EDINBURGH MUSEUM OF SCIENCE AND ART. CATALOGUE OF A COLLECTION OF GREEK, ETRUSCAN, AND ROMAN BRONZES, FICTILE WARE, AND GLASS, PRESENTED TO THE EDINBURGH MUSEUM OF SCIENCE AND ART BY Sir HUGH HUME-CAMPBELL of Marchmont, Bart. MUSEUM OF SCIENCE AND ART, EDINBURGH. MDCCCLXXXVII. A^ K^""^ EXUHAttob. r-i The objects illustrative of three of the principal forms of the Industrial Arts of the ancient Greeks enumerated in the following Catalogue were collected in Italy by Sir Hugh Hume-Campbell in the winter of 1843-44. The Bronzes were chiefly obtained in Florence, some of the principal objects, such as the large Vase, having been found at Volterra. The Pottery was got for the most part in Rome, and the Glass in Naples. This Catalogue, as well as the introductory chapter, was most kindly prepared at my request by Cecil Smith, Esq., Assistant-Keeper of the Department of Greek and Roman Antiquities in the British Museum. The Illustrations have been drawn and photographed by Mr H. K. Brown and Mr S. L. Hutchison, of the Edinburgh Museum of Science and Art. R. MURDOCH SMITH, Col. R.E., Director. Dec. 31, 1887. 835769 CATALOGUE OF ANTIQUITIES COLLECTED BY SIR HUGH HUME-CAMPBELL, BART., Chiefly in Italy, and presented by him to the Edinburgh Museum of Science and Art. INTRODUCTION. § I. This collection comprises a series of objects which fairly represent the furniture of the Etruscan and Greek tombs of the last five centuries before our era. In antiquity, as is well known, it was the habit among the Greeks, and among some of the early Italian races, to bury the dead in tombs which were furnished, according to their means, with everything which might be required for the long journey in the under world. This custom, which obtained among the Etruscans, was nowhere more honoured than in Greece. From the 7th century downwards the southern part of Italy was extensively colonised by emigrants from the then prosperous towns of Greece, and these colonists brought with them their funeral customs and their native funeral ware. In modern times it has happened that the first rich finds of ancient tombs took place on the sites of these colonies in Italy, and the Greek pottery which was in large quantities found there received from this circumstance the name of " Etruscan vases j" whereas it is now of course known that this appellation vaseb. is misleading, and that although found on Etruscan soil they were, generally speaking, the produce and the property of Greeks. 6 CATALOCiUl or ANTliiUlTllS. § 2. These Greek vases have in recent years been found so extensively wherever Greek colonies were establi^hc•d in antiquity, that the data for their study have increased tenfold, ai^d the main facts of their history are now placed beyond a doubt. In a large collection where every phase of development '.s represented, it is interesting to follow, as one may easily do, the different steps of their historical progression, alike in choice of subjects for representation, in technical treat- ment, and in selection of shape. We can trace, first of all, the earliest evidences of pre-Hellenic feeling for decoration in a very primitive class of ware, of which specimens have Hia«aruic. been found at Hissarlik, and in some graves of the Greek islands. These vases are usually hand-made, of c(^arse technique and form, and the ornamentation consists as a rule of linear patterns incised on the clay while wet. (Fig. I.) With these are found implements of obsidian and very rude human statuettes in marble. Next we have a fabric which shows a Myken». marked progress, and of which the pottery found at Mykenjc may be taken as the typical class. Here the vases are almost all made on the wheel, and covered with a fine polished slip, on which are painted in glazed colours decorations borrowed princi- pally from marine fauna and flora. (tig. 2.) This class is found extensively throughout the Cyclades, and, to a less degree, in certain parts of the mainland of Greece. , Fig. 1. Fisr a. Contemporary with a later stage of this IVIykena- labric comes in a series where the tendency of the formj's stiff and straight, the cl.iy invariably a yellowish brown, and the ornamentation consists of patterns of brown lines arranged in n:ore or less bizarre and complicated systems. (Fig. 3.) The style is exidcntly the outcome of a people accustomed to working in bronze, and numerous specimens of this met.il ha\e come down to us from this period, engraved with j,j^ 3^ similar systems of patterns. From the fact that a large number of specimens r>( this rUss w».«; IJCTRODUCTIOH. found near the Dipylon Gate at Athens the name "Dipylon" has been applied to all the vases of this style, oipyion. wherever found. Interesting specimens of this style, from the collection of the late Lady Ruthven, may be seen in the general collection of Greek fictile ware in this Museum. Gradually the representation of living things, and even of human action, is attempted in this class also, but the drawmg continues, even down to the 7th cent. B.C., of a very primitive character. The great step is when the effect of Asiatic on^r^t^i importations with their gorgeous coloured tapestry and wealth of animal design is felt by the Greek potters. (Fig. 4.) First of all, the oriental cylinder is used to impress its pattern upon the damp clay, and the frieze system is introduced in a simple re- petition, over and over again, of the impressions from the same cylinder or stamp. The shape of the vase is adapted to the new style, the perpen- dicular, if we may so call it, giving place to a rounder form, which is to afford more width for the frieze treat- ment. From the Eastern tapestries, with their bands of animals and gaudy colours, the Greek artists got the idea of a treatment of decora- tion which is both freer and gives them new scope m their enlarged possibilities of treatment and colours. § 3. But this decorative art is purely conventional, and the study of nature which had begun in the childish drawings continues to develop until out of the new material it gradually eliminates all that is foreign to its purpose in the representations of nature and especially of human life. We can see this process going on specially in a class of vases which have been called " Corinthian," corin«,ian. because a great number of them have been found and were no doubt made at Corinth, where the merely decorative is struggling for the mastery with the representation of things of livin'g' action and human interest. From this time (about 630 B.C.) the general idea of decoration continues unchanged. The action going forward, whether a scene from daily life or the illustration of a myth, is the principal theme of the design, the decorative band b^ing first relegated to an unimportant position, and then gradually disappearing altogether. In technique, however, the development still continues. In the Corinthian vases we have a design in black and purple with aiack si^ed. incised lines on a specially prepared whitish yellow clay ; then Fig. 4. 8 CATALOGUE OF ANTIyUITlES. comes in, mainly no doubt from Athens, the fine red clay which is recognised as the best background, and the design is now represented in black, with purple and white accessories. These accessories are gradually reduced to a minimum, and then, from a design merely in black on a red ground, the change to the next stage is obvious. From the beginning of the 5th century B.C., or more probably, as has been recently suggested, from halt a century R«o fltfured. carlicr, we have red figures on a black ground, and this continues, with certain modifications, the favourite system from the time of its introduction down to the decline of Greek inde- pendent national life, when Greek painted vases disappear. It is now a pretty well established fact, that the great majority of the painted vases of the b.'st period, i.e. the fifth and fourth centuries B.C., wus made at Athens. Previous to this time, various sites, Chalkis, Corinth, Cyrene, Naukratis, appear as claimants for various individual styles ; but during the period of the Athenian supremacy, after the Persian wars, the Athenian potteries, with their matchless clay and improved technical treat- ment, seem to have monopoli/,ed the market. Towards the end ot the 4th century, after the blow had fallen on Hellas at Chicroneia, this vast Attic vase industry seems almost to have come to an end. Its centre of activity is for a brief space transferred to Southern Italy, where in places like Tarentum and Cum;e vases of great pretensions and occasional brilliancy were no doubt produced. But after the annexation by Rome of the provinces of Lower Italy, the art of painting vases comes here also to an end. „ , , ^ 4. It is somewhat remarkable that ancient literature has left US hardly a single mention of this important branch of the humbler arts of Greece, so that for our knowledge of the artists themselves we are left to rely entirely upon the internal evidence afforded by their vases. Fortunately many of the artists were in the habit of attaching their names to their painting with the word "made," tTronjfrti', or *' painted," tjfm^tv^ and from this, and other unmist.ikable data, we arc now enabled to distinguish, and classify chronologically, the work of as many as 96 different artists, who have left us more than 420 signed vases ; in other words, the whole of the vases of the most interesting periods can now with tolerable certainty be grouped according to their schools of painters, and by a comparison of style, choice of subject, and ch.ir.ictcr of drawing one can obtain in many instances curious sidelights for a study of the individual himself. ITALIAN § 5. The earliest specimens of loc.d Italian pottery which have come down to us are of a dull brownisli ware, which m Brown war». thc absejicc of aiiv better name we may call "brown" w.irc. INTRODUCTION. Throughout the earliest tombs of Central and Southern Italy a stratum of this seems to exist as the first indication of ceramic art. Etruria, Campania, and Latium are the principal sites from which examples have hitherto come, but everywhere they show an apparent homogeneity in the succession of the same stages^of progress. The earliest examples are extremely rude, made without the wheel from a black earth which takes on the surface a dull heavy gray colour. This class is perhaps specially typified in the so-called hut-urn, tugurium^ of which the British Museum possesses one specimen found in the Monte Albano. Here the potter has tried to imitate in his art the primitive habitation of the early Italian peoples. Later specimens of the class have also been found in the eastern sites of Hellas, such as Kameiros in Rhodes, Naukratis in Egypt, and on the coast of the Black Sea. The decorations in these cases are at first merely en- graved linear patterns j then comes in a lighter form of vase, with the attachment 'of single moulded figures. Gradually the wheel is adopted, and all kinds of elaborate mouldings and new forms bear^witness to the increased familiarity of the potter with his material. This is again succeeded by more simple forms, upon which the decoration consists of bands impressed from oriental cylinders. Side by side with this last class appears a set of vases of red earth, with the same system of decoration. The manu- fixcture of this Etruscan ware in black and red earth continues in use, with slight modifications of form and improvement in the brilliancy of the glaze, at all periods of Italian pottery, disappearing only at the time of the annexation by the Romans of Southern Italy. And in order to distinguish it from the lighter and more highly polished black ware of the Greeks (see Nos. 29, 30), which also was manufactured for the tomb at all periods of Greek pottery, it has been found con- venient to adopt for it the Italian term of " Bucchero nero." With the growing influence of Greek vase paintings comes in a strong tendency among the Etruscan painters towards the imitation of Greek ideas and Greek models. We have, how- ever, but to look at these Etruscan imitations to see how sadly Greek vase paintings have been libelled by those who assigned them to an Etruscan origin. The local art has, it is true, something characteristically strong and forcible in its metal-work and terra cotta modelling, but when it becomes responsible for a painted vase it is certainly seen at its weakest point. (See No. 13.) These vases are generally distinguished by the clumsiness of the drawing, the unskilfulness of a hand unused to its materials, and, as often as not, by the un-Greek rendering of the subject, occasionally elucidated by Etruscan inscriptions painted in the design. Bvcchero nero. Btruscaa imitations. 10 CATALOGUE OF ANTH^UITIEi. Original § 6. It was only natural that the custom of providing for the '*"Gr°ek°' dead should create among the Greeks a special industry. The vaaJr.** vases intended for this purpose would have to be specially beautiful, and decorated as for a festival. Hence it is a question whether the vases painted with subjects were ever in daily use at all. The only passage in Greek literature which mentions them refers to their funeral character, and it is probable that they were otherwise employed only for solemn functions and festivals, such as for prizes in the Panathenaic games, or for dedication either in the temple of a deity or at the tomb of a dead person. We must remember that almost the only vases which have been preserved to us are from tombs. But on the other hand, these are generally of a similar character to those dedicated in temples, and we may fairly assume that in the large mass of material now collected we can obtain a fair estimate of the general character of this handiwork. It has been urged, as against this limitation, that painted vases have frequently been found with ancient rivet-marks, showing that they had been anciently mended, and therefore in use in ancient times. But seeing that these vases were exported from Greece in great numbers, it may well be that they were sometimes broken in transit, or else among foreigners who ignored their original intention they may have been used for decoration and mended for this purpose ; and in this connection it is worthy of remark that most of the mended Greek vases have come to us out of Italian tombs. ForiM' § 1' Of course, a fabric not intended for use would naturally imitaittd ft-om j^g ^( f^^gj. jmitatcd from the forms of metal vessels which were in matal. daily employment, and it is curious to observe in many cases how closely this origin is traceable in the terra cotta forms, which give us in several cases an imitation even of the rivets and bolts which fastened the handles and the foot of the bron/.e form to the body of the vase. In course of time, however, the potters developed their own materials in their own way, and evolved modificatitjns of shapes in which the original type was f(i)rgotten, and which would be practically impossible in metal. Still, the main idea of form is preserved all the way through, subject to the same general developments as the metal shapes underwent at various stages of progress, so that the shape of a vase furnishes one of the data by which we are enabled to decide as to its age. Speaking broadly, wh.it we see of the development of Greek vase shapes is somewhat as follows. l*re\ iously to 450 B.C. the process is a gradual selection of wh.it is most graceful out of the somewhat unformed and florid elements of the early time, up to the age of the best period, as, <-.^'., the vases on the Parthenon INTRODUCTION. II frieze, when simplicity and dignity of form attain their highest point, after which these become more and more elaborated into the florid and often meaningless shapes of the latest period. & 8. It is impossible, of course, here to give a list of all the shapes and J ^ . . names of hundreds of known forms which were in use or are to be found vasea. in collections now. But as most of them are modifications of a few main shapes, it may be well to give these, especially as some of them will be employed in the descriptions which follow. The terms and the uses assigned are, of course, those which would apply actually to the original metal forms, and only vicariously to the terra cotta imitations of these forms : — Amphora. A two-handled vase sloping inwards to the neck, used for stowing or transporting liquids. (Fig. 5.) Askos. (Lit. a wine-skin.) Under this head is included a variety of forms fancifully developed out of the original shape of the wine-skin. (Fig. 6.) Pigr. 6. Pig. 6. Hydria. (Lit. a water-pot.) Rounded body, foot and neck, with one handle horizontal on either side, and one at back joining lip to shoulder. (Fig. 7). Piar- 7. Krater. (Lit. mixing vase.) Of large capacity, usually with wide mouth and two strong handles, to stand on the floor, for mixing wine with water at the banquet. (Fig. 8.) 12 CATALOGUE OF ANTIQUITIES. Fiff. a Kotyle. A deep two-handled drinkiug-cup. (Fig. 9.) Kylix. A shallow cup of large diameter, on a slender stem, with two horizontal handles. The most usual drinking-cup. (Fig. 10.) Tig. 9. Fig. lO. Lekyihos. A tall slender form with narrow neck and one handle, principally for holding unguents. (Fig. 11.) Oinochoe. (Lit. wine pourer.) Almost every form of one- handled jug. (Fig. 12.) K \J_ Fl». 11. Vlg. 12. § 9. Where the Etruscan seems to have really excelled was in the modelling, graving, and decoration of objects in metal. Most of the finest specimens of ancient jewellery and work in silver and bronze have come to us from the soil of Italy \ and the difficulty often arises in deciding whether we must look to local art for these, or to the Cireek workmen who either im- ported their wares, or worked under Ktruscan influence. Our evidence as to the majority of these ()bjects must always rest mainly upon comparison of style. Certain objects, however, in their use, and probably in their manuf.icture, seem to have been INTRODUCTION. 13 exclusively of Etruscan origin. These are the bronze hand mirrors (see Nos. 73 to 77) with designs engraved on the un- polished surface, and the bronze m/^, large boxes for holding combs and unguents (the dressing-cases of Etruscan ladies), which are also often engraved with designs. Scarcely any specimen of these two classes of work has been found in Greece, and with the evidence of the Etruscan character of these designs, and of the Etruscan inscriptions often accompanying them, we may reasonably attribute them to an Etruscan origin. The subjects are usually such as might have been suggested by Greek vase pictures. § 10. As in the terra cotta, our knowledge of bronzes is mostly derived from the contents of the tomb ; and here again we find a special fabric of bronze vases developed by this circum- stance, the specimens of which are often too thin to have ever been of practical utility. Bronze vases were also in large num- bers dedicated in temples, as we know, e.g.^ from the sacred treasure lists of temples, like that at Delos ; numbers of them have been found buried at Delphi, which may have been originally part of the sacred plate in the temple there. The small bronze implements would of course form part of the furni- ture of the tomb as they had been used by the dead person during his life. The little statuettes are such as would be used to decorate articles of furniture, such as the handles or feet of cista^ or the tops of candelabra. In Roman times they were extensively manufactured for dedicatory purposes, and would naturally have found their way into shrines or tombs, or be used for the fitting up of the small household shrines (lararia) common in the Roman house. § II. Previously to Roman times, the two great centres of the manufacture of glass were Egypt and Phoenicia. But it is almost certainly to the workshops of Sidon in Phoenicia that we must refer the small vases of brilliant colours which are found in the early tombs of the Mediterranean coasts. (See Nos. 178 to 181.) In all probability they were mainly employed for the export of the oriental unguents, like the similar vases in alabaster, of which the shape, and in some cases the texture, is imitated in the glass. Under the Ptolemies the art was exten- sively carried on in Egypt, and subsequently perhaps carried by Egyptian workmen to Rome, where every variety of working in glass seems to have been understood. The beautiful irides- cence with which many vases are covered is not intentionally produced, but is the effect of time, which has partially decom- posed the surface of the glass. Etruscan engraved mirrors. Bronze veuss ehapea. j Bronza Implementa. BroDES Btatuett«s. CATALOGUE. ETRUSCAN BLACK WARE, "BUCCHERO NERO." PROBABLY ALL FOUND IN TUE NEIGHBOURHOOD OF VITERBO. 1. OINOCHOE, with trefoil lip. H. 20i in., diam. 10| in. Around the body a frieze of eight tigures running to the right, looking l)ack ; below, a band of nine heads of (jlorgons,the hair arranged in archaic curls, without the fringe of snakes, but with tongue and tuska projecting. Both these bands are applique. At the upper in- sertion of the handle is modelled an archaic female head, the hair indicated by stippling, the eyebrows in relief; round the shoulder a band of tongue pattern in relief 2. HYDRIA. H. 15 in., diam. 11^ in. On the body a sunk band on which is a frieze of eleven sphinxes moving to right, each separately pressed on from a mould ; on the shoulder a band of tongue pattern ; round the neck two baiuls of i)atteni pressed from a cylinder ; the upi)er one is a sort of egg and tongue, the lower a j)utteru of lotos flowers. On the handle at the back is rudely moulded a human figure facing the spectator and holding in eitlier hand an animal by the fore paws. The side liandles have rivet-holes in imitation of the metal form from which this shape was borrowed. 3. OINOCHOJl, with trefoil lip, the moiith protected by a strainer, which is surmounted by a moulded mask. H. 1.'5 in. Round the body a frieze of figures sei)arately stamj»ed in relief — a lion with tongue out, and helmuted warrior on horseback, botii to the right, and thrice repeated. Above, a band of pattern consisting of an inverted anthemion alternately with a tongue, each member separately stamped in relief On the neck five rosettes incised. Tlie handle terminates at its upper in- Bcrtiou in two circular kuol)8, on each of which is a (Jorgoii's head in relief; it is decorated at the back with a crouching hound in relief 4. CUP. No handles. H. 5^ in., diam. 5^ in. On the body a frieze impressed from a cylinder. The complete group is as follows : — On the loft two femah.'s holding wreatiis and a male holding a bow (?) advance towards a bearded and draped figure CATALOGUB OF ANTIQUITIES. 15 seated on a throne, who raises his right hand, his left resting on a staff; the back of the throne terminates in a swan's (f) head, and the seat is supported by a bird. On the right of this ia another gronp of a female seated to left on an okladias holding up a crown, confronted by a female holding a crown, and on the right again two male figures holding staves. The female figures all have drapery and long hair. (Cf.ihe similar impression on a vase of this form in Micali ^' Mon. Ined." xxx., 4; the impression alone is given in Micali "^Storia" Tav. xx., fig. 3.) 5. CUP. No handles, squai-e body, elaborately moulded on a stem. H. 7| in., W. 5| in. At each corner of the lip is a ram's head focing outwards, surmounted by two horses' heads back to back, partly moulded, partly incised, and at each corner of the lower part of the body a human mask. 6. CUP (Kyathis on stem). H. 11| in. On the body a pear- shaped moulding; on the upper front part of the looped handle is a human figure moving to right in relief with incised details. 7. CUP exactly similar to preceding, but has lost the figure on the handle. H. 11| in. 8. CUP. No handles. The upper part is detachable from the lower at the centre of the stem. H. 7 in., diam. 7 in. Round the lip is a pattern of stippled dots in the form of sets of con- centric semicircles ; below, pairs of oblique lines similarly stippled. The underside of the cup is ribbed. 9. CUP (Kyathis). H. 5^ in. On handle a moulded rib termi- nating above the bowl in a human mask. 10. OINOCHOE, with trefoil lip. H. lOf in. On the shoulder a band of triangles formed of stippled dots, with the apex turned to left. Below, a band of vertical lines, and then a frieze of animals lightly incised as follows : — Two horses, two goats, two sphinxes, three lions with protruding tongues. This is a much later specimen, as is shown by its thinner fabric, blacker varnish, and the design, which resembles the "oriental" friezes used by the Greek vase painters of the 6th cent. 11. LID, of a vase. Ribbed ; the handle in the form of a crown > bright black glaze. H. 2| in., diam. 4| in. 12. LID, of vase. Tongue ornament. Diam. 8| in. ETRUSCAN IMITATION OF GREEK WARE. (Black Figures with Incised Lines on Red Ground.) 13. PHIALE OMPHALOTOS. (Form used for pouring libations in sacrifice, &c. ; the boss, omphalos, in the centre is hollow underneath for the insertion of the finger in gi-asping the vase.) H. l^ in., diam. 7| in. Around the interior a race of two bigoe, each driven by a youth towards a male figure seated on a chair, probably the judge. (See Plate I.) 16 CATALOGUE OF ANTIQUITIES. CORINTHIAN STYLE. (Black and Pukple with Incised Lines on'Drab Ground.) 14. ALABASTRON (for holding ointment, is). His opponent falls to the left, brandishing in his right hand uplifted a /,<>/iis, and hoMing in iiis left a bow; he is dressed in a close fitting gurnient of skin(!) with sleeves decorated with zigzag .stripes, and wears a Persian headdress {ki(/aris) witii long flaps and a peak whicli curls over the front; at his side a quiver made of a s| lot ted skin ('/) hangs from a thit^k belt itruund his neck. Both figures are bearded ; the eilge of the (Jn-ek's shield and of the (piiver is siiaded with brown. Kxergue, rod. II. Exterior, obverse. Combat of two ])aii's of (Jreeks nud mounted Persians : on the left a i'ersian riiling to ri^iht shoots nn CATALOQaE OF ANTIQUITIES. .17 arrow at a retreating Greek who brandishes a spear; on the right a Persian riding to left turns to shoot at a Greek who thrusts hia spear downwards towards his adversary ; the first Greek has for device on his shield a tripod ; his companion has a crescent and two pellets. III. Exterior, reverse. Combat of two Greeks ; the one on the left wears helmet, greaves, and a shield, defaced ; his opponent wears a cuirass, chiton, helmet, greaves, and shield (device, a circle and three pellets). On the left a third Greek advances carrying a shield, from which hangs drapery, laiseion, for protecting the legs. (No device.) On either side a Persian advances shooting an arrow ; they wear the Persian di-ess, anaxyrides, and cap, kidaris ; at the waist hangs a quiver to which is attached a second bow. (See Plates II. and III.) 18. AMPHORA. Surface much decayed. H. \\\ in., diam. 6^ in. Obveise : A female standing over a laver ; before her another female dressing her hair. Reverse : A female seated, looking at her face in a hand mirror ; before her a second female standing with a box in her right hand. 19. OINOCHOE, with trefoil lip. H. 3| in. A boy seated in a toy chariot drawn by a dog. LATER RED FIGURED AND POLYCHROME WARE. 20. OINOCHOE, with trefoil lip. H. 11| in. On the left is a draped female moving to right, holding a mirror and a musical instrument {srala musica) ; before lier is a large plant above which Eros flies towards her, holding in his left hand a flower. On the right is seated a nude male figure holding in his right hand grapes, in his left hand a phiale. In the field is a tainia. At the ttpper insertion of the handle are three heads, and at the lower insertion one head, moulded in relief; below the handle is painted palmette ornament. 21. LEKYTHOS. H. 1\ in. Eros running to left holding in his right hand a dish of flowers, in his left a bunch of grapes. He wears a necklace, earrings, bracelets and anklets, coloured yellow; in the field a tainia; beneath handle, a palmette. 22. LEKYTHOS. H. 7| in. Eros seated on a rock, holding in his right hand a dish of flowers ; in the field a tainia ; beneath the handle a palmette. 23. LEKYTHOS. H. 14 in. In the centre, a female seated on a chair conversing with a second female standing before her to- wards whom Eros flies with a tainia in his hands. Behind the chair stands an attendant with a parasol and a tainia. On the left, above this group, is seated a nude male figure ; on the right a similar figure stands with his elbow resting (m a column, in his righthand astaff" bound with a tainia; under the handles, palmettes. 24. JUG, with projecting lip. H. 3^ in. Eros flying, holding phiale and grapes ; beneath handle, palmettes. 25. JUG, similar. H. 3| in. Eros seated, holding in left hand a mirror ; beneath handle, palmettes. 26. KOTYLE. H. 4^ in. Obverse : Eros seated on altar in form of capital of an Ionic column, holding box and tainia. Reverse : Similar figure flying, holding mirror and cap ; in the field a mirror and -a phiale ; beneath the handles, palmette*. 18 CATAIiOOUK OK AN TISjUITIBn. 27. ASKOS, with two side handles, risinir at each end to a Hpout, one ot" which teiinmates in a trefoil lip and has a handle attached to the hack. H. 5^ in. lieneath each spout is a female head, heneath each handle a palniette. 28. RHYTON, drinking-cup, terminating in the head of a dog with plain black <;laze. H. 6 in. On the neck is Eros trying to catch a goose ; iaiiiia in the held. PLAIN BLACK WARE. 29. OINOCHOE, with trefoil lip. H. 5' in. 3U. KOTYLE. H. 4 in. From the form and tho fine character of the glaze, these two va.ses must date from about the early part of the 4th cent. u.c. TERRA COTTA. 31, 32. ORNAMENT, shield-sha])ed, with head of a Gorgon in re- lief (1 ^ in. bv 1 }, in.), and a small ROSE TTE (diain. ^ in.) in terra cutta, both of which have been gilt. These two specimens illus- trate the jjractice freciuent in late Greek times of making jewellery specially for the tomb, where gilded tcna cotta imitates in form, and is substituted for, the moi"e costly ornaments in gold. 33. ROMAN LAMP. A young satyr with double flutes. Signed on bottom GAB1NL\. L. 4| in. 34. ROMAN LAMP. A large shell. L. 4^ in. 35. ROMAN LAMP. A gladiator. L. 3^V in. 36. ROMAN LAMP. Head of Silenus. L. 3^ in. 37. ROMAN IjAMP. The Greek monogram representing the firat two letters of X/no-Tos. It shows that this lamp was made in Christian times, and not before the 4th cent. a.u. L. 4 J in. 37 his. RO>LVN LAMP. P>oy carrying two pails on a yoke across his shoulder. L. 4 in. 38. A COMIC MA.SK, in imitation of those used in the theatre. L. 5 in. 39. 40. T\To Slabs of BAS-RELIEF, such as were used in Roman mural decoration. Satyrs gathering 'jjrapes, and satyrs treading grajjcs. From the appearance of their surface it is probable that these are mi)dern casts from an ancient original design or mould, lo^ in. X rj in. and 18 in. x 12 in. 41. TRIPOD STAND, of Terracotta. Enamelled. Diam. 2^ in. STUCCO. 42. A square piece of mural painting. Birds and fruit. 8j in. by 7i m. SiLVKlt. 43. SILVEll MIKKOII. Handle moulded in form of tho club and lionskin of lleraUlos. 11. 7^' in., diam. 4^ in. BRONZE. 44. BRONZE VASE, coated with silver. (Jloliular, ivy vvreatli and other oruameuts in repouss*; around the body. H. \l in. CATALOOUK Of ANTIt^t ITlfiS. 45 46 Two thin sheets of Bronze decorated with repousse figures of animals. 17|- in. by 4 in., and 17 in. by 4l n.. These are in style of workmanship and scale exactly similar to the six bronze plaques and the bronze buckler now in the British Museum, formerly in the Pulsky Collection (sale catalogue, 1868, Nos. 53-58). They are there described as " Etruscan," an attribution which is probably correct, as a num- ber of specimens of this kind of bronze-work have been found at Csere (Cervetri), and are published in the iMuseo Gregonano, I tav xi., XV., Ixxxiii., Arc. It is possible that these two plaques, together with the British Museum pieces, may have forrned part of the decoration of the same piece ot furniture. In all probability thev represent the local work of lt^llans of about the 6th century B.C., who had before their eyes specimens of Phcenician or early Greek imitations of Egyptian art, such as carved ostrich eggs, bronze bowls, &c., imported thither from the workshops of places like Naukratis. (bee Plate IV.) 47-52 FIBULA, six, of various forms. These were used in antiquity much for the same purposes as our modern brooches, for fastening the parts of the dress, etc., and are^found specially in Italy from the earliest times. L. U- in. to 6-| m. 53 KNIFE of crescent form, with a handle at one end termi- nating in a ring at the top. L. 3| in., B. 31 in Exactly snndar to the one published in Momimenti Inerhtz dell Inst. Arch. Bom. X tav XV fio- 4, and which was found at Corneto, m a tomb of about 'the' 6th centurv B.C. Helbig (ibid.) describes it as a razor; in this connection we may note that specimens have been found in tombs of ladies. Another similar knife is en-raved in Blumner, Technologie, I., p. 282, who considers it to be a leather-cutter's knife, ro/xa's. It is difficult to imagine that this form would be sufficiently strong or handy for the purpose of cutting leather where a grip is required, and it is certainly very different to the one represented on the cup m the British Museum (Blumner, loc. cit. p. 283), with a Greek shoe- maker's shop of the 5th century B.C. The British Museum has three knives of this shape, and two others with twisted liandles, slightly different in iorm. One of these latter is ^[^m Athens and is engraved with archaic geometric patterns. (See Plate V.) 54 AMPHORA, with handles in form of male figure folding in each hand the tail of a lion. Found at Volterra. Probably Etruscan work of the 4th century b.c. H. U in., diam. 8 m. (See Plates VI. and VII.) 65 PATERA, handle in form of a nude winged female figure Aphrodite ('?), holding a dove in the right hatid. bound at Volterra. Probablv Etruscan work of the 4th cent. B.C. L. 161 in., W. 91 in. 56. PHIALE OMPHALOTOS, late work with corrugated rim. Diam. 6 in. 67, 58. Two Miniature JUGS, on marble plinths. H. 2|- in. 59. SITU LA, with two handles, and a spo«t in the form of a mask. H. 5| in., diam. 4-^ in. 60. HANDLE of Vase, lower end in form of a child holding grapes iiwav from a cock. L. 6 in. 20 CATALOGUK OF ANTIQUITIEn. 61. HANDLE of Vase, lower end in fonn of a child holding grapr** away from a cock. L. 6 in. (Pair to preceding.) 62. HANDLE of Vase, moulded finger at upper end, female mask at lower. L. 81 in. 63. HANDLE of Vase, lower end, a bunch of olives. L. 6i in. 64. HANDLE of Patera, bas-relief decoration, figure of a warrior and anthemion ornament. L. 8 in. 65-71. HANDLES of Vases. Seven of various forms. 72. CANDELABRUM, decorated with birds. H. 15 in. 73. MIRROR, incised with Etruscan design of about the 3d cent. B.C. A winged nude female figure. (Impeifect.) H. 9 in. 74. MIRROR, incised with Etruscan design of about the 3d cent. B.C. A winged figure. H. 10 in. 75. MIRROR, incised with Etruscan design of about the 3d cent. B.C. A nude Amazon in a Phrygian cap. H. 9§ in. 76. MIRROR, incised with Etruscan design of about the 3d cent. B.C. Two seated figures and hetairai. H. lOi in. 77. MIRROR, of about the 3d cent. n.c. The handle modelled in the form of a raamad reaching up towards grapes. H. 10^ in. Various ornaments (to No. 87) broken from furniture, probably of Roman period, viz. : — 78. Head of SEI LENDS, with nebris and ivy wreath. H. 3| in. 79. Bust of CUPID. H. 1;] in. 80. Bust of a ROMAN SOLDIER. H. If in. 81. RAM'S HEAD on end of knotted staff. L. 2^ in. 82. HANDLE terminating in a comic mask. L. 2 in. 83. Head of a GOAT. H. 1^ in. 84. Small Statuette of a PIC. H. \\ in. Late Roman. 85. Small Statuette of a DEER. H. If in. Late U..man. 86. Small Statuette of a DEKK. H. \\ in. Late Komau. 87. Small figure of a FIlO(i. H. 1| in. Late Roman. 88. FIX(jlER-RIN(i, with stone engraved with a krater. Lato Roman. W. 1 in. 89. FINGER-RINO, with stone engraved with a feather of lHi8(1). Late Roman. W. \ in. 90-94. Five other FINGER-HIN(JS. 95, 96. Two B.\NGLES, one tubular, the other twisted. Di;un. 4J in., and 2A in. 97. STAMP (uf a yu\U'r1) insmbod (PSCANTl| »>_ "(the work) of I'liblius Scnntiu.«» Eutycho.s." (EVTV^IETIS| On the handle, .txv. L. 2\ in. Cf. Corpus Inscrr. Lnt. X. pt. ii, 805'J (3(50), P.Scunti Mopsi ; and ihid. 8059 (151) 10uti(!hetis ; both on stamps. 98-100. Three AXEIIKADS. L. ^ in., 6 in., 5 in. 101, 102. Two SPEAK HEADS. L. 17 in., 10 j in. 103-108. Si.x KEYS, dillorent forms. Roman. 109. LOCK BOLT. L. 3j( iu. CATALOGUE OF ANTIQUITIES. 21 110. LAMP, with four spouts at right angles to each other. H. 3J in., W. 41 in. 111. LAMP. Ou handle a squirrel. Of doubtful antiquity. L. 4f in. 112. STRIGIL, fur use at the bath. L. 7 2 ui. 113. STEELY AliD, with weight in form of head of Harpokrates. L. 18i| in. 114.-116. Three CHAINS. Various forms, 117, 118. Two Tripod STANDS. H. 5 in., 3| in. 119. BELL. (Clapper lost.) H. S^ in. 120, 121. Two knobbed RINGS. Probably for loa.ling a stick to serve as a club. Diam. 1-^ in., IJ in. 122. A DIE. 123. A TESSERA (Theatre Ticket). 124. Small EWER. H. 2^- in. 125-129. Five miscellaneous Weights (1). 130-140. Eleven miscellaneous objects. 141. Statuette of ISIS suckling Horns, Egj'ptian. H. 3^ in. COINS. 142. Silver DENARIUS of Augustus, struck a.d. 1. Obverse : Head of Augustus. Reverse: Caius and Lueius Ca3sars. 143. Bronze SESTERTIUS of Vespasian, a.d. 69-79. Reverse : Fortuna holding cornucopia and ruddei*. 144. Bronze DUPONDIUS of Augustus. Reverse, S.C. temple of Providentia. 145. Bronze AS (?) of GORDIANUS IIL a.d. 238-244. Reverse, radiated figure holding globe (Soli yEternalis Aug.). 146. Bronze AS (?) of ('onstantine the Great, a.d. 306-337. Reverse, temple of Providentia. 147. A lump of COINS oxydised together, including a farthing of Charles II., and other 17th century copper coins. IRON, *tc. 148. SWORD, iron, found at Bari. " L. 15^ in. 149. ARROW-HEAD, n-on, found at Bari. L. 2| in. 150. FINGER-RING, iron, set with a sard on which i.s engruvod a figure of Justitia(?). (Imperfect.) 151. Four Sling BULLETS of Lead. BONE AND IVORV. 152. Part of a FLUTE. L. 3J in.' 153. 154. Two DICE, one of which has six p )ints on every face. 155-159. Various Theatre Tickets, TESSEK.l']. l-'ive. 160. NEEDLE. L. 5 in. 161-166. Six HAIRPINS. (Three imperfect.) 167, 168. Two SPOONS. L. 61 in., 4| in. 22 CATALOCiLE OF A>f 1 lyLITIH?. PORCELAIN, ic. 169. Smill Fii^ure of the Egs'ptian sT'xMesa Taurt, ropreseuted by a hippop')tanms. H. li in. This is of a kind of faienco of which tho compDsition is sandy, and which usually is covered witii a hard silicate i^laze, cither blue, green, or white. Its manufacture was alin:jst exclusively confined to Eizypt, and the small porcelain amulets found extensively in the tombs of Oreece and Italy of the 6th century B.C. were probably most of them made snocially for export, in imitation of the Eo:yptian amulets, in th ; {rroek factories at such places as Naukratis on the Dolta of tlic Nile. 170. A String of Fifteen Archaic Porcelain BE.\DS, foraiing a necklace. Spherical, drilled, and fluted along the axis. 171-174. Theatre Tickets, earthenware. Four. GLASS. 17.5. A SCARAB, of blue glass, made in imitation of the sacred Egyptian scaralKCUs beetle, to set in a ring ; on the base irs a figure of Victory with a wreath. Late Roman. Said to have been f )UTid in the sauie tomb at Bari with the iron sword, No. US. L. 1 in. 17(3. Fragment from the bottom corner of a large square bottle, inscribed in raised letters • ." > L. 2^ in. Late Roman. PHffiNICIAN GLASS. Piija.vDi.Y o? A Pe.uod iii:r\vK!:N xiiE 6tii an'd 4tii Ckxturie^ b.c. 177. OINOCHOl'], with trefoil lip. White nock and blue handle ; blue and wiiite zigzags around body. H. 5 in. 178. OINOCHOE, witli trefoil lip. Yellow and wliitc zigzags on bhio ground. II. 3g in. 179. OINOCHOE, with tref)il lip. Sinuiar to preceding. Surface niurli tlt'cayel. U. 3| in. 180. OINOCHOE, with hvfoil lip. Diminutive. II. IJ in. ROMAN GLASS. Plain. 2u Ci:nti:rv b.c. downwauds. ISI. Large Cinc'rary AMPlIOllA, with lid au 1 two double ii.uidli-s. (Jreeuish colmu* ; line iridescence; with the b.iucs wliicli it was intended to contain. H. 11? in., diam. 9^- in. From Pozzuoli. (See Plato VIII.) 182. BOWL. Clear glass, with vertical liutiu-s. 11. 2^ in., diam. ['>[ iu. IS.'V r.OWL. Colourless glass, with vertical flntings. II. 3A in., (liaui. '1 in. LSI. liOWL. Clear glass, with two hnrizontal rows of pear-shaped knobs. 11. 1^ in., tliani. 2 in. Ho-LS-^. Four s »-called " TEVIIHOT I'LES," H t/sa^n triu. IF. 21 in., 3] in., 1] in., and 5 in. is;} li)I. Tlir.;e " TlvUMl )TrLES, ' with sprca liii- I'asoB. II i)[ in., (1^ iu., (i^ in. CATALOGUE OV ANTIQI.I'JI KS. -'.) 192, 193. Two fragments of " TEAR-BOTTLES." 194. Fragment with fluting and vcr}'- fine iridescence, which hns formed the base of the handle of a large vase. 195, 196. Two FEET, from Vases. ROMAN GLASS. Coloured. 2d Century b.c. downwards. 197. ALABASTOS, in form of a bunch of grapes, which lias been gilt. The mouth is glazed over, showing that it was made merely for ornament or for the tomb. The base is broken away. H. 2| in. 198. HANDLE from an Oinochoe. H. If in. 199-208. Ten fragments of Polychrome Vases. 209-219. Eleven fragments of Op^ts Sectile, polychrome glass used for mosaic work. 220-231. Twelve BEADS, &c., of various forms. 232, 233. Two pieces of Polychrome spiral RODS. STONE. 234. AXE-HEAD of Diorite. L. 2f in. 235. AXE-HEAD of Diabase. L. If in. These Axe-heads are of interest from the fact, reported in the "Bulletin de Coirespondence Hellcnique" (1887 p. 490), that M. Fougeres, of the French Schod at Athens, found in excava- tions at Mantineia within seme Roman buildings two similar greenstone Axe-heads. 236. Cork Model of an Etruscan TOMB (L. 8^ in.), shewing the general form and the meth( d of disposing the vases, aims, " CENTS ON THfc r^ W.UU 'NCREA^Y^OO ON THE SEVENTH OAY DAY AND TO $'•" OVERDUE. LD 21-50ml.' 38 YD 835769 THE UNIVERSITY OF CALIFORNIA LIBRARY