greece, there were competitive exhi-
bitions of clay figures and other objects of
art ; which accounts for the excellence
attained in these productions. Such
statues existed till a late period of the
Roman empire. It is mentioned in an
epigram of Nicaenetus, that there was a
celebrated statue of Mercury at Constan-
tinople f yet few figures of any size have
come down to us. There are in the
British Museum two statues of Muses from
Pozzuoli, about 3 feet high ; and a torso,
probably of a terminal Priapus, of the
size of life, the head and arms of which
are wanting. . A Mercury, the size of life, is also in the Museum
of the Vatican. But there are no statues of this material of
any great dimensions extant, which can be referred to an ancient
period of art. All have perished amidst the wreck of the
No. 101. — Terra-cotta figure of
Pallas-Athene. From Agri-
geiitum.
' Pausanias, i. 40.
2 Eustathius, Iliad, xxv.
^ Pausanias, ii.
^ Prudcutius, Aijophthegm., 450.
* Firmicus, Error. Prof. Eel.
« Bibs 'EWdSos, lib. i. p. 182.
^ Philipp. i. 9.
^ Anthologia a Jacobs, torn, i. p. 205.
Chap. T. SMALL FIGURES.— COLOURING. 123
Urines and palaces. Neither have any moulds in terra-cotta
lor the casting of bronze statues been discovered, althongli it
is evident that they must have been prepared for that purpose.
The chief attention of inferior artists was directed to the
production of small terra-cotta figures, which the Greeks used
either as ornaments or as their household gods. They rarely
exceed 9 inches in length, and resemble the modern plaster
casts. They were called pelinoij^ *' clays," or ostrahina toreu-
mafa ;- and one of these, representing Hephaestus, presided over
the hearth. They are found in great abundance in the vicinity
of the large cities of antiquity, and many specimens are pre-
served in the Museums of Europe. ISTumerous specimens have
been discovered recently in the little island of Calymna,^ and
outside the walls of ancient Tarsus.* The Cyrenaica has also
produced many — some exceedingly charming.^ Many of these
are repetitions of one another. A careful examination shows
that they were made by the same process as the modern plaster-
casts. A model figure, j^rotypos, was first made in terra-cotta
with the modeller's tools, and from this was taken a mould,
tij2)os, apparently also in terra-cotta, seldom in more than two
pieces, which was then baked. The figures, technically called
eetypa, were made from this mould by pressing into it the clay,
formed into a thin crust, thus leaving the figure hollow.
Usually the base was open, and at the back were holes, either
to allow the clay to contract without cracking, or for the purpose
of fixino^ the imao^e \o the wall. When the wet fissure was with-
drawn from the mould, it must have been carefully dried, and
then retouched by the modeller. Finally it was consigned to
the furnace, and baked at a low temperature. Many of these
little figures are of the most remote period, and exhibit the
state of the art of the sixth century B.C., or the fabled age of the
Daedalids.^ Superstitious ideas were connected with small
terra-cotta figures.'
The method of colouring these figures was well known to the
ancients ; and it would appear that the Greeks had a body of
artists who were solely employed in painting statues, bas-reliefs,
and other architectural ornaments.^ Two modes principally
' Aristoph. Aves, 436. * Clarac, Mus. de Sculpt., p. 90 a.
' Artemidorus, Oneir. II. c. xliv. " Gerhard, Ueber die Metroon, 4to,
^ Arch. Anz., 1848, p. 277. | Berl., 1851, Taf. 3.
^ Barker, ' Lares and Penates,' 8vo, j ^ Hesychius, voce offTpuKis.
Lond. 1853, p. 145. I » pi^to, Repub., iv. 420 ; vi. 327, 328.
124
GREEK POTTERY.
Part II.
prevailed. In the first the whole ground of the figure or bas-
relief was coloured celestial blue, and the relieved parts were
picked out with red, yellow, and white. The faces, especially
in the old style of the art, were painted of a deep red, as among
the Egyptians.^ In other instances it is probable that they
were coloured with the most harmonious distribution of tints by
artists of renown, as in the case of Damophilus and Gorgasus.
The celebrated Posis, a contemporary of Varro, executed such
exquisite plastic imitations of fruits in terra-cotta, that they were
mistaken for the objects themselves ; which could not have been
effected except by painting them, like the artificial fruits in
wax at the present day. A great number of terra-cotta statues
have been painted with flat colours like distemper, consisting
of ochrous or opaque colours mixed with chalk and size, or with
white of egg. These paints were so used as to give the figures
a gay and lively look, without any design of imitating nature.
They were laid on after the terra-cotta had been baked, and are
not very solid, but peel off easily. The tints are pure, and not
shaded ; and the colours usually employed are white, red,
yellow, blue, and violet.^ In the archaic figures the favourite
colours are blue and red. The former is seen on the chiton and
tunic of the seated figure of a goddess, brought from Athens,
and now in the British IMuseum ; while several figures of the
same early period have their garments either coloured red, or
else the borders marked out in that colour. At a later period
blue prevailed for the draperies ; buf the borders and
selvages of tunics, and sometimes the whole of the garment,
were coloured pink, which had then becojne fashionable among
artists, and was very promiscuously employed. As an example
is given the figure of an Aphrodite from Cales, now in the
British Museum. The face and arms of the goddess are white,
the wreath is coloured pink, the hair is a light red, the diploid
talaric tunic — the lady's gown — is blue with a kind of pink
apron, the necklace yellow, probably in imitation of gold.
Several other figures, representing Muses, have their tunics
pink and white, or pink and blue. A charming little figure
of Marsyas, seated, crouching, and playing on the double
pipes, is coloured pink (No. 165) ; a rhyton, representing the
* Campana, 25. Compare Virgil, Eel.
X. 27, and the commentators ; Pliny,
Nat. Hist., xxxiii. 1, 36. There is rea-
son to suppose that in later times they
were gilded ; Martial, Epigr., iv. 39 ;
Juven., xi. 116.
^ Clarac, Musee de Sculpture, Partie
Technique, 30.
lAP. T.
COLOURING.
125
I
^■ce of Silenns, a Pan, and a Trojan or Asiatic, are of the same
^rolour. Yellow, a colour which more readily flies, is not so
frequently found ; but the base of a statue of Fortune, another
of that of Ganymede holding a cock, and a vase in the shape
■ a panther, are of this colour. Green is occasionally seen, as
v.xi the acanthus leaf on the helmet of the statue of Athene
before mentioned, and on some other specimens. Purples and
browns are of very rare occurrence.
White was used at all periods for the
flesh and garments of females ; but it
is often difficult to determine whether
it may not be only the leucoma, or
priming, from which the colour has
dropped. Black appears only rarely,
Mild in accessories. Of gilding there
are many remains, but it was sparingly
applied, the lingering remains of good
taste prohibiting a too profuse em-
ployment of this reflecting surface.
It is found upon terra-cotta vases in
Etruscan tombs. A small head, either
of Jupiter or ^Esculapius, in the Bri-
tish Museum, has gold-leaf adhering
to the hair, which was anciently gilt.
Some small medallions, with heads
of Pallas and of the Gorgons, from
Athens, appears to have been entirely
gilt.^ Some terra-cotta affixes, shaped
like Erotes, and the forepart of chi-
mseras, projecting from a vase, are
also gilded.
There is every reason to suppose
that the colours employed in painting
terra-cottas were made from the same
earths, though of a coarser kind, as the ware itself. Some
information on this matter has been preserved by Theophrastus,
Vitruvius, Dioscorides, and others. For white the painters used
a white earth from Melos, and white lead. The reds were com-
posed of a red earth, probably ochre from Sinope, and vermilion,
the last especially for walls. Yellow was obtained from Scyrus
No. 102.
Aphrodite,
Coloured Figure of
From Cales.
* Olarac, IMusee de Sculpture, Partie Technique, 30.
126 GREEK POTTERY. Part II.
and Lydia. Of arsenic, sandarac, and orpiment little use was
made; but a yellow ochre was obtained by burning a red earth.
The Egyptian smalt served for blue, as may be seen still on
many terra-cottas. Cyprian blue was also employed.. Indigo was
discovered at a later period. Copper green was obtained from
many spots, and mixed with white or black. White was made
from the burnt lees of wine, or from ivory.^ Pliny evidently
speaks of a painter upon terra-cotta in the words, " in the
painted pottery and encaustic ;"^ and such specimens will pro-
bably be found. Indeed it is by no means improbable that
certain roof-tiles have preserved their colour owing to encaustic
painting. Among the Greeks, however, terra-cottas were gene-
rally painted in tempera with colours, among which red pre-
dominated.
It would require too much space to enumerate all the various
forms and subjects represented in terra-cotta. Among the
figures are found the principal gods of the Hellenic Pantheon,
and a variety of local divinities. The earliest of these, in their
general treatment and accessories, present the cliaracteristics of
the hieratic school of art. The principal figures are of Demeter
or Ceres, Persephone, the Muse Polyhymnia, Aphrodite, the
Erotes. Together with the representations of divinities^ are
found those of sacred animals ; such as the cattle of Zeus, and
the swine of Demeter or Ceres; or sacred furniture, such as
footstools, and even small chairs.* At a more advanced period
of fictile art, the treatment becomes freer, and the range of
subjects more varied. Bacchse, or Muses, in a variety of atti-
tudes, and figures taken from the Satyric drama frequently occur.
Actors occasionally are found. After the conquest of Greece
and Asia Minor by the Eomans, grotesque and caricatured
forms are introduced, such as dwarfs, moriones, and other
depraved creations of Roman taste.^
Many of these little figures, in the shape of animals and other
objects, such as goats, pigs, pigeons, tortoises, footstools, &c.,
seem, like the neurospasta or maroquins, to have been toys, since
they have been found deposited with the bodies of children in
the tombs of Melos and Athens.^ In other cases they may have
1 Hilt, Gesch. der bild. Kunst, 165,
166; Stieglltz, Ueber die Mahleifarben,
8vo, Lips 1817.
2 Nat. Hist., lib. xxxvi. c. xxv. s. 64.
' Panofka, Teriacotten, i. and foil.;
Agiucourt, Kecueil, pi. viii. 8. xiii. 1, 2,
4, xiv. 3, 5, 6, XV. 11, 12, 13, 14 ; Caylus,
Recueil, t. iii. pi. Ix. No. 1.
4 Dodwell, Tour, i. 446.
5 Ibid., i. 446-448.
® Broiiguiart and Eiocrciix, Mus. do
Sevres, 19.
I AT.
RELIEFS. 127
oen votive oiferings to the p^od.-?, sncli anathemata being offered
by the poor. It is impossible not to be charmed with tlie grace
iid spirit of many of these objects, which belong to all periods
Grecian art, from the old, or as it has been called the
;yptian style, down to the middle age of the lloman Empire,
any of them are copies of the statues adored in the shrines ;
hers are sketches of noted persons of the day, such as
perors, philosophers, gladiators, and horse-riders. Groups
6 of rarer occurrence than single figures, but occur as boxers,
players at astragaloi, or " knuckle bones," and boxers engaged
in pugilistic encounters. A few busts are found.
Besides the small figures just described, objects in bas-relief
have occasionally been found in sepulchres, especially in those
of Milo, the ancient Melos. They are flat slabs of irregular
shape, the bas-relief being upon one side only, with the parts
between either reserved or hollow, and having holes, apparently
for pegs or nails, to attach them to the wall. The material,
lifter having been pressed into the mould, has been scraped
^^■way at the back, leaving a very flat surface. These bas-reliefs
^^Jere painted in the same style as the figures in terra-cotta. In
The British Museum are portions of several such reliefs, repre-
senting Bellerophon destroying the Chimoera, Perseus killing
-Uedusa, Apollo and the deer, the Sphinx devouring Hsemon,
the son of Creon, a dancing Bacchante or Maenad with crotala,
and the meeting of the poets Alcaeus and Sappho.^ In the
Berlin JMuseuni is one with the subject of Helle crossing the
Hellespont on the ram.^ Another, in the possession of Professor
Ross, of Halle, represents the hunting of the Calydonian boar.^
One found at ^gina exhibited the chariot of the hyperborean
Artemis, drawn by two gryphons and driven by Eros.* A few
others have been found,^ but it is not known to what use these
objects were applied. They may, however, probably have been
the prototype slabs of the friezes with which small tombs were
ornamented,'^ or decorations for sofiits of ceilings, the agahnata
* Millingen, Anc. XJn. Mon., ii. 2, 3, 4. * Welcker, Monumenti Inodili dall'
Miiller, ArcLaologie der Kunst, i. 14, ; Iii'-tit. Arch., t. xviii. ; Amiali, 1830,
51, 52. ii. 65.
2 Arch. Zeit., iii. taf. 27, p. 37 ff., 214 | * Raoul Rochette, Ant. Chret. iii. 24,
et scq. ; Neue Folge, i, p. 45 et seq. ct seq. ; Ross, Insel Rtise, iii. 19.
' Otto Jiihii, Bericlite der k. Sachs- ^ They can hardly have been deco-
ifechen Gcsellschaft der Wisscnschaft, rations for shiekls. Miiller, ' Archaologie
1848, s. 123 tt seq. der Kunst,' § 90, n. 23, p. 76.
128 GREEK POTTERY. Part IT.
Avhich Pausanias saw in the royal hall at Athens.^ Of a similar
nature were the small masks, chiefly of Gorgons' heads, which
were also either inlaid or attached to walls or other objects.
Some of these masks, or frosopa, were designed for religious
purposes, and hung, like the oscilla, on trees, whilst others were
applied to architectui-al decoration. We may here also mention
the small figures, heads and other objects in salient relief, whicli
were attached as decorations, procrossi, to the sides and handles
of terra-cotta vases. Some of these oinaments were small
circular medallions, stamped with Gorgons' heads in bas-relief,
and are among the most delicate and beautiful examples of this
branch of fictile art. These decorations were painted, and at
a later time even gilded. Studs, fleurettes, and antefixial orna-
ments, or emhlemata^ in salient relief, were also modelled sepa-
rately or stamped in moulds, and then affixed to vases when the
clay was wet. A singular little monument, probably a votive
tablet, has in relief a figure of Diana full-face and standing,
with a Greek inscription under it.^
Colonel Ross found at Leucas, in Acarnania, a perfect terra-
cotta impression from a coin of Larissa. It may have been the
trial-piece of a die-sinker or forger, since persons of that class,
as among the Romans, possibly employed the finer qualities of
this material to assist their nefarious practices. Many terra-
cotta medallions, with subjects and impressions on both sides
accompanied by inscriptions, have been found. They were
impressed from engraved stones ; one had a square buckler,
club and quiver, and " of Nikippus" in Greek ; another a female
head with recurved wings, and on the reverse a dolphin and
tortoise with the syllable/* The . ." One large medallion had
the impression of three gems, a sandal, dancing satyr, and lion.
It had two holes for suspension. Their use is unknown.
There are but few notices in the ancient writers respecting
the prices paid for fictile objects. In the fables ascribed to
^sop,^ Hermes is described entering the shop of a sculptor, and
asking the price of a Zeus. The sculptor values it at a drachma
— a figure of Hera at rather more ; but if the purchaser will
take the two, he is offered a Hermes into the bargain. From the
low price it would seem that the figures meant must have been
terra-cottas, though the maker of these is generally called a
potter, or koroplathos, not a sculptor, by the Greek writers.
^ I. 3, 1. 3, 4. -' Avolio, II. tav. vii. ^ Fab., ccxliii. ; cf. Fab. cccxx.
Jhap. I.
CONES AND DISCS.
129
Another use to wliicli terra-cotta was applied was for mak-
\g small cones or pyramids to suspend round the necks of
?attle. They are about 3^ inches long, and perforated at the
bop. They are frequently found in the fields in Greece, and
specially in Attica. In general they are painted blaclc and
jd, and those found in Corcyra are inscribed. Dodwell ^ saw
>me in the collection of S. Prosalinda with the inscriptions, " the
lountain of Phalax," " Venus," " of Jupiter the cattle-feeder."
ji object similar in form was found in a sepulclu*e at the
^ira3us, the apex of which terminated in the heads of Atys.
?his appears to have been the weight of a steelyard.^ The
^ones found at Kertch had A on one side, and on the under side
impressions of engraved stones, and a on the upper side.
Other terra-cotta objects were discovered with them. Others
found at Corfu had invocations to females, as " Hail Epiktesis,
Cleoxena, Artemoklea." ^
A number of cones perforated vertically are found all over
prreece and Italy, the use of
rhicli is unknown. Like
lose just described, they
lay have been attached to
le necks of animals, or sus-
pended to the ends of gar-
ments. They have been
supposed by some to be
Aveights, or to have been
used at the corners of gar-
ments for holding down the drapery.
Several of these cones and truncated pyramids have been
exhumed by excavations in the Crimea, near Sebastopol and
Kertch. Those there discovered had on the apex the im-
pression of the seal of finger- rings, representing heads and other
objects. Many were found inside sixteen pithoi, discovered in
an edifice near Sebastopol. They resemble bells in shape.
Some flat discs of pale red and yellow terra-cotta, in the
British Museum, about 3^ inches diameter, discovered by 31 r.
Barker in excavations made at Tarsus, aie pierced near the
circumference with two holes for a cord to pass through. On
one side they have in relief a star, the letters A and E. One of
No. 103.— Cones. From Corcyra.
' Tour, i. 34, 35. 4to, Lond. 1819.
2 Ibid., p. 458.
^ Mus. Nan., 73-75 ; Passeri, lez. 2,
p. 35; Paccandi, torn. ii. p. 170; Musto-
xidi, * Corcyra,' p. 207.
K
ISO
GREEK POTTERY.
Part 11.
these discs, of fine yellow clay, has in a lahel FHMIH, Heraio,
probably the commencement of a name. Another (found at
Tarsus) had incised upon it, before the clay had been baked, the
name of " ApoUos," in letters of the first century a.d.^ Their
use is unknown, but may have been similar to that of the cones.
Similar discs were also discovered by Sir C. Fellowes in Lycia.
Some convex discs stamped with a small head in relief were
found at Halicarnassus. They were perforated in one place,
and supposed to have been used as weights to hold the threads
of the loom, similar weights being in use at the present day
amongst the Grreeks.
Certain glands of terra-cotta, in shape of an olive and size of
a hen's-egg, have been found at Neti or Noto,
Panormus, Catania, in the plains of Assoro in
Sicily. They are supposed to have been used
for the ballots of the tribes, as they are inscribed
the first tribe, the second tribe, the third tribe,
and bear the names Phintias, Philias, Tyndaris,
Philoumenos son of x\rcesilaus, and others. They
have been conjectured to be tesserae like the
bronze tickets of the judges of the Heliastic
tribunal at Athens, or employed for voting.^
Several children's dolls of terra-cotta have
been found in the sepulchres of Athens.^ They
are cast in a mould ; the bodies, legs, and arms
are formed of separate pieces pierced with a
hole, so that they might be connected and
moved with a string, Ijke the modern mario-
nettes or puppets. Hence their name, neuro-
sjpasta. All of them represent females, many of
them a dancer holding the Jcrotala or castanets in
the hands. One variety has the upper part of
the figure only placed as a flat semi-elliptical
base, upon which it rose and fell as pulled with
the cord ; they are coloured like the other terra-
cottas. These dolls or puppets are mentioned
in the Greek writers. Xenophon, in his * Symposium,' or Ban-
No. 104— Terra-cofta
Doll. From Athens.
^ Barker, ' Lares and Penates,' 8vo,
Lend. 1853, p. 202.
^ Ale.'si, ' Lettere sullc Ghiande di
Piombo.' 8vo, Palermo, 1815. Bockh,
Corp. Inscr. Grsec. iii. 589; Mommsen,
Zeitsch. fiir Alterth. 1846, n. 98, s. 784-9.
2 Dodwell, Tour, i. 439. The one he
mentions as belonging to Mr. Millingen
is now in the British Museum.
r^
LAMPS. 131
quel, introduces Socrates inquiring of an exhibitor of these
puppets, what he cliiefly relies upon in the world.^ "It is,"
he replies, "a great number of fools; for such are those who
tipport me by the pleasure they take in my performances."
Ah ! " remarks one of the guests, " I heard you the other day
paying that wherever you went there might be abundance of
read and wine, and a plentiful lack of good sense." Aristotle
so^ mentions certain dolls as moving their limbs and winking
their eyes ; but this can hardly refer to terra-cotta figures.
Lucian also describes terra-cotta dolls, Jcorai or nym^Jiai,^ painted
red and blue.
1^^ According to Clemens of Alexandria,* the invention of lamps
^%as ascribed to the Egyptians ; and Herodotus mentions not
only tlie feast of lamps at Sa'is,^ but also the lamp which burnt
beside the cow-shaped sarcophagus of Mycerinus, in the same
city, but no terra or other lamp has been found in ancient
Egypt.^ In Greece lamps were in use in the time of the latter
lUthor;' and when Aristophanes flourished, they were the
mmon indoor light. According to Axionicus, a writer of the
iddle Comedy, they were made of earth.^ The wick was
Jled thryallis, ellychnion, and pJilomos ;^ the holes for the
icks, myhteres}^
Lamps of the usual circular shape, with one nozzle and a
all handle, have been found at Athens, Tarsus, and in other
parts of Greece and Asia Minor. They are of the age of the
Koman Empire, probably of the first and second century of our
era, and exactly resemble those found at Kome. On one is the
bas-relief of a Bacchante killing a kid, a copy of the work of
Scopas.-^^ A lamp of an entirely different kind, representing a
boy reclining on a couch, resembles the terra-cotta figures, and
is coloured. It has the nozzle at the foot of the couch, and is a
iHruly elegant design. These lamps are made of a fine clay,
^rhich has been moulded and baked. Their technical pecu-
liarities will be more fully described when we come to treat of
the Roman lamps.
' C. iv. 8. 55. ! * II. c. 62.
2 De Mmido, s. 6. Dodwell, Tour, i. ° II. c. 130.
440, " He describes evening by the term
^ Lexiph., s. 22 ; Miiller, Arch., s. 305, TrepI Xvxvwv acpas, lib. vii. c. 215.
4, p. 408, who cites sucli dolls in the ^ Pollux, x. 122.
Museimi of Naples. Cf. Sibyllin. iii. " Ibid., 115. '<» Ibid,
p. 449, Gull. * " Stackelberg, Die Grabor, Taf. Iii.
* Strom., i. 16, p. 362, P.
K '2
132
GREEK POTTERY.
Tart 1 1 .
The Greek lamps are distinguislied from the Koman by their
superior fineness, smaller size, paler clay, and more delicate art ;
but above all, by their inscriptions. They assume a great
variety of shapes. A lamp found at Pozzuoli, near the ancient
Baise, and now in the British Museum, is formed like two human
feet in sandals. Another lamp, engraved by Passeri, has the
head of a bull in harness, and the inscription AP(8)EM(IAI)
lEPOC, "sacred to Diana," indicating that it probably belonged
to some temple of that goddess.^ A most remarkable lamp also
from Pozzuoli, and which from the Durand collection passed
into that of Mr. Hope, is 20 inches loug, and fashioned in the
shape of a boat or a trireme. All the numerous subjects with
which it is ornamented refer to the pseudo-Egyptian religion,
which prevailed so extensively in the Koman empire from the
age of Tiberius to that of the Antonines, and which at times
became the heresy of the court. On it is inscribed^ "a pro-
sperous voyage," expressing either the name of the vessel, or a
prayer on behalf of the person who presented it as a votive
offering. At the bottom is the following inscription in large
characters:^ '* Accept me, who am Helioserapis," or the Sun
and Serapis.'^
As all these Greek lamps are of the period of the Koman
dominion, they have inscriptions of the same nature as those
found at the bottom of Koman lamps, consisting either of the
name of a potter in the genitive case, or occasionally the
names of emperors, as Gains, Caius, Diocletian ; or their titles,
as Germanicus, Pius, Augustus. The design of these inscriptions
is, however, by no means clear; and >ve cannot determine
whether they signify that the clay of which the lamps were
made was taken from an imperial estate, or mark the date or
occasion of their manufacture ; or that they were fabricated by
imperial freedmen ; or in potteries erected by certain emperors
on their own domains ; or, lastly, that they were intended for
the use of the imperial household or of the public offices.
Greek lamps are found in great abundance in the vicinity of
ancient Greek cities. Several hundred were discovered in the
excavations made by Mr. Barker at Tarsus, and by Mr. Newton
at Calymna. He also found in his excavations at Cnidus about
600 lamps of plain terra-cotta of the coarsest style of art, the
1 Passeri, i. tav. xcviii., who, how-
ever, states that the lamp is of Roman
paste.
2 EVnAOIA.
2 AABE ME TON HAIOCEPAniN.
* Cat. Dur., 1777.
Hi.
LA MI'S.
133
produce of one furnace.^ The subjects were almost all animals
and uninteresting. Besides these, he found at the same locality
an immense number of lamps of black or bluish-black ware,
with very thin walls, and ornaments and emblems in relief at
the sides.^ Some had as many as twelve wicks ; and all were
apparently prior to the Eoman era. The bed of lamps extended
for 30 yards. At Himera a lamp bore the name of the maker,
" Apollophanes the Tyrian," and is of the age of the Antonines.
One found at Termini was sealed ; others bore ordinary repre-
sentations.
' Bald. Eomano, Antich. ined. di
vario genere trovate in Sicilia, fol., Pa-
lerm., 1855. tav. 6, fig. 2, 20, p. 14.
2 Id., tav. G. 15, p. 15.
13i
GREEK POTTERY.
Part II.
CHAPTER II.
Greek vases — Casks — Various kinds of vases — Ampliorse — Stamps — Names of
magistrates — Emblems — Cnidian ami^horse — Stamps — Thasian ampliorse —
Panticapseau amphorae discovered at Olbia — Bosphoran — Heraclean —
Teuthraniau — Sinopean — Curinthian — Miscellaneous — Sepulchral vases.
The principal vases of terra-cotta manufactured by the Greeks
were large tubs or casks, called jpithoi, calculated to hold
enormous quantities of wine or food ; amphoreis, or vases of a
smaller size, yet sufficiently large to hold several gallons ;
phialai, or saucers ; jpinaJces, or plates ; chytroi, or pots ;
oinochoai, or jugs ; together with numerous small vases used
for common domestic purposes, and others which appear to
have been appropriated solely to funeral ceremonies.
Fithoi, or casks, of gigantic size are found in Italy ; and
although no perfect ones have been discovered in Greece, yet
fragments of them prove that they v/ere also used in that
country. They are shaped like enormous caldrons, with globular
bodies, and wide gaping mouths. When full the mouth was
covered with a large circular stone, called hithon. It must have
been into such a cask that Glaucus, the son of Minos, fell, and
Eurystheus retired in fear; and in such must the Centaurs,
according to mythical tradition, have kept their stock of wine.
They were sufficiently capacious to hold a^man, and were in fact
the ancient hogsheads or pipes. They are perhaps best known
from tiie circumstance of the eccentric Diogenes having con-
verted one of them into his domicile, who is represented in
some works of ancient art stretching his body out of a pithos at
the moment of his celebrated interview with Alexander.^ They
were used to hold honey, wine, and figs. It required great
skill to make such vases ; hence the Greek proverb charac-
terized an ambitious but inexperienced man as "one who began
with a cask." ^ They were made by a peculiar process, which is
described ^ as plastering the clay round a certain framework of
wood, the pithos being too large to be turned on the lathe.
^ On a bas-relief of the Villa Albani,
Winckelmann, Mon. In., No. 352. Frag-
ment of a lamp in the British Museum.
^ Hesychius, v. iv iriO^.
^ Geoponica, vi. 3, p. 4.
Violetiim a Walz, p. 231.
Arsenius,
^Chap. II. AMFHORiE. ,135
I
^m In the recent excavations of Mr. J. Brunton, at the site of
^Kold Dardaiius, in tlie Troad, were discovered several ]pWioi of
^Ppale red clay, with thick massive
bodies and the stone cover. In
an excavation made between
Balaclava and Sebastopol, by
Colonel Monroe, that officer dis-
covered sixteen jpithoi, 4 feet
4 inches high, and 2 feet 2 inches
in diameter, inside a circular
building, apparently a kind of
store-house. These pithoi were
of pale red ware, like the lioman
opus doliare. They had no
makers' names, but one had in-
, ,, T A A TT-r-rxTT No. 105.— Pithos of Diogenes. Frum a Lump.
cised on the lip AATinill, ap-
parently its price. Various objects were found inside of them,
and among others several terra-cotta cones. Similar pithoi
have been found in i^thens. Some of the fractured ones had
been joined with leaden rivets. The pithoi of oblong form
were preferred. Anatolius recommends them to be made of a
smaller size.
The principal terra-cotta vase, however, is the amphora,
which was used for a variety of domestic and commercial
purposes. So numerous are the vases of this shape, found all
over the ancient world, that they require a separate description.
They were principally used for wine, but also for figs, honey,
salt, and other substances. The amphora is distinguished by
its long egg-shaped body, pointed base, and cylindrical neck,
from which two handles descend to the shoulder. The base has
sometimes a ring of terra-cotta round it. When complete it
had a conical cover terminating in a boss with which tlie mouth
was sealed. Remains of amphoraj have been discovered not
only in Greece itself, but also wherever the Greek commerce
and settlements extended ; as in Athens, Sicily, Corcyra,
Alexandria, Rhodes, Kertcli or Panticapteum, and Xanthus.^
They appear to have been used at a very early period ; and
some found at Castrades in Corfu, near the tomb of Menecrates,
were probably employed for exporting wine to Hadria. The
long shape probably came into fashion about B.C. 300, when an
' Bockh, Coj}). Inscr. Grajc. iii. i^p. 50t)-(.O7,
136
GREEK POTTERY.
Part II.
active commerce was carried on in the Mediterranean by the
island of Khodes, then a great commercial entrepot. Amphorae
of this form are represented on the Athenian silver tetra-
drachms, which are known to have been struck after the reign
of Alexander the Great. On these coins the amphora is repre-
sented lying horizontally, with an owl perched upon it. This
type, which is also found on coins of Gortyna and Thasos,
alludes to the large Attic trade in oil, which was exported in
these vases.
The Rhodian amphorse found at Alexandria were of a clay
so pure and tenacious that its fracture is perhaps sharper than
that of delf. The colour is extremely pale, and deepening to a
lively salmon hue, perfectly exempt from cinereous discoloration.
The numerous handles found there have all belonged to
amphorse with long lateral handles such as are figured on the
coins of Chios, and of Athens, symbols perhaps of their staple
trade in wine and oil. A vase of the kind, entire, but without
any stamp, was brought home by the soldiers employed on some
excavations. Its height was 3 feet 4 inches. The perpendicular
portions of the handles rise 10 inches from the body of the
vessel ; and the ears or horizontal
shoulders unite them to the mouth
at a distance of about 3 inches.
These handles were solid, and upon
their upper surface had been im-
pressed the seal, generally an ob-
long label, IJ inch or 1 j inch long,
and f inch hi^h. Sometimes, how-
ever, these labels are of a circular
or an oval form. The radiated
head of Apollo Helios, on the vase,
was placed in the centre with the
legend around.^
At Alexandria eight well-defined
varieties of handles broken from
amphorse of different countries were
found. With one exception, they
were uninscribed. Their general
shape is depicted in the accom-
panying cut, taken from a perfect one found at Alexandria.
The base of the amphora was either a solid pointed cone, by
No, 106.— Stamped Handle of Amphoia.
1 Stoddart in the Trans. Eoy. Soc. Lit., N. S., iii. 7, 8.
Chap. II.
AMPHORiE.
137
which it was fixed and held upright in the sand floors of cellars ;
or a spiked foot ; or a collared foot, produced by twisting a clay
collar round it, to aid in steadying the vase; or else the annular
foot, terminating in a ring of clay.
The most interesting things connected with these vases are
the labels or seals with which they were stamped. They are
either circular medallions or oblong depressions. Those on the
Ehodian specimens have either the head of Apollo Helios, the
famous Colossus, represented in full face, or else a full-blown
rose ; an emblem which also appears on the coins of the city, so
long as it continued to be a free state. The stamp with which
they were impressed seems to have been made of a hard stone,
as the impressions are too sharp to have been produced by a
wood block, and not sufficiently rigid for a metal stamp. The
annexed example of a circular label will serve to
illustrate those seals having a radiated head of
Apollo. The letters lAXONOS "of Jason," the
name of the magistrate, are disposed round the
head, between the rays of the crown. Sometimes
the name of the month v/as added after that of
a magistrate ; and the latter was often preceded
by the preposition EIII, signifying "under" or
" during the rule of." The annexed cut repre-
sents one of the rose stamps, with the legend, " Under Xeno-
phon, in the month Sminthius." The names of the magistrates
are those of the eponymous priests of the 8un,
by whose priesthoods the current year was
dated. The months belong to the Doric
calendar, namely : Thesmophorios, Diosthyos,
Agrianios, Pedageitnios,Badromios, Artamitios,
Theudaisios, Dalios, Hyakinthios, Sminthios,
Karneios, Panamos, and the second Panamos,
an intercalary month. The object of the
stamps is involved in obscurity. It is clear
that they could not have been intended to attest the age of
the wine, as the vessel might be used for any sort, and the
stamps bear the name of every month in the year. It is
supposed that they were intended to certify that the amphora,
which was also a measure, held the proper quantity. A
long list of the names of magistrates has been found upon
handles undoubtedly Ehodian, as the stamps either bore the
emblems of the citv, or the names of the Doric months. Some
No. 107.— Rhodian
Stamp. Head of
Apollo Helios.
No. 108.— Rhodian Stami),
Rose.
138 GKEEK POTTERY. Part II.
of these names, such as -ZEnetor, Hephaestion, Demetrius, Zeno,
and Antipater, appear on the coins of Rhodes, whilst others are
celebrated in Bhodian history. Daniophilus, Menedemus, and
Amyntas are probably the admirals who in B.C. 304 commanded
the fleets despatched against Demetrius Poliorcetes. Xeno-
phantus may have been the naval commander who blockaded
the Hellespont in the war against Byzantium, B.C. 220. The
name of Peisistratus was that of a general in the second Mace-
donian war, B.C. 197, who afterwards, B.C. 191, commanded a
fleet against Antiochus. Timagoras was a naval commander
who assisted the Eomans in their war with Perseus. Polyaratus
was one of the Macedonian party at Rhodes during the time of
the Macedonian war. In like manner, many moi-e of these
names might be identified with those of celebrated leaders,
orators, and historical and philosophical writers ; but it must
always be recollected that, though the similarity is striking, the
inference of identity is very far from being conclusive, since
many individuals of the same state bore the same names, as is
soon discovered by the examination of inscriptions.^
Besides those with circular medallions, many of the handles
of Rhodian amphorae are stamped witli an oblong cartouche or
label, from 1^ inches to If inches in length, and fths of an
inch wide. These may be divided into two classes : — Those
inscribed with the name of a magistrate and an emblem. This
class resembles the small signs, called adjuncts, found on the
coins of various Greek cities ; but it is uncertain whether tbey
were selected on any fixed principle, or merely adopted from
caprice. They may, perhaps, allude to ;the deity whom the
magistrate particularly honoured — as the patron god of his
village or tribe. The same symbol was often used by many
individuals, and on the whole the number discovered is not
large. Among them are found stars, a radiated head of Apollo,
the caps of the Dioscuri, a head of Medusa, a rat, a dolphin
twined round an anchor, fish, a bunch of grapes and caducous, a
flowered cross, an acrostolium or prow of a ship, an anchor,
cornucopise, garland, torch and garland, double rhyton, bipennis
and parazonium. A second class of seals consists of those
bearing the name of a magistrate, accompanied with that of a
month of the Doric calendar, without any emblem. But though
these are also apparently Rhodian, they are probably of a
* Stoddart, Trans. Boy. Soc. Lit., N. 8. iii. p. '61 and foil.
ClIAl'. II.
CNIDIAN AMPHORiE.
139
different age from the circular stamps before described. The
names of the magistrates are in the Doric genitive, and their
dates appear to range from the foundation of Alexandria, B.C.
332, down to the reign of Vespasian.
Many handles of amphorae from Cnidus, or " Cnidian casks,"
as they were called, have been found on different sites. Their
clay is coarser than the Rhodian, its colour darker and duller,
breaking with a rugged fracture, displaying particles of a black
micaceous sand, the heart frequently having the livid hue of
ashes pro;lueed in the kiln. Their dimensions were IJ inches
to 2 inches wide, | inch thick. On the top of the ear was the
cartouche or label, generally of a rectangular form, and 1^
inches long, by ^ inch wide ; but some are either circular, or
oval, or shaped like an ivy-leaf.^ These amphorae differ in
form from those of Rhodes, and are not of so early a date, most
of them being as late as the Roman empire. The handle of
one of these amphorae, externally of a greenish hue, exhibited
a rough fracture, of a reddish tint at the edge and of a lighter
shade in the centre.
The stamps on the Cnidian amphorae, like those of Rhodes,
are inscribed with the name of the eponymous magistrate, who
appears to have been a demiourgos ; and also with that of the
wine-grower, or exporter of the produce, which is always marked
as Cnidian, and was probably either wine or vinegar. The
annexed cuts represent the various stamps used on these
IjJIjpwiiBift'milii' - —
.No. 109. —Cnidian Lozenge-shaped
I^bel.
No. 110.— Cnidian Square Label.
amphorae. The names are accompanied with devices ; but it is
not quite certain whether these refer to the magistrate or to the
exporter. Among them are a caduceus, a club, the prow of a
galley, a sceptre, a bucranium or bull's head, grapes, diotee, a
' Stoddart, Trans. Roy. Soc. Lit., N. S., iii. 59; Bockli, Corp. Inscr. GrsettL, iv.
140 GREEK POTTERY. Part II.
trident, lance-head, star, anchor, barley-corn,^ and diotae, with
the head and neck of a lion. Remains of Cuidian amphorae
have been found in Sicily, at Athens, Olbia, and Alexandria.
Judging from the palaeography of the inscriptions, they may
have been in use from the age of Augustus to that of Marcus
Aurelius, or even of Severus. It will be perceived that only
two of the magistrates are qualified with the title of demiourgos.
Notwithstanding the celebrity of the Thasian wine, only
three specimens of the amphorae in which it was exported have
been discovered — one at Athens, and two at Olbia. The edges
of the handles are rounder than those of the Ehodian amphorae.
The paste is not so coarse and gritty as that of the pottery of
Cnidus. The inscriptions on them are : " Of the Thasians —
Phaedon, Arcton, Aristomedes, and Satyris." Their emblems
are a cornucopiae, dolphin, and Hercules shooting the Stympha-
lian birds. Their age is supposed to be about B.C. 196.
Across the necks ^ of two amphorae found in sepulchres at Pan-
! i
I EYAPXO !
ticapaeum were the inscriptions j apiSTON i ^^^^ ^®' " Ariston
during the magistracy of Euarchus;" and I eohAMONO^
under the magistracy of Callias son of "Eupamon."^ These
vases were not imported, but made upon the spot.
At Olbia were also found several handles of amphorae, with
the names of ediles of cities, and of other persons, either the
growers of the wine, or magistrates of secondary rank. The
names of the aediles are, Polystratus, Epicurus, Callistratus,
Histaeius, Hieronymus, son of Hieronymus, and grandson of
ApoUonidas, Hermes, Poseidonius, Istron, son of Apollonidas,
Theagenes, son of Nicander, Aristocles, son of Mantitheus, and
some others. Another series of names, perhaps of eponymous
magistrates, are Histiaeus, Apollodorus, and Meniscus.* There
was no mark except in one instance, and that apparently of
Sinope, whence the amphorae came. The emblems upon them
» Stoddart, Trans. Eoy. Soc. Lit., iv. | 2121, 2109 d.
24, foil.; iii. 63, and foil. I * Bekker, 'Melanges Greco-Romains,'
2 Ibid. N. S., iv. p. 1. \ i. pp. 503, 504, 519.
3 Bpekh, Corp. Inscr. Grsec, Nos. !
Chap. II. OLBIA. 141
Avere vaiious, comprising leaves, an eagle, a head of Hercules,
diota, and bunch of grapes.
Various handles, inscribed with the names of an edile, and
another person, supposed to be a magistrate, have been found
in the Crimea, principally at Olbia, one or two having been
found at Kertch. The paste of these handles, according to the
researches of Professor Hasshagen, of the Richelieu Lyceum,
differed from that of the amphorre of Rhodes, Cnidus, and
Thasos, by its want of uniformity ; it contained a mixture of a
coarse sand and fragments of quartz. Its grain was not so fine,
nor had it the dark colour of the amphorae of those states. Its
colour, both outside and when broken, was bright yellow or
greyish, and it had not been subjected to a high temperature in
the kiln. All these conditions correspond to the clay found
in the neighbourhood of Olbia, and the lack of fuel on that
spot, where some have supposed the vases stamped with the
names of ediles were made. As the same formula appears on
the tiles found in situ, this affords another presumption that the
amphorae may have been made at Olbia.
The inscriptions are impressed from a square stamp or label,
and have the form of the magistrate's name
at the commencement, as, when Histiaeus
son of jMithradates was edile ; or else the
official title is placed at end, as in the ex-
A5TYNOMOY
E2TIAIOY
M1[0]PAAATOY
ample,
iCTPONOCTOYAnOAAO
NIAAA^TYNOMOYNTOG
Histron son of Apollonidas
being edile ; ^ or even in the middle, as Borys, \ t.^pvo-s;
son of Hecataeus, being edile. These stamps a^TYNOMOY
contained, like those on the handles of the | eKATAIOY
Rhodian, and other amphorae, small adjuncts '-
or emblems alluding to the magistrates or other persons whose
names were impressed. Some of these emblems were a laurelled
head of Apollo, bearded head, head to the left, old head to the
left, young head to the right, head full-face. Victory, full-face
figure standing, dog couchant, a horse prancing or running,
eagle preying on a dolphin, swan, snake, sitting bird, spade and
grain, ear of corn, laurel branch, twig, trophy, thyrsus, and
caducous.^
' Stoddart, Travis. Koy. Soc. Lit., iv. pp. 50, 51; Koeppen, p. 300; Bi>ckli,
Corp. Inscr., No. 2085. ^ stoddart, Trans. Roy. Soc. Lit., iv. 50.
142
GREEK POTTERY.
Part II.
On some fragment from other cities of the Bosphorns are the
inscriptions lA IM apparently with a
double date, of the era of the Bosphorus, I A^TYNOMOYNTO^,
and with the name of Democrates, an I AHMOKPATOY^
edile. One found near Simpheropol was
impressed with the name of Apollas, an sedile,
AnOAAA,
A5TYNOMO
The amphorae of different states had at this period the
name of the states and magistrates placed on them. Some
of Heraclea have been found at Olbia with the inscription,
XABPIA
A2TYNOMOY
HPAKAEI[TAN]
*' Chabrias being edile of the Heracleans."
No. 111.-
with
-Circular Stamp,
Bull's Head.
©eopneitoy
a:Stynomoy
^iNi2nm(N).
Others of Teuthrania on the same site,
reading BOPTOS AXTTNOMOT TET@P
[ANEHN], have been interpreted "Borys
the edile of the Teuthranians ; " but it
may be considered doubtful whether the
last name my not be either that of the
grower of the wine, or of the maker of
the vase.^ The device was a bull's head.
Some of Sinope, also on the same spot ;
one with the name of Theognetus, an edile.
The device was an eagle.^/
The handles of some Corinthian amphorae are also known
with the names of Cephalion, Archytas, G-orgias, Damas, Rumas,
Caninius, Visellius, M. Exsonius.^ These handles are described
as curved cylinders, about 6 inches in length, and 1 inch in
uniform thickness, their clay pale and fine. The names, which
are stamped in large inelegant letters, perhaps those of
the eponymous duumvirs, who may have ruled the city from
B.C. 44, the epoch of its restoration by Julius Caesar, to a.d. 15.
This inference is drawn from the name of Caninius, which is
found as the praenomen of certain Corinthian duumvirs. They
appear, however, to have been rather the names of the freedmen
Boekh, Inscr., No. 2085 c. 2 jbij. 2085 c.
Stoddart, loo. cit., p. 95.
Chap
AMPIIOR.E FROM VARIOUS PLACES. 143
or slaves who made the ware, or of the proprietors of the
potteries.^
In a liouse excavated under Mr. Falkener's superinteDdence
at Pompeii, a Greek inscription of three lines, painted in red
and black, A\as found on an amphora with the name of Meno-
dotus and the letters " Kor. opt," intended apparently to denote
the best wine that may have come from Corinth.
Other handles^ of amphora? have been attributed to Polyr-
rhenia, Gortyna, Cydonia, Salamis, Chios, Apamsea, Lysimachia,
Cyzicus, Icon, and Parium. There are but very slender grounds
for assigning them to these places.^
The ancients also appear to have used flower-pots of earthen-
M'are, especially in the festival of the Gardens of Adonis cele-
brated at Athens, in which flowers were suddenly elevated in
earthen pots, and then cast into the sea, apparently as a type
of the premature death of Adonis. On this occasion the women
also placed these flower-pots on the tops of the houses. In the
same festival, which was chiefly celebrated by the hetairai, a red-
coloured figure called Jwrallion, of terra-cotta, was also intro-
duced.^ Pots of the same material were also used by the
ancients for tender plants ; for Theophrastus, speaking of
the southern-wood, observes that it is raised with difficulty, and
propagated by slips in pots. The use of flower-pots placed at
the windows to form an artificial garden^ was also known. It
^ See the inscriptions in Appendix j Franz in Bockh's Corp. Inscr. Grsec,
No. VI. j iii. prsefatio, p. 1. Ouvaroflf, Drevnosti,
2 One handle inscribed OiqAH, Pa- j St. Petersburg, X855, I. c. ii. Sabatier,
rion, is supposed to belong to Paros: ; Souvenirs de Kertch, St. Petersburg,
Bekker, loc. cit., p. 480. | 1849. Ashik, Vosporskoe Tsarstvo,
' The nader must consult for a \ Odessa, 1848, ii. Jenaische Literatur-
complete account of all these handles, zeitung, 1842, No. 180. Stoddart, in
Stephani Titulorum Grajcorum, part ii. i Trans. Roy. Soc. Lit., vol. iii. N. S. 8vo,
p. 3-5, in the 'Index ScLolarum in uni- ' Lond. 1850, p. 1-183; vol. iv. 8vo, Lond.
versitate litteraria Csesarea Dorpatensi 1853, p. 1-68. Bekker, Dr. Paul, in the
per seme&tre alterum 1848, habenda- | ' Melanges Gre'co-Komains, tire's du Bul-
rum.' Thiersch, in Abhandlung. der j letin Historio-Philologique de I'Acade'-
philos. pliihd. Classe der Kais. Bayer. \ mie Impe'riale des Sciences,' 8vo, St.
Akadem. der Wissenschaft, 1837, Bd. ' Petersbourg, 1854, s. 416-521.
ii. p. 779, and following. Franz, De * Eustath. in Horn. Od., xi. 590, pp.
Inscr. Diotar. in Sicil. rcpert., Philolog. 1701-45.
1851, Jahrgang vi.. Heft 2, p. 278 and ' Raoul Pochette, Eev. Arche'ol. 1851 ,
foil. Osann, Ueber die rait Aufschrift p. 112 ; Alciphron, i. 39. Timseus a
versehene Henkel griechischen Thon- | Ruhnken, v. KopoirXddoi.
gefasse, in den Jahrbiichern fih- Philol. ® Hist. Plant, vi. 7, 6 ; Kabul Ro-
u. Padagog., Supp. xviii. p. 520 and foil, chette, loc. cit. p. 114.
Bwkh, Corp. Insor. Grjcc, No. 5376.
144
GREEK POTTERY.
Part II.
appears that the vases used in the festival of Adonis ^ were big-
bellied, probably like those which were given as prizes in the
games.^ On the second day of the Anthesteria there were the
agones chutrinoi, when vases of corn were dedicated to the
Infernal Hermes.^
There is a vase in the British Museum which was certainly
designed for sepulchral purposes. The clay is pale, but the
entire vase is covered with a coating of stucco. A myrtle wreath
is traced on it in green. The shape of the vase is that of the
lecane, and round it were placed the fore-parts of three chimseras,
gilded. It contained human bones, with which were mingled
a few terra-cotta ornaments ; one representing a winged Eros,
small in size, but of a good style of art. Amongst the bones
was the jaw, with the obolos, or small silver coin, which had
been placed there to enable the soul to pay Charon his fare
for crossing the Styx. The covering of lime shows that this
vase was used for funereal purposes. Another vase was found
in the catacombs at Alexandria, of the shape of a hydria,
in pale clay, on which also a myrtle wreath was painted.
This, when discovered, was filled with bones, for which it
was evidently intended as a receptacle. Vases in use during
life w^ere also used for the purpose of receiving the ashes of
the dead.
There is also a class of vases, discovered of late years at
Calvi, Capua, and Cumse, which seem to have been made for
decorative or sepulchral purposes, as they are not at all adapted
for domestic use. They are of pale red, fine and fragile terra-
cotta, and painted, like the figures, with colours in tempera.
The prevalent form is the aslcos or wine-skin, surmounted by
various figures, attached to it or standing on it, or by bas-reliefs
which have their flat reverses applied to the body, or by very
salient reliefs projecting from it, as proJcrossoi, These affixed
portions were made or moulded separately, attached to the*body
of the vase while the clay was wet, and the whole was then
baked. The subjects are often marine ; on one is the head of
the Medusa in front, two Tritons at the sides,* and four Nereids
1 Bekker, Gallus, i. p. 291. Ea«ul
Kochette, loc. cit. p. 118, adds to
Bekker's citations, Martial, xi. 18 ;
Plin., xix. 9, 1.
2 Hermias in Platon. Plised. Schol,
Bast. Epist. Grit., p. 193. The words
are yaarpia and ydarpa.
3 Schol. Aristoph. Ran. 1. 219.
* Miuervini, Monumenti anticlii in-
editi di R. Barone, 4 to, Napoli, 1852,
taw. xiii-xiv. p. 65.
Chap. II. SEPULCHUAL VASES. 145
standing on the body of the vase, as if borne by tlie Tritons.
Others have Scylla, winged figures like the Eros of the vases of
Southern Italy, Heos or Aurora Avith her winged steeds, Dolon
surprised by Ulysses and Diomedes.
Similar to these askoi are certain large ornamental vases,
modelled in the shape of female heads of Bacchantes,^ or Pallas
Athene. The hair is bound with ivy-leaves, or with radiated
crowns, and surmounted by small female heads rising from
the sides of the large one ; whilst on the apex stands a
figure of Nike, or Victory. The one represented is intended
to represent the head of Pallas Athene in a helmet, the figure
of Nike representing the crest, and the small heads the side
feathers. Others are sJcy^hoi, in the shape of large heads with
two handles. Of a similar style and period are certain rhjta,
modelled in the shape of animals' heads, or with long reeded
bodies, and medallions, art/halloi, with flat bodies having in bas-
relief figures of Scylla ; and large pyxides or boxes, on which
are representations of Scylla, and the loves of Aphrodite and
Adonis. Of a like style are certain vases found at Agrigentum,
apparently models of Jcanee or canisters, having tall conical
covers, with a frieze of projecting lions' heads placed under an
ovolo beading, and, round the body, model stems, amidst which
are dispersed little Erotes, or Cupids, and heads of the Medusa
gilded on a crimson ground. These are evidently imitated from
works in metal. Other vases of this class are in the shape of
hrateres^ having round the outside small gilt figures and rosettes,
laid on as emblemata and gilded. There are also oinochoai, or
jugs, with handles in the shape of youths, and affixes modelled
to represent gryphons and other ornaments ; and vases of the
class called hernos, consisting of four cups united together on
a fantastic fluted stand, with emblems of the head of the Medusa,
Erotes or Cupids, panthers, and foliage. These vases are pro-
bably of the Macedonian period, when cups and other vases
were made in metal. In B.C. 330 the precious metals super-
seded the formerly esteemed works in terra-cotta, and the potter
then endeavoured to imitate the new taste and fashion by re-
producing in his plastic material humble imitations of the
metallic work in high relief. Sometimes indeed, as on an
amphora from Cuma3, in the Campana collection, he stamped
» Mon. V. liii. liv., Ann. 1853, pp. 266-272.
^ Campana, ' Opcre in Plastica,' tav. liv.
146 GREEK POTTERY. Part II.
a subject from a mould round the body of tbe vase ; but he
generally preferred to produce the required effect by detached
pieces. Many of these generally pass for figures or groups/
and some of them are exquisite. Amongst them are numerous
small medallion heads of Medusa in relief, which are usually
gilded.
Vases of various shapes have been found in the sepulchres of
Greece, such as the oinochoe, or jug ; the ashos, or wine-skin ; the
jphiale om^halote, or saucer having a boss in the centre ; rliyia,
or jugs, imitated from the heras, or horn, as well as some
moulded in the shape of the human bust. Vases of this class,
however, occur more frequently in Italy than in Greece.^ Some
are of remarkable shape. One in the Durand collection has its
interior reeded, and in the centre a medallion of the Gorgon's
head ; at the edge is the head of a dog or fox, and to it is
attached a long handle terminating in the head of an animal.
Similar handles are often found. Another vase from Sicily,
also in the same collection, with a conical cover, is ornamented
externally with moulded subjects of wreaths, heads of Medusa,
painted and gilded. Some of these terra-cot ta vases are very
early, and those discovered in the earliest tombs of Cyprus
of a pale red clay had spiral and circular ornaments incised
upon them like the Etruscan. For the common usages of life
unglazed terra-cotta was employed along with bronze.^ A
cylindrical vase of red terra-cotta, found at Athens in 1867, was
inscribed demosion, "public" measure; it had the impression
from a gem of an owl and olive-branch, the official seal of
Athens, and was supposed to be the choinix or meter, its con-
tents measuring 9 decilitres 6 millilitres, or about 182 pints.*
Many of the vases intended for ornamental purposes are
covered with a white coating, and painted with colours of the
same kind as those used on the figures before described, but with
few and simple ornaments, plain bands, mseanders, chequered
bands and wreaths. A vase found at Melos affords a curious
example. It consists of a number of small vases united together
and arranged in a double circle round a central stand. This
kind of vase is supposed to be the Tcernos, used in the mystic
ceremonies to hold small quantities of viands. By some persons.
1 Bull. Arch. Nap. v. tav. 3. ^ j^i^^ ^852. Tav. 1, 2.
^ ./Esopus, Fab. cccxix. Tauchnitz, 12mo, Lips. 1829.
* M. Egger in the Rev. Arch. 1867, p. 292.
Chap. II.
SEPULCHRAL VASES.
147
however, it is thought to have been intended for eggs or flowers.
It is covered with a white coating of clay, and the zigzag
stripes are of a maroon colour.
Such vases might have been used
for flower-pots, and have formed
small temporary gardens like
those of Adonis, or have been em-
ployed as lamps. There was also
a large vase composed of several
small ones bound together for
holding spices for the table called
adusmatothehe or huminodokos
box for cumin seed.^ Although
the oculists who vended the
*' Lycian " eye ointment or col-
lyrium often sold it in little
vases of lead about the size of
toys, occasionally they used terra-
cotta" bottles with a very small
orifice made by the nail. One about 2 inches high having the
inscription of '* the Lycian ointment of Jason," was found at
Tarentum ; another has the name of Nicias. These are of about
the first century a.d., and the stamps of oculists have been
found in the Koman potteries for stamping medicine bottles.
The ancient vendor of quack or patent medicines knew how to
make a bottle contain the least possible quantity. It was an
old notion.^
No 112.— Painted Kern «, consisting of a
group of little vases.
' Pollux, X. 13. I une Inscr. Grecque, 4to, Paris, 1816 ,*
" Miller's ' Vase trouve a Tarente,' Le Narrateur de la Meuse, Fev. 1808 ;
8vo, Paris, 1814 ; Tochond* Annecy sur | Castelli, CI. xvi. p. 2i8, n. 2.
L 2
148 GllEEK POTTEKY. Part II.
CHAPTEK III.
Glazed vases — Number of extant vases — Places of discovery — Tombs — Lite-
rary history — Present condition — Frauds of dealers — Earliest mention of
Greek vases — Ancient repairs — Age — Criteria — Classification of D'Hancar-
ville — of the Due de Luynes — Pastes — Clays — Sites — The potter's wheel —
Modelling — Moulding — Moulded rhyta, phialai, &c. — Painting — Tools —
Colours — Glaze — Furnaces.
The ware we are novv to describe resembles terra-cotta in its
general characteristics, the body of the paste being composed of
a similar substance, but deeper in tone, and tender in its tex-
ture. The latter, however, varies ; being sometimes so hard as
scarcely to admit of being cut with a knife ; at others, so soft
as to be readily scratched with a finger-nail. These vases show
the highest point of perfection which the ancient potteries at-
tained. They were applied only to purposes of luxury and
decoration, and used with great care and tenderness, as being
little suited for domestic purposes. They stood in the same
relation to the other products of the ancient potteries as the
fayences of the middle ages, and the porcelains of the present
day do to vessels of terra-cotta, stoneware, or tender porcelain.
The Greek are the most important for their beauty and for
their art. Their true designation is lustrous or glazed vases, and
they have been placed by Brongniart in the second class of
pottery. They are painted with various colours, chiefly black, :
brown, yellow, and red, and protected by a fine thin, alkaline
glaze, which is transparent, and enhances the colours like the
varnish of a picture. They are very porous, allowing water to ooze
through, like the hydrokerami ; and their paste is remarkably
fine and light, giving forth a dull metallic sound when struck.
The number of these vases deposited in the great public
museums of Europe is very large, and from calculations derived
from catalogues or from observations made on the spot, may be
stated in round numbers as follows : — The Museo Borbonico, at
Naples, contains about 2100; the Gregorian Museum in the
Vatican, about 1000 ; Florence has about 700 ; and at Turin
there are 500. On this side of the Alps, the Imperial Museum
at Vienna possesses about 300 ; Berlin has 1690 ; Munich about
1700; Dresden, 200; Carlsrahe, 200; the Louvre, at Paris,
OllAl>. III.
NUMBER OF VASES.
149
about 1500 ; while 500 more may be found in the Bibliotheque
Nationale. The British Museum has about 5000 vases of all
kinds. Besides the public collections, several choice and valu-
able specimens of ancient art belong to individuals. In addition
to these, several thousand more vases are in the hands of the
principal dealers. The total number of vases in public and
private collections probably amor.nts to 20,000 ^ of all kinds.
All these were discovered in the sepulchres of the ancients,
but the circumstances under which they were found differ
according to locality. In Greece, the graves are generally
small, being designed for single corpses, which accounts for the
comparatively small size of the vases discovered in that country.
At Athens, the earlier graves are sunk deepest in the soil, and
those at Corinth, especially such as contain the early Corinthian
vases, are found by boring to a depth of several feet beneath
the surface. The early tombs of Civil a Vecchia and Caere, or
Cervetri, in Italy, are tunnelled in the earth ; and those at
Vulci and in the Etruscan territory, from which the finest and
largest vases have been extracted, are chambers hewn in the
rocks. In Southern Italy, especially in Campania, they are
large chambers, about 5 J palms under the surface.
The accompanying woodcuts will convey an idea of the
No. 1 13.— I'omb at Vcii, coutaiuing vases.
manner in which the vases are arranged round the bodies of
the dead in the tombs of Veii, Nola, and'CumoB.
* Do Witte, Etudes, p. 4, states Lenormant, estimated the whole imiubrr dis-
covered to be about 50,000.
150 GREEK POTTERY. Part II.
The tomb represented below is constructed of large blocks of
stone, arranged in squared masses, called the Etruscan style
of wall, in contradistinction to the Cyclopean. The walls are
painted with subjects, the body is laid upon the stone floor,
and the larger vases, such as the oxyba^ha and Icrateres are
placed round it. The jugs are hung upon nails round the
walls.^ The sepulchres of Southern and Central Italy were
made upon the same plan, and the same description applies to
both sites.
No. 114. — Tomb of Southern Italy, with vases.
The most ordinary sepulchres were constructed of rude stones
or tiles, of a dimension sufficient to contain the body and five
or six vases ; a small one near the head and others between the
legs, and on each side, more often on the right than on the left
side. An oinochoe and jphiale were usually found in every sepul-
chre, but the number, size, and quality of the vases varied,
probably according to the rank or wealth of the person for
whom the sepulchre was made. The better sort of sepulchres
were of larger size, and constructed with large hewn stones,
generally without, but sometimes completed with cement, the
walls stuccoed, and some little ornaments of painting on them.
In such sepulchres, which were like small chambers, the body
was on its back on the floor, with the vases placed round it ;
sometimes vases with handles have been found hanging upon
nails of iron or bronze, attached to the side walls. An exact
^ D'Hancarville, vol. ii. 57, vignette. Gargiulo, p. 12.
Chap. HI.
PLACES OF DISCOVERY.
151
representation of sucli a sepulchre, found at Trebbia, not far
from Capua, has been publislied ; also another, an ordinary
sepulchre, found at Naples. The vases in the laro^er sepulchres,
or subterranean rooms, were always more numerous, of a larger
size, and of a superior quality in every respect to those of the
ordinary sort of sepulchres, which had little to recommend them
except tlieir form, which was always rather elegant, however
otherwise rude. At Polignano in Puglia, a large sepulchre of
the best sort was discovered in the garden of the Archbishop,
in which were found more than sixty vases, and some of a large
size and very beautiful ; but except one or two, which are
exceedingly curious, the subjects painted on them were chiefly
Bacchanalian, and not very interesting. These vases were placed
in the Museum at Capo di Monte.^
Fibulae, or buckles of silver and bronze, and sometimes the
Xo. 115.- Tomb of Southern Italy, with skeleton and vases.
heads of spears with the vases, broken swords of iron or bronze,
rings of silver, brass, and lead, and military belts, with clasps
of bronze, were discovered, as well as even the quilted lining
of some of them entire, though inclined to moulder away, as
* Hamilton, in Tischbein, p. 26.
152
GREEK POTTERY.
Part II.
did two eggs that were discovered in a bronze patera in one
of these sepulchres. In a sepulchre at Psestum was found the
entire skull of a wild boar, mixed with the vases and the human
bones. There is no reason to believe that it was the usual
custom to bury provisions with the dead. At Terra Nuova, in
Sicily, supposed to be the ancient Gela, several sepulchres,
with fine vases, similar to those of Nolan manufacture, were
discovered, and in one of them the egg of an ostrich was found
well preserved.^ An example of the mode of arranging these
vases in the tombs of Campania will be seen in the woodcut
No. 113, taken from Sir William Hamilton's work on vases.
Here the grave assumes the shape of a soros, or sepulchral chest,
with a pent-house roof, imitating a pediment, or roof of a small
temple. The body is laid on the floor and the vases round it.
The later tombs of the Eoman soldiery and of the poorer classes,
made of tiles, were of the same shape.
Public attention was first directed to these vases by La
Chausse,^ who, in his * Museum Komanum,' published in 1690,
gave plates of a few examples. Laurent Beger published, in
1701, those of the cabinet of the Elector of Brandenburg.^
Montfaucon, in his * Antiquite Expliquee,' repeated these figures.*
Dempster^ subsequently published several vases, with full
explanations. Gori, whose attention to these monuments had
been attracted by seeing them in the work of Dempster, pub-
lished several in his * Museum Etruscum ; ' ^ and Caylus gave
engravings of some in his * Recueil.' ' Winckelmann also pub-
lished several vases.^ Subsequently, D'Hancarville edited the
vases in the collection of Sir William Bamilton.^ The inde-
fatigable Passeri published a large number of engravings of
vases in various collections.^^ A second collection of Hamilton's,
^ Hamilton, in Tischbein, pref. vol.
i. p. 30.
2 Fo. Rom. 1690. Also Grsevius,
Thesaurus Antiq. Eoman. xii. 955. Dis-
sertatio de vasis, buUis, ai'millis, fibulis,
annulis, &c.
' ' Thesauri regiiBrandenburgii volu-
men tei'tium, continens supellectilem
antiquaviam uberrimam, imagines de-
orum, statuas, thoraces, vasa et iustru-
menta varia.' Col. March. 1701. Also
Supplement, tom. iii. 1757.
* * L' Antiquite expliquee et repre-
sentee en figui-es,' tome iii. ann. 1719.
Partie I'-e, p. 142, pi. Ixxi.
* ' Etruria Eegalis,' folio, Flor. 1723.
« Folio, Flor. 1735-36 ; also the Mu-
seum Guarnaceum, folio, Flor. 1744.
' 1752-1767.
* Histoire de I'Art, liv. iii. c. iii. s. 2,
p. 34. Gesch. d. K., 4to, Dresd. 1764.
Monument! Antichi Inediti ; folio, Eom.
1769, nos. 131, 143, &c.
^ ' Antiquites Etrusques, Greeques et
Eomaines, tiroes du cabinet de M.
Hamilton ; ' folio, 1766-1767.
^° 'In ThomaB Dempsteri libros de
Etruria Eegali Paralipomena ; ' folio,
Chap. III.
LITERARY HISTORY.
153
supposed to have been lost in the sea, was issued by Tischbein,^
witli an explanation by Italy nsky ; and another was subse-
quently given by Bottiger.^ The celebrated Millin also pub-
lislied vases in his collection of unedited monuments,^ illustrated
with observations ; and another edition appeared under the
auspices of Dubois Maisonneuve,* under whose name it generally
])asses. Since that time, the * Vases Grecs,' ^ the * Vases de Cog-
hill,' ^ and the * Ancient Unedited Monuments ' of Millingen ' have
been published, and have been followed by the handsome work
of the * Vases de Lamberg,' ^ by De Laborde ; the * Monumenti,'
by Micali;^ the 'Monuments Inedits,' by Kaoul Eochette ; ^°
* Elite Ceramographique ' of MM. Lenormant and De Witte ; ^^
and the *Vasi Fittili,'^^ of Inghirami and Stackelberg ; ^^ whilst,
in Berlin, the learned and careful publications of Gerhard,^* of
which the ' Auserlesene Vasenbilder ' is the most important,
have diffused a knowledge of ancient vases. Panof ka published
the * Vasi di Premro,' ^^ as well as many vases in his description of
the cabinet of M. Pourtales-Gorgier,^^ and the Due de Luynes por-
tion of his own collection;^' Gonze 'The Vases of Milo.'^^ In
Luccse, 1767. ' Picturse Etruscorura in
vasculis nunc primum inunum collec-
tiB;' folio, Eom. 1767-1775.
' ' Recueil de gravures d'apres des
vases antiques ; ' folio, 1791-1803.
Tisclibein's work is entitled ' A Collec-
tion of engravings from ancient vases,
mostly of pure Greek workmanship,
discovered in sepulchres in the king-
dom of the Two Sicilies, but chiefly in
the neighbourhood of Naples, during
the years 1789 and 1790 ; now in the
possession of Sir W. Hamilton, H. B.
Maj. env. ext. and plenipo. at the court
of Naples ; with remarks on each vase
by the collector. Published by Mr. W.
Tischbein, Director of the R. Acad, of
Painting at Naples. 1791.'
* • Griechische Vasengemalde, mit
arcliaologisehen und artistischen Er-
lauterungen der Originalkupfer,' tom.
i. 8vo, Weimar; tom. ii. 8vo, Magde-
burg, 1797-1800.
^ 'Monumens antiques inedits et
nouvellement expliques ;' 4to, Paris,
1802-1806.
* Dubois Maisonneuve, ' Peintures dcs
vases antiques, vulgairement appele's
Etrusques, tire'es de diffe'rentes collec-
tions, et gravees par Clener, accom-
pagnees d'explications par A. L. Millin,
Membre de I'lnstitut et de la Legion
d'Honneur ; publiees par M. Dubois
Maisonneuve ; ' folio, Paris, 1808-10.
* Folio, Eom. 1813.
« Folio, Rom. 1817.
' 4to, Loud. 1822.
8 Folio, Paris, 1813-25.
» ' Monumenti Inediti,' fo. 1810-44.
*« Folio, Paris, 1828.
" 4to, Paris, 1838, 1844.
" 4to. Fiesole, 1833.
" 'Die Graber der Hellenen,' fo.
Berl. 1837.
" 4to, Berlin, 1840. Besides which
his Trinkschalen, 1840. Etr. & Kamp.
Vasenbild. fo. 1843. Apulisch. Vasen-
bild. fo. 1845. Trinkschalen, fo. 1848-
1850.
'* Folio, Fir. 1841.
*" Descr. de quelques Vases, fo. Paris
1840.
" Antiques du Cab, Pourt.-Gorgier,
fo. Paris, 1834.
*8 ' Melische Thongefasse,' fo. Leipz.
1862.
154 GREEK POTTERY. Part II.
EDgland, the works of Moses ^ and Christie^ are of artistic rather
than of archaeological value ; and neither public patronage nor
private enterprise has undertaken works equal to those published
on the Continent, although so desirable in a country whose pot-
tery is a considerable article of export trade. Single vases have
indeed been published by learned societies and by societies
both here and abroad. Of these, the Archaeological Insti-
tute of Kome has done the most for this branch of art and
antiquity.
These vases, as we have already mentioned, are often ranged
round the dead, being hung upon, or placed near the walls, or
piled up in the corners. Some hold the ashes of the deceased ;
others, small objects used during life. They are seldom perfect,
having generally either been crushed into fragments by the
weight of the superincumbent earth, or else broken into sherds,
and thrown into corners. Some exhibit marks of burning,
probably from having accompanied the deceased to the funeral
pyre. A few are dug up in a complete state of preservation,
and still full of the ashes of the dead. These are sometimes
found inside a large and coarser vase of unglazed clay, which
forms a case to protect them from the earth.
Almost all of those in the museums of Europe have been
mended, and the most skilful workmen at Naples and Eome
have been employed to restore them to their pristine perfection.
Their defective parts have been scraped, filed, rejoined, and
supplied with pieces from other vases, or else completed in
plaster of Paris, over which coating the restored portions are
painted in appropriate colours, and varnished, so as to deceive
the inexperienced eye. But either through carelessness, or else
owing to the difference of process, the restorations have one
glaring technical defect : the inner lines are not of the glossy
hue of the ancient glazed ones, and there is no indication of a
thick raised line which follows the original outline in the old
paintings. Sometimes the restorer has pared away the ancient
incrustation, and cut down to the dull-coloured paste of the
body of the vase. In some rare instances, a figure has been
painted in a light red or orange oil paint on the black ground,
or in black paint of the same kind on an orange ground. But
in all these frauds, the dull tone of colour, the inferior style of
1 ' Collection of Antique Vases,' 4to, I ^ ' Disquisition on Etruscan Vases,'
Lond. 1814. I 8vo, Lond. 180G.
Chap. III. IMITATIONS AND FRAUDS. 155
art, i\nd the wide difference between modern and ancient
drawing and treatment of snbjects, disclose the deception.^
Tlie calcareous incrustation deposited on the vases by the in-
filtration into the tombs of water, containing lime in solution,
has been removed by the use of muriatic and nitric acids, or by
boilincf the vases in hot water.
In other cases, vases with subjects have been counterfeited by
taking an ancient vase covered entirely with black glaze,
tracing upon it the subject and inscription intended to be fabri-
cated, and cutting away all the black portions surrounding
these tracings, so as to expose the natural colour of the clay for
the fictitious ground. When red figures were intended to be
counterfeited, the contrary course was adopted, the part for the
figures only being scraped away, and the rest left untouched.
Yases, indeed, in which the ground or figures are below the
surface should always be regarded with suspicion, and their
genuineness can only be determined by the general composition
and style of the figures, and by the peculiarities of the inscrip-
tions. The latter also are often fictitious, being painted in with
colours imitating the true ones, and often incised ; indeed all
inscriptions incised after the vase has been baked are of a
doubtful character.
The difference of style in the composition of groups, and
especially the remarkable distinction of drawing, such as the
over-careful drawing of details, the indication of nails, and
various other minute particulars, are also criteria for detecting
false or imitated vases. Water, alcohol, and acids will remove
false inscriptions, but leave the true ones intact. Pietro Fundi,
who had established manufactories at Venice and Corfu, and the
Vasari family at Venice,^ made fictitious vases. Wedgwood also
imitated ancient vases, and such imitations are made at Naples
for the purpose of modern decoration.
The oldest express mention of these vases in Greek authors is
made by the poet Alcseus, who flourished from B.C. 610 to 580,
and who speaks of painted cups, hyliclmai jpoikilai.^ Pindar,
in an ode probably written about B.C. 460, particularly describes
the painted Panathenaic amphorae which were given as prizes in
the contests of the Panathensean festival. Thus he sings of
^ Gerhard, Berlins AntikeBildwerke, I ' Fragra. ed. Schneid. 33; De Witte,
8. 149. 1 ' Etude sur les vases peints,' 8vo, Paris,
- Westropp,H.M./ Epochs of Painted , 1865, p. 5.
Vases.' 4to, London, 1856. I
156 GREEK POTTERY. Part II.
Thiseus, the son of Ulias, the Argive, who had twice obtained
prizes of Panathenaic amphorse in the wrestling matches at
Athens: '*Him twice, at distant intervals, in the festivals of
Athens, have sweet voices lauded. He brought the fruits of
the olive in earth, burnt by fire, to the manly people of Hera,
Argos, in the variegated receptacles of vases." ^
Those made use of in the Athenian graves are unequivocally
alluded to by Aristophanes.^ Athenseus,^ Strabo,* and Suetonius,^
mention painted vases. The later scholiast of Theocritus/ also
mentions the fictile vases, painted all over with various colours,
and some think Demosthenes alludes to them.'
Great value seems to have been set upon these vases. When
broken, they were repaired by the pieces being skilfully fitted
and drilled, and a rivet of lead or bronze neatly attached to the
sides. Several mended vases exist in the European collections.
Occasionally they were repaired by inseiting pieces of other
vases. Thus a vase with two handles, found at Vulci, of the
shape called stamnos, is repaired with a part of a hylix repre-
senting quite a diiferent subject, and thus presents a discordant
effect.^ Large casks of coarser and unglazed ware, pithoi, were
also repaired with leaden cramps. *' The casks of the naked
Cynic;," says the Satirist, " do not burn ; should you break one
of them, another house will be made by to-morrow, or the same
Avill continue to serve when repaired with lead."® The Sybaritic
fables, cited by Aristophanes, in the speech of a saucy old man
in reply to some one whom he has ill-treated, show the use of
bronze rivets. A ^^oman of Sybaris broke an earthen pot, which
was represented as screaming out, and calling for witnesses to
prove how badly it had been treated.^ "By Proserpine!"
exclaims the dame, " were you to leave off bawling for witnesses,
and make haste to buy a copper ring to rivet yourself with, you
would act more wisely." ^^
It is impossible to determine the age of the oldest glazed
vases without inscriptions. Some seem to be coeval with the
dawn of Hellenic civilisation, perhaps nine or ten centuries
before Christ, and are found in sepulchres in which there are no
1 Nemea, x. 61-68.
2 Eccles., V. 994.
3 Page 466, c.
* Lib. viii. p. 382, Cas.
» Vit. Jul. Csea. c. 81.
« Idyl. i. 27, 36.
^ De Falsa Legat., p. 415, ed. Reiske ;
De Witte, Etude, p. 5.
^ Gerhard, A. V., cxlv.
9 Juvenal, Sat. xiv. v. 308-310.
^" Miiller, ' Literature of Ancient
Greece,' 8yo, Lond. 1848, p. 1^5.
[jChap. III. AGE. 157
[coins, hence before the invention of the art of coinage. Glazed
pases of a very fine kind were probably manufactured between
lOlympiad Lxxxiv. = B.c. 444; and Olympiad xciv. = B.c. 404.
[Those made when painting and art had attained their climax
[fall between Olympiads xciv.-cxx., or B.C. 404-300. The
decadence of the art seems to have taken place about the cxx.
Olympiad, after the conquest of Asia by Alexander the Great^
had introduced vases of the precious metals and gems into
Greece ; and earthenware vases probably fell into disuse about
the first century B.C., having become entirely superseded by
works in metal. In the time of Augustus they were rarities.^
While, however, Gerhard^ assigns the above dates to the art of
making vases, Millingeii* is of opinion that the period during
which it principally flourished may be divided into three prin-
cipal epochs. That of the ancient style, B.C. 700-450, in which
are comprehended the first efforts of the art. That of vases of
the fine style, B.C. 450-228, or from the time of the Persian to
the second Punic war. The best he supposes were executed
during the age of Phidias and Polygnotus, the latter of whom,
according to Pliny, ^ drew his female ligures with transparent
garments and head-dresses of different colours, represented the
mouth open and showing the teeth, and did away with the
ancient conventional stiffness of the attitudes. That of vases
manufactured from the Second Punic to the Social War, in
which he includes those of the latest style found in the Easilicata,
the Terra di Lavoro, and the ancient Campania and Lucania.
Later than this they could not have been made, for, in the
days of Augustus, all the towns of Magna Graecia, except
Ehegium, Naples, and Tarentum, had relapsed into barbarism.®
Other writers, as Kramer,' conjecture that the vases of the
oldest style w^ere made from Olympiad l.=b.c. 577, to Olym-
piad LXXX. = B.c. 457; those of the second, or "hard style"
* In the time of Cleomenes (Plutarch, ! a painted vase. D'Hancarville, p. 103.
in Vita), b.c. 238, metal vases were in ^ Gerhard, Berlins AntikeBildwerke,
common use at Sparta. s. 143. ' Kapporto Volcente,' p. 112.
2 " Paucos ante menses, quum in co- * ' Vases Grecs/ Pre'f.
Ionia Capua deducti lege Julia coloni, | * N. H., xxv. c. 3.
ad extruendas villas sepulchra vetus- i ^ Strabo, vi. 253.
tissima disjicerent, idqua eo studiosius - ^ Handbuch, ss. 75, 2. Creuzer, fol-
facerent, quod aliquantum vasculorum \ lowing Miiller, Briefe, s. 123, throws
operis antiqui scrutautcs reperiebant." i the epoch farther back, and so does
Suetoii. C. Jul. Cses. c. 81. Out of ; Seroux d'Agincourt, Recueil, p. 93.
thirteen tombs at Capua only one had ■
158 GREEK POTTERY. Part II.
of art, from 01. lxxx.=b.c. 457, to 01. xc. = b.c. 417; and
those of the fine style, from 01. xc. = B.c. 417, to 01. c. = b.c.
377. For the last class of vases he names no period.^ Dapre,
who endeavours to prove the relative age of vases from the
coins of the Sicilian Naxos, founded B.C. 736, 16 years after
Kome, and destroyed A.u.c. 554= B.C. 39f. (1.) The earlier
coins resemble earliest vases of black ware, and have O and X
retrograde older than vi. or vii. cent. B.C. (2.) Fine but still
rigid with S and O,* iv. and v. cent. B.C., age of Agathocles —
and of the cups of Hiero and Epictetus.
The following are the principal criteria for determining the
age of vases. Those of the Doric style, with maroon figures
upon a yellow ground, resemble the mural paintings in the old
sepulchres at Veii, which city submitted to the Komaii arms
A.u.c. 358, or B.C. 396. The backgrounds with flowers appear,
indeed, to have been copied from oriental or Assyrian art, which
had ceased to exist in the sixth century B.C. ; while the Asiatic
style of the friezes, which resemble those of Solomon's temple
and the Babylonian tapestries, likewise indicates an epoch of
great antiquity. Some of the animals represented are similar
to those seen on coins issued by cities of Southern Italy as the
bulls of Metapontum were in the sixth or seventh century B.C. ;
or like the lions of Mycenae, which are supposed to date from
Olymp. Lxxiv., or B.C. 484. Brondsted is of opinion that
the oldest Panathenaic vases may be placed in B.C. 562, and
that those for holding oil in the tomb of the Moirai, mentioned
by Pindar, are nearly of the same age. Dodwell, indeed,
assigned his vase in the oldest style, representing a hunting
scene, to B.C. 700 ; but Muller, whose opinion is preferable,
gives the more moderate date of Olympiad l.=:b.c. 580. The
cup of Arcesilaus, which is only a development of this style of
art, may be earlier, but cannot be much later than B.C. 458.
Other critical marks for determining the respective ages of
vases are : The subjects represented on the black figured vases,
such as incidents in the reigns of the Arcesilai, B.C. 580-460,
showing that vases of this style cannot be later ; the use of
aspirated consonants, introduced by Simonides of Ceos or Epi-
charmus, B.C. 529, into the Greek alphabet ; the appearance of
the hoplites dromos, or *' armed course," and of the Pentathlon,
> <Ueber den Styl und die Herkunft,' I 96, 113, 116, 121, 122, 210.
8vo, Berlin, 1837, ss. 70, 71, 91, 92, 95, | « ^^y j^^j^ 1^57^ pp i_q
Chap. lir. CLASSIFICATION. 159
first practised in Olympiad LV., B.C. 560. The vases with red
figures fall into the period of the taking of Sardis, and the
burning of Croesus — the meeting of Alcaeus and Sappho, and
the figure of Anacreon being represented on them, subjects all
pointing to an era about B.C. 545. The later vases of this style
have the "^ S H O, which were introduced into the public acts
of Athens in Olympiad xciv., B.C. 404. The peculiar shape of
the drinking-cup called the Ehyton was perfected by Ptolemy
Philadelphus about B.C. 300. The later Panathenaic vases,
found at Berenice, are dated about the time of Alexander the
Great, and have the names of Athenians who were in office
from 333 B.C. to 313 B.C., commencing with the Archon Niko-
crates and ending with Theophrastus.^
There have been many divisions of the periods of glazed
vases. At first they were classed as several centuries older
than the foundation of Kome, B.C. 753, then those made from
that period to B.C. 21(5 ; another division from thence to the fall
of Corinth, B.C. 145. The vases not painted were referred to
the age of Vespasian a.d. 99, and the decadence of the arts
from Trajan, a.d. 160, to Severus, a.d. 198. Such a division
was of course purely arbitrary.^
Diacritical divisions were also attempted to be laid down from
the history of art. Those vases with monochrome paintings on
;which there was no distinction of sex, were supposed to be before
the time of Hygiemon,^ B.C. 850, after which date the painter
Eumarus distinguished the sexes. Still later were supposed to
to be vases with three-quarter faces, Cimon of Cleonse, who
flourished about 300 years later, and who introduced full faces,
the bones, contour of drapery. The finest works of this period
are about the age of Pericles, B.C. 464. Vases with transparent
draperies, or Coian vests, supposed to be lat er than Polyp^not us,
B.C. 436. Full faces appear on coins abouFtte time of Alex-
ander of Pherse, B.C. 369-4. Those of the later and fine style
which exhibit expressions of the countenance, are supposed not
to be earlier than Zeuxis and Parrhasius, and to be contempo-
rary with the most flourishing period of Greek painting, under
Apelles, B.C. 813. Nicomachus, a painter of the fourth century
B.C., is said to have been the first who represented Ulysses with
a pileus. But whatever importance may be given to these dif-
* M. De Witte, ' Etudes sur les Vases
peints,' p. 8.
•' D'Hancarville, ii. 108-114.
' Pliny, N. H., xxxv.
* De Witte, Etudes, p. 9.
Ib'O GREEK POTTERY. Part II.
ferent criteria, the absolute determining of the century in which
each specimen was made is still a disputed point, and the last
theory proposed is that most of the vases with black figures are
as late as the second or third century B.C., and exhibit not a real
but conventional and affected archaism of style and treatment.^
The Due de Luynes hesitates about defining the exact ages
of the various styles, although he has classed them generally in
the following order : 1 . The Doric or Phoenician vases. 2.
Those, the body of which is covered with an engobe or coating-
like the first class, the black of which is false, the glaze pale.
3. Those with archaic black figures, the style of which is dis-
tinguished by a massive simplicity, the muscular development
exaggerated, the touch firm, the drawing varying from the
simple to the ridiculous, and vigorous to caricature. 4.
Imitations of the archaic, the varnish of which is more
brilliant than the preceding, the outlines more careful,
and the extremities better finished. 5. Those with red figures,
or with black outlines and figures on a white ground, com-
prising a series of ware extending from the age of Pericles
to that of Pyrrhus, about which latter period the vases were
ornamented with reliefs, gilding, reeding, and twisted handles.
6. Barbaric imitations by the natives of Lucania, Messapia, and
the Bruttii, the figures of which are often of a bizarre character,
and the vase itself surcharged with ornaments.^
The paste of these vases, according to Brongniart,^ is tender,
easily scratched or cut with a knife, remarkably fine and homo-
geneous, but of loose texture. When broken, it exhibits a dull
opaque colour, more or less yellow, red, or gray. It is composed
of silica, alumina, carbonate of lime, magnesia, and oxide of
iron ; * according to Hausmann white clay, red oxide of iron.
* Brunn, Probleme in d. Geschicht. d.
Vasen. 4to, Munchen, 1871, p. 70.
- Annali, 1832, p. 145 et seq.
3 Traite, i. 546.
* The analysis of Vauquelin gave
silica, 53, alumina, 15, carb. lime, 8,
ox. iron, 24 ; Millin, Introd. p. vi. That
of Brongniart, Traite, i. p. 533, is, silica
55*49, alumina 19" 21, ox. of iron 16*55, I
carb. lime 7*48, magn. 1-76. Abeken ^^^^^^^ ^^^ ^^^^^ S^^^^^ ^y Gargiulo,
has also given an analysis of the raste I ^^^^' P* 2^, of the analysis by Nic.
of Sicilian vases, ' Mittel-Italien,' p. 364. j Covelh, of tlie paste of the vases of St.
O. Jahn, ' Vasensammlung zu Munch- I ^^^*^ ^^^ ^loti, Nola, and Capua; and
en,' 8vo, Munchen, 1854, p. cxl, 1013, j ^y Campanari, p. 56, of Lor. Valeri, of
gives the following comparative table : — , '■"^se of Vulci.
LowEE Italy.
(Millin.)
(GargiulA)
Vulci.
Sicily
Silica . . 53
48
32
40
Alumina . 15
16
24
16
Carb. lime 8
8
7
10
Manganese —
9
12
34
Ox. of iron 24
16
20
12
Residuum —
3
5
—
iAi\ Iir. PASTE. 101
jllow oxide of iron, nnd manganese. They partially molt with
fids. The colour depends on the proportions in which thes(;
laments are mixed ; the paler pastes containing more lime, the
id more iron. The ware fuses at 40° Wedgwood, and was
riginally baked at a low temperature. It is permeable,
llowing water to exude, and when moistened emits a strong
irthy smell. It is not known how this paste was prepared,
>r the Greeks have left few or no details of their processes.
has been conjectured that the clay was fined by pouring it
^to a series of vats, and constantly decanting the water, so that
le last vat held only the finest particles in suspension. The
lay was, however, worked up with the hands, and fashioned on
the wheel. It is supposed by Brongniart to have been ground
in a mill, or trodden out'with the feet. Either red or white clay
was preferred by the ancients, according to the nature of the
pottery required to be made.^
Certain sites enjoyed in antiquity great reputation for their
_clays. One of the most celebrated was that procured from a
line near the promontory of Mount Oolias,^ close to Phalerum,
)m which was produced the paste which gave so much renown
the products of the Athenian Kerameikos. The articles
lade of it became so fashionable, that Plutarch ^ mentions an
lecdote of a person who, having swallowed poison, refused to
•ink the antidote except out of a vessel made of this clay. It
seems to have been of a fine quality, but not remarkably warm
in tone when submitted to the furnace ; ruddle, or red ochre,
being employed to impart to it that rich deep orange glow
which distinguishes the. nobler specimens of the ceramic art.
Corinth, Cnidus, Samos, and various other places famous for
their potteries, were provided with fine clays.* At Coptos, in
Egypt, vases were manufactured of an aromatic earth. The
extreme lightness of the paste of these vases was not unobserved
by the ancients, and its tenuity is mentioned by Plutarch.^
That it w^as an object of ambition to excel in this respect,,
appears from the two amphorae preserved in the temple of
Erythra},^ of extreme lightness and thinness, made by a potter
' Geoponica, iv. 3. Among the Ro- ! * Pl-ny, N. H., xxxv. 12,46. Brong-
lanns it was the duty of a good house- niart, Traite', i. 582.
holder to know the nature of clays. * Apophthegm, a Pemherton, p. 14.
^ Suidas, voce Atlienaius, xi. 482, The term which he uses is AcTrra.
id. Gas. « Pliny, N. H., xxxv. 12, 46.
' Dc Audit, ii. 47, 2. 153. Rciskc.
M
16-2 GREEK POTTERY. Part II.
and bis pupil, when contending which could produce the lightest
vase. The thinnest vases are of unglazed w^ave ; and some of
these pieces which have come down to us are scarcely thicker
than stout paper. Great difference is observable in the pastes
of vases coming from widely separated localities, owing either
to their composition or baking. It is much to be regretted that
more profound and minute scientific observations have not been
directed to this part of the inquiry, as they might determine
the question w^hether the pastes of vases extracted from the
sepulchres of Greece and Italy are essentially the same or not?
and thus show whether they had a common origin. The clay
found near Mon-reale in Sicily, produced, when used in the
porcelain furnaces at Naples, a ware very like the Greeks.^
The paste of the early vases of Athens 'and Melos is of a very
pale red ; that of vases of the Doric or Corinthian style is of a
pale lemon colour. At the best period of the art the paste is of
a warm orange-red ; but the Lucanian and Apulian vases are
of a paler tone. The Etruscan painted vases of all ages are of
a pale red tone, with a much greater quantity of white, which
appears to be owing to the greater proportion of chalk used in
preparing the paste. It is very soft, and easily scratched with
a knife, but well sifted and homogeneous. The analysis of
Niccola Covelli gave for the paste of these paler vases, — 48 of
silica, 16 alumina, 16 oxide of iron, 9 carbonic acid, 8 carbo-
nate of lime, 8 of loss. Fields of this clay are stated to have
been found in South Italy, but the material is universally
distributed.^
The first glazed vases were made with the hand, but the
wheel was a very early invention. Amotfg the Egyptians and
G]-eeks it was a low, circular table, turned with the foot. Some
wheels used in the ancient Aretine potteries have been dis-
covered, consisting of a disk of terra-cotta strengthened with
spokes and a tire of lead. They are represented on a hydria
with black figures in the Munich Collection, and also on a cup
with black figures in the British Museum. The potter is seen
seated on a low stool, apparently turning the wheel with his
foot; on the kylix at Munich the boy turns it for him. Kepre-
sentations of the same kind are also found on gems.
In making vases the wheel was used in the following
^ It is found to contain on analysis, silica 40, alumina 16, carb. ac. 14, lime 10.
Dei Vasi comm. chiam. Etruschi, 4to, Palerm. 1823, p. 16.
2 Gargiulo, Cenni, pp. 19, 20.
niAP. III. MODELLING. 163
manner: — A piece of paste of the required size was placed
upon it, vertically in the centre, and while it revolved was
formed with the finger and thumb. This process sufficed for
the smaller pieces, such as cups, saucers, and jugs ; the larger
amphorae and hydrine required the introduction of the arm.
The feet, handles, necks, and mouths were separately turned or
moulded, and fixed on while the clay was moist. They are
turned with great beauty and precision, es{)ecially the feet,
which are finished in the most admirable manner ; to effect
whicli the vase must have been inverted. The juncture of the
handles is so excellent, that it is easier to break than to detach
them. Great technical skill was displayed in turning certain
circular vases of the class of asJcoi. With their simple wheel
the Greeks effected wonders, producing shapes still unrivalled
in beauty.
We have already adverted to the contending claims for the
honour of having invented the potter's wheel. The Grecian
traditions attributed it to various persons, — as the Athenian
Coroebus ; ^ the Corinthian Hyperbius ; ^ the celebrated Talos,
the nephew and rival of Daedalus ; and to Daedalus himself.^
The tyrant Critias ascribed the invention to Athens : *' That
city," says he, " which erected the noble trophy of Marathon
also invented pottery, the famous offspring of the wheel, of
earth, and of fire, the useful household drudge."* But the
invention must have been earlier, for it is mentioned in
Homer.^
The earlier mode of fabric was by means of the hand. After
the clay was properly kneaded, the potter took up a mass of the
paste, and hollowing it into the shape of walls with one hand,
placed the other inside it, and pressed it out into the required
shape. When raised or incised ornaments were required, he
used modellers' tools — the wooden and bronze chisels of his
art. The largest and coarsest vases of the Greeks w^ere made
with the hand. The pithos, or cask, was modelled by the aid of
a kind of hooped mould.^ The smaller and finer vases, how-
ever, were turned upon the wheel. The Etruscan alone were
often only modelled, and not turned. A potter is represented,
on a great lamp in the Durand Collection, standing and modelling
» Plin. N. H., vii. 56, 57.
2 Schol. ad Find. Olymp. xiii. 27.
3 Diod. Sic, iv. 76.
B. ed. Casaub.
^ Iliad 5. 600.
® Panoflva, ' Sur les Veritables Noms
* Critias, in Athen»o, i. p. 28, do Vases Grecs,' 4to, Paris, p. 1.
M 2
164
GREEK POTTERY.
Part II.
a vase before his furnace.^ Handles were modelled with sticks,
and added to the vases, as may be observed to be represented
in some gems.^ Handles were sometimes stamped or modelled,
and fixed to the bodies while the clay was moist. The lips and
necks of some of the smaller vases were also made separately,
and then fixed to the body of the vase.
Certain parts of the ancient painted vases were modelled by
the potter at all periods of the art ; for on those of the isle of
Thera, of Melos, and of Athens, horses are occasionally found on
the covers of the flat dishes moulded in full relief, while the
handle is sometimes enriched with the moulded figure of a
serpent twining round it. This kind of ornament is more
suitable to works in metal than in clay, and suggests the idea
that such vases were, in fact, imitations of metallic ones. On
the vases of the Doric style, moulded bosses and heads, like the
metallic reliefs, are sometimes found ; and even in vases of the
hard style with black figures, the insertions of the handles of
hydrise are occasionally thus enriched. In the later styles
modelling was more profusely employed ; small projecting
heads were affixed to the handles of jugs at their tops and
bases, and on the large craters called amphorae a rotelle found in
Campania and the Basilicata ; the disks in which the handles
terminated were ornamented with heads of the Gorgons, or with
such subjects as Satyrs and Bacchantes. These portions were
sometimes covered with the black glaze used for the body of
the vase, but more frequently they were painted with white
and red colours of the opaque kind.
A peculiar kind of modelling was used for the gilded portions
of reliefs, introduced over the black glaze. When the vase was
baked a fine clay was laid on it and delicately modelled, either
with a small tool or a brush, a process similar to that adopted
in the Roman red ware. It may indeed have been squeezed in
a fluid state through a tube upon the vase, and then modelled.
As the gilded portions are generally small, this process was not
difficult or important, but a vase discovered at Cumse has two
friezes executed in this style. The upper one is a row of figures
round the neck, representing the departure of Triptolemiis,
delicately modelled, coloured, and with the flesh thoroughly
gilded; the lower one consists of a band of animals and arabesque
1 De Witte, Catal. Dur. No. 1777.
Lenormant, 'Cur Plato Aristophanem
induxerit in convivio,' 4to, Paris, 1838.
' Hausraann, p. 16.
SlIAP. III.
MOULDING.
165
'nameuts. Several vases from the same locality, from Capua
id from Berenice, have, round tlie neck, modelled in the same
byle, wreaths of corn, ivy, or myrtle, and necklaces, while the
jst is plain.
But the art of modelling was soon extensively superseded by
lat of moulding y or producing several impressions from a
lould probably itself
>f terra-cotta,^ but
perhaps occasionally
if stone or marble. In
le former case the
subject was modelled
in salient relief with
considerable care; and
from this model a cast
in clay was taken and
then baked. In the
)tlier case a die or
5ounter-sunk impres-
flon was carved out in
stone mould. As
jrra-cotta often warps
the bakinP" it i^ ^^- ll 6-— rotter moulding the Handle of a Cup, s/t-j/p/ios.
metimes difficult to determine whether certain reliefs are
lodelled or moulded.
The potter availed
dmself of moulds
)r various purposes,
'rom them he pro-
luced entire parts of
fis vase in full relief,
ich as the handles,
md possibly in some
istances the feet.^
[e also stamped out
irtain ornaments in
dief, much in the
ime manner as the
Ornaments of cakes No.llT.-Sltula. with stamped ornaments.
|re prepared, and fixed
ihem uhile moist to the still damp body of the vase. Such
' D'Agincourt, Rccueil, xxxiv. 00, 02.
Hausjuaim, p. 16.
166 GREEK POTTERY. Pakt II.
ornaments were principally placed upon the lips or at the base
of the handles, and in the interior of the hylikes or cups of a
late style, when the art was declining. One of these ornaments
is an impression from one of the later Syracusan medallions
having for its subject the head of Arethusa surrounded by
dolphins : it was struck about B.C. 350.
The moulded portions of these vases are generally covered
with the same black glaze as is used for the bodies ; but many
of the little lekythoi found at Athens and in the Basilicata have
only their necks and part of their bodies glazed, while the
moulded portions are painted in fresco of various colours, like
the unglazed terra-cotta figures. Such vases were probably
either toys, or else used for ornamental or sepulchral purposes.
Some from the tombs of Athens represent a negro grinding
corn or kneading bread, Dionysos reposing under a vine,
Europa crossing the sea on the bull, a Nereid on a dolphin, a
boy with a dog, a female child lying on the ground or on a
couch, apes,^ and other animals.
A subdivision of this method of moulding upon the vase itself
is easily remarked on the saucers, phialai, and cups, sJcypJioi,
hantliaroi, or even smaller amphorae and other vessels made at a
later period of the art, and entirely covered w^ith a coating of
black glaze. Rows and zones of small stamped ornaments,
apparently made with a metal punch, have been impressed on
the wet clay of these vessels before the glaze was applied.
These decorations are from |^ to ^ inch long, and unimportant
in their subjects, which are generally a small radiated head,
dolphins, helices, or the ante-fixal ornament, and hatched band,
arransfed round the axis of the vase. This latter ornament was
probably produced by rolling the edge of a disk notched for
the purpose round the vase, in the same manner as a bookbinder
uses his brass punch. Such, at least, was the method by which
this ornament was produced on the Koman pottery. Plain
circular zones, a kind of decoration also often used by the potters,
were more easily made with a pointed tool. When these vases
came into use the potter's trade had ceased to be artistic, and
was essentially mechanical. They are found in the ancient
sepulchres of the Etruscan territory, as well as in the more
recent cities of Southern Italy, such as Brundusium.
The last method to be described is that of producing the
^ htackclberi?- xlix-lii. Mus. Pourt. xxviii-xxx.
FCiiAP. III. MOULDED VASES. 167
mtire vase from a mould by stamping it out ; a process hOw
[extensively adopted in the potteries. During the best period
[of the fictile art, wliile painting flourished, such vases were very
rare ; but on the introduction of a taste for goblets and other
rases of that kind,^ the potters endeavoured to meet the public
ftaste by imitating the reliefs of metal ware.
The most remarkable of these moulded vases is a kind of
beakers called rhyta. They have one handle, and are incapable
of being set down on the table except on their mouths, so that
the guests were compelled to drink their contents. The bodies,
which are cylindrical or expanding, terminate in the heads of
animals, which, on examination, appear to have been delivered
from a mould. These heads, which are principally of such
creatures as belong to the chase, were subsequently coloured,
sometimes with an engobe, or coating of opaque colours, slightly
baked, at others with the glaze. The bodies, or necks, were
painted in the style of the period ; but the former appear to
have first received a kind of polish or extra finish by returning
them to the lathe, and passing them between the potter's
fingers; for the marks of the gates, or divisions of the mould,
are often obliterated.
By the same process were also made the vases found at Vulci,
of the nature of jugs, being either oinoclioai for wine, or Ithytlioi
for oil ; the bodies of which are in the shape of human heads,^
sometimes glazed, made from a mould, while the necks were
fabricated on the lathe, and the handles added. These were
coloured and ornamented on the same principle as the rhyta;
but their style of art, which is rather better, shows that they
were first in fashion.^ A few cups made in the same way have
been discovered ; such as that shaped like the head of Dionysos
crowned with ivy,* and certain early cups in the form of a
female breast with the nipple, also of the character of rhyta,
and which call to mind the gold vase which the vain and lovely
Helen dedicated to Aphrodite, modelled in the shape of her
own breast.
Besides the rhyta, several jphialai, or saucers, were also
moulded ; beautiful examples of which process may be seen on
the fiat bossed saucers, or j^hialai omphalotai. Bound their
* Arneth, Cliev., Das K. K. Mttnz | ' Cat. Duiaud, 1230-12G4. Stackcl-
uml autiken Kabinet. Svo, WIlii, 1845, i berg, xxv.
s. 7, no. 00, Gl. I ^ Micali, xcix.
^ Mils, rourt. ii. , I
168
GREEK POTTERY.
Fart 11.
centre is a frieze in bas-relief of four chariots, each having an
Eros, or Cupid, flying before it in the air ; whilst in the chariots
themselves are Minerva, Diana, Mars, an 1 Hercules, driven by
female figures, and having before them a boar or deer. Others
No. 1 ] 8. — Moulded phiaU oiiipkalote. Cliariots of Gods.
have imitations of scallop shells. One cup has the subject of
Ulysses and the Sirens.^
Jugs, amphorae, jars, and cups, the bodies of which are
reeded, were also evidently produced from moulds,^ and coul<l
not be made by the expensive process of modelling. Of smaller
dimensions, but also made by moulding, were small vases, appa-
rently used as lamps, and from their resemblance to wine-skins
called askidia. They have reeded bodies, long necks, and cir-
cular handles; and on their upper surface a small circular
medajlion in bas-relief,
with a mythological sub-
ject. In one kind of these
vases the spouts terminate
in the head of a lion.^
Such vases are principally
found in the Basilica ta and
in Sicily, and belong to the
latest period of the Greek
fictile art.* After being
moulded they were entirely covered with a black glaze.
Besides those already enumerated, the potter produced from
» Sec Gori, Mus. Etr. torn. i. tab. vi.; ; Bull. 1842, p. 36, 37.
Ingliirami.MoiiiinKiitiEtrusclii/ravole, j ^ Pasiscii, i. xlv.
s. vi. Q. S. ; Beii. Ant. Bild. 1G48. j ^ Gcihanl, loe. cit. ; Passcri, i. xliii.
-' Gerliarcl, Berl. Ant. Bild. 911, 9oO. ' xliv.
No. 119. — Askos, uu-ulded lion's-hoad spoilt.
CllAI'. III.
MOULDED VASES.
169
iiioulds small vases for the toilet of the class of lehjthoi, or oil-
vasos. Such are the vases in shape of tlie bust of Aphrodite
holding a flower, armed heads, the Gorgon's leg, a negro's
head,^ an astragalus or knuckle-bone,^ or an ape holding a vase.
Others are in the shape of animals ; as of the elephant,^ the
horse,* the mole,^ pigs,® doves,^ rams,^ a liorse's head,^ a dead
liare, an eagle, 'lolphin, apes,^°and deer, their heads forming the
stoppers. One like the claw of a crab has also been found.^^
Such vases, however, may have been used as toys, as some have
pebbles or brazen balls inside them, and were found near the
skeletons of chiMren.^^ Some are in groups, of which a remark-
able one, discovered near
Naples, represented an
Ethiopian devoured by a
crocodile.^^ Others are in
the forms of Silenus pour-
ing wine into a vase,^* of a
Siren destroying a youth,^^
of pigmies and cranes, ]\Ie-
dusas,^® females recumbent,
or in vessels, and such-like
phantasies. These were
probably ornaments.
A vase of this kind in
the Pourtales collection is
moulded in the form of a
dove, and has at each side a \
moulded figure of Aphrodite,
slightly draped and recum-
bent, stamped in a separate
mould and applied to the
side of the vase. It was in-
tended to represent Apliro-
dite crossing over the sfa on the back of a swan.^'
No. 120. — Early moulded Vase, hi shape of A^.brodite.
* Micali, ci.
2 Arch. Zeit. 1851, Taf. xxxii. s. 370.
Slackelberg, Die Gitlber, xxiii.
3 Arch. Zeit. 1849, s. 99.
^ Inghii-ami, Mon. Etr. vi. 3, s. v. ; T.
F. 4 ; M. E. Fontani, Vasi di Hamilton, i.
5 Cat. Magn. 104.
" D'Haucarville, iii. 106.
' Ibjil, iv. 31; T. 8. vi. ; T. F. 4.
" Htrl. Ant. Bild. 1582.
9 Berl. Ant. Bild. 1654-1658.
Coll. Feol. 167 ; Cat. Dur. 1306.
' Panofka, Mus. Pourt. pi. xxx.
2 Bull. 1829, p. 20 ; Cat. Magn. 104.
3 Bull. 1829, p. 19; Arch. Zeit. 1849,
100.
* Arch. Zeit. Anz. 1851, s. 37.
^ Berl. Ant. Bild. 1584.
« Cat. Dur. 1264.
' PanoflijK Mus. Pourt. xxxix.
170
GREEK POTTERY.
Part II.
A few of the largest vases, such as those in the Museum at
Naples, were probably modelled on a frame. This, which was
called handbos, was made of wood, and the clay was moulded
over it.^
After the vases had been made on the wheel, they were duly
dried in the sun,^ and then painted ; for it is evident that tliey
could not have been painted while wet. The simplest, and
probably the most common, process was to colour the entire
vase black. The under part of the foot was left plaiu. When
a pattern \vas added, the outline and faintly traced with a
round point on the moist clay, was carefully followed by th<3
painter. The fine lines of the figures and pattern are su[)posed
to have been drawn with a reed pencil of the kind which came
from Egypt, Cnidus, or the banks of the Caspian.^ When the
figures were black on a red or light background, they were first
sketched in outline and then filled in. Occasionally, however,
the figure was traced on an incised or dotted line before the
dark outline was laid on.* It was necessary for the artist to
finish his sketch with great rapidity, since the clay rapidly ab-
sorbed the colouring matter, and the outline was required to be
bold and continuous, each time that it was joined detracting
from its merit. A finely-ground slip was next laid upon a
brush, and the figures and ornaments were painted in. The
whole was then covered with a very fine siliceous glaze, probably
formed of soda and well-levigated sand. For vases intended
to be painted, the potter took great care, and he faced the
surface about a third of the thickness of the body with a finer
red clay, leaving the other two-thirds of a fine clay, but of
inferior quality. The vase was next sent^ to the furnace, and
carefully baked. It was then returned to the workshop, where
a workman or painter scratched in all the details with a pointed
tool, and laid in a white powder, as they had no black glaze.
The faces of female figures were coloured white, with a thick
coat of lime or chalk, and the eyes red. Parts of the drapery.
^ Jahn, 1. c. p. 42. Geoponica, vi.
3. Pollux, X. 189. Aristotle de Part.
Aniin. ii. 9. TertuUian, Apol. 12, ad
Nat. i. 12. Pliny, loc. cit. Muller,
Arch. s. 305. Hesych. voce Anth. Pal.
X. 107. Aristot. Hist. An. iii. 5. De
Gen. ii. 6. p. 743 a. For tlie distinction
between tliisj and the Kiwa^os or model,
sec Jahn, loc. cit. Of. alao the expres-
sion • stipes.'
. 2 iEsop. Fab. Ixxvii. pp. 37, 38, ed.
Tauclm. "iva alQpia Xajxirpa i-KLix^ivrj, koL
\aixiTphs ifjAios ws hy 6 Kepa/j-os ^rjpavdy,
was the wish of a man's daughter who
had married a potter.
' Pliny, N. H. xvi.c. 22.
* Jahn, ' Der Mulerei,' p. ISO.
Chap. III. PAIN'l'lNG. 171
the crests of helmets and the antygeSf or borders of shieMs,
were coloured with a crimson coat, consisting of an oxide of
iron and lime, like a body colour. Tiiis rendered them poly-
chrome.
In the second style of vases the figures are painted in a deep
brown or black of an unequal tone on a yellow ground, formed
of a siliceous coating over the pale red clay of the vase. An
improvement upon this style was the changing of the colour
of the figures by painting, or stopping out, all the ground of
the vase in black, thus leaving the figures of the natural red
of the clay, and the marking of the muscles and finer portions
in an outline of a bright brow^n. The i-deas that the figures
were produced from others cut out in paper,^ or by a process
like distemper,^ or from terra-cotta copies of sculptures,^ seem
inadmissible, xifter the paint had dried, the slip, or the siliceous
glaze, was laid over the vase, except the under part of the foot
and the inside.
D'Hancarville * supposes that the ancients made their vases
of clay, or of decomposed sand found in the Samnite Vulturnus,
which they levigated or refined by washing, leaving the clay
thus prepared in w^ater, to swell and become glutinous enough
for the wheel. While the vase was moist, they gave it a coating
of yellow or iron ochre, which slightly penetrated the surface,
and when baked became of an orange-colour. The vases were
painted while in an upright position, and the artist was obliged
to stoop, rise, and execute his work in these difficult attitudes ;
nor could he remove the pencil from any figure which he had
once begun. The eye must have been his only guide. The
following are the chief difficulties. The painter being obliged to
draw his outline upon a damp surface, the black colour which
he used was instantly confounded with the tint of the clay.
The lines grew broad at first, and afterwards contracted them-
selves, leaving but a light trace, so that the artist could with
difficulty discern what he had been doing. But, what was still
more embarrassing, the lines, once begun, could not be left ofi'
except where they met other lines which cut or terminated
them. Thus, for example, the ' profile of a head must have
been executed with a single continuous line, which could not be
^ D'Hancarville, iu Bcittiger's Vaaen- | ' Rossi in Millingen, Vases de Cog-
gumalden, Heft i. s. 58. i liill, p. xi.
- Due de Luynes, Aniuili, 1830, p. * II. pp. 13G-138.
242.
172
GREEK POTTERY.
Part II.
interrupted till it met the neck ; and in drawing a tbigh or
leg, tlie whole outline must have been finished without taking
off the pencil : pi'oceeding from the top downwards, making use
of the point to mark the horizontal lines, and afterwards rising
upwards to finish the opposite side.^ The drawing was done
entirely by the hand and no pattern used.^
The dark outline was drawn strongly with a thick pencil,
to prevent the background encroaching on the figure. That
this was done wdiile the clay was moist appears by the outline
uniting, which could not have taken place if the clay had been
dry. It was so difficult to fill in the outlines without alteration,
that they were frequently changed, and sometimes the ground
was not reached, while at others it exceeded the line.
The ancient artists, notwithstanding these difficulties, ob-
served all the laws of eqnilibrium in their figures ; conveyed
expression by means of attitude ; and, by the use of profile, and
the introduction of accessories, or small objects, into the back-
ground, contrived to compensate for the want of perspective.
This want of perspective was owing to the use of flat colours,
which did not allow of shades, and the figures were conse-
quently not seen in masses distinguished by light and shade,
but isolated in the air. Hence, in order to make the figures
ho. 121.— Fragment, prepared for painting the background.
distinct, and to express by attitude all the actions and senti-
ments required, the artist was compelled to use profile. The
black colour, the choice of which at first appears singular, is,
after all, the most harmonious, and the best suited for showing
the elegance and purity of the outline ; whilst by its aptness
' D'Hancarvillc, ii. p. 142.
Hausmann, p. 27.
Chap. III. COLOURS. 173
to reveal any defects of shape, it compelled the artist to be
very careful in his drawinj^.^ A fragment of a vase, supposed
to have been sent to the furnace by mistake (No. 119), shows
the mode of drawing the red figures, and proves that the vases*
were painted before they were sent to the furnace.^
The instruments employed by the ancient potters must have
been very like those used at the present day. The apparent
fineness of the exterior of the vases is solely due to the care with
which the surface was polished.^ The paintings w^ere made with
a kind of brush,* and the artist had a stick to steady his hand
while drawing ; he must also have had a pointed tool, like a
tracer, for the first outline, and a sharp one for tlie incisel lines.
The incised circular lines in shields appear to have been made
with a compass.
Few and simple colours were used. They were evidently
ground excessively fine, and made into a kind of slip. Of these
colours the black was the most important and the most exten-
sively used. Great difference of opinion has always existed as
to the nature of this colour, some imagining that it was due to
a peculiar quality of clay, others ascribing it to the employment
of manganese. Another theory is, that the vases were placed
in external cases of crude clay ; that the space between this
case and the body of the vase was filled with shavings, which
were ignited by the heat of the furnace, and that the condensed
smoke produced the jet-black colour on the surface.^
Hausmann produced the black colour synthetically by a solu-
tion of asphalt in naphtha. Pliny seems to allude to its being
made of jet.^ Various hypotheses have been proposed about
the black colour. According to Caylus it was manganese or
terra martialis ; according to Sage, black oxide of this sub-
stance and black oxide of lead, black-lead ; according to
Scherer, an earth; according to Chaptal, lava; oxide of iron
and manganese, according to Jahn. D'Hancarville thought
it was made of lead and what he calls lime of magnesia."
Manganese, the black oxide of wliich might have been conjec-
^ D'Hancarville, ii. pp. 146-148. | tichi nel dipingere i Vasi.' Extracted
^ Dei Vasi comm. chiam. Etruschi. ; from the Bibliottca Analitica.
4to, Palerra 1823, p. 16. j * Bull. 1837, p. 28.
3 Annali, 1832, p. 142. I « Hist. Nat. xxxvi. 34.
* Gerhard, 'Festgedanken an Winck- • II., p. 148. He piobably meant
elmann,' 4to, Berlin, 1841, Taf. ii. Cf. carbonate of magnesia and black-lead.
Jiirio (Andr( a), ' S\d Metodo degli An-
174 GREEK POTTERY. Part IT.
tured to produce it, is denied by Brongniart to be even
traceable in this colour.^ He supposes that it was a metallic
oxide. Vauquelin takes it to be a carbonaceous matter, such
•as plumbagine or black-lead.^ The Due de Luynes asserts it
to be an oxide of iron.^ This black colour assumes several
hues, according to the locality, age, care, and thickness with
which it was burnt in. The fineness of the black colour is
shown by the outlines of the red vases. The shade of red de-
pended on the colour of the clay. On the Vulcian vases it has
a greenish tone, and where two vases touched one another, or
where too thin, it is frequently red or oraijge. On those of
Caere and Nola it is jet black, and on the later Campaniau ones
of an ash or grey colour. Over the whole colouring matter the
glaze was spread, the vase was then baked, and the additional
colours were laid over the glazing. Dead or flat colours only
were used ; for the lustrous orange is the natural tone of the
clay, enhanced by the glaze. Gerhard* supposes that the yellow
tone is due to a colour laid on the body of the vase before it
was baked ; but its sujierior colour, like that of the Roman red
ware, ma}^ be the result of a mechanical polish given by the
potter, or according to Jahn of ochre, pale or Samian clay :
ground quartz and iron-sand gave the orange colour. These
additional colours, it appears, were also subjected to a firing ;
but at a much less heat than the glazed ones. The most im-
portant and extensively used of these opaque colours is the
white, said by Brongniart to be a carbonate of lime or fine clay.^
The white under analysis gives no trace of lead, but is evidently
an earth. According to the Due de Luynes it is a white
alumina or pipe-clay,® while others have discovered in it a mix-
ture of carbonate of lime and oxide of iron,' or have produced
it synthetically from a white clay and borax. D'Hancarville
erroneously conjectures it to be a white lime or lead.^ Similar
to this is the cream-coloured engobe or coating found on the
ground of certain vases of the more ancient style, and proved
by analysis to be a kincl of pipe-clay. The deep red or crimson,
sparingly used on the vases of the oldest style to distinguish
' Traite, i. pp. 549, 561. ^ Traite, i. p. 564.
"^ So also Scherer, in Bottiger's Va- . ^ Annali, 1832, p. 143
sengemalden, ii. 35.
3 Annali, 1832, p. 143.
*« Berlins Ant. Bildw., s. 146.
^ M. Dorat's analysis gave 8 carb.
lime + 2-4 oxide of iron.
» D'Hancarville, ii. 150.
Chap. III.
GLAZING.
175
certain dotails, is known to be an oxide of iron ; ^ and the light
red is iron in another proportion. Tlie yellow is an ochre. The
scarlet used for outlines is denied to be vermilion. Blue and
green, but rarely found, and only on vases of the latest styles,
were produced from a base of copper ;^ gilding was occasionally
applied. The part to be gilded was made in bas-relief, or
terra-cotta delicately modelle'l, of white stucco covered with a
mordant, and a gold leaf laid on,^ but not burnished. All
colours were burnt in, and none of organic matters were laid on
after baking. Some accounts of vases with gilding, and their
age, which is said to be determined by the discovery of a coin
of Leucon I., king of the Bosphorns from B.C. 393 to B.C. 353,
with such vases in a sepulchre near Kertch. The vase with
the subject of Darius, son of Artaxerxes Mnemon, who revolted
against his father B.C. 360, was also adorned with gilding.*
This decoration occurs only on vases of later style, principally
on those found in tlie Cyrenaica at Athens, Ruvo, and Nola.
Some doubts appear to exist respecting the liquid employed
for mixing the colours. Some have supposed that it was water,
others that it was turpentine or oil ; but the first seems the
most probable. The colour was easily laid on, and seldom
scaled in the furnace.
The glaze with which these vases were covered is described as
lustrous, and only one kind was used, the receipt for making
which is now lost. Seen under a microscope, it has evidently
been fused by baking, it yields neither to acids nor the blowpipe.
Hausmann considers it a varnish. The glaze is remarkably
fine and thin ; soda, saltpetre, borax, salt, are supposed to have
been used. It appears to have been composed of one of the
princij)al alkalies, either potash or soda ; but it is so exceedingly
thin that it can be analysed only with great difficulty. No lead
entered into its composition. It iS; however, fixr inferior in
other properties to the modern glazes, for it is permeable by
Avater. It is not, however, decomposed by the same chemical
agents.^ It must have been ground exceedingly fine, and
1 Annali, 1832, p. 143. Brongniait,
Traite, p. 347.
^ Annali, loc. cit.
3 Gerhard, Berlins Ant. Bildw. s. 147.
Rapp. Vole. not. 164 and foil. Inglii-
ranii, Vasi Fittili, i. p. 5.
* Jahn, * Bemalte Vasen mit Gold-
schmuck,' 4to, Leipzig, 1845 ; M. De
Witte, Rev. Arch. 1S63, pp. 1-11;
Btude, p. 32 ; Deville, ' La Peinture des
Vases antiques,' 8vo, Rouen, 1842 ;
Jahn, O. Vasen samm lung zu Miinchen,
8vo, Miincli. 1854, p. cxxxix. and foil.
* Brongniart, Traite, i. p. 552.
176 GKEEK POTTEKY. Part II.
spread over the whole surface of the vase when the colours were
perfectly dry. This glaze adheres perfectly to the colours,
especially to the black, which it seems to have thoroughly
penetrated, and with which it scales off in flakes ; but many
vases show how imperfectly it adheres to the paste.
The vases were first baked, and subsequently painted and
glazed, because the glaze ran best on a surface already baked.
As the glaze resembles that of the red Samian ware, it was
probably produced in the same manner, either by a polish, or
by the use of salt. The colour has often changed while the
vase was in the furnace.^
According to D'Hancarville, the vases were baked in a naked
furnace, but their colour varies when the glaze has received a
blow of the fire, passing from black to green, or from green to
red, and even yellow. This effect must be distinguished from
that produced by the burning of pyres, by which the bodies of
the vases were often burnt through, and a leaden, metallic hue
imparted to them.
If naturally, or by accident, any parts remain too pale after
the baking, the defect was remedied by rubbing them over with
a deep red ochre, which supplied the necessary tone. This is
shown by ceitain vases burnt on funeral pyres, on which the
red colour has preserved the outline of the figures, although the
varnish has peeled off.^ The temperature did not exceed 7° or
8° Wedgwood, there being no traces of fusion.
The representations of ancient furnaces, as derived from
vases or gems, exhibit them of simple construction, in shape
like tall ovens fed by fires from beneath, into which the vases
were placed with a long shovel resembling tiie baker's peel. In
front of one depicted on a vase at Munich is seen a Satyr's head,
intended to avert the fascination of the evil eye, or of the
enchantments,^ which, according to the popular superstition,
might spoil the process of manufacture. On a cup in the
Berlin Museum, the vases are seen arranged on steps, probably
the secondary process of drying the accessary colours ; Avhile on
* Gargiulo, Cenni, p. 29. Jorio, 'Let-
tiia sul metodo degli antichi nel di-
pingere i vasi e suUe rappresentanze
de' pill interessanti del E. Museo.'
Also, 'Vasi Gieci comunemente chia-
n.ati Etnisrhi, delle lor forme e depin-
Palermo, R, Stamp. 1823, 8vo,
2 Annali, 1832, p. 144.
3 Jahn, 1. c. s. 46. Pliny, N. H.
xxviii. 2, 4. Homer, Hymni, Caminos,
Pollux, vii. 108. Bekker, Anecd. Grec.
p. 305. Larcher, Vit. Herodot. lib. vi.
ture, del nome cd iisi loro in generale.' ; 182.
dl
(^HAP. III. FURNACES. 177
,1 gem, the subject of which is a potter painting a cnp, the vases
are placed on tlie top of the furnace uncovered with any sagger,
or shade, to protect them from too much heat. On another
gem a potter is seen finishing a vase on the top of a small
domed furnace like that of an enameller.^
A kiln, represented on a vase from Pozzuoli, has a tall
chimney, and open furnace below. In some cases the vases
appear to have been placed on the flat upper part of the stove.
But on one gem the painter, or modeller, is seen finishing a
vase, with two sticks placed on a conical object with a semi-
elliptical opening, supposed to be a closed furnace, like the ena-
meller's, if, indeed, it is not the sagger or covering for the vase.
On the hydria at Munich, already mentioned, a seated youth is
represented about to place an amphora in the kiln, while
several vases, all coloured white, lie ready to be baked. A
labourer is attending to the fire. The kilns w^ere heated with
charcoal or anthracite ; and it is related of the elder Dionysius,
tyrant of Syracuse, that being unwilling to trust his unpopular
throat to the razor of a barber, he was accustomed to singe his
beard with the embers.^ When the vases were returned
from the furnace, the potter appears to have made good the
defects of those not absolutely spoiled ; and the tone of some
parts, especially the feet, was improved by rubbing them over
with a red ochre, probably with wool. A kylix from Yulci in
the collection of Munich represents a pottery, possibly the
subject of Homer amidst the Samian potters; On the right a
youthful workman seated on a stool is about to attach to an
amphora the handle of a vase brought him by another youth.
The next group represents the wheel, a boy turns it with both
hands, making it revolve in the manner described by Homer ;
a man of mature years is represented hollowing an amphora
and turning its shape: another man, yoimger, hastens from
this group with a vase already made, and before him is an-
other vase. Before them is a very old man draped in an
ampechonion, and, holding a long tall stick, either Homer or
the master of the pottery. Before him is- a naked young
man, who has placed a vase in the furnace with a peel.
The furnace has a tall cylindrical chimney, and above the
head of Pan crowned with a wreath. The pots, when ready
\
» Jahn, 1. c. Taf. i. 3, 4, * Plutarcli, Dio. 9,
178 GREEK POTTERY. Part II.
for making, were probably carried about by boys ; at all events
Plato ^ speaks of the children of potters as fetching and car-
rying the pots for their parents. It is the coloured plate above
given.
No furnaces have been found in Italy or Greece, although
indications of a terra-cotta manufactory were discovered at
Cales.2
» Rep. V. p. 466. * Gargiulo, Cenni, pp. 19, 20.
CiiAi'. IV. GLAZED VASES. 179
CHAPTER IV.
Glazed vases continued — Kise of the art in Greece — Painting of vases —
Earliest style, brown figures — Second period, maroon figures — Develop-
ment — Earliest black figures — Doric style — Old style, later black figures —
Cream-coloured ground and black figures — Eed figures — Strong style —
Fine style — Florid stylo — Polychrome vases — Decadence — Mode of treat-
ment — Progress of painting.
Having thus detailed the few technical notices which can be
collected respecting the mode of manufacturing glazed Grecian
vases, we will now proceed to consider them with regard to their
style of art, as displayed in their painting and ornaments.
The first traces of Grecian art and refinement appeared upon
the coast of Asia Minor. The Greeks, there placed in contact
with the old and magnificent monarchies of Asia, became
imbued with the love of luxuries unknown to those of their
race who inhabited the bleaker shores of the Peloponnese.
In the Iliad, which presents a glowing picture of early civili-
sation, the decorative, as well as the useful, arts of life are
frequently described ; and amongst them that of the potter is
not the least prominent. Thus we find the dances of the
vintage compared with tlie revolutions of the potter's wheel ;^
and the large wine-jar or ^ithos is mentioned, which held the
whole stock of wine belonging to a household, and which
was, in fact, the cellar of the Homeric age.^ The expression,
Ii^halJceos Jceramos, applied by Homer ^ to the brazen vessel in
which the Aloides confined Ares, shows that clay was the
■naterial usually employed for making large vessels, and that
In his time the use of metal for such purposes was rare.
It is supposed that originally vases weie uncoloured, that
they were subsequently painted black, and that afterwards,
when the arts arose, they were ornamented with figures. The
last sort of vases are supposed to have been used by the richer
classes, and the black ones by poor people. Vases of plain
black glaze, placed in the sepulchres, were called Lihyes}
> Iliad, xviii. 600. ' Ibid. ix. 405, 469. ^ ji^j^j ^ 337
* Millingen, Vases Grecs, Introd. p. iv. Hesyehius, voce Aifives.
N 2
180
GREEK POTTERY.
Part II.
The first attempts at art would be plain bands or zones dis-
posed round the axis of the vase. These bands or friezes were
subsequently enriched and di-
versified by the introduction of
the forms of flowers, animals, and
insects, drawn with the childish
simplicity of early art. Thus on
some the scarabeeus is beheld
of gigantic proportions, soaring
above a diminutive stag, and
a herd of puny lions are placed
in a row, under another row of
gigantic goats.^ Some vases,
with white ornaments of msean-
ders and lines upon a black
grounrl, much resemble those
found in the sepulchres of the
early Peruvians,^ and may per-
haps be regarded as displaying
the first attempts at decoration ; but as the art of making vases
was practised at the same time as that of inlaying and chasing,
it is probable that the invention of a glaze and the introduction
of ornament were simultaneous.
Near the ancient sites of Tantalis on Mount Sipylus, the
tomb of Agamemnon at Mycenae, that of Achilles in the
Troad,^ in the old sepul-
chres under the Acropolis
at Athens, at Delphi, and
in the islands of Rhodes,
Milo, the ancient Melos,
and Santerino,^ the ancient
Thera, and at Dali, Lar-
naka, and Golgos,^ a kind
of pottery has been dis-
sro.i23.-Kyiix of the earliest style. covcred, which has cvcry
No. 122. — Diota of the earliest style.
* See Due de Ijuynes, Annali, 1830,
p. 242.
"^ Vases de Lgtmberg, II. xlviii. 42-3.
' Burgon, Trans. Roy. Soc. of Liter.,
ii. 258 ; Stackelberg, Die Graber der
Uellenen, fo. Berlin, 1837, Taf. ix. ;
M, Bronguiart, Mus, Oer., pi. xiii.
♦ Gerhard, in Annali, 1837, p. 134 ;
BuUetino, 1829, p. 126 ; Ann. 1841, 10 ;
Morgenblatt, 1835, s. 698.
^ These have been discovered by ex-
cavations made by General L. Ce.snola
of tlie United States, and Mr. R. H. Lang.
Many of these early vases are figured in
'Harper's New Monthly,' 8vo. New
York, 1872, p. 192 ; B.'A. 1869, p. 215.
Chap. IV. EARLIEST STYLE. 181
appearance of being the earliest painted ware manufactured by
the Greeks.^ It is composed of a fine light red paste, covered
with a thin siliceous glaze, and having ornaments painted on
it ill red, brown, or dark black lines, which have also been
burnt into the body of the vase. Such decorations are the
earliest which the vase painters adopted after they had dis-
covered tlie art of covering the whole surface with a glaze.
They bear great similarity, to the decorations of the early
Greek architecture, as exhibited in the sepulchres of the
Phrygian kings,^ and the facings of the tomb of Agamemnon,^
works which some regard as the remains of Pelasgic archi-
tecture. They consist of hatched lines, annular lines or bands
passing round the body of the vase, series of concentric
circles, spiral lines, mseanders, chequers, zigzags or Vandykes,
and objects resembling a primitive kind of wheel, with four
spokes.* No human figures are depicted on any of these
vases, but animal forms are found in the rudest and most
primitive style of art, distinguished by the extreme stiffness
of their attitude, the length of their proportions, and the
absence of all anatomical detail. These animals are the horse,^
the goat,® swine,' storks, waterfowl, and dolphins.^ They are
either disposed in compartments, like metopes, but separated
by diglyphs instead of triglyphs, or else in continuous bands or
friezes, each being several times repeated. Besides these, some
few objects of an anomalous character are represented, such as
wheels^ of chariots, objects resembling the tumhoi or mounds
placed over the dead, stars,^*^ and other objects.^^ Comparatively
few of these vases are known ; but the shapes differ considerably
from those of the latter styles, although they are evidently
their prototypes. Several of these vases are amphorae, some-
times of a large size, and evidently adapted for holding wine
at entertainments. Others of this class have twisted handles,
like those discovered at Nola. Among those with two
* Brongniart and Riocreux, Mus. de I * Ibid. 2531. Two horses with a
Sevres.
2 Steuart, 'Ancient Monuments,' fo.
Lond. 1842.
' Expe'dition Scientifique an Mores,
fo. 1813, pi. Ixx. ; Gell, Itinerary, 4to,
Lond. 1810, pi. vii. p. 28; Dodwell,
Tour, ii. 237 ; Travels, ii. 384. I '« Ibid. 2517.
* Vase Room, Nos. 2507-70 ; De I " Ibid. 2519-22-25-72
Witte, Etude, p. 30. . |
tripod between them, probably alluding
to the course.
« Ibid. 2558.
^ Stack elberg, Die Graber, Taf. ix.
8 Vase Room, Nos. 2517-56-57-58.
» Ibid. 2514, 2517 ; Stackelberg, 1. c.
182
GREEK POTTERY.
Part II.
handles, many having flat, shallow bodies, sometimes on a tall
foot, are of the class of cups destined for sym'posia or entertain-
ments, and are the prototypes of those called hylihes, or skyjphoi.
Some others of the same shape have a flat cover, surmounted by
two modelled figures of horses, and are the first instances of what
is probably a kind of pyxis or box, a vase subsequently found in
a more elegant shape amidst the sepulchres of Nola and the
Basilicata. These have been called, on very slender grounds,
lekanai, or tureens. Various jugs or oinochoai are found, some
with round handles, which evidently
ministerel the dark, sparkling wine
at the festive entertainments, some-
times of proportions truly heroic ; as
well as smaller vessels of this class
of the shape called oZ^e. Other vases
in the British Museum are of the
shape of the ashos, or skin to hold
liquids.^ A vase, figured by Stackel-
berg, represents a little jug on the
top of the cover of a two-handled
jar, like some of the vases of later
style.
The collection in the British Mu-
seum, perhaps the richest in vases
of this class, contains several speci-
mens of very large dimensions, which
came from the collections of Lord
Elgin, as well as some smaller pieces of this ware, either the orna-
ments of vases, or else the toys of childi-^n. Among them are
horses, probably from the covers of the pyxides, parts of chariots,^
and a Boeotian buckler.^ Some of the covers are perforated with
holes, two on each side, like the Egyptian, by means of which
they appear to have been tied on in place of locks. One small
vase, having a cover with a tall stud, is a true pyxis, and was
undoubtedly of the class used for the toilet. There are no
vases of the shape subsequently known as krateres, at this
period, that vase being represented by certain large amphorae.
There is every reason to believe that these vases are of
the highest antiquity. Three, figured in Stackelberg's work,
were found in tombs near the Dipylon gate of the Hiera
No. 124— (Enoclioe of the earliest
style. B. M , No. 2531.
» Vaac Room, No. 2583.
2 Ibid. 2583.
' Ibid. 2584.
Chap. IV.
ARCHAIC GREEK.
183
Hodos, or Sacred Way to Eleusis. Mr. Burgon discovered
others in tombs on the south side of the Acropolis, within
the precincts of the city, and under circumstances which sliowed
tliat they had not been touched for centuries. The absence of
nil human figures, and of all inscriptions, the stiff style of the
figures, and their analogies with Oriental art, render it probable
that some of them may be as old as the heroic ages. None can
be more recent than the seventh century B.C. In Olympiad
Lxxviii. 1, or B.C. 46S, Mycente was taken by the Argives
and never rebuilt, and none of the pottery can be more recent
than that date.^
It has been supposed, indeed, that they are of Phoenician
origin ; but none of the emblems found upon them are pecu-
liarly Asiatic. They are primitive Ionic Greek. These vases,
it is also evident from Herodotus,^ were used in religious rites.
Some of these vases, adorned with ornaments only, have been
attributed to pre-historic times, on account of having been
ibund under the lava of Santerino,^ but this isle, the crater
of a volcano scarcely dormant, even now has occasional erup-
tions. It has also been supposed that they may be twelve
centuries B.C.*
The next style has been designated by various names, as
Carthaginian, Corinthian, Egyptian, Phoenician, and Doric.^ It
is, however, better to comprise all these varieties in the general
term of Archaic Greek. In antiquity this class of vases imme-
diately succeeds the early Athenian. The ground varies from
a pale lemon to a blushing red colour, on which the figures
have been drawn with a brush in a brownish black. Some of
the earliest vases of this sort resemble the Peruvian in their
style of decoration.^ The tints of the dark figures, which are
monochrome, vary however according to the intensity of the
heat to which they have been subjected, being frequently of
a maroon red, but occasionally of a lustrous jet black. The
colour is not equal in tone throughout, and the figures are
spotty. The accessories are coloured in opaque crimson, in
those places where an artist in a picture would have laid a
' Eaoul Kochelte, Mem. Ant. comp.
pp. 78, 80, pi. ix. 1, la, 68a, 86, 9.
• Herod., v. 88.
^ Lcnormant, Kev. Ant, 186G, Dec;
Comptcs rcndues, 1860, N. S. torn. ii.
p. 273.
* De Witte, I^itudes, p. 36.
^ For tills and the subsequent style,
see Mon. I., xxvi.-xxvii.
* See D'Hancarville, Vases Etrusqucs,
i. pi. 46 ; ii. 87.
184
GREEK POTTERY.
Part II.
shade. ^ The muscles and other details are scratched in. The
prevalent type of the design is, ornaments arranged in bands
or friezes, sometimes as many as four or five occurring on one
vase, and the rule seems to be to repeat the same group ; a
practice which reminds us of the stamped friezes of the black
Etruscan vases, and the monotonous bands of the early Athenian
ones. The animals represented are cliiefly lions, panthers,
boars, goats, bulls, deer, eagles, swans, ducks, owls, and snakes.
From the ideal world the artist has selected the chimsera,
gryphon, and sphinx. They are placed in groups of two or three,
facing each other, or in continuous rows after one another. The
field of the scene is literally strewed with flowers of many petals,
and with smaller objects resembling stones. A kind of trefoil
No. 125.— Two-handled Vase with Lious. From Athens. Brit. Mus., No. 2589.
lotus is often introduced. Such representations belong evi-
dently to the dawn of art, and are derived from oriental
sources.^ It is only on the later vases of this style that figures
of men are intermingled with those of animals.^
1 Kramer, Ueber die Herkunft, &c.,
8vo, Berlin, 1837, s. 46 ; Thiersch, Pie
hellenischen bemalten Vasen, s. 71 ;
Gerhard, Annali, iii. p. 222 ; Raoul
Roehette, Annali, 1847, xix. 236-40;
Gerhard, Ueber die Kunst der Pho-
nicier, 4to, Berlin, 1848, s. 17-40 ; De
Witte, Cab. Durand, p. 280; Gerhard,
Berlin, Ant. Bilder, s. 155-177 ; Due de
Luynes, Annali, 1830, p. 242; 1832,
p. 243 ; Bunsen, Annali, 1834 ; p. 46 ;
Campanari, Intorno 1 Vasi fittili dipinti,
pp. 26-42 ; Gerhard, Rapporto Vol cento,
pp. 14-16; Walz, Heidelb. Jahrbuch,
1845, p. 385 ; Philologus, Schneidewin,
1846, p. 742, and foil.
2 Stjackelberg, Die Graber, Taf. xiv.
8, 9 ; Raoul Roehette, Journal des Sa-
vans, 1835, p. 214; 1836, p. 246, and
foil. ; Gerhard, Ueber die Kunst der
Phonicier, Taf. vii. No. 1, 2; Inghirarai,
Vasi Fittili, cccii-viii.
3 Micali, Storia, xev. ; R. Roehette,
Annali, 1847, p. 262.
Chap. IV
TRANSITIONAL ARCHAIC.
185
The transition from the former style to this was not immediate
but gradual.^ An example of a late vase of the former stylo,
probably made at the commencement of the Archaic Greek
period, is a large two-handled bowl, found at Athens (cut, No.
125). The ground is of a pale fawn, the figures of a light
maroon colour. The subject is two h'ons of large proportions,
standing face to face, their tongues lolling out of their mouths,
their tails curled between their legs. The area is seme, not
with flowers, but with mseanders, chequers, spiral-^, and other
ornaments which appear in the former style. The border at)ove
is irregular, consisting of dentals, the egg and tongue ornament,
and the wave pattern. The
vase is of the earliest style
of art, and though others of
the so-called Corinthian style
have likewise been discovered
at Athens, it evidently pre-
ceded the introduction of
that style. Some vases of
the pale stone-coloured clay
,.also exhibit a style of orna-
ment resembling the pri-
mitive one, the whole vase
being covered with chequers,
mseanders, and plain bands
or bars. These vases often
resemble those of barbarous
nations, and the principal
shape is a tall shyphos, with
handles. An example will be
seen in cut No. 127, p. 186.
A great improvement, and
indeed distinction in style, was the use of incised lines cut
through the colour to relieve the monochrome.
One remarkable characteristic of these archaic designs is the
abundance of flowers, which resemble those scattered over
the richly-embroidered robes of figures in the Nimriid bas-
reliefs. It has been supposed that the subjects are borrowed
from the rich tapestries and embroideries with which the Asiatic
Greeks had become acquainted, and which were adopted by the
No. 126.— CEnochog, showing animals and flowers.
* Some authors, as M. Jabn, Besclireibimg d. Vasensammlung zu Miinclien,
8vo, Miinch., Pref. s. cxlv.. have classed both styles together.
186
GREEK POTTERY.
Part II.
vase painters with certain modifications. Aristotle^ alludes to
stuiFs embroidered with rows or friezes of animals when de-
scribing the peplos made for Alcisthenes of Sybaris, on which
the gods of Greece were represented between borders decorated
with oriental figures, the upper border representing the sacred
animals of the Susians, the lower of the Persians. This intro-
duction of floral ornaments on the ground of friezes or mural
paintings, was rarely employed either in Egyptian or Assyrian
art. But it might have been employed by the toreutai, or
inlayers, who probably enriched the backgrounds of their works
on chests and boxes in this manner.
No. 127.— Group of Vases of Archaic style, exhibiting the principal shapes.
If the vase ornaments were copied from those works, the
yellow, the maroon and the brown colours may be considered
to represent different substances. Some writers indeed have
suggested that the flowers indicate the earth over wliich the
animals are passing. To bear out such an explanation, we must
suppose that the point of sight was almost on the ground ; and
the Egyptian and Assyrian drawing was certainly distinguished
bv this absence of an horizon. In this style some discern the
1 Dc Mirab. auscult., xcix. 200, Beckmann ; De Witte, Etudes, p. 39 ; Loiig-
pt'iier, Journal Asiatique, 1855, No. 15.
Chap. IV.
STYLE OF DRAWING.
187
absence of grace and richness, and the work of an unskilled
I land in a period of high antiquity ; others, on the contrary,
perceive indications of the feeble treatment of the copyist.^
Certain shapes prevail in this style. One of the most remark-
able is the aryballos, wliich is comparatively rare among vases
with black figures. We also find the aldbastron ; and in place
of the usual oinoehoe, a peculiar kind of jug, supposed by
archa3ologists to be the oipe. The deep cup, called the han-
tliaros, is absent ; but in its place, that to which the term
kothon has been erroneously applied, the Archaic pijxis or Apu-
liau stamnos, the helehe, or hrater, with columnar handles, is seen
for the first time. Among the forms are
the arp^phora, the pinax or platter, as in
vases with black figures ; a vase shaped
like the halatlios, the jpyxis, or box, in
which ladies kept their knitting mate-
rials, and children their toys, and the
supposed lekane or tureen. The amphora,
the ashos, and the oinoehoe are generally
ornamented with human figures, and must
consequently have been made at the later
period of this style. As some of these
shapes are not found in the later styles of
pottery, but continued to be made in
bronze, it would appear that the fictile
art had attained a considerable develop-
ment at the time of their manufacture.
Like the porcelain of China, they seem
to have formed the more recherche ornaments of the tables of
the great and wealthy.^
Several vases of this style have been found at Corinth, in
tombs a considerable depth below the soil ; others at Athens,
Melos, Corcyra, Khodes, and Cyprus. Most of them have only
rows of animal forms, but some lehijthoi found at Athens have
winged male and female figures, terminating in snakes, sup-
posed to represent Typhoons^ and Echidna. The most cele-
brated of these vases is undoubtedly that called the Dodwell
Vase,* which was discovered in a sepulchre at Mertese, in the
No. 128.— Aryballos, lions and
flower.
' Kramer, s. 48-49 ; Gerhard, Berl. ' Lenormant and De Witte, Elite iu.
Aiit. Bildw. 8. 177. ; xxxi-xxxii., xxxii. a, xxxii. u.
- Thiersch, Die giiech. boinalt. Vasen, j * Now at Municli, Arch. Zeit. 1852,
s. 71 ; Gerhard, Kapp. \o\v. i. pp. 14- | «. 228. O. Jahn, Vaseiisammlung, s. 65,
15. In. 211.
188
GREEK POTTERY.
Part II.
8akis,
men,"
vicinity of Coiinth. It is a kind of ^yxis, or box. Round
the body are two friezes of animals with the field seme with
flowers. On the cover is a representation of the hunting of
a boar, as will be seen from the accompanying engraving. The
incidents depicted are different from anything recorded of the
hunt of the boar of Calydon. The boar has killed the hero
Philon, who lies under its feet. Thersandros attacks the animal
with a spear in front, while Lakon discharges an arrow at it.
Another hero named Andrutas, armed with a shield, hurls a
lance. Behind him are three unarmed and draped figures called
Andromachos, and Alkathoos, besides " the king of
Aoamemnon.^ From the form of the letters it has been
conjectured that this
vase is as old as B.C.
580,^ or even older ;
and it may be con-
sidered as fixing an
epoch for the age of
these vases. Those
with animal forms
were probably much
earlier. The letters,
in fact, exactly re-
semble those found
on certain Greek in-
scriptions discovered
at Corcvra, colonised
by Corinthians B.C.
^734, and on the coins
of cities of Magna
Grsecia ; and as the age of these cities is well known, especially
that of Sybaris, which was destroyed B.C. 510, and as the style of
the figures on the vases resembles that of the figures on the coins,
it is probable that the former are at least as old as the latter,
if not even earlier. Some other cups in this style, but with
less interesting subjects, have been discovered. The subjects of
the jugs and lekytlioi are races and combats. To the later period
of this style belongs the vase in the Hamilton Collection, found at
Capua, with the subject of the hunting of the boar of Calydon ; ^
No. 129.— Cover of Vase, with Boar-hunt.
^ Dodwell's Tour, vol. ii. p. 196 ; Se- ^ Miiller, Handbuch, s. 75, 2 ; Creuzer,
roux d'Agiucourt, Kecueil, pi. xxxvi. ; Eriefe, s. 123.
Bockh, Corp. Inscr. Grsec. i. n. 7, p. 13; ^ D'Hancarville, Antiq. i. pi. 1-4.
Kramer, Hcrkunft, s. .51, and foil. I
CiiAP. IV. COMPARISON WITH WALL PAINTINGS.
181)
another discovered at Nola, on which are represented quadriga)
and warriors ;* and others, found at Cervetri, having for their sub-
jects Achilles killing Memnon," and incidents of the Troica.^ A
plate found at Camiros had the combat of Hector and Menelaus
over the dead body of Euphorbus,^ other incidents of the war
against Thebes and the expedition of Theseus,*^ and some of
the labours of Hercules,® fountl at Cleone. Figures of deities
with recurved wings, adaptations from the Aramaean Pantheon,
supposed to represent the gods or the giants, are often seen on
these vases.' Some are also found having sphinxes and lotus-
flowers, subjects of Egyptian origin.® Laborde has published
two remarkable vases of this style, which he considers not to be
No. 130. — Animals, from the Wall Paintings of Veii.
antique, but later imitations. One, an amphora, has round it
a frieze of dolphins painted blue and red, the area seme- with
blue flowers, blue and red zones, and the egg and tongue orna-
ment ;^ the other, of a peculiar shape, is ornamented with
stars and branches of trees in compartments and zones. ^'^
* Gerhard u. Panof ka, Neapels Ant.
Bildw. p. 324.
2 Gerhard, Berlins neuerworbene an-
tike Denkmaler, s. 3, Taf. 1.
3 De Witte, Etudts, p 44-6.
* Jalm, Vasensammlung, s. cxlvii.
^ Monument! del Instituto di Gorrisp.
Arch, t. vii. pi. xxxvi.
« De Witte, Etudes, 1. c.
^ Gerhard, Berl. ant. Bild. s. 179, 480,
8. 184,541,542.
» Ibid. s. 193, n. 612.
^ Vases de Lamberg, ii. pi. xlvii.
no. 40.
** Ibid, xlvii. no, 41.
190
GREEK POTTERY.
Part IT.
The origin of these vases has been a disputed point ever since
their discovery. Some writers, from the appearance of the
lotus and other oriental flowers, are inclined to attribute to
them an Egyptian origin, whilst others, from the representation
of the Egyptian symbol of life, or Astarte, on vases from Thera
and Cuma, assert that they are imitations of Phoenician works
of art. The prevailing opinion, however, is that they are the
produce of Corinthian and other Doric potteries.^ All the
principal museums of Europe have vases of this style in their
collections, although they are few in number compared to those
belonging to the other periods of the ceramic art. The names
of the artists, Timonides and Chares, of this style which have
been found, point to a Doric origin.'^
No. 131. — Men and Animals, from the Wall Paintings at Veii.
Some of the coloured vases found at Caere probably afford
specimens of the earliest attempts to apply coloured figures to
the decoration of vases. The body of them is of the usual
brown paste, resembling the black Etruscan ware, with a slight
glaze or polish on its surface, on which the figures have been
traced,^ or painted in fresco, in white, red, and blue colours.
The treatment of the figures is more Egyptian than that of the
' Ann. 1847, xix. p. 237.
Micali, Mon. Ined. iv. v.
Be Witte, fitudes, p. 46.
Chap. IV. LOCAL STYLES. 191
so-called Egyptian style, resembling the reliefs on the Etruscan
vases, and the wall paintings of the Etruscan sepulchres. Some
of the subjects have no particular story connected with them,
but consist of chariots, warriors, marine monsters, and otlier
animals ; although among them is found a representation of
Theseus killing the Minotaur, an Attic myth, which it is
difficult to conceive could have exercised the skill of an
Etruscan artist.^
Besides Greece and the Isles, the sepulchres of Italy have
produced many vases of this style, which of course are only
found in those of the older cities. The Necropolis of Yulci,
and that of Cervetri or Caere, in Northern Italy, have produced
the greatest quantity ; but some have also been found in the
tombs of Cumse.
There is a considerable difference of style observable in the
vases of this yellow ware which come from different localities.
Those from Corinth have figures of small size, but rigidly drawn,
while the area is completely filled with flowers, and modelled
heads or other ornaments are often introduced into the body of
the vase. Those from Yulci have figures of larger size, more
coarsely drawn, while those from Nola and Southern Italy,
supposed by some to be imitations of the earlier vases, have
small figures drawn with much precision and softness, and of a
more developed style of art. The style of the human figures
on these vases, the length of hair, the massive limbs, and the
general attitudes resemble Hellenic art, as developed in the
frieze of the Harpy tomb, the bas-relief of the Yilla Albani, the
old Selinuntine metopes, and the incused coins of Caulonia and
Poseidonia. Although the inscriptions belong to the Doric
alphabet, no further light is thrown by them on the age of these
vases. ^
Many of a modified style of art have also been discovered in
the cemeteries of Nola, and some in Sicily. One of the most
remarkable is a vase of the shape called holmos, probably a
krcder, found in 1835, at Cervetri. It is ornamented with
friezes of animals, the hunt of the boar of Calydon, the mono-
machia of Achilles and Memnon, and the contest for the body
of Patroclus,^ — a subject also found on a jug of the same class
in the British Museum.* Another remarkable amphora of this
* Micali, Mon. Ined. iv. ' Mus. Extr. Vat. xcii. 1, 1 ; xciv. 2.
2 Jahn, Vasensammliing zu Minchon,
■<. cxlviii.
* Cat. Va^,. No. 42L B. Rocliett.
I.e.
192
GREEK POTTERY.
Part II.
ware of the very earliest style is in the British Museum. It
was obtained at Civita Vecchia. The clay is of a pale red ; but
the body is covered with a coating of a pale cream colour. On
it are seven friezes painted in maroon, two round the neck and
five round the body of the vase. These are decorated with
representations of quails or rock partridges, combats of warriors,
lions devouring bulls, and centaurs. In the linear character of
the figures, and the elementary mode of treatment, this vase
resembles the early ones from Athens, which have been already
described. But the most renowned of all these vases is the cup
in the Bibliotheque Nationale, with the subject of Arcesilaus
seated in his palace, attended by the different officers of his
stores, and watching the weighing of the silphium. Not only
the figures, but even the balance, have their names.^ The
style of drawing, the angularity of the limbs, the peaked noses,
the rigidity of attitude, and the smile playing on the features,
connect this vase with those of a later style and mode of treat-
ment, or else an older and satirical treatment.
Many vases of this later style exhibit nearly similar peculiari-
ties, such as the partial or total disappearance of animal friezes,
the abandonment of the use of the flowers seme in the field, the
greater range of subjects, and above all the appearance of the
Attic instead of the Doric alphabet and language in the
inscriptions, — all co-ordinate with a later style, the rise of
Athens in political importance, and the greater development of
its export trade. The figures painted on the vases no longer
resemble the earliest efforts of Greek art, but rather those of the
temples of Pallas Athene, or of Zeus Panhellenicus at ^gina.^
The cup with Arcesilaus, whether intended to represent the
1st or 4th ruler of that name, admitted by all to be imitative,
cannot possibly be later than B.C. 450 or earlier than B.C. 599.^
The slow manner in which an art emancipates itself from the
conventional thraldom of its origin, is evident from the progress
of painted vases. The potter, not content with producing small
vases having a pale ground, by degrees introduced a red tint
of a pale salmon colour (the rubrica), adopted human figures
for his subject in place of the animal forms before employed,
and rendered the latter subsidiary to the main design. He still
^ Annali, v. 60 ; Monumenti, p. 1 ,
xlvii.
^ Jalin, Vasensamralung, s. cxlix.
3 Arcesilaus I., b. c. 599-583 ; II.,
B.C. 560-550; IH., b.c. 530-514; IV.,
B.C. (466t)?-450. It is probably Ar-
cesilaus IX.
OF T!
( r
»^nr_ORNi-
DEATH OF ACHILLES.
Page 193.
PRINTED IN COLOITBS BT W.TXIAM CIX)WES AND SONS.
Chap. IV. TRANSITIONAL STYLE. 193
continued to arrange the subjects in zones or friezes; but the
(h-awing is a sliglit improvement upon that of the cup of
Vrcesilaus just described. The forms are tall and thin, the
muscles anguUir, the beards and noses long and pointed, the
expression of tlie faces grotesque, the attitudes stiff and
conventional. The figures are now quite black, except that the
flesh of the females is coloured red or white. The flowers seme
have disappeared; but the air is often symbolised by a bird,
the water by fishes;^ whilst flowers, intended sometimes for the
hyacinth, springing from the edges of the vase, indicate tlie
(\irth. The extreme purity of the design, and the unequal
manner in which the subjects are treated, have led to the
conclusion that the style is imitative, and not original. The
subjects are from the older poems, and suffice to mark the
taste of the day. They comprise Perseus and the Medusa ;
Hercules killing the threefold Gorgon ; the monomachia of
Achilles and IMemnon ; Ulysses destroying the eye of Poly-
phemus ; the fight for* the body of Patroclus, and exercises of
the Stadium. These vases are clearly a development of the
Corinthian or Egyptian style, and can hardly be allowed to be
of Ionic origin,^ as the yellow vases are of Doric. The prevalent
shapes are the tall amphorae, with cylindrical and not banded
hanoles; two handled vases with a cover caWed peliJce ; the jug
or oinochoe ; the apple-shaped lekythos or oil-flask; and the
loi).g slender bottle called the aldbastos.
'^Vases of this kind are fewer in number than those of the
preceding and following classes, and are generally accompanied
with inscriptions. The principal examples of the style are
liydriai and Bacchic amphorae, and their subjects are derived
from the earliest Greek myths,^ such as the Gigantomachia,
Amazonomachia, and the hunt of the boar of Calydon; from
the Herakleid, as the destruction of Geryon, and the family of
lole,* Theseus and the Minotaur ; from the Achilleid, the family
of Priam, the death of Achilles, and lament of the Nereids,
the lament for Troilus, and the victory of the m j estler Hippo-
sthenes, 01. xxx., B.C. 651*, are also found. To these vases
Gerhard has applied the designation of Tyrrhene-Egyptian.
* On a vase of this stylo, representing j ^ Thiersch, Die Hellenische bemal-
the huntmg of the Calydonian boar, | ten Vasen, s. 79; Monum. dell. Inst,
tliere are on the area three birds, on i. 51.
the oxorgue tliree fishes. It is engraved ' Kramer, s. 61.
l.y Micali, Mon. In. tav. xlii. * J;,hn, Vasen^ammlung, s. clvii.
O
194 GREEK POTTERY. Part II.
The most remarkable known vases of the earlier class are the
Paiiatheiiaic amphora discovered by Buigon, and the amphora
discovered by Franpois at Chiusi, now at Florence. They are
not so old as the Dodwell vase, which is placed about B.C. 574,
or that of Timonidas, above cited, which is conjectured to be
even earlier. To this age belongs also a fyxis with the name of
Chares.^ The inscriptions of both these vases are Attic, and
the letters those which were in use till 01. Lxxx., or B.C. 460.^
The art is ^^ginaean. The distinction of the sexes shows the
school of the painter Eumarus.
The vases of the early style called Doric are supposed to
liave been exported from the Doric part of Greece, principally
from Corinth ; whilst those with black figures of the Archaic
Greek style are regarded as products of the Ionic states, and to
have been chiefly procured from Athens. Their age might be
conjectured from the representations on them of the Pentathlon,
which was introduce! into the games of Greece in the LVth
Olympiad, B.C. 560 ; and of the race of youths, which was
adopted in the Lxvth. The Lxxth Olympiad, or about B.C. 500,
was the age in which they were cliiefly manufactured.
The next class, which after all is only a further improve-
ment, has been called the old style, and is distinguished by
the improved tone of the black colour employed ; the grounds,
figures, and accessories being of a uniform monochrome, vary ing
from a jet black to a blackish green, and rarely of a light bro\vii
tint. When imperfectly baked the vase is of a light red colour
and sometimes of air olive green. The faces of the females are
white, to indicate superior delicacy of ^complexion, and the
pupils of their eyes, wliiclr are more elongated than those of
the male figures, are red. The eyes of the men are engraved,
and of a form inclining to oval, the pupils circular, as if seen
from the front, with two dots ; those of the women are generally
long and oval-shaped, with red pupils, also circular. The eyes
of the women are sometimes made like those of men, especially
on those vases on which the women are coloured black upon
a white ground.^ It has been supposed that the figures are
imitations of shadows on a wall ; but they may have been copied
from inlaid work. They res ^mble those just described. The
» Rev. Ardi., 18G8, p. 283. Cat. d. | Etudes, p. 45.
Mus. Campana, No. 23 ; Arch. Zeit,, ^ Annali, 1834, pp. 71, 72. 11
18G4, PL clxxxiv., dxxxv.; De Witte, ' ^ Jahn, Vasensammlimg, s. clix. J\
HAP.
EARLY PERSPECTIVE.
195
forms are rather full and muscuar, the noses long, the eyes
oblique and in profile, the pupil as if seen in front, the ex-
tremities long and not carefully finished, the outlines rigid,
the attitudes cCaplomh, the knees and elbows rectangular, the
draperies stiff, and describing perpendicular, angular, and precise
oval lines. The figures are generally in profile, full faces being
very rare.
V ^ ^^ Jt^.^TE^ V^V
C
No. 132.— Scene of Water-drawing from a Hydria.
An attempt at perspective is sometimes made in paintings
with black figures. On a hydria in the British Museum, the
scene of which is the usual one, drawing water at the fountain
of Callirrlue, the sacred spring is represented as rising in o
buil ling with four Doric cohimns. Two of them are in front —
for two of the females stand behind, and are partly eclipsed by
them — whilst the other two cohimns are represented as in the
centre of the building, but are rt^ally at the back, because
the female fio:nres stand before them.^
Cat. Vas., No. 481.
O 2
196
GREEK POTTERY.
Tabt II.
Although the vases of this class much resemble the works
of the ^giiiaean school, considerable difference of opinion pre-
vails as to their age ; for while by some persons they are con-
sidered to be of the period to which at first sight it is usual to
rel'er them, according to others they are imitations in an Archaic
style,^ as is shown by the superiority of their composition and
expression, ami by some of the details. The markings of the
muscles and inner lines of the figures are incised with great
care. The figures are depicted upon an orange ground, gene-
rally of a very warm tone, being that of the natural colour of
^w. lo^.— .Eneas bearing ofiF Anchises.
the clay heightened by the addition of the ruhrica or ruddle
of Dibutades. White is often introduced to relieve the mono-
tony of the other colours. It indicates the beard and hair of
very old men ;. the colour of horses, which are often alternately
white and black ; the emblems of shields ; the embroidery of
garments, which are sometimes entirely of this colour. The
beard and the nipples of male figures, the eyes of women,
striking parts of the attire — as fillets, crests of helmets, edges
of shields, borders and embroidery of garments, manes and other
^ Kramer, 1. c, s. 79.
SlIAl'KS.
li)7
parts of nnimals, are coloured of a crimson red/ This may liavc
been tlie imitation of polychrome or chryselephantine sculpture.
These vases are chiefly amphorae of the various kinds. Htjdriai,
kaJpides, oinochoai, olpai, hylilces, krateres, especially those with
columnar handles, which are supposed to be the description
of vase called kelebe, are louijd only rarely at Vnlci, although
they often occur elsewhere. Tijie lehythos, also so common in the
graves of Greece, and especially at Athens,^ is rarely found at
Vulci. Some visible diiferenCes in style are to be noted; the
drawing on the vases with bl^ck figures from Nola being of a
^•softer style, while those of Athens are remarkable for ease and
carelessness. -
I
No. 134.— Imbrex of the Old Style.
The vases of this style discovered at Vulci have been
subdivided into the rude Tyrrhenian, chiefly consisting of
jimphorae of moderate size, and distinguished like those called
Phoenician ^ by the physiognomy of their figures, as the oblique
eyes, pointed noses and chins ; and, secondly, vases of an
extreme antiquity of style, rendered still more evident by the
absence of inner markings. It is to this latter class that cer-
tain cups have been referred, especially those with deep bodies,
tall stems, and subjects of small figures dispersed in narrow
friezes round the body, as well as those with figures without
attributes or an easily intelligible meaning. One of these cups,
which bears the name of the potter Niko.sthenes, shows that this
style is clearly only one of the types of Greek art, by no means
limited to the soil of Italy.
Some vases of this class are figured by Micali, and are pre-
> See.Tahn, VosensammUmg, 8. elviii. p. 201, No. G.34; Micali, Storia, tav,
^ Gerhard, Rapp. Vole, p. 20. j Ixxv. Ixxviii.
=• Ibid., p. 22; Berlin. Ant. Bildw., '
198 GREEK POTTERY. Part II •
served in the Museo Gregoriano and in the British Museum.
The naked figures are tall, with thick bodies and small limbs
and extremities ; the foreheads recede, the noses are long, the
beards trim ; the draperies are particularly d'aplomh, with an
architectural rigidity ; the chitons, or inner drapery, sack-like ;
and the 'pe]ploi, or u[)per garments, which perhaps represent the
ampeclionion, i'all in flat plaits. These are studded with stars
and other embroideries, and display analogies with Assyrian
and Aramaic art. The subjects, from the absence of typical
points, are not capable of being divined.^ These vases must
be classed amongst the oldest found at Vulci. The figures on
them very much resemble in style the bronze idols and mural
paintings of the Etruscans, and are clearly of a very old period,
since a diligent and mechanical carefulness in the finish is by
no meons incompatible with the earliest development of art.
The affected style, and the coarse style, in which the figures
have no inner markings, are considered to beloug to this
school.^
Some inquirers have regarded these vases as the products
of a school not Hellenic from the difference of their colour and
glaze, the peculiar shape of the amphorae to which they are
almost limited, the appearance of winged figures and monstrous
animals, the absence of inscriptions and distinctive emblems,
and the abnormal treatment of the few Hellenic myths which
can be recognised amidst their unintelligible subjects and com-
positions.^ They are, however, distinct from other vases with
black figures, proved to be of Italian fabric, being in all
respects superior to them, and are evidently the product of
some Hellenic potterv. They have been principally found at
Vulci.
It is not to be supposed that the art of vase painting boldly
leapt from one style to another. On the contrary, the changes
were of a gradual nature, and the transitions almost imper-
ceptible, though easily seen now, when the products of centuries
of art are before us. Many, for example, of the vases with
black figures have either red figures disposed on some portions
of them,* or the accessories are treated in red upon a black
* Mus. Etr., pp. ii. xxx.
■■* Bunsen, Ann. 1834, p. 74.
^ Jahn, Yasensammlnng, ss. clxxii.
clxxiii. ; Micali, Storia, tav. Ixxvii. ; Ger-
Micali, Mon. In., 47, 4, 5, 6.
* Brondstedt, Trans. R. Soc. Lit. ii.
p. 133; Stackelberg, Die Graber; Due
de Luynes, Ann. 1832, p. 145 ; Kramer,
hard, Aiiser. Vasen, 117, 118, iii. 4; s. 80; Panofka, Mus. Bartoli, p. 10.
I
Chap. IV. DRAWING OF STRONG STYLE. 199
ground ; from wliicli it has been inferred that both tlie black
and the red figures were contemporaneous, and tliat the ancient
styles were conventionally retained till a late period. Generally
the inscriptions on these vases are of a very early form, and
[^■previous to the introduction of the long vowels and double
j^Petters. The inscriptions belong to the Attic and Achaean
alphabets, the use of the Doric having disappeared from the
vases of this class.^ The Ionic alphabet and the black figures
were, however, often continued later, for they appear on the
vases of the Basilicata and on the Panathenaic vases of Gyrene.
The attitudes of the figures are hard and rude. The composi-
tions differ ; the figures follow one after another, the attitudes
are generally the same, and the groups arranged in symmetrical
antithesis, often monotonous, often having not more than two
or three figures on each side. Outside of a cup, on the edge
of a deinos, or the covt-r of an amphora, occur friezes of small
figures painted with minute detail, which also prevails in the
accessories of the larger figures. Gontemporaneons with, and
imilar to these, are certain vases with black figures upon a
white or cream-coloured ground. On these the effect is pro-
j^fcduced by covering the red backgrounds with a white coat, or
'^^en'gobe, of pipe-clay.^ They were made by the same process as
the others, the coating or engobe being subsequently added,
and then polished. These vases are a development or com-
bination of tlie Arcesilaus cup already described. On some
of them the figures are painted with great care and finish, on
others in a more hasty manner. Vases of all shapes are found
in this style, but they are always of small dimensions. They
are found in Italy and Sicily, and are contemporaneous with
the preceding.^
Another period comprising vases of directly Athenian origin,
all the friezes of which with red figures may be referred to the
fourth century B.C., or end of Peloponnesian war, to Alexander
the Great. This subdivision still retains the distinct charac-
teristics of the Archaic, but it passes insensibly into the next
or fine style. The strong vases may be referred to the age
of the Peloponnesian war, and that immediately preceding it,
the age of Polvu:notus and Pheidias.
• Lenorniant, Rev. Ant., 18G3, p. i « Gerhard, Aiiswahl, vi., liv. ; De
190; Fiorelli, Dissertatus, 4to., Gott., i Witte, Etudes, p. 58.
1804. I ^ Jahn, Vasensammlun":, s. clxxiii.
200 GREEK POTTERY. Part II.
As long as the vase painters continue to copy the stiff and
hieratic forms, which carry back the imagination to the school
of the Dsedalids, the black figure was sufficient. The careful
mapping out of the hair and of the muscles, the decorations
and all the details of shadow in painting and of unequal surface
in sculpture, were more easily expressed by this method. But
it is evident that these stiff lines were quite inadequate to
express those softer contours, which melted, as it were, into
one another, and which marked the more refined grace and
freedom of the rapidly advancing schools of sculpture and paint-
ing. By changing the colour of the figures to the lucid red
or orange of the background, the artist was enabled to draw
lines of a tone or tint scarcely darker than the clay itself, but
still sufficient to express all the finer anatomical details ; while
the more important outlines still continued to be marked with
No. 135. — Kylix, with Gorgon and eyes.
a black line finely drawn. The accessories in the earlier vases
of this class continue^ to be crimson. The style is essentially
the same, the forms precise, the eyes in^ profile, the attitudes
rather rigid, the draperies rectilinear. Inscriptions rarely occur.
The shapes of the vases themselves are nearly identical with
those of vases with black figures. Technically, the change was
produced by tracing the figures on the clay with a fine point,
and then working in the whole ground in black. The inner
markings and lines representing the hair, which in the other
style were incised, in this are traced with a pencil in lines of
a light-brown sienna colour, which in some instances are per-
ceptible only in the strongest light. The outline of the figures
is always surrounded with a thicker line of the black glaze,
about one-eighth of an inch broad. It has been supposed that
1 Kramer, ss. 97-101.
REVELS OF ANAKREON. (KYLIX, FROM VULCI )
Pnge 200
PBINTKD IN COLOUBS BT WUXIAil CLOWES ANT SONS.
' , OF THE
UNIV€RSITY
OF
I
lAP. IV. DETAILS.. 201
the backgl-oiiiul was painted in by an ordinary workman. Some
pecimens exist in which it lias never been laid on. The artists
em to have worked from slight sketches, and according to
^their individual feelings an 1 ideas ; and as there are liardly two
vases exactly alike, it is evident that no system of copying was
adopted. The accessories, such as the fillets of the hair, are
rimson on the earlier, and white in the later specimens.
The iigures, on the earliest vases of this style, so closely
esemble the black fiii;uros, that some have supposed tliat tlie
No. 136.— Interior of a Kylix, Peleus and Thetis. From Vulci.
two styles co-existed, which indeed appears to be the case in
some examples. Some of the vase-painters, indeed, as Pheidip-
pos and Epictetos, painted in both styles. The early painters
of the red vases endeavoured to imitate as much as possible the
drawings of vases with black figures. On cups with black
figures the large eyes are often painted, and then, by the force
of imitation, are repeated on cups with red figures.^ The
general contour of form is rather slender, but not so much so as
^ Jalin, Vascnsammlimg, s. clxxvi.
202 GKEES POTTERY. Part II.
that observed in the school of Lysippus. The foreheads are low,
the noses prominent, the eyes long, the chins sharp, the legs
short and thick, aM the folds of the garments stiff and recti-
linear.^ The female figures are not distinguished in this style
either by their colour or by the shape of their eyes, in botli
which respects they are the same as the men, but by their
costume and form. The white hair of old men is indicated by
white lines on the black ground, fair hair by brown lines on a
red ground, white curly hair by raised little knobs, which recall
the hostrychoi or clustering locks. The figures are generally
small, but some of grandiose proportions occur even in this
style,^ which is called by some writers the strong style,^ as it still
possesses strength and continuity of outline, unimpassioned
countenances, the expression being conveyed by the attitudes,
while the treatment of the limbs connects the finest works of
this sort with the Dae lalian school. The age of these vases is
placed between the l. and Lxxx. Olympiads. Recent dis-
coveries have shown that vases of this style are as old as the
Parthenon, destroyed by the Persians, 01. Lxxv., B.C. 480, and
certainly prior to the age of Pheidias.^ The vases with the
historical subjects of Alcseus, 01. XLii., B.C. 612; Anacreon,
01. LX., B.C. 539 ; and Croesus, 01. lviii., b.c. 548, are in this
style.^ The alphabet resembles that which appears in the
Athenian inscriptions of 01. Lxxxvi., B.C. 436, but the language
is both Attic and Doric'
The drawing on tlie vases found at Vulci resembled in its
general peculiarities that of the vases of Greece and Nola ; the
figures are in the purest Greek style, and are drawn upon the
flat portions of the JcyliJces and cups, and on the convex portions
of other vases. The principal outlines are finished with wonder-
ful spirit and truth, while in some parts and details, especially
in the extremities, great carelessness is visible. The general
effect is much improved, not only by the fineness of the clay,
which in the vases of the earliest and best period is of a bright
orange-red, but also by the brilliancy oF the black and greenish-
black glaze. The ornaments, which are of larger size than on
1
ti
* Gerhard, Eapp, Vole, p. 28.
^ Jahn, Vasensammlung, s. clxxxii.
' Kramer, s 101, 102.
^ Thiersch, Die griechisch beraalt. Va-
seii, s. 81 ; Rossi in Millingen, ' Vases
de Coghill,' p. viii.
* Jahn, Vasensammlung, s. clxxiv.,
clxxv. ; Allg. Monatsschr. 1852, p. 3.%.
® Jahn, 1. c, s clxxxviii.
' Ibid , s. clxxxvii.
JO
AllSa3Air
BIRTH OF ATHENE. (PELIKE, FROM VULCI.)
Page 203.
PRINTEP IN COI/IUnS BY Wni.I.IASl CLOWES ANP PONS.
Jhai'. IV. FINE STYLK— FIGURES AND LETTERS. 203
he bliick vases, are of the same red colour, and the accessories
re rarely inserted in white, or, on the vases of the earliest
erlod, in crimson.^
A further development of this style, presenting all the char-
acteristics of the last period of Greek art, and the highest
point to whicrh the art attained, is the fabric called the fine
style. In this the figures are still red, and the black grounds
re occasionally very dark and lustrous.^ The ornaments are
in white, and so are the letters. The figures have lost that
hardness which at first characterised them; the eyes are no
longer represented oblique and in profile ; the extremities are
finished with greater care, the chin and nose are more rounded,
and have lost the extreme elongation of the earlier school.^
The limbs are fuller and thicker, the faces noble, the hair of
the head and beard treated with greater breadth and mass, as in
the style of the painter Zeuxis, who gave more flesh to his
figures, in order to make them appear of greater breadth and
IQore grandiose, adopting the ideas of Homer, who represents
iven his females of larger proportions.^
The great charm of tliose designs is the beauty of the compo-
ition, and the more perfect proportion of the figures. The
head is an oval, three-quarters of which are comprised, from
the chin to the ear, thus affording a guide to its proportions,
which are far superior to those of the previous figures. The
disproportionate shajje of the limbs disappears, and the counte-
nance assumes its natural form and expression. The folds of
the drapery, too, are freer, and the attitudes have lost their
ancient rigidity. It is the outgrowth of the life and freedom of
n ideal proportion, united with careful composition^ The
figures are generally large, and arranged in groups of two or
■three on each side, occupying about two-thirds of the height of
the vase. Some exceptions, however, occur, such as a single
pmall figure on the neck of a stamnos in the Berlin Museum.®
One side of the vase, which appears to have been intended
to stand against a wall, or at all events not to be so prominently
seen as the other, is not finished with the same care. Figures
in full face are less uncommon than on the earlier vases. The
age of these vases is fixed by the appearance of the long vowels.
' Gerhard, Rapp. Vole, pp. 26-28. j ■» Quintilian, Inst. Or., xii. 10 ; Kra-
2 Ibid., p. 24. mer, 101.
•* Kramer, s. Ill; Gerhard, neuerw. » Kramer, ss. 104, 105.
ant. Denkra., s. 111. « Berl. Ant. B:ld.. 1651.
>5
Chap. IV.
STYLE.
205
the clianp^cd form of tlio aspirate, anl the presence of the double
or aspirated letters, introduced into the public acts after the
archoushii) of Euelid, Olympiad xciv., B.C. 403. The change of
costume agrees with these criteria, as the Carian instead of the
Corinthian lielraet, and the Argolic for the Boeotian buckler.
l''rom the composition of the designs on this and on the former
chiss of vases being superior to the drawing, it has been conjec-
tured that they are copies from the works of the first masters of
antiquity. As scarcely any two are alike, it has been supposed
that they are sketches made from memory, adapted to the
convex surfaces on wliich they were delineated, and on which it
was exceedingly difficult to draw. And as the vase painters
considered themselves artists — although their profession never
attained a high position in the history of art — they departed
considerably from the originals from which they drew their
inspiration.^ The varnish is excellent in tone and colour, and
the red accessories throughout are replaced by white used with
discretion.
The principal shapes in this style are the hydria with a
globular body, or half is ; the ani^horeus with elongated egg-
shaped body and tall neck, and having either flat banded
handles, or else those with a double twist ; the supposed
Ijelike ; the cup with two horizontal handles^ the supposed
sJcifphos ; the jug with round mouth, or oljpe ; the oil-jug, or
lekijthos ; the vase \\ ith circular body, or aryhallos ; the shallow
cup on a tall stem, or Jcylix ; the elegant cup with a cover, or
supposed lekane — the liydria, the Jcyathos, the Jcarchesion, or cup
witli spiral handles ; the j^inax, or dish with a tall foot ; the
stamnos ; the hrater with large open mouth ; a campana of the
Neapolitan antiquaries, the supposed oxijhajpha ; some rhyta, or
drinking-cups ; and others in the shape of heads.^
An oinoclioe, in the British Museum, may be taken as an
illustration of the vases of this style. The subject depicted on
it is the Hyperborean Apollo riding upon a gryphon. The
crown of the god, and the berries of the laurel are gilded,
which mode of ornament occurs very rarely upon the vases of
Vulci. It may be classed with the latest vases of the fine style,
much resembling in its art the large kraters or oxyhaj>ha found
in the tombs of Apulia. A still finer specimen of this style,
' Cf. Millingcn, Vases do Coghill,
Trcface, p. xii.
- Gerhai-d, liapp. Vul., pp. 25, 26
Kramer, ss. llG-129.
206
GREEK POTTERY.
Part 1 1.
excessively grandiose in its treatment, is the Nolan amphora
with the subject of the poet Musreus, with a female named
Meletosa, and the muse Terpsichore. Sicily has also produced
many Abases of this style.
The proportion of the figures, the style of the draperies, the
pose of the figures, and their arrangement in composition, bear
great resemblance to the sculptures of the Parthenon, to those
of the Temple of Phigaleia, the balustrade of the temple of
Victory, and other works acknowledged to be of the finest
period of Greek art. All that is told of the style of painting of
UlUIJ101'UlU|U|U|UlJlJ|UlU|JlU|UlUlUIUlUIUlUlUIUlUIUlJlUrJIUl^ J UlU UlJlLll'J|Uiy
-AaA/^A KA.Xk k kXX k k k AAA. A A A AA A. A A A A/vA.AJ>^.A KAJ^kL
No. 138.— Lajit Night of Troy — iEueas— Cassaudia. Vaso in ihe Museum at NapLs.
Polygnotus^ Parrhasius, and Zeuxis, may be traced in the
designs~ori:hese vases ; ^ while the later ones, in the isolation
of tlie figures upon larger plain surfaces, and the elongation of
forms, approach the known canon of Lysippus, and blend into
the immediately subsequent style, which just preceded the final
decadence of the art of painting vases.
The subjects on this class of vases are nearly the same as
those of the so-called strong style, but perhaps a greater pro-
portion is derived from the Dionysiaca. Among them, however,
are found incidents from the Gigantomachia, the Perseid, the
' Cf. Neapel ant. Bildw., torn. vii. s.
369 ; Williiigen, Anc. Uned. Mou., PI.
XX., xxiv. ; Vas. de Luc. Eonaparte,
livr. i. Nos. 542, 543.
iTORNl/^
^
!Z3
208 GREEK POTTERY. Paut II.
exploits of Dionysos and Herakles, tlie Theseid, from the Iliad
and Odyssey, and a few from the tragedians, together with
triclinia and athletic scenes.
The numerous vases of this style found at Santa Aerata dei
Goti have given the name of this site to the style. It is the
next advance in art towards that exhibited in the still later
sepulchres of Apulia. In all these styles there is much negli-
gence of execution. Heads and limbs of figures often intrude
on the panels of ornaments, an instance of which occurs in a
vase of late style representing a singular scene. In this vase
the feet of one of the figures are so intermingled with the
ornament below, as scarcely to be distinguished from it.^
It is by no means necessary to suppose that one style of fabric
ceased immediately on the introduction of another and improved
one ; on the contrary, it probably continued till so entirely super-
seded that the fabric became obsolete. Hence the transition
from the " fine " style of the earlier vases to a subsequent one,
which may be termed florid — analogous to the state of art in the
time of Pyrrhus. The most striking examples of this style have
been found in Apulia, at Kuvo and Athens. The figures are
neither so rigid as in the '' strong," nor so full and fleshy as in
the " fine " style, but intermediate, being tall and graceful with
small heads, like the canon of Lysippus.^ The finish of the
hair, which is produced by thin lines, is most careful and
minute ; the attitudes are graceful and breathe an air of refine-
ment and voluptuousness amounting to affectation. A predi-
lection for rounded forms is most marked. The figures are
richly attired with head-gear and embroidered dresses, the folds
of which are sketched in with the greatest freedom. The orna-
ments are large arabesques abundantly used ; while numerous
objects are introduced into the field to show where the scene
took place. A kind of perspective here first appears, groups
being arranged in rows. The ground is indicated by stones or
small plants. The glaze is pale and white ; blue, green, yellow,
red, and gilding appear in tlie accessories. The most remarkable
specimen of this class is the Vase of Meidias, with the subject of
the Rape of Leucippides. Many magnificent vases of the same
class are found, consisting of large hrateres, amjphoreis, and
hydriai. Among the smaller ones are two exquisite lehijtlioi, in
the British Museum, both having allegorical subjects.^
» Cab. Point., xxii. ^ Kramer, s. 129. ^ Kramer, ss. 120-131.
IV. roLYcrmoME. 209
Oh these vasos gold is introduced as an accessory in the
lore ini{)ortant parts. On a httle vase found at Athens, liaving
'on it tlie allegorical subject of Ploutos and Chrysos, a tripod, the
wings of the horses, some collars and other parts are gilded.^
On another found at Ruvo, representing the Judgment of Paris,
the wings of tlie Erotes, the collars and bracelets of the god-
desses, and tlie cadnceus of Hermes are gilded. The personal
ornaments of female figures^ are ordinarily so adorned on tlie
best of tliem ; and on others, very appropriately, the apples of
the Hesperides.^
One of the distinguishing marks of this style, which cannot
be denied to have great merit, is the use of arabesque ornaments
on tlie necks of the vases, consisting of heads of females,"^ often
with tresses, or youthful heads with rams' horns ^ lising from a
flower, and having on each side architectural and arabesque
foliage, often a winged figure of Nike," Aurora, or a Bacchante ; '
or else the perpetual Kros, or 'Move," lightly trips on the
flowers.^
It would appear that the polychrome vases which have a fine
black glaze on parts, such as the neck, handles, and feet, were
contemporary with the preceding. They are principally leky-
thoi, but a few Jcylihes, omochoai, and kraieres of this style have
been found. The whole of the body of the vase is coated with
a thin layer of lime, leuJcoma, brought to a remarkably fine
surface. Over this has been laid a thin siliceous glaze. On
the earliest and most elaborate of these vases the figures are
drawn in outline in a fine glazed black and sienna-brown colour.^
These may be ranked as pencil sketches, and for purity and
beauty of outline, are perhaps unrivalled, as may be seen on
the fine vase of the Vatican, representing the birth of Bacchus.
At a later time, however, the coating and the outlines are more
commonly unglazed, and the figures drawn in black or vermilion.
So feeble are these pencillings that some have supposed that
they were drawn by females; but it appears that they are the
first sketches, and were painted over with opaque colours : for
traces of these still remain on many, although for the most part
' Bull. 1836, p. 16o; Lenormant and ; Tischb., iv. (ii.) 14.
De Witte, xcvii. ; Stackelbcrg, taf. xxx.
2 Cf. for example, the vase of Anesi-
dora.
^ On the Meidias vase.
* G. Auser., i. v.; D'Hanc, ii. 39;
* G. A., ii. « G. A. A, i.
' G. A., 6, 7.
8 G. A., 6, 7; G. M., iii.
^ Thicrsfh, Die Hellenisch. bemalt.
Yas., taf. iii. iv.
r
210
GREEK POTTERY.
Part II.
they have scaled off through the effects of time. The draperies
were coloured blue, purple, vermilion, or green. Gold was
sparingly employed. The akroteria of tombs were coloured
blue and green.^ Even shades and half-tones were employed,
which appear on monochrome vases of the latest period. In
the treatment of the hair, the full faces, the style and attitude,
they are like the vases previously described, and the coins of
Magna Gra^cia and Sicily of the same period. The subject
is always funereal, generally that incident in the Oresteid, which
unfolds the dramas of ^schylus, Sophocles, and Euripides, or
Chrysothemis at the tomb of Agamemnon. Hermes conducting
a shade to the boat of Charon is not uncommon. Nike, or
Victory, warriors, and figures lying upon biers, are also found ;
all subjects of funereal import. A remarkable vase of this style,
found in a tomb near the Piraous, resembles in shape the glass
ossuaria of the Romans. It is entirely coated with white, and
has round the neck a laurel wreath coloured blue. In it are
the ashes of the dead, the obolos for its fare, naulos, still ad-
hering to the jaw, and a few gilt terra-cotta ornaments. Outside,
modelled in terra-cotta and gilt, are the fore parts of three
gryphons, resembling the ornaments called ^rohossoi by
Herodotus. It is impossible that these external paintings, as
easily erased as a charcoal sketch on a white \vall, could have
been used on vases intended for the palaestra, the baths, or
temples, or for household work. They are evidently the sepul-
chral lekythoi which were placed in the tomb or on the breast of
the dead, as mentioned by Aristophanes and his scholiasts.
Vases of a similar shape aje seen in the vase pictures placed in
the haneon, or basket, containing the food and fillets offered to
the dead, and others probably held the choai, or libations of
water and oil. Many still retain remains of an alluvial clay,
mixed with small fresh-water shells, apparently the deposit of
the water which they once held. Sach vases are also represented
on the steps of tombs on which the stele stood.^ Some of the
later lekythoi found in Italy are also of this style, and have on
one side or in front a bas-relief subject rudely modelled in the
clay of which the vase is made ; this is coloured with a leukoma,
which is painted with appropriate colours, and in parts gilded.
^ Semper, Museum of Classical An-
tiquities, 1851, p. 240; Stackelberg,
Die Graber, s. 37.
■ ^ See one with a Bacchanal subject,
Panofka, Mus. Blac., PI. iii.
JnAi'. TV. SErULClIH.NF FATPLOYMKNT. 211
I
IH^ho consular denarii, which have been found with them in
certain tombs, fix their date at B.C. 200.^ With them must be
classed certain lehytlioi moulded in the form of Dionysos, seated
in an arbour formed by the vine, in that of panthers, and
covered with a coating of white clay, appropriately coloured
with opaque white, pink, and green. They are charming little
objects, often well executed. Among the subjects of tliem are
a boy seated and playing with a dog,^ a winged Eros seated
on a dolphin,^ Europa seated on the bull crossing the sea, Eros
lying under roses,^ and a boy playing with a goose. But the
most remarkable vase of this class is one in the Jena Museum,
on whifh is represented Aphrodite in the shell, attended by Eros,
her doves and a swan.^
Vases with polychromic figures on oiange backgrounds, not
coated, are also found. A hydria, from Gnathia, had for its
subject a seated man, with red am^pechonion and green tunic,
bidding farewell to a female, with a yellow chiton and rose-
loloured shawl.^ Another of these polychrome vases, of the
ihape called hrater, was found in a sepulchre at Centuripa?, or
'entorbi, in Sicily, in 1835 ; and Sir Woodbine Parish possesses
magnificent specimen of this class found at Kuvo.'^ The
verse of this style was sometimes adopted, the figures being
ft black, and the entire ground stopped out in white.^
Many hjlihes of fine drawing glazed black on the outside and
ith red figures, but externally with a white background —
imongst them are one of this kind, having on the inside the
iibject of the adornment of Pandora, drawn in linear and gran-
iose proportions, while on the outside, in red figures of the
ter style of the decadence, are athletes conversing.^ And
others with the busts of Dionysos, by the artist Euphronios,
Achilles and Penthesilea, Apollon and Tityos, and Aphrodite
on a swan, from Camirus, Theseus, and Procrustes.^" Some of
these vases belong to the period of the strong style, exhibiting
the same technical peculiarities. Such are a hylix, in the
' Cf. Stackelberg, Griiber, taf. xlix. ; « Arch. Zeit., 1847, s. 190.
Cab. PourtaRs, p. 94, No. 28. ' Cf. Bull., 1833, p. 5.
2 Stackelberg, Graber, taf. 1. « D'Haucarville, i. HG.
5 Jalin, Beritrlite d. k. Sachs. Gesell- j " Bullet. 18J9, p. 98, found at Nola.
schaft d. Wissenschaften, Febr. 1853, j Gerhard, Festgedanken an Winokel-
■^ 1 t ' mami, 4to, Berlin, 1841.
' lierlln. Ant. Bildw., No. 1685. »» Do Witte, Etudes, p. .SI.
•lalm, 1. c, s. 15, taf. i. ii.
I' 2
212 GREEK POTTERY. Part II.
Campana Collection, having inside the subject of Theseus
stretching Procrustes on his bed, in which the curly hair is
treated with raised globules; and other hjlikes, with a Bac-
chante and Satyr, from Vulci and Kuvo.^
The transition from the florid style to that of the decadence
is rapid. The red colour is paler, the glaze often of a dull
leaden colour, the ornaments are multiplied, and large in pro-
portion to the subjects. Although the heads and extremities
of the figures still retain their slender proportions, the bodies
and limbs are large, and present an obesity, such as is seen in
the Larths and Lucumons of the Etruscan sarcophagi, and
in the mural paintings of Pompeii. The male figures have an
androgynous look. The proportions are short. They appear
to be copies of paintings of the Rhodian school. The costume
is most florid, consisting of richly-embroidered tunics with
borders, conical caps,^ armlets in the shape of serpents, radiated
head-dresses, sphendones. The figures are no longer few and
detached, but grouped in masses on the large vases, and the
composition is essentially pictorial. The females are still
draped at the commencement of the style, but at a later period
are seen naked, as in the Koian school. White opaque colour
is freely introduced for the flesh of the females and children, and
even males,^ as well as into the attire;'' and as the art decays,
almost entirely supersedes the previpus red colour. The pecu-
liarities of this style have given rise to the conjecture that
these vases were an inferior article, hastily executed for sale.
They are rarely found in Greece and Nortliern Italy, but abound
in the sepulchres of Southern Italy and Sicily. From their
common occurrence in the Terra di Lavoro and the Basilicata,
and at Santa Agata dei Goti, they are commonly known by the
designation of vases of the style of the Basilicata, and have
even been supposed to be the production of the semi-civilised
population of that country.^ They have, however, been found
at Athens and Berenice, or Bengazi in the Kyrenaica. The
vases of this style at its best period are later than the intro-
* Jalm, Vasensammlung, s. clxxxiii.
It may, however, be doubted if any vases
of the strong style have been found at
3 D'Hancarville, i. PI. 65.
^ Kramer, ss. 133-137.
' Cf. Dempster, Etruria Regalis,
Ruvo. Generally, these white vases are pagw^i ; Inghirami, Mon. Etr., s. \i.
of the period of the end of the fine or j T. O., 3; Passeri, passim; Gori, Mu-
commencement of the florid style. \ seum Etruscum ; Caylus, Recueil, t. i.
^ D'Hancarville, Vases Etrusques, i. j PI. 30-40.
48. I
Chap. IV. SUBJECTS AND INSCRIPTIONS. 213
dnction of the double letters in the Arehonship of Euclid,
Olympiad xciv., B.C. 404, and come down to nearly B.C. 200.^
They diifer also in shape from the previous class. The Icrater,
or so-called oxijbaphon, is of common occurrence. The Basili-
catan amphora is quite a modification of the old form. The
oinochoe also completely changes its character, the body being
either egg-shaped on a foot, or else squab. The leJcythos has a
semi-oval body, and the kylix is replaced by the supposed lepaste
or dish. A kind of open vase^ the hadishos, and pinahes, or
plates, are also found at this period. The subjects likewise
exhibit a change in taste and feeling. The greater proportion
of them is derived from the thiasos of Dionysos, and treated
with the highest degree of phantasia to which Greek art
attained. The Eleusinian story of Triptolemos, the Herakleid,
Gigantoraachia, Theseid, Odysseid, and Oresteid, the Perseid,
the story of Pelops and Oinomaos, that of Oidipous, of Prokne
and Philomela, together with subjects from the Tragedies, and
from the Middle and Low Comedy, are found at the commence-
ment of the decadence ; but, as it proceeded, the choice of
subjects became restricted to a few, although some, consisting
of allegorical representations, were suggested by the philoso-
phical writers, and by the decay of religious feeling. A group,
often repeated, is that of a female seated upon a rock,
holding a basket, fillet, and bunch of grapes, and approached
by a flying figure of Eros, holding similar object-^. In other
instances, females are represented at musical entertainments ;
a youth, leaning upon a stick, addresses the principal one, while
Eros hovers in the air ; or a youth and females hold a bird,
supposed to be the iynx, in their hands, and represent the
meeting of Adonis and Venus. A common subject is Eros
holding grapes, and flying alone through the air.
The a[)pearance of h for the aspirate in the scratched in-
scriptions, chiefly found upon these vases, shows them to be
coeval with the coins of Heraclea. The occurrence of an
epigram extracted from the Peplos of Aristotle, shows them
also to be later than that collection.^
Some of the latest in style are certain kraferes, found at Orbi-
tello and Yolterra, on which the figures are drawn in the
' Thiersch, ss. 81, 82. ] 1698, 25; Jahn,Va8onsammlung cxxiv.-
'^ Millmgcn, Anc. Un. Mon., i. 36; j cxxxiii.
ISIus. Borbon., ix. 28; Eustath. Od. A , |
214 GREEK POTTERY. Part II.
coarsest manner, with outlines of most exaggerated proportions
and cliildish design.^ Blue and red accessories, such as dra-
peries, wings, and parts of figures,^ are introduced, and male
figures begin to be coloured like the female.
The frequency of Bacchanalian subjects on the last vases of
this class, is by some writers connected with the prevalence
of the Bacchanalian rites and worship in Campania, as indicated
by a decree of the Senate^ for their suppression, a.u.c. 540 =
B.C. 207. The arts at this period were at the lowest ebb, and
the later vases exhibit grotesque figures in barbarian costume,
surcharged with elaborated ornaments, and drawn in the
coarsest style.
The mode of painting opaque figures in imitation of the red
figures of the strong and fine styles has been already described.
The process, indeed, is as old as the vases with black figures,
and one of the amphora3 of the potter Nikosthenes has a female
accompanied by a dog so painted on each side of the neck.
White figures reappear on the vases of the decadence, but the
process is then different. The whole of the figure is painted in
opaque white on the black ground, and the details expressed by
yellow, brown, or light scarlet lines delicately drawn over the
white coating. The white of these vases is always flat, not
glazed.
The last vases of this kind are those entirely glazed black,
with opaque polychrome or white figures. Their paste is paler
than that of the vases of the later Apulian style, their glaze
inferior, and of a more leaden hue.* The drawing is more care-
fully executed than that of the last class, but is feeble in con-
ception, and in the worst taste, consisting of female heads rising
out of scrolls of foliage, wreaths of myrtle, laurel, or ivy, tied
with fillets, to which are occasionally suspended the masks of
the comic or tragic drama, heads of Aphrodite, and her dove.
A hijlix, however, has the subject of a youthful hero, or hunter,
executed in very good style, with shading like the mural
paintings of Pompeii. The monotony of the w^hite figures was
relieved by drawing the details upon them in lines of a light
^ Cf. Inghirami, Vasi Fittili, cxxvii., j iiber die italisch-griechisclie Baccha-
cxxx., cxxxi. I nalien-feier, in his Ideen sur Archao-
2 See the figure of Eros, D'Hancar- ; logie der Malerei, p. 173, u. f.
ville, ii. 35. j * The finest collection of this style
3 Gerhard, Rapp. Vole, p. 101 ; Ann. i of vases is said to be that of the Mus.
1834, p. 78; Livius, xxxix. 8; Kra- ' Borbon.
mer, ss. 44, 136, 137; Bottiger, Excurs
Chap. IV. GR/ECO-llOMAN VASES. 215
yellowish-brown. Some of these vases are still to be considered
of a certain merit as regards tlieir execution ; but the style
rapidly decays, and in some specimens ma le when the Komaus
were masters of Campania, such as the pliialai, bearing the
iioman inscriptions Heri pocolora, Volcaiii pocolom,^ Belonai
and Acetiai pocolom, Saiiturni pocolom, Salutis pocolom,
Lavernai pocolom, or the cups of Vulcan, Bellona, Saturn,
iEquitas, Sal us, and Laverna, the colour is coarsely laid on, and
the art of the very worst taste.
At different periods the Etruscans and other races in Italy
attempted to produce vases similar to those of the best Greek
style, but they never succeeded. Their process, indeed, was
like that of the decadence. For the vases with black figures,
the maker covered the whole vases with a paint of ashy-grey
or black colour, over which he threw a very imperfect glaze.
The parts required for the black figures of the subject were
then traced out, and the painter covered the rest of the original
black ground Avith an opaque red, apparently produced from
triturated fragments of Greek vases, or else from clay. The
vases with red figures were produced by colouring the figures
in opaque red paint, and cutting lines through for the muscles
and details to the glaze beneath, in imitation of the black lines.
The designs on some vases of this style, however, have been
executed by paring through a black glaze to the body of the
paste of the vase. Many are executed in the Greek manner,
and are distinguishable only by the paleness of the clay, and
by their subjects. Vases prepared in the manner just described,
have, however, been found in the excavations at Corinth.
That these vases ceased to be made during the later days of
the Roman republic is evident from the fact of none having as
yet been found in Herculaneum, Pompeii, or Stabiae, cities in
Southern Italy pre-eminently Iioman ; while numerous examples
have been discovered in the towns of Capua, Nola, and other
sites, superior in many respects to those found in the isles of
Greece.^
When chased vases of gold and silver came into use, and
almost superseded painted ones, the potters could no longer
afford to employ skilful artists, and only manufactured pieces of
a small size, which bear evident marks of the influence of the
metallic upon the fictile vases. The latter, as well as their
» G. T. C, viii. ; V. L. I., p. 34, No. xiv. '' D'llancarvillc, ii. pp. 92, 94.
216 . GREEK rOTTERY. Part II.
ornaments, were now generally made in a mould ; the bodies
were reeded, and moulded ornaments, either from a die or
modelled, consisting of subjects in bas-relief, emhiemata, were
placed below the handles of jugs, along the rims of cups, and
inside the jpliicdai, or saucers. The upper parts of the askidia,
or little oil-feeders, or perhaps lehythoi, are also ornamented
with subjects in medallions above, of various kinds, some being
taken from foreign myths. On a jphiale of the best moulded
style is a frieze of very spirited treatment, representing
Athene, Ares, Herakles, and Artemis, each in a quadriga, driven
at full speed. At the bottom of another is the fac-simile of a
Syracusan medallion, not older than the younger Dionysius,
B.C. 343.
The manner in which the animal figures are arranged on
the vases differs considerably according to their styles. On the
early fawn-coloured ones, the figures are small in proportion to
the size of the vase, and are disposed in rows, facing one way,
which are repeated like an ornament. On the yellow vases the
figures, although of a larger size, still form continuous friezes ;
but they either face different ways, or are arranged in groups
of threes or fives, facing each other. The human figures either
all face the same way, or are arranged, as in friezes or pedi-
ments, in two files, facing the centre, where the principal action
takes place. The accessories, such as flowers, occupy the whole
field. As the technical details improve on the earliest vases
with Greek figures, these accessories are omitted ; but a peculiar
floral ornament, the prototype of that called helix, the antefixal
ornament, or palmetto, appears at the handle. On the oldest
hylikes, or cups, the figures are small, an(i arranged in friezes
round the outside, having sometimes only one or two figures on
each side of the handles, whilst at other times they are richly
filled with them. Inside of the cup is a medallion, consisting
of a single subject, and often of only one figure. The external
subjects resemble, and are perhaps copied from, those on the
pronaos and jposticum of a temple. On the earlier amphorae,
the single, double, and triple figures suggest that the compo-
sition was borrowed from metopes, a practice which broke up
the subject into particular incidents, and attracted the spectator's
admiration to the details of art, and to the excellence of sepa-
rate parts. Many of the subjects of the Tyrrhenian amphoreis
and hydriai resemble those of mural paintings and sculptured
pediments. In proportion, however, as the arts improved, the
I
HAP. IV. NUMBER OF FIGURES—ADJUNCTS. 217
mimber of figures was dirniiiisluul, while they became hirger in
their proportions, and treated with more care. On the cu[)s,
tlie number of figures on eacli side rarely exceeded three,
and the same quantity is usually found on the amphorae. On
the oinochoe the number is one, two, or three. When there
are three or more figures, their attitudes nearly correspond,
and sometimes both on the obverse and reverse. The hydria
has often several figures on the front of the body, while on the
fiat part, or chest, is a smaller frieze of figures of very dimi-
nished proportions, sometimes amounting to as many as twelve.
The back of this sort of vase is plain. On the cup called
hyathis, the number of figures rarely exceeds three. Single
figures occur on the plates. As the ornaments on the earlier
cups resemble the bands of friezes which enriched the temples,
so on the later ones the forfu of metopes is preferred. The
earlier vases with red figures are also painted in the same style ;
but on some of the smaller ones, and especially on those of Nola,
the abstraction is rendered still more complete by representing
only a single figure, the protagonistic or chief one, upon the
side of the vase intended to be most seen, whilst the subordinate
figure is depicted upon the reverse. Many of the smaller vases
have two figures upon each side, but three figures rarely, if ever,
occur. On the principal side the figures are well and carefully
drawn, while the haste and rapidity with which they were
fiin'shed on the other side, shows that they were not intended
to be much seen. On all these vases standing attitudes are
preferred to sittiug ones.^ On the Jcrateres of Lucania, and on
Apulian vases, which resemble the later style of amjyJwreis and
omochoai, the number of figures is often three, or at the most
four; but the usual number on the reverse is three. The
subjects are generally gymnastic, or taken from scenes of pri-
vate life. The accessories to these scenes, or the manner in
which the locality is indicated, is in the pure taste of the
Greeks. For the sea, a few undulating lines, or sometimes
the cymation mouldiug is adopted ; for the air a bird is only
rarely introduced. The gymnasion is indicated by a lehjthos,
or pair of dumb-bells, halteres, for leapers, suspended in the
area ; the school, by a book, a letter, or a lyre ; the gynaiheioii,
' Bottiger, Vasengem., ii. 40, men-
tions having seen hundreds. Laborde,
Vases de Lambcrg, ii. p. 45, lueutious
vases comprising thousands of such
figures.
218
GEERK rOTTERY.
Part 11.
by a sash, or girdle, or lekythos. The halls, or other principal
rooms of buildings, are sometimes indicated by a column. The
rest of the area is generally vacant, and the mind of the spec-
tator, as in the scenes of a play, is called upon to supply the
deficiency. On those vases, however, on which the later deve-
lopment of style is visible, an important change takes place in
the arrangement of the figures. There is an attempt to repre-
sent the inequalities of the ground, which are indicated by
dotted lines, and by placing the objects on diiFerent levels. The
figures are placed in rows ; lines, similar to those already de-
scribed, represent the earth on which they are treading ; and
the enamelled mead is seen profusely strewn with small flowers.
The figures most remote from the spectator are sometimes seen
in half-length. In this style the accessories are occasionally
treated in a manner closely resembling the mural paintings
at Pompeii and Herculaneum. Rocks, fountains, the labra of
baths, trees, architectural mouldings, and floral scrolls, are pro-
fusely introduced, and fill up and enrich the whole of the
background.
Such is the disposition of the figures on the amphorae of
the later or Basilicatan style, on which they are often piled one
above another. On the krators with small side-handles, oxy-
ha^ha, of the earlier style, one row of figures occupies about
two-thirds of the vase. Round the rim, or mouth, is generally a
laurel wreath, while the figures stand on a moeander border. An
egf^ and tongue ornament decorates the bases of the handles.^
When double rows of figures are introduced, the subjects are
separated by a band of the same ornament, and the lips of
the vase are enriched with rows of helihes?^
On the kraters with columnar handles, helehai, the subjects
are differently arranged. The black ground forms a square
picture on which the red figures are traced. The termination
of the picture is defined by two vertical wreaths of ivy,^ whilst
a horizontal wreath is sometimes painted across the outer rim ;
or else there is a frieze of interlaced buds across the neck.*
A frieze of animals in black upon a red ground is frequently
painted on the outer rim of the lip, the subject of which is a
lion attacking a boar.^ The foot is often ornamented with the
calyx pattern.^
1 Millingen, Vases de Coghill, PI.
xix. 2 Ibid., ri. i.
3 Ibid., Pi. viii.
^ Ibid., PI. xviii.
* Ibid., PI. X.
« Ibid., Pi. xxiv,
(HAP. IV. TREATMENT AND LOCALITY. 219
On the late vasos, with opaque wlrito figures, the treatment
is architectural, the objects being treated as the component
j)arts of buihlings, or of mural decorations.^ Faces are repre-
sented as looking out of windows ; masks, festoons of wreaths,
jind laurel branches appear, copied from such objects when
hanging upon walls. Lastly, the modelled vases are treated in
the style of bas-reliefs of the Roman school. They are covered
with a fine black glaze, like that of the Nolan vases, but prin-
cipally come from Sicily and Salonica. Notwithstanding their
manifest inferiority to the nobler ieflforts of Greek art, the
display of taste in composition and treatment seen in these
sketches has obtained the admiration of all the admirers of
the fine arts of antiquity.^
The attempts to classify the vases by their place of manu-
facture have been entirely unsuccessful.^ The early ones dis-
covered at Santorino, Melos, Athens, and Mycenae show that
one style was then universal in Greece. Vases of the Doric
style of Corinth have also been discovered at Athens, Nola,
Vulci, and elsewhere ; and the vases with black figures are
widely diffused in Greece, Italy, and Sicily. The same is
the case with the red vases of the early or hard style, which
are abundant both in Greece and Italy. Those of the so-
called Nolan style have also been exhumed at Vulci in Magna
Graecia, at Tarentum in Sicily, at Athens, Corinth, Solygia, and
Berenice. Vases of the grander style, at one time considered
Sicilian, have been found in the vicinity of Naples, and in
Southern Italy.'* The florid style is common to Euvo and
Athens ; the decadence to Apulia, Athens, Vulci, Italy, Africa,^
and the Peloponnese. The decaying styles of the Basilicata and
of Apulia are difficult to discriminate, and appear also on vases
from Greece and Greek settlements out of Italy, as Berenice
and Panticapaeum. Even the style with outlines on a white
ground is extant among the vases of Vulci, Tarentum, the
Locri, and Athens.^
The monochrome paintings on ancient vases, which exhibit
no distinction of sex, cannot be older than Hygiainon, Dinias,
^ Cf. vol, ii., xxsii. xlvi.
2 Winckelmann, ' Kunstgeschichte,'
iii., c. iv., and Bd. L Ann. 818, s. 448,
u. f. ; Meyer, Eaub. der Cassandra, s. 15 ;
Ptossi, in Millingen, V. de Coghill, p.
Kramer, s. 10, u. f.
* Kramer, 1. c, s. 27 ; De Witte, Cat.
Dur., p. ii.
4 Kramer, 1. e., s. 29.
' Ibid., 8. 33.
ix. ; Due de Luynes, Ann. 1832, p. 144; I « Ibid., s. 35.
220 GREEK POTTERY. Part H.
and Charmades, who painted with a single colour ; but unfor-
tunately the age of these artists is not known.^ Those which
distinguish the sexes, which is the case with nearly all, are
later than the time of Eumarus, who first made this distinction.^
Kimon of Kleonai, who improved on the works of Eumarus,
advanced the art of painting by introducing three-quarter and
full faces, by giving expression to the features, by marking the
articulations of the limbs, the veins, and the folds of drapery.
Plis age also is not defined, although some have attempted to
place it in Olympiad lxxx., b.c. 460. Those vases, on which
forms, especially of females, are seen through the drapery, are
late r than the school o f Polygnotus, or Olympiad xc, B.C. 420.
CSftain vases, in the figures oi' wiiicli the ethos, or moral senti-
ments and feelings, are thrown into the countenances, are later
than Zeuxis of Heraklea, who lived before Olympiad Lxxxviii. 3,
B.C. 426 ; and such as exhibit fineness in the treatment, espe-
cially of the hair, mouth, and extremities, belong to the school
of Parrhasius, Olympiad lxxxix., b.c. 424, while beauty was
the forte of Apelles, the contemporary of Alexander the Great,
B.C. 336. Parrhasius painted obscenities. Aristides of Thebes
expressed the passions, and was the contemporary of Apelles.
Mikomachos^ was the first who bestowel a bonnet on Ulysses.
He was another contemporary of Apelles. The grylli, or fan-
ciful combinations, were invented by Antiklides, B.C. 356.
Ardikes of Corinth and Telephanes of Sikyon introduced more
extensive lines in the tracing of the figures ; and Kleophantos
filled them up with a flat or monochrome colour, apparently
powdered earthenware, or red colour. Olympiad xxx., B.C. 660.
8uch designs appear on vases of the decadence.*
Other criteria have been proposed for determining the age of
vases, as the appearance of cars with a single yoke, invented
by Kleisthenes,^ instead of the double one used at the time of
Sophocles ; and of masks, which were first used by Thespis and
^schylus. To the inscriptions and their age attention will
be subsequently directed.
> Pliny, XXXV. 8, 34. ^ j^i^j^
3 D'Haneaiville, ii. 110, 112.
^ Pliny, XXXV. c. 3, s. 5.
* Isidor., xviii. 32.
Jhap. V. T^ECOUDED SUDJECTS. 221
CHAPTEK V.
ilflzed vnses continued — Subjects — Carved wooden and metal vasop — Difficulty
of tile inquiry — Sources — Various hypotheses — Millinj^cn's division of suV)-
jects — Panofka's division — Compositions embracing entire myths — Fran^dia
vase — Method — Gigaiitoniuchia — Subjects with Zeus — Hem — Athene —
Poseidon — Deineter and Kora — Deljihic deities, Apollo — Artemis — Hepluiis-
tos — Ares — Aphrodite — Kermes — Hestia — Dionysos — Sileni, Nymphs
and Satyrs — Pan — Bacchanals on Lucanian vases — Marsyas — l-'rotes —
Chnrites — IVIuses — Hygieia — Erichthonios — Cabeiii — Atlas — Pro-
metheus — Hades — Moirai — Erinnyes — Hypnos — Thanatos — The Kerts —
Hekate — Gorgons — Helios — Heos — Nereus — 'J'riton — Glaukos Pontics
Skylla — Naiads — Personifications.
It was not only fictile vases that were decorated with subjects;
ancient art adorned every household implement and utensil
witli symbolical representations. There are many descriptions
in ancient authors of these decorations on vases of wood and
metal, most of which apply to subjects in relief; but the motive
was the same both iu painted and moulded vases. The cup of
Nestor was ornamented with doves^ or with figures of Pleia Is ; ^
the box-wood cup, Jcissjjhion, described by Theocritus, repre-
sented a female standing between two youths, a fisherman
casting his net, a boy guarding vines and knitting a grasshopper-
trap, while two foxes plunder the grapes and devour the contents
of his wallet, — the whole surrounded with an acanthus border
and an ivy wreath.^ The cup of Nestor at Capua was inscribed
with Homeric verses. In the Anakreontica a hypellon, or beaker,
is described which had a vine and its branches outside, and on
the inside Dionysos, Eros, and Bathyllos.'* Another described
by the same author was ornamented with figures of Dionysos,
Aphrodite, Eros and the Graces.^ The cup, or skypJios, of
Herakles was said to be adorned with the taking of T'roy, and
certain illegible letters.® Some cups, or shjphoi, from Agrigentum,
deposited in the temple of Bacchus at Rhodes, were ornamented
with Centaurs and Bacchants, or with the battles of the Centaurs
1 Homer, ' Iliad,' xi. 635. •• Od., xvii.
* Athenaeus, xi. 492, C. j ' Ibid., xviii.
^ Theocritus, Idyll., i. 20. \ « Athenaius, p. 403, C.
222
GREEK POTTERY.
Tart 11.
and Lapitha3. The cup of King Pterelas bad the car of tlie
Sun sculptured on it.^ That of Adrastus, the celebrated Argive
king, had on one side Perseus killing Medusa, on the other
Ganymedes borne off by the eagle of Jupiter.^ Pliny ^ mentions
cups on which were Centaurs and Bacchae, Sileni and Cupids,
hunts and battles, and Diomedes and Ulysses carrying off the
Palladium. That of Rufus had Helle, the sister of Phrixus,
flying on the ram.* On another was Orpheus enchanting the
woods.^ The Epicureans are said to have drunk out of cups
ornamented with the portrait of their master.^ At a later period
are mentioned a patera of amber decorated with the portrait of
the Emperor Alexander inside, and having on the outside his
history in small figures;' and a glass cup with bunches of
grapes in relief, which became purple when the wine was
poured in.^ Gallienus, in a letter which he addressed to
Claudius Gothicus, sent him a charger ornamented with ivy-
berries in relief, a dish adorned with vine-leaves, and a silver
patera with ivy.^ Nonnus speaks of cups of gold and silver
adorned with ivy, and given as rew^ards to vaulters. The writer
of an epigram in the Anthology, mentioning a hyatlios on which
an Eros was represented, exclaims, *' Let wine alone suffice to
inflame the heart, do not add fire to fire." ^^ Tims from the
oldest to the most recent period subjects adorned the drinking-
vessels of the ancients.
No portion of the history of the fictile art is moi-e difficult to
arrange than that of the subjects whicli the painters selected for
the decoration of vases. They embrace a great part of ancient
mythology, though not, perhaps, that portion which is most
familiar to the classical student. Many subjects were taken
from sources which had become obsolete in the flourishing
period of Greek literature, or from myths and poems which,
though inferior to the great works of antiquity in intellectual
style and vigour, yet offered to the painter incidents for his
pencil. These must be sought for in the scattered fragments
of Greek literature preserved in the scholiasts, in the writers on
mythology, in works of an encyclopediacal kind, or, finally.
1 Plaut., Amphitryo, Act I. sc. 1,
V. 266.
^ Statius, Thebais, i. 542, vi. 534.
3 Lib. xxxiii. c. 1 2, s. 55.
4 Martial, viii. 51 ; Juv., i. 76.
« Virgil, Eel., iii. 46.
^ Cicero, de Fin,, v. 1.
' Trebell. Pollio, Vita Quieti.
^ Achilles, Tatius, lib. ii.
» Trebell. Pollio, Vita Claud,, c. 17.
*" Anthol., iii. 10, Jacobs.
CiiAP. V. MODERN INTEEPRETATTON. 223
ill tlie compilations of tlie later Byzantine Bcliool. The attention
paid of late to collect, assort, and criticize these remains, has
much diminished tlie labour of the interpretation of art, the
most difficult branch of arcliJBology. It is, however, only since
the discovery of a considerable number of inscribed vases that
these investigations have attained any approach to accuracy ;
for tlie labours of tlie early European writers on the subject are
hypothetical and unsound, except in the interpretation of the
most obvious subjects. Up to the present hour, indeed,
the identifications not only of particular figures, but even of
considerable compositions, remains hypothetical. In cases in
which we are guided by names, personages the least expected
appear in prominent positions; and compositions often repre-
sent myths, of which not even the outlines have reached the
present day. Modern explanations are based upon a few great
traditional schools of art, and take no account of the universal
diffusion of the fine arts throughout Greece and her colonies,
and of the dislike which the Greeks had of those exact copies
which mechanism has introduced into modern art. It was from
this feeling that the same idea was never treated in the same
manner in all its details, and a varied richness, like that of
nature itself, was spread over and adorned a very limited choice
of subjects. When vases were first discovered in Southern
Italy, the subjects were supposed to be scenes of the Eleusinian
and Dionysiac mysteries ; and this school of interpretation has
still some followers. But the most microscopical criticism
cannot separate in these designs the mystic from the hieratic or
the actual. Other critics supposed the subjects to be Pelasgic
or Etruscan.^ At a later period attempts have been made to
connect the subjects with the names of the vase makers and
painters, or of other persons mentioned on them by the potters ;
to show that they alluded to the use of the vase : — as, for
instance, that Dionysos appeared upon the amphoreis for holding-
wine at entertainm*ents ; scenes of water-drawing upon liydriai ;
the Herakleid upon lehythoi, the vases of the palaestra ; and the
Oresteid on those destined for sepulchres. Even this hypothesis
cannot be entirely followed out.
According to Passeri, the subjects of the paintings referred
to marriages, nuptial fetes, and the secret scenes of myste-
* Cf. Museum Etrusque de Lucien : lonisclien bemalten Yn sou, 4to, Munich,
Bouiiparte, Prince de Canino, 4to, Vi- j 18 14, s. 3.
terbe, 1829 ; Thiersch, Ueber die Hel- j
224 GREEK POTTERY. Part II.
ries.^ Italiiisky, on the contrary, refeired them to the history
of the Greek republic.^ D'Hancarville passes over the subjects
in silence ; ^ and it was not till the labours of Winckelmann *
had commenced, and were continued by Lanzi/ Visconti,^ and
Millingen,' that a correct idea of the nature of the subjects
began to be entertained. But the opinion of their mystic value
still continued to haunt the learned.^
According to IMillingen, on the vases of the oldest period
Dionysiac scenes are most frequently represented ; those of the
period of the fine arts in Greece have the ancient traditions and
mythology in all their purity; those of a later era have subjects
taken from the Tragedians ; and those of the last period exhibit
new ceremonies and superstitions, mixed up with the ancient
and simple religion of the Greeks.^
Millingen ^° divided the subjects of vases into seven classes : —
J. Those relating to the gods — the Gigantomachia, the amours of the
gods, and the sacrifices made to them.
II. Those relating to the Heroic age — the arrival of Cadmus in Greece,
the Heracleid, the Theseid, the two wars of Thebes, the Amazono-
machia, the Argonautica, the war of Troy, and the Nostoi or retui-n
of the Greeks, the heroic cjxle.
III. Subjects relating to Dionysos or Bacchus — the Satyrs and Sileni, the
orgies and fStes of the gods.
IV. Subjects of civil life — marriages, amours, repasts, sacrifices, chases,
military dances, scenes of hospitality, and of the theatre.
V. Subjects relating to the funeral ceremonies, particularly offerings at the
sepulchres.
VI. Subjects relating to the gymnasium — youths occupied in different
exercises.
VII. Subjects relating to the Mysteries."
To these may be added : —
VIII. Subjects of animals.
IX. Ornaments.
X. Masks and inanimate objects.
Panofka divided the subjects thus : —
I. Those showing either the use of the vase, or the occasion on which it
was given.
» Picturse Etrusc., fo. Rom. 17G7, 8vo, Nap., 1801.
Pref., p. xvi. ^ Mus. Pic Clem., iv. p. 311.
2 Laborde, Vases de Laml:erg, In- ^ Vases Grecs, 2 vols.
trod. p. iii. ^ Laborde, Introd. pp. vi-viii.
^ Antiq. Etr. Grec. Rom., 4 vols. fo. ^ Millingon, Vases Grecs, p. vii.
^ Mon. Antiq., In., t. i. '" Ibid., Introd. p. v.
' Dei Vasi dipinti Dissertazioni Tre, " Ibid., p. vii.
Chap. V. CLASSIFICATION OF SUBJECTS. 225
II. Tliosc alluding t(i a previous use or occasion.
HI. Vases with both these subjects, one on each side.
IV. Vases with allegorical subjects on each side.
Thus a vase with two wrestlers on one side, and Eryx on the
other, shows it at once to be a prize vase of the first class. On
a nuptial vase of the second class will be Menelaos and Helen,
or Hermes and Herse. Prize vases, he considers, were enriched
with the actions of Perseus, Herakles, and Theseus, while nuptial
vases had a greater range of subjects, and sepulchral vases one
more limited.
In the present and following Chapters will be given a precis
of the subject, following the order adopted by Miiller and
Gerhard. As this order is not that of the vases in their succes-
sion as to art, it will be necessary to allude cursorily to their
precedence as to age. The great mass of the subjects are
Greek, the only exceptions being a few Etruscan ones occurring
on the local pottery of Etruria, and a peculiar class, apparently
local, on the vases of the later style found in the ancient
Lucania and Apulia. It was only upon vases of the largest
size, destined for prominent and important positions, that the
artist could exercise his skill by producing an entire subject ;
of which the great vase of Florence, containing the Achilleid,
or the adventures of Achilles, is the most striking example.
The greater number of vases have only portions selected
from these larger compositions. Thus, the often repeated
subjects of the return of Hephaistos to Olympus, and the mar-
riage of Peleus and Thetis, belonged to the Patroklia, and the
discovery of Ariadne at Naxos to the Argonautica. Most of the
subjects are parts of some whole, which, however, it is often
difficult, if not impossible, to reconstruct.
The vase found near Chiusi, now in the Museum at Florence,
to which the name of the Franfois Yase has been given, from
its discoverer, illustrates these remarks. This vase measures
27 inches in height, and about as much in diameter. On it is
a whole composition — the work of the artist Ergotimos — which
recalls to mind the decorations of some ancient lesche ; whilst
its shape, that of a krater with columnar handles, was moulded
by the potter Klitias.^ The subject*, eleven in number, are
• Braun, Le dipinture di Clizia so- Ann. xx. 1849, p. 299 ; Arch. Zeit.,
pra vase Chiusino d'Ergotimo, scoperto | 1846, ss. 321, 322; 1845, s. 123; 1850,
e pubblicato da Alessandro Fran9ois, | 258; Dennis, ii. p. 115.
Mon., 4to., Roma, 1849; iv., liv-lviii; I
Q
226 ' GREEK POTTERY. Part II.
arrayed round it in six horizontal bands. Eight are lieroio,
and the whole composition is illustrated with 115 inscriptions
explaining the names of the persons, and even of the objects.
The first subject is the hunt of the boar of Kalydon, in which
Peleus plays a conspicuous part ; the second, that of the return
of Theseus to Crete, his marriage and dance with Ariadne ; the
third, the Battle of the Centaurs and the Lapiths ; the fourth,
the Marriage of Peleus and Thetis ; the fiftli, Achilles killing
Troilos, and the flight of Polyxene ; the sixth, the return of
Hephaistos to Heaven, and the capture of Hera upon the golden
throne ; the seventh is a frieze of animals ; the eighth, the
battles of the Pigmies and Cranes ; the ninth. Demons ; the
tenth, Ajax bearing off the dead body of Achilles ; the eleventh,
the funeral games in honour of Patroklos. Dionysos holding
the famous golden amphora which he gave to Thetis* and in
which the ashes of Achilles were placed, is also seen. The
analogy of this vase with the chest of Kypselus, the throne of
Bathykles, and similar ancient works of art, is evident.
It is impossible to indicate alL the subjects of the thousands
of vases that are known, or to present them in all the points of
view in which they are capable of being regarded. The different
interpretations given of the same subject by the eminent archaeo-
logists and scholars who have studied these remains, also em-
barrass the inquiry ; and hence this precis must after all be
regarded only as a sketch which the student can fill up, but
which will convey to the general reader a summary of the
matter.
Much ingenuity has been exerted to discover whether the
subjects were original productions of the va^se-painters or copies.
That in general they were original is the more probable view ;
but copies may occasionally have been produced.^
One of the oldest^ and most popular subjects in Greece was
* Kramer, die Herkunft, s. 16. j B. A. B. - Berlins Antike Bildwerke.
2 In order to abridge the copious B. A. N. — Bulktino Archeologico-Na-
references necessary in this portion of ! politano.
the work the following abbreviations j B. M. —British Museum Catalogue.
have been adopted : — I Bull. — BuUetini dell' Institute Ar-
A. — Annali dell' Institute Archseo-
logico.
A. Z.— Archaologische Zeitung (Ger-
hard.)
B. — Brongniart, Traite Ceramique,
and Musee de Sevres.
cheologico.
C. 0. — Catalogue Canino.
C. D. — Catalogue Durand.
C. F.— Collezione Feoli.
C. M. — Conze, Melische Thongefasse,
D'H. — D'Hancarville, Vases Grecs.
rAP. V.
GREAT GODS— ZEUS.
227
le Gigantomachia,^ which is found represented as a whole
)on many vases, while others contain individual incidents from
Zeus, Poseidon, Herakles, Ares, Athene, Apollo, and Artemis,
)pear on the scene.^ Pallas,^ Herakles, and Dionysos* are of
jquent occurrence. As this subject is connected with the
Stans, and the antecedent cosmogony, it may take the pre-
cedence in the mythic series. Of the nature of giants are the
Aloids,^ but thev are found in connection with the adventures
of Apollo and Artemis.
Zeus, the father of the gods, the great thunderer, seldom
appears alone, or in myths peculiarly referring to him, but is
chiefly seen in scenes from the Herakleid, the Trojan War, or
the tragedians. On the black vases, however, and on tho?e of
the finest style with red figures, he is often represented giving
Inrth to Athene. The moment selected by the artists is either
that which precedes the leaping of the goddess all armed from
his head, or when she has just issued from it, or is presented
D. L. — Due de Luynes.
D. M. — Dubois Maisonueuve, Vases
Feints.
G. A. P.— Gerhard, Apulische Va-
senbilder.
G. A. v.— Gerhard, Auscrlesene Va-
senbilder.
G. E. v.— Gerhard, Etruskische Va-
senbilder.
G. T. C.-GerharJ, Trinkschah n.
G. V. M. — Gerhard, Vases de Mys-
tt-res.
L. D. — Lcnormant and De Witte,
Elite des Monumens Ce'ramograjihiques.
T. M. E. — Inghiranii, Monumenli
P^truschi. \
M.— Monumenti dell' Institiito Ar- :
cheologico. 1
M. A. I. — Monumenti Antichi Inediti, :
posseduti da R. Barone, con brevi dilii-
cidazioni di Giulio Minervini.
M. A. IT. M.— Millingen, Ancient Un- j
edited Monuments. '
M. Bl. — Panofka, Muse'e Blacas.
M G. — Museo Gregoriauo (Museum
Etruscum Vaticanum).
M. I.— jNlicali, Storia d'Kalia.
M. M. I. — Micali, Monumenti Inediti.
M. P. — Panofka, Muse'e Pourtales.
M. B — Museo Borlonico.
P.— Pas?eri, Pict. Et. (Vases Etrns-
qurs).
R. A. — Revue A rcheologique.
R. R. — Raoul Rochette, Mo;iiiments
Inedits.
St. — Stackelberg, die Graber der
Hellener.
T. — Tisclibein, Vases Grecs.
V. D. C.— Millingen, Vas( s de Coghill.
V. F.— Inghirami, Vasi Fittili.
V. G. — Millingen, Vases Grecs.
V. L. — Laborde, Vasts de Laraberg.
' Bull., 1838, p. 55; C. D., 1,2; B.
A. N., ii. tav. vi. ; A. Z., 1844, s. 262 \
A. Z., 1852, s. 232; Bull., 1843, pp. 97,
98; A. Z., 1843, 202; G. A. V., 1x1.
Ixii. ; Bull., 1850, p. 125 ; D. L., xix.
A, B ; M. A. I., xxi. ; L. D., i. ill. iv. ;
A. Z., 1844, s. 377; B. A. B., 1002,
1623 ; 584, 605, 659, 6S0 ; D. L., xix. ;
]M. M. I., xxvii.
2 G. A. v., xvii. ; M. G., ii. vii. 1. c. ;
G. A. v., V. ; T., i. 31 ; G. A. V., Ixi Ixii. ;
M. G., ii. 7, 1 B, xliv., 1 a ; G. T. C,
ii. iii. xi. xii. ; M. M. I., xxxvii. ; Mon.,
vi. vii. t. Ixxviii.
' M. G., ii. xli. 1a; G. A. V., vi.
^ G. A. v., Ixxxv.; G. A. V., Ixiv.-
Ixv. ; G. A. v., Ixiii. ; Bull., 1847, p. 102.
5 M. I., xcvi. ; D. h., vii.
Q 2
228 GREEK POTTERY. Paht II.
on his lap to the astonished deities of Olympus.^ Amongst
the gods assembled round him even Herakles^ may be seen.
Among his amorous adventures depicted on the vases are the
rape of Europa,^ the seduction of lo/ the rape of Aigina or
Thaleia,^ his metamorphosis into a swan, and the seduction of
Antiope,^ probably confounded with that of Leda ; the golden
shower and Danae ; ' the rape of Ganymede/ the destruction
of Semele,® and the carrying off of lacchos ^^ in his bosom /^
whom he delivers to tbe Thyades.^^ He is also seen in many
scenes difficult to interpret, but probably derived from the
incidents of tbe Trojan war. He appears with his brothers
Poseidon and Hades, each holding a thunderbolt,^^ or attended
by various deities in council;^* with Hera and Ganymede,^^ or
Hebe;^^ with Hera and Nike;^^ with Hera holding out the
unknown child Diosphos ; ^^ and with Apollo and Aphrodite,^^ or
Artemis.^" He is probably to be discovered in certain representa-
tions of triclinia,^^ and ia some processions supposed to represent
either the return of Hera to heaven,^^ or the apotheosis of Hera-
kles. But^^ his most conspicuous adventures are in the Giganto-
machia.^* Scenes where he is represented listening to the rivals
Thetis and Heos must be referred to the Troica.^^
* G. A. v., i.-iv. ; M. G., ii. xxxix. ; P., clvi. ; L. D., xviii. ii. Hi. ; B. A. N.,
Creuzer, Gall. Myth, Iv. ; V. L., Ixxxiii. v. 16; A. Z., 1853, 400.
2 G. A. v., ii. iv. Y. 2; 0. F., 65; | ^ 0. D., iii.
M. G., ii. xlviii. 2, 6 ; D. M., iii. xxv. ; I i» B. A. B , 902 ; A. Z., 1848, s. 218.
V. F., Ixxvi. ; P., clii. ; 0. D., 20, 21 ; I " A. Z., 1851, 310, xxvii.
C. C, 6 ; B. A. B., 586 ; M. I., Ixxx. I ''^ D. L., xxviii.
Ixxxi. »=* A. Z., 1851, 310, xxvii. ; M.v.xxxv.;
» C. F., 2; M. G., ii. xl. 1 a, xli. 2 a; 1 L. D., xxiv./; M. Bl., xix.
D. M., ii. ; G. A. V., xc. ; V. G., xxv. ; " A. Z., 1852, 232, 233, 229 ; M. I.,
Bull., 1844, i. s. V. ; G. A. V., xc. ; P., Ixxxv.
i. ii. iv. V. ; D'H., ii. 45 ; C. D., 4 ; '* V. F., ccxlxciii. ; J). L. T., cxxvii.
L. D., xxvii. xxviii. ; B. A. B., 801, i ^^ M. P., 1 ; L. D., i. xx. xxi. ; M. B.,
1023 ; A. Z., 1852, 248. I v. xxi. ; A. Z., 1846, 340.
4 A. Z., 1848, 8. 218 ; L. D., i. xxv. j ^7 M. B., vi. xxii. ; St., xvii. ; B. A. B.,
xxvi. ; V. D. C., xlvi. ; Panofka, Argcs 898 ; L. D., xiv. xv.
Panoptes, Taf. iv, ; A. Z., 1852, 235. '« M. A. I., 1.
* Melchiori, Att. d. Accad. Rom. di ' '^ M. M. I., i. xxxvii.
Arch., 4to., Rom., 1838 ; M. G., ii. xix. ^o m. G., ii. xxix. 1 b, ii. 1 ; V. F., cix.,
XX. ; G. A., vi. ; L. D., i., xvi. xviii. ; ccc. ; L. D., xxii.
M. M. I., xl. ; T., i. 26. ^i y, ^^ clxxvii.
« B. A. N., p. 25; M. B., vi. xxi. ; \ ^2 a. Z., 1852, 233, 250; M. BL, xix.
St., xvii.; see Penelope, T., v. (1) 62; i ^3 m. M. I., xxxvii.
R. A., 1868, p. 348. i ^4 g. a. V., ccxxxvii. ; V. F., xlvii. ;
^ Welcker, Danae, 8vo., Bonn, 1852. I D. L., xix. ; L. D., i., i.-iii.
» V. L., ii. s. vi. ; G. T. C, xi. xii. ; ' 25 b. A. N., i. p. 16.
Dhap. v. HERA AND PALLAS ATHENE. 229
The goddess Hera rarely appears, and when she does is gene-
dly intermingled with other deities in a subordinate position.
some rare representations she is seen in her flight from Zeus,
|fho is turned into a cuckoo/ or in the company of Nike,^ or
another female.^ Some of the older vases, perhaps, show
ier marriage with Zeus,* or caressed before Ganymede. She
present at tlie punishment of Ixion,^ and the attack of the
Joids, and is seen consulting Prometheus.^ In one instance
le may be regarded as the foundress of the Olympian games ;''
Tn another, she suckles the infant Herakles. Sometimes her
portrait alone is seen.^
Far more important is the part played by the goddess Athene,
the great female deity of the Ionic race, whose wonderful birth
from the head of Zeus connects her with this part of the mytho-
logy.^ In the Gigantomachia she always appears ; but many
vases have episodes selected from that extensive composition,
in which Pallas Athene, generally on foot, but sometimes in
her quadriga,^*' is seen transfixing with her lance the giant
Enkelados,^^ while in one instance she tears off the arm of the
giant Akratos-^^ But, what is more remarkable, she is seen
twice repeated in certain Gigantomachiae.^^ She appears in
company with the Delphic deities, or with Hermes, Hephaistos,
and Poseidon,^'^ with whom her contention for Attica, or Troizene,
once forms the subject of a vase.^^ Her presence at the birth
of Erichthonios connects her wdth the Attic legend of Hephai-
stos or Vulcan. ^^ The Attic tradition of her supposed protec-
tion of Erechtheus^^ is more rarely found. As the vanquisher
of the Giants, or else in accordance with an incident selected
from the Herakleid, she mounts her quadriga,^^ or is seen in
> L. D., xxix. A. j 605 ; A. Z., 1853, 402 ; St., xiii. ; M. I,
"^ L. D, i. xxx.-iii.-xxxvi. ; A., xxix.
T. iv. (ii.) 16, 17.
^ L. D., i. xxxi.-xxxiv.
< A. Z., 1848, 217 ; B. A. N., i. 5.
xci.
" G. A. v., vi.-lxxxiv. ; P., clii. ; C.
C, 10; B. A. B., 1002; A. Z., 1856,
202.
* M. P., vii. " L, D., Ixxxviii.
^ M. B., i., X., XXXV, ; L. D., i. xxxii. ; , '' De Witte, Ac. Brux., viii. 1 ; Ger-
M. Bl., iv. XX.; Gerh., Winckflmanns- ; hard, Zwei Minerven, 4to. Berlin, 1848;
Feste, A. Z., 1846, 287. \ L. D., xc. ; A. Z., 1846, 303.
^ L. D., i. xii. * L. D. i , xxix. j " M. G., ii. xxxviii. ; L. D., xxvi. ;
» Forchhammer, Die Geburt der i C. C, 66; A. Z., 1846, 234, xxxix.
Athene, 4to., Kiel, 1841; L. D., i. j i= L. D., Ixxviii. ; D. L., ii.
liv.-lxv. Ixv. A. Ixvi. Ixxiv. Ixxv. d. ^^ M., i. x.-xii. ; V. F., Ixxiii.
><» Gerhard, R. V., p. 35 ; V. L. xlviii. ; i? B. A. B., 1632.
C. D., 27, 28, 29, 30, 31, 32 ; L. D., viii.- i" V. F., ccvi. ; B. A. B., 766 ; A. Z.,
xi. ; L. D , xxxix. ; C. C, 8 ; B. A. B., i 1852 ; St., xv.
230
GREEK POTTERY.
Part II.
company with Nike, her charioteer, who ministers to her a
libation.^ Her connection with Dionysos is lyrical. She is
sometimes seen amidst Sileni,^ or between Hermes and Dionysos
himself,^ or she plays on the lyre to the wine-god,* or sometimes
alone, as Minerva Musica.^ In this connection with Dionysos
she is represented as discovering the use of the pipes or double
flute,® for which she contends with Marsyas, or throws them
to him,' or else listens to their melody, as inventress of tlie
peculiar tune taken from the hissing of the Gorgon's snake.^
In one instance the goddess, as the inventress of letters, is seen
writing, and is supposed to be teaching their use to Palamedes.^
As the patroness of the arts of peace, Eirene stands before her,^°
and on some vases she holds out her hand to her.^^ Her head
alone,^^ taken from a composition, is once found. Generally
the companion of heroes and the Mentor of princes, she protects
Herakles,^^ whom she is supposed to marry, whose exploits she
always aids, sometimes in her chariot,^* and whom she finally
introduces to Olympus. She is present also with various deities
in scenes derived from tragical or other subjects, as with Eros,^^
Zeus,^® Hebe,^' and females,^® and either with Ares or a favourite
hero,^^ perhaps Achilles or Diomedes. As Nauplia, she holds
the aplustre,^" and pursues Arachne^^ or Pandrosos.^^ She is
also represented in many scenes taken from the exploits of
Theseus, the Achilleid, and the Oresteid, and in company with
a female, supposed to be Penelope and a crane.^^
The scenes where Athene is beheld mingling wdth the heroes
of the Trojan war are to ) numerous to be specified ; the chief
• of them shows her present at a game of dice or draughts played
by Ajax and Achilles. Such scenes as sacrifices of a bull, or
where she accepts other offerings,^* rather represent her image
than the goddess herself. ^^ Her archaic Daedalian statue is
seen on the Panathenaic vases, standing, as patroness of the
' L. D., Ixvii. Ixix. Ixx. Ixxii. 22,
180; C.F., 71,72; T., 11, 14.
2 B. A. B., 667. a C. F., 74.
* G. A. v., xxxvii. ; Bull., 1838, p. 9.
5 B. A. B., 1663; A. Z., 1852, 245.
« V. L., ii. ■' L. D., i. Ixxii.
^ L. D., i. Ixxiv.
» M. P., vi. ; L. D., Ixxvii.
10 T., iv. (ii.), 11.
" G. T. 0., xiii.
12 D'H., iv. 92.
i» De Witte, Ac. Brux., viii. 1.
" C. F., 75 ; V. L., i. xcii. ; St., xiii. ;
B. A. B., 1632.
" B. A. B., 1664.
L. D., i. Ixxxii. '" L.D., i. Ixxx.
L. D., i. Ixxix.
A. Z., 1852, 289.
0. D., 20 ; L. D., i. Ixxv.
21 B. M. 22 L D., i. Ixxi.
" T. iv. (ii.) 4 ; Cat. of Vases, Brit.
Mus., 451, 427, 511, 829.
2* B. A. B., 626.
" G. E. v., iii. iv.
Uhap. v.
POSEroON.
231
rames, between columns surmounted by Triptolemos cocks, vases,
>r disks,^ and accompanied by a crane ^ or deer.^ The Phidian
Lthene, of chryselephantine workmanship, has been once painted.*
The earth-shaker Poseidon, the sea-god, appears as a sub-
ordinate in many scenes, and as protagonist in others. He is
present at the birth of Athene, and an active participator in
the Gigantomachia, in which he hurls the island of Cos at
Ephialtes or Polybotes,^ and transfixes him with his trident.
He appears grouped witli many deities,® as Aphrodite, Hermes,
and Dionysos ; ' or as mounting his chariot with Aphrodite ; ^
also with Athene, Hermes, Hera,^ and the Erotes ;^*' and allied
with Dionysos.^^ In scenes from the Herakleid he frequently
assists the hero when he fishes,^^ or is represented as reconciled
to the demigod,^^ with whom he had quarrelled at Pylos. In
most of the assemblies of the Olympic gods he makes his
appearance ; he is present at the marriage-feast of Peleus and
Thetis, crosses the sea in his chariot of two winged horses,^*
or else on the Cretan bull.^^ He pursues Amymone,^^ Aithra,^^
Amphitrite,^^ or Herse.^^ When he stands before a youth,^" in
presence of Eros, holding a fish, the scene perhaps refers to
Pelops;^^ and the same remark may apply when the youth
holds a crown.^"^ He comes to the rescue of the Gorgons at
the death of Medusa ;^^ aids Hera at Pylos; receives Theseus ;^*
and assists heroes in many scenes taken from the Troica.^^
Sometimes he is seen alone,^^ and on vases having tragic sub-
jects looks on as an Olympic spectator.
The Eleusinian deities Demeter and Kora are generally
» M. G., ii. xlii. 1-3, xliii., 2 a, b ;
V. F., ccii. cciii.
2 G. E. v., i. ' C. C, ix.
•• Cat. Vas., Brit. Mus., 998 a.
» M. G.. ii. Ivi. 1a; V. L., i. xli.-
xliii. ; C. C, 65, 128 ; D. L., xx. ; L. D.,
i. iii. iv. V. vi., xi. xii; M. A. U. M.,
vii.-ix. ; C. F., 5, 6.
6 C. C, 66, 71 ; D. L., xxiii.
' L. D., iii. xvi. * L. D., iii. xv.
^ L. D., iii. xiii. xxxvi. a.
»o L. D., iii. xi.
»i Abh. K. Ak. Wiss. Berl., 1845;
L. D., iii. iv.
»2 L. U.. iii. xiv. '^ L. D., ii. vi. b.
" C. F., 9 ; G. A. V., xlviii. ; 0. C,
63.
" G. A. v., xlviii.
'« T., v. (1.) 42 ; G. A. V., vi. ; M.,
iv. xiv. ; M. G., ii. xi. 2a; B. A. N., iii.
51, i. 13, 56, iii. 51, tav. iii.; D. M., ii.
XX. ; V. L., XXV. ; V. F., xliv. ; G. E. V.,
XXX. ; C. C, 64 ; L. D., iii. xviii.-xxx.
»^ G. A. v., xi. xii. Ixv. ; L. D., iii. v.
" G. A. v., xi. ; C. F., 10. 11.
»» Bull.. 1839, p. 9.
«» L. D., iii., iii.
*' L. D, iii., vi.-viii.
" L. D., iii. ix.
23 D. M., ii. XX.
5» Nouv. An., 1836, 139; M.,
liii. ; D. L., xxi. xxiii.
^ G. A. v., cxxxviii.
2« D'H., iii. 51.
i. Iii.
C32
GKEEK POTTERY.
Part IL
found together, either in scenes representing the rape of Perse-
phone or Kora, her return to earth/ accompanied by Hermes,
Dionysos, and Apollo, or else in the often-repeated story of
Triptolemos, whom the goddesses seethe in the cauldron,^ or pre-
sent with corn, the plough,^ and a winged car, in the presence
of Hermes and Keleus,* or Ploutos, and the Eumolpids.^ Some-
times they appear unrolling the laws of the Thesmophoriai
before Zeus and Hekate.^ Demeter Triopeia^ and the same
goddess in company with Erysichthon appears,^ and also in the
supposed initiation of Herakles and the Dioscuri.®
The number of vases decorated with subjects representing
the different occupations and adventures of the Delphic deities
is very considerable; there are certainly as many as those with
Athene, and they are probably only inferior in number to
those with Dionysos and Herakles. The twins are seen nursed
by their mother at Delos,^° and generally accompanied by Hermes
and Dionysos ; ^^ and the youthful Apollo shoots the serpent
Typhon while in his mother's arms.^^ Both contend in the great
Gigantomachia,^^ destroy the Aloids, and rescue Leto from the
impious attacks of Tityos.^* Apollo is grouped with several
other deities, but most frequently with Leto and Artemis.^^ He
appears at the omphalos of Delphi,^*' or with his sister Artemis ; "
» M. G., ii. xiv. 3, 3 a; A. Z., 1849, s.
165 ; A. Z., 1852, s. 246; C. F., 63; St.,
xii. ; G. A. V.. xl. Ixxiii. ; B. A. B., 716 ;
B. A. B., 990, 591, 611, 653.
2 L. D., iii. xlv. ; G. A. V., lix.
3 M. G., ii. iv. 2 a, ii., xl. 2 a ; G. A. V.,
Ixxv. ; M. i. iv. ; V. F., clxii. ; T., iv.
XXXV. xxxviii. ; V. L., xxxi. xl. Ixiii. ;
L. v., i. 1, vii. ; Visconti, Vasi Novi in
Magn. Grec. B. A. N., i. p. 5, tav. i.
p. 35 ; tav. ii. p. 15 ; E. Bt., p. 16.
4 G. A. v., xli. xlii. xliii. ; M. G., ii.
Ixxvi. 2 b; G. A. V., xlv.; 0. D., 66,
67; B. A. N., iii. 51.
* G. A. v., xliv. ; D. M., ii. xxxi.;
B. A. N., i. 6, t. ii. ; G. T. C, A. B., D'H.,
iii. 128; A. Z., 1852, s. 246; C. M., 15.
« T., iv. viii. xix. ; M. P., xvi. ; C. C,
18, 19, 20. Cf. also L. D., iii. xlvi. xlix.
xlix. A. : A., 1829, s. 261 ; T., iv. (ii.) 8,
9a; L. D. iii. xlvii. 1. Ii. Iii. liii. liv. Iv.
Ivi. Ivii. Ivii. a, Iviii. lix. Ixi. Ixii. Ixiii.
Ixiv. Ixv. Ixvi. Ixvii. Ixviii. ; A. Z., 1849,
187*; C. M., 15 ; T., v. (i.) 38 b ; A. Z.,
1846, s. 350 ; B. A. B., 896 ; M. A. U. M.,
xxiv. ; A. Z., 1852, s. 248 ; T., i. viii. ix.
' B. A. K, 1857, t. V.
8 M., 18.06, PI. vii.
9 Cat. Vas. Brit. Mus., 1331.
" T., iii. 4; D'H., i. 109; CD., 5-7,
10-13; C. C.,/65; B. A. B., 837, 900;
M. I., Ixxxv. ; 0. F., 12-14.
" T., iii. iv.; M. G. ii. xxxix. 1, 2;
G. A. v., Iv. ; V. F., lix. ; C. C, 1, 2 ;
L. D., 11, i. ii.; A. Z., 1848, 219.
12 L. D., ii. i. A. »' A. Z., 1847, 18*.
" G. A. v., xxii. ; A. 1830, tav. h ;
M., ii., xviii.; V. F., xlv. xlvi.; D. L.,
vi. ; G. T. C. C. ; C. D., 18 ; L. D., ii.
Iv. Ivii. lix.; Mon., 1856, PL x. ; De
Witte, Etudes, p. 31.
" L. D., ii. xxxiii. ; M. A. U. M.,
XXXV. ; M. I., Ixxxiv. ; G. A. V., vi.
xxviii. ; L. D., ii. xxiii. b, xxiv. xxvi.
xxvii. ; T., i. 24.
1® L. D., ii. iii. vi. a.
1^ G. A. v., xxiii. ; M.. i. Ivii. ; V. F.,
cccxiv. ; L. D., ii. x.-xiii. xl. Ii.
[AP. V.
APOLLO NOMIOS AND MARSYAS.
233
mouuts his quadriga, attended by Leto and Artemis, pro-
ibly on his return to heaven after his banishment.^ At other
inies lie is surrounded by females, who represent the Pierian
[uire,^ the Horai, or the Charites, and his sister and mother ;
he is placed between Artemis, and Nike^ and Ares. In the
)mpany of Zeus, of Hera, Hermes,* and Aplirodite,^ of Maia,
^oseidon, and Amymone,^ or with Ares and Hermes,^ Iris,
Hera, Eirene,^ and Athene,^ he only appears as subordinate in
certain grand compositions. His banishment from heaven, and
his tending the herds of Admetos, must be recognised on many
vases in ^hich he is represented tending cattle, ^*^ either in com-
pany with Hermes, Dionysos, and Athene, or alone with a bull.^^
He is also seen detecting the theft of Hermes, receiving tlie
lyre from that god,^^ and in company with him and a satyr.^^
Subsequent to his employment as Nomios is his return to
heaven,^* while his crossing the sea, seated on bis tripod as
Enolmios, to reach his oracle at Delphi,^^ is followed by his
contest with Herakles for the tripod.^^ In many scenes, Apollo
is accompanied by a deer, probably the hind Arge,^^ or by a
swan,^^ perhaps in allusion to his character as Nomios. His
contest with Marsyas^^ for musical supremacy was a favourite
subject of later works of art, to which, perhaps, may be re-
ferred his interviews with Hermes.^° He cures the blind
* G. A. v., xxi. Ixxv. ; L. D., ii. xi.
1. 1. A ; C. D., 14.
^ G. A. v., xxxiii. xxxiv. Ixxiii.
cxcviii. ; L. D., ii. xxix. ; M. P., xxxiv. ;
L. D., ii. Ixxvii.-lxxxviii. ; St., xxxii. ;
M. I., xci. 12 ; B., 1849, 21 ; M. B.,
j iv. ; G. T. C, xvii. xviii. xxviii. ; P. C,
; 0. C, 4, 5; L. D., ii. Ixxxiii.
' V. G., xxix. ; L. D,, ii. xxxv. ; St.
* L. D., ii. xxxvi. b ; G. A. V., xxi.
txv. ; L. D., ii. xxxvi. a, xli. 1. a ;
3. D., 14.
5 L. D., iii. xli.
« G. A. v., xiii. XXXV.; L. D., ii.,
tx. xxxi. c. xxxvi.; T., iv. (ii.) 3.
^ D. M., i. xlvi. ; L. D., ii. Ixxvi. a,
:xviii. A.
8 L. D., ii. xlvii. ; B. C. D., V. F.,
jlxxxii. cclxxxii.
9 A. Z., 1848, 219 ; L. D., ii. xxxvii.
.; T., iv. (ii.) 13.
10 D. M., i. 109 ; L.D., ii. liv. Ixxxiv.
xxxviii. xxviii. a ; M. B., xxiv.
" G. A. v., xiv. xvi. xxvi. ; L. D.,
ii. liii. Ixxxvii. ; M. G., ii. xxxiii. 2 a;
V. L., ii. xix. XX. ; V. F., ccxviii. ; C. C.
17 ; B. A. B., 1642.
12 V. C, xxxvii. ; C.C, 17; A. 1835, a.
13 L. D., ii. xlv.
1* C. D., 17 ; 0. F., 17-23 ; T. v., (i.)
45, 46
" M., i. xlvi. ; R. R., Ixxiii. ; L. D.,
ii. xlvi.; St. xix. xx. ; Gerhard, Liclit-
gottheiten, i. 3 ; M. I., xcix. : T., i. 28.
i« M., i. ix. ; Cat. Vas. Brit. Mus. 453.
1^ G. A. v., xxvi. xxvii. ; M. P., xxix. ;
L. D., ii. iii. xxxi. xxxvi. ; D. L., xxvi. ;
T., iii. V. " L. D., ii. xxxix.
1® V. C, iv. V. ; M , ii. xxxviii. ;
V. F., cxcvi. cccxxv.-xxviii. cccxxxii.-
cccxxxvi. ; L. D., ii. Ixi.-lxviii. Ixxi. ;
P. civ. ; Cat. Vas. Brit. Mus., 1277.
20 L. D., ii. xxvi. ; G. A. V., xxix.
XXX. ; L. D., ii. xxv. ; B. A. N., v. 87,
ii. 5.
234 GREEK rOTTERY. Pakt II.
Chiron.^ Instances of his pursuing the various females of whom
he was enamoured, as Daphne,^ or Boline, are sometimes, though
rarely, found ; as likewise his flight to Cyrene on a swan.^
As Hyperboreos, he is mounted on a gryphon ; * as Smintheus,
he is seen as a mouse.^ He pursues Hyakinthos® and Idas,' and
often appears in the Oresteia, as well as in scenes supposed to
represent Kallisto and Linos,^ Kassandra,^ and other females.^^
He is generally depicted, however, as a lyrist,^^ sometimes in
his chariot,^^ or surrounded by the Muses.^^ His statue is some-
times seen, like that of Athene, placed between the columns of
the palaestra.^*
Artemis, the sister of Apollo, chiefly appears in his company,
and in scenes in which he engages, as in the Gigantomacliia or
the battle with the Aloids,^^ whom she transfixes with her
arrows, or with the Niobids.^^ Sometimes she is joined with
Hekate,^' or holds torches with Apollo and Iris,^^ or receives a
libation from certain females,^^ or is in the company of Kora;^°
but she is often alone,^^ sometimes driving a chariot drawn by
two deer,^^ or by panthers,^^ or riding on a stag.^"* As Elaphe-
bolos, or the stag-destroyer, she is represented killing that
animal,^^ or punishing the imprudent Aktaion.^^ She is also
seen with Kallisto, or other females of her choir,^' or attended
by her nymphs,^^ or with Endymion, or the hind Arge.^^ In the
Herakleid, she protects the stag of Mount Kerynitis, and aids
Apollo to protect his tripod ; while in subjects derived from the
staw-e, or Tragic I\Iuse, she is a subordinate spectatress of the
1 Lenorinant, Qusestio, 4to., Paris, Ix. I. s. vi./T. M., 5; Vas. Cat. Brit.
1838 ; Cut. Vas. Brit. Mus., 1297. Mus., c. 10.
2 M., iii. xii.; 0. D., 8 ; L. D., xx.- ' i« C. D., 19.
xxiii. *^ D- Lm xxvi. ; L. D., ii. xviii.
3 L. D., ii. xxxix. xlii. ; T., ii. 12. ^^ D. L., xxv. ; L. D., ii. xlviii.
4 L. D., ii. V. xliv. ^' V. F., Ixiv. ^o g j^ ^ 1534
5 L. D., ii. civ.; T., ii. 37. ^i y y., clxx. ; D. L., xxiv. ; A. Z.,
6 M. a, ii. Iii. 2 : L. D , ii. xvii. 1846, 345.
' A., 1832, 393. » L. D , ii. xiv. ^2 l D., ii. ix.
» L. D., ii. xxl '« L. D., ii. xxiii. " y j^ ^ ^xvi. xxvii. ; C. D., 15 ;
" A. Z., 1852, 247 ; B. A. B., 983 ; L. D., ii. xliii.
L. D., ii. XV. xii. xvi. ; M. I., xci. xcii. ; ^* L. D., ii. xcii.
C. D., 5-7 ; M. Bl., iv. ; T. i. xxvii. ; ^^ L. D., ii. xcix.-ciii. iii. ciii. a,
M. G., i. xvi. 1. 1 a. ciii. b; M. I., c; A., 1831, tav. d. ;
" L. D., ii. 1. lix. ; V. L., ii. xxxi. M. A. I., xix. -" L. D., ii. xci.
St.jXlli. ^^ L. D., ii. Ixxxviii. ; B,, Ixxxix. c.
i» M. G., ii. XV. " P. clxxxi. ^s j, D., ii. xcv.-xcvi. ; T. iii. 33.
15 M., ii. xviii. ; D. L., vii. ; I.., Iviii.- ^® L. D., ii. vii.
>IAP. V. HEPIIAISTOS, ARES, AND Al'HIlODITE. 235
puciilents represented. Her statue as the Tauric Artemis is
jeeii in the Oresteid.
, Hephaistos is less important in art, and is scarcely to be
found except in great compositions, and never as the protago-
list, or principal character, of the scene. He strikes with his
yelehjs the forehead of Zeus, and brings to light the conceale 1
^Athene. In the Gigantomachia he burns with his hot irons the
giant Gration.^ Returning from beyond the bounds of Ocean,
he is received by Thetis,^ and ascends to heaven at the instiga-
tion of Dionysos, after having entrapped his mother on the
goklen throne ; and, in the ancient Comedy, splinters a lance
with Ares over her while she is thus detained.^ He is some-
times represented returning to Olympus riding on a mule or
seated in a winged car, like that of Triptolemos, having with him
his hammer and pelehys, and the golden cup, or vine, which he
made for Zeus.* At the Lemnian forges he labours at the
armour either of the gods or of Achilles.^ Sometimes, though
rarely, he is seen with 'Aphrodite.^ This god is particularly
Attic, and is connected by certain myths with Athene, the
representations of whom on objects of the ceramic art have
already been detailed.
Ares, another of the Olympian deities, in the few instances
in which he appears on vases, is generally in a subordinate
position ; such as a spectator of the birth of Athene, taking
part in the Gigantomachia, aiding his son Kyknos against
Herakles, engaged in his contest with Athene,^ deploring the
loss of his beloved Aphrodite, or detected in her arms by
Poseidon and the other gods of Olympus.^ His type is scarcely
to be distinguished from that of mortal heroes. His chariot is
driven by Deinos and Phobos ; * but on later vases Nike acts as
his charioteer.-^" He appears at the marriage-feast of Thetis,^^
and fights with Hephaistos ^^ to rescue his mother Hera.
Aphrodite,^^ the mistress of Ares before she was the wife of
^ D. L., xix. ; G. C, xi. a, b. | pi. ix. 49 ; L. D,, i. li. ; G. C, xii. xiii.
2 See Fian(;ois Vase, supra. j ^ l D., i. xxxix.
3 V. D. C, vii. ; T., iii. 9, iv. 38 ; ^ L. D., i. vii. ; A. Z., 1843, 3.51.
G. A. v., Iviii. ; D. L., xxxiii. ; L. D., i. | « B. A. B., 1632.
xli.-xlix. ; C. C, 49, 50, 51 ; M. B., iii.
liii. ; C. M., 3; A. Z., 1852, 240, 246.
^ P., cliii. ; G. A. V., Ivii. ; L. D., i.
xxxviii. ^' Ibid., 1433.
•^ D'H., i. 112; Christie, Etr. Vases, '3 a. Z., 1848, 201 ; L. D., 11.
V. C, ix.
^o V. C, xxi. ; I. s. V. ; T., xxxviii.
" Vas. Cat. Brit. Mu3., 811.
236
GREEK POTTERY.
Part IT.
Hephaistos, is never a protagonist on the vases. Once she is
seen in the society of Ares ; ^ often with a youth supposed to be
Adonis.^ She is the constant companion of the Olympic gods,
and enters into many scenes derived from the Troica; the
attiring of Helen, the rescue of Aineas, the marriage of Theseus,
the judgment of Paris, the birth of Ericlithonios, the suckling of
Herakles, the rape of the Leukippidai and Kassandra, and her
preservation from the wrath of Menelaos.^ On later vases, she is
often seen at the bath * or the toilet.^ A charming composition
represents her embracing Eros ; ^ in others, she is seen caressing
a dove or swan.' She wears a tutulus,^ crosses the sea, borne
by two Erotes,^ and accompanied by dolphins ; or is mounted
on a swan ; ^° or in a chariot, drawn by the Erotes,^^ is seen
caressing a hare.^^
Hermes, the messenger of the gods, is a common subject
on vases of all epochs, but chiefly as a subordinate agent, as in
scenes of the Gigantomachia,^^ the Herakleid, the Perseid, and
in those derived from the Troica,^* and* from the Tragic drama.
Among the many incidents of his career, he is exhibited as
stealing tlie oxen of Adnietus, and taking refuge in his cradle,
where he is discovered by Apollo, to the amazement of his
mother Maia ; ^^ as inventing the lyre, which he exchanges with
Apollo,^^ and as passing over the sea with it ; ^' as carrying a
ram, probably that of Tantalos ; ^^ as sa(?rificing a white goat,^^
perhaps in connection with the story of Penelope.^*' He is also
seen tending flocks,^^ once with his mother Maia ; ^^ conveying
1 T., iii. 40.
2 V. M., xi. ; D H., iii. 74 ; A. Z.,
1848, 229; T., iv. 39; M, iv. xv.-xviii.
xxiii. xxiv. ; St , xliv. ; C. M., 8 ; A.,
1845, M. N.
3 Cat. Vas. Brit. Mus., 811, 749, lo31,
1323 ; Mon., 1856. PI. xiv.
^ D'H., ii. 89 ; T., iii. 50.
5 C. D., 41, 42, 43 ; C. C, 1 1. 1, s. v. ;
T., xix. xxiv. ; M. P., xxviii. xxix.
« D. M., i. Ixv. ; P., i. xiv.; M., iv.
xxxix. ; M. B., vii. viii. ; A. Z., 1848,
3,3-42.
^ M. A. U. M., xiii. ; P., i. xvii. ;
P., cxxxii. cxxxiv. ; D'H., iv. 81.
« T., iii. 23, 30.
» M. A. U. M., xiii.
'0 V. C, xxi. ; V. L., p. 30. xxxvii.
i, s. V. ; T., xxxviii. ; St., xxviii. ; De
Witte, Etudes, p. 31.
" G. C, v.^ V. F., cccxxiv.
" V. F., cxviii. ; M., iv. xxiv.
" L. D., iii. xcvii. ; C. D., 32.
»4 G. A. v., xxxi.; A. Z., 1847, 20.
1* M. G., ii. Ixxxiii. 12 ; L. D., iii.
Ixxxvi. ; A. Z., 1844, xx. 321.
'« C. D., 64 ; L. D., iii. Ixxxix. Bull.,
1843, p. 69.
^^ M., iv. xxxiii. xxxvi.
18 Panofka, Die Heilgotti. Abh., Berl.
Akad., 4to., 1845, Taf. i. 7 ; M., i. xxxv. ;
L. D., iii. Ixxxvii. ; B. A. B., 1636 ;
V. F., clii. ; B. A. B., 1003.
1® L. D., iii. Ixxxviii.
** L. D., iii. Ixxxiii. xcix.-ci.
^^ L. D., iii. Ixxxiii.
22 L. D., iii. Ixxxv.
/IIAP. V.
HERMES, HESTIA., AND DIONYSOS.
237
Honysos to the Nymphs of Nysa,^ in company with Sileni,^
ind deer, and in many Dionysiac orgies ; ^ or with Hekate,*
n* Athene,^ making libations ; ® or roasting the tortoise,'
^ith Hephaistos ; ® or among the assembled Sileni.^ He is
lepicted ravishing Herse ; ^° slaying Argo Panoptes ; ^^ and
rescuing lo. He is also intermingled with Sphinxes.^^ Some-
times he is seen alone,^^ and winged.^* He announces to Nereus
^the rape of Thetis, conducts the goddess to the judgment of
Paris, and escorts Priam to Achilles.^^ As Agonies, presiding
over the games, he is painted on prize vases.^® Once he appears
with the Dioscuri.^' Sacrifices are offered to his ithyphallic
terminal figure.^^
Hestia rarely appears, and only in groups of other gods.
At the fatal marriage feast of Peleus, she is joined with
Hermes.^®
So numerous are the vases upon which the subject of Dionysos
and his train is depicted, that it is impossible to detail them all.
Sometimes he is presented under the form of lacchos,^*^ but
generally as Dionysos. the jovial god of wine, and the most
appropriate of the whole circle of deities to appear on vases
dedicated to his service.^^ Generally, however, he is inter-
mingled w4th his cohort, and rarely appears alone.^^ His
wonderful birth is represented, especially his being sewed into
the thigh of Jupiter, and his subsequent delivery by Hermes to
Silenus, to be brought up by the Nysaian nymphs,^^ or even
anomalously to the care of xiriadne.^*
» M., i., xviii. ; T., iii. 8.
2 B. A. N., iii. 73 ; G. E. V., v.-vii.
^ V. L., xlix. * St , xxxviii.
" A. Z., 1852, 238.
* L. D., iii. Ixxiii.
^ L. D., iii. Ixxvi. xc.
» A. Z., 1848, 220.
* M. G., ii. xix. 2 a ; L. D., iii, xc.
" T., iv. 41 ; B. A. B., 910 ; L. D., iii.
xciii. xcv.
»i G. A. v., cxvi. ; Abh. Ak. Wiss.
Berl., 4to., 1838, iii. iv. ; A. Z., J847,
ii. 17; L. D., iii. xciv. xcv. xcvii.-xcix.
'2 L. D., iii. Ixxvii.
" M. B., XXV. ; P. C, Ixxxvi.; L. D.,
iii. xlviii.
'* M. I., Ixxxv.
'5 Cat. Vas. Brit. Mus., 451, 828*, 486.
16 G. A. v., Ixvi.-xviii. ; M. G., ii.
Iviii.
17 L. D., iii. xcvi.
1* L. D., iii. Ixxviii.-lxxxii.
»« G. A. v., xvi. ; V. F., cccc. ; A. Z.,
1847, 18. vi.
20 A. Z., 1848, 220.
2> Millin., V. ii. 13; M. G., ii. Ivii.
228 ; D. L., xvi. ; D'H., iv. 75 ; A. Z.,
1847, vii.; C. C, 21-48.
" V. F., ccxliii. OCX.
" V. F., Ixv. 65; C. P., 27; M. G.,
ii. xxvi. 1-1 a; V. F., ccclxxxiv. ; M. P.,
xxxii. ; D'H., iii. 105 ; M. B., viii. xxix. ;
A. Z., 1852. 329; De Witte, Etudes,
p. 31.
" M. A. U. M., XXV. ; T., v. (i.) 49 ;
M., ii. xvii.
238
GREEK POTTERY.
FaPvT TT.
Perhaps of all the incidents represented, the most frequent,
graceful, and interesting, is the discovery of the abandoned
Ariadne at Naxos, which forms part of the Theseid.
On the older vases,^ this incident is depicted in the most
passionless way; but on those of a later style, Dionysos is
introduced by Aphrodite and Eros to Ariadne,^ who throws her-
self into his arms in the most voluptuous and graceful manner.^
Sometimes they are seen in a chariot, drawn by stags,'^ or
atten^led by Nike ; ^ at others, the wine-god pursues Ariadne,
who shuns his approach.^ His exploits in the Gigantomachia,'^
and his presence at the marriage of Peleus and Thetis, at
which he brings back Hephaistos to Olympus, form the subjects
of some fine vases.^ He is himself introduced to heaven ; he is
present at the birth of Athene, and joined with Apollo Nomios
and the Delphic deities. Sometimes he is seen in a triclinium ; ^
other scenes, in which Semele ^° appears, perhaps refer to his
apotheosis. In some instances, he is present in groups of deities,
as Aphrodite, Hermes and Poseidon ; ^^ Hermes and Athene ; ^^
Athene and Apollo ; ^^ or with Artemis ; ^* or with Hermes,
Apollo, and Herakles,^^ and often with Hermes alone,^*' probably
in scenes connected with other myths. In the scenes with
Eros, already mentioned, Dionysos is probably to be considered
as the lover of Ariadne.^^ The following are the most remark-
able representations of the incidents of his career : his appearance
» Crenzer, Gall. Taf. 4 ; G. A. V., x.
xxxii. XXV. xxxiv. ; M. G., ii. xl. 2 a, xlv.
2 a, xxvii. 2 c ; B., 1847, 206; V. F.,
cxliv; clxvl. ccvii. ; P. C., xXviii. ; R. R.,
xliv. A ; V. F., cxxiv. clxxxvi.-cxxiii. ;
V. M., vi.
2 D. L., xxix.
3 D. M., i. xxxvii. ii. liii. ; T., ii. Iv.
iv. 13 ; V. F., cclvi. ; P., clxix. clxxii.
clxxix.-clxxxii. clxxiv. ccxcii.-ccxciii.
cccxcv. ; M. B., iii. xix. xx. ; M. P.,
xviii.; I., s. v. xliv.; T., v. (1) 21-26;
T., iii. 53, 54 ; T., ii. 45, 46 ; C. M.,
16, 22, 27, 31 ; A. Z., 1849, 161, xvi. ;
L. D., xlvii.; A, Z., 1846, xxxix. 8,
1853, 401; 0. D., 95, 116; St., xxi. ;
M. I., Ixxxvi.
* B., 1843, 54.
" B. A. N., iv. tav. i. 2; St., xiv.
xvi.; B. A. B., 621, 625, 635, 844;
M. A. U. M., xxxiv. ; T., iv. 36.
" M. G., ii. iii. a ; T., xxxlii. 1 a,
Ii. 1 a; Creuzer, Gall. Ath. Dram., 7 ;
V. F., Ixxxvi. Ixxxviii. ; D. L., xxix.
' B., 1844, ^3 ; V. I;. I., Ivi. ; V. F.,
cxvii.; D'H., ii. 82, iv. 122; D. L., xix. ;
P. cli.
* V. L. I., Ixx.-lxx'ii. ; P. eciii.-ccvii.
ccxix. ; M. B., vi. xxi. ; B. L., 17.
» T., i. 46, ii. 51 ; G. A. V., cxiii. ;
V. C, Ii. ; M. G., i. 1 ; M. G., ii. Ixxxix.
5 a, 5 b ; V. C., xxvi. ; V. F., Iviii.
cclxxii. ; P., cxliii. ccvii. ccxix.-OixXi. ;
D'H., ii. 54, iii, 62, iv. 52, 90.
'0 A. Z., 1848, 220.
'' G. A. v., xlviii.
12 G. A. v., cvi i.
^* G. A. v., XXXV.
'' G. A. v., Ixvii
Ixvi. 6 a, Creuz'jr, Gall. v.
'« V. G., xxxv.ii.; G. A. V., xlii. Ivi
1' P., cliv.
B. A. B., 1601.
** M. G., ii. xxii.
cxli ; M. G., ii..
IIAP. V.
SILENI AND SATYRS.
239
tlie ship with the Tyrrlienian pirates, who are ehaiige*d into
)Iphins ; ^ his type as Dionysos pelehjs, holding: an axe, and
lounted on a winged car ;^ Ids reception by Icarins ; ^ his
presentation of the vine ; * and his delivery of the wine to
linopion. He mounts his qna'lriga, attended by Ariadne,^
[ekate/ and others; is drawn by gryphons;' rides on a
"anther ; ^ on the mule Eraton ; ® on a camel, as the subduer
of India ; ^° on a bull ; ^^ on a ram, in company with Hermes,
mounted on the same animal ; ^^ or is seen carried by Sileni.^^
His presentation of the golden amphora to Thetis belongs to
the arguments of the epic cycle, while his apotheosis is probably
indicated on those vases on which he is seen mounting his
chariot. His supposed destruction and re-composition in the
boiling cauldron is, perhaps, a representation of the mode in
which immortality was conferred on Achilles rather than a
portion of the Dionysiac myth.^* The war with the Amazons
and Indians is sometimes the subject of a vase, also his
alliance with the Hyades.^^
On the older class of vases Dionysos is seen attended by his
troop of Sileni, satyrs, and nymphs.^^ On some older vases, the
so-called satyrs appear to be Sileni. In these pictures he
oftens holds the vine, and the Jceras, or drinking-horn,^' or else
the hantharos, out of which he drinks,^^ and has at his side a
lion, his goat,^^ or a bull,^'^ to which are added a fawn and owl.^*
The panther, so common an adjunct of the wine-god in later
works of art, is rarely seen on vases.^^ Dionysos is also found
depicted in an orgasm, tearing a kid to pieces.^^ In these com-
1 B. A. B., 806; G. A. V., xlix. ;
B. A. N., 1857, t. vii.
2 V. L., lii.; G. A. V., xli. ; D. L.,
xxxiii. xxxiv.
3 C. D., 119; M. I., Ixxxviii.; M. M.
I., xliv. 1; C. F., 43.
* G. A., i. ; P., cciv.
5 V. L., V. ; M. B., xiii. xv. ; M. G.,
ii. iii. 4 a, vi. 2 b; G. A. V., lii.-liv.
xcviii. cxli. ; C. F., 44 ; T., i., 32 ; P.,
civ. ; V. L., Ixxvi. Ixxviii.
^ P., cclxxiii.
" P., clx. i. li. 1 a, lii. 2.
« T., ii. 43; V. F., xlviii.; Mill n.,
V. i. 60.
» T., ii. 42.
>• A. Z., 18 i4, 388, xxiv.; C. D., 96,
97; A., 1832, 99; M., i. 1.; A., v. 99;
V. L., i. Ixiv.
»» G. A. v., xlvii.
12 A. Z., 1846, 286.
13 M. G, ii. iii. 3 a; B., 1854,34.
i» G. A. v., ccvi.
1* B., 1834, 241 ; R. A., 1863, p. 348.
i« C. D., 68-95; A. Z., 1848, 219;
T., iii. 9.
1' M. G., ii. xxxii. 1 a, xxxiv. 1 a, viii.
la; G. A. V., xxxvi. xlix. xcviii. clxxiii.;
V. C xxiv. ; M., i. x. ; A., 1837. B.
1* V. F., cclxxxvi.
'* G. A. v., xxii. ; M. G., ii. xxxv. ;
G. A. v., ix. xxxviii. ; V. D. C, xxi. ;
Millin., V. xxiii. xl. ii. xxi. vi. cxiii.
2« C. F., 4. 21 p^ civ.
" V. F., Ivi.
" M. Bl., xiii.
240 GREEK POTTERY. Part JI.
positions he stands between Sileni with the ashos,ov wine-skin/
or between nymphs and Sileni ; ^ or between two nymphs ; ^
or sometimes with only one ; * or between two Sileni,^ or amidst
groups ^ engaged in the vintage.'
Sileni, Nymphs,^ and Satyrs, engaged in various actions
connected with the Dionysiac thiasos, are frequently reproduced
in isolated groups from the greater compositions. Eepresenta-
tions of amorous pursuits are common, and sometimes a boy,
perhaps the youthful Dionysos, mingles in them.^ Many scenes
of fun and frolic ai'e displayed among these elves of the ancient
world. They are beheld sporting with the mule, the deer,^° the
goat,^^ the panther, and other animals belonging to the wine-
god, as well as engaged in a variety of games, such as the
seesaw ; or they are seen amusing themselves by catching foxes,
the pests of the vine, in a trap ; ^^ or gathering grapes to make
the vintage ; ^^ or holding the heras}^ As perlagogues they
administer a sound flogging to a youth.^^ They also appear
armed like Amazons,^^ or fallen from chariots,^' or even en-
gaged in palaestric exercises,^^ and hurling the diskos. Nor are
the actions of the nymphs less varied. They hold panthers,^**
goats, and serpents; play with the ass or mule Eraton; and
frisk about in numerous attitudes.
In the scenes depicted on the older vases, the monotony of
the subjects, and comparatively slight variety of details, show
that they were selected from one or two original compositions
of great renown, of rigid and archaic execution, and principally
relating to the discovery of Ariadne at Naxos, her marriage, or
/
* G. A. v., xxxviii. I xxxiv. ; D. L., xxxii. xxxiii. ; G. E. V.,
2 M. M. I., xliv. 4 ; M. G., ii. Ixi. 2 a; viii. ; G. T. C, v. ; P., clix. ccxi.-ccxii
V. F., cclxiv.-cclxviii. ; D'H., i. 404,
119, iii. 68-76, 115, iv. 113; M. B., viii.
xxviii. ; T., ii. (v.) 22, 33 ; T., v. 37.
3 G.A.V., cxiii.; V.F., ccliii.; D. L.,
iii. v.; L. B. A. B., 699.
* P., clxx.
* V. D. C, xxxvii. ; V. L., ii. xxviii. ;
xlv. ; V. F., ccix.-ccxxxi ; D'H., ii. 41,
iv. 20-29 ; St., xxv.
« V. C, xli. ; V. L., ii. XXX. ; T., (v.)
ii. 27, 29, 39.
^ M. G., ii. xlvi. 1 a.
* M. G., ii. xviii. Ixxii. 2 a, 26, Ixxix.
2 a, 2 b ; V. C, xvi. i. xviii. xxxix. ;
G, A. v., Ixxix. Ixxx. cxlii. cliv. clx.
ccxxiii. ccxxxvi, ccxxxvii. cclii. cclv.
celxxvii. ; DH., ii. 41, 90, 97, 100, iv.
78-83-100, 107, 32 ; A. Z.. 1848, 248 ;
T., i. xvi. ; 0. F., xxx. xxxi. ; T., (v) ii.
31, 35.
« St., xxvi. '0 G. A. v., cxcvi.
i» G. A. v., Iv. Iviii.
'2 G. T. C, X. ; M. P., xxix.
" G. A. v., XV.; M. G., xxiv.
1^ G. A v., clxxix.
^5 M. G., ii. Ixxx. 1 a.
16 G. A. v., Ii.; M. P., ix.
17 V. C, lix.
1* St., xxiv.
•" V. F., cclix
Chap. V. NAMES OF SILP^NI AND NYMPHS. 241
the Bacchic triumph. The attendants of the gods are rarely
named, and it is not until the decline of the old rigid school of
art that tlie Dionysiac mytlis begin to show not only several
new incidents, but also to reveal the appellations of the principal
nymphs, mainads, satyrs, and Sileni. It is on such vases that
the word " Naxians " is applied to the discovery of Ariadne,^
and that the god appears as the inventor of comedy.^ In these
scenes the wine-god appears accompanied by the Silenos
Simos, and the nymphs Dione and Thy one ; ^ with the Sileni,
Ivomos and Hedyoinos, and the nymphs Opora, Oinone, los,
and the goddess Eirene,* crowned by Himeros ; with the
Silenos Kamos or Komos, and the nymphs Euoia and Thaleia,
the last perhaps tlie Muse of that name, listening to the piping
of Pothos or "desire;"^ with Kamos and the nymphs Eiioia
and Galene,^ whose name, " the Calm," rather resembles that of
a Nereid ; with Simos and Komos, and the nymph Koiros ; ^
L with Kissos and Choronike ^ or Phanope.
r In isolated compositions the Sileni Hedyoinos and Komos
often i)ursue nymphs.^ In one of the pictures most filled with
figures, Dionysos is surrounded by Silenos, Simos, Eudaimos;
the nymphs Opora, Eaoia, and Thyone ; the Erotes, Eros,
Himeros and Pothos ; ^^ and the boy Sikinnos. Silenos is
sometimes his only companion; ^^ while in many thiasoi, the gcd
himself is not present, but only his cohort of Sileni and
nymphs, as Simos and Myro, Anties and Eio, Thanon and
Molpe, Hypoeios and Klyto, Dork is and Xanthe, and Abaties
and Chora.^^
The nymph Xanthe is seen between the Sileni, Hippos,
and Simos ; the Silenos Smis is seen pursuing Eio and another,
Molpe follows Phoebe, Dorkis, and Nais, the Satyrs, Pedis, and
Doro,^^ the Sileni, Chorrepous and Kissos, are found witli the
nymph Phanope.^*
But, returning to the more important compositions, one
» V. F., xcix. ; G. T. C, v. ; M. A. ' M. B., ii. xiv.
U. M., XXX. xxxi. ** G. T. C, vi. ; T., ccx.
2 T., i. 44. "> D. M., xxxiii. vi. i. 64.
3 See Jahn, Dionysos und sein Thi- »» Schulz. B., 1830, 122 ; P., ccxiii.
tisos, Vaocnbilder, 4to, Hamb., 1839, j ccxviii. ; V. C, xxiv.
who has collected the following inci- , »» B., 1831, 38.
dents; P., ccxlv. '^ Myg^ y^^y ^ S02 ; T., nx. ; Esipp.
^ V. L., i. 65 ; D. M., lutrod., xxii. ■ Vole., 185, n. 748. '^ C. D., 145,
•^ T., ii. 44 ; I. M. E , v. 26. | '' Cat. Scelt. Ant. lOtr., Goi h., Ii. V.,
« V. G., xix.; B. A. N., iv. iii. 4. ' 185, No. 748.
R
242 GREEK POTTERY. Part II.
may be cited representing Dionysos accompanied by Komos,
Ariadne, and Tragoidia/ or Thaleia, another mnse,^ and Methe ; ^
or by the Silenos Hedymeles, who pipes on the flute,* and
Dithyrambos, who plays on the lyre, or by Komos and Paean. ^
Dionysos is also found with Eumolpus and lacchos ; ® with
Semele, as already mentioned,' Gelos, and Thyone ; or with
Briakchos and Erophylle ; ^ or with Nymphaia.^ The names
attached to the personages give the following additional inci-
dents of his cohort. Komos ^° playing on the double flute, an
action also performed by Hedymeles and Briakchos ; Gelos or
" laughter," singing to the lyre ; ^^ Skopas, and Hybris ; ^^ Simos
sporting with the mule Eraton ; ^^ and tlie often-repeated
subject of Tyrbas pursuing Oragie.^* Simos is seen with a
mainad and Thyone ; ^^ a mainad with the Sileni IVIarsyas,
Soteles, Pothos ; ^® Thaleia with other Sileni ; ^' Oinos ''wine,"
another of the crew, is united with Komos.^^ Among the more
remarkable incidents connected with other myths, are Hermes
with the Sileni, Oreimachos and Orokrates ; ^^ the appearance
of these in the myths of Herakles, in the Perseid, and in
dramatic scenes ; and their war with the Amazons and surprise
by the Gryphons.^" Detached incidents respecting the nymphs
or mainads, accompanied with their names, are uncommon, yet
are occasionally found, as Lilaia playing the crotala, the satyr
Mimos and the mainad Polymne, Demon Chores and Aietos,
Kissos and the mainad Kinyra, the eponymous Euboia Lemnos,
Delos, and Tethys ; ^^ the satyrs Oiphon and Brikon. A few
isolated nymphs or mainads are also represented in the decora-
tions of the smaller vases as holding a lion or panther,^^ seated
on a buU,^^ or with thyrsi and snakes.^* /
Pan, the great Arcadian god, who is not introduced into the
early works of art, is seen in the later pictures of the Dionysiaca
in connection with the Satyric chorus,^^ or else in dramatic
^ C. D., 114 ; R. R. ; Journal des Sa-
vants, 1826, p. 89 ; C. F. ; T., i. 34, 36.
2 V. F., xxxviii. ' G. T. C, x.
* A., 1829, E. » A. Z., 1852, 401.
« Bull., 1829, 75. ' C. D., 85.
« Mus. Etr., 1005. » C. C, 42.
10 C. D., 87.
" C.D.,85; B,A.B.,699; D'H.,ii.65.
12 C. C, 96. 13 C. C, 59.
1* M., ii. xxxvii. " C. C, 43.
18 B. A. B., 848.
1^ B., 1835, 181 ; B. A. B., 1601.
" G. A. v., cliii.-iv. ; V. G.. iii. ; P.,
cclxx.
21 Bull., 1847, 114; R. A., 1868, 348,
330 ; Caylus, ii, xxix. xxxii. xxxiii.
" M. G., ii. xxvii.
" G. A. v., cxllx.
2* G. A. v., ccxxxiii.
" Walpole, Travels, ii. PL, 8 ; M. A.
i« Jahn, 1. c. 24. i- P.,cxlix. clviii. U. M., i. PI. A
[AP. V.
DIONYSIAC ORGIES.
243
senes.^ He is distinguished by his goats'-hoofs and horns, and
accompanied by the nymphs and naiads, and among them
probably by Echo ;^ or he is seen with Dionysos, Aphrodite,
tnd Pothos,^ or Eros,* and in other subjects.'^
On later vases,^ executed during the decline of the art,
specially when it had obtained more licence, the orgies of the
>ionysiac thiasoi are displayed in their greatest freedom — it
i!iy be added in their greatest beauty. Dionysos and his
)llowers are seen under the intoxicating influence of wine ; the
ityrs and the Nymplis dance, chase one another, and throw
hemselves into extraordinary attitudes to the sound of the
nnpanon or tambourine, the double flute or the harp, and often
^by torch-light. Some imitate the tours de force of the jugglers
and dancing women ; others fly about with torches, or the
branches of trees to which are suspended oscilla ; others, again,
hold thyrsoi, bunches of grapes, apples, wine-skins, vases like
buckets or with handles, canistra, or baskets, with fruit,
bandlets branches of myrtle, rhyta, phalloi, masks, and eggs.
The Bacchantes often wear the nebris, or the slight Coian vests,
and are intermingled with the Erotes or Loves. Sometimes
the Sileni attend on the nymphs, holding their parasols ; on
the latest vases of all, the nymphs are naked. In the decline,
as at the earlier period, of art, it is difficult, nay, often im-
possible, to separate the real from the mythical ; and hence on
t'le Lucanian vases many of the subjects are treated in a
manner more resembling the actions of private life, than those
of mythic import.' To these vases some writers have given
^ Lenormant, Cur Plato Aristopha-
nem, &c,, 4to., Paris, 1838; Campana,
Ac, Roma, 1830 ; T., ii. 40, 33, v. 1527,
28 ; V. Gr., ii. ; M. B., viii. xxvii.
2 M. B., xxiii. ; P., cxxv.
3 A. Z., 1848, 219.
* M. P., xxxii. ; D'H., ii. 58.
* T., i. 40, ii. 43.
« T., (v.) i. 12-15, 25, 29-31, 34.
' Milliu., in D. M., p. xiii.; M. P.,
xxix. ; G. T. C, xiv. ; V. L., i. xlvii.
Ixvii. Ixxix. Ixxx. ii., xlii.-xliv. i.; Supp.,
i iii. ; S. V. T., iii. xiv.; S., xxxviii.;
V. F., Ixvii.-lxviii. Ixii. ; V. F., viii. ix.,
xl. xli. xlii. Hi. Iv. xcix. cix. cxii. cxxvii.
cxxi. cxlv. cxlvi. clxxxv. cxcvii. cxcix. ;
0. C, xiv. pxlvii. cxlviii. cxlix. el. cliv.
clxx. clxxvi. ccxxvi. ccxliii. cclxx. ccxci.
cccxviii. cccxxiii. cccxxxvi. xxix. cclxxi.
ccliv. ; M. Bl., xiv.; B. A. B., 590, 601;
616, 619, 710, 1603, 1612 ; G. T. C,
xvi.; A. Z., 1843, 340, 1847, 25, 1851,
248, 1852, 275 ; B. A. N., i. 26, 92, v.
24, iii. 113 ; C. C, 5060 ; C. D., QS, and
foil.; C. F., 25, 34; G. A., iv. c. ;
M. B., iii. xxix. vi., vi. ; M. I, Ixxvii.
Ixxxi.-iii.; M. M. I., XXXV. ; D'H., i. 40;
ii. 2; P. I., xiii. xxxvi. xlvi. xcix. ciii.
cxix. cxx. cxxi. cxxii. cxxvii. cii. cxxviii.
cxxix. cxxx. cxl. cxlii. cxliii. cxlvii.
clxvi. clxxxvi. clxxxviii. cexxi. ccxxvi.
ccxxix. ccxxxii. ccxxxiii. ccxxxiv. ; V.
d. P., i. xxxiv. xxxx. ; V. L., ii. xxx. ;
Supp., ii. V. ; T., v. 94, ii. 45, 49, 50, 56,
R 2
2i4 GREIi:K POTTERY. Part II.
the term mystical, supposing them to be representations of
the mysteries ; or refer them to the actual orgies performed by
the contemporary worshippers of Dionysos in Southern Italy,
the abomination of whose practices at last called forth the
decree of the Senate which suppressed them. But although it
cannot be denied that after the time of Alexander the Great,
the idealism of ancient art was superseded by the desire of
representing the present rather than the past, yet it is not easy
to point out any vase to which an interpretation purely
historical can be given.^
The adventures of the Silenos Marsyas form the subject-
matter of a considerable number of vases, and connect the
cycle of Dionysos with that of the Delphic deities. They
appear only on vases of the later period. The charming scene
in which he instructs Olympus is known from its reproduction
by the chisel.^ His fatal contest with Apollo is often repeated,
and in many ways. On some vases Apollo listens to the concert
of the mainads,^ or sings before an assembly of the gods, at which
Marsyas is present ;* or the unfortunate Silenos holds the flutes,
ready to sing, and seated at the foot of the fatal tree, while
Apollo stands before him with three Muses, judges of the
contest f or after having played the lyre before the mainads,
proposes to play the Hute.^ Even Athene is present at the
contest, and listens to the flute she has abandoned ;^ whilst,
last sad scene of all, Apollo flays his unhappy rival.^
Mention has been already made of the appearance of the
Erotes, or Loves, in the scenes of the Dionysiac^ orgies. On
the earlier vases of the black style Eros never appears ; but
on several vases of the later style, he is o^onstantly either intro-
duced into the subjects, or treated as protagonist. Thus he
figures in all the scenes of which the passion of Love^° is the
exponent, and especially in those derived from the Satyric
drama ; but his chief appearance is of course in the character of
the servant or minister of Aphrodite, near whom he standi s or
iii. 11, 14, 15, 18, 20, 113 ; T., v. (i.) 48 ; B. A. N., iii. 77, v. 28.
T., i. 30, 37, 38, 44, 45, 49, 51 ; St., xxiv. ; * D. M., i. vi.
T., iii. 41, 46, 49, give some of the many i " T., iii. xii.
representations. ^ D'H., iv. 64.
* A., 1845, c. ^ T., (iv.) vi. ; P., ccxxxv. ccxliv
2 T., i. 33, iii. 12 ; T., v. (i.) 44 ; ! » Vide supra. Cf. P., 6, Ixix.
Oreuzer. Gall. B., 1851, 101; P., xxxiv.; ! « D'H., iii. 68, 71.
M. A. 1., xvii. I '0 V. G., xxvi.; i. 40, ii. 45, iii. 62;
3 T., iii. 5 ; D'H., ii. G8, iv. 62 ; M. A. I., xv.
lAV. V.
EllOTES.
243
wliom he ministers. Aphrodite and the Graces, Kleopatra,
lunomia, Paidia, and l-*eitlio, phiit a cage for Eros/ a subject
rhich is repeated on another vase,^ while on a third he is se(3n
ijusting the sandals of his mother.^ His appearance amidst
[iree females suggests that they are the Graces.* Sometimes
is represented sacrificing, attending the meeting of Herakles
id Athene, and the nursing of the demigod by Hera ; appears
the garden of the Hesperides, at the toih^t of Helen, the rape
^f Ganymedes, with the Nereids, and constantly with Dionysos
id his cycle.^ Th(3 Erotes, or Pothos, Eros and Himeros, are
mstantly seen on vases® of the earlier style of the red figures,
lometimes crossing: the sea and holdini^ fillets.'^ Eros is also
seen holding a toivh or a crown, ^ flute- playing to Peitho,^ see-
sawing with the females Archedie and Harpalinn,^" as well as in
many scenes ditficnlt of explanation.-^^ An Eros represented
shooting one of his arrows at a female breast, in a style truly
Anacreontic, is in all probability a modern forgery.^^ On the
vases of Lucania and Southern Italy the form of Eros assumes
a local type. It is more adult in size, and more soft and
feminine in character ; the hair particularly is attire 1 in
female fashion ; spiral armlets encircle the left leg ; he holds a
crown, garlanls, phialai, a bunch of grapes, a strigil, a mirror,
a fan, and a pi/xis, or box, or skiadisheP He is also seen
pursuing a hare,^* playing at hoop,^^ or with a deer,^® holding
plants and apples,^^ boxes^^ and bandlets/^ offering a youth a
hare,^° with a dove^^ or swan,^^ mounted on the shoulders of
Pappo-Silenos,^^ with Nike^* and others, holding a fish to
Poseidon,^^ pursuing a youth, ^® riding on a stag,^^ mingling with
the Graces/^ and attending females at the bath,^^ or swinging
* St., xxix. ^ St., XXX.
' St., xxxi. * St., xxxi.
* Cat. Vas. Brit. Mus., 1327, 564,
1330, 1535 ; St., xxxv.
« D. L., XV. 7 M. I., ix.
8 D. M., i. 22 ; Eapp. Vole, 40. n. 260.
» T., ii. 44 ; M. G., ii. Ixxviii. 1 a.
'° V. ¥., ccxcviii.
^^ D. L., XV.; P., xlvii. xlviii. Ixvii. ;
D'H., iii, 113, 126, 128, 130; T., ii. 32.
'- T., iii. 39.
^2 Millin., Mon. Introd., xiii. ; V. L.,
i. xii. ii. xlii. I. ; S. V. T., xx.-xxiii. ;
V. M., iii. ; P., xlvi. xciv. ; D'H , ii. 79,
iii. 45, iv. 38 ; B. A. B., 713 ; B. A. N.,
ii. iv. ; Cat. Vas. Brit. Mud., c. 15.
" 0, D., 46.
" CD, 47; R. R, xlix.
'« C. D., 50. '^ C. D., 51.
»8 C. D., 55, 57. i» C. D., 58.
20 M. B., V. XX. ; R. R., xiv.
2» B. A. N., iv. p. 55.
22 A. Z., 1852, s. 248.
23 Miiliu., V. P., i. 14, 22.
2* V. F., cxxvi.
25 G. A. v., Ixv. ; M. B., vii. viii. 1.
2« A. Z., 1848, 324.
-' T. iv. (ii.) 7 ; St., xxviii.
2« M. A. I., 15.
2» T., iii. 35 ; Cat. Vas. Brit. Mus.,
1491, c. 3y, 1370.
246 GKP:EK POTTERY. Part II.
them in the air. Erotes are weighed as if for sale, or, har-
nessed, convey through the air the chariot of Aphrodite.
The most remarkable circumstance attending him, however,
is his Dionysiac character, for he seems scarcely to be separated
from the wine-god. His nature, indeed, is generally aerial ; he
skims the air above Dionysos and Ariadne/ or sports with the
followers of the god. He is mounted on a horse,^ a stag,^ or
deer,* and on a dolphin ;^ is himself harnessed to a chariot ; is
drawn by gryphons, lions, swans or even capricorns.^ But he
is generally in the company of females,' youths,^ or athletes,^
and is frequently seen holding branches and torches.-^"
To the train of Aphrodite belong the Charites or Graces, who
are subordinate on some vases to Aphrodite,^^ especially Peitho,
who attends her toilet.^^ The Muses, who are often repre-
sented with Apollo, are once seen destroying Thamyris. The
Sirens are introduced as accessories upon certain vases, prin-
cipally in connection with the adventure of Ulysses. Although
Asklepios seems to be later than the red vases, either of the
early or late kind, yet Hygieia appears in a scene on a most
remarkable vase found at Ruvo. Telesphoros is never seen.
Hestia, whose name is one of the old Attic forms of Ehea or
Yesta, occurs in assemblies of the gods, intermingled with other
deities ;^^ while of the telluric gods, Erichthonius belongs to
the legend of the Attic Athene, and it has been thought that
the Kabiri may be recognised.^* Atlas belongs to the myth of
Herakles ; Prometheus to that of Hera ;^^ and tlie Giants, to
that of Zeus.
Hades or Pluto is rarely the subject of a separate picture,
although he appears in a subordinate capacity in many scenes,
such as the birth of Athene, the feast of the gods, in the
Herakleid,^® and above all in scenes of the lower world." In
* D. M., i. xxxvii. ; V. L., ii. xxviii. ;
P., Ixx ; St., xxvii.
2 D. M., ii. lix. 3 T., iv. 7.
* P., xlii. » B., 1840, 55.
^ V. L., i. vii.-xiii. xiv. ii. x. ; P.,
6, xlix.-liv. Ixi.-lxvi. Ixxix. Ixxxvii.
clxxxv, ; D'H., ii. 35, iv. 71 ; B. A. B.,
1628. ^ T., iii. 24-28.
« P., Ixxxvii. » M. G., ii. iv. 1.
" M. G., ii. Ixxxvii.
" R.V., 41,n.285; M, i. liii.; V.F.
M. A. U. M., xxxvii.
^2 Jahn, Peitho, 8vo., Greifswald,
1856 ; K. P., viii. ; M. B., xxii. ; St.,
xxxiv. ; M. A. U. M., xxxvii. ; A., 1844,
K. C. F., 61.
13 A., 1845, B., 56; A. Z., 1846, 253.
'* G. 0., i.
" M., ii. xlix. 1. ; Bl., 29 ; A., 1837,
219; H., 1.
i« C. D., 201-202, 204 ; 0. M., 28 ; T.,
iii. 1.
c.-cxliii. cccliv.; D. L, xxii.; V. M., '' G. T. C, A. B. ; B. A. N., i. 14;
viii. ; B. A. N., iii. 78 ; A. Z., 1848, 247 ; I M. A. U. M., xvi. 4 ; G. 0., i.
3hap. V. INFERNAL DErJ'IES. 247
jonnection with the Eleusinian myths he carries off Perse-
)hoiie.^ Certain youtlis riding upon a Hippalektryon, and
luman-headed birds, both male and female, may all belong to
le netlier world.
The deities of Hades are occasionally painted ; as the Moirai
or Fates ;^ the Erinnyes or Furies, who in the story of Orestes
are sometimes coloured black f Hypnos and Thanatos, or Sleep
and Death, who convey away Sarpedon to Lycia ;* the supposed
Demons of death ;^ Charon^ and the Shades ;' and the Keres
or goddesses of death.® Hekate is seen chiefly in connection
with Demeter, Persephone, and Apollo.^ Hades, or Pluto,
occurs as a subordinate character. The Gorgons belong pecu-
liarly to the Perseid. The Horai, wlio are connected with
Demeter, are found only in subordinate positions. They are
seen accompanying the gods to the marriage-feast of Peleus and
Thetis, and are present with them in Olympus.-^® .
The solar god Helios appears in several compositions con-
nected with the Herakleid.^^ He, in his chariot of two winged
liorses, is seen attacked by Herakles at the Hesperides, to which
the hero had floated on the sea in his cup ;^^ merely revealing
his head in the solar disk^^ to Athene and Hermes, or else in a
chariot with four winged steeds, and having his head sur-
rounded with rays, whilst the stars are plunging into the sea ;^*
in a chariot drawn by four mortal horses, and accompanied by
Heos^^ holding a torch ; and in a boat shaped like a dolphin,
intended to represent Tethys.^^ At other times his head only is
seen rising: from the sea. Athene and Ares cross the sea to
him." In these compositions the artist intended to show that
the action took place at sunrise.
» G. T. C. A. B.; 0. D., 206. 1 ''^ Gcrhard,Ueber dieLichtgottheiten
2 Gerhard, Eapp. Vole, p. 41, No. K. Wi^s. Ak., Berlin, 1840, Tuf. i.
287. See also the Fian9ois Vase. . ^^ M., ii. 55 ; A., 1838, 266, and foil.
B. A. N., iii., 17, PL, i. fig. 1. | INI., ii. Iv. 1. L. D., ii. cxii. A., cxiil. exv. ;
3 Ibid., No. 288. i Caylus, ii. xv.
* Arch., X. xix. p. 139. j '* Bl. PI., xvii. ; R. R., PI. Ixxiii. ;
VG. A. v., ccxl. ' L. D. ; ii. cxi. ; T., ii. 27.
« A. Z., 1846, s. 350; St., xlvii.;; ^^ Gerhard, I.e. M, ii. 30,31, 32; A. 8,
A., 1837, p. 256; B. A. B., 1622. ! p. 106; Millin., Toinbeaux de Canosa,
' St., xlvii. xlviii. « 0. D., 205. Fl v.; Passeri, Pict. Etr., iii. 268;
® A., 1833, Pi. c. j Wiiickelmanu, Mon., No. xxii. ; Dubois
*o A., 1853, p. 103, 113 ; Gerhard, ! Maisonneuve, PL, i. ; L. D., ii. cxiv. ;
Rapp. Vole., p. 41, No. 283. | V. F., ccexciv.; D'H., ii. 35; L. D., ii.
^^ Stackelberg, Die Graber, xv. 5 ; j cxvi. cxvii.
V. F., Ivii. i« P., cclxix. >" L. D., ii. cxv.
248 GREEK rOTTKRY. Part II.
Heos, or Aurora, is more frequently represented. She is
either driving her chariot, drawn by the winged steeds Phaetlion
and Lampos ;^ or rising with them from the sea,^ having on her
head a ball ; or preceding Helios in a chariot of four horses,
and sometimes in the same chariot with him.^ In one instance
she is seen flying through the air and pouring the dew out of
hydriai,* one of which she holds in each hand. Some of the
figures reputed to be Nik6 probably represent this goddess.
Her connection with Kephalos, Tithonios, and Athene will be
snbsequently touched on in connection with the Attic myths
and the Homerica.
Phosphoros and Lucifer, the Dioscuri and Orion, are con-
nected with the sun-god; and occur in connection with Hermes^
and Sileni.®
Selene, the Moon, another of the solar gods, is rarely seen on
vases of any period, and then generally as a mere pictorial
accessory. Once she drives her chariot' through the night,
accompanied by her crescent ; but more often descends, as Hy-
perion mounts, the sky.^ Once she appears at Olympus as a
disk showing only her head,® and again in the same form as
chained to earth by two Thracian witches^ who invoke her, the
venerable Moon ! ^° The winds also are sometimes represented
as Boreas and Oreithyia,^^ and Zephyros pursuing Chloris,^^ but
chiefly in peculiar myths. The constellation Pegasos appears
once with the Moon.^^
Intimately related to the winds are the waves, whose various
deities form indeed the cohort of Poseidon, but are of rarer
occurrence on vases than any other subject, except that of the
' T., iii. 3; G. A. V., Ixxix.; Bull.
1846, 92 ; L. J)^ ii. cix. cix. a ; cix.
B, ex. ; V. F., cclxxvi. ; P., cclxviii.
cclxxv.; C. D., 231, 232; M. M. I.,
xxxvi. ; T., V. i. 55.
^ Gerhard, Ueber die Licbtgottlieiten,
Taf. iv. 3 ; Berlins Ant. Bild., No. 1002 ;
G. A. v., i. ; Ixxx. ; M. G., ii. xlix. 1 a;
G. C, viii.
3 Ibid. Taf. ii. 2, iii. i. ; Millin.,
Tomb, de Canosa, PI. v. ; Passeri, iii.
cclxix. ; Millin., Vases, ii. 37 ; Gal.
Myth., 169, 611 ; Millin., Vases, x. 56 ;
» M. A. U. M., vi.
^ V. L., i. Ixxxiv. ; D. L., xxx.
' L. D., ii. cxii.; T., iv. (ii.) 12, 13;
Mus. Blac, xviii. ; C. D., 233 ; M. B.,
V. XXV. ; B. A. B., 886 ; C. D., 230, 235 ;
V. F., clxxxvii. ; V. F., iv. (ii. 32).
« Gerhard, 1. c. iv. 8 ; T., iii. 31.
^ Gerhard, Ueber die Lichtgott. Taf.
i. 2, Taf. ii. 2, 3.
10 Gerhard, 1. c., Taf. iv. 8; T., iii.
31 (44).
i> C. D., 211, 213; A. Z., 1845, s. 35,
Taf. 31.
Gal. Myth., xxx. 93. ' ^^ ^^n ^ i844, 98 ; V. F., cxciii.
•* Gerhard, 1. c. Taf. iii. 3, 5; M. G., i cclxxxi. ; P., i. xciii. xciv. ; A. Z., 1845,
ii. xviii. 2 ; G. T. C. P. eclxxxviii. Taf. xxx. '=* Men. iv. xxxix.
ClIAl'. V.
VICTOUY.
249
gloomy Hades. Nereus is, however, a part of the Herakleid,^
and Tiitoii appears in the same myth. GhiukosPontios belongs
to tlie Arj^onautic expedition, and tlio Nereids appear in the
Troika.^ Sea-monsters are sparingly introduced. Skylla, as be-
longing to the Odyssey, is found on later vases devouring the
companions of Ulysses. The Naiads appear on a very ancient
vase, in connection with the Perseid.
Some few local deities, intermingled with the principal figures,
are introduced on late vases having tragic arguments derived
from known subjects ; such as Thebe in the Kadraeid, the nymph
Phaia in the Theseid, and Atlas in the Herakleid. Hellas is
said to have been discovered on a vase recently exhumed at
Capua. Euboia, Lemnos, Delos, Naxos, have been ' already
mentioned. The supposed nymph Kyrene occurs on a vase
representing the myth of Apollo. Such personifications are,
however, the rarest of all, and of the latest period.
A winged figure, known from the inscriptions which accom-
pany it to be Nike or Victory,^ has been introduced by the vase-
painters into the many subjects in which victory is the result,
or which typify a future strife. As Eros denotes the purport
of the scene to be amorous sentiment, so Victory indicates its
heroic tendency. This mode of treatment belongs, however,
only to the later period, and the art at an earlier one did not
avail itself of such a resource. Nike appears crowning the gods,*
heroes,^ athletes, and poets,^ with a wreath or fillet. She acts
as charioteer to Ares^ and Herakles, drives a quadriga,^ and
flies to meet Heos or the Morn.^ She is found as the com-
panion of Zeus, under circumstances in which Iris, his mes-
senger, or Hebe^^ his minister, would be expected to be intro-
duced. She appears with Dionysos as inventor of tragedy.^^
On many of the later vases of the fine style, and especially on
those of Nola, the goddess alone has been taken by the artist
D.
ni. 1. 11. HI.
» M. Bl., XX. ; L,
xxxiii. xxxiv.
2 C. D., 2ia; L. D., iii. xxxvi. B.,
supposed Nereids spinning. G. A. V.,
vii. ; A. Z., 1847, 18* is Triton ; B. A. B.,
1585.
3 K. v., 40 ; C. D., 214, 230. Rath-
geber, Nike, lb. Gotha, 1851.
* R. v., 40, 267 ; G. A. V., clxxiv.-v. ;
P., cliv.
^ R. v., 40, 2t38 ; M. G., ii. Ixiii. 1 a:
G. A. v., clxxiv. clxxv. a, 1844, e.
« R. v., 269 ; M. G., ii. Ix. 3, 9 ;
D'H., iv. 114; T., i. 57, ii. 85.
^ V. F., ccxxiv. ; Oat. Vas. Brit. Mus.,
1440.
« V. F., ccxv.
» V. F., ccxxiv. ; G. A. V., vii.
10 B. A. B., 835 ; M. A. U. M., xxix. ;
L. D., i. xciv. xcv. xcvi.
" Cut. Vas. Brit. Mus., 1293.
250 GREEK POTTERY. Part II.
for his subject, holding the aJcrostoUon or ajolustre,^ erecting a
trophy,^ or proffering an ivy-wreath,^ a branch,* or a shield.^
But the most charming compositions are those in which the
goddess flies through the air, holding the oinochoe or jug, the
jphiale or patera, the thymiaterion or censer used in sacrifices,
or sometimes a lyre.® At other times she bears a torch like
Hekate,^ or a sceptre like Hera, or a caduceus like Eirene or
Peace.^ She offers up a ram,^ crowns bulls for sacrifice,^^ catches
birds or animals, and stands at a tripod ^^ or altar.^^ She rarely
holds the Jcantharos or cup. She is seen in interviews with other
females, ^^ and also with a hare as a spectatress or assistant at
the Dionysiac orgies, and is connected with Aphrodite.
On the later vases Iris appears ; ^* on the older Eris, or Con-
tention,^^ a remarkable goddess called Konikos,^® or Dust, and
Lysse, or Madness, fulfil the mandates of Jove. Phobos, or
Fear, appears once in the strife.^'
The number of these allegorical figures is considerably aug-
mented on vases of the later style, on which are seen Telete, or
Initiation ; ^^ Eudaimonia, Prosperity ; ^^ Eutychia, Felicity;
Kale, Beauty; 2° Pandaisia, Festivity ;^^ Alkis, Strength ;22 Poly-
etes, Longevity ;^^ Klymene, Splendour ;^* Eukleia, Kenown;^^
Pannychis, All Night ;^® Harmonia, Harmony,^^ and Apate,
Fraud.^^ At last not only Ploutos, or Wealth, but also Chrysos,
or Gold, is introduced ; ^^ the popular taste delighting in seeing
actions attributed to mental abstractions and material objects,
which were made to chase, to gather fruit, to fly, to repose, and
perform, like the actions described in the picture of Cebes,
or the tales narrated in the fable of Cupid and Psyche.
» T., iv. (ii.) 21. '^ M. I., xcix. 10.
3 L. D., i. c. ; V. F., ci.
^ C. D., i. xcviii.
° V. F., clxxxviii. ; L. D., i. xcviii.
^ P., ci. ; C. D., i. xcviii.
' P., ci. ; V. L., ii. xxxvii.
« Gerhard Flugelgedtalten, Abh. K.
Berlin Akad., 1840, iii. 6, iv. 3, 4 ;
G. A. v., Ixxxii.
9 B. A. N., V. 87, ii. 3.
10 P., vii. ; G. A. V., Ixxxi. ; Y. F.,
ccclix.-lxi.-lxiii.-lxv. ; Cat. Vas. Brit.
Mus., 887, 1526.
11 L. D., i. xcL; M. P., vi.
»2 L. D., i. xcii.
1' P., ccxvii. ccxli. ; L. D., c.
" C. C, 68, 69; L. D., c; G. A. V., xx.
" Gerhard, Flugelgestalten, Taf. ii. 6.
" 0. D., 14, 241 ; A. Z., 1852, 246,
" G. R. v., 41, 281.
1* Gerhard, Flugelgestalten, ii. iii.
19 B. A. B., 810, 864.
20 Rev. Arch., 1855, p. 456.
21 Ibid. ; B. A. N., v. 28.
22 Mem. Acad. Punt., 4to., 1845 ;
A., xvii. 1846, 415-417.
23 Creuzer. Gall. 8.
2* Rev. Arch., 1. c.
2* Ibid.; B. A. N., V. 28.
^« B. A. N., V. 28.
27 Ibid. 28 B A. N., V. 28.
29 B. A. N., iii. 13.
ClIAP. VI.
GLAZED VASES.
251
CHAPTER VI.
Glazed vases — Subjects continued — Heroic legends — The Herakleid — Attic
legends — The Theseid — The Kadmeid-legend of Oidipous — Thebaid — Various
Theban legends — Myth of Athamas — Legends of Northern Greece — Argo-
nautic expedition — Kalydonian boar — Kephallenaic traditions — Bcllerophon
— Perseid — Pelopeid — Dioscuri — Kentauromachia — Minotaur — Hyperbo-
rean legends — Phrygian legends — Orpheus and Eurydike — Troika — Ante-
Homerica — Homerica — Post-Homerica — Unidentified subjects — The Nostoi
— Odyssey — Telegoniad — Oresteid — Semi-mythic period — Historical sub-
jects — Religious rites — Civil life — The Palaistra — Pentathlon — Dramatic
subjects — Banquets — War — Immoral scenes — Temples — Animals — Eelation
of the subject to Hellenic literature — Homeric poems — Aithiopika — Cyclic
poems — Kypria — Nostoi — Telegonia — Hesiod's poems — Thebaid — Poems
of Steischorus — Epigrams and fables — Threni — Oresteid — Emblems, attri-
butes, costume — Expression — Scenery or adjuncts.
Having thus detailed the subjects of vases with regard to the
principal gods who figure on them, we will now proceed to con-
sider the heroic legends from which others were taken.
Commencing with the heroic cycle, the most important and
fertile in events, if not the first in point of time, is the Herakleid,
which occurs on vases of all ages, and offers an extensive series
of exploits of Herakles, from his birth to his apotheosis. He
is seen carried by Hermes, or nursed by Hera, amidst several
of the deities of Olympus, or strangliug the serpents in his
cradle. Throughout his labours, and the parerga, although
often alone he is sometimes accompanied by his friend lolaos,
or by Hermes and Athene.^ He is beheld in the forests of
Mouut Kithairon,^ where he has descended from his chariot,^
and strangling the lion of Nemea,* which he subsequently flays*
in the cavern. He is represented destroying the Lernaian
» St., xvii. ; A. Z., 1843, s. 75.
2 For Herakks, see C. C, p. 36 and
foil.
3 B. A. B., 992, 993 ; C. F., 77, 80,
90, 109 ; M. G., ii. lii. 2, 2 a, ii. vii. 2 b,
xlvi. 1 a, xlvii. 2a; M. Bl., xxvii.
* B. A. B., 1640, ccxxxviii.; C. M.,
29 ; M. Li., ii. xii. 3 a; G. A. V., Ixxiv.
xciv. oxxxviii. cxxxix. cxcvii. ; T., iv.
xxiii. ; G. A. V., clxxxiii. cii. ; V. C,
pl. xxxiv. 2 ; V. L., i. xciii. ; G. E. V. ;
xi. D. ; C. D., 265-70 ; M. B., xiv.
xviii. ; M. I., Ixxxix. ; M. G., ii. tav. x.
2 a; G. A. V., cxcii. ; Mon., vi. xxvii.
^ G. A. v., cxxxii.
252
GHEEK POTTERY.
Part II.
Hydra/ after descending either from his chariot^ or from his horse ;
crusliing its head with his club^ or burning it with torches/
while a scorpion or land-crab endeavours to bite his heel. The
subjugation of the Kretan bull/ which he ties with cords/ and
the capture of tlie Erymanthian boar, especially the scene of
bringing it back to Eurystheus, who throws himself in trepida-
tion into the jpithos, are often depicted.'^ He is also seen receiving
the belt from Antiope/ and fighting with the Amazons.^ Of
rarer occurrence are tlie taking of the stag of Mount Kerynitis,
in spite of the protection of Artemis ;^^ the destruction of the
Stymphalian birds/^, either with his club or sling ; the capture
of the horses of Diomed ; ^^ the slaying of Busiris/^ and of
Geryon/* who is represented as three warriors, and sometimes
wiuged,^^ or with a triple head ;^^ the driving away of the oxen /^
and the contest with Eryx in Sicily.^^ In the scene with the
Hesperides, they are represented guarding the tree, assisted by
the serpent Ladon,^^ which sometimes has a double head. On
some vases the Hesperides aid in gathering the apples,^" on
others Herakles supports the orb of heaven while Atlas seeks
the tree.^^ The contest with Achelous for the han<l of Dejanira
* Eoulez. Ac. Brux., vii. No. 8 ; C. D.,
270.
^ Mon., ii. xlvi. ; D. M., ii. Ixxv. ;
G. A. v., xcv.
' G. A. v., cxlviii. ; A. Z., 1852,
s. 228 ; M. I., xcix. 7.
* Koulez. Ac. Brux., vii. 8; M., iii.
xlvi.
* T., ii. iv. 24 ; A., 1845, pi. c. ; V. G.,
xi. ; M. A. I., i. ; G. A. V. xcix. ; T., v.
50 ; V. L., ii. xxi. 1. 57 ; B., 1834, p. 241 ;
V. F., ccclxiv. ccclxxvi. ; C. D., 279-282 ;
M. B., viii. xiii.; St., xiv. ; B. A. B.,
630, 906 ; A. Z., 1852, s. 233.
® M. G,, ii. xxxviii.
^ 0. F., 81 ; G. A. V., xcvii. cxxxv. ;
M. G., ii. Ii. 2 a ; V. F., ccxxix.-ccxxxi. ;
M. P., xii, ; A. Z., ] 847, s. 24 * ; B. A. B.,
613, G17, 638, 653, 655; A. Z., 1852,
s. 234, boar; M. I., Ixxxv.
* V. F., xcviii. ccxli. ; M. B., vi. v. ;
A. Z., 1846, s. 287 ; B. A. B., 622, 631 ;
M. A. U. M., xxxix.
9 V. F., cclvii. ; D., liv. Iv. ; 0. D.,
283, 293 ; St., xiv. ; B. A. B., 275-77>
688.
>o G. A. v., ci. c.
" G. A. v., cvi., or pigmy and crane ;
M.P., viii. ; C. D., 278 ; T., ii. 18.
»2 T., ii. 19, 30 ; B., 1843, 59.
" M. G., xxxviii. ; V., 405 ; R. R.,
xxviu. ; G. T. 0., viii. ; C. D., 306 ;
M. B., xii. xxxviii. ; M. I., xc. ; M., viii.
; t. xiv.
I " G. A. v.,/ civ. cvii. cviii. cJvii. ;
I B. A. B., 1592 ; M. G., ii. xcviii. 1 a ;
I B., 1834, p. 241 ; A. Z., 1846, p. 342 ;
\ 1852, s. 251 ; D. L., viii. ; A., 1834,
i p. 69, pi. c ; C. F., 85, 86.
I " C. D., 294, 299.
I " G. A. v., cv. ; D. L., viii.
I " V. G., xxvii. ; G. A., x.
- 18 G. A. v., cvi.
'» D'H., i. 127, iii. 123; B., 1844,
' p. 89; B., 119; V. F., ccxxxvii. ; D'H.,
I ii. 115 ; M. B., xii. xxxvii.
i 20 Gl, A. v., xcviii. ; C. D., 307, 308 ;
A. Z., 1844, s. 319.
I 21 I s y, T., xvii.; P., xl. ccxlix.
! ccl. ; D'H., iii. 94; B. A. N., i. p. 126 ;
iv. tav. iv.
Chap. VJ. LABOUHS OF HERCULES. 253
is by no means an unusual subject on the early vases ; the
river-god is generally represented as a bull with a human head/
as described by Sopliokles, and even in the type of a fish.^
The presentation of his horn to JnpitfT is also depicted.^ He-
rakles is often seen crossing the sea in the golden cup ; * seizing
Nereus, who changes himself into a lion, panther, and dolphin f
or engaged in a monomachia^ with Triton,' an event of which
no notice is preserved in ancient literature. Not less remark-
able are, the supposed contest with the Molionides,^ that with
the Ligyres,^ and tlie death of the giant Alkyoneus,^® in which
either Tlianatos, Death, or Hy^nos, Sleep, intervenes. The in-
sanity of the hero, banquet, and destruction of the family of
lole,^^ his delivery by Hermes to the Lydian Omphale,^^ the
contest of the demigod with Hera at Pylos,'^ and his discharging
his arrows at the Sun, are also depicted.'^ The descent to
Hades,^^ the rescue of Alkestis, and of Theseus and Pirithous,^*^
the dragging of Kerberos to earth, who is depicted with tw^o
instead of three heads,^' and the bringing of the silver poplar
from Hades,^^ are also represented, and are followed by the
death of Lyktes.^^ The hero is also seen carrying Pluto on his
shoulders.^^ Among the representations of his other adventures
are his arrival in the forests of Pelion, his interview with the
centaur Pholos,^^ and subsequent fight with the centaurs As-
bolos, Hylaios, and Petraios,^^ in which he appears as prot-
' G. C, No. 92 ; G. E. V., xv. xvi. ; C. F., 88 ; Mon., vi. t. xxxiii. viii. t. x
B A. B., 661, 669 ; A. Z., 1852, s. 247 ;
C. F., xix.; Tr. K. Soc. Lit., iii. p. 117.
12 G.A.,xiv.; C.D.,316,317,B.A.B.,
1024 ; V. L., ii. vi.
'3 G.A.V.,cxxvii.; Bull., 1831, p. 133.
2 G. A. v., cxv.
3 T., iv. 35 (25;. h St., xv. ; B. A. B., 707.
* G. A. v., cix. ; M. G., ii. Ixxiv. 1 b. ^ u G. A. V., cxxviii.
* V. G., xxviii. ; P., ccv. | »6 a. Z., 1844, s. 227.
« G. A. v., cxii. ; A. Z., 1843, s. 63 ; i n B. A. B., 1636 ; A. Z., 1852, s. 234 ;
C. F., 78, 79; G. E. V., xv. xvi. ; C. D., < M. G., ii. Iii. 2 a; B. A. B., 657; A. Z..
299, 304; B. A. N., i. p. 118; B A. B., | 1853, s. .399 ; G. A. V., xl. xcvii. cxxix.
697 ; A. Z., 1852, s. 234 ; M. A. U. M., cxxx. cxxxi. ; V. F., cxxxvi. ; C. D., 65,
xi.; A. Z., 1853, s. 399 ; C. M., 31. 310, 311 ; A. Z., 1843, Tat', xi. s. 177;
' G. A. v., cxi. ; V. G., xxxii. ; A. Z., Mon. vi. t. xxxvi. viii! t. ix.
1852, s. 230 ; IM. G., ii. xliv. 2 a, b. '» D. M., ii. Ixxi. ; Zeus Ba41eus unci
« D'H., iv. 50 ; B., 1843, 78 ; C. D., | Hercules Kulliuikos, 4to, Berl. 1847,
319; T., iv. (ii.) 2. i Winckelmann, Feste; V. F., cviii.; St.,
» B., 1842, p. 29. ; xlii.
»o T., ii. 20, 1., 1, xxxi., ii. 10 ; M. L, c. ; ' i^ P., xv. xvi.
Jahn, Sach. Gesell., Nov. 1853 ; A. Z., 20 D. M., ii. x. ; P., ii. 104.
1853, s. 237; A., 1833, p. 30S, pi. o. 21 q ^ y., cxx. ; T., v. (i ) 51.
" Bull., 1846, p. 66; G. A. V., cxlv. ; 22 j) j^i j l^^.jii . d'jj jj ^.^i ; B.,
254
GREEK LOTTERY.
Part II.
agonist ; the insolence of Nessos to Dejanira, and the death of
that centaur in presence of Oileus ; ^ the supposed contest with
Lykaon;^ the capture of the Kerkopes, or thievish elves of
Ephesus;^ the boxing-match with Eryx ; his bathing at the
liot-springs of Sicily or Thermopylae;'* his wrestling-match with
the Libyan Antaios ; ^ the death of Kakos ;^ his fishing with his
chib ; ' his connection with Glenos,^ and with Telephos ; ^ and the
sacrifice of a bull; his contest with the sons of Hippothoon,
the Chimaira, Busiris, and his presence at the birth of Athene.''^
In the Amazonomachia/^ or battle with tlie Amazons, He-
rakles, aided by lolaos, appears on the earlier vases as the
protagonist in the contest.^^ The single combat with Kyknos,^^
in which Herakles is assisted by Minerva and Kyknos by Ares,
while their father Jupiter intervenes between the heroes, is by
no means uncommon on the earlier vases. His Trojan expe-
dition and adventure with Hesione are also represented.^^ We
likewise find the contest with Apollo for the tripod at Delphi,^^
in which the god, aided by Athene and Artemis, bears off the
prize, whilst the Pythia beholds the contest from the shrine ;^^
the rape of Auge ; tlie birth of Telephos and his nurture by the
hind;^^ the reconciliation with Apollo ;^^ Herakles Musegetes^^
1845, p. 10 ; M. G., ii. xxxix. Ixxii. 1 a ;
G. A. v., cxix. ; G. E. V., xiii. ; St., xli. ;
A. Z., 1852, s. 228, 230, 247 ; B. A. B.,
1588.
1 A. Z., 1843, 192 ; R. Rochette,
Mem. d'Arch. Comp., 4to, Paris, 1848,
pi. viii. ; M. I., xcv. ; G. A. V., cxvii. ;
D'H., iv. 24, 31; M. G., ii. xxviii. 2,
2 a ; V. G., xxxiii. ; M. G., ii. Ixxxix.
4a; I., s. X. 1-13 ; P., cxvii. ; V. F.
cxix. ; C. D., 320, 321. See also B. A. B.,
628 ; Mon., vi. t. Ixvi.
2 See subject of Poltys.
3 G. A. v., ex. ; B., 1843, p. 65 ; A. Z.,
1843, s. 140 ; B., 1830, p. 95 ; Due de
Serra di Falco, lUustrazione d'un Vaso
Fittile, 1830, p. 95 ; V. F., clxxiii. ; iii.
88 ; CD, 315.
4 Millin. Intr., p. xiv. ; G. A. V.,
cxxxiv.
5 A. Z., 1852, s. 234 ; G. A. V., Ixx.
cxiii. cxiv. ; V. G., xxxi.
« M. G., ii. xvi. 2 a.
' Christie, Etr. Va^es, PI., xii.
« B., 1832, 134. " V. F., clxxi.
'0 G. T. C, XV. ; Cat. Vas. Brit. Mus.,
481, 564, 575, 823.
" M. G., ii. Ixvi. 4 c; G. A. V., civ. ;
D. L., xliv. ; G. E. V., xvii. ; P., clxiii. ;
M. I., Ixxxvii. ; T., i. 12, iv. 26.
12 T., i. pi. 12; D'H., iv. 50; C. F.,
83, 84.
'' G. A. V.,/Cxxi. cxxii. cxxiv. ; M. G.,
j ii. X. 1 b; M. I., c; Bull., 1835, p. 164;
I A. Z., 1852, 8. 230, 234 ; M. A. U. M.,
! xxxviii. ; A. Z., 1853, s. 402 ; M. M. I.,
! xliv. 2.
\ >* G. A., xi.; B. A. B, 1018.
I ** M. G., ii. xxxi. 1 a, Ixxxv. 2 a;
G. A. v., liv. cxxvi. ; G. A. V., cxxv. 2,
204; B., 1846, 97; Curtius Herakles,
4to, Berlin, 1852 ; M., i. ix. ; C. D., 313,
; 314; St., XV.; B. A. B., 979; 0. M.,
j 33, 34 ; D. L., iv. v.
»« A. Z., 1852, s. 240 ; M. I., Ixxxviii.;
V. G., XXX. ; B. A. B., 1630, 659; A. Z.,
1852, s. 247 ; T., v. (i.) 52, 53 ; A. Z.,
I 1852, s. 229, 234 ; C. F., 88.
! »^ D'H., iv. xxiv. 18 V. D. C, xi.
19 M. G., ii. xl. 1 a ; G. A. V., Ixviii. 8 ;
Chap. VI.
DEATH OF HERAKLES.
255
playing tlie lyre of Apollo, having been instructed by Linos,
or sounding the double flute in company with Hermes and the
faithful lolaos.^ As a subordinate, Herakles assists in the Argo-
nautic expedition ; performs the sacrifice at the altar of Cliryse,^
in Lemnos ; and mixes in the grand and terrible fight of the
gods and giants.^ On many vases he is allied with Dionysos and
the followers of that god. He is often seen reposing witli the god
of wine;* or, when overcome by excess, robbed^ of his bow.
and arrows by the Sileni, whom he pursues. At other times he
has penetrated to the regions of the Hyperboreans,^ and brings
back the golden olive. There is also depicted his marriage with
lole;^ his interview with Dejanini,^ who holds up the young
Hyllos ; ^ the delivery of the poisoned tunic by Lichas ; ^^ and
the immolation of the hero upon the burning pyre of Oita,^^
the satyrs looking on, while the immortal portion of the demi-
god ascends to heaven in the car of Jove,^^ driven either by his
favourite Pallas Athene, or by Nike. On the oldest vases he is
accompanied in his ascent by Apollo, Dionysos, and Hermes,^^
and is generally introduced into Olympus^* in a quadriga.
This is followed by the marriage of Herakles and Athene,^^ or
Hebe,^^ and the repose of the demigod with his mother Alkmena
in Elysium.^^ Zeus, Athene, and Herakles,^^ form another scene
in Olympus.
Herakles also appears in scenes of an import difficult to
interpret. Thus he is seen standing with his protectors
Hermes and Athene,^^ or with Zeus,^° holding a bow and
V. L., ii. vii. ; D'H., iii. 31 ; V. F., ccxc. ;
G. T. 0., XV. ; A. Z., 1852, s. 234.
^ M., iv. xi. ; V. L., ii. xiii.
^ V. Iv., i. xxiii.
' G. A. v., Ixxxiv. ; M., iii. 1, 1 a.
* G. A. v., lix.-lx., Ixix.-lxx.
' T., iii. 37 ; V. G., xxxv. ; B. A. B.,
1590.
« M. G., ii. xiii. la, 1 ; A. Z., 1853,
s. 400.
' B. A. B., 1016.
» A. Z., 1848, s. 223.
» G. A. v., cxvi.
»" B., 1845, p. 37; A. Z., 1852, s. 238.
'' M., iv. xli. ; B., 1846, 100 ; G. A. V.,
xxxi. cc. p. 52, n. 97 ; V. L,, xxxiv. ;
D'H., iv. 59; A. Z., 1842, s. 248.
'2 D'H., iii. 52.
>3 M. G., ii. Ii. lb; G. A. v., cxi.
cxxxvi. cxxxvii. cxxxix. cxli. ; D. M.,
iii. xviii. ; V. G., xxxvi. ; M. G., Ixxxiv.
2a; B., 1845, p. 21 ; M. G., ii. vii.
xviii. ; B., 1844, p. 37 ; C. D., 327-32.
" G. A. v., cxxviii. cxliii. cxlvi. vii. ;
V. D. C, XXV. ; C M., 36, 37 ; B., 1844,
p. 37; V. F.,ccviii. ccx.-xi.-xxii. ccxvii.
ccxxv.
^5 M. G, ii. xxxvii liv. 2 a ; G. A. V.,
xviii.
»« G. A. v., cxxxv. ; V. L., ii. xi. ; P.,
cclxxvi.
" G. A., XV. ; B. A. B., 695, 706 ;
A. Z., 1853, s. 402 ; M I., Ixxxix.
'» G. A. v., cxliii.
^« T., i. 22, ii. 22 ; G. A. V., cxli. ;
I. S., V. T., XXXV. ; A. Z., 1847, s. 24* ;
1848, s. 220 ; A. Z., 1852, ss. 234, 238.
20 G. A. v., cxliii.
>^ OF THE ^
256 GREEK POTTERY. Past II.
arrows;^ seated on a folding stool, oJcladias, under a tree,^ or
reposing on the ground in presence of Athene, and having
behind him a vine ; ^ crowned by Nike,* or Hermes ; ^ re-
ceiving a libation from Athene,^ and attending on her
chariot ; ' perforaiing his supposed expiation ; ^ playing on
the lyre,® or on the Hute ; ^° present amidst warriors ; ^^ carry-
ing Dionysos ; ^^ in a contest with Poseidon ; ^^ received by
Poltys and Erechtheus ; ^* and with Dionysos, Athene, Ares,
and Hermes.^^ His decision between Virtue and Pleasure,^^ is
also supposed to be represented. The bust only of the god is
sometimes seen ; ^^ and he is also parodied as a pigmy destroy-
ing the cranes.^^ He appears in certain scenes as a subordinate,
in connection with Hermes and Athene,^® or Nike,^" with Kreon,
Ismene, Antigone, and Haimon f^ in an interview with Silenos,^^
or intermingled with Bacchantes,^^ accosted by Zeus,^* and in a
symposium with Dionysos,^^ and with Poseidon and Palaimon.^*^
The other myths of the heroic cycle have been classed by
Miiller according to their local origin, and of these the Attic
are the first in importance, and the most remarkable for their
number. Of legends, peculiarly Athenian, the adventures of
the daughters of Kekrops, such as Herse, belong to the myth
of Hermes ; the birth of Erichthonios to that of Athene ; the
rape of Oreithyia by Boreas, to that of the Winds. Tereus and
Prokne occur on very few vases, if at all ; and the amour of
Aithra and Poseidon has been mentioned when speaking of that
deity. But the adventures of Theseus, especially the death of
the Minotaur, are portrayed at all epochs of the art, more
especially on vases of the finest workmanship, apparently the
• G. A. v., cliii. >2 p^ ^.iv^ 13 0. C., 95.
2 T., iv. (ii.) 22 ; G. A. V., cxxxiii. ; j "A. Z., 1846, Taf. xxxix., s. 233 ;
A. Z., 1852, s. 231. | A. Z., 1853, s. 401.
3 B., 1837, p. 53; A., 1834, p. 334; , '' B. A. B., 676.
G. C^ c. ; G. A. v., cxlii. ! ^« A., 1832, pi. F. p. 379.
* V. F., Ixi. Ixii. ! *' M. G., ii. Ixvi. 3 a.
5 D. M., iii. xli. ; G. C, c. ; I. S., v. ;
T., xxxviii. : D'H., iii. 49 ; T., ii. 21.
« Christie, PI., xv. ; D'H., iii. 49.
7 C. M., 35 ; M. G., ii. ix.
^ P., cclxxvii.
» B. A. B., 665 ; M. I., xcix. ; V. L.,
11. Vll.
1" B., 1838, p. 10 ; M., iv. xi. ; V. L.,
ii. xxii.
1' A. Z., 1846, p. 340 ; V. L , i. xxiv.
18 D. M., i. Ixiii. ; T., ii. xviii.
" G. T. C, viii.
20 C. D., 322 ; A. Z., 1852, ss. 234, 288.
2» B., 1836, p. 120.
22 B. A. B., 15^0.
23 C. C, 101.
-* B. A. B., 1028.
25 B. A. B., 676 ; C. Bt., p. 28. For
many bubjects, cf. C. C, pp. 3(1-57.
26 Cat. Van. Brit. Mns., 581.
Jhap. VI. ATHENIAN SUBJECTS. 257
I
^Rroduce of the Athenian potteries, and were possibly copied
^Kom some work of high renown.
^" These exploits formed the argument of a cycle of adventure,
Ij^alled the Theseid, modelled upon the Herakleid. The whole
cycle is not represented, but there is enough to show the higli
antiquity of many portions of the mythos ; which, however, are
also found mixed up with other Atlienian traditions of the adven-
tures of Hermes and Herse, of Boreas and Oreithyia, of Heos
and Kephalos, and of the birth of Erichthonios. The labours
of the hero often form a series of decorations for cups, which
follows the order of his march through the isthmus to Athens.
The iirst is the subject of Aigeus consulting the oracle of
Themis.^ Theseus is then represented discovering the sword
and belt ; ^ bending the pine-tree, and destroying Sinis the
pine-bender.^ Next are depicted his amour with the daughters
of Sinis,"^ the destruction of the sow or boar of Kromyon,^ and
the interference of the Nymph Phaia ; the wrestling-match
with Kerkyon ; ® the destruction of the robber Polypemon or
Damastes, called Prokroustes,'' or the stretcher, whom he slays
with a ]pelekys, on his own bed ; the contest with Skiron,* whom
he hurls down the rugged rocks to the gigantic tortoise at their
feet ; the amour of the demigod with the daughter of Skiron ;
the recognition of Theseus by the aged Aigeus ^ and Poseidon ; ^"
the capture of the bull of Marathon ; ^^ the departure of The-
seus to destroy the Minotaur,^^ whom on one vase Pasiphae is
seen nursing,^^ and whom he slays with the aid of Ariadne ^^ in
the presence of Minos ; his marriage with Ariadne at Delos,^*
* Gerhard, Das Orakel der Themis,
4to, Berlin, 184t).
2 Bull., 1846, 106.
' G. A. v., clix. cexxxii. ccxxxiii. ;
V. F., xlix. cxi.; A. Z., 1846, s. 288;
B. A. B., 807 ; T., i. 6, ii. 13.
* C. D., 347.
" M. G., ii. xii. la; G. A. V., clxii.
cexxxii. ccxxxiv. ; C. C, 111; 0. D.,
348.
« C. D., 348 ; G. A. V., ccxxxiv.
l V. G., ix. X. ; G. A. V., ccxxxiv.
" V. F., liv.: CD., 336.
'2 M. G., ii. Ixxxii. 2 a; G. A, V.,
clxi.
'3 A. Z., 1847, 8. 9*; B., 1847, 121.
'* V. L.,i.xxx.; V. F.,ccxcvi.-ccxcvii.;
C. D., 333, 335, 337, 338, 339, 340 ; T., v.
(i.) 57, 58 ; M. G., ii. viii. lb, ix. 1 a ;
G. E. v., xxiii. ; G. A. V., clxi. ccxxv. ;
C. 0., pp. 112-114 ; M. G., ii. xlvii. 1 a ;
Migliarini, Ace. Fior. Mem. del, 4to Fir.
1839, tav. iii. ; D'H., iii. 86 ; D. L., xiii. ;
B. A. B., 674, 688; 1643, c. Bt. 42,
« G. A. v., cxxiv.; M., iii. xlvii.; no. 42-44; A. Z., 1852, ss. 237, 238;
P., ccxlviii. ; T , V. (i.), 59. l C. M., 42, 44 ; C. F., 81-84 ; T., i. 25 ;
'•' M. G., ii. Iv. 1 a. j Mon. vi. t. xv.
'« M., i. Iii. ; D. L., xliii. I " G. E V., vi. ; M., iv. Ivi. Ivii.
S
258
GREEK POTTERY.
Pabt it.
and her abandonment; his friendship with Pirithoos/ and
death of that hero ; the grand Kentauromachia at the nuptials
of Pirithoos, in which the Lapiths are aided by Herakles ; ^ the
death of Kaineus;^ the expedition to Troizene to carry off
Helen, or Korone ; * the invasion of Athens by the Skythes,
with the Amazons, Deinomache, and Philonoe,^ and victory of
the Athenians ; ^ the hero attacking Hippolyte and Deino-
mache ; ' Euphorbos, and Melosa ; his entrance into The-
miskyra ; ^ the death of Antiope on her abduction by the two
friends;^ their descent to Hades to carry off Persephone;
their capture by the Furies ; ^^ and the story of Hippolytos.^^
Belonging to Attic myths are the rape of Kephalos, who is
borne off by Heos,^^ in presence of Kallimachos,^^ and sometimes
has at his side the dog Lailaps ; ^* the death of Prokris,^^ and
the fate of Prokne.^^ An often repeated subject is Boreas bearing
off Oreithyia from the altar of Athene, under the olive in the
Erechtheum, while Herse and Pandrosos stand astonished."
The birth of Erichthonios ; ^® the water-drawing at the fountain
of Kallirrhoe ; ^^ Ion and Kreusa,^" and Pandora,^^ occur less
frequently.
The vases of later style present a few adventures of the
» B., 1845, 202 ; 1850, 16 ; Mon., vi.
t. xxxiv.
2 V. L., i. XXV. xxvi. xxvii. ; C. D.,
342, 345, 346 ; C. M., 43.
3 G. A. v., clxvii. ; D. L., x. ; A. Z.,
1852, s. 250 ; T., iv. 47.
* G. A. v., clxviii. ; C C, 110 ;
M. A. U. M., XXX.
* M. G., ii. XX. 2 a; G. A. V., clxvi.
« M. P., XXXV. ; B. A. N., 1855 ; St.,
' Bull., 1833, p. 151; M., i. Iv. ;
C. C, 115; G. A., 4; A. Z., s. 235;
M. A. U. M.jix; Mon,, viii. t. xliv.
« G. A. v., clxiii. clxiv. clxv. ; M. P.,
XXXV. xxxvi. ; M, G., ii. xxiv. 2 a,
» V. F., cccxx. ; A., ]833; PI., a;
Mon., vi. t. XV. xvi.
" C. M., 51 ; Of. for many vases of
the Theseid, C. C, 110-112 ; B. A. N.,
ui. 75; A. Z., 1844, Taf. XV.
V» A. Z., 1848, 245 F; A. Z., 1853,
s. 2 ; M., iii. xlvii ; M. G., ii. Ixviii. 1 ;
G. A. v., clviii. clx. ; V. G., xii. xiii ;
Nouv. Ann., 1836, 139 ; M., 1. Iii. liii. ;
A. Z., 1852, Taf. 1.
»2 G. A. v., s. 39, n. 33; B. A., 1868,
p. 348.
" B. A. N., i. tav. i. ; T., iv. 12.
>* C. F., 14 ; B. A. N., 1844, tav. i. 5 ;
V. D. C, xiv. ; R. R. xlii.-xliv. A;
A. Z., 1852, /s. 340.
» D. H., ii. 24, 126 ; M. A. U. M.,
xiv. ; D. L., xl.
" B. A. N., 1845, tav. i,, No. 5.
" G. A. v., clii. 1 ; D. M., ii. v. ; R. R.,
xliv. a; a. Z., 1852, s. 240; B. A. B.,
1602 ; C. C, 1068 ; V. F., cxxi. ; G. E.,
v., XXX.
" M., iii. XXX. ; G. A. V., cli. ; Vase,
B. M.
19 R. v., 31, 32, n. 206; V. F., xliii.
xliv. cxxii.
20 A. Z., 1852, s. 401, Taf. xxvii.;
L. D., iii. xliv.
21 Gerhard, Festgedanke an Winckel-
mann, 4to, Berl. 1841 ; C. M., 9 ; L. D.,
iii. xliii. xiv.
(Hap. VI.
'vm<: thi<:bais.
259
Boeotian hero Kadmup, forming the Kadmeid. The hero is
represented killing the dragon of Ares, which guarded the
fountain of Dirke, in the presence of Harmonia, Aphrodite, and
satyrs ; ^ or of Poseidon, Demeter, Apollo, Artemis, Athene,
Nike, Ismene, and Thebe. Athene delivers to Kadmos the
stone with which he killed the dragon.^ The hero is also seen
at the games of Pentheus. The adventures of Semele belong
to the cycle of Zeus ; and those of Orion are found on only
one vase.^ The story of Oidipous, commencing with Laios
bearing off Chrysippos,* is found on some vases of tlie oldest
style, in which Oidipous is seen discovered by the herdsman
Euphorbos,^ and solving the enigma of the Sphinx,^ by
stabbing the monster ; ^ while, upon the latest of all, the tragic
arguments of Euripides and Sophokles occur, — such as Oidipous
at Kolonos ; ^ perhaps Etookles and Polynikes ; ^ his tomb ; the
expedition of the Seven against Thebes,^" and the scene with
Axiokersa and Manto.^^
Several subjects are derived from the Thebaid, and principally
from the earlier incidents : such as the departure of Amphia-
raos in his chariot, drawn by the horses Kallopa^^ and Kalli-
phora, and with his charioteer Baton ; his farewell to his wife
Eriphyle,^^ the young Adrastos, and Alkmaion,^"* a scene which
is often repeated ; ^^ or else he is represented with Tydeus,
Adrastos, Deianira,^® and Eriphyle ; ^^ especially in the scene
in which the last is bribed with the necklace.^^ There are also
the quarrel of Amphiaraos and xidrastos ; ^^ an interview
between Antigone and Ismene ;^^ the death of Eriphyle;
21
* Millin., Mon. Ant. In., ii. xxvii. ;
D. M., ii. vii. ; Bull, 1843, 62 ; Bull.,
1840, p. 49 ; R. R., iv. ; V. F., ccxxxix. ;
G. v., c.
2 Bull., 1840, pp. 49, 54 ; Bull., 1. c.
127; B., 1841, pp. 177, 178; A. Z.,
1843, s. 26. 3 C. D., 260.
* Bull., 1840, p. 188 ; B. A. B., 1010.
' Mon., ii. xiv.
« T., ii. 24, iii. 34 ; R. V., p. 48, No.
424; M. G., ii. (D. L., xvii.) Ixxx., 1-6;
Bull., 1844, p. 132 ; Mus. Blac. xii. ;
C. D., 364, 367 ; M. M. I., xl. ; Mon ,
viii. t. xlv. ^ St., xxxvii.
8 A. Z., 1853, s. 400 ; V. G., xxiii.
9 G. A., vi. ; St., xvi. ; B. A. B., 860 ;
C. C, 125.
'* R. R., XXXV. ; P., cclxxix. cclxxx, ;
M. A. I., X.
'' V. F., cccxv. 12 A. Z.
'3 Annali, 1839, 261, 1843, 208-218.
1* Scotti. Illustr. d' un vaso Italo-
Greco, d. M. Arc. di Taranto, 8vo,
Napoli, 1811 ; V. G., xx. xxi. ; V. F.,
ccxix. ccxx.
1* M., iii. liv.
»« M. G., ii. xxxiv., 2 a; Bull., 1844,
p. 35; G. A, v., xii. ccviii. ; M., iii. liv.
" Panofka, Hyp. Rom. Stud. i. s. 186.
18 D'H., ii. 71.
'» CD., 367; T., i. 23.
'^o B. A. N., iv. tav. vii. xxxii. ; A. Z.,
1845, xxvii. 49.
2' T., i. 21.
s 2
260
GREEK POTTERY.
Part IT.
the meeting of Admetos and Alkestis ; ^ and a figure, sup-
posed to be Dirke ; ^ Periklymenos and Tydeus killing
Ismene.^
Another Theban legend, which sometimes appears on vases,
is tlie death of Pentheus by the hands of his mother.* The
story of Aktaion^ must also be regarded as Theban. No
subjects from the Epigoniad are known. Of the local myths
of Helle or Theophane, and the fall of Plirixos, that part only
is seen which represents Helle crossing the sea ; ® for what was
supposed to be the sacrifice of the ram,^ appears now to be
more probably the sacrifice made by Oinomaos previous to Ids
fatal race with Pelops. Amongst the traditions assigned to
Northern Greece, the Pheraean legend of Alkestis is part of the
mythos of the Herakleid. One vase only, and that of Etruscan
style, represents the parting of Admetos and Alkestis.^ Of
the legends of Phthiotis, the Achilleid is only an episode of the
Troica, and so closely connected with those legends, that it
is preferable to refer it to that head. Of the ^tolian traditions,
the hunt of the Kalydonian boar is described elsewhere.
The Argonautic Expedition, the great naval epos of Greece,
which had formed the subject of the strains of Orpheus, and of
which there is so detailed an account in the dry poem of
ApoUonius Rhodius, occurs only on vases of a late age and
style, — the incidents having apparently been derived from such
parts of the subject as had been dramatised. Hence they are
limited to the later adventures, — such as Jason trying his lance ;
Tiphys building the Argo f the sacrifice of Lemnos ; ^° the
landing of the Argonauts on the coast of Mysia ; ^^ Philoktetes
bitten by the serpent ; ^^ the loss of Hylas ; ^^ the victory of
Pollux over Amykos ; the chasing of the harpies from the tables
of Phineus ^* by the Boreads ; Jason charming the serpent,^^
> M., iii. xl. 2 L. D., iii. Ixix.
' M., i. vi. * Mon., iv. t. xiv.
* V. L , i. ii. xi. ; M., ii. viii. ; Gr. A.,
vi. ; B. A. B., 1010.
« T., iii. 2, i. 1, xxvi. ; G. E. V. A. ;
B. A. B., 996.
^ R. R., xxxiv. XXXV. ; G. A., 6.
* Dennis, Cities and Cemeteries of
Etmria, title-page.
9 C. D., 875 ; L. D., xxxvii.
" V. G., Ii. ; G. A. V., civ. ; V. G., 1. ;
G. A. v., cliv. ; L. D., ii. cv. cvi. cvii.
cviii. ; A. Z., 1845, s. 161, Taf. xxxv.
xxxvi., s. 178; D. M., ii. viii.; A. Z.,
1846, Taf. xliv. ; M. A. U. M., xxii. ;
M. I., xcvii. ; C. M., 30 ; T., i. 27.
" V. F., cccxliv. ; D'H., iv. 41.
12 A. Z., 1846, s. 285.
13 B., 1831, 5.
1* M., iii. xlix. ; St., xvi. xxxviii.
M. A. U. M , XV. ; M. I., Ixxxii. xcix. ;
In. Vase, Brit. Mus.
" V. G., vi. ; M., V. xii. ; D'H., i. 127,
128, 129 ; A. Z., 1844, s. 233, attaching
[AP. VI.
KEPHALLENIAN TRADITIONS.
261
d swallowed by it;^ the Dioskouri, aided by the enchant-
ments of Medea, destroying the Kretan giant Talos ; ^ Jason's
marriage with Medea ; ^ the return to the court of Pelias
with the golden fleece;* the boiling of the ram in the pre-
sence of Pelias and his daughters ; ^ the forcible dragging
of old Pelias to the caldron ; the renewal of Jason's ^ youth.
The death of the children of Medea, and her escape in the
chariot of winged dragons ; with all the tragic incidents which
befell the family of Kreon, are found as the arguments of
a Kreonteia.^ The most important and most frequently re-
peated legend is the great hunt of the Kalydonian boar, which,
when depicted in its fullest form, has the names of all the
hunters and dogs,^ or with those of persons not recorded.^ The
preparation for the hunt ; ^^ the destruction of the animal, in
which scene an ape once appears ; ^^ and the cariying of it
home ; ^'^ Peleus and Atalanta ^^ wrestling for the sldn ; Mopsos,
Klytios, and other heroes, acting as umpires at the funeral rites
of Pelias, after the sacrifice of the boar ; ^* the ill-starred
Meleagros and Atalanta,^^ and her supposed change into a
lioness,^^ are occasionally represented on the vases.
Of the traditions assigned to Kephallenia that of the epony-
mous hero Kephalos, an Attic rather than aKephallenian tradition,
is part of the story of Heos, or the Morn ; whilst of the Thracian
legends that of Lykourgos destroying his family, in consequence
of insanity inflicted by Dionysos, belongs to the arguments of
the tragedians, or to the adventures of Dionysos.^^ The de-
it with Herakles ; An., 1848, p. 107 ;
M. v., ix. ; I., s. V. T., xii. T., xvi. ;
T., xviii.; Bull, 1835, p. 183; A., 1849,
pi. i.; G. A., X.; C. D., 256, 257;
G. A. v., ccxxxv.
* M. G., ii. Ixxxvi. 1 b; Mon., ii.
XXXV.; Genaielli, 1. c. mon. prim. 4to,
Rom. 1843, 87 ; M., i. xxxv. x. ; B.,
1846, p. 87.
2 B. A. N., iii. tav. ii. vi. ; A. Z.,
1846, Taf. xliv.
3 A. Z., 1844, s. 256. " V. G-, pi. vii.
* M. G., ii. Ixxxiii. 1 a, 1 b; G. A. V.,
clvii. 3, 4; C. C, 124; A. Z., 1846,
s. 370; A. Z., 1846, Tuf. xl. s. 249.
^ Classical Museum, ii. p. 417 ; A. Z.,
1846, s. 287.
' A. Z.. 1847, Taf. iii. s. 3; 1843, Taf.
xxviii. s. 49, 50.
* M. G., ii. xc. ; V. L., xcii. ; M., iii.
xliv. ; M., iv. lix. ; G. E. V., ix. ; B. A. B.,
1022.
» D'H., i. 22-24, 91-93 ; M., iii. xliv.
3 ; I. s. V. ; T , Ivi.-lix. ; G. A., ix. A.,
2,5.
i» M. P., xi. ; A. Z., 1853, s. 402.
'1 M. G., ii. xvii. ; Millin., Intr.
p. xiv. ; M. G., ii. xxix. ; G. A. V.,
XXXV.; M. M. I., xlii. ; Mon., vi.-vii.
t. Ixxvii., viii. t. xiv.
»2 D. M., i. xviii.
" G. A. v., clxxvii. ; A. Z., 1852,
s. 235 ; M. M, I., xli.
" V. G., clviii. ; Bull., 1843, p. 68,
1837, pp. 130, 213; Schol. Apollon.
Rhod., iii. 9, 2 ; A. Z„ 1853, s. 401.
'* I., xiii. ; D'H., iv., 128 ; C. D., 252.
»« B. A. N.. iv. tav. iii.
•^ M. B., xii. xxix. ; M., v. xxiii., iv.
xvi. ; V. F., Iv. ; A. Z., 1846, 253.
262 GREEK POTTERY. Part II.
striiction of Orpheus by the Thracian women/ and his descent
to Hades to rescue Eurydike,^ are a part of the Argonautica ;
under which will also be found the Corinthian legends of Medea.
Thamyris, who belongs to another Thracian story, is seen playing
on the lyre in the company of the Muses.^
The vase-painters have rarely selected the adventures of the
hero Bellerophon, though he was so intimately connected with
Corinth, the site of the oldest potteries. Bellerophon, aided by
his son Pisander,'* destroys the Chimaira. On many vases, in-
deed, the winged Pegasos is found, and sometimes more than one ;
but on the oldest ones, the hero kills the Chimaira with a club,
like Herakles ; if, indeed, these figures do not represent Herakles
and lolaus destroying the monster according to another version
of the legend. On later vases Bellerophon is aided in the
same enterprise by the Lycians.^ The most usual scenes are
the delivery of the letter to lobates,^ the spearing of the
Chimaira' by Bellerophon mounted upon Pegasos, and the death
of the perfidious Alphesiboia,® who falls from the winged steed.
In one case he kills a stag,^ at the marriage with Philonoe.^®
Few Argive representations, except that of the Danaids in
the under-world, and the rare tradition of the mad Proitids"
at the altar of Artemis, are given on vases. To Delphic tra-
ditions, besides representations of the local deities, must be
assigned tlie death of Archemoros, and the origin of the Nemean
games.^^ The principal incidents of the Perseid are the golden
shower," Akrisios measuring the chest for Danae ;^^ Danae with
her son opening the chest on their arrival at Seriphos;^^
Perseus receiving the winged helmet, the har^e, and hibisis
from Athene,^^ or the Naiads,^' his flight^ through the air and
rencontre with the swan-shaped Graiai ;^^ the death of Medusa,^^
1 M. I., V. ; C. D., 258 ; M. G., ii. Ix. ;
G. A. v., clvi. ; B., 1846, 80 ; M. viii.
t. xliii. 2V. M., 5.
' M. G., ii. xiii., 2 a; M., ii. xxiii.
viii. t. xliii,
* T., i. 1, 2, 204; M., ii. 1.; C. D.,
246, 253. * G. A., viii.
« B., 1851, p. 171 ; M., iv. xxi. ; A ,
1851, p. 136.
» T., i. 1 ; V. F,, Ivii.
« V. F., i.
" M. G., ii. xxix. 3 a ; B. A. B., 1022,
630, 614.
'0 B. A. B , 102.
» V. G., lii. '2 V. F., ccclxxi.
'» A. Z., 1846, s. 285 ; Mon. vi. t. viii.
* A. Z., 1846, s. 286 ; A., 1847, PI. M.
M. B., ii., xxx. ; A. Z., 1847, s. 285.
'« V. F., ccclxvi. ; 0. D., 242 ; C. F., 95.
M. G., ii. xcii.
* Panofka, Perseus und die Graise,
Abhandl. K. Ak. d. Berlin, 4to, 1848,
s. 2, 11 ; M. M. I., xxxvi. ; C. D., 243.
^9 G. A. v., ccxvi. ; St., xxxix. ; Mus.
Blac, X. xi. xii.; B. A. B., 872; 1033;
A., 1851, p. 167, PI. N. O.; A,, 1831,
p. 154 ; M. M. I., xliv. 3 ; V. D. C,
xxviii. ; Mon. viii. t, xxxiv.
3hap. VI. OLYMPIAN AND ARCADIAN LEGENDS.
263
id Pegasos or Chrysaor^ bursting out of her neck ; the flight
)f the other Gorgons to Poseidon^ to inform him of the
lestruction of Medusa ; Perseus showing the Gorgon's head to
le Satyrs f his arrival at the court of Kepheus ;* the rescue of
Ludromeda,^ and the return of the hero to Seriphos, and
^destruction of Polydektes ;^ the himent of Danae. Sometimes
the hero's bust alone is seen.'^ The Perseid appears as epi-
sodical to many poems,^ as the shield of Herakles, the Megalai
Eoiai, and the Theogony. The defeat of the army of Dionysos
connects it with the Dionysiaca.^ Athene is also represented
showing Perseus the head of the Gorgon^" at the Deikterion of
Samos.
Of the Pisan or Olympian legends the most often represented,
but only on the later vases, is the Pelopeid, which was so
closely interwoven with the fate of the family of Agamemnon.
Only a few of the leading incidents are selected ; such as the
boiling of the youthful Pelops ;^^ Poseidon bringing Pelops^^ his
horses ;^^ the hero swearing with Oinomaos at the altar of the
Zeus of Olympia to the conditions of the contest ;^* the fatal
race, and the perfidy and death of Myrtilos ;^^ Aphrodite intro-
ducing Hippodameia after the victory ; and Pelops receiving
his title of Plexippos.^® The Arcadian story of Hippomenes and
Atalanta, and their metamorphosis into lions is depicted on a
single vase.^' To the traditions of Amyklai are to be referred
the Dioskouroi, who are sometimes represented on vases, although
more rarely than might be expected. The incidents connected
with them are Leda and the swan ;^^ the departure of Kastor ;^^
» G. A. v., Ixxxix.
2 G. A. v., Ixxxviii. ; M. G., ii. Ixvi.
4 b, xxix. 4a; P., ccxcvii. ; D'H., iv.
126 ; V. F., Ixxi. ; D. M , ii. iii. iv.
3 M. G., ii. xcii. ; I. V. S., v. T., xliii.
* Cat. Vas. Brit. Mus., 801.
' D. M., ii. iii., iv. ; R. R., xli. ; CD.,
244, 245; A. Z., 1848, s. 222, 246.
^ Mus. Borb., v. Ii. ; M., viii. t. v.
^ L. D., iii. Ixxii.
* Mus. Blac, xxvi.
9 V. G., PI. iii.
»» A., 1850, p. 53, PI. A.
" G. A. v., clxxxi.
'2 A. Z., 1845, 8. 62; A. Z., 1846,
g. 252.
»' B. A. N., v. p. 57.
" A., XX. p. Ill, G.; LS., V. T.,
XV. ; A. Z., 1846, s. 253 ; A. Z., 1848,
s. 222; A. Z., 1852, s. 164; 1853, Taf.
liii.-lv. ; A., 1840, Pi. N. O., p. 173.
" B., 1835, p. 198 ; M., iv. xxx. ;
M., V. xxii. ; Mon., vi.-vii. t. Ixxi. viii. 3.,-
i« A., xxi. p. 145 B.
'^ B. A. N., iv. t. iii.
»« M. G., ii. xxix. ; V. F., ccxli. ; C. D.,
369-373; A. Z., 1847, s. 19*; T., iii. 22.
'9 M. G., ii. liii., 1 b ; V. G., liii. ;
V. L., i. xxviii. ; M., ii. xxii. ; Mus.
Blac, xxxi. ; St., xi. ; C. F., 96 ; V. F.,
ccxxi. ; P., cix. ; D'H., iv. 43 ; C. F.,
121; C. D., 120; A. Z., 1847, s. 24*;
A. Z., 1849, 74.
264
GREEK POTTERY.
Part II.
the brothers with Helen ;^ the twin brothers mounted,'^ or
conversing with Helen ;^ the hunt of the Kalydoiiian boar ; the
rape of the Leukippidai ;^ the quarrel with the Boreadai ;^
the death of Kastor,® and of Idas,' and Nike or Victory
crowning Pollux after the fight with Bebrykos.^ Sometimes
the brothers are seen mounted and alone,® or as stars led by
Heos, or the rosy-fingered dawn. They are also represented at
Delphi.i«
To the legends of Northern Greece belongs the fight with the
Kentaurs, and it is treated in two different manners on the vases.
In the older Kentauromachia Herakles" appears as protagonist,
and the whole story must probably be referred to the interview
with Pholos. On the later vases the Kentauromacliia is con-
nected with the Tlieseid, as in the battle with the Lapithai at
the nuptials of Peirithoos. It is generally impossible to
identify . all the scenes ; the one most often repeated is the
death of Kaineus/^ by Oreios and Lasbolos.^^ Sometimes the
Kentaurs hurl pines or rocks.^* Theseus is frequently distin-
guishable in the melee}^ and isolated scenes, such as the rape of
women, often oc3ur.^^
Either to the same locality, or to Asiatic traditions, must be
referred the Amazonomachia, in which, upon the oldest vases,
Herakles, lolaos, and Telamon appear as protagonists, destroying
the Amazons, Thraso, Toxis, Kydoime, Tersikyle, and
Hypsipyle." On the later vases, however, the Amazons are
connected with the Theseid ; their arming is represented, and
their great irruption into Attica. The melee with the Greeks,
18
> V. L., i. lix. ; I, M., iii. s. v. T., xli. ;
CM., 45; T., V. (1)56.
2 M. G., ii viii. a, b ; C. C, 120 ;
A. Z., 1851, s. M; C. Bl., p. 44, No.45;
T., iv. 52; T., V. (i.), 71, 81.
3 V. F., clxxv. ; A., 1832, PI. G.
* V. D. C, i. ; B., 1844, p. 86 ;
I. S. V. T., xi. xiii. ; P., cclxxxii.
cdxxxiii.; D'H., i. 130; A. Z., 1845,
8. 29. * G. A. v., ccxx.
* G. A. v., cxciv. ; Mus. Blac. xxx. ;
G. E. v., D.
'CD., 25. 8 I. S. Y. T., xxxii.
^ Mus. Blac, viii. xvi. xxviii. ; V. F.,
coxxviii.
•0 A., 1848 K. ; if not, Orestes and
Pylades at Delphi ; A. Z., 1853, s. 129,
Taf. lix. '
" V. F., Ixxix. ; P., xi. xii. cclii. ;
C D., 360, 363; A. Z., 1847, 18*;
C F., 97, 98.
'2 M. G., ii. Ixxii. 1 b., Ixxxv. 1 a;
V. G., viii. ; M. G., ii. xxxix. 2 a; V. F.,
xci.-xcii. ; G. A., ix. ; A., 2 ; D'H., iii.
81; T., i. 11, 13; B. A. N., iii. p. 118;
V. 24 ; B. A. B., 1023, 588.
13 V. D. C, XXXV., PL xl.
'4 M. G., ii. Ixxxii. 2 b; M. G., ii.
XXXV. 1, 1 a; Bottiger, i. 3; V. F., cxv.
cxvi. ; B. A. B., 1629.
*' V. F., clxxii. '« P., cxcix.
^' Mon., viii. t. vi.
'» V. G., xxxvii.; B. A. B., 1023, 1025 ;
Q., 2045; Annali, iv. 258; Bull., 843,
Chap. VI.
AMAZONS, MINOTAUK.
265
and detached incidents^ are often depicted, nor is it possible to
distinguish these subjects from the appearance of the Amazons
in the post-Homeric part of the Trojan war. They bear the
names of Scythians and Cimmerians.^ On one vase Deino-
iiiachos contends with . Eumache.^ On another, Nestor takes
part.* Sometimes the Amazons are depicted in conjunction
with Sirens,^ or fighting with gryphons,^ in detached scenes,'
like the combats of the Gryphons and Arimaspi.® To tlie
Isles belong the legends of the Minotaur of Crete, the sacrifice
by Minos of the Cretan bull,^ Daidalos and Ikaros,^" Pandrosos
and the golden dog Lailaps,^^ Minos, Prokris and Pasiphae,^^
Kephalos and Prokris,^^ and Talos, and the Sicilian Dii Palici.^*
From the Hyperborean legends are found the subjects of Hera
consulting Prometheus ;^^ Prometheus bound to one of the
Pillars of Hercules, or to the Caucasus ;^® and Epimetheus
receiving Pandora.^'
To Pluygia are to be referred the all-renowned interview of
the philosophic Silenos and the gold-seeking Midas ;^^ the
sacrifice of the ram^® of Helle ; the scene with Tantalos ;^'^ and
Marsyas instructing Olympos.^^ To Africa belong the Niobids ;^^
Apollo and the Nymph Kyrene ; and the Hesperides.^^
The descent of Orpheus^* to Hades to rescue Eurydike is the
subject of vases of the later style. The scene of Hades shows
55; A. Z., 1843, s. 138; V. L., xviii.
XX. xcv. ; V. I., ii. xvii. ; B. A. N., i.
106; C. C, 116-17; C. D., 25, cf. 393-
1946; 1. S., V. T., xl. ; A. Z., 1847,
s. 97, 19*; T., ii. 1, 8, 10; B. A. B.,
1006-1008 ; St., xxxviii. ; V. F., cxxviii.-
ix. ; D'H., ii. 65; M., ii. xxx.-xxxi.;
G. A., 3, 4; C. F., 91, 94; T., v. (i.) 60,
61, 64, 65, 66-7-8.
* P., clxvii. ; M. G., ii. Ixix. 1 a, c,
2 a, 3, Ixxiv. 2 b ; D. L., xliii. ; C. D.,
349-363 ; B. A. B., 678, 690, 163 ; A. Z.,
1852, s. 233-248; M. I., xci. c. 4;
G. A. v., cii. ; A. Z., 1848, s. 220 ; St.,
xi. ; B. A. B., 870 ; M. A. U. M., xix.
xxxviii.
2 A. Z., 1847, 19*. 3 c. M., 41.
* C. C, p. 92, No. 145.
* Mus. Borb., x. Ixiii. : A. Z., 1853,
s. 402 ; M. G., ii. xxiv. 32 a ; Mon., ii.
« M., iv. xi.; I. S., V. T., ix. xlv.;
P.. cclvii. celviii.; D'H., ii. 56; D'H.,
iv. 110. 7 V. F., clxviii.
» P., cxviii. ; T., ii. 9, iii. 43.
» M. G., ii., Ixxi. 1 a.
>» B., 1843-80 ; V. F., ccclxxi. ; M. B.,
xiii. Iviii.
" C. D., 262. " 0. M., 46.
" D. L., xl.
»* C. C, p. 35, 72 ; A., p. 395 ; A.,
1830, 1832, ccliv., p 245.
'' v., XXXV. '^ G. A. v., Ixxxvi.
»^ D'H., iii. 77.
»« A. Z., 1844, xxiv. 385 ; M., iv. x. ;
A., 1844, 200. D. ; Silenus nurses a
young Satyr, B. A. B., 1609.
•9 V. F., clii. ; B. A. B., 1003.
20 V. F., ciii. 21 B A ^ 841.
22 A. Z., 1844, i. 228 ; B. A. N., i. tav.
iii.
23 D'H.,iii.l23; D.M.,i.iii.; G.A.V..
Ixxiv.
2* A. Z., 1843. xi. s. 177, 178 ; A. Z.,
1844, xiii. s. 225.
266 GREEK POTTERY. Part IT.
not only Hades and Persephone, but also the Danaids,^ Sisy-
phos, Theseus, and Peirithoos chained and watched,^ Herakles
dragging away Kerberos, and the Furies and Alkestis.^ On
other vases are represented Ixion,* Hermes, Eros, Pan, Rhada-
manthos, Triptolemos, Aiakos and Rhadamanthos, Acheron,
the Styx,^ and Triptolemos, Pelops and Myrtilos, Ailkos, and
Manous, Megaira, and the Heraklids.^ The punishment of Sisy-
phos is often repeated.'^ Elysium is also painted.^
Of rare occurrence and uncertain locality are the reputed
scenes of water-drawing, though they are perhaps Athenian;^
the supposed Enorches and Daisa,^° and the parody of the
Cranes and Pigmies,^^ probably Hyperborean.
The events of the Trojan war are so numerous that it is
necessary to divide them into three main sections. I. The
ante-Homerica, or events before the poems of Homer, and
especially the argument of the Iliad. II. The Homerica, or
events of the Iliad. III. The post-Homerica, or sequel of the
story of the capture of Ilium.
I. The Ante-Homerica. So deeply are the subjects of the
war of Troy blended with the whole of the representations on
vases, that it is difficult to decide what may not belong to the
epos. Thus the golden vine or kantharos cup, which Hephaistos
carries as a present to Zeus,^^ the seizure of Tithonos by Heos,
or Aurora,^^ of Ganymedes by Zeus,^* and the return of Hephaistos
to Olympus,^^ are all incidents which precede and are connected
with the war. Much light is, however, thrown upon the subject
up to the death of Achilles by the vase at Florence, and it is
necessary to bear this in mind, in order to trace the connection
of events, which, with this aid, may be st{j,ted as follows : — the
ejection of Hephaistos from heaven, and his reception by
Thetis ; the rape of Thetis by Peleus from amidst the Nereids,^^
» V. F., cxxxv. ; M. BL, ix. ; A. Z., \ » M. iv. xv. » M. G., ii. ix. 2 b.
1844, xiii. { " A., 1850, 214-223, tav. i.
2 R. R., xl. ; V. M., ii. ; B., 1835, 41; | h V. F., ccclvii. ; T., ii. 7.
A. Z., 1844, xiii. xiv.; B. A. B., 684;
A. Z, 1852,234.
3 A. Z., 1843, 191, 192 ; A. Z., 1843,
p. 176; M., ii. 1837, xlix. A., 1837,
209-252 ; A. Z., 1844, xiv.
* A. Z., 1844, xiii. ; R. R., xiv.
» B., 1851, pp. 25-38.
« B., 1851, p. 41 ; Mon., viii. t. ix.
*^ See the Fraii9ois Vase.
" M., ii. xxxviii. ; M., iii. xxiii; A.,
1847. p. 231; D'H.,iv.61; D.L.,xxxviii.-
xxxix. '* M., i., ix.
" See the Frangois Vase.
'« T.,i.l9,20; A. Z., 1852, 8.252,249;
T., V. (ii.) 72, 73; G. A. V., clxxvii.
clxxviii.-ix.-lxxx.-i.-ii. ; G. T. C, ix. ;
G. A. v., Ixxxvii. St., xxxvi. ; M. G., ii. Ixxxiv. 1 a ; A. Z.,
Jhap. VI.
TROJAN WAP.
267
it the instigation of Chiron,^ to wliom she is led by the siic-
jessful liero ; their marriage in the silver^ palace of Thetis ;
*eleiis making liis spear from the ash-tree of Mount Pel ion ;^
the gods proceeding to the marriage banquet ; the fatal strife
instigated by Eris or Hephaistos ; the banquet in the palace ;*
Zeus ordering Hermes to conduct the goddesses to the judgment
of Paris ; the device of the throne with secret springs, and the
return of Hephaistos to heaven ;^ Paris and Oinone ; Paris sur-
passing liis bretliren at his father's court ; his fatal award of the
apple to Aphrodite after the bathing of the three rival goddesses f
the young Achilles seethed in the caldron of immortality ;'
confided to Chiron f consigned to the court of Lykomedes, and
his discovery by Ulysses f the oath of Helen's suitors ;^" the
sailing of Paris to the court of Sparta, and seduction of Helen,^^
who is led to Priam ;^^ Telamon bidding adieu to Ajax and
Teuker ;^^ the sailing of the Greeks to Troy, and the incident of
Philoktetes bitten by the serpent ; the fatal deer-hunt of Aga-
memnon,^* and sacrifice of Iphigenia;^^ the landing of the
Greeks in Mysia, and wounding of Telephos, who pursues
Auge ;^^ Ajax and Achilles playing at dice in the Greek
camp ;" Achilles and Briseis ;^® and the contest of Hektor and
Diomedes over the body of Skythes.^^
1843, 8. 62; V. G., iv.; R. R., i. ii.
iii. ; Mou. I., xxxvii. xxxviii. ; V. F.,
ccclxxvii. ccclxxviii. ccclxxix. ccclxxx.
ccclxxxii. A female followed by a man
with a lance ; D. L., xl. probably is the
same subject ; B. A. B., 1005 ; A. Z.j
1853, 8. 400 ; D. L., xxxiv. ; P. P., Iviii. ;
C. C, 132, 133, 134, 135; R. A., 1868,
p. 348.
» Bull., 1844, p. 94 ; 1846, p. 69 ; C. F.,
100 ; V. F., Ixxvii -viii. ; V. F., cccxiii.
cecxiv. ; M. A. U. M., x. ; 0. D., 378-380;
L. D., iii. Ixx. ; A. Z., 1843, s. 62.
2 B., 1845, 116, 210-214; 1846, 38;
B. A. B., 842, 1639; V. L., i. xci.;
I. S. V. T., xlvi. xlvii. liv.
' L. D,, iii. Ixxiv.
* M. G., ii. xxiii. la; I. S. V., t. ix.;
M., V. Ixix. ; Mon., vi. vii. t. Ixx.
* M., liv.-lv. ; I. S. v., t. X. ; D. M.,
i. p. i. ; L. D., 22, xxiv.
' G. A. v., Ixxi.-lxxii.-lxxiii. Ixxvi.
ccxvi. ; M. G , ii. xxxiii. 1. a ; Gall.,
d'Art Dram., 8vo., Heidel. 1839 ; V. G.,
xlii.-xliii.; A., 1845, 132-215.
' G. A. v., Ixx.
8 M. I., Ixxxvii. i.; R. V., 407; M.
Etr. Pr., d. c. 1500; C. C, 136; M. I.,
Ixxxvii. ; R. A., 1868, p. 348.
» V. G., Ivii. ; Bull., 1846, 163 ; 0. D.,
380.
»" C. C, p. 77, No. 129; C. D., 377 ;
B. A. B., 955, 1029 ; A. Z., 1851, s. 387,
xxxvi.
»» Bull., 1847, 158; Italynsky, Vasi,
xii. ; B. A. N., iii. 80-92.
»2 V. G., Jiv. »3 R R^ ixxi
^* M, A. U. M., xxiii. ; M. I., Ixxxix.
» V. F., ccli. ; C. D., 381 ; R. B., xxvi.
'6 C. D., 384.
>^ V.F.,clxi.; Men., ii. xxii. ; M. G.,
! ii. Iii. la; G. A. V., cvi. cxiv. ccxix. ;
D. M., Ixvi. ccii. ; C. D., 320, 385, 398,
403 ; B. A. B., 1630-1631. Campanari,
Amf.Volc. Achille ed Ajace, 4to., Rome,
1834.
** G. A. v., clxxxvii.
'' G. A. v., cxcii.
268
GREEK POTTERY.
Part II.
Several of the leading incidents of the Homerica, the great
poem of the Iliad, are depicted on vases, but it was by no means
so much resorted to by artists as other sources, which, though
of inferior merit, were richer in pictorial subjects. Among the
incidents represented are the opening scene of the Iliad ;^
the quarrel of Agamemnon and Achilles; Briseis^ led away
by the heralds ; Ares and Aphrodite wounded by Diomed ;^ the
capture of Dolon,^ and of the horses of Ehesos ;^ the fight at
the ships f Poseidon advancing to assist the Greeks ; the
restitution of Chryseis ;' the contest with Pisander f the valour
of Menelaos f the G-ods at Olympus ;^° Zeus listening to Hera
and Aphrodite ;^^ and departure of Paris to the combat ;^^ and
contest with Menelaos ;^^ Achilles singing to the Myrmidons ;^*
the restoration of Briseis ;^^ Glaukos and Diomed exchanging
their armour /^ the death of Sarpedon,^^ who is borne by Death
and Sleep to Lykia ; the bed of Helen,^^ and her toilet ;^^ Paris
and Helen ;^° Euphorbos killed by Menelaos ; the death of
Patroklos, and contest around his body ; the grief of Achilles at
the news of his death ;^^ the Nereids and Thetis bringing him
the arms forged by Hephaistos f^ the funeral games in honour of
Patroklos,^^ and visit of Briseis to his tomb; the arming
of Achilles, and his departure for the field f^ the arming of
Hektor in his quadriga, and departure,^^ and his adieu to
Hekuba,^^ Priam, and Andromache f the rescue of Aineias^^ by
* Arch., xxxii., PI. ; Mon., vi. t. xix.
2 G. T. C. E. F.; B. M., 831.
3 G. A. v., cxciii. ; B. A. N., 1845, iii.
xlviii. tav. v.
* M., ii. X.; A., 1834, pp. 295-97;
B. A. N., i. X. ; Mon., t. vi. xxxv.
* A. Z., 1852, Taf. xliv. s. 481 ; B. M.
524, 533.
^ G. A. v., cxcviii.
^ C. D., 383. 8 B. M., 832.
8 B. M., 832. i» M. L., xxiv.
» St., xviii. ; A. Z., 1848, 218.
»2 M. G., ii. vi. 1 b.
'3 Bull., 1849, 61.
" M. B., ix. xii. ; R. R., xiii.
'5 G. T. C. E. F.
»« M. G., ii. Ixviii. 2 a.
^^ G. A. v., ccxxi. ccxxii. ; Mon., vi.
t. xxxi.
18 R. R., xlix. A. 19 V. G., xli.
2« R. R., xlix.- A.
21 M. G., ii. xi. : R. R., Ixxx. ; Mon.,
vi. t. XX. xxi.
" D'H., i. 112, iii. 60 ; Vas. Brit. Mus.
" St., xii. /
2* A., 1849, p. 256, 1. ; B. A. B., 620 ;
M. A. U. M., XX. xxi. ; G. A. V., xxxviii.
cl. ; M. G., ii. xxxvi. 2 a, Iv. 1 a, lix. 1,
Ixiii. 2 a ; M., iii. xx. ; R. R., vi. 1, xvi. ;
V. F., Ii. ccxciii. ; G. A., x. ; P., cc.
Ixvi.; D'H., iii. 118; B., 1846, 61;
M. P., xii. ; G. E. v., xiii.
25 M. I., Ixxxii. ; V. F., cccv. ; A. Z.,
1852, 236 ; M., v. t. xx.
2« A. Z., 1852, 250, 149 ; M., ii. xxxvi.
iii. 1 ; M. G., ii. lix. 3, Ix. 2 a, cf. Ixviii.
2 a, Ixxxi. 2 a, Iv. la; D. L., xii.;
G. A. v., clxxxviii.-clxxxix.
2^ M. G., ii. xii. xiii. xxiv. 2 a, Ixxiv.
la; G. A. V., cci.-ccii. ; B., 1842, 170 ;
A. Z., 1852, 247; C. F., 106-108.
28 G. A. v., cxliv. ; Mon. iii. 1.
Chap. VI.
HOMERICA AND POST-HOMERICA.
269
Aphrodite from the combat with Achilles ; the fight of Hektor
and Achilles, respectively aided by Athene and Apollo;^ the
death of Hektor;^ Achilles dragging the corpse of Hektor,
attached to his chariot, round the sepulchre of Patroklos, whose
shade hovers over it f Priam led by Hermes into the presence
of Achilles, and entreating* for the corpse of Hektor, which is
brought back ;^ the sepulchre of that hero ;^ Helen and the
Trojan women.'
The Post-Homerica. — Very numerous representations of
events, connected with this part of the Trojan war, are found
on vases of all periods, such as the adventures of Troilos and
Polyxena. Troilos proceeds beyond the city walls to exercise
his horses, and to obtain water from the fountain ; the ambush
of Achilles ; the pursuit of the fugitive Troilos, and his immo-
lation on the altar of the Thymbrean Apollo ; ^ the monomachia
of Achilles and Hektor over Troilos -^ the rescue of his body
by Hektor, Aineias, and Deiphobos,^" and his sepulchral rites ; ^^
the arrival of the Amazons at Troy ; ^^ their arming and con-
tests with the Greeks ; ^^ their combating against Nestor and
Antilochos ; ^* the monomachia of Achilles and Penthesilea,^^
and her death,^^ and Ajax and the Amazons." These are fol-
lowed by many incidents out of the Aithiopis, as, for example,
the arrival of Memnon and his Aithiopians ; ^^ the combat of
Achilles and Memnon over the fallen Antilochos, who had
replaced Patroklos as the friend of Achilles ;^^ their mothers,
* M. G., ii. xii. xli. xxxv. 2 a, Ixxiv.
la; G. A. V., eci.-ccii. ; B., 1842, 170.
2 D'H., iii. 62 ; G A. V., cci.-ccii.
cciv.
' M. G., ii. xvi. la; G. A. V., cxviii.
cxcviii. cxcix. ; I., i.-v.-vi. ; M., v. x.-xi ;
St., xii. ; R. R., xvii. xviii.
* B. A. N., i. p. 107 ; A. Z., 1844, s.
231 ; A. Z., 1852, 245, 251 ; G. A. V.,
cxciii.
* M. I., xciv. ; Mon., viii. t. xxvii.
« M., V. xi. ^ B. A. B., 1019.
8 A., 1850, 66-108, E. F., G. A. V.,
xii. clxxxv. ccxxiii. ccxxiv. ccxxv.
ccxxvi. ; B. A. B., 682, 1642 ; M. G., ii.
Ixiv. 2 a.
^ G, A. v., ccxxiii.
•0 V. G., xviii. ; cf. G. A. V., ccix ;
Mon., iii. Ix. " V. G., xviii.
•2 G. A. v., cxcix. ; M. G., ii. vi. 1 b.
" G. A. v., ccxxii. ; M. G., ii. Ivi. 1 a.
" C. C, 145.
" G. A. v., ccv.-ccvi.-vii. ; I., i. xxix. ;
T., ii. 57 ; G. A., v. ; M., ii.-xi.-xiii. ;
A. Z., 1852, 8. 236.
»« T., iv. (ii.) 20 ; De Witte. Etudes,
p. 31.
»^ C. D., 392.
»« M. G., ii. Ivi. la; G. A. V., xliil.
ccvii. ; C. D., 391 ; A. Z., 1846, 1, cf.
xxix. ; B. A. B., 954.
" G. A. v., c. cxvii. cxviii. cxxx. c.
Ixviii. cciv. ccv. ccxii. ccxx. ccxxx. ;
D. L., X. xi.-xii. ; M. G., ii. xxxv.
xxxviii. xlv. 1 a, xlix. 1 a, xci. ; V. G.,
xlix. ; G. E. v., xiii. ; Ronlez., Ac. Br.,
viii. H. ; V. D. C, xxv. ; M., ii. xxxviii. ;
G. T. C. D. ; V. F., civ. cviii. cxiv. ;
St., X.; A. Z., 1851, s. 346, 360; Taf.
xxxi. ; A. Z., 1853, s. 401 ; C. F., 112.
270
GREEK POTTERY.
Part II.
Thetis and Heos, sometimes mix in the strife,^ assisting them,
or interceding with Zeus f the jpsychosiasia, or weighing of the
souls of the heroes by Zeus upon Olympus;^ and Memnon
borne off by his mother to Susa.*
These incidents are followed by the great fight outside the
walls of Troy, and the victory of Lykaon ; Achilles shot in the
heel by Paris ;^ the fight of Ajax and the Greeks over the
corpse of Achilles,^ which is rescued and brought back to the
Greek camp on the shoulders of Ajax,^ preceded by the sorrow-
ing Thetis,^ who deplores his death ; and the lament of the
Nereids;^ the departure of his soul to Leuke, or the Isle of
the Blest ; the contention of Ajax and Ulysses for his arms, the
voting of the Greeks and the Atreidse, the attempt of Ajax to
kill Ulysses, to whom the arms are delivered ; ^° the suicide of
Ajax ; ^^ the theft of the Palladium, and quarrel about the same ; ^^
Philoktetes bitten by the serpents ; the making of the wooden
horse,^^ and Sinon led to Troy.^*
The terrible scene of the last night of Troy is depicted in all
its horrors.^^ Kassandra is ravished by Ajax Oileus at the
altar of the Pallas Athene of Ilium ;^^ the young Polites is seen
killed at the feet of Priam, who is transfixed by Neoptolemos "
on the altar of Zeus Herkeios, and the youthful Astyanax is
thrown from the walls, while the Trojan women make all the
* D. L , ix. Mon. vi. t. v. a.
2 I. S. V. T., X. ; V. R, ccclx. ;
G. E. v., xxviii. xxix,
^ G. A. v., clvi. clxxxix. ; M. G., ii.
xix. 1, 1 a; B., 1831, 5; P., cclxii. ;
Mon., ii. x.
* M. G., ii. Ix. : C. C, p. 33, 70, V. F.,
clviii. ; M. A. TJ. M., v. ; Mon., vi. t. v. a.
" G. A. v., cl.; C. C, p. 94, 147;
D. L., xvi.; Bull., 1834, p. 35; M., i.
Ii. ; G. T. C, vi.-vii. ; C. C, 300.
" G. A. v., xlix. ccxxvii. ; M. G., ii.
xc. ; C. C, pp. 94, 148.
7 C F., 110; M. G., ii. 2, Ixvii. 2;
B., 1845, 19 ; E. R., Ixviii. ; Mon., ii. xi.;
C. D., 404, 405 ; C. C, 148 ; B. A. B.,
1641 ; A. Z., 1852, s. 236, 237, 238 ;
T., iv. 53.
^ G. A. v., xcviii. ccxv. ; M, G., ii.
ii. 2 a; G. A. V., ccxii.
^ G. A. v., ccx. ccxxv. ; M. G., ii.
xlix. 2 a ; Mon., vi. xlvi.
*" Arch., xxix. ; Mon., viii. xli.
'' M., ii. viii. vi. xxxiii.
'2 M. G., ii. xxxvi. ; B., 1838, p. 85 ;
M., ii. xxxvi. ; V. F., cccxxxiii. ; A. Z.,
1848, 8. 255; Taf. xvii.; B. A. B.,908;
M. A. U. M., j^xviii. ; A. Z., 1852, s. 400 ;
A ., 1830, p. 95 ; Mon., vi. t. vii. xxii.
^3 G. A.V.,ccxix.-ccxxxx.; A.Z., 1849,
s. 76. " T., iii. 29.
" Bull., 1851, 35; G. A. V., ccxii.
ccxiv. ; Bull, 1836, 71 G. ; R. R., xiii.-
xiv. ; Mon., I. xxiv. ; B. A. B., 1642;
A., 1831, p. 381 A.
" G. A. v., ccxxviii. ; V. L., ii. xxiv. ;
Bull., 1838, p. 18 ; V. L., ii. iv. ; R. R.,
Ix. Ixi. ; V. F., cccxlix. 1. ; G. E. V.,
xii. xxii. ; P., ccxciv. ccxcv. ; D'H.,
iii. 57 ; C. D., 407, 408, 409, 410 ;
A. Z., 1848, xiii. xiv. xv. s. 209;
B. A. B., 1649; T., i. 20.
»^ C. C, p. 95, 149; V. F., cccxliv.
G. E. v., xxi.
Chap. VI. TROJAN WAR. 271
resistance they can to the aggressors. Aineias flies, bearing the
aged Anchises on his back, and leading Kreusa and lulos.^
Menelaos, at the instance of Aphrodite,^ lets fall his sword as
he pursues Helen to the statue of Athene,^ or Apollo.* Akamas ^
and Demophon lead back their grandmother Aithra to Athens ;
the shade of Achilles^ demands the sacrifice of Polyxene,' which
is performed at his tomb.^ The return of the fleet ; ^ Achilles at
Leuke/*^ the flight of Aineias, the return of Menelaos and Helen
to Sparta,^^ Neoptolemos and Hekuba,^^ close the history of the
war, and it will be seen that all its leading events are represented.
Many scenes may belong either to the Ante or Post-Homericay
especially the former, such as Achilles ^^ and Briseis/* from
whom he receives a draught of wine;^^ Achilles conversing
with Phoinix ; ^^ the hero rushing on in his quadriga ; " one of
his single combats ;^^ scenes in which appear Thetis, Menelaos,
Achilles, Patroklos, Ulysses, and Menestheus, or Ulysses, Aga-
memnon, and Diomedes ; ^^ the march of the Greek or Trojan
army ; ^° Skeparnos receiving a libation from Victory before
Aineas ; ^^ the chariot of Anchippos, drawn by the horses Simos,
Pyrokome, Kallikome, and Kalliphthera f^ the combat of Hektor
and Diomedes over a Scythian ; ^^ the heroes Protomachos, Eu-
kleides, and Kalliphanes ;^* Priam and Polyxena, or Kassandra ; ^^
Glaukos, Periphas, Demodokos, and the females Klyto and
Hippolyte ;^^ Ajax contending with Hektor and Aineas ;^^ Hektor,
* G. A. v., ccxvi. ccxviii. ccxxvi. ; i " M. A. U. M., xxxii.
M. G., ii. Ixxxv. 2 a ; R. R., Ixviii. ; I ^^ a. Z., 1852, s. 251.
G. E. v., XXV. ; C. D., 412, 413, 414 ; j »» y l^ j^ jj
A. Z., 1852, s. 247 ; M. I., Ixxxviii. | " G. A. V., clxxxvii.
2 G. A. v., clxix. ; M. B., ii. v. 2 a; | »' G. A. V., clxxxiv. ; M. G., ii. Iviii. ;
V. L., II. xxxiii. ; D'H., iv. 94 ; D. I*, i V. D. C, xii.
XXXV. ; A. Z., 1852, s. 238, 247. | '« G. A. V., xliv. ; Mon., i. xxxv. ;
^ D'H., iv. 74 ; C. C, 150 ; B. A. B., \ D'H., ii. 62.
1642. I '' M. G., ii. lii. 1 ; G. A. V., ci. ;
* D. L., xlii. ; A., 1849, D. \ M. G., ii. xxxiiL-vii. ; I., 1. iv. ; B. A. B.,
* G. A. v., cxxiii. cxxix. clxxi. clxxii. ; 638.
M. G., ii. xlix. 2 a ; T., 1 s. 29, iv. 1 ; : '« G. A. V., clxxvi. cxcviii.
R. R., Ivii. ; Mon., ii. xxvi. ; C. D., 412- »^ M. G., ii. Ixxxvii. 1 a, b., x. 1 a.
413; A. Z., 1853, s. 346, Taf. xxx. ; "o G. A. V., clxxxii.
A. Z., 1853, s. 401. i " M. G., ii. Ixiii. 2 a.
•^ G. A. v., cxcviii. ; G. E. V., xvii. ; ■ ^^ G. A. V , cvii.-; Mon., iii. xlv.
A. Z., 1849, s. 144. " q j^ y^ cxiii.
' V. G., xxii. ; C. D., 415.
8 V. D. C, liii.
A. Z., 1847, s. 97; 1851, s. 287,' '^^ CD., 394; G. A. V., cxc. cxci.
" Bull., 1838, p. 37 ; Men., ii. xliv.
" D. L., xlii.
xxviii. '• B. A. B., 1(344. "7 M. G., ii. 1, 2 a.
272
GREEK POTTERY.
Part U.
Tydeus, and Aidas ; ^ and a Phrygian warrior leading a horse
to an altar ; ^ and other scenes from the Troica.^
Probably to various incidents of the war of Troy, or of the
expedition against Thebes, are to be referred subjects once
fnmiliar, but now no longer to be recognised, representing con-
tests of warriors on foot;* warriors accompanied by archers^
and dogs ; ® quadrigae, or chariots, either alone or accompanied
by warriors on foot,^ entering into the strife;^ warriors and
horsemen ; ^ warriors arming ^° in the presence of old men ;
armed warriors ^^ marchingj^^ intermingled with women, ^^ or
receiving wine from females,^* or marching with children,^^ or
departing from old men,^*^ or crowned by Victory.^^ There is
an incident, as yet unexplained, of a warrior and slinger.^^
Fewer in number are the subjects derived from the Nostoi,
nearly all of which are found upon vases of the later styles.
The return and death of Agamemnon, at the hands of his
adulterous wife, Klytaimnestra, belongs rather to the tragic
drama than to the work of Agias. The subjects of the attempted
» A. Z., 1852, s. 235 ; Mon., ii.
xxxviii.
^5 A. Z., 1853, 8. 402.
3 V. L., ii. xl. ; V. D. C, xlviii. ;
G. A. v., clxvii. ; M. G., ii. ix. 2 a ;
V. D. C, PL Ii. xcviii. ; V. L., ii. viii. ;
I., i. xli. c. cxiii. ; V. F., cccvi. ; M. G.,
ii. xxiii. 2 a; M. G., ii. Ixxxii. 2 a;
Mus. Blac. v.; M. G., ii. xxvii. 2 a;
G. A. v., xxxi. ; P. clxxviii. ; CO.,
140; V. G., v.; M. G., ii. Ixxiv. 2 a;
V. L., 1. Jxxxviii. Ixxxix. ; I. S., v. ; T.,
xliv. pi. 1 ; 0. D., 395, 396, 397.
* G. A. v., xlviii, Ixiii. Ixxii. ccxix.
cxlix. ; V. F., cclxxx. cclxxxiv.
' G. A. v., Ixxi. cvi. ; M. G., ii. vi.
1 b ; V. L., ii. iv. ; V. L., ii. vi. x. xvi. ;
G. E. v., XXX.
« M. G., ii. xxxii. 2 b.
^ M. G., ii. xxxiv. 1 a ; St., x. xxxv. ;
G. A. v., xvi. ccxi. ; G. A. V., cxxxvii. ;
M. G., ii. xlvii. ; G. E. V., i. xxx. ;
G. A. v., cvi.; M. G., ii. Ixiv. 4 a;
G. A. v., Ixii. ; G. A. V., cxei. ; M. G.,
ii. xxxii. lb; V. F., ccxiii.-xiv. ccxciv. ;
P., clxxx. ; C. D., 677, 678, 684, 686,
687, 688, 689, 690, 694 ; M. G., ii. xxxi.
lb; D. L., xiv.; D'H. ii. 106; V. L.,
i. iii.
* G. A. v., xci. ; M., iii. xxiv.
9 M. G., ii. Ixviii. 1 a, 1 b ; G. A. V.,
ccxix. ; V. D. 0., xlvii. ; G. A. V., cxx. ;
V. F., cclxxviii. ; Ing. Mon. Etr. s. vi.
T. H. ; B. A. B , 702.
»" M. G., ii. Ixxxvi. 2 a, 2 b ; St.
Petersb. Acad., 1847; I., T. V. M., 6;
M. G., ii. xiii. 3 a ; M. G., ii. Ixxxi.
2 a, b ; G. A. V., xxvi. ; V. L,, i. xlvi.
xxi. xxii. ; P., cxi. ; P., cxii. ; P., i.
Ixxvii. ; M. P., viii. ; D'H., iii. 77 ;
V. F., cxiv. pxvii. ccxcv. ; V. F,, cxc.
" M. G., ii. Ixix. 3 b; V. L., ii. xli. ;
Y. F., cccix. cccxii.; G. A. V., cxlix.;
V. F., ex. cxii.
12 D'H., iii.
»' D'H., ii. 61, 71, iii. 121 ; Mus.
Borb. vi. xxxix, ; V. F., cixxxiv.
" V. G., xxxviii. 3 ; M. G., ii. xviii.
la; Iv. 1 a, clxxviii. ccxxviii. ; M. G.,
i. Ivi. 3 a; M. G., ii. xvi. i. 1 b; V. F.,
ccxxvii. ccx. ; V. F., cccx. ; T., iii. 42 ;
P., i. 1.
1* M. G., ii. xlvii. i. 2 a..
i« V. D. C, xxxvi. ; T., i. 5, 14, iii. 42 ;
V. L., i. xciv. ; V. F., cclxx. xvii.
ccxxviii.
»^ V. G., xlvii.
i« V. F., clxix.
InAP. VI.
THE ODYSSEY.
273
Uirder of Diomcd by his wife, and tlio arrival of that horo at
ipyoia,^ are perhaps represented, as well as the visit of Mene-
)s to Proteus,^ Neoptolenios and Ilerniione at tlie sepulclire
Phoinix,^ and tlie interview of Menehios with Idothoa and
poteus."*
The Odyssey presented many subjects for the pencil of the
frtist. The destruction of the eye of Polyphemos,^ the escape
of the hero under the ram,^ the Nekyomanteia, and appearance
of the shades of Elpenor and TeiresiasJ the encounter witli
iSkylla^ and Chary bdis, the Sirens^ and their fate,^^ Ulysses and
Kirke ; ^^ Ulysses, ^Mentor, and Kirke ; ^^ Charon ferrying Ulysses
over the Styx/^ Nausikaa playing at ball/* the hero discovered
by Nausikaa/^ Ulysses leaving Alkinoos, Penelope spinning the
web/® the hero recognised by Eumaios and his dog/^ the en-
counter of Iras/^ Telemachos and Penelope/^ the suitors/"
tlie visit of Telemachos to Nestor/^ Telemachos with Pisis-
tratos received by Helen /^ Ulysses and Penelope/^ and the
suitors shooting at a ring.^*
From the Telegonia have been depicted the subjects of Kirke
giving her commands to her son, Telegonos;^^ his arrival at
Ithaka, the second marriage of Ulysses/® and his death, by the
fall of the pristis or thornback/^ Intimately connected with
the Nostoi are the subjects which are first developed by the
» B. A. N., 1845, xlviii. tav. v. p. 97.
2 Mus. Bor., xii. Iviii.
3 V. G., xviii.
* V. D. C, xxiii.
•'• Mon., i. vii. ; V. F., cccxxxiv, ;
C. D., 41G ; A. Z., 185^, ss. 120, 122.
« Bull., 18B4, p. 160; R. R., Ixv. i. ;
Mon., i. vii. ; V. F., cccxxxv. ; C. D.,
417 ; 0. C, 151 ; B. A. B., 1645 ; M. I.,
xcix.
' R. R., Ixiv. ; Mod., iv. xis. ; B. A. N.,
i. p. 100 ; tav. i.
» D'H., iii. 116; M. I, ciii.
» D'H., ii. 75 ; T., iii. 59 ; M. G., ii.
ix. 1 b; Mon., i. viii. ; C. C, 152;
C. M., 57 ; T., i. 26.
'0 M. P., xxiii.; C. D., 418.
" G. A. v., cc-xxx. holding the molys ;
Bull., 1838, p. 28; M, v. xli. ; for the
supposed Kirke, M. P., viii.
'2 D'H., iii. 43.
»' G. A. v., ccxl. '' V. F., ccciv.
^'^ G. A. v., ccxviii.; Bull., 1838, 12;
Mon., i. vi. ; Mus. Blac., xii. ; A. Z.,
1852, s. 247.
i« De Witte, Ae. Bmx., x. No. i. ;
T., i. X. ; V. G., Ix. ; Bull., 1843, 261 ;
P., i. Ivi.; C. D., 419; C. C, 153; A. Z.,
1852,8.248; A., 1841, p. 261.
»^ Bull., 1851, p. 55, 1838, p. 28;
R. R., Ixxvi. ; Jalm, Bqx. Sacs. Ak.
1854, p. 51 ; Taf. ii. ; M., v. xli.
»8 M. G., ii. Ixxv. 1 b; I. S. V. T.,
Ixvii. ; V. D. C, xxiii. ; B. A. B., 884.
>« M. G., ii. Ixxv. 1 a ; D'H., iv. 74,
88. 20 Bull., 1851, 57.
21 C. D., 420. 22 (^ A., i.
" M. G., ii. Ixxv. 1 b.
" Mus. Boib., vii. xli. ; A. Z., 1853,
ss. 120, 122.
" Bull., 1842, 82.
'« T., v. (ii.) 8.5.
2' Bull., 1833, p. 116; D'H., ii. 27;
V. F., clxvii.
T
274
GREEK POTTERY.
Part II.
tragic writers, and which connect the mythic legends of Greece
with the historic cycle. Of these the Oresteid is of most
common recurrence, but only on vases of the later style. Its
funeral import, aud its allusion to the Greek doctrine of
Nemesis and destiny, rendered it peculiarly appropriate for the
decoration of vases destined to sepulchral purposes. The
magnificent dramas of the Athenian stage had, moreover, earned
for it great popularity among the Greeks. All the principal
incidents are found represented : as the death of Agamemnon ;
Elektra,^ indignant and sad, attended by Chrysothemis and her
maids, bearing offerings to her father's tomb ; ^ Orestes and
Pylades^ meeting her there, and concerting the destruction
of the adulteress,* who is seen with her paramour ; ^ Orestes
receiving his father's sword from Elektra, and bringing the
brazen hydria, in which he feigns that his own ashes are
deposited, to Klytaimnestra ; ® the two friends, aided by Talthy-
bios and Chrysothemis, dispatching Aigisthos and Klytaim-
nestra ; ' the Furies pursuing Orestes,^ who flies to Delphi, and
is purified by Apollo,^ or by the Pythia,^" with the blood of a
pig ;^^ the expiation at Troizene;^^ the expedition to the Tauric
Chersonese ;^^ Py lades and Orestes taken and bound ,^* and led
to the altar ; ^^ Orestes laid on the altar ; ^^ the Furies rising
from the earth ; " the delivery of the letter to Iphigenia ; ^^
> D. L., xviii. ; A , 1842, pi. L. p. Ill,
114 ; T., i. 7 ; Raoul Roch. Peiut. Ant.
I., s. vi. p. 104, 8; V. G., xxxix. sur-
rounded by vases ; C. F., 4 ; V. F.,
cxxxvii.-xxxix. cxl. ; D'H., iv. 86 ; Mu?.
Borb., iv. xx. ; B. A. B., 95U ; A. Z.,
1844, s. 377 ; T., v. 79.
2 Y, D. C., PL xlv. ; V. G., xiv. xvi. ;
R, R., xxxiv. ; V. F.,cli.-iii. civ. clvi.-viii.
cccxi. ; M. P., XXV. ; P., ccxci. ccxciii. ;
Mus. Borb., ix., liii. ; B. A. N., i. p. 92 ;
A. Z., 1848, ss. 222, 223; St., xxxvii.
xliv. xlvi.
3 V. G., Ivi. ; V. D. C, xxx. ; R. R.,
xxix. xxx. xxxi. a.
* V. F., csxxix. cxli. cxlii. ; D'H., ii.
100 ; T., V. (i.) 87 ; T., ii. 30.
* V. G., XV. ; Y. F., cxxxviii.
« Y. F., cxliii. ; Y. L., i. viii. ; Mon.,
vi.-vii. Ixvii.
■> G. E. Y., xxiv. ; A. Z., 1847, 24*;
B. A. B., 1007 ; B. A. B., 1616 ; T., iiii.
45, iv. 50 ; Mon. viii. xv. p.
* Y. D. C, xxix. ; R. R., xxxvi.
Ixxvi. ; T., iii. 32.
® R. R., XXXV. xxxvii. xxxviii. ; B. A. B.,
1003 ; D'H ii. 36 ; B. A. N., i. tav. vii. ;
T., ii. 16.
*** Y. F., ccelxvii. cccl xxxvi.
>' Kunstb., 1841, n. 84; Bull., 1846,
91 ; Mon., iv. xlviii.
^2 Y. L., i. xiv.
" Y. G., Uv. ; V. L., i. No. vi. p. 15 ;
Bull., 1838, p. 135; Doppel-Palladium
8vo, Moskau, 1850 ; L. D., iii. Ixxi.
" R. R., xlii.
" A. Z., 1848, s. 22 ; Y. F., Ix. ; D'H.,
i. 41.
^^ Mon., iv. Ix. ; Kalpis, with the word
P^ypios ; A. Z., 1847, s. 20* ; A. Z., 1849,
Taf. xii. s. 121.
'^ A. Z., 1848, s. 222.
^« A. Z., 1849, Taf. xii. s. 121.
HISTOTllCAT. SUBJECTS.
275
le recognition of Orestes; the flight to Greece;^ the death
)f Neoptolomos, at the hands of Orestes,^ Tlianatos and
thePythia; the marriage of Pylades and Elektra;^ and the
jpulchres of Pyrrhos* and of Agamemnon,'^ complete the
lyth.
Few subjects are taken from the semi-mythic period, except
those immediately connected with the Nostoi, or adventures of
the epic cycle, as they were never very popular among the
rreeks. The adventures of Orpheus, indeed, part of the great
legend of the Argonautics, occur as already stated, on a few vases
of a late period ; as well as the birth of Erichthonios, the story
of Thamyris, the mythic poets Mousaios,^ Thallinos, Molpos,
Xanthos,^ and Linos ;^ and Sikinnos, the inventor of the lasci-
vious dance.^ In the representation of potters. Tales or Hyper-
bios may be intended ; and in the workshoi) of a sculptor may,
perhaps, be beheld the semi-mythic labours of Daidalos ; '^^ but,
on the whole, few, very few, subjects of the proto-historic epoch
appear. It was an age not over-popular among the Greeks,
for its recollections were intermingled with those of the dynastic
tyrannoi — the last and best of whom, Kodros, once only, and in
a subordinate character, is introduced on a vase.^^ '
Still more limited is the number of vases on which subjects
unquestionably historical have been discovered, although much
ingenuity has been exerted to assign many subjects, capable of
other interpretation, to events within the historic period. Yet
a few subjects, though not, perhaps, those which might have
been expected, have been chosen by some of the masters of
the pencil to decorate a few choicer specimens of the art. The
most remaikable of these have been already mentioned : Homer
amongst the potters of Samos, the meeting of Alkaios and
Sappho,^^ about B.C. 600 ; the burning of Kroisos ^^ on the funeral
pyre, B.C. 545 ; the silphium ^* weighing: of Arkesilaos, one of
' MoTi., ii. xliii.
2 R. K., xli. ; M. P., vii.
3 C. M., 58 ; V. G., xxxiv.
* V. G., xxxiv. » V. G., xiv.
« V. L., i. xi.; B., 1845, 219; M., v.
xxxvii. ; V. F., ccccxx.
' A. Z., 1849, 54.
« B. A. B., 855 ; De Wittf, Etudes,
p. 90.
» B., 1836, 122.
" G. T. C, xii.-xiii.
" Braun,Die Codrus scliale, fo. Gotl.a,
1843 ; B., 1840, 127.
^"^ Stcinbuchel, Dissevfazione, Padov.,
1824; M. A. U. M., xxxiii. ; Homer,
Alder. Griecli. Alterth. Zeit. 1824, 24 ;
A. Z., 1852, 23^.
'3 M., i. liv. ; V. R, cccxix. ; C. D.,
421.
" M., i. xlvii.; V. F., eel.; C. D.,
422 ; M. I., xevii.
T V
o
276 GREEK POTTERY. Part II.
the Battiad line of monarchs at Kyrene, B.C. 580-460 ; the
revels of Anakreon/ B.C. 539 ; and the poet Kydias.^ Dareios
hunting, the weighing of his tribute, a subject derived from
the Persai of Aischylos.^
All these have inscriptions which attest the correctness of
the interpretation of the subject ; but more uncertain, although
accompanied with names, are the athlete Hipposthenes ;* the
sages Solon and Chilo;^ the poets Diphilos, Demonikos and
Philippos ; ® the entertainment of Nikomachos,^ the great king,^
probably the younger Kyros, or Artaxerxes; and Xenophon.^
To the realms of conjecture must be banished such interpreta-
tions as the supposed Sardanapalos ; ^^ the supposed founder of
the city of Messene, or of Boia;^^ Polykrates of Samos,^^ the
rhetor Gorgias,^^ and the philosopher Aristippos.^^ Other vases
have the names of unknown persons, as Lykophron, Ephar-
mostes, Alkimachos, and xiretaios,^^ Athenios,^^ Timandros son
of Moschion.^^ To the last period of the fictile art, and to the
traditions of another race, belongs the legend of Komulus and
Remus,^^ which has been once found on a vase.
Many of the subjects just enumerated may have been really
those intended by the vase painters, but the interpretation of
them does not rest on a basis so assured as that of either of the
two preceding classes. Before the Greeks tolerated historical
portraiture, the fictile art had decayed, if not expired ; and the
love of self and of gold simultaneously supplanted the admira-
tion of heroism, and the simpler but more poetical subjects of
the artist.
Several of the Religious Rites are represented upon vases;
such as the sacrifices of animals,^^ and the roasting of them
» B., 1841, 2 ; 0. D., 291, 428 ; A. Z., | '^ Rev. Arcli., 1852, p. 61.
1845, 126 ; O. Jahn, Grlech. Dicht. auf l \' C. H., 65.
Vasenbild, 8vo, Leipz. 1861. I '* A., 1850, p. 348 ; M., iv. xlvi. 2
2 A. Z., 1857, PI. ciii. ; R. A., 1868,
p. 348.
3 Miiller, Gott. .gelehrt. Anz., 1840,
No. 60, p. 597 ; C. M., 81 ; Rev. Arch.,
1863.
4 B. M., 429. » B. M., 852*
« A. Z., 1819, 54; Jahn, 1 c.
' A. Z., 1851, 367.
8 M. G., ii. iv. 2 a ; M., iv. xliii.
9 A. Z., 1846, 196
^^ Mon., vi. t. XX.
i« R. A., 1868, p. 348.
1^ Bockh, c. i. iii. 624.
^^ M. Bl., xxix., supposing this vase
to be true for the li?jt of historical sub-
jects, cf. Longperier, Rev. Arch., 1852.
19 P. T., iv. 451 ; C. D., 628, 642 ;
B. A. B., 112; M. I, xcvi. 4; M. G.,
ii. Ixxi. 1 b, Ixxviii. 2 b ; B., 1846,
92 ; A. Z., 1852, 248 ; V. L., Ixxxi. ;
10 C. C, 154. jD'H., ii. 37; C. C, 62; L. D., iii.
" T., iv. (ii.) 60; V. F., cxx. I Ixxxvii
jhap. vr.
RELIGIOUS SUBJECTS.— CIVIL LIFE.
277
rith spits ;^ conducting bulls to the altar,^ the making of
libations,^ the drawing of water for lustrations,* purifications,^
md sacred baths or ablutions, especially the water-drawing from
the Athenian fountain of Kallirrhoe already mentioned ; ^ and
the lustration of individuals from crimes. The most remarkable
tnd evident incidents represented are the offerings to Aphro-
lite,' sacrifices to Hermes,^ to Dionysos Stylos, Phallen, or
IPerikiouios,^ the sacrifice of a kid,^" mixed up with representa-
tions of Oskophoria or the suspension of masks ; ^^ and also of
the sacred ship of Dionysos, the Theoxenia.^^ In most, if not
^in all, instances the subjects are mixed up with mythical ones,
from which they are scarcely separable, and the numerous
mythical subjects throw considerable light incidentally on the
hieratic ceremonies of the Greeks.
It is not possible to give in a short compass all the illustra-
tions that the vases afford, either directly or indirectly, from
their treatment of subjects, of the Civil Life of the Greeks.
To this head, however, may be referred several scenes the
mythical explanations of whicli have not yet been discovered,
representing ploughing,^^ the riding in a car drawn by mules,^*
scenes of water-drawing,^^ men gathering olives ^^ or other fruits,-'^
the vintage,^^ wine-press, and the carriage of panniers.^^ Besides
the hunt of the Kalydonian boar, are many others,^" such as of
the deer, and even hare.^^ The favourite Athenian amusement
of cock-fighting ^^ also occurs. Pastoral figures of men playing
on pipes, with harps on their backs, and accompanied by their
faithful dogs, are seen,^^ as well as scenes of leisure,^'^ of sleep,^^
^ C. D., 643, 615 ; L. D., ii. cvi.
2 See Nike. ' T., iii. 55, 58.
* C. D., 043, G45. ' T., ii. 30, 36.
« V. F., xJiii. xliv. cxxu. ; C. F., 138 ;
L. D., iv. xviii. 20.
7 13. A. B., 585.
8 V. L., i. Ix. ; C. F., 60 ; B. A. N.,
V. tav. iv. ; T., v. (i.) 35, 36 ; D'll.,
ii. 97.
3 Bull., 1851, 110, B. ; I., 1, xxxvii. ;
Pauofka in the Abh. d. K. Ak. Wiss.
Bcrl., 1852, L, 290, 341 ; V. F., cccxvii. ;
M. A. L, vii. ; C. F., 24.
^^ Mou., vi. t. xxvii.
'' Mon. vi. t. vii.
'- I., i. xxxiii. ; Barou Giudica, xxvi.
\K 139 ; Fauof ka, V. di Prem. 10, 13.
Mr. C. T. Newton, Tr. R. Soc. Lit. ix.
p. 434.
*^ G. T. C, i. possibly the ploughing
of Jason or Cadmus.
" G. A. v., ccxvii. ; D'H., i. 94 ;
M. P., viii.
" M. G., ii. Ixi. 1 ; A. Z., 1852, 231,
232.
»« M., ii. xliv. a ; C. C, 76.
" M. I., xi-iii. ; C. D., 877, 878.
»« D'H., iii. 77.
»» M. I., xciii. 3.
"" P., clxxix. CO. ccxxvii. ; D'H., i. 91,
93 ; V. F., Ixxxix. xc.
" V. L., i., xviii. ; T., iv. 60.
« B. A. B., 633. -'^ D'll., iii. 78.
" V. F., clx. -' St., xxxviii.
27a
GREEK POTTERY.
Part U.
of death/ and the wail for the dead.^ Several scenes are
supposed to represent marriages.^ Others are of an import
difficult to understand, as men with torches,* with a bull,
orgies, local combats,^ and captures,^ and the natives of
Messapia.*^
The extreme difficulty of explaining certain subjects of the
later vases representing youths and females, has induced some
antiquaries to recur to the old method of referring them to
the mysteries. In a seated female, often represented on these
vases, they recognise Telete, or Initiation,^ and give to all
these scenes a mystic interpretation, even in those instances
in which the presence of the winged figure of Genius, or Eros,*
might have rather led to the conclusion that love scenes were
intended.
The Palaistra is a frequent subject. The vases of later style
have constantly on one side, apparently not intended to be seen,
two, three, or more figures standing and conversing, sometimes
enveloped in their cloaks,^" at other times naked and holding
strigils^^ or lances for the akontia,^^ often with older figures,
representing the epoptes,^^ the epistates or paidotribes,^* with
knotted sticks, who instructed the youths, and who hold a wand
or branch. Youths are seen at various exercises in the gymna-
sium,^^ or at rest,^^ or proceeding thither with strigils and lekythoi,
or crowned by Nike, or Victory ; ^' also athletes drawing lots.^^
1 P., ccxcviii.
2 A. Z., 1847, s. 24*; M. M. I.,
xxxix. ; 0. C, 61 ; M. M. I., xcvii. ;
B. A. B., 1621.
» B. A. B., 804, 1634 ; A. Z., 1852.
165 ; C. D., 646, 653.
* D'H., iii. 36. » B. A. B., 160.
« P., cclvi. ; A. Z., 1850, Taf. xviii. ;
T,, iii. 29.
7 A., 1852, 316, M. Q.
8 C. D., 429-473; B. A. B., 1611.
» C. D., 474, 575.
10 T., iv. 1, 13, 48 ; M. G., ii. Ix.
Ixxxvi. 1 b; Bull., 1847, p. 127; T.,
ii. 60. For vases referring to the Pa-
laistra, "Welcker, Zeitschrift fiir alte
Kunst, P., Ixxi. Ixxii. Ixxiv. Ixxv.
Ixxxii. ciii. civ. cxv. cxvi. clxi. clxv. |
clxxiv. ccliii. ; 0. D., 722, 724, 726, \
735, 745 ; V. D. C, vii., xiii. ; G. A. V., |
clii. ; B. A. B., 623, 811, 813, 818, 843, '
846, 878, 889.
11 B. A. B., 595, 610, 649, 679, 700,
709, 797, 1607, 1649 ; A. Z., 1853, Taf.
Ii. liii.; V. B.C., xv.; V. L., ii. xliii.;
M. P., V. ; P., ccii. ccvi. ccviii. ccix.
ccxii. ccxiii. ccxv. ccxvi. ; C. D., 714,
715, 716, 717, 718, 719, 721, 722, 723,
724, 747 ; Mus. Borb., iii. xiii.
12 C. D., 720, 725, 749.
13 V. G., xxvii. ; M. G., ii. Ixxxv. 1 b.
1* M. G., ii. Ixxxvii. 2 a, b ; C. D.,
731, 732, 733 ; A., 1844, c. ; T., i. 25.
1^ V. G., X. ; M. G., ii. Ixxxi. 1 a ;
C. D., 722, 726 ; St., xii.
i« G. T. C, xiii.
" M. G., ii. Ixxxvi. la; V. L., i.
xxxix. A full account of athletic and
gymnastic subjects is given by Ronlez
in the Me'm. de I'Academie de Bru-
xelles, torn. xvi. ; D. L., xlv.
18 T., i. 1.
HAP. vr.
GAMES.— THE PENTATHLON.
279
IHh.
IB Most of the exercises of the great games of Greece are
IBepresented, especially the Pentatlilon.^ The highly interesting
ISeries of Pauathenaic vases, which were given as prizes in the
Panathenaia, exliibit on their reverses the principal contests of
that game.^ First is the race of the bigae, or two-horse
shariots,^ as of Teles and Chionis,* which was changed into that
ritli four horses ; ^ that of boys on colts, and wearing only a
jhlamys ; ^ the victorious horse led home ; ' the foot-race,
»ther the diaulos, or race round the course, or the dolieho-
Iromos, or race to a term or boundary * by four or five runners ;
►r the armed course, hoplites dromos, in which the runners
carried sliields ; ® the wrestling-match, pale, in the presence of
judges ; ^° the hurling of the disJcos or disk ; " leaping, halmaf
with the dumb-bells, halteres,^^ sometimes to the music of a
flute ; ^^ hurling the lance, ahontion,^^ and boxing.^^ Besides
these are represented the poetical or oratorical contests,^^ and
the musical contests of boys ^^ or of citharists.^^ On some few
subjects the names of athletes are inscribed.^^ The torch-race
also occurs,^^ both on foot and on horseback ; and victorious
> G. G., i. ; A., 1831, p. 53.
* M. G., ii. xvii. For atliletic sub-
jects see C. C, p. 99 and foil. ; B. A. B.,
59G, 607.
^ A seiies of these vases will be
seen engraved in Gerhard, ' Vases
Etrusques/ fo., Berlin, A. B., to which
the following numbers A. and B. refer ;
of. 15, 24, and Gerhard, Rapp. Vole,
p. 54 ; I. S., V. ccii. ; C. D., 680, 681 ;
G. E. v., A. 2 ; M. I., xcv.
* Bull., 1843, 76.
' G. A. v., xcii. exxv. cxxxi. ; V. F.,
ccxii. cclxxvi. ; C. D., 676, 679, 683,
685, 690; B. A. B., 587, 592, 1624,
1636 ; T., ii. 28 ; A. Z., 1852, 231.
« A. 4 ; B., 26, 22 ; G. A. V., ciii. ;
M. G., ii. Ixvi. 2 a, b, 5 a ; B. A. B., 582,
624 ; C. D., 697, 698, 699, 701, 702, 703,
704 ; V. L., i. xix. cf. i. No. viii. ; R. R.,
XXXV. ; V. F., cclxxv. ; G. T. C, xiv. ;
M. M. I., xlvii. ; T., i. 52, ii. 26, iii. 47,
V. (1) 9.
^ V. F., cclxxiv. ; D. L., xxxvi. ; T.,
i. 53 ; G. A. V., xiii.
« A., 12 ; B., 8, 36 ; R. V., 53, No.
453 ; M. G., ii. viii. 2 a, xlii. 2 b, xliii.
1 a, 2 b ; C. D., 675 ; M. I., Ixxxviii. 4 ;
T., V. (1) 6.
® G. A. v., exxxvi. ; M. G., ii. Ixxi.
4 b ; P., cvii. cviii. ; C. D., 673, 674 ;
B. A. B., 887.
10 B., 2, 4, 22; M. G., ii. xvi. 2 a;
M. Bl., ii. ; C. D., 706.
" A., 6 ; M. G., ii. xliii. 2 b, liii. 1 a;
T., iv. 44; V. F., Ixxxiv. Ixxxv. ; P.,
Ixxxvii.; D'H., iv. 63; C. D., 710, 711,
712, 713; A. Z., 1852, 249, n. 142;
A., 1846, i.
" A., 6 ; V. F,, Ixxx. Ixxxi. Ixxxiii.
ccclxix ; D'H., ii. 38, iii. 68, 91 ; C. D.,
727, 734 ; T., iv. 43 ; M. G., ii. Ixx. 1 a,
2 b, Ixxiii. 1 a, 1 b ; V. L., i. vii.
»3 D'H., i. 124.
" M. G., ii. Ixix. 4 c, Ixx. 2 a ; A., 6 ;
B., 6.
" A., 8, 10; B., 10, 20, 24; V. F.,
ccxxxii. ccxxxiii. ; M. Bl., ii. ; M. P.,
viii.; C. D., 707, 708, 709; T., i. 55, 56.
»« B , 28 ; M. G., ii. xxii. 2, 2 a ; L. D.,
ii. XV, xvi.
" A. Z., 1845, 339.
" B. A. B., 868, 869 ; A. Z., 1852, s. 247.
19 G. A. v., xxii.
20 M. G., ii. Ixxi. 3 b ; C. D., 751 ;
T., ii. 25, iii. 48 ; M. P., v.
280
GREEK POTTERY.
Tart II.
athletes being crowned by Nike.^ Sometimes an exercise with
the pickaxe is represented/ which was used to strengthen the
arms, and practised by the wrestler Milo.^
Among the representations of the minor games may be cited
that of the hoop, trochos ; * of the ball, spliaira ; of dice,
pessoi ; ^ or draughts, huboi ; several kinds of dances,^ and
among them the armed or Pyrrhic dance,' performed by
Korna and Selinikos ; ^ a game supposed to be that of enkotyJe^
or aiganeon ; ^° shooting at a cock on a column ;^^ and musical
contests,^^ especially the victory of the Tribe Acamantis of
Athens ;^^ and diversions introduced at entertainments.-^*
On many vases, on which athletic scenes are depicted, the
pipers, who played so remarkably in all the Grecian exercises,
and in the gymnasia,^^ are often represented, as well as athletic
dances,^® such as female jugglers^' standing on their heads
amidst swords, or drawing a bow and arrow witli the feet,^^ or
wine from a krater, in that attitude,^^ dancing armed, or merely
draped,^^ to the sound of the pipe ; ^^ and dancers and harpists
with amphoroe.^^
Several interesting Dramatic Subjects occur, as that supposed
to represent Prometheus Bound, with the Wandering lo,^^
treated in an anomalous manner ; scenes from tw^o Satyric
dramas, one of Herakles and perhaps Apollo, contending for the
tripod ; the other the marriage of Dionysos, including players,
musicians, chorus-leaders, and the chorus ; ^* another scene from
a Satyric drama, or burlesque, probably by Aischylos, of
» T., i. 53-57 ; ii. 20.
2 C. D., 257, 710; C. E., 38, 171;
I. M. E., ii. Ixx. ; Ronlez, Mem. Atad.
de Bnix., ii. t. xvi,
^ L. D., iii. xlix.
* M. A. U. M., xii.
* C. D., 761, 762.
^ P., ccsxviii. ccxlvi. ; T. P., 60.
^ M. G., ii. Ixxxiv. 2 b ; Mus, Boib.,
viii. Iviii. ; T., i. 60.
* I., s. V. t. viii. ; P., clxxx.
8 M., i. xlvii., B.
1" V. F., ccxlix,
*' V. F., Ixix., or the suitors of Pene-
lope.
1- V. F., ccclxii.; C. D., 755, 756,
759.
13 Mus. BL, i. 1* DH,i. 117.
20
22
23
" C. D., 753, 754, 758.
»« St., X. I
'' M. A. I., i. ix. ; T., v. (ii.) 93.
*" B. A. N., torn. V. tav. vi.
»" T., i. 60.
St., XXXV. 21 g^^ xxii.
B. A. B., 589.
Millin., Ptint. de Vases Ant. T., ii.
pi. Iv. Ivi. ; Wieseler, Theater-Gebaude,
Taf. iv. Sab.
2* M., iii. XXX. In the centre AIONT-
205 anJ Ariadne, Venus and IMEP02,
one of the actors HPAKAH2, another
riAN and EVA; the chorus is called
ETNIK02, NIK0MAX02, XAPIA2, AH-
PO0EO2, AHMHrPI05, NIKOAEAH2,
XAPIN02, AIHN, *IAIN02. KAAAIA5,
Wieseler, pi. vi. 1.
iAP. VI. DRAMATIC SUBJEOTIS. 281
lidipous consulting the Si)binx ;^ the Satyric persons of the
lorus preparing to appear,'^ a scene of Sileniis and Dionysos,^
scene from another drama, a parody upon Arion,* Taras,^
^alaimon, or the Nereids ; a Satyric chorus, led by a female
[ute - player ; ^ a parody on the Elektra,' another on the
aitigone,^ or the Elektra, and one of Herakles and the Ker-
copes ; ^ a portrait of the actor Xanthias of Aristophanes ; ^"
leus and Hermes scaling with a ladder the house of Amphi-
ryon, whilst Alkmene is seen at the window,^^ probably from
le comedy of Amphitryon, by Ehinthon ; ^^ Zeus, Gany modes,
and anotlier god ; ^^ Dionysos and Silenos at the window of
Althaia, or Ariadne ; ^* the blind Chiron healed by Apollo ; ^^ a
parody of Hera bound to the golden throne, taken from the
Hephaistos of the comic poet Epicharmos ;^^ another of Theseus
and Prokrustes ; ^^ another meant apparently for Herakles and
Auge ; ^^ Oidipous consulting the Sphinx, represented as a fox ; ^^
a burlesque Siren, or else Tereus or Epops of the Birds
of Aristophanes ; ^^ a parody of Atlas ; ^^ two men masked as
cocks, and preceded by a flute - player, probably from a
comedy ; ^^ and two warriors ; ^^ a scene also from the Frogs
of xVristophanes ; ^"^ the wine-flask of Kratinos ; ^^ the slave-
driver of Pherekrates ; ^^ the destruction of Hium, of Phormos ; ^^
a burlesque of the Antigone,^^ and the elopement of Helen ; ^^
a parody on Briseis ; ^^ Apollo, Herakles ; ^^ arrival of the god
at Delphi.
On vases of later style also occur several myths, the argu-
* Wieseler, 1. c. 10 ; M. B., ix. xii. ; " Lenormant and De Witte, Elite,
M. G., ii. Ixxx. 2 a ; Franz. Didask, ii. xciv. ; "Wieseler, 60.
^scliyl., s. c. Theo. Berlin, 1848. i *« Mazocchi, Tab. Her., i. p. 138 ;
T., i. 39. ' T., i. 41. ! D'H., iii. 108
* T., iv. 57 ; Millin., i. 116. " V. G., xlvi.
' Miiller, Dorier, ii. 349 ; T., iv. (ii.) '* Wieseler, iii. 18 ; Monumenti, iv.
57. Taf. xii.
« G. A., Taf. Ixxxiii. j ^^ M. G., ii. Ixxx. 2 a.
' T., i. 35 ; iv. pl. 10. See Wieseler, 1. c. ■. 2" Vas., B. M., red figui-es.
8 A., Taf. Ixxiii. I ^i Vas., B. M., 1638.
" Serra di Falco, Anticb. d. SicUia, I " Vas., B. M., 659. 23 t^ ^ gy^
ii. p. 1, vignette. | " j^ z., 1849, s. 17.
^'^ Panofka, Cabinet Pourtales, ix.
Wieseler, 1. c. 57.
" D'H., iv. 105.
" A. Z., 1849, s. 33.
2« A. Z., 1849, s. 42.
" A. Z., 1849, s. 43.
12 Wieseler, p. 59. 28 j^ i847, p. 216, pl. k.
^3 Mel. Grec. Rom. de St. Pe'ters- | 29 Cotlion, red figures, Brit. Mus.
bourg, torn. ii. 1859, Pl. xviii. j ^^ Mon., vi. t. xxxv.
" Panofka, Cabinet Pourtales, x. ! ^i i^ij^
282
GREEK POTTERY.
Part II.
nients of which often formed the subjects of the drama. Some
are connected with Dionysos, as Pentheus ^ killed by Mainads ;
the insanity of Lykourgos, who destroys his family ; ^ and Hyp-
sipyle ; ^ the capture of Silenos in the rose-gardens of Midas ; *
the adventures of lo;^ the death of Prokris;^ the mutilated
Prokne ; ^ the metamorphosed Atalanta ; ^ Atlas and a Sphinx ; ^
the death of Arcliemoros ; " the fate of the Niobids ; " Tereus
and Philomele ; ^^ and Antiope and Dirke.^^
A great number of vases represent the entertainments of
adults ; and scenes of triklinia often occur. The guests recline
upon couches, amusing themselves by whirling their cups in the
supposed game of Jcottahos,^^ singing to the lyre/^ or playing on
that instrument ^^ or on the flute.^' On the later vases lietairai,
especially the auletrides,^^ or female flute-players, and some-
times female citharists ^^ and boys,^° are seen. Some of these
also represent the akroama with which the symposium ^^ con-
cluded. One scene is the triclinium of Nikomachos,^^ another
that of Demetrios.^^ In many of the drinking-scenes candelabra
and lamps are represented.^^ These often occur with the names
of unknown persons, as Smikythos, Tlepolemos, Euthymides,
and Sosias.^^ The homos, or revel, after or during the entertain-
ment, is often depicted ; ^^ the revellers, the leader of whom is
^ M., i. vi. ; Jahn, Pentheus, 4to, Kiel,
1841 ; B. A. N., iv. p. 13; tav. ii. 3.
2 Mon., iv. pi. xvi. ; Bull., 1846, p. 88.
3 G., A. E., 10.
* M. G., ii. Ixxii. 2 b; G. A. V.,
ccxxxviii. ; Mon., iv. 10.
* V. D. C, xlvi. ; Mon., ii. lix. ;
B. A. N., iii. tav. iv.
« V. R, ccv. 7 D'H., iv. 76.
* B. A. N., iv. tav. iii. 1.
» B. A. N., iv. tav. v.
*" B. A, N., ii. tav. v. See subject of
Archemoros, supra.
" B. A. N., i. p. Ill, tav. iii.
»2 B. A. N., ii. p. 12, tav. i., n. 5.
>* A. Z., 1842, s. 76, 1853, Taf. Ivii.
" Gerhard, Rapp. Vole, p. 57 ; T., iii.
10, v. (i.) 16, 84, 90; M. BL, v. ; D'H.,
ii. 48, 74 ; Mon., iii. xii. vi. t. Ii. ; M. G,,
ii. Ixv. 2 a, 2 b, Ixxi. 1 b, Ixxxiv. 1 b,
2 a, xii. 3 a, xcii. 1 ; V. L., ii. xxxviii. ;
P., cv. cl. ; I., s. V. t. xxxvi. ; B. A. N.,
i. p. 92 ; V. F,, exxxii. exxxiii. ; 0. D.,
805, 810 ; St., xxvi. ; B. A. B., 879.
" V. L., i. xxiv. xxxvi. xxxviii.
xlviii. ; D'H., i. 109 ; L. D., ii. xxxvii.
" M., iii. xii. ; M. G., ii. liv. 1 a,
2a; B. A. B., 1014.
" M. G., ii. Ixxxiii. 1 b ; Ixxxv. 2 b ;
T., ii. 41, iii. 16, 17, iv. 40.
1^ M. G.,/ii. vi. 1 a; Ixxxi. 1 a;
V. D. C, XX. ; V. L., i. xxxii. ; V. F.,
cclxxiii. ccc'lvi. ; P., cv. ccxxiv. cexxxix.
ccxli. ccxlii. ; D H., ii. 113; T., ii. 52,
55.
" V. D. C, viii. 20 p^ ccxliii.
2^ Xenoph. Symp., c. 2 ; Athen.,
xiv. 7; V. F., cxcviii. ; T., i. 50.
22 Vas., B. M., 1646.
22 Politi, Slancio Artistico, 8vo.,
Girg., 1826.
2* G. A. v., cxcv. cxcvi. ; C. F., 140.
2* Smikythos is known as an eromenos.
Tlempolenios and Euthymedes as a pot-
ter and artist. A. Z., 1852, s. 249.
2« M. G., ii. Ixxviii. 2 a ; V. L., i. Ixvi.
Ixviii.; A. Z., 1847, s. 18*; B. A. B.,
708; T., v. (i.)22, 80.
Kap. vr.
ENTERTAINMENTS.
283
called Jcomarchos,^ are dancing to the pipe, and liolding am-
phone.^ Youths drawing wine from kraters or bowls ;^ or men
playing the krotala, dance in wild confusion,* while the intoxi-
cated attended by females,^ sometimes with torches,® are
frequently represented. A remarkable scene shows Empedokles
playing on the flute, while Nikaulos and Charidemos dance
with rhyta? Similar to these are representations of youths
dancing^ with drinking-hornS;® with lyres,^^ and crowns,^^ and
men offering boxes to females,^^ playing with dogs and tortoises,^^
w ith the jerboa,^* or with a hare held by a string ; ^^ or offering
this animal as a present,^® or holding a piles," or cups ; ^^
mounting horses, riding pick-a-back, dancing, playing at see-
saw, and other games. Young children are depicted playing
with toys, balls, and go-carts,^^ crouching to seize apples, or
crawling after a swan,^^ or playing at the game of knuckle-
bones, or astragaloi?^
There are also many scenes of men standing and talking to
females,^^ a man standing between two females,^^ men conversing
with youths,^* or with one another.^^ On some yases are draped
youths and females conversing,^^ at w^ork with hcdatlioi and
spindles,'-^^ and a host of undetermined actions, representing
nuptial ceremonies,^^ toilets, and games, and youths with para-
sols.^^ Many vases, especially those which from their small
size seem intended for children, have representations of youths.
* G. A. v., clxxxviii.
"^ G. A. v., cxxvi.
' M. P., xxxiv. ; M. G., ii. Ixxxi. 1 a.
* M. G., ii. liv. 2 a.
* M. G., ii. Ixxxi. 1 b.
« P., ccxxx. ; T., V. (i.) 18, 19, 20.
^ G. A. v., ccxxxvlii.
8 Bull., 1834, p. 229 ; 1840, p. 54.
» M. G., ii. Ixx. 1 b.
'« M. G., ii. Ixxvii. 1 a ; Mus. Borb.,
iv, Ii. ; T., i. 50.
11 V. L., xliv, 12 p^ ixviii.
" V. D. C, xliv.
1* V. F., ccclxxxvii.
" G. T. C, xi. xii., with the name
Uippodamos ; B. A. N., i. p. 92, the
supposed discovery of Boea ; I., p. 126.
>« M. M. I., xlvi. 1^ V. D. C, xxi.
18 V. D. C, xlvi. i« St., xvii.
■^» C. D., 800.
21 C. D., 801, 803.
" D'H., i. 30, 45, 48 ; ii. 77, 96, 109 ;
iii. 47, 83, 95 ; iv. 38, 45, 56, 103 ; C. D.,
752 ; St., xxvi. ; T., ii. 59, 60 ; iii. 57,
iv. (ii.) 1 ; M. G., ii. xlvii. 1 a ; Ixxv.
2 b ; V. L., i. vi. ; I., s. v. t. Ixviii. ;
D. L., XV. ; P., Iii. liii. Ixi. Ixxviii. Ixxx.
Ixxxi. Ixxxiii. Ixxxix. xci. xcii. xcvii.
clxxv. clxxvi. clxxvii. ccx.
^^ G. A. v., Ixxxi. clxiii. cc. ; T., i.
18, v. (ii.) 70.
2* T., i. 3 ; M. G., ii. Ixxvii. 1 b, 2 a, b,
Ixxxiii. 2 a, Ixxxvi. 1 a ; P., Ixxiii. clxxi.
clxxiii.
" G. A v., cxliv. ccix. ; V. G., x. ;
T., V. (ii.) 69 ; M. G., ii. xxii. 1, 2, xxiv.
2 a ; I., s. V. t. iv. ; P., xcv. xcvii. xcviii.
ccxxv. ccxlv. ccxlvii.
2® V. D. C, X. xvii. xix ; P., xxxi. cvi.
'' St., xxxiv.
^ K. v., p. 51 ; V. L., ii. xliv.
23 P., Ixxi.
284:
GREEK POTTERY.
Part II.
It~is probable that future discoveries raay determine the
meaning of many scenes now deemed of general import, such as
youths playing on the lyre to females, holding cups and boxes ^
to men with branches,^ taking a necklace out of a box in the
presence of a female and an old man,^ offering hares to ladies,*
holding cups to other youths,^ a youth in a great vase,^ youths
with females, probably hetairai,' or dancing with tambourines,^
or standing at Hermai and stelai,^ conversing in a palace,^^ or
receiving offerings from their admirers,^ ^ at fountains,^^ females
conversing,^^ pursuing a bull,^* or looking like Narkissos into a
mirror,^^ placing wreaths on an altar, and carrying birds in a
cage ; ^® in presence of Nikd dancing ; holding shiadishai, or
parasols ; ^^ with hrotala ; reading poems ; ^^ in a bath ; ^^ and
Eros,^*' apparently in schools,^^ and females over a hydria.
Females alone are represented, with kalathoi and crown s,^^ at the
bath,^^ as lyrists ^* crowned by Nike,^^ and with the sMadiske
or parasol,^® as jugglers, hybisteres, standing on their heads
amidst swords set upright in the earth,^' swinging,^^ sometimes
seated,^^ or playing with a ball,^^ interviews of females,^^ love
scenes.^^ Professional women are seen playing on the harp or
J V. G., xlv ; L. V. ii. xxviii. ; L. D.,
i. XXXV. xl. ; Inghirami, M. E. I. ; 1 , s.
V. vi. t. i. iv.
2 G. A. v., cexxix. ; I,, s. v. t. iv.
3 M. G., ii. Ixxi. 2 a; V. D. C,
xxxi. 2 ; G. T. C, E. F.
* M. M. I., xlvi. 6. * V. D. C.
^ Perhaps Pelops, G. A. V., clxxxi,
^ M. G., ii. Ixxviii. 1 a, 1 b; V. F.,
cxxx. ; G. T. C, xlv. xv.
« D'H., iii. 111.
« D'H., iv. 45 ; V. D. C, xxxii. ; P., xx.
xxii. xxix. l.-liii. ccxxv. ccxxvii. cexxix.
ccxxx. ccxxxiii. ccxxxv. ccxxxviii. ccxli.
ccxlii. ccxliv. ccxlvii. ccxlviii. cclii. ccliv.
cclvi, ; T., V. 1-5.
" M. G., Ixxv. 2 a.
" M. G., ii. Ixxviii. 2 a.
12 B. A. B., 1627 ; M. G., ii. x. 2 b.
** M., ii. xxvi. 2 a,
'* Bull., 1844, 100, 101.
1^ I., s. V. t. xxi. 1^ D. L., xxxviii.
1^ C. C, 59 ; T., i. 2.
18 D'H., ii. 103.
i» T., iv. (ii.) 30 ; P., xxxii,
20 T., i. 59. 21 T^ iy^ (-ii ) 5y,
22 A. Z., 1852, s. 247, 251 ; B. A. B.,
583, 856, 857 ; T., iv. (ii.) 31 ; v. (i.)
37; I., 8. v. t. xxix.; P., xviii. xix.
XX. xcix. c. ex. cxiii, cxiv. cxxvi. cxxxi.
exxxiii. cxxxiv. cxxxv. cxxxvii.-exli.
cxliv. clxxxiii. elxxxiv. clxxxvii ; D'H.,
ii. 57, 94, iii. 71 ; iv. 36, 47 ; B. A. N.,
i., p. 91.
2^ M. B.^ xiv., XV. ; I., s. v. t. xxv. ;
D'H., ii. 25 ; C. D., 763, 765 ; B. A. B.,
671 ; T., iv. (ii.) 28, 29, 30 ; Mus. Borb.,
xiv. XV. 24 i,^ g, V. t. XXX.
2^ J., 8. V. t. xxvii.
2^ I., s. v. t. xliv.
2^ V. F., Ixvi. Ixxxvii. Christie, PI.,
i. p. 51; T., i. 60; A. Z., 1852, 164;
Mus. Borb., vii. Iviii.
28 M. A. U. M., XXX. ; A. Z., 1853, 400.
29 V. F., cxxxiv. ; B. A. B., 673.
3« V. F., clxxxiii. elxxxiv. ; D'H., i. 59,
60 ; Mus. Borb., vii. Iviii. ; A. Z., 1852.
3> 0. D., 796 ; V. F. cxci.
^- V. F., cxeii. ; P., vi. For vases
referring to nuptial ceremonies, see
Bottiger, Yasengemahlde, 8vo. Wei-
mar, 1797.
I„.
WAR AND THE CHASE.
285
|)ipe/ and receiving wine ; ^ other women perform household
work,^ or celebrate orgies.* Females also appear holding a box
or pyxis/ crowns,*^ or lekythoi,^ dancing/ and sometimes offering
incense to the gods.^ They are often seen washing/" or hohling
a hare/^ at their toilet/^ or at a stele ;^^ discoursing over a
hydi'ia/* or caressing a deer.^^ Large female heads are often
the only decoration of late vases/® and large eyes ; ^' on some
vases are reunions of females, either allegorical personages, or
hetairai with their names.^^
The scenes illustrative of War in its principal forms, have
been already described in enumerating the events of the war of
Troy. There is a very great number of vases illustrative of
this subject ; but it is not possible to describe all, and many
of the scenes without doubt belong to events of a mythic
nature.-^^ They represent combats on foot and horseback, by
archers, hoplites, and slingers, and even contests of galleys.^"
Many representations of youths and others, either starting
for or engaged in the chase, refer to the remarkable hunts of
antiquity .^^ One represents the hunting of the hare.^^
Some vases have scenes of an immoral tendency, yet they are
few in comparison with the other subjects. Nor are they merely
coarse examples, painted by poor or careless workmen, to gratify
the popular taste ; but on the contrary, the productions of the
very best artists.^^ Such subjects, indeed, sometimes exercised
the pencil of painters like Parrhasios, Aristides, Pausanias, and
Nikophanes ; ^* and vase-painters were only humble imitators of
the great masters. Of course these scenes cannot be detailed.^^
Some may be intended for the love adventures of the gods, or
celebrated amours of mortals, especially of poets ; but others
^ Mus. Borb., xiv. xv.
2 T., ii. 58.
3 A., 1852, p. 85, V.
^ T., i. 48.
* C. D., 766, 769, 772, 774, 775, 777,
780 ; V. F., cxxvii. ccxv.
« B. A. N., i. p. 14.
^ C. D., 772. « St., xxiii. xxiv.
^ St., XXXV. ; P., xxi.
^<* P., XXX. xxxii. xxxvii. xxxviii.
xxxix. " D'H., iii. 34.
12 D'H., ii. 25 ; iii. 73.
" D'H., ii. 57. >* D'H., iv. 96.
1* C. D., 767.
i« C. D., 1185, 1213.
^' B. A. B., 819.
1* B. A. N., V. p. 25. Such names as,
Melissa, Antliippe, Lysistrate, Arcliesis-
trate ; Nikopolis, Klymene, T., i. ;
Jahn, O., Ber. d. k. Sachs. Gcsellsch,,
1854. s. 24.
19 C. D., 811-868. 20 c. D., 868.
21 C. D., 869-874.
22 L. D., ii. xcviii.
23 Gerhard, Kapp. Vole, 59, 60 ; C. D.,
60, 61 ; L. D., ii. xlix. ; B. A. B., 719 ;
729; C. M., 11, 13; A., 1832, pi. g.;
M. M. I., XXV. ; T., v. (i.) 90.
2"* Athenfcus, xiii. ; C, 11.
2» Cf. for example the Vases.
286
GREEK POTTERY.
Part II.
seem derived from private life, especially those of youths and
hetairai/ in which figure several persons whose names are
identical with those of Athenian artists and writers,^ and many
of the names probably refer to the celebrated and facile beauties
of Corinth.^
Many of the late vases represent small temples, or the heroa,*
from which the subject was taken. These are generally coloured
white. Some of the most remarkable of these heroa represent
Aphrodite,^ Aineas crowning loiilos,^ Zeus and Ganymedes, or
Dionysos and Komos,^ Leda and the swan,^ the Dioskouroi,^ and
Athene,^® a youthful warrior with shield,^^ Heroes with arms
and horse, ^^ youth with a dog,^^ two females, one holding a box,^*
females ^^ with dove and amphorae,^^ a warrior and a man leaning
on a stick, and the supposed Narkissos.-^^ Large heads of a goddess
are also common on the later vases/^ perhaps copied from
statues ^^ and often combined with arabesque floral ornaments.
In one instance the head of lo, or a female satyr, is seen.
Heads, too, in a kelcryphalos, are not uncommon.^^
Several vases have representations of animals, which are often
engaged in combats; such as boars and lions,^^ or rows of
animals,^* consisting of the lion, the boar, the panther,^^ the
stag,^^ the deer,^^ the ram, the bull,^^ and the horse.^^ Lions
are seen devouring deer and buUs.^" Hares,^^ and dogs ^^ appear
20
21
» P., cci. ; D H., iv. 37.
2 C. C, 12, 13, 14, 15, 16.
* C. C, 13, 14, 15, 16.
* I., s. V. t. xl. ; v. F., cccxxi.
cccxxii. ccclxix. ; D'H., iii, 65 ; G. A.,
xii. ; T., V. (i.) 1, 2, 3, 4, 5 ; B. A. B., 1-10 ;
P., xxii. xxiii. xxiv. xxv. xxvi. xxvii.
xxviii. xxix. Ixxxiv. Ixxxv. cxxxii.
cxliii. clxxxii. clxxxix. cxc. cxci. cxcii.
cxciii. cxciv. cxcv. cxcvi. cxcvii. cclxi.
cclxiv. cclxv. cclxx. cclxxi. cclxxix.
For several, see C. D., 576-627.
* V. F., xxxiii. xlii.
« B., 1846, p. 75.
' V. F., cccxciii. ; B. A. B., 1027.
« Vase, B. M., No. 1568.
9 V. F., cxxxix. ; V. G., xix. ; D'H.,
iii. 52, 55.
10 L. D., i. Ixvii.
" V. F., cccxxiii. ; B. A. B., 1001.
12 Y. F., xix. XX. ccclxxxix. ; D'H., i.
53, 54 ; David, i. p. 6 ; I., i. xii. b ; T.,
V. (i.) 3, 4, 5.
" B. A. B., 1027.
^* G. A,, xvi. ^^ I , i. xxxiii.
'^ Mus. Borb., vii. xxii.
»^ B. M.,1567*.
'8 V. L., ii., i. iii.
^^ See Minerva, IMon., iv. xlvi.
20 V. F., Hi. ; D'H., iv. 56.
21 P., cclxxxi.
22 B. M., 292, 293 ; DH., i. 101 ;
B. A. B., 1626.
'3 M. G., ii. vi., 2 b, X., 1 b; V. L , ii.
xxi. ; B. A. B., 594.
2^ M. G., ii. xxvii. xxviii. xc.
25 D., 933 ; V. F., cclxxix.
28 Mus. Blac, vi.
27 Mus. Blac, xvi. ; B. A. B., (29 ;
D'H., ii. 86.
'^ M. G., ii. Ixiv. 4c; M. P., xxx.
29 B. M , 385 ; V. L., ii. viii.
30 M. G., ii. xxxi. 2.
•■» C. D., 902. 32 Q p^ 900, 901.
lAP. VI. LITERARY SOURCES. 287
single subjects. Among the birds represented are the owl,^
le eagle, the hawk/ the crane, the swan, the goose,^ pigeons,
)cks and hens,* and cock-fights.^ Among fishes are the
)lphin, tunny, cuttle-fish, and echinus.® There are also repre-
jntations of snakes,^ tortoises,^ and grasshoppers.^ Among
lants are the laurel, myrtle, poplar, ivy, pansy, hyacinths.
Tot the least remarkable subject is that of the great eyes,
which has been a fruitful source of conjecture.^*' Among objects
of the imaginary world are gryphons,^^ which are sometimes
attacking horses ; the hippalektryon, chimaira, sirens,^^ harpies,
liippocampi,^^ Pegasi, sphinxes,^* and heads of Gorgons.^^ In
many instances these animals are introduced as a kind of
artistic bye-play, or parody, on the subject represented, just as
the poet uses a metaphor. Thus, on a cup representing the
destruction of Polyphemos, a fish is seen swallowing the baited
hook ; ^® and on another, where the two Gorgon sisters fly after
Perseus, two dogs are depicted chasing a hare.^^ In a mono-
machia of Achilles and Memnon, a lion is beheld attacking a
boar, and an ape appears at the chase of the boar of Kalydon.
A vase with a butterfly is probably a forgery.^^
The relation of subjects depicted on vases to the ancient
Hellenic literature forms an interesting inquiry, since it is
evident that the works of the rhapsorlists suggested many sub-
jects to the older vase-painters. It will be seen, from an inspec-
tion of the subjects, how few comparatively are derived from
Homer. Great as are the intellectual and moral examples
which his poems exhibit, they were by no means well suited to
the somewhat monotonous style of ancient art, which required
plain and simple incidents. So deficient were the Homeric
poems in arguments, even for the drama, that Aristotle has
observed, that while the Iliad and Odyssey afforded materials
for two dramas, the Kypria supplied the subjects of several, and
the little Iliad of eight.^^
Nor is it by any means improbable that the Homeric poems
1 V. L., xlix. 53 ; D'H., i. xli. >o M. G., ii. Ixix. 3, 4 ; G, A .V., xlix.
2 V. L., ii. xlix, 52. '' K. v., p. 65, 66.
3 D'H., iv. 108. " B. A. B., 1591.
* M. G., ii. Ixiv. 3 a; V. L., ii. xlv. ^^ P., ccxcix. ^* V. L., ii. xlviii.
* M. G , ii. V. 1 a; V. L., ii. p. 30, " C. D., 34, 36. »« M., i. vii.
n. viii. '' A. Z., 1847, 17*, 18*.
« G. T., c. i. ' G. T., c. i. »» T., iii. 60.
« G. T., c. i. » G. T., c. i. *"• Aristotle, Poet., sect, xxxviii.
28S GREEK POTTERY. Part II.
did not enjoy that universal reputation which they afterwards
monopolised, and that they shared the public favour with other
productions. For it is most remarkable and significant, that
scarcely one of the vases which issued from the kilns prior to
the Peloponnesian war, is decorated with a subject which can
be satisfactorily identified with the incidents of the Iliad or
Odyssey ; while the few vase-paintings, which are undoubtedly
Homeric, are almost all of the third style, with red figures, and
executed in the interval between the war of the Peloponnese
and the landing of Pyrrhos in Italy. Yet the number of sub-
jects derived from other poems, which formed part of the grand
cycle of the war of Troy, is remarkable. Thus, almost all the
leading events of the Aithiopis of Arktinos of Miletos, the-
argument of which is repeated in the later poem of Quintus
Calaber, or Smyrnaeus, are depicted on the vases ; sucli as the
arrival of the Amazons at Troy, the death of Penthesilea, the
appearance of Memnon and his bands, the death of Antilochos,
the often-repeated subject of Memnon's death by the hand of
Achilles, the death of that hero while pursuing the Trojans,
and his apotheosis in Leuke, the contest of Ajax and Ulysses
for his armour, the suicide of Ajax, the wooden horse, the inci-
dent of Laokoon, and the flight of Aineas.^ About half a
century later is the Iliou Persis, or destruction of Troy, written
by Lesches, or Leschaios, of Mitylene, which appeared about
Olympiad xxx. B.C. 657.
The Iliad of Homer contained only a fractional portion of
the war of Troy, and the whole story of Ilium was not sung by
any single bard or poet. The subjects, as already stated, have
been classed as the Ante-Hom erica, consiking of those which
precede the events of the Iliad, the argument of which formed
the Kypria ; ^ the Mihra Bias, or " Little Iliad," written by
Thestorides,^ Diodoros, or Kinaithon ; and the obsolete poem
of the Fatrohlia ; — the Homerica, or such incidents as inter-
vened between the quarrel about Briseis and the death of
Hektor ; — and the Post-Homerica, or events up to the destruc-
tion of Troy, comprising the Aithiojns of Arktinos, part of the
Kypria, and the Iliou Persis, or " Destruction of Troy," of
Lesches ; the Nostoi, or *'Keturn " of the Greeks to their country,
which formed the subject of the poem of Agias, and the most
^ Mliller, Literature of Ancient Greece, p. QQ.
2 Muller, Greek Literature, p. QG. 3 Sehol. Troades, 1. 821.
3hai>, VI. CYCLIC POETS. 289
Remarkable part of wliich events is described in Homer's Odyssey.
Iiese, with the Oresteid, and the Telegonia of Eugamon of
Lyrene, complete the epic cycle of the Greeks.
The arguments, as far as they are known, can only have
)artially supplied the vase-painters, since only the fate of Ajax,
le quarrel of Agamemnon and Achilles, the last niglit of Troy,
knd the death of Priam and Astyanax, are found depicted on
pses. The death of Paris by the hand of Philoktetes, the deeds
Ulysses and Neoptolemos, and the conducting of Aineas by
le same hero to Pharsalos, are not found,^ although subsequent
Excavations may bring them to light. Nor can the celebrated
Ky;prian verses have failed to inspire many of those subjects
which were capable of being painted ; and while the prayer of
the Earth to Zeus, to lessen the number of men upon her bosom,
was clearly inadmissible, there is reason to believe that there
may be traces of subjects representing the amours of Zeus and
Nemesis, from whose union sprang Helen, subsequently con-
fided to Leda ; of the attack by Achilles upon Telephos and
Aineias ; ^ the death of Troilos ; ^ the sailing of Lykaon to
Lemnos ; '^ and the quarrel of Achilles and Agamemnon, treated
in a less subdued manner than in the Iliad. Yet certain sub-
jects which formed a very essential part of this poem are want-
ing, such as the promise of Helen to Paris for his judgment in
favour of Aphrodite and her elopement during the absence of
Menelaos ; the death of the Dioskouroi, slain by Aphareus and
Lynkos ; and the sailing of the fleet from Aulis to Troy, after
having been carried to Teuthrania.
The incidents in the Nostoi of Agias of Troizene — the pre-
vailing sentiment of which poem is the vengeance of Athene —
are repeated in the tragedies of the Attic school ; but though
some of the vases of the latest style represent subjects derived
from it — as the quarrel of the Atreidai, the return and death
of Agamemnon, the flight of Diomedes, the death of Neopto-
lemos, the Nehyomanteia, and some subjects resembling those
of the Odyssey — yet many of the most striking incidents of it
— such as the fate of Nestor,^ Kalchas, Leonteus, and Polypoites,
are either undistinguishable, or never engaged the attention of
the vase-painters.
1 MuUer, 1. c, p. 66.
2 Iliad, XX. 79.
' Iliad, xxiv. 257.
* Iliad, xxi. 405-8.
^ Proklos, cited in Gotlingeu Biblio-
tek fill Literatur und Kunst. MUller,
Literature, &c., p. 79. HephsBstion,
Gaisford, p. 278-472, sq.
U
290 GKEEK POTTERY. Part II.
Two of the subjects of the Nostoi, or *' Keturn," derived from
the Telegonia, or the adventures of Telegonos, the son of
Ulysses and Kirke, which formed the subject of the poem
of Eugamon of Kyrene/ appear on vases of the later style.
One is the well-known return of Ulysses to Ithaka, and his
death, caused by the fall of the Pristis or Thornback, referring
to the Odysseus AJcanthoj^Iex ; the other is his death at the hands
of Telegonos, in the presence of Kirke. But the burial of the
suitors, and the voyage of Ulysses to Polyxenos, either do not
occur, or cannot be distinguished among the mass of unknown
subjects. Many subjects were taken from the Odyssey.
Hesiod has supplied few subjects to tlie vase-painters, owing
to the absence of plot and incident in his principal work ; for
it is evident that a nation wliose whole thoughts were directed
at an early period to hieratic illustrations of art, could derive
no inspiration from such a composition as iheErga hai Hemerai,
or " Works and Days." There are, it is true, some vases which
have agricultural subjects, as the remarkable one of the potter
Tleson, with a scene of ploughing, and others which represent
the gathering of fruit, and the vintage of wine or oil ; not to
instance the shops of the potter and the smith, the carpenter,
and scenes of weaving and spinning. But these subjects are
rare, and the more minutely they are investigated, the stronger
appears the reason for assigning them to s]pecial mythological
scenes. His other w^orks appear to have suggested a few sub-
jects, as the instruction of Achilles by Chiron, probably from
the " Lessons of Chiron ; " the prominent position of Alkmene,
perhaps from her " Praises ; " and others from the Heoiai ; the
amours of Apollo and Kyrene, from the " Catalogues of Women,"
which is found on a jug of late style in the British Museum.
Many vases also refer to the " Epithalamium of Peleus and
Thetis;" and others, of archaic style and treatment, represent
the combat of Herakles and Kyknos, with the attendant circum-
stances, treated in a manner identical Avith the description in
the " Shield of Herakles," and in which the demigod appears
in the same costume in which he is represented in works of art
previous to the fortieth Olympiad.^ From the " Little Iliad "
of Kinaithon of Lakedaimon, is taken the incident of the making
of the golden vine by Hephaistos.^
1 Miiller, Hist. Gr. Lit., p. 97. ^ Muller, 1. c, pp. 97, 98.
' Scliol. Venet. ad Troad., 822.
[AP. VI. STESICHORUS AND SIMONIDES. 291
The Tbebais, which appeared early in literature, and is
tited in the twentieth Olympiad as Homeric, also supplied
jrtain subjects, especially the departure of Amphiaraos and
lis betrayal by Eriphyle. The destruction of the heroes, with
le exception of Adrastos, saved by Orion, is not, however,
)und. Some of the subjects of the second Theban war, or
Jpigoniad, are extant.^ The very numerous poems of Stosi-
shoros embraced so large a portion of the writings of his pre-
decessors, that it is difficult to discriminate what subjects were
particularly derived from this source. Thus, he sang the Ge-
ryonis, or the capture of the oxen of Geryon by Herakles ;
Sky 11a, already famous in the Odyssey ; Kyknos, whose contest
is known from the shield of Herakles ; Kerberos ; the lliou
Persis, or Fall of Troy ; the Nostoi, or Returns ; the Euroj)eia,
or Rape of Europa, a subject found on some of the earlier
vases ; the Oresteid, the incidents of which, as depicted on
vases, rather follow the descriptions of the tragic writer ; the
Epi Peliai Atlila, or prizes given at lolchos, at the funeral
games of Pelins, from which one subject is taken by the older
vase-painters, the palsestric contest between Peleus, the father
of Achilles, and Atalanta, in which the huntress was victorious ;
and Eriphyle and the Syotherai, or boar-hunters.^ This poet,
indeed, flourished in Olympiad XLir., B.C. 611, long before most
of the old vases were fabricated. Epigrams, didactic poems,
and fobles, in which animals are introduced speaking, were un-
suited to the gravity of art. Tlirenai, or Laments, whicli were
taken from tragical myths, may occasionally appear, such as
tlie tlirene or lament for Danae, the composition of Simonides
of Keos ; but these cannot easily be separated from subjects
taken from the satyric drama. Idylls and elegies may have
supplied a few subjects, and the Rape of Europa, represented on
some vases, may be considered as derived from Moschos ; but
poems like those of Theokritos, describing rustic life and its
feelings, have not supplied subjects to the vase-painters. To
the tragic writers, the Oresteid supplied many plots ; and upon
vases of the later style the whole story is treated in a manner
so varied, that the vase-painters must have evidently sometimes
followed plays of Aischylos, at other times those of Sophokles
and Euripides. Several other vases present subjects either
derived from tragic arguments, or else from myths which formed
» Miillcr, p. 91. 2 Miillcr, p. 200.
u 2
292 GREEK POTTERY. Part If.
their subjects, sucli as those of Prometheus, Perseus, Pelops, the
adventures of Bellerophon, Perseus and the Bakchai, Tereus and
Prokne, Medea, Alkestis, Prokris, Lykourgos, the Under-^Yorld,
the woes of Oidipous and his family, and the Seven against
Thebes ; and other representations derived from the heroic epos,
such as the Oresteid, which was particularly adapted for vases
destined for funeral purposes. The plots of comedy have
afforded subjects for only a few vases. Scenes indeed occur,
which may be possibly derived from the trilogies, and are
parodies of known fables ; while others are taken from the
arguments of the known plays of Aristophanes, Diphilos, and
otliers.
Although many vases seem to have subjects derived from
the writers of philosophical allegories, none of these can be
identified with any well-known composition ; and the period
of the Athenian stage is that of the last decline of the art.
Light, of course, is reflected upon the entire series of vases by
the whole circle of ancient literature. The especial subject of
vases is not, indeed, treated by the Greeks in any separate
dissertation, but extensive extracts, and an attempt at a sys-
tematic treatise, appears in the Deij)nosoj)histai, or " Philosophers
at dinner," of Athenaios of Naukratis, a writer of the Alexandrine
school, who flourished in the third century. The " Account of
Yases," of the celebrated Eratosthenes, and the meagre tenth
book of the Onomasticon of Julius Pollux, written in the second
century, in the reign of Commodus, and containing much valu-
able information about vases, had indeed preceded; to which
the Lexicon of Suidas, the Etymologicum Magnum, and the
Scholiasts of Pindar, and those of the tragedians and Aristo-
phanes, also contributed their share.
We will now direct our attention to the emblems, attributes,
and costume, which distinguish the different figures represented,
and which are always those which were in use in the earliest
ages of Greece. Zeus is generally represented amply draped
and bearded, seated upon a magnificent throne, or standing, clad
in an ample tunic, and holding a sceptre. Hera is adorned
with the stej)hane, or diadem, resembling the mitre, or covered
with the kalymma, or veil, and holding a sceptre. Athene, on
the oldest vases, is quite indistinguishable from an ordinary
female ; but on subsequent ones appears wearing a helmet and
the segis. The aegis, however, often entirely disappears on the
later vases of Apulia. She almost always holds a lance and
HAP. VI. COSTUME OF GREAT GOUS. 293
irgolic buckler, and sometimes her owl. Poseidon, on the
Idest vases, holds a trident, and sometimes a dolphin, and is
raped in a white woollen tunic, to indicate the foam of tlie sea.
lermes, on the earliest vases, wears a short tunic round the
>ins, and is winged. On subsequent ones, however, lie wears
le petasos, chlamys, and boots. On the latest vases he
/ears the hat, winged talaria, and chlamys. He almost always
bears the caduceus, but sometimes this is also carried by heralds.
Amphitrite sometimes holds, besides a fish, a sceptre decorated
with sea-weed. Nereus is distinguished by his white hair, and
holds a dolphin and sceptre. Triton is represented as the
" iishy Centaur," having a human bust, and terminating in a
fish. Thetis, who is often represented as an ordinary female,
on some vases is accompanied with snakes, lions, dogs, and sea-
monsters, to show her metamorphosis. The other Nereids, on
vases of the later style, are mounted on dolphins. Skylla ter-
minates in sea-dogs. Pluto is depicted as a white-haired old
man, holding a two-pronged sceptre, while Persephone is known
from other female deities only by the scenes in which she
appears. Sometimes she holds a flower. The Greek Charon
is distinguished by his boat and oar, the Etruscan Gharun by
his hammer. The Shades are often winged. Ares appears as a
hoplite. A^oIIon, on the oldest vases, is seen draped in a long tunic,
and playing on the heptachord lyre, but on the later vases he
has merely a piece of loose drapery floating over his shoulders.
He wings his deadly shafts from the silver bow, or holds tlie
laurel branch, and has at his side a swan or a bull, or the
gryphon.^ His sister Artemis is always draped, often wears
upon her head a lofty tiara or mitre on the oldest vases. She
is ever distinguished by her bow and arrows, and when on later
vases she has her hair tied in the hrdhulos behind, and wears
the short tunic and hothurnoi, she still retains her w capons. At
her side is the goat, the lion, and panther. Aphrodite is not
easily distinguished from the other goddesses. On the oldest
vases she is draped, and sometimes holds a sceptre, or a flower,
or even an apple. On the later vases her drapery becomes
transparent, and shows her form, and she has her hair bound
with the JceJcryjoJialos or simple tainia. At a still later period she
appears half draped. At her side is seen the swan, the pigeon
or dove, and the goose. She is often accompanied by Eros,
Gerhard, Rapp. Vole, p. 45.
294 GREEK POTTERY. Tart II.
wIjo is always adult and winged, and whose emblems are the
hare, the swan, the pigeon or dove, a bird supposed to be the
iynx, and flowers ; and sometimes by Peitho, whose emblems are
an alabastos and stylus.
Dionysos is distinguished by the ivy wreath which binds his
head ; he is draped in a long tunic, and has a garment thrown
across his shoulders. On the early vases he has a long beard,
but on the later Apulian ones he is seen in his youthful attri-
butes, only half draped, and with rounder and more graceful
limbs. In his hands he holds the vine, the kantharos, the
rhyton, or the keras ; sometimes the thyrsos, or the torn limbs
of a goat. At his side are the panther, the goat, the bull, and
the mule ; amidst his wild followers his attitude is generally
composed, but he is seen tearing the limbs of a kid or fawn, or
holding a snake. His consort, Ariadne or Libera, is generally
undistinguishable from an ordinary female ; the Silenoi, or
Satyrs, are seen with their bald foreheads, pointed ears, and
horses' tails, horses' feet on early, and human on later, vases ;
and Pan is distinguished by his horns and goats' feet. Con-
nected with Dionysos is Demeter, who is generally indicated by
her holding spikes of corn, the ploughshare, the rod, as Thes-
mophoria, or a sceptre, while Hehate, who appears in the same
scenes, grasps torches. The inferior deities, such as Aurora,
Nike, Eros, the Winds, the Gorgons, and Fear are winged.
HeraMes, on the oldest vases, is not distinguished from other
mortals ; but upon those of later, though still ancient style, he
appears, as described by Pisander, wearing a tunic, over which
is wrapped his lion's skin, and armed with bow and arrows and
club ; while in some scenes he is arnted like a hoplite or
heavy-armed soldier. The type of warriors on the earliest vases
resembles the description of them in Homer and the early
poems. They Avear Corinthian helmets, often crested ; thorakes,
or breast-plates, under which is a tunic, and greaves. Their
arms are either the Argolic, or circular buckler, or else the
peculiar Boeotian one — not limited to Greek heroes. These
bucklers are ornamented with armorial bearings,^ or devices
exhibiting great diversity, and alluding to the wearer, like those
described by the tragedians. Thus, that of Achilles has a
scorpion. Hector's a tripod or a snake, to indicate that he was
protected by Apollo: offensive weapons are double lances,
Gerhard, Rapp. Yolc, p. 45.
Chap. VI. COSTUME. 295
javelins, swords and falcluons, bows and arrows. Slings, clubs
and stones are rarely used.
Rather of the nature of a defence than an ornament is the
•"andyked leather object, the laiseion, suspended to the bottom
^^pf the shields of the Trojans and their allies, the Amazons, to
ward off missiles from the legs. This is also ornamented with
devices. Some shields have their omphalos, or boss, sculptured
to represent a head of Pan, and others have serpents issuing
from them in very salient relief. On the later vases a crested
helmet with cheek-plates, called the Carian helmet, often
appears instead of that just 'described, and much of the
defensive armour is omitted.
The Giants, the Amazojis, and the threefold Geryon also
appear as armed warriors, and although on the earlier vases the
archers are clad in Phrygian costume, with pointed caps,
tunics with long sleeves, and trousers, anaxyrides, on the later
ones only Asiatic personages, such as the Amazons, Pelops,
Priam, the Phiygians, Medea, the great king, and other
orientals are distinguished by a costume more distinctly oriental.^
In the same manner the Amazons have the pelta, or lunated
shield, and the Scythians, Egyptians, and others are clad in a
costume intended to represent their national one. The civil
costume varies according to the period, and the action intended
to be represented. At the earliest time, and in rapid actions,
the personages are clad in short and close-fitting tunics, reaching
only to the knees, but older personages, whether gods, or kings,
or even their principal officers, and the paidotrihoi, or tutors
and instructors in the Gymnasium, are draped in a long talaric
tunic, called the chiton poderes or orthostadios, a garment which
is also seen upon females. Over this is thrown a kind of shawl,
which floats from shoulder to shoulder, and which in females
droops to the earth ; as a female garment it must be the pephs,
when worn by men perhaps it is the ampechonion. On later
vases the drapery of females becomes more transparent, but
still retains the same form. On many vases, however, both of
the old hieratic and more recent styles, the figures of men have
only the ampechonion, especially in orgiastic scenes of the
Icomos, and sometimes of the camps. In hunting scenes
the heroes wear the chlamys. Great difference of costume is
visible upon the later vases of Campania^ and Apulia, and
Gerhard, Kapp. Vole, pp. 56, .57. - Ibid., p. Gl.
296 GREEK POTTERY. Pabt ir.
especially the richer ones of Riivo or the Rubastini, in which
the drapery is of a more embroidered and Asiatic character.
It is no longer the plain or simply flowered vestments of the
early style, but ornamented with many colours, rich chequers,
diapers and mseandered borders ; and sometimes, like the tunic
of Jason, as described in Apollonius Rhodins, ornamented
with a series of embroidered figures round the hem. In athletic
scenes the epheboi or athletes are naked, and so are the warriors
in those of the camp. Children, and boys at all periods, have
the age of youthful innocence distinguished by the absence of
clothes. Females are always 'draped in tunics at the earlier
periods of the art ; on the later vases they first appear undraped,
except in some rare examples on the older vases of scenes in
the bath, or in the symposium, where they exercise the juggler's
craft. Their head-gear,^ consisting, on the earlier vases, of a
simple tainia or fillet, a wreath or mitra, is exchanged on the
later ones for a tiara, the pointed hidaris, the radiated stejohane,
the sjphendone, and opisthosjohendone ; and on the later Apulian
and Lucanian vases sandals, necklaces, elegant earrings, and
the oj)his or serpent-bracelet are first seen. A long chapter
might be written upon the difference visible in the chairs, seats,
couches, and other furniture; — on the objects held in persons'
hands — in the old hieratic style, consisting of a flower, or the
edge of their tunic, a wreath or branch, which is exchanged on
the later vases for the tainia or fillet — the pyxis or toilet box —
the spindle — the mirror — and the halathos, or work-basket.
In the earliest vase-paintings deities are not only indis-
tinguishable from one another, but even from kings and other
mortal personages; nor can the use of white to indicate the
finer colour of females be considered otherwise than as a generic
distinction. This defect was probably inevitable, owing to the
rapid mode of drawing, and because clothing and attitude were
the only means employed to denote exalted personages, whether
mortal or immortal. Thus all the divinities, both male and
female, are clad, and, except Hermes, with the long talaric
tunic, the chiton jpoderes, often richly embroidered with flowers,
stars, or chequered work, and recall to mind the rich Asiatic
garments woven in the looms of Babylon and Assyria. Over
this is often thrown another shawl, the same in both male and \
female deities, which is probably the peplos. This tunic did not.
^ Gerhard, Rapp. Vole, p. 44.
lAP. VI. p]XPRESSION AND ATTITUDE. 297
the earlier vases, admit of the form being seen through it.
)me of the deities, such as Hermes, as ah-eady observed, wear
ie usual sliort tunic and the chlamys. The appearance of
iked females is limited to the scenes of the batli, and of some
ire representations of jugglers or thaumatojpoioi and hetairai.
■et certain distinctions continued to appear as the art advanced,
Either by appropriate costume or by the introduction of ad-
juncts. The ivy crown indicated Dionysos, so did the mule or
goat ^ on which he sat ; the ram accompanied Hermes,^ the swan
Aphrodite, while the bull on which Europa rode pointed out
that amour of Zeus.^ The lion skin generally envelopes the
limbs of Herakles even on the oldest vases, although examples
occur where the demigod is armed like an ordinary hoplite,
and Zeus in the Gigantomachia appears in the same costume.
Hermes has the petasos and caduceus, Ares is armed, Nike,
Iris, Eros, the Winds, and Gorgons, are winged. Satyrs have
pointed ears, horses' tails, and sometimes, but rarely, hoofs for
feet ; the marine deity Triton terminates in a fish ; the Trojan
archer wears the pointed cap ; Asiatics, at a later period of the
art, appear in the anaxyrides or breeches, the cidaris or
pointed cap, and the short tunic. The Acheloos appears as a
human-headed bull, the Minotaur as a bull-headed man. The
youthful warrior or huntsman wears the petasos or Thessalian
broad-brimmed hat, and the chlamys. Spears and swords
designate the warrior, sceptres the monarch, sticks the old man,
the civil dress of the warrior, the paidotribos or pedagogue ;
nudity indicates youth or athletic exercises. The transition
from the draped to the half-draped and finally to the nude
female marks alike the decline and progress of art.
The expression of the figures varies considerably according
to the age of the vases, but never exhibits the diversity which
the sculpture of the corresponding period shows. All the faces
of the same vase are alike, and no physiognomical distinction
can be drawn between gods and heroes, or even between male
and female figures.* On the earlier vases the noses are long,
with a tendency to turn up, the chins pointed, the jaws round
and deep, the eyes large, the limbs angular and sinewy, the
buttocks curved and rigid. Long prolix beards appear at all
Mon., vii. t. lix. ^ Ibid., Ixvii. ^ Ibid., vii. Ixxviii.
^ Gerhard, Rapp. Vole, p. 43.
198
GREEK POTTERY.
Part II.
times on some figures, to mark the virile or senile age. At the
earliest period the distinctions between youth and old age are
not well observed, but on the vases with red figures they begin
to be marked; but no moral distinctions are attempted, the
expression of a Zeus, a Hephaistos, a Dionysos, a Hermes, or
even an Apollo being identical. The size of the figures
varies from about 1 to 11 inches. A part of the treatment
regards the small adjuncts seen in the field of the vases, which
generally have reference to the scenes represented. In the
oldest style the field is generally seme with flowers,^ but in
those of a more advanced style these are never introduced.
Thus a forest is represented by a tree, a palace or temple by
columns and a pediment. As the style advanced still more, in
vases with the red figures accessories gradually appear, and
they are most frequent in vases found in Apulia and Lucania.
Still the grounds are left comparatively clear, as the object of
the artist was to isolate his figure. In scenes of the palaistra,
the gymnasium and, of the bath, strigils and lekythoi,^ and the
halter es ^ or leaping dumb-bells are seen hung up, or Hermai
are introduced.* The camp is indicated by the armour, such as
shields, helmets, and greaves ; ^ or by a sword suspended by its
belt.^ In symposia vases, baskets, and boots,' are seen about ;
in musical scenes the flute-bag ^ or the lyres ^ appear. Interior
apartments are indicated by a window,^^ a door,^^ or a column ;
and sashes,^'^ kalathoi,^^ spindles,^* balls,^^ letters/^ mirrors,^' and
wreaths,^^ vases," or crowns,^'^ are in the back-ground. In a
scene of the amours of Dionysos and Ariadne a bird-cage is
introduced.^^ A flying bird indicates the open air ; ^^ a dolphin
denotes the surface of the sea,^^ a sepia or a shell its depths.^*
As the arts declined the accessories became such prominent
* Gerhard, Eapp. Vole, pp. 55-57.
^ Y, D. C., xxxiii. ; D. M., ii. xxviii.
iii. xiv. li. ; V. G., ii. Ixxxiv. 2 b.
2 V G., xlviii. ; M. A. U. M., xxxvi.
* Y. G., xlviii.
' D. M., ii. XXX. xxxvii. Ixxiv.
« B. M., 848.
^ Y. G., ii. Ixxvii. 2 a, Ixxxi. ] a.
* D. M., ii. Ixiii.; M. G., ii. Ixxxi.
lb.
* Y. G., ii. Ixxxi.
"> Y. G., xxx. xlv. ; T., v. (i.) 71.
'1 Y. G., xliii.; D. M., ii. xix.
12 Y. D. G., XX. ; D. M., ii. Ixxi. Ixxiv.
'3 T., i. 11.
>* T., iv. 1.
" D. M., ii. Ixiii.
i« T., iii. 34-53, iv. 59.
'^ D M„ iii. xli ; M. A. U. M., xxxvii.
i« T., iii. 53, v. (i.) 12.
»3 P. I., H., iv. 38.
20 Y. D. C., xxvii.
21 T., V. (i.) 3.
22 D. M., iii. xxxviii.
23 D. M., ii. Ixxx. ; Y. D. C. Y.
2* D. M , ii. xxix. ; T., iii. 2.
Chai'. VI. EXPRESSION AND ATTITUDE. 299
parts of the picture that they are scarcely any longer subordi-
nate. Whole temples,^ lavers, loutra, and furnished apart-
ments are introduced, as in modern art, in which the mind and
eye have to exprt a microscopic power in order to intei-pret
successively the different parts and the meaning of the subject,
which in the older art was told simply and unequivocally by
the symbols; these adjuncts are the keys and clues to the
interpretation of figured archaeology.
» D. M., ii. xlix.
300 . GREEK POTTERY. Part II.
CHAPTEK VII.
Glazed vases continued — Ornaments — Their nature and use — The Maiander —
Chequered bauds — The fret or herring-bone — Annulets — Egg and tongue
ornament — Scales or feathers — The helix — Antefixal ornament — Wreatlis
— Petals — Vine branches — Akanthos leaves — Flowers — Arrangement —
Sources from which the vase-painters copied — Inscriptions — Form of the
letters — Position — Dialects — Orthography — Different kinds of inscriptions :
painted inscriptions ; names of figures and objects — Addresses — Artists'
names — Potters' names — Laudatory inscriptions — Unintelligible ioscrip-
tions — Memoranda.
Subordinate to the subjects in point of archaeological interest,
but intimately interwoven with them, are the ornaments which
helped to relieve and embellish the representations on pic-
tures, and, so to speak, to frame them. Numerous vases, in-
deed, are decorated with ornaments only, whilst many smaller
ones are entirely black, from which circumstance they were
nicknamed *' Libyes " or " Moors." The ware of Nola is
richest in vases of this class; and amphorai, hydriai, stamnoi,
kylikes, phialai, pyxides, and lamps, of this unornamented de-
scription, are found in the Campanian sepulchres. Others have
only the simplest kind of ornaments, consisting of plain bands
or zones passing round their body and feet. A very common
decoration is two bands or zones concenti^ic to the axis of the
foot of the vase. This is, however, found only on the black
vases of the best period. Other vases, both of the earliest and
later classes, are painted with ornaments, consisting of wreaths
of laurel, myrtle, or ivy, heliJces, egg and tongue borders,
maianders, waves or the kymation moulding, chequers, guilloche,
spirals, dentals, and petals. These are artistically disposed
upon them according to certain rules of great symmetry and
taste; and that the artist prided himself upon his talent in
this way is certain, from some vase-painters having attached
their names to vases only decorated with ornaments. On the
whole, there is a poverty in the variety of ornaments employed,
very different from the fruitful caprices of the Teutonic races,
amongst whom, from religious motives, ornaments were often
Chap. VII. ORNAMENTS— THE MATANDER. 301
employed in preference to representations of the human form.
It is on the earliest vases that ornament is most employed : as
the art developes itself, it is gradually lessened, till at the best
period it almost disappears. But on the later efforts of the
potters it again rises like a noxious weed diminishing the in-
tent of, and ultimately superseding, the subjects. It must bo
borne in mind that originally the ornament was either the
normal mode of representing certain things extraneous to the
subject, or a symbol introduced into it. Hence in the arrange-
ment of ornaments different principles were called into play.
The wreatlis and bands of antefixal ornaments or helihes, appear
for instance to be imitations of the crowns and fillets which it
was the custom of the Greeks to tie round the vase at festive
entertainments, whilst the helix at the handles seems to have
represented the flowers attached to that part of the vase.
Maianders, ovolos, and astragals, on the other hand, were either
architectural adaptations to the vase or accompaniments of sub-
jects originally selected from the different members of buildings,
such as the pediments, metopes, and friezes. Other ornaments
were conventional, or symbols to denote particular conditions
or places, which originally they defined, and were subsequently
retained from habit. Thus the kymation or wave moulding,
represented the sea or marine compositions, the maiander a
river on the land, and a fleurette (fig. 30) the carpet of nature
on which the figures walked. The ornaments, indeed, exhibit
great monotony, and are repetitions of a type not diversified like
the arabesque ; but they are distinguished by an airy lightness
and an extreme simplicity which harmonise exquisitely with the
human forms with which they are associated. They are well
adapted to the shape and colour of the* vases, and afford great
relief to the subject depicted. The details of the principal
ornaments are as follows.
The maiander ornament differs very considerably on the various
vases on 'which it is found. On the early fawn-coloured ones it
predominates generally in the simplest forms like those depicted
in figures 1, 2. The pattern (fig. 3), indeed, a more complex
variety, sometimes occurs. It occupies the most prominent
places of the vases, as the neck, body, handles and other parts.
On those with yellow grounds, in the rare instances in which
it appears, it is employed for bands round the neck (fig. 4) ;
whilst on vases of a more advanced style of art it reappears
in a more complete and connected form, intermingled with
302 GREEK POTTERY. Part IT.
flowers, and represents the ground upon which the animals
walk (fig. 5).
At the foot of the amphorae with black figures, the ornament
appears in the form represented in fig. 5. This type is finally-
superseded by one resembling that represented by fig. 3. On
the early vases with yellow grounds, it consists of three, four,
or five maianders, with a flower at the end, treated in a very
conventional style, generally as a square with diagonals, some-
times with pellets in the sections (fig. 7), while at other times
it resembles a quadrangular fort (fig. 6). On some of the late
Apulian vases, on which this style of ornament first appears, the
flower is treated as a cross on a black back-ground, bearing
some resemblance to a Maltese cross (fig. 9). In the last
style of all it appears as a square divided at right angles,
with pellets, and is probably intended for a flower with four
spots (fig. 7).
Chequered panels, disposed either horizontally or vertically,
are extensively used on the fawn-coloured vases, and on those
with yellow grounds (figs. 10, 11). They also appear on the vase
of Capua, already cited, on vases with black figures, and on the
shoulders oilehythoi^ (fig. 12).
The fret or herring-bone (fig. 13) is of common occurrence
on vases of the oldest style, disposed in horizontal or vertical
bands, either in a single or triple line. It occurs rarely on
vases of the style called Phoenician, and still more so on vases
with black figures. A remarkable employment of this ornament
occurs on the early^ hydriai w^ith black figures, on which it is
used as a boundary to the picture, and being knotted at the
points of union, forms a reticulated pattern (fig. 29). On
the earlier vases bands of annulets (fig. 14) occur, as on the
foot of a vase in the British Museum.^ This ornament does not
appear on vases of the later styles. Egg and tongue (fig. 15)
ornaments are employed on vases of all periods. On the
earlier ones they are much elongated, and principally appear
on the shoulder of the vase. They are never placed below the
handles, but are sometimes found at the place of insertion. On
the hydria, or water vase, this ornament occurs between the
frieze and body, its position on vases of a later style, where it
sometimes divides the subjects. It is introduced with graceful
effect at the lip. This ornament is of the Ionic order. Another
1 See V. L., ii. xlix. 1. 61. ^ ^^ 2559.
Jhap. VII. DEVELOPMENT OF THE HELIX. 303
^rnament imitated overlapping^ scales or feathers like the ojins
ivonaceum in tile-work. It occurs only on vases of the early
loric style. Many examples occur on vases found at Nola.^
)he development of the helix or ornament of the antefixae is
^ery remarkable ; on early vases of the intermediate style be-
tween the Phoenician and early Greek, it assumes the shape of a
lere bud (%. K)). On the cups with small figures it developes
tself (fig. 17) from the handle on a single stem either with the
>etals closed or detached, and curling upon a spiral stem, like
le leaf of a creeping plant. On the oldest vases, when it
employed in a bud, it sometimes assumes an abnormal
appearance.
The helix is also extensively employed as a frieze or scroll
m many hydriai and vases botli of the earlier and later styles.
^hen it appears alone it resembles the leaf of an aquatic plant,
with seven petals ; but in combination, it follows the scroll
[fig. 18), like the leaf of a creeping plant, the points of which
ire either in one direction, or half of them one way and half
the other (fig. 19), or alternately upright and pendent. This
ornament is often intermingled with spurs and other portions
of plants. On the earlier vases with red figures it forms a rich
ornament when intermingled with other emblems — being then
often disposed in red bands, on which it is coloured black.
Sometimes it is seen as a frieze, with a kind of flower like the
hyacinth interposed, in which it represents as it w'ere the foliage
to the flower (fig. 20), often treated in this way. On the neck
of the later Nolan amphorre, and on vases of the fine style with
red figures, this ornament (fig. 21) becomes more floral and pic-
turesque, and fills up the whole space of the neck, termed by
some the palmetto ornament. The accompanying form of
the leaf (fig. 22), which is seen in a wreath or collar of a vase
of Etruscan style, bears so much resemblance to the antefixal
ornament that it may be an early development of it. On the
neck of some of the late hrateres with red figures it is elegantly
disposed in an oblique manner (fig. 23). It continued in use
till the latest period of the fictile art — but on the vases of the
style of the Basilicata and Santa Agata dei Goti, it has more
petals, becomes more splay, and the spiral tendrils are often
altogether omitted (fig. 31). It is profusely employed, and
generally in combination with the flower.
1 B. M., 397.
304
GREEK POTTERY.
Part II.
One of the earliest ornaments on the vases is a composite
form of the antefixal ornament ^ called helikes, intermingled with
flowers. A very old arrangement is to place the flower and
leaf alternately (fig. 24), by making an ornament, each part
of which has a leaf at one end and flower at the other, so
as to convey the idea of a double row of leaves and alternate
flowers united by a broad band. On the early Dionysiac am-
phorsG with black figures this is the prevalent and most im-
portant ornament ; arranged generally, however, as a double
wreath, the antefixal ornaments inversely to each other, and
the flowers, which are connected by a twisted cord or chain.
On a vase made by Nikosthenes, this ornament assumes
wnth its flowers a remarkable shape. This helix or antefixal
ornament is the same as that which appears in the Doric enta-
blatures, but the ovolo, or egg and tongue, belongs to the Ionic
order. Both are found united upon early vases with red figures.
The combinations of helikes and flowers at the handles of the
Dionysiac amphorae will give an idea of the elegant appearance
of this ornament. A light and elegant arrangement of the helix
is displayed on the necks of certain lekythoi.^ The flower inter-
mingled with these ornaments has been supposed by some
writers to be that of the clematis cirrosa,^ to which plant some
varieties of the form of the antefixal ornament have also been
referred. On some of the amphorae of the later style the
flowers are more elegantly turned, and their shape approaches
to its appearance on the red vases, the antefixal ornament
having a trefoil. A very common ornament of the necks of
amphorae and other vases is a wreath of interlaced flowers
and buds (fig. 28). Such wreaths often occur on vases of the
old style or that called Egyptian. On vases of the transition
style the flower gradually becomes more like a bud and less
enclosed. The manner in which •it appears mixed up with the
antefixal ornament has been shown in the preceding examples.
This ornament is seen on the shoulders of the amphorae called
Tyrrhenian, and on the feet of the Dionysiac ones with the
points turned up. On the later vases it entirely disappears. It is
uncertain what flower it is intended to represent. Some persons
take it to be the hyacinth. Ivy wreaths (fig. 25) appear on
^ Various ideas have been put forth
with regard to this ornament. See
Annali, 1843, pp. 380, 384.
2 For a vase entirely ornamented with
helikes, see V. L., ii. 41,
3 Hogg, Trans. Roy. Soc. Lit., New
Series, ii. p. 179, and foil.
y
^ :r3 ;r-:J
28
f
*
^
HO
[S1S1515]
10
HH
"'"1 [
29
14
O G O
fCHAP. VII. WllKATHS AND FESTOONS. 307
ome of tlie pale vases of the Etruscan style, and on some of
lie fine vases from Athens; and on the necks of some of the
ehjihoi with black figures. Sometimes the leaves only are seen,
intermixed with the helix ornament. On the hydriai, or water
vases, the boundary lines of the pictures are sometimes formed
y upriglit festoons of ivy wreaths (fig. 26), which are also seen
jerranged vertically round the lips, and undulating with the
contours of the handles of the so-called Tyrrhenian amphorae ;
relieving by their liglit and graceful contrast the sombre mono-
tony of the body of the vase. On the necks of the Imljpides,
and later vases of the fine red ware, this ornament becomes
more graceful and the stems of the foliage more entwined
(fig. 27), while flowers or berries are introducer!. On the late
kelehai, or craters wdth columnar handles of the style of the
Easilicata, the whole neck of the vases is often occupied by an
ivy wreath in black upon a red ground, having as many flowers
or berries as leaves. The feet of the early vases, and of most
pf the hydriai and amj)horeis, are ornamented with the repre-
sentation of petals of flowers in black upon a red ground.
In some instances this ornament is doubled. Vine branches
appear only on the later vases. Such an ornament will be
seen on an ashos of pale yellow clay with brown figures, in
the British Museum. In the same class of vases acanthus
leaves are found grouped in a floral style, with antefixal
ornaments at their sides. In the centre generally appears a
full-faced head either of Aphrodite or Victory. On these
vases the floral ornaments become more elegant and archi-
tectural. The accompanying example (fig. 28), will show how
the convolvulus was represented at this period. Sometimes
there appears a small low flower rising from the earth — pro-
bably the asphodel. On some vases the floral ornaments assume
the form of the architectural scroll, and are imitated from
friezes or other members.
Nor is the manner in which these ornaments are grouped on
the early vases less instructive. The liydria constantly has its
frieze, or upper picture, surmounted by the egg and tongue
ornament.^ The picture on the body is separated by a band,^
kmaeander,^ single or double* chequer,^ or net;^ the sides are
k
B. M., 454. 2 B. M., 485.
B. M., 4G8, * B. M., 47G.
B. M., 48G. « B. M., 407.
B. M., 48G. « B. M , 487.
X 2
308
GREEK POTTERY.
Part II.
zone lias interlaced buds,^ the helix, "^ or a frieze of animals,^
about If in. broad ; all which, however, are wanting in some
examples.* The bases are always decorated with petals,^ and
the rest of the body is generally black ; yet some hydriai have
red lips,® and others the feet either half or entirely red.' The
inner half of the handle, and sometimes the whole, is generally
red, while at the place of insertion of the long handle is a
modelled head.
The old hrateres, with columnar handles, have the floi-al orna-
ment round the lip, the ovolo ornament round the edges, and
the ivy-leaves at the sides, which in the later vases of the style
of Santa Agata dei Goti occupy almost the whole of the neck.
On the kraters, or the so-called oxtjha])lia, the lips are usually
ornamented with a wreath of myrtle or olive, or else with the
band of oblique antefixal ornaments. On those of the best style
and finish, the lips and places of insertion of the handles have
the ovolo. The oinoclioai, or jugs, with black figures of the
earliest style, have an ovolo roimd the neck, or sometimes an
antefixal ornament. The pictures are generally banded with
ivy w^-eaths. On the Dionysiac hydriai, the monotony of the pre-
dominant mass of red colour is broken up by the profusion of
ornaments. The frieze, for example, for the most part consists
of the floral ornament, with the points generally upwards, but
sometimes downwards ; or else of the ovolo fringe or border.
The same ornament and the maeander is generally repeated
below, and sometimes with a band of animals. On the neck
are usually disposed the double antefixal and floral ornaments.
At " the feet are the petals.^ On the lehythos, the upper and
lower parts of the picture are commonly ornamented with a
m£eander border while the neck is either decorated with a series
of rays or petals, or else with antefixal or helix ornaments, dis-
posed in an inverted frieze. The band rouni the foot is usually
left of the colour of the clay. The rare hydriai, with red
figures have their friezes enriched at the sides with hands of
the helix or antefixal ornament, and their pictures are bounded
by a helix wreath or by a reticulated ornament. The halpides,
or later hydriai, which have no frieze, have their lips and the
lower part of their subject bordered with an egg and tongue
' B. M , 464.
3 B. M., 485.
* B. M., 468.
2 B. M., 468.
' B. M., 458.
« B. M., 480.
' B. M., 470.
« Biit. Mns. Vases, No. 546-70-71-
65-97.
:hap. VII. LESCH^ AND PAINTINGS. 300
H'liament, and sometimes with antefixal ornaments and ma^an-
lers. Wreaths of ivy, myrtle, or laurel, are tastefully disposed
)nnd the neck.^
On Panathenaic and Bacchic amphora) the arrangement is
IS follows : —
Panathenaic amphora."^ — (1) Double antefixal, (2) Ovolo.
[3) Subject, (4) Petals.
Dionysiac ampliorm? — (1) Double antefixal, (2) Ovolo, (3)
'rieze, (4) Majanders, (5) Lotus flowers, (<>) 8ul)ject, (7) ^he-
mders, (8) Petals.
It is necessary now to consider the different works of art from
which the vase painter may have derived some of his ideas.
These works were ever present to his eye in great number and
variety, and he reproduced them in accordance with the spirit
of his ;ige, without making servile imitations ; for vase-paintings
cannot be considered as mere mechanical copies, scarcely any
two of them being alike. The treatment of the subjects gene-
rally resembles that observed in the mural paintings of the
oldest sepulchres. The fresco paintings of the stoai, or porticoes,
and of the leschai, or ancient picture galleries, must have been
most instructive to artists, as w^ell as the votive pictures of the
principal shrines. On the oldest vases, however, may be de-
cidedly traced an architectural naanner, derived from the con-
templation of metopes, friezes, and pediments. Some of the
very oldest vases, having numerous bands or zones of subjects,
suggest the idea of their being copies from celebrated pieces
of sculpture, such as the chest of Kypselos, or the throne of
Bathvkles at Amvklai. The friezes of animals were imitated,
as has been already observed, from xAssyrian, Persian, or Susian
art. The subjects on the later vases of the fine style recall to
mind the descriptions of the pictures of Polygnotos ; whilst in
those of the decadence the treatment resembles that adopted
by Zeuxis, Apelles, and other artists of the Khodian school,
such as Nikias, from whose works they may have been copied.
Yet it is almost impossible to identify vase-paintings with any
particular works of antiquity, although it is evident from Pau-
sanias that their subjects were "to be found in all the principal
shrines of Greece. Few, however, present such entire com-
positions as occupied the time of the greatest painters. The
' See the va es, B. M., 71G-20. i ' B. M., 555*. For the details of a
- B. M., 571. I late ampliora. of. T. V. (I.), 40-41.
olO GREEK roTTEUY. Part II
greater part contain only portions of subjects, although some
striking examples show that the whole argument of an Epos
was sometimes painted. Hence their importance both to the
study of ancieut painting and to the reconstruction of the lost
arguments of the Cyclic and other writers; for, as in the so-
called Kaifaele ware, may be traced the arguments of the Scrip-
tures and of Ovid ; so in the Greek vases may be found the
subjects of the Kt/pria, and the Nostoi, and of the lost tragedies
of the Athenian dramatists, togetlier with traces of Comedies of
all styles, and even Allegories derived from the philosophical
schools, all of which had successively engaged the pencils of
the most celebrated artists. That these vases were copies from
pictures or sculptures, is maintained by one of the most acute
connoisseurs, who cites the celebrated vase at Naples of the last
night of Troy, as an evident copy of a frieze or picture, and the
procession on a Vulcian cup as taken from a sculpture. But it
is impossible, at the same time, not to admit that in so vast
a number there are some, if not many, subjects which were
invented by the vase painters. These are detected by the
corrections of the master's hand and by the composition, with
its accompanying ornaments, being adjusted to the character
of the vase. Such works are supposed to be the production of
the vase painters, Archikles, Xenokles, Panthaios, Sosias, and
Epiktetos.^
Incised vases were called grammatihoi? Tlie inscriptions
which occur on vases are limited to those produced at the
middle period of the art. On the earliest vases they are not
found at all ; on those with pale straw-coloured grounds they
are of rare occurrence; on vases with black figures and red
ground, they are often seen ; and on these with red figures
they are constant accompaniments, and continue to be so till
the decadence of the art, as seen in the ware of the Basilicata
and Southern Italy, when inscriptions again become compara-
tively scarce. Some of the last inscriptions are in the Oscan
and Latin language, showing the influence and domination of
the Romans in Campania. The inscriptions follow the laws
of palaeography of the period in which they occur. The oldest
inscriptions are those of the following vases : the Korinthian
vase of Dodwell, with the hunt of the boar of Kalydon ; those
of the makers Timandros and Chares, and other men, found at
Aniwli, 1830, p. 244. - Athcnieus, i. 466.
[AP. VII. DATE OF INSCRIPTIONS. 311
iJsere ; a cup of the maker Tleson, with the same subject, and
le iui[)tial dance of Ariadne ; the vase of the Hamilton col-
jction, found at Capua ; a vase with the subject of the Geryon ;
le so-called Franpois vase at Florence ; another with the
>ml)at over the body of Achilles ; and a cup, on which is seen
Lrkesilaos king of Kyrene. Of these, the Dodwell vase has
)een supposed by some archaeologists to be of the Feventh
century B.C. None, however, date earlier than Olympiad xxx.
= B.C. 660, when writing is known to have been used in
Greece. The date of the Arkesilaos vase cannot be prior to
Olympiad xlvii-li., when the first of the Battiads ruled at
Kyrene, nor much later than the Lxxx. Olympiad = B.C. 458,
when tlie fourth of the line was in power.^ As a rule the
inscriptions on vases are in the Doric and Attic alphabets ;
forms of the Ionic alphabet as C for F, or the digamma, appear
to have been introduced from Tarentum.^ For comparison of
the earlier alphabets the inscriptions of the age of Psammetichus,
not older than B.C. 6.j0, that of Polykrates, B.C. 566-22, and
the old alphabet of iEgina before the 3rd year of the Olympiad
Lxxxvii. B.C. 431, are useful guides.
The inscriptions are disposed in the housirojphedon manner.
B is used for €, M for X, X for A, C for F, b for the aspirate,
© for in a case where the T is not used, 9 for K, I for I,
R for P. At a later period the letters which are more cursive
are not distinguishable, except by the context. Thus A < O >
are confounded, and the C often resembles the.n ; A and V are
alike, so are F and FI, M and ^ ; V is much hke L, A itself is
written L, X like S, T as V- The aspirated letters (C and 4.,
the invention of which was attributed to Palamedes, are found on
vases of the second class. The form which subsequently became
H is used for K. The lour letters Z "^ H H, said to be invented
by Simonides, are only found on later vases, "^ being represented
by 11 S, H by E, and H by O. 5, erroneously attributed to
Palamedes, is represented by KS or X ; but all these double
letters are found on the later vases.-^ As compared with coins,
(^ appears on the earlier coins of Athens, struck before the
Persian war, Q on the helmet of Hiero I., 01. Lxxv.-viii.
B.C. 474-467, and on the ancient Boeotian coins, erroneously
assigned to Thebes, H for H in the oldest Korinthian alphabet.
1 Tliierscl), 1. c, s. 77. - Rev. Arch., 18G8, p. 197.
' Gerhard, Kapp. Vole, p. 68.
312 GREEK POTTEKY. Part II.
The M or san, for ^ or sigma, occurs on coins of Posidoiiia and
Sybaris, struck about the seventh century B.C. ; | for I on those
of the first-mentioned city ; X for the E, resembling the
Etruscan B on uncertain coins of Campania ; H for the aspirate
is seen on the coins of Himera, and in the names of the Boio-
tarchs about the fifth century B.C., and the S on the currency
of the Thespiae.^ No numismatic examples are known of T for 0,
or of n for <l>, KS for H, or IlS for "^ ; but 9 is the usual
initial of the name of Korinth ^ on its latest and oldest coins,
and L for T on the later one of Phaistos in Krete ; all which
proves the high antiquity of the potter's art, and that it was far
older than the currency. Considerable light is thrown upon the
relative age and the local fabrics of the vases by the forms of
the letters seen on the vases of different styles. The letters on
the vases of the Archaic Greek style resemble those of the oldest
inscriptions found at Korkyra, and show their Doric character
by the use of the hojph?' This agrees with their probable
Korinthian origin, their art, and Oriental types of certain figures.
The epochs of the Korinthian alphabets are, the earliest
alphabet, of the eighth century B.C. ; the second, distinguished
by the use of |, Z, or ^ for the I ; the third with Z for M,
B for E and \S^ for B ; and the fourth with £ for Z of the age
of Gelon I. and coins of Syracuse B.C. 491, the Y and P occur-
ring after Hieron I. B.C. 467.* The words, however, with which
they are inscribed are sometimes ^olic,^ and the antiquity of
the alphabet undetermined. The alphabet obtained from
examining the letters on the style transitional from this to that
with black figures, which is for the most part Doric, as evinced
by the presence of the digamma and hoj^h, is found in words not
of the Doric dialect. Its age is also not certain.^ The letters
on the vases with black figures of the old style are those of the
oldest Attic alphabet, which was in use about Olympiad Lxxx.^
and the words on these vases, although sometimes abnormal,
are generally Attic. On the vases of black figures of the later
style the letters are those of the Attic alphabet current about
six Olympiads later.'^ The letters on vases with red figures
1 Kramer, XJeber den Styl und die I ^ Fr. I.enormant, Eev. Arch., 1868,
Herkunft, s. 54. | p. 283-289.
2 Annali, 1837, | 5 Xb 2AEv2 for ZEv2, on a vase in
^ Jahn,BeschveibungderVasensamm- the Campana Collection.
lung zu Miinchen, 8vo, Miincb. 1854. ® Jahn, 1. c, exlix.
Einlcit., s. cxlvii. ' Juhn, 1. c, cxlix.
HAP. vir.
VAIUETY OF ALrilAl'.KTS.
313
^f tlie strong style are nearly identical in form and epocli ;
rhile on the va^es of the fine style are found the letters of
le Attic alphabet which was admitted into official employ-
lent in the second year of the xciv. Olympiad, in the me-
lorahle archonship of Eukleides,^ after which the alphabet
Underwent no change. The use of the dic/amma, however,
continued on Doric vases, both of this and even of a hiter
^e.
Compared with the inscriptions found on coins tlie following
results appear. The coins ofHimera resemble in style, type,
and weight those of Zankle, founded B.C. 755, before B.C. 494 or
the arrival of the Samians. The coins give A, A, E, K, L, N.
These coins are evidently imitated, but of smaller size than
those of Magna Grsecia. The name of Messene seems to have
been given by the Samians B.C. 493. The alphabet then was
A, €, I, M, N, O, S ; one of these coins has on it A for
Anaxilaus : X for H and O for D. are found on coins of Naxos,
probably about B.C. 461, as part of the old Ionic alphabet. The
later coins have H, and are about B.C. 437. Some of the coins
are as old as those ofHimera B.C. 736-500 of the Ionic colonists.
In the fragment of the play of the * Theseus ' of Euripides,^
B.C. 422, the Q is described thus, and the H has two uprights
with a horizontal bar h on the coins of Heraklea ; like those of
Thurium, B.C. 432, these coins are probably as late as B.C. 280,
the date of the defeat of Laevinus by Pyrrhus. E is used for H
on coins of Messene struck by Anaxilaus B.C. 476. On coins of
Geta, king of the Hedones, H is used. These coins are rather
later than those of Alexander I. of Macedon, B.C. 480-463.
J appears on coins of Alexander I., which are inscribed or
not as if inscriptions were just introduced. E for H is with-
out the aspirate on Heraea, B.C. 580, for the coins of Geta read
indifferently F or /*. These must be assigned to the epoch of the
prosperity of the State, B.C. 498-448. But the inscriptions on
the earliest vases do not determine either the question of their
origin or their date, for on the same vases, as in the verses of
Homer, are found names and words in various dialects ; one of
the old vases for example, of transitional style, between the
Doric and black-figured w^are, has the name of the Naiades in
the purest Ionic, and that of Geryon in the harshest Doric.^
J.ihii, 1. c, cxvii.
p]iii ipidcs, Dindorf, p. 711, No. HI.
(P8o).
' Bockh, Corp. Iiibcr. iv. p. 5.
314 GREEK POTTERY, Part 11.
The same applies to the alphabets found on the same vase,
which consist often of the oldest and more recent forms, to the
last of which their a[)parent age must be assigned.
There is no rule for the position or the presence of tl e in-
scriptions on vases.^ In some instances the field or ground of
the figures is completely covereH, in others tliey do not appear
at all. The general position is governed by the figures to wliich
they refer ; but they are also found on the figures themselves,
and often upon objects, such as fountains, shiel Is, disks, ^nd
even the legs of figures,^ or on the handles, borders, and feet of
the vases. Sometimes they are written from left to right, at
other times from right to left, and often, especially upon the
old vases, perpendicularly to the vase ; but not, except on
tlie Panathenaic amphorae from the Kyrenaica, in that order
called by the Greeks klovlBov, or vertically as to themselves.
Boustrophedon inscriptions are not uncommon, and sentences
are often divided into two ; as, HO IIAIS, *' tJie hoy" on one
side of a vase, KAAOS, '*^s handsome," on the other. Even
names are sometimes thus divided, as, ANAPO on one side,
and MAXE on the other side of a celebrated vase, for the name
Andromache. This chiefly occurs on the older vases, as when |
the art reached its culmination more care was taken.
Inscriptions occur in all the three dialects, principally,
however, in Ionic Greek, as ANTIOIIEIA for x\ntioi;e,
ABENAIA for Pallas Athene, HEPAKAEES for Herakles ;
and sometimes the Attic contractions, as, KAMOI for KAI
EMOI, MENEAEO^^ for Menelaos, TOAEOX* for lolaos,
XATEPOS for KAI ETEPOS, and OVVTEVS (Doric) for
OAV2SEV2. Vases with Doric inscriptions, which are com-
paratively rare, principally come from south Italy and Sicily.
Such forms as HAP A, for Hera or Juno, AOS^ for Heos or
Aurora, TAAEIA for 0AAEIA, Thaleia, the name of the
Muse,« and AXHEPIAS for the Hesperidas.^ XPH^AN
MOI TAN S4)AIPAN, " give me the Ball." ^EMA©E for
Psamathe, the name of a Nereid.^ The Aiolic digamma is
1 Gerhard, 1. c, 69.
- Cf., the one on the thigh of a youth ;
aii»l the name of the ai tist on the diaJem
* M. A. U. M., vi.
« A. Z., 1848, 8. 247.
^ Millin., Dub., Mai&on. I. iii.
orbeordof a figure; A. Z., 1844, s. 317. D'Hancaiville, i. 27; iii. 194; Tasseri,
3 G. A. v., ccxxvii. i. 4.
^ G. A. v., cxlviii. « 13. A. N., 1850, p. 17.
liiAF. Vir. DIALECTIC AND OTIIKR FOIIMS. 315
refixod to such names ns FEPAKAES and FY^inVAH;^
id is found in the middle of others, fuch as AlFAS, Aias
Ajax, and ^I^IFOX,^ Sisvphos, and Aiolic forms are
mnd, as SAET2 for ZETS, Zeus, Jupiter, FAPVFONES, or
reryon only. Both the (J) and F are, however, old Ionic. The
Id form of the aorist, witli the final N, generally occurs, as,
irPA<I)XEN and EHOIESEN, although its use is not con-
stant. The derivation of ^ and H from <t>% and KS is shown
hy such words as, ErPA<|)^EN3 and EKSEKIAX, or Exsekias.
4^he old diphthong OE for OI, as KPOESOS for KPOlSlOX,
I^oisos, and the archaic O for OT, as NEAPXO instead of
NEAPXOT, are found on vases of the earliest period ; or,
EI for I, as EIOAEOS for lOAEOlS, lolaus,'^ TEISIAS: for
TI^IAS, Tisias. The aspirate is also applied to words in which
at present it does not appear, as, HIAKXOS^ for lAKXOS,
lakchos, and HA^POAITE for A^POAITE, Aphrodite or
Venus. The N instead of the F before K, as ANXmOS' for
AFKinnOS, Anchippos, ANKAO^ for AFKAOS, Ankaios,
ENHEAOKPATES for EMHEAOKPATES, Empedokrates ;
or for M, as OATNniOAnPOX' for OATMniOAHPOS,
Olympiodorus. Double letters are represented at all epochs
by'single ones, as, HinOAAMEIA for HinnOAAMEIA,
HinOKPATEX for HinnOKPATES), Hippokrates, HEPO-
^ATA for nEPO<I>ATTA, Persephone ;« but the S is often
reduplicated, on vases of late style, as 0PEX2)TE2 for OPES-
TE^^ Orestes, KAS^THP for KASTOP,^^ Kastur, PIESSQE
for niESOE,!! TPITONNO^ for TPITONOX, " of Triton."
There is also the Doric use of T for O and the V for X as
VIPON AVILLE^, Chiron, Achilles. Letters are often
omitted, as AAIIOS for AAMIIO^S, Lampos, in the name of
one of the horses of Aurora ; TTTAPEO^ for TTNAAPETS,
the father of Helen ; BEPTTAI ^^ for BEPTETAI, " is taken ;"
^JElrt for BEGETS, Theseus ; ^^ KAAIPE KPENE for
KAAAIPPOH KPHNH, the fountain of Kallirrhoe ; SAllO
' Kramer, ibid. ; M. A. U. M , xii. ' Gerhard, 1. c, p. 169, n. 641.
' G. A. v., civ. * Birch, Class. Mus., 1. c.
3 Gerhard, Rapp. Vole, pp. 67, 68. » B. A. B., 1007.
* M. I., Ixxxix. ''• Gerhard, Vase de Meidias.
* Gerhard, 1. c, p. 690, Braun, An- " Gerhard, Rapp. Vole, p. 69 ;
nali. Bockh, c. I., 1. c.
" Cat. Dur., p. 98, No. 296 ; Birch, I '^ Gerhard, A. V., ccxxxviii.
Chvs?. Mus., 1848, p. 298. j '=» Cf., Gerhard, A. V., clviii. clxiii.
316 GREEK POTTERY. Part II.
for 2AnOO,i Sapplio the poetess; XANQOS for SANOOX,^
Xantlios, tlie name of a horse. The A on the old vases is
always single, as AnOAONOS^ for AnOAAIlNO^. So also,
BOPA^ for BOPEA2, Boreas; OPEI^TA, for Oreithyia;
EPEX:SE:S,forErechtheus; KEKPOS, for Kekrops;* HEMES,
for Hermes.^ The second class have the Attic dialect or
palaeography, O for OT, as AE0PO ; E for EI, as AINEAS ;
I for EI, as XIPON ; U for HH, as <|)IAinoS.« NAXION
is on coins of Naxos, with K for H.
Inscriptions are divisible into two classes, — those painted and
those incised.
I. Painted inscriptions, which are the most conspicuous, are
generally small in size, the letters being ^ inch high. They
are in black varnish on vases with black or maroon figures ; on
vases of the earliest style, with red figures, they are in crimson
upon the black backgi'ound, or else in black varnish upon some
of the red portions ; on the later vases with red figures they are
in white. In the last style they are engraved with a pointed
tool through the glaze into the paste itself. They are divisible
into subordinate classes.
No particular law seems to have guided the artist as to the
insertion of the names of the figures represented on his vase.
The greater number of vases are without them ; yet it would
appear that vases of the very finest class were thus inscribed at
all periods. The design of them was to acquaint the public with
the story represented. Sometimes not only every figure is
accompanied with its name, but even the dogs, horses, and
inanimate objects, such as BOMO]^,^ or altar, where Priam
is killed; KAAIPE KPENE,« or fountain of Kallirrhoe;
TPOON KPENE, the fountain of the Trojans ; OPOS ABEN-
AIAS, the boundary of Athene's temple ; HEAPA,^ or " the
throne " of Priam ; ATKOS/° thecal tar of Apollo Lykios ; and
the HTAPIA,^^ or water-pitcher, which Polyxena let fall in her
flight from Achilles; ATP A, "the lyre," over that held by
Ariadne in her hands, at the death of the Minotaur; HT^, \
"the sow," over "the Kalydonian boar;^^^ TAYPOS MINOIO '
* Mill. Anc. lined. Mod,, pi. xxxiii.
2 G. A. v., cxci.
3 G. A. v., 5#.
* C. C, p. 57, n. 105.
' B. A. B., 849.
' Gerhard, An. 1831, 183, 741.
* Brondsted, Descr. of 32 Vases, p. 5ij.
° Francois Vase.
i» G. A. v., ccxxv.
*' Frangois Vase.
Buckli., c. I. iv. 774G. , '-' Gerhard, A. V., ccxxxvi.
iixp. vir.
NAMRS OF PEKSOXS AND TIIIXHS.
317
the bull of Minos " or the Minotaur ; and AHMOSIA, the
public " baths, on a laver.^ These names are generally in
e nominative, as ZETS,^ Jupiter; HEPMEX,^ Hermes : but
casionallv in the oblique case, as AIIOAONO]^,* "of Apollo;"
OXEIA6NOS,"of Posei<lon ;" A^I^POAITES,' "of Aphroflite;"
e word EIAHAON, " figure," or APAAM A, *' image/' being
derstood. In a few instances from dramatic subjects, ex-
ressions such as EI AHAON AHTOTS, " the shade of Leto,"
show the origin of the genitive.^ IITPPOX, "Pyrrhos;"
ArAME[MNnNy "Agamemnon;" lAA^, "Idas;"« occur
plover the sepulchres of these heroes. The names are some-
times accompanied with epithets, snch as HEKTOP KAAO^,^
"Hector the hanrlsome;" nPIAMO:^ HO HOAIO^, "the
hoary Priam ;"i'^ ^lAANOS TEPHON, "Silenos rejoicing :"^i
or with a demonstrative pronoun, as ^<I>IX^ HEAE, "this is
the Sphinx ;" ^2 MENE^BET^ HOAE, " this is Menestheus." ^^
In some instances the name is replaced by a periphrase or by
a synonym : as HAAIOS rEPON,^* " the old man of the sea,"
instead *^of Nereus ; TATPO^ ^OPBAX and AAIAAH^,^^
" the feeding " and " sea-going bull " over Zeus metamor-
phosed into a bull, and carrying Europa ; HANO"^, " all eyes,"
instead of "Argos;" XPT^H ^lAOMHAH, or "golden
smiler," for "Venus ;"i« MOt UAlt, " the son of Zeus," for
" Herakles; " '' AA^rAS HMI,^^ " I am a pirate " on a dolphin ;
AIAOS, "Modesty," instead of Leto; AAKI^, "valour" in-
stead of Eros ;i^ AIOlS ^nl, " the light of Zeus," for Artemis
or Dionysos f^ AES AMENO^, " the receiver," instead of Nes-
sos.^^ Some of the later vases have the titles of the subjects,
especially the dramatic ones, whence the pictures were derived ;
as the HATPOKAIA, or funeral poem abont Patroklos;^^
KPEONTEIA, "the affairs of Kreon;"^^ TPnON lEPEA,
» T., i. 58. 2 Q A. v., iv.
" G. A. v., cxxii. cxxiii.
3 B. M., 5G7.
'* G. A. v., xc.
* G. A. v., xxi. ; Gerhard, A. V.,
'« V.F., cclvi. ; B. A.N.,iii. 51 ; Ann.,
ccxxxvii.
V. 149.
* L. D.. iii. XV.
»^ M. A. U. M., xxxviii. 92.
« A. Z., 1852, s. IGl.
'« A. Z., 1852, 1G5, for AH2TH2 HMI ;
" M. V. G., xiv. « T., iv. 59.
M. A. I., xii.
" G. A. v., elxxxix.
'" CM., 58; M. V. G., xiv.
'0 G. A. v., 1. c. elxxviii.
2» M. A. I., i.
" G. A. v., 1. c. ; cc. 135.
2J Mils. Toib., V. X.
'2 G. A. v., ocxxxv.
" G. A. v., ccxxvii.
" G. E. v., xiii.
" A. Z.,.1847, taf. iii. ; M. L, elii.
318
GREEK POTTERY.
Part II.
^*the sacred places of Troy,"^ on a subject representing the
ill-usage of Kassandra; NAHIHN, the "Naxians," on a vase
representing Ariadne and Dionysos at Naxos;^ and the sup-
posed XEIPONEIA,^ Cheironea. Even on the older vases
are found the inscriptions :STAAION ANAPON NIKE, " the
victory of men in the stadium," over a foot-race of men ;
nENTAOAON, for the Pentatlilon ;* HOAOI A@E[NAIAI],
" Athenian roads." ^
Besides the names of figures and objects, there are several
inscriptions containing the addresses or speeches of the figures
represented, like the labels affixed to the figures of saints in
the Middle Ages. These vary in length and purport, but in
most cases they are extracts from poems, or expressions well-
known at the period, but which are now obscure, or have
perished in the wreck of Hellenic literature. They are dis-
tributed over the early vases of the black or hard style, and
often appear on vases of the archaic style, with red figures;
but they are very rare on vases of the earliest and of the latest
styles. They are often colloquies : IIPIAME, " O Priam." ^
They read according to the direction or facing of the figure,
as if issuing from the mouth. Thus, on a vase on which the
contest of Herakles and Kyknos is depicted, the hero and his
opponent exclaim, KA6IE, "lay down," KEOMAI, "I am
ready." In a boxing-match, is IIAT^AI,^ "cease." Ulysses
says to his dog, MH AITAIH2,' "do not ask;" Silenos,
gloating over the wine, exclaims, HAT^ 0IN02, " the wine
is sweet," or, KAAE OUOt HIEXBE, "it is so good that you
may drink it."^ On a vase representing a man standing and
singing to an auletris, the song is OAE AHTIl STTPI^OI,
" Let him play to the flute." ^® Silenos, who swings a Bac-
chante, says, EN AAEIA ANH, "rise at pleasure." ^^ In
the scene of the capture of Silenos, one of the attendants
exclaims, 0EPTTAI ^lAENOX 0PEI02, "the mountain-
haunting Silenos is captured !"^^ The Greek who lights the
* V. L., ii. xxiv.
2 M. A. U. M., xxvi.
' Micali, Storia, ciii. i., pp. 101, 163;
C. C, 24.
* C. C, p. 93, n. 14 •.
» C. a, p. 100, 159 ; Bockh., c. I. iv.
^ Dubois, Cab. d'Ant. d. feu M. Leon
Dufouiny, 8vo, Paris, 1819.
^ Geihard, Rapp. Vol*., p. 79, no. 778.
« MEAITAIE OPOI, B., 1851, p. 58.
^ Gerhard, Rapp. Vole, p. 187, no.
780.
" B., 1829, p. 143 ; A. Z., 1852, s. 414.
" B., 185],p. 185.
*2 G. A. v., ccxxxviii.
Mp. yu. subjects and SPEKCHKS. 311)
>yre of Kroisos exclaims, ETOTMO, "farewell!"^ The old
fvndareus exclaims, XAIPE OESET, "hail, Theseus I"^
^nd tlie females, EIAO^BEMEN, "it is known." XAIPE,
hail!" often occurs in such a manner as to show that it
emanates from the mouth of figures, although it is frequently
address from the potter. ELA ELA,^ " drive, drive ! " is
)laced in the mouth of a charioteer ; and DOATMENE
^IKA^,* "thou conquerest, Polymenos!" in that of another.
A paidotrihes says to one of his pupils, ATIOAO^ TO AIA-
MEPON, "pay me my day's salary."^ On another vase, if
correctly tianscribed, may possibly be read a gnomic sentence,
SOAON OXAOKNOIAON KAAO^ I^OAAOS." A cock
crows, nPO^AFOPETO, " how d'ye do ? " ' A herald or bra-
beus announces, HIHOS ATNEIKETT NIKA, "the horse of
Dysneiketes conquers."^ Oidipous, interpreting the enigma of
the Sphinx, says, KAI TPI n[OVN], " which has three feet." »
On a vase having a representation of olive-gathering, the pro-
prietor of the grounds — perhaps the merchant anl sige, Thales,
— says, in the Doric dialect, and in Iambic trimeter catalectic
verse, O ZET HATEP AI0E HAOT^IOS rENO[IMAN],
" father Jove, may I be rich !" a prayer responded to on the
reverse by the representation of a liberal harvest, and the reply,
HEAE MAN HEAE HAEON nAPABEBHKEN,^« " See, it
is already more than enough." On another vase, on which
are depicted youths and old men beholding the return of
the swallow in Spring, the following colloquy occurs " — lAO
XEAIAON, "behold the swallow;" NE TON HEPAKAEA,
"by Herakles," ATTEI, "it twitters;" EAP HEAE, "it is
already Spring," — which is spoken, apparently in a metrical
manner, by a company of men. On a terminal figure, or stele,
at which a winged youth plays at ball with Danaids, is the
speech, XPHSAN MOI TAN S<^[A]IPAN, "Send me the
ball."^^ On another vase is the supposed reply to a beggar.
1 Mon. i. PL, liv.-lv. ; Tr. R. Soo. Eiirip., &c. ; Aristid. Pan., p. 193-245 ;
Lit. 4to, ii., 1834, p. 28. . Bruiick. Anal , ii. 321.
2 G. A. v., clviii \. " M., 1837, tuv. xliv. B. ; RitschL
3 St.; Rap. Vole, p. 78. | Annali, ix., 1837, p. 183. Hermann,
* Ibid. Zeitschr. Altii-thumw., 1837, no. 103,
* Stackdberg, Die Grab(r,tav. xii. 3. p. 854, 855; Bull., 1840, p. 48.
^ Stackelberg. Ibid. xxiv. | " M., ii. xxiv.
' G. T. C, xxiv. j '* Millingen, Ane. Unedit. Mon. PI.
« Class. Mus., 1849, p. 296; B. M. | xii., p. 30; Birch, Classic. Mus., 1849,
« M. G., ii. ii. Ixxx. 1 b. ; Arg. Phoen. p. 302 ; Kramer, IJeber den Styl, s. 183 ;
320
GREEK POTTERY.
Part 11.
who says, lOPOPOI, an unintelligible word, reading the same
both backwards and forwards.-^
In order to enhance their ware in the estimation of the
public, the potters painted on their vases, at an early period
of the art, certain expressions addressed to the purchaser or
spectator. One of the most usual is XAIPE " hail !"^ to which
is sometimes added XAIPE KAI IIIEI, •* hail, and quaff,"^
XAIPE KAI niEI ET, '' hail, and drink well ;"* or XAIPE
KAI niEI TENAE, "hail and drink this [cup]."^ NAIXI,
"just so."^ On one remarkable vase was supposed to be found
OT nANTO:^ E^TI KOPINeOS, " every one cannot go to
Korinth,"' a familiar erotic pi'overb. The Athenian prize
vases are inscribed TON AQENEBEN A© AON ["I am] a
prize from Athens,"^ to which is sometimes added EMI,
"I am." This inscription is also found in the abridged form,
A@ENE@EN.^ Sometimes the address was to some particular
individual, as AEMOSTPATE XAIPE, "Hail, O Demo-
stratos." ^^
Inscriptions upon representations of objects are much rarer
than any of the kinds just mentioned, and, in cases where they
appear, seem to have existed on the object represented. Some
few are those found on steles, or funeral tablets, as TPXIIAOS,^^
on the stele of the youthful Troilos, lamented by his sisters ;
ArAMEMNON,^^ on that of the King of Men ; OPESTAS '^
on that of his "fury-haunted son ; " IAAS, on that of Idas.^* The
most remarkable of these is an elegiac distich, inscribed upon
the stele of Oidipous, a copy of that recorded by Eustathius, from
the poem called the Peplos, or " Shawl," written by Aristotle —
NOTll MEN MAAAXHN KAI HOATPIZON A2:$0-
AHAON KOAnn OIAinOAAN AAIOT TION EXXl.^^
" On my back is grass and spreading- rooted asphodel :
In my bosom I contain Oidipous the son of Laios."
Neapels Antik. Bild. Z., vii. Schr. 2,
1-174; Miis. Borb., iii. xii.
» An., 1852, PI. T.
2 G. A. v., iii. p. 150.
3 M. G., II., Ixvi. 3 b.
* De Beugnot. Cat,, p. 08, n. 75.
* B. A. B., 1594. « C. C, 147.
^ On the cup of Aurora and Tithonos,
Braim in Bull., 1848, p. 41, nad
DANTOHENA KAAA KOPIN0OI ; both
readings are doubtful.
* Millingen, Anc. Uned. Mon., PI. i.
» Thierscli, 1. c, s. €8.
" G. A. v., xxii. i. s. 82, 83.
" Millingen, V. G., PI. xvii.
12 M. V. G., xiv.
»3 Vase, B. M., 1559.
1^ I. S. V. T., xxxi. xxxvi.
'^ Millingen, Anc. Un. Mon. Vase?,
PI. xxxvi. INIus. Borb.. ix. xx^x.
Chap. VII. INSCRIBED OBJECTS. 321
On the base of a statue of Pallas Athene is the unintellip^ible
■Ascription KO<l>TXT,^ while a laver is inscribevl AHMO^IA/
^Public "2 [baths]. HATPOKAOT TA^O:^, *nhe pyre" or
"funeral of Patroklos."^ Certain bucklers used for the armed
race, the hoplites dromos, bear the inscription A0E,* either to show
l^piat they belonged to Pallas Atliene, or that they were Athenian.
The name ETPT^BET^, Eurystheus, appears on the i)ithos into
which he has thrown himself ; TEPMON, limit, is placed on a
meta, and 0ETI^ on the shield Thetis gives Achilles. The
often-repeated expression KAAOX, " beautiful," appears on
layers, disks, a wineskin held by Silenos, and other objects ; and
on a column is inscribed HO UK\t KAAOS NAIXI,"^ " tlie boy
is handsome forsooth ;" while the inscription A AXES KAAOS,®
'^Laches is handsome !" inscribed down the thigh of a statue,
recalls to mind tlie expression, " Pantarkes is beautiful," which
Pheidias slily incised on the finger of his Olympian Zeus at Elis,
and the numerous apostrophes which covered the walls of the
Keramikos, and other edifices of Greece. So the name and
dedications are sometimes placed on the thighs of Etruscan
bronzes, as also in the case of the bronze of Polykrates.'^
Other inscriptions are such as were taken from pedestals,
and one remarkable example, reading AKAMANTIS ENIKA
<I>TAE, " the tribe of Akamantis has conquered," is on the base
of a tripod dedicated by that tribe for a victory in some choragic
festival.^ AI02, "the altar of Jove," occurs on that of the
Olympian god at Elis, at which Pelops and Oinomaos are
depicted taking the oath. On the supposed tessera, or ticket
of hospitality, in the hands of a figure representing Jason, is
Xl^I^I^OS,^ the name of Sisyphos.
The artists who designed and painted the subjects of the
vases often placed their names upon their finest productions,
accompanied with the words ErPA<I>SEN, ErPAS<I)EN,
EFPA'^EN, or EFPA^E ; whicli words, from their pi-eceding
the formula, KAIIOEXEME, " and made me," show that the
painter ranked higher and was more esteemed than the potter ;
unless, indeed, they were placed in this order with the view of
1 Millingen, Anc. Un. Mon., i. PI. 29.
- T., i. 58.
^ 111 red letters on a ^hito grouivl.
Bull. Arch. Nap., 1853, p. 98.
* Cat. Dur., G74.
^ (ilerlianl, Vasen imd Trinksch. Kgl.
Mus. xiii. 6.
« Ibid.
^ Cicero, Verr., iv. 43; Apul. Apol.
492, ed. Par.
* Panofka, Mus. Blac, i.
" Ann., 1848, p. 162.
i
322 GREEK POTTERY. Part IT.
forming a kind of Iambic trimeter. Sometimes the artist's
name alone is placed on a vase ; at other times it occurs with
those of the potter and of the figures represented ; and is ac-
companied with speeches, and addresses to youths. None of
the older artists used the imperfect, ErPA<J>E, " was painting,"
which was that adopted by the followers of the later Athenian
school, in order modestly to affect that their most elaborate
labours were yet unfinished, but always the more decided aorist,
indicating completeness. These iuscriptions do not occur on
the early vases, attributed to the Doric and Ionic potteries, but
commence with the vases with black figures, and terminate with
those of the style of the decadence. Some of the earliest artists
appear to have used a kind of Iambic verse, as : —
EKXEXIAS EEPA^^E KAHOESEME
^^7J')(td<; eypd-ylre Kanrorjcre fie
Exectds U was ichd made and painted me.
In the next chapter, describing the principal artists and their
works, a further account will be given of the artists.
An attempt has been made to connect the choice of subjects
on vases bearing the artist's name, with allusions to it;^ but
the connection, if it exists, is too vague to assist the interpreta-
tion of them. It is possible that such secret allusions may
have been occasionally intended, but the subjects of vases in-
scribed with the names of artists are comparatively unimportant,
and sometimes merely ornamental.
A few vases have the potter's name inscribed upon them,
accompanied by the expression EIIOIESEN, *' made," or
MEIIOIE^EN, " made me," which is rarely, if ever, replaced
by the EIIOEI, " was making," of the later school of artists.
A rarer form of inscription is the word EPFON, '* work," in-
stead of EIIOIESEN. The potter always wrote his name
in the nominative, generally simply as NIKOX0ENE'
EnOIE^EN, " Nikosthenes made " me or it. TothisTie^me-
times added the name of his father, either to distinguish him-
self from rivals of the same name, or because his father was in
repute. Thus Tleson, a celebrated maker of Jcylikes, or cups,
uses the phrase TAE^ON HO NEAPXO EHOIEXEN,
" Tleson, son of Nearchos," made it ; while Eucheros, another
potter, employed the form HOPPOTIMO HTITS ETXEPOS
» Panofka, Abh. d. k. Akacl. d. Wissenschaften, -ito, Beil., 1848, a. 158, 241.
[AP. VII.
NAMES OF ARTISTS AND POTTERS.
323
inOIE^EN " the son of Ergotimos, Eucheros, made it."
IPrON, of course, has the genitive ; as STATIOT EPFON,
jthe work of Statins." These inscriptions are generally place^l
prominent positions, where they could readily be seen by
purchasers. In this respect the potters only imitated the
linters, sculptors, and architects, who inscribed their names
some part of their works, and even clandestinely introduced
lem inside their statues. The potter, who was evidently
:posed to an active competition, prided himself upon the fine-
less of his ware, and the elegance of the shapes which he
produced. The vases with straw-coloured grounds have rarely
)tters* names, which appear on vases of the old style, with
lie red grounds, and are most common upon cups. They
mtinued to be placed upon vases till the latest period, but
rith decreasing frequency. The art, in its decay, ceased to be
pther honourable or profitable.
Otlier potters, to distinguish themselves from their con-
jmporaries, introduced the names of their father, as Eucheros,
rho appears to be proud of the reputation of his father, also a
ivell-known potter —
HOPrOTIMO HTITX ETXEPOS EHOIESEN
Eucheros, son of Ergotimos, [this vessel] made,
id Euphronios, one of the most celebrated of the craft, is
Challenged as surpassed by one of his contemporary rivals in the
following terms : —
not OTAE nOT ETOPONIOS
Such never made Euphronios.
An account of the potters and their labours, derived from
le inscriptions, will be found in the next chapter. Besides
le names of the principal figures^ and of the artists and potters,
third name, either male or female, accompanied with the
Ijective KAAO^,^ or KAAH,^ "the noble, beautiful or lovely,"
found on several vases, which epithet applied, according to
)me, to gods, heroes, and goddesses, is also sometimes found
rithout any name. The arcliasologists who first studied the
[abject, imagined that these were laudatory inscriptions of
' G. A. v., cxcv. cxcvi. ; M. G., ii. Ixxxv. 2, a; V. C, xxx. x.
2 G. A. v., Ixxix. Ixxxi.
V 2
324 GBEEK POTTERY. Part IT.
the works of the potters. On many vases is HO ITAIS
KAAO^, "the boy is handsome ;"^ sometimes with a repetition
of KAAO^,^ with certain anomalies, as HO HAI^ KAAE,^
or HE HAIS KAAE/ sometimes abridged to HO HAIS,
"the boy;"^ or HAlS,' or even with KAAOS NAIXI
KAAOS, " handsome— handsome forsooth." ' The name, how-
ever, of some youth is generally understood, and in some
instances expressed, as AOPOQEO^ HO HAI^ KAA02
HO HAIS KAAOS, "Dorotheos — the boy is handsome — the
boy is handsome."^ One remarkable cup has, interlaced with
tlie foliage painted upon it, KAAOS NIK0AA02 AOPO-
eEOS KAAO:^ KAMOI AOKEI NAI XATEPOS HAIS
KAAOS MEMNON KAMOI KAAOS <I>IA02. " Nikolaos
is handsome, Dorotheos is handsome, seems to me that the one
and the other is handsome. Memnon to me is handsome and
dear." » A lekythos has OHI^BE ME KAI EVHOAE^ EI
KAAOS, "behind (after) me even thou Eupoles art noble." ^"
Once is found OIOX HAI2, "what a boy! "^^ Another phrase
used is KAPTA KAAOS, "very fine;" KAPTA AIKAIOS,
"very just;" and KAAOS AOKEI, "he seems fine." KAA-
AISTO^, " most beautiful," appears in three names ; KAA-
AI2TH, " the most beautiful female," once.-^^
The most usual form, however, is a proper name, accompanied
with KAAO:S, as ONETOPIAE2 KAA02, " Onetorides is
beautiful;" :2TPOIBOS KAAO:S, " Stroibos is beautiful;"
for which, on later vases, is substituted the form O KAAOS,
" the beautiful," as NIKOAHMOX O KAAOS, " the beautiful
Nikodemos." ^^ One youth, indeed, Hippokritos, is called
HIHOKPITOX KAAIST02, " Hippokritos is the most hand-
some." ^* Some attempts, indeed, have been made to identify
the names of the ephebi found on the vases with the historic
personages of Athens, but while it may be admitted that they
1 M. G., ii. Ixx. 1, a, b; G. A. V., « M. G., ii. Ixxi. 4 a.
ccxxxix. Ivii. Ixxvi. 1 a ; M. G., ii. Ixix. ^ Ii., 1851, 68. ^ G. A. V., cii.
la; G. A. V., ccxxix. ; V. D. C, xxii. ; j » An. 1833, 236-237; Mon., i. xxxix.
M. G., ii. clxii. lb; G. A. V., cxciii. ^<' Campana Collection.
2 V. D. C, xxxi. 1; M. G., ii. Ixxxii. " Vase at Naples ; M. A. U. M.,
2 a. xxxviii. 92.
' M. G., ii. Ixxxii. 2 b; V. G., xxii. 12 Bockh, Corp. Inscr., iv. p. x.
* M. G., ii. Ixxxv. 2 b. i^ q ^ y., civ. ; cf. Paiiof ka, 1. c.
=> M. G., ii. Ixx. Ixxi. 4b; G. A. V., '* G. A. V., Ixi.-lxii.
ccxix.-cxxx.
5nAP. Vir. NAMES OF YOUTnS AND FEMALES. 325
I
Ipre in all probability of the same time, there is more difficulty
in recognizing that they are of the identical person. The
Hippokrates is supposed to be one mentioned by Herodotus/
. Jlegakles that of liis son, the uncle of Perikles by marriage,
Ricagros is assigned to the Athenian general of the Lxxix.
K)lynipiad,^ and Glaukon the admiral of the lxxxvi. Olympiad,
or other personages nearly contemporaneous. A family of
Leokrates and Stroibos, one of whom was the Athenian com-
mander, and colleague of Aristeides at Platoea,^ is supposed to
be named on other vases. It, however, requires much judg-
ment in attempting to assign such names ; that, however, of
Alkibiades admits scarcely of a doubt.
Besides the names of youths, those of females, either brides,
beauties, or hetairae, are found, accompanied with the expression
KAAE, as OINAN8E KAAE, " Oinanthe is lovely ! "* Often,
however, the names of females are accompanied with those of
men. The most elliptical form is KAAOX, "he is handsome ;"
KAAE, " she is fair !"^ One vase of the Canino collection had
ATXiniAE^ KAAO^ PC AON KAAE, '' Lysippides is beau-
tiful, Rodon is fair," apparently a kind of epithalamium. Be-
fore a lyrist is written on one vase, KAAE AOKE^,^ " thou
seemest fair." This, however, might be part of the song. Of
the nature of an Agonistic inscription is that cited, reading
KEAHTI AAMOKAEIAA^,^ " Damokleidas (was victor) in
the horse race," which throws much light on the use of KAAOS
in the others already cited.
The import of these inscriptions has excited much contro-
versy, for while some have taken them to be the names of the
possessors of the vases,® others have considered that they were
those of the persons for whom the vase was made, or to whom
it was sent as a present,^ or those of youths and maidens beloved
or admired by the potter.^° This last hypothesis is supported by
the fact of lovers writing the name of the beloved object upon
the walls of the Kerameikos, and on columns, edifices, and other
P
» vi. 131. I Walpole, Memoirs, p. 332 ; Buckh, Corp.
2 Herodot., ix. 75 ; Pausanias, I. 29, 4. ! Inscr. Grsec, no. 33.
' Plutnrcli, vit. Aristeid. 20 ; Bockh, ! * Panofka, Eigennamen mit KAA05,
Corp. Inscr., iv. p. viii. i s. 1 ; Gerhard, Annali, 1831, p. 81.
* G. A. v., cli. ^ Millingen, Peint. d. Vases Grecs,
* G. A. v., Ixxxi, ' fol. Ronuip, 1813, p. iii., p. xi.
« Mus. Borb., iii. xii. i "^ Mazocchi, Tab. Heracl., 138; Bot-
' Bockh, in the Bull., 1832, p. 'Jo; tiger, Vasengcm., iii. 20.
326 GREEK POTTERY. Part 11.
places,^ In allusion to this, the same epithet of " handsome, or
beautiful," is applied sarcastically by Aristophanes to the Demos,
Pyrilampous,^ and the same poet, speaking of the Thracian,
Sitalkas, as a devoted admirer of Athens, describes him as writ-
ing upon the wall *'the beautiful," or "handsome Athenians."^
" He is an exceedingly good friend to Athens," says the poet,
"and loves it so exceedingly, that often he scrawls upon the
avails, * The Athenians are beautiful!'" Females were re-
peatedly called " the fair," * and their names inscribed on walls.
Even dogs found their devoted masters, who called them halos
on their sepulchral monuments.^ The case, however, most in
point for the artists of antiquity, is that of Pheidias inscribing
the name of Pantarkes, in the case already mentioned.^ Accord-
ing to this hypothesis, where the word halos is found alone, the
name was intended to be supplied, as in a blank formula,^ which,
however, appears doubtful. It is generally supposed, indeed,
that the word is intended to express the personal beauty of the
individual named,^ although it is by no means improbable that
it was applied to those who excelled in the games of the youths
in the Stadium. These names, which no doubt were the popular
ones of the day, were adopted by the potter, in order to induce
the admiring public to purchase objects which recalled their
idols to mind ; and the prominent manner in which the names
are placed upon the vases, shows that they were not less essential
than the subjects to their sale. The influence which the beauty
of boys, and the charms of beautiful and accomplished women,
exercised over the Greek mind ^ is quite sufficient to accoilnt
for the use of the epithet, without supposing that it resulted
from the admiration of the potter. To retaark on the beauty of
an athlete was not indecorous, as may be seen from the reproof
addressed by Perikles to Sophokles when he praised the beauty
of a youth.^° Above seventy names of men, and about ten
names of women, have been found with this epithet, besides
* Suidas, voce & ScTm KaK6s ; Schol. i Gent., vi., p. 199 ; Greg. Nazian., xviii. ;
Aristoph. Acharn., 143 ; Eiistath. ii. j Paiisan., v. 11.
p. 633.
2 Aristoph. Vesp., 97, 98.
' Acharn., 143.
* Aristsenet. i. 10 ; Lucian, Amor.,
c. 16 ; Xenoph. Eph., i. 2.
5 Theoplirast., Toup on Snid., Oxon.,
1790, t. ii. p. 129.
Visconti, Mus. P. Clem. V., tav.
xiii., p. 25, n. f.
* Miiller, Gotting. gelehrte An-
zeigen, 1,34, 135 ; St., d. 25 Aug., 1831,
s. 1331-1334.
® Bergk, Allgemeine Literatur Zei-
tung, n. 132, Juni, 1846, s. 1049-52.
« Clemens Alex., p. 33; Aruob. adv. j *» Cicero, de Offic, I. xl. 142.
JflAP. Vir. UNINTELLIGIBLE INSCRIPTIONS. 327
lose of several deities. These names are all Greek, many of
tliem traceable to Athenian families ; and as the vases bearinp;
fehem were found amidst the Etruscan sepulchres of Vulci and
)f Northern Italy, the Campanian tombs of Nola, and in
southern Italy and Sicily, it is plain that they could not have
?en those, of tlie possessors or donors.^ A most ingenious
^attempt was made by Panof ka to trace a connection between the
subjects of vases and the names which appear upon them.
Bearing in mind the apparent remoteness of the allusions in
tlie odes of Pindar to the victors celebrated, and in the Greek
choruses to the plot of the drama, it is possible that such allu-
sions may be intended, althougli, whether the connection can
be always satisfactorily traced, is open to doubt.^
A considerable number of vases are covered with inscriptions,^
the meaning of which is quite unintelligible, although the letters
can be distinctly read. An unintelligible inscription has been
supposed to be a satiric verse on the promise of Hektor to
Dolon.* Tliis is not peculiar to vases found in Italy, but is of
common occurrence on those of Greece itself. Nor can it be
charged to the ignorance or barbarism of the potter, as such
inscriptions are often found intermingled with others in good
Greek. In some few cases these inscriptions can be traced to
forgeries, as for instance of the names of potters ; while in
others a certain resemblance is observable between the illegible
inscriptions, and the more correctly written names of the figures
represented. Some few also may be intended for the sounds
of animals, especially where there is a repetition of the same
syllable placed near them, sucli as,
XEXETAKTEXEXEX9rXEX9r^FX<I)EXE
KTEXETAKKqFTFXEAAXFXEXXKXEAA
like the twittering and gibbering of the birds in the * Birds'
of Aristophanes. Some few, perhaps, are vulgarisms, or owing
to the abnormal state of the language at that time.^ But many,
1 Tb. Bergk, loc. cit. ; Panof ka, nicli, 44.
Eigennamen, s. 84-85.
2 This subject lias been discussed
3 Gerhard, Eapp. Vole, p. 173, n. 668.
♦ Bockh, Corp. Inscr., i. ] 2 ; Fiorelli,
at considerable length by Panofka, Descr. Inscr. Graec, 4to, Gott. 1804, p. 4.
Die griechischen Eigennamen mit | * Gerhard, Rapp. Vole, p. 71, who
KAA02, 4to, Berlin, 1850 ; Abliand. ! supposes the artists wished to give an
d. k. Akademie der Wissenschaften, j appearance of great antiquity to their
1849, pp. 89-191 ; Thiersch, Ueber die ' vases,
hcllenischen bcmalten Vasen, 4to, Mu-
328
GREEK POTTERY.
Tart II.
especially those Nvhich are a series of words coinmencing- with
the same letters, and which often consist of agglomerations of
consonants with few vowels, are the mere images of words,
written do\vn only to show that an inscription is intended.^
Others may be meant for the imperfect words uttered by excited
persons, such as drunkards^ and revellers. Several of these
unintelligible inscriptions occur on the early cups, such as,
ENXIXNOIXITOIXNE^ or ENIXIXOXIXINEIT, XUt^-
AINKNS.* Some of them have lately been conjectured to be
a kind of cipher.^ Others refer them to the works of potters
ignorant of the Greek language, who imperfectly copied in-
scriptions which they did not know or understand. These
inscriptions are found on vases of the earlier style with black
figures, and occasionally on those with red ; and they continue
till the time of the later vases of Nola,® and of Apulia,^ when
names were incised by possessors ; the names of the potters
Andokides and Hieron occur in this manner on two vases.
The second class of inscriptions is those which are engraved
on the vases. Sometimes they have been incised before the
vase was sent to the furnace, at other times after it was baked.
On the vases of the later style the names of figures and objects
are executed in this manner, the letters being incised through
the black glaze on the red clay of the vase. On the older ones
they have generally been incised before the vases were consigned
to the furnace. They are found distributed in different places,
as the handles, border, feet, and especially at the bottom of the
vase under the foot ; having been written when the vase stood
upon its mouth, or on the detached foot before it was united.
Those on the body of the vase relate either to the figures re-
presented, or else have the name of the possessor of the vase,
or of the person for whose ashes it was used. Some few, how-
ever, relate to the potters.® A vase in the Museum at Naples ^
has incised upon its neck the name of Charminos, son of Theo-
phamides — XAPMINOC ©EO<l>AMIAA KmOC — a native
of Cos, and came from Carthage. The names of Chamairo-
' Gerhard, Rapp, Vole, p. 173, n.
670 ; G. A. V., cxxiv. clxv.
2 Cf. the expression, EAEOn EAE-
AEM, with the word KOMAPX02, Ger-
hard, A. v., clxxxviii.
3 B. M., 678 ; C. D., 335.
* C. D., 335; B, M., 667-8.
5 B. A. B., 1599.
^ De Witte, Penelope, Annali, 1841,
p. 264, pi. i.
" De Witte, Annali, 1841, 268.
» As that of Hieron. Bull., 1832,
p. 114.
8 M. B., iv. 5, 1 ; Neapels Ant.
Bild., s. 548.
I
liiAP. Vir. INCISED INSOllIPTIONS. 329
phontes and Metrodoros were cut on necks of vases found at
Athens.^ A hydria, or pitcher, from Berenice, has in like
manner the name of Aristarclios, son of Ariston.^ Sucli formula)
"e not uncommon, as AIONT^IOT A AAKT0OS TOT
ATAAOT "([ am) the lehytlios of Dionysius, the son of
atalns;"^ — TPEMIO EMI, "I belong to Tromios;"
APONOS EMI, "I belonjr to Charon;"* ^OXTPATO[T]
MI, «IbelongtoSostratos;"5TATAIH^ EIMI AHKT0O5:
t AAN ME KAE^[H] BTOAO^ E^TO, ''I am the
ehjthos of Tataies, and may whoever steals me be struck blind." ^
ATKIAOS EIMI, "I am the property of Lykis," occurs scratched
on the foot of a small lekythos. Another had, " I am the cup
of Kephisophon ; if any one breaks me let him pay a drachm,
the gift of Xenokrates.^ On a vase in the Museum of Naples
is NIKA HEPAKAHS, "Herakles conquers," but it is doubtful
whether it is antique.^ In one instance a scratched inscription,
reading HEMIKOTTAION, indicated the capacity of a vase
with two small handles, found at Corfu; another of these in-
sr-riptions,* ATAIA MEZH KE AEHA^TIAES KZ, supposed
to refer to the capacity of some vase, holding 25 lydians and 27
lepastides; under another i° IX0TA, ** dishes for fish."ii On
the foot of a krater from Girgenti is the word XAPITUN,
Chariton, probably a proper name.^^
The most interesting inscriptions, however, are those on the
feet of the vases of the earlier style, of which a considerable
number have been discovered. They are very difficult to
decipher, being chiefly contracted forms of words, and often
monograms, or agglomerations of letters and ciphers. The
greater portion are consequently unintelligible, and probably
were understool only by the potter or his workman. Many
of them, however, are evidently memorandums made by the
workman, about the number of vases in the batch ; and others
those of the merchant, respecting the price to be paid. Such
> Bockh, Corp. Inscr., p. 363, whose > ^^ A. Z., 1848, s. 248.
ashes it probably containeil. I ^^ Collections of these will be found
- Arcli. Zeit., 1846, p. 216. I in Pr. (le Canino, Miis. Etr. ; Gerhard,
^ B., 1830, p. 153; A., 1831, D. Neuerworb. Ant. Denk. 8vo, Berlin,
* •'Raoul Rochette, Jourii. des Sav., ; 1836, Taf. ii. ; Cat. Greek and Etr.
1830, p. 118. * Ibid. I Vases in Brit. Mas., pi. A. and B.
® B. Arch. Nap., torn. ii. tav. i., fig. i. '- Millingen, Vases deCoghill, pi. xi.
• Bo>kh, c. i., p. 489. The word also means " of the Graces."
" Inghirami, S. V. T., xlii. i.e. "the krater of the Graces."
" Arch. Zeit., 1846, s. 371.
330 GREEK POTTERY. Part 11.
are the abridgments as TE/ HyA, HYAPI for liydria,'^ or in a
fuller form HYAPIAX, AHK or AHKY lehythos,^ OHT for
0HTBA<I^A/ oxyhapha, another kind of vase, XTTPI, for cJiytria
"pots." The examination of these inscriptions under the feet
of vases leads to some curious results as to prices. On one
in the Louvre is :
KPATEPE3 : ni
TIME ; HHh-l-OHlAE^ : mil
BA^EA : AAHI.
That is,'
Six kiateres
value 4 drachma! : 8 oxides.
20 baphea. 1 drachma : 1 obolos.
On another vase was inscribed ^ —
KPATEPE5 n ohiae:§ AAAA TI
OHYBA^A Alll
5 krateres, 40 oxides, value 8 drachma!
13 oxybapha . . .
A . KYA0EA
10 kyathea (for kyathoi).'^
APY^IAH
30 arysides, or " ladles,"
YPIAS IIII (for HvSpias)
make "4 hydriai."
It is supposed that these inscriptions were placed on the feet
of vases while being turned for the potter^ and before they were
united with the vase.^
Present relative
value about
1 Kylix cost 1 drachma = 3 shillings.
1 Krater cost 4 oboloi = 2 shillings.
1 Leky thos cost 1 obolos = 6 pence.
1 Small pot cost i obolos = 3 pence.
1 Saucer cost \ obolos = 2 j^ence.
» M. E., 212. Jahn, Bericht, d. k. Sachs. Gesellsch.,
2 M. E., xxxvii. 1650. j 8vo, Feb. 1854, p. 37.
^ Panofka, Recherches, p. 8. I * Letronne, Sur les noms tmcts a, la
*-Panofka, 1. c; Letronne, Journ. i pointe ; Nouvelles Annales, 1836, p. 492.
des Sav., 1837, p. 750; Nouvelles An-
nales, i., p. 497; Journal des Sav,, 1849,
Ibid., 502.
Ibid., 502, 503.
p. 427 ; Bockh, Staatsh. i., p. 451 ; | « Ibid., 506.
I HAP. VII. ANCIENT MENTION OF INCISIONS. 331
The following were the prices of lehythoi, or oil-ilasks: —
HKY : AA : AH 20 lekythoi are worth 27 drachma3, or obols.^
HKY:ir:IA 13 „ „ 11
HKY : K0 : AH 29 „ „ 27
This was probably reckoned by obols, for according to Aristo-
phanes,^ an obol would purchase a very fine lekyihos, while an
earthenware cask, or JcadoSy cost 3 drachmai.^ In an inscription,*
one Kephisphon values his Jcylix, or cup, at one drachma.
On another small vase at Berlin is —
AAAII : TIMH • h HmC.
32 vases value 2 dr. 4i obols.
n • EAHOI • AAA.
5 elpoi, value 30 drachmai, or 1 elpos=6 dr.^
n • KAAIA. All.
5 kadoi = 12 dr. or 1 kados = 2| dr.
The two annexed engravings will illustrate the nature of
these inscriptions completely. The first, which is at the base
o
<
u
/?
<
?
N. 138.— Incised Inscriptions on Vases.
* Jaliu, 1. c. pp. 87, 38. , * Jabn, Ueber ein Vaseiibild welches
2 Eanse, 12G7. eine Topferei vorstellt, in the Bericht
=» Pax. 1291. d. Sachsisch. Gest'll^ch. 1854, p. 37;
* Corp. Inscr. Grfcc., No. 54.5. B. A. N., N. S., iv. p. 131.
332 GREEK POTTERY. Part II.
of a small two-handled vase, called peliJce, found at Nola/ reads
" two drachma!, value four oboloi and a half," — which is supposed
to refer to the value of this by no means fine vase. The second
is evidently a memorandum, beginning XVTPIA KF,^ "Twenty-
three pots," — " thirty-seven drachmai," — 0HT[BA<I>A] E,^
" Five oxybapha," or *"' vinegar vases." In a similar manner
are written memoranda of the prices of hylihes,^ or cups, and
other products of the kiln,* AM<|). AAAII. "32 amphoras,"
and MEFAAAI nOA[ANinTHPEX], *' great foot-pans." On
the neck of the Panathenaic amphora found at Cuma is
OO III II supposed to refer to its liquid contents.^
Inscriptions on vases are mentioned by the ancients. The
shyjphos of Herakles, on which was seen the fall of Troy, had on
it certain illegible characters.® A cup at Capua was said to
have an inscription declaring that it belonged to Nestor.
Athenseus ' also mentions the inscribed cup of a youth who had
thrown himself into the sea after a girl beloved by him, declar-
ing that he had carried with him a cup of Zeus Soter.
> Gerhard, Nev:erw. Denkm., s. 30, I * B. A. B., \(^QQ; B. A. N., 1854,
No. 1605. ; p. 168.
2 Mus. Etr. xl., No. 1821 ; Cat. of | ' C. B. L., p. 21, No. 22 ; B. A. N.,
Gr. and Etr. Vas. in B. M., pi. A., 459. I 1855, p. 85.
B. A. N., 1857, p. 43. I e Athen^us, p. 493, 0.
3 B. A. N. N. S., iv. p. 132, B. A. N., ! ' xi. 466, C.
ii. tav. i. 6, p. 23. i '
)UAP. VIII. POTTEI?S AND POTTEIIIKS. 383
CHAPTER VIIT.
Aiicknt Potlers — Athenian Polteries — Names of Potters: Alides — Amasis —
Antlokidcs — Archikles — Biyllns, or Brygos — Kail i j)hon — Kephalos — Chores
— Chachrylios — Chairestratos — Charitaios — Kleopliradas — Chok-hos —
Chelis — Charinos — Deiniades — Doris — P^pitimos — Epigenes — Erginos —
Ergotimos — Euei getidt s — Eucheros — EcKekrates — Exekias — Euplironios
— Euxitheos — Glaukythes — Plermaios — Herraogencs — Hechthor — Hieron
— Hilinos — Hischylos — Meidias — Nauky<les — Neandros — Nikostl.enes —
Oinieus — Pamaphios — Phanphaios — Pampliaios — Philinos — PistoxenoH
— Priapos — Python — Simon of Elea — Smikylion — Sokles — Sosias —
Statins — Taleides — Theoxetos — Thypheitlieidcs — Timagoras — Timandros
— Tlenpolemos — Tleson — Tychios — Xenokles — Xenophantos — Names of
Vase Painters : Ainiades — Alsimos — Amasis — Aristophanes — Asteas —
Bryllos, or Bi-yaxis — Klitias - - Cholchos — Doris — Euonymos — Epiktctos —
Euphronios — Euthymides — Exekias — Hegias — Hermonax — Hypsis —
Onesimos — Pheidippos — Philtias — Phrynos — Potliinos — Pmx'as — Poly-
gnotos — Priapos — Psiax — Sosias — Takonides — Timandros — Z3uxiadep.
Having thus described the chief peculiarities of the painted
vases, and of the circumstances connected with them, it now
remains to say something respecting their makers — the potters
of antiquity. Unfortunately, however, little is known of their
condition, except that they formed a guild, or fraternity, and
that they amassed vast fortunes by exporting their products
to the principal emporia of the ancient world. The oldest
establishments appear to have been at Samos, Corinth, and
Aigina, and it was not till a later period that the Athenian
pottery attained any great eminence, or became universally
sought after. The existence of two herameikoi, or pottery
districts, at Athens, and the fact that some of the principal
men were connected with the potteries, show the great com-
mercial importance of the manufacture. Pot-makers, chijtreis,
and vase-makers, pyaloneis, are mentioned on an inscription at
Calavo. It is now admitted that the word EHOIE^EN
indicates the potter, and not the artist, although it is supposed
that when no artist's name accompanies the formula the potter
was probably at the same time the painter. On one vase the
names of two potters, Glaukytes and Archikles, are found ; one
has been supposed to be the artist's, but it is more probable
334 GREEK POTTERY. Part 11.
they were partners, or that a skilful restorer has united parts
of different vases.^
By the Athenians, potters were called Prometlieans,^ from
the Titan Prometheus, who made man out of clay, — which,
according to one mythos, was the blood of the Titans, or Giants,
— and who was thus the founder of the fictile art. It was not,
however, much esteemed, although without doubt the pursuit
of it was a lucrative one, and many of the trade realised large
fortunes ; ^ in proof of which may be cited the well-known anec-
dote of Agathokles,* who, at a time when the rich used plate,
was in the habit of mixing earthenware with it at his table,
telling his officers that he formerly made such ware, but that
now, owing to his prudence and valour, he was served in gold,
— an anecdote which also proves that the profession was not
highly esteemed. The guild at Athens was called eh herameon,
'* of the potters." However, the competition in the trade was
so warm as to pass into a proverb, and the animosity of some
of the rival potters is recorded upon certain vases.^ To this
spirit are also probably to be referred many of the tricks of trade,
such as forgeries of the names of makers, and the numerous
illegible inscriptions. When the potter's establishment — called
ergasterion — was large, he employed under him a number of
persons, some of whom were probably free but poor citizens,
whilst others were slaves belonging to him. How the labour
was subdivided there are no means of accurately determining,
but the following hands were probably employed : — 1. A potter,
to make the vase on the wheel ; 2. An artist, to trace with a
point in outline the subject of the vase ; 3. A painter, who
executed the whole subject in outline, and who probably re-
turned it to No. 2, when incised lines were required; 4. A
modeller, who added such parts of the vase as were moulded ;
5. A fireman, who took the vase to the furnace and brought it
1 R. Rochette, Journ. d. Sav. 1880-34, | Arch. Zeit. 1853.
p. 121 ; Clarac, Mel. d'Aniiq. p. 40 ; ! * Plutavcli, Apophthegm., vol. vi.
Creuzer, Athen. GefasS, 1832, p. 12 ; j). G73, Leipz. ed. 1777.
Panof ka, Bull., 1829, 137 ; 1830, 3t 2 ; * Hesiod, Oper. et Dier., v. 25 ; Ari-
De Wilte, Rev. Phil. ii. 380 ; Abeken, stotle, Rep., v. 10 ; Rhet., ii. 4 ; Ethic.
Mittel Hal. p. 413 ; Bockh, Corp. Inscr. viii. 2 ; Plato, Lys., p. 215 ; Plutarch,
iv., xiii. de capiend. ex hoste util., p. 342, Leipz.
2 Lucian, Promelh. in Verbis, Din- , ed. 1777. For this tribe ste Ross, die
d.rf, 8vo, Paris, 1840, p. 6, s. 2, 1. 11 : Demen von Attica, 4to, Halle, 184G,
and foil. ' pp. 122-123.
lAP. Vlir. FORM OF INSCRirTION. 385
ack; 6. A fireman for tlie furnace; 7. Packers, to pack up
the vases for exportation. Hence it may readily be conceived
that a large establishment employed a grctit number of hands,
and exhibited an animated scene of industrial activity.
I^b Some slight insight into the nature of the trade is gained
from the inscriptions which the potters placed on their vases.
The fullest form ^ of inscription is when both the potter and the
artist placed their names on the vase ; and there is some doubt
whether, when the name of a potter is found alone, he did not
paint as well as make the vase. Above fifty names of potters
have been found, but they only occur on choice specimens of
art, perhaps on samples or batches, and the far greater propor-
tion of vases has no name at all. It is so difficult to assign to
each potter his relative position in the history of the art, that
it is w^ell to take the names in alphabetical order. An Etrus-
can word, Arnthey found upon a vase, has been mistaken for the
potter instead of the possessor. This is the more remarkable
as the name of a Greek artist w^as found upon it. The attempt
to trace the artists to particular cities fails, for Eucheir has
been found at Corinth and Athens, and other names occur there
too.^ The potters' names are accompanied by the imperfect epoei,
" was making," or the aorist epoiese, " made according to period at
which they worked." On other works of art the imperfect form
does not appear till the cl. Olympiad, B.C. 190, so that it w^ould
seem as if the vases of old style with the later imperfect forms
were imitations of a more archaic style.^ Amasis, a potter,
whose name is apparently of Egyptian origin, may have had a
factory at Korinth, as his works are of the early rigid school.
His vases have been found only in Italy. He exercised the art
of painter as well •as potter, and on certain vases he states that
he painted the subject.* He painted for the potter Kleophra-
das.^ Whether he subsequently set up for himself does not
^ For the lists of these names see | teurs et Fabrieants des Vases Feints,
Panofka, Von den Namen der Vasen- Revuu de Philologie, 8vo, Paris, torn. ii.
bildner, 4to, Berlin, 1849, s. 153. 241 ;
R. Eochette, Lettre a M. Schorn, 8vo,
Paris, 1832 ; 2nd edit. 8vo, Paris, 1845 ;
Glarac, Cat. d. Artist. d'Antiq., 12mo,
Paris, 1849 ; Welcker, in the Kunstblatt,
1827, No. 81-4 ; Osann, in the Kunst-
blatt, 1830, No. 83, 84 ; Welcker, in the
p. 387-473 ; Gerhard, Rap. Vole, p. 74, 75.
- Pans., vi. 44, viii. 14, 10; Bockh,
Corp. Inscr., iv. p. ix.
' Bruim, Geschichte d. griechisch.
Kunstl., 8vo, Stuttg. 1859, ii. p. 651.
* Raoul Rochette, p. 31 ; Clarac, p. 248.
* Gerhard, 1. c. No. 703 ; R. Rochette,
Rheinisch. Mus. Bd. vi. 1847, s. 389-97; ] Bull. Fe'r. 1831, p. 101 ; Brunn, Gesch.,
De Witte, snr les noms des Dessina- ii, p. 037.
336 GREEK POTTERY. Part IT.
appear, but he is known in connection with several vases with
black figures ; as, an amphora, on which is seen the dispute of
Poseidon and Athene for the soil of Attica,^ and Dionysos and
his cohort; a small jug, oZpe, with the subject of Perseus killing
Medusa;^ and an amphora, with that of Achilles and Penthe-
silea, and the arrival of Memnon at Troy.^ Generally he writes
on his productions mepoiesen, "made me," but on this last-
mentioned vase appears the blundered form poiesn. AnaMes
is known from a cup on which is a hind.* Andohides, another
maker of the same kind of vases, is known irom an amphora,
on which is represented the contest of Herakles and Kyknos, and
Dionysos and satyrs ; ^ and another with black figures on a white
ground, having for its subject Nereids and Amazons, the style
of w^hich is fine. An amphora with red figures, Herakles and the
Tripod, and athletic subjects ; another with black and red figures,
Dionysos and satyrs, a cup with combat of warriors.^ Aon, son
of ]\[naseas is the supposed maker of a black cup.' He employed
no artist. Archihles,^ who also inscribes upon his vases " made
me," or " made," is known for his cups of a very old style, with
tall foot, and small handles of figures, with the subjects of the
hunt of the Kalydonian boar, and the death of the Minotaur.^
Another of his cups has antefinal ornaments and a third has a
goat and satyr.^° He employed the artist Glaukythes,^^ by whose
aid he produced the celebrated vase found at Caere, one of the
most remarkable for size and decoration, and which belongs to
the oldest period of the fictile art. Brygos is known as the
maker of a hylix found at Yulci, painted with red figures, and
having for its subject the last night of Troy ; ^^ and of another,
with Triptolemos, the family of Keleus, and the rape of Proser-
* Gerhard, Annali, I80I, 178, No. 702. I which renders it suspicious. Campana
2 Cat. Dub. No. 32 ; Cat. Vi.s. B. M., \ Coll. ; Brunii, Gesch., ii. p. 657-9.
p. 172, 641*. I - Panofka, in A. Z., 1849, p. 79 ;
' G. A. v., ccvii. ; Campanari, p. 87 ; ; Brunn, 1. c.
AMA2I2 EUOIESEN, nOIHEN. ^ C. D.,No. 999 ; E. V., p. 179 ; n. 694.
* Panofka, s. .32 ; Bull., 1835, 127 ; « G. A. V., ccxxxv. ; Panofka, s. 32,
De Witte, Eev. 392. 33.
" ANAOKIAE2 EnOIESE, EUOESEN. 'o Panofka, s. 31, reads this artist's
name, APKITE2 EUOIESEN.
'1 Panofka, M. Bl., xvi. 47 ; Gerl.ard,
A. 1831, 178, No. 694; Clarao, Cat. p.
251.
^- Panofka, s. 13, B. 1843, p. 71,
BPTA02 EnOIE2EN.
Can. le Ctnt., 1846; Ann. 1837, 178,
No. 700 ; Clarac, Cat., p. 37, 237-249 ;
Mus. Etr., 1831 : C. Dub., 79 ; C. D.,
22 ; Campanari, p. 88 ; B., 1845, p. 25 ;
Panofka, Taf. iii. 2, s. 28.
^ His name is inscribed on the foot.
[AP. VIII.
CHACHRYLIOS— CHAIUESTRATOS.
337
line, the judgment of Paris, Nike or Iris also in red figures.^
'he name of the potter Kallifhon was invented to deceive the
jlebrated archaeologist IMillin, in which it was entirely suc-
jssful.^ Chachrylios, was a maker of cups with red figures,
the fine style ^ representing Amazons and the Bacchanalian
)rtege ; and of another, with Theseus bearing off Antiope.
Orestes killing Klytaimnestra, warriors, also some other shapes
a 2^^nax with an Amazon, and a cup with a dancer holding
^otala, with black figures. He employed the artist Euphro-
nios/ A cup found at Caere, with black figures, had the name
of the potter Charitaios, representing the subject of Herakles
and the Nemaean lion, another with athletic exercises and the
bath.^ Of Kleophradas the employer of Amasis, mention has
already been made.^ Cholchos, another maker of vases with
red figures, of the strong style,^ is known by an omoclioe of this
maker having been found, with the subject of the contest of
Herakles and Kyknos.^ Chelis manufactured hylikes with black
figures, sometimes intermixed with red, representing Bacchan-
alian and athletic subjects ; and one with Apollo and Hermes
contending for the lyre. He belongs to the transition period.^
A jug of fine shape, having a wreath of a vine laden with grapes
depicted in black on a white ground, bears the name of the
potter Cliarinos, with which is combined that of Xenodoros, but
whether that of an artist or of a youth is uncertain. ^° Chaire-
stratos is only known from some verses of Phrynichos. " Then,
forsooth," says he, " Chairestratos, soberly pottering at home,
burnt about a hundred kantharoi of wine every day." ^^ A person
» A. 1850, pi. G., p. 109.
2 Coll. Can., 51 ; Journ. des Savans,
1830, p. 121 ; Raoul Rochette, Bull.,
Feius. 1831, p. 149; Clarac, p. 70;
Brunn, ibid., 665.
3 Coll. Can., 51 ; Cat. Can., 81 ; Ger-
hard, Ann., 1831, 179, No. 705; Campa- .
nari, p. 88 ; XAXPTLI02 EnoiESEN ;
Cat. Vas. Brit. Mus., p. 262, No. 815*.
* Cat. Vas. Brit. Mus., p. 278, No.
827 ; Cat. Can., 115 ; Brunn, ibid., 702.
' XAPITAI02 EHGIESEN EME, XA-
PITAI02 EnOIE2EN : EME : ET, Vis-
conti, Tntorno gli Monumenti sepolchrali
scoperti nel ducato di Cere ; in the Dis-
-ertazioni della Pontificia Accademia
Komana di Archeologia, 4to, Roma,
1836, tav. ix. ; Brunn, ibid., 660.
« Gerhard, Annali, 1831, p. 178, No.
703 ; Panof ka, s. 37 ; Due de Luynes,
Choix de Vases, pi. xliv.
^ Rochette, Lettre a M. Sehorn, p. 44 ;
Clarac, Cat., p. 273 ; Carapanari, p. 88,
X0AX02 MEnOIE5EN.
* G. A. v., cxxii. cxxiii. ; Panof ka,
8. 14, Taf. i. 6.
» XEAI2 EnOIE2EN, and EHOEI,
Gerhard, A., 1831, p. 179; No. 706;
Clarac, p. 74; Cat. Dur., 180; Cat.
Can., 224 ; Panof ka, s. 5, 37.
•" Brit. Mus., No. 90.
" Meineke, Frag. Com. Grsec., ii. 386;
Athenseus, xi., p. 474, B. There is a
play on the word Kepafievuf (pottering),
Z
338 GREEK POTTERY. Part II.
of the name of Kephalos, if it be not a fictitious one, is sarcas-
tically alluded to by Aristophanes,^ as making wretched dishes,
but tinkering the State well and truly. The name of Deiniades,'^
another potter, is recorded on a kylix, with red figures, having
for its subject Herakles killing Alkyoneus, painted by the artist
Philtias. Didymos is known as the master of a rhyton in shape
of the head of a mule, with red figures on it. Duris, better
known as a painter, appears as the maker of a dish, on which is
a seated figure of Athene, and a cup with Amazons, which he
made and painted.^ E]pigenes, another potter, is only known
from a kantharos, or two-handled cup, of peculiar shape and
mediocre style with red figures, on which is painted Achilles at
the ships, receiving a draught of wine from the Nereid, Kymo-
thoe, and attended by Ukalegon, while Patroklos, attended by
Nestor and Antilochos, has the same honour accorded him by
Thetis. J3oth Achilles and Patroklos are armed, and departing
from the ships.* Epitimos made vases with red figures ; as, for
example, a cup of ancient style, on which was a warrior mounting
his horse.^ Erginos, a potter, employed the painter Aristophanes.
He is known from a cup with red figures, representing the
Gigantomachia.^ Ergoteles, son of Nearchos has left his name
on a cup ornamented with palmettes only.'^
Ergotimos, another potter, is known from the Francois Vase,
and a hjlix with black figures, representing the capture of
Silenos in the gardens of Midas, found at Aigina/ of which
island Ergotimos was probably a native. He was perhaps
the father of the next potter, Eucheros, or Eucheir, in whom
some recognise the celebrated Eucheir, brought by Demaratus
from Korinth to Tarquinii, who made a hylix, with black figures,
of the oldest style, with a representation of the Chimaira, and
which has the same equivocal meaning i 1846, p. 69, EniFENES EnOE2E ; Pa-
as in English. I nofka, s. 40, 1.
» Eccl. V. 252. I ^ EHITIMOS EHOIESEN, Clarac, Cat.
210, m. ; Dub. Not. descr., .56, No. 203 ;
Campanari, p. 88.
« Clarac, Cat,, p. 204, c. EPriNOS
2 AEINIAAE2 EnoIESEN, Coll. Can.,
1^ Cent, No. 74 ; Gerhard, Ann., 1831,
p. 179, No. 709 ; p. 180, No. 728 ; Cam-
panari, p. 88 ; Mus. Borb., v. 20 ; Brunn,
ii. 667.
3 AOPl2EnOIE5EN,orEnOIEI. G( r-
bard, Fernerer Zuwachs der K. Mus.,
No. 1853 ; Gerhard, Trinkschalen, Taf.
xiii.
* Ann., 1850, p. 143, pi. H. i. ; B.
EnOIESE ; Gerhard, Trinkschalen, Taf.
ii. iii. ; Panof ka, s. 8, Taf. i. 3.
- ^ EPrOTEAES EnOIESEN HO NE-
APXO, Gerhard, Neuerw. Denkm. 1779 ;
Brunn, ibid., 676.
* EPrOTIMOS EHOIESE ; G. A. V.,
ccxxxviii ,• Bull. For., 1831, p. 1.53.
CnAr. VIIT.
EUCHEROS— GLAUKYTHES.
339
on wliicli he inscribes himself the son of Ergotimos.^ The
celebrated Francois Vase, witli a series of subjects referring to
the life, genealogy, and fate of Achilles. He is a maker of the
oldest school. Euergides made a cup with red figures, found at
Capua,^ representing Pelops, Plexippos, a dancer, and a
palsestric subject. The potter Euphronios was probably the
most celebrated of his day. He also painted vases. He
belonged to the epoch of the **' fine," or to the latter days of the
" strong " style, characterised by red figures, or by polychrome
figures on a white ground,^ and produced vases, mostly hylihes^
of the finest style of art. The only vase-painter whose name
,, appears on his works, is the artist Onesimos,* who painted for
him a hylix with the subject of a race. Only a few of his works
remain, as a hylix^ with the subject of Herakles and the
Erymanthian boar, a quadriga ; Alkaios and Sappho ; ® another
with the fate of Troilos,^ a horseman,^ Phrygians,^ and heroes
arming ; ^° one with Death and Sleep bearing off Sarpedon,^^ and
Dolon seized by Ulysses and Diomedes ; ^'^ and another with a
triclinium of hetairai.^^ He also painted vases on which occur
the name of Panaitios, an am]phora with Herakles and the
Erymanthian boar, and Akamas and Demophon with their
horses,^* and a jar with recumbent undraped females.^^ He has
also left a hylix with figures in black outline, like the later
Athenian school, on which are Diomedes and a female, or
Achilles and Pontomeda ; ^® and a krater, with Herakles and
Antaios of remarkably fine and grandiose style.^^ This potter
placed on his vases the names of several celebrated youths of
the day. His vases are, perhaps, the very finest known of the
' ETXEP02 EnOIESEN HOPrOTI-
MOY HTIHT2, Clarac, Cat. Art. 191 ;
Bull. 1846, p. 78 ; Cat. Vas. B. M., p.
196, No. 701 ; De Witte, Cat. Can., No.
121, p. 70, M. M. T., xlii.
2 Bull. 1845, p. 118 ; Ann. 1848, p.
299-382; Ann. 1849, p. 145, pi. B.,
ETEPFETIAES EnOI.
^ G. T. C, xiv.
* Annali, 1831, 180, No. 723; Bull.
fFemssac, 1831, p. 153 ; Clarac, Cat., p.
109; Dubois, Cat. d. Pr. de Canino, 87,
Iter ; Panofka, Die Vasenmaler Euthy-
pnides und Euphronios, p. 13.
* Vas. Cat. Brit. Mus., p. 270, No.
1822 ; Panofka, p. 9.
« Cat. Dur., 61.
' Mus. Etr., 588 ; Cat. Can., 87, No.
568 ; Ann., 1831, 408, 824 ; Clarac, 272 ;
G. A. v., ccxxv.
» Cat. Dub., p. 200.
» Cat. Can., 81 ; Mus. Etr., 1091 ;
1831, Ann.. No. 723.
'« G. A. v., ccxxv. " Panofka, p. 9.
12 Ibid. '^ Ibid. s. 10.
>' Ibid. s. 16. '^ Campan. Coll.
1® Gerhard, Trinksch. u. Gefiisse, Taf.
xiv. 5, 6,7; Panofka, Die Vasenbildncr,
Taf. iv. 7, s. 11 ; Welcker, Khein. Mus.,
vi. Bd. 1847, s. 394.
»' Mon. V. pi. 38, 1855.
z 2
340 GREEK POTTERY. Paet II.
strong style. Euxitheos, who belongs to the period of vases
with red figures, was a painter as well as a potter. He is known
from an amphora representing Achilles and Briseis/ and from a
kylix with the subject of Patroklos. For the last he employed
the vase-paiuter Cholchos.^ Exekias was both a maker and
painter of vases,^ with black figures, of the early style. He is
known from amphorae on which are represented Herakles
killing Geryon, Herakles and the Nemaean lion, Demophon and
Akamas, the chariot of Anchippos,* Achilles and Penthesilea,^
Dionysos,^ and Oinopion, and a deep hylix with small figures of
a winged female and stag.' On cups, hylikes, and amphorae
he painted the subjects of Akamas and Demophon bringing
back Aithra,^ Achilles and Ajax playing at dice,^ the contest for
the body of Achilles, and Dionysos and the Tyrrhenian pirates.^°
Echehrates is known by a single hylix, the subject of which is a
Gorgon's head.^^ Glauhythes ^^ has been already mentioned. His
name appears on the cup, with small black figures, representing
the death of the Minotaur, and of the Kalydonian boar, now in
the Museum at Munich, and on another cup in the Berlin
Museum. He must have flourished about the same time as
Tleson and Nikosthenes, and he placed on his wares the name
of Hippokritos, a youth styled '* the most beautiful." He
flourished at the early period of vases with black figures. The
name of Glaukythes, an Argive sculptor, has been found at
Athens. Other potters were Hermaios, the maker of a cup on
which is represented Hermes making a libation ;^^ Hermogenes,^^
» EVK2I0EO2 EnoiESEN, Cat. Dur.
386 ; G. A. V., clxxxvii. ; Panofka,
s. 17.
2 Vases d. Pr. d. Canino, pi. 5 ; Ger-
hard, Ann., 1831, p. 180, 729, No. 729;
Campanari, p. 88 ; Brit. Mus., Vas. Cat.,
p. 246, No. 803 ; Inghirami, Gall. Cm.,
ii. 254.
3 EX2EKIA2 EnOIE2E, Panofka, s.
19, Taf. ii. 1, 2.
* Cat. Dur., 296; G. A. V., cvii. ;
Brunn, ibid., 689.
8 Ann. iii. p. 179, No. 709 ; Cat. Dur.,
1. c. ; G. A. v., ccvi.
8 Panofka, s. 10, Taf. ii. 10-12 ; M. G.,
ii. liii., 1 a ; Etr. Vas., Taf. xii.
10 G. A. v., xlix.
" Ann., 1849, s. 120. EXEKPATE2
K . . . TEAE2EN.
'2 ALAVKVTE2 EHGIESEN, once
AAAVKVE2 EnOIESEME, and ME-
noIESEN, Gerhard, Berlins Neuerw.
Vasen., No. 1598; Bull., 1847, p. 125;
Bull., 1860, p. 50.
5 Cat. Dur., 389 ; G. A. V., ccvi. ; ' ^^ HEPMAI02 En01E2EN, Clnrac,
Cat. Vas. Brit. Mus., p. Ill, No. 5.54. I Cat., p. 240; Bull., 1842, p. 167.
« G. A. v., ccvi. ; Panofkn, s. 19, j ^* HEPMOFENES EHOIESEN, Ger-
Taf. ii. 5, 6. j hard, Ann., 1831, 178, No. 090 ; Cat.
7 EK2EKIA2 MEnoiE2EN. Cam- Dur., 1000; Berlins ant. Bildw., No.
pa'ia Coll. 183 ; Cat. Can., 159 ; B. M., p. 189,
I
HAP. VIII. HIEKON, HILINOS, &c. 341
ne of the early school, who only made cups with small figures
and ornaments. Hermonax is known from a stamnos with men
and flute-players.^ Hieron, a remarkable name, perhaps of a
contemporary with the old Sicilian tyrant, is chiefly known
from the hylihes he made, and which are foun'l at Vulci, and in
the Sabine territory, with the name scratched upon the handle.
He appears to have been a partner with Andokides. The
subjects of his hylihes are Bacchanalian,^ Peleus and Thetis,^ the
Judgment of Paris,* Achilles hearing the death of Patroklos,^
the abstraction of the Palladium, Demophon and Akamas, and
festive scenes.*^ His orthography is not always correct,' and his
inscriptions are scratched under the handle or foot. The name
of Hilinos has been found as one of the lehythoj)oioi, or makers
of lehythoi, on a vase with red figures, of that shape, discovered
at Athens. He employed an artist named Psiax.^ Kittos
manufactured one of the Panathenaic vases found at Tukera, in
the Kyrenaika, with black figures having Pallas Athene on one
side, and on the other two wrestlers and a brabeutes.^ Laleos on
a cup with black figures and animals as a potter's name. His-
chylos, another potter, belonged to the period of the transition
from black to red figures ; his vases have been found only at
Vulci.^° His wares were chiefly cups. He employed one Phei-
dippos to paint his vases ,'^^ besides Epiktetos, who surpassed
all the other artists of the strong style ^^ of red figures,^^ and
Sakonides, whose name appears on a cup with the subject of
Herakles and the lion. A potter named Lysias has recorded
his name on a plain vase.^"^ Manes is found on a Greek stele of
uncertain locality, and the name was applied to a vase maker.^^
The potter Meidias is known by the celebrated Hamilton Vase,
of the style of Kuvo, a perfect chef d'oeuvre, of the florid style,
685 ; Eochette, p. 46 ; Campanari, p. 88 ; ** HIAIN02 EnOIE2EN. CreuzL-r,
Cat. Vas. B. M., 685. j Alt Atben. Gefass, s. 53.
' Bmnn, ibid., ii. 694. | » Cat. Vas. Brit. Mus.
2 Can. 1« Cent., No. 23; Mus. Etr.,
565, 118,S.
3 Depoletti, Coll. Clarac, Cat., p. 128 ;
"> HI2KTA02 EnOIE2EN, Caniuo,
1" Cent., No. 6.
" Clarac, Cat., 180.
Annali, 1831, p. 179, No. 710. I »2 Panofka, s. 30.
* Campan. Coll. ' Cat. Dar., 758. ] " Anual., 1831, p. 179, 725 ; Campa-
« Gerhard, Trinkschalen, Taf. xi.-xii- nari, p. 88.
Panofka, Taf. i. 9. '^AT2IA2 MEnOIEHEN HEMIXONEI,
^ HIEPON EIIOIESEN — EnOE2N. on a vase in the Campana collection at
Bull., 1837, p. 71 ; Bull., 1832, p. 114 ; ] Rome.
Campanari, p. 88 ; Punofka, i. 7, 8, s. 22, , '' Bull. d. Corr. Arch., 1868, p. 118'*
23 ; Mon., ii. xxxviii. : Atheujous, xi. p. 487, c.
342 GREEK POTTERY. Part II.
with red figures, and gilding in the accessories; the subject
being the rape of tlie Leukippides, and the Argonauts.^ There
is a supposed Naulcydes,^ who flourished during the age of the
vases with black figures. Neandros is known from a cup with
black figures, having for its subject Herakles strangling the
Nemean lion.^ An important and extensive manufacturer was
Nihostlienes,^ probably one of the earliest makers of vases with
black figures. He made vases in a very mannered and genre
style, both with black and red figures. His amphorae are of
peculiar shape, tall and slender, with broad fiat handles like
bands. Fifty vases are known inscribed with the name of this
potter. He is known from a ]jihiale with ornaments,^ and hijlilces
with the subjects of Dionysos, Hermes, and Herakles.^ Aineias,'
Theseus, and the Minotaiir,^ Akamas, and Demophon,^ athletic
subjects.^" A Gorgonium ; ^^ a scene of ploughing ; ^^ a man
running, having on one greave ; ^^ and a satyr and youth,
painted for him by Epiktetos ; ^* also from a hylix of black and
white figures, having on it Ulysses and the 8irens.^^ A han-
tliaros of this potter with a dance of figures of fine style exists,^*^
and an oinochoe or jug, with Marsyas playing on the flute. -^^ His
amphorae have for their subjects Herakles and the Nemean lion,
combats, a boxing match,^^ and another is ornamented with a
Bacchanalian thiasos.^^ Others have the Gigantomachia satyrs
and mainads, sphinxes, Achilles and Penthesilea, Aineias and
Anchises, the adieu of the Dioskouroi, youths riding on hippa-
lektryons, warriors, old men, and youths, the supposed Eris,
1 AAAE02 MEnOIESEN, EnOIE2EN. j xxxiii., pi. IG, pp. 225-262
Brunn, Gesch. ii. 765; D'Hancarville, | ^ Panofka,'s. 28, 29.
i. p. 130 ; Millin, Gall. Myth., No. 385 ;
MEIAIA2 EnOIESEX ', Gerhard, Abh. d.
K. Akad., Berlin, 4to, 1840, die Meidias
vase ; Notice sur le vase de Meidias.
2 Clarac, Cat., 284-286 ; Cat. Can., 71 ;
Campana Collection.
2 NEANAP02 EnOIESEN, Clarac, p.
286 ; Coll. Can., 1845 ; Clarac, p. 287. i s. 28.
* NIKO20ENE2 EnoiESEN, or ME- I ^^ Gerhard, Coupes et Vases du
' Mus. Etr., 567; Ann., 1831, 179,
No. 711.
* Ann., 1. c. ; Mus. Etr., 15 J 6.
» Cat. Can., 217.
i» Mus. Etr., 273; Berl. ant. Bildw.,
1595.
11 Coll. d. Pr. Can., 236; Panofka,
noiE2EN, Panofka, s. 23; Ann., 1831,
180, No. 727; Brunn, ibid., 709.
* Ann., 1831, p. 178, No. 691 ; M. G.,
ii. 17 ; xxvii. ; Visconti, Monum. Se-
polchr. di Cere, Taf. ix. ; Marquis of
Northampton, Observations on a Greek
vase discovered in Etruria, Arcbajol.
Musee de Berlin, pi. i.
i» Cat. Dub., 59.
1* Ann., 1831, 180,727.
" Cut. Dur., 418.
i« Cat. Dur., 662.
1- Cat. Dur., 147. '« M. G., xxvii.
i» Vas. Cat., B. M., 118, 563.
lAP. VJII.
PANPHAIOS.
343
5US, and Heos, with friezes of animals.^ The most remarkable
ise of this potter is one entirely black, with a female figure
id a dog in opaque white, having lines cut through to the
lack background. He also made a krater^ differing from the
isual shape, and ornamented with a frieze representing a
gigantomachia.^ Panj)haios, Pamcifhios, or PanthaioSy a potter,
who flourished during the strong style of red figures, employed
the artist Epiktetos.^ He was a cup maker, and has left his
name on no fewer than seventeen hylikes, and is by far the most
common of all the makers. He belongs to the period of vases
with black and red figures. It occurs also on a stamnos with
red figures, representing Herakles and the Achelous, and Mar-
syas and Oreithyia.* The subjects on his productions are, a
horse ; ^ Herakles and the lion ; Bacchanal scenes ; ^ warriors
and Pegasoi ; ^ Sarpedon borne off by Hypnos and Thanatos ; ^
the arming of Memnon ; Hermes, Nomios, and Mainads ; ^ a
crovNued youth ;^" a scene of a homos ;^^ a stamnos, vi'iih. the
contest of Herakles and the Achelous ; ^^ Herakles destroying
Hippolyte, painted with black figures ; ^^ a hylix, with a man
crowned seated on a rock and holding a pedum ; ^* Pelops, or
Achilles, boiled in the caldron ; ^^ goats and great eyes ; ^^
athletic scenes, warriors' combats, Amazonomachia, Erotic sub-
jects ; ^^ a hydria, with black figures, with Dionysos and his
crew ; ^^ and Herakles and the other gods of Olympos ; ^^ and a
Jvylix, with the head of Medusa.^" There are also amj>horeis,
with flat side handles like those of Nikosthenes, of this potter,
one with the subjects of satyrs and mainads ; and another with
* Gerhard, Neuerw. Denk., s. 18, 159,
; Campanari, p. 88 ; Gerh., Tiinksch.,
i. 1, 2, 3; Panofka, iii. 11, s. 24.
2 B. M., 560 ; Bull., 1843, p. 59.
' nAMA*I02 EnOIESEN.
* Trans. E. Soc. Lit., N. S., vol. i.,
1843, p. 100 ; G. A. V., cxv. ; Panofka,
Namen, p. 153-241, Taf. v.
' Panofka, s. 2, der Vasenbildner,
Pamphaos ; Gerhard, Berl. Ant. Bild.,
s. 27, No. 1625.
« Panofka, Taf. ii. ; Taf. iii. ; Cat.
Diir., 17.
" Panofka, 8. 4.
* Arcliajol., xxxix., p. 139.
" Do Wittc, Dcscr. do Vases Points,
No. 17.
" Inghirami, Mus. Cliiu^., torn, ii.,
tav, cxxxiii.
11 Mus. Etr. du Pr. do Canino, 1116.
12 Trans. Roy. Soc. Lit., vol. i., p.
100; G. A. v., cxv.
" Mus. Greg., ii. Ixvi.
14 Mus. Etr., 1513.
1* Dubois, Notice des Vases re'scrve's,
p. 104.
i« Braun, Bull., 1842, p. 167 ; Welcker,
Rhein. Mus., 1847, s. 396.
1^ Mus. Greg., ii. Ixix. 4.
18 De Witte, Cat. Dur., No. 91 ; Brit.
Mus. Cat., p. 43, No. 447*.
" De Witte, Cab. Beugnot, 37.
20 Micali, Storia, 102, 1 ; Braun, Bui!.,
1844, p. 101.
344
GREEK POTTERY.
Part II.
that of Chiron and Achilles, Menelaos and Helen, fonnd at
Cervetri.^ His style is more developed, and rather later than
that of the rigid school. The following vases have both black
and red figures on the same vase. A Tcylix, with the Minotaur ;
two hydriai from Vulci have black figures with Dionysos and
his cortege, and Herakles and lolaos, and two cups with the
same Herakles, the Amazons and Dionysos. There is some
doubt whether his name should not read Panthaios.^ The
name which some read as Hilinos others consider to be more
correctly Philinos.^ Phrynos appears on a restored cup with
Herakles and Minerva, and the gods of Olympos. Pistoxenos
occurs as the name of a maker on a vase found at CaBre. He
also employed Epiktetos.* Priapos is mentioned on a cup
with black figures, representing a lion running.^ The name of
Python is found on two vases, so different in style and art, that
there were probably two masters of that name. One employed
the artist Epiktetos,^ who painted for him in the strong style a
hydria of red figures, representing the death of Bousiris, and an
entertainment; the other made a vase of red figures, of the
shape called leJcanion, at the time of the decadence, which he,
or a later artist of the same name, painted, not made.'^ Sesamas,
a Lycian potter, is also known from a sepulchral monument.^
SiJcanos, by some read Silanion, is known from a jpinax or dish
with the figure of Artemis.^ Simon, of Elea, the supposed
maker of a hydria, with black figures, having for its subject the
chariot of Athene and the Gigantomachia,^^ rests on very
uncertain grounds. The name of Sokles occurs on a plate found
at Cliiusi.^^ Sosias was the maker of a cup with red figures,
representing Hermes bringing the ram to heaven, and the
healing of Patroklos.^^ The name of Statius appears on a han-
* Collection of M. Campana at Rome.
2 Clarac, Cat., 164-5 ; Panofka, 1. c. ;
Biunn, Gesch., ii. 720,
^ Cieuzer, Ein alt Athenische Gefass,
niLINOS En0IE2EN, Leipzig, 1832, s.
53, 56; Deutscli. Schrift., Bd. iii. n.
1, s. 6 u. ff. ; *PTN02 EnOIESEN.
BruDD, ibid., p. 729.
^ ni2TOX2EN02 EnOIE2EN. Cam-
panari, Intorno i Vasi, p. 92.
3 nPIAnoS EnoiESEN. Panofka,
s. 31. Cat. Dur., 882.
« nveON EnOIESEN. Ann., 1831,
180, n. 726; Panofka, s. 36; Micali,
Mon. Antich., xc. 1.
^ Clarac, Cat., p. 296; Millingen,
Nouv. Ann., i. p. 45.
* Bockh, Corp. Insc. Grsec, iii. p.
1116.
^ Bull., 1844, p. 44; Brunn, ibid.,
p. 733. 2IKAN02 EUOIESEN.
»" 2IMON HAEITA EENO HVV2 H-
nONON. Cat. Can., 103.
11 Bull, 1851, p. 171.
'■- Mon. i., pi. xxiii.-xxiv. ; Panofka,
p. 38, Taf. iii. 6.
• HAP. VIII. MOULDING. 345
tharos or karehesion, of plain black ware of late style, insfiibed
" the work of Statlus, a gift to Kleostratos." ^ Probably one
of the earliest makers was Taleides, known from an amphora
with a scene of weighing ; ^ a hydria, with Herakles and the
lion ; ^ a hjlix, with a swan in the same style of art ; * and an
oinoehoe, with Dionysos and a iiute-player, and another with
Dionysos.^ The name of the youths, Klitarchos, and Kallias and
Neoklides, are found on his vases,^ and he employed the artist
Takonides, or Sakonides.'^ Theozotos or Theoxetos is known only
from a hjUx with black figures, representing a goatherd.^
Therihles, the celebrated Corinthian potter, conferred his name
on two-handled cups, decorated with friezes of animals, and
resembling in shape those held in the hands of Dionysos. He
lived in the days of Aristophanes.^ Thypheitheides made a cup
with red figures, on which are represented a deer running, and
large eyes.^° Timagoras is known by two liydriai painted with
black figures, representing Theseus killing the Minotaur, Her-
akles contending with Nereus. They are of the usual hard but
not recherche style of Exekias.^^ The name of the youth Ando-
kides appears on his vases, and Theseus killing the Minotaur.
Tlenpolemos, another potter, manufactured vases with black
figures. Only three of his work ^^ are known. He employed as
his artist Sakonides.^^ His productions have been chiefly found
at Yulci. A maker \\ hose works are more often found is Tleson,
son of Nearchos, probably a Corinthian potter, as a hylix of his
fabric has been discovered in that city.^* He was a maker of
JcylikeSf or cups, and many of his works are indecent. ^^ His
I Gerhard, Arch. Zeit., 1847, s. 190 ; | » Athen., xi. 470, d.
2TATIEPT0NKA[E]02TPATaiAnP0N; \ »« EnOIE2EN 0Y«I»EI0EIAE2, Cat.
B, A. N., iv. p. 104. An incised inscrip- | Dur., 893 ; Vas. Cat. Brit. Mus.. p. 309,
tion of doubtful authenticity. ' No. 854 ; Panof ka, s. 3.5.
TAAEIAE2 EnOlESEN, Millin. V. i " TIMArOPA2 EHOIESEN. Cam-
2
Feints, ii. pi. 61 ; Gal. Myth., cxxi. 490 ;
Panof ka, s. 7; G. A. V., ii. s. 113. The
subject perhaps referring to Tantalos.
^ Campaua Collection.
* Gerhard, B. A. B., No. 685.
» Bull., 1845, p. 52 ; Brunn, ibid., 735.
pana Col).
»2 Cat. Can., 149; Gerhard, Ann.,
1831, p. 172 ; p. 178 ; No. 6G1, No. 693,
p. 172 ; TAENnOAEM02 MEHOIESEN.
" Gerhard, Neuerworb. Vasen, No
1597; Mus. Etr., 149, [6612]; TAEN-
« The silver vase of Taleides, with the , nOAEMOT EIMI KYHEAAON. The end
name Klitarchos is incredible. Bull., of a hexameter line.
1843, p. 13. i »* Bull., 1849, p. 74 ; TAE20N HO
' Gerhard, Kapp. Vole, 180, 729. | NEAPXO EnOIE2EN : Panofka, s. 34 ;
** 0EOHETO2 MEnoiESE, Cat. Dur., 1 Khangabo, Ant. Hell, p. 13, n. 369.
884 ; Panofka, s. 34. '' B. M. Cat., p. 189, No. 682 ; Clarae,
346 GREEK POTTERY. Part 11.
figures, which are black, are generally finely drawn, clear in
colour, and of general excellence, but of small size. The most
remarkable of his subjects is Orion carrying a fox and hare.^
Others are a kentaur,^ an ape,^ and two cocks.^ Tychios made
a hydria, with the subject of Athene in a chariot and Apollo,
found at Corneto ; ^ also a cup, and a plain cup.^ XenoMes,
another maker of the oldest school, is known from a kylix of the
most archaic treatment, with the subject of the Judgment of
Paris,^ and other hylihes, \yith the departure of Poseidon ; ^ the
search for Poseidon, Dionysos, Achilles, and Troilos, and a
swan with sirens,^ and other plain cups. The name of Xeno-
j)hantos, of Athens, which is not found amongst those of the
makers of the cups at Vulci or in Greece, has been found on
one of coarse work with red figures ^^ at Kertch, or Panticapseum,
one of the utmost limits where vases have been discovered. An
attempt has been made to connect the choice of subjects upon
vases with the names of the potters or artists, but the con-
nection, if it exists at all, is too vague to assist the interpretation
of the subjects. It is possible that such secret allusions may
have been occasionally intended ; but there has been no slight
difficulty amongst archaeologists to decide the real names of
the artists which occur on the vases.^^
From the potters, it is now necessary to turn to the con-
sideration of the vase painters, or zoographoi,^^ many of whose
names have been discovered on vases, although none are known
from the writings of the ancients. The passage of Aristophanes,^^
p.303;Dub.Cat.Can.,262;M.DeWitte, j » Gerhard, Zuwachs, s. 2G, 1662;
Coll. d. V. Ant. de terre prov. d. fouilles : Brit. Mus. t Panofka, s. 40.
taites en "Etrurie, 8vo, Paris, 1843, p. 72, '\ »» EEN0<I»ANT05 EnoiH2EN A0HN ;
No. 262 ; Mus. Etr., 1146 bis. j Bull., 1841, pp. 109-113 ; Ouvaroff, Ant.
» Cat. Dur., 260. d. Bosph. Cim. iii., pi. xlvi.
2 Annali, 1831, p. 178, 694. | >' See Raoul Roclaette, Lettre a M.
' Cat. Dub,, 262 ; Cat. Vas. B. M., i Schorn, 1. c. ; and Questions de rhis-
p. 189, No. 682. toire de Part, 8vo, Paris, 1846 ; Clarac,
* Mus. Etr., 15 bis; Cat. Dub., 71. I Manuel, 1. e. ; Panofka, Vasenbildner,
» Gerhard, Aim., 1831, 178. No. 701 ; \ &c.
Neuerwoib. Vas., 1664. TvXIOS EIIOI- j ^^ ^he vase painter was probably so
E2EN. i named, as the portrait painter Pseud-
^ Gerhard, Neuerb. Vas., 1664. A.Z., Anacr. Od. 28; and the shield painter
1853, 402; TTXI02 EHOIESEN. Xenophon, Hist. Graec. iii. c. 8, 4.
^ Lenormant and De Witte, Elite, '' Eccles., 994 ; Kramer, Ueber die
xxiv. p. 2, 47 ; Mus. Blac. xix. K2ENO- Herkunft, s. 20. The scholiast refers
KAE2 EIIQIESEN. it to the decoration of graves.
* Gerhard, Aus. Vas., i. x.
,AP. VIII. VASE PAINTERS. 347
mt these persons, the interpretation of which is doubtful, in
lich " the fellow who paints lehijihoi for the dead," is spoken
in terms of contempt, does not throw much light upon the
mdition of the painters. Demosthenes mentions a painter of
ibaster vases, or terra-cotta ones of that name.^ Nor is much
lore afforded by the vases themselves. The names of some,
ideed, such as Polygnotos, Nikosthenes, and Hegias, correspond
with those of artists of known fame ; but it is impossible that such
persons should have practised an art held in such inferior estima-
tion,^ and if the celebrated Zeuxis painted terra-cottas, it must
be understood, that he first modelled and then drew his designs,
not that he was engaged as a colourist of plastic works. The
names of the artists of metallic cups were held in great renown,
and those of Mentor, Athenokles, Krates, Stratonikos, and Myr-
mekides are mentioned by ancient authors. Lysippos modelled
a cup out of which Kassander the Macedonian monarch drank
the wine of Mendes, and copied five beautiful cups, as Zeuxis
had five virgins for his picture of Venus. The cup of Herakles
ras designed by Parrhasius, and sculptured by Mys, and on it
fas the proud inscription " I represent the lofty Ilion which
le Greeks overthrew.^
On many vases the name of the artist appears along with
lat of the potter, of course to enhance the value of the pro-
duction, as celebrated artists were sought after, both in the
home and foreign market. On others, the name of the artist
alone occurs, probably because the pottery was newly founded,
and the proprietor, to establish a reputation, employed the
services of known artists. Some potters, such as Amasis and
Euphronios, painted as well as made vases, which is natural
enough, as the two arts were so nearly blended. It cannot be
supposed that the great artists of antiquity occupied themselves
even in furnishing designs for works of this nature ; if it could,
a sketch with the name of Polygnot os might be recognised as
a production of that celebrated master. The professions of
potter and painter were often, as already mentioned, exercised
by the same person, as Amasis, Exekias, and ]3uris, but generally
the artist worked for a potter. One artist alone, Hermokles,
uses the ambiguous formula ergazeio^ which might mean either.
' Pliny, XXXV. 40, 42 ; Krnmer, 1. c. ; ^ Visconti, Aiitich. inonuui. di Ccic,
= Cf. al=o Demosthenes de F. L. 415. I tav. ix. E. ; Do Wittc, Rev. PliQ. ii.
^ AthensBus, xi. \v. i 385.
348
GREEK POTTERY.
Part II.
The names of artists follow the law which governs the other
inscriptions. There are none on the oldest vases, and few on
those of archaic style. They commence about the most flour-
ishing period of the strong style, and continue till the florid
style and gradually become rarer. One of the oldest painters
is Amiades, whose name is inscribed on a hjlix found at Vulci.^
Like most of the older vase painters, he uses the aoristic form
e^rapsen, " painted," the affected imperfect egrajplie not having
been used by many painters. Amasis, a maker of vases with
black figures of the most early and rigid style, much resembling
that of the Aiginetan school, painted an oipe with the subject
of Perseus killing Medusa,^ and one of rather freer treatment.^
The name of Aristojohanes, better known as that of tlie comic
poet than as the appellation of an artist, occurs on a cup witli
black figures representing a Gigantomachia. He worked for
the potter Erginos.* The name of Assteas occurs on a vase
of the style of the decani ence, as a painter of red figures of a
subject representing a garden of the Hesperides ^ of an oxy-
baphon with the subject of Phrixos and Helle crossing the
sea, and Nephele, a cup-shaped vase with a parody of Prokroustes.
An artist, whose name some read as Brygos, and others erro-
neously as Bryaxis, painted cups with red figures of the strong
style,® on which are the Judgment of Paris, Peleus and Thetis,
scenes in a palace. Chares occurs on a pyxis of Corinthian
style with ten persons, eight on horseback, Palamedes, Nestor,
Protesilaos, Patrokles, Achilles, Hektor, Memnon, the horses
Podargos, Psalios Ori(f)on, Xanthos, Aidon. On the cover
are fourteen hoplites old style.'
It is possible that Cholehos painted fori the potter Euxitheos
the kylix with the subject of Patroklos, in red figures of the
strong style. He was, perhaps, a Korinthian.^ The name of
1 AINIAAE2 ErPA(*2EN), Cat. Dur.,
1002 ; Gerhard, Neuerw. Denkm., 16G3.
2 AMA2I2 ErPA*2E KAI EHOIESEN,
Cat. Dub., 62 ; Campanari, Intorno i
Vasi, pp. 87-89.
3 AMA2I5 EFPA^EN -KAI EHGIE-
2EN EME, Campanari, s. 88 ; Brit. Mu3.,
no. 641*.
* API2TO*ANE2 ErPA*E, Gerhard,
Triukschale und Gefasse, ii. ; Clarac,
Cat., p. 240 c ; Lctronne, Explic, p. 29 ;
bull., 1839, pp. 52, 53.
* A22TEA2 ErPA*E, Millingen, Anc.
Uned. Mon. i. p. 07, pi. 27; Peint. d.
Vases Grecs, pi. 46 ; Gal. Myth., cxiv.
444 ; Panof ka, s. 37 ; ErPA4>E ; Buckh,
Corp, Inscr. Grsec, i. p. 42 ; Clarac, Cat.,
58; Panofka, s. 36; Brunn, ibid., 661.
« BPYL05 ErPA<i«2EN, Gerhard, An-
nali, 1831, p. 179, No. 704*; Campanari,
p. 88 ; Clarac, p. 86 ; Campana Coll.
^ XAPE2 MEPA^EN, De Witte, Rev.
Arch., 1863, p. 275.
« [X]0AX02 E[PA*]2EN, Mus. Etr.,
HAP. VIIT.
KPIKTETO?;.
349
le artist Duris is only found upon cups with red figures, both
an archaic and in a fine grandiose style of the best period
the art, representing Athene, Ilerakles and the Amazons, and
Honysos and his crew ; ^ or the exploits of Theseus,^ Peleus and
letis, the palaistra and amatory scenes.^ The name of Chaire-
tratos occurs on his vases. Of the painters of the early vases
^ith red figures, Ejnktetos is the most distinguished. His pro-
luctions are more elegant than those of Duris, and the esteem
which he was held is shown by the number of potters for
lom he worked, amongst whom were Euxitheos, Hischylos,
[ikosthenes, and Pistoxenos. He principally painted kyliJceSt
rith the subjects of Athene,'^ Silenos and a wine-skin,^ the
Jacchic thiasos,^ Theseus and the Minotaur,' and erotic figures.
[e also painted pinahes, or plates, with the subjects of Marsyas,^
in Amazon,® athletes,^*^ Ganymedes,^^ indecencies,^^ Dionysos
lolding a kantharos,^^ and a warrior.^* For the potter Hischylos
|e painted a cup, the subject of which is Herakles and the
[entaurs;^^ another with a Satyr ;^^ one with the subject of
msiris for the potter Python ;^' for the potter Nikosthenes,
[a cup with a Satyr.^^ Other cups have women ; ^® and a youth
holding vases.^" He also worked ^^ for Euxitheos. One of his
cups has red figures on the outside, and black within.^^ He
1120; Vases du Pr. de Canino, PI. 5;
Gerhard, Ann., 1831, p. 180, n. 729;
Campanari, p. 88 ; he uses on some vases
as a potter the Q for the X.
* Cat. Can., Gerhard, Ann. III., p.
179, n. 713 ; AOPI2 EFPAYEN.
2 Carapana Collection.
^ Clarac, Cat. Art., p. 99; Gerhard,
Aus. Vas., ccxxxiv. ; Campanari, p. 67;
Mus. Etr., p. lOG, No. 1181 ; R. Rochette,
I.ettre a M. Schorn, p. 3; Cat. Vas.,
Brit. Mus., p. 272, No. 824.
* Gerhard, Trinkschalen und Gefasse,
xiii. ; EniKTETGS ErPA2*EN ; Brunn,
ibid., p. G71 ; Gerhard, Rapp. Vole. Ann.
Ill , p. 179. From his writing eypaacpev
instead of eypacpaeu, it is probable that
Epiktetos was an Aiolian potter, iireid^
i'ir\avrj6ri(rav ot Alo\e7s Kara rifv -irpo-
(poph-v rb C^yhs (T^vyhs ypdcpovres Ka\ rh
^i(pos (TKicpos rh \p4\iov cnr4\iov, Cramer,
Anecd. GrsBc, iv., p. 326,
' Cat. Dur., 133.
« Vas. Cat., Brit. Mus., p. 279, No.
828.
' Cat. Can., 53 ; Vase, Cat., Brit. Mus..
p. 279, No. 828.
« Cat. Can., 53. '' Ibid., 1 17.
^0 Ibid., 175, 178. " Ibid., 177.
« Ibid., \?..
" Bull., 1846, p. 77.
»< Cat. Can., 189. '^ Ibid., 178.
i« Cat. Vas., B. M., p. 260, No. 814.
>^ Gerhard, Ann., 1831, 162, n. 546;
Cat. Can., 12 Cent., No. 8; Vas. Cat.,
B. M., p. 271, No. 823; Micali, Storia,
tav. xe. 1 ; Panof ka, Taf. iii. 4.
'8 Gerhard, Ann., 1831, p. 180, 727;
Clarac, Cat., 103, 240 m. ; Cat. Dub.,
174.
•» Cat. Can., 124.
20 Panof ka, Cab. Pourtales, PI. 41.
2' Gerhard, Ann., 1831, p. 180, 729.
-^ Gerhard, Neuerworb. Vasen., 1606;
Coll. Feoli, p. 113, No. 58.
350 GREEK POTTERY. Part II.
also painted a jpelike with the subject of a marriage.^ The
painter Epilyhos is known from a cup with red figures, having
for its subject Herakles contending with the Acheloos.^ The
name of Smikythos appears on his vases. The potter Eu^phro-
nios also painted vases with red figures in a style rather grand-
iose and strong than elegant, as appears from the cups witli
the subjects of Herakles and the boar, and Antaios, scenes of
armed warriors, Achilles, the capture of Dolon, drinking scenes,
of Troilos, and females reposing.^ The name of Erothemis
appears on his vases, and he worked for Chachrylion. Euthy-
mides, son of Polios, another painter, whose name is found upon
amphorae, with red figures having for their subjects Hektor
arming,* and Paris, lyrists,^ was the contemporary of Euphro-
nios, of wliom he was jealous, since upon one vase he has
written, "Euphronios never did so well ;"^ on the Jiydria with
the subject of Paris is the name of the youthful Sostratos,^ and
Smikythos. The potter Exehias also exercised the painter's art,
and ranks, perhaps, as the best known artist of vases with black
figures. The most celebrated of his efforts are the amphorae
found at Vulci, and now in the Vatican, representing Achilles
and Ajax playing at dice before Troy,^ and the departure of
Kastor;^ also one in the British Museum with the subject
of Dionysos teaching Oinopion the art of making wine,^° and
the death of Penthesilea. Other vases have Herakles and the
lion, also Gorgon, the return of the Dioskouroi, arming of war-
riors. His style, though rigid, is exceedingly elegant and
finished in details, so as to become almost florid. The name
of Onetorides, a youth, is mentioned on his vase. The name of
Hermonax is known from an am^plioreuSy with red figures of the
hard school representing a homos.^^ The name of the painter
> Gerhard, Neuerw, Denk., s. 31, « H02 OvAEnOT Ev«l>PONI02,Bull.,
No. 1606. ' 1830, pp. 140, 143 ; G. A. V., clxxviii. ;
2 BruDn., ibid., 674. Campanaii, p. 99 ; Eochette, Lettre a
3 Cf. Ev*P0NI02 ErPA*2EN, Cat M. Schorn, 8 ; Bull. Fer., 1831, p 153.
Can., 87, n. 568 ; Gerhard, Ann., 1831, ' Dubois, Notice d'une Coll. d. Vases
Nos. 403, 824 ; Panofka, Taf. iv. 3, pp. du Pr. de Canino, No. 41 ; De Witte,
10, 11. ; Cat. du Pr. de Canino, 71.
* Mus. Etr., 1836 ; Gerhard, Ann., ' EK2EKIA2 ErPA*2E KAnOE-
1831, p. 178, No. 698; Ev0vMIAE2 2EME, or ErPA*2E KAnOE2E.
HO nOAIO ErPA4>2EN, Panofka, s. 3 ;
Welcker, A. Lit. Zeit., 1836, i. 526;
Brunn, ibid., p. 686.
5 Gerhard, 1. c.; Eochette, Bull., Fe-
» M. G. ir., liii. 1 a.
'« Gerhard, Ann., 1831, p. 179, No.
709* ; Cat. Dur., 389 ; G. A. V., cevi.
" HEPMONAK2 ErPA*2EN. Cam-
russac, 1831, 153; Cat. Can., 146. pana Collection ; Brunn, ibid., p. 194.
CiiAP. VII!. KLTTTAS, ONESTMOS, &c. 351
Hegias is found upon a lehjthos, with black figures, discovered
in tlie sepul(!lires of Aigina, and of tlie usual unfinished style of
that island.^ That of the painter Hyjms occurs on some hydriai,
with red figures, representing the arming of the Amazons, a
race of boys on horseback, and a quadriga.^
The artist Klitias painted the celebrated Franqois vase now
at Florence, ornamented with black figures, and containing a
complete Epos of subjects ^ connected with the history of
Achilles.
Lasimos, formerly read Aisimos or Alsimos, is known from
the amphora with handles a rotelle in the Louvre, with red
figures of a good style, but of the Decadence, representing the
death of Astyanax or Archemos.*
A painter of the name of Onesimos ^ decorated some vases
with black figures for the potter Euphronios. In connection
with the potter Hischylos, already mentioned, Fheidippos painted
a cup of red and black figures in a style not remarkably fine,
with subjects of youths and athletes.® Fhiltias, another painter
of the fine style of red figures, worked for the potter Deiniades,
for whom he painted scenes of hydriopliorai, or water drawing.^
Herakles and Alkyoneus, the contest of the same for the tripod,
and the name of the youthful Megakles is found upon his vases.
Fhrynos is known from a cup with black figures, on wdiich is
the birth of Athene, and a scene supposed to represent her
reconciliation with Poseidon.^ P,o li[gnoto s ^ is known as a
painter of vases with red figures, which are rather careless in
their treatment, of the commencement of the style and time of
the decadence. His name appears on a vase on which is
' Stackelberg, Die Graber, i. 25G ;
pp. 21, 22 ; EriA2 EFPA.
2 HT«I>2I2 ErPA*2EN, Gerhard, Ann.,
1831, 178, No. 697 ; Bull., 1821), p. 109;
Clarac, Cat., 133 ; G. A. V., ciii. ; Cam-
87 ter; Clarae, Cat., 161; Mus. Etr.,
1611; Gerhard, Ann., 1831, p. 180, n.
Campanari, p. 88.
« Gerhard, Ann., 1831, p. 180, n.
718, 722 ; Campanari, p. 88; *EIAin02
panari, p. 88. i EFFACE, Cat. Vas. Brit. Mas., p. 295,
2 KAITIA2 ErPA*2EN, Braun, An. ■ No. 841.
1848,299; Moir., iv., liv.-Ixix. | ^ Can. 1^ Cent., n. 18,74; Gerhard,
* AA2IM02 EFPATE, Millin., Vases ' Ann., 1831, p. 178, Nos. 719, 728 ; [*IA]
Ant., i., p. 60 ; ii., p. 37 ; Visconti, \ TIA2 ErPA«I»2EN, or rather [KP]ITIA2 ;
Opera Var., iv., p. 258 ; Winckeliuann, j Birch, Class. Mus., 1848, pp. 99, 102.
Mon. In , 143. This name has been read | « *PTN02 ErPA*2EN, Cat. Dur.,
Lasimos or /Esimos. Clarac, Catalogue
des Artistes, 16mo, Paris, 1849, 30, 248;
Panof ka, s. 37 ; Brunn, ibid., 705.
5 ONE21M02 ErPA«I>2E, Cat. Dub.,
No. 21.
9 nOAYrNnT02 EPPA^FEN, Cat.
Dur., 362 ; Kochette, p. 66.
352
GREEK POTTERY.
Part II.
represented the death of Kainens/ and an amphora on which
is the sacrifice of a bull.^ It is written in an indistinct, blotted
manner, very different from that in which the names of the
other artists are inscribed. Pothinos painted a Jcylix of black
figures, the subject of which is Peleus and Thetis.^
Praxias, another artist's name, is found on a small vase with
red figures, representing Achilles delivered by Peleus into the
charge of Chiron.*
An Athenian painter, named Psiax,^ who worked for the
potter Hilinos, or Philinos, has inscribed his name upon a
leliythos, ornamented with black figures, representing a Baccha-
nalian subject. The artist Python is known from a crater with
red figures, on which is depicted the apotheosis of Alkmena.
His style is remarkably careful, but somewhat rigid.^ Sahonides
painted vases with black figures for the potters Tlenpolemos '
and Hischylos.^
Timonides is named on a bottle found at Kleonai in Argolis,
on a vase of old style kind of bottle, Achilles pursuing Troilos,
Priam, Hermes, the horses Asobas and Xanthos, Troilos, Achilles
and paidotribos.^
* Cat. Dur., 362 ; Rochette, p. m.
2 Vas. Cat., Brit. Mus., p. 220, No.
755.
3 nEI0INO2 ErPA*2EN, Gerhard,
Berl. Ant. Bild., No. 1005; Panofka,
s. 5, Taf. i. 2 ; Gerhard, Tiinkschalen,
Taf. xiii.-xiv. xv.
4 Panofka, s. 30 ; Mus. Etr., 1500, p.
135; Raoul Rochette, p. 57; nPAXIAS
ErPA*2E.
5 «I»2IAX2 ErPA*2EN, Crenzer, Ein
alt athenisehe Gefass, Leipz. imd
Darmst., 1832; Deutsch. Schrift., Bd.
iii., No. 1, 8. 6, a. flf.; Panofka, s. IG-
17 ; Taf. iii. 9, 10.
® Millingen, Nonv. Ann., i. 495.
" IAK0NIAE2 ErPA*2EN EME,
Ann., 1831, p. 178, No. 693, p. 180,
No. 729 ; Clarac, p. 301 ; Campanari,
p. 88 ; Brunn, ibid., p. 732.
8 Panofka, s. 30.
9 De Witt(^, Rev. Arch., 18G3, p. 274.
TIMONIAA2 MErPA4>E.
Chap. IX. CIVIL AND DOMESTIC USE OF VASES. 353
CHAPTER IX.
Uses of Vases — Domestic use — Vases for liquids : for the Table ; for the Toilet
— Toys — Decorative Vases — Prizes — Marriage Gifts — Millingeii's division
of Sepulchral Vases — Grecian usage — Names and shapes of Vases — The
Pithos — Pithakne — Staranos — Hyrche — Lagynos — Askos — Amphoreus —
Pelike — Kados — Hydria — Kalpis — Krossos — Kothon — Rliyton — Bessa —
Bombylios — Lekythos — Olpe — Alabastron — Krater — Oxybaphon — Hypo-
kratL-riou — Kelt-be — Psykter — Dinos — Cliytia — Thermauter — Thermopotis
— Tri pous — Holmos — Chy tropous — Lasanon — Chous — Oiiiochoe — Prochoos
— Epichysis — Aiytuina — Aryballos — Arysticlios, aryter, arytis, &c. — Oine-
rysis — Etnerysis — Zomerysis — Hemikotylion — Kotyliskos — Kyathos —
Loutei ion — Asaminthos — Puelos — Skaphe — Skapheion — Exaleiptron —
Lekane — Lekanis — Lekaniskos — Podaiiipter — Cheironiptron — Holkion —
Perirhanteriun — Ardanion, or Ai dalion — Excellence of the Greek cups — The
Depas — Aleison — Kissybion — Kypellon — Kymbion — Skyphos ony ehionos
— Ooskyphion — Bromias — Kantharos — Karche»ion — Kylix — Therikleios —
Hedypotis — Rhodiake — Antigonis — Seleukis — Phiale — Phiale Lepaste —
Akatos — Trieres — Kanoun — Pinax — Phthois — Petachiiun — Labron'a —
GyaLis — Kerns — Vases for Food — Kanoun — Pinax — Diskos — Lekanis —
Paropsis — Oxis — Embaphion — Eieus — Kypselis — Kyminodokos — Try blion
— Oxybathon.
As most of tlie vases hitherto known have been discovered in
sepulchres, it would, at first sight, appear that their destination
was for the dead ; but this seems to have been a subsequent
use of them, and many, if not all, were employed for the pur-
poses of life. The celebrated Panathenaic vase, for example,
discovered at Athens, liad been bestowed as a prize upon the
illustrious person to whose ashes it was afterwards appropriated.
Many other instances miglit be cited.
It has been supposed that the large vases were dedicated to
the gods in the various shrines of Greece and Rome, as by the
Metapontines in their Naos at Olympia, and by the Byzantians
in the chapel of Hera. Vases of large size, painted carefully
with a principal figure on one side, and having on tlie other
figures carelessly drawn, as if intended to be placed against a
wall, D'Hancarville considers peculiarly adapted for such uses,
as the rooms of Roman villas were far too small to hold them.^
As the civil and domestic use of vases is the most important, it is
• D'Hancarville, ii. G8, 02.
2 A
354 GREEK POTTERY. Tart II.
necessary to consider it first. It is indicated by their style and
shape. The use of earthenware amongst the Greeks was pre-
valent for ordinary purposes as at tlie present day, and the
word heramion, like the Latin testa, meant a cask or vessel
which transported wine," and even the measure of an. amphora ; ^
figs, oil, honey, flesh, shells of the pearl oysters, are known to
have been kept in earthenware vessels.^ The painted vAare was
not employed for the viler purposes, nor to contain large quan-
tities of liquids, for which it was far too expensive, but chiefly
for entertainments and the triclinia of the wealthy. The
exceedingly porous nature of these vases, and the difificuhy
of cleaning them internally, have led some writers to assert
that they were ornamental. They are, however, seen in use in
scenes painted on the vases themselves.^ Thus, in the scene
of the Harpies plundering the table of the blind Phineus, a
painted skyphos with figures is seen in the liands of the aged
king ; a female in a farewell scene pours a libation of wine out
of an amphora with black figures, and another ornamented with
painted figures is seen upon the top of a column. Several
other instances are depicted on the vases themselves. The
residuum of water has also been found in some vases.*
These vases were used for liquids. Th'e hydriai, or water-
vases, went to the well, and the various kinds of amphorae
served for carrying wine about at entertainments. Those
(tailed krateres were used to mix wine, and the jpsyhter, or cooler,
to prepare it for drinking. In jugs called oinochoia and oIj)ai,
also of painted ware, wine was drawn from the kraters, which
was then poured into various painted cups, as the skyjplios, the
Tcylix, the hantharos, and the rhyta, horns or beakers, which
were the most common. A kind of cup, called the kyatliis, also
of painted ware, was likewise used. The cup called jphiale was
employed in religious rites. The vases used upon the table
were the joinax, or plate, a vase supposed to be the lehane, or
tureen, and certain dishes called tryhlia, generally of ruder
material and manufacture than the others. One of the most
remarkable of these vases is the hirnos. Besides the.^table,
others were employed for the service of the toilet, as the pyxis,
1 Aristot. Cat., 12 ; Polyb., iv. £6. * For this question see Dei Vasi
2 Demosthenes, Lacrit., p. 934; Plato, | Greclii comunemente ohiamati Etrus-
Sympos., viii. 3, 2 ; Pliny, Nat. Hist., | che, 8vo, Palermo, 1823 ; and La Storia
ix. 55. I dei Vasi Fittili, 8vo, Roma, 1832, p. 26.
^ Inghirami, Vasi Fittili, Taf. i. xxxii. I
Chap. IX. PRIZE VASES. 355
the hylichne, tlie tri/podiskos, the alahastron, the lekytJws, and
the aryhallos. Vases were also used as toys. This class is
comparatively small, but its existence is proved by the discovery
of several little vases in the sepulchres of children at Athens,
on which are depicted children playing at various games ; whilst
others are so extremely small that they could not possibly have
answered any useful purpose. Among them may be cited those
in the shape of animals, as apes, elephants, bulls, rams, stags,
and hogs ; imitations of crab's claws and of the astragalos, or
knuckle-bone ; and other vessels, containing brazen balls, which
produced a rattling sound when shaken. There can be no
doubt that many of the vases, especially those of later style,
were used for decorative purposes, although the employment of
them is not expressly mentioned in ancient authors ; it is, how-
ever, partly evident, from the fact of one side only being
executed with care, whilst the other has been neglected, both
in the drawing and in the subject. On the later vases, too, are
depicted vases of large proportions, resting upon columnar
stands in interiors. One of the noblest uses to which terra-cotta
vases were applied was as prizes given to the victors in the
public games. These prizes, called athla, besides the honorary
crowns, armour, and tripods, and other valuable objects, were
occasionally fictile vases, and even coins.^ Certain vases bear-
ing the inscription '* From Athens," or " Prizes from Athens,"
seem to have been given to the victors in the pentathla, or
courses of athletic exercises in the Panathenaia, and are men-
tioned by Pindar. Some of these vases, which are principally in
the old style, are of two sizes, the greater given for the
athletic and the lesser for musical contests. It is also possible
that some of the uninscribed vases of similar designs and shapes
may have been distributed as rew^ards in local games. Some of
the vases also on which the name of a youth, accompanied with
the word Jcalos, occurs, may have been given as prizes in the
training-schools of athletes. It has been supposed that certain
vases were intended for presentation ag marriage gifts. But
tlie information to be obtained from classical authors on this
point is by no means clear ; and no satisfactory conclusion can
Ibe drawn from the circumstance that some of the subjects
depicted on them appear to allude to marriages.
The last use for which vases were employed, and that to which
' Brondsted on Panathenaic Vases, in tho Tians. Roy. Soc. Lit., 4to, London,
1834, vol. ii. p. 102.
2 A 2
356
GEEEK POTTERY.
Part II.
their preservation is due, was for sepulchral purposes. The
principal modes in which they are found deposited in the toinbs
has been already shown. Some which were employed for the
nekrodeipnon, or rites of the dead, were no doubt placed by
preference. Other vases probably held the milk, oil, perfumes,
and other liquids which were poured upon the corpse, or retained
the lustral water placed at the entrance of the sepulchre. Others
contained the food of the funereal feast, and viands such as eggs
have been occasionally found in these, painted as in plain vases.
Favourite vases of the deceased, and those which were par-
ticularly used by the dead during life, were also probably placed
with the remains. The prize vases which he had gained were
also generally, if not always, interred with the dead, as were
the small toy vases of children which were laid with them.
Vases employed in the ceremonies and different operations of
the funereal rites, and subsequently broken, were probably
gathered up and deposited in the tomb. They were also em-
ployed as shrouds or coflQns to hold the ashes of the dead, and
small objects, such as the oholos, placed in the jaws for the fare,
naulos, of Charon in Hades.
At the earliest period of Greece, vases were not employed to
hold the ashes of the dead. Those, for example, of the oldest
style found at Athens, and at Vulci, do not contain ashes. In
the Etruscan cemeteries, the dead were not burnt, but laid at
full length, with all their personal ornaments, their furniture,
their arms, and their vases. Althouo^h in the heroic ai^res-bodies
were burnt, the remains are not stated to have been deposited
in earthen vessels. Those of Patroklos^ were collected in a
golden dish, caretully covered with a garment and layer of fat
which was folded; and those of Achilles were placed in the
golden amphora^ given by Dionysos to Thetis;^ but the ima-
gination of poets constantly dreams of gold which they do not
possess. In the fictitious account of the death of Orestes, intro-
duced into the * Elektra' of Sophokles, the expression, " his fine
form circled by the naiTow brass"* of a hydria, shows this use
of metallic vases. The custom prevailed amongst the Eomans
of employing fictile vases exclusively for religious rites, amongst
which that of interment was included. Hence the use of the
beautiful vases imported from Greece for funeral purposes, and
' 11., xxiii. 211-258. Schol. ad euiul.
' xxiii. 1, 91.
' Q. Calab. r. iii. TH.
* V. 760. Soliol. u(l eund.
Ihap. IX. SI^:PULCHHAL VASKS. 357
fter tlie due performance of libations,^ the vases so employed
fere tlirown away, and left broken in the corners of sepulchres.
[umerous specimens of vases thus used have been found, espe-
Kally oinoclioai and hijlihes. Other vases of considerable size,
[nd wliich certainly had not been so employed, were deposited
tombs as the most acceptable offerings to the deceased,
jcalling to the mind of the shade the joy and glory of his life,
le festivals that he had shared, the hetairai with whom he had
Ived, the Lydian airs that he had heard,^ and the games that
le had seen or taken part in. Those vases were selected which
rare most appropriate for funeral purposes, or to contain the
lilk, oil and wine, which were placed on the bier, with their
Jacks inclined to the corpse, in order that the liquid should run
'er it while in the fire ; those used at the perideipnon, or last
ipper, in which the food of the deceased was placed at his
pde;^ and a vase, called the ardanion, which held the lustral
^ater, placed at the door of a house where a death had taken
place.* Alter the earliest or heroic ages, and during the period
of the old vases with black figures, the Grreeks appear to have
used them for holdins^ the ashes of the dead.
A vase of the shape of the lebeSy probably a Tcrater, found near
the Piraios, which once held the ruby wine at festive triclinia,
and which was decorated with drinking-scenes, also held ashes.
Of vases with red figures, one representing Theseus and the
Amazonomachia, discovered in Sicily, and the celebrated vase
discovered carefully deposited inside another at Nola, and now
in the Museo Borbonico, also held the ashes of the dead. The
prize vases at Athens also held the ashes of the illustrious dead,
who had won them in the games. At Athens it was the custom
to place a fictile lehythos on the breast of those interred entire,
while the use of fictile canopi among the Etruscans shows that
Greek vases must have been sometimes so used by them. In
the celebrated vase representing the death of Archemoros, two
persons are seen carrying two tables laden with vases to the
tomb, while an oinochoe is placed under the funeral couch.^
xAfter the uses of these vases it is necessary to give some
account of the names of ancient vases, and their supposed iden-
tification with the specimens which have been found. It is
impossible, however, to enter here into any critical dissertation.
' Millingen, Intiod. iii.
2 Thiersch, 1. c, s. 25.
' Millingen, Introcl. iii.
* Thiersch, s. 22-3.
* Gerhard, 11 vaso di Archemoros,
Fnghirami, iv. colxxi.
358 ' GREEK POTTERY. Tart II
or to attempt to reconcile the contending opinions of those
critics who have written on tlie snbject ; and the curious reader
must be referred to those works/ which have already treated on
the subject in all its details.
Great doubts obscure the subject of the names of ancient
vases, owing to the difference of time between the authors by
whom they are mentioned, the difficulty of explaining types
by words, the ambiguity of describing the shape of one vase by
the name of another, and the difference of dialects in which the
names are found.
The names of vases used by Homer and the earlier poets
cannot on any just principles of criticism be applied to any but
the oldest ones. Those of the second and later age must be
sought for in the contemporaneous writers. The first source is
the vases themselves, from which, however, only a few examples
can be gathered, namely, one from having the inscription
AIONT^IOT A AAKTeOS, " the lehijthos of Dionysios," on a
vase of that shape ; and from another having KHOISO^ON-
TOS H KTAIH, '*the cup of Kephisoplion"^ and HMIKOTT-
AION incised on a two-handled cup. The next source is, the
names attached to vases in the paintings, among which the word
HTAPIA^ occurs written over a broken three-handled pitcher.
Another source is an examination of the names inscribed by
potters on the feet of certain vases, as KPATEPE^, hraters ;
OHTBA<l>A, oxijba^pha; XTTPI(A), pots; KTAI[KES], cwps;
AHK[T6)OI], cruets, but the relation of the inscriptions to the
forms is very doubtful.'^
The various scholia written at different ages, and often em-
bodying fragments of lost books, have 6ccasional notices of
rases. Those upon Aristophanes are the most important in this
respect. Hesychios, Photios, the Etymologicum Magnum,
Suidas, and others, Yarro, Festus, Macrobius, and Isidorus of
* Panofka, Kecberches sur les v^ri-
tables Noms des Vases Grecs, &c., fob,
Paris, 1829. Letronne, Observations sur
les Nonas des Yases Grecs a I'occasion
de I'ouvrage de M. Tbeodore Panofka,
4to, Paris, 1833. Letronne, Suppl. aux
Observations, Dec. 1837, Jan. 1838.
Gerbard, Kapporto Volcente ; Berlins
Ussing, De Nomiuibus vasorum GrsB-
corum disputatio, 8vo, Haunise, 1844.
Thiersch, Ueber die hellenischen be-
malten Vasen, c. ii. s. 26 in the Abb. d.
philos. philolog. CI. d. konig. Bayer.
Ak. d. Wiss. 4to. Munich, 1844.
^ Ussing, De Nomin., p. 24.
^ Monumenti, iv. liv. Iv.
antike Bildwerke, s. 188-342, u. f. | 4 Ussing, 1. e. p. 8. Cf. Chapter on
ITltime Kicerche suUe forme dei Vasi Inscriptions.
Gyec. Ant. torn. viii. 1836, p. 147.
Jhap. IX. VASES FOR niESERVING. 359
Seville, also contain notices of the shapes of vases. Among
lodern archa3ologists, Panof'ka was the first to propose an
lentification of the shapes of the fictile vases found in the
jpulchres of Greece and Italy, and the question has been dis-
cussed by the critics already mentioned. In order not to
embarrass the subject with constant references and critical
liscussion we shall only mention those vases which are the
lost important, and the sliape of wliich has been the most
Ltisfactorily proved.
With regard to tlieir shapes, vases may be divided into —
1. Those in which liquids were preserved ;
2. Those in which liquids were mixed or cooked ;
3. Those by which liquids were poured out and distributed.
4. Those for storing liquids and food till wanted for use.
Some classification of shapes according to their uses has
been attempted, such as those of vases in which liquids were
preserved, others in which they were mixed or cooked, those by
which they were poured out or distributed, vases in fact for the
table and other purposes, and vases for storing liquids, food,
and other substances. But a really critical classification should
b3 according to their age, or at all events should trace the
development and first appearance of each type from its earliest
appearance. Those for the preservation of food will be now
detailed.
The chief vase of this class was the jpitlios, or cask ; a very
large jar with wide-open mouth, and lips inclined outwards,
.sometimes provided with two handles. It held the water
drawn by the Danaids, and is represented on vases ; and Eurys-
theus threw himself into it, on vases. That of the Kentaurs
which held their wine is also represented. It had a cover. It
held figs or wine, and was placed in the earth in the wine-
cellar, propped up with reeds and earth. Its shape resembles
that of a modern jar, and the few examples which remain are in
the plain unglazed ware, or in the tall Etruscan vases of red
ware, with subjects in relief.^ The pithahne was a vase smaller
than the jpitlios. In such vases the Athenians are supposed by
some to have lived during the war of the Peloponnese, if indeed
the word does not refer to caverns. The pithahne appears,
from allusions in the Comic poets, to have been used for holding
' Ussing, p. 32 ; Panofka, Recherche?, i. 1 ; ii. 2 ; Visconti, M. P. Clem., t. iv.
xxi.-vi. ; Winckolmann, Mon. In.
360
GREEK POTTERY.
Part U.
No, 140. — Stamnos.
wine at festivals. It was of baked earth.^ Its shape is unknown.
The stamnos was a vase used to hold wine and oil. It was a jar
with two small ear-shaped handles, and
decorated with red figures upon a black
ground.^ It is often found in the sepul-
chres of Northern and Southern Italy. A
good reason for believing that this is the
shape of the stamnos, is, that vases of this
fiojure are still called stamnoi in Greece.^
Those with smaller bellies are the che-
roulia. The Mhos was a vase with han-
dles, like the stamnos, which held figs
and wine.* The name of ApuUan stamnos has been applied to a
vase with double upright handles, chiefly of the later style, with
jed figures, and having a vaulted cover, which is sometimes sur-
mounted by a second vase, of the shape called the lejpaste. They
are among the latest efibrts of the fictile art, and are only found
in Southern Italy. The hyrche was apparently a kind of amphora
with a narrow neck, in which many things were imported from
Athens, and which served to hold the tickets used in drawing lots.^
It seems to have been a large kind of vase. The lagynos was also a
vase of considerable size, which among the Patrenses held twelve
heminai. Nikostratos mentions one three times greater than
usual ; and Lynkeus of Samos introduced the custom of placing
one beside each guest. At a later period, it appears to have
had a long narrow neck.® It is the bottle which, in the fables
of ^sop, the stork is represented as setting before the fox at
dinner.
Many terra-cotta vases are imitations of the asTcos, or wine-
skin, which was usually made of the skin of a goat, the apertures
of the legs being sewn up, and the neck, which
formed the mouth, secured with a thong. In the
terra-cotta imitations the mouth is open, and the
four feet below, while a handle passes over the body
to the neck. Certain small vases with one handle
and about a foot long, when of unglazed ware, are
supposed to represent ashoi. This shape is often
decorated with figures of animals or men in red colour, and occa-
No. 141. — Askos.
' TJssing, p. 33 ; Panof ka, Kech. iii. 2.
2 Gerhard, Berlins Aut. Bild. s. 356;
TJssing, p. 35 ; Gerhard, Ult. Kich,
Xo. 16.
3 Thiersch, 36. ^ Ussing, 1. c.
' Ussing, p. 35 ; Panof ka, iii. 26.
« Ussing, p. 36; Panof ka, v. 100;
Athenseu?, xi. 499.
?HAP. IX.
VARIOUS KINDS OF AMPHOIL
301
jionally also tlie second ; wliile there is a variety decorated at
the upper part with a medallion in relief, and has the body
?eded. These are supposed to have been lani})s, or else de-
dinned for holdino: oil.^
Perhaps of all the ancient vases the amphoreus, amphiphoreuSy
)r amphora is the best known. It consists of an oval or pyri-
)rm body, with a cylindrical neck and two handles, from
?hich it derives its name, viz., from amj^hi pherOy '* to carry
fcout." Those deposited in cellars generally had their bases
^xtremely pointed, and were fixed into the earth.^ They were
>f great size, and contained large quantities of wine, honey, oil,
ish, dried and green fruit, sand,^ eatables, and coin. Originally
[be amphora seems to have been a liquid measure, holding
light congii. It was always fictile, but its shape varied. The
fainted amphorae were generally provided with flat circular feet.
They are divided into several kinds. The amphora,^ called
Egyptian, the body of which is long and rather elegant, the
handles small, and the foot tapering. The Panathenaic ^am-
phora, resembling the former in shape, except that the mouth
is smaller and narrower, and the general form thinner. The
shape of this vase is also represented on a monument commemo-
rating athletic victories.^ They much resemble those represented
on the coins of Athens. There are some varieties of this type
without the usual representations of Pallas Athene and athletic
subjects. The most remarkable of them is that discovered by
Mr. Burgon.'^ The amphora called Tyrrhenian differs only in its
general proportion from the two preceding kinds, the body being
thicker and the mouth wider. The subjects on these vases
are arranged as in the Panathenaic ones, in a kind of square
picture at each side. The neck is sometimes ornamented with
» Ussing, pp. 37, 38 ; Panof ka, ii. 43 ;
vi. 10 ; Letronne, Jour. d. Sav., 1833 ;
p. 684; 1837, p. 749; Gerhard, Ult.
Ricerche, Ann. 183G, No. 40-41 ; Beil.
Ant. Bikl., s. 366, 5, 40, 41.
^ Ussing, p. 38 ; Gerhard, Berlins
Antike Bildwerke, s. 345.
' Cicero in Verrem, ii. 74, 183 ;
Homer, II., xxiii. 170 ; Martial, xiii.
103 ; Homer, Odyss., ii. 290, 349, 379 ;
ix. 164, 204.
* Gerhard, Berlins Ant. Bild., 346.
^ Ibid. ; Panofka, Rech., i. 6 ; Annali,
1831, 229; Panofka, p. 16; Mon., i.
xxi. xxii.
« Caylus, vi. 3, pi. 56 ; Stuart, Athen.,
i. 1, XX. ; Rhangabe', Antiq. Hell. ii. 6g9.
^ Millingen, Anc. Un. Mon., pi i. ii.
ill. p. 1 and foil. According to the
Scholiast of Plato (Charmides, id. Bek-
ker, 8vo, Lond. 1824, p. 17, n. 126),
the contest in the Panathenaia was one
of boys, who received for th< ir reward
oil, an amphora, and an olive crown.
They contended as in the Isthmian
games.
362
GREEK POTTERY.
Tart. IT.
No. 142.— Bacchic Amphora.
the double lielix or chain, and the foot has tlie petals. Under
the handles is sometimes an anteiixal ornament. Many of these
vases are decorated with figures of the
usual style in black upon a red ground.
They are principally found in Etruiia.
Another class of these amphorae, with
black figures, has a broad, flat handle
like a riband, the edges being raised.
The Dionysiac amphora^ is the most
prevalent type at tlie best period of the
vases with bhnck figures. The neck of
these vases is larger and taller in pro-
portion to the body than the preceding,
and the handles are not cylindrical
but ribbed, having been produced from
a mould. They are from five to twenty
inches high.
The character of the Nolan amphorae differs so essentially
from that of the preceding, that they have been conventionally
called Nolan amphorae. The body is larger than that of the
Etruscan or Dionysiac amphorae ; the handles are not reeded but
flat ribands ; the whole vase, except the subject painted on it, is
black, and has generally but few figures at each side. It is
often provided with a convex cover and a stud.^ Another
variety of this form, with twisted handles, is produced by
•rolling up the paste. Some slight variety ^ occurs in the feet.
This kind of vase, in elegance of shape, is the finest production
of the potter's skill; while the exquisite black varnish and
high finish render it the admiration of all lovers of ancient art.
The amphora, called Ajpulian from the circumstance of its
being found only in Apulia, has a thick and overlapping mouth
like an inverted cone. The neck is not cylindrical, but slopes
upon the shoulders, and the body is more egg-shaped.* Its
style, varnish, and abundance of white colour, are all peculiar to
"the latter class of vases. There is also a vase of elegant shape,
called the Candelabrum Amphora, with cylindrical body, spiral
handles, tall neck, and narrow lip and mouth, w^hich is always
of the latest style. Some of these vases — as, for example,
» Gerhard, Berlins A. B., s. 347;
Annali, 1831,p. 231.
2 Ibid., s. 348, 5, 6.
3 Ibid., 8. 348, 5, 6.
* Gerhard, Berlins A. B., s. 349, No. 7,
;nAi*
IX. APULTAN AMPHORA— PELIKE. ^63
me in the British Museum — appear from having a hole at
the bottom, to have been used as a decoration on the top of
a pilaster or cohimn. Its complex sliape seems imitated from
metal-work.^ A remarkably fine vase of this shape from the
Temple collection at the British Museum has its handles and
feet ornamented with moulded floral ornaments. It was found
at Euvo. Similar to this, but of a still later style, is the am-
phora with sieve-shaped handles. These are tall and angular,
rising above the mouth, and curved upwards at the bottom. On
each handle are three semicircular studs.^ The amphora, when
(;omplete, had a cover of the same material as the vase, sur-
mounted by a stud or button with which to raise it. An am-
phora in the Berlin Museum had a double cover, an inner one
of alabaster, over which was placed another of terra-cotta.^ The
]pelihe was a later kind of amphora, with a swelling base,
two rather large handles, and red figures, principally of the
later style, or that called Apulian. It is rarely found with black
figures. The name, however, is doubtful.'^
Next in order are the vases employed for drawing liquids, of
which there are some varieties.
The hados, or cask, a name given, according to Kallimachos,
to all pottery, was used at banquets. It appears also to have
been employed as a situla, or bucket, and it is possible that the
deep semi-oval vase of pale varnish, and generally with figures
of a late style, either embossed or painted, was the kados.^ It is
very similar to certain bronze vessels w Inch seem also to have been
kadoi or Icadishoi. In the *Eirene'^ of Aristophanes, Trygaios
persuades a helmet-seller to clap two handles on a helmet and
convert it into a kados.^ The Jiijdria, or water vase, is known
irom the word HTAPIA inscribed over a vase of this shape, on
a painted vase, which Polyxene has let fall in going out of Troy
to draw water from the fountain. It certainly appears on the
heads of females in scenes of water-drawing. The ground of this
vase is generally black, and it has two subjects — one on the shoul-
der or neck, generally called the frieze ; the other, the picture
on the body of the vase.^ These vases are mostly of the class
• Gerhard, Berlins A. B., s. 350,
No. 11. 2 ibij^ s 350^ j^T^, 12.
3 Ibid., s. 680.
13; Thiersch, fig. 12.
^ Thiersch, fig. 12, makes this the
autliou.
« Gerhard, Berl. A. B., s. 349, No. 8. » Ussing, p. 43 ; Gerhard, Berlins
* Cf. Ussing, 1. e. 40 ; Aristoph., Eccl.,
1002 ; Athenseus, iv. 102, d.
* 1258. Cf. Panof ka, Recherche:*, ii.
Antike Bildwerke, s. 350; Panof ka, i.
11 ; Aiinali, 1831, 241 ; Letronne, p. 10,
54.
864
GREEK POTTERY.
Part 1 1.
No. 143.— Hydria.
with blaclv figures — but some rare examples with red figures
have been found at Yulci. The two small side handles are
cylindrioal ; the larger ones are riband-lihe
or moulded, and have a small head moulded
at the point of union. The hydria was em-
ployed for holding water, oil, the votes of
judges, and the ashes of the dead, and was
often made of bronze. It is called by the
Italians vaso a tre maniche. Many fine paint-
ings and interesting subjects are found on
vases of this shape. The haljpis was essen-
tially a water vase, and only a later modifica-
tion of the hydria ; the body being rounder,
the neck shorter, and the handles cylindrical.
It was generally used for drawing water, but unguents, and the
lots of the judges, were often placed in it.^ This form of vase
is principally found in the sepulchres of Southern Italy, while
the older type, or hydria,
^ ./r^^m'i,H'm \\^\\\\Si\^t^ comes chiefly from Vulci.
Kalli machos alludes to vases
of this shape on the top of
the Parthenon ; and Pindar
mentions them at an earlier
period.^
Of other vases of this
class are the following : —
the Jcrcssos, a two-handled
vase for drawing water, the
shape of \a hich is unknown :^
the Jcothon, also of unknown
shape, almost seems to have
been a Lacedfemonian name
for a military cup used for
drinking water, and adapted
by its recurved month to
strain ojff the mud.* Some have conjectured it to be the teacup-
shaped vase with horizontal handles. Probably a kind of cup
No. 144.— Kalpis.
^ Ussing, p. 46 ; Panof ka, p. 8, pi. vi.
4, 5 ; Aimali, 1831, 241 ; Thiersch, p. 37.
2 Pindar, O., vi. 68.
^ Ussing, p. 49.
* Ussing, pp. 55, 56; Pan.fka, Rech.,
, 72 ; Letronne, p. 7M2 ; Thiersch,
IV
s. 33.
I
Chap. IX. DRINKING-CUPS. 365
I
with lips recurved inwards answers to the description of the kotli-
on. Tiie rliyton is well known, and many examples occur. The
great peculiarity of tliis vase was that
it could not be set down without drink-
ing the contents. It may be divided
into two shapes : first, a cylindrical cup
terminating in the head of an animal,
and with a flat banded handle, the lip ^, , , ., ^
11. 1 N). 145.— Skyphos, or Kothon.
slightly expanding, in the second kind
the body is fluted, longer, and more horn-like, and terminates
in the head or fore part of an animal, which is pierced so as to let
a jet of liquid flow out. Tliese vases sometimes have a small
circular handle at the side, to suspend them to the
wall. On the necks are subjects of little im-
portance, and of a satiric or comic nature, in red
upon a black ground, and of the later style of
art ; the part forming the animal's head is often left
plain or is red. Many are entirelv of terra-cotta.
Tx /. • p"^! • No. 146.— Rhyton.
It appears from a comparison or the specimens,
that they terminate in horses, goats, Pegasoi, panthers, hounds,
gryphons, sows ; heads of rams and goats, mules, dragons, deer,
the horse, the ass, the cat, and the wolf. Similar ones, called
gryphons or grypes, Pegasoi, and elephants, are mentioned in
ancient authors. When not in actual use, they were placed on a
peculiar stand and disposed on buffets, as appears from the vases
found at Bernay. They were introduced at a late period into
the ceramic art, and are evidently an imitation of the metallic
rhyta in use among the Egyptians and Assyrians. They are first
mentioned by Demosthenes : and it appears from Polybios that
there were several statues of Klino, the cup-bearer of Ptolemy
Philadelphus, holding a rhyton in his hand ; and one of Arsinoe
Zephyritis holding the same vase. Only one maker of them,
named Didymos, is known. A remarkable one found at Vulci
has an Etruscan inscription in honour oi PhlunpJiluns, or Bacchus.
An attempt has been made to identify the representations on these
vases with the animals in whose heads they terminate.^
The hessa was an Egyptian vase, used by the Alexandrians.
It is described as broad below and narrow above. Its Greek
^ Ussing, pp. 55, 62 ; Panofka, Rech., in the Abhandlung. d. Berlins K. Akn-
.32-60; Gerhard, Berl. Ant. Bil.l., 366; dem, 4to, 1850, s. 1-38.
Panofko, Die (iriechitohe Trinklmnior
366
GREEK POTTERY.
Part II.
No. 147. — Bombylios.
shape is not known. Certain small vases are supposed to have
been of the description called hombylios,^ so called from the cocoon
shape or the buzzing, gurgling sound which the liquid made in
dripping out of the mouth. It was mentioned by Antisthenes as
narrow-necked and a kind of Jehjthos? It is sup-
posed to be rej)resented by an egg-shaped ^ body
and short neck with a small handle just enough
for a strap. Vases of this kind are principally
of the early Greek style, with brown figures on a
cream-coloured ground. The ancient Egyptian
hessa with the moulded head or figure of the god Bes has been
already described amongst the Egyptian pottery.
The lekythos, or cruet, was used for holding oil. It is princi-
pally recognised by its tall cylindrical shape, long narrow neck,
deep cup-shaped depression, and flat banded
handle. It was often made of metal, but still
more frequently of terra-cotta. It commences
Avith the old period of vases with black figures,
and terminates with the best red style and those
with white grounds. A slight difference of shape
is visible ; for, while on the older vases the
shoulder is slightly convex, on the later ones
it is flattened and the neck is taller. In the
oldest style, figures are often placed on the
shoulder instead of other ornaments. They principally come
from Greece — especially Athens and Sicily, and are rarely found
in the tombs of Vulci. They seldom exceed a foot in height.^
The earlier lehythoi have subjects embracing
some of the myths of antiquity depicted in
Y I 11 groups of many figures, while but few figures
/ \ // occur in those of the later sort. Lekythoi were
chiefly used for holding oil, and were carried
down to the gymnasium by means of a strap
held in the hand to which a strigil was at-
tached. The whole apparatus was called xijstro-
leJcythion. A lehjthos of marble appears to
have been sculptured or painted upon the steles of men. The
No. 148.— Lekythos.
No. 149.— Olpe.
1 Ussing, pp. 62-63 ; Yates, E., Text-
lin. Antiq., p. 170.
2 Cf. Ussing, pp. 63-64 ; 3, Gerhard,
Berl. Ant. Bild., s. 368, No. 48.
3 Panofka, v. 99 ; Amiali, 1831, 261 ;
Lctionne, 51.
* Gerhard, Berl. Ant. B:id., p. 367;
Panofka, v. 93 ; Ussing, p. 67 ; Letronne,
p. 616; Thiersch, s. 40; fig. 78-9;
ArL«-t)ph., Eccles., 906; Batrach. 1224.
JlIAP. IX.
JUGS.
367
T\
No. 150.— A la-
bastros.
)eciiUar sepulchral character of the lehjthoi found at Athens
las been already mentioned. The oljns is supposed to be a kind
►f oinochoe or wine }u^, or rather to be intermediate between
the oinochoe and lehythos, bnt the identification of it seems to be
rery doubtful. It is generally mentioned as a leather bottle or
letallic vase like the oinochoe} It was used for holding oil
[and wine, and is mentioned by the oldest authors. Sappho^
speaks of "Hermes holding an olpis and ministering wine to the
gods ; '* and Ion of Chios ^ of " drawing wine in olpes from mighty
kraters." Many of the lehythoi of a late period., espe-
cially those fonnd in Magna Graecia, are moulded to
represent comic or satirical subjects, such as a boy
devoured by a sea-monster,'' a man bitten by a great
bird,^ pigmies and cranes,^ a comic Herakles seated,^
a personage of the New Comedy,® a Nubian devoured
by a crocodile, and Silenos reposing and drinking
out of a wine-skin, — ideas derived from the New
Comedy, and consonant with the decaying spirit of
the age, no longer elevated by the heroic epos or
the tragic drama, but seeking delight in the gro-
tesque, the coarse, and the ridiculous.
Tiie alabastros^ was used for holding unguents,
oils, cosmetics and paint, and was a kind of lehijthos.
Its name was derivetl from the material of which it
was made, namely Oriental alabaster ; and some
Egyptian vases of this shape are known, bearing
the name of Pharaoh Necho. The terra-cotta vase is
known from its resemblance to those in alabaster, and
from its constant appearance in the pictures, on vases
and other ornaments. Its body ^^ is an elongated
cone, its neck short, its mouth small, and lips flat
and disk-shaped ; sometimes it has a foot, and also
two little projections to hold it without slipping, or
to hang it up to a wall with a cord. These vases are very rarely
No. 151.- Ala-
bastron.
* Ussing, p. G9 ; Schol. Theocrit. II.
156 ; Gerhard, Beil. Ant. Bild., s. 36."),
Nos. 35-8G. 2 Atheiifcus, X., 425 d.
3 Ibid., 495 h.
•» Gargiulo, Race. II., 10.
» Ibid., 10.
« Arcli. Anz., 1849, p. 60.
' Berlins Ant. Bild., N. 1961.
* Arneth., Besch. d. K. K. Miinz und
Ant. Cabin., pp. 16-196. See Jalni,
Bericlite K. Saclis. Gesellscliaft, 1852,
Feb. 8. 15-16.
» Ussing, pp. 70-71 ; Herodot. iii.,
20; Aristoph., Ach., 1053; Callimac;i.,
Pull., 15 ; Ceres, 13 ; Plutarch, Tiinol.,
15; Theocrit., xv. 114; Cicero apud
Non., 545 ; Martial, xi. 89 ; Pliny, N. H.,
56-113.
'° Gerhard, Berl. Ant. lUM., s. 369,
No. 49-50.
368
GREEK POTTERY.
Part II.
No. 152.— Holmos.
found in sepulclires ; some, however, occur eitlier with red or
black figures, and often upon a cream-coloured ground, whilst
others are of the Athenian white style. Their subjects chiefly
relate to the domestic life of females, but some Bacchanalian and
other subjects occur. No maker of them is known. The hrater
may be considered the wine-cooler, in which tlie ancients mixed
their wine with snow and water. It is distinguished from the
amjphoreus by its larger size, its wider mouth, its semi-oval body,
and its two handles for occasional transport, which
were small, and almost vertical. Krateres are
chiefly found in South Italy, and are always deco-
rated with red figures. Of the earlier style of art
are the so-called holmos, and the supposed Tcelehe,
or kraterwith columnar handles. Ihe vase called
oxuha2)lion, with red figures, is a very prevalent
variety of this shape.^ It is doubtful whether
the amphoise with volute or medallion handles are not kraters.
The hypokraterion, or stand on which the vase was placed,
was a hollow cylindrical foot, decorated with an egg-and-
tongue moulding, and a reeded body, which raised the vase
almost to the height of four feet.
Several kinds of kraters are
mentioned l)y ancient authors,
— as the Lesbian, the Theri-
klean, the Lakonian, and Korin-
thian. Some held three or four
gallons. The hrater with colum-
nar handles is supposed, on no
very certain grounds, to be the
Tcelebe. The shape depicted in
the accompanying cut is the
oldest, having arched handles, from which springs a banded
handle. Sometimes four columnar handles are substituted for
these. Vases of this sort are found at the earliest period, having
the subjects disposed in friezes round the body. In the few
examples known with black figures, the subject is arranged in
pictures. At a later time the subjects are red upon a black
ground. Kraters appear to have come into use much later
than the so-called oxyhajpha. Although some consider the oxy-
haj)hon a ki-ater, it is contested wdiether the name of kelehe or
No. 153.— Kelebe.
1 Gerhard Bcrl. Ant. Bild., 857, 17; Ult. Eicli., No. 18; Ussiiig, p. 84;
Panoika, i. 17.
;hap. IX.
WINE-GLASSES.
369
t
^kelebeion can be properly applied to tlie latter description of
B^ase.^ Passing to tlie Apuliau kraters, — the first of which are
the so-called oxyhajpha, which are bell-shaped, and have two
mall handles at the side, recurved towards the body. These
No. 154. — Kratcr.
No. 155. — Oxybaphon.
vases are called by the Italian antiquaries vasi a campana.
There is some difference in the proportions, those of the earlier
times being fuller in
the body, while the
later ones are thin,
and have an exjDanding
lip.^ The correctness
■ of the name oxyhaphon
is contested by many
critics.^
Some other hrateres
] of this tall style have
i been improperly called
amphoreis with volute
handles. These are
large vases with long
egor - shaped bodies,
wide open mouths, and
two tall handles curl-
ing over the lip of the
vase, and terminating
in the head of a swan
at the lower extre-
mity. These, however,
are rather the kraters of the later Apulian potteries. They
No. J56 — Krater, with volute handles.
' Ussing, De Nona. Vass., pp. 80-84.
' Gerhard, Berlins Ant. Bildw., s. 358, No. 18.
' Ussing, p.
81 ; Letionne, 1. p.
2 B
370 GREEK POTTERY. Part TT.
reach to a great size, and are decorated with numerous figures.^
Similar to them are Amphoreis with Gorgon liandles. This
description of amphora, which is another of the later sort, only
differs from the preceding in having medallions instead of
volutes at the top of the handles, the ends of which also ter-
minate in swans' necks. Tiie medallions are stamped in moulds.
These kraters are found of great size, principally in South Italy,
and are decorated with numerous figures^ of the later style of art.
In the days of the Koman empire they were made of marble.
The j)sykter, or as it was also called, the psygeus,^ or the
*' wine cooler," was used for cooling wine. In glazed ware,
this vase is of the greatest rarity. It is in the shape of a
Dionysiac amphora, with a double wall and an orifice projecting
in front, through which snow was introduced, and a small one
in the foot of the vase, by which it was withdrawn when melted.
Tbe josykter was one of the most celebrated vases of antiquity ;
one in the British Museum has the part between the walls filled
with a layer of chalk, apparently the ancient core. The subjects
of these vases are always in black upon red grounds, like the
amphorae, to which they belong. Sometimes they have only a
frieze ronnd the neck. They were placed on tripods when used.
The dinos was made of terra-cotta, and was large enough to
contain wine for a family. It appears to have been round, with
a wide mouth, and to have terminated in a pointed or rounded
foot, like the most ancient shape of the krater used for enter-
tainments.* Chytrai, pots, were used for drawing or warming
water, boiling flesh, and various domestic purposes. They must
have been of some size, for children were exposed in them ; but
nothing is known of their shape, except that they had two
handles. It is evident that they could not have been of glazed
ware, for to "paint pots" was a proverb to express useless
labour.^ The fhermanter was a vase used for warming wine or
water ; but it is uncertain whether it was ever made of clay, as
it is only mentioned as a brazen vessel.® Its shape is unknown.
The thermo^otis was a vase also used for warming wine. Its
shape is unknown, but perhaps it resembled a chafing-dish, the
warming apparatus being placed beneath. The stands of the
» Gerhard, B. A. B., s. 349, No. 9. j » Ussing, pp. 87-91 ; Scliol. ad Arist.,
2 Ibid., 8. 850, No. 10. Vesp., 279.
^ Ussing, pp. 76-82. * Ussing, 1. c. ; Midler, ^ginetica,
* Ussing, pp. 82-83; Panofka, Recli., p. 160; Bockh, Corp. Inscr. 2139.
I. 15; Letronne, Journ. des Sav., 614.
Jhap. IX. VASE-STANDS. 371
iraters, or large wine-coolers, were called hypokrateria or hypo-
Wateridia} They were very different in shape, according to
the age to which they belonged. At the time of the style called
]gyptian, they were tall and trumpet-shaped, and sometimes
lecorated with rows of figures of animals. With vases of tlie
jarly style with black figures they are seldom if ever found ; with
^hose with red figures, they are sometimes of one piece with the
rase itself, and are ornamented with subjects. With the later
rases of the Basilicatan style, they are of far shorter proportions,
md have an egg-and-tongue moulding and reeded body, the
^oot of the krater fitting into a groove or rim in the upper
)ortion. Certain shallow circular pans among the specimens of
Itruscan red ware, appear to be intended for the same use, as
[arge jar-shaped kraters are found standing in them. In the
)lack ware of the same people, certain cups, which some have
called the liolkion, are supported by female figures standing at
their sides, sometimes alternating with bands. The tripous, or
tripod, was a vase with three flat feet at the sides, and a cover,
the body being hemispherical. It appears sometimes to have
had fire placed under it, apparently for warming liquids. The
feet and cover are ornamented with subjects. It is found only
among vases of the ancient style with brown figures upon a
yellow ground, and black figures upon a red ground.^
The word holmos, which signifies * a mortar,' and was applied
to vases, is su})posed to be the name of a certain large iiemi-
spherical vessel with a flat or pointed foot, which was often
fixed into a trumpet-shaped stand, by which it was supported.
These vases belong to the ancient hieratic style, or that called
Egyptian ; and both the kind with black figures, and that in the
strong red style, have rows of figures round the body. The
sliape shows tiiat it was a vase from which wine was drawn like
the kraters. The name of deinos\ or skaphe, has also been con-
sidered applicable to vases of this shape.^ They resemble the
lehes, or caldron. The cliytro]oous, pot-foot, or trivet, was an
instrument by which the pot was kept upon the fire. Possibly,
some of the old Athenian vase-stands are this useful instrument.*
• Ussing, 1. c, pp. 02, 03 ; Gerhard, No. 26G0.
lilt. Ric, No. 26; Berlins Ant. Bildw., ' Gerliard, B. A. B., 3.0, No. 26;
s. 360, 26. U.<sing, p. 06.
- Ussing, 1. c. ; Panolka, Recli., iii. .56; \ * Ussing, 1. c.; Pollux, x. 00; Schol.
Gerhard, IJnpp. Vole, No. 45 ; Starkel- Arist. Bac, 803 ; A v., 436 ; Pint., 815 ;
Ix'rg, Die GriVbi-r, tiil». 15; Brit. Mus., Rai., 5l)6.
2 15 2
372
GREEK POTTERY.
Part ] F.
The lasanon was apparently a kind of pot/ its shape and size
are not known. It was possibly made of metal. The chous
appears to have been always made of clay.^ It was a measure
of liquid capacity, sometimes holding as much as the Latin
congius,^ and may be considered as the " bottle" of Athens. It
was chiefly used for holding wine,* but its shape is unknown,
some supposing that it had two, and others, that it had only
one handle.^ The oinochoe corresponded with the modern
decanter, or claret bottle. There are several varieties of this
shape, but their general ^ type is that of a jug, the mouth being
either round, or with a trefoil in imitation of an ivy leaf. This
first type, which appears to have been con-
temporaneous with the amphora3 with banded
liandles, has a short neck and banded handle
rising over the lip. The subject is generally
arranged in a square picture in front; but
sometimes the ground, especially in the cream-
coloured vases, runs all round the body. At a
later period, and in the Nolan ware, the body
becomes more egg-shaped and slender, and the
handle taller, so that this series presents some
of the most beautiful examples of shape. An-
other variety of figure, which is also of the best
period of the art, has a truncated base, with a
mere moulding or bead, instead of a foot. The
shape of these vases is well known from the
frieze of the Parthenon and other representa-
tions of libations and sacrifices, in which they
were always used with tl:^e jphialai, or paterae,
and the tliymiateria, or tall censers ; they were
dipped into the kraters,"^ and the wine was
carried round to the guests by a youth called
the oinochoos. It was a law of the banquet never to place
the oinochoe upon the krater, as it was considered a bad omen,
and a sign that the feast was ended.^ Oinochoai were also
No. 157.— Prochoos.
No. 158. — Prochoos.
^ Usaing, 1. c, 98 ; Aristopli. iu Pac, ■ " Ussing, p. 101 ; Panof ka, Recli.,
891 ; Hor. Sat. I., 6, 109
2 Pollux, X. 122
iv. 27.
« Gerhard, B. A. B., s. 365, No. 33-36 ;
3 Eubulus apud Athfiiseum, xi. 473, c. ! Panof ka, v. 101; Airnali, 1831, 248;
* Cralinus apud Atl^en., xi. 494, c ; ' Letronne, p. 70.
Aristopb. Pac, 537; Equit., 95; Ach., ' Panotka, Eech., vi. 6; Cab. Pour-
1086 ; Schol. ad v., 961 ; Anaxandrides talcs, 34.
p. Atben., xi. 482 d. i s Hesiod, 0pp. ct Dier., 744.
zlIAP. IX.
OIL AND UNGUENT VASES.
373
No, 159.— Aryballya.
No. 16f).— Aryballos.
employed in religious rites; whence TInicydides/ speaking of
the anatliemata whicli the Egesteans showed to the Athenian
ambassadors in the temple of Aphrodite atEryx, says tliat they
displayed J)/^^aZa^, oinochoai, and tlnjmiateria, all made of silver;
I and in Athenaeus,^ mention is made of the naos
of the people of Metapontum, in which were
132 silver jj/iM/ae, 2 silver oinochoai^ and a
golden oinochoe. They are often seen in the
bands of figures depicted on the vases as making
libations.^ -4l^other jug was the prochoos, with
an oval body, tall neck, and round mouth, but
without a handl e. It was used for carrying water
for washing the hands, for which purpose the
water was poured over them. "A maidservant
bearing water for washing, poured it out of a
beautiful golden prochoos," says Homer ; * and
Iris descending to Hades for the waters of the
Styx, takes a prochoos to draw it^ It also held
snow,® and wine. Hence we read in the Odyssey,
" He laid his right hand upon the oinochoos, and
the prochoos fell rattling on the ground."'^ It
was also used for holding oil,^ and libations to the No. lei.— Epichysis.
dead were poured out of it.^ Gerhard recognises
the prochoos in the form depicted in the cut
No. 157. He also supposes the small oinocJioe, with
a bill-shaped spout and cylindrical body, to be the
Apulian p'ochoos; but it is probably rather the
epicliysis. The ejnchijsis was a metal vase for
pouring liquids, probably so called from its
spout,^*^ used for holding oil and wine at enter-
tainments.^^ The following vases were for drawing
liquids. The arytaina, shaped like a ladle, and ^^^ ^tkylh^f '''
used in baths for drawing oil, and distributing
to the bathers, or for putting it into lamps. It was generally
No. 162.-
• vi. 4G-:i. 131, n. 26.
' xi, 479, f. ; cf. also Biickh, Corp. '' Odyssey, wiii. 398 ; Xenophon,
Inscr., No. 150, col. 1, v. 30; Atlumreus, Cyr. viii. 8-10.
V. 199, b. ; xi. 474, 495, G ; Pollux, x. 122.
« Gerhard, A. V. I., 28-30.
* Od. i. 13G.
* Hesiod., Theog., 785 ; cf. also Ari-
stoph., Nub., 272 ; Pollux, x. 4G.
" Anaxnndiides apud Atlicn.Tum, iv.
* Suidas, voce ; Sopliokles, Antigone,
430.
" Athenc^us, v. 199 b. ; xi. 474, 495.
'« Usbiug, p. 103.
'• Varro de L. L. v. 1, 24; Pollux, vi.
103. X. 92. V^'J^V
y 7
374 GREEK POTTERY. Part II.
made of brass.^ The aryhallos was a vase always described as
like a purse. This name has been attributed to a vase re-
sembling a ball, with a short neck, globular body, and small
handle, just sufficient for a throng to carry it with, called by
the Italians vaso a jpalla. It is chiefly found among vases
of the earliest style, and was carried with the strigil to the
bath. In the later style the form was more elongated, and a
base or foot was added.^
Small lehytJioi, or aryballoi, of various forms, are found ; for
at all times the potter has manufactured these pieces as the
curiosities of his art. Those found at Yulci are shaped like
the bust of the archaic Dionysos, heads of Satyrs and Silenoi,
armed heads, human-headed birds, sirens ; the stag or deer, the
emblem of Artemis ; the hare and rabbit, sacred to Yenus and
Apollo; the head of an eagle, and pigeons. They are all of
small dimensions, and appear to have been used for the toilet.^
The arysiichos was a vase used for drawing wine out of the
kraters.* Considerable doubt prevails respecting the meaning
of the passages in which its name occurs.^ It was also used for
holding the judges' votes. It was called ephehos, "or youth,''
from the boy who carried it round.^ The aryter, a vase for
drawing liquids, is mentioned by Herodotus."^ The arysteis,^
aryster,^ arysane,^^ and arystris, were also vases used for drawing
liquids. The oinerysis was a kind of cup used for drawing
wine.^^ The etnerysis, a vase for serving up pulse,^^ and the
zomerysis, a kind of vase used for ladling out sauce or soup,^^
are mentioned, but their shapes are unknown. The hotyle, or
Jcotylos,^^ is supposed to have been a deep cup, used for drawing
wine. It was also a measure of liquid \capacity, equal to a
Tiemina, or fourth of a sextarius. In Homer, mendicants beg
for bread and a kotyle or cup of water ;^^ and Andromache,
* XJsfcing, p. 105 ; Aristoph., Equit, 2139 ; Athenseus, x. 424.
p. 1090 ; Pollux, X. 63 ; Theophrastus, « Schol. Aristoph. Vesp., 855.
Char. ; Thiersch, ss. 33, 34, supposes it ^ II., 108.
to be a jug. I * Sophocl. apud Athen&um, xi. 783, f.
2 Gerhard, B. A. B., ss. 367, Nos. 44, I » Simonides, apud Athcn., x. 424 b.
45 ; Panofka, v. 95 ; Annali, iii. p. 263; '° Timon ap. Athengeum, x. 424 b.
Ussing, p. 106 ; Pollux, x. 63 ; Athenaeus, ^* Schol. ad Ariatoph. Acharn., 1067.
xi., 781, f. ; Thiersch, s. 35. ; 12 gchol. Aristoph. Acharn., 245.
' Mus. Greg., p. ii. t. xciii. I " Anaxippus apud Athenseura, iv.
* Uesing, p. 107 ; Pollux, vi. 19 ; : 169 b.
Hesychius, voce. I " Ussing, p. 108 et seq.
' Bockh,' Corp. Inser. Grajc, No. '* Odyssey, xv. 312, xvii. 12.
Chap. IX. VASES FOR DRAWING WINE. 375
describing a crowd of children approaching her father's friends,
says, " Some one of those pitying hohl a cup awhile, wetting
their lips, but not moistening their palates.*'^ So the old Greek
proverb: *' There's many a slip 'twixt kotyle and lip."^ Honey
was suspended in it in the festive boughs before the gate :
" Eiresione bears figs and new bread, and honey in a kotyle."'
The hotylos, which name was more particularly applied to the
cup, was in use among the people of Sikyon and Tarentum, the
Aitolians, some of the Ionian tribes,* and the Lakedaimonians, —
of all cups the most beautiful and best for drinking, as Erato-
sthenes calls it.^ It was made of the clay of Mount Kolias.
Apollodoros describes it as a deep and lofty cup ; and Diorloros
speaks of it as resembling a deep lavacrum, and as having one
handle. It has been conjectured that it was a kind of deep two-
handled cup,^ which notion, though rejected by some critics, is
rather strengthened by the shape of the hemiko-
tylion, as depicted in the annexed cut. A vase of
this description, of clay, shaped like a skyphos,
covered with a black glaze or varnish, and bear-
ing the inscription HEMIKOTTAION, was dis-
covered at Corfu (Corcyra). The ancient Jcotylis-
kos, or diminutive hotylos, was a small vase, either j^-^ lea.-Kotyiiskcs.
with or without handles.' Some of the smaller
children's Abases were probably of this form. It has been sup-
posed that the kotylishos was a vase of the shape of a lekythos,
generally decorated with painting in the old or Egyptian style.
It has been conjectured that certain vases, sometimes of glazed
ware, are of the description called hernos. In the mysteries,
several small vases, or hotylisJcoi,^ containing various scraps of
food, after being bound together with wool, were tied round a
larger vase, and then carried about. This type is recognised
by some v/riters in certain groups of small cups, ranged in a
single or double circle. These vases, as in an example already
cited, are principally found in the sepulchres of Athens and
Milo, and Kypros, among the unglazed painted terra-cotta vases
of the earliest style. They are rudely modelled with th^ hand.
» Iliad, xxi. 494. * Panofka, iii. ol, iv. 50 ; Gerliard,
- Athenaius, xi. 478 e. Ult. Ric. 28.
' Schol.Aristoph. Equit.,725);Plutiis, : ^ Gerhard, Berlins Aut. Bildw., 1,
1054. • 368, No. 46.
* Atlienajus, 1. c. 1 * Ussing, p. 110 ; Gerhard, B. A. B.,
* Atheiucus, 1. c, 482 b. s. 368, Xo. 46.
376
GREEK POTTERY.
Part 11.
and attached by bands of terra-cotta to a hollow cylinder in the
centre. Some vases of this shajie occur amongst those of
the later style, and are attached to a hollow circular pipe, or
crown of terra-cotta, on which they stand. In this case they
sometimes have covers,
and are decorated with or-
naments in white ; others
consider these vases to be
hotylai, Kyathos, which
means " the ladle," was a
name applied to the small
vase, by which the un-
mixed wine was taken out
of the kraters, and put
into the cups of the guests,
water being added from
a jug. Many hyatlioi of
bronze exist in different
collections.^ An open cup,
sometimes havinsr a tall
stem or foot, and with a
long, narrow, ear-shaped
handle, well adapted for
dipping the cup into the krater, but not for holding it in the
hand to drink, is supposed to be this vase. The following vases
w^ere also used for liquids : the louterioriy
for water for the bath, was generally made
of marble or alabaster,^ and it is uncertain
whether it was ever n^anufactured of clay ;
the asaminthos, a large vase, also used in
baths ;^ the puelos, or bin, which was in
fact the bath tub,* appears also to have
been made of pottery for the reception of
the ashes or body of the dead, and deco-
rated with painted, both of the earliest
archaic or Phoenician and later style ; the
shaj^Jie, a vase used in the kitchen for washing culinary utensils.
No. 164.— Kyatlit>9.
No. 165.— Kyatbos,
* Ussing, p. Ill ; Gerliarrl, Berlins
Ant. Bildw., ss. 360, No. 24, 25 ; Panof-
ka, No. 52, vii. 5; Annali. 1831, p. 251,
and foil,
' Ussing, p. 1 14.
' Ussing, p. 115; Odyss., iv. 48;
Pollux, vi. 97.
^ Ibid. ; Aristoph., Equit., 1060 ; Pax.,
843.
Up. IX. VASES FOR WASHING. 377
id also employed as a foot bath,^ appears to Lave been generally
lade of wood or brass ;^ the skajiheion or shafhion, a hemi-
)herical vase, for holding or drawing water, the shape of which
not identified.^ It seems to have been also a drinking-vessel,*
)r Phylarchos, in describing the mode of living of Kleomenes,
le Spartan king, says that he had a silver sJcapMon, holding
ro Tcotijlai} The exaleiptron was a vase, like a jpliiale or
saucer,^ for holding ointment. The lekane is recognised in a
deep two-handled vase, provided with a cover resembling an
inverted cup. It was used for washing the feet, and for holding
cups, clothes, pitch, and for other coarse work ; ' as a basin to
vomit in ;^ and likewise in the Sicilian game of kottabos.^ It
was also employed for that kind of divination called leJcano-
manteia, or " dish-divination." In the romantic life of Alexander
the Great, written by the pseudo-Kallisthenes, a long account
is given how the fabled sorcerer, the Egyptian Nectanebo,
employed this vessel in magic arts, and after placing in it small
waxen figures of men and ships, plunged it into the sea, and so
destroyed his enemies. He constantly used it for the purpose
of inveigling Olympias. Julius Yalens, who wrote in Latin
a similar apocryphal life of Alexander, calls the vessel a basin
or j)elvis. This magical use of the vase is also mentioned in the
work called Pliilosoj^lioumena, erroneously attributed to Origen.
The lekanis, or smaller lekane^ made of terra-cotta, w^as pro-
bably of the shape like the preceding. In it the father of the
bride sent, along with her, presents to his son-in-law, at the time
of the marriage. According to Photios, lekanides were earthen
vessels, very much resembling a krater, which, he continues, the
women now call *' foodholders."^" The lehanuhos eLud leJcamon
were small lehanides}^ The jpodanijjtey- was a basin for washing
the feet in.^^ Possibly this vase may be identified with the flat,
^ Ussing, 1. c, ami pp. 116, 117.
* Pollux, X. 77 ; -^schylus in Sisypho.
' Ussing, p. 117.
* Athen., xi. 475 c.
* Atlienseus, iv. p. 142.
8 Plutarch, Moral., p. 801, B. ; Ari-
stoph.. Nub., 906; Theopomp., Athen.,
xi. 485, c; Pollux, x. 76; Gerl.ard,
13. A. B., 364, 32.
» Sohol. ad Aristoph., Pac, 1214.
* Ussing, p. 117; Clearclms, apud I '° Ussing, I.e.; Pollux, vi. 85 ; Pho-
Athen., xiv. 648, f . ; Pollux, vi. 106; tins; Schol. ad Aristopli., Ach., 1110;
Aristoph., Acharn., 1003 ; Athen. v. Teleclides ap. Athen., vi, 208, c. v. 11;
202, c. I Hesych., v. ; Gerhard, B. Ant. Bild., s.
^ Ussing, p. 118 ; Pollux, x. 70 ; | 364, 365, No. 32 ; Panof ka, Eech., ill. 42.
Suidas, V. KeAejSrj ; Bockh, Corp. Inscr., i " Ussing, p. 119.
No. 3071, 8; Aristoph., Av., 840, 1143, \ »« xjssing, p. 120; Photius, p. 118;
1146 ; Vesp., 600. Pollux, x. 78; Hero.lot., ii. 172.
378 GREEK POTTERY. Part 11.
tliick, circular basins found in the Etruscan tombs. It was
generally of bronze. The chewonijptron, cheironi/ps, and clier-
nihon, were wash-hand basins, but their shape is unknown.^
The vase called liolkaion was a kind of bowl for washing cups.
It also appears to have been used for the table and the bath.
It is supposed to have been a kind of small krater, with figures
and supports;^ but this is not by any means satisfactorily
proved. The j)erirrhanterion, or sprinkler, was a vase which
held the lustral water in the temples, and which, in the earliest
times, was made of earthenware. It may probably be recog-
nised on certain jugs of the kind of oinochoai, or oZpai, with
tubular spouts which will not discharge their contents except
by sprinkling when shaken, the water refusing to flow from, and
only coming out of them when agitated violently. The list is
closed by the ardanion, or ardalion, the lower part of which
vase, after it had been broken, was placed as an emblem before
a house in which a death had occurred.
The productions of the potter never perhaps attained greater
excellence as to form than in drinking-cups, many of which are
of unrivalled shape. If any extant specimens of fictile ware
represent the shapes mentioned by Homer, who in the true
poetic spirit always speaks of cups as made of the precious
metals, they must be looked for in the primitive vases of Melos
and Athens. The great cup described by Homer bears, how-
ever, more resemblance to some of the specimens of the Etrurian
black ware.^ " The great cup, ornamented with golden studs,
was produced, which the old man had brought from home. It
had four handles, and two golden doves were placed on each ;
and it had two stems. AVhen full, anyone else could hardly
lift it from the table ; but old Nestor liited it with ease." The
cups mentioned by Homer are the depas ; the aleison,^ a cup
with two handles ; the Idssyhion ^ so called from its being made
of ivy wood, or from its being ornamented with carvings repre-
senting the foliage of ivy ; the ky^ellon^ or later hymhion,^
' * Ussing, 1. c. 121 ; Athenseus, ix. p. ' Odyss., v. 346; xiv. 78; Pollux, vi.
408; Homer, xxiii. 304; Andocid. in 97 ; Theocrit.,i. 59, etSchol.; Athenseus,
Alcib., 29, K. T. A. iv. 477.
2 Gerhard, B. Ant. Bildw., s. 362, n. \ « Atlien., xi., 482, 483 a, 783 c ;
27; Ussiug, p. 122; Panofka. iv. 92;
Amiali, 1831, p. 252.
3 Iliad, xi. p. 632.
jiElian, Hist. Anim., ix. 40.
" Macrob., Sat., v. 21 ; Letronue,
Journ. d. Savans, 1833, p. 605 ; Athe-
* Odyss., iii. 49, 50, 63, xxii. 9, 7 ; useus, 481 e, f, 482 f, 502 ; Schol. Aribt.
Ussing, 1. c, p. 124. Pac, 1242; Nicauder, Ther., 526;
lAP. IX. VARIOUS KINDS OF CUPS. 379
Ihicli, among the Kretans and Kyprians, had either two or
)ur handles ; and the am^hilcypellon, having two liandles,
le at each side. The hymhion was a kind of cup, stated
some authors to reseml^le a boat. No vase of such a shape
known to exist, unless it be the rhyton in the British
[useum, fashioned in the shape of the prow of a vessel, with
female seated on it ; or a long boat-shaped vessel with a
)out, discovered at Yulci, on which is inscribed "Drink, do not
lay me down." ^ This kind of vase was in common use among
tlie Athenians. The name for cups in general was shjjohos ;
and they were called, from the ])laces of their manufacture,
Boiotian, Rhodian, Syracusan, and Herakleotan,^ or Theriklean
from their maker Therikles. The Athenians had seventy-two
kinds of cups, and the Arcadian Pythens, who was a collector,
had inscribed on his tomb that he possessed more than any man.
It may easily be conceived that no very distinct idea of their
shape is conveyed by ancient writers. Simonides, indeed, men-
tions that they had handles ; and the Herakleotan skijphos had
its handle ornamented with the Heraklean knot.^ Some vases
of the latest period of the art, with reeded bodies, sides orna-
mented with white ivy wreaths, and handles of two twigs or
pieces interlaced in a knot, more resembling the Jcantharos, are
probably the Herakleotan skyplioi. A kind of wide cup with
two handles is supposed to be the skyphos. These cups, which
are found at Nola,* are of the later style, and ornamented with
red figures, principally of a Bacchanalian character. Very often,
however, they are entirely plain, being merely covered with
black varnish. Another kind was the Panathenaic shyplios,
supposed to be a cup with two handles, of the same shape as
the preceding, but having one handle placed at right angles
to the cup*s axis. Their usual decoration is an owl, placed
between two olive branches. This vase is supposed, from the
shape of its handles, to have been the onychios. The ooshypliion,
or egg-shaped cup, was without a foot,^ and was, perhaps, the
same as the vase called mastos, which had two handles, like
the Panathenaic shyjplios, and was often decorated externally
Alexiph., 129; Hesychius, voce; De- ■ ' Casaubon, Not, in Athen., xi. c. 111.
mobth. in Meidiam., 133-158 ; inEuerg. | •» Gerhard, B. A. B., s. 362, No. 28 ;
et Mnesib., 58. i Panofka, iv. 92.
» Panofka, Rech., v. 74, 75. * Ussing, p. 133 ; Athen., xi. 488 f,
* Athenaeus!, p. 500 a ; Letronne, 503 c, 477 c ; Panofka, v. 103.
Journ. des Savans, 1833, p. 731, note 1.
380
GllEEK POTTERY.
Part II.
No. 166— Kantharos.
with black figures upon a red ground. It often terminates like
an areola, or nipple, with an oval band round it. These cujs
are very rare, and are ornamented with Bacchanalian subjects.
They are tliin and well turned,
and altogether very elegant
productions. They chiefly come
from Yulci. The hromias was
a long kind of skijjphos} The
Jcantharos was a kind of cup,
probably so called from its re-
semblinsr a beetle. It was the
cup specially used by Diony-
sos,^ and was generally made of earthenware, although some-
times of metal. It appears from the various monuments of
Dionysos to have been a kind of goblet, on a tall stem, with
two very long ears. In some of the older specimens of Etruscan
black ware it has no stem.^ Yases of this kind are seldom deco-
rated with paintings, which, when they do appear, consist of red
figures upon a black ground. A
few are also found among the
vases of the latest style of the
Basil icata, especially those pro-
duced from moulds. With them
has been classed a goblet-shaped
vase without handles. In the
picture of the battle of the Ken-
taurs and Lapiths, painted by
Hippeus, he represented them
drinking out of terra-cotta kan-
tharoi.* The harchesion was a
kind of two-handled cup, the
shape of which is not very intelligible from the descriptions of
it given by the early poets, Pherekydes, Sappho, and others.^
As, however, it was the sort of cup held by Dionysos and his
" wassail rout " in the Pageant of Ptolemy Philadelphus,^ it
was probably a kind of kantharos. Gerhard ' and Panofka
No. 167. — Karcbesiun.
' Ussiiig, p. 134; Panofkn, iv. 65;
Athenfeus, xi, 78 1 d.
2 Pliny, xxxiii. 53, 150.
3 Gerhard, B. A. B., s. 359, No. 21-23 ;
Panofka, iv. 61 ; Annali, 1831, 256.
* Athenseiis, 474 d ; cf. Pollux, vi.
96.
* Athenaeus, 474 f, 475 a.
« Athen., v. 198, b, c.
' Gerhard, B. A. B., s. 359, No. 20 ;
Panolka, iv. 61 ; Annali, iii. 256, f, 6,
s. 36, compared with the tr clinical tie-
[AP. IX.
DRINKING-CUPS.
381
No. 168.— Earlj' Kylix.
jcognise it in a very elegant cup, with large ear-shaped handles,
lort stem, and wide mouth, and ornamented with red figures,
jlating to Dionysos. This sort of cup is chiefly found among
le later remains of Soutliern Italy; but it is probable that
lany of the vases called hantharoi are harchesia. Of all the
|ups the most celebrated was, un-
)ubtedly, the hijlix, so called from
being turned on the lathe. It
ras a flat, shallow, and extremely
ride saucer, with two side handles,
Jnd a tall stem or foot, and was
lecorated with red figures of the
[nest style, both on the exterior
"and interior. Those of the earliest period are distinguished by
their deeper bowl and taller stem, while the bowl of those of
a later period, with black figures, is unprovided with a foot.
Others, ornamented with paintings of the strong and fine style
have a shallow bowl, recurved handles, rising rather higher than
the lip, and a stem not so
high as the earlier ky likes.
Their shape is one of the
most elegant of those handed
down from antiquity. At
the Basilicatan period these
vases resemble large flat baskets with handles, like the krater.
Kylihcs of this style, which approach the bowl shape, are very
rare, and have subjects only inside. These vessels hold about
a pint, or even from four to seven heminai, and were probably
passed round from guest to guest. In banqueting scenes de-
picted upon them, they are
often represented as being x^-^
twirled round upon the finger,
in the supposed Sicilian game
of kottabos.^ Athens was cele-
brated for its cups,^ made of
clay from the promontory of Mount Kolias ; but the Lacedae-
monian,^ Teian,* Chian,^ and Argive ^ cups were also esteemed.
No. 1l9. — Later Kylix.
No. 170.— Late Kylix.
scription of Callixinus of Rhodes,
Athenseus, xi. 474, e.
' Panofka, Recli., vii. 37 ; Millingen,
Vases de CoghiU, pi. viii. and 41 ; Cab.
Pouitales, xxxiv. ; Thiersch, .s. 31.
- Pindar apud Athenfeum, p. 480, o.
^ Aristophan. jip. Athen., 484, f.
■* AlcfBus ap. Athen., p. 481, a.
5 Hermippus apud AHild., 4S0, e.
" 8iinonides, ibid., 480, a.
882
GREEK POTTERY.
Part IT.
These cups, when not in use, were hung up by one of their handles
on a peg, and hence Hermippus sings, " high on its peg the Chian
cup is hung ;" a good example of which custom will be found
represented on the Ficoroni cista} The Therihleios was a kind
of cup invented by Therikles, a Korintliian potter, the con-
temporary of Aristophanes.^ The " Therikleans," as they were
named, were, however, soon in vogue at Athens, w^iere tlie best
were manufactured, and are mentioned by the writers of the
middle and the new comedy. They were all clay, and held
three heminai. Thus Enboulos exclaims in comic bombast,
" Lately the bravest of the Therikleans, foaming o'er, like a
kothon handled, rattling like a ballot-box, black, well circled,
sharp stemmed, gleaming, reflecting, well cooled with snow, its
head bristling with ivy, calling upon Jupiter the Saviour, I
ITo. 171. — Early Kylix, with black figures. ( riierikleaii.)
have quaffed." It is probable that these were the Icylikes with
deep bodies. They were often successfully imitated in fine
wood or glass, and gilded.^ Along with the "Therikleans"
may be cited other cups, such as the hedijpotis, a cup of a very
cheap kind, manufactured by the Khodians to compete with
the Athenian "Therikleans,"* and which drove them out of
the market, being nobler, with better contours, lighter, and the
Bhodiaka, Ehodiakai, Bhodiades, or *' BhodiansJ' which were
perhaps the same as the hedyjpotides. Their shape does not
appear to be well known. ^ The Antigonis, a kind of cup, so
called from King Antigonos, seems to liave ended in a point.
* Broadsted, Den Ficoronisko Cista, nseiis, xi. 472, 5 ; 478, a ; Photius, voce,
folio, Kjobenhavn, 1831. j * Athenseus, xi. 464, c, 409, b.
- Athen., i. 470, f, 472, d, e ; Bcntley | * Pollux, vi. 96 ; Hesychius, voce ;
on Phalaris, i. 173. Athon.'eui', 496, f.
3 Bockh, c. i. p. 101 ; Inscr. 130; Atlic-
Chap. IX. PATER.E. 383
Itiit it is uncertain wlietlier it was ever made of earthenware.^
I'he Seleuhis was named after ]<^ing Seleukos. Its shape has
been recognised in some of the paintings at Pompeii. It
appears to have had four handles,^ lilce a mether.
Of the same species as the hjlix, but almost limited to re-
ligious offices, was the jphiale, the patera or saucer, a shallow,
circular vessel, so like the round Argolic buckler, that Aristotle
calls it the shield of Ares,^ Sind vice versa, Antiphanes* calls
a phiale " tlie shield of Ares." It rarely liad handles,^ and was
chiefly used for libations, being seldom, if ever, employed at
entertainments.^ It is of rare occurrence ; the few which have
been discovered belong to the later style of art, and to the
class of moulded vases. Its want of handles was supplied by a
boss, called the omphalos, in the centre of the cup, having
a hollow beneath to admit of the insertion of the thumb or
finger to hold it steady,' from which circumstance ^9/^^aZa^ were
also called omphalotoi, " bossy ;" or mesomj)haloi, " having
omphaloi in the middle." ^ In metallic work this umbo, or
boss, appears to have been often ornamented with the head
of the Gorgon. Such bosses were called " balanomphaloi," or
glandular omphaloi, an example of which has been found.
Another variety of this shape was the phiale le])aste, respecting
which all that can be determined is, that it was larger than
the phiale.^ It has been recognised in the large kylix-like
vessel of Basilicatan style, ornamented with studs at the sides.
The aJcatos appears to have been the name of a phiale omphalotos,
or " bossy saucer." *' Some one," says Antiphanes, " has raised
the akatos of Jupiter the Saviour ! " ^" Tlie trieres, that is the
" triremis," or " first rate," was a large phiale}^ The phthois
was a broad, bossy phiale, or saucer,^^ but it is not certainly
known whether it was made of fictile ware. The petachnon, or
" stretcher," was a wide-spreading cup, resembling neither a
phiale nor a tryhlionP The labronia was a Persian cup, pro-
* Athenseus, 497, f; Pollux, vi. 95; I 485, a; Clement. Pa^ila;^. ii. .S ; Allien.,
Scliol. Clement. Psedag , ii. 3. iv. 131, c ; Pollux, vi. 95 ; Pollux, x. 75 ;
^ Athenseus, p. 488, d, f ; Losing, pp. Hesycliius, voce ; Panuf ka, Recli., iv.
145, 146. 2 Rhetor, iii. 4 and 11. | 3G ; Gerhard, B. A. B.
4 Athen., x. 433, c ; 488, f, 591, f. i '<> Athen., xv. 692, f ; Panofka, iii. 30.
* Hesychius, ufxcpiOeTou. < " AtheutT3us, xi. 497, b, 500, e.
« Bekker, Charicles, tab. 3, 1, 2. >2 Athen., 490, 502, b; Biickh, Corp.
■ Athen., 502, a, b, 501, f. Inscr., No. 146.
" Thiersch, s. 30. "Ibid.; Panofka, iv. 31, iv. 41;
^ Ussing, pp. 152, 153; Athena3us, p. Athen., iii. 125, f.
.^84 GREEK POTTERY. Part II.
bably introduced into Greece after the conquest of Asia by
Alexander, and was made of gold inlaid with gems.^ Gualas
was the Doric name of a ciip.^ With these cups may be classed
the Jceras, or "horn," so called from its imitating a natural
horn.^ It was sometimes, though rarely, made of terra-cotta.
Some examples, together with a notice of it, will be found
under the word rliyton. The body was reeded, and the horn
terminated in a liori's head, with a small aperture for the liquid
to flow through. The upper part was decorated with a subject
in bas-relief, and at the side was a small circular handle, by
which to hang it on a peg. It was sometimes supported by a
collar or anklet, called perishelis.
The next class of vases is those for holding food, of which
there were several varieties in fictile ware.
The kanoun, or "canister," also called hanastron, hanee, hane-
nion, and JcamsJcion, was sometimes made of earthenware.* The
shape of this vase may be determined from that w orn upon the
heads of the kanephoroi, and consequently it must have re-
sembled the halatlios. The jprnax, or " plate," of which the
diminutives are ^inahion^ and ^inakisJcos,^ though not men-
tioned among fictile ware, w^as probably the flat plate upon a
tall stem or stand,' having its interior ornamented with repre-^
sentations of fishes, such as the tunny, or pelamys, the cuttle-
fish or se^yia, the maid or jpristis, and the ecliinos or sea-egg.
The dishos, or " disk," appears to have been a flat, circular,
plate or dish, similar to the Latin patina.^ The lehanis, lekos,
lekis, lekanion, or lekiskion, were dishes or tureens for holding
food. They have already been described^ The jparojpsis was
a dish, the shape of which was square. jEt does not appear till
a late period, and is often mentioned by the Eoman authors.^*'
The oxis was a vinegar cruet of small size, holding a Jiemina^
and generally made of earthenware.^^ Aristophanes ridicules
Euripides, as advising vinegar to be thrown out of vinegar cups
into the eyes of the enemy. ^^ Embaj^Ma were vases, the shape
of which is unknown. The ereus \\as a vase for holding sweets,^^
' Allien., 484, c. | ' Panofka, iii. 59
2 Ath'^i., 4G7, c ; Letroiine, J. d. S., I ^ Pollux, vi. 84 ; Ibidoms, xx. 4
G14, n. 3.
3 U.ssing, pp. ]5o, 156; Piuiofka,
V. 78;
4 Homer, Epigr., 14, 3.
* llfcsing, 1. c, ] 57.
« U.-sing, 1. c, \:S, 150.
^ Vide bupra, Utsing, p. 160.
'« Ibid.
'' Ussing, pp. 166', 167; Aristoph.
Equit., 1304 ; Plut., 812.
'- AiLtiiph., Ranse, 1440.
13 Pollux, X. 92 ; Athen., ii. 67, d.
CnAP. IX. DISHES, 385
and the hjiyselis, which perhaps liad a cover, was employed for
the same purpose.* The IcumijwdoJcos, Icuminodohe, or Jcumi-
Qiotheke, was a spice-box,^ consisting of several small cups, called
hadiska, united on a stand or stem. Several such vases, erro-
neously supposed to be kernos, both of late and early style, are
known. ^
Another kind of dish was the iryhlion, a name which denoted
either a dish or a cup, but is probably more correctly applied
to the former.* A person is described as stealing an earthen-
ware trijhlion at an entertainment.^ The expression " to make
trijbUa badly," shows that they were fictile. All that is known
about them is, that they were larger than the oxtjhajyliay and
that figs were eaten out of them. The oxyhaplioUf the " vinegar
cruet," or " cup," often served the general purposes of a cup.^
It appears to have been small and open.^ The name was also
applied to dice-boxes. Oxyhajpha were used in the Sicilian game
of kottabos,^ which was played in many different ways. This
name has been applied to a bell-shaped krater already de-
scribed. Besides the shapes to which it has been attempted to
attach names, and which are those chiefly found amongst painted
vases, others are known and occur from time to time. A great
number of vases are formed in the shape of animals, and were
apparently used either as sprinklers, or as toys for children.
These last are of the principal shapes, as the oinochoe, the
^hiahy the oxyhaphon, and the like, but of smaller shape. On
the whole, the varieties of shape are not very numerous, the
Greek potters confining themselves to the production of a lew
simple forms often repeated. They also occasionally made of
this painted ware other objects, such as sarcophagi, tiles, lamp-
holders, and models or ornaments.
* Ussing, 1G7. ' Lucian, Somnium sive Gall us, p.
« AtbensBus, vi. 230, d, e. 723 ; Lelimann, vi. p. 326.
' Pollux, X. 92. I ^ Athenajus, 494, c ; Aiistoph., Avf s,
* Pollux, vi. 85, X. 86 ; Arittuph., 361 ; Schol. ad eund.
Acharn. 278, Equit. 905; Plut., 1108 ; ' » Bekker, Chaiiclcs, i. 476-480; A thc-
Schol. Aristoph., Ave.^, :}71 ; Allien., iv. iireus, xv. 665, f; 669, h ; Pollux, vi.
169, e, f. xii. 549, f. ; Ussinj?, p. 161, 2. 109, 111.
» Atliena3us, xi. 494, b ; Pollux, vi. 85. !
2 C
38(3 GREEK POTTERY. Part II.
CHAPTER X.
Sites of Ancient Potteries, and where Pottery has been discovered in Asia Minor
— Grecian Islands — Continent of Greece — Athens — Solygia — Sikyon —
Argolis — Del phi — Korinth — Patrai — Megara — Laconia — Corfu — Italy —
Classification of Lenonnant and De Witte — Hadria — INIoflena — Pollenza —
Gavolda — Mantua — Etruria — Vulci — Ponte dell' Abbadia — Oastel d'Asso
— Corneto — ToscanuUa — Chiusi — Orbetello — Perugia — Sarteano, &c. —
Volterra — Bomarzo — Orvieto — Veii — Cervetri — Civita Vecchia — Theories
respecting these vases — Arezzo — Selva la Rocca — Sommavilla — Monterone
— Poggio — Central and Lower Italy — Periods — Naples ^Cuma — Terra di
Lavoro — Nola — Acerra — Santa Agata dei Goti — Cajazzo — Telese — Prin-
cipato Citeriore — Pesto — Eboli — Battipaglia — Santa Lucia — Sorrento — j
• Principato Ulteriore — Capitanata — Ba^ilicata — Anzi — Armento — Potenza I
— Grumento — Puglia — Polignano, Putignano — Bari — Canosa — Ruvo —
Ceglie — Calabi ia Ulteriore — Locri — Brindisi — Taranto — Castellaneta —
Iscliia — Sicily — Girgenti — Malta — Africa — Bengazi — Naukratis — Alex-
andria — Kertch, or Pantieapajum — Sites of supposed Egyptian ware —
Imitations and forgeries of Greek vases — Prices.
It now remains to enumerate the principal localities in which
the existence of potteries is mentioned by ancient authors, aSj
well as those in which the fictile productions of the Greeks
have been discovered. This enumeration, however, chiefly
relates to painted vases, as it would be almost impossible to
detail all the places where unglazed terra-cotta objects have
been found.
The most ancient potteries were probably those of Asia Minor,
the scene of the first development of Grecian civilisation ; but
our imperfect information will not permit us to follow the
chronological order in describing them. Erythrai in Ionia
was celebrated for the extreme thinness and lightness of its
ware, and the two amphorae, remarkable for these qualities, the
rival productions of an Erythraean potter and his pupil, were
consecrated in a temple of that city.^ Certain fragments of
vases found near the circular tombs on Mount Sipylos, and in
the so-called sepulchre of Tantalos, show that this ancient site
had potteries which produced ware of the earliest fawn-coloured
i
* Plin., XXXV. 12, s. 46 ; Brongniart, Tiaite, p. 578.
AP. X. ASIA MINOR— THE TROAD. 387
;yle, reseniblinpr flie oldest Athenian pottery.^ At Xantbos,
KLykia, some fragments of vases of micaceous clay, witli black
d red figures, were found in the course of the excavations.^
Fragments of similar vases have been found on the sites of the
tombs of tlie Lydian kings at Sardis. That potters were dis-
tributed all over Asia Minor may be surmised. An inscription
at Telmissos records one who had bought a sepulchre for himself,
his wife Elpis, his mother-in-law Euplirosyne, for Januarius,
and his father-in-law Soterius.^ He must have been in easy
circumstances. At Halikarnassos, during the excavations made
at the ]\Iausoleum, the fragments of a vase, with brown figures
upon a cream-coloured coating, were found. The vases of the
oldest style discovered at Smyrna are not of any great size or
importance.* Lampsakos^ and Parium^ have also produced
vases. The vases found in Ionia have the white grounds of the
Athenian style ; but one had the outline of the figure traced
with a graver on a pale black ground, and the principal portion
retouched in black with a pencil.'^
The determination of the characteristics of the different local
styles is a point of the greatest difficulty.^ The ware of Knidos
was renowned, even till the days of the Roman empire, but its
fictile vases were probably not of the painted kind.^ Their ex-
treme lightness was much praised. At Halikarnassos 200 leky-
thoi of plain terra-cotta were found in one grave. In the days of
Pliny Tralles had a great commerce in vases. -^^ Pergamos, in
Mysia, was also celebrated for its potteries in the time of the
same author.^^ A few vases, of very poor style and character, have
been found at Tenedos,^^ a site once renowned for its potteries,^^
which lasted till the time of the Roman empire. Dion Chry-
sostom mentions in one of his discourses the vases which travel-
lers purchased at this place, and which, on account of their
extreme lightness, were packed with great care, but when they
• Trans. Roy. Soc, Lit., N. S,, ii. 258. ' Lucian, Lexiphanes, 7 and 11. For the
2 Brit. Mui?. ; Arch. Zeit., iv. 216. teira-cottas of Knidos, Lucian, Erotes,
' Franz, Corp. Inscr. Grscc., iii. n. c. 11 : ovKayeXaarTlrTJs KepafjLcvriKTJs clko-
4212; Supp,, p. 1116; Annali, 1847, Xaarias fierexo^v, ^s iy'AcppoBiT-ns ir6\€t.
1>. 116. , '" Plin., N. H., XXV. c. 12, ad eund.
^ Jahn, Vasensammlung, xxvii. '' Ibid., c. 17.
* Walpole, Mem., p. 91. »2 Welcker, Rhein. Mus., 1843, s. 435 ;
^ Dubois, Cat. Cli< is. Gonf., p. 139. j Annali, 1843; Chevalier, Voyage dans
' De Witte, Bull., 1832, p. 169. ' La Troade, title page, 8vo, par. 1.
« Bull., 1840, p. 54. i '3 Plutarcli de Vit. ror. alien., Reiske,
" Eubulus in Athcnseus, i. j^ 28, D ; ix. 291.
2 c 2
888
GREEK POTTERY.
Part 11
arrived at their destination were mere potsherds.^ At the
supposed grave of Achilles, in the Troad, lehjthoi, with poly-
chrome figures, have been discovered, resembling in style those
found in Athenian sepulchres.^ And recent excavations made
at the sites of New Ilium and Old Dardanos in the Troad, have
discovered many small vases, some of the early fawn-coloured
style, with figures of birds, a few with yellow grounds of the
later style, and small lehytJioi, with black figures resembling
the Athenian.^ Fragments of vases may probably be traced
throughout Asia Minor, and all the principal cities must have
had their potteries. Some have been found at Tarsos.
In the Isles of Greece many vases of different styles have
been discovered. From the oldest times the island of Samos
was renowned for its fictile ware. It is to the potters of Sa-
mos that one of the Homeric hymns is addressed, the oldest
description of the art in literature. It appears from the life of
Homer, attributed to Herodotos, that the poet had taken refuge
in one of the potteries from a storm ; and that upon the morrow
the potters, who were preparing to light their furnaces and bake
their earthenware, perceiving Homer, whose merit was known
to them, called upon him to sing some verses, promising in
return to present him with a vase or any other object they
possessed. Homer accepted their offer, and sang to them the
'* Lay of the Furnace," in which the inflated language of epic
verse is applied, in a kind of satiric strain,* to the subject of
baking vases : " Oh, you who work the clay, and who offer me
a recompense, listen to my strains. Athene ! I invoke thee !
Appear, listen, and lend thy skilful hand to the labour of the
furnace, so that the vases which are aboit to be drawn, espe-
cially those destined for religious ceremonies, may not turn
black ; that all may be heated to the proper temperature ; and
that, fetching a good price, they may be disposed of in great
numbers in the markets and streets of our city. Finally, that
they may be for you an abundant source of profit, and for me
a new occasion to sing to you. But if you should shamelessly
deceive me, I invoke against your furnace the most dreadful
afflictions — fracture, contraction, overheat, destruction, and.
* Orat., xlii. 5.
2 Chevalier, Voy. dans la Troade,
Keise nach Troas, 8vo, Alten, 1800,
Taf. i. 8. 213. Choiseul Gouffier, Voy.
pitt. ii. 30.
3 Made in 1855-56, by Mr. Brunton,
of the Civil Hospital of Renkioi. These
vases are in the British Museum.
•^ Miiller, Greek Literature, p. 132,
Chap. X. SAMIAN POTTERY. 380
above all, a destructive force, wliich, beyond all others, is the
destroyer of your art. I^Iay the fire devour your building,
may all the furnace contains mix and be blended together
without power of regaining it, and may the potter shudder at the
sight ; may the furnace send forth a sound like the jaws of an
angry horse, and may all the vases broken be only a heap of
fragments." ' The Samian ware was distinguished for its hard-
ness, and was used in surgical operations.^ The earth was me-
dicinal.^ A lekythos, or toilet vase, of fine paste, and exqui-
sitely modelled, with representations of the sandals attached to
it, with black glaze and red accessories, procured by Mr. Finlay
from this island, is now in the collection of the British Museum.
Few vases have been found at Samos, notwithstanding the
ancient renown of the Samian potteries, and especially of the
earth, which, on account of its fineness and red colour, main-
tained its reputation till the days of the Eoman empire.* In
the days of the Eoman empire, Samos supplied dinner-services ;
and certain vases of i*ed ware with ivy-leaves, perl^aps belonging
to the Roman class, have been found there.^
The vases found at Melos are of different ages and styles;
but this island was more celebrated for its plain than its painted
vases.® Those of the earliest period have a paste of a greyish-
yellow colour, of a density and hardness resembling common
stone ware.'^ Some vases from this island, formerly belonging
to Mr. Burgon, and now in the British Museum, are of the old
fawn-coloured and pale yellow wares, and have black figures of
the most ancient style. Lately some vases have been found at
jMelos, which resemble those of Hhodes, witli large archaic
figures upon a light cream ground, in black touched up with
violet, human and animal figures of Phoenician style — with
Apollo and the Muses, Achilles and Memnon and the Dioskouroi,
of most archaic style, apparently of a local fabric. Apollo has
the heptachord lyre, invented by Terpander 01. xxvi. b.c. 676.
They have been supposed to be from B.C. 650-670, and are. not
of the Phceuicians, who at the time of Homer navigated all over
' Miot, Histoire d'lIcroLlote. Paris,
11-22. PI. iu. p. 203.
2 Pliny, N. H., xxxv. 12, 46 ; Lucilius,
i. Nonn., 398, 33.
3 Hesychius, 2ajuta 7^. Etymol.Magn.,
p. 229, 21.
^ Pl.uitus, Capt., 291 ; Stich., v. G94 ;
36 ; Pliny, H. N., xxv. 46 ; TertuUian,
Apolog., 25; Ausonius, Epigram, 8 ;
Isidorus, Origin., xx. 4, 3.
» Bull., 1830, p. 226.
. ^ Welcker, Rhein. Mus., 8vo, Franck,
1843, s. 43."), 1823, p. 239.
^ Bronguiart, Traife, i. 577; Mus.
TibuUu^s ii. 3, 51 ; Cicc-ro pro Murieua, I Ccr., pi. xiii. fig. 1, 2, 5, 6, 7, 10, 14.
390 GilEEK POTTERY. Part II.
the Mediterranean.^ Others exhibit a great advance in tlie arts,
and are as late as the period of the Roman empire. At the
neiglibouring ishmd of Argentiera, Kimolos, painted vases have
been exlmmed.^ The vases found in the sepulchres of Santorino,
the ancient Tliera, and then an old Phoenician settlement, are
all of primitive style, with fawn-coloured grounds and brown
figures.^ Many vases from this island are in the Bibliotheque
Nationale, at Paris. Others, in the Museum at Sevres, were
taken out of tombs excavated in tlie solid limestone, the princi-
pal formation of the ishind. These tombs have been covered,
at a very remote period, to the depth of about 45 to 60 feet by
a volcanic eruption of tufo, and are of the most remote antiquity.*
Some jpithoi from this island are of huge size.^ Several vases
which have been found in Krete, are said to resemble those of Cam-
pania.® At Kamiros, which emigrated to Rhodes in B.C. 4U4, vases
occurred of the earliest Greek style, with yellow grounds and
dark figures and ornaments anterior to the oldest of this class, i
and transitional from the fawn-coloured vases of Athens and '
Melos. Amongst them were a puelos or sarcophagus, many flat
plates with animals, one in shape of a Boiotian buckler, and
another with the death of Euphorbos. Some vases with
black, but none with red, figures were found ; all came from |
tombs with ancient jewellery. There vases were celebrated for *
imparting an aromatic flavour to the wine.'^ At lalyssos in
the same island excavations made by the British Yice-Consul,
Mr. Biliotti, have produced vases like those of Santorin, with
geometric floral patterns and birds, and a singular vase in shape
of a horn. These were found with ancient jewellery, engraved
stones, and ivories of the earliest style of Greek art. Those of
the sepulchres of Kalymno, the ancient Calymna, a little isle of
the Sporades, were of a fine clay, covered like those of Athens
and Yulci with a fine lustrous glaze, but not ornamented with J
subjects.^ Cos, which was celebrated for its culinary vessels ■
and for its amphorae, which were considered very beautiful,
and were exported to Egypt, has contributed cups of the oldest
style to collections of vases.^ At Mytilene and Lesbos, the
* Conze, A. MelischeThongefasse, fo., I ' Arch. Zeit., xii. Gl, 62; Eoss, Insel,
Leipz.,1862; De \Vitte,Kev. Arch., 1862,
p. 401. 2 Eoss, Insel, iii. 65.
^ Brongniait, Traite, i. 577 ; Leuor-
inaut, Introd. a TEtude, xxiii.
'* Brongniart, Traite. i. p. 577-8;
Mus. Ccr., xiii. 4, 13, 15, 16.
i. 66, 68 ; iii. 27.
** Brongniart, Traite, i. p. 578.
^ Athena^ns, xi. 11, 464.
« Archaol. Zeit., 1848, 278.
» Hcrudot., iii. C.
CiiAP. X. VASES. 391
fragments of vases hitherto discovered have either black or red
fi<2^ures, resembling in their style those found in the graves of
I Athens.^ The vases of Rhodes have black figures on red
grounds of the free and careless style of Greece. At Nisyros,
or Nisiros, an oinochoe with red figures has been found.^ The
extensive excavations principally made by General de Cesnola,
United States Consul in that island, comprising the examina-
tions of above 8000 tombs, have discovered many vases of all
styles, comprising the earlier ones of pale clay, oi-namented by
birds, lotus flowers, chequers, geometric and other patterns, one of
which has a Phoenician inscription burnt in attesting its origin,
many oinochoai, with heads in shapes of animals, barrel-shaped
and other vases with birds and animals and a galley on a cream-
coloui-ed ground, resembling the early vases of Ehodes. Fawn-
coloured vases of the Athenian style, many in shape of animals,
and rarer examples of vases with black and red figures of the
later styles have been also discovered. These disco veiies were
chiefly made at Dali or Llalium, but Golgos, and other sites
also produced vases from the earliest period to the second cent.
A.D. At Pisco])ia, Telos, another of the isles, a vase, with black
figures on a yellow ground of bad drawing, has also been dis-
covered.^ At Chiliodromia, one of the small isles of the Sporades,
several vases of coarse and late style, and principally of the
Roman period, have been found. They are chiefly remarkable
for the peculiar manner in which they were ranged round the
skeletons of the dead.^
Another site of the old insular potteries was the island of
Aigina,^ celebrated at an early period for the excellence it
attained in the arts, and especially for its sculptures. Although
Aigina chiefly imported Athenian ware, yet that it also manu-
factured pottery appears from an anonymous writer of comedy,
calling it '^ the Rocky echo — the vendor of pots." ® The few
vases found there are remarkable for their lightness, being made
of a superficial soil, for the most part of a siliceous base of infu-
sorial carapaces. They are principally leJcythoiJ A l-ylix with
black figures has, however, been found, with the subject of
' 3Ir. C. T. Newton found here many
fragments of painted vases.
« Bull., 1829, p. 113, and ful. ; Paus.,
X. 17, 6.
2 Ross, Insel, iv. 175, 104, 201, 20G. « Meineke, Frag. Com. Gr., 180, B ;
^ Ross, Insel, iv. 44. i Hesycli., voce 'Hxft'; Photius and Poll.,
'' Fiedler, Reise durch alle Theile vi. 197.
des Ktinigr. Giiechcnland, lA-ipz. 1841 ; j " Brongniait, Mus. Ccr., pi. xiii. fig.
Bronguiart, Traite, pi. ii. lig. 1, i. p. 581. 11 ; Traile, p. 57(3.
392
GREEK POTTERY.
Part II
Herakles strangling the Nemean lion, and a Bacchanalian dance,
Avith tlie names of Nikaulos, Charidemos, Empedokrates, and
an inscription,^ probably alluded to the capture of Midas, or the
app?arance of Pan to the liem&t'odromos, or 'courier, Pliilippos.
It also bears the name of the maker, Ergotinios. Some fine
lehythoi, with white grounds and figures, painted in the poly-
chrome style, have been found at Aigina. At Colouri, Salamis,
a polychrome vase of fine style ; ^ and at Caristo, Karystos, in
Euboia,^ a vase with black figures on a white ground, accom-
panied by an inscription.
Passing hence to the continent of Greece, the first place to
be considered is Athens^ the pottery of which was, of course, the
most highly renowned of the ancient fabrics.'* The city was
celebrated for its cups,^ which, however, w^ere rivalled by those
of Argos ; for its wine casks or amphorae,^ its bottles, or lagenoe,^
and its ware in general.^ The clay of Mount Kolias was re-
nowned all over Greece.^ Claiming, as it did, the honour of
having invented the potter's wheel, the manufacture was highly
esteemed ; and in very early days the Athenians exported their
wares to Aigina and the neighbouring isles. A tribe called
Keramis also represented the old guild of potters. At Athens
there were two pottery quarters, or kerameikoi, one within, the
other without the walls. Both seem to have had a bad repu-
tation from their being frequented by hetairai.^" The tombs of
Athens have yielded specimens of painted and glazed ware of all
kinds and periods. These have passed into the different Euro-
pean collections ; and the British Museum ^^ has been particularly
* For vases found at Aigina, cf. Ger-
hard, Bulletin©, 1829, p. 118; Wagner,
Bericht iiber die aeginetisclien Bild-
werke, s. 80 ; Wolf, Bull., 1829, p. 122 ;
Gerhard, Bull., 1829, p. 122 ; Boss, Bull.,
1841, p. 83; Bull., 1833, p. 27.
^ Men. d. Inst., iii. 46 ; Ann., xiv. 103 ;
Kochette, Peint. ant., Taf. 8-11.
^ From the Atticism of this inscrip-
tion, Kramer (Ueber den Styl, s. 173)
is of opinion that the vase was made at
Athens.
■* Eochette, Ltttre a M. Schorn, 6.
Cf. Matron the Parodist apud Athen.,
iv. p. 136, f., 'Attjk^j eV KepafjLcp ireTTcau
TpiSKaiSeKa /XTjuaa.
^ AthensDus, lib. xi. p. 480, C ; Jacob
ad Anth. Graec., i. p. 2, p. 141 ; Erato-
sthenes, apu^ Macrob. Saturn, v. 21 ;
Pindar, Fr. 89, a Bockh ; Athenseus, xi.
p. 480, C.
® Aridtoph., Acharn,, 910; Corsini
Fasti Altici, torn. ii. pp. 236-7; Diss,
xii.
' KeKpoirh Xdryvve. Posidippus, Epist.
xi.
* Pindar, p. 614 ; Athen£eus, xi. p.
484, f ; SimoMide.s, Anal. i. pp. 72, 69,
ed. Jacobs. Athens had also a large
trade in domestic vessels. Aristophanes,
Lysistr., 557.
^ Suidas, V. KooXid^. Kepa/x., Erato-
sthenes in Macrob., Sat. v. 21.
JO Schol. Plat. Parmenidcs, Bekkcr,
p. 17, No. 127.
*' For the vases discovered at Athens
Chap. X.
TILES AND INLAID OBJECTS.
393
onriched by them. The earliest Athenian vases, with brown
iigures on a fawn-colonred ground/ have been already described.^
Many remarkable examples of glazed ware have been found
in the tombs of Athens, and among them the sarcophagus of
glazed ware found in 1813, which contained the skeleton of a
child, surrounded with terra-cotta figures, leJcythoif and other
small vases. It was in a grave beyond the Acharnian gate, and
its contents subsequently passed into the stores of the British
Museum. The early sepulchres have also yielded many vases
of the style called Doric, with yellow grounds.^ Of vases with
black figures the predominant form discovered is the leJcf/thos,
especially lekytlioi of small size, ornamented with subjects, of
which the most favourite was the return of Proserpine to earth ;
but there are several with subjects taken from the Gigan-
tomachia, the Herakleid, the War of Troy, and from Attic
myths, as Boreas and Oreithyia, and the Theseid. Many, as
might be expected, are ornamented with scenes from the
Gymnasium.* Of other vases of this style, the most remarkable
is that with the subject of the Trojan women lamenting either
Troilos or Hektor,^ and a tripod vase.^ But all these yield in
interest to the Panathenaic amphora, or Vas Burgonianum,
found outside the Acharnian gate at Athens, in the year 1813.
It is of a pale salmon-coloured clay, on which the figures are
painted in a blackish-brown colour, while the parts not painted
are of a pale black leaden glaze. The subject represents, on one
side, Pallas Athene, standing between two columns of the
Palaistra, surmounted by cocks, the birds sacred to Hermes and
the Games, as Promachos, or engaging in battle, but without
the aigis. She is dressed in a talaric tunic, and armed with her
aigis and shield, the device, or episemorij on which is a dolphin ;
in her other hand she holds her lance. Inscribed on the vase
is a perpendicular line of Greek, reading from right to left,
TON: AQENEBEN: A@AON: EMI: "I am a prize from
Athens." On the other side is a man driving the biga, or
cf. Millingen, Anc. lined. Mon., p. 1 ;
Stackelberg, Die Giaber der Hellenen ;
Pauofka, Cabinet Pourtales; Creuzer,
Eia alt atlienisches Gcfass, Leipz. and
Darm. ; Gerhard, Ann., ix. 135; Brond-
btedt, Memoir Tran. E. S. Lit., ii. pt. 1 ;
Dull., 1831, p. 95; Eoss, Arch. Auss.,
1): 223.
' No. 2800 and foil. ; Graber der
Hellenen, a. 47, Taf. 9.
2 Ibid., s. 42, Taf. 8 ; A. Conze, An-
fange griech. Kunst, 8vo., Wien, 1870.
' One with a giant is figured ' in
Stackelberg, Taf. 15.
* Cf. Stackelberg, Die Graber, Taf.
10-16. Gerhard, Berlins Ant. Bild. s.
230, 709; No. 674, 711, 716, s. 231, 717.
* Mon., iii. 60.
^ Stackelberg, ibid., Taf. 15.
394
GREEK POTTEHY.
Taut 11.
synoris, and urging the horses with a goad, to which jingh'n^*
bells are attached. There can be no doubt but that this is one
of the very amphorae described by Pindar, when he sings of
Theiaios, son of Ulias of Argos, in the passage before cited. As
a prelude to future victories, "sacred songs twice proclaimed
him victor in the sacred festivals of the Athenians, and the fruit
of the olive-tree came over in tb.e splendid vessels of earth
burnt in fire for the manly people of Hera." It held the holy
oil from the Olive Grove of the Moirai, or Fates. When dis-
covered, it was filled as already mentioned, with the burnt ashes
of its former owner, and also with several small vases, some
painted in the same style, which probably held the oil, milk,
and other substances poured upon the pyre. Its age is at least
as early as the sixth century b.c.^ Numerous small vases have
been found in the graves of the Peiraios, evidently after the age
of Themistokles who fortifiied this harbour, and probably of the
time of the Great Plague of Athens in the days of Perikles.^
The Athenian vases of this style differ considerably from those
found at Yulci, the drawing of the figures being much more free
and careless, and the incised lines bolder and less rigid. ^ A few
vases, with the wdiite coating and black figures, have also been
discovered at Athens, and some, with red figures of the hard
style ; the best much resembling in their varnish and treatment
the vases of Nola ; but they are exquisitely fine and light, and
certainly equal to any found in Italy. Many of the Athenian
vases are of the later period of the art, and resemble those found
in Apulia and Santa Agata dei Goti ; among which some jpyxides,
or ladies' toilet boxes, are distinct from any yet discovered even
in Southern Italy, being ornamented with ^polychrome figures,
in red, white, and blue colours. Some of the vases found here
are of the florid style of Ruvo ; among which may be cited an
allegorical vase, with the subject of Aphrodite and Peitho plait-
ing a basket, and the three Graces, Paidia, " instruction ; "
Eunomia, "discipline;" and Kleopatra, "national glory." ^
There have also been discovered vases with opaque red and
white figures, painted on a ground of black varnish. Among
^ Brondsted on the Pauathenaic vases,
Trans. K. Soc. Lit., p. 112 ; Boekh,
Bullet., 1832, p. 91 ; Muller, Comment.
S. K. Sclent. Gott. t. vii., Class Hist. p.
Ill; Bullet, Inst., 1832, 98; Wclcker,
Rheinisclies Museum fiir Philologie, Bd.
i. 1833, s. 301, 316; Pindar, Nem., x.
33, 36.
2 Eoss, Monats. f. Wissensch. u. Lit.,
1852, s. 356.
3 Gerhard, Bcrl. Ant. Bild., s. 237,
No. 804.
■^ Stackelbery:, xxix.
ELEKTRA AT THE TOMB OF AGAMEMNON. ( LEKYTHOS, FROM ATHENS.)
Page 395-
PKINTED IN COIX>UB8 BY WHXIAM CLO^VES AND SONS.
Chap. X. TOYS, BEADS, AND AMULETS. 395
these is a charming little toy jug, on which is depicted a boy
crawling to a low seat, on which is an apple. This specimen
is nnrivalled for its fine varnish and treatment.^ Another vase,
also ornamented with gilding, has a representation of Nike
in a quadriga of winged horses, between Ploutos, " Wealth,"
and Chrysos, or "Gold."^ To this class must also be referred
an exquisite little vase, in the shape of an astragalos, or knuckle-
bone, ornamented with the subject of Pentheus and the Mainads ;^
a hantliaros, a thermopotis, rliyta,^ hylikes, jpyxides^ kalpides, and
pelikai,^ Some alabastra, with linear figures, in black upon a
white ground, have also been found at Athens, as well as nume-
rous lelcytlioi, with polychromatic paintings on a white ground.^
Their subjects are Orestes, Elektra, and Pylades at the tomb of
Agamemnon. The vase peculiarly Attic, and not found else-
where, is tlie lehythos, with a white ground or leukoma^ on which
the subject has been traced in red, black, or brown outlines, and
the details painted in appropriate colours. An example of one
of these vases is already given, where Elektra is seen seated
at the tomb of Agamemnon attended by Chrysothemis. Many
Athenian vases are unadorned with figures, and many painted
black, although very elegant in shape and finish. The accounts
of the rivalry in trade between Athens, Aigina, and Argos,^
and the fact of these vases being transported to Dikaiopolis,^
and carried by Phoenician ships to Aithiopia,^^ show the extent
of the Athenian trade in pottery.
In the other parts of the continent of Greece, the vases found
are not very numerous. Some, however, with, both black and
red figures upon a black ground, as well as some with opaque
Avhite figures of the very latest style of art, have been discovered
in the district of Solygia;^^ but they are of rare occurrence.
Nor has the " hollow Lakedaimon," once renowned in this branch
of manufacture for dark brown cups, called kothons, with recurved
lips, adapted for keeping back the mud of the foul water, which
her valiant soldiery drank upon their marches, enriched our
stoi-es of Greek fictile productions.^^ Some fragments of vases
» Stackelberg, Taf. xvii. ; C; Pollux, vi. 100.
■^ Ibid., xvii. ' Ibid., Taf. xxiii. | ® Aristophanes, Acliarn., 902.
' n)id., xxiv. '" Scylax, p. 54, H.
' Ibid., xxiii. xxiv. xxvi. xxvii. xxviii. " See Arch. Zeit., Bull., 1830.
'• Ibid , Taf. XX. xxi. xxii. '■' Brongiiiart, Traite, p. 570, pi. ii.
" Ibid., xliv. xlv. xlvi. xlviii. , lig. 1, pi. xxxiii. 1 ; I'lutaichus, Vit.
" Hcitxl., V. 88 ; Athcutcus, xi, p. 502, | Lycuig., vol. 1. p. 84.
396 GREEK POTTERY. Part II.
with black figures, said to be of archaic style and to refer to
the Thebais, liave been found at Magoula.^ Sikyon has only
yielded a hylix of early Doric style. Of the potteries oi Argolls,
only a few fragments ploughed up at the foot of the supposed
tomb of Agamemnon at Mykenai, of the early fawn-coloured
style, with maiander ornaments, have been discovered,^ and the
vase of the artist Timonidas of the oldest style and period found
at Kleonai. A vase in the Munich collection is from Tenea.^
Near Sinano, the ancient Megdlojpolis, in Arkadia, a lehythos,
witli black figures, has been found.*
Some fragments have been discovered at Delphi,^ and a con-
siderable number of vases at Korintli, already celebrated for
its earthenware in the days of Caesar, when the new Colonia
Julia, as it was designated, ransacked the sepulchres for the
vases, which were the admiration of the rich nobility of Kome.^
The most remarkable ones of this site are of the old style
called Doric, with black figures on cream-coloured ground,
many of which were probably made in the days of Dema-
i-atos, when Kypselos expelled the Bacchiads. The principal
one is that found by Dodwell,' and generally called the Dod-
well Vase, with a subject rei)resenting the boar hunt of Aga-
memnon. .. '. ,
The collection of Mr. Burgon contained specimens of vases
from Korinth, some with black figures upon a red ground, con-
sisting of pyxides, oinochoai, and tripods with subjects of little
interest ; the best specimen had a representation of a Kentaur
bearing off a female. Some years ago a great number of vases
in very indifferent condition, having suffered much from the
percolation of water through the earth, were found by boring
into tombs many feet below the surface at the isthmus, or
Hexamili. Most of them have passed into the possession of the
Society of Arts. Lately, some hylihes, chiefly of the early
shapes, with tall stems and small figures of bulls, dancing men,
ornaments, flowers, and illegible inscriptions, have been found
there. The discovery of a cup with the name of the maker
^ Le Bas, in the Rev. Arch., i. 722.
2 Dodwell, Classical Tour, ii. 237.
3 Ahcken, Mittel-Italien, p. 298 ;
De Witte, Etudes, p. 46; Arch. Zeit,,
18G1, pi. clxxv.
* Berl. Ant. Bikl., 1887.
* Ross, Morgonblatt, 1835, 698. De
Witte, Annali, xiii. p. 10.
^ Strabo, 1. c. ; Zum])t, Arch. Zeit.,
1846, p. 309. 0;=aii, Znsatz iiber Ur-
sprimg, pp. 63, 85, considers the Nekro-
korintliiato be bas-reliefs.
^ Dodwell, ii. pp. 197, 201.
'•••••«••••*
BACCHANTE. ( KANTHAROS, FROM MELOS.)
Page 395.
PBiXTKD IN rninfp.s r.v wtujam cix>wes ant sons.
)llAP. X.
CORINTHIAN POTTERY.
397
i"
^Bleson, shows that Koriiith was probably tlie place whence these
Upases were exported to Italy.^
^^ Koriiith, like Athens, boasted the invention of pottery,^ and
of the wheel. As the artists Eiicheir and Eiigrammos accom-
anied Demaratos from Korinth to Italy, it has been supposed
at the Korinthians instructed the Etruscans in the art of
aking fine vases. Therikles was the most renowned of the
orinthian potters. His cups, under the name of *' Therikleans,"
btained a celebrity almost universal. It was here that in the
ime of Julius C?esar, the colony sent here found ancient painted
ases, and other remains, which excited as much interest then
t Rome ^ as the discoveries at Vulci did a quarter of a century
ofo in Paris and London. The vases found at Korinth are of
mall size, with black or maroon figures on a cream-coloured
round, and of the so-called Korinthian or Doric style. Yases
ave also been found at Patras, Patrai, and a small bottle, of a
fine red paste, having on it a winged and bearded head in a
j^, Phrygian mitre, is said to have been discovered there.* It is
^ well known that Megara was anciently renowned for its vases.^
They were chiefly of a large size and of a soft paste, as the
pantomimes used to break them with their foreheads.^ Some
vases have been found on its site.' Laconia gave its name to a
kind of hjlix,^ and its vases when pounded and mixed with pitch
and wine, were supposed to make hens lay large eggs.^ From
the sepulchres of Aulis, which is also mentioned by Pliny with
Tenedos,^" has been disinterred a vase with red figures, repre-
senting the Prometheus Bound of Aischylos, at the moment
when the wandering lo enters the stnge.^^
Passing westward, some vases of early style with brown
figures on a yellow ground \vere found in the cemetery at
Castrades in Corfu, or Korkyra,^^ where stood the sepulchres of
Menekrates and Tlasias, besides numerous terra-cotta amphora3
^ Abeken, Mittcl-Italien, p. 298;
Ross, Anaphe; Thiersch, Abhandl. d.
Miinch. Akad., 1838, ii. 2, p. 109; con-
tending for the so-called Egyptian style
being Korinthian.
"^ Barth, Corinth, commerc. et mercat.
Hist., p. 16 ; R. Rochette, Ann., xix.
p. 237.
» Strabo, viii. 381, f.
* Gerhard, Annali, ix. 139.
* Steph. Byz., Meyapa.
^ Synesius, Exc. Calv., 44, p. 77, c.
^ Dodwell, Tour, ii. 180.
8 Athen., xi. p. 484, f.
^ Gcoponica, xiv. 11.
^0 Plut. de Vit. rer. al., 828.
*' Millingen, Anc. Uncd. Mon., pi. ii.
'2 Arch. Zeit., 1846, s. 377. For the
amphorsB, see Pseudo-Arist., Miiab.
auscult. ed. Beckmann, No. cxi.
398
GREEK POTTERY.
Part IT.
for holding wines of the Hadriatie/ which have been ah-eady
mentioned.^
Tlie vases found in Greece are both small in size and few in
number, when compared with those discovered in the ancient
cemeteries, and on the sites of the old cities of Italy. Tliese
are indeed so numerous, that the fictile art of antiquity might
be traced from the vases of Italy alone. Those found in the
Italian peninsula, by far the most numerous and remarkable,
have been divided into three great classes.^
The first division comprises those found in the south of the
peninsula, the ancient Magna Graecia, where the cities founded
upon the coast by the Greeks, infused a certain degree of
civilisation into the interior. Thus at Locri and Tarentum,*
the potter's art is supposed to have been first established, and
to have influenced the semi-barbarous population of Apulia and
Lucania. The vases of these cities are distinguished for their
beauty and art, and are far superior to the specimens discovered
in the southern and eastern districts of the kingdom of Naples,
in the mountainous regions of the Basilicata, and the Mediter-
ranean cantons of Puglia. Of the rest of this territory, the
finest specimens have been found in the necropolis of Canosa,
the ancient Canusium, and of Ruvo, the ancient Kubi. The
second class ^ embraces the vases of Campania,^ which were dis-
covered in three of the cities of its coast, viz., Cumse,^ Psestum,^
and Surrentum,^ and in others in the interior. Those of the
first-mentioned city are supposed from their style to have been
fabricated after its subjection by the Samnites, as also were
those of Nola at their finest period. The rest of the vases of
Campania, as those of Capua, Avella, and Santa Agata dei Goti,
are far inferior to the preceding in art and fabric. As all these
cities fell with the Samnite league in B.C. 272, it is probable
that their potteries then ceased to exist. The third, and last
class ^° are the vases discovered in Etruria, which are as abundant
as that of the south of Italy. They are found in every Etruscan
' Eubulus in Athen., i. 28, e.
2 Jahn, 1. c, s. 34; Anth. Pal., ix.
232, 257.
^ Elite, Introd. xxv. ; Lenormant and
De Witte.
* Gerhard, Bull., 1829, 167.
' Berl. Ant. Bildw., s. 138.
•^ Elite, Introd. xxvi.
' Gerhard, Bull., 1829, p. 163
Schulz, Bull., 1842, 8.
« Gerhard, Bull, 1829, p. 163
hard u. Panofka, Neapels Ant,
s. 353, No. 60, 5, 308, No. 404.
9 Gerhard, Bull., 1829, p.
Schulz, Bull., 1842, 10.
1" Elite, Introd., xxvi.
Ger-
Bild.
164 :
JnAP. X. SEPULCHRAL VASES. 399
Hty of importance, from Iladria,^ at the mouth of the Eiidainis
»r Po, to tlie very gates of Eome itself.^ These vases are, in
general, of ohler style than those of Southern Italy. The most
mcient arc discovered in the sepulchres of Cfcre, or of Aijylla,
^ts port ; in tliose of Tarquinii, and in the numerous sepulchres
>f Vulci, which have yiehled an immense number of vases.
In describing these remains, the most convenient method
rill be to follow the geographical distribution of the potteries
prom north to south, and, accordingly, to commence with tliose
>f Hadria, and which, at the time of Pliny, still continued to
manufacture drinking-cups of the finest quality. 'Painted vases
have also been found in its tombs. According to Micali,^ the
vases discovered at Hadria differ entirely from the fabric of
those found in Piiglia, the Basilicata, and at Nola. They have
been exlmmed there as early as the sixteenth century ;* and in
later excavations made at the mouth of the Po, and in others
formerly undertaken by the Austrian government, fragments of
Greek fictile vases were found at some depth below tlie Roman
remains. Of these, Micali^ has engraved a selection, consisting
of a fragment of an amphora, with the subject of Hephaistos
holding a hatchet ; a vase of large size, with part of a chariot ;
a female named Kaliope or Kalliope,^ and a man named Sikon ;
and three fragments of cups, with the subjects of a satyr, a
lyrist, and a man at a symposium. It has been observed that,
in Italy, the old vases with black figures are rare in graves of
the earliest style, and that the greatest number of vases come
from the more recent tombs ^ of the other northern cities of
Italy. Mutina, or the modern Modena, in Gallia Cisalpina, was
celebrated in the days of Pliny for its drinking-cups. Few
painted vases, however, have been found there, but only some
of a glazed red ware, resembling the ware of Arretium, an
observation which also applies to the city of Asti.^ Painted
vases have, however, been found in this part of Italy, some with
red figures, of a style like the Campanian, having been exhumed
1 Gerhard, Bull., 1832, pp. 90, 205, tona, torn. iii. p. 80, tav. viii. ix. ; Mus.
Bull., 1834, p. 134 ; E. Kochette, Etrusc, tav. 188.
Ann., vi. 293; Gori, Mus. Etr., tab. ii. * L. c, tav. xlv.
clxxxviii. * Supposed to refer to the horses of
2 Winckelmann, Cat. de Pierres Gia- Rhesus. See Panofka, Arch. Zeit., 1852,
vees, p. 215; Lanzi, Vas. Dip., 42. I 481.
3 Mon. Inedit., p. 279, and foil. ; j ^ Abeken, Mittel-ItaTien, s. 298.
Bull., 1834, p. 134. I « Nat. Hist., xxxv. e. 46, ad fin. ;
4 Bocehi, Dissert. dcU' Accad. di Cor- Bull., 1837, pp. 88-97.
400
GREEK POTTERY.
Part IT.
at PoUentia,^ winch, like Modena and Asti, was celebrated in
the time of Pliny ^ for its cups ; and others at Gavolda,^ on the
left bank of the Mincio, near its confluence with the Po. One,
discovered near Mmitua, had the subject of Perseus holding the
head of the Gorgon, and Andromeda.* At Bologna, the ancient
Bononia, in the Bolognese, vases, even with black figures, have
been formerly discovered.^
Proceeding to the site of Etruria, so prolific in specimens of
the fictile art, we find that many vases of the oldest style have
been discovered at Valore, in the vicinity of Viterbo,^ consisting
of archaic amphorae with black figures ; amongst which was one
made by the potter Euphronios.'^ From the sepulchres of Castel
d'Asso, some ancient amphorae and fragments of cups, with red
figures, have been obtained. Corneto, the celebrated town of
Tarquinii, the birthplace of the Tarquins, and the spot to which
the Korinthian Demaratos fled, taking with him the artists
Eucheir and Engrammos,® has yielded from its sepulchres a
great quantity of the black Etruscan ware, with embossed
figures.^ Of tlie painted vases,^® comparatively few have b^en
found on this site ; but among them are a leJcythos of the most
archaic style, resembling the vases of Korinth, or those called
Doric.-^^ Alabastra of this style were more frequently found here
than at Vulci.^^ Archaeological excavations were made on this
site in 1825 and in 1827.^^ The vases from this spot are chiefly
small amphorae, of medium size and good archaic style, but for
the most part either of ordinary glaze, or unglazed. One of the
largest vases found in Etruria, however, came from this site ;
and on fragments of cups found here are the names of the artists
Amasis and Briaxides.^* This site has principally afforded vases
^ Brongniart, Traite, i. p. 583 ; Bull.,
1830, p. 21.
2 N. H., XXXV. c. 46.
3 Bull., 1847, p. 17.
" Bull., 1838, p. 62.
' Lanzi, Ant. Yas. dipint,, p. 25.
" Also coarse vases, B., 1829, p. 201.
^ Gerhard, Rapporto Volcente, p. 116,
note 8; Bulletino, 1830, pp. 233-243,
1832, p. 2, 1839, p. 199; Gerhard,
B. A. B., s. 141, n. 5, No. 680 ; Micali,
Storia, tav. xcii. xciii. ; Panof ka, Mus.
Bart., p. 69.
8 Livy, i. dec. 34; Bull., 1831, p. 5,
1832, pp. 2, 3.
» Annali, 1829, pp. 95, 109.
'0 Hyperb. Rom. Stud., i. 89 ; Rapp.
Vole, note 3.
i» Ibid., Bullet., 1829, pp. 176, 197,
1830, pp. 197, 138.
>2 Gerhard, Rapp. Vole, p. 121, n. 35.
'^ Bull., 1829, p. 2.
^* Gerhard, Rapporto Volcente, p. 115,
n. 3; Kunstblatt, 1823, p. 205, 1825,
p. 199 ; Annali, 1829, p. 120 ; Bulletino,
1829, p. 198 ; Bull., 1830, p. 242, 1831,
p. 4.
TAP. X. ETRURIA. 401
the solid black or Etruscan ware,^ although a few painted
les have been disinterred from its sepulclires, with black tigures
id Atlienian subjects.^ Some came from ]\Ionto Quagliere.^
tt ToscaneUa, Tuscania, only a few vases, and those generally
^ith black figures, and of careless drawing, have been discovered.
^t Chiusi, the Etruscan Camars or Cumers, and Latin Clusium,
igraeuts of painted cups, with the names of the makers, Pan-
tiiaios and Hiero, and the youths Cherilos and Nikostratos, have
been found.* The excavations of Francois here discovered the
magnificent krater of the Florence Museum, representing the
subjects of the Achilleis, and known as the Francois Vase. It
is by far the most interesting of the vases of its class. Many
vases of all the principal styles have been disinterred at this
site : those with black figures resemble, in general tone of glaze
and style, those of Vulci, and are of the usual forms. One of
them has the name of the potter Anakles. Vases with red
figures, both of the strong and fine styles, abound here ; the
most remarkable of which are the cups, which have certain local
peculiarities, and some vases of local manufacture have also
been met with iu the excavations.^ Many come from the
sepulchres of the Val di Chiana.^ Vases of the moulded black
ware have been found at Sarteano, ' at Castiglioncel del Trinoro,
in the vicinity, and at Chianciano, to the number of several
thousands in all, but no painted vases. The ware of Orhetello is
of a pale dull clay, the glaze of a dull leaden hue, like that of the
worst of the Apulian and Southern Italian vases ; the forms are
rude and inelegant, and the subjects, representing satyrs and
Bacchantes and youths, are coarse and ill-drawn. Vases, with
subjects of the earliest archaic style, together with the usual
Etruscan black ware, have been discovered at Perugia^ or
Perusia, and others at Roselle or Kusellae.
The painted vases discovered in the sepulchres of Volterra,
Volaterrse, are much inferior to those of Vulci, Tarquinii, and
Bull., 1830, 202; 1831, 3; 1833, '' Jalin, Vasensammlung, Ixxix.-
p. 80.
\ Bull., 1829, p. 5.
3' Ibid., p. 10.
* Gerhard, Riipporto Volcente, s. 116,
No. 5 ; BuUetino, 1830, p. 244 ; Mus.
Ixxxii. ; Inghirami, Etrusco Musco chiu-
sino, 2 ed. 4to, Fies. 1832.
« Bull, 1841, p. 4, 1835, p. 128.
■ Dennis, Etruria, i. p. 464.
' Dennis, Etr,, i. p. 425 ; BuUetino,
Etr. Chius., tav. xxv. 46; Gerliard, 1829, p. 14; Micali, Storia d' Italia,
B. A. B., 390, 427 ; B., 1839, p. 49 ; Ixxiv. Ixxvi. Ixxviii. 2, Ixxix. 1 ; xxiii.
1840, p. 150 ; 1836, p. 35 ; 1838, pp. 82, I 9 ; Berlins Antiken Bildwerke, s. 172
74 ; 1831, p. 100; Bull., 1836, p. 25. | and foil., Nos. 390, 426.
2 D
402 GREEK POTTERY. Part II.
Chiusi. Their clay is coarse^ their glaze neither lustrous nor
durable.^ Their subjects are principally large female heads, in
yellow, upon a black ground, like those of the Basilicata. They
betray a comparatively recent origin ; and although some fine
vases are said to have been found there, none of an early style
have been discovered.^ Some contained the ashes of the dead.^
Similar vases have been found in Siena, or Sena.* And at
Pisa, in the beginning of the present century, a potter's establish-
ment was discovered. A fine hydria from this find is figured by
Inghirami. At a later period vases with red figures, both of the
strong and fine style, have been discovered here.^
The excavations in the ancient site of Bomarzo have produced
some archaic amphorae, with black figures, of perfect style, and
a few elegant cups. Some of the vases have red figures, and
the flesh of the females is white.® The hydria, or water-jar, has
not been discovered there. The glaze is bad, and the subjects
common. The place where the vases have been principally
found is at Pianmiano, the supposed Mseonia of the Italian
archaeologists.'
The vases found at Orvieto are a hylix, with red, and a hrater,
with black figures ; ^ one bearing the name of a youth, Hiketas,
orNiketas, the other having Bacchanalian subjects.^ Yases of the
solid black Etruscan ware are also found on this site. Veii, or
Isola Farnese, is more celebrated for its black, or Etruscan ware,
than for its vases of Greek style. Several painted vases have,
however, been found at this place. Some of the Veian sepul-
chres consisted of a large chamber, containing sculptured couches,
on which the dead were deposited ; others were mere niches
cut out of the tufo, and were capable of ^containing one vase,
and a small covered urn of terra-cotta, in which the ashes of
the dead were deposited. The black vases of larger size \Aere
found placed round the body of the deceased, while those of
more elegant shape were in the niches, amidst the ashes of the
dead and the gold ornaments.^" The vases were of the archaic
» Dennis, Etruria, ii. p. 203; Bull., i 1834, p. 50; B. A. B., s. 141, n. 8.
1830, p. 236. I ' Bull., 1830, p. 233.
2 Mieali, Mon. Ined., p. 216. | « Bull., 1831, pp. 23, 35, 57; cf. p. 7.
3 Bull., 1829, p. 203.
* Ijanzi, Vasi, p. 24.
^ Jalin, Vasensammlung, Ixxxiii.
" Gerhard, Bapporto Volcente, p. 116 ;
Bull., 1830, p. 233, 1831, p. 7 ; Gerhard,
" Bull., 1833, p. 9.
'" A particular description of the se-
pulchres of Veii is given by S. Canipa-
nari, Descrizione dei Vasi rinvenuti
nei sepolchri dell' antica Veii ; and in
r
iiAP. X. cKRVi<7nn. 403
style, with brown figures upon a yellow ground, representing
men fighting for a tripod, stags, panthers, and hind, a gryphon
Knd crow, a lion swallowing Pegasos, a man and an andros])hinx,^
ows of animals, and a winged figure between two gryphons,
ieveral vases were of the finished style, with black figures,
consisting of kraters, Jcelehai, with the representation of a mainad
and satyr,^ Heos pursumg Kephalos and Deinomachos, and
of amphorae, with the Kentauromachia ; the first labour of
Herakles, or the conquest of tlie Nemrean lion ; Tyndareus
and the Dioskouroi ; the car of Heos ; Achilles arming in the
presence of Thetis. The vases of the finished style, with red
figures, consist of the shape called staninos, having the subject
of Jupiter, Ganymede, and Dardanos, the departure of Trip-
tolemos; theDionysiac thiasos, kitharoidoi, and athletes. Some
cups, with subjects derived from the Dionysiac thiasos and
gymnastic exercises; a shyphos jpanatheiiaiJcos, with the owl and
laurel branch ; and a rhyton, with a scene taken from a tricli-
nium.^ The vases found in the very ancient tunnelled tombs of
Cervetri, or Ca^re,* are of the oldest style. One from Civita
Vecchia, now in the British Museum, has bands of animals,
kentaurs, and other figures, drawn in maroon, on a white coating,
in a style of art scarcely a degree advanced beyond that of the
pale fawn-coloured ware of Athens.^ The most remarkable vases
of this locality are certain ones of anomalous shapes, with two or
more handles — the very oldest example of the Archaic Greek ;
the figures of a dark colour, on a pale red or yellow background,
originally traced out in a white outline, and not relieved by any
incised lines ; the subject fish, and large ornaments. These
vases appear contemporary with certain others, on which are
painted deer and animals, in a white tempera outline, sometimes
stippled.^ Abundance of vases of the early Phoenician or Korin-
thian styles, especially large kraters, Avith stands, called by some
holmoi, have, besides the usual friezes of animals, such subjects
as the hunt of the Kalydonian boar,' the monomachia of Memnon
and Achilles,*^ and the rescue of the corpse of the last-mentioned
the Descrizione dei Vasi rinvenuti nello ^ Iliid. Cf. for the shapes tav. A. B.
escavazione fatte nell' isdla Fainese, fo., ! ^ IJull., 1839, p. 20.
Roma, 1838, 112; Bull., 1840, p. 12, j ' Brit. Mus.
Ciinina, Vej., fo., Eom., 1847, Etr. Marit., j " Campaiia collection at Rome.
i. p. 123, tav. 34-38. j ' Mus. Grog., ii.xc.
» Ibid., tav. i. pp. 13-15. j » Mon., ii. 38 ; Annali, 1836, pp. 310,
' Ibi.l., pp. 18-21. 311.
2 D 2
404
GREEK POTTERY.
Part II. j
hero ^ from the Trojans. Other vases, sucli as an oinochoe of
the Gregorian Museum, are of the same style of art, but tending
towards the rigid class of black figures, and representing Ajax,
Hektor, and Aineias.^ Yases of the hard style of black figures
also occur, as an oljpe, with the subject of the shade of Achilles,^
and among those with red figures is a remarkable stamnos, in which
is represented the contest of Herakles and the Acheloos.* A
ki/Ux, with black figures, discovered at this place, had the name
of the potter Charitaios.^ Many vases of Nikosthenes were also
found there.® Some have incised Etruscan inscriptions."^ Other
vases bore the names of the potters and artists — Pamphaios,
Epiktetos, and Euphronios. The sepulchres of Caere have pro-
duced some vases of the fine style, distinguished by a deep black
and lustrous glaze, distinct in tone from those of Nola ; and
some few of later style, the vases of Nikosthenes, are said to be
made of a clay found near Cervetri.^ But the discoveries made
at all the other Etruscan sites combined are surpassed, both
in number and interest, by those at Vulci (which name is uni-
versally agreed to be the ancient designation of the site of the
Ponte della Badia), and, in its vicinity, the supposed Nekropolis.
It is to the elaborate report of Gerhard ^ that we owe an excel-
lent classification and account of the discoveries at this site.
They appear to have commenced towards the close of the year
1829, during which year about 3000 painted vases were dis-
covered by the Princess of Canino, S8. Fossati, Campanari, and
Candelori, at places called the Piano^^ delV Ahbadia and the
Campo Morto,^^ in a vast desert plain, about five miles in cir-
cumference, between the territory of Canino and Montalto,
known by the name of Ponte della Badia, irom the bridge which
crosses the little stream Fiora, by which the plain is traversed.
The country on the right bank of the river, called by the
» Mon., i. 51 ; Aniiali, 1836, pp. 306-
310.
2 Mus. Greg., ii. 1,3.
3 Bull., 1830, p. 243.
^ Roy. Soc. Lit., New Series, ii. p. 100 ;
Annali, 1837, p. 183.
* Visconti, Ant. Mon. Scop., pi. 9 ;
Canina, Cere Atitica, pp. 73, 78 ; Abeken,
Mittel-ltalien, p. 299.
« Bull., 1830, p. 124; 1832, p. 2; 1834,
p. 49; 1839, pp. 20, 21.
7 As that with Larthia, Bull, 1836,
p. 01; Bull., 1839, 21. For Cervttri
Vases, see Bull., 1832, p. 3.
8 Bockh, C. I., iv. p. 7.
® Called the Kapporto Volcente, nnd
published in the Annali, 1839 ; see also
Bull., 1830, p. 4, 1832, pp. 1-3-5.
10 Bull., 1832, p. 5, 1836, p. 134, 1839,
pp. 69-67; Gerhard, in the Bull., 1831,
p. 161, makes them about 3000-4000.
For a view of tin's, see Mon., i. xli. ,
" Bull., 1829, 3, 18, 39, 141.
< HAP. X. DISCOVERIES AT VULCI. 405
inhabitants Camposcala, and tlmt on the left, distinguished by
a hill called the Cucumella, belonged to the l^rince of Canino.
Since that time continuous excavations made at Vulci have
wrought to light several vases of great interest, although the
lumbers have materially diminished since the first discovery.
■hey were found in small grotto-tombs, hollowed in the tuf'o,
^nd with few exceptions only a few palms underground. There
ras nothing remarkable in them except the vases, for they were
neither spacious nor decorated, nor furnished with splendid
ornaments, like the sepulchres of Tarquinii and of Magna
Graecia. 8ome had seats for holding the objects deposited with
the dead ; others pegs for hanging the vases up to the walls.
The wonder was to find such noble specimens of art in sepul-
chres so homely.^ The political condition of the country and the
inequality of fortune may have had some great influence on the
number of vases, but the accessibility of the tombs has probably
had greater. These vases were of all styles and epochs of the art,
from those with maroon figures upon yellow grounds to the pale
figures and opaque ones of its last decadence. Hence they
comprise specimens of the style called Doric, or archaic, of the
transition to the black figures upon a red ground, of the hard
rigid red figures, of those of the most flourishing age of the
fictile art, of the style of the Basilicata and Southern Italy, of
figures in outline upon a \\hite ground like those of Locri and
Athens, of opaque figures in white or red, laid upon the black
varnish of the vase, and of others of a character unmistakably
Etruscan. Besides these, an immense number of vases painted
black only, without any subject,and others of the solid black ware,
were discovered in the various sepulchres along with Etruscan
bronzes and ivories, and other objects peculiarly Etruscan.^
This vast discovery naturally attracted the attention of the
learned in Europe. Notwithstanding the glaring fact of their
Greek inscriptions, and the light thrown upon them by the
» Bull., 1829, pp. 4, 5. j K. Rochette, Ann., 1834, p. 285. See also
^ Besides the already cited Rapporto ! Archjeol., xxiii. p. 130, the Beugnot,
Voleente (Annali, 1830, iii.) of Ger- ', Magnoucourt, and Durand Catalogues,
hard, an account of these discoveries and the Reserve ifitrusque, by M. De
will be found in the Museum Etrusque ; Witte, that of the Feoli Collection, by
of the late Prince of Canino, 4 to, Viterbo; , Campanari, and all the recent works
Millingeu on I.ate Discoveries in Etru- j upon antiquities. Cf. Bull., 1829, s. 49 ;
ria, Jr. R. Soc. Lit., vol. ii. Supp. 1831, | 1830, 1 ; 1831, 88, IGl, 193; 1832, 47;
409 ; Schultz, Allg. Zeit., 1831, p. 409; | 1834, 75 ; 1835, 111.
406
GREEK POTTERY.
Part II.
researches of Lanzi,^ Winckelmann ^ and other archaeoloirists,
the Italian antiquaries, animated with an ardent zeal for their
country, claimed them as Etruscan works.^ It was easier to
demonstrate the error of this hypothesis, than to explain how
so many Greek vases should be found in an inland Etruscan
city. Millingen advanced the opinion that they were the pro-
ductions of a Hellenic population, called by him Tyrrhenians,
who were subdued by the Etruscans between B.C. (jOO-350.
(iJerharcl, on the contrary, imagined them to be the work of
Greek potters settled in Vulci along with the Etruscans, and
enjoying equal rights* with them; an opinion so far modified
by Welcker ^ that he supposes these potters to have been metoi-
koi, or foreign residents, which view was also adopted by the
Due de Luynes.® Hirt attributed them to the 300 Thasians
who, after the failure of the Athenians before Syracuse, might
have fled to Cumae and Capua ; ^ while others imagined that
they were importations, either from Sicily,^ as Rochette supposed,
from Athens,^ or from Cuma).^^ Braun asserted the Doric
vases came from Naukratis.^^ This opinion was also adopted
by Bunsen, but with the modification that they might principally
have come from Nola in Campania, although many specimens
of different styles, he imagines, were brought from Greece.-^^
Kramer, on the contrary, disputes all the previous conjectures,
and traces the vases, not only of Italy, but even of Greece itself,
to the potteries of Athens.^^ Such was also the opinion of
Thiersch ; ^* while Miiller, on the other hand, considered them
* Dei Vasi antichi dipinti, volgar-
ineiite chiamati Etruschi.
2 Hi«t. de I'Art, iii. 3, 10.
^ Bonaparte, L. (P. de Cauino), ISIu-
se'um Etrusque, 4to, Viterbo, 1829 ; Ca-
talogo di Scelte Antichita Etrusche, 4to,
Viterbo, 1829; Idem, Vases Etrusques,
2 livrea grand-folio ; Annali dell' In-
stitut. Arcli., i. p. 188 ; Bull., 1829, p.
60 ; Idem, Lettres a M. Gerhard ; Bull.,
1829, pp. 113-116, 1830, pp. 142, 143;
Amati, sui Vasi Etruschi, Estratto dal
Giornale Arcadico, Eoraa, 1829-1830 ;
Bull., 1830, p. 182 ; Fea, Storia dei Vasi
fittili dipinti, 8vo, Roma, 1832.
* Kapp. Vole, n. 96G ; Bull., 1832,
pp. 78-90, 1833, pp. 74-91.
' Rh(in. Mus., 1833, s. 341 ; Berl.
Aut. Bildvv.. s. 143.
« Annali, iv. 138.
^ Annali, |831, p. 213.
*■ R. Rochette, Journ. des Sav., 1830,
pp. 122, 185 ; Lettre a M. Schorn, pp.
5,10,
® Miiller K. O., Comm. soc. reg. scient.
Gott., vol. vii. cl.; hist., pp. 77-118;
Bockh, Index Lect. Univ. Berol. sem.
bib., 1831-2.
'0 Miiller K. 0., in Bull, 1832, p. 100 ;
Cat. Etr., avert, p. ,vii. n. 3.
" Bockh, c. 1, iv. p. ii.
'2 Annali, vi. p. 72. See also Bull.,
1832, p. 74.
" Ueber den Styl und die Herkunft
der bemalten Thongefasse, 8vo, Berl.,
1837, 8. 140; see Campanari, Atti di
Pont. Acad. R. Arch., vii. p. 1. ^
'* Ucbor die Hellcnischcu bemalten
(JiiAP. X. QUESTION OF IMrOllTATlON. 407
to be an importation from the Chalkidians, basing his argument
on the Jonic dialect of their inscriptions, their discovery in
maritime and not inland cities, the admitted exportations of
Athens, and her well-known superiority in the ceramic art/
'hose who inclined to the idea that the vases were a local
)roduction, based their arguments upon grounds partly material
ind partly traditional ; as, on the diiference observable in the
rases found at different spots; on the varieties of their tone,
(rawing, and art, which differ in some cases most remarkably
from those of vases discovered in Greece; on tlie difficulties
of transporting, even with the appliances of modern skill,
articles of so fragile a nature ; on the universal diffusion of clay
on the earth's surface ; and on the idea, that it is much more
probable that the potters were imported than their products.
Much light, they considered, was thrown on the condition of
tlie arts in Italy and northern Greece at this period by the
story already related of the flight of Demaratus, the father of
the elder Tarquin from Corinth, and his introduction of the
plastic art into Italy. From this account, which rests on the
authority of Pliny,^ it is contended that the art clearly came
from Greece. It appears, indeed, that Demaratus and his
companions emigrated to Tarqninii, then a flourishing city of
tiie Etruscans; that he there married a native woman; and
that one of his party, named Lucumo, initiated the Etruscans
in Greek civilisation.^ Unfortunately, however, this account of
Demaratus is enveloped in much obscurity, as other authorities
represent him as being a Korinthian merchant.* It is, how-
ever, to be observed that Tai quin the Proud was supported by
Cumae, a city of the Opici- Tyrrhenorum. The opponents of
this theory contest it by alleging the traces of an early inde-
pendent art in Italy ; the hesitation w ith which Pliny speaks ; ^
the Ionic character of the ware ; the identity of its style
of ornament with that of vases found at Athens ; ® the fact,
that vases made by the same potters have been discovered
at different places ; the supposed mystery of the art,' and the
Vascn, in tlie Abhandlungen d. I. CI. d. ^ N. H., xxxv. c. 3, s. 5, and c. 12, s. 43.
Akad. d. Wiss. iv. Bd. Abtb. i. j ^ Cicero, De Rep., lib. ii. c. 19, s. 9.
' Bull., 1832, p. 102. The fact which | * Dionysius Halic, Ant. Rom., iil 48 ;
he cites, however, of the Phcenicians Liv. 1. 34 ; Tacit., Ann., xi. 14.
purcluising Athenian vases to export to '•' Thierscli, 1. c, s. 10.
C<;rtia3 on the African coast, applies to ® Ibid., ss. 89-94.
uiiglazcd ware. ' LcnormantandDeAVitte, Iiitrod.xix.
408 GREEK POTTERY. Part II.
extreme rudeness of the Etruscan imitations. Tlie language and
subjects are generally Attic, and the names found upon them
correspond with those of Athenian archons from 01. Lxxi-cxi.
Some writers have even gone so far as to assert, on the authority
of Pliny,^ that Etruria exported vases to Athens. When the
great space of time occupied by the history of Italy is considered,
it seems reasonable to believe that vases were imported into
Etruria from various localities, and principally from Greece. It
is probable, however, that many came from potteries established
in Sicily and Magna Graecia ; for it can hardly be conceived that
an art esteemed so trivial by the Greeks was not exercised in
their colonies, wherever founded. The influence of these settlers
upon the Etruscan population appears to have been most
marked since Lucius Tarquinius Priscus, the last king but one
of Eome, ingratiated himself into the favour of Ancus Martins
by his superior education and knowledge, and finally obtained
the sovereignty. According to Florus^ his elevation was due
to his application to business and the elegance of his manners ;
" for," he adds, *' being of Korinthian origin, he combined Greek
intelligence with the arts and manners of Italy."
The introduction of the fine arts, as well as of writing, into
Italy, is placed by Bunsen at a very remote period, when the
whole of southern Etruria was in the possession of the Tyrrheno-
Pelasgians. The epoch when these were expelled from Agylla,
Pyrgos, and the coast, appears, according to the researches of
Niebuhr, to have been later than the second century of Eome,
or at least than the first half of that century. But the Attic
dialect of the races here under consideration, will not the less
belong to an epoch later than the invasion of the Romans,
siuce the tombs of Tarquinii exhibit nothing but what is Etruscan.^
Besides these, many other vases were decidedly of Etrus-
can origin, and were made either at Vulci or in some of the
neighbouring cities. The tutulus, or pointed cap, on the head
of Juno, in a scene of the judgment of Paris, has been supposed
to be a proof of the Etruscan origin of a vase. So also figures
armed with the long scutum of the Samnites, which the Romans
adopted from that people.* The same argument has been
adduced from a vase on which Hermes is represented with four
' N. H., XXXV. 12, 46. I ■» Sallust, Bell. Cat., 8vo. Lond., 1823,
2 Lib. i. 5. p. 30.
^ Annali, 1834, p. 65. !
ULYSSES AND POLYPHEMOS. (KYLIX, FROM VULCI.)
Page 409.
raiNTKD IN COLOrBS BT WTVLIXX CtOWKB AND SONi.
Hhap. X.
qup:stion of importation.
409
wings, and Ganymede with two. The proportions of the figurf^s
of the vases of the paler tone, and of the style called by the
Italians " national," which resemble, in their short stature and
thick-set limbs, the Etruscan bronze figures, have also been
considere i an additional proof of their origin ; and all doubt
vanishes when names of persons in the language, not of Greece,
but of Etruria, are found upon them.^
It is very evident that no argument as to exportation or
local manufacture can be drawn from the circumstance of the
different proportion in which vases Avith black and red figures
are found at Vulci and Nola, as this may be entirely owing to
the different epochs at which these cities flourished. Yet there
are certain differences of style and glaze perceptible to an ex-
perienced eye, which show, at all events, a difference of im-
portation. It is indeed possible that the early vases, or those
called Doric, were introduced into Italy from the Doric states,
such as Korinth,^ and were subsequently superseded by the
more active trade and more elegant productions of Athens.^
The objection that the Etruscan Larths would have taken no
interest in foreign pottery, can scarcely be serious, for the entire
art of the Etruscans is filled with Greek symbolism and mytho-
logy. Greece, in fact, then stood in the same relation to
Etruria as France now does to Europe in the application of the
fine arts. That vases were exported cannot be denied, one of the
potter Ergotimos has been found at Aigina, another at Chiusi ;
those of Nilfosthenes have been found at Yulci ; at Cervetri,
Girgenti and in Lucania ; those of the maker Taleides in Vulci
and Magna Grsecia ; others of Euthymedes at Hadria and Yulci ;
and those of Tleson at Korinth and Vulci ; all these are about
01. XL. The vases found at Vulci consist of all styles till that
of the decadence, commencing with the early Archaic Greek,
\\ith narrow figures on yellow grounds, although neither so
numerous nor of so large a size as those of Cervetri. Most of
the finest vases with black figures, consisting of hydriai, am-
phorae, and oinochoai, many of large size and of finest drawing
and colour, have been found at Vulci. Some vases with inscrip-
tions, often with the names of potters or artists, of this style, have
been discovered here, — a few of the vases, also, with black
' Such as KAPE MAKA0E2A, " dear"
or "lovely" Macathesa,, HEAEI, Peleiis,
AXAE, Achilles, XIPTN,Cliiroii, APTNM.
AmiKs. AA22AM, Lassas; Annali, 1834,
p. 54.
2 Anuali, 1834, p. 04.
^ Abeken, Mittel-Italien, p. 294, places
tlu'sc in Olympiad 70-90.
410 GEEEK POTTERY. Part 11.
figures on a white ground, chiefly of small size. But as remark-
able for their beauty and number are the vases with red figures,
of the strong style, found on this site, consisting of amphora3,
hydriai, and krateres of large size, ky likes, and oinochoai. These
vases are distinguished by the green tone of their black colour,
the vivid red of the clay and figures, the fineness, energy, and
excellence of their drawing. Of the later developed and fine
style, comparatively few vases have been found. The numerous
inscriptions with which these vases abound, the occurrence of
subjects new to classical authorities, the beauty of their shapes
(contemporary with the best periods of Greek art) and the
excellence of their drawing, glaze, and colour, has had great
influence — not only on modern manufacture, but also on the
fine arts in general, and has tended more to advance tlie know-
ledge of ancient pottery than all the previous discoveries.^ Vases
with red figures, and Etruscan ones with black and white figures
on a yellow ground, have been discovered in the sepulchres at
Alberoro, near Arezzo^ in the north-west of the Etruscan terri-
tory. Arezzo itself, the ancient Arretium, so repeatedly men-
tioned by the Latin authors, and called by Lanzi the Etruscan
Samos, has also produced a few painted vases.^ Other sites in
the neighbourhood of ancient Eome, as Civita Vecchia,^ have
yielded vases of a bad style, which were probably brought
thither by the commerce of modern dealers. One, remarkable
for its high antiquity, has been already mentioned. The old
hut-shaped vases of the Alban lake, near Alba Longa, will be
described under the Etruscan potteries.* Several lekythoi have
been exhumed at Belva Le Bocca, near Monteroni, the ancient
Alsium,^ and at Monteroni itself, dishes or^iamented with red
bands, and coarse vases of the difterent styles. Others have
been discovered at the Funta di Guardiola, near St. Marinella ;
and at Poggio Somavilla, in tlie territory of the Sabines, vases of
Etruscan fabric, ornamented with red lines,^ and otlier vases with
red figures, having the subject of the gods of light, Bellerophon,
and an Amazonomachia, have been excavated,all of the later style.
The mass of vases found in central and lower Italy, are dis-
tinguished from those of Etruria by the greater paleness of their
' Jahn, Vasensammlung, Ixviii.- j 324.
Ixxviii.
2 Bull., 1838, p. 74.
3 Ibid., 1882, p. 3.
^ See also Abckeu, Mittel-Italien, p.
5 Bull., 1839, p. 34, 1840, p. 133;
Alxken, Mittel-Italien, p. 207.
« Bull., 1838. p. 71.
I nAi'. X. VASES OF SOUTHERN ITALY. 411
chiy, by the softer drawiii<j^ of their figures ; tlieir glaze, which
in the case of tlie Kohxii pottery, is of a jet-bhu*k lustre, and in the
Carapanian of a duller and more leaden hue ; by their more
elaborate shape, by the freer introduction of ornaments, and by
the abundant use of opaque colours. Generally, the vases from this
part of Italy, whether of the Greek settlements of Magna Grjecia,
or from the sepulchres of the Samnites, the Lucanians, and the
Apulians, are of the later period of the art ; although several,
even of the old or Doric style, have been found at Nola ^ and
Uuvo, and those of the black style in the Basilicata.^ Their paste
shows a great proportion of carbonate of lime ; ^ and beds of clay
discovered in the vicinity of Naples, and now used for making
imitations of these vases, show that the ancient ones found in this
locality may have been produced on the spot. It will, perhaps,
afford some clue to the date of the use and fabric of many of these
vases, to remember that the most flourishing period of the Doric
colonies was ten Olympiads, or half a century, before the Persian
war; that Sybaris was destroyed before the expedition of Darius ;
that the colonies formed by the other emigrations flourished
from the lxx.-lxxxiv. Olympiad, especially those of Sicily ;
that Campania was invaded by the Samnites in the Lxxiv.
Olympiad, B.C. 440 ; and that in the age of the second Punic
war Nola is mentioned as a completely Oscan colony. After
the arms of Eome had conquered Southern Italy, about the
second century before Christ, the Greek settlements relapsed
into utter barbarism. The subjects of the vases show an equal
deterioration in moral feeling, sensual representations of nude
figures, Bacchanalian orgies, and licentious subjects, having
superseded the draped figures, the gravity of composition, and
the noble incidents of heroic myths, or epic poetry.*
The different condition of the states of Southern Italy accounts
for the variety of the vases exhumed from the sepulchres of
different sites. The Greek cities on the coast, principally
founded by Achaean colonies, but sometimes by Dorian adven-
turers, maintained, at an early period, a constant intercourse with
Greece ; and their sepulchres were enriched with the vases of the
oldest period and style. The inland cities were generally of more
recent origin, and their sepulchres contain vases of the fine and
Ox. Iron 16, Caib. Ac. 16, Garb. Lime 8.
That of Brongiiiait hns been citeil
' An., 1834, p. 78.
■' Ibid.
^ The analysis of Gaigiulo, Cenni, ■ before.
\). 21, gives: — Silica 48, Alumina 16, j ^ Abektn. Mittol-Italien, j). 342
412
GREEK POTl'ERY.
Part IT.
florid styles. The people north-west of lapygia appear to have
been governed by tyrants or kings, generally patrons of the arts.
During the war with tlie Samnites, and that between Pyrrhos
and the Eomans, these countries were fearfully ravaged, but en-
joyed peace from B.C. 272 till B.C. 218, the commencement of the
second Punic war which lasted 113 years, and ended by the
Social war and the ruin of Southern Italy. In the kingdom of
Naples, and tlie states which compose it, many vases of the late
style have been discovered. Many small vases, indeed, of good
style, with red figures, have been found in excavations made on
the site of Naples ^ itself, although they have not the extremely
beautiful glaze of the Nolan vases.^ Others were discovered in
sites in its vicinity, as Giugliano.^ At Cumse, the fabled residence
of the Sibyl, where the sepulchres are either excavated in the tnfo,
or covered with blocks of stone, have been found many vases,*
which belong to the later days of its ancient splendour, when
it was held by the Campanians. The most an(;ient of the
Greek colonies, founded by the Chalkidians of Euboia or the
Cumseans of Aiolis have produced vases of second style ; some,
however, with black figures, and most of the later style — many
of the fine style, with lustrous glaze, only inferior to that of
Nola. These are probably about the tiuie of its conquest by
the Campanians and Opici, A.v.c. 338, B.C. 416, after which it
issued a few coins till a.v.c. 409, B.C. 345, when it fell into the
Eoman Protectorate. Here were discovered in 1842, kraters
resembling those of Sant' Agata dei Goti, with pale glaze,^ and
abundance of white accessories, and decorated with the Attic
subjects of Demeter and Triptolemos, and Kephalos and Aurora ; ^
also a Panathenaic amphora, with black figures and inscriptions,
like those of Berenike.^ The potteries of this city were famous
even in the time of the Komans, and moulded vases of their
fabric have been discovered there.^ The other sites in this
province where vases have principally been discovered, are
Massa,^ Lubrense, Marano, Giugliano, Sant' Arpino, Afragohi,
^ Jahn, Vasensammlung, Ix., Bull.,
1829, p. 1G6.
2 Bull., 1829, p. 164. 3 xbid., p. 86.
* Jorio, Metodo per rinvenire i sepol-
cliri, p. 11 ; Abeken, Mittel-Italien, p.
338 ; Gerhard, Rapp. Vole, n. 631, 632 ;
De Witte, Cat. Magn., p. 48 ; Vases de
Lucien Bonaparte, liv. i. Nos. 542, 543.
' Bull., 1829, p. 164.
« Bull., 1842, pp. 8, 9 ; Mon. I., Taf.
iv. ; Bull., Arch. Nap., ii. p. 6.
^ Fiorelli, Vasi rinvenuti a Cunia, fo.
Nap. 1856 ; of. alao Mon. Ant., 4to, Nap.
1853.
* Martial, Epigr., xiv. 114; Statius,
Silv., iv. 9, 43.
» Gerhard, Berl. Ant. Bild., s. 139:
Bull., 1829, p. 170.
Jhap. X. VASES OF CAPUA. 418
Jorrento, and Mngnano. In the Terra di Lavoro, 8. Maria di
laptia, the site of ancient Capua, has yielded many vases of
the liighest interest belonging to the strong style, some with
the names of makers, as Energides and Pistoxenos, or with those
of artists, as Epiktetos, have been found here. Those of fine
style have occasionally been discovered here, but the style
of the decadence, especially of those with re 1 figures, having
abundant ornaments, is the most prevalent. The most re-
markable vase found on this spot is the kalpis, having a frieze
of polychrome figures, with much gilding, representing the
departure of Triptolemos, round the neck, and frieze of animals
round the lower part of the fluted body. One remarkable vase
had an incised Etruscan inscription. Some formerly discovered
there, through the excavations undertaken by the Prince of
Syracuse, are of the most magnificent character. They are
ornamented with polychrome figures, some being gilded, and
representing scenes derived either from the drama or history.
One remarkable vase had the subject of Heos and Tithonos.^
A very early krater, of pale clay, with black figures, represent-
ing a hunt, probably that of the Kalydonian boar,^ and with
very archaic inscriptions, and drawing of peculiar style, was in
the Hamilton collection. This site has offered vases of a style,^
distinguished for the paleness of its clay, the bright red of its
figures, and a glaze like that of the vases of Puglia. Certain
vases with black figures, carelessly drawn, and with a bad glaze,
have also been found here, supposed to have been made about
c. Olympiad, B.C. 381. It is uncertain whether this city was
founded by the Tyrrhenians or conquered by them from its
ancient possessors. They gave it the name of Elatria, which
the Latins changed into Yulturnus, and the Samnites on their
conquest, into Campua or Capua. The arts continued to flourish
there till a later period, for its coins are all later than the
second Punic war, when it was called in Oscan Kapu.'* At
Teano, the ancient Teanum, lying between Capua and St.
Germane, vases of the late style have been discovered.^ At
Atella, the Oscan Aderl, kraters with red figures, painted with
a profusion of white and other colours, of the later style of art.
» Minervini, Mon. lu., 4. i ^ Bull., 1820, 1G5; Bull, Arch. N:ip.,
2 Cat. Brit. Mus., No. 559; D'Han- v. 52; Abeken, Mittel-Italien, p. 341.
carville, pi. 1-4 ; Ingliirami, Mon. Etr., •* Millingen, Considerations, pp. 192-
V. t;iv. 56; Miiller, Dcnkmal. A., Taf. 194. * Bull., 1^87, p. 97.
xviii. 93.
414
GllEEK POTTERY.
Part II.
have been discovered.^ The vases found at Nola consisted of
all the principal classes, together with a few local types. Their
distinguisln'ng' characteristics are the elegance of their shapes
and the extreme beauty of their glaze, which is often of an
intense black colour. Of vases of the old or Doric style, with
yellow grounds and dark figures, many have been found in the
ancient sepulchres. These vases are easily distinguished from
similar ones discovered at Vulci, as the figures are smaller, but
more carefully executed, and the colour darker. A few have
human figures, representing combats of warriors. These vases
have been considered imitations of the more ancient style, but
it is probable that the difference is rather owing to the local
fabric. Of the second period of art, viz. of vases with black
figures, comparatively few have been discovered at Nola. They
are also distinguished from those of the Etruscan sites by the
smallness of their size, and by the peculiar black lustrous glaze
of the locality. A few are hydriai or amphorae, but the great
proportion are oinochoai or lekythoi. Amongst them have been
found a Panathenaic amphora, with the usual inscription.^
Their drawing, also, is not so rigid in its details, approaching
in this respect the vases of Greece and Sicily. The literature
of Nolan vases is old Attic, the inscriptions are Ionic. The
greater part are between the lxxx.-xc. 01., or 01. Lxxxv. 2, =
A.v.c. 815, when Nola was under the Samnites, and vases of
Nola have been'found at Yeii, destroyed 01. xiv. 3,= A.v.c. 396.^
Nola vvas first Oscan, then Tuscan, finally Samnite.* The subjects
of them are Greek, like those of Yulci, and show that the same
Hellenic mythology prevailed there. A few vases of this style,
with cream-coloured grounds, have also been discovered at Nola.
The great excellence of the potteries which supplied this city is
to be seen on the vases with red figures. These vases, like the
preceding, are also of small dimensions ; and the principal shape
is the amphorae, one type of which, almost peculiar to this spot,
tall and slim, has twisted handles. Besides this are the Jcrater,
Jcalj>is, koihon. or sJcyphos, oinocJioe, jpyxis, and phiale. They
are the most charming of the ancient vases, Some few vases
with red figures are of the strong style, or of one intermediate
between that and the fine style — the most remarkable of
1 Bull., 1829, pp. 165, 166.
2 Jalm, Vasensammlung, lii.
^ Bockh, Corp. Inscr., iv. p. 5.
■• According to Justin, xx. c. i.,
was Attic. Silius Ital., xii. 161, states
Chalkidiau colonibts were sent there.
Its coins resemble those of Naples.
Chap. X. VASES OF NOLA. 415
which is that with the subject of the last night of Troy.^
Some of tlie vases of Nola are modelhHl in fanciful shapes, such
as that of an astragalus, or the claw of a lobster. Besides the
painting, they were often decorated with an ornament punched
in, like that on the vases of Vulci. These decorations are ante-
fixal ornaments, stars, and bands of hatched or plain lines. A
favourite ornament of the purely black vases, which form a large
proportion of the Nolan ware, is a series of black annular bands
on the base, concentric to the axis of the vase. Their treatment
is similar to that of the same class of vases found at Vulci,
except that it is not so careful, the extremities and outline
being executed with less finish. In many of the vases the
presence of white ornaments and letters, and the circumstance
of the eye being provided with lashes and no longer represented in
profile, show that they belong to the fine style of the art. In-
scriptions rarely occur on them, and those that are found are
chiefly exclamations, such as. The boy is handsome ! The girl is
fair ! for the names of personages very seldom accompany the
figures. The haljpis, or water vase, has rarely more than three
figures ; the amphora) generally one on each side. The oinochoai
have generally a single figure, two sometimes occurring. No law
can be laid dow^n that the subjects selected alluded to the use of
the vase, though the inferior figui-es upon one side show that they
were intended to stand against a wall. Among the shapes
particularly local, is a kin 1 of jug or oinochoe, better adapted for
metallic work than for clay. The body assumes the shape of a
head, generally, but not always, that of a female. The face is
of a warmer tone than the body of the vase, and is sometimes
covered with a coating of lime or stucco. The hair is painted,
of a light colour, and there is sometimes a necklace moulded in
the same material round the neck, which has been gilded. The
upper part of these vases, as well as the handle and foot, are
usually glazed with a black colour. Some are in the shape of a
negro's head, the mouth being small like that of the lehjtlioi,
and the whole face covered with a black glaze.^ The subjects
found on the Nolan vases of this class are the same as on those
discovered at Yulci, consisting of Zeus, Athene, and Apollo,
DionysoS; Satyrs and Bacchanals,^ or Komos and Oinos,* Ariadne,^
' Jalm, Vasensammlung, liv.;Millin., ii. 806, s. 2, 40, 810; B. A. B., xlviii.
I. 2.0-26. I s. 245, 845, s. 251, 867.
2 Gerhard, Berl. Ant. Bild , s. 234, j •» Ibid., s. 246, 848.
235, 236. Taf. i. 38. j " Ibid., s. 241, 822.
3 Gerhard, Borl. Ant. Bild., s. 239,
116
GREEK POTTERY.
Part II.
Apollo and Artemis ;^ Nike,^ Linos ; ^ the story of Hermes and
Herse;* Phaidra swinging ; ^ Heos and Kephalos ; ^ Amazono-
machiai ; ^ Eros and female ; ^ Penelope ; ^ the judgment of
Paris; ^° death of Achilles.^^ The prevalence of Attic subjects on
vases found at a town apparently far removed from Athenian
influence, and certainly not an Athenian colony, together with
the difference of style, have been used as arguments by some in
favour of the vases Laving been exported from Athens.-^^ Many
of the subjects, indeed, of these vases are difficult to explain, and
have been supposed to represent incidents of private life, — such
as, females in the gynseceum,^^ marriages, exercises of the palai-
stra,^* and the sports of youth, or the games of Greece.^^ There
are, however, uiarks of the decadence of art, showing that it was
passing from the ideal to the actual — from the poetic to the
prosaic feeling. Oscan letters have been found incised under
the vases.^® Future discoveries may clear up some difficulties;
and to us these remains would have been more precious had
they presented scenes derived from stirring contemporaneous
events. Other vases from this site have been burnt on the pyre.
They are the salicerni of Italian antiquaries, and much prized by
amateurs.^' This city was of great antiquity, as is mentioned by
Hekataios, of Miletos, who wrote about A.c. 523-500, the period
of its early vases with yellow grounds, and it was placed by him
amongst the Ausonii and Opici.^^ It however finally placed itself
under Koman protection, A.v.c. 409, B.C. 346. Its most beautiful
vases must have been made before its final subjection. Its pre-
dilection for Greek art and institutions is w^ell known.^^ The ex-
istence of Greek potteries at Nola has been conjectured from the
vases there found ; and the Greek inscriptions on its coins tend to
show that a dominant Greek population was established there.
Nola was a colony of the Chalkidian Greeks, who were invited
» Ibid., 243, s. 837.
- Ibid., s. 242, ^33.
3 Ibid., 8. 248, 855.
4 Ibid., 8.248,854,8.271,910.
* Ibid., 8. 249, 859.
« Ibid., 8. 251, 866.
■ Ibid., s. 253, 870.
8 Ibid., 254, 877.
9 De Witte, An. 1841, p. 261.
10 Ibid., s. 319, 1029 ; Gerhard, Berl.
Ant. Bild., Taf. xxxiii.-xxxv.
'1 Ibid., 8. 239, 809.
12 Kramer, Ueber d. Herkuiifr, s. 149.
13 B. A. B., 8. 242, 831, 243, n. 836-
840, 8. 249, 856-57, s. 277, n. 989.
»•« B. A. B., 8. 248, n. 852, 8. 251, n.
863.
1^ B. A. B., 8. 243, u. f. 834, 869-71.
1^ Gerhard, neuerw. Denkm.,i. n. 1614,
ii. 1667.
1^ Bull, 1829, p. 19.
1^ Steph. Byz., voce Nola.
1^ Dionys. Hnlicarn. Excerpt. Reiske,
p. 2315.
CiiAP. X. AGE OF NOLAN VASES. 417
thither by the Tyrrhenians, and it is possible they may have
brought with them the art of making vases. The clay of which
their vases were made is said to have been found in the district.^
Vases of Kolan fabric are distributed far and wide throughout the
peninsula as far as Poestum and Locris. The age of the beautiful
vases of Nola is certainly that of the apogee of the Greek colonies
in Italy. Their age is placed about Olympiad xc, and they
have been attributed to the potteries of Ionian cities.^ Generally
speaking, the Nolan vases have attracted less attention than
those of Vulci and Cervetri, from their smaller size and their
less interesting subjects.^ Other sites in this province, being
those of cities once renowned in Campania, have also produced
several vases of late style, as Acerra^ Sessa, and Calvi or Gales,
the tombs of which have yielded some of the finest and largest
specimens of modelled terra-cotta of the latest style of art.
The vases of Avella, or Abella, were distinguished by their bad
glaze, the pale colour of their figures, the fineness of their clay,
and occasional good drawing.^ Still more renowned from its
vases, being among some of the first discovered, is the site of
Sanf Agata dei Goti, the ancient Plistia, which at one time gave
its name to all the vases of later style and fabric. Their shapes
were principally hraieres, their drawing skilful, but careless,
especially in the extremities, resembling those of Nola, but with
the introduction of more red and white tints ; their clay is fine,
their glaze black and lustrous.^ It is supposed that they were
made after the occupation of this city by the Samnites.' Yases
with black figures are rarely found here.
The vases discovered in the Principato Citeriore come from
SalernO; from Cava, and Nocera dei Fagani,^ or Nuceria Alfa-
terna. Those from the celebrated Festo or Paestum, the ancient
Poseidonia, resemble in style those of the Basilicata, having
red figures on a black ground, but of a better style of art, the
varnish dull, the figures pale, with accessories of various colours.^
' Aimali, 1832, p. 76. •» Bull., 1829, p. 162 ; Gargiulo, Cciini,
2 Abeken, Mittel-Itulien, pp. 340- p. 15.
341.
3 A volume of engravings of Nolan
vases, prepared by Angelini, was in the
possession of the late Dr. Braun at Rome,
who was to have edited them with an
accompanying text. They were engraved
in the style of Tisclibcin, and had been
printed at Naples.
Bull, 1829, p. 163 ; Gerl.ard, Berl.
Ant. Bild., 1. e.
« Bull., 1829, p. 165.
' Abeken, Mittel-Italien, p. 341.
8 Bull., 1829, p. 165 ; Bull., Arch.
Nap., 1856, p. 3.
" Ibid., p. 163.
2 E
418 , GREEK POTTERY. Part II.
One of the finest vases of this locality is that of the painter
Assteas, in the Louvre, representing the story of Kadmos and
the dragon, the principal figures of which have their names
inscribed. Some other vases of this spot, of inferior style,
represent the toilet of Aphrodite, jugglers,^ and similar sub-
jects. They are said to be discovered outside the sepulchres.^
The vases found at EhoU do not appear to have had any
particular or distinct style, although some had engraved in-
scriptions in the Doric dialect^ under their handles. Their
subjects Avere uninteresting.^ Vases had also been discovered
at Battijpaglia, in the vicinity.'* No details have been given of
those from the sepulchres of Santa Lucia. Those from the plains
of Surrento, the ancient Surrentum, resembled in style the
fabric of Sant' Agata dei Goti, and had the ordinary subjects of
vases of this class, such as Sirens, Bacchanalians,^ and triclinia.
There Avere potteries here in the time of Pliny, celebrated for
producing excellent cups.* The lekythoi of the ancient Thurium
were formerly celebrated, but none have been found there:
pottery has, however, been discovered at Uria.
Avellino and Monte Sarehio, in the Principato Ulteriore, have
also produced vases, probably of later style ; so have Isernla,
in the Contada di Molise, Sansevera, and Lucera in the Capi-
tanata."^ The vases of the Basilicaia comprise a large portion
of those of the later style of art, and exhibit the local pecu-
liarities of a native fabric, through the barbaric and other
costumes represented on them. The Alpine countries of Lucania
have produced vases differing in style from those of the
maritime districts of Magna Graecia. Some, indeed, have sup-
posed that a colony of foreign potters, lociated here, introduced
amongst the Lucanians the art of painting vases. Their tint
is pale, the glaze of leaden hue, their ornaments are distin-
guished by an absence of white accessories and their style of
art has already been described in the account of the decadence.
The high price which vases of great beauty or interest obtained
in the European market during the eighteenth century, caused
researches to be carried on in this province with enterprise, and
on a settled plan. Here the earth is still trenched on sites
^ Quaranta, Mystagogue, p. 214. I ^ Mus. Point., pi. xxiii. xxv. p. 73,
2 Bull., 1829, 119. i and foil. ; Bull., 1829, p. IGl ; 1842,
» Ibid., 1829, pp. 151, 164; 1836, p. ' pp. 11-13.
136; one was a Siren. <' N. H., xxxv., s, 46.
* Bull., 1829, 163. I • Gargiulo, Cenni, p. 16.
CiiAP. X. BASILICATAN VASES. 419
which appear favourable, and when the original soil has been
disturbed, the excavators continue their labours till they have
arrived at a part where the earth shows decided proofs of being
still intact, and by this moans they are assured that nothing
remains below. Many of the vases in this locality are found
broken into fragments, either owing to the roofs and tops of the
sepulchres having been destroyed or burst by the roots of trees.
All the vases found in this province are of the latest style, with
pale red figures on a dull, leaden, black ground, and subjects
chiefly relating to the Dionysiac orgies. Many vases of the finest
red style have been excavated from the sepulchres of Anzi, the
ancient Anxia, a spot teeming with the remains of ancient art.
It is the principal place where the vases of Lucania are found.
Their style much resembles that of Ceglie, and is better
than that of the generality of vases of the Basilicata. A fine
JcaJjyis, found at this spot, and now in the Berlin Museum,
represents the subject of Zeus and lo.^ Some of the vases
were of the style of Nola, others of that of Apulia, and were
supposed to be made by foreign potters established thero.^
At Armeyito, the ancient Armentum, vases have been found^
with black figures of the finest style, an example of which will
be seen in a krater now in the British Museum, and others
of an intermediate style, between the latest Nolan and early
Apulian. Other vases of large size, fine style, and heroic sub-
jects, have been found at Missanello, where a vase of ancient
style, and many of later style, generally with good, but occa-
sionally of careless drawing, have been found in the vicinity.*
A magnificent vase, with the subject of Perseus, but of medi-
ocre drawing, was found at the same place, in the vicinity of
Grumento.^ The other sites of the Basilicata, in which vases
have been exhumed, are Potenza, or Potentia, Calvello, and
Pomarico (distinguished for its well-painted dishes, with sup-
posed representation of nuptial ceremonies), Venosa or Yenusia,
and Pisticci.^ Some vases from Grumento, the ancient Grumen-
tum, founded by a Greek colony from Tliurium, and which evi-
dently was flourishing at the time of the second Punic war,^
• Gorhard, Beil. Ant. Bild., s. 2G0,
n. 902 ; Hirt, Die Bruutscliau, Berlin,
1825; Avellino, OpuscoU divcr&i, vol.
ii. t'lv. 7, pp. 1G9, 174,
■ Bull, 1829, pp. 162, 169.
^ Gerhaid, B. A. B., ss. 139, 234.
* Bull., 1829, p. 170.
« Ibid., 1830, p. 24.
« Gargiulo, Ccnni, p. 15; Bull., 1829,
p. 165.
^ Livy, xxiii., c, 37 ; xxvii , c. 4.
2 E 2
420 GREEK POTTERY. Part II.
exhibited the same style as the vases of Puglia. One had for its
subject an Amazonomachia. Other sites in the same province, as
BoecaNova and Sanf Areangelo, San Brancato,Ardarea, and Nice,
Tim,]pani and Sodano^ have also produced vases of similar style.
At Marsiconuova was found a vase with an Amazonomachia ;
others of both styles occurred at Castelluccio,^ so also at Vaglio
Oppido, or Velia, and BuotP Calvello, Acerenza, or Aceruntia.*
The vases of Puglia^ on the coast of the Hadriatic are de-
scribed as so much resembling each other in character and \
style, as to lead to the inference that they must have been
fabricated about the same period, and almost in one pottery, i
Their epoch is properly that of later days of the potteries, and
of the Senatus consultum A.V.C. 564, suppressing the licen-
tiousness of the Bacchic orgies. They are distinguished from
those of Northern or Southern Italy, by the paler colour of
their clay, the duller tone of their glaze, the size and recherche
character of their shape, the obscure nature of their subjects,
the abundance of heroic figures, and their general resemblance
to the vases of the Basilicata. They differ essentially in the
Alpine countries from those of the cities of the Gulf of Ta-
rentum,^ the most remarkable of which are a rhyton, with
the name of its maker Didymos, that of the maker Assteas,
in the Louvre, and the vase in the British Museum, with the
subject of Mars and Vulcan contending over Juno, entrapped
on the golden throne.'^ Many of the vases of Puglia are the
most beautiful of the later style of art. They have been found
throughout the tract of level country extending from Bitonto
to Euvo, and at Polignano or Neapolis-Peucetise, Putignano,
Alta Mura,^ and Carbon ara,^ Terra di Bari, Canosa, Ceglie, and
Kuvo, the vases of which, from their superior excellence, merit
a separate description. These belong to the district called the
Terra di Bari. The vases of Bari, the ancient Barium, are
like those of Kubastini, Canosa, and Sant' Agata dei Goti, and
have red figures upon a black ground. Among them was one
in the shape of the head of a female, resembling those of Nola,
^ Lombardi, Memorie dell' Instit.,
p. 195, and foil.
2 Panofka, Hyperbor. Rom. Stud., i.,
p. 168.
3 IMera., pp. 218, 221, 227.
* Mem., p. 208.
5 Bull., 1829, pp. 166, 172, 173.
« Ibid., p. 162.
'' Jahn, Vasensammlung, xxxix.
« Bull., 1829, p. 172 ; Arch. Zeif.,
1851, s. 81.
» Bull., 1829, p. 173.
Chap. X. VASES OF BAM AND CANOSA. 421
and several were deep bell-shaped hrateres, called oxyhajiiJia,
havin2^ on tliem mystic and Dionysiac subjects.^ They have
been found in tombs on the sea-shore.^
The vases of Canosa, the ancient Canusium, a city supposed to
have been founded by Diomed, and an ^tolian colony, which
at one time had attained considerable grandeur and power,
probably in the interval before the second Punic war, and was
one of the largest cities of Greek origin in Italy,^ consist of
large krateres, decorated with subjects derived from the Dio-
nysiac rites, allegories, the drama, and other sources which
inspired the later artists. They rank as some of the very
finest of the florid style of the decadence of the art, and bear
considerable resemblance to the vases of Ruvo and Ceglie.*
Lately a magnificent vase, with the subject of Dareios and
Hellas, taken from the Persai of Aischylos, has been discovered
at Canosa.^ One of the tombs opened here, which contained
vases, had a Latin inscription dated B.C. 67, but the kind of vases
found in it have not been recorded. Some unimportant vases
of the style of black figures of the last decadence, have also
been disinterred at Canosa.^ Close to Bari, at a little distance
from the sea, lies Conversa^io. Its vases appear in style to
resemble those of other parts of Puglia and those of Nola.'
Futignano, in the same territory, has also produced vases.^ The
vases found at Buvo, the ancient Ryps or Eubastini, are of the
same style and composition as those of the rest of Southern
Italy, and of some found at Athens.^ This city, of which so
little is known from the ancient authorities, has produced many
of the finest vases found in Southern Italy. Several styles
have been found on this site, showing that it was colonised
probably by the Achaians at an early epoch. Only a single
vase with animals on a yellow ground, of the style called
Dorian, Korinthian, or Phceniciau, has been exhumed. The
most remarkable with black figures are two Panathenaic vases
with the usual inscriptions, and a vase with Priam ransoming
» ALeken, Mittel-Italien, p. 349; B.
A. B., 8. 139, Nos. 729, 742, 753; Bull.,
1837, p. 33.
« Bull., 1829, p. 172.
3 Strabo, vi. 284.
■* Millin., Tombeaux de Canosa, fo.,
Paris,. J816; Bull., 1829, p. 174; Ger-
hard, Ant. Bild., ss. 139 and 192, No.
' Gerhard, Monatsbericlit.d.K.Akad.
Wissensch. zu Berlin, 1857.
' Jahn, Vasensammlung, xlv.
' See the oinochoe with the head of a
Satyr and Bacchante, Gerhard, Berl,
Ant. Bild., p. 234 ; Bull., 1829, p. 172.
« Bull., 1829, p. 172.
» Bull., 1829, p. 174; Bull., 1837,
604. , p. 97.
422
GREEK POTTERY.
Part II.
the corpse of Hektor, of the strong red style ; and of the fine
style like that of Nola, only a few vases have been found.
A polychrome vase, with the figure of a satyr, and the name
of Alkibiades was discovered at Ruvo; and another, in the
possession of Sir Woodbine Parish, represents Heos or Aurora.
The great proportion of vases, however, of this ancient city are
of the florid style, of large size, with volute and ornamented
handles, with numerous figures, and arabesque ornaments,
sometimes enhanced by gilding. Of these large vases, the most
important for its subject, and the elaboration of its details, is
that with the death of the Kretan giant, Talos, at the hands of
the Argonauts. It would be too long to specify here all the sub-
jects of the vases of Euvo. Besides amphorse, kraters, hydriai,
and rhyta of fantastical shape are by no means of uncommon
occurrence in the sepulchres.^ They are often of considerable
size, and most of the finest vases of late style have come from
this spot. The celebrated vase of the potter Meidias, in the
British Museum, with the subject of the rape of the Leukippides,
is supposed to have come from thence, on account of its resem-
blance to many other beautiful vases known to have been dis-
covered on the spot. Their details are executed with great
elegance, the hair and also the drapery being indicated by fine
wiry lines,^ while the figures are of more slender proportions ,
than those of the vases of the Basilicata. In fact, they resemble \
the known works of the young Athenian School, which com-
menced about the age of Alexander, in the middle of the fourth
century B.C., and of which, in another branch of art, such
brilliant examples may be traced on the coins of Pyrrhos and
those of Tarentum. Vases of the latest^ style have also been
found here.^ The sepulchres of the comparatively unknown
site of Ceglie, the ancient Cselia, in Apulia, have much enriched
the collections at Berlin.* In style these vases have the general
Apulian type, and their art is of the same late period. They
are remarkable for their size. The principal shapes are cups
and amphorae, Avith volute handles and gorgon masks. Some
have subjects of great interest from their representing scenes
taken from the drama. Among the subjects are the usual Eros
^ For the Euvo vases, see Jahn, Va-
sensammlung, xl.-xlv.
2 For the account of tlie finest Ruvo
vases in the Naples Museum, B,, 1837,
pp. 97, 98 ; 1840, p. 187.
' Bull., 1834, pp. 164, 228 ; 1836,
p. 114 ; 1838, p. 162.
^ Bull., 1829, p. 173.
Chap. X. YASES OF LOCRI. 42;i
and Aphrodite^ of this style, Phrixos crossing the Hellespont
on the ram,^ Orestes at Delphi, the sacrifice of tlie ram of Tan-
talus,^ Aktaion seized by his dogs, the burial of Chrysippos,*
Bellerophoii, Meleager and the Kalydonian boar, Herakles and
Geryon,^ the judgment of Paris,® the arming of Penthesilea,'
Eiiropa, the Kentaurs and Amazonomachiai,^ Omphale,® and
others of a similar kind. The finest of these vases represents
the subject of the marriage of Herakles and Hebe.^° These
vases show the prevalence of Greek ideas and civilisation, and
were probably ftibricated on the spot by Hellenic potters. In
the province of Calabria Ulteriore the vases discovered at Locri
are perhaps some of the most beautiful of the South. The
Locri, a branch either of the Opuntii or Epizephyi-ii, established
themselves at Cape Zephyrium, 01. xxvi. B.C. 673, and appear
to have been accompanied in their emigration by Korinthians
and Laceda3monians, finally becoming a Dorian colony. Their
coins are not earlier than 01. c, B.C. 374. All these states
appear to have suffered from the ravages of the Lucanians,
who, 01. xcvi., B.C. 396, advancing rapidly, seized part of the
country and the maritime cities. These were succeeded by the
Brettii, who, forty years later, revolted in 01. cvi., B.C. 356,
and who issued gold coins of great beauty, probably struck in
the maritime cities, showing the high state of the arts of the
period. The vases are not found in covered sepulchres, like
those previously described, but in the cultivated ground, as if
scattered by a barbarian and plundering population. So tho-
roughly have the vases on this site been destroyed, that it is
almost impossible to discover all the fragments of any single
specimen. Those in the Berlin Museum were found broken
within a sepulchre, and a vase holding the ashes of the dead
was discovered deposited in another of coarser ware, which
served as a kind of case for it,^^ much in the same manner as
glass vases are found holding the ashes of the ancient Romans
or Britons in this country. They are of different styles of art,
» Gerhard, B. A. B., s. 139, s. 279, n. | ' Ibid., 1019, s. 307.
995 ; Bull., 1834, p. 55.
' Ibid., 8. 279, n. 99G.
3 Ibid., 1003 ; Raoul Rochette, Mon.
8 Ibid., 1023, s. 313.
» Ibid., 1024, 8. 315.
^'^ For these vases, see Jalin, Vaseu.,
Iiied., pi. XXXV., pp. 102-19G. I s. xxxviii. ; Gerhard, Apulischc Vasen-
^ Gerhard, B. A. B., 1010, ss. 295, 1 bil.ler, fo., Berlin, 1845.
29G. I " Gargiiilo, Cenni, p. 13; Bull.. 1834,
* lbid.,1222, s. 309. ' p. 16b\
Ibid., 1011. s. 29G,
424
GREEK POTTERY.
Part II.
commencing with those of black figures. In the fainter colour
of their paste, and the duller tone of their black glaze, they
differ from those of Vulci, and few of the earlier kind are
known. Among them may be cited a liydria or Jcal^is with an
erotic subject,^ and a lekythos with a Bacchanalian one.^ The
most remarkable of these with red figures are the hydria or
haljpis, on which is represented the last night of Troy, Neopto-
lemos slaying Priam on the altar of the Herkeian Zeus, the
death of Astyanax, and the rape of Kassandra ; a lekythos with
an erotic scene ; ^ an oinocJioe with a Bacchanalian one ;* a Nolan
amphora, with figures of Marsyas and Olympos;^ a vase with
the Dioskouroi and their names ;^ a two-handled vase with Trip-
tolemos,' and an amphora with Zeus and Nike.^ Of the later
style of art, and resembling the local style of Lucania, is an
amphora with the subject of Yenus, Adonis, and Eros.^ In the
Durand collection were also some lekythoi of the late Athenian
style, with polychrome figures on a white ground, and of a
coarser kind of drawing than those of Athens. One vase of this
site has a remarkable inscription.^"
In the department of Otranto, Brindisi — the ancient Brun-
dusium, founded before Tarentum and the arrival of the Spartan
Parthenii, a formidable rival to Tarentum, and one of the great
ports of Italy, colonised by the Komans A.v.c. 508, B.C. 246 —
has produced several vases. Besides the numerous black glazed
plates impressed with small ornaments stamped from a die, a
great hrater in the Naples Museum, painted with the subject of
Eros mounted on a panther,^^ came from thence. Vases have
also been found in the vicinity of Oria^"^ or Hyria, between
Brindisi and Taranto, a town of great antiqiiity, founded by the
Kretans sent in pursuit of Daidalos, and which successfully
resisted the people of Tarentum and Khegium. At Torre di
Mare (the ancient Metapontium, supposed to be the Alybas
of Homer, but colonised by Achaians from Sybaris, the great
head-quarters of the Pythagoreans, and subsequently, during
the Peloponnesian war, in alliance with Athens; finally sub-
' Gerhard, Berl. Ant. Bild., s. 231,
721.
2 Ibid., 232, 725.
3 Gerhard, B. A. B., s. 232, 726.
* Ibid., 728.
* Gerhard, 1. c, s. 244, 841.
* Jahn, Vaseiisainmluug, s. xx.\v.
^ Gerhard, B. A. B., s. 259, 896 ; Pa-
nofka, Mus. Bart., p. 133.
8 Gerliard, B. A. B., s. 259, 898.
» Ibid., 332, 1057.
'0 KAAE AOKE2, Bull., 1829, p. 167.
" Bull., Arch., 1829, p. 172.
•2 Bull., 1834, p. 55.
Uhap. X. VASES OF TARENTUM. 425
jiigated by the Romans after the retreat of Pyrrhus, but sub-
sequently revolting to Hannibal), the circumstance of Roman
sepulchres having been constructed over the Greek ones ap-
pears to have been unfavourable to excavations in search
of vases. Some of late style have also been discovere 1 at
Casiellaneta,^ at the site of the ancient Salentum in its neigh-
bourhood, and at Fasano^ or Gnathia, at Ce^lie, Genosa, and
Ostunif all of late style. Vases have been found as early as
1578, at Mount Scaglioso.^ At Plistia the vases appear to have
come from Capua, and to have been about 01. c* At Taranto
or Tarentum, where it might have been expected from its ancient
renown for luxury that many vases would have occurred, few have
been turned up amidst its ancient ruins. Those, however, which
are met with maintain the old pre-eminence of the city for its
works of art, especially as manifested in its coins. Their clay is
of a fine glaze like the vases of Pomarico, and often resembles the
finest red figured vases of Nola.^ Vases with black figures are
rarely found ; a fine krater with an Amazonomachia was dis-
vered here ; ^ and on the fragment of a Jcrater in the British
Museum is the Pallas Athene of the Parthenon, in red upon a
black ground. It is of the best style of this School, probably not
much older than Alexander, B.C. 330, if not over half a century
later, or of the age of Pyrrhos, B.C. 280 ; although the medallic
art of that time is more like the style of drawing found on the
vases of Ruvo. Generally, the subjects of the vases discovered
here are unimportant. Some objects, supposed to be moulds,
have also been discovered on this site,' and the vases here, as
at Locri, are found broken into fragments. Vases with black
figures are comparatively rare on this site, those with red figures
of a free style, having been principally found. This agrees with
its history, the most flourishing period of the city having been
from B.C. 400, under the government of Archytas till its final
fall to the Romans, during which time the principal sculptors
and painters of Greece embellished the public monuments of
Tarentum. Its treasures of ancient art at the period of its fall
were equal to those of Syracuse ; and there can be no doubt,
from the beauty of its coins, that it not only imported the
» Bull, 1836, p. 167. I * Bookh, Corp., Inscr. iv. p. x.
* A vase with a siren between two i ^ Bull., 1S29, p. 171.
owls was there discovered. See Bull., ' ^ Due de Luynes, Choix, pi. 43.
1819, p. 171. ' ' Bull., 1842, p. 120.
' Bull., Arch. Nap., 1857, p. 118.
426 GKEEK POTTEIIY. Taut II.
choicest ceramic products of Greece, but also employed in its
city vase-painters and potters of eminence. Other specimens
come from Molto, La Castellaneta, and La Terza, in tlie vicinity ;
from the latter they are principally dishes. Vases of Campanian
style have also been found at Lecce, the ancient Lupise/ at Rugge,
or Rudise, and at Boeca Nova and Valesio ^ Many vases some witli
black and others with red figures, but tliey are almost all of small
dimensions ; one a Dionysiac amphora, has the Attic subject of
Theseus and the Minotaur.^ At the island of Isehia, ^Enaria,
was found a Jcrater with the subject of the infant Dionysos con-
signed to the Nymphs.* Two islands off the Campanian coast,
the Pithecusae, are said to be named after the vats made there.
Sicily, so celebrated for its magnificent works of art, has not
produced a very great number of fictile vases, and the greater
part of those discovered are by no means pre-eminently dis-
tinguished from those of Italy ; some resembling in style the
early vases, with black figures of Greece Proper ; while others
are undistinguishable from those of Southern Italy. The lan-
guage and form of letters of Sicilian vases is old Attic, with a
mixture of Ionic in the more recent vases.^ The vases with red
figures especially resemble those found in the Apulian tombs.
Many of the vases from the Peninsula are however carried over
to Palermo and sold as Sicilian, so that it is by no means certain
which are really Sicilian vases. This island was anciently re-
nowned for its potteries, and Agathokles, the celebrated tyrant
of this island, was the son of a potter, and was reported to have
dined off earthenware in his youth. The various sites in which
vases have been found at Syracuse, Palermo, Elima, Himera,
and Alicata, will be found subsequently mentioned. In Sicily
the cities of the southern coast have produced the greatest
number of vases, Agrigentum, the modern Girgenti, abounding
in the treasures of ceramic art. Fine vases have also been dis-
covered at Gela and Kamarina. On the east coast, south of
Syracuse, the cemeteries of the Leontini and Acrse have produced
more vases than the necropolis of Syracuse, which was probably
the first destroyed. Palermo, Messina, and Catania,^ on the
north and east coast, have produced but a small number of vases.
» Keidesel, Keise, 230. I ^ Sclmlz, in Bull, 1842, p. 10.
'•* Mommsen, Unterital. Dial. 58-GO. j ' Buekh, Corp. Iiiser. iv., p. v.
3 Bull., Arch. Nap., 185G, p. 82, tav. '■ '' Sena di Falco, Bull, 1834.
xiii. !
(^iiAP. X. DETAILS. 427
On the whole, Sicily has produced far fewer ancient vases than
Italy.^ The clay from which the vases may have been made is
said to have been found near Panormus.^ The principal sites
where vases have been discovered are Centorhi, the ancient Ken-
turipai, where a vase was found, with encaustic painting, the
Colours having been prepared with wax, and laid upon a rose-
oloured ground. This vase is ornamented with gilding, and is
of a late style and period.^ At Lentini, Leontini, vases, chiefly
of the later style of art, have been discovered, many polychrome,
and one or two with red figures of the strong style.* The vases
found at Syracuse have both red and black figures, and are of
both styles, but unimportant.^ At Palazzolo, the ancient Acra3,
vases of the ancient Doric or Phoenician style, of the archaic
style, and some with red figures, have been discovered ; one of
the most interesting is that in the British Museum, representing
Dionysos in a car in the shape of a ship.^ Fine vases have been
found at Kamarina ; at Terranova, the ancient Gela, one of the
^earliest settlements of the island, vases had been found a cen-
^niry ago, both with black and red figures,' and in style like
Hpose of Nola.^ In 1792, a pottery with furnaces and vases
appears to have been discovered in the vicinity.^ Of late years
vases with black and with red figures, of the finest style, have
been discovered here.
In Selinunte, or Selinus, famous for its two ancient Doric
temples, its archaic sculptures, and for the beauty of its coins,
both of the ancient and finest style, leky thoi of archaic style have
come to light.-^*^ Himera has produced only a few vases ^^ with
red figures, and the single specimen found at Solos has been
doubted.^^
* Avolio, Delle fatture di argilla clie i ® Judica, Antichita di Acre, fo.,
si trovano iu Sicilia, 8vo., Pal., 1829, Messina, 1819.
p. 6. 7 Dorville, Sicula, p. 123 b.
^ Bockh, C. I., iv. p. vii. ® Bottiger, Vaseii., i. p. 39
^ Tliis mode of painting vases is al-
luded to by Athenaios, v. 200 b. The
vase is not unique, similarly painted
fragments having been discovered in the
Biscuri Museum in Catania, at Kertch,
and in the Dnrand Collection ; llochette.
Feint. Ant. In., p. 430, Taf. xii.; Bull.,
1833, p. 490.
■* Jahn, Vasensammlung, s. xxxi.
Uhden, Arch. Intell. Bl., 1836, p. 33.
"> Gerhard, in Arch. Int. Bl., 1834,
p. 55.
" B. Komano, Antichita Termitane
Pal, 1838, p. 139, Taf. i. H. ; Antichita
inediti di vario genere trovato in Sicilia,
fo., Palermo, 1855 ; Hauss, de' vasi greci
comunam. chiamati Etrusc, Palermo,
1823; Bull., Arch. Nap., 1^55, p. 140.
^ Gerhard, Aus. Vas., 68, i. ; Bull., ' ^"^ Jahn, Vasensammlung, s. xxxi v.
1832, p. 177. '
428
GREEK POTTERY.
Part II.
Several vases are described in various accounts of these re-
mains as coming from Sicily. Many of these with black figures
exhibit a style of drawing so rude and peculiar as to entitle
them to be considered decidedly of local fabric, as they are
readily to be distinguished from those of Vulci, Nola, and Cam-
pania. Those with red figures have also certain characteristics,
such as defects of shape and careless style of drawing, which
connect them with the vases of Greece Proper. One of the
most interesting specimens of this class discovered of late years,
is a fragment, with the subject of Telegonos, Kirke, and Ulysses.^
Most of the vases come from Girgenti, and few from Palermo.^
The vases of Girgenti, or Agrigentum, with black figures, re-
semble those of Vulci in the rigidity and mechanical finish of
their details ; among them may be cited, a Panathenaic amphora,
with Herakles and Kerberos, Hermes and Bacchanals ; ^ a lehyihos,
having on it the destruction of the Lernaean Hydra ; * another,
with a warrior leaping from his horse ; ^ the arnpJioreis of the
maker Taleides, with Theseus and the Minotaur, and a scene
of weighing ; ^ another with Achilles and Hektor, and Heos or
Aurora bearing off Memnon.^ A curious vase of the maker
Nikosthenes^ has also been found there. From these and
similar subjects, such as Herakles and Tritons,® Achilles drag-
ging Hektor,^® and Bacchanals,^^ it will be seen that they are of
the usual class found on the best and rigid school of vases with
red figures. Numerous examples of this style have been found
in Sicily, such as lehythoi with females,^^ Hera and her pea-
cock,^^ Nike,^* the Dioskouroi, scenes from the Amazonomachia,^^
warriors, ^^ Dionysos,^^ and birds.^^ Among the finest vases of this
» Bull., 1843, 82; Arch. Zeit., 1843,
143.
2 One, with birth and marriage of
Dionysos, Bull., 1834, p. 201, 1843, p.
54 ; Arch. Zeit., 1843, 137.
^ Politi, Anfora Panateuaica 8vo.,
Girgenti, 1840.
^ Politi, II mostro di Lerna lekitos
Agrigentino, 8vo., Palenno, 1840.
^ Politi, Esposizione di sette vase Gr.
Sic. Agr., 8vo., Palermo, 1832.
^ Millingen, Peiut. d. Vases Ant.,
pi. i. Ixvi. ; Explic, ii. p. 88, n. 7.
^ Millingen, Anc. Un. Mon., i. pi. 3, 4.
8 Panofka, Mus. Blae., pi. Ill ; Ger-
hard, Lettrcs, p. 40.
3 Politi, Lettcra al S. Millingen su.
di una figuliua rappres^ntaute Ercole e
N(.reo, 8vo., Palermo, 1834.
^" Politi, Cenni su di un vaso fittile
Greco-Agr. rapp. Achille vincitore di
Ettore, 8vo., Messina, 1828.
" Politi, Esposizione di sette vasi,
1. c; Bull. d. Inst. 1834, p. 59.
'^ Politi, Illustr. sul dipinto in terra-
cotta, 8vo., Girg., 1829.
'^ Politi, Esposizione di sette vasi
Gr. Sic. Agr., 8vo., Palermo, 1832.
" Ibid. »* Ibid.
'^ Politi, Un lekitos, 8vo., Palermo,
1840.
1^ Politi, Due parole, 8vo., Pal., 1833.
*^ Politi, Esposizione di sette vasi.
I.e.
Chap. X.
VASES OF AGIUGENTUM.
429
style are the amphora of Munich, representing Tityos seizing
Leto, and Mr. Stoddart's Jcrater with an Amazonomachia.^ But
that representing the meeting of Alkaios and Sappho, now in
the Museum of Munich, is the most renowned of all.^ Most of
the vases of Girgenti however are of the shape of the hrateres or
oxyhapha, and resemble those of the tombs of Lucania. They
have such subjects as the Hyperborean Apollo,^ Dionysiac
representations,* the return of Hephaistos to heaven,^ the
Kentauromachia,^ scenes of leave-taking,' triclinia,^ and Achil-
les and Amazon.^ Many interesting vases of the shape called
kelehe also come from Girgenti, and are of the more perfect
style of art, representing Zeus bearing off Aigina,^° the Eleusinian
deities,^^ Dionysos confided to the nursing of Ariadne,^^ the de-
parture of Triptolemos, Heos and Thetis pleading for their
sons,^^ Peleus and Thetis,^* and some general scenes.^^ Cups with
white grounds, and with subjects in linear outline, have also been
discovered there, and one in the Museum at Munich has the
subject of Bacchanals, Herakles killing Kyknos, or the Amazons. -^^
?he Atticism of the inscriptions ^' has been alleged as a reason
for supposing the vases of this island to have been imported,
)ut the Ionic colonies, such as Akragas and Selinos,^^ and the
' Politi, Illustrazione sul dipinto in
;rra-cotta, 8vo., Girgenti, 1829,
^ Millingen, Anc. Un. Mon., xxxiv, ;
ja Borde, Vase de Lamberg, pi. lii.
^ Politi, Illustrazione d' un vase
rreco-Siculo rappresentante Nemesi,
)vato neir antica Agiigento, Svo.,
*alermo, 182G, p. 22, tav. iii.
* Politi, Cinque Vasi di Preraio,
extracted from La Concordia Giornale
Siciliauo, Num. 14-20, Luglio Anno
Secuudo; Mineivini ; Bull., Arch. Nap.
i. 14 ; Gerhard, A. Z., s. 61.
* Politi, Illustrazione sul dipinto in
terra-cotta, 8vo., Girgenti, 1829, tav. 4.
^ Politi, Cinque Vasi di Premio,
tav. vi. ; Osserv. 8vo., Ven., 1828 ; Mi-
nervini, Bull., Nap., i. p. 14 ; Gerhard,
A. Z., 1843, 8. 60,
^ Politi, Descr. di due Vasi Grtco-
Sicoli Agrigentini, 8vo., Girgenti, 1831.
^ Politi, Illustraz., tav. 3.
5 Politi, Due parole su tre Vasi
fittili, 8vo., Palermo, 1833. The name
of the Amazon is 2AAE2I2.
'" Politi, Cinque Vasi di Premio,
tav. iv.
" Politi, Illustr. di un Vaso fit tile
rappr. Apollo il citaredo, 8vo., Palermo,
1826.
»2 Mon., iii. i^l. 17 ; Ann., 1835, p. 82.
'^ Politi, Cinque Vasi di Premio,
Concord., ii. 14 ; Bull., Arch. Nap., 11.
p. 16 ; Gerliard, Arch. Zeit., 1843, p. 14.
^•* Politi, lUiistr. ad un Vaso rappr.
Cassandra e Ajace d' Oileo, 8vo., Pa-
lermo, 1828 ; Minervini, Bull., Arch.
Nap., i. p. 14; Gerhard, A. Z., 1843,
61, Poseidon und Amymone.
*^ Politi, ibid. ; also Descr. di due
Vasi Greco-Sicoli, 8vo., Girg., 1831.
^'^ Politi, Descr. di due Vasi, 1. c.
>7 Kramer, Uebtr die Herkunft, s.
119.
^^ Akragas was either a colony of Gc la
(Strabo, vi. 5), or, according to one n ad-
ing of the lonians, Scymmis(l. 275-292)
makes the founchrs inhabitants of Gela,
430 GEEEK rOTTERY. Part II.
prevalence of Ionic and Attic Greek as a polite language, may
account for the appearance of this dialect. Yases of fine style
have also been discovered at Catania, and some with black figures
at Alicata.^ Vases with red figures, of good style, have been
found at Aderno, Adranon, at the foot of Etua.^
In the public museum at Malta are also some vases of Phoe-
nician and later G-reek style, with Bacchanalian subjects.
One represents the capture of Midas.^ Another has Eros, with
his name.* The vases are said to resemble those found in Sicily
and Campania. Earthen sarcophagi of Phoenician type, shaped
like Egyptian mummy cases, were found at Malta a.d. 1624.^
Passing from Sicily to the coast of Africa, the site of Bengazi
• — the old Euhes])eris of the Kyrenaika, which subsequently ob-
tained the name of BereniJce from the queen of Ptolemy Phila-
delphos — abounds in sepulchres, in which have been found a
very large number of vases of the later style of art, like those
of Lucania and Apulia. Of these the most remarkable are the
Panathenaic vases, which have black figures on a red ground,
and the usual inscription of *' [I am] one of the prizes from
Athens," accompanied with the names of the following archons :
— Hegesias and Nikokrates, who were archons at Athens in the
4th year of cxi. Olympiad, B.C. 334 ; Kephisodoros, who was
archon in the 2nd year of cxiv. Olympiad, B.C. 323 ; Archippos,
who was archon of the 4th year of the same Olympiad, B.C. 321 ;
and Theophrastos, whose name occurs as that of archon of the
1st year of ex. Olympiad, B.C. 340, or of cxvi. Olympiad, B.C.
313.® They are remarkable for showing the later period at
which black figures were used.' These vases, from the Atticism
of their inscriptions, are conjectured to hav^ been imported from
but interpolates the description between ' are ia the Museum of Ley den; Lenor-
tlie Ionian colonies of Selinos and Mes-
sene.
* Jahn, Vasensaramlung, s. xxxii.
2 Bull., 1843, p. 121).
3 De Witte, Bull., 1842, p. 43.
mant and De Witte, Elite des Monu-
meiis, Introd., p. xix. Many of these
vases are like those found at Nula, while
others' resemble the pottery of Melos,
especially the coarser fabrics ; while the
^ Eeidesel, Reise, p. 74 ; Jahn, Va&en- ' appearance of the head of Jupiter Am-
sammlung, s. xxix. mou on a vase iiidicutes a local fabric.
' Abela, G. F., Dchcrittione di Malta,
8vo., 1847, n. 12.
« Cf. ArA2IA2 APXON TON A0E-
NE0EN A0AON, R. Rocliette, Ann., vi.
287, n. 2 ; Boekh, Corp, Inscr. Gisec,
ii. p. 70, No 2035; P. I.uca.«, ii. 84.
Lenormant and De Witte, Elite, Introd.,
xxiv. and n. 2 ; Jahn, Vaseusaramlung,
s. xxviii. xxix.
^ Lenormant, Eevue Archeologique,
1848, p. 230 ; Paul Lucas, t. ii. p. 84,
ed. Amst., 1714 ; Bockh, Corp. Inser.
gome of these vases from the Cyrenaica j Grsec. t. ii. p. '(O, No, 2035.
ATHENIAN PRIZE VASE ^FROM NEAR BENGAZI.
Chap. X. VASES OF BERENICE. 431
Athens. Two other vases of a supposed historical import have
also been found there, one representing a Persian king attacked
by a lion, the other Aristippos between Arete, his daughter, and
Aphrodite.^ These last have inscriptions in the Doric dialect.
Besides the prize vases, many small vases and a few large of later
style, some few polychrome, with subjects of little interest, and
resembling the later vases found at Ruvo, Apulia and the Basi-
licatxi, have been exhumed here, and at the adjoining spots of
PioJeynata, or Ptolemais, and TuJcera, or Teucheira. It is from this
site the later Athenian prize vases just mentioned were obtained,
bearing the name of Athenian archons from Nikokrates, B.C. 334
— to Theophrastus, B.C. 313. One has the name of the potter
Kittos. Others had Triptolemos instead of the cock on the
columns, and one Harmodios and Aristogeiton on the shield of
Athene.^ Of the vases in the Louvre, Mr. C. T. Newton describes
those coming from the Kyrenaika as very interesting. He con-
siders the vases with black figures, with the names of Athenian
archons, as being in a style of complete decadence. The figures
have the small heads and general proportions of the school of
Lysippus ; the drawing is very coarse, and, compared w^ith the
drawing of other vases, may be called cursive. On each of the
two columns, between which Athene stands, is Nike, holding an
aplustron. Their form is the late Basilicatan kind of amphora.
A number of very interesting vases and terra-cottas have
been brought from the Kyrenaika. The vases seem to be
of Athenian manufacture ; among them many polychrome
ornaments in relief, gilt. One vase is a mixture of painting
and bas-relief. Eros is seen seated on a rock fishing, the rock
raised in relief, the wings of the Eros painted red, the accessories
gilt, before him are two figures hauling in a net; all on a black
ground. The composition is elegant and graceful, like the
mural paintings of Pompeii. There is also a vase with a curious
caricature of Herakles, after his Libyan victory, standing in a
chariot driven by Nike, to which are harnessed four Kentaurs,
their faces of the Nubian type ; very grotesque, and full of
comic expression. Vases have also been found at Tripolis, on
the same coast. They are also of late style, few with black
figures, the greater portion with red figures, and unimportant
subjects, principally ornaments. A few of like style have also
been discovered at Leptis? To the other vases found on the
1 I.enormant, Nouvellei Annales, 1847, 331. - De Witte, Etudes, pp. .5-0.
' Jnhn, Vasensammliinsr. s. xxix.
432
GREEK POTTERY.
Part II.
African coast and in Egypt, allusion has been already made —
such as those of Coptos, famous for being made of an aromatic
earth .^ Naukratis was celebrated for its johialai having four
handles, and a glaze so fine that they passed for silver. One of
the doors of the city was called the Potters' door.^ The vases
were not made upon the wheel, but modelled with the hand.^ In
the catacombs of Alexandria, vases with a pale paste, and painted
in the last style of Greek art, have been discovered, some of which
are now in the Louvre,* and others in the British Museum. Their
paste occasionally is of a violet colour.*^ According to Skylax
the Phoenicians carried to the African Arulonpolis, or as corrected
Doulon-polis or Doulopolis, "slave-city," the pottery of Athens.^
The northernmost point at which vases have been found is
Kertch, the ancient Fanticajpseum, one of the other colonies of the
Milesians, in the Kimmerian Bosphoros, celebrated at a later
period for its commerce, and in A.C. 120 finally subdued by
Mithridates. About 400 vases, scarcely a fourth of which have
subjects of the least importance, have been found in this locality.
Few have black figures, and their drawing is in the careless and
free style of the Greek potteries. The rest are principally small
vases, with red figures, of the later style of art, and some of
these are polychromatic, and ornamented with gilding. The
most remarkable of these vases is that of the Athenian potter
Xenophantos, having for its subject a combat of gryphons and
the Arimaspoi, a story of local interest. These vases appear to
be about the time of Leukon king of the Bosphoros, who flourished
A.c. 393-353. Fragments of a vase of the artist Epiktetos have
also been discovered in this vicinity.' Most of these are now in
the Hermitage of St. Petersburg. They al-e probably Athenian,
most of them ill-preserved. One from this site, at present in
the Bibliotheque Nationale at Paris, has a beautiful black glaze,
and a bas-relief in the midst of it.^ The vases have red figures,
* Brongniart, Traite, i. p. 582.
^ Krause, Anguol. p. 137.
^ Brongniart, ibid. ; Atbenseus, x. c.
61.
^ Brongniart, 1. c. 582.
' Mus. de Sevres, i. 18.
^ Acad, des Inscr. et Belles-Lettres,
Comptes Rendus. n. s., vi, 206.
^ For the vases found here see Annali,
1832, p. 6 ; Dubois de Montpereux,
Voyage autour du Caucase, Pad.
1843, PI. 7-15 ; Ashik, Bosph. Reich.
4to, Od. 1848-49, iii. t. 3. 26 ; Bull. 1841,
p. 105; Kohne in the Bulletin de la
Soc. Arch, et Num. de St. Peters-
bourg, ii. 7. ; Jabn, Vasensammlung,
8. xxviii. A coin of Leucon was found
with a vase. Annali. xii. 13 ; Ouvaroff,
Antiquites du Hosphore Cimmeiien,
vol. iii. pp. xlvi.-lxviii.
^ Brongniart, Traite, i. 578. En-
gravings of these vases will be found
lAI'. X.
ENAMELLED WAIH'].
43a
id art of the style of the decadence of the art, the vvorkman-
ip being coarse, and the subjects uninteresting ; such as the
ionysiac tliiasos/ gymnastic scenes,^ and those of private life.^
eir shapes were the Jiydriay kalpis, peliJce, and lehane}
In the sepulchres of Greece, the Islands, and Italy, a class
ware has been found, quite distinct from the preceding, and
SRsembling the enamelled stone ware of the Egyptians and Ba-
bylonians already described. Many Egyptian perlume vases have
been found in the sepulchres of Etruria ; and as their hiero-
glyphs ^ are identical with those found in Egypt, it is probable
that they were imported into Etruria from that country.
Amongst them are several aryhalloif of the pale green ware,
with reeds in shape of the flow^er of the papyrus, and handles
like apes with inscriptions, a class of vases which came into use
in Egypt in the sixth century, B.C., under the rule of the Psam-
metichi of the 26th dynasty. There are, however, some other
vases of this class of ancient fayence, or porcelain, which are
not so decidedly Egyptian, such as
certain jars, ornamented with zig-
zacr white ornaments and maroon
petals, on a pale, dull green ground,
and which may be imitations by
Greek potters of this foreign ware.^
The specimen here represented
was found by Campanari in a tomb
at Vulci. Some very beautiful
specimens have been discovered in
the tombs of Southern Italy. A
beautiful small JcaIathos-sh.sq)ed
vase procured at Naples, and now in
the British Museum, is of a pale
green, inlaid with blue and white ornaments ; and a proclioos, or
No. 172.— Jar of Enamelled Ware . Vulci.
in Dubois de Montpereux, Voyage
autour du Caucase, etc., Pai-is, 1843,
6 vols, atlas folio, and Anton Ashik,
Bosphorische Alterthiimer, Odessa,
1848; cf. Annali, 1840, p. 6.
* Gerhard, 1. c. s. 195; Dubois de
Montpereux and Ashik, I. c.
^ Ibid. These principally are draped
and enveloped figures.
=" HEN0«I>ANT02 EnOIHSEN A0HN.
Bull., 1887, p. 47, 1841, pp. 108, 109;
Dubois de Montpereux, Voyage au-
tour du Caucase, V. Classe at Kertch.
These vases exhibit proofs of a local
fabric ; Lenormant and De Witte,
Introd., xxiii.
^ Bull., 1841, p. 108. Dubois de
Montpe'reux, Atlas, pi. vii. ; Gerhard,
Dtnkmaler, Forschungen und Berichte,
1850, 8. 193. Compte rendu d. 1. Comm.
Imp. Archeol. f°. St. Petersb. 1867 and
foil.
* Micali, Mon. Inedit. tav. vii.
• Mus. Etrus. Vatic, ii. iv.
2 F
434
GKEEK POTTERY.
Part IT.
bottle, most delicately decorated with ornaments of the same
kind, came from the same place.
Several lehjthoi, or little toilet vases, of this Avare, have been
discovered in the tombs of Melos and CsBre, and at Vulci. Their
shapes show that they had not an origin purely Oriental,
having been delivered from moulds, and then glazed. They are
in the shape of a female kneeling, and holding a jar, the heals
of satyrs and nymphs, alektryons and hedgehogs. In the
Egyptian grotto of the PoUedrara at Vulci were found scaraba^i
and beads, also of this ware. At Athens one was found in the
shape of a double head of Herakles and Omphale,^ an^l at Melos
another in the form of a hedgehog.^ In the early tombs of
Kameiros at Ehodes, many glazed vases were found mixed with
objects of Egyptian porcelain. Some of these vases were
apparently Egyptian, but others may have been made by
Phoenicians. Amongst the shapes were small alahastra, with
friezes of men and animals in relief, compressed globular little
jars like the Egyptian, also ornamented with friezes and bands
in relief. Many lekijthoi, or anjballoi, m the shape of females
liolding jars, or playing on the flute, apes, lions, hedgehogs, or
porcupines, the latus fish and the dolphin. They are now in
the British Museum. To the later period of this glazed ware
belong the oinochoai, inscribed with the names of the Ptolemies,
found at Alexandria, and already mentioned, and some other
glazed vases in the shape of oinochoai, and lamps of a yellowish-
brown colour. This glazed ware was continued under the Roman
Empire. Several objects of this ware, consisting of heads, sca-
raba^i, unguent vases, and figures of Egyptian deities, have been
found at Capo del Sevo, the ancient Tharras, on the north of the
Gulf of Oristano. Many of them resembled Phoenician types,
or treatment in their art. Their glaze was a pale green, resem-
bling that of the ware of the 26th dynasty, and one scaraba^us
bore the name of Psammetichus, showing that these objects
were probably not older than B.C. 600. This city was founded
by the Phoenicians, or Carthaginians, and existed till the reign
of the Roman Emperor Philip.^
The discovery of painted vases, and the general admiration
w^hich they excited among the lovers of the fine arts, gave rise to
several imitations. The first of these were made by Wedge wood.
' Panofka, Rech., p. 25, pi. iii. 55.
2 Bull, 1831, pp. 181-90.
2 De la Marmora, Vuy. eu Sard., ii. pp.
359-147 ; Bull. Arch. Sard. 1857, p. 139.
("HAP. X. IMITATIONS. 435
His paste is, liowever, heavier, and bis drawings far inferior to
lie antique in freedom and spirit. At Naples, chiefly through
e researches and directions of Gargiulo, vases have been pro-
ced, which in their paste and glaze resemble the antique,
though the drawings are vastly inferior, and the imitation is
once detected by a practised eye. They are far inferior in
1 essential respects to the ancient vases. Even soon after the
acquisition of the Hamilton collection by the pubh'c, the taste
created for these novelties caused various imitations to be pro
(hiced. Some of the simplest kind were made of wood, covered
with painted paper, the subjects being traced from the vases
themselves, and this was the most obvious mode of making them.
Mr. Battam also has made very excellent facsimiles of these
vases, but they are produced in a manner very different from
that of the ancient potters, the black colour for the grounds or
figures not being laid on with a glaze, but merely with a cold
pigment which has not been fired, and their lustre being pro-
duced by a polish. Such a process by no means gives them the
extreme beauty of the better specimens of the ancient potteries,
l^bid in technical details they do not equal the imitations made at
r^aples, some of the best of which have occasionally deceived both
archa3ologists and collectors. Even in the times of antiquity
many counterfeits existed, for the potters evidently often endea-
voured to assume the names of their rivals, without infringing the
laws of their respective states, by inscribing them on their vases
in an illegible manner. These, however, can scarcely be classed
in the category of ancient forgeries, like the Etruscan painted
vases, imitated from the Greek. These are chiefly found on
Etruscan sites ; but some few from Athens itself show that they
were manufactured at home. They may possibly have been a
particular style of fabric, introduced as a novelty to attract the
popular taste, and subsequently abandoned. One of the most
remarkable fabricated engravings of these vases was that issued
by Brondsted and Stackelberg, in a fit of archaeological jealousy.
A modern archaeologist is seen running after a draped female
figure, called ^HMH, or "Fame," who flies from him exclaim-
ing, EKA^ UAI KAAE, " A long way off, my fine fellow!" This
vase which never existed except upon paper, deceived the cre-
dulous luffhirami, who too late endeavoured to cancel it from his
work. Other vases, evidently false, have also been published.^
1 Inghirami, Vasi Fittili, i. tav. xiii. ;
;i false vase also is published in Passeri,
ccc, and another in D'Hancarville, ii.
81 ; D'Hancarville, ii. 71.
2 F 2
436 GREP]K POTTP]RY. Part TT.
In the ancient times of Rome, these vases bore a high value,
and sold for enormous sums to connoisseurs, which has also been
the case in modern times. Cleopatra spent daily on the fragrant
or flowery ware of Rhossos, a Syrian town, six minae.^ Of the
actual prices paid for painted vases, no positive mention occurs
in classical authorities, yet it is most probable that vases of the
best class, the products of eminent painters, obtained considerable
prices. Among the Greeks, works of merit were at all times
handsomely remunerated, and it is probable that vases of excel-
lence shared the general favour shown to the fine arts. For
works of inferior merit only small sums were paid, as will be
seen by referring to the chapter on inscriptions, which were
incised on their feet, and which mentioned their contemporary
value. In modern times little is known about the prices paid
for these works of art till quite a recent period, when their fragile
remains have realised considerable sums. In this country the
collections of Mr. Tow^nley, Sir W. Hamilton, Lord Elgin, and
Mr. Payne Knight, all contained painted vases ; yet, as they
included other objects, it is difficult to determine the value
placed on the vases. A sum of 500/. was paid in consideration
of the Athenian vases in Lord Elgin's collection, which is by no
means large when the extraordinary nature of these vases is
considered, as they are the finest in the world of the old primi-
tive vases of Athens. 8400Z. were paid for the vases of the
Hamilton collection, one of the most remarkable of the time,
and consisting of many beautiful specimens from Southern Italy.
The great discoveries of the Prince of Canino, in 1827, and the
subsequent sale of numerous vases, gave them, however, a definite
market value, to which the sale of the collection of Baron Durand,
which consisted almost entirely of vases, affords some clue. His
collection sold in 1836 for 313,160 francs, or about 12,524Z.
The most valuable specimen in the collection was the vase
representing the death of Kroisos, which was purchased for the
Louvre at the price of 6600 francs, or 264/. The vase with the
subject of Arkesilaos brought 1050 francs, or 42/. Another
magnificent vase, now in the Louvre, having the subject of the
)^outhful Herakles strangling the serpents, was only secured for
France after reaching the price of 6000 francs, or 210/. ; another,
with the subject of Herakles, Dejanira, and Hyllos, was purchased
for the sum of 3550 francs, or 142/. A hrater, with the subject of
^ Athen. vi. 229, e.
CuAi'. X. MAXIMUM VALUE. 437
Akamas and Demophon bringiDg back Aithra, was obtained by
Magnoncourt for 4250 francs, or 170/. A Dionysiac amphora
of the maker Exekias, of the archaic style, was bought by the
British i\ruseum for 3600 francs, or 142/. in round numbers.
Enough has, however, been said to show the high price attained
by the most remarkable of these works of art. Tlie inferior
vases of course realised much smaller sums, varying from a few
francs to a few })ounds ; but high prices continued to be ob-
tained, and the sale by the Prince of Canino in 1837, of some
of his finest vases, contributed to enrich the museums of Europe,
although, as many of the vases were bought in, it does not afford
a good criterion as to price. An oinochoe, with Apollo and the
Muses, and a hydria, with the same subject, were bought in for
i 2000 francs, or 80/. each. A hylix, with a love scene, and
another with Priam redeeming Hektor*s corpse, brought 6600
I'rancs, or 2G4Z. An amphora with the subject of Dionysos,
and a cup with that of Herakles, sold for 8000 francs,'or 320/. each.
I Another brought 7000 francs, or 280Z. A vase with the subject
pf Theseus seizing Helen, another with the arming of Paris, and
a third with Peleus and Thetis, sold for 6000 francs, or 240/.
Kor can the value of the finest specimens of the art be con-
Bidered to have deteriorated since. The late IMr. Steuart was
offered 7500 francs, or 300/. for a large hrater, found in Southern
Italy, ornamented with tlie subject of Kadmos and the dragon ;
3000 francs, or 120/., were paid by the British Museum for a
fine Jcrater ornamented with the exploits of Achilles ; 2500 francs,
or 100/., for an amphora of Apulian style, with the subject of
Pelops and Oinomaos at the altar of the Olympian Zeus. For
another vase, with the subject of Mousaios, 3000 francs, or 120/.
were paid, and 2500 francs, or 100/., for the Athenian prize
vase, the celebrated Vas Burgonianum, exhumed by Burgon.
At Mr. Beckford's sale, the late Duke of Hamilton gave 200/. for
a small vase, with the subject of the Indian Bacchus. The
passion for possessing fine vases outstripped these prices at
Naples; 2400 ducats, or 500/., was given for the vase with
gilded figures discovered at Capua. Still more incredible, half
a century back, 8000 ducats, or 1500/., was paid to Vivenzio
for the vase in the Museo Borbonico representing the last night
of Troy ; 6000 ducats, or 1000/., for the one with a Dionysiac
feast; and 4000 ducats, or 800/., for the vase with the grand
battle of the Amazons, published by Schulz. Another vase, for
which the sum of 1000/. was paid, was the so-called Capo di Monte
438
GREEK POTTERY.
Part TT.
Vase, purcliased by the late Mr. Edwards, at Naples. It is an
amphora 3 feet 6 inches high, with medallion handles, on which
are modelled Gorgons' heads, Satyrs and Nymphs ; the subject
has no remarkable interest, on one side is an Amazonoraachia,
on the other a sepulchre. For the large colossal vases of South-
ern Italy from 300Z. to 500?. has been given according to their
condition and style of art. But such sums will not be hereafter
realized, not that taste is less, but that fine vases are more
common. No sepulchre has been s[)ared when detected, and
no vase neirlected when dis-
covered ; and vases have been
exhumed with more activity
than the most of precious re-
lics. The vases of Athens, with
white grounds and polychrome
figures, have also been always
much sought after, and have
realized large prices, the best
preserved examples fetching as
much as 70?. or 100?. Gene-
rally those vases which are
finest in point of art have ob-
tained the highest prices, but
in some instances they have
been surpassed in this respect
by others of high literary or
historical value. As a general
rule, vase^ with inscriptions
have always been most
No. Its.— Lekythos. Triuinpb of Indian Bacchus. tit ,^ i ^ ji
valuable, the value oi these
objects being much enhanced when inscribed with the names of
potters or artists, or with remarkable expressions. The inferior
kinds have fetclied prices much more moderate, the hylilces
averaging from 5?. to 10?., the amj)horeis from 10?. to 20?., the
hydriai about the same; the hrateres from 5?. to 20?., according
to their general excellence, the oinochoai about 5?., and the mis-
cellaneous shapes from a few sliillings to a few pounds. Of tlie
inferior vases, the charming glaze and shapes of those discovered
at Nola have obtained the best prices from amateurs. Those of
Greece Proper have also fetched rather a higher price than those
of Italy, on account of the interest attached to the place of their
discovery. Many charming vases of ungkzed terra-cotta have
CllAl". X.
MINIMUM VALUE.
439
rivalled in their prices even the best of the painted vases.^
Although there are scarcely limits to the desire of possessinjj^
noble works of art, it will be seen that vases have never excited
the mhids of men so much as the nobler creations of sculpture,
or of painting; nor have they reached the fabulous value of
Sevres porcelain or Dutch tulips. Even at the present day
tlieir price in the scale of public taste has been equalled, if not
excelled, by the porcelain of the supposed barbarian Chinese,
and Chelsea may pride itself that its china in value, if not in
merit, has surpassed the choicest productions of the furnaces
of Italv and Atliens.
• Some account of the prices paid for
vases will be found in the "Description
des Antiquite's et Objets d'Art qui
romposent le cnbinet de feu M. le Chev.
!•:. Durand," by M. J. De VVitte, 8vo,
Paris, 1836 ; in the " Supplement a la
Description des Antiquites du cabinet
de feu M. le Chev. E, Duiand;" and
in the "Description d'une collection
des vases peints ct bronzes antiques
provenant des fouillesderEtrurie,"8vo,
Paris, 1837 ; ako by M. De Witte.
PART III.
ETEUSCAN POTTERY.
CHAPTER I.
Etruscan Terra-Cottas — Statues — Busts — Bas-reliefs — Sarcophagi — Vases —
Brown Ware — Black Ware — Eed Ware — Yellow Ware ~ Painted Vases —
Imitations of Greek Vases — Subjects and Mode of Execution — Age — Vases
of Orbetello and Vulaterra — Vas; s with Etruscan Inscriptions — Latin In-
scriptions — Enamelled Ware — Other sites.
From Grecian pottery the transition is natural to the Etruscan,
as that people derived their arts from their Asiatic ancestors
and Hellenic masters. Few remains, however, of their produc-
tions have reached the present day with the exception of vases
and bronzes, of which an immense number has been found, and
which convey a very distinct notion of the Etruscan art. It is
not, however, possible to trace the Etruscan arts in clay in
so distinct a manner as the Greek or Eoman, owing to the want
of a literature among the Etruscans. Bricks and tiles they
seem to liave seldom employed, most of the public buildings
and sepulchres having been composed of tufo.^ Gori has, indeed
published several tiles, some plain and others with flanges, from
the Museum Buccellianum,^ having inscriptions in the Etruscan
language, either engraved or painted upon them, commemorat-
ing the name and titles of the deceased, like the inscriptions
upon the sarcophagi. According to Buonarroti, tiles were
employed for closing the recesses in the chambers w ithin which
were placed the little sarcophagi which held the ashes of the
dead.^ These were principally found in the sepulchres of Chiusi
or Camars. One specimen had, besides the usual inscription,
the figure of the dead incised upon it.^ At a later period, such
1 Gori, Mus. Etrus. torn. III. p. 134.
and foil. t. xxviii. xxx.
"^ Dempst. ii, snpp. xxvi. p. 36.
' Gori, p. 135.
TILES AND STATUES. 441
tiles were also used in graves, to cover the body laid at full
length. Some, which bear bilingual inscriptions, in the Etruscan
and Latin languages, show them to be not much older than the
latter days of the Roman republic, or the commencement of the
empire. According to Strabo, the walls of Arretivm, or Arezzo,
were made of these tiles, but no traces of these ancient walls
remain.^ Some portions of the architectural decorations of
tombs, however, were made of terra-cotta ; ^ and sometimes
certain altars, or other embellishments of sepulchres, decorated
with bas-reliefs, were moulded of the same material. At Cer-
vetri have been found the antefixal ornaments at the end of the
large imbrices or joint tiles, with representations of the head
of the Gorgon, modelled in the style of the earliest vases with
yellow grounds, and painted with colours in engohe. From the
same locality are said to have come the revetment of the walls
of a tomb made of slabs, about four feet high and one inch
thick, having painted on them a series of mythical representa-
tions, treated in an archaic style, having some resemblance to
the figures on the vases with yellow grounds. The figures on
these slabs are principally painted in red and black on a cream-
coloured ground, but it is difficult to say whether all the
colours have been burnt in.
Notwithstanding the reputation of the Etruscans for their
works in clay, few statues of importance have descended to us.
Although some of the Gieek authors,^ and of the modern Italian
writers,* claim the priority of the art of making figures in
terra-cotta for Italy, there can be no doubt that the Etruscans, !
in their modelling, imitated the Greeks. It must be conceded
that the art of modelling in clay preceded that of working in
metals, in which last the Etruscans particularly excelled,^ espe-
cially in the mechanical treatment. The arrival of the Korin-
thian Demaratus, and of the artists in his train, in Italy, is the
earliest record that can be referred to, of the art of modellino:
clay ; working in bronze having been imported from Greece.
The most remarkable for its size and execution is a group of a
male and female figure, reposing on a couch, found at Cervetri,
of the same style of art as the early bronzes, and wall paintings
of the sepulchres of Italy. The figures are life-size, of rather
* Strabo, V. p. 226; Dennis, II. p. I * Campana, Ant. op. in Plastic;i,c. iv.
J21. - Dennis, II. 479. i p. 10.
^ Tatian. Orut. adv. Cilr;<;c. c. i. : ' Pliny, xxxv. c. lG-44.
442 ETRUSCAN POTTERY. Part ill.
slender proportions, with smiling features, tlie drapery fiat and
formal. This group is made of a clay, mixed with volcanic
sand, resembling the red ware, and is decorated with colour.
It is said to come from Cervetri, where similar figures in relief,
of pale-red terra-cotta, have also been discovered, all probably
older than the foundation of Kome. To the earliest period of
Greek art, and to what is called the Egyptian style, have been
referred a small figure in Berlin, the torso of a Juno Sospita in the
same museum, and the bas-relief of Yelletri.^ It is chiefly from
the Koman writers that our knowledge of Etruscan statues in
terra-cotta is derived, as the Romans, unable themselves to
execute such works, were obliged to employ Etruscan artists for
the decoration of their temples, as will be subsequently seen in
the description of Roman statues. Yolcanius or Turianus of Fre-
genni or Fregellae, or Veil, was employed by Tarquinius Priscus
to make the statue of Jupiter in the Capitol, which was of colos-
sal proportions.^ The quadriga placed on the acroterium of the
same temple, and a figure of Hercules in the Forum Boarium,
were modelled in the same material.^ Numa also consecrated
a double statue of Janus, or a statue of the two-headed Janus,
of terra-cotta.*
According to Pliny, the art of statuary was so old in Italy
that its origin was unknown.^ There was an export trade thence
even to Greece, the greater part of which, in all probability,
consisted of works in metal.^ The art of working in terra-cotta,
according to the same author, was principally cultivated in Italy,
and by the Etruscans. They may indeed have worked from
foreign models, and perhaps from the statues of the Egyptians,
with which the Etruscans first became acquainted when Psam-
metichus I. B.C. 654, threw open Egypt to the commerce of the
world, in the second century of the era of Rome. It was sub-
sequently that the Romans employed Etruscan artists, and
Tarquinius Priscus placed in the Capitol a terra-cotta statue
of Jupiter, made by Volcanius or Turianus.'^ Besides these,
* Hilt, Geschichte der Bildende
Kunst, 8. 93.
^ Pliny, N. H. xxxv. xii. 45; cf.
Sillig. Diet, of Aitists, 8vo, London,
1836, p. 137.
3 Plutarch, Vit. Poplic. i. 409 ; Pliny
N. H. xxxv. c. 45 ; cf. also Martial,
' Ibid., xxxiv. c. vii. 16 ; xxxv. 44, I.
c. 54 ; Dionysius, III. c. 46 ; Strabo, V.
C.2.
^ Ibid., loc. cit.
^ Pliny, N. H. xxxv. c. 45 ; CampJna
(loc. cit. p. 13) prefers the reading
''Fregenis" to " Fregillis," theVolscian
xiv. Ep. 178. town. See Sillig's notes to Pliny, 1. e.
■* Pliny, loc, cit. xxxiv. vii. 16. |
Chap. I.
STATUES AND BUSTS.
443
0.^e
there were numerous fictile statues in the temples of i\ome
called si(j/na Tuscanica, distinguished by their barbarous rigidity,
and their resembling in many respects the works of the .^ginetan
school. The Etruscans la-obably continued to supply Rome
with statues till Southern Italy submitted to her arms. The
popular legends invested these fictile statues with a halo of
superstition. The horses in the quadriga on the apex of the
temple of Jupiter Capitolinus were reported to have swollen
instead of contracting in the furnace, a circumstance supposed
to prognosticate the future greatness of Rome.^
No vestiges of any of these statues remain, and remarkably
few small figures have been found in excavations made in
Etruria, but some singular
busts and models of viscera
have been discovered on tlie
sites of the ancient Gabii and
at Yulci. The busts represent
the face in profile and the
neck ; the back is flat, to
allow of the busts being at-
tached to the wall, and has
in the centre a hole for a
peg to fix it. Models of
hands, feet, of the breasts and
viscera, have also been found,
some having plug - holes ^
for fixing them to statues,
either made of other mate-
rials, or in separate pieces,
like the acrolithic statues of Greece. Some of these may have
been charisteria, or thank-offerings, like those at Athens.
No bas-reliefs like those employed by the Romans to decorate
the walls of edifices have been discovered in recent excavations,
although it is probable that some of the temples were decorated
with terra-cotta friezes. In the tombs, however, a considerable
number of sarcophagi have been discovered, the greater part of
small proportions, ornamented with subjects in bas-relief. The
bas-relief models found at the ancient Gabii have been already
mentioned. In connection with these may be mentioned some
No. 174.— Etruscan Female Bust. Vulci.
• Fostus V. "Ratuineuu.
- D'Agineourt, Kccucil, I'l. xviii. 4.-1 ; xxii. 1-5.
444 ETRUSCAN POTTERY. Part III.
bas-reliefs found in the Sabine territory, engraved in tbe work
of D'Agincourt.
Althongh the more important sarcophagi of the Etruscans
were made of alabaster, tnfo, and peperiiio, a considerable
number, principally of small size, were of terra-cotta. Some
few were large enough to receive a body laid at full length.
Tiie reliefs in the smaller ones seem to have been moulded.
The colour of their paste is either pale red or pale yellow, and
some which were discovered in the tombs of Tarquinii and Vol-
terra contained traces of pyroxene. Two L^rge sarcophagi,
removed from a tomb at Vnlci, are now in the British Museum.
Tbe lower part, which held the body, is shaped like a rect-
angular bin or trough, about three feet high and as many wide.
On the covers are recumbent Etruscan females, modelled at full
leno-th. One has both its cover and chest divided into two
portions, probably because it was found that masses of too large
a size failed in the baking. The edges at the point of division
are turned up, like flange tiles. These have on their fronts
either dolphins or branches of trees, incised with a tool in
outline. Other sarcophagi of the same dimensions are engraved
in the works of Inghirami and Micali, and are imitations of the
larger ones of stone. Many of the smaller sort, which held
the ashes of the dead, are of the same shape, the body being
a small rectangular chest, while the cover presents a figure of
the deceased in a reclining posture. They generally have in
front a composition in bas-relief, freely modelled in the later
style of Etruscan art, the subject being of funereal import ;
such as the last farewell to the dead, combats of heroes, espe-
cially one, in which an unarmed hero, the supposed Echetlus,
is fighting with a ploughshare;^ the parting of Admetos and
Alkestis in the presence of Death and Charon,^ and demons
appearing at a repast.^ Some few have a painted roof. All
these were painted in water-colours, upon a white ground, in
bright and vivid tones, produ(;ing a gaudy effect. The inscrip-
tions were also traced in paint, and not incised. A good and
elaborate example of taste in the colouring of terra-cotta occurs
on a small sarcophagus in the British Museum. Here the flesh
is red, the eyes blue, the hair red, the wreath green, and the
drapery of the figure is white, with purple limbus, and crimson
1 Brongniart, Mus. Cer., I. 3; Inglii-
rami, Mon. Etrusc, tab. xxxviii. p. 25.
^ Inghirami, i. p. 324.
■' Bull. 1844. p. 87.
I
HAP. T. ETRUSCAN BUOWN WARE. 445
border. The pillars are red, with purple and blue stripes. The
beards and hair are bluish-purple, the anus blue, the inside
of the shield yellow, with a blue ground ; the chlamydes yellow,
purple, and erimson ; one blue, lined with purple ; the mitrae
red and blue. Even the pilasters are coloured white, with red
flutes; the festoon of the caj)ital is green, and the abacus red,
the dentals yellow, with a red boss. The inscription is in brown
letters on a white ground. Such a colouring is gaudy, fantastic,
and scarcely appropriate.
Specimens of terra-cotta sarcophagi have been engraved by
Dempster^ and Gori.^ According to Lanzi and Inghirami^
they are seldom found at Yolterra, while they are frequently
discovered in the sepulchres of Chiusi and of Monte Pulciano.*
They. are the prototypes of the Koman urns, which were ranged
in niches round the columbaria or sepulchral chambers.
Beside statues, reliefs, and sarcophagi, numerous vases, differ-
ing in paste and composition, have been discovered in the
different tombs of Etruria. The principal varieties are : 1,
Brown-ware ; 2, Black- ware ; 3, Red-ware ; 4, Yellow-ware.
The brown-wares are apparently the oldest^ Their colour is a
greyish-brown, probably from their having been imperfectly
baked ; sometimes, however, they are red in the centre. Some
vases of this class, the fabric of which is exceedingly coarse,
and which are ornamented with rude decorations, consisting of
punctured or incised lines, spirals, raised zigzags, bosses, and
projecting ornaments applied after they were made, resemble
in their character the Teutonic vases found on the banks of the
Khine, and certain Celtic ones that occur in France and Britain,
from which they are often scarcely to be distinguished.^ They
consist of jugs, oinochoai, small vases with two handles, and wide
cups like the hyathos. In the rudeness of their shapes, and
peculiar treatment, they seem to be imitations of vases carved
out of wood, such as we know the cissibion to have been. The
most remarkable and interesting of them are those found under
the volcanic tufo, near the Alban lakes, which are in the shape
of a tugurium or cottage, and must have contained the ashes
of the early inhabitants of L-itium. Other vases of the same
* De Etruria regali, i. tab. liii.-lv. I Gori, I. tab. Ixvii. I. p. 155 ; tab. clvii.
2 Mils. Etr. III. Prsef. xxii., torn. I. clviii. clx.
p. 92 ; cf. Tab. clvii. clviii. cxci. | * Brongniart, Traite, i. p. 417 ; Dorow,
•* Mon. Etriisc. i. tab. iii. p. 15. j Poteries £trusq[ues proprement elites,
* See also Mus. Etr. Ixxiii. xcvi. ; 4to. 1829.
446
ETRUSCAN POTTEllY.
Talt in.
No. 175 — Tuguriura vase From Albano.
colour, ornamentation, and shape liave been found in the suburbs
of Eome, and also in Etruscan localities, consisting of holkia,
hantliaroi, plates and cups. Their decorations are bosses, studs,
concentric and reticulated
or hatched bands.^ Consider-
able difference of opinion has
however prevailed respecting
the age of these vases. ^ By
some they are supposed to
be relics of the primitive in-
habitants of ancient Eome;
by others, of those of Alba
Longa. One in the British
Museum, presented by Mr.
W. K. Hamilton, is filled with
the ashes of the dead, which
were introduced by a little
door. This door was secured
by a cord passing through two rings at its sides, and tied round
the vase. The cover or roof is vaulted and apparently intended
to represent the beams of a house or cottage. 1'he exterior has
been ornamented with a maeander in white paint, traces of which
still remain. They were placed inside a large two-handled vase
which protected them from the superincumbent mass. Although
the fact of their having been found under beds of lava, originally
led to an exaggerated opinion of the antiquity of these vases,
there can be no doubt that they are of the earliest period of
Etruscan art. The curious contents of one of them, published
by yisc«nti, confirm their very primitive^ use. They have no
glaze upon their surface, but a polish produced by friction. At
Caere have also been found some of the earliest specimens of
painted vases, evidently manufactured upon the spot by the
native settlers, and exhibiting traces of Greek rather than of
Etruscan art. The paste of which these vases are made is pale
reddish-brown, speckled black, with volcanic sand, and gleaming
with particles of mica. Upon the ground of these vases the
» De Witte, Etudes, pp. 50-57.
Archaeologia. xxxviii. p. 188.
2 Urns in shape of cottagi s, of brown
Etruscan ware (Bull. 1846, p. 94), sup-
posed to be of the Swiss guards in the
service of the Romans, were found near
Albano. They were excavated in 1817,
by Giuseppe Carnevali of Albano, and
illustrated by Sig Alessandro Visconti,
Sopra alcuni Vasi sepolcrali rinvcnuti
nelk vicinanze delle antica Alba-Longa.
Roma, 1817.
Chap. I. VASES OF ALBA LONG A. 447
subjects have [been painted in white upon a coarse bla^^k back-
i^round, or in the natural colour of the clay. Dental, helix,
herring-bone, and calix patterns abound, some covering the
whole vase, but on some of the vases of tin's class are introduced
birds, lions, gryphons, and even fish. Some of the figures of
animals are small, and drawn in outline like those of the fawn-
coloured vases found at Melos, Thera, and Athens, but many of
the others are large coarse figures, resembling in style and
treatment those of tlie earliest Greek vases of the style called
Phoenician or Egyptian. None of these early vases have in-
cised lines scratched on the figures to aid the effect of the
painting, which was an opaque colour, laid on as fresco, and not
No. 176 — Group of vases, one in shape of a hut. From Albauo.
burnt in as encaustic on the vases. The drawing was sketched
out in white outline, sometimes consisting of a line of dots, by
the artist, and the background subsequently filled in. The
shapes of these vases also differ considerably from those of
the later Hellenic vases, but resemble those of the fawn-coloured
vases. Similar to these are two other ones, published by Micali,
which were found at the ancient Caere or Cervetri. One in the
shape of a Panathenaic amphora has more mica or tufo in its
paste ; the other, a hydria or three-handled water jar, more
resembles the paste of the vases just described, and has a polish
on its surface. All these have had subjects painted upon them
in opaque colours, like those used on the sarcophagi, and in the
mural paintings of the tombs, in blue, white, and vermilion ;
448 ETRUSCAN POTTERY. Fart III.
one with the Athenian legend of the destruction of the Mino-
taur.^
From tlie remote antiquity of their shape, the absence of
human figures, the tempera character of their drawing, they
are evidently to be referred to the oldest period of Caere or
Agylla, probably to that historically designated as the age of
the Pelasgi and Aborigines, which succeeded the occupation
of the Siculi, during which period Agylla had maintained an
intercourse with Greece Proper.^ The subsequent conquest of
the Etruscans probably introduced a different style of art,^ that
of the black and red Etruscan stamped and
modelled ware — while the Greeks supplied the
city, through the Port of Pyrgi, at a later
period, with vases of all the principal styles
j^ .^', r r.. v„i 5 of their art.*
^o. 177. — Cone. Vuki.
Some objects resembling latrunculi, or
curling-pins or hilhoquets of this ware, have also been found
at Vulci.
The next class are made of a paste entirely black, though
rather darker on the edges than in the centre,^ — and when
imperfectly baked, the black has sonaetimes a lustrous jet-like
polish. It has been conjectured that this ware was made
of a black bituminous earth found in the Etruscan territory ;
according to others it is of a clay naturally yellow, but darkened
by casting the smoke of the furnace upon it. Although some
have conjectured that it is sun-dried, yet an attentive exa-
mination shows that it has been baked in kilns, but at a low
temperature.^ There are, however, several varieties of this
ware, dependent upon the place of maniifacture. Sometimes
it is thick and heavy, at others thin and light. It is found
only in the sepulchres of Etruria, and belongs to the subdivision
of lustrous vases with a tender paste.'^ In many specimens
the lustrous appearance is a mere polish, probably produced
on the lathe. This ware was an improvement on the brown
* Monumtnti Inediti, PI. iv. v. ^ Brongniart, Traite, i. pp. 413-419.
^ Lepsius, Ueber die Tyrrhener, p. ' « Micali, Mon. In. p. 156.
39 ; Dennis, ii. p. 58. j ^ ^.n analysis of its paste gives a
^ Brongniart, Traite', 1. c. mean of 63-34 Silica, 14-42 Alumina,
4 Canina, Cere Anf.ca, p. 16. Cf. j 7*9 Ox. lion and Manganese, 3'25 Carb.
the dedication of treasures to Apollo at ' Lime, 2-12 Magnesia, 7*34 Water, 1-83
Delphi, Strabo, v. 220, and its consulting C.irbon.
the oracle, Horodot. i. 167.
Chap. T.
ART OF BLACK WARE.
44J)
Etruscan sort already described, and exhibits the highest
degree of art attained by the Italian potteries. They are for
the most part made with the hand, rarely if ever turned on the
wheel. The ornaments are often incised with a pointed tool,
and in such cases consist of flowers, resembling the lotus, fes-
toons, rude imitations of waves, or spirals resembling the springs
or armilla) known at a later period, and very similar to the orna-
ments on the early vases of Athens. Sometimes tliey appear
to have been punched in with a circular stamp, and run round
the vase ; while in other instances figures of horses and other
animals, are stamped in the interior.^ Many of these vases have
bas-reliefs, either modelled on the vase,
or pressed out from its mould, which
are disposed as a frieze running round
its body. These friezes have been pro-
duced by passing a hollow cylinder
round the vase, while the clay was moist,
and before it was sent to tlie furnace,
a process identical with that employed
by the Assyrians and Babylonians, in
order to prevent the clay tablets which
they used for written documents being
enlarged after they had been inscribed.^
The treatment of the subject on the
friezes is peculiar. The conventional
arrangement of the hair, the rigidity
of the limbs, the smile playing on the
features,^ the rudeness and archaism of
the forms, not unmixed, however, with
a certain plumpness and softness of
outline, reminds us of the early schools
of Asia Minor and Aigina, as well as of the bas-relief of
Samothrace, and the coins of Magna Grsecia ; all which belong-
to the style of art called by some Egyptian. In some in-
stances the rudeness of the forms seems to be the effect of the
material rather than of the artist's conceptions; and in this
respect their bas-reliefs may be compared with the rude asses
of the Etruscans, the circulation of which did not continue later
No 1 78. — Vase with mouliJed figures
and cover. Vulci.
' Dennis, ii. H.52. dipinti, in the Dissertazioiie dalla
- Storia d'ltalia, toni. ii. p. 278, et soq. Pnntifioia Accademia Romana di
^ Campauari, Intoino i vasi fittili \ Archeologia, torn. vii. 183G, pp. 5-7.
2 G
450
ETRUSCAN POTTERY.
Part III.
than beyond the third century B.C. Other specimens exhibit
all the characteristics of Oriental art in the arrangement and
treatment of the recurved wings, the monstrous animal com-
binations, such as the scrupulous exactitude of detail, and the
ornamental repetition of the subject. The monotony of the
moulded figures is often relieved by incised marks by which
the minor details of the dress are indicated. Those who con-
ceive that they exhibit traces of imitation should remember
that imitative art is the product of a universal decadence — the
evidence that a na-
tion has exhausted its
intellectual capacity:
and that Etruria fell
in her meridian, when
the arts of lier neiah-
hours bloomed in un-
rivalled beauty.
The only traces of
imitation which they
display are those of
other Etruscan works
in metal. The bronze
vases and shields
found at Cervetri,
Caere, are ornamented
in the same manner
Avith circular friezes
chased on the metal.
The idea of imitation
from works in metal
is still more strongly
suggested by the de-
tached figures in com-
plete relief which de-
corate the covers of these vases — the rows of animals' heads, such
as cows, rams, and lions, which pass round their lips, and tlie pro-
jecting knots which radiate from their sides.-^ One most remark-
able vase of this class is modelled like a man standing in a biga,
and the mouths, which are at the top of the horses' heads, are
provided with bow-shaped stoppers.^ From the shapes of this
No. 179.- Oinochoe of Black Ware.
* Mus. Etr. Vat. G., II. xcvi.-xcvii.
'^ Mus. Etr. Vat., xcviii.
Chap. T.
PREVALENT SHAPES.
451
class of vases may be drawn some conclusions derived from Egyp-
tian, Clialdaean, or Phoenician sources, respecting the uses to
which they were applied. They evidently formed part of the
furniture of the Etruscans.^ We find among them the kantharoSy
or two-handled cup; the kyathos or kissijbion, another kind of
drinking-vessel somewliat resembling the modern teacup, the
kothon, or deep cup with two handles ; and a small kylix. A
peculiar kind of goblet, to which the not very satisfactory name
of liolkion has been given, to judge from the description given
by Herodotos of that made by Glaukos, a kind of krater, is
by no means uncommon.^ The phiale, or saucer, and ^inaXy c)r
trencher, frequently occur ; and the vessel called holmos, pro-
bably a krater for holding wine at a banquet, is also found.
No. 180. — Tray or Table of Vases of Black Ware. Chiusi.
The omocJioe, or wine pitcher, either with the vine-leaf shaped
or the circular mouth, is of frequent occurrence ; but the
lekythos, or oil cruse, is uncommon, and the alahastros alto-
gether unknown. The two-handled vase with a cover, called
lekane, is found, which seems to have served the purpose of a
box or basket among the ancients. There are also vases of
unusual shape, and even of grotesque appearance ; among them
a kind of cubital, the use of which is utterly unknown. Objects
supposed to be braziers, or trays,^ are also to be found among
them ; but these are probably stands to hold other vases. They
often contain spoons as well as other curious little vases of
» Denuis, ii. 352.
2 Ibid. Cf. Brongniait, Traite, PI.
XX.
3 See Dennis, ii. 325; Ingliirami,
Mus. Cliius., tav. 40, p. 39 ; Mon.
Etrusc., vi. tav. 6, 5 ; Micali, Antic. Pop.
tav. xxvi.-xxiii. ; Brongniart, Traite,
PI. XX. fig. 12.
2 (> 2
452 ETRUSCAN POTTERY. Part 111.
UDknown use. The celebrated rhyton, or drinkiiig-cnp which
could not be set down, is also found among this w^are.-^ The
most extraordinary application of it, however, was to sepulchral
purposes. Here the potter has exhausted all the resources of
his art. He has endeavoured to invest the clay with metallic
power, and to work it up into shape that conveys an idea of
metallic strength. One of the simplest forms of tliese vases is
the hanofos, or jar resembling those in which the Egyptians
placed the entrails of their mummies. The Etruscan kanopoi
are rude representations of the human figure, the heads which
are coifed in the Egyptian manner forming the covers.^ The
eyes are sometimes inlaid. They have large earrings which are
moveable. They have holes supposed to be intended to allow
the effluvia of the ashes to escape. When they had received
the last remains of mortality, they were placed in the tombs
on curule cliairs of oak or terra-cotta. In this respect tbey
resemble the tufo sepulchral figures of early style found at
Chiusi, which separate into two pieces, and have in their lower
part a hollow bowl scooped out to receive the ashes of the dead.
This method of placing the mortal remains of a person within
a representation of himself, is peculiarly Egyptian, and recalls
to mind the orientalism of certain Etruscan remains. The cir-
cumstance of burning the dead cannot be considered as a fatal
objection to the antiquity of these vases; and although the
kanopoi are probably not anterior to the fourth century B.C.,
they are not to be regarded as modern.^ A vase found at
Cervetri is a remarkable instance of this style. It is a modi-
fication of the holhion, and is supposed to have been used as
a thymiaterion. The bowl or upper part ih ornamented with a
star and lune, it is attached to the side, or upper part of tlie
stem by objects resembling studs rather than columns, and
the stem is divided into two bowls or inverted cups.* Unfor-
tunately the subjects in the small friezes are imperfectly defined,
especially the attributes ; yet enough is seen to enable us to
draw some general conclusions.^ They seem to be later than
the early vases of Athens, with their elongated animal forms,
or than the early Doric ware with its extraordinary human and
animal figures, as seen on the vase of Civita Vecchia, repre-
^ For vases see Micali, 1. c. xiv.-xxvii. 1 them modern; Dennis, 1. c. p, 359
2 Dennis, II. 356, n. 8 ; Micali, Mon.
In. p. 151.
3 Abekcn, Mittel-Itnlien, 273, thinks
* Dennis, ii. p. 58.
^ Brongniiirt, Tiaite, PI. xx. fig*. 1,
3,4, 5, (\, 7, 0. JO, XX. lln, 12.
Chap. T.
INSCRIPTIONS ON BLACK WAIIE.
453
seating the battle of the Lapithai and Kentanrs. Yet the
mythology which they present seems obscure and shadowy,
and in a state of transition from its Asiatic prototypes. It is
not Etrnscan, for none of the local divinities appear ; it is rather
oriental Greek, with till its primitive monstrous combinations
of human and animal forms, before it had been refined by the
national genius and taste, and endowed with ideal beauty. It
is ante-Homeric, since the legends are cither entirely different
from tliose of the
Epic cycle, or else
such as are alluded
to, or borrowed, as
antecedent tradi-
tions, in the Iliad
and Odyssey. The
Korinthian legend
of Bellerophon re-
presented on them,
has like the Milo
terra-cotta an un-
winged Pegasos, the
hero and his son
Peisander. The
grand exploit of the
Perseid has two Gor-
gons, one with the
head of the horse Pe-
gasos issuing from
the neck, and the
swan or Graia. On
others are divinities
grouped like those
on the Harpy monu-
ments at Xanthos.
The vases of this
style have no inscriptions referring either to the subjects, the
artist or the potter. This is a remarkable fact and confirms
their high antiquity ; for in the middle period the use of in-
scriptions was common. When inscriptions do occur they are
not essential, being subsequent to the fabric and scratched
in with a point after it has been made. These subsequent
inscriptions, which seem to be the potter's memoranda, are
No. 181. — Oinochoe of Black Ware. Perseus and the Gorgons.
454
ETRUSCAN POTTERY.
Part III.
placed at the bottom of the vases, having black and red
figures, and are generally in the Etruscan language. Many
vases of Etruscan black ware have these inscriptions, and that
on a cinerary urn is mi tesan Iceia tarchumenai} One jug is
known that has an inscription, and several inscribed slabs have
been found. In the tombs of Cervetri ^ two of these vases, whicli
had probably been employed as an inkstand, had a Greek
alphabet and syllabarium scratched on them, but this, like the
other inscriptions, is incidental rather than necessary. All
these vases precede the period when names, whetlier of the
figures or of the artists, were introduced. As the arrangement
of the alphabet just alluded to differs from that established by
the Alexandrian grammarians it may be useful to give it here,
viz. B, C, Z, H, Th, M, IST, P, K, S, Kh, Ph, T.
At Bomarzo ^ another vase had an Etruscan alphabet thus
arranged : A, C, E, F, Z, H, Th, I, L, M, N, P, S, T, U, Th, Ch,
Ph. From the form of the letters, especially from the Q or
aspirate, and the E, it is evident that the inscription is con-
temporary with that on the helmet of Hiero I. in the British
Museum ; while the introduction of the double letters proves
it to be of the age of Simonides. Of these the archaic H,
written g, is excessively remarkable, and points out the
original form as analogous to the aspirate which is thus
shaped on the early coins of Thebes. On another vase of this
class was found what has been called a Pelasgic inscription,
supposed to be two hexameters.* The vases of this class are
discovered only in a limited range of country. They scarcely
appear to the south of the Tibur, and the most northern sepul-
chres in which they are found are those of ^ Siena. In the old
tombs of Cervetri ^ or Caere Vetus, on the site of Veii, Orte,^ and
Viterbo,' at Vulci,^ at Palo, the ancient Alsium,® at Chiusi or
Clusium, Sarteano, Castiglioncel del Trinoro, Chianciano,^^ and
Cesona,^^ six miles to the west of Chiusi ; also at Magliano ^^
Orbetello,^^ Orvieto,^* especially at Volaterra,^^ and Cortona,^®
* Micali, Moil. In,, tav. Iv. 7.
2 Dennis, ii. p. 54.
' Lepsius, Annali, 1836, p. 186, 203 ;
Ueber die Tyrrhener-Pelasger, p. 39, 42.
* Dennis, Cities, 1, 225, v.
^ Dennis, Cem. and Cit., p. 58.
« Ibid., 164. ' IbM., 197.
» Ibid., 410. 9 Ibid., ii. pp. 72-73.
'« Dennis, ii. pp. 101, 409; Micali,
Ant. Pop. Ital., tav. xxii. xxvi. ; Mon.
In., xxviii.-xxxi. ; Mus. Chius., xii.-xix.
xxi.-xlv.-lxxxii, ; Dennis, ii. 348.
'• Ibid., pp. 402, 425.
•2 Ibid., ii. 296.
'3 Ibid., ii. 265. '^ Ibid., ii. 528.
'^ Ibid., ii. 203. '« Ibid., ii. 442.
Chap. I.
ETRUSCAN RED WARE.
455
numbers of tliese vases are found. The vases of the different
localities are, however, distinct in style; those from Chiusi,
Volaterra, Magliano, and its neighbourhood, have figures in
bas-relief, while those from Palo and Veii, have the figures
incised or engraved. In many instances, they are entirely
plain. The solution of the question as to their relative an-
tiquity has been much retarded by the uncritical and careless
manner in which the tombs have been opened. At Palo the
incised vases were found in excavated tunnel tombs, like the
Egyptian sjpeoi^ and in these were what have been called Egyp-
tian remains, as painted ostrich eggs, and beads of an odorous
paste. At j\lagliano such remains were found in se[>ulchres
with the scarabaei. The vases with subjects in bas-relief, appear
to be found in tombs with the ala-
baster sarcophagi, most of which
cannot be placed earlier than the
third century, B.C. In none were
found coins which would have been
of much service in fixing the age
of the vases of this class. Most of
them appear to be prior to the
circulation of the as gravis of Italy.
There is some reason to believe
that this black ware was that sup-
posed to have been made by the
corporation of potters in the days of
Numa, B.C. 700 ; * for Juvenal men-
tions it as being in use at that
period : " who dared, then," he says,
*' to ridicule the simpuvium and the black saucer of Numa ? '
while Persius ^ styles it the Tuscum fictile or Tuscan pottery ;
and it appears from Martial that Porsena/ B.C. 507, had a dinner
set of the same ware. Horace also speaks of the Tyrrhena sigillay
or Tyrrhene pottery.^
Tlie next class of vases to be considered is that of the red
ware, of which there are two or three different kinds. The first
consists of certain large jars resembling the cask, pitJios or keramos,
in which wine and other things were stored, and which, long
before the time of Diogenes, afforded a retreat to Eurystheus
No. 182.— Painted Ostrich egg. Vulci.
' 2
' Pliny, N. H., xxxv. xii. 46.
' Juvenal, vi. 343
3 Ibid., ii. 60, Schv 1. Vet., " Vilcm
fictileinque a Thuscis olim factum."
* Martial, Epig. xiv. 98.
» Epist., II. 2, V. 180.
456 ETRUSCAN POTTERY. Part II [.
when lie fled at the sight of the Erymanthian boar. Such a
vase also formed the prison of Ares, when bound by the twin
Aloids, Otos and Ephialtes. The bodies of these vases are
reeded, and there is usually a bold modelling running round
the neck, for which a frieze, with figures of animals, is some-
limes substituted, resembling those on some of the black ware.
Sometimes the friezes have hunting-scenes of animals chased
by persons in chariots ; at other times they represent enter-
tainments. The friezes were impressed from a cylinder with
the subject incised. These vases often have handles, thus
forming a kind of large amphorae or diotae. They generally
stand in flat circular dishes of a similar ware, but of a finer
paste, the broad and flat lips of which have friezes of similar
subjects impressed in bas-relief with a cylinder. These vase
are very old, probably B.C. 700, and are chiefl.y found in the old
Etruscan cemeteries, in the tunnelled tombs of CervetnV or
Caere Vetus, or at Tarquinii, and on tlie site of Veii. Their paste
is of a dullish red colour, and of a gritty material, apparently
mixed with tbe tufo of the soil. Sometimes they are of a pale
salmon hue, mingled with black s])ecks or ashes, probably of a
volcanic nature. The bodies of these vases are too lai'ge to have
been turned upon the wheel, and they must consequently have
been modelled.
As they are found in tombs which contain no painted vases,
they evidently belong to the earliest period of the Etruscan
conquest. They are about three feet four inches, with expand-
ing mouth, and body tapering to a cylindrical foot. A festoon
or zigzag line in relief usually runs round the neck of these
vases, the body of which is reeded, and a ring or band in bas-
relief round the foot. On the shoulder of these vases is a frieze
or zoidion either impressed from a cylinder and then run iji a
continuous repetition round the neck, or else stamped from
a mould about 2^ inches square, depressed like metopes. Their
upper surface is flat like work in ivory, and they seem moulded
from bronze or other metallic work. That these were separately
stamped is evident from some having been double struck, and
others having been only half struck, owing to their interfering
with the part already impressed. These latter ornaments or
metopes contain generally only one figure, wdiile the friezes have
a subject successively repeated. The connection of these vases
' Mils, Etr. Vat., ii. xcix. c.
Chap. T.
GREAT JAKS.
457
of Cfcro with the early metallic works of Egypt and Assyria
will appear from the animals and monsters represented, which
show an acquaintance with Asiatic art, either derived from the
early commerce of the Etruscans, or introduced to them by
other means from Asia. Such patterns probably passed over to
Greece and Italy from the western coasts of Asia Minor and
from the Phoenician seaports in Syria. The most remarkable
of these representations indeed are to be found on the silver
cups and other gold objects discovered in the tombs of Ca3re,
which show a style of art immediately derived from Egypt,
and such as existed in Egypt during the reign of the Psam-
metichi, when the ports of the Nile were thrown unrestrictedly
open to Greek commerce, and Egyptian art and even language
appears in the annals of Korinth about the 7tli and 8th century
before Christ. This art which is also found in Assyria is refer-
able to the Phoenicians, who made the vases and other works
in bronze of the monarch of Assyria in the 9th century, B.C.
In the 6th century, B.C., the Etruscans had probably developed
a brisk trade in the Mediterranean, and ivory, ostrich eggs, amber,
Egyptian porcelain, and tin found in the articles of adorn-
ment of the oldest sepulchres, show the extent and activity of
the national adventure. The vases of Greece Proper indeed had
not yet been imported, but the great casks or dolia, of which
mention is now made, were manufactured on the spot, probably
imder the direction of colonies of
Greek and other potters. Such a
fusion of Hellenic art is visible in
the subjects, which are Sphinxes,
Kentaurs, horsemen, wild birds
perched on the back of the horse,
Pegasoi, Gorgons, and Chimaeras,
winged lions uniting in a common
head, man hunting a stag, lions,
birds, and similar subjects. These
so nearly resemble the vases of
pale clay with friezes of animal
figures, that they must have im-
mediately preceded them.
Of a deeper red, but of rather
finer paste, a!id covered with a coat-
in'>' of red paint are certain dishes found in the sepulchres of
Vulci and other places, and almost resembling the Aretine ware.
No. 1 83. — Etruscan Kanopus of Terra-cotta.
458 ETRUSCAN POTTERY. Part III.
Many jugs or oinochoai, phialai or saucers, aslvoi or bottles, and
a few eu})S, are also found of a red paste, more or less deep in
colour and fine in quality. But the most remarkable vases of
this sort are those which held the ashes of the dead, rudely
modelled in shape of the human form, the cover representing
the head, and having in front small rude arms and hands.
'These were placed in the tombs in curule cliairs of the same
material, as if the dead still sat there in state.
Of pale yellow ware of fine quality, but imperfectly baked,
are certain lekytlioi and perfume vases, found in the more ancient
sepulchres. These very much resemble the painted vases called
Doric, but are not decorated with figures. They are modelled
in the shape of animals, of Yenus holding her dove, and other
types ; and some were perhaps made by the Etruscans. Various
unglazed vases of a light-coloured paste come from the Etruscan
sej)ulchres, and such may be occasionally contemporary with the
earlier vases, but the general mass of this pale ware appears
referable to a later period.
Although the Etruscans executed such magnificent works in
bronze, exercised with great skill the art of engraving gems,
and produced such refined specimens of filigree- work in gold,
they never attained high excellence in the potter's art. The
vases already described belong to plastic rather than graphic
art, and are decided imitations of works in metal. Their mode of
painting certain vases in opaque colours, in the manner of fres-
coes, which were not subjected a second time to the furnace,
has been already described. These were probably their first
attempts at ornamenting vases with subjects, and such vases are
as old as the sixth century B.C. These vases are quite distinct
from the glazed vases of the Greeks, which, however, the Etrus-
can potters imitated, although not at their first introduction
into the country. They subsequently produced imitations of
the black and red monochrome vases, as appears from a few
specimens which have reached the present time, and which are
in the different Museums of Europe. In order to make these
imitations they used different methods. The vases with black
figures upon a red ground were produced, either by making a
vase of pale paste and painting upon it a subject in a black
glaze of leaden hue, or else by painting an opaque red ground in
an ochrous earth over the black varnish of a vase entirely
coloured black, of which an example may be seen in the hydria
now in the British Museum, representing the subject of a giant
Chap. I. ETRUSCAN PAINTED VASES. 459
attacked by two gods. In this case the inner engraved lines
are usually omitted. This mode was, however, not exclusively
Etruscan, for a vase found at Athens, has its subject painted in
a similar manner, in red upon a black ground. Another vase in
the Bibliotheque Nationale, at Paris, with the subject of Chiron,
has been painted u})on the same principle, and this process has
been adduced as a proof that the art of making painted glazed
vases was a mystery to the Etruscans. But there are several
vases of pale clay, painted with a dull leaden glaze, and of treat-
ment so bad, and drawing showing such remarkable analogies with
other works of Etruscan design, that their origin is undoubtedly
local, and they are called by Italian antiquaries *' national." The
subjects of these vases generally show traces of Etruscan influence
and often resemble the friezes of the solid black ware, abounding
in winged figures and monstrous combinations, not capable of
explanation by Hellenic myths, or else have scenes derived from
private life. Many of these vases are evidently much later than
the vases with black figures, which they attempt to imitate, and
must have been fabricated at a late epoch. To produce imita-
tions of vases with red figures, the Etruscan potter adopted the
processes already described. In the vases with black figures
he stopped out, with an opaque red ground, all but the required
figures ; but to produce a vase with red figures, the required
figures were painted in an opaque red, apparently a pulverised
clay, on the dull leaden background of the vase. The figures
were relieved by passing a tool, not so sharp as to cut through
the black glaze, through the required details of the opaque red
figure down to the black glaze, thus producing the inner black
outlines usually painted on the red figures of the Greek vases of
the more finished style. But they also manufactured a ware
of paler paste, with figures of a pallid tint, and glaze of a leaden
hue, drawn in imitation of the finer Greek vases. Their drawing
is bad, and tlie subjects generally unimportant. Sometimes
Etruscan deities, such as Charon with his mace, are represented
on them, which decides their Etruscan origin. The general
mass of the vases of this style and period resemble those of the
later Greek potteries found in the sepulchres of Puglia, and of the
Basilicata. Although their shape is less elegant, their clay less
fine, and their inscriptions generally more local than those of
the Greek vases, yet their subjects are generally derived from
the Greek mythology, treated in a manner consonant to the
Etruscan taste, and to the local religion, while their drawing is
460 ETRUSCAN POTTERY. Part HI.
of the coarsest kind. One vase of this class had for its subject the
farewell of A'lmetos and Alkestis/ with Etruscan inscriptions ac-
companying the figures, and an Etruscan speech issuing from the
mouth of one of them. There is depicted, behind Admetos, one
of the horrid demons of the Etruscan hell, probably intended for
Hades or Thanatos, girdled in a sjiort tunic and holding in each
hand a snake. Behind the faithful wife is Charon, with his mace.
On a second vase of the same style and fabric, found at Vulci,
Neoptolemos is represented killing a Trojan prisoner, probably
Polites, also in the presence of the Etruscan Charon ; while, on
the reverse, Penthesilea, or her shade, is seen, accompanied by
other figures, to which are attached an undeciphered Etruscan
inscription.^ A third vase of the same class has on it Ajax, de-
signated by his Etruscan name, committing suicide by throwing
himself upon his sword, after the fatal judgment respecting the
armour of Achilles ; while on the reverse is the unfortunate
Aktaion, also designated by his name, killed by his own dogs.^
On one of these vases, the Etruscan name, Elenai, of " Helen,"
inscribed upon an oval object held by a female, and addressing
a man, is supposed to represent Leda showing Tyndareus one of
the eggs from which spring the Dioskouroi, Helen, and Klytai-
mnestra.* The age of these vases is universally referred to the
very latest time of the existence of the potteries, and those Avith
the opaque red figures are supposed to have been made between
the fall of Veii, A.v.c. 359, B.C. 395, and the civil wars of Marius
and Sylla, B.C. 90.^
Connected with these vases are certain others of pallid clay,
figures of a light tone, white accessories, dull glaze, and coarse
shapes, discovered in the sepulchres of Orbitello and Volaterra,
on which are painted figures, armed with the long oval buckler,
and the square Roman scutum.^ These vases are almost the
last examples of the glazed kind produced in Italy, and were
succeeded by a class of excessive interest, of which, however,
only a few examples have been found. Their subjects are
painted in opaque white colour upon a black ground, in drawing
* Engiav( d in Dennis, The Cities [ sertazione, 1. c.
and Cemeteries of Etruiia, vol, ii. [ ^ R. Rochette, 1. c.
Frontispiece. 4 Micali, Mon. In., xxxviii.
2 Raoul Rochette, Sur deux vases, i ^ Annali, 1834, pp. 81-83 ; Gcihard,
peiuts du style et de travail Etrusque, I Rapp. Vole., p. 31, n. 177.
Annali, 1834, 274 ; Campauari, Dis- « Inghirami, Vas. Fit. ccciviii.
Chap. T.
ETRUSCAN INSCRIPTIONS.
461
of the coarsest kind, far inferior to the best examples of this
class of vases found in southern Italy, and consist of figures of
Cnpids or Erotes, accompanied with old Latin inscriptions, such
as VOLCANI POCOLOM, KERI POCOLOM, BELOLAI
ACETAI POCOLOM, the cup of Vulcan, of Janus Bel-
Ion a, or Acetia or Aequitas, in Latin as old as the age of
Ennius and Plautus. Why these inscriptions were placed upon
them is uncertain. Perhaps, as all of them have the names of
deities, they may have been placed before the images of the
gods, or at tlieir lectisternium. The archaic form of the word
Pocolom, resembling that of Romanom of the coins of the
Komans struck in Campania, shows that they were made about
the time of the Social War, B.C. 200, at the earliest, and pro-
bably much later. They were found at Orte.^
The inscriptions which accompany the Etruscan vases are of
two kinds, like those on the Greek, namely, such as are painted
on the glaze of the vase itself, descriptive of the figures and
other circumstances connected with the subject, and such as
are incised. The former are painted in an opaque colour, white
or red, and are in the Etruscan language, resembling those
which accompany similar figures on the engraved scarabsei, or
bronze mirrors. Such are the names of the deities ^ADV*
Charu[n],- or Charon ; of the Kentaur >y \ DV, Chiru[n], for
Chiron ; and of the heroes Al FAZ, Aivas or Ajax ; ATDESTE,
Atreste, or Adrastus; AKTAIVN, Actaiun, or Aktaion ; and of
the females EVINAI, Elinai "of Helen"; AVC STI, Alcestis ;
and r ENTAS I AA, or Penthesilea. Some other of these painted
inscriptions are not equally intelligible, having such words as
eiNOIAA TVPMVCAS, Hinthial Turmucas, ''the crowds of
shades" which accompany Penthesilea, and ECA^EDSCE^
NAC : A^ DVM : SLEDODCE, eclia: erscJie : nae aqrum:
wiertherche, the speech of Charon at the parting of Alkestis
and Admetos, " I bear thee to Acheron." Some few of
the inscriptions, painted on the vases after the baking,
seem to refer to the vase itself, ^\J/A A^ M AAI"^,^ mi
laris aaqs A \A ^ A I ^ ® A <^ A I *y j ^ mi aratlisilguna, which
are painted, in white and red. On a deep krater is found
^ V\/3 70<IAnI .'^3I3V131 Veneies Lartlioelus, and on
another krater ; 2MOA l^ahBHai, Veneies Aphns.'^ As
' Secchi, Bull. 1837, p. IBO, 1843, p.
127; 1843, p. 72.
2 Mus. Etr. Vat., II. xcix. 2.
3 Ibid., 3. ^ Ibid. 3.
462
ETRUSCAN POTTERY.
Part 111.
the Etruscnn word mi is supposed to stand for "I am," it is
probable that the inscriptions refer to the vases themselves, or
to their proprietors, as " 1 am the cup of the Lar ;" " I am the
bottle, lagena, of Aruthsi " or " Aruns."
A still larger class of inscriptions are the incised, or engraved.
They are found on Etruscan vases of all classes, but more
frequently on the solid black ware than on the painted vases,
on which last, however, some examples occur. Thus a rhyton,
formerly in the collection of the Prince of Canino, and now in
the British Museum, has under one of its handles, IOsl)>J^3
^3IS^A<aJ WAV \/y&yJ^ , Efpujpoi ululun plaqies apparently
an address to Ululuns, or the Etruscan Dionysos.^ Gene-
rally, however, the name alludes to the proprietor, as on the
vase found at Tarquinii, republished by Tnghirami, reading,
a^3 + 2 3^ igi-+M3^ ^AAN^4A»^ 1^ mi Marqaas
Seniles Questes, " I am [the dish of] Marcus Sentius Cestius." ^
In the numerous examples given in tlie work of IMicali,^
other inscriptions are unmistakably the names of the ancient
proprietors, as, ^ A H 1 4 VA Z , Spuriiias ; N V M 3 ►I ,
Senuli, or Menuli, " of Menulus ; " :^AIA^A>1, Lasnas.
8ome otlier inscriptions appear to refer to ladies, and are
prefixed by the word B s/ A> , imitated from the Greek, as
AZ3 0A^\\J^3>J (\^, Kale Mukathesa, "the lovely Muka-
thesa ; " but it is difficult to feel sure about the meaning
of many of these inscriptions, as they frequently consist of
truncated words, whilst others do not recur elsewhere. A small
vase found at Bomarzo, and another at Cervetri, were incised
with the Etruscan alphabet. The presence of incised inscrip-
tions'^ in the Etruscan language under the' feet of vases lias
been alleged as a proof that these vases were made in Italy ;
but this, of course, turns on the circumstance, if the inscriptions
have been incised after the clay was baked.^ Even at Nola a
few vases have been found inscribed with Oscan inscriptions,®
supposed to be the names of their former possessors, and some
terra-cotta tablets inscribed with Oscan characters were found
1 M. De Witte, Descr. d'une Coll.
de Vases ptiiits, 8vo., Paris, 1837, no.
198. Perhaps " plaqies " is for '• places,"
" thou please.st."
2 Inghirami, Mon. Etr., tav. vi. s. vi.
T. O. 37.
' Antichi Monumenti, fo. Flor. 1832.
tav. ci.
* Arch. Zeit. 1844, s. 835.
^ Bull., 1844, p. 13 ; Berl. Ant. Bild.
no. 1(567.
« Berlins Ant. Bild. no. 1013. 1G29.
Chap. I. VASES FROM OTHER SITES. 463
in the valley of Gavelli, at a place called La Motte, six miles
from Hadria.^ A few vases of the later style of art, when
pottery had fallen into discredit, have the Latin inscriptions
already mentioned painted in white letters on them, and
intended to describe their use, as KERI : POCOLOM, the
Clip of Kerus, or Janus ; VOLCANI : POCOLOM, the cup
of Vulcan ; BELOLAI : POCOLOM, the cup of Bellona ;
LAVIIRNAI : POCOLOM, the cup of Lavenia; SALVTES :
POCOLOM, the cup of Salus; AECETIAI : POCOLOM, the
cup of Aecetia or Aeqnitas.
The enamelled perfume bottles, and other objects of this
ware, sometimes found in the tombs of Etruria set as jewels, in
frameworks of gold, and considered by Italian archaeologists to
be certainly discovered in these sepulchres, are products of the
Egyptian potteries. The Etruscans, masters of the seas, im-
ported enamelled ware from Egypt, glass from Phoenicia, shells
from the Red Sea, and tin from the coast of Spain or Britain.
This ware is generally with a tarnished hue, and often of a pale
grass-green colour, resembling that which was made in Egypt
at the time of the 26tli dynasty or the seventh century B.C. It
has been previously described.
Many terra-cotta statues, bas-reliefs, have been found in other
cities, the art of modelling and working terra-cotta having been
in activity all over the Italian Peninsula. Notices of the vases,
and other objects in glazed ware, will be found in the chapter
on the distribution of the potteries. It would require a long
research to describe all the Italian sites where terra-cotta
remains have been found, and in style of art and method of
execution they resemble Greek or Roman terra-cotta, according
to the site where they have been discovered. Those from the
cities of Southern Italy, Magna Gra3cia, and Lncania, such as
Calvi or Cales, Canosa, Psestum, Tarentum, are in all respects
similar to contemporary productions of Greece Proper. Some
bas-reliefs found at Capua,^ not of very early work, about B.C.
200, are supposed from their style and representation to be
Samnite, while a considerable collection of terra-cotta statues
from Ardea, in the Campana collection at Rome, exhibit the
style of Latium in the days of the Republic, and consist of
figures of considerable merit, of rather a severe style of art.
• Muratori, dix. 2.
"^ Riccio, Not. rl. s^av. d. suol. d. ant. Capua, 4to., Napoli, 1855.
V or THE
464 ETRUSCAN POTTERY. Part TIL
They are important, as this city had a great celebrity for its
ancient fresco or tempera paintings. Among the objects deci-
dedly of Samnite art discovered at Capua are two stamps
impressed on terra-cotta bricks with Oscan inscriptions ; one
repiesented the head of Pallas Athene with a triple-crested
helmet, the other a wild boar.^
» Bull., Arch. Nap., 185:5, p. 182.
PART IV.
ROMAN POTTERY,
CHAPTER I.
Bricks — Lydia — Tetradora — Pentadora — Size — Paste — Use — Houses —
Tombs — Graves — Tiles — TcgulJB — Imbrices — Antefixal ornamentation —
Tile-makers — Flue tiles — Wall tiles — Ornamentations — Drain tiles —
Tesserae or tessellae — Inscriptions on tiles — Stamps — Farms — Manufactories
— Legionary tQes — Devices — Columns — Corbels — Spouts — Friezes.
In treating of the Roman pottery it is not necessary to repeat
the description of the technical parts, as they were the same as
among the Greeks. Commencing, therefore, as in the other
sections, with bricks: they were called "Xa/eres," "becanse,"
says Isidorus, '* they were broad, and made by placing round
them four boards." ^ Their use was most extensive, and they
were employed as tiles for roofing houses, as bricks for structures,
as slabs for pavements, and covering graves. The kilns were
called lateraria, and the Greek makers laterarii. The simplest
kind of bricks were made of clay merely dried in the sun, called
lateres crudi, or raw bricks, and were used for building walls.
The clay of which they were made was called argilla or Ihnus ;
and they were cemented together by clay or mud, called lutum?
According to the Roman writers, bricks were divided into three
classes. " Three kinds of bricks," says Vitravius, " are made ;
one, which the Greeks call Lydion, which our people use, one
foot and a half long, and a foot broad. The Greeks build
their edifices with the two other kinds. One of these is called
the jpentadoron. For the Greeks call a palm doron; whence the
presentation of gifts is called doron, for that is always borne in
the palm of the hands. Hence, that which is five palms long
every way is called pentadoron, and that which is four, tetra-
doron. Now public edifices are built with the pentad or on,
' Origin., xv. 8.
■^ Pliny, N. H., xxxv. 13, 49. Varro,
de Ee Rustica, i. 14 ; Columella, de R
Rusticu, ix. 1.
2 H
46f5 ROMAN POTTERY. Tart IV.
private with the tetradoronr ^ Pliny states nearly in the same
words, " Their sorts of bricks are three, the Lydion, which we
use, one foot and a half long, and one foot broad ; the second,
the tetradoron ; the third, the joentadoron. For the ancient
Greeks called a palm a doroUf and hence dor a are gifts, which
are given with the hand. Therefore, they are named from their
measures of four and five palms. Tlieir breadth is the same.
The smaller are used in Greece for private buildings, the larger
for the public edifices." ^ For public buildings the Komans
used tridora tiles.^ There is, indeed, some discrepancy in the
dimensions of bricks, as Palladius makes them measure two feet
long and a foot wide, while the others give their dimensions as
a foot and a half long by a foot wide and four inches thick, but
their dimensions may have been altered in the interval between
these writers. Two dimensions are recorded by the brick-makers
in the numerous inscriptions, hi^edales, or two-foot bricks, and
secipedales or sesquipedales, one and a half, which occur amongst
the names of the makers of the oj>us doliare. The Lydian^
were probably so called from their resembling those used in the
palace of Kroisos, at Sardis, the dimensions of which were rec-
tangular like the didoron, of which they appear to be but
another name. In their proportions they resemble our tiles
rather than bricks, being very flat and thin in proportion to
their size. They are generally square or rectangular, with the
exception of the cylindrical hand bricks.^ The smallest size, the
tetradora^ generally measure between seven and eight inches
square. Pentadora are often found measuring fifteen inches, by
seven and a half inches broad. Some of the larger, which are
twenty inches square, are the hijpedales. Their thickness varies
from one and a quarter inches to two inches. They are not
made with mechanical accuracy, the edges being rounded and
the sides not always parallel. In military works they were
often used alternately with flint and stone, and for turning
arches of doorways. For this purpose the two sizes were some-
times combined, in order to bond the work, the hijpedales
tegulm, or "two-foot tiles," as Yitruvius calls them, and the
sesquijoedales, or *' tiles of one and a half feet." The dimensions
of the bricks found in Sicily varied from two palms six inches
to one palm nine inches in length. Those of Treves were one
^ Vitravius, ii. 3. 1778, p. 150.
2 Pliny, N. H., xxxv. 14, s. 49. | * BeBe Rustica, vi. 36, 12.
» Schoenvisner, ' de ruderibus Laconi I * For the mode of ronstruction see
Remain in solo Bndeiisi,' fo. Budn?, ; Piranesi, T. iii. tav. v.
Chap. T. DIMENSIONS Ob' liiaCKS. 467
foot three inches broad, one and a quarter inches thick ; others
from Civita Veccliia, in the Museum of Sevres, measured 0*65°
hmg by 0*5^ thick. The general size of the Roman bricks was
15 X 14 inches by two inches thick. The hypocausts had tlie
pillars of their floors formed of bricks, from seven or eight
inches to ten inches square, hessales, and sometimes of two
semicircular bricks joined at their diameter, and so forming a
circle.^ Occasionally the upper bricks diminished in size, in
order to give greater solidity to the construction. The upper
floor bricks, or tiles, were from eighteen inches to twenty inches
sqiiare, and formed the floor of the laconicum. All these were
laid with mortar.^ The great building at Treves, called the
place of Constautine, is built of penfadora burnt bricks, 15
inches square and 1^ inches thick.^ The researches of Mr. J. H.
Parker at Rome, kindly communicated to me, give the following
dimensions. The bricks of the time of Nero, a.d. 50, are 6 to 4 ;
those of Hadrian, a.d. 110, from 8 to 11 ; of Aurelian, a.d.
250, from 6 to 11 ; and of Maxentius and Constantine, a.d.
320, from 4 to 12 inches. Baked bricks, called cocti or coctiles,
were in general use. Clay, which was either whitish or de-
cidedly red, was preferred ; and, as is evident from inspection,
was well ofround and mixed with straw. It was then kneaded
and stamped out from a frame or mould of four boards. The
bricks then went through the usual process of drying in the
brick-field, indeed some of them bear the marks of the feet of
animals and birds, which passed over them while the clay was
yielding and unbaked, and on a brick at York and at Wiesbaden*
are the nails of the shoes of a boy ; on those in the Museum of
Shrewsbury, the imprint of the feet of a goat. The bricks were
then baked — an operation expressed by the phrase lateres clucere ^
in kilns apparently covered as the fornax. They were then
ready for use, but were kept for two years before they were
employed. Much care was taken in their prepai-ation, and it
was generally considered that the spring was the most favoui-able
time for making them, probably because they dried more slowly
and were less liable to crack during the operation ; in autumn
' See Caiimont, Cours d'Anliq., ii. j floors were made of flange tiles.
PI. XX. figs. 1-5, pp. 161-G5. ' Wyttenbach, Guide to the Roman
* Caumoit, Cours, PI. xx. pp. 170-71; Antiquities of Treves, p. 42; R. Smith,
cf. Buckman and Nevrmarch, Illnstra- Collect., II. xxvi.-xxvii.
tions of the remains of Roman Art in | ^ Rossel, K., Romische Wiesbaden,
Cirencester, the site of the ancient \ 8vo. Wiosb. 1858, p. 48.
Corinium, pp. G4-66. The bricks of I ^ Pliny, N. H., vii. 57.
the pilne were 8 inches square ; the
2 H 2
468 EOMAN POTTERY. Part IV.
the rain interfered with the makirig, and in winter the frost.
The paste of the Roman brick is remarkably hard, and generally
of a fine red colour, although sometimes of a pale yellow inter-
mingled with fragments of red brick ground up with it to bind
it together. Both kinds are found even in the same locality.
In the museum of Sevres are fragments of bricks of a red
paste, from different parts of France and Italy, as the Thermae
at Civita Vecchia, the pavement of the Coliseum, the theatre at
Lillebonne, and the Thermae of Julian ^ and Trajan. Among
those from Civita Yecchia, were some similar to the so-called
hand-bricks, which are rude conical lumps of red paste, roughly
fashioned with the hand, and supposed to be used for drainiog
marshy roads, one having been found in the bog of Mareuil near
Abbeville,^ cut in facettes, and with striated marks. Some
from Italy were baked almost to a stone ware, and others from
Byzantium were of a similar red paste.^ The bricks formed one
of the great staples of the manufacture in baked earth among
the Romans, who appear to have derived it from their Etruscan
ancestors. Baths,* either public or private, military towers, and
walls were constructed with bricks, as they were better able to
resist the battering ram than stone. Tanks for holding water,
amphitlieatres, palaces, temples, and other public edifices were
also generally made of bricks.^ The tombs of Cumae of the
Roman period are made of brick. Gigantic brick w^alls erected
near Cumae,® and great arches of brick still remain in the
amphitheatre at Pazzuoli.'^ The magnificent aqueducts, the
prototypes of the modern viaduct, broad enough for a horseman
to travel along them, were constructed of the same material.^
The villae, insulae, and houses of Rome were of brick during
the time of the republic, and Dio mentions how an inundation
of the Tibur destroyed the bricks of the houses in the time of
Pompey. Augustus boasted that he had found Rome of brick
and left it stone,® and Vitruvius mentions that brick was no
•longer adopted for Roman houses in consequence of the laws
which prohibited the thickness of the walls exceeding 2-J feet,
thus preventing their being made two or three bricks thick,
which was required for the joists. From the time of Trajan,
^ Brongniart, Musee, pp. 16-18. le antichita et per le curiosita natuiali
^ Ibid , p. 17. ! di Pozzuoli, di Gaetano d'Ancora, p.
3 Ibid., p. 18. ' 120.
* Martial., Epigram, vii. Ixxvii. '' Avolio, p. 35 ; G. d'Ancora, p. 61.
^ Avolio, p, 10. * Avolio, p. 35.
^ Ibid., p. 34; G«ida Ragionata per ! ^ Siieton., Aug. c. 29.
Chap. I.
VAIUETY OF imiCKWOUK.
469
however, the use of bricks revived, and public edifices were made
wliolly of tliem. They were laid in a manner called the ojous
reticulatum^ or network. A common mode of construction,
especially in the military works, was to lay them in double
courses horizontally with stone above and below, which bonded
the stone-work and lessened its monotony by the red veins
which tiiey presented to the eye of the spectator. Sometimes
they are disposed in chevrons or vandykes.
A hand-brick found in Guernsey is in the collection of the
Museum.^ It is 3J in. long, 2\ in. diameter above, and 1^
below; of a coarser and more gritty composition than the
regular tiles. Immense quantities of these, some 25 centim. in
circumference and height, were used to render solid the marshy
valley of Le Seille in Lorrain. The extent of this remarkable
work 13,200 sq. toises under the town of Marsal, and 82,499
toises under that of Moyenvic from 3 to 7 feet deep, would
have occupied 4000 men for 25 consecutive years. The spot is
known as the Briquetage de Marsal.^ Others have been found
at Kinderton, in Cheshire ; they were often made of clay mixed
with straw, not so much for lightness, which some have supposed,
as to render the baking more easy.^ ^
The word tile, tegula, was evidently derived from tegere, to
cover; called "tegula,'' says Isido-
rus,'^ " because it covers the house."
The curved tile was called imbrex,
because it received the showers, im-
bibes ;^ and those which resemble the
French festieres are called by Pliny ^
" latercuU frontati'' The tile is
distinguished from the brick by its
greater thinness in proportion to its
superficies, and by its being em-
ployed generally for roofing houses.
Tiles are much more commonly found
than bricks. The margin of the tiles
was called hamata ^ or flanged. Some tiles had one flange, tegulm
No. 184. — Flange Tile, Tjomlon.
' Archaeological Journal, vol. vii. ' Proc. Soc. Ant. iv. p. 245.
p. 70. * Origin., v. 8, " Tegula, quoJ sedes
2 Gobineau, M. A. de, Sur rine'galitd tegat."
dc3 races, 8vo, Paris, 1855, pp. 29-31 ; I * Ibid. " Imbrex, quod accipiat im-
D'Arteze de la Sauvagerc, Kecherchcs brcs."
sur la Briquetage do Marsal , 8vo, « N. H., xxxv. 12.
Tar. 1710. ^ Vitniv. vii. 1.
470 KOMAN POTTEIIY. Part IV.
hamatds} The most distinctive mark of tiles is the flanges. The
paste of which the tiles are composed is compact and dense, very
similar to the brick, but generally not so fine. Their clay when
baked is either of a pale salmon or light straw colour. In some
specimens, portions of bricks appear to have been ground up and
mixed with the paste in order to bind it. Small stones, and
fragments of vegetable remains, are also occasionally seen amidst
the paste. Tiles, like bricks, appear to have been made by means
of a mould, but two boards were probably sufficient for the pur-
pose. A hole was then driven through them by a peg when they
were intended for roofing, especially for the opus ]pavonaceum, or
peacock-work, in which they are arranged like scales, being
hung by one corner. The flange tiles were probably made in
the same way, and the flanges subsequently turned up by the
hand of the workman. They were then dried in the sun,
evidently by being laid flat upon the ground, and subsequently
baked in a kiln. How they were transported, or what they
cost, or were taxed, unfortunately are among the particulars
which have not reached us.
In the Museum of Sevres are many of these tiles either of
yellow or of red paste, and turned up at the edges, and used for
roofing, from the remains of Roman villas and baths in France.
Some were for hypocausts,^ others for pavements,^ and others
for roofs of houses.* Similar tiles are found all over England
and Germany, wherever traces of Roman occupation occur, and
were made on the spot. In Greece, small temples as well as
houses were roofed with tiles.^
The Romans, in the first instance, used tiles or bricks dried
in the sun, as has been already stated, but after five years these
became useless. The walls of gardens and fields in the Sabine
territory in the days of Varro were made of unbaked, but those
of Gaul of baked bricks. The painted brick walls of Sparta
were removed to the Comitium at Rome by Murena and Varro
in the days of Augustus. The mode in which bricks were laid
differed according to the edifices and the time when used.
Triangular bricks, made by dividing a medium-sized brick into
' Jahrb. d. v. Alterth. fr. in Rheinl., \ * From Mt. Ganelon, ibid., 18; at
1844, p. 131. Blizon, ibid., 18; mixed with white
2 As the one from Heilenburg, Mus. quartzose sand at Noyelles-sur-Mer,
PI. II. 13, p. 17. I ibid.
' From the Tower of Dagobert at « See Inscr. at Eriguez ; Le Bas, Rev.
Laon, p. 17 ; also at Pontchartrain ; Ph. I. 331 ; Bockh, Corp. Inscr. Grsec.
ibid. III. 1083.
Chap. I. TILK-WOKK. 471
four triangles before baked, were built into walls with the long
edge cut, so as to appear solid, and lock in and render the wall
firmer. The principal mode of laying was in horizontal courses,
found in the Palace of the Caesars, the Pantheon, the Aqueducts,
Thermai, Mausolea, and in the Tliermse of Diocletian. At Ostia,
in the Temple of Honour and Valour, the walls were built of
triangular bricks or tiles, or with moulded bricks of two kinds,
re 1 and yellow, having cornices. In the Praetorian Camp,
probably as old as the Republic, they were laid by the pavi-
mentarii^ or bricklayers. Later, under Constantine, they were
worked in with layers of tufo in the Circus of Maxentius, or so-
called sepulchre of Helena or Tor Pigne Terra, a mode of con-
struction continued till the eighth century. At St. Albans the
ancient Verulamium, three horizontal layers of tiles are laid in
walls made of flint and mortar at intervals of about 4 feet. In
some cases a groove made by the finger is at the side of the
flange to prevent its slipping laterally. When a loop-hole was
required in the wall, a small didoron tile was placed horizontally
at the top of the hole. Tiles having their edges turned up
were principally employed for roofing, but some were occasion-
ally placed in the walls when others were not at hand.^
Those found in France are said to be distinguished by the sand
and stones found in their paste.^ In the ruins of villas they
are found scattered about the floor, the roofs having fallen in.
The flanges are generally about 2 J inches higher than the lower
surface of the tile. They are bevelled on their inner side in
order to diminish the diameter of the imbrex, but have no hole
by which to nail them to the rafters. In order that the lower
edge of one tile might rest on the upper edge of that which
came next to it, the two sides were made to converge down-
wards, as seen in the cut. These joints were of course covered
by the semi-cylindrical tiles called imbrices, and the roof was
thus rendered compact.* The rain flowed down each row of
broad tiles into a gutter ; the end tiles being lapped up at
their outer edge, and provided with a spout, in shape of a lion's
head in bas-relief, for the purpose of carrying off the water. The
imbrices were plain semi-cylindrical tiles, except the last, which
had an upright, generally semi-oval, and ornamented with ante-
» Guattaui, Mou. Sabin., 1828, pp. ' Ibid., 184.
66-89. •• Xcnoplion, Memorabilia, III. s. 1
- Caumout, Cours, ii. p. 182. c. 7.
472
ROMAN POTTERY.
Taut IV.
fixal or other ornaments. The end tiles were always flanged on
their exteriors, and had a maeander or antefixal ornauaent painted
upon them.^ At Pompeii the mode of roofing was as follows : —
The tiles and the joint tiles were laid in lines parallel to the long
ridge of tlie roof, so that the water all converged into the gutter
tiles, which were larger, square, cut away at tw^o opposite angles,
depressed in the centre, and flanged. They were laid wn'th their
axis on the lines bisecting the salient angles of the roof, the
water flowed off down there at the angles into the impluvium.
Passages were lighted by tiles having in the centre a rectangular
or shoe-shaped hole, protected at the sides by a flange from the
rain.^ The tiles from private houses, as will be seen by the one
found at Ostia, were upon the same plan as those used for the
temples. The use of tiles for the roofs of private edifices as well
as temples is proved by the ordinary expression of descending
from the tiles, being applied to those who came down from the
roof.^ The tiles with two of their parallel edges turned up,
called flanged tiles, were principally used for roofing ; but they
were also employed for the floors of the laconica and the hot
.baths, in which case they were inverted, the flanges being placed
on the J)^7^, and the stucco floor was laid on them.* Several of
these tiles, of red and yellow paste, from the Roman Thermae
near Saintes, are in the Museum of Sevres, as well as others
from the ancient potteries at Milhac de Nontron ; also some
tiles of red paste mixed wdth calcareous remains found at
Palmyra.^ In England in the military castra these flange tiles
are also found of a red or yellow colour, the latter apparently
having fragments of red tiles mixed in the paste. They are
worked in the brick bonding of the walls. vOf two tiles found at
Boxmoor, and now in the British Museum, the one plain, the
other a flange or roof tile, the dimensions are nearly similar.
T'he plain tile measures 1 foot 4 inches long, by 10 J inches
wide, and 1^ inches thick. Tiie flange tile 1 foot 3^ inches
long, by 1 foot wide, and the highest part of a flange 2\
inches high. These are probably the tiles of one foot and a
half in length, the sesquipedales of the inscriptions. In the
same collection are two tiles, submultiples of the above, mea-
suring 8^ inches square, by IJ inches long. They, as usual,
» Diet. Antiq., Tegula, p. 939.
2 Bull. Arch. Nap , 1853, tav. xv. p.
185.
3 Terent. Eun. iii. 5, 60 ; Gellius, x.
15; St. Luke, V. 18.
* Cf. Buckman and Newmarcli, p. 64.
* Brongniart and Riocreiix, Mus. de
Sevres, I. 18.
Chap. I. FLANGE TILES. 473
are not quite square. In the same collection are several
other fragments of flange tiles, wliich have apparently been of
the same dimensions. The flanges, however, are always bevelled
on the inner side. Low one-storied huts or houses called
attegia tegulicia were sometimes made of tiles.^ Sometimes the
tiles of the floors, straturse, or pillars, jpi7a», of the hypocaust were
scored in chequers ^ or perforated,^ or even made round.* Terra-
cotta cisterns were also used at the Roman times, and large tubes
having a diameter of 2 ft. 1 in. have been found casing the
sides of a wall at Selinunte or Selinus. Other cisterns of
brick have also been found at Taormina or Taurominium. The
cylindrical water-pipes were called tuhi or Jistulse canales.^
One of the most interesting facts connected with tiles is their
use in the graves of the ancient Romans. Three or rarely six
large hipedales tiles were set up in a prismatic form, one form-
ing the floor, and the two others the pointed covering, en
decharge, which* protected the body from the superincumbent
earth. In this hollow prism were laid the urns, ollde, which
held the ashes of the dead, and other vases. In some of
the graves of Greece, apparently of the same age, semicircular,
or vaulted tiles were used. On these tiles were impressed in
large letters the names of the legions which garrisoned the
various cities. Thus the tiles of the Roman graves at York ^
are inscribed with the name of the sixth and ninth legions
wliich were there quartered, while at Caerleon, the old Isca
Silurum, the bricks bear the name of the second or Augustan
legion.' The stations of the twenty-second legion may also bo
traced by the bricks placed over the graves of its soldiers in
this manner.^ They were placed at the foot of the sepulchre in
order to indicate, like tombstones, who was buried beneath.
The inscriptions in most cases are written across the breadth of
the tiles in Greek or Latin.® The inscriptions given by Gori
are of very different age, some apparently as late as the intro-
duction of Christianity. At Royston, in a supposed ustrinum,
i Steiner, Cod. luscr., I. 393.
2 R. Smitli, Collect., II. PI. viii. n. vi.
p. 21.
^ Those at Chester are so made.
* Jahrb. d. V. Alterthfr. im Eheinl.,
1840,196.
» Bull. Arch. Nap., 1852, p. 40, Vena-
fraii inscription. \ xxx
" Wellbeloved, Eburacum, pp. 33, 34,
118.
^ Lee, Delineation of Roman anti-
quities found at Caerleon, PI. xiii. ;
Gent. Mag., Nov. 184.'>, p. 490.
* AViener, De Legion., Rom. 1838, pp.
106-137.
° See Gori, Mus. Etr., iii. tab. xxvii.-
474 ROMAN POTTERY. Part IV.
roof tiles either covered the mouths of the sepulchral urns, or
they were placed around them as a sejotum} The name of the
imhrices, as already stated, is from their use in keeping off the
showers, imbres, from the joints of the roof tile=; ; and the roof
of a bath, found at Ostia, will illustrate the manner in which
they were placed over them. They were semi-cylindrical, about
3 feet long, 3 inches in diameter, and IJ inches thick, made
of the same material as the flange tiles, and apparently with
the hand, but are not stamped like them with potters' names.
The imbrex close to the edge of the roof had a perpendicular
semi-elliptical piece, called the antefix. The tiles were con-
nected at their edges, being laid for that purpose across the
rafters, fostes, of the roof, tectum? The semi-oval upright
plate, or antefixa of the imbrices, was not large enough to admit
of much ornament. The usual one is the floral antefixal orna-
ment, sometimes, indeed, replaced by acanthus leaves, accom-
panied with the mseander. Busts, from their elongated shape,
were peculiarly appropriate to these plates, and those of Juno,^
Yenus, heads of the Gorgon, and Neptune between two dolphins,
and tragic masks, have been found.* In this case the bust is
stamped in a mould, and applied to the antefixal ornament.
Two found at Ostia had groups instead of busts, — such as
Neptune sailing over the sea in his car drawn by hippocampi,
and the statue of Cybele in the ship drawn by the Vestal
Claudia.^ These came from the ridge of a house, the tiles of
which were inscribed with the names of Consuls in the reign of
Hadrian. Flue tiles with various patterns on one side, as if to
be seen, are often found. One has been discovered with the
letters P and T amongst the ornaments of wavy lines, others
have lozenge ornaments. They generally have one lateral hole
in the narrow edge of the tile in the middle. This hole is either
rectangular or circular, Mr. R. Smith says, for the heated air to
pass through ; one tile had a double chimney without a lateral
hole. They were often handsomely ornamented with fleurettes,
drapery, and other patterns. Some found in Essex and Surrey
had dogs, stags, and initial letters in the foliage ; and another
discovered at Plaxtol, in Kent, had CAMBRIASANTVS, the
British Roman makers' name, repeated on the entire side.
^ Archseol. xxvi. p. 370. I 3 Campana, PI. xi. on specimens
* Bayardi, Catalogo degli Antichi : found on the Palatine Hill.
Monumenti di Ercolano, pp. 284-285 ; ! ^ Campana, tav. vii. at Ostia.
Smetius, Antiq. Neomag. p. 88. I * Ibid., tav. vi.
Chap. I. ANTEFIXA— FLUE TILES. 475
The ornamented side, it is thought, was concealed from view :
but this is unlikely. Occasionally they were used as pillars of
hypocmsts.^ A remarkable use of ornamental tiles having
dental, ovolos, fleurettes, or chequer ornaments, is in the Pile
Cinq- Mars in the vicinity of Tours.'^ It has been supposed these
ornaments imitated the patterns of Mosaics.
Sometimes the antefixum of the imbrex was strengthened by
a band behind, examples of which occur in the roof tiles at
Pompeii. The edge tiles of the roof were flanged so as to form
a gutter, and either externally decorated with subjects moulded
in bas-relief — such as antefixal and floral, and floral architectural
ornaments — or else painted in encaustic with maeanders, and
other patterns. A space was cut out to admit of the insertion
of the antefixal ornament of the imbrex. The ancient tiles were
made by special makers, distinct from the brick-makers, and
called JiguU a tegulis, tegularii, or teglarii,^ tilers, or figuli ah
imhricihus} Perhaps at the Byzantine period tiles were gilded,
for the term Chrijsokeramos, or " gold-tiled," was applied to
certain edifices.®
For warming the rooms of the baths and other chambers a
peculiar kind of tiles were used. These tiles w^ere called tuhi ;^
according to some archaeologists the hole was stopped by a fictile
valve or plug ; but possibly they may have been so disposed that
the small hole communicated laterally so as to let the air pass
from one tube to another, or probably they were used as chimneys
of hypocausts. These tubuli were also called va]poraria and
alveoli.^ They are hollow parallelopipeda, with a hole at one
side for the ejection of the air which traverses them. Sometimes
the whole side of the wall was composed of flue tiles covered with
cement. Their sides are always scored with w^avy or diagonal
lines, apparently to make the cement adhere better to them.
Sometimes these marks assume a more regular and ornamental
appearance, such as the shapes of lozenges or cheques, and the
fleurettes, as on those of the Koman villa at Hartlip,^ and the
lower tiles have scores of squares.^^ They are generally of the
' C. R. Smith, 111., London, p. 114. j ^ Seneca, Epist. 90. " Et impresses
2 Smith, Coll. Ant. iv. p. 11. parietibustubosquiimasimulet summa
' Muratori in Mongez ; Brongniart, | foverent ajquiter."
Traite, I. 367 ; Orellius and Henzen, | « pjtiscos, Lexicon i. 77.
6445, 7279. i » R. Smith, Collectanea, vol. .II. p. I.
♦ Orellius, 4190. " Henzen, 7280. p. 21, PI. viii. fig. 1, 2.
« Barduri, lib. iii. p. 89, '« Ibid.
476
ROMAN POTTERY.
Part IV.
same paste as tlie roof-tiles, and are found scattered amongst
the desolate Koman houses. The flue tiles were sixteen and a
half inches long, six and a half inches
wide, five inches deep.^ A similar mode of
constructing walls is found in the building
called the house of Agathokles at Acra-
dina,^ some of the walls of which were
made of hollow cylinders. The tepidaria
of baths were lined with rectangular hol-
low tiles, with holes for the introduction
of warm air to heat the walls of the
chambers. These tiles were plastered
over with stucco.^ The regular marks
are supposed to have been made with a
hackle or large comb, and the workman
himself may have pointed or distinguished
his tiles by their pattern. Through these
chimneys, for they are no less, the hot air
circulated and gave an imperfect warmth
to the rooms, being radiated from the
walls. The pipes for conducting the hot
air stood on a pier, and the whole wall
No. 185.— Flue-tiles, ornamented. WaS Warmcd by thcSC pipCS, whicll stOod
close to one another and made up the solid
wall ; the heated air passed through by an opening made in the
wall, decorated with a lion's head.* Such walls Ausonius ^ calls
plastered, or tectoria. The Eomans had no chimneys ; and the
smoke, and heated air and smoke, came through the doors and
windows of the winter apartments : ® and the square holes may
have been for plugs to secure them to the walk It is difficult
to understand how these tiles could have warmed rooms by
the mere introduction of hot air circulating through them,
especially if they were covered with stucco. At the same time
the smoke of the hypocaust could not have been admitted into
^ Specimens of these tiles will be seen
engraved in Oaumont, Cours d'Anti-
quites, t. ii. p. 172, PI. xxii. fig. 3 and
5 ; and Buckman and Newmarch, Il-
lustrations of the Remains of Roman
Art in the Ancient Corinium, 4to, 1850,
pp. 64, 65.
^ Torre Rezzonico, Viaggio di Sicilia
c Malta, torn. v. p. 227 ; Avolio, p. 9.
^ One at Cassibili, near Syracuse;
Avolio, p. 21 ; cf. Apolio, p. 9.
* Jahrb. d. Ver. d. Alterthfr. im
Rheinl. 1844, p. 120 ; Schoepflin, Alsatia
illustrata, i. p. 539.
^ Mosell., V. 337.
« Jahrb. d. V. Alterth. im Rheinl.
1844, p. 123.
Chap. L WALT. ANP DRAIN TILES. 477
the apartments. At Hartlij) these tiles were placed vertically
on one wall of a lavacrum. By some the ® is supposed to
be the ornament called cuneus of Vitruvius, with which walls
were ornamented. These pipes were fixed to the wall by a
small nail, called elavis muscarius} A flue-tile filled with soot
was found at Briare.^
Of the nature of tiles were large thin squares of terra-cotta,
which were often two Eoman feet square, and hence called
hipedales, used for casting or revetting the walls of the rooms.
They are found in the different Roman villas, and are orna-
mented on one side with various incised ornaments by the
potter, apparently with a tool upon the wet clay. The decora-
tions of some, found in Essex,^ represent mseanders, the Greek
border, rosettes, and other ornaments. They were often covered
with the stucco with which the rooms were plastered. At
Pompeii the stucco-painted walls were constructed with bricks
or tiles placed edgewise and connected by leaden cramps to the
main walls from which the brick lining is detached a trifle.*
Terra-cotta pipes, tuhuli, joined with mortar, were especially
used for draining lands,^ and for drains of amphitheatres.^
They were eight inches in diameter. Some of the drain tiles
were hemispherical and open above. The Campagna di Roma
was formerly extensively drained by these tiles, and owed to
that circumstance much of its ancient salubrity.^ The cylin-
drical drain -tiles or water-pipes rarely have the names of
makers, or other inscriptions. Such, how^ever, sometimes
occur, and at Aix-la-Chapelle they were found with the stamps
of the 6tli Victorious Legion, arranged in the form of a cross.^
Places for the nails are found in the wall-tiles, cortina muri.^
In some cases, as on the baths, a space of a few inches was left
betw een the tiles and the wall, and the hot air from the hypocaust
circulated between the tiles and the wall. The tiles had four
holes, and they were affixed to the wall by plugs or nails appa-
rently of lead. A chamber in the castrum at Jublains is yet
partly standing, one of its sides yet coated with tiles.^°
1 Jahrb. d. V. Alterth. im Rheinl.,
1844, p. 127,
2 Jollois, Ant. du Loiret, 4to, Par.,
1830, p. 167.
Nuova, Alesa, and Alicata in Sicily,
Fazzelli, Decad. I. lib. ix.
** Avolio, p. 21.
^ For tessellated pavements, see
3 Archseologia, xiv. 64, 72 ; Brong- : Seneca, Quaest., v. 31.
niart, Traite, I. p. 367. I * Steiner, Codex Inscr. Rom., ii. p.
4 Taylor, Fresco and Encaustic | 174.
Painting, p. 40. j " Winckelmann, Werke.
» Some have been found at Terra ' '<> R. Smith, 111., Lond., PI. xxiv.
478
ROMAN POTTERY.
Tart IV.
Broken and ground fragments of brick and tile wei-e used
to the very last, being employed for the second of the five
strata, called the ruderatio, of the road, while tlie third,
called the nucleus, was formed of bricks and of large stones.^
The RoQian mortar was made of sand, chalk, and pounded
brick.^
The tessons used for mosaic pavements were made of
marbles, glass, and of a red brick. These pieces were called
by the Greeks psejohoiy or j)sejphides, pebbles ; and by the
Horn an s tessellse, tesserw, laminse. They vary in size from an
inch to almost a quarter of an inch square, and were made
either by fracture and cutting of the ordinary Roman tile into
small squares, or else were stamped in a small mould. They
supplied the red and sometimes the black colour for the o^us
musivum, or mosaic work, especially for pavements, and aided
in the composition of the various subjects. At the time of the
Byzantine empire such mosaics were introduced into ceilings.
The early mention of mosaic pavements in the book of Esther,
and the anecdote of Aristarchus, show that they were in use
long before the time of Augustus, although no extant mosaic is
earlier than that age, and most of them are of the period of
the Antonines. One of these pavements found at Wiflisburg
or Avenches, has an inscription recording that it was made in
the Consulship of Avitus and Pompeianus, a.d. 209,^ Another
at the same place had the name of Prostasius,^ and a third bore
the name of a lady named Eusebia.^ Another mosaist, whose
name has been found, is Dioskourides of Samos.®
The larger tiles of the tessellated pavements were called
tesserse or tesserm magnse, the smaller Sjpicata testacea. The
word tessellm was particularly applied to the pavements. It
evidently comes from the Greek word tessera, " four" sided, of
which tessella is the diminutive ; ' and thus signifies a diminutive
cube or die. The term testacea sj)ieata was applied to pavements,
the tesserw of which were not flat cubes, but packed with their
ends pointed upwards.^ A pavement at Verona was made by
xxix. ; Pliny, Ep., i. 17, mentions the
hole by which the air was let in.
* Avolio, p. 37. 2 pitiscus.
3 Orellius, i. 122, n. 383 ; Spon, Misc.,
p. 40 ; Wild, Avench., p. 178 ; Hagenb.
MSS., i. p. 203. See also for the opus
doliare, Orellius, ii. 572.
* Steincr, Codex. luscr. Rom., iii. 3G7.
* Maflfei. " Ex officina Foroiii folix
ut ista lego," at Salona was " sic cervus
desiderat ad fontes aquarum, ita desi-
derat anima mea ad te Deus." Smith,
lUust. of Rom., Lond. p. 49.
® Rochette, Quest, sur I'hist. de I'Art.
Paris, 184G, p. 127.
^ Turnebus, Adv., xix. 2G.
^ Vitruvius, Arch., vii. 1 ; Plinv,
N. H., xxxvi. 25, (;3.
(FiAP. I. INSCRIPTIONS ON TILES AND BRICKS. 479
many hands, one Eusebia and her companions made 20 feet,
Hiernisa and hers as many, Marinns 10 feet. Some supposed they
subscribed only to the work.^ The small tesserae of glass in
mosaics were called ahaculi? Pavements were called Asarota,
from the asarote oikos of Sosos of Pergamos, where they repre-
sented droppings from the dinner-table.^ The usurper Firmus
is said to have lined his house with glass slabs or mosaics inlaid
in bitumen,* and Constantine and Helena first applied mosaics
to walls. In the seventh century a.d., the Arabs adopted the
art called jpsejfihosis fsefysa. One of the conditions of the Peace
of Khalef Valyd and the Emperor of Constantinople was that
the emperor should supply mosaics for the decoration of the
mosque at Damascus. These, as at Cordova, were the work
of Byzantine artists, but the Arabs early substituted coloured
fayences as at the Alhambra. Mosaic flourished both in east
and west, and is in the twelfth century found in the church of
Bethlema, A.D. 1180 : Saladin a.d. 1187 used them.^
A considerable number of the Koman tiles are inscribed with
the names of the consuls of the current year in which they were
made, presenting a long and interesting series, commencing
with the consulship of L. Licinius Sura and C. Sosius Senecio,
A.D. 107, and terminating with that of Alexander Severus, a.d.
222. Many of these consulships, however, do not appear to
have been recorded in the regular fasti consulares, or oflScial
lists, and they were probably the suffects whose names were
not recorded after their temporary elevation. Since many of
the potters indifferently inscribed, or omitted, the names of the
consuls upon their ware, it is probable that the tiles so dated
Avere destined for the public buildings, and were so marked to
prevent their being stolen with impunity. They are fewer in
number than those which have merely the names of the potteries,
or of the farms from which the clay was procured, but are yet
' Fea Misc. Crit., ii. 281. | pictum ratam de museo. Trebell. Poll.
2 Pliny, N. H., xxxvi. 67. | Vita Tetr. Procop. Bell. Goth., i. c.
3 Spartian. vet.; Pesc. Treb. Poll, j 19, states that the head of Theodoric
Vita Tetric. ; Augustin, de civ. Dei, separated from his body, on a mosaic
xvi. 8, races of men in the platese mari- in the Forum at Naples. " Bonum
timse of Carthage, called musivo picta, I eventum bene colito," appears on a
opus musivum, or opus museum. Orel- \ mosaic at Woodchester.
lius, ii. 258 : vermiculum, or spicatum,
supposed to refer to its use in museums,
the vermiculated or guilloche pattern ; : p. 45
jt was also styled pictum de museo or
* Vopisc, Hist. Aug. Script.
* Reinaud, Rev. Arch., 1802, PI. ii.
480
ROMAN POTTERY.
Part IY.
sufficiently numerous to be an invaluable aid to tbe chrono-
logical inquirer in tracing the succession of consuls for upwards
of sixty years. Inscriptions of this class belong to the ojpus
doliare only, and are found on the tiles of Italy alone, and it is
probable that their appearance is owing to some law passed by
the senate, about the reign of Trajan, to regulate the potteries.
It lias been, indeed, stated that the law obliged the brick and
tile-makers ^ to affix their distinctive mark or emblem upon
their bricks. The emblem in the circular stamps is in the
centre, surrounded with the inscription, as on medals, and re-
sembling the countermarks or little adjuncts on the currency
of the republic, and the seals or stamps of the eponymi of
Rhodes. On the Roman tiles these marks are generally cir-
cular, with a circular portion cut out at one part, but they are
occasionally oblong or rectangular. The use of such a mark
was to guarantee the quality of the clay of which the tiles were
composed,^ and which, in some instances, is found so remarkably
fine, so compact, and so well baked, that when struck it rings
with a metallic sound. It is of these bricks and tiles that the
greater part of the edifices of ancient Rome were made, and
Theodoric,^ when he repaired the walls, made a present of 25,000
tiles for that purpose. The boast of Augustus, that he had found
Rome built of brick, and left it constructed of stone, could only
apply to some of the principal monuments and quarters of the
city. The visitor of the Vatican will remember a great number
of these tile-marks inserted in a wall of that magnificent museum.
Such tiles have been removed from the principal edifices of
ancient Rome ; the Coliseum, Circus Maximus, the so-called
Thermae of Titus, the Thermae of Caracalla, the Basilica of
Constantino, the Praetorian Camp, the Cemetery of Priscilla,
the Mons Coelius, Mons Viminalis, Mons Yaticanus, and the
Pons Sublicius. Similar stamps have also been found on tiles
removed from the ancient edifices, and now placed on the roofs
of many of the churches of modern Rome. Large collections
of them are, and were, in the museums of the Vatican, and in
the Villa Albani. Cortona, Bologna, Tibur, Pagnani, and
Ostia have also revealed numerous tiles of this class, important
remains of the golden days of the imperial city, when the best
of the emperors embellished it with new edifices, or restored
* Cassiodor., I. s, xxv. ; II. s. xxviii.
2 Seroux d'Agincoiirt, Recueil, p. 82,
PL xxxii.
^ Cassiodorus, Varior,, i. 25, ii. 23.
Chap. 1,
STAMPS ON TILES.
481
tliose of their predecessors which exhibited symptoms of decay.
To the topographer they are of the greatest value ; and had the
Komans stamped on them tlie names of the buiklings for which
they were destined, the sites of the great edifices of the city
might have been indisputably fixed. Besides the value of
these tiles in settling the succession of tlie consuls and tlie
sites of the monuments, they also throw great light upon the
economy of the Roman farms, and the possessions of the great
landed proprietors. Perhaps from Nero, and certainly from
Domitian, till the age of Commodus, after which these marks
almost disappear amidst the general wreck of the fine arts
which then ensued, an uninterrupted series of names of pro-
])rietors, potters, and estates, tells much of the internal con-
dition of Italy, and one of the sources of revenue to the Roman
nobility.^
Before, however, entering further upon this subject, it is as
well to show the nature
of these inscriptions ;
and the accompanying
example, taken from a
tile removed from one
of the edifices at Rome,
will illustrate their na-
ture in the fullest man-
ner. The whole is in
bas-relief, and w^as pro-
bably made with a
stamp or die of bronze,^
wood, stone, or terra-
cotta, a bronze stamp ol
this kind having been
discovered.^ In the cen-
tre of the circular stamp
or medallion is seen a
figure of Victory — the mark or sign that the potter used.
Commencing with the inscription on the outer band, the follow-
ing words mav he read: OPYS DOL[iare] DE FIGVL[inis]
PVBLINIANIS. EX PRED18 AExMlLlAES SEVERAES.
" Pot work from the Publinian potteries, from the estate of
No. ) 86.— Stamp on ix. Tilo. British Museum.
J Fabretti, Inscr. Autiq., fo., 1G99, , pp. 152, 153; Cajlus, III. PI. Ixviii. pp.
502, .50.3; Boldttti, Osservazioni sopia ; '^5.3, 254.
rimptorij, p. 557; Hori, Inscr. Aiit., Til. ; ' Coii, Inscr., iii. 118. ' IbiM.
2 I
482 ROMAN POTTERY. Part IV.
JEmilia Severa." The most complete stamps have the date
of the emperor or of the consulship, the name of the estate
which supplied the clay, that of the pottery which baked it,
and of the potter who prepared it; sometimes even of the
slave who moulded the tile, and the very dimensions of the
tile itself. The earliest stamps look like the first attempts
at a methodical manner of impression, and the later ones betray
a comparative neglect. Not only are the names of the em-
perors and Caesars given at the beginning and end of the
series, without indications of the consulships, farms, or pro-
prietors, but singular expressions are also introduced. Thus
the tiles of Theodoric show that his gift excited national or
official enthusiasm, for he is styled upon them the good and
glorious king, with the addition of " Happy is Eome ! " At all
times, indeed, as is shown in the stamp already figured, the
inscriptions were in contraction, and even the consuls were men-
tioned only by the initial letters of their name. Still, by com-
paring the numerous series, it is possible to place them in their
order. Many tiles, indeed, have no date, although it is evident
that they were made in the imperial times, but the general
impression, on examining the series of stamps, is that the
potteries of tiles or bricks were in active operation during
the reigns of Trajan and Hadrian, especially in that of the last-
mentioned Emperor, and continued so till the close of the reign
of Marcus Aurelius. After the twentieth vear of Antoninus,
till the eighth year of Alexander Severus, the inscriptions are
few and irregular. Most of the public edifices had been built
or amply repaired. The political convulsions left no time for
architecture; the law respecting the stamp^ had probably been
abrogated, and estates had changed hands.
The estates from which the tiles came, or to which some
probably belonged, are called possessions, ^ossessio7ies ; pri-
vate property, frivata ; shares, rationes ; blocks, insulde ; or more
generally estates, jprasdia. There is, indeed, some ambiguity
about the expression ex ]^rdediis^ but it apparently means that
the brick or tile was " from the estate," the uncertainty being
in what sense this is to be taken. Prasdium, indeed, means a
property, either in the town or country ; but the word fundus,
which means a country farm, is also found impressed upon some
bricks. It will however be seen, from some apparently excep-
tional instances, that the names of the edifices to which the
tiles belonged are combined with those of the potteries and
Chap. I. NAMES OF ESTATES. 483
potters, so tlmt the expression ex prwdiis possibly means that
the tiles or bricks belonged to the houses or other property in
the city of Eome of the person named. The designation of the
place, for example, for which the tiles were made occurs on
those stamped with the name of the Praetorian Camp, and
of the Chapel of the Augusti, and can hardly refer to potteries
established in that quarter. A critical examination of the
series would enable the enquirer to arrange the entire sequence
of the properties to which the tiles ref»r, and, on comparing
the evidence, it is probable that the ]^rsedia are the estates
whicli produced the clay. The proprietors of these estates were
the Emperors and Caesars, persons of consular dignity or eques-
trian rank, and sometimes imperial freedmen. The names of
the estates are rarely mentioned, although the Salarian, the
XJlpian, and a few others are recorded. Many of the tiles record
merely the imperial estates, without designating the name of
the reigning Emperor ; and at a later period, as on the tiles
of the Basilica of Constantino,^ the stamps record the estates
of " our Augusti and our Caesars." Of the family of the Anto-
nines there ai*e several names. The Empress Plotina was evi-
dently a large landed proprietor. Annius Verus, and his wife
Domitia Lucilla, the parents of M. Aurelius, have left their
names upon many tiles ; so have that Emperor himself, ^lius
Caesar, the adopted heir-apparent of Hadrian ; Arria Fadilla, the
aunt of jM. Aurelius ; Julia Procula, Cusinia Gratilla, Faustina,
and others. It would be tedious to repeat all the names of
inferior proprietors unknown to fame, such as Q. Servilius Pudens
and T. Tatinius Satrinus. Amongst the more remarkable is
that of Lucius ^milius Julianus, priest of the Sun and Moon.^
Some belonged to imperial freedmen, for such names as Umidius
Quadratus and Quintus Agathyrsus are evidently of this de-
scription. The most remarkable fact connected with the history
of the proprietors is the prevalence of female names ; and the
quantity of tiles which came from their estates is enormous.
The occasional renunciation by the Emperors of their private
fortune in favour of their female relations ; the extensive pro-
scriptions by which, owing to a defect of male heirs, estates
devolved upon females, as well as the gradual extinction of great
families, consequent on the corruption of public morals, may be
traced on a tile as readily as in the page of a liistorian. As to
1 Annali, 1848, p. 158. « Ibid , xxxii. p. 435.
2 I 2
484 KOMAN POTTERY. Part IV.
freedmen, their rise and progress is not in the scope of the
present work, but they were alike the ministers of the palace,
commanders of fleets, the agents of the nobility, and the wealthy
proprietors of Italy. The potteries were sometimes mortgaged,
as will be seen by the instance of a mortgage made by C. Coelius
Verus of his potteries to Cornelius Gallicanus.^
The potteries of the tile-makers were of two kinds ; the
"potieries, figlinse, and the manufactories, offieinfe. The jiglinm
are the most numerous, and form a class by themselves ; the
term officina, or workshop, being commonly stamped on lamps
and smaller vases. The potteries are mentioned in a subordi-
nate manner to the jprsedia, or farms, and, in many instances,
the names of both occur on the same tiles. The prsedia, too,
are often omitted, and only the figlinm recorded. Attached to
the term jiglinds is often an adjective, expressive of some quality
or name. These epithets are sometimes geographical, as the
Korinthian, Makedouian, Khodian, or Tempesine, and the greater
or lesser Ocean potteries. Sometimes their names were derived
from the reigning Emperor, as the Neronian and Domitian
potteries, but the greater number were called by a Gentile or
family name, as the Bucconian, Camillian, Furian, Terentian,
and Yoconian potteries. There are, however, many potteries
only distinguished by the names of their proprietors, who were
generally freedmen or slaves. One of tlie names which most
frequently recurs in the series is that of L. Brutidius Augustalis,
a freedman ; while other tiles are stamped " from the potteries
of Primigenius, the slave of our Lord, the Emperor." There
were many potteries of imperial slaves ; but there are also
numerous tiles from the potteries of the Emperors and other
wealthy proprietors, although undoubtedly under the adminis-
tration of freedmen or slaves.
The offieinse, which are also recorded upon tiles, served to
distinguisli the quality of the different figlinde. Thus tiles are
stamped with the title of the officinae of L. Aurelius Martialis,
of Domitius Decembris, and of M. Publicius Januarius, freedmen,
named after the months in which they were born. The esta-
blishment of the last of these freedmen was called the doliaride
officinw, a term which meant the pot-work shop or potteries.
Another officina is called " Domitian," either after its proprietor,
or out of flattery to the Emperor. Sometimes a second manu-
Lama, Inscrip. Ant., 4to., Parma, 1818 ; on the Tab. aliment, of Yelleia.
Chap. T. MANUFACTORIES AND MAKERS. 485
factory of the same proprietor is mentioned. Other tiles are
stamped with the fanciful names given them by the potters, as
Chiudians, Domitians, Brutians. A few tiles are stamped both
with the name of the potter and that of the proprietor of the
estate, as the tiles of C. Cosconius, from the potteries of the
celebrated Asinius Pollio, and the tegulm doUares, or pot-
work tiles of Julia Procula ; the Blpedales^ or two-foot tiles of
Crispinianus, anl the Secipedahs, or '-one foot and a half"
tiles of Julia Procula. This expression is distinguished from
the previous one by having after it the name of the wealthy
proprietor, and not of the poor slave who made the tile. A tile
found at Trasobbia with the name of Cominus the slave of L.
Cornelius Scipio rests on very uncertain grounds.^ While, in-
deed, the potteries of private proprietors were under the direction
of liberti and libertini, those of the Imperial estates were chiefly
managed by slaves, from whose labours the Koman nobles de-
rived so large a portion of their revenue. There were many
private potteries in Gaul and Germany. One L. Valerius
Labeius, or Labelleius, had a furnace near Saarbriicken, and his
tiles have been found in many places on the Saar. The names
of many private tile-makers have been found at Treves, one
example has on it the stamp of the republic or colony.^ Several
of the potters had evidently Gaulish names, as Yacasatus son
of Brapiatus,^ Dicetus and others. Fidenatis was found on a
tile at Zulpich.* The tiles often had initial letters only, as,
T.P.F.A., T.P.F.C, T.P.F.P., on those at Rodmanton, in Glou-
cestershire. Often the name of the master only occurs, as,
Armarius, Sicinnus on tiles found at Vienna, and Apronianus
on those of Sistell in Croatia.^ The work itself was called
earthenware, ojpus figlinum, or pot-work, ojpus doliare ; and,
in the contracted form of either ojpus or doliare. Such
work is always found accompanied with the names of freed-
men or slaves. The Imperial slaves have two names, those of
private individuals only one; but the liberti had three names.
Such names as Arabus, Arestius, Modestus, Tertius, Zosimus, are
clearly servile. In some cases, the form fecit is substituted for
(ypus ; but in all instances the makers were of inferior condition.
A regent of France might amuse himself with making glass, and
' Fea, Misc. Ciit., I. p. cxiv. ] * Steiner, ii. 187, 287.
2 Steiner, iii. 27. * Seidl., Chronik d. Arch. Funde, 8vo.
' Jannseu, Mus., p. 151, tab. xxvii. Vicuna, 1846.
n. 230. i
483 ROMAN POTTERY. Pabt IV.
a German Emperor with compounding sealing-wax, without the
loss of the respect of their subjects ; but a Boman historian cites,
as an instance of the degraded taste of Commodus, that in his
youth he had amused himself with making cups of earthenware.^
*' Let him who made it, and who belongs to Cneius Domitius
Amandus, prosper," is stamped on one remarkable tile. Some-
times the work is stated to come from particular potteries,
without mentioning the potter. Some of the potters, indeed,
impressed mottoes on their tiles, as utamur felices, "may we use
happily," " Fortune who brings back is to be worshipped," and
" the Constantinian age." Sometimes a wish is stamped even
on grave-tiles, as utifelix vivas, "may you live happy," late in
the Roman Empire.
Only a few of the tiles have inscriptions indicating the places
for which they were destined. This is particularly the case
with those employed for military purposes, and these probably
had a double use. First, they showed that they were made by
the soldiers, thus pointing out that in the legions, as in modern
armies, there were many soldiers acquainted with handicraft
trades, and the tile-potters of one of the legions are men-
tioned at Hooldorn.^ Secondly, they prevented the tiles being
stolen or removed, and were thus impressed with the Boman
broad arrow of the public property. The inscriptions were also
stamped by the decurio of the artificers or potters, whose names
are occasionally found with that of the legion, one Julius Mar-
tialis of the 6th legion being mentioned at Aix-la-Chapelle, and
Eenatus at Hooldorn.^ An iron typarium of the 3rd cohort of
the Vindelicii has been found, and one of the 13th or double
legion, with the D.L., the initials of the decurio of the legion
who affixed it. The inscriptions record the legions with their
names either in initials or entire, the cohorts and the ala^, some-
times with the names of the decurion of artificers by whorji they
were made, as Julius Sempronius, Helvius Morans, Julius Mar-
tialis, Secundus Vitalis of the 4th and 5th legions. They are
sometimes accompanied by fecit or figulis} Tiles so stamped
have been found at Xanten and Nimeguen.
At Rome, indeed, there was no necessity for the legionaries
themselves making tiles and bricks ; and, accordingly, one
'^1. Lanipii ]ius, Vit. Commodi, ^ ^ Steiner, Cod., 174, 276.
init. 1 < Ibid., II. 174.
' Steiner, Codex Inscr. Rom., ii. 276.
Chap. I.
LKGIONAUY STAMPS.
487
Sextus Attius Silvamis appears to have supplied the camp. The
cLxy he obtained from the estate of Umidius Oppius. The actual
maker was a freedman, who bore the name of L. Silvinus Helpi-
dianus. The sacellum, or shrine, of the Augusti, which held the
standards and eagles of the Pra3torians, seems to have been
roofed, or partly constructed of tiles from the potteries of Panis-
cus, Hermetianus, and Urbicus. A few tiles from the Via Salaria,
had only on them Castrum, or camp. Same fragments of tiles
or bricks, evidently the seinilateres, or half-bricks, of Vitruvius,
dug up on the site of the Post-office in London, were impressed
with the letters P P. BE. LON. (see plate on p. 472), perhaps
denoting the residence of the Eoman Propraetor in Britain.^
Still more interesting are the inscriptions stamped on the tiles
relating to the legions and other military divisions stationed
throughout the provinces of the vast empire. These are chiefly
found in their graves, camps, and quarters. They contain
the number and titles of the legions, and mark the limits of
Koman conquest. The route of the thirty legions has been
traced through Germany ; and in Britain an examination and
comparison of these tiles show the distribution of the military
force, and the change of the quarters of the different legions
which held the island in subjection. Some legions and cohorts
worked more than others. The stamps are long labels, tesserae,
lunes, circles, in one instance surrounded by a laurel crown.
These are seldom circular like those of the imbrices and flange
tiles, but are in shape ^ of a foot, an ivy-leaf or amphorae, or
oblong, with the letters in relief, sharply impressed, probably
with a metallic die. The tiles of the first legion have been
found at Mayence, Yoorburg, and Wiehelhof Nimeguen ; of the
second at Ems, Darmstadt, Obernburg, Hooldorn, and Caerleon;
of the 3rd in Scotland ; of the 4th at Mayence ; the 5th in Scot-
land, at Baden, Cleves and Nimeguen ; the 6th at the last place,
Neuss, Darmstadt, Windisch, Augst, and Birten ; the 7th at Ko-
denkirchen and Aix-la-Chapelle, Xanten ; the 8th atNiederbieber,
Birten, Mayence, Butzbach, Friedberg, Baden, Hoddesdorf; the
9th at Baden and York ; the 10th at Caer, Ehyn, Yoorburg,
Nimeguen, Hooldorn, Yienna, and Jerusalem ; it had been sent
to Low^er Germany by the Emperor Didius Julian. The tiles
of the 11th are found at Kloten, Friedberg and Windisch; of
^ Mr. Eoach Smith, Collectanea, i.
p. 143 ; 111. Rom., Lond. p. 31.
- Arnetli. Hypocaustum, 4to, Wien,
1856, Taf. iii.
488
KOMAN POTTERY.
Part IV.
the 12th at Mayence; of the 13th at the same place, PetroneUi,
Zahlbach, and Baden ; the 14th at Durmagen, Petronelli, Nidd,
Mayence, Wiesbaden ; the 15th at Petronelli and Hooldorn ;
the 16th at Neuss; the 17th at Voorburg ; the 18th at Vetera;
the 19th at Xanten ; the 20th at Nimeguen and Chester; the
21st at Mayence, Xanten, and Kloten ; the 22nd at Oberros-
bach, Mayence, Seligenstadt, Yielbrunn, Breuberg, Hofzedl,
Waldiirn, Coblentz, Bonn, Ellen, Hooldorn, Cleves, Darmstadt,
Bingen, Baden, Nidd, Kuckingen, Wiesbalen, Marienfels, He-
dernheim, Mannheim, Hochst, with the names of the brick-
makers, Quintus and Sempronius ; the 23rd at Xanten, Stock-
stadt, Hoheberg; the 24th at Breuberg. The 30th legion
was at Hooldorn, Ximeguen, Cleves, Rodenkirchen, Aix-la-
Chapelle, Xanten.^ Besides these were a legio Cisrhenana on
the right bank of the Rhine, and a Transrhenana on the left
bank, tiles of which have been found at Bonn. Each legion
had its titles either in full or contraction, for which LEGr or
LUG is used. This was followed by the number of the legion,
as LEG I., the first legion, or the number and titles, as LEG
CISRHEXANA, LEG I MIX, the 1st Minervian legion, legio
jprima Minervia, LEG XII. F., *' the 12th thundering legion,"
legio duodecima fulminatrix. These names were derived from
the exploits of the legions ; for example, the 13th legion, called
gemina, or double, was supposed to be named Martia Valeria
on account of its victories in Britain a.d. 62, and was stationed
at Moguntiacum. It had fought under Drusus and Germanicus
in A.D. 43, went to the Parthian war and was sent by Vitellius,
A.D. 69, to Britain. Besides the legions there were cohorts
which have left their names on tiles. \ The 1st Aquitan of
veterans was in Hadrian's time,^ A.D. 124, at Arnsberg and Fried-
berg. That of the Fidenates was at Ellen, the 1st Flavian
Damascan at Friedberg. The 1st and 2nd of the Roman citizens
were at Seligenstadt, the r)th and 26th of volunteer citizens, civea
voluntarii, at Riegel and Baden ; the 2nd Rhsetian at Mt. Tanrus ;
the 3rd Helvetian at Giesbergen, the 3rd Aquitan at Stockstadt,
a 4th of Vindelicians at Frankfort, Wiesbaden, and Niederbieber,
and the 3rd Dalmatian at Wiesbaden ; ^ a 2nd of Isaurians was at
Kochendorf. In addition to these were the Vexillationes, the
main body of which was at Nimeguen and Wiesveller, that of the
* A list of legions is given, Orellius,
ii. 83, 81 ; Stein., Codex, ii. 121 and foil.
' Rossell, Rom. Wiesbaden, p. 39.
' Steiner, Codex, i. 289; ii. 143.
Chap. I. DEVICES. 489
army of Lower Germany was at Hooldorn, Vooiburg, and Nime-
giien. Tiles of the army have been found at tlie last-mentioned
site and Bonn, and of the British fleet, or marines, at Lynine and
Dover. Sometimes a maker's name is added to that of the
legion.^ Some tiles appear to have been numbered in the
order in wliich they were to be built into the public works.
A British Vexillation attached to the army of Lower Germany
has also been discovered in Holland and on the lihine. Muny
tiles have only initial letters of words inscribed upon them, and
w4ien so contracted, it is always difficult, and often impossible,
to guess what the inscriptions were intended to express.^
All that remains to be considered is the devices which
accompany these stamps. The device occupies the centre
as in a medal, and the inscriptions on the oval stamps are dis-
posed on the outer circle running round it. A common orna-
ment, or device, is a plain circle or ball, touching the inner
edge of a larger circle at one point, thus giving the rest of the
stamp a lunated shape. Sometimes the device is left out alto-
gether. The devices are not numerous, nor is it always possible
to discover the principle upon which they were adopted. They
were, of course, the potter's seal, and he selected his devices,
or coat-of-arms, as it may be termed, as he chose. Some can,
however, be traced to their origin. One potter, named Aper
or Boar, adopts that animal for his device ; another, called
Hermes or Mercury, has a caduceus. Other devices represent
a favourite deity, or some idea connected with the estate.
Rome, of course, is found. The Caninian potteries had a star,
in allusion to the dog-star. Divinities, animals, stars, crescents,
palm branches, pine cones, crowns, &c., are among those found.
It was the practice of the ancient world to use these emblems
in various manners. The Ehodian and Cnidian potters placed
them upon their amphorae, the maker of strigils on the handles
of that instrument ; the mint-masters of Greece and of Rome
in the consular times, introduced them upon the area of the
coins issued during their tenure of office, and the potter followed
the general rule. So interwoven was art in the mind of the
ancients, and so dominant was the love of animal form, that
the work of the potter was deemed incomplete unless he im-
pressed his device upon it. Generally in the provinces the tiles
' Roach Smith, ii. 132. I 8vo, Vienna, 1846 ; Cedreniis, Annal. p.
= Seidl, Chronik d. archaol. Fund., | 140.
490
EOMAN POTTERY.
Part IV.
had only the maker's name without any device or indication of
consulate. Those at Avilia had only names, as Marcus Valerius
Pastor, Tiberius Paosa Antoninus, Publius Kemigius Coxendicus,
and others in contractions,^ or simply, as at Seligenstadt, Secun-
danus, Pacatus, with the addition F for fecit, " made." Amongst
the more remarkable inscriptions of the military tiles are those
in the name of Fulvius Plautianus,^ the Praetorian prefect, and
another with that of Publius Renatus, one of the milites a
tegulis, or military tile makers.^ Inscriptions were often incised
on tiles, with various memoranda : as, £^a?[endis] Junis Quartus
laterclos Numero ec x iiiL " Quartus made 214 tiles on the
Kalends of June;"* xvii Jcalendarum Junii dclxxii, *'672 on
the 17th of the Kalends of June." ^ On another tile at Hummel-
roth was inscribed, stratura tertia later culi cajpitulares num[ero\
leg. xxii.^ "In the third layer large tiles of the number of
the 22nd legion." One found in Hungary had two lines in a
quasi-iambic metre : Senem severum semper esse condecet ; Bene
debet esse puer qui discit bene,'' " An old man ought to be always
grave ; He ought to be a good boy who learns well." Names
incised were found on those of Sabaria in Hungary,^ as Tertius,
Kandidus, Verna, and others ; and in Germany some with the
consulships of a Cornelius Amuliuus 'and Aufidins Pronto, a.d.
199 ; Flavins Aper and Alb. Maximus, a.d. 206 ; of Aurelius
Pompeianus and Q. Lollianus Avitus, A.D. 209 ; and of Vettius
Modestus and Probus, A.D. 228.^ Idle boys often appear in the
brick-fields to have scratched the alphabets on the soft clay;
besides the instances, part of a late Greek alphabet is incised
on a tile found in the amphitheatre at Hadria.^"
The use of terra-cotta in architecture wa§ most extensive for
capitals and columns, bases of columns, sills and frames of
windows, the crowning portions of cornices, and gutter spouts
were made of this material. -^^ The corbels which supported the
* For a list of these, Fumuletti, pp.
451-460. 2 Orellius, i. 45.
3 Steiuer, Codex, ii. 290.
* Jannsen, een Eomenisclie Tegel;
Steiner, ii. 249.
* Jannsen, Nieuwe Ontdeckungen ;
Steiner, 1. c.
« Steiner, ii. 390.
^ Paur, Sitzgb. d, Philosoph. Hist.
Class d. K. Akad. d. Wiss., xiv. 133 f.
* Maasman, Tab. Ccr., p. 56.
^ Jahrb. d. Ver. AlterthUm. im Rheinl.
ii. 81.
^^ Bocchi, antico teatro scoperto in
Hadria, 4to, Ven. 1739, tab. xi.
^^ Seroux d' Agincourt, Recueil, p. 78.
Some of the columns and windows of
this material were found outside the
gate of St. John Lateran, and in tlie
valley of the Fountain of Egeiia ; cf.
also D'Agincourt, Histoirc de I'Art
Architect., PI. xii. xx.
Chap. I. SPOUTS AND FRIEZES. 491
cornices were also made of the same, either moulded or else
stamped out of mould. Indications of the use of terra-cotta
corbels occur in a lararium at the entrance of the house of the
Faun, and in the fragments discovered amidst the ruins of
the buildings at Pompeii. Some of the wall paintings in which
interiors are represented, also show cornices supf)orted appa-
rently by figures of terra-cotta, which have been painted entirely
in accordance with the mural decorations. Between the columns
were suspended masks and lieads of terra-cotta, called clypea^
painted and decorated and suspended by long cords, in the same
manner as lamps are in religious edifices at the present day.
On some of the Greek vases similar objects, oscilla, are seen
suspended from the boughs of trees, along with tablets or
paintings, jpinahes. The gutter spouts under the ridge tiles
were a very decorative and interesting part of terra-cotta archi-
tecture.^ The most ordinary form of these spouts was a lion's
head, which is constantly seen in fountains, and which is found
on the walls of the bath at Ostia and at Pompeii, moulded in
salient relief. Sometimes the whole fore-part of a lion is sub-
stituted, with a trough placed below the feet for the water to
flow out. The head and the fore-parts of dogs,^ and comic and
tragic masks, whose open, shell-shaped mouths, conchw, were
particularly adapted for this purpose, were sometimes used, and
also female heads.^ These objects are generally of the same
piece as the gutter tile, and were stamped out of moulds. Yet,
after all, spouts of this description must have been a very im-
perfect contrivance, and disagreeable beyond measure to pedes-
trians in the streets. Terra-cotta ornaments were also used
largely in the interior and exterior decoration of houses, a
custom which probably arose from the imperfect knowledge
possessed by the ancients of the uses of gypsum, especially in
ornamental work ; hence they substituted terra-cotta for such
purposes. Bas-reliefs of terra-cotta, antefixa,^ formed the deco-
rations either of the impluvium^ of the house, or else went
round the exterior. They were formed of flat slabs, about
1 Due de Luynos, Metaponte, pi. vii. at Musama, Bull., 1850, p. 41.
"^ Cf. d'Agiucourt, PI. xxix. ; Histoire | * " Antefixa, quae ex opere fiu:ulino
do lArt, XX. ; Marquez, Dell' ordine tectis adflguntur sub stillicidio." —
Dorico ricerche, 8vo, Romse, 1803; and : Festus, voce.
Boni, Littera, 8vo, 1805; Guattani, ' ' Festus, voc. Impluvium. Varro, de
Mon. Ined., 4to, 1805, p. 108. LL. 4.
"' Three masks of torra-cotti found
492 KOMAN POTTEEY. Part IV.
eighteen inclies in length and nine inches wide, and were deco-
rated with a variety of subjects. The style of art is bold and
vigorous, and the slabs were evidently cast in a mould, although
in some instances they were apparently retouched before they
were transferred to the kiln. Slabs entirely moulded are of
much rarer occurrence, but tliey exhibit a njuch higher artistic
feeling and freedom. Such is the bas-relief of an Endymion
in the British Museum (T. 428) ; the hair is fine, and so deeply
cut that it could not have been delivered from any mould.
Circular holes are left in them for the plugs by which they
were attached to the woodwork or to the masonry. These plugs
were generally leaden, and had a countersunk flat head. They
were painted after they were fixed. The paste of which they
were made is of various qualities, often coarse and mixed with
a volcanic sand, and of a red or yellow colour. Their thickness
is from 1 to I^ or 2 inches thick. Traces of a leucoma or coating,
and of colour, are found on them. No great variety of subjects
occurs ; but the treatment, which is essentially Roman, exhibits
illustrations chiefly borrowed from mythology, such as the birth
of Jupiter, who is cradled by the Corybantes ; the Giganto-
machia ; the birth of Bacchus, the thiasos of the god, especially
that in which he is supported by the satyr Comus ; Pan ; the
Tritons and Nereids ; Neptune, Apollo Musagetes ; the dances of
the Spartan Virgins at the statue of Minerva; Minerva and Tiphys
fabricating the Argo, the Kentauromachia ; Theseus destroying
the huge Eurytus ; Perseus, aided by Minerva, killing Medusa ;
^neas consulting the oracle of Apollo ; Machaon curing Anti-
lochus ; Victory ; sacrifices ; Barbarian prisoners, and architec-
tural ornaments. Some few slabs have be,en found which, in
the false taste of the period, represent the land of the Pigmies,
hippopotami browsing on the banks of the Nile, and gigantic
cranes perched on the cottages of the diminutive race, who are
navigating the river in boats. The friezes found in the Thermae
of Antoninus had Herakles at the Hesperides, arabesques, and
other subjects.^ As many of these slabs went to the formation
of a large composition, they were numbered, in order to assist
their arrangement.^ The subjects on these slabs are disposed in
bas-reliefs on the flat surface, and their treatment is of two kinds.
In the first sort the figures are grouped with large flat surfaces
' Fen, Misc. Crit., I. p. clxxi.
* Campana, Antiche operc in plastica, to. Roma, 1842.
Chap. I. COLOUR AND ART OF FRIEZES. 493
between them, in accordance with the later style of Greek art ;
in the second, they are introduced as accessories to floral and
scroll ornaments, forming centres from which these ornaments
radiate. For the narrow slabs of cornice heads and basts in
high relief, because more remote from the eye, were preferred ;
panthers and Cupids, however, sometimes appear. The slabs
are ornamental, with bands or cornices, in the shape of artificial
flowers, or with the usual egg and tongue moulding above, while
plain moulding and artificial ornaments occur below. The
bas-relief is exceedingly high in the narrow bands and friezes
destined for some of the architectural mouldinors, but in other
instances it is flat and scarcely raised a quarter of an inch above
the surface. The ornaments are very limited, consisting of egg
and tongue, the antefixal ornament, and lilies. The treatment,
although free, and in many cases noble, is essentially archi-
tectural. These slabs are by no means choice specimens of
ancient art, like those which decorated public buildings, but
were intended merely as ornaments for private dwellings, or
for sepulchres. All these ornaments, even when used externally,
were coloured generally with pure colours, such as red, blue,
and black ; while, in some instances, as in the decoration of
the antefixa, green and yellow were used. In Greek edifices,
it is probable that the painting was in wax, as mentioned by
the pseudo-Dikaiarchos ; and some, indeed, of the Pompeian
buildings appear to have been coloured in encaustic. These
ornaments were probably not much later than the time of
Severus. In some instances the name of the potter occurs upon
them, as those of Annia Arescusana, and M. Antonius Epaphro-
ditus. The bas-reliefs in the collection of the British Museum
were found in a dry well, near the Porta Latina at Rome.^ In
1761, a subterraneous place, divided into many chambers, was
discovered at Scrofano, about sixteen miles from Rome. The
dome of the largest chamber was enriched with paintings in
fresco, representing animals. The whole of the frieze below
the dome was enriched with bas-reliefs in terra-cotta, which
were fastened to the wall with leaden nails. Many tombs on
the Appian Road, as well as the temple dedicated to Romulus,
near the Circus of Maxentius, were ornamented in a similar
manner with terra-cottas ; and there are several ancient cham-
bers still visible in the neighbourhood of Rome, in which.
^ Taylor Combe, Descr. of Ancient Terra-Cottas, 4to, London, 1810, pp. vi. vii.
494 ROMAN POTTERY. Part IV.
though the bas-reliefs have been long since removed, the places
which they occupied are perfectly distinguishable. Similar
slabs were discovered, forming a frieze round the four sides of
a chamber of the house of the Caecilii, at Tusculum.^ Some
found between the Porta Salaria and Pinciana were used for
roofs, and stood considerably raised above the height of the
roof, with a narrow gutter and a ridge, over which was placed
an imbrex,^ and they were probably the monumenta testacea of
the inscriptions. The subject of the potteries engaged the at-
tention of some of the Koman writers on agriculture, for Yarro^
quotes the book of Hostilius Saserna, both father and son of the
same name, which treated on the potteries.
' Campana, p. 31. ^ D'Agincourt, Recueil, pi. vii.
• De Re Rustica, i. 2.
(.^riAP. ir.
S^'ATUES.
495
CHAPTER II.
statues — Signa Tuscanica — Volcanius — Numa — Gorgasus — Cato — Possia
and Arkesilaos — Size — Models — Sigillaria — Festival of Sigillaria — Fabric
— Potters — Miscellaneous uses of pottery — Coiners' moulds — Crucibles —
Toys — Lamps — Names — Parts — Shape — Age — Powers — Subjects —
Great Gods — Marine deities — Hercules — Fortune — Victory — Foreign
deities — Emblems — Poetical subjects — Fables — Historical subjects — Real
life — Games of Circus — Gladiators — Animals — Miscellaneous subjects —
Christian lamps — Inscriptions — Names of Makers — Of places — Of pottery
— Of proprietors — Date of manufactures — Dedication to deities — Acclama-
tions — Illuminations — Superstitions.
In tlie earlier ages of Rome the laws and institutions, based
without doubt upon the sentiments of the people, were un-
favourable to the arts. Numa prohibited the deity being
represented under the human form. Great men were indeed
allowed to have statues, but not to exceed 3 Roman feet in
height — a small size — and this privilege was not extended to
females till much later.
Most of the ancient statues of the Romans are of terra-cotta,^
a fact which is constantly alluded to by their writers.^ In the
early days of the republic the fine arts were at the lowest ebb,
all objects coming under this denomination being either imported
from Greece, or procured from their more refined neighbours the
Etruscans who cultivated the glyptic .'and plastic art with com-
plete success. Hence the Romans purchased such statues as
they required ; and these which appear to have been terra-cotta
and called signa Tuscanica,^ adorned all the principal temples
of their gods. The most celebrated works of republican Rome
were made by the artists of Yeii, and those of the Yolscian
Fregella? or the Etruscan Fregense. The celebrated quadriga
made by Volcanius of Fregellae, which surmounted the pediment
of the temple of Jupiter Capitolinus, which was treated with
superstitious awe and considered one of the safeguards of the
» Pliny, N. H., xxv. 12, 46.
' Ibid.; Muratori Thesaur., torn. ii.
p. 237.
3 Ovid, Fasti, 1, 201-202; Propertius,
Eleg., lib. iv. 1, 5; Juvenal, Satir., xi
1, 16; Seneca, Epistol., xxxi. ad fin.;
Consolat. ad Helv., c. 10, 2.
496
ROMAN POTTERY.
Part IV.
Imperial city, shows the low state of the arts among the Romans.^
Nnma, however, ever attentive to the Roman arts and institutions,
is said to have founded a corporation of potters.^
In B.C. 491, Gorgasus and Demophilos ornamented with bas-
reliefs and terra-cotta figures the temple of Ceres at Rome.
They were natives of Himera in Sicily, and their labours were
probably rather of Greek, than Etruscan style, which was pre-
vious to them. In the reign of Augustus the temple was burnt,
and so great was the esteem in which the works of these old
masters were held, that they were taken out ot the walls and
framed in wood. They were of the Aiginsean style of art.^ It
has been conjectured that the want of white marble in Italy,
none being discovered till the Imperial times, caused the exten-
sive use of terra-cotta.* The gradual conquest of Campania
and of Greece Proper, which supervened after the fall of Etruria,
unfolded to the eyes of the Romans a new school of art, and after
the siege of Korinth the old terra-cottas fell into contempt and
neglect. From this time the temples of the gods and the houses
of the nobility became enriched and beautified with the spoils
of Grecian art, in stone, marble, bronze, and terra-cotta. The
artists of Greece hastened to pay their court to their new masters,
and received great encouragement, in spite of the protests of the
old conservative party of the aristocracy led by Cato. On the
occasion of the attempt to abolish the Oppian law, which was in
fact a sumptuary one for women, Cato, who was then consul,
inveighed against the increasing luxury of the state, and espe-
cially against the statues which conquest had brought in its train.
" Hateful, believe me," says he, *' are the statues brought from
Syracuse into this city. Already do I hear^too many who praise
and admire the ornaments of Korinth and Athens, and deride
the terra-cotta figures, antefixa,^ of the Roman gods. For my
part, I prefer these propitious gods, and hope they will continue
to be so if we allow them to remain in their places."® Towards
the close of the republic, great w^orks continued to be exe-
cuted in terra-cotta, and were much esteemed. The modellers,
Possis and Arkesilaos, are cited by Varro,' and the former made
» Pliny, N. H., x. xxv., c. 12. 45.
2 Servius ad Virgil. JEneid., vii. 188.
2 Tacit. Annal., ii. 49; Dio Cassius,
50, 10.
* Hirt. Gesch. d. Bild. Kunst, s. 117,
123.
' "In a;de Concordise, Victoria, quae
in culmine erat icta decussaque ad Vic-
torias qn?e in antefixis erant." — Livy,
lib. xxvi. ; Vitruvius, iii. c. 2.
* Livy, xxxiv. c. 4.
' Plinv, xxxv. c. 12, 4.5.
Shap. ir. {SIZE OF STATUES. 497
)r Julius Ca3sar a statue of Venus, which was highly prized,
Uthough the artist had not completed it. Virgil's father was a
potter in the neiglibourhood of Mantua ; and some of the remains
of terra-cotta, extant in the museums of Europe, can be safely
referred to the first century of our era.^ The two principal
terra-cotta figures at Rome were, one of Venus Genetrix made
at the expense of Julius Caesar, and another of Felicitas made
by order of Lucullus.^
Few statues of any size in this material have escaped the
injuries of time. In the regal days of Kome, Numa prohibited
all statues above three feet high, a regulation probably agreeable
to the practice of the neighbouring nations, and by no means
favourable to the arts. At least there are few larg^e Etruscan
figures. Of the large Roman figures known, one is the Torso,
in the British Museum, the arms, legs, head, and extremities of
which were mortised to it in another material in separate pieces.
That such was tiie practice appears from the fable of Phaidros
about Prometheus, who after he had made the human race out
of clay, in separate pieces, having been invited to supper by
Bacchus, on his return home applied the wrong limbs to the
bodies.^ Four figures in this material found at Pompeii are
larger than life. They represent an ^sculapius and Hygieia,
and a male and female comedian. There is also a bust of Pallas,
rather larger than life, with a buckler at the right side. Figures
however of this size are of great rarity ;* one of the latest of the.^e
terra-cotta figures, mentioned in ancient authors, is that of Cal-
purnia, wife of Titus, one of the thirty tyrants, *' whose statue,"
says Trebellius Pollio/ " made of clay, but gilded, w^e still see
in the temple of Venus." In the Vatican is a figure of Mercury
of this material, about the size of life. Some figures, about
three feet high, representing the Muses, an 1 some terminal busts
of Bacchus, almost the size of life, used to decorate gardens, were
found in the same well as the friezes near the Porta Latina.
These were of the same coarse red material as the friezes.
They are in the British Museum.^
It appears that tlie artist was obliged to make first a model
* Seroux d'Agincourt, Recueil, p. 7. auratam." TriJler (Ob. Crit., I. 4, c. 6,
' Fliny, N. H., xxxv. c. 45. p. 328) reads "Argilla-eam." Winckel-
^ Phaidros, lib. iv. Fab. xiv. mann. Hist, de I'Ait, iii. p. 2.o6.
< Winckelraann, Stor., ii. p. 273. \ « Ancient Terra-cottas in tlie British
^ VitaTiti, "Cujusstatuamin templo Museum, PI. 1 et seq.
Veneris a;lhuc videmus Argolicam sed
2 K
498
ROMAN POTTERY.
Part IV.
in clay of the statues in bronze or marble whicb he intended to I
execute. This process was, however, not very ancient, as Pliny
states that it was first used by Lysistratos, the brother of Lysip-
pos. Pasiteles, an artist of the time of Augustus, is stated by
Pliny never to have made a statue except in this manner ; but
the custom was by no means general. These sketches, called
jproplasmata, were often much sought after, as they exhibited
the full freedom of the artist's conception and style, and those
of Arkesilaos, an artist of the period, fetched a high price. -^
The majority of figures were of small size, called sigilla or
sigillariay and were used for votive purposes, or as toys, presents,
and for the lararia. They represent all kinds of figures of gods,
actors, aurigae, moriones or buifoons, dwarfs, portraits of Imperial
personages, and philosophers, like those of Greece, but of coarser
execution, and are found throughout the Koman Empire. Few
specimens, indeed, have been discovered in Britain, and those
found are of a coarse red clay.^ Some were found in the rubbish
pits of Eichborough.^ More than 200 at a time have been
discovered in France.* Small figures of the Gaulish goddess
Nehalenia, having incised on them the name of Pistil lus, have
been found at Autun, Dijon, and Semur.^ A very common type
is a nude figure of a female seated in a chair, giving suck to
two children, supposed to represent the Dese Matronae, or Matres.
A manufactory of them was discovered some years ago at Hei-
ligenberg, near Mutzig, on the Brusche. Many of these figures,
in the British Museum, found in the neighbourhood of Lyons,
are of a very white paste, and represent Mercury, Venus Ana-
dyomene, and other figures. A great number of figures were
probably prepared for the festival of the^ Sigillaria. This is
particularly described by Macrobius, and like all the Eoman
fetes was supposed to have had a mythic origin. Hercules, after
the death of Geryon, and the capture of his cattle, was stated by
tradition to have thrown from the Pons Sublicius, into the Tiber,
the images of the companions whom he had lost in his wander-
ings, in order that they should be carried by the sea to their
native shores. The hypothesis of Macrobius is equally fanciful,
for he thinks that candles were used by the Pelasgi, because
the word ^^hos, or ]^'h6s, signified both man and light, and that
^ Clarac, i. p. 25.
^ Cf. that of Lidney Park, Lysons,
Reliq. Britann. Rom., ii. xxix. 6.
^ Wright, The Celt, Roman, and
Saxon, 12mo. London, p. 224.
* Caumont, Oours, xxxviii. p. 222.
5 Leclerc, Arch. Celto-Rom., 4to,
Paris, 1840, p. 28, PI. 7.
Chap. II. SIGILLARIA. 499
oscilla, or masks of terra-cotta,^ were substituted instead of
human lieads around the altar. "They keep," says Ausonius,
"the festivals so called from the figures."^ Macrobius thus
describes the Saturnalia. *'The Saturnalia were [originally]
celebrated for only one day, on the fourteenth of the Kalends,
but were afterwards prolonged to three. The celebration of the
Sigillaria, which was added, extended the public pastime and
the joy of the fete till the seventh day. It was called the Sigil-
laria because sigilla, or little images,^ and other trifling gifts were
sent about." Martial * alludes to many of these being of terra-
cotta, which were either bought for joke, or by parents for their
children in honour of Saturn. They probably alluded to the
stone or image wdiich Khea gave the god to devour instead ot
his children. The Saturnalia commenced on the 14th or 16tli
of the Kalends of January, and were continued for three days.
On the 12th of the Kalends of January, the feast of the Sigillaria
commenced.^ All classes of society indulged in this festival.
Hadrian, says his biographer, sent the Saturnalian and Sigillarian
gifts even to those wlio did not expect them, or had no right to
do so.® Commodus, when a child, gave them to his tutors as a
mark of great condescension. The whole feast reminds us of
Twelfth Night. Terra - cotta figures were also sold in the
temples.' xllthough it is not possible to trace a succession of
these small figures in the Imperial times, yet the age of the
greater part of them is of the middle period of the empire.
Some representing the Dese Matres just cited, are of the latest
time of Paganism, when taste and knowledge had declined.
Some were actual portraits of deceased persons.^ One of the
most interesting if true of this nature is the small head discovered
in the sepulchral chambers of the Cornelian family near the urn
of Scipio Barbatus. Furnaces of Sigillaria had been found at
Moulins and in the Yalley of Allier. A great number of
moulds were found, many of which had scrawled upon them in
cursive Latin on the outside, while the clay was moist, the
names of the potters. Their names were Abudinos, Prisons,
^ Macrobius, Siitum., i. c. 11.
2 Idylla, XXV. 32.
1G32, p. 23.
' Plutarch in Libitina; Gerhard,
3 Saturn., lib. i. c. 10. ! Prodromus.
* Lib., xiv. clxiv. clxvi. ; I. c. x., Into | ^ Seroux d'Agincourt, Recueil, PI.
Saturnalicio. ! xvi. fig. 1. One of these heads was in
^ Itosinus, Autiq. Roiu., p. 295. { the Hertz's collection.
•^ Spartianus, in vita, Lugd. Bat.,
'1 K 'Z
500 ROMAN rOTTERY. Part 1Y
Nattus, Urbicus, Pistica, Belinns Greens, C. Cossus, M. Atilianus,
Tiberius Silvani, Quintillus, Tritoguno, Julius, Camul[eiius],
Severus, Coppios, Anctios, and Silvinus. The alphabet was ^ B C
AMK<; HIKhM UKPrP f^<. TV. Some moulds had the
word forma, mould, inscribed upon them. The figures were
moulded in two down the middle, without arms, which were
added while the clay was moist. One was kept as a master or
store cast. The subjects were Venus, Abundantia, Ceres or Ari-
adne, warriors, figures in a higa} Small clay figures from 6 to
9 inches high, of a fine white pipe-clay, almost resembling plaster,
have been found in London. They were cast in two longitudinal
moulds, and then fixed upon a circular pedestal. The fact of
Venus Anadyomene being a common figure suggests that they
were placed in the apartments of women, and a female figure
with two children, probably Latona, also occurs. A personifi-
cation of Fecundity was also found in the temple of the goddesses
of the Seine, Dem Sequanse, near the sources of tliat river, all
of which types indicate that they had relation to love.^
A few notices of terra-cotta figures ^ are found in the Latin
authors. Martial speaks of a deformed indecent figure of a man,
perhaps Clesippus or Ctesippus, which was so horrid that he
thought Prometheus must have made it when intoxicated during
the Saturnalia,* and of a mask of a red-haired Batavian, the
conceit of the potter.^ The makers of Sigillaria do not appear
to have deemed them of such importance as to place their
names upon them.
The Roman artists followed the same process as the Greeks.
The figures were made upon a stick, crux et stipes,^ with
moist clay, and afterwards baked. As in^ the case of Greek
figures, they are all made from a mould. " You will imitate,"
says Horace,' "in wet clay whatever you choose." From
these figures moulds were taken in a more porous clay, which
produced a succession of other figures.^ The torso was often a
separate piece. D' Agin court finds some difficulty in accounting
for the mode in which the terra-cotta figures were hollowetl.
» Tudot, Collection de figurines, en ^ por sigillaria, D'Agincourt, PI. x.
argile de I'Epoque Gallo-Romaine avee
les noms des c^ramistes qui les ont ! ^ Epig., xiv. 176.
xiii. 1, 2, 3 ; xiv. 1, 3 ; xv. 14 ; xvi. 3.
executes, 4to, Paris, 1859.
2 Baudet, H. M., Rapport sur les
decouvertes faites aux sources de la
Seine, Paris, 1845.
5 Ibid., 182.
® Tertullian, Apologet, 12.
^ Horace, lib. ii. ; Ep. 1, 8.
* Festus, in Rutumena, 6.
CriAP. II. MISCELLANEOUS ARTICLES. 501
Although the names of makers are constantly found upon all
kinds of lamps, vases, tiles, friezes, and mouldings, especially
those of terra-cotta., the sigillaria are not found marked by them.
Passeri ^ indeed has engraved a figure of Minerva, on which is
stamped or impressed the name Ulpianus, probably the name of
its maker — but as this figure has two wings or handles behind,
it probably belonged to a lamp, and the inscriptions might even
have been put on by its possessor. The names of the Gallo-
Eoman potters at Moulins have been just given. The maker
of these small figures was called a sigillarius? There was also
a potter called signarius.^ Although among the Greeks the
potter, as a manufacturer and often an artist, held a respectable
position, the social condition of the Roman potter was low. He
was generally a slave, sometimes a barbarian, while the masters
of factories or shops were only liherti, or freedmen. Sometimes
the potter appears to have worked on the estate of a wealthy
proprietor, who received through his name the profits accruing
from the establishment. The fullest account of the potters will
be found in the description of tile and lamp makers, who formed
a numerous class.
It is impossible to enumerate all the purposes to which the
Romans applied terra-cotta ; but some are so remarkable as to
deserve a special notice. Such are the cages employed to fatten
dormice,* called saginaria, gliraria,^ in order to prepare them
for the palates of Roman epicures ; and the cones of heated
terra-cotta placed before hives, in order to burn the butterflies,
and other insects which attacked the bees, called milliaria
testacea. There are specimens of both these objects in the
Museum of Naples.® Bees, too, seem to have been hived in
terra-cotta amphorae,' a use of the material peculiar to antiquity.
Toys, as among the Greeks, were also made of this material, and
called cre^undia and sigillaria, from their being stamped in
moulds. A toy in shape of a horse or mule carrying two am-
phorae in panniers has been figured.® Small altars, which have
been found, are supposed to have been dedicated in the lararia
to the lares, for the holding of lamps or the burning of incense.*
> IIL tab. 84. 2 Orellius, ii. 165. | « Verde, 1. c, No. 486), p. 140.
3 Ibid. 265 ; cf. 42, 79, 81, 82. i ^ Porphyry, Ant. Nymph., p. 261.
4 Verde, Guide pour le Musee Koyal j * Cireo and De la Venelle, Ant. d.
Bourbon, Naples, 1833, p. 114, n. ; pp. ; Chatelet, Ixvii.
516-518. j ® D'Agincourt, Recueil, xxi. 1, 3;
* Varro, lib. iii. c. xiv. 1 xxii. 9, p. 53.
502
IIOMAN POTTERY.
Taut IV.
Of terra-cotta were also made the little money-boxes wliicli
the successful charioteers or athletes carried about, to receive
the donations of the spectators of the circus. One of these of a
conical shape, like an ancient furnace, was found on the Aventine
liills.^ On one side is the victor, in the dress of the auriga of
tlie third century ; on the other, the words Ael(m) Max[im.Si).
A second had a head of Hercules ; and a third. ^ is of an oval
form, like a snuff-box, and has upon it a head of Hercules. It
was found upon Mount Coelius, with another, on which was Ceres.
A fourth was discovered in the baths of Titus, in 1812, filled with
coins of the time of Trajan.^ The three figures on the front of
this were explained as the tutelary gods of the Capitol. It had
on the outside a branch and horse.* A fifth was found at Vicliy.
A few tickets, or tesserae, used for admission to the games of
the ampliitheatre and the circus, were also occasionally made of
red ware, intermediate between terra-cotta and stone ware. On
them were either impressed or incised the number of the cuneus
and the steps, such as, V iiii. : — meaning, the 4th division of the
5th row, or cuneus, or else a representation of the animals
exhibite 1. On the reverse of one with such a representation is
the letter A., and on the obverse an elephant, showing that it
was used for the admission to a spectacle in which these beasts
were shown.^ Terra-cotta moulds for making false coins have
been discovered, of a paste composed of fine clay, containing
the fossil infusoria of the genus Navicula. Other moulds are of
a dark red clay, and as hard as brick.^ The clay was first
worked up to form a tablet or lozenge, flat on both sides, and
about one-eiglith of an inch thick. A piece of coin was pressed
into this pillet on each side, so as to leave ah impression on the
clay. The clay was cut round this, and a triangular notch was
made at one side of the clay. The pillets or moulds intended
for the ends were impressed on one side only. The moulds were
then piled in rouleaux or stacks, one above another, with the
obverse and reverse of the coins adjusted so as to give out proper
casts, and the notches inside, to allow the metal to flow through.
1 D'Agincomt, Recueil, PI. xx. pp.
50-52.
2 Tom. iv. PI. Iiii. 3, 4, p. 157.
^ Fea, Dissertation sur la pretendue
Statue de Pompee, p. 12.
* A. de Romanis, Terme di Tito, fo.
Roniffi, 1822, pp. 25, 50-51 ; B. Smith,
Collectanea, vi. p. 63.
* Alessi, Lettera sulle gliiande di
piombo, 8vo, Palermo, 1815. It is doubt-
ful if this is really an ancient terra-cotta.
* On the subject of these moulds, see
Caylus, i. 286, cv. ; Hiver, Eev. Num.,
1837, p. 171 ; Poey d'Avant, de Melle,
Rev. Num., 1837, p. 165; Rev. J. P.
Reade, Num. Ohron., vol. i. p. 161.
|d.,.p.
ir. MOULDS. 503
The greatest number of piles or rouleaux placed together was
eight, but there were often not more than three. The whole
Pjwas then luted externally, to prevent the liquid metal from
escaping ; and a kind of small basin or funnel was made at tlie
top of tlie mould to facilitate the pouring in and circulation of
the liquid mass, which was poured into a channel of a star-shape,
. formed by the union of the triangular notches. How the coins
were extracted is not known ; in all probability the external terra-
cotta luting was removed, and the jet of the mould was pared ;
after which the coins were washed with tin or silver. Such is
the apparatus for coining found in Koman stations in France and
England. In the former country such an apparatus was found
in an ancient building, close to the public baths at Fourvieres,
near Lyons ; and in another in the park of the castle of Damery,
near Epernay, built on the ruins of Bibe, the first station on the
I military road between Rheims and Beauvais. In the latter place
were found two thousand pieces of base silver coin, three-fourths
of the Emperor Posthumius, and the rest coins of the Emperor
: Pliilip and his successors ; also several of the Constantines, and
[' of all the principal imperial mints. An apparatus and thirty-
nine moulds were found here, comprising the types of Caracalla,
the elder Philip, and Posthumius. Another of 130 moulds were
found in a large jug at Bernard. They commenced with Trajan,
A.D. 98, and terminated with Julia Mammaea a.d. 322, and appear
to have been hastily placed in the jar by forgers.^ The dates of
these moulds range from the time of Severus, who first adulte-
rated the silver currency, till Diocletian, who restored it. They
were thus made wdien the empire was distracterl with civil dis-
sensions, rapid revolutions, and hostile camps ; and it is very diffi-
cult to decide whether they were the work of forgers of the public
money, or intended for the issues of usurpers, who, being removed
a considerable distance from the capital, were unable to fill their
military chests except with cast coins. At the Lingwell Gate,
in Yorkshire, where several of these moulds were found, they
were made of the clay and sand belonging to the spot. Similar
moulds from Egypt, in the British Museum, of a deep brick-red
colour, are quite dissimilar from the moulds of the Lingwell
Gate, and are probably made of Egyptian clay,^ as are others
of the age of Constantino. In the sepulchres of the Romans,
' Baudry, F., Memoire sur les Fouilles j are given in D'Agincourt, Reeueil,
Archeol. do Bernard, Vendee, 8vo., 1859, xxxiv. p. 90 ; Ficoroni, Piombi Autichi,
^ Others of these false dies for coins i torn. i. pi. cv. No. 2.
504 EOMAN POTTERY. Part IV.
several dolls of terra-cotta, with movable arms and legs, are
found, like those of bone and ivory which occur more frequently,^
especially in the cemeteries of a late period, and of Christian
children.^ Horace mentions them as made of wood, so also
Apuleius,^ and M. Antoninus applies to them the Greek term of
neurospasts.* Other toys were also made of this material, such
as the astragalus, or knuckle bone,^ latrunculi, fruits, carts,
animals, and other objects.
Lamps, lucernse, often were made of terra-cotta, of a fine
clay, and are one of the most interesting products of the art.
Several are covered with a thin coating of slip, or silicious
glaze, and consequently belong to the lustrous pottery, com-
posed of a tender paste. The later lamps are of the red Roman
ware. As the greater number, however, are of terra-cotta, the
general description of their manufacture, subjects, and epigraphs,
will be given here, and the other kinds referred to in their
respective places.^ The Greek name for a lamp was lychnos,
and for the stand in which the lamp was placed, lychniichus,
lamp-holder. The lamp lucerna, says Yarro, was afterwards
invented, so called from luXy light, or beaming, the Greeks call
it lychnos? The parts of the lamp are the nozzle, or the nose,
nasus, the handle ansa, and the upper part discus, in which was
a hole for pouring in the oil, anciently plugged with a stopper.
The word myxa, the French meche, which was applied to the
wick, gave the name dimyxos, trimyxos, ^olymyxos, to lamps
with two, three, or many nozzles, they were also called hilychnis.
Lamps are sometimes circular, with a spout and handle, some-
times elliptical or shoe-shapel. The Greeks applied to terra-
cotta lamps the term trochelatos,^ or made on the lathe, although.
* Seroux d'Agincourt, Eeciieil, p. 91 ; 168. a Silenus lamp ; kl. Schrift v. III.
Caylus, Recueil, torn. iv. pi. Ixxx. No. 1, s. 3U7, new-ytar's lamp ; Walz., in
p. 259.
^ Boldetti, Osservazioiii sopra i cime-
terii, 1720, p. 49G.
Pauley, Eeal Encyclopedie der classi-
schen Altertbumswisseii. 4 Bd. 1846, s.
1162 ; F. Licctus, De lucernis antiquo-
3 De Mundo, 8vo, Franc, 1621, p. 70 ; rum, libii vi. fo Udin., 1652 ; P. Santi
cf. Aristotle, De Mundo, 1. c. \ Bartoli, Le antiche lucerne sepolcrall
In Vita, lib. vi. c. 2. { figurate et designate ed intagliate nelle
DAgincourt, Recueil, xxiii. ii. j loro forme, fo. Roma, 1691 ; Lucernse
fictiles Musei Passerii, folio, Pisauri,
1739-43-51 ; Le Lucerne d'Ercolano,
5
^ Oct. Ferrarius, de veterum lucernis
sepulchralibus ; Grsevius, Ant. Rom , xii.
998. Veterum lucernse sepulchrales de- | fo. Nap., 1792 ; Seroux d'Agincourt,
lineatse a P. S. Bellorio, cum observa- Recueil, p. 63 et seq.
tionibus G. P. Bellori ex Italico, Romse, ' ? L. L., v. 34.
1691-1729; Gronovius, Tlies., t. xii., » Aristophanes, Eccl., 1.
1702 ; Bottiger, Amalthaea, Bd. iii. s.
Chap. IF. EARLY LAMPS. 505
already stated, they were obviously made in a mould. Those
ed in dining-rooms, tricliniares, generally hung by chains from
le ceiling,^ candelabra being only used to hold lamps in tem-
les. Others found in sepulchres, sejmlchrales, were placed in a
shoe-shaped stand, fastened with a spike into the wall. The cham-
ber lamps, cuhiculares, burnt all night.^ The invention of lamps
is attributed to the Egyptians, who thought that they were first
fabricated by Yulcan, that Minerva supplied the oil, and that
Prometheus lit them;^ but no Egyptian lamps of terra-cotta
earlier than the Koman Empire have been found. Lamps are
lirst mentioned by Pherekrates, the Athenian poet, who flourished
in the reign of Alexander the Great. We find no further men-
tion of them till the age of Augustus, and none of the unglazed
terra-cotta lamps are earlier than that period. The principal
parts of these lamps are the cup or hollow portion, hrater, the
upper part, discus, and the handle, ansa, behind. The discus has
a hole, infundihulum. Round the krater is the limhus, which
is a decorated border of floral or other ornaments.'* The hole,
by which the oil \vas poured into the lamp had a movable
cover, or stopper, which is rarely found. This, which was an
inch or an inch and a quarter in diameter, was stamped in a
separate mould, and is generally ornamented with the subject
of a head in full face. A fictile lantern was found in the pyramid
of Cestius. The wick, myxa, was made either of tow, stujppa,
or rush, scirpus, of amaranth, amaranthus, or papyrus. The
pin or needle with which the wick was trimmed was sometimes
placed in a hole at the side.
The earliest lamf)s have an open circular body, with a curved
projecting rim to prevent the oil from spilling, and occur both
in terra-cotta and also in the black glazed ware found in the
sepulchres of Nola. Many have a projecting hollow pipe in the
centre, in order to fix them to a stick on the top of a candela-
brum. These lamps have no handles. They may have been
placed in the sacella or lararia, and were turned on the potter's
wheel. The shoe-shape is the most usual, with a round body,^
a projecting spout or nozzle having a hole for the wick, and a
^ Virgil, Mn. I., 730. < ^ Passeri, Lucernae, folio, Pisauri,
2 Martial, xiv. 39, x. 38. For the ! 1739, p. 4.
mode of using lamps, see Bottiger, Die I "* Pollux, Onomasticon, x. 27.
Silenus lampen, Amalthaea, iii. p. 168, j * See the work of Kenner, Die Anti-
Ac. ; Becker, Charicles, ii. p. 215 ; ken Thonlampen, Svo, 1858.
Gallus, ii. p. 209.
5'J6
ROMAN POTTERY.
Part IV.
small annular handle, which is more or less raised. Some of
the larger lamps, and especially the Greek ones, have a flat
triangular handle, which is sometimes
elaborately ornamented in bas-relief
with figures, the helix ornaments,
dolphins, and other subjects. Another
kind of handle was in the shape of
the crescent moon, and was very com-
mon in bronze. In a few instances it
was in the form of the neck of a vessel.
The bust of the god Serapis was a
much more unusual form. A singular
variety of lamp, well adapted for a
table, was fitted into a kind of small
altar, the sides of which were orna-
mented with reliefs. Several, however,
from their unusual shape, may be con-
sidered as fancy ware, the upper part,
or the whole lamp, being moulded
into the resemblance of some object.
Such are the lamps in the British
Museum in the shape of a female
head surmounted by a flower, or of the head of a negro or
Nubian with open jaws, through which the wick was inserted.
Some elegant little lamps were in the shape of a foot, or pair of
No. 187.— Limp. Crescent-shaped
handle.
No. 18?.— Lamp, with bust of Serapis.
Chap. IT.
SHAPES OF LAMPS.
507
feet, shod in the mih'tary boot, caliga, and studded with nails.
A bull's head was a favourite device. Some lamps in the shape
f^ a pigeon are of a very late fabric. A lamp for two wicks, in
le collection just referred to, is in the shape of tlie wine-skin of
d Silenos, whose head is seen above, and tlirough whose gaping
ws it was fed. Another is also of a comic nature, having a
satyr's head in front. It was for many wicks.^
Some are in the shape of tall jugs, the upper part being the
lamp. In this case the front and sides are ornamente 1 with
figures in bas-relief, such as Apollo,^ or the triform Hekate, one
figure on each side.^ Lamps admitted many fanciful shapes,
as the helmet of a gladiator, a rat and a snail.* Most of
these lamps appear to have been made between the age of
No. 189. — Group of Lnmps (altar-shapod), with many spouts, and ordinarj' one for one wick.
Augustus and that of Constantine. The style, of course best
at the earlier period of the empire, degenerated under the
later emperors, such as Philip and Maximus, and becomes at
last Byzantine and bad.
Most lamps had only one wick, but the light they afforded
must have been feeble, and consequently some have two wicks,
the nozzles for which project beyond the body of the lamp. In
the same manner were fabricated lamps of three, five, and seven
wicks. If more were required the nozzles did not project far
beyond the body of the lamp, which was then moulded in a
shape adapted for the purpose, and the favourite one was a
' Seroux d'Agincourt, Recueil, pi.
xxxvii. xxxviii.
2 Pnsseri, i. tav. Ixix.
' Passeri, i. tav. xcvii. iii. Ixxvii.
'• De Witte, Rev. Num. N. S., iii. p. oG.
508 ROMAN POTTERY. Part IV.
galley. Sometimes a conglomeration of small lamps was manu-
factured in a row, or in a serrated shape, which enabled the
purchaser to obtain what light he required ; still the amount of
illumination must have been feeble. As many as twenty wicks
are iound in some lamps. The greater number average from
three to four inches long, and one inch high ; the walls are about
one-eighth of an inch thick, and the circular handles not more
than one inch in diameter. Some of the larger lamps, however,
are about nine inches or a foot lono^, with handles eio^ht or nine
inches high. The paste of some lamps is white, chalky, and
easily scratched ; of others, hard and clayey ; of a few, of a
bluish-black colour. Eed is, however, the prevalent tone, either
owing to the earth called riibrica, or ruddle, by Pliny, or
to the use of bullock's blood, which washes out.^ The lamps
found at Kome on the Yia Nomentana, celebrated for its
potteries, are of a white colour.^ The Neapolitan lamps are
of a dingy brown, or yellow. Those made of earth from the
Vatican hill are red.^ The lamps from Cumae are also made
of red clay,* and those found at Arretium and Perusia are of
the same colour.^ The lamps of Pesauri are both red and
white clay, from the fundus Accianus. The Etruscan are of
black clay, the Egyptian of red, brown, or black clay, full baked.
Many of the lamps from the vicinity of Naples are of an ashen
or yellow clay. Those from Greece are remarkably pale and
pure, and the lamps found in France and England if not im-
ported from Kome, which appears to have been the emporium
of the trade, are generally of a pale white or yellowish clay.
They were manufactured by means of moulds, which were
modelled from a pattern lamp, in a harder a^d finer clay than
tlie squeeze or pattern. The latter was divided into two parts,
adjusted by mortices and tenons, the lower part forming the
body of the lamp, the upper the decorated superficies. The clay
was pressed in with the fingers, by a potter called the figulus
sigillator,^ or stamper. The two portions were joined while the
clay was moist, and pared with a tool, and a small hole was
pierced for introducing the oil. They were then dried and sent
to the kiln, and baked carefully at a not very high temperature.
' Livy, lib. iii. dec. 1.
2 Passeri, xiii. xiv.
speaks of the red clay of this locality.
* Passeri, xiv.
^ The fragiles patellae of the Vatican ^ Passeri, x. " Dis manibus Aga-
are mentioned by Juvenal, Sat. vi. 343. tobolus, Lucii filius Pyrrhus figulus
'* Passeri, xiv.; Martial, xiv. Ep. 112, sigillator;" Orellius, 4191.
Chap. IT.
IMOULDS OF LAMPS.
5U9
No. 190. — Mould of a Lamp (lower yart).
)ine moulds were prepared- with considerable taste and good
>rkmanship, and as the same type was used by difterent potters
I'ho made lamps, lucernarii^
appears tliat they were
)ld ready made, and that
le potter merely added his
name.
The simplest kind of lamps,
and which may be considered
of the earliest and best style,
have their subjects in the
centre, which is concave, like
a votive clipeus, which it
appears intended to represent. The subject is only surrounded
with a plain bead or moulding. Such lamps are probably of the
best period of the empire, and may be traced down to the time
of Philip.^ They generally have simple semi-oval nozzles and
moulded handles, and are distinguished by their simple circular
bodies. In some cases the moulding is divided, leaving a channel
to the neck.^ These lamps have never more than one hole for
the oil. Such specimens as have not handles, generally have
the part for the wick elongated, and ornamented either with
mouldings resembling the Amazonian pelta, sometimes seen
combined with architectural flowers on those vvith handles, or
else the nozzle seems intended for an ivy leaf, flower, or pelta.
On some of the later lamps, the borders are much more elabo-
rate ; egg and tongue mouldings, wreaths of laurel, bunches of
grapes, and oak leaves, are distributed round the subject ; or
the acanthus leaf, and antefixal ornament, a trefoil flower or leaf,
an egg and tongue border, and wreaths appear. The number
of figures is generally small, it being contrary to the principle
of ancient art to crowd a work with minute figures and acces-
sories. Many lamps have no subject, the majority only one
figure ; and two, three, and more figures are rare in the ratio
of the increasing number. Some of the largest lamps, indeed,
have several figures, but such are very rare. Nor are lamps
impressed with distinct and well-preserved subjects common ;
only a few of this description can be selected out of the hundreds
that are found. Many are of grotesque and humorous workman-
1 Orellius, 6324.
' Of. the one in Passeri, iii. xxix.
' Ibid., iii. xxvii.
510 EOMAN POTTERY. Part IV.
ship. Such lamps, when of small size, generally fetch from a
few shillings to a pound ; but there is no limit to the price that
amateurs will pay for extraordinary specimens. Considering
their smallness, they are amongst the most interesting remains
of Koman terra-cottas ; and it is only to be regretted that the
Romans possessed so little historical taste, as they might by
this means have transmitted to us more interesting information
than is conveyed by the representation of barren myths, the
exploits of gladiators, or the lives and arts of courtesans. The
subjects of these lamps are calculated to convey the same rela-
tive idea of Roman civilization, as the plates now made to be
sold among the working classes are of that of our own day. The
lamp-maker sought to gratify the taste of his customers by
ornamenting his ware with familiar subjects. Purchasers of
terra-cotta lamps were generally persons of inferior condition :
and the lamp-maker could therefore copy from memory well-
known statues of the principal gods, or represent incidents in
the lives of heroes whose fame was popular. In Rome the stage
exerted little influence, and the lamp-maker rarely took a
subject from the drama; but the games of the circus, the inci-
dents of gladiatorial life, the contest, the pardon, or the death,
as well as the tricks of the circulatores or mountebanks, re-
called scenes familiar to every eye. Under the empire the
Romans had become vain and frivolous, and their masters
sought to obliterate from their minds the cruel scenes of
imperial bloodshed and public rapine by spectacles and diver-
sions. There are also some subjects taken from fables, which
always make a great impression on uneducated minds; but a
great number have nothing except ornaments.
A few only of the great gods are found represented.-^ One
has Coelus, surrounded by Sol, Luna, and the stars.^ Jupiter
often occurs, seated on a throne ; probably a potter's copy of
the statue of the Oapitoline Jove ; ^ at other times he is seen in
the company of Juno and Minerva,* or allied with Cybele, Sol,
and Luna.^ A very common subject is the bust of this deity,
sometimes with his sceptre placed on the eagle which is flying
upwards.® His consort Juno seems to have had but few ad-
mirers.'^ Of the incidents in the life of Minerva, the lamps
^ Campana, Stp. Rom., tav. viii. B. for Bartoli ; and L. for Licetus.
2 Passeri, Lucernaj, vii. In this and
the following pages B. M. stands for
the Collection of the British Museum ;
' B. M. * B. M.
« Pass. I., XV. « B. M.
' P. I., xii.
Chap. IT. SUBJECTS ON LAMPS. 511
represent her birtli, Jupiter being attended by Vulcan and
Lucina.^ Her head^ or bust is^ of common occurrence. She is
also seen standing* as Pacifera,^ having at her side a vase and
cista;^ advancing as PromachosJ having at her side an owl ; ®
or sacrificing at an altar.^ Sometimes only her helmet ^° or
lier a3gis is represented,^^ having on it the head of the terrible
)eauty Medusa. The lame Vulcan is scarcely ever seen/^ and
lis servant, the grim Cyclops, only once.^^ Apollo often appears
the Pythian or the Lykian/* seated ^^ and playing on the lyre ;
>r as the Hyperborean ^^ with the gold-guarding gryphon at his
dde. Other lamps have Diana hunting/^ or without her dogs,^^
^r driving in her character of the Moon, or Luna.^^ Another
)rm of Diana, as the threefold Hekate, whose statue was placed
most of the Eoman triviae, is often found.^" Mercury occurs
various attitudes, with the caduceus and purse, as the god of
)mmerce,^^ with a goat, dog, and cock,^^ or allied with Fortune
^nd Hercules.^^ The bust of this god, with a purse and caduceus
the god of merchandise, or with the ram ^^ is constantly re-
)eated.^^ On one lamp, the exchange of the lyre, which he
invented, for the caduceus of Apollo is represented.^^ Mercury
was always a popular Koman god, and was often represented
jn art. Although Mars was pre-eminently the deity of Eome,
the Gradivus Pater is rarely distinguishable from ordinary
herof'S. He is represented disarmed by Cupid,^^ meditating
war,^^ and bearing a trophy. ^^ One lamp, on which are
the busts of Mars, Venus, and Sol, probably refers to the
amours of the god.^° Venus, a favourite goddess of the Eoman
people, and consequently of the lamp-makers, is seen as
Cytherea, or rising from the sea,^^ with a star and crown,^^ at
the bath,^^ as the Coia of Praxiteles,^* as Victrix, or the van-
quisher, and arming, attended by Cupids,^^ like the Venus of
Capua. The representations of marine deities are limited to
» P. I., lii. Ix. ' P. I., liii. '* p. I., xci.-xcii. 20 p i xcvii.
3 p. I., liv. * P. I. * P. I., lix. ; 2' P. 1., ciii. cv.
« P. I., Ixii. Ixiii. ; B. ii. 18. | " Passeri, I., cii. ; B., ii. 18.
- P. I., Ixiv. 8 P. I.. Ixv. ' " B. M. "-* P. III., xevii.
a B.M. »» P.I.,lxvi. " P.L.lxvi.
^2 P. II., XXXV. ; Menelli, Aiit. Rel.,
fo., Veron., 1756, IIG.
•3 P. II,, XXXV. '^ p. I., Ixxi.
1^ P. I., Ixxii.-v. '« P I., Ixxv.
'' P. I., xcvi. ; B. M.
'» B. M. ; P. I., Ixxxvii.
" B. M. ; P. I., c. 2G p. i^ civ.
" B. M. -^s B. M. ; P. II., XXX.
2» P. II., xxiv.-xxvi.
30 P. I., Ixxxix.
=»> P. II., xiv. " p^ II ^ X ii.
" B. M. " p 11^ ^y
« B. M.
512
ROMAN POTTERY.
Part 1Y.
those of Neptune/ Triton, Proteus wearing the mariner's cap,'
and Scylla,^ and the head of Tlietis ornamented with a crab.
Many himps have Cu-
pids, whcwappear invested
with the attributes and
performing the functions
of the gods. Sometimes
the merry little deity
holds the club and quiver
of Hercules,* reclines
upon a couch,^ sails over
the sea in a galley,®
fishes from a rock, plays
ou pipes,' holds a krater
and inverted torch,® gam-
bols with companions,^
holds a bird,^° sounds the
lyre like Apollo,^^ sacri-
fices,^^ seizes the arms of
Mars,^^ fills a krater or
wine-bowl out of an
amphora, like a Satyr,^*
holds grapes,^^ shoots a
serpent, a parody of
Apollo and Python,^® or
blows Pan's pipe." Sometimes his amour with Psyche is repre-
sented, from the tale of the Golden Ass by Lucian and Lucius
Apuleius ; ^® occasionally his bust is only seen,^^ or he appears as
a terminal statue.^^ Bacchus was always a popular god at Rome,
and the edicts against his worship show how deeply it had taken
root in the minds of the people of Italy. On lamps he is seen
holding his cantharus for a panther to lick,^^ or with the cantharus
on his head,^^ drinking,^^ as a boy with grapes,^'^ seated on a ram,
or in his ship,^^ or with Ariadne seated on a tiger.^® Several
lamps have Ampelos,^' a Satyr, with a goat, a mule, torches,'^®
No. 191. — Lamp. Mercury, Fortune, and ncrculc:
^ P., i. xlii.
^ P., i. xlvii.
* B. M.
' B. M. '
" P. III., xci.
»2 P. I., ci.
2 B. M. ; B. 5.
4 B. M.
« B. M.
B. M. 9 B. M.
'^ P. I., Ixxvii.
»3 P. I., Ixvii.
14
B. M.
'' B. M.
IG
B. M.
1^ B. M. '8 P. III., t. XX. ; B. i. 7.
"> B. M. ; P. II., i. 20 p ni., viii.
21 B. M. " B 3r
" P. II,, xxxix.
2* B. M. ; Muselli, 120. ^s g jj
2« Muselli, 142. 27 p n xxxvi.
28 P. II., xxxviii. ; Muselli, 131-125.
Chap. II. MYTHS ON LAMPS. 513
tambourine, or pipes,^ Comus or Marsyas, Satyrs pouring wino
from tlie aslcos or wine-skin,^ or pounding in a mortar,^ the old
Pappo-Silenus,'* Satyrs pursuing Nymplis,^ Bacchantes tearing
a kid over a lighted altar,^ or a Bacchante at an altar,' and
Pan with Echo.^ The host of minor deities arid demi-gods also
often exercised the ingenuity of the modeller of Limps. Among
these is found Sol in a quadriga,^ standing with Luna,^° Luna
between two birds,^^ Sol or the Colossus of Bhodes, full face,^^
and his bust surrounded by the stars and planets ; ^^ Nox
also is found.^* Luna also appears in an infinite variety of
shapes. So many of the lamps were made on tlie occasion of
the secular games that they seem to allude to them. Among
Ivoman gods are seen Janus,^^ Silvanus with tlie falx and
basket,^^ his bust,^' Yesta, and some others.^^ Pluto,^^ Salus,
Triptolemos and -^sculapius rarely occur.^^
Hercules is seen killing the serpent Ladon, which guarded the
tree of the Hesperides,^^ holding the gathered apples,^^ seizing
the stag of Mount Cerynitis,^^ sacrificing,^^ reposing,^^ holding the
cup as Hercules Bibax,^^ in the company of Minerva,^' or as
Musagetes playing on the lyre.^^ The Dioscuri, so propitious to
the Eomans at the lake Regillus, sometimes appear as busts in
full face, as the " lucid stars, the brothers of Helen ; " ^® Castor
is seen accompanied by his horse,^° or with his horse's head and
spear .^^ Of the inferior deities there is Pome seated alone,^^ or
crowned by Victory ; ^^ Fortune having before her a star and
rudder,^* or standing with other gods ; the Dii lares,^^ the Genius
of the army,^^ Hymen,^' the four Seasons,^^ and Vesta.^^ Victory
is beheld holding a shield,^*' on which is often an inscription,
invoking a happy new year,*^ having in area the head of Janus
and other emblems ; *^ sacrificing at an altar ; accompanied by
' B. M. ; Muselli, 128. ^ ^ j^j
3 B. M. 4 B. M. 5 B. M.
« B. M. ' B. M. ; B., ii. 22.
^ Gerhard, Denkm. u. Forsch., 1852,
39. " P. I., Ixxxv. ; B., ii. 9.
'0 P. I., Ixxxviii.
'» P. L, Ixxxiv.
^"^ Campana, Sep. Kom., 1841, tav.
viii. ^' P. I., xii.
»* P. I., vii. XV. »' P. I., iv.
1° P. I., X. »' P. I., ix.
18 B. M. " B., ii. G, 8.
20 B. ii. 45; Muselli, 121.
21 B. M. ; P. Ill
,93
22
B. M.
" P. II., iv.
24
P. II., iii.
2* P. III., xeiv.
2G
B. M.
27 P. II., vii.
28
P. II., vi.
2» B. M. ; P. I., Ixxxvii.
30 B. M. ; P. II.,
xxviii.
" P. II., xxvi.
32 P. III., i.
33
P. III., ii.
3* B. M.
35
B. M.
3« P. II., xxvi.
37 p
I., xxxviii.
38 P. I., xi.
39 p
I., xiii.
<" B. M.
^» B.
M.
42 B. M.
2
L
514
ROMAN POTTERY.
Part IV.
■\
the Lares ; ^ holding a shield ; ^ sacrificing a bull, or elevating
a trophy high in the air.^
The prevalence of exotic religions at Rome is shown by the
representations of Diana of Ephesus,* Cybele with her lions,
and the youth Atys,^ Mithras;^ Serapis supported by two
sphinxes^ or alone,^ or on a throne with Isis; ^ Isis,^" with her
son Harpokrates,^^ in the company of Anubis ; ^^ Harpokrates
alone,^^ and other Egyptian gods.^* Some lamps have an Egyp-
tian hunt,^^ a crocodile, and the god Canopus.^® Many lamps
have merely the emblems of deities, as the sword, club, and lion's
skin of Hercules ; ^' the lion's head, cantharus, and vine leaves
of Bacchus ;^^ or a cantharus with wreaths of vine leaves and
panthers, of which Passeri possessed 500 repetitions, made by
the lamp-maker L. Csecilius Saetinus ; ^^ the dolphin and lyre of
Apollo, allied with the hippocamp and rudder for ^Neptune ; ^"
the gryphon and patera of Apollo ; ^^ or the raven, laurel, and
caduceus,^^ allied with the thunderbolt of Jupiter, the staff of
^sculapius, the helmet and shield of Mars ; "^^ the joined hands
and caducous of the goddess of Peace ; ^* a goat, and armour on
a column,^^ the torch of Ceres,^® the cock of Mercury,^' the palm-
branch of Victory ^^ and the anchor.^^ Few subjects were taken
from the old stories of the cyclic poets and the Iliad, which were
familiar only to the learned public; yet some appear which
Virgil, Ovid, and the other poets of the Augustan age had
rendered familiar. Among these are Ganymede playing with
the bird of Jove ; ^° the amour of Jupiter, under the form of a
swan, with Leda;^^ the flight of Icarus ;^^ the judgment of
Paris ; ^^ the combat of Achilles and Hektor ; ^^ the death of
Hektor, of Penthesilea,^^ and of other Amazons ; ^^ Diomed and
Ulysses with the Palladium ; the flight of ^neas ; ^' Ulysses
passing the Sirens ; ^^ Polyphemos devouring the companions of
» B. M. ; Gerhard, Denkm. u. Forsch.
19
P. III., ciii.
20 P. I., 1.
1852, 31. 2 p i^ t yi
21
P. I., Ixx.
" B. M.
3 B. M. * P. I., xcviii.
23
P. I., iii. ; Miis-I
!i, 157.
'^ B. M. « P. I., xc.
24
B. M.
" P. I., Ixviii.
7 P. III., Ixx.
26
Muselli, 158.
27 Muselli, 159.
« P. III., Ixiii. Ixvi.i.
28
Muselli, 119.
23 Muselli, 178.
» P. III., Ixx.-i.
30
B. M.
3' B. M.
'" P. III., Ixix. 1' B. M.
32
Gerhard, Denk.u
.Forsch., 1852, 39
»2 B. M. I., xxxii. '3 p i^ I
33
B. M. 34 p ]vi
; B., i. 10; iii. 9
>* P. I., IxxvLii. ; III., Ixxx. Ixxxi.
35
B. M.
3« B. M.
>5 B. M. >" P. III., Ixxiv.
37
B. M. ; Mns. Nan. 342, 5.
17 p. 11., ix. '« P. III., civ.
38
B. M.
Chap. 11.
IIIST01}T(LVL SUBJECTS.
5 IT)
Ulysses;^ tho same hero escaping under the Uani,^ an<l reeeiv-
ing tlie wind-baf^s of ^ohis ; the cranes and pi<2;niies ; '' CEdipus
and the Spliinx; Promethens ; * Perseus and Andromeda;^
IMeleager ; ® Actjeon ; ^ the fall of Bellerophon ; ^ Phik)ktetefl
fanning his foot before Ulysses and Neoptolemos in the cave at
Lemnos/ the rape of the Leukippidjie ; ^° death of ^gisthus ; "
and Orestes haunted by the Furies.^^
A few of the fables of popular writers are also represented.
One lamp, found near Naples, and now in the British Museum,
has the well-known tale of the fox and the crow, treated in a
peculiar style. The fox has slipped on a chlarays, and stands
erect on his hind legs, holding up a pair of pipes to the crow,
which is perched on the top of the tree. Another in the same
collection represents a fable taken from an unknown source,
perhaps the veritable iEsop, in which a stork holds in its beak a
balance, and weighs in one scale an elephant, while a mouse is
seen in the other. A third lamp has on it the cock that has
found the grain of barley, which he preferred to all the precious
stones on earth. There are also numerous caricatured subjects,^^
consisting of grotesque heads and figures, witli diabolical coun-
tenances, the meaning of which is very obscure ; but they are
supposed by many to be dwarfs.
There are but few historical subjects, and those which occur
are taken from sources more piquant than true. A lamp has
the bust of ^sop.^* Another represents the celebrated interview
of Alexander the Great and Diogenes, who addresses the hero
out of his jar ; ^^ Komulus found by Faustulus ^^ is sjen, the
twins Romulus and Remus suckled by the she-wolf,^^ and Remus
alone.^^ The immolation, perhaps of Curtius,^^ the bust of the
Emperor Commodus,^" and a few other events in Roman
history are found. Neither are subjects derived from real
life numerous, although some may be cited ; ^^ as an Emperor
sacrificing ; soldiers ; ^-^ a battering-ram ; ^^ and soldiers fight-
galleys sailing over the ocean ; ^^ fishermen either at the
ing;
* Avolio, IIG.
2 Lamp in S. W. Pariteh's collection.
3 B. M. * B, i. 1,2,3. » B., i.9.
« B.,i.31. ' B.,i. 28. « B., ii. 24.
*• Lamp., Brit. Mus.
'" Campana, Sep. Rom., lb., 1841,
tav. viii. " Ibid.
'^ r. IT., xciv.-ciii.
»3 P. IIL, XX. xxi. G.
" Mon., 1840, tav. 3.
»* B. M. ; P. III., Iviii.
'« P. IIL, iv. '' P. III., iii.
'« P. IIL, V. '9 B. M.
^"^ On a camp found in Cypru.s.
2' Mus. Borb.
"^^ P. II., xxii. xxiii. ; IIL, xxxv.-
xxxviii. -' P. II., xxviii.
2^ B. M. -^ B. M.
2 L 2
516
l^OMAN POTTERY.
Tabt IV.
Tiber or at Ostia ; ^ Tityrns ^ tending his herds ; the supposed
Meliboeus ; ^ a shepherd with a caged animal ; * the rustic chapel
of the gods of the countrymen ; ^ persons pounding in mor-
tars;® preparing the vintage,' or bringing the wine in casks.^
The scenes of love are far too numerous to describe ; neither
are they treated in the chaste style of modern art, but repeat
the Capraean orgies of the debauched Tiberius and the im-
moral writings of Petronius and Apulcius. Many lamps have
bas-reliefs representing the popular subjects of the games of the
circus, and the gladiatorial exhibitions of the amphitheatre.
No. 192. — Lamp (Games of the Circus) in the British Museum.
The finest of these in the British Museum has a race of
quadrigae ; ® the spina, the metse, the obelisks, the carceres,
from which the chariots have started, and the seats with the
spectators are represented. Others also occur with chariots,^**
1 B. M. ; R. Smitl), Collect., II., xv.
2 B. M.
3 Bull. Arch. Nap., 1856, p. 165,
tav. V. * Avolio, 120.
« B. M. « B. M.
7 B. M. 8 B. M.
8 B. M.; B., i. 24-25-27; Muselli.
'" B. M. ; P. III., xxvi. xxvii. xxviii.
Cjiap. II.
MISCELLANEOUS SUBJECTS.
517
sometimes bigaj.^ Gladiators^ are very often seen — either
8amnites or mirmillones, — with a palm,^ crowned by Victory.*
A Limp from Naples, now in the British Museum, has the
names of two gladiators, FvRivs and Colvmbvs,** in bas-relief
at their sides. A common subject is the victor holding up his
sword, while the vanquished, fallen upon one knee, expects his
fate. Another lamp in the same collection has a retiarius,
holding his trident and mucro, with his name Calvisivs, and
that of his fallen opponent Maximvs. Combats with beasts are
seen,^ also boxers,' flute and cymbal players.® Busts of come-
dians,^ and comic and tragic masks ^° often occur, and several
of those deformed and obscene dwarfs called Moriones, holding
pipes," boxing with others,^^ w^earing the petasus,^^ or the hat of
the slave.^* Animals form a numerous class of representations,
such are the gryphon,^^ Pegasos,^^ lions, often devouring a stag ^'
or a bull,^^ panther,^^ boar ^^ bitten by a dog,^^ bears,^^ horses,^^
deer couchant,^* dogs, sometimes fighting,^^ a stag chased by
dogs,^^ sheep,^' goats,^^ hares or rabbits devouring grapes,^^
sphinxes,^^ a crocodile attacking a lion,^^ an eagle,^^ a peacock,^^
the crow of Apollo,^* snails,^^ parrots,^^ dolphins, the same
entwining an anchor, a pelamys or tunny,^' a hippocamp,^®
scorpion,^^ serpents and lizards,^" toads, scorpions,^^ shells,*^
locusts devouring grapes,*^ capricorns,*^ Pegasos,*^ camels,*®
frog,*' and marine monsters.
There are many subjects which it is difficult to class, such as
the as and its divisions,*^ which must have been numismatic
curiosities at the time the lamp was made; the arms of the
Salii,*^ of foreigners, vases,^° or a cupboard filled with vases,^^ a
lectisternium to the infernal gods,^^ a lighted altar and Genii,^^
» B. M.
28
B. M. ;
Muselli, 154.
2 B. M. ;
P.III.,v.ix.;B.,20,21,22.
29
B. M.
3(
> B. M. 31 c ^i
3 B. M.
4 B. M.
32
B. M.
32
P. III., XV. xvii.
» Cf.B.,
i. 22. Sabinus and Popillius.
34
B. M. ;
P. I.,
xlix.
« P. III.
, X. xiii.; B., i. 23; Muselli,
35
P. in.
Iviii.
lix.
29-130.
^ P. Ill , xxii. xxiii.
36
P. III.
Ixi. 1
>txxiii.
8 P. III.
cvi. ^ P. III., XXXV.
37
B. M.;
IMuselli, 14(\
10 B. M.
; D., 100. " P. III., xxi.
38
B. M.
^' B. M.
>2 B. M.
'3 B. M. » B. M.
4(1
P. III.,
li.
41 P. III., c^^x.
'^ P. I.,
Ixxix. '« P. I., Ixxx.
\2
B. M.
« P. I., xlviii\
>^ B. M.
; Muselli, 153.
44
P. I., V
.
4- Muselli, 152.
'8 B. M.
'^ B. M. 20 B M.
46
IMiisclli, 120.
'' Muselli. 148.
■' B. M.
; P. I., Ixxxvi.
•iS
B. M.
« B. 31.
=-' B. M.
" B. M. 2* B. M.
50
B. M.
•^' P. iii. li.
-• B. M.
■^ B. M. -'■ B. !Sr.
:<i
r. HI..
li.
•^ P. 111.. Iii.
518
ROMAN POTTERY.
Part 1Y.
an equestiiun statue, serpents,^ the dolphins of Neptune,'-^ a
sepulchral cippus,^ a bucranium,* two palms,^ a wreath,*^ of
laurel/ myrtle, of oak leaves, the civic crown,^ a curnle seat
with lictors,^ tombs witli genii,^^ crowning sepulchral urns,^^
urns,^^ lustral vases,^^ crowns and palm branches.^* One of
the most remarkable subjects of the later lamps is the golden
candlestick,^^ as it appears upon the arch of Titus at
Eome ; either a copy of that object at the time, or else in
No. 193. — Lamp, Monogram of Ghribt.
No. 194. — Lamp with the Golden Candlestick.
allusion to the Church, as figured in the Eevelation. Many
lamps indeed occur with Christian symbols — such as crosses,
the monogram of Christ,^^ the good shepherd,^^ the monogram of
Christ surrounded by busts of the Twelve Apostles,^^ the great
dragon, Jonas swallowed by the whale, and other emblems ; but
these are generally of the bright red ware, of the class called
the false Samian, under which tliey will be found described.
• B. M. ; Muselli, 139.
- P., iii. xlv. ^ P., iii. liv.
* B. M.
^ P., iii. xliii.
' B. M. iii. xli.
"> P. in., xxxix.
'« P. III., xliv. xlv. xlvii. ; I., 13, 14.
» B, M.
* P., iii. xliii.
" P., iii. xlvi. »2 p, iii_^ xlviii.
" P. III., xlix. 1.
'* P., iii. xlii. xlviii.
1* B., iii. 32 ; Muselli, 1G9.
i« B., iii. 22. '' B., iii. 28, 20.
•^ Valesius, Mus. Corton. lb., Rom.,
1650, tab. 84.
Chap. II. INSCRIPTIONS. 519
A considerable number of lamps have inscriptions, disposed
ill different manners, those which have reference to the
subject being impressed in relief along with it, while those
which relate to the lamp itself, or its maker, are always on the
bottom, and consequently out of sight. These are either in
relief, or else incised with a tool in cui-sive letters ; on tlie
lamps of Arretium and Cuma3 they are in relief in small tablets,
on the upper surface. They were impressed with bronze
stamps.
The inscriptions found upon lamps consist of simple trade
marks, the names of makers, or of places and towns where
they were fabricated, that of the pottery or of the proprietors,
the date of manufacture, dedication to deities, the acclamations
used at the public games, events or facts.^ Of the first class are
the little marks used by the potter, either instead of his name,
or in conjunction with it. There is no very great variety of
symbols, and those found are of the simplest kind, such as circles,
half-moons, the print of a human foot, wheels, palm branches,
or the vine leaf. Although the inscriptions relating to the
fabric of lamps are by no means so numerous or complete as
those upon tiles, yet they are instructive with regard to the
potteries. A considerable portion only indicate that they w^ere
made by slaves, since they bear single names, such as Agatho,
Attius, Arion, Aquiliims, Cinnamus, Bassa, Bagradus, Draco,
Diogenes, Heraclides, Fabrinus, Fortis, Faber, Faustus, Inu-
liucos, Memmius, Monos, Maximus, Muntripus, Nereus, Oppius,
Piimus, Priscus, Pastor, Publius, Probus, Khodia, Stephanus,
Successivus, Tertullus, Vibianus, Victorinus, and Yitalis. These
names generally occur in the genitive, the word officina, "manu-
facture" or "factory," being understood. One rare specimen
has "Diogenes fecit," and several makers used/, for fecit after
their names. Many makers appear to have been freedmen, and
the most remarkable of these was Tindarus, the freedman of
Plotina Augusta, the wife of Trajan.^ It has been already seen
from the inscriptions upon tiles, that Tindarus was also a tile-
maker, many of the tegula) doliares having been prepared in his
potteries. Some examples of the use of the word offieinx occur,
as the officinae of Caius Clodius Successivus, the officinoe of
Publius and Titus already mentioned, that of P. Asisus, that of
Patricius and Chrestio, and Ion is, but the expression is uncom-
Seioux tl'Agincourt, llccucil, p. (37. ^ P., i. xxxi.
520 ROMAN POTTERY. Tart IV.
moil. That of Mann, or " by tlie hand of," is still rarer ; only
potter, L. Muranus, is known to have employed it.
Another remarkable inscription under a lamp reads, ^'froni
the manufactory of Fublius and Titus, at the Porta Trige-
minal ^ which was situated at the foot of the Aventine and
towards the Tiber: one P. Cornelius Celadus, a bookseller,
who lived tliere outside the gate, is mentioned in an inscrip-
tion. It is where Cacus dwelt, close to the salt springs or pans.^
The Porta Trigemina appears to have been the quarter of
shops.^ A considerable number of the names have a simple
prainomen, such as Aurelius Xanthus, ^lius Maxiinus, Caius
Ca3sar, Caius Secundus, Caius Vigilaris, Clodius Heliodorus,
Caius Memmius, Caius Faber, Caius Fabricius. Claudius Luper-
calis, Egnatius Aprilis, Lucius Primus, Turciiis Sabinus.* They
were probably freedmen who manufactured lamps. Of still
liigher rank than these freedmen were the persons who possessed
three names, and who occasionally record their descent. These
must be regarded as Eoman citizens. Such were probably
Publius Satrius Camillus, Caius Oppius Restitutus, Caius Lucius
Maurus, Caius Clodius Successivus, Caius Julius Nicephorus,
Caius Pomponius Dicax, Caius Julius Philippus, Caius Iccius
Yaticanus, Lucius Fabricius ^veius, Lucius Fabricius Masculus,
Lucius CaBcilius Scsevus. Whether they were proprietors of the
establishment, or of the farm from which the clay was procured,
is by no means certain, but none of them are mentioned else-
where ; which renders it probable that they were persons of
inferior condition, such as masters of the potteries, who were
probably rich freedmen. A few words occur in a contracted
form which refer to the fabric, such as the Accianian of Publius
Satrius Campestris, son of Caius," on lamps found at Pesaurum ;
" the Caninian," " the thirds (tertia) of Commodus," and those
already mentioned, called " Flavians " and " Domitians ; " also
" the Heraclians," " the fourths of Oppius," and *^ the thirds of
Publius Fabricius." It is of course uncertain what such expres-
sions mean, as they may refer either to the officinse or establish-
ments, or to the names of the lamps themselves. If some may
be interpreted " the Vatican lamps of Caius Iccius," this would
appear to mean the celebrated clay of that hill, and the word
figflina, or ^'pottery," is to be supplied. Some have the
» P., iii. vii. I -J OrcHius, 413.
2 Soliiius; Fca, Miscc-ll. Crit., ii. 15. | ' 0. R. Smith, 111., Lonil, p. 112.
V OF THE
UNIVERSITY
OF
Chap. II. IMPP:RIAL INSCriirTIONS.Vi,£A!JirO
names of certain shops, such as Piiblii Fabrlcii tertia, Oppedi
qnarta. Some of the makers under the Konian empire used
,^ Koman names in Greek ciiaracters, as shown by the example
l^iof Celsus Pompeius.^ Many of the Greek lamps are also of the
Eomau period, as those of Apollophanes the Tyrian, found at
Taormini, the ancient Himera,^ and Chryseros found with those
of Gains and Sillius at Catana.^ A third class may contain
the name of the place where the lamps were made, as Caii Iccii
Vatican (a), for " Vatican (lamps) of C. Iccius," on lamps found
at Rome. The fourth class has the name of the lamps or
fabric, as the Caninian, Flavian, Domitian, Heraclian. This
expression may refer to the names of ihQ figlinm^ or potteries,
similar expressions occurring on the tiles. The fifth kind
is supposed to contain the name of the Patroni in whose
house the lamp-makers lived. On these the names of Anto-
ninus, Commodus, Philippus, Diocletian, and Maximus occur,
and one, more distinct than the rest, has Tindarus, PJotinse
Augustde lihertus, " Tindarus,^ the freedman of Plotina Augusta."
One only contains the date of the consulship of the Emperor
Philip, during the celebration of the Secular games. These
inscriptions observe the usual laws of contraction. The most
contracted form in which the names of emperors appear, is
AA. NN. for ^' Augustorum nostrorum^' of our two Augusti ;
a phrase which cannot date earlier than the joint reign of M.
Aurelius and L. Yerus. It is indeed possible that the name of
Titus, which occurs on one lamp, may be as old as that of the
emperor of that name, for upon several lamps is found inscribed,
*' the Flavians of our god and lord ;" an expression particularly
referable to Vespasian or Titus, both of whom bore that surname ;
while other lamps are inscribed " the Domitians of our god and
lord," showing that they allude to the Emperor Domitian.
Much light is, however, thrown upon this point by the tiles,
some of which were called " the larger Neronians " after the
Emperor Nero. The name of Trajan is found upon a lamp,
showing either that it came from the imperial potteries or from
others named after that emperor; while a large number of
lamps are inscribed *' of Antoninus," or " of Antoninus Au-
» KEACEI nOMnEEI. Bull. Arch, j 1854.
Nap., 1856, p- 51. | =» Bockh, C. I., 3, p. 060; Castdlo,
2 AnOAAO*AN TYPIO Bull. | CI. xvi. 244, u. 6-10; Avolio, v. 94-98.
Arch. Nap., 1855, p. 40; Bald. Euiuaiio ' Passed, xi.
Autichita trovalc in ^icilia, 4to., Tal., '
522
ROMAN POTTERY.
Part IV.
gustiis," which probably refers to one of the two Antonines, or
else to Caracalla or Elagabalus. To this loiddle period of the
Eoman empire most lamps may be referred, as some occur with
the name of Severus, others witli that of Maximus, and several ^
with that of M. Julius Philippus, some of which have the
addition of his third consulship — thus showing that they were
made during the remarkable epoch of the celebration of the
Secular games, a.d. 247. It is of course impossible to feel
certain that such names as Probus and Victorinus refer to tlie
emperors, and no Koman lamps bear the name of a later sove-
reign, although one Greek one has that of Diocletian.
The inscriptions upon some lamps are votive exclamations re-
sembling those of the Decennalia and Secularia, such as,
ANNVM NOVVM FA VSTVM FELICEM, " a new and pro-
pitiously happy year!" 2 ANNVM IN QVO FAYSTVM
FELIX TIBI SIT, " a year in which may all be fortunate and
propitious to you;" or ANNVM NOVVM FAV8TVM FE-
LICEM MIHIC, *^ may the new year be happy and propitious
to me." An erotic lamp has HAVE . MAC^ELLA VILLA .
HAVE, ''Hail, markets (macella), hail, O block!" BE ATA
TKANQVILLITAS, " Blessed tranquillity," on another. These
inscriptions seem to show that the lamps were given away or
sold on new-year's-day, or on the celebration of the Secular
games. On one is inscribed HAVE,^ " hail ! " ; SVTINE, " O
Sutinus." These inscriptions sometimes
occur upon victors' shields, on which are
often found inscriptions relative to vic-
tories, and other subjects. One remark-
able lamp has DEO QVI EST MAXI-
MVS,* " to the god whb is greatest." An-
other 10 VI SEBENO SACKUM, "sacred
to serene Jove."^ Nor are certain ex-
No. i95.-Foot of Lamp, with pressious adapted for funeral purposes less
name of the Secular Games. ^ ^ r i
interesting, such as SIT TIBI TERRA
LEVIS, "earth lie light on thee: " or ANIMA DVLCIS, "O
sweet soul ! " ® A great number are stamped SAECVL, or
SAECVLARIA, in reference to the games of the period.
An immense number of lamps must have been used during
the illuminations which seem to have taken place on occasion
' P., i. xxix.
^ Passcri, i. G ; Fabr. vii. 5.
^ Avolio, p. 112.
* P., i. xxxiii.
* Ptissiri, i.
" Passcri, iii. it).
Chap. 11. USES. 523
of tiiumplis. Amongst those known are the illuminations made
(hiring the celebration of the Secular games, when the city was
illuminated for three nights, and it is probable that some of
the subjects found in lamps have reference to this festive use
of them. ^ They were used for illuminations as early as that for
the suppression of the Catiline conspiracy ^ by Cleopatra,^ at
tlie births of the Cyesars,* the return of Nero,^ at the games
given by Angustus to the people.® Tiamps were also used in
the Isiac worship. " Moreover," says Apuleius, *' in the festival
of Isis there was a great number of either sex, with lamps,
torches, wax candles, and another kind of torches, imitating the
light of the celestial stars. The first of tliem held forth a lamp,
gleaming with a clear light, not much like those which illumi-
nate our evening entertainments, but a golden boat or cup,
sending forth a very long flame out of the midst of it." ' They
were also lighted in the lararia and sacella, theatres and therma?,^
which Alexander Severus opened at nights ; and were often
hung up at night ^ in cross roads.
They appear, indeed, to have been in general use for illumi-
nating public buildings. For domestic use they were employed
in the dining-room, the study ; and the kitchen used lamps of
earthenware.^" Several lamps have been found in sepulchres,
but these are chiefly of the Christian period or connected with
the worship of the Manes, and were not placed there, as some
authors of the preceding century imagined, witii the idea of their
burning eternally.^^ In an inscription on a sepulchral cippus in
the JMuseum, the heirs of a deceased person are directed on all
the kalends, ides, and nones of each month ^^ to place a lighted
lamp in his sepulchre ; and the same is enjoined upon alternate
months as a condition on wOiich her slaves received their
' Suet. Vit. Tib. c. Domit. Orsati,
lucciuc auticlie, 16mo., Ven., 1709.
2 Plutarch, Ant., 26.
3 Millin., 1. c, 180-83 ; Dio Cassiiis,
H. K., Ixiii. 4.
•* biieton,, Domit., 4.
* Passeri, xx. ; Sucton. Vit. Jul.
C»sar. c. 37 ; Dio. Neiou. ; Xipliilin. i.
xxxiii. ; Suetou. Dom. c. 4 ; Lamprid.
Vit. Alex. Scv. c. iv. ; Tcrtull. in
Apuloget. ; Capitoliuiis, vita Gordian.,
iid liri. ; Martial, x. cp. 6 ; Symmachus,
« Plutarch. Cic, c. 22.
^ Lamprid. vit. c. 24. "As. Aur. xi.
^ Libanius in orat. ifaliid ad Elle-
bech. ; Ammian. Marcell. xiv. 1.
»« Virgil., Georg. i. 392 ; Capit. Vit.
Phil)., 33.
" Fort. Licetus, de lucernis anti-
quorum reconditis, 1G22 ; 0. R. Smith,
111., Lend., pp. 111-112. Such lamps
are alto said to have been placed in the
Parthenon, in the temple of Amnion
and in that of Venus at Antioch.
1. ii. I '^ Brit. Mus. Marbles, pt. v. viii.
524
ROMAN POTTERY.
Part IV.
liberty, in tlie testament of Maevia.^ Tliat this was common
under the empire appears from the story of the Matron of
Ephesiis,^ and from the following remarkable inscription : " May
a golden shower cover the ashes of whoever places a lighted
lamp in this tumulus."^ Lamps w^ere also dedicated as thank-
offerings to Jupiter and other gods.*
Among other superstitions connected with lamps was that of
choosing the name of a child. Several lamps were named, and
then lighted, and tlie name of the child was taken from that of
the lamp last extinguished.^ xit the end of the eigliteenth
century a great number of lamps were discovered in a furnace,
where they had been baked, together with the moulds and
other utensils for making them.® Great numbers are found at
Rome, Naples, and on the sites of the principal cities of ancient
Italy, Germany, France, and Britain. Large numbers also
occur in the rubbish heaps of the different cities of Greece, Asia
Minor, and Africa. According to Avolio seventeen lamps, placed
one upon another, were found close to the mouth of a reverberat-
ing furnace, near Anzi.'^ These lamps were placed in stands,
also of pale red and coarse terra-cotta.^ Lamps of the maker
Attiiius have been found at Louisendorf and Mayland ; ^ those
of the maker Fortis at Kastel or Mayence, Aquileia, and
London.^" The great site of the manufacture appears to have
been Rome, and the lamps there made to have been exported
to the different provinces of the Roman Empire. Their shape
and use continued for centuries, and they were imitated and
made by the Saracens.
^ Digest, i. Ix. 44.
2 Petroaius, Sat., c. 3.
3 Grater, mcxlviii.
* See the inscription of one Chrom-
atis at Oenanda ; Biickh, Corp. Inscr.
Grsec, iii. 1168.
* Joh. ChrysOst., Homelia, xii.
^ Avolio, p. 117.
' P. 123. V
* Lysons, iii. PI. xvii. G; R. Smith,
Collectanea, i, PI. xliv. p. 123.
^ Jannsen, Gedeenkleekeona, 8vo.,
Utrecht, 1836, Pi. xii.-xvi.
10 R. Smith, 111. Lond., p. 112 ; Emele,
viii. 1 ; Bertoli, Le Ant. d'Aquileie, p.
267-9.
CUiAi'. III. VASES. 525
CHAPTER III.
Vas(>s — Eonian pottery — Paste — Colours — Drying — Wheel or lathe — Model-
ling — Moulding — Stamps — Inscriptions — Furnaces — Construction for
glazed ware — Heat — Smoke kilns — Northampton kilns — Colchester kilns
— For grey ware — Dimensions — Prices — Uses of vases — Transix)rt of
eatables — Feet of tables — Sliam viands — Dolia or casks — Hooped witli
lead — Repaired — Inscribed — Doliarii — Amphora) — Inscriptions — Memo-
randa — Use of amphorae — Size — Makers — Sarcophagi — Obrendaria — Early
use of terra-cotta vases — Names of sacred vessels — Cadus — Diota — Paropsis
— Patina — Patera — Patella — Trulla — Catinus — Lanx — Scutula —
Gabata — Lagena — Crater — CEnophoriura — Urceolus — Poculum — Calix —
Cotylo — Scaphium — Cantharus — Carchesion — Scyphus — Ehyton — Aceta-
bulum — Ampulla — Guttus — Matella — 011a, Sinus, Obba — Places where
made — Architectural use.
The decorations of lamps are analogous with bas-reliefs used
for architectural purposes, and hence they may be considered as
connected with the fine arts, since they required not merely the
technical manipulation of a potter, but also the skill and taste
of an artist to produce them. They are the last link in the
chain of the glyptic art. Of the unglazed Koman pottery it
now only remains to consider the vases, a class of objects which
demand for their manufacture no higher skill than that of the
potter. The technical part of Roman pottery is probably better
known than that of the Greek ; kilns, furnaces, moulds, tools,
clays, and other objects connected Avith it being distributed
all over Europe, and consequently having attracted the attention
of various scientific inquirers. In point of shape and elegance
the Roman vases are far inferior to the Greek ; nor does the
paste seem to have been prepared with the same regard to fine-
ness and compactness. Nevertheless, many shapes and pastes
often possess very superior qualities for useful purposes. The
art was evidently held in lower estimation among the Romans,
and committed to the hands of slaves and freedmen. The
Roman potteries produced useful but by no means fine or beauti-
ful vases, and they were only adapted to the necessities of life.
The paste of the Roman vases is by no means so fine as that of
the Greek, except the glazed red ware, which is of so bright a
\
526
ROMAN POTTEllY.
Part IV
colour as to resemble coral.^ Since red clay does not retain
this colour in the furnace, either a peculiar clay must have been
used, like some varieties found in this country, or it must have
been heated to a certain temperature and combined with pe-
culiar earths to produce the colour. The pipe-clay used was
(tailed the figlina or potter's chalk. Other kinds of paste are of
a pale or deep yellow, with small pebbles intermingled, and
fragments of red bricks worked in. It was generally fine.
Some ancient terra-cottas have little pebbles mixed in their
composition, either from the use of ill- prepared clay, or in order
to prevent the contraction of the clay. Other pastes are black,
of a deep thick gray, cream-coloured, nearly white, light red,
pale red, brown, and even of a yellow colour. The clay was
probably ground, trodden out with the feet, and worked up with
the hand.^ The Komans evidently availed themselves of the
earth of the different localities in which they found themselves ; ^
with the exception of the Samian ware, the paste and colour of
which are uniform. The vases from different countries are
easily distinguished from one another. Tiiore is also a variety
of paste of a pale red colour intermixed with flakes of mica, of
the nature of that of the vases commonly called chrysendeta.*
There is a great difference of opinion among the commentators
about this paste. Tiie ancients employed several processes, and
paid the greatest attention in preparing their different clays for
use. An analysis of the fragments found in the excavations at
Rome, Pompeii, and Herculaneum, shows that the clays were
mixed in certain proportions with volcanic earth and sand,
especially pozzolano. Even the time of making was carefully
observed. " Bricks are best made in the spring,^ for those made
at the solstice," says Pliny, " are full of chinks ; " an observation
repeated by Vitruvius, who says, "Bricks are to be made in
spring and autumn, in order that they may dry equally ; " ^ and
they were often prepared two years before. The time however
was not always scientifically observed, for certain memoranda
made by tile-makers on their tiles show that they prepared ware
in the middle of May and the beginning of September. Perhaps
' 777 K€pa/xiKr„ Gcopon, ii. 49.
• * Varro, de lie Rustica, iii. 9 ; Yates
in Smith's Diet. Antiq., p. 418.
3 Clarac, Tart. Tech. I. 31.
* Clarac, Mus. d. Sculpt. P. Tech. p.
.SO. The Chrysenihta arc mentioned
as used by the wealthy ; but some sup-
poso them to have been of metal, — Mart,
xi. 29,
* Pliny, N. H,, xxxv,, xiv. 49,
•^ Vitruvius, ii. B.
Chap. I IF.
MANUFACTURE OF VASES.
527
the dates of the. Consulates stamped or inscribed on the potlery
were used to inflicate its age.
In tlie manufactare of vases the Romans used the same
process as the Greeks. They were made by tlie table or wheel,
called orhiSf or rota figularis. This wheel revolved either way,
oither backwards or forwards.^ The mass of clay was placed on
this, and worked np with the hand to the requisite form. Most
vases were made by this process, except the dolia^ or casks,
which were made by the same means as the pithoi. The handles
were either modelled with tools or else pressed out of moulds ;
and zones, concentric circles, hatched and punctured lines, and
imitations of thorns were produced by pressing pointed pieces
of stick or bone against the sides of the vases while revolving.
Sometimes ornaments w^ere modelled upon the moist clay before
the vase was sent to the furnace. Moulds were very extensively
used by the Romans, and the entire vase was often made by
pressing the clay with the fingers into one of the requisite size.
Besides these ornaments, the potter impressed upon certain
vessels an inscription from a metal mould, containing the name
of the establishment which manufactured them. These inscrip-
tions are found upon amphora?, and the so-called mortaria ; but
seldom on the smaller vases of unglazed ware. It appears that
under the Lower Empire the potters were compelled by law to
place their names on their ware.^ The Romans were acquainted
with several ways of perfectly drying their wares before they
submitted them to the action of the fire. As the greatest at-
tention was paid to the proper manner of preparing tiles, bricks,
and architectural members, it is probable that the clay of vases
was also an object of great attention.^
The furnaces were arched with bricks moulded for the purpose.
The side of the kiln was constructed with curved bricks set
edgeways in a thick slip of the same material, made into mortar,
to the height of two feet. A singular furnace was discovered,
over which had been placed two circular earthen fire-vessels,
one close to the furnace, of about eight gallons contents. The
fire passed under both of these, the smoke escaping by a neatly
plastered flue, from seven to eight inches wide. These vessels
were suspended by the rims fitting into a circular rabbet or
^ riaut. Capt., act. ii. sc. iii. 1. 9, 10;
Herat., Serin, ii. 7, 86, alludes to polish-
ing on the wheel.
2 Cassiodonis, Variar., lib. i. form.
XXV., lib. ii. form, xxiii.
^ Vitniviiis, ii. c. 8; Campana, p. 22.
528
ROMAN POTTERY.
Part IV.
groove formed for the purpose. They contained some perfect
vessels and many fragments, and are supposed to have been used
for glazed ware, and probably had covers.^ A uniform lieat in
firing the kiln is supposed to have been produced by first pack-
ing up the articles which were required to be fired to the height
of the side walls, the circumference of the bulk was then dimin-
ished, and finished in the shape of a dome. As this arrangement
progressed, it is supposed that an attendant followed the packer,
and thinly covered a layer of pots with coarse bay or grass. He
then took some thin clay, the size of his hand, and laid it flat
on the grass upon the vessels ; he then placed more grass on the
edge of tlie clay just laid on, and then more clay, and so on
until he had completed the circle. Tlie packer then raised
another tier of pots, the plasterer followed, hanging the grass
over the top edge of the last layer of plaster until he had
reached the top, in which a small aperture was left, and the clay
scraped round the edge ; another coating would be laid on as
before described. Gravel or loam was thrown up against the
side wall, where the clay wrappers were commenced, to secure
the bricks and the clay coating. The kiln was fired with wood.^
In some kilns, indeed, has been discovered a layer of ashes four
or five inches deep. Other kilns at Sibson, near Wandsford,^
Northamptonshire, exhibited peculiar differences in the mode
of arranging the furnace. Instead of the usual dome of clay
and straw, bricks were modelled and kneaded with chaff and
grain, and made of a wedge shape, interlapping at the edges,
with a sufficient curve to traverse the circumference of the kiln ;
the floor of which had perforated arch-shaped bricks. These kilns
appear to have been used for making a great quantity of terra-
cotta, Samian and stone ware. The blue ware is supposed to
have been produced by smothering the fire, or rather smoke, of
the furnace upon it when in the kiln, and the colour is so vola-
tile that it flies when fired a second time in an open kiln. A
circular Gallo-Eoman furnace excavated in the ground was found
at Belle Vue, near Agen, Lot-et-Garonne.^ Artis has traced
these potteries in England for twenty miles on the gravel banks
of the Nen, in Northamptonshire, and tells us that " the kilns
generally resemble one another, consisting of a cylindrical shaft
» Brongniart, Traite, i. pp. 426-27.
2 Roach Smith, in the ' Journal of
the British Archoeologioal Association,'
vol. i. p. 5.
^ Journ. Brit. Arch. Assoc, li. 165.
♦ Rev. Ant. 18, p. 207, PI. xxiii.
Chap. Il[. FURNACES. 5'2i)
three feet deep, four feet diameter, walled to the lieight of two
feet. The length of tlie furnace, which communicated with the
kiln, was one-third its diameter. In the centre of the circle
formed by the furnace and the kiln was an oval pedestal, the
same height as the side, with the end pointing to the kiln's
mouth. Upon this pedestal, and upon the side wall, the floors
of the kilns, formed of perforated arch-shaped bricks, rested.
The furnace itself was arched, made of moulded bricks to form
the arch and the side constructed of curved bricks set edgeways.
Four Roman kilns were found in a.d. 1677, in digging foun-
dations N.W. of St. Paul's at a depth of 26 feet.^ The furnaces
in use were constructed of terra-cotta bricks. Some oval ones
for smelting copper were found at Marsal, and late in the
days of the Roman Empire bronze and other figures were cast
in brick furnaces.^ A portion of one of the sun-dried bricks, of
which a furnace was composed, was discovered at Colchester
in 1819, with about thirty vases. The vases stood on circular
vents above the hollow chambers, through whicli the heat was
conveyed to them. Some of the vases, all of which were of the
same coarse material^ and nearly of the same form and size,
were less baked than the rest, and broke unless handled with
great care.^ One of the furnaces, which appears to have been
used for baking the g"ay Roman ware, was discovered at Castor.
The furnace was quite different from those for the black, and
only calculated for a slight degree of baking. It was a regular
oval, and measured 6 feet 4 inches in breadth. The furnace
holes were filled in the lower part with burnt earth of a red
colour, and in the upper part with peat. The exterior was
formed of strong blue clay 6 inches thick, and the interior was
lined with peat. The kiln was intersected by lines of the same,
and divisions of blue clay. Some of the vases were inverted
and filled with a core of white sand.* The supposed joistillay or
pestles for mortars, were also made of baked clay,^ they were
really supports used in the kilns to steady vases while baking.^
At all periods specimens of immense vases were fabricated.
The great Roman amphora) were sometimes as high as 7*86 feet,
and required two oxen to draw them. The enormous dish pre-
pared to cook the gigantic turbot presented to Domitian must
^ Smith, 111. Rom., Loud., p. 79; ^ r g^jit;, QoU^^ct. ii. p. 38.
Sloane MS., 958. | * Vol. xxii. p. 418, PI. xxxvi.
- Aruob, vi. 14, figulinis foinacibus; ^ Arcli., xxiv. p. 199, PI. xliv. 4.
this can hardly be potter's kilns. ' * Arch. Jonrn., vii. 17<).
2 M
530 ROMAN POTTERY. Part IV.
have been above seven feet long ; ^ and another dish, called the
^gis of Minerva,^ composed of tongues, brains, and roes, must
have been of the same size. Ciampini mentions an ancient
Roman vase so large that a man required a ladder of twelve
steps to reach the mouth.
Martial describes the tiresome man as going about the town,
and winding up the day by purchasing two cups for an as, or
penny, but it is not certain whether these were earthenware or
glass.^ They were probably worth a sesterce, or large brass
Roman coin of two ases and a half, for one of the amusements
of the fast young Lucius Yerus, the colleague of the staid Marcus
Aurelius Antoninus, was to break caliees, or cups, with these
pieces of money — probably for two reasons, these were sufficiently
heavy to effect their purpose, and at the same time paid for the
damage they occasioned.* Juvenal speaks of Plebeian cups
purchased for a few ases.^ Pliny states that some terra-cotta
vases sold for more than the celebrated myrrhine vase ;® and
for gigantic proportions of this ware may be cited the immense
plate made by Vitellius, to bake which a furnace was prepared
in the open country. It cost him a million sesterces, or about
8000?. One of the great uses of earthenware was for the trans-
port of wine, figs, honey, and other commodities — being used in
the same manner as casks are at the present day. The lagena,
or large bottle, was used to hold wine or figs, and articles were
imported from the African coast in it under the name of the testa.
In this manner a preparation from the blood of the tunny was
sent from the Phrygian Antipolis to Rome.'^ Another vessel
for transporting and preserving viands was the cadus. Martial
speaks of cadi vaticani,^ which are supposed to refer to the
wine ; however, he speaks of the yellow honey taken out of
the red pot,^ and also mentions the red cadus pouring out
foreign wine.^° Vases were also used for religious rites, the ope-
rations of metallurgy, chemistry, and medicine ; but above all
for domestic purposes — for the cellar, the kitchen, and the table.
They were also employed as bell-glasses, a new use, for rearing
vine sprouts.^^ The feet of tables were also made either of this
» Juvenal, Sat. iv. 39-41, 72, 131-135. | ' Sat., xi. 145.
- Pliny, N. H. xxxv. c. xii. 46 ;
Sueton., Vit. Vitell. 13.
' M>a'ti;a, ix. 60.
" Jul. Ciipit. vit. Veri, 12rao, Lugd.
Bat., 1671, p. 102.
N. H., xxxv. c. 12, 46,
Martial, iv. 88.
Epigram, i. xix. 2.
Ibid., i. 10. "> Ibid., iv. 66.
Virgil, Georg. i'. 351.
ClIAP. III.
DOLTA.
531
unglazed ware or propped up with potsherds/ and one of the
jests of Elagabalus ^ was to place before his parasitical guests, at
a lower table, a course, the viands of which were made of earthen-
ware, and make them eat an imaginary dinner. The gigantic
earthenware casks, resembling the Greek pithoi, were used for
holding enormous quantities of wine, corn, and oil — in fact whole
stacks of cellars have been found at Antium and Tunis, at Ger-
govia near Clermont, and at Apt in the department of Vaucluse.^
Delia have been found at Palmense, or Palma, Sezza, Anzio.*
A number of dolia were found at Sarno,^ one had stamped on it
the name of IVFarcus Lucilius Qnartio, M. LVCCEI QVAK-
TIONIS ; a third had that of Onesimus, ONESIMYS FECIT,
another Vitalis, YITALIS F., and L. T1TU8 PAPIUS, L.
TITI. F. PAP. On them were scratched xiv ; s.t. Lxxxiv
(lagenae) or 16 amphorae. None had the year of the consuls.^
They bore marks of the withes by which they were held, or of
being made from moulds. In various caves and other places in
France they are mixed up with fossils,^ the supposed remains of
a primitive race. These casks were anciently called calpar^
afterwards dolium.® It appears from the ancient jurists that it
was unlawful to remove the gigantic dolia in which the Komans
kept their stores of wines in the cellar, for fear of endangering
the safety of the liouse.^ From the dolia, the wine, as among
the Greeks, was put into another vase, probably an amphora,
and decanted o^}^ As the amphora had a pointed base to fix it
more securely into the earth of the cellar, it was when brought
up placed in a tripod stand, ^^ which among the poor was of wood,
but among the rich was made of brass or silver. The dolia
were sunk in the ground, and one of those prodigies which was
supposed to predict the future fortune of the Emperor Antoninus
Pius was the discovery above ground of the dolia in Etruria,
which had been sunk in the earth.^^ Juvenal represents them
as deep casks,^^ and as being cemented with pitch, gypsum, or
mud.^* They held twenty amphorae, or forty-one urns. They
* Martial, ii. xliii.
2 Lamprid. Vita Heliogab., 12mo,
Lugd., 1632, p. 317.
3 Brongniart, Traite, i. 407, 408, 409.
4 Winckelm., Mon. In. ii. p. 229, tav.
174.
* Bull. Arch. Nap., 1858, p. 84.
^ Cicero, Brut. 83, " sine nota anni."
' Brongniart, Traite, i.
" Varro in Nom, Marcell., cap. xix.
n. 31, edit. Gothofr.
' Paullus Manutius, Comm. in Cic.
Epist. famil. lib. vii. ; Epist. xxii.
'" Cicero, de Clar. Orat. ; Seneca,
Epist., xxxvi. ; Pliny, xiv. c. 13.
" Doni, 1. c, pp. Ixxxviii.-lxxxix.
'- Capitoliuus, Vita Anion. Pii, s. 1.
'3 Sat., vi. 430. '* Sat., ix. r)8.
2 M 2
532
ROMAN POTTERY.
Part IV.
were placed in the cellar. Dolia were ma^le in separate pieces ;
the base and other parts were secured by leaden nets or cramps
and held the unfermented wine, according to Priscian. The
makers of the casks called dolia, and of the larger amphora?,
were called doliarii ; ^ a term, however, applicable to all kinds
of coarse ware, since the roof tiles were also called opws doliare,
while the workmen were called fabriles? Makers of smaller
vases were styled vascularii,^ jictilarii,^ ornamentarii,^ or amj^uh
larii.^ Large dolia, with leaden hoops have been found at
Palzano, seven miles from Modena, and at Spilamberto one
was also discovered broken in fragments, with an inscription
containing the name of T. Gavelius and the numbers XXX
and XX, probably its contents ; while another of thirty-six
amjohora) capacity had an
inscription and contained
a coin of Augustus.'^ The
doliolum at Rome was in
the Xlth quarter of the
city. *'Bind your casks
with lead," says Cato,^ in
his treatise upon agricul-
ttire, and Pliny spealvS of
scraping the hoops or
making new ones.® The
dolia were made either of
a white, a red clay, or of clays of the two colours combined.
They were baked by a slow heat. The smaller ones were
made on the wheel, the large in a kind of heated house. Great
care was requisite in moderating the beat of the furnace. The
lips inclined slightly upwards so that the liquid should keep in.^**
They were also used for holding corpses in graves.^^ Besides
those already cited, a few inscriptions, recording the names of
the owners or makers of the dolia have been preserved, as
L. Calpurnius Eros, on the mouth of a cask found in the villa
Peretta.^^ T. Cocceius Fortunatus, on that of another discovered
in the ruins of Bsebiana.^^ Another large vase had Stabulum
No. 196.— Dolium containiug body.
IV
^ D.<ni, Inscript. p, 28D, tab. xi. no. found in a: i inscription at Narbonne.—
see the bas-relief with the dolia Orellius, ii. 247.
and amphora. ^ Ibid,, p. Ixxxvi.
3 Gruter, Thrs, p. dcxliii. 4, 5, 6, 7.
^ Ibid., p. dcxliii. 1.
5 Spohn., Miscell. s. vi. p. 238.
•^ L. riiilomusus, an ampullarius, is
' Bull., 1846, p. 35. 8 R. R., 39.
» Pliny, N. H. xviii. 64.
*" Anatolius, vi. 3.
" Rev. Arch. 1857, p. 617.
'2 F. Fabretti, 502. i^ u^j^]^ ^o;!.
Chap. III.
AMPHORiE.
533
P. Actii,* the Stable of P. Actius ; which is, however, certainly
not a j)otter's mark, but probably incised by the slave of the
stable where it was used. Two of these dolia will also be seen
in the gardens of the Villa Albani. They are about four feet
diameter, and as many feet high and about three inches thick,
of a coarse giitty earthenware, and of a pale red colour.
Next in size and importance to the dolia are the Roman
amphora}; they were coarser than those made in Greece; the
body more globular nnd less elegant. The clay is reddish, and
sometimes covered externallv with a siliceons coatin": like the
Egyptian vases. xVmphora) were pitched internally to retain
the wine,^ and the mouth was closed with clay
or else with a bung. When of moderate size,
they were made on the wheel ; the larger, like
the Greek, w^ere moulded. The name of the
maker was in a square label, stamped out of an
incuse mould on the handle. This name is in
the genitive, as Maturi " of Maturus," or " of
Maturius;" the word " oflficina " or "factory"
being understood.^ On the neck of another am-
phora was found Fundian wine, in the consulship
of Cna^us Lentulus and Asinius Agrippa, a.d. 26.*
At Leptis an amphora is said to have been found
inscribed L. CASSIO. C MAEIO COS, "dated
in the Consulship of Cassius and Marius, a.d.
107." At S. Matteo in Menelana, near Eome,
more than 100 amphorse were found, and as
many in the house of Arrius Diomedes at Pom-
peii,^ 150 w^ere found at the House of the Faun,
and many in 1809 at Milan, others at Peschiera
7 miles from the city, and at Turin.^ Several amphorae have
been found at Kome, and 120 were discovered in a subterranean
cellar near the baths of Titus. Doni ^ has engraved a remarkable
one, five Roman palms high, holding eight congii, discovered in
the gardens of the Villa Farnese, amidst the supposed ruins of
the Golden Palace of Nero. On its neck was traced in large
letters ex cel{la) L{ucii) Furelli Gemelli M{amertinum) — " Ma-
No.
197.— Terra-cot ta
Amphora.
1 Doni, 98.
2 Horat., Carm. i. 20, 3 ; Pliny, N. H.
xiv. 20, 27 ; Paradius, iii. 24.
3 Seroiix d'Agiucuurt, pi. xlx. xxxvi.
* Guarini, in App. O.c. Abellanum,
p. 56, C N. L., TVLO M ASINIO COS
FVNDAN.
' Pvomanelli, Viaggio Pompei, p. 18.
^ San Quintino, Eicerclie, Torino,
1832. ^ luicrip., p. Ixxxii.
534
ROMAN POTTERY.
Part IV.
mertine wine from the cellar of L. Purellus Gemellus." C^esen-
niae, " from the estate of Caesennia." The neck of another found
on the Aventine hill, now in the Kircherian Museum, has in-
scribed upon it, Fahriles Marcellee nipsirae) ad felicitatem — " the
workmen of our Marcella to wish her joy." ^ It is supposed to
have been a present during the Saturnalia. On others found in
a house at Pompeii were painted, in red and black ochre, such
words as MES. AM. xviii., " the amphora measures eighteen ; " "^
BARCAE, "of Barce," near Cyrene; FOEM. *'Formian;"
KOR. OPT. " best Corinthian " or " Corcyr^an; " RUBR. YET.
"old red," which seem to be the names of the wine deposited in
the cellar. Other amphorae were marked LIQYAMEN OPTI-
MVM, "the best dripping," "pickle," or "grease," showing for
what purpose the vessel had been used.^ On one of them was
inscribed TVSCOLANON OFFICINA SCAY[RI] "Tusculan,
" from the manufactory of Scaurus." Other letters refer to the
contents of the amphora, its age or number in the cellar, and the
maker of the wiue or possessor, as Septimius Menodotus. The
consulship in which the wine was made is rarely found inscribed
on the amphorae. Besides the instances of such inscriptions,
others are known, as an amphora inscribed xxxii. ORICIAII,
"32 from Oricum,"* the other SVRR. xxi. '' Surrentine
wine, 21 ; " VESPASIANO III. ET FILIO C. S.,— " Of the 3rd
consulship of Vespasian and his son," a.d. 74.^ Several which
were found in an excavation close to the Porta del Popolo,
and consequently near the Flaminian Gate, in a subter-
ranean chamber, supposed by some to be a cellar, contained
various materials and objects, such as ivory and bone pins,
portions of animals, lamps, and fragments. On some of these
amphorae were letters ; and on a piece of terra-cotta, probably
a tile, was stamped,® "from the establi^r^hment of Domitia
Lucilla," a name already mentioned among the tile makers.
Some of the inscriptions on lagenae and amphorae were dedica-
tions or presents of wine as — Martiali solvam lagaenam, " I will
give an entire bottle to Martialis." Primes familiari donom
^ Doni ; ibid, p. Ixxxvi.
2 Mr. Falkener, Museum of Classical
Antiquities, vol. ii. pp. 70, 79 ; Bull.
Arch. Nap., ii. 85. Miuervini, Bull.
Arch. Nap., 1855, p. 83, reads " Mcso-
gitt'S wiue. 18 ainphorse."— Cf. Pliny,
N. H., xiv. 7, 9.
^ The liquamen may be a pickle or
liquid as the liquamen de piris. — Min-
ervini, loc. cit. ; Palladius, 11. R., iii. 15.
* Bull. Arch. Nap., 1852, p. 88,
* Garucci, luscr. Reate, 8vo, Brux.,
1854, p. 41.
^ Seroux d'Agincuurt, pi. xix. lig. v.
Chap. III.
NAMES OF MAKERS.
535
votom dedit M. Aurelio Solino. Dromo familiari dono urnam
dedit^ — "Primus gave it as a gift and vow to M. Aurelius
Jolinus. Dromos gave an nrn to his friend." The letters on
Hhese amphoroB are described by Plautus and Juvenal.^ Plautus
says the bottle sings out what it is.^ The use of amphora) was
very various and extensive among the Romans. They were
employed at entertainments, sacrifices, dinners, in cellars and
granaries, and for holding the sand of the bath and gymnasium
with which the body was rubbed,* as well as for many purposes
to which the moderns have applied wood and iron. The pearl
oysters were thrown into amphora) to decompose the flesh and
select the pearls.^ The master of an oil or wine shop with his
amphorae is represented.^
Amphora) and other vases, inscribed with the names of the
consuls under whom they were deposited, were called literatse,
lettered,' or fictile letters,^ and so were the urns which bore
the names of the temples to which they belonged.^ Two
fine glass scyphi, which Nero broke in his terror when he heard
of the revolt of Galba, had on them some verses of Homer,^*' and
on the glass amphorae of Trimalchio was inscribed " the finest
Falernian wine, one hundred years old." ^^ The amphorae were
made by the same makers as of tiles and bricks, and the name
of Primigenius P. F. Lucillae has been found stamped on one at
Aix.^^ Their names are very numerous and they often use only
initials only, many appear with a single name, either Eoman as
Maximus, Aufianus, Agricola, or else those of Gauls or other
foreigners, as Bellucus, Cirexoras, Boisius, Chosdas, Cartunitus.
These are generally, but not always, in the genitive — olficina,
pottery, being understood. Some few have double names, as
Publius Crispus, Lucius Cestius, Marcus Exsonius ; others triple
names, as Marcus ^milius Eusticus, Caius Antonius Quintus,
showing that they came from the potteries of Eoman citizens or
freedmen. Occasionally after the name F for fecit, made, or OF
» Jahn. Ber. Sachsisch. Ak., 1858, p.
199 ; llitschl, Bull. Arch. Nap. N. S.. i.
p. 183.
2 Poemilus, act iv. s. 11, v. 14 ; Ju-
venal, V. 33.
3 Plaut., Rud. 478.
* Doni, 1. c, pp. Ixxxvii.-xci.
* Pliny, N. H. ix. 55.
•5 Mus. Aii.araz, tav. xlix. Agg.
^ Brodseus, Miscell., i. c. 3 ; Tunieb.
Advers., i. 1 ; Brisson. de For., viii. 715 ;
Illustr. di uu vaso Italo-Grec. d. R.
Mus. Borb., 4to,, Napoli, 1822.
* Plautus, Pcen. act iv. s. 2, 15.
^ Plautus, Rud. act iv. s. 5, 17.
10 Sueton., Nero, 47.
" Petronius, Sut. 34.
»2 Rouard, Fouilles d'Aix, 1814, p. IG.
536 ROMAN POTTERY. Part IV.
for officina, are fouiid.^ They are stamped in oblong rectangular
labels on the handles or necks of the amphorae, the k-tters
abxiost always in relief. They are of vnrious sizes, from about
two to four, or even six feet in height. Their paste varies much
in colour, from a pale red to a cream colour, like the bricks and
tiles. It is compact and heavy, somewhat resembling that of
the mortaria. Ijike the mortars, tliey were made either by
slaves or freedmen ; but the names of the makers of the amphorae
are distinct from those of the makers of mortars. They have
been found throughout the ancient limits of the Koman empire.
One of the most curious stamps upon these vases is a square
one, having a caduceus and twelve compartments, with symbols
and the following inscription: M(arci) PETRON(ii) VETE-
RAN(i) LEO SER(vns) FECIT — "Leo the slave of M.
Petronius Veteranus made it." ^
Sarcophagi, even at a late period, were made of the same
paste as the amphorae, such having been found in the Eomau
potteries at Saguntum.^ The ohrendaria, or urns in which the
ashes of the dead were deposited, were also of this coarse ware,
and globular shaped, and were used as cases for more precious
vases. It will be remembered that Cato and Cicero are both
stated by Yarro to have wished to be buried in terra-cotta vases.
Roman amphorae have been found at London, Kingsholme,
Gloucester, and Woburn,* and a great number of other places
in England. One of the large amphorae, containing ashes
of the dead and other objects, was found at the Bartlow
Hills.^ Another remarkable vase of this ware, found at
Littington near Royston, was apparently a kind of colander of
a cup shape, and having inside a hollow domed portion, per-
forated with holes, which formed the letters INDVLCIVS.® Some
oUse for holding the ashes of the dead, enclosed in stone cists
and other vessels, were found in the neighbourhood of Arnaise.'^
Vessels of terra-cotta were extensively used by the Roman
people, in the earlier days of the Republic, for all purposes of
domestic life,^ and the writers under the Empire often contrast
their use with that of the costly vessels of the precious metals
' R. Smith, Collectanea, 1. pp. 149-
150; Archseolog., viii.; Janssen, Inscr.,
p. 12 ; Orellius, i. pp. 129-441 ; Funia-
letti, pp. 451-454.
2 D'Agiucourt, Recueil, xxii. 7.
^ Brongniart et Riocreiix, Musce dc
Sevres, i. 18.
■* Arch., XXV. PI. Ixix. p. 606.
' Arch., XXV. PI. xxxiii. p. 304.
^ Arch., xxvi. PI. xlv. p. 376.
^ Mcmoires lus a la Sorbonnc, 8vo,
Parif, 1863, p. 149. » Tibiill., I. i.
Chap. IIL SHAPES OF VASES. 537
tlien employed. This ware appears to have been called " Sa-
niian," either because it was imported from that iv^land, or
because it was made in imitation of the ware procured thence.
" For the necessary purposes," says Plautus, '* in religious cere-
monies Samian vases are used;"^ and Cicero repeats tliat the
siinpuvia and capedines of the priests were of the same ware.^
It appears indeed to have been discontinued even for religious
rites under the Empire. *' Gold," says the Satirist, *' has driven
away the vases of Numa and the brass vessels of Saturn, the
urns of the Yestals and Etruscan earthenware." ^ " Who for-
merly presumed to laugh at the bowl and black dish of Numa,
and fragile plates from Vatican Hill." * And again, " There-
fore then they placed all their porridge in a Tuscan bowl." ^
The vases used in sacrifices were principally of earthenware,
and comprised the coturnium, simimlum^ or simpuvium,'^ for
pouring out wine, or according to some the bowl in the shape of
a ladle, in which the priests washed. The cajpis, capedo or
caj)edtineula,^ the dismis and the cattmis ^ or jiatera, the aquime-
narium to wash the vessels, or amula which held the lustral
water. To these must be added the urna or urnula, which
appears the equivalent term of the Greek hydria, or water
pitcher, and a small earthen vessel called lepesta in use in the
temples of the Sabines,^" and lances, or chargers of earthenware
A\ hich were offered to Bacchus.^^ For eating and drinking, fictile
vases were only used by poor people. Juvenal speaking of his
time says that " no aconite is quaffed out of fictile vases." ^^ But \
this must be accepted with some reservation, as it is evident that
fine red glazed ware was used by the upper classes in the days of
the Eepublic. Thus the celebrated consul Curius is said to have ^
preferred his earthenware service to the gold of the Samnite?.^^
" It is a reproach to dine off eartlienware," ^* says the Satirist in
the days of Domitian, alluding to the earlier frugality of earthen-
ware. This earlier use is proved by the example of Catus ^lius
1 Capt., II. ii. 4. 341-43.
2 De Nat. Deorum, III. 17. I ^ Isidorus, xx. 4 ; Pliny, N. H. xxxv.
' Persius, Sat. ii. 60. 12.
* Juvenal, vi. 341-43. Cf. xi. 109 ; | » Pliny, N. H. xxxv. 12 ; Cicero,
Seneca, Epist. 97; Tertullian, Apol.
c. 25.
eat., xi. 109, 110. For the names
Paradox, 1.
^ Pliny, K H. xxxiii. 69.
10 Vnrro, L. L., Bk. v. s. 123.
of Roman vases, Krause, T. H., Angeio- j " Virgil, Georg. ii. 395.
logic, 8, Halle, 1854, p. 439 and foil. '- Juvenal, Sat. x. 25, 26 ; cf. xi. 20.
Varro, iv, 26; Schol. Juvenal, vi.
>3 Florus, i. 18. '* Juv., iii. U'8.
538
ROMAN POTTERY.
Part 1Y.
whom the JEtolian ambassador in his consulship found dining
off vessels of earthenware,^ B.C. 169 ; and in the entertainment
given before the Cella of the temple of Jupiter, Q. Tubero
placed fictile vases before the guests.^ At the entertainment,
however, given by Massinissa, the second course was in the
Eoman manner, served up on silver, B.C. 148, which the Greeks
had not substituted for earthenware till after the age of
Alexander.^ In the service of the Genius, or Lares, silver vases
at least were used, for the Miser is described as so avaricious
that he sacrificed in earthen or Samian ware lest the Genius
should steal the silver.* In the early times of the Republic
even persons of wealth used only pottery at their meals, as
well as for other domestic purposes ; but the increase of wealth
caused vessels of bronze to be made for many uses for which
pottery had been formerly deemed suflScient. In warmth and
comfort, however, homely earthenware must have far surpassed
the frigid magnificence of services of plate. Under the Empire
glass was used even by the poor for drinking-cups, while the
rich disdained meaner materials than gems, precious metals,
moulded or engraved glass. Earthenware was left for the
service of the gods, and the tables of the poor. Numerous
small vessels, especially bottles and jars of various shapes, which
are found either in graves or houses, seem to show that earthen-
ware was employed for the purposes of life.
It is however difficult, if not impossible, to decide if the various
small flat plates, dishes, and bowls, which are found, were the
^arojosis, which is known to have been made of red ware, the
patina, a dish, sufficiently large to hold fish, crabs, and lobsters,
made of earthenware,^ i\\Q j^atera, the catinus, which could hold
a large fish,® the gahatse, or lanQes, mentioned as made of red
terra-cotta, a whole boar was placed on a round lanx.' The
trullse, or bowls, were probably made of red ware. The jpatella^
or plate, was made of black ware. Martial speaks of " a green
cabbage in a black plate." ^ The catellus ^ held pepper. Some
clue might perhaps be obtained to their size from the descrip-
tions of ancient authors. The catinus was large enough to hold
the tail of a turmy,^° the catillus or porringer was also fictile, the
^ Pliny, N. H. xxxiii. c. 11, 51.
^ Seneca, Epist, 95, 72.
' Athenteus, vi. 229 a. It does not
appear quite certain whether Athenseus
refers to his own time or that of the
republic when he cites this fact.
* Plant., Capt. act ii. sc. 2, 1. 46, 47.
' Horat., Serm. ii. 8, 42, 55, 71.
« Ibid., ii. 4, 72. ^ Ibid., ii. 4, 47.
8 Martial, v. 78, 1. 7.
^ Horat., Serm. ii. 4, 75.
'0 Pers. V. 182. Horat., Serm. i, 3, 90.
Chap. III. SHAPES OF VASES. 539
lanx could hold a boar, a crab.^ Another dish was called
scutula. Speaking of the course of a luxurious entertain-
ment, Martial says, ** Thus he fills the gabatse, and the parop-
sides, the smooth scutulas, and the hollow lances." ^ The
patina was flat, and held soup,^ and was the generic name for a
dish, the most remarkable example of which was that made by
Vitellius, and which has been already mentioned. Tiiis was
called the "marsh of dishes," by Mutianus.* The wretched
emperor, when dragged to death, was insulted by the epithet of
patinarius, or dish maker.^ Small vases, called acetabula or
vinegar cups, which were certainly made of terra-cotta, probably
appeared on the table.® The great vessels for holding the wine
in the cellar, the dolia, and amphorae, have been already fully
described. Besides the amphorae the cadus held wine in tlie
cellar. The cadus held more than two quadrantes or six cyathi,'
and it was hung up in the chimney in order to give the wine
a mature flavour, especially that of ^larseilles.^ The diota held
wine.^ The wine was transferred from the cadus into a fictile
vase, called the hirnea, but its shape is unknown.^^ xinother
large vase for holding liquids, milk, was the sinus or sinwm,
which also held water. Many bottles are found in the coarser
kinds of ware, and were probably used even at table for pouring
the wine into the cups of the guests. The lagena, lagyna, lagsena,
or narrow-necked bottles with one or two handles,^^ when destined
for the next day's entertainment were sealed by the master of
tlie feast with his ring, that they should not be changed. It
answered the purpose of the oinochoe or wine bottle among the
Greeks, and the flask of the present day ; the hunter carried it in
his knapsack,^^ and the fisherman among his traps,^^ the Koman
barmaid or vivandiere slung it at her side when serving in the
taverns.^* It was proverbially brittle,^^ and in order to protect it
better was surrounded, as in modern times the flask, with wicker-
work.^® Like the modern bottle of some choice wine, its mouth
was secured with the impression of the seal of the possessor.^^
' Juv. V. 80 ; Martial, ii. 43.
2 xi. 31, 19.
' Phsedrus, i. 26.
* " Paludem patinarum," Pliny, N. H.
xxxvi. 12.
* Suetonius, Vita Vitellii, c. 17.
^ Tertullian, Apolog. c. xxv.
' Martial, ix. 94.
« Ibid., X. 36.
» Hor., Carm. i. 9. »« Varro, L. L.
" Symposius; ^nigm.
»2 Pliuy, Ep. i. 6, 3.
'^ Juvenal, xii. 69.
•^ Ibid., viii. 158-161.
»* aiartial, vi. 89, 5 ; Petron. 22.
»« Pliny, N. H. xvi. 34, 56.
'" Horat., Epist. ii. 2, 134.
540 ROMAN POTTERY. Tart IV.
These vases were of terra-cotta.^ No crater of the Roman times
can be identified in terra-cotta. The oenopliorum,^ a large wine-
pitclier, and the urceus, a vase with one handle,^ sometimes made
of red ware, and the urceoli, or h'ttle pitchers, are of frequent
occurrence. Another vase for liolding wine, probably the same
as the oenophorum, was the aeratophorum. The ampulla, a kind
of jug, was used for bringing wine to table after having been
duly labelled.* The wine was mixed into a crater, and thence
transferred into cups.^ These vases are probably represented
by various terra-cotta bottles.
There are great numbers of little cups found in different
localities, and in all kinds of ware, but chieliy in tlie glazed
varieties. These were perhaps known under the generic name
of pocula ^ *' cups," calices " goblets," cohjlse " half-pints," ' and
,scaphia or " boats." ^ The shapes known under the names of
\ cafitharus,^ carehesioyi,^^ seyplms, and rhijton were rarely if ever
Ij made of earthenware ; indeed the pride of the wealthy Romans at
I this period was to show magnificent cups of metal embossed by
j Mentor, Mys, and other celebrated masters of antiquity, and
f hence earthenware cups were only used by persons in moderate
circumstances. There were, however, certain cups peculiarly
Roman, their names not like those just mentioned, derived from
the Greek. Such were the ciboria, in shape of the pods of the
colocasia, or Egyptian bean,^^ the cymhia, or milk cups,^^ the
nasiterna, so called from its long spout, nasus, used for a
watering-pot,^^ which had three handles. Besides these, the
guttiis, a small bottle used for conveying oil to the bath, and
which is probably the little long-necked bottle, called by
antiquarians the lachrymatory, was often made of terra-cotta.
Little vases of this shape are inserted into a monument dedicated
to certain mother goddesses by one Egnatius, a doctor, who
thus consecrated his phials to these personages.^* They were
also used as phials. Horace's table had two cups and a cyatlius,
1 Hor., ii. 8, 41, 81.
. 2 juv, Sat. vi. 425; Pers. v. 140;
Hor., Sat. i. 6, 109.
3 Martial, xiv. 103.
* Pliny, Epist. iv. 30; Suetonius,
Vit. Domit., 21 ; Martial, vi. 35-3, xiv.
110.
5 Ovid, Fisti., V. 522, of red terra-
C('ttK
^ Martial, xiv. 108, refers to Sagun-
tine cups.
^ Martial, viii. 71.
« Plaut., Stieh. v. 4, 11.
3 Virgil, Eel. vi. 17.
'•^ Macrobius, vi. 41.
'^ Porphyrion in Horat., Carm. II. 7.
'2 Pliny, N. H. xxxvii. 8.
'^ Juv. V. 47.
1* T. R. Smith, Collect., v. 8.
Chap. III. PLACES OF MANUFACTURE. 511
on the echmus or wasliing vase a guttus and a jyatera} The
matella'^ or mateUio was also made of eartlienwaro, as well as a
large vase that used to be placed in the highways.^ The
hascaudiEf imported to Rome from Britain, were probably baskets
or basket-shaped \ases.'* The cumera, or corn-bin, was also
fictile.^
Several obscure names of vases are mentioned bv the etvmo-
legists and others, as the 'pollvhriim, a bason for washing hands
and feet, the inaMuvium or washhand basin, the escaria, or vege-
table dishes, the ohha, which was probably a kind of ampulla,
being in the shape of the helmets of the Dioscuri,^ the craticula,
a small goblet, or little crater or gridiron, the myoharhum,^ in
shape of a mouse, which has been found in unglazed ware, the
galeola and others. The pelviSy or pan, is probably the so-called
mortarium ; the sinus, which was also used as a washhand
basin, may be a vase of similar shape, but there is as much
difficulty in recognising the true names of the Roman as of the
Greek vases. The olla, or jar, was of sepulchral use, and the
urna was also adapted to hold the ashes of the dead. There
was also a liydria for sepulchres,' and the mazonomum is men-
tioned.^
It is not to be supposed that all vessels were made at one
place, for different towns excelled in the production of their
respective wares, which were imported in large quantities into
Rome. Anciently this city was supplied with earthenware by
tlie Etruscans, and probably by the Greeks, as Plautus mentions
Samian ware almost as synonymous with earthenware, and
Horace preserved his Sabine wine in a jar of Greek earthen-
ware.^ Still it cannot be doubted that extensive manu-
factories of vases existed at Rome, although they are only
occasionally mentioned. Martial speaks of the fragile plates
of the Vatican Hill, and Horace of Campanian ware, and the
potter's w'heel,^° as though he had seen it revolving. He also
speaks of cups made at Allifae in Samnium. Yet Rome itself
does not appear to have excelled in any of the finer vases, as
> Horat., Serm. i., 116, 117.
2 Martial, xii. 32; xiv. 119.
' Persius, v. 148.
* The old Scholiast to Juvenal, ii. 2t),
calls the hascauda an English vas?, in
^Yhich cups and pots ^Ycrc washed ; this
can hardly be a b.tskct.
* Ausonius, Ep. iii.
* Pliny, N. H. xxviii. 1.
^ Orellius, 45, 40, 47.
« Uorat., Sat. ii. 8.
9 Carm., i. 20, 2, 3.
»« Sat., ii. S, 39. Serm., i. llG-117.
542
KOMAN POTTERY.
Part IV.
Pliny, when he mentions pottery, does not praise its produc-
tions^ although Numa had instituted a guild of potters.^ He
mentions eight principal places of the manufacture ; Arretium
or Arezzo, famous for its dinner services, which he compares to
the wares of Samos ; Asta ; Pollentia, upon the banks of the
Tanarus; and Surrentum, upon the eastern coast of the
Bay of Naples, renowned for drinking - cups ; Modena and
Ehegium which produced the most durable ones, and Cuma,
already mentioned by Martial. The foreign manufactories were
Saguntum, in Spain, so often praised by the same poet ; Per-
gamus in Asia; the island of Samos; Erythrae in Ionia, where
two amphorae of remarkable thinness existed ; Tralles, Cos, and
Hadria. At a later period a glazed red ware is found dis-
tributed all over the European limits of the old Koman world,
and was evidently manufactured at one place and exported.
The services used at a Roman entertainment presented the
same spectacle as those of persons possessing wealth and taste
at the present day, to which the potteries of Staffordshire, of
Sevres, Dresden, and China, contribute their respective por-
tions. The most exquisite enjoyment was derived from the con-
templation of a variety of the products of the human mind and
hand, which please by their association and improve by their
presence.
The vaulted top of an oven at Pompeii is formed of jars, ollde,
fitted one into another. These ollao are about a foot high and
six inches wide, of the usual ware. The span of the arch is five
feet six inches. The object of it was to produce extreme light-
ness and dryness. A similar construction occurs at Syracuse ;
part of S. Stefano alia Kotonda at Eome, and the dome of the
church of S. Vitale, at Eavenna, built by Justinian, is con-
structed of amphorae and tubes on the same plan.^ In the
chapter Yitruvius has written on the * Echea,' or sounding vases,
which were distributed in the Greek tlieatre, he mentions that
they were often for economy made of earthenware.* The Greeks
seem indeed to have employed both pithoi or casks and lagenae
to make rooms,^ and they were sometimes used as in the case of
vaults, domes, or other elevated erections, for the sake of dimi-
» N. H., XXXV. xii. 46.
2 Ibid.
^ Seioux cl'Agincourt, Stoiia dell'
Arte, tav. xxiii. tcm. v. p, 56. See
tav. xxii. torn. v. pp. 52-56.
* Vitruvius, v. c. vii. vol. i. p. 284, a
Marinio; Pliny, N. H. xi. 112.
" Seneca, Queest. Nat. vi. 19 ; Aris-
totle, Probl. xi. 8.
Chap. III.
USES.
543
nishing the weight rather than for augmenting the sound, ^ or
for want of a better material.^ ^uch, at all events, is supposed
to be the case of the vases found at the top of the wall of the
circus of Maxentius, at Rome. There is a row of amphorae
arranged with their necks downwards, and their long axis
inclined obliquely to the top of the wall. All these are now
broken, but they show an ingenious method for rendering lighter
the upper part of the arches which held the wall of the seats.
Vases are also found used in the construction of the Tor Pignat-
tarra, the Mausoleum of the Empress Helena.^
* Blanconius, Descr. dei Circhi, p.
98 ; Scamotius, Arch. Un., viii. 15 ;
Venutius, Kom. Ant., PI. ii. i. ; Winck-
elmann, Stor, d. Art, iii. p. 29.
' Nibby, Del circo di Caracalla, 4 to,
Koin., 1825.
' Nibby, Analisi della carta di Roma,
8vo, Roma, 1837, III. p. 243.
541 ROMAN POTTERY. Part IV.
CHAPTER IV.
Division of Roman pottery : Blaclc — Gray — Red — Brown — Yellow ware —
Shapes — Red ware — Paste — Shapes — False Samian — Paste and Shapes
— Lamps of Christian period — Olios — Gray ware — Mortaria — Paste —
Pelves — TrullsB — Names of makers — Black ware — Paste ^- Colour — Mode
of ornamentation — Shapes — Brown ware — Paste — Shapes — Ornamentation.
Great confusion prevails in the classification of Eoman pottery,
and each author adopts a system of his own, owing to the sub-
ject not having been yet studied with the necessary minuteness.
Many local circumstances, such as the clay, firing and manipu-
lation, produced differences in the ware. As the scope of this
work is not so much to follow the technical march of science as
to give the literary and archaeological results of an examination
of ancient pottery, it will perhaps only be necessary to take
colour for a guide, as it is a distinction easily followed. The
glazed wares, irrespective of their colour, will be reserved for a
subsequent chapter. The Roman pottery is grouped in the fol-
lowing manner ^ : —
Division 1. — Pale yellow paste, almost white. 2. — Dull red-
dish paste, passing to a reddish brown. 3. — Gray, or ash-
coloured paste. 4. — Black paste.
The 1st division comprises the jars and amphorae ; the 2nd
division, the Roman pottery of the first century ; the 3rd divi-
sion, Roman ware later than the first century ; the 4th division,
Gallo-Roman ware, and that of the local potteries. The system
of Brongniart follows the age of the potteries more closely than
tliat of Professor Buckman, although it must be remembered
that the different descriptions of ware are found together, and
were consequently employed simultaneously. Thus, the am-
phorae and ollae which filled the cellar, the bottles in which the
wine and other liquids were carried about, the lagenae and cadi
were of the first and second divisions. The so-called mortaria,
some bottles, and other small vases were of the third division.
The jars which covered the ashes of the dead were of the brown
1 Brongniart, Tiaitc, p. 381.
Chap. IV. CLASSIFICATION. 545
j)aste of the second division ; and tlie cups and other bottles
out of which persons drank were of red*" or black ware. Pro-
fessor Buckman/ who examined the technical qualities of the
unglazed ware found in Britain, divides them as follows : —
Division 1. — Black. 2. — Gray. 3. — Ked. 4. — Brown. 5.
— False Samian.
The only objection to this division is that it does not present
the vases according to their relative ages.
The yellow ware is distinguished by its coarse paste, of a
grayish-white or yellow colour, verging more or less to red. It
is to this division that all the larger pieces of wares belong, such
as the remains of amphorae^ and tubs or casks, dolia, which form
the Monte Testaceo at Eome. These vases were made by diffe-
rent processes. Some were turned upon the wheel; others, such
as the casks, cadi, were modelled with the hand, and turned from
within.^ The globes, in which the urns and glass vessels hold-
ing the ashes of the dead, were deposited, were of this class.
They appear to have been dolia or amphorae with their handles
broken off. Mortaria were also made of this ware, and it was
extensively used for long narrow-necked bottles with one or two
handles, probably lagenae : and for trullae, or deep bowls. A
remarkable vase of this ware, apparently a kind of olla in shape
of a human head, probably of the god Mercury, has painted on
the foot DO MIIRCVRIO, "to the god Mercury," in brown
letters, found at Lincoln, and has been published.*
A finer paste of this colour, often of a rosy tint, or white and
micaceous, was used for making the smaller vases, which are all
turned upon the wheel, and are thin and light.^ They are orna-
mented with zones, lines, hatchings, and leaves, slightly indicated
by a dull ochre, laid on and baked at the same time as the
paste.® These vases are often covered with a white coating of a
fiat colour, harder and more equally laid on than in the Athenian
vases. Some of this ware has its paste mixed with grains of
quartz.' A subdivision of it is a very white kind, which has
been occasionally found in England, consisting of little jars;
small bottles, paterae or dishes, painted inside with a. dull red
» Buckman and Newniarch, Corin- * Proc. Soc. Ant. of London, 1867,
ium, p. 77. p. 440.
2 MuseeCeramique, PI. iv. fig. 2,3,5. i ^ Brongniart, Tiaite, i. 435; Mus.
^ For various fragments of this ware Cer., viii. 5, 10, 14.
found with other specimens of red ware, ' ® Arch., xiv. PI. 14, p. 74.
( (' Archrcologia, viii. PI. G. ' Caumont, iii. p. 214.
2 N
546 ROMAN POTTERY. Part IV.
ornament ; vessels of the same shape, painted ; a vase, appa-
rently a dish, ornamented with red lines crossing and hooked ;
and others with brown lines. The paste of these is very white,
and by no means adapted for common uses. They must have
formed a fine kind of ware for ornamental purposes, as well as
those of the table.
The largest division of Roman pottery is the red ware, as it
comprises nearly all the vessels used for domestic purposes. It
varies in colour from a pale salmon to a deep coral; in quality
from a coarse gritty and cancellated structure to a fine compact
homogeneous paste. The greater part of this pottery is red, and
without any glaze, and of it are made a great number of plates,
dishes, bottles, amphorae, dolia, and jars. It is often distin-
guished by an engobe or white coating of pipe-clay, with which
the potter has covered the vase, in order to give it a neater
appearance ; but in many specimens this is completely wanting.
Sometimes the paste of this red ware is mixed with grains of
quartz.^ The following are the principal shapes of this ware :
the olla or jar, which was often used to hold the ashes of the dead ;
the amphora ; the urceolus or small jar ; vases in the shape of a
small barrel, one of which was found near Basingstoke, and pre-
sented to the British Museum by Lord Eversley. Another similar
to those still used by rustics, probably for carrying water to
drink, was found at Vie ; ^ a little bowl, patella, patina, or lanx.
Innumerable small bottles with a long neck, of a very fine red
paste, formerly called lachrymatories, but now supposed to be
unguent vases, are found in the Eoman graves all over Europe.
Many illustrations of this ware may be taken from the vases in
the collections of the British Museum,^ consisting of amphorae,
and large open-mouthed jars, with two handles, probably diotm ;
conical vases with a small mouth, adapted^ for holding liquids,
perhaps the cadus,^ which held fruit or honey ; a lagena, or bot-
tle, and bottle with a female head, probably the guttus, painted
with white ornaments upon a red ground ; and a colus, or
colander, of red ware, from Cissbury, curiously moulded at the
sides, pierced for straining. Some of these have a polish or very
thin glaze, and belong to the division of glazed wares. A jar
with six holes at the bottom, was found at Minchinhampton,
* Caumont, Cours, i. 214.
2 Societe des Antiquaiies de France,
T., V. no. ].
3 Journal, Brit. Arch. Assoc, i. 238.
* Martial, v. 18, 3.
Chap. IV. IIED WARE. 547
Gloucestershire. Of this pale red ware were also made the jars
or oUaB which held the ashes of the dead, mostly of slaves which
were deposited in the Columbaria. Some singular lamps of this
ware are in the shape of the helmet of a gladiator.^ Specimens
of this pale unglazed ware were found at Staples, near Boulogne,
with hatched and wreathed patterns in a very bad style, and
apparently of a late age.^
In the Sevres Museum are the remains of a vase or cup found
at Souaire, near Bourges, made of a reddish-brown paste mixed
with a great number of little particles of mica. The exterior is
covered with a perfectly black coating, with micaceous particles
shining through it. The polish is owing to the friction i\\Q
potter has given it while turning it. The interior is flat. Some
other specimens in the Sevres Museum, and fragments of cups
and bottles, exhibit the same peculiarities.^ This is, however,
rather a glazed or lustrous ware.
Another division of ware with a red paste is that called false
Samian, made of fine red clay, by no means so brilliant as the
Samian, and covered with a thin coating of a red colour, pro-
duced by dipping the clay into a slip made of sulphate of iron.
The subjects, as in the case of the Samian ware,* have been
impressed from a mould ; but they are generally of ruder
execution, and more indistinct than upon the true Samian, The
vases with reliefs are, however, often hollowed on the inner side.
This ware is of a rarer occurrence than the true Samian.
Specimens of it in the shape of dishes, lances, patinse or patellae,
cups, pocula, cyathi or calices, are found in England, France,
Germany, the Peloponnese, and the Archipelago.
Of the very fine brick-red paste the principal shapes are the
class called mortaria, the inside having small black pebbles
inserted into it, to grind or pound the food ; another is probably
the urceolus, or cup of some kind ; a third, a guttus, or oil vase ;
others are lagense, or bottles. Some of these last have handles
in shape of the busts of Serapis and Isis,^ and at Briaire a
Zodiac was found on red ware.^
Of this fine red imglazed ware, were made a great number of
lamps in the latter days of the Koman Empire. They are long
and shoe-shaped, having subjects stamped on a flat bas-relief.
' Joum. Brit. Arch. Assoc,, v. 136. I ** Buckman and Newmarch, pp. 93,
2 Eoach Smith, Collectanea, vol. i. 94. ' Caylus, vi. 75, 3, 4.
pi. iii. 3. I ® Jollois, Ant. du Loiret, 4 to, Parl.s,
3 Brongniart, Traite, i. p. 434. 1836, p. 167.
2 N 2
548 llOMAN POTTERY. Part IV.
These consist of the monogram of Christ — the great whale which
swallowed Jonah — a fish — alluding to the monogram IX@TC/
in which was contained " Jesus Christ, sou of God, tlie Saviour;'
necklaces of crosses, and other objects and symbols. Such lamps
were particularly common in Egypt, with inscriptions as already
cited, evidently made for Christians.
Tlie ollae which held the ashes of slaves in the columbaria,
are also of unglazed terra-cotta. They are tall jar-shaped
vessels, with a moulded rim, and a flat saucer-shaped cover.
They are humble imitations of tlie glass or alabaster vessels, in
which Avere deposited the mortal remains of their wealthier
masters, two of them, a pigeon's pair, went into one arched
recess, the columbarium. In the Roman sepulchres of Britain
and Gaul, the ashes of important persons were also deposited
in oUee, or jars, which were placed inside a large dolium, or
broken amphora, to protect them from the weight of superin-
cumbent earth.^ Near the urns were often deposited several
small vessels and different instruments. The urns were also
placed in coffins or coverings of different kinds: one of the
most remarkable, which was found near Lincoln,^ was a sphere
with an orifice sufficiently large to allow the urn to be intro-
duced. Great numbers of these urns are found on the sites of
the ancient Roman provincial cemeteries, as in the Dover Road.
Twenty thousand were found near Bordeaux.* An amphora of
pale red ware, containing a jar, with a lid of pale gray pottery,^
was found near Colchester. After the introduction of Cliris-
tianity in the third century this practice was abandoned ; when
the body ceased to be burnt, similar vases, but of smaller size,
containing charcoal, were placed near the dead.
The gray ware was made of fine clay, and may be divided into
two classes. The first of these was made of a kind of sandy
loam, such as that of the softer bricks made from clays on the
border of the chalk formation. Its colour is rather light and
its texture brittle.® By many it is called stone-coloured ware.
This ware was chiefly employed for amphorae, mortaria, and
dishes used in cooking, which were exposed to the heat of the
fire. The small pebbles, which some suppose to have been
placed inside the vessels for the purpose of preventing unequal
* Avolio, p. 126, lamp from Puzzuoli. i 7 & 8.
2 Wright, Celt, Koman, and Saxon, ■* Brongniart, i. p. 437.
P- 223. 5 Journal Brit. Arch. Assoc, i. 239.
» Archaeologia, xii. p. 108, PI. xiv. ' « Mus. Pract. Geol. Cat., pp. 88, 89.
Chap. IV. OKAY WAKE. 549
contraction in baking, others regard as intended to grate the
corn, fiour, or meat. The mortaria resemble in shape modern
miJk-pans, being flat and circnlar with overlapping edges, and a
grooved spout in front, though these may be the pelvis or trulla.
Most of them appear to have been used for boiling, as appears
from holes burnt through them, or from their having become
much thinner. This however may be the result of the grinding
to which the materials placed in them were subjected. They are
of a hard ware, rather coarse, but compact in texture, and heavy.
On the upper portion inside are the remains of the small stones,
which some think were introduced into the paste in order to
render it harder to grind upon.^ Sometimes ground tile was
used, apparently to prevent the vessels from shrinking when
they were baked. They are often impressed with iron scoria.
Their colour is a pale red, bright yellow, or creamy white, re-
sembling stone ware. Some of them have upon their lips a
square stamp with a potter's name, like those upon amphorge.
These names are generally of persons of servile condition, such
as xilbiuus, Aprilis, Catnlus, Brixsa, Sollus, Ripanus, and Paulus ;
but some are apparently the work of freedmen, such as those
inscribed Quintus Valerius, Sextus Valerius, Quintus Valerius
Veranius, Quintus Valerius Esunertus. The most remarkable
are those which read upon one edge Bipanus Tiher{inus) f{ecit)
Liigdu(ni) /actus, — " Ripanus Tiberinus, — made at Lyons."
The names of the potters are accompanied with the words F
or FECIT, he made; OF. or Officina, the factory ; M. manu or
Manus, the hand ; as in the red Samian ware.^ These mortaria
are from 7 to 23 inches across, and 4 inches high.^ They are
found in France,^ England, Switzerland, and Germany. Among
several urns found at Aosta was a mortarium inscribed C. Atisius
Sabinus.* A group, selected from the collection of the British
Museum, exhibits some of the principal shapes of this ware.
One is a dish, patera, or patella ; others, small bottles, gutti, for
oil or vinegar ; an urceus, found in Moorgate Street in the City ;
an amphora, the sides of which are fluted, perhaps to case it with
wicker-work in order that it might be carried about without
breaking ; an oUa or jar, of the same ware. A kind of pipkin
was also found of this ware in France 15 inches diameter 7
inches high.^ The second class of gray pottery is a stone ware
1 Cf. Buckmon and Newraarch, p. 79. ^ Caumout, Cours, 1*1. xxviii. 4.
^ Artis, Journal Brit. Arch. Assoc, ii. * Muratori, i. p. 134, fig. 3.
pp. 166, 167. ' Oaumont, Cours, xxviii. 5, p. 217.
550 KOMAN POTTERY. Part IV.
much resembling the modern Staffordshire, and is supposed to
have been made out of clays of the same kind. It is almost of
a stone colour, much heavier than the preceding class, and
sonorous when struck. It is principally used for amphorae ^ and
mortars ; one remarkable vase of this ware found at Caistor is in
shape of a human head. Another class of this ware was dis-
covered in the New Forest, where kilns and many vases were
found of a dark grayish or black ware glazed like the Caistor ^
ware. The vases were small, a kind of cup, especially of the
class with the sides pinched in. Some varieties of this ware are
filled with quartzose sand, and covered on the outside with
mica.^ This class is more like stone ware than any other Koman
pottery, but is rather glazed.
There is a variety of the black unglazed pottery, which is not
only black on its surface, but has a paste entirely of a grayish
black colour, and often of a fine black, or grayish-red, inter-
nally. It has a coating about a quarter of a millimetre thick
upon the surface, but is without any glaze, however shining it
may be. It is distinguished from the Celtic or Gaulish pot-
tery, which it much resembles, by the fineness of its paste, the
thinness of its pieces, and the perfect manner in which it is
made, having been well turned on the lathe.* This ware varies
much in colour, sometimes being almost of a jet black, at others
of a bluish-black, or even running into an ashy-gray colour. It
is generally glazed, but many vessels exhibit no more ornament
than a polish upon the surface, given by the potter when the
piece was upon the lathe. This ware is distinguished by its
colour, which is sometimes of a jet black, at others of a metallic
gray, or even ashy. As it is sometimes glazed, a fuller descrip-
tion of it will be found under the glazed ware. Sometimes the
paste is intermingled with micaceous particles, pebbles, or shells,
which gives it a gleaming colour when broken, and it is often
covered externally, or frosted with powdered mica. The greater
number of vases are evidently native ware, manufactured on the
spot by Komans or by Gaulish, British, and German potters in
the Boman settlements. The shapes much resemble those of the
red ware, and it was chiefly employed for the smaller vases ; a
few of larger size are found made of it. It was principally used
^ Buckman and Newmarch, p. 80 ; Arch. Joiirn., p. 8.
Caumont, Cours, i, pp. 215, 216, xxviii. ^ Caumont, Cours, i. p. 214.
fig. 1, 2. 1 Brongniart, i. p. 434.
2 Archseologia, xxxv. p. 91, PI. iii. ;
Chap. IV. BLACK WAKE; 13E0WN WAKE. 551
for vases for the table, as shown in the following shapes : a shallow
cylindrical vase, the patella, perhaps the 7iigra patella, or " black
plate " of Martial ; the calix, or a cup ; a kind of small cup, or a
jar ; the ciboria and tlie olla. The mode of ornamenting these
vases is peculiar, and resembles Gaulish rather than Roman
work, consisting of zones, hatched bands, and rows of dots, made
by moulding little pellets and fixing them in squares and circles,
or stamping hemispherical bosses on the body of the vase.
Some vases of this ware have a peculiar ornament, made by
hollowing small spaces in the sides, and pinching up the clay
and giving it the appearance of a series of thorns. Others have
eccentric patterns. The pattern of an urn, from York, is like a
series of scales, formed by depressions. The ornaments are of
the rudest character ; consisting of hatched lines, zones, or
indented bands, raised dots arranged in squares or parallelo-
grams, series of spurs imitating the pine cones, or rows of thorns,
zigzag, and hatched lines, the herring-bone pattern, diagonal
and crossing bands.
Five little vessels, found at Binsted, in Hampshire, now in the
British Museum, illustrate some shapes of this ware. One is a
candelahrum, or ceruha,^ or candlestick ; another, a small vase for
oil or vinegar, acetabulum ; a third, a jar, olla ; two others, small
cups, calices. They were all found in a sarcophagus. Cups of
a thin and finely moulded black ware, along with numerous
potteries and kilns, have been found at the Upchurch marshes.
This ware, known as the Upchurch, was adapted for useful pur-
poses only ; and by the absence of all floral or animal orna-
mentations shows a late character and local fabric. It is of the
latest period of the Anglo-Roman epoch.^
Specimens of brown ware of a very coarse style are often
found among other Roman remains of cream-coloured ware,
consisting of amphorae, and other vessels for domestic use. It
is, however, much more common in the Celtic and early
Etruscan potteries. Some ^ amphorae and jugs have their necks
decorated with the heads of females moulded upon them, like the
bottles of the middle ages. Examples of these have been found
at Richborough."^ Ihey are of brown ware, and four and a half
inches in diameter. The excavations at Wroxeter have disco-
vered two new classes of Roman pottery, the one of white Brosely
' Paciacedi, Inscr., i. 36. | p. 223 ; Arch. Journ., ix.
■' R. Smith, Collectanea, vi. p. 173. I * R. Smith, Ant. Richboroiigh, p. 74.
^ Wright, Celt, lionuin, and Saxon, I
552 ROMAN POTTERY. . Part IV.
ware, so called from the spot, chiefly of narrow-necked jugs and
mortaria very beautifully made, the surface of which is formed
of hard stone, and striped red and yellow bands. Tlie other is a
kind of red ware called the Roman Salopian ware, made from the
clay in the Severn valley and differing from the common Roman
ware. Colanders, or bowls pierced all over with small holes,
have been also found.^ Some ollse as late as Const an tins II. were
found at Rousse near Oudenarde.^
Many small vases in shape of ollse or wide-mouthed jars, some
with narrow necks and reeded bodies, small ampliorse, double-
handled bottles, lagense, mortars, or pans, and cups or cihoria
ornamented with tool marks, and lamps of this ware have been
found in different parts of England.^ In the German provinces
the inscriptions show several " negotiatores artis cretaride^' per-
sons engaged in the traffic of fine vases ; one, named Secundinus
Silvanus, was a native of Britain.*
^ Wright, T., Ruins of Uriconium, 1837.
ISmo., Shrewsb., 1860. | ^ Miis. Pract. Geol. Cat., pp. 84-91.
2 IMeersch, D. J. Van der, Oudhe- I ^ Steiner, Cod. Inscrip. Rom., ii. 305,
den der Stad Rousse, 4to., Audeiiaerde, I 3-7.
CiiAP. V. GLAZJ;D AND SAMIAN WARE. 553
CHAPTER V.
Glazed Roman pottery — Samian — Proto-Samian — CrustsB — Emblemata —
Aretine ware — Glaze — Polish — Slip — Lead — Salt — Moulds — Barbotine
— Separate figures — Master moulds — Dies — Moulds of Cups — Stamps of
potters — Furnaces and apparatus — Ornamentations — Use — Repairs —
Makers — Names — False Sainiau — Black ware — Glaze — Varieties —
Inscriptions — Sites.
The Romans manufactured a glazed ware very distinct in its\
character from that of the Greeks, and more resembling that of
the Etruscans. It must not, however, be supposed that all the
lustrous wares of Italy were ornamented with highly finished
subjects, as a very large number were entirely covered with a
black glaze, which was the great characteristic of the pottery of
the best Greek period, and which became more entirely used as
the art of vase-painting decayed. On many of 'the later vases
too of Southern Italy and other places, modelled figures in bas-
relief were introduced by degrees, an imitation of the metal
ware, which was rapidly rising into fashion ; and these, which
are entirely glazed with a black lustre, are the nearest approach
to the Roman ware. There are also certain vases found in
Etruria and Greece which were apparently made just before the
Samian of the time of the Roman Empire. They are of a fine
earth of a pale red colour, and have a slight glaze or polish, but
their paste is not of the fine lustrous red colour of the so-called
Samian. They are, however, made from a mould, and liave in
bas-relief friezes, anaglijiiilia, and other subjects, which imitated
the crusim or detachable relief ornaments,^ of the metallic vases,
or the ernUemata, fixed reliefs of the celebrated chased goblets
and other vases of the great masters of antiquity, to which
frequent allusion is made by Roman writers.^
Some of the vases, too, of the Greek islands, of red ware,
with moulded subjects coloured with red paint, are prototypes
of the Roman ware. On tlie bottom of a vase of this proto-
Samian ware, found in excavations at Halicamassus made by
' Cicero in Verrem, vi. 23, 24 ; Ju- j 2 Virgil, Eel., iii. 38 ; JEii., i. 614 ;
venal, v. 40 ; Martial, viii. 51-59 ; Pliny, Trebell. Pollio, Vita Quieti.
N. H.. xxxiii. c. 11.
554
EOMAN POTTERY.
Part IV.
Mr. Newton, were figures in bold relief of Hercules and the Lion.
The ware was a dull red externally, bluish inside through de-
fective baking.
The Koman Aretine ware is of one peculiar kind, being bright
red, like sealing-wax, and covered, like the Greek lustrous vases,
with a silicated alkaline glaze. As most of this ware in Italy
has been found at Arezzo^ the ancient Aretium, it will be necessary
first to consider its manufacture at that place, where it succeeded
the black Etruscan ware found in the sepulchres of the oldest
inhabitants.^ The potteries of Aretium were in activity during
No. 193. — Proto-Samian Cup, with an Amazonomachia in relief. From Athens.
the age of the early Caesars, probably closing about a.d. 300.
The ware is fine, red, and often unglazed, in which case it was
formed into hemispherical cups, stamped out of moulds, with
the names of makers placed on raised tesserae on the exterior.^
Other fragments found at this place resemble the so-called
Samian ware. The pottery of Aretium is often mentioned
in classical authors. " O Aretine cup, which decorated my
father's table, how sound thou wast before the doctor's hand!"
says Virgil,^ referring to taking medicine out of it. And Persius
^ Dennis, ii. 425.
- Arcliseologia, xxvi.
p. 254 ; xxii.
p. 8 ; Dennis, ii. pp. 422-428.
'' Vir-nl.
Chap. V.
AllETINE WARE.
555
subsequently says of the ware of this town, " Behold, he believes
himself somebody, because supine with Italian honour, as an
fiedile, he has broken the unjust measures of Aretium.'*^ Ac-
cording to Macrobius, Augustus said to IMsecenas, who was of
the Gens Cilnia, and a native of Arezzo,^ " Fare thee well, O
pearl of the Tiber, emerald of the Oilnians, jasper of potters,
beryl of Porsena," in which some see an allusion to the red
ware of Aretium, his native city. We find the vases of Arctium
mentioned by Martial,^ who flourished from the reign of Domitian
to that of Nerva, and who says in a metaphor, that as the vile
Champagne cloak, with its greasy exterior, contaminates the gay
scarlet dresses of the city — so the ware of Aretium violated the
splendour of the crystal cup, or was like a black crow on the banks
of the Cayster, laughed at when wandering amidst the swans, one
of which charmed Leda. Pliny, speaking of this ware, says,*
" In sacrifices amidst all this wealth libations are not made from
myrrhine or crystalline, but from earthenware simpuvia." " Tlie
greater part of mankind," says the same author, " uses earthen-
ware. Samian ware is even now used for food. Aretium, in
Italy, has also the pre-eminence." Isidorus says,^ " Earthenware
vases are said to have been first invented by Samos, made of clay,
and hardened in the fire. Afterwards it was found out how to add
a red colour. The vases are called Are tine from a town in Italy,"
where they are made. Sedulius says of them, " The herbs which
are brought up served on the red pottery." These vases are
mentioned in a MS. written by S. Ristori, of Aretium, in a.d.
1282, and also by C. Yillani, in his History of the World.^
Alessi, who lived in the time of Leo X., describes the discovery
of red vases of Arezzo, about one mile from the city. Vasari '
states that in a.d. 1484, his grandfather found in the neighbour-
hood three vaults of an ancient furnace.^ In a.d. 1734, Crori,^
who had not seen any of the vases, republished the lists of Alessi.
Rossi, who died a.d. 1796, had collected more information.^"
Fabroni ^^ fouud in a.d. 1779, potteries at Cincelli, or Centum
1 Persius, Sta., i. 144, 145; Schol.,
Aim. Cornuti. ^ Sat., ii. c. 4.
3 Martial, i. 54 ; xiv. 98.
•* Pliny, N. H., xxxv. c. 12 ; c. i.,
c. 46. -
* Isidorus, xx. 20 ; a.d. 610.
* Libio della composizione del
inondo; Gori, Difesa dell' Alfabcto
Etrusco, p. 208, pref.
' I., 9, cap. 47.
* Fabroni, Storia degli Antichi Vast
fittili Aretini, 8vo., Arezzo, 1841, p. 18;
Vite dei Pitt. Roma, 1759, t. i. p. 335.
» Pref. alia Dif. dell' Air. Etr., p. 207.
'" Fabroni, p. 21.
11 » Tiovo le fornaci,i trogoli o vasehe,
e gli utensili dell' arte. Vidde clic le
foruaci erano construtte in qiiadro su
556 ROMAN POTTERY. Part IV.
Cellse, with the different implements used in the art. The clay
of the colour of umber was also found there, and the furnaces
formed of bricks. The clay is supposed to have been decanted
from vat to vat, and the vats were lined with pottery, and pro-
vided with canals for tlie introduction of water. According to
Kossi the vase was first made upon the wheel, and before the clay
was quite dry the ornaments and figures were impressed with me-
tallic stamps. I'he vases appear to have been generally made in
moulds, which were oiled, and then had the clay pressed into
them. They were completed upon the wheel, and when the
inner part had been thus perfected, are supposed to have been
first baked and then coated with the slip or glaze, and returned a
second time to the furnace. From one of the moulds in the Rossi
Museum having the name of the potter, Antiochus, the freedman
or slave of P. Cornelius, vases have been made exactly like the
ancient ones. The moulds in which the vases were fabricated
were made of the same clay as the vases themselves, but less
baked, without any glaze, and about one inch thick. They were
composed of separate parts, so as to take to pieces, and had
traces of some fat or unctuous substance employed to prevent
the adhesion of the paste.'^ A terra-cotta mould terminating
in a tragic mask was found, and some instruments. Part of a
potter's wheel was also discovered, and much resembled that in
use at present. It is composed of two disks or tables, both
placed horizontally, of unequal diameter, having a certain
distance between them, and their centre traversed by a vertical
pin, which revolved. The wheel found was ^apparently part of
one of the disks. It was made of terra-cotta, about three inches
thick and eleven feet in diameter, circular, with a groove all
round the border. Round this vase was a kind of leaden tire, held
firm by six cylindrical spokes of the same metal, placed inside
the disks. These cylinders, about half a foot long, one foot
three inches in diameter, came beyond the circumference of the
disk, and gave it the appearance of a plate.^ There was no
mark of any pin in the centre, so that it must have formed part
due braccia toscane di lato con pic- | ^ Fabroni, pp. 62, 63. Prof. Buck
colissimi mattoni lungi J di biaccio
sopra I di larghezza. La creta o argilla
man and Mr. Newmarch, Remains of
Roman Art in Cirencester, 4to., Ciren-
gli parvi escavata poco piu in basso I cester, pp. 82-85.
delle fabbriche ed imitante da crnda il ^ fabroni. tav. iii. 9, 10 ; v. 7, 8, 9,
colore della terra d'ombra." — Fabroni, p. 64.
p. 22.
Chap. V. GLAZE AND FABRIC. 557
of the upper disk, called by potters the table, which lies upon a
support of under chiy, aud enables the potter to fix the paste
and to form it with the hands during the revolutions of the
wheel,^ The glaze of these vases, both black and red, have
been found difficult to analyse. It is not, however, produced
by lead, but apparently by a vitreous flux.^ The vases were
baked in furnaces, like those used at present.
Considerable difference of opinion exists with respect to the
varnish of these vases. By some it is stated to be an alkaline
glaze,^ by others a glaze of a metallic nature, while water alone
is said to be sufficient to produce the polish. The glaze is not
so strong or compact as that of porcelain or majolica, so as to
be incapable of infiltration, yet is sufficiently strong to resist the
action of wine, vinegar, or oil, although hot, and is not altered
by these liquids. It is said to leave traces of having been pro-
duced by a brush, which looks as if a slip had been laid on.
These vases seem to have been used for the table to hold fruits
and liquids, and for medicine, and sacrificial purposes.* It is
tender and more easily injured than the ordinary Samian. A
bowl of Aretine ware found in Cambridgeshire is in the Fitz-
william Museum.
The two collections of Aretine vases at Arezzo are that of the
Museo Kossi Bacci, and the public one of the city. The dia-
critical marks of this ware are a paste of a red coralline colour,
pale when broken, and of a reddish-yellow under the fracture,
which does not become redder when subject to a red heat, but
falls upon friction into an orange-red calx. The vases are
coated with a very slight glaze, which is levigated and always
of a red coral colour, occasionally black, and verging towards
azure, sometimes iron grey, or with a bright metallic lustre.^
They are principally of small size and ornamented with bas-
reliefs, of a decorative nature, not mythological, and in accordance
with the later subjects of Koman art. They are generally light.
The prevalent form of the vases is that of a teacup without
handles, apparently the calix of Yirgil, and these when orna-
mented with bas-reliefs, have rarely the name of any potter
impressed upon them. When a name does occur it is on a
tessera, and in bas-relief.
* Fabroni, 1. c. 64. - Ibid., 1. c. G6. ( Art in Cirencester, 4 to., Cirencester,
3 Traite, i. p. 414. I p. 85.
4 Fabroni, 1. c. p. 65 ; cf. Prof. Buck- ^ Pabroni, 1. c, ii. p. 32, et seq.
man and Newniarch, Remains of liomau |
558
KOMAN POTTERY.
Part IV.
Flat circular dishes, ^patellae or lances, also appear to have
emanated from this fabric, together with larger urns, some for
cinerary purposes, square tiles, bas-reliefs, and lamps.^ None
of these pieces were, however, of any size, while the smallness of
the furnaces proves that large vases could not have been baked
in them. The subjects are disposed as friezes, but more often
mixed up with architectural ornaments, such as scrolls, egg and
tongue borders, and columns with spiral shafts and featoons.
The subjects appear to be Hercules and Hylas, Bacchic orgies,
Cupids, combats, chases, dances, candelabra, masks, gladiators.
No. 199.— Patina of Aretine Ware. British Museum.
females, horses, dolphins, dogs, goats, serpents, sphinxes, lions,
and panthers, in a style resembling the Roman art at the best
period of the empire. The examination of 1500 graves at Xan-
ten, Castra Vetera, has done much for the classification of the red
glazed ware. In almost all these graves coins were discovered,
verifying the date of the vessels of earth therein found. The
Samian w^are of the age of the first Caesars had the finest red
colour, the brightest glaze, the hardest paste, and the best exe-
cuted ornaments, reliefs, and arabesques. The vases ring with a
metallic sound when struck. At the time of the Flavii the clay
Fabroiii, 1. c. 3S.
CiiAP. V. POTTERS. 559
is good, but no longer so fine, and resembled imitations of the
earlier ware. In graves of the time of the Antonines true
Samian ware is no longer found, the shapes are still good, but
the fracture and glaze show instead a coarse material coloured
with red lead, litharge, and an artificial glaze, far inferior to
the true Samian. After the age of the Antonines the paste
is still worse prepared, and it fell off on vases of tlie later
period of the Empire. Altliough tlie details of this examination
are uncertain, the fact of the gradual deterioration of this
ware may be considered to be proved. This is the reverse of
the glass fabric, which continues to improve under the later
Empire. The black glazed ware follows the style of red ware.^
Many vases have the potter s name impressed in bas-relief
with a metallic stamp in Koman letters, often interlaced in
ligatures, as on the consular coins. In the plain ware these are
usually inside at the bottom of the vase, but in vases with bas-
reliefs they are more often introduced amidst the foliage and
ornaments. The letters are often enclosed in an oblong outline
or tessera. Sometimes they are impressed in a human foot,
probably in allusion to the treading out of the clay. The
inscriptions show that the vases were principally made by
slaves, who placed their names upon their work, sometimes
followed by that of their master, the proprietor of the estate.
One person named Publius seems to have employed several
slaves. Another, Aulus Titius, calls himself an Aretine potter;
and L. Tettius, stamped L. Tettii Samia, proving that this ware
had been imitated from the Samian.^ Three lists are given by
Fabroni, the first of which, consisting of names with prsenomens,
contains the free citizens, or freedmen, who were proprietors of
estates, or who worked the potteries ; the second is that of the
slaves whose products were sufficiently good to be impressed
upon the ware, or who may have sold it for masters who were
too proud to exercise the craft in their own name. The last list
contains the inscriptions exactly as they appear on the vases.
Vases of red ware, similar to those found at Arezzo, have been
discovered in the vicinity of Modena, having the names of the
potters Camurus, Eutychius, L. Gellius, Herennius, Occa, Phil-
adelphus, Sanus, and Villus, and others. This circumstance
has given rise to the hypothesis that the so-called Aretine
* Fiedler, Denkm. von Castra Vetera, fo., Xanten, 1839, pp. 40, 41.
* Fabroiii, p. 41,
560 ROMAN POTTERY. Part IV.
vases were made at Modena.^ Similar vases are said to have
been found at Vulci, bearing the inscription Atrane,^ and at
Cervetri, with the names of the Aretine potters, C. Vibianns
Faustus, L. GeUius, Aulus Titius figulus,^ and another. In the
Gregorian Museum are three cups and one jug, called in the
description of that collection Aretine ware, apparently of the
red unglazed terra-cotta ware there found. On the cups are
large acanthus leaves, egg and tongue ornaments, goats, and a
race of dolphins. On the jug are four bands of fleurettes and
festoons, artificial ornaments, and dolphins and anchors repeated.
On one cup, with Cupid and other ornaments, is the name of
the Roman maker, C. Popilius.* In the Museo Borbonico, at
Naples, are several specimens of this red ware, which is found
in abundance at Capua, and amidst the ruins of the houses at
Pompeii. The specimens procured at Naples and coming from
the South Italian potteries are of finer make and ware than
those found out of Italy. There is a beautiful specimen of this
ware in the Slade collection representing a large goblet, orna-
mented with figures delicately moulded.^
A ware exactly like that of Arezzo, called by some the red
Roman ware, and by others Samian, distinguished by its close
grain composed of a fine clay, and presenting when broken,
edges of an opaque light red colour, whilst the inner and outer
surface are quite smooth, and of a brighter and darker red, is
iound in all places of the ancient world to which the Roman
arms or civilisation reached.^ It is distinguished from the
Aretine by its darker tone_, stronger glazq, and coarser orna-
mentation. Possibly, the whole passage of Pliny^ in which he
speaks of the earthenware of his day refers to this red ware.
Thus for dishes he praises the Samian, and the Aretine ware,
for cups that of Surrentum, Asta and Pollentia, Saguntum and
Pergamus. Tralles and Mutina had their manufactories. Cos
was most esteemed, Hadria produced the hardest ware. That
one of these, that of Saguntum, was a red ware, is clear ; that
of Curaae was also of the same colour. " The chaste Sibyl has
^ Cavedoni, Dichiarazione dei maimi ^ Nesbitt, A.; Cat. of the Collection
Modeuese, 1828; Biographia di Cav. of F, Slade, fo. 1871, Appendix, p. 167,
Zaumo, 1835, pp. 40-41 ; Bull., 1837, No. 4.
p. 10 ; 1838, pp. 129-131. « Buckmaii and Newmarch, p. 84 ;
2 Bull, 1836, p. 171. Roach Smith, Journ. Brit. Arch. Assoc,
3 Bull., 1830, p. 238 ; 1834, p. 102, iv. pp. 1-20.
149 ; 1837, p. 108 ; 1839, p. 20. j ^ N. H., xxxv. 45.
* Mus. Etr. Vat., ii. cii. i
ClIAP. V.
SAMfAN WARE.
561
sent thee, her own burgess, a red dish of Cumaean earth," says
Martial.^ Cups also were made at Allifoe. That the red ware
is found amidst the dense forests of Germany and on the distant
shores of Britain, is a remarkable fact in the civilisation of the
old world. It was a[>parently an importation, being exactly
identical wherever discovered, and is readily distinguished from
the local pottery.^ No question has excited more controversy
among antiquaries than the place where it was made. Samos,
Aretium, Kome, Modena, Capua, Ancient Gaul, and Britain,^
into which, however, it seems to have been imported, have been
supposed to be the sites of its manufa(;ture. It belongs to the
No. 200.— Bowl of Red Samian Ware, bearing the name of Divix, a Gaulish Potter.
class of tender lustrous pottery, consisting of a bright red paste
like sealing-wax, breaking with a close texture, and covered
with a siliceous, or according to some, a metallic glaze. This
glaze is exceedingly thin, transparent, and equally laid upon the
whole surface, only slightly augmenting the colour of the clay.
The vases made of this ware are generally of small dimensions,
and consist of dishes, lances or patinse, of an oval or flat circular
shape, like modern salvers, of small bowls, apparently for holding
small quantities of viands, perhaps paterae, and generally hemi-
^ Epio-r., xiv. 114. I ' Roach Smith, Journ. Brit. Ardi.
" Brongniart, Traito, i. p. 240 et scq. | Assoc, iv. pp. 1, 20.
2 O
562 ROMAN POTTERY. Part IV.
spherical or cylindrical, and of little cups either of globular or of
conical shape, probably pocula, and of jugs or larger vessels.
The ware is generally plain, and impressed with the name of
the potter from whose factory it emanated, and it will be seen
from the names of the potters, that these were slaves, or liberti,
and that many were of Gaulish or British origin.
The Samian ware from its peculiar paste was more than
usually brittle. In the Menaschmus ^ of Plautus, the following
dialogue occurs : "If. Knock gently. — P. Are you afraid the
doors are Samian." In another play, the Bacchides,^ of the
same author, the following passage is found:
" Take care, prithee, lest any heedless one toucli that ;
Thou knowest how soon a Samian vase will break."
The most remarkable fact connected with this ware is the
great similarity of its paste in whatever place it may be found,
Avhich renders it probable that the ware was made upon one
spot, and imported throughout the Empire. The potters did not
import their paste prepared, but levigated a colourless clay of
the locality, and produced the usual red colour by the intro-
duction of ochre.^
The colour of this ware, which was made of a clay like the
red ware, was owing to the more perfect oxidation of the iron
contained in it, and it was probably baked in open kilns or fire-
pans. The glaze or lustre is supposed to be owing to a polish
given to it when upon the wheel.* The analysis of Brongniart ^
shows that the- paste of these vases consists of 56 — 64 silica, 25
— 17 alumina, 7 — 10 ox. iron, 9 — 2 carb. lime, 2 — magnesia,
18 — 2 water, while the glaze consists of 64 silica, ll'O ox. iron.
Dr. Percy's analysis is 54-45— 60-67 silica, 22-08—20-96 alumina,
7-31— 5-95 peroxide of iron, 9-76—6-77 lime, 1-67—1-22 mag-
nesia, 3-22 potash, and 1*76 soda.^
The glaze of these vases is stated not to be metallic, but
produced by some substance laid upon them after they were
ready for baking. The portions not covered with reliefs have
been polished ' upon the lathe, and the bas-reliefs were in certain
instances retouched with a tool, which left a furrowed line round
> Menscchmus, I., i. 65. j « Mus. Pract. Geol. Cat., 8vo. Lend.,
2 Act II., 11. 22, 23. 1854, p. 59.
3 Brongniart, Traite, i. p. 423. | ^ Cf. also on this ware Grivaud de la
* Buckman and Nowmarch, pp. 78, 79. i Vincelle, Antiquites decouvertes dans
* Brongniart, Traite, i. p. 421. j les jardins du palais de Luxembourg.
f.'HAP. V. PASTE AND MOULDS. 563
tliem.^ The colour of the vases is due to the introduetiou of an
oxide of iron, and the difference of tlie external colour appears
to depend mainly upon the paste. When heated in the fire,
they become a deep claret colour.^ As there are no traces of
any pencil being used to apply the glaze, it is probable that the
vases were dipped into a slip which held it in suspension.^ A
similar glaze, however, could probably be obtained by the appli-
cation of salt thrown into the furnaces durinof the bakiuG:, in the
same way as now practised at Lambeth for stone ware.
This ware was made upon the wheel, by which the slopes
fillets, mouldings, incised rings, or bands were produced. Moulds
were employed, sometimes of an entire piece, in which case they
were made by punching the requisite ornaments upon the mould
itself from matrices, or master moulds. Sometimes many sepa-
rate moulds, representing the same or different subjects, were
adjusted together to complete the decoration of the circumference
of a cup. The engrailed lines and smaller ornaments were made
by means of a cylinder or revolving mould of terra-cotta or
metal,* applied to the vessel while in slow rotation, leaving in-
dentations in the clay at regular intervals, the vessel and instru-
ment revolving in constant contact, like a wheel and pinion ; but
the larger ones, such as the egg and tongue moulding, were
effected by a punch or seal Avith a long handle,^ the part on
which the ornament is incised being concave, to correspond with
the convex surface of the vase. The same process was adopted
for the figures in the central groups,^ and the more salient parts
w^ere separately stamped and placed on the vase while the clay
was wet, as is very evident in some reliefs of vases of Aretine
ware. Names of potters were also impressed from stamps of
terra-cotta or metal.' The last mode of fabric consisted in lay-
ing upon the general body of the vase some clay in a very viscous
state, technically called harlotine, either with a pipe or a little
spatula in form of a spoon, and with it following out the con-
tours, of the branches of olives or laurel, animals with thin
limbs,^ &c. On some specimens an ornament had been modelled
1 Caumont, Coiirs, p. 206. ; " Ibid., i. p. 424, PL xxx. F. 2, A.
2 Ibid., p. 909. ^ Ibid., p. 424 ; Musee Ceramique, ix.
3 Brongniart, Traite, i. p. 423. fig. xix.
"^ Ibid. 424, PI. xxx. 3, A ; J. Evans, ® Brongniart, p. 425 ; Golbert and
Excavations at Boxmoor, Lond., 1S.53, Scbweigliivuser, Mem. de la Soc. des
fol., p. 18. ! Antiq. de Fiance, t. vii. Pi. Ixxii. ; Can-
^ Brongniart, 1. c. F. 4. A. B. mont, C-onrs d'Antiq., t. ii. p. 185.
2 O 2
534
ROMAN POTTERY.
Paut IV.
with a white paste. Separate figures, crustse, were also rriade in
moulds, and then placed on the body of the vase, one of the
finest specimens of which is an Atys, in the York Museum.-^
Another mode of ornamentation visible on some pieces found
in the north of England, consisted in scooping out wreaths, and
cutting out fan-shaped patterns in intaglio, wdth a tool on the clay,
while moist, the parts dug out being removed
from the plain surface, as shown by the hori-
zontal stripes.^ This mode of working was
copied from engraving on glass, called by the
later Jurists diatretum,^ executed by certain
engravers called diatretarii celatores, who en-
graved on glass in a style resembling that of
inferior intaglios or precious stones.
A master-mould, in the Britisli Museum,
pyramidal in shape, and convex at the base,
has a slight bas-relief of a youth standing full
fiice with some drapery thrown over his left
arm. At one side is OFFI LIBERI, "the
workshop of Liber," stamped incuse, probably
as a preservative against theft or removal from
the premises. This die was apparently arranged with others so
as to form a pattern, and it was then stamped into the sides of
a convex vessel fashioned like one of the cups or dishes, but
No. 201.— Master-Mould
' of the potter Liber.
. No. 202,— Fragment of a Mould found near Mayence.
without the foot, which in some instances appears to have been
subsequently added. This die is of rather a fine terra-cotta,
and was found near Mayence. A similar mould, presenting
a tragic mask, was found at Arezzo or- Arctium.* Two others
1 Wellbeloved, Antiquities of York-
shire, Phil. Soc. 1852, p. 50.
2 Ibid. p. 52, 1, 2.
' Ulpian, Digest, ad leg. Aqnil., I.
27-29.
* Fabroni, tav. v. 4.
Ohap. V. MOULDS AND DIES. ^65
in the British Museum are in- shape of a boar and lion : they are
of a compact red clay, externally of a reddish-brown. Other
moulds in shape of a hare and of a lion, inscribed with the name
of Cerealis, a well-known maker of red ware, are in the Museum
of Sevres, one, in the shape of a wolf standing, baked almost as
hard as stone ware, has on it the name Cobnertus.^ Some
moulds for this purpose of the Roman period have been found,
and the process is of common use at present. It was particu-
larly desirable in cases where ornaments in high relief were
required for the enrichment of red or black wares. A fragment
with a draped figure from the mould of Liber, already cited, was
found at Cirencester.^ Another mould of a vessel was found
near Mayence. It is in shape of a shallow bowl, with a mould-
ing at the edges and foot, and the pattern has been stamped out
from matrices like those already described : the pattern is coarse,
and represents a series of animals, consisting of a dog or wolf,
boar, and lion pursuing each other. Sometimes mechanical means
were employed : one mould in the British Museum had six small
tragic masks to make at one stamping, to be applied in pairs to
the outer rims of small plain cups; another has the whole frieze
of a vase rolled out on a black surface. The paste of the clay when
kneaded to a due consistence, was pressed into and formed a
bowl ; the foot was probably afterwards formed of a separate piece,
and added. This vase-matrix was made of a very fine bright red
clay, rather light, and not glazed. In this respect it differs from
the mould of the lamps already mentioned, whose paste was of a
bright yellow colour. It was very porous, rapidly absorbing the
moisture, and easily delivering the clay to the potter like the
plaster of Paris moulds now in use. At Arezzo similar moulds,
for other vessels of the Roman red ware, have also been found.
Those of the lamps are mentioned with the lamps. Besides
these moulds, metal dies or punches were used for stamping
intaglio ornaments, such as fleurettes and other mouldings, on
some rare examples of Samian ware.^ Dies for stamping the
potters' names upon these vases have been discovered at Lezoux,*
in Auvergne, and in Luxembourg,^ with parts of other moulds
for festoons and the tassel pattern,® and for making vases. '^
^ Brongniart, Traite, 1. c. Musee de
Sevres, p. IG.
2 Buckmau and Newmarch, p. 92.
3 R. Smitli, Aut. Richlorough, PI. iv.
* Brongniart, Traite, i. p. 424.
•^ Grivund do la Vincelle, 1801.
« Brongniart, Traite, PI. xxx. 2, H, 4.
" Koaeh bmitli, Collectanea, vol. i.
p. 73. i IGl.
566 ROMAN FOTTEllY. Part IV.
They had the names of the potters, Auster and Cobnertns,^ and
another, witli a potter's name, was made of metal.^ Modelling
tools, styles, punches, and other little instruments of bone or
ivory, have been found amidst the remains of the ancient
potteries,^ along with the remains of the potter's wheel.
The mode in which these vases were baked is shown by fur-
naces found at Chatelet, in Auvergne, on the banks of the Ehine,
in the vicinity of Strasburg; at Heiligenberg, near Milz, and
also at Ittenweiler. The furnaces near Heiligenberg were
evidently for the baking of red Koman ware. The flue was a long
canal, with vaulted arch, the mouth of which is 8 feet 2| inches,
from the space where the flame and heat were concentrated
beneath the laboratory. Numerous terra-cotta pipes, of two
different diameters, branched off from the upper part or floor of
that chamber, to distribute the heat : the smaller were in the
outer wall of the laboratory ; the larger, twelve or fifteen in
number, opened under the floor of the laboratory, to conduct
the heat and flame round the pieces which were placed there.
The- mouths of the pipes were sometimes stopped with terra-cotta
stoppers, so as to moderate the heat. The upper part, or dome,
is never found entire, and is supposed to have been destroyed
and replaced by the superincumbent earth. Walls of strong
masonry separated and protected the space between the mouth
of the flue and the walls of the observatory. The floor of the
latter was made of tiles, or large squares of terra-cotta. Fifteen
such furnaces were found at Kheinzabern, some round and others
square, but all constructed on the same plan) They were found
at the depth of 2 feet 4 inches under the ancient soil, and more
than 3 feet 3 inches above the modern transported soil. The
floor of the laboratory was nearly 3 feet 3 inches below the upper
edge of the walls ; a kind of tile roof covered it. The brick-
work was made of masses of clay, 2 feet 4 inches long and 1
foot 4 inches broad and thick. The pieces which supported the
floor of the laboratory were in some of these furnaces made of
bricks, covered with a coating of clay.* The fuel was fir or deal.
The pieces placed in the furnace were carried on supports or
rests of terra-cotta, in shape of a flattened cylinder, and kept up
by pads of a peculiar shape, made by the person who placed the
* Brongniart, Musee Ccramique, ix.
19.
"^ Brongniai t, Traite, i. p. 424.
' Ibid., Mus, dc Sevres, jx 16.
•1 Ibid., Traite, 1. c. p. 429 ; PI. xxx. 7,
A. B. C.
Chap. V.
ORNAMENTATIDN.
567
vases in the furnace, by rolling up a piece of clay in shape of a
rolling-pin and squeezing it together. These are the pieces
erroneously called hand-bricks. The pieces have no cases, as
tliey were not necessary to prevent adhesion.^
The scrolls which ornamented the upper part of the bowls
made of this ware are of exceedingly elegant device, though
clearly architectural in their treatment, and are generally
varieties of the tendrils, flowers, leaves, and fruit of the grape
or ivy.^ Sometimes the upper parts of the bowls are ornamented
with an egg and tongue moulding, and the scrolls have often
figures of little birds introduced into the composition, in ara-
besque style. The animals and otlier figures consist of isolated
groups introduced at intervals into the outer surface of the vase.
They are separated by headings, and are often in niches, formed
No. 203. — Vase of Sumian Wave ornampiitcd with Arabesques.
of pillars with twisted shafts, surmounted by arches, or in me-
dallions. These are clearly intended for representations of
statues, and other embellishments of public edifices, as they
appeared at the time. Repetition was the object chiefly sought,
and as, in the decadence of art, the ornaments occupy much
surface in proportion to their importance. They consist of scenic
masks, garlands, rosettes, foliage, astragal mouldings above and
below, the egg and tongue mouldings above, scrolls of flowers,
in which birds are pecking the foliage and fruit ; friezes of
animals, consisting of lions, goats, hares, rabbits, and deer ; or
insects ; among birds, pigeons, eagles, and crows ; medal-
» Ibid., i. 419 ; Shaw, Pottery, 1839, I Cer., viii.-ix. ; R. Smith, Collectanea, i.
p. 390, note. Pl. liii.
^ Brongniart, Truitc, PI. xxx. ; Mus. |
568 EOMAN POTTERY. Part IV.
lions and other architectural ornaments.^ The subjects are not
arranged on a continuous frieze, but generally consist of one or
two friezes, rarely more, repeated several times round the body,
and inter Diingled with the foliage.^ The subjects consist of
the gods, Cupids, Genii, Venus, Hercules and his exploits,
gladiators (a favourite subject of vulgar art),^ the Circensian
games, hunts, and erotic representations.* Some of these frag-
ments are clearly as late as the fourth century, as the costume
and style of art of the subjects resemble that prevalent at the
close of the Eoman Empire.^ The subjects are taken from the
Eoman school of art, from the statues which adorned the Circus,
the Forum, the Triumphal Arches, the Thermae, the Basilicas,
and the houses of the wealthy. They resemble in their treat-
ment the reverse of the Roman medallions,^ except that they
bear indications of being entirely influenced by architectural
considerations.
It is evident that the ware was for use and not decoration, its
solid character and glaze adapting it for that purpose. Many
of the flat dishes were undoubtedly the lances or paropsides used
at entertainments,^ others are supposed to have been the mortars
used in the kitchen or at the apothecaries.^ It is not known to
have been employed for cinerary purposes, although often placed
in tombs to contain the. objects deposited with the dead.^ The
observations made upon the Aretine ware apply also to this.
Yet, however common in Rome, it was a comparative luxury in
Gaul and Britain, though it is found in those countries wher-
ever Roman settlements occur.-^" That it wa§ common at Rome
appears from Martial : "If," says he, "ye have enough to eat,
a few white beans dressed in oil, upon a red plate, refuse the
entertainments of the wealthy." ^^ " Be present, ye gods, nor
spurn the gifts from pure earthenware on the tables of the
poor." ^^ The ancient husbandman first made for himself cups
from the yielding clay.^^ The most striking point in the deco-
* Brongniai-t, Traite, PI. xxx. ; Musee
Ceramique, PI. viii. ix.
2 Caumont, Cours, PI. xxiii. xxiv. xxv.
xxvi. xxvii. ; K. Smith, Collectanea, i.
p. 165.
3 Horah Serm., II., vii. 96, 97.
* Caumont, Cours, ii. p. 200 ; E. Smith,
Collectanea, i. p. 165. | 12 Tibull., CI. I. iv. 37.
= K. Smith, Collectanea, vol. ii. p. i. i 13 Ausonius, Epigr., 8
p. 12, i ■ . .
^ Janssen, Inscr., 4to., Lugd., 1842.
tab. xxxi. 230.
^ Martial, Epigr. xi. 27.
^ Bronguiart, Traite, 1. p. 432.
» Ibid. -
^° Caumont, Cours, ii. p. 185.
" Epigr. xiii. 7, 1.
CuAP. V. NAMES OP POTTERS. 569
ration of those vases is their resemblance in the adoption of
arabesque forms to the mural paintings. Wlien fractured this
ware was repaired with leaden rivets,^ which shows the estimation
in which it was held. It was equivalent to domestic porcelain,
with a soft paste. Tlie shapes are few ; all the vases are
wide and open-mouthed, and of small proportions. Those of
the largest dimensions are the dishes, jparopsides, lances, or
paterw, ornamented with a tendril led leaf, intended for that of
the ivy or the vine. These are probably the lances pampinatse,
or hederatse, dishes with grapes, or ivy leaves, such as Claudius
received from Gallienus. Some rare dishes, with spouts like
the mortaria, and bowls with lion-headed spouts, are known ;
occasionally some of the paterae have handles. The small cups
are supposed by some to be either acetahula, vinegar cups, or
salina, salt-cellars. The larger cups are the pocula, cyathi, or
calices}
Many of the vases have the makers' names stamped across
their centre, or placed upon their sides.^ The letters are often
united in a nexus or ligature. They are in relief, but the
place stamped is depressed, and of square, circular, or long oval
shape ; in a few instances, in that of the human foot, in allusion
to the potter's mode of working. The letters are sometimes,
although rarely, found incised. A piece of coarse red ware, not
Samian, from Calymna, had BARBARVS impressed on it.
This would appear to be an accidental employment of the nume-
rous bronze stamps with letters in relief so often found, the
use of which has long been a mystery. The potters' inscriptions
occur inside the plain vases; those ornamented outside with
bas-relief being less frequently stamped with potters' names,
winch, when they do occur on such vases, are on labels or
tesserae. There are certain philological peculiarities evident
upon inspection of these stamps. The names generally end in
ws, which was introduced at the Augustan era, and superseded
the form in os which preceded that period. Some early names
as Paterclos, Julios,* Yiducos occur.^ The double 1 1 is used for
E, as Riignus and Siixtus for Regnus and Sextus. It first
appears on a coin of Emerita in Spain, struck under P. Carisius
A.V.C. 729-732, b.c. 25-22, on an aureus of Antony and
' Birch, Archaeologia, xxx. p. 254. "* R. Smith, CoUeitanea, 1. 156.
^ Buckmaii and Newmai*ch, p. 87. ^ Ibid., ii. p. 35.
3 Ibid., p. 93.
570
ROMAN POTTERY.
Part IV.
Octavia, struck in Campania A.v.c. 715, B.C. 39, on the leaden
sling bullets of the Perugian war A.v.c. 713, B.C. 41, and on a
fictile cinerary urn of the time of the Flavii, and is common
at Pompeii.^ This form, which was in use from the first century
B.C. to the close of the first century a.d., shows the earliest
period at which this ware was in use.^ The /^ in the
name of Caretus resembles the Celtiberian form, and on one
with the name Methillus the ® is used for TH. The words
are often in contraction, retrograde, and confused ; and some
have supposed that the potters used movable letters, which is
improbable. The names of many potters are Gaulish, apparently
of slaves or freedmen. Amongst the names more particularly
Gaulish are Advocisus, Beleniccus, Cobnertus, Dagodubnus,
Dagomarus, Dagoimnus, Suobnedo, Tasconus, Tascillus. The
formula used by the potters was O., OF., or OFFIC- foi* offieina,
or establishment, either before or after the name. M for manu,
** hand, the work," which is always placed after the name
of the potter in the genitive, and F- or FE. for fecit, "he
made," after the potter's name in the nominative ; and the ano-
malous forms, of F' oy fecit, "made," ovAing to the cacography of
the potter.^ In one instance fecit, *' he made," occurs without
any potter's name, and in another case the potter, through
ignorance or caprice, has impressed the stamp of a Eoman
oculist, destined for some quack ointment, on the bottom
of a cup. Besides these names, a few other inscriptions are
found. On a deep poculum of red glazed ware is inscribed, in
raised letters, round the outside, BIBE AMICE DE MEO,
"Drink, friend, from my cup."* The idea was probably
taken by the potter from the glass cups, which often have
similar letters, in complete relief, round their sides. A list of
the potters' names which occur on the Koman earthenware
found in Britain has been given by Mr. Koach ^mith, in the
* Archaeologia,' ^ and in his * Collectanea Antiqua.' ^ The nume-
rous names found at York are inserted in Wellbeloved's * Ebu-
racum,'' and others, found at Caerleon, in Lee's * Antiquities'
of that place.^ A more complete list than those yet published
will appear in the Corpus of Eoman Inscriptions of the Berlin
1 Cavedoni, Bull., 1852, p. 135.
^ E. Smith, Collectanea, i. 156.
^ Froehner, Inscript. terrsc cottoc va-
Borum intra Alpcs, Tissam, Tamcsiu rc-
pertae, 8vo., Getting,, 1858.
* Mus, Borb., vi. xxix.
* Archseologia, xxvii. p. 143.
^ Smith, Collectanea, i. 150,
' P. 128.
8 r. 10, PI. iii.
Chap. V. TOTTERS. 571
Academy. A fragment, supposed to have been given as a
love-token from a gladiator to his mistress, has '*Verecunda
Ludia, Lucius the Gladiator."^
In some rare instances the potter has scrawled a few illegible
words on the mould before the clay was pressed in, and these
have been preserved on the vase when baked.^ Such caprices
of the potter are not uncommon, and have been already mentioned
in the case of Greek vases. At Rottenburg the inscriptions showed
that the vessels inscribed belonged to the legions there stationed,
for many had scratched upon them the initials of the 21st and
22nd legion, besides those of Jovianus the master of the stand-
ards of the 3rd Helvetian cohort of the same legion, of Jovianus
and another tribune of the 3 id cohort. Others bore the name
of the prefect of the colony, Sumlocene, or Solicinium, and the
dates A.v.c. 1056 and 850.^ Inscriptions scratched upon Samian
ware after it has been baked, chiefly names of its possessors,
also occur. The potters were called doliarii, or pot-makers, if
they made vessels of unglazed ware and large size,* ampullarii,
flask-makers,^ vaseularii, or vase-makers,^ fictiliarii,'' makers of
fictile vases, and jlgulmarii, figuli, or potters in general. They
were generally of servile condition, and are represented wearing
only the tunic of the slave.^ One Gaulish potter, named Casatus
Caratius,^ is, however, represented on a bas-relief, w earing a cloak
besides the tunic. He holds in one hand a fluted vase, like those
of the black ware. One of the reasons why the mechanical arts
never attained any excellence under the Eomans was that they
were considered servile.^^ A female potter, one Tascilla Verti-
cisa, is known. The potters of the red ware usually have only
one name, rarely more, such as L. Cossutius Virilis, and others
of freedmen are found out of Italy.^^ It would appear almost
^ HoUings, J. F. ; Eoman Leicester, celle, xxxiii. 2. In the sepulchral bas-
p. 47. relief are an amphora, olla, and lagena.
2 Journ. Brit. Arch. Assoc., ii. 20 ; * Plant., iii. 4, 51 ; Orellius, 4143 ;
Soc. Lux,, 4to, 1853 ; PI. vi. 4, p. 124. 1 Cicero in Verrem, iv. 24.
' For engravings of vases found at * Grivaud de la Vincelle, xlvii.
this place, Kottenburg, see Jaumann, j ^ Ibid., xlvi. ^ Ibid., xlvi. 1.
Colonia Sumlocene, tab. xi. xii. xiii. * Ibid., xlvi. 4.
note; Steiner, Codex Inscr. Kom., ii. pp. ! ^" Cicero, De Offic. 7, c. 42, 150. Sec
350, 351 ; Jahrb. d. V. A. im Kheinl., for incised inscriptions of one H. Juli-
1850, pp. 51-58, 60. For a long list of anus, Mnasmann, Tubulas ceratiB, 4to,,
private names supposed to be of the j Lips., 1837.
later Constantino period, Jahrb., 1851, j '* K. Smith, Collectanea, i. 155. The
P 70. j form Maiiibus L. Abucci Pothi, vernal
* " L. Aurclius Sabiiuij;, doliarius, . Abuccia) Aiisculai L(iberti) Maft( i,
fecit sibi et suis." Grivaud de la Vin- ' Gall. Ant., p. 8(j.
572 EOMAN POTTERY. Part IV.
certain that the ware was an article of export, as stated by-
Pliny, and that the name of Samian was applied to it in reference
to its origin, long after it had ceased to be made in that island.
Some of tlie Eottenburg vases had the date of the consuls
D. Coelius Balbus, Marcus Clodius Pupienus Maximus II.,
A.D. 227.
Traces of manufactories of red pottery and broken moulds
and wheels have been found scattered all over Gaul, as near
Nancy, at Paris, Mmes, Lyons, and at Ferrand-Clermont, near
Bordeaux ; but principally at Bheiuzabern, and at Heiligenberg,
near Strasburg.^ In Italy the ware has been found from Modena
to Pompeii, and probably extended over many sites in the Penin-
sula. In England it has been discovered in great abundance,
principally in the south and west of the island. A vase of a
red ware of late period and singular shape was found near the
new Hotel Dieu of Paris. They were hollow annular, with a
coarse reddish-brown glaze, and had letters in relief. One
reads OSPITA REPLE LAGONA CERVESA, "Host, fill
the jug with beer;" the other COPO CNODI TV ABES
EST REPLEDA, '* Innkeeper, .... be off, [the bottle] is
full." Similar vases have been found at Hainaut and Treves,
and are still made at Talavera and Segovia.^ The sites of the
French potteries of Samian were in Auvergne, those of Spain
at Murviedo or Saguntum.
Another kind of the red glazed ware is that used for lamps,
which differs considerably from the Samian. Its colour is much
paler and texture very different from that of the bowls ; the
glaze is of a thin alkaline kind, and thinly spread over the
surface of the ware. The lamps of this ware are generally
found in Italy, and have been already described in the general
account of lamps. There is a kind of this ware, which is pro-
bably the earliest in point of time, and to which the term
Samian might not be inappropriately applied. The clay is not
uniform in its colour, being gray, black, or yellow, and the lustre
appears as much due to a polish on the lathe as to a vitrification.
The prevalent shape is the cup, either hemispherical or cylin-
drical, decorated with figures or architectural scrolls and orna-
ments. This so much resembles certain cups of terra-cotta
already described, that it can hardly be separated from
them. Such vases have been found at Melos, and a jug of this
> Caumont, ii. p. 211. 2 jj^^ Arch., vol. xviii., 4868, p. 227.
Chap. V. GLAZED TIED WAl^E. 573
style representing a sacrifice was dug up in 1725 at Hadria.^
Another variety of this ware, called by some the false Samian,
resembles the Samian, but is of an orange, not yellow colour.
The colour too has sometimes a kind of red paint, or powdered
Samian ware, laid on it externally, in order to deepen it.^
False Samian light red clay, glazed within and without with
a thin reddish-brown and somewhat lustrous glaze, has been
found at Oundle and in London.^ This ware is often coarse,
and ornamented externally with coarse white scrolls, painted
with pipeclay on the body. One kind of ware found at Caistor
is distinguished by its red glaze, which often has a metalloid
lustre. The paste is yellowish-brown, white, or reddish-yellow.*
In some instances the glaze is lustrous, and shows the colour
of the paste. The shapes and ornamentation resemble the
black glazed ware. One remarkable jar has a chariot race.
The difference of colour assumed by the vases appears partly
due to the degree of firing the vases experienced, the paste of
some which is black, red, or gray, becoming of a copper hue.^
A remarkable variety has been found at Botham, near Lincoln,
the site of a local pottery, composed of a light yellow paste,
brushed over from the lip downwards with a light yellow wash
of a sparkling mica, or dipped in the fluid and inverted to drain
off the superfluous fluid. Here the colours consisted of many
shades of yellow, brown, purple, and even black, with a metal-
loid lustre. The shapes and ornaments are the same as those
of the Caistor black ware, and are sometimes laid on with a slip
of pipeclay.® The Caistor ware is also found in France, Belgium,
Holland, and Flanders : and is probably of a late date, for an
urn 7 in. by 6 in. found at Colchester had on it an incised
inscription of the fourth century, a.d. The subject, in barbotine,
represented two gladiators, ^lario and Secundus, killing a boar,
Memnon, ii secutor, and Valentinas, a retiarius, in mortal
combat, and a deer hunt. This cup had also SAC Villi.
the 9th sacellum or chapel where the eagles were placed of
the 30th Legion, LEGION IS XXX.' These vases are
Gallo-Koman, made subsequent to the Samian. Sometimes
' Muratori, cxlix. i xlvii. 3, xlix. 4
- As at Comberton, Arcli. Joiirn., vi. \ * Arch. Journ., x. 229
210.
3 Smith, Coll., vol. iv. p. G3.
4 Cat. Mus. Pract. Geol., pp. 72-77;
Artis Dnvobiiv.p, PI. iii. 1, xxx. ■4,
6 Jbid., xii. 173.
' E. Smith, Coll. Ant., iv. p. 82, PL
xxi. It was found with Samian and
other ware.
574 KOMAN POTTERY. Part IV.
they have inciseJ inscriptions — dedications to deity, as to the
"Genius of Tournay,"^ on a vase found in France — rarely
the names of potters, as that of Camaro, on a vase at Lin-
coln.^ A similar vase of pink ware, stamped with the name of
the maker, Camaro, CAMARO F., Camaro fecit, has been found
elsewhere.^ A remarkable variety has a gray paste baked hard
like stone ware, and painted of a yellow mottled colour to
imitate marble.
The black ware was made of any tenacious clay in the neigh-
bourhood, and it varies from a dark black to a slate or olive
colour. The kilns in which it was
baked have been already described,
but the phenomenon is differently
explained by Professor Buckman,*
who supposes that the carbon and
hydrogen of the smother kiln re-
duced or rather prevented the iron
in the clay changing into a peroxide
or the red oxide of iron. Fune-
No. 202.— Cups of Black Ware— that on the peal ums wcro oftcn made of this
left Crockhill, on the right Upchurch ware.
pottery.
Some varieties of this ware exist like that of the unglazed
red. In the first the clay is soft, easily scratched, and covered
with a polish or lustre produced by friction on the lathe. From
the peculiarities and differences in its paste and embellishments
it appears to have been the product of local potteries.^ The
glaze, or coating, may have been produced l^y water or friction.^
The paste is fine, and the walls thin and well turned. The
paste varies from a kind of gray, or colour like that of the
London clay, to a dull black. The vases are mostly small, the
ware generally consisting of cups, bottles, and small amphorse
and jugs, but occasionally of the supposed mortaria. Some of
the cups, like those of the red dull ware, have their sides cor-
rugated. The ornaments which are by far more common than
the subjects, are of the most simple nature, consisting of pressed
lines and herring-bone patterns ; but the favourite devices are
regular clusters of corrugated studs, disposed in squares or
bands round the vases, and produced by sticking small pieces
* R. Smith, Collectanea, iii. 193.
^ Arch. Journ., xii. 174.
' Proc. Soc. Ant., Lond., 1867, p.
•* Buckman and Newmarch, p. 78.
* Artis, Journ. Brit. Arch. Assoc, ii.
166.
440. I « Traite', i. 430.
Chap. V.
GLAZED BLACK WARE.
575
on the vase before the clay was baked. Some of these re-
semble the spines on the blackthorn. In some rare instances
the potter has stamped in a series of small square indentations,
resembling fleurettes. A great peculiarity of this ware is that
it is unaccompanied with the names of potters, nor is it found
with coins and other Roman remains.^ A few vases of this
ware are ornamented round the body with rows of little pebbles,
let into the clay, humble imitation of the cups of the wealthy
inlaid with gems.^ Great quantities of this ware have been
found in England, in the Upchurch marshes near Sheerness.^
There is a pottery differing from the preceding, by the quality
and colour of its paste, which is red with a black glaze. Some-
times, however, it is gray, or even black, but generally not so
fine as the first kind. Its grand distinction is its glaze or lustre,
which consists of an alkaline earthy silicate, sometimes very
black and pure, but at other times of a green or bluish or slate-
coloured tint. One kind, although thin, is lustrous, but without
any metallic reflection ; the other, which seems to be a metallic
coating deposited by steam, having a lustre like black-lead.
This ware was made on the wheel by the same process as the
red, and the ornaments were either made by the revolving
swivel-moulds or else by the usual process.* It must be bonie
in mind that there was a black as well as red Aretine ware,
and that plain black lustrous vases continued in Italy till the
middle of the Roman Empire. A Roman vase of this ware,
found at Cumge, has the subject of Perseus and the Gorgons
stamped in intaglio from separate dies, after the vase left the
lathe.^ A hemispherical cup, found in the Greek islands,® of
the proto-Samian class, and of the period of the Empire, was
made from a mould, has its subject in relief, and is covered
with a lustrous black glaze. Another urn of this black
ware, with its cover, is ornamented with subjects in relief
like the Samian, and is only different by being black instead
of red, and bears the name of the potter, Bassus. It was found
in France. Some of these vases are ornamented with subjects
in relief, representing mythic and hunting scenes in a low
^ J. Kenrick, Excavations at the
Mote Hill, Warrington. 8vo., Warring-
ton, 1853.
2 The calix gemmatus. Martial, xiv.
106.
' E. Smith, Ant. Richborough, p, 58,
Joum. Brit. Arch. Assoc, ii. 138.
* Brongniart, Traite, i. p. 433.
* Mon., 1855, tav. ii. p. 18.
* By Mr. Newton, now in the British
Museum.
576
ROMAN POTTERY.
Part lY.
and degenerate style of art, which, from the costume of the
figures, may be referred to the last days of the waning Empire
of Eome, and are clearly later than the red polished glazed
ware. The art is apparently Gaulish, and the figures bear
striking resemblance to those on the ancient British and Gaul-
ish coins. They are never made from moulds as in the Samian
ware, but by the process called harhotine, by depositing on the
surface of the vase after it had left the lathe, from a small
vessel or tube, masses of semifluid clay, which were slightly
modelled with a tool into the required shape. The glaze and
colour are supposed to have been produced by smothering the
vases when in the furnace with the smoke of the kiln, and
depositing at the same time the carbon on the surface of the
heated vases, and thus giving them a black glaze. It has two
different glazes, one dark but without any metallic reflections,
the other metalloid, like a polish of black-lead. The principal
subjects represented on this pottery are hunting scenes,^ such as
dogs chasing stags — deer — hares, — also dolphins, ivy wreaths,
and engrailed lines, and engine-turned patterns.^ In a few
instances men with spears are represented, but in a rude and de-
based style of art. The principal form is the cup of a jar-shape,
sometimes with deep oval flutings, as on one found at Caistor ;
but dishes, cups, plates, and mortars, are not found in this ware.
Some of the vases of this ware have ornaments, and some-
times letters painted on them in white slip upon their black
ground. They are generally of a small size, and of the nature
of bottles or cups. The inscriptions read SITIO> *'I thirst;"
REPLE, "fill up;" MISCE, "mix; " DA VINVM, "give
wine;" MITTE MERVM, "send pure wine ;" DA BIBERE,
^'let us drink;" BIBE, *' drink thou;"^ BIBATIS, "drink
ye ; " Bl BAMVS PIE," let us drink piously ; " VIVE, " live ; "
VIVAS, " may you live ; " VALI AM VS, " let us do well ; ' AVE,
"hail!" FELIX, "oh, happy;" GAVDIO, "I rejoice;" LVDE,
"sport;" AMO,"I love;" AMO TE CONDITE, "I love thee,
O stored* one!" AM AS : FELIX VITA, "thou lovest: happy
life;" CALO, "I warm;" BELLVS SVADEO,' IMPLE,
"fill;" AVE COPO, *'hail host!' or innkeeper;" SITIO,
* Journal, Brit. Arch. Assoc, i. pp. 5,
7, 8. 2 Brongniart, Traite, PI. xxix.
' Grivaud de la Vincelle, Antiq.
PI. xxxiii. 48. Janssen, Inscr. Tab.
xxviii. 26-29 ; Gerhard, Berl. ant. Bild.,
182; R. Smith, Collect., i. p. 3.
* Jahn, Jahr. d. Ver. von Alterth.
im Eheinl., xiii. 105.
' Jahrb. Vereins Alterthumsfr. im
Rheinl., i. 84, 92.
« Virgil, Eel. ili. 43-7, " pocula con-
dita."
Chap. V.
INSCTIIBED BLACK WARE.
577
or iniikooper ; " SITIO, "I thirst;" VALIAMVS, *'may wo
hail;" VT FELIX VIVAS, *' may est thou live happily!"^
MERViVI DA SATIS, "give wine enough;" SESE, ''may
you live;" FRVI, "enjoy ;" EME, '' buy ; " REPLEME
COPO MERI DE ET, ''fill me up, host, wine is wanting;"
DO[S] DOS, PETE, "seek;" FERO, 'I give;" VINVM
TIBI DVLCIS, "I bring you wine, my dear." ^ One of these
BIBE vases was found at
Treves,^ which confirms the
idea that they are of the age
of Constantine; VINVM,
"wine;" VITA, "life;"
VIVE BIBE MVLTIS;
showing that they were
used for purposes purely
convivial. Such are the
vases found at Etaples near
Boulogne,* the ancient Ges-
soriacum, and at Mesnil.^
Some rarer and finer spe-
cimens from Bredene, in the de| artment of Lis, have a mould-
ing round the foot. Great quantities are found in England,
Holland, Belgium, and France. It is found on the right bank
of the Khine. A variety of this ware was found at Crockhill in
the New Forest, together with the kilns in which it was made,
and a heap of potter's sherds, or pieces spoilt in the baking.
The paste was made of the blue clay of the neighbourhood,
covered with an alkaline glaze of a maroon colour, perhaps
the result of imperfect baking ; for the pieces when submitted
again to the action of tlie fire, decrepitated and split. They
were so much vitrified as to resemble modern stone ware, yet as
all of them have proofs of having been rejected by the potters,
it is probable that this was not the proper colour of the ware.
Almost all were of the pinched-up fluted shape, and had no bas-
reliefs, having been ornamented with patteins laid on in white
colour. The kilns are supposed to be of the third century of
No. 2(!5. — Group of Vasts of Jnscnf)ed Black Ware,
principally from Cologne.
' Lcvezow, Verzciclm., s. 3GG n., 1 1G9.
- Jahrb. d. Ver. von Altcrtb. iin
Kheinl , xxxv.p. 49.
^ Wyttenbach, Forsch. liLer die Ro-
miscli. Altertli. in Moselthale, 8vo?
Trier, 1844, p. 121.
■* Roach Smith, Collectanea, I. PI. iii.
p. 3.
Jochet, Normandie souterraine, 8vo,
I'aris, 1855, p. 131 .
2 P
578
ROMAN POTTERY.
Part IV.
our era/ and the ware was in local use, for some of it was
found at Bittern.
The bottoms of two pots of this Roman ware found at Lyons
showed that it was sometimes made of a very coarse and gritty
paste with many micaceous and calcareous particles distributed
through it, breaking with a coarse fracture of a dark red colour.
The ware is covered with rather a thick coat of black glaze also
exhibiting the same paste. The bottoms were impressed with
a potter's name stamped in circular mouldings and disposed in
circles, in characters of the later period of the Empire, and the
ornamental grooves were subsequently made. One of these had
L. CASS I O, perhaps Lucii Cassii officina — "from the factory
of L. Cassius ; " the other had
F I R M I N VS F(ecit)— "Firmi-
nus made it." The name of
Fortis, a well-known lamp
maker and of Similis, SI MI-
LI S p., have been found on
black ware at Aix.^ This
ware is very different -from
the Castor ware and forms
a totally distinct class, inter-
mediate between the glazed
and plain ware, sprinkled with
mica. If the ars cretaria is
pottery, as some suppose, the
negotiator's artis cretariw are
earthenware merchants, some
of whom traded in British potteries;^ and the name has been
preserved of M. Messius Fortunatus, who united with it that of
the artes Pa[v]ementari8e and Psenularise, and whose name is
also found on Samian ware.*
The distribution of this pottery of Roman manufacture and
style, whether of the Samian or other ware, is almost universal
over Germany, France, and Eastern Europe, and in the West,
extending through Spain and England. In Germany ^ it has
No. 206. — Cup of Black-glazed Castor ware.
* Akerman, in Archseologia, xxxv. Rheinl. 1856, 61.
91-96 ; Arch. Journ., March, 1853, p. 8. | 4 Orellius, 2029, 4304, 4466, 7258,
2 Roiiard, fouilles d'Aix, p. 144, pp. 7259.
16-29. * Wagener, Handbuch, 8vo, Weimar,
3 Jahrbuch d. Ver. von Alterth. im ' 1842, PI. 22, 23.
Chap. V.
DISTIUliUTION OF BLACK WAHK.
579
l)een found tliroughout the oountry, as at Alsheim, Cassel,
Xauteii, and Zahlbaeli. The sites of the legionary tiles have
been already given. Of the German localities, however, May-
ence seems to have been particularly active in it8 ancient
potteries. Details of a still more precise nature are afforded
of the different kinds of ware found in France. Thus at the
Canal de Bourges in the department of the Cher ^ red Roman
ware and that with a black micaceous paste were found ; red
ware at Esclas ^ near Darney in Vosges, at Limoges in the
Haute Yienne,^ at Aix,* and Nismes,^ in Provence and Langue-
doc, and at Vienne in Dauphiny ; at Paris in the gardens of the
Luxembourg, and at St. Genevieye. At Bordeaux were found the
red ware, the black Roman ware and that with white, yellow, and
red pastes.^ Large specimens of red ware of an elliptical shape
were exhumed east of Thit rs near Lezoux, together with moulds,
stamps, and the remains of a pottery;^ as also near Clermont-
Ferrand.^ Amphorse joined with lead were found at Mont-
labathie-Saleon, near Aspres, in the High Alps,® Chatelet, be-
tween St. Dizier and Joinville in Champagne, the Samian ware
with potters' names, dull red ware, that of a yellowish-white tint,
with a leaden glaze, and others of a black earth with a brown ^®
or black lustre. Roman red ware has also been discovered on
the banks of the Seine near Asnieres at Mount Ganelon, in Oise,
at Compiegne,^^ near Beauvais,^^ and at Limeray near Dieppe,
in Normandy ;^^ at Maulevrier near Caudedec in Normandy,
tosrether with coins of Gallienus and Constantine: at Sarthe
near Mans, 2000 pieces, as well as the vitrified bricks of a
furnace, and a cruse, with the name of Tertiolus, either maker
or proprietor, were dug up in throwing a bridge over the river.
They were all broken, some stamped with the names of Severus,
Bassus, Crassus, and others. At Loiret in the Orleannais, in
' Traite, i. 144.
- M. JoUois, Cimetiere d'Orleans, PI.
xvi. ; Bronguiart, 1. c.
' Brongniart, 1. e.
* Kouard, Fouilles d'Aix, 1841.
' Menard, Antiq. de Nimes ; Brong-
niart, i. 455.
*> Brongniart, i. 441 ; Grivaud de la
Vincelle.
^ Jouannet de Bordeaux, Antiquite's
Se'pulclirales de la Gironde ; Rec. Aca-
demie de Bordeaux, 1831.
* Brongniart, i. 445 ; Mus. Cer., ix.
1, 8, 13; D'Allonville, Campes Romaines
du dep. de la Somme, 4to, Clermont-
Ferrand, PI. ii., iii., iv., v.
® Brongniart, i. 144.
'« Ibid., 408, 445.
" Grignon, Bulletin des fouilles falter
par I'ordre du roi, 8vo, Paris, 1774.
*- Brongniart, I.e. 442.
'3 Ibid., i. 442, PI. xxxv. 19.
2 P 2
580 ROMAN POTTERY. Part IV.
Brequeruque in the Pas de Calais, at Noyelles-sur-mer^ in the
department of the Somme, red, black, and yellow Roman ware
have also been found ; at Pagny-les-Chateanx vases and tiles.^
Some of the pottery found at Agen resembled the Samian,
but was of a softer paste and exhibited some local peculi-
arities. The names of the potters also differed from those
of the usual lists. It has been supposed that these vases might
have been made by potters settled upon the spot, and it is certain
that the Komans, whose villages must have been decorated
by Roman workers in mosaic, had local potters. The trade in
pottery in France was carried on with great activity in the Yalley
of the Rhone from Lyons to Vienne. The potteries of coarser
ware it is thought may have been placed for facility of trans-
port of their productions on the banks of rivers, while those of
the finer materials were situated either close to the beds of finer
clays or near the cities containing the largest populations.
Potteries and furnaces of more recherche wares have been found
at Serin, Francheville, Massues and Sainte-Foy, while a pottery
for the coarser materials of ornamented brick-work, tiles, and
bricks existed at St. Romain-en-Gall between Gisors and Sainte-
Colombe.^ In Italy this ware has been found chiefly at Arezzo, and
also at Hadria, Modena, and other northern sites. Fine speci-
mens, far surpassing in size and art those of northern and
western Europe, have been discovered at Capua.*
Of Western Europe it now only remains to mention Spain,
in which country numerous specimens of this ware have been
discovered. Saguntum, praised by Pliny ^ for its calices, or
drinking-cups, may have been one of the sites whei-e this pottery
was manufactured ; Pliny places it in about the third rank.
Martial^ mentions "a nest of seven little vases, septenaria
synthesis, the clayey turning of the Spanish wheel, polished with
the thick glaze of the Saguntine potter " as part of a dinner set
of a person of moderate circumstances. In another place he
says, "Nothing is more odious to me than the old cups of
Euctus. I prefer the cymbia made of Saguntine clay."^ Sa-
^ Brongniart, i. 442, 443 ; Rev. Arch., suolo dell' antica Capua, 4to, Napoli,
1865, p. 246. ; 1855, p. 13, tav. iv. v. viii.
2 Rev. Arch., 1863, p. 542. | « N. H., xxxv. c. 46 ; Brongniart, i.
^ Comarmond, Muse'e lapidaire de } 455.
Lyon, p. 460. i ^ Martial, iv. 46.
•* Riccio, Notizie degli scavamenti del ' Ibid., viii. 6. . •
CfiAP. V. SITES OF RED AND BLACK WAKE. 581
gnntiim appears to have manufactured boxes^ cups,^ cynibia,
calices,^ aud lagena3,^ or bottles. The actual ware found at
Murviedo* is classed under four different kinds, viz.: 1. The
lloman red ware. 2. A cinereous kind. 3. Yellow with certain
red spots. 4. Whitish terra-cotta, unglazed, of the colour of the
clay used for bricks and tiles. The pieces of the first class
were of the usual shape, and many had the names of the pot-
ters. The same remark applies to those of the second class.
Those of the third class had only two branches of wild palm
stamj^ed inside ; and those of the last kind had inscriptions
incised upon the tiles and on necks of the amphora^, some in
Greek, as the name Hermogenes, or in Latin, as Lucii Herennii
officina, " The factory of L. Herennius ; " others apparently in
the Celtiberian character. All were of the period of the Roman
Empire, and the pottery resembled the Italian red ware.
In England the various kinds of Bonian red ware are scattered
all over the island, and specimens are everywhere turned up
with the spade or the plough on all the old Eoman sites. The
pages of the ' Archaeologia ' are filled with descriptions of these
remains, which have been discovered in abundance on the site
of the City of London, principally near the bridges ^ and sites of
late improvements ; ^ at Gloucester ; ^ at Southfleet ; ^ great
quantities have also been dug up on the banks of the Medway in
the Upchurch Marshes, leading to Sheerness,^ together with a
local fabric of a bluish-black ware. Eoman vases of different
wares have also been discovered at Chesterford,^" at Ickleton
near Saffron Walden,^^ at St an way ,^^ at Mount Bures,^^ at
Colchester,^* and at Billericay.^^ A kiln has been found at
Ashdon;^*^ false Samian ware at Appleford" and Comberton.^^
» Martial, xiv. 108.
^ " Calicum tantum Surrentum, Asta,
Koach Smith, Collectanea, PI. ix. x.
" Neville, E. C, Ant. Explor., 8vo,
1847; Journ. Brit. Arch. Assoc., 173;
Arch. Journ., xii. 85.
PoUentia, in Hispania Saguntum." —
Pliny, XXXV. 12. ^ Juv., v. 29.
* Valcarcel, Barros Saguntinos, 8vo, " Arch. Journ., vi. 17.
Valencia, 1779 ; Kev. Arch., 1863, p. ^- Journ. Brit. Arch. Assoc, ii. 45.
228. >2 Bj.ojjgjjjaj.t,Traite,i. 449; R.Smith,
* Archaeologia, xxiv. PI. xliii. xliv. Collect., ii. p. 25.
xxvii. p. 190, " Journ. Brit. Arch. Assoc, ii. 4, vii.
^ Bermondsey, Journ. Brit. Arch. 109 ; R. Smith, Collect., ii. PI. xii.
Assoc, i. 313. i p. 37.
^ Archa3ologia, x. PI. ix. 2, p. 131 ; i '* Journ. Brit. Arch. Assoc, iii. 250.
Journal, Brit. Arch. Assoc, ii. 324. ! '^ Arch. Journ., x. 21.
* Archajologia, lb. p. 37. ! '^ Journ. Brit. Arch. Assoc, iii. 328.
^ Journ. Brit. Arch. Assoc, ii. p. 131 ; ** Arch. Journ. vi. 210.
582 KOMAN POTTERY. Part IV.
At Mereworth/ Canterbury,^ East Fairleigli,^ aud Hartlip,*
Samian and other vases have been exhumed ; but the most
remarkable, as well as the earliest discovery of Samian ware,
was on the Pan sand, off Margate.^ Castor ware has been
found in the Hoo Marsh, near Kochester.® At Richborough'
all sorts of ware have been discovered. Sussex abounds in
Eoman wares ; Samian, and also the glazed maroon ware,
having been found at Chichester,^ Newhaven,^ and Maresfield.^*'
Black unglazed ware has been found at Binstead,^^ and a local
black glazed ware with the kilns and potteries in the New
Forest.^^ Samian and other wares have been dug up at
Dorchester, the Isle of Purbeck,^^ Portland,^* and Exeter.^^
Similar wares have been found at the Fleam Dyke,^^ and
throughout Cambridgeshire. A local fabric of a yellow Castor
ware 1ms been discovered at Boutham, near Lincoln ; ^^ also at
Towcester,^^ Cirencester, and other sites in Gloucestershire.
The red and black glazed ware, and the kilns for baking them,
and other potteries, have been discovered at Castor,^^ along the
banks of the Nen,^® at Sibson, and the Bedford purlieus. At
Headingtdn^^ numerous mortaria of yellow Castor and other
wares, and at Deddington^^ Samian ware has been exhumed. A
kiln of pottery, resembling the German, has been found at Marl-
borough. Samian and black glazed ware has been excavated at
Bath, Samian and other Roman wares at York,^^ and in the north
of England, at Caerleon and Carnarvon in Wales ;^* in fact through-
out the whole of the island, and even in the Channel Islands.
In Holland Samian ware has been discovered at Rossem,
Arentsburg,^^ Wijk bij Duurstede,^^ and elsewhere. In eastern
Europe it is found in quantities along the Danube, Greece, Asia
* Arch. Joum., xi. 404. *• Arch. Journ., ix. 12
- Ibid.
^ Journ. Brit. Arch. Assoc, ii. 4.
* R. Smith, Coll., ii. p. 12.
* Phil. Trans., xiv. p. 519; Shaw,
History of Staffordshire Pottery, p. 93 ;
»2 Ibid., 23, X. 8. 13 Ibid., vii. 384.
'^ Ibid., X. 61. '' Ibid., ix. 9.
i« Ibid., ix. 229, X. 224, 225; Short, \V.
T. P., Sylva Antiqua lsc.,8vo, Exeter.
'^ Ibid., xiii. 173.
Archseologia, v. 282, 290. ^ ^^ Journ. Brit. Arch. Assoc, vii. 109.
« Journ. Brit. Arch. Assoc, v. 339. ^^ Ibid., i 1. ^o jbi,].
' R. Smith, Ant. Eichborough, 8vo, ^ ^i i^id., vi. 58.
Lond., 1850. ■ 22 j^^^^ Journ., viii. 423.
« Arch. Journ., xi. 26 ; Journ. Brit. '^^ Ibid., vi. 3b-. ^4 j^ij^^ ^n 219.
Arch. Assoc, iv. 158; E. Smith, Col-
lectanea, 152.
» Arch. Journ., ix. 263.
-* Leemans, Eomische Oudheiden,
8vo., Leyden, 1842.
^^ Jannsen, Oudheidkundige Medc-
10
Journ. Brit. Arch. Assoc, v. 390. \ dcelingen, 8vo, Leyden, 1842.
Chap. V. GLAZED ROMAN WAIJE. 583
Minor, and the Isles, and at Balaclava and Kertcli, having been
carried by commerce beyond the limits of Koman conquests.
There is another kind of pottery found sparingly among Roman
remains which has been supposed to be Roman. The paste is
generally of a yellow colour, and over this has been laid a thick
vitreous glaze, of a pale blue, green, yellow, brown, or olive. The
shape in which it principally occurs is that of small jugs, cups,
and lamps; but fragments of small vases and jars are also
found. It is a later kind of the enamelled ware of the Etruscan
sepulchres already described. It has been occasionally dis-
covered in England, and some fragments found in the pits at
E well, in Surrey, had a glaze produced by lead.^ Many vases
of this ^^are have been discovered in Italy, especially at
Pompeii and Cervetri. Some are amphorae, measuring 11 inches
high ; others in shape of jars, ollm ; of wine bottles, urcei ; of the
wine-skin, uter ; small jars, cups, and lamps. The larger are
ornamented with reliefs, anaglypha, or emhlemata, dispersed at
distant intervals on the surface of the vase, and stamped as crustas
from separate moulds, and then affused. The smaller vases, such
as lamps, are made entirely in moulds. Their subjects are Her-
cules, Bacchus, a goddess sacrificing, Abundantia ; on a lamp is
a Gorgon, treated in the usual coarse style of Roman art. They
have been supposed to be Alexandrian. Probably to this class
of pottery belongs a remarkable vase with three handles, and as
many medallions representing the busts of Serapis and Isis, Mars
and Ilia, and two gladiators accompanied by their names.^ There
are in the Louvre some remarkable specimens of Greek glazed
ware of the Roman period, found at Tarsus. The glaze appears
to have been produced by lead ; the colours are green, red, yellow,
and blue. The objects, which are small, were made in moulds
like the Roman red ware. The subjects are various patterns of
leaves and flowers in relief. Amongst the fragments are portions
of a vase with two handles, half of an oscillum or mask, and some
fragments of red ware, like the so-called Samian, and of finer
paste. One of these pieces, inscribed in characters, shows that
it was later than the Antonines. A bottle also in the British
Museum, ornamented with masks and other subjects in relief,
and of a style almost mediaeval, was found with Roman remains,
and another annular bottle from Gyrene, previously described,
belongs to the same class, where some specimens have been
found, also at Pesth, in Hungary, and other sites.
' Ai'Chteologiu, xxxii. p. 45l. - Ctiylus, vi. 107.
PART V.
CELTIC, TEUTONIC, AND SCANDINAVIAN
POTTERY.
CHAPTER I.
Celtic pottery — Paste — Fabric — Ornamentation — Size — Shapes — Sepulchral
use — British — Bascaudae — Ornamentation — Triangular patterns — Bosses
— Distribution — Scottish — Irish — Type of urns — Ornamentation — Distri-
bution — Teutonic — Paste — Shapes — Hut vases — Ornamentation and
distribution — Scandinavian pottery — Type — Analogy with Celtic.
It is difficult to draw a line of distinction between the Celtic
pottery and the black Gallo-Roman ware, as this was evidently
a local ware made upon a Roman type and according to the
principles of Eoman art. The colour is owing to carbon.
Brongniart ^ assigns this ware to the ancient Gauls, while he
considers the first to be Gallo-Roman. There are some varieties
of this ware which in shape and fabric resemble the German
pottery, and are ornamented with zigzags, salient lines, and
reliefs in imitation of letters, arranged in zones or bands. Such
pottery has been found at Gisors, in the tumuli of the ancient
Gaulic races. It is coarse, of bad texture, veiy fragile, easily
scratched with a knife, the paste either black or gray.
The pieces were often made upon the wheel, the marks of
the potter's hands still remaining on the body of the vase ; and
where the foot has not been hollowed, indications appear of
sawing from the chuck or piece by which it was affixed to the
table.^ They are rarely found of any considerable size,
although some nearly as large as casks have been exhumed in
1 Traite, i. p. 483. « Ibid. p. 485.
CliAP. I.
CELTIC POTTPTvY.
585
Auvergne/ and in the Channel Islands.^ Some of these vases
were an inn)rove(l fabric consequent upon the contact of the
Celts with a more polislied [)eople like the llomans, wlio by
degrees introduced a certain elegance and refinement into the
arts of that comparatively barbarous people.
The pottery which had preceded this, and which is found in
the barrows or tumuli of the early Celtic race among the
remains of stone or bronze weapons, and rude amber and glass
beads, is of quite a distinct character, more resembling in its
general appearance the urns of the Scandinavians and the vases
of other primitive people, above all of the Teutonic tribes, who
had but little knowledge of the ceramic art. The paste consists
of the clay found upon the spot, prepared without any irrigation,
consequently coarse, and sometimes mixed with small pebbles,
which appear to have been added for the sake of holding it
compactly together. These pebbles often have been sufficiently
baked to assume the milky-white colour that silica changes to
under great heat. It has undergone a baking of a very imperfect
kind, the paste being black internally, while at the sides it
assumes the natural brown colour of the clay.
The vases of the Stone period found in the tumuli of Europe
are generally of an urn shape, with wide open mouths, and
tapering at the feet ; the lip is bevelled, and overlaps, thus
giving them a peculiar form. As it is impossible, owing to
their very great friability, that they could have been of much
use for domestic purposes, it is probable that they were expressly
made for sepulchral rites. Their style of ornament is of the
simplest kind, cords and bands are laid round or down the vase,
or the pattern is punctured or incised with a tool, tooth, or
pointed piece of stick or bone, for the lower compartment;
while the upper appears to have been made by binding a long
strip of twisted skin spirally round the urn. The principal
ornament is the herring-bone, the same which appears on the
tores, celts, bracelets, and glass beads, and is, perhaps, a repre-
sentation of the tattooing or the painted marks on the body in
use amongst the ancient Gauls and Britons.^ A few seem to be
imitations of wreaths and such other simple ornaments as were
placed on Eoman ware. These ornaments differ — each tribe
and age probably adopting a different style ; and while on most
' Traite, i, pp. 8, 11. In one of these
Uk' Emperor Tetricus (a.d. 2G8) biuied
Mertorix, Kev. Arch. 1857.
- Jouni. Brit. Arch. Absoc. 1847, p. 309.
^ Lubbock, Sir J., Prehistoric Times,
pp. 154-159.
586 CELTIC, TEUTONIC, AND SCANDINAVIAN WAKE. Part V.
vases they are sparingly introduced, some examples are covered
with them in most elaborate style, from the lip to the foot.
The size of these vases is by uo means inconsiderable, being on
an average from 18 to 25 inches in height, and from 13 to 22
inches in diameter; while some measure 32 inches in height
and 4 inches in diameter.^ They are all modelled by the hand,
and show no trace of the wheel, and have always an overhanging
rim. They have been classed as urns, incense cups, bowls, or
vases for food, and cups for drinking. The urns are the largest,
the vessels for food of a smaller size, but with open mouths like
jars, the cups with a tall open neck and slightly globular body.
They are found in the barrows, generally placed with their
mouths downwards; like a dish-cover, protecting the ashes of the
dead ; beads and rude personal adornments of the Celtic races
are found with them. The pottery of the Stone age in the
settlements of the lake dwellings in Switzerland was of the same
character, generally found in broken pieces or shreds, and rarely
entire, the ornaments of the kind above described, with only one
attempt to represent a plant. They were supported on stones,
while those of the Bronze age had terra-cotta rings. Many had
pierced projections for rings, and a few small holes at different
levels supposed to be of use to make curds.^ That found in
the dolmens of Morbihan, in Brittany, generally broken, was
rude and bore marks of the potter's nails ; at Karnak it was
yellowish-brown and polished, no celts were found with it^ or on
other sites. It resembled the Irish.
The vases found throughout England and Wales belong to
the class above described, and only differ from others by their
simpler forms and less elaborate ornamentation. Many small
urns and vases have been found in British barrows, sometimes
placed inside others, and holding the ashes of children or of the
smaller domestic animals. The urns of each tribe, and even
period, differ in ornamentation, paste, and shape. Those found
in cairns on the Welsli coast have often a striking resemblance
to the urns of the Irish Celts. All these vases have large wide
mouths ; for the potter, not using a wheel, was obliged to fashion
them by the hand, and could not make small necks or mouths
by the fingers. They seldom have handles ; one or two vases
• Akerman, Archseologieal Index, l p. 186.
8vo., London, 1847, pp. 46, 47. | ^ jjcv. Arch., 1865, pp. 262-310.
2 Lubbock, Sir J., Prehisturic Times,
Chap. T.
PRIMAEVAL BRITISH WARK.
587
with such appendages only liaving been fonnd, but in their
place projecting studs with holes bored to admit a cord for sus-
pension. Such vases have been called censers, but more pro-
bably were used as pots or lamps in the huts of the Aborigines.
Their colour varies from a light yellowish-brown to an aslien-
gray hue ; and their ornaments are principally zigzag or
triangular, hatched, zones, and herring-bone, chiefly placed on
the bevelled rim or lip. A few have bosses or knobs in bands
No. 207. — Group of British Vases. The one in the centre is that of Bronwen,
around their body, and they are perhaps transitions to the
Eomano-British and Saxon ware, distinguished by their darker
colour, bottle-shape, and stamped ornaments. The liomans
appear to have termed these vases hascaudas, or baskets. A few
other objects, besides vases, were made of this material, such as
cylindrical cases to hold vases, and beads, some reeded, appa-
rently in imitation of glass or enamelled beads.
The most important discoveries of these remains are those
made in Wiltshire, a county which has produced many monu-
ments of its former Celtic inhabitants. Many urns have been
588 CELTIC, TEUTONIC, AND SCANDINAVIAN WAKE. Part V.
found in the vicinity of Dorchester ; ^ others at Heytesbury ^ and
Stourton,^ Barrow Hills/ Lake,^ Upton Level,^ Everley/ Stone-
henge,^ Amesbury,^ Winterbourne,^^ Fovant," Durrington,^^ and
Beckhampton, near Abury/^ at Oldbury Castle, Cherhill
Down, near Devizes,^* Woodgates, near Salisbury.^^ The west
of England and Wales have probably produced the most inter-
esting specimens of these urns, wliich, however, have been found
in the South of England ; those of the northern and western
parts of the island are most highly ornamented. They have
also been found in various places in Sussex, especially in the
vicinity of Brighton, in tumuli on the racecourse ; at Lewes,^®
Storrington Downs,^^ SuUington Warren ,^^ Alfriston,^^ and
Clayton Hill.^^ In the adjoining county of Hampshire similar
urns have been exhumed at Arbor Lowe,^^ at Bakevvell,^^ and at
Broughton, in the Isle of Wiglit.^^ In Kent they have been
found at Iffin near Canterbury,^* and at Beedon in Berkshire.^^
Many vases of this class have been discovered at Blandford,
Dorsetshire, in tlie Isle of Purbeck,^' and at Badbury Camp.
Others have been discovered at Torquay, in Devonshire.^^ They
have been found at Broughton ^^ and Wolden Newton ^^ in
Lincolnshire, at Culford,^^ at Felixstowe in Suffolk on the
Matlovv Hills ; in the Fleam Dyke,^^ Newmarket Heath,^* and
Eoyston ^^ in Cambridgeshire ; at Drayton,^^ and at Stow Heath ^^
26
28
* Archseologia, xxx. PI. xvii.
2 Sir E. Colt Hoare, Anc. Wilt., PI.
ix. viii.
3 Ibid., PI. i.
* Archseologia, xv., p. 343, xviii.
» Sir R. Colt Hoare, Anc. Wilt., PI.
xxx.
^ Ibid., xi. ' Ibid., xxii.
^ Ibid., xvi. ^ Ibid., xxiii. 4.
'0 Ibid., xiii. 15. 11 Ibid., xxiii. 4.
1- Ibid., xvii.
'^ Horsfield, Hist. Lewes, p. 48, PI. v.
^•t Times, 19 Feb. 1858 ; Roach Smith,
Collectanea, I. PI. xiv. p. 33.
15 R. Smith, Collectanea, i. 96.
'^ Sussex Archseological Collections,
i. p. 55.
17 Cart Wright, Rape of Bramber, p.
128.
18 Sussex Arch. Coll., ii. 270.
•» Ibid., viii. 285.
20 Journ. Brit. Assoc, Winch., 203.
-' Ibid., 194.
2^ Arch. Joiirn., ix, 11.
2^ Journ. Brit. Arch. Assoc, 185G,
p. 186.
2* Arch. xxx. p. 327.
2* Arch. Journ,, vii. 67.
^'^ The Barrow-diggers, 4to, Lend.,
1839, p. 91.
2^ Journ. Brit. Arch. Assoc, vii. 385,
28 Ai-ch,, xvii. 338.
2" Vase Room, Brit. Mus.
^^ Arch. Journ., viii. 343.
31 Ibid., vi. 184.
32 Journ. Brit. Arch. Assoc, ii. 63.
33 Arch, Journ., ix. 226.
3^ Ibid., iii. 225.
3^ Arch., xxxii. p. 359.
3" Journ. Brit. Arch. Assoc, v. 154,
xxvii. 359.
3' Ibid., viii. 59, PI. 9.
OiiAP. T. vnmMYAh scoriMsii ware. 580
between Tullington and Aylslmm in Norfolk, and at Brandon.^
Tn the midland counties similar vases have been discovered at
Castoi-,'*^ and Ijrixworth,^ at J^rnssington IMoor,* and Kingston
and Larks Lowe^ in Derbyshire,® at Kingston-upon-Stonr,'
and at Great Malvern^ in Worcestershire. In Shropshire these
vases have occurred at Biilford ^ and at Newark, while remark-
able examples allied to the Irish urns were found at Port
Dafarch,^*^ Holyhead in Anglesea, at IMyimyd Carn Goch in
Glamorganshire,^^ and on the Breselu Hills ^^ in Pembrokeshire.
One of the most remarkable is the vase which is supposed to
have covered the ashes of Bronwen the Fair, the daughter of
Llyr Llediaith, the aunt of Caractacus, a.d. 50, found in a.d.
1818, on a carnedd or grave on the banks of the Alaw.^^ In
the north of England they have been discovered at Scar-
borough,^* York,^^ Bernaldy Moor, near Cleveland; ^^ Fylingdale,
near Whitby;^' the Way Hagg, near Hackness;^^ Furness, in
Lancashire ; ^^ Jesmond, near Newcastle-on-Tyne ;^^ Black
Heddon, in Northumberland, and elsewhere ;^^ and lastly at
L'Ancresse, in Guernsey,^^ and Alderney,^^ amidst the barrows
or tumuli which formed the graves of the early Celtic population,
although in smaller numbers than vases of tlie different Roman
wares.
The early pottery of S(,'otland found in the graves of the
ancient inhabitants, principally of those of the so-called bronze
period, anterior to, and contemporary with, the Eoman conquest
of Britain, is exactly like that of the rest of the island. The
vases are of two classes; those feebly baked and made by the
hand, and those which appear to have been turned upon
the wheel.^* The first comprising the urns, or hascaudee, used
' R. Smith, Collectauea, I. PL xv. 103, 10(5, 10?'; Arcli., xxx. 458.
p. 34. '^ Wellbeloved, Descr. p. 8.
2 Journ. Brit. Arcli. Assoc. 1853, 106. \ '« Arch. Journ., i. 412.
3 Ibid., iv. 142. \ " Ibid , xiii. 95.
^ Arch. Journ., i. 248. *^ Journ. Brit. Arcli. Assoc, vi. 1.
* R. Smith, Collectanea, I. PI. xxi. '" Arch. Journ., iii. 68.
p. 60. '" Ibid., X. 3.
•5 Journ. Brit. Arch. Assoc, ii. 02. ^^ As at Rombalds Moor, Arch,
' Arch. Journ., iii. 154. xxxvii. 303.
8 Ibid., vii. 67. » Ibid., vi. 319. " ^rch. Journ., i. 142, 149.
"> Ibid., X. 177. " Clay beads, Journ. Brit. Arch.
" Arch. Cambr., 1856, 65. Assoc, iii. 11.
'- Arch. Journ., x. 177. ^* Wilson, The ArchoBology and Prc-
'3 Ibid., vi. 326. historic History of Scotland, 8vo, Edin-
^^ Journ. Brit. Arch. Assoc, iii. 194, burgh, 1851, p. 281.
590 CELTIC, TEUTONIC, AND SCANDINAVIAN WARE. Part V.
for covering the ashes of the dead, often measure as much as
sixteen inches high, and have the usual bevelled lip ; a few cups,
and lamps with small side liandles for a cord to sling them, and
domestic vases resembling in shape the Roman oUa, have been
also found. They are all wide-mouthed, and may have been
used for quaffing the Pictish heather ale. Their ornamentation
also is of the simplest kind, consisting of the fern-leaf pattern,
the zigzag, and herring-bone. A few vases are ornamented all
over the body as well as lip, and resemble those found in Ireland
and upon the Welsh coast. Others have indented patterns.
1'hese vases have been found all over Scotland, at Eonaldshay
in Orkney,^ Craikraig in Sutherlandshire,^ Banffshire,^ Mon-
trose,* Kinghorn in Fifeshire,^ at Shealloch near Borthwick,
and at Edinburgh ; ^ at Coilsfleld,^ at Banchory ^ and Memsie ^
in Aberdeenshire, and at Whitsorae " in Berwickshire.
The urns discovered in Ireland resemble the British in their
form and material, but are often finer in colour, more complex
in shape, and more elaborate in ornament ; the whole body of
the urn being decorated with punctured marks, lines, zones,
zigzags, and bands. The paste is generally red, simple, un-
levigated, and mixed with sand or flint pebbles, or micaceous
clay. The vases are cased with fragments of quartz and fel-
spar, and are black or dark brown inside, from the incandescent
bones, or the fuel placed in them. Their exterior is gray, brown,
or light red. Some urns have a peculiar shape, the upper part,
surmounting the jar-shaped body, being in the form of a trun-
cated coue.-^^ The prevalence of triangulai^ and hatched orna-
ment is peculiarly Celtic, and appears on the gold objects as
well as the urns. The potter never used stamps, but only his
nails, fingers, or flints, to make the ornaments. In the Irish
urns the resemblance to basket-work, in which coloured patterns
were worked is still more distinct than in the British. Some
of the ornaments are bands of deep ovals, like a chain pattern,
or spiral and striated bands like Scandinavian metal-work.
The urns generally held or covered the ashes of the dead, but
they were sometimes placed around the unburnt body. They
are found in stone kists holding one or two urns, outside the
cromlechs or tumuli, or imbedded in the earth, or in the crom-
1 Wilson, p. 286. ^ jbid., p. 285.
3 Arch. Scot., iv. 298, PI. xii.
* Wilson, p. 284. * Ibid.
« Ibid., p. 290. 7 Ibid., p. 333.
8 Ibid., p. 283. 9 Ibid., p. 287.
^° New Stat. Arch. Berwick, ii. p. 171.
" Cf. the one from Cairn Thierna.
Arch. Joiirn,, vi. p. 191.
Chap. J. IRISH URNS. 591
leclis themselves, filled with calcined liuman and animal bones,
generally, but not always, with their mouths upward. Shell
necklaces, stone weapons and rude objects are found with them.*
The most remarkable and beautiful are those found at Cairn
Thierna,^ county Cork, and at Killucken, county Tyrone.^
Others have been discovered in a cromlech at Phoenix Park,
and Hill of Tallaght, Dublin ;"* at Kiltale and Knowth, county
Meath;^ at Powerscourt, Kilbride, Lugnagroagh, county Wick-
low;® at Mount Stewart, Ballynatty, county Down;^ Mayhora,
Castle Comar, Coven, Kilkenny ;^ and at Mullingar;* at Balla-
goddine and Rathborn, county Sligo ; at Athenry, in Galway ;
Coolnakilly, Dunagore, in Antrim ; Crowenstown, in Westmeath ;
Donaghami, in Donegal ; Kilmurry, in Kilkenny ; at Hill of
Rath, county Leith, from 150 to 200 urns were found, and at Killi-
nagh, county Cavan.*" I'hey are anterior, and quite free from all
traces of Roman civilisation. Every locality had a different type.
The Roman dominion in Gaul had so completely sw^pt away
the distinct traces of the Celtic potteries, that it is difficult to
point out any which can be referred to the Gauls before the
Roman conquest.^* Such as are found, mixed up with later
remains, do not show that peculiarly Celtic type and orna-
mentation which are seen on the vases of the British Isles. A
few, however, supposed to be early Celtic, have been found at
Fontenay-le-Marmion, in Calvados, near Dieppe, and in Brit-
tany, made of a black earth, badly prepared, filled with pebbles,
breaking with a porous fracture. Their paste is externally of a
rusty colour, and black inside. It breaks readily when dry,
and can be ground to powder by the finger. Wetted it assumes
the hue of decayed bark ; submitted again to the furnace it
turns to a brick-red colour, but becomes more brittle. These
vases are of the rudest shape, and have neither been made in a
mould nor turned upon the wheel, but fashioned by the hand,
or scooped by rude instruments.*^ It has been supposed that a
certain class of pottery, formed of black clay mixed with white
» Wilde, W. K., Cat. of Autiq. of the « Aich. Journ., vi. p. 102.
K. Irish Acad., 8vo, Dublin, 1857, pp.
173-179.
2 Arch. Joura., vi. p. 191, Plate.
* Journ. Arch. Assoc, i. p. 224 ;
Akerman, Arch. Index, PI. ii. 51.
* Wakeman, Handbook of Irish An-
tiquities, pp. 5, 155.
* Molyneux, Essay on Danisli Mounts.
^ Dublin Penny Journal, i. p. 108.
* Arch. Journ., viii. 200.
" Archseologia, ii. p. 32.
•» Wilde, Cat., pp. 187-92.
" Cuumont, Cours, i. p. 255.
*- Caumont, Bull. Men., v. 164; xiii.
111.
592 CELTIC, TEUTONIC, AND SCANDINAVIAN WARE. Part Y.
pebbles, or gronnd-np shells, varying in colour from a deep
black to a blackish-gray or rusty colour, and sometimes glazed
or coated with a carbonaceous black coating, is also of the early
Celtic period. The walls of the vases are thicker and the paste
more adhesive than the earliest Celtic, while the forms prove an
acquaintance with Roman art, and cannot be assigned with cer-
tainty to the earlier epoch. They have been found at Abbeville
and Portelette. The peasants suppose they grow in the earth.^
Throughout the whole of Germany various kinds of pottery
have been discovered. They are, however, reducible to three
great classes. That of the early native population prior to the
invasion of the Romans ; that made during the Roman conquest,
which although exhibiting local peculiarities of paste and orna-
mentation, belongs to the Roman wares ; that imported, consist-
ing of red ware made at Arctium, Capua, Modena, and other
places in Italy. The two last classes having been already
described, there only remains the first, which has, unfortunately,
not been hitherto carefully discriminated from the others. It
must be borne in mind that the Celtic and Anglo-Saxon wares,
one class of Teutonic pottery discovered in England, are easily
discriminated, the latter being more bottle-shaped, made of a
dark paste, with thinner walls, with oblate globular bodies, nar-
rower necks, and having stamped around them a regidar band
of ornaments, from a die of bone, wood, or metal.
Urns very similar to those of the Celtic potteries have been
found all over Germany, along with the remains of the Teutonic
races. They are assignable to an age an^tecedent to and co-
ordinate with the Roman Empire, and bear considerable resem-
blance to those of the Pagan Saxons. They are friable in
texture, with punctured patterns, and are grouped round the
corpses in the graves of the Teutonic tribes, or are employed to
hold their ashes or offerings to the dead.^ They are intermediate
betweeu the Mexican, early Greek, and Anglo-Saxon, which
they most resemble. The paste of some of these urns is very
friable, that of others rings like stone ware when struck by the
hand. It is composed of clay and sand, intermixed with par-
ticles of white, yellow, red, or brown mica, which seems to have
been introduced either to strengthen the clay or produce a glit-
tering appearance.^ The colour of the paste varies according to
1 M. Eavin in M. Boucher de Perthes, I Halle, 1846, ss. 311-313. Bastian u.
Ant. Celt., p. 509. Eev. Arch., 1860, ' Hartmann, Zeitsch. f. Etlmol., II. Bd.
p. 395. I 1869, s. 214, t. viii.
2 Keferstein, Kcltisch. Alteitli. 8vo, ^ Klcmm^ Handbuch, s. 169.
JiiAP. I. EARLY GERMAN WARE. 593
I
Mhe localities. The vases at Hossleben and Bottendorf consisted,
partly of yellow earth, partly of black, mixed with white quartz
pebbles. Those at Bergen, in Hanover, were of unctuous earth,
with a shining blue coating. Urns of gray or brown paste have
been discovered between Cacherin, Gisborn, and Langendorf, in
the country of the Wends. In Lauenstein the pottery is gray and
well baked. In Lausitz and
Silesia its colour is all varie-
ties of brown, gray, and black,
and it is the remains of a Scla-
vonic population.^ Many of
the smaller vases have, as
in the Celtic pottery, been
modelled by the hand, but
the larger urns bear decided
marks of having been turned
upon the wheel. Among
them are found saucers, plates,
cups, goblets with one handle,
jars, small amphorae, and bot- v, one a i « n v vr^i,,
•f f r y No. 208. — Anglo-Saxon Urn. From Norfolk.
ties. The handles are gene-
rally small, but in some of the jugs they are as large as those
found undep the Komans. They are rarely moulded at their
edges. Some few vases are divided into inner vases, as if used
like little boxes ; others have feet to stand upon. Their orna-
ments are either painted with colours, or moulded, or engraved.
Generally the artist has been content to raise bosses in circles,
a series of lunettes upon the clay of the vase, or bosses pressed
out from within, or studs laid on in separate pieces ; but in
some instances, as in the Etruscan canopi and Egyptian vases,
he has moulded a human head with more or less skill, but
always rudely. Another mode of decoration was that of punc-
turing or incising the paste.^ The ornaments were the hatched
lines, bands of points concentric to the axis of the vases, zig-
zags, screw lines perpendicular to the axis, maeanders, chequers,
network lines, semicircles and dots, diagonals, ti'iangles, lunes,
and pentagonal ornaments, all peculiar to the Teutonic pottery.
Some of the ornaments, such as the mseander, are probably as
late as the Roman Empire. The ornaments of other vases are
» Worel, J. E., Grundz. d. Bohm. Alterth., 8vo, Prag, 1845, s. 12, Taf. iv;
* Brongniart, Traite, i. 471.
2 Q
594 CELTIC, TEUTONIC, AND SCANDINAVIAN WAKES. Part V.
painted in red and yellow by means of ochreous eartb, and in
black by black-lead. Tbese are arranged in parallel zones or
lines. The vases found in Central Germany, between the
Weser and the Oder, are more ornamented than those of the
North.^ At Nordendorf where many urns of a later period were
found, pots and pans were only discovered in female graves.^
The principal shapes are, cups with or without small handles ;
pots resembling the British urns, with bevelled mouths, found
near the Black Elsler, small one-handled cups like the modern
tea-cup; goblets, of which the most remarkable are the long-
necked double-handled of the Wends, others in the shape of
modern tumblers, flasks, and bottles ; diotae or amphorae with
small handles. Some urns resemble, by their tall necks and
bosses, the Anglo-Saxon, and a remarkable kind of urn has a
broad hemispherical shoulder and long pointed foot, resembling
those in which olives are still transported. Some few are
apparently toys, such as the rattles found at Bautzen and
Oschatz, and a bird found at Luben ; others have been found ^
with human feet, in shape of horns, pierced for censers, or
grouped in threes. But a scientific classification of the German
potteries, according to race and age, is a research which would
require a volume alone.
Vast quantities of them have been discovered ia the tumuli
of Schkopau, near Merseburg,* at Kablert,^ at the ancient
Suevenhoek or Schwenden Hiigel, Swedes' Hill, the greater
part however broken by rabbits, and in Saxony between Dresden
and Meissen, and near Leipzig, in the village of Connevitz ; at
the mouth of the Black Elsler, near the Elbe, 800 tumuli have
been opened, and various vases have been found near Gus-
mandorf, on the right bank of the Elbe.® The Hanover urns '
are thick, with open mouths, rudely ornamented with hatched
zones, zigzag and triglyph lines and rude ovolos. There are
jugs, bowls, two-handled vases with spouts. At Mecklenburg
the vases assume more of the Scandinavian type.^^ Similar urns
have been found at Kummer, Stolpe, Dobbersten, Spomitz,
* Klemm, Handbuch, s. 171.
' Rasen, Die Grabsfatte bei Norden-
dorf, 8vo, Aug. 1844.
^ Klemm, Handbuch, xii. xiii. xiv.
* Brongniart, i. p.476; Kruse.Deutsch
Alterth., Halle, 1824, i. p. 73, PI. 1. ! rico-Franciscum, Leipzig, 1827
* Janssen, L., Gedenkteekeneii, 8vo,
Utr., 1836, 1-11, at Merseburg. Ibid., v.
^ Brongniart, i. p. 476 ;• Wagner in
Kruse, Arch., iii. pt. ii.p.l6, et seq. PI. i. ii.
' Lendeschmidt, Heft III., Taf. iv.
^ Schiotter and Lisch, Museum Fride-
Chap. I.
HUT-SHAPED VASES.
595
Marnitz, Lndwigsliist, Timkenberg, and Stargard. The vases
found in Western Germany, on the banks of the Rliine, have
moulded lips like the Roman ware, and are apparently made
after Roman types. They have been found at 8chierstein and
Kemel, and in fact throughout all Germany. Some urns re-
sembling in their paste, shape, and decoration the Scandinavian
and English \vere found at Waldhausen,^ in cromlechs with
stone and bronze weapons.^
No. 209.— Group of Hut-shaped Vases, from Halberstadt, Kiekiudemark, and Aschersleben.
Some remarkable sepulchral urns resembling those of the
early inhabitants of Alba Longa, already mentioned, have been
found in Germany, and are distinctly Teutonic. They occur
in the sepulchres of the period when bronze weapons were used,
and before the predominance of Roman art.
A very curious urn of this kind, supposed to represent a lake
dwelling, is in the museum at Munich. It represents seven
cylindrical huts and a porch, and is ornamented in front with a
spiral device of the character of the Bronze or even Iron period.^
One found at Mount Chemnitz, in Thuringia, had a cylindrical
body and conical top, imitating a roof. In this was a square
orifice, representing the door or window, by which the ashes of
' Spetzler, Opfer- unci Grab-Alter-
thiimer zu Waldhausen, 4to, Liibeck,
1844, PI. V. Nos. 1-4.
* Estorf, Heidnische Alterthiimer, fo.,
Hanov., 1646, Taf. iii.
• Lubbock, Sir J., Prehistoric Times,
8vo, Lend., 1869, p. 51.
2 Q 2
596 CELTIC, TEUTONIC, AND SCANDINAVIAN WARES. Part V
the dead were introduced, and the whole then secured by a
small door fastened with a metal pin. A second vase was found
at Eoenne ; a third in the island of Bornholm. A similar urn
exhumed at Parchim had a shorter body, taller roof, and door
at the side. Still more remarkable was another found at
Aschersleben, which has its cover modelled in shape of a tall
conical thatched roof, and the door with its ring still remaining.
Another with a taller body and flatter roof, with a door at the
side, was found at Klus, near Halberstadt.^ The larger vases
were used to hold the ashes of the dead, and are sometimes pro-
tected by a cover, or stone, or placed in another vase of coarser
fabric. The others are the household vessels, which were
offered to the dead filled with different viands. Some of the
smaller vases appear to have been toys.
Extraordinary popular si5perstitions have prevailed amongst
the German peasantry as to the origin and nature of these
vases, which in some districts are considered to be the work of
the elves; in others to grow spontaneously from the ground
like mushrooms ; or to be endued with remarkable properties
for the preservation of milk and other articles of food.^ Weights
to sink nets, balls, discs, and little rods of terra-cotta are also
found in the graves.
Connected with this class, and finishing as it were the series
of these remains, is the Scandinavian pottery, which resembles
in many particulars that of the Teutonic populations, and is
intermediate between the Celtic and the earlier or Pagan Saxon.
Its paste is coarse, and much interspersed^ with calcareous sub-
stances and particles of mica.^ It was made of the local clay
and not turned on the latlie, but fashioned with the hand in the
lap, a method still retained in Scandinavia.* It is probable that
it was baked in a way still practised in Scandinavia, namely, by
placing the pieces in a hole in the ground, and surrounding
them with hay, which is then burnt ; a feeble process, indeed,
but yet sufficient for vases only intended to cover the ashes of
the dead.^ The paste is either of a very dark gray, or of a
light brown colour. Such at least are those in the Museum at
^ Lisch, Ueber die Hausurnen, 8vo, shape of a bird. Taf. vi, ix. 5.
Schwerin, 185(5. ^ Brongniart, Traite', i. p. 480, PI.
2 Keferstein, Kelt. Alt., 311 ; Buscli- xxvi. xxvii.
ing, Die heidnischen Alterthumer ^ Ibid.
Schlesiens, fo., Leipz. 1830, Taf. iii. 2a, 6. i ' Brongniart, Mus. Ce'r., x. figs. 1 0,
Found with terra-cotta toys, one in | 11.
Chap. I.
SCANDINAVIAN POTTEKY.
597
Sevres. The form is more regular than the Celtic, but not so
good as the Koman ; the ornaments are also more distinct, but
the baking is feeble.
The prevalent shape is the olla or jar, some of which have
perforations or little handles at the sides, apparently for cords
by which they might bo carried. Some rare examples have
conical lids. Smaller vases of other shapes are also found.
The prevalent ornamentation is the fret or herring-bone, and
triangular bands, arranged horizontally or vertically to the axis
of the vase ; the maeander also occurs.^ They are found in
the oldest tombs of the so-called Stone period,^ and held or
covered the ashes of the oldest inhabitants of the Cimbric
Chersonese.
In the specimens of this ware hitherto published, the shapes
bear a resemblance to those found in Greece and Germany
rather than in England. Thus, an elegantly formed hemi-
spherical cup, another with two large handles resembling the
Greek skyphos, a diota and amphora with tall and narrow
cylindrical necks, apparently well turned, have been attributed
to the stone period.^ Such vases were apparently turned on the
wheel, and could hardly have been moulded by the hand. The
vases of the Bronze period also bear more resemblance to
the German than British pottery. The most remarkable shapes
are the hut-urn, a kind of amphora, and a tall jar surmounted
by a cover.* The remains of the Iron age are contemporary
with the Saxon or Christian period, and belong to another
branch of the study of the fictile art. A small cylindrical
bushel with an iron hoop and handle, from Bergen, in Norway,
in the British Museum, is very like the Early British, of brown
colour, with diagonal workings and micaceous. It is rather
later than those of the Iron Age.
Future researches, more accurate observations, and scientific
examination of the remains of the Northern races, will help to
class more strictly the pottery of the rude tribes, to assign its
ethnological character, and geographical distribution. Amongst
those remote from Eoman conquest, or those antecedent to the
» Hist. Mittheil. v. k. Gesell. fur
Nord. Alterth., 8vo, Kopen., p. 835,
p. "^^
102.
^ Janssen, De Germansche en Noord-
sche Monumentcn van het Museum te
Lcyden, 1840, 8vo, Leyd., p. 20, PI. ii. ;
Worsaae, Primseval Antiquities of Den-
mark, by J. W. Thoms, 8vo, Lond., 1849,
p. 21.
^ Worsaae, Afbildninger, 4to, Kjoben-
havn, 1854, pi. 16.
* Ibid., pi. 54.
598 CELTIC, TEUTONIC, AND SCANDINAVIAN WAEES. Part V.
rise of the Empire of the West, may be traced ornaments and
types which show the influence of a higher civih'sation. The
slave's ashes in the olla of the Eternal City, those of the un-
conquered chieftain of the North in his rude urn, the Etruscan
larth's in the model of his house, the Teutonic leader's in his
hut-shaped urn, the Briton's ashes covered by the inverted jar,
the Koman legionary laid in his last home roofed with tiles,
show one common idea of sepulture, one universal application of
the potter's art.
Yet time and patience unclose many mysteries. There are
in art, as in literature, certain diacritical signs, which enable
those initiated to ^x what appears at first sight to elude appre-
hension. Not only each tribe and family use a separate type
of shape and ornamentation, but even these are in their turn
insensibly influenced by time and external circumstances.
Hence the advance and progress of certain races, as relates to
themselves or as compared with others, are to be seen in their
monumental remains. For the history of those races which
have left no written records, no inscribed memorials, their pottery
is an invaluable guide. It may be compared with those fossil
remains by which man attempts to measure the chronology of
the earth, for the pottery of each race bears with it internal
evidence of the stratum of human existence to which it belongs.
Its use is anterior to that of metals ; it is as enduring as brass.
All the pottery of the northern races is of the lowest order
■with respect to those qualities which characterise excellence in
the potter's art. Their kilns, it is evident; were of the rudest
and feeblest kind ; little care w^as paid to the preparation of the
clay, and the fashioning was a mere rude modelling with
the hand. The simplest kind of ornamentation delighted the
inhabitants of the rude huts of the north. In no instance has
the potter left either his name or other inscription on the vessels
he made ; and their age and fabric have to be searched for in
the objects which surround them, or in the character of the
locality where they are found. Great doubts will for some time
prevail as to their actual age, and even the divisions of time
supposed to be marked by the so-called ages of Stone, Bronze,
and Iron are not definitely settled. When the potter's art
arrives at perfection, it charms by the impress which embel-
lishes it, but the examples in its infancy instruct by the clue
they aiford to the primitive state of mankind. A due know-
ledge of the great distinction of the various products of the
Chap. I. REVIEW. 599
art of pottery amongst the ancients is essential to a perfect
knowledge of the relative antiquity of races and sites. The
use of letters is comparatively recent, the glyptic and graphic
arts only exist in their later forms as exercised on unperishable
materials ; but in every quarter of the world fictile fragments
of the earliest efforts of the human race lie beneath the soil,
fragile but enduring remains of the time when the world was in
its youth.
of
( (iOO )
APTENDIX.
INSCRIPTIONS ON TILES.
The number of inscriptions on these tiles is so great that they
would occupy too much space for the Appendix. The principal
will be found in Fabretti, Corp. Inscript., c. vii. pp. 512, 513;
Donius, Inscr., p. 98 ; Maffeius, Mus. Veron., p. 109 ; Boldetti,
Osserv. sopra i cimiterj di Roma, Vol. i., pj). 527-531 ; A. de
Romanis, Le Antiche Camere Esquiline Rom., 1822, Tav. v. p. 45 ;
Schopflin, Alsat. Illust., T. i. p. 511, Museum, p. 108, Tab. ix. ;
Hagenbuch, De figlinis in circulo sive in orbem inscriptis in
Orellius' Corp. Inscript. Lat., II. p. 37, s. 22 ; Bellerman, Die alt-
Christl. Begrabnisse, p. 62 ; D'Agincourt, PI. Ixxxii. pp. 82-88 ;
Janssen, Mus. Lugd. Bat. Inscript. Graec. et Latin. Tab. xxvii.
p. 121 ; Steiner, Corp. Inscr. I. pp. 253, 301, 329, 337, 345; II. pp.
19, 112, 140, 149, & foil
STAMP OF LEGION.
TITLE.
LOCALITY.
LEG. 1. AD
Adjutrix.
J^ayence, Wiesbaden, Darm-
stadt.
LEG. 1. MIN.
Minervia.
Voorburg.
LEG. 1. MEN.
Minervia.
Nimeguen.
LEG. 1. PR. MIN.
Prima Minervia.
Voorburg.
LEG. 1. MR.
]Miaervia.
Augst, Wijk bij Duurstede.
LEG. 1. M. ANT.
Minervia Antonina.
Voorburg.
LEG. 1. M., MP MP.
Augst.
LE. M.
Bonn.
LEG. 1. M. P. F.
Pia Fidelis.
LEG. 1. M.
L. 1. M. roivvs 1
AVGVS.] 5
Wiehelhof.
LEG. II. ITA.
Italica.
Ems.
LEG. II.
Ems, Obernburg.
LEG. II. AVG.
Augusta.
Caerleon.
LEG. II. AVG. .ANT.
Augusta Antonina.
Caerleon.
LEG. III. M.
Martia Victrix.
Scotland.
LEG. IV.
Xanten.
LEG. IV. [VIR SEV.
PLAG. F.]
LEG. V. M.
Macedonica.
Baden.
LEG V
APPENDIX.
601
STAMP OF LEaiON.
TITLE.
LOCALITY-.
LEG. V. P. F. M.
Pia Fidelis Macedonica.
Cleves, Nimeguen.
LEG. V. M. MAG.
Xanten.
[TLVSEN SEVI]
VICTRIX PF CLD.
F.C. LVC SECVN-
Dl.]
Xanten.
LEG. VI. V.
Victrix.
Nimeguen, Augst, Xanten.
LEG. VI. V. P. F.
Victrix Pia Fidelis.
Birten, Darmstadt.
LEG. VI. P.
Rodenkirchen.
LEG. VI. P. F.
Aix-la-Chapelle, Windisch.
LEG. VI. VICTRIX.
Aix-la-Chapelle.
VICTR.
Calcar.
LEG. VII.
Galbiana.
LEG. VIII. AVG.AR.
Augusta Armenia Felix.
Niederbiber, Baden, Hod-
FE
desdorf.
LEG. VIII. AVG.
Augusta.
Birten, Mayence,Nidd, Wies-
baden.
LEG.. IX. VIC.
Victrix.
York, Xanten.
LEG. IX. HISP.
Hispanica.
York.
LEG. IX. MAC.
Macedonica.
Baden.
LEG. X. F.
Fretensis.
Jerusalem.
LEG. X. (G.)"
Gemina.
Caer Rhyn, Nimeguen, Xan-
ten.
LEG. X. G. P. F.
Gemina Pia Fidelis.
Voorburg, Vienna.
LEG. XI. C. P. F.
Constans Pia Fidelis.
Kloten.
LEG. XI. C. P.
Kloten.
LEG. XI. C.P.F. G.
Claudia Pia Fidelis.
Windisch, Oberculm, Griess-
P.F.
lingen, Hufingeu, Win-
disch.
LEG. XII. F.
Fulminatrix.
Mayence.
LEG. XIII.
Vienna.
[SEMPERONIVS
Gemina.
SABELLIAS
Winterich,
CRESENTIOF
IVL. PRIMVS
Hochst.
HELVIVS MOI-
Nidd.
ANS3
LEG. XIII. G M. V.
Gemina Martia Victrix.
Baden, Mayence, Petronelli,
Zahlbach, Wiesbaden.
LEG. Xllll.
LEG. XIV. G.M V.
Transrhenana Germanica.
Dormagen, Petronelli, Nidd.
LEG. XV.
Nimeguen, Wiesbaden.
LEG. XV. A.P.
Augusta Pia.
Petronelli, Xanten.
LEG. XVI.
Neuss.
LEG. XVII.
Voorburg
LEG. XVIII. F. P.
Firma Primigenia.
Vetera.
LEG. XIX. P.
Primigenia.
Xanten.
LEG. XX. PR.
Primigenia.
Cleves, Neuss, Nimeguen.
LEG. XX. V. V.
Valeria Victrix.
Chester, Nimeguen.
LEG. XXI. R RAP.
liapax.
Mayence, Xanten, Ruck-
RP.
ingen, Grosskrotzenburg,
Hochst.
LEG. XXI.iSEC.VI.
Secunda Constans Victrix.
Kloten.
LEG. XXI. C.
LEG. XXI. G.R.
Gallica Rapax.
Windisch.
LEG. XXI. S.
i
Kloten, Baden.
LEG. XXI.
LEG. XXI. S. C. VI.
Wiehelhof.
Windisch.
602
APPENDIX.
STAMP OF LEGION.
TITLE.
LOCALITY.
LEG. XXII. P. P. F.
Primigenia Pia Fidelis.
Mayence, Xanten.
CV.
LEG. XXII. PRI.
Primigenia.
Niederbieber, Bergen, He-
dernheim, Wiesbaden, Ma-
rienfels, Coblentz.
lEQ. XXIII. G.
Gemina.
Xanten, Stockstadt, Hohe-
berg.
Darmstadt.
LEG. XXIV.
LEG. XXV.
LEG. XXVI.
LEG. XXVI.S.C.VI.
Severa Claudia Sexta.
LEG. XXVII.
LEG. XXVII.
LEG. XXVIII.
LEG. XXIX.
LEG. XXX. VAL.
Valeriana Severiana Alex-
S.A.A.
andrina Augusta.
LEG. XXX. V. V. P.
F.
LEG. XXX. V. V.
Ulpia Victrix Pia Fidelis.
Ulpia Victrix.
Nimeguen, Rodenkirchen,
Aix-la-Chapelle, Xanten.
LEG. XXX.
Nimeguen, Hooldorn, Calcar.
LEG. XXX. V. VI.
Nimeguen, Voorburg.
LEG. XXX. [COP. F.]
LEG. XXXIX.
Primigenia.
Xanten.
LEG. CISRHENA-
NA
LEG. TRANSRHE-
Transrhenana Germanica.
Bonn.
NANA GERM.
COHORTS.
PRIMA COH. QV.
Quorquenorum
Nimeguen.
COH. III.
COH. ill. VIND.
Vindelicorum
Niederbieber, Helferich, Bi-
COH. III. VINDE-
,
^chofshof, Saalburg.
LICO VM 1.
COH. III. TR.
Trevirorum
Hoheberg.
COH. III. AQ.
Aquitanorum
Stockstadt.
Ruckingen.
COH. E. A Q.
Equitum Aquitanorum
COH. 1. CIV. R.
Civium Romanorum
Saalburg.
COH. III. DAL.
Dalmaticorum
Wiesbaden.
CIV. V. CIVIVM.
Voluntariorum.
Rugel.
C. II. R.
Cohors 11. Rhaetorum
Mt. Taurus.
COH. IV. VIND.
Frankfort, Wiesbaden, Nie-
derbieber.
COH. XXVI. VOL.
Voluntariorum Civium Ro-
Baden.
C. R.
manorum
COH. II. IS.
Kochendorf.
XV.
Wiehelhof.
CCPE EX GER
Niederbiebei".
INF
COH. 1. HEL.
Helvetiorum.
Olnhaussen.
APPENDIX.
603
STAMP OF LEGION. ' TITLE.
LOCALITY.
VEXIIJ.ATIONS.
VEX.
VEXILI.
VEXILARI.
VEX. EX. GER. F.
VEX. EX. GERM.
VEX. LEG. GERM.
VEX. BRIT.
VEX. K.
EX. GER. INF.
On same tile LEGI,
MAMI.
VEXI.
VEX. EX. GERM.
Exercitus Germaniae Infe-
rioris
Exercitus Germanicus
Legionis Germanicae
Britannica
Nimeguen.
Nimeguen.
Nimeguen.
Bonn.
Wiehelhof.
EX. GER. INF. IF.
EX. GER.
EX. G E 1.
Exercitus Germanise Infe- Nimeguen, Bonn.
rioris |
Bonn, Voorburg, Calcar.
N. BRIT. CAL.
Numerus Britonum Cale-
doniorum.
Olnhaussen.
CL. BR.
CIV. V.
Classis Britannica.
Gives voluntarii.
Lymne, Dover.
KAR.
LON.
VINDOB.
Carnuntum
Londinum
Vindobona
Petronelli.
London.
Vienna.
INSCKIPTIONS ON LAMPS.
A'A*
A'A-N'N'
ACE
ACCIANA PVBLI
SATRI
F'CAM*
A'COCC'FEL-
AED-
AELI MAXI
AGATE
AGILIS
AGILIS'F
AGILIS'OF
Al
AIATO
AIMILI ERONIS
ALBINVS
ALEXAN
AMRD
ANNAM
ANI
ANIA
ANISDO
ANTO'AVG-
ANTON
ANTONINI
ANTONINI
AQVILIN
AQVILINI
AREOLIN
ARI
ARIONIS
ARRE
ATELLVS'F
ATILI-REST*
ATIME'F
AVQ-
ATIMETI
ATRVSA
ATT I
ATTIANVS
ATTILIVS'F
AVF'FRON
ATY
AVF- FRONT
AVG'ANTONINI
AVGNR
AVGNRI
A'VIBI
AVLLI
AVR'XAN
BAGRADI
BALSA
BASAVGV
BASSA
604
APPENDIX.
BASSIDI
BESTIALIS
C'ABRILIS'F
CAI'ADIEC'
C'lVN'DRAC*
CANTO
CASSV
CAI MERCVR
CABS
CAIVS'LVCIVS
MAVRVS
CAMSAR
CAMVR
CANA'FEL
CANI
CANINIA
CAPITON
CAPITO'F
CAPRINVS
CARINIA
CARPI
CASSI
C ATI LIVES
C'CAESAE
CXAESAR
C'CELER
C'CiSI
C-CLO'SVC
C'CLO'SrO*
C'CLO'SVC
C'CLODIVS'SVC-
cvs
COMMVNI
C"CORN-VRS*
C'DESIGNATVS
C'FAB'IVS
C-FABR"
C'FABRIS*
C'FABRVS
C"FAM-
CHRES
c-icci
C'lCCI -VATIC
C ICCI "VATICAN ■
C-ICCII -VATICAN!
CISTEAS
C-IVEIT*
CINNAMI
C'lVL-APAAC
C'lVL-NIC-
C-IVL-NICEP
C'lVLI-NICI
C-IVL-PHI
C'lVL-PHILJ-
C-IVL-SO-
C'lVL-PHIL
C-IVN-DOMIT
C'lVN-NH
CLO-HE
CLQ-HEL
CLQ-HELI-
CL-LVPERCAUS
CLO'L-DIA
CLVNERI-
C'MARV
C-MEM*
C-M-EVPO
CN-AP-AP
CN-ATEI-
COEFrO
COMITIANS'F
COMMVNIS
C-QP-REST
C-OPPI-REST*
C'OPPI-RES
COMMODI
COMMODI TERTIA
COR -AV PAS
CORDI-
CRACLID*
C-POM-DIC*
C-PPE
CRESCENS
CRISPIN
C'SECV
C-TER
C-TERT'
C-TESO:
C-VICILAR
CVIVRI
C'lAS-AVGV
D'ET'DEI-N
DEO-N-PIS
DIOGENES-F
DOMITIA
DOMITIA D-E- (or,
ET) D - N
DRAC-
EG'APRILIS*
ERACLID-
EROTIS-
ERTI ANC
EVCARI-F
EVCARPrOF
EVCHARES-
EX-OFF-HORTENSI-
EX-OF- PV- ET-TI*
ADPORT-TRIG-
F-
FABRI
FABRIC -AGAT
FABRIC-A-MAS
FABRINI
F-AEL-ER-AC
FAVSTI •
FESTI
FELI
FIDELIS .
FLAV
FLAVD-P
FLAVI
FLAVIA
FLAVIA D-E'D'N- ■
FLAVIA D'ET-DEI"
FLAVIA D-ET'DEI
N-
FLAVIA D'ET -D-N
FLOREN
FLORENS
FLORENT
FORTIS
FORTIS'N*
FORTVNI'N'
FRONTO
GABINIA
G-NVMICir
G'P-R-F-
HERACLIANV
riccrvATic
J- MS'V
INA
INVLISVCO
lON-IV-CI
G-VF
IVLCIRI
IVLIAE Nl*
IVLIENI
IVNCA
IVN-ALEXI
IVSTI
IVVIHERM
KV
LABERI
L-CAESAE
L-CAESA'F
L-CAMSAS
L-CEVS-F
L-COELI
L-COELI-F
L-DP
L-DOMITI'P
L-FARR-AEAE-
L-FABRI-AEVI
L-FABR
L-FABRIC'MAS
^L- FABRIC- MASCL'
LITOGENES
L-IVLI-RE-
L-MAMIT
L-MARMI
L'M-C
L'M-MIT
L'M-RES
L'M'PHI-O
L-M'SA-
L'MVRA-M
L-OPPIRES
L'OREST
L-PASISI'O
L-PASISI'R
LPR|-
L'SEP
L-SERGI
L-T
LVC-CEI
LVCI
APPENDIX.
605
L'MA-ADIEC
LVCI
LVCIVSCAECILIVS
SAEVVS
LVPVS
M'
MARCIAN
MARN
MART
MAXI
MAXIM
MAXIMI
MAXIM"SAC*
M'ELI
MEM Ml
MENANDER
MERA
M'lVL'PHI
M"IVL-PHILIP*
cos-Ill
M-IVL'PHILIPPI
M-NOTIVS
MONOS
M'OPPrOF
M" R'MTO
MVNT" RES
MVNT'REST*
MVNTRIPr
N*
NATE
NEGIDIVS
NERI
NEREVS
NNA
NNANN*
NNAELVCI
OFCHRESTIO'
OF-IONJS
OF'MODEST"
OF- PAR
ONORATI
OPI
OPPI
OPP-QVART
P'ACCI
PANNICr
PASTOR
PAS'AVG
P-ASINIVS
PASISID-
PHOETASPI
PONTI
PRIMI
PRISGI
PROB
PROBI
PVBLI
PVB-FABRICII
TERTIA
Q-ALLA'D
Q'MAMI'CEL
R'
ROMANE'V
RVDIA-SABRI*
SABINIA'
SAECVL'
SAM"
SARNIOF
SATRI
SAT'
SATTONIS
SATVRNINI
SENJCIO'FE-
SERG'PRIM
SEVERI
SEX'EGN- APR
SEXTVS
SILVOS
SINORVS
STEPANI
STROBIL-P
SVCCESE
SVCCESSIVI
SVL
TAXIAPOL
TERTVLLI
T-QELER
T'FLAVriANVARI*
FLORENT-
TIN DA
TINDAR'PLOT- AVQ
LIBERTVS'
TIBERINA-P'C'L
TINLVTI
TITI
TITINIA
TRAIANI
TVRICrSAB
VEGETVS'F
VEICRIS
VETTI
VIBIAN
VIBIVS
VICTOR -F
VICTORINVS
VITALIS'
VMVN-SVG
VOVIVS
VRBINVS'F*
VRsro*
VSAJA-M
SNOIIVS
Impressed In labels referring
to subject.
DEO QVI EST MAX-
IMVS
ADIVVATESODALES
ANNVM NOVVM
FAVSTVM FELICEM
Ml
STAMPS ON THE HANDLES OF ROMAN AMPHORA.*
A'CIRGI
AFRI
AGRICOLAE
APFSC
ARCHEIA
AXII
BARNAE
BELLVCI
C, CF-AI*
• I • I ; • I V ■ R
C'lV
C'VH
CANINI
CIREXORAS
COR!
CRADOS
DAMAS
DOM"S
EIPC
EVrSTERPS
GIAB-
GORCIA--
ICIOR
IIICA"MENSS
IIIMIN
ro'vir
HILARI--
HOSDAS'
I EN
L'CPI
L-ME
LO'S'
MAXIMV8
MIM
MOGVED-
OCCO
OMR
PAVLLVS
QVNAND
ROMAN!
RVFIAN
RVMAS
* R. Smith, Collectanea, i. 149-150 ; Archeol. viii.; Janssen, Inscr. p. 12, ami
following. Orellius, i. 129-441 ; Steiner, Codex i. 129-441. Oculist's stamp on
a mortarium.
606
APPENDIX.
S'F'E
SAENNVS
SCALENS
THrsvv
VALERI*
VIBIOR
VTRir
VISELLI-
C'ANT'QVIET*
C" ANTON -QV
C'F'AI
C'lVR-
C-MAR'STIL
G'M'T
LACONIS
L-CAN-SEC
L-C'SOLL*
L-CES'
L-IVN'MELISSAE
L'lVNI MELISSI
L'SER'SENEC*
L'S'SEX
M-C*C
M'AEM'RVS
MAR
M'EXSONI
M'P-R-
P'CRISP
P ' S * A
POR-L'AN*
P'VENETV
Q'VIIRATIVS-
CATVLINVS
QS'P
S " C ' L '
SEVERI'LVPI
S'VENT'VR'
VRSI
VIRGIRI
F, or FECIT, before the
name.
GERMARA'
C'CVFIA
F after the name.
G'APF
C'VA-
EROr
[FR3ATERNI
GESCV
SARTF
O F after the name.
•■•EMING
•"GEBI
••LCFPC
"SANI
SVI
M'
CARTVNIT
L'VROPI
NYMPMF'S
STAMPS ON MORTAKIA.
ALBINVS
ALEXAND
AMMIVS'
ANDREAS
APRILIS
AXII
BOISVS
BRIXSA
CAS"-
C CALAIS
C'E-F' P-R-
CELSANOS
CHOSDAS
CI B
CINTVSMVS
C'SENTI
DEVA-
DVBITATVS'
DOINV'DO"
ENNVSAMI
FELIX ANTRON
HSR
L-C-F-P-C'O*
LICINILLVS
LITVGENI
MALLA
MAMA
MARINVS
MATVCENVS
MAXICMVS]
PENEAS
Q-APPOL-SODAL
RIDANVS
RIPANI"
RVCCVS
SABINVS
SAEPIC
SAVRANVS
SATVRNINVS
SECVNDVS
SEXTI
SOLLVS
SVMACI
C'DVRONCTET
CHELIDOADCAL
TANIO
VIALLA
With F, or FECIT, after
the name.
ALBINVS
BORIEDO-
BRVSC
CANDIDVS
CATVLVS
C'FLAVIVS
CHOSDAS
LVGVDI
MARINVS
MARTINVS
MATVSENVS
PACATVS
PAVLVS
P'SEPVLLI-P
QVARTVS
QVIETVS
SECVNDANVS
SEQVT
SOLLVS
VIBIAN
With M after the name.
RIPANVS
with OF'
PRIMI
PRASSO
The name only.
A'TEREN-RIPAN
CASSIC'LEGE
C-ATISIVS'SABINVS
C'ATTIVS MANSI-
NVS
C'HERM
L" CAN 'SEC
L'FVRIVS'PRISCVS'
p.p.pj.
P-RB
Q'VA'SE'
Q'VAL- F'VERAN'F
Q'VALERIVS-
Q- VALERI ESV-
NERTI
Q'VALERIVS
VA'SEC'SATVRN
VERANIVS
QVI'VAL'
SEX 'SAT
SEX'VAL'
T[ITV]S'VI
RIPANVS TIBER'F
LVGVDV FACTVS
APPENDIX.
607
NAMES OF POTTERS OF SAMIAN OR RED WARE.
The accompanying list contains the names stamped on Samian
ware in England and on the Continent. It does not comprise the
Are tine potters. They are given as they have been published ;
many without doubt erroneously ; and others as single, which are
probably double names. Few are older than the time of Augustus.
They are classed according to the formula the potters used, as the
same names are found at Augst in Switzerland, at Murviedo in
Spain, in London, in Normandy, and Holland, it is evident
that they belong to some renowned pottery, whence they were
exported. The principal authorities are the ' Collectanea ' of Mr.
Eoach Smith, the list of Mr. Neville, the ' Cours ' of M. Caumont,
the * Normandie Souterraine ' of M. Cochet, the ' Inscriptions ' of
M. Janssen, and the ' Handbuch ' of Wagener.
With O, OFF, OFFIC before the potter's name.
ACRISI
IVGVN-
MVRRA
ACVTI
IVGVND-
MVRRANI*
ADVOCI
IVLI-
NARIS"
ALBANI
IVLIA-
NATIVIC
ALBI'
IVLIAE'M'
NEM
ALBVCIANI
IVLPATR*
NERI'
ALBIN'
IVSTI
Nl., NIGRI-
ARD
IVVENAL"
NIGRINIANI
ARDACI
LABI
NITORI"
BASSI
L'AE-
NOM-
GAL'
L'O-VIRIL
PAR-
CALP-
LIBERTI
PARI*
CALV
Liomr
PAssr
CALVr
LOVIRIGO"
PASSIENI*
CARAN
LVCGEI-
PASSINI
CARQ-
LVCIGOS'VIRIL
PATRICr
CELSI
LVCO
PATRIC*
GEN
MAGGA
PATRVCI •
GENSO"
MANA-
POLI
GENTO
MARAN
POLLIO"
GIRMI •
MARO-
PONT
GOTTO •
MONO
PRIM-
GOTVL
MATE
PRIMI-
GREM-
MATRI
PRIMVL-
ORES'
MEINI
PVDEN-
GREST*
MEM*
RIGIMI'
DOM"
MERO
ROSRVFI
DVDE
MINVS
RVFIN
FAB
M'LVCCA*
RVL-
FABIN
MO
SAB-
FAGER
MODESTI
SABIN
FAGE*
MOE
SAGRI
FEL MA*
MOM
SARMIT'
FELIGIS
MON
SENG
FIRMONIS
MONO
SEGV
FRONT!*
MONTEI
SEVER
FRONTINI*
MONTI
siis-
FVSG'
MONTO-
SUV
GER-
MONTECI
SVLPICI
608
APPENDIX.
SVRILLI
TERT-
TVRINI
VENMAN
VERINA
VIA-
VIRILLI-
L-C'VIRIUS
VIRTVTIS
VIT
VITA
VITAL
EX ' O F before the name.
HIRVN-
With O, OFF, or OFFIC after the potter's name.
ABALI*
ABAN"
ABARI-
ACIRAT"
AVRAP
ADVOCISr
ALBAN'
ALBI'
AMAND-
APRILI8
APRIS
APRO'
ARC
ATILIAN
AVITOS*
BASSI
BELLINI
BORI
BORILLJ-
BVRDONIS
CAN' PATR
CASSIA*
CRECIRI*
M'CRESTI"
CONTI
CRESTI"
DONNA
FELICIS*
GERMAN!*
lANVARJ
ISE
KALENDI*
LABIONIS*
L-C'CELSJ*
MANSVETI
MARCI
MARTI!
MISCI
NASCIT!*
PATERAT!
PATERCLINI*
PATERN!*
PONTI
REBVRRIS*
ROMVLI
SACERI •
SACERVASI
SACIRAP-
SATERNINI
SCENIG!
SEVER! *
SEXTI
SIIXTILI*
SILV!
SOLIM!
SOLEMN!*
TVRRIN
VAC"
VESTR!
VIRON!*
VITAL!*
With F, FE, FEC, FECIT after the potter's name.
ACCILINVS
ACIRGI-
A'CVRIO*
ADDO
AEQVIR*
ALBINVS
ALBVS
AMABILIS
AMMIVS
ANISATVS*
APER
ARC
ARGO
ASSIVS*
ATILIANVS
ATVSA
AVGELLA
AVLLVS
AVSTVS
BELINICCVS
BIGA
BIO
BITVRIX
BODVOC
BONOXVS
BVODVS
BVODVTIVS
BVCCVS
BVRDO
C'ABRILIS
CABRVS
CABVSA
CAIVS
CALMVA
CAMBVS
CAPASIAS
CARVS
CASTVS
CATVS
CASVRIVS
CAVPIN-
CERIALIS
CERTVS
CIBIS"
CILLVTIVS
CINTVSMVS
CIRRVS
COBNIIRT*
COCCA
COCVRNV*
COCVRO
COLLO
COMPRIN
COSAXT!
COSEVS
COSIA-
CONSTANS
CRACISA*
CRACVNA
CRAOSNA
CRIMVS
CROBRO
CRVCVRO
CVNI'IA
DAGODVBNVS
DAGOIMNVS
DAGOMARVS
DAMONVS'S
DERCINVS
DESTER*
DISETVS
DOCCA
DOCCIVS
DOCILIS
DOMETOS
DOMITIANVS
DONAVC
DRAPPVS
DRAVCVS
ELIVS
ETVS
FELIX-
FELIXS-
FESTVS
FVSCVS
GAIVS
GALBINVS
GARBVS
GATISIVS
GENITOR
APPENDIX.
609
GIO
GRACVS
HABILIS
HELL •'S
HELVIVS'FI
lABVS
lANVS
ICMRIMO
INPRITV
IRNVS
IVSTVS'
LATINIAN-
LAXTVCIS
LEO
L'GETVS'
LIBIIRALIS
LICINVS
LOLLIVS
LVCANVS
LUCCEIVS
LVCIVS
LVPVS
LVTAEVS
MACER
M-ACCIVS
MAGNVS
MAIOR'
MALLVRO
MANERIVS
MARCVS"
MARINVS
MARTIALIS
MARTIN-
MASCVLVS
MAYS
MEDDIC
MESTO
MICCIO
MIDIA
MINVCIVS
MOTIVS-
MOXIVS
MOXSIVS
MOXSVS
MVISVS
NASSO
N. DERCINVS
NATAL
NATTVS
NEBBIG
NESTOR
NICEPHORVS"
NIGER
NISTVS
PASTOR
PASTORINVS
PATER
PATERCLOS
PATERCLVS
PATERN-
PATNA
PATRICIANVS
PAVLO
PAVLLVS
PAVLVS
PRICVS
PRIMVS
PRISCrF
SERRVS
QVARTILLVS
QVARTVS
QVINTILIAN
QVINTVS
REGENVS
ROFFVS
ROPPVS
ROPVSI
RVFVS
SACER
SACINV8
SALV
SANVCIVS*
SATTO •
SATVRNINVS
SECANDINVS
SECVNDVS
SEDATVS
SENNIVS
SENTRVS
SEVERIANVS
SEVVO
SEXTVS'
SILVINVS-
SOLLVS-
SVOBNEDO
TASCONVS
TAVRICVS
TERTIVS
TOCCA
TOTTIVS
TVLLVS-
VERTECISA
VERTECISSA
VERTILIS
VESPO
VIGTIGIVS
VIDVGVS
VINDVS
VIRILIS
VIRTHVS
VITALIS"
VITINVS
With ME FEGIT
SEXTVS
F with a genitive for figuli.
GARANI
GELSIANI
CITSIANI
MAIORIS
MARGJ-
ROMVLJ-
SILVINI •
Without F after the name.
AGERO
AGVBIA
AGVTVS
ADVOSI
AELIANVS
AETERNI
AGEDILLVS
AGILIS
AGIILITO
AIISTIVI
ALBINI
ALBINV3
ALBVS
ALLIVS
AMATOR
AMONVS
AP0LLINARI3
APRONIOS
AQVIINVS
ARGANVS
ARSAGVS
ASIATICVS
ATE!
ATILIANVS
ATIMETI
ATINI
AVGVSTALI3
AVGVSTINVS
AVITVS
BARN/E
BASSVS
BESSYS
BIRAGRI
BIRRANTIN
BIRTIOLYS
BOLDO
BRAGTILLO
BYGGIYS
BVTRI
GABIAVA
GABRASIVS
CAGAYA
CAGER
CALYYS
CAMYLINYS
GAPASIYS'
GAPITOLINVS
GARINYS
GARR
GARYS
GARYSSA
GASTYS
GATIANYS
GAYPIYS
GAYTERRA
GAYTV
GELFS
GELSI
GELSINYS
GELTAS
GENSORINV
GERIALIS
GESORINI*
GIAMAT*
GINNAMI
GINTYSMY
GINTYGNATVS
GIRINNA
GITSIANI
GOBNERTYS
GOGYRO
COLLON
2 R
610
APPENDIX.
COLON
COMICVS
COMITIALIS
COMITIANVS
COMMVNIS
COTIS
COTTO
CRASSIACVS
CRE+CVS
CRISPINA
CRISPINI
CRVCVRO
CVPITVS"
DAGO-
DAGODVBNVS
DAGOMARVS
DAMO
DAMON
DAMONVS
DAVIVS"
DICETVS
DIGNVS
DilVI
DIVICATVS
DIVIX
DIVIXTVL-
DOCCIVS
DOIICGI
DOMINAG
DOMITVS
DONATV8
DOVIICCVS
DVRINV
ECVESER
ELLENIIVS
EPPA
ERCLVS
EROS
EVRVS
FACIVS
FEGILVS
FESIVS
FORMOSVS
FORTIS
FRONTINVS
GENIVS
GERMANVS'
GIAMI
GINOVII
GRACCHVS
GRATVS
HABILIS'
HILARYS
lACOMIO
lANVARIVS
lASO
ILLIOMAR
ILLVSTACO
IMAN
IMIVSETGAI
INGEN
lOENALIS
IVCVNDI ■
IVSTVS
LAGENVS
LASTVCA
LATINIANVS
LATINVS
L-C- FIRMINI
LIBERTVS
LICINILVS
LICINVS
LINIVSMIX
LITVCAMVS
LOLLIVS
LOSSA
LVCANVS
LVCANIVS
LVNARIS
LVPPA
LVTAEVS
MACCARI
MACRVS
MACRINI
MACRINVS
MAETOS
MAIANVS
MALLIA
MANSINVS
MARCELLINV
MARCIILLIN
MARCOTOR
MARNVS
MARTIALIS
MARTICVS
MARTIVS
MASONIVS
MASSA
MASCVLVS
MATERNINVS
MATRVPRO
MATRINVS
MATVACV
MATVCENVS
MERCATOR
METHILLVS
MINVVS
MINVTVS
M'NOTIVS
MONTANVS
MOSSVS
MOXIVS
MVLINOS
MVRRANI
NATALIS
NAVONIS
NERI
NERTVS
NEQVREC*
NICEPHOR-
NIMI
NORVS
IVL-NVMIDIC"
ONATINI-
OCARO
PATERCLIN
PATERNVS
PATRICIVS
PATVLVS
PATVLLIANI
PERE-
PERPET
PERRVS
PERVS
PETRVLLVS
PRIMVL' PATER
PRIMINVS
PRIMVS
PRVBCVS
PVBLIVS
PVRINX
QVADRATVS
QVARTVS
QVINTILIANI
QVINTVS
RAEN
RAMVLVS
REBVRRIS
RECMVS
REGALIS
REGINVS
REGVLINVS
REGVLVS
REVILINVS
RIIGALIS
RIIGNVS
RVCCATIA
SABELLVS
SABINVS
SACRANTI
SACRANTIVS
SALVE
SALVETV
SALVINI
SAM+IVS
SAMOGEN
SANTIAN
SANTIANVS
SARENTIV
SARINVS
SATVRNVS
SAXOFER
SCOROBRES
SECANDI
SENECA
SERRVS
SEVERI
SEVVO
SILVANVS
SILVI ■ PATER
SINATAS
SOLANO
SOLLVS
SVARA
SVRIVS
SVLINOS
SVLPIC
SVLPICIAN!
SVOBNEDO
SYMPHO"
TAVRIANVS
TERRVS
TERTIVS
TETT'PRIM-
TETTVR
APPENDIX.
611
TIRO
TITTIVS
TITTVRONIS
TRINONVS
TVRNVS
VENERANDI
VENICARVS
VERECVNDVS
VERONISSA
VESPONI
VIBIVS
VICTOR
VICTORINVS
VIINIIRANDVS
VILLANOS
VIRENS
VIRG
VIRIL*
VIRiLIS'
VIRTHV
VIRTHVS
VITALIS"
VILLO*
VOSIICVNNVS
VLIVVS
VMVN-SVG
VNICVS
VRVC
VTRINVS
ZOIL
With M ', or MA, for manu
after the name.
AELIANI"
AESTIVI'
AFRICANI
AIISTIVr
AISTIVr
AETERNJ-
ALBANr
ALBILLI*
ALBINI-
ANVMI-
ARACI
ARICr
ASCIATICI
ASCILLI-
ATECLO
ATILIANI'
ATTIC I
AVSTRI
AVENTINI
AVITI
AVINI
BANVNVr
BELINICCI
BENICCI
BENNICI
BIRR!
BORILLJ-
BOVTI-
BRICC
CACAS*
CALVI
CALVINI
CAMTI
CANAI
CARANTI
CARANTINI
CARETI
CARBONIS
CARILLI
CATIO
CATTO
CERIAL-
CHRESTJ-
CINTVSMI
CIRRI'
CIVRRr
COBNERTr
COCCIL-
COCCILI*
COCILLI
COLLI'
COMPRINNI
CONGI'
CONSORTI*
C0SERV8
COSMI*
CRACrS*
CRASIS'
CRISPIN!
CRV
CVCALI
CVCILLI
DAMINI
DAVICI
DECANNI
DECMI
DECVMINI"
DEM'-R-
DISETVS
DIVICATI"
DIVICr
DOCALJ-
DOMNA*
DONATI"
ELI-
EVOTALIS
FAVI'
GLVPEI
GENITALIS'
ILLIANr
IVSTI •
LALLI*
LIBERTI
LILTANI'
LIMETII
LOGIRN'
LOGIRNI'
LOTTI
LVPEI'
LVPI'
LVPINI'
MACCALI
MACILLI
MACRIANI
MAIORI
MALLI
MALLIACI
MALLICI
MANDVILL
MARCELLI
MARCELLINI
MARCr
MaRINI'
MARITI"
maritvmi
maroilli-
martcdanj-
martialis
MARTINI
MAPTIO
MATERNINI
MATT I
MAXIMII
MELISSVS
MEMORIS
MERCATOR
MERETI-
METTI-
MICCIONIS
MIDI'
MINVLI
MINVTIVS
MITERNA
MONTI
Mossr
MVXTVLLI •
MVXIVni
NAMITA
NERT'
NOBILIANI
OF"CIA
OF'IVLIAE
OPTATI'
OSBI
OTACRE
OVINII
PACATI
PASSENI'
PATTOSVS
PATRICI
PAVLI
PAVLIANI
PAVLLI '
PAVLLI
PIIRPETVVS
' PIIRVTANVCVS
PIIRVINCI
POMPEII
POMPEIVS
POTITIANI*
POTITINI'
PRIMITIVOS
PRISCIAN
PRISCILLI'
PVTRI
QVI'ASSA'
QVINTI
QVINTILI,\NI
QVINTINJ
REDITI
REGINI'
612
APPENDIX.
R!IOGENI
REGVLI-
ROLOGENI'
ROPPIRVr
ROTTLAI
RVFFr
RVFFINI*
SABINI'
SACIRO
SACRATI
SACRE
SAGRILLI
SANIANI
SANVILLI
SANVITTI*
SOOTH •
SEOANDI"
SEOVN-
SEOVNDINI
SEOVRI
SEDETI*
SENLIA
SENO
SENON
SERVI
SEVERI
SEVIRI
SIIGVOI
siixxr
SILDATIANI*
SITVSiRI
SORILLI
SVARTI
TASOILI
TASOILLl*
TAXIL
TEROII
TERTII
TETTI
TIBER!
TITVRI
TOOOA
TOOCINVS
TOSOINVS
VARVOIVS
VEGETI
VENERANDI
VENI"
VEREOVNDI*
VEST-
VIOTORI-
VIINIRANDI
VIIRI •
VSAIAON:
With M F or M S, ^anu
Sua.
CAI'
CENT
FVOA-
SAOROT'
VERTELI
With M AN V after tbe name.
PRISOILLI
Witliout M ■ or MA ' or F
ABIANI-
ADIVTORI
ADVOOISI
AEGEDILLI
AETERN
AIISTIVI
AITI
ALBINI
ALBVOI
ALBVOIANI
AMATORIS
ANTIOVI
A- POL 'AVOIR
A-POL-AVSTRI*
APR
APRONIS
ATE I
ATTIVS
BANOLVOCI
BASS!
BASSIOI
BELINIOOI
BENAVIOI
BENNIOI
BILIOANI
BILICAT*
BLAESI
BOINIOCI
BONOXVS
BRIOOI
BRITANN
BVOIANI
BVRDIVI
OALETINI
OANRVOATI
OARANI
OASSI
CASSIVS
OATIAN
OATVLI •
OELSI
OENSORJ-
OENSORINI*
OIITVS
OINNAMI*
OINNVMI
OINTVAGENI*
OINTVSSA-
OIRNIOr
OOSMIANI
GRANT
ORANIANI
ORESTI
GRISPINI
CVEBROI
OVTAI •
DAGOMARVS
DEOMARTI
DIOGNATI
Divixr
DOIIOI
DOMINIOI
DOMITIVS
DONNAVG
DONTIONI
ELVILLI
EPONTI
ERior
ERRIMI
FELIOIONIS
FOARI
FORTIS
FORTVNI
FRONTO
GAANIANI
GENITORIS
GENTO
GERMANI
GRANANI
HELINIV
lABJ-
lANVARIVS
IIIMVI
lOVANTI
ISTVRONIS
IVLIAN-
LENTVLI
LM-ADIEC
LM MIT
LM RES
LOGIRNI
LVOOANI
MAOOARL
MAOER
MAIORIS
MALLIAOI
MALVNONI
MAMILIANI
MA[N]SVETI
MAROELLINI
MAROI
MATRIANI
MATVRN
MAXIM!
MAXIMINI
MEDDIRIV3
MEROA*
METILI*
MIOOlO*
MISS!
NAMANTI
NARISIVS
NIGRINJ-
NIMI
PASSENI
PASSIENI
PATER
P'OPPI'PIN
PP"PATERNI
PATERNVLJ'
PATRIOI
PATVLLIANI
PEREGRIN!'
PONT!
PONTIACI
PRIDIAN!'
PRIMAIN'
PRIM!
PRIMVLI'
APPENDIX.
613
PRIMIS
PRIMVLI*
PROTVLI
QIVLHAB
QVADRATI'
QVE SALVr
QVINTILIANI
REGINL
REGVILL'
RELATVLI
RIPANr
RICTJIOGENI-
RIVICA
RVFINI
SABINV8
SACER
SACIANI
8ACIER
SACRANTI
SALVINI
SATVRNINI'
SEGANDI
SECVNDINI
SENONI
SERVILIS
SEVER!
SILITV
SILVANI'
SILVINI
SILVIPATRIGI
STROBILI
SVLPICr
SVLPIGIANI-
TALLINI
TITTILir
TITVRONIS
TOCCA ;
TRITVS
VAC • O
VALERI
VASSALI
VERECV
VERECVNDI
VEROCANDl
VESPONI
VICTOR
VRNNI
XIVI .
L'ADN' ADGEN
IVL-NVMIDI!
ALSOETIA*
AMIDV
AQVIT*
AQVITAN
ARDA'C
ARRO
A-SVLPIC
BVTRIV
CAGIL-ANTRO
CALV
CASIL*
C'GRATI"
CLO'HEL
CGSIR-
COSI-RVFIN
COTON
C'VAL-AB
DAMETGOS
DOGG
DONTIO'"IIC
FIRMO
UNCERTAIN FORMS.
FL-COS'V
F-SER-
GERMAN
ILLIOMEN
••••RIM
IVN E T MELISSE
FIMAN^
IVLIA*
IVLIA PATR
LACNO*
LANG*
L^FABR*.
GASCE
L^GELr
LOGIRN
L^RASIN^P-
L^P^RIG
MININ
MR^M-R'R
M'PER-CR-
M'R'MRR
N1B0
PAESTON
PASSIEN
PCD*
PCOR
PELT A
PRIMICCO
Q-VS-
•••R FLAIVII
SANTINOVC
SCOTO AVOTO
S'M'R*
S'M-T
TAVRI
TEBBIL*
TVRTVNN^
VERECV
VINN
VIRTH
XC
XVNX
A list of incised inscriptions is given, Janssen, loc. cit. p. 159,
and following.
OCULIST'S STAMP ON RED SAMIAN WARE.
[Fragment in British Museum.]
C^IVLI OENIS CR I OCOD-AD'ASPE'
BLACK WARE STAMPS.
CAMAR'O*
L-CASSrO
FIRMINVS'F
AVGVSTI-F^ .
INCISED INSCRIPTIONS.
MEMN-N-SAC'VIII
VALENTINVLEG^XXV
GENIO TVRNACENSI
DEOMERCVRIO
614
APPENDIX.
LIST OF THE PRINCIPAL COLLECTIONS OF ANCIENT POTTERY.
Addington, H,, Esq., St. INInrtiu's Lane.
Babington, Charles, Professor, Cock-
field.
Bale, C. S., Esq., 71, Cambridge Ter-
race, London.
British Museum, London.
Cadogau, Earl, 138, Piccadilly, London.
Cambridge, Fitzwilliam Museum.
Chichester Museum.
Field, E. W., Esq., Hampstf ad.
Fitzwilliam Museum, Cambridge.
Forman, W. H., Dyers* Hall Wharf.
Fortnum, E. C, Esq., Stanmore.
Gray, Mrs. Hamilton, Bolsover.
(iJuildhall Museum, London.
Hamilton, Duke of, Hamilton, Scotland.
Henderson John, Esq., Montague Place.
Hoare, S. R. C.
Lansdowne, Marquis of, Bowood.
Liverpool Museum.
Mayer, H., Esq, Liverpool.
Museum of Geology, Jermyn Street,
London.
Northampton, Marquis of, CastleAshby.
Northumberland, Duke of. Alnwick.
Society of Arts, Adelphi, London.
South Kensington Museum.
York, Museum of Philosophical Society.
France.
Museum of the Louvre, Paris.
Bibliotheque Nationale, Rue Richelieu,
Paris.
Boulogne Museum.
Lyons Museum.
Belgium.
BiuBsels Museum,
Holland.
Leydcn Museum.
Switzerland.
Berne Museum.
Denmark. ^
King's Collection, Copenhagen.
Thorwaldsen Museum, Copenhagen.
Russia.
Hermit:ige, St. Petersburg.
Kertcli Museum.
Odessa Museum.
Prussia.
Berlin Museum.
University of Bonn.
Austria.
Antiken-Kabinet, Vienna.
Bavaria.
Pinakothek, Munich.
B.\DEN.
Kunsthalle, Karlsruhe.
Kingdom op Italy.
Palagi Collection, Milan.
Museum, Florence.
Museum, Turin. \
Casuccini Collection, Chiusi.
Museo Rossi Bacci, Arezzo.
Museo Gregoriano, Rome,
Museo Borbonico, Naples.
Museum at Syracuse.
Museum at Pnlorrao.
Giudica Collection, Palazzuolo,
Malta.
Museum.
( 615 )
INDEX.
For some Greek forms in ai, k, o, u, &c,, see also their Roman equivalents in se, c, u, y, &c.
AAHENRU.
ARABIA.
AINEIAS.
287-291, 294, 311,
315,
^schylus, 210, 220
A.
316, 321, 336, 338
-340,
^sculapius, 113, 125,
497,
342-344, 346, 348,
350-
519, 514
Aahenru, 69
352, 356, 388, 389,
403,
iEsop, 128, 360, 515
aahlu, 69
404, 410, 416, 428,
429,
JEtna., 115
abaculi, 479
437, 460, 476, 514
^tolia, 538
Abadieh, 12
Acradina, 476
^tolian traditions, 260
Abaties, 241
AcriE, 116, 426, 427
colony, 421
Abbeville, 468, 592
acratophorum, 540
Afragola, 412
Abella, 417
acrolithic statues, 443
Africa, 219, 430, 432, 524
Abi, 21
Acropolis, 180, 183
agalmata, 127
Aboo Roash, 9, 10
aci'oterium, 442
agalmatolite, 69
Abooser, 30
Acta2on, 515
Agamemnon, 180, 181,
188,
Abu, 21, 50
Actaion, 460
210, 263, 267-8, 271,
272,
Abiidinos, 499
Aderl, 413
274-5, 289, 317, 320,
395,
Abundantia, 500, 583
Aderno, 430
396
Abuiy, 588
Admetos, 233, 236, 260
444,
Agatho, 519
Abydos, 9
460, 461
Agathokles, 158, 334,
426,
acanthus, 307
Adonis, 143-145, 147,
213,
476
Acarnania, 128
236, 424
Agathyrnum, 115
Accad dialect, 82
Adranon, 430
Agen, Lot-et-Garonney
528,
Accianian fabric, 520
Adrastos, Adrastus, 221
259,
580
Accianus fundus, 508
291, 461
Agias, 272, 288, 289
Acerenza, 420
adusmatotheke, 147
Agonios, Hermes, 237
Acerra, 417
Advocisus, 570
Agrianios, 137
Aceruntia, 420
Aecetia, 463
Agricola, 535
acetabula, 539, 569
^diles, 140-142
Agriens, 109
acetabulum, 551
^gina, 127, 192, 311,
392,
Agrigentum, 145, 221,
426,
Acetia, 461
409, 449
428
Acetias, 215
Jilginean art, 194, 196,
443,
Agrolas, 114
Achajan alphabet, 199
496
Agylla, 399, 408, 448
colonies, 41 1
JEgis of Minerva, 539
Aiakos, 266
Achaians, 421, 424
j^^^gisthus, 515
Aidas, 272
Acharnian gate, 393
.'Elia Maxima, 502
Aidon, 348
Achelous, Acheloos, 252,
297,
JEUus Caisar, 483
Aietos, 242
343, 350, 404
Maximus, 520
Aigeus, 257
Acheron, 266, 461
iEmilia Severia, 482
Aigina, 228, 338, 351,
391,
AchiUeid, 193, 225, 230,
260,
iEneas, 196, 206, 492, 514
395, 429
401
^netor, 138
Aigisthos, 274
^ ' lies, 180, 189, 191,
193,
iEolus, 515
Ailkos, 266
4, 211, 225, 226,
230,
vEquitas, 215, 461, 463
Aineias, 236, 268-9,
271,
>, 237, 239, 266-
i
-271,
araria, 426
286, 288, 289, 342, 404
616
INDEX.
AINIADES.
Ainiades, 348
Aiolis, 412
Aischylos, -us, 276, 280, 291,
397, 421
Aisimos, 351
Aithiopia, 395
Aithiopis, 269, 288
Aithra, 231, 256, 271, 340,
437
Aitolians, 375
Aivas, 461
Aix, 578, 579
Aix-la-chapelle, 477, 486-
488
Ajax, 226, 230, 267, 269, 270,
272, 288, 289, 315, 340,
350, 404, 460, 461
Oileus, 270
Akamantis tribe, 280, 321
Akamas, 271, 340-342, 437
akatos, 383
Akerkuf, 92, 93
akontia, 278
Akragus, 429
akratos, 229
Akrisios, 262
akroama, 282
akrostolion, 250
akroteria, 210
Aktaion, 234, 260, 423, 461
Aktaiun, 461
alabaster, 18, 24, 40, 50,
367, 376, 444, 455
alabastos, 193
alabastra, 400, 434
Alabastron, 24
alabastron, 187, 355, 367
alabastros, 367, 451
Alaw river, 589
Alba Longa, 410, 446, 595
Alban lakes, 410, 445
Albani, villa, 191, 480, 533
Albano, 446, 447
Alberoro, 410
Albinus, 549
Alb. Maximus, 490
Alcaius, 127, 155, 159, 202
Alcami, 117
Alcisthenes, 186
Alderney, 589
alectryon, 434
aleison, 378
Alexander the Great, 44, 82,
134, 157, 169, 199, 220,
222, 244, 313, 377, 384,
422, 425, 505, 515
Alexandei*, 538
Severus, 479, 482, 523
Alexandria, 38, 135, 136, 139,
140, 144, 432, 434
Troas, 114
Alexandrians, 365
Alexandrian art, 583
AMEN-RA.
Alexandrian grammarians,
454
Alfaterna, 417
Altriston, 588
Alhambra, 479
Al Hymer, 93, 95
Alicata, 426, 430
Alkaios, 275, 339
Alkathoos, 188
Alkestis, 253, 260, 266, 292,
444, 460, 461
Alkibiades, 325, 422
Alkimachos, 276
Alkinoos, 273
Alkis, 250
Alkmaion, 259
Alkmena, Alkmene, 255, 281,
290, 352
Alkyonens, 253, 338, 351
Allier, valley of, 499
Alliiap, 541, 561
Alnwick Castle, museum,
71
Aloides, Aloids, 179, 227, 229,
232, 234, 456
alphabets, 310-332
of Sigillaria, 500
Alphesiboia, 262
Alsheim, 579
Aisimos, 351
Alsium, 410, 454
Alta Mura, 420
Althaia, 281
alveoli, 475
Alybas, 424
Alytica, 118
Alyzia, 118
amaranth, 505
Amasis, 53, 54, 70, 335, 337,
347, 348, 400
Amazons, 239, 240, 242, 252,
258, 264-5, 269, 288, 295,
336-338, 344, 349, 351,
429, 437, 514
Amazonomachia, 193, 224,
254, 264, 343, 357, 410,
416, 420, 423, 425, 428-9,
438, 554
amber, 457, 585
Ambracia, 121
Amen, 74
Amenanchut, 52, 65
Ameneman, 21
Amenemapt, 21, 52
Amenemha, 21
Amenhept, 15, 19
Amenophis, 15, 19, 20
II., 12, 20
III., 11, 12, 52, 65, 68,
71, 73
IV., 65
Amen-Ra, 12, 13, 1?, 19, 20,
21, 53, 62, 65, 73
ANDROSPHINX.
Amenti, 23, 62
Amenusha, 19
Amesbury, 588
Amnion (oasis), 17
ampechonion, 198, 211
Ampelus, 512
Amphiaraos, 259, 291
Amphictyon, 122
amphikypellon, 379
amphiphoreus, 361
Amphitrite, 231, 293
Amphitryon, 281
amphora, amphoraj, am-
phoreus, amphoreis, 25-
27, 32, 36, 40, 85, 91, 92,
110, 134-140, 163, 164,
168, 181, 182, 187, 189,
191, 193, 197, 205, 208, |
213, 216, 217, 223, 300, '
302-304, 307, 336, 339,
340,, 342, 343, 345, 350,
352, 354, 361-363, 368-
370, 372, 394, 400, 402,
403, 414, 422, 424, 428,
429, 437, 438, 456, 490,
512, 527, 529, 531-533,
539, 542, 544-546, 548-
552, 581, 593, 594, 597
ampullae, 41, 540-1
ampullarii, 532, 571
Amram, 108
Amset, 23
amula, 537
amulets, 57, 58, 61, 63, 70-
72, 74
Amyklai, 263, 309
Amykos, 260
Amymome, 231, 233
Amyntas, 138
An, 42
Anacreon* Anakreon, 159,
200, 202, 276.
anaglypha, 553, 583
Anakles, 336, 401
Anakreontica, 221
analysis, 9, 47, 90, 104, 160,
173-6, 562
Anatolius, 135
Anaxilaus, 313
anaxyrides, 295
Anchippos, Anchippus, 271,
315, 340
Anchises, 196, 271, 342
anchor, .514
Anchsenamen, 52
L'Ancresse, Guernsey, 589
Ancus Martins, 408
Andokides, 328, 3% 341,
345. \y
Andromache, 268, 314, 374
Andromachos, 188
Andromeda, 263, 400, 515
Androsphinx, 403
INDEX
617
ANDRUTAS.
Andrutas, 188
Anglo-Romaa ware, 551
Aui^lo-Saxons, 592, 593
uuimals, 71, 73, 126, 169,
181, 239, 240, 286-7,
365, 403, 450, 456, 457,
492-3, 517-18, 558, 565,
567
Ankaios, 315
Annia Arescusana, 493
Anuiiis Verus, 483
Anau, 87
ansa, 504-5.
Antaios, 254, 339, 350
antefix, 118, 308-310, 441,
474, 475, 491, 493, 496,
509
Anthesteria, 144
Anthippe, 285
Anties, 241
Antigone, 256, 259,281
Autigonis, 382
Antigonus, 382
Antiklides, 220
Antilochus, 269, 288, 338,
492
Antinoe, 26
Antiochus, 138, 556
Antiope, 228, . 252, 258, 282,
314, 337
Antipater, 138
Antiphanes, 383
Antipolis, Phrygian, 530
Antisthenes, 366
Antium, 531
Antonines, 46, 117, 132, 478,
483, 559, 583
Antoninus, 113, 482, 492,
521
Augustus, 522
Pius, 531
Antonius Malchaeus, 46
Antony, 569
Antrim, 591
antyges, 171
Anubis, 7, 61, 64, 514
Anxia, 419
Anzi, 419, 524
Anzio, 531
Aon, 336
Aosta, 549
Apamsea, 143
Apate, 250
Apelles, 159, 220, 309
Aper, 489
apes, 53
Aphareus, 289
Aphrodisius Epaphos, 121
Aphrodite, 103, 111, 124-
126, 145, 167, 169, 211,
214, 221, 228, 231, 233,
235, 238, 243-245, 250,
259, 263, 267-269, 271,
ARCADIA.
277, 286, 289, 293, 297,
307, 315, 317, 373, 394,
418, 423, 431
Apis, 64, 73
aplustre, aplustron, 230, 250,
. 431
Apollas, 142
Apollo, 114, 117, 119, 122,
127, 138, 141, 227, 228,
232, 233, 234, 236, 238,
244, 246, 247, 249, 254-5,
259, 265, 269, 271, 274,
280, 281, 290, 293, 294,
298, 316, 317, 337, 346,
374, 389, 415, 416, 437,
492, 507, 512, 514
Helios, 136-7
Hyperborean, 205,
429, 511
Lycian, 316, 511
Musagetes, 492
Nomios, 238
Pythion, 511
■ Thymbraean, 269
Apollodorus, 140, 375
Apollon, 211
ApoUonidas, 140, 141
Apollonius Rhodius, 260, 296
Apollophanes, 133, 521
Apollos, 130
Appian Road, 493
Appleford, 582
Aprilis, 549
Apronianus, 485
Apt, 63
in Vaucluse, 531
Apuleius, 504, 516
Apulia, 162, 205, 208, 217,
219, 225, 292, 295-6,
298, 328, 360, 394, 398,
411, 419, 422, 426, 430,
431
Apulian style, 214, 294, 422,
437
vases, 302, 362-3, 369,
401
aqueduct, 120, 471
Aquileia, 524
Aquilinus, 519
aquimenarium, 537
Aquitan cohort, 488
Araban, 92
Arabia, 108
Arabs, 479
Arabus, 485
Arachne, 230
Aramaic art, 198
Aramjea, 109
Aramaean pantheon, 189
Arbila, 78
Arbor Lowe, 588
Arcadia, 113, 121, 242, 263,
396
ARI8TOMEDE8.
Arcesilaus, 130, 158, 193,
199, 496, 498
Archaic period, 185-6
Archedic, 245
Archemoros, 262, 282, 357
Archemos, 351
Archesistrate, 285
Archikles, 310, 333, 336
Archipelago, 547
Archippos, 430
Archons, 159, 430, 431
Archytas, 142, 425
Arcton, 140
ardalion, 378
ardanion, 357, 378
Ardarea, 420
Ardea, 463
Ardikes, 220
Arentsburg, 582
Ares, 179, 216, 227, 230,
233, 235-6, 247, 249,
254, 256, 259, 268, 293,
297, 383, 456
Arestius, 485
Aretaios, 276
Arete, 431
Arethusa, 166
Aretine ware, 457, 557, 558,
560, 575
Aretines, 560
Arctium, 399, 410, 441, 508,
519, 542,554-5,561, 564,
592
Arezzo, 410, 441, 542, 554-
5, 557, 560, 564-5, 580
Arge, 233, 234
Argentiera, 390
argilla, 465
Argive cups, 381
myths, 262
Argo, 260, 492
Panoptes, 237
Argolic buckler, 294, 383
style, 292
Argolis, 352, 396
Argonautica, Argonauts,'224,
225, 249, 255, 260, 262,
275, 342, 422
Argos, 156, 221, 317, 392,
394, 395
Ariadne, 225, 226, 237-242,
246, 257, 281, 294, 298,
311, 316, 318, 415, 429,
500, 512
Arimaspi, Arimaspoi, 265,
432
Arion, 281, 519
Aristarchos, 329, 478
Aristides, 220, 285, 325
Aristippos, 276, 431
Aristocles, 140
Aristogeiton, 431
Aristoraedes, 118, 140
618
INDEX.
ARISTON.
Ariston, aedile, 117
Ariston, 140, 329
Aristophanes, 131, 156, 210,
281, 292, 326-7, 331, 338,
345, 346, 348, 358, 363,
384
Aristotle, 131, 186, 213, 383
Arkesilaos, 275, 311, 436
Arktinos, 288
Armarius Sicinnus, 485
Armento, Armentum, 419
armillae, 449
armour, 293-295
arms, 512
Arnaise, 536
Arnsberg, 488
Arnthe, 335
arragonite, 24, 42
Arria Fadilla, 483
Arrius Diomedes, 533
ars cretaria, 552, 578
pajnularia, 578
pavementaria, 578
Arsinoe Zophyritis, 365
Artamitios, 137
Artaxerxes, 102, 276
Mnemon, 175
Artemidorus, 117
Artemis, 216, 227, 228, 232-
234, 238, 252, 254, 259,
262, 293, 344, 374, 416
Hyperborean, 127
Tauric, 235
Artemoklea, 129
artists, 170-173
Arulonpolis, 432
Aruns, 409, 462
aryballos, aryballoi, aryballi,
29, 40, 85, 104, 145, 187,
205, 355, 373-4, 433, 434
arysane, 374
arysides, 330
arysteis, 374
aryster, 374
arystichos, 374
arystris, 374
arytaina, 373
aryter, 374
asaminthos, 376
asarota, 479
Aschersleben, 595, 596
Ashdon, 582
Asia, 384, 457
Minor, 39, 179, 386,
388, 449, 457, 524, 583
Asiatics, 297, 440
Asiatic myths, 264
personages, 295-6
style, 453
Asinius Agrippa, 533
Pollio, 485
askidia, 168, 216
Asklepios, 246
ATHENS.
askos, askoi, 144, 146, 163,
168, 182, 187, 240, 307,
360, 458, 513
Asniferes, 579
Asobas, 352
asphodel, 307
Aspres in High Alps, 579
asses, 449
Assoro, 130
Assteas, 348, 418, 420
Assurbanipal, 79, 82, 88
Assur-ebil-ili-kain, 77
Assur-nazir-pal,77,78,88,105
Assyria, 73, 75, 457
Assyrians, 365, 449
Assyrian art, 121, 158, 186,
198
style, 54, 309
Asta, 542, 560
Astarte, 190
Asti, 399, 400
astragal, astragaloi, astraga-
los,127, 301,355,395,415,
540
Astyanax, 270, 289, 351, 424
Atalanta, 261, 263, 282, 291
Atella, 413
atf, 63
Athenaios, Athenaeus, 156,
292, 332, 373
Athene, 125, pi. p. 203, 216,
227. 229-235, 237, 238,
244-248, 251, 254, 256,
258, 259, 262, 263, 269,
271, 286, 289, 292, 316,
336, 338, 344, 346, 349,
351, 415, 431
Skiras, 122
Athenian archons, 431
myths, 266, 448
style, 184. 15^9,
360,
391, 422, 424
ware, 110, 392, 436
Athenians, 326-7, 359, 379,
394
Athenios, 276
Athenokles, 347
Athenry, 591
Athens, 26, 112, 114, 118,
119, 121, 122, 124, 126,
128, 130, 135, 140, 143,
146, 149, 156, 162-165,
180, 184, 187, 192, 194,
197, 202, 208, 209, 212,
219, 258, 271, 307, 311,
320, 324, 329, 335, 340,
341, 353, 355-357, 360,
361, 366, 375, 378, 381,
382, 386-7, 390, 392-
395, 397, 403, 405-408,
416, 424, 430-432, 434,
435, 438, 439, 443, 447,
449, 452, 459, 496, 554
AYLSHAM.
Athor, 7, 49, 56, 63, 64, 73
Atlas, 246, 249, 252, 281,
282
Atrane, 560
Atreidai, 289
Atreste, 461
Attains, 114
attegia tegulicia, 473
Attic dialect, 408
inscriptions, 429, 430
language, 426
literature, 414
myths, 258, 393
subjects, 408, 412, 416,
426
Attica, 129, 229, 264
Attilius, 524
Attius, 519
Atum Nefer, 53
Atys, 129, 514, 564
Auctios, 500
Aufianus, 535
Aufidius Fronto, 490
Auge, 254, 267, 281
Augst, 487
Augustan legion, 473
period, 569
poets, 514
Augusti, 521
, chapel of the, 483,
487
Augustus, 132, 140, 157,
468, 470, 478, 480, 496,
498, 505, 507, 523, 532,
555
auletrides, 282
Aulis, 289, 397
Aulus Bursenos, 499
"^ — Titius, 559
, figulus, 560
Aurelian, 467
Aurelius, 521
Marcus, 140
Pompeianus, 490
Xanthus, 520
Aurora, 121, 145, 209, 248,
266, 294, 314, 412, 422,
428
Ausonius, 476, 499
Ausonii, 416
Auster, 566
Autochthon, 109
Autun, 498
Auvergne, 572, 585
Avella, 398, 417
Avellino, 418
Avenches, 478
Aventine hill, 502, 520, 534
Avilia, 490
Avitus, Consul, 478
Axiokersa, 259
Axionicus, 131
Aylsham, co. Norfolk, 589
INDEX.
619
BAAL.
B.
Caal, 64
Baashok, 92
Babel, 97, 107
Babylon, 7, 7G-78, 81, 82,
92, 93, 96, &c., 107, 114
Babylonia, 18, 75, 108, 158,
433, 449
Baccha, 126, 222
Bacchanalian style, 379, 380
subjects, 151, 214, 337,
341-343, 352, 368, 424
Bacchanalians, 337, 415, 418,
428-430
Bacchante, Bacchantes, 127,
131, 145, 164, 209, 212,
221, 243, 256, 318, 396,
401, 513
Bacchiads, 396
Bacchic amphora?, 193, 309,
362
orgies, 420, 558
thiasos, 349
triumph, 241
Bacchus, 121, 209, 221, 224,
365, 492, 497, 512, 514,
537, 583
Indian, 437-8
Badbury Camp, 588
Baden, 487, 488
Badromios, 137
B^ebiana, 532
Bagradus, 519
BaifB, 132
Bakchai, 292
Bakewell, 588
Balaclava, 135, 583
balanompihaloi, 383
Ballagodine, co. Sligo, 591
balls, 57
Ballynatty, co. Down, 591
balsam-vase, 43
Banchory, Aberdeenshire,
590
bands, 44
Banffshire, 590
Barbarians, 492
Barbarus, 569
barbotine, 563, 573, 576
Barce, 534
Bari, 421
Baris, 19
Barrow Hills, 588
barrows, 586, 589
Bartlow Hills, 536
basalt, 18
bascauda, 541, 587, 589
Basilica, 112, 121,480,483,
568
Ba^licata, 157, 164-5, 168,
( 2, 199, 212, 219, 303,
7, 310, 380, 381, 398,
BETHLEHEM.
399, 402, 405,411, 417-
419,420,422,431,459
Basilicatau style, 218, 371,
383
Basingstoke, 546
basins, 86
Bas-reliefs, 103, 111, 443,
444
Bassa, 519
Bassus, 575, 579
Bast, 63, 64, 73
Batavian, a, 500
Bath, 582
baths, 468, 470, 472, 474,
475
Bathykles, 226, 309
Bathyllus, 331
Baton, 259
Battiad, 276
Battipaglia, 418
Bautzen, 594
beads, 58-62, 72, 434, 455,
586, 587
Beauvais, 503, 579
Bebrykos, 264
Beckhampton, 588
Bedford purlieus, 582
Beedon, co. Berks, 588
bee-hives, 501
Bel, 76, 100.
Beleniccus, 570
Belgium, 573, 577
Belinus Grecus, 500
Bellerophon, 127, 262, 292,
410, 423, 453, 515
Belle Vue, France, 528
bellglasses, 530
Bellona, 215, 461, 463
Bellucus, 535
Belshazzar, 85
Belus, 94
Bengazi, 212, 430
Beni Hassan, 33
Bennu, 64
Bentehahar, 20
Berenice, Berenike, 56, 159,
165, 212, 213, 219, 329,
412, 430
Bergen, Hanover, 593
Norway, 597
Berlin, 148, 331, 442
Academy, 570-1
Museum, 127, 176,
203, 340, 363, 419, 422,
423
Bernaldy Moor, 589
Bernard, 503
Bernay, 365
Bes, or Besa, 29, 64, 65, 71,
366
bessa, 29, 365-6
bessaies, 467
Bethlehem. 107
WIETAGNE.
liethlema, 479
Bibe, 503
Bicnaris, 500
biga, 500
Billericay, 581
bilychnis, 504
Bingen, 488
Binstead, 582
Binsted, Hants., 551
bipedales, 466, 473, 477, 485
Birs Nimrud, 92-97, 104
Birten, 487
Biscari Museum, 427
Bitonto, 420
Bittern, 578
bitumen, 479
Black Heddon, co. North-
umberland, 589
Blandfox-d, co. Dorset, 588
Boeotian buckler, 294, 390
coins, 311
skyphoi, 379
Boia, 276
Boiotarchs, 312
Boisius, 535
Boline, 234
Bologna, 400, 480
Bolognese legation, 400
Bomarzo, 402, 454, 462
bombylios, 366
Bonn, 488, 489
Bononia, 400
Borbonico, museo, 148, 357,
437, 560
Bordeaux, 548, 572, 579
Boreads, 260, 264
Boreas, 248, 256-258, 316,
393
Bornholm, 596
Borsippa, 102, 104
Borthwick, 590
Borys, 141, 142
Bosphorus, 142, 175, 432
Kimmerian, 432
bostrychoi, 202
Botham, near Lincoln, 573
Botteudorf, 593
Bouarieh, 99
Bourges, 579
Bousiris, Busiris, 252, 254,
344, 349
Boutham, near Lincoln, 582
Boxmoor, 472
Brandenburg, Elector of, 152
Brandon, 589
Brapiatus, 485
Brassington Moor, 589
Breccia, 18
Bredene, 577
Brequeruque, 580
Breselu Hills, Pemhr.
589
Bretagne, 591
620
INDEX.
BRETTII.
Brettii, 423
Breuberg, 488
Briakchos, 242
Briare, 477, 547
Briaxides, 400
Brighton, 588
Brikon, 242
Brindisi, 424
Briquet age de Marsal, 469
Briseis, 238, 267-8, 271,
281, 340
Britain, 445, 463, 487, 488,
498, 524, 548, 561, 568,
570, 589
British art, 576
Early, 597
potters, 550
potteries, 578, 590, 594
Britons, 423, 585
Brixsa, 549
Brixworth, 589
Bromias, 380
Bronwen, 587, 589
bronze, 24
age, 586, 595
kyathoi, 376
Brosely, 551
Broughton, 588
Brundusium, 166, 424
Brusche river, 498
Bruttian tiles, 485
Bruttii, 160
Bryaxis, 348
Brygos, 336, 348
Bubastis, 73
Buccellianum Museum, 440
Bucconian potteries, 484
Bulford, Salop^ 589
Bur, 102
burdaks, 29
Bures, Mount, 581
Burgonianum, vas, 393, 437
busts, 127, 443
Butzbach, 487
Byzantians, 353, 479
Byzantine empire, 478
period, 475
style, 222, 507
Byzantium, 138, 468
Byzes, 119
O.
Cacherin, 593
Cacus, 520
Cadmus, 224
cadus, cadi, 530, 539, 544,
546
Cacilii, 494
Cselia, 422
Cielius Mons, 480, 502
C^lus, 510
Caer, 487
CAMBRIDGESHIRE.
Csere, 149, 174, 190, 191,
311, 336, 337, 344, 399,
403, 404, 434, 446-448,
450, 457
Ca^re Vetus, 454, 456
Caerleon, 473, 487, 570, 582
Caernarvon, 582
Caesar, 396
Csesars, 482, 523, 554, 558
palace of the, 471
Caesennia, 534
Cairn Thierna, co. Cork, 591
Caius, 132
Antonius Quintus, 535
Atisius Sabinus, 549
Caelius Verus, 483
Caesar, 520
Clodius Successivus,
519, 520
Cosconius, 485
— — Cossus, 500
Faber, 520
— — Fabricius, 520
Iccius, 520-1
Iccius Vaticanus, 520
Julius Nicephorus, 520
Julius Philippus, 520
Lucius Maurus, 520
Marius, 533
— Memmius, 520
Murrius, 117
■ Oppius Restitutus, 520
Pomponius Dicax, 520
Popilius, 560
Secundas, 520
Sosius Senecio, 479
Vibianus Faustus, 560
Vigilaris, 520
Calabria Ulteriore, 423
calathi, 31 .
Calavo, 333
Calentum, 115
Cales, 124, 178, 417, 463
caliga, 507
calix, calices, 447, 530, 547,
551, 557, 569, 581
Callias, 140
Calliope, 399
Callirrhoe, 195
Callistratus, 140
calpar, 531
Calpurnia, 497
Calvello, 419,420
Calvi, 144, 417, 463
Calvisius, 517
Calydon, 188, 191, 193
Calydonian boar, 127, 403
Calymna, 118, 123, 132, 390,
569
Camaro, 574
Camars, 401, 441
Cambriasantus, 475
Cambridgeshire, 557, 582
CARTUKITUS.
Cambyses, 54, 102
Camillian potteries, 484
Camiros, Camirus, 189, 211,
390
Campagna di Roma, 477
campana, 205
Campana collection, 145, 212,
463
Campania, 149, 152, 157,
164, 174, 214, 295, 300,
310, 312, 327, 390, 398,
399, 406, 410, 412, 417,
426, 428, 430, 461, 496,
541, 570
Campo Morto, 404
Camposcala, 405
Campua, 413
Camulenus, 500
Camurus, 559
Canal de Bourges, 579
candelabra, 38
candelabrum, 551
candelabrum amphora, 362
Caninian, 489, 520, 521
Caninius, 142
Canino, 325, 404, 405, 436-7,
462.
canistra, 243
canopus, canopi, 29, 357, 514,
593
Canosa, 398, 420, 421, 463
Canterbury, 582, 588
cantharoi, 166
cantharus, 512, 514, 540
Canusium, 398, 421
capedo, 537
capeduncula, 537
capis, 537
Capitanata, 418
Capitol, 442, 502
Capo del Sevo, 434
di Monte, 437
■ museum, 151
Capraean orgies, 516
Capua, 144, 151, 165, 188,
215, 221, 249, 311, 332,
339, 398, 406, 425, 437,
463, 464, 560, 561, 580,
592
S. Maria di, 413
Caracalla, 480, 503, 522
Caractacus, 589
Carbonara, 420
carchesion, 540
Caretus, 570
Carian helmet, 205
Caristo, 392
Caristus, 392
Carlsruhe, 148
carnedd, 589
Carthage, 110, 183, 328,434,
479 n.
Cartunitus, 535
INDEX.
621
CASATUS.
Casatus Caratius, 571
Caspian sea, 170
Cassandra, 206
Cassel, 579
Castel d'Asso, 400
Castellaneta, 425, 426
Castellucio, 420
Castiglioncel delTrinoro,401,
454
Castor, 513
Castor, CO. Northampton, 529,
550, 573, 576, 578, 582,
589
castra, 472
Castra Vetera, 558
Castrades, 135, 397
Castrum, 487
Catana, 521
Catania,l 14,130,426,427,430
catellus, 538
Catiline, 523
catillus, 538
catiuus, 537, 538
Cato, 496, 532, 536
Catulus, 549
Catus iElius, 537
Caucasus, 265
Caudedec, in Normandy , 579
Caudela, 118
Caulonia, 191
Cava, 417
Cayster, 555
Cebes, 250
cedar, 18
Ceglie, 419-422, 425
Cella, 538
Celsus Pompeius, 521
Celtiberian, 570, 581
Celtic pottery, 445, 593
style, 550, 551, 584,
591-2, 596-7.
Celts, 585-587, 589
cemeteries, 456
censers, 587
Centaurs, 134, 192, 221, 222,
226
Centorbi, 211, 427
Centum Cella;, 556
Centuripae, 211
Ceos, 158
Cephalion, 142
Cerealis, 565
Ceres, 121, 126, 412, 496,
500, 502, 514
ceruba, 551
Cervetri, 149, 189, 191, 344,
403-4, 409, 417, 441, 442,
447, 450, 452, 454, 456,
462, 560, 583
Cerynitis, 513 .
Cesnola, Genei*al di, 391
Cesona, 454
Cestius, 505
CHITON.
Chabrias, 117
Chachrylion, Chachrylios,
337
chjetodon, 42, 55
Chairestratos, 337, 349
Chalcidian, 407, 412
Chalcosthenes, 112
Chaldasa, 82, 86, 96
inscrr., 108
religion, 54
style, 451
chalkeos keramos, 179
Chalkidian Greeks, 416
Chamairophontes, 329
Champagne, 555
Channel islands, 582, 585
Chares, 190, 194, 310, 348
Charidemos, 283, 391
Charinos, 337
charisteria, 443
Charitaios, 337, 404
Charites, 233, 246
Chariton, 329
Charmades, 220
Charminos, 328
Charon, 144, 210, 247, 273,
293, 329, 356, 444, 459,
460, 461
Charybdis, 273
Chatelet, 579
Chatelet in Auvergne, 566
Chefren, 61
Cheironea, 318
cheironips, 378
cheironiptron, 378
Chelis, 337
Chelsea, 439
Chemmis, 9
Chemnitz, 595
Cheops, 61
Cher, dcpt., 579
Cherhill-down, 588
Cherilos, 401
chernibon, 378
cheroulia, 360
Chester, 488
Chesterford, 581
Chian cups, 381-2
Chianciano, 401, 454
Chichester, 582
Chiliodromia, 391
Chilo, 276
Chimsera, Chimaira, 127, 254,
262, 287, 338, 457
China, 542
Chinese, 46, 69
porcelain, 439
Chionis, 279
Chios, 136, 143, 367
Chiron, 234, 267, 281, 290,
315-6, 344, 352,410,459,
461
chiton, chitons, 198, 211
CI8TA.
Chiusi, 194, 225, 344, 401-2,
409, 441, 445, 451, 452,
454-5
chlamys, 515
Chi oris, 248
choai, 210
Choinix, 146
Cholchos, 337, 348
Chons, 12, 53, 62, 64, 73
Chora, 241
Choronike, 241
Chores, 242
Chorrepous, 241
Chosdas, 535
chous, 372
Chrestio, 519
Christ, monogram of, 518,
548
Christian devices, 518, 548
lamps, 523
period, 523, 597
Chromatis, 524 n.
Chrysaor, 263
Chryse, 255
Chryseis, 268
chryselephantine, 231
sculpture, 197
chrysendeta, 526
Chryseros, 521
Chrysippos, 259, 423
Chrysokeramos, 475
Chrysor, 109
Chrysos, 209, 395
Chrysothemis, 210, 274, 395
Chrystina, 38
chutrinoi, agones, 144
chutrai, 370
chytreis, 333
chytria, 330, 332, 358
chytroi, 134
chytropous, 371
ciboria, 540, 551, 552
Cicero, 536, 537
Cilnia Gens, 555
Cimbric Chersonese, 597
Cimmerians, 265
Cimolos, 390
Cimon, 159
Cincelli, 555
Cinnamus, 519
Cinyras, 115
cippus, 523
Circensian games, 516, 568
circulatores, 510
Circus, 471, 568
of Maxentius, 493
Maximus, 480
Cirencester, 565-6, 582
Cireioras, 535
Cisrhenana legio, 488 .
Cissbury, 546
cissybion, 445
cista, 382
622
INDEX.
CISTERKS.
CRANES.
D^DALIAN STYLE.
cisterns, 473
Comberton, 582
Crassus, 579
citharcedi, 403
Cominus, 485
crater, crateres, 164, 182,
Civita Vecchia, 149,
192,
Comitium, 470
540, 541
403, 452, 467, 468
Commodus, 481, 486,
515,
craticula, 541
Claudia, Vestal, 475
520, 521
Creon, 127
Claudian tiles, 485
Compifegne, 579
crepundia, 501
Claudius, 569
Comus, 492, 513
Cretan bull, 231, 265
Gothicus, 222
conchae, 491
Crete, 114, 226, 265, 390
Lupercalis, 520
cones, 18-21, 129, 448
Crimea, 129, 141
clavis muscarius, 477
congius, 372
Crispinianus, 485
Clayton Hill, 588
Connevitz, 594
Critias, 163
Clemens of Alexandria, 131 |
Constantine, 46, 467,
471,
Croatia, 485
Cleomenes, 157
479, 480, 483, 507, 579
Crockhill in New Forest, 577
Cleonaj, 159
Constantines, 503
ware, 574
Cleone, 189
Constantinian age, 486
crocodiles, 62
Cleopatra, 436, 523
Constantinople, 122
.
Croesus, 114, 159, 202, 466
Cleoxena, 129
, Emperor of, 479
cromlechs, 591, 595
Clermont, 531
Constantius II., 552
Crowenstown, co. Wcstnieath,
-Ferrand, 572, 579
consuls, 475, 479, 480,
527,
591
Clesippus, 500
533
cruse, 29, 39, 40
Cleveland, 589
Contada di Molise, 418
crustaj, 553, 564, 583
Cleves, 487, 488
Contra Pselcis, 9
crux et stipes, 500
Clodius Heliodorus, 520
Conversano, 421
crystalline vases, 555
Clusium, 401, 454
convolvulus, 307
Cucumella, 405
clypea, 491
Conze, 153
Culford, 588
Cnaeus Lentulus, 533
Coolnakilly, 591
Cuma, Cum«, 144, 145, 149,
Cneius Domitius Amandus,
Coppios, 500
164, 190, 191, 332, 398,
486
Coptos, 38, 45, 161, 432
406, 407, 412, 468, 508,
Cnidians, 490
Copts, 46
518, 542, 560-1, 575
Cnidus, 132, 139-141,
161,
Coraibus, 163
Cumera, 541
170, 387
corbels, 89
Cumers, 401
Coblentz, 488
Corcyra, 117, 129, 135,
187,
cuneus, 477, 502
Cobnertus, 565, 570
188, 534
Cupid, Cupids, 145, 168, 222,
cocti, 467
Cordova, 479
250, 461, 511, 512, 558,
coctiles, 467
Corfu, 129, 135, 155, 375, 397
560, 568
coffins, 51, 105, 106
Corinth, 142, 143, 149,
159,
Curius, 537
coffin-models, 22
161, 163, 187, 188,
194,
Curtius, 515
Coghill, 153
215, 219, 220, 333,
335,
curule chairs, 452, 458
cohorts, 488
396, 397, 407-8, 496,
534
Cusinia Gratilla, 483
Coia Venus, 511
Corinthians, 120
cyathi, 539, 540, 547, 569
Coian vests, 159, 243
Corinthian helmets, 294
Cybele, 474, 510, 514
Coilsfield, 590
mvth" ^fi'^
Cyclic poets, 514
coin-moulds, 502-3
*-»*-i + +rvi»i rtc 1 QA
Cyclopean walls, 150
colanders, 536, 546, 555
)
potters, 345 348
Cyclops, 511
Colchester, 529, 548, 573
',581
style, 162, 183,
185,
Cydonia, 143
Colias, 161, 392
193, 348, 397, 403, 484
cylinders, 78-80, 94, 101, 102
Coliseum, 468, 480
ware, 110, 400
cylix, 166, 177, pi. 409
collyrium, 147
Cornelian family, 499
cymation, 217
colocasia, 540
Cornelius Amulinus, 490
cymbia, 540, 581
Cologne, 577
Gallicanus, 483
cynocephali, 64
Colonia Julia, 396
Corneto, 346, 400
Cyprus, 110, 115, 122, 146,
Colonna, Cape, 114
cornices, 116
187, 375
Colossus, 513
Cortina muri, 477
Cyrenaica, 123
colossi, 100
Cortona,- 480, 454
Cyrene, 199, 234, 534, 583
Colouri, 392
Corybantes, 492
Cyriacus, 38
colouring, 48, 123-126,
170-
Cos, 231, 328, 390, 542
Cyrus, 93, 102
173, 183, 194-196,
444,
costumes, 292-7
Cyzicus, 143
445, 447, 526, 549,
573,
coturnium, 537
583
cotylae, 540
D.
columbaria, 445, 547, 5
48
Cotys, 114
*■
Columbus, 517
Coven, 591
D^DALIAN statue of Athene,
colus, 546
Craikraig, co. Sutherl., .
590
230 T
Comar, castle, 591
Cranes, 220, 266, 515
Daedalian style, 202
INDEX.
(\'l?,
1 D/EDA.LIDS.
DrONYSOS.
DOIllO STYLE.
bffdalids, 123, 200
Demetrius, 121, 138, 282
226, 227, 230-2, 235,
237,
"Daedalus, Daidalos, 163,
265,
Poliorcctes, 138
238, 241-246, 249,
255,
■ 275, 424
demiourgos, 139, 140
256, 261, 26.J, 277,
280-
Dagodubnus, 570
Democi-ates, 142
282, 286, 294, 297,
298,
Dagoimnus, 570
Demodokos, 272
318, 33(>, 340, 342-
-346,
Dagomarus, 570
Demon, 242
349, 350, 356, 358,
374,
Dagon, 87
Demonikos, 276
380, 381, 415, 426-
-429,
Daisa, 266
demons, 226, 247, 444
437, 462
Dali, 391
Demophilus, 496
Dionysos pelekys, 239
Dalios, 137
Demophon, 271, 340,
341,
Stylos, 277
Dalmatian cohort, 488
342, 437
Diophantus, 117
Damas, 142
Demosthenes, 122, 156,
349,
Dioscorides,Dioscourides, 125,
Damascus, mosque at, 4
79
365
478
Damastes, 257
Demostratos, 320
Dioscuri, Dioskouroi,
138,
Damery, castle, 503
Denbergard, 78
232, 237, 248, 261,
263,
Damokleidas, 325
depas, 378
286, 289, 342, 350,
389,
Damophilus, 124, 138
devices, 139, 140, 489,
506,
403, 424, 428, 460,
513,
Danae, 228, 262-3, 291
507
541
Danaids, 262, 266, 319,
359
Devizes, 588
Diosphos, 228
Danube, 582
dialects, 310-332
Diospolis, 21
Daphne, 234
Diana, 73, 119, 128,
132,
Diosthyos, 137
Dardanus, 120, 135,
388,
168, 511, 514
diota, diotae, 40, 456,
539,
403
diatretarii, 564
546, 594, 597
Darius, Dareios, 102,
175,
diatretum, 564
Diphilos, 276, 292
411, 421
Dibutades, 115, 120,
121,
Dipylon gate, 182
Darmstadt, 487, 488
196
Dirke, 259, 260, 282
Darney, in Vosges, 579
Dicetus, 485
discus, 504, 505
Dashour, 9, 10, 11
dicus, 537
diskos, 240, 384
Deae Matres, 498-9
Didius Julian, 487
distemper, 35
Matrons, 498
Didymos, 338, 365, 420
Dithyrarabos, 242
Sequanae, 500
didoron, 466, 471
Divix, 561
Death, 444
Dieppe, 579, 591
Dobbersten, 594
Decennalia, 522
Dii Lares, 513
Dodwell vase, 187, 194,
310,
D. Calius Balbus, 572
Palici, 265
311, 396
decurio, 486
Dijon, 498
dogs, 88
Deddington, 582
dimyxos, 504
doliare opus, 135, 466,
480,
Deikterion, 263
Dinias, 219
'
481, 485, 532
Deiniades, 338, 351
Dinos, 370
doliares, 485
Deinomache, 258
Dio, 468
doliariae officinae, 484
Deinomachos, 265, 403
Diocletian, 132, 471,
503,
doliarii, 532, 571
Deinos, 235
521, 522
doliolum, 532
deinos, 199, 371
Diocletian era, 46
dolium, dolia, 457, 527,
531-
Deiphobos, 269
Diodoros, 288, 375
3, 539, 545, 546, 548
deipnosophistai, 292
Diogenes, 134, 455, 515
, 519
dolls, 130, 504
deities, 37, 42, 62, 63
, 73,
Diomed, Diomedes, 39,
145,
Dolon, 145, 327, 339,
350,
87, 100, 126, 434,
459,
222, 230, 252, 267,
268,
268
510, 513, 514
271, 273, 289, 339,
421,
Domitia Lucilla, 483, 534
Dejanira, 252, 254, 255,
259,
514
Domitian,481, 521,529,
537,
436
Dion Chrysostom, 387
555
Delos, 232, 242, 249, 257
Dione, 241
potteries, 484
Delphi, 180, 232, 233,
254,
Dionysiac amphorae,
304,
tiles, 485
264, 281, 396, 423
362, 370, 426, 437
Domitians, 520-1
Delphic deities, 232,
238,
feast, 437
Domitius, 521
244
hydriai, 308
Docembris, 484
mvths, 262
mysteries, 223
Donaghami, co. Donegal,
591
Delta, 9, 75
orgies, 250, 419
Dorchester, 582, 588
Deraaratus, 338, 396,
397,
subjects, 224, 421
429
Doric alphabet, 199
400, 407, 441
thiasos, 240, 403,
433
colony, 423
Demeter, 126, 231, 247,
259,
Dionysiaca, 206, 263
294
Dionysius, 177, 216,
233,
months, 137
Leprean, 113
329
potteries, 190
Stivian, 113
Dionvsos, -us, 119, 166,
167,
style, 158, 160,
162,
Tropeia, 232
208, 211, 213, 221,
223,
164, '182, 193-195,
219,
624
INDEX.
DORIC STYLE.
303, 304, 312, 396, 397,
405, 409, 411, 414, 421,
427, 452, 458
Doric vases, 313, 400, 406
Dorkis, 241
Doro, 241
Dorotheos, 324
Doulopolis, 432
Dover, 489, 548
Draco, 519
Drah Aboo Nagger, 9
drains, 477
dramatic subjects, 280
draughtsmen, 56
Drayton, 588
Dresden, 148, 542, 594
Dromo, 535
Drusus, 488
dummies, 69
Dunagore, 591
Dungi, 93, 96
Durand collection, 132, 146,
163, 424, 427, 436
Duris, 338, 347, 349
Durmagen, 488
Durrington, 588
Dysneiketes, 319
E.
EAGLES, 38
earrings, 57, 452
East Fairleigh, 682
Eboli, 418
Ecbatana, 76, 95
echea, 542
Echekrates, 340
Echetlus, 444
Echidna, 187
echinos, echinus, 384, 541
Echo, 243, 513
ectypa, 119, 123
Edinburgh, 590
Egesteans, 373
eggs, painted ostrich, 455, 457
Egnatius, 540
Aprilis, 520
Egypt, 76, 82, 83, 110, 161,
162, 390, 432, 457, 503,
505, 548
Egyptians, 131, 182, 295,
361, 365-6, 433, 434, 452,
455
• brickmakers, 18
Gods, 514
Grotto, 434
lamps, 508
mummy cases, 430
style, 183, 186, 189,
190-1, 193,304,371, 375,
442, 447, 449, 451
Avare, 109, 367, 463,
533, 593
EPIGONIAD.
Eio, 241
Eirene, 230, 233, 241, 250
Eiresione, 375
Ekmin, 9
El Haybeh, 9
Elagabalus, 522, 531
Elam, 82
Elaphebolos, 234
Elatria, 413
Elbe, 594
Elea, 344
Electra, Elektra, 274-5, 281,
356, 395
Elephantine, 21, 38, 45
Eleusinian deities, 231, 429
mysteries, 223
myths, 213, 247
Eleusis, 183
Elima, 426
Elis, 119, 321
Ellen, 488
ellychnion, 131
Elpenor, 273
Elpis, 387
elpoi, 331
Elsler, Black, 594
Elysium, 255, 266
embaphia, 384
emblems, emblemata, 58,
110, 111, 140, 141, 216,
297-9, 514, 548, 553, 583
Emerita, 569
Emms, 487
Empedokles, 283
Empedokrates, 315, 391
encaustic, 427
Encelados, 229
Endymion, 234, 492
England, 470, 472, 503, 508,
536, 545, 547, 549, 552,
564, 572, 577, 578, 581,
582, 583, 586, 588, 589,
597
English style, 595
engobe, 167, 199, 411
Ennius, 461
Enolmios, 233
Enorches, 266
Enpe, 20
Eoiai, megalai, 263
Epernay, 503
Epharmostes, 276
ephebi, ephebos, 324, 374
Ephesus, 114, 120, 254, 514
, Matron of, 524
Ephialtes, 231, 456
Epicharmus, 158, 281
epichysis, 373
Epicureans, 222
Epicurus, 140
Epidaurus, 113, 114
Epigenes, 82, 338
Epigoniad, 260, 291
ETKURIA.
Epiktesis, 129
Epictetus, Epictetos, Epik-
tetos, 158, 201, 310, 341-
4, 349, 404, 413, 432
Epilykos, 350
Epimetheus, 265
episemon, 393
Epitimos, 338
Epizephyrii, 423
eponymi, 480
eponymous, 139, 140
Epops, 281
epoptes, 278
equestrian statue, 518
Eraton, 230, 240, 242
Eratosthenes, 292, 375
Erechtheum, 119, 258
Erechtheus, 229, 256, 316
ereus, 384
ergasterion, 334
Erginos, 338, 348
Ergoteles, 338
Ergotimos, 225, 323, 338-9,
392, 409
Erichthonius, 229, 236, 246,
256-8, 275
Eridanus, 399
Erinnves, 247
Eriphyle, 259, 291
Eris, 250, 267, 342
Erophylle, 242
Eros, 127, 144, 145, 168,
211, 213, 221, 222, 230,
231, 236, 238, 241, 243,
245, 249, 266, 293, 294,
297, 416, 422, 424, 430,
431
Erotes, 125, 126, 209, 231,
243-5, 461
Erotic subjects, 424
Erothemis, 350
Erymanthian boar, 252, 339,
456
Erysichthon, 232
Erythrae, 161, 386, 542
Eryx, 119, 225, 252, 254,
373
Esarhaddon, 77-79
escaria, 541
Esclas, 579
Essex, 475, 477
Estates, 482
Estranghelo, 86
Etaples, near Boulogne, 547,
577
Eteokles, 259
Ethiopia, 19
Ethiopian, 169
Etna, Mount, 430
etnervsis, 374
Etruria, 56, 66, 119, 166,
225, 362, 398, 400, 408,
409, 433, 531, 553
ETRUSCANS.
Etruscans, 66, 215, 357, 397,
407-8, 468, 495, 541,
553-4, 598
alphabet, 454, 462
bronzes, 321
inscriptions, 404, 413,
461
sites, 404
tombs, 125, 327, 356,
378, 583
style, 146, 163, 184-,
198, 260, 303, 307, 312,
327, 405, 406, 409, 435,
440, &c., 496, 497, 508,
551, 593
subjects, 223
ware, 190-1, 359, 362,
371, 380, 400-402, 410,
537
walls, 150
Etymologicum Magnum, 292,
358
Euarchus, 140
Euboia, 242, 249, 392, 412
Eucheir, 335, 338, 397, 400
Eucheros, 322, 323, 338
Euclid, 205, 213
Euctus, 580
Eudaimon, 241
Eudaimonia, 250
Euergides, 339, 413
Eugamon, 289, 290
Eugrammos, 397, 400
Euhesperis, 430
Eukleia, 250
Eukleides, 271, 313
Eumache, 265
Eumaios, 273
Eumarus, 159, 194, 220
!£umolpios, 242
Eumolpis, 232
Eunomia, 245, 394
Eunomus, 117
Euoia, 241
V Eupamon, 140
. Euphorbos, -us, 189, 258, 259,
268, 390
Euphrates, 75
Euphronios, 211, 323, 337,
339, 347, 350, 351, 400
Euphronius, 404
Euphrosyne, 387
Eupoles, 324
Euripides, 210, 259, 291,
313, 384
Europa, 166, 211, 228, 291,
297, 317, 423
Europe, 497, 525, 542, 546,
578, 582
Europeia, 291
Euryades, 114
Euryalus, 114
Eurydike, 262, 265
INDEX.
FLAVIAN COHORT.
Eurystheus, 134, 252, 321,
359, 455
Eurytus, 492
Eusebia, 478, 479
Eustathius, 320
Euthymedes, 409
Euthymides, 282, 350
Eutyches, 117
Eutychia, 250
Eutychius, 559
Euxitheos, 340, 348, 349
Everley, 588
Ewell, CO. Surrey, 583
exaleiptron, 377
Execias, Exekias, 322, 340,
345, 347, 350, 437
Exeter, 582
Exsechias, 315
Exsonius, 142
Ezekiel, 46
F.
Faber, 519
fabriles, 532
Fabrinus, 519
Falernian wine, 535
farms, 481
Farnese, villa, 533
Fasano, 425
fasti, 479
Faun, house of the, 491, 533
Faustina, 483
Faustulus, 515
Faustus, 519
fayence, 33, 47, 54, 89, 90,
479
Fayoum, 9, 38, 45, 75
Fecundity, 500
Felicitas, 497
Felixstowe, co. Suffolk, 588
Ferrand-Clermont, 572, 579
festieres, 469
Festus, 358
fictiliarii, 532, 571
Fidenates, 488
Fidenatis, 485
figlina, figlinae, 484, 520,
521, 526
figuli, 475, 571
figulinarii, 571
figulus, 560
figures, 120, 122, 123, 126
Fiora, river, 404
Firminus, 578
Firmus, 479
fistulae canales, 473
Fitzwilliam museum, 557
Flaminian Gate, 534
Flanders, 573
flasks, 53
Flavians, 520, 521
Damascan cohort, 488
625
GAMES.
Flavian lamps, 521
Flavii, 558, 570
Flavius Aper, 490
Fleam dyke, 582, 588
fleurette, 301
Florence, 148, 194,311,351
vase, 225, 266
Florus, 408
flowerpots, 143
flue-tiles, 476
Fontenay-le-Marmion in Cal-
vados, 591
forgeries, 435
forgers, 128
forma, 500
Formian wine, 534
fornax, 467
Fortis, 519, 524, 578
Fortune, 125, 486, 511-513
Forum, 568
Boarium, 442
Fourviferes, 503
Fovant, 588
France, 445, 468, 470, 472,
498, 503, 508, 524, 531,
547, 549, 572-580
Francheville, 580
Francois vase, 194, 311, 338,
339, 351, 401
Frankfort, 488
Fregella, 442, 495
Fregenae, 495
Fregenni, 442
fret, 302
Friedberg, 487, 488
friezes, 127
fsefysa, 479
Fulvius Nobilior, 121
Plautianus, 490
Fundian wine, 533
fundus, 482
Furian potteries, 484
Furies, 258, 266, 274, 515
Furius, 517
furnaces, 34, 35, 177, 527-
529, 532, 566, 579-80
Furness, in Luncashire, 589
Fylingdale, 589
G.
Gabat^ 538, 539
Gabii, 443
Gaius, 132, 521
Galba, 117, 535
Galene, 241
galeola, 541
galleys, 515
Gallia Cisalpina, 399
Gallienus, 222, 569, 579
Gallo-Roman, 544, 573
games, 279-80, 282, 284
2 S
626
INDEX.
GANELON.
Ganelon, 579
Ganymede, Ganymedes, 125,
222, 228, 229, 245, 266,
281,286,349,403,409,514
Gaul, 470, 548, 561, 568.
572, 591, 535, 585
Gaulish art, 550, 551, 576
goddess, 498
potters, 570, 571
potteries, 485
Gavelli, 463
Gavolda, 400
gazelles, 54
Gela, 152, 426, 427, 429 n.
Gelon L, 312
Gelos, 242
gems, 33, 458
Genii, 23, 58, 62, 517, 568
Genius, 538
of the army, 513
of Tournay, 574
Genosa, 425
Gerdapan, 78
Gergovia, 531
German potters, 550
ware, 582
Germanicus, 132, 488
Germans, 596
Germany, 470, 524, 547,
549,552, 561,578-9, 592,
594, 595, 597
Lower, 487, 489
Geryon, 193, 252, 291, 295.
311, 313, 315, 340, 423,
498
Geryonis, 291
Gessoriacum, 577
Geta, 313
Giants, 246, 295, 334
Giesbergen, 488
Gigantomachia, 193, 206,
213, 224, 227-9, 231, 234-
238, 297, 322, 338, 342,
344, 348, 393, 492.
gilding, 125
Girgeh, 12
Girgenti, 409,426, 428, 429
Gisborn, 593
Gisors, 580, 584
Gisr-el-Agoos, 9
Giugliano, 412
Gizeh, 10, 11
gladiators, 517, 568, 573,583
glass, 36, 463, 479, 585
Glaucus, Glaukos, 134, 268,
271, 451
gualas, 384
Pontios, 249
Glaukon, 325
Glaukytes, 333, 336
Glaucythes, 340
glaze, 39, 47 &c., 175, 547,
553, 556-7, 562-3
GYMNASION.
Glenos, 254
gliraria, 501
Gloucester, 536, 581
Gloucestershire, 582
Gnathia, 425
Gnostics, 38
Gods, 53
Golden Ass, 512
candlestick, 518
vases, 373
Golgos, 180, 391
Gorgasus, 124, 496
Gorgias, 142, 276
Gorgon, Gorgons, 125, 128,
146, 164, 169, 193, 230,
231, 247, 263, 287, 294,
297, 340, 350, 370, 383,
400, 438, 441, 453, 457,
474, 575, 583.
masks, 422
Gorgonium, 342
Gortyna, 136, 143
Graces, 221, 245, 246, 394
Gradivus Pater, 511
Graia, 453
Graiai, 262
grammatikoi, 310
granite, 18
Gration, 235
graves, 116, 473, 546
Grecus, 500
Greece, 39, 44, 46, 48, 50,
57, 149, 346, 441-2, 448,
457, 470, 473, 495, 496,
508, 524, 533, 582, 597
Greece, Islands of, 388, 433,
553, 583
alphabet, 491
art, 416-7, 440, 446
artist, 500
lamps, 521
style, 85, 453, 459, 463,
477, 493, 496, 525, 527,
540, 553, 592
ware, 45, 541, 571,
583.
Greeks, 66, 538, 541
Gregorian museum, 148, 197,
404, 560
Grumento, 419
Grumentum, 419
grylli, 220
gryphon, gryphons, 205,
210, 234, 239, 242, 246,
265, 287, 365, 403, 432,
514
Guernsey, 469, 589
Gusmandorf, 594
gutturnia, 31
Guttus, 540, 541, 546, 547,
549
Gyges, 82
gymnasion, 217, 295, 393
HECTOR*
gyngeceum, 416
gynaikeion, 217
H.
Habron-, 114
Hackness, 589
Hades, 66, 69, 228, 246, 247,
249, 253, 258, 262, 265-6,
373, 460
Hadria, 135, 399, 409, 463,
491, 542, 560, 573, 580
Hadrian, 118. 467, 475, 482-
3, 488, 499
Hadriatic wine, 398
Hasmon, 127
Haimon, 256
Hainaut, 572
Halberstadt, 595-6
Halicarnassus, 114, 130, 387,
533
Halieus, 109
Halle, 127
halter es, 217
hamata, 469
Hamilton collection, 188,
311, 435
vase, 341
Hampshii'e, 588
han, 24, 26
Hannibal, 425
Hanover, 594
Hapi, 23
Harmodios, 431
Harmonia, 250, 259
Harpalina, 245
harpe, 262
Harpies, 354
Harpocrates, 37, 514
l^arpy tomb, 191, 453
Harsiesis, 46
Hartlip, 475-6, 582
Hatasu, 56
Hatherbaal, 110
Haute Vienne, 579
Headington, 582
Hebe, 228, 230, 249, 255,
423
Hebrew character, 108
language, 86
Hedersheim, 488
Hedones, 313
Hedymeles, 242
hedypotis, 382
Hedyoinos, 241
Hegesias, 430
Hegias, 347, 351
Hecatseus, Hekataios, 141,
416
Hecate, Hekate, 232, 234,
237, 239, 247, 250, 294,
507, 511
Hector, Hektor, 189, 267-
INDEX.
G27
HEILIGENBERO.
269, 271, 272, 288, 317;
327, 348, 350, 393, 404,
422, 428, 437, 514
Ileiligenberg, 498, 566, 572
Hekuba, 268, 271
Helbon, 110
Helen, 167, 225, 236, 245,
258, 264, 267, 268, 269,
271, 273, 281, 289, 344,
437, 460, 461, 513
Helena, 471, 479
Helena, Empress, 543
Heliastic tribunal, 130
Heliopolis, 9
Helios, 247, 248
Helioserapis, 132
helix, 89,166, 216,218,301,
303-5, 307-8, 362, 447
Hellas, 249, 421
Helle, 127, 222, 260, 265,
348
Hellenic myths, 38, 459
Hellespont, 127, 138, 423
helmet-shaped lamps, 547
Helvetian cohort, 488, 571
Helvius Morans, 486
hemerodromos, 392
hemikotylion, 375
hemina, 360, 374, 384
Heoiai, 290
Heos, 121, 145, 228, 247-
249, 257, 258, 261, 264,
266, 270, 314, 343, 403,
413, 416, 422, 428, 429
Hephaistion, 114, 138
Hephaestus, Hephaistos, 109,
123, 225, 226, 229, 235-
238, 266-8, 281, 290, 298,
429
Hepu, 21
Her, 63
Hera, 128, 156, 226, 228,
229, 231, 233, 235, 245,
246, 250, 251, 253, 265,
268, 281, 292, 314, 353,
• 428, 461
Hera^a, 313
Heraklea, Heraclea, 114, 142,
213, 220, 313
Herakleid, 193, 213, 223,
224, 229, 231, 234, 236,
247, 249, 251, 257, 260,
393
Heracleides, Heraclides, 117,
519
Herakleotan skyphoi, 379
Herakles, Hercules, 53, 73,
141, 189, 193, 208, 216,
221, 225, 227-230, 232,
235, 236, 238, 242, 245,
246, 249, 251, 252, 254-5,
258, 263, 264, 266, 280,
281, 290, 291, 294, 297,
HIMERA.
314, 317, 318, 329, 332,
336-350, 351, 367, 391,
403, 404, 423, 428, 429,
431, 434, 436-7, 442, 492,
498, 502, 511-514, 554,
568, 583
Herakles(Hercules)Bibax,513
Musegetes, 254, 513
Heraclians, 520
Heraclian lamps, 521
Heraklids, 266
Herculaneum, 215, 218, 526
Herennius, 559
Hermai, 284, 298
Hermaios, 340
Hermes, 7, 128, 140, 209,
210, 225, 229-233, 236-
239, 242, 247, 248, 251,
253, 255-257, 266, 267,
277, 281, 293, 296-298,
316, 317, 337, 340, 342-
344, 352, 367, 393, 408,
416, 428
Hermes, a potter, 489
Hermetianus, 487
Hermione, 273
Hermippus, 382
Hermogenes, 340, 581
Hermokles, 347
Hermonax, 341, 350
Hermopolis, 25
heroa, 286
Herodotus, 26, 39, 97, 110,
131, 183, 210, 325, 387,
451
Heroic age, 224
Herse, 225, 231, 237, 256-
258, 416
Herus, 215, 461, 463
Hesiemkheb, 12
Hesiod, 113, 290
Hesione, 254
Hesperides, 245, 247, 252,
265, 314, 348, 492, 513
Hestia, 237, 246
Hesychius, 358
hetairae, hetairai, 143, 282,
285, 297, 325, 339, 357,
392
Hexamili, 396
Heytesbury, 588
Hieraconpolis, 9
Hiernisa, 479
Hiero, 158, 401
Hierol., 311-2,454
Hieron, 328, 341
Hieronymus, 140
hi hat (or kneading), 33
Hiketas, 402
Hilinos, 341, 344, 352
HiUah, 102
Himera, 114, 115, 133, 312,
313, 426, 427, 496, 521
HYDRIA.
Himeros, 241, 245
hippalektryon, 247, 342
Hippeus, 118, 380
hippocampi, 474, 514
Hippodameia, 263, 315
Hipjwkrates, 315, 325
Hippokritos, 324, 340
Hippolyte, 258, 272, 343
Hippolytos, 258
Hippomenes, 263
Hippos, 241
Hipposthenes, 193, 276
Hippothoon, 254
hirnea, 539
Hischylos, 341, 349, 351, 352
HistijEUs, 140, 141
Histron, 141
Hochst, 488
Hoddesdorf, 487
Hofzell, 488
Hoheberg, 488
holkaion, 378
holkion, holkia, 371, 446,
451, 452
Holland, 489, 573, 577, 582
holmos, 191, 368,371, 451
Holyhead, Anglesea, 589
Homer, 177, 179, 203, 275,
287-8, 294, 313, 358, 373,
374, 378, 388, 390, 424,
535
Homerica, 248, 266
Homeric subjects, 288
myths, 453
Hoo marsh, Rochester, 582
Hooldorn, 486-488
hoplites dromos, 158
Horace, 455, 500, 504, 540,
541
Horai, 233, 247
Horus, 37, 41, 51, 63, 64,
73
Hostilius Saserna, 494
Howara, 9, 10
Humetroth, 490
Hungary, 490
hut-shaped vases, 595-6
Hyades, 239
Hyakinthios, 137
Hyakinthos, 234
Hybris, 242
Hyccarra, 114
Hydra, Lernaian, 428
hydria, hvdriae, hydriai, 28,
29, 144, 163, 177, 193,
195, 197, 205^ 208, 211,
216, 217, 223, 285, 300,
302, 303, 307, 308, 316,
329, 330, 343-346, 350,
351, 354, 356, 358, 363-4,
402, 414, 422, 424, 433,
437, 438, 447, 458, 537,
541
2 s 2
628
INDEX.
HYDRIOPHORAI.
hydriophorai, 351
hydrocerami, hvdrokerami,
16, 148
Hygiainon, 219
Hygieia, 246, 497
Hygiemon, 159
Hylaios, 253
Hylas, 260, 558
Hyllos, 255, 436
Hymen, 513
Hyperbius, Hyperbios, 114,
163, 275
Hyperborean myths, 265,
266
Hyperboreans, 255
Hyperboreos, 234
Hyperion, 248
Hypnos, 247, 253, 343
hypocausts, 116, 467, 470,
473, 475, 476
hypokrateria, 371
hypokrateridia, 371
hypokraterion, 368
Hypoeios, 241
Hypsipyle, 264, 282, 315
Hypsis, 351
Hypsuranius, 109
hyrche, 360
Hyria, 424
Iacchus, lacchos, lakchos,
228, 237, 242, 315
lapygia, 273, 412
Ibex, 53
Ibis-mummy, 25
Icarius, 239
Icarus, Ikaros, 265, 514
Ickleton, 581
Icon, 143
Idalium, 391
Idas, 234, 264, 317, 320
Idothea, 273
Iffin, 588
Ilia, 583
Iliad, 208, 514
Ilium, 270, 281, 288, 291, 347
New, 388
Illahoon, 9, 10
imbrex, imbrices, 116, 118,
197, 441, 471, 474, 475,
487
imitations, 155
impluvium, 491
India, 239
Indulcius, 536
infundibulum, 505
inlay ers, 186
inlayings, 50-52
inscriptions, 45, 46, 310-
332, 441, 490, 519, 571,
576-7
lULOS.
insulse, 468, 482
Inuliucus, 519
lo, 228, 237, 280, 282, 286,
419
lobates, 262
lolaos, lolaus, 251, 254, 255,
264, 314, 315, 344
lolchos, 291
lole, 193, 253, 255
Ion, 258, 367
Ionia, 386-7
Ionian cities, 417
lonians, 183, 229, 375
Ionic alphabet, 199
colonies, 429
language, 426
inscriptions, 407, 414
style, 193, 194, 302,
304
lonis, 519
los, 241
loulos, 286
Iphigenia, 267, 274
Iras, 273
Ireland, 590
Iris, 233, 234, 250, 297, 337,
373
Irish Celts, 586
style, 586
urns, 589
iron, 597
period, 595
Isaurians, 488
Isca Silui'um, 473
Ischia, 426
Isernia, 418
Isidorus, 358, 465, 469, 555
Isis, 7, 37, 41, 51, 57, 60-64,
73, 119, 514, 523, 524,
547, 583
worship of, 523
Ishtar, 82, 87, 103
Island myths, 265
Ismene, 256, 259, 260
Ismidagan, 93, 96
Istron, 140
Italian islands, 57
style, 197, 409
Italians, 66
Italy, 49, 129, 146, 150, 162,
191, 199, 212, 215, 219,
223, 244, 245, 314, 327,
359, 360, 368, 370, 381,
394, 397-399, 401, 405,
406-411, 417, 420, 421,
424, 426, 427, 433, 436-
439, 442, 443, 457, 460-1,
463, 468, 480, 481, 560,
580, 583, 592
Southern, 158, 166
Ithaka, 273, 290
Ittenweiler, 566
lulos, 271
KAKOS.
ivory, 50, 51
island, 21
Ixion, 229, 266
iynx, 213
JACKAL, 61
Januarius, 387
Janus, 442, 462, 513
Jason, 137, 147, 260, 261,
296, 321
Jena museum, 211
Jeremiah, 107
Jerusalem, 107, 108, 110
Jesmond, 589
Jews, 46
Joinville, 579
Jonas, 518
Jovianus, 571
Jublains, 477
Judaea, 79
Julia Mammaea, 503
Procula, 483, 485
Julian, 468
Julios, 569
Julius, 500
Julius Caesar, 142, 397, 497
Martialis, 486
Pollux, 292
Sempronius, 486
Valens, 377
Juno, 53, 73, 314, 394, 408,
420, 474, 510
Sospita, 442
Jupiter, 53, 73, 119, 125,
129, 222, 237, 253-255,
383, 403, 442, 492, 511,
V 514, 522, 524
Capitolinns, 443, 495,
510
Hercean, 114
Olympian, 122
Serapis, 61
Temple of, 538
Justinian, 542
Juvenal, 455, 530, 531, 535,
537
Kabhsenuf, 62
Kabiri, 246
Kablert, 594
kadiska, 385
kadiskoi, 363
kadiskos, 213
Kadmeid, 249, 259
Kadmus, Kadmos, 259, 418,
437
kados, 331, 363
Kaineus, 258, 264, 352
Kakos, 254
INDEX.
620
KALAAS.
KINGSTON.
KRATER.
Kalaas, 7'^
kelebe, kelebai,187, 197, 218,
Kingston-on-Stour, 589
Kalah Shergat, 77, 79
, 84,
307, 368, 403
Kinyra, 242
91
kelebeion, 369
Kircherian museum, 534
kalathos, kalathoi, 187,
283,
Keleus, 232, 336
Kirke, 273, 290, 291, 428
384, 433
Kernel, 595
kirnos, 354
Kalchas, 289
Kent, 475, 588
Kisses, 241, 242
Kale, 250
Kentaur, Kent^iurs, 264, 349,
kissybion, 221, 378, 451
Kaliope, 399
359, 380, 396, 423, 431,
kists, 590
Kallias, 345
453, 457, 461
Kithairon, Mount, 251
Kallikome, 271
Kentauromachia, 258, 264,
kithon, 134
Kallimachos, 258, 3G3,
364
403, 429, 492
Kittos, 341, 431
Kalliope, 399
Kenturipai, 427
Kleisthenes, 220
Kalliphanes, 271
Keos, 291
Kleomenes, 377
Kalliphon, 337
Kephallenian myths, 261
Kleonai, 220, 352, 396
Kalliphoi-a, 259
Kephalos, 121, 248, 257, 258,
Kleopatra, 245, 394
Kalliphthera, 271
261, 265, 338, 403, 412,
Kleophradas, 335, 337
Kallirrhoe, 258, 277, 315-6
416
Kleostratos, 345
Kallisthenes, 82
Kepheus, 263
Klino, 365
Kallisto, 234
Kephisodoros, 430
Klitarchos, 345
Kallopa, 259
Kephisophon, 329, 358
Klitias, 225, 351
kalpis, kalpides, 197,
205,
kerameikos, kerameikoi, 161,
Kloten, 487, 488
307, 308, 364, 395,
413,
321, 325, 333
Klus, 596
414, 419, 424, 433
keramion, 354
Klymene, 250, 285
Kalydon, 226
Keramis, 392
Klytaimnestra, 272, 274, 337,
Kalydonian boar, 260,
261,
keramos, 112, 455
460
264, 277, 287, 310,
316,
keras, 112, 146, 239, 240,
Klytios, 261
340, 413, 423
294, 384
Klyto, 241, 272
kalymma, 292
Kerberos, 253, 266, 291, 428
Knowth, CO. Meath, 591
Kalymno, 390
Keres, 247
Kochendorf, 488
Kamarina, 426, 427
Kerkopes, 254, 281
Kodros, 275
Kameiros, 434
Kerkyon, 257
Koian style, 212
Kainos, 241
kernos, 145, 146, 375, 385
Koiros, 241
kanaboi, 120
Kertch, 117-9, 129, 135, 141,
Kolias, Mount, 161, 375,
kanabos, 170
175, 346, 427, 432, 583
381, 392
kanastron, 384
Kerus, 463
Kolonos, 259
Kandidus, 490
Kerynitis, Mount, 234, 252
Komarchos, 283
kanee, 145, 384
Khammurabi, 93, 101
Komos, 241, 242, 282, 286,
kanenion, 384
Khebsnuf, 23
343, 350, 415
kaneon, 210
Khem, 20, 21
Konikos, 250
Kanephoroi, 384
Kheper, 60, 62, 71
Kora, 231-2, 234
kaniskion, 384
Khistken, 78
korallion, 143
kanopos, 452, 457
Khita tribe, 50
Korinth, 311-2, 320, 335,
kanoun, 384
Khonsu, 12
338, 441, 453, 457
kantharis, 395
Khorsabad, 77. 78, 86-8, 90,
Korinthians, 423
kantharos, kantharoi.
187,
91, 105
Korinthian kraters, 368
250, 294, 337, 338,
342,
Khufu, 61
style, 421
345, 349, 354, 37
9-81,
Khusroo Purvis, 78
vase, 310
396, 446, 451
kibisis, 262
Korkyra, 312, 397
Kapu, 413
Kiekindemark, 595
Korna, 280
Kararales, 77, 87, 91
Kilbride, 591
Korone, 258
karchesion, karchesia,
205,
Kilkenny, 591
koroplathos, 128
345, 380, 381
Killinagh, co. Cavctn, 591
kothon, kothons, 187, 364,
Karnak, 586
Killucken, co. Tyrone, 591
365, 382, 395, 414, 451
Karneios, 137
Kilmurry, 591
kothurnoi, 293
Karneter, 66
kiln, kilns, 528-9, 577, 581,
kottabos, 381, 385, 377
Kasr, 93, 95
582, 598
kotyle, kotylai, 374, 376, 377
Kassander, 347
Kiltale, co. Meath, 591
kotyliskos, 375
Kassandra, 234, 236,
270,
Kimon, 220
kotylos, 374-5
271, 318, 424
Kinaithon, 288, 290 .
Kouyunjik, 77-81, 83, 84,
Kastel, 524
Kinderton, co. Cheshire, 469
88, 91, 94
Kastor, 263-4, 315, 35C
Kinghorn, co. Fife, 590
krater, krateres, 32, 145, 150,
Kekrops, 256, 316
Kingsholme, 536
187, 191, 197, 205, 208,
kekryphalos, 286, 293
Kingston, 589
209, 211, 213, 217, 218,
630
INDEX.
KRATES.
303, 308, 330, 339, 343,
354, 357,358, 368-9,371,
372, 378, 402, 403, 413-
415, 417, 421, 422, 424-
426, 429, 436-8, 451,
505, 512
Krates, 347
Kratinos, 281
Kreon, 256, 261, 317
Kreonteia, 261
Kretan bull, 252
giant, 261, 422
Kretans, 379, 424
Krete, 312
Kreusa, 258, 271
krobulos, 293
Kroisos, 275, 315, 319, 436
Kromyon, 257
krossos, 364
krotala, 130
Ktesias, 104
Kudurmarbuk, 96, 99
kulichnai, 155
kuminodoke, 385
kuminodokos, 147, 385
kuminotheke, 385
Kummer, 594
kunes, 57
kyathea, 330
kyathis, 217, 354
kyathos, 205, 222, 376, 445,
451
kybisteres, 284
Kydias, 276
Kydoime, 264
Kyknos, 235, 254, 290, 291,
318, 336-7, 429
kylichne, 355
kylix, kylikes, 182, 197, 200-
202, 205, 209, 211-214,
216, 300, 330, 332, 336-
346, 348, 349, 352, 354,
357, 358, 381-383, 391,
395-397, 402, 410, 437,
438, 451
kymation, 301
kymbion, 378, 379
Kymothoe, 338
kypellon, 221
kypria, 288, 310
Kyprians, 379
Kyprian verses, 289
kypselis, 385
Kypselos, Kypselus, 226, 309,
396
Kyrenaica, 212, 314, 341,
430, 431
Kyrene, 249, 265, 289-291,
311
Kyros, 276
LASNAS.
L.
LABRONIA, 383
Labu, 63
Laches, 321
lachrymatory, lachrymato-
ries, 31, 540, 546
Laconian tiles, 114
laconica, 472
laconicum, 467
Ladon, 252, 513
Lsevinus, 313
laga^na, lagena, lagenai, 40,
42, 392, 530, 534, 539,
542, 544-547, 552, 581
lagona, 572
lagyna, 539
lagynos, 360
Lailaps, 258, 265
Laios, 259, 320
Lake, 588
Lakedaimon, 290, 375, 395,
423
Lacedaemonian cup, 364, 381
Lakon, 188
Lakonia, 397
Lakonian k raters, 368
Laleos, 341
Lamberg, 153
Lambeth stoneware, 563
laminiE, 478
La Motte, 463
lamp-makers, 521
Lampos, 248, 315
lamps, 38, 39, 85, 86, 131-
133, 147, 300, 434, 504,
&c., 525, 547-8, 558, 572,
583
Lampsacus, 387
Langendorf, 593
Lauguedoc, 579
lanx, lances, 537-539, 546,
547, 558, 561, 569
lances hederatas, 569
pampinatae, 569
Laokoon, 288
Lapithai, Lapithse, Lapiths,
221, 226, 258, 264, 380,
453
Lar, 462
lararium, 491
lararia, 498, 501, 505
Lares, 514, 538
Larissa, 76, 128
Larks Lowe, 589
Larnaka, 180
Larrak, 102
larth, larths, 212, 409, 598
lasanon, 372
Lasbolos, 264
Lasimos, 351
Lasnas, 462
LEONTEUS.
Lassas, 409
lateraria, 465
laterculi, 490
frontati, 469
lateres, 465
Latin inscriptions, 421, 461
language, 441
Latium, 445, 463
Latona, 500
latrones, 56
latrunculi, 448
Lauenstein, 593
Lausitz, 593
lavacrum, 375, 477
Laverna, 215, 463
lead binding, 552
cramps, 532
rivets, 569
vases, 147
Leagros, 325
lebes, 357, 371
lecane, 144
Lecce, 426
lectisternium, 461, 517
lecythos, lecythus, lecythi,
lekythos, &c., 29, 39, 40,
109, 167, 169, 187, 188,
193, 197, 205, 208-211,
213, 216-218, 223, 302,
307, 308, 329-331, 347,
351, 352, 355, 357, 358,
366-7, 373-375, 387-389,
392-3, 395, 396, 400, 410,
415, 418, 424, 427, 428,
434, 438, 451, 458
lecythi, double, 39
Leda, 228, 263, 286, 289,
460, 514, 555
legends, 109
legionaries, 486, 598
legion, 30th, 573
legions, 473, 486, 487, 488,
571
victorious, 477
Leipzig, 594
lekane, lekanai, 182, 187,
205, 354, 433, 451
lekanion, 344, 377
lekanis, 377, 384
lekaniskos, 377
lekanomanteia, 377
lekarion, 384
lekis, 384
lekiskion, 384
lekos, 384
lekythopoioi, 341
Lemnian, 235
Lemnos, 242, 249, 255, 260,
289, 515
Lentini, 427
Leo, 536
Leokrates, 325
Leonteus, 289
INDEX.
631
LEONTINI.
Leontini, 426, 427
lepaste, 213, 360, 383
lepastides, 329
lepesta, 537
Leptis, 431
Lernaian hydra, 252
Lesbian kraters, 368
Lesbos, 390
leschai, 309
lesche, 225
Lesches, or Leschaios, 288
Le Seille, 469
Leto, 232-3, 317, 429
Leucas, 128
Leucon L, 175
Leuke, 270, 271, 288
Leukippidai, Leucippides, &c.,
208, 236, 264, 342, 422,
515
eukoma, leucoma, 125, 209,
210, 395
Leukon, 432
Lewes, 588
Leyden Museum, 13, 53, 56,
430 n.
Lezoux, in Aaverqne, 565
Liber, a potter, 564—5
Liber Pater, 122
Libera, see Ariadne, 294
liberti, 485, 501
libertini, 485
library, 81
Libyan victory, 431
Libyes, 179, 300
Lichas, 255
Licryres, 253
Lilaia, 242
Lillebonne, 468
Lilybajum, 114
limbus, 505
lime-glaze, 39
Limeray, 579
Limoges, 579
limus, 465
Lincoln, 545, 548, 574
linen cloth, 48
Lingwell gate, Yorkshire,
403
Linos, 234, 255, 275, 416
liquamen, 534
Lis, dept., 577
literatse, 535
litharge, 107
Littiugton, 536
Llyr Lhediaith, 589
Locri, 219, 398, 405, 423,
425
Locris, 417
Loiret, in OrlAinnois, 579
London, 487, 500, 524, 536,
573, 581
clay, 574
Lorraine, 469
LUXEHBOURQ.
lotus, 55
Louisendorf, 524
louterion, 376
Louvre, 148, 204, 331, 351,
418, 420, 431, 432, 436,
583
Luben, 594
Lubrense, 412
Lucania, 157, 160, 162, 217,
225, 245, 296, 298, 398,
409, 418-9, 424, 429, 430,
463
Lucanian style, 243
Lucanians, 411, 423
Lucera, 418
lucernarii, 509
lucernae, 504
Lucifer, 248
Lucian, 131, 512
Lucina, 511
Lucius the gladiator, 571
iEmilius Julianus, 483
Apuleius, 512
Aurelius Martialis, 484
Brutidius Augustalis,
484
487
Caecilius Ssetinus, 514
Cgecilius Scaevus, 520
Calpurnius Eros, 532
Cassius, 533, 578
Cestius, 535
Cornelius Scipio, 485
Cossutius Virilis, 571
Fabricius iEveius, 520
Fabricius Masculus, 520
Gellius, 559, 560
Herennius, 581
Licinius Sura, 479
Muranus, 620
Philomusus, 532, n.
Primus, 520
Purellus Gemellus, 534
Silvinus Helpidianus,
442
■ Tarquinius Priscus,408,
Tettius, 559
Titus Papius, 531
Valerius Labeius, 485
Verus, 521, 530
Lucullus, 497
Lucumo, 407
Lucumons, 212
Ludenu, 26
Ludin, 26
Ludwigslust, 595
; Lugnagroagh, Wicklow^ 591
I Luna, 510, 511, 513
: Lupiaj, 426
lustral vases, 518
. lutum, 465
Luxembourg, 565
I gardens, Paris, 579
MAMEKTINI.
Luxor, 12, 17
lychnos, 504
lychnuchus, 504
Lycia, 130, 247, 386
Lycian ointment, 147
Lycurgus, 114
Lydia, 82, 117, 126
lydians, 329
Lydian airs, 367
kings, 387
lydion, 465-6
Lysippus, 206
Lykaon, 254, 270, 289
Lyketes, 253
Lykia, 268
Lykis, 329
Lykomedes, 267
Lykophron, 276
Lykourgos, 261, 282, 292
Lymne, 489
Lynkeus, 360
Lynkos, 289
Lyons, 498, 503, 549, 572,
578, 580
Lysias, 341
Lysimachia, 143
Lysippide§, 325
Lysippos, Lysippus, 121, 202,
208, 345, 431, 498
Lysistrate, 285
Lysistratus, 121, 498
Lysse, 250
M.
Ma, 63
Macedon, 119
Macedonia, 138
Macedonian period, 145
potteries, 484
Machaon, 492
Macrobius, 358, 498-9, 555
Maecenas, 555
Maeonia, 402
Maevia, 524
Mafka, 56
Magliano, 454—5
Magna Graecia, 119, 157, 188,
210, 219, 405, 409, 411,
418, 449, 463
Magoula, 396
Maia, 233, 236
Maiander, 301-2, 307
Mainads, Ma;nad, 127, 241,
242, 282, 342, 343, 395,
403
Makathesa, 409 n.
makers, 501
malluvium, 541
Malta museum, 430
Malvern, Great, 589
Mamertine wine, 534
Mamertini, 117
632
INDEX.
MANES.
Manes, a potter, 341
Manes, 523
Mannheim, 488
Manous, 266
Mantinea, 113
Mantitheus, 140
Manto, 259
Mantua, 400, 497
Marathon, 163, 257
Marcella, 534
Marcians, 38
Marcus iEmilius Rusticus,
535
Antoninus, 504
Epaphroditus, 493
Atilianus, 500
Aurelius, 482, 483
Antoninus, 530
Solinus, 535
— Clodius Pupienus Maxi-
mus II., 572
— Exsonius, 535
— Julius Philippus, 522
— Lucilius Quartio, 531
— Messius Fortunatus,
578
Petronius
536
Publicius
484
Veteranus,
Januarius,
• Sentius Cestius, 462
Valerius Pastor, 490
Maresfield, 582
Mareuil, 468
Margate, 582
Marienfels, 488
Marinus, 479
Marius, 460
Secundus, 573
Marlborough, 582
Marnitz, 595
Mars, 62, 168, 420, 511, 514,
583
Marsal, 469, 529
Marseilles, 539
Marsiconuova, 426
Marsyas, 124, 230, 233, 242,
244, 265, 342, 343, 349,
424, 513
Martia Valeria, 488
Martial, 455, 499, 500, 530,
534, 539, 541, 542, 551,
555, 561, 568, 580
masks, 128,491,564-5, 583
Massa, 412
Massilia, 115
Massinissa, 538
Massues, 580
master-mould, 564
mastos, 379
Matalus, 329
matella, 541
matellio, 541
MENECRATES.
Matlow Hills, 588
Maturius, 533
Maturus, 533
Maulevrier, 579
Mausolea, 471
Mausoleum, 387
of Empress Helena, 543
Mausolus, 114
Maxentius, 467, 471, 493
circus of, 543
Maxilua, 115
Maximus, Emperor, 507
517, 519, 521, 522, 535
Mavence, 487, 488, 524,
564-5, 579
Mayhora, 591
Mayland, 524
mazonomum, 541
measures, 117
Mecklenburg, 594
medallion, medallions, 128,
166, 168, 370, 568, 583
Medea, 261, 262, 292, 295
Medinat El Giahel, 12, 17
Haboo, 15
Mediterranean, 457
Medusa, 127, 138, 144-146,
193, 222, 231, 262, 336,
343, 348, 492, 511
Medway, 581
Megaira, 266
Megakles, 325, 351
Megalai Eoiai, 263
Megalopolis, 396
Megara, 114, 119, 122, 397
Meidias, 208, 341, 422
Meissen, 594
Melak, 110
Meleager, 423, 515
Meleagros, 261
Meletosa, 206
Melibceus, 516
Melissa, 285
Melos, 125-127, 146, 162,
164, 180, 187, 219, 378,
389, 390, 396, 430 »., 434,
447, 572
Melosa, 258
Memmius, 519
Memnon, 189, 191, 193, 269,
270, 287, 288, 324, 336,
343, 348, 389, 403, 428
Memnon, secutor, 573
Memnonium, 9, 11
Memphis, 12, 21, 23, 25,
38, 62, 73
Memsie, Aberdeenshire, 590
Mena;chmus, of Plautus, 562
Menas, 40
Mendes, 347
Menedemus, 138
Menecrates, Menekratcs, 135,
397
MIKOA.
Menelana, 533
Menelaos, Menelaus, 189,
225, 236, 268, 271, 273,
289, 314, 344
Menestheus, 271, 317
Meniscus, 140
Menodotus, 143
Mentor, 230, 273, 347, 540
Mentu, 20
Mentuemha, 20
Mentu Ra, 62, 64
Menulus, 462
Mercury, 63, 122, 168, 497,
498, 511, 512, 514, 545
Mereworth, 582
Meri, 20
Merimes, 19
Merodach Baladan, 93
Merseburg, 594
Mersekar, 64
Mertese, 187
Mesnil, 577
mesomphaloi, 383
Mesopotamia, 73, 75
Mespila, 76, 78
Messana, 117
Messapia, 160, 278
Messene, 276, 313
Messina, 426
metallic rhyta, 365
Metapontium, 424
Metapontum, 118, 158, 353,
373
Methe, 242
Methillus, 570
metoikoi, 406
Metrodorus, 329
Mexican, 592
]\Jiamoum, 56
mica, 526, 547. 550
Midas, 265, 282,338,392,430
Migdol-eu-Rameses, 107
Mikomachos, 220
Milan, 533
Milesians, 432
Miletos, 288, 416
Milhac de Nontrou, 472
milliaria testacea, 601
Milo, 127, 153, 180, 280,
375
Milos, 389, 453
Milz, 566
Mimos, 242
Minchinhampton, co. Glou-
cester, 546
Mincio, 400
Minerva, 168, 254, 344, 492,
501, 505, 510, 513, 530
Musica, 230
Pacifera, 511
Promachos, 511
Minervian legion, 488
Minoa, 114
INDEX.
633
MINOS.
Minos, i;U, 257, 265, 317
Minotaur, 191, 193, 256, 257,
265, 297, 316-7, 336, 340,
342, 344, 345, 349, 426,
428, 448
mirmillones, 517
mirrors, 461
Missanello, 419
Mithradates, 141
Mithras, 514
Mithridates, 432
Mitylene, 288
Mnaseas, 336
Moabitis, 108
Modena, 399, 400, 532, 542,
559, 560, 561, 572, 580,
592
Modestus, 485
Mceris lake, 11
Moguntiacum, 488
Moirai, 158, 247, 394
Molionides, 253
Molise, 418
Molpe, 241
Molpos, 275
Molto, 426
money-boxes, 502
monochrome, 159, 458
Monos, 519
Mon-reale, 162
monsters, 184, 287, 457
Montalto, 404
Monteroni, 410
Monte Sarchio, 418
montes testacei, 8
Monte Testaceo, 545
Mont-labathie-Salebn, 579
Montrose, 590
Moorgate Street, 549
Mopsos, 261
Morbihan, Brittany, 586
moriones, 517
mortar, mortaria, mortarium,
478, 527, 529, 536, 541,
544, 547, 549, 550, 568
mosaics, 475, 478, 479
Moschion, 276
Moschos, 291
Mosul, 76, 89, 100
moulds, 9, 13, 38, 47, 57,
94, 100, 103, 106, 115,
121, 123, 127, 128, 165,
167-169, 434, 499, 502-3,
505, 509, 553, 554, 556-
7, 564-5, 572, 576, 579
Moulins, 499, 501
Mousaios, 275, 437
Moyenvic, 469
Mugever, Mugheir, 93, 96,
102, 106
Mugnano, 413
Mujellibe, 92, 9?, 95, 96,
100, 105
NARKI8S08.
Mukathesa, 409 n., 462
Mullingar, 591
mummies, 59, 60
Mummius, 120
Munich, 148, 162, 176, 177,
340, 396, 429, 595
Muntripus, 519
Murano, 412
Murena, 470
murrhine, 36
Murviedo, 572, 581
Musaeus, 206
Muses, 122, 126, 244, 246,
262, 38i), 437, 497
Museum, British, ptssim
Museum of Practical Geology,
90, 104
Museums, 154
musivum opus, 478
Mut, 53, 62, 64, 73
Mutianus, 539
Mutina, 399, 560
Mutzig, 498
Mycena;, Mykenai, 108, 158,
180, 183, 219, 396
Mycerinus, 10, 131
mykteres, 131
Mynnyd Carn Goch, co. Gla-
morgan, 589
myobarbum, 541
Myrmekides, 347
Myrmidons, 268
Myro, 241
myrrhine vase, 530, 555
Myrtilos, Myrtilus, 263, 266
Mys, 347, 540
Mysia, 115, 260, 267, 387
mysteries, 224
Mytilene, 390
myxa, 504-5
N.
Nabonidus, 93, 96, 102
Nabopallasar, 102
Naham-ua, 64
Naharaina, 73
Naiades, Naiads, 213, 249,
262
Nais, 241
names of potters, 559
namms, 66
Nancy, 572
naos, 118, 353, 373
Naples, 148, 151, 155, 157,
162, 169, 219, 310, 398,
411,412,433,435,437-8,
479«., 515, 517, 524,542,
560
, lamps of, 508
Museum, 170,206,328,
324, 424, 501
Narbonne, 532 n.
Narkissos, 284-5
NEKON1AN8.
nasiterna, 540
nasus, 504, 540
Nattus, 500
Naucratis, Naukratis, 66,
406, 432
Naukydes, 342
naulos, 210, 356
Nauplia, 230
Nausikaa, 273
Naxians, 241
Naxos, 119, 158, 225, 238,
240, 249, 313, 316, 318
Neandros, 342
Neapolis-Peucetiae, 420
Nearchos, Nearchus, 315,
322, 338, 345
Nebbi yunus, 77, 78
Nebenneteru, 12
Nebi, 117
nebris, 243
Nebuchadnezzar, 84, 93, 94,
96, 100-102
Nechtsebak, 21
necklaces, 591
Necropolis, 191
Nectanebo, 377
Nefer-Atum, 63, 73
Neferhebef, 20
Neferheft, 20
Neferhetep, 20
Nefermen, 20
negotiatores, 552, 578
negroes, 50
Nehalenia, 498
Neith, 7
nekrodeipnon, 356
Nekropolis, 404
nekyomanteia, 273, 289
Nemea, 251
Neraean games, 262
lion, 337, 340, 342,
391, 403
Nemesis, 274, 289
Nen, river, co. JSortht^ 528,
582
Neoklides, 345
Neoptolemos, Neoptolemus,
114, 270-1, 273,275,289,
424, 460, 515
Nephele, 348
Nepherophis, 20
Nephthys, 60, 61, 63, 64
Neptune, 474, 492, 512, 514
Nereids, 144, 166, 193, 245
249, 266, 268, 270, 281,
293, 336, 492
Nereus, 237, 249, 253, 293,
317, 345, 519
Nero, 467, 481, 521, 523,
535
golden palace of, 533
Nei'onian potteries, 484
Neronians, 521
634
INDEX.
KERVA.
Nerva, 555
Nessos, 254, 317
Nestor, 221, 265, 269, 273,
289, 332, 338, 348, 378
Neti, 130
neurospasta, 130
Neuss, 487, 488
Newark, 589
Newcastle-on-Tyne, 589
New Forest, 550, 582
Newhaven, 582
Newmarket Heath, 588
Nicaenetus, 122
Nicander, 140
Nice, 420
Nicolaief, 117
Nidd, 488
Niebuhr, 408
Niederbieber, 487, 488
Niffer, 92, 93, 95, 96
Nikaulos, 283
Nike, 145, 209, 210, 228-9,
230, 233, 235, 238, 245,
248, 249, 255, 256, 259,
264, 278, 280, 284, 294,
297, 337, 395, 416, 424,
428, 431
Niketas, 402
Nikias, 147, 309
Nikippus, 128
Nikodemos, 324
Nikokrates, 159, 430-1
Nikolaos, 324
Nicomachos, Nikomachus,
159, 276, 282
Nikophanes, 285
Nikopolis, 285
Nikosthenes, 197, 214, 304,
322, 340, 342, 343, 347,
349, 404, 409, 428
Nikostratos, 360, 401
Nile, 457
Nilometer, 64, 65
Nimeguen, 486-489
Nimes, 572
Nimroud, Nimrud, 7, 77, 78,
84, 87, 89, 90, 94, 105,
110, 185
Nineveh, 57, 78, 81, 87, 91.
Ninip, god, 76
Ninyas, 105
Niobids, 234, 265, 282
Nisaian nymphs, 237
Nishni, 20
Nisiros, 391
Nismes, in Provence, 579
Nisyros, 391
No-Ammon, 21
Nocera dei Pagani, 417
Nola, 40, 149, 152, 174, 181,
182, 189, 191, 197, 202,
206, 215, 217, 219, 249,
300, 303, 327-8, 332, 357,
OINOCHOE.
379, 394, 398-9, 404, 409,
411, 412, 414-417, 419,
420, 422, 424, 425, 427,
428, 430 n., 438, 462,
505
Nolan amphoras, 362
ware, 372, 410
Nomentana via, 508
Nomios, 233, 343
Nonnus, 222
Noph, 21
Nordendorf, 594
Norfolk, 593
Normandy, 579
Northern style, 597-8
nostoi, 224, 272, 273, 275,
288-291, 310
Noto, 130
Nox, 513
Noyelles-sur-mer, 580
Nubian, 367, 431, 506
Nuceria Alfaterna, 41 7
nucleus, 478
Num, 7
Numa, 442, 455, 495, 496,
497, 537, 542
numbers, 148
Nympha3um, 120
Nymphaia, 242
Nymphs, 240, 241, 243, 438,
513
Nysa, 237
OBBA, 541
Obernburg, 487
Oberrosbach, 488
objects in vases, 151
obolos, 144
obrendaria, 536
Occa, 559
Ocean potteries, 484
Octavia, 570
Oder, river, 594
Odeum, 115
Odusseus, 314
Akanthoplex, 290
Odyssey, 208, 213, 273, 289
Oenanda, 524 n.
officina, officinal, 484, 519,
536
(Edipus, Oidipous, 213, 259,
281, 292, 319, 320, 515
Oileus, 254
Oinanthe, 325
oinerysis, 374
oinochoe, oinochoai, 29, 56,
134, 145, 146, 150, 167,
182, 185, 187, 193, 197,
205, 209, 213, 217, 250,
ORDIS.
308, 337, 342, 345, 354,
357, 367, 372-3, 378, 385,
391, 396, 404, 410, 414,
415, 424, 434, 437, 438,
445, 450, 451, 453, 458,
539
oinochoos, 372
Oinomaos, 213, 260, 263,
321, 437
Oinone, 241, 267
Oinopion, 340, 350
oenochoe, cenochoai, 29, 182,
404, 539
oenophorum, 540
Oinos, 242, 415
Oiphon, 242
Oise, 579
Oita, 255
okladias, 256
Olbia, 117, 140, 141, 142
Oldburv Castle, 588
^oila, olla;, 473, 536, 541,
542, 544-549, 551, 552,
583, 590, 597, 598
olpe, olpai, 182, 187, 197,
^ 205, 336, 348, 354, 366,
378, 404
olpis, 367
Olympia, 114
Olympias, 353, 377
Olympic games, 229
gods, 231, 343, 344
myths, 263
Olympiodoros, 315
Olympos, Olympus, 225, 228,
230, 235, 238, 244, 247,
248, 251, 255, 265, 266,
268, 270, 424
Omphale, 253, 423, 434
Omphalos, 383
Oueias, 89
Onesimos, Onesimus, 339,
351, 531
Onetorides, 324, 350
onomasticon, 292
Onopion, 239
onychis, 379
ooskyphion, 379
Opici, 412, 416
Tyrrhenorum, 407
Opora, 241
Oppedi quarta, 521
Oppian laws, 496
Oppius, 519, 520
Opuntii, 423
opus doliare, 135, 466, 480,
481, 485, 532
pavonaceum, 470
reticulatum, 469
Oragie, 242
Orbetello, Orbitello, 213,
401, 454, 460
orbis, 527
INDEX.
635
OBEIMACHCB.
Oreimachos, 242
Oreios, 264
Oreithyia, 248, 256-258,316,
343, 393
Oresteia, Oresteid, 211, 213,
223, 230, 234, 235, 274,
289, 291, 292
Orestes, 247, 274, 275, 315,
320, 337, 356, 395, 423, 515
Oria, 424
Oricum, 534
Oriental style, 434, 450
Origen, 377
Oriou, 115, 248, 259, 291,
346, 348
Oristano, gulf of, 434
Orkney, 590
D'Orlando, cape, 115
ornameutarii, 532
ornaments, 51, 52, 58, 85,
89, 115, 146, 166, 180,
181, 184, 185, 216, 218,
300-309, 444-449, 456,
475, 491, 493, 506, 509,
527, 545, 551, 558, 560,
563, 567, 574, 584, 585,
587, 590, 593-4, 597
Orokrates, 242
Orpheus, 222, 260, 262, 265,
275
Orte, 454, 461
Orvieto, 402, 454
Oscan alphabet, 416, 462
colony, 411, 414
inscriptions, 462, 464
Oschatz, 594
oscillum, oscilla, 128, 491,
499, 583
Osertesen, 72
Osiris, 7, 18, 19, 20, 22, 23,
51, 52, 58, 60, 61, 63, 64,
69, 70, 73
onnophris, 64
oskophoria, 277
Ostia, 471, 472, 474, 480,
491, 516
ostracism, 119
ostrakina toreumata, 112,
123
ostrakon, 112
Ostuni, 425
Otranto, 424
Otus, 456
Oundle, CO. Nortut., 573
Ourigalzu, 93
oven, 542
Ovid, 514
ovolo, 301, 304, 308
oxis, 384
oxybaphon, oxybapha, 150,
205, 213, 218, 308. 330,
332, 358, 368, 369, 385,
421, 429
PANTilAlOS.
Pacatus, 490
Paian, 242
Ptestum, 152, 398, 417, 463
Pagnaui, 480
Pagny-les-Chateaux, 580
Pahar, 12, 21
Paidia, 245, 394
paidotribes, paidotriboi, 278,
295, 319
paidotribos, 352
painting, 458
Palaimon, 256, 281
palaistra, 278, 393, 416
Palamedes, 230, 311, 348
Palazzolo, 427
Palermo, 426, 428
Palestine, 39, 107
Pali, 180
Palladium, 222, 270, 341,
514
Pallas, 125, 227, 497
Athene, 145, 192, 229,
255, 270, 321, 341, 361,
393, 425, 464
pallet, 53, 70
Palma, 531
palm branches, 38
Palmense, 531
palmette, 216
Palmyra, 110, 472
Palmy rene inscriptions, 110
Palo, 454-5
Palzano, 532
Pamaphios, 343
Pamphaios, 404
Pan, 125, 177, 242, 266,
294, 295, 392, 492, 512,
513
Panaitios, 339
Panamos, 137
Panathenaia, 355
Panathenaic amphora, 155,
156, 193, 314, 309, 332,
361, 393, 412, 414, 428,
447
skyphos, 379, 403
vases, 158, 159, 199,
230, 279, 341, 353, 421,
430
Pandaisia, 250
Pandora, 113, 211, 258, 265
Pandrosos, 230, 258, 265
Paniscus, 487
Pannychis, 250
Panopeus, 113, 119, 130
Panormus, 427
Panphaios, 343
Pantarkes, 321, 326
Panthaios, 310, 343, 344,
401
PAVIMENTARII.
Pantheon, 471
Panticapajum, 117, 135, 219,
346, 432
Pappo-Silenos, 245, 513
papyrus, papyri, 45, 55, 83,
505
Parchim, 596
Parennefer, 12, 21
Paris, 148, 149, 209, 236,
237, 267-8, 270, 289, 337,
341, 346, 348, 350, 408,
416, 423, 437, 514, 572,
579
national library, 72,
104, 149, 192, 390, 432,
459
Hotel Dieu, 572
Parium, 143, 387
paropsis, paropsides, 384,
538, 539, 569
Parrhasius, 159, 206, 220,
285, 347
Parthenii, 424
Parthenon, 202, 206, 364,
372, 425
Parthian, 106, 111, 488
Paru, 20
Pas de Calais, 580
Pasht, 53, 64, 73
Pasht-Merienptah, 63
Pasiphae, 257, 265
Pasiteles, 121, 498
Pasnem, 13
paste, 37, 48, 70, 468, 525-6,
545, 547, 559, 591, 592,
596
Pastor, 519
pataikos, 62
patella, 538, 546, 547, 549,
551, 558
patera, patera^ 84, 85, 152,
372, 514, 537, 538, 541,
545, 549, 561, 569
Paterclos, 569
patina, patinaj, 384, 538, 539,
546, 547, 558, 561
patinarius, 539
Patraj, 397
Patras, 397
Patrenses, 360
Patricius, 519
Patrokles, 348
Patroklia, 225, 288
Patroclus, Patroklos, 191,
193, 226, 268-9, 271, 317,
321, 338, 340, 344, 348,
356
Patroni, 521
Paulus, 549
Pausanias, 112, 113, 119,
121, 122, 128, 285, 309
pavements, 470, 478, 479
pavimentarii, 471
636
INDEX.
PAVONACEUM OPUS.
PHIALE.
PILE CIKQ-MARS.
pavonaceum opus, 470
perideipnon, 357
phiale omphalotos, 146,
167
Peace, 514
Perikionios, 277
phialos, 166-7
pebbles, 549
Perikles, 159, 160, 325,
826,
Phidian Athene, 231
pectorals, 60
394
Phidias, 157
Pedageitnios, 137
Periklymenos, 260
Phigaleia, 206
Pegasos, Pegasoi, 248, 262,
Periphas, 272
Philadelphus, 559
263, 343, 365, 403, 453,
perirrhanterion, 378
Philias, 130
457, 517
periskelis, 384
Philinos, 344, 352
Pehlevi, 102
Perseid, 206, 213, 236,
242,
Philip, Emperor, 434,
503,
Peiraius, 394
247, 249, 262-3, 453
507, 509, 521
Peirithoos, 264, 266
Persephone, 126, 232,
247,
Philippeum, 114
Peisander, 453
258, 266, 293, 315
Philippos, Philippus,
276,
Peisistratus, 138
Persepolis, 57
316, 392, 521
Peitho, 245, 246, 294, 394
Perseus, 127, 138, 193,
222,
Philoktetes, 260, 267,
270,
pelamys, 384
225, 262, 287, 292,
336,
289, 515
Pelasgi, 448, 498
348, 400, 419, 453,
492,
Philomela, Philomele,
213,
Pelasgic architecture, 181
515, 575
282
inscription, 454
Persian king, 431
Philon, 188
subjects, 223
style, 309
Philonoe, 258, 262
Pelekys, 235, 239, 257
Persians, 17, 46, 54,
93,
Philosophoumene, 377
Peleus, 201, 225, 226, 231,
110, 111, 119, 157,
186,
Philoumenes, 130
237, 238, 247, 261, 266-7,
202
Philtias, 338, 351
290, 341, 348, 349, 352-3,
Persius, 455, 554
Phineus, 260, 354
410, 429, 437
Perugia, 401
Phintias, 130
Pelias, 261, 291
Perugian war, 570
plilomos, 131
pelice, pelike, pelikai, 193,
Perusia, 401, 508
Phlunphluns, 365
pi. p. 203, 205, 332, 350,
Peruvian style, 183
Phobos, 235, 250
363, 395, 433
Peruvians, 180
Phocis, 119
pelinoi, 123
Pesauri, 508
Phoebe, 241
Pelion, 253, 267
Pesaurum, 520
Phoenicia, 110, 457, 463
Pella, 119
Peschiera, 533
Phoenician inscriptions.
391
Pelopeid, 263
Pesth, Hungary, 683
style, 160, 183,
197,
Peloponnese, 179, 219, 359,
Pesto, 417
302, 303, 376, 389,
403,
547
petachnon, 383
421, 427, 430, 447, 451
Peloponnesian war, 199, 288,
Petamen, 73
ware, 44
424
Petraios, 253
Phoenicians, 108, 109,
183,
Pelops, 213, 231, 260, 263,
Petronelli, 488
390, 395, 432, 434
266, 292, 295, 321, 343,
Petronius, 516
Phoinix, 271, 273
437
Phsedon, 140
phoenix, 45
Plexippos, 263, 339
Phaedrus, 497
Phoenix Park, Dublin, 591
Pelorus, 115
Phaethon, 248
Pholos, 253, 264
pelta, amazonian, 509
Phaia, 249, 257
Phormos, 281
Pelusium, 9
Phaidra, 416
Phosphoros, 248
pelvis, 377, 541, 549
Phaistos, 312
Photius, 358, 377
Penelope, 230, 236, 273, 416
Phalax, 129
Phrixos, 222, 260, 348,
423
Peninsula, 572
Phalerum, 161
Phrygian costume, 295
pentadoron, pentadora, 465-
Phallen, 277
myths, 265
6, 467
phalloi, 243
Phrygians, 181, 295, 339
Pentamenapt, 21
Phanope, 241
Phrynichos, 337
Pentamennebkata, 19
Pharaoh Necho, 57, 367
Phrynos, 344, 351
Pentathlon, pentathla, 158,
pharos, 115
Phtha, 8, 12, 53, 63, Q4
-,73
194, 279, 318, 355
Pharsalos, 289
Socharis, 62, 65
Penthesilea, 211, 269, 288,
Pheidias, 199, 202, 321,
326
Osiris, 12, 23
336, 340, 342, 350, 423,
Pheidippos, 201, 341, 351
Phthiotis, 260
460, 461, 514
Phera;, 159
phthois, 383
Pentheus, 259, 260, 282,
Phersean legends, 260
Phylarchos, 377
395
Pherecrates, Pherekrates,
Pianmiano, 402
peperino, 444
281, 505
Piano dell' Abbadia, 404
peplos, peploi, 198, 213
Pherekydos, 380
Pictish ale, 590
Peretta, 532
phiale, phialai, 134, 150,
215,
Pierian quire, 233
perfume vases, 458, 463
216, 245, 250, 300,
342,
Pigmies, 226, 266, 492,
515
Pergamus, 387, 479, 542,
354, 372-3, 383, 385,
414,
pila, 472, 473
560
432, 451, 458
Pile Cinq-Mars, 475
INDEX.
637
PILLARS OP HERCULK8.
P08SES8I0XE8.
PROTYPA.
Pillars of Hercules, 265
pollubrum, 541
Possis, 496
pinakion, 384
Pollux, 260, 264
postes, 474
pinakiskos, 384
, Julius, 292
Posthumus, Emperor, 503
pinax, pinakes, 134,
187,
Poltys, 256
posticum, 216
205, 213, 337, 344,
349,
Polyaratus, 138
Potentia, 419
354, 384, 451, 491
Polybius, 365
Potenza, 419
Pindar, 155, 158, 292,
327,
Poly botes, 231
poterium, 7
355, 364, 394
polychrome, 394, 413,
422,
Pothinos, 352
Piraeus, Piraios, 129,
210j
424, 427, 431-2, 438
Pothos, 241, 242, 243, 245
357
Polydektes, 263
potteries, 485
Pirithoos, Pirithous,
253,
Polyetes, 250
potters' guild, 107
258
Pisa, 402
Polygnotus, 157, 159, 199,
names, 499-500, 570,
579, 580
Pisan myths, 263
Polyhymnia, 126
Powerscourt, 591
Pisander, 262, 268, 294
Polykrates, 276, 311, 321
pozzolano, 526
Piscopia, 391
Polymenos, 319
Pozzuoli, 122, 132, 177, 468
Pisistratos, 273
Polymne, 242
prajdia, 482-484
Pistica, 500
polymyxos, 504
Praetorian, 480, 487
Pisticci, 419
Polynikes, 259
Camp, 471, 483
pistilla, 529
Polypemon, 257
Praxias, 352
Pistillus, 498
Polyphemos, Polyphemus,
Praxiteles, 511
Pistoxenos, 344, 349, 413
193, 273, 287, pi.
409,
Priam, 114, 193, 237, 267-
Pitane, 115
514
271, 289, 295, 316, 317,
pithakne, 359
Polypoites, 289
318, 352, 421, 424, 437
Pithecusae, 426
Polyrrhenia, 143
Priapos, Priapus, 122, 344
Pithom, 107
Polystratus, 117, 140
prices, 128
pithos, pithoi, 30, 134,
135,
Polyxena, 269, 271, 316
Primigenius, 484
156, 163, 179, 359,
390,
Polyxene, 226, 271, 363
, P. F. Lucillae, 535
455, 527, 531, 542
Polyxenos, 290
Primus, 519, 534
Pius, 132
Pomarico, 419, 425
Principato Citeriore, 417
planets, 95
pomegranate, 40
Ulteriore, 418
Plato, 178
Pompeianus, Consul, 478
Priscian, 532
Plautus, 461, 535, 537,
541,
Pompeii, 143, 212, 214,
215,
Priscilla, 480
562
218, 383, 431, 472,
475,
Prisons, 499, 519
Plaxtol, 475
477, 491, 493, 497,
526,
pristis, 273, 290, 384
Plebeian cups, 530
533, 534, 542, 570,
572,
privata, 482
Pleiads, 221
583
prizes, 355
Plexippos, 263, 339
Pompey, 121, 468
Probus, 490, 519, 522
Pliny, 157, 222, 387,
397,
Pons Sublicius, 498
prochoos, 372-3, 433
399, 400, 407-8,
418,
Ponte della Badia, 404
procrossi, prokrossoi, 128,
442, 466, 469, 498,
508,
Pontomeda, 339
144, 210
526, 530, 532, 542,
555,
porcelain, 33, 40, 47, 50-52,
Proitids, 262
560, 572, 580
59, 88, 457
Prokne, 213, 256, 258, 282,
Plistia, 417, 425
porcupines, 54
292
Plotina, 483
Porsena, 455, 555
Prokris, 258, 265, 282, 292
Augusta, 519, 521
Porta Latina, 493, 497
Procrustes, Prokroustes,
Ploutos, 209, 232, 250,
395
Pinciana, 494
211-2, 257, 281, 348
Plutarch, 161
del Popolo, 534
Promachos, 393
Pluto, 246, 247, 253,
293,
■ Salaria, 494
Prometheans, 334
513
Trigemina, 520
Prometheus, 113, 229, 246,
Po, 399, 400
Port Dafarch, 589
265, 280, 292, 334, 397,
poculum, pocula, 540,
547,
Portelette, 592
497, 500, 505, 515
569, 570
Portland, 582
pronaos, 216
podanipter, 332, 377
portraits, 127
proplasmata, 498
Podargos, 348
Poseidon, 227, 228, 229,
231,
Propraetor, 487
Podis, 241
233, 235, 238, 245,
248,
Proserpine, 121, 336, 393
Poggio Somavilla, 410
256, 257, 259, 263,
268,
prosopa, 128
Polignano, 151, 420
293, 317, 336, 346, 351
Prostasius, 478
Polios, 350
Poseidonia, Posidonia,
191,
Protesilaos, 348
polish, 39, 41, 44
312, 417
Proteus, 273, 512
Polites, 270, 460
Poseidonius, 117, 140
Protomachos, 271
Polledrara, 54, 66, 434
Posis, 124
Protosamians, 554, 575
Pollentia, 400, 542, 560
possessiones, 482
protypa, 119
638
INDEX.
PEOTYPOS.
protypos, 123
Psalias, 348
Psamathe, 314
Psammetichi, Psammetici,
54, 433, 457
Psammetichus, 311,434
pschent, 62
Pselcis, 9, 46
psephides, 478
psephoi, 478
psephosis, 479
Pseudo-Dicaearchus, 122, 493
Egyptian religion, 132
Kallisthenes, 377
Psiax, 341, 352
Psyche, 250, 512
psychostasia, 270
psygeus, 370
psykter, 354, 370
Ptahmeri, 12
Pterelas, 221
Ptolemais, 431
Ptolemata, 431
Ptolemies, 74, 434
Ptolemy Philadelplius, 159,
365, 380, 430
Philopator, 56
Publinian potteries, 481
Publius, 519, 520, 559
Actius, 533
Asisus, 519
Carisius, 569
Cornelius, 556
Cornelius Celadus, 520
Crispus, 535
Fabricius, 520
Fabricii tertia, 521
' Remigius Coxendicus,
490
Renatus, 490
Satrius Camillus, 520
Satrius Campestris, 520
puelos, 376
Puglia, 151, 398-9, 413,
420, 421, 459
Pulciano, Monte, 445
Punic inscriptions, 110
Punta di Guardiola, 410
Purbeck, 582, 588
Putignano, 420, 421
Puzzuoli, 468
pyaloneis, 333
Pylades, 274-5, 395
Pylos, 231, 253
Pyramid, Pyramids, 7, 9, 11
49
pyramids, 129
Pyrgi, port of, 448
Pyrgos, 408
Pyrilampous, 326
Pyrokome, 271
Pyrrhic dance, 280
Pyrrhos, Pyrrhus, 118, 160,
RHINTHON.
208, 275, 288, 313, 317,
412, 422, 425
Pythagoreans, 424
Pytheus, 379
Pythia, 254, 274-5
Python, 344, 349, 352, 512
pyxis, pvxides, 145, 182, 187,
188, 194, 245, 300, 354,
394-396, 414
QUADRIGA, 442, 443, 516
Quagliere, Monte, 401
quartz, 546
Quintillus, 500
Quintus, 488
Agathyrsus, 483
Lollianus Avitus, 490
Servilius Pudens, 483
Tubero, 538
Valerius, 549
Valerius Esunertus, 549
Valerius Veranius, 549
R.
Ra, 21, 63, 66
Raffaele ware, 310
Ramenkheper, 13, 19, 21
Rameses, 20, 56
II., 12, 19, 45, 55
III., 49, 89
Fort, 107
Rampsinitus, 49
rams, 15
Rath, hill of, co. Leith, 591
Rathborn, co. Sligo, 591
rationes, 482
Ravenna, 542
Red sea, 463
Regillus, 513
Regnus, 569
Rekmara, 13
religious rites, 276-7
Remus, 276, 515
Renatus, 486
Rennu, 15, 64
repa-ha, 21
repairs, 156, 569
restorations, 154
retiarius, 517
reticulatum opus, 469
Rhadamanthos, 266
Rhaetian cohort, 488
Rhea, 246
Rhegium, 157, 424, 542
Rheims, 503
Rheinzabern, 566, 572
Rhesos, 268
Rhine, 445, 488, 489, 566,
577, 595
Rhinthon, 281
RUDI^.
Rhodes, 135, 136, 138, 141,
180, 187, 221, 389-391,
434, 480, 513
Rhodia, 519
rhodiades, 382
rhodiaka, 382
Rhodian potteries, 484
skyphoi, 379
style, 309
Rhodians, 212, 382, 489
Rhoecus, 120
Rhone, 580
Rhossos, 436
Rhvn, 487
rhyton, rhyta, 124, 145, 146,
159, 167, 205, 243, 283,
294, 338, 354, 365, 379,
384, 395, 403, 420, 422,
452, 462, 540
Richborough, 498, 551, 582
Riegel, 488
rings, 58, 65, 66, 586
Ripanus, 549
Tiberinus, 549
ritual, 61, 66-68
Rocca Nova, 420, 426
Rodenkirchen, 487, 488
Rodmanton, co. Glouc, 485
rods, 596
Roenne, 596
Roma, 513
Roman Empire, 434
British ware, 587
shapes, 85
style, 219, 425, 463,
592, 595
ware, 43, 107, 566
Romans, 356, 423, 442, 525,
593
Rome, 39, 389, 390, 397,
399, 436, 443, 446, 463,
467, 468, 470, 486, 489,
493, 496, 508, 524, 526,
530, 533, 541, 545, 561
Arch. Inst., 154
Romulus, 276, 493, 515
Ronaldshay, 590
Rosselle, 401
Rossem, 582
Rossi Museum, 556
Rossi Bacci, Museo, 557
Rossleben, 593
rota figularis, 527
Rottenburg, 571, 572
Rousse, near Oudenarde, 552
Royston, 473, 536, 588
Rubastini, 296, 421
Rubi, 398
rubrica, 196, 508
Rubu tribe, 50
Ruckingen, 488
ruderatio, 478
Rudia^, 426
INDEX.
639
BUFUS.
Rufus, 222
Rugge, 426
Ruma, 12
Rumas, 142
Ruoti, 420
Rusellae, 401
Rutennu, 26
Riivo, 208, 209, 212, 246,
296, 341, 363, 394, 398,
411,420-422,425,431
Rvps, 421
Saar, 485
Saarbriicken, 485
Sabaco, 62, 83
Sabak, 64
Sabaria, 490
Sabine, 410
territory, 341, 470
wine, 541
Sabines, 444, 537
sacella, 505
sacellum, 487, 573
sacrificial vessels, 537
Saffron Walden, 581
sagger, 177
saginaria, 501
Saguntum, 536, 542, 572,
580
St. Albans, 471
St. Dizier, in Champagne,
579
Sainte-Colombe, 580
Foy, 580
Saintes, 472
St. Genevieve, 579
St. Marinella, 410
St. Paul's Cathedral, 529
St. Petersburg, Hermitage,
432
St. Romain-en-Gall, 580
Sais, 9, 131
Sakis, 188
Sakkara, Sakkhara, Sakka-
rah, Saqqara, 8, 10, 25,
27, 49, 89
Sakonides, 341, 345, 352
Saladin, 479
Salamis, 143, 392
Salaria via, 487
Salarian estates, 483
Salentum, 425
Salerno, 417
salicerni, 416
Salii, 517
salina, 569
Salisbury, 588
Salonica, 219
Salopian ware, 552
Salus, 215, 463, 513
Samian potters, 177
8AXON WARE.
Samian ware, 107, 174, 176,
526, 528, 536, 547, 549,
553, 555, 557, 559, 560-
562, 565, 567, 569,571-2,
576, 578-580, 582, 583
, false, 518, 545, 547,
573, 582
Samians, 120, 313
Samneh, 9
Samnite style, 463, 464
Samnites, 398, 408, 411-414,
417, 517, 537
Samnium, 541
Samos, 161, 263, 275, 276,
333, 360, 388, 389, 478,
542, 555, 561
-, Etruscan, 410
Samothrace, 449
San Brancato, 420
Germane, 413
Matteo, 533
Stefano alia RotonJa,
Rome, 542
— — Vitale, church, Ra-
venna, 542
Sanchoniatho, 109
sandal wood, 18
Sanserera, 418
Santa Agata del Goti, 208,
212, 303, 308, 394, 398,
417
Lucia, 418
Sant' Archangelo, 420
Santo Arpino, 412
Sauterino, Santorino, 180,
183, 219, 390
Sanus, 559
sapi, 33
Sappho, 127, 159, 275, 316,
339, 367, 380
Sara but El Khadem, 56
Saracens, 524
sarcophagi, 17, 18, 51, 84,
106, 212, 385, 430, 440,
444, 445, 447, 455, 536,
551
Sardanapalos, 276
Sardis, 114, 159, 387, 466
Sargon, Sargones, 77-79
Sarno, 531
Sarpedon, 247, 268, 339
Sarteano, 401, 454
Sarthe, near Mans, 579
Sassanians, 87, 93, 106, 111
Saturn, Saturnus, 499, 537,
215
Saturnalia, 499, 500, 534
Satyris, 140
Satyr, Satyrs, 116, 164, 176,
212, 240, 241, 243, 263,
336, 374, 415, 438, 512,
513
Saxon ware, 587
SBUPBONrUH,
Saxons, 592, 596, 597
Saxony, 594
Scagliosa, Mount, 425
Scandinavian tyj)e, 594
style, 595, 596
Scandinavians, 585, 590
scaphia, 540
scarabaeus, scaraba^i, 15, 52,
58, 62, 71-73, 91, 180,
434, 461
Scarborough, 589
Scaurus, 534
Scemiophris, 72
Schiersheim, 595
schist, 69, 70
Schkopau, 594
Schwenden HUgel, 594
Scipio Barbatus, 499
Sciron, 121
scirpus, 505
Sclavonic population, 593
Scopas, 131
Scotland, 487, 589, 590
scribe's jar, 41
Scrofano, 493
scutula, scutula;, 539
scutum, 408
Scylla, 145, 512
scyphos, scyphus, 535, 540,
597
Scyrus, 125
Scythians, 265, 295
seals, 32, 71, 74, 82, 83,
88, 137, 138, 146, 539
seasons, four, 513
Sebaknefru, 72
Sebastopol, 129, 135
Sebekmes, 20
secipedales, 466, 485
Secular games, 521, 522, 523
Secularia, 522
Secundanus, 490
Secundinus Silvanus, 552
Secundus Vitalis, 486
Sedulius, 555
Segovia, 572
Seine, 579
Selene, 248
Seleucidae, 85, 87, 102
seleukis, 383
Seleukos, 383
Seligenstadt, 488, 490
Selinikos, 280
Selinos, Selinus, 427, 429,
473
Selinunte, 427, 473
Selinuntine metopes, 191
sellarius, 573
Selva le Rocca, 410
Semele, 228, 238, 259, 242
semilateres, 487
Semiramis, 105
Sempronius, 488
640
INDEX.
. SEMUR.
Semur, 498
Sena, 402
Senkereh, 93
Senmut, 21
Senuacherib,77,78,79, 81-83,
91
Senulus, 462
sepia, 384
septenaria synthesis, 580
Septimus Menodotus, 534
septum, 474
sepulchral figures, 66, 67,
68, 70
— — lamps, 505
vases, 355-7
sepulchres, 149, 150, 433,
503-4, 548, 595
sepulture, 598
Serapis, 38, 506, 514, 547,
583
Serin, 580
Seriphos, 262-3
Sesamas, 344
Sesortesen II., 72
III., 72
Sesostris, 9
sesquipedales, 466, 472
Sessa, 417
Sethos I., 26, 68
Seti, 20
Seven against Thebes, 259,
292
Severn valley, 552
Severus, 46, 140, 159, 493,
500, 503, 522, 579
Sevres, 17, 439, 542, 467
Museum, 109, 114, 120,
390, 468, 470, 472, 547,
565, 597
Sextus, 569
Attius Silvanus, 487
Valerius, 549
Sezza, 531
shab shab, 16, Q6
shabti, 16, 21, 66, 70
Shades, 247, 293
shadoof, 32
Shafra, 61, 72
Shalmanezer, 84
I., 91
II., 77
shapes, 451, 527, 538, 540,
541, 551, 552, 586, 592,
594, 597, 505-7
Shealloch, 590
Sheerness, 575, 581
shells, 463
Shepenmut, 20 '
Sherif khan, 91, 92
Sherleker, 78
s'het, 67
Shinar, 92
Shrewsbury Museum, 467
SISYPHOS.
Shropshire, 589
Shu, 63
Sibson, CO. Northt, 528, 582
Sibvl, 412, 560
Sicily, 99, 110, 116, 117,
130, 135, 140, 146, 152,
168, 191, 199, 206, 210-
212, 219, 252, 254, 314,
327, 357, 366, 406, 408,
411, 414, 426-428, 430,
466, 496
Sicyonia, 116
Sicyonians, 121
Siculi, 448
Side, 117
Siena, 402, 454
sigilla, 455, 498, 499
sigillaria, 37, 498-501
sigillarius, 501
sigillator, 508
signa, 443
signarius, 501
signet-rings, 73
Sikanos, 344
Sikinnos, 275
Sikon, 399
Sikyon, 220, 375
Silanion, 344
Sileni, Silenoi, 222, 237, 239-
241, 248, 255, 294, 374
Silenus, 116, 125, 169, 241,
242, 256, 265, 281, 282,
317, 321, 318, 338, 349,
367, 507
Silesia, 593
Sillius, 521
silphium, 275
Silvanus, 513
silver vases, 573
Silvinus, 500
Similis, 578
Simon, 344
Simonides, 158, 291, 311,
379, 454
Simos, 241, 242, 271
Simpheropol, 142
simpulum, 537
simpuvium, 455, 537
Sinai, Mount, 56
Sinano, 396
Sinis, 257
Sinkarah, 102
Sinon, 270
Sinope, 125, 140, 142
Sinopic earth, 113
sinum, 539
sinus, 539, 541
Sipylus, Mount, 180, 386
Sirens, 168, 169, 246, 265,
273, 281, 287, 342, 418,
514
Sistell, 485
Sisyphos, 266, 315, 321
SPHINX.
Sitalkas, 326
Situla, Situlffi, 30, 165, 363
sizes of bricks, 115
skaphe, 371, 376
skapheion, 377
skaphion, 377
Skeparnos, 271
skiadiske, skiadiskai, (243)
245, 284
Skiron, 257
Skopas, 242
Skylax, 432
Skylla, 249, 273, 291, 293
skyphos, skyphoi, 145, 165,
166, 182, 185, 205, 221,
332, 354, 365, 379-80,
414
panathenaikos, 379, 403
Skythes, 258, 267
Slade collection, 560
slaves, 37, 519
Smikythos, 282, 350
Smintheus, Sminthius, 137,
234
Smis, 241
Smyrna, 387
Smyrnaeus, 288
Sobah, 17
Socharis, 64
Social war, 461
Society of Arts collection, 396
Socrates, 131
Sodano, 420
Sokles, 344
Sol, 510, 511, 513
Solentium, 117
Solicinum, 571
Sollus, 549
Solomon's temple, 158
SoWn, 276
Solos, 427
Solygia, 219, 395
Somme, dept., 580
Sophocles, Sophokles, 210,
220, 253, 259, 291, 326,
356
sorofe, 152
Sorrento, 413
Sosias, 282, 310, 344
Sosimus, 117
Sosos, 479
Sostratos, 329, 350
Soteles, 242
Soterius, 387
Southfleet, 581
Spa, 33
Spain, 115, 463, 542, 572,
578, 580
Sparta, 267, 271, 470
Spartan virgins, 492
spatula, 563
speoi, 455
Sphinx, sphinxes, 127, 237,
INDEX.
G41
81MIRA0I8TE8.
259, 281, 282, 317, 319,
342, 457, 513
.sphragistes, 21
spicatii testacea, 478
Spilamberto, 532
spirals, 44
Sporades, 390, 391
Spornitz, 594
spouts, 116, 491
Spurinas, 4(.52
Stabia}, 215
Stabulum P. Actii, 532
Stadium, 193
Staftbrdshire potteries, 542
ware, 550
stamnos, stamnoi, 187, 203,
205, 300, 341, 343, 360,
403, 404
stamps, 19, 87, 139, 147,
480-482, 485, 487, 536,
559, 569, 570, 575, 579
stands, 42, 130
Stanway, 581
Stargard, 595
statika, 29
Statius, 323, 344-5
statues, 50, 113, 463
steaschist, 52, 61, 71
stele, 210, 341
stephane, 292
Stephanus, 519
Stesichoros, 291
Stewart, Mount, 591
stibium-case, 52, 70
Stiris, 113
stoai, 309
Stockstadt, 488
Stolpe, 594
stone period, 585—6, 597
Stonehenge, 588
Storrington Downs, 588
Stourton, 588
Stow Heath, 588
Strabo, 156, 441
Strasburg, 566, 572
Stratonikos, 347
stratura^, 473
Stroibos, 325
stuppa, 505
style, 598
Stymphalian birds, 252
Styx, 144, 266, 373,_
subjects, 44, 211, 224; 272,
277-8, 282-285, 287, 310,
434, 498, 515, 517-8, 547,
558, 567-8, 576, 583
Sublicius, Pons, 480
Successivus, 519
Suetonius, 156
Suidas, 358
, Lexicon of, 292
Sullington Warren, 588
Sumlocene, 571
TARQUIN.
Sunium, 114
Suobnedo, 570
superstition, 524, 596
Surrentine, 534
Surrento, 418
Surrentum, 398, 418, 542,
560
Surrey, 475
Susa, 90, 270
Susian style, 309
Susians, 186
Sussex, 582, 588
Sutinus, 522
Suvenhock, 594
Switzerland, 549
Sybaris, 156, 186, 188, 312,
411, 424
sycamore wood, 18
Syene, 46
Sylla, 460
symbols, 138
symjjosia, 182
sympuvia, 555
Syotherai, 291
Syracusan skyphoi, 379
Syracuse, 117, 166, 177, 216,
312, 406, 425-427, 496,
542
museum, 119
Prince of, 413
Syria, 26, 109, 436, 457
Syriac language, 86
TABLES, 42
tablets, 80, 81, 101, 102
Tafne, 63
Taharka, 20
Tahennu tribe, 50
Taliraka, 15
Taia, 73
tainia, 293
Takonides, 345
Talavera, 572
Taleides, 345, 409, 428
Tallaght, hill of, Dublin, 591
Talos, 163, 261, 265, 275,
422
Talthybios, 274
Tan, 12
Tanarus, 542
Tanis, 12, 17
Tantalos, Tantalus, 180, 230,
265, 386, 423
Taormina, Taormini, 473,
521
Taranto, 424, 425
Taras, 281
Tarentura, 147, 157, 219,
311, 375, 398, 420, 422,
424, 425, 463
Tarquin, 407
TERPSICirOBE.
Tarquinii, 338, 399, 400,
4U1, 405, 407-8, 444,456,
462
Tarquinius Priscus, Lucias,
408, 442
Tarquina, 400
Tarsus, 123, 129, 130, 132,
388, 583
Tascilla Verticisa, 571
Tascillus, 570
Tasconus, 570
Tat, 64
Tataies, 329
tattooing, 585
Tauai, 20
Taur, 63
Tauric Chereonese, 274
Tauromenium, 115
Taurominium, 473
Taurus, Mount, 488
Teano, 413
Teanum, 413
teba, 9
tebi, 13
tebu, 65
Technites, 109
tectoria, 476
tectum, 474
teglarii, 475
tegula, tegulaj, 466, 469
doliares, 485
tegularii, 475
Teian cujjs, 381
Teiresias, 273
Tela, 117
Telamon, 264, 267
Telegonia, 273, 289, 290
Telegonos, 273, 290, 291,
428
Tel el Amarna, 24, 26
Yahoudeh, 49, 89
Telemachos, 273
Telephanes, 220
Telephos, 254, 267, 289
Teles, 279
Telesphoros, 246
Telete, 250, 278
Telmissus, 387
Telos, 391
tempera, 22, 37, 126
Tempesine potteries, 484
Temple of Honour, 471
of Valour, 471
Temple collection, 363
Tenamen, 51
Tenea, 396
Tenedos, 387, 397
Tenruka, 12, 20
Terentian potteries, 484
Tereus, 256, 281, 282, 292
Termini, 133
Terpander, 389
Terpsichore, 206
2 T
642
INDEX.
TERRA DI BARI.
Terra di Bari, 420
di Lavoro, 157, 212,
413
Terranova, 427
Terra Nuova, 152
Tersikyle, 264
tertia, 520
Tertiolus, 579
Tertius, 485, 490
Tertullus, 519
La Terza, 426
tessell^e, 478
tessera, 51, 478, 479, 502,
554, 557, 559
lessons, 478
testa, 354, 530
Tethys, 242, 247
Tetmes, 17
tetradoron, 465-6
Teucheira, 431
Teuker, 267
Teuthrania, 142, 289
Teutonic tribes, 585
■ vases, 445
pottery, 592, 595, 596
Teutons, 598
Thaleia, 228, 241, 242, 314
Thallinos, 275
Thamyris, 246, 262, 275
Thanatos, 247, 253, 275, 343,
460
Thanon, 241
Tharras, 110, 434
Thasians, 406
Thasos, 136, 140, 141
thaumatopoioi, 297
Theagenes, 140
Thebaid, Thebais, 259, 291,
396
Theban, 260, 291
Thebe, 249, 259
Thebes, 9, 11, 12, 15, 20,25,
44, 45, 50, 51, 59, 73,
189, 220, 224, 272, 311,
454
Theiaius, 394
Themis, 257
Themiskyra, 258
Themistokles, 394
Theocosmos, 122
Theocritus, 156, 221
Theokritos, 291
Theodoric, 479 n., 480, 482
Theodoras, 120
Theognetus, 142
theogony, 263
Theophamides, 328
Theophane, 260
Theophrastus, 125, 143, 159,
430-1
Theoxenia, 277
Theoxetos, 345
Theozotos, 345
TIBERIUS.
Thera, 164, 180, 190, 390,
447
Thericlean kraters, 368
Therikleans, 397
Therikleios, 382
Therikles, 345, 379, 382,
397
Thermae, 468, 471, 472, 480,
492, 568
thermanter, 370
thermopotis, 370, 395
Thermopylae, 254
Thersandros, 188
Theseid, 208, 213, 224, 238,
249, 257, 264, 393
Theseus, 121, 189, 191, 193,
211, 212, 225, 226, 230,
231, 236, 253, 256-7, 266,
281, 313, 315, 319, 337,
342, 345, 349, 357, 426,
428, 437, 492
Thesmophoria, 294
Thesmophoriai, 232
Thesmophorios, 137
Thespiae, 312
Thespis, 220
Thestorides, 288
Thetis, 201, 225, 226,228,
231, 235, 237, 238, 239,
247, 266-268, 270, 271,
290, 293, 321, 338, 341,
348, 349, 352, 356, 403,
429, 437, 512
Theudaisios, 137
Thiajus, 156
thiasos, thiasoi, 213, 240,
243, 492
Thiers 7iear Lezoux, 579
Thirsch, 406
Thoth, 7, 63, 64
Thothmes, 17, 20
L, 12, 70
II., 12
III., 11-13, 26, 56, 72
IV., 12
Thoueris, 63
Thracian myths, 261-2
witches, 248
Thraso, 264
threnai, 291
thryallis, 131
Thucydides, 373
Thurian, 313
Thui'ingia, 595
Thurium, 418, 419
Thyades, 228
thymiaterion, 250
thymiateria, 372-3
Thyone, 241, 242
Thypheitheides, 345
Tiber, 498, 516, 520, 555
Tiberius, 132, 516
Pansa Antonius, 490
TRIDORA.
Tiberius Silvani, 500
Tibur, 454, 468, 480
Tiglath Pileser II., 79
Tigris river, 75
tiles,.. 46, 49, 440-1, 489,
558
Timagoras, 138, 345
Timandros, 276, 310
Timkenberg, 595
Timonidas, 194, 396
Timonides, 190, 352
Timpani, 420
tin, 463
Tindarus, 519, 521
Tiphys, 260, 492
Tisias, 315
Titans, 227, 334
Tithonios, 248
Tithonos, 266, 413
Titus, 480, 497, 502, 519-
521
Cocceius Fortunatus.
532
Gavelius, 532
Tatinius Satrinus, 483
arch of, 518
baths of, 533
Tityos, 211, 232-3, 429
Tityrus, 516
Tlasias, 397
Tlenpolemos, 345, 352
Tlepolemos, 282
Tleson, 291, 311, 322, 340,
345, 397
toad, 38
tombs, 45, 49, 59, 454, 468
toobi, 13
tools, 120, 123, 163, 166,
170, 173, 566, 585
toreutai, 186
Tor Pignattarra, 471, 543
Torquay, co. Devo7i, 588
Torre di Mare, 424
torso, 497, 500
Toscanella, 401
Tourah, 17
Tournay, 574
Tours, 475
Towcester, 582
Toxis, 264
toys, 57, 126, 169, 355-6,
498, 501, 504, 596
Tragoidia, 242
Trajan, 159, 468, 480, 482,
502, 503, 519, 521
Tralles, 114, 387, 542, 560
Transrhenana legio, 488
Trasobbia, 485
Trebbia, 151 ■
Trebellius Pollio, 497
Treves, 466, 485, 572
tricliniares, 505
tridora, 466
INDEX.
643
TRIERKS.
trieres, 383
Trimalchio, 535
trimyxos, 504
tripodiskos, 355
Tripolis, 431
tripous, 371
Triptolemos, Triptolemus,
164, 213, 231, 235, 266,
336, 403, 412, 413, 424,
429, 431, 513
triremis, 383
Tritaea, 121
Tritoguno, 500
Triton, Tritons, 144, 145,
249, 253, 293, 297, 315,
428, 492, 512
triumphal arches, 568
triviae, 511
Troad, 120, 135, 180, 387,
388
trochelatos, 504
Troica, 189, 228, 236, 249,
260
Troilos, Troilus, 193, 226,
269, 289, 320, 339, 346,
350, 352, 393
Troizene, 229, 258, 274, 289
Trojan prisoner, 460
war, 224, 227, 228,
265, 266, 393
Trojans, 297, 404
Tromios, 329
Troy, 114, 221, 267, 270,
272, 289, 310, 318, 332,
336, 350, 363, 415, 424,
437
trulla, trullae, 538, 545, 549
tryblia, 354
tryblion, 383, 385
Trvgaios, 363
Tuautmutf, 23
tubes, 542
Tubi, 13
tubi, 473, 475
tubuli, 475, 477
tufo, 444, 445, 447,452, 471
tugurium, 445, 446
Tukera, 341, 431
Tullington, co. Norfolk, 589
tumblers 55
tumboi, 181
tumuli, 584-5, 589, 591,
594
Tunis, 531
Turcius Sabinus, 520
Turianus, 442
Turin, 45, 148, 533
Tuscan bowl, 537
■■■ colony, 414
pottery, 455
Tuscania, 401
tuscanica signa, 443, 495
Tusculan wine, 534
USES.
Tusculum, 494
tutulus, 408
Twelve Apostles, 518
Tychios, 346
Tydeus, 259, 260, 272
tympanon, 243
Tyndareus, 315, 319, 403,
460
Tyndaris, 114, 130
typarium, 486
Typhoeus, 187
Typhon, 64
Typhonium, 20
typos, 123
Tyrbas, 242
Tyre, 39, 109
Tyrrhenian amphora, 361
pirates, 239, 340
pottery, 455
style, 304
subjects, 216
Tyrrhenians, 54, 406, 413,
417
Tyrrheno-Egyptian style, 193
■ -Pelasgians, 408
U.
Ugiainon, 117
uja, 60, 70
Ukalegon, 338
Ulias, 156, 394
Ulpian estates, 483
Ulpianus, 501
Ululuns, 462
Ulysses, 145, 159, 168, 193,
220, 222, 246, 249, 267,
270, 271, 273, 288-291,
318, 339, 342; pi. 409,
428, 514, 515
umbo, 383
Umger, 106
Umidius Oppius, 487
Quadratus, 483
Umwaweis, 96
unguent-vases, 546
Upchurch, 575, 581
— - ware, 551, 574
Upton Level, 588
Ur, 105
uraei, 51, 64
urajus, 15
Urbicus, 487, 500
urceolus, urceoli, 540, 546,
547
urceus, urcei, 540, 549, 583
urna, urnae, urns, 445, 537,
541, 548, 558, 583, 585,
586, 590, 592-595
urnula, 537
Urukh, 93, 96, 99
Usch, 17, 53
uses, 468, 491, 501, 523, 530
VIELBBUNN.
uatrinum, 473
uta, 52, 60, 70
uter, 583
V.
Vacasatcs, 485
Vaglio oppido, 420
Val di Chiana, 401
Valentinus, seliarius, 573
Valesio, 426
Valore, 400
value, 530
Valyd, Khalef, 479
vaporaria, 475
varnish, 36
Varro, 124, 358, 470, 494,
496, 536
vas Burgonianum, 393, 437
vascularii, 532, 571
vases, 525, 529
Vatican, 148, 209, 350, 480
Vaticanus, Mons, 480
Vatican hill, 508, 537, 541
lamps, 520, 521
museum, 122, 480, 497
Vauquelin, 174
Veii, 149, 402, 414, 44J,
454-456, 460, 495
Velia, 420
Velletri, 442
Venice, 155
Venosa, 419
Venus, 63, 111, 129, 213,
317, 347, 374, 424, 458,
474, 497, 500, 511, 568
— — Anadyomene, 500, 498
of Capua, 511
Cytherea, 511
Genetrix, 497
Victrix, 511
Venusia, 419
Verecunda Lucia, 571
Verna, 490
Verona, 478
Verulamium, 471
Vespasian, 46, 139, 159, 5'Jl.
534
Vesta, 246, 513
Vestals, 537
Vetera, 488
Vettius Modestus, 490
veiillationes, 488-9
Via Nomentana, 508
Salaria, 487
Vibianus, 519
Victorinus, 519, 522
Victorv, 141, 145, 210, 307,
481,' 492, 513, 514
Temple of, 206
Vicus Judaeorum, 4S
Viducos, 569
Vie, 546
Vielbrunn, 488
644
INDEX.
VIENNA.
Vienna, 73, 148, 485, 487
Vienne, 579, 580
Villa Albani, 191, 480, 533
Faraese, 533
villa, 468
villas, 470, 472
Villus, 559
Viminalis, Mons, 480
Vindelicians, 488
Vindelicii, 486
Virgil, 497, 514, 554
Visellius, 142
Vitalis, 519, 531
Vitellius, 488, 530, 539
Viterbo, 400, 454
Vitruvius, 115, 125, 465-6,
468, 477, 487, 526, 542
Volaterrae, 401, 454-5, 460
Volcanius, 442
Volcanus, 215
Volsci, 495
Volterra, 213, 401, 442, 445
Voorburg, 487, 488, 489
Vosges, 579
votive figures, 57
Vulcan, 53, 62, 73, 229, 420,
461, 463, 505, 511
Vulci, 40, 66, 149, 156, 167
174, 177, 191, 197, 198
201, pi. p. 203, 205, 212
219, 310, 327, 336, 341
344-346, 348, 350, 356
364-366, 374, 379, 380
390, 394, 397, 399-401
404-406, 408, pi. 409, 409
414, 415, 417, 424, 428
433, 434, 443, 444, 448
449, 454, 457, 460, 560
vulture, 15
Vulturnus, 171, 413
W.
Waldhausen, 595
Waldurn, 488
XANTHOS.
Wales, 582, 586, 588, 590
Wandsford, co. Northampton,
528
Warka, 18, 93, 96, 98, 99,
101, 103, 105, 106
Waswas, 98, 99
water-pipes, 473, 477
water-vases, 27, 36
Way Haag, 589
weapons, 585, 591, 595
Wedgwood, 155, 434
weights, 88
wells, 32
Wends, country of, 593, 594
Weser, river, 594
wheel, potter's, 107, 163,
179, 541, 545, 556-7, 563,
566, 572, 584
Whitley, 589
Whitsome, co. Berwick, 590
wickerwork, 539, 549
Wiehelhof, 487
Wiesbaden, 467, 488
Wiesveller, 488
Wiflisburg, 478
Wight, Isle of, 588
Wijk bij Duurstede, 582
Wiltshire, 587
Windisch, 487
wine cups, 55
Winterbourne, 588
Woburn, 536
Wolden Newton, co. Lincoln,
588
Woodchester, 479 n.
Woodgates, 588
Wroxeter, 551
X.
Xanten, 486-488, 558, 579
Xanthe, 241
Xanthias, 281
Xanthos, Xanthus, 135, 275,
316, 348, 352, 386, 453
ZOSIMUS.
Xeuodoros, 337
Xenokles, 310, 346
Xenokrates, 329
Xenophantos, 346, 432
Xenophon, 130, 137, 276
xystrolekythion, 366
y.
York, 467, 473, 487, 551,
564, 570, 582, 589
, museum, 564
Yuns, 09
Z.
Zaiilbach, 488, 579
Zancle, 313
Zendan, 78
Zeno, 138
Zephyritis, Arsinoe, 365
Zephyrium, cape, 423
Zephyros, 248
Zeus, 126, 128, 227, 229,
230, 232, 233, 235, 246,
249, 255, 256, 259, 266-
268, 270, 281, 286, 289,
292, 297, 298, 315, 317,
343, 415, 419, 424, 429
Herkeian, 424
Herkeios, 270
Olympic, 263, 321, 437
Panhellenicus, 192
Soter, 332
Zeuxis, 121, 159, 203, 206,
220v 309, 347
Zoan, 12
Zodiac, 547
zomerysis, 374
zoocephalic deities, 62-64
zoographoi, 346
Zosimus, 485
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