:CO

HISTORY OF ANCIENT

POTTERY

PLATE XLIX

ATTIC BLACK-FIGURED HYDR1A',

HARNESSING OF HORSES TO CHARIOT.

(BRITISH MUSEUM).

HISTORY OF ANCIENT

POTTERY
GREEK, ETRUSCAN, AND ROMAN
BY H. B. WALTERS, M.A., F.S.A:
BASED ON THE WORK OF
SAMUEL BIRCH
IN

TWO VOLUMES
VOLUME

II

WITH 3OO ILLUSTRATIONS

INCLUDING

COLOURED PLATES

NEW YORK
CHARLES SCRIBNER'S SONS
1905

PRINTED BY
HAZELL, WATSON AND V1NEY, LD. f
LONDON AND AYLESBURY,

ENGLAND.

CONTENTS OF VOLUME

II

PAGE

CONTENTS OF VOLUME II
''.'.
LIST OF PLATES IN VOLUME II
LIST OF TEXT-ILLUSTRATIONS IN VOLUME II

PART

v
ix

xi

III

THE SUBJECTS ON GREEK VASES

CHAPTER

XII

INTRODUCTORY THE OLYMPIAN DEITIES

Figured vases

on vases

to

literature

themes and their treatment

of

Mythology and art Relation

Homeric and dramatic
Interpretation and classification

in ancient literature

of subjects

The Gigantomachia
subjects The Olympian deities
birth of Athena and other Olympian subjects
Zeus and

The

kindred subjects Hera Poseidon and marine deities The

Eleusinian deities Apollo and Artemis Hephaistos, Athena,
and Ares Aphrodite and Eros Hermes and Hestia
.

CHAPTER

1-53

XIII

DIONYSOS AND MISCELLANEOUS DEITIES

Dionysos and his associates

Names

of Satyrs and

Ariadne,

Maenads

Maenads, and Satyrs

The Nether World

General

and isolated subjects

Charon, Erinnyes,
Hekate, and Thanatos Cosmogonic deities Gaia and PandoraPrometheus and Atlas Iris and Hebe Personifications
Sun, Moon, Stars, and Dawn Winds Cities and countries
The Muses Victory Abstract ideas Descriptive names
representations

54-92

CONTENTS OF VOLUME

vi

II

CHAPTER XIV

HEROIC LEGENDS
PAGE

Kastor and Polydeukes

Herakles and his twelve labours Other

contests Relations with deities Apotheosis
Theseus and his
labours Later scenes of his life Perseus Pelops and Belle-

rophon Jason and the Argonauts Theban legends The

Trojan cycle Peleus and Thetis The Judgment of Paris
Stories of Telephos and Troilos
Scenes from the Iliad The
death of Achilles and the Fall of Troy The Odyssey The
Oresteia Attic and other legends Orpheus and the Amazons
Monsters Historical and literary subjects

....

93-153

CHAPTER XV

SUBJECTS
Religious subjects

FROM ORDINARY LIFE

Funeral scenes

Sacrifices

The Drama and

Sport and games Musical scenes

Trades and occupations
Daily life of women
Wedding
scenes Military and naval subjects Orientals and Barbarians
Banquets and revels Miscellaneous subjects Animals

burlesques

Athletics

154-186

CHAPTER XVI

DETAILS OF TYPES, ARRANGEMENT, AND

ORNAMENTA TION
Costume
Distinctions of types
Heroes
Personifications
day

life

Armour and

and

attributes of individual deities

Monsters

shield-devices

Personages in everyDress and ornaments

Landscape and archiOrnamental patterns

Arrangement of subjects
Maeander,* circles, and other geometrical patterns Floral
patterns Lotos and palmettes Treatment of ornamentation in
Physiognomical expression on vases

tecture

different fabrics

187-235

CHAPTER XVII
INSCRIPTIONS

ON GREEK VASES

Importance of inscriptions on vases Incised inscriptions Names

and prices incised underneath vases Owners' names and
dedications Painted inscriptions
Early Greek alphabets
Painted inscriptions on early vases Corinthian, Ionic, Boeotian,
and Chalcidian inscriptions Inscriptions on Athenian vases
Dialect Artists signatures Inscriptions relating to the subExclamations KaXds-names The Attic alphabet and
jects
orthography Chronology of Attic inscriptions South Italian
1

vases with inscriptions

........

236-278

CONTENTS OF VOLUME

II

vii

PART IV
ITALIAN POTTERY

CHAPTER

XVIII

ETRUSCAN AND SOUTH ITALIAN POTTERY

PAGE

Early Italian civilisation Origin of Etruscans Terramare civilVillanuova period

isation
Pit-tombs
TrenchHut-urns
Relief-wares and painted vases from Cervetri
tombs
Chamber-tombs Polledrara ware Bucchero ware Canopic
Imitations of Greek vases Etruscan inscriptions Sculpjars
ture

in

terracotta

Architectural

Local pottery of Southern

Italy

decoration

Sarcophagi

Messapian and Peucetian

fabrics

279-329

CHAPTER XIX

TERRACOTTA IN ROMAN ARCHITECTURE AND

SCULPTURE
Roman

Use of bricks Methods of construcOrnamental aritefixae Flue-tiles Other uses

Mural reliefs
Inscriptions on bricks and tiles
Military tiles

Clay

in

tion

architecture

Tiles

List of subjects

Uses

at

Roman

Rome

sculpture in terracotta

Types and subjects

Potters and centres of fabric

of terracotta

Money-boxes

Statuettes

Gaulish terracottas

Subjects

....

Miscellaneous uses

Coin-moulds

330-392

CHAPTER XX

ROMAN LAMPS
Introduction of lamps at Rome Sites where found Principal parts
of lamps Purposes for which used Superstitious and other

uses

Chronological account of forms

Technical processes

Mythological and literary subjects Genre

Names of potters
subjects and animals
Inscriptions on lamps
and their distribution Centres of manufacture

Subjects

Deities

393-429

CONTENTS OF VOLUME

viii

II

CHAPTER XXI

ROMAN POTTERY: TECHNICAL PROCESSES,

AND USES

SHAPES,
PAGE

Introductory Geographical and historical limits Clay and glaze

Barbotine and
Technical processes
Stamps and moulds
other methods Kilns found in Britain, Gaul, and Germany

Use of earthenware among the Romans Echea Dolia and

Amphorae Inscriptions on amphorae Cadus, Ampulla, and
Lagena

Drinking-cups

cation of

names

Dishes

Sacrificial vases

Identifi-

43-~473

CHAPTER XXII

ROMAN POTTERY, HISTORICALLY TREATED;

ARRETINE WARE
Roman

Pottery mentioned by ancient writers

The pottery of Arretium

Centres of fabric

"Samian" ware
Characteristics

Shapes of Arretine vases Sources of inspira"

" Italian
tion for decoration
Megarian bowls
Subjects
Distribution of Arretine wares
Potters'

stamps

CHAPTER

ROMAN POTTERY
Distribution of

Roman

(continued};

pottery in Europe

to provincial wares
Terra sigillata
fabric
Potters' stamps
Subjects

474-496

XXIII

PROVINCIAL FABRICS
Transition from Arretine

Shapes and centres of

Vases with barbotine

The fabrics of Gaul St. Remy Graufesenque

Marbled "vases Vases with inscriptions (Banassac) Lezoux
Vases with medallions (Southern Gaul) Fabrics of Germany Terra sigillata in Britain Castor ware Upchurch and
New Forest wares Plain pottery Mortaria Conclusion
decoration
"

INDEX

497-555

557

LIST OF PLATES IN

VOLUME

{Except where otherwise noted, the objects are in the British

II

Museum]

PLATE

XL1X.

Attic black-figured hydria

Harnessing of horses to chariot

-

(colours)

Contest of Athena and Poseidon

LI.

LII.

Baumeister)
Kotyle by Hieron

Triptolemos at Eleusis
The Under-world', from an Apulian vase

L1V.

The Sack

LVI.

LV1II.

LIX.

LX.
LXI.
LXII.
LXIII.

LXIV.

LXV.
LXVI.
LXVII.
LXVIII.

LXIX.

Frontispiece
TO FACE PAGE

...

LIII.

LVII.

vase at Petersburg (from

Furtvvaengler and Reichhold)

Helios and Stars (the Blacas krater)

LV.

at

Munich (from

.....

Troy kylix by Brygos in Louvre (from Furtwaengler and Reichhold)

Scenes from funeral lekythi (Prothesis and cult of tomb)
Early Etruscan red ware
of

66
78

Etruscan hut-urn and bucchero ware

...

Etruscan imitations of Greek vases

Etruscan antefix and sarcophagus

(
:

ist

134
158

300
302

308

......
....
.

Sarcophagus of Seianti Thanunia

Roman mural reliefs Zeus and Dionysos
Roman mural reliefs Theseus priestesses

Roman lamps
Roman lamps
Roman lamps

24
26

....

mythological and literary subjects

miscellaneous subjects
Moulds and stamp of Arretine ware

322

366

370

402

century B.C)

316

.412

.....
.....
.....
....
.

4*6
49 2

Gaulish pottery (Graufesenque fabric)

Gaulish pottery from Britain (Lezoux fabric)

52

Romano-British and Gaulish pottery

544

ix

5 2^

LIST OF TEXT-ILLUSTRATIONS IN

VOLUME

II

PAGE

FIG.

Hi.
112.
113.
114.
i

[5.

116.

Mon.de II'Inst.
Gerhard

Gigantomachia, from Ionic vase in Louvre

Poseidon and Polybotes, from kylix in Berlin

The birth of Athena

Hermes slaying Argos

(vase at Vienna)

Mm.

Wiener

Poseidon and Amphitrite (Corinthian pinax)

Apollo, Artemis, and Leto

Brit.

Ant.

Denkm.

118.

Brit.

Hermes with

Baumeister

120.

Dionysos with Satyrs and Maenads (Pamphaios

121.

Maenad

122.

124.

Charon's bark (lekythos at Munich)

Thanatos and Hypnos with body of warrior
Nike sacrificing bull

125.

Herakles and the

Apollo's oxen (in the Vatican)

Brit.

123.

126.
127.
128.

129.
130.

(cup

at

Munich)

Nemean

lion

97

Arch. Zeit.

107

Mus.

121

Wiener

in Berlin)

134-

Scene from a farce

135.

Athletes engaged in the Pentathlon

136

Agricultural scenes (Nikosthenes cup in Berlin)

Brit.

xi

Brit.

Brit.

59

70

Judgment of Paris (Hieron cup

Capture of Dolon

......

51

Mus.
Mus.
Mus.
Mus.

Brit.

133.

132.

Mus.

48

Baumeister

Brit.

Pentheus slain by Maenads

Kroisos on the funeral pyre (Louvre)
Alkaios and Sappho (Munich)

131.

30

63

Brit.

23

Baumeister

Brit.

Mus.

Herakles bringing the boar to Eurystheus

Apotheosis of Herakles (vase at Palermo)
Peleus seizing Thetis

16

43

hydria)
in frenzy

Mon.dell 'fnst.

119.

U
20

Vorl.

Aphrodite and her following (vase at Athens)

Eros with kottabos-stand

117.

13

Vorl.

Mus.
Mus.

88

96

122
I2 9

142

Baumeister

150

Baumeister

152

Brit.

Mus.

Brit.

Mus.

Baumeister

161

163

170

xii

TEXT-ILLUSTRATIONS IN VOLUME

II

FIG.

137.

Warrior
in

138.
139.

140.
141.
142.

143.

arming

archers (Euthymides

amphora

Hoppin
Brit. Mus.

Munich)

Banqueters playing kottabos

Maeander or embattled pattern

.176
181

212

..........
........

Maeander (Attic)
Maeander (Ionic)
Maeander and star pattern
Maeander (Attic, 5th century)

....
.

212

212
212

.213

144.

Maeander

145.

Net-pattern

146.

Chequer-pattern

147.

Tangent-circles

148.

Spirals under handles (Exekias)

149.

Wave-pattern (South

150.

Scale-pattern (Daphnae)
Guilloche or plait-band (Euphorbos pinax)

218

151.
152.

Tongue-pattern

153.

Egg-pattern
Leaf- or chain-pattern

219
220

154.

(Attic,

about 480 B.C.)

..

213
215

.216
.216
.217
218

Italy)
.

219

221

155.

Ivy-wreath (black-figure period)

222

156.

222

157.

Ivy-wreath (South Italian)

Laurel-wreath (South Italian)

158.

Vallisneria spiralis

59.

160.

161.
162.
163.
164.

165.

223

(Mycenaean)

Lotos-flower (Cypriote)
Lotos-flowers and buds (Rhodian)
Palmette- and lotos-pattern (early B.F.)

....

Enclosed palmettes (R.F. period)

167.

Oblique palmettes (late R.F.)

Palmette under handles (South

169.
170.

225

225
226

226
227
228
228

230

Rosette (Rhodian)
Rosette (Apulian)

23I
231

172.

Scheme

175.

229

173.
174.

Italian)

Facsimile of inscription on Tataie lekythos

Facsimile of Dipylon inscription

171.

224

Riegl

Lotos-buds (Attic B.F.)

Chain of palmettes and lotos (early B.F.)
Palmettes and lotos under handles (Attic B.F.)
Palmette on neck of red-bodied amphorae

166.

168.

224

of alphabets on Greek vases

Facsimile of inscription on Corinthian

pinax
Facsimile of signatures on Francois vase

Mus.

Brit.

Ath. Mitth.

242
.

243

248
.

Roehl

.251

Furtwaengler and Reichhold

257

TEXT-ILLUSTRATIONS

IN

Facsimile of signature of Nikias

croll (fragment
at
Figure with inscribed scroll
(fr
Etruscan tomb with cinerary u

Villanuova cinerary urns from

Painted pithos from Cervetri ir

Canopic jar in bronze-plated cl

Etruscan alphabet, from a vase
Terracotta sarcophagus in Brit
Painted terracotta slab in Lou

Askos of

Apulian fabric

local

Krater of " Peucetian

Concrete wall

at

"

Rome

Concrete wall faced with brick

Concrete arch faced with brick

Diagram of Roman wall-

Roman
Method

terracotta antefix

of heating

Flue-tile with

ir

ornam

Stamped Roman
Inscribed

tile in

Inscribed

tile

tile

Gui

from London

Mask with name

of potter

Gaulish figure of Aphrodite

Gaulish figure of Epona
Terracotta money-box
.

Terracotta coin-mould

Lamp

from the Esquiline

"

"

Delphiniform lamp
Lamp with volute-nozzle

Lamp
Lamp
Lamp
Lamp

with pointed nozzle

with grooved nozzle
with plain nozzle
.

with heart-shaped nozzle

Mould

Lamp

for

lamp

with signature of Fortis

Stamps used by Roman potters

kiln at Heddernheim

Roman

Kiln found at Castor

Plan of kiln at Heiligenberg

Section of ditto

Ampulla

VOLUME
Brit.

II

Mus.

xiii

TEXT-ILLUSTRATIONS IN VOLUME

xiv

II
PAGE

FIG.

218.

Lagena from France

Arretine bowl in Boston

219.

Arretine krater with Seasons

217.

"

467
:

222.
223.

Gaulish bowl of

221.

Form

Philologus
Brit.
Brit.

Italian

225.
226.

Vase of Banassac

484

488

491

500
501

502
Dechelette

227.

from Pompeii
Medallion from vase of Southern Gaul

228.

from the Cycnus

Medallion from vase

229.

Jar from Germany, inscribed

230.

Roman mortarium from

fabric

Dechelette

Mus. Borb.

Atalanta and

.....

Ribchester

Hippomedon
.

517

525

531

518

scene
Brit.

Mus.
Mus.

37

Vase of St.-Remy fabric

Vase of Aco, inscribed

224.

"

Megarian bowl
Gaulish bowl of Form 29
Gaulish bowl of Form 30

220.

death of Phaethon

Mus.

Gaz. Arch.
Brit.

Mus.

Brit.

Mus.

532
537
551

PART

III

THE SUBJECTS ON GREEK VASES

CHAPTER

XII

INTRODUCTORY THE OLYMPIAN DEITIES

Figured vases in ancient literature Mythology and art Relation of subjects
on vases to literature Homeric and dramatic themes and their treat-

ment

Interpretation

deities

subjects
deities

life

classification

Zeus and kindred

The

The

subjects The Olympian

Athena and other Olympian
Hera Poseidon and marine

of

birth of

subjects

Apollo and, Artemis Hephaistos,

Aphrodite and Eros Hermes and Hestia.

Eleusinian

Athena, and Ares

THE

and

The Gigantomachia

deities

representation of subjects from Greek mythology or daily

on vases was not, of course, confined to

know

that

fictile products.
the artistic instincts of the Greeks led them

We
to

decorate almost every household implement or utensil with

ornamental designs of some kind, as well as those specially

made

But the
been
fictile vases, from the enormous numbers which have
preserved, the extraordinary variety of their subjects, and the
fact that they cover such a wide period, have always formed
our chief artistic source of information on the subject of Greek
mythology and antiquities.
Although (as has been pointed out in Chapter IV.) ancient
for votive

or other non-utilitarian

literature contains scarcely

any

purposes.

allusions to the painted vases,

we have many

descriptions of similar subjects depicted on

other works of art, such as vases of wood and metal, from

VOL.

II.

INTRODUCTORY THE OLYMPIAN DEITIES

Homer downwards. The cup of Nestor (Vol. I. pp. 148, 172)

was ornamented with figures of doves, 1 and there is the famous
2

of the wooden cup

a
which
fisherman
represented
casting his net, and
(Kiacrv(Siov)
and
vines
a
a boy guarding
weaving
trap for grasshoppers,
while two foxes steal the grapes and the contents of his
dinner-basket; the whole being surrounded, like the designs
description in the

Idyll of Theocritus

first

on some painted vases, with borders of ivy and acanthus. The

3
cup of Nestor (yea-Topis') at Capua was inscribed with

so-called

Homeric

and the ovo^o? or cup of Herakles with the

verses,
4

Anakreon describes cups ornamented with

taking of Troy.
5
of
Dionysos, Aphrodite and Eros, and the Graces
figures
;

and Pliny mentions others with figures of Centaurs, hunts

and battles, and Dionysiac subjects. 6 Or, again, mythological
described,
Phrixos on the ram, 8 a
"

and other

rape of the

Gorgon and Ganymede,

or

Palladion,

10

Orpheus

"

cups are described as being used by the

emperors. But the nearest parallels to the vases

storied

Roman

later

such as the

are

subjects

described in classical literature are probably to be sought in

11
the chased metal vases of the Hellenistic and Roman periods.

We

read of scyphi Homerici, or beakers with Homeric scenes,

used by the Emperor Nero, which were probably of chased
12
and we have described in Chapter XI. what are
silver
;

apparently clay imitations of these vases, usually known as

Megarian bowls," many bearing scenes from Homer in relief

"

on the exterior.
In attempting a review of the subjects on the painted vases,
we are met with certain difficulties, especially in regard to
arrangement. This is chiefly due to the fact that each period

some are only found in

group of favourite subjects
Yet any chronoin
later
the
others
times,
period.
only
early

has

its

//.

xi.

635

cf.

27
Athenaeus,
ff.

i.

cf.

Athen.

Vol.
xi. p.

I.

xi.

489 F.

p. 180.

489 B.

Stat. Theb.

I0

Virg.

"

Ed.

Robert

sim

Od.

progr. 1890.

H.N.

12

xxxiii. 155.

Ibid. 156.

Mart.

viii.

cf.

Juv.

i.

76.

46.

in $<?**

Suet. Ner. 47

185, 499.

51:

543-

Schreiber, Alexandr. Toreutik, pas-

Ibid. p. 782 B.
5.

i.

iii.

Winckelmannsfest-

see Vol.

I.

pp. 134,

VASE-SUBJECTS AND GREEK LITERATURE

method of treatment

be found impossible, and it

as
is hoped
possible, be obviated by the
general allusions in the historical chapters of this work to the
logical

that

it

will

will, as far

subjects characteristic of each fabric and period.

Embracing as they do almost the whole field of

Greek myth
and legend, the subjects on Greek vases are yet not invariably
those most familiar to the classical student, or, if the stories
are familiar, they are not always

treated

in

accordance with

On

the other hand, it must be borne in mind

that the popular conception of Greek mythology is not always
a correct one, for which fact the formerly invariable system of
literary tradition.

approaching Greek ideas through the Latin is mainly responsible.

The mythology of our classical dictionaries and school-

books

is

largely based on

Ovid and the

later

Roman

compilers,

such as Hyginus, and gives the stories in a complete connected

form, regarding all classical authorities as of equal value, and
ignoring the fact that many myths are of gradual growth

and only crystallised

at a late period, while others belong to

a relatively recent date in ancient history. 1
The vases, on the other hand, are contemporary documents,
free from later euhemerism and pedantry, and
presenting the

myths as the Athenian craftsmen knew them in the popular

and religious observances of their day. It cannot be

folk-lore

too strongly insisted upon that a vase-painter was never an

illustrator of Homer or any other writer, at least before the
fourth century B.C. (see Vol. I. p. 499).
The epic poems, of

contributed largely to the popular acquaintance with

ancient legends, and offered suggestions of which the painter
was glad to avail himself; but he did not, therefore, feel

course,

bound to adhere to his text.

Homeric subjects given below

This

be seen

will

in the list

of

and we may also refer

(p.
ff.)
here to the practice of giving fanciful names to figures, which
obtains at all periods, and has before now presented obstacles
to the interpreter.
The relation of the subjects

126

on vases to Greek

literature

is

an interesting theme for enquiry, though, in view of what has

already been said, it is evident that it must be undertaken with
1

Cf.

Miss Harrison, MythoL

and Monum. of Athens

>

p. ii;

and see Vol.

I.

p. 13.

INTRODUCTORY THE OLYMPIAN DEITIES

The

and wide popularity of the

would
Homeric poems,
naturally lead us to expect
of
their themes by the vasean extensive and general use
The Iliad,
Yet this is far from being the case.
painter.
indeed, is drawn upon more largely than the Odyssey, but even'
this yields in importance as a source to the epics grouped under
It may have been that the
the name of the Cyclic poets.
felt
to
be
unsuited to the somewhat
were
instinctively
poems
conventional and monotonous style of the earlier vase-paintings,
which required simple and easily depicted incidents. We are
therefore the more at a loss to explain the comparative rarity
of subjects from the Odyssey, with its many adventures and
scenes which may be from the Iliad being
stirring episodes
less strongly characterised and less unique
one battle-scene, for
from
in
little
another
method
of treatment.
instance, differing
But any subject from the Odyssey can be at once identified by
its individual and marked
character.
It may be that the
firm
hold
on
the
minds
of the Greeks than
Odyssey had a less
the Iliad, which \vas more of a national epic, whereas the
1
It may also be worth noting
Odyssey was a stirring romance.
that scenes from the Odyssey usually adhere more closely to the
Homeric text than those from the Iliad.
Another reason for the scarcity of Iliad-scenes may be that
the Tale of Troy as a whole is a much more comprehensive
story, of which the Iliad only forms a comparatively small
Hence the large number of scenes drawn both from
portion.
great caution.

antiquity

for instance,

the Ante-Homerica and the Post-Homerica, such as the stories

Memnon, or the sack of Troy. The writings of
the Cyclic poets begin, as Horace reminds us, ab ovo? from
of Troilos and

the egg of Leda, and the Kypria included the whole story of the
marriage of Peleus and Thetis, the subsequent Judgment of
Paris, and his journey to Greece after Helen, scenes from all
3
The
being extremely popular on the vases.
the
Patrokleia deals with the events of the earlier years of
war,
the Aithiopis of Arktinos with the stories of Penthesileia and

these events

Memnon, and
1

See on

the death of Achilles, and the Little Iliad of

this subject J.H.S. xiii. p. 83.

Art. Poet. 147.

See Luckenbach injahrb.fur Class.

xi. (1880), p. 575 ff.

Phil. Suppl.-Bd.

HOMERIC SUBJECTS ON VASES

Lesches with the events of the tenth year down to the fall of
Troy. All provided frequent themes for the vase-painter, as may
be seen by a reference to a later page (i 19 ff.). The Iliupersisvi
Arktinos and Lesches might almost be reconstructed from two or
three large vases, whereon all the episodes of the catastrophe are
collected together (see p. 1 34) ; but when we come to the Nostoi

of Agias and the Telegonia, the vase-painters suddenly fail us,

the stories of Odysseus' wanderings and Orestes' vengeance

seeming to supply the deficiency.

Luckenbach J has pointed out that the only

right

method

of

investigating the relation is to begin with vase-paintings for

which the sources are absolutely certain, as with scenes from the
In this way the subjects from other epics
Iliad and Odyssey.

can be rightly estimated and the contents of the poems restored

Further, in investigating the sources of the vase-painters, and
the extent to which they adhered to them or gave free play to
the imagination, the three main periods of vase-painting must
be separately considered, though the results in each case prove
to be similar.
By way of exemplifying these methods he enters
in great detail into certain vase-subjects, their

ment on vases of the

to the text.

different periods,

and

method of

their

treat-

approximation

Thus, the funeral games for Patroklos

(//.

xxiii.)

are depicted on the Francois vase (see p. n) with marked

deviations from Homer's narrative
and not only this, but
;

without characterisation, so that if the performers were not

named the subject could hardly have been identified. To note
one small point, all Homeric races took place in two-horse
chariots (btgae), but on B.F. vases four-horse quadrigae are

almost invariably found. 2

Subjects of a more conventional character, such as battle
scenes, farewell scenes, or the arming of a warrior, present even

more difficulty. Even when names occur it is only increased.

must assume that the vase-painter fixed on typical names
for his personages, without caring whether he had literary
In some cases \hzgenre scenes seem to be developed
authority.

We

from heroic originals,

1

Op.
2

cit.

p.

The only

493

in others the

ff.

exceptions are in the Pan-

contrary appears to be the

athenaic contests, which are of course not

epic

cf.

B.M. B 130-31.

INTRODUCTORY THE OLYMPIAN DEITIES

It is not, however, unfair to say that the Epos was

"
the vase-painter's source." The only doubtful question is the
extent of his inspiration
and, at all events, it was a source in

case.

the sense that no other Greek literature was until

we come

to

the fourth century.

2
Turning now to the consideration of later literature, we
find in Hesiod a certain parallelism of theme to the vases, but
little trace of actual influence.
Indirectly he may have affected
the vase-painter by his crystallisation of Greek mythology in
the Theogony, where he establishes the number of the Muses
and also the names of the Nereids. 3 It is, however,
(1. 77),
interesting to note the Hesiodic themes which were also
the creation of Pandora
the
popular with the vase-painters
fights of Herakles and Kyknos, and of Lapiths and Centaurs,
and the pursuit of Perseus by the Gorgons
the contest of
Zeus with Typhoeus (or Typhon) and the birth of Athena. 4
The influence of lyric poetry was even slighter. Somewhat
idealised figures of some of the Greek lyrists appear on R.F.
vases, such as Sappho and Anakreon (see p. 152); but this
In regard to Pindar and Bacchylides, the idealising and
is all.
:

of the age may be compared with the

contemporary tendency of vase-paintings, and the latter may
if not
often be found useful to compare with
exactly to

heroising tendencies

illustrate

the

For instance,
the fate
familiar

of

which the two

ode of Bacchylides

legends
in the

Kroisos,

Herodotean

there

the

version,

voluntarily sacrificing himself.

with this subject (Fig. 132,

curious

is

p.

commemorate.
which he describes

poets
in

deviation

from the

king being represented as

The only

vase-painting dealing
150) apparently reproduces this

tradition.

With the
1

See on

influence of the stage

this subject

andf.ff.S.
2

x. p.

Comtn. in hon.

163 ff.; Arch. Zeit.

1876, p. 116; Dumont-Pottier, i. p. 366,

Mommsenii

7'.

we have already dealt

p.

5
6

13

ff.

Luckenbach, op. cit. p. 560 ff.

3
There is only one vase (Naples
2296 = Reinach, Rfpertoire^ i. 476) on
which the names of the Nereids are
derived from Homer.

Op. et Di. 6off.

216; Theog. 820, 924

elsewhere.

Scut. 345

ff.,

178,

ff.

SeeJ.ff.S. xviii. p. 267.

Vol. I. p. 472 see also below, p. 159.
the subject generally see Vogel, Scenen
:

On

Eur. Trag.
in

Huddilston, Gk.

Vase-paintings

Tragedy
Engelmann, Arch.

Studien zu den Tragikern.

RELATION OF VASES TO THE DRAMA

With

the

the

in

Italy,

of the 'Satyric drama, it can hardly be

itself felt, except in the vases of Southern

exception

have made

said to

fourth

century
be traced

B.C.,

but

indications

of

the

R.F. Attic vases, no

doubt owing to their connection with the popular Dionysiac
On a vase in Naples 1 are represented preparations
subjects.
Satyric influence

may

in

many

drama. When we reach the time of tragic and

comic influence, we not only find the subjects reproduced, but
even their stage setting in other words, the vases are not so
much intended to illustrate the written as the acted play, just
for a Satyric

as

was performed.

it

The whole

question

is

admirably

summed up by Luckenbach 2

following manner
(i) The Epos is the chief source
vase-paintings from the earliest time to the decadence
inclusive, and next comes Tragedy, as regards the later vases

in

the

of

all

only
of

of the

myths

influence

of

other
there

in

on the formation
no established example.

poetry
is

vase-paintings
Vase-paintings are not illustrations, either of the Epos or
of the Drama, and there is no intention of reproducing a story

(2)

discrepancies and rarity of close

adherence to literary forms; but the salient features of the
story are preserved.
(3) Discrepancies in the naming of perthe
sonages are partly arbitrary, partly due to ignorance
accurately

hence

great

extension of scenes by means of rows of bystanders, meaningless, but thought to be appropriate, is of course a development of the artist's, conditioned by exigencies of space.

Anachronisms on vases are of frequent occurrence. (4) Such

scenes as those of warriors arming or departing are always the
"
painter's own invention, ordinary scenes being often "heroised

by the addition of names.

all

But individuals are not necessarily

named

or always to be

and, again, the artist often gives

names without individualising the figures. (5) In the archaic

period successive movements of time are often very naively
blended (see p. 10)
the difference between art and literature
is most marked in scenes where a definite
moment is not
;

indicated.

(6)

Vase-paintings often give a general survey of

a poem, the scene not being

1

Reinach,

drawn from one

2

i.

p. 114.

Op.

particular passage
cit.

p. 636.

INTRODUCTORY THE OLYMPIAN DEITIES

The features of one

or episode.
another.
to
transferred
attention that has been

The

collecting,

assorting,

and

poem

are in art sometimes

now

many years to
discussing the material
diminished the difficulties of

paid

for

critically

by the vases has much

most puzzling branch of archaeology. It has been chiefly
lightened by the discovery from time to time of inscribed vases,
though, as has just been noted, even these must be treated
and even now, of course, there are numerous
with caution
the
interpretation of which is either disputed or purely
subjects
But we can at least pride ourselves on having
hypothetical.
advanced many degrees beyond the labours of early writers
on the subject, down to the year 1850.
afforded

this

When

painted vases first began to be discovered in Southern

the
Italy,
subjects were supposed to relate universally to the
Eleusinian or Dionysiac mysteries, and this school of interpretation for a long time found favour in some quarters, even
the days of Gerhard and De Witte.
But it was obvious

in

from the

first

that

investigator very

far,

such interpretations

and even

did

in the eighteenth

not

carry the
century other

who regarded

systems arose, such as that of Italynski,

the

1
subjects as of historical import.
Subsequently Panofka endeavoured to trace a connection between the subjects and the

names of

artists or

other persons recorded on the vases,

again, between the subjects and shapes.

course, contained a measure of truth, as
2

stances

but

it

is

latter

seen in

idea,

many

or,

of
in-

was, of course, impossible to follow out either

this or the other hypothesis in

The

The

any

detail.

foundations of the more scientific and rational school of

interpretation were laid as early as the days of Winckelmann,

and he was followed by Lanzi, Visconti, and Millingen, and
finally Otto Jahn, who, as we have seen, practically revolu-

Of late, however, the

the study of ceramography.
question of the interpretation of subjects has been somewhat
relegated to the background, owing to the overwhelming

tionised

See for further details of early theories

Vol.
2

I. p.

21.

E.g. the B.F. hydriae with water-

drawing scenes; the funeral lekythi ;

and the R.F. cups with their subjects
relating to banquets and revels.

INTERPRETATION AND CLASSIFICATION

evoked by the finds 'of early fabrics or by the efforts

of German and other scholars to distinguish the various schools
interest

of painting in the finest period.

Millingen, in the Introduction to his Vases Grecs, drew up a
classification of the subjects on vases which need not be detailed
here, but which, with

some

modifications,

may

be regarded as

He distinguishes ten classes,,

holding gcod to the present day.
the first three mythological, the next four dealing with daily
and the three last with purely decorative ornamentation.
somewhat similar order is adopted by Miiller in his
Handbiich, by Gerhard in his Auserlesene Vasenbilder, and by
Jahn in his Introduction to the Munich Catalogue (p. cc ff.).
In the present and following chapters the arrangement and
classification of the subjects adhere in the main to the system
laid down by these writers
and as the order is not, of course,
life,

regard to style, reference has

to
differences
of epoch and fabric. 1
necessary
chronological in

been made where

It may be con-

venient to recapitulate briefly the main headings under which

the subjects are grouped.
I.

The Olympian

deities and divine beings in immediate connection with them, such as Eros and marine deities.
(a) In general ; (b) individually.
(Chapter XII.)

Dionysos and his cycle, Pan, Satyrs, and Maenads. (Page 54 ff.)
Chthonian and cosmogonic deities, personifications, and
minor deities in general. (Page 66 ff.)
IV. Heroic legends and mythology in general.
II.

III.

(a)

Herakles
(<c)

local

(b)

or

Theseus, Perseus, and other heroes;

obscure myths ; (d) the Theban and

Trojan stories;
V. Historical subjects.

VI. Scenes from daily

(e)

monsters.

(Page 149
life

(Chapter XIV.)

ff.)

and miscellaneous subjects

(Chapter XV.)

(for detailed

classification see p. 154).

The number of subjects to be found on any one vase is of

course usually limited to one, two, or at most three, according
to the shape.
Usually when there is more than one the subjects
are

quite

been made

distinct
in

from one another

some
1

cases, as

in the

though attempts have

B.F. amphorae, to trace

See also Chapters VI. -XI. throughout.

INTRODUCTORY THE OLYMPIAN DEITIES

io

On

connection. 1

the other hand, the R.F. kylikes

of the

show a unity of subject running through

strong period
the interior and exterior scenes, whether the theme is mytho2
It was only in exceptional cases that an
logical or ordinary.
often

could devote his efforts to producing an entire subjec^

some of the large kylikes with the labours of Theseus, 3

artist

as on

The great
a striking example of a mythology in miniature, containing as it does more than one subject
treated in the fullest detail.
And here reference may be made

or

the vases representing

Florence

Francois vase in

the

sack

of

Troy.

is

main principles which governed the method of telling

a story in ancient art, and prevailed at different periods. 5
The
earliest and
most simple is the continuous method, which

to the

scenes

together as if taking place simulsuccessive

in point of time.
This method
taneously, although
was often employed in Oriental art, but is not found in Hellenic
represents several

times

it

by the Romans under the

was, however, revived

Empire, and prevailed

through the early stages of Christian

the complementary method, which aims
at the complete expression of everything relating to the central
event.
The same figures are not in this case necessarily
Secondly, there

art.

all

is

repeated, but others are introduced to express the action of

the different subjects, all being collected in one space without
regard to time, as in the continuous style. This is of Oriental
origin, and is first seen in the description of Achilles' shield
;

is

it

also

Francois vase, in the story

Here the death of Troilos is not indeed actually

well

of Troilos.

illustrated

in

the

depicted, but the events leading up to it (the water-drawing at

the fountain and the pursuit by Achilles) and those consequent
on it (the announcement of the murder to Priam and the

of

Hector

avenge it) are all represented

any figures.
Lastly, there is the
isolating method, which is purely Hellenic, being developed
from the complementary. This is best illustrated by the Theseus
setting

forth

without the

to

repetition of

Morgenthau, Zusammenhang

d.

Bil-

Cf.

for instance

E 39,

B.M.
8

See below,

der auf gr. Vasen.

45, 47, 48, in

See p. 134.
This subject

treated

(Eng. edn.),
p. 108.

has

by Wickhoff
p.

136.

been

in his

admirably

Roman Art

THE FRANCOIS VASE

kylikes, with their groups of- the labours, which,

it

should be

not continuous episodes in one story, but

remembered,
events
separated in time and space, and collected together
single
are

with a sort of superficial resemblance to the other methods.

Some description of the Francois vase has been given else-

where (Vol. I. p. 370) : but as it is unique in its comprehensiveness, and as a typical presentation of the subjects most popular
at the time when vase-painters had just begun to pay special
attention to mythology, it may be worth while to recapitulate
The subjects are no less than eleven in
its contents here.
;

number, arranged in six horizontal friezes, with figures also

on the handles, and there are in all 115 inscriptions explaining
the names of the personages and even of objects (e.g. vSpia,
for the

broken pitcher of Polyxena).

belong to the region of

Eight of these subjects

the hunt
(i) On the neck

mythology
and (2) the landing of Theseus and
accompanied by dancing youths and
:

of the Calydonian boar,

Ariadne

at

maidens.

(3)

Naxos,

On

the shoulder

games of Patroklos, and

(with Theseus).

(5)

chariot

at the

race

funeral

combat of Centaurs and Lapiths

the body
the marriage of Peleus

(4)

On

and Thetis, attended by the gods

in procession.

(6)

On

the

body the death of Troilos (see above), and (7) the return of
Hephaistos to Olympos. (8) On each of the handles, Ajax
:

with the body of Achilles.

On the flat top of the lip is
of
combat
a
on either
pigmies and cranes
represented (9)
side of the foot (10) a lion and a panther devouring a bull
;

and on the
stag, Gryphons, Sphinxes, and other animals
upper part of the handles (11) Gorgons and figures of the
Asiatic Artemis (see p. 35) holding wild animals by the neck.

and

It is, of course, impossible to indicate all the subjects on

the thousands of painted vases in existence
and it must
;

be

also

The
1

remembered

that

are

many

disputed meaning.
succeeding review must therefore only be considered as a

The

publication

of

this

vase

were

cussion of subjects and technical details,

The

now

superseded

all

previous

illus-

The only other complete ones

Mon. delF hist. iv. 54-8 (Reinach,
1
34"3 6 and Wiener VorL ii. pis. 1-5.

trations

by

Furtwaengler and Reichhold, Gr. Vasen'

malerei, pis. 1-3, 11-13, witn ful1 dis
has

of

'

is

P-

in

general view given in Plate XXVIII.

reproduced from the first-named work.

INTRODUCTORY THE OLYMPIAN DEITIES

12

general

summary which aims

at omitting

nothing of any interest

and avoiding as far as possible useless repetition.

In the
references appended under each subject the principle has been
adopted of making them as far as possible representative of
all periods, and also of selecting the most typical and artistic
1
examples, as well as the most accessible publications.
In dealing with the subjects depicted on Greek vases, we
naturally

regard

eminence.

We

have

as

the

as

having the prebegin by considering such scenes

actions in which those deities^ were
deities

Olympian

will therefore

reference

to

engaged, and, secondly, representations of general groups of

deities, either as spectators of terrestrial events or without

any particular

signification.

will

It

then be

convenient

to

deal with the several deities one

by one, noting the subjects

with which each is individually connected.
shall in the
to
consider
the
subordinate
deities,
following chapter proceed

We

such as those of the under-world and the Dionysiac cycle, and

personifications of nature and abstract ideas.
Chapter XIV.
will be devoted to the consideration of heroic legends, mythological
will

beings,

and

be discussed

and in Chapter XV.

subjects
such subjects as relate to the daily life

historical

all

of the Greeks.

THE OLYMPIAN

DEITIES

One

of the oldest and most continuously popular subjects

the Gigantomachia, or Battle of the Gods and Giants,
which forms part of the Titanic and pre-heroic cosmogony,
and may therefore take precedence of the rest. The Aloadae
is

(Otos and Ephialtes), strictly speaking, are connected with a

different event
the attack on Olympos and chaining of Ares
but the scenes in which they occur are so closely linked with
;

the

Gigantomachy proper that

them.

We

it

is

unnecessary to differentiate

combat of Zeus

also find as a single subject the

with the snake-footed Typhon. 2

The locus classicus of Greek art for the Gigantomachia
1

For the abbreviations used

following
(Vol.

I.).

notes

see

the

in

the

Bibliography

Munich 125

Furtwaengler and

B.M. F237

cf.

Reinach,

ii.

Reichhold,

also

B.M, 662.

is

120
pi.

32

THE GIGANTOMACHIA
of course the frieze of the great altar at

bear

but several vases

13

Pergamon (197
almost

representations

as

B.C.),

complete,

though it is not as a rule possible to identify the giants except

where their names are inscribed. 1 Most vases give only one
to three pairs of combatants.
Some pairs are found almost exclusively together, e.g. Athena
Artemis and Apollo
and Enkelados, or Ares and Mimas
are generally opposed to the Aloadae Otos and Ephialtes,
Zeus to Porphyrion, and Poseidon to Polybotes (Fig. 112) or
;

Hestia alone, the

Ephialtes.

FIG.

III.

"

"

stay-at-home

goddess of the

GIGANTOMACHIA, FROM IONIC VASE IN LOUVRE.

is never found in these scenes, but

Dionysos, Herakles,
and the Dioskuri all take their part in aiding the Olympian
deities.
Zeus hurls his thunderbolts 2 Poseidon is usually

hearth,

with his trident, or hurling the island of Nisyros

(indicated as a rock with animals painted on it) upon his

depicted

The

amples

and most

best
are

B.M.

2531 (both in
5

ex-

B.M.

Wiener

Vorl.

viii.

7),

on which no

less

732.

469; Berlin 2293,

Wiener Vorl. i. pis. 8 and

Hephaistos, and Amphitrite are absent.

Figs, in and 112 give two of these

6208; Reinach,
R.F.

complete

than eighteen deities are engaged, but

none of the giants are named. Hera,

follows:

as

i.

162 = Louvre

47,

the latter very good)

573 = Reinach,

B.F.

ii.

256.

Bibl.

Best of

Nat.

all (late

found in Melos

R.F.), a

grand vase

(Monwn.

Grecs, 1875, P*- 4>

P ls

l'2

E 732

in

Louvre, and

the interior of

Berlin 2531.
2

Arch. Anzeiger, 1890,

p. 8.

H INTRODUCTORY THE OLYMPIAN

DEITIES

Hephaistos uses a pair of tongs with a burning coal

2
and Dionysos is in some cases aided
weapon
3
his
Aeolus
occurs
once with his bag of winds. 4
by
panther.
adversary

in

them

FIG.

112.

The

as his

POSEIDON AND THE GIANT POLYBOTES, FKOM THE KYLIX IN BERLIN.

following groups can be identified on vases

tions or details of treatment

by

inscrip-

Zeus and Agasthenes, Hyperbios, and Ephialtes

(Fig. in).
Zeus and Porphyrion Berlin 2531.
Hera and Harpolykos Louvre
732.

Louvre

732

2
3

Reinach,

B.M.
B. M.

ii.

i88 =

E 47 Berlin
B 253, E 443
;

/.

Cer.

4
i.

5.

(and see

p. 56).

de Corr. Hell. xx. (1896),

the archaic frieze of the Siphnian

Bull,

pi. 7

2293.

cf.

treasury at Delphi.

THE BIRTH OF ATHENA

15

Hera and Rhoitos (miswritten Phoitos) Berlin 2531.

Poseidon and Polybotes Louvre E 732 ; Berlin 2531 = Fig. 112.
Poseidon and Ephialtes Reinactu ii. 188.
Apollo and Ephialtes: Berlin 2531.
Artemis and Otos Reinach, ii. 164.
Artemis and Aigaion Berlin 2531.
:

47.
Hephaistos and Euryalos B.M.
Hephaistos and Klytios Berlin 2293.
Athena and Enkelados B.M. 6252; Louvre
:

732;

i.

l.

Ccr.

8.

Ares and Mimas: Berlin 2531 ; B.M. 6617.

Hermes and Hippolytos Berlin 2293.
Hermes and Polybios (?) Louvre
732.
:

Dionysos and Eurymedon Bull de Corr. Hell. xx.

Athena with arm of Akratos Berlin 2^^-=EL Cer.
:

Death of Otos (supposed):

Nat. 299

Bibl.

= Reinach,

pi.

7.

88.

i.

ii.

255.

scenes supposed to take place in Olympos, the most

1
important is the Birth of Athena from the head of Zeus.
Usually she is represented as a diminutive figure actually

Among

emerging from his head, but

before

him

fully

developed,

in

as

one or two instances she stands

was probably the case in the

This
centre of the east pediment of the Parthenon.
is commoner on B.F. vases, and does not appear at
the middle of the

fifth

deities

are

Olympian

wields

Hephaistos

century.

result of his operations

scene

the

away

in

sometimes

terror

at

the

in others the Eileithyiae or

Athena

flies

goddesses
a R.F. vase in the

On

of child-birth lend their assistance. 5

Bibliotheque Nationale
head. 6

after

In most cases several of the

spectators of
axe or runs

his

subject
all

out backwards from Zeus'

accordance with a principle already discussed (Vol. I.

"
"
378), the composition or
type of this subject is sometimes

In
P-

adopted on B.F. vases for other groups of figures, where the

absence of Athena shows clearly that the birth scene is not
1

B.F.

B.M.

early example, but

(Fig.

424;

113),

good).

Reinach,

R.F.
ii.

147

much

B.M.

(a

very

restored),

Berlin

1704

410

15,

fine

244
(also

(fine)

Reinach,

171.

127,

traces

the

origin.

B.M.

B.M. B

6
i.

p.

Megarian

207.

Reinach in Revue des Etudes Grecques,

1901,

Vases,

ii.

p. ii.

147, 218, 244.

Cat. 444.

subject

to

INTRODUCTORYTHE OLYMPIAN

16

intended, and no particular

DEITIES

meaning can be assigned

to the

composition.

Representations of the Marriage of Zeus and Hera cannot

be pointed to with certainty in vase-paintings. On B.F. vases

we sometimes see a bridal pair in a chariot accompanied by

various deities, or figures with the attributes of divinities 2
but the chief figures are not in any way characterised as such,
;

and

better to regard these scenes as idealisations of ordinary

marriage processions. On the other hand, there are undoubted
it is

Olympian

deities or

FIG.

The

Zeus

of

representations

and

Hera enthroned

THE BIRTH OF ATHENA

113.

among

the

3
partaking of a banquet.

(BRIT. MUS. B 244).

Hera

a magic chair by
Hephaistos, and her subsequent liberation by him, is alluded
to on many vases, though one episode is more prominent than
story of the enchaining of

in

Of the expulsion of Hephaistos from heaven we

no instance, and of the release of Hera there is only one
doubtful example 4 but we find a parody of the former's combat

the others.
find

See B.M.

1899

l.

157,
Cer. i.

341

22)

also Berlin

and Reinach,

pi.
4

21, 2.

ii.

E.g.

B.M. 6197

Amasis?) and 6298

(a fine vase, by
see on the subject

Foerster, Hochzeit des Zens

und Hera.

B.M.
I,

Wernicke, Ant. Denkm.

ii.

Petersburg 355

Wiener
a

82

= Reinach,

Reinach,

i.

14

5 (also interpreted as
off a statue of
finishing

Vorl.

sculptor

Hera).

266.

iii.

THE RETURN OF HEPHAISTOS

who

with Ares,

forces

him

to liberate Hera.

The

17

episode most

return of Hephaistos in a drunken

frequent
condition to Olympos, conducted by Dionysos and a crowd
of this there are fine examples on vases of all
of Satyrs
2
on the
On
earlier vases Hephaistos rides a mule
periods.
of the

that

is

he generally stumbles along, leaning on

later

Satyr for support.

On the Francois

we

Dionysos or a

Zeus and Hera, with an

attendant train of deities, Nymphs, and Muses, going in a
chariot to the nuptials of Peleus and Thetis
on many vases
we have the reception of the deified Herakles among the
3
and on others groups of deities bangods of Olympos
4
or
without
But on the late
queting
particular signification.
is
a
vases
it
occurrence
to
find an upper
Apulian
frequent
row of deities as spectators of some event taking place just
below thus they watch battles of Greeks and Persians, 5 or
such scenes as the contract between Pelops and Oinomaos, 6 the
madness of Lykourgos, 7 the death of Hippolytos, 8 and others
from heroic legend, which it is unnecessary to specify here
9
only a few typical ones can be mentioned.
They also appear
vase

see

as spectators of scenes in or relating to the nether-world. 10

than some

deities, and seldom

connected
with him,
many myths
besides those already discussed.
As a single figure he appears
enthroned and attended by his eagle on a Cyrenaic cup in the

Zeus appears

alone

but

less frequently

still

there are

B.M. F 269 (gods nicknamed

respec-

Daidalos and Enyalios)

B.F.
Fra^ois vase; B.M.

642

(Plate

628

ter,

pi. 93,

Berlin 2060;

and 2O3 = Baumeis2400 (by Oltos and

i,
fig.

Ath. Mitth.

instance,
161.

1894, pl.

R-F.

714 = Furtwaengler and Reichhold,

29 Munich jSo = /. Cer. i. pl. 46 A
r

Vorl.

See below,

pies are Berlin

(Sosias);

9, 3.

107

the best exam-

2278 = Ant. Denkm.

B.M. 6379; Reinach,

(in Berlin).

VOL.

p.

II.

ii.

i.

9
76

Reinach,

98

i.

194

Reinach,
(Dareios

i.

in

B.M. F278 Reinach, i. 379.

B.M. F27I.
B.M. F279.
Numerous examples will be found
;

8
i.

Petersburg 419

council).

= Wiener
3

157,

Euxitheos, a very fine example); a late

539 = Reinach, ii. 261; Reinach,

ii.
3 = Millin-Reinach, i. 9
Reinach, ii.
311 ; Munich 776 = Baumeister, i. p. 644,
fig.

iii.

B 345 E 67, 444;

i.

XXI.), 264; Vienna 218; Athens

Bibl. Nat.

pl.

B.M.

Reinach,

lively

in the
}a

pages of Reinach's Repertoire.

Rape of Persephone: Reinach,

other scenes, ibid.

i.

i.
99
355; B.M. F27O.

INTRODUCTORY THE OLYMPIAN DEITIES

18

Louvre 1

or again in his

chariot, hurling a thunderbolt

in

company with his brother-gods of the ocean and under-world,

Poseidon and Hades, he is seen on a kylix by Xenokles. 3 He
4
is also found with Athena, with Hera, Apollo, Artemis, Aphroand Hermes

and frequently with Herakles at the latter's

In one instance he settles a dispute
7
He receives libations from
and
between Aphrodite
Persephone.
8
Nike, or performs the ceremony himself, attended by Hera,
9
and is also attended by Hebe and Ganymede
Iris, and Nike,
10
His statue, especially that of Zev? 'EpKeios at
as cupbearers.
11
Troy, sometimes gives local colour to a scene.
Most of the scenes in which he appears relate to his various
love adventures, among which the legends of Europa, lo, and
but first of his numerous
Semele are the most conspicuous
amours should perhaps be mentioned his wooing of his consort
Hera. He carries her off while asleep from her nurse in Euboea, 12
and also appears to her in the form of a cuckoo. 13 The rape of
14
Ganymede by his eagle appears once or twice on vases, but
more generally Zeus himself seizes the youth while he is engaged
dite,

6
reception into heaven.

15
On a fine late vase
bowling a hoop or otherwise at play.
with Latin inscriptions Ganymede appears in Olympos, 16 and
he is also depicted as a shepherd. 17

in

Semele Zeus pursues and slays with the thunderbolt 18

E 668 = Reinach, i. 435 and cf. Jatta

1405 = Reinach, {.483; Bibl. Nat. 489.
2
Reinach, ii. 287.

Reinach,

B.M. 6425

El.

Ccr.

i.

cf.

Mus. Greg.

82 (also

i.

22

ii.

21,

?),

30 (may be Poseidon) ;
Micali, Mon. Ined. 37, 3; B.M.
432
(Artemis) ; Naples S.A. 702 = Reinach,
i. 499 and Reinach, ii. 183
(Aphrodite)
Bibl. Nat. 229 (Zeus with Hera, Athena,
El. Cer.

and

1898, p.

Arch. Anzeiger,
Hermes)
189, and Boston Mus. Report

"

66,

12

262

Furtwaengler and Reichhold, 20 Berlin

1857 (H. plays lyre) ; Petersburg 1775=
Wiener Vorl. iii. 9, i= Reinach, i. 302
(parody) and see below, p. 107.

13

El.

Ch:

l6

'

19

i.

Reinach,

&

13

in

(now

Reinach,

&r.

i.
i.

B.M.)
38

p.

(fine

in Berlin).

EL

Cer.

20.

i.

Roscher,

iii.

p. 969.

pi.

68

Prep,

(in

evang.

29 A (doubtful).
335, 2.
18 (= Helbig,

Bibl. Nat.

416

ii.

p. 310,

Reinach,

B.M.

66.

i.

Berlin 2032
Reinach, i. 334.
Rom. Mitth. 1887, pi. 10.

the

i.

Eusebius,

472

14

Meistersch.

Hartwig,
cf.
Louvre)
"i- 84 b.

No. 104)

6379, 6424,

B.M. F 278

',

B.M. B

156,
i.

Arch. Anzeiger, 1895,

1899, No. 15 (with Hermes).

6

i.

Ctr.

polychrome pyxis
10
B.M. E 381 ;

ii.

Ares,

El.

Munich 345

I.

and

Vienna 329.
5

F 542313; Reinach,

i.

408.

i.

MYTHS RELATING TO ZEUS

i

'i

19

Dionysos from his thigh is represented but

rarely on vases, and is liable to confusion with other subjects.
This story falls into three episodes: (i) the reception of the
infant by Hermes from Dirke, in order to be sewn into Zeus'
birth of her son

2
1
(3) the handing over of
(2) the actual birth scene
thigh
3
Of his visit to Alkmena there are
the child to the Nymphs.
no certain representations, but two comic scenes on South
;

may possibly refer to it, and one of them at

seems to be influenced by the burlesque by Rhinton,
rom which Plautus borrowed the idea of his Amphitruo. The
.potheosis of Alkmena, when her husband places her on a
'iineral pyre after discovering her misdeed, is represented on
two fine South Italian vases in the British Museum in one
His appearing to Leda in the form
case Zeus looks on. 5
of a swan only seems to find one illustration on a vase,
I

talian vases
;ast

one case he

but in

present at the scene of

is

Leda with

the egg. 6

He
Danae

also

or as carrying off the

gold on
8
and
Thaleia
Aegina

depicted descending in a shower of

is

again, with an unknown

form of a bull, on which
or,

Nymphs

Nymph, perhaps Taygeta.

Europa

he provides a very

rides,

favourite subject, of which some fine specimens exist. 10

variation of the type is found on an Apulian vase,

Europa advances to caress the

I
see
Petersburg i792 = Reinach,
1

i.

Robert, Arch. Mdrchen,

2

pi. 2, p. ijgff.

Petersburg 1793 = Reinach, i. 3 ;

Nat. 2ig = Mon. Ant. di Barone,
I
Boston Mus. Report, 1895, No 2 7

Bibl.
pi.

see

also

Marchen,
3
B.M.
Reinach,
4

the

for

182;
260; and see

ii.

B.M.

6
7

xi.

B.M.
B.M.

I.

440=

p. 55,

note 21.

i.

(1886),

p. 473).

149 (signed by Python)

6 B.M. F 193.
286 ; Reinach, i. 278.

pi.

Baumeister,

711;
i.

p.

Petersburg
406,

fig.

1723=

447

(both

R.F.).
8

Aegina

Helbig,

ii.

Reinach, ii. 144 see below, p. 82.

Louvre E 696 = Reinach, i.
B.F.
:

Nat.

Bibl.

B.M. Fi5o; fahrbtich,

J.H.S.

Arch.

Robert,

= Wernicke, Ant. Denkm. 6, 4; Berlin

3239 = EL Cer. i. 17 ; Boston Mus.
Report for 1895, No. 39 (a sister brings
the news to her father Asopos). Thaleia:
Reinach, ii. 285 = El. Cer. i. 16 =
Wernicke, 6, 3.

pi. 3, p. 189.

276 (see Vol.

p.

first

One
where

to fetch her. 11

by Zeus

bull sent

In the

p.

311, No. 113

10

162; Athens 853 = Reinach, i. 507; id.

R.F. B.M.
49.
231 ; Munich 208

ii.

= Jahn,

Entfiihrnng d. Europa, pi. 7

(polychrome on white) ; Petersburg 1637
= Reinach, i. 24, and 1915 = Reinach,
i. 22
(Europa brought to Zeus). Late

B.M. F 184
pi. I

Naples 3218= Jahn, op. cit.

(Eros on bull).
=
Helbig, ii. p. 312, No. ii8 Over;

beck, Kunstmythol. Atlas,

pi. 6, fig.

13.

20

INTRODUCTORY THE OLYMPIAN DEITIES

The

story of lo

resolves itself into several scenes, all of which

(i) the meeting of lo and Zeus

on the vases:

find illustration

when she

rests at the shrine of

Artemis

after her

wanderings
3
(2) lo in the form of a cow, guarded by Argos
(3) the
4
her
Hermes
of
deliverer
Hermes
attacks
and
appearance
(4)
;

Argos

slays

(Fig. II4).

In addition, the presence of Zeus may be noted in various

scenes from heroic or other legends, which are more appro6
priately discussed under other headings, such as the freeing

From Wiener

Vorlegebldtier.

HERMES SLAYING ARGOS

FIG. 114.

IN

PRESENCE OF ZEUS (VASE AT VIENNA).

8
7
of Prometheus, the combat of Herakles and Kyknos, or the
9
at the sending
weighing of the souls of Achilles and Hector
of Triptolemos, the flaying of Marsyas, the death of Aktaeon,
;

See generally Boston Mus. Report,

1900, p. 62, m&Jahrbtich, 1903, p. 37;

also Wiener Vorl. 1890-91, pi. 12.
2

Berlin 3164, and Reinach,

El. Ccr.
3
4

and

Reinach,
Ibid.

1890-91,
5

i.

III, 2

Report

',

ii.

i.

12,

164

Wiener

(B.F.); Boston Mus.

Bibl. Nat.

See

mythol.

407.

in, i - Berlin 2651 (R.F.),

= Munich 573= Wiener Vorl.

pi.

iii.

.97;

Reinach,
Vorl.

Fig. 114; ibid.

6

1900, No. 21.

B.M.

16

25, 26.

i.

Ctr.

$-$= Wiener

i.

i.

363; Vienna

1890-91,

ill,

pi.

II,

= EL

=
=

Vorl. 1890-91, pi. 12, 2.

generally
ii.

p.

27

ff.,

Overbeck,
181

Kunst-

ff.

Reinach, i. 388.
See p. 101 ; Zeus defending Athena
against Ares after the combat, Arch.
8

Anzeiger, 1898, p. 51 (Boston vase).

302

Jatta 1498

See

p. 130.

HERA
and that of Archemoros

l
;

21

Pandora and the

at 'the creation of

the rape of the Delphic tripod and that of

the Leukippidae, at Peleus' seizing of Thetis, 3 and with Idas and
4
The story of the golden dog of Zeus, which was
Marpessa.
5
stolen by Pandareos, is referred to under a later heading.

Judgment of

Paris

Hera apart from Zeus appears but seldom, but there are a
few scenes in which she is found alone of those in which she
;

an actor or spectator some have been already described, the

most important being the story of Hephaistos' return to heaven. 6

is

As

her figure

attributes,

not always strongly characterised by means of

not always to be identified with certainty. As

is

it is

a single figure she forms the interior decoration of one fine R.F.
7
kylix, and her 6avov or primitive cult-idol, is sometimes found
as an indication of the scene of an action. 8
On one vase she
t

9
represented at her toilet.
There is a vase-painting which represents Hera on her throne
offering a libation to Prometheus, an aged figure who stands

is

She is also present at the liberation of Prometheus n

12
at
a
scene
in
probably intended for the punishment of Ixion
u
13
of
Io.
and in scenes from the story
the creation of Pandora

before her. 10

She suckles the child Herakles in one instance, 15 and in another

1G
she is also
appears with him in the garden of the Hesperides
17
present at his reconciliation with Apollo at Delphi, and at his
18
19
On an early Ionic vase
apotheosis, receiving him and lolaos.
;

E 140

B.M.
ibid.

Reinach,

8
i.

342, 405,

229 ; i. 235.
2
B.M.
467 andJ.ff.S. xxi. pi. i;
Petersburg 1807 = Reinach, i. 7.
3
B.M. 6316;
224; Naples 2638 =

452

Reinach,
4

i.

i.

Munich

Furtwaengler

See above,

Munich

Atlas,

more

tended.

11

13

and

11

i.

pi.

probably

Aphrodite

is

in-

op. cit.

Ctr.

i.

Reinach,

B.M.
B.M.
B.M.

iii.

p. 18

Reinach,

1 6.

Bibl. Nat.

in,
15

KunstOverbeck,
head only,
9,
19

l.
Cer. i. 29 ; also perhaps in Naples
2900 = Baumeister, iii. p. 1653, fig. 1714 ;

but

l.

p. 16.

336

ii.

9
10

12

745

Overbeck,

231,

78.

Reichhold, pi. 16.

5
See p. 141.

mythol.

i.

34.

542

i.

= Reinach,

i.

155.

467.

164

Berlin 3164

Reinach,

4.

B.M.

F 107.

Naples 2873 = Millin-Reinach,

B.M. F 148 and Reinach, i. 301.

16

cf.

141.

388.

17

Reinach,

ii.

B.M. B379; Berlin 2278;

waengler and Reichhold, 20.
Bibl. Nat.

3:

4.

18

19

i.

253

= Reinach,

i.

Furt-

399.

INTRODUCTORY THE OLYMPIAN DEITIES

22

she appears contending with him in the presence of Athena and

Poseidon, and wears a goat-skin head-dress, as in the Roman
1
type of Juno Sospita or Lanuvina.

The

in which she appears most frequently is the

Paris
of
she is also present at
(see below, p. 122)
Judgment
the birth of Dionysos 2
at the stealing of Zeus' golden dog
3
at the contest between Apollo and Marsyas 4
by Pandareos

scene

the

at

slaughter

of

Niobids

the

6
;

and with Perseus and

Athena. 6

She appears sometimes with Hebe, Iris, and Nike, from whom
she receives libations 7
and in one scene, apparently from a
she
and
Iris
are attacked by a band of Seileni
Satyric drama,
;

and rescued by Herakles. 8

Poseidon is a figure somewhat rare in archaic art as a whole,
especially in statuary, but is more frequently seen on vases,
mostly in groups of deities, or as a spectator of events taking

Among subjects already

place in or under the sea, his domain.
9
discussed, he is present at the birth of Athena, at the nuptials
10
of Zeus and Hera, and in assemblies of the Olympian gods,
n he also takes
part in
generally with his consort Amphitrite
;

the Gigantomachia and the reception of Herakles into Olympos. 12

He is represented in a group with his brother deities of the

higher and

nether world, Zeus and

Athena, Ares, and Hermes

B.M. 657:

cf.

Sparta (Paus.

iii.

at

the

4
5
6

Bull

Reinach,

i.

Reinach,

i.

Reinach,

i.

Reinach,

(Hebe)

ii.

9,

Reinach,

5,

Dubois-Maisonneuve,
321 and El. Cer.

i.

30

ii.

410.

Berlin

ii.

188

deities

Berlin 2531
= El. C<!r.

ii.

ii.

= Mus.
B.M. B 166; Berlin
76; Louvre F 30 =

304, No. 81

p.

pi. 56, i)

ii.

pi. 4 (by Amasis).

B.M. 6425: cf. Mus. Greg. ii. 21, i.
14
B.M. 6212, 6262, and Reinach, ii.
= Munich 145 (Apollo) Boston
23, 30
Mus. Report, 1896, No. i, and Athens 750
(Hermes) Athens 838, EL Cer. ii. 30 (?),
iii. 13,
36A (Athena and Hermes) B.M.
B 191 (Ares and Hermes), B 228 (Athena,
xiii.

(1889),

13

Apollo,

Boston Mus. Report, 1898, No. 41,

Rev. Arch,

325 (Iris).
65 = Reinach, i. 193.

B.M. E
B.M. B 147,
10
B.M. B 197.
11
B.M. E82
Denkm. i. 9.
8

i.

Greg.

463.

Naples2202

p. 13 (esp.

2278; Reinach,

175.

In/rod, pis. 45-46.

7

See above,

and Helbig,

de Corr. Hell. 1898, p. 586.

Jatta 1093

12

with

the Eleusinian

(Fig. 112), Reinach,

Bibl. Nat. 219.

3

Hades 13

among

Hera aiyofayos

15, 9).

1792

Petersburg

14

2278

Ant.

Ares, Herakles)

Bourguignon Sale

Cat.

41 (Apollo, Eros, Nereids, Papposilenos).

POSEIDON

23
:

and occasionally in
the sending forth of Triptolemos
2
As a
Dionysiac scenes as a companion of the wine-god.

at

single figure he is
tablets or pinakes

frequently found on the series of archaic

found

near Corinth, and also in company

3
on later vases not so frequently. 4

with Amphitrite (Fig. ii5)

From Ant. Denkm.

FIG. 115.

POSEIDON AND AMPHITRITE ON A CORINTHIAN PINAX.

one instance he rides on a bull, 5 in others on a horse,

sometimes winged 6
elsewhere he drives in a chariot with
In

B.M.

140.

Reinach,

ii.

35

and

see

B.M.

445.
3
Berlin 347'473 (alone), 474-537 (with
see also 787-833 ; specimens pubA.)
:

lished in Ant.
Fig.

115

Denkm.

Berlin 495).

i.

pis.

7-8 (e.g.

B.M.

Nat. 363

E 322

Berlin

Reinach,

ii.

2164 ; Bibl.
4 ; ibid.

257,

With
22, 8; Petersburg 1531, 2164.
Wiener
Amphitrite pouring a libation
Vorl. vii. 2 (Duris in Louvre).
5
Reinach, ii. 35.

ii.

Athens 880;

Bibl. Nat. 314.

INTRODUCTORY THE OLYMPIAN DEITIES

24

l
he watches the Sun-god in
Amphitrite and other deities
2
and one vase has the
his car rising out of the waves
;

Hermes engaged

curious subject of Poseidon, Herakles, and

in fishing.

Among scenes in which he plays an active part the most

interesting is the dispute with Athena for the ownership of
4
Attica, also represented on the west pediment of the Parthenon
5
and
his love adventures, especially his pursuit of Amymone
;

6
Aithra, are common subjects, but in many cases the object
7
He receives Theseus under
of his pursuit cannot be identified.
8
the ocean, and possibly in one case Glaukos, on his acceptance
9
as a sea-god
he is also present at the former's recognition
10
He is seen at the death of Talos, 11 and with
by Aigeus.
;

12
In conjunction with other deities,
Europa crossing the sea.
chiefly on late Italian vases, he is present as a spectator of

episodes, such as the adventures of Bellerophon,

Kadmos, or Pelops, the rape of Persephone, the creation of

various

Pandora, the death of Hippolytos, and in one historical scene,

a battle of Greeks and Persians. 13 He superintends several of
the adventures of Herakles, notably those in which he is
specially interested, as the contests with Antaios and Triton
and he supports Hera in her combat with that hero. 15 He
1

Athens 836 ; Reinach,

Berlin 1869
22; B.M. B 254 ('A^poSiTT; inscribed
;

ii.

error for 'A,u0tT/>tT77).

by

Naples 32 19 = Reinach,

El. Ctr,

Plate

Reinach,

iii.

L.
ii.

cf.

= Rayet

222

and Collignon,

Reinach, i. 124, 465, ii. 22 (Jatta

Heydemann,
1346), 181 ; Athens 1171
Gr. Vas. pi. 2, I. Amymone alone may
5

be intended on Bibl. Nat. 359.

6
B.M. E 174; Reinach, ii. 23 = Helbig,
p. 309,
7

20

Bibl.
;

No.

102.

iii.

= Millin-Reinach,

20-25

Bibl Nat
-

ii.

37

Reinach, i. 286= Wiener Vorl. viii. 2,

by Brygos (perhaps the Nymph Salamis
the scenes on the excf. J.H.S. ix. p. 56

terior of this

cup

J.H.S.

may

refer to

Kychreus,

xviii.

14 (Louvre

Salamis, and
Athens 1551 =
i,

pi.

fig.

2,

Poseidon pursuing a
277-79,

pp.

and

cf.

G 104,

by Euphronios),
where Theseus is received by Amphitrite.
9
Bibl. Nat. 418=7. H.S. xviii. p. 278.
10
B.M.
264.
pi.

n
12
13

Reinach,
Ibid.

i.

i.

i.

361.

36.

Reinach,

Reinach,

Nat. 432

El. Cer.

to represent

is

Nereid.

Nat.

Bibl.

p. 121.

ii.

the snake slain by him).

Heydemann, Gr. Fas.

seems

125.

14.

25i

i.

the son of Poseidon and

14

i.

108, 195; Berlin

379;

i.

99; B.M.

2634;
467;

B.M.
279; Reinach, i. 98.
" EM. B
196, Munich 114 = Reinach,
i.
and see
422; Reinach, ii. 61
B.M. 6228; Reinach, i. 301; ii. 66
;

(Kyknos).
ls
B.M. 657.

*Z2

-^v

-\

-\

v->i,i.t^

*''

-!~-L_-

l7^;i"\

MARINE DEITIES
also seen with Perseus on his

the Gorgons after that event.

Medusa, and among

to slay

way

25

it may be convenient to mention

and
here other divinities
beings with marine associations
such as Okeanos, Nereus, and Triton, and the Nereids or seanymphs, daughters of Nereus, with the more rarely occurring

In connection with Poseidon

Of

name of Okeanos
The figure itself has

occurs but once, on

disappeared, but the
marine monster on which he rides to the wedding of Peleus
Naiads.

these the

the Francois vase.

and Thetis, and the

Nereus appears as

inscription, remain.
3

a single figure, with fish-tail and trident, but is most frequently

met with in connection with the capture of his daughter Thetis
by Peleus, either as a spectator or receiving the news from
a

Nereid.

He

also

watches

contest of Herakles

the

with

On
Triton, himself encountering the hero in some cases.
one vase Herakles has seized his trident and threatens him
7
He appears at Herakles'
by making havoc of his belongings.
8
combat with Kyknos, and at his apotheosis, 9 and also offers
10
a crown to Achilles.
In one case he is found in Dionysos'
11
With
his
company.
daughter Doris he watches the pursuit
6

12
by Poseidon.

of another Nereid

Triton

is

found as a single figure, 13 and (chiefly on B.F. vases)

a struggle with Herakles. 14
He also carries Theseus

engaged in
15
through the sea to Poseidon, and watches the flight of Phrixos
10
and Helle over the sea.
The group of deities represented
by Ino and Leukothea, Palaimon, Melikertes, and Glaukos
1

Ath. Mitth. 1886,

Mon.

Graiae) ;
Louvre).

Grecs,

10 (with the
1878, pi. 2 (in

pi.

Millin-Reinach,

ii.

(Micron):
6

all

R.F.

B.M. B2oi
B.M. B 225,
ii.

61.

See also

p. 101.

10

1<J

l3

ii.

p. 120.

Reinach, i. 346, 6-7.

E 162 ; Bibl. Nat. 255

See

Reinach,

4.

B.M. 6428 = Roscher, iii. 247.

4
B.M. Ep, 73; Reinach, i. 64, i. 78
(= Naples 2638), ii. 278; Wiener VorL
vii. 2 (Duris in
Louvre); Munich 369
= Furtwaengler and Reichhold, 24
3

Reinach,

i.

339.

1732

Reinacb,

ii.

66

(in-

scribed "AXtos Ttpwv).

Reinach,
Berlin

ii.

ii.

76.

Naples 3352 = Reinach,

B.M E

109

Berlin 1676

Louvre F 148.
u B.M. B
223, 311
See p. 101.
61, i.
22

'

16

i.

485.

B.M. 6551.
Athens 1551.

= Reinach,

J.H.S. xviii.
Naples 3412

Reinach,

i.

p. 277.

Reinach,

i.

498.

227,

INTRODUCTORY THE OLYMPIAN DEITIES

26

appear

in isolated instances,

as

do Proteus 2 and Sk'dla 3

the

figures, without reference to their connection

A monstrous unidentified figure, with
Odyssey.

latter as single

with

the

wings and a serpentine fish-tail, which may be a sea-deity (in

one case feminine), is found on some early Corinthian vases 4
possibly Palaimon is intended.
The Nereids, who are often distinctively named, are some5
times found in groups, especially watching the seizure of
Thetis or bearing the news to Nereus
or, again, carrying
the armour of Achilles over the sea and presenting it to him. 7
On one vase they mourn over the dead Achilles. 8 They are
;

also

at

present

the

Herakles and Triton, 10

reception
and with

of

Theseus,

the

Europa on the

contest
11

bull.

of

Kymo-

12
thea offers a parting cup to Achilles
the Naiads, who are
similar beings, present to Perseus the cap, sword, shoes, and
13
14
wallet.
They are also found grouped with various deities,
;

and even one

the under-world. 15

Thetis appears once as

16
for her capture
single figure, accompanied by dolphins
Peleus
and
relations
with
see
Achilles,
by
p. 120 ff.
in

The Eleusinian

deities

Demeter and Persephone

Kore)

(or

are usually found together, not only in scenes which have a

special reference to their cult, but in general assemblies of the

They once appear

gods.
1

B.M.

(Leukothea

166

(Palaimon?),
;

to

p.

779,

780,

914,

and

9
I0

Louvre

Ctr.

iii.

31

314.

Ant.Denkm. i. 59 ( Branteghem Coll.

B.M. E 774 (names given to fancy
85)
see also Munich 331
scene)
Naples
2638 = Reinach,
78, 2; and Kretsch;

Ibid.

ii.

i.

i.

Reinach,

i.

311.

83, 232.

61.

3241

Roscher,
i.

218;

iii.

21.

B.M. B 155.
Bourguignon Sale Cat. 41

assemblies of the gods, Reinach,

and
ii.

in

76.

Naples 3222 = Reinach, i. 167.

Vase in Boston (1900 Report, No. 4)
for a Nereid (?) with dolphins, Louvre

15

}s

i.

mer, Gr. Vaseninschr. p. 200.

*
See p. 25, note 4 ; also Reinach,

= Reinach,

Petersburg 1915 = Reinach,

12
Reinach, i. 286.
13

I. p.

Jatta i496

643

Reinach,

" Berlin

l.

i.

Waffen.

767 = Engelmann- Anderson,

Homer, Od. pi. iv. 22; B.M.

Berlin 1007, 1008;

(fern.) ; see Vol.

Scenes

300 ; Roscher, iii. 221-24:

see generally Heydemann's Nereiden mit

and 326

cf.

G 3.
17

.231.

69

112; Reinach,

2635.

B2OI.
3
B.M. F2i8.
4

17

Gigantomachia.
B.M.

156

see p. 136)
Reinach, i. 319
possible instances of Meli-

8
ii.

Naples

Atlas

the
7

(Ino?): for
kertes see Berlin

Roscher,

in

Mon.

Grecs, 1875, pt. 4, pis. 1-2.

ELEUSINIAN DEITIES

27

to the Eleusinian cycle are found exclusively on

1
later examples, and as a rule merely represent the two chief

which

refer

grouped with others, such as Dionysos and Hekate,

and with their attendants, lacchos, Eumolpos, and Eubouleus. 2
One vase represents the initiation of Herakles, Kastor and

deities

Polydeukes

the

in

3
Lesser Mysteries of Agra

another, the

who is handed to Demeter in a cornucopia by

from
the earth, in the presence of Persephone,
Gaia, rising
4
and others, the birth of Dionysos
lacchos
and
Triptolemos,
5
Derneter and Peror lacchos
a very similar composition.
birth of Ploutos,

sephone are represented driving in their chariot, with attendant

6
deities and other figures, or standing alone, carrying sceptre
7
and torches respectively, or pouring libations at a tomb (on
a sepulchral vase). 8
They are present at the carrying off
9
of Basile by Echelos (a rare Attic legend), and Demeter
10
once at the
Athena,
12
once
of
the
Kadmos,
enthroned, and
dragon by
slaughter
once with Dionysos as Thesmophoros, holding an open roll

alone

is

once at the birth of

seen,

11

13
with the laws (tfecr/W) of her cult.
Closely connected with Eleusis is the subject of the sending
forth of Triptolemos as a teacher of agriculture in his winged

car.

This

found on vases of

is

14

all

but

periods,

is

best

exemplified on the beautiful kotyle of Hieron in the British

Museum (Plate LI.), where, besides Olympian and Chthonian
the personification of Eleusis is present.
Besides the
other Eleusinian personages, Keleos and Hippothoon are also
deities,

The

best

example

is

'E0. 'Apx- 1901,

i)

pi.

For other deities

1968=

see also Peters-

burg 1792 and 525 = Reinach,

II = Baumeister, i. pp. 474-75.
2

i.

Hermes, Dionysos,

B.M. F68.

pi. 9,

P-

39 (Berlin)
p. 140
:

and see

Berlin 1704 = Reinach, i. 197.

n Berlin
2634.
12
Athens 1 120 = Ath.Mitth. 1901,
10

and

Hekate.

Athens 1844 = ^^.

Athens 1626 = Dumont-Pottier, pi. 37.

pi. 8.

ls

Reinach, ii, 329 (very dubious) cf.

a terracotta from Cyprus in B.M. (A 326).
" B.F.
R.F.
Reinach, ii. 32-33.
:

Rev. Arch, xxxvi. (1900), p. 93.

Petersburg 1 792-93 = Reinach, i. 1,3.
B.M. F 90.
Reinach, ii. 32

Arch.Anzeiger, 1895,
'E<. 'A/>x- 1893,
below.
cf.

in Eleusinian scenes,

see under Aphrodite,

Reinach, ii. 321

Mitth. 1881, pi. 4.

a votive plaque

found at Eleusis in 1895 (Athens

B.M.

140 (Plate LI.)

281,
Reinach, i. 10 ;

469; Petersburg 1207 =

Wiener Vorl. iv. 7, 4. Late

Reinach,

12

183,

Petersburg

Helbig, 127
Millin- Reinach, 11.31, and i52 = Reinach,

350
ii.

34; Wiener

i.

Vorl.

i.

6.

INTRODUCTORY THE OLYMPIAN DEITIES

28
seen.

Triptolemos

generally seated in his car, but in one

is

two cases he 'stands beside

or

mounting

On

it

another he

in

is

just

On

it.

the latter vase Persephone holds his plough.

Berlin Triptolemos appears without his car,

a vase in

him with

Demeter presents
holding a ploughshare
4
holds
and
torches.
corn,
Persephone
;

who, according to

lacchos,
her son or brother.

was

various accounts,

seen with

also

is

Persephone

of

ears

She appears with

6
Aphrodite and Adonis, and one vase is supposed to represent
the dispute between her and Aphrodite over the latter, which

was appeased by Zeus. 7

The

story of the rape of Persephone by Hades, her sojourn

under-world, and her return to earth is also chiefly

the

in

confined
8

the

to

later

vases,

especially

incident of

the

elaborate representations of the under- world

sits with Hades

the

rape.

In

on

Apulian vases she generally stands or

late

the

a building in the centre. 9 She is often depicted in scenes

10
or
representing the carrying off of Kerberos by Herakles,
11
and
vases
with
Hades.
late
On
both
banqueting
early
its

in

Hermes,

his character of

seen preparing

is

Psychopompos,

12

to conduct her back from the nether world (see Plate XLV.),
or actually on his way. 13
In another semi-mystical version of

the return of Persephone, signifying the return of spring and

4
vegetation, her head or part of her body emerges from the earth/
B

l.
Cer. iii. 62 ; a newly acquired
R.F. amphora in B.M. see also Roscher,
s.v. Keleos,p. 1028 ; Reinach, i. 286 (?) ;
:

Munich
2

336.

B.M.

274 and Munich 299: see

Ath. Mitth. 1899, pi. 7.

Naples S.A. ii = Reinach,

s
6

Reinach,

4,

Ibid.

i.

i.

124.

156,

n
12

i.

Plate

401.

iii.

p.

i-

7,

pi.

144
1

8,

B.M. F277; Baumeister,

and see Helbig,
462
fig.

Overbeck,

12.

ii.

also Berlin 1844

I,

for

earlier

(=

Naples

Munich 728 =

Late: B.M.

48.

F332 =

XLV.
i.

522,

1378; Baumeister,

Reinach,

99> !56, 2;

i.

21,

i.

Roscher,

p. 423,

fig.

ii.

463

(inscribed).

67
ii.

" Reinach,
14,

p.

Greg.

B.M. E82, F68.

B.M. B 261

B.F.

Reinach,

see Apollod.

and Hygin. Astron. ii. 7.

B.F.
B.M. 6310. R.F.

Mus.

examples.
10
Reinach, i. 389 and 401
S.A. 11); ibid. ii. 70.

Overbeck, Knnstinythol. iii. p. 535.

8
Bibl. Nat. 424 = Reinach, i. 463.
4

See below,

and

Kunstmythol.

Ailas,

348
p.
to

Reinach,

228 (Berlin 2646) and

i.

Arch.

(Boston;;

37 (Berlin)
Gk. Religion,

Anzeiger,

1895,

Harrison, Prolegomena

277 (vase in Dresden

p.

Satyrs astonished

Hermes

present).

PERSEPHONE

HADES

IN

29

one case accompanied by the head of Dionysos, whereat

The interpretation of
Satyrs and Maenads flee affrighted.
some of these scenes, however, has been much questioned. 2
in

The number
Delphic deities

of vases with subjects representing the three

Apollo, Artemis, and Leto is considerable.

The appearances of Apollo, at any rate, are probably only

exceeded in number by those of Athena, Dionysos, and
It is,
in fact, impossible to make a complete
Herakles.
enumeration of the groups in which Apollo occurs, and a
3
general outline alone can be given.
Apollo as a single figure is often found both on B.F. and

R.F. vases, usually as Kitharoidos, playing his lyre sometimes

4
As Kitharoidos he is
also he is distinguished by his bow.
;

represented

usually

He

standing,

but in some cases

seated.

is

sometimes accompanied by a hind or a bull (Apollo

8
He is represented at Delphi seated on the
9
10
11
Pythoness' tripod, or is seated at an altar, or pours a libation.
12
13
He rides on a swan or on a Gryphon, and also crosses
14
In some scenes he is characterised as
the sea on a tripod.
15
Daphnephoros, holding a branch of laurel, or is represented
is

Nomios?).

the attitude associated with Apollo Lykeios, resting with

one hand above his head. 16 In one scene the type of Apollo
Kitharoidos closely resembles that associated with the sculptor
in

17

Skopas.
1

Reinach,

Baumeister,
2

144 = Louvre

i.

i.

p.

445,

fig.

311

Robert, Arch. Mdrcken, p. 198 ff.

xix. p. 232, xx. p. 106 ff., and

Jahrbnch, vi. (1891), p. 113 ; also below,

under Ge-Pandora (p. 73), and Harrison, Prolegoni. to Gk. Religion, p.
3

277 ff.
For a more complete tabulation see

Overbeck, Kunstmythologie, vol. iv. esalso the plates

pecially pp. 42 ff., 322 ff.
of vol. ii. of the El. Ct'r., and the Atlas
,

Overbeck,
4
5

6
7

= Reinach,

257.

El. Ctr.

ii.

3;

ii.

6 A = Petersburg 411.

286.

ii.

2641
14

=1.

41

1
18

ii.

Ct'r.

ii.

44.

Helbig, 97 = Reinach,

meister,

B.M. B

260, 68 1.
B.M. 6592; Berlin 1868.

'

ii.

145 (?); Berlin 1867

B.M. E 80.
" B.M. E
516 EL Cdr. ii. 4.
12
B.M.
232; Reinach, ii. 157, 296;
Wiener Vorl. A. 10, 2.
13
B.M.
543 Reinach, ii. 228 Berlin

19 to end.

pis.

Bibl. Nat. 367

195,
29.

10

to

ii.

Reinach,

see/^.S.

B.M.

Reinach,

493.

i.

Bau-

i.

79

Petersburg

p. 102, fig. 108.

Millin-Reinach,
Cei: ii. 6 A.

i.

46

=El.

B.M.

F 31 1

97 A.
17
Reinach,

ii.

Naples 2902

310

= El.

C<*r.

ii.

/.

Gfr.

65.

30

INTRODUCTORYTHE OLYMPIAN
When

he

carries

another

is

grouped with Artemis, the latter deity usually

or they pour libations to one
quiver,

bow and

but more

DEITIES

commonly they stand

together,

any action. They are also depicted

More numerous are the scenes in which Leto is
in

engaging

in a

without
chariot.

also included

(as Fig. 116), though she is not always to be identified with

4
In this connection may be noted certain scenes
certainty.

his birth is once represented, 5

relating to Apollo's childhood
and on certain B.F. vases a woman is seen nursing two children
:

(one painted black, the other white), which

From Mon.

delU Inst.

may

denote Leto

ix.

FIG.

Il6.

APOLLO, ARTEMIS, AND LETO.

with her infants, though it is more probably a symbolic representation of Earth the Nursing-mother (Gaia Kourotrophos see
6
Tischbein published a vase of doubtful authenticity,
p. 73).
;

B.M. 6260, 548,

274, 383, 514;
Brygos vase in Lou vre = Reinach. i. 246 ;
Naples R.C. i69 = Reinach, i. 313 (Artemis with torch ; localised at Delphi by
a crow on the omphalos).
2
l. Cer. ii. 10
(Berlin 2206) and 32 ;
1

Reinach, ii. 27 ; B.M.

E 579 Forman Sale Cat. 356.
3
B.M. E 262 ; Reinach ii. 26 (=
Louvre F 297), 284 (?) ; on Melian am-

Vienna

331

>

phora (Athens 475

= Rayet and Collignon,

pi.

3),

Apollo in chariot, before which

stands Artemis with stag.

*

B.M. B68o,
256; Reinach, ii. 27-8,
45 (Naples S.A. 192); Athens 1342.
5
Athens 1962 (Leto about, to bring
forth, assisted

by Eileithyia).
B.M. B 1 68, 213 Mus. Greg. ii. 39,
.L Cr. ii. 2.
I a ;
Nyx (Night) was
similarly represented on the Kypselos
6

chest (Paus. v. 18,

i).

AND LETO

APOLLO, ARTEMIS,

31

which represents Leto with the twins fleeing from the serpent
but in two instances Apollo certainly
Python at Delos
in one case shooting the Python with
in
Leto's
arms,
appears
l

bow. 2

his

With these
instance

three

at

is

sometimes

as

indicated

Hermes

joined
by the

one

in

of the

presence
Delphi,
or,
again, Hermes appears with Apollo alone,
omphalos*
4
Poseidon is seen with Apollo,
or with Apollo and Artemis.
;

Artemis and Hermes, also by

5
In conjunction
Leto and other indeterminate female figures.
with Athena, Apollo is found grouped with Hermes, Dionysos,

accompanied

generally

Nike, and

other female

by

figures

Herakles. 6

also with

With

Aphrodite he is seen in toilet scenes, sometimes anointed by

In one case they are accompanied by Artemis and
Eros. 7

Hermes,

and on one vase Apollo

is

grouped with Zeus and

with Aphrodite on her swan. 9 He accompanies the chariots

of various deities, such as Poseidon, Demeter, and Athena, 10
11
especially when the latter conducts Herakles to heaven.
Apollo, in one case, is associated with the local Nymph Kyrene
on a fragment of a vase probably made in that colony. 12 He
13
and in one case is
frequently receives libations from Nike,
14
crowned by her.
With Nymphs and female figures of indeterminate character he occurs on many (chiefly B.F.) vases, some-

On

times as receiving a libation. 15

1

Reinach, ii. 310.

2212 = Overbeck, Kunstmythol iv. p. 378; Bibl. Nat. 306=
2

Berlin

El. Cer.
3

ii.

Berlin

2645= Reinach,

184 (Fig.

phalos);

B.M.

116);

502

Athens 1362 (by Mys, a

Reinach,

ii.

35

29

i.

(omfine

example).
4

47), 25, 30

A.

397 (Apollo
on omphalos, with hind) ; Reinach, ii.
26 (Louvre F297), 28 (Bibl. Nat. 443),
i.

several red-figured vases he

B.M.

215, 245

Petersburg 9 = Reinach, ii. 24 (Apollo

crowned by woman) ; El. Cer. ii. 39
Bibl. Nat. 428 ; Munich 157.
5
B.M. 6212, 262; Reinach, ii. 23,
and cf.
323 El Cer. ii. 30 (?), 36 C

10

Bourguignon Sale Cat. 41.

6
B.M. B 238 ; Reinach,

ii.

24 (Munich

B.M.

= El.

Ibid.

ii.

ii.

ii.

183.

25

(?),

32,

72-73

w B.M.

B6

Reinach,

i.

ii.

B.M.

Vorl. 1889, pi. 6,

Overbeck,

mythol. iv. p. 51.

" B.M. B
199-201, 21 1, etc.
ii. 72 ; Berlin 1827 (all
B.F.).
ls

Ctr.

42.

785.

Reinach,

6203, and Wiener

and see generally

Naples 1891

Munich 609 = Reinach,

B M. F 31 1,399.

is

KunstReinach,

see Vol.

253

I. p. 344.
El. Cer. ii. 47-48

(also Iris).

Naples 1762 = Millingen-Reinach, 29.

B.M. 6259, 261 ; E 323, 415 ; El.
In some
CVr. ii. 13 (= Reinach, ii. 27).
of these Artemis may be intended.
14
I5

INTRODUCTORY THE OLYMPIAN DEITIES

32

accompanied by some or all of the nine Muses, one representing

He and Artemis ar
Thamyris and Sappho.
with
associated
marriage processions, whether of Zeus
specially
2
and Hera or of ordinary bridal couples.
Apollo also appears in
a
boar
and
a
lion
drawn
at the marriage of
chariot
a
by
3
Harmonia.
and
Kadmos
4
he greets
In Dionysiac scenes he is a frequent spectator
5
6
Dionysos among his thiasos, joins him in a banquet, or
1

their contest with

7
8
accompanies Ariadne's chariot or the returning Hephaistos
9
listens to the Satyr Molkos playing the flutes, or is grouped
10
More important and of
with Satyrs and Maenads at Nysa.
are
the
interest
scenes
which
depict the legend of
greater
and
find
a
The story is
they may fitly
place here.
Marsyas,
;

told

in

eight different episodes on the vases, which

thus systematised
1.

Marsyas picks up the

be

may

Baumeister,

ii.

flutes

1001,

p.

dropped by Athena:
cf.

1209:

fig.

Berlin

Reinach,

i.

2418

342

(in

Boston).
2.

First

3.

The

4.

meeting of Apollo and Marsyas

challenge

Millin-Reinach,

6.

i.

Berlin 2638.

490; Reinach, i. 452 (Berlin 2950),

Marsyas performing: B.M.
= Reinach, i. 175 =
i.
511 (Athens 1921), ii. 312 Jatta 1093
;

Baumeister,
5.

7.

Apollo victorious: Reinach,

Wiener VorL iii. 5.
i. 14 =

Condemnation of Marsyas:
ii.

Berlin 2388

Roscher,

El. Cer.

(a fine example)

ii.

ii.

79, 80, 83,

Jatta 1538

526 ; Helbig, 133 = Mus. Greg.

2; and cf. Boston Mus. Report
1898, No. 54 (A. as a neat-herd?).

B.M.

ii.

ii.

for

Reinach,

Reinach,

i.

405;

Roscher,

ii.

195,

255-56,

'

Reinach,

fig.

77

Reinach,
Reinach,

ii.
ii.

31.

= El.

287

AEAIOZ

Millin-Reinach,

i.

i.

no.

Munich 62 = Reinach,
B.M. 6179.

(inscribed

258

23.

ii.

(a vase with

406

i.

Petersburg 1807
Baumeister, i. p. 104,

298; B.M. B

.7,

B.M. .B

Reinach,

44.

Wiener VorL

Naples 3231

Bi97,
257,
Reinach, ii. 154, and Millingen-Reinach,

842.

63; Wiener VorL

310; Petersburg 355

86

Reinach,

15,

ii.

Naples 2991 = Reinach,

EL Cer. ii. 64.
2455

i.

Cer.

324.

Flaying of Marsyas
reliefs)

= EL

ii.

Reinach,
8.

p. 891, fig. 965.

Apollo performing: Jatta 1364

vi.

6.

ii.

ii.

75.

C<!r.

ii.

62

see below, p. 78).

54.

APOLLO AND ARTEMIS

33

other scenes in which Apollo (generally accompanied

by Artemis) plays a personal part, the following may be
l
the slaying of the Niobids by the two deities
mentioned

Among

the slaying of Tityos by Apollo

sented carrying off Leto, who

(in

one case Tityos

rescued

is

is

by Apollo)

repre3

and

The
various love adventures in which Apollo is concerned.
name of the Nymph pursued by him in the latter scenes cannot,
one vase appears to represent him con5
He also
Idas
for
the
with
possession of Marpessa.
tending
6
heals the Centaur Cheiron (this appears in burlesque form), and
as a rule, be identified

He is seen seeking for

protects Creusa from the wrath of Ion.
the cattle stolen from him by Hermes, and contending with that
7

He

frequently appears in Birth of Athena

scenes as Kitharoidos, and also at the sending forth of Triptolemos 10 or in the under-world. 11 In one case he appears (with

god over the

lyre.

Athena, Artemis, and Herakles) as protecting deity of Attica,

12
On one vase there
watching a combat of Greeks and Amazons.
a possible

is

mouse was

reference

to

Apollo Smintheus, with

especially associated.

whom

the

13

Like other deities, Apollo and Artemis are frequently found

on Apulian vases as spectators of the deeds of heroes, or other
events in which they are

more or

less interested

some of

these

subjects have already been specified (see above, p. 17).

Apollo
especially is often seen in connection with the story of Herakles,

the Theban and Trojan legends.

One burlesque scene
represents his carrying off the bow of Herakles to the roof
14
of the Delphic temple,
and the subject of the capture
or

Ant. Denkm. i. 22.

B.F.
R.F.
B.M. E8i; Reinach, i. 227 = Vol. I.
1

442.

p.

Late

Jatta 424

Reinach,

i.

463 ; Naples 3246 = Roscher, iii. 407

(Niobe at grave of children).
2
B.F.
Reinach, i. 244 (= Louvre
:

864), 245;

Bibl. Nat.

171

ibid.

ii.

R.F.
B.M.
278.
Louvre G 42 = Reinach, ii. 26.
4
B.M. 64 (= Reinach, i. in), E 170
(= id. i. 185); l. Cdr. ii. 21 ; and see
252.

Furtwaengler and Reichhold, 16

Nat.
Bibl.
171 = Reinach,

see

also

ii.

253.

B.M. Fi5i.
Reinach,

i.

375.

Helbig 227 = Reinach,

259 = Bibl. Nat. 820 (?).
B.M. 6147.

i.

357

id.

Millin-Reinach,
5

Munich

VOL.

II.

Naples 690, 3245.

"
12
13

i.

745

71.

Reinach,

i.

67

14

Reinach,

i.

355.

Millin-Reinach,

Reinach,

ii.

ii.

25.

297.

Petersburg 1777

Reinach,

i.

153.

INTRODUCTORY THE OLYMPIAN DEITIES

34

tripod, with the

of the

occurrence.

is

subsequent reconciliation,

of very

As Apollo

Ismenios, the patron of

Thebes, he is a spectator of the scene of the infant Herakles
2
in one case he is represented disputing
strangling the snakes

frequent

3
with Herakles over a stag, which may be another version of the
4
story of the Keryneian stag, a scene in which he also occurs.

He

seen with Herakles and Kyknos, 5 Herakles and Kerberos, 6

and is very frequently present at the apotheosis of the hero. 7
is

8
Apollo and Artemis watch Kadmos slaying the dragon, and
one or other of them is present at the liberating of Prome-

seen with Oedipus and Teiresias, 10 and

watches the slaying of the Sphinx by the former. 11 Among
12
Trojan scenes he is sometimes present at the Judgment of Paris,

theus

Apollo alone

is

also at the sacrifice of Iphigeneia, the pursuit of Troilos, the

combats of Achilles and Ajax with Hector, and the recognition

of Aithra

by her

sons.

He

13

of course, frequently seen in

is,

14

subjects from the Oresteia, both in Tauris and at Delphi, and at

15
The pair are
the death of Neoptolemos before the latter temple.
16
also seen at the carrying off of Basile by Echelos (see p. I4O).

The

sometimes
from Ajax

%6avov, or primitive cult-statue, of Apollo is

in one case Kassandra takes refuge
represented
;

before

it,

17
instead of the usual statue of Athena.

The appearances
detain us long

she

of Artemis, as distinct from Apollo, need not

is

sometimes found in mythological scenes,

figure, of which there are some fine

but frequently as a single

See below,

Wiener

p. 103.

B.M. F479.
Reinach,
Ibid.

\.

ii.

56, 3

1S

see p. 97.

233.

Berlin 1732

Reinach,

ii.

66.

vi.

7 (Duris in

Reinacb, ii. 69.

See p. 106, note 10, for B.F. scenes ;
for R.F. (in Olympos), Keinacb, i. 222

i.

218.

and

i.

504

9
10

76.

Helbig 232

Reinacb,

Berlin 2633

pi.

2,

ii

15

16

9,

Helbig

ii.

59

.6.
17

ii.

87

(?)

468,

Reinach,

i.

390, 2, and Anzeiger,

Reinach, i. 321.
Arch. Anzeiger, 1895, p. 39 (Berlin).
B.M.
336 cf. Reinach, i. 218 and
:

Reinach,

Vorl.

= Reinach,

1890, p. 90 (Berlin).

Overbeck, Her. Bildw.

H Reinach i.
105 (Naples 3223) and
B.M. F 166, Berlin 3256, Naples

Reinach,

388.

1894,

Wiener
Louvre); B.M.
101

1984

i.

Jahrbuch,

Francois vase

ii.

Berlin 2634.

Wiener Vorl. 1889,

11
B.M.
696.
12

F 1 59
Reinacb,

B.M.

106

ii.

E. II

Vorl.

252.

p.

Overbeck, Kunstmythol.

iv. p.

15.

ARTEMIS

35

winged goddess grasping the neck or paws of an

examples.
animal or bird with either hand frequently occurs on early vases,
and is usually interpreted as Artemis in her character of TTOTVIO,
1

called the
Oripwv or mistress of the brute creation, sometimes
2
On an early Boeotian vase (with
Asiatic or Persian Artemis.

Athens is a curious representation of Artemis Diktynna,

on
a quasi-marine form of the goddess, originally Cretan (?)
the front of her body is represented a fish, and on the either side
reliefs) at

As a single figure she appears either with bow

or quiver, pr with lyre, sometimes accompanied by a stag or
5
4
she also rides on a deer or shoots at a stag. 6
hind, or dogs
of her

is

lion.

7
Or, again, she is attended by a cortege of Nymphs or rides in
8
a chariot
Like that of Apollo, her %6avov is sometimes introduced into a scene as local colouring. 9

The myth with which she

Aktaeon, which

chiefly associated

is

find a place here,

may

though

that of

is

most cases

in

10

represented, being devoured by his hounds.

curious subject on a vase at Athens appears to be the burial of
11
She is also represented at the
Aktaeon, Artemis being present.

Aktaeon alone

is

whom a stag was substituted by her

with the same story at her shrine in
in
connection
and
agency,
13
Tauris.
She is especially associated with Apollo in such scenes
14
the rape of the
as the contest with and flaying of Marsyas,

sacrifice of Iphigeneia, for

12

fiow. Mitth. 1888, pi.

Meistersch.

67,

pi.

(cultus-statue

of

Artemis Munychia)

i; Hartwig,

ibid.

2;
the

p.

moon

602

ff.

Vol.

6
7

4.

vase;

I. p.

Arch.

1890,

Anzeiger,

p.

see

Reinach,

'E0. 'A/ox- 1892, p. 219 ff.

4
El. Cer. ii. 7 (with hind

i.

517: see

and

lyre)

B.M.

432.

Millin-Reinach,

B.M.

EL

262

Cer.

ii.

77.

Reinach,

2200

Gr.

B.F.

Athens 882

Vas.

pi.

8,3; El.
176,

Berlin

3239

F48o

El.

Cer.

pi.

France,
5
El.

Reinach,

8,

43

Naples 3253

i.

ii.

103 C.

103

ii.

13
14

B.M.

229 and 250 (the former of

835

pi. 4.
ii.

and

(Etruscan);

Mitth.

1890,

8.

12

Ctfr.

Heydemann,

Cer.

B.M. F

(with two dogs)

Froehner, Miisdes de

Late:

these now at Boston).

" Athens
= Ath.

45

Reinach, i. 379;
ii.
16 (?).

365 = Reinach, ii. 257 (drawing arrow from quiver) ; Bibl. Nat. 49 j =
Gas. Arch. 1885, pi. 32; Reinach, i. 494
Bibl. Nat.

ii.

9 (in Louvre).

ii.

Naples
I0

Athens 462

F274; Reinach,

Berlin 3164; Reinach,

(Karlsruhe).
3

194; B.M.

i.

228.

goddess,

and see note

289; Berlin 301 = Reinach,

i.
380 ; Naples 304 = Reinach, i. 380
Baumeister, i. p. 132, fig. 139; Francois
2

Reinach,
ii.

159.

Reinach,

i.

104, 133, 158, 504.

Athens 1921

Reinach,

i.

511.

INTRODUCTORY THE OLYMPIAN DEITIES

36

2
l
Delphic tripod by Herakles and the subsequent reconciliation,
3
The two deities someor the appearance of Orestes at Delphi.

times accompany nuptial processions in chariots, Artemis as

pronuba holding a torch, but it is not easy to say whether these
scenes refer to the nuptials of Zeus and Hera or are of ordinary

significance.
a child with

scene in which she pursues a woman and

reference to the slaughter

bow and arrow may have

of the Niobids.

6
Other scenes in which she is found are the Gigantomachia
7
or she is seen accompanying the
and the Birth of Athena
9
8
and
Demeter
of
chariots
Athena, and with Aphrodite and
10
She disputes with Herakles over the Keryneian stag 11
Adonis.
12
and is also present when he strangles the snakes, and at his
;

13
She attends the combat of
apotheosis in Athena's chariot.
14
and as protecting deity of Attica she
Paris and Menelaos,
15
vase in Berlin,
watches a combat of Greeks and Amazons.

on which are depicted six figures carrying chairs (Diphrophori,

as on the Parthenon frieze) and a boy with game, may perhaps
10
represent a procession in honour of Artemis.
Hephaistos is a figure who appears but seldom, and never
17
as protagonist, except in the case of his return to Olympos,
a subject already discussed (p. 17), as has been his appearance
18
and at the birth of Athena. 19 In
in the Gigantomachia
conjunction with
creation

the

Museum 20

British

B.M.

6316,

195,

Nat. 251 = Reinach,

Reinach, ii. 4.
Ibid.

cf.

i.

last-named goddess he completes the

the

and adornment of Pandora on

ii.

255;

9
10
II

Bibl.

Cer.

also

Reinach,
ii.

154

90.
16

18

32.

B.M. 6231

20

Reinach,

76.

Vorl. vi. 7

Millin-Reinach,

ii.

Duris kylix in

25.

Arch. Anzeiger, 1895,

See note 2 on p. 17.

P-

3&

B.M.
47 Berlin 2293.
B.M. 6147, 6244; B.M.

Bibl. Nat. 444.

499.
;

of

19

B.M. 6203.
i.

in

birth

Louvre.

410.

Reinach,

ii.

H Wiener

p. 15.

ii.

vases

the

B.M.
B.M. 6320; Reinach, ii. 72; in
Olympos, B.M. B 379, Berlin 2278, and

17

Reinach,

present

fine

at

)2

l5
ii.

two

13

132.

See above,

B.M.

is

252.

B.M. B 197, B 298; Reinach,

B.M. 6257.

EL

he

i.

233.

467 and 04.

410;

HEPHAISTOS

37

His sojourn below the ocean with Thetis and

armour also occur. 2 Representations of
Achilles'
of
making
a forge on some B.F. vases may have reference to the Lemnian
Erichthonios.

the

3
He is also
forge of Hephaistos and his Cyclopean workmen.
5
4
seen with Athena, at the punishment of Ixion, and taking part
6
in a banquet with Dionysos.

More important than any of the other Olympian

deities, for

the part she plays in vase-paintings, is Athena, the great goddess

of the Ionic race, and especially of Athens.
Of her birth from
the head of Zeus we have already spoken, as also of the part she

plays in the Gigantomachia (p. 15). The separate episode of her

combat with Enkelados (her invariable opponent) is frequently
7
but in one instance she tears off the
depicted on B.F. vases
We have also seen her
arm of another giant, Akratos. 8
9
and contending with
assisting at the creation of Pandora,
10
She receives the infant Dionysos at the
Poseidon for Attica.
time of his birth, 11 and is also generally present at that of
12
and once with Leto at that of Apollo and
Erichthonios,
13
She is, of course, an invariable actor in Judgment
Artemis.
of Paris scenes, in one of which she is represented washing
her hands at a fountain in preparation for the competition. 14
From assemblies of the gods she is rarely absent, and she is
;

groups of divinities, such as Apollo

15
with Ares or Hephaistos, or with Hermes, 16
18
Thus she assists at
or Dionysiac scenes.

also associated with smaller

and Artemis

(p. 31),

or in Eleusinian

17

Berlin 2537 = Reinach, i. 208 ibid.

66 (Munich 345), 113.
2
Berlin 2294; and see below, p. 130.
B.M. B 507 El. Get-, i. 51 cf. p. 171.
1

i.

Bibl.Nat. 820

Reinach,

i.

Reinach,

ii.

259

(?).

330.

M. B 302, and cf. F 68.

B.M. 6252: see Arch. Jottrn.
B.

Ii.

11

12

i.

88 (Etruscan).

D4 E 467.

B.M.

and seep.

182;
i.

Relnach, i. 66
Reinach, i. 113.

l3

Reinach,

1792

372; Munich

Wiener

Vorl.

iii.

Bibl.

126

for other

216

El.

Nat. 820

examples
iv.

96

Reinach,

ii.

Ctfr.

259 (Hephaistos).

B.M. E268; Bibl. Nat. 220 ( = Reiii.

211) and 229; and see under

nach,

p. 52,

Reinach,

i.

note

6.

ii.

B.M. 6552; Berlin 2179 = Wiener

iii. 6 ; Mus.
Greg. ii. 38, 2 a (with
Poseidon and Dionysos).
18

Vorl.

B.M.

i.

see p. 122.
ls
Bibl. Nat.

17

Petersburg

Athens 1962.

24.

i.

Berlin 2537;

Hermes,

Plate L.

Reinach,

16

Berlin2957 = ^7.C<?r.

B.M.

(Ares)

p. 67.

10

345

INTRODUCTORY THE OLYMPIAN DEITIES

38

the slaying of the Niobids, 1 and on one vase is confronted

with Marsyas, before whom she has just dropped the flutes. 2
Scenes in which she appears receiving a libation from Nike
3
and she is also found with Iris and
are extremely common
4
In one instance she herself pours a libation to Zeus. 5
Hebe.
;

Generally the companion of princes and patroness of heroes,

she protects especially Herakles, whom she aids in his exploits
and conveys finally in her chariot to Olympos, where he is
introduced by her to Zeus. 6

simply

standing

him

refreshes

Some

together

after

scenes represent the two

others she welcomes and

in
8

his

and

labours,

in

supposed to be represented pursuing her.

to particularise here the various scenes in

one

case

It

unnecessary

is

he

is

which she attends

be mentioned as pecu-

Herakles (see p. 95 ff.) but one may

liar, where she carries him off in her chariot with the Del10
Another rare scene
phic tripod which he has just stolen.
;

connected

with the

the

fight with

the

wrath

(see

of Ares. 11

12

and she

is
one in which, after
Zeus protects her from

Herakles myths

Kyknos

p.

Another

101),

of

her

heroes

favourite

is

even more frequently associated with

whom
she
assists
to overcome and escape from the
Perseus,
13
She
Kadmos
the stone with which to slay
Gorgons.
gives

Theseus,

is

the dragon, 14 and is also seen with Bellerophon, 15 Jason and

16
the Argonauts,
and Oedipus. 17 She is present at the rape
1

fig.
i.

Reinach,

i.

Berlin 2418

1209

Reinach,

463.

Baumeister,

B.M.

cf.

342 (in Boston)

ii.

p.

1001,

490 and Reinacb,

Reinach,

i.

175, 510,

511 (Athens 1921).

3

EL

ficing,
4

Cer.

i.

68, 76

with N. sacri-

Boston Mus. Report> 1898, No. 51.

324 (Hebe?); Reinach, ii.

B.M.

i.

82 (A.

with Z., but not pouring libation).

6
See p. 106 for these scenes, in which
is

almost invariably present.

B.M. B 198, B 498

Helbig 93 =
Mus. Greg. ii. 54, 2.
8
B.M. D 14 ; Berlin 2626 = Coll.
7

Sabouroff,

i.

Stackelberg,

pi.

15.

" Arch.
Anzeiger, 1898,

p. 51 (vase in

Boston).

I2
Berlin 2179 = Wiener
B.M.
48
VorL iii. 6; Boston Mus. Report, 1900,
No. 25; Reinach, i. 55, 6 (Petersburg
;

A;

323 (Hebe?) ibid. 324 (Iris).

5
Vienna 329: cf. EL Ccr.

she

75 (doubtful).

ii.

lu

67; Millin-Reinach,

ii.

41.

116), 91, 421 (Petersburg 2012),

and see Wiener VorL E. 12,

13
B.M. 6155, 248, 380,
83; Bibl. Nat. 277

Man. Grecs, 1878,

" B.M.
E8i;
Reinach,
15

i.

Reinach,

16

Ibid.

17

B.M.

i.

i.

290;

pi. 2.

Petersburg

108, 195, 331.

102, 226.

696.

271

181, 493,

Keinach,

(?).
i.

ii.

2.

2189

ATHENA

39

1
2
Oreithyia by Boreas, at 'the punishment of Ixion, and
3
at the stealing of Zeus'
at the setting out of Amphiaraos

of

4
also at the rape of the Leukippidae
golden dog by Pandareos
5
by the Dioskuri, and of Basile by Echelos (see p. 140), and
;

from the tragedy of Merope. 7

The scenes where she is assisting the Greek heroes in the Trojan
War are almost too numerous to specify, her favourite being

in a scene

her meeting with Iris (//. viii. 409) is once

and
she
also
depicted,
appears in connection with the dispute

of course Achilles

over Achilles' arms. 9

She is not so frequently seen with her

other favourite, Odysseus, but in one instance she is present
when he meets with Nausikaa, 10 and also when he blinds

On the numerous vases representing Ajax

Polyphemos.
and Achilles (or other heroes) playing at draughts, the figure
or image of the goddess is generally present in the back12
The same type on B.F. vases is adopted for the
ground.
11

13
subject of two heroes casting lots before her statue
lastly,
she appears as the friend and patron of Orestes when expiating
the slaying of his mother. 14
;

As
and

a single figure Athena is represented under many types

various attributes, seated with her owl 15 or in

with

16

meditation,
of a ship 18

writing on

tablets

playing on a lyre

player on the flute or lyre

1

Reinach,

B.M.

i.

21
;

Vase

Reinach, i. 231.
Arch. Anzeiger, 1895, p. 39 (Ber.

i.

363.
Ibid. ii. 296 : see pp. 77, 128.
At meeting of Paris and Helen,

Athens 1942 = Reinach, i. 402; at

combat of Ajax and Hector, Wiener
Vorl. vi. 7 (Duris in

Louvre) ; at dispute
over the arms, B.M. E 69 ; and see for
other instances,
174,
10

218;

ii.

Reinach,

Reinach,

59, 266.
ii.

or flutes,
with a man

No.

i.
480.
Bull, de Corr. Hell. 1898, p. 586.

Reinach,

no.

holding the dtcpoo-rohiov

20
or listening to a

or

19

184.

155.

Reinach,

lin

17

i.

3,

82, 138,

in

22
making a helmet,

Boston: see 1899 Report,

6.

12

See below,

13

B.M. B 541,

160.

Reinach,

(?),

14

p. 124.

i.

158, 390;

Anzeiger, 1890, p. 90 (Berlin),

15
Berlin 2313 = Reinach,

i.

Wiener Vorl. vii. 4, 3.

16
B.M. E 316 = Plate XXXVI.
"
= Munich
ii.
Reinach,

262
18
19

(=

416

1185),

Bibl. Nat. 369).

B.M.

299.
Berlin 1846 = Reinach,

Dionysos).
~
Reinach,
21

123

Arch.

Ibid.

ii.

1896, No. i.
22
El. Cer.

i.

30 (before

342.

166

\.

ii.

83.

Boston Mus. Report,

INTRODUCTORY THE OLYMPIAN DEITIES

40

making the

or herself

On

workshop.
3

or she

an

of

figure

early

vase

a horse, 1 and in a potter's

she appears between two

accompanied by a hind (here grouped with

other goddesses). 4
She is depicted running, 5 and occasionally
6
or she appears mounting a chariot, accompanied
is winged
7
As the protecting goddess of Attica
divinities.
various
by
lions

is

Amazons

she watches a combat of Greeks and

she also

attends the departure or watches combats of ordinary warriors, 9

10
In one instance she carries a dead
or receives a victorious one.

warrior home. 11

There are many representations of her image, either as a

%oavov or cultus-statue, or recalling some well-known type of
later art.
Among the former may be mentioned her statue
12
at Troy, whereat Kassandra takes refuge from Ajax,
and
13
the Palladion carried off by Odysseus and Diomede.
Among
the latter, three can be traced to or connected with creations
of Pheidias viz. the chryselephantine Parthenos statue 14 the
Lemnian type, holding her helmet in her hand (Plate XXXVI.) 16
:

and the Promachos,

with shield and spear. 16

of course, than the famous statue

in defensive attitude,

The last-named type

(earlier,

on the Acropolis) is that universally adopted for the figure

of Athena on the obverse of the Panathenaic amphorae, on
which she is depicted in this attitude between two Doric
columns surmounted by cocks (on the later examples by
17
Her statue is also reprefigures of Nike or Triptolemos).

Berlin 2415
Trojan horse ?).

Vol.

I.

i.

343 (the

F
i.

Reichhold, 34.

501.

Benndorf, Gr.

tt.

Reinach,
10
II

Ibid.

=
i.

ii.

Rein.

Vasenb.

Sic.

Millin-Reinach,

ii.

125,
ii.

44.

Bibl. Nat. 260.

See below, p. 133.

B.M.
494,
696

44.

232, 256

160, 209, 278

13
ii.

B.M.
515, 519.
Rom. Mitth. 1897, pi. 12; Bibl. Nat.
260; Louvre
380.
7
B.M. B203 Reinach, ii. 73 with
with Hermes,
Poseidon, Athens 836
8

B.M. 6242, 379, 541, E 160, 470,

Munich 65 = Reinach,
76 Naples 2422 = Furtwaengler and

12
i.

p. 223, Fig. 72.

Reinach,
Ibid.

Reinach,

pi. 4, i.

254.

vase); arid

Bibl.

Nat.

cf.

219
I6

B6n

B.M. B 222,

15

E 324, E 515
;

EL

716 (moulded

(Nikephoros).

305

Cer.

XXXVI.),

(PI.
i.

82

Bibl. Nat.

Bull, de Corr. Hell. 1898, p. 586.

For a fine example of Athena Pro-

machos

25.

130

14

see

Athens

1169

Gr. u. Sic. Vasenb. 31, 2.

1T
See Vol. I. p. 389,

XXXIV.

XXXIII.,
examples

also

130-46, 602-12.

Benndorf,

and Plates
the B.M.

ARES

41

l
or as the recipient
sented as standing in a shrine or heroon
2
Her head or bust alone appears
of a sacrifice or offering.
;

on several vases. 3
few instances in which he appears on vases, is
he is a spectator at the
a subordinate position
4
and appears twice on the Frangois vase, at
birth of Athena
the wedding of Peleus and Thetis, and again in an attitude
in the

Ares,

generally in

of shame and humility, to indicate the part he played in the

story of Hephaistos and Hera of his combat with the former god
mention has already been made (p. 16). In the Gigantomachia
;

opponent is Mimas, with whom he also appears in single

combat 5 and he aids his son Kyknos against Herakles and
Athena. 6 He is seen in several of the large groups of Olympian
7
8
deities, or in smaller groups, e.g. with Poseidon and Hermes,
9
10
and
with Apollo, Artemis,
or his spouse
Leto, or with Athena
"
also with Dionysos, Ariadne, and Nereus. 12
He
Aphrodite

his

also receives a libation from

He

Hebe. 13

seen at the birth

is

14

of Pandora,
the punishment of Ixion, 15 the slaying of the
10
17
Niobids, the apotheosis of Herakles, and the contest of that
18
hero with the Nemean lion.
In some cases his type is not to

be distinguished from that of an ordinary warrior or hero, as

one case where he or a warrior is seen between two women. 19

EL

Cer.

7
i.

67.

B.M. B8o;

Collignon,

1686

Reinach,

Rayetii.
122 ;

Athens 1858 = Reinach, i. 396 (identified as Athena Nike or Onka) ; for the
trophy-like form of the figure on the
last-named

the

cf.

inscribed 'AQrjvas
for a curious

Vasenb.

Sic.
3

Reinach,
4
5

Na

B.M.
B.M.
t-

573

i.

coins

of

NiKyfidpov

Pergamon
see

subject Benndorf,

also

Gr. u.

fig.
10

Bibl.

Nat.

472

Reinach,

i.

Arch. 1876,

i.

506.

B.M. 6551

EL Ch\

98.

on Athena, Arch. Anzeiger, 1898,

14

B.M.

467.

15

B.M.

155.

(vase in Boston).

51

Ccr.

iv.

96)

Reinach,

i.

and see Athens 903.

463.

B.M. 6379; Berlin 1961 ( = Reinach,

43) and 2278 Bibl. Nat. 254.
;

18
19

p.

iv.

17

ii.

subsequent attack

EL

pi. 34.

12

16

for his

216 (=

13

156.

B6i7; Berlin 2531; Bibl.

- Reinach. ii. 256
Athens

1259 = Reinach,
6
See p. 101 ;

Bibl. Nat.

11
EL Cei: iv. 94-9$; B.M. 82, and
Berlin 2278 (in assemblies of gods) ; Gaz.

131, 4.

147

4.

and 229.

pi. 31, fig. I.

D 22

B.M.

B.M.
82
Reinach, i. 203.
67,
B.M. B 191, 6228.
Amer. Journ. of Arch. 1896, p. 6,
;

Berlin

pi.

in

Reinach,

EL

ii.

C<!r. iv.

91.
99.

INTRODUCTORY THE OLYMPIAN DEITIES

42

Aphrodite seldom appears as a protagonist on vases, and in

mythology. Apart from scenes
of a fanciful nature she is usually a mere spectator of events;
fact plays a small personal part in

but as she
there

not often characterised by any distinctive attribute,

many cases considerable difficulty in identifying her

is

in

is

This

personality.

especially the case

is

on B.F. vases, on which

her appearances are comparatively rare. One vase represents

her at the moment of her birth from the sea in the presence

of Eros and Peitho

she also appears (on late vases only) with

Adonis, embracing him, and in two instances mourning for him
3
after his death
but caution must be exercised in most cases
;

which

in identifying this subject,

is

but

little

differentiated

from

ordinary love scenes. One scene apparently represents Zeus

4
deciding a dispute between her and Persephone over Adonis.

More commonly she

seen riding over the sea on a goose

is

or swan, 5 of which there

in the British Museum

one exceedingly beautiful example

here she is to be recognised as the
Aphrodite (Ourania), whereas in her character of
6
(profane or unlicensed love) she rides on a goat.

Heavenly

Pandemos

is

swan draws her chariot over the

In other instances the

sea,

borne by a pair of Erotes,

the story of her birth and appearance in the island of Kythera 9
10
in others, again, her chariot is drawn (on land) by the Erotes,

or she

is

or sails in a shell, as in

or

by a

lion, wolf,
12

at her toilet

Rom.

Taus.
2

or bathing,

MittheiL

vii.

8.

B.M.

108,

and pair of

1899,

373

(? )

Reinach, 26; Reinach,

479 (?) ; El. Cer. iv. 66

i.

pi.

13

cf.

Reinach,

41
4

119, 265, 325,

(?).

i.

Baumeister,

Reinach,

B.M.

D2

i.

J.H.S.

pi.

iv.

and 2688

5)

Vasenb.

37,

p. 1653, fig. 1714.

3)

is also represented
case in the attitude

Berlin 2660.

EL

Arch.

Ccr. iv. 6.

Anzeiger.

1898,

p.

137

(Dresden vase): cf. Paul, ex Fest. iii.

s.v. Cytherea and the B.M. terracottas
089-91.
10
B.M.
712, 775; Athens 1944;
Reinach, i. 124, ii. 323 ; Inghirami, Vast
Fitt. 324.

156.

1886,

II,

iii.

She

Millingen-

11

in the latter

499 = Naples S.A. 702 ;

also Naples 2900 = Millingen-Reinach,
3

boars.

xii. pi.

13

Berlin 2636

= Benndorf,

Reinach,

Jahrb.

(EL

Ctr.

Gr. u. Sic.
ii.

Late: B.M. F24O, 556.

6
Berlin 2635 = fahrbuch,
208 = Roscher, iii. 1514.

7,

183.

"
>

Reinach,

B.M.

i.

353.

230,

F3U

Athens 1588 =

2119 (Fig. 117) Reinach,

i.
Burlington Fine Arts
39, ii. (290
Chib Cat. 1903), p. 108, No. 46.
Roscher,

iii.

p.

13

1889, p.
Coll.

Reinach,

ii.

301, 320

Sabouro/, pi. 62, 2.

Berlin 2707

APHRODITE

43

these instances again

there is often difficulty in distinguishing from scenes of ordinary
2
1
life.
Again, she is represented spinning, playing with a swan,
of the

or

Venus accroupie of sculpture

caressing a hare,

or

in

company with

in

young

hunter,

possibly meant for Adonis.

In many scenes she is grouped with a cortege of attendant
5
Nymphs and personified figures, often with names attached.

Besides Eros, the following are found on these vases

Pothos

Himeros

(Charm), Hygieia (Health), Peitho

Paidia
(Play), Pandaisia (Good Cheer), Eunomia
(Persuasion),

(Longing) and

Euthymia (Cheerfulness), Eudaimonia(Happiness),

(Orderliness),

From

'E<f.

'Apx- 1897.

FIG.

APHRODITE AND HER FOLLOWING (VASE AT ATHENS).

IIJ.

Hedylogos (Winning Speech), and Kleopatra (a fancy name).

Eros himself she embraces G and suckles, 7 and in some cases
he assists in her toilet, perfuming her hair from an unguent
8
9
he is seldom absent from
flask, or adjusting her sandals
her side on the later vases.
In one instance Aphrodite and
;

2
3
1

Petersburg 1983 = Reinach, i. 15.

Froehner, Musdes de France, pi. 13,

Berlin 4126

B.M.
B.M.

Reinach,

699 =J.H.S.

E 224,

i.

128.

697, 698, 775

Klymene, and Pannychis)

pis.

9-10

p.

xi. pi. 4.
;

Berlin

3257 (with Eunomia and Euthymia at

marriage of Herakles and Hebe) ; Naples
S. A. 316 = Reinach, i.
477 (with Eukleia,
1889-90,

1 17 = Athens 1588 = Roscher, iii.

2119 (with Kore, Hebe, Eudaimon,
Harmonia, and others).

Fig.
4.

Mon.

(without

Grecs,

names)

i.

Reinach,
65
7

Reinach,

B.M.

315

i.

Millin-Reinach,

L Cer.

198.

230,

Baumeister, i.
p. 57, note 8).
9

ii.

iv.

p.

38.

289, and

618,

fig.

cf.

687

F3II
(?

see

44

INTRODUCTORY THE OLYMPIAN DEITIES

two Erotes make a basket of golden twigs. 1

or busts are also found on late vases, as

is

Their heads

that of Aphrodite

alone. 2

In relation to other mythological subjects she is frequently

in assemblies of the gods, especially in the spectator
3
also at the birth of Athena (rarely), 4
groups on Apulian vases

found

at the marriage of

Zeus and Hera, 5 and

She is seen among

(very rare).
8
in scenes from the nether world

in the

Gigantomachia
7
and
deities,

the Eleusinian

and she accompanies the

She also accompanies
Poseidon in his wooing of Amymone, 10 and is present at the
12
11
the punishment of Aktaeon
slaying of Argos by Hermes,
13
and the contest of Apollo and Marsyas, and the wooing of
14
She is also grouped with Apollo and the
Europa by Zeus.
Muses listening to Thamyris and Sappho. 15
She is seldom seen with Herakles, but is present at his
16
and also with him in the Garden of the Hesapotheosis,
17
18
she
is once seen with Theseus,
and is present at
perides
the rape of the Leukippidae by the Dioskuri. 19 Other heroes
with whom she is connected (chiefly as a spectator on the
20
Apulian vases) are Kadmos, Meleager, Perseus, and Pelops.
In the tale of Troy, however, she plays a more important part.
The Judgment of Paris is, of course, the scene with which she

Athena and

of

chariots

Demeter. 9

is

chiefly

connected

21

in

one instance she appears alone with

cf. B.M. E 697.

pi. 30
129; B.M. F258; Bibl.
Nat. 1005, 1133 (head of A. adorned by

13

Stackelberg,

Reinach,

i.

two Erotes).
See above, p. 17.
B.M. E 15 Reinach,
B.M. B 197.
;

Mon.

I56(B.F.).

Reinach,

10
11

405, 452 (Berlin 2950)

i.

Helbig 118

i.

355-56,

B.M. B 203; F 90.

Reinach, i. 124, 465 ; ii. 181.
Berlin 3164; Reinach, i. 111,4 and

Reinach,

i.

526.

481 ; Berlin 2278 ; Furtwaengler-Reichhold, 20; at marriage

with Hebe, Berlin 3257.
l7

I8

Reinach,

B.M.
B.M.

i.

224.

Reinach,

i.

91.

E 224.

Naples 3226 = Millin-Reinach, ii. 7

B.M.
F27I
(Pelops);
Reinach, i. 188, and Jahrbuch, 1896,
2 (Perseus); Naples S.A. n =
P

(Kadmos);
1

Reinach,
Berlin 3239.

Overbeck, Kunstmy-

416.
12

16

1!>

479.
9

14

l5

i.

Grecs, 1875, pis. 1-2.

B.M. F 270, 332

Reinach,

197.

thol. Atlas, 6, 13.

= Reinach, i.
Petersburg 350, 525
11-12; Rev, Arch, xxxvi. (1900), p. 93.
8

ii.

21

i.
401 (Meleager).
See below, p. 122.

APHRODITE AND EROS

45

meant.
She is present at the
2
at the toilet
Peleus
and
Thetis
of
first meeting and wedding
3
she assists her son
of Helen, and at her carrying off by Paris

Anchises be

Paris, unless

here-

combat with Diomede, 4 and is present at the rape

Helen takes refuge from Menelaos with her in
of Kassandra.
her temple 6 and finally she assists Aeneas to escape with the
Aeneas

in his

7
aged Anchises from Troy.

is

Besides the scenes in which he appears with Aphrodite, Eros

a sufficiently important personage on vases to demand a

section to himself.

On

the black-figured vases he never appears,

nor on the earlier red-figured ones is it possible to find many

instances, but towards the end of the fifth century his popularity
is firmly established, while on the Italian vases, especially the
the later Apulian, his presence

is

almost invariable, not only in

from daily life. As a single

mythological scenes, but in subjects

he occurs again and again, generally holding a wreath,

mirror, box, fan, or some object which may be regarded as

figure

signifying a lover's present.

Concurrently with

his

increasing popularity

we note

the

change that comes over the conception of his personality.

Beginning as a full-grown youth of fair proportions, his form
gradually attenuates and becomes more juvenile, or even in some
cases infantile, as in Hellenistic art
while on the Apulian vases
;

assumes an androgynous, altogether effeminate character.

His hair is arranged in feminine fashion, and his person is
adorned with earrings, bracelets, anklets, and chains, remaining
otherwise entirely nude, except that he sometimes wears soft
shoes of a feminine kind (see Plate XLIV. and Fig. 118).
On the red-figured vases he generally appears as a single
figure, though on those of the "fine" style he is often in
attendance on Aphrodite
roughly speaking, it may be said
that he figures in all scenes that deal with the passion of Love,

it

Millingen Reinach, 43: cf. Berlin

3244 for another possible Anchises.
2
3
4

B.M.

424; Francois

Reinach,

B.M.

(now

i.

73

in Boston).

Tyszkirwicz Coll.

B.M. F

209.

Reinach,

B.M. F2;8

vase.

i.

222,

pi.

18

116.

B.M.

6173,

and

cf.

of A.);

(statue

Vergers, Etrurie^

437.
;

iii.

i.

437 and
Noel des

pi. 39.

280;

Reinach,

ii.

INTRODUCTORY THE OLYMPIAN DEITIES

46

such as the Judgment of Paris, 1 the story of Adonis, 2 the marriage

of Dionysos and Ariadne, 3 or the love-affairs of Zeus, Poseidon,

and other gods. 4

Love plays

In other legends in which

such as the

a part,

6
5
Jason and Medeia, Phaidra and Hippolytos, Peleus
and Thetis (or Theseus and Ariadne)/ Pelops and Hippo9
8
as also at
dameia, Paris and Helen, he is also to be seen

stories of

10
the carrying off of Persephone.
Moreover, he occurs in several
scenes where the reason is not so apparent, as at the birth of

12
11
Erichthonios, in the Garden of the Hesperides, at the suckling
13
14
of Herakles by Hera, with Herakles and a Centaur, and in
15

the nether world

also with deities such as Zeus, Athena, Nike,

and Selene, and Dionysos 1G anointing the head of

17
The cosmogonic conception of Eros and his connection
Apollo.
with Gaia is referred to in the next chapter under the latter
Two Erotes draw the chariot of Demeter
heading (p. 73).
and Persephone 18 and he is also seen in company with the
19
His presence in Dionysiac scenes, especially on the
Nereids.
Helios

later vases,

is

often to be noted, though without any special

20
in one instance he is carried
it

to be attached to

meaning
on the back of a Seilenos. 21 In many of these scenes he merely
accompanies Aphrodite, and they do not therefore require
Lastly, he is
the great poetess of Love.

enumeration.

seen

B.M.
289 Reinacb, i. 7, 15, 126
Wiener Vorl. A. 10, 3.
2
B.M. F 108 (anointing Adonis' hair).
3
B.M. E 129.
4
B.M.
Zeus and Danae
711;
231, F 184, Naples 3218
Europa B.M.
(Eros on bull) Reinach, i. 22, 24.
1

Reinach,

i.

449.

B.M. F272, 279; Arch. Anzeiger,

1890, p. 89 (Berlin).
B.M.
424 ; Plate

B.M.

F 271,

Reinach,

i.

331
9,

15

Reinach,

fig. 2.

16

11

12
13

i.
66; id
194; Gerhard,

pi. 7, fig. i

i.

Ibid.

i.

B.M.
B.M. F

i.

66.

156,

ii.

309.

B.M.

cf.

F399.

74

107.

and

102

(Herakles).
18

235.

B.M. F3ii
B.M. F9O.
B.M. F69:

cf.

Bonrguignon Sale

Cat. 41.

60,

228, 428, 435, 703; F 5 8,

382
Millin-Reinach, ii. 16
wreath to D.).

72,

(offers
2l

227.

355, 455

B.M.
100, 167
Akad. Abhandl.

B.M.
Reinach,

i.

Inghirami, Vast Fitt. 394

and Selene ?see p.

(with Helios
79, note 8) ;

437.
10

22.

i.

Reinach,

152,

19
i.

402 (Athens 1942),

Reinach,

B.M.'F2;o; Reinach,

(with Orpheus).

1T

XXXIX.

22
company with Sappho,

in

Millin-Reinach,

Reinach,

i.

i.

20.

525, 526.

EROS

47

In non-mythological scenes he is found almost as frequently,

"
1
scenes
especially in toilet scenes, or what we may regard as
of courting"; but on the later vases these exhibit little or no
action, and are not worth considering in detail, with a few
2

Thus we see Eros in marriage processions, in

exceptions.
4
5
3
at a sacrifice to a term
musical scenes, and at banquets
;

watching girls play the game of morra* ("How many fingers

do I hold up?"); swinging them, or being danced on their
7

and incense-gathering

scenes of fruit-

or pourwith
Agon (see p. 89)
appears
10
He pursues a youth or a girl, 11
training in the palaestra.
offers
embraces a girl, 12 or is carried by her pick-a-back 13
feet

in

ing wine into a krater.

He

14
or drives a youth with a whip from an
a hare to a youth,
15
and in one instance is about to chastise with a slipper
altar
;

two youths who are playing with a top and hoop 16 these two
latter scenes may be regarded as implying the power of Eros
He is also seen shooting an arrow at a woman, 17
over youth.
an idea characteristic of Anacreontic and Alexandrine poetry.
Another scene which recalls the wall-paintings of the Hellenistic
;

Age

on a vase

is

Museum, representing two Erotes

in the British

in scales.

18

being weighed
As a single figure he pursues a hare or kills a snake 19
crouches before a plant 20
is represented armed with shield
;

and spear 21
is
borne in
I

B.M.

or places a sash or wreath on a

a chariot by horses or swans, 23

225, 229, 705

Fi38, 308,

*
3
4

Reinach,

i,

206.

B.M.

B.M. F 123

13

14
I5
i.

205 (?)
ii.

315

(cf.

Reinach,
p.

i.

412.

note 2)

50,

Baumeister,

ii.

p.

780,

B.M.

704;

315.

ii.

note 12).

191.

Naples 296 1.

B.M.

297.

Reinach,

1890, p. 89 (see p. 46, note 6).

8
F 220.
I9
-

i.

232.
10
Bull, de Corr. Hell. 1899, p. 158=
Burlington Club Cat. 1903, p. 97, No. 1 1.

B.M.

Hartwig, Meistersch. pi. 27, p. 262.

17
Petersburg n8i = Reinach, ii. 318:
cf. Reinach, i. 2O, and Arch. Anzeiger,

721.

II

Reinach,

397, Reinach,

ii.

142

B.M.

on

317; Hartwig, Meis-

ii.

834.

fig.

ii.

He

16

Reinach,

Reinach,

tersch. pi. 22, fig. I (? see p. 80,

B.M.
126, 189, 191.
B.M. F 4 8.
Athens 1946 = Dumont-Pottier,

21,5.

pi.

217, 360, 702, Reinacb,

[10,332.

22

tripod.
or rides

21

B.M.
B.M.
Bibl.

293

Reinach,

Nat. 366

K B.M. E
23

i.

465.

652.

l.

Clr. iv. 51.

526, 528.

Reinach,

i.

479

Ibid.

i.

57.

48

INTRODUCTORY THE OLYMPIAN DEITIES

a horse, deer, dog, or swan. 1

He is also seen playing various
such
as
kottabos
or
the
morra? see-sawing or playing
games,
3
4
or
with
or
Or he
a
ball
knucklebones,
hoop or toy-boat.
5
plays the flute or lyre
6

or plays with animals, such as a deer,

or finally (on Apulian vases) with a toy which
;

dove, swan
resembles a wheel, and was probably used for magic purposes,
as several passages of litera;

ture indicate. 7

we

Lastly,
survey of

must

give

the

re-

frequent
presentations of Eros flying
air
through the
carrying
some attribute, which are so
universal on the Italian vases,
though some of the earliest

types also represent him in

manner. Thus he carries

this

8
;

dove

or

hare,

bird

other

or

(such as grapes

fruit

or pomegranates), flowers, and

branches 9 wreaths, dishes of
;

fruit,
1

baskets, vases of various

Rcinach,

55, Millin-Reinach,

i.

ii.

59 ; Reinach, ii. 324, EL Ccr. iv. 53

Reinach, i. 347 id. ii. 248, B.M. F 555.
2
B.M. F 579 = Fig. 118; Reinach,

i.

277.
3

Baumeister,

iii.

1633

p. 1573, fig-

B.M. E 501.
4
B.M. E 706, Naples 2872 = Reinach,
ii.
296, EL Ccr. iv. 49;
169; B.M.
B.M. F22I.
5
B.M.
241, Reinach, i. 229, ii. 302;

EL
6

Cer. iv. 50.

B.M.

E 213

Reinach,

F68, F44i.
7
B.M. F 223, 279, 373
30

(p6M/3o$)

B.M.

Reinach,

i.

36

B.M.

cf. Theocr. ii.

Hor. Epod. xvii. 7 (turbo],
Eii8, 571; F2i 9 257,
312 (dove), EL Ccr. iv. 49
:

i.

(cock).
FIG.

IlS.

EROS WITH KOTTABOS- STAND

(BRIT. MUS.).

'

B.M.

Reinach,

i.

13

528,

F 294,
F 17,

B.M.

340,

378

308, 409.

',

EROS AND PEITHO

forms, and a spit of meat
incense-burners,

:
;

thyrsi,

tambourines, lyres, torches,

and ladders 2 fans,

of beads, and sashes, or

strigils,

toilet-boxes, strings

49

parasols, mirrors,

balls.

the other associates of Aphrodite the chief are Peitho,

Among

Pothos, and Himeros, of whom mention has already been made.

Peitho, except where her name is given, is not always easy to
identify

and

the other two are not differentiated from Eros in form,

only variations of the conception of Love, as

are, in fact,

are the

Talas

more

rarely occurring Phthonos (Amor invidiosus)* and

(Amor infelix], the latter of whom is associated with
5

found with Himeros in one instance, 6 and

another with Eukleia 7 she also accompanies Aphrodite in
Peitho

Sappho.
in

is

Eleusinian and other scenes, 8 at the deliverance of Andromeda, 9

10
in the Garden of the Hesperides,
and at the rape of Helen ll

and the Leukippidae, 12 and at the recovery of Helen by

Menelaos 13 she consoles her when mourning for Adonis 14
and is present at the moment of her birth. 15 Like Eros, she
16
is seen in company with Sappho,
and she also appears with
17
and
Atalante.
Meleager
;

Pothos and Himeros are seen floating over the sea with Eros
on a fine R.F. vase in the British Museum, 18 and at the Judgment
19
and grouped together generally as Erotes, they may
of Paris
be distinguished on some late vases.
Pothos attends at the
;

B.M. F 132, 225, 278, 280, 258 (two

Erotes holding wreath) ; Fi65, 176, 329,

389

310

F234, 257, 306, 414, 440;

B.M.

222

also at

the toilet of

Aphrodite (Fig. 117 above).

~
Raoul-Rochette, Man. Ined.

8.

Petersburg 350 = Reinach, i. 12;

Rev. Arch, xxxvi. (1900). p. 93 ; Reinach,
8

518.
2

B.M. F 349

E 242, F 391

Bau-

540; B.M. F387,

F 294, 382, Millin-Reinach, i. 20
481
(torch and bow); B.M. F443;
239;
meister,

i.

p. 498,

fig.

i.

124.
9

F 308, 414 (Plate XLIV.).

3
B.M. F 420, 434 F 456
;

292, 325;
293, 388,

"
;

13, 219,

F3i, 280, 317, 323; F37;

F3I, 63, 234, 278; F28o,

315, 337, 3734

(at
5

Naples S.A.

n=

Reinach,

i.

death of Meleager).
Abhandl. d. k. sacks. Gesellsch,

pi. i, fig.

VOL.

(with Sappho),

II,

10

401

12
l3

B.M.

188.

i.

224.

Reinach,

i.

437.

B.M. E 224.
Noel des Vergers,

Etrtirie, iii.pl. 39.

Naples 2900 = Millingen-Reinach,4 1.

1S

Rom. Mitth.

1G
17

viii.

Reinach,

Reinach,

i.

Roscher,

ill.

1899, pi.

7.

526.
p.

1811.

E 440.

18

B.M.

18

Berlin 2633.

INTRODUCTORY THE OLYMPIAN DEITIES

50

of Helen, and plays the flutes in a Dionysiac scene. 2

Himeros is seen swinging Paidia (another of Aphrodite's follow-

toilet

ing)

at the marriage of Herakles and Hebe 4

5
to Dionysos, or removing his shoes/ and

crown
him in a scene of preparation

presenting a

Hermes, the messenger of the gods,

is

accompanying

drama. 7

for the Satyric

common

on

figure

periods, but chiefly as a subordinate agent, though

he plays a leading part in some scenes, and frequently occurs
as a single figure. 8
Some small vases are decorated merely

vases of

all

with his head, wearing the winged petasos. 9 He is represented

10
11
passing over the sea with a lyre, carrying a ram, riding on a
12
ram or goat, or reclining on the latter animal 13 also as
;

making a

libation

14

or sacrificing a goat. 15
He presides over
17
is also seen standing between
Sphinxes,

the palaestra, 16 and

or again (apparently as a statue) standing by a fountain. 18
In
one scene he leads a dog disguised as a pig, 19 and he is also
21
20
represented tending a flock of sheep, or fishing.

The

story so vividly recounted in the Homeric hymn of his

infantile theft of Apollo's oxen is given in several scenes, in22
he is also
cluding his taking refuge in his cradle (Fig. lip)
;

23
represented with his mother Maia, and disputing with Apollo
24
The only other myth in
over the lyre which he invented.
which he plays a chief part is his pursuit of the Nymph Herse
1

12

B.M. E226.
Reinach,

302: see also Boston

ii.

Mus. Report, 1900, No. ii, and Jatta

1093 = Heydemann, Satyr- u. Bakchennamen, pi. I (holding grapes).
3
Munich 234 = Reinach, i. 298 =
Baumeister, iii. p.
Berlin 3257.

Reinach,

ii.

1571,

fig.

I3

B.M. 6549.

"

EL

15

B.M.

19

20
2I

276.
9
Berlin

4003

Coll.

Sabouroff,

11

B.M. E 58.
Louvre Fi59; El.

iii.

87.

76.

51.

276.

Athens 592 = ^/7*. Mitth.

B 32;

pi. 2.

Reinach,
El. Cer.

ii.

iii.

Helbig, 227
i.

ff.).

25.

14 and 75.

^ Louvre E
702

a
Cer.

ii.

i.

B.M. B 332.
Vienna 321 (cf. Ar. Ach. 729

meister,

pl. 50.
10

i.

159;

i.

73 (Hermaios),

iii.

Reinach,

18

Naples 3240 = Reinach, i. 1 14.

B.M. B 32 ; Louvre G 10 Reinach,

Cfr.

17

1893,

200.

and Reinach,

Millin-Reinach,

1(j

1632.

Jatta 1093.

ii.

Berlin 2727

Berlin 1881.

Reinach,

Reinach,

i.

i.

357

354
Bau-

p. 680, fig. 741 (Fig. 119).

Reinach,

ii.

25

De

Witte,

FHdtel Lambert, pi. i.

24
Bibl. Nat, 820 = Reinach,

ii.

Coll.

259.

HERMES
1

presence of her father Kekrops and her sister Aglauros.

appears in the Gigantomachia (in one instance as Zeus'

in the

He

3
frequently at the birth of Athena, and with the
4
also in numerous assemblies
bridal cortege of Zeus and Hera
2

charioteer),

on the Apulian vases. 5 He

6
and defends Hera
is present at the seizing of Ganymede,
7
of Argos and
of
His
an
attack
Seileni.
slaying
against
8
and he assists
deliverance of lo has already been mentioned
in recovering the golden dog of Zeus which was stolen by

of the

Olympian

deities, especially

Pandareos. 9

He

10
at Poseidon's
present at the return of Hephaistos,
12
11
of
with
Amymone,
Aphrodite mourning for Adonis,
capture

is

From Baumeister.
FIG. 119.

HERMES WITH APOLLO'S OXEN.

and with Apollo slaying Tityos and the Niobids and contending
with Marsyas, 13 also at his reconciliation with Herakles. 14 He
15
accompanies the chariots of Poseidon, Apollo, and Athena, and
16
also those of mortals, especially in wedding processions
and
;

70

JZl.
;

2
3

Cer.

93

ii.

330.

Reinach,

iii.

M illin-Reinach,

i.

Bull, de Corr. Hell. 1898, p. 586.

10

B.M. F237, and see above, p. 15.

Berlin 1702 (Hermes Kyllenios), and

11

see p. 15.
4
5
6

B.M. B 197 ; Reinach,

See above, p. 17.
Reinach,

i.

ii.

266.

B.M.
See

Louvre

234.

Ibid.

i.

499.

/Wrf.

i.

244; 1.463;

14

Ibid.

ii.

i-

175-

4.

B.M. 6203 (Athena)

;

;
Reinach, ii.
Benndorf, Gr. u. Sic. Vasenb.

4, i.
16

p. 20.

A 478 (Hermes,

i.

124.

12

22, 26, 73

E 65.

i.

13

15

472.

Reinach,
Ibid.

1898, p. 638)

ii.

B.M. 6340;

125, 152, 275.

44,

459; Reinach,

INTRODUCTORY THE OLYMPIAN DEITIES

52

he

Eos and Selene, Kastor and Polydeukes, 2

Leda
at
the finding of the egg, 4 and at the birth
Prometheus,
1

also seen with

is

He

of Pandora. 5

and

Athena,

Pandemos
and to him
7

is

specially

with Zeus, Apollo,

appears with Aphrodite

associated

Dionysos, and also

he is not infrequently found

Dionysiac scenes
is entrusted the newly born
Dionysos to be handed
over to the Nymphs of Nysa. 9 On B.F. vases he is frequently
;

seen leading a procession of

As a Chthonian deity he

Nymphs.

in

10

is present in many scenes

relating
nether world, especially on the large Apulian vases, 11
in connection with the Eleusinian myths, such as the

the

to

and

12

As Psychagogos or Psychopompos
carrying off of Persephone.
he is seen in Hades waiting to conduct Persephone to earth,
or actually en route with her. 13
He frequently performs the
same office for mortals, conducting them to Charon's bark. 14

He

15
company with Thanatos, and with Hcrakles
16
A unique scene with Hermes in his
bringing back Alkestis.

is

also found in

Chthonian capacity is on a vase where he is represented

ir
and another, yet more curious, depicts
chaining up Kerberos
him standing by a jar (TT/^O?) from which a number of small
;

winged

(el'8Xa or ghosts) are flying out, with a sup-

figures

posed reference to the Athenian festival of the

1

Athens 1345

Millin

= J.ff- S.

Reinach,

ii.

37

xix.

pi.

(Lasimos

10

in

3
4

Millin-Reinach,

Reinach,
Ibid.

i.

i.

ii.

10

44.
ii.

388.

Reinach,
520 (Athens 477),
(Bibl. Nat. 220).
i.

ii.

25, 21

Berlin 26-$$=Jahrbuch, 1889, p. 208.

B.M. B 257, 259, 267, 302 (banBerlin 2160 (with the Satyr
queting)
8

12

310; and see Ath.

I ff, and
p. 55,

p.

i.

129 (playing

Ctfr.

"
209
1S

492; Petersburg 1792,

1793 ( = Reinach, i. i and 3) ; Helbig,
103 = Rayet and Collignon, p. 223 ;

p. 69.

B.M. F 277

iii.

91,

and Reinach, i. 522.

i.
456; Berlin 2455 ; Munich

Reinach,

Fig. 122, p. 70.

Athens

ic>93

= Roscher,

ii.

p.

2678

Berlin 2991.
16
17

18

lyre).

B.M. 6424,

B.M. 6230; Oxford 222; Reinach,

cf. Rev.
; Reinach, i. 99
Arch, xxxvi. (1900), p. 93.
13
See p. 28 ; also Naples 1989 = El.

Oreimachos); Reinach,
9

i,

29.

" See

380.

B.M. E 467 J.H.S. xxi. pi. i.

6
See generally under those deities;
B.M. B 144, Reinach,
for H. and Athena
B.M.
i.
268,
257, ii. 42 (Panathenaic)
5

ii.

note 22.

Louvre).
2

Reinach, i. 93,
Mitth. 1889, pi.

Louvre

F 60.

Bibl. Nat. 269.

J.If.S. xx. p. 101

cf.

the story of

Pandora's "box," and see Vol.

and p. 75 below.

I.

p.

152

HERMES AND HESTIA

53

In the stories of Herakles hd plays an important part, as also

in those of Theseus and other heroes, and he is frequently visible

Herakles to Cheiron

Hades

He

from the Trojan legends.

scenes

in

for instruction,

Kerberos

to fetch

he

conveys the infant

and conducts the hero

to

also seen feasting or bathing

is

with him, 3 and in company with him and Athena, 4 and most
5
With Theseus
frequently in connection with his apotheosis.

he

Perseus in his

he

is

found more

is

rarely

flight

but

he
7

from the Gorgons

frequently accompanies
In other heroic scenes

on Apulian

often one of the spectator deities

one instance he

In

vases.

8
seen banqueting with an unidentified hero.

is

In the Trojan legends his chief appearance is as conductor

of the goddesses to the Judgment of Paris 9 and in one case
he accompanies Peleus when bringing the infant Achilles to
;

Cheiron.

He

10

also

Zeus

assists

weighing the

in

present in
in

souls- of
12

11
and is
conducts Priam to Achilles,
Hector,
recounted
scenes
need
not
be
other
which
many

Achilles and

detail.

scene

difficult

accompanying Odysseus

of explanation

in a chariot.

represents

him

13

A Herm

or terminal figure of Hermes is a not uncommon

14
feature on vases, especially of the R.F. period, and generally

made

as the object of a sacrifice

to

15

it.

Last of the Olympian deities comes Hestia, who is usually

she, however, only appears on a few vases
10
in gatherings of the Olympian deities, as on the Frangois vase,
where she attends the nuptials of Peleus and Thetis, and at

coupled with Hermes

the marriage of Herakles and Hebe. 17

1

2
3

Munich 611
Reinach,

B.M.

i.

Reinach,
ii.

389,

167,

301

i.

419.

10

32, 70.

11

229.

Reinach,
5

117
6

297, 323,

i.

B.M. B 166, 318, 379

;

Reinach,

i.

Bibl. Nat.

ii.

222, 368,

172

Louvre
ii.

116-

76.
i.

91,

ii.

271.
7

B.M.

Nat. 277

Mon.

6248,

Reinach,

Grecs,

1878,

earlier episode).
8

B28o,

Bibl. Nat. 224.

i.

pi.

290

Bibl.

493;
;

13
11

Reinach,

12

70, 74-75.

id.

ii.

48

2 (represents an

See

p. 122.

Athens 966.
Reinach,
Ibid.

i.

89, 144.
ii.

138,

i.

99.

Wiener VorL 1890-91, 10 (Louvre).

l.

Ch:

see Roscher,

iii.
i.

78-81

Bibl. Nat.

839

p. 2393.

15
B.M. 6362, 627,
585; Berlin
1928, 2172; Schreiber- Anderson, 16, 8,

and
16

14, 3.

B.M. 6345,

Reinach,
17

i.

203

Form an

444; Berlin 2278;

Ath. Mitth. 1889,

Sale Cat. 364.

pi.

i.

CHAPTER

XIII

DIONYSOS AND MISCELLANEOUS DEITIES

Ariadne, Maenads, and Satyrs Names of
General representations and
isolated subjects
Charon, Erinnyes, Hekate, and Thanatos Cosmogonic deities Gaia and Pandora Prometheus and Atlas Iris and

Dionysos and his associates

Satyrs and

Hebe

Maenads

The Nether World

Personifications

Sun, Moon, Stars, and Dawn Winds Cities

Abstract ideas
Victory
Descriptive

The Muses

and countries
names.

DIONYSOS AND HIS ASSOCIATES

i.

THE

most important deity in Greek mythology outside the

Olympian circle is undoubtedly Dionysos but the part that is
played by him and his attendant train in Greek art is out of all
;

proportion even to

this, at least in the vase-paintings.

Apart
from what we may regard as strictly mythological subjects,
such as the Birth of Dionysos and scenes in which other

gods or heroes are introduced, the number and variety of the

themes are so great that an exhaustive enumeration is quite
nor indeed would it repay the trouble to give a
impossible
complete list of what may for convenience be termed Dionysiac
;

scenes.

Suffice

on the vases of

it

all

to say that they occur with equal frequency

periods from the middle of the sixth century

onwards.

The personages with whom we have

to deal in this section

are, besides Dionysos himself, his spouse Ariadne, Pan, with his
"double" Aegipan, and the motley rout of Satyrs, Seileni, and
Maenads, who appear either in the wine-god's company or by

themselves.

Dionysos

more Maenads or

is

by one or
some definite

generally accompanied

whether engaged in
wine or playing flutes, or no

Seileni,

action, such as pouring

54

but he

is

DIONYSOS

55

also not infrequently seen as a single figure.

vases he

is

elderly

He

beardless.

and bearded, but on the

form of a man-headed
a

pouring
~

altar,

the earlier

bull.

He

or

libation,

and

later youthful

2
occasionally represented with horns, or

is

On

the

in

depicted sacrificing at

is

fawn

slaying

or

an

goat

He
banqueting, or playing on the lyre.
(Xipaipofyovos)
13
10
11
12
or
in
a
rides on a bull,
or
mule,
winged
goat,
panther,
9

14

one case drawn by Gryphons, in another by a

15
16
or in a chariot shaped like a ship
Gryphon, bull, and panther
17
or is carried by a Seilenos.
On a beautiful cup by Exekias I8
he sails over the ocean in a boat, the mast of which grows
into a vine.
We are reminded in this scene of the Homeric
hymn (xix.) and the story of the Tyrrhenian pirates, a subject
which, according to one interpretation, is represented on a vase
chariot

in

Athens. 19

at

not often represented, and chiefly on R.F. vases 20

has been referred to already in detail, in reference to Zeus.

His birth

it

is

When handed

over to Hermes, 21 the newly born infant is conveyed by that god to Nysa, where he is finally delivered to a
22
Or he is
Seilenos, to be nursed by the Nymphs of that place.

handed

directly to a

on the

confusion
1

B.M.

589,

B 693

Nymph by

artist's
;

part,

180 (between

vine-poles); Bibl. Nat. 176; Hart wig,

pi. 30, fig. 2 (Hieron) ; Branteghem Coll.

No. 28 (Hermaios) Athens i583 = Rayet

and Collignon, p. 291 ; Amer.Jonrn. of
;

Arch.

1900,

pi.

i,

p.

185

(Duris

in

Boston).
2
3
4

Petersburg 880 = Reinach,

B.M. F 194.
B.M. E257Wiener VorL 1890-91, pi.

i.

7,

fig.

p. 291.
9

Bibl. Nat.

576 = Hartwig, Meistersch.

I-

Reinach,
12

Ibid.

by a curious

error or

future

133; Petersburg 855

bride.

ii.

13

B.M.

17

ii.

H
15

429

Reinach,

= Reinach,

Reinach,

ii.

Millin-Reinach,

168,

i.

32

(cf.

ii.

i.

B.M. 679.

l7

Mm.

18

Munich 339

Cat.

57

Man.

Greg.

3, 3 a.

ii.

Reinach,

ii.

36

B3 7 8, 6426,

102;

Wiener VorL 1888, 7, i.

" Catf.
969 = Reinach, i. 415:866 p. 178.
B.M. E 182 ; Bibl. Nat. 219 = Man.
di Barone, pi. I ; Reinach, i. i and 3 =
Petersburg 1792 and 1793 and see p. 19.
21
B.M.
492; Reinach, i. 93, 122;
Helbig 103 = Rayet and Collignon,
;

22

35.

159.

B.M. 6225,

60,

302.

Triptolemos).

Bourguignon Sale

16

"
i.

24

18.

p. 223.

10
11

Louvre
i.

13.

B.M. E 4 39.
B.M. E 362.
Athens i583 = Rayet and Collignon,

Pi- 33,

or,

to Ariadne, his

Grecs, 1879, pi. 3.

(Nikosthenes in Boston).
7

23

Zeus,

2I

= Reinach, i. 7.
Petersburg 2007
Bibl. Nat. 440 = Reinach, ii. 260.
Reinach,

i.

93.

DIONYSOS AND MISCELLANEOUS DEITIES

56

There

is a possible
representation of the Indian Dionysos or
1
Bassareus, India being the land whence he was fabled to come
and other vases represent various events connected with his first
;

such as the madness he

2
on
who
refused
to receive him, and his
brought
Lykourgos,
3
the death of the
subsequent sacrifice after his triumph
similarly contumelious Pentheus (the story on which the plot
of the Bacchae turns) 4
or his supposed visit to the Athenian
5
Ikarios.
He sometimes appears with his mother Semele,
whom he brings back from Hades 6 in one or two instances
their heads are seen rising from the ground to indicate their
return from the nether world. 7
They are then solemnly
manifestation of himself in Greece

introduced into Olympos. 8

Dionysos is frequently grouped with various deities, such as

9
or they are seen in his company
Apollo, Athena, and Hermes
10
at a banquet.
He sometimes appears at the birth of Athena, 11
;

the apotheosis of Herakles, 12 and his marriage with Hebe 13 or

in heroic scenes, such as the Judgment of Paris, 14 or the combat
;

of Herakles and Kyknos. 15 He appears with the Seileni who

attack Hera and Iris, 16 and brings back Hephaistos to Olympos. 17

He

frequently takes part in the Gigantomachia, usually in single

18
being aided by his panther, and sometimes by Seileni
and Maenads. 19 Sometimes he is seen preparing for this event,

combat,

Baumeister,

i.

p.

434,

fig.

483

cf.

B.M. E695 (doubtful).

2
B.M. F27I Naples 3219 = Reinach,
;

i.

125 and 3237

Baumeister,
3

ii.

Naples 3237
Baumeister,

B.M.

Baumeister,

p.

835,

fig.

35

74-

i.

919.

Munich 807

p. 1204, fig.

1396 \Jahr-

B.M. B 149, B 153, E 166.

B.M. F 194 (D. with bull's head).

= Reinach, i. 498
Naples S.A. 172
Louvre F 136 and F3ii (Reinach,

144).

1961, 2278.
3
Berlin 3257.
4

Munich

Her. Bildw.

Berlin 1904.

B.M.

Bibl.

773

15

Berlin 1732

IG

B.M.

17

See

B 347 (Hermes and

Nat.

231

Athens

Apollo)

903

(Ares,

and see Overbeck,

p. 210.

Reinach,

ii.

66.

65.

p. 17.

18

B.M. 6253, E8, 303, 443; Bibl.

Nat. 230 and see p. 14.
19
Boston Mus. Report, 1900, No. 14
(Maenads) ; Froehner, Musees de France,
;

24,

609, 62), 30,

B.M. B 302 E 66 (Herakles).

B.M.
410.
B.M. 6200, B20I, B 318-21 Berlin

cf.

47,

Rei-

buch, vii. (1892), pi. 5, p. 154 (Dionysos

not present) ; and see below, p. 142.
6

and 75 (Munich

131

i.

42

Millingen-Reinach, 2

= Fig.

ii.

ii.

p. 834, fig. 918.

ii.

E 775

Millingen-Reinach,

Munich 157
;
8 (Petersburg 1807), 203,

Hermes, Herakles)
nach,

pi.

6 (Seileni).

DIONYSOS AND ARIADNE

wearing a

cuirass, while

his armour.

He

Athena

and

Nike 3

and

Poseidon

with

Satyrs or Maenads hold the rest of

2
grouped with Gaia Kovporp6(f>o^ and

also

is

seen

is

57

in

accompanies the chariot of

more than one assembly of the
or

Olympian deities.
His wooing and consoling of the deserted Ariadne 6 is an
attractive and popular subject, and several vases seem to
the

represent

preparations
toilet.

7
nuptial ceremonies between the pair, or the
for the same, with Eros assisting at the bride's

Numerous

the

are

instances

which

in

he

seen

is

9
grouped with Ariadne, often in loving embrace, and generally
10
surrounded by his cortege, but also alone. Or, again, he and

Ariadne drive in a chariot drawn by lions, 11 panthers, 12 stags, 13 or

u in two cases Ariadne drives her own
15
chariot alone, in
goats
;

another Dionysos is seen alone in a four-horse chariot. 16 They

are also seen reclining together at a banquet, 17 sometimes
18
On a vase of
accompanied by Herakles and other deities.
19

we see the sleeping Ariadne surrounded

and
This presumably refers
Maenads.
by Dionysos, Satyrs,
to the scene in Naxos.
The numerous vases on which Dionysos appears, with or
without Ariadne, accompanied by a throng of Satyrs and
Maenads, sometimes in high revelry, sometimes in more peaceful

quasi-Etruscan style

may next

circumstances,

be mentioned, though

Petersburg 1600 = Reinach, i. 25 ;

Nat. 391 = Froehner, Musees de
Fiance, pi. 8.
2
B.M. B 168 (?) see Reinach, ii. 38

Bibl.

49

no e

Wiener

Vorl.

iii.

14

6.

15

Millin-Reinach,

B.M. B

F37>
p.

441,

i.

l6

p. 618, fig.

491

i.

161

(doubtful);

129,

E 279,

Baumeister,

Millin-Reinach,

Petersburg 1427

Reinach,

ii.

Reinach,

B.M. B 179
B.M. B 206.
B.M. 6302,

l8
19

ii.

16,

6476,

Millin-Reinacli,

Reinach,

i.

18.

Micali, Storia, 86.

bridge 48.

i.

i.

37, 6.

Nat. 433 = Millin-Reinach,

687.

B 256-59, E

198,

Reinach,
fig.

17

43

ii.

546; Jatta 1092 = Reinach,

Baumeister,

B.M.

1.482.
13

B.M. F 171 (crowned by Nike)

Athens 667 ; Forman Sale Cat. 356.

41 (lions and stags).

9, p. 56.

Berlin 2179

arms

B.M. B2O4, 206, 208, Fi, 69.

=
Wiirzburg, Phineus cup Reinach,
201 = Furtwaengler and Reichhold,

12

203: see

into

"

pi.

i.

himself

10

i.

p. 30.

B.M.
445.
B.M. 6203.
B.M.
444; Reinach,

throws

not necessary

of A.).

and

(D.

it is

215.

i.

37.

6556;
i.

Bibl.

38; Cam-

DIONYSOS AND MISCELLANEOUS DEITIES

58

more than a few typical examples

equally numerous
are smaller groups, where only one or two followers appear, but
2
Thus we see him
only a few of these need be particularised.
3
in peaceful converse with Maenads or Nymphs
seizing them
l

to cite

with amorous intent 4

flute

5
;

torches

listening to a Satyr playing the lyre or

or going to a banquet, accompanied by Satyrs with

In banquet scenes he receives
or feeding a bird. 7
;

drink from a Satyr, 8 or plays at the kottabos (see p. i82) 9 or

10
Seileni steal his food and drink.
He watches a Lydian woman
;

11
dancing in armour, or dances himself to the flutes
12
an actor.
In one instance he is seen leaving his
13
in another he
join in the revels of his followers
14
in the orgies of the Scythian Agathyrsi,
and he
a drunken condition, supported by one of his

played by
chariot to

takes part
is seen in

He

followers.

15

not infrequently grouped with Eros, from whom he

17
receives drink or a wreath 16
also with Pan,
or with semiis

personified

figures

Komos

such as

18

(Revelry)

or

Oinopion

19

(Wine-drinker).

Pan

only makes his appearance on late vases, usually

20

in

or as a single figure on the smaller Apulian

Dionysiac groups,
wares when he is depicted with goat's legs and squat propor;

B.F.

6427;

B.M. B2o6, B30o = Fig. 120,

ii.
141 and i. 203=

Reinach,
Wiener VorL D.

R.F.

462

55;
vii.

B.M.

75,

362,

i.

2; Roscher,

i,

iii.

p. 2118.

77, 179, 303-4;

also p. 61.

Reinach,

10

(receiving

Berlin 2402
Coll. Sabouroff,
Berlin 2290
Baumeister, i. p.

i.

fig.

592

Wiener
ii.

289,

(Hieron)

Reinach,

ii.

13

56.

37, 275; in

F273 Ariadne

B.M.

E 66,

786.

Anzeiger, 1895, P-

4-

(1886), p. 278

i.

B.M.

cf.

Hartwig, Meistersch.

pi.

Louvre

14

Ibid. pis. 38-39, i, and see p. 181.

Athens 1282-83 = Bull, de Con:
HelL 1895, p. 98.
16
B.M. E 703, F 152 ; Millin-Reinach,
ii. 16 and ii. 40.

19

and

511,

15

)8

153.

634.

555,

155

Vorl. 1889, 4, 5 (Taleides),

6.

57

301.

188.

17

from

wine

B.M.
B.M.

ii.

Jahrbuch,

ii.

F204, 043.
3
B.M.
350
Nymph).
4
B.M. E 184.

465,

Reinacb,

similarly occupied.

Late:

See
2
See B.M. Cat. and Reinach, passim
B.M. 6148, EIIO, 253, 503, Fi49;
Berlin 2174; Bibl. Nat. 222 = Reinach,
ii.
251 ; Louvre
3, F 5, F 101, F 124,
200.

228,

B.M.

3 (D. in chariot).
55,

Berlin 2471 = Coll. Sabouroff,

Bibl. Nat. T$l = Monuments Piot,

pi.

B.M.

I,

Ei6,

B.M. F 114

Reinach,

38.

ii.

Millin-Reinach,

ii.

B.M. B2io; Bourgnignon Sale

21.

Cat.

18 (both Exekias).

^ B.M.

Reinach,

228, 241, 435,

ii.

301

163,

270;

Millingen-Reinach,

2.

DIONYSOS AND HIS FOLLOWING

59

DIONYSOS AND MISCELLANEOUS DEITIES

60

or, again, Paniskos, when he

usually called Aegipan
has the form of a beardless youth. 2 He surprises a Nymph
3
4
asleep, and is sometimes associated with the Nymph Echo.

tions,

he

is

Dionysos' connection with the Attic drama is more specially

by scenes in which he appears as the inventor or

indicated

5
patron of tragedy, presenting a tragic mask to a young actor ;
he also appears in an elaborate scene representing the preparaAs the object of worship he is sometions for a Satyric drama.

times seen in a form which implies a reference to some primitive

7
cult, as an aniconic pillar-image (%oavov or /fta/ruXo?)
or, again,
;

form of a tree (Dionysos Dendrites), and homage is paid

to him by Maenads. 8
Besides sacrifices to his image, we see
in the

dances performed, 9 or choragic tripods consecrated

His statue is once seen at a fountain. 11

sacrificial

to him.

10

We

must now treat of the scenes in which Seileni and Satyrs,

Maenads and Nymphs, appear independently of Dionysos, or in
particular actions without relation to him.

They

are,

indeed,

which he takes

often, if not invariably, present in all scenes in

whether mythological or of a less definite character as,

12
in which
return of Hephaistos to Olympos,
the gods are usually accompanied by a more or less riotous
The attack
escort of Satyrs, and others as already mentioned.
part,

for instance, the

of the Satyrs on Iris and Hera has been alluded to in connection

with the latter 13 and they seldom elsewhere appear in relation
;

Olympian deities or other myths, except in those scenes

which depict the rising of Persephone or Ge-Pandora from the
14
earth.
But Satyrs and Maenads are sometimes represented
to the

2
3
4

B.M.
B.M.

228,

Anderson,

F203, F253.

F 437.

Petersburg 2161.

i.

B.M. F83, 381.

B.M. Fi63; Munich 8 18= Reinach,

154.
10

1.383.
'

Naples 3240
Buimeister,

i.

Minervini,

Reinach,

pi. 5, fig.

i.

114

I3
14

pi. 7-

36-7 (see Vol.

I. p.

141)

and

cf.

B.M.

642

XXL).

See pp 22, 76 also Berlin 2591.

Froehner, Musees de France, pi. 21
;

Mon. du Barone,

B.M.
451-52, 471; Berlin 1930,
2290 (== Wiener Vorl. A. 4) ; Naples
2419 = Furtwaengler and Reichhold,
pis.

Bologna 286.
B.M. 6332.
See p. 17;

(Plate

422.

pi. 14, 8.

Berlin 2029; Naples 2411 =Reinach,

Schreiber-

and

p.

69

ff.

Reinach,

Harrison, Prolegomena
p.

277

and see pp.

to

29, 73.

i.

144,

228;

Gk. Religion,

SATYRS AND MAENADS

as

performing

only to

not'

sacrifices,

but also to

Dionysos,

Hermes.

Herakles, or to a terminal figure of

to scenes of more general character.

61

We

turn next

There are numerous vases, especially of the R.F. period, on

which groups of Satyrs and Maenads are represented in revels
of a more or less wild arid unrestrained character, or else in
more peaceful association. Those in which Dionysos himself
present have already been enumerated, but the general types
may be now considered. It may, perhaps, be possible to distinguish two, or even three, classes of this subject the inactive

is

4
those in which they rush along
groups of Satyrs and Maenads
in frenzy and unrestrained licence, brandishing their thyrsi, or
;

with tambourines (tympana} and other musical instruments 5

and, lastly, scenes of convivial revelry (KW/JLOI), in which they are
6
Sometimes these
engaged in drinking from all sorts of vessels.

confined to Satyrs, and then they become

7
in character
or,
absolutely
again, a group of
Maenads unattended tear along with torches, thyrsi, and musical
are

revels

strictly

licentious

or, lastly, both join in dances hand-in-hand, a

which
on
subject
early vases is often adopted for a long frieze

instruments

encircling a vase.
As a pendant to these,

many

here be mentioned which seem

subjects and single figures must

to be excerpts from the larger

compositions, as well as independent motives presenting special

features found in the more elaborate scenes.
begin with

We

which both Satyrs and Maenads take part, among

which we find a favourite subject to be the gathering of fruit, 10

subjects in

See

B.M.

3
4

p. 60,

note

B.M. 6297 (Plate XXX.); Satyr as

Louvre 024.
7
B.M.
Hartwig, op, cil.
35, E 768

8.

single figure,

505.

Reinach,

472,

i.

ii.

198.

B.M. 6203-4, 206, 427, F58,

77,

80- 1, 156.
5

B.M. F75-6, 276; Louvre

124

57

(= Wienr

Vorl. 1890,

5, 3),

120,

033,

Naples 3113, 3241 (=- Reinach, i.

384) ; Munich 184 = Furtwaengler and
Reichhold, pi. 46 (Hieron); Gaz. Arch.
;

1887, 15 (Hieron in Brussels)

Meistersch. pis. 6, 31-2.
6

Hartwig,
Vorl. E. 12,

op.
i

cit.

pi.

Mus. Greg.

Hartwig,

ii.

Wiener
79, 2 a

45 (Hieron) ; Cambridge 48.

8
B. M. F 133; Naples 2419
waengler and Reichhold, pi. 37 ;

pi.

Furt-

Forman

Sale Cat. 352.

9

B.M. 6296; Reinach,

ii.

75

(Mu-

Karlsruhe 259 = Furtwaengler and Reichhold, pi. 30; Amer.

Journ. of Arch. 1900, pp. 188-189;
nich 62), 141

Vienna 231.
10
Louvre

F 334,

DIONYSOS AND MISCELLANEOUS DEITIES

62

especially grapes, and the processes of the vintage.

Satyrs
2
offer drink to Maenads, or play the flutes for them to dance to 3

and there is a favourite series of subjects of an amorous cha4

racter, in which the Satyrs pursue the objects of their passion,
5
or surprise them asleep, seize them and overcome their struggles
6
to escape, and finally enfold them in embraces, 7 or carry them
on their shoulders. 8 Satyrs are also seen surprising women
while bathing 9 and a group of them appear astonished at the
;

sunrise.

10

We may next dismiss

which depict Maenads

briefly the scenes

alone, usually as single figures.

They sometimes appear in a
u
state of frenzy (Fig. I2i),
dancing with snakes twisted round
12

or playing castanets, 13 or tearing a kid to pieces

14
In quieter fashion they ride on a mule 15 or
(Xt/uai/x^dpo?).
their arms,
16

or are seen accompanied

or playing with a cat and bird. 18
bull,

Satyrs
attired
1

pi.

Bibl. Nat.

Reinach,

Wiener

ii.

Vorl.

19

as

or

athletes,

320

3,

pi.

hold, pis. 44-5.

5

B.M.

55$; Berlin 2241; Naples

S.A. 313 ; Reinach,

Nat. 852).
6

B.M. B 265,
Reinach,

Louvre

ii.

161,

i.

340,

261 (Bibl.

F 381, G

Bibl. Nat.
l.

34

539
45;
Hartwig,

Cr.

(=

Munich 184

=-

Furt-

pi.
8

2 (in Berlin).
Sale Cat. Hdtel

1903, No.
9

62.

Reinach,

1895, p. 95

15

16

201.

vii. pi.

Reinach,

p.

847,

Plot,
ii.

Bibl.

510;

cf.

Monuments

vii.

pi.

117; and

cf.

357 = Monuments
Munich 8o7 = Millingen-

Bibl. Nat.

pi. 5.

Louvre F 311 =- Reinach, i. 144.

B.M. B 284 (?), B 486 (?) Reinach,
;

77
17

18
1D

man

Millin-Reinach,

B.M.

515,

12.

567.

Millin-Reinach,

Munich 542

ii.

ii.

49 A.

Stackelberg, 24

For-

Sale Cat. 331 (as racing charioteers,

driving Maenads).

Drouot,

II

May,

E 377; Louvre G73 (trumpetFroehner, Musees de France, pi. 6 ;

and see p. 56, note 19.
20

ing)
i.

ii.

J.H.S. xix. p. 220.

13
B.M. 357; Karlsruhe 242; Reinach,
Meistersch. p. 32.
i. 281
(?) ; Hartwig,
H Athens
1353 = Bull, de Corr. Hell.

ii.

waengler-Reichhold, pi. 46 (Hieron) ;

Reinach, i. 223 = Wiener Vorl. D. 5 ;
and cf. Adamek, Vasen des Amasis,

253, and

Munich 372 = Reinach,

i.

pi. 6),
7

B.M.

Nat. 357

Piot,

E 368
261;

046.
B.M. Fi92;

ii.

burlesque guise,
20
with the

928.

fig.
12

B.M.
510.
3
B.M.
49,
227.
437,
439,
4
B.M. E 319 Mus. Greg. ii. 72, 2 a
Munich 408 = Furtwaengler and Reich-

in

warriors,

Roscher, i. 1998.
n Munich
332 = Baumeister,

(Nikosthenes).
2

as

10

Peters-

24; f.H.S. 1899,

1890-91,

and panthers, 17

hinds, goats,

independent scenes often appear

in

and acting

B.M. B 426

burg 9

by

B.M.

SATYRS AND MAENADS

63

Amazonian pelta} or even enacting the part of Herakles in the

Garden of the Hesperides 2 and are present in other scenes
;

of a burlesque nature, which

often be derived from

may

the

Satyric drama, such as one in which they carry ghosts (et&Xa)

3
There is also a long list of scenes of miscelwith torches.

laneous character: a Seilcnos washing, 4 or piling up bedding

(?)

From Baumeister.
FIG.

121.

MAENAD

IN

FRENZY (CUP AT MUNICH).

7

acting as footman to
9
a girl and carrying a parasol
flogging a youth, or holding
n
10
a boy Satyr on his hand
and so on.
caressing a hare
fishing

as potter, poking a furnace

B.M. E 3 (with pelta and trumpet)

Louvre G 89.
B.M.
539.

Millin-Reinach,

i.

20.

Inghirami, Mus. Chins. 208.

B.M.
487.
B.M. E 108.

See Vol.

Berlin 2589

I. p.

216, Fig. 68.

= Baumeister,

iii.

p. 1684,

ii.

80, la.

1766.

fig.
9

Helbig, iS6

10

Berlin 2550.

11

B.M. B

148.

= Mns.

Greg.

DIONYSOS AND MISCELLANEOUS DEITIES

64

2
sport with deer and other animals
3
4
ride on goats, asses, and mules, or lead them along
and in
one instance a Satyr has fallen off his mule, and a companion

Satyrs fight with torches

in another, two Satyrs draw a third in

runs to help him 5
a cart. 6 They are seen carrying chairs 7 and vessels of various
8
9
kinds, such as amphorae, situlae, kraters, rhyta, or wine-skins
;

seated on wine-skins or wine-jars, 10 playing games with

also

jugs and wine-jars,

11

12

balancing drinking-cups on their backs,

13
or drawing it out from the mixingpouring wine into a jar
14
15
bowl, or playing games, such as see-saw or ball.
Many of
scenes are from the interiors of R.F. cups, to which
well adapted, the varied attitudes giving so much
were
they

these

scope for the ingenuity of the daring artists of the period.

Scenes in which Satyrs play the lyre or flute are very
numerous. 16

numerous Dionysiac subjects on vases is

Maenads by means
of names, sometimes meaningless, sometimes names otherwise
known in mythology, and frequently personifications of abstract
feature of the

the tendency to individualise Satyrs and

conceptions, such as we shall see later to be very common on

in these cases they usually have some
vases of all periods
relation to the character or occupation of the personages to
;

whom

they are attached. The Satyrs Marsyas and Olympos

the former
sometimes appear in the larger compositions 17
There
has been already mentioned in another connection.
;

also

is

a curious representation

unmixed wine

(a

liquid

which to

Berlin 2578.

B.M. Bi68; Reinach,

ii.

5
6
7

12

98; with a

mouse, Reinach, i. 500.

3
B.M. E 102 ; B 168.

B.M.

18

the deity of
Akratos,
the Greeks implied an

B.M.

of

2,

E 768.
op. cit.

Hartwig,

pi.

I.
13
14

338.

139,

530,

35,

Berlin 2267

Reinach,

ii.

303.
Cat. 57; Louvre

Ggi.
B.M. 387,
467.
16
Berlin 2243
B.M. 6560,
583
Louvre
204 = Amer. Journ. of Arch.
Bourguignon

15

Millingen-Reinach, 59.
Boston Mus. Report, 1900, No. 14.
Inghirami, Vasi Fitt. ii. 199.

363; Wiener
Hartwig, Meistersch. pi.

Berlin 2240; B.M.

VorL C.

7, I

28; Forman Sale Cat. 331.

261 Hartwig, loc. cit.
B.M.
24,
10
Munich 139 Reinach, 1.460; Hartwig, pis. 7 and 44, i.

1896, p. 14; Baumeister,

592.
17

45, p.
9

Naples 3235

Roscher,
18

iii.

J.H.S.

i.

Reinach,

861.
vii.

p.

pi. 62, p. 54.

555,

i.

103

fig.

NAMES OF SATYRS AND MAENADS

65

extravagance of revelry, owing to the intoxicating nature of

A type of Seilenos covered from
beverage).

the undiluted

head to foot with shaggy skin, and known as Papposeilenos,

is
often found on the later vases.
It is difficult to distinguish in all cases between Seileni and Satyrs on the
vases, and the exact differences between the various types
have not yet been properly elucidated, so that the terms
1

The equine type

with
horse's
hoofs
as
well
as
is
so
tail, which
Satyr,
found
on
the
Ionic
has
been
vases,
frequently
sixth-century
are

somewhat conventional. 2

of necessity

of

noted elsewhere. 3

The young

beardless Satyr

mostly found

is

in the later period.

The number

which Satyrs and Maenads are

distinguished
very large, but only a few of the
more important need be mentioned, along with some of the
more curious names from the isolated instances. 4 On a vase
5
in Berlin
no less than ten Maenads are named -Anthe
(Flower), Choro (Dance), Chrysis (Gold), Kale (Beauty), Kisso
(Ivy), Makaria (Blessed), Naia, Nymphe, Phanope, and Peri6
klymene (Renowned) on one at Leyden six Dorkis, lo, Klyto,
Molpe (Song), Myro, and Xantho (Fair-hair). Ofi the former
vase a Seilenos is expressly so named, and on the latter are
four Satyrs with names
on a kylix by Brygos in the British
of vases on

by name

is

Museum

the

Seileni

are

Iris

attacking

styled

Babacchos,

Dromis, Echon, Terpon, etc.

Other Satyr-names are Briacchos, 9 Dithyrambos, 10 Demon, 11

Hedyoinos (Sweet Wine),

1

12

13

Hybris (Insolence),

B.M. F273; Reinach, ii. 201, 235

2846; Bourguignon Cat. 41,
;

Naples
572

See Loeschcke

in

Ath. Milth. 1894,

2118;

P-

Lambert,
Reinach,
9

I.

pp. 353, 355, and p. 208 below.

See generally Heydemann, Satyr- u.

Bakchennamen.
Reinach,

ii.

See

253;

VOL.

Coll.

V Hdtel

For Terpon see also

203, and Hart wig, Meistersch.

i.

B.M.

253.

Reinach,

i.

249;

Roscher,

iii.

p.

2115.

De

Witte, Coll. a

V Hfoel Lambert

',

27.
12

268.

Reinach,

ii.

200.

13

65.
8

10

i'

Cat. 2471.

Witte,

pis. 13, 27.

pi. 6.

p. 521.

Vol.

De

Hedyrneles

also Jatta

Naples
II.

Coll.

2369;

1093

Roscher,

B.M.
iii.

Munich 384= Reinach, i. 130

Heydemann, op. cit. pp. 25, 36
Hydris, B.M.
65).
:

(see
cf,

DIONYSOS AND MISCELLANEOUS DEITIES

66

Komos

(Sweet

Song),

Kissos

(Revelry),

Molkos,

(Ivy),

Oreimachos, Simos (Snub-nose), Tyrbas (Rout).

The Maenads' names are if anything more numerous

Oinos,

Choiros (Pig!), 10 Doro, 11 Eudia (Calm), 12 Eudaimonia

13
14
15
Euthymia (Good Cheer), Erophyllis, Galene
(Happiness),

Bacche,

16

Hebe

(Calm),

17

Komodia (Comedy) and Tragoedia

(Youth),

19

18

20

22

21

Lilaia,
Mainas,
Kalyke (Bud),
Nymphaia,
23
24
and
Oreias
Opora (Harvest)
(Mountain-Nymph), Oinanthe,

(Tragedy),

26

25

Pannychis

(All-night

Polyerate

Revel),

(Well-beloved),

28

Sime (Snub-nose), Terpsikome, 29 Thaleia, 30 Rodo

32
and Kraipale, 33 a name which is not easy to
Paidia,

Philomela,
31

(Rose),

27

which

classical English, but

following on a night's debauch.

render in

character of Dionysos brings us

transition to the deities of the under-world,

Heydemann,

Reinach,

9
2471,

426,

287 (name also read as

ii.

Berlin 2160.

Munich 780

ii.

Jatta 1093

11

12

13
14

15

16

connection

Millin-Reinach,

i.

38.

Heydemann,

op. cit. p.

29

(/3).

B.M.

492; Naples 2419; Karls208; De Witte, Coll. a V Hotel

Lambert, 13.
22
B.M. E 350 cf. Nymphe on Berlin

2471.

302.

23

Jatta 1093.

Naples 2369, 3235

Reinach,

ii.

268.

B.M. E 182 ; Heydemann, p. 20 (x)

Dubois-Maisonneuve, Introd. 22.

24
;

25

Naples 3235.
Bologna 286.

26

Heydemann,
Jatta 1093

op. at. p.

Reinach,

28 (x).
ii.

27

28

302.
29

Jatta 1093.
Berlin 3257.

Reinach,

ii.

Jatta 1093.

Heydemann,

p.

Heydemann.

p. 19 (u).

Gerhard, Ant. Bildw. pi. 59.

Naples S.A. 172 = Reinach,

i.

498.

Pourtatts Cat. 29, 2.

30

E 253.

17

Naples S.A. 316

19 (u).

Naples 2369.

B.M.

ii.

ii.

by a natural

in

Ibid.

10

and

ruhe

Berlin 2532.

Reinach,

results

Ibid. (a).

6, 38,
21

19

2532;

ii.

Molpos).

Reinach,
Reinach,

<2

i.

200.
3

18

Bakchen-

u.

Satyr-

namen, p. 29 (jy)2
B.M.
82; Berlin
Naples 2369

the

THE NETHER WORLD

2.

The Chthonian

denotes

Naples 3235, 2419.

Heydemann, p. 29 (z).
32
Naples 2883.
33
Strena Helbigiana, p.
Mus. Report 1900, No. 20.
31

6.

',

1 1 1

= Boston

THE NETHER WORLD

therewith
all

it

will

67

be convenient to treat of Death-deities of

kinds, as well as scenes representing the

life

of the nether

regions.

Of Demeter and Persephone, the Chthonian goddesses par

excellence, we have already spoken (p. 27), and of the myths
connected with them, such as the rape of the latter by Hades
or Pluto, the king of the realms named after him.
It is
owing

Persephone that Hades

to this connection with

is

found

1
sending forth of Triptolemos, or at her
2
return to the upper world, as well as at the rape of his consort.
He is frequently seen in company with her, as the rulers of

in such scenes as the

the nether world, 3 especially on the large Italian " under-world

"
vases referred to below, and sometimes they are represented

banqueting together.

As king

he

world

of the nether

is

appropriately grouped with his brothers Zeus and Poseidon,

the rulers of the air and ocean. 5
He is occasionally carried
6
by Herakles on his shoulders, but the meaning of this subject
uncertain.

is

He

also appears as a single figure, with sceptre

and cornucopia. 7

The only general representations of the uncfer-world are to

be found on the large Apulian vases made for sepulchral purposes (Vol. I. p. 476), of which some half-dozen are conspicuous
for the number of subjects and figures they contain.
All these
are collected together in the
the list being as follows

Wiener Vorlegeblatter, Series

E.,

(1)
(2)
(3)

(4)

(5)

Munich 849
Naples 3222
Karlsruhe 388

Wiener VorL E.

pi.

Reinach, .258

pi. 2

=
S.A.
Naples
709 =
Petersburg 424 =

.167

pi. 3, i
pi. 3, 2

pis.

=
=

455

4 and

5> I

(6)

Petersburg 4 26

B.M.
183.
B.M. 6261, 6425, F332
XLV.).
3
Munich 728; Mus. Greg. ii.

pi
5

B.M.

108

6, 2

6425:

355
479

=
Mus.

cf.

Greg.

ii.

and see Nos. 1-7 in the

4
B.M. E 82, F68.

list

(Plate

21,
6

21,

given below.

i.

Millin- Reinach,

ii.

10

Gesellsch. 1855, pis. 1-2.

7

Roscher,

i.

p. 1802.

Ber.

d. siichs.

DIONYSOS AND MISCELLANEOUS DEITIES

68

No.

On

reproduced in Plate LIT.

fragmentary, are the following
(i) is

a smaller scale, or

498

(7) Petersburg
(8)

Wiener

Vorl. E. pi. 5, 2

B.M. F27o

(9) Karlsruhe 256

(10) Jatta Coll. 1094

S.A.

(n) Naples

There are

also

pi. 6,

pi. 6,

pi. 6,

pi. 6, 5

three

B.F.

vases

=
=
=
=

Reinach,

i.
i.

i.

i.

having reference

356
455
356
401
the

to

under-world, though in the first two cases it is probable that

the scene relates to the return of Persephone (see p. 28), the
figure of Sisyphos only being introduced to

accompanying
the locality
(12)
(13)

mark

B.M. B 261 (Hades, Persephone, Hermes, Sisyphos).

Munich 728 = Wiener Vorl. E. pi. 6, 6 = Reinach,

ii.

48

(similar scene).

(14) Berlin 1844 (Persephone

and Sisyphos

only).

On

the Apulian vases there is usually in the centre a pillared

building representing the palace of Hades, in which he and his

spouse stand or sit round this are grouped various figures and
episodes connected with the nether regions Herakles carrying
;

off

by

Kerberos

Eurydike

sometimes accompanied
undergoing punishment, such as

Orpheus with his

lyre,

persons
3
Tantalos threatened with a rock,
Sisyphos with his rock
4
the Danaids
not as in the usual legend suffering from thirst
5
Theseus
and
Peirithoos
and
with their hydriae
sitting
6
In one instance a
with their hands bound behind them.
;

Fury, at the instance of Hades and Hekate, is binding one,

7
in
having already entered on his punishment

the other

another

we

his friend (see below, p.

1

See below,

p. 99,

and Louvre
See No.

and/". H.S.

xviii.

the legend,

rock version of

cf.

Find.

OL

i.

90.

5,6 ; B.M. F21O ; Munich

= Baumeister, iii. p. 1924, fig. 2040 ;
153
Reinach, i. 408 (parody).
6
Nos. 3, 4, 9 (P. only), and u.
5

F 382.
for the

from

).

to depart

1 1 1

296 (Hades is frequently present).

2
for Eurydike,
See Nos. 1-4, 7, 8,
;
Nos. 7-9.
3
See Nos. 1-3 and 12-14; also Munich

p.

153,

and about

see Theseus liberated

Nos.

No.
No.

2, 3,

10.
i.

THE NETHER WORLD

69

of these penalties are Aiakos,

1
the
the
Minos, and Rhadamanthos,
judges of the souls
2
as
Dike
and allegorical personages, such
Erinnyes or Furies
administrators

the

Among

Of

Ananke

(Justice),

Chthonian

the

Hermes,

Poinae

or

(Necessity),

(Punishments).

Hekate,

Triptolemos,
and lacchos are present.
Olympian deities are also sometimes introduced as spectators. 10
Other figures introduced
n
are Megara with the two children of Herakles
Pelops with
12
of
Blessed
and
a
the
Shades 13
Myrtilos
Hippodameia
group
deities,

and (but not on

Oknos with

this class of vase)

his ass, a subject

14

The
depicted by Polygnotos in his great fresco at Delphi.
of
is
found
Ixion
on
wheel
the
usually
subject
by itself, but
occurs on the neck of one of the Apulian vases. 15
Another subject which may be associated with the above
is that of Charon and his bark
on the vases, however,

scenes
its

significance

is

purely sepulchral, as

confined to the Attic

it is

on some of which the dead man

16
is represented entering the ferry-boat.
Some vases of Etruscan
fabric also represent groups of Chthonian deities, especially
Charon, who in the mythology of that people is no longer

white lekythi (Vol.

"

I.

p. 459),

the grim ferryman that poets write of," but Ckarun, a hideous
In one instance he
a huge hammer. 17

demon wielding

Alkestis

separates

from Admetos

18
;

another

in

he watches

19

Ajax stabbing a captive Trojan.

The Erinnyes or Furies play an
15

Nos.

i, 2, 5, 9.

Nos.

1-6, 10,

Nos.

i,

Nos.

3, 6, 10.

Nos.

No.

10
11

16
iii.

p. 1928).
(

2, 3, 9.

i.

12

14

x.

No.
No.

269, and Paus.

2.
I.

Reinach,

29,

i.

i.

B.M.

D6i

Reinach,

pis. 1-2).

Berlin 3O23

i.

i.

in

the

= Reinach,

p. 767, fig.

821

Berlin 2455, 26So, 2681

457)

Munich 209

B.M. F486 ; Vienna 448 = Reinach,

343 ; Reinach, i. 220; Helbig, 121 =
Reinach, ii. 121 is doubtful.
18
Bibl. Nat. 918 = Reinach, i. 395 =
Dennis, Etruria, ii. frontispiece.
19
Bibl. Nat. 920 = Reinach, i. 88,
17

xi.

x. 29, 7.

13

155

part

Baumeister, i. p. 378, fig. 414 (Fig. 122) ;

Athens 1660-62 (= Ant. Denkm. i. 23) ;
ibid. 1663, 1665 ( = Bull, de Corr. Hell.

11.

See Nos. 5 and 8.

Nos. 1-3 cf. Od.

i.

No. 2 (see Baumeister,

No. 3.
1-5, 8.

B.M.

330 = Baumeister,
and No. 5 above.

n.

4, 10.

Nos.

important

408 (parody)

cf.

Paus.

i.

70

DIONYSOS AND MISCELLANEOUS DEITIES

1

and one is also represented at the

They pursue Orestes after the slaughter
punishment of Ixion.
3
of his mother and Aigisthos to Delphi and Tauris, and even
when with Pylades he comes to make himself known to
4
Electra.
Among other mythological scenes they are found
5
with Pelops, 6 and
of Herakles and Kyknos
combat
at the
7
and threatening with punishment
with Medeia and Jason
nether-world

scenes,

From Baumeister,
FIG. 122.

CHAKON'S BARK (LEKYTHOS AT MUNICH).

who is seized and bound upon an altar by

Oineus and Diomedes. 8
Kerberos is once seen without
Herakles in the under-world vases
and there is a very
10
curious representation of his being "chained up by Hermes.

the hero Agrios,

See above, p. 69, note

See No. 5 above.
See below, p. 138.
Boston Mus. Report
Reinach, i. 475.

2.

for 1899,

No.

Ibid.

i. 204,
290 (Berlin 3072).
Naples 3221= Ibid. i. 402.

B.M.

"

No. 8 above.

38.
10

155

see below, p. 141.

Bibl. Nat. 269.

CHTHONIAN DEITIES
Hekate as a Chthonian
under-world vases

she

71

deity frequently appears on the

also connected with Eleusinian

is

and legends, 2 such as the sending of Triptolemos, 3

the birth of Dionysos or lacchos, 4 or with the rape and return
of Persephone. 5 She appears also as a single figure. 6 Allusion
has already been made to the Chthonian associations of Hermes,
Triptolemos, and lacchos (pp. 27, 52).
7
Thanatos, the personification of Death, appears on vases
almost exclusively in one aspect, as the bearer of souls in
scenes

conjunction with

Hypnos

(Sleep)

Memnon

from Troy to his home

borrowed for other scenes

which an ordinary warrior
1

See above,

B.M. F68;

note

p. 69,

B.M.

is

Rei-

Reinach,

ii.

id.

i.

522,

i,

and Baumeister,

i.

p. 423, fig. 463.

6
7

l.

Cer.

iii.

37 A.

Greek

781

vases.

i.

cf.

1093
149

Roscher,

2678

ii.

Baumeister,

i.

p. 727,

Louvre F388 (where Pettier

B.M. D58
Wiener Vorl. D.

Sarpedon).

= Fig.

Ei2

123),

pi. 3, figs. 1-2)

i654 = Dumont-Pottier,

i.

pi.

Athens

29; Arch.

Anzeiger, 1893, p. 86 (in Berlin); with

body of woman, Athens i653 = DumontPottier,

Thanatos, p. 22 ff. He
doubts the possibility of the identification

See Ubell,

of Thanatos on

Athens

identifies the warrior as

324.

Reinach, i. I
Petersburg 1792
cf. Rev. Arch, xxxvi.
(1900), p. 93.
5
B.M. F277 Reinach, i.gg (and see
155)

8
Egypt, and

Reinach,
fig.

183

D 58).

this type is
on the funeral lekythi) in
borne " to his long home." 9

7.

Petersburg 525

i-

in

BRIT. MUS.

(e.g.

n.

i.

they convey the body of

THANATOS AND HYPNOS WITH BODY OF WARRIOR (FROM

FIG. 123.

nach,

pi.

2.

lekythi.

i.
pis. 27-28, zn&Jahrbuch, 1895,
All but two of these are funeral

DIONYSOS AND MISCELLANEOUS DEITIES

72

is seen urging Ajax on to commit

he also appears on another vase where the subject
2
relate to the story of Ixion.
Representations of Death-

In one instance Thanatos

suicide

may

3
or Harpies, and of Kfjpes Qavdroio, or small winged
4
figures boding or signifying death, are by no means uncommon.
It has been held by some writers that the personifications of

demons

Thanatos above referred to are more properly to be regarded

These small winged figures are also
as Krjpes Oavdroto?
6
employed to represent a soul escaping from a deceased person
or, again, to indicate the souls of Achilles and Hector (or
7
Memnon) when weighed by Zeus (see below, pp. 130, I32).
We also find actual representations on B.F. vases of the
;

ghost of a hero, especially in Trojan scenes

the air fully armed, with large wings.

he

floats

through

COSMOGONIC AND OTHER DEITIES

3.

In the next instance it will be found appropriate to discuss

sundry representations which are connected with the earlier
or Titanic cosmogony, although, with the exception of the
Gigantomachia, already discussed, allusions thereto are comparatively rare on vases.
1

Reinach,

B.M.

i.

Vasenb.

278.

Berlin 2157 = Jahrbuch, i. p. 21 1 ;

Arch. Anzeiger, 1895, P- 37 (see under
Herakles, p. 103, note 3).
4
See J.H.S. xii. p. 340 (Ker seizing
3

soul of fallen warrior)

combats, Reinach,
against

Berlin

1713,

63,

latter case

781), 97 (in the

Aeneas

ii.

Ker in
126 (Munich

also for a

Diomede)

protecting
also

i.
113
223, where they
of good or evil accord;

1714),

represent demons
ing to the will of the gods.
5

xii.

See Robert, Thanatos

p.

345.

Alkyoneus (see below,

i.

255, 451,

maybe

p.

and J.H.S.
over

100) in Reinach,

Hypnos

in Arch. Zeit. 1884, p.

6

The Ker hovering

(see

Koepp

Gr. u.

Sic.

i.

165

33 ; Athens 688 =
Roscher, ii. 1147;

and cf. Reinach,

347 (= Bottrguignon Cat. 19) and
Benndorf, op. cit. pi. 42, 2 ; in the former
Stackelberg, pi. 48:

i.

is armed ;
in the latter the
winged figure may be the K??p. There
often seems to be a confusion between
the e?5wXo' or ghost and the Kifa or
Aaifji.w, both in its functions and its artform.
Thus, on the vase given in J.H. S.

the soul

p. 101 (see p. 52), small winged

figures like souls are seen flying out of

xx.

the jar, which are here intended to represent evil spirits or maleficent ghosts, like
the evils let out of the jar by Pandora.
"
B.M. 6639 ; Reinach, i. 89 ; Millin-

Reinach,

426*".).

B.M. 054; Benndorf,

14,

pis.

Reinach,

155.

i.

19.

B.M. 6240, 6543; Berlin 1921.

COSMOGONIC DEITIES

73

Chief among these personages is Ge or Gaia, the Earthmother, half Titanic, half Chthonian, who is usually represented
as a figure rising half out of the ground, with flowing hair.

She thus appears in several Gigantomachia scenes (as the

1
mother of the giants, who were rVye^et?, earth-born), and at
the birth of Dionysos and Erichthonios, where she hands the
child

sons

her

tecting

As

Athena. 2

to

a full-length figure she appears pro-

Tityos

and

against Apollo and

certain doubtful scenes on

Antaios

Herakles

also in
respectively
as the Nursing-mother
;

(Kouporpo^o?), with two

her arms, 4 though we have already seen (p. 30)
that these are susceptible of another interpretation.
Finally,
B.Fj,

vases

children

in

men

the series of scenes in which

are represented

hammering

on the head of a female figure rising from the earth 5 may be

regarded as referring to Gaia, with allusion to the custom of
In this connection
smiting on the earth to raise spirits.
Gaia is undoubtedly to be identified with Pandora (see
6
A cognate subject is that of a similar female head
below).
in
or bust
company with Eros, sometimes found on late
Italian vases. 7
If Gaia is here intended, her connection with
Eros finds some support in the poetic cosmogonies
wise it may be Aphrodite.

The
by
on

story of Kronos,

Rhea

his wife

the

Fig.

112,
i.

p.

181

14;
cf.

i.

Naples

2883=

the beautiful con-

Reinach,

i,

66,

113,

278, Reinach,

i.

Bibl. Nat.

J.H.S.

298 = Reinach,

xx. p. 106, fig. 2

(and

cf.

249,

4=

ibid. xix.

235) ; Naples 3355 = Reinach, i. 248;

El. Cer. i. 53 = Reinach, i. 249, 6: cf.

B.M.

France, p. 69

147; Froehner,
;

Musks

Harrison, Prolegomena

p.

to

open

277; and see above,

1

As on the vasey.ZT.6 xxi. pi. I, p. 5

Schol. in Ar. Av. 971, and Sophocles'
drama of Pandora or the Hammerers
:

cf.

de
to

(1891), p. 113
planation,

194

p.

if.

= Reinach,

i.

p.

also

Religion,

is

29.

(20u/oo/c67roi)

B.M.

him

244 (Louvre
864), 245, 249; B.M. 6196.
4
B.M. B 168, 6213
El. Cei: ii.
I, 2.
5

Gk.
p.
6

208.
3

other-

the stone given to

genuineness thereof

ception on the Pergamene frieze.

2
B.M. E 182 and Petersburg 1792

Reinach,

in place of his children, is possibly depicted

one vase, 9 though

Reinach,

who swallowed

see
ff.,

also Jahrbuch,

and

for

vi.

another ex-

Arch.
Robert,
Marchen,
vase in Berlin (Cat. 2646

i.

229=7. ff.S.

xix. p.

232)

represents the "ApoSos of Ge-Pandora,

with Satyrs astonished at the sight.
7

Munich 558; Naples S.A. 287;

Reinach, i. 129.
*
Hes. Theog. 116; Ar. Av. 696 ff.
9
Gaz. Arch. 1875, pi. 9,

DIONYSOS AND MISCELLANEOUS DEITIES

74

The

doubt.

stone

is

in

enveloped

drapery to prevent dis-

Kronos has also been identified on a

covery.
The story of Zagreus and his destruction by the
vase. 1
Titans, which belongs to the same cycle, also finds one or
two representations.
One vase appears to represent them
2
devouring him piecemeal.
Another personage who may perhaps be regarded as of preOlympian origin is Themis, who comes between Gaia and
bust

of

of the prophetic stool at Delphi

the
father of Theseus, is represented
(Aesch.
2).
Aigeus,
as consulting her seated on her tripod, 3 and one vase has been
supposed to depict her conversing with Zeus before the birth
the

in

Apollo

occupation

Bum.

of Dionysos. 4 She also appears at the Judgment of Paris. 5

Kybele, the mother of the gods, only occurs in one or two

doubtful instances, with

with her. 6

the

which

lion

is

usually associated

Among the primitive and recondite Greek cults which go

back to a remote origin, that of the Kabeiri may perhaps
be mentioned here. Previous to the discovery, in 1887-88,
of their sanctuary near Thebes, little was known, either
from literary or monumental sources, of these mysterious
deities
but the excavations on this site yielded large quan;

of pottery with scenes relating to their cult, mostly of

a burlesque character. 7 Among these was one very interesting
fragment representing (with names inscribed) the Kabeiros and
tities

and attended by two deities known

Lenormant noticed that the spectator-

his son (Pais) banqueting,

8

and Pratoleia.
on an under-world vase

as Mitos
deities

in the

spond exactly to the four Cabeiric

certain ancient authorities.

Turning next

to

Roscher,

B.M.

ii.

E 246

myths which

Berlin 2538

p. 1550.
:

seef.ff.S.

xi. p.

i.

Petersburg 1807

B.M.

649 =

Reinach,

Reinach,

i.

ii.

by

treat of the semi-divine per-

we have

but

7.

122;

the legends given

Millin-Reinach, i. 50.
7
See Ath. Mitth. xiii. (1888),

and J.ff.S.

ii.

Petersburg
see below, p. 125.
5

343.

= Reinach,
162.
3
1793 = Reinach,

corre-

described

as

sonages of the earliest cosmogony,

Museum

British
deities

xiii.

p.

77

ff.

p.

412

also Vol.

ff.

I.

p. 391.
8

Ath. Mitth. 1888,

B.M.

F27O

Saglio, Diet.,

s.v.

see

pi. 9.

Daremberg and

Cabeiri.

COSMOGONIC DEITIES
Hesiod of Prometheus and

may

in

the

British

Atlas.

Pandora,

it

and
has

1
only a variation of Gaia, and this is
her
on
a
beautiful
polychrome
given to

is

already noted,
rne out by the name

cup

Pandora

-the creation of

them the Titan

include with

75

Museum

representing her creation, com--

2
She is there named
by Hephaistos and Athena.
"
from the earth.
who
sends
i.e.
She
up
gifts,"
'Avea-iSwpa,
The subject is not so popular as might have been expected,

pleted

but appears on two other vases in the Museum, in each case

with Olympian deities as spectators of the event, and on a
3
The story of the opening of
beautiful vase now at Oxford.
the 7T/00? has not found

way

its

into

but

art,

with the Athenian feast of the TriOoiyia

connection

its

curiously illustrated

is

one instance. 4

in

Prometheus too is seldom seen, and chiefly on B.F. vases.

one case he receives a libation from Hera,5 and there are
two or three representations of his liberation by Herakles. 6
In

On

cup he

Cyrenaic
at

grouped with Atlas, the vulture

the other groans under the
Atlas is found almost exclusively

is

while

his

breast,
pecking
burthen of the heavens. 7

with Herakles in connection with his

to the

visit

Garden of

the Hesperides.
Either he is actually present in the Garden 8
or is confronted with the hero, who in some cases bears his

burden

for

him while he obtains the

company with a Sphinx.

in

We

now come

He

apples.

is

also seen

10

to discuss a few subordinate deities or semi-

divine personages

who do

not

fall

into

any of the preceding

categories.
1

See above, p. 73, note 6, for representations of Ge- Pandora rising from the
earth,

which may be considered

in con-

nection with the creation of Pandora.

2
3

P.

D4.

Baumeister,

467, 78g;J.ff.S. xxi. pi. I (here

rises out of the ground, assisted by

Epimetheus with his hammer

Zeus and

Hermes
1

are present).
f.H.S. xx. p. 101
Bibl. Nat.

6
Berlin 1722 == Wiener Vorl. D. 9, 8,
and another B.F. vase in Reinach, i. 388 ;
Jahrbuch, iv. (1889), pis. 5-6, fig. I.
7
Helbig, 275 = Reinach, ii. 48 =

542

8
i.

B.M.

see above, p. 52.

i.

xiii. pi.
10

141.

p.

236.
9
Berlin 3245

1411,

fig.

1567.

Naples 3255

= Reinach,

Gerhard, Ges. Akad.

19; Athens 957 ^

3 (H. bears the heavens).

Abhandl.
Reinach,

iii.

F 148;

pi.

Reinach,

i.

471.

DIONYSOS AND MISCELLANEOUS DEITIES

76

Asklepios, chiefly a figure of later

art, is exceedingly rare

only one on which he can
This is a late R.F. vase at Athens,
certainly be identified.
on which he is seen reclining on a couch feeding a serpent
and accompanied by Hygieia. 1 Nor does the latter occur

There

on vases.

is,

in

fact,

-j

though her name, as already noted (p. 43), is

sometimes given to one of the personified figures attending
on Aphrodite. 2 Eileithyia, the goddess of childbirth, generally
appears, in duplicated form, assisting Zeus at the birth of
4
3
She is
Athena, or Leto at that of Apollo and Artemis.
closely related to Artemis, and a representation of a goddess
who has been identified as Artemis-Eileithyia may be seen
elsewhere,

on an early Boeotian vase with reliefs at Athens. 5

Iris, the messenger of the gods, is usually distinguished
from Nike by her caduceus or herald's staff, and from Hebe
often depicted as a single figure, 6 or
7
She is
pouring a libation to Hera, Athena, or other deities.
associated more especially with Hera, as Hermes is with Zeus,

by her wings.

She

is

and attends on the former

in

several scenes of assemblages

8
In company with Hera she is attacked by a
of the gods.
and defended by Herakles, 9 and on another
of
Seileni
troop
10
She
similarly surprised by a troop of Centaurs.
11
12
of
assists at the creation of Pandora,
at the Judgment
Paris,

vase she

is

13
wedding of Peleus and Thetis, and also appears
14
She is also seen with
in the Garden of the Hesperides.
15
and with Menelaos fetching her
Paris carrying off Helen

and

at the

Athens 1926 = Reinach, i. 515. Posalso on a Berlin vase {Arch.

sibly

Anzeiger,

1890,

p.

89) with a similar

subject, which may, however, denote a

See Harrison,
"sepulchral banquet."

Prolegomena

to

Gk. Religion^ p. 349.

B.M. E 224,
698.
*
B.M. B2i8, 244 (Fig. 113),
410;
Louvre E 861 and Berlin 1704 = Reinach,
2

i.

ii.

U.

=
p.

156, 198.

i.

i.

Millin-Reinach,

62;

Roscher,

ii.

1895, p. 38 (Berlin).
u

B.M.

2591

"

cf.

" B.M.
12

"
1S

J.H.S.\.v\.

13

65

Reinach,

Bibl. Nat.

Athens 1962.
Ibid. 466 = Plate XLVII.
6
B.M.
720; Munich 351 = Reinach,
46; Berlin 2248 = Benndorf, Gr.
Vasenb. 27, 2j Bibl, Nat. 841
Sic.

i.

350 (with tablets ; B.F. in Louvre).

7
Reinach, ii. 324; ibid. 325 = l. Cer.
32 (may be Nike).
8
B.M.
67 ; Bibl. Nat. 444; Reinach,
and see Arch. Anzeiger,
99, 339. 463
i.

193

840 = Reinach,

Berlin
ii.

260.

3.

467.
Berlin 1895.
Francois vase.

Reinach, i. 301.
B.M. R.F. amphora (uncatalogued).

'

AND HEBE

IRIS
1

back

and

source

77

another scene, apparently drawn from a Homeric

397 fif.), where she dissuades Athena and Hera

in

(//. viii.

2
She
war, at the behest of Zeus.
3
is
and
the
Centaur
to
Herakles
the
infant
Cheiron,
conveys
4
also seen in company with a warrior.

from taking sides

in the

Hebe in Olympos performs somewhat similar functions to

5
Iris, more particularly that of pouring out wine for the gods.
She
his

Herakles at and after

with

associated

also specially

is

as his

appearing
Besides these, she frequently appears
apotheosis,

8
gods, or at
10
of Paris.

several

assemblies of the

the punishment of Marsyas,

4.

The next group

instances. 7

in
in

bride

or the

Judgment

PERSONIFICATIONS

of deities with which

we have

deal

to

is

that of the various personifications which are to be found in

great

numbers on vases of

These naturally
the

under

fall

periods, especially the later.

several headings, which, following
all

of the classification

lines

11
valuable article on the subject,

Physical (Sun,

Geographical (Cities, Rivers, Mountains,

Products of earth (Wine, Harvest, etc.).

5.

8.

Social enjoyments

ii.

296

Ibid.

ii.

47.

Ibid.

ii.

279.

fig.

see p. 39.

ii.

9),

l.

33

(=

Cer.
id.

ii.

i.

76, 161.

B
i.

201,

399

In Olympos: B.F.:
Reinach, ii. 186.

B.M. 6379. R.F.

7
Berlin 3257 = Baumeister,
:

20, 31

321).

B.F. (H. in chariot)

B.M.
317 ; Bibl. Nat. 253 = Reinach,
ii.

700

etc.).

i.

p. 630,

FormanSak Cat. 364

see p. 108.
Berlin 2278
i.

Petersburg 1807

" Mon.
Grecs,
also

Reinach,

Ant. Denkm.

157, 203; Roscher,

(with Aphrodite).
9
Jatta 1093 ; Reinach,
10

Reinach,

Reinach,

(Comedy, Tragedy, Revelry,

34.
:

B.M. E38i(?);
ii.

etc,).

Descriptive names.

Reinach.

etc.).

9.

10.

(=

etc.).

Social advantages (Wealth, Peace, Victory,

Ethical ideas (Justice, Envy, Strife, etc.).
Metaphysical ideas (Necessity, Law, etc.).

6.
7.

Reinach,

Groups of various kinds (Muses, Nymphs, etc.).

Physical conditions (Health, Old Age, etc.).

4.

ii.

Moon, Dawn, Winds,

1.

in

distribute as follows

2.

3.

Ibid.

M. Pettier

adopted by

we may

i.

iii.

175.

Reinach,

1889-90,

i.

p. 21 19

p.

i.
ff.

on the subject generally the

7.
:

see

article

Personifikationen in Roscher's Lexikon.

DIONYSOS AND MISCELLANEOUS DEITIES

78

Of some of these, indeed, we have already treated such as

the beings included in the following of Aphrodite and Dionysos,
Ge-Pandora, Hebe (Youth), and the deities of the nether world.
The

rest

we now proceed

consider in

to

with natural phenomena, and

firstly

order,

those of an

beginning
astronomical

character.

Helios, the Sun, who in

mythology of the Roman poets,
I.

some
is

senses, especially in

identical with

the

Phoebus Apollo,

1
He is usually depicted
only once so identified on vases.
in his four-horse chariot rising out of the sea (as on the eastern

is

pediment of the Parthenon), either as a single figure or in

connection with some myth, indicating that the action takes
As a single figure he appears both on early
place at sunrise.
and late vases, on the latter, usually, as an upper decoration
on the large Apulian kraters. 2 He is also accompanied by
Eos (Dawn) and Selene (Moon), by Hemera (Day), or by Eros 3
but in most cases he and Selene appear together, the latter
descending as he rises (as on the Parthenon pediment).
ThOs on R.F. vases they denote the time of the action, as
when Theseus descends below the sea to visit Poseidon,4
or as on the Blacas krater in the British Museum, when
Eos pursues Kephalos. 5 On the latter vase four stars are also
;

diving into the sea, to indicate their setting. On

he is present at the seizure of Persephone, 6 at
vases
Apulian
the flight of Pelops from Oinomaos, 7 at the madness of

depicted

Lykourgos,

at

the

Judgment of

and

Paris,

in

the Garden

10

In one instance a group of Satyrs start

back affrighted at his appearance. 11 There are two instances

of the Hesperides.

j/. Cer.

ii.

62 = Reinach,

ii.

287

see

out of a boat,
4

above, p. 32.
2
B.F. : Berlin 1983; Bibl. Nat. 220
and Reinach, ii. 211 jl. Cer. ii. 115-116
(in the former case the solar disc is on
his head).
Late: B.M. F3O5; Reinach,

258 (Karlsruhe 388), 368 ; MillinReinach, i. 16, ii. 49.

3
Reinach, i. 99, 100, 312 (Naples
3222), 291=^7. Cer. ii. 114 (Hemera);
Inghirami, Vast Fitt. 394 (? see p. 79,
note 8). In the last but one they step

Reinach,

view

in

i.

232.

466 = Plate LI 1 1.

B.M.

colours,

A general

Art Journal,

Sept.

1904.
6
7

Reinach,
Ibid.

i.

ibid.

i.

Wiener

i.

i.

99.

100.
125.

VorL

1894, p. 252.
10

Reinach,

" Ibid.

i.

i.

109.

236.

E.

II

Jahrbiich,

HELIOS AND SELENE

encounter with Herakles,
1
progress with his bow.

of his

Selene, the Moon, appears in

described under Helios, as on

79

who endeavoured

of the scenes

many

Blacas

the

to stay his

krater.

already

She

is

2
or driving a
depicted under two types, either on horseback
3
both as a single figure and in other
chariot like Helios,
and she is sometimes characterised by the lunar disc
scenes
;

or

Besides

crescent.

the

scenes

referred

already

to,

she

4
and at the
appears on horseback at the birth of Dionysos
5
The
arts
used by
Medeia
of
Jason.
by
magic
pursuit
Thessalian witches to draw down the moon from heaven are
6
where two women essay
also the subject of a vase-painting,

to

feat

this

perform

"

Lady Moon

by means of a

rope, addressing

her,

"
!

occasionally represented with an astronomical

reference, as on the Blacas krater, where they appear in the
form of youths, or grouped with Helios, Selene, and Eos. 7

Stars

are

Phosphoros, the Morning Star,

may

be identified
8

nection, represented as a youth running

they are not personified, as on a vase

moon and

stars with the constellation

in this con-

but in other cases

which represents the

9

Pegasos.

Hemera, the Day, we have already once noted but in art

is hardly to be distinguished from Eos
(Dawn). Nor can
10
be
on
identified
with
vases.
Eos is not
certainty
Nyx (Night)
;

she

uncommon

an

figure, especially

on R.F. vases, and she also plays

As a single figure she appears rising

a part in certain myths.
from the sea in, or driving, a four-horse chariot like Helios, 11
Cambridge ioo = Stackelberg, pi. 15;
Athens 900 =J.H.S, xix. pi. 9.
2
B.M.
252, 466, 776; Berlin 2519
= Coll. Sabouroff, i. 63 ; Reinach, i. 312
(Naples 3222), 451.
3
Berlin 2293 = J.H.S. xix. p. 268 (a
fine R.F. kylix); Athens 1345 = J. H.S.

xix.

pi.

10.

The

may be perhaps

figure in the chariot

identified as Nyx ; see

Berlin 2519, where Selene rides a horse

and another goddess drives a chariot;
also B.M. E 776. See Art Journal, Sept.
1904, p. 290.
4

Petersburg 1793 = Reinach,

Reinach,
Ibid.

3.

402.

339
9

ii.

B.M.
;

466; Reinach, i. 236, 291 (?),

Inghirami, Vasi Fitt. iv. 394 (?).
Bibl. Nat. 449 = Reinach, i. 129:

B.M.

cf.

573,

658,

659,

and Art

Jotirnal, Sept. 1904, p. 289.

10
But see above, note 3 ; p. 30, note 6.

" R.F.

B.M.
776 (.'Nyx;
449.
above); Helbig, 132 = Reinach, ii.
Late Millin- Reinach, ii. 37 (with
46.
Hermes; vase by Lasimos in Louvre).
:

see

i.

i.

319 = l. Ce?\ ii. 118.

7
B.M.
466 (Plate LIII.) ; Naples
3256 Reinach, i. 100 (here as stars).
6

DIONYSOS AND MISCELLANEOUS DEITIES

8o

her steeds in one case being

She

named Phlegethon and Lampon.

represented flying with two hydriae, from which

she pours out dew upon the earth. 1 She is frequently seen
2
3
pursuing or carrying Kephalos or Tithonos, and is present
also

is

At

the apotheosis of Alkmena.

Memnon with Achilles she and

at

other

mother, Thetis,
with
Zeus for her
pleads
his
after
the
fatal issue of
body
away

She

are generally present.

6
son's safety, and bears
the, fight.

combat of her son

the

the

also

Next we have

to deal with the

Winds, as personified by the

As single figures they seldom

figures of Boreas, Zephyros, etc.

appear, though we have possible instances of Boreas, with
8
the unusual type of a serpent's tail, or simply as a winged

wind-god is seen in an episode from the

10
Gigantomachia opposing the chariot of Zeus, and another
an assemblage of deities round Apollo Kitharoidos. 11
in
12
Zephyros is seen pursuing Hyakinthos, and he and Boreas
male

figure.

tomb in the same

But the most important
subject connected with Boreas is his pursuit of the Athenian
maiden Oreithyia, a frequent scene on the later R.F. vases, 14
some being very fine examples. Erechtheus, -Kekrops, and the
together bear the

manner

l.

Ct'r.

ii.

B.F.

R.F.

354.
i.

Mon.

Millingen, Anc. Uned.

463

(=

= Helbig,

E 702 =

Louvre
:

B.M.

72,

Bibl. Nat.

pi. 5
vi. 7.
8

Reinach,

i.

466; Reinach,
and ii. 81

423),

80); Reinach,

i.

JEl.
9

= Millin- Reinach,

107 = Hart-

i.

48.

Late Millin34.
Eos carrying K. Berlin
ii.

2537 = Reinach, i. 208.

3
Oxford 27S=J>&-S>

B.M. F

10

6
7

i.

ii.

144,

105
ii.

B.M.

254

i.

156,

Reinach,

i.

347

I.

p.

351

Vorl.

and

cf.

ff.

B.M. 6431, 6445; Forman Sale

B.M. F237.

" B.M.

12

F 39

B.M.

212.
;

Berlin 2305

Hartwig,

13

B.M.
H B M.

D 59.

480,
512; J.H.S. xviii
6; Berlin 2165 = Reinach, i. 352;
Munich 376 = Reinach, i. 240 = Bau-

pi.

Reinach,

Cat. 19

31

Wiener

Meistersch. pi. 72, i ; ibid. pi. 22, i (see

p. 47, note 12) ; and cf. Reinach, ii. 248

137;

p.

149.

Reinach,

Reinach,

iii.

1265

104 = Vol.

B.M.
Ctr.

i.

Philologtis, 1893, P- 2I1

ii.

Bibl. Nat. 846.

4

Roscher,

Cat. 318.

wig, Meistersch. pis. 39-40 (by Hieron ;

may be either K. or T.) ; Bibl. Nat. 374

Reinach,

to the

De

i.

08 A = Roscher, i. 1257 ;
a rmtel Lambert, pi. 6.

Witte, Coll.
2

body of a warrior

13
Hypnos and Thanatos.

as

(Bibl.

E 468

see

Nat. 207).

i.

meister,
i.

Bottrguignon Sale

Millingen, Anc. Uned.

Man.

i.

305

Wiener
p.

i.

p.

352,

Helbig, 101
Vorl.

ii.

299 (in Louvre).

373 ; Reinach,
Reinach, ii. 78

fig.

Rayet and Collignon,

WINDS

81

Aglauros, Herse, and' Pandrosos, are usually present,

and the latter in one case announce the news to Kekrops or

Nymphs

Erechtheus. 1

Boreas

also depicted in

is

the act of punishing

Phineus by blinding him, and attacked by the

latter's

friend

Parebios. 2

On some

early B.F. vases

be styled Boreades,

we

find

winged beings which

may

conjunction with

in

Harpies, apparently
3
representing the influences of good and evil winds respectively.
Zetes and Kalais, the sons of Boreas, will be treated of in the
4
The Aurae or breezes' have been
story of the Argonautika.
identified on a well-known
on an Apulian vase in the
edly intended for Aura.
two instances extinguish

vase in the British

same

collection

The Hyades
the

flames

or

of

5
Museum, and

a head undoubt-

is

in

rain-goddesses

funeral

at

pyre

the bidding of Zeus, at the apotheosis of Alkmena 7 and of

Herakles 8
in one of the latter instances they are named
;

Arethusa
9

Dionysos.

and Premnusia.
They
Echo belongs perhaps

receive

also

rather to the

the

infant

Dionysiac

10
cycle, appearing as the beloved of Pan.

We may

next consider the personifications of cities and

which
are, indeed, in some cases more than merely
countries,
symbolical figures, being actual goddesses with a definite cult,
such as the Nymph Kyrene, who often appears on works of art. 11
II.

On the great Naples vase representing Dareios in a council

of war, personifications of Hellas and Asia are placed among
the spectator-deities, 12 and the former seems also to be indicated
on a similar vase with a battle of Greeks and Persians. 13 On
one of the late vases with the subject of Pelops and Oinomaos,
a personification of the locality Olympia appears to be similarly
1

Berlin 2165 - Reinach, i. 352.

cf. Serv. ad Aen.
Reinach, i. 346
:

209; Ann.

iii.

Roscher,
3

iii.

dell' Inst.

1882, p. 90 ff.
see

Studniczka,

6
7

B.M. E 804 =J.H.S.

B.M. F277.
B.M. F 149.

VOL.

II.

Munich

De

p.

xiii. p.

109
135.

10

384

Reinach,

i.

130

481.

Witte, Coll. a

cf.

11
ff.

i.

V Hotel Lambert,
Reinach, i. i.
B.M. E 228 (see note in Cat.) F 381.
See especially Studniczka, Kyrene,

pi. II

Kyrene^ p. 26, andyi/y.6 xiii.

4
See below, pp. 115, 116.
5

9
;

p. 1566.

B.M. 64, 6104:

Reinach,

and on the subject generally, J.H.S.

p. 47 ff.
12
Naples 3253 = Reinach, i. 194.
13
Naples 3256 = Reinach, i. 98.

ix.

DIONYSOS AND MISCELLANEOUS DEITIES

82

just

present,

Eleusis

is

as

on the Hieron kotyle the personification of

among the Eleusinian and other deities at

included

The city of Thebes is personified in several instances, especially as a spectator of Kadmos

"
3
"
also on a
bowl with reliefs
Megarian
slaying the dragon
the sending forth of Triptolemos. 2

the subjects on which are taken' from

4
the Phoenissae of Euripides.
Nemea> the scene of Herakles'

in the British

Museum,

victory over the lion, and of the death of Archermos, is similarly

5
personified as a Nymph in the representations of both subjects,

and the town of Krommyon as a Nymph protests against the

6
The Nymph Sparta occurs
slaying of the sow by Theseus.
7
Two cups of the early
her
horse.
from
once, dismounting
B.F. class usually known (from their subjects) as Cyrenaic, bear
representations of the Nymph Kyrene (see above) in one case
in the other holding a branch of silphium (the local
8
product) and surrounded by Boreads and Harpies (see above).
Among the Greek islands, Aegina and Salamis were supposed

with Apollo,

to have derived

their

who

and

names from Nymphs beloved of

Zeus,

these

are

Poseidon,
quasirepresented pursuing
9
we may also regard Europa as coming
personified figures
Zeus also pursues Taygeta, who is
under that category. 10
11
On one vase we
connected with the mountain in Laconia.
;

and Lemnos
Maenads
and a Satyr
two
given, presumably
A
in a Dionysiac scene where all the figures are named.
more genuine instance is that of the Nymph Krete on the
find the

names of the
in

B.M. F27I.
B.M. E 140

Delos, Euboea,

pure fancy, to

Talos vase, indicating the

Turning to other

islands

13

locality.

Plate LI.

Naples 3226 = Millingen, Anc. Uned.

Mon. i. pi. 27; Millin- Reinach, ii. 7 (in
Louvre) Berlin 2634 = Roscher, ii. 837.
3

u
10

B.M. 6319; Naples 325 5

ibid.

= Reinach,

466 (Petersburg 523), ii. 51.

74, 84; Ant. Denkm.
ii. i
see Arch. Zeit.'iSS$, p. 116, and
Loeschcke in Dorpater Programm for

i.

235
6

"

G 104.
;

B.M.
:

1887.

i.

2,

Boston Mils. Report, 1900, p. 63.

B.M. 64, B 6.
See Vol. I.

p.

ff.

341

we have Mount

features,

geographical

See above, pp. 19,

See above, p. 19.

24.

Reinach,

see

and

18,

10

144

ii.

Apollod.

Paus.
iii.

10,

iii.

i,

3,

i;

Hartwig, Meistersch.
12

48,

De

p. 491, note.
Witte, Coll. a fHdtel Lambert,

pi. 28.
1S

Jatta

Reichhold,

1501
pi. 38.

Furtwaengler

and

CITIES

AND COUNTRIES

83
1

Olympos transformed into a lyre-playing companion of Satyrs

or, again, river-gods such as AcJieloos, who as a combination of
man and bull, or with a fish-body like Triton, wrestles with
;

The river Nile appears once, but not personified

as
an
indication
of landscape. 3
In connection with the
only
of
Thebes
we
find personifications of the local river Ismenos
city
and the local fountain-Nymphs Dirke and Krenaia^
Herakles. 2

III.

Natural

such as Oinos

products,

(Wine) and Opora

only found personified among the Dionysiac

to
conceptions with which we have already dealt (p. 65)
these two names we may add those of Hedyoinos (Sweet
(Harvest),

are

Wine), Kissos (Ivy), Kalyke (Bud), and Rodo (Rose), the three
coming more under the heading of pet-names than of

latter

strict personifications.

Our next

IV.
(all
all

certain groups of personages

includes

class

feminine) which for the most part hold their own throughout
periods of art and literature, and are, so to speak, more

crystallised into definite mythological personages, associated

with the gods and human beings of the legendary ages. These
are the Muses, the Charites or Graces, the Horae or Seasons,
the Moirae or Eates, and the Erinnyes or Furies.

The Muses do not appear

so

in

frequently

vase-paintings

Two fine R.F.

sculpture, and mostly on later vases.
of
whole
the
nine
their
examples
(with
appropriate attributes)
5
call for mention
other vases give a more limited number,
or even single figures 6
but it must be remembered that in
as

in

Naples 3235
Roscher,
2

B.M.

iii.

Reinach,

i.

103

861.

E 437

(fish-body)

and

see

P. 101.

= Reinach, i. 12.
Naples 3226 = Millingen, Anc. Uned.
Man. i. pi. 27 (Ismenos and Krenaia)
Petersburg 350

Millin-Reinach,

Dirke

is,

sented in

ground

ii.

according to
the

7.

The nymph

Robert,

repre-

rising from the

to receive the child Dionysos at

his birth

i.

Cfr.

/.

Reinach,

cf.

Reinach

(otherwise Gaia)

Arch. Marchen,

figure

on the vase Petersburg 1792

Wiener
6

i.

see his

p. 185.

86

ii.

391

(see

Munich 805
ibid.

p.

277)

=
=

Vorl. iv. 4.

Fran9ois vase (at Peleus and Thetis'

B.M.
805; Berlin 2391,
2401 (Klio and Terpsichore) cf. Bull.
de Corr. Hell. 1895, p. 102 (in Louvre
nuptials);

three figures

named Ourania,

and Melpomene).

Kalliope,

DIONYSOS AND MISCELLANEOUS DEITIES

84

such cases identification

of a

as characterisation

is difficult,

by means

mask does not

or scenic

necessarily connote the

one
vase
of
a
Muse.
On
presence
Terpsichore is seen with
two figures inscribed as Mousaios and Melousa 1
but these
names
for
be
no
more
than
an
fancy
may
ordinary group of
lyre

Five of them are seen in a group with Apollo,

and Sappho, 2 and elsewhere they accompany

musicians.

Thamyris,
Apollo.

The Graces can nowhere be

identified on Greek vases, though

a
well-known
form
but there is an
type in sculpture
they
Etruscan kylix in the British Museum (probably copied from
a Greek original), which appears to represent them as an
;

The Horae

interior group. 4

or Seasons appear (without distinctive names) on the Francois vase at the nuptials of Peleus
and Thetis, and on the Sosias cup 5 in an Olympian assemblage

each case)

in

(three

also

two of them

at the sending forth

The three Moirae (Fates) appear on the

of Triptolemos. 6
7
vase
(as above), and once also at the birth of Athena
Francois
8
the Furies have already been discussed.
;

V. The personifications having reference to physical conditions (as distinguished from ethical ideas) are comparatively
few in number. They include Hebe (Youth), who by virtue
of her divine attributes has already been discussed in another
Hygieia (Health), who is also a fully developed

section (p. 77)

goddess, but only once occurs on a vase, except

the

among

somewhat vague personifications surrounding Aphrodite (see

and three others, regarded as of masculine sex.
pp. 43, 76)
These are Geras (Old Age), Hypnos (Sleep), and Thanatos
Geras is seen in combat with Herakles 9 Thanatos
(Death).
;

already been discussed

youth hovers over Alkyoneus,

has

B.M.

Reinach,

whom

Jatta 1538.

'

See

F478;

Arch.

526

71).

271.
i.

(p.

p. 32.

and see Jatta 654

1880,

instance.

pi.

19,

for

Gaz.

possible

a winged
Herakles overcame while

Hypnos

Berlin 2278

Ant. Denkm.

= Reinach,
E86i = Reinach,

Petersburg 350

Louvre
See p. 70; and also

Orestes.
9

as

B.M.

290.

p.

i.

i.

9.

12.

i.
156.
137, under

MISCELLANEOUS PERSONIFICATIONS

85

causes Ariadne to sleep while Theseus escapes 2 and

with Thanatos carries the body of Memnon, 3 or an ordinary
asleep

mortal,

to the tomb.

VI. Social advantages as apart from ethical qualities are

perhaps difficult to determine exactly but we may fairly rank
under this heading such ideas as are suggested by Chrysos
;

(Gold) and Ploutos (Wealth) Eirene (Peace) Nike (Victory)

and the numerous attendants of Aphrodite and Dionysos, such
;

Eunomia, Eudaimonia, and others already named (pp. 43,65).

5
Chrysos and Ploutos as boys accompany Nike in her chariot
Eirene s appearance on vases is doubtful, but she may appear
6
in one instance carrying the infant Ploutos.
The birth of
7
Ploutos seems to be represented in one instance.
But by far the most important personage in this class is
Nike (Victory), whose appearance as a winged female figure
is so often attested by inscriptions on R.F. vases that she can
She is especially popular
generally be identified with certainty.
as a single figure on the Nolan amphorae and lekythi of the
"severe" and "strong" periods, some of which are conspicuously
as

8
Altogether her appearances rival those
examples.
of Eros in number, though on the Italian vases they are far
Whether Nike ever occurs on B.F. vases is a very
fewer.

beautiful

point, and has been denied by many scholars, but

9
On
figures are not easy to explain in any other way.

doubtful

some

other works of art she does not appear before 480

1

on

Reinach,

i.

255, 451 (but see note 5

Reinach, i. 222 = Plate XXXIX. ;

Boston Mus. Report, 1900, No. 25. t
3
B.M. E 12; Reinach, i. 149 = Bau-

meister, i. p. 727, fig. 781.

4
B. M. 058
Fig. 123 ;Jahrbuch, 1895,

pi.
a

Dumont-Pottier,

Berlin 2661

i.

pis. 27-8.

Rayet and Collignon,

For Ploutos

see also Reinach,

i
i.
(at birth of Dionysos), and the following notes.
p. 257.

See

Munich 291= Reinach,

ii.

47 (more

probably Iris).
7
Rev. Arch, xxxvi. (1900), p. 93.

unless

B.M.

287,
574 (Plate
Oxford 312-314.
Studniczka, Siegesgottin (1898), and
in Reseller's Lexikon, iii. p. 318: see
also Sikes, Nike of Archermos (Came.g.

XXXVI.),

p. 72).

B.C.,

643

bridge, 1890), andf.ff.S. xiii. p. in ff.

Studniczka regards the following as
certain B.F. instances: B.M. B I, B io6 3 ,

I25 2 ,

B 334

Jahrbuch, 1889,

pis. 5-6,

figs. 2,

20 Jahn, Entfiihrungd. Europa,

pi. 5.

The

instances on late careless B.F.

B 356, B 357, B 652 in B.M.

are not to the point, as these belong to
the fifth century.
vases, such as

DIONYSOS AND MISCELLANEOUS DEITIES

86

"
the " Nike
of Archermos

is

be so identified

to

seems

it

probable that she was an offshoot from Athena, whom we

know to have been worshipped under the name of Nike, as in
her temple on the Athenian Acropolis.
She is frequently associated with the gods, either

from

scenes

in

*
groups apart from action
usually
she pours libations to them, or crowns them in reference to some

mythology or

in

Thus we

2
3
Zeus, with Hera, with
Athena, with Poseidon and Dionysos, with Apollo (especially
6
at his victory over Marsyas), with Artemis Elaphebolos, 7 and
8
with Aphrodite.
She frequently crowns or pours libations

achievement.

find her with

9
on the later
Herakles, or attends him at his apotheosis
vases she takes Athena's place in conveying him in a chariot

to

to

10

Olympos.

Among

numerous mythological events

the

which Nike

in

plays a more or less symbolical part may be mentioned the

11
Gigantomachia, in which she drives Zeus' chariot, the birth
of Athena, 12 the sending of Triptolemos, 13 the Judgment of
14
the birth of Dionysos 15 and that of Erichthonios, 16 and
Paris,
the punishment of Ixion. 17 Among Trojan scenes she appears

with Achilles arming, 18

and possibly

at his (supposed) fight with

also at that with

off of the Palladion. 20

She

is

B.M.
.444; Reinach, i. 157, i;
Mus. Greg, ii. 21, I Berlin 2278 = Ant.
Denkm. i. 9.
1

El. Cer.

14 (in B.M.); Reinach,

i.

i.

266 (N. crowning Z.);

Berlin 2167 (Z. and Poseidon).
3
El. Cer. i. 32 and iii. 38 (= Berlin
2317) ; Petersburg 355 = Reinach, i. 14.
66, 194, 417,

Naples 3373

Reinach, i.
6 10, E 523
5

B.M.

8
9

i, 3, 5,

35

B.M.

Cer.

37, 158 ;
i. 68.

i.

76

cf.

B.M. B 608,

B.M.
Pottier,

ii.
;

i.

14,

11

ii.

12
13

14

17

El.

18

19

48.

ii.

290.

262; Reinach,

i.

22,

251;

pi.

Mon.

Athens

B.M.

the

Dumontp.

69

3.

Grecs, 1875, pl s

1346

isJahrbuch, 1892,

Reinach,

i.

-2; Peters-

467.

410.

Reinach,

B.M.
B.M.

20

F
E

286

i.

109
182

Reinach,

i.

(?),

398

Reinach,

i.

Reinach,

i.

113

Berlin 3023

(Berlin

and

cf.

7.
i, 3.

B.M.

E 788.

Reinach, i. 330.
Overbeck, Her. Bildw. 18, 7.
Millingen, Anc. Uned. Mon. i. 22

Reinach,
be Eris).

432.

Telephos

at the carrying

2521).
15

Naples 1891

178;
i.

burg 523

253 (Bibl. Nat. 392),

310;

ibid.

and

(N. crowning H.).

10
See p. 107, note

445.

Reinach,

B.M.

El.

El. Ctr.

Reinach,
ii.

19

also seen with Herakles in

16

406, 511,
Cer.

ii.

Memnon,

i.

358 (unwinged figure;

Naples 3231

= Reinach,

i.

299.

may

NIKE

87

Garden of the Hesperides, with the Dioskuri, 2 with Perseus

and Bellerophon, 3 with Orestes at Delphi 4 crowning Hellas
as the victor over the Persians 5
and in many scenes with
1

Dionysos.

More numerous and characteristic, however, are the scenes in

which she appears as a single figure, or associated with mortals,

As a single figure she

usually victorious warriors or athletes.
most commonly pours a libation over an altar, 7 or flies towards
the altar bearing a torch, incense-burner, lyre, tripod, sash,
8

in one case (unless Iris is intended) a jug

Especially characterised as the goddess of
10
She frequently takes
Victory, she often holds a palm-branch.
in
and
sacrificial
as the decoration
such
ceremonies,
part
religious

or other attribute

and caduceus.

or dedication of a choragic tripod, 11 or burns incense, 12 or herself

13
sacrifices a ram or bull.
The last-named subject is, however,
commoner on gems and a certain class of terracotta reliefs. 14

On

one vase she gives drink to a bull

on a
altar.

On

19

Reinach,
Ibid.

i.

or

She pursues a

youth.

bull

sacrificial
17

16

5
6

Reinach,
Ibid.
Ibid.

i.
i.

attributes
;

Inghi-

49

10

390.
98.
i.

197, 8,

ii.

Vasenb.

19,
3 (torch); B.M.
251,
513, Roscher, iii. 329, Benndorf, op. cit.
B.M. E 574
47. 2 (incense-burner) ;

Oxford 274,
(lamp)
Reinach, ii. 235, 310,
a FHtitel Lambert,

Athens

De

nach,
48,

i.

180

(lyre)

410 (tripod)

(wreath).
plays on a lyre.

On
On

330
'-

Reinach,

i.

14

Jatta 1050.

455-56;

ibid.

Reinach,

403, 428

i.

Cab. Pourtalh, pi.

46: see

Reinach,

i.

i.

195,

Roscher,

iii.

6.

492.

'

lfi

Inghirami, Vasi Fitt. 361.

17

Athens 1026

Vasenb. 23,
18

op. cit.

Oxford 312 she

her costume and

ii.

B.M. F66 = Fig. 124; Naples 2684 =

Reinach, i. 474; Reinach, ii. 206 ; Boston
Mm. Report, 1898, No. 51.
H
J.H.S. vii. p. 275 ff.
Munich 386 = Reinach, ii. 46 =
Furtwaengler and Reichhold, pi. 19.

4,

Benndorf,

iii.

13

Witte, Coll.

Benndorf,
Athens 1362, Reipi.

47,

1362,

Petersburg 355

B.M. F 109
" B.M.
ii.

574 = Plate XXXVI. ; B.M.

287,
643; Reinach, ii. 7.
8
Reinacb, i. 254 (Bibl. Nat. 392),
340, Athens 1018 = Benndorf, Gr. u. Sic.

op. cit.

Roscher,

Munich 351 = Reinach,

above, p. 76, note 6.

108, 195.

B.M. Fi63; Reinach,

B.M.

see

generally

330.

p.

i.

198, 287.
7

amphorae and elsewhere she

the later Panathenaic

236.

ii.

a hydria on a fountain or
18
or offers a bird to a

places

rami, Vasi Fitt. 187.

3

she rides

or, again,

hare, doe, or bird,

361 (crowning them)

i.

15

i.

Benndorf, Gr. u. Sic.

2.

Oxford 265

B.M.

100.
19

Reinach,

ii,

216.

538

l.

CVr.

DIONVSOS AND MISCELLANEOUS DEITIES

88

holds

the afcpoarohiov or stern-ornament of a

and
ship
sometimes she erects a trophy. 2
She appears in a chariot drawn
3
by female Centaurs, or
4
and
accompanied by Chrysos
Ploutos (see above), and she also
l

conducts a victorious warrior in this manner. 5 In other instances

6
she pours a libation to a
warrior, who is sometimes inscribed
with a fanciful name 7 or,
again, as anticipating his victory, she
8
She is, however, more frequently seen
brings him his helmet.
;

in

athletic

scenes,

FIG.

124.

11

charioteer,
13

torch-races,
B.M.

i.

608

9 6.
2

iii.

Berlin 2211

= EL

Cfr.

12

Rayet and Collignon,

6
7

Reinach,
;

ii.

Millin-Reinach,

Jatta 1050.

B.M.
B.M.
B.M.

ii.

262 (Bibl. Nat. 364),

Reinach,

i.

268.

ii.

72.

13
i.

Reinach, ii. 320

35 (now in B.M.)

Pitt. 363.
14

45, 378, 2,

B.M. B607 ; Stackelberg, pi. 25

Oxford '288 (Cat. pi. 15) ;
(Hegias)
Louvre F 109 (? Agon).
pi.

264, 275,476, 576.

E 379.
E 128

i.

and see 298.

Millin-Reinach,

P- 257-

24

Reinach,
;

11

Berlin 2661

B.M. Fi7o; Reinach,

10

291

F 550.

or

187, 230, 292.

the inscription).

B.M.

10

rider,

or superintending the games in the palaestra, 12

or the taking of an oath by an athlete. 14
In

700; Reinach, ii. 326 =

326 (here she is putting on

athlete,

NIKE SACRIFICING BULL (BRITISH MUSEUM F 66).

ii.

B.M.

Roscher,

crowning a victorious

Reinach,

i.

322.

Tyszkiewicz Coll.
Inghirami, Vasi

NIKE

89

musical contests she performs the same

functions,
1

or pouring libations to a successful performer.

2
a successful potter in his workshop, and also

being of similar character,

in the figure of a
is

vases,

crowning

She crowns
a

who may perhaps be

poet

(?).

recognised

winged youth on some B.F. and early R.F.

Agon, the personification of

athletic contests.

On

the later R.F. vases the figure of Nike is often duplicated,

probably more to produce a balanced composition than for any

other reason.

The next class of personifications is that of abstract

Even on the earlier vases there are found a
but on the
considerable number of these, such as Eris (Strife)
VII.

ethical ideas.

given to the tendency of the age (seen

also in sculpture and painting) to invest every abstract idea
with a personality, apart from any idea of deification or

later,

unlimited play

is

mythological import.

Among

these,

by

far

the most numerous examples are, of

We

have already
course, those relating to the passion of Love.
traced the development of the type and conception of Eros in
vase-paintings, and in the same place we have had occasion
speak of the associated ideas which became personified as
subsidiary conceptions to that of Love, such as Peitho
(Persuasion), Pothos (Yearning), and Himeros (Charm), Phthonos
(Envy or Amor invidiosus\ and Talas (Unfortunate or Unto

6
Of a similar type are the feminine conceptions
requited Love).
associated with Aphrodite Eudaimonia (Happiness), Euthymia
7
(Cheerfulness), and the like.

Among other abstract ideas are those of Arete (Virtue) and

Hedone (Pleasure), which have been suggested as represented
on one vase. 8 On a R.F. vase in Vienna, Dike (Justice) is seen
1

ii.

B.M.

274.
2
Vol.
3
4

E 460,

Reinach,

i.

49, 378,

pp. 92, 97.

5

I.

i.

ii.

63.
(?)

Micali, Storia^ pi. 87

Petersburg 183 =
;
Reinach, ii. 126

;
Daremberg and Saglio, Diet. s.v.
Agon, fig. 1 80 Louvre F 109 see also
Burlington Fine Arts Club Cat. (1903),

(?)

B.M. F2o; Berlin 3023; Millingen= Mus. Greg.

Helbig, 90
60, 3 ; and see Knapp, Nike, p. 37.

Reinach, 36

223.

p.

Reinach,

B.M.

469

6
'

See above,
See p. 43.

p. 49.

= Reinach,
but more probably the scene
refers to Orestes and Pylades in Tauris.
*

i.

Jahreshefte, 1899, p. 16

279

DIONYSOS AND MISCELLANEOUS DEITIES

90

overcoming Adikia

Apate (Deceit) on the vase

council beguiles the goddess Asia with bad
2
3
hobos (Fear) drives the
advice, and also leads Tereus astray
chariot of Ares when he assists Kyknos against Herakles 4
Dareios

with

(Injustice)

in

he

specially associated with the

god of war, the idea being

that of inducing panic among enemies
and in many cases
his head appears, like that of the Gorgon, as a device on
is

In one instance he appears as a lion-headed monster. 6

Artemis, in the capacity of Aidos (Shame), hinders Tityos from
7
Eris (Strife) appears on B.F. vases as
carrying off Leto.
shields.

a winged female figure running, in scenes of combat, chariot8

But the identification is not
races, etc., or as a single figure.

always certain in some combat scenes it is possible that Ate

or a Ker is meant, and in those of an agonistic character we
;

may

Agon, the personification

see

p. 8 9 ).

of

athletics

(see

above,

VIII.

The metaphysical

ideas next to be discussed are almost

exclusively punitive agencies, either connected with scenes in

the under-world (Ananke, Poinae, and the Furies), or bringing

down

penalties and disasters on the heads of wrong-doers, such

as the personifications of madness which occur in many of the
tragic subjects on Apulian vases.

In the first group we reckon Ananke (Necessity) and the

Poinae (Punishments), who appear with the Furies in a scene
from the under- world, 10 Ate or Ker (Destiny), a winged figure
12
11
seen at the death of Hector and at the madness of Lykourgos

Vienna 319 = Reinach, i. 353

Dike in under- world see p. 69.
2
= Reinach i. 194.
Naples 3253
1

3
4

for

= Reinach, i. 239.
Naples 3233
Berlin 1732 = Reinach, ii. 66; B.M.

B 364, B
5

365 see Reinach, i. 223.

See Roscher, iii. p. 2934.
Louvre E 723 see Ath, Mitth. 1902,
:

Reinach,

i.

ii.

26,

B.M. 6334;

ruhe 259

i.

p.

18,

ii.

fig.

26,

i,

161

Bau-

20.

For unidentified winged deities see

Louvre F54 = Wiener Vorl. 1888, pi. 5,
Wiener Vorl. 1890-91,
fig. 2 (Exekias);
2
pi. 3, fig.

(Nikosthenes).

Naples 3222 = Baumeister, iii. p.

see p. 69.
1927, fig. 2042 A
n
see
Reinach, ii. 100 (now in B.M.
10

p. 255.
7

100 (with Pelops),

meister,

Class.

4 (in Louvre).
Berlin 1775

Kails-

Reinach,
Petersburg 1807
7 (at Judgment of Paris) ; Reinach, i.
;

12

fig.

Review, 1899,

p.

468).

= Baumeister, ii. p. 834,

Naples 3237
918 (?) see below, p. 91, note 3, for
:

other interpretations.

ABSTRACT -IDEAS
and Nemesis (Vengeance)
1

scene between Atreus and

the

in'

with reference to

its

Thyestes,
tragic circumstances the latter

is

91

In less
fate-fraught character.
a
in
bridal
scene, with
present

and an apple. 2 The Moirae or Fates

have already been mentioned (p. 83), as has Themis or Divine
Ordinance (p. 74).
attributes of a

flower

The second group includes Lyssa (Frenzy), who drives

3
Aktaeon, Hippolytos, and Lykourgos to madness or destruction
Mania (Madness), who similarly drives Herakles to slay his
;

children

4
;

and Oistros

when Medeia

functions

a Gad-fly), who performs similar

about to slay hers. 5

(lit.

is

IX. Personifications relating

such as

to social enjoyments,

games, the drama, or banquets, are closely analogous to many

of those described under headings III. and VI., and occur in the

Thus

same connection.

Dionysiac scenes we find Choro

in

Hedymeles (Sweet Song),

and Tragoedia (Comedy and
and Kraipale, typifying all-night

(Dance), Molpe (Song), Dithyrambos,

Komos

and

Tragedy),
revels

X.

Komodia

(Revelry),

and

Pannychis

their consequences.

there

Finally,

personifications

of

are

what M.

has

Pettier

under which

individualities,

described

heading

as
fall

conceptions which do not find a place in any of the

classes already discussed.
Among these are many of the names

many

Maenads and Satyrs (p. 65), which are intermediate

names and embodiments of abstract or
physical ideas, some inclining more to one side, some to the
other.
Of these it is only necessary to mention as illustrative
to

given

between

personal

of the present subject the Mainas 7 and the Nymphc 8 found

as names of individuals on several vases, and the Oinopion or
"Wine-drinker" on vases by Exekias. 9
*

2
3

Millingen-Reinach, 23.
Reinach, i. 173.
Ibid.

i.

229

(in

Boston)

B.M. F27I and Naples

meister,

ii.

p.

834,

fig.

The name

918

B.M. F279;

3237 = Baucf. Reinach,

of Typhlosis (Blindness) has also been suggested for the

figure on the Naples vase.
i.

331,

I.

Vol.

I.

p.

480 (Assteas vase

in

Ma-

drid).
a

Munich 810

See above,

B.M.

Reinach,

i.

363.

p. 65, for instances,

492; Naples 2419

Karls-

ruhe 208.
8

Berlin 2471.

B.M. B2io

see p. 58, note 19.

92

DIONYSOS AND MISCELLANEOUS DEITIES

To the same class belong the names given to Nymphs of

various kinds, such as the Nereids (see p. 26) or the Hesperides.
The latter are named on one vase 1 as Asterope, Chrysothemis,
on another 2 as Aiopis, Antheia, Donakis,
Kalypso, Mermesa, Nelisa, and Tara.
Of more general signification, and sometimes perhaps to be
regarded as descriptive titles rather than names, are such as
Archenautes (Ship-captain), 3 Komarchos (Master of Revels), 4
Hygieia, and Lipara

On the other hand, Neanias, Komos,

Paian (given to boys at play), 6 and Eutychia (on the tomb of a
r
woman) may be merely fanciful personal names.
or Paidagogos (Tutor). 5

3
4

B.M.

224.

Naples 2873 (Assteas).

B.M.
455.
Munich 378.

6
7

Naples 3255 = Reinach, i. 235.

Berlin 2658 = Reinach, i. 375.

B.M.

Fin.

CHAPTER XIV
HEROIC LEGENDS
Kastor and Polydeukes Herakles and his twelve labours Other contests
Relations with deities Apotheosis Theseus and his labours Later
scenes of his life Perseus Pelops and Bellerophon Jason and the
Argonauts Theban legends The Trojan cycle Peleus and Thetis
The Judgment of Paris Stories of Telephos and Troilos Scenes from
the Iliad The death of Achilles and the Fall of Troy The Odyssey-

The

Oresteia

Monsters

Attic

Historical

and other legends Orpheus and the Amazons

and literary subjects.

IN treating of the subject of heroic legends, we propose to

deal first with the more prominent heroes, such as Kastor and
Polydeukes, Herakles, Theseus, and Perseus, and with the tales
of Thebes and

Troy

next with the series of myths connected

specially with Attica or other localities then with semi-mythical

personages, such as Orpheus and Thamyris, which lead us
;

on to the next division of the subject

Greek history.

scenes connected with

Kastor and Polydeukes do not play a very extensive part

on vases
and as they are not further characterised than by
the petasos and two spears, which are the ordinary equipment
;

of young horsemen, they are not always to be identified with

certainty, except in mythological scenes.
Among these they
the Gigantomachia, 1 or in company with Herakles
are initiated into the lesser mysteries at Agra 2 they are also

appear

in

seen at the apotheosis of Herakles. 3

1

Athens 1259

= Reinach,

i.

506

They
2

Mon.

Grecs, 1876, pis. 1-2.

93

are present

B.M.

F 68.

Reinach,

ii.

186.

when

HEROIC LEGENDS

94

Leda

by Nemesis, and on two B.F.

vases appear with Leda and Tyndareus in a family group 2
3
they are also seen in company with Hermes, with Paris and
4
5
Helen, with Danaos taking refuge in Attica, in a scene from
discovers

the egg laid

6
the Merope of Euripides, and at the slaying of the Sphinx by
8
7
They take part in the hunt of the Calydonian boar,
Oedipus.

and

many

in

of Talos,

scenes from the Argonautika, such as the death

10
Amykos, and others of doubtful

the punishment of

11

There

meaning.

is

more than one representation of

their

12

the best being the beautiful

carrying off the Leukippidae,
Meidias vase -in the British Museum (Plate XLI.), where all the
14
13
They appear as hunters, as deified beings
figures are named.
15
present at a Thcoxenia (lectisternium\ or feast of the gods,
16
and are crowned by Nike (with stars over their heads).

HERAKLES
Of all the heroic legends the most numerous and the most
important are those of the Herakleid. They appear on vases
of all periods, though in the largest proportion on the blackfigured varieties, and include every event in his life, from his
birth to his deified life in Olympos.
Of the visit of Zeus to

mother Alkmena we have already spoken, as also of her

17
As an infant we see Herakles engaged in strangling
apotheosis.
his

Petersburg 2188 = Reinach, i. 8 ;

Reinach, i. 279 ( = Baumeister, i. p. 635,
In Ant. Denkm. i. 59
fig. 706) and 380.
1

at Boston) and in Berlin 2430 they

do not appear in this connection.
2
B.M. B 170 Helbig, 78 = Reinach,
i.
96 = Wiener Vorl. 1888, pi. 6, i

(now

Reichhold, pis. 38-39.

10
Bibl. Nat. 442 = Reinach,

Wiener
"

Jatta 1095

scene)
I2

Vorl. 1889, 12,

Lexikon,

(Exekias).
3

l3

ii.

79

= Reinach,

Reinach,

Reinach,

853),

ii.

5.

i.
119 (Phineus
226 (in Louvre).
231, 507 (= Athens

i.

i.

see

Roscher's

generally

s.v.

Leukippiden.
E 224 = JFurtwaengler

B.M.

and

Millin-Reinach, ii. 44 (doubtful;

perhaps Zethos and Amphion).
4
=
Petersburg 1924 and 1929 Reinach,

probably influenced
by the painting by Polygnotos of this

i.

subject (see Vol.

9.
5

Reinach,
Ibid.

i.

i.

244.

E 696.

B.M.

Fran9ois vase

15

Reinach,

i.

Reinach,

361

B.M.

i.

I. p.

484

443).
:

Bibl.

cf.

B 633 = Wiener

I6
i.

230,

ii.

119.

Reinach,

8-9

pis.

Nat.

388.

363.

Reichhold,

Furtwaengler and

Inghirami,

Vast Fitt.

Vorl. iv. 9, 3.
ii.

Reinach, i. 361 (rev. of vase).

" See
p. 19.

187

cf.

HERAKLES

95

the serpents sent by Hera, while his brother Iphikles recoils in

l
later on Hera appears to be reconciled to his existence,
terror
;

for she

is

him

actually seen suckling

at her breast.

Next he

is

Centaur for his education, 3

and we see him undergoing instruction on the lyre from Linos, 4
5
or on his way, accompanied by an old woman carrying his lyre.
By the time when his series of labours begins he is usually
carried off

by Hermes

to Cheiron the

represented as a full-grown bearded man, especially on the

but he appears in a few instances as a quite
archaic vases
youthful beardless figure.
;

Of all

the achievements of Herakles the most famous are the

Twelve Labours, to which he was subjected by Hera at the hands

find them all represented on vases, with the
of Eurystheus.
of the Augean stables, which may be
of
the
cleansing
exception
too many difficulties to the painter
have
offered
to
presumed

We

only occurs once in the whole history of Greek art, on a

metope at Olympia. The horses of Diomede only occur once,
the Keryneian stag thrice, and the Stymphalian birds five times
it

but the rest

Herakles

may

be described as common.

by Athena

is

usually accompanied
frequently, by lolaos and Hermes.
I.

In

all
;

these scenes

but

also,

less

The Nemean Lion.

"

"

normal types on B.F. vases, 6

with one or two abnormal versions on R.F. vases the treatment

Of

this subject

we

two

find

less stereotyped.

is

B.F. (i) Standing type

Herakles plunges sword into

lion's

neck

(both upright): B.M. B

H.

strangles lion:

160, 6232, 6621 (Plate XXX.).

Berlin 1720 = Wiener Vorl. 1888, 6, 3

Wiener Vorl. 1889, 6, 3 (Charitaios).

Herakles stoops and strangles lion
Crouching type
B.M. B 159, 6199, 6318 (Fig. 125); Petersburg 68 =
Wiener Vorl. 1889, 4, 6 (Taleides).

(Exekias);
(2)

B.M. F479

Arch. 1875,
2
3

4*9>
4

pi.

Reinach,

i.

229; Gaz.

14 (in Louvre).

B.M. F 107.
Munich 611 and 291 =1leinach,

i.

47-

Munich 371

= Ber. d.

1853, pi. 10, i, p. 145. He is represented

as attacking Linos, who had found fault
with his playing.
5

Reinach,

i.

326 (Iphikles herewith

Linos).
sacks. Gesellsch.

fl

See B.M. Cat. of Vases,

ii.

p. 13.

HEROIC LEGENDS

96
Abnormal

(3)

Reinach,

Wiener

Lion on

ii.

its back ; Herakles

slays it with club
Herakles pursues lion: Louvre Fio8 =

52.

Vorl. 1890-91, pi.

i,

5 (Nikosthenes).

R.F. (i) Herakles with lion over shoulder about to hurl it on

Eurystheus (type borrowed from Erymanthian Boar, see

B.M. B 193 = Plate XXXII. (Andokides).

Munich 415 = Reinach, i. 150 = Baumeister,
p. 656, fig. 723; B.M. Ei68; Rom. Mitth. v.
(1890), pi. 12 = Wiener Vorl. 1890-91, 7, 2 (Nikosthenes,
in Boston).
See also B.M. E 104 (abnormal).

below):

Crouching type:

(2)

i.

FIG. 125.

We may

HERAKLES AND THE NEMEAN LION

which Herakles

also note here a curious B.E. vase, on

Nemea

is seen in the forests of

own

(BRITISH MUSEUM).

preparing the lion's skin for his

wear.

II.

The Cretan

Type

Bull.

Herakles seizes the bull from the front and

ties its legs

with

a cord.

B.M. B 309

B.F.

55, 5

B.M.

R.F.
in

Berlin 1886, 1898; Helbig, 31

= Baumeister,

Boston)

i.

Reinach,

ii.

p. 660, fig. 727.

104; Wiener Vorl. 1890-91, pi. 7,

Rom. Mitth. v. (1890), p. 324.

(Nikosthenes,

Athens 1931.
Berlin 3145 = Millingen-Reinach,
;
See also a very remarkable vase in Forman Sale Cat. No. 305
(now at Boston), where the same subject appears each side, one
2
B.F., the other R.F. (by Andokides).
Late.

Reinach,

ii.

subject

70.

Furtwaengler,

however,

thinks the

is

Herakles sacrificing a bull (Gr.

see below, p. 106).

Vasenmalerei, p. 16

LABOURS OF HERAKLES
III.

97

The Erymanthian Boar (see Klein, Euphronios,

p. 87).

(1)

The

(2)

B.M. 6462; Louvre F 236 Berlin 1981, 2034; Naples 2705

and S.A. 150; Athens 858, 860 (all B.F.).
The bringing back of the boar (Eurystheus absent; Athena usually

capture:
;

receives the hero)

B.M. 6447, 492; Cambridge 57; Munich 694; Athens 1097

(all B.F.).

HERAKLES BRINGING THE BOAR TO EURYSTHEUS

FIG. 126.

(3) Herakles hurls the boar

(BRITISH MUSEUM).

upon Eurystheus, who hides himself

a large^sunk jar (*tfbf)

B.F. B.M. B 161 (Fig. 126)
Louvre F 59, 202.

in

:j

R.F.
pi.

Reinach,

ii.

55,

Helbig, 37

B.M. E 44 (Euphronios) = Furtwaengler and Reichhold,

23; Louvre G 17= Wiener Vorl. 1890, pi. 10.

IV. The Keryneian Stag.

B.F.

B.M.

R.F.

Reinach,

169,
i.

6231.

233.

dispute between Apollo and Herakles over a stag (Rein. ii. 56, 3
34) may perhaps be referred to this subject, as the myth is
:

see p.

not otherwise known, but it

to thwart Herakles' capture.

VOL.

II.

is

more

usually Artemis

who endeavours
7

HEROIC LEGENDS

98

V. The Stymphalian Birds.

Found only on four B.F. vases (B.M. 6163; Louvre F 387 ;

Arch. Anzeiger, 1892, p. 172 and Munich 1 1 1 1 = Reinach, ii. 58) and
one late example (Reinach, ii. 297). Herakles shoots the birds with
;

bow and

arrow.

VI. The Lernaean Hydra.

This subject, occurring only on archaic vases, has no very

fixed type the Hydra has seven or nine heads, and the body of
a serpent or of a cuttle-fish.
lolaos sometimes assists Herakles,
;

and

in

two cases the crab sent by Hera

is

also visible.

B.F. Early: Reinach,

i.
389; Jahrbuch, 1898, pi. 12; Reinach, i.
118 (6)
Louvre
851.
Later: Reinach, i. 118 (i) = Berlin 1854 (crab); ibid. 118 (3);
118 (5) = Louvre F386 = Millin-Reinach, ii. 75 (Athena

ii.
53 = Baumeister, i. p. 657, fig. 724;
Wiener Vorl. 1889, 7, 3
see also Athens
Gr.
Vasenb.
two successive
where
Heydemann,
pi. 4, i,

slays crab);

Reinach,

Berlin 1801

792 =

scenes are given.

R.F. Reinach, ii. 76. Hydra has

body and ten or eleven

cuttle-fish

heads.

VII. The Horses of Diomede.

Naples 2506

Reinach,

297

ii.

(?).

VIII. The Augean Stables.

Not found on

vases.

IX. TJu Combat with Geryon and Capture of his

very favourite subject on B.F. and early vases, including

some of the
only

Cattle.

finest specimens.

three-headed, then

armed warriors

Geryon

is

triple-bodied,

united, one or two of

Herakles attacks with bow.

wounded.

"

at

first

winged and

represented

whom

generally

"

Proto-Corinthian
B.M. h.^=J.H.S.
Early B.F.
Chalcidian: B.M. 6155; Bibl. Nat. 202 = Reinach,
:

253

= Plate XXII.
1

Cf. Paus. v. 19,

three

as

rpets &vdpes dXX^Xois irpoffcx^f

JI-

V01-

v.
ii.

p.

fall

176.

58 and

LABOURS OF HERAKLES
Louvre F 53

B.M. 6156, 6194;

Late B.F.

99

= Reinach,

ii.

59

Baumeister, i. p. 662, fig. 729 (Exekias) ; J.H.S. xviii. p. 299,

and Bibl. Nat. 223 (abnormal types).
R.F. Munich 337 (Plate XXXVIII.) = Furtwaengler and Reichhold,
22 (Euphronios) ; Noel des Vergers, Etrurie, pi. 38.
Berlin 3258
Naples 1924= Millingen-Reinach, 27.

Late.

The

driving off of the cattle by Herakles

B.M.

104; Reinach,

ii.

58, 5

also represented

is

and see Klein, Euphronios,

p. 6r.

X. TJu Girdle of Hippolyta.

B.M. 6533.

B.F.
Late.

Naples 3241

Reinach,

i.

384.

Besides the scenes in which Herakles is evidently capturing

the girdle, there are many vases on which he is seen in combat
with Hippolyte and other Amazons, such as Andromache or
Alkaia, assisted himself
B.F.

Cat
R.F. B.M.

lolaos or Telamon.

154, B 426 Louvre E 875 Cambridge 44; Bourguignon

18 (Exekias) ; Berlin 3988= Coll. Sabouroff, i. pi. 49.
E 45; Reinach, i. 166; Bibl. Nat. 535 = Reinach, ii. 265 ;

B.M. B

Sale

by
;

Bologna 322 ; Reinach, i. 353= Wiener Vorl.

= Reinach, i. 206.
Jatta 423

vii. 4,

(Duris).

Late.

XL
The

Fetching Kerberos from Hades.

various types and methods of representing this subject

have been collected

may be given

in

J.H.S.

xviii. p.

296

as typical

examples

Early B.F. Louvre E 701 = Reinach, i. 153 ; Reinach, i. 389,

Late B.F. J.H.S. xviii. p. 295 (in B.M.) ; Reinach, ii. 69.

R.F.
Late.

ii.

32.

viii. (1893), pi. 2

(in Berlin) and p. 160 (in Boston).
"
"
several of the
under-world vases, see p. 68, Nos. 1-4, 1 1.

Jahrbuch

On

XII. Fetching the

Golden

Apples

from

the

Garden of

ttie

Hesperides.

There are two versions of

to

be

the

earlier,

In one, which seems

the apples, while Herakles
The vases
(see above, p. 75),

this

Atlas fetches

supports the universe for him

myth.

HEROIC LEGENDS

ioo

representing Herakles in the Garden surrounded by the Nymphs

(for whom see p. 92) are almost all of the later period
:

B.F.

Benndorf, Gr.

Vasenb.

u. Sic.

pi.

42,

i.

B.M. E 224 = Furtwaengler-Reichhold, 8-9 (Plate XLL).

Late.
B.M. Fi48; Naples 2873 = Millin-Reinach, i. 3=-Wiener
VorL viii. 12, 3 (Assteas) and Naples 3255 = Reinach, i. 236 =

R.F.

Baumeister,

i.

p.

686,

fig.

745.

Athens i894 = Reinach,

Parody.

506

i.

(?).

Besides the somewhat insignificant part that he plays in

the Gigantomachia, 1 Herakles had several independent combats
Of
of his own with gigantic monsters and such-like beings.
these the most popular subjects are Antaios and Alkyoneus.
The legend of Herakles' wrestling with the former is familiar
from Pindar 2 on the vases Antaios is not characterised as a
;

giant in size or otherwise, but his mother

Gaia

is

generally

present.

Alkyoneus, on the other hand, is represented as a being of

4
a small winged figure
gigantic size, lying asleep in a cave
which sometimes hovers over him has been interpreted by
;

some

might also be a Krjp davdroio,

Herakles generally attacks him with
or harbinger of death.
club or bow and arrow, but on one vase is depicted gouging
on another he is assisted by Telamon with
out his eye 6
a stone. 7
Another giant with whom we find the hero contending is Cacus, whose oxen he carried off. This is a purely
Roman myth, and belongs rather to the legends of the Roman
Hercules, but curiously enough it finds a place on one Greek
as

(Sleep), but

Hypnos

Seep.

106.

Isthm.

iii.

B.F.

B.M. 6196, 6322

Reinach,

example
Reinach,

90.

in
i.

ii.

62

Munich

an early Athenian

J.H.S. xxii. pi. 2.

242 = Wiener VorL

R.F.
v.

(Euphronios) ; Athens
See also Vienna 322 = Reinach,
1166.
i.
339 and Munich 605 = Ber. d. sacks.

Louvre

103

Gesellsch. 1853, pi. 8, fig.

i.

B.M. 6314; Berlin 2057; Louvre

F 208 = Reinach, i. 452; Munich 1180=

Reinach, i. 255, 2, and Helbig, 228

Ber. d. sacks. Gesellsch. 1853, pis.
i.
255, i
fig. 2, and 8, fig. 2; Reinach,

=
5,

i.
p. 49, fig. 56 ; Reinach,
The only R.F. examples pub451.
lished are Munich 401 (= Furtwaengler

Baumeister,

i.

and Reichhold,

pi.

d. sacks. Gesellsch.
5

See above,

Bibl. Nat. 322.

iv.

Cambridge
46.

32) and 605

1853,

(=

Ber.

pi. 7, fig. i).

p. 72.

43:

cf.

Find.

Nem.

ADVENTURES OF HERAKLES

101

vase of Sicilian origin, which represents Cacus in a hut with

1
the oxen and Herakles playing a lyre in triumph.
Herakles is
with
One of the commonest subjects connected

combat with Kyknos, the son of Ares, described at length

Hesiodic Scutum Plerculis. It is mostly found on B.F.
"
"
vases, the usual
type showing the two combatants supported
by Athena and Ares respectively in their chariots, while Zeus
his

in the

2
One late R.F. vase
appears in the midst to interrupt them.
seems to show the preparations for the combat, in the presence
3
another vase,
Amazon, a Fury, and other personages
the subsequent attack made on Athena by Ares. 4
We find him in combat with Acheloos, the river-god, repre-

of an

sented as a bull with the face of a bearded man, 5 or occasionally,

6
by confusion with a sea-deity, with the body and tail of a fish.

This latter form

assumed by Triton, with

is

hero contends, 7 though the

myth

is

unknown

whom

also the

Of

in literature.

similar import is his combat with Nereus, the old man of the
sea ( 'A\t,os Pe/owi/), who appears in human form as an aged
r

"
the " type
employed on B.F. vases is similar to that
Peleus wrestling with Thetis (see below, p. 120), with

man
of

similar indications of the sea-god's transformation into animals.

In one case an air of humour is imparted to the scene, and

Herakles

is

smashing the furniture

represented

Nereus'

in

house. 9

Another important
Herakles'

adventures

xiii.

/.ff.S.

B.F.

Vorl.

1890-91,

Berlin 1732
Vorl. 1889,

I,

6,

I,

2 (Kolchos).
ii.

i.

B 364 ( = Wiener

Nikosthenes) ;
Reinach, ii. 66 = Wiener
pi.

E 73 Reinach,
= Wiener Vorl.

Jatta 1088
iii.
4 see

Vorl.

197,

47, 68,

D.

R.F. B.M.
(?), and i. 223
:

(Pamphaios).
Reinach, i. 475 = Wiener
pi. 5

Arch. Anzeiger, 1898,

pi.

227.

5,

3 (Timagoras)

fig.

No

Reinach,

good

i.
:

Reinach,

examples

346).

ii.

61.

Vasenb. pi. 32,

9

R.F.

B.M. B 225

Athens 1202

B.M. 6228, 6313; Berlin

Munich 25i=Reinach,
1851-52. R.F.
B.F.

51 (vase in

p.

to his early

6
B.M.
437 = Reinach, ii. 62 =
Wiener Vorl. D. 6, 2.
7
Berlin
B.F.
B.M. 6223, 6311
1906; Louvre F38 = Wiener Vorl. 1889,

Reinach,
8
B.F.

Boston).
5

made

with

under

fall

259.

1894, p. 285.

Rom. Mitth.

concerned

is

Centaurs, which

the

pp. 71-2.

B.M.

with

Allusion has already been

several headings.

group of subjects

Reinach,

i.

R.F.

255 =
162;

Bibl. Nat.
:

Benndorf,

4.

339 (R.F.).

B.M.
Gr.

i.

(see

Sic.

HEROIC LEGENDS

102

education by Cheiron, and again we see him paying a visit of

a peaceful nature to the aged Pholos, who entertains him by
1
The smell therefrom attracted the
opening a jar of wine.

Centaurs and led to a combat, which we see vividly

depicted on many early B.F. vases, on which it was a favourite

other

on

subject, as also

later ones.

We

him

also find

in

combat

particular Centaurs, from whom he rescues a woman

Thus we see Hippolyta delivered from
carried off by them.

with

and Deianeira from Nessos 4 or Dexamenos 5 (the

latter appears on later vases only, and there seems to be no
distinction between them in the myth).
Other adventures in which he engages include the freeing
of Prometheus from the vulture, which he slays with his
bow 6 the bringing back of Alkestis from Hades 7 the
Eurytion,

seizure of the Kerkopes, a pair of brigands, whom he carries

8
and his capture by
off head downwards over his shoulders
;

Busiris

in

with his escape after slaying the king's

Among rarer myths may be mentioned

Egypt,
10
negro attendants.

a possible reprethe vines of Syleus n

12
and
sentation of his contest in drawing water with Leprcos
the
and
of
his combat with Erginos, the king
Orchomenos,
of

destruction

the

13
capture of his heralds.

vase in Athens, on which he

B.M. 6226; Helbig, 27; Reinach,

R.F.
(one = Bologna 195).
Reinach, i. 221 and i. 41 (= Petersburg

64

ii.

1272, curious).
2

B.F.

1900,

/.ff.S.i. pi. I ;
pi. 6 (Proto-Corinthian)
Berlin 336 (= Reinach, i. 448), 1670
;

ibid.

Late:

221.

i.

Reinach,

R.F.

64, i), 1737.

ii.

i.

F 43

B.M.

Millin-

68.

= Reinach, i. 40.
Petersburg 1787
*
B.M. B 30; Berlin 1702 ;
B.F.
= Ant. Denkm. i.
Helbig, 5 Athens 657
:

852

42,

Man. Antichi,

Reinach, 33.

2
fahrbiich,
Bibl. Nat. 393

pi. 5,
9
10

B.F.

ix.

ibid. p.

pi.

10

3 (in

B.M.);

Millingen-

p. 280.

i.

Reinach,

Vienna 21 7

i.

= Reinach,

B.M.
(Caeretan hydria). R.F.
Athens ii75 = Dumont-Pottier, i.

397.
i.

169

38;

pi.

18

See Hartwig, Meistersch.

Berlin 2534.
p. 53, note i.

B.M.

364 ; Reinach, i. 229, 338-392Berlin 4027

Reinach, i. 338: cf.
Aelian, Var. Hist. i. 24.

12

Reinach, i. 156.
176; Boston Mus.

Report for 1900, p. 49, No. 17 (Aristophanes and Erginos).

Naples 3089

388.

Reinach,

Louvre
57
B.M.
R.F.

i.

Louvre F 60.
8
Oxford 249; Berlin 766-67 Munich
783 Reinach, ii. 59, 10. Late R.F. Berlin 2359.
Parody Schreiber-Anderson,
7

Amer. Journ. of Arch.

Berlin 1722; Reinach,

is

1S

ii.

Reinach,

p.

423

i.

i. 475 and
633 (capture of

384, and see

Louvre

heralds): see for the myth, Paus. ix. 17,

Apollod.
2, ix. 25, 4; Diod. Sic. iv. 10
;

ii.

4,

"

ADVENTURES OF HERAKLES

163

1
depicted dragging two Satyrs in a leash, depicts an unknown
as do those which represent him contending with
myth
2
Geras, a personification of Old Age, and beating a winged
;

Ker with his club. 3 In company with Athena he attacks an

unknown man, 4 and he is also seen leading a Sphinx. 5
Next we turn to the relations between the hero and the
Olympian

other

or

which

deities,

often

take

the form

of

Of these the most famous and important

disputes or combats.
is his capture of the Delphic tripod, for which he
fights with
6
Apollo, generally in the presence of Athena and Artemis

one instance Herakles

in

seen in Athena's chariot, carrying

other vases represent the final

is

tripod off with him

8
reconciliation with Apollo.

the

There is a curious representation of

a combat between Herakles and Hera (depicted as the Roman
Juno Sospita, wearing a goatskin on her head), with Athena
and Poseidon assisting on either side. 9 Another rare and interesting subject is that of his attack on Helios, whom he
sunrise

at

to

prevent his journey after Geryon's

cattle
Herakles is shown waiting
becoming known.
for the chariot of the sun-god as it rises from the waves, and
interrupts

from

10
later stage of the story
preparing to discharge his arrows.
is illustrated by a fine R.F. vase, where he
voyages over the
sea in the golden bowl given him by Helios. 11
Lastly, he

Hera and

defends
12

Seileni.
it

gods,

is

Iris against the attacks of a

other scenes where he is associated

In

troop of
with the

in his divine capacity after his apotheosis.

His relations with women are not so frequently depicted

but we have at least one representation of his visit to
1

2
3

Athens 970.

Reichhold, pi. 32 (Phintias)

Reinach,
224. Late: Naples 1762 = MillingenReinach, 30.
;

Berlin 1927 (?)

B.M.

Arch. Anzeiger, 1895,

i.

290.
P-

37 (R.F.

in

Berlin).

Stackelberg,

Bibl. Nat. 174.

Boston Mus. Reporter 1898, No. 33.

B.F.
B.M. 6195, 6316; Bibl.

Nat.

251

B.M.

255

Reinach,

fig.

ii.

(= Hoppin,

318,
5);
Wernicke-Graef,
pi.

252.

R.F.

10

2159=
pi.

ii.

Euthymides,

458; Berlin
Ant. Denkm.

Munich 401

pi. 15.

Munich 1 294 = Reinach, 1.403

4 = Wiener Vorl. ii. 8.
9
B.M. B 57.
8

27,

Furtwaengler and

Cambridge 100; and see J.H.S.

pi. 9.

ibid.

xix.

"
Helbig, 232 = Reinach, ii. 59; a
B.F. example in Rom. Mitth. 1902, pi. 5.
2
B.M.
65 = Reinach, i. 193.
'

HEROIC LEGENDS

104
l

Omphale

of his

or, again,

entertainment by Eurytos,'2 the

3
carrying off of his daughter lole, and the subsequent fight
4
His rescue of Deianeira from the Centaur has
with Eurytos.

already been alluded to, and there may also be a reference to

his carrying her off from her father Oineus. 5
Hesione is not

found with him on vases, but he is seen carrying off Auge 6

he is also associated with a Nymph, who may be Nemea. 7
On one vase he pursues, with amorous intention, a woman, who
;

may

8
possibly be intended for Athena.

remarkable vase-painting

by Assteas of Paestum depicts

by hurlon
a
on
which
he
has
them
thrown
the
fire,
already
ing
furniture
his
and
household
mother
others look on, express9
In more peaceful mood he is seen
ing various emotions.
10
grouped with his wife Deianeira and their son Hyllos, or
Herakles

in

fit

of madness destroying his children

with Oineus, his father-in-law. 11

We now proceed to note a few subjects which do not admit
of more exact classification. Herakles is initiated into the lesser
12
mysteries at Agra, together with Kastor and Polydeukes, and is
conducted by Hermes to the revels of the Scythian Agathyrsi
13
He is also sometimes seen carrying Hades on
(cf. p. I79).
14
but the
back, the latter bearing a large cornucopia
He accompanies the
signification of this subject is unknown.
15
Argonauts on their wanderings, and appears as a single

his

from a bow. 16

figure shooting

He
7

B.M. F494; Berlin 3291 heads of

Herakles and Omphale, Bibl. Nat. 866.
Louvre
635 = Reinach, i. 151 =
Rayet and Collignon, pi. 6 Mon. Grecs,
1

8
a
lo

21-2 (1893-94),
3

i.

B.M. B 165

pi.
;

14 (in Louvre).

J.H.S.
p. 64.

12
;

Monuments

Piot,

ii.

p. 53.

Athens 477, according to Pettier in

Kevue des tudes Grecques, 1895, p. 389.
6

"

19 Jahreshefte, 1900,
slaying of Iphitos is reprea white-ground cup in the

Anzeiger, 1891, p. 119 (in Berlin);

a burlesque of the subject is given in
Fig. 105, Vol. I. p. 474.

Reinach,

'

represented per-

ii.

Oxford

322

iii.

p.

ii.

71.

75.

Fig. 107, Vol.

I.

p.

480.

Reinach,

ii.

62

762.

Naples 3359

see note

The

sented on

Louvre,

xii. pi.

see note 5 below.

often

Millin-Reinach,

Roscher,

Athens 477 = Reinach,

519 (Melian vase)

is

Reinach. 1.403

and

5.

B.M. F 68.

Hartwig, Meistersch. pi. 38, p. 422.

u Bibl. Nat. 822 =
Millin-Reinach, ii.
10

Ber.

d. sacks. Gesellsch.

See above,
15

1855, pis. 1-2.

p. 67.

Reinach,

i.

226.

Berlin 2164 cf. Athens lii<) = Ath.

Mitth. 1901, pp. 146, 149.
16

HERAKLES
forming an act of

sacrifice,

where he

scenes,

Lemnian goddess, must

the xoanon

to

sacrifices

1
or in
a single figure
2
Some of these
animal.

either as

ram or other

groups, sacrificing a

105

of

a local

Chryse,

refer to the story of Philoktetes, with

which he was connected. Or, again, conversely, we see a statue

4
A
of Herakles made the subject of offerings from others.
scene from the story of Antigone (see below, p. 119) is represented as taking place before a shrine, in which stands the
5
He also
hero interceding with Kreon for her life.
6
appears as protecting god of Attica, and also of the palaestra,
with reference to his traditional founding of the Olympian

deified

games.
Finally, there is a series of subjects which (as in the
case with most of the preceding section) may be concerned
with Herakles either before or after his apotheosis.
7

Among

these are the

numerous vases

where

(especially B.F.)

he is represented as being greeted by Athena or conversing

with her, 8 or receiving a libation from her. 9
These may
either refer to his receiving visits of encouragement from her
in the

her

intervals

in

between

Olympos

labours, or

his

Many

below).

(see

to

his reception

vases

represent

by
him

in
company with Dionysos and other
With Hermes and lolaos he takes part in a pro-

banqueting, usually
deities.

10

n
and he
accompanied by music
overcome with wine and forming a subject
cession

B.M. 6473; Berlin 1856, 1919.

(Nikosthenes)

Berlin 3256 (Argonautic

ii.

B M. E 494

Reinach,

ii.

180

?).

(?see p. 106, note 7)

On

Chryse see Class. Review, 1888, p.

the same figure occurs on the
123
B.M. vase
224 in connection with
;

B.M.

Jatta 423

Reinach,

i.

205.

Reinach,

F278

for

H.

i.

ii.

25.

257; and

at

Olympia

B.M. D 14 ; Munich 369 = Furtwaengler and Reichhold, pi. 24 (Duris)

Benndorf, Gr. u. Sic. Vasenb. 42, 4 ;
Reinach, ii. 298.
10
Berlin
B.M. 6301, 6497, E 66
;

Reinach,

(with Seilenos)

ii.

43

Berlin

2534

Furt-

Munich 388

Millin-Reinach,

=
Helbig, g^ Mus. Greg.

waengler and Reichhold, pi. 4 (B.F.

and R.F. "bilingual ") ; Reinach. ii. 39
Athens 764 =
Millin-Reinach, i. 37

F233.
5

while

54, 2.

1961

12

mockery,

Millingen-Reinach, 51.

the rape of the Leukippidae.

4
B.M. E 505
cf. for
statue

also represented

is

for

cf.
;

B.M.

F2H,

also Stackel-

Heydemann, Gr. Vasenb.

" B.M. B
167.
12

berg, pi. 42.

Benndorf, Gr. u. Sic. Vasenb.

B.M. B 198, B 498; Reinach,

Louvre F 116-117 = Reinach,

ii.
i.

74-5

297

pi. 3, i.

(in Petersburg).

pi.

44

HEROIC LEGENDS

io6

Satyrs steal his weapons

from

Satyric
2

and

(this

Or he

drama).

subject being probably taken

is represented
bathing at a

one case fishing with Hermes and Poseidon. 3

He also takes part in the Gigantomachia, 4 and is present at
the birth of Athena,6 in both cases by a curious anticipation

fountain

in

of his deified character.

common

Exceedingly

6
lyre, as Kitharoidos.
last scenes of Herakles' earthly

are his appear-

ances with a

The

are his last sacrifice

life

on Mount Kenaion, 7 the wearing of the poisoned robe which

8
led to his death, and the subsequent burning of his body
on the funeral pyre. The last scene is occasionally combined
with his

which

apotheosis

his

body

in the chariot

The

vases

is

the

Hyades quench the flames among

consuming, while the deified hero ascends

of Athena or Nike to Olympos. 9

to his

exclusively

relating

fall

apotheosis

into

two main

classes, which admit of more than one sub-division

ascent into heaven in the chariot of Athena or Nike

(1) his

(2) his reception

Athena

is

in

almost confined

R.F. period

it

The

Olympos.
;

ascent in the chariot of

B.F. vases

to

occurs

rarely

on those of the

and on the

Italian

vases her

usually taken by Nike, who is also represented crownhim

with a wreath.
On the B.F. vases the "type" is
ing
Herakles mounts the
almost invariable (see Plate XXIX.)

place

is

four-horse chariot in which the goddess stands ready on the

farther side of it stand various deities, the commonest being
;

Apollo, Dionysos, and Hebe, with

Hermes

at the horses' heads

more rarely Zeus, Hera, and Artemis are seen. 10 In one or

two cases lolaos acts as charioteer, Athena standing at the
1

Reinach,

ii.

318

Helbig,

Millingen-Reinach, 35

ii.

p.

327

Philologus, 1868,

pi. 2.
2

Heydemann, Gr. Vasenb.

7

494 ',J.H.S. xviii. p. 275;

Roscher, Lexikon, i. p. 2235 Bacchy;

B.M.

B 229

cf.

Berlin 4027 and B.M.

lides,

l.

Ctr.

iii.

Reinach,

i.

467

l.

Petersburg
Cer.

i.

523=

B.M.

Munich 384

Mon.

I-

B.M. B 147 ; Reinach, ii. 21.

6
B.M. 6228; Berlin 1857; Helbig,
cf. Athens 791 =
Reinach, ii. 43
25
5

370.

Baumeister,
i.

i.

p.

481.
10

Grecs, 1875, pi.

also p. 96, note 2.

14.

Berlin 2293,3988

Od. 16

814.
3

pi. 3, 2.

See B.M.

RF

307,

Reinach,
fig.

322

I99' 201

130 =
Reinach,

i.

2I1

PL

Reinach, ii. 72 ;
Oxford 212 (no deities). R.F. Helbig,
230 (A. about to mount chariot).

XXIX.),

230, 317-21

APOTHEOSIS OF HERAKLES
Hebe performs

side

or, again,

red-figured vases

same

office.

the chariot

the late

limited

to

here usually represented as

is

its

way.

The

stage of the hero's introduction

Zeus by Athena, a scene

first

his introduction to

into

Olympos

common on

The attendant

B.F. and R.F. vases (Fig. 127).

deities

is

both

vary very

Hermes, Apollo, Hebe, and Artemis are most often

4
also Hera, Poseidon, Ares, and Dionysos.
Besides these

greatly

seen

On

the attendant deities are almost

Hermes and Eros

on

the

107

From Arch,
FIG.

Zeit.

127.

RECEPTION OF THE DEIFIED HERAKLES BY ZEUS, FROM A VASE

AT PALERMO.

numerous scenes in which he is grouped with various

Athena and Hermes, but also Poseidon, Ares,
and
Hebe, apparently in the enjoyment of his new
Dionysos,

there are

deities, usually

Bibl.

Nat.

and 254.
2

ii.

Reinach,

i.

399

B.F.

Berlin

Berlin 1827

nach,

253

Reinach,

ii.

With Athena:

B.M.

B
;

B 379, B 424

166,

Reinach,

i.

359,

i,

B.M.
481, and

B.M. E 262 =
76 (in Berlin). R.F.
Reinach, ii. 75 ; Berlin 2278 = Reinach,
i. 70 = Ant. Denkm. i.
9 (Sosias) ; Furtwaengler and Reichhold, pi. 20 Reinach,
Late: Naples
i.
222, 408 (Fig. 127).

24o8 = Reinach, i. 323; Petersburg 1775

= Reinach, i. 302 (parody).

74

Rei-

161.

lingen- Reinach, 36.

1691, 1857

B.M. F238
With Nike

Mil-

F64, F 102 ; Reinach, i. 368,

ii. 204
Wiener VorL E. pis. 7, 8, fig. 3
= MOM. Grecs, 1876, pi. 3 (in Louvre
parody ; chariot drawn by Centaurs).
;

ii.

HEROIC LEGENDS

io8
life

added the

completion of his

two or three
attendant

and to this group may be

crowned by Nike. 2
The
bliss is the marriage with Hebe, found on
R.F. vases, 3 with a numerous company of

the welcoming gods

scenes in which he

among

fine

is

deities.

The adventures

of Theseus, the peculiarly Attic

portrayed on vases of all dates
they are rare on
kinds, but are most popular on the R.F. vases of the
"
and " fine periods, as would naturally be expected
;

when

his cult

(see Vol.

I.

was coming
p.

Of

418).

into special
his

seven

prominence
labours

the

hero, are

the later

"strong"
at a time

Athens
only one

in

commonly found on

the B.F. vases is the combat with the

but
some
of
the finest R.F. kylikes give a complete
Minotaur,
series.
They are given in the order of his progress from his
It should
birthplace Troezen through the Isthmus to Athens.

be noted that the Cretan legends, which alone are common on

the early vases, are clearly older than the more purely Attic.
The first subject to be mentioned in connection with the
story of Theseus is that of his father Aigeus consulting the
His finding of Aigeus' sword and sandals
oracle of Themis. 4
beneath the stone (cf. Plate LXII.) is not depicted on vases, but

we have

a possible representation of his recognition by Aigeus, 5

unintelligible scene where he pursues or attacks his

and an
mother Aithra, apparently wielding the newly found sword. 6
There are only two R.F. kylikes which give the complete

the Duris kylix

omits
two (the bull
(Vol. L, frontisp.)
and Prokrustes), and others give a varying number of scenes,
omitting sometimes one, sometimes another. The adventure
series of adventures,

in the British

B.F.

xiii.

including that in Crete

F 30 = Rev. Arch.
F 116-117
4 (Amasis)
297 = Wiener VorL

Louvre

(1889),

pi.

Reinach,

i.

1890-91, pi. 4, figs. 1-2 (Nikosthenes) ;

Bibl. Nat. 254; Berlin 1961
Reinach,
R.F. Berlin 2626 ; Reinach, ii.
ii.
43.

76,
2

86.

B.M.

1892, p.
Pottier,

i.

Bonn 720 = Jahrbuch,

Athens 1346 = Dumont-

262
69
pi.

15

Museum

B.M. F 178

Reinach,

i.

251
3

(all

R.F. or

late).

244; Berlin 3257; Forman

Sale Cat. 364 see p. 77.
4
Berlin 2538 = Reinach, ii. 162.
5
B.M. E 264 = Wiener F0n'. 1890-91,
a similar vase v&Rom. Mitth. 1894,
8, i
pi- 8, has been otherwise interpreted (see

B.M.

below, p. no, note

3).

= Reinach,
Petersburg 830
Wiener VorL A. 8 (Hieron).
6

i.

150

LABOURS OF THESEUS

109

We give
with Periphetes appears to be confined to literature.
1
list as follows, with the vases on which they may be seen

the

(1)

The pine-bender

B.F.

(2)

Athens 879.
and ii. 280.

woman, the

459

i.

to be identified

(4)

The

i.

313 (= Naples R.C. 180)

personification of the locality.

Megara)
by the foot-pan and the
(in

pi. 14.

this scene

usually

tortoise.

Kerkyon

(at Eleusis).

324.

i.

Athens 879.

pi. i

R.F.

Bibl.

E 441-42

B.M.

Athens 1166

Nat.

bull.

174.

R.F.

B.M.

442;

Vasi Fitt. 54; Millin-Reinach,

Inghirami,^
Vergers, JEtrurie, pi. 35 (in Brussels).

The

= J.H.S.

Millingen-Reinach, 9-10.

The Marathonian

B.F.

is

119.

i.

1889,

(7)

Prokrustes and his bed (near Athens).

B.F.

(6)

Reinach,

Noel des Vergers, Etrurie,

wrestling with

Reinach,
(5)

The brigand Skiron

Reinach,

Krommyon, sometimes accompanied by

of

or old

Reinach,

(3)

R.F.

The sow

Nymph

Sinis.

i.

Naples 2865 =
43: Noel des

slaying of the Minotaur.

very early representation (about 610 B.C.) on the Polledrara

see
hydria in the British Museum (J.H.S. xiv. pi. 7
:

Chapter XVIII.).
B.F.

B.M.

Wiener

6148,
Vorl.

6205; Munich 333 = Reinach,

2, 2, and 1155= Wiener Vorl.

1889,

1698= Wiener

Berlin

Vorl.

iii.

7,

i;

ii.

iii.

Millin-Reinach,

119 =
7, 2;
ii.

61

(Taleides).

R.F.

iii.

B.M.
p.

1790,

441; Helbig, 80
fig.

Reinach,

ii.

81

1874.

See on the subject generally Museo

Ital.

iii.

p. 235.

Baumeister,

HEROIC LEGENDS

io

The complete
B.M.

set of

seven

on the following

to be found

is

where the scenes are duplicated on the exterior and

kylix; here the Minotaur forms the central

84,

interior of the

scene of the interior.

Ant. Denkm.

The

ii.

following are

(kylix

by Aeson).

more or

less

B.M. E 48 = Frontispiece, Vol.

Louvre G 104 (Euphronios).
Reinach,

i.

complete

I.

(by Duris

five scenes).

528-32.

After the labours on his journey comes the purification of

Theseus on reaching Athens. 1 To this time may perhaps be
referred a scene in which he receives a palm-branch from
Athena. 2 There is a subject which cannot be placed in literary
tradition, but probably comes in point of time immediately

Poseidon and
Amphitrite under the sea, whither he is borne by Triton. It
occurs on the beautiful Euphronios kylix in the Louvre (G 104)

before or after the labours

this is the visit to

and elsewhere. 3

Next

in .point of

time we have to deal with the story of

Theseus' voyage to Crete and his marriage with and desertion

It begins with a scene in which he bids farewell
of Ariadne.
to Aigeus 4 then on his arrival in Crete he slays the Minotaur,
next see the meeting with Ariadne, 5
as already described.
;

We

nuptial ceremonies

the latter scene, together

with the subsequent arrival at Delos, and a dance of boys and
maidens liberated by Theseus, is vividly depicted on the
His desertion of the sleeping Ariadne in
Francois vase.
Naxos and the appearance of Dionysos as her consoler form

by the

followed

(see p. 108, note 5) way have the same

meaning, in which case the woman holding

Gaz. Arch. 1884, pis. 44-6.

Wiener VorL E. 12, 2.

See J. H.S. xviii. pi. 14, and pp.

277-79 for three other instances the last,
however, is susceptible of other inter;

pretations.
4

Bologna

1999,

fig.

273

2149.

Baumeister,
vase

The B.M.

iii.

p.

264

the clue

is

"
a sort of " short-hand allusion

to the adventure awaiting him.

See also

Reinach, ii. 81 (Theseus receiving libation from Aithra).

5
B.M.
41 = Reinach, i. 532 (Chachrylion).

ADVENTURES OF THESEUS

in

but the return

the subjects of two very beautiful R.F. vases
to Athens and the death of Aigeus are not depicted.
;

The

reign of Theseus at Athens is signalised by his combats

In the former story he carries
with the Amazons and Centaurs.
off their leader Hippolyta as his queen, assisted by his friend
2

Peirithoos

and

in

another version

it

is

Antiope

whom

he

4
3
overcomes, or the subject is treated in a more general fashion.
This scene is supposed to take place in Attica but the story
of the Centaurs belongs to Thessaly, the home of Peirithoos.
;

The Centaurs

are represented interrupting a banquet, throwing

everything into confusion, and carrying off Laodameia

It occurs on the Fran9ois vase, and
female victims.

and other
is

treated

on several vases of a later period. 5

the
The episode of
death of Kaineus (see p. 145) belongs
To the same period belongs a vase
to this group of subjects.
representing the rape of a girl named Korone by Theseus and

in a vivid pictorial fashion

In the story as told by Plutarch (Thes. 31) it was

Theseus carried off curiously enough, a figure
8
thus inscribed is also present on this vase, as well as Antiope

his friend.

Helene

whom

The rape (as described by Plutarch) was followed

Hades to seize Persephone. For this they

(see above).

by

their descent into

were doomed to punishment, to sit for ever with hands bound

behind them 9 but in one version Theseus is allowed to depart
after a time, as is seen on one of the Apulian under-world
;

vases.
1

10

vase signed

=
=

Berlin 2179

Reinach,

222

i.

by Xenotimos represents Peirithoos

Meistersch. pis. 59, 60, and 805 = Reinach,
6;

iii.

XXXIX.

(also

Peleus and Thetis, see

Harrison and Verrall, p. cxxxi

Vienna)

(in

Plate

Vorl.

as

interpreted
p. 120)

Wiener

see also Boston

for 1900, p. 67,

No.

Reinach,
Nat. 421).

91

i.

Mus. Report

25.
;

ii.

264

(=

Bibl.

391; Reinach, ii. 181-82; Boston

Report for 1900, p. 50, No. 17
(Erginos and Aristophanes) ; and see~
under Centaurs, p. 145.
6
Munich 4io = Reinach, ii. 86 = Furtwaengler and Reichhold, pi. 33.

i.

Mus.

Munich 7; B.M. 41; Reinach, i. 87.

4
B.M.
157, 272, 450; Reinach, ii.
a complete and mag163 (now in B.M.

has

Millin-Reinach, i. 10 ;
Naples 2421, 3253, and R.C. 239 =
Reinach, ii. 278, i. 330, i. 482 (the first

and

nificent

of

example)

these
5

B.M.

by

given

Reichhold,

Furtwaengler and

pis. 26-8).

F 272

Munich 368-Hartwig,

Berlin 1731

been

Roscher,

interpreted

as

iii.
p. 1782,
the rape of

Helene.
8

See Furtwaengler, op. cit. p. 177;

Bibl. Nat. 256 = Reinach, ii. 254.
Berlin 3143 = Reinach, i. 373, may also
cf.

represent a rape by Theseus,

9

Jatta 1094

Reinach,
10

i.

= Reinach,

108, 455,

Munich 849

i.
356 see also
and above, p. 68.

Reinach,

i.

258.

HEROIC LEGENDS

ii2
seated

in

a chair holding two spears

is

significance

open

l
;

but

its

mythological

to question.

Closely linked with the story

of*

Theseus

is

that of the love

of Phaidra for Hippolytos and the death of the letter, confined

to late Italian vases
but Phaidra has not been certainly
;

identified

in

case.

any

There

however,

is,

undoubted

an

representation of the appearance of the bull which overthrew

3
Hippolytos' chariot.

Next

importance as a hero of Greek legend comes Perseus,

born from the golden shower in which Zeus visited Danae
in

We find representations of the scene so

(see p.
19).
touchingly sung of by Simonides, the placing of Danae and
4
and
her child in the wooden chest and sending them adrift
next we find Perseus as a full-grown youth, about to set forth
;

on his mission of slaying the Gorgon, and receiving from the

Naiads the cap, sandals, and wallet, which were to aid him
5
in his quest
On later vases he receives from Athena the
6
On his way
sickle (harpe) with which he slays the monster.
he seizes the eye and tooth of the Graiae, a subject rarely
7
The actual slaying of the Gorgon 8 is not
depicted in art.
so often represented as the subsequent flight of Perseus,

9
in one or
generally accompanied by Athena and Hermes
two instances we see Perseus approaching his victim unob;

10

Other vases depict the headless corpse of Medusa,

from which springs the young Chrysaor or Pegasos, and the
other two Gorgons, Stheno and Euryale, either pursuing Perseus
served.

Ant. Denkm.

See B.M.

B.M. B 155,
490 (?).
B.M. F8s.
Athens 1956 = Ath. Mitth.

i.

59 (in Boston).
123 and
272; also a

vase in Berlin {Arch. Anzeiger, 1890,

p. 89), where Eros shoots with his bow
at

Phaidra; Hippolytos

also

Naples 2900

is

present.

Petersburg

and

1357

723 = Baumeister,

Reinach,

i.

244,

448 ;
Naples 3140 = Mus. Borb. ii. 30, 4;
Monuments Piot, x. pi. 8 (in Boston)
and cf. Berlin 2300 = Reinach, i. 273.
1

87
9

B.M. F279.

i.

p. 406, fig.

B.M.

6471= Fig.

Berlin 3022
1 1

41.
3

Cf.

Millingen-Reinach,

xi.

(1886),

10.

pi.

= Reinach,

= Reinach,

ii.

109:

97, Vol.
i.

cf.

I. p. 382
172; Munich
Bibl. Nat. 456.

B.M. 6248, 6380;

F 500

Berlin 1682

Bibl. Nat. 277

= Reinach,

i.

399;

181,

Reinach,

290

i.

441

Munich

619 = Reinach, ii. 48.

10
B.M. E 493 ; Mon. Grecs t 1878,
2 (a fine example in the Louvre).

pi.

PERSEUS
1
remaining with the corpse'
2
to Poseidon for help.

or

in

113

one instance they appeal

We

next see Perseus arriving at the court of Kepheus to

Andromeda 3 she is generally represented chained to
a column in the palace itself.
On other vases he is depicted
in the act of slaying the monster, but this is a somewhat
deliver

rare

the

we have the return to Seriphos and

of the king Polydektes by showing him the
Perseus is also represented showing the head

Finally,

subject.

petrifaction

5
Gorgon's head.

to Satyrs, 6 or placing

Maenads

with
holds

the

or in combat
accompanied by Athena, who

is

(/ci/Bicris*),

head while he looks

Gorgon's

the reflection. 9

at

on some small R.F. vases, a bust of Perseus

Lastly,

his

wearing

The

he

or, again,

in the wallet

it

winged cap.

story of Pelops

Oinomaos

his visit to

is

depicted

10

is

chiefly connected with

Olympia, and

but the subjects are almost exclusively

confined to the later Apulian vases. On one B.F. (Cyrenaic)

kylix Pelops is depicted with the winged horses given him
11
by Poseidon, but this is exceptional. The Olympia scenes
include five episodes: (i) the arrival of Pelops at Olympia
13
(2) the sacrifice or compact with Oinomaos
(3) the race

12
;

Munich 619, 9io = Reinach, ii. 48-9

Ant. Denkm. i. 57.
For Chrysaor see

Reinach,

172 (Louvre

i.

and Stackelberg,
2

49,
'

4.

E 169 = f.H.S. xxiv. pi. 5, and

Engelmann, Arch. Studien, p. 6
Naples 3225 Millin-Reinach, ii.

B.M.

185

and

cf.

fig.

"

pi.

46

Reinach,

B.M. E6io,
B.M. B

named

i.

p.

vase

see

Petersen

in

op.

cit.

Berlin

Roscher,

1652

and

Reinach,

217;

i.

13

Bibl. Nat. 977 for a

(?)

inscribed

B.M. F27I, 278; Naples 2200

Naples 3225, S.A. 24, S.A.

1891, p.

Reinach,

i.

i.

cf.

Wiener

188.

344

Jahrbtich,

vii.

Philologiis, 1868, pi. i,

Millingen-Reinach, 3:
gus, 1868, pi.
II.

i, figs.

see Philolo-

Vorl.

14

Naples
fig.

379 ; Athens 968=Jahrbiich,

34 (B.F.) ; Reinach, i. 290 =

i.

ibid. pi. 10,

Reinach,

pi. 3.

VOL.

cf.

Reinach,

Reinach,

i,

p. 2053 (in Berlin

(1892), p. 38:
fig.

284.

= Reinach,
; Naples 1982
292 (very doubtful ; Oinomaos absent

a fine

iii.

instance);

708

i.

see p. 123, note 4).

104 ff.
4

289.

715 (Plate XLVI.,

similar figure inaccurately

Oinomaos.
12
B.M. F33I

4).

Jahrbucn, xi. (1896), pi. 2 (in Berlin).

For the correct explanation of the first-

Reinach,

i.

Jahrbuch, 1892, p. 33.

Naples 2202 = Dubois-Maisonneuve,

Introd.
ii.

8
9

39.

Millin-Reinach,

ii.

857),

Berlin 2377

i.

i.

pi. 10,

Naples 2858 =

(subject doubtful).

3255 = Reinach,

i63 = Baumeister,

ii.

1395; Naples S.A. 697.

2-3, p. 16.

i.

235;

p. 1203,

HEROIC LEGENDS

114

death of Myrtilos 1 (5) the carrying off of Hippodameia. 2

Pelops also occurs with Myrtilos and Hippodameia in the
under-world. 3
(4) the

The adventures

of Bellerophon are not so popular as those

of other heroes, especially in the R.F. period. The story told
in the sixth Iliad appears in several scenes, beginning with

Bellerophon's taking leave

delivering the letter with

of
its

Proitos

we

next

cnj^ara \wypd to

him

see

lobates, the

5
king of Lycia, and then, mounted on Pegasos, slaying the
6
Chimaera.
Subsequent events represented on vases are the

death of the perfidious Stheneboia, who

falls from the back of

8
and
the
of
Pegasos,
marriage
Bellerophon with Philonoe.
7

Nor need
from

the story of Meleager detain

us

Scenes

long.

his life are practically confined to the

Calydonian boarJ
periods, especially on early vases.'
Kastor and Polydeukes, Peleus, and other heroes, together with

hunt, a subject popular at

all

Atalante, are represented as taking part, as well as Meleager.

There is also a vase on which Meleager is represented with
the boar's hide, accompanied by Atalante, Peitho, and Eros. 10

Other scenes where a boar-hunt

names of a

given, or only

represented, but no names

may or may not be

is

fanciful kind,

11
There is one vase which appears to
way.
12
represent the death of Meleager.

identified in this

Berlin 3072

Reinach,

i.

3 (see Vol. I. p.
detf Inst. 1874, p. 35).

Fitt.

204.

Naples 2200 = Reinach, i. 379.

3
Naples 3222 = Reinach, i. 167.
4
= Reinach, i. 127= Wiener
Jatta 1 499
I'orl. viii. 8 ; Boston Mus. Report, 1900,
p. 68, No. 25.
5
Naples 2418 = Dubois-Maisonneuve,
Introd. pi. 69
Wiener Vorl. viii. 9, i =
2

ibid.

ii.

282;

Reinach,

i.

287,

ii.

318.

ff.).
9

Amer. Journ. of Arch. 1900, pi. 4

Louvre A 478 Reinach, i. 108 (Karls-

ruhe 388), 517 (Athens 1589), 331 (four

examples), and

late

B.M.

Reinach,

105,
i.

195

Petersburg

B
;

162

ii.

279,;

and see

Naples 3253

Inghirami,

Argonautenbilder,

Vast

p.

ii.

ii.

90; Reinach,

i.

R.F.

230.

162, 2IO.
Roscher, iii. p. 1811.

Reinach,
10

Angebl.

ii.

"
E.g. B.M. B 37 (Plate XXL), F 154
Vienna 217 = Reinach, i. 170. See also
;

p. 166.

Berlin 3258.

427

Greg.

i.

Fra^ois vase ; Munich 333 =

119= Wiener Vorl. 1889,
Berlin 1705
Helbig, 34 = Mus.

B.F.

Reinach,
2,

i.

Flasch,

Roscher,

i.
and
p. 303, fig. 319
331, and Munich 805 =
277 (the latter so interpreted by

Baumeister,

see Reinach,

30

478 and Ann.

Naples S.A.

ii

Reinach,

i.

401.

JASON AND THE ARGONAUTS

The next
is

Jason,

of the Greek heroes with

include the whole cycle of

Argonautika such as the stories of

relating to the
Phineus, and Talos.

which gave

have to deal

whom we must

with

subjects
Helle,

whom we

115

The legend

of the golden fleece

the famous quest of Jason is first illustrated

or Phrixos in flight on the ram, 1

rise to

by scenes representing Helle

or the former grouped with her mother Nephele and her brother
2
Phrixos, who accompanied her on her flight. The pursuit of

Phrixos and the ram by I no is also represented. 3 Lastly, there

4
is a vase which may represent the setting out of Jason.
In the earlier history of the Argonautic expedition the
most interesting subject found on the vases is the story of
5
Phineus, who had been blinded for impiety by Boreas, and
was subsequently deprived of his food by the Harpies until
he was delivered by the sons of Boreas, Zetes, and Kalais. 6
Another event is the chastisement of Amykos by Kastor and
"
7
"
Polydeukes, and a fine vase of
style in the
Polygnotan
Louvre represents a group of Argonauts apparently without
8
In all these scenes Kastor and
any special signification.
and
the
Boreades
are present together with Jason.
Polydeukes
There is also a scene which has been interpreted as belonging
to the Argonautika:
Herakles is represented sacrificing to
a statue of Chryse on the island of Lemnos. 9
Then we have the arrival of Jason and his companions in
10
and the subsequent feats performed by the hero
Kolchis,

his

n
slaying the dragon
(in

Naples 3412 = Reinach, i. 498 =

Wiener Vorl. B. 2, I (Assteas; Phrixos
also on ram)
Reinach, ii. 309. For
Phrixos on ram see Berlin 3345, and
1

one version he enters into

Anc. Uned. Mon.

Naples

S. A.

270

Reinach,

Reinach,

fur
5
6

201
pl.
i.

i.

226, 1-3

O. Benndorf, p. 67
See p. 81.

and

i.
319.
see Festschrift

p. 133,

note

Bibl. Nat.

Furtwaengler

and

i.

Reichhold,

41 B.M. E 302 Jatta 1095 = Reinach,

119; Stackelberg, pi. 38 = Millingen,
;

Wiener

442

Reinach,

ii.

79

Vorl. 1889, 12, 5.

J.H.S.

x. p.

118

Reinach,

Millingen- Reinach, 51
180 see above, p. 105.

i.

226.

= Reinach,

ii.

10

Munich 805

Wiener

Vorl.

iv.

Angebl. Argonautenb.

Reinach, i. 277 =
but see Flasch,
;

p.

30 ff., and

p.

137

(Laertes and Antikleia).

Ionic cup in Wiirzburg. Reinach,

5.

15; and see Berlin

i.

1682.

Festschr.fiir Overbeck, p. 17.

2
Tyszkiewicz Coll. pi. 12 (the antiquity
of this vase is very questionable).

its

Petersburg 422 = Reinach, i. 139 ;

Baumeister, i. p. 123, fig. 128 ; MillingenReinach, 6.

HEROIC LEGENDS

ii6
1

mouth

the bull, 2 and finally the

with

his contest

capture
represented as bringing to
4
Pelias on his return.
The only important event relating to
the homeward journey is the death of Talos. 5
Among the events of his later life are the boiling of the
),

of the

which he

fleece,

also

is

ram by Medeia, 6 and the subsequent destruction of the aged

Pelias
the renewal of Jason's own youth 8
the death of
7

Glauke

wife

his

Medeia's

by

agency

and

the

latter' s

10
11
Medeia
slaughter of her children, with her pursuit by Jason.
also appears in another connection at Theseus' leave-taking

of his father Aigeus, 12 and

on the vase by Meidias. 13

among the Athenian tribal heroes

Though not necessarily connected

with Jason, the funeral games held after the death of Pelias 14
must also find mention here.
Scenes therefrom are represented

more

on

one vase

than

such

conducted by Kastor and others

the

as

the

in

chariot-race

of

presence

three

judges (Pheres, Akastos, and Argeos), and the wrestling of

On another Zetes is victorious
Peleus and Hippalkimos. 15
over Kalais in the foot-race. 16

THE THEBAN LEGEND

The
or

less

"

of Thebes

tale

"

Reinach, i. 102
Helbig, ii. p. 328
i.
Baumeister,
129
fig.
p. 124,
Reinach, i. 137 ; but see Flasch, Angebl.

Argonautenb. p. 24 ff.
Naples 2413 = Roscher, ii. 81, and
3252 = Reinach, i. 449.
3
= Roscher, ii. 83.
Naples 3248
4
= Wiener VorL
Millingen-Reinach, 7
ii.

8.
3

Jatta 1501

Reinach,

Helbig, 179

i.

361

pis.

Reinach,

Furt-

i.

359 (ram

present).

Helbig
Reinach, i. 336 ibid. 359
179 (P. led to slaughter by daughters;
M. waiting with knife).
;

163 (J. as old

man

Naples S.A. 526.

Munich 810 = Reinach,

10

Baumeister,
i.

ram

in

ii.

p. 903, fig.

980

363 =
Reinach.

i.

402.
11

Naples 3221
Bologna 273

12

13

B.M.

11

Cf.

tTTi

= Reinach,
= Baumeister,
i.

402.
iii.

1999,

2149.

38-39.

B.M. 6221, 6328;

led to caldron).
Berlin 2188 ; Reinach, ii. 81 (ram placed
in caldron ; daughters of Pelias usually
7

B.M.

episodes, more
to the story

relate

caldron).

fig.

waengler and Reichhold,

6

which

connected, especially those

various

into

falls

E 224.

the

poem by

IleXtp.

)s

Vol.

Berlin 1655
I.

Stesichoros,

Reinach,

i.

*A0Xa

199: see

p. 319.

16

Bull de Corr. Hell, xxiii. p. 158 ;

but see Burlington Fine Arts Club Cat.
(1903), p. 92, for another explanation;
also p. 47.

THEBAN LEGENDS
and

of Oedipus
city is the

his

line.

founder

as

Conspicuous

Kadmos, whose

Phoenician

117

encounter

of

the

with

the

On some
dragon is depicted on vases of various periods.
he receives from Athena the stone with which he is to
2
on others he is seen approaching the
slay the monster
fountain of Ares, where he was to meet it 3
and, lastly,
we have the actual slaying of the dragon, 4 sometimes in the
;

Harmonia

of

presence

Kadmos
subject

and

deities

personified

After the slaying of the dragon

Athena Onka. 5
The completion of

to

sacrifices

the story

and various

Thebes.

figures, including

marriage with Harmonia.

the punishment of Dirke by her brothers
seen in

is

is

and Zethos, who

his

her

tied

episode of the story

her lover Phokos. 8

is

to

wild

bull

rarer

Amphion

while a later

the pursuit of her sister Antiope

by

The story of the Oidipodia is introduced by the subject

of Laios (the father) carrying off the young Chrysippos. 9
Then
we have the exposure of the infant Oedipus and his discovery
10
Of later events in the life of
by the shepherd Euphorbos.
Oedipus, the only one that attained to any popularity is the
The actual deed only occurs once, 11
slaying of the Sphinx.
"
"
and the usual
is that of Oedipus
type
(usually a young

man) standing before the Sphinx, which

1

The only

stories

tragic

Septem
vases

literary

(before

source for

Roman

times)

is

these
in

the

poets.

But

and

not until the Hellenistic

subjects from the

of Aeschylus are not found on
it is

that any real references to the

Sophoclean and Euripidean plays occur.
On some of the Megarian bowls (Vol. I.
p. 500) the subjects adhere very closely

Mitth.
5

B.M.

Reinach,
3

E8i;
i.

Petersburg

2189=-

p. 155,

tion

Reinach,

i.

396

see

also Arch. Zeit. 1865, p. 68,

Frazer, Pattsanias,

Wiener

and

v. p. 49.

Vorl. C. 7, 3

Roscher,

ii.

842.

Berlin 3296 = Reinach, i. 421

The
Baumeister, i. p. 456, fig. 502.
vase given in Millin- Reinach, ii. 44, may
7

represent
8

B.M. 6505-6.
Louvre

Millin-Reinach,

note 15, for another interpreta-

and

Zethos

Amphion with

Antiope.

5.

669 = Reinach, i. 435, i

Berlin 2634 = Wiener Vorl. i. 7 =
Roscher, ii. 837 ; Naples 3226 = Millingen, Anc. Uned. Man. i. pi. 27 (Assteas)
4

(1890), p. 343.

Athens 1858

period

to the text.

v.

seated on a rock

is

ii.

7 (in

Louvre); Rom.

Reinach, i. 379.
Berlin 3239; Naples 1769

Vorl. vi. ii
'"

Bibl. Nat.

Baumeister,
"

B.M.

ii.

Roscher,

372
p.

1049,

i.

Reinach,
fig.

696 =J.H.S.

Wiener

p. 903.
i.

92

1266.
viii. pi.

81.

HEROIC LEGENDS
or column. 1

not always to be identified with certainty. 2

In one instance Oedipus is represented with Teiresias. 3
in
It is

named Sikon and Kalliope a subject

We need only make passing reference
unexplained.
a vase supposed to represent the tomb of Oedipus,

another with persons

hitherto

here to

"

with

inscribed

of

couplet

which

at

verses,

two

stand

youths.

Before continuing the story of the house of Oedipus, we must

digress to that of Amphiaraos, the warrior-seer, whose departure
from his wife Eriphyle to the Theban War is a favourite subject

on vases. 6
scenes.

becomes, in

It

We

also

"

"

adopted in ordinary
on the reverse of one of the vases

find

fact,

type

with this subject the departure of another warrior, perhaps

intended for the hero's son Alkmaion, or for Adrastos. 8 On
an early vase Amphiaraos is seen bringing home Eriphyle
his

in

The names

chariot.

are

of his horses, Thoas and Dion,

is that of the hero in the

curious subject

given.
bosom of his

family, with his wife Eriphyle suckling her

son Alkmaion, and a maiden spinning. 10 His death is represented on one B.F. vase n on another his slaying of Eriphyle. 12
;

Another event

by a

is

13

serpent.

the death of the child Archemoros, caused

fine late vase in Naples depicts the prothesis

14
body by his mother Eurydike and others.
The subsequent fight of Tydeus and Lykourgos, interrupted

or laying out of his

B.F. B.M. 6539 ; Stackelberg, pi.

B.M. E 156 ; Vienna 336 =
R.F.
Reinach, i. 177 \J.H.S. xxiv. p. 314 (Ox= Hartwig, Meistersch.
ford); Helbig, i86
1

16.

1897,

See

seizing
3
4

p.

147

also

q.v.

for

8
9

Ibid.

8,
iii,

Munich i5i=Overbeck,
1650= Reinach,

Petersburg

and 406 = ibid. i. 480.

B.M. 6247; Berlin 1712.

Millingen-Reinach, 20.
Ath. Mitth. 1899, p. 361.

10

Sphinx

11

Vorl. 1889, 9, 6.

pi.

see Roscher,

Berlin 2395 = Reinach,

Arch. Zeit. 1881, p. 258.

Theban youth.

Wiener

iii.

1 20,

pi.

Anzeiger, 1891, p. 119 (Berlin).

2

i.

See also parodies in Pkilologus,

I
(in Boston), and Arch.

pi. 73.

R.F.

p. 295.

op. cit.

Athens 960

Wiener

i.

461

see

18*

Vorl.

11,8.

Reinach,

i.

p. 736.

376

12
:

Naples 2868 = Wiener Vorl. 1889,

See also Chapter XVII.
6
i.
B.F.
Berlin 1655 = Reinach,
=
Wiener
Vorl. 1889, 10
199
Kopenhagen 112 = Millingen-Reinach, 20;
J.H.S. xviii. pi. i6(?); Roscher, i.
5

9, 10.

Jahrbuch,

viii.

(1893),

pi.

see

Thiersch, Tyrrhen. Amphoren, p. 56.

13
B.M. 7; Petersburg 523 = Reinach,

i.

466
14

Wiener

Vorl. 1889, II,

Naples 3255

Baumeister,

i.

p. 114,

also Millin-Reinach,

Louvre)t

Reinach,
ii.

I.

235
120; perhaps
37 (Lasimos in

fig.

i.

THEBAN AND TROJAN CYCLES

119

by Adrastos, also occurs, and the reception of the fugitive

2
Tydeus appears once more as the
Tydeus by Adrastos.
3
but
Ismene
of
according to another version she and
slayer
1

Antigone are attacked by Laodamas when the

4
We can only
to Thebes many years later.
return
Epigoni
combat
of Eteokles
of
the
point to one possible representation
5
is
it
common
and Polyneikes on vases, though
enough, e.g.
but there is at least one representation of
in Etruscan art
her

sister

Antigone being brought before Kreon after the burial of her

6
brother, which also forms a burlesque subject on the comic
7

stage.

THE TROJAN CYCLE

We

now

which are

come to the story of the Trojan

the events which led up to it

War, linked with

and those which

immediately followed upon it such as the Judgment of Paris

on the one hand, and the stories of Odysseus and Orestes
These events are so numerous that they
on the other.
classification.
careful
They may be divided into three
require

main sections: (i) Ante-Homerica, including the events that

to the war and those that took place during the first

led

nine years of

it

(2)

Homerica, or the events of the Iliad

(3) Post-Homerica, or the stories of the death of Achilles, the

fall of Troy, the Odyssey and other Noa-rol, and the Oresteia.

The

on the

literary authorities for these events,

lines of

which

our classification follows, are discussed elsewhere (p. 4ff.).

In spite of the warning of Horace that in writing of the
story of Troy it is not necessary to begin ab ovo, it is impossible
here to avoid reference to the earliest event which bears at

on the subject namely, the birth of Helen from the egg,

The
which was the result of Zeus' amour with Nemesis.

all

Munich 144
cf.
Naples 1766 =
and
Overbeck, Her. Bildw. pi. 4, 4
see Reinach, ii. 284, Roscher, i. p. 296,
and Stat. Theb. v. 699 ff.

Kopenhagen 64

Baumeister,

i.

Reinach,

i.

259

p. 17, fig. 19.

Louvre
640 = Reinach, i. 147 =
Wiener Vorl. 1889, 1 1, 4; Millingen3

Reinach, 22

5
6

Vorl.

Reinach,

i.

161

3.

and Berlin 3240 = Reinach,

Wiener Vorl. 1889, pi. 9,

Jatta 423

205, 409
figs. 14, 12

B.M. F 175

Jatta 414
Vorl. B. 4,

iii.

xviii. pi. 17, i (?).

J.H.S.

i.

(?).

Petersburg 452

Wiener

Reinach,

2.

Reinach,

i.

273.

i.

(?)

467

see also

Wiener

HEROIC LEGENDS

120
referred

is

subject

on

to

moment chosen

several vases, the

when

the egg is found by Leda. 1

Her husband
her
and
other
and
the Twin
Tyndareus
offspring, Klytaemnestra
are
There
is
one
undoubted
instance
Brethren,
usually present.

being that

of the nuptials of Helen and Menelaos. 2

The

which can be regarded as having

a direct effect on the outbreak of the war is the marriage of
Peleus and Thetis, at which the apple of discord was flung
by Eris among the goddesses, and which brought about the
event, however,

first

birth of the hero of the war, Achilles.

on vases, 3 Peleus
the

is

art, especially
forcibly capturing Thetis from
Nereids, while she tries to elude

depicted

of her

company

In ancient

sister

him by assuming various shapes,

conventionally indicated
the vase-paintings.
Some vases represent the approach
4
of Peleus and his pursuit of Thetis, the majority the actual
5
struggle (Fig. I28), and one or two the announcement of the
all

in

Nereus and the company of Nereids (who are named). 6

The next stage is the introduction of Thetis to the Centaur
Cheiron by Peleus. 7 Then we have the celebration of their
issue to

nuptials,

with the assembling of the gods, as

Catullus,

and

Achilles

2188

Petersburg

in

be

to

Berlin 2430

if quaintly, depicted on
due course by Peleus bringing the young
educated by Cheiron, 9 and his subsequent

vividly,

followed

vase,

ibid.

forth); Reinach,

Reinach,

i.

287 (Helen coming

279 (= Baumeister,

i.

i.

R.F.
B.M.
1799, fig. 1882.
424;
Berlin 2279
Baumeister, iii. p. 1797,
Athens 1202 =
fig. 1881 (Peithinos) ;
:

p.

635, fig. 706) and 380 ; Micali,

Mon. Ined. 38; Ant. Denkm. i. 59 (in
For the various versions of the
Boston).

Benndorf,

see Roscher, s.v. Helena.

Boston Mus. Report for 1900,
No. 27 ; and cf. Reinach, i. 173.

hold,

i.

p.

myth
2

For

collected

list

of

all

p. 70,

B.M.

647

gen-Reinach, 4
buck, 1886, pi.
and see ibid. i.

Munich 807 = MillinLouvre

639 = Jahr10, i; Reinach, ii. 91;
222 = Plate XXXIX.

(otherwise interpreted, p. 1 1 1 ).
5
B.F. : B.M. 6215 (Fig. 128)

380

Reinach,

ii.

115

Munich

Baumeister,

iii.

Gr.

u.

Sic.

Vasenb.

32,

Athens 1588 = 'E<. 'A/>x- 1897, pi- 9>

Munich 369 = Furtwaengler and Reichpi.

Bildw.
6

vase-

paintings connected with this story see

i. (1886),
p. 201 ff.

fahrbuch,

described by
the Frangois

Overbeck, Her.
24 (Duris)
8 (in Vatican).
;

pi. 7, fig.

B.M. Eg,

73;

and

see

above,

pp. 25, 26.

7

Palermo

Bildw.

pi. 8,

1503
6

fig.

=
:

Overbeck,

Her.

see also for Cheiron

p. 146.
8
9

Furtwaengler and Reichhold, pi. I.

B.M. 6620; Berlin 4220; DeWitte,

Coll. & fHdtel Lambert, pi. i

966 (with Athena and Hermes)

G 3 (Pamphaios) Micali, Storia,

B.M. B 77 =Fig. 98 (parody).
;

Athens
Louvre
pi.

87

PELEUS AND THETIS

121

1
There is one possible representation of the
sojourn in Skyros.
of
Achilles
in
the caldron to secure his immortality. 2
seething

The next event is the Judgment of Paris, perhaps of all

the scenes from the story of the Trojan War the most popular
with the vase-painters of all periods. The story of the forsaken

FIG.

Oenone,

in

us with

the

128.

the

PELEUS SEIZING THETIS (BRITISH MUSEUM).

telling

of which

Tennyson has

familiarised

scene of the Judgment, did not appeal to the

unromantic Greeks in the same way.
only find one vase
3
on which she is possibly
Curiously enough,
represented.

We

Bibl.

(doubtful)

and

538 = Reinach,
Jahn. Arch. Beitr. pi.

Nat.
;

see p. 352

ff.

i.

1 1

90

2
*

(?),

Reinach,

ii.

43.

Bibl. Nat. 1047

Reinach,

i.

87.

HEROIC LEGENDS

122

the vase-paintings seldom show the central act of the story

In fact, in the earlier examples
the award of the golden apple.
Paris

is

omitted altogether, and we only see the three goddesses

One vase, again, represents

procession by Hermes.
the preparations of the goddesses for the trial, Athena washing
at a fountain and Aphrodite performing her toilet with the
led

in

of Eros.

assistance

The

may be

rest

as

classified

follows

(the order adopted showing a rough chronological development

of the type 2 )
:

Hermes

(i)

leads the three goddesses,

Only on B.F.

Paris absent.

From Wiener

Athena alone being characterised

vases. 3

Vorlegebldtter

FIG. 129.

THE JUDGMENT OF PARIS (CUP BY HIERON

but Paris

preserved,

(2) Procession-type

is

IN BERLIN).

Type

present, standing.

modified on R.F. vases. 4

Procession-type

(3)

Reinach,

i.

SeeJ.ff.S.

126

vii. p.

Paris seated

E 445

Bibl. Nat. 422.

196

ff.,

whence

5
landscape introduced (see Fig. i2g).

this

classification is taken.
3

B.M. 6236-38; early Ionic vase in

Munich, 123 = Furtwaengler and Reichhold,
pi.

9,

21

pi.
fig.

Her. Bildiv.

Overbeck,

2 (Xenokles)

J.H.S.

vii.

B.F.

B.M. 6312.

B.F.

R.F.

B.M.

Overbeck,

2536

Roscher,

iii.

B.M. B 171
op.

cit.

9,

Munich 1269

6.

R.F.

Berlin

= Fig. 129 (Hieron) ; Reinach, i.

2291
246 = Roscher, iii. p. 1610 (Brygos,
in

Louvre); Roscher,

pyxis

pi. 70, p. 198.

Berlin

p. 1615.

in

Kopenhagen

in chariots).

iii.

p.

1617 (fine

the

goddesses

JUDGMENT OF PARIS
(4) Procession-type

abandoned

123

goddesses picturesquely grouped, with

1
In one
figures.
Only on R.F. and later vases.
the godinstance two stages seem to be represented
first,

attendant

grouped for the Judgment, accompanied by Apollo,

Helios, and Selene ; secondly, the victorious Aphrodite crowned
2
by Eros.
desses

Parodied renderings of the subject also occur. 3

The reward of Paris for his judgment was, as
"

we know,
we
next
find him
Accordingly

wife in Greece."

the fairest

arrived at Sparta and carrying of! the fair Helen as his bride.
The vases (all of the R.F. and late periods) depict him on
4
his arrival at Menelaos' palace introduced to Helen, or else

we

Helen

see

consort

making preparations for her new

away Helen or carries her off in
introduces her to his father Priam

at her toilet

Paris leads

next,

and finally
on his return home. 7
The war having now broken out, we are introduced to the two
chief heroes on the Greek side, Achilles and Ajax, as they bid
his

chariot,

farewell to their family artd friends

and

set out in full equip-

Menoitios, and
8
other heroes, bids farewell to his parents Peleus and Thetis
he also pays a farewell visit to his grandfather Nereus, who
9
presents him with a crown, and receives a valedictory libation

ment.

Achilles,

accompanied by

Patroklos,

from a Nereid. 10
1

Berlin

2633

Reinach,

i.

Again, we see Achilles and Patroklos taking

Petersburg

B.M.

109,

1807

Karlsruhe 259 =
3240
waengler and Reichhold, pi. 30 ; Ath.
Mitlh. xxiv. (1899), p. 67 (R.F. kotyle
Berlin

in Berlin,
2

Hermes

omitted).

Wiener VorL E.

1 1

72 = Roscher,

iv.

ix.

437, 2 (Hieron and Makron) see also

Rev. Arch, xxxiii. (1898), p. 399.
:

B.M.

Boston Mus. Report for 1899, No. 30,

and 1901, p. 35 (both from the Kabeirion,

vase in

Thebes).

pis.

i.

B.M. F 175; Athens 1942 = Reinach,

402 ; Petersburg 1924

Wiener VorL C. i, 3

= Reinach,

i.

Reinach,

375.

B.M.

i.

292

(?

1961.

B.M.

i.

= Jahrbuch,

(1894), p. 252.

i.

69 = Wiener VorL vi. 2;

Berlin 2291 = Reinach, i. 437, i = Baumeister, i. p. 637, fig. 709 (Hieron) ;
Petersburg 1929= Reinach. i. 9; Reinach,
6

167 ;
Furt-

Reinach,

Seep. 113, note 12)

226; Jatta 1619

El. Cer.

(?).

11-12,

Berlin

9, 4.

Naples 3352

Roscher,

ii.

s.v.

1737

= Reinach,
= Reinach,

R.F.

(fine

see Bibl. Nat. 41 8

10

175

A.U.M. i. 21
Rom. Mitth.
Louvre)

VorL B.

i.

Naples 1982

Millingen,

i.
i.

(1887),

Wiener

485
83

and
also

Nereus.

Reinach,

i.

Wiener VorL B.

286
9,

Bibl. Nat. 851

2 (Epigenes),

HEROIC LEGENDS

124

leave of Nestor, accompanied by Antilochos.

Ajax is repre3
2
sented taking leave of Lykos, and also of his father Telamon
;

but as in one of the latter cases the names are wrongly applied
on the vase, it may only represent an idealised departure of an
ordinary warrior. There is also a vase which represents Nestor

"

4
arming (putting on a greave) in presence of Euaichme.
We next find the warriors gathered in Aulis, waiting for the
favouring breeze, and whiling away the time (as Euripides
5
describes ) in the game of Trea-aoi or draughts, which is played
by Ajax and Achilles (names usually given) seated at a raised
board in full armour, with the statue of Atfrena behind them. 6
There is another variety of the type, in which the presence of
Athena seems to have more meaning. Here the two heroes
cast lots with dice before the statue, and there may be some
reference to the dispute of Ajax and Odysseus for the arms
7
The story of the
of Achilles, which was settled by Athena.
sacrifice of Iphigeneia, though popular with poets and painters,
for some reason never found its way on to the vases until the
influence of great pictures and plays was beginning to make
and then only appears in one instance, where the
itself felt
;

transformation
incident

of

into

the

is

carrying

sacrifice to

off

287

Patroklos).
the war, it

= Roscher,

iii.

As

iii.
295: see
1697-99 (setting out of
Nestor himself went to

is possible that this scene is

to be regarded as taking place during
and not before it.
-

Bologna 273 = Wiener Vorl. \. 4.

B.M. E 16 Baumeister, i. p. 683,
743 and see Overbeck, Her. Bildw.
;

fig-

3
B

the

is

276.

fahrbuch, 1902, pi. 2 (in Boston).

Iph. in Aul. 192 ff.

B.M. 6193 (Plate XXXI.), B2ii,

other

halt

at

the local goddess Chryse, where

10

Helbig,

Wiener

to be left behind

also the scene of

Vorl.

78=

daughter
Reinach,

1888,

6,

i.

96

of

(Exekias).

"bilingual" example in Boston (by

Andokides? B.F. and R.F.) see Amer.
:

Journ. of Arch. 1896, pp. 40-41, figs,

The latest example seems to be
15-16.
Arch, Anzeiger, 1892,
7
B.M. B 541, E 160

p. 102.
:

see below, p. 133,

and B.M. Cat. iii. p 36.

"
B.M. F 159 = Wiener
9

Reinach,

pi. 13, 7, p.

us

by Achilles of Chryseis, the

i.

The only

by the serpent and has

wound. 9 This island was

Reinach,

indicated.

which concerns

Berlin 2264 (Oltos and Euxitheos)=

Wiener Vorl D. 2, I Bibl. Nat. 851=
also Roscher,

is

bitten

on account of his
the

deer

voyage

Lemnos and the

Philoktetes

50
fig.

ibid.

145

i.

1479

i.

frontispiece.

Vorl. v. 9, 3.

358 = Millingen-Reinach,

Baumeister, iii. p. 1326,

Mito di Filottete^

Milani,

WAR

OPENING SCENES OF TROJAN

125

Chryses, the priest of the local goddess, of which there

is

one

possible representation.
Two doubtful references to opening scenes of the war are to
be found in a supposed consultation of Zeus with Themis among
2
Olympian deities, and a representation of the Greeks
3
formally demanding back Helen, a demand which of course
was not granted. The story of Telephos also belongs to an
In one
early stage, and three incidents therefrom are found.
case he is represented as wounded by the spear of Achilles 4
again, entering the Greek camp disguised as a beggar, in order

the

to apply to Agamemnon for aid 5

and, lastly, he is seen seizing
the infant Orestes, whom he threatens to destroy if his request is
;

not granted. 6

R.F. kylix in Boston represents in the interior

Odysseus persuading Achilles to heal Telephos' wound on the
exterior the wounded hero comes, not to Agamemnon's tent,
;

but to his palace at Mycenae. 7

At

much

stage of the war comes the incident of

which attained to great popularity, especially

later

Troilos, a subject

with the B.F. vase-painters.

It falls into five distinct scenes
of
the
with his two horses 8 ; (2) the
Troilos,
(i)
departure
:

ambuscade of Achilles behind the fountain to which Polyxena

comes to draw water 9 (3) the flight of Troilos and Polyxena,
and pursuit by Achilles 10 (4) the death of Troilos 11 and (5) the
12
Of these, the ambuscade and the pursuit
fight over his body.
are the most commonly represented.
Bibl. Nat. 256 = Reinach,
B.M. B 324, 542 Forman Sale Cat.
254
;

ii.

in, note

see p.

Petersburg 1793 = Reinach, i. 3

a more probable interpretation (birth

for

of Dionysos) see p. 19.

3

Dubois-Maisonneuve, Introd. pi. 63 ;

Engelmann, Arch. Stud, zu den Trag.
and see Urlichs, Beitrdge, pi. 4.
p. 17
;

Petersburg 1275

Reinach,

Millingen, Anc. Uned.

cf.

Mon.

i.
i.

152
22
:

pi.

(Overbeck, Her. Bildw. p. 296).

5
Overbeck, Her. Bildw. 13, 9.
6

141
7

B.M.

= Reinach,
;

Sale Cat. 339.

Reinach,
Hi.

p.

Baumeister, iii. p. 1725, fig. 1807.

Boston Mus. Report for 1898, No. 40

Reinach,

i.

Reinach,

ii.

B.M. B

153.

'-'

i.

ii.

114-15

Baumeister,

2000 (Euphronios)
=
285, 3 ; Louvre G 18
203, 3; Louvre
703 =
92 ; B.M. B 326.

1901,

Reinach,

382

285, i) and 308 (both

i.

B.M.) Athens 620 = Reinach, i. 394

Wiener Vorl. 1888, i, i (Timonidas);
B.M. F 493 (caricature).
I0
Louvre E 703 = Reinach, ii. 92 (early
Ionic) ; B.M. B 307
Fran9ois vase ;
Berlin 1685; Helbig, 130 = Mus. Greg.
ii. 22, I ; B.M.
E 10, E 13, and Forman
in

Naples 2293 and R.C.

(signed by Hieron).
8

282

8.

fig.

Munich 124

Reinach,

ii.

113.

HEROIC LEGENDS

126

few incidents which are not to be traced

in literature pro-

Ante-Homeric period. They are (i) Achilles

bably belong
the
wounded
Patroklos, on the well-known Sosias
bandaging
cup
(2) the wounded Achilles tended by Patroklos and
2
Briseis
(3) a combat of Hector and Achilles attended by
3
Sarpedon and Phoinix (in one case Phoinix interrupts)
(4) a
4
general combat of Greeks and Trojans.
It will be most convenient to deal with the various scenes
which can be traced to the Homeric poems (or to co-ordinate
traditions) in tabular form, noting where possible the actual
passages which they appear to illustrate. But it must be borne
he rather
in mind that the vase-painter was never an illustrator
looked to literature for suggestions, which he worked out on his
own lines, and consequently coincidences with or divergencies
from the Homeric text must not be too closely insisted upon.
to the

Book

187

I.

The dispute

ff.

Agamemnon and

of

Achilles.

Possibly to be identified in such scenes as on B.M. 6327, 397, and

E 13 ; but very doubtful see below, p. 133, and Robert, Bild
:

u. Lied, p. 213.

320

Agamemnon and

ff.

Reinach,

i.

i48

= Baumeister,

i.

Briseis.

p. 721, fig.

776 (Hieron in Louvre);

Achilles and Briseis are found grouped

and see B.M.
76.
together on two R.F. vases, but without any particular
allusion
see B.M. E 258 and Helbig, 84 = J.ff.S. i. pi. 6 =
:

Reinach,

430

ff.

ii.

91.

Chryses propitiating Apollo.

Engelmann-Anderson, Atlas

Book

II.

50

B.M. B

Agamemnon

ff.

Thersites insulting

Agamemnon.

196.

Berlin 2278 = Ant. Denkm. i. 10;

and see Overbeck, Her. Bildw. p. 297.
3

(the
(cf.
*

Reinach,
Ibid.

i.

ii.

12.

in council.

iii.

149.

212
B.M.

ff.

to Iliad^

198.

306

Wiener

Vorl.

iii.

names may be fanciful) ibid. i. 77

Overbeck, Her. Bildw. p. 333).
Louvre
609 = Reinach, i. 395 =

Wiener

Vorl.

1 888,

i,

3 (Chares pyxis).

HOMERIC SUBJECTS
Book

III.

259

Jahrbuch,

Priam setting out

ff.

iv.

(1889),

127

in his chariot.

pi. 10.

340 ff. Combat of Menelaos and Paris.

B.M. E 20 Duris kylix in Louvre ( Wiener Vorl.
mann-Anderson, vi. 23).
;

Combat

Book V. 95-296.

Diomedes

of

reminiscence

vi. 7

and

Engel-

Pandaros

(a

of).

Ant. Denkm. i. pi. 7, fig. 15 and see Hermes, 1901,

388 ; actually here Diomedes and Aeneas fight over the
body of Pandaros.

Berlin 764

p.

Combat

3i2ff.

Diomedes

of

latter protected

B M. E

73; Tyszkiewicz Coll.

Boston); Reinach, i. 120

Book VI. 215

by Aphrodite.

18 (very fine R.F. vase,

ii.

the

Aeneas,

now

in

97 (B.F.).

Diomedes and Glaukos exchanging arms.

n, i.

ff.

Stackelberg,

pi.

and

pi.

258
(i) Hector arming.
Munich 378 = Reinach, ii. 94 = Furtwaengler and Reichhold,
ff.

pi.

14.

(2)

Helbig, 134

Reinach,
(3)

J.H.S.

ix. pi.

(4)

321

ii.

ff.

Bibl. Nat. 207

1

Like others of the

B.F. vases, this
type
for

ii.

= Engelmann-Anderson,

94

282

Reinach,

Louvre

E638(=

Jahrbuch,

ii.

255

iv.

Reinach,

iii.

38.

Bibl. Nat. 207.

ii.

Homeric scenes on
sometimes used

an ordinary warrior
taking leave of

i.

243),-

642;

(1889), p. 260.

Hector conducting Paris to

Reinach,

is

Priam and

Departure of Hector.

(?);

160

to

Hector bidding farewell to Andromache

and Astyanax. 1

= B M. E

B.M. 676, 6235

Reinach,

Hector bidding farewell

Hecuba.

battle.

255.
his family,
is difficult

and unless names are given

to distinguish,

it

HEROIC LEGENDS

128

Book VII. 162

Combat
Helbig, 6 =

of

ff.

Munich 53;

Ajax and Hector.

Reinach,

104 (see under

i.

xiv.

402

ff.)

Baumeister, i. pi. 13, figs. 779-80 B.M. E 438 (Smikros) ; and

see Duris kylix in Louvre (Wiener VorL vi. 7 = Engelmann;

Anderson,

Book VIII.

89

Reinach,

ii.

vii.

42).

Combat

ff.

of Hector and Diomedes.

96.

261

Teukros and Ajax son of Telamon.

ff.

Robert, in Hertnes, 1901, p. 390, mentions a fragment of a

Corinthian pinax in Berlin with these two figures, which
or to xv. 415

397
Reinach,

Book IX.

above passage, or to

either belong to the

may

ii.

ff.

xii.

370 ff.,

ff.

Iris

Athena

interrupting

(see pp. 39, 77).

296.

Achilles lying sick (apparently a contaminatio or con1

fusion of ix. i68ff. and xviii. 35 ff.).
vii.

Jahrbuch,

173

(1892),

i.

pi.

of Odysseus and Phoinix to Achilles

Embassy

ff.

(R.F. vases only).

B.M.

56
282),

= Wiener VorL C.
2326 ( = Reinach,

Reinach,

i.

3,
i.

3; Berlin 2176

431

Reinach,

14;

i.

Roscher,

148

Reinach,

i.

658); MillinVorl.
C. 6

iii.

= Wiener

(Hieron) and 149.

Book X. 330-461.

of
Episode
Odysseus.

Oxford 226; Munich

526

Reinach,

*fi$
i.

Dolon

his

= Jahrbuchi v. (1890),
= Wiener VorL v.

89

p.

capture

143

by

Bibl. Nat.

(Euphronios)

Petersburg 879; B.M. F 157

Fig. 130.
Dolon as single figure Reinach, i. 306 = Wiener VorL iii. i,

Reinach,

i.

334

469-525.

Rhesos and

his horses.

Naples 2910 = Baumeister, i. p. 728, fig. 782

and
Diomedes with the horses); Wiener VorL C. 3, 2.
(Odysseus

B.M. B 234-35

Robert, in Hermes, 1901,

p.

391, connects this scene with

Book

xix.

320 ff.

SUBJECTS FROM THE "ILIAD

566

ff.

The

129

horses of Rhesos brought to the tent

of Diomedes.

Munich 583 = Jahrbuch,

v. (1890), p. 146 (a slave waters the horses

another brings drink to Diomedes).

Book

XL The fight

at the ships.

Munich 890 = Reinach,

Book XIV.
Reinach,

ii.

99

Baumeister,

Combat of Ajax and Aeneas

306 = Wiener Vorl. iii. i id.

i.

vii.

162

1.

(?

(?see above, under

i.

p. 729, fig. 783,

402

104

i.

ff.).

Helbig, No. 6

ff.).

fflfl^A"Ayj(Am^
CAPTURE OF DOLON (LUCANIAN KRATER

FIG. 130.

Book XVI.

666

ff.

Sarpedon

carried

IN BRITISH MUSEUM).

off

by

Hypnos and

Thanatos.

F 388 ; but this scene is hardly to be distinguished

from those with Memnon (see below, p. 132).

See Louvre

Book XVII.

60

ff.

Combat of Menelaos and Euphorbos, and

fight over his

B.M.
1

The

text

Menelaos

A 749
is

kills

Baumeister,

i.

not exactly followed here.

Euphorbos in the Iliad,

but does not fight over his body with

VOL.

II.

body.

p. 730, fig.

784

*
;

and see

E 20.

Hector as he does on the vase.

Possibly
a confusion with the Patroklos
episode below.

there

is

HEROIC LEGENDS

130
123
Exekias kylix

Combat over body

(Munich 339 = Reinach,
fT.

Millin-Reinach,

Vorl. D.

Wiener

49

i.

ii.
36) ; Reinach, ii. 95
Berlin 2264 (Oltos and Euxitheos) =

= Engelmann- Anderson,

2,

of Patroklos.

Book XVIII. 367 ff. (.1) Thetis in the smithy

Berlin 2294 = Overbeck, Her. Bildw. 18, 6.

xiv. 76.

of Hephaistos.

Hephaistos polishing Achilles' shield.

(2)

Rom. Mitth.

Book XIX.

(1887), p. 242.

ii.

Thetis and the Nereids bringing the armour

1-18.

to Achilles.
(a)

Riding on sea-monsters over the waves

(all late vases).

B.M. F69; Jatta 1496

Reinach, i. 112; Roscher,
and see Heydemann, Nereiden mit Waffen.
(//)

B.M.

Presenting the weapons to Achilles.

363; Millin-Reinach,

364

4, 7

Book XXI.

i.

14.

Achilles arming.

ff.

Athens 671

221-24;

iii.

Wiener

Vorl.

ii.

6; Overbeck, Her. Bildw.

vase by Amasis at Boston (Report for 1901, No.

14

Combat

ff.

xviii.

5).

of Achilles and Lykaon.

B.M. Fi73.

Book XXII.
Reinach,

No.

88

ii.

Achilles pursuing Hector round the walls

of Troy.

fT.

102 (now in Boston

fT.

B.M. B 639

The "

Museum Report

for 1898,

Zeus weighing the heroes' souls

scales.

19

see

42).

209

i.

Nat.

Baumeister,
"

Psychostasia

Bibl.

is

385
ii.

p.

in

his

Reinach,

921,

also referred to the

fig.

i.

89

Millin-Reinach, |

994.

combat of Achilles and

Memnon

(p. 132).

SUBJECTS FROM THE "ILIAD"

366

131

Death of Hector.

ff.

Munich 421; Reinach, ii. 101 = Helbig, 106 ;

468
Boston Mus. Report for 1899, p. 79, No. 31 (parody).
Cf.
= Engelmann-Anderson,
Millingen, Anc. Uned. Mon. i. 4

B,M.

Odyss.

Hi. 15.

437

Andromache suckling Astyanax (compare

ff.

only).

B.M.

509.

Book XXIII. 157

Funeral games for Patroklos.

fT.

Fran9ois vase (chariot-race,

175

etc.).

Sacrifice of

ff.

Trojan captives on the pyre

of Patroklos.

Naples 3254

Book XXIV.

Reinach,

i.

187.

Achilles dragging Hector's

tomb of Patroklos.

i6ff.

B.M. B 543 and Forman Sale

in

B.M.)

141

Berlin 1867

Achilles

ff.

Cat. 306

= Reinach,
offering

ii.

body past the

Reinach,

ii.

100 (now

99; Naples 2746.

hair

his

to

the

river

Spercheios.

B.M.

555

(?).

448

Priam begging Achilles for the body of

Hector the Achaean princes deliberat-

ff.

ing over the ransom.

Munich 404 (= Overbeck, Her.

(

= Reinach,

Baumeister,

Athens 889

580

ii.
i.

p. 739, fig.

= ^#.

ff.

Bildiv.

99); Petersburg 422

792

Mitth. 1898,

pi.

Reinach,
pi.

20,

3),

Reinach,
i.

and
i.

890

138

172= Vienna 328;

4 (B.F,, but poor).

Hector's body carried out to prepare for

burial.

Petersburg 422 (as above).

Among
and the

the events of the war betweeen the death of Hector

final

fall

of Troy, those

exploits of Achilles are most

1

which

relate

to

the

final

prominent, and especially the

See, for a revised drawing of this vase, Hill, Illustrations of School Classics, p. 105.

HEROIC LEGENDS

132

encounters with

Memnon, and with

and

Penthesileia, his death

the events arising out of it.

The story of Achilles' fight with
Penthesileia, and the death of the Amazon queen, is less
there are some very fine examples
Other representations of Amazons arming, setting
combat may be placed here, but except where

frequently depicted, but

1

remaining.
out,

or

in

is specially indicated it is better to regard them

as having no definite reference to the Trojan story. 2
remarkable painting on an Apulian amphora depicts the slaying of

Penthesileia

by Achilles in the presence of Phoinix and Diomedes.

Thersites had insulted Achilles after his slaying of Penthesileia. 3
The story of Memnon is related on the vases in several
Thersites

scenes, beginning with his equipment and departure for the

4
Next, we see the great fight of Achilles and Memnon
fray.

over the body of Antilochos,5 at which the respective mothers

of the heroes, Thetis and Eos, are usually present as spectators. 6
The result of the fight was fatal to Memnon, whose body we
8
7
by Thanatos and Hypnos, or by Eos herself,
his native land.
Eos is also represented mourning

see carried off

for burial in
9
over him.

The

Psychostasia, or weighing of souls

by Zeus

The body of
(see p. 130), has also been referred to this event.
Antilochos is finally rescued and carried off by Nestor. 10
Lastly, we find a few possible representations of the death
of Achilles, 11 and others, more certainly to be identified, of the
1

B.M.

pi. 6, 2,

B 209-10 (= Wiener VorL

= Reinach,
pi. 3, 3
ii.

1889,

1888,

Nat. 207 = Reinach,

468

105),

280; Munich 478 = Reinach,

B323(?),
= Furtwaengler-Reich105, and 370

ii.

hold, 6.

i.

ii.

105.

Millingen,

A.U.M.

i.

4 = Engelmann-

Anderson, Atlas to Od.

above, under //. xxii. 306
ii.

iii.

ff.);

15

(?

105, 2.
6

B.F.

Mus.

Greg.

Berlin 1147
ii.

28,

i,

Helbig,

and

38,

see

Reinach,

8,
;

31

Bibl.

254.

R.F.

B.M,

49= Reinach,

358; Tyszkiewicz Coll. pi. 17 (now in

In the last-named the subject
varied.

is slightly

See below, p. 144.

3
Boston Mus. Report, 1903, No. 70
cf. Quint. Smyrn. i. 741 ff.
4
Overbeck, Her. Bildw. 21, 16 =
Roscher, ii. 2674 ; and see B.M. B 209 =

ii.

Millingen-Reinach,

Boston),

Reinach,

B.M.

Reinach,

i.

12

149

=
;

Wiener VorL D.
Louvre F 388 (?)

3,
:

see

p. 71.
8

vi.

Millingen, A. U. M. i. 5 ; Wiener VorL

Roscher, i. p. 1265 (in Louvre) ;

i.
347 = Bourguignon Cat. 19 :
Athens 1093 = Roscher, ii. 2678
(Eos, together with Thanatos and Hypnos,
two Keres).

Reinach,

cf.

also

10

Helbig, 43 = Mus. Greg.

Reinach, ii. 106.

B.M.

E 808

(?).

ii.

49, 2.

THE STORY OF ACHILLES

133

battle raging round his body, in which Diomedes is wounded 1

2
also of Ajax carrying the body off out of the battle, and the
;

subsequent mourning of the Nereids over

it.

representation
of the ghost of a warrior, winged and fully armed, flying over a
4
ship, is to be regarded as that of Achilles, though to what event
The dispute over the hero's armour
it alludes is not clear.

and the suicide of the disappointed Ajax are introduced by

a scene representing the fetching of Neoptolemos, his son, from
5
Skyros, where he bids farewell to Lykomedes and Deidameia
of the quarrel between Ajax and Odysseus there are also several
6
It was decided finally by Athena, who is
representations.
7
represented presiding over the Greek chiefs as they vote
or,
;

8
according to another version, they cast lots before her statue.
9
The armour is then awarded to Neoptolemos, who, according

was indispensable for the capture of Troy. Ajax

with
goes
disappointment, and finally commits suicide
on
his
sword 10 ; the episode of his slaying the sheep
by falling
to an oracle,

mad

is

however, represented.
'I\iov Ilepa-w, or sack of Troy, which is so vividly
represented on many of the vases of advanced and late style,
not,

The

may be

said to begin with the episode of the seizure of the

11
It is rapidly followed
by Odysseus and Diomede.
horse
the
of
wooden
and its entry into
the
construction
by

Palladion

2
ii.

Reinach,

82.

i.

B.M. B 172

Munich 380 = Reinach,

115; Helbig, 77

below,

p.

177)

ibid.

ii.

Bibl. Nat. 537

107 (see

= Reinach,

Boston Mus. Report for 1899,

90
No. 28 =Arch. Anzeiger, 1898, p. 51.
i.

Wiener VorL 1889,

Naples 3358

5,

Reinach,

The

Vorl. C. 8, 2.

2 (in Louvre)
i.

is

type

313

derived from

and Kyknos (p.

Wiener Vorl.
69

that of Herakles
7

B.M.

Millin-Reinach,

i.

Wiener
101).
vi.

66.

B.M. B 541, Ei6o see above, p. 124.

Vienna 325 = Reinach, i. 174 =
Wiener Vorl. vi. i.
8

(Thetis present)
8

Louvre

ibid.
*

ii.

d.

Reinach,

i.

311

(?).

240

Reinach, ii. 99.

304 (and i. 226, i-3(?),
115); Engelmann, Arch. Stud.
cf. Sale Cat. Hdtel
Trag. p. 37

Reinach,

see p.

zu

107

B.M.

643

i.

Drouot, ii May, 1903, No. 100.

6

fig.

Athens 475 = Baumeister, iii. p. 1955,

2086 (Melian vase) ; B.M. B 327,

Fornian Sale Cat. 298;

Berlin 2000 = Robert, Bild u. Lied,
p. 217; Baumeister, i. p. 29, fig. 30;

6397,

13;

10

Two Corinthian vases, Arch.Anzeiger,

1891, p. 116, and Boston Mus. Report,

1899, No. 12 ; Louvre E 635
Reinach,

Rayet and Collignon, p. 69 ;

B.M. F 480 = Plate LVIII. ; Reinach, i.

i.

151

278.

"

Petersburg 830 = Reinach, i. 150 =

Vorl. A. 8 ; Naples 3231, 3235

Wiener

Reinach,
366.

i.

299,

102

parody, B.M.

HEROIC LEGENDS

34

the city. 1 There

of the death of

however, only one certain representation

to be traced, 2 and none of the

is,

Laokoon

traitorous Sinon.

Several vases, especially of the later epoch, collect the chief

episodes in a frieze or in a series of groups, including the rape
of Kassandra by Ajax, son of Oileus, the death of Priam and

Astyanax, the recapture of Helen by Menelaos, and the

of Aeneas

other scenes

represented are the

flight

leading back
the sacrifice of

by Akamas and Demophon, and

Polyxena and subsequent blinding of Polymestor by Hecuba.

of Aithra

General.

I.

Berlin

(= Overbeck, Her. Bildw.

1685

26,

pi.

i)

and 2281

= Furtwaengler and Reichhold, pi. -25 (Brygos in

= Furtwaengler and Reichhold, pi. 34 =
Louvre); Naples 2422
Baumeister,
pi. 14, fig. 795; B.M. F 160, F 278.
Plate

LIV.

i.

IL

(a)

Ajax

seizing

Kassandra

Athena.

at the altar of

B.M. B 242, 379 ; Berlin 1698; Roscher, ii. p. 979.

B.M. E 336,
470; Reinach, i. 221, 338 = Roscher,

B-F.

R.F.

ii.

PP- 985, 981; Bourguignon Sale Cat. 33.

B.M. F 209 ; Roscher, ii. p. 983.
Late.
(b).

Death of Priam and Astyanax. 3

Priam only.
B.M. B 241 Rom. Mitth.
(1)

Priam

(2)

Hi.

(1888), pp. 108-9

[Priam dead in

Berlin 3996.

usually

all

on

seated

Reinach,

>

ii.

109

except second.]
altar

Neoptolemos

swings body or head of Astyanax.

B.M. B 205

Berlin 2175, 3988; Reinach,

[See also under

xiv. pi. 9.

Andromache

(3)

Millin-Reinach,

Archemoros
1

Bibl.

(1892), pi.
ii.

186

Nat.
2

37

ii.

i.

ii.

109

J.PT. S.

Hecuba with body of Astyanax.

in

(Lasimos

= Jahrbitch vii.
= Reinach,

1279.

221,

Louvre; also identified

seep. 118).
t

Munich 400

116; Roscher,

or

i.

I.]

Man. Antichi,

ix.

pi.

15: see

Ja

buck, 1891, pi. 4, p. 190.

s
See for the various types J.H.S. xiv.j
p. 171.

THE SACK OF TROY

(V)

135

Menelaos and Helen.

B.M.

ii.
34; Helbig, 43
=
i.
Baumeister,
325
(
p. 746,
Greg.
49, 2),
Millingen, Anc. Uned. Mon. pi. 32; Louvre 03
fig. 798);
(Pamphaios) ; Reinach, i. 222 = Wiener VorL D. 8, i Noel

263; Reinach,

161,

= Mus.
(

437, 3 (Hieron),

i.

and

ii.

ii.

p.

des Vergers, Etrurie,

(cT)

pi. 39.

Akamas and Demophon

B.M. B 244
(e)

iii.

with Aithra.

458; Overbeck, Her. Bildw.

(?),

pi. 26,

13.

Flight of Aeneas with family.

B.M. B

173,

280

Baumeister,
85,

Reinach,

p.

Naples

Wiener

i.

31,

2481

ii.

fig.
;

no = Munich
(

32

Bibl.

Vorl. 1890-91, pi. 5,

903), 116, 273;

= Mus. Greg.
Helbig, 201
Nat. 261 ; Louvre Fi22

ii.

i.

(/) Sacrifice of Polyxena.

Plate

XXIII. =/.#:

xviii. pi.

15 (B.M.)

Overbeck, Her. Bildw.

pi. 27, 19.

(g)

Polymestor blinded.

Reinach,

i.

91 =Hill, Illustrations of School Classics,

p.

170 (now

in B.M.).

(k)

Ajax stabbing a captive

Reinach,

i.

(?).

88.
.

Among

the various adventures described

by the Cyclic poets

their way into the

n the Noaroi, few seem to have found

rase-paintings except the fate of Agamemnon, the interview
of Menelaos with Proteus (told in the Odyssey), and, of course,
the adventures of Odysseus.

The house

of Atreus and its story will be dealt with later

under the heading of the Oresteia we turn now to the Odyssey,
scenes from which are surprisingly few in Greek art, and appear
:

to have attracted the painter less than the more stirring events
of the Iliad.
The following, however, have been identified
:

Book

II.

94

Reinach,

ff.

i.

Penelope at her loom.

191.

HEROIC LEGENDS

136

Book

Arrival of Telemachcs at Nestor's house in

I2ff.

III.

Pylos.

= Roscher,

Berlin 3289

Book IV. 349

Oxford

= Engelmann-Anderson,

iii.

13.

The story of Menelaos' interview with Proteus.

= Mus. Borb. xiii. 58 = Engelmann-Anderson, iv. 22.

ff.

Naples 1767

Book V. 228

298

iii.

Odysseus navigating the sea on a

ff.

Cat.

262,

26

pi.

raft.

See also B.M.

(burlesque).

156

(Odysseus and Leukothea).

Book VI. 126

Nausikaa washing

ff.

Munich 42o = Reinach,

110

ii.

clothes.

= Roscher,

s.v.

Alkinoos and Nausikaa (parody).

Reinach,

i.

Book IX. 345

153.

Odysseus offering wine to Polyphemos.

ff.

Boston Mus. Report, 1899,

371
Plate

Odysseus putting out the eye of Polyphemos.

ff.

XVI. = Helbig,

i.

Reinach,

190
Arch. 1887,

ff.

i.

pi. i

Jahrbuch, 1891,

420
482

pi.

Reinach,

No. 641 (Aristonoos) Bibl. Nat.

64; B.M. 6154; Louvre F 342 = Gaz.
Arch. Anzeiger, 1895, p. 35 ;
Berlin 2123
p. 435,

Karlsruhe 167

Reinach,
(&)

Reinach

=J.H.S.

generally,

p.

28

2.

iv. p.

249; Louvre

J.H.S.

iv.

p.

248

pi-

ff.,

and

ff.

Odysseus and Kirke

(a) Arrival of
i.

Odyss. pert, p.

see also Ath. Mitth. 1897,

64:

i.

Rev. Arch. xxxi. (1897),

2ioff.

Monum. ad

see Bolte,

(a very early instance)

Book X.

Odysseus escaping under the ram.

B.M. 6407, 502, 687

p. 60.

(see J.H.S.

xiii. p. 82).

Odysseus.

142 = Roscher,

ii.

1195.

Transformations of comrades.
i.

396; Berlin 2342

= ibid.

i.

418; Boston Mus. Report,

1899, pp. 59, 6 1 (both early B.F.).

(c)

J.H.S.

Odysseus and Kirke.

xiii.

pis. 2

(Athens 956), 4

and see Reinach,

i.

142.

(in

B.M.),

p.

81 (Oxford 262);

SUBJECTS FROM THE "ODYSSEY"

Book XI.

Odysseus

ff.

23

Bibl. Nat.

422

137

sacrificing before his visit to

Reinach,

i.

126

Baumeister,

ii.

Hades.
1040,

p.

fig.

1254.

Book XII. 164

Odysseus passing the Sirens.

200.

Athens c)$%=J.H.S.
vi.

49, p.

pi.

xiii.

20

pi.

Boston (Strena Helbigiana^

Scenes from the

Book XVIII.
Reinach,

35

ii.

i.

ff.

440; and see J.H.S.

aryballos in

p. 31).

twelve books are even rarer

Odysseus and

Iros.

357.

Book XIX. 385

Reinach,

last

B.M.

i;

(= Louvre Fi23): Corinthian

ff.

Odysseus recognised by Eurykleia.

191.

394

ff.

The

story of Autolykos.

In connection herewith see Munich 805 = Reinach, i. 277 for

a possible representation of the betrothal of Laertes and
Antikleia
p.

90

ff. ;

(Hermes, 1898, p. 641

Hyginus, Fab. 201).

Book XXI. 393 XXII. 5

Berlin 2588 = Reinach,

i.

The

The

ff.

Robert, Homer. Becker;

slaying of the suitors.

217.

scenes from the Oresteia cover roughly the

same ground

as the great trilogy of Aeschylos, together with the IpJiigeneia

in Tauris and the Andromache of Euripides.
have first

We

the murder of

Agamemnon

1
by Klytaemnestra with her axe.

Next, Elektra making her offerings at the tomb of Agamemnon,

sometimes accompanied by her sister Chrysothemis. 2 It must
"
be borne in mind that the " type of this scene does not differ

any respect from ordinary scenes of "offering at a stele"

and therefore, where the names are not given or are obviously

in

modern

additions, this interpretation

Berlin 2301 = Reinach, i. 381; Petersburg 812 = Reinach, i. 381 = MillinReinach, i. 58 (doubtful).
2
Reinach, ii. 16 ; Naples 2858 =
1

is

at best a doubtful one.

Overbeck, Her. Bildw.

1755
ibid.

= Baumeister,
1761

iii.

pi.

28, 5; ibid.

p. 1848, fig.

1939;

Millingen- Reinach, 16.

HEROIC LEGENDS

138

The same

applies to the next series of vases, on which Orestes

but there seems to be one un-

meets Elektra at the tomb 1

doubted instance of Orestes and Pylades with the urn containing

2
the supposed ashes of the former (cf. Soph. Electra, 1098 ff.).
The next group to be dealt with shows us Orestes slaying
4
3
Aegisthos, while Klytaemnestra is held back by Talthybios
5
and, finally, the death of Klytaemnestra herself.
Orestes is then pursued by the Furies,6 and seeks refuge at
7
and
Delphi, where he is purified by Apollo at the Omphalos
;

Athens, where he afterwards sought the

8
of
Athena.
Other vases, nearly all of late date,
protection
and therefore under the influence of the Euripidean tragedy,

he

is

seen

also

at

represent Orestes accompanied by Pylades, arrived at the temple

of the Tauric Artemis, where Iphigeneia presents Pylades with
9
the letter.
Lastly, we have the death of Neoptolemos at the

hand of Orestes

at Delphi.

10

ATTIC LEGENDS

now be

necessary to deal with sundry isolated subjects,

which do not admit of being grouped together round the name
It will

any one great hero or any

of

particular legend.

There

are,

however, a certain number which may perhaps be regarded

as having a special connection with Athens, and with these
we will begin. 11 Some of the specially Athenian myths have
B.M. D33, F57.

Reinach,

ii.

175:

cf.

Boston Mus,

for 1899, No. 38.

Vienna 333 = Reinach, i. 169; Berlin
Reinach, i. 296 = Baumeister, ii.
2184

Report
3

1113,

p.

969 (in Berlin).

333 = Reinach, i.
Hi.
971; Reinach

Roscher,
*

ii.

B.M.

ii.

169

381;

i.

24.

= Reinach, 19 ibid.
Naples 1984 = Baumeister,
i.

316;

B.M.

Louvre)

66

Reinach,

Millin-Reinach,

1984; Helbig, 117

ii.

132 (in

i.

68

Reinach,

Naples
390;

i.

1890,

p.

90 (Berlin);

Reinach,

i.

105

= Naples

3223

ibid.

808
ibid.\. 158 = Petersburg 420 ; Naples S. A.
24 ; and see B.M. F 155, and Reinach,
133

p.

Baiimeister,

i.

p.

757,

fig.

279.
10

ii.

cf.

Pylades at omphalos?).
8
Petersburg 2189 (according to Robut see Reinach, i. 5>
scher, iii. p. 993)
and above under Kadmos.

i.

446.

Petersburg 349
9,

B.M. B 641 (possibly Orestes and

p. 1116, fig. 1313.

7

Anzeiger,

and

iii.

Millin-Reinach,
6

143;

i.

Vienna

Roscher,
5

Reinach,

1310;

fig.

Arch.

i.
321 == Baumeister,
1215 (Jatta Coll.).

Reinach,

1009,

fig.

" See
generally on Athenian
illustrated

ff.

cults, as

by vase-paintings, Harrison,

Mythol. and Mon.

p. xxi

ii.

of Athens,

Introd.

ATTIC LEGENDS

139

already been discussed in other connections, notably the story

of Theseus (p. 108), the dispute of Athena and Poseidon (p. 24),
the sending of Triptolemos (p. 27), and the rape of Kephalos
1

by Eos

and of Oreithyia by Boreas

then the following

(p.

There remain

80).

The birth of Erichthonios, who is represented as received

from Gaia emerging out of the earth, in the presence
Athena
by
It only occurs on the later R.F.
of Kekrops and his daughters.
(1)

vases

the type closely resembles that of the birth of Dionysos

(p. 19).

B.M.

372

Berlin 2537

= Reinach,

Munich 345 = Reinach,

VorL
B.M.
(2)

The

i. 208= Wiener
VorL B. 12;
and Reinach, i. 113 = Wiener

Also a scene from the childhood of Erichthonios

2.

iii.

66

i.

788.

of

reception

Attica (by

in

Dionysos

Ikarios

or

Amphiktion).

149,

this,

(3)

The

Philomela.
(a).

153,

and

166 in the British

story

of

Museum

See above,

but not certainly.

Tereus and

his

appear to refer to

p. 56.

Prokne and

daughters,

Tereus meeting Apate (Deceit)

Prokne and Philomela

in chariots.

Naples 3233
(b)

= Reinach,

Prokne and the

Reinach,

i.

308

240.

i.

dumb

Philomela

(in Louvre).

Aedonaia slaying Itys.

J.H.S. viii. p. 440 ( = Munich 799
(c)

a).

The

three sons of Pandion, Lykos, Nisos,

Orneus the son of Erechtheus.
(4)

Reinach,
1

On

i.

5io

= Roscher,

ii.

one of these vases the scene (in

the interior of a cup) is watched

group of Athenians at the foot of a

by a
hill,

round the outside of the cup (Reinach,

i.
io7 = Hartwig, Meistersch. pis. 39-40).
2
See Harrison, op. cit. p. Ixxxiv ff,

and

Pallas,

with

2187.
3

Cf.

Strabo,

ix.

392,

and

see for

124 above,
In the vase here given they witness the
exploits of their kinsman Theseus (on the

Lykos in another connection

obverse).

p.

HEROIC LEGENDS

140
(5)

The death of

B.M.
(6)

E 477

(with Siren as soul of Prokris or death-deity).

i.

375

cf.

Eur. Ion. 1250

Danaos taking refuge

Reinach,
(8)

i.

244

Echelos carrying

The

off Basile.
p.

39

(?).

4, 2 (in

Louvre).

see p. 27.

story of Diomos, the

B.M. B 178 =/.//..

iii.

Ion.

ff.

in Attica

Wiener Vorl.

Arch. Anzeiger, 1895,

(9)

by the agency of Kephalos.

Kreousa defended by Apollo from the attack of

Reinach,
(7)

Prokris

eponymous deme-hero

(?).

116.

xiii. p.

(10) Kodros, the last king of Athens.

Bologna 273

= Baumeister,

iii.

p.

1998,

fig.

2i^=Jahrbuch

1898,

pi. 4.

The Kodros cup (completely published

in

Wiener

Vorl.

i.

4)

decorated with groups of figures intended to illustrate the

legendary history of the great Attic families, in accordance

is

with the genealogising tendencies of the period (about 450 B.C.).

outer scenes represent Theseus taking leave of Aigeus, and

The

Ajax taking leave of Lykos and Aigeus and Ajax (Aias) are
eponymous heroes of two Attic tribes. On the Meidias vase in
;

Museum we
2

see a group of Athenian tribal heroes,

such as Akamas, Antiochos, Demophon, and Hippothon, together
with Medeia, who is also connected with Athens in the Theseus

the British

scene of the Kodros cup.

Other isolated myths which occasionally appear on vases, but

defy more exact classification, may be briefly recorded here
:

Admetos and Alkestis.

Bibl. Nat. 918 = Reinach,

(1)

i.

See also

395

= Dennis,

JZtruria 2 ,

ii.

frontispiece.

p. 69.

Agamedes and Trophonios as prisoners fed by Augias.

Louvre E 632 = Reinach,
349 (see Paus. ix. 37, 5; Ann. del?

(2)

i.

Inst. 1885, p. 130).

9, p.
p. 203.

130

224 = Plate XLI.

and Reichhold, pis. 8-9.
2

Cf. 'E0 Apx- 1893, pi.

and Frazer's Pausanias, ii.

ff.,

Furtwaengler

MISCELLANEOUS LEGENDS
(3)

Agrios seized by Oineus and bound on the

B.M.

p.

(4)

155

altar.

and Vogel, Scenen Eur. Trag.

see Anton. Liber. 37

141

125.

Atalante offering a cup to her antagonist Hippomenes.

R.F. kotyle in B.M.

Atreus and

(5)

as

latter

Thyestes (the

suppliant

in

the

former's palace?).
Millingen-Reinach, 23

= Wiener

Daidalos and Ikaros,

(6)

Naples

1767 =

Glaukos

(7)

B.M.

Reinach,

i.

pis. 1-2.

tomb brought

D 5 = Plate XL.

to

see Apollod.

i.

flight of.

Gaz. Arch. 1884,

in the

Kanaka's

(8)

Vorl. B. 4,

life

iii.

3,

by the

seer Polyeidos.

i.

suicide.

448.

Laios, Keleos, Kerberos, and Aigolios stung by bees

stealing the honey on which the infant Zeus was fed.
(9)

B.M.
(10)

177

cf.

Anton. Liber. 19 and Roscher,

Lykourgos destroying

B.M. F27i; Naples

ii.

pp. 834-35.

Thoas

and

i.

when

p. 154.

his children in a frenzy.

32 19 = Reinach,

i.

See also Reinach,

and 3237 = Baumeister,

333 Lykourgos slaying

125,
i.

p. 56.

(u) Melampus healing the daughters of Proitos from their

madness at the altar of Artemis Lusia, in the presence of
Dionysos.
Naples
(12)

T 7

60

Merope

= Millingen-Reinach, 52=
(a scene

Wiener

Vorl. B. 4, 3.

from the tragedy of that name).

Munich 810 = Reinach,

i.

363

see

Vogel, Scenen Eur, Trag.

p. 118.

(13)

Pandareos with the golden dog of Zeus, which he

Louvre
p.

A 478 =
586.

Hermes 1898,

p.

stole.

638; Bull, de Corr. Hell. 1898,

HEROIC LEGENDS

142

(14) Peleus wrestling with Atalante.

Munich 125
pi.

31),

= Reinach,
i2o = Furtwaengler and
= Reinach,
88; Bibl. Nat.
ii.

and 584

Arch. 1880,

pi.

ii.

14; Micali,

Mon.

Ined.

pi.

Reichhold,
= Gaz.

818

41.

(15) Peleus hunting a stag.

Berlin 2538

FIG.

(16)

= Reinach,

ii.

162

cf.

Apollod.

iii.

13, 3.

PENTHEUS SLAIN BY MAENADS (BRITISH MUSEUM).

131.

Pentheus torn to pieces by his mother Agave and the

frenzied Maenads.

= Fig. 131; Munich 807 = Baumeister, ii. p. 1204,

1396; Jatta 1617 = Miiller-Wieseler, Denkmaeler, ii. 37,
436; Jahrbuch) 1892, pi. 5 (and see p. 154); Gaz. Arch.

B.M.

775

fig.

1879,

(17)

pis.

4-5

(?).

Phaon with Chryse and Philomele.

Furtwaengler and Reichhold,

pi. 59 (vase in Palermo, formerly

as
see text, p. 296, for
Ariadne
and
interpreted
Dionysos
the correct interpretation).
:

MISCELLANEOUS LEGENDS
(18)

143

Phineus invoking the gods.

E 291 =

B.M.

Wiener ForI. C.

For other Phineus scenes, see

8, i.

pp. 81, 115.

(19)

The madness

of Salmoneus.

Amer. Journ. of Arch. 1899, pi. 4 (interpreted as Athamas)

Class. Review
1903, p. 276 and Harrison, Prolegomena
:

',

Gk. Religion,
(20)

to

p. 61.

Thoas placed

Berlin

cf.

in the chest

2300 = Reinach,

i.

273

by Hypsipyle.

see Ap.

Rhod.

i.

622,

and Hartwig,

Meistersch. p. 374.

(21)

Aktor and Astyoche (uncertain

Jahrbuch, 1902,

658

pi. 2

Boston): see

Schol. in Pind. Ol.

The foundation

(22)

(in

vii.

reference).
ibid.

p. 68,

//.

ii.

513 and

42.

of Boiae in Laconia

by the appearance

of a hare.
Reinach,

ii.

333

Inghirami, Vasi Fitt. 120 (this

is

exceedingly

doubtful).

(23)

Two

Wiener

boys delivered to a

Nymph (unknown

myth).

Vorl. E. 12, 3.

The

story of Orpheus often finds a place on vases of the R.F.

period, but is chiefly confined to two episodes, his playing the
1

2
group of Thracians (the men recognisable by their
costume, see p. 179), and his pursuit by the Thracian women \
and subsequent death at their hands. 4 In one scene his head
5
after his death is made use of as an oracle.
He is often present
in under-world scenes (see p. 68), but not always in connection
with the fetching back of Eurydike. 6

lyre

among

Furtwaengler (jo

festprogr. p.
scenes to the

163)

tes

refers

Winckelmannsthe

Aeschylean tetralogy of the

Lykourgeia.

Munich 383 Reinach, i. 63 ii. 80.

B.M. 301 Naples 3114 ; Reinach,
;

Orpheus

i.

186, 327 (

Roscher,

iii.

= Roscher,

p.

1184

iii.

p.

1185-86)

see alsoJ.ff.S. ix.

B.M.
390; Naples 1978, 2889,
3143 (see Reinach, i. 176); Reinach, i.
=
403
Roscher, iii. p. 1181 ; Roscher, iii.
p.

1179

(in Berlin).

p. 143.

Reinach, i. 493 = Roscher, iii. p. 1178.

She occurs on B.M. F 270, Petersburg
498, and Karlsruhe 256.
5

HEROIC LEGENDS

144

Thamyris, a quasi-legendary figure, appears contending with

Muses for pre-eminence with the lyre l on one fine R.F.
vase he is accompanied by Sappho, 2 who, though strictly an
historical personage, appears among the Muses in quasi-mythical
he also plays the lyre among Amazons. 3 Other semiguise
the

;.

enveloped in a cloud of fable are Taras, the

founder of Tarentum 4
Midas, who is generally represented
with asses' ears, and is depicted judging the Seilenos who was

historical persons

6
caught in his rose-garden and is led before him with hands tied
and Minos, who appears at the slaying of the Minotaur by
6
7
Theseus, and in the under-world as one of the judges of souls.
;

Nor must we omit to mention the Amazons, who play such

besides their connection with
Greek vases

a large part on

various legendary events, they are often employed purely as

decorative figures.
Mention has already been made of their
combats with Herakles and Theseus, and of the part played

queen Penthesileia

their

by

in the

War

Trojan

8
;

and we

also

such scenes as the Judgment of Paris 9 and Herakles

10
n and
They also contend with Gryphons
fight with Kyknos.

find

them

in

scenes in which they are opposed to Greek warriors

here alluded to as not admitting of more definite

many battle
may also be

identification.

12

They

paring for the fray,

13

are further represented arming and pre14

or defending

or setting out on horseback,

Reinach, i. 96 = Helbig, 99; Rom.

Mitth. 1888, pi. 9 ; and see Naples 3143

9
I0

Reinach,!. 176.
2
3

Reinach,
526.
1344 = Dumont-Pottier,

Jatta 1538

Athens

Schreiber- Anderson, Atlas >

pi.

5,

Ibid.

4: see Rom. Mitth. 1894,

iii.

p. 285.

i.

i.

pi. 144

See pp. 99, in, 132.

Wiener Vorl. A. 10, 3.

10

" B.M.
F6, 85, 230; Reinach, i. 492,
" 2 9512
B.M. Fi58, 278; Naples R.C. 239

= Reinach,

Reinach, ii. 333, 5 (burlesque scene

with actor as Taras on dolphin: see

330= Wiener

p. 160).

Louvre F 166 Helbig,

i. 268
Reinach, i. 122

B.M.

447
Reinach,

189 =
Benndorf,

Gr. u.

Sic.

Vasenb.

53,

= Jahrbuch, 1887, p. 113;

Naples 1851
Ath. Mitlk. xxii. (1897), pi. 13 see for
the myth, Hdt. viii. 138 and Roscher, s.v.
:

Reinach,

Munich 849

i.

147, 509;

ii.

= Reinach,

8 1, 271.
i.

258.

Reinach,

Reichhold,

482), 3253

i.

= Reinach,

i.

and 2421
Furtwaengler and

Vorl. vii. 6b, i),

ii.

278

26-8) ; Millin-Reinach, i.
= Bibl. Nat. 427) and 61 ; Millingenpis.

56 (
Reinach, 37.
13

B.M.

12

Naples 2613; Louvre

= Reinach, ii. 57;

F2O3; Munich 4
Reinach, ii. 56.
u Wiener Vorl.

158, 566

1889,

6,

Micali, Storia, 91.

2; BJ

AMAZONS AND CENTAURS

145

and as (decorative figures we see them

3
and discharging arrows, 4 blowing
charging, stringing bows
5
a trumpet, running by the side of a horse or checking a restive
1

a besieged

city

animal,

Greek
Nearly

7
or fastening a shoe ; or in peaceful converse with a
9
8
or else without any distinguishing action.
warrior,

these subjects belong to the R.F. and later periods.

all

We may conclude this section with an account of the monstrous

semi-human, semi-bestial creatures, which play a large part in
the decoration of Greek vases, and appear in connection with
many legends. Such are the Centaurs, half man, half horse
;

women

with snaky locks; the Harpies,

vases
in
the form of winged women
early

the Gorgons, winged

also

found on

and

creatures

mythical
Minotaur.

like

Pegasos, the Chimaera, or

The Centaurs, who probably symbolise mountain

the

torrents or

other forces of nature, appear (mostly on early vases) in combat

with Herakles, either in troops or in single combat, as in the
stories of Nessos,

Dexamenos, and Eurytion

10
;

or, again, in

the

scenes so often celebrated in the sculptured friezes and metopes

of Greek temples, where they contend with Theseus and Peirior with the Thessalian Lapiths. 12
common episode is the death of Kaineus,
11

thoos,

Among the latter a

whom the Centaurs

the earth, showering rocks upon him. 13

In a more
peaceful aspect appear the aged Centaurs, Pholos and Cheiron,
14
especially in the stories of Herakles and Achilles, both of whom
auried in

Vasi

Inghirami,

Thiersch, Tyrrhen.
2

B.M.

pi. 2, fig.

40;

i.

Amph.

Hartwig,

2 (Louvre

2; Reinach,

Fitt.

035)

iv.

304

p. 64.

Meistersch.
ibid. pi. 22,

166.

Engelmann-Anderson,

Iliad, v. 24,

vi. 25.
4

B M. E

19

Vorl 1890-91,
5

i.

B.M.

Vienna 231

Wiener

i, 6.

B 591

Berlin 2264 = Reinach,

Boston Mus. j?/0rf for 1899, No. 22:

see Hartwig, Meistersch.

p. 119, note
7

B.M.
253,
295.
B.M.
573.
I0
See above, p. 102.
" See
above, p. in.
12
Frar^ois vase ; B.M.

F277;

Reinach,

Louvre

256

= Jahrbuch,

i.

1887,

i.

154

176,

(= Naples

II.

162,

2411),

1S

473 J.H.S.
Fra^ois vase ; B.M.
Munich 846 = Millingenpi. 6
Reinach, 8; Mon. Antichi, ix. pi. 2;
;

Reinach,

i.

22, 474,

ii.

272.

" For Herakles and Pholos

see p. 102.

pi. ii.

VOL.

309 (Louvre E 700), 391 (Munich 805) ;

Furtwaengler and Reichhold, pi. 15 (a
fine R.F. example).
xvii.

508, 4.
6

10

HEROIC LEGENDS

146

are brought to the latter for their youthful education. 1 As the

friend of Peleus Cheiron often assists at his capture of Thetis. 2

Centaurs, especially Pholos, are sometimes represented return3

4
in one
ing from the chase, or as single decorative figures
;

case they fight with cocks.

Nike in one or two instances is
drawn in her chariot by male or female Centaurs G and, finally,
representations of youthful Centaurs are found, though usually
;

7
they are middle-aged.

The Gorgons appear almost exclusively in connection with

8
the Perseus legend, but are besides frequently found as decora9
tive figures, especially on B.F. vases, in the running attitude
one case between two Sphinxes. 10
head
or
mask
of the Gorgon Medusa, familiar
Besides these, the
at all periods as a decorative motive of Greek art
first with an
afterwards
refined
and
and
beautiful
is often
face,
grotesque
ugly
found By itself on Greek vases, especially as an interior central

characteristic of archaic art, in

ornament of B.F.

11

kylikes.

Harpies, conventionally associated through the medium of

12
with the human-headed bird-form which
the Roman poets
really denotes the Siren, are found invariably on vases in the
13
form of winged women.
They are, as has been elsewhere
14
as symbolical
noted (p. 81), associated with the Boreades
of evil and good influences of winds, and probably should be
regarded as personifications of the southern breezes (the malevolent influence of which is seen in the sirocco).
Traditionally

they were supposed to guard the Garden of the Hesperides in

The story of
Africa, whence the hot baleful winds come.
B.M. B620 (Achilles)

Reinach,

i.

91 (Achilles);

ii.

Munich 611

419 (Herakles)

B.M. B 77

7-8, fig. 3 (cf. p. 88).

Reinach,

Fig. 98

B.M. F3;o.

See above,

Frar^ois vase

(parody).

See Jahrbtich, 1886, pp. 202-4, Nos.

i.

Re

'

Reinach,

B.M.

cf.
4

Athens 1246

680

i.

ii.

Vasenb. 8,

58,

452; Helbig, 237=

82, 2 b

Benndorf, Gr. u.

12

Arch. Anzeiger, 1890,

B.M.

F 550

Wiener

nacn

>

i.

cf.

E.

pis.

259.

180.

c*t>
Aen. iii. 216 (virgineat
vultus) and 241 (pbscenae volucres).

See f. U.S.
H B.M.
64,

p. 2.

Vorl.

Cf. Virgil,

13

2.

Athens 644; Rein

E.g. B.M. B427, 428, 430, 436,679,

226.

Reinach,

Mus. Greg.
Sic.

209, 289

ii.

332, 429.

S l '9> 943

p. 112.

p. 344.

xiii. p.

16

103
(?)

ff.

see

Vol.

MONSTERS
Phineus

is

to

probably
at

Harpy appears

the

147

1
A
explained on these lines.
from
Zeus'
of
recovery
golden dog

be

Pandareos. 2

is

That the human-headed bird represents a Siren in Greek art

amply attested by the representations of Odysseus' adventure

with the vocal enchantresses. 3

Their appearance on the so-called

Harpy monument

of Xanthos, however, shows them in another

4
not necessarily of a violent and
aspect, that of death-deities
5
rapacious character, as on a vase in Berlin, but gentle and kindly.
6

So, again, a Siren is represented in connection with a tomb

and in a scene representing a banquet in Elysium they are
;

7
On some vases we find a Siren
depicted crowning the dead.
8
a
flute
or
a
lyre (probably merely fanciful subjects)
playing

again, two Sirens kissing each other.

motives their appearances are countless,

As mere

or,

decorative

and many early vases

modelled in the form of Sirens 10

sometimes they have
u
12
a
human arms
in one case
bird's wings and a fish-tail

are

more anomalously, bearded masculine heads. 13

or, again,

More

14
rarely they are seen flying.

The Sphinx is familiar in the first place as the monster, half

woman, half dog, which vexed the city of Thebes till slain by
Oedipus
groups

this story is often

16

Seep. 115; B.M. E 302; Reinach,

and for two Harpies, with

119, 201

name
2
3

inscribed, in connection with this

1682

= Reinach,

Louvre A 478.
B.M.
440 -,J.ff.S.

i.

441.

pi.

10

B.M. 6510:
Weicker,

E.g. B.M.

cottas,

Strena

Der

cf.

Weicker,

p. 48.

p. 120, fig. 46.

A 1135

Cat. of Terra-

291, 292, 479.

667,

723; Vienna 318;

Munich 1077.
12
Munich 1050.
13
B.M. 6215 Louvre A44I,
;

858

See/en-

Berlin 1727
cf. Athens 531 and Wilisch,
Altkor. Thonindustrie, pi. 3, fig. 38.

Berlin 2itf =Jahrbuch, 1886, p. 211 ;

477 a Siren of the ordinary

B.M. 6429.
See above, p. 117 ; and cf. Bibl. Nat.
278 and Athens 1480 = Wiener Vorl.

as death-deities, see Weicker,

vogel(igo2).

on B.M.

decorative type appears with allusion to

the death of Prokris,
perhaps as indi-

B.M. 6651.
Louvre

1893, P- 238.

667

14

ls

1889, 9, 8.
16

eating her departing soul.

7

" Louvre
xiii.

Helbigiana, p. 31.
*
On Sirens generally, and especially

story, Berlin

many

Sphinx have probably no special

The Sphinx has sometimes a sepulchral reference, 17

of a

meaning.
i.

man and

alluded to on vases, 15 but

17

= Bull,

de Corr, Hell.

B.M. B 125, 6539, etc.

B.M. 6650; Reinach, i. 3 19 \J.H.S.

xix. p. 235.

HEROIC LEGENDS

148

1
2
grouped with other figures, such as Atlas or a Seilenos
a
scene
from
a
Like the
Satyric drama).
(the latter probably
3
Siren, she is exceedingly common as a decorative figure,
especially in the friezes of animals and monsters so dear to
Her invariable form is that of a
the early vase-painters.
or
with
a
lion
woman's bust.
dog
winged
The Gryphon, a kind of dragon composed of an eagle's head
and lion's body and legs (occasionally a bird's), is almost exclusively
but on the later vases we find the fabulous comdecorative 4

and

is

bat of the Oriental Arimaspi with the Gryphons who guarded

the mountain of gold in the Far East (cf. Plate XLII.) 5 or,
6
7
again, they contend with the Amazons, with Scythians, or
;

with ordinary Greek warriors. 8 In one instance an Arimasp

woman is seen shooting at a Gryphon of curious type. 9
10
Further, they draw the chariots of deities, such as Persephone,
u
have
and Dionysos
and we
already seen Apollo coming on
a Gryphon from the Hyperborean regions. 12
;

Pegasos, the winged steed of Bellerophon, and the monster

Chimaera which he slew, also appear as decorative figures 13
and the former draws the chariots of Apollo and of a woman, 14
and also appears as a constellation with the moon and stars. 15
A human-headed monster attacked by a hero seems to have
been suggested by the Chimaera on a companion vase. 16 The
Minotaur is generally seen in connection with Theseus, but
17
also appears as a single or decorative figure,
and one vase
18
the
in
his
to
monster
mother's lap.
youthful
appears
represent
Other monsters found occasionally on vases are Skylla, who
;

p. 103.
3

B.M.

632 and Athens 592 (with

Hermes); Naples 3254 = Reinach, i.
327 = Wiener Vorl. 1889, 9, 7.
4

5
6
1

8
9

"

Reinach, i. 471.
Naples 2846 = Festschr.fiir Overbeck,

Reinach,

i.

54, 258, 480,

B.M.
434; Reinach,
See above, p. 144.
Ath. Mitth. 1887,

ii.

236.

16

i.

"
p. 64,

ii.

314.

Benndorf, Gr.

u. Sic. Vasenb. 12,

2;

B.M. B 308 (three Minotaurs).

18

220; and see

Bibl. Nat. 449 = Reinach, i. 129.

Amcr. Jouni. of Arch. 1900, pi.

(cf. pi. 4).

Reinach, ii. 319.

Boston Mus. Report, 1899,
Reinach,

29 above.

I
(Pegasos) B.M. 6105, B 417,
Louvre A 307 (Chimaera).
14
B.M.
170; Reinach, ii. 309.

8,

No. 21 (B.F.).
10

p.

23, 53.

pi. II.

See

B.M. B 4 5, B6s, E 11,

35, Bibl.
Nat. 177, Benndorf, Gr. u. Sic. Vasenb,

ls
i.

Cat. 57.

Bourguignon

12

pi.

Bibl. Nat. 1066

:

seef.ff.S.

xi. p.

Gaz. Arch. 1879,

349.

MONSTERS

149

appears, not in connection with the story of Odysseus, but with

those of Perseus and Andromeda, 1 and Phrixos and Helle, 2

a single figure 3
and Lamia, a vampire or ogress in
the form of a hideous old woman, who is seen undergoing
or

as

and
Satyrs,
type of monster,

from

torture

Another

already been

has

in

another

the

serpent-footed

mentioned. 6

scene.

unexplained

giant Typhon,
a unique

Yet another and

is that of the Nymphs with serpent bodies which protect

vines from the attacks of goats. 7
Lastly, another creation of fancy, though not strictly mytho-

type

logical, is the

iTnrdKeKTpvtov or

"

cock-horse," a bird with horse's

8
head, which appears on some B.F. vases ridden by a youth.
This may also be a convenient place for mentioning the common

decorative subject of Pygmies fighting with cranes. 9

HISTORICAL SUBJECTS

The number

of vases on which undoubted historical subjects

is very limited,
though the old systems

have been discovered

of interpretation exerted much ingenuity in eliciting an historical

meaning from many scenes of daily life, with or without names
inscribed over the figures.
In the instances given below, the

names

are given in most cases, obviating all doubts.

It is
worth noting that the subjects chosen are not as a rule those
that would most obviously suggest themselves.
They fall into
two classes, one relating to historical events and persons, the

other to literary celebrities

I.

(i)

The weighing

of silphium by Arkesilas, one of the

descendants of Battos, who ruled at Kyrene probably the second of the name (B.C. 580550). This

Reinach,
Ibid.

i.

i.

188.

498.

7 3

B.M. F2i8.
Athens 961 = Ath. Mitth. xvi. pi. 9
(p obably taken from a Satyric drama).
Reinach, i. 459.
See above, p. 12.

Munich 468

= J.H. S.

Philologus, 1898, pi.

i.

xix. p.

217

B.M. 6433; Berlin 1770; Athens

= H e ydemann,

Gr. Vasenb.

pi. 8,

Louvre F 100, 104 (between Sirens)

Ar. Av. 800.
9

Frangois vase

Reinach,

i.

cf.

27, 54,

295; B.M. 677; MillinReinach, i. 63 ; Wiener VorL ii. 5, 2 ;

and cf. B.M. 0178 and Jahn, Arch.
61,

470,

ii.

Beitr. pi. 12,

I.

HEROIC LEGENDS

150

scene occurs on a Cyrenaic cup in the Bibliotheque

see Vol. I., p. 342, Fig. 92), which
is probably a contemporary production.
at Paris (Cat. 189

(B.C.

545).

= Reinach,

Fig. i32

king of Lydia, on
See above, p. 6.

the

(2) Kroisos,

i.

85

= Baumeister,

ii.

the

p. 796, fig.

funeral

860

(in

pyre

Louvre).

From Baumeister.
FIG.

(3)

132.

KROISOS ON THE FUNERAL PYRE (VASE IN LOUVRE).

Harmodios and Aristogeiton slaying the tyrant Hipparchos

B.F.

(B.C. 510).

Arch.-epigr.

Reinach,

(B 605).

i.

Mitth.

aus

Oesterr.

449; and see a

late

iii.

(1879), P 1 6

Panath.

amph.

in

RF
-

B.M.

HISTORICAL SUBJECTS
death with arrows,

(4) Diitrephes shot to

Paus.

i.

p.

255, and

The

(5)

p. 15

1892,

B.C.

479

See

(?).

note.

p.

185 (but see

Reinach,

ii.

under Gigantomachia).

Persian king and queen.

Helbig, p. 281

The

(6)

and Frazer's

= Jahrbuch,

Nat. 299

Bibl.

23, 3,

151

Reinach,

275 (see Hartwig, Meistersch.

i.

p.

525).

Persian king hunting.

Petersburg, 1790

Reinach,

i.

23 (Xenophantos):

cf.

Naples 2992.

Dareios in council, with various deities and personi-

(7)

fications as spectators.

Naples 3253

Reinach,

of

(8) Battle

i.

Baumeister,

194

and

Greeks

i.

Persians

pi. 6, fig.

(with

449.

spectator-

deities, etc.).

= Reinach,
Hartwig, Meistersch.

Naples 3256

(9) Battle of

Berlin 3264
II. (i)

55-56 and

p.

p.

179; Reinach,

ii.

84;

518.

Greeks and Messapians.

Reinach,

i.

270.

Sappho.
(a)

De

98: see also

i.

pis.

As

single figure.

Witte, Coll. a
(b)

Fig. 133
(c)

I'

Hotel Lambert,

With Alkaios.
= Munich 753 =

pi. 3.

Baumeister,

iii.

p.

1543,

fig.

1607.

Reading her poems.

Athens 1241

Dumont-Pottier,

pi.

Reinach,

i.

526.

(d} In rivalry with Muses.

Reinach,

Jatta 1538
(e)

Abhandl.
(2)

i.

526.

With Eros (named

d. k. sacks.

Gesellsch.

Talas).
viii.

(1861),

pi.

Aesop.

Helbig, 154

Jahn, Arch. Beitr.

pi.

12,

fig. 2.

i, fig.

see p. 49.

HEROIC LEGENDS

152

Anakreon.

(3)

E 18 cf. 266-67, 3*4-15; and see generally Jahn, Gr.

Dichter auf Vasenb. in Abhandl, d. k. sacks. Gesellsch. viii.

B.M.

(1861), p. 699

(4)

ff.

Kydias of Hermione (a lyric poet cf. Schol. in Ar.

Nub. 967) and Nikarchos (a contemporary fluteplayer) are to be seen, according to Jahn (op. tit.
:

From Baumeister.
FIG. 133.

ALKAIOS AND SAPPHO (VASE IN MUNICH).

740) on a psykter in the British Museum (E 767),

on which these names are inscribed over two re-

p.

vellers

but the identification

See also Munich 1096

III.

torical

is

= Jahn,

exceedingly doubtful.
op. tit. pi. 4, fig. i.

Mention should also here be made of the names of hisrenown which often appear on R.F. vases with the word
(see Vol. I. p. 403, and below, p. 267), such as Alkibiades,

HISTORICAL AND LITERARY CHARACTERS

153

Glaukon, Hipparchos, Klefnias, Leagros, Megakles, and MilThe question is dealt with elsewhere, and it has been

tiades.

shown that only in one or two cases e.g. Leagros, Glaukon,

and Kleinias (the father of Alkibiades) can an identification
with the historical personages be certainly maintained
it is,
of
in
sufficient
for
reference
this
interest
however,
chapter,
because the inscribed names may in some cases possibly refer
;

to the figures depicted

1

Cf.

(Hipparchos);
Naples 2609
Athens 1162, and Louvre
Athens 1020 = Jahr103 (Leagros)

B.M.

on the

46,

vases.

buck, ii. p. 163 (Glaukon); B.M.

300
and Oxford 309 (Kleinias); Reinach, i.
513, 6 (Megakles).

CHAPTER XV
SUBJECTS FROM ORDINARY LIFE
Religious subjects Sacrifices Funeral scenes The
Athletics
Sport and games Musical scenes

Drama and

burlesques

Trades and occupations

Daily life of women Wedding scenes Military and naval
subjects Orientals and Barbarians Banquets and revels Miscellaneous subjects

Animals.

IT is hardly possible to give within brief limits all the illustrations that the vases afford, either directly or indirectly, of
the religious and secular life of the Greeks.
It is, however,

under several headings, and

most typical and popular in each case.

feasible to classify these subjects

to give a

Thus we have
1.

2.
3.

4.
5.

6.
7.
8.

9.

of the

list
:

Religious ceremonies and sacrifices.

Funeral scenes and offerings at tombs.
Subjects connected with the drama.
Athletic contests, games and sport, and musical scenes.

Trades and occupations.

Scenes from daily life of women and children.
Military and naval subjects.
Oriental and barbarian figures.
Miscellaneous subjects and compositions of no particular
import.

10.

Animals (mostly only decorative).

i.

RELIGIOUS SUBJECTS

These mostly appear

a simple

altar,

in the

form of

or before the statue of

sacrifices, either

some

before

deity, a cult-image,

RELIGIOUS CEREMONIES

155

or terminal figure.
Thus we have representations of the offering
of a bull to Athena, 1 sacrifices to a primitive image of Dionysos 2
or to a terminal figure of Hermes, 3 or a sacrifice or libation

to Persephone, Apollo, or other deities. 4

maidens carrying chairs and a boy with

procession of six

game is probably in
we have the Dioskuri

honour of Artemis 5 and in another scene

6
coming to the Theoxenia or feast prepared in their honour.
Many other examples may be found under the heading of
;

the various

deities.

Olympian

we

In other instances

see the

a sacrifice, 7 or a procession of figures with

victims and sacrificial implements 8 ; the victims are either rams,*
10
11
or pigs. 12
Other scenes of sacrifice represent
bulls,
goats,
preparations for

the roasting of a piece of meat held on a spit over a blazing

altar 13
or two men stand over a large krater on a stand,
;

14

accompanied by a
doubtless

is

In

flute-player.

intended

to

many

cases the sacrifice

a dramatic, agonistic, or

celebrate

other victory. 15
Among other religious scenes we have the dedication of
a tripod, 16 religious festival dances, 17 praying figures, 18 men

women burning

or
or
1

incense over an altar or incense-burner

of libation, 20 a

scenes

ii.

B.M. B 80 ; Berlin 1686 = Rayet and

Reinach,
pi. 7, and 1882

ii.

See
See

13

p.

53

also Reinach,

4 (both Dionysiac).
Oxford 292 (Persephone)

i.

472 and

u B.M.
l5
B.M.

meister,
16

Anzeiger, 1895, p. 36 (in Berlin).

7

8
9

B.M. 6633.
B.M. 284 = Mon.Antichi, ix.pl.
B.M. B 80, B 585, B 648.
Naples 2858 Mus. Greg. ii. 71, i
;

a.

10

B.M. 679; Louvre F 10 ; Reinach,

428; Mus. Greg. ii. 71, i a ; Munich
386 = FurtwaenglerandReichhold,pl. 19;
and see under Nike, p. 87.
11
Bologna 275 B.M. B 362.
12
Berlin 1727 = Reinach, i. 429; Athens

i.

= Heydemann,

Gr. Vasenb.

pi.

n,

l.

Cer.

ii.

(Louvre).

B 3.
455;

i.

p.

21

Athens 1858

1, fig.

165

Bau-

Reinach,

i.

B.M.

284; Bologna 286

Reinach,

Schreiber- Anderson, 25, 8 (referred to the Thargelia by Reisch, Gr.

i.

I.

456, 494

Millin-Reinach, i. 8 ; Micali,
97, fig. 2 ; Bull, de Corr. Hell.

396.

Storia, pi.

Reinach,

Berlin 2129) :
321, 4; ibid. 122, 2 (
see Hartwig, Meistersch.
p. 48, note ; also
l. Cer. ii.
108, and Reinach, ii. 286.

ii.

E 455,

B.M.

1895, P- IO

198,

priest

Hekate?); Hartwig, Meis-

(sacrifice to

105, 108

p. 60.

19

tersch. pi. 3, fig. 2.

122.
2

or

Metragyrtes

Collignon,

mendicant

403

Weihgeschenke, p. 80).
" Berlin
1727, 2010.
18

B.M.

Reinach,

114,
ii.

291

Bibl. Nat.

94;

135.

19
B.M.
88; Mus. Greg. ii. 78, 2b ;
and see Stackelberg, pi. 35.
20
Wiener Vorl.
Reinach, ii. 286
1890-91, pi. 7, 2= Rom. Mitth. v. (1890),
I b.
p. 324; Mus, Greg. 71,
;

SUBJECTS FROM ORDINARY LIFE

156

1
praying before devotees, and a priest examining the entrails

An

of a ram. 2

ephebos is initiated and purified by the ALOS

Ko>iov
oaths are taken over a tomb, 4 or omens from
birds on a tumulus 5
and here perhaps may be mentioned
a man making a gesture against the evil eye. 6 There is also a
3

scene

illustrative

of the

IliOoiyia,

an Athenian feast

7
;

and

a possible representation of the feast of Adonis, and the

"
"
or pots of flowers exhibited on that occasion. 8
gardens
Lastly, there are scenes relating to votive offerings, such as
a figure of a child on a column offered to Athena, 9 a youth
10
and others in which similar votive
carrying a votive tablet,
11
The number of scenes which can be shown
tablets occur.

to relate to Athenian festivals, or bear on

Greek

religious belief

and

ritual, might be greatly expanded and multiplied, but at

12
present little has been done in this direction.

FUNERAL SCENES

2.

Closely connected

with

these

religious subjects

are

those

of the Greeks, and found

such a strong reflection in their decorative art namely, those
which relate to the burial and cult of the dead. The relation

which played so large a part

of Greek

vases to the

in

the

life

tomb has been

discussed

elsewhere

(Vol. I. p. 141 ff*.), and it is sufficient here to repeat that there

are only three or four classes of vases which yield undoubted
1

Naples

3358

Schreiber- Anderson,

Reinach,
20,

3:

i.

see

313 =
Miss

Harrison's Prolegomena to Gk. Religion,

p. 157.
2

De

cf.

De

cit. pi.

22.

9
10
11

Berlin 2213

Naples

J.H.S. xix. p. 228 (in Naples).

Naples 2458=J.H.S. xix. p. 227

B.M,

494,

iii.

pis.

79, 80.

They appear

be especially associated with terminal

12

Miss Harrison's comprehensive Proto Greek Religion (Cambridge

legomena

Press, 1903) appeared too recently for

the writer to be able to make detailed

J.H.S. xx. p. 101.

Karlsruhe 278 = Reinach,
Benndorf, Gr.
Fig. 17, Vol.

Cdr.

figures.

B.M. 1)641.
Athens 695.

EL
to

Witte, op.

6
7

1760 ( = Millingen-Reinach, 52), and

S.A. 647 (= EL Ce"r. iv. 19); Gerhard,
Akad. Abhandl. pi. 63, figs. I, 4, 5

Witte, Coll. a VHfoel Lambert,

pi. 29.
3

Hell. 1895, p. 103

use of

it

in

this section.

It

must,

of

ti.Sic. Vasenb. pi. 31, I.

course, be borne in mind that many

of the interpretations in that work are

I.

only conjectural.

i.

271.

= Munich 51.
p. i4O
585; Bull, de Corr

FUNERAL SCENES

157

evidence that they were expressly made for funeral purposes,

each belonging to a different period of the art.
In the earliest period we have the great Dipylon vases
I.
p. 285), many of which represent funeral processions
and rows of mourning women l these were made for standing

(Vol.

outside the tomb.

amphorae, made

In the B.F. period there are the prothesislikewise for placing first round the bier and

then on the tomb, as plainly shown in one instance 2 and in

the R.F. period the Athenian white lekythi are decorated almost
;

exclusively with sepulchral scenes.

Among

the vases of the

decadence a whole series of Lucanian and Campanian hydriae

and Apulian kraters and amphorae, as well as some late Athenian

Apulian examples being usually of enormous size,

equally betray the special purpose for which they were made.

vases, the

On

commonest subject

the B.F. vases the

is

the prothesis or

conclamatio, where the body is exposed on the bier and the

mourners stand round in attitudes of grief, 3 a subject also
4
Elsewhere we have the
occasionally found on the lekythi.
5
carrying of the bier to the tomb, accompanied by warriors,
and the depositio or placing of the body therein. 6
On the
vases of this period the tomb invariably assumes the form of

mound

or tumulus), 7 as it appears in some mythical

scenes already described. 8 On the lekythi, on the other hand,
the tomb is in the form of a tall plain stele, on a stepped base,

(%&>//<

crowned with an ornament of acanthus-leaves or a palmette,

and wreathed with coloured sashes, while vases and baskets of
flowers are sometimes placed on the steps. 9
On the vases of
1

Athens 199, 200 = Ja hrbuch, 1899,

ibid. 214 = Reinach, i. 190 =

201

p.

Baumeister,
2
3

pi?.
5

iii.

1943,

p.

fig.

2071.

Athens 688 = Reinach,

165.
B.M. 663 = Plate LVIII. Forman

Bibl.

pi. 96,
6

i.

5-6 (in Louvre).

fig.

321

Bau-

1893,
p. 71.

Reinach,

p.

Cat.

in

(now

279

B.M.)

B.M.

i.

164.

D 62 = Plate

LV.

l65i=Dumont-Pottier,
dorf, Gr.

R.F.

Sic.

example

i.

fig. i

pi.

Vasenb. pi. 33.

in

Athens

32; Benn-

Monuments

fine

Ptot,

i.

353

Micali,

Storia,

1-2.

= Baumeister, i. p. 306,
Reinach, i. 164; Anzeiger,
86 (Berlin).
Cf. Fig. 123,

Athens 688

meister, i. p. 238, fig. 217

Benndorf,
Gr. u. Sic. Vasenb. pi. I ; Athens 688

Sale

Nat.

figs.

P-

Jahrbuch, 1891,
228 ; Athens 688.

pi.

4; J.H.S. xix

B.M. B 543, 05 = Plate XL.

B.M. D65ff. and Athens 1672-1836
passim cf. B.M. F93- Plate LV. fig. 2
8

=B.M. 070.

SUBJECTS FROM ORDINARY LIFE

158

Southern Italy
altar-like base,

is

it

developed either into a

tall

or into a large shrine or lieroon,

column with
with columns

and gabled roof, within which stands the figure of the

3
2
4
deceased, or sometimes an acanthus-plant or several vases.
The subjects on the white lekythi and later vases almost
5
invariably take the form of mourners, or men and women

in front

offerings to the dead, or placing sashes, wreaths,

making

vases on the tomb. 6

and

again, we may

Or,

with the Athenian sepulchral

reliefs

note interesting parallels

of the fourth century, which

are mostly contemporaneous with the vases. 7

Thus we have
"
8
"
farewell scenes between a man and woman, or between two

women 9

or the equestrian figure of a warrior, as on the famous

of Dexileos, 10 or a warrior charging with his spear n
or,

stele

again, a hare-hunt at a tomb, perhaps with reference to the

12
Sometimes the tomb of a warrior
occupations of the deceased.

indicated

is

by

his armour. 13

The

interior of a

tomb

is

occa-

14

or a series of vases, 15
In one instance a group

sionally shown, with a dead boy in

16
or as in the story of Polyeidos.

it,

17
of figures is placed on the top of the tomb.
Mythological
as
sometimes
Charon
the dead
are
introduced,
ferrying
figures

Hermes Psychopompos 19 or the type of

Thanatos and Hypnos (or that of Boreas and Zephyros) with
his

in

bark,

18

or

Memnon is borrowed for

woman whom they place in
B.M.

F93

that

(Fig. 20, Vol. I. p. 144),

B.M.

Vol.

I.

F 276,

279-85, 352 (Fig.

1 06,

p. 477)-

B.M. F353-

Millin-Reinach,

ii.

29.

D 39, 41, 43-45,

56, 70, F 93-96 ;

Benndorf, Gr. u. Sic. Vasenb. pi. 34. See
Plate LV. fig. 2 and Fig. 19, Vol. I.
5

B.M. D 51.
B.M. F352 = Fig. 106.
10
B.M. (uncatalogued).
" B.M. D 21.
12
B.M. D6o.
13
B.M. D 58.
14
B.M. D 35 Engelmann-Anderson,
8

B.M.

Odyssey,\\\.\&.
15

16

p. 143.
6

B.M. D54, 65, 67-86;

336 Athens i6g2=J.ff.S. xix.
;

1694

Benndorf, op.

I9 2

pi.

a youth, or a
Occasionally we see the

warrior,

212.

of a

the tomb. 20

stele

cit. pi.

F 212-13,

17

and

18

pi. 2,
I

ibid.

18,

unique instance of a sculptured

on a white lekythos is

copied

25.

19

20

Burlington F.A.C. Cat. (1903),

No.

p.

104,

B.M. D 56 = Fig. 19.

B.M. D 5 = Plate XL.
Athens 1689 = Reinach,

i.

512.

See above, p. 69.

See p. 52 ; also B.M. (uncatalogued).
B.M. D58-9; Athens 1093 (= Ro-

scher,
Pettier,
pi. 2.

ii.
i.

2678),
pis.

1653-54

27-9)

(= Dumont-

fahrbuch, 1895,

Cf. Fig. 123, p. 71.

PLATE

re* f E*O jiiirgji

SCENES FROM FUNERAL LEKYTHI (BRITISH MUSEUM).

i,

PROTHESIS

2,

CULT OF TOMB.

LV.

FUNERAL SCENES
soul of the deceased as a small flitting

159

winged

figure.

On

the

Italian vases the figure of the deceased usually appears inside

the heroon, painted white, as if to indicate a sculptured marble

figure
3

a warrior with armour, 2 or a youth with his horse or

These Jieroa
or pouring a libation from a kantharos. 4
:

dog,
are always surrounded

of offerings,
mourners. 5

by

figures of

women

bearing baskets

unguent-vases, and wreaths, and by youths as

6
Apart from the under-world scenes already described, the
future life is not illustrated by the vases, except in a curious
scene on a B.F. Cyrenaic cup, representing a banquet of the
7
There is also one single repreblessed, attended by Sirens.
sentation of the subject so common on later Greek reliefs the

sepulchral banquet.

3.

THE DRAMA

The relation of vase-paintings to the drama has already been

discussed in Chapter XL, in which it has been shown how the
tragedies of Euripides and the farces of Rhinthon influenced
the artists of Southern Italy.
It may, however, be worth while
to recapitulate here the actual representations of actors or of

taking place on a stage, together with some account

numerous burlesques of mythical subjects.
On one curious B.F. vase (probably late and imitative) we
see a rude representation of a tragic and a comic chorus, 9
and occasionally on vases of this period we find figures of
actors dressed up as birds, or otherwise in comic fashion. 10
More important in this connection are the fifth-century vases
found on the site of the Cabeiric temple at Thebes, several of

scenes

of the

which have parodies of well-known subjects, such as Odysseus

1

B.M. D 54 Benndorf, Gr. u. Sic. V.

See above, p. 72.
14 and 33.
B.M. F 279, 280, 282.
B.M. F 276, 284
Millin-Reinach,

pis.
2
3

"

32-334

See

66 7 =.#//. de Corr. Hell.

Anzeiger, 1890, p. 89 (Berlin) ; but

see p. 76, under Asklepios.
9
B.M. B 80 see for other parodies of
:

B.M. F28i.
B.M. F276, 279-84, 352
(Fig. 106)

Millin-Reinach,
6

Louvre

1893, P- 238.

p. 68.

ii.

38.

processions
;

or

sacrifices

Athens

1132,

1136, 1138.
10

B.M. B 509 Berlin iS^o=/,ff.S.

and 1697 (as horses).
;

pi. 14,

ii.

SUBJECTS FROM ORDINARY LIFE

i6o

and Kirke, or Peleus bringing the young Achilles to Cheiron. 1

It seems probable that these scenes are actual reproductions
of burlesque performances connected with the worship of the
Kabeiri.

We look in vain for representations of scenes from Aristophanes

and the Old Comedy, though there are one or two vases which
recall (if nothing more) episodes in the Ackarnians* and Frogs?
But for the rest, these comic scenes are almost confined to the
vases of Southern Italy, especially those made at Paestum, with
their presentations of the </>Xua/ce? or fourth-century farces.
fairly exhaustive list of these was made some years ago by

Heydemann, and probably requires little emendation as yet

we repeat below a number of the more interesting subjects, and
;

be collected from the foregoing pages

others

may

myths

are burlesqued (the

Judgment

of Herakles, Oedipus and the Sphinx,

(r)

Zeus

visiting

Alkmena

loc. cit. p.

cf.

etc.).

Schreiber-Anderson,

B.M.

which

in

of Paris, the apotheosis

5,

= Heydemann,

276
150.
Apollo healing the Centaur Cheiron B.M. F 151.
(3) Herakles at Delphi ; Apollo takes refuge on the roof of the
temple: Reinach, i. 153, 2 = Rayet and Collignon, p. 318.
of Hephaistos (Daidalos) and Ares (Enyalios)
Combat
B.M.
(4)
:

(2)

F
(5)

269.

Herakles with the Kerkopes: Schreiber-Anderson,

mann,
(6)

Herakles seizing Auge

1

(7)

5, 2

= Heyde-

p. 281.

= Heydemann,
23

Fig.

105, Vol.

I. p.

474

Reinach,

i.

p. 279.

Burlesque of the story of Antigone

of the Palladion

Reinach,

i.

273.

B.M. F 366.

(8)

Rape

(9)

Death of Priam Berlin 3045 = Reinach, i. 370, 8.

and Kirke: Jatta 901 = Heydemann, p. 271.

(10) Odysseus

(n) Odysseus

in

Phaeacia: Reinach,

i.

153,

i.

Other scenes represent single figures, such as Herakles, 6 or

Taras on the dolphin 7 or subjects from farces of daily life, such
;

J.H.S.

B 77 = Fig.
p. 77
2

ff.

xiii.

pi. 4,

and

p. 81

B.M.

98: see generally J.H.S.

and Vol. I. p. 391.

xiii.

Vienna 321 (cf. Ar. Ach. 729 ff.),

Hermes with dog got up as a pig.
3
B.M. F 99; Berlin 3046 = Baumeister,

ii.

p.
4

5
6
7

821,

fig.

904 (sztjahrbuch,

i.

p. 283).

Jahrbiich, i. (1886), p. 260 ff.

See for instance pp. 107, 118, 123.

B.M. F233:

cf.

Reinach,
5, 10

Schreiber-Anderson,

mann,

p.

307

Reinach,

ii.

i.

332,

114.

Heyde5.

COMIC AND BURLESQUE SUBJECTS

as an actor with a table of cakes

161

or the drunken return from a

have some reference to the Satyric

Many
drama, as on the fine vase in Naples, where Dionysos and other
3
figures attend the preparations for a performance of that kind
or such scenes as that of Hera and Iris attacked by Seileni, 4
revel.

scenes, again,

FIG. 134.

SCENE FROM A FARCE (BRITISH MUSEUM, F 189).

or those relating to adventures of Herakles and Perseus with

5
Other subjects have no particular significance, such as
Satyrs.

an actor attired as a Seilenos

playing on the
1

2
8

B.M. F/543.
B.M. FiSg = Fig. 134.
Naples 3240 = Reinach,

VOL.

II.

Eaumeister,
4

i.

114

i.

flute,

pi. 5, fig.

B.M.
65.
See Philologus 1868,
t

or dancing,
422
pis. 1-4, p. iff.

II

SUBJECTS FROM ORDINARY LIFE

162

or with a Sphinx, 1 groups of actors 2 (in one case dressing 3 ),

a comic actor among Satyrs and Maenads, 4 and single figures. 5
6
Some, which are apparently mythological, defy explanation.
The influence of Tragedy on vase-paintings is an indirect one,
and entirely confined to the vases of Southern Italy on the one
hand, and to the plays of Euripides on the other. The subject
has been discussed at length elsewhere in this work, 7 and it is
unnecessary here to give a list of the subjects on South Italian
vases which can be traced to the influence of Euripides.
It has
also been pointed out that this influence made itself felt, not

only in the actual choice of subjects, but generally in their

treatment and arrangement, in the quasi-architectural setting
of

many

scenes,

and

costumes of the

figures.

ATHLETICS AND SPORT

4.

From

in the elaborate

we naturally turn to the palaestra and

which
played so important a part in the public
gymnasium,
and private life of the Greeks, and, like the former, may be
said to be vested with a religious significance, as exemplified
in the Olympic and other great games.
Hardly any class of
is
so
and
found
consistently on the vases.
frequently
subject
The series of Panathenaic amphorae alone supply instances of
8
every form of athletic exercise in which the Greeks indulged.
the theatre

vases, especially the

Many

athletes in the palaestra

kylikes, represent groups of

in various exercises, such as

R.F.

engaged

9
boxing, wrestling, running, and leaping

\$2%=Jahrbnch, 1886,

Jatta

B.M.

790; Naples 2%$6

p.

273;

= Festschr. fur

Overbeck, p. 103.
2

nach,
3
4

6
6

ii.

324, 5

(Satyric chorus)
ii. 288.

Rei-

Boston Mus. Report^ 1898, No. 50.

= Reinach, 1.413.

B.M. F 233, F 289.

Wiener VorL B.
Vol.

i.

the Light of Vase-paintings, where the

is also treated in detail.

8
See Vol. I. p. 389, and Plates
XXXIII.-IV. for a complete series of
illustrations, Man. deW Inst. x. pis. 47-8
;

3,

$c

Millin-

I. p.

iv.

p.

472
10

ii.

129.

see also

B.M.

Cat. of

5),

Berlin

664;

Bibl. Nat. 252,

R. F.

VorL D.

Vogel, Scenen Eiirip.

Tragodien (where an exhaustive list is
in
given), and Huddilston, Gk. Tragedy
Vases,

Reinach, i. 210-15.
B.F. : B.M. 648,

1655, 1805

20.

we have

subject

Jatta 1402

Reinach,
7

E 467

B.M.

in other cases

354

Reinach,

Reinach, i. 223 (= Wiener

424 (Berlin 2180), 454, ii.
:

134 (Berlin 2262), 137 (men with dogs)

Hartwig,

Meistersch.

pis.

15-6

Bibl.

Nat. 523.

ATHLETICS

163

2
1
single groups of boxers or wrestlers, or of the Tray/cpdrtov, a
boxer is sometimes
somewhat brutal combination of the two. 3

seen putting on his caestus. 4 The irevra6\ov, which played so

important a part in the national games, is not infrequently found,

though often only three or four out of the

FIG.

five contests appear.

ATHLETES ENGAGED IN THE PENTATHLON (BRITISH MUSEUM, B

135.

we

Here, again,

134).

also find single figures of diskos-throwers

7

or

representations of the long-jump, and men

9
the
An athlete is
marking
ground with a pick-axe or poles.

javelin -throwers,

B.M. B 271, B 295, B 607 E 39, 63

(parade of boxers before judges) ; Athens
= Benndorf, Gr. u. Sic. Vasenb. 31,
1169
2 a ; Reinach, ii. 292.
1

B.M.

Bibl.

Nat.

191,

522

B 295, B

603

Hartwig,

E 94, 95

Meistersch.

Mus. Greg, ii. 16, 2 a Vienna

Wiener Vorl. 1890-91, I, 4.
3
B.M.
78 (very realistic), 6604,
B 610 Louvre F 276, 278, 314 ; Hartwig,

pi. 15, 2

332

Meistersch. pi. 64.

i-

433. i=Baumeister,

Reinach,

i.

272,

ii.

i.

p. 573, fig.

128.

subject generally J.H. S. xxiii. p. 54

6

Arch.-epigr.Mitth.ausOesterr.

164; Louvre Fi26;

Athens ii 88 = Reinach, i. 511 ; Hartwig,
Meistersch. pi. 21 (Duris, in Boston) ;
De Witte, Coll. a P H&tel Lambert, pi. 23
;

Mus. Greg. ii. 43, 2 b.

7
B.M. 6380; Louvre F
Mus. Greg. ii. 69, 4 c, 70, 2 a

126,

G37;

De

Witte,

88 1,

B.M. 648; Reinach, ii. 145, 175,

Mus. Greg. ii. 70, i a, 2 b 73, i b.

330

B.M. B 4 8, Bi 34 (= Fig. 135),

B 326 Munich 795 = Reinach, i. 422 =

Athlete exercising with halteres

15 ; Forman Sale Cat. 332.

p.

613,

ff.

B.M. 6136,

pi. 4-

i.

op. cit. pi. 24.

Baumeister,

611

See on the

fig.

672

Reinach,

Louvre

B.M. B 361.

SeeJ.Jf.S. xxiv. p. 70.

SUBJECTS FROM ORDINARY LIFE

64

seen binding round his javelin the cord or ayfcv\r) by which it

was thrown, 1 and the pick-axe afore-mentioned also appears in

such a way as to indicate

its general use by athletes

viz. for
the
over
which
were
made,
ground
jumps
by
way of
digging up
2
the
limbs.
variation
of
the
contest
was
javelin
exercising
one in which the competitors were mounted, and aimed at a

3
Other important
target as they rode past.
4
the horse-race, generally taken
contests are the foot-race
5
the chariot-race 6
the torchpart in by boys (^eX^re?)
1
and the race of armed warriors
race (XafjbTraSijSpofjiLa)

up as a

shield set

In the latter contest various types may be

9
the start 10 the race
the
arming for the race
distinguished:
11
the
itself, with runners turning at the end of the stadion
(oTrXtTofyjo/ua).

which the runner carried his armour. 13

On the earlier vases this race is run in full armour on the
later, only with helmets and shields.
Frequently the victorious
14
and
athlete, horseman, or hoplite is seen proclaimed as winner,
16
15
a
crown
also
from
Nike.
his
receiving
prize
receiving
finish

12

and a variation

in

B.M.
B.M.

Cat, 358

fahrbuch, 1895,

164.

63, 113, 164; Forman Sale

and see Bull, de Corr. Hell.

xxiii. p. 164.
3

Athens 1478 Millin-Reinach,

Panathenaic amphora in B. M.
;

i.

45

43,
E 101

Reinach,

Meistersch. p. 45,

433,

i.

fahrbuch, 1895, p. 182

No.

p. 100,
10

B.M. B 130-32, B 677 ; Berlin 1655

Louvre F 216, F283; Reinach, ii. 68,
6

Francois vase.
59 ; Tyszkiewicz

35

Reinach,

11

Bourguignon Sale

2307

pi.

Reinach,

13

Mus.Greg.

298, 320 (horsemen)

Benndorf, Gr. ^^. Sic. Vasenb. 43, 4 b

Reinach, ii. 128, 129 (= Berlin 2307)

14

Munich 476

ibid.

ii.

22;

127,

and 803

15
;

278.

4 b ]Jahrbuch, 1895,

11.71,

Munich 803 and 1240

E6,

xxiii. p.

Hartwig,

p. 522.

6143;

Berlin

See/.//.S. xxiii. p. 285 (runners with

helmet in hand).

608

i.

B.M.

12

49
;

J.H.S.

op. cit. pi. 12.

meister,

Cat.

i.

99:

129 ; Hartwig, op.

16 (Bibl. Nat. 523) Jahrbuch,

Bau-

320

298,

p.

ii.

ii.

Reinach,

p. 191

ff.

494 (Louvre) Jahrbiich, 1887,

cf. B.M. 6628.

Coll.

pi.

Bour-

17.

1895, p. 190;

E 389, F

op. cit.

trainer

Berlin 2307 (one fig.)

cit.

B.M.

Hartwig,

Hartwig, op. cit. pi. i and pi. 16

22; Bur(=Bibl. Nat. 523); B.M.
lington Fine Arts Club Cat. (^1903),

see Hartwig, Meistersch. p. 491, note 2.

See on the sub31.

ject generally J.H. S. xxiii. p. 268 ff., and

Hartwig,

70, 125, 133

196

guignon Sale Cat.

Jahrbuch, 1895,
pp. 185-88; J.H. S. xxiii. p. 268 ff.
5
B.M. B 133, B 144; Berlin 1655,
Munich 805 ; Athens 1546 ;
1722, 2282
Reinach, i. 12, 100, 199, ii. 61, 253 ; and
fig.

p.

Runner with

B.M. 6137, B6o9; Munich 498 =

Mus. Greg. ii. 42, 2 b ;
i.
215
B. M. E 6,
Starter in foot-race
i a.

Reinach,

I.

pi. 62,

17

16

See/.//.^

B.M. B 144

loc. cit.

Reinach,
:

cf.

ii.

262, 291,

B.M. B 628.

i.
346 = Bourguignon Cat.
Louvre G 17, 036.
See under Nike, p. 88, note 9.

Reinach,

ATHLETIC SUBJECTS
Among more

miscellaneous scenes

may

165

be mentioned athletes

2
1
the /ccopvKo^a^la
anointing themselves and using the strigil
4
3
a girl-runner wounded in
or quintain
an athlete expiring
acrobats 7 and female tumblers
the foot 5 men rolling discs 6
;

lifting objects with their

of palaestra scenes may be added those where
Nike or another deity appears as patron of the palaestra watch9
ing the athletes, and scenes of ephebi washing or bathing in

performing contortions over swords, or

feet.

To

the

list

10
The athletes are often
preparation for or after their contests.
accompanied by trainers, who use a forked stick to direct their

On

movements. 11

the later R.F. and the Italian vases

is

it

regular thing to find on the reverse a roughly painted group of

t\vo or three athletes or ephebi, usually wrapped in himatia and
12
in such cases the palaestra is indicated
conversing together
;

by a pair of jumping- weights or a ball suspended.

Subjects coming under the heading of what we call Sport are
not so common, and are practically limited to hunting scenes.
13
14
15
They include hare-hunts, stag-hunts, wolf-hunts and fox-hunts,
.

= Reinach, i. 424, and

Karlsruhe 242 (Psiax and Hilinos).

Berlin 2180

2314

Berlin 2 1 78; Louvre

Meistersch.

25

p.

G 38 = Hartwig,

Arch.-epigr. Mitth.

1881, pi. 4

;
Reinach, i. 324.
Petersburg 1611 = Baumeister,

247,
4

extracting a

Reinach,

Reinach,

i.

thorn

106.

ii.

424.

283 (unexplained subject).

Salzmann, Necropole de Camiros, pi.
2

Schreiber-Anderson, 24,

2.

B.M. F 232 ; Naples 2854 ; Reinach,

473 Baumeister, i. p. 585.
9
Oxford 288; B.M. B6o7; Louvre
>

and see p. 88.

83; Louvre 036; Athens

109 (with judges)

10

1156

B.M.

Reinach, i. 514;
Baumeister, i. p. 242,
inscribed

A HMO!
=

Anderson,

ibid.
fig.

A);

ii.

292

1893.

134,

275
p.

Dogs

(3)

B.M. B 678,
accompanied by hunters
D 60 ; Berlin 306, and 1727 = Reinach,
i. 431
Oxford 189 (Oikopheles) ; Bibl.
;

Nat.

S.A.

187; Naples

1050

333

Ant. Denkm.

Plate

"B.M. B

XIX.
147

fig.

ii.

206
275.

200;
;

B.M.

Reinach,

A
ii.

44-5.

Helbig, 7;
Reinach, ii. 275

(cover);

Millingen, Anc. Uned.

ii.

227.

p.

Schreiber-

(using sponge)

ii.

Hell.

Munich 411 (Amasis)

i,

Reinach,

Corr.

219 (basin

21, 9
Reinach,
Hartwig, Meistersch. pi. 67,
;

340,1753, 1799; Karlsruhe 1 70; Petersburg 310, 386 Reinach, i. 34 Bull, de

:

i.

See B.M. Cat. of Vases, \v. passim.

Three types: (i) Hare seized by
birds
Louvre E 701 = Reinach, i. 153 ;
Naples 2458 ; Athens 618.
(2) Hare
pursued by dogs: B.M. Bug; Berlin
:

47 cf. the athlete

on Berlin 2180 =

i.

Bibl. Nat.

57

Millin- Reinach,

12

p.

13

Munich 895

goal).
i.

226.

fig.

Youth with bath utensils Berlin 2314.

11
B.M. B 271 E 78, 94, 164; Hartwig,
Wiener VorL vi.
op. dt. pp. 416-17 ;
9 j B.C.H. xxiii. p. 158 (trainer marking

Mon,

i.

23

An-

zeiger, 1895, p. 40.

15

B.M. 67; Schreiber-Anderson,

80,3.

pi.

SUBJECTS FROM ORDINARY LIFE

66

and boar-hunts 2 in the latter on early B.F. vases

the figures often have fancy names, with a reference in some
cases to the hunt of the Calydonian boar, which created the
lion-hunts,

Some, especially B.F.

type.

vases, depict the departure of a

or his return loaded with game 4 or we

hunter for the chase,

A group
see a party of hunters resting (all with fancy names). 5
of youths capturing and taming a bull may also be mentioned
;

and horse-taming is similarly depicted. 7 We see horses

9
8
being unharnessed, groomed, and watered, or exercised, and a
10
and we may also perhaps include
man with a backing horse
6

here,

these subjects scenes representing riding-lessons, a school

11
or a boy learning to mount a horse. 12
favourite
for ephebi,

among

subject for the interiors of R.F. cups is that of a young Athenian

in Oriental or Thracian costume (see p. I79). 14

on horseback, 13 often

On

the B.F. vases a horseman or a chariot

is

sometimes depicted

15
exception to the preference of the time,
three-horse chariot takes the place of the

in front view, a notable

and sometimes a

16
Among miscellaneous chariot-scenes may be menquadriga.
17
tioned a goddess (?) and a hero mounting chariots, a girl in a

chariot
cart.

drawn by hinds
the various

Among
1

Ant. Denkm.

B.M. B37 (=

Louvre

217

18
;

and people travelling

ii.

Games popular

XXL), Fi54

12
;

cf.

Burlington
Fine Arts Club Cat. 1903, p. 115, No. 62,
for B.F. jug with man hiding in tree and
I.

p.

316:

attacked by boar and lion.

Reinach,

ii.

5
6

i.

Louvre

Munich $%T =Jahrbuch,

>

Forman

ii.

179.
;

Sale Cat. 285.

337

and

Reinach,

i.

Reichhold,

238

22

pi.

Hartwig, Meistersch. pis.

pi. 4 (Onesimos);

53-4 Jahrbuch, 1888,

;

Mon.

Grecs, 14-16 (1885-88), pi. 5,

i

flf.

cf.

Monuments
Cf. also

Piot,

Louvre

15

See under Warriors,

16

B.M. Fyo, F 306

293.

1890, p. 146

290.

B.M.

(in Louvre).
ii.

Melanges Perrot, p. 252 (in B.M.).

Boston Mus. Report, 1899, No. 22

Mon.
11

ibid.

i.

485; Berlin 2357 = Reinach,

u Munich

F 223.

10

country

3 (Hischylos), E6o Munich

in; Forman Sale Cat. 336; Reinach,
see p. 177.
i.
454, 4 (Pamphaios)
13

see p.

18.

Millin-Reinach, ii. n.
Berlin 1900
Reinach,

(see p. 129)

423

Reinach,

(Euphronios)

144, 223.

B.M. B ^2 Rev. Arch, xviii. (1891),

Louvre F 26 = ibid. p. 369;
367

Millin-Reinach,

i.

B.M.

Furtwaengler

p.

a-

with Greek youths the

Nat. 277

44-5.

Plate

E 696 = Reinach, i. 162 Vienna

Reinach, i. 170; Munich 211 =

Fig. 90, Vol.

in

19

i.

and

pis. 5-6

G 26.

p. 176.
;

Berlin 2154:

Benndorf, Gr. u. Sic. Vasenb. pi. 32,

17
B.M. B 127 Reinach, ii. 125.

5.

18

Grecs, 14-16 (1885-88), p. 10.

Hartwig, Meistersch. pi. 53; Bibl.

fig.
19

Benndorf, Gr.

u. Sic. Vasenb. pi. 32,

5.

B.M. B

xxiii.

17

Munich 903

pp. 139, 142.

see J.H.S.

SPORT AND GAMES

favourite

167

perhaps, that of ball, which was often played by

other's shoulders in two parties, this being
1
a rougher variant, in which the ball was

is,

men mounted on each

known as tyeSpicr/jios

omitted and victory was probably gained by overthrowing the

opponent

pair,

Women

was known as

ey/corvXij.

and children

3
also play at ball, as does Eros.
Equally popular was cock4
see
a
and we also
group of boys shooting with
fighting
;

bow and arrows

popinjay or figure of a

at a

amusements the favourite

the

bird.

Of indoor

r6rra/3o?, a

popular relaxation
6
after a banquet, often seen on kylikes and other R.F. vases.
is

Other games, more suitable to younger boys, are top-spinning 7

and bowling a hoop 8 others, again, in which boys and girls join,
or even occasionally Eros and Satyrs, are the games of morra
" 9
"
(micare digitis, or How many fingers do I hold up ? ), and its
10
11
variant, the w/uXXa, played with knucklebones
swinging and
13
12
A
a
of
similar
and
kite.
character
game
see-sawing
flying
to the morra is played by a winged girl, who places her hands
;

over the eyes of a boy in a chair. 14 The so-called magic wheel,

which was twirled $n a string, is almost exclusively used by

Eros on the vases of Southern Italy. 15 Children with their toys,

such as go-carts, vases of various shapes, etc., are often depicted
on the smaller R.F. vases of the fine style, some of which were
B.M. B 182

= Reinach,

Berlin 2417

Baumeister,

425
Reinach, ii. 191 Oxford 250.
2
Reinach, i. 8l.

i.

ii.

p. 781,

fig.

836

Branteghem Sale Cat. 167 (here a

Hart wig, Meistersch. pis. 27,

467 (Satyrs) ;
339, F 197,
Berlin 2710 = Reinach. i. 425
245
(Eros)
Naples 2872 = Millingen, Anc.
Uned. Mon. pi. 12 = Reinach, ii. 169
(Eros) Louvre 036 (ephebos).
4
Louvre F9O and
$(&=* Rev. Arch.

B.M.

Louvre

Hartwig,
9

(1893),

Baumeister,
i.

pli.

5;

Helbig,

p. 622, fig.

p.

695

327=

Reinach,

80,
6

Naples 922

Schreiber

Anderson,

B.M.

70, 453-54,

P- 793. fig-

Louvre

857

G 30.

Archaeologia y

See also below,

\\.

pl.

iii.

B.M.
p.

1$

15

ii.

14;

p. 181.

xviii. p. 130.

37, 273,

Berlin 2416 and Jatta 1291

275
Reinach, i. 337, 178; Baumeister,

420;

2589 (= Harrison, Mythol. and Monum.

of Athens, p. xliv) and 2394; Millingen,
Anc. Uned. Mon. pi. 30; Boston Mus.
Report, 1898, No. 27.

l3

495,

i.

B.M. E2O5(?).
" B.M. F
Louvre F6o; Berlin
123

Baumeister,
387 (Seileni)
fig. 1633 (Eros); Gerhard,
;

1573,

Ant. Bildw.

7.

Reinach,

I0

12

310, 423 (Berlin 2030).

G8i;

op. cit. pl. 27, 2.

Berlin 2177; J.H.S.

xxi.

72, 2.

woman)

pl. 53.

Naples 3151

Anzeiger, 1890,

Reinach,
p.

See B.M. Cat. of Vases,

(F223,

etc.),

and Jahn

Gesellsch. 1854, p. 256.

i.

400.

89 (in Berlin).
iv.

p.

no

in Ber. d. sachs.

SUBJECTS FROM ORDINARY LIFE

68

made

and we often see them

and other animals. 2 Similarly
there are representations of birds and beasts kept in cages, 3
and of grown-up people playing with pets a youth and girl
perhaps actually

for playthings

accompanied by pet dogs,

tortoises,

with a mouse or jerboa, 4 or a

man

with a Maltese dog. 5

Equal in importance in the eyes of the Greeks was the other
great division of their education, /JUOVCTLKIJ the wider sense in
which they used the word, the culture of the mind as opposed
;

body (jv^vaariK^, admits of including under

heading school scenes as well as musical performances.
Among the former is the well-known kylix of Duris in Berlin
6
IX.), where a teacher is seen unrolling a manuscript
(Plate
on which appears an epic hexameter (see Chapter XVII.);
to that of the

this

XXX

pupil is about to write on tablets ; and

Elsewhere
instruction on the flute and lyre.

others

we

undergo

see a youth

7
8
a man reading
writing on a tablet, or on his way to school
9
and a vivid representation of a schoolmaster
from a roll
;

10
giving a writing lesson.
12

and dancing 13 are by no means

we have
infrequently represented, especially on R.F. vases
seen
the
Herakles
and
already
young
Iphikles receiving instruc14
and
on
the
vases both boys and girls take part
tion of this kind,
in the lessons.
Dancing scenes include dances of maidens (very
common on early B.F. vases), or single figures of dancers 15
Lessons

in

music,

11

singing,

B.M. E 527, 534-37, 548-53 (see

Plate XLII.) ; Baumeister, ii. p. 779 ;
EL Or. ii. 89 ; Gaz. Arch. 1878, pi. 7 ;
1

Stackelberg, pi. 17 ; Reinach, i. 425

see generally Jahn in Ber. d. sacks.

9
10

Geseilsch. 1854, p.
2

B.M. Fioi=Fig.

Reinach,
3

Bibl.

i.

fF.,

12.

pi.

Nat.

15, Vol. I. p. 137;

361= Reinach,

Cat. 52 (in

B.M.)

ii.

262;

Reinach,

Inghirami, Vast Fitt.

Reinach,

meister,

i.

294:

cf.

iv.

387.

ii.

137

B.M.

p.

765, and

Baufor

323.

Berlin 2322 = Micali, Storia, 103,

Hartwig, Meistersch. pi. 46.

E
i.

171-72

p. 554, fig.

Oxford
591 (flute)

i.

266
:

cf.

ibid. iii. p. 1993, fig. 2138

(Iphikles
taught the lyre by Linos) and the Duris

kylix (Plate
l2

XXXIX.).

Reinach,

B.M.

i.

248.

185

Gerhard, Ant. Bildiv.

H See

p. 95.

Athens 467 = Ath. Mitth. 1892,

467, E 804 Furtwaengler
pi. 10 ; B.M.
and Reichhold, pis. 17-8. Single figure
B.M. F 343.
15

cf.

525 and Brit. School Anmial,

1898-99, p. 65 (Fig. 177).

i.

pi. 66.

705, fig.
women with pets see below, p. 173.
6
Berlin 2285= Reinach, i. 196:
i.

Reinach,

333.

" B.M.

l3

207 (hare).
4

ii.

Baumeister,

294.

Bourguignon
i.

243

Naples 2004
Ibid.

EDUCATION AND MUSIC

169

1
a girl dancing to the flute or with castanets, or a youth to the
2
the
of
a
a
woman
music
Pyrrhic dance in the
girl
dancing
;

of a warrior, 3 and a sacred Lydian dancer with her

wicker head-dress.* The grotesque dancers on some early B.F.
vases appear to be performing the kordax?
attire

Groups of musicians with no particular signification are often

6
found, generally playing the lyre and flute, or single figures,
7
such as a lyre-player in female costume, or in the distinctive
8

Other scenes relate to agonistic

and musical competitions, which often formed part of the great
games thus we have on some Panathenaic vases and elsewhere
contests for victory with the lyre 9 or flute. 10
Sometimes the
victorious musician appears receiving the prize n or a crown
from Nike 12 he usually stands on a bema or raised platform.
On one vase a poet recites an epic to the sound of the flute
the opening words appear proceeding from his mouth. 13 On
another a man is seen tuning his lyre. 14 Singing was a common
recreation of banqueters or revellers, especially as seen on
opOoa-rdSiov of the musician.

R.F. vases. 15

TRADES. AND OCCUPATIONS

5.

The
varied,

and occupations represented on vases are very

ranging from mining to shoemaking. The representations
trades

E 61

B.M.

Forman

G 18 (castanets).

Louvre

Sale Cat. 361 (in Boston).

22

Reinach, i.
Rev. Arch.
61, 372, 469 (Naples 3010)
Stackelberg,

pi.

271

B.M.

xviii. p.

271;

Reinach,

Athens 1019

B.M.

B.M.

Bologna

Plot,

ii.

16;

pi.

10,

Girls playing

ii.

pis.

5-6 (in

308; and see Reinach,

ii.

187, 3.
8

B.M.

270,

tersch. pis.
65-6.

469

9;

Schreiber-Anderson,

and

7,

14

1260

ii. 150; EL Ctfr.

Ath. Mitth. 1891,

Monuments

(Euphronios).
" B.M.

Louvre).
7

1603

Cat.

1662;

287.
Berlin 1686

2; Anzeiger, 1892, p. 172.

lyre

-cf.

p. 412.

B.M. 642, 44; Berlin

szeJ.H.S.

Petersburg

G =
p.

10

Anzeiger, 1895, p. 40

of Terracottas,

Vienna 234.
;
B.M. B 1 88,
354; Reinach, ii.
Louvre G 103 = Atlas, pi. 101
274

xxvi. (1895), p. 221.

4

9
B.M. B 139, B 141 Louvre
Amer. Joitrn. of Arch. 1896,

Hartwig, Meis-

90

460; Bologna 286; Athens

Dumont-Pottier,

i.

Mus.

16;

Greg. ii. 60, 3;

Gr. u. Sic. Vasenb. 43, 4 a.

Helbig,

Benndorf,

J2

Mus. Greg. ii. 22, 2 a.

B.M.
270.
H B.M. E
132.
is
B.M. 6192, 6299,
13

1158
2127

Baumeister,
/. Ctr. ii. 16

iii.
:

37; Athens

1984, fig.
see also Hartwig,

Meistersch. p. 255, note 2.

p.

SUBJECTS FROM ORDINARY LIFE

70

of miners in caves which appear on some of the early Corinthian

pinakes^ most probably refer to the digging out of the clay for
the potteries rather than to mining for metals. This seems the
more probable when it is taken into consideration that potters'

workshops and furnaces are so frequently depicted

series.

Besides these

we

same

in the

find later instances of potters turning

From Baumeister.
FIG. 136.

AGRICULTURAL SCENES (CUP BY NIKOSTHENES

IN BERLIN).

4
vases on the wheel, painting them, or finishing them off, as
already described in a previous chapter one vase represents the
:

Berlin 639, 871, 885

Ant. Denkm.

Nos. 7, 14, 23.

2
cf.
Berlin 608 ff. ; 800-93
op. cit.
= 885,869, 868)
pi. 8, Nos. 14 b, 17, 18 (
i.

pi. 8,

Chapter V., Figs. 65, 69.

3

also Nos.

i, 4,

12, 19

22, 26 (

= Berlin

See

608, 802, 616, 893, 827, 611).

Vol.
*

B.M. 6432

Munich 731

also

Fig. 67,

Gaz. Arch. 1880, p. 106.

Figs. 67, 71, Vol. I. pp. 213, 223.
I.

p.

213

TRADES AND OCCUPATIONS

workshop with vases

interior of a potter's

171

in various

man

stages

l
;

Young
painting the design with a sort of quill.
men and girls are depicted negotiating the purchase of com3
Another of the Corinthian pinakes^
pleted vases in the shop.
another, a

Metal-work

represents the exportation of vases in a ship.

is

5
represented by a well-known R.F. kylix in Berlin, showing
a bronze foundry, with statues in various stages of completion
;

there are also representations of a smithy, 6 in some of which

writers have seen an allusion to Hephaistos and the Kyklopes

(see p. 37).

man

7
depicted finishing off a bronze helmet,
8
and of similar
completed terminal figure

is

carrying a
9
import is the subject of Athena modelling a horse.
Agriculture is represented by vases in Berlin and the Louvre

or

men ploughing with oxen (Fig. 136) or hoeing,

10
mules
and certain vasesowers, and
carrying sacks of grain
paintings have been interpreted as referring to the digging of a
with scenes of

well.

A man

11

seen cutting down a tree, 12 and another birds'Shepherds with flocks of sheep and goats are seen on

13

nesting.

is

two early Boeotian

vases,

14

and also fishermen, 15 and men crushing

16

The various stages of oil-making include

grapes in a wine-press.
the gathering of the olives from a tree, 17 the pressing in an oil18

press,
1

and

merchant measuring out and

lastly the

Fig. 70, Vol.

I.

p.

Fig. 74, Vol.

I.

p. 228.

Mustes de France, pi.

u B.M. F
see
147

218.

Hartwig, Meistersch. pi. 17, I, and

see ibid. p. 174; Kopenhagen 125; Millingen, Anc. Uned. Man. pi. 37.
4

iii.

= Ant. Denkm. i. pi. 8,

See on the subject Rev. Arch.

(1904), p. 45
Berlin 2294

Baumeister,

i.

meister,

iii.

J.H.S.

Reinach,

p. 1582, fig.

xxiv.

p.

>

73
See

p. 16,
10

224

74.

13

Louvre F68.
" Louvre
F6Q
pi. I, figs.

Wiener

Vorl.

Vienna 335
64, figs.

Bau-

1639 ( in Boston).
\.

83.

17

1,3;

Schreiber- Anderson,

ibid. pi. 64, fig.

Reinach,

meister,
18

40

cf.

also for a sculptor,

Berlin 1 806

Fortnan

F77 =

ibid.

fig.

13

Froehner,

cf.

Berlin

Sale

ii.

p.

and

1855

Cat.

323 (now in
of Terracotta,

Reinach,

1047,

=Bau-

1259.

fig.

Cat.

B.M.

Helbig, 70

meister,

6 (in

90.

p. 1047,

ii.

D 550.
19

= Fig. i36(Nikosthenes);

ii.

B.M. 6226;

Boston)

7-

p.

16

1888,

ibid. pi. I, figs. 2, 7.

9-10;

note 4.

Louvre

ff.

ii.

Naples) Hartwig, Meistersch. pi. 5

see under Hermes and Seilenos.

Kopenhagen 119 = Schreiber- Ander-

El. Cer.

pi.

305; Branteghem

See also El. Ctr.

Cat. 44.

i.

19

and Robert,

B.M. B 507

oil.

(sowing).

198

pi. 5, p.

Berlin 2274

13,

p. 73,

p. 506,

547-

son

12

15

ff.

Arch. Mcirchen,

Berlin 831
3 a.

fig.

selling his

i.

figs.

Boston Mus. Report, 1899,

p.

106

Bau-

1260-1261;

69,^0.

24.

SUBJECTS FROM ORDINARY LIFE

A butcher

1
represented cutting up meat, and also the preparing
2
and cutting up of a tunny-fish, and the baking of bread 3
on a B.F. vase two men weigh goods in a balance 4 and the

is

on the Arkesilas vase may also be

a shoemaker in his shop, 6
7
a carpenter working with an adze, and a boy going to market
with two baskets carried on a pole. 8
export of the silphium

mentioned

here.

(?)

Lastly,

we have

DAILY LIFE OF

6.

WOMEN

Scenes from the daily life of women form our next heading,
and we include therewith those relating to marriage or preparations for nuptials, which play so important a part in woman's life.
The "type" of a marriage procession on B.F. vases is, as we
have seen (p. 16, and Vol. I. p. 378), liable to be confused with the
subject of the marriage of Zeus and Hera the bride and bride;

in a four-horse chariot,

groom appear

accompanied by persons

who, if not deities, at any rate bear similar attributes, such as

the caduceus of Hermes or the torches of Artemis (as pronuba]?
In scenes of simpler character the wedding party walk in
10
On later vases the bride is
procession or drive in a cart.
her
hand
the
led
husband, accompanied as
by
by
generally
11
also find scenes representing
before in appropriate fashion.

We

and the
the bridal pair on their marital couch (lectus genialis)
13
Other scenes may
return of the bride after the ceremonies.
15

14
a bridal
possibly represent a betrothal,

Louvre
635 = Reinach, i. 151 ;
Boston Mus. Report, 1899, p. 70, No. 25.
2
Berlin 1915 = Reinach, ii. 155.
1

Froehner, Musics de France, pi. 13,

Eranos Vindobonensis, p. 381 (woman

kneading dough).
4
5

Millin-Reinach, ii. 61.

see also
Vol. I. p. 342
:

B.M. E86

meister,
7

8
9
10

iii.

B.M.

p. 149.

= Baui. 224
1649 (in Boston).

Reinach,

p. 1587, fig.

toilet,

or a nuptial

J.H.S. xxiii. pp. 133, 137, 142.

" B.M. E
810, D 11 (Plate XLIII.)
Berlin 2372

= Coll.

Sabouroff,

i.

pi. 58),

2373 (= Reinach, i. 440) Athens 1224

and 1225 = Heydemann, Gr. Vascnb.
i.
206; Athens
pi. 10, i, and Reinach,
;

1588 = 'E0. 'Apx- 1897, pi- 10, 2 (preparations for marriage, with fancy names):
see generally Wiener Vorl. 1888, p 1 8.
.

12

Baumeister,

i.

p.

313,

fig.

328.

ls

Millingen-Reinach, 44 (in Louvre);

Inghirami, Vast Fitt. iv. 314.
14
Berlin 2374 = Reinach, i. 128.

23.

Micali, Storia, pi. 97,

B.M. 6339; Louvre

B.M. B 160, B 174,

fig. 3.

F 10, F 56.
B 257 B 485
;

1S
;

Reinach,

i.

173

J.H.S.

xxiii. p. 133'

DAILY LIFE OF

WOMEN

173

1
and, finally, the arrival of the bridal pair at their house,
with a servant preparing the marriage-bed. 2
More common, especially on R.F. vases of the fine style,

sacrifice,

from the

scenes taken

are

of

life

women's apartments

the

5
4
(yvvcuKwvlris)* such as women at their toilet, spinning wool,
7
6
or bleaching linen, or embroidering.
Under the heading of
toilet scenes are included single figures of women arranging

on their girdles 10 or

their hair, 8 painting their faces, 9 fastening

shoes,

11

or putting clothes in a wardrobe.

12

also play with

They

cats or dogs 13 or pet birds, 14 and there is a subject identified as a

"
"
consolation
scene. 15
Again, we see women bathing both in
16
or even swimming 17
but in some
private and public baths,
of these scenes the bath merely forms part of the toilet.
Many
of these toilet scenes may perhaps be idealised and regarded as
;

18
groups of Aphrodite, the Graces, etc.
A favourite subject, but almost confined to the B.F. hydriae, is
that of maidens with pitchers on their heads fetching water from
a fountain, which is usually in the form of a building with

columns and lion's-head spouts of water

Athens 693.

Petersburg

A niph.
3

151 = Thiersch,

Tyrrhen.

pi. 5.

Berlin 1841

=Reinach,

ii.

44 (B.F.)

Athens i552 = Heydemann, Gr. Vasenb.

= Reinach, i. 440,
pi. 8, 5; Berlin 2261
and 2720 = Coll. Sabourojf, i. pi. 64 ;
Reinach,

i.

(Petersburg

(=Jatta 1526), 477

472

1791),

= Naples

<

B.M.

12

13

14

15
16

Reinach,
rpov)

i.

517 (note the use of the

Louvre F224 = ^/. Or.

Stackelberg, 34

Reinach,

i.

iii.

Dumont-Pottier,
Anderson, 82, 4.

i.

pi.

Schreiber-

Baumeister,
Boston Mus.

No.

p.

1711,

Report

',

fig.

1796.

1900,

p.

10.

Baumeister,

iii.

p. 1583, fig. 1641.

41,

114

2034

p. 1919, fig.

Plate

XXX.

B.M.

B.M.

19;
;

meister,

(=

i.

p. 243,

Coll. Sabouroff,

Gaz. Arch. 1880,

Jatta 654
Millin- Reinach, ii. 9 (frontis-

Reinach,
i.

ii.

p. 242, fig.

146, 328,

220

Louvre

B.M.

Bau-

D 29,

and see generally Hartwig,

op. cit. p. 599.

197 and

F 203 = Amer.

Journ. of Arch. 1896, p. 3

Anderson, 57, 5.
18
B.M. FSII; and see
10-22.

14.

= Baumeister,

221), and 2707

62, 2)

i.

17

iii.

fig.

90, 201-2

see Hartwig, Meistersch. p. 340.

89

207.

Berlin 1843 (

piece)

iii.

Berlin
p.

148.

Schreiber-Anderson, 83,

366

7,

668.

fig.

Schreiber-Anderson, 82, 12

pi.

ii.

ii.

Louvre

eirtvr]-

420,

609,

p.

Ei8; Louvre G2;

139, 207, 342.

4.

B.M. B598,
87,
193,
215,
13 ; Athens 1550, 1552, and 1589 =

i.

Baumeister,

F 101,

F 3 o8, 310;

773-74,

225,

B.M.

Reinach,

Schreiber-Anderson, 83,

Ibia.

11

2272 = Hartwig, Meistersch,

Reinach, ii. 146, 7.

S.A. 316,

with fancy names).

10

the maidens, five or

Schreiber-

l.

Ctr. iv.

SUBJECTS FROM ORDINARY LIFE

1/4

number, carry the empty hydriae flat on their heads, the

ones upright. 1 Women are sometimes seen in gardens or

six in
full

2
or (on late R.F. vases) frankincense. 3
orchards, gathering fruit
Other miscellaneous scenes which cannot be classified are
:

woman

in

bed,
7

from a

woman

with foot-pan, 5 at a meal, 6 reading

9
8
incense,
spinning a top, balancing

burning

scroll,

a stick, 10 riding in a mule-car n two or more women wrapped

in one large cloak 12
and an accouchement scene. 13 Those in
;

which children appear include a nurse and child 14 a child

15
a mother, and a child in a high chair 16
learning to walk
and a woman beating a child with a slipper 17 subjects of
children playing with toys, etc., have already been discussed
Finally, there are the .scenes in which women
(p. 167).
18
or performing dances in armour, 19 of which
as
appear
jugglers
these were probably amusements
mention has been made
;

associated with banquets (see p. 182

also ibid, for banquets in

courtesans, take part).

very common decoration of vases, especially the inferior
ones of Apulia, is that of a woman's head, either as the main

which women,

i.e.

subject

or

some subsidiary part of

in

common

however, are so

that

the decoration

they hardly

these,

for

call

detailed

20

description.
1

B.M.

Reinach,

6329-38;
ii.

Athens 1429

151

cf.

Louvre F2g6;
B.M. E 159 and

Heydemann,

Gr. Vasenb.

1841

B.M.

D6

Munich 142

cf.

Berlin

l4

15

Reinach,

ii.

B.M.
241,
Sale Cat. 98-9.
4

13

B.M. B

53,

6163,

Coll. Sabouroff,

Bibl. Nat.

Berlin

409;

i.

pi. 51.

94; Athens 466

Plate

XLV1I.

pi. 9, 2.
2

l2

3993

Athens 1550

44.

721;

Branteghem

16

17

Heydemann,

op. cit.

Oxford 320.
B.M. E 396.

Branteghem

Cat. 163.

Petersburg 875

= Reinach,

Hartwig, Meistersch.

i.

39:

cf.

pi. 27.

B.M. F232; Athens i<>3i = HeydeReinach,

mann, Gr. Vasenb. pi. 9, 3
i.
473 Mus. Borb. vii. 58 Mon. Barone
and see pp. 165, 182.
pis. 3, 9
18

pi. 9,. 5.

B.M. E 34.
B.M. E 769.
B.M. E 190.
B.M. E88.

11

Branteghem Cat. 167.

=
Naples R.C.I 17 Reinach, 1.490,22.
Munich 903 = Reinach, ii. 110.

19

Seep.

169.

20

See on the subject Winter in Arch.

Zeit. 1885, p. 187 ff. ; and Mon. Gnrs,
1885-88, p. 2$

ff.

MILITARY SUBJECTS

175

MILITARY AND NAVAL SUBJECTS

7.

Subjects of a military character on vases are chiefly confined

the arming of warriors, 1 their setting out in chariots,
on horseback, or on foot, 2 and combats of two or more figures. 3
to three

In

we are confronted with the often-recurring

when such subjects have a mythological signi-

these cases

all

difficulty as to

such as the
ficance.
Especially on B.F. vases, familiar types
departure of Hector or the combat of Achilles and Memnon,
occur again
to be identified in other cases by inscriptions

and again

in

the

same form, only

by the varying

diversified

number

of bystanders, which is generally regulated by the

at
the painter's disposal.
Even when names are added
space
are
of
a
kind
and thus, for instance, we
often
fanciful
they
;

find

combats between Homeric heroes which have no counter4

part in literary record.

In the scenes of warriors arming we may note certain motives
as recurring with more or less frequency
such as that of a
warrior putting on his greaves, 5 helmet, 6 or cuirass (Fig. I37), 7
or lacing up his helmet. 8
Kindred subjects are that of a warrior
9
taking his shield out of his case, or an archer drawing an arrow
11
10
from his quiver,
or stringing his bow. 12
testing an arrow,

B.M. B 165, 6657 J.H.S.

293; Bibl. Nat. 172 and 203=
R.F. Louvre 047-8;
Reinach, ii. 95.
1

B.F.

xviii.

Bologna 274; Helbig, 167 and 174 (=

Reinach, ii. 133); Reinach, ii. 114;
Vienna 324= Wuner Vorl. vii. I (Duris).
2

See pp.

B.M. 6224,6243; Athens 1161

p.

B.F.

Louvre

Hartwig, Meistersch.

F 39, F 53, F 150;

12,

Reinach,

R.F. B.M. E 254, E 276,

124, 131.
448; Louvre 044; Baumeister, iii.
Late B.M.
p. 2034, fig- 2207 (Duris).
F 158, F 174 ; Munich 382 = Furtwaengler and Reichhold, pi. 35.
3
B.F.
Ant. Denkni. ii. 44-5 (Proto-

ii.

J.H.S. xviii.
Reinach, ii. 95.
7

Athens 623
B.M.
7,

Bourgnignon

Cat. 14.

K&&

6400;
R.F.:

Rom. Mitth.
B.M. F 175, 215.
Horseman and foot-soldier
two uncatalogued in B.M.
33,

l8 90, p. 332.

43,

Late

=
ii.

p.

293

Bibl. Nat.

203 =

= Fig. 137; Millin39; and see under Hector,

Munich 374

Reinach,

i.

127.

p.

B.M.

405.

Cor.); B.M. 675, 6199, 6212,

87; Reinach,

p.

129, 131, 4, 133.

B.M. 6147, 6309, 6360;

126.

3, 7,

cf. Reinach,
Anzeiger, 1892, p. 165
133 and Ar. Ach. 574.
lu
Louvre 05: see Hartwig, Meistersch.
:

ii.

p. 122, note.

u B.M.
Sale

Cat.

33; Munich 1229; Forman

337 (in Boston); Hartwig,

cit.
14, i: cf. Berlin 2296 =
pi.
Reinach, i. 428, and B.M. E 598.
12
See note 10
also Festschrift fur

op.

O. Benndorf, p. 66

SUBJECTS FROM ORDINARY LIFE

We may also note the rarer occurrence of such scenes as the

1
or the equipping of
harnessing of a chariot (Frontispiece)
2
a war-horse.
In the departure scenes the usual type on B.F.
vases is that of a four-horse chariot to the right, which the
mounting or has mounted
drink, and an old man stands

warrior

him

"type"
1655),

is

woman sometimes

at the horses' heads.

give

This

used for the departure of Amphiaraos (cf. Berlin

3
It is sometimes varied by
Hector, or other heroes.
is

From Hoppin.
FIG. 137.

WARRIOR ARMING; SCYTHIAN ARCHERS (AMPHORA BY EUTHYMIDES

IN MUNICH).

4
Or, again, the warrior
placing the quadriga to the front.
5
his
on
is seen
horseback, accompanied by
groom, or a company
6
On later vases the more
on foot set out in marching array.

B.M.

6303-05;

Berlin

Reinach,
124 ; Jahrbuch,
F 345.
pi. 10 ; Louvre F 285,
ii.

2
3
4

iv.

1897

(1889),

Reinach, ii. 198.

See pp. 118, 127.

B.M. Bi5, B206, 6523;

Cat.

fig.
6

Louvre

F9; Reinach, i. 462, I ; ii. 255 = Bibl.

Nat. 227 ; Burlington Fine Arts Club

1888,

No.

08 =

1903,

p. 102 (Andokides).
5
Athens 6 i8 = Baumeister,

iii.

No.

21,

p. 1963,

2098.

Reinach,

E 609 =

ii.

128; B.M.

Reinach,

Fig. 88, Vol.

I. p.

i.

624; Louvre

395 (Chares); and

297.

MILITARY SUBJECTS
usual

version

a warrior receiving a libation or

a woman before his departure, but the

from

stirrup-cup

of

that

is

"

"

177

same scenes might be

interpreted as referring to his successful

Unmistakable instances of the return are those scenes

where he receives a crown, 2 or is brought back as a corpse
3
There are scenes representing warriors
by his comrades.
return.

taking oaths or omens at a tomb, or omens by the inspection

4
and
of the liver of a victim, all before departure for battle
5
inside
R.F.
are
countless, especially
kylikes.
single figures
;

an ambuscade,

tioned

may be menwounded warrior dragged out of

the various scenes incident to warfare

Among

8
a warrior protecting himself from darts, the capture
10
9
of a prisoner, warriors carrying dead bodies, or human heads
7

battle,

as

of victory. 11

trophies

Besides

13

12

14

heralds,

of warriors,
often appear; or
or of the A OKI (Madia

figures

single

and archers

15

trumpeters,
1G
representations of the armour of a warrior
17
Of a somewhat
or parade of Athenian knights.
slingers,

character

is

scene depicting

warriors

burlesque

on ostriches

riding

and dolphins. 18
Naval scenes are very
B.M.

B.M.

43-4: see

i.

476

7; Petersburg 1692,

ii.

vii.

Louvre F 19,
Wiener VorL

(Duris).

B.M. 651

Berlin 1718
ii.

p. 301,

we

but
10

see under Nike, p. 88.

Reinach.

No. 77

393
Reinach,
i.

Hel107

ii.

(may be Ajax with body of Achilles).

4
and cf.
J.H.S. xix. pp. 227-28
B.M. B 171 (inspection of liver), 6641

Szejahrbuck, 1901,
B.M. 6658.

11

Nat.

Reinach,

400;

ii.

131,

G 25

B.M. B 149, B 360.

B.M. B 590-91
Louvre
Helbig, 292 Munich 4 = Reinach,
;

Engelmann- Anderson, Od.

xiii.

Berlin 1879.
Berlin 2304.

77

i.

VOL.

II.

i.

ii.

70

57

14

B.M.

pi. 18,
15

Sic.

Vascnb.

i.

46,

pi.

Gr.

Benndorf,

I,

See

XXX VI

E 285
p.

F.

Hartwig, Meistersch.

and see

p.

fig.

185.

note

179,

also

Plate

and Jahrbuch, 1889,

2,

pi. 4.

Anzeiger, 1889, p. 93 ; B.M. E 759

cf. p. 186.
p. 368, note

16

Hartwig,
17

i.

p.

B.M. 6426; Berlin 2296= Reinach,

428
1 1

Helbig, 54

Man.

see also Helbig,

Grecs, 1885-88,

Eine Heerschau

des Peisistratos, and Les'Iinreis Atheniens,

p. 71
18

ff.

Reinach,

\.

$6 = Boston

Cat. p. 137.

Reinach,

Jahrbuch, iv. (1889), pi. 4. As shielddevice Vienna 332 (a negro) Reinach,

see Hartwig, Meistersch. pi. 9, p. 106,

note.

71

pi. 3.

13

Louvre 046.
5
Reinach, i. 203 = Wiener Vorl. D. 2,
B.M. B 380 Louvre F 127, G 5
2-3
bust of warrior, Louvre F 137.
6
B.M 6470, B6i8; Louvre F292,
(hoplite taking oath)

early

12

Bibl.

occasional

find

big,

65,

and Vienna 324

70,

rare,

G 54 = Reinach,
1711 = Reinach,

Louvre

372.

12

SUBJECTS FROM ORDINARY LIFE

i;8

of sea-fights, 1 as on the Dipylon vases, the

2
On the B.F. and R.F.
vessels on which appear to be biremes.
representations

3
or merchant- vessels, 4 usually in
war-galleys
such as -the outer edge of
places suitable for a row of ships
a kylix 5 or the broad rim of a deinos or large bowl.
These

vases

we

find

"

"
mixed
are specially common on vases of
The
technique.
"
of
the
administered
to
keel-hauling,"
punishment
subject
7
also
find
a
here.
must
place
refractory sailors,

8.

ORIENTALS AND BARBARIANS

Oriental figures which can neither be classified as mythological, historical, or genre subjects sometimes appear on vases.
have already made mention of such quasi-mythological

We

subjects as combats of Gryphons with Arimaspi or other figures

8
in Oriental attire.
Phrygian warriors, too, may be seen in

some Trojan scenes such as the sack of Troy or the flight

9
but their presence in scenes of departure or
of Aeneas
combat does not necessarily make the subject mythological. 10
not always easy to identify the nationality of these
barbarians, and the names usually given to them Persian,
It

is

Phrygian, or Scythian must in many cases be regarded as

somewhat conventional, except where details of costume are
unmistakable. 11

Archers

Oriental

in

long lappets, and

costumes, wearing peaked

caps with

costume of jerkin and trousers

close-fitting

es\ stippled over to indicate skin, are seen shooting

190, 4, 328, 6,
2

J.H.S.
532; Mon.

A 526

Louvre

B.M. B6o;

XVI. (Aristonoos

krater)

Bibl. Nat.

Plate

Reinach,

and 459 (Dipylon).

pi. 8; Louvre A 525-

Grecs,

ii.

(1882-84),

pi.

19

4,

Baumeister,

iii.

p.

1599,

235 ; Naples
R.C. 246; Munich 781 = Reinach, ii.
126; Petersburg 10 and 86; Wurzburg
337 = Reinach, ii. 141 Rev. Arch, xxxvi.
;

(1900),

Athens 969

See above,

Wiener
Reinach,

Vorl.

i.

1888,

415.

p. 148.

B.M. B 1 73, 6280, 6323; F278.

Cf. B.M. B 184, 207, 243, 246, etc
n See
generally Zahn, Die Barbare
and Hartwig, Meistersch. passim.
10

323;

"

1662.

p.

pi. 5, 3.

fig.

Berlin 646 ff., 831

B.M. 6436
Louvre F 145 (?).
5
B.M. 6679, E2 (Plate XXX VII. ;

Cat.

F 123, F 145.
Louvre F62 Vienna
;

xix.

and see Chapter VII.

3
B.M. 6436; Berlin 836; Louvre
E 735 and F 123 (=J.H.S. 1885, pi. 49);
Forman Sale Cat. 322; Reinach, ii.

pp. 44-57

322; Bourguignon Sale

14; Louvre

i.

ORIENTALS AND BARBARIANS

179

1
arrows, on foot or on horseback, or accompanying the chariots
2
3
as also
of Greek warriors, or taking part in general combats
;

Persian warriors in combat with

warriors blowing trumpets.
Greeks appear on R.F. vases of the strong period, 5 and may
have some reference to the historical events of the time. It

even suggested that one

is

by Mikon of the
a

battle of

copied from the famous painting

Marathon. 6
One vase represents

is

of triumphal procession, perhaps of a Persian king,

and others depict Persians riding. 8
a camel r

sort

on

riding

Those of undoubted

historical signification

have already been

or unmounted
appear
horseman
is
attacked by a lion, 11 a
archers,
Scythian
12
Scythian pursues two courtesans, and there is a curious scene

mentioned.
10

mounted

as

Scythians

13
Thracians,
depicting the revels of the Scythian Agathyrsi.
in the typical local costume of ^elpa (a thick cloak) and aXwrre/crj

fox-skin cap), appear by themselves or with Orpheus and

14
Thracian horsemen are represented setting out 15 and

(a

Boreas

after the conquests of Miltiades

the local costume appears to

the Athenian youth, as they

have become fashionable among

are depicted wearing it on some contemporary vases. 16
The
Thracian custom of tattooing is suggested in some of the
17
Orpheus scenes.

Figures of negroes are not very common on vases, though

many of fifth-century date and later are modelled in the form
of negroes' heads
but there is a small class of B.F. alabastra
on which they are represented in the traditional barbarian
;

B.M.

G45;

1889,

126,

pi.

184,

207,

6426

Vorl,

vi.

B.M. B 590-91.

B.M.E

233; Berlin 2295 Reinach,

84 Hartwig, Meistersch. pis. 55-56.
6
Ath. Mitth. 1898, pi. 5.

B.M.

695.
Ath. Mitth. 1892,

(1887),

9,

pi.

Fig. 137; Plate

fig. 2.

473 = Reinach,
Boston Mus. Report, 1900,
Hartwig, faeistersch.

pis.

i.

131.

p. 72.

38-9

and

p. 151.

14

B.M.

481-82

15

Louvre

G26

pi. i

Oxford 310

and

cf.

see pp. 80, 143.

Mon.

Grecs, 1885-

88, pi. 6, p. 11.

16

p.

Klein, Lieblingsinschr? p. 87.

See

ii.

Bibl. Nat.

13

Bonrguignon

Mitth.

see ibid. p. 422.

11

Reinach,

12

Wiener

Rom.

172; Munich 374

(?).

p.

XXXVII.
B

Cat. 14.

ii.

10

F388,

4; and see

p. 177.

B.M. B

376

i.

Louvre

Jahrbtich,

above,
2

6;

Munich 337
Klein, Euphronios,
Mon. Grecs, 1885-88, pi. 5 and

82

see pp. 166, 177.

17

B.M.

nach,

i.

63,

301

f.H.S.

ix. pi.

Rei-

SUBJECTS FROM ORDINARY LIFE

i8o

costume of
battle-axe.

trousers,

and are armed with the Oriental

etc.,

one case

In

accompanies

negro

camel".

Ethiopians are seen conveying the body of Memnon or an

3
ordinary warrior to his grave, and one vase represents an
4
A pair of Egyptian combatants can be
Ethiopian with a jug.
identified on a fragmentary vase from Daphnae (Defenneh). 5
Lastly, many of the vases of Southern Italy, especially those

combats

of Campania, represent

Osco-Samnite warriors,
cuirass, gaily

leave-takings of native
costume of triangular

plumed helmet, and scanty

9.

or

in their typical

tunic.

BANQUETS AND REVELS

group of subjects which

play an important part on

the
periods, especially
height of the R.F. style,
but which do not exactly fall under any of the headings
of

vases

all

that of scenes connected with banquets

In the ordinary
especially of Athenian ephebi.

so far enumerated,

and
"

revels,

is

"

of banquets at all periods (as in other branches of

the
participants recline on couches on their left elbows,
art)
the right arm being free to use, and that hand often holding

type

In this fashion
a drinking-cup or other appropriate attribute. 7
the gods such as Dionysos, Hermes, or Herakles after his

indulge in the pleasures of the banquet and the

are scenes which represent the preparations
There
wine-cup.
9
10
and in
for a banquet, or young men on their way thither
apotheosis
8

those depicting the feast itself a table is often placed before

or
the couch, on which viands of various kinds are seen n
;

B.M. B 673-74 Athens 1088 Ath.

Mitth. 1889, p. 45: cf. Louvre 693;
another unarmed, G I oo. On Vienna 332
a negro trumpeter occurs as a shield-device.
1

2
3
4

5
6

Petersburg 1603.
Benndorf, Gr. u. Sic. Vasenb.

pi. 42.

Louvre G 100.
B.M. B 106,.
B.M. F 197, 241-42(566 PlateXLIV.),

297, 301, 525

Reinach, L 292-93.

B 4 6, 6382, 6679;
Louvre F2, F2i6, F3I4; Gaz. Arch.
7

B.F.

B.M.

1887, pi. 14,

i.

R.F.

B.M.

38, 49,

68, 70
tersch.

Munich 272

pi.

Reinach,

15,
ii.

4.

Hartwig, Meis-

Helbig, 225 and 227;

B.M.

Late:

495,

F3O3; Naples 2202 = Dubois-Maison-

neuve, Introd, pi. 45, and R.C. 144 =

Schreiber- Anderson, 76, 2
ibid. pi. 76,
;

Millingen-Reinach,
Reinach, ii. 58.
8

See pp. 57, 105.

Bibl. Nat. 94.

pi.

Millin-

B.M. E 351,
474.
" B.M.
646, 301-2, 382, 679, E66,
I0

454.

BANQUET SCENES

stands by, ready for the drinkers

Vases are also filled by means of

the krater (mixing-bowl)

to

replenish
funnel. 2

their

cups.

The

181

of

results

over-indulgence

sometimes

are

3
After the drinkingrealistically indicated on the R.F. cups.
bouts come amusements of various kinds, notably the game

of the kottabos. 4

No

of the R.F. period,

FIG.

138.

instances of this occur before the middle

and on the cups of that time

it

is

usually

BANQUETERS PLAYING KOTTABOS (BRITISH MUSEUM, E 70).

only indicated by the manner in which the banqueters twirl

their kylikes with a finger crooked in the handle,5 preparatory
1

Louvre

Mitth.

Kleisophos)
Greg.

ii.

81,

691 = Ath.
13-4 (Xenokles and

Gg8; Athens

1889,

pis.

Cab. Poitrtales, 34

Reinach,
i

Mus.

a.

ii.

247

a collected
5

sze Jahrbttch, 1893,

So.

Wiener Vorl. viii. 5332

See Klein, Euphronios?

list

of examples

p. 115, for
;

also

the

following notes.

p.

p.

Louvre
25 ; Mus. Greg. ii. 81, I b ;
Hartvvig, Meistersch. pis. 14, 2, 48, and

Louvre

161,

G^o B.M. E 70 =

454,

795;

Fig. 138,
Berlin 4221;

Naples 822, 965, 972, 2415, S.A. 281,

SUBJECTS FROM ORDINARY LIFE

82

to throwing the remaining drops of liquid at the little figure

on the top of the kottabos-stand, the hitting of which caused

of the

part

apparatus to

Athenian and many

latest

On

with a ringing noise. 1

Apulian vases the stand

fall

is

the

often

2
represented as well, not only in

position for the game, but

borne along by revellers. 3 It is also carried by Seileni, Maenads,
4
or Eros, and used by Dionysos at his banquets.

Other amusements take

of music and dancing.

the lyre or flute, 5 or listen
female performers on those instruments, 6 or a

the form

The banqueters themselves play

male and
7
The women jugglers,
young girl dances for their amusement.
who
and
acrobatic
sword-dancers
often appear on
tumblers,
8
no doubt often contributed to the entertainment
late vases
to

of the " gilded youth

"

of their day.
Sometimes a banqueter
represented reclining on his couch and singing, the words
in one or two cases being inscribed as proceeding out of his
Not only men but women are represented banmouth. 9

is

queting, as on the psykter by Euphronios at Petersburg,

which has a group of courtesans. 10 This character also appears
on the R.F. vases at the men's banquets. 11

The Ko>//,o9 or revel is equally popular with the banquet. It

usually takes the form of a procession of young and elderly
men in various unrestrained attitudes, 12 dancing, 13 singing, 14
1

It is worth noting that on the best

R.F. vases mortals play the game ; on

Reinach,

i.

and

Vol.

see

337

I.

Archaeologia,
p.

452

for

li.
pi. 14 ;
a curious

B.M. F50, 175-77; Inghirami, Vasi

Fitt.
4

ii.

197.

pis.

273,

ii.

B.M.

14,

61, 68

38,

Reinach,

4.
8
9

See pp. 165,

Athens 1158

174.
;

and see

p. 169.

Petersburg 1670 = Reinach, i. 32 =

Wiener Vorl. v. 2 Reinach, ii. 290, 2
10

(/cuj/xos

of

women).

B.M. E6i (Hieron).

B.M.
71, 474, 484, 489, 506, 767
Reinach, ii. 94, 7 Mus. Greg. ii. 84, 2 a
Hartwig, Meistersch. pi. II and p. 41;
Wiener Vorl. viii. 5 (Brygos in Wiirz12

B.M. Fi6i, F273,

F 425

Inghirami, Vasi Fitt.

11

variant.
3

356.

the later ones gods and Satyrs.

It must
have disappeared from social life about
the end of the fifth century.
2
B.M. F 37 ; Naples 903, S.A. 302,
R.C. 144, 145, 2308
Berlin 2416 =

81,

F 579 =

F275, F3O4,

Fig. 1 18 (Eros).
30 ; Mtts. Greg. ii. 83,

5
i
Louvre G
and 85, 2 b.
6
Louvre F2i6; Reinach, ii. 329, 5:
see also ibid. ii. 6, 304, 5 ; Mus. Greg. ii.

burg).
13

B.M.

Sale Cat. 317

14

46,

33,
;

53,

Reinach,

B.M. B 299

and

508; Fortnan
ii.

120.

see above, p. 169.

REVELS

183

1
playing the lyre, flute, or other instruments, carrying drinking2
3
cups and other vessels, or balancing them in sportive manner.

Frequently these KW/AO? scenes are of a Dionysiac character, the

4
god himself, Seileni, Satyrs, and Maenads taking part, and
sometimes human beings are mingled with them. On a vase
of the series connected with the comic stage (Fig. 134, p. 161)
a father is seen dragging a drunken youth home from a

banquet

but these scenes of rioting are not always neces-

sarily conceived as taking place before or after social festivities.

On

a red -figured cup at Petersburg the subject of the return

feast of the Brauronian Dionysos is depicted in most

from the

realistic fashion, the revellers

indulging in

sorts of buffoonery

all

and fantastic actions, which suggest an Athenian counterpart of

modern Bank Holiday amusements 5
To turn to a subject of a quieter character, what may be
"
termed " love scenes
are not uncommon on vases, especially
!

of the later period.

On the Apulian vases indeed such subjects
are innumerable.
The usual type, occasionally found on earlier
6

vases,

that of a youth and a seated girl exchanging presents,

is

such as mirrors, wreaths, baskets of fruit or jewel-boxes, Eros

7
Scenes of this kind were originally
being frequently present.
interpreted somewhat fantastically, as having some reference
8
to the Eleusinian or other mysteries, an idea which no one
would now seriously hold.
Similar scenes which have no
particular import, such as groups of women, often with Eros,
many R.F. vases of the later fine style, especially

occur on

the pyxides and lekythi, 9

belong to an age
century
1

B.M.

137,

ii.

PP- 333. 335

2

n,
3

B.M.

ii.

54,

cit.

Hartwig,

pi.

68,
i

op.

cit.

Hartwig,

op.

cit.

Louvre
pis.

8,

129,

fig- 2.

See above,

B.M.

Bibl. Nat.

pis.

G 73

Cat.

905

57

ff.

is
I.

Froehner,

iv.

of Vases,

passim

a good typical example,

cf. Christie, Disp. 21
:

quisitions, passim.

and see

B.M.

648,

778-83

705-9,

XLII.) ; Athens
Vasen mit Goldschmuck,

Plate
.

p.

op. cit. pi. 49.

;

36,

Berlin 2265, and Jahrbuch, 1891,

pi. 5,
4

Hartwig,

B.M. E 41 Berlin 2171

Musics de France, pi. 40, 2.

See Vol.

37;

and

a,

20.

B.M.

clearly fanciful,

There are also some instances,

Inghirami, Vasi Fitt. 198.

E 54

all

tastes resembled those of the eighteenth

488; Reinach,

290, 301, 313; Mus. Greg.

2 a ; 78, 2 a
Hartwig, op.

are

They

their artificiality.

in

when

1941
pi.

i.

(see

= Jahn,

SUBJECTS FROM ORDINARY LIFE

84

on the R.F. vases, where the sentiment is more

seen
definitely expressed, and couples are
embracing or
one
in
is not necesanother
amorous
fashion.
It
caressing
to
make
allusion
more
than
to
the
sary
many vases
passing
on which this harmless sentiment is replaced by coarseness
and open indecency of treatment, some of which, however,
especially

belong to the very

stage of red-figure painting.

a few subjects of a genre
character which seem to defy classification, and yet are suffifinest

we may mention here

Finally,

ciently

definite

scenes

so

to

Such

require separate mention.

the interiors of R.F.

common on

the

are

kylikes, which

represent ephebi in all kinds of attitudes, or carrying all sorts

of objects, the great aim of the artist being to find the most
2

we have

suitable design to fill in the circular space.

Thus
such subjects as a youth putting on a greave or

sandals,

6
carrying a wine-amphora or a lyre, playing with castanets,
7
or pursuing a hare
armed with a
reclining at a banquet
club or a large stone 9 a man leading a leopard, 10 and a man
;

who seems from

gestures to be treading unawares on a

of
an athletic or military character, of
snake
and others
which mention has already been made. There are also many
his

11

subjects which appear to have a meaning, yet are not mythological, and cannot be satisfactorily explained; such instances

would, however, hardly be profitable to describe

it

10.

The
deal
1

is

B.M. E6i; Munich 819

ANIMALS

Berlin

= Millingen= Hartwig,

2279

Meistersch.

207

pi. 25 (very fine); Reinach,

Helbig, 218 = ibid. ii. 146 ; and

87

p.
6

See Klein, Eiiphronios,

26, and

p.

Hartwig, Meisterschalen, passim-,

Vol.
3

I. p.

Athens

Hartwig,
4

B.M.

pi.

= Hartwig, op. cit. p. 87

27 (from exterior of kylix).

E2

cf.

16,

27

129 (youth balancing amphora).

Louvre

17

Wiener

Vorl.

10.

Cambridge

B.M.

Wiener
Louvre
9
Louvre
10
B.M.

see

161

pi.

Hartwig, op. cit. p.

Louvre), and

19, 2 (in

Hartwig, pi.
178; Louvre

71

Hartwig,

pi.

2,

3.

fig.

also

426.

Athens 1162

1890,

see Hartwig, p. 238.

2

detail.

last class of subjects with which this section has to

that of animals, as considered apart from human beings,

Reinach, 26
i.

in

46; Hartwig,

p.

86; and

Vorl. vi. 8.

G 40.
G 70,

96.

57.

Hartwig,

pi. 70,

cf. //. iii.

33.

ANIMALS
or objects of

185

what modern painters term "still life." In the

work it has been shown what a large

historical chapters of this

part the animal world played in the decoration of vases down

and also which were the animals most

to the sixth century B.C.,

frequently selected for the friezes and other decorations of early

vases.
Most noteworthy in this respect are the Mycenaean
I. p. 273), with their representations of cuttle-fish
1
nautilus or argonaut, and other marine subjects.
the
(Plate XV.),
But to these early vases in the present case no further allusion

vases (Vol.

need be made

as subjects they

On the

interest.

have not as a rule

sufficient

Attic vases of the B.F. and R.F. periods animals

rarely form a principal subject on vases, though they still

sometimes appear in small friezes on the less important parts
of the vase
it may, therefore, be
of interest to note a few
in
instances
which
this
feature
retains its prominence.
typical
Sometimes we have subjects with action as, for instance, one
in which a panther tears a stag, and is attacked by an archer
and an armed warrior 2 or a lion attacks a panther, a bull, or
;

a deer. 3

Again, the interior of a B.F. kylix is sometimes filled

with an animal subject, such as a wounded stag, 4 or a deer
scratching

or

itself

grazing,

or

similar position on one R.F. kylix

other animals

we have an

and

in

its

pack.

ass with

a
7

Other animal subjects worth mentioning are a sea-serpent, 8

9
10
cats and
goats browsing on vines, a fox caught in a trap,
mice,

the appearance of the swallow. 12

11

J.H.S. xvii. p. 75
fount, of Arch. 1890,
Arch. Anzeiger, 1893,

Fig. 82

Aier.

22, p. 437

pi.

ff. ;

9 (vase in Mar-

P-

Berlin 2324
7,

pi.
:t

ii.

Wiener

Vorl. 1890-91,

I-

I5.M.

I\lns.

Ei;

Bihl.

2;

31,

128; Boston

Nat.

Report, 1899, No. 21

Reinach,

ii.

Mm.

Greg.

225 (lion and

Gsell,

Fouilles de

Vnlci, pi. 9 (in

B.M. B382,

54

4; Louvre F 84 and

Fig. 96, Vol.

I.

Louvre F 125 (ram)

Berlin 4042
(bull) and 2266 (horse); Munich 1171
;

Reinach,

ii.

171.

bull,

tersch. p. 565.
7

11

12

p. 381.

Louvre F3I3.
Apes,
Sale Cat. Hotel Drouot, May 1903,
No. 7 1
See generally Hart wig, Meis-

10

Boston).
5

Bibl. Nat. 317

Lion and

panther fighting).

F38o;

seilles).
-

and Mils. Greg. ii. 64, 3 a (cock). Also

on exterior of B.F. kylikes cocks and
Louvre F 92,
hens, B.M. 6391-92;

Hartwig,

op. tit. pi. 63, I.

Bibl. Nat. 175-76.

Munich 468 = Philologus> 1898,

pi. I.

Schreiber- Anderson, pi. 80, 3.

Coll. Sabouro/, i.
Berlin 25 1 7

pi. 65.

Reinach,

iii.

p.

P\>r the inscription

on

1985,

fig.

i.

2128.

this vase, see

96

Baumeister,

Chapter XVII.

SUBJECTS FROM ORDINARY LIFE

86

There is a class of ware made in Southern Italy which takes

the form of flat plates or dishes, decorated with representations
of fish and molluscs, such as the pike or mullet, the cuttle-fish
and various shell-fish these were clearly used for eating fish
1
off, and they have in the centre a hollow to receive the sauce.
Friezes of fish are not infrequently found on the vases of Apulia.
Animals, especially birds, sometimes appear in friezes on the
;

2
cocks
early Ionic vases, such as geese, quails, or guinea-fowl
and hens confronted are more common, especially in the B.F.
;

and one

period,

has an amusing group of

Italian vase

late

a cock and goose greeting one another with the words,

" "
" 4
the goose
Oh, the cock
!

Lastly, of subjects from still

we find the
6

a flute-case, 7 a lyre, 8
a collection of objects for the

basin,

See Schreiber-Anderson,

pi.

from their appearance

5
warrior, a washinga table with bread upon it, 9 and
life,

toilet.

63, 6

XLIV.

ii.

92

note

703

Bibl. Nat. 172.

B.M. 628, B3I

and see

Collignon,
see p. 273.

p.

also p. 177 above.

Louvre F 127 (Pamphaios).

Munich 1170.
Munich 1223.
B.M.
771.

note

185,

330 =

p.

6.

Rayet and
Reinach, i. 503

R.F. kalpts in Louvre ; Anzeiger,

1889, p. 93 B.M. E 759 see for this and
the following subjects Hart wig, Meistersch,
p. 368,

B.M. B57, 658; Louvre

Reinach,

10

Cat. of Vases, iv. p. 19, F 254-68,

references there given ; also Vol. I.

pp. 194, 487, Plate

distinct

armour of a

B.M.
and

Ah,

in figure subjects,

"

10

In South Kensington Museum.

CHAPTER XVI
DETAILS OF TYPES, ARRANGEMENT, AND
ORNAMENTA TION
Costume and attributes of individual deities
Distinctions of types
Monsters
Heroes
sonifications
Personages in every-day

Perlife

Armour and

Dress and ornaments Physiognomical

shield-devices
on vases Landscape and architecture Arrangement of
Ornamental patterns Maeander, circles, and other geosubjects
metrical patterns Floral patterns Lotos and palmettes Treatment
expression

of ornamentation in different fabrics.

be profitable to supplement the foregoing account

few general considerations, such as the attributes,
emblems, and costume by which the different figures may be
IT

may

with a

distinguished, the general treatment of the subjects at different

periods, and the use of ornamental motives in the various

stages of

Greek vase-painting.
i.

DISTINCTIONS OF TYPES

In the earlier vase-paintings deities are often not only

indistinguishable from one another, but even from kings
and other mortal personages, attributes and subtle distinctions

costume being ignored

and in the period of decline a
be
noted, due in this case not so much
tendency may
o confusion of ideas as to a general carelessness of execution
nd indifference to the meaning of the subject. In the former
f

imilar

ases

it

was, doubtless, largely the result of conventionality

in the free expression of forms
but it is a

nd limitation

uliarity not confined to painting, and

nly in the minor arts, in terracotta and

ven

in sculpture

may

of a more exalted kind

187

be observed not

bronze figurines, but

as, for instance, in

i88

TYPES,

the female

ARRANGEMENT, ORNAMENTATION

from the Athenian Acropolis. Thus, all

the deities are draped, and their costume differs in no respect
from that worn by mortals
all alike wear the chiton, himastatues

chlamys, and ornamentation of the drapery with

embroidered patterns is no mark of distinction. It is only as
the art advances in the B.F. period that the necessity for

tion,

or

makes itself felt, and each deity becomes indisome

by
peculiarity of costume or special attribute
which makes it possible to recognise them without difficulty.

differentiation

vidualised

To

give a brief survey of these characteristic marks will be

the object of the following pages. 1
Among the Olympian deities, Zeus is generally bearded,

and fully draped in long chiton and mantle on R.F. vases

he wears a laurel-wreath.
He fights the giants from his
but
otherwise
is
chariot,
standing, or seated on a throne, which
2
is often carved and ornamented with
He usually
figures.
;

holds a thunderbolt, or a sceptre, surmounted by an eagle or

otherwise ornamented
in one or two cases the termination
;

3
lotos-bud, curiously conventionalised.
Hera is distinguished by the stephane or broad diadem,
often ornamented, and covered with the bridal veil, the edge

in

is

the

form of a

with one hand

of which she draws forward

Her sceptre
considered typical of brides.
mounted by her emblem the cuckoo.

is

in

the attitude

sometimes

sur-

Poseidon, on the Corinthian and Attic B.F. vases on which

is often hardly to be distinguished
is but a rare figure
from Zeus, the approximation of the types extending even to

he

their

emblems.

Where he

holds

in

a dolphin

addition

or

doubt as to his presence

where he wields a rock (see
p. 13, and Fig. 112); but his trident, which subsequently becomes
the unmistakable evidence of his identity, often assumes (as on
the Corinthian pinakes) the form of a sceptre ending in a

tunny-fish, there is, of course, no

nor, again, in the Gigantomachia,

out

To give detailed references throughmay be considered superfluous, the

order of subjects followed being that of

the preceding chapters, to which reference may in all cases be made without

difficulty
2

Cf.

by the reader,
B.M. B 147
;

for

sentations of Zeus, Figs,

Plate LT.
3

See/.^.S*.

xiii.

other

in,

p. 19.

113,

repre-

114

TYPES OF DEITIES
1

which

lotos-bud,

is

189

typical of Zeus, and, indeed, of Olympian

other sea-deities are, however, of a

The

deities

generally.
clearly defined type.
fish-tail in which his

more

The

essential feature of Triton

is

Nereus, on the
body
other hand, is represented as an old man, bald and greyIn this form he contends with Herakles (see p. 101),
bearded.
it
and
may be that the differentiation was necessary to avoid
the

terminates.

As attributes he often holds

confusion with the Triton type.
a dolphin or tunny-fish, and a trident or sceptre. The winged
deity with a long sinuous fish-tail seen on early Corinthian
vases is probably Palaemon (see p. 26) but in one case this
2
Amphitrite, as the feminine consort of
deity is feminine.
;

Poseidon, holds a sceptre or tunny-fish, and Thetis and the

The former, howNereids appear in ordinary female form.
in
her
is
with
ever,
Peleus,
struggles
accompanied by lions,

and other animals, which indicate the transformations

was
she
supposed to assume. Skylla appears as described in
Homer, with fish-tail and the fore-parts of dogs issuing from
her waist, which is encircled by a fringe of scales or feathers.
Demeter and Persephone are not always distinguishable from
a torch or ears
|one another, both having the same attributes
f corn (cf. Plate LI.).
Their identification depends rather on
he nature of their respective actions in the scenes where they
Triptolemos is always seen in his winged two-wheeled
.ppear.
:ar (sometimes drawn by serpents), and usually holds ears of
:orn or a libation-bowl
on B.F. vases he is bearded, The
>ther Eleusinian deities, on the late R.F. vases where they
:cur, are marked by the large torches which they hold.
Apollo on the B.F. vases almost invariably occurs in his
3
:haracter of Kitharoidos, the lyre which he holds being of the
serpents,

[brm

known

as kithara (on

later vases

:herefore, like all musicians,

lis

hair

SeeJ.ff.S.
9

El. Ctr.
Cf.

a chelys)

he

is

and

He

curls

is

also

represented holding a

is

in

fully draped
long chiton,
on his shoulders, or is gathered in a
Unlike most gods, he is at all times youthful and

falls in

3i>Ao?.

icardless.

it

iii.

the fourth century.

loc. cit.

pi.

32 B.

the type created

laurel-branch,

by Skopas

in

An

exception

where he

is

is

El.

Ctlr.

i.

pi.

bearded (on a B.F. vase).

62,

ARRANGEMENT, ORNAMENTATION

TYPES,

190

shooting an
or

arrow from

Gryphon,
Artemis

bow, or riding on a swan or

accompanied by a hind or other animal. His
his

is draped in
long chiton and mantle, and often
wears a high cap on B.F. vases it is not until the later R.F.
period that she appears in hunting costume, with knotted-up

sister

and high laced-up hunting-boots or endrosometimes also a fawn-skin.

She is usually distinher
bow
and
and
is accompanied
arrows,
guished by
by a
1
or
other
animal.
hound, deer, goat,
2
Plephaistos is usually bearded, and often appears in the
workman's dress of the exomis or short chiton covering one
his craft is further symbolised
shoulder, and high conical cap
by a hammer or tongs, or by the axe with which he brings
Athena forth from the head of Zeus.
In the Gigantornachia
he uses his tongs with savage violence against an unfortunate
Ares is the typical Greek fully-armed
opponent (see p. 14).
with
warrior, bearded,
helmet, short chiton, cuirass, and greaves,
and
shield
but is not otherwise to be distinsword, spear,
short chiton,

hair,

mides

Hermes

the messenger of the gods, appears in

appropriate costume of chlamys and petasos (the Greek
travelling-hat), and carrying the caduceus or herald's staff

guished.

as

he usually wears high boots, and on the

earlier vases a short

He is occasionally winged, but it is more

chiton in addition.
usual to find the wings attached to his petasos or boots.
On
B.F. vases he is always bearded, but not after the sixth
century. Hestia, who but rarely occurs on vases, forms a pair
to Hermes in assemblies of the gods, but is not distinguished
further than by the Olympian lotos-sceptre.

Athena on the
an

from

earlier B.F. vases

ordinary

woman

later,

is

not always distinguished

the

helmet,

spear,

shield,

and aegis become inseparable adjuncts of her costume, the

The spear, which is
shield being always circular in form.
sometimes her only characteristic, is usually brandished or
couched in her right hand, and sometimes she holds her
Her
helmet in her hand (see Plate XXXVI. and p. 40).
a
over
which
the
costume consists of
long girt chiton,
peplos
1

See

for these two, Fig. 116.

i.

Exceptions are B.M.

46 A, 47, 63.

pis.

04;

l.

Ctr.

TYPES OF DEITIES

191

and the aegis round her chest.

is thrown;
covered with scales and has a fringe of rearing

small mantle

or

The

latter

is

serpents, and sometimes, on later vases, the Gorgon's head in

the centre of the front.
On the Panathenaic amphorae she is

always represented in the Promachos attitude, at first to left,

At either side of
but later to right, brandishing her spear.
her are columns surmounted by an owl, a cock, or other

On the later specimens her figure is greatly elonemblems.

her drapery is often elaborately embroidered with
and
gated,
in
Her statue when represented
purple and white.
patterns
is usually a mere
but on
reproduction of the living type
some later vases there seems to be a reminiscence of the Par;

thenos or other statues (see

Aphrodite
rate

on the

is

is

(as

40).

than any other deity, at any

on which she is invariably draped in

She sometimes carries a lotos-headed

earlier vases,

the ordinary manner.

sceptre

p.

less individualised

in

Judgment of

On

represented armed.

Paris scenes).
later vases

the

Occasionally she
the influence of

fourth-century sculpture becomes apparent in the treatment of

She now first appears nude (when
this, as of other deities.

bathing or washing), scantily clad or half draped, and in transparent Coan draperies, through which the outlines of her form
are

visible.

She has no

characteristic

attribute,

but

is

fre-

quently represented with a dove or other bird. The types of

Eros have already been fully discussed (p. 45); briefly it
may be said that on the Attic R.F. vases he is a full-grown

nude youth with wings on those of Southern Italy the type is

more boyish, though never the child or putto of the Hellenistic
Age, and in Apulia the androgynous type, with hair arranged
in feminine fashion and jewellery profusely adorning his person
is invariable.
earrings, necklace, chains, and anklets
is
the
Dionysos
ivy-wreath which
distinguished primarily by
crowns his head
he generally wears a long chiton and
On all
mantle, but on the latest vases is frequently nude.
B.F. vases, and often on those of the R.F. period, he is
bearded, and it is only on those of Southern Italy that he
appears as a somewhat effeminate youth, half draped like
His attributes are
Apollo, with rounded and graceful limbs.
;

192

TYPES,

ARRANGEMENT, ORNAMENTATION

the rhyton or keras (only on B.F. vases), the kantharos, a form

of drinking-cup specially associated with him, a vine-branch,
and the thyrsos he is accompanied by panthers and other
animals, or swings the limbs of a kid (wpaipofyovos).
Usually
;

he maintains a calm and unmoved attitude amid the wild

Ariadne is undistinguished except
revelries of his followers.
association with him.

by her

with goat's horns, but

figure,

later

almost invariably represented as a beardless youthful

is

vases,

Pan, who only occurs on

he

human

legs

when, however, he

usually called Aegipan, and in

this aspect he assumes a somewhat dwarfish and more bestial

has goat's legs or

feet,

is

aspect.
in all
Satyrs are either elderly and bearded, or youthful
cases with pointed ears and horses' tails, and undraped except
for the fawn-skins which they frequently wear.
They carry
;

a thyrsos, drinking-cups, or musical instruments, according to

In Ionic art
the circumstances in which they are depicted.
the
have
horses'
I. p.
feet as
Satyrs
353
ff.)
invariably
(Vol.
well as

and are usually of repulsive appearance. The

really aged Satyrs, depicted as bald or white-

tails,

Seileni are

haired, but not otherwise differentiated, except in the case of

PapposeilenoS) who is covered with

are often represented (especially

2
The Maenads
shaggy skin.
on B.F. vases) as ordinary

draped women, or only with the addition of a fawn-skin or

they carry the thyrsos, or
panther-skin over their chiton
a
vases
on
later
tambourine (tympanon).
large
frequently
;

the personages associated with the under- world, Hades

usually an elderly bearded deity of the Zeus type. He carries

Of

is

a sceptre, often with ornamented top, and sometimes from his

Chthonian association with Dionysos holds a kantharos, vine-

branch, or cornucopia. Kerberos has three heads only on two

Caeretan hyclriae and the Apulian under-world vases his usual
;

3
Hekate
two, but once or twice he has only one.
has torches for her customary attribute, and the Furies, who

number

is

only occur on
1

Cf. for the

B.M.
2

South

Italian

two together on a vase,

various

wear short chitons with

Satyr-types,

Ath. Mitth. 1894,

228.

For an attempted

vases,

distinction of the

SeeJ.Jf.S.

p.

see

521

xviii. p.

Loeschcke
ff.

296.

in

VARIOUS MYTHOLOGICAL TYPES

and have rough-

cross-belts

hair, in

193

which and round their arms

Charon the ferryman is represented

serpents are intertwined.
as an elderly man in short chi.ton and conical cap (cf. Fig. 122),
but the grim Etruscan Charun is a repulsive and savage hookThanatos and Hypnos, the
nosed demon, wielding a hammer.
two Death-deities, are both winged men, but only the former

bearded

there

is usually nothing forbidding

of
the representation of ghosts
question
been
discussed
most comhas
souls
or
fully
(p. 72)
(et8o>\a)
and
in
other
are
diminutive
cases
winged figures,
monly they
is

(cf.

Fig.

in his appearance.

123)

The

they appear as in ordinary

2
appear in the form of birds.

life,

but possibly they sometimes

Gaia is represented half rising out of the earth, a beautiful

but not young woman, with long hair (Fig. 112); or, as Pandora,
her head alone is seen (see p. 73).
Kybele occasionally
appears, with her attendant lion, and an even

rarer figure

is

The Eileithyiae, who attend at

Asklepios, with his serpent.
the birth of Athena, are ordinary women, distinguished by the
appropriate gestures of their hands (Fig. 113). Iris, the female
messenger of the gods, appears winged, with short chiton to
allow of rapid movement, and carrying the caduceus or herald's
Hebe, on the other hand, is an ordinary woman. Nike is
usually to be distinguished from Iris by her long flowing draperies,
staff

even when in flight the various attributes usually associated

with her have already been dealt with in detail (p. 87). 3
;

personifications, Helios is a youthful figure in a chariot,

with
rays round his head (as on Plate LI 1 1.); in one
usually
or two cases his head is surmounted by a white disc
Selene

Among

appears on horseback, and is sometimes indicated by a crescent

moon where Helios is accompanied by a goddess in a chariot,
it is probable that Nyx (Night) is intended (see p.
The
79).
;

Stars are represented as nude youths.

appear as girls floating through the air

Nymphs

are identified

Cf. the Greek heroes on B.F. vases

(B.M. B 240, B 543).

is

formed by Eos, Agon

2

See B.M.

(the

477 and Weicker, See-

lenvogel, passim.
3

VOL. IL

or breezes

the Hyades or raintheir

by
water-pitchers.
group of

winged gods and goddesses

1

The Aurae
;

See also Roscher,

iii.

p. 330.

13

TYPES, ARRANGEMENT,

194

ORNAMENTATION

masculine counterpart of Nike), Eris, Lyssa (Frenzy), 1 and

the various wind-gods, such as Boreas and Zephyros.
These
are found at all periods, but the types vary.
Eris, who
is

on

found

only

B.F.

vases,

resembles

the

Gorgons

(see

below), a somewhat grotesque figure with wings, rough hair,

and short girt chiton Lyssa only occurs on Apulian vases,
and is akin in type to the Furies in two instances her figure
;

enclosed in a circle of rays of light, perhaps to express the

2
Oistros,
blinding effect of her action, and she holds a goad.
is

a kindred figure, rides in a car drawn by serpents, and carries

The type of Agon is assimilated to that of Eros

torches.

on R.F. vases

on those of earlier date (if this is the correct

he
wears a short girt chiton and holds a wreath.
interpretation)
The Wind-gods on B.F. vases wear the petasos and high boots,

and short

Zephyros is represented as a youth and

on R.F. vases, wears Thracian costume;
occurs
Boreas,
he is bearded, and his hair is often rough and shaggy. But
these winged deities cannot always be identified with certainty.
girt chiton

who only

Among
man

other personifications, Geras is a somewhat ugly old

Muses are distinguished by their various musical

the

and Cities and Countries are occasionally indiFor instance, Thebes, on a vase by Assteas, wears
a turreted crown
Sparta appears as a Nymph on horseback

instruments

vidualised.

usually indicated not

their relation to the scene depicted. 3

and, generally speaking, their presence

is

only by inscriptions, but by

River-gods, such as Acheloos, appear as human-headed bulls,
with horns, but the last-named on a stamnos by Pamphaios

(E 437 in B.M.) has a fish-tail.

Kastor and Polydeukes usually appear on horseback and in
on later
hunting costume, with petasos, chlamys, and spears
vases they sometimes wear the pileus, a conical cap which often
appears as their emblem on coins. Herakles on earlier vases
is always bearded, and wears the lion's skin
fastened round
4
his waist with a belt, the forepaws knotted round his throat
;

Only on B.M.

271 and
3237 elsewhere unwinged.
2
See p. QT.
1

See f.H.S.

ix. p.

47

ff.

Naples

Note

that the vase-painters are care-

never to represent him wearing the

skin when contending with the lion.
ful

TYPES OF HEROES

195

head like a cap, leaving his face only

exposed, and under it he wears a short girt chiton he is armed
with his club, or bow and quiver, and sometimes with a sword.
On R.F. vases he is often nude, or only wears the skin in
chlamys fashion. On the earlier vases he is often less characterised, and the same applies to the later R.F. vases, on which
in many cases he is only to be
he is frequently beardless
the head

covers

his

Theseus always appears as a youth,

by
and on the R.F. cups usually wears a short loose chiton of
his arms are a sword,
crinkly material (cf. Vol. I., Frontisp.)
his

identified

club.

Perseus wears the winged petasos or cap

of darkness and high boots (the shoes of swiftness), sometimes
winged he carries the wallet or rcl/Sia-is, and sometimes the
or sometimes a club.

sword with which he slew Medusa. Pelops on

apTrrj or curved
the Apulian vases is usually characterised as an Oriental, with

costume and a

richly embroidered

tiara or

embroidered cap.

The Homeric

heroes are only to be identified by inscriptions,

or by the actions in which they take part, but Paris is usually
in Judgment scenes he holds a lyre, but
in Oriental costume
;

when he takes
with bow and
Kekrops, the
serpent's

tail,

combats he

is attired
as an archer,
Phrygian cap, jerkin, and trousers.
mythical king of Athens, usually ends in a
to denote his autochthonous origin
Midas has

in

part

quiver,

recognised by his lyre, and sometimes

*
wears, as a musician, feminine costume (see below, p. 197).
Of other mythological types the Amazons are, of course, always
ass's

ears

Orpheus

is

in the Oriental fashion, with Phrygian cap or

their weapons are the crescent-shaped
and trousers
shield or pelta, and a peculiar type of battle-axe, the sagaris.
The Giants on B.F. vases are ordinary armed warriors, not
even of exceptional size, but in later times they often end in
serpents, as on the Pergamene frieze.
Typhon appears in this
form on a Chalcidian vase. 2
Geryon is represented in the

armed, frequently
kidaris

manner described by Pausanias

(vi.

19,

i),

as

"three

men

joined together," with distinctive arms and legs on Chalcidian

vases he has four wings, and is only triple from the waist
;

upwards.
1

The Centaurs on

E.g. Reinach,

ii.

80.

the

more archaic
2

vases, as

Munich

125.

on those

196

TYPES,

ARRANGEMENT, ORNAMENTATION

of Ionia, appear as men with the body and hind legs of a horse
attached behind
by the middle of the sixth century they
in
the
familiar
form of a human bust conjoined with
appear
a horse's body. The Gorgons are always rendered in grotesque
;

fashion, with grinning faces and dishevelled

with serpents ; they wear short girt chitons

hair intertwined

and high winged

boots, and have four wings, the upper pair recurved

usually
on BE. vases they appear in what is known as "the archaic
;

running attitude," or, as the Germans more expressively phrase

"
it,
Knielaufschema," the figures being represented as if kneeling
on one knee. The same grotesque type of face, 1 with the
protruding tongue and teeth, appertains to the Medusa's head
or Gorgoneion, which

is

at all periods

such a favourite decorative

motive on vases, either as the interior design of a B.F. kylix,

The more beautiful
or as a medallion in relief on late vases.
type of Medusa head is a creation of later date than most of the
painted vases, but in the medallions on Italian vases much of
the grotesqueness has disappeared.
Much confusion at one time existed between the conceptions
of the Harpy and the Siren, both names being indiscriminately
applied to the female-headed bird so common on vases of all
But there is ample evidence for the representation
periods.

Harpy more

the style of the Gorgons, as a purely

feminine type, with the short chiton suited for rapid movement, high boots, and wings, and often in the conventional

of the

in

2
running attitude.

In this form they appear in one instance

3
The Siren
feminine counterparts of the male Boreades.
earlier
the
Sirens
different
at
times,
frequently
types vary

as

4
having human arms.

The Sphinx

is

always a woman-headed

winged four-footed beast sometimes on Corinthian and Ionic

The Gryphon 5 is a winged
vases she wears a high head-dress.
;

with eagle's beak, and often with erect ears the winged
Pegasos and the bull-headed Minotaur require no description.
lion

Turning now
1

2
3

to personages concerned in events of every-day

See Six, De Gorgone.

See above, p. 146.

B.M. B 4.

See Weicker's Seelenvogel, passim.

See the article Gryps in Roscher's

Lexikon, vol.

i.

TYPES OF PERSONS IN ORDINARY LIFE

we

197

costume and equipment, especially

The
and
under
different circumstances.
periods
instructive
vases, in fact, may be said to supply the most
locus classicus for Greek dress and ornament, as well as for
minor details such as weapons, implements, and furniture
of which they provide contemporary illustrations.
life,

find great variety of

at different

Kings are usually distinguished by dignified flowing robes,

by the wearing of a wreath or head-dress, or by the sceptre
1

Oriental potentates wear the costume of

with
country,
lofty ornamented tiaras, or the Persian
kidaris or kyrbasia
a peaked cap decorated with fringes and

which they hold.

their

Their dress is often very elaborate on the later vasesActors and musicians both wear appropriate costumes.
The
former, who hardly occur except on the Italian vases, wear
lappets.

the dress of the Old Comedy, with grotesque mask, padded

2
stomach, loose jerkin, and trousers.
Tragic actors are seldom
3
but
it
has
been
represented
already
pointed out that in the
setting of the mythological scenes on the vases of Southern
;

Italy there

an unmistakable reflection of the tragic stage,

is

somewhat exaggerated details

Musicians invariably wear a long chiton, over

the elaborate and

especially in

of costume.

which on R.F. vases they sometimes wear a short loose garment

called the bpOoa-rdSiov, embroidered with patterns. 4
There are
also a few instances of male performers (recognisable by
5
their beards) in distinctively feminine costume.

Athletes are invariably nude when performing their exercises,

in
except in the case of the armed foot-race (see p. 164)
on
the torch-race they seem to have worn high crowns
;

the reverse of late R.F. vases they appear inactive, wrapped

in mantles and conversing in groups.
Hunters wear a dis-

costume of petasos and chlamys, and usually carry

two spears. Boys on horseback are usually represented nude,
and on Ionic vases have their hair tied in a tuft behind. 6
tinctive

E.g. B.M.

tersch. pis. 65-6.

198.

See Korte injahrbuch, 1893,

p.

61

ff. ;

also Figs. 105, 134.

3

Vol.

E.g.

I.

270;

EL

Cer.

ii.

16 and

iv.

90-93; B.M.

308.

p. 472.

B.M.

Hartwig, Meis-

E.g. B.M.

B 59, B

103,,.

Charioteers

the

to

ORNAMENTATION

TYPES, ARRANGEMENT,

198

always attired in a long girt chiton reaching

which on Attic B.F. vases is painted white.

are

feet,

usually hold a goad in the right hand, the reins in the

left.
Heralds wear the attributes of Hermes the petasos,
caduceus, and high boots, with a chlamys or short girt chiton.

They

Warriors on the early

fashion which tallies to

and

B.F. vases

are

equipped

in

some extent with

the descriptions of
Homer. 1 Their armour usually consists of a crested Corinthian
helmet, a metal cuirass, under which is a short chiton, and
greaves, to which are
known as parameridia.

added the thigh-coverings

sometimes

Some

peculiarities

may

also be noted

hooked projection on the front of helmets on

the Ionic vases of Daphnae and the Clazomenae sarcophagi, 2
the linen cuirasses (indicated by white paint) sometimes worn
on Attic B.F. vases, 3 or the heavy helmets with large cheekThe R.F.
pieces seen on the Caeretan hydriae (Plate XXVI.).
vases often represent the fully armed Athenian hoplite equipped
in the same fashion as the B.F.
but in these, and more
in
is a
the
Italian
there
vases,
tendency to omit
especially
of
defensive
on
R.F. vases are
much
the
armour.
Cuirasses
4
Helmets
often decorated with patterns of scales or panelling.
on Italian vases often assume a local character, with conical
crowns and two or three lofty plumes. 5
such as the

Of

equipment consists of sword,

call for no
comment,
spear,
but the shields, which are of two forms, the circular Argive
or the indented oval Boeotian, present one feature of great
6
Investiinterest
the devices with which they are adorned.
gations have failed to discern in these any symbolical or
offensive armour, the

and

heraldic

significance

full

The two former

shield.

they are

not appropriated to particular

personages, and all that can be noted about them is that

they usually seem to suggest rapid movement. Thus we find
an eagle or other flying bird, wheels, balls, chariots, a bent
1

See Helbig, Horn. Epos", pp. 284

ff.,

2
3

Vol.

I.

p. 353.

As on the Exekias amphora, B.M.

B209: seef.ff.S. iv. p. 82.

E.g. B.M.

Cf.

On

342.

263,
469.
Cat. of Bronzes, 2823-24.
this subject generally see T. Ely

B.M.

in Archaeologia,

li.

p.

477 ff.

ARMOUR AND SHIELD-DEVICES

The passage

Pegasos, and so on.

leg, a serpent,

of

Aeschylus (387 ff.), in

combatants are described,

which the

199

in the Septein

shield-devices

of

the

of course familiar, and similar

1
allusions are not wanting in Greek writers.
They are universal
on B.F. vases, being painted in white on black ground, and
are

found on the

often

is

earlier

R.F. vases

black on red

in

but they seem to disappear at an

early stage of the R.F.

consist
of
letters of the alphabet,
Sometimes
only
they
period.
where
Athena's shield has
as on a Panathenaic amphora,

the letters A to

on a B.F. vase in the British Museum are

Other peculiar subjects are a winged boar,

the letters AQE. 2

two rams butting, a figure of Artemis, a white-bordered square,

and a ladder. 3 Some of those on R.F. vases are somewhat
6
elaborate a Seilenos, 4 a fox eating grapes, 5 an armed runner,
7
blowing a trumpet.
device takes the form of an object

or a

warrior
9

mask

variation

is

in relief

when

Satyr-mask,

10

Phobos

the
8

11

or a Gryphon,
or a
(Panic),
shield
is surrounded by a
rearing serpent
fringe
of serpents. 13 Shields frequently have a piece of fringed and

Gorgoneion,

12

of

or

when a

stuff suspended from them, which seems to have

served as a protection to the legs. 14
Archers are depicted in Oriental costume, wearing peaked
caps with long lappets and a close-fitting dress of leather,

embroidered

consisting of jerkin and trousers, usually embroidered with

The different barbarian types which appear
various patterns.

on vases Persians, Scythians, Arimaspi, and Thracians are

more or less individualised, especially on the R.F. vases. Such
subjects, indeed, were not really popular until the Persian wars.
1

Xen. Hell.

Paus.

iv.

234

28, 5
Vit.

iv.

4,

10,

vii.

5,

20

7
;

Apophth. Lacon.
Demosth. 20 ; Bacchyl.
;

Plut.

9
10

frag.
2

41 (Bergk).

B.M. 6574:

cf.

B6o8 and

Urlichs,

p.

1852; Munich 1121

Reinach,

Inghirami,

i.

453

pi. 109, 2.
4

12
;

Vast Fitt.

B.M. E575.
Cambridge 70.

Jahrbitch, 1895, pp. 191, 198.

i.

77

i.

508, 6

See above,

ii.

94, 270.

p. 90,

and Roscher,

iii.

ff.

Reinach,
Berlin

Reinach,
13

2bid. \: 126, 181.

2389
11

Beitrdge, pi. 14.

3
Berlin 1698,

Vienna 332.

Reinach,

Reinach,

ii.

i.

181

3988,

Berlin 1701.

3992; B.M.

364

63.

Reinach,

in.
" Cf. B.M.

i.

513; Louvre

E 732 =

Fig.

167-68, 295, etc.

200

The

ARRANGEMENT, ORNAMENTATION

TYPES,

of

details

costume have already been noted.

Oriental

Thracians on R.F. vases wear a long loose cloak known as the

zeira and a cap of foxskin (alopeke) with long flaps, which
dress

is

worn by Boreas

also

of the fifth

(see above).

In the

first

half

century Oriental costumes seem to have had a

of popularity among the fashionable young men of

and they are often depicted
Athens, especially the knights
in
zeira
the
or
and
embroidered dresses of outriding
striped

period

landish style (see pp. 166, 179).

1

Egyptians are often realistically

as are negroes and Aethiopians.

rendered, with shaven heads,

The latter, like all barbarians on vases, usually wear trousers.
On the vases of Southern Italy details of local (Osco-Samnite or

Messapian) costumes often appear (see p. 1 80, and Vol. I. p. 483),

especially in the case of helmets and breastplates worn by
warriors on Campanian vases.

On

down

end of the B.F. period,

there is frequently no distinction between the dress of men
and women, and to this fact may have been due the practice
Both wear
of painting the latter white to differentiate them.
the long Doric chiton, with a mantle or himation thrown over
it
but men often wear the smaller chlamys over the shoulders
in place of the himation.
Women, again, on the earlier B.F.
vases, often appear without the himation, and wear a long chiton
the earlier vases,

to the

tightly girt at the waist, with a short apoptygma or fold falling

On

over the breast.

R.F. vases the Doric chiton

worn by women, open down one

Men

side

(known

is

sometimes

as

the XITWV

"strong" R.F. period wear a short loose

o-^ttTTos).
chiton of fine crinkly linen.
Generally in the R.F. period there
freedom
of
is
costume
and variety of material and
greater
in the

arrangement. The Ionic chiton is introduced about 500 B.C.,

but its vogue does not seem to have lasted long at Athens.
In place of the apoptygma women sometimes wear a loose

known

over-garment,

men

are often

as

the diplois.

On

the

earliest

vases

nude, with the exception of a loin-cloth or

"

Women are practically

bathing-drawers."
never nude on vases, except when occupied in bathing or
washing, or in the case of hetairae and jugglers.
pair of tight-fitting

Cf.

B.M. B

io6j,

and the Busiris vases

(p. 102).

TREATMENT OF COSTUMES
The

201

richly emand
purple
patterns, represented by incising
and white colours on the B.F. vases, by black paint on the
R.F.
On the former the women's chiton is often covered
chitons, are often

draperies, especially 'the

with

broidered

with a sort of diaper pattern of squares,

and stars, or the dresses (both of men and

in

with circles

women)

are covered

filled

with groups of dots and flowers in white and purple. In the

late fine R.F. period and on the vases of Lucania and Apulia
the patterns

become exceedingly

rich

and varied

chequers,

wave-pattern, palmettes, stars, egg-pattern, maeander, and all

kinds of borders are introduced.
further extension of the

seen in the introduction of borders of figures, the

principle
most notable instances of which are on the Francois vase
is

On the former the technique is

remarkable as a kind of anticipation of red figures on black.
Aristotle speaks of a garment made for Alkimenes of Sybaris
on which deities were represented between borders decorated
with Oriental figures, the subjects being the sacred animals
2

and the Hieron

kotyle.

Medes and Persians. 3 We may

of Demeter found at Lykosura

of the
statue

also cite the remarkable

Arcadia, the drapery

decorated with inlaid borders of figures, 4 and the
mantle of Jason described by Apollonius Rhodius. 5

of which

The

is

hair of

of men, usually

women on
falls

a fringe over the

often

wear

as the

in

B.F. vases, and frequently also that

loose or in tight curls on the shoulders, with

forehead.
On the early R.F. vases men

up behind in the fashion known

we know from Thucydides, went
Women, on the other hand, have theirs

their hair looped

Q

tcp(*)ftv\o<i,

out about 480

which, as

B.C.

knotted up and confined under a cap. On later R.F. vases

and on those of Apulia their hair is usually gathered up in
the opisthosphendone, or in a broad coif or fillets, and arranged
in bunches of curls in front and behind.
On late R.F. vases
a radiated

diadem, painted white,

is

See especially the Meidias vase and

the Python krater (B.M.
224, F 149).
2
See Plate LI.; also Furtwaengler

and Reichhold,
pi.

pi.

1885, pi. 5,

fig.

'E<. 'Apx- 1883,

3 ; Rom. Mitth.

1890,
3
4

pi.

often

Men

seen.

are

II (on head-band),

Mirab. 96.
Kavvadias, Fouilles dt Lycosura,
A^lscult.

Argonaulica,

i.

729

ff.

Jahrbitch, 1896, p. 248

ff.

pi. 4.

202

TYPES,

ARRANGEMENT, ORNAMENTATION

seldom represented with long hair after 480 B.C., but they
usually wear a wreath or plain fillet.
Head-coverings are rarely
worn by ordinary persons, with the exception of the traveller's
and huntsman's petasos but Oriental personages usually wear
a high cap of some kind (see above, under Barbarians).
;

such as necklaces, earrings, armlets, or anklets

comparatively rare on B.F. vases, but becomes more and

Jewellery
is

more common, until it reaches profusion on those of Apulia.

Bracelets and anklets are often in the form of serpents.
Various forms of sandals or shoes are seen on later vases, but
on the black-figured the only kind of footgear is the high boot
or endromis, with a curved tag in front.

The extent to which physiognomical expressions are rendered

on vases varies at different periods 1 but it is not true, as has
sometimes been thought, that the artists altogether ignored
it was only in the earlier
such expressions in their figures
even
was
the
and
that
this
case,
during the fifth century
phases
the advance was timid and slow, much more so than in sculpture.
As a rule, in the same vase all the faces are alike, and no
physiognomical distinction can be drawn between gods and
heroes, or even between men and women, except (on the Attic
;

On the B.F. vases the

vases) in the treatment of the eye.
with
a tendency to turn
has
a
of
face
long nose,
ordinary type
up, a pointed chin, deep rounded jaw, and large eyes, while
Beards of some
the limbs are sinewy, angular, and tapering.
otherwise
length are invariable for grown or elderly men
;

distinctions of age are hardly observed until the R.F. period.

And as in sculpture of the archaic period all figures have the

on the B.F. vases gods, heroes,

pursue the actions in which they are
The contrast
same
with
the
unvarying expression.
engaged
is
and
calm
unmoved
of violent action
physiognomy often quaint,
and almost grotesque.

same conventional
and mortals alike

smile,

so

all

of expression or sentiment are, in fact, rather

than
They are given in a sort of shorthand
explicit.
implicit
as
fashion, just
Polygnotos in his great paintings, by some
Indications

See on

this subject

throughout A/on, decs, 1895-97,

p. 7

(T.

PHYSIOGNOMY ON VASES
by a change of

subtle touch

attitude or the action of a

indicated the emotion he wished to convey.

treatment of the male and female eye there

203

hand

In the different

is, no doubt, an
a more lively expression by means
of the round pupil, while the oval form of the woman's eye
The neglect of this
gives her a softer and less intense look.

attempt to give to the

man

principle on Ionian vases, where the male eye is oval, seems

to be a reflection of the effeminate tendencies of the Ionian
races.

At an

early date

we may observe

a special treatment
as closed, in the case of a blind or

of the eye to represent it

dying person. Thus the Phineus of the

merely an angular mark

Wiirzburg cup has

place of an eye, representing the

fall of the upper eyelid over the lower, or the eye is represented
2
as a vacant space without pupil.
The mouth is sometimes
in

in the

open to express pain or anger, as

Nessos of the Proto-

3
Attic vase, or the quarrelling heroes on a vase in the Louvre
(F 340). It is also used to express the agony of a dying or
4
injured person, as on a vase with the outraged Polyphemos,

with which we
pediment.

But

the dying warrior of the Aegina

these are rather exceptions than the rule on

may compare
all

B.F. vases.

After the time of Polygnotos the influence of painting makes

and we may recall that he perfected the advances
of Kimon in this respect.
Not only did the vase-painters

itself felt,

him how to dispose figures en face or in three-quarter

but
view,
they also learned how to mark different expressions.
It has also been observed that the influence of tragedy must
learn from

have been strong at

Louvre (Vol.

this

time.

The

krater from Orvieto in

a good instance of the progress

p. 442)
made in the fifth century in this direction. On one side of the
vase (see Fig. 103, ibid.} we have a dying Niobid and a youth
the

I.

is

with face to the front and eyes closing on the other, in the
Argonautic scene, a warrior holding his knees, with lower lip
;

Cf. a funerary

where

plaque in the Louvre,

male mourners, no doubt

intentionally, have the oval form of eye ;
also Louvre F 256 (figure of Aeneas).
2
For other instances M. Girard (Mon.
Grecs, loc. cit.} refers to Louvre
753,
the

754

see also
3

643, 808

B.M.

Jahrbuc/i, 1893,

Ant. Denkm.

Anzeiger,

Louvre E6i2
24, 15.

pi-

i>

440 (R.F. period),

i.

pi. 57.

p. 35, fig. 9:
and Ant. Denkm.

1895,
bis,

cf.
ii.

204

TYPES, ARRANGEMENT,

ORNAMENTATION

fallen, giving him a melancholy expression, and Herakles with

a face of sadness, marked by wrinkles.
Other figures show
in
what
direction
are
exactly
they
looking (compare Kimon's
1
In the later develop"looking down or upwards").
ments of the Apulian vases, with their scenes drawn from

figures

themes and represented in such dramatic fashion, there

plenty of ability to represent emotion, and in several cases it
accurately expressed, as in some of the scenes from the sack

tragic
is
is

of Troy.
(Fig.

But

107),

in

much

other cases, as on the Assteas vase in Madrid

of the old quaintness and grotesqueness is

apparent.

necessary to treat of the methods adopted by the

indicating locality or landscape in his pictures, a
thing which is often done in the briefest and most cursory
manner. The germs of this principle are perhaps to be observed
It is also

artist

for

(as noted elsewhere, Vol. I. p. 312) in the

of the Corinthian and other early vases.

floral

ground-ornaments
more developed

In the

a sort of shorthand system is customary, a

system which in some degree probably prevailed on the Greek
Thus a temple
stage, as on that of the Elizabethan drama.

vase-paintings

is represented by a column, or two columns supa

porting
pediment, a wood or grove by a single tree, water
two
by
dolphins swimming in the lower part of the design,

or a house

and so

notable exception is in the palace depicted on

the Frangois vase, in which Thetis awaits the arrival of the
So much of the building is given in
bridegroom Peleus.
on.

even possible to attempt a restoration. 2

On
the same vase the walls of Troy are depicted, with a double
detail that

it

is

door studded with

nails.

considerable attention

is

In the Hydrophoria scenes (p. 173)

paid to the architectural details of

which was probably in the form of a small

The
temple, perhaps circular, surrounded by a colonnade.
water issues from spouts in the form of lions' heads, and
the well-house,

statues are often depicted in different parts of the building.

vase also gives an illustration of a well-house,

The Frangois
1

6.

See also Man.

Grecs,

1895-97,

p.

Furtwaengler
Vasenm. p. 8.

and

Reichhold,

Gr.

ARCHITECTURE AND LANDSCAPE

205

with portico supported by columns. The architecture is almost

In outdoor scenes rocks occasionally appear,
invariably Doric.
but only where they are necessary to the subject, as in the

The branches of trees

ambuscade of Achilles for Troilos.
which frequently cover all the vacant spaces of the design
on later B.F. vases, especially in Dionysiac scenes, may be
mainly intended for decorative effect.
In the R.F. period more and more attention is paid to
landscape and architectural detail as the style develops, but
there is still a strong tendency to adhere to the shorthand
system a tendency which increases rather than disappears,
The artist's object was
especially on the white-ground vases.
always to make his figures stand out, as far as possible, clear
against the background, and he therefore deliberately avoided
anything likely to interfere with the desired effect. Landscape
with indications of ground-lines, rocks, and trees, was
only introduced when the Polygnotan influence became strong,
and the Orvieto krater in the Louvre may be once more cited
proper,

as a

Scenes
good and early instance of a new development.
settings are rare, but an exception may be

architectural

in

noted in the case of some of the late R.F. vases with scenes

women's apartments, where

in

details of the door-ways,

the

careful attention

is

paid to the

even to the locks and key-holes. 1

For

usually sufficed to indicate the palaestra

rest,
by a strigil
or oil-flask suspended, or a pair of jumping-weights
musical
gatherings by a lyre or a flute in a case
banqueting-rooms
by cups and other vases hung up, or by rows of boots. Simiit

women's apartments are represented by a window, cloor,

column, or by sashes, hoods, mirrors, wreaths, and wool-

larly,

or

baskets scattered about. 2

In the vases of Southern Italy this principle is carried almost
Not only is the old idea of rosettes and flowers

to excess.

scattered

about the scene revived, but the whole surface of

is often covered with
miscellaneous objects, such

the design

as balls, sashes,

and mirrors.

On

the Apulian vases the use

of a double line of white dots to indicate the ground

1

E.g.

B.M.

773, 774, 779, 780.

is

invari-

See on the subject P. Gardner in

f.ff.S. xix. p. 254.

TYPES, ARRANGEMENT,

206

ORNAMENTATION

and loose stones are scattered about where

it is intended
Flowers grow about in rich profusion. In the
mythological scenes an elaborate architectural background is
frequent, and altars, tripods, and columns serve the same end

able,

to be rocky.

the heroa or shrines and other forms of

tomb

in the sepulchral

In
have already been described.
athletic
scenes,
of
the
a
on
the
reverse
a
ball,
kraters,
especially
stylus and

scenes

tablets, or a pair of jumping-weights are suspended in the air

to indicate the palaestra
and on Lucanian vases subjects of
a military nature are suggested by a suspended shield only
;

"

"

The courting-scenes on Apulian vases usually

partly visible.
have a representation of a window in a corner of the design.

2.

ARRANGEMENT OF SUBJECTS

The next point to be considered is the method of arrangement and composition of the figures in general on Greek vases.
As regards the Mycenaean, Geometrical, and other early wares,
they may be
ornamentation

left

out of consideration,

firstly,

because their

mainly composed of decorative motives or

single figures of animals
secondly, because even where comof
positions
figure subjects are found, as on the great Dipylon
of arrangement is still tentative and without
the
method
vases,
The
system.
figures are arranged in haphazard groups and
is

bands, and

The

first

in the vases
in

all

the remaining spaces are

filled in

with ornament.

attempt at an organised method of decoration is seen

of Corinth and Ionia, and is exemplified principally

the arrangement of the friezes of animals.

Roughly speaking,
two main tendencies, one characteristic of each line of
development the procession and the heraldic group. Both are
there are

essentially Oriental

(i.e. Assyrian) in origin, the prototype of the

the
familiar
motive of the two animals and the
being
sacred tree, which is so frequently found on Mycenaean gems,

latter

and is best exemplified in the famous Lion Gate of Mycenae. 1

Yet this typically Mycenaean and Oriental motive was not the
one adopted by its natural inheritors, the lonians, and it is in
1

See on

this

motive and other heraldic groups, Jahrbuch, 1904,

p. 27

ff.

ARRANGEMENT OF SUBJECTS

207

Dorian Corinth that we find its reflection on the painted vases.

On one Corinthian vase 1 it actually occurs in the form of a
conventional palmette and lotos-pattern (representing the tree),
on either side of which two lions are confronted in true
Mycenaean fashion. Later, it becomes a common device on
the necks of vases, the ornament taking the form of a decorative
combination of palmettes (see below, p. 226). Even when on

Corinthian vases a whole frieze of animals is found, there is

"
"
group of two, towards which the
always a central heraldic
whole seems to lead up, or else the frieze is broken up into
2
But on the Ionic vases, as
several isolated heraldic groups.

on those of Rhodes and Naukratis, we have over and over again

regular processions of animals all facing the same way, or, as
at Daphnae, solemn dances of women, similarly placed and
joining hand-in-hand (see Plate XXV.).
In the developed B.F. vases the same principles are observed

some

extent, especially where friezes of animals are introduced but there is much greater freedom of treatment within
the limits of the field available.
Generally speaking, however,
to

all designs on B.F. vases may be regarded as following one of

the three methods of architectural composition
the frieze, the

pediment, or the metope.

The

frieze style,

which

is

seen on

the shoulders of hydriae, the exteriors of kylikes, and sometimes

on the bodies of amphorae, oinochoae, or lekythi, implies a
series of figures, all turned in the same direction, but without

any central point

for the action, as in processions of warriors,

dances of Satyrs and Maenads, and so on.

style of composition

In the pediment

a centre-point, in
concentrated, as in such

the essential feature

is

which the interest of the subject is

Athena 3 or Theseus killing the Minotaur. 4
The central group is then flanked by figures immediately

scenes as the Birth of

interested in the action (Eileithyia and Hephaistos, or Ariadne,

in the instances quoted
Athena and lolaos at the labours of
;

Herakles)

and the ends of the pediment, so

B 18 in B.M. cf. also the fragment

from Naukratis, B 103,7.
2
This principle in its most developed
form may be observed on the Chalcidian
1

to speak, are

and Tyrrhenian amphorae: see Vol.

P- Z 21 ff3

B.M. B

Ibid.

147.

6313.

I.

208

TYPES,

ARRANGEMENT, ORNAMENTATION

occupied by groups of bystanders, often nameless and uncharacterised, who are in fact only included to fill up the space
required.

The metope

style, which only admits of three, or at most four,

was
found
convenient for all the vases with subjects on
figures,
where
space was restricted, and also on the kylikes of the
panels,
"
"
minor artist class, on which a limited use of figures was preferred, and on those of later date where the space was mainly
taken up by the large eyes. But in all these cases friezes,
pediments, or metopes one thing was held to be essential the
correspondence of the two halves of the design (except in
:

in the composition.
a
there
are
limited
number
of cases where a single
Lastly,
as
in
found
the
interior of kylikes, on the
sufficient,
figure was
1
circular pinakes, and sometimes on the vases where the large
friezes),

producing perfect symmetry

2
eyes take up most of the space.
Subordinate designs, bordering the main design of an amphora
above or below, or decorating the cover, are usually in the form

of animals or chariot-races, in the frieze style of composition.

Similar friezes are sometimes also found (in the old B.F. method)

on R.F. vases, and even on the kraters of Southern

The

Italy.
earlier R.F. vases preserve the principles of the preceding

period and, in regard to the kylikes, the system of decoration

has been discussed in detail elsewhere (Vol. I. p. 427). In all
;

them we see particular attention paid to arrangement, and

the variations in the principles of composition form one of our
guides in determining the development of the style. In the
of

amphorae and hydriae of the transition from the severe to the

strong period the number of figures employed in one scene was
diminished, while they became larger in their proportions and
were treated with more care the usual number on the Nolan
amphora is one or two each side. On the smaller vases, such
as the oinochoe, the number of the figures never exceeds three.
Sometimes the hydriae have an elongated composition on the
;

3
but usually the
shoulder, containing a frieze of several figures
Designs in framed
design runs into both shoulder and body.
;

B.M. 6589-91.
E.g. B.M. B 264, B 428,

etc.

Cf.

B.M.

164

ff.

ARRANGEMENT OF SUBJECTS

209

panels are rare, except on the earlier amphorae and hydriae,

and on the column-handled kraters. The latter are unique in
preserving the older methods of decoration right through the
R.F. period down to the fourth-century specimens from Southern
Italy.

The

influence of Polygnotos and his contemporaries brought

about, as we have seen, a great change in the arrangement of

compositions, by the introduction of landscape and perand the depicting of figures at different levels. This

the

spective,

new development was subsequently exemplified

vases of Kertch

and Apulia, but

in

in the large

the late fine period

at

Athens small vases with single friezes or simple subjects were

In the pyxides and other vases with frieze subjects
the rule.
the figures are often crowded together and of dwarfish proA return to the old system of
portions (Plate XLII. fig. 3).
several friezes is seen where the figures are arranged in two or
more rows divided by bands of ornaments, as in the Meidias
1
hydria, or the early Apulian and some of the Lucanian vases.
The earlier vases of Southern Italy, especially those of
Lucania, preserve in some measure the spirit of the best R.F.
vases, in the arrangement of the figures, and at all times the
composition is one of the best features of these vases but in the
;

examples the purely decorative element obtrudes itself

single figures of little more than ornamental character abound,
and the old preference for mere ornament asserts itself, the
later

patterns encroaching

3.

all

over the scenes.

ORNAMENTAL PATTERNS

far subordinate to the subjects in point of

or archaeological interest, the ornamental patterns which
are employed on the vases are by no means without their value

Although by

artistic

both respects. 2

in
1

They

are, indeed, intimately

See Winter, Jiingere Attische Vasen,

Rom. Mitth. 1897, p. 102 ; also
;

69

p.

Plate
2

XLV.

This subject

little

has hitherto

from archaeologists.

VOL.

II.

(1893) contains an interesting study of

vegetable ornament on Greek vases but
;

the plates of

or no general scientific

received

treatment

interwoven with

Brunn and Lau's Gr. Vasen,

though intended to illustrate the system of

ornamentation, are not very instructive,

Riegl's Stilfragen

14

210

TYPES,

ARRANGEMENT, ORNAMENTATION

subjects themselves, which they frame in, relieve, or

embellish.
Numerous vases are decorated with ornaments only,
even in the advanced stages of the art and this is, of course,

the

an extremely

common

occurrence in the earlier fabrics, such as

the Geometrical and Rhodian.
Others, again, are only orna-

mented in the simplest fashion, with plain bands of red

show through the black varnish round the body or foot.

left

to

That

the artist took a pride even in this form of ornamentation

is

shown by the fact that some potters, such as Nikosthenes and

the " minor artists," have left their names on vases only decorated
with simple patterns.

From the very beginning of Greek vase-painting there may be

observed an endeavour to dispose the ornamental patterns in
accordance with some system and even though in some cases,
;

as in the Cypriote Geometrical vases, there is an offence against

the canons of art, yet at all periods the prevailing effect is one
of symmetry and taste.
It may be thought that in some respects

there

is

a poverty in the variety of ornaments employed

compared,

for instance, with

mediaeval art

but

it

as

should be

remembered that as their architecture shows the Greek principle was to achieve the highest results within a limited sphere.
Their system was conventional, but its conventions are forgotten
in the artistic effect that

it

produces.

on the earliest vases that the greatest variety and richness

of ornament occurs as the art is developed the ornamentation
becomes more and more subsidiary, until on the vases of the
But in the later
finest R.F. period it has almost disappeared.
and more to
more
the
it
comes
to
fore,
tending
again
phases
obscure and finally to supersede the subjects. To set forth as
briefly as possible the growth and development of Greek ornament, both as a whole and in the case of individual motives,
It will be found
will be the object of the succeeding summary.
It is

the subject in a twofold aspect, firstly,

and,
dealing with individual forms and their development
secondly, in their relation to the decoration of the vases and

advisable

to

treat

their subjects, as exemplified in the different periods and fabrics.

Various theories have been propounded as to the origin of

the ornaments found on Greek vases.

Some have

seen in the

ORIGIN OF

ORNAMENTAL PATTERNS

211

patterns architectural adaptations, suggested by the ornamentamembers of a temple, such as the maeander,

tion of the different

egg-and-tongue pattern, or the astragalus, just as the disposition

is often a reminiscence of the frieze or metopes.

of the subject

But

no real explanation. In the first place, the patterns

are found on vases at a period when they were hardly as yet
used in architecture and, secondly, their use on vases and in
architecture must undoubtedly be traced to a common source.
Others, again, have regarded them as conventional symbols, the
this

is

kymation or wave-pattern representing water, a flower or rosette

the ground on which the figures stand, and so on.
Or, again, it
has been thought that they were originally derived from textile
patterns, being produced mechanically by the ways in which
the threads ran in the loom, whence they were applied with
deliberate artistic intention to the surface of a vase.
is, in fact, impossible to put forward any one theory which
account for the whole system of decorative ornament. As
has been pointed out in our introductory chapter, many of these

It

will

patterns are not only spontaneous, but universal in their origin

among primitive peoples every nation has begun with its
;

We

are also, in regard

triangles, spirals, or chevrons.
to the Greeks, met with the remarkable fact that in its earliest

circles,

form their painted pottery presents a very elaborate and highly

developed system of ornamentation purely geometrical, it is
It is a comtrue, yet none the less of an advanced character.

Mycenaean and pre-Mycenaean

and partly from the decorative ideas introduced
by the Dorians from Central Europe subsequently the range
of Greek vase-ornament was yet further enlarged by the introduction of vegetable patterns, the palmette, the lotos-flower, and
the rosette, which are due to the growth of Oriental influences,
both from Egypt and from Assyria.

posite system, formed partly from

local elements,

and patterns in
divide them under three

In order to deal with the various ornaments

detail, it

heads
first

may

be found convenient to

class the

pattern

Of the
and vegetable or floral.
most consistently popular is the typically Greek

rectilinear, curvilinear,

known

as the maeander, key, or fret pattern.

It first

ORNAMENTATION

TYPES, ARRANGEMENT,

212

appears

with

Geometrical

the

style,

which

in

it

an

plays

important part, often covering a large proportion of the surface

of a vase, arranged in broad friezes.

_^^^_^^^^^^^^^

mnr

Three

MAEANDER OR
EMBATTLED PATTERN.

FIG. 139.

pattern

the

slightly

Fig.

140,

Vol.

Proto-Corinthian fabrics

varieties are

battlement

I.

more

found
(Fig.

a simple

and

139),

elaborate

forms,

and the pattern given

283,

p.

Fig.

In

83.

in

the

Boeotian Geometrical, Phaleron, and

seldom found, or only in a debased

it is

form, as J^JUIT" kut one

or two forms occur in the
>

"

"Rhodian" and

Samian

"

one of these
Fig. 141, and

fabrics of Ionia

given in
another consists of

is

squares
of the same alternating with
crosses

We

or

stars

in

FIG. 140.

MAEANDER OR KEY-PATTERN
/ (ATTIC).
(

panels.

meet with a most interesting development of the

^^^
^jj

in

latter

the vases of the

variety
so-called Pontic class and on

the Clazomenae sarcophagi,

where an elaborate maeander
pattern, usually in two rows,
is
FIG.

141.

MAEANDER OR KEY-PATTERN
(IONIC).

interspersed with stars or

It thus
142).

rosettes (Fig.

becomes

almost

distin-

guishing characteristic of the later Ionian fabrics.

In the Attic B.F. vases
there

is

plicity.

for

a return to sim-

Here we

the most part

find
in

it

the

form Fig. 140 above, and

its usual position is below
FIG. 142.
MAEANDER AND STAR PATTERN
the designs on the red(LATER IONIC).
bodied amphorae
but it
is sometimes found on other vases, as above the
panels on
the bodies of hydriae or oinochoae.
In the R.F. period its
;

MAEANDER PATTERNS
development

is

most important

for

213

determining the succession

of the kylikes, on which it almost becomes a date-mark, so

This has, however, been already dealt
regular is its evolution.

with in the chapter on

the history of the style
After
(Vol. I. p. 416).
the severe period

of

it is

on

appearance

frequent

FIG. 1143.

MAEANDER

5TH CENTURY).

(ATTIC,

forms of vases, the kylix, amphora, krater, and pelike in

the usual arrangement is a group of three to five
particular

all

maeanders, either of the simple Fig. 140 type, or of a more

complicated form (Fig. 143), divided by rectangular panels or
squares composed of chequers, or of crosses (diagonal and
1
curious
vertical) with dots or strokes between the arms.

variety of the maeander is used by Duris

a double intersecting maeander interspersed
(Fig.

consists

it

of

with squares

144).

The

invariable place for this ornament is below the design on

the large vases, and it is usually continued the whole way round
it is also found on
(except on the earlier Nolan amphorae)
;

the R.F. and white lekythi along the top of the design.
3
always painted in black on the clay ground.

similar form of

maeander

prevails

It is

on the vases of Southern

Italy

in

(except

pania);

it is

Cam-

found on the

amphora, lebes,
and is almost
But there is
one unique variety which
is occasionally found on

krater,

kotyle, etc.,
invariable.

MAEANDER

FIG. 144.

the

the
1

maeander

is

ABOUT 480

is

that

represented

This

is

p. 416, Fig. 102.

on a B.F. vase in
(6330) see Hartwig,
220; also B.M. E 84;

also found

the British Museum

Meistersch.

p.

on

of the

For the various types of these patI.

B.C.).

as

kraters,

the

terns see Vol.

2

Apulian
type

great

Museum

(ATTIC,

278

pattern

the

in
in

Thiersch, Hell. Vasen,

144,

Fig.

in perspective, being

British

but

painted in

pi. 5

Arch. Zeit.

1873, pi. 9.
3
The Pamphaios hydria in the British
Museum (B 300) has bits of red-on-black
maeander down the sides of the design on

the shoulder.

ARRANGEMENT, ORNAMENTATION

TYPES,

214

white on the black, the shaded edges

left

in

the

colour of

the clay.

Of

patterns akin to the maeander, the so-called swastika or

hook-armed cross, ^j", occurs in panels on the Geometrical
vases, but subsequently it is only found as a ground-ornament
in the field, as frequently at Naukratis, in Rhodes, and elsewhere.

speaking, to be regarded as a fragmentary piece of

without
maeander,
any of the symbolical meaning which it bears
northern
in the art of
nations, with whom it was the emblem
It is, strictly

V^^

Another pattern,

of the Scandinavian god Thor.

JUinTj

or

which

'>
may be called a variety of the maeander,
is frequently found as a continuous border on early vases, such as
the Phaleron and Proto-Corinthian wares, and occasionally in the

B.F. period.
Next there

is the chevron, zigzag, or herring-bone pattern,

of V-shaped patterns, arranged in two
of
systems
consisting

ways, either

or

WWV

these patterns are practically

only found on the earlier fabrics of Greece and Cyprus, or on

On the incised vases of the early
the native wares of Apulia.

Bronze Age found at Hissarlik and

in

Cyprus

this is the pre-

vailing motive, the lines of zigzag being either single, or arranged

in groups of four or five parallel
:

On

the Geometrical -vases such patterns are of very frequent

and panels or bands of chevrons arranged

occurrence,
vertically,

or

^,

occur

in

many

instances

(Fig.

83).

These groups of chevrons or zigzags are

mark

also a distinguishing
of the Boeotian Geometrical fabrics (cf. Fig. 85)
they
;

occur to a lesser extent on the Melian, Proto-Corinthian, and

Early Corinthian vases, and even in the Chalcidian fabrics.

They

are

either

employed

as

ground-ornaments

to

fill

in

spaces, or as panels forming part of the subsidiary decoration.

variation, or rather development, of the chevron, sometimes

RECTILINEAR PATTERNS
employed

as

composed of a

ground-ornament
cross,

on

early

215

Ionic

with sets of chevrons

vases,

is

between

the arms.

Diagonally or directly intersecting lines form another universal

element of early decoration, varying from a simple arrange-

ment of
in

cross lines

$WW)(

such forms found

even

to an elaborate diaper-pattern,
in

later

times.

and

Beginning with

the simple intersecting lines, or bands filled in with hatching,

of the primitive incised vases, further developed in the white
243), we next come to
p.
slip ware of Cyprus (Vol. I.
their

use on the

vases

of the

Geometrical period, both in

Cyprus. The variety of these patterns is so

that
the
great
they can hardly be described in any detail
usual method of treatment is in a band or panel of lozenges,

Greece and

in

squares, or triangles, filled in with a reticular pattern formed

by the short intersecting lines. Sometimes dots are inserted
in the
Some very
spaces to enrich the general effect.

good examples of these patterns are to be seen in the

In the B.F. period
Geometrical vases of Apulia (p. 327).
plain bands or panels of intersecting lines are not infrequent
sometimes small amphorae or lekythi are decorated entirely in
;

FIG. 145.

NET-PATTERN.

A variation of the motive is the border of network

which often surrounds the panels on hydriae or oinochoae, in
which the points of intersection are ornamented with studs,

this fashion.

It is also frequently
resembling the knots of a net (Fig. 145).
found on the later Corinthian vases. Chequer-patterns are often
used with great effect, at all periods from the Geometrical vases

See examples from Cyprus and Rhodes

Room, B.M.

in

Cases 24,

25,

28,

Second Vase

TYPES, ARRANGEMENT,

216

down

ORNAMENTATION

to the fourth century, their usual position being

neck of a vase

The

on the

(Fig. 146).

an ornament occurs comparatively rarely, but

there are two exceptions.
In the Geometrical vases we find
circle as

FIG.

146.

CHEQUER-PATTERN.

a use both of concentric circles and of rows of single circles joined

by straight lines forming tangents, a motive which is obviously

from the Mycenaean spirals (Fig. 147). Secondly,

the Graeco-Phoenician pottery of Cyprus, especially in its
later phases and in the smaller vases, such as the jugs and

derived
in

lekythi, the decoration

is

practically confined

to

systems of
2

concentric circles, of a character quite peculiar to this fabric.

The chief feature of these systems is that the ordinary principles of vase-decoration are entirely ignored, and the circles,

FIG. 147.

arranged

in

PROTOTYPE OF GEOMETRICAL TANGENT-CIRCLES.

series of five or six,

forming a band about three-

quarters of an inch in width, are placed not only at right angles

The illustrations
to the axis of the vase, but parallel to it.
Plate XIII. and Fig. 75 (Vol. I. p. 251) will give a better
it is clear that
idea of the arrangement than any description
the circles were easily produced by applying a fine brush to the

in

E.g.

It

B.M.
151,

15,

205,

474, 476, 620,

Fi78.

appears, however, to be of Mycf.

the B.M. vases
origin :

cenaean

A 253,

323,

324,

and Excavations in

Cyprus, p. 6, fig. 6, from Talysos and

Cyprus, decorated in this fashion with
vertical concentric circles.

CIRCLES AND SPIRALS

217

vase while turning on the wheel, first in its natural position and
then on its side. Artistically, of course, the principle is a wrong
one, and this is most glaringly conspicuous in the barrel-shaped
lekythi, in

which the axis of the vase

is

regarded as horizontal

Groups of small concentric circles are

arranged vertically or otherwise on the bodies and necks

rather than vertical.

also

of vases.
The_.sgt'ra/

Mycenaean

which

forms

decorative

appears again prominently

art,

SPIRALS

FIG. 148.

element

such a conspicuous

UNDER HANDLES

which, as we have seen (Vol.

source the Melian amphorae.

I.

p.

in

(EXEKIAS).

302),

Systems of

owes much to that

spirals are

arranged

the spaces at the sides of the design, 1 especially in

bination with floral ornaments and reticulated lozenges

to

the
It

fill

same

feature

may

in

a class

comand

also be observed in the Proto-Attic vases.

occurs similarly, combined with a flower, on the

Samian or

Fikellura vases (Vol. I. p. 337).

In later times the spiral passes
from the sphere of inorganic to that of organic ornament, being

combined

in various

ways with vegetable

1

Riegl,

155.

patterns,

and merging

TYPES,

218

ARRANGEMENT, ORNAMENTATION
But

the tendril or volute.

in

old

who,

the

in

it

occasionally reverts to its

1
amphorae of Exekias,

red-bodied

form, notably
in place of the usual palmette-and-lotos ornament under
the handles, contrives an
elaborate system of large

^BH

to

spirals

fill

the space

between the designs (Fig.

148).

this
FIG. 149.

WAVE-PATTERN (SOUTH

ITALY).

is

the

sometimes
y

which

figure

of

Museum

continuous,

found on vases of the Proto- Attic

is

ornament,

eight

such as the Burgon lebes in the British

of

variation

class,

(Fig. 87).

The wave-pattern

or kymation moulding, shown in Fig. 149,

one which constantly occurs in Greek architectural decoration,
but on the vases at any rate seems to be found only at a late
On the Campanian vases it is the regular border below
period.
it is also found on those of Lucania and
the design
Apulia.
The crescent is only found on early Ionic vases, including
those which have been attributed to a Samian origin (Vol. I.
p. 336fT.), and some of the Daphnae and Naukratis fragments,
is

FIG.

150.

SCALE-PATTERN (DAPHNAE).

in
it is arranged
which probably borrowed it from Samos
bands alternating in colour, black or purple and white. Another
occurs on
typically Ionic ornament is the scale-pattern, which
from
those
also
on
and
Rhodian
so-called
of
the
vases,
many
;

Daphnae

In the former

(Fig. 150).
1

E.g.

BM.

it is

produced by means of

13209, B2io.

CURVILINEAR PATTERNS
incising

219

on the black varnish, the alternate scales being often

coloured purple

but in the latter

it

is

painted in outline.

on an early
Curiously enough,
Like other
group of Corinthian vases (Plate XIX. fig. 3).
patterns, it can be traced to a Mycenaean origin, being very
it

FIG. 151.

also occurs in the incised form

GUILLOCHE OR PLAIT-BAND

(IONIC),

FROM THE EUPHORBOS PINAX.

common
is

It

in that style.
Subsequently it occurs but rarely, but
sometimes employed on the neck or shoulder of a vase. 1
differs from most other patterns in that it does not lend

itself to

extent.

the panel or frieze, but covers a surface of indefinite

"
"
imbricated
It is also known as the
pattern, from

likeness to overlapping tiles (imbrices).

guilloche or plait-band (Fig. 151) is characteristic of early
fabrics, such as those of Naukratis and Samos, the Clazomenae

its

The

sarcophagi (Plate XXVII.), and the small Proto-Corinthian

2
It is typically
lekythi, but is not often found in later times.
Ionic,

and seems

to

be derived from Mycenae

FIG. 152.

TONGUE-PATTERN

(B.F.

(cf.

A 209 in B.M.).

PERIOD).

Lastly, there is the so-called tongue-pattern, which is exclusively

used as an upper border to
On its tirst appearance
designs.
in the Geometrical vases it is rectilinear in
form, f/J/I/ //////,

and formed of alternating

E.g. B.M.

fcarg

564.

>mt from the beginning of

2
For its use on a B.F. kylix see B.M.
382 (probably Ionic work).

220

TYPES,

ARRANGEMENT, ORNAMENTATION

the sixth century onwards it assumes a curvilinear form, all

the tongues pointing downwards, broader, and close together,
as in Fig. 152.
In the Daphnae vases and the later Corinthian

wares

it

is

treated

polychrome fashion, black, purple, and

the lip and shoulders of Caeretan

in

On

white alternately.

hydriae it appears in an exaggerated form, painted red, with

In the Attic B.F. vases
black edges, as on Plate XXVI.

forms the invariable upper border of the designs, below the

necks of the amphorae and hydriae, and is also used as a
border to the interior designs of the kylikes here, too, purple
is often applied to the alternate tongues.
Occasionally the
In the R.F. period it changes its
rectilinear form reappears.

it

character again, and the tongues becore^_shorX and semi-oval

in
in form, with black centre and narrow outlined edge
;

this

FIG.

below

153.

the

EGG-PATTERN

designs

(R.F.

PERIOD).

round the

also

form

is

it

hydriae, and
other shapes
lip

of

the

usually

in

many

above or

vase.

The

same form and arrangement obtain in the South Italian vases,

especially in Apulia and Lucania, except that a dot is often
In some cases it approxiplaced between each pair of tongues.
mates closely to the egg-and-dart, as on F 179 in the British
Museum. Both tongue and egg-patterns are often ranged round
the base of the handles.

The egg-and-tongue, with

its

variants,

a typically Ionic architectural pattern

hence its non-appearance in Attic vases before the fifth century. In later Roman
is

pottery (Chap. XXIII.) it becomes very common. The variety

known as the Lesbian kymation is found in a few late instances. 1

Having surveyed the various types of inorganic patterns,

whether rectilinear or curvilinear, we now come to the consideration of those which are not only derived from vegetable
ornament, but

still

naturalistic character.
1

Munich 810, 849

greater or less degree, a

begin with the simple leaf-ornament,

preserve,

To

in

Brunn-Lau, Gr. Vasen,

pis.

35-6:

cf.

B.M. F2;8.

LEAF-PATTERNS
which

of

is

221

conventional a type to associate with any

too

particular plant, this occurs most frequently in the form of

of a calyx, placed round the lower part of the body, immediately

above the
upwards.
found

is

It
it

the leaves radiate from the foot, pointing

This ornament begins at a very early period, and

foot, so that

in

most

fabrics,

down

continuing

to the latest stages.

is, however, specially associated with the B.F. period, in which

is invariable on the large vases with a more or less marked

amphorae, hydriae, and kraters.

In the
ones, however, it does not occur.
stem,

the

amphorae (Vol.

I.

p.

388) the calyx

is

On

smaller

the

"affected"

B.F.

double, with two tiers

of rays. 2

An arrangement of four leaves saltire-wise

sometimes occurs on the Geometrical vases, a
instance of vegetable ornament in
this style (cf. Vol. I. p. 282); an
analogous pattern is also found
on many early Corinthian aryballi
FIG -' 54

(Vol. I. p. 314; B.M. A.io86ff.),

the leaves not being united at the base,

'

LEAF "

in

panel

remarkable

R CHA1N ' PA TTEEN

and usually interspersed

with reticulated or other motives.

Another form of leaf-pattern

then on Attic vases

now and

is
;

of rare occurrence, and

is

found

in this small leaves are joined

3
The
together in a sort of ribbon or chain-pattern (Fig. 1 54).
in
of
is
even
the
B.F.
this
ornament
that
peculiarity
period it

red-figured in technique, being left in the colour of the clay

with a background of black.
The ivy-leaf was not adopted as a decorative pattern before

is

the middle of the sixth century

Ionic in
it seems to be
4
origin.
Single large leaves occur on the necks of B.F. lekythi,
;

on

late Ionic B.F. vases,

imitations

made

in

and

Etruria.

on the
These are usually treated in a
Double rows of smaller leaves,
to a considerable extent

manner.
forming a straight wreath, constantly occur as borders to the

very naturalistic

Examples may be seen in Plates

XXIII., XXVIII.-XXXIII.
2
B.M. B 148-49, 151, 153 ; f.H.S. xix.
P- !63-

E.g.

B.M.

212,

6593,

6677,

see also Jahrbuch, 1899, p. 161.

See Bull, de Corr. Hell. 1898, p. 298.

B679:
<

E.g.

B.M. B 63

(Plate

LVIIL).

222

TYPES,

ARRANGEMENT, ORNAMENTATION

panels on B.F. hydriae, kraters, and oinochoae (Fig. 155); and

similar ivy-wreaths are found along the flat edges of the flange-

shaped handles on the larger panel-amphorae, as well as on

^^^^^^^^^^^^^^^^^^^^^^^ the volute -handles of
kraters.
These patterns
BEBIM nn_K

_MMMBsMBBM

preserve their vogue in

the R.F. amphorae of
the earlier period, and in
the kraters of Lucania,

and

it

that

should be noted

they

painted
FIO.

155

IVV-WHEATH

(B.F.

are

method (black

PER.OD).

always

the

in

B.F.

leaves on

red ground) except in

the vases of Apulia and Paestum.
But as a rule on the South
Italian vases the ivy-leaf is treated in a naturalistic manner,
with tendrils and berries, occupying a large panel on the

necks of the column-handled kraters, or forming a border on

the lip of the vase (Fig. 1 56). 2 The vine as an ornament is
very
the

rare,

British

but there

FIG.

naturalistic
it

is

also

Kabeirion

a good

is

Museum (F

156.

503),

instance

where

it

on a

is

IVY-WREATH (SOUTH ITALIAN

late phiale in

treated

in

very

VASES).

manner, forming the sole decoration of the interior

of frequent occurrence on the vases from th
at

Thebes

(Vol.

I.

p.

391).

The pomegranat

occurs only on the Cyrenaic cups (Fig. 93), where it form

a continuous frieze of buds round the exterior, united b)
E.g. B.M. 6364.

AsonthePythonkrater,B.M. F

149.

AND LAUREL-WREATHS

IVYinterlacing lines.

The acanthus

223

only introduced quite late

is

(except where it appears as an ornament on the top of a stele),

and is found on the necks of kraters and other large Apulian
vases, forming a rich and luxuriant mass of foliage, often with
a flower in the centre, on which rests a female head.
Myrtle
or olive-wreaths occur at all times, especially on the flat rim
of the mouth of a vase
the myrtle seems to be a typically
Ionic motive, and is found at Daphnae, Samos, Rhodes, and
on the Caeretan hydriae. 1 In the Rhodian vases it is either
roughly painted in black on red, or else in red and white
on a black ground. It was also adopted at Athens e.g. by
Nikosthenes.
Laurel-wreaths form the regular decoration of
the neck in the bell-shaped kraters and wide-bellied amphorae of
;

FIG. 157.

the late

LAUREL- WREATH (SOUTH ITALIAN VASES).

R.F. period

and the decadence

(Fig.

should

157).

These

be noted, are
opaque white

wreath-patterns on the late vases, it

either treated in R.F. technique or painted in
on the black varnish. They are often drawn with great care

and accuracy.

The

history of the development of the palmette (or honeysuckle), the lotos-flower and bud, and of continuous foliated

To
patterns in general, has been skilfully treated by Riegl.
write a complete account of this class of ornamentation would
2

be impossible within the limits of the present work ; only a

few main features can be noted, to show the form the patterns

assume at different periods, so universal is their appearance

on vases of all shapes and dates. The lotos-flower or bud
of purely Oriental origin, which found
is, of course, a motive
1895*

P-

44>

te

5-

and

Stilfragen, passim, especially p. 48

p.

178.

ff.

224
its

TYPES, ARRANGEMENT,

way

ORNAMENTATION

into Greece probably through the

medium

of Phoenicia

the palmette, on the other hand, is purely Greek, although it

may possibly be derived from a Mycenaean prototype, the Vallisneria spiralis plant, which

FIG. 158.

is

so frequently found on

Mycenaean

VALLISNERIA SPIRALIS (MYCENAEAN).

1
vases (Fig. I58).
They are found not only as single motives,
isolated or repeated, but also combined together, or forming
part of elaborate systems of floral ornament, with stems and

tendrils often conventionalised,

which link them together, either

in continuous bands or in groups occupying a limited space,

on the neck or under the handle.

In the Graeco-Phoenician pottery of Cyprus j.he lotos-flower^

often appears in a purely Egyptian form (Fig. 159, from C 165
in B.M.), but it is more often combined

with and almost merged

in

some

elaborate

system of patterns too complicated to

But
describe or define by any name. 2

Greek vase-paintings, in which it first

makes its appearance in the seventh
century, it is always more or less conin

is
thus found on the
It
Melian amphorae in combination with
3
though on the
systems of spirals

ventional.

FIG.

159.

LOTOS-FLOWER

ON CYPRIOTE

VASE.

shoulder of the example given by Riegl

there occurs a band of lotos-flowers alternately upright and
inverted, linked together by scrolls, where the form is almost
See Riegl, p. H5ff., and Houssay in
Rev. Arch. xxx. (1897), p. 91 ft'.
2
For the Egyptian types of lotos1

flower and

bud

see Riegl, p. 48

ff.

3
see also an early
Riegl, p. 155
Boeotian example in the B.M. (A 564 =
:

Riegl, p. 173).

THE LOTOS-FLOWER

cup of the flower

that of Egyptian art, except that the

rounder, the petals shorter and blunter.
in the transitional stage.

FIG.

of

Ionia,

earlier

225
is

obviously as yet
with it in the vases

It is

Next we meet

LOTOS-FLOWERS AND BUDS (RHODIAN).

160.

especially

in

those of the

so-called

Rhodian and

Naukratite styles, which have friezes of lotos-flowers

alternating with closed buds or with palmettes, connected by

tendrils (Fig. 160).
similar pattern, on an exceptionally
large scale and treated in polychrome (white and purple),
surrounds the lower portion of the body on several of the later

Caeretan hydriae

(cf.

But
XXVI.).
most of the fabrics

Plate
in

of the sixth century

the bud
seems to

have been
to the

preferred

open flower of

the ornament. 1
of

lotos-buds

by

tendrils,

Rows
linked

upright

or inverted, are found

on the Cyrenaic cups,

on the vases of the

Chalcidian type, and
on the later Ionic

FIG.

l6l.

.PALMETTE-l AND LOTOS-PATTERN

(EARLY B.F.).

such as the Rhodian kylikes in the British Museum

(B 379-8i). Sometimes, too, a single bud appears in the design

fabrics,

Thiersch, Tyrrhen. Amphoren, p. 70,

points out that the form of lotos-flower

with two large points

is

Peloponnesian
the form
;

(Corinthian, etc.) and Ionic

VOL.

II.

found in
Corinthian
points.

Attic,

Boeotian, and Protohas three principal

fabrics

226

TYPES,

ARRANGEMENT, ORNAMENTATION

overhanging the scene or rising from the ground. On

Pontic vases the buds arc isolated, and placed
In the Corinthian and early
alternately upright and pendent.
itself,

the

so-called

Attic fabrics the

lotos-flower

is

found, combined

LOTOS-BUDS (ATTIC

FIG. 162.

in

various

B.F.).

ways with palmettes and

tendrils, as a neck-ornament, or above

a panel, or under the handles, and also as a centre in heraldic
but subsequently
resume
compositions (Fig. 161)
jthe j>uds
their sway, and are found bordering the pan^^ojLblack^bpdied
;

(as in Fig. 162), forming a lower border to the

on
the red-bodied, and also on the shoulder of lekythi.
designs
These motives linger on in the earlier R.F. amphorae and
rows of buds of
hydriae, and in the column-handled kraters
a degenerate elongated form, on the lip, neck, or shoulder, are
continued well into the period of the South Italian fabrics.
The palmette or honeysuckle ornament is not usually found
as an independent ornament before the middle of the sixth

amphorae

Its development in
century.
this direction really belongs to
the R.F. period.
But in com-

bination
seen,

in

is found, as we have
Corinthian and Attic

it

B.F. vases, and also in Chalcidian.

Before the Athenian unification

it usually appears linked
with lotos-flowers in a sort of

of styles

double

chain,

each

pattern

being

alternately

upright

and

form it
reversed,
usually found
Fig. 163
This
on the neck, or as an upper border to the design.
as

in

in

this

See generally Riegl,

is

p,

LOTOS AND PALMETTE PATTERNS

227

type of ornament is favoured in the Proto-Attic, Corinthian,

and Corintho-Attic vases, and the earlier panel-amphorae the
;

palmette

which at

is

here

first

regarded as the foliage of the lotos-flower,

Subsequently the palmette

always predominates.

gains the upper hand, as on the necks of the red amphorae

(see Fig. 165), and the lotos-flower is gradually ousted altogether.
1
It, however, returns occasionally on R.F. hydriae and amphorae.

Another

variety,

which

may

be described as a metope-like

treatment, compared with the frieze-like treatment above,

consists of an interlacing arrangement filling the space of a

FIG.

164.

PALMETTES AND LOTOS UNDER HANDLES (ATTIC

B.F.).

square, with two palmettes and two lotos-flowers respectively

opposed, or a symmetrical arrangement of palmettes and lotosThis is found
flowers, connected by tendrils, as in Fig. 164.

under the handle, or on the

frieze of the

Corinthian

"

neck,

heraldic

or in

"

the

On

type.

middle of a

the red-bodied

amphorae the universal neck-ornament is a band of large

palmettes vertically opposed, linked' by a continuous chain

B.F.

E.g.

B.M. Ei6g.

"

The

varieties of this pattern should

quently in Attic red-bodied amphorae,

the two principles are seen to be united,

be carefully distinguished.
Corinthian
vases have a composition of lotos-flowers
only; Chalcidian, palmettes only (cf.
Vienna 219 ; B. M. B 34).
In the

"

Tyrrhenian

amphorae,

and palmettes alternate with

See also Fig. 161.

and subse-

lotos-flowers,

228

TYPES, ARRANGEMENT,

ORNAMENTATION

passing between them and separated by elongated lotos- flowers

i65)j this__is_also_found^oaIEe Panathenaic vases and
the earlier R.F. amphorae.
Towards the end of the sixth

-"(Fig.

^century, however, there

FIG.

165.

is

a tendency to drop these composite

PALMETTE PATTERN ON NECK OF RED-BODIED AMPHORAE.

devoted to the palmette alone. The

method of its application to the kylikes as a handle-ornament,
linked thereto by a scroll, has already been treated in detail
(Vol. I. p. 413); it first appears on the Cyrenaic cups, and is
ornaments, and attention

is

usually employed by the "minor artists" of the B.F. period.

The chief feature of the new advance is that the palmette is no

longer a

stiff

upright design with straight unenclosed petals, the

FIG.

66.

ENCLOSED PALMETTES

(R.F.

PERIOD).

form to which it adheres down to the end of the sixth century

but now assumes a more flexible and graceful form, being
encircled and linked to its fellows by means of slender scrolls
or tendrils, which thus form a series of elliptical or oval forms
;

THE PALMETTE

229

capable of great variety of arrangement and position (Fig. 166).

This framed palmette is first found in the Fikellura or Samian
ware.
It occurs in the form of a frieze, with linking scrolls, on
the later B.F. hydriae. 1 The number of leaves or petals of which
the palmette is composed is usually limited to seven. Another
important and very effective improvement is achieved by placing

opposed pairs of palmettes no longer vertically, but obliquely,

forming an upper or lower border to the design (Fig. 167).
These are frequently found on the krater and hydria, and appear
constantly on the vases of Apulia and Lucania, especially on
the lip.
Great attention is paid to the effective grouping of the
framed palmettes in the spaces under the handles, the object

aimed

at being

more and more naturalism rather than symmetry. 2

FIG.

167.

OBLIQUE PALMETTES (LATE

R.F.).

In the later R.F. period, on the other hand, there is a certain

reaction in the direction of conventional ornament, combined

with exaggeration and lack of refinement.

The palmette under

the handle returns to the old erect unframed type, and increases
enormously in size, so that one or at most two vertically
suffice to fill the space.
In this form it appears on
the bell-shaped kraters and hydriae of Southern Italy, and
especially those of Campania, surrounded by elaborate scrolls

opposed

and tendrils. In the latter fabric the palmette, which has

become almost gross and ugly, is usually flanked by two large
convolvulus or other flowers rising from the ground, and drawn
1

Cf. also an elegant oinochoe with

white ground in the British Museum (B
631). On a similar jug at Munich (334
= Brunn-Lau, Gr. Vasen, pi. 22) the
palmettes are enclosed in heart-shaped

borders. For other vases which, like these,

have palmettes
see British

for their sole decoration,

Museum, Second Vase Room,

Case 28, and Laborde, Vases d> Latnberg,

ii.

pi. 41.
2

Cf.

p. 415-

Riegl, pp.

201-3,

and Vol.

I.

230

TYPES,

ARRANGEMENT, ORNAMENTATION
In the Apulian and Lucanian vases there

in profile (Fig. 168).

is

no

rule as to the

number of the palmettes, and sometimes the

exceedingly rich and elaborate. Speaking generally,

no ornament which prevails so universally and in such
varied forms and systems on Greek vases, but to give an
exhaustive account of all its uses would be far beyond the
effect

there

is

is

limits of this work.

There remains only

to be discussed the rosette^\\\c\\, in spite

often purely formal character, may be
reckoned^ as in its
a
floral
even
if
is
not
obvious
that it is derived
it
motive,
origin

of

its

FIG.

Jfoom any
forms,

168.

PALMETTE UNDER HANDLES (SOUTH ITALIAN

It

particular plant.

the star and

the

may
1

disc,

VASE).

be said to have two distinct

former consisting of an

the

indefinite number of radiating arms or leaves, the latter of a

In both forms it
simple disc surrounded by a row of dots.
is found at all
not
so
much
as
a
formal
periods,
pattern in

bands or groups, but as a decorative adjunct to surfaces within

or without the field of the design, especially as a ground ornament on Ionic, Corinthian, and other early fabrics, or as an_
embellishment of the draperies worn by the figures on the vases.
__In the Mycenaean period it is found usually in the dotted
disc form, as a
1

They

ground ornament, but the

are distinguished by

German

star

writers as "Blattrosette"

form

is

by no

and " Punktrosette."

THE ROSETTE

231

In later Cypriote pottery the star-shaped rosette

jneans rare.
sometimes occurs in a band of ornament, left in the colour of
2
but the other type is more
the clay on a black background
;

common
circles.

conjunction with the concentric

In Hellenic pottery the rosette at
in

first appears exclusively as a ground-ornament,

and this function it fulfils both in Corinthian
and early Ionic pottery to a large extent, as

In
some of the smaller groups.
the Rhodian and Naucratite wares it assumes

well as in

very varied forms

(e.g.

Fig.

169,

FIG. l6g.

ROSETTE

(RHODIAN).

from the

Euphorbos pinax), intermingled with hook-armed crosses and

in the early Corinthian wares it takes the
bits of maeander
;

shape of an approximately circular flower of six petals, which

3
covers every available vacant space over the area of the design

rendered with great carelessness, the artist's

only object being apparently to insert a patch of colour where
are

these

often

would fill in a space.

Subsequently the rosettes become
both more symmetrical and at the same time fewer in number,
and by the beginning of the Attic B.F. style have altogether
it

Occasionally they are employed for a band of

ornament on the lip, neck, or handles of

disappeared.

B.E. vase. 4

a
of

Lost sight of for a period

some two hundred

years,

the

rosette

springs again to life in the vases of Apulia,

resuming its old functions as a ground-

ornament, and also being employed in

bands on the neck or elsewhere. It usually
ROSETTE

FIG. 170.

appears in the form of a star-shaped flower

of six or eight petals, in red edged with

(APULIAN).

white on the black ground (Fig. 170).

may

It
1

Cf.

also be found convenient to treat the ornamentation

Furtwaengler

Myken. Vasen,
J.H.S. xxiii. pi.
l
E.g.
244
'

(Vol.
3

I. p.

pis.

4,

and

Loeschcke,

25,

5 (Crete).
in B.M.,

28, 37,

38;

Assyrian fashion.

and Fig. 76

254).

See Riegl,

out that the rosette, although Assyrian

in origin, is not here used in a strictly

op. cit. p. 197.

He

points

4
cf. also
E.g. B.M. B 51, B 197 ff.
the Proto-Attic vase, Ant. Denkm. i. 57.
:

232

ORNAMENTATION

TYPES, ARRANGEMENT,

of Greek vases from a different point of view, in order to give

an outline of the decorative system adopted in each of the
principal styles, and as considered appropriate to the various
forms.

In the vases of the prehistoric period, from the primitive

incised wares .down to the end of the Mycenaean style, there

an entire absence of anything

is

or formalism.

like rule

The

principle observed in the very early classes, such as the Cypriote

relief and white slip wares (Vol. I. p. 241 ff.), is the imitation of

other substances, of metal or leather. The object of the artist was

to cover the surface of the vase as far as possible with decorative

and if, as was generally the case, his artistic capacity

him to linear or simple vegetable patterns, the utmost
he could achieve was to adapt these to the whole of the space
at his disposal
i.e. the whole
body of the vase. Mycenaean
vases, however, are usually only decorated on the upper part, as
far as the middle of the body, which was encircled with one
or more plain bands of black.
Thus there remained a sort
of panel between the handles, of varying extent.
designs

restricted

In the Geometrical period, however, a great change takes

place, which from the artistic point of view is a reaction in
the direction of formalism, but nevertheless forms the basis of
Here we see for the first
the decorative systems of later times.

time a regular partition of the surface of the vase by means of

bands and panels of ornaments, without indeed any restriction
of particular patterns to any part of the vase, but yet a deliberate

With the increase

endeavour to establish a decorative system.
becomes more
ornament
animal
and
human
the
of
subjects
subsidiary, merely a framework to the design, but even in
the succeeding Proto-Attic and Melian classes it plays a very
1

important part. In the Melian vases the system is Geometrical,

The
but the ornamentation is curvilinear and Mycenaean.
source
the
former
are
derived
from
ground-ornaments, however,
as well (hook-cross and zigzags in conjunction with rosettes).
In both these classes the space under the handles is selected
for the display of a
1

grouping of ornamental motives, such as

See what has already been said on

I. Chapter VII. p.

this subject in Vol.

282
p.

cf.

165.

also Perrot, Hist, de FArt,

vii.

EARLY SYSTEMS OF ORNAMENT

spirals or palmettes, or the

two combined

in

233

a series of heart-

shaped motives or panel-compositions similar patterns cover

the neck and the lower part of the body. The ornamentation
of Phaleron and Proto-Corinthian vases is an echo of the
;

Geometrical system.
rosettes of dots,

cross,

The ground-ornaments
and

of maeander

bits

are
;

the hook-

the bands of

pattern consist of zigzags, chequers, double rows of dots, and

The early Ionic vase-painters treat the
as they do their principal subjects,
ornamentation
subsidiary

toothed patterns.

adopting the

most cases

the only exception

Rhodian pinakes, where
usually confined to simple
patterns round the rim, with a sort of fan-pattern in the exergue
below the central design. 1 The ground-ornaments are really the
is

frieze principle in

in the

it is

Rhodian ornamentation, as in Corinthian vases.

decoration of the Fikellura or Samian ware is very charac-

chief feature of

The

and demands separate mention. The patterns are highly

developed, and suggest a late date as, for instance, the scroll,
the ivy-leaf, and the framed palmette.
In later Ionic vases
the ornamentation is not very prominent, except in the Caeretan
hydriae, in which the broad bands of palmette-and-lotos ornament, and the exaggerated tongue-pattern on the lip and

teristic,

shoulder,
period.

occupy a proportion of the surface unusual at this

Besides the typical ground-ornaments (rosette and

hook-crosses) of the earlier vases, the favourite Ionian patterns

are the maeander, the guilloche, and wreaths of ivy and myrtle.
At Corinth, as we have seen, for a long time ornament is

confined to the ground-filling rosettes, with some simple motives,

such as zigzag lines or tongue-pattern, on the mouth and

even in the later examples,

shoulder, or bordering the design
when the rosettes have disappeared, it is practically confined
to the interlacing palmette-and-lotos pattern on the neck, above
;

the design, or inserted in the subordinate friezes of animals. 2

The same principle applies in the Corintho-Attic and Chalcidian
fabrics.

Cf. a similar pattern

situlae
2

(B.M.

See

Altkor.
Wilisch,
41 flT., for Corinthian

generally

Thonindustrie,

on the Daphnae

ornamentation.
s

105-6).

p.

on the ornamentation of the

See

former Thiersch,
p.

69

ff.

on the

Tyrrhen.

Amphoren,

latter Riegl, p. 187.

234

TYPES,

ARRANGEMENT, ORNAMENTATION

In Athenian B.F. vases we at last find a stereotyped system

of ornament for each kind of vase, from which there is little
or no variation.
Generally the system is as follows: On the

panel-amphorae, an interlaced palmette-and-lotos pattern or a

row of inverted lotos-buds above the panel, and a calyx of
leaves round the foot, those with flanged handles having also
ornaments thereon, ivy-leaves or rosettes. On the red-bodied, a
chain of double palmettes round the neck, tongue-pattern on
the shoulder, a grouping of palmettes, tendrils, and lotos-flowers
under the handle, and a row of three or four narrow bands
of ornament below the design (lotos-buds upright or inverted,
maeander, zigzags), terminating with the calyx round the foot.
The Panathenaic amphorae have the same neck-ornament as the
red-bodied, with tongues above the panel, and thick rays round
the foot
the fourth-century examples have palmettes on the
;

On
neck, with elongated tongue-pattern immediately below.
the hydriae, tongue-pattern above the shoulder-design, borders
to the panels (maeander above, ivy or network down the sides,
lotos-buds or framed palmettes below), and calyx round the foot.

On

the oinochoae, panel-borders like those of the hydriae, but

on the olpae (Vol. I. p. 178) only two or three rows of chequer,

maeander, etc., on the neck above on the lekythi, lotos-buds,
ivy-leaves, and palmettes on the shoulder, and a double row
of dots above the design. The kylix-ornament is practically
"
limited to the handle-palmettes of the "minor artist
class, and
a circle of straight-edged rays, alternately black and outlined,
round the stem on the later varieties (together with the
;

large eyes).
In the R.F. period the same system of appropriate patterns
for each form of vase is in the main adhered to, but with greater

freedom

wide difference between the earlier

amphorae and hydriae, which cling to the old panel-system with
its ornamental borders, and the vases of the fine period, in which
there is an absence of all restraint on the one hand, and a
tendency to dispense with ornament almost entirely on the
other (as in the Nolan amphorae).
On the kylix, the ornament
is throughout confined to the
palmettes under the handles and
the

there

is

also a

maeander encircling the

interior design,

which have beej

LATER SYSTEMS OF ORNAMENT

235

The earlier amphorae and

dealt with already (Vol. I. p. 413 ff.).
have
panels with borders as in the
hydriae, as we have seen,
those of the fine
B.F. period, usually in the older technique
;

amphorae) have a short noncontinuous border, such as egg-pattern or maeander, above and
below the figures, with similar patterns on the lip and round the
bases of the handles. The stamnos has egg-patterns round
the lip and handles, tongue-pattern round the shoulder, and a
system of palmettes between the designs. The red lekythi have
egg-pattern or palmettes on the shoulder, and maeander-pattern
the white have black
(with crosses) above or below the design
and
red
on
or
black
red
palmettes on white on the
rays
ground
The bell-krater and
shoulder, and maeander above the designs.
style (including the wide-bellied

wide-bellied

amphora of the

late

R.F. period, as also those of

Southern Italy, have a band of oblique palmettes or a laurelwreath round the top, maeander with crosses below the design,
palmettes grouped under the handles, and egg-pattern round
The column-handled krater, on the other hand,
adheres throughout to the B.F. system of ornamentation, with

their bases.

ivy-wreaths and elongated lotos-buds on the rim, similar lotosbuds on the neck, panels bordered with tongue-pattern and

debased ivy-wreaths, and the calyx round the foot. The widebellied lekythi have palmettes or egg-pattern above the design,

and maeander below.

In the vases of Southern Italy there
observed in the ornamentation

is,

as a rule,

in the large vases

no system
of Lucania

and Apulia it is used with great profusion and variety, chiefly in

bands on the neck. In the smaller Apulian vases and in those
of

Campania
the

designs
vreath of
;

often confined to a wave-pattern below the

Campanian hydriae usually have in addition a

it

is

myrtle or laurel round

the shoulder.

Generally

speaking, the large vases, such as the bell-krater, the hydria,

and the wide-bellied amphora, continue the principles adopted
n the R.F. period. The systems of palmette-patterns under
the handles have already been discussed, and for other details
the reader is also referred to what has already been said in
discussing the individual patterns.

CHAPTER

XVII

INSCRIPTIONS ON GREEK VASES

Importance of inscriptions on vases Incised inscriptions Names and
Owners' names and dedications
prices incised underneath vases
Painted inscriptions Early Greek alphabets Painted inscriptions on
Corinthian, Ionic, Boeotian, and Chalcidian inscriptions
Dialect Artists' signatures
Inscriptions on Athenian vases
Inscriptions relating to the subjects
Exclamations KaXoVnames The Attic
early vases

alphabet and orthography Chronology of Attic inscriptions

Italian vases with inscriptions.

THE

South

of inscribing works of art with the names of

and
objects represented was one of some antiquity in
persons
The earliest instance of which we have historical
Greece.
practice

is the chest of Kypselos, whicr; dated from the beginof

the sixth century B.C., and concerning which Pausanias 1
ning
"
the majority of the figures on the chest have
tells us that

record

and some of
have the appearance
called by the Greeks backwards-and-forwards (/Sov<rTpo<j>r)bv),
at the end of the verse the second line
which is like this
And
turns round again like a runner half through his course.
on
in
a
tortuous
the
are
written
the
chest
inscriptions
any way
There is, however, no
and hardly decipherable fashion."
Athenaeus
mention of inscribed vases until a much later date
inscriptions

written

them read

straight,

in

the archaic

but

other

characters

letters

'

'

speaks of a cup with the

name

of Zeus

Soter

upon

it,
2

of vpapfiaTifca etfTro^ara, or cups with letters on them.

Inscriptions on Greek vases are found in comparatively earh
times, even prior to the date to which the chest of Kypsel<
This question will receive more attention subseJ
is attributed.
1

v. 17, 6.

236

xi.

466 D-E.

IMPORTANCE OF THE INSCRIPTIONS

237

meanwhile, we may point out some of the ways in

which they have proved important in the study of archaeology.
quently
In the

first

place, they

were originally among the principal,

perhaps the strongest, arguments in the hands of Winckelmann,

Sir W. Hamilton, and the other upholders of the true origin of
"

Greek vases against Gori and the other " Etruscans (see Vol. I.
p. 19).
They are, in fact, if such were required, an incontestable
of
Greek manufacture. Secondly, -in more modern times,
proof
been of inestimable value in enabling scholars to
have
they
the

early vases according to their different fabrics.

The alphabets of the different cities and states being established
by inscriptions obtained from trustworthy sources or found
classify

it was an easy matter to apply this knowledge to the

In Chapters VI I. -VI 1 1. numerous instances have been
given of the value of this evidence (see also below, p. 247 ff.),
)erhaps the best being that of the Chalcidian class, for which

in situ,
vases.

have been a more important criterion even than

Thirdly, the inscriptions are sometimes of considerable
tyle.
Those on Attic vases may fairly be said
)hilological value.
tie

inscriptions

o represent the vernacular of the day

and thus we learn
hat the Greeks of the Peisistratid age spoke of 'OXvrrevs,
not 'O8u<7o-6U9, and of Ofja-vs, not @r)(revs that they used such
;

brms as

vivs

for

f/o'?,

and

Trlei

for Trie

(see below,

p.

255).

influence in the inscriptions, as in the freoccurring Doric forms, imply that many of the

Traces of foreign
[uently

We

vase-painters were foreigners, probably of the mctic class.

hall also see that one class of inscriptions gives some interesting information on the subject of the names and prices of

vases in antiquity.

The whole subject has been treated exhaustively especially

from a philological point of view in a valuable treatise by
2
Kretschmer, to which we shall have occasion to make
constant reference in the following pages.
He classifies them
under two main headings (a) inscriptions incised with a sharp
tool in the hard clay
(&) inscriptions painted with the brush
after the final baking.
They are also found in very rare
:

etc.,

Hence

the oblique cases

of classical usage.

inet,

inets,

Die griechischen

GUtersloh, 1894.

Vaseninschriften,

INSCRIPTIONS ON GREEK VASES

238

instances impressed in the soft clay and varnished over. 1

In
later times inscriptions in relief are actually found, sometimes
2
On the
painted with thick white pigment, sometimes gilded.

Megarian bowls and on the Arretine and other wares

period they are stamped from the moulds.
there
are
the stamps imprinted on the handles of wineLastly,
amphorae, which have been discussed in Chapter IV.
so-called

Roman

of the

The

incised inscriptions are of three kinds

(i) those exe-

cuted by the maker of the vase

(2) those scratched under
the foot (3) those incised by the owner.
As these represent
;

much

with

smaller class than the painted ones, they shall be dealt

first.

Inscriptions incised by the maker before the final baking.

These are found on the handles and feet, round the edge of
a design, or interspersed therewith like the painted inscriptions.
(1)

Generally they represent the signature of the potter, as in the

case of the early Boeotian vase signed by Gamedes, 3 the vases
4
of the fifth-century artist Hieron, and those of Assteas, Python,

and Lasimos

in

Southern

On

Italy.

the vases of the latter

explanatory inscriptions seldom occur, but when they

do (as on the vases of Assteas) they are always incised. Of
On
their palaeographical peculiarities we will speak later.
a vase in the South Kensington Museum 6 the words Bpa^a^
Ka\6s are incised and painted red, and on the pottery found
on the site of the Kabeirion at Thebes the same process is often
class

7
adopted, except that the paint used is white.
(2) Of inscriptions scratched under the foot a considerable

number remain,

on B.F. vases.
They are often
difficult to decipher, being in the form of monograms, and
In many cases they
frequently appear to be meaningless.
may have been private marks of the potter or his workmen
especially

others, again, are evidently private memoranda made

workman, relating to the number of forms of vases

See Berlin 2891

Arch.

Cf.

Berlin

2866 and

the

Xenophantos (Reinach, i. 23).

3
B.M. A 189* = Plate XVII.

vase

of

fig. 6.

Vol.

162

p.

p. 96.
2

Zeit. 1879,

I.

p.

436

Klein,

by

the

in

his

Meistersig.

fiT.

I. p. 478 ; Klein, ibid.

p. 206
Klein, Lieblingsinsckr? p. 118.
Ath. Mitth. 1890, p. 396.

Vol.

ff.

INCISED INSCRIPTIONS

239

by the merchant respecting the price to be paid.

Commonly they take the form of names of vases, such as

batch, or

HVAPI

SKV

for vfyla (hydria\

AHK

AHKV

or

for \rjicv0os (lekythos\

and so on. Many of the inscriptions

with numbers and prices, and we may

for (Ttcvfyos (skyphos)?

give the words in full,

obtain from them some curious information.

the more elaborate examples given by Schone in his

3
monograph is one from a krater in the Louvre

Among
valuable

KPATEPE*
TIME hhhh

PI

OIAL*

BAOEA

Pill

AAH

^M

reWapcs

<5#8es

(3a6ea CIKOO-I (at

dr.

ob.).

drachmae eight oxides twenty

drachma one obol. The bat/tea
one
bat/tea (an unknown form),
were probably deep cups or ladles the oxides (lit. vinegar-cups)
were small vessels, probably answering to our wine-glasses.
Another instance given by Schone 4 is
That

is,

six kraters, value four

AHKY0IA A
OINOXOAI II

Se'/ca

\rjKv6ia

oti/oxoai Svo

or ten lekythi and two oinochoae.

Another good example is on a krater in the British

Museum

(E$04 ):

KPATEPE
[lEAAINIA

PI

All

AA
:

i.e.

hhhh

fcpori/pefc)

TrcAAiVta

III

o#8es

III

AAhl

rcWopes

StoSe/ca rpcTs

ei/coVt

6&pa<j>a

six kraters at four

rp

cwcdo-t

rs

(at

dr.

ob.)

drachmae, twelve cups at three obols,

twenty oxybapha at one drachma

twenty oxides at three obols,

one obol.
1

For the explanation of these names

see

Chapter IV.
2
B.M.
497; Schone in Comm. Phil.
in hon. Mommseni, p.
658, Nos. 29-32.
3
In this and
Op. cit. p. 651, No. 5.
the other examples

it

will

be understood

that

denotes 10 (5eW),

and so on
4

h being the sign

Op. cit. No. 17.
;

for a

drachma.

5
A diminutive of TrAXo, a large deep
cup or bowl (see Vol. I. p. 186).

INSCRIPTIONS ON GREEK VASES

240

Another

KPATEPE*

BAOEA

OEEIAES

Vienna

in

hhhh

oi'Ses

same
2
Petersburg we

'**

Ti

reWapes (4 dr.)
H I 1 dr i ^-)
>

Sea

two preceding.

effect as the

find

^ n^

"parses

hi

to the

is

TIME
TIME

PI

AA
A

On

a hydria at

YATPIAPAXPOI

A/

vS(piai) Tp(e)t(s) 8pa^(/>t(ov) Tr(erre) o(/36\ov) tvos

or

three

example

hydriae worth

AYAIA ME in
toa(?)'

Here the

five

drachmae one

that need be mentioned

letters

The

obol.

from a vase at Berlin

is

AEPASTIAE*

last

3
:

IE

AvSta

probably stand for numerals of the ordinary

kind, denoting the numbers of the batch (V=i5, #'

27).
The form of the letters in all these cases is that of the

century.
given,

it

fifth

In the case of the second, third, and fourth examples

will be noted that the shape of the vase itself cor-

responds with the first item. Jahn and Letronne originally held
the view that these marks were made by the potter on the feet
of the vases before they were attached to their respective bodies. 4
Schone, in the light of the examples already quoted, makes
the ingenious suggestion that each list represents a different
"
"set of so many vases of different forms, and used for different
"

"
purposes, sold together in a batch, like a modern dinner-set
"
Thus we have in our fourth example
or toilet-set" of china.

a set of six

mixing-bowls at four drachmae

(3^.)

wine-glasses at (probably) three obols or ^\d. apiece,

cups or ladles at about \Q\d. apiece.

apiece, ten

and twenty

Some

of the shorter inscriptions also throw light on the

For instance,
which different vases were sold.
prices
for
AHKV'AAtAH would denote thirty-four lekythi
thirty-seven
at

obols,
1

2
3

or

roughly

tit. p. 650, No.

No. T = Cat. 1206.
Cat. 2188; Schone's No.

Schone, op.

apiece;

\\d.

AH KV

meaning of

3.

Jbid.

8.

IT: A,

The

Ber.

thirteen

lekythi

AtfSta yuetja) is uncertain.

d. sticks. Gesellsch.

1854, p.

INCISED INSCRIPTIONS
eleven

for

at

obols,

lower

slightly

241

Aristophanes

price.

tells us that one obol would purchase quite a fine lekythos,

3
he mentions three drachmae as the cost
just as elsewhere
This latter statement is borne out by the
of a ATttSo? or cask.

on

inscription

at

i.e.

KAAIA

vase,

twelve drachmae,

about 2|

All,

or

/cdSia

five

An

dr.

apiece.

value

inscription

quoted below shows that the owner of a cup valued it at one

drachma. Other examples of the same kind are collected by
Schone. The cup from Cerigo in the British Museum, on which
5
does not strictly
incised EJ^M IKOTVAION (^/corvXiov)
is

come

into this category, but

same

inscription of the
(3) Inscriptions

be mentioned as having an

may

class.

incised

by the owner, and subsequently

to

the completion of the vase.

These usually take the form of the
word El Ml (EMI), with the owner's name in the genitive, as
HMl
HMI (" I am Idamenes'"), or

A*TYO+iAA

IAAMENHO
I

am

on two B.F. cups from Rhodes. 6 Somean extended and metrical form, as on

Astyochidas' "),
times this appears in
another B.F. kylix from the same
("

site

<NATO*HMITA*l<AAA*AI<YA!+*AnOII<IAA
^lA/nos

ras KaAas a KV\L

rjjjil

"I am the painted cup

KuAi

lav

Se

'

TIS

Trapa

"I am the cup of Kephisophon

a drachma; the

TroiKi'Aa

of the fair Phil to."

Another metrical inscription runs

rj

a.

Kard^y

Spa.^fJirjv

S^poy ov

ctTroTCiVet

H/o.
;

if

gift

any one breaks me,

of Xeno(krates)."

let

him pay

yet more remarkable example is on an early lekythos from

in the British Museum, 9 which, in the manner favoured

Cumae
1

B.M. 8310; Munich 693.

Seejahn

in Ber. d. Sachs. Gesellsch. 1854,

p. 37.
2
3

Ran. 1236.
Pac. 1202.

Schone,
5

595

VOL.

op. cit. p. 655,

see Vol.

II.

I.

No.

13.

B.M. B45I -,J.ff.S. vi. p. 374 ff.

B.M. 6450 =J.H.S. vi. p. 372.
Boeckh, C.I.G.

\.

545.

Aio54=Roehl, I.G.A.

See also Kretschmer, pp.

524, p. 151.

3-4.

p. 135.
1

INSCRIPTIONS ON GREEK VASES

242

by modern schoolboys, invokes an imprecation on the head

of a thief:

FIG.

Tarair/s

" I

am

e/xt

Tataie's oil-flask,

Others, again,

gave
"

XT^OV^OS os

me

to

and he

Charopos"

K\(f>crr]

/xe

TE^AISOI
2

down."

MH KAT0H,

The owner's name

Epainetos

OAEMO5 AIAO5I:
A boat-shaped vase

on it
not
do
"Drink,

the

incised

found

is

me."

steals

"

of the vase, as

gift

gives to thee."
British Museum has

(kymbion) in the
exhortation PPOPINE

eorat

6v(f>Xo<s

be struck blind who

shall

record the
1

ay

Thoudemos

Lo, this

me

8'

171.

lay

the nominative

in

on a vase from Carthage at Naples: XAPMINO

GEO^AMIAA KAIO3I, " Charminos, son of Theophamidas, a Coan" 4

similarly in the genitive with the omission of et/u

APICTANOC,

'Apio-rdpxov

'Apioravo?

Under the same heading comes the

APICTAPXO

AAEilAAMA

of

class

votive

or

dedicatory inscriptions, found in such large numbers on the

pottery of certain temple-sites, such as that of Aphrodite at
Naukratis,

and that of the Kabeiri

formula at Naukratis

is

Beiva

at Thebes.

dveOrj/ce

The

usual

*A(j>po$irr) (or TO>

rfj

but sometimes we find the formula 'ATroXkwvos

where the god as the recipient of the gift is regarded as

'ATTO\\(OVI)
el/j,!,

the owner.

One

of the most interesting, and certainly the most ancient,

I.G.A.22-. see below,

Ibid. 2

B.M.

B.M. F596 see Vol. I.

Heydemann's Cat. 1212.
B.M. F 605-6.
:

4
5

p. 252.

A 1512.
p. 186.

6
Naukratis
Naukratis //.,

Sch.
7

/.,
pi.

32-4,

pis.

21,

Annual, 1898-99,

p.

62

p. 53.

Ath. Mitth. xv. p. 395 ff.

See Vol. I. pp. 139, 345.

p.
ff. ;

54^-5
Brit.

INCISED INSCRIPTIONS

243

incised inscriptions 6n Greek vases is that engraved on

1
It runs:
a jug of "Dipylon" ware found at Athens in i88o.

of

all

FIG.

172.

ara\^rara 7rat, roD ro'Se ... "He

most
Though
delicately of all the dancers," etc.
sports
not
probably
contemporary with this eighth-century vase, it
is still of great antiquity, and the earliest Athenian inscription
known.
In studying these graffiti, it must always be borne in mind
that they lend themselves easily to forgery, and that many

09 vvv opfflarcov Trdvrwv

who now

are

open

to

inscriptions

Instances of these doubtful

grave suspicion.
2
and a
the Kleomenes vase in the Louvre

are

late vase signed

by

Statios in the British

Museum (F

594).

The painted

inscriptions are practically limited to a period

over
two centuries, from the time at which the
extending
primitive methods of painting were slowly emerging into the

down to the finest stage of red-figure vases.

they rapidly spring into popularity, being conbut throughout the
stantly found on the sixth-century fabrics

black-figured style,

Rare

at

first,

red-figure period they gradually

become

rarer

and

rarer, until

In the vases of the Decadence

they drop out almost entirely.
have
for
the
most
fallen
into disuse
at any rate, they
they
part
are comparatively scarce.
Some of the latest inscriptions are in
;

the

Oscan and Latin languages, showing the increasing influence

Romans over Southern Italy, and especially Campania.

of the

The

inscriptions always follow the laws of palaeography of the

region and period to which they belong.

Generally speaking, it may be said that they have some reference to the design painted on the vase at least, the majority
;

p.

Ath.

225

p. 291.

Mitth.

1881,

Kretschmer,

p.

107

p.

no

;
1893,
also Vol. I.

Mon.

Grecs, 1897, pis. 16-7, p. 55

and see Vol.

I. p.

493.

INSCRIPTIONS ON GREEK VASES

244

are explanatory

of the subject

Sometimes not

represented.

every figure accompanied by its name, but even animals

and inanimate objects, instances of which are given below. On
the Francois vase there are no less than 115 such inscriptions.
is

only

In almost

all

we can be

cases

certain that they are original,

contemporaneous with the vase

and

itself.

The explanatory

inscriptions are generally small in size, the

averaging one-eighth of an inch in height. On B.F.
vases they are painted in black
on R.F. vases of the "severe"
letters

purple on the black ground, or in black on the red

There is no rule for
portions on later R.F. vases, in white.
their position, or indeed for their presence
but, as a general
it
be
on the finer and
said
are
oftener
found
that
rule,
may
they
style, in

larger vases, and that they are placed in close juxtaposition to

the figures to which they refer.
The direction in which they are
written may be either from left to right or right to left (as

generally on Corinthian or Chalcidian vases) on the Panathenaic

are the only known examples of KLOV^OV inscriptions,
in which the letters are placed vertically in relation to each
;

amphorae

They are occasionally found on the objects depicted, as

on stelae or lavers (see pp. 260, 272), on shields, or even on the
2
figures themselves.
Signatures of artists are occasionally found
on the handle or foot of a vase. 3
Kretschmer (p. 5) illustrates the practice of employing inHe
scriptions on vases from the art of the Semitic nations.
instances clay vases from Cyprus with painted Phoenician in4
scriptions, for which the same pigment is used as for the
decoration of the vases themselves.
But none of these are
to
earlier
than
the
first
Greek
be
likely
inscriptions^ and it is
more than probable that the Cypriote Phoenicians borrowed
In order, therefore, to obtain
the practice from the Greeks.
other.

information as to the date of these painted inscriptions,

are entirely dependent upon internal evidence.
1

B.

M. B 134

Urlichs,

Beitrdge,

2
3

Berlin 2314.

Examples

(Brygos),

258 (Euxitheos)

and

cf.

Fig. 129.

14.

pi.

we

Perrot,

in the

457 (Pamphaios),

B.M.

E6i

are

12

(Hieron),

and
65

Hist, de I'Art,

They have been found

iii.

at

Paphos, Dali, and Amathus.

p.

670.

Larnaka,

THE EARLY GREEK ALPHABETS

245

The importance of these inscriptions may, perhaps, be best

realised when it is pointed out that they are one of the chief
guides to the age of the vases, and have contributed more than
feature to the establishment of a scientific classification

any other

of the earlier fabrics, as will be fully indicated in the succeeding

account.

The Greek alphabet, as is well known, is derived from the

Phoenician, and this is attested not only by tradition, but by the
known existing forms of the latter, the signs being twenty-two
number.
long 77 and

The

in

a),

invention of the two double letters, and of the

which are purely Greek, was attributed by popular

any authority. With

the question of the introduction of writing into Greece this is
not the place to deal. Recent discoveries, especially in Crete,
tradition to various personages without

have greatly modified

and

all

preconceived notions on the subject,

we

are only immediately concerned with the

earliest use of the Greek alphabet, as we know it.
for the present

This can be traced as far back as the seventh century B.C.

on various grounds, and in all probability the traditional view
which placed its introduction into Greece at about 660 B.C. is
The earliest inscriptions on the vases are cerfairly correct.
tainly not later, perhaps earlier than this (see below, p. 254).

At Abou-Simbel in Egypt, Greek inscriptions have been found

in which the name of Psammetichos occurs, and this king is
1
generally supposed to be the second of that name (594
SSp).
In Thera

and other Aegean

islands,

and on the coast of Asia

Minor, inscriptions are known which, for various reasons, have

been placed even earlier than this, and the vase with Arkesilaos,
the inscriptions on which are discussed below, is hardly later,
it can be shown to date between 580 and 550 B.C.
Before proceeding to discuss the early inscriptions, it may

as

be as well to note, for the benefit of those to whom Greek

Epigraphy is an unfamiliar subject, the chief peculiarities of the
2

They fall into two principal groups, the

Eastern and Western, each of which has many subdivisions.
Certain forms, such as ^ for X, are characteristic of one or

earlier

alphabets.

Roberts, Gk. Epigraphy

Greek

On

Press).

i.
p. 154.
the subject generally see Roberts,
',

Epigraphy,

vol.

i.

(Cambridge

INSCRIPTIONS ON GREEK VASES

246

the other division

but the distinction

is

not so clearly marked

on the vases, on which many alphabets, such as the Ionic and

The vase-inscriptions
Island varieties, are scarcely represented.
and Athenian in
heads
Corinthian
three
under
mainly

fall

the Eastern

group, Chalcidian

the Western.

in

During the

century (or even earlier) there is a rapid tendency to

in the Greek alphabet, which is chiefly brought
about by the growing supremacy of Athens. This acted in

fifth

unification

two ways firstly, by the fact that Attic became the literary
and therefore the paramount language in Greece secondly,
by the fact of her artistic pre-eminence, which crushed out
the other local fabrics.
Finally, by the time of the archonship
of Eukleides in 403 B.C., the alphabet, if not the language, had
become entirely unified, and the Ionic forms universally adopted
For private use they had, of
for public and official purposes.
but the official enactment
Athens
known
at
been
course, long
:

of that year only set the seal to a long recognised practice.

Throughout the fifth century the old Attic and the Ionic

forms are found side by side on R.F. vases.

In the later archaic period the coins come in as an important

2
None of the inscribed ones appear to be

source of evidence.
earlier

than the sixth, century, the oldest being perhaps the elec-

trum stater usually attributed to Halikarnassos, with the name of

Phanes (?). The only characteristic letter (the alphabet belonging
to the Ionic group)

the sign

is

in place of

to denote eta,

which has not been found on any vase with the Ionic alphabet,
and therefore betokens a very early date. Next comes an Attic
stater of about 560 B.C., with the legend

(A)OE, which may be

3

on which
fitly compared with the oldest Panathenaic amphora,
The earliest coins of Haliartos in
the dotted O is also found.
Boeotia have the curious form

for the spiritus asper or H,

the succession can thence
B.C.
before
550
dating apparently
be traced through ^, H, and B down to about 480 B.C., when
;

is

it

fifth

dropped

entirely.

century for the

At Himera

spiritns asper,

See the table given by Kretschmer,

IQIJ.

in Sicily

and

is

See Hill,

in the

Handbook of Greek and

Roman Coins, p.
3
B M. 6130.
T

B occurs

followed by the H

208

ff.

EARLY GREEK INSCRIPTIONS

form, which in the

On

West

is

employed down

247

to about

the early coins of Poseidonia (Paestum) the

400 B.C.
form of ^

is found (550
480 B.C.), being also characteristic of Corinthian
vases of the sixth century it also lingers on in Crete, but in
Sicily and elsewhere the $ form of Attic and other alphabets
;

more

is

usual, until replaced in the fifth century

by

Z.

Of

the

specially Ionic letters, H (= eta) is found generally at an early

date, as at Teos (540
400 B.C.), and also H. At Corinth the
for
is
in
use
from
the earliest times down to the days
K
koppa
<p

of the

Achaean League, and does not

therefore afford evidence

but only of a local peculiarity, being equally

universal on vases.
The digamrna is only found on coins of

of date by

itself,

on early Greek vases. 1

It may also be of interest to note that the B form for the
rough breathing occurs on the helmet of Hiero in the British
2
Museum, which can be dated 480 470 B.C., and that the use
of H for eta and of the four-lined ^ at Athens previous to the
archonship of Eukleides can be deduced from the well-known
3
fragment of Euripides in which the letters forming the name
Elis

and Crete, whereas

0HIEYI

it

often occurs

are carefully described.

In the following pages illustrations of the points above noted

will be fully detailed where occurring on the vases.
The annexed

scheme of alphabets used on vases (Fig. 173) will serve to give

a general idea of the variations of form in different fabrics.
The painted inscriptions on vases first appear, as already
noted, about the beginning of the seventh century B.C.
earlier

The

Cretan, and

fabrics

Mycenaean,
Cycladic generally
belong to an epoch when writing, if not unknown, was at any
4
nor have any inscriptions been found
rate little practised
;

on the Dipylon or Geometrical vases, except the incised one

which we have already discussed. The oldest known painted
inscriptions are found on a Proto-Corinthian lekythos (see
p. 254), the Euphorbos pinax from Kameiros (B.M. A 749),
1

See

for other details of coin-inscrip-

tions Hill, op. df.

2
Cat. of Bronze*,

No. 250.
No. 385 (Didot).
4
It should be borne in mind that
Mycenaean vases have been found in
3

Argolis, Cyprus, and

characters incised on

elsewhere, with
the handles, of

contemporaneous execution, and forming

the Cretan script and the

parallels to
later

Cypriote syllabary.

248

INSCRIPTIONS ON GREEK VASES

and the krater signed by Aristonoos, which is perhaps of Ionic

origin, strongly influenced by Mycenaean art.

SCHEME OF ALPHABETS USED ON GREEK VASES

EARLY ALPHABETS

249

and Athens (especially in Corinth), the number of

inscribed vases rapidly increases.
Among the earliest examples
are those remarkable painted pinakes found at Corinth (Vol. I.
Chalkis,

nearly all of which have dedicatory inscriptions, while

most cases the names are given of the deities, Poseidon and
Amphitrite, to whom they were dedicated, and whose figures
appear on them. They may be dated 600 550 B.C. The
custom of inscribing names on works of art is illustrated by
other products of this period, as we have already noted in the
and they occur on the early
case of the chest of Kypselos
bronze reliefs from Olympia, 1 the Samothrace relief in the
2
Louvre, the archaic reliefs at Delphi, and the newly found
3
painted metopes at Thermon, as well as later on the paintings
p. 316),

in

of Polygnotos.
On the Euphorbos

names

of

4
pinax already mentioned
appear the
(Mk^khAM), Hector (SOTH3), and

Menelaos

;V4>OPBOM). Although found in Rhodes, it is

proved to be of Argive origin by the characteristic form |5
of the A in Menelaos.
Although its date cannot be exactly
is
it
ascertained,
probably about 620 600 B.C. It is a vase
more
than one respect, as it may be said to forein
important
Euphorbos

shadow the beginnings of the black-figure style.

The vase of Aristonoos 6 was found at Cervetri, and bears the
artist's

signature,

OT^ISA, 'Apurrovo <(<)> 09 eVo i[r)]aev,

an alphabet from which, unfortunately,

in

are wanting, so that

\ve

fabric,

origin

is

to denote

F,

Olympia, iv. pi. 39,

Roehl, l.G.A. 377.

n)

as in the Phrygian alphabet,

prefers to read it as
(0
0).

p. 102.

p. 7.
6

'E0. 'Apx- 1903, pis. 2-6

see Vol.

I.

p. 92.
4

characteristic letters

said,

7
by several scholars
but Kretschmer (p.

all

uncertain.

It is, however, as
probably a seventh-century product of an Ionian
The
has been taken
on the coast of Asia Minor.

have

its

See also Vol.

I.

p. 335.
p.

263

I.

p.

297 and Plate XVI.

p. 264.

'

Jahrbuch, 1891,

Vol.

Kretschmer,

for

the latest interpretation of the name, as

here adopted, see Class. Review, 1900,
7

E.g.

Ramsay inJ.H.S.

x. p.

187.

INSCRIPTIONS ON GREEK VASES

250

We

have, however, already seen that

superfluous

it

most probably a

is

letter.

century must be placed another remarkable

1
Arkesilaos
The inscribed
vase, the
cup of Cyrenaean fabric.
names on this vase are as remarkable as its subject there are
in the sixth

Early

The only proper name is

who
was king of Kyrene
that of Arkesilas
(APK^^IAAp,
580 550 B.C. the others seem to be titles, such as lOCDOPTOS,
"
"
A 0O M A t O *,
'Io<o/3To? or J<w</>o/rro9, Keeper of the burdens
some
reference
to
a
word
having
silphium, the
^Xt^o/za^o?,
"
of
the
Guardian
vase; (DVAAI<O,
"; IPMO4>OPO*,
subject
and O+YSO, opufof?. One word, ^OMA> oTJafytos, refers
The dialect is Doric,
to an inanimate object (a balance).
nine in

all,

two only fragmentary.

Kyrene having been colonised by that race.

Next we have to deal with a very important
tions

2
those found on Corinthian vases.

be dealt with

to

in detail

class of inscrip-

numerous
They
Kretschmer mentions nearly fifty
are too

inscribed vases, exclusive of the pinakes.

Wilisch attributes the
earliest to the latter half of the seventh century, the latest to
but they certainly do not
the middle of the sixth century
;

become common before the

signatures
p.

They

include several artists'

Chares, Milonidas, and Timonidas (Vol.

of the most famous of the inscribed vases

viz.

One

315).

sixth.

4
the Dodwell pyxis at Munich, representing a boar-hunt.
figures are inscribed with fanciful names, such as

I.

is

The

A<AMbM^Oy

AO[>MAXOM

(Dorimachos, or "spearman"),
A
krater in the British Museum
and
so
on.
PA9OV (Pakon),
(Plate XXI.) represents a similar scene, also with fancy names,
Another famous vase is
such as Polydas and Antiphatas.

(Agamemnon),

the Amphiaraos krater in Berlin, representing the setting out

of Amphiaraos and the funeral games of Pelias no less than
;

twenty names

Of

are inscribed.

these,

(Hippalk(i)mos)
1

Studniczka, Kyrene, p.

flf.

Vol.

I.

342.

p.

iii.

by Blass, Dialektinschr.
and Wilisch, Altkorinthische

Collected

3120

flf.,

Thonindustrie, p. 156.
3
Roberts (Gk. Epigraphy,

134)

(Baton) and
other
palaeo-

the vases seem to belong almost entirely

to the first, down to 550 B.C.
5

p.

illustrate

distinguishes three periods in the Corinthian alphabet from 700 to 400 B.C., but

i.

^ATO^

Vol.

I.
p. 316, Fig. 90.
Cat. 1655: see Vol. I. p. 319.

CORINTHIAN INSCRIPTIONS

251

Other good examples are the vase by

graphical peculiarities.
1
Museum with the name of the
in
British
another
the
Chares,
2
B/^S, Alvera e/x/), and that by Timonidas
3
study of
representing Achilles lying in wait for Troilos.
in
this
One
in
the pinakes
Berlin is also instructive
respect.

owner

(AS^BTA

is signed
by Timonidas, another by Milonidas, while others
bear interesting inscriptions, such as Fig. 174:

FIG.

174-

UeipaeioOev

We

"

it

have come from Peiraeus

"

4
;

TVA&AOMXAKBMA^ A^OPMAN
TV Se 809 %apio-((r)av

"And do
|

and so on.

The

thou

make

d<p>opiJ,dv,

a graceful repayment"

majority have only the names of Poseidon and

Amphitrite, or (6 Setva) aveOrjicev.

In view of the palaeographical importance of these inscriptions, it may be worth while to dwell briefly on their peculiarities.

iThe dialect
often

differ

is

of course Doric, and consequently the names

to which we are accus-

widely from the forms

by divergencies of spelling, which

For instance, ^fcMAN^PA
6
a vase in the Louvre.
for
on
Kassandra
(KeaavSpa) appears
= AWwv) on the Chares
JAE is used for A as in A&Or/ (^AeOwv

tomed

produce

and

this is increased

many anomalous

results.

I,

3
4

Louvre E 600 = Reinach, i. 395.

M. A 1080 = Reinach, i. 306.
Athens 620 = Reinach, i. 394.
B.

Roehl, I.G.A. 20,

Ibid. 20,
63.

5.

E 638 = Man. deW Inst.

1855,

pi. 20.

has been suggested that the name

originally a corruption of Alexandra
It

is

Xandra = Ksandra = Kesandra (Kretschmer,

p. 28),

INSCRIPTIONS ON GREEK VASES

252

pyxis, and
the pinax

consonant,

in

PBPAkO<8>B^

(Tlepaeodev for ne(i)paiodev) on

nasal is dropped before a

already quoted.
in the names of Amphiaraos

as

(A^SAPfcOM)

and Amphitrite (A4>*TPITA).

The digamma lingers as a
medial (more rarely as initial) in many words, such as Fa%vs,
its written form is f^ or
AafjboFdvao-cra, IIoTeiSdFayv, and Ai&aiFwv
;

The use of B for the rough breathing is invariable.

One or two vases have been recognised as of Sicyonian
1

k.

fabric by the use in inscriptions of the unique S[ for E, peculiar

The only certain example, howto that place (Vol. I. p. 321).
is
in
a
krater
Berlin
(Cat. 1147), with the names of Achilles
ever,
and
Memnon
It may also be
(MYX1I+A)

(MXMNON).

noted that an Athenian sixth-century vase, signed by Exekias,

has a Sicyonian inscription incised upon it by its owner 2
:

ZPAI/^XTOM ^
'ETraiVeros

Boeotian vases never

//,

attained

to

the

importance of the

Corinthian fabrics, though, on the other hand, the manufacture

lasted longer
but there are several instances of early signed
vases from this district. Two, of which one is in the British
;

by Gamedes, the others by Theozotos, Gryton,

3
They are recognised as
Iphitadas, Mnasalkes, and Menaidas.
of
Boeotian by the use
typical letters, as well as by origin,
such are the fl for A, y for X, and so on.
style, and dialect
There is also a fifth-century vase with the Boeotian alphabet. 4
The Kabeirion vases have inscriptions in the local alphabet,
5
with a few exceptions, which are Ionic.

Museum,

are

unique vase, from the epigraphical point of view, is E 732

Louvre, found at Cervetri, to which allusion has been
made elsewhere (Vol. I. p. 357, and see Fig. in). It bears
eleven names (of gods and giants) in an alphabet which has

in the

The general peculiarities of the

Corinthian alphabet are not touched on
here, as examples have been given of
See Roberts,
all characteristic letters.
'

Gk. Epigraphy, i. p. 134.

3
Roehl, I.G.A.
Kretschmer, p. 51
;

p. 14,

No.

22.

p.

See Vol. I. p. 300 ; Klein, Mttsterm

30; Boston Mns. Report, 1898, p. 54,;

1899, p. 56; Rom. Mitth. 1897, p. 105.

4
Ath. Mitth. 1892, pi. 6, p. 101.
5

Ath. Mitth. 1890,

p. 411.

IONIC INSCRIPTIONS

253

been recognised as Ionian, and

is according to Kretschmer most

probably that of the island of Keos. The great uncertainty as
to the E sounds presented by this vase finds parallels in the
stone inscriptions found on that island, while in the use of B
for C (the older form of that letter), the four-stroke
and O
,

with a central dot, this attribution finds further support. The

only other islands that would fit the conditions are Naxos

As

instances of the confused use of E, we have

for IToXi;/3am?[>, while again
IHV* for Zeu9, but
But this confusion does
E(j>id\Tiis appears as HIPIATTE^!

and Amorgos.

POAVBOTE

Naxos or Amorgos.
Other vases are undoubtedly of Ionic origin, but their actual
home is uncertain they are usually assigned to the coast of
Asia Minor. For some reason, however, it is very rare for these
not occur in

bear inscriptions
in all the numerous instances now
half-dozen
with inscriptions can be found. 1
some
collected, only

vase's to

One

of these

is

and the Harpies

the well-known Wiirzburg kylix with Phineus

(see Vol. I. p. 357); another is a vase from
2

On
Vulci, published by Gerhard, which has since disappeared.
both of these we find the characteristic Ionic letters f! for co,
H

for

?;,

for %,

for X,

and

Both vases

with four strokes.

are of the sixth century, and other details attest their Ionic
origin.

We

now come

somewhat puzzling
the Chalcidian alphabet. 3 The
number of these is hardly more than a dozen, but such as they
are they have enabled archaeologists to establish a Chalcidian
to a very important but

class of inscriptions, those

in

school of painting by comparisons with other uninscribed vases.

In all cases the inscriptions relate exclusively to the figures in
the designs.
Among the characteristic Chalcidian letters are
the 9 for K, as in ^OITYsl 9
to<
the curved C for T, as
in
in

(^T
W V\OjV^AD (rapvF6vs = rr)pvov7]^
AtlUUEV* f^XAeu?);

for

I. p. 357 ; Karo in J.H.S.

156; Ath. Mitth. 1900, p. 93,

See Vol.
note.

p.

and Y
^O0V\A+

U for A

as in

and the abnormal form of the digamma

x.

E,

as in

for X, as

WAH

Anserl. Vasenb* 205,

3,

see Vol.

I.

p. 357.
3

See Vol.

p. 62.

I.

p.

322 and Kretschmer,

INSCRIPTIONS ON GREEK VASES

254

is

by

represented

one

in

(D

instance

(M[~~|OO =

M<V> 0-^09).
Kretschmer has compiled a list of twelve vases with inscriptions in this alphabet, to which one or two may be added, but
for a fuller

treatment of the questions involved in studying this

group the reader is referred to Chapter VII. This, however,
may be a more suitable place for a few remarks relating to the
inscriptions alone.
In one or two instances the dialect alone

is peculiarly Chalas
the
characteristic
letters
to
be wanting. In
cidian,
happen
some instances, as Kretschmer points out, the Aeolic fondness

for the

vowel v

is

to be traced,

as in

^VMQV^,

KVKVVS

for

KVKVOS, which finds parallels in the Chalcidian colony of Cumae,

and probably influenced the Latin language through that means.

Hence, too, the preference for the Q sound of the O, as in English

and other languages when v is preceded by a guttural. On the
British Museum Geryon vase (B 155) there is a curious mixture
of dialect in the forms Tapvovrj^

Nrjt'Ses.

must, be borne in

mind, in speaking of the Chalcidian

alphabet, that it really extended over a wide area, including not
only Chalkis in Euboea, but Chalkidike in Northern Greece, and
It

the colonies on the coast of Italy, such as Cumae, and this may
partly account for the mixed character of the dialect on some

But although an attempt has been

connect them with Cumae, it cannot be said at present

of these Chalcidian vases.

made
that

to

any certainty has been attained

as to the place of their

manufacture.

Though not belonging

to the Chalcidian group, there

which must be mentioned here, on account of

which is partly in the alphabet of the Chalcidian
vase

is

of the

"

Proto-Corinthian

dates about 700

650

B.C.

it

"

class (see Vol.

bears the

name

its

I.

is

eTTolrjcrev

'AyacriXeFov,

therefore one of the oldest existing signatures.

1

Rev. Arch.

xl.

(1902), p. 41.

inscription,

p.

308),

Th<

and

of the maker,

p
and

a vase

colonies.

Pyrrhos

is

ATHENIAN INSCRIPTIONS

255

ATHENIAN VASES
Under

heading are included

this

all

remaining vase-inscrip-

tions, except a few from Italy. Their value to us, as Kretschmer

points out, is not to be measured only by the mythological

information they provide, or by the list of Athenian craftsmen

and popular favourites which can be drawn up from them, but
In other words, they illustrate for
also largely philological.
us the vernacular of Athens in the sixth and fifth centuries,

it is

just as the

Egyptian papyri have thrown

vernacular of

the

In

second.

on the Hellenistic

light

small

countless

details

the

language of the vase-painters varies from the official language

of state documents and the literary standard of Thucydides,
Sophocles, and even Aristophanes. The reason is, of course,
a simple one
namely, that the vase-artists occupied a subordinate position in the Athenian state
they were mere
;

of

and

probability their
1
Hence we constantly find such
spelling was purely phonetic.
forms as Trta for Trie, vivs for vios, or O/ycru? for Sv)<Tev<; (see
above, p. 237) and even the rich potter Hyperboles is ridiculed

craftsmen,

little

education,

in

all

the comic poet Plato

for saying o\iov (sc. oliyori) for 6\lyov,

by
and SyTWfjLijv for St^no//,^.
Another interesting point is that many of the artists who
have signed their vases were obviously not Athenians by birth.
Thus we find such names as Phintias, Amasis, Brygos, Cholkos,
3
Sikanos, Thrax, and even such signatures as o AvSos (or o
It is, then, evident that many of them were
eypatyev.
or resident aliens, and consequently occupied but
a humble rank in the social order of the city. 4
One name,

indeed, that of Epiktetos,

is

actually a slave's

name

('ETrt/m/To?

"

acquired

").

We need not, then, be

surprised at meeting with

many

un-Attic

forms or spellings in the vase-inscriptions, which sometimes

give a clue to the origin of the artist, and of which it may
1

As

is

often

the

case with English

For

the

seventeenth-century inscriptions.
2
Frag. Com. Gr. (Script. Gr. Bibl.,

/^rot/cot cf.

248.
Notizie degli Scav i, 1903, p. 34.

Lys. 2230,

xlii.), p.
3

language spoken by the

Kretschmer, p. 76, and Phi-

Vit.

lostratus,

Soph.

ii.

I,

14; also Plat,

u7ro/3a/>j3a/>/foJTes

INSCRIPTIONS ON GREEK VASES

256

be interesting to give some specimens. Kretschmer notes that

these variations are always Doric, never Ionic.
The commonest Doricism on Attic vases is the use of A

HIMEPOPA

for

Aaidveipa

Arfidveipa

OIAIPOAA*

440);

A A AN El PA,

which there are many instances, such as

for H, of

the

for

Attic

for

(B.M.

'I^po-m]

Ol&nroix;.

Such forms

and Qeppefyacraa are also clearly un-Attic. On

the other hand, the names Menelaos and lolaos always appear
in their Attic form Mez/eXew?, 'IoXeo>?.
The above instances
are all from proper names
but there are other remarkable
as *O\vdcrevs

instances, such as the use of /ca\d for rca\r} in

|<AAA KOPINGAI.

uses the un-Attic form

On

one of

TE5APA,

On

a B.F.

Exekias
Kretschmer

Teo-(cr)<zpa, but, as

and was probably not

notes, he also uses 'JoXao? for 'IoXea>9,

an Athenian.

PANTOiEENA

signed vases

his

in

amphora

occurs the form irapBeffaicev.

Perhaps the most remarkable

Rome

(see below, p. 263)

use of non-Attic

Greek on

the case of the artist Brygos, who, as we have

On a kylix in
already pointed out, was of foreign origin.
his style (B.M. E 69) we find the forms AlirOws, NucoTrlXij,

a vase

in

is

and
Macedonian

HYXo>i>,

These were

U/XtTTTro?.

at

one time referred to a

origin, but Kretschmer points out that that people

He aptly quotes the Scythian in the

B, not TT, for <t>.
Thesmophoriazusae? with his TrtX^et, mnVerat, and KSTrdkr), as

used

giving a likely clue to the

home

of

this

dropping of the

aspirate.

The

painted inscriptions on the Attic vases may be divided

classes: (i) those relating to the whole vase and

into three

(2) those relating to

purpose, such as artists' signatures
on
the
i.e.
the designs
vase,
explanatory inscriptions, and those
found on Panathenaic amphorae (3) those which stand in no
its

direct relation to the vase, such as the so-called

1

Naples

3089

33-4.
2
Bibl. Nat. 372
3
Bibl. Nat. 846

Millingen-Reinach,

= Reinach, 92.
= Klein, Lieblings-

inschr?
4

i.

p. 129.

Hartwig, Meistersch. p. 320 ; Diimmler

in Her/. Phil. Wnch. 1888, p. 20 ; Kretsch-

"

love-names

"

mer, p. 81.
5
Ar. Thesm. 1084-1225.
6

Kretschmer also hints that

it

to indicate the pronunciation of 4>

Athenians as
as F.

PH

in

"

seems
by the

hap-h?.zard," not

ARTISTS' SIGNATURES

257

or " pet-names," and interjections such as " hail," " drink deep,"
etc.
The incised inscriptions have already been discussed.

The

artists'

signatures

first call for

consideration.

In relation to

works they are

fully discussed elsewhere (Chapters IX., X.),

but the present may be regarded as a convenient opportunity
for some general outline of the style and palaeography of these

their

inscriptions.

Klein in his Meistersignaturen (2nd edn.) reckons a total

of ninety-five signatures, a number which has probably been
These names he finds
largely increased since he wrote in 1887.

some 424 vases, one name, that of Nikosthenes,

on
no
fewer than seventy-seven
he divides them
occurring
distributed over

into four classes, as follows: (i) masters in the B.F.

(2) masters combining the two methods
R.F. method (including S. Italy vases)

(3)

method

masters

in

the

(4) masters whose

These four classes
names appear on vases without subjects.
are not mutually exclusive, as names in (i) and (3) appear again
in (2) and (4).

The form which

the signature takes

is

usually (i)

6 Seti>a eiroLTjaev (of the potter)

or

6 Selva eypa^frev (of the painter)

or

(2)(3),

the two combined, either under one name, as

'EfyKias eypaifre

/caTroirja-e /ze

or (4), with separate names, as on the

FIG.

The form

(3)

but

more probable that

it

VOL.

is
II.

may

Franois vase

175-

possibly indicate the priority of the artist,

it was
adopted as forming an

17

INSCRIPTIONS ON GREEK VASES

258

When Ifrolrjo-ev only occurs on a painted vase,

generally to be assumed that the potter is also the painter.
The older artists avoided, as a rule, the imperfect eypafa or
eVot'efc, but its use came into fashion for a short time among the

iambic trimeter.
it is

early R.F. artists, such as Andokides, Chelis, and Psiax, who

use eiroiei (Vol. I. p. 430)
it was
again adopted by the Paestum
and Apulian schools, as a modest affectation that their work
;

was as yet unfinished. 1

decided
is

But the majority preferred the more

The word ^e or e/ie

indicating completeness.
added by the earlier artists,

aorist,

usually

as

the

in

instance

already quoted from Exekias.

Generally speaking, eypa^rev
A rare
rarely occurs on B.F. vases, eTrolrjaev being the rule.
form of inscription is the formula epyov (rov 8eiva\ as in the
2
and even more unique is the
doubtful signature of Statios
use of the word Kepapeveiv by the early Attic potter Oikopheles, 3
as a synonym for iroielv.
Other peculiarities of signature are
;

on the works of Lykinos (rjpydcraro), Paseas (Ilaoreov

ypajji^drcov), and Therinos (Oeplvov Troirj^a)^
The potter sometimes added the name of his father, either as
being that of a well-known man, or to distinguish himself from
Thus Timonidas of Corinth signs
others of the same name.
T*MO^*AAM BCPAM/BiT^A, TV&WSa? eypa^e Eia (sc. son

to be seen

rwv

of Bias)

Tleson, TXrjawv 6 Nedp%ov Eucheiros, OpyoTi/j,ov vivs

Euthymides, HOPOAIOV, 6 Uo\lov.
(the son of Ergotimos)
The latter in one instance not only gives his patronymic,
;

but challenges comparison with his great

in the following terms: HOS OVAE POT

rival

Euphronios,
e?

EVf>ONlO^,

"

Euphronios never made anything

Other peculiarities are the omission of the verb,
as was sometimes done by R.F. artists (e.g. Psiax)
or, on
the contrary, the simple eTroiijo-ev, without a name, sometimes

ovSeTTOT(e) Ev<f>povio$,

like this."

i.e.

There are also isolated instances of

Timonidas of Corinth, Pheidippos, Euthymides, and Aristophanes.

made by the comic poet Phrynichos,

who speaks of " Chairestratos soberly
"
(Athen.
pottering (/te/oajueiW) at home

See Klein, Meisters.

xi,

Zypafa:

2
3

p. 13.

B.M. F594.
Gardner, Ashmolean

Vases, No. 189,

We

OtKo0e\7?s.
pi. 26: 'E/tepdyueuo'ei' e/i
are reminded of the jest about Chairestratos

474 B).
See list

at

end of chapter, and Klein,

op. cit. pp. 49, 213, 214.

5

Munich

Reichhold,

378
pi. 14.

and
Furtwaengler
See Vol. I. p. 428.

ARTISTS' SIGNATURES
found

on

addition

by

the latter

1
kylikes of the Epictetan school
the artist of his tribe or nationality.

R.F.

we have Kleomenes,

Teisias,

259
;

or

the

Among

and Xenophantos, who

style themselves 'AQrjvalos, and Nikias, who not only gives his
father's name, but also his deme in Attica
:

FIG.

176.

'

as E\_P~\}JLOK\OV<$

Two

o Av6<$ (the Lydian) and

Smikros
Z/cvOr)? (the Scythian).
signs one of his vases in
the Louvre 2 AOKEIIMIKPHEINAl, "It seems to be Smikros'
There are also frequent vagaries of spelling, as in
work."
for Qivrtas, Ildv^cuos or IlcivOaios for ITa/^ato?, and
for 'lepwv.
Sakonides once spells his name Zcucttvihr;,
and Nikosthenes once uses the koppa Cp for K.
Fuller
information in regard to this subject may be found in Klein's
admirable work there is also much of interest relating to the

other artists

call

themselves

R.F. cup-painters in Hartwig's exhaustive treatise. A complete

list of all known artists' names is given at the end of this
chapter.

We

now come to the inscriptions which have relation to

the subjects depicted on the vases.
These are seldom of a
but
general kind, having reference to the whole composition
;

on a Panathenaic amphora in Naples a boxing scene is

entitled PANkRATION, "general maul," 3 and on another

Munich over a

in

foot-race

is

written,

5TAAIO ANAPON

avbpwv vimjf while a B.F. lekythos in the same

with Dionysos and dancing Maenads is inscribed

NIKE, o-raSlov
collection

AIONV5IA(l<)A.

PATPOKAIA,
1

On

and

in.
Monuments

on

vase

one

P-33-

107

see

with
3

Klein, Meistersig. p.
2

with

Piot,

ix.

a
a

Homeric subject is
scene from Theban

Naples 3415.
Munich 498 = Reinach,
Cat. 1152.

i.

215.

INSCRIPTIONS ON GREEK VASES

26o

Localities are sometimes hinted at

such
words as KPENE (Kprjvr)} on the
use of
by
Frangois vase, where Polyxcna goes to the fountain, or by
the KAUPEI<PENE Ka\\Lpp(6)rj Kprjvrj on the British Museum

KPEONTEIA.

legend

the

hydria (6331) with

More

girls

drawing water

fountain

the

at

of

names

are given to inanimate objects

like the dcucos (seat) and vSpia (pitcher) on the Frangois vase,
0-Ta#//,o? on the Arkesilas cup, the /3<w//,o? (altar) on a vase in
Kallirrhoe.

Munich

often

\vpa (lyre) on a cup in Munich (333), and

2
on
an
On a washingamphora in the Louvre.
Opovos (throne)
basin on a R.F. vase published by Tischbein appears the word
(Cat.

124),

The word repfjLwv sometimes

on
a
on
stele
later
Animals
are also occasionally
vases.
appears
5
named, such as the 9 on the Munich vase already quoted (333).
But the greater majority of these inscriptions refer to the
names of persons, deities, and mythological figures, the name

AMMONIA,

*.." public baths."

nominative, but occasionally in the

6
Sometimes generic
genitive, with eZSo? or ei/tow understood.
names or nicknames are given to ordinary figures in genre

being

in

usually

the

"
"
the ship's captain ; Kco/za/^o?, " leader
scenes, as 'Apxevavrrjs,
"
of the revels
or, again, II\r/t;i,7r7ro<; for a horseman, Tofa/xts
;

a Scythian bowman. 7
Names of real conare
occasionally introduced, as on a hydria
temporary persons
on
which
his
comrade Euthymides and the " minor
by Phintias.

and

Kijufjiepios for

"

Tlenpolemos are represented, with names inscribed

and on a stamnos by Smikros at Brussels the artist introduces
9
himself and the potter Pheidiades at a banquet.
Although
proper names usually stand alone, they are sometimes accom"
Here is
panied by some interjection, as o&l Meveo-Qevs,
10
11
"This
is
the
Menestheus,"
Sphinx; hail!"
Sfiyl; tfBe %<upe,

artist

'

or in the form of a phrase, as 'EpjAfjs

1

Munich

380, 810

Reinach,

7
ii.

115,

363.
2
3

Reinach,

E.g.
5
6

Kretschmer, p. 85 see
Munich 6 see Vol. I.
:

Louvre

852
ii.

Reinach,

i.

156.

Hoppin, Enthymides,

Monuments

292.

B.M. F62.

See also Kretschmer, p. 84.

E.g. B.M. 6164, 6254;

F 297 = Reinach,

ii.

26.

Louvre

10

Berlin 1737.

"

Munich 333

K Berlin
Vol.

I. p.

So

Kv\\rjvio<;.

H
i.

12

clfil

p. 92.

p.

428, and

p. 18.

Fiot, ix. pi. 2.

= Reinach,
= Reinach,

1704

326.

also

ii.

119.
i.

198;

EXPLANATORY INSCRIPTIONS
we

Nereus

for

sea,"

"

HAUIO5 HE PAN

find

AIO5

1
;

Aw

O5

A\LOS yepwv, "the old

NE5TOP PVUO*
for

<<y?,

Dionysos

261

man

of the

"Nestor of Pylos" 2
AIO5 PAI5, " the

son of Zeus," for Herakles 4 ravpos 0o/)/3a?, " the grazing bull,"
5
for the metamorphosed Zeus (a doubtful instance).
;

Besides the

names

of figures

and

objects,

words and ex-

clamations are sometimes represented as proceeding from the

mouths of the figures themselves, in the same manner as on
the labels affixed to the figures of saints in the Middle Ages.

They vary

in

length and

purport, but

some

in

cases

they

appear to be extracts from poems or songs, or expressions

familiar at the time, but now unintelligible or lost in the wreck
of Hellenic literature.
They are found on both B.F. and R.F.

more commonly on the former, and generally read

vases, but

according to the direction of the figure, as

if

issuing from the

mouth.

Thus a boy pouring wine out of an amphora cries, ENXE

O NON, ^(7)^ r)&[w] olvov, " Pour in sweet wine " 6 over

HA
the
"

of three runners in a race appears

first

Polymenon, you win"

vi/ca$,

Hokv^ev^v,

Amphiaraos is exhorted to
mount his chariot with the word avafta? or one personage
9
K0^
Sometimes the words are
says to another, x aty or 7r *
a
a
those
of
as
on
R.F.
evidently
kylix at Athens, where
song,
a man lying on a couch sings an elegy of Theognis beginning
" 10
"
Another sings
<w
TraiStoV tcaXXia-re,
Fairest of boys
again,

I/

<

MAMEKAIPOTEO,

which has been recognised as an inaccurate

version of an Aeolic line,

figured vase in the British

11

teal

KOI fidopcu.
(E 270) a man

irodrjw

Museum

On

a red-

accompanied
a
has
his open
an
from
by
flute-player
inscription proceeding
mouth, which runs, HOAEPOTENTVFINOI, <we TTOT ev
"
Here once in
TvpwOi evidently the beginning of a song,
."
On
a
in
stamnos
the
British
Museum
Tiryns
(439)
;

"

Berlin 1732
Plate XXII I.

Reinach,
:

Bibl. Nat. 219.

Louvre

see Vol.

Uned. Mon.

F385 =
pi. 38.

Reinach,

ii.

Kretschmer,

49.
p. 86.

ii.

66.

I. p.

326.
9

Millingen,

Anc.

10

"

Reinach,

128.

ii.

Kretschmer, pp. 86, 197.

See Kretschmer, p. 86.
Cat. 1158 = Ath. Mitth. 1884,

Kretschmer,

Poet. lyr. Gr.

iii.

loc.

cit.

cf.

p. 97, frag. 23.

pi. I.

Bergk,

INSCRIPTIONS ON GREEK VASES

262

NON

the letters

appear before the mouth of a Seilenos, and

1
evidently represent notes of music.
On a psykter by Euphronios 2
kottabos casts the drops out of

<I1A3\/O^ATAN/?AV\ATV\IT,

"To

thee,

(Munich

371)

saying, ov
To turn

represents
"

Swap

ov,

with

cup

rlv rdvSe

playing at
the words

Xarda,

Aeayp(e\

Another kylix
drops."
surfeited drinker on a couch,
these

can no more

courtesan

"
!

we have

another class of these expressions,

to

Panathenaic amphora
a herald

dash

Leagros,

in the British

proclaims a victor

in

Museum (B

the

144),

horse-race

on which

as

follows

AV/^EII<ETV HIPO^ NIKAI, Av(<r)velKrfrov <Wo? mica,

"
The horse of Dysneiketos 3 wins." On another of the same
:

class

one

an acrobat on horseback before judges, of

is

cries,

KAUO*TOH<VBI*TEITOI,

Bravo, then, to the

calls

to

it,

acrobat."

MEAITAIE, MeXmue

charioteer calls

"

to his horses, eXa, e\a,

his

dog
6

Maltese
"

rot,

tcvjBicnf)

boy walking with

(/>.

whom
5

AcaXw?

dog").

(?)

Gee up

"

Women

"

"
8
In a repreweeping over a corpse cry, olpoi, Woe is me
sentation of Oedipus and the Sphinx on a R.F. vase in Rome
the words HAITPI[POYN], Kal Tplirovv, occur, evidently with
9
reference to the well-known riddle.
An interesting bit of dialogue appears on a B.F. vase, 10 which
represents boys and men watching a swallow, evidently the
one boy says, IBov %eXt8o>i/, " See,
first of the returning spring
"
"
to which a man replies, vrj rbv 'Hpa/cXea,
the swallow
Yes,
"
"
Another boy joins in with avrtjl, There she
by Herakles
"
Another good instance
It is already spring."
is," and cap 77877,
11
On one side we see the
is on a B.F. vase in the Vatican.
oil from the olives,
of
an
olive
extracting
garden
proprietor
!

with
1

the

prayer,

OlEYPATEPAIOEPUOV$IOSrEN,

See Hartwig, Meistersch. p. 255.

Petersburg 1670. The Doric dialect
explained by Kretschmer as due to

is

Kretschmer,

p. 88.

lu

Reinach,

294.

Kretschmer,

p. 91.

Benndorf, Gr. u. sic. Vasenb. pi. I.

Helbig, 186 = Wiener Vorl. 1889,

pi. 8, 6.

I.e. KvpiarriTript.
i.

out, a clog of Melita

off Illyricum, not of Malta,

8

the Sicilian origin of the game.

3
Sc. "hard to beat."
4

Kretschmer points

Probably,

as

Zev

"

Reinach,

i.

96.

Reinach,

i.

106.

EXCLAMATIONS
irdrep,
"

rich

aWe
the

to

cries

on

while

av,

ryevfafi

he

other

the

purchaser,

my

beyond

needs."

Father Zeus,
over

sits

full

may

be

and

vessel,

EAEMENEAE PUEOI PARBEBAKEN,

"Already, already

tjr} pev, 77877 TrXeo(^) Trappepa/cev,

far

"

TrXovcrios

263

it

has gone

To

conclude with a few miscellaneous and unique inscriptions,

we have firstly, on a vase in the British Museum (E 298),
'

a tripod, on the base of which are the words AfcapavTls evUa

that it is intended for a monument in honour
cf>v\r}, showing
of a choragic victory, with the name of the victorious tribe.
On a sepulchral stele on a B.F. funeral amphora at Athens 2
are the words

(now nearly

obliterated)

dvSpos a7r[o(/>&//,]o>oto
a vile rag of a dead
on
a
Similarly,
sepulchral plaque at Athens are the
*HMATOAE*TIN APEIOY, "This is the grave of
"

paK\o^\ /ca[/c]bv [eV]0a8e Ki/j,a[i,

man."
words,

Here

lie I,

In a representation of Sappho reading from her

poems, she holds an open roll, on which are visible the words
Areios."

&eoi, rjepiwv eirecov ap^o/juaL d\\[o)v\

eirea Trrepoevra

4
;

and

the well-known school-scene on the Duris vase in Berlin

in

a teacher

hymns)

holds

roll,

combined

and

dialect,

on which are the words (in Aeolic

from the openings of two distinct

MOI^AMOI

Moto-a

EVfrANAR+OMAI
AEINAEN

de t'<v>3c t v. 6

/xot

small fragment of a red-figure kylix (?) of fine style, found

at Naukratis in 1899 (and now in the Ashmolean Museum at
7

Oxford),
legend,
1

ful
-

3
4

an inscribed

a-rrjai^opov

This translation
:

see Reinach,
Cat.

688

Reinach,

Athens

has a similar scene of a dictation lesson.

figure unrolls

=
i.

is

scroll,

VJJLVOV

somewhat doubti.

seated

the boustrophedon
another figure, of

is

pi. 6.
5

Plate

On

164.

XXXIX.

the form of the

see below,

p. 268.

513.

1241

while

ayoicrai,

loc. cit.

Reinach,

on which

Dumont-Pottier,

7
i.

Brit. Sch.

Annual, 1898-99,

p. 65.

INSCRIPTIONS ON GREEK VASES

264

which the right hand alone remains,

is

writing

on a tablet

I77>
a very puzzling scene on a R.F. vase of fine style,
generally supposed to have some reference to the Argonautic
expedition, one figure holds up an object inscribed with the
name |Y4>O$. 1 This object has generally been interpreted
as a tessera hospitalis, or "letter of introduction," as we

(Fig.

In

should say.
Lastly, there
2

is

the

They

inscriptions.

class

fall

of Panathenaic vases with their

into

TON AOENEOEN AOUON,

two

groups: (i) the words

which
to
EMI is sometimes

added, "(I am) from the games at Athens"; (2) the names

FIG. 177.

FIGURE WITH INSCRIBED SCROLL.

of archons, which only occur on the fourth-century examples.

instance of inscriptions which give direct
information as to the date of a vase, and range from 367 to

They form a unique

313

B.C.

(see Vol.

I.

p. 390).
(especially in the B.F. period) are covered
with meaningless collocations of letters, either separate or in
Some ingenious explanations of these
the form of words.

Sometimes vases

have been propounded, but none are very satisfactory. They

"
"
or
are often found on the class known as
Corintho-Attic
"
is
and
it
in
this
that
just possible
Tyrrhenian amphorae,"
case they are attempts by an Athenian workman to copy the
unfamiliar Corinthian alphabet.

The third class of inscriptions on Attic vases is composed of those which have no direct relation to the vase
see on the subject,
277
Hermes, 1898, p. 640; Notizie degliScavi,
1895, 86 ff.; and above, pp. 115, 137.
1

Reinach,

i.

p.

See on this subject, Urlichs.

ff., and Vol. I. p. 389.

33

Beitriige,

KAAOS-NAUES
used

in

making
"

to

invocations

include

They

itself.

libations,

such

deities

"

ACos

e.g.

265

2*0)7^/009,

were

as

To Zeus

the

Saviour
or, again, the exhortations so frequently found
"
on B.F. kylikes of the " Minor Artists'
school, of which
"
the commonest is %^/ae KOL iriei ev,
Hail, and drink
*

On
"

"

3
"
Hail, and drink this
^atpe KOI Trlet rtjvSe,
a number of R.F. kylikes appears the word TTpoo-ay opeva),

"

deep

or

salute you."

But the most numerous and important inscriptions of this

are those conveniently named by German archaeologists
"
"
Lieblingsnamen," or Lieblingsinschriften," for which we have
"
no satisfactory equivalent in English, though " pet-name and
"
"
"
have been suggested, and latterly /eaXoVname."
love-name
The latter title has been adopted from the fact that the usual
form which these inscriptions take is that of a proper name
in the nominative case, generally masculine, with the word
class

Sometimes, but not so frequently, the name

5
the superlative form KaXXio-ro? is also
feminine, with Ka\rj
6
In other cases 6 or 77 Trot? appears in place of
found.

/caXo? attached.
is

the proper name, or the word So/cet is added, and sometimes

also val or vaiyi, emphasising the statement.
The most remarkable instance is a B.F. jug at Munich, round the shoulder

which

of

is

So/eel,

the

inscription

val'

^arepo?

Nifc6\a

AwpoOeos #aXo9
Mefivwv fca/jLol /ca\bs
far the word /eaXo'? should

KCL\QS

7ra?

KaXo?,

It is not quite certain how

"
in
a physical sense
as
interpreted
"fair," or in an ethical sense as "good" or

be

handsome "

or

but

"noble";

having regard to the manners and customs of fifth-century

8
Athens, it is more likely that the physical meaning of the
word is to be inferred.

These inscriptions are often found on B.F. vases, but

more frequently in the succeeding period, and generally
1

Athen.

vases, but
2
3

xi.

cf.

466
B.M.

B.M. 6415, 422; Berlin 1775-76.

For variaSee Klein, Meisters.

mer,

p. 82.

p.

Instances are

B 631, E

Berlin 1764 ; Munich 37.

tions see Kretschmer, p. 195.
4

not found on Attic

F 548.

10

Kretsch-

330,

6339,

E.g. B.M. 6400.

Cat. 334 = Reinach,

probably by Charinos.
8

B.M.

in

718.

is
;

182,

far

i.

Cf. the story of Pericles

cles told

by Cicero,

De

The

79.

OJfic.

vase

and Sopho\.

40, 144.

INSCRIPTIONS ON GREEK VASES

266

more or

connection

with artists' signatures, from

have
been obtained.
interesting
Special
attention has been drawn to them of late years, from the fact
that many of the names are those borne by historical personages,
such as Miltiades, Megakles, Glaukon, and so on, and attempts
have been made to connect them with those characters (see
fact

Vol.

p.

I.

direct

less

which

results

403).

Klein, the chief writer on this subject, has collected in the

second edition of his valuable work no less than 558 instances
1
of these /caXos-inscriptions, as against 424 signatures of artists
and there are besides these the numerous instances in which no
;

proper

The

name

is

given.
chief question

which

for consideration in regard

calls

and the reason why they

occur exclusively on vases, and of these exclusively on Attic
vases covering a period of not more than one hundred years.
The custom was not, of course, an unfamiliar one at Athens,
to these inscriptions

is

their purport,

1
Aristophanes indicate. In the Acharnians'
"
"
of
he describes the Thracian Sitalkes as being such a lover
"
on
The
he
wrote
the
Athenians
are
Athenians
that
the
walls,

two references

as

fair"

in

and, again, the slave Xanthias, in the Wasps, speaking of

if ever he saw

his master's litigious proclivities, says that

KO\OS written on a door he promptly wrote by the side

3
But the most interesting and apposite instance recorded
/caXo?.

who

scratched on the ringer of his statue of

4
Generally speaking, the
Olympian Zeus, HavrapKr]? /co-Xo?.
word was no doubt intended to refer to the personal beauty
that of Pheidias,

is

the

of boys (as indicated by the use of

6 TTCM?), or at

any

rate of

athletes, and was applied to popular favourites of the

whose occupations in the gymnasium, at the banquet,
and elsewhere were matters of every-day talk.
These names may have been placed on the vases with the

young
5

day,

Vasen mit Lieblingsinschriften^ 2nd

Of these, 528 are masculine

juries recorded their votes.

*

edn., 1898.

Cf. Frazer's note

names, and only 30 feminine.

(vol. iv. p. 37).

2
143 ff. There is, of course, a play
here on the word e'pcumjs.
3
97 ff. Demos is here a proper name;

2314, a

Kf)(j.bs

means

the ballot-box, in which the

on Paus.

vi.

10.

Such as the Laches xaX6s on Berlin

name which recalls the Platonic

dialogue with that

title.

view of attracting the public to purchase them, or may even

have been the subject of special orders from customers. Some
light seems to be thrown on the matter by a cup signed by
1
the painter Phintias, which represents a young man, purse in
hand, making purchases of vases in a potter's workshop. This
vase has the inscription Xaipias /caXo'?, but whether it is intended
as a representation of Chairias or his admirer it is impossible to
The names, however, are not always those of every-day
say.

They may have

life.

HEKTOP KAAO*.

We

relation to the

figures

on the vase, as

have already noted that historical names frequently occur

and it is obvious that if they can be identified

in this series,

with the actual historical owners of such names

much

valuable

information in regard to the chronology of Greek vases will

The question has already been discussed in a
be gained.
previous chapter (Vol. I. p. 403), and the principles there laid
down need not be repeated. It is sufficient to say that so far

only two or three names have been identified with those of

historical personages, though more results may yet be obtained.

Of

these one

is

Stesileos, occurring

identified with a strategos

who

on two vases
Marathon

at

fell

in Berlin,
in 49O.

and

On

two lekythi (one late B.F., the other R.F.) the name of Glaukon
son of Leagros 4 appears, and these two names have also been
identified with Athenian strategi, Leagros having fallen in battle
against the Edones in 467, while Glaukon commanded at

Kerkyra in 433 432 B.C. It may be roughly inferred that Leagros

was a boy (-/rat?) about 510 B.C., and his son Glaukon about
470 B.C., which gives an approximate date (within ten years or
It is, however, obvious
so) for these two groups of vases.
that much at present only rests on hypothesis.
It is curious to note that nearly all these names have an
thus we have Alcibiades, Alkmaeon,
aristocratic sound
and
Megakles, besides those already quoted.
Hipparchos,
Miltiades /ea\6? occurs on a R.F. plate at Oxford, 5 but there
:

2
8

Hartwig, Meistersch.
Reinach, ii. 94.

Hartwig

in

vases by Euphronios and other artists:

see Klein, Lieblingsinschr?- p. 70 ff.

pi. 17, I.

Melanges (fArch. 1894,

10 note.
4

The name

Klein, Lieblingsinschr.- p. 87
violean Vases No. 310.
,

of Leagros occurs on

many

= Ash-

INSCRIPTIONS ON GREEK VASES

268

seems hardly sufficient evidence for referring it to the youth

of the conqueror of Marathon (cf. Vol. I. p. 403).
The table
at the end of this chapter may be found useful as giving a
conspectus of the principal names and their relation to the artists
It

now

is

peculiarities

some of the

discuss

necessary to
of the Attic

vase-inscriptions,

in

principal
to

regard

The variety in
palaeography, orthography, and grammar.
the forms and uses of the letters is somewhat surprising
1

at

first

but

sight,

were always

influences

remembered that

must be

it

as

strong,

has

indeed

non-Attic

already been

pointed out.

A usually appears either in that form or as A, A

but
such variations as A, A, and A, are found on R.F. vases,
while at a later period even A occurs.
A on the vases
;

of Duris generally appears as A, and fthe Attic form of A.

varies between

is

found

and

for
,

V,
while

such abnormal forms as S (Oikopheles), and

are not unknown.

Xenokles uses a sort of cursive handwriting
for his signature.
H is used for k and 77, as in HPME5 for
HEPME5, HPAKUE5 for HEPAKUE5, which seems to be a
confusion of ideas resulting from its use for eta in Ionic,
and for Ji in Chalcidian (i.e. Western) alphabets.'2
The

The minor

for

sign

and

artist

the

aspirate

occurs

first

as

g,

afterwards

as

H,

sometimes introduced without apparent reason, as in

HIUEIOVA for Ei\ei0via, and BAQPOAITE for 'AfooSlrrj. The
digamma is unknown on Attic vases, but the Francois vase
is

and the
examples

"

allied

"

group

Tyrrhenian

of the use of
<p

for

K.

give some
Thus we find

interesting

^OPA-M

Ko>af, ETEO9UO$ for 'EreWXo?, -f API^UO for XapiK\v.

On the Corintho- Attic vase in Berlin (1704) are two curious
instances of dittography, due no doubt to Corinthian influence,
for

Kv\\ijvios being written K<pYCVNIO$ (Kqvi\vios) and Zeu9 as

ABEV5, where the Corinthian and Attic forms of K and E

stand side by

have
1

p.

See

94 ff.

side.

So on a vase

in the

lAEV* =
for

this

section,

Kretschmer,

2
3

Louvre (E 852) we

See Kretschmer, p.
See Vol. I. p. 326.

ATTIC ORTHOGRAPHY
As

a result no doubt of the unsettled state of the alphabet

and

in the fifth century, a confusion in the use of e

respectively, often arises, and

ft>

269

KVMOAAKE

'AXfcl/jiaxos AraXo?,

we

and

77,

and

'

find

'A\Kt,fjLd%a)s KCL\W<; for

for KV/JLO^OKTJ,

OHTU

for

6ert9,

and similar forms. 1

The diphthong ei is sometimes rendered
sometimes
by El,
by E, as in KAUEAOkES for ica\i) So/cet?
ai and et, are also rendered by E, as in the name A UK M EON
for 'A\KiJ,aiwv and PENOE5IUEA for IlevOecrlXeia, or ai by A, as
;

AOENAA

in

+IPON

In a few words, such as

for 'Afyvaia.

and 5IUENO$ (^e/X??^?), the diphthong ei is represented by its other member I. On the other hand, we find
EIOAEO5 for 'loXew? (B.M. 6301). The general vagueness
of the Attic craftsmen's orthography is well illustrated by
Kretschmer in the word 'OSvao-evs, which is not only invariably spelled with a A, reminding us of the Latin form Ulixes,
(Xeiputv')

but

forms

OUVTEV5
OUVTEV, OUUVTEV^ OUVTTEV5, OUVTE5, OUVSEV/,
occurs

the

in

and .n.UV$$EV$,
ordinary S-form

following different

The

this order
is,

being roughly chronological.

3
however, found.

A tendency to assimilation of aspirated consonants, always

avoided in literary Greek, is seen in such forms as OAUOVBIO5
for Ta\0vj3io<i,

+A+PVUON

for ITayiK/>ai09.

The

for Kaxpv\ta)v, and 4>AN4>AIO$

reverse tendency is curiously illustrated in
for Xapi-ralos.
Unassimilated forms occur, as in

|<APIOAIO5
the

case

AN-HPOS

of

for "^4y^7T7ro9.

Another peculiarity

the omission of nasals before consonants, as in

is

for

'^TaXa(T77,

TYTAPEO

UAPON

Nv(n)(t)ai,

sonants, as

in

Tlepa-e^arra
A or double

is

ME5IUA

HUVTAIME5TPA
On

for

There

'E(7)/ceXaSo?.

for

as

in

for

for

MV^crtXXa, API

KXvrai^v^rpa,

common

OUVTEV5

AN E for 'ApidSvrj,
PEPO^ATA for

in the case of

and ME5IUA

double

just quoted.

the other hand, on later vases consonants are often doubled

But see

p.

271 for the probable ex-

planation of this use of w.

Kretschmer,

Berlin 2291.

Munich 340

p. 146.

Naples 2899; B.M.

Louvre F53

Reinach,

ii.

kias).

for

also a tendency to avoid double con-

this is especially

I,

ATAUATE

Tv^Sapew? IA<W ^\
EKEUAAO^
Ad^Trcov, and
for

156.

./.. 7433

59 (Exe-

INSCRIPTIONS ON GREEK VASES

270

without reason, as
for Tpfc7TTo'Xeyu,o9,

in

KAS^TOP

MEMMNON

for Kda-rwp, 1 Tt*IPPTOUEMO$

for Mepvcov, this being commonest

EE and Y, originally absent from the Attic

and (D$, exceptionally
alphabet, are represented usually by
2
also occasionally
by 1<5 and PS, as in H-APOP5, KSENOKUES

and p.

with

by metathesis, as EAPA54>EN, 5+ANOO*,

Attic contractions, such as -f-ATEPO
for

I<AMOI

for teal

Among

fj.oi,

of inflection

may
OESVS

misspellings)

PAVS

viv? for f/09,

KOI

and

erepos

are also found. 4

peculiarities

course be mere

PISTOLE NO*.

for Trat?,

(some of which may of

be mentioned HVIV5 =
for 07/o-eu?, and PEP5E5

open form -ee? for -779, as in HEPAKUEES,

form iriei for Trie to some of these
allusion has already been made.
for JTe/3creu9

also the

-KENOKUEES, and

From

the

mass of

this

detail

it

is

possible

to

deduce certain

not without their value for

chronological results, which are

the dating of the various Athenian

fabrics.

Excluding the

doubtful Dipylon vase, the inscriptions extend from the seventh

6
century down to the time of Xenophantos and the late

Panathenaic amphorae, a period of over three hundred years.

In the Francois vase we meet with the closed B for the
and O
aspirate, the Cj) and K together, and the two forms
of 0; as the <g> form dropped out of private use earlier than
out of official documents, and is found in the latter down to

520

B.C.,

we can date the Frangois vase about the middle

of the

the same
sixth century (not later, as the closed El shows)
date will also apply to the earliest Panathenaic amphora
;

M. 6130), and the cup of Oikopheles. The fact that

"
Eucheiros, a minor artist," calls himself the son of Ergotimos,
who made the Frangois vase, permits us to place him some
thirty years later, about 520 B.C., and this point may be re-

(B.

garded as the zenith of the B.F. period.

1

B.M.

224;

Karlsruhe

(OPEZZTEZ)

Berlin 2184

(TRITON N05)
2
3

Kretschmer,
Ibid. p.

80.

p. 179.

209: cf.
and 1906

In the later B.F. vases

Munich

See generally Kretschmer,

The two

334.
p. iioff.

Proto-Attic inscribed vases

(Berlin 1682 and Art.

see Vol. I. p. 293).

Denkni.

i.

57

CHRONOLOGY OF ATTIC INSCRIPTIONS

271

and O begin to make their appearance 1 but

the conservative Panathenaic amphorae, like the coins, adhere
the H and fl for E

to the original spelling right

down

to the end.

existence of the R.F. style for some time previous to

480 B.C. has now been established by the discoveries on the
Athenian Acropolis. This is also borne out by the appearance

The

on vases by Euthymides of the (g) form for O, and the complete

absence in the earlier vases of the H and fl forms, which are not
found among the Acropolis fragments. The hydria of Meidias
(B.M. 6224), which marks the zenith of the "fine" period,
The Ionic forms seem to have
has a purely Ionic alphabet.

come

in

with the

"

fine

"

R.F. style after 480

B.C.,

and

for

some

time we find a mixed alphabet on the vases. 2 It is also interesting to note the appearance in some cases of the Thasian
alphabet,

B.M.

with
318),

Polygnotos.

We

its

use of fl for

which

has been

(as

traced

in

to

A\iUfA&)(ws /ca\w$,
the influence of

conclude our account of inscriptions on Greek vases with

a brief survey of those found on the vases of Southern Italy 4

that they are neither numerous nor specially
it will be seen
;

interesting.

The inscriptions are for the most part in the Doric dialect and
Ionic alphabet, with the addition of the Doric sign h for the
Generally speaking, these Doric forms are found on
aspirate.
the Apulian vases, whereas on the products of Paestum they are
mainly Ionic, with admixtures of Doric. Attic forms also occur.

seems probable that the Doric tendencies of the Apulian

due to the influence of the great Laconian colony
of Tarentum (although the vases were not made there), while
Paestum was influenced, on the other hand, by the neighbouring
Ionic colonies, such as Cumae.
The latter, being for the most part of earlier date, will first
occupy our attention.
They include two artists' signatures,
which appear in the form
EFFACE and PYOAN
It

inscriptions are

ATEA

Berlin 2008 Rom. Mitth. 1886, p. 21.

See the table given by Kretschmer,
;

F- 10 S-

See Vol. I. p. 443, and

article 'mjahrbttch, 1887, p.
4

See Kretschmer,

p.

211

Dtimmler's
168

ff.

ff.

INSCRIPTIONS ON GREEK VASES

272

We

EFPA^E-

have already remarked on

use

the

of

the

there are five vases by Assteas and

258)
one by Python, on all of which the figures also have their names
1
inscribed.
The Ionic forms appear in MEhAPH, Meydpy,

imperfect tense

AAKMHNH,

(p.

'

h in

r-E$$PEPIA$

and so on

on the other hand, Python

'-4? = 'H&><?, and Assteas the Doric
Ionic forms are also found
'.E <V> crTre/jta?.

AXtcfiiyvr),

AA,

uses the Doric form

on a few Apulian vases, as for instance Berlin 3257 (from

Ceglie), which has E]YYMIH and EYNOMIH for Evdvpia, and
Evvo/jila, or

Naples 2296 with

NHAIH

for Nyo-ala.

Some

of the inscribed Apulian vases are not without interest,

as for instance that in the Louvre, which bears the signature

of Lasimos

AA^IIMO^I EfPAYE,

He was

Adcri/jios eypatye.

probably not a Greek, but of Messapian origin. On the great

Dareios vase in Naples (No. 3253) several names are inscribed,
such as hEAAA* for 'E\\as,
AAPEIO, and the general
f

title

the

in

AIA,

of the scene, PEPS! A I.

British

On

Museum (F26Q)

a well-known burlesque scene

the characters are inscribed

hHPA ("Hpa), AAIAAAO

(Ja/SaXo? = Hephaistos), and
=
ENEYAAIO2I ('Ei/<Y>uttAto9
Ares); and on the fine amphora F33I, representing Pelops at Olympia, are numerous
incised inscriptions:

HPPOAAMEIA,

PEAOt,

Tle\o^

'

iTnro&dfAeta, etc.

OINOMAO,
On

the

altar

Oivofiaos
is

painted

"

the altar of Zeus."

AIO, Aw,
A curious inscription is that on a krater
sc.

in Naples (No. 2872),

which represents Eros and a woman playing at ball the latter
leans on a stele on which is inscribed +H*ANMOITAN*4>IPAN
which was interpreted by Cavedoni, probably correctly, as ig?
;

dv
is

is

"
You might send me the ball." The +
TOV a($(a)lpav,
This inscription, be it noted,
an error for h, the H for H.
painted, contrary to the general rule in these vases, as they
iJLOi

but an exception seems to be made in

are generally incised
favour of inscriptions on stelae and similar objects, which are
;

not uncommon, though

many

Dasimos (see Vol.

For the proof that Assteas and

Python worked at Paestum, see Vol. I.

correspondence of

p. 479.

common,

The name

is

perhaps a by-form of

In the

are open to suspicion.

as in

5a/f/>tfs

I.

p.

and

The<
478).
is not un-.

lacrima.

INSCRIPTIONS ON SOUTH ITALIAN VASES

British

Museum

curious

is

inscribed

there are several examples/ but

on an amphora

by

far the

(No. 2868), where a

in 'Naples

273

most

stele is

NnTniMOAAXHNTEKAIA!<J>OAOAONTTOAVPIZON
KOATTniAOIAITTOAANAAIOVlONEXn
/XoXtt^V T Kttt ttCT(o8oA.Ol/ 7TO\VplE,OV
OiSiTrdoW Aato(v) wov c^w

VtoTto [/X-ev]

KoATrw

"On my

back

8'

bear mallow and many-rooted asphodel, but in

bosom Oedipus,

Laios' son."

and unique inscription

curious

kotyle from Chiusi

is

my

found engraved on a
"

This fellow
ouro? rov Sapov e<pa irovapov,
said that the people were a depraved lot." 3
The rj of Trovrjpov
was first written E, and then corrected into A, the Doric form.
It

may be supposed

that the inscription

is

due to a workman

who

did not approve of the democracy under which he lived.

On an amphora from Gnatia (Fasano), with a goose and a

cock, in white on the black ground,

at rov

is

the quaint dialogue

ANHXXAoTIA, OTONEAETPYTONA
"
v eA.TpvyoVa, or, "What, the goose ?
x^ a
?

<*>

the cock!"

"Oh,

Etruscan inscriptions do not come within the scope of this

chapter, but an Oscan inscription should be mentioned here,
which is incised on a vase in the British Museum (F233), over

an actor: AIT\AA^ = Santia, the Oscan form of

which was a common name for the slave of comedy.

LIST OF ARTISTS' SIGNATURES

I.

Aristonoos

FOUND ON GREEK VASES

EARLY FABRICS (CHAPTER

VII.)

INSCRIPTIONS ON GREEK VASES

274
Iphitadas

Menaidas
Mnasalkes
Theozotos

eiroitjcre

Boeotian

tiroirjffe

do.

eTroiT/o-e

do.

ewoiyo-e

II.

Amasis

do.

ATTIC BLACK-FIGURED VASES

Rom. Mitth. 1897, p. 105

Wiener Vorl. 1889, pi. i,
Boston Mns. Report, 1899,
Louvre F 69

(Vol.

I.

p. 379).

fig.

p.

56

LIST OF ARTISTS' SIGNATURES

Taleides

275

276
Hegesiboulos

INSCRIPTIONS ON GREEK VASES

.

ARTISTS' SIGNATURES
Kleomenes
Kriton

Lydos
Lykinos

Lysias

Myson
Prokles
Teisias

Therinos

Modelled vase
en-oojo-e

AND KAAOZ-NAMES
in

Louvre Mon. Grecs^ 1897,

pis.

277

16-17

INSCRIPTIONS ON GREEK VASES

278

Athenodotos (Peithinos; with Leagros)

Brachas
Chairestratos

Lichas

Lyandros
Lykopis

Chairias (Phintias)

Lykos (Euphronios, Duris, Onesimos)

Chairippos

Lysis (Hartwig, chap, xxiii.)

Charmides

Megakles
Megakles

Damas
Diogenes (see Hartvvig, chap, xv.)
Diokles

Memnon

I.

(Phintias, Euthymides)

II.

(Chelis, Chachrylion)

Dion

Midas
Mikion

Dionokles

Miltiades

II.

Diphilos

Naukleia (Hieron)

Dorotheos (also B.F.)

Dromippos

Nikodemos
Nikon

Elpinikos

Nikophile

Epidromos (Chachrylion ?)

Nikostratos II. (Hartwig, chap, xx.)

Epileios

Oinanthe

Epimedes

Olympiodoros (also one B.F.)

Erosantheo
Erothemis (Euphronios and Onesimos)
Euaion

Panaitios (Euphronios, Duris)

Eurymachos

Pedieus
Perses

Phayllos
Pheidiades

Euryptolemos (Apollodoros)
Glaukon (Euphronios)
Heras

Pheidon
Philon

Hermogenes (Duris)

Praxiteles

Hiketes

Sekline

Hipparchos (Epiktetos)
Hippodamas (Duris and Hieron)

Sikinnos

Euphronios)

Simiades

II.

Hippon

Smikythos (Euthymides)
Sokrates

Hygiainon
Kallias II.

Solon

Kallides

Sophanes

Kallikles

Sostratos

Kal'isto (Hieron)

Thaleia

Karton

Theodoros
Thero (Oltos)
Timarchos
Timokrates
Timoxenos or Timaxenos

Kephisios

Kephisophon
Kleinias

Kleophon (with Megakles

I.)

Tleson

Krates

Laches

(see

Hartwig, chap,

Xenon

xx.)

Leagros (Chachrylion, Euphronios, Euxi-

Xenophon.

theos)

[The foregoing
occurring

list

is

names;

Lieblingsinschriften,

not exhaustive, but only gives the more frequently

reference should be made throughout to Klein's

1898 edition.]

PART

IV

ITALIAN POTTERY

CHAPTER

XVIII

ETRUSCAN AND SOUTH ITALIAN POTTERY

Early Italian civilisation Origin of Etruscans Terramare civilisation
Pit-tombs
Hut-urns
Villanuova period
Trench-tombs
Reliefwares and painted vases from Cervetri Chamber- tombs Polledrara
ware Bucchero ware Canopic jars Imitations of Greek vases
Etruscan inscriptions Sculpture in terracotta Architectural decorationSarcophagi Local pottery of Southern Italy Messapian and
Peucetian fabrics.

IN the succeeding section of this work we propose, by a natural

Italian pottery, that is, Etruscan and
Roman, as distinct from Greek. The subject naturally falls

transition, to deal with

the first two dealing with the pottery of

the period previous to the Roman domination of Italy, and
the third
therefore contemporaneous with the Greek pottery

under three heads

Roman

pottery from

the second century B.C. onwards,

and of necessity including also remains of similar pottery from
Gaul, Britain, and other countries over which that civilisation

with

extended.
In the present chapter the first two branches of the subject
namely, Etruscan pottery, and the local fabrics of Southern
will be discussed
the period of time which they cover
Italy
;

is,

as has been said, coincident with that covered

of Greek

pottery, extending from the Bronze

the end of the third century B.C.

279

by the history

Age down

to

280

ETRUSCAN AND SOUTH ITALIAN POTTERY

i.

ETRUSCAN POTTERY
BIBLIOGRAPHY

Helbig, Die Italiker in der Poebene Ann. deW Inst. 1884, p. 108 ff., 1885,
Karo, Ccnni sulla cronologia preclassica, Parma, 1898 Von Duhn
p. 5 ff.
in Bonner Studien, p. 21 ff., and in J.H.S. xvi. p. 125 ff.
Martha, L'Art
Etrusque, passim Dennis, Cities and Cemeteries of Etruria, 2nd edn. (good
for topography; archaeology out of date) J.H.S. xiv. p. 206 ff. (C. Smith
on Polledrara ware) Gsell, Fouilles de Vulci Pottier, Cat. des vases ant.
du Louvre, ii. p. 285 ff. (the best general survey) Notizie degli Scam,
passim, for excavations Brit. Mus. Cat. of Bronzes, p. xlivff.
;

EARLY ITALIAN CIVILISATION

(l)

As

regards Etruria,

it

will

be seen that the art of the people

was largely imitative, being derived mainly from Greece, but

Few remains of their
in some measure also from the East.
productions have reached the present day, with the exception of large numbers of vases, bronzes, and jewellery
these,
however, afford a very clear notion of the characteristics of
;

Etruscan

working

It

art.

hardly possible to treat the subject of

with such fulness as can be done

is

in clay in Etruria

in the case of Greece and Rome, owing to the greater dearth

of literature; but in our previous chapter (III.) on this subject
much has already been said with reference to what is known on

In regard to the pottery, careful scientific excavations, such as those undertaken by M. Gsell at Vulci (Vol. I.
much to increase our knowledge of all periods,
p. 77), have done

this head.

and

the reach of the

to place chronological certainty within

inquirer.

In dealing with the history of art in Italy,

first

met

with

Who

two

we

were

are naturally
the earliest

questions: (i)
inhabitants of the country, particularly in the region afterwards
known as Etruria, in which the first signs of artistic develop-

ment appear?

(2)

At what

period

and from what quarter

did the Etruscans occupy this region, or are they aboriginal ?

It will therefore be necessary to devote a few
preliminary
1
in order to gain
much-debated
these
to
questions,
paragraphs

a better understanding of the subsequent history.

1

P-

See especially

Pottier,

Louvre Cat.

ii.

p.

285

ff.

and

Gsell, Fouilles de

Vulci,

ORIGIN OF THE ETRUSCANS

The

question

second

origin of the

as old as Herodotos.

is

first,

of the

281

Etruscans, to

As

well

is

take the

known, the

Father of History held to the view that they originally came

from Lydia, a view which found general support in antiquity,
and is referred to by Horace, 2 and many other writers. His

fellow-townsman Dionysios was, however, of the opinion that

3
However much of truth there may
they were autochthonous.
be in either of these theories, the fact remains that with certain
modifications each of the two alternatives has found supporters

even down to the present day, though to Niebuhr first is due

suggestion that the immigration of the Etruscans was

the

by land and not by sea, and that they came from Central
Europe by way of the Rhaetian Alps. He has been followed
by most writers since above all by Mommsen, who was the
point out the absurdity of identifying the Lydian
It
Tvppifvoi or TvpprjfJoi with the Italian Tusci or Etrttsci.
first

to

follows from this that the whole of the civilisation of Northern

and Central Italy is due to this race, which would obviously

have left its impress on each district as it passed through it
and, secondly, that it was this same race that was afterwards
;

known by the name of Etruscan.

The chief objection to the theory of an autochthonous origin
is that, as we shall presently see, a break in the civilisation
of Northern Italy which can be traced about the beginning of
the ninth century B.C. is of such a marked and rapid character

cannot be regarded as due to any cause but the irruption

race.
Moreover, there is probably, as M. Pottier
4
more
truth in the words of Herodotos than
points out,

that

of a

it

new

appears at

first

sight.

It

is

true that

there are no grounds

but apart from

accepting the Lydian theory absolutely
it
is
to
be
noted
that
Herodotos
nowhere
states that the
this,
for

Tyrrhenians landed on the west coast of Italy i.e. in Etruria.

What he does say is that, " after having visited (or coasted

many

nations,

founded

cities

along)

they

instead

of

Lydians,

inhabit

their

name

them to this
was changed
3

i.

they arrived at the Umbrians,

and

94-

Sat.

i.

i.

6, I.

day
to

3-

Op.

tit.

p. 297.

where
and

that

of

ETRUSCAN AND SOUTH ITALIAN POTTERY

282

given by Hellanikos, who

states
that
landed
at
the mouth of the Po
explicitly
they
and as the Umbrians probably occupied a larger territory in

Additional evidence

Tyrrhenians."

is

we may fairly place here

the city of Tyrsenia or Tyrrhenia, which Herodotos gives as
the name of their first new home. Thus the Umbrians will
prehistoric than

in

classical times,

represent the early aborigines whose civilisation,

known

as the

Terramare, we shall presently describe, and it was this civilisation, transformed and developed, which was carried by the

now to be known
be noted that this theory at least satisfactorily
combines the land and sea migrations of the Etruscans into
Etruria, though it does not profess to dogmatise as to the
invaders over the Apennines into the region

as Etruria.

It will

The idea that they first

region whence they first started.
landed on the west coast is entirely due to Roman ideas,
by poets like Virgil and though it is in one passage
accepted by Dionysios of Halicarnassos, he expressly contrafostered

dicts himself in another.

The two

new Etrusco-Umbrian
development of geometrical decoration and
the predominance of a metallurgic element, both of which are
obviously derived from Eastern sources, whether Hellenic or
chief characteristics of this

civilisation are the

Oriental.

rhenians

will

It

here to point out that the

suffice

"

Tyr-

"

during their previous voyages (see above) might well

have come in contact with the other civilisations of the Eastern
Cyprus, Asia Minor,

Mediterranean, such as

the Greek islands, and that their

natural

Mycenae, and
acquisitiveness and

capacity for imitation, which we shall find illustrated throughout

their history, enabled them to pick up and use artistic ideas
from all these quarters. Even their earliest art yields many
points of comparison with that of the Eastern Mediterranean.
The earliest civilisation of which traces have survived in
Italy

is,

Frag.
p.

45

iiri

as

we have already

Hist.

Grace,

"Lirivr)Ti

one of the mouths).

ed.

Didot,

irora/xy (the

He

seen, that of the Terramare, so called

calls

name

i.

of

them here

dans
73

p.

Bertrand

"

and Reinach, Les

Celtes

flf.

cf.

du Po

Cf.

i.

et

du Danube,

Bertrand, Arch, celtique

gauloise, p. 205.
3

Pelasgians.

valties

les

27 with

vii.

3.

et

EARLY ITALIAN CIVILISATION

283

from the remains discovered -in that district, covering the basin
Eridanus or Po, but chiefly between Piacenza and

of the

We

have further seen that the aboriginal people

these remains belong are probably to be identified

Bologna.

whom

to

perhaps safer to style them Italiotes.

They were lake-dwellers, living in wooden houses built on
piles in the water or in the marshy lagoons of the district
which they inhabited, and their civilisation was of the rudest
with the Umbrians, but

it is

description.
find among their remains, besides rude objects in bronze

We

and other substances, pottery of the very simplest kinds, handmade and roughly baked. This is not found in tombs, but
mingled with the debris of the dwellings. The shapes comprise
cups and pots, and there are few attempts at decoration beyond
rows of knobs or bosses.
A crescent-shaped or lunulated
handle is attached to many of the vases, serving as a support

thumb

for the

but this

of Italy and in Sicily.

is

a feature also found in other parts

and silver are quite unknown,

Iron, glass,

and gold only represented by a doubtful specimen

other hand, along with the finds of bronze, which
weapons, tools, and objects of toilet, are survivals
Neolithic Age in the shape of axes, spear-heads, and
stone.
In several of the settlements actual moulds for
were
found.
casting

on the
include
of

the

tools of

bronze-

The Neolithic remains are sufficient to indicate the early

date of this civilisation, and it is probably contemporary in
point of development (if not of date) with the earliest remains
from Hissarlik and Cyprus. It may thus be traced back as
far as

1500

the end

extend down to about

The analogous pottery
mixed with Mycenaean vases,

and seems

B.C. at least,

of the tenth century

to

B.C.

found at Thapsus in Sicily is

and may therefore be more precisely dated but it is altogether
more advanced than that of the Terramare. The influence of
the latter no doubt spread gradually downwards during these
thousand years through Central and Southern Italy. 1
;

See

ajso

Die

Helbig,

Poebene^ for a

full

Von Dunn

Italiker

in

der

account of this period

in

J.H.S.

xvi.

p.

128,

whose ethnographical views seem

in

many details from those

previously cited,

to differ

of other writers

284

ETRUSCAN AND SOUTH ITALIAN POTTERY

(2)

THE VILLANUOVA PERIOD (TOMBS A POZZO)

The next

stage in the development of civilisation in Italy,

probably separated from the preceding by a period of transition,
is what is known as the Villanuova period, from a site of that

name

at Bologna.

lasts for

It

begins with the ninth century

some two hundred years

its

traces are

B.C.,

and

much more

widely spread than those of the Terramare people, being found

not only to the north of the Apennines, but all over Etruria.
It is interesting to note that the chief finds have been made
in

what afterwards became the principal centres of Etruscan

civilisation,

such

as

almost every respect

In
Bologna, Corneto, Vetulonia, etc.
shows a marked development on the

it

Iron is already known, and the working

preceding stage.
of bronze better understood, the processes of hammering plates
(<T$vpr)\aTov) and working in repousse being introduced to
1
supplement that of casting.

We now for the first time meet with tombs, the characteristic
form of which is that of a well or pit, ending in a small circular
chamber, in which the remains are deposited. Italian archaeoThe
logists have given to these tombs the name of a pozzo.
method of

burial

but

incineration,

practised
it

was

almost exclusively that of

appears certain that

the inhabitants

of

Etruria never showed a special preference either for one method

or the other, and the alternative method of inhumation already
appears at Corneto before the next stage is reached with the

eighth century.
It has been

sometimes objected that the introduction of

must
connote the first arrival of the Etruscan
inhumation
people in these regions, on the ground that they did not practise
The
but this idea rests on no sound basis.
incineration
introduction of the new system, which never entirely ousted
incineration, can
easily be explained as due to external
not indeed to the Phoenicians (although it was a
influences
;

universal

Oriental

custom), for their

influence

in

Italy

has

been much exaggerated but rather to the Greeks, who colonised

Cumae in the middle of the eighth century, from which time
;

See Brit. Mus. Cat. of Bronzes,

p. xlv.

THE VILLANUOVA PERIOD

285

onwards Hellenic influence gradually becomes more and more

apparent.

We
fairly

have seen, then, that the Villanuova civilisation may be

It was not, however, by any
regarded as Etruscan.

means

confined to Etruria, for it is spread all over the

country to the north of the Apennines, and two of its most
important centres were at Bologna and Este. The whole of
this region shows traces of having been for a long time

under the early Etruscan domination. It is, in fact, in close

dependence on the Terramare civilisation which here preceded
the difference, as we have indicated, being brought about
it,

by commerce and foreign influences.

The pozzo tombs usually contain a
cinerary urn or ossuarium, in
which the ashes were placed after
1
These urns
being burnt (Fig. I/8).
large

fashioned

are

by hand from a badly

levigated volcanic clay, generally

as impasto Italico.

from

guished

(see p. 301)
fact

that

by

the
its

It

is

later

to

known

be distin-

bucchero

quality,

nero

and by the

vases of the latter clay are

always wheel-made. The clay is irregularly baked over an open fire, and
the colour of the surface varies from

From Ann.

dell' Inst.

TOMB A POZZO
WITH CINERARY URN.

FIG.

178.

red-brown

is
It
to greyish black.
covered with a polished slip, and there is no doubt that it
was the intention of the potter to give the vases a metallic

appearance as well as form.

As

regards their shape, they are of a peculiar but uniform

type, with a small handle at the widest part, and cover in
the form of an inverted bowl or saucer with handle (Fig. 179:
see also Fig. I78). 2
ornaments incised

body
cisions
1

The ornamentation

consists of geometrical

bands round the neck and

stamped
such as maeanders, chevrons, stars, and dots the inbeing made while the clay was moist. In rare cases
or

See Ann. delf Inst. 1884,

in

p. III.

Nolizie degli Scavi, 1881,

15, 16.

pi. 5,

Nos.

286

ETRUSCAN AND SOUTH ITALIAN POTTERY

we meet with painted ornaments

in white applied directly to the

Besides the urns, which often almost fill the chamber,
accessory objects in the form of common pottery, fibulae, and
other bronze objects, spindle-whorls and amber objects, are

surface.

found

in

the tombs.

The common

pottery does not in

advance on that of the Terramare.

consists

not so

much

in

its

character exhibit

The

difference,

much

indeed,
in a

development of technique as

It has points of resemblance

greater variety of decoration.
with the far earlier pottery of Hissarlik and the early Bronze

From
FIG.

179.

Notizie degli Scavi.

CINERARY URNS FROM TOMBS OF VILLANUOVA PERIOD AT CORNETO.

Age tombs

of Cyprus (see Chapter VI.), and there are not

wanting evidences of commercial intercourse with and importaBut two salient features
tion from the Eastern Mediterranean.
of the Italian wares are the employment of handles and the
unique form of the hut-urn (see below).
clay is mostly of the same kind as that of the urns,
the smoked and irregularly fired surface shows that

The
and

furnaces were not yet in use, but that an open

for the purpose.

The technique

is

fire

sufficed

exceedingly primitive, and

In the latter respect the

the forms are simple but heavy.
artistic capacity of the Greeks
inherent
in
the
difference
striking
and Italians is already apparent. The latter never at any tim(

displayed that unfailing eye for form which distinguishes

th<

VILLANUOVA POTTERY
Greeks

in

their products.

all

The shapes

287

include saucers like

the urn-covers, bowls with a flat vertical or high-looped handle,

flasks with long beak-like necks like the early Cypriote vases,
feet, jars with one or two handles, aski, and
of
vases united on one stem.
groups
of
these
are
Many
quite plain, but the majority are decorated
with geometrical patterns, like the ossuaria or urns already

bowls with small

kerni, or

Some of the patterns show quite a mechanical

as
if produced from a stamp.
These take the form
regularity,
formed
of circular sinkings and other patterns
by circles, an
early instance of a motive which afterwards became common

described.

There are even some instances of designs in

a sort of cream pigment being used.
peculiarity
of this class is the fondness for protuberances in the form of
Etruria.

in

colour,

horns on the handles (ansae lunulatae\ which are also found

in the Terramare, as already mentioned
or knobs round the
of
the
in
order
hold
to
cords
for
vase,
body
suspension, which
;

afterwards served a merely decorative purpose, like the bosses

on cups described by Homer. 1 Sometimes are to be seen rude

attempts at modelling horses or heads of oxen, or at giving the

whole vase the form of a bird, as is seen in some of the aski?

The absence of accessory vases in Villanuova tombs, as is

sometimes the case at Vulci, 3 seems to show either very great
On the
antiquity or else a long survival of an older type.
whole, however, a chronological classification is hardly possible.
Generally speaking, the pit-tombs were still in use throughout

Etruria at the end of the

eighth century, and no tombs of

the next stage can be dated earlier than 700 B.C.
The line
of demarcation for the latter end of the period is therefore
the seventh

century,

coincident with

Greek importations found

The

in the

the

first

undoubtedly

tombs.

real interest of the

Villanuova period is, however, centred

remains which do not come within our province namely,
the objects in bronze which
have^been found in such enormous

in

//. xi.

633

Od.

Bumont- Pettier,
2

On

i.

iv.

615,

vi.

232.

See

p. 152.

the ornamentation of the Villa-

nuova period general reference may be

made

to

Bohlau's

Zur Ornamentik der

Villanovaperiode (1895).
3
Gsell, Fouilles de Vnlci, p. 254.

ETRUSCAN AND SOUTH ITALIAN POTTERY

288

numbers

at

Bologna, Vetulonia,

into line with the earliest remains

Olympia, Rhodes, and Crete

and elsewhere.
They fall
on Hellenic sites such as

and a connection can often be

On

2
traced, as in the fibulae, with the Hallstatt civilisation.

the

other

hand,

they

are

entirely

from any Oriental

free

influence.

Sometimes the cinerary urns

in

the tombs

of this period

take the form of huts (tuguria\ though these are more often
found in the neighbourhood of Rome, as at Alba Longa.

They

represent, in fact, the civilisation of the

Italiote people
Latium, which they probably colonised
by moving southward through Umbria and Picenum, leaving

on

their first arrival in

One of the best examples of

from the Hamilton collection in the
British Museum (Plate LVII. fig. 4), which still contains ashes.
The ashes were inserted through a little door, which was secured
by a cord passing through two rings at its side and tied round
the vase.
The ornamentation suggests the rude carpentry
which was applied to the construction of the dwellings of this
Tuscany

to

Etruscans.

the

these hut-urns

that

is

primitive people, the cover or roof being vaulted, with raised

ridges intended to represent the beams of a house or cottage.
These urns have no glaze on their surface, but a polish was

produced by friction. They are occasionally painted with patterns in white, inlaid in grooves.
On the Museum example
are fragments of maeander.
They are usually found inside
large vases, which protected them from falling earth and other
accidents.
originally

but in

The
led

they were found under beds of lava

an exaggerated opinion of their antiquity,

fact that

to

any case the nature of

primitive use.

very

An

interesting

account

of the

southern extremity of Etruria

result

of exploration

by

local

See Brit. Mns. Cat. of Bronzes,

p. xlv, and references there given.
2
The objects found at Hallstatt date
1

from

about

turies

B.C.,

Mycenaean"

the

tenth

to

ninth

cen-

and are sometimes "subin character.

their contents confirms their

is

early

given

settlements

by Von Duhn,

archaeologists

on the

the

in
4

as the

sites

of

See on the subject of hut-urns the

bibliographies given in Gsell, Fouilles de

Banner Studien,
Vulci, p. 258
(Von Duhn); and J.H.S. xvi.
;

(id.).
4

J.H.S.

xvi. p. 125.

p.
p.

24
127

HUT-URNS

289

The most interesting

(Civita Castellana) and Narce.
feature of these results is the gradual migration of the peoples
1

Falerii

from the hill-tops to the valleys as they became more civilised.

Thus many modern cities, such as Florence, arc direct
descendants of the early hill-settlements of
Etruria

In

primitive

Italy.

was usually the reclaiming of the marshes

it

for

cultivation that enabled the population to settle in the lower

and more accessible

situations.

The

Faliscan region well illustrates this principle, as does

Narce.
In the earliest graves on the hill-tops cremation is

the rule, and the urns are of the Villanuova type.

Nothing
of later date than the eighth century is found, and no importaThe hut-dwellings at Narce seem to have been of the
tions.

hut-urn type.

The common

made

black

pottery is of the primitive handbut

after the eighth century the
clay
greyish
was
lower down, and in these
of
settlement
the
shifted
position
;

tombs a remarkable series of red-glazed wares is found

(see below, p. 301), and Greek and Oriental importations soon
make their appearance. Narce soon fell under Etruscan sway,
but Falerii retained its individuality for some time longer.
later

THIRD PERIOD

(3)

TOMBS A FOSSA

FIRST

GREEK INFLUENCES

The next stage in the development of Etruscan civilisation

marked by a change in the form of the tomb. The pit is
now replaced by a trench in other words, the vertical form

is

exchanged for a horizontal one.

change the practice of inhumation
is

This period

Concurrently with this

becomes

fairly

general.

be regarded as extending from the eighth

century B.C. to the beginning of the sixth, and is marked by
the first signs of importations from Greece in the shape of
Geometric pottery and bronzes.
In general character it is
not

strongly

advance
the

what

may

is

tombs.
is

pottery

off from the preceding.

The great
the development of art in the objects found in
Not only do we witness the first beginnings of

destined to

namely, the
1

VOL.

marked

in

II.

See also

for

become the

typical species of Etruscan

bucchero nero
but towards the end of

Narce Mon. Antichi,

iv. pt.

I, p.

105

(T.

I9

290

ETRUSCAN AND SOUTH ITALIAN POTTERY

the period the Greek influence, as evidenced by finds of wheelmade vases with Geometrical decoration, or even of the so-called
It was no doubt
Proto-Corinthian type, becomes widely felt.
in
the
south of Italy,
of
colonies
to
the
foundation
due
largely

Altogether it is a most important period for

the history of Etruscan pottery. Of Oriental influence there
are at present hardly any signs, and all wheel-made vases

such as Cumae.

found

in these

tombs are probably of Greek

origin, as

does

it

not appear that the wheel was in regular use before the middle
of the sixth century. 1

that

now

necessary to turn our attention to the local handAnd, in the first place, it is worthy of note
of
the Villanuova type actually survives the
pottery

It is

made

varieties.

from the pit-tombs to the trenches, as is seen at

Corneto, Vetulonia, and elsewhere.
Probably it indicates the
transition

pottery

in

common

as de luxe

use,

the

imported

or else, as

objects

only

being
2

regarded
Helbig suggests, the
former types were preserved for religious reasons connected
with burial rites, as was often the case in Roman religion.
;

Prof.

In the earlier types of pottery from the fossa tombs, such as

common at Vulci, the hand-made pottery of impasto Italico
still continues, preserving the same shapes and the same simple
are

linear decoration

but

what better polished.

it is

better baked, and the surface is someare also found, and yellow

Red wares

wares with Geometrical ornaments painted in red, which are

evidently local imitations of the Greek Geometrical fabrics (see
below).

technique remains unaltered, a difference

seen in the forms, which become lighter, more varied, and
more symmetrical. Such shapes as the stamnos, kantharos, and
Later, while the

is

trefoil-mouthed oinochoe

now

for the

first

time appear.

The

methods of ornamentation are also modified

new varieties
of incised patterns are seen, and the bodies of the vases are
sometimes fluted or ribbed
while such motives as friezes of
;

M.

Pettier

states

that

a primitive

kind of wheel was used for making the

impasto in the eighth century, and Helbig
and Martha are certainly wrong in stating

that

it

was not introduced

till

the sixth

(see Louvre Cat. ii. p. 294).

2
Bull, delf Inst. 1885, p. 118.

POTTERY OF TRENCH-TOMBS

291

ducks, which are also found ,on the contemporary bronzes, now
M. Gsell, describing in detail the various
first find a place.
2
fabrics found in the Vulci tombs of this period, speaks of pottery
1

of a grey clay baked to red, perhaps in a furnace, forming urns

He thinks that some primitive
jars of a considerable size.

and

kind of wheel (see above) must have been used to produce these.
some of the impasto wares there is a decided advance in

In

technique, the clay being better levigated and the walls of the
Some black wares seem to have been fumigated
vases thinner.
like the later

Generally speaking, both incineration

bucchero.

and inhumation are still practised.

The ornaments are incised, stamped, or painted, and the
decoration almost exclusively linear, the stamped patterns being
This pottery is, in fact, merely
usually in the form of stars.
a continuation of that of the pit-tombs, except that the imitation
of metal-work is much more strongly in evidence.

Yet another variety preserves the methods and forms of the

Viilanuova

class,

but introduces a new kind of clay, altogether

the earlier reds and browns.

black, as distinguished from

remarkable specimen of this early black ware found at Orvieto

has incised upon it the subject of Bellerophon and the Chimaera,
the style being, as

we should

expect, childish to the verge of the

the
black
wares acquire a very fair glazed
Later,
surface, and are ornamented with incised linear patterns of
these are mostly small vases.
It is
zigzags, chevrons, etc.
ludicrous.

in

these

two particularly that we see the forerunners of the

highly developed bucchero ware.

Besides these local fabrics, there are found Greek imported
wares with Geometrical decoration of pale yellow clay, with

ornaments

in

brown turning

to red

the

commonest form

is

the oinochoe, and the patterns include circles, zigzags, wavy lines,
embattled patterns, etc. These are all wheel-made, and are, in
the same types as are found in the Dipylon cemetery
Athens and in Boeotia (Chapter VII.); the earliest instances
belong to the end of the eighth century, in some late pit-tombs

fact,

at

2
3

E.g. Brit. Mus. Cat. Nos. 347

Op. cit. p 345 ff.
NotiziedegliScavi, 1884, p. 186

cf.

ff.

= 338

for the

style a vase

Cyprus, in the British

Arch. ix. 1887, p. 77).

from Tamassos,

Museum

{Rev.

ETRUSCAN AND SOUTH ITALIAN POTTERY

292

"

"

pottery was found.

the
coincide
with
great impetus given to Greek coloniThey
sation in Sicily and Southern Italy, and probably came by that
at Caere, in

which also

into Etruria.

way

It

were imported not

Proto-Corinthian

should be borne

for their

own

in

mind

that these vases

merit, but for the value of their

It has already been mentioned that local imitations

of them are found in the trench-tombs.

contents.

To

the seventh century belong also two classes of pottery

less connected, and are chiefly associated

which are more or

The

with Caere. 1

first class

consists of a series of vases of red

and

ware, mostly large jars

iridoL, ornamented with designs in
of
the
lower
the
relief,
body being usually ribbed. The
part

designs take the form of bands of figures stamped round the

upper part of the vase, either in groups on the principle of
or in extended friezes.
In the former case the
was
from
a
in
produced
single stamp for each group
design
the latter, it was rolled out from a cylinder resembling those

the metope

Besides the jars,

Assyria for sealing documents.
of
ware
are
not
this
uncommon
plates
they may have formed
either covers like those of the Villanuova ossuaria, or stands
use in

in

The

for the jars, in order to hold drippings of liquid, etc.

of the

iriQoi

in

tombs

is

not quite

clear,

use

though they were

doubtless in daily use for holding grain or liquids. 2

The subjects are always of an Orientalising character, similar

on Greek vases under Oriental influence, and

comprising animals, monsters, hunting scenes, combats, and
The origin of these vases is doubtful they may
banquets.
be either indigenous or imported, as similar examples have been
found in Rhodes, Boeotia, Sicily, and elsewhere but they are

to those found

rare outside Etruria.

The

3
suggestion of a Sicilian origin has
is more
likely that they are native

found some favour, but it

productions after Greek models (see Vol. I. p. 496) some are
4
undoubtedly of local make, and they were probably made at
Caere or in the neighbourhood. Their prototypes go back
;

See generally Pettier, Louvre Cat.

ii.

363 ff.
See Vol.

p.
-

I.

Hist, de fArl,

p.
vi.

153, and cf. Perrot,

p. 21 1, fig. 57, for

examples from Troy,

3
Abeken, MittelilaL p. 362
see Arch. Zeit. i88r, p. 41.
4

E.g.

Ann. del?

ff.

Inst. 1884, pi. C.

but

EARLY POTTERY OF CAERE

293

almost to the Mycenaean -period, but were hardly imported

before 700 B.C., after which time the local imitations begin,
being one more instance of the invariable rule that all Etruscan
Similar vases in metal were
pottery is more or less imitative.

manufactured on the coast of Asia Minor, and the

avadrjfjLara of

the Lydian kings at Delphi 1 were probably examples of this class. 2

The second class shows some affinities to the other in regard to
the shape and the nature of the clay but the important difference
is that the vases are decorated with painted
subjects instead of
;

The

reliefs.

subjects are painted in white outline on a brick-red

From Gaz. Arch.

PAINTED ETRUSCAN PITHOS FROM CERVETRI
FIG. 180.
OF ATHENA BOAR-HUNT.

LOUVRE)

(IN

BIRTH

glazed ground, the process being as follows The clay, which

resembles the impasto Italico, is first hardened by baking, and
then a mixture of wax and resin and iron oxide is applied to
:

and a

it,

lustre given to the surface

a mixture of chalk

and

lime,

is

by

The pigment,
The process can

polishing.

then laid on.

hardly be said to be Greek, and yet the subjects are purely

Greek, being borrowed in part from the Greek Geometrical vases,

such as sea-fights, and

1

Hdt.

i.

14,

25

Paus.

x.

in part

from

16.

later (Ionian) sources

3

Plate

XLVH.

pis.

we

See for specimens Gaz. Arch. 1881,

For Greek examples of early vases

with reliefs see Vol. I.
497, and
p.

28,

Louvre,

29,

32-3

pis. 33-4.

Pettier,

Vases

du

294

ETRUSCAN AND SOUTH ITALIAN POTTERY

actually find representations of the Birth of Athena and the

Hunt of the Calydonian Boar (Fig. iSo). 1 The shapes of the

vases again are certainly local, as are the animal forms, which
resemble those incised on the bucchero wares. The drawing is
usually crude in the extreme.

It

on the vase from which Fig. iSo

is

interesting to note that

is

taken the potter has painted

white an Etruscan inscription (not shown in the cut).

Another vase of the same class was found in the Polledrara
tomb (see Plate LVI. and p. 300 below). The method of
painting in opaque pigment on a red or black ground is, it
would seem, an Ionian characteristic, being found at Naukratis
in the seventh century (Vol. I. p. 347), and also, as we shall see
on other quasi-Ionic fabrics in Etruria.
Generally Speaking, the tombs a fossa are not later than the
middle of the seventh century evidence of this is given by the
in

absence of bucchero proper and of Corinthian fabrics. There are,

however, traces of their lingering on even down into the sixth
century, as at Vulci, where Helbig mentions a tomb found in
2
1884 containing Corinthian vases of that date.
latest belong to the end of the seventh century.

(4)

Our

FOURTH PERIOD
fourth

period,

continuity with that

clearly defined

CHAMBER TOMBS

which
of the

in

many

ORIENTAL INFLUENCE

shows a close

respects

tombs a

by two circumstances

At Corncto the

fossa,

is

nevertheless

the adoption of a
new type of tomb, doubtless developed out of the fossa, which
takes the form of a large chamber, and is therefore known as

a camera

firstly,

secondly, the influence of Oriental art, concurrently

increased influx of importations from Greece.
The

with an

period covers about a century of time, from 650 to 550 B.C.,

and includes several of the largest and most important tombs
that have been found in Etruria, which will demand more or

treatment In none, however, were any great

but one of these tombs, the Grotta
pottery made
d'Iside or Polledrara tomb at Vulci, contained several specimens

less

detailed

finds of

of exceptional interest.
1

Louvre

151.

Bull del? Inst.

1884, p. 163.

PERIOD OF CHAMBER-TOMBS

295

The simplest form of chamber-tomb consists of a narrow

corridor or 8/00/^09 leading into a larger chamber
next, the
or
round
into
a
vestibule,
rectangular
Spo/jios opens
square
;

which various side-chambers are attached

finally, the tomb
assumes the form of a vast subterranean edifice composed of
in fact, a
several wings, and used for more than one corpse
;

"

family vault."
While on the one hand the ceramic types of the Villanuova
period still linger on, as in the retention of ossuaria for the
receipt

of ashes, on

Greek vases and

more and more, and altogether
the direction of variety and rich-

the other the painted

the local bucchero wares increase

there

is

a great advance in

This period saw not only the general introduction of the

wheel into Etruria, but also the introduction of the alphabet of
ness.

A vase of bucchero ware

Western Greece, through Cumae.
found at Vetulonia bears an Etruscan inscription, which can
1
hardly be much later than 700 B.C., and
an instance on a vase from Caere.

we have already seen

In the earlier chamber-tombs no bucchero

found, and the

is

pottery is of the same types as in the trench-tombs but with

the enlarged arrangement of the tomb come the Corinthian
;

vases of Orientalising style, to be followed later

and

later

wares.

Corinthian

The

fabrics,

and

by the Ionian
by the Athenian
the sixth century, and

finally

vestibule disappears after

tombs have the simple fy>o/uo?.

The typical contents
of a chamber-tomb are, as regards local pottery, in the earlier
tombs impasto Italico wares, in the later bucchero. The former
is hand-made, the
shapes similar to those found in the trenchtombs i.e. pots incised with zigzags, circles, and other patterns,

all

later

or

painted in

The latest varieties

The latter wares, which

white.

of bucchero forms.

are wheel- made,

are

much more

numerous, are evolved from the impasto (i) by the use of

the wheel
(2) by the introduction of the furnace
(3) by
extensive imitation of Greek ceramic and metal forms.
The
earliest bucchero vases at Vulci and Corneto synchronise with
:

Corinthian pottery of the middle style, about 630600

last down to the end of the fifth century.

they

Rom. Mitth.

1886, p. 135.

B.C.,

and

296

ETRUSCAN AND SOUTH ITALIAN POTTERY

The appearance of the alphabet seems to point to a marked

incursion of Greek influence in the early part of the seventh
The story of the arrival of Demaratos of Corinth,
century.
B.C., with the three artists whom he brought in his
1
Diopos, Eucheir, and Eugrammos, is no doubt an echo
of this.
The progress of Hellenism was, however, momentarily
arrested by the growing power of
Carthage, which may

about 665

train,

account

partly

civilisation.

that

Italy

the

for

It

the

temporary Orientalising of Etruscan

certainly to the

is

Phoenician

objects

Carthaginian influence in
found in the seventh

century tombs, such as the silver bowls of Praeneste, are due.

Oriental influence is also seen in the large tombs at Vulci,
Caere, and Vetulonia, but

one time supposed

recognised

that

is

hardly so strong as was at

late

years scholars have generally

played a much

it

and of

and commerce

Ionian art

2
and,
part throughout in the civilisation of Etruria
further, that Oriental art found its way mainly through these

larger

At all events there was throughout the seventh

channels.
and sixth centuries a keen struggle for supremacy in the
Western Mediterranean, in which the Etruscans, the Phoenicians
of Carthage, and the Ionian and Continental Greeks alike
and hence the diverse influences at work in Etruria.
shared
But it was not long before Greece, with its rising colonies of
Cumae, Sybaris, and Syracuse, made its predominance to be felt
in the Western Mediterranean, and this was consummated by
the final victory of Hiero over the combined fleets of Carthage
and Etruria off Cumae in 474 B.C. A monument of this exists
;

to

the present day in

king

the

Olympia, now in
may further define

at

We

bronze helmet dedicated by that

the British

Museum.

as the second great period of

Greek

importations, that extending over the sixth and fifth centuries,

a period which saw the development not only of the local

Greek black- and red-figured

by the Corinthian wares, now pour in
a continuous stream into Etruria. To this same period belong
bucchero fabrics, but also of the
vases, which, heralded

the paintings of the Etruscan tombs.

1

See Pliny, H.N. xxxv. 152.

names are doubtless

descriptive.

The

Cf.

B.M.

Cat. of Bronzes, p. xlvii,

and references there given,

GREEK AND ORIENTAL INFLUENCES

The

earliest

influences

Greece

'from

has

as

came,

297
been

hinted, through colonies like Chalcidian Cumae, which were

but at
the chief agents in the Hellenisation of Etruria
;

as testified

any rate, the prevailing influence was Corinthian,

by the remarkable series of Corinthian and quasi-

Corinthian

vases

Cervetri, at

in

the

Campana

collection

at the Louvre.

Later in the sixth century came the connection with Athens,

the chief results of which are to be seen in the contents of
the tombs of Vulci (Vol.
of the Peisistratidae (540

I.

p. 76).

It

extends from the time

520 B.C.) down to about 450

an
end by the Peloponnesian
to
being probably brought
and the destruction of the Athenian maritime supremacy

B.C.,

War
;

but

importations occur down to the time of

Alexander the Great, in the Panathenaic amphorae of which

isolated instances of

dated

of

examples

(Vol. I. p. 390).
In sketching this

B.C.

336

outline of

have

been

Hellenic

found
influence

at

in

Cervetri

Etruria

we have overstepped the

must retrace our

limits of chronological sequence, and

steps in order to deal first with the local

products of the period from 650 B.C. onwards, and secondly

with the effects of the Greek civilisation on the same.

Polledrara ware.
Vulci has been

The Grotta

d' Iside

or Polledrara

tomb

dated, on the authority of a scarab of

Psammetichos I. (656 611 B.C.) which it contained, towards
the closing years of the seventh century.
This dating has
been generally accepted, and there seems no reason to doubt
of an isolated scarab is not always
it, although the evidence

at

as trustworthy as appears at first sight.

Besides local bronze

work and objects of Egyptian or quasi-Egyptian character,

it contained one vase of
unique character which calls for special
consideration. 1

This is a hydria of somewhat peculiar, if not unique form,

with a very wide body and rudimentary foot.
In some details,
in
the
of
the
treatment
exhibits
it
obvious
handles,
especially
1

Nearly
are

now

Saloon,

all

the contents of this

in the British

Case?

Museum

126-35)

tomb

(Etruscan

see

Mjcali,

Man.
i.

p.

Ined. pis. 4-8 ; Dennis, EtruricP,

ff. ;
C. Smith in f.H.S. xjv,

457

p. ZQ(J.

ETRUSCAN AND SOUTH ITALIAN POTTERY

298

evidence of imitation of metal-work.

Although

at first sight

resembling bucchero ware, the clay is seen on examination

to be of a different type, not being grey but reddish brown
in fracture, while the lustrous black surface is produced by
a thin coating or
colours,

slip.

blue,

red,

It is

decorated with designs in three

and a yellowish white,

on the black and then

fired.

The

red

is

which

were

laid

best preserved, the

but the white has almost entirely disappeared. 1

designs are arranged in three friezes, of which the lower

blue fairly

The

so,

On the two
only of isolated bits of key-pattern.
of
rows
are
from
Theseus
scenes
the
and Ariadne,
story
upper
and
other
with
Centaurs, Sphinxes,
together
accessory figures.
consists

On

the upper row Theseus slays the Minotaur on the lower,

Theseus and Ariadne are seen, firstly in a chariot, secondly
leading a dance of four other figures, the hero playing a lyre,
while Ariadne holds the clue. 2 The colouring scheme is most
an occasional use of
elaborate, and cannot be detailed here
;

incised lines

may

also be noted.

small two-handled cup or kylix, 3 of a type often found at

Naukratis decorated with eyes, was also found in this tomb,
class.
The clay is similar
the
to that of the hydria,
decoration, which however,
owing to the flaking off of the black slip, has largely disappeared. Although in its technique it resembles the hydria,

and appears to belong to the same

as

is

the subjects and motives are probably derived from Naukratis.

"
"
Polledrara
ware are
Only a few other examples of this

known

an oinochoe

in

Berlin,

the Louvre, 5 and

From the contents of

two vases
6

in

a vase found at Cervetri, unpublished.

the tomb in which the last-named was found,
dated early in the sixth century.

it

may

fairly

be

Mr. Cecil Smith regards the Polledrara hydria as the result of

an Italian attempt to imitate the new bucchero technique which
was at this time being perfected (see below), the form of the

this

most trustworthy reproduction of

vase and its decoration, made by

Mr.

F.

Anderson,

is

given in J.H.S.

3
4

Cf. throughout the Francois vase.

cit. pi.

Cat.

617-18.

Bull,

deir

xiv. pis. 6-7.

2

Micali, op.
Cat. 1543.

No.

26.

In St.

5, fig. 2.

1881,

p.

167,

POLLEDRARA WARE

299

Ionic influence (see

vase being borrowed from an Ionic source.
one
in
more
than
is
visible
above, p. 296)
respect in this vase, as
also in the reliefs decorating the bronze bust from the same
tomb. Other details, such as the imitation of metal-work, are

rather to be referred to a Corinthian source

of note that two Corinthian vases were

and

among

it

is

worthy

the contents of

the tomb.

The striving after a gaudy effect by the use of polychrome

decoration, and especially the employment of blue, a colour
otherwise unknown in vase-painting before the end of the fifth
century, finds a parallel in the sixth century poros-sculptures
from the Athenian Acropolis, in which even more violent effects

of colour are attained, as in the bright blue beard of the Triton.

But in this case there seems little doubt that the idea is bor-

rowed from Egypt, with

fondness for brightly decorated

images of faience and porcelain.
Other details which betray an Egyptian origin are the lions'
masks, the all-pervading lotos-flower, and the seated dog or
The connecting link is no doubt the great trading
jackal.

mummy-cases

centre

of

its

arid bright blue

Naukratis,

whose agency the Egyptian

and ostrich eggs found in this tomb

through

scarabs, porcelain objects,

also came to Etruria.

As

a parallel to the Polledrara finds should here be cited the

painted terracotta panels from Caere now in the British Museum
and Louvre, which are certainly local products, and give a

representation of
described below (p. 319).

realistic

the

Etruscan

people.

These again, both

They

are

subject and
style, lead to a comparison with the large Etruscan terracotta
sarcophagi, of which the most remarkable is that in the British
Museum. 2 Here, as in the Polledrara bronze bust, the rude
in

native attempts at sculpture in the round are combined with

reliefs which successfully reflect the style of Ionic art.
Lastly,
we note another parallel in the paintings of animals on the walls

of a

tomb

at Veii. 3

The hydria is a form of essentially

Ionic origin, the earliest examples being
found in the "Caeretan" and Daphnae
1

fabrics (see

Chapter VIII.).

2
3

Cat. of Terracottas, B63O=Fig. 183.

Mon. Ined. pi. 58 Dennis,

Micali,

Etruria,

i.

p.

34

ff.

3 oo

ETRUSCAN AND SOUTH ITALIAN POTTERY

Mr. Cecil Smith sums up " The Polledrara ware was probably local Italian, made at Caere under the combined influence
of Ionian and Naukratite imports, acting on an artistic basis
:

Developed pari passu with

principally derived from Corinth."
the red impasto ware (of which a painted example was found
in the Vulci tomb), it gradually gave way to the bucchero ware
with which

we

deal in our next section.

note that similar ware has been found

It

only remains to
1

Rhodes, where also

later wares of a genuine bucchero type, unpainted, have come to
and these appear to be instances of a counter-importation
light
from Etruria to Asia Minor.
in

The only other piece of pottery from the Polledrara tomb

which calls for special comment is one to which reference has
just been made, a large pithos of the primitive impasto red ware,
made on the wheel (Plate LVL). It falls into line with the
painted and stamped fabrics from Caere already described
(p. 292 ff.), and is, like the hydria, painted in polychrome, but the
colours are

much

The

faded.

and a ship.
Three other tombs which

subjects are a frieze of animals

Polledrara in size and

rival the

2
importance are the Regulini-Galassi tomb at Caere, the Tomba
3
del Duce at Vetulonia, and the Bernardini tomb at Praeneste. 4

Although the finds of pottery herein were small, they are yet
of great interest for the history of Etruscan art in general,
In
especially as they afford evidence for approximate dating.

The Caere
the two former Etruscan inscriptions were found.
and Praeneste tombs are probably the earliest, about 650 B.C.,
and the Del Duce and Polledrara tombs are not
end of the seventh century.

later

than the

tomb the pottery takes the form

In the Regulini-Galassi

of

large caldrons of red glazed ware, which mark a transitional

They are characterised
stage between the impasto and bucchero.

by the

large Gryphons' heads projecting in relief round the

Cf. an oinochoe in the British Museum,

633; and see f.H.S. x. p. 126.

Mus.

Greg.

i.

pi.

Fuhrer, 1899, "

P-

344

ff-

ff.

tfotizie degli Scavi, 1887,

>Helbig,

P ls

<\'

%-

Bull.

deW

Mon. deW

Inst. 1876, p.

ii7ff.,

Inst. x. pis. 31-33.

The

and
art

of Praeneste, though a Latin town, was

wholly Etruscan. Cf. the later series of

bronze cistae found here.

RED IMPASTO WARE

Sometimes they are sup-

which are attached chains.

sides, to

ported on high open-work stands.

a series of these and

acquired

301

In 1892 the British Museum

vases (Plate LVL),

similar

some plain specimens of bucchero

at Civita Castellana (Falerii
see Vol.

ware from early

including

tombs

I.

p.

75).

This may be called the national pottery of

technique is not at present perfectly known, and
analysis does not show certainly whether the black paste is

Bucchero ware.

Etruria.

Its

natural or

Modern experiments have been

artificial.

which seem to indicate that

may

this result

made

be obtained by

fumigating or smoking the clay in a closed chamber after the

1
But
baking, which process blackens the clay throughout.
2
M. Pettier thinks that the black surface was obtained not by
fumigation of the vase, but by applying a slip of pounded
charcoal already smoked, which at a moderate temperature
would permeate the clay. The surface was then covered with

wax and

and polished,

resin,

the Polledrara hydria.

like

combination of analyses of the paste made by Brongniart 3 gives

the following result
Silica'

70 parts.

12

Carbonate of lime

Magnesia
Water
Carbon

60

t ,

Clay earth
Iron oxide

...
......
.

16

12
8

10

,,

,,

,,

The oldest bucchero vases go back to the tombs a fossa of the

end of the seventh century. They are small and hand-made,
The
ornamented, if at all, with geometric patterns, incised.
engraving was done by a sort of toothed wheel or a sharp
tool
more rarely, hollowed out in grooves. Obviously the
Oriental influence
process is an imitation of metal engraving.
;

soon appears,

of

first

all

Cervetri, the surface of

1

2
3

in

the chalice-shaped cups found at

is covered with figures of lions,

which

Martha, L'Art trusqite, p. 462.

Louvre Cat. ii. pp. 294, 315.
see Bliimner,
Traite, i.
414
p.
:

Technologic,

ii.

p.

62.

It

may be com-

pared with the analysis of the clay of

Greek vases given in Vol. I. p. 203.

302

ETRUSCAN AND SOUTH ITALIAN POTTERY

deer,

etc.,

form and decoration are

Oriental style.
Both
metallic prototypes.

in

derived from

The

projecting Gryphons'
heads mentioned above are also typical of this class.
In tombs of 560
500 B.C., along with Corinthian vases, a

wheel-made, of light and

different type occurs, the vases being

elegant forms

The ornament

pyxides, amphorae, and jugs.

in the form of reliefs, either stamped from a

cups,
is

chalices,

cylinder on a narrow band, as in the red ware from Caere

(see p. 292), or composed of a series of medallions separately

modelled or made from moulds and stuck on. This, again,

an imitation of metal. Examples of these types are given
Plate LVII.

figs.

1-3,

is

in

5.

The
such

subjects are not very varied.

They range from animals
as stags and lions, or monsters such as Sphinxes and

Centaurs, to winged deities, suppliants with offerings before

deities, and other mythological figures
Chimaera, the Asiatic

Artemis, or the Minotaur. Egyptian masks are also common.

2
Episodes of hunts or banquets occur, and also groups of figures

Some

in

meaningless juxtaposition.
patterns, such as palmettes,

vases have only curvilinear

of a vegetable rather than a

In
this
group the general tendency is rather
geometrical type.
3
This is
Hellenic than Oriental, especially towards Ionian art

only a temporary phase, and

the
i.e.
Veii, and Corneto

all

is

practically confined to Cervetri,

region in which the

maritime

Corinthian vases are found.

At Chiusi an extraordinary development is manifested, which

gradually obtained a monopoly. The city was far from the sea
and Hellenic influences, and retained Oriental traditions. After
the end of the sixth century all the varieties of bucchero were
fused into one type, which lasted down to the end of the fourth
4
The shapes include amphorae, trefoil-mouthed oinocentury.
choae, various forms of cups, bowls with raised handles and
ladles (kyathi), table-utensils, basins imitating metal forms,

braziers,
1

and vases

Cf. Micali,

Mon. Ined.

Micali, op.

cit.

Cf.

pis.

in the

form of birds or
and the

pis. 28-30.

1877,

28-32.

Arch. Zeit. 1884,

pi.

8, fig.

I,

reliefs

fishes.

They

are

from Sparta, Ath. Mitth,

pis. 20-4.

Cf.

Ann. del?

Inst. 1877, pis. u,

Micali, op. cit: pis. 27-32.

If

BUCCHERO WARE

303

ornamented with

reliefs from top to bottom, the subjects being

The tops or covers are
as in the last group.
often in the form of female or cows' heads, or surmounted by

much

the

same

birds

(cf.

Plate

stamped

in

LVII.

fig. 5).

The

and ornaments are

figures

from moulds and fixed by some adhesive medium,

incised designs being inserted to fill up the spaces. These reliefs

are never found earlier than the period of Attic importations.
The subjects are derived as before from Greek, Egyptian,

and Assyrian sources, the Oriental types being so much

combined that they must evidently have come through the
Phoenicians.
Among the Greek subjects we find Theseus and
the Minotaur, Perseus and the Gorgons, Pegasos and the
The animals and the four-winged
Chimaera, warriors, etc.
figures are Assyrian in type, while Egypt supplies such types
as Ptah, Anubis, and other animal-headed deities, and the

female heads on the so-called Canopic jars.

There are here no signs of inventive genius. The technique
1
is purely native, but all is founded on foreign models.
The

shapes are those of Ionia and the coast of Asia or of Athens.

On the other hand, the development of the technique from the
Villanuova pottery is certainly apparent. The Greeks, indeed,
tried

to

imitate

it

at

Rhodes and Naukratis.

times,

and bucchero ware

We may

down

is

found at

that Etruscan

fairly lay
limited to the perfecting of the technique
combination of the borrowed elements and art-forms.

invention

is

and the

Many

seem to be copied from ivories, and the rounded

reliefs are certainly from bronze repousst work
in some cases
we find traces of gilding, silvering, and colour, which have been

of the

flat reliefs

intended to reproduce the appearance of metal. Again, in many

spects the bucchero vases are merely the counterparts of works

and the bowl with

bronze, as in the case of the braziers

2
In short, they
aryatid supports given in Plate LVII. fig. 2.
produce for us what is wanting in our knowledge of early

reek metal ware. 3

1

See Pettier, Louvre Cat. ii. p. 324 ff.

B.M. A 379 with Bronze Cat.

Arch.

Louvre Cat.

385, 43 6 -37See also on the subject generally,

Etrusque,

Gas.

Cf.

p.

1879,
ii.

p.

p. 314*?.

462

de Vulci, p. 445

ff.

ff.

99 ff.
Pettier,
Martha, L'Arf
;

and Gsell, Fouilles

ETRUSCAN AND SOUTH ITALIAN POTTERY

304

There seem to be some references to this early black ware in

Roman poets, for Juvenal l mentions it as being in use in the

the

Numa

time of

"
:

ladle (sintpuvium]

Tuscum

it

fictile,

Who

dared then," he says,

"

ridicule the

to

and black saucer of Numa?" Persius 2 styles

and Martial 3 imagines Porsena to have been

quite content with his dinner-service of Etruscan earthenware.

peculiarly Etruscan type of vase which deserves some

separate attention is that known as the Canopic jar, resembling
the so-called Kavmroi, in which the Egyptians placed the bowels

mummies. 4

These Etruscan canopi are rude representafigure, the heads, which are often attired
in Egyptian fashion, forming the covers.
The eyes are sometimes inlaid, and the female heads have large movable earrings
and other adornments. In the tombs it was customary to place
these vases on round chairs of wood, bronze, or terracotta.
An
example may be seen in the Etruscan Room of the British
Museum, where the chair is plated with bronze, covered with
archaic designs in repousse relief, 5 and another is shown in
Similar chairs were discovered in the Tomba delle
Fig. 1 8 1.

of their

of the

tions

human

but the Canopic jars are almost confined

type finds a parallel in the so-called "owl-

Sedie at Cervetri
to

Chiusi.

The

vases" from the second city at Hissarlik (Vol. I. p. 258), in

which the same combination of the vase-form with the human
figure

to be observed.

is

The lower

was

portion of the jar

intended to receive the ashes of the dead, like the ossuaria,

this method of placing the mortal remains of a person within
a representation of himself being peculiarly Egyptian.
6
Signor Milani has traced the origin of the Canopic jars to
the funeral masks placed over the faces of the dead, which are

sometimes found
1

in the earliest

vi- 343
cf- Pliny, H.N. xxxv. 158and Chapter XXI.
:

59,
'

z
ii.

s
4

60.

xiv.

98 cf. p. 479.
See Perrot, Hist, de I' Art, i. p. 308.
See Cat, of Bronzes; No. 600, and
:

Cat. of Terracottas,

D2I5.

The bronze

made up into the

plates were formerly

This practice

Etruscan tombs.

shape of a shield, with many restorations

but on removing these, the true
form was discovered. The body of the
;

chair
*

is

modern.

Mus. di Ant.

Class,

many examples on
Fig. 181

is

from

i.

pis.

p.

299

9,

a,

a.

pi. 9, figs. 9,

ff.,

with

n-13-

CANOPIC JARS

305

derived from Mycenae, where Schliemann found

gold masks in the shaft-tombs of the Agora but in Etruria the
1
examples are all in bronze, except a few of terracotta.

may have been

gradual transition can be observed from the mask, at first placed

on the corpse and then attached to the urn containing its ashes,
to the

head fashioned

in

the round and assimilated with the

may be observed
from the vase with human head to the complete human figure.

cover

while in later times a further transition

From Mus.

di ant. class.

FIG.

l8l.

CANOPIC JAR IN CHAIR PLATED WITH BRONZE.

Finally, its place was taken by the reclining effigies on the covers
of the sarcophagi (p. 320).
The earliest jars are found in the
tombs
of
the
eighth century, the evolution of the head
\pozzo

modelled

in the round being accomplished by the seventh

and
the archaic types last down to about 550 B.C.,
century,
when the severe perfected style comes in, to be succeeded by
the free style of the fifth century, after which time the Canopic

jars cease to
1

H 148

be manufactured.

in the British

Museum

is

curious terracotta example, covered with

VOL.

II.

incised designs: see Benndorf,

helme

und Sepiilcraltnasken,

pi.

20

Gesichts-

n,

p. 42.

306

ETRUSCAN AND SOUTH ITALIAN POTTERY

The

types are both male and female throughout, the latter

being usually distinguished by wearing earrings and necklaces.

Towards the end of the series the handles are gradually
converted into rudimentary arms, and finally into fully

human

developed

arms, sometimes holding attributes.

They

are probably placed on chairs as emblems of the power and

In the
authority which the deceased enjoyed during his life.

Museum

there is a remarkable example of the sixth

the
which
century
jar is placed on a chair of the same clay,
covered with graffito ornamental designs and figures of animals.
Berlin

in

The

jars are

uncoloured.

always made of a plain red unglazed clay, and are

In the

British

Museum 2

there

are

two

seated

female figures on detached square bases, wearing bright red

and large circular earrings, which seem to represent

the period of transition from the jar to the sarcophagus, the
style in which they are modelled being that of the fifth century.

chitons

Some

examples have strongly individualised

be genuine portraits
it
is
possible
that they are actually from moulds taken from the faces of
the

of

later

features, and seem

to

the dead.

PERIOD OF GREEK INFLUENCE; PAINTED POTTERY

(5)

Although the Etruscans executed such admirable works

bronze, exercised with such

the

skill

and produced such refined specimens of filagree-work

they never attained to high excellence

in

art of engraving gems,

in their

in gold,

pottery.

The

vases already described belong to plastic rather than pictorial

Down to the
art, and are mostly imitations of work in metal.

end of the sixth century B.C. their attempts at painting vases

have been, as we have seen, limited practically to two fabrics,
the Polledrara ware and the Caere jars with paintings in a
These methods have, however, nothing in
similar technique.
common with Greek vase-paintings of the ordinary kind on
a glazed surface, a method which was never popularised in
Etruria.

The

total failure
1

Cat. 3976-77.

of the Etruscans in vase-painting finds

2

Cat. of Terracottas,

D 219-220.

a;

INFLUENCE OF GREEK VASE-PAINTPNG

307

all their best work is to be

curious parallel in their sculpture
or
their
in
figures in low relief, as in the
engraving
sought
;

mirrors

and

clearly that

Yet the same mirrors and cistae show

was from no lack of ability in drawing that

cistae.
it

they failed wherefore it is the less easy to understand, not

only the absence of all originality in their painted vases, but
also the rarity of instances of their imitative tendencies in this
;

respect.

Apparently the red-figured vases which were imported into

Etruria in such large numbers in the fifth century served as
prototypes, not for their paintings, but for the engraved mirrors
which we have alluded. It may have been that they shrank
from the task so successfully achieved by Greek painters of
suitably decorating the curved surfaces of a vase, and preferred
to

the

flat

even surfaces supplied by the circular mirrors and the

Moreover, the interior designs of the kylikes,

sides of the cistae.

perfected by Epiktetos, Euphronios, and their contemporaries,

served as obvious models for disposing a design in a circular
space and they had in the subjects of the vases a mythological
;

repertory ready to hand.

It now remains to be seen to what extent they actually were
influenced in their pottery by the imported Greek vases.

For considerably over a century painted pottery, at all times

is practically unrepresented in the tombs except
Greek
by
importations, Corinthian, Ionic, and Attic the only
local attempts in this direction are the Polledrara and Cervetri
As we have seen, early Corinthian vases appear in the
vases.
fossa tombs, and later Corinthian in the chamber tombs, in
which, towards the middle of the sixth century, the Attic B.F.
rare in Etruria,

fabrics begin to

make

their appearance.

The

latest

develop-

ments of the Corinthian wares are, indeed, almost unrepresented,

but their place is taken by what appear to be local imitations
of the Corinthian vases, a large series of which was found at
Cervetri, and now forms part of the Campana collection in the
Louvre. These are, however, for the most part certainly Greek,
being presumably made by the Greek settlers in that town
at any rate, an Etruscan origin cannot be proved for them. 1
'

See Vol.

I.

p. 321,

308

ETRUSCAN AND SOUTH ITALIAN POTTERY

We

have also seen that the Ionian fabrics exercised a great

Etruscan art, and this leads us to another series
of vases found at Cervetri, the Caeretan hydriae discussed in
Chapter VIII. Some years ago it was noticed by the late
influence on

Dummler

F.

that there were in

many museums examples

of

a class of vases which stood in close relation to the Caeretan

hydriae, yet were obviously a different fabric.
Having collected
and examined these vases, he was able to demonstrate satisfactorily that they

were direct imitations by the Etruscans of

the Caeretan hydriae, 2 thereby proving at the same time that

the latter were imported from other sources (sc. Ionia), and not,

had hitherto been supposed, themselves of Italian origin. It

not unlikely that the Ionic influence in Etruria is due to the
Phocaean migration of 544 B.C. on reaching Italy the Ionian

as
is

fugitives

would naturally hand on

their art-traditions there.

These Etruscan vases are not exclusively hydriae, some being

but they all bear the unmistakable
amphorae, others kyathi
of
Etruscan
in
the
art
stamp
drawing of the figures and other
;

small details, such as the treatment of the incised lines.

It will
further be noticed that the drawing is in most cases quite free

from archaism, figures being often drawn in full face or correct

and this consequently proves that they belong to a
profile
considerably later date than the fabrics which they imitate,
although the figures are always in black on a red ground.
The style in some cases is not unlike that of the later Pan;

athenaic amphorae of the fourth century, and may also be

compared with some of the bronze cistae from Palestrina.

Accessory pigments are rare, and the incised lines are sketchy
and careless
great prominence is given to the bands of
ornament bordering the designs, this being a feature borrowed
;

On a large amphora in the British

the characteristic Caeretan band of lotos-flowers

from the Caeretan hydriae.

Museum (B 64)

exactly reproduced, though in black instead of

Other
typical ornaments are the maeander and
polychrome.
chevrons ivy-leaves and sprigs shooting up from the ground

and palmettes

is

Rom. Mitth.

1888,

p.

I74ff.

see

also Endt, Ion. Vasentn. p. 71.

2
They also show the influence of the

" Pon tic"

3

the

It

class (Vol.

I.

p. 359).

may be compared

with

same case (Plate XXVI.).

659

in

C/3

<U

PAINTED VASES OF ETRURIA

309

and wreaths of all kinds. The subjects are limited

in range, and thoroughly Etruscan in feeling
Pegasi and
beardless Centaurs with human forelegs, Bacchic subjects, and
lotos-buds,

genre scenes, such as athletic contests, combats, or funeral

The
ceremonies (Plate LVIIL), almost complete the list.

turned-up shoes and the pointed tutuli worn by the women,

as well as the physiognomy of the figures, with their receding
foreheads, are

all

characteristically Etruscan,

former details are borrowed from

heavy and

and the

though the two

The shapes

Ionia. 1

of the

inartistic,
altogether un2
of
the
is
here
pleasing.
principal examples
appended.
When at last the imitative instincts of the Etruscans did in

vases

are

effect

list

course of time impel

them

to turn their fancy to

copying the

red-figured vases, we find the same characteristics reproduced.

The number of such imitations is not large, but they are

unmistakable, not only from the style, but from the pale yellow
clay, dull black glaze, and bizarre character of the ornamentation.

Nevertheless, in
obtained, as in the B.M.

some
kylix

cases

good
478, which in
fairly

results

are

interior

its

an obvious attempt to imitate the

work of the great Athenian kylix-painters. The artist seems
to have learned his art from the school of Hieron and Brygos,
but his Etruscan instincts are revealed in the over-elaboration
and stiff mannerisms of the drawing. The Museum also posat

design

events

all

is

sesses a very fine krater from Falerii (F 479), which appears

to be an example of a local school, 3 imitating the red-figured
"

"

But these comperiod and large style.

successful
imitations
are
paratively
exceptional.
The other red-figured Etruscan vases are far inferior, and

vases of the

fine

are executed in

dry and

is

a style which none can fail to recognise. It

in the extreme, the drawing helpless, and

lifeless

See

Vasenm. p. 51;
Endt, Ion.
Louvre Cat. ii. p. 413.
2
B.M. B 61-74; Louvre
754-81
(some of these do not show distinctive

Pettier,

features, although made in

Naples 2522, 2717, 2757 ; Wttrz-

Etruscan
Italy)

burg 81-2; Micali, Man. hied. 36. I, 37,

Duboisid. Storia, 82, 3
I, and 43, 3
;

Maisonneuve,

Mus. Chius. 72

Introd.
;

34;

18-9; Anzeiger, 1893,

cording to Endt, loc. cit.,
pi.

Inghirami,

Gsell, FouiUes de Vulci,

P-

87.

about

Ac200

examples are known. 663 in the B.M.

reproduced in Plate LVIIL
3
Another is given in Mon. deir lust.

is

x. pi. 51.

310

ETRUSCAN AND SOUTH ITALIAN POTTERY

the whole effect repulsive and disagreeable, as is so often the

case with Etruscan art.
These vases are not earlier than the
third century B.C., and may be later.
In them we observe,
besides Greek mythological subjects, the introduction of local
deities such as Charun and Ker. The British Museum possesses

some ten examples of

this class, in addition to the

two already

The most interesting is a krater (F48o= Plate LVI 1 1

described.

on one

.),

the death of Aktaeon, designated by his

Etruscan name Ataiun; on the other, Ajax, designated Aifas,
throwing himself upon his sword, after the award of the armour
with,

side,

of Achilles.

Another vase of this class has for its subject the farewell
Admetos and Alkestis, 1 with Etruscan inscriptions accompanying the figures, and a speech issuing from the mouth of one
Behind Admetos is one of the demons of the Etruscan
of them.
of

hell,

tunic

probably intended for Hades or Thanatos, wearing a short

and holding in each hand a snake. Behind Alkestis is

Charun with

his

On

mallet.

another vase found at Vulci

Ajax is represented slaying a Trojan prisoner in the presence

of Charun and on the reverse the latter appears again with
;

Penthesileia

and two other women.

On

a third

Leda

is

showing Tyndareus the egg from which Helen

it is inscribed
and Klytaemnestra were destined to be born
Elinai, the Etruscan form of Helen.
The latest specimens of these fabrics, which have been found
represented

and Orbetello,

at Orvieto

positively degenerate into barbarism

4
;

the figures are carelessly and roughly painted, and white is

extensively used as an accessory, as in the later Apulian and

Campanian

vases.

The

the infernal regions, and

subjects are usually borrowed from

the gruesome figure of Charun is

common.
Inscriptions on Etruscan vases are rare as compared with
Greek, and in many cases have only been scratched in after the

There are also instances of imported Greek vases

Etruscan
on which
inscriptions have been incised in this manner,
vase was made.

Bibl. Nat.

918 = Dennis, Etruria,

3
ii.

frontispiece.
2

Reinach,

i.

p. 88.

Mon. Ined.
Mon. dell" Inst.

Micali,

pi. 38.

Cf.

Inghirami, Vasi Fitt.

xi. pis.

iv.

358.

4-5

also

ETRUSCAN INSCRIPTIONS
as in the case of a vase

Museum (A

BAI|NA5

1137, from
t

311

the form of a lion in the British

in'

Veii),

on which

The

felthur hathisnas.

is

earliest

incised

F^UVP

known

are incised

on plain pots of black ware, and several of these take the

form of what are known as abecedaria, or alphabets. Strictly
speaking, some of these alphabets are of Hellenic origin, and
do not give the forms of the Etruscan letters as they are known
to us
but as the latter are derived from the Greek (western
;

Cumae

probably through

group),

above,

(see

would naturally represent

inscriptions
Etruria.

amphora was discovered

forms

on which

at

this Greek alphabet is

a retrograde Etruscan inscription, and a
with
together

bary" or spelling
6,

//,

in

Formello near Veii, 1

written twice from left to right,

In 1882 an

8, e, f,

these

295)

p.

their original

i,

The alphabet

exercise.

K,

ft, v,

o, TT,

ffl,

M,

p,

<r,

as follows

is

+,

T, v,

"

syllaa,

0, Y.

j3,

7,

This

the most complete abecedarium extant, containing twenty-six

and illustrating the archaic Greek forms of the twenty-two

is

letters

Phoenician letters

+ (=

The

Semitic order.

in their

four additional

and Y (= %). The character

is the
representative of samech, and is not found in Greek inscriptions

ones are

v,

f),

ffl

</>,

is

shin or san

The Caere
also

is

247).

(cf. p.

alphabet, on a vase

now

Museo Gregoriano,

in the

combined with an Etruscan syllabary, consisting of

such forms as

the alphabet
from Formello, except for the omission of
the ?, and the v\, which represents san.
A third alphabet
of the same type, extending as far as o, was found at Colle

resembles

ba, bu, be, gi, ga,

gu, ge,

etc.

that

On

near Siena. 3

and now

bi,

another small black jar also found at Caere,

the Museo Gregoriano, 4 is incised an Etruscan

in

inscription in two lines, in which also the letters are certainly

these two from Caere must
early Greek rather than Etruscan
;

be

of

650600
1

Roberts,
(y.v.

for

same date

the

the

as

Regulini-Galassi

tomb, about

B.C.

Gk.

Epigraphy,

facsimile)

Bull,

i.

del?

p.

Inst.

3
4

1882, p. 91.
*

Roberts, p.

Dennis,

17:

for a facsimile

see

i.
p. 271.
Roberts, p. 18.

Dennis,

i.

Forsch. u. Stud.

p.
iv.

273;
(1883)

Deecke, Etr.
p. 39.

3 i2

ETRUSCAN AND SOUTH ITALIAN POTTERY

The two following, however, are genuine Etruscan abecedaria

one from the foot of a cup found at Bomarzo, 1 on which the

alphabet runs (retrograde)

T v

*>

>

& X>

>

a, 7,

e,

F, f,

77,

0,

i,

\,

M,

ju, v, TT,

p,

</>

FIG.

the other in the

ETRUSCAN ALPHABET, FROM A VASE.

l2.

museum

at Grosseto,

which the

in

letters are

In
practically the same, but with the addition of K and ?.
the first named the form f for Z should be noted, and in both
occur the san and two forms of </>, which in Etruscan generally

other instances of early Etruscan inon the Louvre vase from Caere, with white
see p. 294), which dates from
paintings on red ground (D 151
the seventh century
and on objects from the Regulini-Galassi
and Del Duce tombs (pp. 295, 300). They are, however, very
rare on the pottery of the next two centuries, with the exception
of those incised on the plain pottery, which bear no essential
relation to the vase itself. 3
These, as has been noted, are also

Among

appears as $.

scriptions are that

found on imported

Greek wares, one of the best instances

4
being the kylix of Oltos and Euxitheos, at Corneto, on the
foot of which is an inscription of thirty-eight letters not divided
5
Occasionally also painted inscriptions are found.
however, we come to the imitation Greek vases of the

into words.

When,

and second centuries, we find a curious reversion to the old

Greek practice of inscribing the names of the figures and even
sentences on the paintings themselves.
Some of these have
The best example is afforded by
already been mentioned.
the krater with Admetos and Alkestis, on which the names of
the two principals are given as ^TlsMTA, Atmite, and IT3DJA,
Alcsti while by the side of the figure of Charun is a long inthird

scription

ECH

the vase with

1

2
3

Dennis,
Ibid.

See

ii.

i.

EA8CE

MUC

ATPANM

On

8AEPOPCE.

Ajax and Penthesileia the names are given

p. 172.

for instances Micali,

55,

pi.

p. 224.

Greg.

Mon.

Ined.

ii.

7;

ibid.

Storia,

pi.

101

as

Mns.

pi. 99.

Reinach, i. 203.
E.g. Fabretti, C.

I. Ital.

2606, 2609.

ETRUSCAN INSCRIPTIONS

313

AIFAS, tADv, PENTA^IUA, and BINOiAU TVPMVCAS. On

a vase mentioned by Gerhard, Nike inscribes on a shield the

word

ANAv

Lasna. 1

ETRUSCAN TERRACOTTA WORK

2.

remains to say a few words on the other uses of clay

among the Etruscans. This subject has indeed been discussed
It

to

some extent

in

general

of work

Chapter

III.,

regarding the use of clay

But there are some features

terracotta which are peculiar to this people.
For

in

in

in

classical

times.

we are quite prepared by

the evidence of the pottery found in their tombs, which shows
that they understood the processes of manufacture perfectly,
their extensive use of this material

attempts at decoration. As we shall

see, they employed
constantly, not only for finer works of
but
for
and
more utilitarian purposes. This we
art,
ordinary
know not only from the existing remains, but from many
passages of ancient writers, who speak of the Etruscan

even

if

they failed

in their
it

preference for clay and their

skill in

its

use.

Pliny, in particular, speaks of the art of modelling in clay

"
2
as
brought to perfection in Italy, and especially in Etruria."

He

attributes

its

introduction to the

three

craftsmen

whom

Demaratos brought with him

from Corinth in the seventh

B.C.
Eucheir,
century
Eugrammos, and Diopos whom he styles
This
of
its origin need not, of course, be imfictores?
story
plicitly believed

nor,

on the other hand, need the statement

of Tatian, 4 who, followed in modern times by Campana and

other Italian writers, claimed for Italy a priority over Greece in
the art of

making

terracotta

For

figures.

their statues

the

Etruscans certainly seem to have preferred clay to any other

material.
Although few of these have descended to us, there
are

many

excellence,

it

Etruscan statues
1

Ann. deir

also Fabretti,
2

Inst.

is

in

Roman

literature which imply their

from these that our knowledge of
The Romans, unable
terracotta is derived.

passages in

and

chiefly

1831, p.

Nos. 2222, 2583.

H.N. xxxv. 157.

176

cf.
4

Ibid. 152.

Orat.

ad

Grace,

i,

314

ETRUSCAN AND SOUTH ITALIAN POTTERY

themselves to execute such works, were obliged to employ

Etruscan artists for the decoration of their temples, as in the

notable instance of that of Jupiter on the Capitol.

Volca of Veii

certain

was employed by Tarquinius Priscus, about

509 B.C., to make the statue of the god, which was of colossal
proportions, and was painted vermilion, the colour being solemnly
renewed from time to time. The same artist made the famous
chariot on the pediment of the temple, which, instead of conthe

tracting in

roof had

furnace, swelled

to

such an extent that the

This circumstance was held to

2
Volca also made
prognosticate the future greatness of Rome.
a figure of Hercules in the Forum Boarium, and we read that
Numa consecrated a statue of Janus 3 but the material in the
be

to

taken

off.

latter case is not actually specified as terracotta.

Pliny goes on
places even

say that such statues existed in many

He also speaks of numerous temples

to

in his day.

Rome and other towns with remarkable sculptured pediments and cornices the existing remains of some of these
will presently be discussed.
There is no doubt that the use
of terracotta for the external decoration of temples was even
more general in Etruria than in Greece and, whereas in Greece
in

ceased

it

Roman

the

in

times.

century, in Etruria it lasted

use of bricks in Etruria seems

fifth

The

down

to

to have

belonged entirely to the time when it had lost its independence,

under Roman dominion.
For instance, the brick walls of
4

Arretium, which are highly spoken of by Pliny and Vitruvius,

do not belong to the Etruscan, but to the later city and
;

although Cell alleged that he saw tufa walls with a substructure

of tiling at Veii, Dennis sought for these in vain 5 even a pier
;

of a bridge resting on tiles which he found there proved to be

For buildings and for tombs the principal material
later work.
seems to have been tufa, but the tiles of the roofs were pro-

bably of terracotta, as were sometimes those used for covering

tombs. 6
H.N.

Pliny,
2

The

xxviii.

story

I.

Pliny,

told

p.

13.

Etruria,

i.

p.

ii.

8, 9.

12.

See Durm, Handbuch d. Architektnr,

Bd. 2 (Die Baukunst der

6.

2.

xxxiv. 33.

Etrusker\

1 1

H.N.

Poplicola,

ff.N. xxxv. 173; Vitr.

by Pliny, H.N.

and Plutarch,

16,

See Vol.

xxxv. 157.

is

Theil,

p. 5.

TERRACOTTA

IN

ETRUSCAN ARCHITECTURE

315

Etruscan temples were also largely built of wood, with a

covering of terracotta slabs, as the evidence of recent ex-

This method of decoration, which, as we

cavations shows.

I.
p. 100), was largely practised
even
and
and
Italy
spread thence to Greece, as at
Sicily,
is
not
alluded
to
by Vitruvius in his description
Olympia,

saw

a previous chapter (Vol.

in

in

of Etruscan temples

(iv.

construction of the roofs

although he speaks of the wooden

but he alludes to antepaginenta fixed

7),
;

on the front of the temples, which

refer to the terracotta

may

slabs.
Earlier restorations made after his descriptions are
imperfect in this respect, only regarding construction and not
It is at any rate clear that the roof had a
decorative effect. 2
1

pediment on the front only, the other three sides projecting

over and forming eaves, round which hung the pendent slabs
(see below)
they were not required in front because of the
;

the same writer tells us, had

and pediments, ornamented with sculpture

Araeostyle temples,

portico.

wooden

architraves

The

in

terracotta.

to

the construction

of

cinerary urns often supply evidence as

of the roofs, with their exact imitation

tiles.

We
this

have now remains of at

method,

or,

rather, of their

least

four

terracotta

temples built in
from

decoration

Museum

Cervetri in Berlin, from Civita Lavinia in the British

from Alatri (1882), and from Falerii or Civita

Other remains of architectural terracotta
work come from Orvieto, 4 Pitigliano, 5 and Luni (see below),
and from Conca or Satricum, 8 the latter being chiefly antefixal
ornaments of the ordinary Italian types. The Cervetri remains
consist of roof-tiles, antefixal ornaments with figures in relief
in front, and friezes with chariots and warriors. 7
Portions of
a similar frieze from the same site are in the British Museum, 8
as are also three antefixes in the same style as one in Berlin
(Plates II.-IIL),

'astellana (i886). 3

See Wiegand, Futeolanische Baninfur PhilaL Suppl.-Bd. 20,

schr. (Jdhrb.

756

).

ff.

Borrmann

in

Durm's Hand-

Theil, Bd. 4, p. 40.

For a recent restoration of an Etruscan

*>uch,

i.

emple see Anderson and Spiers, Architecture of Greece and

Rome, p. 1 26.

Notizie drgli Scavi, 1887, p. 92

Ann. detf Inst. 1881, p. 48.
Notizie,
v,

1898, p. 429

ff

Class.

1899, p. 329.

Notizie, 1896, p. 33.

Mon. del?

Inst. Suppl. pis. 1-3.

Cat. of Terracottas,

626.

ff.

Ke-

ETRUSCAN AND SOUTH ITALIAN POTTERY

316

from Cervetri (Plate LIX.). 1 They belong to the fifth century,

and illustrate a later development from the ordinary archaic
type idealised female heads or heads of Satyrs with rich

polychrome decoration.

Another example

in

Berlin

appears

to represent Juno Sospita. 2

The friezes are a good example
of the Italo-Ionic style of the end of the sixth century, the

points of comparison with the Chalcidian and other B.F. vases

3

being particularly noteworthy.

But for information on the form of the Etruscan temple these
are too fragmentary to be of any use.
The remains from Alatri,
Civita Castellana,

and Civita Lavinia are much more

illumi-

The

last-named, of which some description has already

been given (Vol. I. p. 101), are partly archaic, partly of the
fourth century, the two former wholly of the later date
but
nating.

allowing for differences of style, the general arrangement was in

all cases practically the same.
The front of the temple was

form of a pediment supported on columns, with ornamental raking cornices, and akroteria in the form of figures or
groups.
Along the sides and back ran gutters, with lion-head
in the

spouts at intervals, faced by upright cornices, with pendent

"
"
plates of terracotta, or
barge-boards hanging free and ornaThese were for protection
mented with patterns in relief.
against weather, like the edgings to the roofs of Swiss chalets

and modern railway stations. The practice was quite un-Greek,

and peculiar to Etruria. The antefixal ornaments were conThe architraves were
tinued along the sides above the cornice.
also ornamented with terracotta slabs, on which were palmette
and thus the whole formed a rich and continuous
patterns
of
terracotta plating which completely covered the
system
woodwork of the architraves and roof. All the slabs were
ornamented with coloured patterns in relief, or simply painted
on a white slip, such as maeanders, tongue, scale-pattern,
;

lotos-flowers, or various

The
1

Cat.

Arch.

forms of the palmette.

existing remains of Etruscan

of Terracottas^

Zeit.

1871, pi.
trated in Plate LIX.

i.

3621-23:

B62I

cf.

is illus-

monumental sculpture

Panofka,

Terracotten des

k.

in

Mus\

pi. 10.
3

SeeFurtwaengler,A/mterzew-/<?,p.25O.

TERRACOTTA

ARCHITECTURE

IN

317

Some of the archiclay are, a's has been indicated, not large.
tectural antefixes are almost important enough to be included
under

this head, especially those in the

modelled almost

round.

the

in

form of figures or groups

These belong mostly

example is the group

to the

in the
century B.C., and the finest
Berlin Museum from the Cervetri find already mentioned, reprel
it is in the style of about
senting Eos carrying off Kephalos
fifth

480

B.C.

smaller

but

still

very effective example

antefix from Civita Lavinia in the British

a Satyr and
With these

is

the

Museum, representing

Maenad awaiting
must be

the advent of Dionysos (Plate II.). 2

reckoned the sculptured friezes from

and Berlin Museums, and the reliefs on

3
In all
sarcophagus from the same site.
these the same prevalence of Ionic Greek influence may be
observed, which is characteristic of so much Etruscan work
of the late archaic period, both in terracotta and bronze, as
in the reliefs of the Polledrara bust. 4
This influence, which is
due to the strong Hellenic element in the civilisation of Caere
and the Campanian cities, we have also seen at work in the
Cervetri in the British

the British

Museum

5
vase-paintings of the period.
One of the earliest instances, and perhaps the most remarkable,
of Etruscan clay modelling in the round, for its size and execu-

tion, is

British

the group on the top of the famous sarcophagus in the

Museum (Fig. i83). 6 The figures, a man and woman

of somewhat slender prothe

drapery of the woman stiff
portions, with smiling features,
and formal.
Sir Charles Newton has described the style as

reclining

"

on a couch, are

archaic, the treatment

life-size,

in

throughout very naturalistic,

which a

curious striving after truth in anatomical details gives animation

to the group, in spite of the extreme ungainliness of form and
The same difficulties that beset the
ungraceful composition."
1

Arch.

Martha,

Zeit.

L'Art

1882,

pi.

trtisque,

15
p.

cf.

324

also
(in

Louvre).
2
3

J.H.S.

xiii.

p. 316.

Murray, Terracotta Sarcophagi,

pis.

B.M.

p. xlvii.

See

Cat. of Bronzes,

No. 434, and

p.

308, and Furtwaengler, Meis-

For

full

description

of this sarco-

phagus see Cat. of Terracottas, 6630;

Murray, Terracotta Sarcophagi, pis. 9-11,
p. 21.

9-11.
4

terwerke, p. 250.

It is interesting to

note that the

must be contemporaneous with

the Capitoline statues made by Volca.

figures

3i8

ETRUSCAN AND SOUTH ITALIAN POTTERY

sculptor of the Polledrara bust, in working in the round instead

and the contrast with the Hellenic
of relief, are visible here
;

There
style of the reliefs round the lower part is very marked.
are similar sarcophagi in the Louvre, and in the Museo Papa

Rome. 1

Giulio at

M. Martha notes

in

regard to the figures

on the former that the faces are remarkable for individuality

and precision of type, but the limbs are stiff and rude. This is

FIG. 183.

ARCHAIC TERRACOTTA SARCOPHAGUS (BRITISH MUSEUM).

not an infrequent feature of early Greek art. 2 Signor Savignoni

claims these three monuments as purely Ionic Greek work,
but repudiates much of the British Museum sarcophagus as
un-antique.

Of

later sculpture in terracotta the

Luni
1

in

by

Mon. deir

Antichi,
gnoni).

viii.

The

instances

are compara-

being the pedimental sculptures from

Northern Tuscany, discovered in 1842, and now at

tively few,

far the best

Inst.

vi.

pi.

59

Man.

521 ff. (Savilatter was found in the same

pi.

13,

p.

group of tombs as the painted slabs

the Louvre described below,
2

Cf.

Mon. Antichi>

viii. p.

531.

ii

TERRACOTTA SCULPTURE
Florence. 1

of the

Their date

Olympian

is

B.C., and they include figures

a group of Apollo and
and
Muses,

about 200

deities,

Artemis slaying the Niobides.

figures were found at
Orvieto.

few

remains of similar

be

may

It

319

con-

venient to speak here

of a small group of

monuments

in terra-

cotta which illustrate

an interesting
manner the achieve-

in

ments

Etruscan

of

the

in

painting

This

archaic period.
is a series of terracotta

the

which

slabs,

were

inserted

of

walls

tombs

into

small

at Cervetri to

the painted
decoration which the

receive

Etruscans considered

such

an

feature

important
of
their

sepulchral
3
ments.

Two

arrangesets

have been found, one

of which is in the
FIG.

Louvre, the other in

the British

Museum

184.

PAINTED TERRACOTTA SLAB FROM TOMB

(LOUVRE).

both are of similar character, and belong to the beginning of

the sixth century, but the style varies in some degree.
Fig. 184
gives one of the slabs in the Louvre.
1

Mus.

Ital.

di Ant. Class,

i.

p.

89

pis. 3-7.

ff.,

Man.

dell' Inst.

x. pi.

7, p.

Dennis, Etrtiria,
3

Martha,

LArt

ii.

ii.

p. 48.

Etrttsque,

pi.

p. 412.

243

ff.

vi.-vii.
;

pi.

Pettier,

Louvre Cat.

320

ETRUSCAN AND SOUTH ITALIAN POTTERY

The

surface of the slabs

was covered with the usual white

1
\ei)K(ofJia of early Greek paintings, on which the designs
were sketched with a point and filled in with red and black

slip or

The white ground was

outlines or washes.

of

women and

coloured red.

for the

left

flesh

for

white drapery, the flesh of the

men

being

Of

the two the Louvre slabs seem the

more

advanced, and more directly under

Ionic influence, while the

The Caeretan hydriae
others are more provincial in character.
seem to have left some traces on the former, and in the latter
interesting to note the use of borders of white dots for the
drapery, such as we see on the Daphnae vases (Vol. I. p. 352).
These paintings may also be compared with those in the
is

it

Grotta
rate,

not

in

painting, while

works

at Veii (Vol.

Campana

if

still

in terracotta,

39), which, in spirit at

any
examples of Etruscan
under Oriental influence. But not being
they do not strictly concern us here.

date,

are

the

I. p.

oldest

Although the more important sarcophagi of the Etruscans

were made of alabaster, tufa, and peperino, a considerable
number, principally of small size, were of terracotta. All of
Some few were
these belong to a late stage of Etruscan art.
large

enough

to

receive

body

laid

at

full

length.

Two

large sarcophagi, from a tomb at Vulci, now in the British

2
The lower part, which held
Museum, may be taken as typical.
like
a
is
the body,
shaped
rectangular bin or trough, about three
wide.
On the covers are recumbent
feet high and as many
Etruscan women, modelled at full length. 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.

their fronts in one case dolphins, in the other

These have on
branches of

trees, incised

with a tool in outline.

Other sarco-

phagi of the same dimensions 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,
1

while the cover presents a figure of the deceased in a

Cf. the

Thermon metopes,

1903, pis. 2-6 (Vol.

I. p.

92).

'E0. 'Apx.

'

Cat. of Terracottas,

D 799.

800.

TERRACOTTA SARCOPHAGI
They

reclining posture.
in relief, freely

modelled

321

generally have in front a composition

in the later style of Etruscan art, the

such as the last farewell

subject being often of funeral import
to the dead; combats of heroes (Plate LIX.), especially that
:

of Eteokles and Polyneikes

a battle in which an
*
is fighting with a ploughshare
the parting of
and Alkestis in the presence of Death and Charun

unarmed
Admetos

hero

slaying of the dragon by

Some few have a painted

Kadmos

All these were

roof.

and the

of Ares. 2

at the fountain

painted in

upon a white ground, in bright and vivid tones,

producing a gaudy effect. The inscriptions were also traced
in paint, and rarely incised.
A good and elaborate example
of the colouring of terracotta occurs in the recumbent figure
tempera

on a small sarcophagus

in the British

Museum

(Plate LIX.).
Here the flesh is red, the eyes black, the hair red, the wreath
green, and the drapery of the figure is white, with purple and

the phiale which the figure holds is yellow

gilding), and the cushions on which he reclines

crimson borders
imitate

(to

and blue. This system of colouring is maintained

even greater degree in the relief on the front of the
sarcophagus, the subject of which is a combat of five warriors.
are

red

to an

The background

is

coloured indigo, and every detail

is

rendered

except the nude parts, which are covered with a white

The pigments employed are red, yellow, black,
slip throughout.
and
green,
purple, and the inscription above is painted in brown
in colour,

on white, all the colours being marvellously fresh and well prebut the general effect is gaudy, fantastic, and scarcely
It may also be said in regard to the whole series
appropriate.
that the subjects are monotonous and unpleasing, and the
served

compositions crowded to excess.

By far the finest example of these terracotta sarcophagi is
one found at Cervetri not many years ago, now in the British
Museum (Plate LX.). 4 It is known from the inscription in front
1

This subject has been interpreted as

Kadmos (or Jason), contending with the

armed men who sprang from the sown
teeth of the

dragon

see Dennis, Etruria?t

p. 165.
2

See

VOL.

generally
II.

Brunn

and

Korte,

I rilievi delV urne Etruschi, 2

vols.

B.M.

Cat. of Terracottas,
787-98.
3
Cat. of Terracottas,
795.
4

Martha,
Ant. Denkm.
cottas,

D 786,

V Art
i.

pi.

Etrusque,

20

p.

351;

Cat. of Terra-

21

322

ETRUSCAN AND SOUTH ITALIAN POTTERY

named

to be the last resting-place of a lady

whose

effigy, life-size,

of Etruscan

adorns the top

and

in

portrait-sculpture,

Within the lower part her skeleton

is

Seianti Thanunia,

most

realistic

splendid

specimen

preservation.

still

preserved, together
very similar specimen, that
in the Museum at Florence, 1 and from

with a series of silver utensils.

of Larthia Seianti, is
the coins found therewith the date of these two
at about

50

B.C.

The

figure of the lady

was

may

cast in

be fixed

two halves,

the joint being below the hips she is represented as a middleaged matron, her head veiled in a mantle which she draws aside
;

In her left she holds a mirror in an open

with her right hand.
case she wears a sphendone in her hair, and much jewellery.
;

On

the right arm are bracelets, and on the left hand six rings,
the bezels of which are painted purple to imitate sard-stones

pendants painted to imitate amber set

The nude parts are painted flesh-colour, and colouring
in her ears are

in gold.
is

freely

employed throughout, the cushions being painted in stripes.

The dimensions of the sarcophagus itself are 6 ft. by 2 ft. by
i ft. 4 in.
it has no reliefs on the front, but is ornamented with
;

pilasters, triglyphs,

and

quatrefoils.

For antefixal ornaments, masks, and the decoration of the

smaller sarcophagi and other products of ordinary industry,
the clay seems to have been invariably made in the form of
a mould
but for the larger sarcophagi and the Canopic figures
a rough clay model was made by hand and itself baked. Probably both processes were employed concurrently large statues,
;

for

instance, being

made

in several

pieces

in

these

it

will

generally be noted that the head and torso are modelled more
carefully than the limbs.

M. Martha
terracottas

on

explains the invariable colouring of Etruscan

the supposition that the Etruscans did not

profess to make figures in this material, but looked down on

it as a common substance, to be concealed wherever
possible.
However this may be, the polychromy was not only a necessary

but an admirable means of imparting life and realism

In the archaic period there is much less variety,
to the figures.
yellow, red, brown, and black being the only colours employed
artifice,

Mon. deW

Inst. xi. pi.

I.

L?Art Etrusque,

p. 300.

TERRACOTTA SARCOPHAGI
as a rule. 1

323

The dark

red pigment usually applied for fleshcolour on the sarcophagi may suggest the minium with which

In later work
the statue of Jupiter Capitolinus was smeared.
the tints are lighter and much more varied, as we have seen,
and this is especially noticeable on the figures from the Luni

pediments, in which rose, yellow, green, and blue are employed

with the same delicate nuances that we see in the Tanagra
figures.
3.

SOUTHERN ITALY

In dealing with the indigenous non- Hellenic people of Southern

and their pottery, we are almost more at a disadvantage than

Italy

regard to the Etruscans. The peoples are almost unknown to

and are vaguely characterised as " lapygian," " Messapian,"
but this does not really carry us much
Oscan," and so on

in

us,
"

Moreover, this part of Italy has never been scientifically

or thoroughly excavated, like Etruria, and even where finds have
been made they are small and poor
nothing of very remote
date appears to have come to light, and very few early Greek
Hence there has been until quite recently no
importations.
further.

attempt made at a scientific study of the pottery, or even to

in Heydemann's catadistinguish local from imported wares
;

logue of the Naples vases it is practically ignored. Recently,

however, Herr Max Mayer, and Signer Patroni, whose laudable
investigations of the Graeco- Italian vases have already received
attention (Chapter XI.), have turned their attention to the study
2

of the less promising indigenous fabrics.

The region with which the present section deals

is

that

com-

prised by the three districts of Apulia, Lucania, and Campania.

The barbarian races by which it was occupied in classical times

were known by various names, used with some vagueness but

roughly we may divide them into two groups the lapygians or
;

[essapians and the Peucetians, occupying the south-east portion

the peninsula from modern Bari to the end of the " heel " 3 ;

>f

Blue occurs on the B.M. sarcophagus

[B63O)

(as also

on the

Polleclrara hydria).

Rom. Afitth. 1897. p. 20 1 ff., 1899, p.

13 ff. ; Patroni. Ceramica Antica, chap, i.,
id id. in Mon. Antichi, vi. p. 349 ff.
:

Louvre Cat. ii. p. 371.

drawn across from Taranto to
Fasano roughly divides the two districts,
see also Pettier,
3

line

the Peucetians being on the north, the

Messapians on the south.

324

ETRUSCAN AND SOUTH ITALIAN POTTERY

and the Osco-Samnites, who occupied Campania and the mounSamnium on its north-eastern border. In
Lucania the district of Sala Consilina has yielded local pottery. 1
The Osco-Samnites appear to have been more amenable to
the influence of Greek civilisation than the others, owing to the
tainous district of

existence in their midst of such centres of culture as Cumae,

hence we find that the
Capua, and Poseidonia (Paestum)
;

pottery of that region shows a much more Hellenic character

than that of Apulia, and is more like that of Etruria in its

attempts to imitate the Greek imported fabrics (see Vol.

I.

p. 484).

Greek painted vases are found in Southern Italy as early as

"
"
times they
the seventh century B.C., though even in Aegean
had penetrated as far as Sicily, and even Marseilles (see Vol. I.

and also at Nola, " ProtoCorinthian and Corinthian wares have been found during the
sixth century Ionic and Attic B.F. wares make their appearance,
2

pp. 69, 86).

At Cumae

in particular,

"

but never in large quantities, as in Etruria. They, however, gave

a class of imitative fabrics found chiefly in Campania
small amphorae and other forms rudely painted with black

rise to

from the fifth century.

At Tarentum the
have been mainly Greek, but even these are
The principal examples of local wares
comparatively rare.
museums of Bari, Lecce, Taranto, and
in
the
seen
are to be
the British Museum, Louvre, and Berlin only possess
Naples
silhouettes, dating

finds of vases

3
The general scarcity of imports is due,
specimens.
to the restricted intercourse between the
Patroni
thinks,
Signor
colonies on the coast and the interior districts peopled by hostile

isolated

local tribes.

After the

Greek

were established

artists

fifth

century, when large numbers of

in the towns of Southern Italy,

became different, and we have already made

a
in Chapter XI.
general survey of the various fabrics produced
from that time in the various centres down to the total decay of
the circumstances

the

art.

All Italiote pottery, before this direct influence of Hellenism

1

Notizie degli Scavi, 1897. p. 167.

For Marseilles see also Dechelette,

Vases Ctramiques de la Gaule row.

i.

p. 7.

See also

those

Vienna.

in

the

Reinach,

ii.

Imperial

242-43,

for

Museum

at

LOCAL POTTERY OF SOUTHERN ITALY

made

itself felt,

may

be called "archaic"

but

it

must

at the

325

same

time be borne in mind that these archaic types still went on

during the time of Greek influence. They formed, in fact, a
"
"
"
"
domestic
style of the
high-art
style, as opposed to the
Graeco-Italian wares, just as the early Geometrical pottery of
Athens is thought to have been in relation to the Mycenaean
vases (see Vol. I. p. 279).
as has been done by
revivals of older fabrics.

It is

true that they bear a remarkable

many cases to Aegean, Cypriote, and Geometrical

but this likeness is due to other causes, being the result

resemblance
wares

They must not, however, be regarded

some writers as deliberate archaistic

in

learned Italian, on
of development, not of direct imitation.
first seeing some of the local pottery excavated in Apulia, ex"
claimed, This is the Mycenaean style of Italy." Chronologically

and ethnographically he was wrong, but artistically he was right

and as Signor Patroni has pointed out, parallels to nearly all the
;

ornamental motives of local Apulian fabrics

Mycenaean
There
mouthed

may

be traced

in

pottery.
also a favourite

shape, that of a large doubleof

which
askos, examples
may be seen in the British
is

Museum (F 508
Fig. 185, and F 509), which is obviously
"
derived directly from the Mycenaean " false-necked amphora
It is not a Hellenic type, although it is
(see Vol. I. p. 271).
the forerunner of a form of askos found

the painted
vases of Apulia.
Another favourite form, which Signor Patroni
calls the orcio appulo, a jar with three vertical handles round the

among

nearly spherical body, and wide-spreading mouth, may similarly

be derived from the Mycenaean three-handled/jU7> (Vol. I. p. 272).

Other forms, again, are parallel with those of Cyprus, as is in

cases the system of geometrical decoration, a figure or
pattern in a panel with borders of geometrical ornament.
The writers above-mentioned distinguish two main classes

some

of the

pottery of Apulia (including the south-eastern

"
"
or
heel
of Italy). The central portion of this
extremity
district was inhabited by a tribe known as the Peucetii, and
local

the extremity

lapygians.

by Messapians,

The

or,

as

they arc

also

styled,

which appear to be the product of the

E.g.KM. F 414-16, 584-85.

vases,

326

ETRUSCAN AND SOUTH ITALIAN POTTERY

found

such as Brindisi, Egnazia

or Fasano, Lecce, Nardo, Ostuni, Otranto, Putignano, Rugge,
Taranto, and Uzento and they may best be studied in the
museum at Bari. The pottery of the Peucetii, which Signer
latter race, are

in various places

Patroni calls Apulian, covers the region round Bari, including

PIG.

185.

ASKOS OF LOCAL APULIAN FABRIC (BRITISH MUSEUM).

Putignano on the south, Bitonto and Ruvo on the north, where

civilisation seems to have been modified by the
influence of such centres as Canosa.
The typical form of Messapian pottery is a krater with high
angular handles, at the highest and lowest points of which are
pairs of discs (rotelle\ a spherical body, and neck sloping
the local

LOCAL POTTERY OF SOUTHERN ITALY

32;

The form is one which, as we have

was
XL,
adopted by the Greek vase-painters

inwards, without
seen in Chapter

lip.

Lucania at a later date. 1 Mayer states that this form is only

found in the "heel" of Italy, but Patroni seems to imply that
2
it is typical of Central Apulia.
It is painted in two colours
but the former colour
purple-red and dark brown or black

in

The

not found in the earlier examples.

is

decoration includes

simple geometrical or vegetable patterns, such as wreaths, panels

of lozenge-pattern, zigzags, and an ornament composed of two
triangles
"

point

to

point N/, which

calls

Mayer

the

"

hour-

The more developed examples have figures

from
rows of ducks to human figures. Among
ranging
these are a man gathering fruit from a tree and two stags conglass

ornament.

in panels,

Lenormant published two very interesting specimens

Louvre, one of which has two cocks confronted, the other
a man swimming accompanied by a dolphin. 3
The latter, with others of the same class, styled by Lenormant
fronted.

in the

"

4
but
lapygian," appear to be imitations of B.F. amphorae
if they are imitations they must be almost contemporaneous
with their prototypes, and cannot be later than the fifth century.
;

The man with

the dolphin recalls the story of Taras and the

Tarentum
but Lenormant pointed out that a
similar legend was current relating to lapys, the eponymous
hero of lapygia, 5 and he may therefore be intended.
Some of

coin-types of

these vases have painted inscriptions, one of which runs, IAP

but they are apparently nothing more than names, partly
;

Hellenised.

other shapes are a kind of askos with simple decoraa jug or pitcher with discs attached to the handles, also
with simple patterns, and a unique variety of the krater with

Among

tion,

four flat-topped column-handles. Signer Patroni 6 calls attention

to another class of Messapian vases from which the geometrical
decorative element is absent, the ornament being arranged in

bands of equal width, and varying between

1

See also Vol. I. p. 172, Fig. 40.

Ceram. Ant. p. 27.
Gaz. Arch. 1881-82, pi. 19, p. 107.

Ibid,

Drouot,
5

pis.

linear
19,

May n,

21

and natural
Sale Cat.

1903, No. 20.

ad Virg. Aen. iii. 332.

Cerarnica Antica, p. 19 ff.

Serv.

Hfoel

ETRUSCAN AND SOUTH ITALIAN POTTERY

328

forms.

characteristic motive

is

The

a sort of chain-pattern.

wave and rows of pomegranate-buds also occur, and animals,

such as dogs and dolphins also human heads and figures.
;

The shapes

are either the double-necked

askos, as given in
the
between
handle
arched
mouths, or a kind
Fig. 185, with an
on
a
two
of double situla, formed of
jars
cylindrical stand
with a vertical handle between.

As Mayer has pointed out, there cannot here be any question

of a very ancient class of vases, but rather of one of eclectic
The Geometrical tendency appears chiefly in the
character.
north of the
the

(see below)

where

district,

influence

of Peucetia

was

felt

vegetable

ornaments,

suggests,

have

with those of
vases.

hardly be
fifth

he

affinities
"

"

The

The

Rhodian

can

date

earlier

than the

century.

The

of

fabrics

Central

or Peucetian Apulia centre,

as has been noted, round
Bari.

They

are

all

of a

strongly Geometrical type,

but the system of ornaFrom
FIG.

Notizie degli Scavi.

mentation

KRATER OF "PEUCETIAN" FABRIC

WITH GEOMETRICAL DECORATION.

186.

freer

is

more varied than

in

and
the

They are
Messapian
easily recognisable by their forms and characteristic designs,
Here, again, the typical form
painted only in brown or black.
is a krater, in which the handles are either arched in vertical
It has a shallow, spreading
fashion or else form flat bands.
in
are
The
panels and bands, and are
arranged
patterns
lip.
class.

often executed with great care.

from Sala Consilina

chequers,

zigzags,

lozenges

filled

the

with

Fig.

186 gives an example

favourite motives are

The

Lucania. 2

in
"

hour-glass," hook-armed
reticulated pattern, neatly

Cf. KiJm. Mitth. 1897, pi. 10, p. 222.

crosses,

and

arranged

Notizie degH Scavi, 1897. p. 168.

in

LOCAL POTTERY OF SOUTHERN ITALY

friezes or

saltire-wise.

Round

329

the lower part of the vase

is

often found

what may be described as a comb-pattern, and on

some vases

is

a curious rudimentary form of the maeander,

Among the other
arranged in triangles or diagonal crosses.
shapes are a small askos with ring-handle on the back, a sort
of high stand like a fruit-dish, large cups and bowls, and the
One of the finest examples is a
already mentioned.

orcio

krater from

Ruvo

in the Jatta collection,

with twisted handles

and a very elaborate system of ornamentation, chiefly diaper

and maeander patterns.
Like the Messapian, the Peucetian or Apulian pottery seems
2
to have flourished during the fifth century
but there are some
vases which seem to form connecting-links with their Hellenic
3
In any
prototypes, and probably belong to the sixth century.
case, both fabrics must be regarded as much earlier than
;

previously supposed
they are certainly not late archaistic
work, and time must be allowed for their disappearance when
the Hellenic fabrics of Apulia begin.
In placing the majority
;

of the products between 600 and 450 B.C., we shall probably

not be far from the truth, although M. Pottier 4 would throw

the origin of the fabrics as far back as the eighth century.

1

Rom. Mitth.

1899, pi. 3, fig. 32.

Patroni puts the limits of date for

both fabrics

at

600

450

B.C.

Rom. Mitth.

Louvre Cat.

1899, p. 46, pis. 4-5.

ii.

p. 372.

CHAPTER XIX
TERRACOTTA IN ROMAN ARCHITECTURE AND
SCULPTURE
Clay

in

Roman

architecture

Use

sculpture in terracotta
Gaulish terracottas

cellaneous uses of terracotta

THE uses

of clay

much

same

the

tecture, in

Methods of construction

of bricks

Inscriptions on
Mural reliefs List of subjects Roman
Uses at Rome Types and subjects
Statuettes
Potters and centres of fabric Subjects Mis-

Ornamental antefixae
bricks and tiles
Military tiles
Tiles

Other uses

Flue-tiles

Coin-moulds.

Money-boxes

among the Romans were, as may be supposed,

among the Greeks and Etruscans, in archiThe main
sculpture, and for household implements.
as

differences are that in

was more extensive

at

some cases as
Rome, in others

in architecture

its

use

and that generally

workshops are inferior

less

the products of this material in Roman

But the technical processes are in
to those of the Greeks.
the main identical with those employed by the Greeks, and

consequently much that has been said

need not be here repeated.

The Romans

in

I.

ARCHITECTURE

I.

BRICKS

AND

Chap.

III. of this

work

TILES

manufacture of objects in clay

opus figiinum or fine ware, made from argilla
or creta figularis and opus dollare> for tiles and common earthenware. 1
We begin, then, as in the chapter on the Greek uses
into

two

classes

divided the

of clay, with the latter division, including the use of this

material in Roman architecture, and primarily in the making
1

Pliny,

H.N.

xxxi. 47; Columella,

330

Re Rust.

iii.

n,

9.

BRICKS AND TILES

of bricks ,and tiles.

must be borne

It

331
in

mind, however,

that the structural use of bricks of clay, such as

at the present day, was unknown to the Romans

used what we should

we employ
;

they only

and even these were only

as
a
facing to walls and vaults of conemployed structurally,
no walls were ever built of solid brick, and even in
crete
those of seven inches thickness. the bricks are built on a core
Nor were the bricks allowed to appear on the
of concrete.
call

tiles,

outer face of the building, at least before the second century

of the Empire they were always faced with a coating of marble
;

or stucco.

use of bricks or tiles was most

and
were
extensive,
they
employed as tiles for roofing houses,
as bricks for walls and vaults, and even for columns, as slabs
for pavements, for furnaces and for covering graves, and in
Nevertheless, the general

tube form for conveying water or hot air

they are found in
temples, theatres, and baths, and are used for cisterns and
;

and in aqueducts and military fortifications.

They
were called lateres, because, says Isidorus, " they were broad,
and made by placing round them four boards." l
The kilns
were called laterariae, and 'the makers laterarii\ to make bricks
was lateres ducere, fingere? or (with reference to the baking
fountains,

The word

mly) coquere.

:he qualifying epithet,

seems to be employed indiscrimiand baked bricks (coctiles)* without

later

lately for sun-dried (crudi)

but testa

when burnt

also used

is

brick

intended.
The sun-dried bricks were the earlier and simpler
brm, used for building walls and cemented together with clay
or mud. 5
Vitruvius in his account of brick-making (ii. 3)
s

only refers to this kind, and apparently never mentions baked

except in passing allusions. He describes three kinds,

which he says the Greeks gave the respective names of genus
I.
The
diiitiiy pentadoron, and tetradoron (see Vol.
p. 95).
two latter are exclusively Greek, but the first-named, ij by
cricks

to

'

Etyni. xv. 8,

Pliny,
p.

cf.

xxxv.

xix. 10, i&.

170

Nonius,

445, 22.
8

H.N.

5,

Columella, Re Rust. ix. i, 2; Vitr.

8 ; Varro, Re Rust. i. 14, 4.

'Vitr.

ii.

8,

Varro,

Re Rust.

ii.

3, 6.

Columella, he. cit. : paries crudo

latere ac Into construct:is.
Cf. Caesar,
Bell. Civ. ii. 9, of a floor, and ii. 15;
also Vitr.

ii.

i.

Pliny,

H.N.

xviii.

301.

ROMAN ARCHITECTURE AND SCULPTURE

332

foot

in

Roman

dimensions, answers to the

tegula

sesqui-

pedalisl
frequent arrangement, he says, was to employ
half-bricks in alternate courses with the ordinary sizes, which
served to bind the walls together and present an effective as

This information is repeated by

almost
word
for
word. 2
Pliny, copying
Among the Romans two dimensions were in general use,
as may be inferred from the frequent mention in inscriptions
well as a stable appearance.

or elsewhere of the sesquipedales and of bipedales? or two-foot

bricks, as we shall have occasion to show later.
Being very flat

and thin

in proportion to their size, these bricks rather

as has been

tiles,

already noted

resemble

they are generally square,

or at least rectangular.
But there were also tegulae bessales
of a foot square, i.e. about
two-thirds
measuring

or bricks

and triangular

8 inches,

bricks, equilateral in form, with a length

The latter are the kind used

varying from 4 to 14 inches.

in

all

The

Roman

existing
thickness

varies

of concrete with

walls

from

ij to

always made with mechanical accuracy,

rounded and the sides not always parallel.
they were often
below,

p.

used

as

337),

we

with

alternately
see them in

They

the

facings.

are

edges

not

being

In military works
and stone (see

flint

England,
4

Dover, Verulam, and many other

brick

inches.

places.

at

Colchester,

At Verulam

the

are arranged in three horizontal layers at intervals of

about 4 feet, with flint and mortar between. They were also
used for turning the arches of doorways, and for this purpose
tegulae bipedales were cut into pieces, so as only to tail a few
tiles

inches into the concrete which they cover.

Complete squares
were introduced at intervals to improve the bonding. 5
The pillars of the floors of hypocausts were formed of

and sometimes also of two. semicircular bricks

tegulae bessales,

joined so as to form a circle, varying from 6 to 15 inches in

diameter. 6 Occasionally the upper bricks diminished in size,
1

Vitr.

H.N.

i.

ii.

Vitr. vii. 1,7

19,

and

2793-94;

Cf.

3, 3.

xxxv. i7off.

and

40, 2

Marini,

4,

p.
5

2; Pallad. Agric.

Wilmanns, Exempla,
Iscriz.

ant.

doliari,

Wright,

Cf.

Rome,

Roman, and Saxon\

Middleton, Remains oj Ancient

i.

i, fig.

pi.

Celt,

88.

p.

59 (cut)

Archaeologia,

942-944.

li.

5.

Marquardt. Privatalterthitmer,

p. 6f8.

DIMENSIONS OF ROMAN BRICKS

The

in order to give greater solidity to the structure.

or tiles forming the

square

in

some

floors

upper

cases, as

333
bricks

20 inches
these were flanged

were from

at Cirencester, 1

18 to

tiles (see

The

below).
general size of

sesquipedales, \ by
as 1 5 by 14 inches.

by

foot

by 4

Roman bricks was, in the case of the

Roman foot but variations are found, such

For the bipedales Palladius recommends

inches.

Palace of Constantine

2 feet

great building at Trier known as the

built of burnt bricks, 15 inches square

The
is

Middleton notes tiles in Rome of 12, 14,

by
3
and 1 8 inches square, and Marquardt 4 states that bricks found
in France measure 15 by 8 to 10 inches; others (the bessales]
A complete circular brick, measuring
8 by 8 by 3 inches.
across
inches thick, and impressed with the
inches
by
3^
7j
eleventh
of
the
legion, was found at Dolae near Gardun,
stamp
and is now in the museum at Spalato. 5
ij inch thick.

Prof.

gives elaborate instructions about the preparation

of the clay for sun-dried bricks, and counsels in the first place
a careful choice of earth, avoiding that which was sandy or

Vitruvius

stony or

and so

full

of loose

liable

which made the bricks too heavy,

flints,

and

to split

fall

when

out

affected

rain

by

it

also prevented the straw from binding properly.

Clay which
was either whitish or decidedly red (from a prevalence of

was preferred, and that combined

ochre)

(sabulo masculus]

made

light

easily

tiles,

with
set.

The

manufacture was a very simple one.

coarse

The

clay was

sand

process of
first care-

cleaned of foreign bodies, and then moistened with water

and kneaded with straw. It was then moulded by hand or
in a mould or frame of four boards, and perhaps also pressed
with the foot. 7 The bricks were then dried in the sun and

fully

turned as required, the usual process also adopted in the modern

1

Buckman and

Art in

Newmarch, Roman

Cirencester, p.

64

Marquardt,/Vwa/fl/te;Y/6/V//^r,p.6i8;
3

Collect.

Antiq.

cit.

Jahreshefte (Beiblatt),

Roach-Smith,

Loc.

ff.

ii.

Remains of Ancient Rome,

p. 91.
i.

p.

12:

see also
Archaeologies^ xlix. p. 427, where
it is
pointed out that measurements of

bricks form no guide to their date.

ii.

i.

p.

123.

3, i.

This may be the origin of the

foot-

shaped stamp so common in Roman

lamps and vases (see Bliimner, Technologie,

ii.

p.

18).

334

ROMAN ARCHITECTURE AND SCULPTURE

Some bricks actually bear the marks of the feet

of animals and birds which had passed over them while the
clay was soft, and there is one in the Shrewsbury Museum
brickfield.

with the imprint of a goat's feet. Others at York and Wiesbaden show the nails of a boy's shoes. 1 These impressions
of feet (where human) may also be referred to the practice of
using the feet to knead the bricks.
The bricks were then ready for use, but were kept for two
years before being employed, otherwise they were liable to

which caused the stucco to break

contract,

to collapse.

At

and the walls

had to be kept

off

Utica, Vitruvius tells us, they

and then could only be used if passed by a magistrate.

Altogether, much care was taken in their preparation, and it
was generally considered that spring and autumn were the
most favourable times for making them, probably because
they dried more slowly and were less liable to crack during
In summer the hot sun baked the outer surface
the operation.
too fast, and this appeared dry while the interior was still
five years,

moist, so

that
2

when

the inside dried the outside

contracted

was also, of course, advisable to avoid seasons

split.
rain
and
frost.
But the bricks could not be properly tested
of
until they had undergone some exposure to the weather, and

and

It

for this reason

Vitruvius recommends the employment of old

where possible in building walls. 3

For baked bricks the processes must have been much the

roof-tiles

same, with, of course, the addition of the baking in the furnace.

Existing

Roman

bricks

are nearly

always of well-tempered

but the clay exhibits a great variety of

clay and well baked
The paste is remarkably hard,
colour red, yellow, and brown.
breaking with an almost vitreous fracture, and sometimes
shows fragments of red brick (pozzoland) ground up with it
This may be seen
to bind it together, and prevent warping.
in the Flavian Palace on the Palatine, and in an archway in
the Aurelian Wall near the Porta Latina. As an instance of]
;

Cf.

Roman, and

are the loci classici on the subject.

3
Blumner, ii. p. 20, points out that

This passage with Pallad.

3.
12 and Isid. Etym. xix. 10, 16

there are very few instances of this, and

perhaps Vitruvius' idea was not practical.

also Wright,

Celt,

Scucon 4 , p. i86.j
2

Vitr.

Agric.

vi.

ii.

USE OF BRICKS BY THE ROMANS

of brick

varieties

Domus may
ascribed

to

be

found
cited.

their

in the

The

same

building,

preparation and
life
than modern
longer

careful

Aurea

Nero's

Roman

of

durability

335

tiles

seasoning,

is

which

hence they
tiles
them a much
were frequently used up again in early mediaeval buildings
and in Romanesque churches in England, as at St. Albans,
St. Mary-in-Castro, Dover, and St. Botolph's and Holy Trinity,
give

Colchester. 2

Republic private houses and

public buildings alike were built of unburnt brick in Rome, as
we learn from the words of Dio Cassius, 3 Varro, 4 and Cicero 5
Varro speaks of domus latericiae, and Cicero of " the
the

During

period

of the

brick (latere) and concrete of which the city is constructed.''

After the Republican period this material was still employed

Rome

outside

with burnt-brick

mentions

Pliny

exceptional.

but even this was

cornices,

walls

of

sun-dried

bricks

at

Arretium and Mevania. 7

Henceforth, then, burnt brick was
more
and
more
as
Rome grew more populous. 8 In
employed
beginning of our era) the materials
for building were stone for substructures, burnt brick
time

Vitruvius'

used

(the

(structura testacea) for the outer walls, concrete for the partyHe explains the
walls, and wood for the roofs and floors.

of

cessation

use of unburnt

the

brick

as

due to the legal

regulations of his time, which prohibited party-walls of

than \\ foot in thickness, and unburnt bricks could

more
only

support one story above them in that size.

Baths, either public or private, walls and military fortifications,
were built of bricks, the latter being thus better able to resist
attacks than

they were of stone.

if

Temples, palaces, amphiaqueducts and the cisterns with

which they communicated, were also usually of this material.
Of these, numerous remains exist in Rome and other places,
the

theatres,

such as

Cumae and
,

i.

magnificent

Pozzuoli.

Remains of Ancient Rome,

pp. 12, 62.

2

See

London^

Roach Smith,
-

p.

lllnstr.

Rom.

The aqueduct made by Nero

5

De

Vitr.

12.

xxxix. 6 1 (fK ir\ivduv}.

Apud Non.,

p.

48

(s.v.

suffundatum).

Div,

H.N.
Vitr.

Ibid.

ii.

ii.

47,

99

8, 18.

xxxv. 173.
ii.

8, 17.

ROMAN ARCHITECTURE AND SCULPTURE

336

from the Anio to Mons Caelius is of brick, that of Trajan

the aqua Alexandrina of Severus
Alexander
partly so
and
that
at
Metz
are
of
brick, and
existing
wholly
(A.D. 229)
;

so are the castella or reservoirs

made by Agrippa when he

constructed the Julian conduit over the Marcian and Tepulan. 1

It is true that Augustus boasted that he had found Rome
of brick and

left it

marble

but

it

must be remembered,

Suetonius uses the term latericiam, which

that

unburnt brick

secondly, that

the

phrase

is

may

firstly,

denote

probably to be

public buildings and monuments, in which there

was an increased use of marble for pillars and roofs.
For
walls brick and concrete continued to be used, as in private
buildings, with a covering of stucco in place of marble inlimited

to

crustation.

In the first century of the

Empire brick-making was
brought to perfection, and its use became universal for private
the mortar of the period is also
and public buildings alike
;

The Romans introduced brickremarkable excellence.

went
and even their legions when
wherever
they
making
on foreign service used it for military purposes. But of pure
of

brick architecture, as we see it, for instance, in the Byzantine

churches of Northern Italy, there was no question until comparatively late times.
marble or stucco until

was

It

always

the second

covered

century of

over

with

the

Empire.
in
of
the
of
time
brick,
sepulchral buildings wholly
Examples
of Hadrian, may be seen in the tomb before the Porta San
Sebastiano at Rome,
This has Corinthian
bricks

known

as the temple of Deus Rediculus.

pilasters with a rich entablature, red

used for architectural

being

members, yellow

for the

Of
layers of bricks.
capitals are formed of
Hadrian's time are also the guard-house of the seventh cohort

walls

the

of Vigiles across the Tiber, of which a small part remains,

and the amphitheatrum castrense on the walls of Aurelian. 3
One of the most remarkable instances of Roman brick
1

See

Daremberg

Aquaeductus
Ancient Rome,
;

Suet.

Aug.

and

Saglio,

s.v.

Middleton, Remains
ii.

p. 323.

28.

of

3
Borrmann, Die Keramik in der
Baukunst (Durm's Handbiich d. Archi-

tektur], p. 51..

USE OF BRICK

BUILDINGS

IN

337

the Pile Cinq-Mars, as it is called, a tower

on
the right bank of the Loire, near Tours.
standing
It is about 95 feet high and 13 feet square, expanding at
the base, being built of tiles to a depth of 3 feet each
the tiles are set in mortar
side, with a body of concrete
On one side
and
of
chalk, sand,
pounded tiles.
composed
construction

is

still

there are eleven rectangular panels with tile-work of various

patterns, like those on the flue-tiles (see p, 348), and as also
the patterns include
seen on the Roman wall at Cologne
;

The history and purpose of

squares, triangles, and rosettes.
1
this building are quite unknown.
At Pompeii bricks are used only for corners of buildings
doorposts, and sometimes for columns, as in the Basilica
and the house of the Labyrinth. 2 There are also late examples
of brick columns with capitals in tiers of bricks as in the
tomb mentioned above. Brick walls are not found, but bricks
These are less than an
occur as facing for rubble-work.

or

inch

thick,

contain

bricks

form, with the hypotenuse (about

the face of the wall.
Sometimes

in

triangular

6 inches long) showing

fragments of roof -tiles

in

are used

sea-sand,

and

(cf.

p.

The

334).

earlier

have a granular surface

the

smooth and even in appearance.

Later, what is
known as opus mixtum (see below) is used, as in the entrance
of the Herculaneum gate; this implies courses of stone and
brick alternating, 3 which, as we have seen, was common in
later

are

military works, as in the Roman

country, owing to the absence of

walls

good

in

In

Britain.

this

material for concrete,

the use of stones or brick throughout for building was general

from the first
hence, too, the bricks are always flat and
;

rectangular in form (bipedales).^

The arrangement of triangular bricks
a medium-sized
regular

horizontal

examples of
(44 B.C.) and
1

brick

Roach- Smith,

Collect.

four
is

courses,

Roman
in

into

Antiq.

iv. p.

Nissen, Pompeian. Studien,

II.

It

Regia (35
II,

pis. 5-6.

VOL.

baking),
characteristic of

methods.

the

p.

26

(made by 'dividing

before

is

B.C.),

found
the

in

laid

flat

the

Rostra

the

earliest

existing

Mnu-Kelsey, Pompeii, p. 36.

3
See Mau-Kelsey, Pompeii,

p. 38.

4
;

Archatologia,

lii.

in

earliest

p. 664.

22

ROMAN ARCHITECTURE AND SCULPTURE

338

1
The back wall of the Rostra is of concrete faced
examples.
with triangular bricks i| inch thick, the sides 10 inches
The same arrangement may be seen in the Pantheon,
long.

Thermae of Diocletian, and in some of the aqueducts

The brickwork in the Pantheon was formerly
below).

the

in

(see

thought to belong to the building of Agrippa in 27 B.C., but

has been now shown to belong to the second century. 2 At
Ostia, in the temple of Honos and Virtus, the walls are built
of

or

bricks

triangular

red and yellow bricks with

moulded cornices.
About the year 80 B.C. the method

with

known

as opus reticulatum was introwhich the bricks presented

duced,
faces
(about 4 inches each
square
in

way), and were arranged diagonally

to form a network pattern (Fig. 187).
At Pompeii the opus reticulatum

dates from the time of Augustus

it is laid on concrete, and the bricks

are small four-sided pyramids with

bases 3 to 4 inches square. 3

method

down

lasted

130 in Italy.
however, be noted that

SECTION OF ANGLE.
FIG. 187.

Faced

with

CONCRETE WALL,
(A)

incerium,

opus

c shows the

(*}pus reticulatum

horizontal section, similar in both.

moner

was used

tufa

for

stone than

latter material

It
it

in

not having-

should,

was combrick, the

come

into

general use for building at the time

&

when
when

in

about

to

A. D.

This

it

was employed. 4

the reticulated

But even

work, bricks

or

tiles

quoins at the angles, and for bonding courses

through the walls, as well as for arches and vaults (Fig. 188).
This combination of opus reticulatum and brickwork is well
illustrated in the palace of Caligula. 5
In the case of vaults,

were used

for

Middle ton Remains of A ncient Rome,

,

i.

p.

pp. 254, 301

id. in

Archaeologia> xlix.

426.
2
3

See Dressel

in C.I.L. xv. p. 9.

Mau-Kelsey,

p.

38

but see Nissen,

PoDipeian. Sludien, p. 59.

4
See Bliimner, Technologie, iii.
where a good illustration is given.
5
Archaeologia, \\. pi. 2, fig. 4

dleton, op.

cit.

i.

p. 55? fig. 6.

p. 146,

Mid-

METHODS OF CONSTRUCTION

339

indeed, the use of brick seems to have been general, as in the

of Caracalla,
and
other
buildings (cf.
many

baths

Fig.

Vitruvius

189).

the

vises

bipedales

wooden

of

use
to

ad-

tegulae

protect

the

over

the

joists

from

vaults

being rotted
by the steam from the hot

4 feet

bathrooms
they were to
be placed over the whole
;

under-surface

of

con-

the

supported on
were
girders, which
from
the
concrete
suspended

crete

vault,

iron

by iron clamps or pins.

Over the whole was laid
a coating of cement (opus
tectoriuni) in which pounded
pottery was the chief conthis
was
and
stituent,
stuccoed. 2

The
term
vailed
later

opus mixtum
not classical)

is

regularly

Empire,

(the

preFIG. 188.

under the
from
the

CONCRETE WALL (VERTICAL

FACED WITH BRICK.

SECTION),

fourth to the sixth century

the earliest
be dated is the circus of Maxentius.
It
;

example which can

is also used in work

of the time of Theodoric. 3

The method
tion

son

is

shown

V. 10, 2.

See also on

and

Greece

FIG. 189.

CONCRETE ARCH

HALF WITH

BRICK FACING REMOVED.

this subject

tit.

i.

Ander-

Architecture

Spiers,

and Rome,

dleton, op.
fig.

of construcin Fig. 190.

p.

I37ff.

p. 66,

ii.

oj

Mid-

p.

120,

64.

See Middleton,

Archacologici)

li.

op. fit.

i.

pi. 2, fig. 5.

p.

62

340

ROMAN ARCHITECTURE AND SCULPTURE

The

Rome may

reason for the limited use of brick in

have

been the scarcity of wood for fuel for the kilns. But
any
pointed backs of the bricks made a good bonding
with concrete, and presented a large surface with a comin

case the

amount of

paratively small
durability of

Roman

ful

solid coherent mass,

In the

From

clay.

The

secret of the

wonder-

that each wall was one

is

buildings
to the excellence of the concrete.

owing

Pantheon the concrete of the dome

is

nearly 20 feet

Blutnner.

FIG. 190.

DIAGRAM SHOWING CONSTRUCTION OF WALL OF OPUS MIXTUM.

facing only about

facing often indicates

thick, the brick

inches.

The

character

the date of a wall, the

bricks in early work being thick and the joints thin
later, the
But caution must be exercised in dating
reverse is the case.

of the brick

on

this principle,

owing to the great variety of methods employed

during the same reign, and even in the same building.

The word
Isidorus

as
1

Middleton,

for a

tile,

tegula,

is

derived from

tegere, to cover, or,

says, they are so called quod aedes tegant

op. cit.

i.

pp. 12, 62.

Etym.

xv. 8, 15

2
;

xix. IO, 15.

the

ROMAN

TILES

341

curved roof-tiles were known as imbrices because they received

rain-showers (imbres). The maker of roof-tiles was known as
1
Tegulae or flat roof- tiles
tegularitis or figulus ab imbricibus?
with
vertical
were usually made
flanges (2\ inches high) down
the sides, and

these

which

flanges,

when placed

one another

into

fitted

by side served to hold the

There were also roof-tiles
covering-tiles placed over them.
known as tegulae deliciares* and colliciares, which formed the
arrangement underneath the surface of the roof by means of
which the water was collected from the tegulae and carried off in
longitudinally,

side

the front through spouts in the form of lions' heads. 4

Besides the various rectangular forms we find triangular tiles
semicircular or curved
used, either equilateral or right-angled
tiles, used for circular walls, ovens, tombs, and cornices, or other
;

parts of buildings

cylindrical tiles (tubuli fictiles)?

used for drains and conduits

flue-tiles,

employed

which were

and, finally, the rectangular hollow

for hot air in hypocausts.

mammata, a

the tegula

plain

square

-tile

breast-like projections (mammae), which

walls with the object of keeping out

Another form was

with four knobs or

was often used

7

The

damp.

in party-

tiles

were

by
points of the projections into the concrete,
a
leaving
space between in which the warm air could
the

inserted

thus

circulate freely.

Existing examples of tiles are composed of a compact dense

than that of the bricks, and of a pale salmon

clay, less fine

or light straw colour when baked.

They were probably made
moulds but these may only have been a couple of boards

in

and

placed together

The

after

being dried in the sun were baked

in

were, of course, produced by turning up

flanged
the edges before drying.
Besides the arrangement described
is
it
that
roofs were sometimes tiled in the
above,
probable
kilns.

tiles

manner prevalent
1

Henzen,

Inscr.

in the

6445,

7279-80.

Orelli, Inscr. 4190.

DOL

There are
DELIC,

marked

(opus) doliare deliciare

tiles in

'

i.e.

on

The arrangement

pi.

flat

or curved

6 of Campana's Ant.

tiles

opere

in

plastica (from Ostia).

existence

(Marquardt, FnvataUerthiimer,
4

present day, with

is

p. 619).

well illustrated

Vitr. v. 9, 7

Brongniart,

viii.

7,

Trait^

i.

I.

p.

374; Mar-

quardt, Privatalterthiimer, p. 620.

7
See Vitr. vii. 4, 2 ; Nissen, Pompeian.

Studien, p. 65

ff.

ROMAN ARCHITECTURE AND SCULPTURE

342

overlapping like scales and for this purpose the tiles seem to
have been pierced with holes at one corner, and so attached to
;

The same method obtained

one another.

in the

Roman

villas

Britain, except that Stonesfield slate was used in place of

in

An

tiles.

found at Niederbrunnen

inscription

speaks of attegia

tegulicta, or

huts roofed with

in

Germany

tiles,

erected in

honour of Mercury. 1
Tiles with turned-up edges or flanged tiles were principally
employed, as has been indicated, for roofing but some were
also placed in walls where required, especially where a space
;

They were also employed

passage of air.
for the floors of bath-rooms, in which case they were laid on the
pilae of the hypocaust in an inverted position, and the cement
was required

for the

was laid upon them. The flanges are generally about

2\ inches higher than the lower surface of the tile they are
bevelled on the inner side in order to diminish the diameter of
flooring

the imbrex, but have no holes for nailing to the rafters. The
ends of the sides were cut away in order that the lower edge
of one tile might rest on the upper edge of the one adjoining.

Those found in France are said to be distinguished by the sand

and stones found in their composition. 3 There are flange tiles
of red and yellow clay from the Roman Thermae at Saintes in
the Museum of Sevres, and others from ancient potteries at
of red clay from Palmyra. 4
England flange tiles of a red or

Milhac de Nontron, as well as

tiles

military castra in
colour
have been found, the latter with fragments of red
yellow
tiles mixed in the clay.
They are also often found in the ruins

In

the

of villas.

flange

tile

from Boxmoor, Herts, now

in the British

12 inches, the flange being 2{ inches

will be seen that these dimensions correspond

Museum, measures I5j by

high

and

it

roughly with the tegulae bipedales. Flanged tiles with holes in

them appear to have been used at Pompeii for lighting passages,
5

the flanges serving to keep out rain.

The imbrices or covering-tiles which held the
1

1396: see Sitzungsber.

Wiener Akad. Gesellsch. 1901, pt.
Orelli,

Caumont, Cours,

3
*

2,

ii.

p. 182.

together,

Ibid. p. 184.

Brongniart and

Sevres,

13.

p.

d.

flat tiles

i.

Riocreux,

Alus. de

p. 18.

Bull. Arch. Nap. 1853,

pi. 14, p.

185.

ORNAMENTAL TILES

343

thus rendering the roof compact, were quite plain, with the excepThese were in the form
tion of the end ones over the gutters.
of antefixal ornaments like the Greek examples (Vol. I. p. 98),
an upright semi-oval termination ornamented with a relief or

Many
painted pattern, with an arched support at the back.
1
and
elsewhere
at
exist
Ostia,
(see
below),
Pompeii
examples

but artistically they are far inferior to the Greek examples, and
of simpler design.
Most of them have a simple palmette or

acanthus pattern in low

relief, but on or below
this

an ideal head or the

head of a deity

is

times

such

Zeus

added,

as

Ammon, Medusa,

Bacchic

some-

head, or

mask, or even a figure

of Victory. Of the lastnamed there is a good
specimen in the British

Museum (0690
191)

she

Fig.

carries

trophy from the battle of

Actium, and stands on a
globe from which spring

two Capricorns (the

2
symbol of Augustus).

No

FIG< I 9 I

example of

better

the various uses

ROMAN TERRACOTTA ANTEFIX: VICTORY

WITH TROPHY (BRITISH MUSEUM).

of ornamental

architecture

in

tiles

can be

selected than the remains found at Pompeii, which are exceedTerracotta seems to have been used here
ingly numerous.
especially for such parts of the decoration as were
3
wet, as well- mouths, gutters, and antefixal tiles.

exposed to

istic

pi.
2

of the

feature

Campana,

Ant.

opere

decoration of

in plastica,

Pompeian houses was the

below,

p.

371

and

cf.

Livy, xxvi. 23,

xxxiv. 4.

6.

For references

cotta antefixes

character-

in

to

ornamental

terra-

Latin literature

see

See for

Rohden,
also

an account of these Von

von Pomfeii, p. 5 ;

J^erracotten

Mau-Kelsey, Pompeii,

p. 251.

344

ROMAN ARCHITECTURE AND SCULPTURE

trough-like gutter which surrounded and formed an ornamental

cornice to the compluvium or open skylight of the atrium and

through and from which the rain-water was collected

impluvium or tank sunk in the ground below. These
were adorned with spouts in the form of animals' heads or
peristyle,

in the

foreparts,

between

usually lions and dogs, with borders of palmettes

the gutter behind was virtually a long tank of

square section.
Antefixes and gutter-cornices, where they occur, must always
be regarded as serving ornamental rather than necessary purAll early work in

poses.

clay, but good execution

terracotta at Pompeii is of coarse

The
later, the reverse is the case.

only public building in which many remains of terracotta tiles

and cornices have been preserved is the temple of Isis
but
;

have had terracotta decoration.

Many
fragments also remain from private houses, some actually in
situ> having been neglected by early explorers as unimportant.
In the house of Sallust a kymation cornice from one of the
the Basilica

may

also

garden courts has scenic masks forming the spouts

earlier than the rebuilding of the house A.D. 63.

this is not

There

is

much terracotta
Comic
masks were used both as spouts and as antefixes, the exaggerated mouth of the mask serving admirably for the former
3
These date from the reigns of Nero and Vespasian,
purpose.
and all seem to be from the same fabric, although there is
considerable variety in the types the use of masks for these
work

also

in

the house of the Faun. 2

purposes
above).

not earlier than Nero's reign (cf. the house of Sallust,

Besides the ornaments above mentioned the patterns
is

on the cornices include palmettes and

floral

scrolls,

dolphins

and Gryphons.

The

were of the usual kinds, flat oblong tegulae

4
flanges, measuring 24 by 19 by 20 inches, with semi
They were laid in lines parallel to the
cylindrical imbrices.
of
the
roofs, so that the water converged into the
long ridges
roof-tiles

with

Von Rohden,
Casa dei Niobidi.
1

2
3

pi. 7, fig.

I,

from the

and 6, I.
For examples of this type see B. M,

Ibid., pis. 5, 2,

66 (from Corneto),
Terracottas,
700
(from Cumae), and
706 (from Capua).

Mau-Kelsey, Pompeii,

p. 36.

ROOF-TILES AT POMPEII

345

whence it fell into the impluvium.

not confined to the angles of the
were
gutters, however,
sometimes
were
but
ranged along the whole length
openings,
those at the angles only seem
of the sides, as we have seen
are
not found on the exteriors
to be earlier in date.
They
front
of
The
the
of buildings.
gutter was usually in the form
of a vertical kymation moulding, but was sometimes simply
Antefixal ornaments terminating the covering or
chamfered.
idge-tiles are not invariable, but are found at different periods.
gutter-tiles at the angles,

These

The

the form of palmettes, but the

comic masks, a head in low relief
on a palmette, or a head surmounted by a palmette. Of the
In the Augustan
latter class thirty-eight were found in 1861.
heads
of
ideal
and
gods
period
demi-gods are sometimes

examples are

earliest

later exhibit a great variety

found. 2

in

Von Rohden,

in

summing up

(p. 14),

is

of the opinion that

terracotta roof-decoration at Pompeii was comparatively rare. In

the whole record of excavations only twenty-three water-spouts

mentioned, though it is probable that many were never

In scarcely more than twelve private houses have
registered.

are

as

many

pieces been found as would suffice for the whole of the

atrium and peristyle roofs, and nearly all of these are of late
date.
The discovery of isolated pieces in a house seems to

show that they were used up again

in

the

restorations

the earthquake of A.D. 63.

There are also some good examples of roof-tiles

among

after

those

which have been found at Ostia, both in baths and private houses
some of the latter came from a house of which the brickwork
bore inscriptions with the names of consuls of Hadrian's reign.
;

The arrangement

of the roof-tiles is that described on p. 341

ornaments are usually in the form of palmettes
or acanthus leaves, with maeander below
but heads of deities,
such as Venus and Neptune, 3 or of Medusa, and tragic masks
were also found. Two exceptional examples had groups in
relief of Neptune drawn over the sea by hippocamps, and of
;

the antefixal

cf.

Von Rohden,
B.M.

Cat.

from Pompeii.

pis.

of

14-16; 18,

Terracottas,

fig.

0699,

'- Ibid.
pis. 11-13.
3

pi.

Campana, Ant. ofere

6.

in

plastica^

346

ROMAN ARCHITECTURE AND SCULPTURE

the statue of Cybele in the ship drawn by the Vestal Virgin

1
Claudia.

Tiles of the size

walls of rooms.

known

They

as bipedales are also used for lining the

are found in Roman villas in Britain, and

are ornamented on one side with various incised patterns, made

with a tool in the wet clay. On some found at Ridgewell in

Essex the decoration consists of lozenges, rosettes, and other

2
ornaments, like those on the Pile Cinq-Mars already described
they are often found covered with the stucco with which the
walls were plastered.
At Pompeii, Orvieto, and elsewhere the
stucco-painted walls were constructed with tegulae mainmatae
placed edgewise, and connected with the main walls by leaden
cramps, the brick lining being thus detached from the walls by
a narrow interval which served as an air-cavity. 3 This was a
frequent proceeding, and was also contrived with flanged tiles
;

corresponds with the system prescribed by Vitruvius for

4
It was also
keeping damp from the painted walls of rooms.
largely employed in baths and bathrooms, the object being
both to keep the walls dry and to allow hot air to circulate
it

from the hypocausts and warm the rooms. In the cold climate
of Britain the Romans found this a universal necessity, and
instances may be observed in many of their villas but, as far
as can be observed, the general method of warming was by an
extensive system of pipes under the floors rather than up the
5
These tiles are pierced with holes, by means of which
walls.
;

they were attached to the walls by plugs or nails of lead. In the

castrum at Jublains a chamber is yet partly standing with one of
6
its sides coated with tiles of this kind.

More commonly, however, a peculiar kind of tile was used for

warming the hot rooms (sudationes) of baths, and in villas when
They were hollow parallelepipeds, known as tubi,
required.
1

Campana,

pi.

CT.

for

the story

'

vii. 4, 2.

Rom.

See Middleton

Livy, xxix. 14, and Frailer- Jordan,

Mythol.
2

ii.

p. 55.

Archaeologia, xiv.

Brongniart, Trait^
3

i.

p.

i.

pi.

13, p.

64

cf.

p. 367.

Middleton, Remains ofAncient Rome,

p. 181,

ii.

p. 121

ff,

in Archaejlogia, Hi.
j
663, for a general discussion of the*

subject

Antiq.

vi.

also

Roach

Roach-Smith,

26, p. 114

Smith,

Collect.

p. 122.

Ilhistr..

Collect.

Anliq.

Rom. London,

iii.

pl.j

p. 115.

TILES USED IN BATHS

347

with a hole in the side for the escape of the air which traversed
1
them, the usual dimensions being- about 16 by 6 by 5 inches.
Seneca speaks of pipes inserted in walls, which allowed the

warmth

and warm both the upper and lower stories

younger Pliny mentions the air-holes
the pipes which warmed his bedroom, by means

to circulate
2

equally

and

(fenestrae) in

the

of which the temperature could

From

be

AA
B
CC

DD
EE
FF

GG
HH
a,

JJ

LL

at

pleasure.

Middleton.

METHOD OF HEATING THE BATHS

FIG. 192.

regulated

IN

THE THERMAE OF CARACALLA.

Concrete wall, faced with brick, shown in vertical and horizontal sections.
Lower part of wall, with no brick facing.

Suspensura, or upper floor of Hypocaust, supported by pillars.

Another floor, with support only at edges.
Marble flooring.
Marble plinth and wall lining.
Under floor of Hypocaust, paved with large tiles.
Horizontal and vertical sections of flue-tiles lining wall of Calidarium.
Iron hold-fasts.
Socket-jointed flue-pipe of Tepidarium.
Rain-water pipe (in horizontal section).
Vaults of crypt, made of pumice-stone concrete.

Sometimes, as in the baths of Caracalla and the house of the

Vestals, the whole side of a wall was composed of flue-tiles
covered with cement, 4 which was made to adhere by scoring the
1

Marquardt,

Privatalterthiitner,

p. 620.
2

So

also in the

Roman

chester (Wright, Celt,

Ep. 90, 25

(xiv. 2).

/.

vii.

ii.

17, 23.

p. 198).

villa at

Wood-

Rowan, and Saxon*,

348

ROMAN ARCHITECTURE AND SCULPTURE

sides with

wavy or diagonal lines, as in the flat tiles described

above, and as is often done in modern building. The whole
system of heating, which may be seen in the baths of Caravery instructive (Fig. 192) the walls were of concrete
with brick facing, through which a system of flues of socket-

calla, is

tiles passes upwards from the hypocaust below, effectually

warming every part
The hollow tiles often assume a more ornamental appearance

jointed

(as in

193), the

Fig.

patterns scratched

on them taking the form of lozenges and

diapers, chevrons,chequers, and rosettes, as
may be seen in a Roman villa at Hartlip
in Kent, where other tiles are simply
scored with squares. 2
This villa is remarkable for the extensive use of tiles
throughout even the staircases are constructed with them.
Others found in
Essex and Surrey have dogs, stags, and
;

letters among foliage

one found
London had among the wavy lines of

initial

in

Tx

and another,
pattern the letters Px
from Plaxtol in Kent, the local maker's
3

4
name, CABRIABANTI. These hollow tiles,
which are generally of the same clay as
the roof-tiles, were also occasionally used
5
hypocausts, but for this
purpose columns of tegulae bessales were
more usual, as Vitruvius implies. 6 Many

as

FLUE-TILE WITH
ORNAMENTAL PATTERNS.

FIG. 193.

examples

be seen

may

Cirencester, Chedvvorth,

Middleton,

id. in
2

tiles,

cit.

op.

in the

ii.

p.

113

5
ff.

Roach-Smith,

11.

pi. 3-

Collect.

C.I.L.

vii.

Rom. Land. p.
4
CJ.L. vii.

Archaeologia

;,

Archaeologia^

Antiq.

ii.

p. 21,

1250; Roach-Smith,
fig.

1238.

of Britain, as at

In a

villa

3.

///.

Hi. pi. 20.

vii. 4, 2.

Roach-Smith, Collect. Antiq. vi.

Cf. Arch. Journ. viii. p. 30 ff.
for another example from Hadstock,
p. 125.

114,

villas

Isle of

pi. 8, figs. 1-2.

3

Roman

Lympne, and Wroxeter.

Wight, the whole bath was conthe floor supported by pilae of the same. 7 At

found at Carisbrooke,
structed of

of

pillars

Essex.

FLUE-TILES
Bath the hollow
and vaults. 1

tiles

349

are actually used as voussoirs for arches

Through these chimneys

what they

for this is

practically

the hot air circulated and gave an imperfect warmth to

the rooms, the heat radiating from the walls or penetrating
2
The pipes standing close to one another
through the air-holes.

were

but the exact method by which the

warming was accomplished, without great inconvenience to the
It is not difficult to
occupiers of the rooms, is not quite clear.
virtually

made up

imagine that the

introduction

the

the wall

tiles

would have warmed rooms merely by

air circulating through them, even

of hot

On the other hand, the apertures

air
the
into
the
rooms, if of any size, must also
admitting
have admitted smoke from the hypocausts, and interfered with
though covered with stucco.
for

It may be that they were not made for this

but
all,
only for fastening the pipes together or to the
Another difficulty is the method in which the flues

the ventilation.

purpose at
walls.

made

It has been suggested,

their exit into the open air.
on the analogy of a mosaic found in Algeria, that they
ended above in an arrangement like a chimney-stack. There is,

partly

moreover, a terracotta roof-tile in the Museo delle Terme at

Rome with a circular pipe, 8 inches in diameter, projecting
from its upper surface. 3
Terracotta pipes, or tubuli, of cylindrical form, were sometimes employed by the Romans for conveying or distributing
water, but the more usual material for this purpose, especially
drinking-water, was

the latter were called fistulae^

an edict of the Emperor relating
to the water-supply of the town, mentions canales, fistulae,
and tubt? Vitruvius calls the canales structiles, implying that

for

The Venafrum

lead

inscription,

6
they were of masonry.
Pliny speaks of tubi fictiles used for
conduits from fountains, 7 and Vitruvius recommends the use of

terracotta pipes (tubuli fictiles) in aqueducts. 8

1

Arckacologia, Hi. p. 666.

cf.

Cf. Vitr.

17

loc. cit.

Micklleton,

Remains of Ancitnt Rome,

Vitr.
;

5
G

ii.

p.
4

123.

See Daremberg and Saglio,

"

s.v.

and
8

viii.

Examples of clay
7,

xix. 10, 29.

C.I.L.
viii.

x.

4842.

7, i.

H.N.
viii. 7,

xxxi. 57.
10.

Isid.

Etym.

xv.

8,

ROMAN ARCHITECTURE AND SCULPTURE

350

piping are preserved in the Museo delle Terme at Rome. At

Marzabotto, near Bologna, terracotta pipes were used for carrying
off the water from the roof of a house, by means of a straight

tube

another

which curved
These date from the fifth century. B.C. Other
upwards inside.
2
examples have been found in Rome and Italy, and specimens
found on the Rhine were 21 J inches long, of which f inch
was inserted into the adjoining pipe, and 3^ to 4^ inches
Terracotta was also used for cisterns, as at
in diameter.
3
and
for aqueducts
but Lanciani has pointed out
Taormina,
was
confined to irrigating purposes.
that its use in these ways
The Campagna of Rome was formerly extensively drained
with these tiles, and owed to that circumstance much of its
wall

the

through

into

fitting

ancient healthfulness.

Of

the use of

Roman

in

pavements there is frequent mention

For this purpose complete tiles were
any rate in Italy but in Britain it was not at
tiles

writers.

seldom used,

at

in

as in the villa at

Hartlip already mentioned.

the other hand, hypocausts were regularly paved with tiles,
5
as in the Baths of Caracalla (Fig. 192 above), and in an example
found at Cirencester, where the tiles are flanged. 6
But in

uncommon,

all

On

another form tiles played a considerable part in Roman methods

7
of paving.
Pliny and other writers
speak of pavimentum
testaceum or opus signinum as the usual pavement for rooms,
especially those liable to damp, such as kitchens and outbuildings,

or for baths

cisterns.
This was made of a
stamped and pounded into a firm

and

layer of fragments of tiles

It corresponds
to the
mass, combined with mortar.
testis tunsis of Vitruvius, which (to a depth of six
On this
inches) was laid on the nidus or coarser concrete.

solid

nucleus ex

was
1

Mon. Antichi,

pi. 6, p.

326.

Archaeologia,

3, iv. (1879-80), p. 399 ff.

Avolio, Fatture di argille in Sicilia,

p. 8.
4

iii.

See generally Bliimner, Technologic

p.

161

ff.

Micklleton,

i.

p. 80.

Remains

of

li.

pi. 3.

Buckman and Newmarch, Roman

Art in Cirencester, p.
7
H.N. xxxv. 165;
Geoponica,

Ancient Kotne,

slabs,

5
i.

See Lanciani in Atti del? Accad. del

Lincei, Ser.
3

marble

laid the flooring, consisting either of tiles or

ii.

Cato, Agric.
Columella, i.
ix.

i, 2.

27,

xviii.

6,

13

7:
;

64.

xxxvi.
Pallad.
Vitr.

viii.

15,

188
i.

vii.

3,

9,
i,

17,

cf.

4;!

i;

AND TOMBS

TILES USED FOR PAVEMENTS

or

351

more generally of mosaic. The Baths of Caracalla again

In the mosaics too
good illustration of the process.
1

afford a

fragments of clay were often used, especially for

red or

black

this practice,

colour.

Vitruvius and

producing

other writers allude to

and the former

kind of false mosaic

made

also speaks of testacea spicata, a

with small bricks about 4 inches by

In the
on edge to form a herring-bone pattern.
of
of
a
tesselated
Guildhall Museum is part
concrete,
pavement
faced with small bricks about an inch square.
One of the most interesting uses of tiles by the Romans
inch, set

Not only are they used

more magnificent edifices (cf. p. 336),
but they were also often employed (as in Greece) for the
humbler graves.
For the latter, three, or sometimes six,
in

is

connection with their tombs.

in the construction of the

were set up in the form of a prism, one

the
floor, the other two the gabled covering which
forming
Within
the
protected
body from the superincumbent earth.

tegulae

bipedales

were

this

laid the ollae or sepulchral

of the dead, and other vases.

urns which held the ashes

tomb found

at Litlington in

Cambridgeshire was covered with a large flanged tile, which

4
and at Eastlow
protected the pottery buried underneath
Hill in Suffolk a tomb was found roofed with twelve rows of
;

5
In some of the tombs
flanged tiles, each side in rows of four.
of Greece belonging to the Roman period semi-cylindrical tiles
were used for this purpose. In the provinces the tiles often

have impressed upon them in large letters the names of the

The tiles of
legions which garrisoned the various cities.

Roman tombs

at

York

are inscribed with

names of the

the

and ninth legions which were quartered there

as
VICT
P
LEG IX
F, legio sexta victrix pia fidelis
IHISP (or VICT), legio nona Hispana (or victrix}* At Caerleon
sixth

LEG

VI

(Isca

Silurum) the bricks bear the name of the second or

LEG II AVG. 7 The stations of the twentieth

iiigustan legion
legion may also

be traced at Chester

Middleton,
Cf.

op. cit.

ii.

in Cirencester, p. 49
Vitr. vii.
;

p. 121, fig. 65.

Buckman and Newmarch, Roman

i,

Stat. Silv.

4;
i.

ff.

Pliny,

3. 54.

H.N.

xxxvi.

in

this

manner

Archaeologia, xxvi.

Roach-Smith,

C.I.L.

vii.

///.

the

pi. 44, p.

Rom. Lond.

tiles

370.
p. 113.

1223-24.

7
Ibid. 1222 (in B.M.)
Brecon and Abergavenny.

others from

ROMAN ARCHITECTURE AND SCULPTURE

352

are inscribed

tomb

the

LEG

XX

v.

They were

placed at the foot of

who was buried

like tombstones, in order to indicate

beneath, the inscriptions being written across the breadth of the

They are of very different dates, some of those in Britain

tile.

being apparently as late as the introduction of Christianity.

tiles were used in Roman
be
under
the
gauged by the number of
buildings
Empire may
a whole section of the
those with inscriptions which remain
Latin Corpus (see below) is devoted to those found in Rome
alone, numbering some two thousand.
Many of them have been
removed to the museums from the principal edifices, such as the

The

extent to which bricks and

Pantheon, the Coliseum, the Circus Maximus, the Baths of Titus

and Caracalla, the Basilica of Constantine, and the Praetorian
Camp. Other inscriptions have been found on tiles removed
from such buildings and used to repair the roofs of churches
in Rome.
Such places as Bologna, Cortona, Tibur, and Ostia
have also produced numerous inscribed tiles of this class. The
use of such stamps was to guarantee the quality of the clay.

To

the topographer, as will be seen, these stamps are often of

great value and had the custom of placing on them the names
;

of the buildings for which they were intended been less rare,
they might often have afforded valuable evidence as to doubtful

Besides their topographical value, the tiles also help to

the succession of consuls, and throw great light on the
economy of the Roman farms and the possessions of the great
sites.

settle

landed proprietors. The uninterrupted series, extending from

the times of the Caesars to the age of Septimius Severus, of
proprietors, potters, and estates, tells much of the
internal condition of Italy, and of one of the sources of revenue-^

names of
to the

Roman

nobility.

The stamps found on

rectangular,

semicircular,

bricks

and tiles are of four kindsThe

and crescent-shaped.

circular,

inscriptions are in raised letters in all cases, but instances are

1

C.LL.

The

vii. 1225.
inscribed tiles found

published in the other volumes under the

in

Rome

have been collected and published by

Dressel in vol. xv. (part I, Nos. 1-2155)
>f

the

Corpus Inscr. Lat.

Others are

heading "Instrumentum Domesticum.'i

In the succeeding pages Dressel's accouiM
nas been mainly followed.

STAMPS ON TILES
also

known

353

of incised inscriptions, written without frames across

After the time of Diocletian the only forms found are

the square stamps always have
square, circular, and octagonal
the
On
circular
stamps the inscriptions
straight inscriptions.
the

tile.

are placed in a circle, in one or two lines, and the beginning

determined by a small cut-out circle at the edge of the

is

stamp, thus

Oj>

known

the orbiculus

as

apart from this

In later stamps the inscription often

object is uncertain.
reads backwards, or certain letters are reversed.
The letters
its

in a mould and lie in the plane of the surface,

of
rectangular section, not wedge-shaped, as in inscriptions
being
on marble. During the Republican period and the first century

were cut straight

"

"

Empire a plain block type is used then the letters

become smaller and more elegant, with bars at the ends of
the Jiastae, as ]j? ]^ etc.
Finally they show a tendency

of the

about A.D. 200 to become broader and shorter

and

after the

Punctuation

E M,
,

S.

time of Diocletian the forms become very varied.

the best period takes the form of a

in

mark

the

afterwards

At

becomes

vague

in

form.

Ligatured
letters are rarely found after the time of Diocletian, but are
sometimes more than two
common in the best period
;

The stamps with which the letters were

made were usually of wood or bronze, but have not been
are

combined. 1

preserved.
In the centre of the

emblem

or device of

stamp it was customary to place an

some kind, perhaps in view of a law which
makers to affix distinctive marks or emblems

obliged brick and tile

on their bricks but the devices are not peculiar to individual
workshops, and some potteries, such as the Terentian (see below),
;

used several.

They may be compared with

the countermarks or

small adjuncts on the coins of the Republic, and the seals and
stamps on the wine-amphorae of Thasos (Vol. I. p. 1 58). Figures
of gods, such as Mars, Cupid, and Victory, animals, and even

groups of
I

emblems

figures, occur, and after the third century Christian

are often found.
It is most probable that they were

jmerely ornamental and

1

VOL.

II.

without significance, except

See Hiibner, Exempla Script. Epigr. Lat.

in certain

p. Ixviii.

23

ROMAN ARCHITECTURE AND SCULPTURE

354

cases of canting or punning allusions.

Thus M. Rutilius Lupus
has a wolf; Flavius Aper a boar Aquilia an eagle C. Julius
and Aelius Asclepiades a serpent, with
Stephanus a wreath
;

reference to the god Asklepios. 1

The most complete stamps have

the date of the emperor or

the consulship, the name
of

the

estates

(praedid)

which supplied the

clay,

that of the pottery where

it was baked {figlinae or

and that of the

officina],

potter

who prepared

it

sometimes even of the slave

who moulded
even

its

the

tile,

and

very dimensions.

Two typical examples may

be given from the British
Museum collection,2 of
which the first (Fig. 194)
FIG.

194.

STAMPED TILE (BRITISH MUSEUM).

is

said to have been found

in the

has

Catacombs

at

Rome.

round which
the inscription in two lines, beginning with the outer band
OPVS DOLfare) DE FIGVL(*/J) PVBLINIANIS
(ex) PREDIS AEMILIAES SEVERAES

It
is

in the centre of the

stamp a

figure of Victory,

"Pottery

The

from the Publinian works, (the clay) from the estate

of Aemilia Severa."

other has no device, but the last word of the inscription

in the centre

is

IMP ANTONINO II E(/) BALBINO COS

P Q S P D O ARABI SER(v/)
The Emperor Antoninus for the second time and Balbinus

"

consuls; from the estates (de praediis) of Q. Servilius Pudens,

pottery (doliare opus} from the hand of the slave Arabus."
1

C.I.L. xv. 19-29; 209, 1145; 709;

2
3

Cat. of Terracottas,
148-49.
Opus doliare is the invariable

for bricks or tiles in

Roman

inscriptions,

figlinum being confined to pottery of

finer kind (cf. p. 330).

1212; 398.

word

the,J

STAMPS ON TILES

355

stamps exhibit more method and precision the

betray comparative carelessness. In the latter the name of
the emperor sometimes occurs alone, and unusual expressions
Contractions are invariable at all periods, and
are introduced.

The

earlier

later

even the consuls are sometimes only mentioned by initials

but by comparison of examples it is possible to place them in the
Those found in Rome cover the period from the
right order.
;

reign of Trajan to that of Theodoric (A.D. 500), but in other

parts of Italy they are found dating as early as 50 B.C.
are told that Theodoric, when he repaired the walls of Rome,

We

made

a present of twenty-five thousand

tiles for

the purpose, 1

and on the tiles bearing his name he is styled " The good
and glorious king," with the additional exclamation, " Happy

Rome!"

is

The
are

estates

on which the clay

for

the

tiles

was produced

rationes
privata (private property)
possessiones
or
more
insulae
The
generally, praedia.
(blocks)
(shares)
latter word, indeed, is almost invariably used down to the third
called

century, the others being more characteristic of the time of

The praedia not only provided the clay, but in
Diocletian.

On some tiles fundus>

cases also contained the potteries.
which means a country farm, is found. The proprietors of these
estates were imperial personages, persons of consular dignity or
Many
equestrian rank, and sometimes imperial freedmen.
some

merely the name of the imperial estates, without

in the later ones, as in
mentioning the reigning emperor

tiles

give

the Basilica of Constantine,

it

usual to find the expression

is

AVGG ET CAES NN, Offitina Augustormn (duoruni) et

Caesarum (duoruni} nostrorum? Several names of the Antonines
occur
also Annius Verus and his wife Domitia Lucilla, the
parents of M. Aurelius.
Septimius Severus owned many praedia
which supplied bricks for his palace on the Palatine. 4 The
Empress Plotina was evidently a large landed proprietor, and
we also find the names of Aelius Caesar (Hadrian's adopted heir),
M. Aurelius, Faustina II., and Julia Procula. Among the names
OFF

2
3

Cassiodorus, Variar.
C.I.L. xv. 1668-70.
Cf.

C.I.L. xv.

p.

i.

25

cf.

204, Nos.

ii.

23.

1627, etc.
4

1616,

i.

M\<\d\eton,JRemamsofAncient Rome,

p. 13.

356

ROMAN ARCHITECTURE AND SCULPTURE

proprietors, unknown to fame, occur O. Servilius

T.
Statilius Severus, and L. Aemilius Julianus, priest
Pudens,
of the sun and moon. 1
Such names as Q. Agathyrsus, Rutilius

of inferior

Successus, and Sulpicius Servandus seem to denote imperial

2
freedmen the first-named styles himself AVG
LIB.
A remarkable fact in connection with these inscriptions is the
;

prevalence of feminine names, the quantity of tiles on which

these are found being enormous.
The causes are various,
the
renunciation
partly
by emperors of their private fortunes
in

favour of their female relations

partly the proscriptions

which, from the failure of male heirs, caused estates to devolve
upon women partly the gradual extinction of great families.
The important position held by freedmen under the Empire is
;

known to the student of Roman history.

The potteries of the tile-makers were of two kinds

well

figlinae

and officinae but the former seems to be a wider and inclusive

term that is to say, that one figlina included several officinae
;

or workshops.
lowed by the

In the inscriptions, ex figlinis

of the owner, ex officinis

is

usually fol-

name

by the name
of the potter (pfficinator).
The former expression is by far
the commoner, and the latter (OF or OFFIC) is more usually
found on lamps and vases, although after the third century it
is invariable on the tiles.
The figlinae are always mentioned
in a subordinate manner to the praedia, when both are men-

The potteries were mostly

tioned, as is usually the case.
Localities are not
outside the city, even at some distance.
often mentioned, but we have the Salarian potteries on the
Via Salariaf and also mention of the Via Nomentana? and
such expressions as Ad Aureliam, Ad Mercurium felicem, or
Ad viam triuniphalem. Stamps found in the walls along the

Appian and Latin ways show that potteries existed in thej

direction of the Alban and Tusculan hills, and in other parts
of Latium, as at Praeneste and Ostia. On the north sidel
5
they extended as far as Narnia and Ocriculum on the Tiber.!
They are also found in Etruria and Campania. Tiles frorr^
1

C.I.L. xiv. 4089,

Ibid. 4090,

C.I.L.

xv.

No.

Ann. del?

from Ostia.

7,

14.

478

ff.

cf.

683,

and

Inst.

Ibid. 677-82.
Ibid. 389.

1840, p. 240.

TILE-POTTERIES

357

Latium were exported to Liguria, the Adriatic, Sardinia, Africa,

Gaul, and Spain.
Usually a descriptive epithet is associated with the word
or personal
of a geographical
character.
figlinae, either

Examples of the former are Macedonianae, Rhodianae, and

The latter give either the name of an emperor,

Oceanae.

Neronianae, Domitianae

or a Gentile or family name, as

Favorianae, Furianae, Publinianae, Terentianae, or Voconianae.
One of the names which occurs most frequently is that of

as

L. Brutidius Augustalis, a freedman

FIGLINIS

PRIMIGENI
of

SERVI

others are stamped

DNl NOSTRI

slave

IMP" From

EX
the

our lord the

of

Emperor."
Imperial slaves owned many potteries, and others were owned
by the emperors or other wealthy proprietors, and administered
by freedmen or slaves. The officinae served to distinguish the
potteries

Primigenius,

functions of the different figlinae.

M. Publicius Januarius, a freedman,

Thus the establishment of

styled doliariae officinae

separate names, as Claudianae,

or they are

is

distinguished by
The tiles from the potteries of Asinius
Domitianae, and so on.
Pollio bear the name of C. Cosconius as maker, as do those

of Julia

Procula's

potteries,

being

further distinguished as
It would appear that the

and SesquipedaUs*
of private proprietors were under the direction of
freedmen, while those of the imperial estates were chiefly
managed by slaves, from whose labours large revenues were
doliares, bipedales,

potteries

obtained.

There were many private potteries in Gaul and Germany. 3

In the neighbourhood of Saarbruck many tiles have been found
with the maker's name, L. Valerius Labeius.
Others with
names
have
been
found
at
Trier, one with the stamp
private
of the colonia.
Several potters with Gaulish names are known,
and probably FIDENATIS on a tile at Zulpich, SECVNDANVS
^(igulus or fecit} and PACATVS F from Seligenstadt, refer to
craftsmen of that nationality. 4
1

B.M.

[2793
3

Cat. of Terracottas ,

E.g. Wilmanns.

Exempla

150.
Inscr. Lat.

a.

See

Blanchet,

Melanges

Gallo-

Often the master's

romaines,
4

ii.

(1902), p.

name only
no.

See Steiner, Cod. Inscr. Rom.Damibii

et Rheni, i. p. 85, No. 190, ii.
p. 187,
No. 1231.

ROMAN ARCHITECTURE AND SCULPTURE

358

which possible instances are BELLICIANVS on a tile

1
In the
from Caerwent, and PRIMV(J) on another from Colchester.
P F c,
British Museum are tiles with the initials T P F A, T
occurs, of

2
Tiles found
from Rodmarton in Gloucestershire.
in the provinces also have the maker's name simply, without
indications of date or the owner of the pottery, as on those

r,

The makers must in all

already cited.
cases have been of inferior condition, as implied in the
example already quoted of the slave Arabus (p. 354) and

from

Seligenstadt

other

names

Daedalus, Peculiaris,

belong to the same rank of

single

On

name

life.

Primigenius, Zosimus
Yet the occurrence of a

for a private individual is

everywhere very common.

have two names

the other hand, imperial slaves usually

given,

On

and freedmen
the

tiles

three.

of the freedmen of the Gens Domitia (dating

about the reign of Hadrian) is frequently stamped the formula

VALEAT QVI FECIT, " May he who made it prosper," with
the

On

4
of the representative of the family in the genitive.
other tiles we find such expressions as VTAMVR FELICES,

name

"May we

use

it

.and

be

happy"

5
;

FORTVNA COLENDA,

"

"

and
Fortune is to be worshipped
(a second-century tile)
on others of post-Diocletian date, VRBIS ROMAE, "The city
"
of Rome 7
SECVLO CONSTANTINIANO, " The age of Con;

"

"

FELIX ROMA (on the tiles of Theodoric),

Happy
8
is Rome."
Even on sepulchral tiles of late Imperial times
"
are stamped such aspirations as, VTI FELIX VIVAS,
May you

stantine

live happily."

Again, memoranda are found incised on the tiles, as on one

IVNIS QVARTVS LATERCLOS
at Hooldorn in Holland, KAL
CCXIIII,
TH(umero)
"Quartus (made) 214 tiles on the first of

June"; and on another, found in Hesse in 1838, STRATVRA

TERTIA LATERCVLI CAPITVLARES NVM LEG XXII, "In the
third layer large tiles of the number of the twenty-second
1

2
8
4

C.LL.

vii.

C.LL. xv. p. 274.

C.LL. xv. 1097-1101, and

C.I.L. xv. 1539.

Ibid. 1540, 1542.

Cf.

see

"

p.

Ibid. 1668-70.

Steiner, op.

cit.

i.

p.

252, No. 541

(from Mainz); also Banner Jahrbiicher,

275.
5

1255, 1257.

Ibid. 1242.

Marini, Iscriz. ant, doliari> 1418.

ii.

p, 92,

INCISED INSCRIPTIONS ON TILES

legion."

two metrical

tile

found

in

Hungary had

lines in cursive writing

incised.

Idle

the

in

boys

scratched

upon

it

Senem severum semper esse condecet

Bene debet esse povero (sc. puero] qui
and on others names such as

359

discit bene

2
;

Kandidus, Verna, were

often seem to have

Tertius,

brickfields

scratched the alphabet or other words in the soft clay, and

4
complete Roman alphabets are found at Hooldorn and Stein

on the Anger 5

the

letters

IKLM

on one at Winchester

DIBV5

FIG.

195.

Guildhall

IIK

Museum

is

... E FVELLAM. 7

(Fig. 195), found

Steiner,

1373C.I.L.

i.

iii.

p. 75,

p.

962

No. 171
;

?r;chte,x.\\. (1855), p.
3

tile

in

the words AVSTALIS DIBVS

III
which no satisfactory translation has been given, but it has
usually regarded as the gibe of a fellow-workman at
devout individual. 8 On another, now at Madrid, the first
|

On

Warwick Square, E.C.,

VAGATVRSIB COTIDIM,

in

ire
>f

INSCRIBED TILE FROM LONDON (GUILDHALL MUSEUM).

on another at Silchester
ic

ii.

Wiener Sitzungs133.

Steiner,

ii.

p.

254, No. 1391.

Now in

Pesth

C.I.L.

vii.

Ibid.

Hants,
8

C.I.L. ibid.

p. 248,

vii.

i.

1259
282

p.

Cat. p. 73,

Museum

{C.I.L. ibid.).

1260.
Victoria

No. 56

(1892), p. 344.

County Hist, of

other examples).

(q.v. for
;

Ephem. Epigr.

360

ROMAN ARCHITECTURE AND SCULPTURE

two

lines

Aeneid are written

of the

in

excellent

cursive

1
century after Christ.
The Roman tiles, if rightly used, are found very useful for
judging the dates of buildings. For instance, a study of those

characters of the

first

Pantheon showed that the walls were neither the original

in the

ones nor those built by Agrippa in 27 B.C., but were restored

in the second century or supplied then with new brickwork.

On the other hand, the stamps from the Flavian amphitheatre

and Thermae Antoninianae confirm the dates of those buildings.
Those tiles which bear the name M. Aurelius Antoninus as
consul 2 seem to be the Emperor Caracalla's.
In the time of
Diocletian

the

dates

cannot

be

definitely

but

ascertained,

time the shape of the stamp is a good criterion.

Rectangular stamps are found in the best period, and in the

before his

century B.C. only one line of inscription is usual. Two

denote the period 50100 A.D. or later semicircular or
lunate forms came into use under Claudius, and lasted to the
first

lines

end of the
period.

first

century

The type with

perfect circles belong to the same

the cut-out orbiculus came in about

Nero's reign, and the size of the orbiculus gradually diminishes

to that of Severus, while the inscriptions gradually
increase in length. 3

down

A considerable number of the Roman tiles are inscribed

with the names of the consuls of the current year in which
they were made, presenting a long and interesting series, from
the consulship of L. Licinius Sura and C. Sosius Senecio
(A.D.

107) to that of Severus Alexander (A.D. 222).

do

these

to

not, however, appear

consulships
recorded in the regular fasti consulates or official

Many
have

of

been

lists,

and

whose names were not recorded

It seems likely that the
occurrence of consuls' names implies that such tiles were
destined for public buildings, and were so marked to prevent
they were probably
after

their

suffecti,

temporary

elevation.

their being stolen with impunity.

They

are fewer in

number

those which have merely the names of praedia or potteries, but are yet sufficiently numerous to be an invaluable

than

C.LL.

ii.
cf.
Victoria
4967, 31
County Hist, of Hants, i. p. 275.

B.M.
149: seep. 354.
See Dressel in C.LL. xv. p. 10,

E.g.

CHRONOLOGY OF STAMPS

361

tracing the succession for upwards of sixty years.

Inscriptions of this class are only found on opus doliare, and
Their appearance is probably due to some
chiefly in Italy.
aid

in

law passed by the Senate about the reign of Trajan to regulate

the potteries.
As an example may be given a tile from
Hooldorn in the Netherlands, inscribed SVB DIDIO IVLIANO

COSS

*
;

the date

is

A.D. 179, the

name being

that of the future

a mistake for COS).

The following examples are taken from Dr. Dressel's scheme
of the chronological order of the stamps, 2 and show the style

emperor (COSS

is

of inscription characteristic of the different periods

I.

First century after Christ.

1.

(a)

With name of master only

figlinae)

(either

of praedia

or

Asini Pollionis.
(b]

With name of officinator

or potter

C. Cosconi.
2. (a)

(b)

Master and potter (often a slave)

Felicis Domiti Afri.

Master and conductor

potter

(a)

of

the

pottery),

or

Tegula
3.

(lessee

C. Cosconi> figuli

Asini

Pollionis.

name of pottery
Amoeni duorum Domitiorum Lucani

Master, potter, and

et

Tulli,

ex figlinis Caninianis.
(b)

Master, lessee or potter,

name

of pottery

T. Grei lanuari ex figlinis Caninianis duorum

Domitiorum.
II.

Second century to third century.

I.

(a)
(b)

Ex praedis L. Memmi Rufi.

Opus

doliare L. Bruttidi Augustalis.

L. Lurius Martialis fecit.

1

Steiner, Cod. Inscr.

Rheni,
2

ii.

p.

Rom. Danub.

et

253, No. 1389.

C.I.L. xv. p. 5ff.

For epigraphical
and grammatical
peculiarities see ibid.

On p. 204 is given a list of

p. 7.
emperors whose names are found on the
tiles, from Trajan to Septimius Severus.

362

ROMAN ARCHITECTURE AND SCULPTURE

2. (a}

Ex

figlinis (vel praedis} Domitiae Lucillae, opus

doliare Terti Domitiae Lucillae (vel ab Tertio
servo).

Comini Proculi ex praedis Domitiae Lucillae.

Q. Asini Marcelli doliare opus fecit C.
Nunnidius Fortunatus.
Opus doliare ex praedis domini n(pstri) ex conductione

(b) C.

Ex figlinis

Publiciaes Quintinae.
3.

(a)

Ex

(b)

Opus doliare ex praedis duorum Augustorum

praedis)
Caepionianis
Isauricae, fornace Peculiaris servi.
figlinis

(vel

trorum,
figlinis
Primitivi.

Domitianis

minoribus,

Plotiae

nos-

Fulvi

During the greater part of the third century chronological

indications are absent, but about the time of Diocletian the
The inscriptions, however,
practice of signatures is revived.
differ now from the earlier ones, not only in the forms of the
and of the stamp, but also in style they are less regular
The expressions
form, and present several peculiarities.
opus doliare and ex figlinis are now no longer found, and in
letters

in

place of the latter officina is invariable.

are the same as in the former period, but

Many
new

of the officinae

ones, such as the

Britannica, Claudia, Gemella, and Jobia, occur, the latter with

the cognomen Diocletiana.
Officina is sometimes used twice
over, for the pottery

and

for the

we have such expressions

as

In place of praedia
rationes, or possessiones.

workshop.
statio^

Formulae are introduced in an abbreviated form which give

the method of administration or character of the estates as
:

summae patrimonii or privatae S P C, stationis

S R for summae rei or stationis Romanae
Caesaris
patrimonii
S R F for
S P for summae privatae or stationis patrimonii
R

P,

ratio

or simply S for stationis or summarum}rationis fisci

Apparently several stationes might be united in one officina,w

sacrae

the number of the statio

several officinae in one administratio
The name of the statio may be
is given in some instances.
;

See

for these abbreviations

and expressions C.I.L.

xv. p. 387.

MILITARY TILES
replaced

363

by that of the potter or merely the administratio is

OFF PRIVATA. Besides the names of master, lessee,
;

given, as

and

potter, that of the negotiator

also find the portus or depdt in

is sometimes mentioned.
We
which the tegulae were stored

1
LICINI, or the name of the building
2
CASTRIS
for which they were destined, as PORTVS AVGVSTI,

for distribution, as

PORTU

3
Some
PRAETORT(J) &vG(ustt) N(Wr/), HORREIS POSTVMiANis.
on
in
Lambeth
the site of the
tiles dug up
Hill, London,
Post Office, now in the British and Guildhall Museums, 4 were

impressed with the

letters

BR

LON

or

FIG.

196.

PR

BR

LON

(Fig. 1 96), which have been interpreted

Britanniae
as publicani provinciae

Londinienses!'

Tiles

made

for

are exceedingly
period, and the

a double use.

military purposes
in the later

common

stamps probably had

In the

first

place, they

show that they were made by the

soldiers, from which we learn that in
the legions, as in a modern army,
were

there

with

many men

handicrafts.

acquainted

Secondly,

they

prevented theft or removal of the tiles,

"
and served as a " broad arrow
to

INSCRIBED TILE

FROM LONDON.

They are not, of course, found in

was
no
where
there
Rome,
necessity for the legions to make
bricks or -tiles
here the camp seems to have been supplied by

denote public property.

private individuals.

Of

special interest are the inscriptions

stamped on

tiles

which

the military divisions stationed throughout the provinces of the vast empire. These are found in soldiers' graves (see
relate to

their camps and quarters; they

above, p. 350> as we ll as
contain the names and titles of the legions, and mark the

extent of
1

3
1

B.M.

Roman

conquest.

Thus
5

152.

C.I.L. xiv. 4089, i.

C.I.L. xv. 3, 4, xiv. 4089, 4.
Cat. p. 73, Nos. 60-3.

the

route of

the

C.I.L.

thirty

vii.
1235 ; Roach-Smith,
see also
Antiq. i. p. 143
Journ, Brit. Arch. Assoc. xxxix. p. 389.

Collect.

364

ROMAN ARCHITECTURE AND SCULPTURE

and in Britain
legions through Germany has been traced
an examination and comparison of such tiles shows the dis;

of military force and

tribution

the

of

migrations

different

The stamps are in the

legions from one quarter to another.
form of long labels (tesserae], circles, or crescents, occasionally
surrounded by a wreath, or else in the shape of a foot,
an ivy-leaf, or a vase
the letters are in relief, sharply im;

The
pressed, as if from a metal die.
are
either
in
initials
given
legions

names and
or

in

titles

of the

contractions,

as

sometimes the
LEG>II-P(artfa'cai) and so on (see above, p. 351)
is
name
with
or
FIGVLVS
FECIT.
added,
potter's
The tiles of the first legion have been found at Mainz and
t

Nimeguen those of the second, or Parthian, at Darmstadt,

2
of the
Ems, Hooldorn, Caerleon, and the Lake of Nemi
of the fourth, at Mainz
of the fifth, in
third, in Scotland
Scotland, and at Baden, Cleves, Xanten, and Nimeguen of the
sixth, at Nimeguen, Neuss, Aix-la-Chapelle, Darmstadt, and
Windisch
the seventh, at Aix-la-Chapelle and Xanten the
the ninth, at Baden
eighth, at Mainz, Baden, and elsewhere
and York the tenth, at Nimeguen, Hooldorn, Vienna, and
the twentieth, at Chester 3
and so on down to
Jerusalem
;

At Bonn

have

been found of the Legio

Cisrhenana on the left bank of the Rhine, and of the Legio
Transrhenana on the right bank. Cohorts have also left their
names on tiles the second Asturian at Aesica on the Roman
Wall 5
the fourth (Breucoruwi), at Huddersfield 6
the fourth
r
the Ulpian
Vindelician, at Frankfurt, Mainz, and Wiesbaden

the thirtieth.

tiles

The vexillationes, whose main

Pannonian at Buda-Pesth. 8
a British
body was at Nimeguen, are similarly recorded
9
vexillatio was attached to the army at Hooldorn and Nismes,
;

Numerous exam pies of these legionary

stamps will be found in Steiner's Codex

Inscr. Rom. Danubii et Rheni (1851) ;
they will presumably be republished in
the forthcoming part of vol.

xiii.

of the

3
4

C.I.L. xiv. 4090,

C.I.L. vii. 1225.

C.I.L.
Ibid.

vii.

1231

Rom. London,

Latin Corpus.
2

Dacia, Pannonia, and the East; for

Germany, Steiner, op. tit. passim, and
Bonner Jahrbiicher, index to vols. l-6o.
for

p.

see

Roach-Smith,

116.

Wilmanns, Exempla, 2804.

2.

See generally C.I.L.

1228.

C.I.L.
iii.

Suppl.

i,

iii.

Steiner,

ii.

3756.
p. 250,

No. 1379.

///.

MILITARY TILES

365

and another to that of Lower Germany, as instanced by tiles

VEX EX G INF (yexillatio exercitus Germaniae
inscribed
inferioris\ found at Utrecht and Nimeguen in the Netherlands,

and

Xanten

at

>K(itannicd),

in

Germany.

Tiles of the British

have been found

2.

at

fleet, Chassis)
2
Boulogne, Lympne, and Dover.

TERRACOTTA MURAL RELIEFS

Terracotta mural decoration was largely employed by the

for the interior and exterior of their buildings, in the

Romans
form of

slabs,

ornamented with

reliefs,

which were placed round

Sometimes they seem to have

the impluvium or on the walls.
"
formed a sort of hanging " curtain
round the lower edge of
the cornice, as the open-work patterns along the edges seem to

we have already met with

Lavinia (Vol. I. p. 101), where also the hanging slabs
are bordered with patterns in outline or open-work.
But, as
imply, a method of decoration which

at Civita

seem to have been frequently

used as antepagmenta? being pierced with holes, which imply

also at Civita Lavinia, these slabs

In the Casa dei Cecilii

that they were nailed against the walls.
Tusculum there is evidence that they were used as wall-

at

and those found at Pompeii (where they are very rare)

have holes for fastening to walls. It may be to the firstnamed variety that Festus refers when he speaks of antefixa of
5
fictile work which are affixed to the walls underneath the gutters.
There is also a reference to them in Cicero, who, in writing to
friezes,

also

Atticus, says,

"

entrust to

shall insert in the cornice of

The
high,

found

you the

my

little

bas-reliefs (typos)

atrium."

which

slabs are usually about 18 inches long by 9 or more

I
to 2 inches thick
they have nearly all been
at Rome, but specimens are also known from Civita

and

7
Lavinia, Cervetri, Nemi, Pompeii, and Atri in Picenum.

Marini, Iscriz. ant. doliari, No. 1382

4
;

Wilmanns, Exempla, 2805 b.

2
C.I.L. vii. 1226; Roach-Smith, ///.
Rom. London, p. 1 12; Blanchet, Melanges
Gallo-romaines, ii. p. no.
3

Vilr. iv. 6.

Ant.

Campana,

opere

The

in plastica,

31.

p.
5

S.v. Antefixa or

Ep. ad Alt.

i.

B.M. 0543,

1886, p. 173
p. 188.

Impluvium.

10.

576, 594;

Rom. Mitth.

Notizie degli Scavi, 1901,

ROMAN ARCHITECTURE AND SCULPTURE

366

Museum

possesses a very fine series, numbering, with

hundred
and sixty, nearly all of which were
one
fragments,
l
collected by Mr. Charles Towneley at Rome
and there is
an equally fine collection in the Louvre, which came from
British

Signor Campana, who devoted a large work to the illustration

Other good examples, some of which were found in
the Baths of Caracalla, are in the various collections at Rome. 3
of them. 2

The reliefs were evidently cast in moulds, as many subjects

are repeated over and over again, or at least with only slight
differences
moreover, the relief is low, with sharp and definite
;

mould would produce. Among the British

a group of Eros, a Satyr, and a Maenad is
repeated in three cases (D 520-522), with no variations except
in the colouring
another of Dionysos and Satyr three times
outlines, such as a

Museum examples
;

(D 528-530), with only one small variation. It is evident that

in the latter, as in some other cases, the relief had been retouched
Reliefs entirely modelled are of much rarer
occurrence, but exhibit considerable artistic feeling and freedom,
as in an instance in the British Museum (D 65 1), which represents

before baking.

the sleeping Endymion the hair is so fine and deeply cut that
could not possibly have been produced from a mould. The
moulds may have been made of various materials wood, stone,
;

it

Circular holes are left

metal, or gypsum, as well as terracotta.
in the slabs for the plugs
of
lead
usually
by which they were
attached to the woodwork or masonry.
The clay varies in

and appearance, being often coarser than that of Greek

and mixed with coarse sand in order to make it stronger
and more durable in tone it varies from a pale buff to dark
reddish-brown. Traces of colouring are often found on the
4
and the background in some cases (as B.M. D 577,
slabs,
was
coloured a bright blue
the figures, or more often
623)
details such as hair, etc., were usually painted red, yellow,
quality
reliefs,

It has been stated,

Cat. 501-660.
but on what authority is unknown, that
they were found in a well near the Porta
1

Latina, together with a series of statues

discussed below (p. 373).
2

collective

reliefs is

publication

of

being prepared by the

these

German

Archaeological Institute.
3

408

See Helbig's Fuhrer2

ii.

pp.

272,

ff.

Cf. Pliny, H.N. xxxvi. 189 Agrippa

in thermis figulinum opus encausto pinxit :
:

see also Vol.

I.

p. 119.

u
c/3

S5

a 1

li
55

< o

MURAL RELIEFS
These colours are not

purple, or white.
terracotta reliefs,

367
as in the earlier

fired,

tempera, and their use is

painted
are
ornamented above and
The
slabs
conventional.
entirely
of egg-and-tongue
form
in
the
below with bands or cornices
mouldings, or a system of palmettes and intersecting arches
these are sometimes in low relief on a band, sometimes partly

but

in

in outline or

open-work.

The

figures are mostly in low relief, being usually grouped

with large flat surfaces between, in the manner of Hellenistic
in some cases the design is composed in such a way that
the whole surface (except the principal figures) is occupied by
patterns of scroll-work or foliage, more or less conventional.

art

The compositions

are either

the

in

form of narrow

friezes,

usually with rows of busts or figures of Cupids, or square

metope-like groups with two or three figures on a large scale.
For the narrower slabs the busts were preferred, owing to the
scope they gave for high relief, which better suited the distance
from the eye but this rule is not invariable. The style is, in
;

general, bold and vigorous, and, though essentially architectural,

not devoid of dignity and beauty but it is somewhat conven1
Those found at Pompeii
tional, and at times even archaistic.
;

are usually of remarkably good

2
with its rich colouring.
frieze,

style,

especially the

These are

earlier

Nereid

than the

earthquake of A.D. 63, and probably belong to the Augustan

On one
period, to which also the majority may be assigned.
or two

names of

potters are found, such as

Annia Arescusa(na)

and M. Antonius Epaphras in the British Museum. 3

The subjects on these reliefs cover a very wide field, almost
as wide as those on the painted vases, and quite as wide as those
on the Roman lamps. In many cases they are doubtless copies
of well-known works of art, and may even go back to prototypes
of the

century, as in

fifth

the British

Museum (D

the

case of a figure of a girl in

648), or one of Eros, conceived as a

4
full-grown youth, in the Campana collection.
Others, again,
of
present points
comparison with the Hellenistic reliefs, as is

/'/,

pi.

20

Cat. of'Terracottas , p. xvii.

Von Rohden,

Terracotten von

see also pis. 21, 23.

Pom-

0626-27:

cf.

fahreshefte,

25.

p.
4

Ant. opere in plastica,

pi.

14.

1903,

ROMAN ARCHITECTURE AND SCULPTURE

3 68

the case with that representing the visit of Dionysos to a mortal

(B.M. 0531).
Lastly, we find in the reliefs, as also on the

Arretine vases (below, p. 492), a series of types closely related to

New Attic reliefs, in which it was sought to revive an older
l
style
among the types borrowed from these originals are
Maenads in frenzy or dancing in various attitudes, 2 and the
the

figures of the four Seasons.

Among those which reflect the
character of their time rather than the spirit of Greek art, we

have representations of Egyptian landscapes, or Egyptian deities

and emblems scenes from the circus or gladiatorial arena
and quasi-historical subjects, such as triumphs over barbarian
enemies.
Of mythological subjects, the most popular are
Dionysiac scenes or groups next to these, Apollo, Aphrodite,
Heroic legend is represented by the labours
Eros, and Victory.
of Theseus, Herakles, Perseus, and Jason, and occasional scenes
from the Iliad and Odyssey.
Lastly, there are a certain
;

number which

are purely decorative, with

a single figure of

Eros or Victory (treated in archaistic fashion), or an ideal

head surrounded by elaborate and graceful scrolls or acanthus
foliage others, again, have conventional groups of two priestesses
or canephori, with a candelabrum or a foliated pattern between
Even
(Plate LXIL), a mask between two Cupids, and so on.
;

the figures in

some

cases

tail off

into conventional patterns.

To mention a few of the more interesting subjects in detail,

may suffice to quote examples from the two best-known
those of the British Museum and Louvre. Beginning
collections
it

deities, we have the infant Zeus in the cave

on Mount Ida, protected by the Curetes, who dance above him,
wielding swords and shields (Plate LXI.) in one instance he
5
On a narrow frieze the busts of Zeus,
is in his nurse's arms.
6
Ares, Hera, and Athena are represented
Apollo receives a
7
libation from Victory, or a warrior consults his oracle, indicated
8
by a bird in a cage
Aphrodite is seen riding on a sea-horse

with the Olympian

Hauser, Neuattische Reliefs, pp. in,

128.
2

B.M.

520,

527;

Campana,

pis.

47-8.
3

62:

B.M. 0583-85
cf.

Campana,

pis. 61,

the Arretine krater, Fig.

219,

p.

488.

B.M. 0561
B.M. 0501

Campana,
Campana,

Campana, pi. 3.
B.M. 0505 Campana,
B.M. 0507; Campana,
;

pis. 27, 41.

pis.

1-2.

pi.

18.

pi.

19.

SUBJECTS OF

MURAL RELIEFS

369

Eros or Cupid appears in various attitudes and

combinations of figures
flying, embracing Psyche, or being

or on a goose. 1

embraced by a Satyr; accompanying Aphrodite, Triton, and the

Nereids a pair on either side of a mask of Triton or Medusa
or a group of three struggling under the weight of a heavy
2
Busts or masks of Demeter, 3 Zeus
garland of fruit and flowers.
;

Ammon, and

Triton are also found

Peitho and the three Eleusinian

and lacchos. 4
;

The Dionysiac

a group of Aphrodite and

deities,

Demeter, Persephone,

scenes are very frequent, though often of

and mere groups without

known is the reception of Dionysos

interest,

definite action.
in the

best

house of a mortal, 5

a subject formerly interpreted as his reception

Athens

little

The

by

Ikarios at

remarkable for its rich and

(cf. p.
39)
type
elaborate composition, probably derived from a Hellenistic
A very effective composition is that of a dancing Satyr
original.
and Maenad swinging the infant Dionysos in a \Uvov (yannus)
or winnowing-van, which serves as his cradle (Plate LXH.). 6
1

this

is

be mentioned Dionysos giving drink

to a panther
two Satyrs standing on tiptoe to peep into a
laver
Satyrs gathering or pressing grapes (of which many
replicas exist), or working an oil-press Ampelos (the personified
7
Bacchic processions, sacrifices, or
vine) between two Satyrs

Among

other scenes

may

ceremonies

and

friezes of

Bacchic masks and masks of Pan. 9

Among other deities Victory is by far the most common.

She is usually represented slaying a bull for sacrifice, a subject
of which there are two principal varieties, according as she turns
to right or left.
The motive is a well-known one, and found in
fifth- and fourth-century art, from the balustrade of the Nike
10
She is also depicted flying with
temple at Athens onwards.
a wreath, or as a conventional archaistic figure between tendrils
and scrolls. 11 Of the figures of the Seasons we have already
B.M. D 508-9 Campana, pi. 10.
B.M. 0510-24; Campana, pis. 9-10,

15, 53, 88, 102-3.

Helbig 1459
thai.
4

Overbeck, Ktmstmy-

VOL.

II.

D 525

Campana,

pi.

295.
See for these B.M.

D 526,

534-52.

Campana, pis. 26, 31, 35-7, 43-6.

B.M. D 553-60.
10
B.M. D 569-79 cf. J.H.S. vii. p. 284.
" B.M. D
566-68 Campana, pis. 86 ff.
:

29-30.

50: see

xxiii. p.

Atlas, pi. 16, 8.

Campana, pis. 7-8, 13, 16-7.

B.M. D 531 cf. Campana, pis.

B.M.

J.H.S.

2A

ROMAN ARCHITECTURE AND SCULPTURE

370

they are characterised by the attributes they carry, as

Summer, fruit for Autumn, and a hare
and boar for Winter. Masks of Medusa, Sirens, and Sphinxes

spoken

a kid for Spring, corn for

(both male and female) are found in compositions of a decorative

character.

Of

heroic legends, the rape of the Leukippidae by Castor and

*
is repeated more than once
Herakles is seen contending

Pollux

Nemean

the hydra, and the Cretan bull, and with

2
for
the
Theseus raises the rock which
Apollo
Delphic tripod
discloses his father's weapons (Plate LXL), contends with the

with the

lion,

Marathonian

bull, or

overcomes a Centaur

Jason builds the

Argo, superintended by Athena, and, assisted by Medeia, obtains

Perseus rescues Andromeda, and brings the
the golden fleece
Aktaeon is slain by his hounds. 3
Medusa's head to Athena
The Homeric scenes include Paris carrying off Helen from
Sparta (or, as some interpret it, Pelops with Hippodameia)
Nestor healing the wounded Machaon with a potion 4 Priam
;

to Achilles
Penelope mourning for the
and
Odysseus recognised by Eurykleia
Orestes on the Delphic omphalos. 5 There are also numerous

bringing offerings
absent Odysseus

semi-mythical scenes, such as combats between Amazons and

Gryphons, between Amazons and Greeks, or between Arimaspi

and Gryphons. 6

With the exception of the Roman subjects from the circus

and arena, the remaining subjects are purely decorative, and oi
the former, some of which have reference to the
little interest
of
Dacia, admit of the dating of the reliefs in the
conquest
;

reign
lions

Others depict gladiators contending with

of Trajan.
chariots racing in the circus, which is indicated by the

and other adornments of the spina or colonnades

adorned with statues of boxers and victorious athletes. 7 Some
obelisks

of the Egyptian subjects are interesting for their local colouring,

1

2
3

Campana, pi. 55; Helbig, 1179.

Campana, pis. 20-4; Helbig, 1180.
B.M. 0592-605; Campana, pis.

56-58, 63-65, 68; Helbig,

4

Otherwise

Fiihrer-,
5

B.M.

ii.

Helbig,

p. 418.

D 606-609

B.M.
B.M.

89-96
hefte,

Campana,

pis.

D 611-617;

1190, 1456.

Campana,

pis.

74-81.
7

1188.

interpreted,

66-67, 71-73; Helhig,

0624-632;

Helbig, 1466
1903, p. 1 6 ff.
;

Campana, pis.
and see Jahres-

ROMAN SCULPTURE

TERRACOTTA

IN

371

with their representations of the Nile, on which pygmies ply

a boat,
ibises 1

among hippopotami, crocodiles, and lotos-flowers, and

but these compositions are more curious than artistically

effective.

II.
I.

SCULPTURE

ROMAN STATUES AND STATUETTES

In the earlier ages of Rome the laws and institutions, based

without doubt on the sentiments of the people, were unfavourable to

art.

Numa was said to

of the deity in human form,

not allowed to exceed three

have prohibited the representation

and the statues of great men were

Roman

feet.

To women

the privi-

lege of having statues was not conceded until much later. Pliny
constantly compares the luxury of his own day with the simplicity

of early times, to the disadvantage of the former, dwelling fondly

on the times when men could be content with plain terracotta

make

a display

Romans were

of terra-

images, and it was not necessary or possible to

of silver and gold.

Most of the ancient

statues of the

cotta, a fact to which constant allusion is made by their writers.

"
"
a fictile Jove, not spoiled by gold 3 and
Juvenal speaks of
Propertius speaks of the early days of the golden temples, when

gods were only of

Similarly Pliny expresses his

statuary in Italy goes back to such a
remote period, statues of clay should even in his day still be
5
Vitruvius alludes to the favourite
preferred in the temples.

their

that,

surprise

clay.

since

Tuscan fashion of ornamenting pediments with signa fictilia?

examples of which, he says, may be seen in the temple of Ceres
in the Circus Maximus (see below), and the temple of Hercules
at Pompeii.
Cicero speaks of a statue of Summanus on the
"
of
which at that time was
the
pediment
Capitoline temple
8
7
of terracotta," and Livy tells how in 21 1 B.C. a figure of Victory
1

114,
2
1
4

B.M.

0633-638;

Campana,

pis.
6

115-

Plutarch, Vit.
Sat.

xi. 1 1 6.

iv. (v.),

i, 5.

Num.

viii. 8.

H.N.
i".

xxxiv. 34; and see xxxv. 158.

2(3), 5.
Div. i. 10,

De

xx vi. 23.

16.

ROMAN ARCHITECTURE AND SCULPTURE

372

on the apex of the pediment of the temple of Concord was struck

by lightning and fell, but was caught on the antefixal ornaments,
also figures of Victory, and there stuck fast.
Though not stated
to be of terracotta, these figures would hardly be of any other
Other allusions may be found in Ovid
material at that period.

and Seneca. 1

was clearly at a very

art can hardly be said to have existed

In the early days of the Republic art

low ebb

in fact,

Roman

and everything was either borrowed from the

Hence the statues of
ported from Greece.
adorned their temples are spoken of as signa
most celebrated works in ancient Rome were

Etruscans or imterracotta which

The

Tuscanica.

made by

artists

of Veil or the Volscian Fregellae, such as the famous quadriga

on the pediment of the temple of Jupiter Capitolinus, and the
statue of the god himself, described elsewhere (p. 314), which

were made by Veientine artists in the time of Tarquinius Priscus.

Nurna, ever attentive to Roman arts and institutions, is said to
have founded a corporation or guild of potters. 2 In 493 B.C.
Gorgasos and Damophilos, natives of Himera in Sicily, ornamented with terracotta reliefs and figures the temple of Ceres
3
Their work, which
at Rome (now Santa Maria in Cosmedin).
is

alluded to

by Vitruvius

in the

passage referred to above, was

probably Greek rather than Etruscan

in style, as

we have

seen

to be the case generally with the archaic terracotta relief-work

In the reign of Augustus the temple was

of Italy (p. 317).
so
restored, and
great was the esteem in which the works of
these old masters were held that they were taken out of the
walls and framed in wood.
to later times, Possis, "

who made fruit and

4
bunches of grapes," and Arkesilaos are cited by Pliny, on the
Coming down

The latter made for

authority of Varro, as modellers in clay.
of
a
statue
Caesar
Venus, which, although unfinished, was
Julius
also
mentions
a terracotta figure of Felicitas
highly prized. Pliny

made by order of

Lucullus.

It

1
Ovid, Fast. i. 202 ; Seneca, Cons,
cf. Ep. 31 (iv. 2, 11).
Helv. 10, 7

ad

seems probable that the extensive

3

Pliny,
4

Pliny,

Num.

17.

H.N.

xxxv. 159

Plut.

Vit.

H.N. xxxv.

Ibid. 155.
Ibid. 156.

154.

EARLY USE OF TERRACOTTA

ROME

IN

373

use of terracotta was mainly due to the absence of white marble

none being discovered till imperial times. The siege

in Italy,

of Corinth, which unfolded to the eyes of the Romans an entirely

new school of art in the quantities of Greek masterpieces carried

by Mummius to Rome, as also the conquest of Magna Graecia

and other parts of Greece, caused the old fashion of sculpture
in terracotta to fall into contempt and neglect.
Henceforth
the temples of the gods and houses of the nobility became
enriched and beautified with the spoils of Greek art in all
Even at an earlier period (195 B.C.) Cato in vain
materials.
protested against the invading flood of luxury, and especially
"
Hateful, believe me," says
against the new taste in sculpture.
"
are the statues brought from Syracuse into this city.
he,
Already do I hear too many who praise and admire the

ornaments

of

and

Corinth

Athens, and

Roman

deride

the

For

terra-

gods.
my part
prefer
these propitious gods, and hope they will continue to be so, if
we allow them to remain in their places." l Yet up to the close
cotta antefixes of the

of the

later, great works continued to be

and were much esteemed. 2 The statue
an instance, and existing statues in this

Republic, and even

executed

in terracotta,

made

Lucullus

for

material,

is

which we

shall shortly discuss, are

probably of early

Imperial date.

Few statues of any size in this material have escaped the

ravages of time, but there are some specimens to be seen in
our museums.
In the Vatican is a figure of Mercury about
4
3
life-size, and in the British Museum a colossal torso, to which
the head and limbs

A head
had been mortised separately.
on the Esquiline, was

of a youth from a large statue, found

exhibited in 1888 at the Burlington Fine Arts Club. 5

series
of female figures, including a seated Athena, ranging from

two to four
Latin a at

Nollekens,
1

feet in height,

Rome
who

in I76/.

restored

was found

H.N. xxxv.

Helbig, Fiihrer,
Cat.

D 439.

ii.

them and

155.

p. 272,

a well near the Porta

in

They were purchased by

Livy, xxxi. 4.
Cf. Pliny,

8
4

No. 1177.

them

sold

the sculptor
to Mr. Tovvneley,

Froehner's Cat. No. 249.

B.M.

and see
lekens

Cat. of Terracottas, 0431-437,

p. xiii ; also Smith, Nol-

ibid.

and his Times,

i.

p. 10.

ROMAN ARCHITECTURE AND SCULPTURE

374

whom

they were acquired for the British Museum. They

same clay as the mural reliefs already described,
and are supposed to have decorated a garden. Some of them

from
are

made

of the

on somewhat slight authority, as the

there are also two
and Thaleia
terminal busts of the bearded Indian Bacchus, which show
Other
some traces of conventional archaism in their style.
have been

identified,

Muses Ourania,

Calliope,

large figures have been found at Nemi and Ardea in Latium,

1
the latter being now in the Louvre.

At Pompeii

in

1766 three pieces of colossal sculpture

in terra-

cotta were found in the temple of Aesculapius, representing

a male and female deity and a bust of Minerva with her shield.

The two former used

Hygieia, but

to

be

identified

as

Aesculapius

more probable that they

is

it

and

are Jupiter and

2
Juno, making, with the bust, the triad of Capitoline deities,
a subject found on lamps at Pompeii. The execution is careful,
and they seem to date from the latter half of the first

century

They formed

B.C.

the

of

cult-statues

Other statues appear to have been

the

temple.

for

employed

adorning
which are a

gardens, or for niches in private houses, among

3
portrait of a seated physician of great originality, a nude
4
figure of Eros appears to have
boy, and two actors.

a colossal

ornament 5

wall

as

an

Minerva found

in

a niche near the Porta Marina

been attached

to

a fragment of

an excellent example of sculpture of the first century B.C.

Figures were also employed as architectural members, such

is

as the Atlantes supporting the entablature in the tepidarium

Thermae in the Forum, 6 dating from the Augustan

of the
period

Of

the former seem to be copied from originals in tufa.

Caryatid figure, probably of the Neronian

later date is a
7

These sculptures are all of great importance for the

of
art at the end of the first century B.C., and as showing
history
the fashion, however,
the continued popularity of terracotta

epoch.

Pettier,
P-

Statistics

de

Terre

Cuit

2332

Von Rohden,

peii, pi. 29,

p. 230.

Terracotten von
8,

21

Pom-

Pettier, op.

cit.

Von Rohden,

pi. 32.

Ibid. pis. 34-35.

Ibid. pi. 19, fig. 2.

Ibid. pi. 25

cf. pi.

Ibid. pi. 24, 2.

26.

EXISTING TERRACOTTA STATUES

375

not outlive the reign of Nero, and all those in Pompeii

must be anterior to the earthquake of A.D. 63.
Sculptors sometimes made preliminary models in clay of
the statues which they intended to execute in bronze and
This was not a common practice with the Greeks,
marble.
and the first sculptor who made use of it, according to Pliny, 1
was Lysistratos, the brother of Lysippos. But at Rome in
the time of Augustus it became much more frequent
Pasiteles
2
is said by Pliny
never to have made a statue except in this
manner.
These models, known as prcpfosmata, were much
as exhibiting the artist's style and powers of
after,
sought
in
the most free and unfettered manner, and those
conception
did

of Arkesilaos, another artist of the period, fetched a high price. 3

Terracotta statuettes, similar in proportions and subjects

found in houses and tombs of the Roman

to those of Greece, are

period,

and

known

to the

on sacred sites. They were

and were employed as toys
the lararia or domestic shrines

also as votive objects

Romans as sigilla^

and presents, or placed

in

same

Thus
subjects are found applied to all these uses.
in the lararia were placed not only figures of deities, such as
the

Venus, Mercury, or Bacchus, but masks, busts of children,

and so on. 4 Sometimes they served to decorate the walls, as
in the house of Julia Felix at
Pompeii, where in the wall
surrounding the garden were eighteen niches, containing
alternately marble terms and terracotta figures, one of the
a woman feeding a prisoner with her own
In the Via Holconia forty-three terracotta figures from
a workshop were found, showing that there was a local manulatter representing

milk.

Pompeii the types were the same as in the houses.

noteworthy that the terracottas, of which some two hundred
have been found, were nearly all from the lower parts of the
city and the inferior houses, or in the domestic quarters of
facture at

It is

H.N. xxxv.

153.

Ibid. 156.
Ibid. 155

see also

Wickhoff,

42

p. 33.
4

Roman

Art,

on

this

English edn.,

Bliimner, Technologic,
Gardner, Handbook of Gk.

p.

iii.

p.

190

Scidpture,

Cf.

Von Rohden,

op. cit. p. 24.

also pis. 35-36. 41, 47. For
the subject of the feeding of the prisoner
cf. Classical Review, 1901,
p. 93.
5

subject

Ibid.:

cf.

Ibid. pi. 42, pp. 25, 53.

ROMAN ARCHITECTURE AND SCULPTURE

3;6

the large houses.

This implies that the richer

Romans

preferred

bronze statuettes for their shrines and household decoration.

Comparatively few were found in tombs.

A few
authors.

notices relating to terracotta figures are found in Roman

Martial speaks of a statuette of Hercules, which he

he also alludes to a caricature of a man which

was so repulsive that Prometheus could only have made it when
intoxicated at the Saturnalia, and to a grotesque mask of a
2
Batavian.
In another epigram he refers to the imitation of
calls sigillum

a well-known statue of a boy in terracotta. 3

of clay dolls (pupae) dedicated by a maiden

Persius speaks
to

4
Venus, and

Achilles Tatius of clay figures of Marsyas made by coroplathi?

Elagabalus, by way of a jest, used to place viands made of

earthenware before his parasitical guests, and force them to

6
enjoy a Barmecide feast.
There is also an interesting passage

in the Satires of

Macrobius

7
relating to the festival of the Sigillaria, at which large numbers
of terracotta masks and figures were in demand. This festival
took place on the twelfth to the tenth days before the Kalends

of January, forming the fifth to seventh days of the Saturnalia,

and corresponding to the 2ist to 23rd of December. Ausonius
the sigilla or figurines, 8
and Macrobius more explicitly states that it was added to the
Saturnalia to extend the religious festival and time of public

says that the festival was so

named from

Subsequently he diverges into an excursus on the

of
the
feast, more curious than convincing.
Epicadus
origin
is quoted by him as referring it to the story of Hercules on
relaxation.

from slaying Geryon, when he threw into the river

from the Pons Sublicius images of men which represented his
lost travelling-companions, in order that they might be carried
10
His own view is that they
by the sea to their native shores.

his return

xiv. 178.

Ibid. 171.
ii.

70

cf.

tung,
Lactant. Div, Inst.

ii.

4.
10

iii.

Lampridius, Vit. 25.

10, 23 and ii, 46:

Roman

fer.

rom. 31

(Teubner edn.

p.

iii.

Sat.

p. 563.
i.

10, 23.

the ceremony of the Argei on

the Ides of May (Preller-Jordan, Rom.

15.

i.

Fowler,

De

105); but see Marquardt, Staatsvei-wal-

Ibid. 176, 182.

cf.

Festivals, p. 272.

Warde

Cf.

Mythol.

ii.

p. 135).

ROMAN TERRACOTTA STATUETTES

377

represent expiatory offerings (piacula) to Saturn, each man

offering an oscillum or mask on his own behalf in the chapel
of that god.
Hence, he says, sigilla were made by the potter

and put on

sale at the Saturnalia.

Elsewhere he states that

clay oscilla were given to children as playthings at this season

2
The festival was
even before they had learned to walk.

indulged in by all classes of society, who vied in making

3
and we are
presents of statuettes and figures to one another
told that Hadrian exchanged gifts with others, and even sent
;

them

to those

who

4
did not expect to receive them.

Similarly,

gave to his tutors and clients, as a mark

of condescension, those which he had received from his parents. 5
From the use of this word sigilla (a diminutive of szgnum),
Caracalla,

when a

child,

makers came

to be
a
and
known as sigillarii, or figuli sigillatoresf
street in which they lived was known as the Via
There was also a market for the
SigillariaJ
for terracotta figures, the

Pantheon. 8

sale of sigilla for the feast near the

Although the names of makers are constantly

Roman lamps and pottery, as well as
the tiles, they are very seldom found on statuettes, with the exception mentioned below of
those found in Gaul. But the name of Q. Velius
Primus, in a sort of mixture of Greek and Latin,
is found in raised letters on a mask of a Satyr
in the British Museum (D 177 = Fig. 197), and
other names are occasionally found on the

found on

The

moulds.

social

condition of the

FIG. 197.

MASK OF SATYR,
WITH NAME OF
Q.

VELIUS PRIMUS

(BRIT. MUS.).

Roman

potter seems to have been much lower than that of the Greek,
who was often a person of respectable position but this may
be partly due to the fact that his clientele was drawn mainly
;

from the poorer classes. He was generally a slave, sometimes

a barbarian, and even the masters of the potteries were only
1

Sat.

i.

II,

46-49:

cf.

2
3

Sat.

i.

references

Technol.

II, I.

Cf. Seneca,

other

Spartianus, Vit. Hadriani, 17.

Id. Vit. Carac. I.

Preller-Jordan,

loc. cit.

ii.

Ep.

12

given

(i.

by

12, 3),

Bliimner,

Orelli, Inscr. Lat. 4279, 4191.

and
ii.

Suet.
3,

p. 125.

Claud.

5,v. 4,

Dio Cass.

16,

Nero 28

Cell.

Gellius,

i.

lix.

ii.

3, 5.

ROMAN ARCHITECTURE AND SCULPTURE

373

As we saw in the case of the tile-makers, the potters

worked on the estates of wealthy or influential people,
from which their clay was obtained. More details of Roman
potters will be found in the sections dealing with tiles and
freedmen.

often

lamps.

On

the technical aspect of

Roman

terracotta

figures little

The

processes were practically the same as those

described in Chapter III. when dealing with the Greek terra-

need be

said.

Large figures were made from models (proplasmata)

up in several pieces on a wooden framework, known
as crux or stipes^
A reference to this method may be traced
2
in a fable of Phaedrus, which describes Prometheus as having
made human figures in clay in separate pieces, and, on returning
from a supper with Bacchus, joined them together wrongly,
The smaller figures were
so that the sexes became confused.
all made from moulds, by means of which they could be repeated
with but slight alterations. Few statuettes seem to have been
cottas.

and

built

made

after the

second century of the Empire.

The range of subjects in Roman

same as in the Greek figures of the
Pompeii genre figures predominate,

terracottas

is

Hellenistic

much

period.

the

At

including such types as

gladiators, athletes in the circus, slaves carrying bundles, and

3
favourite type at Pompeii
personages in Roman costume.

is

mask

4
of a youth in a Phrygian cap.

preference shown

for portraits

There

and grotesques.

a decided

is

Von Rohden, 5

of the extent to which these figures

in dealing with the question

represent Greek or purely Roman types, considers that although

the influence of the former is still strong, yet they are marked

must be ranked in the latter

in
of Vespasian, in which
them
the
time
category.
the decadence which had begun with the later Hellenistic age
The
is in the Roman fabrics still more strongly accentuated.
of
colouring
style is negligent, the proportions faulty, and the art

by such wide

differences that they

He

the
p.
2

Tert. Apol.

12

Greek word
in.

is

iv.

15.

dates

and ad Nat.
Ka.va.pos: see

i.

12

Vol.

Von Rohden,

Ibid. p. 21,

I.

Op.

cit.

p.

pis.

36-45.

fig. 14.

22:

see

also

Statuettes de Terre Cuite, p. 235.

Pettier,

TERRACOTTA STATUETTES

379

They are only redeemed from insignificance

practically lost.
the
taste
for
by
portraiture and the interest which attaches to
the reproduction of motives borrowed from contemporary
The Pompeii figures may serve as typical Roman

life.

terra-

cottas, but they are also found elsewhere in Italy, as well as

in other parts of the Roman Empire
nearly all, however, are
;

At Praeneste

in 1878, on
the site of the temple of Fortuna Primigenia, were found genre
1
and similar ex votos have come
figures and votive objects,

merit and execution.

of inferior

to light at Gabii.
are obviously of

From time

At Nemi

Roman

to time finds

figures

have been found which

some of considerable

date,

have been made

in

Rome, and

size.

there

a pretty little head in the British Museum found in the

Tiber (D 383), which, however, may be of Greek workmanship.

is

The industry
and even
as at

in

terracotta

Britain

Richborough

Rome

extended from

also
4

to

the provinces,

are sometimes found,

figures

by Norwich, a terracotta head

5
There are also in
is recorded.

at Caistor,

of Diana, of fairly good style,

Museum some terracottas in the coarse red clay
which characterises most of the British examples a Venus

the Guildhall

on a swan a female head with turreted crown, of archaistic

and a large figure of Proserpina holding
style, from Finsbury
a fruit, of very fair style, from Liverpool Street. 6 A figure of a
7
boy on horseback is or was in the Museum of Practical Geology.
;

GAULISH TERRACOTTAS

2.

In

Gaul there appear to have been very extensive manuof terracottas,

factures

Julius Caesar

Roman

in

58

but not anterior to the conquest by

These

B.C.

who

made

statuettes were

for the

own
types
but
the
makers
were
local
craftsmen.
religious conceptions,
Potteries have been unearthed at Moulins on the banks of
colonists,

Fernique, Praeneste, pp.

2

latet

Paris,
3

Rom. Mitth.

chaeologia,

1.

Wright,
281.

66, 21 iff.

p. 156.

1886, p. 176

p.
:

cf.

Ar-

Celt,

Roman, and Saxon

of

the

Victoria

'County

their

Hist, of Norfolk,

291.
6

Cat.

p.

71,

Nos.

39,

46;

p.

70,

No. 30.

pis. 8, 9.

P-

introduced

4
,

Handbook of British

p. 77.

Pottery,

1893,

ROMAN ARCHITECTURE AND SCULPTURE

380

Auvergne and other parts of France, and

Germany, where one was discovered at HeiligenAlsace, and others on the Rhine (see below, p. 384).

the Allier, and

even

in

berg

in

The

finds

on

in

the

made

Allier,

complete survey of the subjects

in the museums of Moulins and
published at the time in

in

1857,

give

they are

practically
collected

now

all

St. Germain, and were fully

work by M. Tudot.
The figures
1

found here are not from tombs, but were unearthed from the
of the potteries and from ruins of buildings
they are
all made in a peculiar white clay, whereas the figures of the
Gironde district are grey or black, and those of the Rhine
sites

Valley reddish, like those of Britain.

that of the Roman figures
there
;

The technique
is

resembles

no vent-hole, and they

usually stand on a conical base the modelling is very heavy,

latest specimens are absolutely barbaric.
;

and the

Until recently the subject of Gaulish terracottas had been

Tudot's plates were useful, but his text
greatly neglected
;

unsatisfactory and devoid of method, there being no proper

M. Pettier has given a good summary
description of the plates.

of his work, and M. Heron de Villefosse has also dealt with

some aspects of the subject. 2 But they had not been treated

and

as a whole

in relation to the subject of ancient terracottas

when an important memoir by M. Blanchet

which a complete survey of the Gaulish terracottas
This must of necessity form the basis of the

in general until 1891,

appeared, in

was given. 3

present account.
In dealing with the technical

found

in Gaul,

which

many

universal

are

some

character of the terracottas

M. Blanchet points out that the white clay of

made (e.g. those from the Allier valley) is not

made of red or grey clay, which has turned

are

white in the baking, apparently by a process analogous to that

used by the Chinese for porcelain, others are actually covered

with a white engobe like the Greek terracottas.

1

Figurines en Argile (1859)

see for

Roach-Smith in Collect. Antiq.

48 ff., and Pettier, Statuettes de

abstracts
vi.

p.

Terre Cuite, p. 236.

2
Rev. Arch. xi. (1888),

Memoires

145

ff.

la

Soc.

Nat,

Antiquaires de France, li. (1891),

65 ff., with a supplement in vol.
(1901), p. 189

p.

de

This appears

ff.

des
p.
Ix.

GAULISH TERRACOTTAS

381

have been done with a view to subsequent colouring, which

but statuettes with
in nearly all cases has quite disappeared
remains of colouring, made of purely red clay, have recently
been found in the neighbourhood of the Moselle and in
to

Germany.

M. Blanchet quotes an example in the Museum

name of the maker, P FABI NICIAE, which

at Angers, with the

coated with a lead glaze like the enamelled wares described

is

Chapter III. He considers that the moulds from which they

were made were often of bronze, and that bronze models were
used as copies but that they were also of terracotta is clear from
terracotta mould
the numerous examples given by Tudot.
found
at
for a figure of Venus Anadyomene,
Clermont-Ferrand,
is in the British Museum, and another from Moulins is for the
in

back of the head of a similar figure, with hair elaborately coiled. 2

From the numerous moulds which have been found it may
be seen that the figures were cast in two pieces, longitudinally,
being added afterwards, together with the circular
in the British Museum may be cited as

the arms

The mould

plinth.

an example of one for the back part of a figure

probably
only the upper part was modelled.
Potters' names are exceedingly common, not only on the
3
figures, but also on the moulds, and form two distinct classes,
;

those on the exterior of the moulds, and those on the figures

or interior of the moulds (which are obviously the same thing).
The distinction is that the former were merely for the identification of the moulds, while the latter indicated the creator
of the type and made him known to the world, a feature which,
as will be noted in Chapter XXIII. (p. 511), reappears in the
pottery of Westerndorff in Germany. Tudot gives an example

mould with the name ATILANO on the exterior and

4
inside.
Many of the names are identical
with those of the makers of vases, 5 but the types and subjects
of a

IOPPILLO on the

are quite

distinct

Op. tit. lx. p. 197.

Cat. of Terracottas,

Tudot,

pi.

Rom. Lond.

9,

and

p.

109.

from those on the Gaulish terra

E 48

49
Roach-Smith,

cf.

sigillata.

3
See the lists given by Tudot
and Blanchet (p. 83).
4

PI. 3

See

///.

(p.

64)

other examples in pis. 4-14.

Chapter XXIII. and Pettier,
:

Statuettes de Terre Cw'te, p. 241.

382

ROMAN ARCHITECTURE AND SCULPTURE

Those on the exterior of the moulds are usually in a scrawling

cursive type, whereas the other class are in capital letters l
the cursive characters resemble those in use at Pompeii, but are
;

not necessarily contemporary they are, however, not later than

the second century. The influence of this cursive character
seems to have extended to the other class for instance, in the
;

not only are the G and S

inscription given
Otherwise the
of cursive form, but E appears in the form II.
Roman
the
in
are
letters
alphabet (with the exception
ordinary
in Fig. 198 below,

sometimes A); the forms E and II seem

The
to have been used indifferently in Gaul at all periods.
"
"
in
the form
the two names, as
signature sometimes combines
of A, which

is

FORM

AVOT

SACRILLOS CARATRI'
fecit forma Caratri,

Among

the

which has been taken to mean SacriUos

"made by

2
Sacrillos from Caratrius' mould."

Roman names which

occur are Attilianus, Lucanus,

and Tiberius among the Gaulish,

and Tritoguno.
Belinus,
Camulenus,
Abudinus,
Pistillus,

Priscus, Taurus,

statuettes were, as we have

large majority of the existing
these show more
Allier
of
the
the
in
valley
seen, made
of transplanted
influence
the
conspicuously than any others,

Curiously enough none have been found at

Lezoux, one of the chief pottery-centres of Gaul, although there
were made
is abundant evidence that the vases and statuettes

Graeco-Roman

art.

3
M. Blanchet considers
same workshops (see above).
in Western
manufacture
and
a
was
that there
important
large
Allier
the
been
have
workshops,
inspired by
France, which may

the

in

he also notes the

but mainly exhibits native characteristics
Gaul
in Southern
(Narbonensis), which
scarcity of these figures
;

there shown for

perhaps be explained by the preference
bronze statuettes and vases with medallions (p. 530).* Other
centres were Cesson, Meaux (where Atilanus and Sacrillos can

may

be located), Bourbon-Lancy in Saone-et-Loire, and St. Remyen-Rollat (see p. 516), where vases also were made of the local
1

See the tables given by Blanchet,

ur
2

Blanchet, p. 89.

For a complete

which

Blanchet,

For AVOT see

also

3 g 4>
3

on

list

of Gaulish sites

(1902), p.
Ot. cit.

statuettes were made, see

Melanges Gallo-romaines, ii.
9 ff
-

Ix. p.

204.

PLACES OF MANUFACTURE

383

M. Dechelette has been able to assign to the

white clay.
last-named pottery a date between A.D. 15 and 50. Another
was in the neighbourhood of Liege, and in Germany
there were centres at Salzburg, and at Cologne, where the maker

fabric

From
FIG. 198.

Blanchet,

GAULISH FIGURE OF APHRODITE FROM NORMANDY.

Vindex can be dated

An

in the reign of

important maker,

Pistillus,

Postumus

260

27O).
his
pottery at Autun
(A.D.

had a
and the name appears on
;

statuettes are found all over Gaul, 2

1

Op. cit. Ix. pp. 206, 234.

Rev. Arch. xv. (1890), p. 423 (from

Dijon)
li.

p. 96.

for a

list,

see Blanchet, op.

cit.

ROMAN ARCHITECTURE AND SCULPTURE

384

and also in an inscription. 1 Julius Allusa

had a workshop at Bordeaux. In West and North- West France
statuettes are found with the name of Rextugenos
they are
all of peculiar and original character, with highly-ornamented
The
backgrounds to the figures, and easily distinguished.
and

vases

coins,

specimen given in Fig. 198, representing Venus Genetrix, was

found at Caudebec-les-Elbeuf in Normandy (Seine-Infe'rieure)
;

bears the inscription RIIXTVGIINOSSVLLIASAVVOT, Rextugenos

Sullias auvot (sc. fecit}?

it

An interesting find of terracotta figures was made at Col3

chester in i866, consisting of thirteen figures presenting exact
analogies to the Gallo-Roman terracottas of the second period
in type and style.
One very poor specimen represents
Hercules with club and lion-skin another a bull, and a third

both

a bust of a boy (perhaps a portrait of Nero or Britannicus)

four are

recumbent

including

caricatured

and a buffoon.

The

figures.

seated

rest are

figures

more or

less grotesque,

holding books or rolls,

vases in the form of

With them were found

animals of yellow-glazed ware. Figures of suckling goddesses

(see below) have been found in Britain, and similar finds of

Gallo-Roman types in white clay

Venus holding a tress of her hair. 4

in

London, among them a

Votive offerings of parts of

of
the
and
the body
goddess Fecunditas were found
figures
near the source of the Seine, in a temple of Dea Sequana,
5
Other finds have been made in Touraine,
the local river-deity.
Anjou, La Vendee, Brittany, and Normandy, brought by
and in Germany a
commerce from the Allier potteries
Heddernheim and on the Rhine. Part of a group of some
size in purely Graeco-Roman style from the Department o
Marne is now in the British Museum (Morel Collection).
Tudot originally classified the Gaulish terracottas chrono;

three periods according to style, and in this he

6
has been followed by M. Pettier. But M. Blanchet has pointec
logically in

Blanchet, op. at. plate, fig.

Arch.
3

228

Orelli, Inscr. Lat. 2776.

xi.

(1888), p. 155, pi.

Roach-Smith,
ff.,

pis.

46-47.

Collect.

Rev.

6.

Antiq.

vi.

Guildhall Mus. Cat. p. 71, No. 32

See also for Britain generally, Cumbd. and
Westmd. Ant. Soc. Trans, xv. p. 505.
5

p.

63

Roach-Smith, Collect. Antiq.

///. Rom. Land, r
\og.

Op.

cit. p.

106 if,

vii.

CHRONOLOGY AND SUBJECTS

385

out that the former's method was altogether unscientific, that

he trusted too much to the evidence of coin-finds, and that

he was altogether wrong

being anterior
in

in

conceiving the possibility of any

On the whole the
conquest.

Roman

the

data are exceedingly vague, and can only be

chronological

accepted

to

isolated instances, as in the case of the finds at

St. Remy-en-Rollat (A.D. 15

50) or Cologne (A.D. 260
270),
or where a resemblance in the coiffure of the feminine figures
Some figures may
to those of Roman ladies can be traced.

probably be dated about A.D. 100 on the latter ground, the

head-dress recalling those of Domitia and Julia the daughter
of Titus.
But it can only be laid down with certainty that the

manufacture of statuettes was introduced into Gaul with the

terra sigillata or

ornamented red pottery

Where

at

the beginning of

a question of decadent
the Imperial period.
or barbaric style, as is undoubtedly often the case, it does not
necessarily imply a late date, but only that the inferior work
is

due

to

the

incapacity of

there

some

is

local artist,

and

figures of

varying style must frequently be contemporaneous.

In dealing with the types of Gaulish terracottas, their origin
and signification, M. Blanchet divides the subjects into three

which the

not only the largest but the most

divinities, subjects from daily life, and animals.
interesting
The deities are not those we should expect from Caesar's
classes, of

first

is

statement 2 that Mercury, Apollo, Mars, Jupiter, and Minerva

represent the scale of popularity in Gaul, for they are mainly
variants of one type, that of Venus.
Many of these Venus
figures reproduce types

familiar in

Greek and Graeco-Roman

such as the Anadyomene, and the Cnidian or Pudica type

but in the majority she is frankly recognised as a Natureart,

goddess (Aphrodite Pandemos or Venus Genetrix), and hence

we find numerous examples in which the old Oriental conception of the nude Aphrodite- Astarte with pronounced sexual
in the primitive terracottas of
characteristics, so common
3
Chaldaea, Phoenicia, and Cyprus, once more reappears, as in
Of
almost equal frequency is the seated type of the
Fig. 198.
1

VOL.

See Blanchet,

p.

Bell. Gall. vi. 17.

II.

120 ft".

Cf.

Louvre,

Heuzey,

Figurines

pis. 2-4.

25

ant.

du

ROMAN ARCHITECTURE AND SCULPTURE

386

1
this is not
Kovporp6<f>os, suckling a child
is
found
in
the
terracottas
of
Southern
peculiar to Gaul, but

Mother-Goddess or
2

Italy.

We may

compare

also the Fecunditas types

on

Roman

Blanchet thinks that the goddess Rumina may be here

intended, but prefers to adopt the general term of Mother-

coins. 3

Goddess.

Among
Pallas,

other

the Ephesian Artemis,

and
Abundantia
occur and
Mercury, Epona (Fig. 199),
the
most interamong genre subjects

mythological

types

esting type is that of the Spinario,

or boy extracting a thorn from his
foot,

familiar

in

Slaves, caricatures,

Greek sculpture.
and busts of ladies

(see above) or children

wearing the

bulla, vases in the form of heads,

and busts affixed to plates, also come

under

the

Many
category.
of these are exceedingly rude and
barbaric
children are transformed
latter

grotesques, and animals

look (says M. Pottier) as if they had
come out of a Noah's ark.
into coarse

From

Blanchet.

GAULISH TERRACOTTA
THE GODDESS EPONA.

FIG. 199.

The artistic origin of the Gaulish

has been ^isCUSSCd by M.
tyes
_V r
4
Blanchet, who points out that al-

though the modern tendency is to restrict the role played by

Alexandrine art of the Hellenistic period in influencing that
of Rome, 5 yet its effect on Gaul cannot be altogether ignored.
That Egyptian cults found their way into Gaul is well known, 6
and in the terracottas such types as Isis and Horus appear,
while comparisons may frequently be made with the late terraBut there was
cottas found in the Fayum and at Naukratis.
a

also

stream

of influence

For a good example

at

Rouen

see

Cf.

D 229

B. M.

Cat.

of

Terracottas,

ff.

See Roscher,

Southern

Blanchet, p. 167.
2

from

s.v.

Fecunditas.

Op.

cit. Ix. p.

See

p. 489.

Italy,

especially

198.

Cf. Lafaye, Cutte des divinitts d>Alexandrie, p, 163 ff,

GAULISH TERRACOTTAS
Campania, whence, as we
types were largely derived.

As
much

Mother-Goddess

the

seen,

regards the uses for which these terracottas were made,

that has been said on that head in Chapter III. will apply

They have been found not only

equally to Gaul.

and
do
seem
not
they
but

have

387

in wells

in

tombs,

l
but
rivers, and on the sites of sanctuaries
to have had any special funerary significance.
;

The majority were probably used

for various

domestic purposes

in the houses, the figures of animals, for instance, as toys,

Those found

were then buried with their owners.

rivers

maybe

regarded as votive offerings, as

it

is

and

in wells or

well

known

that the Gauls were fond of throwing votive figures into rivers
or springs.

3.

It is

MISCELLANEOUS USES OF TERRACOTTA

impossible to enumerate

the purposes to which the

all

Romans applied terracotta, but a few peculiar uses deserve special

notice. The excavations at Pompeii have yielded several examples
of

its application to the decoration of a puteal, the circular

structure which protected the mouth of a well
the core is of
;

tufa or other hard material,

and round

of terracotta decorated with

reliefs.

this are laid

They

are

all

curved slabs
of compara-

one has triglyphs and bulls' heads in relief,

tively early date
and is stuccoed over. Instances are also found at Pompeii of
;

use for table-legs, in the form of figures of kneeling Atlantes, 3

like those supporting the entablature in the Thermae (p. 374),
its

but sculptured in the round.

Small

altars, or

stands for holding

lamps or for burning incense, supposed to have formed part of

the furniture of the domestic shrines, have also been found in
4

Varro tells us that the dolia or large .jars made

potters were used as cages for dormice which were being
fattened for the palates of Roman epicures 5 ; and Columella
6
gives instructions for the use of clay tiles in making beehives.

this material.

by

Porphyry implies that

1

was customary

See Blanchet, op. cit. p. 1436.

See Von Rohden, Terracotten von

Pompeii,
3

it

fig.
5

pi. 27, p. 5.

Ibid. pi. 26.

to hive bees in kraters

Daremberg and

Saglio, s.v. Lucerna,

see below, p. 396.
Rust. iii. 15.

4607

Re

ix. 6.

ROMAN ARCHITECTURE AND SCULPTURE

3 88

amphorae of

or

Tickets (tesserae) for admission to the

clay.

amphitheatre were also occasionally made of clay,

and on them were stamped letters or numbers referring to
or

circus

the

position of the seat, or representations of the animals

exhibited.
Two from Catania in the British Museum 2 have

an elephant on the obverse and the letter A on the reverse,

showing that they were for admission to a spectacle in which
those beasts were shown. There are also possible instances
of tesserae frumentariae, or tickets for the supply of cheap
corn in time of necessity. 3 Moulds of terracotta for making

masks or

counters, with

been found there

Arezzo (E46). 4

is

Herr Graeven,
collected

all

the

in

Fortune and

figures of

an example
a very

Isis,

interesting

have also
from

Museum

in the British

article,

has recently
fifty) of

known examples (numbering some

money-boxes in terracotta used by the Romans. There is no

mention of such objects in Latin literature, but it is probable
that they were known as loculi, and were made in imitation
of the metal Orj&avpol used for keeping money in temples.
Of
this there is a clear instance in a specimen recently found at

Asia Minor, 6

in the form of a small shrine with a

Graeven states that there is evidence of their
having been placed on a cornice which ran round the walls
This box has an additional hole
of the rooms in the houses.
at the back for extracting the money, but the Roman specimens
have only one opening. An example of a clay treasure-box
from Western Europe is one in the form of a chest, 12 J inches
high, with a bust of Apollo on the top, found at Vichy, and
now in the Museum at Moulins. 7 It may have been placed

Priene

in

in the top.

slit

a sacellum or chapel for the offerings of those

the medicinal springs.
in

Of
1

2
3

the

Antr.

Roman money-boxes

Nymph.

3,

14

ff.

(Teubner).

Cat. of Terracottas >

123-124.
See Journ. Brit. Arch. Assoc. xxxii.

Daremberg and

Forma,

fig.

fahrbiich,

1901, p.

pi.

48

cit.
;

Loculus,

3186.
161

ff.

see also

Saglio, s.v. Loculus.

Cf. also for the

Op. cit. p. 167.
form the Bifffavpol at Olympia.

Op.
s.v.

may

See also Daremberg and Saglio,

visited

proper four main types

p. 65.
4

who

p.

66

Tudot, Figurines,

Daremberg and
fig.

4512.

Saglio,

s.v.

MONEY-BOXES
The

be distinguished.
at Pompeii, 1

and

may

type

is

first,

389

of which examples have been found

the form of a small chest or coffer (area],

have been known by the name arcula. The second
in

is

of a

that

money-box

custom of hoarding money

in

the form of a vase. 2

in jars (pllae, p.

The

470) was universal

in Roman times, as we know from the Aulularia of Plautus,

the plot of which turns on this practice, 3 and from the numerous
finds of coins in jars in our own day.
None of these have

any ornamentation

they have been

found in Germany, and

a small specimen in the British Museum from Lincoln, 4

of spherical form with a knob at the top.
Aubrey records
there

is

the finding of a similar one in North Wiltshire. 5

to be of very late date.

These appear

The next two types are of much greater interest, not only
from their ornamentation, but from their form and the inscripIn the one the box takes a flat circular
tions which they bear.
form, closely resembling the body of a lamp (the shape is that of
One
Fig. 207), with a design similarly placed in a medallion.
actually has a figure of Victory with a shield, which reproduces

the type of the

New Year lamps

described on page 413 (B.M.

It may be supposed

No. 309), and has a similar inscription. 6

that these boxes were carried round on
contributions, just as is
in
Rome at the present
boys

solicit

New

Year's

Day

to

done (says Herr Graeven) by

time.
Others have figures of

a shrine, 7 the latter deity being of

These two
course specially associated with money-making.
on
names
the back,
have
their
makers'
respective
examples
C IVN BIT and PALLADI, names which are also found on

Fortune and

Hermes

in

Roman

8
lamps, another detail which shows the close connection
between these two classes of objects.

The last type to be described is shaped like a bee-hive, or,

as in Fig. 200, like a circular temple, forms which were found
convenient for the then favourite design of a deity in a
1

Jahrbuch) 1901,
2
3

p. 168.

Ibid. p. 170.
Cf. also Hor. Sat.

Jahrbuch,
5

loc. cit.

Miscellanies, p. 26.

xv.
ii.

6, lo.

Jahrbuch,

1901,

p.

178

C.I.L.

6068.

Jahrbuch, 1901, p. 179 fig. 200.

See below, p. 428, and C.I.L. xv.
6502, 6608; also B.M. Nos. 329, 554.
;

ROMAN ARCHITECTURE AND SCULPTURE

390

the examples quoted by Graeven : is one of the

latter shape with Fortune (Fig. 200), now in the Bibliotheque
Nationale.
Of the bee-hive form three may be mentioned as

Among

shrine.

presenting interesting features. One with Hermes in a shrine

has the maker's name, PAS AVGV, which also occurs on lamps 2
3
another, found on the Aventine, -and now at Gotha, has on
;

the front the figure of a victorious

on the reverse a slit for

charioteer,

the

that

and the

coins,

AEL MAX.
this

maker's

name,

D'Agincourt suggested
type of box was carried

about by victors

the

in

receive donations.

to

games

Lastly,

there

is

one recorded to have been found in

the Baths of Titus in 1812, but now
lost, which contained coins of Trajan,
and was inscribed FISCI IVDAICI
CALUMNIA SVBLATA. The evidence
points to the dating of these two
classes

first

Empire, or slightly

From Jahrbuch.

TERRACOTTA

FIG. 200.

the

in

century of the
later.

moulds

Terracotta

for

or

false

MONEY-BOX,

debased coins of the Imperial period

have

frequently

been

discovered

in

different

parts

of

the

None, indeed, have come to light in Italy, but they

Empire.
occur in Egypt, Tunis, France, on the Rhine, in Switzerland,
Lower Austria, and Britain. They were first noted by A. le
Pois in 1579 at Fourvieres, where moulds were found of coins
In 1697 and 1706
of Septimius Severus and his successors.
more of the same period, of local clay, were found at Lingwell
6
Gate, near Wakefield, in 1704 at Lyons, and in 1764 at Augst,
near Basle. In 1829 and 1830 further finds were made at
Numbers
Wakefield, and again in 1869 at Duston, Northants.
1

cit.

Op.
2
3

Babelon, Trait4 des monnaies grecques

p. i83ff.

B.M.

488, 490; C./.Z. xv. 6610.

Jahrbuch, 1901, p. 185; C.I.L. xv.
cf.

for

ibid.

6274, and B.M. 47?.

See

on

the signature on lamps,

6073
4

roniaines,

this

subject

157

throughout

i.

i.

p.

955 (with

full

Numism.Journal, ii. pp. 58, 195.

Hill, Greek and Roman Coins,
;

Victoria

p. 198.

et

bibliography).

p.

County History, Northants,

COIN-MOULDS

391

have been noted from time to time in the museums of France

and the Rhenish provinces, the most interesting find being that
made in 1829-30 at Damery, near Epernay, in the Department
of Marne.
In 1859 a find of 130 moulds contained in a jug was

made

they appear to have been hastily placed there

At Bordeaux in 1884 finds were made
by forgers.
in the ruins of a pottery, and others more recently at Autun and

and

at

Bernard

left

La Coulouche.
The

in Tunis.

In 1899 thirty-four moulds were found at Susa

Museum has a collection of moulds of

British

denarii from Egypt, mostly found at Crocodilopolis (Arsinoe)

in the Fayum
they are of a deep brick-red local clay, but a
great number are burnt black.
;

Nearly all these moulds fall between the reigns of Septimius

Severus and Diocletian, but some of those at Bernard go back
as far as Trajan, and there are isolated instances of coins of
at one end, of Constantius II. and Julia Mamaea

Domitian

at the other.

Caracalla and Elagabalus are frequently reprein the British Museum include Albinus,

sented, and those

Crispus, Constantine,

Damery

Galerius,

Licinius,

and Macrinus.

The

find included thirty-nine moulds, comprising types of

the coins of Caracalla, the elder Philip, and Postumus

2,000
pieces of base silver coin, chiefly of Postumus ; 3,900 bronzes
;

I. and Constantius, all

evidently made together;
and remains of other tools, and groups of moulds still
containing the metal, and also lumps of metal which had overflowed from the moulds.
The way in which these moulds were used is as follows. The
complete mould was composed of two shallow round boxes with
hollow impressions respectively of the obverse and reverse, obtained by impressing the designs from genuine coins into the
soft clay.
The depth of the hollow was so calculated that when
the two were placed together the space represented the required
thickness.
To cast the coins, a number of these moulds were
placed one on the other, and luted with clay to prevent the
liquid metal from escaping between the two pieces of each
mould
down the side of the column formed by the pile of
moulds a hollow cutting was made, at the base of which holes
were pierced corresponding to the cavities where the metal was

of Constans
chisels

ROMAN ARCHITECTURE AND SCULPTURE

392

The metal was

to enter.

then poured into the hollow, and ran

1
through the holes as required.

in

in

joined

served

Sometimes the columns were

groups of three

of this there

is

for

which a single column

an example at Damery, where each rouleau

contained a dozen moulds (thirteen discs). In the Cabinet des

Medailles at Paris there is an example of one of these rouleaux
of moulds, found at

1704 (Fig. 201 ), with the basin

in which they were placed for the
At Susa the moulds were
casting.

Lyons

in

fitted slantwise into

a bronze tube.

not absolutely certain whether

these moulds were all used for frauduIt is

lent purposes

by forgers the find at

was made on
;

for instance,

Damery,

the site of Bibe, an important station

on the road from Rheims to Beauvais,

which would

be

too

prominent a

place for forgers to have selected.

It

much more

likely that in such a

case they were used to make coins
of inferior alloy, perhaps in some
is

FIG.

TERRACOTTA COINMOULD.

201.

instances for the issues of usurpers

who, being at a considerable distance

from the capital, were unable to

fill

except with hastily cast coins. The distant

parts of the Empire in which these moulds are found lend some
colour to this theory.
It will also be remembered that they
date
from
the
time
when a debased coinage was current
mostly

their military chests

throughout the Empire, beginning with the reign of Septimius

Severus this was put an end to by Diocletian in 297. We may
;

therefore

suppose that they represent, so to speak, officially

recognised forgeries, emanating from a kind of local mint for producing coins hastily for provincial use. Hence the rapid spread

money in the third century, which was not only forced upon
the State, but was also readily taken advantage of by forgers.

of base

See Daremberg and Saglio, ii. s.v.

for an account of the process.

Forma,

fig.

Daremterg
3187.

and

Saglio,

loc.

'/.,

CHAPTER XX

ROMAN LAMPS
Rome Sites where found Principal parts of
Superstitious and other uses
Purposes for which used
Technical processes
Subjects
Chronological account of forms
Genre subjects and
Deities
Mythological and literary subjects
animals Inscriptions on lamps Names of potters and their distribution
Centres of manufacture.

Introduction of lamps at

lamps

BIBLIOGRAPHY
Bartoli,

Le

antichi lucerne sepolcrali ; Antichita di Ercolano, vol. viii.

antiken Thonlampen des k.-k. Milnz- und Antiken-Cabinetes
;

Kenner, Die
zu Wien, 1858

Wieseler

in

Gottinger Nachrichten,

1870 (Kestnersche

Sammlung) La Blanchere and Gauckler, Cat. du Musee Alaoui, 1897

Daremberg and Saglio, Diet, des Antiqs. iii. art. LUCERNA (an admirable

resume by Toutain)
1900, p. 685 ff.
all vol. xv. pt.

Fink

2,

p.

782

Miinchener Akad. d. Wissensch.

Instrumentum Domesticum, but above

in Sitzungsber. d.

C.I.L., passim, s.v.

ff.

(Dressel).

LAMPS (lucernae) were often made

many ways of special interest.

in

of terracotta, and these are

Originally they appear to

have been called lychnus, from the Greek

Air^z/o?,

and

this

word
2

used by Ennius, Lucilius, Lucretius, and Virgil. 1 Varro

says that the word lucerna, from lux, was invented when the
is

want of a Latin word was felt, and that previously candelae

or torches had been alone in use, there being no oil known in
Even in Greece lamps were
Italy suitable for this purpose.
through the best period (cf. Vol. I. p. 106).
The oldest lamps found in Rome date from the third century
B.C., and are thought to be of Campanian fabric
they were
found on the Esquiline, and are of quite different character

comparatively rare

all

See Macrobius, Sat. vi.4,

L.L. v. 119.

18.

Lucilius uses this

393

word and lucerna in the same line.

ROMAN LAMPS

394

Roman types. It would appear,

the Romans borrowed lamps from
1

from the ordinary

that

originally

By

Italy.

the time

of

the

their

Empire

therefore,

Southern

use had

become

and they are found everywhere.

The increase in
manufacture was mainly due to growing taste in house
decoration, and also to use in funeral ceremonies and for public
Of the latter use in imperial
purposes, such as illumination.
general,

their

times there

is

plenty of evidence (see below,

p.

396).

on which Roman lamps have been found are far

too numerous to discuss in detail, as they embrace every part
of the Roman Empire.
In Rome and the neighbourhood they

The

sites

are especially plentiful, as is implied by the fact that a large

portion of the fifteenth volume of the Latin Corpus Inscriptionum
is devoted to those with
They are found
potters' stamps alone.

Germany, Britain, Spain, North

Greece, Egypt, Cyprus, and Asia Minor. The

in all parts of Italy, in Gaul,

Africa, Sicily,

question of centres of manufacture is discussed elsewhere (p. 427)

in connection with the potters' stamps
but it may be noted
;

that those found on Greek soil are often of a distinct character

from those of Western Europe, and the stamps on them form a

distinct group, being usually in

Greek

letters (cf. Vol.

I.

p.

108).

Of

provincial sites, Knidos, Ephesos, Carthage, and some of

the German towns have proved particularly rich in this respect.
Large numbers have been found in London, mostly of the
later types, some perhaps of local fabric, and those in the
Romano-British collection of the British Museum are nearly
all from that city or from Colchester.
Not the least remarkable
fact of their wide distribution is the occurrence in the most
widely separated regions of the same potter's stamps and the

same

subjects, implying in the former case extensive export

from one centre, in the latter systematic commercial intercourse
between the potters of different districts.

principal parts of a Roman lamp are (i) the reservoir or

which
contained the oil (infiindibuluui) (2) the flat circular
body,
as the discus, sometimes with an ornamented rim
known
top,
2

The

Ann. del?

below,

p. 399.

'

Inst, 1880, p.

265

fif.

see

Cf. Dressel in C.I.L. xv. p. 784.

THE PARTS OF ROMAN LAMPS

395

(inargo)
(3) the nozzle, with a hole for the insertion of the
wick (rostrum?- nasus, myxus 2 the wick was called ellychniuni)
(4) the handle (ansa, manubriunt), which was not indispensable.
;

.;

In the discus was a filling-hole for pouring in the oil, sometimes

protected by a cover or stopper, and sometimes a second smaller

purpose of which has been disputed (see p. 406).

of nozzles was not limited, though there is

hole, the

The number

usually only one; a lamp with two is known as bilychni$*\

one with several, as polymyxus. Martial in one of his epigrams
"
says
Though I illuminate whole banquets with my flame, and
:

nozzles (inyxos\ I am known as a single lamp." 4

The wicks were made of a plant known as verbascum (Greek,
0X6/^0?) or thryallisf but tow, papyrus, and sulphur were also

have so

many

employed

the

was a vegetable

oil

oil

some

of

Some-

kind.

times the lamps were provided with a sort of snuffers or tweezers

7
for extracting and trimming the wick, as described in a passage
in the

Moretum

which speaks of drawing out the wick of

(ioff.),

lamp with a needle

a dying

Admovet

his pronam submissa fronte lucernam,

Et producit acu stuppas humore carentes
Excitat et crebris languentem flatibus ignem.

The purposes
were various, but
of illumination

occasions

which lamps were used by the Romans

under three main heads: (i) for purposes
private houses, in public buildings, or on

for

fall

in

of rejoicing

(2)

as

offerings

in

temples

as

(3)

funerary furniture.

houses they were placed either in niches in the

on brackets, or were suspended by chains, or even
some cases hung by the handle from a nail. An Etruscan

In small
or

walls
in

terracotta

lamp bears evidence of having been suspended in

is no doubt that this
was

the last-named manner, 8 but there

1

Pliny, H.N. xxviii. 163.

The corresponding Greek word was

"

/*>
3

Petronius,

21)

p.
4

Sat.

30 (Teubner

Orelli, Inscr.

3678.

Pliny,

H.N.

xxv. 121.

Pliny, ff.N. xix.

17,

xxxv. 175.

La Blanchere and

Gauckler.

Alaoui, p. 193, Nos. 487-88

Ercolano, viii. pi. 52.
8

xiv. 41.

:>

edn.

Moretum,

xxviii. 168,

Daremberg andSaglio,

p. 1335, fig. 4605.

s.v.

Mus.

Ant. di
Lucerna,

ROMAN LAMPS

396

more usual with lamps of bronze,

being few

there

in

terra-

would have admitted of such a use. Sometimes

the lamps were made resting on a kind of support, as is
the case with two in the British Museum, and others found
in Africa.
On the support a figure of a deity was usually
modelled in relief. 2 Combinations of a lamp and altar are
not uncommon, especially at Rome and Naples. 3 There are
numerous examples from Pompeii and Herculaneum illustrating
cotta which

their use in private

life,

although lamps of clay are confined

For

to the poorer houses or to domestic service.

their use in

the bedchamber at night evidence is afforded by Martial and

other writers. 4
rough classification of the existing terracotta
lamps might be made by dividing them into (i) those with

knobs for hanging, (2) those with handles for carrying, (3)
those without handles for placing on tables or brackets.
Many passages in Latin writers afford evidence for the use
of

lamps

in

processions

or

illuminations

for

public rejoicings, such as triumphs.

Cleopatra,

the triumph of Julius Caesar, at

at

Nero, and so

on.

Caligula

had

times

at

of

They were thus used by

theatrical

the return of
representations

performed by lamp-light at night, and Domitian arranged

hunts and gladiatoral combats ad lychnuchos? Severus Alexander lighted up the baths with oil-lamps, 7 and Tertullian
speaks of assisting in political triumphs by defrauding the
8
Juvenal also speaks of their
day with the light of lamps.
9
use in illuminations.
Many lamps, especially those with
subjects relating to the circus or games, are inscribed with
the word SAECVL(^r^), and it is possible that they were used
in connection with the Ludi Saeculares, at which illumina-

But lamps with this inscription are not

10
ornamented
with such subjects.
exclusively
tions

took place.

No. 393 and Cat.

(Plate IV.

C42I

fig.

of Terracottas,
4) ; Mns. Alaoui,

No. 484.
2
B.M. Nos. 2, 393.
3
C.LL. xv. 6609-10 Daremberg and
Ant. di Ercol. viii.
Saglio, fig. 4607

Apol. 35
9

12

10

see also p. 387.

Epigr.

xiv.

39

Moretum, 10

fif.

Lampridius,

pi.

Plutarch, Ant. 26; Suetonius,

Vit.

Cats. 37 ; Dio Cass. 63, 4.

6
Suet. Calig. 18; Domit. 4.

xii.

Cf.

cf.

Vit. 24.

ad uxorem,

ii.

6.

92.
C. I.

L. xv. 6221

Nos. 476, 506, 507, 534, 535.

and B. M.

USES OF LAMPS

397

for burning in temples, and were also

to the gods, in Greece as well
of
votive
subject
offerings

Lamps were used

the

One found at Oenoanda in Lycia was offered

"
and those which Sir Charles Newton
most high God
found in such large numbers at Knidos (Vol. I. p. 108) were
Votive lamps
also votive offerings in the temenos of Demeter.
2
are recorded from Selinus, and at Carthage numbers were
found round the altar of Saturnus Balcaranensis. 3 To their use
as

"

in

Italy.

to the

worship of Isis, as referred to by Apuleius, we allude below.

Nearly all lamps have been found in tombs, the custom of
placing them there being one of Asiatic, not of Greek, origin
it became quite general under the Roman dominion.
Christian
in
are
but
not
found
in
the
cemeteries, showing
catacombs,
lamps
in the

came to be regarded as pagan. At Avisford

Sussex they were found placed in open bowls with handles,
on brackets along the side of a tomb. 4 The Roman lamps
found in tombs were placed there, like the Greek vases and
that the practice
in

the

later glass, for the use of the dead, sometimes, though

not necessarily, with the idea of their burning perpetually. 5
An inscription on a sepulchral cippus in the British Museum 6
directs the heirs of the deceased to place a lighted lamp in
his

tomb on the Kalends, Nones, and

Ides of each month,

and

similarly L. Granius Pudens of the seventh cohort requests

that his family should place oil in a lamp on his birthday. 7
"

Another

Whosoever
inscription in an elegiac couplet says
a
places
lighted lamp in this tomb, may golden earth cover
8
his ashes."
fourth inscription directs the daily offering of
a lamp at the public expense to the manes of a deceased person. 9
:

matron of Ephesus, told by Petronius, a

described as replenishing the lamp in a tomb
as often as was required. 10
Two lamps in the Athens Museum
In the story of the

servant-maid

is

\uyyw ei^"> Boeckh,

C.I.Gr.
2
3

xii.

iii.

p. 1169,

No. 4380

in, and C.I.L.

Notizie degli Scavt, 1894, p. 205.

Melanges de I'Ecole frattf. de Rome,

(1892), p. 116

8
ff.

Roach-Smith,

Collect.

4
i.

Cf.

Ellis,

///.

pt. 4,

No. 30102

pi. 44,

Rom. Land.

Townley Gallery,

ii.

p. 250.

Orelli, 4416.

I0

Roach- Smith,

vi.

Antiq.

p. 123.
5

p.

(semper vigilet hicerna nardo).

C.I.L. x. 633 (from Salerno).

ii. 2102.

Ibid.

Sat.

in

(Teubner

ed. p. 77).

ROMAN LAMPS

398

have the subject of a bear, and over it the inscription 4>OBOC,

"Fear"; being found in tombs, they must have been placed
there with some significance, and as, on the evidence of a Cilician
inscription, Phobos was regarded as a guardian of tombs who
frightened off robbers and other evilly-disposed persons, it may
be that the terrible bear was placed on the lamp as a symbol
1
of this protector of the dead.
Other superstitious uses of lamps, not connected

with the
Omens were drawn from the
tomb, were not uncommon.
2
way in which the flame burned, and Chrysostom describes

naming children by giving names to lamps, which

were then lighted, and the name of the child was taken from

a method of

that last extinguished.

There are also a few other exceptional uses of lamps, as for
instance when they were given as strenae, or New Year's

Such lamps usually have a figure of Victory holding

a shield, on which are the words ANNVM
FAVSTVM
4
New
and
In the
Year!"
FELICEM,
prosperous
happy

presents.

NOWM

"A

field

are heads of Janus, or cakes, wreaths, and other objects

These all appear to date

also probably intended for presents.

5
century after Christ.
lamp
of the same class in the Guildhall Museum has on the shield

from the beginning of the

first

note

It is interesting to
Feltc(i)t(asY
7
lamps are found in tombs
they

FIILICTII,

New Year

that

the

may, of course,
have been preserved and buried as mementoes; but at the
same time, it is not essential that the subject on a lamp should
have any relation to its purpose, as we have seen in the case
;

inscribed Saeculares?
The Helioserapis lamp (see
and
those with Phobos as a bear may, indeed, be
p. 403)
instances to the contrary, but on the whole it would seem that
the same rule would apply as in the case of the terracottas

of those

(see Vol.
1

I.

p.

122).

SeeAthen. Mitth. 1902^.257

ff.;

and

A mer. Journ.

of Arch. 1903, p. 344.

2
Virg. Georg.'\.yy>\ Apul. Metam.\\.i&.
3
Homil. in Ep. ad Cor. i. 12 (Pusey's

cf.

Library
4

xv.

ii.

4969, 3

x.

6196-210: see also pp.

6
7

fig.

8053, 5

413, 420,

5.

Ibid. xv. p. 785.

Cat. p. 47, No. 26.
Cf. C.I.L. ix. 6081,

of the Fathers, p. 164).

Cf. C.I.L.

and Plate LXIV.

I.

See also the lamps from the altar of

Saturnus Balcaranensis (Daremberg ar
Saglio,

iii.

p. 1339).

EARLY ROMAN LAMPS

399

The earliest Roman lamps are of rude shape, undecorated,

with a long projecting nozzle and circular reservoir they are
not always provided with
are
often
but
handles,
;

with

covered

black

Greek

the

like

glaze,

examples.

of this type are

found on the Esquiline, in

Lamps

North Africa, as at Carthage,

One of the
and in Sicily.

LAMP FROM

FIG. 202.

THE' ESQUILINE.

Esquiline examples, dating from the second century, has the

2
Like the Greek
engraved inscription VEVCADIA (Fig. 2O2).

made on the wheel (T/oo^Xarot), not, as later

Names in graffito seem to imply a reference
to the person in whose tomb the lamp was found, and such
formulae as AVE, NOLI ME TANGERE, Nil ATTIGAS NON SVM
TVA M SVM, PONE FVR ("Drop it, thief!"), which occur on

lamps, these are

mould.

ones, in a

3
the Esquiline lamps, also clearly refer to funeral usage.
In the first century B.C. the lamps,

still

mostly of black ware, and devoid of subjects,

are distinguished
by the straight-ended,
concave-sided

nozzle

)\

with

shallow

groove leading to the centre, small grooved

ring-handle, and sometimes a lateral projection like a fin, from which some varieties are

known

"

"

delphiniform (Fig. 203).* These

are often found in North Africa, but are also
as

and some have Greek

sometimes
covered with
stamps.
or
with
of
vine
and ivy,
globules,
patterns
imported into

and

The
examples figure-subjects are introduced.
ones have large single letters or monograms underneath
Ann. deW Inst.
Mus. Alaoui, pi. 34, Nos.

B.M. 27-30, 67, 68

1880,

pi.

See Ann.
C.I.L.

Inst. 1880, p. 275.

6631,

deir Inst. 1880, p. 315.

6900

ff.

Ann.

B.M.

plate,
s.v.

deW

xv.

6-12, pp. 147-48.

2

is

in the later

earlier

Italy,

The top

"DELPHINIFORM" LAMP.

FIG. 203

25-26

No. 2

C.I.L.

xv.

Daremberg and

part

2,

Saglio,

Lttcerna, p. 1323.

Mus. Alaoui, pi. 34, p.

Nos. 17-8: see also B.M. 69-82.
Cf.

149,

ROMAN LAMPS

4OO

the later, the name of the potter or

of
the
pottery.
superintendent
now come to the Roman lamps of the Imperial period,
of which such large numbers exist in museums

for

potters'

marks

We

over Europe and the basin of the MediterThey have not as yet been very
but so far
systematically studied and classified
all

ranean.

as the subject has been treated at all, those who

have investigated the development of the forms

unanimous in their general conclusions. 1

The last writer on the subject, Herr Fink, of
Munich, has advanced a step further, and by

are fairly

comparison of forms with potters' signatures has

arrived at some interesting results, which we need
LAMP

FIG. 204.

WITH VOLUTENOZZLE

CENTURY

FIRST
B.C.

not hesitate to accept in the main. 2 He adopted

as the basis of his classification the form of the
nozzle in each case, for the obvious reason that
is more essential to the character of a lamp

it

the latter is removed, the form is in no

be by the absence of the nozzle.
would
way
Following, then, on the lines of Fink and the other writers, we
may establish apart from abnormal forms and
lamps modelled in the shape of figures four
main classes, which are sufficient to include
practically all the lamps with which we have
to deal. They may be summarised as follows
(i) Lamps with rounded nozzle or nozzles,
flanked on each side by a kind of double volute,
The usual
as in Fig. 204 and B.M. 167-352.
number of nozzles is one, but two are not FIG
LAMP WITH
2Q5
These belong to the first
POINTED VOLUTEinfrequently found.
NOZZLE; FI
convenient forms for a
B.C., and,

than the handle

affected, as

if

it

century
being
CENTURY B.C.
decorated top, are ornamented with all kinds of
3
thehandle when present is often ornamented as in the cu
subjects
;

See Dressel in C.I.L. xv. p. 782 ff. ;

Toutain in Daremberg and Saglio, art.

Lucerna ; Fink, Formen u. Stempel

rom. Thonlampm, in Sitzungsberichte d.
Miinchener Akad. 1900, p. 685 ff.

On

the

evidence

yielded

by

the

potters' signatures see also below, p. 428.

3

See the examples given on Plates

LXIV.-LXV.

FORMS OF ROMAN LAMPS

(2)

Lamps

of the same type as the

401

except that the

last,

nozzle ends in an obtuse-angled termination, as Fig. 205 and

B.M. 94-166. It is a form not adapted for

more than one

and usually has no

nozzle,

handle. 1
(3)

but

small

distinct

almost

class,

devoid of figured decoration (Fig. 206 and

B.M. 379-392), but usually with a potter's

name underneath

the form is elegant, and

The chief
from
bronze. 2
probably copied
feature is the sunk centre, in which is usually
round it
placed a Bacchic or comic mask
runs a raised rim, through which a shallow
;

groove
nozzle.

of the

to

passes

Empire

GROOVED NOZZLE

somewhat elongated

the

This dates -from the

or earlier,

(NORTH ITALY TYPE)

century
some being found

CENTURY

FIRST

first

with coins of Augustus, others at Pompeii

LAMP WITH

206.

FIG.

AFTER CHRIST.

these lamps are

of red clay, unglazed, and have no handle.

On the sides are
either
the
of
the moulds (see
concealing
joins
projecting knobs,
p.

405), or for the attachment of chains.

The names
*

/^\j$^\
^r~^=>^
x

Communis,
raised
(see

of

Fortis,

letters,

Fig.

the

210).

makers,

impressed

They

Strobilus,

are

etc.,

in

the

in

good
mould

are found in

all

but rarely south of Rome most of

them are from Gallia Cispadana, 3 and
parts,

they

may have been made

(4) In

this

class (Fig.

at Mutina.

207 and B.M.

393-567) the nozzle is small, and hardly

it
projects beyond the rim of the lamp
;

FIG. 207.

LAMP WITH SMALL

c

semicircular or heart-shaped in form,

and sometimes has a
incised l-ne or
is

circles at the base.

Fig. 208 represents

a late development with the heart-shaped nozzle, in which the

I am inclined to agree with Dr.
Dressel in placing this type earlier than
Fink's Class I.
It seems to be inter-

xv. pi. 3.
2
Cf. C.I.L.

mediate in form between the delphiniform

and other types with blunt nozzles, and

206, and Dressel, ad loc., p. 783.

3
Cf. C.I.L. v. 8114.

VOL.

II.

the type given in Fig. 204.

xv.

pi.

2,

Cf. C.I.L.

No.

26

5= Fig.

ROMAN LAMPS

4-O2

always surrounded by a wreath or ornamental pattern,

lamps, especially those found in Greece (see

design

is

Many

of these

Vol.

p. 108),

I.

have no handle; there is also a somewhat late

variety, described on the same page, which
is confined to Greece and marked by potters'
in Greek letters (B.M. 604-629).
These lamps date from the time of Trajan
onwards the signatures are usually abbreviated, and are stamped hollow, or sometimes
scratched in the wet clay; raised letters are

signatures

The

subjects are very varied.

of the larger lamps in the first class,
especially those with more than one nozzle,

rare.

Some

FIG.

THIRD-

208.

CENTURY TYPE
OF LAMP.

have a

flat vertical projection attached to

the top of the handle, triangular in form or

crescent-shaped (as in Fig. 204), and this is often ornamented

with figures in relief, either whole subjects or busts of deities,
or such simple

motives as a pair of dolphins, a

leaf,

or

The

figure-subjects are often quasi-Egyptian, such

Harpocrates and Safekh on a British Museum example
(No. 337 = Plate LXIII. fig. 3), or a lectisternium of Sarapis,
1
In a few cases this projection
Isis,
Helios, and Selene.

palmette.
as

is

replaced

enthroned

by a bust or even a seated figure of Sarapis

But in most cases the handle, when

in a niche.

of a simple form, either a ring with shallow parallel

or
a solid projecting piece through which a hole is
grooves
present,

is

pierced.

of terracotta often assume, like those in bronze, 2 a

more ornamental form, being modelled partly or wholly in the
form of figures, heads, animals, and so on. In some cases the

Lamps

upper part or discus only

mask

is

assuming the form of

modelled,

3
Satyric, theatrical, or grotesque.

Among

the entire

5
4
figures which form lamps occur Artemis, Eros, Victory slaying
6
a bull, and various animals
more common are heads of Zeus
;

See Daremberg and Saglio,

ion,
2

fig.

s.v.

B.M.

Plate IV.

p.

4381.

Cf. for bronze examples,

B.M.

Cat.

5
6

3, 13.

C.I.L.

fig. 4.

xi. 6699.. 5.

In the Louvre.

PLATE

ROMAN LAMPS OF VARIOUS FORMS

(FIRST CENT. B.C.)

(BRITISH MUSEUM).

LXIII.

FORMS OF LAMPS
Ammon,

Pan, Seilenos,

403

and animals such

negroes,

as oxen,

favourite shape is a lamp

5
in the form of a foot or a pair of feet, shod in sandals or boots,
and there are two lamps in the British Museum, one of enamelled
birds, snails, frogs, or tortoises.

6
others form fruit,
ware, in the form of a gladiator's helmet
7
In
are modelled in
the
which
or
crescents.
lamps
pine-cones
;

of a head, the chin usually forms the nozzle, and

the orifice for filling is on the forehead in those in the shape
the form

formed by the great toe. Occasionally

lamps are found in the form of a ship, recalling that which,
a
according to Apuleius, was used in the worship of Isis
or
Vol.
boat
see
I.
which
shone
cup (cymbium,
golden
p. 186),
An interesting
with a clear light and sent forth a long flame. 8
on
this
use
is
of
formed
commentary
by a remarklamps

of a foot the nozzle

is

9
example in the British Museum (Plate LXIII. fig. i),
in
the
is
of
a
not
which
boat, but is decorated with
only
shape

able

subjects referring to the pseudo-Egyptian cults characteristic

of Rome in the late republican and early imperial period.

no less than twenty inches long and has

wicks along the sides, was dredged up from
the sea at Pozzuoli, where it may originally have been in the
This lamp, which

numerous holes
temple of

Isis

is

for

and Sarapis.

On

is

it

the inscription

EYPAOIA,

"

signifying a prosperous voyage," perhaps as a prayer on behalf

of the donor, and underneath are the words AABE AAE TON

HAIOCEPAPIN, "Receive me,

of the vessel

may

by which the name

Helioserapis,"

be intended.

Most lamps had only one wick, but the

1

C.I.L. xv. 6701.

xv.
6513;

Ibid.

Kenner,

B.M. 9-12: see also Guildhall Mus.

p. 49, No. 50, for negro's head

combined with camel's.

4
B.M. 18-21 (bulls' heads) ; 22 (eagle)
Mus. Borb. xiv. 38; C.I.L. xv. 6739,

Ant. di Ercol. viii. 27 ;

6393
Kenner, 437, 437 a ; Mus. Alaoui, pi. 36,
No. 485.

^334)

B.

M. 14-17;

Kenner, 434-35.

which they

Ant.

Thonlampen, No. 431.

Cat.

light

C. I. L.

xv.

6287;

Greek and Roman Department, from

Cologne ; British and Mediaeval Department, from Britain; others in Guildhall
Museum, and C.I.L. xv. 6450.
7

C.I.L. xv. 6387. 6627

(artichoke)

di ErcoL

ibid.

B.M. 24 (walnut)

viii.

6393
Ant.

5.

Metam.yj.. 245.
No. I = Cab. Dnrand, 1777
cf.
Lafaye, Culte des DivinitJs d'AIexandrie,
:

122, 303,
pp. 209, 216.

pp.

No.

132; also Vol.

I.

ROMAN LAMPS

404

afforded must have been feeble, and consequently the number

was often increased. When the number is not large, or when

body is circular (as in Plate LXIII. fig. 4), they project

beyond the rim of the lamp, as in Class I. already described,
but the lamps which have a large number are usually boatthe

shaped or rectangular in form (see Plate LXIII.), and the nozzles

do not then project, but are ranged along the sides, merely
1
by separate moulding underneath.
Occasionally a
conglomeration of small lamps was made in a row or group,
but even in these cases the illumination given must still have

indicated

been feeble.

The average

size of a

lamp

is

from three to four

inches in diameter across the body, the length depending on

the form of the handle and nozzle, but averaging about an

inch over the diameter, and they are mostly about an inch in
The top of the lamp is almost always circular in form,
height.
2
occasionally oval, and rarely rectangular, and is usually slightly
depressed, being thus shaped to enable any overflow of oil to

run down through the filling-hole. Many Greek lamps, and

Roman lamps from Greek sites, such as Cyprus, are convex
above, with a small moulded disc on the raised centre, in which
the hole.
These are either devoid of decoration, or only
have an ornamental pattern or a frieze of figures on a small
is

Usually the subject is enclosed within a plain moulded

rim, but in the later examples (Class IV.) especially it is more
scale.

contracted in extent, and surrounded with a border of ornament,

such as the egg-pattern or a wreath of some kind (see Fig. 208).
Christian lamps, which hardly

come

within the scope of this

form
work, vary very
they have ovoid instead of
circular bodies, a plain rounded nozzle, and a small solid handle,
and the design is always encircled by a band of ornamental
little

in

3
pattern or symbolical devices.

The

clay of which the lamps are made is usually of a red

to the presence of red ochre (rubrica), but it varies
colour,
both in quality and tone according to localities
those from

due

See

for

examples

in

B.M., Nos. 58-66.

Cf. Anzeiger, 1889, p. 170,

Nos. 90, 91.

and B.M.

3
See Dalton, B. M. Cat. of Early\
Christian Antiqs. pi. 32, p. 148.

METHODS OF MANUFACTURE

405

such as Athens and Corfu, are often of a pale

buff colour, those from Cyprus a light reddish brown, and so
1
on.
Martial refers to the red clay of Cumae, a place where

Greek

sites,

lamps are sometimes found, and those from Naples are usually
of a dull brown or yellow colour.
Lamps found in France
and England are often imported from Italy, and therefore of
the ordinary red clay, but those of local manufacture are of a
white or yellowish tone.
The earliest undecorated examples are made on the wheel,
as are those from the Esquiline and from Carthage, in which
the decoration

is

only incised

but subjects

in relief required

Occasionally they are modelled

a different technique.
but we find that from
first

century

B.C.

by hand,

the

onwards they

made

are almost invariably

in

moulds, modelled from a pattern

lamp, in a harder and finer clay
than the pattern. 2 The mould

was divided

into

two

parts, ad-

justed by mortices and tenons,

which, in the opinion of some
the
lateral
writers,
explains

FIG

visible

projections
varieties

on

certain

the lower part formed

upper the decorated

2 9MOULD FOR LAMP FROM

CATANIA (BRITISH MUSEUM).

the

The two

discus.

body of the lamp, the

parts seem to have been

marked by corresponding letters to avoid errors, and there are

two or three lower lamp-moulds in the British Museum from
Ephesos and elsewhere, marked with an A on the under side
3
for this purpose.
Other examples of moulds have been found
in Greece, Italy, and Africa, 4 and there are also specimens both
for the upper and lower half in the Guildhall Museum. 5
They
were either of terracotta or

The
1

clay

plaster.

was impressed

into the

xiv. 114.

See on the subject Daremberg and

Saglio, iii. p. 1334
Bliimner, Techno;

ii.

Cat.

pp. 71, 108.

of

fingers,

Fig. 209.

logic,

mould with the

Terracottas,

81-83:

see

Mus. Alaoui,

Nos.

396-97

(Christian).
5
Cat. p. 51, Nos. 117-1 8 (from

London

Wall).

p.

253,

ROMAN LAMPS

406

the figured decoration being applied by means of models or

stamps, as with the Arretine ware (see below, p. 439), and
the ornamental patterns probably produced with a kind of

wheel or running instrument, as in Roman pottery (p. 441).

Signatures in relief were taken from the mould, those in
hollow letters were impressed in the lamp itself from a stamp
before
large

potteries must have possessed a

for instance, at Rome alone ninety-

Important

baking.

number

of moulds

one different subjects are found on the lamps of one potter

(L. Caecilius Saevus), eighty-four on those of C. Oppius
Restitutus, fifty-one on those of Florentius, and there must
of course have been many more now lost.
It is clear that
the same types were used by different potters
the models
must, therefore, have been handed about from one to another,
each potter merely adding his own name.
The two portions of the mould were joined while the clay
was moist, and pared with a tool, and the orifice for filling was
then pierced. Glaze, when used, was applied before the baking,
for which only a moderate temperature seems to have been
this process followed as soon as the clay was dry.
required
In some lamps a small hole or slit may be observed, which
some have thought to be for the pin with which the wick was
;

it is more probable that it was for a piece of

held the top and bottom of the mould together
until the clay was united
it was usually covered over before

extracted,

but

wood which

the baking, and

may have

spoken of which occur

in

taken the place of the knobs already

other forms. The lamps were baked

2
and it
closely together or superimposed,
a
number
are
found
united
that
together
happens
coalesced firmly in the furnace, as in Sir Charles

in

batches, placed

sometimes
which had
Newton's excavations
Subjects are

first

at Knidos.

found on lamps

in the

second century

B.C.,

though these are quite of a simple character. Lamps of this

date from North Africa 3 have such designs as an altar and
1

See also
Cf.

Sia'It a,

395 above.
Avolio, Failure di argille

p.

p.

123.

in

Cf. Rev. Arch, xxxiii. (1898), p.

Mus.

A'laoui, p. 148,

No.

13.

86;

SUBJECTS ON LAMPS

407

a vase, or a caduceus, a head of an ibis, or a nude

others have merely a wreath round
figure of Tanit
1
the centre, and these apparently belong to the first century B.C.
fruit,

incised

The number

of figures is generally small, it being contrary

the
to
principles of ancient art to crowd a work with minute
The majority of lamps have only one
figures and details.

and few beyond those of exceptional

figure,

As

three.

a rule the treatment

is

careless

size have more than

and the figures very

but the lamps with Greek signatures (see Vol. I.

form
a notable exception.
08)
p.
It may be imagined that the lamp-maker sought to gratify
the taste of his customers by ornamenting his ware with familialindistinct,
1

Purchasers of terracotta lamps were, as has been

noted, generally persons of inferior condition, and the subjects
on the lamps are in many cases a popularising of well-known
subjects.

myths or even of works of

(p.

art,

such as

the

410) or the Maenads of the "new-Attic"

The types

of Victory and

Venus types

reliefs (p. 411).

Fortune are reflections of statues

of the period, and are repeated in many bronze statuettes.

There are also, as we shall see, occasional references to
In Rome the stage exerted little influence, and
are
subjects
rarely taken from the drama (masks are an exthe games of the circus and gladiatorial contests
but
ception)
literature.

found a ready market, and form a large proportion of the

The subjects on the lamps, in fact, represent not so
designs.

much

the great masterpieces of art, as do coins or gems, but,

Greek vases, the popular art of the day, and may be

like the

compared with the

value

to

us

as

of the popular journals and

illustrations

magazines of our own time.

illustrating

On the whole, they are of great

Roman life and religion, just as

subsequently those on the Christian lamps are of inestimable

importance for the light they throw on the early ages of our

own religion.
As the number of published lamps and catalogues

of collec-

so very small, the subjects included in the following list

are mostly confined to the collections in the British Museum,
tions

is

Rlus.

Alaoui)

(C.I.L. xv. p. 782).

p.

156,

Nos. 74-81

cf.

the

Roman lamps

of the same date

ROMAN LAMPS

408

which are quite sufficiently comprehensive for the purpose. 1 A

few additional examples are given from the Guildhall, Vienna,
and other collections, from the Antichita di Ercolano, Bartoli's
Lucernae veterum sepulcrales^ the Musee Alaoui, and other isolated
sources. 2
References to Passeri's work, Lucernae fictiles Musei
have
been avoided, as it has been shown by Dr.
Passerii,
3

that nearly all those published by him are false.

proceed to note the principal subjects in detail, observing
practically the same order that was adopted in describing the
They may be roughly divided into
subjects on Greek vases.

Dressel

We

eight classes

deities.

(1)

Olympian

(2)

Miscellaneous

(3)

Heroic legends,

(4). Historical

deities.

and

etc.

literary subjects.

Genre subjects.
Animals.
(6)
(7) Inanimate objects.

(5)

(8) Floral

The Olympian

and decorative

deities

devices.

are not often

represented,

some not

Kestner collection at Gottingen,

all,
4
of
all
the
twelve
which has busts
they are not, however, clearly
Zeus is represented with Hera
distinguished by attributes.
except on a lamp

at

in the

and Athena, the three Capitoline

deities of

Rome, whom the

Etruscans knew as Tinia, Thalna, and Menerfa, the Romans

5
He also appears alone, seated
as Jupiter, Juno, and Minerva.
6
on his throne, but more commonly his bust only is repre-

LXIV. fig. 4), accompanied by his eagle, which

7
on
a
thunderbolt, sometimes conventionally rendered.
perches
sented (Plate

The numbers given

notes

are

Catalogue

those
of

of

in the following

the

Roman

lamps
Greek and

Department

of

Antiquities.
2
See also

C.I.L.

in

the

Roman

Rom. London, p. in.

B.M. 511 Ant. di Ercol.
Cyprus Mus. Cat. 1394

///.

forthcoming

Plate IV.
7

xv.

6195-751

for

mention of many interesting subjects.

3
Rom. Mitth. 1892, p. 144 ff.
4
Gbttingische Gelehrte Anzeigen, Nachrichten, 1870, p. 174

cf.

Roach-Smith,

viii. i.

B.

M. 604

fig. i.

B.M. 270, 315, 330, 331, 394, 472-

475
Lond.
:

also

cf.

pi.

Bartoli,

Roach-Smith,

///.

30, i; Ant. di Ercol.

ii.

Rom.
viii.

i;

4; Kenner, Antike Thon-

lainpen, Nos. 4-6.

OLYMPIAN DEITIES
The

eagle and

409

thunderbolt also appear

former with Ganymede. 2 A bearded horned
the

alone,

or

the

mask may be

intended for Dionysos, but is more probably Zeus Ammon. 3

4
Sarapis is sometimes enthroned, with Cerberus at his side
sometimes only his bust occurs, surmounted by the usual

kalathos

Cerberus

6
also found alone.

is

instance mentioned, does not occur.

from Salamis, Cyprus, now in the
7
;

is

it

in the

very interesting lamp

British

Museum, repreof Athena and Poseidon for the possession

doubtless a reminiscence of the Parthenon

sents the contest

of Attica

Hera, except

pediment, though rough and indistinct in execution.

Athena is also seen as a single figure, 8 seated, or standing in

west

the usual
a panther

Promachos attitude, or before an altar, or pursuing

her head or bust are not uncommon. 10 Apollo is

usually represented seated, playing on his lyre, or with the

n
Gryphon at his side ; Artemis appears as a huntress, accom12
panied by her hound, or drawing an arrow from her quiver.

lyre or a crescent appearing alone

be the symbols of

may

13

There are one or two possible instances

these two deities.
of Hephaistos and Poseidon, 14 and Demeter may be indicated by
a pair of torches
for

Persephone.

15

16

in a chariot, 18 or

Hermes appears
goat, or cock

who

is

20
;

the latter also appears in her chariot, seeking

17
is found either as a
single figure,

Ares or Mars

playing with Eros,

21
accompanied by Herakles.

B.M. 605; Ann. deW

Kenner, No. 7

cf.

Inst.

Cyprus Mus. Cat.

his

1356.

Kenner,

H B.M.
572
16

Mus. Alaotu, No. 115.

B.M. 94; with Sphinx, ibid.
Mus. Alaotii, No. 142.
B.M. 69.
B.M. 554, 614; Kenner, No.
B.M. 174.

17

18

3.
20

10.

B.M. 607-609, 681, 707;

Mus. Cat. 1384.

Cyprus

Mus. Alaoui, No.

Kenner, No. 229.

19

Kenner, No.

ls

10

is

Nos. 17-22; Bartoli, ii.

32-3; B.M. 332, 512, 680.
13
Kenner, No. 230 ; Guildhall Mus.

415, note

subject

Cat.y. 48, No. 43 (from Royal Exchange).

B.M. 358 (handle).

B.M. 395 360-363 on handle.
Kenner, No. 137.
No. 679 =J.H.S. xiii. p. 93.
B.M. 307, 402, 466, 573 see also
Kenner, No. 8

A common

n B.M.
271, 398, 571; Cyprus Mus.
Cat.
12

1866,

1385-86.

p.

armour. 19

as a single figure, or accompanied by a sheep,

one instance he presents a purse to Fortune,

G.

pi.

steals his

in

1
Gottinger Nachrichten, p. 177, No.
18; Kenner, Nos. 227, 228, 425.

who

21

151.

574.

28.

ROMAN LAMPS

4io

bust, along with his attributes of the purse

and caduceus

the

accompanied by two hands joined, may also have

reference to this deity. 2
Aphrodite occurs but rarely she is
either represented accompanied by lions, 3 or riding "on a goat, 4
latter attribute,

bath or

or at the

toilet,

or

in

the

Cnidian type, 6
of

these

all

known works

of

art.
types being probably reproductions
She is also accompanied by Eros, who assists in arming her;
this type is known as Venus Victrix, and is seen in a group of
7
Aphrodite and Eros in the Louvre.
More common than all the Olympian deities put together is
Eros or Cupid, who appears in all sorts of attitudes and actions,
He sits on a chair or reclines
besides those already mentioned. 8

10
is represented in motion, carrying a hare
or a
or
or
a
branch
of
vine
a
a
dish
of
fruit
bird,
palm,
cup, situla,
or torch n
or plays on the lyre, flutes, or Pan-pipes 12
or
13
He rides on a
sacrifices a pig, or pours wine into a krater.

on a couch, 9 or

15
16
14
donkey, a dolphin, or a crocodile, or sails in a boat ; plays
18
17
He is reprewith a chained lion, or is himself tied to a tree.
sented in the character of Ares, armed with spear and shield
.

or in that of Dionysos, with cup and thyrsos ; or of Herakles,

whose club he carries ; also, probably in the character of Herakles,
he shoots at a serpent. 19 He is also associated with Psyche, 20 and

two Erotes sometimes appear together,

in

one instance

in the

21
One of
character of gladiators fighting, in another of boxers.
the most remarkable lamps in the Museum collection (No. 168)

B.M.

175,

176,

333,

4H-4I3;

Kenner, No. 26; Bartoli, ii. 17.

2
B.M. 432, 433 Kenner, Nos. 231-2
Ant. di ErcoL viii. 32.
3
Kenner, No. 23.
4
Masner, Wiener Vasensamml. No.
5

cf.

Anzeiger, 1890, p. 27.

Kenner, Nos.
;

M. 575
Guildhall Mus.
B.

Alaoui, No.
6
7

Cat. p.
181.

24-5
48, No. 46 ; Mus.

iii.

343,

1399; B.M.

11

12

13

Terracottas,

B.M. 407-409,
B.M. 478, 406.

461, 479, 612, 654.

Anzeiger, 1889, p. 168.

lfi

19

Sculpt.

308, 97.
170, 171.

Gcttinger Nachrichtcn, p.

Anzeiger,

B.M.

79,

No.

loc. cit.

92, 613

98

95, 96, 156

404.

See Kenner, Nos. 37-57.

B.M. 410, 477.

B.M. 172; Roach-Smith,

21

Rom.

516, 610, 611, 405, 515, 364,^

B.M.
B.M.

18

///.

B.M.

15

9
10

and Mediaeval:

6 (Brit,

14

D286.

30,

553-

17

Mus. Alaoui, No. 180.

B. M. 70 cf. Clarac, Musee de

pi.

Dept.).

684

Lond.

B.M. 272 ; Bartoli,

B.M. 173, 89, 576;

i.

7.

Bartoli,

ii.

2<

EROS AND DIONYSIAC SUBJECTS

411

represents a number of diminutive Erotes playing with the

club and cup of Herakles it is unfortunately fragmentary, but
1
One
another example in Dresden gives the complete design.
;

plunges head-foremost into the cup; three others raise the

club with difficulty from the ground, one supporting it with
his back, and a fifth, hovering in the air, pulls at it with his
In front of the last-named are the words ADIVATE
hands.
"

"
SODALES, Help, comrades
Dionysos is another surprisingly rare figure on the lamps,
though his followers, the Satyrs and Maenads, have their full
!

He

share of representation.
2

which he offers his

his mask or head may also be
from
5
occasionally found, in one case in the

appearance, and
kantharos to drink
4

recognised.

occurs as a single figure of youthful

also with his panther, to

Pan

is

form known as Aegipan (see p. 60) in company with Echo, 6

7
in another as a grotesque bust.
There is also an instance of
8
his
for
Marsyas hung up
punishment to the branch of a tree.

A pastoral deity playing flutes on the handle of a lamp in

the B.M. (No. 366) may be either Pan or Marsyas.
Satyrs
are represented seizing Maenads, 9 dancing, drinking, and playing
on the Pan-pipes, 10 or carrying cups and wine-skins, 11 or with a
goat

12

their

both the bearded and beardless types are found, and

masks or busts are

also

common. 13

The shaggy-haired

14
Maenads are deoccasionally represented.
the
picted dancing, in frenzied attitudes, or sacrificing kids
"
"
type is often that of the new-Attic reliefs, derived originally

Papposeilenos

is

from Scopas, of the Maenad Xifiaipoipovos. 15

masks

Among
1

the

minor

Anzeiger, 1889, p. 168

deities

cf.

we

C.I.L.

6230.

Their heads and

also occur. 16
find
No.

that Helios and

Selene

34.

B.M. 101, 182 Kenner, No. 33.

B.M. 518.
13
B.M. 184, 274, 275, 326, 462, 500;
Kenner, No. 35.
" B.M. 181.
B.M. 58, 99, 578; 178, 179, 480,
;

B.M. 517, 577;

B.M. 78.
B.M. 273, 499.
B.M. 616, 709.

Bartoli,

Arch.Zeit. 1852,

pi.

ii.

20.

39 (in Berlin).

12

>

Anzeiger, 1889, p. 169.

618

Kenner, No. 36.

B.M. 481 cf. 316, 519.
B.M. 102, 180, 579; 183;

No. 8

Comm. Arch.

cf.

Hauser,
154, Nos. 25-32.

p.

Kenner,

Bull.

'

B.M.

100, 582.

1887, p. 366,

Neu attische

JReliefs,

ROMAN LAMPS

412

1
2
(Sol and Luna) are often depicted together, or Selene alone, or
3
4
else their busts together, or separately
in one case there is
a simple representation of the solar disc for Helios. 5
curious
;

Museum collection is apparently a comChristian "Good Shepherd" with Helios and

subject in the British

bination of

the

the crescent for Selene. 6

Asklepios and Hygieia occur in rare

and there is an example of Charon in his boat. 8 Of
marine deities and monsters, Triton or Proteus, wearing the
9
10
and a Nereid riding on a
Scylla,
pileus or mariner's cap,
instances,

sea-monster (Plate LXIV. fig.

of exotic religions at Rome is

11

are found.

i)

testified to

by

The

popularity
the occurrence,

on the one hand, of Kybele with her lions, 12 and Atys 13 on

the other, of Egyptian deities such as Sarapis, already mentioned,
and Harpocrates, who is found either alone, or with I sis, or
with Isis and Anubis, 14 or with Safekh (Plate LXIII. fig. 3) 15
Isis and Horus, and busts of Hermanubis and Isis are also
;

found. 16

On

Sarapis and
two Kabeiri

lamp is a lectisternium with busts of

and of Helios and Selene. 17 The busts of the

the handle of a
Isis,

also occasionally appear. 18

Among personifications
19
or quasi-personifications we find the three Charites or Graces

and a Muse with lyre 20 others are all typically Roman, such
as a -bust of Africa on a lamp from Carthage, 21 and such types as
Abundantia 22 (or two cornucopiae as her symbol 23 ), Vertumnus, 24
;

B.M. 476.
B.M. 514.
3
B.M. 513; Bartoli, ii. 13.
4
B.M. 83, 334, 399, 400,
Masner, Wiener Vasens. 695

12
B.M. 465 Ant. di Ercol. viii. 1 1
Mus. Alaoui, No. 113 C.I.L. xii. 5682,

5
6

(K. adored by a Callus)

Kenner,
;
and see No. 23.
13
Kenner, No. 77.
14
B.M. 370, 467, 508 190, 297, 280;
Ant. di Ercol. viii. 2
Kenner, No. I
71

157,
;

606;

Bartoli,

ii.

ii.

No.

3,

B.M. 401.
No. 535

cf.

also

C.I.L. xv. 6221,

B.M.

cf.

15

20.
7

B.M.

463, 482, 615

C.I.L. x. 8053,

17

!)

Gtdldhall Mus. Cat. p. 48, No. 40.

B.M. 396, 397 ; Gbttinger Nachrich-

ten, 1870, p. 184,

18

B.M. 523 191, 591 (bust) ; Kenner,

No. 71 ; Mus. Alaoui, No. 164; Ant.

20

di Ercol.

22

10

11

viii.

21

30.

B.M. 167

Masner, 685
Castra Vetera, pi. 8, No. 3.
;

23
;

D 285.

4381.

fig.

19

Nos. 103-4.

Terracottas,

B.M. 337.
B.M. 369; Mus. Alaoui, No. 134.
Daremberg and Saglio, iii. p. ion

16

1578

Fiedler,
34

B.M. 281.
B.M. 468-470.; Bartoli,
B.M. 104, i85(?).
Mus. Alaoui, No. 82.
Kenner, Nos. 66-7.
Ibid. Nos. 233-4.
Ibid.

Nos. 72-3,

ii.

42.

MISCELLANEOUS DEITIES

413

Fortune with her steering-oar and cornucopia, and Victory. 2

Many of these seem to be reflections of bronze statuettes
1

Roman

the

of

The

latter

is

goddess

frequently
4
bearing a wreath, a trophy, or a shield, sometimes
5
or again between two Lares 6
reclining or in a chariot
period.

found,

two Victories are grouped together. 7

Of special interest
are what are known as the New Year lamps, given as strenae
on January 1st (see p. 398), 8 on which Victory is represented
holding a shield, on which is inscribed an aspiration (see
p. 420) for a happy New Year, the head of Janus, cakes, coins
(stipes}, and other emblems filling in the rest of the design
or

(Plate

LXIV.

fig.

5).

"
Occasionally the inscription is varied, and appears as For the
10
11
of
the
or
state"
Two Lares consafety
"Happiness" simply.
12
fronted, holding cornucopia, etc., are also found without Victory.

Of

representations of Phobos (Fear) we have spoken already (see

There are also representations of terminal deities, 13
as well as unidentified goddesses. 14
398).

p.

Coming now

to the heroes and heroic legends, we find that

on
the
whole an inconsiderable part in the list of
they play
on
Leda is represented with the swan, 15 and
subjects
lamps.
the Dioskuri sometimes appear as busts 16 also Kastor as a full
17
Of the labours of Herakles
figure, accompanied by his horse.
18
we have the Nemean lion,
the Erymanthian boar, 19 the
;

B.M. 276-278, 348, 484, 510, 586

Kenner, Nos. 58-9 Bartoli, ii. 46.
2
See generally, Ant. di Ercol. viii. 6
1

3
4

103,

187,

188,

loach-Smith, Collect. Antiq.

5
Rev. Arch, xxxiii. (1898),

B.M.

it.
7

11

583;

1852, pi.
B.M. 186.

See

Bartoli,

iii.

367,

483:

cf.

pi.

p.

229.

2;

15.

B.M.
i.

p.

398 above, and

84, 105, 485;

p.

420

Kenner, No. 83;

13-14.

Rev. Arch, xxxiii. (1898),

B.M. 710 (archaic xoanoii).

Kenner, No. 76 Mus. Alaoui, Nos.

15

p. 229.

Marquardt, Privatalterthilmer,

B.M. 309, and

pi.

4.

14

139-40.
16

iii.

13

39.

C.I.L. x. 8053, 5 ; ii. 4969, 3,

245
and xv. 6i96ff; Ovid, Fasti, i. iSgff.
These lamps date from the time of
Augustus and his successors.

p.

For a similar subject on

Gidldhall Mus. Cat. p. 47, No. 26.

Bartoli,

Arch,

5.

See for these two

below.
12

ii.

iii.

a money-box see above, p. 389.

10
B.M. 189 ; AnL di Ercol. viii.
Bartoli,

E.g. B.M. Bronzes, I5ioff.

B. M. 189 (see p. 420), 335,

336;

3 (with wreath).

rtoli, iii.

Bartoli,

cf.

368,

584, 585

17

18
1!)

B.M. 415.
B.M. 521.
B.M. 337 (Plate LXIIL), and 486.
Anzeiger, 1889, p. 167; Mus. Alaoiti,

No. 131.

ROMAN LAMPS

4H
1

and the slaying of the serpent in the Garden of the

2
3
Hesperides, as well as the combat with a Centaur and the

hydra,

4
He is also represented as a single figure,
freeing of Prometheus.
5
6
of
the
the
apples
Hesperides, leading kids, or with a jug
holding
7
or drinking-cup, or his head alone (both bearded and beardless

Theseus slays the Amazon Andromache 9 Perseus is

10
Bellerophon is seen
represented carrying the Gorgon's head
him
his
horse
drink at Peirene 11
to
fallen from
Pegasos,or leading
there are also possible representations of Kadmos and Meleager. 12
13
14
Aktaeon
Endymion asleep
Europa is depicted on the bull
15
1G
devoured by his hounds
Telephos suckled by the hind
8

types).

and Eos pursuing Kephalos. 17 Icaros in his attempted flight

is watched by Minos from the walls of Knossos (Plate LXIV.
18
From the Theban legend we have only Oedipus
fig.
2).
19
the
before
Sphinx, a scene from the Phoenissae of Euripides
(see p. 415), and Amphion and Zethos seizing the bull for the
20
Nor are scenes from the Trojan cycle
punishment of Dirke.
much more common but Achilles and Thetis are represented, 21
and also Achilles dragging the body of Hector round the walls
there is a curious scene, somewhat grotesquely
of Troy 22
of
treated,
Odysseus and Neoptolemos stealing the bow of
;

Philoktetes,

who

2
3
4

(in the three latter

lion's skin).

9
11

di Ercol

B.M. 619.
B.M. 192, 587.
Cyprus Mus. Cat. 1358.
B.M. 416.
B.M. 620; 338, 339; Ant. di

and

p. 48,
16

Ercol.

17

only with club

1S

12

Mus. Alaoui, Nos.

Arch,
14

No.
15

is

seen grieving

xxxiii.

126-27

Rev.

(1898), p. 229.

Gottinger Nachrichten, 1870,

p. 182,

72.

B.M. 158, 589

Bartoli,

ii.

24

Ant.

20

33; Guildhall Mus. Cat.

39.
;

Gottinger Nachrichlen,

88, Nos. 235-36.

No. 123.
Kenner, Nos. 79,

pi. 39.

Ibid.

21

^ B.M.
a B.M.
p.

viii.

Mus. Alaoui, No. 100.

B.M. 194 = Arch. Zeit. 1852,
Mus. Alaoui, Nos. 153-56.

19

Cyprus Mus. Cat. 1393.

B.M. 506, 566, 588.
B.M. 106, 41710
B.M. 621.
B.M. 487.
B.M. 193 Kenner, No. 81.
Kenner, No. 82 B.M. 107.

No.

B.M. 108

p.

13

Ajax

23

and Aeneas carries off his aged father and

madness
from Troy. 25 Odysseus appears before Kirke, 26 passing

viii.

foot

24

after his

his son

wounded

fans his

80.

371.

590

Roscher,

Lexikon,

iii.

2338.
24

Wiener Vasens. No. 674:

Nap. N.S.iv. pi. 10, fig. 4.
25
B.M. 555; Von Rohden, Terracotten
von Pompeii, p. 49: cf. C.I.L. xv. 6236.
* Arch. Zeit.
1865, pi. 194; B.M.
282 cf. 109, 195.
cf.

Masner,

Bull. Arch.

HEROIC AND LITERARY SUBJECTS

415

2
the Sirens, 1 and offering a cup to Polyphemos, but sometimes
Orestes appears at his trial before
also without the Cyclops.
Centaur is seen
Athena in the presence of a Fury. 3

off a

woman, and

carrying
with a lion, 5 carrying an

in

combat with a Lapith 4

also

An
amphora, or playing flutes.
Amazon wounded, standing at an altar, and accompanied by

a crane, are also

of Pegasos, 9 and

of subjects. 8
single figure
the Gorgoneion or Medusa-head, 10 are not

among

the

list

Combats of Pygmies and cranes, 11 and a

infrequently found.
12
Pygmy on a crocodile, may also perhaps be included under
this heading.

The next group

of subjects includes those of a historical or

In the British Museum there are two very

literary character.

interesting representations of Diogenes in his tub or pithos

(see Vol. I. p. 152), presumably addressing Alexander, as in the

well-known story, 13 but the

LXIV.

latter

is

not represented (Plate

6).

fig.

14
and various Roman
portraits are busts of Aesop,
as
such
Hadrian, Antonia, Trajan, Marcus Aurelius,
personages,

Among

15
Lucius Verus, 16
Septimius Severus, Commodus, Julia Domna,
17
A scene from the
and others who cannot be identified.

Phoenissae of Euripides occurs on one lamp, with the combat

of the two brothers and the death of Jocasta
the name of
the play is actually inscribed on the lamp. 18
With reference
;

to Virgil's

first

Eclogue we find a representation of the shepherd

B.M. 319-321 ; Bartoli, iii. n.

Mus. Alaoui, No. 192.
3
a lamp
Cf.
Masner, No. 676.
with Athena voting for him, Darem-

10

and

berg

Saglio,

Diet.

iii.

p.

B.M. 199, 623.

C.I.L.

x.

Collect.

Antiq.

ii.

pi.

Guildhall

Roach-

15 (from

Ichester).

Mus. Alaoui, No. in.

B.M. 196-198, 522, 622.
B.M. 130, 340, 418; Kenner, No.
cf. Masner, No. 686.
:

Rev. Arch, xxxiii. (1898), p. 230.

13

B.M. no, 593: see Plutarch,

14

Mus. Alaoui, No. no;

Mus. Cat. p. 48, No. 41

12

15

Vit.

14.

Mon. detf

Inst.

iii.

14,

pi.

see Bernoulli, Gr. Ikonogr.

8053, 194.

Alexandri,

Smith,

B.M. 524, 525

;
Cyprus Mus. Cat.
Kenner, Nos. 68-70.
" B.M. 682.

35 1

1329,

4601.

fig.

i.

fig.

p. 56.

B.M. I28(?), 598; Kenner, Nos.

85-6, 88-90.
16
Arch. Zeit. 1861, Anzeiger,
Kenner, No. 87.
17

Guildhall Mus.

I4-I5
18
C.I.L.

xi.

Cat.

6699, 4.

p.

p.

157

47, Nos.

ROMAN LAMPS

416

l
the shepherd, whose
Tityrus on a lamp found at Pozzuoli
name is given, is seated among his flocks. Several lamps
2
illustrate the well-known fable of Aesop, of the Fox and Crow.
;

The

fox, wearing a chlamys, stands on his hind-legs holding

a
up
pair of flutes to the crow, which is perched on the top
of a tree.
Another subject, which doubtless has reference to

some

fable,

that of a stork holding in

is

which a mouse

in

is

its

beak a balance,

weighed

elephant.
against
in the fact that the mouse

humour

of the subject lies

to weigh the elephant down.

These two are

The

an

is

seen

illustrated

on

LXV. figs. 3, 6. There is also a lamp in the British

Museum (Plate LXIII. fig. 2) with a curious subject which
may either be a scene from a comedy like those on the South
Plate

parody of "a visit to Asklepios."

The subjects taken from ordinary life are eminently characterAn almost
istic of the social life of Rome under the Empire.
Italian vases, or else a

inordinate proportion relate to the now popular gladiatorial

shows, and many others deal with the events of the circus

and arena. Of gladiatorial subjects there are three principal

which occur again and again on lamps of all shapes
and periods with little alteration. 5
One class represents a
varieties,

in

gladiator

single

the

characteristic

armour,

with visored

6
the next
helmet, greaves, and arm-guards, sword and shield
in
which
the
a
of
two
combat
LXV.
(Plate
represents
fig. 5),
one is usually worsted and falls at the other's feet, his shield
on the ground beside him. 7 An interesting example in the
;

Bull. Arch. Nap.

n g-

3)

(No.

P-

216

iv.

(1856),

pi.

10,

66; examples also in B.M.

Plate

LXIV.

fig.

3)

4,

does not represent Meliboeus, as

B.M. 224; Roach-Smith,

///.

Rom.

Lond.

pi. 30, fig. 3; Jahn in Mitth. d.

ant. Gesellsch. zu Zurich, xiv. pi. 4, fig. 9

Gottinger

Nachrichten,

1870,

p.

190,

No. 282 ; and see Daremberg and Saglio.

s.v.
3

p.

Lucerna,

B.M. 139

35

(Paris,

1886),

Saglio, Die/., ii., s,v.

Gladiator, with the bibliography on p.
1600; also B.M., passim. Similar types

occur on the Gaulish terra sigillata (p.

507 below, and De'chelette,

ii.

p.
6
"

cl.

H. Hoffmann

39; and in B.M. (No. 59).

5
See for example Ant. di Ercol. viii.
Rev. Arch, xxxiii. (1898), p. 230 ;
7

p.

p. 1326.
:

Coll.

149 ; in the latter instance

an ant against an elephant.

Daremberg and

there supposed, but Ajax.

2

man weighs

and

The companion lamp

C.I.L. xv. 6240.
given in the Bull. Arch. Nap. pi. 10,
fig.

rich, xvii. p.

Bull, deft Inst. 1867,

Mitth. d. ant. Gesellsch. zu Zu-

97

ff.).

B.M. 111-114, 341, etc.

B.M. 115-117, 201, etc.

leases

ornJsA

SCENES FROM THE CIRCUS AND ARENA

417

British Museum (No. 526) shows a mirmillo or secutor in comb'at

with a retianus, who fought with net and trident. The third
series has representations of gladiatorial armour ranged in a
1
swords, shields, arm-guards, greaves, and helmets.
From the circus and games we have such subjects as a naval

circle

a bull-fight 3
a bestiarius concontest in the amphitheatre
4
5
a
man
over
a
boars
bull
and boxers. 6
with
leaping
tending
remarkable lamp in the British Museum (No. 164= Plate LXV.
;

fig.

we

4) gives a representation of a chariot-race in the circus

have the colonnade of latticed barriers (carceres) from which

the chariots started, the spina down the middle of the course,
adorned with shrines and obelisks, and rows of seats full of
four chariots take part in the race.
Next there
spectators
are scenes such as an athlete crowning himself, a victorious
;

7
quadriga, or a victory in the horse-race.
Of more miscellaneous character are such subjects as a chariot
drawn by four men, a two-horse or four-horse chariot by itself,

charioteer

or a

man

his

in

or

8
boy on horseback.

Military subjects are at all times rare, but a not infrequent

9
a soldier
subject is a mounted warrior charging with a spear
10
is also depicted with a bird,
at an altar, taking an oath, and
11
There are also representasaluting an officer who rides past.
;

12

of an eagle and
standard, and of a trophy perhaps commemorating a victory
over barbarians. 14
representation of a ship or galley is not
but
sometimes
it is
not easy to distinguish these
uncommon,
tions of

an imperator on his triumphal

car,

13

from the type of Odysseus and the Sirens. 15

1

B.M. 121,

159,

160, 207, 285, 317,

Mus. Alaoui, No.

Ant. di Ercol.
C.I.L.

xii.

222.

231,

fig.

C.I.L. x. 8053, 127.

" Mus.
Alaoui, No. 223

5682, 74.
xxxiii. (1898),

B.M. 557, and cf. 165

208, 531 ;
See
311 and Cyprus Mus. Cat. 1364.
;

under the first-named head, Zeitschr. fiir

xxiv.

p.

Dlacing a prize vase

VOL.

II.

= Daremberg
and Saglio, iii. p. 1327, fig. 4590.
12
Kenner, No. 98; Mus. Alaoui, No.
200.

27.

Wumism.

B.M. 507; 122,211,422; 209,210;

125,213,214.
9
B.M. 75, 123, 124, 154, 212, 421.
10

viii. 9.

B.M. 558.
B.M. 318 ; Rev. Arch,
p.

Some lamps

357, for an athlete

on his head.

IS

Cyprus Mus. Cat. 1339.

H B. M.
328: cf. Cyprus Mus. Cat.
p. 80, No. 1365.
I5
See B.M. 423, 424, 532, 533, 701 ;
and cf. p. 415, note I.

27

ROMAN LAMPS

4i8

have landscapes in the style of Alexandrine reliefs and chased

metahvork, as for instance a harbour surrounded by buildings,
in which two fishermen pursue their vocation (Plate LXV.
1

the

in

or a hunter

i),

fig.

accompanied by a

Among

background.

pastoral

porter, with

scenes

town

we have

also,

besides the Tityrus already mentioned, shepherds and goatherds

with their dogs, tending sheep and goats which nibble the
3

and hunters, as already noted.

Another interesting type is that of a juggler or mountebank
accompanied by a dog and a cat, which climb ladders, jump
5
through rings, and perform other tricks (Plate LXV. fig. 2).
Of a more miscellaneous character are such subjects as a butcher
6
a fuller at work 7
slaughtering animals hung from a tree
a slave washing a dog, and another washing a statue 8 slaves
9
a mule turning a mill. 10 Others,
carrying casks or fasces
such are a
again, do not admit of any exact classification
man and woman embracing a woman scraping herself after

foliage of trees

fishermen,

a youth with a mortar

the sacrifice of a pig n
a
12
man riding on a camel or elephant, or driving a camel 13 a
dwarf in a boat or playing on a flute 14 comic actors, 15 and

the bath

10

comic and tragic masks

innumerable

and

two skeletons

17

dancing.

Animals form a large proportion of the representations on

18
lamps, especially on the late class without handle from Knidos
(Vol. I. p. 108), and include Gryphons, elephants, lions, panthers,
Mus.

B.M.

79.

Alaoui,

Nos.

B.M.

Cf.

233-34;

Cat. of Bronzes,

also

No.

884.
2

Mus. Alaoui, No. 227

B.M. 625

(hunter only).
3

B.M.

126,

425; Kenner, Nos. 117-

122.
4

B.M. 79

Arch,

Plate

LXV.

fig.

Rev.

xxxiii. (1898), p. 230.

B.M. 217 Rev. Arch, xxxiii. (1898),

233; Urlichs, Verzeichn. d. Antikens.
Univ. Wiirzburg, p. 39, No. 37.

B.M. 534, 218, 219: cf. Kenner,

Nos. 123-24.
10
Roach-Smith, ///. Rom. Land, pi. 30, |
cf.
the well-known graffito at
4
fig.
:

Pompeii, and Collect. Antiij. ivr. pi. n.

" B.M.
27; 222; 127; 74.
Vi
B.M. 215, 489; Rev. Arch, xxxiii.
(1898), p. 230.
13
C.I.L. xv. 6221, 24.

p.
d.

6
7

15
l6

and

192.

Anzeiger, 1889, p. 169.

Roach-Smith,

C.I.L. xv. 6718.

pi.

Roach-Smith, Collect. Antiq.\\. pi. 15.

Rev. Arch, xxxiii. (1898), pp. 230,

No. 182.

///.

Rom.

London,

30. 2.
lr

18

231.

Ibid. x. 8053, 126

Gottinger Nachrichten, 1870,

B.M.,/4W*w; Kenner, No.

p. 186,

i39ff.
j

ANIMALS

419

boars, bears, wolves, deer, horses, oxen, sheep, goats, dogs, rabbits,
3

parrots, cocks and hens,

and other birds dolphins, sea-horses, cuttle-fish and other kinds
4
Those mentioned
of fish, scorpions, frogs, shell-fish, and so on.
eagles, storks,

ostriches,

peacocks,

so far are single figures, merely decorative in others there is

Such are a lion attacking a bull or
more definite action.
;

crocodile, or seizing a hind or a

two bears dancing 6

donkey

8
dog on a couch, fighting with a goose,
10
9
two monkeys in a boat 11
or attacking a stag, hind, or boar
12
a bird on a twig,
a hare or rabbit nibbling at a plant

monkey and

vine

sometimes eating fruit 13 an eagle seizing a hare 14 an ibis

and a serpent 15 a hen with chickens, cocks fighting, or a
cock pursuing a hen 16
dolphins twisted round a trident or
anchor a crocodile and serpent a lizard or sea-monster and
eel
two serpents, sea-horses, or dolphins with an altar
between 17 and a grasshopper eating grapes. 18
There are also a large number of lamps, the centre of which
is only ornamented
with some decorative motive, such as
a carchesium (Vol. I. p. 188), situla, or krater, from which spring
an oinochoe, flask, or
vine-branches, ivy, or other plants
wreaths
of ivy, vine, oak, and
drinking-cup
palm-branches,
19
of
a
flowers
and
caduceus, or other
myrtle, sprays
cornucopia
emblems of deities, such as two hands joined with a caduceus
behind them (see p. 410) scallop-shells or purely conventional
;

patterns, such as large four-leaved flowers, stars,

The latter are mostly found on lamps from

especially in Cyprus,

and

at

Tarsus and Knidos.

Mm.

Alaoui, No. 278.

B.M. 441,494, 501; Masner, Wiener
Vasens, No. 694; Cyprus Mus. Cat. 1379.
3
Kenner, No. 18 1.
1

5
"
7

Ant. di Ercol.

viii.

23.

B.M. 560, 226, 561.

B.M. 562.
B.M. 544.
B.M. 135, 291, 563

No.

13

B. M. 238-241, 296,
Masner, No. 693.
u Ant. di Ercol. viii.
5.
}6

2.

17

18

C.I.L. x. 8053,

19

10

p.

p.

443,

Rev. Arch, xxxiii. (1898),

Ibid.

B.M. 76, 82
B.M. 77 cf.

Roach-Smith,

no.

444;

p. 232.

B.M. 242, 295, 626.

:

127.

B.M. 230, 493; Guildhall Mus. Cat.

49. No. 57
Cyprus Mus. Cat. 1341.

p. 232.

B.M. 234, 293, 439, 545; Kenner,

Nos. 163-166.

I3

Fiedler, Castra Vetera, pi. 7,

Many lamps

Rev. Arch, xxxiii. (1898),

12

and rosettes.
Greek sites,

Masner, Nos. 654-59.

145.
///.

Rom.

London,

ROMAN LAMPS

420

have no decoration on the discus, but only comic masks round

the edge, or a border of foliage.

The

Christian lamps are as a rule easily to be distinguished

from the pagan by their form, as well as by their subjects. These
subjects are mainly taken from the Old Testament, from the

of our Lord, and from the sphere of symbolism

the Good
the
seven-branched
the
cross
or
labarum,
candlestick,
Shepherd,

life

and the sacred monogram, are

number

all

favourites.

Roman lamps

have inscriptions,
either impressed in relief or hollow letters from a stamp, or
engraved with a pointed instrument the stamps were probably
of bronze.
Potters' signatures and trade-marks are always
underneath the lamp, and those found on the top usually relate
in some way to the subject. Sometimes, as in lamps from Pozzuoli
and Naples, 2 the inscriptions are in relief on the surface, in small
tablets.
They may, however, be classified under four headings:
(1) Inscriptions referring to the circumstances under which
or for which the lamp was made, as, for instance, with reference
considerable

of

to national events or public games, or for religious dedications.

(2) Inscriptions descriptive of the subjects.

Acclamations or formulae addressed by the potter to the

(3)

public.

Signatures of potters or trade-marks

(4)

this class

is

by

far

the most numerous.

To

the

belong some of the formulae to which allumade (pp. 396, 398), such as those on the
ANNVM NOVVM FAVSTVM FELICEM MIHI HIC

class

first

sion has already been

New Year

lamps

occasionally
(or TIBI, or to some person whose name is given)
this is varied by formulae such as FIILICTII (for FELICITAS ?),
;

"

"

Happiness

you)

(to

vation of the state

1

See

De

iii.
AJns.
p. 1328
Ant. V* Ercol. viii.

Saglio,

Alaoni, Nos. 497

;

OB GIVES SERv(0tar), " For the preserG p R F, Genio populi Romani feliciter 5
3

Dalton, B. M. Cat,
Christian Antiqs. p. I39ff. ;

Daremberg and

4986".;

generally

of Early

45-7

"

fif.

Rossi,

Delattre,

Chr&ien, 1889-93,

etc.

Roma
in

C.LL. x. 8053, 36, 143, 193; B.M.

201, 310, from Pozzuoli.
*

Sotterr.

Revue de

ii.

p.

r Art

(Carthage).

Guildhall Mus. Cat.

p. 47,

No.

26.

See B.M. 189 and C.LL. xv. 621 1-18;

these all date from the time of Augustus :
cf. his coins and those of his successors.
4

C.I.L. xv. 6195.

INSCRIPTIONS ON LAMPS
"

EX S
"The

"

421

FIDES PVBLICA,
and the SAECVLI, SAECVLO, SAECVLARES
3
group of inscriptions, which may in a few cases refer to the
Ludi Saeculares, but more probably are of similar import
C,

By

the

decree of the senate

public trust,"

"

The golden age of

SAEC(u/um) A.\(reuvi) DOM(7;//),
4
The last-named formula,
our lord," on a lamp from Antium.
should be noted, is found both above and below the
it
to

the

LVCER(tftf) PV()LICA probably refers to the use of

lamps.
5
the lamp in some public illuminations (see p. 396).
lamp
has the names of the consuls for
in the Trier Museum

(Severus and Quintianus).

Among names of
whose sanctuaries the lamps were intended are Venus
7
(SACRVM VENERI, with a figure of the goddess), and the
8
Ephesian Artemis (APTEMIC Ect>ECiniSI).
Among the inscriptions relating to the subjects on the
lamps are several which have already been mentioned, such
as DIOGENES and TITVRVS, and also GA(^/)MEDES over a
the year

235

deities for

the

On

same. 9

lamp representing the flight

of Aeneas from Troy are the names AEN(/#/), ANC(&Jf),
10
ASC(anius), and the exclamation REX PIE, alluding to the former.
On another, which represents the fight of Eteokles and Polyneikes and the death of Jocasta, subjects taken from the
Phoenissae of Euripides, occur not only the letters PVL for
Polyneikes, but also PHO(f)NI$S(tt), leaving no doubt as to
the source whence the scenes are taken. 11
Another in the form
of Eros or a Genius with the club and lion-skin of Herakles,
lying asleep, has on it the curious inscription AIA STLACIA TVRA
12
the import of which is not quite
DORMIT, STERNIT SIR
of

figure

Similar inscriptions often occur in scenes from the

circus or amphitheatre, giving the names of gladiators, as

clear.

Afer, Helenus, Popillius, or Sabinus,

1

Ibid. 6222.

See

5
6
7

ibid.

6221

B.M.

164, etc.

Ibid. x. 8053, 4.

Ibid. xv. 6223.

Ibid. xiii. 10001, 4.
Ibid. xiii. 10001, 2.

Inscr.

or of charioteers in the

the preceding are bronze lamps.

C.I.L. xv. 6219.

13

Gr. xiv. 2405,

w
13

6.

This and

C.I.L. xv. 6239

= Ann.

1866, pi. G.
10
C.I.L. xv. 6236.
" Ibid. xi.
6699, 4.
Ibid. 6699, 5.

Ibid. xv. 6241-49.

deW

Inst.

ROMAN LAMPS

422

Annius Lacerta and the horse Corax, which

circus-races, as C.

won him

a race for the white faction at the Secular

Games

:
;

another lamp has the name of a horse or his driver, INCITATVS,

and a third the exhortation VIG(z)LA PRASINE, 2 which may
Over the figure of a
allude to a driver of the green faction.

PLVS FECISSES SI PLVS

if you had had the
In other cases there seems to be a revival of the

warrior on a lamp from Carthage

"

LICERET,
3

chance."

is

You would have done more

old Greek fashion of apostrophising the figures as Kalos e.g.

4
There are also inscriptions
AQVILO CALOS, AXOLMVS (V)ALOS.

put into the mouths of figures, as in the subject of Cupids with

the club of Herakles, one of whom cries ADIv(z/)ATE SODALES,
" 5
"
or the funerary Genius weeping over an
Help, comrades
!

urn and saying, LVGEO,

To

"

mourn." 6
belong such
I

class
expressions as HAVE,
"
"
VIVAS or VALEAS, " Long life
VTERE, Use
" 8
"
AVE ET VALE, Greeting and farewell," on a lamp
this
from Cologne 9 and on another from the same site, HAVE
MACENA VILLIS HAVE LASCIBA VALE, 10 which seems to have
a somewhat coarse significance. Others allude to the future
11
QVI FECERIT VIVAT ET
purchaser, as EME ME, "Buy me"
"
"
and
EMITE
the
EMERIT,
May
potter
purchaser flourish
Q(#/)
LVCERNAS AB ASSE COLATAS, "Buy lamps for an as" 12 BONO
13
"
QVI EME(W/),
May it be for his good who shall buy it."
The latter class are chiefly found in North Africa. Mention
has already been made of the inscriptions on the Esquiline
these are not found on lamps of
lamps, such as PONE FVR
imperial times, and appear to be peculiar to the early fabrics.
14
On a lamp
Mr) aTTTov has been found on a lamp at Athens.
"

Hail

the
"

third

C.I.L. xv. 6250:

cf.

Pliny,

H.N.

viii.

Ibid. 6257, 6261.

Daremberg and

Saglio,

Diet.,

above,
6
7

p.

x.

8053,

8;

411.

Ibid. xv. 6234.

Ibid. x. 8053, 6.
Ibid. xi. 6699, 8-10.

12

s.v.

ooo i,

Ibid.

viii.

The meaning

p. 1330.
C.I.L. xv. 6254-55.

Ibid.

Ibid,

20.

" Ibid. xv.

6232.

Lucerna,
4

Ibid. xiii. 10001, 14.

10

60.

H. Marshall suggests "well-made,"

F.
xv.

6230:

see

10478, I ; xiii. 10001, 19.

of colatas is doubtful.

"sifted," referring to the quality

the clay.

lit.

13

Ibid. xv.

6752

" Bull, del?

Vol.

I. p.

107.

Inst.

xi.

6699,

1868,

7.

p.

59

see

EXCLAMATIONS
from Spain
"

is

inscribed

423

G IVLIVS ARTEMIDOR

LVCERNAS

Artemidorus makes a present of two lamps." 1

A very curious inscription is found written in ink on a lamp
at Rome, to this effect: " Helenus delivers his name to the nether
world he carries down with him coins, a New Year's gift, and
his lamp
let no one deliver him except us who have made
II

C. Julius

D,

them."

Potters' signatures are almost invariably to be found on the

under side of the lamp, where they are arranged on the diameter
at right angles to the axis of the lamp
sometimes they are
;

In
placed in a panel or tablet, or within the outline of a foot.
3
rare instances they are found on the handle, or on the top.
Greek lamps which are not of Roman origin are never signed,

nor are those of Christian origin the oldest signatures are to

be found on the Esquiline lamps, but they rarely appear before
;

imperial times, when they become fairly general.

Among these
4
instances are PRAESE(#>) and FL(V)BIA (Flavia\ the
latter found at Carthage. 6
More frequently, lamps of this kind

earlier

have a single letter or monogram by way of stamp 6 a " delphini"

form lamp in the Musee Alaoui has a monogram of A and TT.
A single letter sometimes occurs above or below the inscription,
which may be regarded as a sort of trade-mark indicating the
;

potter {figulus), the full name being that of the officinator or

master on a lamp in the British Museum from Knidos (No. 132)
the name ROMANE(/z)siS is accompanied
by the letter X on
;

On the lamps signed by

another, FORTIS by the letter N.
L HOS CRI, a Gaulish potter, are found the letters G, I, L, M,
7
These trade-marks are not
P, S, T, v, X, z, and other signs.
Fortis uses a wreath and palm-branch, as in
210; L. Caecilius Saevus a palm-branch or a foot-shaped

confined to letters
Fig.
1

C.f.L.
Ibid.

ii.

xv.

4969,

6265

i.
:

see

Arch.

Zeit.

1861, p. 167.
3

xii.

Melanges de FEcole Fram;. de Rome,

(1892), p. 118, Nos. 31-3, pi. 4,

No. 5; C.I.L. xv. 6520; Mus. Alaoui,

No. 369; and see above, p. 420, for
examples on Campanian lamps.

Ann.

Daremberg and

Lucerna,

dell' Inst. 1880, p. 291.

E.g.

Saglio, Diet.

s.v.

p. 1330.

A,

B,

8053,209-14;

C,

xii.

H,

I,

5682, 131

6342.
6334,
"
C.I.L. xii. 5682, 57.

C.f.L.

x.

xv. 6266,

ROMAN LAMPS

424

L. Fabricius Masculus the letters H and X, a wheel, or a

Other lamps have no name underneath, but some simple
pattern, such as five circles in quincunx form, or the favourite device

stamp
star.

of the foot-shaped stamp

(cf.

These varieties of
marks were probably intended
333)-

P-

to distinguish different series

the

in

products of a single

pottery.

The

signatures are usually

abbreviated, the full form

being ex

officina (pfficinatoris),

name being consequently

the

On

in the genitive.

lamp

from Rome is EX- OF- AIACIS,

ex officina Aiacis?
Sometimes, but

rarely

the

under the

nominative

is
Empire,
B.
used A.
fecit, or more commonly A. B.f. Thus we have
:

FIG. 210.

UNDER

SIDE OF

SIGNATURE OF FORTIS

it is

rarely full

AVGENDI, ATIMETI, C IVLI

NICEPHORI, or ASPRENAS,
But
TROPHIMVS.
FELIX,
where a single name occurs

LAMP WITH

(BRIT. MUS.).

enough
the potter Diomedes

to

show the

calls

case.

On

a lamp at Dresden

himself LVCERNARIVS. 3

From

the

second century down to the time of Augustus the name may

be either in the nominative or genitive, either the praenomen
and nomen, or the nomen or cognomen only
these signatures
were all incised while the clay was moist. In the period repre;

sented by the third class (see p. 401) nearly all the signatures
are cognomina simply, as ATIMETI, COMMVNIS, FORTIS, STROBILI,
all in the genitive.
In the fourth class, or lamps of the second
the names are usually
century, the nominative is very rare
;

abbreviated,
1

See Fink in

and one (cognomen), two (nomen and cognomen),

Miinchener Sitzungs-

berichte, 1900, p. 690, for

2

C.f.L. xv. 6282.

examples.

Anzeiger, 1889,
6263.

p.

170

C.LL.

xv.

POTTERS' SIGNATURES
or three

may

be found.

Potteries were, as

owned by women, hence female names

425

we have
are

seen, often

uncommon.

not

Abbreviations of a particular name vary considerably

L.
Caecilius Saevus
appears as L CAEC

instance,

for

SAE,
L. Fabricius

L CAE SAE, L CA SAE (see below, p. 428)

Masculus as L FABRIC MASC, L FABRIC MAS, L FABR MASC,
Or the praenomen may vary, and
FABRIC MAS, and so on.
for c OPPI RES we find L OPPI RES
or, again, the cognomen,
as in the case of C. Junius, where it may be Alexis, Bitus,
;

or of L. Munatius, found with Adjectus, Restitutus,

3
The variations in the names
Successus, Threptus, and Philemo.
may denote potteries in connection, or successive holders of

or Draco,

one business.
occurs with

name

In one instance the

that

of a

workman PVLCHER

Masculus, in another that of

of Fabricius

4
Greek names, where they
Oppius Restitutus.
to imply that the potters were freedmen, as in
the case of Dionysius, Phoetaspus, and others.
The following list gives the names most frequently found,
with the localities in which they occur 5

PRIMVS with
occur, seem

C.

Annius Serapiodorus (ANNI SER)

Ostia.

Rome,

C. Atilius Vestalis (c ATILI VEST)

Rome, Italy, Gaul, Britain.
Atimetus : Italy, Gallia Narbonensis, Pannonia.
:

Z. Caecilius Saevus (L

CAE SAE)

Rome, Southern

Italy,

Sicily,

Sardinia, Gallia Narbonensis, Britain.

Clodius Heliodorus (CLO HEL)
Italy, Africa, Spain, Gaul.
C. Clodius Successus (c CLO svc)
Rome, Gaul, Sardinia, Africa.
:

Communis
,

Rome, Pompeii,

Gallia Cisalpina, Pannonia.

Crescens : Gaul, Pannonia.

L. Fabricius Masculus (L FABR

MASC)

Rome,

Gallia Cisalpina,

Africa.

Florentius (FLORENT)

Rome,

Italy, Sicily,

Tunis, Gaul, Germany,

Britain.

Fortis

: Rome,
Italy, Sicily, Dalmatia, Germany, Gaul,
Gabinia: Italy, Sardinia, Africa, Gaul.
Z. Hospidius Crispus (L HOS CRI) Gaul.

Britain..

C.LL.

xv. 6350, 6433.

Lucerna,

by Fink

Ibid. 6560-65.
Ibid. 6434, 6593.

See

Daremberg

p.

1331; also the

lists

given

Munch. Akad.
1900, PP' 689, 692 ff., and the various
volumes of the Corpus under Inst rumen turn

Ibid. 6501-03.

and

Saglio,

s.v.

in Sitzungib. d.

Domesticum, especially

vol. xv.

ROMAN LAMPS

426

C.Julius Nicephorus (c
C. Junius Alexis

-IVLI

NICEP)

C.Junius Bito : Italy, Sicily, Gaul.

Junius Draco : Rome, Italy,

C.

Italy, Gaul.

Rome, Campania,

Sicily, Sardinia, Africa.

Sicily,

Sardinia,

Gallia

Africa,

Narbonensis.
L.

Mar. Mi.

Rome, Campania,

Sicily, Spain, Gallia Cisalpina.

Z. Munatius (with various cognomina)

N. Naevius

NAEV LVC)
M. Novius Justus (M NOV IVST)
Luc. (N

Rome,

Africa.

Italy, Sardinia,

Spain, Gaul.

Rome, Naples,

Sicily, Sardinia,

Africa, Gallia Narbonensis.

C. Oppius Restitutus (c OPPI RES)

Rome, Italy, Sicily, Sardinia,
Africa, Gallia Narbonensis, Cyprus.
:

Passenus

Augurinus

Phoetaspus

Italy,

AVG) Italy, Gaul.

Gaul, Pannonia.
(PAS

Strobilus

Rome,

Vibianus

Gaul, Pannonia.

C.

Viciri

Pannonia, Dalmatia, Gaul, Britain.

Italy, Africa,

Agathopus (c

VICIRI

AGAT)

Italy,

Gallia

Sardinia,

Cisalpina.
It will

be noted that nearly

the others

fall

are found at

all

into geographical

Rome, but that

same name is
Thus
the Empire.

the

groups
seldom found both in the north and south of
Fortis is not found in Africa, Oppius Restitutus only rarely in
Gaul.
Certain names are entirely localised, as Annius Serapiodorus at Rome and Ostia, L. Hos. Cri. and Marcellus in Gaul,
Q. Mem. Kar. and Pudens in Sardinia. The name of Vindex,
;

a maker of terracotta figures at Cologne (see above,

1
is found on
lamps at Trier and Nimeguen.

The
able.

distribution of the Fortis

They have been found

lamps

383),

p.

in particular is

remark-

in several places in Gallia Cisal-

pina, such as Aquileia ; at Lyons, Aix, Orange, and elsewhere

France 3 ; at Nimeguen in Holland 4 at Trier, Cologne, Mainz,

in

and Louisendorf

in

Germany

5
;

in

London

6
;

in

Spain

and

over the region of Dacia, Pannonia, and Dalmatia, as well as

1

Blanchet, Melanges Gallo-romaines,

ii.

p. 112.
2

C./.Z.

Ibid.

v.

xiii.

8114, 54.
10001, 136

Ibid.

Danub. et Rheni, i. p. 185, ii. p. 238.

6
C.LL. vii. 1330, 1$; Roach-Smith,
Guildhall
Rom. London, p. 112
///.
Mns. Cat. p. 47, Nos. 27-8.
7
C.LL. ii. p. 665, No. 24.
;

xii.

5682, 50;

B.M. 383, 391.

4
C.LL. *iii. 10001,
5

in

136.
also Steiner, Cod. Inscr.

Rom.

Ibid.

8076, 16.

iii.

3215,

7;

ibid.

Suppl.

I,

CENTRES OF FABRIC
Rome and

Italy.

these results

made

is

The most natural

427

conclusion to be drawn from

that the majority of the lamps

seem

to have been

has been thought probable that there were

three principal centres of fabric whence exportation went on in
Rome and its environs, Campania for the
different directions
in Italy,

and

it

in Southern Italy, Africa, and the Mediterranean, and

2
It has
Gallia Cisalpina for those found in Central Europe.
also been suggested that the last-named fabric centred in

lamps found

Mutina (Modena) and that this was the place where the lamps
3
Outside Italy there
of Class III. (see p. 401) were chiefly made.
have
been
manufactures
in
North Africa, where lamps
may well
are so plentiful, and in Gallia Narbonensis, to which region some
Evidence of a lamp-manufacturer in
signatures are peculiar.
Africa seems to be afforded by the mention of praedia Pullae-

an inscription from Tunis, 4 the lamps of Pullaenus

Local fabrics of very poor
occurring in Sardinia and Africa.
doubtless
were
numerous.
lamps
A certain number of Roman lamps have Greek signatures,
not differing in character but only in alphabet from the Latin
The most curious instance is that of KEACEI
inscriptions.
P OMP EEI for Celsi Pompeii, which is found on lamps in Southern
5
Italy
Ho^trCKiov is also found at Naples, and even 'Afiacrtcavrov
and npelfjbov, which are usually associated with lamps made in
Greece (see Vol. I. p. 108), occur on some found in Italy. 6 In Sicily

norum

in

we

find the signatures of Apollophanes of Tyre (APOAA04>AN

TYPIO) at Himera and Proklos Agyrios (TTPOKA ATYP) at Gela
8
and Catania 7
Greek
Ptjy\ov for Regulus occurs at Tarentum.
9
names are often found in Cyprus, and conversely a large
number of lamps found at Knidos by Sir Charles Newton bore
(

the signature ROMANE(/z)sia, in Latin letters with the S reversed,

CJ.L.

xi.

ix.

6699, 89
-

cf.
3

be

6081, 33;

x.

Daremberg and Saglio,

CJ.L. xv. p. 783.

From

vol.

seen

how common

v.

8114,

n,

Carton,

CJ.L.

viii.

s.v. p.

1332

of the Corpus it may

the signatures
;

18.

p.

254

cf.

Boeckh,

5685
B.

M.
s

Ddcouvertes,

x.

2405,

8053, 46; Inscr. Grace.

Cf. Proc. Soc. Antiqs.

xx. (1904), p. 96.

6
CJ.L. xv. 6869, 6886.

28, 54, 126, 137.

10478, 33-4.

CJ.L.

xiv.

peculiar to this class are in this region

e.g.

83;

8053,

xv. 6450.

C.I.Gr.

iii.

p.

660,

Inscr. Grace, xiv. 24053, 34

303.
Inscr. Gr. xiv. 2405, 35.
Cf. Cesnola, Salaminia y p. 284.

No.
and

ROMAN LAMPS

428

apparently suggesting that the lamps were made by a Roman

abroad.
Greek signatures are even found in Gaul and
1

Germany.
Mention must also be made here of the recent researches of
Herr Fink 3 with the object of ascertaining the chronological
succession and general distribution of the signatures on lamps
of the Imperial period.
Starting with the four main classes of
forms which have already been laid down as the basis 4 (the distinction resting mainly on the various forms of the nozzle), he
has obtained, by comparison chiefly of the lamps in the British

Museum,

Berlin,

and Munich

collections, the following interesting

results.

Certain stamps appear to be peculiar, or almost peculiar, to

each class
thus, in Class I. only, we find P. Cessius Felix
:

and L. Munatius Successus

Class

in

only, L.

II.

Fabricius

Class III. only, Atimetus, Fortis, Phoetaspus, and

other single cognomina ; in Class IV., which contains by far the
5
larger number of stamps, Clodius Helvidius, C. Junius Bitus,

Masculus

in

Munatius Threptus, and C. Cornelius Ursus. The lamps of

the Gaulish potter L. Hospidius Crispus are all of one peculiar
6
Cross-instances
form, a transition between Fink's I. and IV.
are very rare, but C. Junius Draco is found in Classes I. and
IV., C. Oppius Restitutus in Classes II. and IV., Florentius
and Celsus Pompeius in Classes III. and IV. It is also interestL.

ing to note that there are lamps in Class IV. with the Christian
monogram and the figure of the Good Shepherd. In Class L,
in Class III. they
generally speaking, signatures are very rare
of
are almost invariable, but the total number
lamps is relatively
Another curious result is that certain signatures, such as
small.
;

L. Caecilius Saevus, Bassus, Cerialis, Sextus Egnatius Aprilis,

to one type of lamp, but in

and Romanensis, are not confined

these cases

signature
1

Vol.

See C.I.L.
I.

viii.

is

iii.

He

p. 108.

(C./.Z.

p.

it

to be noted that each type has a variation of

thus, in Class L,

Suppl. I, 7310, and

also occurs in Africa

10478, 37) and elsewhere.

Inscr. Grace, xiv. 2574.

Miinchener

685

ff.

L CAEC SAE

On

p.

Sitziingsberichte,

1900,

692 a table of signatures

in

II.,

L CAE SAE

on the British Museum lamps is given.

4
See above, p. 400.
5
The names of this and other potters
in Class IV. also occur on terracotta
money-boxes (see above,
6
See CJ.L. xv. pt. 2,

p. 389).
pi. 3,

No.

15.

CHRONOLOGY OF SIGNATURES
in

III.,

L CA

SAE

while in IV., L

CAE SAE

429

occurs no less

than 140 times.

His conclusions are that one workshop did not necessarily
set itself to produce only one form, but that the differences
in

form are merely due to changes of fashion.

technical instincts are

subjects, but in

still

ornament

the subjects are mainly mythological.

Roman

motives appear

In Class

I.

Greek

strong as regards form and choice of

the taste of Southern Italy prevails
;

In Class

gladiators, combats,

II.

the typically

and hunting-scenes

according to Fink, is more developed than 'Class I.

Evidence which has been obtained from Regensburg shows

this form,

that Class III. belongs to the time from Augustus to Hadrian,

and, as we have seen, it is chiefly confined to the north of the

Apennines. Where provincial potteries can be traced, as at

Westerndorf and at Westheim in Bavaria, the lamps are usually
Form IV.
of this form, but it was doubtless imitated in Italy.
is essentially Italian, but is also found in Central Europe, and
is

evidently of late date.

CHAPTER XXI
ROMAN POTTERY: TECHNICAL
SHAPES, AND USES

PROCESSES,

Geographical and historical limits Clay and glaze TechniStamps and moulds Barbotine and other methods
Kilns found in Britain, Gaul, and Germany Use of earthenware
among the Romans Echea Dolia and Amphorae Inscriptions on

Introductory

cal processes

amphorae

Cadus,

Sacrificial vases

Ampulla, and

Identification of

i.

Lagena

Drinking-cups

Dishes-

names.

INTRODUCTORY

ROMAN
the

vases are far inferior in nearly all respects to Greek

shapes are less artistic, and the decoration, though not
;

without merits of
vases that

all

its

own, bears the same relation to that of Greek

art does to Greek art.
Strictly speaking,

Roman

a comparison of the two is not possible, as in the one case

we are dealing with painted vases, in the other with ornamentation

in

relief.

But from the point of view of

be regarded as commensurable.
may
word, require only the skill of the potter

Roman

still

style

they

vases, in a

for their completion,

and the processes employed are largely mechanical, whereas

Greek vases called in the aid of a higher branch of industry,
and one which gave scope

for

great artistic achievements

namely, that of painting.

It may perhaps be advisable to attempt

some

definition

of the subject, and lay down as far as possible historical anc

geographical limits within which Roman pottery as a distinct

phase of ancient art may be said to be comprised. The lint

which distinguishes it from Creek pottery is, however, one
of artistic evolution rather than of chronology, one of politica
circumstances rather than

of

geographical

demarcation.

Ii

HISTORICAL LIMITS OF SUBJECT

431

other words, it will be found that during a certain period

the ceramic art had reached the same stage of evolution
in Greece and
throughout all the Mediterranean countries
Asia Minor, in the Crimea and in North Africa, in Southern
Italy and in Etruria, a point of development had been reached
;

which the same kind of pottery, of very similar artistic

In Greece and other
merit, was being made in all parts alike.
regions which had up to the end of the fourth century, or
even later, been famous for their painted pottery, this art had
in other parts,
lost its popularity and was dying or dead
as in Etruria, it had never obtained a very firm foothold, and
the local traditions of relief-ware imitating metal were revived.
Not the least remarkable feature of the art of the Hellenistic
at

Age is the great impetus given to working in metal, as

has already been indicated in a previous chapter (Vol. I. p. 498).
The toreutic products of Alexandria and of the famous chasers
of Asia Minor, whose names Pliny records, 1 became renowned
throughout the Greek world, and the old passion for painted
pottery was entirely ousted by the new passion for chased
vases of metal.

But

in

spite

of

increased

of luxury, it is obvious
by metal could never have

habits

that the replacing of earthenware

become universal. For ordinary household purposes pottery

was still essential, and besides that, there were many to whom
services of plate and gold or silver vessels for use or ornament
were a luxury unattainable. Hence it was natural that there
should follow a general tendency to imitate in the humbler
material what was beyond reach in the more precious, and
the practice arose, not only of adorning vessels of clay with
reliefs in imitation of the chased vases, but even of
covering

them with some preparation

to give

metal.

tendencies

Instances

of

Chapter XL, and no

these
better

that of the silver phialae of

in the British Museum (Vol.

them the appearance of

have been given in

could
be adduced than
example

Eze and
I.

their terracotta replicas

p. 502).

In the same chapter we saw that Southern Italy, in particular,

was the home of the relief and moulded wares in the Hellenistic
1

H.N.

xxxiii. I54ff.

see below, p. 489.

ROMAN POTTERY

432

This was a time when there were close artistic relations

between that region and Etruria, and we have already seen
that this method of decoration had long been familiar in the
period.

latter

that

district

we

(see

p.

find springing

292

ff).

in

up

Hence it is not surprising

the Etruscan region of Italy an

important centre of pottery manufacture which proved itself

be the heir of more than one line of artistic traditions.

to

The era of Roman pottery is generally assumed to begin

with the establishment at Arretium, within the area of Roman
domination, of a great manufactory in the hands of Roman
masters and workmen.

Evidence points to the second century

into importance as a
thenceforward
for
and
many
years its fabrics
pottery-centre
filled the markets and set the fashion to the rest of the Roman
B.C.

as

the time

when Arretium sprang

world.

The lower limit

not much easier to

of the subject is, from lack of evidence,

define
but after the second century of
;

the Empire, pottery, like other branches of working in clay,

sank very much into the background, and the spread of

time of Diocletian practically gave the

Pagan art. M. Dechelette, in his account

Christianity after the

death-blow to

all

of the important potteries at Lezoux in Gaul, brings forward

evidence to show that they practically came to an end about
1
but it is probable that
the time of Gallienus (A.D. 260 268)
;

degenerate sigillata wares went on for

about a century longer in Germany at any rate, if not in Gaul.
Much of the pottery found in Germany and Britain is of an

the

manufacture of

exceedingly debased and barbaric character.

In discussing the geographical distribution of Roman pottery
we are met first with the difficulty, which has already been
hinted at, of defining where Greek ends and Roman begins.
But we must have regard to the fact that in most if not all

Greek lands pottery, painted or moulded, was in a moribund

condition, whereas in Italy the latter branch was rejuvenescent.
It seems, therefore, more satisfactory on the whole to exclude
the Eastern Mediterranean entirely from the present survey,
and to consider that with the concluding words of Chapter XI.
1

Vases ornes de la Gaule Romaine^

i.

p.

TECHNICAL PROCESSES

433

the history of pottery in that part of the ancient world came

an end. That is to say, that all later fabrics found in
Greece or Asia Minor, even though they are sometimes of

to

Roman

date, belong to the lingering traces of a purely

Hellenic development, and have no bearing on our present

investigation.

The

latter

must therefore be limited

to

the countries

of

Western Europe, embracing besides Italy France, Germany,

and Spain. The pottery found in these regions during

Britain,

the period of the

Roman Empire

though greatly varying

to the

victorious

in merit,

is homogeneous in character,
and so far as it can be traced

occupiers of those countries rather than to

workmanship, represents what we may call

pottery, as opposed to Greek or Graeco-Roman on
the one hand and Celtic or Gaulish on the other.
native

purely

Roman

2.

TECHNICAL PROCESSES

Roman
is

to

in

pottery, regarded from its purely technical aspect,

better known to us than Greek, chiefly owing
extensive discoveries of kilns, furnaces, and potters'

some ways

the

apparatus, such as moulds and tools, in various parts of Western

Europe. On the other hand, its classification is a much more
matter, although it has for so long been the subject
of study, for reasons which will subsequently appear.
This
is perhaps partly due to the overwhelming interest which the
difficult

discoveries of recent years have evoked in the study of Greek

and partly, of course, to the artistic superiority and
more varied interest of the latter but the mass of material

vases

now
is

on

collected

in

the

Museums

of Italy and Central Europe

Continental scholars to bring to bear

gradually impelling
Roman pottery the

pursued

in

methods now
work we

scientific

other directions.

Of

their

universally
shall

speak

the present we must

confine ourselves to the technical aspect of the subject.
The Romans, who used metal vases to a far greater extent

more

in

detail

than the Greeks

in

another chapter

at least

under the

for

late

Republic and Empire

not hold the art of pottery in very high estimation, and their
[did
28
VOL. ii.

ROMAN POTTERY

434

and lamps, were produced by slaves and

freedmen, whereas at Athens the potter usually held at least
These were content to produce
the position of a resident alien.
vases, like their tiles

useful,

part

but not as a rule fine or beautiful, vases, for the most

only adapted to the necessities of life. There was, so

we know, no manufacture of vases set apart for religious

far as

purposes, either for funerary use or as votive offerings, and for

It is
the adornment of the house metal had the preference.
not,

therefore, surprising

that

we should

find

them making

use of a less fine and compact paste for the greater proportion
of their vases.
With the exception of the fine red wares with

which are now generally known to archaeologists as

and which answered in public estimation to our
porcelain, they made only common earthenware, and this was
reliefs,

terra sigillata?

generally left unglazed.

All kinds of clays are used, varying with the different regions
in which the pottery was made, and ranging in hue from black

In quality, too, the

grey, drab, yellow, brown, and red.
to
a
varies
considerable
some
extent,
clay
being of a coarse,
to

The

pebbly character.

red clay of the Allier district in France,

where most of the Gaulish pottery was manufactured, is of a

its natural colour is modified by baking,
ferruginous nature
2
The pottery of St. Remythough it never becomes white.
cn-Rollat in that neighbourhood is made of the same white
;

3
In Italy, as a rule,
clay as the terracotta figures (p. 382).
careful attention seems to have been paid to the preparing
and mixing of the clay, and in the glazed red wares it is

the remarkable similarity in technique

ware throughout the Roman Empire
has led to the view that there can only have been one centre
from which it was exported. Against this, however, must be
urged the undeniably provincial and almost barbarous character
of the decoration on much of the pottery found in Central
and therefore, without denying that
and Northern Europe
as
went
it undoubtedly did, we should prefer
on,
exportation

uniformly good.

In

and appearance of

fact,

this

1
The term is applied to clay suited to
receive stamps (sigilla) or impressions.

Dechelette, Vases ornes dc la

Kojnaine^
3

Ibid.

ii.
i.

p. 335.

p.

41

fT.

Gauk

CLAY AND GLAZE

435

suppose that this red glaze was produced in some special

artificial manner, such as by using red ochre or iron oxide
common property.
(see below), the knowledge of which became
to

"

Not only did barbarians,

ago
Gauls, Britons, and Germans, learn to know and use Roman
technique, but also Egypt, Asia, and the Greeks, already

As Semper

said forty years

own pottery, dropped their local proand

cesses,
voluntarily adopted Roman forms and technique."
in all parts
and
Clay
glaze, form and technical method, are
and reflects
varies
that
is
decoration
it
the same
only the
immortalised by their

the spirit and taste of the locality.

Formerly it was thought that the red

glaze was obtained

in the baking, after careful polishing of the surface, and that
In the kilns of
special means were adopted to this end.
Castor (see below) Artis thought that he detected contrivances

now generally agreed that the glaze

In ordinary wares and in the lamps
a red glaze is produced by a mere polishing of the surface, and
this varies in tone and lustre with the proportion of oxide of
purpose but it
artificial, not natural.

for this
is

iron

the

in

and the degree of heat employed

paste,

But
and uniform

is

in

the

in the terra sigillata

the red glaze reaches a high

of perfection.
This seems to have been
produced by a kind of varnish, the elements of which are not
absolutely certain; but it would appear that the substance added

baking.

state

to produce the effect

was of an

essentially

alkaloid

nature.

This has been deduced by Dragendorff 2 from a series of

nalyses made from fragments of different wares, both without
nd with the glaze in the latter case the alkaloid constituents
;

how

marked increase in quantity, whereas the proportion

f the iron oxide and other elements remain constant.
These
nvestigations were made by Dr. Lilienthal, of Dorpat, on
a

ve fragments: (i) from a vase of the Republican period found

Corneto (2) from a bowl of fine terra sigillata of the first

entury after Christ

)

5)

from

from a deep cup of the same style

ware of the second or third century

(3)

late provincial

from a degenerate fabric with rough clay and inferior glaze,

e results being as follows

1

Der

Stil,

ii.

p. 148.

Banner Jahrbiicher,

xcvi. p. 20.

ROMAN POTTERY

436
i.

Without glaze

1
:

NATURE OF RED GLAZE

437

definite.
Fabroni had thought that the iron oxide
was combined with a vitreous paste, and Keller, by practical
experiments, essayed to show that borax was employed to
2
provide the required appearance, and further maintained that
the furnace at Castor already alluded to was used for dissolving
that substance.
He was not far from the truth, but the
results obtained by Dragendorff seem to militate against his

but not so

conclusions.

any case the glaze is very perfect, of so bright a red as

and serving, as Bltimner says, to enhance
the ground colour where a modern glaze would only conceal
its imperfect tone.
It is so fine and so carefully laid on
In

to resemble coral,

that

does not interfere with any outlines or

it

details,

in this

It seems to
again evincing
superiority to modern glaze.
have been applied not with the brush, but by dipping the
vase into the liquid. 3
Black glaze, such as occurs on the
its

earlier Italian fabrics (p. 481),

silicate.

was produced from an alkaline

The ordinary unglazed wares were classified by Brongniart

under four heads 5 (i) pale yellow (2) red (dark red to red:

brown

century of Empire)
(3) grey or ash-coloured
to
end
of
the
the
Western
(down
Empire) (4) black (mainly
This
was
in
its general lines adopted
distribution
provincial).
;

first

Buckman 6 and

Birch, but was

modifications
were
and
some
slight
inadequate,
will
be
found
For
it
adopted.
practical purposes, however,
to work fairly well as a convenient method of grouping the
commoner wares. None of them as a rule have any decoration.

by subsequent
felt

to

They

writers,

such as

be

will

be considered

in fuller detail in

a subsequent chapter.

manufacture of vases the Romans used the same

the Greeks.
processes
They were made on the wheel
or
(rota figularis
orbis)J to which allusion is not infrequently
In the

as

Storia degli ant. vast aretini, p. 65.

Ueber die rot he Topferwaare, p. 1 6.

Brongniart,
Dechelette,
4

ii.

Trait*?,

i.

p.

423

6
;

p. 339.

Bliimner, Technol.

ii.

p. 91.

Op.

cit.

i.

p.

381

cf.

Bliimner,

ii.

p. 64.

vii.

Ionian Art in Cirencester,

Plaut. Epid.
198.

iii.

2,

35

p. 77.

Pliny,

H.N.

ROMAN POTTERY

438

made by
Horace

Latin

the

as

poets,

in

well-known

the

of

line

l
:

Amphora
Institui

cepit

currente rota cur urceus exit

And, again, in the phrase totus, teres, atque rotundus" he is

doubtless referring to a vase just turned off the wheel. Tibullus
" 3
"
speaks of slippery clay fashioned on the wheel of Cumae
;

and there are

also allusions in Plautus

and other

writers.

The

drawn upon by English poets. 5 Specimens

wheels have been found at Arezzo and at Nancy

simile has also been

of potters'
these are

made

axis of the

of terracotta, pierced in the centre for the

pivot, and furnished at the circumference with

small cylinders of lead, to give purchase for the hand and

6
steadiness to the whirling wheel.
Another from Lezoux, now

Museum at Roanne, is figured by M. Dechelette. 7 Most

the common wares were made by this process, except the

in the

of

which were

built

up on a frame

the Greek pithos (Vol. I. p. 152).

But for the ornamented vases

with

reliefs

or

dolia,

casks,

large

an

like

additional

process was necessary in order to produce the raised ornament,

and they were in nearly all cases produced from moulds, like
8
The vases were
the lamps or terracotta figures and reliefs.
still fashioned on the wheel, but this was done in the mould
from which the reliefs were obtained. Occasionally the reliefs
were modelled by hand or with the aid of tools, or even produced with a brush full of thick slip (en barboline\ but moulding
This method entailed three distinct
was the general rule.
the
stages, of which the first alone required artistic capacity
other two were purely mechanical, requiring only a certain
The first was that of making the stamps
technical dexterity.
the second, the
from which the designs were impressed
;

Art, Poet. 21.

Sat.
ii.

ii.

Capt.

ii.

3,

Avianus, Fab. 41,

Shakespeare,
cene 5, line 19.

Persius,

iii.

23

9.
I

Henry

VI. , Act

I,

See Brongniart, Trait<>,

Bliimner, Technol. ii. p. 106 ;
in

Oberbayr.

xxii.

\.

p.

I. p.

3, 48.

Smith, Diet, of Antiqs*

also Vol.
see below, p. 480
~
Vases ornds, ii. p. 338.

7, 86.

i.

p.

844:
207.

423

ff.

Von Hefner,

Archiv fur vaterl. Gesch.

Mittl
; and Rom.

(1863), pp. 23, 35

1897, p. 286,

STAMPS
moulds

the

of

making

the

439

third,

the

impressing

clay in

the mould.

The stamps were made of clay, gypsum, wood, or metal,

and had a handle at the back for holding while pressing them
into the mould
they were used not only for figures and
ornamental designs, but also for the potter's signature (see
Only clay examples, however, have been preserved,
below).
but some of these are admirable speci-mens.
Frequently the
subjects on the Arretine vases were taken, like those on lamps
and mural reliefs, from existing works of art, especially from
"
reliefs to which allusion has already been
the " new Attic
made (p. 368), and the stamps are directly copied from these
An instance of this is a stamp from Arezzo in the
sources.
;

British
fig.

2),

Museum, with
which finds

a beautiful figure of Spring (Plate LXVI.

counterpart on a complete vase from

its

Capua (Fig. 219), and also on a mural relief (B.M. 0583).

Another good example in the same collection represents a slave
bending over a vessel on a

From

heat with one hand.

fire,

and shielding

the

same

site are

his face from the

two others repre-

fourth stamp found

senting respectively a boar and a lion.
at Arezzo, with a tragic mask, is given in Fig. 2H. 1 The stamps
must have been articles of commerce, and handed down from

one potter to another, as the subjects are found repeated in

the majority were probably made at Arezzo
different places
and other important places in Italy.
Among examples from the provinces may be mentioned
one in the British Museum (Romano-British collection), with
the figure of a youth, inscribed OFl(czrta) LIBERTI it is of fine
A stamp with the figure
terracotta, and was found at Mainz.
;

of Paris or Atys
at York.

the Sevres

>ritish

museum
in the

are inscribed with the

German

potter,

fi

whose name

lion in

name

of Cerialis,
also occurs on a

a large bowl with a frieze of combatants in the

Museum, and in the former museum are six others,

one of a wolf, with the name of a Gaulish potter,

See Fabroni, Storia degli vast aretini,

5.

of the Philosophical Society

form of a hare and a

for

icluding
1

in the

Museum

a well-known

mould

is

Other stamps

g- 4-

Plandbopk

to

Mus. (1891),

p. ill,

ROMAN POTTERY

440

Von Hefner mentions one found

Cobnertus. 1

Rheinzabern

at

of a gladiator at each end, inscribed P ATTI

CLINI -Q(fficina\ and others from Westerndorf with a lion and

with a figure
a horse. 2

stamping the potters' names have been found

Auvergne, and in Luxemburg, with the names of
Auster (AVSTRI OF) and Cobnertus, and Roach-Smith possessed
one with the latter name 3 in the Sevres Museum is also a stamp
4
for making rows of pattern (see below), and at Rheinzabern
one for an egg-and-tongue moulding was found. 5
Specimens
Dies

Lezoux

at

for

in

of these stamps are given in Fig. 211.

The moulds were made of a somewhat

lighter clay than

that of the vases, but it was
essential that the material

should be sufficiently porous

absorb the moisture of

to

the pressed-in clay of the

vase
sometimes holes for
;

the water to escape through

are visible. They were made

on

the

wheel, and had a

the exterior for

on

ridge

convenience

FIG. 211.

in
handling
were
made
whole, not
they
sometimes
in halves, but
made
was
first
the vase
plain, and the figures were
then attached from separate

STAMPS USED BY ROMAN POTTERS,

or

moulds,
"

separately, as in the case of the

6

499).

p.

Vases

have

been

Brongniart and Riocreux, Mus. de

For Cerialis see
Sevres, pp. 16, 128.
p. 536 and C.I.L. xiii. 10010, 544; for
Cobnertus, ibid. 592, and Dechelette, i.
1

"

Megarian

found

in

in all are

known

the
(pp.

Rhone
cit.

i.

p. 337).

Brongniart, Traite", i. p. 424,

Mus. de Sevres, p. 128, and pi. 9,
5

Oberbayr. Archiv

fur

vaterl.

Gesc/i.

xxii. (1863), pp. 23, 24.

3

fig.

Bliimner, Technologic, ii. p. 104,

21 ; Brit. Arch. Assoc. Journ. iv.

p. 19.

Dechelette states that about

fifty

I.

valley

Oberbayr. Archiv, 1863,

p. 179.

made

rather

bowls (Vol.

pi.
fig.

30

8.

p. 24.

Examples of this technique often

occur in Gaul and Britain see Dechelette, ii. p. 169 ff., and cf. Roach-Smith,
///. Rom. Land. p. 91, and a fine vase
from Felixstowe in the British Museum.
See also Plate LXIX. fig. 2, and p. 529.
:

MOULDS

441

ornamented with large applique medallions, and the separate

moulds for these also exis-t
they seem to have been made
The figures and ornaments were impressed into
at Vienne.
the moulds from the stamps while the paste was still soft,
;

leaving hollow impressions to receive the clay of the vases.

Similarly, continuous patterns, such as rows of beads or dots,

were traced in the mould with a roller or wheel-like instrument

on which the pattern was cut in relief. 2
Any defects or
careless arrangement in the completed vase would of course
be due to a careless insertion of the stamps in the mould.
There are large numbers of moulds for Roman and provincial
3
vases in existence, and the British Museum has a fine though
fragmentary series from Arezzo, intended for some of the
of these more 'will be said
finest specimens of the local ware
in the following chapter.
of
these moulds have been
Many
found on sites of potteries in Gaul, especially in the Auvergne
and Bourbonnais districts, and are collected in the Moulins,
Roanne, St. Germain, and other museums. Lezoux was an
important centre in this respect, and here also were found
moulds for patterns and ornaments. 4 In the British Museum
;

(Romano-British collection) there is part of a mould for a

shallow bowl, found at Rheinzabern, with stamped designs of
a lion, boar, and hare pursuing one another
it is similar to
the mould with Cerialis' name already described.
These
;

matrices are usually of fine bright red clay, unglazed

they are

very porous, rapidly absorbing moisture, and easily allowing

the potter to withdraw the vessel from the mould.
The importance of the discovery of moulds can hardly be overrated
evidence they afford as to the site of potteries and
5
it is obvious that where they are found,
and only in such places, the vases must have been made

for the

centres of fabrics

and that the discovery of a potter's name on any mould

establishes his workshop at the place where it was found.
1

See below, p. 530, and Dechelette,

ii.

P-235ff.
-

Dechelette,

Blilmner, Technol.

ii.

p. 112.

E.g. Bliimner, Technol.

ii.

p.

pp. 106,

107, figs. 22, 23.

4

Gaz. Arch.

gniart, Trait,!, pi. 30, figs. 2-4

525
3

17

Bron-

p.

141

ff.,

and

see also

below,

ff.

Cf.

Ana'ens,
1881-82, p.

i.

Dechelette in Revue des

v.

(1903), p. 42.

tudts

ROMAN POTTERY

442
Various tools
or

damaged

working the moulds, or touching up details

parts of bronze and ivory, have been found on
for

1
the sites of ancient potteries, as at Arezzo, but their use cannot
be accurately determined.

The method

of decoration

known

as

en

barbotine,

which

a sort of cross between painting and relief, was achieved

by the laying on of a semi-liquid clay slip with a brush, a
The pattern was probably first
spatula, or a small tube.
is

lightly indicated, and the viscous paste was then laid

lines or masses, producing a sort of low relief.

on

thick

in

The

for simple ornamensuch

as
and
but on the
leaves, sprays,
tation,
garlands
a
freer
wares
it
finds
black
On
vases found
scope.
provincial
in Britain and the adjoining parts of the Continent (p. 544)

process was, as a rule, only employed

manner, and on another

figures of animals are rendered in this

class peculiar to

a thick white

Germany (p. 537) inscriptions

The colour of the slip did
slip.

are painted in
not necessarily

correspond to the clay of the vase, and was, in fact, usually

These vases are, however, technically poor, and the
The process has been aptly
reliefs heavy and
irregular.

white.

compared

Painted decoration

and

is,

on cakes. 2

to the sugar ornamentation

is

in fact, confined

almost unknown
to

the

in

POCOLOM

Roman

pottery,

described in

series

Chapter XI. It occurs in a rough and primitive form on some

of the provincial fabrics, such as the Castor and Rhenish vases
(see pp. 537, 544), but its place is really taken by the barbotine
method.

Engraved

or

incised

decoration

is

exceedingly

rare,

and

practically confined to provincial wares, which sometimes have

incisions or undulations made over the surface with the finger3

In the north of England, as at York,

with wreaths and fan-patterns cut
found
commonly
pottery
Others have patterns
in intaglio in the clay while moist.

nail in the moist clay.

is

of

four

leaves

CY)

>K

cut

in

the

soft

(A)
cf. Von
Bliimner, ii. p. no, fig. 25
Hefner in Oberbayr. Archiv, 1863, p. 56 ;
1

Fabroni, Storia degli antichi vasi aretini,

pis. 3, 5, p. 63.

clay,

Bliimner,

Saglio,
3
Cf.

ii.

art.

ii.

p.

continuous

or

in

Figlinum,

von Hefner

in

Daremberg and

1130.
Oberbayr. Archiv
p.

fiir vaterl, Gesch, xxii. (1863), p. 55.

BARBOTINE AND INCISED DECORATION

443

ornaments round the vase made with the toothed roller-like

instrument of which we have already spoken. Some of this
ornamentation may be in imitation of contemporary glass
vases.
M. Dechelette has traced this fabric to Lezoux, 1 and
A
the specimens found in Britain are doubtless imported.
in
the
British
Gaulish example from the Morel Collection
Museum is given on Plate LXIX. fig. 4.
The feet and rims of the vases were made separately, and
attached after their removal from the wheel, as were also the
handles when required
pottery is remarkable.

but the rarity of handles in Roman

is perhaps due to the difficulty of

It

The next

packing them safely for export.

of the

for

vases

those

preparation
glaze,
applied, followed by the baking.

3.

process was the

to

ROMAN POTTERY-FURNACES

which

it

was

'

The remains of pottery-kilns and furnaces discovered in

various parts of Europe have furnished a considerable amount
of valuable information on the system employed in baking the

On this particular point, indeed, we know far more

regard to Roman pottery than to Greek, although, as we
have seen in Chapter V., the painted vases themselves sometimes yield information on the appearance and arrangement
vases.
in

But remains of actual furnaces have been

many places in Western Europe, notably in Germany,
and
France,
Britain, in a more or less complete state, as also
2
in Italy, at Pompeii, Modena, and Marzabotto.
A complete
3
list of those known in 1863 has been given by Von Hefner,
supplemented by Blanchet's lists of furnaces found in France
4
In Gaul the best examples are at Lezoux,
(1898 and 1902 ).
near Clermont, at Chatelet in Haute-Marne, 5 and at Belle- Vue,

of the furnaces.

found

in

Vases ornds,

ii.

p. 312.

Mau-Kelsey, Pompeii,

delF Inst.
i.

1875, Ppi. 8, 7> P- 282.

*9 2

'>

p.

386

Mon

<

Bull.

Antichi,

Oberbayr. Archiv fiir vaterl. Gesch.

xxii. (i
863), p.

56 ff.

see also Bliimner,

ii.

p.

ii.

art.
*

23

ff.,

and Daremberg and Saglio,

Figlinum.
Bullet. Arch.

Melanges
p. 93 ff.

Gallo

1898, p.

18

romaines,

ii.

Brongniart,

i.

p. 439.

ff.,

and

(1902),

ROMAN POTTERY

444

near Agen, in the Department of Lot-et-Garonne.

was

The

latter

below the level of the soil. In Germany

remains
have
been found at Heiligenberg in Baden,
important
Heddernheim near Frankfort, Rheinzabern near Karlsruhe, and
circular in form,

Westerndorf. 2

from those
212}

(Fig.

All these in general arrangement differ little

day the Heddernheim furnace

in use at the present

was found

the

in

most perfect preservation, but

was subsequently destroyed, not, however, before satisfactory

3
In Britain by far the
plans and drawings had been made.
most important discoveries have been made at Castor, Chesterton,
and Wansford in Northants,
where the remains extend
for some distance along

Nene

the

were

first

Artis

in

published

They

valley.

by

explored
1821

who

27,

magnificent

series of plates in illustra-

entitled Durobrivae

tion,

these he supplemented by
a full description in the

FIG. 212.

Journal of the British

Metres
i
o

TOO 50

Archaeological Associa5
Castor and Chester-

ROMAN KILN FOUND AT

tion.

HEDDERNHEIM, GERMANY.

ton (the latter in Hunts)

Roman

towns, and were the centres

of a special local ware, described in a succeeding chapter.
The potteries, being so numerous, are probably not all of the
are both on the site of

same

age.

In 1677 four Roman kilns were discovered in digging under

Wren's
St. Paul's Cathedral for the foundation of Sir C.
1

Rev.

Arch,

xviii.

(1868),

23,

pi.

See

for a full

named Von Hefner

account of the
in op.

cit.

p.

to

Westdeutsche

in

ff.,

See Ann. delf Inst. 1882,

which the letters in the cut

pi.

U,

refer.

Other kilns found at Heddernheim are

(1899), p. 215 ff.

See Haverfield in

last-

p. 56, pi. 4.
3

described

Zeitschrift,

xviii.

p. 297.

Victoria

County

Hist, of Northants, i. pp. 167, 207 ff.

5
fourn. Brit. Arch. Assoc. i. p. I
ii.

p.

and
Coll.

ff.,

164 see also Wright, Celt, Roman,

Saxon*, p. 264 ff. ; Roach-Smith,
:

Antiq.

iv.

vi.
p. 81,
p.

181

ff.

POTTERY-FURNACES

IN

BRITAIN

445

a depth of 26 feet.
They were made of loam,
which had been converted into brick by the action of the
fires, and were full of coarse pots and dishes
they measured
building, at

each way.
the Sloane

feet

drawing made at the time

MSS.

is

preserved

In the kilns
Museum.
was found pottery of the kind typical of London and the

among

in the British

In 1898 two kilns, one of large size, with

pottery bearing the name CASTVS FECIT, were found near
2
Radlett in Herts,
and another was excavated in 1895 by
Mr. C. H. Read at Shoeburyness. 3 In Norfolk a kiln of some-

neighbourhood.

what curious form was found in the Roman settlement of

the shape is that of a shallow concave
Caistor by Norwich
with
partitions, and it contained vases placed ready
depression
4
Another found between Buxton and Brampton
for baking.
was recorded by Sir Thomas Browne, 5 and a third at Wey6
In the South of England kilns have been found in the
bourne.
New Forest, where there was a manufacture of local pottery 7
in Alice
Holt Forest near Petersfield, Hants
at Shepton
Mallet in Somerset; and a potter's workshop at Milton Abbas,
Dorset. 8 The British Museum contains a model of a kiln
unearthed at Worcester about forty years ago, on the site
of the modern porcelain works.
Finally, discoveries of kilns
and pottery were made in 1819 at Colchester, and again in
;

1878,

when

five kilns, all

of different forms, with local pottery,

came

to light.

To

describe

all

these

different types of furnaces in detail

would of course be impossible, but much may be learnt from the

very full, though now somewhat antiquated, descriptions of
the Castor kilns given by Artis. 10
It will be
found more
7

No. 958, fol. 105 ; reproduced by

Roach-Smith, Collect. Antiq. vi. pi. 37,
fig. 4, and ///. Rom. Land. p. 79 ; Proc.
Soc. Antiqs. 2nd Ser. xvi. p. 42.
2

Proc.

Soc.

Antiqs.

xvii.

1898,

p.

Archaeologia,

p.

Viet.

fig.

Op.

cit.

5
G

County

291,

7
i.

Hist,

Ibid. p. 322.

Viet.

p.

Roach-Smith,

I ff.,

pis.

op. cit.

ii.

p.

38

vii.

1-3.

Wright, Celt, Roman, and Saxon*,

264 ff. and Haverfield in Viet. Coimty
Hist, of Northants, give the most satis10

of Norfolk,

see below, p. 4^9.

p. 314.

91

p. 306.
9

Ibid. xvi. (1895), p. 40.

p.

i.

262.
3

xxxv.

County Hist, of Hants, i. p. 326.

8
Roach-Smith, Collect. Antiq. vi.
Viet. County Hist, of Hants,
p. 191 ff.

\.

p.

factory epitomes of Artis' descriptions.

ROMAN POTTERY

446

satisfactory to describe the generally-prevailing arrangements,

It
noting the more important variations where they occur.

may

down

that the system was practically the

tiles as for pottery, and that in
But this was
cases both were made in the same furnace.

further be laid

same

for terracotta figures

many

and

not invariably the case, and at Rheinzabern, for instance, the

kilns for tiles were quadrangular, those for pottery circular.

The

were constructed partly of burnt, partly of unburnt

and outside of the roofs being covered
with a strong layer of cement. They consisted of two main
portions, the fire-chamber with its adjuncts, and the vaulted
chamber above, in which the objects to be baked are placed.
The fire-chamber was usually circular, with a projection in
front, the praefurnium* which had either a vaulted roof, as at
Castor and Heiligenberg, or a gabled roof formed of pairs of tiles,
kilns

brick, the interior, floor,

Rheinzabern.
Through this the fuel was introduced,
The
consisting chiefly, as charcoal remains show, of pine-wood.
fire-chamber was either divided up, as at Castor, by walls radiating
as at

from a central

pillar

which supported the

roof, or

by rows of

a line with the entrance, as at Rheinzabern and

pillars
Holes were bored in the roof to allow the heat to
Heiligenberg.
in

penetrate through, but the arrangement varies at Heiligenberg

each division of the furnace was vaulted, making grooves along
;

which the holes were bored. The oven where the pots were
placed has been destroyed in most cases, but we know that it
consisted of a floor, a wall with entrances, and a vaulted dome.
The pots were ranged partly on the floor, partly on terracotta
2
at
stands over the holes, as at Rheinzabern and Heiligenberg
;

Lezoux there are remains of holes

to

support them.

made

in the

walls for iron bars

Special arrangements seem to have been

baking the finer wares, in order to ensure the proper

of
and to guard against their being blackened or
heat,
spread
In the Romano-British Room of the
otherwise injured.
British Museum is a lump of bowls of red ware from Lezoux,
fused together in the baking and cast aside. 3
for

Cato, Agricult. 38.

Von Hefner, op. cit. pi. 4, 28-31
see also Arch. Journ. vii. p. 176, and an
2

Cf.

example from Switzerland in the British

Museum (Romano-British Collection).
3
See also Dechelette, ii. p. 341.

KILNS AT CASTOR AND IN GERMANY

447

One

of the kilns at Castor (Fig. 213) is described by Artis as

a circular hole 3 to 4 feet deep and 4 feet in diameter, walled
the praefurnium was about a
round to a height of 2 feet
;

In the centre of the circular hole was an oval

foot in length.

pedestal (with one end pointing to the furnace-mouth), on which

and on the side wall the floor was supported, being formed

The
of perforated angular bricks meeting in the centre.
vaulted dome was composed of bricks moulded for the purpose,
1

and the

sides of the kiln of curved bricks set

slip of the same material.

Castor kiln with that at

thick

edgeways in a
Brongniart compares the
2

Heiligenberg, near Strasand others in the

burg,

Rhine
which
in
valley
Samian " ware was made.
Another kiln found in

"

1844

Artis

describes

having been "used

common

the

coloured

as

for firing

blue or slate-

pottery,

and had

been built on part of the

site of one of the
same

and within a yard

and a half of one that had
been constructed for firing
kind,

FIG. 213.

KILN FOUND AT CASTOR,

NORTHANTS.

The older exhausted kiln

pottery of a different description.
the
of
presented
very early work the bricks
appearance
had evidently been modelled with the hand, and not moulded,

and the workmanship was altogether inferior to that of the

but the
others, which were also in a very mutilated state
character of the work, the bricks, the mouths of the furnaces,
and the oval pedestals which supported the floors of the kilns,
;

were

still

apparent."

was also of opinion that " the blue and slate-coloured

vessels found here in such abundance were coloured by
suffocating the fire of the kiln, at a time when its contents had
Artis

See Haverfield in

of Northants,

i.

Viet.

p. 207.

County Hist,

Trait,?,

i.

p.

426.

ROMAN POTTERY

448

acquired a degree of heat sufficient to ensure uniformity of

colour."

Hence he denominated

baked, "smother kilns."

He

kilns in

which

this

ware was

further notes that the bricks of

"were made of clay mixed with rye in the chaff, which

being consumed by the fire [i.e. in the baking of the bricks] left
cavities in the room of the grains, which might have been
intended to modify expansion and contraction, as well as to
this kiln

gradual distribution of the colouring vapour. The

the furnace and top of the kiln were no doubt stopped
thus every part of the kiln was penetrated with the colouring
assist the

mouth of

From experiments made on the local clays

he proved to his own satisfaction that the colour could not
have been produced by any metallic oxide, inherent or applied
from without and this view was supported by the appearance of
But in view of
the clay wrappers of the dome of the kiln.
recent researches, such as those of Bliimner, it is doubtful
whether Artis' theories can now be upheld. As Mr. Haverfield
exhalation."

has pointed out, 1 the dark colour may be due to the chemical
action of the carbonaceous vapour of the smothered kiln rather
than to any " colouring exhalation."

The process of packing the kiln in order to secure uniform

heat in firing is thus described by the same writer " The kilns
were first carefully loose-packed with the articles to be fired, up
:

to the height of the side walls.

The circumference

of the bulk

was then gradually diminished, and finished in the shape of

a dome.
As this arrangement progressed, an attendant seems
to have followed the packer, and thinly covered a layer of pots
with coarse hay 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 the clay just laid on,
and then more clay, and so on until he had completed the
circle.
By this time the packer would have raised another tier
;

of pots, the plasterer following as before, 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 nipt

another coating would be laid on as before

Gravel or loam was then thrown up against the side

round the edge

described.

Viet.

County Hist, of Northants,

i.

p. 209.

KILNS AT CASTOR

449

wall where the clay wrappers were commenced, probably to

In consequence of the
secure the bricks and the clay coating.
care taken to place grass between the edges of the wrappers,

they could be unpacked in the same-sized pieces as when laid

in a plastic state, and thus the danger in breaking the coat to
obtain the contents of the kiln could be obviated."

on

In the course of his excavations Artis discovered a singular

1
"
of which I have never before or since met with an
furnace,

had been placed two circular earthen fire

that next above the furnace was a third
The
less than the other, which would hold about eight gallons.
fire passed partly under both of them, the smoke escaping by
a smoothly-plastered flue, from seven to eight inches wide. The
vessels were suspended by the rims fitting into a circular groove
He was strongly of opinion
or rabbet, formed for the purpose."
that this furnace was used for producing glazed wares by means
example.

Over

it

vessels (or cauldrons)

Whether

of iron oxide.

this is so or not,

it is

interesting to note

Museum and Museum

of Geology there are

that in the British
cakes of vitreous matter from Castor, probably used as a glaze,
2
and consisting of silicates of soda and lime.
kiln found at Caistor, in Norfolk, was apparently used
baking the grey Roman ware, and differed in form from
those described, which were for the black, being only calculated

The

for

It was a regular oval, measuring

degree of baking.
The
inches
in
furnace holes were filled in below
breadth.
4
with burnt earth of a red colour, and in the upper part with

for a slight

feet

peat

the exterior was formed of strong blue clay of 6 inches

and the interior lined with peat the kiln was

in thickness,

by partitions of blue clay. Some of the vases were

3
inverted and filled with a core of white sand.
The furnaces at Heiligenberg and Rheinzabern present the.
intersected

The former, which were

evidently used for the baking of red wares, had a flue in the
following

further

peculiarities.

See Haverfield,

op. dt. p. 210, fig. 31.

Handbook of
ibid. ;
Haverfield,
Pottery in Mtis. of Pract. Geol. 1893,
2

Archaeologia,

VOL.

II.

xxii.

pi.

36,

p.

413;

County Hist. i. p. 291.

See Brongniart, Traitt, i. p. 428,
Artis, Durobrivae, pi. 27, figs.
pi- I
3 and 6; Daremberg and Saglio s.v.
Viet.
*

'>

Fornax,

figs.

3^01-02.

29

ROMAN POTTERY

450

form of a long channel with arched vault, the mouth being

over 8 feet from the space where the flames and heat were
concentrated under the oven (Fig. 214).

FIG. 214.

Numerous

pipes of

PLAN OF KILN AT HEILIGENBERG.

from the upper part

or floor of the oven, to distribute the heat
in the outer wall
of the oven was a series of smaller ones, and twelve or fifteen
terracotta, of varying diameter, diverged

of larger size opened under the floor of the oven to distribute

round the pots (Fig. 215). The mouths
of the pipes were sometimes stopped with baked clay stoppers
the heat and flame

to

moderate the heat.

The upper
of

the

part or

kiln

is

dome
never

found
entire,
having
been generally destroyed
here,

the
earth.

as

elsewhere,

by

superincumbent
Walls of strong

masonry separated and

protected the space between the mouth of the
FIG. 215.

SECTION OF KILN AT HEILIGENBERG,

the oven, and the floor of the latter was

flue

made

and

the

At Rheinzabern, where excavations were made

fifteen

furnaces were

walls

of terracotta
in

of

tiles.

1858,

found, some round and others square,

KILNS AT HEILIGENBERG

451

constructed on the same plan. The floor of the oven

3 feet below the top of the walls, and was covered
with tiling, the walls being formed of rough slabs of clay,

but

all

was over

about 28 by

some

1.6

inches in

size.

The

ovens were

floors of the

supported by bricks covered with a coating

of clay. Stands of baked clay in the shape of flattened cylinders
supported the pots in the oven, and these rested on pads of
in

cases

a peculiar form, roughly modelled in clay. 1

In all, seventyseven pottery-kilns and thirty-six tile-kilns were discovered on

this site.

The

following list, though by no means claiming to be

exhaustive, gives the names of the chief potteries where actual
furnaces have been discovered.

i.

Arezzo

Modena
Oria

See

Marzabotto

Pompeii

Pozzuoli

2.

Dept. of Ain

ITALY

479

p.

ff.

Mon.

Antichi,

Bull,

dell* Inst.

i.

p.

282.
X

1875, P-

92

Ibid. 1834, p. 56.

Mau-Kelsey, Pompeii,

Bonner Jahrb.

p. 386,

xcvi. p. 54.

FRANCE

St.-Martin-du-Mont

Blanchet, Melanges, p.

Champ-Lary

Blanchet,

107.
Allier

Lubie
.
St. -Bonnet

p. 89.

P- 95p. 96.

St.-Didier-en-Rollat

p. 96.

St.-Remy-en-Rollat

p.

chelette,

Vichy
Nogent-sur-Seine

Aveyron

Graufesenque

,,

p. 429.

p.

41

ff.

p. 106.
p.

chelette,

i.

96; De-

Blanchet, p. 95.

Aube

Brongniart,

i.

Von Hefner

(1863), p. 58.

in

i.

97; Dep. 64 ff.

Oberbayr.

Archiv

ROMAN POTTERY

452
Dept. of Bouches-du-

Rhone

KILNS IN FRANCE AND GERMANY

Dept. of

Somme
Tarn

Amiens
Montans

453

Blanchet, p. 106.
p. 97.

Tarn-et-Garonne Castelnau-de-Montra-

...

tier

Muret

Vendee
Yonne

[See also Blanchet, p. 90

....

Trizay

Sens
ff.

p. 97.

p. 97.

,,

p. 102.

p. 106.

,,

for sites of furnaces for terracotta figures.]

GERMANY
Alttrier,

Luxemburg

Bergheim

Von

Hefner,

p. 60.

Gallo

Melanges

Blanchet,

rom.

ii.

p. 108.

Bonn

Banner Jahrb.

Ixxiv. p.

152;

Ixxxiv.

p. 118.

Cannstadt

Cologne

Commern

Dalheim, Luxemburg

Dieburg

Giiglingen

Von

Hefner, p. 61.

Bonner Jahrb.
Ibid.

Von

iv. p.

p. 61.
.

Heddernheim

Heidelberg
Heiligenberg

Bonner Jahrb. i. p. 74.

Ann. delF Inst. 1882, p.
Bonner Jahrb. Ixii. p. 7.

p.
.

Westd. Zeitschr. fur Gesch.

Von

(1899),

Hefner,

u.

Kunst^

227.

p. 61.

p.
p.

Rottenburg
Schonbuch, Wiirtemberg
'
.

Waiblingen

Westheim

pi. 4, p.

p. 61.

Luxemburg

ii.

p. 61.

Rheinzabern

Trier

427; Blan-

Gallo -rom.

Melanges

Nassenfels

Riegel

p.

183.

1 08.

xviii.

Herbishofen

i.

Brongniart, Traite,
chet,

Petzel,

p. 61.

Hefner,

Heldenbergen

Ixxix. p. 178.

203.

Westerndorf

iv. p.

p. 108.

p. 108.

Von

Brongniart,

Hefner, p. 61.

Bonner Jahrb.

429.

Blanchet,

Von

61

Hefner,

p. 61.
p. 62.
p. 62.

141.

i.

ROMAN POTTERY

454

4.

Dorset, Milton

ENGLAND
Roach Smith,

Abbas

Collect.

vi.

Antiq.

p. 191.

Ashdon

Essex,

Arch. Journ. x. p. 21.

Roach-Smith, Collect. Antiq.

Colchester

vii. pis.

Arch. Assoc.

Shoeburyness
Hampshire, Alice Holt Forest
.

,,

New

Forest

ii.

p. 38,

Journ. Brit.

xxxiii. p. 267.

Proc. Soc. Antiqs.

Viet. County Hist.
Ibid. p. 326.
Proc. Soc. Antiqs.

Hertfordshire, Radlett

i ff.

1-3, p.

2nd
i.

p.

2nd

Ser. xvi. p. 40.

306.

Ser. xvii. p. 261.

Huntingdon, Sibson and Water

Newton

Viet.

County Hist. Northants,

Roach Smith,
-

Kent, Upchurch

p.

Lancashire, Warrington

London

Middlesex,

Roach-Smith,
Viet.

County Hist.

Ibid.

Caistor-by-Norwich

291

p.

li.

75.
vi.

p. 467.

Rom. Lond.
\.

p.

p. 79.

314.

Archaeologist

p.

263.

p.

///.

i.

Antiq.

178; Archaeologia,

Reliquary, 1900,

(St. Paul's)

Brampton

Norfolk,

Collect.

xxxvi.

P- 4i3-

Caistor-by- Yarmouth

Journ.
p.

Weybourne

,,

Viet.

Assoc.

xxxvi.

County Hist.

i.

p.

322.

Viet. County Hist. i. p. 166 ff., 206 ff.

Journ. Brit. Arch. Assoc. vi. p. 60.

Oxfordshire, Headington
Littlemore

Somerset, Shepton Mallet

Suffolk,

Arch.

Wansford,

Northants,

Castor,
Bedford Purlieus

Brit.

206.

West Stow Heath

Ibid.
.

liv. p.

349.

Gentleman's Mag. 1864, ii. p. 770.

Journ. Brit. Arch. Assoc. xxxvii.
p. 152.

Worcester

Viet.

County Hist.

i.

p.

207 (a model

in Brit. Mus.).

may be made to Brongniart,

Cours
d\int. Monum. ii. (for
p.
Heiligenberg) ; Von Hefner, Romische Topferei, in Oberbayr. Archiv
fur vaterl. Gesch. xxii. (1863), p. 60 (where a complete list of furnaces
up to date is given) ; Banner Jahrbiicher, Ixii. 1878, p. 7 ff ; Wolff
[On the

Traite,

subject generally reference

426

i.

De Caumont,

in

Westdeutsche Zeitschrift

Bliimner, Technologic,
(art.
ii.

p.

FICTILE)

93

ff.]

and

for

ii.

fur Gesch. u. Kunst, xviii. (1899), p. 211 ff. ;

p. 23 ff. ; Smith, Diet, of Antiqs. i. p. 845

Gaulish

sites,

Blanchet, Melanges Gallo-romaines,\

POTTERY
4.

POTTERY

IN

LITERATURE

LATIN LITERATURE

IN

455

SHAPES AND USES

Vessels of earthenware were extensively used by the Roman

people in the earlier days of the Republic for all purposes of
domestic life, 1 and later writers often contrast their use with
vases of precious metal then customary.
"
Gold," says Persius, has driven away the vases of Numa and
the brass vessels of Saturn, the urns of the Vestals and Etruscan
that

of the

costly

"

"

and Juvenal speaks of those who laughed at

Numa's black dish and bowl, and fragile saucers from the
Vatican hill." 3 Even under the Empire fictile vases continued
to be used by the poorer classes, and the use of the finer red
But Juvenal,
glazed wares must have been even more general.
earthenware

"

the luxury of Domitian's time, says that it is

considered a reproach to dine off earthenware. 4 In Republican
times it was the proud boast of a Curius to prefer his earthensatirising

ware service to Samnite gold, 5 and in 167 B.C. the consul

Q. Aelius Tubero was found by the Aetolian ambassador
6
Seneca also tells how he, at his
dining off earthenware
;

of Jupiter, placed

entertainment given in the temple

fictile

But when Masinissa entertained

guests.
the Romans in 148 B.C. the first course was served on silver,
the second in golden baskets, which Ptolemy Euergetes
describes respectively as the Roman and Italian fashions. 8
Athenaeus says that up to Macedonian times dinners were
vessels before

served

in

his

fictile

vessels,

but that subsequently the

Romans

became more luxurious, and Cleopatra spent five minae a

9
Subsequently earthenware was
day on gold and silver wares.
by glass as well as metal, especially for unguentand drinking-cups, of which large numbers are found in
tombs, where they virtually take the place of pottery.

replaced
bottles

Roman
1

Cf. Tibull.

i.

I,

38

Pliny,

P' 95

"Nee

e puris spernere fictilibus.

Fictilia antiquus primum sibi

"

fecit

aerestis

Pocula de

facili

composuitque luto."

>

3
4

Sat.

ii.

60.

Sat. vi. 342.

Sat.

iii.

168.

Florus,

i.

8, 22.

72

xxxiii. 142.

Alhen

vi -

22 9 L-

He

uses

us expression, /cfya,os apyvpovs,

as in the use of the word

which
marble

for
-

AP ud

^ e cur

H.N.

^W*

tiles

(Vol. I. p. 100), implies

the antiquity of the use of fictile ware.
See the next note.
vi. 229 C, where the use of
or dinner-service is discussed.
!>

ROMAN POTTERY

456

Vases of immense size were sometimes made under the

Empire, and stories are told of the absurdities perpetrated by

some of the Emperors in this respect. Juvenal, in describing

1
the turbot prepared for Domitian, says no dish could be found
of sufficient size to cook it in, and Vitellius had a dish made
"
huge dimensions acquired the name of the shield
"
"
2
Elsewhere it is scoffed at as a swamp of dishes
of Minerva."
Pliny speaks of terracotta vases which
(patinarum paludes)?
4
sold for even more than precious crystal or myrrhine ware,
and were therefore presumably of great size.
The principal use of earthenware was for the transport and
storage of wine, oil, corn, figs, honey, and other commodities,

which from

its

answering to the casks of the present day. Martial speaks of

a jar (testa) reddened with the blood of tunnies exported from
5
Of the shapes used for this purpose
Antipolis (Antibes).

and

their

names we

shall

in detail.

speak presently

Vases were

also used in religious rites, but metal was probably more general
Plautus describes a miser who sacrificed to the Lares in earthen;

ware (vasis Samiis] because he was afraid that they might steal
6
silver vessels.
They were also used for various operations in
but above all
agriculture, medicine, and household economy
;

domestic purposes of the table. Some of the peculiar

uses have already been referred to (p. 387), and another that
may be mentioned is the use of jars as bell-glasses for rearing

for the

vine-sprouts.

Although the custom of burying vases with the dead was

not so general

among

the

Romans

as

among

the Greeks, they

form of cinerary urns,

were yet frequently used
8
in the shape of a covered jar (plla or obrendarium ) of coarse
ware and globular in form (p. 550). Vases containing ashes
have often been found in England, as at Bartlow and Litlington
in graves in the

9
At the latter place a tomb contained a
Cambridgeshire.
sort of colander perforated with holes which formed the letters

in

iv.

72, 131

Suet.

Vit.

cf.

Mart.

VitelL

xiii.

81.

13 (clypeum Mi-

'

Capt.
7

ncrvae, aiytia TroXiotfxov).

3
Pliny, H.N. xxxv. 164.
4

Ibid. 163.
iv.

88.

ii.

2, 41.

Virg. Georg. ii. 351.

Orelli, Inscr. 4544; Gruter 607,

and see C.I.L. i. p. 209.

"
See above, p. 351; and
logia, xxv. p.

I ff.

cf.

Archae

DOMESTIC AND FUNEREAL USES

INDVLCIVS. 1

Similar

are

finds

from

recorded

457

Arnaise

in

France.

Pliny states that many persons expressed their desire

to be buried in coffins of terracotta. 2
Roman sarcophagi of
terracotta have been found at

Saguntum

in

Spain, but for these

were the ordinary materials. The cinerary

urns were often formed from large dolia or amphorae, the
neck being broken off so as to produce a globular vessel.
3
Examples have been found in England at Chesterford, Essex,
4
at Southfleet in Kent, and in the Bedford Purlieus near Kingsanother is in the
cliffe, Northants (now at Woburn Abbey)
stone

and

lead

Cathedral Library at Lincoln. 5 Roach-Smith also mentions

specimens found in Lothbury, London, and in Kent, the latter

now

Maidstone Museum. 6
Vitruvius, in his chapter on Ec/iea, or vases distributed around
the ancient theatres for acoustic purposes, mentions that they
were often made of earthenware for economical reasons 7 but
they were usually of bronze. Seneca, too, alludes to this practice
when he speaks of the voice of a singer falling upon a jar
It is certain that the Greeks and Romans often
(dotium).*
made use of earthenware jars in architecture, but it is probable
that this was more often done with the object of diminishing
weight than for acoustic reasons, or, as some have thought, for
want of better material. The dolium, amphora, and olla seem
to have been the forms most usually employed.
There are
various examples in walls and substructures of the Augustan
period, and they are also found in vaults, where their purpose
being

in the

In the circus of
undoubtedly to lighten the weight.
Maxentius a number of large amphorae were found embedded
in the vaulting and upper part of the walls, arranged neck
downwards and with their axis inclined obliquely to the wall. 10
All are now broken, but they illustrate the ingenious method

is

C.I.L.

vii.

1335,

i.

The

vase

is

now

at Clare College,
2
3

Cambridge.
H.N. xxxv. 1 60 (Jictilibus
Arch. Journ. x. (1853), p.

Rom. Land.

p. 88,

Quaest. Nat.

xi.

230..

inanibus.

and see

8,

(in

p. 550.

10

vi.

19

and Pliny, H.N.

soliis).

*
Archaeologia, xiv. pi. 6, p. 37
B.M.).
5
Arch. Joum., loc. cit.

///.

v. 5, 8.
cf.

Arist. Probl.

xi.

270, doliis

Krause, Angeiologie, pp. 126, 463.

See Middleton, Remains of Ancient

Rome,

ii.

p. 56.

ROMAN POTTERY

458

which the upper parts of the arches supporting the rows

were lightened. In the dome of the tomb of St. Helena,
seats
of

in

embedded for the

known as Torre

outside the Porta Labicana, rings of pots are

same purpose, whence

the. building

is

usually

An oven found at Pompeii

Pignattara (from pignatte, pots).
had a vaulted top formed of ollae fitted into one another, each
1

the span of the arch

in height, of ordinary red ware
6 inches, and the object here was to ensure extreme
2
A similar arrangement occurs
dryness as well as lightness.
in the Stabian Thermae at Pompeii, and also in the church of

about a foot

was

5 feet

San Stefano

alia

at

built

Ravenna,

Rotonda

at

Rome, and

by Justinian

the

dome

of

in the sixth century,

San Vitale
is

similarly
3
The
constructed, with an elaborate system of tubes and jars.
seems
to
have
been
Middle
continued
the
Ages,
during
practice

and an example occurs in England,

4
the purpose was acoustic.

We

now proceed

Roman

at

Fountains Abbey, where

to describe in detail the principal shapes of

as they can be identified from literary

vases, so far

epigraphical evidence or from other sources, on the same

our previous chapter on the shapes of Greek pottery.
Some of these shapes, it will be seen, they had in common with

or

lines as in

the Greeks, such as the amphora, the krater, and the phiale
or patera, and in several instances (such as the cyathus and the
scyphus) the Greek name is preserved.

Beginning with vases used for storage, whether

and oil, or for solids, as for corn or

as for wine

were chiefly kept

in cellars,

we take

cask corresponding to the Greek

from

its

general

usage gave

first

to

which

the dolium, a gigantic

7n'0o9 (Vol.

rise

for liquids,
fruit,

the

I.

p.

152),

which

generic term opus

common work in clay. It was large enough to

contain a man, as we know from the story of Diogenes
illustrated on the Roman lamp already given (Plate LXIV.
the vessel thereon depicted may serve to give an
fig. 6)
for

doliare,

2
3

Middleton,

xv. p.

Joe. cit.

303

Trans. Roy. Inst. of Brit.

1881

65

IT. ;

fount.

Nissen, Pompeian. Studien, p. 64.

Architects,

Nissen, ibid.

Brit. Arch. Assoc. xxxv. p. 95, xxxviii.

p. 218.

See Yorks. Arch.

Tourn.

iii.

p.

I ff.,

2,

p.

DOLIA

459
l

Columella
speaks of dolia sesquiappearance.
culei
or thirty amphorae.
culearid) i.e. holding one-and-a-half
They were buried in the earth of the cellars, and have been
idea of

its

found thus in Italy at Anzi, in France at Apt, Vaucluse,

and near Clermont, and at Tunis. 2
They were used for
wine,
dolia

corn,

oil,

and

were used

salted

new

for

meat, and Juvenal tells us that

lined with wax, pitch,

wine, being

or gypsum. 3

In 1858 a large number were found at Sarno in

some
Campania,
being stamped with the makers' names,
as
ONESIMVS FECIT, VITALIS F, L TITI T F PAP, and
M LVCCEI QVARTIONIS. 4 On one was incised L XXXIV, or

One of the prodigies which

thirty-four lagenae (see p. 446).
was supposed to predict the future fortune of the Emperor
Antoninus Pius was the discovery above ground of some dolia
which had been sunk in the earth in Etruria. 5 An old name
for the dolium was calpar? and another smaller variety was
the serial containing only seven amphorae.
A diminutive form
of the

described

is

latter, set-iota,

in Syria.

as

a wine-vessel

invented

made in separate pieces, the base and other parts

secured
being
by leaden cramps, and they were -also hooped
with lead, as we learn from Cato. 9
Pliny speaks of repairing
casks by fitting on handles, scraping the hoops, and stopping
Dolia were

up

cracks.

10

They

made both

are

of white and red clay, baked in

a slow furnace, great care being required to moderate the heat

Their makers were known as doliarii. Part of a large
aright.
dolium bound with leaden hoops was found near Modena, at

Palzano also at Spilamberto, one with the name of T. Gavelius

and the numerals XXX, XIII, another of the capacity of 36
11
On the mouth of one found in the Villa Peretta
amphorae.
at Rome was the name of L. Calpurnius Eros, 12 on another
;

'

Brongniart, Traiti,
3
4

5
8

p.

407

Bull.

Arch.
x.

Nap. N.S.
8047, 10,

vii.
1

46

(Miiller).

xii.

28,

Plaut. Capt.

9 ("preserve-jar").
Isid.

Etym.

xx. 6.

"

Agricult. 39.

1859,
10

8.

Capitolinus, Vit. Anton. Pit, 3.

Varro ap. Non. p. 26 ; Paul,

Fest. p.

Columella,

iv. 4,

ft.

ix. 58.

84; C.I.L.

p.

i.

ex

H.N. xviii. 236.

" Bull, del?
Inst. 1846, p. 34.
l2
Marini, Inscr. Ant. Doliari. p. 406,
No.

2.

ROMAN POTTERY

460

name

Two good examples of

were at one time preserved in the gardens of the Villa
Albani, about 4 feet in diameter and as many in height, and of
a coarse gritty pale red clay.
This kind of vase was often
used for sepulchral purposes, bodies having being found actually

the

of T. Cocceius Fortunatus. 1

'dolia

buried in them (see above,

Next

p. 457).

and importance to the dolium is the amphora,

2
in
it usually has a long
form
the Greek wine-jar
resembling
cylindrical body with pointed base, a long narrow neck, and
two straight handles.
Holder 3 notes several varieties
the
Canopic, the wide-bellied, the cylindrical, the globular, and
the spheroidal, the former of which is a typical early form in
4
the provinces.
It was often without neck or handle, and was
seldom ornamented, not being used for artistic purposes like
its Greek prototype, but only for strictly utilitarian ends, that is,
for the storage and transport of wine.
It is usually of coarse
red earthenware, made on the wheel, with a clay stopper to close
the mouth, and the name of the maker in a rectangular label
on the handle, like the diota or wine-amphora of the Greeks.
It was in fact often known as a diota, as in a familiar line
of Horace 5
in size

Deprome quadrimum Sabina,

O Thaliarche, merum diota.
c

The amphora was

pitched internally to preserve the wine

the pointed base was of course adapted for fixing it in the
ground in the cellar, but when brought up it was placed in

In Cicero's time
a tripod-stand of metal or wood (incitega)?
the regulation size was equivalent to a quadrantal or two urnae?
The use of this vase was very varied and extensive among the

Romans

it

was employed not only

cellars

in

and granaries,

but also at the table and for

life,

even where

nowadays

many other purposes of ordinary

vessels of wood or iron would be

preferred.
1

2
3

Marini, No.

4.

See Fig. 22, Vol.

Formen der

Thongef.

p.

1 6,

Cf.

Cf.

Pamph.

pis. 1-8.
4

i.

9, 7-

Pliny,

p. 154.
7

r'om.

Od.

I.

Koenen, Gettsskuttde,

pis.

10-12.

H.N.

Jahn,

xiv. 135.

Wandgem.

d.

pi. 5, p. 42.

See Hultsch, Metrohgie,

p. 113.

VilL

AMPHORAE

461

mentions the discovery at Rome, near the

Porta del Popolo, of a row of amphorae in a cellar in 1789,
and at Pompeii a hundred were found in the house of Arrius

D'Agincourt

Diomedes, a hundred and fifty in that of the Faun a hundred

and twenty were found in a cellar near the baths of Titus, and
many more at Milan in 1809, and at Turin. Numbers have
been found in London, varying in capacity from four to twelve
2
gallons, and Others at Colchester and Mount Bures in Essex.
;

But they are so universal all over the Roman Empire that to
list would be tedious.
Many, however, evoke a
reason
of
their
interest
by
special
stamps and inscriptions,
and a few typical examples may profitably be given. 3
The inscriptions vary in form and character some amphorae
give the name of the maker in the genitive, offidna being
others the consuls for the year in which they
understood
were filled others, again, the name of the wine or other phrases
and others complimentary inscripdescriptive of their contents
tions to their owners.
Among names of makers both single,
double, and triple names are found, and among the former
enlarge the

many of a Gaulish or barbarian character, such as Bellucus,

Dicetus, and Vacasatus, son of Brariatus the last-named from
4
Nimeguen, the first-named from London.
Among the triple

are

names,

that

showing

freedmen,

are

M.

the

potters

Aemilius

Roman

were

from

Rusticus

or

citizens

Caerleon,

and

Antonius Quintus, also found in Britain. 5 Sometimes the

name is in the nominative with F for fecit, or with the genitive
OF for offidna occurs. The stamps are in the form of oblong
rectangular labels on the handle or neck, the letters in
relief.
One of the most curious stamps was on an amphora
found in the Pontine marshes near Rome, a square one with
a caduceus and other symbols arranged in twelve compartC.

'

examples from Spain see Arch. Journ.

Recueil) p. 46.
-

Roach-Smith,

Collect.

Antiq.

ii.

///.

Rom. Lona.

p.

87;

Ivi.
*

p. 26.

p. 299.

C.I.L.

General reference may be made to

the various volumes of the Latin Corpus,
under
the
Instrumentum
headings

Domesticum, sub-heading Vascula,

vii. 1331 for those found in Britain

Steiner,

for

1331, 22,
Inscr.

pp. 271, 287

Rheni,

ii.

C.I.L.

xiii.

e.g.

vii.

Cod.

C.I.L.

xiii.

10005, 25;

Rom. Danubii
;

part 3, No. 10002.

vii.

et

and see generally

1331, 6, 13.

ROMAN POTTERY

462

ments
FECIT,

"

the inscription runs M PETRON VETERAN LEO SER

:
Leo, the slave of M. Petronius Veteranus, made it."

The names of Vespasian and Titus as consuls are found

on an amphora from Pompeii VESPASIANO III ET FILIO CS,
2
that of M. Aurelius (but not necessarily
the year being A.D. 74
as consul) occurs on an amphora found at Newington in Kent 3
and on one in the British Museum from Leptis in Africa is
L CASSIO C MARIO COS, the date being A.D. 107.* On the
neck of a fourth amphora, found at Pompeii, was FVNDAN
CN LENTVL M ASINIO COSS, " wine of Fundi in the consulship of Cn. Lentulus and M. Asinius (Agrippa)," of the year
:

A.D. 26.

The

character or origin

stored in the

KOR OPT

amphorae

("

Ibs.

wine or other commodity

of the

given by such inscriptions as BARCAE,

6

best

red wine, 102

is

Corcyrean
weight"),

all

RVBR VET v

"),

en

from Pompeii, painted

("

in red

old

and

MES AM XVIII, also on an amphora from Pompeii, apto

mean " eighteen amphorae [not measures] of Mesogitan
pears
"
wine (from Mesogis in Lydia 8 ) or, again, we find at Pompeii
SVRR XXI, "twenty-one amphorae of wine of Surrentum" 9
7

black.

"
Tusculan wine from
TOSCOLA(TZ)ON (ex) OFFICINA scAv(r/),
10
of
the
other
Scaurus."
On
the manufactory
hand, LIQVAMEN
OPTIMVM ("best pickle"), or such expressions as SCOMBRI

("mackerel"), GARVS ("brine"),

been used for conveying pickled

Among

imply that the vessel has

etc.,
fish.

11

expressions of a complimentary nature are FABRILES

N AD FELICITATEM, " the workmen of our
:

MARCELLAE

"

12

(/r)OMO(j) FAMELIAI DONO(;;/)

"
J
\
or
DONO
(rnam daf], Promus gave (an urn)
v(otum dedif],
"
13
as a gift and vow to his family
(from Ardea in Latium).
Marcella to wish her joy

C.I.L.

x.

8056, 260.

I0

Ibid. iv. 2555.

Ibid. vii. 1332,

ll

I.

Ibid. viii. 10477,

C.I.L.
Vol.

cf.
8

x.

I. p.

C.I.L.

I.

12

iv.

2584, 2616:

158.

iv.

2603:

2555.

Ibid. 2589-94,

2575

ff.

On

inscribed

see also

Mau-

Kelsey, Pompeii, p. 505.

p. 158.

8055, ii

iv.

amphorae from Pompeii

Ibid. iv. 2552.

See Vol.

c.l.L.

Ibid. 2625.

cf.

Pliny,

H.N.

Doni,

Aventine,
13
Ber.

p.

now
d.

Found on the
Museo Kircheriano.

Ixxxvi.
in the

sacks.

Gesellsch.

1857, p.

199.

xiv. 75.

WINE-JARS
The

be concluded with the inscription on an amphora

may

list

463

the garden of the Villa Farnese,

of the Aurea Domus of Nero, which held

found

in

among

the ruins

eight congii

on

its neck was traced in ill-formed letters

L(os)
iJ^iquaminis)
EXCEL(/?.r) L PVRELLI GEMELLI M( ...)," Finest brand
An amphora
of liquor, belonging to L. Purellus Gemellus."
:

was found at Pompeii with the name of Septimius or Stertinius

Mcnodotus in Greek letters. 2 There are occasional references
in the classics to the practice of placing such stamps on
vases, as when Plautus makes the slave say, with reference to
"
There you
the drinking that went on in his master's house,

may
pitch

see
;

names

written
are

with

there

in

letters
in

with

sealed

clay,

letters

and

foot

half

Or, again, another slave, fearing to be caught with

"
This jar is lettered
in
his possession, reflects,
it

long."

epistles

the

jar

4
ownership."
Juvenal speaks of wine whose
had
been
and
brand
obliterated by old age through
country
5
long hanging in the smoke.

its

proclaims

Another vase used much in the same way as the amphora,

and particularly for keeping wine, was the cadus, the shape
It held about twelve congii,
of which is not exactly known.
or seventy-two sextarii (pints), and is frequently mentioned
6
The former in the Odes refers to
by Horace and Martial.
his jar of Alban wine nine years old, and in another passage
7
to one stored in Sulpicius' cellars
the latter speaks of cadi
mean
made
of
which
Vaticani)
may
clay from the Vatican
8
hill or containing Vatican wine
elsewhere he speaks of
taking yellow honey from the ruddy jar (implying an earthenware vessel), and of the red jar which pours out home-made
9
We also learn from him that the cadtis was hung
wine.
in the chimney to give the wine a mellow flavour. 10
From
other passages we learn that the cadus was used for
;

C.I.L. xv.

pt. 2,

No. 4719.

Ibid. iv. 2584.

Poen.

epistolas

Rud.

literatas fictiles
iv.
2,
14
the double play on the words
:

v. 33.

ii.

5,

21.

Cf.

also

Plaut.

Aen.

Virg.

cannot be expressed in English.

4

i.

195

Amph.
(for

i.

the

i, 273;
wine of

Acestes).
7

Od.

iv.

i.

19, 2

i.

56

9
lu

x. 36.

n, 2;
:

cf.

iv.

12, 17.

Juv.

66.

vi.

344, and p. 477.

ROMAN POTTERY

464

and money, 3 and also as a measure equivalent to

one-and-a-half amphorae or three urnae. 4 The orca is described
by Isidorus as a kind of amphora, of which the urceus (see
5
below) was a diminutive.
The Romans were presumably, like the Greeks, in the habit
of mixing their wine with water, but we only find the crater
mentioned rarely, and that in a poetical manner. 6 Moreover
it was
probably made in metal as a rule, and the rare
instances of the crater which occur in the Arretine ware
2

fruit,

oil,

obvious imitations of metal prototypes

there is a fine
in the British Museum from Capua (see Fig. 219).
Ovid, however, speaks of the rubens crater, implying terracotta,

are

example

as in the case of the rubens cadus of Martial mentioned above.

the acratophorum (for holding unmixed wine),9

and the oenophorum were probably of the same character, but

The vinariumf

the latter was portable, as

we know from Horace's

man who took his cooking-stove and

with him everywhere. 10
The

jeer at the

wine-jar (oenophoruui]

urna, the equivalent of the Greek hydria,

was similarly

used for carrying water, and also for casting lots, or as a votingurn n in the latter sense Cicero actually uses the word hydria^
Both the urna and
Its size was half that of the amphora.
;

the hydria are found in connection with funerary usages, and

13
The situla, or
appear to have held the ashes of the dead.

bucket, with
14

for

lots,

Mart.

i.

diminutive

its

44,

8;

Pliny,

H.N.

Sat.

H.N.
Mart.

vi.

H.N.

xiv.

in

Hor. Sat.
6

ii.

Isid.
4,

Etym.

66

xvi. 26, 13.

Varro, R.R.

i.

usually

the form cratera

Etym.

Isid.

iv.

cf.

Isid.

in Verr.

Cic.

Cic.
i.

8, 5.

Isid.

Etym.

iii.

4,

15

34

14,

Marquardt,

Lucan,

Prirataltert.

v.
vii.

629, note 3.
In Verr. ii. 51, 127 cf. Plutarch,
Vit. T. Gracch. ii ; also Isid. Etym. xx.
6
Vast's genus aquatilis.
:

See

Orelli,

Varro,

and

4546,

Lucan,

vii.

for

urna,

819; Ovid,

passim.

27, 62.

de Fin.

109: see also Juv.

6,

p.

13

522.
Sat. ii. 8, 39

cf.

Suet. Calig. 15

Fastt, v.

R.R.

394:

Hor.

i.

Persius, v. 140

xx. 5.
1

is

it

12

Etym. xx. 6.
As often by Virgil and Ovid,
;

426

" Cic. in Vatin.

27, 6.

96;

Isidorus says

Hor. Sat.
vi.

and

also used for water

xx. 6.

xv. 82.

13,

10

xviii.

307.
2

was

sitella,

but was principally of metal.

16.

Plaut. Cas.

ii.

6, ^11

Livy, xxv.

3.

MISCELLANEOUS SHAPES
The cupa and the cumera
a8o? (Vol. I. p. I65).
the
have been of wood rather than earthenware 2
1

the Greek

seem

to

former was a kind of tub, the latter was used for keeping grain,

and also by brides for conveying their effects to their new

home. 3 Another large vessel for holding liquids was the sinus,
4
The nasiterna, so
or sinum, used both for water and milk.
called from its long spout or nasus, had three handles, and
was used as a watering-pot. 5 The fidelia appears to have
Cicero in one of his
been a kind of large pail or bucket
6
de
eadem
the
cites
letters
fidelia duos parietes dealbare,
proverb,
"
which answers to our killing two birds with one stone." It
;

implies that it would be used for holding paint or whitewash.

Of smaller vases for holding liquids, such as jugs, bottles,

the principal were the urceus (with its diminutive

The hirnea
the
ampulla, and the lagena or lagona.
urceolus\
is also mentioned as a jug which was filled from the jar or

and

flasks,

The urceus seems to be a small jug, the equivalent

it was
also used
of the Greek oivoxorj, having one handle
8
The ampulla was used both as a wine-flask
as a measure.
cadus. 7

and an
as

is

corresponding thus

oil-flask,

seen in its metaphorical use.

the wine to table, like a decanter,

10

It

and

the Greek X??;u0o9,

was used for bringing
described by Apuleius n

to

is

as lenticular in form, being therefore like a flat round-bodied

flask

with two handles.

An

interesting example of an ampulla of this kind, of red

ware with a coarse reddish-brown glaze was found some years
1

Etym.

xx. 6.

(urceoli sex}

Cf. Caes. Bell.

iv.

Civ.

ii.

1 1

Lucan,

420.
Paul, ex Fest. ed. Miiller, p. 63, 12.
Plaut. Cure. i. I, 75 Rud. v. 2, 32 ;

8
4

Poll.
v.

2,

iv.

see Virg. Eel.

vii.

33

Varro, L.L.

123.
5

ii. 2, 28 ; Cato, Agricult.

Varro, Re Rust. i. 22 cf. Juv. v. 47
IMS us, applied to a cup.

For
6

Fain.

vii.

\ulul. iv. 2, 15
7

10
11

Ad

Plaut.

Pers.

cf.

iii.

Amph.

Igricult. 81

Martial,

VOL.

29

II.

also

Plaut.

22.

i.
I,
273 ; Cato,
Varro, ap. Non. 546, 23.
xiv.
106
Juv. iii. 203
;

id.

Pers.

i.

3,

43

A. P.

Hor.

97

cf.

Plin.

Ep.

Florida,

with

vessels

pi.

Treb.

Merc.

Cic. Fin.

in

30,
2

9,

6; Mart.
:

cf.

in

reliefs
>

I.

&\so

\rjKvdiov
p.

196)

xiv.

no.

the terracotta
the

Mus.

British

Greg.

Man. Ined. pi. 52.

derives the word from ampla
Micali,

10;

Isidorus
bulla,

iv.
ii.

D 204-5

Museum,
i.

the

episode in the Frogs (Vol.

also the word ampullari.

Plaut. Stick,

86

;
Varro, R. R. i. 22
Claud. 17 ;
Plaut.

12, 30.

md

Vit.

reference

(Ety/n. xx.

to

its

rotund form

5).

30

ROMAN POTTERY

466

It bore two inscriptions

ago near the Hotel Dieu, Paris.
round the body, one on either side, with letters in relief; on
one side was OSPITA REPLE LAGONA CERVESA, " Mine host,
"
on the other, COPO CNODI TV ABES
fill the flask with beer
"
EST REPLETA, Innkeeper, (?), be off, it is full." Similar vases
have been found in Hainault and at Trier, and are said to be
;

made

still

of the

in Spain.

same

Another

kind, but with only

one handle, recently acquired

by the British Museum from
the Morel collection, has on it
the word AMPULLA painted in

The lagena
(Greek, \d yvvo<$) was a jug or
bottle with -narrow neck, wide
white (Fig. 216).
r

mouth, and handle, and was

used as a sign by wine-sellers. 2

was sealed up until required

3
for use, and being proverbially
brittle, was protected, like aj
modern Italian wine-flask, by
wicker-work. 4 It was also used
as a travelling-flask, and carried
5
by hunters and fishermen the
It

younger Pliny exhorts Tacitus,

when he goes hunting, to take
not only a "sandwich-box and

brandy -flask"
FIG. 216.

AMPULLA

(BRITISH MUSEUM).

Roman barmaid
7

and

the tavern,

^^ ^

carried a lagena at her side when serving

8
it was used as a wine-jug at the table.

in France has engraved on

jar found at Saintes

LAGONAM,

SOL(z)DAM
1

Rev.

Arch,

"

whole

flask
3

xviii.

(1868),

pi.

Pliny,

22,
c

p> 225.
*
3
4

Mart.

vii.

lor.

Ep.

61,
ii.

ac

{panarium

lagunculavi), but also a notcG

Thfi
Qt ^^.^ idcas<
j

5.

Cf. the episode in Petronius, Sat. 22.

Martialis,"

H.N.

Hor. Sat.

CJ.L.

ii.

xiii.

and

xvi. 128.

Pliny, Ep. i. 6
Juv. viii. 161.

cf.

Juv.

8, 41.

10008,

4.

MARTIALI
*

to

2, 134.

it

in

xii.

60.

THE AMPULLA AND LAGENA

a

gives

clue

form

the

to

associated

with

467

word

this

(see

Fig. 217).

The words

use for a ladle are cyathus, corresponding to

in

1
the Greek icvados (Vol. I. p. I79), in measure equivalent to
one-twelfth of the sextarius or pint, and simpulum or simpuvium.

The

latter

were chiefly associated with

and

sacrifices,

will

be

(p. 471); the cyathus was

used
at
table for measuring out
the
regularly
the wine into the drinking-cups.
learn

dealt with

later

We

drinking a toast it was

use
the
number of cyathi that
customary to
corresponded to the letters in the name of

from Martial that

in

the recipient, as in the epigram

Laevia sex cyathis, septem Justina bibatur,
2
Quinque Lycas, Lyde quattuor, Ida tribus.

Of
as

drinking-cups the Romans had almost

Fia
a variety as the Greeks, the

large

2I7

'

LAGENA FROM

FRANCE, INSCRIBED.

majority of the ornamented vases preserved

the number
purpose
much
is, however,
less, as many
of those given in the long list on pp. 181-183 of Vol. I.
are mere nick-names for ordinary forms.
The generic name
to

this day being apparently

names recorded in literature

of

for a

this

-for

drinking-cup was poculum? the Greek

TTOTT^HOI/,

as

just

vas was the generic name for a larger vessel

it occurs constantly in the poets, who, indeed, use it somewhat loosely, and
;

has already been met with in the series of small bowls with
Latin inscriptions described in Chapter XI. (p. 490).
Many

forms of drinking-cups used by the Romans were only made

in metal, such as the cantharus? carchesiumf and scyphus* (see
Vol. I. pp. 184, 187).
All these were forms borrowed from the
Greeks, as were the calix (kylix\ the cotula (chiefly used
1

Hor. Od.

2
i.

71

cf.

iii.

8, 13

viii.

51,

19, 12.

21

ix.

56
95

xi.

Hor. Od. i. 20, 2 and see Daremand Saglio, s.v.

See Macrob. v. 21.
Hor. Od. i. 27, i
Epod. ix. 33.
;

l)e rg
3

Hor. Od. iii. 19, iiff.

See Varro, L.L. v. 122 ; Isicl. Etyin.
xx. 5, where the derivation from potare

Isid.

is

wash-hand

37

given.
4

Virg.

Ed.

vi.

17; Haut. Asin.

v. 2,

as

Etyin.

xx.

basin.

6,

describes

it

as

ROMAN POTTERY

468

measure = half-a-pint), and the scapkium 1 and cymbium?

which were boat-shaped vessels.
The ciborium (a rare word,
but used by Horace 3 ) was supposed to be made in the form

of the

leaves

pods of the

or

Its later ecclesiastical

use

is

4
Egyptian bean.
Other names of which

or

colocasia,

well known.

we hear

are the batioca;* the gaulus? the scute/la (see below), 7

and the amystis, or cup drained at one draught (see Vol. I. p. i8i). 8

Like the Greek

kylix, the calix

these the one most

appears to have been of

in use,

commonly
by poets and prose writers. Those

to

and

all

constantly referred
of terracotta could often
is

be purchased at a very low price, and formed, it is evident,

the ordinary drinking-cups of the Roman citizen
they were
also frequently of glass.
Juvenal speaks of "plebeian cups
purchased for a few asses"*] and Martial describes a man
;

10
buying two calices for an as and taking them home with him.
We have no exact information as to its form, but it must
have been something like the Greek kylLr, only probably
without handles
was also used for solid food such as
it
11
herbs.
Seneca speaks of calices Tiburtinae, which seem from
the context to have been of earthenware. 12 Varieties of the
;

calix are probably represented by the typical Gaulish forms

illustrated in Chapter XXIII., Figs. 221-223.
Of dishes and other utensils employed for food at the table,

The former is
largest were the lanx and the patina.
described by Horace and Juvenal as large enough to hold a
whole boar, 13 and was probably of metal the patina is described
the

as a dish for holding fish, crabs, or lobsters, 14 but that it was

not necessarily limited in size is shown by the stories already

The latter, when

(p. 456).
was insulted by the epithet of patinarius,

alluded to of Domitian and Vitellius

dragged
1

iv -

Plaut. Stick, v. 4, ii

Cic. in Verr.

37 and 24, 54.

Mart. viii. 6, 2 ; Isid. Etym. xx.
Od. ii. 7, 22.

to his death,

9
10

7>

Porphyrion ad Hor.

loc. cit.

Plaut. Stick, v. 4, 12.

Id. Rud. v. 2, 32.
Cic. Tusc.
Isid.

iii.

Etym.

19, 46.

xx. 5.

ll

xi.
ix.

145.
60, 22.

Varro, L.L.

v.

Ep. 119, 3.
Hor. Sat. ii.
" Hor. Sat. i.

3,

5.

127

Ovid, Fast.

v.

509.
12
13

43, 55.

4, 41

80

Juv.

v. 80.

ii.

95

2,

ii.

8,

'DRINKING-CUPS AND DISHES

469

The patina was flat, and made of clay, and

described as a wide and shallow vessel for cooking. 2
contrasted with the lagena in the well-known fable of the

or dish-maker.

also

is

It is

fox and the stork. 3

Smaller dishes for sweetmeats and other

and catillum, and the patella? The

discus an&parvpsis* appear to have been, like the lanx> principally
the former was like a shield (whence scutula and
of metal
dainties were the catinum

scutelld]

as

it

the latter

mentioned by Isidorus, who describes

and by Martial, together with some

is

quadrangular,

obscurely-named dishes

6
:

Sic implet gabatas paropsidesque

Et leves scutulas cavasque lances.

Martial speaks of the patella as a dish for a turbot, and also

ware which was used to hold vegetables 7

as a vessel of black

the catinus (a

dish) was large enough to hold a gooda tunny, 8 and the catillus appears to have

fictile

sized fish, such as

Sauces were placed

been a sort of porringer.

known

or cups,

as acetabula (the

Greek

in small dishes

which were

o%vjSa<j>ov\

9
the catellus held pepper, 10 and the
evidently of earthenware
concha or shell was used for a salt-cellar, also for unguents. 11
;

The

latter was probably a real shell, not of earthenware.

Another kind of dish which is only once mentioned, in Horace's
account of Nasidienus' banquet, was the mazonomum, probably
a kind of lanx, in metal, which held on that occasion a sort
12
His own table, however, he boasts, was
of ragout of game.
adorned only by a cyathus and two cups, an echinus or rinsing13
The guttus seems
bowl, a guttus, and a patera or libation bowl.
to have corresponded to the Greek lekythos or askos, and is the
1

Suet. Vitell. 17
xx.

Isid. Etyin.

cf.

13.

dispansis paten-

115

Phaedr.

Hor. Sat.
;

Ep.

i.

Juv.

Ep.
6

26.

i.

iii.

xi.

Etym.

iii.

20

i.

Isid.
3,

90;

ii.

4,

75;

i.

6,

5, 2.

142; Mart.
Isid.

32, 18

xi.

Etym.

cf.

vii.

47,

xx. 4, says gabata

28; Alciphr.

3.

Isidorus,

cavata.

81

v.

79,

see Isid.

Etym.

Hor. Sat.

Etym.

ii.

xx. 6.

77

4,

Pers. v.

182

For other uses see

Juv. xi. 108 ; Pliny, H.N. xxxiii. 69.

Isidorus says catinum is a better form.
9
Isid. Etym. xx. 4.
10

xx. 4.

xiii.

8.
8

tibusque arts.
3

xx.

Hor. Sat.

" Hor. Od.

l2

13

Hor. Sat.
Sat.i.6,

ii.

ii.
ii.

4, 75.
7,

23

8, 86.

1 1 8.

Sat.

i.

3, 14.

ROMAN POTTERY

470

name

general

for

an

oil-flask or cruet.

It

was

either a small,

long-necked bottle or a squat flask with a narrow spout, which

Roach-Smith published a
allowed the oil to pour slowly.
relief dedicated by Egnatius, a physician, to the Deae Matres,
on which small vases of the first-named form appear, indicating
that he consecrated his medicine bottles to these divinities.

vessels for cooking, washing, and other common domestic

3
the word is,
purposes, the olla was that in most general use

Of

name

a jar or pot (Gk. ^vrpa), as in the

play of Plautus, the Aulu/aria, the name of which embodies an
Here it was used for
archaic form of the word, aula, aulula.
in fact, a generic

for

It was also, as has been noted, used

and some inscribed examples of marble ollae
have been found in tombs. The pelvis was more particularly

hiding a hoard of gold.

as a funerary urn,

washing basin, but Juvenal speaks of

it

as

scented with

Falernian wine.
It is usually identified with the mortarium^
a large, shallow, open bowl with a spout, frequently found in
it is of coarse
Britain and Central Europe (see below, p. 550)
;

light-red clay, and often has the potter's name stamped upon
it.
That it was used for pounding substances is shown by the

that

fact

often has small pebbles embedded in the surface

The scutra is mentioned by Cato and Plautus,5

it

of the interior.

and appears

its
to have been used only in Republican times
1
Imperial successor was the cacabus? The trua or trulla was
numerous examples in bronze,
a saucepan with a flat handle
;

and earthenware have been preserved, and some have

silver,

elaborate designs in relief on the handle. 8

number of obscure and archaic names of vases are recorded

by the etymologists and other

used for

those

iii.

Juv.

sacrificial

xi.

263;

158:

cf.

purposes and libations.

Vol.

I.

Collect.

v. p. 8.

Antiq.

For
Juv. xiv. 171.
examples of ollae see Overbeck, Pompeii,
p.

Pl.

Catull. 94, 2

414,

fig.

Isidorus

was used

Daremberg and

LXIX.

550.

vi.

rives

pp. 200, 211, 503.

2

writers, especially in regard to

Saglio, s.v., and

see also pp. 389, 456,

expressly states

for boiling

that

it

water (Etym. xx. 8).

it

430.

Cato,

Isidorus (Etytn. xx. 6) de-

A'. A'.

157

Etym. xx.
Varro ap. Non.

B.M.

Plant. Pers.

i.

3,

8.

p. 19, 14.

Cat. of Bronzes, Nos. 2461also Dechelette, Vases de la Gaule

2465
Romaine,
;

capis

from /#/&$.

Isid.

Cf.

The

ii.

p. 316.

SACRIFICIAL VASES

471

l
or capedo was probably a kind of jug (from capere, to contain)
Cicero refers to the capedunculae which were a legacy from
Numa. 2 The praefericulum* was not, as usually supposed in
popular archaeology, a jug, but a shallow basin of bronze

without handles, like a patera. The lepasta or lepesta (cf. Greek

4
AeTrao-n?) is recorded as used in Sabine temples, and the futile
5
was used in the cult of Vesta for holding water the cuturnium*
;

The simpulum

and simpuvium 8 represent

similar utensils, though the words are distinct they were smallsized ladles used almost exclusively in religious rites, and somealso mentioned.

is

With

times regarded as old-fashioned.

reference to the size,

became a proverbial expression for

They seem to have been usually of

fluctus in simpulo excitare*

"a storm

in a teacup."
10
metal, but Pliny speaks of fictile simpula
represented on coins and sacrificial reliefs.

the simpuvium

is

The lanx appears

11

and the guttus,

in
a
forms
also
other
sacrificial
and
connection 12
appear
cymbium,
conversely the patera, which is for the most part exclusively
13
a libation bowl, was sometimes used for secular purposes
there
have been used

to

for offerings to

Bacchus,

evidence that

is

use as a drinking vessel

its

The last-named corresponds

use for libations.

14

(j)id\rj

(Vol.

sented

its

I.

and

p. iQi),

essential feature

in the centre,

and

older than

is

it

was

is

to the

its

Greek

constantly referred to or repre-

was the hollow knob or omphalos

either

made

of metal or earthenware.

The

patella was also used for libations or for offering first-fruits

15
to the household gods.

Other obscure words referring to vases of secular use are the

1

Non. 547,
18; Livy, x.

Varro ap.

H.N.
Rep.

xxxvii.
vi. 2,

II

De

The word

id.

Nat. Deor.
is

Parad.
iii.

12
7,

i.

9
;

10

Pliny,
Cic.
;

2, II.

17, 43.

only given by Festus

Varro

ap.

An example

of a

(Case E).

19.
13

ii.

394.

Aen. iii. 66 ; Varro, L.L. v. 124.

Varro, L.L. v. 122
Virg. Aen. i.
Id.

729.

Paul, ex Fest. p. 51,

i.

Varro, L.L. v. 124; Paul, ex Fest.

337> IO (non dissimile cyatho).
8
Varro ap. Non. 544, 23 ; Cic. Ret.

vi. 2,

16, 36.

bronze simpulum may be seen in the

Bronze Room of the British Museum

12

Paul, ex Fest. p. 89, 4, with MUller's

P-

iii.

xxxv. 158.

Virg. Georg.

Non. 547,

note.
6

Cic. Legg.

H.N.

"

(p. 248, Miiller).

4

10

ii

Juv.

vi.

343.

See Isid. Etym. xx. 5, who suggests

a derivation from patere, " quod patentes
sunt dispansisque labris."
14

15

Ov. Fast.

Plaut. Cist.

ii.

ii.

i.

634
46.

Juv.

v.

85

cf.

ROMAN POTTERY

472

and malluvium (Greek,

basins
for
meaning respectively
washing the feet and hands
3
the aquiminarium for washing vessels
the galeola, a variety
the
a
sinus*
vessel
the
of
used for warm drinks,
pultarius^

pollubrum (Greek,

TroSaviTrrrjp)

must, for preserving grapes, for coals, for fumigating, and

5
and the obba, which Persius describes
as a cupping-glass
for

as

sessitis,

6
squat and flat-bottomed.
-

i.e.

The

culeus,

congius,

and sextarius appear to have been measures only, not

in general
use; the congius was one-eighth of an

heinina,

vases

about six English pints. 7

In the case of the majority of the names discussed in the
foregoing pages, any attempt at identification with existing

amphora, or six

forms

is

sextarii,

hopeless

we have very few

clues

in

the literature

to the shapes of the vases described, and little evidence from

nor is
themselves, as is often the case with Greek shapes
;

any Roman
be

writer except Isidorus, whose date

trustworthy, so explicit as Athenaeus. At

is

too late to

present little
of
the
forms of
different
way
collecting
a
valuable
on
the subject was
treatise
existing vases, but
by the late O. Holder, a Wurtemberg
recently issued

has been done in the

who collected all the forms found in Germany and

and
although he did not attempt to identify them by
Italy,
Latin names, he has done much service in grouping them
together, classified as urns, jars, jugs, and so on, in a series
professor,
8

of twenty-three plates of outline drawings.

There is, in fact, in Roman pottery no clear line of distinction

to be drawn between the various forms of drinking-cups or of
different
jugs or dishes, as is the case with Greek vases
;

Paul, ex Fest. p. 247, Mull.

Varro,

Digest, xxxiv. 2, 19,

Varro ap. Non. 547,

xii.

H.N.

vii.

185

V.

12.

Petron. 42
vii.

Colum.

7;

Gels.

Varro
7

ap.

Cato,

Pliny,

Die Formen der row.

diesseits

1897).

148

see

Non.
R.R.

H.N.

also Tert. Apol.

146, 8

545,

13

2.

Livy, xxv. 2, 8;
xiv. 85, 144.
For a bronze

57;

Metrologie,

p.

123

also

On Roman
Saglio, s.v.
metrology generally see Krause, Angeiol
p. 454, and Hultsch, op. cit. p. ii2fT.

2, II.
6

Hultsch,

Daremberg and

14.

43, 7; Pallad. Agric.

congius representing the standard measure

see

544, 19 (ap. Non.).

2
Paul, ex Fest. p. 160.

7hongefcisse,

undjenseits der Alpen (Stuttgart,

For the forms peculiar to the

ornamented wares, reference should be

made to Dragendorff's article in Banner
Jahrb. xcvi. pis. 1-3, and Dechelette,
Vases de la Caule Romaine, passim.

DIFFICULTIES OF IDENTIFICATION

473

forms again are found in different fabrics, and those typical

of ornamented wares are not found in plain pottery, and so
on.

Nor must

it

be forgotten

that

in

Roman

pottery the

ornamented wares are the exception rather than the rule.

Where the Greeks used painted vases, the Romans used metal
and apart from the plain pottery, the forms are almost limited
to a few varieties of cups, bowls, and dishes.
Comparisons
with the Greek equivalents illustrated in Chapter IV. may
give a probable idea of what the Roman meant when he
spoke of an urceus or an olla, but for the rest the modern
investigator can do little beyond attempting to point out what
types of vases were peculiar to different periods or fabrics,
and in most cases any attempt to give specific names can
only be regarded as arbitrary.
;

CHAPTER

XXII

ROMAN POTTERY, HISTORICALLY TREATED

ARRETINE WARE

Roman

pottery mentioned by ancient writers "Samian" ware Centres

of fabric The pottery of Arretium Characteristics Potters' stamps
Shapes of Arretine vases Sources of inspiration for decoration

"Italian Megarian bowls"

Subjects

Distribution of Arretine wares.

IN the present chapter we propose to discuss the origin and

character of the finer Roman pottery, or red glazed ware with
designs in relief, which is usually known to modern writers
under the convenient designation of terra sigillata, a phrase
which has already been explained (p. 434). Not only in clay
and glaze but in decoration these wares are characteristically
Roman but the question as to the actual centre or centres of
;

their

manufacture

still

admits of some discussion.

Relying principally upon the testimony of Pliny, Martial, and

other ancient writers, archaeologists have been accustomed to
classify the red ware with reliefs, on a rough system of distinction
"

false
according to artistic merit, as Arretine, Samian, and
"
Samian." The latter term " Samian has indeed acquired such
popularity that it has passed into the language as a conventional
term of almost every-day use but to the scientific investigator
it has long been apparent that in point of accuracy it almost
;

"
stands on a level with that of Etruscan vase."

That of

"

false

"

Samian has usually been applied to a certain class of provincial

"
But though both
Samian."
wares, technically inferior to the
terms may still retain currency in popular language for the sake
of convenience, it must not be supposed that they are impressed
with the hall-mark of scientific terminology.

Before however

we attempt

to distinguish the different fabrics

474

"SAMIAN" WARE
on the basis of recent researches,
the statements of the classical

475

be as well to investigate
writers and weigh the evidence
it

may

which they afford on the various kinds of pottery in use in Italy

under the Roman Empire.
The most valuable information is found in the pages of Pliny,

supplemented by Isidorus of Seville, who, writing in the seventh

The
century, probably gives merely second-hand information.
"
former l says
The majority of mankind use earthenware
:

Samian ware

vessels.

dinner services
in Italy,

and

Saguntum

for

is

commended even

this reputation

is

at the present

day for
Arretium
up by

also kept

drinking-cups by Surrentum, Hasta, Pollentia,

and Pergamum in Asia. Tralles is also a

in Spain,

centre for pottery, and Mutina in Italy .... and exportation

the celebrated potteries goes on all over the world."

from

Isidorus, who largely quotes from Pliny, gives the tradition that
Samos was the seat of the original invention of pottery, " whence
He goes on to say that " Arretine
too came Samian vases." 2

vases are so called from Arretium, a town in Italy where they

"
But in regard to " Samian ware
are made, for they are red."
he admits that there is another explanation of the term, namely
that

it is

a corruption of Samnia.

from the truth,

of

for

Campania was

we have
in

the

Herein he

is

possibly not far

already seen that the adjacent region

last few centuries of the Republic

famous as a centre for relief-wares, and it

manufacture of such pottery was carried on

is

possible that the

in the district, as for

We

instance at Puteoli, long afterwards.

also know that Allifae
in Samnium was a seat of this industry, 3 and that a special

of pottery was made at Ocriculum and at Mevania in

Umbria about 200 B.C. (see below, p. 490).
On the other hand there is no doubt that Samos had a reputa-

class

pottery for many centuries, as is implied by the

tradition which Isidorus quotes and by the words of Pliny
"even at the present day it is commended." In a previous
tion

for its

it has been suggested that the so-called Megarian bowls,

are a prototype of the Roman wares, repreundoubtedly
jlwhich
the
of the Hellenistic period but whether
Samian
pottery
ijsent

chapter

H.N,

xxxv. i6off.

Elyin. xx. 4,

3.

Hor. Sat.

ii.

8, 39.

ROMAN POTTERY: ARRETINE WARE

476
this

so

is

"

term

or

the most probable conclusion is that the

connotes in the first instance a Greek, not a

not,
"

Samian

that this Greek ware

was imported into Italy

so popular that the term really came into use
for native products, just as now-a-days we are able to speak
fabric

Roman,

and that
"

became

it

"

which has travelled no further than from Worcester,

or
Dresden.
It may thus have become a generic name
Sevres,
for table-ware.
Plautus mentions Samian ware more than once
of

China

(see above, p. 456), usually with reference to its brittleness, as

"
in the Menaechmif where Menaechmus says, " Knock gently
!

which the parasite Peniculus replies

afraid the doors are Samian."
Again
to

a jesting
heroines:

allusion to

Samos

as the

"

suppose you are

in the Bacchides? with

home

of one of the two

"Take

care, please, that no one handles her carelessly;

you know how easily a Samian vase gets broken." In another
passage he speaks of a Samiolum poterium? And Tertullian,

speaking of Numa's times, says that only Samian. vases were

as yet in use. 4
Pliny also mentions

Pergamum and Tralles as centres of

of
the
and
fabrics,
firmitas or toughness of that of Kos,
speaks
It has been pointed out
but of these we know nothing further.
of terra sigillata
manufacture
by Dragendorffthat there was some
5
in Asia Minor under the Empire, probably an imitation of the
Italian ware, as the examples known present the same characteristics as the provincial wares of Central Europe, and the forms
The same writer has
are also those of the Arretine vases.
shown that there were also manufactures of terra sigillata in
Greece itself, in Egypt, and in Southern Russia, which were of
similar character.

To

It is not to be supreturn to Italy and its local fabrics.

posed that there was any one principal centre, for different towns
excelled in their respective wares, and these were imported from

one

to the other,

ad Herenn.

i.

2
3

ii.

2, 65.

Cic.

51.

Apol. 25.

Stick, v. 4, 12:

Non.

iv.

2, 22.

Lucil. ap.

This city was of

and especially into Rome.

p.

cf.

398

Mart.

5
iii.

Tibull.

pro Mttrena, 36, 75

8l, 3

47 ;
Cornif. Rhet.
ii.

3,

Banner Jahrbiicher,

14.0: cf.

ibid. xcvi.

Technol.

ii.

p. 103.

p. 25,

ci.

(1897),

and Bltimi

POTTERY-CENTRES IN ITALY

477

course originally supplied with earthenware by the Etruscans,

whose mantle fell on the town of Arretium, but it cannot be
doubted that the manufacture of pottery must have been carried
on to some extent in Rome itself after the absorption of the
Etruscan people. We read that even in Numa's time there was
a Guild of Potters (see p. 372), but it never appears to have
excelled in any of the finer wares, and is ignored by Pliny,

though we have evidence from other sources. Thus Martial

speaks of cadi Vaticani} and Juvenal of fragile dishes from the
Vatican hill. 2 Cato says dolia are best bought in Rome, tiles
3
at Venafrum.
And the evidence of a pottery in the third and
second centuries B.C. on the Esquiline which is given by the
4
lamps described in Chapter XX. is supported by Festus.
Pliny, as we have seen, mentions Arretium, Hasta and Pollentia,
Mutina and Surrentum with commendation he also couples the
He further
pottery of Hadria with that of Kos for firmitas!*
that
Arretium
old
the
implies
pre-eminence of the
kept up
Samian ware, and this is borne out, not only by what we
gather from Martial and other writers, but still more by modern
discoveries, of which we shall shortly speak in detail. Of the
other potteries less is known, but remains have been found at
Hasta and Pollentia (Asti and Pollenza in Piedmont) 6 and the
figlinae of Velleia in the same region were also well known
7
in antiquity.
At Mutina (Modena) remains of a pottery were

find of

found (see Vol.

I. p.

71), together

with vases of Arretine type,

Fortis, whose name so often occurs on lamps

8
His stamps
appears to have had his workshop here.
found on tiles and on pottery of all kinds, even

and the potter

(p.

are

426),
also

were

found vases of black ware, of

sometimes
with stamps impressed
Graeco-Campanian style,
from gems, and unglazed red plates stamped with small palmettes like the Greek black-glazed wares (Vol. I. p. 212).
Livy
Arretine.

Here, too,
"

"

i.

vi.

19

see above, p. 463.

" solet calices

Mart. xiv. 157
"
(of Pollentia).
See C.I.L. xi. 1147 for recent finds,

Cf.

344.

Agric. 135.
" in
Paul, ex Fest. ed. Miiller, 344
Ssquilina regione figulo cum fornax plena

Bull.

^asorum coqueretur."

p. 192.

xxxv. 161.

haec dare terra

deW Inst. 1837, p. loff.

Biill. deW Inst. 1837, loc. cit.

1875,

ROMAN POTTERY: ARRETINE WARE

478

mentions that

B.C.

of "

made more

In

in 176
kinds of vases,

all

a great destruction took place here

for use than for ornament" l

general results the pottery-finds are instructive as

the
transition from black to red wares, which may also
showing
be observed in the vases of Popilius and the early Arretine
their

fabrics (see below).

Campania

Calene and

of the

seems to have maintained the traditions

in general

Etrusco-Campanian

century (Chapter XI.), and there

is

fabrics

of the third

evidence of manufacture and

export in the first century B.C. Horace's table was supplied

with Campana supcllex?
Surrentum ware is mentioned by
Martial

as well as Pliny, and, as indicated in the preceding

chapter (p. 462), supplied amphorae of local wine to Pompeii.''

The

pottery of Cumae, which place was at an earlier date an

important centre for painted vases (Vol. I. p. 80), is mentioned
6

would also seem to have supplied clay for the

neighbouring Puteoli, which had no local clay
suitable for the purpose, and is not mentioned by ancient writers..
The latter has however yielded large numbers of vases of a type
closely resembling the Arretine, and a pottery was discovered
7
in 1874, with moulds.
Some of the vases have Arretine
8
stamps, which imply importations during the first century B.C.,
but names of local potters are also known, chief of whom is
Numerius Naevius Hilarus, who employed eleven slaves.
Q. Pomponius Serenus and L. Valerius Titus are also found
here and elsewhere in Southern Italy and at Nismes. 9
Some
of
in
the
this
Puteoli
are
ware
from
sources
various
fragments

by

Martial.

vases

made

It

at the

Museum. 10

British

Horace speaks of pottery from

Allifae in

Pliny mentions the popularity of that

mac 12 this exhausts the list of sites
;

See generally Banner Jahrb.

Sat.
xiv.

xcvi.

fi

118

6,

cf. ibid.

ii.

3, 144.

102: " Surrentinae leve toreuma

Cf. id.

xiii.

good enough
xiv.

us from ancient

Inst.
1875, p. 66; Marquardt,,
Privatnlterthiimer^ p. 640, note 2.
7
Banner Jahrb. xcvi. p. 54 Bull.
;

i.

rotae."

are

made at
known to

deW

xli. 18.

p. 53.
3

11

Samnium, and
Rhegium and Cu-

114

cf.

no: "

C.I.L.

Ibid. xii. 5686, 696.

See also C.I.L. x. 8056.

Surrentine cups
wine."

I0

3, 48; Bull.

'-

for Surrentine

Tibull.

dell* Inst. 1875, P- 2 4 2 -

ii.

" Sat.

ii.

H.N.

x.

8056, 229.

8, 39.

xxxv. 164.

POTTERY OF CAMPANIA

479

In the provinces the only place which had any fame

writers.

to by Pliny and more than once by

of cups {pocula and cymbia) fashioned from
also of a synthesis septenaria or nest of seven

was Saguntum, alluded

Martial,

who speaks
1

Saguntine clay

"

polished by the potter's coarse tool, of clay turned on

2
But modern researches on the site have
the Spanish wheel."
cups,

not thrown any light on the character of the local fabric (p. 540)
it is only at Tarragona that terra sigillata has been found.

3
;

The

pottery of Arretium is more than once referred to by

who notes that it compared unfavourably with the
splendour of crystal vessels, but at the same time begs his
Martial,

hearer not to regard it altogether with contempt, for Porsena

was well served with his Tuscan earthenware 4
:

Arretina nimis ne spernas vasa

Lautus erat Tuscis Porsena

An

epigram

monemus;
fictilibus.

Latin Anthology (259) says

in the

Arretine calix, mensis decor ante paternis,

Ante manus medici quam bene sanus eras. 5

Other allusions are

times,

we

written

Coming down

less direct/'

to

more modern

mention of the pottery in a manuscript

Ristori of Arezzo in 1282, and by C. Villani

actually find

by

Sig.

in his

History of the World, written in the fourteenth century.

Subsequently Alessi, who lived in the time of Leo X., described

the discovery of red ware about a mile from the city, and
Vasari tells us that in 1484 his grandfather found in the
Further
neighbourhood three vaults of an ancient furnace.
in the writings of Gori (1/34) and Rossi
and
in
1841 Fabroni published a history of Arretine
(1796);
7
in
which
the above facts are recorded.
He tells us
ware,

allusions are found

xiv.

08

viii.

cf.

Juv.

v.

29

4
:

Saguntina lagena."
-

my

iv.

46, 15.
See also C.I.L.

ii.

1008; Dechelette,

i.

p.

512 and Suppl.

in

also

;
pp. 16,
Bull. deW Inst. 1875, p. 2 5> and C.I.L.
xv. 2632 for an amphora found on the

p.

Monte Testaccio at Rome with the stamp

BCM(a)TERNI SAGYNTO.

xiv. 98.

"O

Arretine cup, which decorated

father's table,

before the doctor's

how sound you were

hand

"

(referring to

use for taking medicine).

its
6

Pers.

i.

130:

see

also

C.I.L.

xi.

p. 1081.
7

Storia degli anf.

Arezzo, 1841.

Vasi

tf/7.

aretini,

ROMAN POTTERY: ARRETINE WARE

480

17/9 potteries were unearthed at Cincelli or Centum

which
contained, besides various implements, part of
Cellae,
a potter's wheel, resembling those in vogue at the present
It was composed of two circular slabs placed round
day.
one pivot at an interval from one another, their diameter
not being the same. The wheel actually found was of terrathat

in

cotta,

about

1 1

inches in diameter

by

3 inches in thickness, with

a groove round the edge.

It was bound with a leaden tyre,
held in place by six cylinders of the same metal, and appears
"
to have been the upper of the two slabs, the " table
on

which the clay was placed. 1

The Arretine ware must be regarded as the Roman pottery
par excellence. The term was used anciently in an extended
sense for all vases of a certain technique without regard to
the place of manufacture, as a piece of evidence from Spain
tends to show.
Pottery has been found at Tarragona with
the inscription, A TITII FIGVL ARRE, A. Titii figul(i] Arre(tini)?
which has generally been taken to mean a maker of Arretine

ware living on the spot, just as now-a-days Wilton or Brussels

carpets may be made at Kidderminster.
The general characteristics of the Arretine ware are (i) the
fine local red clay, carefully worked up and baked very hard
:

to a rich coral-colour, or like sealing-wax (2) the fine red glaze,

composed chiefly of silica, iron oxide, and an alkaline substance,
;

(3)
which, as we have seen (p. 437), was perhaps borax
the great variety of forms employed, which show in a marked
degree the influence of metal-work (4) the stamps with potter's
names, which are almost invariably found. The duration of
;

this pottery seems to have been from about 150 B.C. to the
end of the first century of the Empire, at which time pottery
in Italy had reached a very degenerate stage, and the height
of its success and popularity was during the first century B.C.
Analyses of the vases show that practically the same results
as to their composition are obtained from different periods.
During the last century these vases have been found in large
numbers at Arezzo, and there is now a considerable quantity

of them collected in the public

1

See above,

museum
2

p. 438.

of that city, as well

C.I.L.

ii.

4970, 519.

CHARACTER OF ARRETINE WARE

481

as in private collections and the museums of other countries.

The official record of Italian excavations contains an account of

made

in 1883, 1884, 1890, 1894, an<^ 1896 on various sites

and immediate neighbourhood, 1 and gives the locality
of the different potteries, 2 as well as the names of their owners.
The first potter's name recorded was that of Calidius Strigo
by Alessi it was found in 1492 in the presence of Giovanni
Others were given by Gori,
de' Medici, afterwards Leo X.
and fuller lists (up to date) by Fabroni in 1841, Gamurrini
At the present day the most
in 1859, and Marini in 1884:*
complete information on this head may be found in the recently
published volume of the Corpus of Latin inscriptions dealing
with Etruria, 4 in which the results of the most recent excavaA large number have also been found
tions are incorporated.
at Rome, the names being identical with those found at Arezzo,
and the ware consequently imported. 5 It must be distinguished

finds

in the city

from the inferior

wares either of local fabric (sec

relief

p.

492)

Names
or imported from Gaul, Northern Italy, and elsewhere.
in
numbers
also
found
are
at
Arretine
of
Modena,
large
potters
Rimini, and other places in Northern Italy, in France, Spain,
and elsewhere.

The stamps range in date from the second century B.C.

down to the Christian era, but not beyond the first century
of the Empire.
The oldest of all, it is interesting to note,
are found on black-glazed wares similar in character to those
from the Esquiline. 6
The red-glazed ware probably came

and the two methods appear to have been

contemporaneous. The initials Q A F and C V
which occur on early red Arretine wares 7 are also found
on the Esquiline lamps.
Next comes the red ware with
(quadrangular stamps ^repeated four or five times on the
ttom, followed by 'single quadrangular stamps and those
about

in

B.C.,

Notizie degli Scavi,

lov.
).

100

a time

for

1884,

p.

369,

1883,

pis.

8,

p.

265;
1890,

63 ff. 1894, p. H7ff. 1896, p. 453

2
See the map in C.f.L. xi. pt.
;

1082.
3

hertz, ant. doltari, p. 421

C.I.L.,

VOL.

loc. cit.,

II.

ff.

See C.I.L. xv.

Ann.

p. 702,

Nos. 49258".
cf.
265 ff.

dell' Inst. 1880, p.

for

the

Arretine

ff.

ibid.

2,

examples; also Notizie degli Scavi, 1890,

1872,

pp. 64, 68.

7
C.I.L.

p.

xi.

284

ff.

6700, 12, 739.

and No. 6700.

31

ROMAN POTTERY: ARRETINE WARE

482

of varying form, especially some in the shape of a foot, which

are not found in the best period at Arretium, and seem to
belong only to the time of the Empire. This form of stamp

common

on lamps and plain pottery, and there are

of
bronze stamps in this shape extant. 1 Those
many examples
vases which have stamps on the exterior in the midst of the
is

very

design represent the middle or Augustan period. The older

stamps are more deeply impressed in the surface of the vase

than the

On

the whole, the palaeographical evidence

very slight, and we can only roughly date
them between 100 B.C. and 100 A.D. 2 Dragendorff has, however, noted that the slaves' names are mostly Greek, a detail
which helps to establish a terminus post quern, placing them
later.

of the stamps

later

than 146

is

B.C.

Calidius Strigo of whom we have already spoken was a

potter of some importance, employing twenty slaves, of whom
the names of Protus and Synistor occur most frequently.

The

But he only seems to have made plain table wares without

examples of which are found in Rome and elsewhere.
A potter named Domitius had a workshop on the same spot,
but only employed a few slaves. A more important name
is that of Publius Cornelius, first found by Ferdinando Rossi
reliefs,

eighteenth century at Cincelli, together with remains

of his workshop
many additional examples were found in
the

in

He employed no

1883 and 1892.

whom the best

less

than forty slaves, of

known are Antioc(h)us, Faustus, Heraclidcs,

Primus, and Rodo. One vase by the last-named has medallions

with

the

head of Augustus and the

inscription, AVGVSTVS,
3
Previous to the discovery
which gives the date of the fabric.
of this in 1893 Gamurrini had supposed that Cornelius was!
one of the colonists placed at Arezzo by Sulla. Many of his
vases are found at Rome, and also in Spain and Southern

Italy.

The

vases with

probably not

his.

He

of two other potters

1

Cf.

CORNELI

a foot-shaped stamp arej

appears to have acquired the business;

C. Tellius

B. M. Cat. of Bronzes, Nos. 3043,

Some may be

and
time

C. Cispius.
see Notizie, 1883, p. 269

ff.

p. 7 iff-

3068, 3100, etc.

2

in

referred

to

Sulla's

Notizie degli Scavi, 1894, p. 49.

1890,

NAMES OF POTTERS
Among

the potters' stamps few are

all

483

commoner than

that

of M. Perennius, and his wares certainly take the highest rank

All his relief designs are copied from
for their artistic merit.
will be seen later.
as
Few of his vases
the best Greek models,

seem

to have been exported to Rome, but they are found in

Spain and Southern Gaul. The form of the name on the

1
stamps varies greatly, the commonest being M. PERENNI
M. PEREN., M. PERE., and M. PER. are also found, and even

M. PE. with the letters joined in a

seventeen

name

His

whom

of

slaves,

as

appears

the

He employed

monogram.
best

TIGRAN,

known

is

or

TIGRA,

Tigranes.
TIGR, and

These two
always in conjunction with that of Perennius.
are found on a vase with Achilles and Diomede fighting
2
against Hector, and on three Arretine moulds in the British

Museum, the subjects of which are a dance of Maenads, masks

of Maenads and Satyrs, and a banquet scene (Plate LXVI.
The name of Tigranes appears alone on a fine vase
figs. 4, 6).
the

in

Louvre with the apotheosis of Herakles. 3

slave, Cerdo,

Another

made

a vase with the nine Muses, their names

4
third slave who
over them in Greek.

being inscribed
produced vases of more than average merit was Bargates,
whose name is found on a fine vase in the Boston Museum
5

the subject of which is the fall of Phaethon, who

shattered in pieces on the ground, with Tethys coming to
his rescue.
Zeus with his thunderbolt and Artemis with her
(Fig. 2i8),

lies

bow have brought about

his terrified steeds

Helios

his downfall.

and the

is

rest of the design

is

seen collecting
occupied with

the transformation of the Heliades into poplars.

The site of Perennius' principal workshop appears to have

been

in

Gradi

Maria in
a
branch
had
have
may
manufactory at
6
Cincelli or Centum Cellae.
notes
that his name
Signer Pasqui
occurs alone on the interior of plain bowls and dishes.
Next
'Fifty
'slaves'

the city

itself,

but he

varieties,

close to the church of Sta.

also

with

the

names, are given in

different

C.I.L.

xi.

Notizie, 1884, pi. 8

5

6700, 435.
2
3
4

Philologus,

Banner Jahrb. xcvi. p. 70, note

Rayet and Collignon, p. 357.
Inscr.

Graec,

xiv.

2406,

28

2.

Banner fahrb.

xcvi.

p. 70.

482

p.

Iviii.

Roscher,

iii.

(N.F.
p.

xii.),

2195

pi.

this potter, Notizie, 1896, p. 457.

46

6
;

4,

see for

Notizie degli Scavi> 1896, p. 464.

484

ROMAN POTTERY: ARRET1NE WARE

NAMES OF POTTERS

485

come the copies of Greek models by Cerdo, Pilades,

Pilemo, and Nicephorus, followed by Tigranes, and then by

to these

Bargates,

rt

who
/

also

worked

freedman (the stamps

Tigranes when he became a

for

form

being in the

rSAKLiA

1 C, N

lastly

);

occur the names of Crescens and Saturninus.

Three Annii had a pottery near the church of San Francesco,

and employed over twenty slaves, with both Greek and Roman
names the most important of the three is C. Annius, who
made vases with reliefs, as did Lucius, but Sextus only made
There are also vases stamped ANN I only
they
plain wares.
probably belong to the first century B.C. Aulus Titius is found
frequently at Arezzo and Rimini, at Lillebonne in France,
his wares also penetrated to
and, as we have seen, in Spain
Africa and all parts of Italy.
He has no names of slaves
coupled with his, and his signature appears in the various
He was
forms, A. 7Y/z, A. Titi figul., A. Titi figul. Arret.
succeeded by C. Titius Nepos, who had fifteen slaves, and there
is also a L. Titius.
C. and L. Tettius occur at Rome, but only
the latter at Arezzo *
the word SAMIA, which occurs on his
is
more
to
be a proper name than to have any
stamps,
likely
reference to Samian ware.
The name of Rasinius, which is
;

associated
Cornelius,

with
is

more names of

found more often at

slaves

Rome

than

any except
than at Arezzo 2

P.
;

it

also occurs at Pompeii, 3 and at Neuss in Germany, which facts

point to the time of Augustus and A.D. 79 as the limits of

Of

some were afterwards employed

There appear to have been at least two representatives of the name, C. Rasinius in the Augustan period,
and L. Rasinius Pisanus in the Flavian. The latter De"chelette
has shown to- be a degenerate Arretine, making imitations of
Gaulish ware. 4
L. and C. Petronius are found at Arezzo,
with
remains
of their potteries, and C. Gavius, who
together
date.

the numerous slaves,

by C. Memmius.

Banner Jahrb. cii. p. 119; also found

Spain (C./.Z. ii. 4970, 515).

in

*
3
4

CJ.L.

Banner /ahrb.

i.

Vases

p. 116.

in Etruria.
cii.

p.

119;

de

date and character

xv. 5496.

Ibid. x. 8055, 36.

See

Dechelette,

maine,

is

la

Gaule

potter of the

SEX

F,

Rosame

found

ROMAN POTTERY: ARRETINE WARE

486

belongs to the Republican period, at Cincelli. Numerous other

potters who are probably Arretine may be found in Ihm's

on the other hand, there are stamps found at Rome

and in Etruria which cannot have originated from Arretium.
Such are Atenio circitor refi(cienduiri) curavit? and Faustus
lists

Salinator Seriae

OF FELICIS,

those with OY(fidna), such as

which are found at Rome, but are probably Gaulish

4
;

those

with fecit or epoei (eVotet), with the exception of Venicius

6
and Atrane, a name found at Vulci,
fecit /ieCy from Arezzo
7
and
other
in Etruria, but not at Arezzo.
sites
Chiusi,
many
;

The name usually given in the signatures on the stamps is

that of the maker only
sometimes a slave's name is added,
;

above or below the maker's, or on a separate stamp.

The maker's name usually gives the nomen and praenomen,
implying a freedman, and when given in full is seen to be in

either

the genitive

Four

the

slave's

name

typica.1 varieties are given

is

by

name

the pottery of P. Cornelius, with the

POTVS
P COR

difficulty

when

the

T>

CORN

sometimes

stamps

master, on
for instance, it is not

occurs below that of the

easy to say whether such stamps

name

POTI

arises in regard to these two-line

name

CORN

CORN

account of the frequent abbreviations

denote one

of the slave Potus

POTI

POTVS

slave's

usually in the nominative.

the following stamps from

as

A-V1BI

DIOM

or

CORN ELI
ANTHVS

P-

or two, for there are certain instances

8
the master has three names.

It

is

where

always possible that the

a slave become a freedman, as A. Vibius Dio9

medes or P. Cornelius Anthus, and in Dr. Dressel's opinion
but the alternative has
this is the most probable explanation

name denotes

much
1

in

C.I.L.

favour.

its

xi.

There

6700; Banner Jahrb.

cii.

moreover, stamps such as

are,

Op.
7

p. 125.
2

C.I.L. xv. 5016.

Ibid. 5572.

4
5

Cf. Dechelette,

xi.

pp. 81, 272.

C.I.L. xv. 5211, 5398.

6700, 752.

this C.I.L. xi. 6700, 2;

ner fahrb. xcvi.

"

i.

cit.

See on

p.

40;

cii.

E.g. C.I.L. xv. 5323.

has cognomen only.
9
C.I.L. xv. p. 702.

p.

Bon-

126.

No. 5374

#*

FORMS OF SIGNATURE

487

P.CORNELI
P-MESEINI
which of course>
or
FIRMV-S F(*/)
AMPLIO
(ervus)
no room for doubt. In later examples the praenomen is
,

leave
often

omitted, and occasionally the praenomen and cognomen are found

l
there are also a few instances ol
without the gentile name
2
An exceptional form of signature is given by
female names.
;

CINNA C L TITl(orum}

s(ervus)\

occasionally also, as in

the

from

Spain already quoted, FIGVL(W) ARRE(tmus),

simply ARRETl(nus\ are found. Sometimes, again, two
potters seem to have been in partnership, as Sura and Philo-

example
or

and L. Sempronius (L GELLI L SEMP), 3 or

as the Umbricii and Vibieni.

logus, L. Gellius

two

firms,

The simple quadrangular form

of stamp is by far the

commonest, and, next to this, an outline of a foot less frequent
forms, and of later date, are the circular, oval, or lunate, and
;

of marks, such as wreaths, stars, or branchesDr. Dressel gives no less than eighty-seven types from Rome, 4
of which thirty-three are rectangular with ornamental edges.
The forms of the letters are not always an indication of date,

other varieties

but such forms as A, A for A,

for E, and
for F betoken
an early date. Ligatured letters abound. The names are often
1

||

from right

written
letters

to

for

Docimus,

DOCI

ROM

or

left,

reversed or inverted
for

to

left

right

with

separate

words are broken up as

or the

and

Romanu(s),

stamps were probably of wood, but some

so

on.

taken

are

The
from

seal-rings.
.;.

The forms

of

Arretine vases

are

.';;:&

wi&O

without

exception,
borrowed from metal originals, and in their contours display
the same tendency.
But, as compared with the Hellenistic
forms they show great simplicity, and almost, as it were, a
all,

The vases are for the most part of smalj

and indeed the dimensions of the furnaces at Arezzo seem

return to archaism.
size,
1

C.I.L. xv. 4996, 5094.

delF

Ibid. 5515, 5555, 5603.

Scavi, 1890, p. 69.

5
E.g. C.I.L. xv. 5179, 5524.

C.I.L.

C.I.L.

xi.

6700, 311.

xv. p.

703: see also Ann.

Inst.

1880, p.

318; Notizie degli

ROMAN POTTERY: ARRETINE WARE

488

larger vases could not have been baked in

are principally cups, bowls, and dishes, the former
of hemispherical or cylindrical form and devoid of handles
to indicate that

them.

They

a characteristic which usually distinguishes Roman from Greek

Some of the moulds for Arretine ware in the British
pottery.

Museum
with
a

collection appear to

base and spreading

flat

type which

hemispherical

finds

bowl

have been used

LXVI.

(Plate

lip

for a

deep cup

fig.

5),

of

no parallel in Greek shapes, but the

on a low foot is the prevailing form.

ARRETINE KRATER WITH THE FOUR SEASONS (BRITISH MUSEUM).

FIG. 219.

Other shapes are extremely

a notable exception being

rare,

Museum with figures of

Seasons (Fig. 219), which, although found at Capua, is
The technical mecertainly Arretine in style and technique.
thods employed we have already described in the preceding

the

beautiful

krater

in

the British

the

chapter,

and there do not appear

to

have been any variations

peculiar

to

Fabroni

(p.

37)

urns,

tiles,

this

fabric.

lamps, and

reliefs

states

were also made

See also Rom. Mitth. 1897,

cinerary

in the potteries at

Arretium.
1

that

p. 286.

SHAPES AND THEIR PROTOTYPES

The prototypes of

the forms

we have

489

seen to be the Hellenistic

vases of chased metal, for which Alexandria was the principal

centre.
But, apart from form, it is doubtful whether the

Alexandrine toreutic work exercised much influence on the

For the decoration and subjects they
potters of Arretium.
drew
their
undoubtedly
inspiration chiefly from the New-Attic
reliefs
and the art of Asia Minor, as has been pointed out by
more than one recent writer, 2 who have urged that the influence
of Alexandria on Roman art has been greatly over-estimated. 3
Dragendorff points out that all the famous chasers known to
us were natives of Asia Minor, 4 and thinks that Rhodes was
probably the centre of this art. It must also be borne in mind
that the second century was the era of collecting works of art
in Greece and Asia Minor and conveying them to Rome, so
that the examples which were most prominently before the
eyes of Italian artists under the later Republic were just these
products of Greece and Asia Minor in the Hellenistic Age.
Moreover, the Rhodian and Pergamene schools of art were still
living when that of Alexandria was dying out under the later
*

The mixed style of art of the first century B.C. is

essentially Roman, produced under the influence of the Greek
works then collected in Rome, and does not extend beyond
Ptolemies.

Italy.

But

it

is

of ceramic

Arretium.

also conceivable that

development
It

recalls

its

predecessors in the line

to produce the ware of

respects the different Greek

contributed

some

in

Chapter XL, the Calene phialae of

so-called Megarian or Homeric
the
and
century,
"
in
the real " Samian
ware of
have
seen
which
some
bowls,
the Roman writers, dating from the same period.
To these

relief-wares

discussed in

the third

succeeded in Hellenic lands the fabrics of Athens, Southern

Russia, and Asia Minor, to which allusion has already been

made, and which often present similar characteristics to the

1

See Hauser's work on the subject,

Neuattische Reliefs, passim.

2
Rizzo in Rom. Mitth. 1897,

E.g. by Schreiber, Alexandr. Toreu-

tik, p.

p.

291

Dragendorff in Bonner Jahrbiicher,

[1898), p. 104.

ff.;

ciii.

401

ff.

Cf. Anzeiger, 1897, p. 127

H.N.

xxxiii. I$4ff.

ff. ;

Pliny,

ROMAN POTTERY: ARRETINE WARE

490

Nor must it be forgotten that the earliest

Arretine pottery was covered with a black glaze, which may
indeed represent a desire to reproduce the effect of metal, but
Arretine fabrics.

much more

is

be a direct heritage from the late

this respect carried on the tradition

likely to

Greek pottery, which

in

of the painted wares.

At all events, two main characteristics
of Hellenistic pottery have plainly left their mark on Roman
fabrics
the disappearance of painting under the influence of
:

decoration imitated from metal, and the cessation of the

exclusive use of a black varnish.

relief

The

seems to be partially effected by a small

which
have been styled " Italian Megarian
group
"
"
Vases of Popilius," after the potter C. Popilius,
bowls or
whose name occurs on many of them. 1 They form a distinct
class, dating apparently from the third century B.C., on the
testimony of the inscriptions the form is that of a hemispherical
bowl without handle or foot, with very thin walls, and covered
with a slip of varying colour yellow, brown, or black. These
transition

of vases

bowls, too, are a close imitation of metal-work, especially in

the arrangement of the reliefs.
The ornament usually consists
of long leaves and scrolls radiating from a rosette on the foot

and bordered

above by bands of wave- or tongue-pattern,

the ground is filled in with stars, shields,

scrolls, or

garlands

and other

devices.

In the finer examples a frieze of figures

is

added, with such motives as Erotes, masks, dolphins, and oxThe bowl of Popilius published by Hartwig
skulls repeated.
a fight between Greeks
undoubted reminiscence of the

the only one with a definite subject

is

and Barbarians, which is an

famous mosaic at Pompeii with Alexander at the Issus. Eleven
bowls by Popilius are known, two by L. Appius (see Fig. 220),
and one each by L. Atinius and L. Quintius. The firstnamed potter seems to have lived partly at Ocrictilum, partly
both he and Appius also made
at Mevania in Umbria
"
"
Calene ware. These potters were freedmen, as the use of
Their work does not show the fine
the two names indicates.
glaze of the Calene and Arretine fabrics, but is decorative
;

Rom.

Mitth. 1897, p. 40 (Siebourg)

1898, p. 399 (Hartwig);

Bonner Jahr-

biicher, xcvi.

p. 37
1889, pi. 7, p. 288.

Melanges d'Arch.

ITALIAN MEGARIAN" BOWLS

in

its

effect;

each ornamental

motive

is

491

produced from a

separate stamp, and the potter's marks are put on en barbotine

(see p. 442).

To sum up

with

Dragendorff,

study of Hellenistic pottery

of the Italian and

FIG. 220.

Roman.

is

clear

that

careful

L.

APPIUS (BRITISH MUSEUM).

Romans were merely

developing what they

importation

it

necessary for a correct estimate

As in the case of other arts, it

"ITALIAN MEGARIAN" BOWL BY

proves that the

the

is

of

received.

receptive, at best only

This development began with

Greek relief-wares

with

black

varnish,

especially from Asia Minor, and their imitation at Cales.

Then, as in Greece, so in Italy, the search for new forms,
colouring, and decoration began and brought about a degenera>

Op.

cit.

p. 38.

492

ROMAN POTTERY: ARRETINE WARE

of technique. What the Calene vases are to those of

Asia Minor, so are the vases of Popilius to the " Megarian "
bowls.
Finally, the finds in Southern Russia show that even
tion

red-glazed ware is not an Arretine inwas

but
vention,
already known to the Greeks, although first
the technique of the

brought to perfection

We

in Italy.

must now return

Arretine vases and turn our

and decoration, and their place in
1
artistic
development.
Dragendorff divides them into two
classes, including with them the vases of Puteoli, which bear
Arretine stamps, and probably only represent a mere off-shoot
to the

attention to their subjects

of the latter potteries, merely differing in the quality of the

design and in the absence of many of the best types. These
were mostly discovered in 1874, and it is possible that the

Capua (p. 488) may also be reckoned as originating

from this source.
His first class includes the vases of M. Perennius, which
form such a large proportion of the signed Arretine wares.

krater from

friezes of

repeated, or of
groups of figures all of the same size, sometimes divided by
Ground-ornaments are rare, and the
pillars or terminal figures.

They

are

characterised

by

figures

ground under the figures is not indicated as elsewhere. The

subjects include Dionysiac scenes, such as dancing Maenads,
sacrifices, drinking-scenes, the vintage, or Dionysos in a chariot
Cupids, Muses, and Seasons; Victory sacrificing a bull; Nereids
;

Hieroduli or priestesses dancing,

with the weapons of Achilles
with wicker head-dresses banqueting, erotic, and hunting-scenes.
;

Examples of the latter classes are given on Plate LXVI. The

types of the figures, as in the case of the dancing Maenads,
are largely derived from the New- Attic reliefs (see above).
In the second class, to which belong the vases of P. Cornelius
and those found at Puteoli, a large use of ornament is the
The figures are little more than
most conspicuous feature.
motives
of a sculpturesque character, and
form
or
decorative,
Naturalistic motives,
are not, as in the first class, isocephalous.
such as wreaths, are very frequent. Among the types we have
1

Op. dt. p. 55.

SUBJECTS

493

those in the Nile-scenes on

the terracotta mural

from
Hellenic
and
derived
Centaurs
371)
prototypes.
Throughout there is a remarkable variety, not only of subjects,
but of ornaments and methods of composition, features in which
the Greek vase-painters at all periods allowed themselves little
freedom. The ornamentation, which usually borders the figures
above and below, or still oftener occupies the whole surface
like

figures

reliefs (p.

available for decoration, includes such motives as conventional

wreaths and festoons, scrolls of foliage, and egg-and-tongue

pattern a favourite device is the use of columns with spiral
;

often

shafts,

surmounted by masks, between the

But

figures.

often naturalistic as well as conventional, at least in detail,

and only in the general effect is it purely ornamental rather
it is

than a reproduction of nature.

In the figures derived from the New-Attic

reliefs and similar

on bases, candelabra, etc., the
the
copyist usually shows a strong tendency to archaism

sources, such as metal

reliefs

attitudes

of the figures are graceful,

but somewhat affected.

They seldom represent any particular action or story, but even

human figures are merely decorative. Groups of dancing figures
are especially favoured, such as Satyrs and Maenads, or the
Hieroduli or dancing priestesses, who wear a curious head*

or we see Genii and Cupids

and
or
lamp-stands,
crowning
playing on musical instruthe
ments.
parallelism with the Roman mural
Throughout
reliefs (p. 367 flf.) is most remarkable, whether in the archaising
dress of wicker-work (calathus)

altars

the

style,

decorative treatment >of

figures,

or

in

the

Victory
last-named

duli,

Of

human

the dancing Maenads and Satyrs, the Hierosacrificing a bull, or the figures of Seasons.

choice of themes

the

fine

instance

is

the

beautiful

krater

from Capua, now in the British Museum (Fig. 219), the figures
on which are most delicately modelled. A stamp in the same
collection from Arezzo has a figure of Spring, which repeats
the type of the

Capua vase

LXVI.

see p. 439).
development, corresponding to the second
class described above, seems to draw its inspiration rather from

somewhat

Cf.

(Plate

Banner Jahrb. xcvi. p. 58 aLo

in the B.M. (Plate LXVI.

a mould

fig.

later

fig.

5),

cottas,

and Brit. Mus.

0646.

Cat. of Terra-

ROMAN POTTERY: ARRETINE WARE

494

the Hellenistic reliefs of naturalistic style, such as Schreiber

has published, dating from the third century B.C. 1 The figures
are no longer stiff, but free and vigorous, and elaborate compositions are attempted, some being perhaps excerpts from large
Hellenistic compositions. Realistic landscapes in the Hellenistic

rocks and trees, are largely favoured, and the

of
subjects includes Dionysiac sacrifices and procesrepertory
of Centaurs and Lapiths, and hunting-scenes.
combats
sions,

with

style,

fragmentary mould in the British Museum is a good example

of the latter, only that here the scene is definitely characterised
as Alexander the Great at a lion-hunt (Plate LXVI. figs, i, 3).
The king is just slaying a lion, which stands over a man

whom

and Krateros advances to his assistance

wreath which adorns the beast's neck seems
to indicate that it was an animal specially kept in the royal
2
The mould bears the name of M. Perennius.
park for hunting.
in
a
valuable and illuminating estimate of the
DragendorfT,
3
Arretine wares, points out that they are an example of the
it

has

felled,

with an axe.

in

tendency, so constantly occurring

one substance

in another.

He

is

classic

art,

reproduce contemporary originals which

largely
eclectic

art

of

the

Augustan

to

imitate

further of opinion that they

illustrate

the

period, instituting a reaction

against Hellenistic art and forming in their simple shapes a

contrast to the baroque forms of later Hellenistic pottery.
The art of the Augustan Age was followed, as Wickhoff has
4
pointed out, by a period of impressionism or illusionist style
derived from painting, which is, however, completely absent
from Arretine and all other pottery of the Roman period. It

style
its

assumed that when the impressionist

into vogue, the art of the Arretine potter had had
All subsequent wares with reliefs are essentially

therefore, be fairly

may,

came

day.

provincial,,

at

is

all

phases of
1

and the origin of

Roman

style

Hellen. Reliefbilder, pis.

I, 9, 10, .21,

Ibid.

article the

See on the subject, Banner Jahrb.

73.

it

the contemporary

ciii.

p.

103.

On

the

same

preceding paragraphs are also

largely based.
*

xcvi. p.

uncertain, but

is

art.

etc.
-:.*

their

events not derived from any of

Roman

Art, Eng. Trans.,

p.

i8ff.

DISTRIBUTION OF THE

WARE

495

vases of the types which we have been describing are

has been hinted already, found exclusively at Arezzo.
1
In Italy they arc found in all parts, and the stamps of known

The

not, as

Arretine potters occur in large numbers in Rome, as also at

2
and at
Cervetri, Chiusi, Vulci, and elsewhere in Etruria,
3
found
all
over
are
also
Mutina (Modena).
They
Campania,

Capua, Cumae, Pompeii, and Pozzuoli. North of the Alps

they occur but rarely, and almost exclusively in Gallia Nar4
bonensis, but we have seen that they are found in Spain, and
5
instances are also recorded from Sardinia, Africa, Greece, Asia

at

6
From these details two conclusions may
Minor, and Cyprus.
be drawn, either that there were various centres scattered over

for the manufacture of what was currently known

Arretine ware," or that an extensive system of exportation
went on from one centre, which would naturally be Arretium.

the

Empire

"

as

Certainly there is no difference either technically or artistically

between the Arezzo vases and some of those found in other
Either view has something
places, such as Modena or Capua.
in its favour, and it is doubtful whether the question is yet
ripe for solution.

The Arretine
during the

ware, as we have seen, steadily degenerated

century of the Empire, and at the close of that
The question then
practically come to an end.

first

had

period

What

its place in Italy ?

For it will be seen in the
that
in
the
following pages
discussing
remaining examples of
terra sigillata which Roman potters have left us, we have to

arises,

took

deal almost entirely with provincial wares, made in Gaul and

Germany, and exported largely even into Central and Southern
Italy.

Not the

least striking feature in the history of

the rapid

Roman

these provincial fabrics, and the

reputation which they so speedily acquired even in the more
central and more civilised parts of the empire.
Yet the

pottery

is

rise

manufacture of pottery
1

See C.f.L. xv.

p. 702.

E.g. CJ.L.

6700,

xi.

2,

in

of

Italy cannot have died out entirely

p. 88).
5

308, 688, 762.

Ibid. 6700, 29, 306, 786.

4
A fine example has been found at
Neuss on the Rhine (Banner fahrb. ciii.

p.

See

Dumont,

Inscrs.

Ctramiques t

390.

6
Cyprus Mus. Cat. p. 94, No. 2116,
PRINCEPS TITI, from Salamis.

ROMAN POTTERY: ARRETINE WARE

496

The plain and unglazed

first century.
or
other
domestic
wares
ordinary uses, such as the dolia
and wine amphorae, of course continued to be made in Italy

by the end of the

for

and the

list of centres, given by Pliny, which

discussed, clearly shows that in the Flavian
epoch several places still preserved a reputation for the manuOn the other hand, we have no evidence
facture of pottery.

as elsewhere,

we have already

that .the

pottery

made

utilitarian merit, or that

and
wares found

sigillata,

in
it

these centres had

any other than

know as terra
what
we
represents

certainly remarkable that all the ornamental

in Italy are either of the Arretine type or else

it

is

importations from

and
be

tiles,

made

Gaul, with very few exceptions.

Lamps
seen in previous chapters, continued to
throughout the second and third centuries, but both
as

we have

were essentially utilitarian in their purposes, and the latter, at

any rate, lay no claim to artistic distinction. The growing
use of metal vases by all but the poorer classes, was also not
without its effect on the disappearance of moulded wares in
Italy, and a reference thereto may perhaps be traced in
Martial's plea for the Arretine pottery (p. 479).
It therefore seems safest to assume that as in

the fourth

the manufacture of painted vases ceased at Athens,

century
but entered on a new era of development in Southern Italy
B.C.

with the migration of Athenian artists to the Hellenic centres

of that region, so in the first century after Christ the manuas distinguished from plain
facture of terra sigillata in Italy
pottery and other objects such as lamps gradually died out,
to the migration of artists and transference of artistic

owing

the rising centres of a new civilisation in the

It will be
country bordering on the Rhone and the Rhine.
our object in the succeeding pages to collect the evidence for
traditions

to

the existence and importance of the potteries in these regions,

and to show, in short, that they for some time supplied to
the whole Roman world all that its representatives were then

capable of

in

the

way

of

artistic

and decorative work

in

In the following chapter will also be more conveniently

pottery.
discussed the vases of Ateius, Aco, and other potters which
represent the transition from the Arretine to the Gaulish fabrics.

CHAPTER
ROMAN POTTERY

XXIII

(continued)-,

PROVINCIAL

FABRICS
Roman

pottery in Europe Transition from Arretine to

Terra sigillata Shapes and centres of fabric
Vases with barbotine decoration
The
Potters' stamps
Subjects
St. Remy
fabrics of Gaul
Graufesenque "Marbled" vases Vases
with inscriptions (Banassac) Lezoux Vases with medallions (Southern
Gaul) Fabrics of Germany Terra sigillata in Britain Castor ware
Plain pottery
Mortaria
Upchurch and New Forest wares
of

Distribution

wares

provincial

Conclusion.

GENERAL CHARACTERISTICS

i.

THE

pottery with which we have now to deal is that which was

"
to an older generation as
Samian ware," * but may now
be more appropriately termed Provincial terra sigillata. In

known

its general characteristics, it is distinguished by a fine

close-grained red clay, harder than the Arretine, and presenting
when broken an edge of light red. The surface is smooth and

regard to

lustrous, of a brighter yet darker red colour (i.e. less like coral)
than that of Arretine ware, but the tone of the red varies with
The most important feature is the fine
the degree of heat used.

red glaze with which it is coated, similar in composition to

though not identical with that of the Arretine (see the analysis

436) it is exceedingly thin and transparent, and

equally over the whole surface, only slightly augmenting
the colour of the clay, which resembles that of coral or sealinggiven on

p.

laid

wax.

The

glaze varies in

lustre

colour, but as the analyses show,

1

See a correspondence in the Gentleman's Magazine, 1844-45, reprinted in

VOL.

II.

and quality as well as in

is produced on the same

it

Gentleman's
the
Magazine
Romano- British Remains, ii.

497

Library,
p.

32

547

ff.

ROMAN POTTERY: PROVINCIAL FABRICS

498

principle at

all

periods and in

The ornamentation

is

all fabrics,

Italian

and

provincial.

invariably of a coarser nature than that

of Arretine ware, and though it draws its inspiration therefrom,

is divided from it by a considerable interval of artistic
degenera-

nor

the missing link always easy to trace.

This ware
over
Central
from
found
the Balkan to the Spanish
Europe,
Peninsula, in the forests of Germany, and on the distant shores
of Britain, but in greatest abundance and effectiveness in the
tion

is

all

is

valleys of the Loire and Rhine, a fact which in itself directs

us to look to these districts for the centres of its manufacture.

Wherever found,

it is

in its

main

characteristics identical,

and

readily to be distinguished from the local wares with their simple,

or entire absence of, ornamentation.
The vases are usually of

small dimensions, consisting of various types of bowls, cups, and

dishes, of which two or three forms are preferred almost to the

and they usually bear the stamp of the

The angular and
on
inside or outside.
the
potter impressed

exclusion of the

rest,

sharp profiles of the various shapes indicate that in nearly all

cases they are derived from metal prototypes.
Although this ware is found all over the Roman world, yet by
far the greater proportion of the material at hand comes from
the

Roman

of Gaul, Germany, and Britain, and evidence

and only two districts as the principal centres of

sites

points to two
its

manufacture

the valleys of the Loire and the Rhine and

immediate neighbourhood. Even in Italy the material is

exceedingly scanty, and much of the pottery found in Rome or
Campania can be proved by the potters' stamps to have been
their

imported from Gaul. In Greece the finds of terra sigillata,

though covering a wide area, are few and far between, and
we are hardly in a position to state whether these are local
1
Dragendorff notes that in the museum
at Bonn there are fragments from Athens, Eleusis, Rhamnus,
Oropos, Epidauros, Eretria, Argos, Delos, and Troy, and others

fabrics or importations.

in private possession at the

the

museum

at

Dimitzana

in

same place from Alexandria.

Arcadia there

is

In

a vase with Latin

j

stamps, and another without stamp is preserved at Chanak

Kalessi on the Dardanelles.
Furtwaengler records a few frag1

Banner

/ahrbitcker^ xcvi. p. 82.

DISTRIBUTION OF PROVINCIAL WARES

499

ments from Olympia, 1 one with OCT SALVE, and fragments have
There are a few cups from
also been found at Pergamqn.
at
Museum
St.
in
the
Germain-en-Laye, and others at
Cyprus
2
Nicosia.
But it must not be forgotten that, as has already
been noted (p. 476), there is evidence of manufacture of red
relief wares in Greek lands under the Empire, and much
of the above-mentioned material

may

not be able to lay any

claim to a Western origin.

For the potteries of Central and Western Europe there is
indeed no literary evidence, for, as we have seen (p. 479), Sagun-

tum

is the only provincial place of any reputation in antiquity,

although modern excavations have not upheld its claim. All
the evidence is necessarily derived from excavations, and from

moulds and potteries

finds of

but by the careful and

scientific

Von

Hefner, DragendorfT, Dechelette, and other

on
Gaulish
and German sites results have been
investigators

researches of

obtained of incalculable value

centres which during the

first

establishing the provincial

century of the Empire inherited
for

the traditions of Arretium.

fore,

we

shall devote

In the succeeding enquiry, thereour attention almost entirely to the terra

of which Gaul, Germany, and Britain have yielded

such abundant quantities, and after a general consideration of
its history and characteristics, shall discuss in detail the pecu-

sigillata,

liarities of"

separate fabrics.

In his invaluable treatise on terra sigillata* the first comprehensive attempt at a general scientific discussion of the
subject which has been

DragendorfT collected a
forms (almost exclusively cups,

contributed

series of over fifty varieties of

*
.-

*.

Ergebnisse von Olympia,

206

p.

ibid. v. p. 783.

cf.
2

s.v.
3

on

Cyprus Mus. Cat.

Samian.

M.

p. 93,

and index,

Dechelette's epoch-making

Roman

proper use of
practically

it

was in type. To make

would have necessitated

re-writing the chapter

have remodelled

essential,

work

pottery in Gaul only appeared

after this chapter

iv.

it

but

where absolutely

and given frequent references

work

'(

which it is
hoped may suffice in some measure.
Moreover for some of the fabrics I have
had the advantage of his articles previously published in the Revue Archtol.
xxxviii. (1901) and the Revue des Etudes
Anciens, v. (1903), which he has since
to

his

in

foot-notes,

incorporated in his book.

*

Terra Sigillata,

in

Banner Jahr-

biicker, xcvi. (1895), P- l8 ff

ROMAN POTTERY: PROVINCIAL FABRICS

500

bowls, and dishes), which embrace all the examples of Arretine

Of these he
and provincial wares with relief-ornamentation.
fourteen peculiar to the Arretine ware, but
there are other vases found both in Italy and the provinces
which in form and colour are not distinguishable from the

considers the

first

and seem to be undoubted examples of early importaSuch vases are found at Andernach, Neuss, and Xanten
on the Lower Rhine, 1 bearing the stamps of Ateius, Bassus,
Primus, and Xanthus, who are also frequently found in Southern
2
With regard to the first-named, however, there is eviItaly.
dence to show that he may have worked in Southern Gaul, and
the Italian origin of this pottery is not absolutely certain. 3 At
Arretine,
tions.

GAULISH BOWL (FORM NO.

FIG. 221.

events, the finds in

all

29)

Germany

FIRST

to

CENTURY AFTER CHRIST.

which a date

in the

first

century can be given seem to show the adoption of a new form

4
this new
of dish differing from that characteristic of Arezzo
form is also common at Pompeii (probably as an importation),
;

found on the Limes at Saalburg with the stamp BOLLVS

It is usually quite plain, and seems to have lasted down
FIC.
Another variety (No. 18) was
to the end of the third century.

and

is

found at Andernach with a coin of Antonia Augusta, and at

Este in Italy with a stamp SERRAE, which belongs to the time
From it a later form (No. 31) was developed.
of Augustus.
As a general rule these early provincial forms were unornamented, but the two types of bowl or cup which Dragendorff
1

See Banner Jahrb. Ixxxvi.

Koenen, Gefasskunde,
2

280

C.I.L.
ff.

x.

p.

152

ff. ;

p. 88.

8055, 4-9

ibid. v.

8115, 97.

8056.

See Dechelette,

Jahrb.
5,

46-52,

ci.

p.

i.

p.

16;

Banner

22.

Cf. Dragendorff's

Nos. 15-17 (plates

1-2) with Nos. 1-3 (plate i).

FORMS OF PROVINCIAL WARES

501

numbers 29 and 30, and which are reproduced in Figs. 221,

222, become the normal form for the provincial relief-wares of
These are not found in the Arretine ware,
the first century.
through that century, not only in Gaul, but
1
in the castra on the frontier of Germany.
The only Arretine form which seems to have prevailed to any
extent in the provinces is the krater (Dragendorff's No. 1 1
= Fig. 2i9). 2 Other kinds of deep cups with expanding sides
but occur

all

also, for instance,

(Dragendorff's Nos. 22-27) are found occasionally in Italy and

on various sites in Germany, and can be traced from their

appearance in the first century

Nos. 24 and 25 are found

first

for

about a hundred years. 3

Xanten (Castra Vetera)

with coins of Julius Caesar
and Nero, others in the
at

cemetery of Bibracte near

Autun, which is known not
to be later than the time
of Augustus. 4 The general
conclusion seems to be
that these wares represent
a sort of transitional stage

between those of Arretium

and the indubitably provincial terra sigillata.

FIG. 222.

FIRST

GAULISH BOWL (FORM NO.

CENTURY AFTER CHRIST.

30)

Towards the end of the

century they are supplanted, notably at Lezoux and in
Germany, by the hemispherical bowl (Dragendorff's No. 37
first

Fig. 223), which subsequently becomes the only form employed

for the moulded wares.

In pursuing his investigation of the provincial fabrics of the

5
century, Dragendorff begins by discussing various groups

first

of vases found in

Germany which seem

of tiansition between the Italian

For examples from Andernach, see

Bonner Jahrb.
2

Ixxxvi. pi. 6, 16, pi. 7, 18.

See Dechelette,

i.

p. 66,

and below,

Roman
3

Bonner Jahrb.

It

xcvi. p. 86.

was deserted about 5

Dechelette,
5

p. 520.

to represent a period
(and the local native)

i.

B.C.

p. 93.

Bonner Jahrb.

xcvi. p.

87

IT.

See

502

ROMAN POTTERY: PROVINCIAL FABRICS

pottery and the provincial terra sigillata proper, which is not

First we
usually found before the middle of the century.
have a kind of light-red ware, formerly known as " false

Samian," which lacks the strong lustrous sheen of the genuine

the tone Hettner considered to be the result of
terra sigillata
;

without any glaze or slip. 1 The forms are

heavier and coarser, and are not confined, as in the genuine
fabric, to deep cups or shallow bowls, but include a sort of

mere

polishing,

2
beaker or tumbler-shaped cup, and a slim jar with characteristic
incised ornament.
They are found in the oldest Roman tombs
3
Andernach, about A.D. 6o.
Contemporary with this (from
Augustus to Vespasian) was a kind of black ware with incised

at

FIG. 223.

GAULISH BOWL (FORM NO.

37); A.D.

linear ornament, resembling that described

heading

(p.

515);

light-red ware,

and

is

La Tene pottery,
The
Gaulish, not Roman.

older

under a subsequent

same

potters' stamps as the

interesting for its close relation to the
showing its origin to be Celtic or

bears

it

70260.

the

centre of fabric

for

these wares,

which are limited in their distribution to the Rhenish provinces,

Normandy and Southern Gaul, seems to have been Trier,

which place is as nearly as possible the centre of all the sites

it is further evident that
on which they have been found
both the red and the black were made in the same pottery.
"
Belgic," on the ground that
Dragendorff styles these fabrics
;

Festschr. fur Joh. Overbeck, p. 168 ;

Banner Jahrb. Ixxxvi. p. 155.
2
Banner fahrb. Ixxxvi. pi. 5, 21, pi.
1

cf.

6, 4,

9-10

Op.

cit.

cf.

Dragendorflfs Nos. 19-20.

xcvi. p. 87.

EARLY GERMAN WARES

503

It
they are mostly found in the province of Gallia Belgica.
became
in
as
the
that -province
is conceivable that,
organised

century, potters from Southern Gaul settled at Trier.

pottery of that epoch has been found there, with remains of
black, grey, and light-red ware, and a piece found at Andernach
first

shows evidence of having been made

with the stamp

1
at the former place.

Britain.

potters' stamps include both Roman

These wares are very rarely found in

The

and non-Roman names.

2

We now come to the terra sigillata fabrics proper, which

extend from about A.D. 30 or even earlier to 250, and exhibit
a great difference from the earlier fabrics. 3
There is no
longer any question of Italian manufacture or of unsuccessful
provincial imitations of Italian ware, but of a provincial fabric
of excellent technique and real artistic individuality.
The
material for our purpose is supplied by the Gaulish cemeteries
pottery-sites of the Rhone and Allier valleys, the Cevennes,

and

Normandy, and Belgium, by those of the Rhine valley and

In Northern Gaul
Southern Germany, and those of Britain.
this pottery is found with coins ranging from Caligula to

Commodus, and in the forts on the German Limes, such as

the Taunus range and along the Main, the coins

those on

extend from Vespasian to Gallienus (A.D. 260), in whose time

occupation ceased on the right bank of the Rhine.
In considering the probable centres of fabric we find a
remarkable correspondence in the potters' stamps in the most

widely-separated localities, indicating a limited number of centres

which had a great reputation. Thus, for instance, in comparing
of stamps found in London with those from Douai in
France Roach-Smith noted that no less than three-fourths of the
names occurred in both places. 4 The same investigator, now
many years ago, was acute enough to deduce the conclusion
lists

For other typical stamps see DragenBanner Jahrb. xcvi. p. 95 ; ibid.

dorff in

Ixxxvi. p. 164
2

C.LL.

ff.,

vii.

Ixxxix. p. 51

1336, 790

is

ff.

an isolated

example of the black ware found

London.
*

Banner Jahrb.

chelette,
4

///.

xcvi.

64 ff.
Rom. Land.
i.

p.

p.

p. 98.

103

ff.

in

De-

ROMAN POTTERY: PROVINCIAL FABRICS

504
from

and other similar evidence that

Britain there was

and
he has been
sigillata
more
recent
based
on
a
much
more exresearches,
justified by
The two chief authorities on this
tensive command of material.
subject at the present day, Dr. Dragendorrf and M. Dechelette,
are agreed in their main conclusions that the centre of this fabric
must be sought in Gaul, and since the appearance of the latter's
treatise on the Gaulish potteries, there seems little doubt that
it was in the first century at Graufesenque near Rodez in the
Cevennes (Condatomagus), in the succeeding period at Lezoux in
Auvergne, where extensive remains of potteries have come to light.
Dr. DragendorfT based his arguments on the following facts

no

this

in

manufacture of terra

local

The potters' names are largely Gaulish.

Names are found in other parts which

(1)

(2)

are

known

to be

from a Gaulish centre such as Lezoux.

(3) Gallic epigraphical

peculiarities,

such as

for

O, B for

D, and OV for U, are found in the inscriptions.

Even names of an undoubted Latin type, such as
and Priscos, end in the Gallic termination -os.

(4)

Cursive forms such as

(5)

for

L,

are

for

A,

II

found,

frequently

for E,

as

also

for
in

Julios

F,

and

Gaulish

inscriptions of the second century.

That he was working on the right lines has been now shown
by M. Dechelette, who has employed as the basis of his researches the more conclusive evidence of discoveries, especially
But of this more
of finds of moulds and remains of potteries.
will

be said subsequently.

On

the other hand there were two large potteries in Germany,

at Rheinzabern, near Speier,

and

at Westerndorf, in Southern

Bavaria, where ornamented vases were undoubtedly made. They

were apparently not largely exported, but many of the stamps
also occur on the plain wares from these potteries, implying
that the ornamental vases must also have been made by
2
The pottery of Westerndorf begins about
the local men.

Dragendorff notes that of

the middle of the second century.

1

Collect.

Land.

Antiq.

loc. cit.

vi.

p.

70

///.

Rom.

See Banner Jahrb. xcvi.

p. 105.

CENTRES

IN

GAUL AND GERMANY

505

the Gaulish potters' stamps only forty-one have been found

in Italy, and many of these only in Cisalpine Gaul, while others
are very rare.
all

In regard to the forms, the chief fact to be noted is that new

shapes and methods of decoration now appear with the growth
of the provincial potteries, unknown in Italy, and the earlier
bowls and dishes are not found (for instance) at Rheinzabern. 1

One form

of dish (No. 32) is new, but anpther (No. 31) is clearly

developed from the Italian type (No. 18). An essentially Gaulish
form of deep bowl or cup is No. 33 another with handles (No.
;

34)

is

pebbles

make

The mortaria with spout and

grinding (see below, p. 551) now first

only found at Banassac.

inserted

for

appearance, especially in the Limes forts and in

Many of the forms clearly indicate an imitation of

their

Britain.

metal. Dechelette notes that of the forms given by Dragendorff

(Nos. 15-55) about twenty in all are found in Gaul, including
2
To
the three used for moulded wares (see below, and p. 50 1).

new forms, which he numbers 56 to 71,

and for the vases with barbotine or appliqut decoration six
more (72-77) must be included in the list. 3
The next feature to be considered in these vases is the
decoration, which is not confined, as in the Italian wares, to
reliefs obtained from moulds, but is also produced by ornaments
applied to the surface of the vase, either in the form of separate
figures or medallions modelled by hand or made from moulds
and then attached, or by the method known as en barbotine
Sometimes the decoration takes the
(see below, pp. 512, 529).
form of impressed or incised patterns (p. 515), but these are
more characteristic of the commoner wares.
For the present
we may limit the discussion to vases in which the decoration
4
is produced at the same time in the mould.
Vases of this type exhibit a remarkable monotony of form,
being, as already noted, practically confined to two varieties of
the bowl or deep cup, one with curved, the other with straight,
sides (Forms 29 and 30 = Figs. 221, 222), at least up to the middle
these he adds sixteen

See ibia. p. no, pis. 2-3, figs. 31-55,

for later provincial forms.
2

See his

vol.

i.

p. 29,

with plates 2-5.

Ibid.

See Banner Jahrb.

ii.

pis. I, 2.

xcvi. p.

126

ff.

ROMAN POTTERY: PROVINCIAL FABRICS

506

In the latter half of that century these

of the first century.
are supplemented by a third variety (Form 37
Fig. 223), and
at the same time a gradual diminution in the sharpness of the

in the reliefs themselves, becomes apparent.

No
ware
can
be
connection
with
the
Arretine
direct
traced, either

outlines, as

The

the forms or in the decoration.

in

stamps are

potters'

the interior, as on the plain wares, but subsequently on the exterior, in the middle of the design.
At first there is a general absence of figure subjects, and

found at

in

first

the designs are purely ornamental, or else animals, such as

birds or hares, are introduced as mere decorative elements.
An important distinction from the Italian wares should be
viz.

noted,

such an

that in the latter the wreaths or scrolls which play

important part in the decoration are composed of

single detached

leaves

wares the whole wreath

or

flowers,

is

modelled

whereas in the provincial

in one continuous system,

formed of undulating motives, as at Graufesenque, or of a

On the
straight wreath or band of ornaments, as at Lezoux.

either

other
the

"

hand the
free

figure compositions are never continuous until

style comes in at Lezoux with the second century,

"

but are broken up by ornaments into metope-like groups.

The typical arrangement is that of a wreath between rows of
beads or raised dots, with a triple band of hatched lines or
"

"

ornament above, and rays or pear-shaped

ornaments below, pointing downwards. Sometimes the wreath
is duplicated
or the frieze is broken up into metope-like
machine-turned

groups of animals bordered by ornament, as in the first-century

bowls found in France and Italy, which Dechelette attributes
the

to

of

potteries
2

With

Cevennes).

Condatomagus

(Graufesenque

in

the

the introduction of the hemispherical bowls

a new system, in which the upper edge is

(form 37) comes

left plain, followed by a band of egg-and-tongue ornament
then comes the main frieze, and below this a simple wreath.

first appear at Lezoux about A.D. 7O

Rheinzabern with the beginning of the next century.

This form and method

and

at

The
1

final

.Cf.

figs,

i,

stage

is

reached when

the vises given in Plate

2,

and

Dechelette,

LXVII.
pp.

70,

consists

180, pi. 6.
2

i.

the decoration

See below,

p.

520

of

ORNAMENTATION AND SUBJECTS

arranged in medallions and arcades, or freely

either

figures

507

system which -obtains exclusively at Westernthe

bulk of the terra sigillata found in Britain.
dorf, and on
Along with these changes in arrangement goes a steady
in

friezes,

artistic

degeneration.
regards the subjects, it may be generally observed that
In many
the conceptions are good, but the execution is poor.

As

cases they are obviously imitations of well-known works, and

The types include
it is curious that no Gaulish subjects occur.
warriors
and gladiators,
of
and
heroes,
gods
representations

In general they are of Hellenistic origin,

hunters and animals.
and include all such subjects as are characteristic of the art of
the period. 1 At first, however, purely decorative motives hold the
field, in imitation of the Arretine ware, and it is not until after the

disappearance of the latter that figure decoration is found. We

have imitations of sculpture, as in the types of Venus bathing
or the Diana a la biche, and of the Hellenistic reliefs with genre

and

The

2
idyllic subjects, as in the scenes with fowlers or fishermen.
"
"
reliefs furnish models for types, as in other
new-Attic

branches of Roman art (see pp. 368, 489), and Eros, Herakles,
and Dionysiac subjects are universally popular.
Among the mythological types DragendorfT has collected
the following 3
Zeus, Poseidon, Apollo, Hephaistos, Hermes,
Aphrodite, Artemis, and Athena Dionysos, Herakles, Victory,
Fortune, and Cupids Amazons, Giants, sea-monsters, Gryphons
and Sphinxes, Pygmies and cranes Bellerophon, Aktaeon, the
rape of the Leukippidae, and Romulus and Remus suckled by
:

The

the wolf.

Roman
one

is

gladiatorial subjects closely follow the types of

and the favourite theme, a combat of two

worsted, resembles a common type on the lamps
art,

in

which

(p.

4t6).

Thus, though the style of art

draw
1

2
3

is essentially provincial, the subjects

their inspiration exclusively from classical sources. 5

See generally Dechelette,

Ibid.

An

91
exhaustive
ii.

p.

4
i.

p. 219.

if.

and ornaments of

list

all

of types, figures,

kinds, as found in

the Graufesenque and Lezoux fabrics,

given

by

Dechelette

volume, p. 5

ff.

See Roach-Smith,

///.

Rom. Land.

p. 95.

in

his

is

second

5
See also the useful list given by Von
Hefner in Oberbayr. Archiv, xxii. (1863),
p. 28 ff., giving the chief types on German
wares from Westerndorf and elsewhere,

508

ROMAN POTTERY: PROVINCIAL FABRICS

series of

examples from Britain may be noted as covering

ground indicated
they are mostly from

in their subjects the

Roach-Smith's extensive collection, now in the British Museum. 1

They include a vase with figures in separate compartments
:

Diana, Minerva, Hercules, Bacchus, a man with a cup, and

another with Hercules in the Garden
Satyrs and Nymphs
;

of the

Hesperides killing the serpent, Diana, warriors, and

of
ornament a third with Bacchus and a tiger, Luna,
panels
and Genii with torches. Others have Apollo with Diana or
;

Diana and Actaeon

copies of statues of
Venus (of the Cnidian or Medici type) the labours of Hercules,
Bacchanalian orgies and processions, and such deities as
Victory, Fortune, Cupids, and Anubis, as well as Satyrs and

Daphne

pursuing

On

Fauns, Gryphons, Sphinxes, and Tritons.

Divixtus illustrated in Plate LXVIII. fig.
are

Venus

at

her

toilet,

Diana with a

2,

stag,

the

vase of

the

subjects

and a Silenus

carrying a basket of fruit. The subjects from daily life include

hunting scenes of various kinds
dogs pursuing stags, boars,
;

combats of bestiarii with various animals musicians,

and gladiators. Ornamentation of a purely decorative character
includes animals and trees, and representations of fruit, flowers,
and foliage, either in scrolls or interspersed with other objects.
Roach-Smith also gives a curious example from Hartlip in Kent 2
with two separate friezes of figures and the potter's stamp
SABINI M 3 on the upper band are Leda and the swan and
a seated goddess with cornucopia on the lower, Diana with a
deer, under a canopy, and Victory crowning a warrior, the
or hares

various groups being several times repeated.

The style is
very rude, and though the subjects are classical, the figures and
4
designs are very barbaric, almost mediaeval in appearance.
The terra sigillata fabrics appear to have lasted on down
to the end of the fourth century in the provinces, but are by
1

pi.

See Cat.of London A ntiqs. Nos. i$8ff.

///. Rom. Lond. p. 89 ff. ; Collect.
;

Antiq. passim
2
3
4

also Plate

LXVIII.

but recent researches show that this

There

Collect.

Antiq. ii. p. 13.

Cf. C.I.L. xiii. 10010, 1682.

of Sabinus in

Hence Roach-Smith was

(Dechelette,

date the vase as late as the

inclined to

fifth

century

Even

in

the

is

first

century
debased style are found.
were two potters of the name

impossible.
vases of this

i.

the
p.

first

297).

century in Gaul

SUBJECTS AND STYLE

509

Some
that time not only rare, but exceedingly degenerate.
found at Andernach can be attributed to the reign of Magnus
Maximus (A.D. 388), and in others, apart from the style, the
costume of the figures resembles that of the fourth century l
;

the potters' stamps

by

this

time have entirely ceased.

The names of potters which, as we have seen, so frequently

occur on the provincial wares are nearly all Gaulish in form
or origin, and this, it has been noted, is one of the strongest
Gaulish origin of the pottery. The stamps
usually quadrangular in form, but sometimes circular or
oval, or in the form of a human foot; they are depressed in
the surface of the vase, but the letters are in relief.
There
for the

arguments
are

considerable variation in the form of the

is

letters,

which are

often cursive (see p. 504), often ligatured, and frequently single

letters or whole words are impressed backwards.
The names

are

either

in

the nominative, with or without

F,

FEC, FECIT,

or in the genitive with OF, OFFIC, etc., M, or MANY

the Gaulish
word AVOT for FECIT is also found. 2 It is rare to find a potter
;

with more than one name, and probably few of the Gaulish
3
on the other hand, there are
potters were Roman citizens
;

few undoubted examples of slaves' names. Some groups of

names seem to indicate partnerships, such as VRSVS FELIX,

PRIMI

PATER(/Z/),

SECVND(Y)

RVFIN(/)

in

other cases the

name of the father is also given, as TORNOS VOCARI F(z7ius),

VACASATVS BRARIATI F, 4 but it is not impossible that the formula
"
"
may mean, Tornos the slave of Vocarius," or, Vacasatus
the slave of Brariatus made (fecit}?
In Aquitania stamps occur
with FAM(&//) or NEPOTIS added after the name. Some groups
of names are peculiar to certain localities, Amabilis, Belsus,

Domitianus, Placidus, etc., being found only in Germany

other potters give a hint of their origin, adding to their names
ARVE or AR for Arvernus, the district of the Arverni, corre-

Banner Jahrb. xcvi. p. 139:

Roach-Smith, Collect. Antiq. ii. p. 15.
2
See C.I.L. xiii. part 3, p. 121.
1

Ibid.

Britain

is

p.

20.

An

example

cf.

from

L. Cosconius Virilis (C.I.L.

vii.

1336, 346:

cf.

Roach-Smith,

Antiq. \. p. 155).
4
C.I.L. xiii. 10006, 95,
tarium.

Collect.

on a mor-

5io

ROMAN POTTERY: PROVINCIAL FABRICS

sponding to the modern Auvergne. Vases are found at Lezoux

here the name may be a
with the stamp RVTENVS FECIT
deliberate intention of the Rutenian potter, to show that the
The name Disetus, which is found
vase was not made locally.
1

on the Rhine, occurs in Gallia Belgica in the form Diseto,

the variety being due either to differences in date or in the

Among peculiarities in the stamps may

place of fabric.
be mentioned an instance, given among those from Britain,
where the potter from ignorance or caprice has impressed the
stamp of an oculist, intended for a quack ointment, on the
bottom of a cup (found in London, and now in the British
2
It reads
Q IYL SENIS CR OCOD AD ASPR (croMuseum).
made
from saffron). In 1902 some interesting
an
ointment
codes,
graffiti were found on pottery at Graufesenque (cf. those
given on p. 239), being apparently notes made by the potters,
such as viNAR(z'tf), ACET(a&u/a), TAR(/C/^J), and so on, as well
as the names of the potters and the quantity of the contents
3
in each case.
But it is not possible to ascertain the forms
:

corresponding to the names given in graffito.

Some peculiarities of the potters' stamps may be noted
among those from Westerndorf and Rheinzabern, in which
4
Thus at
certain combinations occur on the same vase.

Westerndorf we

find

COMITIALIS

FE

COMITIALIS

SEDATVS

MAIANVS

CSS

Rheinzabern

at

EROT
ER
[CSS
\CSS MAIANVS
CSS ER
CSS ER
CSS

CERIAL

CONSTANT

FE

COMITIALIS

FE

f IOVENTI

LATINNI
|

ISECVNDAIANI
1

C.f.L.

xiii.

C.I. L.

vii.

looio, 1670.

1314

cf.

Rev. Arch.

Dechelette,

i.

pannae, whence our "pan."

*
See Oberbayr. Archiv fiir
Gesch. xxii. (1863), p. 38, pi. 4,

xxiv. (1894), p. 57.^

3

p.

86,

pi.

13;

Rev.

Arch. iii. (1904), p. 75 ff. The names

of vessels include the interesting word

CJ.L.

iii.

6010,

68;

Dechelette,

p. 210.
5

Banner fahrb.

vaterl.^
fig-

xcvi. p. 136.

GAULISH AND GERMAN POTTERS

511

The names Comitialis and Cerialis are found on stamps interspersed among the designs, and therefore made with the vase
the mould, but those with CSS occur on the rim, and were
added subsequently. It will be noted from the above

in

therefore

examples that the names

instance

are

common

Primitives

like Comitialis

more than one

to

is

another

fabric, but those in

the latter, therefore, refer

the second series are peculiar to one
to the actual potter (figulus\ the former to the designer of
;

(sigillarius), whose moulds were employed in

to the
It is an interesting parallel
more than one place.
conclusion
of
vases.
This
and
the
Greek
eTrolvjaev
eypatyev

the decoration

from the discovery of certain

and Westerndorf,
Rheinzabern
types
was
a
there
of
that
exchange between the
system
showing
two potteries. 1 The name CSS is only found at Westerndorf,
and it has been supposed that it denotes C. Septimius SecunThe name
dianus, a name which occurs in the neighbourhood.
of Comitialis is found on a vase from London in the British
2
Museum, presumably imported from Germany.
receives additional confirmation

of decoration

both at

Representations of potters are not

unknown

and there are also allusions to them

in

Gaulish art

inscriptions.

Some

and thereby proclaiming

are depicted wearing the tunic only,

servile condition
others wear

their

in

the

cloak

also,

as

for

instance one Casatus Caratius, fictiliarius, who is represented

on a stele at Metz holding a fluted vase like those made in

On

black ware. 3

another, L. Aurelius Sabinus

is

represented,
lagena
background, and
an inscription which runs, L. Aurelius Sabinus doliarius fecit
sibi et suis^
Several inscriptions found in Germany speak of

with an amphora,

artis

negotiatores

what
for

cretariae,

we should

the

of

sale

olla,

and

call

"

Oberbayr. Archiv,

CJ.L.

vii.

the finer wares.

xxii.

(1863), p. 43.

1337, 22.

Blanchet in Bullet.
Orelli, 4189
ArchtoL 1898, p. 29, and id., Melanges
;

Gallo-romaines ,

ii.

(1902), p. 109.

the

and may be assumed to

commercial

Wiesbaden Secundus Agricola

in

is

travellers

"

refer to
"
or " agents

In an inscription found at
mentioned in this capacity,
4

See

Marquardt,

Privatleben

Romer, p. 648, note 7.

5
Henzen, 7258 Blanchet, he.
cf. CJ.L. iii. 5833.
;

der
cit.

ROMAN POTTERY: PROVINCIAL FABRICS

Si2

another from Dornburg, Secundinus Silvanus, a native

1
M. Messius Fortunatus, whose name actually
occurs on pottery, is described in inscriptions as being also

and
of

in

Britain.

pavimentarius (road-maker) and paenularius (cloak-maker).

Apart from the potters' stamps, some interesting inscriptions
have been found on the vases from Rottenburg in Germany.
There are examples with the names of the consuls for A.D. 237,

M. Clodius Pupienus Maximus

Others have the names of the
(the first year of their reign).
legions stationed in the colonia of Sumlocene or Solicinium,
which this site represents, with the dates A.D. 169 (LOCEN AV C MLVI), 248 (C STI A V C CDl), and 303, and the names
4
Incised inscripof the twenty-first and twenty-second legions.
tions on Roman pottery are common throughout the provinces,
as the pages of the Corpus indicate, but are more usually found
on the plain wares than on the terra sigillata.
Among the
more interesting examples is a vase in the Louvre, of the
which is incised
first century after Christ, on the neck of
Didius Caelius Balbinus and

GENIO

TVRNACENSIVM,

"To

the

Genius

Turnacum "

of

another found at Ickleton in Cambridgeshire

(Tournay)
"
Friends are they who drink
had (ex ho)C AMICI BIBVNT,
"
from
a
third
from this
Leicester, VERECVNDA LVDIA
LVCIVS GLADIATOR, supposed to refer to a love-token or
7
A vase of black
present from a gladiator to his mistress.
ware from Taplow, Bucks, in the British Museum has a Greek
;

inscription.

We

next come to the discussion of the vases decorated in

the method known as en barbotine? This is exceedingly rare
in Italy, and it is probable that the vases there found are im1

ii.

Steiner, Cod. Inscr.

p.
2

305;

Danub.et Rheni,

Orelli, 2029.

Orelli, 4302

;Henzen, 7259 ;Blanchet,

Banner Jahrb. xv. p. 53 ff.

1653, 1661
5
Gaz. Arch. 1877, p. 180; Roach;

Smith,
6

loc% dt,

Steiner, op.
p. 58, No. 130.
Other names of consuls from 199 to 228
8

cit.

i.

are given in Bonner Jahrb.

(these are in graffito].
4

Steiner,

ii.

p.

xv.

p.

61

3496., Nos. 1649-51,

Collect.

Antiq.

iii.

pi. 31, p. 193.

Journ. Brit. Arch. Assoc.

C.l.L.

vii.

iv. p.

364.

1335, 4-

For the technique of this process see

above, p. 442, and Brongniart, Traitt, i.
p. 4 2 5-

BARBOTINE DECORATION

513

the process seems to have been invented in Gaul

portations
or Germany, and the only parallel thereto in earlier ceramic
;

art

method employed

the

in

is

for

the

of the

gilded vases

At

first
and fourth centuries (see Vol. I. p. 210).
appearance it occurs on vases of common grey or black
unglazed ware, found at Andernach with coins of Claudius and
1
Nero, but by the end of the first century it is also employed
on glazed wares, red or black, and even on the enamelled
The ornamentation
glazed vases of Gallic or German origin.

fifth

its

at first exceedingly simple, consisting of plain leaves, chains

of rings, or raised knobs, as on the examples found in Italy
but it developed rapidly, and the patterns become very varied.
is

Its chief

merit

essentially a free, not a mechanical

of the specimens from the Rhine and Britain

that

is

it

is

method, and some

have really effective compositions of animals and interwoven
Even human figures find a place but towards the
scrolls.
end of its popularity the ornamentation encroaches upon and
;

finally ousts the figure subjects,

and crowding of

and degeneration

is

manifested

In the earlier examples

there is a marked preference for a slip presenting a contrast
of colour to the clay, and we find white used on red and black
in artificiality

ware,

brown on buff ware

2
heads), and so on.

detail.

(early

German

vases in the form of

human

In Gaul, barbotine

is

limited to subsidiary decorative patterns,

and is never used for figures as in Germany and Britain (see

below and p. 544) it is very common in the North of France.
At Lezoux it was employed in the earlier* period of that pottery
(A.D. 50
100) for simple leaf-patterns, in the later (A.D. 100
260)
;

to complete the decoration of vases with appliqut reliefs (p. 529). 3

The black glazed wares decorated en barbotine are characteristic

of the second century, and extend

The

down

to the fourth. 4

clay
actually red, with thin walls, but is covered with
a black or dark-brown varnish, often with a metallic lustre,
is

There is an example of this ware

from Cologne in the British Museum
(Greek and Roman Department), and
others at Turin and Trier.
Dechelette
(ii.

p.

309) states that

VOL.

ii.

it

is

found in the

first

century B.C.

See Banner Jahrb. xcvi. p. inff.

Holder, Formen der rom. Thongef. p. 8.
*

Dechelette,
4

ii.

p. 309.

Koenen, GefdsskunJe,

p. 101.

33

5H ROMAN POTTERY: PROVINCIAL FABRICS

which when too much baked turns to

red, and thus presents

the appearance of terra sigillata. The barbotine is either of
the same colour as the clay, the varnish being subsequently
added over it or composed of white or yellow slip and applied
y

The decoration usually takes the form of

leaves or scrolls, or of simple raised knobs
but figures of dogs,
deer
and
are
and
men.
hares,
found,
occasionally

after the varnish.

On

the red or terra sigillata wares the barbotine process is not

found earlier than the middle of the first century there is none,
;

Andernach. It is practically unknown in Italy,

and a few fragments from that country in the Louvre and
Dresden Museums are probably importations. Moreover, it is
confined to forms which only appear with the development
for instance, at

of the provincial potteries. The earliest specimens are found

with coins of the Flavian epoch at Trier and Xanten it occurs
;

also in

Germany and

and there are examples at Speier

does not seem to have been made at

Britain,

from Rheinzabern, but it

Westerndorf. The ornamentation is very limited in its scope,
and from a strictly artistic point of view it was not really suited

any but simple patterns of leaves

(especially those of the ivy

or
for
running animals.
Figures of
form)
are
found.
From
or
bestiarii
hunters, gladiators,
occasionally
no
fine
details
were
of
the
the very nature
possible,
process
for

or of lanceolate

Someall must be executed in long, thin, and soft lines.

times, however, scrolls in barbotine were combined with figures
of men and animals made from moulds, as on the Lezoux ware
and

Potters' stamps are rare, but DragenIt has

from
Cologne, Bonn, and Speier.
examples

described below
dorff gives

(p. 529).

been pointed out by the same authority that the influence of

glass technique is strongly marked, not only in the method,
which suggests the imitation of threads and lumps of spun
in the proglass, but also in the forms, which frequently occur
2

ware of the period, then rising into prominence.

of
British barbotine ware are given on Plate LXIX.
Examples
The other method of decoration to which we have alluded,
that of indented ornamentation, is undoubtedly an imitation of

vincial glass

glass technique,
1

and the forms

Banner Jahrb.

xcvi. p. 120.

(flasks
2

Op.

and small cups or bowls

cit. p.

121

cf.

Mus. Borb.

v.

13.

ORNAMENTATION

INCISED

515

without feet or handles, of ovoid or spherical form) are equally

1
The decoration consists of
characteristic of that material.

and sharply-cut ornaments in the shape of an

combined with naturalistic foliage.
This ware may be dated by coins between A.D. 100 and 250;
there are no examples with potters' stamps, but it seems to
have been made at Lezoux, Trier, and Westerndorf, and
exported to Britain and elsewhere.
linear patterns

olive or barley-corn, often

What may be described as a variety of this technique, but

occurring in the red glazed wares, is a method of decoration
in rows of linear incised patterns, usually in small rectangular
These belong to the time of the
panels of hatched lines.
decadence of the ceramic industry, i.e. to the fourth century,
and are found chiefly in North and East France and Germany,

There are examples from

not in Central or Southern Gaul.

the Department of
lection).

The

Marne

in the British

are

patterns

Museum

(Morel Colstamps, not

Dechelette thinks the method

made with wooden

with the usual running wheel.

originated in Germany with the vases of the

La Tene

period.
character-

In order to elucidate further the development and

of the provincial Roman pottery, it may be found service-

istics

able to turn our attention to the various sites which are

to have been centres of manufacture, or

pottery in large quantities, and at the

the main points of difference between

Germany, and

known

which have yielded

same time

to indicate

the fabrics of

Gaul,

Britain.

2.

THE FABRICS OF GAUL

The

pottery of Gaul presenting the closest relationship, both

artistically and chronologically, with that of Italy, it will be

most convenient to accord it precedence. Hitherto a general

survey of the Gaulish fabrics has hardly been possible, as the
materials had not been collected and studied as a whole and
;

such a task was obviously beyond the capacity of any one

1

See

for

examples Dechelette,

Banner fahrb.
p.

109

Ixxxiv. pi.

Roach-Smith,

///.

2,

ii.

pi. 5

figs.

2-5,

Rom. Land.

p.
fig.
2

93
II

Vol.

Oberbayr. Archiv,
and Plate LXIX.
ii.

p. 325.

1863, pi.
fig. 4.

4,

ROMAN POTTERY: PROVINCIAL FABRICS

516

who had not

the advantage of a personal acquaintance with

now available in all parts of France.

mass
But since the indispensable and exhaustive work of M. Decheof material

the

lette

has appeared,

literature

on

it

has rendered superfluous all the previous

This scholar has earned

this particular subject.

the gratitude of students

his careful

study of the pottery

Southern France, by means of
which much light has been thrown on the Gaulish fabrics of
the first century, at the time when the sigillata industry was

on certain

excavated

by

sites

in

just taking root in Gaul, and had hardly freed itself from
In one section of his work he deals with
Italian influences.

the finds

about

made

in

1900 at Saint-Remy on the Allier,

in
another with those of
Vichy,

1895

from

miles

four

2
1901-02 at Graufesenque, near Rodez, in the Cevennes region,
3
With
and thirdly with the important fabrics of Lezoux.

these

and others of more or

less

importance we

shall

deal

successively in the following pages.

At Saint-Remy no

traces

of actual

furnaces were

found,

but fragments of moulds, etc., showed clearly that it was an

important centre, not only for pottery, but also for terracotta
As a rule little chronological evidence is to be obtained
figures.

from finds

France owing to the confused and unstratified

in

condition of the remains, or from absence of scientific records

but in the present case we are fortunate in possessing a series
;

of homogeneous types belonging to the earliest period of sigillata

ware in Gaul an entire uniformity of clay, technique, form, and
decoration shows that they must all belong to one circumscribed
;

epoch, in spite of the absence of coins or other definite evidence.

At the same time it has been possible not only to connect them
with finds at Mont Beuvray (Bibracte), near Autun, which can

be dated not

later

than

5 B.C., at

Ornavasso, on Lago Maggiore

Andernach (also Augustan,

(coins of Augustan epoch), and at
see pp. 502, 533), but also to obtain a clue to their originals
and prototypes.

The forms

of the vases

fall

under

five clearly-defined
3

41

ff.

i.

p.

i.

p. 64ff.

i.

P.

138

ff.

heads

SAINT-REMY FABRIC

517

^poculum, or tumbler-shaped vessel, a scyphus with flat-topped

handles, a straight-sided open bowl, flasks with or without
handles, and of conical form or pear-shaped (see Fig. 224).
All the vases are of white clay, with reliefs, but there are no

and the execution is often imperfect the secret

ware
seems as yet unknown, but there is evidence
red
the
of
that it was gradually substituted for the white, and the typical
bowl with sloping sides and continuous scrolls of foliage
potters' stamps,

Fig. 221)
(Dragendorff's No. 29
In
introduced here as elsewhere.

the Saint-Remy fabrics this bowl

only has a single row of orna-

ment, a tongue-pattern, scrolls, or

arcading round the lower part.

The

general conclusion reached by

M. Dechelette is that down to the
end of .the first century B.C. two
kinds of pottery were introduced
into Gaul
the Arretine ware,
which occurs at Bibracte with the
stamps of Annius, Memmius, and
Tettius, and a class of small
goblets and flasks of yellowish clay
which in many respects resemble
:

the

Saint-Remy

type.

The

latter

sometimes bear the name of AGO

ACASTVS, a potter who appears

to have worked in the region of
1

****''"*
FIG. 224.

Savoy or Piedmont, and who was

inspired by the Arretine technique and
His ware

VASE OF ST.-REMY FABRIC.

style

of signature.

Ornavasso, and at
Klagenfurt in Pannonia, where a fragment was found (Fig. 225)
with his name and an inscription which runs " Life is short,
also

occurs

in

Lombardy

at

are

kindled

let us drink,
come, (the lights)
2
He certainly belongs to the
comrades, while it is light."
Augustan epoch, and may be regarded as the immediate inspirer

hope

is

C.LL.

frail

xiii.

10009, 3

Dechelette,

2
i.

CJ.L.

lette,

i.

iii.

p. 34.

Suppl. 12013, 3J Deche-

ROMAN POTTERY: PROVINCIAL FABRICS

5i8

of the Saint-Remy fabrics.

Hence about the beginning of the
of
it
first century
our era
may be inferred that the potters of

Saint-Remy and

district

"
began to exploit

"

the Italian technique,

but following the Gallo-Italic method of Aco rather than the

The typical decorative motive by which this pottery
Arretine.

be recognised

may

is

a kind of arcading, which from having

assume a purely vegetable

of the vases are only ornamented with rows of
raised points, and this feature occurs on others with the potters'
names L. Sarius Surus and Buccio Norbanus. Figure decorafloriated points gradually tends to

Some

form.

tion

is

From

found only on the pear-shaped

flasks, in

the form of

De'chelette.

FIG. 225.

VASE OF ACO (FIRST CENTURY AFTER CHRIST), WITH INSCRIPTION.

To the same period

animals (Fig. 224) and bearded heads.
belongs a series of vases manufactured at Vichy and Gannat
in the

The

same

district.

from Graufesenque*

results obtained

in the

Department

This place
of Aveyron, have been even more remarkable.
in
ancient
the
the
country occupied
Condatomagus,
represents

by
the

by

Ruteni, and appears to have been a great centre of

terra sigillata industry.
Although it is not mentioned

the

Pliny, yet there

must have been

1

Dechelette,

i.

in his

p. 60.

time large exports

THE POTTERIES OF GRAUFESENQUE

519

southwards from this part of Gaul, even as far as Campania.

M. Dechelette has shown that it supplied not only Gaul and
Italy, but even Africa, Spain, and Britain, to a greater extent
than any other centre that, in fact, from A.D. 50 to 100 it was
1
the seat of the most important pottery in the whole empire.

Remains of pottery were

first

discovered in

1882 by the

Abbe Ceres, including a series of moulds, which made it certain

These discoveries were largely
that this was a centre of fabric.
supplemented by further excavations in 1901-02. Among the
moulds are those of certain potters which are only found here,
and consequently afford satisfactory evidence that such potters
can be localised in this region. The potters were not itinerant,
nor were the moulds transferred from one pottery to another
but the important central pottery seems to have attracted a
group of smaller ones to collect round it, just as we find Cincelli
linked to Arezzo (p. 483), and the moulds could be exchanged
from one to another within this limited area.
The local pottery of Gaul, which in the first century B.C.
had reached a high level, 2 was interrupted about the time of
Augustus by the invasion of Italian methods, by which it was
very rapidly Romanised, and Gaul became a mere tributary
of Roman industry.
At first two kinds of technique were
one with a white or yellow clay, as at Saint-Remy
practised
and Bibracte the other in the ordinary red ware, which appears
to have been employed exclusively at Condatomagus and
Lezoux, at first following on the lines of the Arretine ware,
;

but subsequently attempting new developments. Artistically

is inferior to the
Arretine, but it is much more varied.

it

Besides the terra sigillata proper, or moulded ware with reliefs,

which is by far the most numerous, we find in Gaul several
other

varieties

of technique

applique medallions,

separately

moulded and attached with barbotine, in imitation of the

Greek metal e/Lt/3X^ara barbotine decoration a class of so"
"
called
marbled
vases
and incised decoration of simple
;

See also Jullian

in

Revue

des Etiides

Anciens,\. (1899), P- 1522

Painted vases with Geometrical decoration were widely
exported, even to

Bohemia:
pis. 5,

6,

see Rev. Arch. xxvi. (1895),

p.

196

pis. 3-4, p. 17.

ff.

Gaz. Arch. 1881-2,

520

ROMAN POTTERY: PROVINCIAL FABRICS

made with a

linear patterns

tool

the moist clay, but with

in

But practically the wares found at

to
the moulded class, and the others,
are
limited
Graufesenque
which will be described subsequently, only became general in
bold and skilful execution.

the second century, when the Lezoux potteries

front and those of Graufesenque were exhausted.

In

the

terra

wares three

sigillata

forms

came

the

to

assume marked

prominence, those illustrated in Figs. 221-223; they are found

in fairly equal proportions, but the earliest form, which we may
call for

convenience No. 29, has a slight preponderance. We

form (No. 37) prevails at

shall see later that similarly the latest

form was introduced about A.D. 70. The interis

found at both, but more frequently at
The
only other found in the moulded wares is
Graufesenque.
a bowl on a high stem, which closely follows the type of the

Lezoux

this

mediate No. 30

in Fig. 219; it is therefore either common

Arretium and Condatomagus, or represents a transition
Dechelette quotes an instance
from one fabric to the other.
with the stamp VOLVS, which recalls the Arretine potter

Arretine krater seen

to

Volusenus. 2

About

three-fourths of the vases are ornamented, the decora-

two categories: (i) an earlier class with ornament

only, occurring on the forms 29 and 30 (see Plate LXVII.) (2)
tion falling into

a later with figures, such as animals or gladiators, the forms being

Nos. 30 and 37. Of the ornamental motives on form 29, there
3

scrolls
(a) simple winding scrolls; (fr)
with
combined
scrolls
medallions
in
with
combined
(c)
figures
"
"
semicircles
of
bands
arrow-head
(d)
pattern
panels of
in
(e) figures
enclosing volutes which terminate in rosettes
In this form the decoration is almost always in two
metopes.
vase the
friezes, a natural consequence of the shape of the

are five principal types

metopes or geometrical compartments only come in with form 37.

In the latter form seven successive types of decoration may be
derived
distinguished (a) a transitional system with metopes,
4
with
form
from the older
wavy borders, a
() metopes
:

See Dechelette, i. p. 66; it is the

form numbered 1 1 by Dragendorff.
2
xi. 6700,
Op. cit. i. p. 68 cf. C.I.L.
1

821.
3

See Dechelette,

Op.

cit.

i.

i.

pis. 6, 7, p. 69.

pi. 8, p. 74.

PLATE

LXVII.

GAULISH POTTERY OF FIRST CENTURY AFTER CHRIST

(GRAUFESENQUE FABRIC)
(BRITISH MUSEUM).

ORNAMENTATION AND SUBJECTS

521

diagonal or cruciform pattern often occupying alternate panels

l
Plate LXVII. fig. 2)
medallions, often
large
(7)
(cf.
combined with inverted semicircles (chiefly found at Lezoux cf.
;

Plate LXVII I. fig. 3); (8) arcading (rare at Graufesenque}

semicircles combined
(f ) large foliage-pat(e) arcading and
;

terns or vine-leaves, often interspersed with animals

(77) friezes
found at Graufesenque'. cf. Plate LXVII I.
;

of "free" figures (not

fig.

i).

In regard to the figure subjects, mythological types are rare,

and generally there is not so much variety as at Lezoux.

Dechelette reckons 177 different types in all, of which 112 are

peculiar to the fabric, whereas no less than 793 are peculiar to

Lezoux. 2 Hence, he points out, the origin of any Gaulish vase

may be determined from the nature of the types alone. In
execution they are unequal, some being copies of
popular themes, others of a nai've and unsophisticated character.
Gaulish elements are conspicuously absent. Although
the difference from the Arretine style is strongly marked, there
artistic

same tendency to display the influence of toreutic

"
new Attic " reliefs and the genre
prototypes, and even of the
3
But others are original and
types of the Hellenistic period.
non-classical in style, and there is no homogeneity.
Each
doubtless
had
its
which
a
favourite
pottery
subjects
point
yet the

is

may

prove of use

in

determining the separate

fabrics.

In

any case, figure-subjects only prevailed for a short period at

Condatomagus, whereas at Lezoux and in Germany they
extend over a considerable period. For Gaul did not become
Romanised before the reign of Titus
hence the previous
;

absence

of

mythological themes.

who worked

at

The

potter

Lezoux about

Libertus (see
100, stands

A.D.

below, p. 527),
out as the foremost potter and modeller in Gaul, who, brought
up on classical traditions, influenced the whole pottery of the
country.

The
1

question of the chronology of these Rutenian fabrics

See also op. cit. pi. 9, p. 73.

See his vol. i. p. 75 for further details.
A figure of Artemis is derived from

the type given by Hauser, Neuattische

Reliefs, pi. I,

fig.

for a

genre type,

cf.

the fishermen figured by Dechelette, Rev.

des Etudes Anciens, v. p. 55 (= Vases de
la Gaule,

ii.

p. 91,

type No. 556).

ROMAN POTTERY: PROVINCIAL FABRICS

522

depends more upon the results of comparison with other sites

than on the internal evidence of the finds. None of this pottery,
for instance, is found at Bibracte, which was deserted about the
but at Andernach vases with Rutenian
beginning of our era
are
with coins ranging from Augustus to
found
potters' stamps
Nero.
They are also abundant at Xanten, Neuss, and Vechten
in Holland.
Evidence may also be obtained from the German
Limes, where form 29 disappears about A.D. 30. The exportation of Rutenian wares, therefore, began about the reign of
Their wide distribution may be traced by a study of
Tiberius.
the inscriptions in the thirteenth and other volumes of the
2
Latin Corpus.^ In Britain they are found in London and at
Out of thirty-four ornamented vases from the latter
Silchester.
site in the Reading Museum, M. Dechelette attributes exactly
half to Condatomagus, representing the first century, and the
;

In Italy
Lezoux, representing the second.
this ware is found at Rome and Pompeii, and of the typical
Rutenian subjects some twenty have been noted among the

other

half

terra

sigillata

Jucundus,

to

The

Roman museums.

in

Mommo, and

others of Rutenian

potters Bassus,
are found

origin

the only one from the Auvergne district

and the same names occur at Pompeii,
whose stamps are characteristic. 6
of
that
Mommo,
especially
The latter group of vases, moreover, supply, as in other cases,

Rome, whereas

at

there

Albucius

is

important evidence for dating the Rutenian vases

not only that Mommo and the others were in

they show,

full

activity

before A.D. 79, but that mythological subjects not found on

the Pompeian examples were only introduced towards the

end of the pottery's activity.

Another well-known potter who appears to have worked at
Condatomagus is Vitalis, whose signature in full or in the
form OF VITA is well known there. He is also found as far
.

The list

of names given by Dechelette,

i.
p. 81, will render it possible to trace
Rutenian potters on these sites in C.I.L.
1

xiii.

part 3,

(Britain),
etc.,

x.

fasc.

see

also vols.

vii.

(Campania), xv. (Rome),

and Dechelette,

Op.
4

p.

105

ff.

Cf.

cit.

British

and Guildhall

p. 112.

i.

C.I.L.

xv.

5059,

5273,

5355

494$5

i.

in

Examples
Museums.

C.LL.

x.

8055, 27

cf.

Dechelette,

i.

p. 9 6ff.

NAMES OF RUTENIAN POTTERS

523

1
This is
Carthage and on the east coast of Spain.
additional testimony to the extent and quantity of exportations
from this centre, and to its position as the most flourishing

afield as

manufacture

in

Roman

the

empire at the time.

This popu-

could never have acquired if the fabrics of Arretium,

Mutina, and Puteoli had not now reached their decadence nor,
if those of Auvergne, such as Lezoux, or of
the Rhenish
larity

it

provinces had been already

wares

have

penetrated

would the Rutenian

Gaul and Germany.

in full activity,

Central

into

M. Dechelette notes as an interesting fact that in some collections of Roman pottery debased wares with Arretine stamps
are to be seen, apparently not later than A.D. 80, and evidently
these bear the names of L.
imitations of Rutenian ware 2
Rasinius Pisanus and Sex. M. F., of whom mention was made
in the last chapter (p. 485).
There is no evidence that this
was
in
existence
after
A.D. 100, and its rapid dispottery
is
rise of Lezoux, where, as
due
to
the
appearance
certainly
noted below, Rutenian potters' stamps are not uncommon
;

in the first century.

names of Rutenian
hundred
and thirty-two
potters, which are distributed over two
3
vases or fragments known to him.
On form 29 the stamps
are only found in the interior of the vases, and hence are not
found on the moulds, but both were probably made by the
same potters. Vases of the other two forms are often unsigned.
Dechelette

Of

has

individuals

collected

Mommo
The same

forty-three

occurs

sixty-three

times,

Germanus

thirty-eight.
points out that the evidence
from Graufesenque would overthrow any theory of itinerant
potters, if on no other grounds, from the fact that the moulds
j

writer

of a particular potter are only found on the one spot.

group of vases which must be mentioned here, though a very
small one and not strictly belonging to the terra sigillata, is that

of the yellow ware with red marbling. 4

It consists of a small
of
bowls
a
dull
and
with
dishes
group
yellow slip covered
C.I.L. ii. 4970, 559 from Tarraco,
and the vase published in Rev. Arch.
xxxiii.
(1898), p. loo, fig. n, from

Carthage,

Vol.

Op.
*

i.

p. 113.

cit.

i.

p. 79.

Banner fahrb.

morirung")

xcvi.

p.

97 ("Mar-

see also Dechelette,

i.

p. 67.

ROMAN POTTERY: PROVINCIAL FABRICS

524

of a red colour, producing a variegated effect.

were found at Trier, one with the stamp of
of
these
Eight
In
are a few others in German museums.
and
there
Primus,

with veins

Southern Gaul, as at Aries, they are more common, and others

have been found at Lyons and Vichy. The British Museum
possesses one from Bordighera and three from Aries, and they
are also known in Sardinia and Southern Italy there are two
;

Naples from Pompeii with the stamp of Primus.

at

The

latter

fact gives a terminus ante quern for their date, and it is probable
that some place in Southern Gaul was the centre of the fabric.

Dragendorff suggested Aries, where stamped examples have

been found; but De"chelette points out that all the potters'
names are Rutenian, and this is conclusive evidence in favour
in any case we have here an instance of
of Graufesenque
It is not certain in what
exportation from Gaul into Italy.
;

manner the marbling has been produced

it

probably an

is

imitation of glass.

Yet another example of a fabric which was imported from

Gaul into Italy is to be seen in the pottery of Banassac, a class
of vases with inscriptions of a convivial character, with letters
2
The form is that of the hemiin relief encircling the body.
spherical bowl No. 37, the appearance of which at Pompeii
shows that it was developed before A.D. 79. They are found
in large

numbers

in the

south of France, especially at Nismes,

as well as Banassac at the

Orange, Vienne, Montans (Tarn),

place fragments have been found on the site of a potThe most notable
tery, showing that they were made there.
latter

example

(Fig. 226)

Naples

Museum

friend,

from

and

my

was found

it is

at Pompeii,

inscribed BIBE

and

now

is

in

the

AMICE DE MEO, "Drink,

by leaves,

(cup)," the letters being separated

of ordinary red terra sigillata ware.

Here, again, it is
in
the
first century, not later than
the
fabric
to
date
possible
On the local specimens are found such
the reign of Vespasian.
is

sentiments as Gabalibus
1

felicit(er),

c.l.L. x. 8056, 283.

See Bonnerjahrb. xcvi. p. 101 ; Gaz.

Arch. 1877, pi. 28, p. 172 ff. ; Dechelette,

i.

Remis

(felici^ter,

Sequanis

p. i2off.
3

Mus.'Borb.

8056, 4

vii.

Dechelette,

pi.
i.

29;

p. 121.

C.J.L.

x.

THE BANASSAC FABRIC

525

bonus puer\ bona puella the two

vent ad me arnica
last-named recalling the seaside mugs of the nineteenth century.
The convivial inscriptions we shall meet with again in a later
1

feliciter

Terra sigillata
fabric from the region of the Rhine (p. 538).
was also made here and at Montans in the Department of
Tarn the decoration is in the form of metopes, denoting the
;

From Mus. Borb.

FIG. 225.

VASE OF BANASSAC FABRIC, FOUND AT POMPEII.

No

transitional

period (about A.D. 70).

found on the inscribed vases.

The
studied

potters'

names are

pottery of Lezoux, in Auvergne, was first carefully

2
by the late M. Plicque, who excavated there on a

large scale in 1879 and succeeding years, and obtained as a

result of his researches no less than three thousand different
potters' names, as well as the substructures of about a hundred
and sixty furnaces, forty of which were in good preservation,

About twentycomprising sixty-six distinct manufactories.

three more manufactories were traced along the principal roads
and the banks of the Dore and Allier. He also found numerous
1

Dechelette

(i.

p.

125) notes in these

names a direct proof of exportation they

were carried about by the negotiatores or
;

agents (p. 511) to the different regions

named.

Etude de la Ceramique Arvernoromaine (1887).

M. Dechelette has
embodied most of Plicque's researches

in

his

(i.

own
i

3 8ff.).

account of the

potteries

ROMAN POTTERY: PROVINCIAL FABRICS

526

remains of tools, potters' wheels, and other apparatus.

In
he
some
hundred
excavated
two
tombs
addition,
containing

seemed

quantities of pottery, which

ceremonies.
it in funeral

imply a general use of

The potteries here seem to have
been already in full working order in the time of Vespasian,
The earliest date to be
and lasted down to about A.D. 260.
obtained from the evidence of coins is about A.D. 70, but the
earliest fabrics seem to go back to the time of Claudius
the
to

date of destruction of the

site is

by coins of Gallienus

indicated

and Saloninus found among the burnt ruins.

A large proportion of the vases have potters' stamps, but
In the vases of form 29
there is no rule about the signatures. 1
the

names are

potteries

the

in

in the later

interior, denoting the masters of the

forms they are on the exterior, having

been placed on the inside of the mould before baking, usually

among the ornament. The ordinary formula is OF, M, or F, with
the

name

in

there

the genitive.
as

As

noted

to the distribution of

Lezoux

exportation before
A.D. 100, but after that time they prevail over Britain and
Germany. Dechelette gives ninety-two examples with potters'
vases,

was,

below,

little

stamps in Britain, including twenty-one names. A few specimens have been found in North Italy Paternus occurs at
;

Turin, Albucius at Rome.

Of the moulded or terra sigillata wares twelve different forms
are found, of which as elsewhere three prevail to the exclusion
of the others. 2

found

The

krater type (Dragendorff's No. 11) is only

about A.D. 40 50, and as already

in the earliest period,

520) forms 29 and 30 are not so common as at

Graufesenque, while form 37, which practically took the place
Dechelette distinguishes three
of 29, occurs in great quantities.

noted

(p.

chronological epochs of development, covering respectively the

In the first period
26o. 3
100, and 1 10
periods A.D. 40 75, 75

the decoration of form 29 develops in the same manner as at

Graufesenque, but with this important variation, that the run-

ning
1

scroll

is

replaced

by a

See Dechelette, i. pp. 155, 194 ff. for

of names, with types used by each
and places where found.
lists

straight pattern of vine or oak

2

71,
3

See Dechelette,

and

p. 149.

Op.

V.*p.

1786.

i.

pis. 4, 5,

Nos. 63-

PLATE

LXVIII.

GAULISH POTTERY FOUND IN BRITAIN LEZOUX

FABRIC A.D. 70250 (BRIT. Mus.).
;

THE LEZOUX POTTERIES

leaves, or

bands of rosettes or

circles.

lighter than at Graufesenque, the

is

The

The

527

colour of the glaze

reliefs

more

delicately

whom

use form 29,

and
Petrecus.
are Atepomarus, Cobnertus, Danomarus, Iliomarus,
It will be noted that these are all Gaulish names, whereas those

modelled.

potters of this period,

all

of

Graufesenque are all Latin.

the second period (A.D. 75
no) belong the bowls of
form 37 with transitional or metope decoration, or in the
"
"
free
style, which is employed by Libertus, an important

at

To

Exportations now first begin, and

potter of Trajan's reign.
are
found
on
the
Limes, but generally speaking they
examples
are few in number, and while the Rutenian potteries existed the
After the reign of Trajan,
output must have been limited.
numbers
were exported to Britain and Germany.
however, large
The cruciform ornamentation (p. 521) is found on the forms 30

and 37, and a peculiar type of egg- or astragalus-pattern (borrowed from Arretium) is used by Butrio and Libertus. Figure
subjects, introduced

by Libertus, now become general, especially

animals and hunting-scenes (see for an example Plate LXVIII.

The typical potters of the period are Butrio, Libertus,
fig. i).
Carantinus, Divixtus (Plate LXVIII. fig. 2), Juliccus, Laxtucissa,

and Putrius.

The
by

third period

the

form

medallions and

(no

37 with
wreaths

260) is represented almost exclusively

decoration in "free" style or large
;

a few

30 and

examples of form

The
(Dechelette's No. 68: cf. p. 529) are found.
chief potters' names are Advocatus, Banuus, Catussa, Cinnamus

the

olla

LXVIII. fig. 3), Doeccus, Lastuca, Paternus, and

Of these, Paternus belongs to the period of the
Antonines, and he and Cinnamus, says M. Dechelette, repre-

(Plate
Servus.

sent the apogee of the prosperity of Lezoux,

commerce.
appearance

and of

its

export

The

period of degeneration is marked by the

of barbotine decoration and imitations of metal

It is difficult to
(see below).
came to an end, but there is

was manufactured

say exactly when the potteries

no evidence that terra sigillata

after the third century,

bably right in attributing

and Plicque

destruction

their

invaders in the reign of Gallienus.

to

the

is

pro-

German

ROMAN POTTERY: PROVINCIAL FABRICS

528

The wares characteristic of the earlier period include dolia of

coarse clay and other plain fabrics, as well as the various types
of terra sigillata.
Among the latter are examples of importations from the Graufesenque and Banassac potteries and other
Aveyron district, but the majority are of local
These include, besides the moulded red wares
with figured decoration and potters' stamps, orange-red wares,
yellow polished wares (often micaceous), and black ware with

places

in the

manufacture.

barbotine

ornamentation, on which potters' stamps are not

also a centre for the enamelled glazed

Lezoux was

found.

wares which have been described in Chapter III. In the later

period the red wares are ornamented with figures from moulds,
or with barbotine, or have lion's-head spouts (see below).
The
marbled vases (p. 523) are also found, and in the third century
the vases with applique reliefs, with incised or hollowed-out

ornamentation, or bronzed

in

imitation of metal, are the pre-

vailing types.
The salient points of difference between the earlier and later
The clay of the earlier is only
fabrics, says Plicque, are these.

baked

to a small degree of heat

exceedingly porous.

It

is

also

and

not vitreous, but is

frequently full of micaceous
is

becomes more vitreous but less

porous it is more compact and sonorous, free from mica, and
more brilliant and lustrous. In the earlier, the forms are artistic
and symmetrical, the ornament sober and elegant, remarkable
The figures are enclosed in medalfor its taste and simplicity.
of rays or rounded leaves, rows
consist
the
ornaments
and
lions,
In the later, the art degeneand
of beads,
guilloche-patterns.
rates, the ornamentation becoming heavy and overcrowded,
and the figures are broken up and badly arranged the forms
The principal decorative
of the vases, too, become heavier.
In the potters'
is the egg-and-tongue round the rim.
pattern
have frequent
letters
the
first
the
two
of
periods
stamps
are
often in the
the
names
abbreviations
and
ligatures
nominative or with OFFICINA preceding the name. Later, the
the names are
letters are coarser and ligatures are rare
particles.

Subsequently

it

usually in the genitive, followed

1

See Plicque's summary

in his

by

(manu*) or QY(fictna).

tude de la Ceramique Arverno-rom. p. loff.

VARIOUS FABRICS FROM LEZOUX

The

characteristic

(J

for

v found

529

the middle of the second

in

century should be noted.

the subsidiary fabrics of Lezoux the most remark1
that of the vases with applique reliefs.
They are formed

Among
able

is

entirely on the wheel,

and the decoration

is

made

separately

from moulds (p. 440), and attached with barbotine, either in the
form of a medallion or with an irregular outline, varying with
Barbotine in many cases is also employed for
the figure.

The usual form is

foliage patterns filling in the background.
that of a spherical or ovoid vase (Plate LXIX. fig. 2), which
may perhaps be termed an olla? with short neck and no
passing that such shapes could not
conveniently be moulded, hence the variation of form when we
In
pass from terra sigillata to other methods of decoration.

handles.

It

may be

noted

in

the third century this combined process largely supplanted the

moulded wares at Lezoux. The paste and glaze, however, are
identical with the terra sigillata.

No

been found on

they occur

these

vases, but

potters' signatures
all

have

over

Gaul,
In the
including Belgium and Switzerland, and also in Britain.
British Museum (Romano-British Room) there are two very
fine

specimens found at Felixstowe

that given on Plate

in

one of which is
others from

Suffolk,

LXIX. Roach-Smith mentions

3
London, York, and Richborough, and they are also known at
Evreux in France. A good but imperfect example from Gaul
is in
the Morel Collection, now in the British Museum, and
has figures of Herakles and Maenads. The modelling in some
cases is admirable, especially in the Felixstowe vases, and in the
London specimens published by Roach-Smith, with masks and
These vases represent the latest stage of the
figures of Cupid.
ceramic industry of Lezoux.
Another class of vases made at this centre which may be
mentioned here includes a series of paterae, oinochoae, and
trullae (p. 470) with ornamented handles, all obviously made in

imitation of metal. 4
1

Of

the paterae there

See generally Dechelette, ii. p. 167 ff. ;

Rev. Arch. ii. (1903), pi. 17, p. 387.
Cf.

the

stamnos

(Vol.

I.

///.

a good

Rom. Land.

pp. 86, 97,

of London Antiqs.

Richborough,

example

pi.

7,

p. 74.

164).

VOL.

Greek

Cat.

is

Dechelette,
II.

ii.

p. 316.

34

pi.

29;

fig.

530

ROMAN POTTERY: PROVINCIAL FABRICS

the British Museum from the Towneley Collection, ornamented with athletic contests and cock-fights round the edge.
M. Dechelette (ii. p. 319) thinks some of the oinochoae made at

in

Vichy may be imitations of the bronze jugs which are -found

at Pompeii, but many seem to be of a later date.
During the period A.D. 100 400, and especially in the third
century, a class of red wares appears at Lezoux in the form of
1
These were
large bowls with spouts in the shape of lions' heads.
identified by Plicque with the acratophorus (p. 464), 'but
are
clearly mortars (pelves, mortaria], in which food was
they
or
cooked, the spout serving the purpose of straining off
ground
The lions' heads are made from moulds and attached
liquid.

wrongly

Some of these have potters' names. As a class

be
from the plain mortaria of grey or
must
distinguished
they
described
ware
below
(p. 551).
yellow
with barbotine.

With the South of France

of medallions with

reliefs,

it is necessary to connect a series

intended for attachment to vases

of terra sigillata ware. 2

In one or two cases the vases themselves

have been preserved, but usually the medallions alone remain
there are also examples of the moulds in which they were made. 3
Nearly all of these have been found in the valley of the Rhone,
;

4
Orange or Vienne, the

at

rest in other parts of France, such as

Rome (two examples). They

were probably made at Vienne but there was also a fabric in
Germany, examples of which occur at Cologne, Trier, and Xanten.
The subjects of the reliefs are very varied, ranging from
figures of deities to gladiators or even animals they frequently
bear inscriptions, and their date is the third century after Christ.
As long ago as 1873 Froehner published a series from Orange,6
with such subjects as Apollo, Venus Victrix, Mars and Ilia,
a figure of Lugdunum personified, the freeing of Prometheus
Lezoux, along the Rhine, or at

and the death of Herakles, Dionysos and Ariadne, a bust

1

Dechelette, ii. p. 321.

On the technical aspect of these, see
above, p. 441 for all other information
;

reference should be
ii.

p.

235

ff.

made

to Dechelette,

of

Froehner, Coll. Cr<?au, No. 1353.

Dechelette states that seventy-nine

have been found at Vienne, thirty-three

at Lyons, and twenty-nine at Orange.
5
Musses de France, pis. 14-16, p. $2 ft-

VASES WITH MEDALLIONS

Hermes,

Emperor
for the

531

a gladiator, a cock and hens, and a bust of the

Geta, the last-named serving as an indication of date

whole

Several were inscribed, that with

series.

Venus

having CERA

Victrix
FELICIS, which probably refers to the
wax in which the figures were first modelled, though some
have thought that it represents the Greek Kepa(iie<0<i). Another
trio from Orange
represent respectively:
(i) a chariot race in
1

the circus, with the inscriptions FELICITER,

FIG. 227.

LOGISMUS

MEDALLION FROM VASE OF SOUTHERN GAUL

(a horse's

SCENE FROM THE

CYCNUS (BRITISH MUSEUM).

"

"
name), and PRASIN(tf) ?(actio\ the green party
(2) Fig. 227,
a scene from a play, probably the Cycnus, in which Herakles is
saying to Ares, the would-be avenger of his son, "(Invicta) virtus
;

"
god proclaiming Adesse ultorem
nati me credas mei"; in the background, on a raised stage or
There
OeoXoyelov, are deities
(3) an actor in female costume.

nusquam

terreri potest," the

Gaz. Arch. 1877, pi. 12, p. 66.

of these has passed into

second

The
the

British

Museum

(in the

Morel Collection),

See Fig. 227, and Dechelette,

ii.

p. 290.

ROMAN POTTERY: PROVINCIAL FABRICS

532

also three in the Hermitage Museum at Petersburg, of

which two represent Poseidon, the third Hermes.
Caylus also

are

a representation of a vase with three such medallions,

with busts of Pluto and Persephone, Mars and Ilia, and two
gives

Where gladiators with names appear it may be

gladiators.
assumed that they are portraits of real people, and Dechelette
argues from this that the vases were made specially in con2

nection with gladiatorial (or theatrical) performances.

From
FIG. 228.

Gaz. Arch.

MEDALLION FROM VASE OF SOUTHERN GAUL

ATALANTA AND

HIPPOMEDON.

An

group found at Vienne and Vichy

subjects taken from the Thirteenth Iliad, such as Deiphobos
Amor
the Locrian Ajax, or Hector fighting the Achaeans.
the remaining examples known the most interesting are three
from Orange, one of which represents a festival in honour
1

interesting

Stephani, Vasens. 1353;

Rendu, 1873,

p. 67.

id.

Compte-

Recueil,

vi.

107

see Dechelette,

pp. 236, 250, 253, 294.

3
Gaz. Arch. 1889, p. 50,

pi. 15.

ii.

VASES WITH MEDALLIONS

533

the other two, the victory of Hippomedon over Atalanta

(Fig. 228), with an inscription of three lines

of

Isis,

Respicit ad malum pernicibus ignea plantis,

Quae pro dote parat mortem quicumque fugaci
in cursu cessasset virgine visa. 1

Velox

in

Reference has already been made to a paper by M. Blanchet,

which he gives a list of the sites in Gaul on which pottery

made (see p. 443). But in the majority

of these cases plain wares must have been the only output
Moulded wares, as Dechelette points out, required skill and
In any case, very few types are found
resource to produce. 2
appears to have been

moulded wares which cannot be also associated with

Graufesenque or Lezoux, and any made on other sites must
have followed the same methods of decoration. 3 The places
on

list cover practically the whole extent .of

the
France, though
principal centres of activity were always
the Aveyron and Allier districts and the Rhone valley.

given in Blanchet's

neighbourhood of Lezoux, for instance, vases were

Clermont-Ferrand, Lubie, St.-Bonnet, and Thiers. At
Nouatre, Indre-et-Loire, was an important pottery, not yet fully
and others were at Rozier (Lozere), Auch (Gers),
investigated
Montauban, Luxueil (Haute-Saone), St.-Nicholas near Nancy,
and Aoste (Isere), where vases of characteristic originality were
made. 4 But it is not likely that any future investigations will
displace Graufesenque and Lezoux as the chief centres for
In

the

made

at

Gaulish terra

sigillata.

3.

In
j

and one of the most important

5
Andernach, between Bonn and Coblenz,
must be borne in mind, there was no local

the oldest

Germany

sites for

THE FABRICS OF GERMANY

is

pottery

where however,

it

See also Gaz. Arch. 1880, pi. 30, p.

Froeh178 for examples from Nismes
ner, Coll. Grtau, 1351, 1352; Rev. Arch.

Op.
3

xix.

(1892),

pi. 11,

and Saglio, iii.

3185; C.I.L.

art.
xii.

literature is

now

work

(vol.

lette's

313; Daremberg
Forma, figs. 3184,

p.

5687.

All previous

superseded by Decheii.

p.

235

ff.).

No.
5

cit.

i.

p. 27.

Ibid. p. 204.
Ibid.
The

form employed

is

his

69.

See Hettner in Festschrift fur J.

Overbeck, p. 165

Jahrb. Ixxxvi.

ff.

Koenen

p. I52ff.

in

Banner

ROMAN POTTERY: PROVINCIAL FABRICS

534

manufacture

its

is

importance

valuable chronological evidence.

beginning of the first century
earlier

objects

finding

as

mainly

The
down
in

parallels

site

yielding

extend from the

to about A.D. 250, the
cemeteries at Trier and
finds

Regensburg which can be similarly dated. Generally speaking,

it has been observed that Roman remains begin on the left bank
of the Rhine a century earlier than those in the border forts
on the Limes, which cover the period from A.D. 100 to 250.
Terra sigillata with reliefs is comparatively rare, though,
as we have seen, it was at an early period exported from
Gaul, and the pottery consists chiefly of ordinary wares, red,
grey, and black, usually of good and careful execution, with
thin walls.
Much of this common pottery may be assumed
The characteristic types of the
to be of local manufacture.
first century are simple jugs
of plain ware without slip for
vases with white slip (also found
funerary or domestic use
black ware bowls and dishes, sometimes with
at Regensburg)
black
and grey cinerary urns. These forms
potters' stamps
include small urns and the usual cups and bowls with straight
;

or sloping sides, replaced after A.D. 100 by spherical-bodied jars

with narrow necks. The decoration comprises all the varieties

we have included

in the

foregoing survey

barbotine,

linear patterns, impressed patterns made with the

raised ornaments such as plain knobs or leaves

the hand.

incised

thumb, and

worked with

the third century painted decoration is introduced, as in the black ware drinking-vessels with inscriptions
described below (p. 537).
In

At Xanten (Castra

Vetera), lower

down

the Rhine, large

quantities of terra sigillata have been found, which can be dated
by means of coin-finds from the beginning of the first century

down

to the third.

During

a steady degeneration

this period

may be observed, although glass fabrics correspondingly improve in the time of the Antonines the clay
is coarse and often artificially coloured with red lead or other

in

the pottery

ingredients, producing
"
Samian
ware. 1
1

what was formerly known as

See Fiedler, Castra Vetera,

Bonner Jahrb.

v.

p.

40

and
p. 422, pis. 13-4;

for stamps, Steiner,

et

Rheni,

ii.

''false

Cod. Inscr. Danub,

No. 1317.
p. 225,

GERMAN FABRICS

535

An

exceptionally interesting centre, and in some respects

most
the
important in Germany, is that at Westerndorf on
the Inn, between Augsburg and Salzburg, where the coins
range from about A.D. 160 to 330. It was first explored in 1807
and as long ago as 1862 the results were carefully investigated
and summarised by Von Hefner in a still valuable treatise.
The pottery includes terra sigillata of the later types, and
plain red, yellow, and grey wares, sometimes covered with
1

non-lustrous grey or

the

have

latter

very

reddish

slip,

or

with black varnish

and are baked very hard.

walls

thin

The

decoration of the terra sigillata comprises all the usual

2
the forms being also those prevalent elsewhere, with
types,
the addition

of a covered

jar

or pyxis,

but the figures are

confined to the cylindrical or hemispherical bowls (Nos. 30 and

3
The plain wares include cinerary urns, deep bowls or jars,
37).
with simple ornament, open bowls with impressed patterns, and
mortaria.
peculiarities of the potters' stamps we have already
spoken (p. 510) they are found in the form of oblongs or human
feet, and more rarely in circles, half-moons, or spirals, the letters

Of some

being both in
the

used,

relief

potter

and

incised.

Sentis, for

way

of a play on his name.

and

genitive, with

Trade marks were sometimes

instance, using

Names

thorn-twig by

are both in the nominative

some abbreviated form

in

the one case of

4
Local names are
FECIT, in the other of MANVS or OFFICINA.
clearly to be seen in those of Belatullus, lassus, and Vologesus.

Another important centre of fabric in Germany is Rheinzabern (Tabernae Rhenanae) near Speier, which probably shared
with Westerndorf a monopoly of the moulded wares. 5
The
is
it
mostly in the Speier Museum
and
the
its
with
37,
typical decoration,
fabric does not seem to have been established before the second

pottery

almost

found here

all

The

century.
nertus,
1

of

Oberbayr. Archiv

fur

Geschichte, xxii. (1863), p.

2
useful summary is

Hefner, p. 28.

chief potters'

Comitialis,

is

form

Julius,

names

vaterlandische
I ff.

given by

Von
p.

are Belsus, Cerialis, Cob-

Mammillianus, Primitivus,

Juvenis,

Cf. ibid. pi. 4, figs. 1-7.

Ibid. p. 42.

&

See Roach-Smith,

99

Dechelette,

i.

///.

p. 210.

Rom. Lond.

ROMAN POTTERY: PROVINCIAL FABRICS

536

Museum possesses moulds for large

of animals, one with the stamp of
there was little export to Gaul, but a considerable
The

and Reginus.

bowls with free

Cerialis

1
;

British

friezes

M. Dechelette notes the similarity of the

of
to
those
and suggests that Rheinzabern is an
Lezoux,
types
offshoot from the latter pottery.
This site has also produced

amount

to Britain.

barbotine wares, 2 which bear a remarkable superficial resemblance to that of Castor (see below, p. 544), and have been
3
but they are not found at Castor,
wrongly identified therewith
;

and

point of fact differ widely in artistic merit, being far

superior to the British fabric, as has been pointed out by Mr.
in

Haverfield. 4

The ornamentation

classical

in

its

only
unconventional.

a formal and conventional

is

models, whereas

of classical

imitation

elements, and

and

It is possible that Trier,

is

the

Castor

ware

is

otherwise barbaric yet

in fact all places

mentioned

in a

preceding chapter (p. 453) as sites of kilns may be regarded as

centres of manufacture, though in only a few cases was anything
made beyond the ordinary plain wares. Of the latter a useful
5
summary has been made by Koenen,

from the technical

chiefly

point of view, which it may be worth while to recapitulate.

He divides the pottery of the Rhine district (which may be
taken as typical) into three main classes the first transitional
:

from the La Tene period

half-baked
the

other

Roman

times

the second, native

the third, Roman pottery, ousting
cinerary urns
The first two classes cover the local handtwo.
to

made wares

of grey, brown, or black clay, which

are

clearly

of native make, and like the similar wares of Britain and Gaul
hardly come under the heading of Roman pottery, though sub-

sequently they felt its influence.

(which can be well studied in the
elsewhere on the Rhine)

is

divided

The Roman pottery proper

museums of Bonn, Trier, and
by Koenen into three periods
:

Roman

Early, Middle, and Late Empire.

1
In the Greek and
ment, found at Mainz.

2
3
*

Dechelette,

ii.

Archaeologia,
Victoria

p. 211.

Roman

p. 319.
Ivii.

Depart-

p. 104.

County Hist, of Northants,

p.

in
p.

Gefasskunde

wares
in

first

den

appear

Rheinlanden,

For various finds of pottery

Germany see also Bonner Jahrb. Ixxiv.
ff.

65

147
6

See

p. 51

ff.

Ixxxiv. p. 108

Rev.

Arch,

ff. ;

Ixxxix. p.

xxxix.

I ff.

(1901),

CHRONOLOGY OF GERMAN WARES

with

Augustus, and at

of

coins

La Tene

influence on the

this

period

537

much

exercise

producing a sort of mixed

types,

greyish or black clay with impressed or incised

The terra
subsequently replaced by barbotine.

style, usually of

ornament,

deep red variety with sharp

we
have
seen to emanate from
which
details,
a
red
hue (" false Samian "),
of
ware
or
else
Gaul,
light
plain
2
1
Holder
has
as
But
without ornament.
pointed out, the settleGerman
ment of the chronology of
pottery (apart from the
either of the superior

sigillata

is

outlines

and

sigillata]
difficult,

is

particularly
we are

because

dealing with a purely

utilitarian fabric,

which

consequently preserved

forms unaltered

its

through a considerable
period moreover, there
must have been many
;

local fabrics

and

makes

little

which

exportation,

comparison

difficult.

To
fabrics

the

German

belong a group

of vases with painted

inscriptions
,1

found

FIG

on

Lower -r,,
Rhine, and

the

22 9- GERMAN JAR WITH CONVIVIAL

INSCRIPTION (BRITISH MUSEUM).

North and East France. 3 They occur in the

second century at the Saalburg, and last down to the fourth
large numbers have also been found at Trier, and other examples
4
at Mesnil and Staples
(Gessoriacum) in France. The usual form
less frequently in

that of a round-bellied
cup or jar (Fig. 229), with a

is

less

high stem and plain moulded mouth.

See also generally Von Hefner,

op.
dt.
Banner Jahrb. xcvi. p. 87 ff., and
index to vols. 1-60; Wolff in West;

deutsche Zeitschr.
xviii.
y

fur

Gesch. u.

Kunst,

(1899), p. 213.

Formender row. Thongefdsse,

n.

ii.

p.

xiii.

61

p.

ff.,

io6ff., xxxv.

xcvi. p.

p. 311, p. 312,

Roach-Smith,

P- 3-

p.

Ixxxvii.

Dechelette,
4

Their ornamentation

Banner Jahrb.

p. 46,

more or

Collect.

note

Antiq.

i.

101

3.
pi. 4,

ROMAN POTTERY: PROVINCIAL FABRICS

538
is

confined to berries, vine-tendrils, and scrolls, at

first naturalistic,

afterwards becoming conventionalised but their chief interest

lies in the inscriptions, which, like those of the Banassac type
described above (p. 524), are of a convivial character. They
;

bold well-formed capitals, in the same white

are painted in

pigment which is used for the ornamentation

examples will serve as specimens

the following

AMAS ME, AMO, AMO TE CONDITE. 1

2
AVE, AVE COPO, AVETE.
BELLVS SVA(dk0?). 3
BIBE, BIBATIS, BIBAMVS
MVLTIS ANNIS. 4

BIBE

PIE,

DA BIBERE, DA MERVM, DA
DE ET DO, DOS (= So?). 6

VIVAS,

BIBE

VIVAS

DA VINVM. 6

MI,

EME. 7
FAVENTIBVS. 8
FELIX. 9
TIBI DVLCIS. 10

VINVM

FE(r)0

11

GAVDIO.
IMPLE. 12
LVDE. 13
14
MISCE, MISCE MI, MISCE VIVAS.

MITTE MERVM. 15
PETE. 16

ME COPO

REPLE, REPLE

MERI. 17

Banner Jahrb. xiii. p. 112; Ixxxvii.

Cod. Inscr. Danub. et
p. 62; Steiner
Rhen. ii. p. 195, No. 1252 (from Neuss)
1

cf.

Steiner,

iii.

op.

100; Gerhard,

p.

Berlins ant. Bildw. No. 1687; RoachCollect.

Smith,

Antiq.

Banner Jahrb. Ixxxvii.

3
Banner Jahrb. xiii.
4

IbicL

xiii.

64; Steiner,
B.M. (BIBE).
5

pp. 109,
op.

Op.

cit.

Op.

cit.

Op.

cit.

xxxv, p. 49.

Op.

cit. xiii. p.

cit.

i.

p.

pi.

4,

p.

63.

p. 113.

113, Ixxxvii. p.
155; and in

66;

n
12

Antiq.
13

i.

ill, Ixxxvii. p. 67.

Ixxxvii.

cit.

Op.

p.

67;

Collect.

p. 3.

Berliner
Verzeichniss,
Levezow,
No. 1470; Banner Jahrb. Ixxxvii.

p. 366,
p. 68.
14

p.

Banner Jahrb.

xiii.

p. 107, Ixxxvii.

p. 69.

BannerJahrb.

p. 47, Ixxxvii. p.
6

xiii.

B.M.

47.
cit.

113.

p. ill, Ixxxvii. p.

cit.

Op.

10

Ed.

Virg.
2

cit. xiii. p.

Op.
9

xiii.

65

pp. 107. 108, xxxv.

B.M. (Fig. 229).

xxxv. p. 49.
xxxv. p. 48, Ixxxvii. p. 66.

ls

I6

"

Ibid.

Op.

cit.

Op.

cit.

Ixxxvii. p.

78

xxxv. p. 49, Ixxxvii. p. 70.

xiii. p. 106, xxxv. p. 48,
;

cf,

B.M. (REPLE COPO

DA).

VASES WITH CONVIVIAL INSCRIPTIONS

= ZESES =

SESES

SITIO, SITIS.

539

&(TaiS.

2
3

VALE, VALIAMVS.
4
VINVM, VINVM TIBI DVLCIS.
VITA. 5
6
VIVE, VIVAS, VIVAMVS, VIVAS FELIX, VIVE BIBE MVLTIS.

To
class

must be added a remarkable vase of the same

7
in i888, with the inscription ACCIPE u(e

this list

found at Mainz

ET TRADE SODALI,

si)TlE(n)S

me on

"

Take me when you

are thirsty

your comrade." Above the inscription are

seven busts of deities, Sol, Luna, Mars, Mercury, Jupiter, Venus,
and Saturn, representing the seven days of the week both the

and pass

to

design and the inscription, however, are incised, not painted.

ROMAN POTTERY

4.

THE NETHERLANDS, SPAIN, AND

IN

BRITAIN

and Belgium

In Holland

stamps are recorded from

finds of terra sigillata

and

potters'

sites, such as Arentsburg,

near
Rossem, Rousse,
Oudenarde, Voorburg, between Utrecht

various

and Leyden, and Wyk-by-Durstede, and also at Utrecht. 8 At

Vechten near Utrecht, the ancient Fictio on the road from
Lugdunum (Leiden) to Noviomagus (Nimeguen) finds were
made in 1868 which confirm the activity of the Rutenian
9
These discoveries included coins
potters in the first century.
extending from the Republican period down to Trajan, and
terra sigillata of the

many names

Graufesenque type, with

of

potters belonging to that region.

'

Op.

Op.
Ixxxvii.

cit.

xxxv. p. 48, Ixxxvii. p. 77.

1 06, xxxv.
xiii. p.
p. 47,

cit.

71

p.

Levezow,

op.

cit.

No.

1469.

Op.

no;

cit. xiii. p.

Levezow, No.

Op.

cit.

xiii.

p.

107,

xxxv. p. 49,

Op.
6

Op.

cit.

Ixxxvii. p.

cit.

Ixxxvii. p.

73

xiii.
;

p.

72; B.M.
no, xxxv.

B,M. (VIVAS).

48,

iv.

For stamps found here and

ii.

p. 276,

No. 1449,

Bonner Jahrb.

lette,

p.

Altert.

(1900),
at

Voor-

p. 293,

No.

1484.
9

Ixxxvii. p. 72.

Vereins zur Erforsch.

u.

burg, see Steiner, Cod. Inscr. Dantib. et

Rheti.

1471.

Gesch.

p. 266.
8

Zeitschr. des

d. rhein.

i.

p.

103.

Leiden Museum,

xlvi. p.

They

are

115; Dechenow in the

ROMAN POTTERY: PROVINCIAL FABRICS

540

In Spain finds have been made on various sites, and there are
numerous examples in the museum at Tarragona 1 at Murviedro,
;

the site of the ancient Saguntum, which, as we have seen, is

mentioned by Pliny and Martial as an important centre,
various kinds of

Roman ware

have come to

some with

light,

potters' stamps, but no evidence remains of potteries or of any

local manufacture.
finds of
In Britain at least in England
have been so plentiful and so universal that

centres for discussion.

select typical

Roman

must

It

pottery

difficult to

is

it

be borne

also

with the exception of the plain wares and a few

other fabrics, such as the Castor ware, we have not to deal with
certain quantity of terra sigillata may
local manufactures.
have been imported from Germany (e.g. from Westerndorf), 2

mind

in

that,

but by far the greater proportion

the potters' names.

from Gaul, as

is

shown by

is

We

propose in the first place to review briefly the types of

which occur in Britain. 3 The bowls of forms 29
and 30, which are found in Germany in the first century, do not
terra sigillata

occur on the Roman Wall, and we have already seen that they
are not later than Hadrian's time but they are common in the
;

4
South of Britain, as at London and Colchester. Roach-Smith
and other earlier writers have published specimens of these
older forms decorated with figures which have been found in
5
The earliest
London, Bath, York, Caerleon, and elsewhere.
dateable examples of form 37 have been found with coins of
Nerva at Churchover in Warwickshire 6 this type is indeed
common all over Britain, and is one of the few varieties of
;

terra sigillata occurring in the North.

See

C.I.L.

Brongniart,

ii.

4970,
i.

p.

and
453

512;
Deche-

p.
;

i.
p. 16; and above, pp. 479, 499.
See above, p. 536.
3
See Haverfield in Cumberland and
Westm. Arch. Soc. Trans, xv. p. 191.
4
///. Rom. Lond. pis. 24-8, p. 89 ff. ;

lette,

pi. 3.

Wellbeloved,

Scarth,

Aquae

Silurum^
6

Richborough,

found

Roman Wall, and

Pottery of the second century

Traitd,

is

South

at

in Scotland at Birrens in

Shields, along the

Dumfriesshire.

It

i.

Viet.

is

represented

Eburacum,

Solis,

pi.

43

pi.

16;

Lee, Isca

pis. II, 12.

County Hist, of Warwickshire,

p. 230.
7

Arch. Aeliana,

Ant.

x. p.

Scot. xxx. (1896), p.

field, loc. cit.

268
i79

Proc. Soc.

ff-5

Haver-

TYPES OF POTTERY FROM BRITAIN

541

by a variety of the same form, with a moulded ridge breaking

the outline in the middle * this would seem to be a type which
also occurs in Germany during the second and third centuries.
Mr. Haverfield states that this form is found at South Shields
and in Yorkshire, and is imitated at Silchester. Of the principal subjects on these we have already given some description
;

Finally, there is the wide shallow type, approximating

to the mortar or pelvis, the upper part of which forms externally
(p. 508).

a flat, vertical band, projecting beyond and forming a tangent

with the general curve of the bowl this is usually ornamented
with lions' heads in relief. This variety is not earlier than the
;

second century, and

seen that

it

is

was made

also found in the third

at

we have

already

Lezoux. 2

important to note that all the places mentioned as

yielding bowls of forms 29 and 30 were occupied at least as
It

is

But the style of

early as A.D. 85, perhaps as early as A.D. 50.
these bowls may have lasted longer at all events, the varieties
;

numerous as to show a development for which some time

is required.
There is also a distinct development in the plain
band round the upper edge of the bowl, which, at first a mere
It
beading, becomes broader and more vertical by degrees.
be
assumed
as
none
are
found
north
of
that,
may, however,
York, it disappeared from Britain, as from Gaul and Germany,
are so

before A.D. 100.

The ware formerly known

3

appears

as

"

false

in several varieties.

Samian

The

"

(Dragendorff s

light red or

orange
produced by a kind of slip of pounded pottery
laid over the surface.
Vases of this type, glazed within and
without with a thin reddish-brown and somewhat lustrous

hellrotli}

colour

is

London, and a good specimen was found

many years ago at Oundle in Northants, but has since dis4
It was a fine vase, of light-red clay with red-brown
appeared.
occur

glaze,

in

glaze, resembling the Gaulish terra sigillata, and had some

claim to artistic merit.
The subject was Pan holding up a
1

Haverfield's

fig.

(loc. cit.}.

Haverfield, op.
and see p.
p. 193

cit.,

pi.

7,

fig.

528 above.
Cf. Roach- Smith, Collect. Antiq.

7,

pi.

and see above, p. 502.

Roach- Smith, Collect. Antiq.
17, p. 63; Victoria County Hist,

p. 35,

ii.

Northants, p. 219.

iv.

oj

ROMAN POTTERY: PROVINCIAL FABRICS

542

mask, and three draped

and

bore the stamp of

LIBERTl), who, as we have
1
This ware is often coarse, and ornaseen, worked at Lezoux.
mented externally with rude white scrolls painted in opaque
figures,

it

the Gaulish potter Libertus (OF

and there is a variety found

ware with a metalloid lustre, the clay

colour,

at Castor, of red glazed

itself varying from white

3
Both shapes and ornaments
yellowish-brown or orange.
resemble those of the Castor black ware (see below), and it

to

seems

likely that this

is

actually a local fabric, the difference

colouring being due to the degree of heat employed

in

the

in

firing.

The number

of potters' names found on these wares in Britain

very large, those in the seventh volume of the Latin Corpus

4
This list, published in 1873, of
amounting to about i,5OO.
is

course superseded all those previously drawn up by the Hon.

R. C. Neville, by Roach-Smith, and by Thomas Wright. 5

Roach-Smith, however, performed a useful service in tabulatinj

list of names found in London
along with those from Doi
and other sites in France, 6 which went far to prove the Gaulisl

the

of

the British terra sigillata.

is
It
not, therefore,
to
discuss
the
necessary
potters' names found in Britain in
further detail. 7
Besides the potters' stamps, incised inscriptions

origin

sometimes occur on the pottery, giving the owner's name or

other items of information (see above, p. 512).
To give a detailed account of all the sites in Britain on

Roman pottery has been found would be a task entailing

more labour and occupying more space than the results would
Not only do the sites cover almost the whole of the
justify.
country from the Roman Wall to the Isle of Wight, and from
which

Exeter to Norfolk, but the disinterring of the material from

miscellaneous and often unscientific records, or from scattered
1
See Dechelette,
No. 425.

Artis,
3

Durobrivae,

Handbook

of Pract.

i.

to

p. 282,

ii.

p. 71,

to
pi. 30, figs, i, 4.

British Pottery in Mus.

Geol. 1893, p. 72.

Supplementary lists
are given in Arch. Journal, xxxv. p. 289.
5
See CJ.L. vii, p. 238 for bibliography.
6
III. Rom. Lond. pp. 102, 107.
vii.

1334-36.

General reference
the

archaeological

may

also be

journals

made

of

the

provincial societies, and to

of the Gentleman's Magazine

London and
the volume

Library on Romano- British Remains;

also for Norfolk, Northants, Hampshire,

and other counties, to the respective

volumes of the Victoria County History.

RECORDS OF LOCAL DISCOVERIES

$43

and uncatalogued collections, would be a truly gigantic achievement. It should, however, be achieved but this will only be
by co-operation, each county performing its share of the work,
;

The Society of Antiquaries

1
of
certain counties, which
has issued archaeological surveys
without entering into details tabulate the sites of Roman
as has been

done

in

a few cases.

be hoped that forthcoming volumes of

do for other counties what
those already published have done for Hampshire, Norfolk,
The most representative collections are those
Northants, etc.
of the British Museum and the Guildhall in London, and of
the provincial museums at Colchester, Reading, York, and
remains
the

and

Victoria

it

is

to

County History will

elsewhere.

We now

turn to the consideration of the local products of

Romano-British potters. Exclusive of the plain unornamented

wares which were made in

many

places, as the

numerous

re-

mains of kilns show (cf. p. 454), there are only three distinct
fabrics to be mentioned.
In all of these the ware is black, with
or without a glaze, but the style of ornamentation varies.

By far the most important centre, not only for the quantity
of pottery it has yielded and the extent of its furnaces, but
also for the artistic merit of its products, is that of Castor, in
Northamptonshire. Of the numerous traces of furnaces and
workshops discovered here, in the neighbouring villages of
Wansford, Sibson, Chesterton, and in the Bedford Purlieus, we
have already spoken in a previous chapter (p. 444 ff.) it now
only remains to discuss the technical and artistic aspects of
;

the pottery.
Artis has recorded

that the pieces of pottery found in or

near the kilns show great variety of form and style, including
the red imitations of terra sigillata, pieces ornamented with
"

machine-turned

"

and dark-coloured ware with reliefs

ornament in white paint. But the characteristic and commonest Castor ware has a white paste coloured by means of a
patterns,

or

lip

with a dark slate-coloured surface

'Cumberland
reford,

and

Westmoreland,
and Lanca-

Hertford, Kent,

the usual form

See Haverfield,

of Northants,

in Viet.

p. 208, fig. 29.

is

that

County Hist.

ROMAN POTTERY

544

PROVINCIAL FABRICS

Some
of a small jar on a stem with plain cylindrical mouth.
are merely marked with indentations made by the potter's
1
thumb, or with rude patterns laid on the intervening ridges
;

but others have designs laid on en barbotine in a slip of the

same colour as the vase, and others of rarer occurrence are

decorated in white paint with conventional foliated patterns, 2

somewhat resembling the Rhenish wares described on p. 537.
Haverfield reproduces a fragment of a vase on which are painted
white and yellow a man's head in peaked cap, and an arm

in

3
The barbotine variety
holding an axe.
It
is by no means confined to this site.

is

is

the most typical, and

often found in Central

and Eastern England, and even in the Netherlands. One of

the finest specimens was found at Colchester in 1853,* containing calcined bones, and ornamented with figures over which
inscriptions

are

incised.

The

subjects,

in

arranged

friezes,

include two stags, a hare, and a dog, interspersed with foliations

two men training a dancing-bear, one of whom holds a whip
;

protected by armour and a combat of two gladiators

(murmillo and Thrax] of a type familiar to us from Roman
lamps (see p. 416). Over the heads of the men with the bear

and

is

is

SECVNDVS MARIO over the gladiators, MEMN(/?)N

and VALENTINV LEGIONIS XXX, respectively. The

inscribed,

SAC

VIIII

meaning of the inscriptions is not quite clear, but the last one
certainly seems to allude to games taking place at the post
of the thirtieth legion
i.e. the
Lower Rhine. For this and
other reasons Mr. Haverfield is of opinion that the vase may
have been made

in that district and not at Castor, and it is

of
not,
course, impossible that such ware was not confined to
5

This would, at any rate, explain its presence in the

Netherlands.
Mr. Arthur Evans has noted the presence of an

Britain.

unfinished piece of Castor ware in a kiln at Littlemore, near

Oxford. 6

Hunting-scenes are also very popular, especially a huntsman

1

2
8
4

p.

Cf. Haverfield, figs. 32, 33.

Ibid.

fig.

33.

Ibid. p. 209.

Roach-Smith, Collect. Antiq. iv.pl. 21,

Viet. County Hist, of Northants,
82
;

p.

211
5

lette,
6

C.I.L.

vii.

But see above,

ii.

1335,
p.

3.

536, and Deche-

p. 311.

Arch. Journ.

liv. p.

349.

CASTOR WARE

545

spearing a boar, or a hare or deer chased by stags, as on a

1
fine vase found at Water Newton, Hunts, in IS2/.
specimen

Museum with a race of four-horse chariots is

on Plate LXIX. Roach-Smith gives a remarkable

the British

in

illustrated

specimen with a mythological subject, that of Herakles and

Hesione 2
the subject is curiously treated, Hesione being
Another interesting but
chained down with heavy weights.
in
Essex has figures of
from
Chesterford
vase
fragmentary
and
and
it may be assumed
Venus,
Jupiter, Mars, Mercury,
;

that the complete subject was that of the seven deities represented by the days of the week. 3
Otherwise the potter is
as
content with animals, such
dolphins or fishes, or mere
foliations,

engrailed

ivy-wreaths,

and other ornamental

lines,

patterns.

In regard to the technique of these wares, Artis notes that

made while the vase was " as pliable

the indented patterns were

as

it

could be taken from the lathe

thumb

"

for

the barbotine the

rounded instrument was employed. Figures of

animals were executed with a kind of skewer on which the
slip was placed, a thicker variety being used for certain parts
to heighten the relief, and a more delicate instrument for
features and other details.
No subsequent retouching was
possible. The vases were glazed subsequently to the application
of the barbotine
on the other hand, the decoration in white
The glaze was, as we have
was
made
after
glazing.
paint
or a

XXL,

produced by a deposit of carbon,

"
it varies in quality,
smothering
either
dark
metallic
without
lustre, or with a metalloid
any
being
black-lead.
that
with
produced
polish resembling
The date of the Castor ware is difficult to ascertain, but it
must begin fairly early in the Roman period, on account of its

seen in Chapter
by the process

with

affinities

p. 448,

known

late

as

"

Celtic

pottery.

Dechelette

p.

(ii.

310)

would date the ware towards the end of the third century. As
has already been pointed out (p. 536), it is only the elements
1

Artis,

Durobrivae,

VOL.

II.

28

pi.

County Hist, of Northants,

cf. ibid. p.
34
190 = fig.
(from Bedford Purlieus).

p.
1

8,

Viet,

211,
p.

2
3

fig.

192

Collect,

Ibid.

Antiq.

iv.

p.

iv. pi.

91:

tioned on p. 539.
*
Brit. Arch. Assoc.

cf.

24.

the vase

Jown.

i.

35

p. 5

menff,

ROMAN POTTERY: PROVINCIAL FABRICS

546

of the decoration

that

are

classical

they are treated in a

rude, debased manner, with the free unconventional handling

"
characteristic of barbaric art.
They are not an imitation,
"
but a recasting
to
the
traditions of late Celtic or
according
1

Gaulish
British

such as

art,

and

is

displayed, for instance, in the ancient

The fantastic animals, the treat-

Gallic coinage.

ment of the

scrolls, and the dividing ornaments of beading, etc.,

between the subjects are essentially unclassical. Potters' stamps
on this ware are exceedingly rare, an almost isolated instance
2
being CAMARO F on a vase found at Lincoln.
Two other local varieties of black ware peculiar to Britain
are those known respectively as Upchurch and New Forest
ware.
Although no remains of kilns have been found in the
former district, the pottery is obviously local, and its manufacture appears to have extended along the banks of the
Medway from Rainham to I wade, over what are now marshes,
but was then firm ground.
The remains consist of a thin

bluish-black fabric, with graceful and varied

ornamented
with groups of small knobs in bands, squares,
forms,
circles, wavy, intersecting, or zigzag lines, or a characteristic
pattern of concentric semi-circles resting on bands of parallel
vertical lines (Plate LXIX. fig. 6).
This ware has also been
found on the Continent, and may either have been exported or

finely-moulded

else

made

in other places besides

quite late date.

Upchurch

is

it

probably of

The

clay is soft and easily scratched, and is covered with a

the composition is fine,
polish or lustre produced by friction
and the walls thin and well turned. It varies in tone from
;

The vases
greyish, like that of London clay, to a dull black.
are mostly small (cups, bottles, jugs, small jars, and occasional
mortaria], and some have ribbed sides the ornamentation is
always either in the form of impressed lines or raised patterns
;

made by applying
1

Haverfield,

of Northants, p.
2
Arch. Journ.
vii.
3

in

Viet.

pieces of clay before the vase

County Hist.

212.
xiii. p.

173:

cf.

CJ.L.

this

vi.

Lond.

p.

247

fif.,

P- 260.

1336, 220.

See on

Antiq.

ware Roach-Smith, Collect.

178, pi.

p.

82;

and

was baked,

36,

and

///.

Rom.

Uriconium, p.
1
Roman, and Saxon

Wright,

Celt,

UPCHURCH AND NEW FOREST WARES

No

stamps have come to

potters'

Roman
Medway

with coins or other

also

made

in

the

light,

remains.
district,

nor

is

this

547

ware found

Rough earthenware was

of a red, yellow, or stone

colour.

The New Forest ware

is found in the north-west part of the

It is somebetween
Forest,
Fordingbridge and Bramshaw.
times spoken of as "Crockhill ware," from the local name of
1

the site of the furnaces, of which traces were found in 1852.

The pottery consists of two varieties, one of thin, hard, slate-

coloured ware, with patterns of leaves or grass painted in white

these are small jars, averaging six
(Plate LXIX. fig. 5)
;

inches in height, sometimes moulded by the potter's thumb into

an undulating circumference. There are points of resemblance
with the Castor ware. The other variety consists of a thicker

ware, with a dull white-yellowish ground and coarse foliated

patterns painted in red or brown, usually platters or dishes.
It is

a rude

and

obviously native origin and

any Roman or Italian pottery.
other sites in Hampshire, such as Bitterne

inartistic fabric, of

resembling Celtic rather than

It

found on

is

2
The date is
(Clausentum), and even as far north as Oxford.
probably the third century of our era. With the kilns there

were found heaps of potsherds which had been spoiled in the

they were vitrified so as to resemble
baking and rejected
;

stoneware, and when again submitted to the action of fire,

cracked and split. The glaze with which the local blue clay
had been covered was of a dark-red colour and alkaline nature,

but had probably been affected by imperfect

5.

PLAIN

firing.

ROMAN WARES

The plain unornamented and unglazed Roman pottery which

answered to the modern earthenware has usually been considered by writers on the subject in a different category from
.

the glazed and ornamented wares.

Although from the very
of
its
it
character
defies
scientific classification, yet
simplicity
1

Haverfield, in Viet.

Hants,

i.

County Hist, of

p. 326.

Archaeologia.)

xxxv.

p.

91

Arch.

Jotirn. liv. p. 348; x. p. 8

Froc. Soc. Antiq. 1st Ser.
p. 167.

xxx. p. 319

ii.

p.

285,

iv.

ROMAN POTTERY: PROVINCIAL FABRICS

548

must be remembered that

it

this

common ware was

not likely to

from the place of its origin, and

have been exported very
therefore where any differences can be observed in the nature
or appearance of the clay, in peculiarities of form or of technique,
far

it is

not impossible to establish the existence of a local fabric.

to the present little has been done except in isolated

But up

Certain local wares have been recognised in Britain,

instances.

as will be noted below, besides the Castor, Upchurch, and New

Forest wares, some of which almost come under this heading
;

and

Similarly in Germany, attempts have

and other writers to classify the plain

others, again, in Gaul.

been made by Koenen

pottery whether according to form or on other principles (see
above,

536).

p.

years ago a rough but in some respects convenient

l
on the basis of the
classification was made by Brongniart

Many

colour of the clay employed, which he distinguished under four

heads
(2) red wares, varying
(i) pale yellow or white wares
:

to reddish-brown

In the

wares.

first

grey or ash-coloured wares

(4) black
division he included the large, often coarse,
(3)

and amphorae under the second head

century, and under the third that of
the
fourth class comprised Gallo-Roman
while
date
subsequent
A somewhat similar system, in
wares.
and other provincial
some respects even less chronological, was attempted by
2
Buckman, who distinguished brown ware as a separate fabric.
vases, such as the dolia

Roman ware

of the

first

The obvious

defect of these systems

is that they are neither

and that their basis is
to
nor
fabrics,
according
chronological
but at the same
in many respects a purely accidental one
time they have proved convenient for discussing plain ware
;

which does not admit of much consideration apart from

forms and the general appearance of its composition. And

its

at

events they enable us to discuss examples of certain shapes

under one head, inasmuch as the amphorae and dolia are nearly

all

all

of the

dishes,

first

and

class,

The yellow ware 3

1

the mortaria or pelves of the third, cups,

second and fourth, and so on.

flasks of the

is

distinguished
3

Traitt,

i.

p.

Roman Art

381.

in Cirencester, p. 77.

by

its

coarse clay, of a

See Blumner, TechnoL

ii.

p. 65.

PLAIN YELLOW WARES

549

greyish-white or yellow colour, varying to dirty white, grey, or

It is to this division that all the larger vases belong, such
red.
as those used for storing wine

and other commodities or

for

funerary purposes, and the innumerable fragments of dolia and

1
amphorae which compose the Monte Testaccio at Rome.
of these vases were made on the wheel, but others were
modelled by hand and turned from within. Those used in
burial were usually of a globular form, or even dolia with the
necks and handles broken off, and contained cinerary urns and

Some

We

glass vessels.

mortaria

made

and
Another remarkable variety may

also find lagenae, trullae (saucepans),

in this ware.

be described as a kind of

modelled in the form of a

olla

its

human

is

that

in the

same

peculiarity

head,

much

it

is

style

as the primitive vases of Troy (Vol. I. p. 258).

vase of this
type found at Bootham, near Lincoln, had painted on the foot
"

The

To

the god Mercury," in brown letters. 2

clay is light yellow, with a slip of the same colour.
finer variety of this clay, often of a rosy tint, or white and

D(f)o MIIRCVRIO,

micaceous, was used for making the smaller vases, which are
and light, and all turned on the wheel. 3 They are some-

thin

times ornamented with bands, lines, hatching, or leaves, slightly

indicated in dull ochre, laid on and fired with the vase.
Some

specimens are covered with a flat white slip, of a more

uniform character than that employed on the Athenian vases.
In
In others the clay is largely mixed with grains of quartz.
Britain

little

as

jars of a very white clay have

as small bottles and dishes,

sometimes been

well

painted inside
with patterns in a dull red or brown.
They seem to have
formed a kind of finer ware for ornamental purposes, as well as
found,

for the table.

The second
irgest
)f

division of

the kinds

forms and
or
1

slip,

class, that

of the red wares, forms

Roman

plain pottery,

by

far the

and comprises most

used for domestic purposes

it is found in all
over Europe, often covered with a coating
;

sizes, all

white, black, or red.

C.I.L. xv. p. 560;

1878, p. iigff.
2
Proc. Soc. Ant.

Ann.

dell'

Insf.

This class
440 (now

p.

may be
in

B.M.):

brivae, pi. 49.

2nd

Ser.

iii.

(1867),

Brongniart,

i.

p. 435.

considered

cf.

Artis,

Duro-

ROMAN POTTERY: PROVINCIAL FABRICS

550

include

to

all

and reddish-brown ware, but

of red

varieties

in colour from pale rose to deep

from a coarse gritty composition to a
It is usually without
fine compact and homogeneous paste.
To
a glaze, and sometimes the clay is largely micaceous.
enumerate all the shapes which illustrate this ware is unneces-

as a rule the

and

coral,

varies

clay

in quality

but the Romano-British and

sary,

British

Museum

Roman

pottery

and

exhibit

cinerary urn to the

The

fact

in

all

any
the

so-called

principal shapes are

"

also

Morel Collections

in

the

representative collection of

principal varieties, from the

"
or unguent vase.
tear-bottle

illustrated

in

the treatises of

Holder and Koenen.

Among sepulchral vases of this ware were the ollae in which

the ashes of slaves were placed in the columbaria at Rome,
1
In
tall jars with moulded rims and flat saucer-shaped covers.
Roman tombs

Gaul and Britain these

in

ollae

are

usually

placed inside large dolia or amphorae, to protect them from

2
In Britain they
the weight of the superincumbent earth.
have been found at Lincoln, on the sites of Roman settle-

ments along the Dover Road, at Colchester, and in other

places, and as many as twenty thousand are recorded as
3
After the introduction of
having been found at Bordeaux.
been abandoned, but
have
to
this
seems
Christianity
practice
vases of smaller size continued to be placed round the bones
of the dead.

The grey wares were

bricks are

usually

made

of fine clay, of which

a sandy loam like that of which

on the borders of the chalk formations in

were two

there

made

varieties

England, and a heavy stone-coloured paste, sonorous when

struck, which has been compared to the clay of modern
Staffordshire ware.

and

its

or for
the

p.

colour of the

The mortaria resemble modern

See J)aremberg and Saglio, s.v. Olla.

Wright, Celt, Roman, and Saxon*,
Archaeologia,\\\.

milk-pans,

edges and a grooved spout

Cf.

is

light

brittle,

with overlapping

359 ff.

first-named

and it was chiefly used for mortaria^

cooking-vessels which were exposed to the heat of
texture

fire.

flat,

The

pi. 14, p.

108;

Brit. Arch. Assoc.Journ.

see above, p. 457.
3

Brongniart,

i.

p. 437.

i.

being

opening
p.

239; and

MORTARIA

to have been used both for cooking,

of
the, action of fire, and for grinding
bearing traces
latter
or other commodities, the
purpose probably

They appear

front.

in

many
food

551

explaining the presence, in the interior of many examples,

small pebbles, or a hard coating of pounded tile, to
counteract the effects of trituration.
They are usually of a

of

hard coarse texture, but compact and heavy, and their colour
varies from pale red to bright yellow or creamy white.
They are frequently stamped with the name of the potter,
placed in a square or rectangular panel on the rim and often
arranged in two lines. The names are either single, denoting
Albinus, Brixsa, Catulus, Sollus, and
Marinus, or double and occasionally even triple, for the work
of freedmen, as Q.

the

work of

slaves, as

Valerius, Sex. Valerius,

Q. Averus Veranius,
and so on. 1 The ex-

ample given in Fig. 230

is from Ribchester in
Lancashire, and bears
the stamp RORlET)(us)
,

..N

l(ecif).

A
A

FIG. 230.

mortanum

ROMAN MORTARIUM FROM RIBCHESTER

(BRITISH MUSEUM).

up in
Bow Lane, London, now in the Guildhall Museum, has the
name of Averus Veranius with O GARR FAC in smaller type
between the words, apparently referring to the place of manu2
One of the commonest names is that of Ripanus
facture.
who
Tiberinus,
gives the name of the place where he worked
RIPANVS TIBER F LVGVDV FACT, Ripanus Tiber(inus] f(ecif) ;
Lugudu(ni) fact(uiri)? The potters' names are usually accompanied by the letters OF or F. The mortaria vary from seven
to twenty-three inches in diameter, and are found in England,
Of the second or heavier
France, Germany, and Switzerland.
a
curious
vase
in
the
of
a human head was found
form
variety
recently

dug

p.

See generally C.I.L.

vii.

1334.

fourn. Brit. Arch. Assoc. xlvi. (1890),

156; other examples at Colchester

and Exeter and Guildhall (Cat.

p. 104,

No. 641, Q
C.I.L.
3

vii.

ERIV

Roach- Smith,

C.I.L.

vii.

GERMANVS):

see also

1334, 63.
///.

1334, 43.

Rom. Lond.

p.

89;

ROMAN POTTERY: PROVINCIAL FABRICS

$$2

much of the New Forest ware also comes under

same heading, 2 including the small cups with pinched-in
sides, some being covered with a slip of micaceous consistency.

at Castor

the

Of

black ware

many

varieties

have been found

in

Gaul and

Britain, besides the special local wares which have already been
described.
Some were employed as funerary urns, but the
majority are of small size, and in quality they vary from the

extremest coarseness to a

fine polished clay, producing an effect

almost equal to the Greek or Etruscan black wares. The finest
specimens of plain black ware are to be seen in the vases with

a highly polished surface, presenting a metallic appearance and

an olive hue which almost approximates to that of bronze.
Examples of this ware are found in Gaul at Lezoux, in Britain
3
at Castor, and elsewhere.
In the first century after Christ a superior kind of black ware
seems to have been made in Northern Gaul and Germany,
"

4
The clay
Belgic black ware."
is bluish-grey, with black polished surface produced like that of
the bucchero ware by smoke, not like the black glaze of later

described

Roman

by Dragendorff

ware.

as

similar variety of grey ware exists, but without

The forms of the vases vary very much from

glaze or polish.
the Roman, including a typical high, slim urn and other more
squat forms, closely imitating metal
they bear some relation
to those of the La Tene period, and are Celtic or Gaulish rather
;

than German. 5

Such ornamentation as they bear is exclusively

in relief.
and
never
There is, however, a Roman form of
linear,
often
occurs, and, generally speaking, the fabric
plate which

may be

described

as

a continuation of

pre-Roman pottery
Xanten and
Andernach, but is not found on the Limes, and is rare in
it does not seem to have been made after the beginning
Britain
of the Flavian epoch, when it was largely superseded by the
influenced

by

Italy.

It

is

well represented at

ordinary

Roman

black glazed wares.

special kind of black ware seems to have been made

Artis, Durobrivae, pi. 49,

See Viet. Hist, of Hants, i. p. 326.

Cf.
Plicque, Ctramique Arverno-

romaine, pp.

6,

30.

fig.

1.

Banner Jahrb.
Ibid.

p.

89;

xcvi. p. 88.
Hettner in

fiir Joh. Overbeck, p. 170.

in the

Festschr.

PLAIN BLACK WARES

553

valley of the Rhone, consisting of pots of a coarse, gritty paste

with micaceous particles, breaking with a coarse fracture of a

They have been mostly found at Vienne,

where they seem to have been made. The bottom of the vase
is usually impressed with a circular stamp with the potter's
dark red colour.

name

late letters, as

in

F(/>)MINVS F, SEWO F,
well-known name of Fortis has

L CASSI

O,

F (from Aix).
The
been found on black ware from Aix.
In Britain black ware is, as elsewhere, exceedingly common,
1

SIMILIS
also

and a typical group of the smaller

now

found

varieties

afforded

is

by a

a sarcophagus at Binsted in Hampshire,

2
in the British Museum, consisting of two calices, a jar (olid),

series of five

in

The Upchurch ware

and much of the same kind has

an acetabulum, and a kind of candlestick.

largely belongs to this category,
been found at Weymouth.

Brown ware of a very coarse

Roman
domestic

style

often found with other

is

remains, consisting of amphorae and other vessels for

use.
Examples of amphorae and jugs with female

heads modelled on the necks have been found at Richborough

and elsewhere. 3
At Wroxeter the excavations yielded two new classes of
pottery, one consisting of narrow-necked jugs and mortaria?
very beautifully made from a white local clay, which has been
found at Broseley in the neighbourhood,
nowadays supplying material for the manufacture of tobaccoThe surface is decorated with red and yellow stripes.
pipes.
The other kind is a variety of red ware which has been styled

identified with

that

"

Romano-Salopian," made from clay obtained in the Severn

and differing from the common Roman ware. 5
It is,
however, exceedingly doubtful whether these types should be
classed under the heading Roman.

valley,

In conclusion,
1

C.I.L.

M.

B.

xii.

it

may

be noted that although

5685, 195, 362, 831, 845

Cat.

Celt,

others in

tile-stamps),

amples

2
3

Arch. Journ. ix. p. 12.

Roach-Smith, Richborough,

provincial

Roman, and Saxon*, p. 281

B.M.
ExWright, Uriconium, p. 251.

Wright,

of Terracottas,
145-47
(wrongly included in that volume among

all

may be

seen in the Shrewsbury

Museum.
p.

74

5
;

Wright,

ibid.

Roman, and Saxon*,

p.
p.

252,
278.

and

Celt,

554

ROMAN POTTERY: PROVINCIAL FABRICS

museums contain more or less complete collections of the ordinary plain fabrics, they are for the most part of strictly local
But
origin, and not in themselves sufficient for general study.
since the

Museum

acquisition of the Morel Collection by the British

the student has ample facilities for investigating there

not only the fabrics of Britain, but also those of Gaul, of which
an exhaustive series is now incorporated in our national
collection.

With

review of the ceramic industries of the

this

Roman

Empire, we conclude our survey

of the pottery of the classical

world.
have followed its rise from the rough, almost
shapeless products of the Neolithic and earliest Bronze Age,
when the potter's wheel was as yet unknown (on classical soil),

We

and decoration was not attempted, or was confined to the rudest

kinds of incised patterns.
We have traced the development
of painted decoration from monochrome to polychrome, from
simple patterns to elaborate pictorial compositions, and so
to its gradual decay and disappearance under the luxurious
and artificial tendencies of the Hellenistic Age, when men
were ever seeking for new artistic departures, and a new system
of technique arose which finally substituted various forms of
decoration in relief for painting.
And lastly, we have seen
how this new system established itself firmly in the domain

Roman art, until with the gradual decay of artistic taste

and under the encroachments of barbarism, it sank into neglect
and oblivion. We observe, too, with a melancholy interest, that
of

while other

have

left

tions,

and

such as architecture, painting, and metal-work,

sort of heritage to the later European civilisa-

arts,

some

like the

runners in the Greek torch-race

vitai

this is

lampada tradunt,

not so in the case of pottery.

seem, completely worn

to the level of

its

itself out,

This art had,

and had,

earliest beginnings.

The

in

fact,

it

would

returned

decorative element

disappears, and pottery becomes, as in its earliest days, a mere

utilitarian industry, the secrets of its former technical achieve-

ments irrevocably

lost, its

ornamentation reduced to the simplest

CONCLUSION

555

and roughest kinds of decoration, and its status among the

products of human industry, once more limited to the mere
supplying of one of the humblest of men's needs.
But this was inevitable, and we must perforce be content;
for have we not seen, in the course of its rise and fall, a
reflection of the whole history of Greek art, from the humble
beginnings in which Pausanias descried the touch of someIt is unthing divine which presaged its future greatness ?
in
to
manner
which
the
successive
the
necessary
recapitulate
stages of Greek art are mirrored in the pottery, from the
first efforts of the Athenian potter down to the eclecticism
of the Arretine ware.
Let it suffice to say that the object
of this work has been twofold
firstly, to show the many:

sided

interests

secondly,
art

to

of

the

point out

and mythology

historical
its

study

value to

and that

it

is

writer that this object has been in

of

ancient

the student of

pottery
ancient

the modest hope of the

some measure fulfilled.

INDEX
Names of

NOTE.

and Ka\6s-names

artists

in those given in

Abaskantos, lamp-maker,

i.

i.

in Cyprus,

Acheloos,

vases

I2off.

ii.

fight over

Acids used for cleaning vases,

Acastus, potter, ii. 517

i.

Acratophorum,

40, 41

ii.

ii.

Aithra,

102, 140. 310,

119

ii.

Aecetiae pocolom^

ii.

personified,
i.

54, 308,

19,

5/caros,
i.

82

54

ff.

of,

Aeneas on vases,

ii.

ii.

i.

35, 66,

246

141
i.

119,

i.

pottery

135

i.

173

i.

88,

64

it.

97

flf.

of,

i.

339,

dXa/JewTO^K?;,

Alabastron,

Aeson, vase-painter, i. 444

Aesop on vase, ii. 151 ; on lamp,

i,

Alba Longa,
288

14

fables of, on lamps,

"

ii.

86

Aktaeon on va<=es, ii. 35, 310 on lamps,

ii. 414 ; on Gaulish
pottery, ii. 508
Aktor and Astyoche, ii. 143

138

30

" Affected

axpurripia,

129, 135; on lamps,

62

i.

Akratos,

414, 421

ii.

i.

24

ii.

a.KpaTO<f>6pos,

vases

492

Aegisthos, death

Aeolis, finds in,

of, ii.

Akamas and Demophon,

490

i.

pottery, i. 262 ff., 275

Islands, vase-finds in the,

Aegean

Aegina,

140

Ajax, son of Oileus, ii. 134, 135

son of Telamon, ii. 124, 128, 129;
death of, ii. 133, 310

42

ii.

ii.

126, 137

Agrippa, painter on terracotta,

ii. 366
Aigeus, ii. 108

i6off., 197

411, 422
Alkestis,

myth

Agrios,
ii.

Adjuvate, sodales, inscription on lamp,

Adrastos,

ii.

Agrigentum, see Girgenti

Acrobats, ii. 165, 182

Actors on vases, i. 473,

Admetos and

vases,

Agra, mysteries of, ii. 27, 104

Agriculture on vases, ii. 171

464

ii.

Agamemnon on

Agia Paraskevi (Cyprus),

Agon, ii. 89, 194

323

i.

of,

98

i.

tf-yaX/Aa,

Aco

Aeolus,

36

412

ii.

Agamedes and Trophonios,

245, and see 275

i.

83, 101

ii.

Achilles on vases,

347,

i.

in,

Achaeans

ii.

tombs

i.

lamp,

Acanthus-patterns, ii. 223

Acetabulunt) ii. 469

from,

will be found

list

273^.

67 ; Ionic pottery of, i. 340 ff. ;

relations with Ionia, i. 355 ; lamps
bust of, on
from, ii. 399, 406, 427

from,

484

312
Adonis,

II. p.

Africa, types of

108

Abecedaria, ii. 311, and pee Alphabet

Abella, vases from, i. 81 ; fabric of,

body

not included in this

Vol.

ii.

415

i.

133

196, 308, 312,

i.

79

492

hut-urns from,

ii.

Alcaeus quoted, i. 133; on vase?, ii. 151

Alexander the Great on Arretine vase, ii,

416
amphorae, i. 387
ii.

494
557

INDEX

558
Alexandria, vases from,

ware

celain

from,

i.

67, 146

i.

Amykos,

por-

418

ii.

on Arretine

vases,

Anakreon on

ii.

Admetos
ii.

480,

i.

Alkyoneus, ii. 100

Allegory on vases,
terracottas,

ii.

ii.

of,

533

clay

dXuireKTj,

ii.

centre for Gaulish

380 ff.
ii. 434

for

pottery,

200

179,

246, 268

248;

ii.

i.

Attic,

early Etruscan,

ii.

12,

296,

3U
Altemura, vases from,
Alyzia, inscribed

from.

tile

i.

IO2

Amathus, pottery from,

ii.

vase>,

195; on lamps,

ii.

America, museums

36, 66,

i.

147,

99, III, 132, 144,

415

of,

ii.

26, 30

i.

Amorgos, pottery from,

Amphiaraos, i. 76, 318,
Amphion, ii. 117
Amphitrite,

i.

56,

ii.

469;

411;

118

Attic,

i.
i.

Nicosthenic,

234 prices paid for, i. 44 ff.

examples at Erythrae, i. 205
;

&/j,(f>wTis ,

i.

154

ff.

113

75

Roman,

86

Ampulla^ ii. 465

Amyklae, pottery from,

168, 173

Annia Arescusana,

potter,

ii.

367

Annum novum faustum felicem,

on lamps,

ii.

398, 420

Ansae lumilatae,

ii.

287

tion

317; Roman,

ii.

i.

97

ii.

343

ii.

52

ff.

ff,

ff.

90

vases,

i.

355,

ii.

185

i.

295,

322;
385 ;

ancient

used as

ii.

4600.

on cup

in

of,

on

vases,

B. M.,

i.

ii.

42

191;
with

ff,

434, 457;

Persephone, ii. 28, 42 ; at Judgment

of Paris, ii. 122 ; on mural reliefs, ii.
in Gaulish
368
on lamps, ii. 410
;

Apollo, dedications
sentations

of,

ii.

terracottas,
;

385

and see Venus

to,

i.

139, 345

on vases,

ii.

29

repre-

189;

ff,

with
Gigantomachia, ii. 13, 15
Herakles, ii. 33, 97, 103; on mural
on lamps, ii. 409 and
reliefs, ii. 368
see Helios
in

>

Apollodoros, vase-painter, i. 439

Apollonia, vases from, i. 60
i.

inscrip-

Ante-Homerica, subjects from, ii. 4, 1 19

Antepagmentum, ii. 315, 365
Anthedon, vases from, i. 53
Antonius Epaphras, M., potter, ii. 367
Anzi, vases found at, i. 83, 481

sentations
;

i.

ii.

ii.

i. 49, 278
Aphrodite, in terracottas, i. 123 ff. ; dedications to, at Naukratis, i. 345 ; repre-

Panathenaic, i. 46, 69, 84, 132, 145,

"
Tyrrhenian," i. 160, 324;
388 ff.;
'*
affected," i. 387 ; "false-necked," i.
ornamentation of, i. 375, ii.
246, 271

wine-jars,

500,

Aphidna, early pottery from,

Chalcidian,

Melian,i. 57,301

ii.

pets,

Apate,

23, 189

162,

i.

372,

368,

Andromeda,
'Ave<ri5upa,

Apes on

262

Amphitruo of Rhinthon, see i. 473

Amphorae, forms of Greek, i. I53ff.
Apulian,

ii.

and see 365, 371

250, 253

Amazons on

pottery from,

Andokides, potter, i. 386, 401, ii. 258

Andromache and Astyanax, ii. 131

Etruscan,

439

i.

301, 435

Antaios, i. 431, ii. 100

Antefixal ornaments, Greek,

85

i.

Amasis, king of Egypt, i. 345

potter, i. 381 ff., 387
vase-painter,

ii.

Alphabet, introduction into Greece and

scheme of
early varieties, ii. 245 ff.
early varieties,

203,

Animals on early vases, see Chapters

VI.
VIII. passim ; as subjects on
on lamps, ii. 418 ; as
vases, ii. 184 ff.

475, 478

ii.

Allifae, pottery of,

152

i.

502, 509, 522, 533

21

valley of, as

Allier,

ii.

178

Roman

Andernach,

19

i.

vases,

ii.

dva!;vpi8e$,

Alkmena,

ii.

ii.

Analyses of pottery,
Ananke, ii. 69, 90

489
Alkestis, see

115

24
Anakles, potter, i. 384

I54ff.

Alexandrine subjects on vases, i. 502 ; in

Gaulish terracottas, ii. 386 ; on Roman
lamps,

ii.

Amymone,

129; wine-amphorae

i.

of,

Appius, L., potter,

ii.

490

INDEX
Applique
ii.

529

and see

Apulia, vases from,

of,

ii.

323

468

ff.,

485,

ff. ;

at

Lezoux,

e/i/3\?7/Aara

403
83

ii.

Apuleius quoted,

497

119,

i.

reliefs,
;

ff.

i.

local pottery

painted pottery

i.

of,

486; shapes, i. 144. 171,

469; ornamentation, i. 468,

178, 179,

arrangement of subjects on,

235
209; inscriptions on, ii. 271 ff. ;

ii.

ii.

sepulchral subjects on, i. 144, 476,

ii.
157 ; scenes from Under-world on,

67

ii.

ff.

Aqueducts, use of brick

Archemoros, ii. 118

336

Archers,

177, 178, 199

i.
374, 384
Architecture, terracotta used

tiles in,

vases

91

i.

ii.

in,

314^

ii.

ii.

330

ff.

ff.,

ii.

457

use of bricks and

336

343

ff.,

treatment

ff. ;

91

Rome and

at

i.

in,

use of

vase-

of, in

ii.
205 ff. ; imitations of, in
arrangement of designs, i. 378, ii. 207 ;
in patterns, ii. 211

paintings,

Archons, names

Ares on vases,
machia,
Arezzo,

ii.

i.

ii.

190

41,

13, 15

69, 390

i.

i.

ii.

409

29, 72,

ii.

and stamps
and see
;

tools

438, 439, 493

ii.

i.

i.

51

tions in alphabet of,

ii.

as centre of

i.

inscrip-

308, 335, 357,

249

Argonauts on vases,
see

ii.

i.

442,

ii.

115,

and

104

guardian of

i.

lo,

52
ii.

20

Ariadne on vases, ii. 57, no, 298

Aridikes and Telephanes, painters,

i.

i.

312,

168, 297,

ii.

i.

to,

i.

i.

15; as Aidos,

13,

56, 289, 301,

ff,

ii.

149

on

in Giganto-

ii.

ii.

35

90;
Dik-

13,

and see

20

i.

Artists' signatures,
list

of,

420

ff,

ii.
244, 257 ff, 272 ;
273 ff; Athenian, i. 379 ff.,

ii.
ii.

257ff.

i.

i.

312

179

179

Aryballos,

i.

127, 197, 300; Corinthian,

later type,

412, 492
see Oxford

i.

Ashmolean Museum,

Asia personified, ii. 81

Asia Minor, vase-collections
34

i.

of,

in,

i.

108

30

i.

vase-finds in,

33> 356 lamps from,

ware from, i. 129

i.

61,

porcelain

Asiatic art, influence of, on Arretine

ware,
ii.
489 ; and see Ionic

Asine, pottery from,

i.
52
on lamp (?), ii. 416
Askos, i. 119, 129, 199; local Apulian,
". 325, 326

76

ii.

Assos, pottery from,

ff,

i.
i.

i.

64, 280,

8;

i.

295, 333

Asti, see

340

62
81, 83, 472, 474,

ii.

enamels,
i-

341

409

ii.

tynna,
497, ii. 35
Artis on kilns at Castor, ii.
435, 447 ff.
Artistic aspects of
study of vases, i.

333> 334

444

Arkesilaos of Kyrene,

107,

104, 271
Assyrian bricks and cylinders,

249

ii.

i.

478

i.

75

190;

35,

Assteas, vase-painter,

Aristophanes quoted or referred

132, 143, ii. 266
vase- painter,

ff,

Assariik, pottery from,

i.

320, 395

Arimaspi, ii. 148

Aristonoos, vase of,

ii.

Asiatic,

Asklepios,

Argos, vases from,

I

274, 298, 307, 336

30

ii.

tombs

Argolis, pottery from,

and see Arezzo

machia,

i.

Arretium

fabric,

dpv<rTrip, dpv<rTi%os,

in Giganto-

on lamps,

potters'

207,

ii.

Arretine vases, ii. 479 ff. ; connection of,

with Gaulish ware, ii. 500, 517 ff.
Arretium as centre of fabric, ii. 432, 475,

dpuraiva,

pottery found at,

479, 481

from,

on vases,

of,

167

i.

dpddvtov,

of warriors,

ii.

ff.,

Armour, how represented, ii. 198

Arrangement of subjects on vases,
206 ff.

vases,

Archikles, potter,

Pompeii,

Arming

477

ii.

in Etruria,

cup with subject of, i. 44, 341

149, 250
sculptor and modeller, ii. 372
Aries, pottery from, ii. 524
Armed foot-race, ii. 164
Armento, vases from, i. 83

Artemis, on lamps,

92

'Apxeyai/njs,
ii.

ii.

in,

559

influence on
;

Hasta

i.

textile fabrics,

6,
i.

312,

Greek pottery,
and see Oriental

INDEX

560
on

'A(TTvv6fji.oi

Astyanax,
Atalante,

101

i.

tiles,

see Attic

131, 134

ii.

141, 142

ii.

on Gaulish vase,

attire of,

532

ii.

in Lokris, vases found at,

Ate,

ii.

90

Ateius, Cn., potter, ii. 500

Athamas (?), see Salmoneus

Atlas,

Athena, on vases, i. 323, ii. 37 ff. ; types

of, ii. 190; statues of, ii. 40, 134, and
Parthenos on vases, i.
see Palladion

Attegia

451; Promachos, i. 389; with

Poseidon on vase, i. 464, 497, ii. 24

449,

on lamp, ii. 409 birth of, i. 370, 396,

ii.
15, 294; birth-type used for other
;

scenes, i. 388 ; with Herakles, ii. 38,

105 ; in Trojan scenes, ii. 39, 133 ; at
Judgment of Paris, ii. 122

Athenaeus on shapes of vases, i. 148 ff.

on drinking-cups, i. iSoff.
'A0r}va?os on tile from Marathon, i. 99
421

or

artists

255

ii.

ff.,

ff.

migration

other parts,

to

of,

156

i.
festivals, ii.
464, 465
horsemen or knights, ii. 166, 177,

179

sepulchral reliefs,

tribal heroes,

255

i.

Cyprus,

140

ii.

i. 477, ii. 158 ;

vases made for

n,

with Ionian,
401

i.

of,

332, 356; chronology

ii.
270 ; and see

i.

463,

ff.,

generally Dipylon, Proto- Attic, Blackfigured, Red-figured; white lekythi,

48,

86,

54,

142,

132,

196,

i.

454 ff.,

Athens, history
vases,

i.

ii,

vases

at,

i.

108

finds

i.

at,

forgers

quarter at,
at,

369, 418, 463; finds of

12, 33, 46 ff.; of lamps,

tombs

modern

connection with

in

of,

museum

Acropolis,

402

i.

i.

of,

on,
i.

i.

26,

i.

at,

89, 231

48,

33,

33, 47,

43

30,

142,
;

48

138,

147

potters'

public measure

i.
135 ; early artistic position of,
235, 292, 369; art of painting at,

454; pottery
of, see Chapters VI., VIL, IX.-XI.
passim its native origin, i. 20, 278
ii.
355 ff,, an.4
inscriptions on vases,
i.

396

417, 476,

162

ii.

ii.

374

75

Attic alphabet,
ii.

i.

ii.

141

342

ii.

tegtilicia,

lect,

ff.

246, 268

ii.

12,

237, 255

296, 325, 370, 379,

ii-

255

ff.

i.

inscriptions,

dia-

291,

palaeo-

graphy of, ii. 268 ff. ; comedy reflected

on vases, i. 473, 483, 484 ; legends on
vases,

ii.

I38ff.

Attica, finds of pottery in,

and see Athens

Auge,

i.

474,

ii.

ii.

124

81, 193

Auster, stamp of, ii. 440

Australis on Roman tile,
Austria, vase-collections

Auvergne, potteries
Lezoux

Avot

ff.

104

Aulis, scenes at,

ii.

49, 278

i.

for fecit,

ii.

ii.

504

ii.

in,

359
28

i.

of,

.and see

382, 509

Babylonia,

bricks of,

i.

cylinders and tablets,

i.

8,

6,
i.

91,

94;

enamels,

Bacchic scenes, see Dionysiac

Bacchylides and vase-paintings, ii. 6
Baking, of terracottas, i. 116; of vases,
i. 214 ff. ;
ovens for, i. 105; and see

Kilns

157

i.

i.

197

other

to

exported

405, 458, 464; influenced

by Ionian, i. 294, 29^, 388 ; contrasted
i.

parts,

ii.

Aurae,

379 ff.,

i.

potters,
;

ii.

Atreus and Thyestes,

Athenian

termination of vase-paint-

Atilius, K., potter, i. 502

Atlantes of terracotta at Pompeii,

53

i.

ing at, i. 463 ff.

Athletes on vases,

ff.,

409,

441

ff-,

ii. 167
Banassac, fabric of,

Ball-games,

ii.

524

iSoflf.

ii.

Banquet-scenes,
in, i. 188

use of kylix

Barbarians on vases, i. 420, ii. 178 ff.

Barbotine decoration, i. 130, 210, ii. 438,
442, 505, 512

in

536 ; at Lezoux,
ii544
Bargates, potter,
Bari, vases from,
of,

ii.

ii.

Germany,
528,529

ii.

483

i.

84,

86

51 3,

local pottery

326

"Base-ring" ware (Cypriote),

and Ecfyelos, ii. 27, 140

Pasjle

ii.

at Castor,

i.

242

INDEX
Bathing-scenes, ii. 165, 173
Baths, use of tiles in, i. 103, ii. 342, 346 ;
use of bricks in, ii. 331, 335, 339-;
vessels used for,

of Caracalla, arrangements

347

ii.

of,

Bears on lamps, ii. 398

"
Belgic" black ware, ii. 552

Bellerophon on vases,

114

ii.

i.

129

i.
68 ; porcelain
and see Cyrenaica

Berlin Museum, i. 25, 28

Bibe, amice, de nieo on Gaulish vase,

524

ii.

178
Blacas krater,

i.

291,

i.

409, 443,

wares

i.

Latin

Roman,

ii.

552

ii.

291

men-

304;
and see Etruria,
ii.

literature,
;

Black-figured vases,
ff.

375

i.

ii.

artists of,

i.

ff. ;

379

ff., ii.

of subjects on,

i.

of,

219,

i.

subjects,

ii.

i.

393,

370;

274

207

i.

arrangement
/caX6s-names

amphora

in,

i.

159

mchet on Gaulish terracottas, ii. 380 ff.;

on kilns in France, ii. 443, 451 ; on
Gaulish pottery-centres, ii. 533
ir-hunts on vases, i. 315, ii. 166 ; and
see Calydonian

186; lamps, ii. 403

ilau on Geometrical pottery, i. 286 ff. ;

it-shaped vases,

i.

on Proto- Attic, i. 292 ; on Phaleron

ware, i. 298 ; on Ionic pottery, i. 336 ff.
i

Boeotia, pottery from,

i.

i.

52
102; terracottas from,

VOL.

II.

i.

tiles

118,

from,
123,

285

red glaze,
81, 115, 116

437

ii.

551

ii.

26, 30

i.

vase

i.

483

50, 53,

for libations,

^5, 499;

34>

ii.

in,

Bowls, Megarian or Homeric,

i.

140,

"

Italian Megarian," ii.

471
490 ; forms of Gaulish, ii. 501, 520 ff. ;
and see Calix, Patera, Phiale
ii.

Boxers,

ii.

163

i.

105

Bricks, use

of, in

ii.

89

i.

Pompeii,

of

ii.

80, 115, 194

at

transition to R.F., i. 386,

277
400 treatment of eye on, compared with R.F., i. 408 subjects compared with R.F., i. 416 ff. ; varieties
ii.

on,

ii.

Boreas,

330,

ff.

198

ii.

from

376

497

artists' signatures,

of, for

Greece,

ornamentation,

372
234

other

151;

i.

i.
219, 368
from Ionia,

technique

ff.,

255

i.

shapes,

i.

/3o/^3u\ios,

Braziers,

Black-bodied amphorae,
vases, i. 221

356

civilisation at,

192,

Naukratis, etc.

Cyprus,

252

ii.

of,

300,

i.

i.

reliefs,

Bolsena, vases from, i. 73, 501

Bomarzo, vases from, i. 74

210, 2i9ff., 371, 405

(Etruscan),

in

242

i.

Proto-Corinthian

vases with

Boston Museum,

78, 79

ii.

Black punctured ware (Cypriote),

slip ware (Cypriote), i. 241
varnish,

290

later local fabrics,

Boriedus, potter,

ii.

plain

391, 451

Boreades,

387
Biremes on Geometrica vases,
i.

''Bilingual" vases,

tioned

307

i.
274
286; bronze

159,

52,

i.

of,
i.

Borax, use

164

/3(/cos, i.

fibulae

i.

ii.
252, 273
Boiae, foundation of (?), ii. 143
Bologna, vases from, i. 72 ; Villanuova

on lamps,

Benghazi, vases from,

ware from,

Mycenaean pottery from,

Geometrical,

alphabet

414

ii.

290

vases,

176

i.

561

Rome,
33 1

91

6,

in Etruria,

in

314;

ii.

331, 336, 340, 352 ; at

337 ; sun-dried, i. 91 ff.,
baked, i. 95, ii. 334 ff. ;
335

sizes of

ii.

ii.

Roman,

construction

in,

inscriptions
Tiles

on,

methods of
stamps and
and see
352 ff.

332

ii.

ii.

337

ii.

ff.

Bridal scenes, see Marriage

Britain, vase-collections in,
brick in,
tiles

i.

Babylonia,

ff.

ii.

from,

ii.

i.

27

use of

and see 335

346, 348, 358, 359, 363

332, 337,

terracotta statuettes from, ii. 379, 384 ;

kilns found in, ii. 444, 445, 454 ; wine-

amphorae,
found
ii.

in,

461

ii.

540

ii.

504, 540

Roman

ff.

chronological sequence, ii.

botine wares in, ii. 513, 544

522; Lezoux ware,

"
Samian ware, ii. 541

ii.

from,

ii.

542

plain wares,

New

pottery

imported wares,
subjects, 508 ; types and
;

ii.

Forest,

ii.

540
;

ff.

bar-

529; "false

potters'

local fabrics,

549

Rutenian,

ii.

names

543

ff.

and see Castor,

Upchurch

36

INDEX
British

Museum,

i.

School
i.

27; prices

24,

17,

paid by, for vases,

i.

43

ff.

Athens, excavations

at

of,

265
1 86

i.

po/*/ay,

of,

Brongniart on Greek vases,

bucchero,

wares,

ii,

301

i.

203

on

on plain Roman

Bronze, workers in, ii. 171 ; imitations

in Roman
of, in bucchero ware, ii. 303
;

528, 552

ii.

pottery,

in

Age

Cyprus, i. 35, 66, 206,

237 ff. ; in Italy, ii. 283 ff. ; porcelain
ware of, i. 127
Brunn on Melian reliefs, i. 120
Brushes used for painting vases, i. 227

ii.

289, 295, 301

in

Bularchos, painter,
vases,

i.

i.

361, 363

45, 47, 57, 145, 285,

and use of vases

Burial scenes,

295

in, see

Funeral
1

ii.

59

and see Caricatures,

Comedy
Busiris,

Busts of terracotta (funereal),

Butades,

i.

Cacus,

Cadus,

ii.
ii.

Candelabrum-amphorae, i. 162
i.
and see Vulci
44, 76
;

Canoleius, L., potter,

i.
502
Canopic jars (Etruscan), ii. 304
Canosa, vases from, i. 84, 118, 146, 487
Capedo, capis, ii. 471

Capitoline Jupiter, temple of, ii. 314, 371,

and see i. 116 ; statue of, ii. 314, 372

Capua, vases from,

tiles

from,

made

at,

100

463

ii.

406,

423, 425, 428

Caere, see Cervetri

Caeretan hydriae,
allied fabrics,

i.

forgeries

42

Carthage, lamps from, ii. 397, 399, 405,

422 ; Gaulish vase at, ii. 523
Casks, see Dolium, Pithos

ware

of,

435, 437, 444, 446

ii.

of,

ii.

ff.

and see 442, 536

543,

and

ff. ;

166, 353 ff,

ii.

308

356 ff.
finds of vases at

134

ii.

439, 511, 536

Cerigo, see Kythera

Cervetri (Caere), vases from,
ff,

vases with reliefs from,

painted slabs from,

Calidius Strigo, potter, ii. 482

Caltx, ii. 468 ; and see Bowl, Kylix
Calvi (Gales), vases from, i. 81, 119, 146,

Regulini-Galassi
abecedaria from,

Calydonian boar-hunt,

from,
Cesnola,

ii.

Calyx-patterns, ii. 221

Cambridge, Fitzwilliam

114,

294

ii.
i.

496,

ii.

27

KCU

"

at,

311;

ii.

292

319

>

300;

sarcophagi

317, 321

65

Chachrylion,
i.

ii

299,

potter,

i.

420,

43

Museum,

75?

315, 317;

ii.

i.

tomb
ii.

i.

architectural

297, 307, 308;

terracottas from, i. 98,

292

Caistor-by-Norwich, kiln at, ii. 445, 449

Calene phialae, i. 502, and see ii. 490

191, 502

i.

Centaurs, ii. 102, in, 145, 195

Centorbi, vases from, i. 87
Cerialis, potter,

i.

Caesar, C. Julius, his

i.

ii.
488, 493;
vases with gild-

Cave-dwellings, pottery from,

Ceglie, vases from, i. 84

and see

Caecilius Saevus, L., lamp-maker,

Corinth,

210, 231, 498

i.

i.

81,

i.

98, 103

i.

Cato on terracotta sculpture at Rome, ii.

373
Caudebec, terracotta figure from, ii. 384

527

ii.

Bibliography in Vol. I.
Catinus and catillus, ii. 469

123

no

98,

Butrio, potter,

i.

fabrics

227, 484

i.

475, 478

ii.

Catagrapha, i. 397, 455

Catalogues of vases, i. 26

102

ii.

80, 146;

484

local,

pottery in,

Castor, kilns

Burlesques,

ff.

351,

Caria, pottery from, i. 64, 330, 340

Caricatures on vases, i. 392

ff.

Bucket, see *<5os, Situla

Burgon

Roman

482

ff.,

ing from,

Brygos, potter, i. 421, 437, ii. 256

Bucchero ware in Cyprus, i. 242
Etruria,

467

i.

ii.

in,

i.

in,

162, 469,

i.

of,

Canino,

437, 548

ii.

456
Campania, vases found

amphorae

57, 262,

Roman tombs

Cambridgeshire,

trlet eS,

i.

373,

ii.

265

424, 427,

INDEX
Chalcidian vases,

ff.

321

i.

alphabet and

Cities personified, ii. 81, 82, 194

Civil use of pottery, see Measures

Chalcosthenes or Caicosthenes, i. 92
Chalkis as pottery centre, i. 55, 307,

Civita Castellana, see Falerii

Lavinia, terracottas from,

32 iff., 495
Chares, vase-painter,

ii.

294

ff.

on lamps, ii. 417, 422

Charioteer, dress of, ii. 198
i.

Charun,

ii.

Cheiron,

459,

ii.

ii.

i.

i.

for

Chimaera,

ii.

ii.

i.

137

vases from,

on vases,
i.

73

i.

ii.

372,

385 ; of Roman lamps,

of Gaulish pottery, ii. 501

ii.

399 ff.;
516 ff.
Chrysaor,

Chryse,
Chrysos,

ii.

ii.
ii.

i.

ii.

ff.,

112

i.

terracottas,

123

ff.

on lamps,

ii.

144

ii.

404

for

Roman

35> 354

i. 62,
64, 330,
as centre of Ionic fabiic, i.

sarcophagi
vases,

of,
i.

i.

62, 362 ff

350

ff.

for,

i.

106,

ii.

ii.

246
;

321

i.

ff. ;

i.
116; for
230 in Etruscan art, ii. 299,
for mural reliefs, ii. 366
;

ii.
175 ff. ; and see Gladiators
Comedy, scenes from, on vases, i. 473,

ii.

"

480, 483
ff. ;

160

Comitialis, potter,

Etruscan,

on mural
417, 422

reliefs,

Complementary
tation,

ii.

288 ; Roman, ii. 456, and see

550; and see Ossuaria
Cinnamus, potter, ii. 527
Circle-patterns, ii. 216

ii.

Combats,

285,

370

ff. ;

Colchester, terracottas from, ii. 384

kilns at, ii. 445
vase from, ii. 544
Collections of vases, early, i. i6ff. ; list

Circus, scenes from,

333

models,

390 ff. ; compared with R. F. vases, i.

426 ; evidence of, for Greek alphabets,

xvTpotr\d6os, i. 232
Ciborium, i. 186, ii. 468
Cicero quoted, ii. 365, 371

i.

for lamps,

354> 356

vases,

174

Cinerary urns,

366

Cobnertus, potter, ii. 440

Coins, terracotta moulds

85, 88

Cincelli, potteries at,

ii.

for

of existing, i. 27 ff.
Colours used for terracottas,

105, 115, 124

Chthonian deities, in
on vases, ii. 67 ff.

ff.,

of,

used

compared with

as centre for

Etruscan pottery, ii. 302, 304

Christian lamps, ii. 404, 420
Chronology of Cypriote pottery, i. 245 ff. ;
of Cretan, i. 265 ; of R.F. vases, i.
401 ff., 463, ii. 271 ; of Gaulish terracottas,

104

digging for, ii. 170

Clazomenae, vases from,

200
Chivtsi,

90

i.

uses

pottery, ii. 434 ff, 548 ; preparation of,

for vases, i. 202 ff. ; representations of

subjects

114, 148
of,

i.

ff. ;

ii.

167, 174

Chiton, treatment

tiles,

in, ii. 375 for porcelain objects,

127; in sculpture, i. 109 ff, ii. 314,
317, 371 ff.; nature of, for terracotta
figures, i. 113, ii. 380 for mural reliefs,

214

Chigi vase, i. 309

Children, vases used by,
relating to,

and

sarcophagi,

i.

113, 204

i.

i.

Chequer-patterns, ii. 215

Chest of Kypselos, see Kypselos
ii.

in,

varieties of,

i.

420, 424, 427

Chevron-patterns,

89 ff.

for bricks

310

95, 120, 145

Chelis, potter,

98,

ii.

Clay, earliest working

69, 193

69, 193,

i.

316, 317
Vecchia, vases from, i. 74
Classical literature, see Literature
101,

315

i.

Charinos, potter, i. 411, 492

Chariot-scenes on vases, ii. 164, 166, 176;

Charon,

307

ii.

Chamber-tombs (Etruscan),

with vases,

Etruscan, compared

Cistae,

253

ii.

inscriptions,

563

ii.

ii.

Concentric

ii.

"

511

method of represen-

10
circles,

Cypriote,

i.

25 1;

ii.

216
Conclamatto, ii. 157
Concrete, use of, in

335

Roman

buildings,

ff

Condatomagus, see Graufesenque

Congius, ii. 472

ii.

INDEX

564
names

Consuls,

ii.

vases,

on

of,

360

ii.

tiles,

on

462, 512

" Continuous " method of

representation,
10

ii.

Convivial inscriptions,

early commercial

its

pottery

at,

n,

i.

importance,
i.

and

i.

artistic

of

finds

303;

50, 139, 304, 305,

307

amphora-handles from, i. 158 clay of,

i.
304, 305 ; industries of, represented
on vases, i. 207, 216, 305, 317, ii. 170
;

Corinthian krater,
painters,

i.

168; kylix,

i.

312, 320, 395

139, 207, 216, 224, 305,

23,

170,

i.

304

251

249,
sites

ff. ;

classification,

305

i.

316,

i.

ii.

vases generally,

where found,
ff. ;

i.

304

shapes,

i.

317; ornamentation, i. 311 ff.,

320, ii. 233; subjects, i. 314, 318;
inscriptions, i. 315, 326, ii. 249 ff.;
potters' names, i. 315, ii. 250, 273
imitations of. i. 321
types from, on
311

ff.,

"Tyrrhenian" amphorae, i. 326; points

of contact with Ionia, i. 329 ff. ; found
in Etruria, i. 77, 318, ii. 294 ff, 307
Corintho-Attic vases, see Tyrrhenian
Cornelius, P., potter, ii. 482
Corneto, vases from, i. 74, ii. 284
Cornices of terracotta, i. 97, ii. 344
Cosmogonic deities, ii. 73 ff.
Costume on Greek vases, ii. 200 ff.
Countries personified,

"

Courting "-scenes,
Crater, see Krater
Crescent patterns,
Cretan bull, ii. 96

ii.

i.

183

ii.

in,

i.

i.

145, 272

218

59, 152,

i.

60, 330, 340, 447,

448, 464 wine-amphorae from,

Croesus, see Kroisos
;

Crudus, used of bricks,

214

Cups, see Drinking-cup, Kylix, etc.

Curetes and infant Zeus, ii. 368
Curium, tombs at, i. 36, 255, and see 66,
67 ; vases from, i. 128, 243 ff, 488
Cyathus, ii. 467
Cyclades, finds

and

see

56

i.

in,

Kyathos
early pottery

260 ff., 303

Cyclic poets and vase subjects,
of,

i.

9, 56,

ii.

4,

Cycnus, scene from drama

in,

34

i.

ff.

ii.

of,

Cylinders, Assyrian, i. 7
Cyprus, vase-collections in,

30

i.

finds of pottery,

i.

531

tombs

65, 237,

240, 250, 273, 280 terracottas, i. 112,

123 ff. ; general character of pottery, i.
;

shapes of vases, i. 238, 252

Bronze- Age pottery, i. 66, 206, 237 ff.

236

Mycenaean

Graeco-Phoenician,
i.

lenic,

255

i.

pottery,

ii.

ethnology of inhabitants,

chronology of pottery,
Cyrenaica, tombs
i.

i.

ff.

499

495,

i.

244
Hel-

239,

247

i.

Roman,

240, 248;

250

36; vases from,

69, 465; terracottas, i. 125, 126;
in,

i.

and see Kyrene

Cyrene, see Kyrene

i.

417*
ii.

ii.

I72ff.

i.

fabrics

475, ii. I54ff. ; on lamps,

416 ff. ; of women and children,

vases,

210;

80,

i.

449,

ii.

Crimea, vases from,

158

ii.

Daily

263 ff. ; ossuaria

ethnography of, i. 264 ;
as Myearly pottery of, i. 265 ff.
cenaean centre, i. 269, 274 influence
on later pottery, i. 276 ; the island
personified, ii. 82

Crete, finds in,

on lekythi, i. 143, 459,

on Apulian vases, i. 144,

Daidalos, see Ikaros

life, scenes from, on vases,

81, 82, 194

475,

158

190;

i.

pinakes,

51,

476,

Tomb"

ii.

Cupid, see Eros

Cooking-vessels, i. 174, ii. 470

Corfu, t vases from, i. 54; tiles from,
101
Corinth,

460,

Cumae, vases from,

of, i. 483, ii. 478

265, 524, 538

ii.

"Cult of

i.

90,

i.

92;

158
of

Dali, pottery of, i. 2$o, 273

Danae, ii. 19, 1 12

Danaids,

Danaos

ii.

(?),

68
ii.

140

Dancing scenes on Greek vases, ii. 168,

182 on Arretine vases, see Hieroduli
;

ff.
pottery from, i. 68, 349
Eikellura style at, i. 338, 352 scaleii. 218
pattern used at, i. 311, 337, 352,

Daphnae,

Dardanus, see Troad

Dareios in council, ii. 151

INDEX
Daulis, vases from,
see Eos

Diogenes on lamp,

53

i.

Dawn,

i.

ii. 72 ; and see Thanatos

Dechelette on Gaulish pottery, ii. 432,

in

Decoration of vases,

artistic

value

i.

17,

122;

Dioskuri on vases,
lamps, ii. 413
Diota, i. 154, 163,

i.

i.

105

Delphi, pottery from, i. 53

Delphic scenes on vases, ii. 29

32,

ii.

64

racotta,

103,

ii.

93,

braziers,

105

i.

in ter-

of,

and see

basin,
A^/Aicrtof

on

tiles,

102

i.

260
on a measure,

on a washing-

460

ii.

285, ii. 157, 178 ; chronology, i.

influence on later vases, i. 293,
;

291

Demosthenes,

135
allusions to vases

of,

in Etruria,

i.

i.

in,

in the Cyrenaica,
in Sicily, i.
;

38

87
Departure-scenes on vases,
S^raj, i. 148, 181
Z)eflositio-scene.s,

i.

459,

ii.

Descriptive names,

ii.

91,

Devices on shields,

ii.

198

ii.

(?), ii.

176

69,

353, 362

i.

i.

260

Divixtus, potter,

194
of,
ii.

i.

use,

i.

194,

ii.

Roman,

468

ii.

163

527

50, 315, ii. 250

Dorpfeld, discoveries of, at Troy,
i.

259
of Athenian knights,

61,

i.

153, 257,

ii.

ii.

177

457, 511
;

see
;

549

252

Roman,

i.

ii.

136, 138,

ii.

ff.,

ff

Domitia gtns, tiles of, ii. 357, 358

Dorian invasion, i. 245, 277

Douai, potters' stamps from,

of,

and

455

431,

Doric architecture, use of tiles in,

dialect used at Athens, ii. 256
reign

i.

395

ii.

Domestic use of vases,

54
in

of,

ii. 438,
457 ff. and see Pithos
Dolls of terracotta, i. 113, 114, 120
Dolon, story of, 1.363, ii. 128

107

tile-stamps

i.

of vase,
ii.

Dolium,
157

89

(of lamps),

Diocletian,

part of lamp,

Doliarius,

151

Dimini, pottery from,

name

(Sar/cos),

unknown

243

ii.

06

AoKifjuuria,
ii.

Diadumenos, terracotta figure of, i. 126

Diana on Gaulish pottery, ii. 507, 508
and see Artemis
Diitrephes

469

Dodwell pyxis,

Dennis, explorations

36

105,.

Diskos, throwing

i.

H2

133,

33 ffDiscs of terracotta of

Dishes, Greek,

ii.

on

Discus

Death-deities
ATj/^cria

on

115, 194;

298 early inscribed vase from,

Discovery of vases, circumstances

123

i.

91

ff.,

54, 57ff.

Demons, on

Dike,

ii.

Dipylon, cemetery of, i. 9, 48, 280 ;

vases from, i. 48, 247, 253, 255, 280 ff.
ornamentation, i. 282, ii. 232 ; subjects,
i.

ff.,

138

Delphiniform lamps, ii. 399

Demeter, ii. 26 ff., 189 ; bust

i.

140

vases, ii. 492, 493

Dionysos on vases, ii. 55 ff., 191 ; in
ship, i. 381 ; in Gigantomachia, ii.
in Attica,
14, 56 ; birth of, ii. 19, 55
sacrifices to, i. 140, ii. 60
ii. 139

3846. ; representations of,

on vases, see Chaps. XII., XIII. ; on
Etruscan, ii. 310
lamps, ii. 408 ff.
Delos as centre of vase-fabric (?), i. 57,
at,

127, 128, 133

ii.

?,

ii.

302; braziers made

98

ii.

Deities, terracotta statuettes of,

Gaulish,

of,

ii.

at,

421; tub

R.F. vases, i. 416 ; on mural reliefs,

369; on lamps, ii. 411 ; on Arretine

Dedicatory inscriptions on Greek vases,

on lamps, ii. 421
i.
139, ii. 242

Deepdene, collection of vases

27, 323
Deianeira, ii. 102, 104
Deinos (vase-shape), i. 173

(tribal hero)

scenes on vases,

see Ornamentation, Subjects

Decorative patterns, see Ornamental

14

ii.

of,

Dionysiac personifications,

i.

of,

415,

Trojan scenes,

Diomos

5i6ff.

ii.

151

Diomedes, horses

Death-deities,

5046,

565

ii.

i.

94

503

Dragendorff on Roman pottery in Greece,

ii. 476, 498 ; on Arretine ware, ii. 482,

INDEX

566
on provincial ware,
489 ff.
on Roman red glaze, ii. 435

499

ii.

ff.

Egyptians on vases,

etduXa,

Drain-pipes, see Pipes

Drama,

on

subjects from,

late vases,

i.

47 iff., ii. 7, I59ff.

Drapery, treatment of, on B.F. vases,
i.
372 on R.F., i. 408 ; and see ii. 201

ii.

15,

85

ii.

Dress on vases, see Costume, Drapery

Eleusis, finds of vases at,

352 ff. ; oft

Arretine stamps, ii. 486, 487
Drinking-cups, i. 148 ff.. 180 ff. Roman,
ii. 467, and see
475
ii.

tile-stamps,

i.

and see Appliqut

Emperors' names on
pottery, ii. 462
Enamelling,

i.

Endt on Ionic

308

21, 421,

tiles,

ii.

vases,

i.

350, 354

i.

Earth-Mother, see Gaia,

Echea, ii. 457

Pan

Ephebi on R.F.

220

tyiflSos,

ii.
167
Egnazia, see Gnatia

Ephialtes,

379, 422,

i.

pre-dynastic pottery of, i. 4 ;

brick used in, i. 6, 94 ; use of wheel

Egypt,

enamels

i.

of,

pottery

67 ; lamps in, i. 107 ;

porcelain ware, i. 126 ff. ; influence of,
in,

i.

on Cypriote

i.

pottery,

239,

247

ff.

Cypriote pottery in, i. 239, 242, 243 ;

evidence from, for Cretan and Myce-

naean pottery,

fluence of, in Etruria,

Egyptian
jects

situla at

402, 403, 412

in-

299, 303, 304

i.
350 ; sub-

vases,

reliefs,

Gaulish terracottas,
ii.

ii.

Daphnae,

on Caeretan

Roman mural

267, 271

266,

i.

ff.

ii.

80

i.

ii.

i.

ii.

386

355 ; in
in
370
on lamps,
;

vases,

i.

417

179

i.

e0e/n<r/i6s,

form of signature,
ff, 273 ff.

i.

98,

system of interpretation,

Epexegetic

tyKOT6\i),

found

i.

20

Echelos, see Basile

Echo, ii. 8 1 ; and see

in,

ff.

66, 127, 242

Eos, ii. 79 with Kephalos,

with Memnon, ii. 132
;

257

on

8, I26ff.

Enkomi, vases from,

ii.

354 ff.

England, see Britain

Enkelados, ii. 13

434 ff.,

263, 268

ii.

personi-

reliefs

Duris, vase-painter,

130

i.

e'yu/3X?7jiiaTa,

ii.

124

i.

can imitations of Caeretan,

49

i.

107

i.

')

Diimmler on Cypriote pottery, i. 240 ;

on Rhodian, i. 336
on Daphnae
on Caeretan vases, i.
pottery, i. 350
354; on "Pontic," i. 359 on Etrus-

typa\}/e,

ii.

379,

82

ii.

fied,

Egg-pattern,

i.

see Demeter, Persephone

396

ii.

form of signature,

Elektra, ii. 137

Eleusinian mysteries, supposed references
to, i. 21 ; scenes relating to, ii. 27 ; and

440,

76

Ekphantos, painter, i. 312, 320, 395

Elateia, tiles from, i. 102

Dressel on

Eileithyia,

Eirene,

180

ii.

72, 193

258

i.

ii.

eVepct/x,ei/<re,

Drawing on Greek vases, technique of,

i. 222 ff.
on
; on B.F.
vases, i. 371
R. F., i. 406 ff. on white-ground vases,
i.
457 on South Italian, i. 470; and
see

460,

i.

ii.
ii.

167
13

Epic poetry and vases, ii. 3

Epichysis, i. 179, 469
Epidromos /caX6s, i. 425
Epigenes, potter, i. 445
i.

Epiktetos, vase-painter,
422, 425

425

ff.

379, 398, 420,

cups from school

of,

i.

417,

ff.

Epilykos, vase-painter,
cirivTjTpov,

i.

i.

424

199

form of signature, i. 379, 422,

273 ff.
Epona, ii. 386
Eretria, vases from, i. 55, 458
tpefc, i. 194
Ergasferion, i. 233
Erginos, potter, i. 444
and heralds, ii. 102
e-jroirjffe,
ii.

257

ff,

INDEX
Ergotimos, potter,

370, 379, 380,

i.

ii.

257
Erichthonios, birth of,
Erinnyes, see Furies

139

ii. 90, 194

Eros in terracottas,

Eris,

on

vases,

i.

ii.
45 ff., and see
89 types of, i. 486, ii. 45, 48, 191 ;
with Aphrodite, ii. 42 ff. ; on mural
reliefs, ii. 369 ; on lamps, ii. 410
;

Erymanthian boar, ii. 97

Erythrae, amphorae in temple at, i. 205
Esquiline, lamps from, ii. 393, 399, and
see 481 ; pottery from, ii. 477
Ethical ideas on vases, ii. 89
ii.

Ethiopians,

180

Ethnography of Crete,
naeans, i. 275

264

i.

of Myce-

Ethnological value of study of vases,

i.

10

180

i.

ervripvais,

Etruria, discoveries in,

i.

19,

72

ff.

tombs

104, 145, "

284 ff.;
architecture of, in terracotta, i. 101, ii.
i.

of,

37,

78,

terracotta sarcophagi, i. 104,

2 99> 3 I 7> 320 ff. ; sculpture in terra-

313
ii-

ff.;

109, ii. 313, 317 ; relations

with Greece in Geometrical period, i.
i.

cotta,

ff.

307

ii.

289

ii.

292,

292

ii.

282

ff.

vase-painting in,

i.

358,

wares of, i. 496, 501,

paintings on terracotta, ii.

relief

ff. ;

319

299,

ff.

civilisation of,

earliest

309, 322 Roman pottery in,

ii. 486, and see Arretine ware
Etruscan alphabet, ii. 311 ; artists at
ii.

ii.
372 inscriptions on vases,
310; pottery, see Bucchero, Cerve-

ii.

tri,

Polled rara

Euboea
>

i-

i.

317, 371, 396

painter,

potter

402, 403, 421

of,

ii.

281

vases found
personified, ii. 82
an d see Chalkis, Eretria
j
;

55

icheiros, painter,

i.

395

335,

i.

398,

on
ii.

i.

vases,

472,

415, 421

19

ii.

Eurystheus,

i.

151,

ii.

97

Euthymides, vase-painter,
ii.

334,

and painter,

Euripides, subjects from,

500, ii. 162 ; on lamp,

Europa,

i.

428, 430 ff., 440

ff.,

i.

427,

421,

258

Euxitheos, potter, i. 421, 429

Evans, Dr. A. J., discoveries
152, 265

of,

i.

59,

ff.
i.

198

Exarchos (Abac), vase from,

Excavations, vases found in,

217
138; and

i.
i.

see Chapter II. passim

Exclamatory inscriptions on vases, ii.
261 ff. ; on lamps, ii. 422
Exekias, potter and painter, i. 161, 374,

375, 379. 38o ff.,

Explanatory
259 ff.

ii.

218, 257

on

inscriptions

Expression of figures,
202 ff.

vases,

398,

i.

408,

Eye, treatment of, on vases, ii. 203

Ionic, i. 356 ; on Attic, i. 408

Eyes on
427

vases,

i.

257, 357,

410,

ii.

ii.

on

426,

Roman lamps, ii. 416

Fabricius Masculus, L., lamp-maker,
Fables on

ii.

424, 425

Roman pottery, ii. 437, 479

Falerii (Civita Castellana), vases found
Fabroni on

made

or

at,

i.

75, 485,

early settlements at,

ii.

ii.

301, 309

289

False

amphora (Mycenaean), i. 271

" False Samian" ware, ii. 474,
502, 541

Farces, scenes from,

Etruscan" theory of origin of Greek

vases, i. 18, 79
Etruscans, origin

Eumaros,

ii.

Rome,

424

ii.

285 ; wheelVillanuova period in,

earliest pottery,

made, ii. 290;

ii. 290 ff.
early Greek influence in, ii.
291, 293, 296 ff., 303; early Oriental
character of
influence, ii. 292, 296 ff.
art of,

374, 379, 384

i.

td\enrTpoi>,

175

i.

^fytos,

i.

Euergides, potter,

Euphronios,
126

i.

377, 418, 475, 486,

ii.

Eucheiros, potter,

Euphorbos-plate or pinax,
ii. 129, 249

118

ii.

Eriphyle,

ii.

567

ii.

on

vases,

i.

473,

I59ff.

Fasano, vases found

Gnatia

at,

i.

85

and see

Fates on vases, ii. 84

Favissae (rubbish-heaps of temples),

345

and see

i.

138

INDEX

568

i.
terracotta
67
coin-moulds from, i. 106, ii. 391
Feather-brush or pen, use of, in vase-

Fayum, pottery from,

i.

painting,

Fecunditas,

227ff.

Fidelia,

ii.

i.

vases,

281

314

ff.,

ff.

at Daphnae, i. 338, 352

" Fine "
style of R.F. vases,

Roman

Fish-plates,

ii.

i.

lamps,

ff.

ff.

ii.

346

186

ii.

i.

Forms of vases,

France, vase-collections
findsin, Chapter
cottas from, ii.

390 ff.

ii.

379 ff.

clay of,

ff.

on

terra-

coin-moulds
ii.

potters'

434

kilns

stamps

in,

i.

313

ii.

ii.

10,

1 1

257, 270

style at

ff.,

ii.

207

general treatment

Funeral lekythi,
masks, i. 123
ii.

305

298

i.

i.

on Ionian,
of,

ii.

earth,

30, 73

ii.

122

i.

ff.

and see 193

73,

type

of, in

rising

from

see also

Pandora

Gamedes, potter, i. 300

Games on vases, ii. 167
i.

137, 418, 449,

of children,

167

ii.

18

ii.

Gaul, enamelled ware from,

ii.

ii.

129

i.

terra-

379 ff.; as centre of

427 ; moulds and

stamps from, ii. 439 ff. ; kilns in, ii. 443,

451 ff. as centre for provincial pottery,
ii. 498, 503. 515 ff. ;
subjects on pottery
;

507; use of barbotine

ii.

529

533

in,

ii.

doubtful pottery-centres
pottery from, in Britain,

513,

in,
ii.

ii.

522,

and see France

Gaulish inscriptions on pottery,

in

potters

represented

potters'

names and stamps,

art,
ii.

ii.
ii.

504

511

461, 504,

i.

yflffov,

96

Gela, tombs

196

at, i. 37 ; vases from, i. 86,

treasury of, at Olympia, i. ioo

Gems compared

with R.F. vases, i. 426

Genre subjects in terracotta, i. 124 ; miscellaneous on vases,'ii. 184 transformed'
;

73, 149, 370,

Lezoux, ii. 506, 521, 527

Friezes of animals on Corinthian vases,
i.

i.
on
43
on Boeotian,

509, 522, 527

and see Gaul

vase,

inscriptions on,

" Free"

270

i.

on the Aristonoos vase,

terracotta figures,

526
;

27 pottery -

i.

of,

XXII I. passim

443, 451
;

Roman

of

540, 542 ; plain wares of, ii. 548 ff. ;

duration of potteries in, ii. 432, 503,

ff.

see

Shapes
Fortis, potter, ii. 423ft, 477
Fortune on money-boxes, ii. 390
lamps, ii. 413
/<?.v.z-tombs in Etruria, ii. 289 ff.
Fox and Crow, fable of, ii. 416

503

286

of,

169

ii.

Foreshortening, i. 398
Forgeries of vases, i. 40

ii.

397

forgeries,

Mycenaean vases,

lamp-fabric,

ff.

Flute-players on vases,

Fra^ois

ii.

69, 138, 192

cottas from,

312; and see Lotos, Palmette, Rosette

ii.

ii.

285, ii. 157 ; in

uses of vases, i.

i.

456, 550

ii.

Ganymede,
421, 440

i.

400, 428

ii.

194, 487,

336

i.

Flange-tiles, ii. 341, 342

Floral patterns on Corinthian vases,

in,

of lamps,

ff. ;

Gaia, Kou/)OT/>60os,

Greek

in Etruria,

at Castor, 544
;
"
Fikellura
or Samian ware,

from,

I56ff.

465

527

Flue-tiles,

ii.

511

291 ff. ; on Arretine ware, ii. 492 ; on

Gaulish pottery, ii. 506, 507, 514, 521,

Fink on

on Dipylon,

Furtwaengler on
i.

ii.

Figlinae of tile-makers, ii. 356

Figure-subjects, introduced on

"

141

Furies,

289

Fictiliarius,

158

Furnaces, see Kilns

398, 413

ii.

Felixstowe, vases from,.ii. 440, 529

Fibulae, Boeotian, compared with vases,
i.

ii.

general,

pottery,

384, 386

ii.

on lamps,

Felicitas

ii.

142,

207

458

i.

331

ff.

ff.,

into mythological, i. 318, cf. ii. 5

Geographical distribution of Greek vases,
i.

32

of

Roman,

ii.

ii.

81

personifications,

432, 495, 498

ff.

Geometrical pottery in Greece, i. 277 ff.

in Thera, i.
description of, i. 281 ff.

ii.

157;

imitated in Etruria,

scenes on Apulian vases,

i.

476,

56

in

Cyprus, i. 239, 247, 253 ff.

i.
286 ff. ; influence of, at

in Boeotia,

Athens,

i.

294, 298

in

Boeotia,

i.

INDEX
300
i.

in

Melos,

306, 308

Etruria,

at

Corinth,

351 ; in
in Southern Italy,

Daphnae,

289 ff.

ii.

302

i.

at

i.

ornamentation of, ii.

and see Di pylon
232
Geras, ii. 84
Gerhard on chronology of vases, i. 23
on varieties of amphorae, i. 160
ii.

325, 327, 328

202

flf.,

Germany, vase-collections
scribed

tiles

cottas from,

pottery

in,

from,

432

ii.

439

from,

ii.

early

Roman

504, 533

moulds and stamps

ii. 444,
453

kilns in,

ff. ;

and

ii.

i.

Gigantomachia,

ii.

ii.

536

ii.

535

barbo;

in-

plain black

98, 195

195
12

ii.

ff,

537

ii.

de-

ff. ;

501

pottery-centres,

513, 514, 536

ii.

322, 432,
of,

509

ii.

scribed pottery,
wares, ii. 552

Geryon,

classification,

potters' names,
tine decoration,

Giants, types

in,

pottery

ff.

in-

357, 364; terraduration of Roman

scription of fabrics
ii.

ii.

383

ii.

28

i.

in,

ff.

Gilding of terracottas,

of vases,

86,

Gladiators on lamps,

on

pottery,

of, in

pottery,

i.

i.

416,

ii.

ii.

421

507, 532, 544

127 ff. ; imitations

8, cf.

ii.

64, 130,

443, 514, 524

Glaukon /caXos, i. 403, 432, ii.

Glaukos and Polyeidos, ii. 141

pottery,

ii.

vases,

435

203

i.

ff. ;

ii.

497

ware, ii. 545

Gnatia or Gnathia (Egnazia,
vases

of,

i.

ii.

436

Fasano),

i.

250

522

ii.

i.

7,

206

277 ff.
tombs
i.
46
Greek

in,

i.

earliest pottery of,

33

i.

in,

54 ff.

i.

30

i.

finds of pottery in,

terra sigillala in,

colonies,

in,

10,

9,

collections of vases in,

ff.

i.

80

60,

early pottery

of,

ii.

religion, i. 13, 1388".,

see Pottery, Vases

476, 498

ii.

islands, finds

i.

9,

262

I54ff.

Greeks and Persians, combats

of,

ii.

ff.

and
151,

179

Grey Roman wares, ii. 550

Ground-ornaments on Corinthian vases,
i.
312, 320, ii. 231, 233 ; on Ionic, i.
334, ii. 233
heads
Gryphons, ii. 148, 196
Etruscan pottery, ii. 300

on

of,

i.

77,

ii.

280, 291
Guildhall Museum,

ii.
359, 379
Guilloche pattern, ii. 219
ywatKwcTis, scenes in, ii. 173

Gutter-tiles,
ii.

343

i.

97,

ii.

341

at

Pompeii,

ff.

i.

200, 211, 503,

figures of,

i.

ii.

469

in

Hades, it. 28, 67, 190

world

and see Under-

Hadria, vases from, i. 71 ; and see

Hair, treatment of, on vases, i. 407,
Halikarnassos, finds

at,

i.

ii.

477

ii.

201

105, 106

i.
17, 43
Hampshire, pottery from, see New Forest
Hancarville (D ), i. 17, 22
Handles of vases, i. 208, ii. 443 of wine5

i.

374,

Gorgons, ii. 112, 146, 196

Graces (Charites), ii. 84
Graeco-Phoenician tombs in Cyprus, i.
35 ; pottery, i. 66, 247 ff, 251 ff. ; sites
i.

potters,

Hamilton, Sir W.,

85, 226, 487,

where found,

519

Greece, introduction of potter's wheel

Roman

on Castor

488
64
Gorgasos and Damophilos, ii. 372
Gorgoneion in interior of kylikes,
400, 427
of,

Gordion, pottery from,

Gypsum,

on

ff. ;

analyses

on provincial wares,

ii.
504, 515 ff.
ornamentation, ii. 506, 520 graffiti
on, ii. 510; forms and decoration, ii.

Guttus,

153, 267

Glaukytes, potter, i. 232, 374, 379, 384

Glaze on terracottas, i. 8, 118, 128 ff.

on Greek

Graufesenque potteries,

Gsell, excavations of, at Vulci,

i.

Roman

Graeven on Roman money-boxes, ii. 388 ff.

Graffiti on vases at Graufesenque, ii. 510;
and see Inscriptions

117

i.

i. 201, 210,
231, 449, 498
Girgenti (Agrigentum), vases from,
87 ; moulds from. i. 115

Glass, enamels,

569

amphorae, stamped,
Hare-hunts,

ii.

Harmodios and
Harpies,

ii.

i.

155

ff.

165
Aristogeiton",

72, 146,

Hartlip, use of tiles in villa

vase from,

ii.

508

ii.

150

196
at,

ii.

348

INDEX

570
Hartwig on the feather-pen,
R.F. cup-painting,
KaXos-names, i. 404

i.

227

398, 4246.

i.

on
on

Hermaios, potter,

Hasta (Asti) as pottery-centre, i. 71,

ii.
477
Hathor, i. 254
on
Haverfield on Castor kilns, ii. 448
;

Roman
Hebe,

pottery,

Hector,

536, 541, 544, 546

ii.

77, 84, 193

ii.

126

ii.

ff.

Heddernheim, kilns

at,

Hegesiboulos, potter,
Heiligenberg, kilns

i.
i.

Hegias, vase-painter,

at,

444
445
421, 444
ii.

ii.

and see

Hellas personified, ii. Si

Hellenic pottery, of Cyprus
;

i.

influence of

i.

237, 250,

Mycenaean

on,

276

on Arretine

Hellenistic art, influence of,

ii.

507

489, 494 ; on Gaulish pottery,

on Gaulish terracottas, ii. 386 ;
vases,

porcelain

Hemera,

128

i.

pottery

125

i.

terracottas,

of

78, 79

ii.

i.

T1fjuKOTi'>\ioi>,

135, 183,

ii.

241

174

i.

r//xtro/*os,

256

i.

Cyprus,

ii.

190

36,

in

Gigantomachia, ii. 14. 15 at birth of

Athena, ii. 15 return of, to Olympos,
;

17; smithy

Hera on

vases,

of,
ii.

Juno Lanuvina
Heraion at Argos,

ii.

37, 130, 171

16, 21,

188; and see

52, 278, 298, 307

Olympia, i. 92 ff., 97, 100

Herakles on vases, generally,
represented,

i.

322

ii.

194

ii.
94 ff.
on Corin;

i.

33 ; with Athena, ii. 38,

on
105 ; on mural reliefs, ii. 370
lamps, ii. 413 ; on Gaulish pottery, ii.
Apollo,

ii.

545; skyphos
Erotes with club of, ii. 411
5o8,

531,

ii.

158, 159

477
Hesiod and vase-paintings, ii. 6
Hesperides, ii. 92 ; garden of, ii. 75, 99
Hestia on vases, ii. 53, 190
Hierarchic des genres, law of, i. 245, 284,
Hieroduli,

i.

ii.

492, 493

421, 436,

i.

ii.

238, 259

Hilinos, potter, i. 421, 429

Himera, vases from, i. 87

Himeros,

49

ii.

ii.

149

Hipparchos *aX6s,
ii.

Hippolyta.

Hippolytos,

99,

ii.

i.

403

in

112

i.
379, 420, 422, 424
Hissarlik, see Troy
Historical methods of study, i. 22, 235
limits of subject, i. 31, ii. 430 ff.

Hischylos, potter,

ii.

and personages on vases, i.

149 ff., 266, 267; on lamps,

ii.

403,

415

History illustrated by vases, i. II

nection with R.F. vases, i. 402

Roman

Holder on

in con-

ff.

463

460, 472,

ii.

pottery,

Hogarth on Cretan pottery,

i.

oX/cfto^,

314, 318 ; on Chalcidian,

on Assteas vase, i. 479 ; with

thian vases,

537
i.

at

how

476,

i.

subjects

Hephaistos on vases,

ii.

260

ii.

Hippalektryon,

ware,

i.
114,
126;
190; KuXX-^rtos, i.
on lamps, ii. 409

ff.,

Hermione, vases from. i. 52

Hermogenes, potter, i. 374, 379, 383
Hermonax, vase-painter, i. 421, 446
Herodotos on origin of Etruscans, ii. 281
Heroic subjects on mural reliefs, ii. 370
on lamps, ii. 414

Hieron, potter,

253, 255

420, 424

i.

50

ii.

325, 326,

207

315, 332

403

ii.

209, 216

ii.

on vases,

ii.

318,

terracottas,

ijpw, worship of,

156

Helioserapis lamp,

i.

in

Heroon,

444, 446, 449

i.

Hermes

i.

Hekate, ii. 71, 190

Helen, ii. 119, 123, 135
Helios on vases, ii. 78, 103, 193, 483 on
lamps, ii. 412 ; as Rhodian amphorastamp,

Heraldic groups on vases,

Heralds, ii. 177, 198

of,

i.

185;

Holland, collections
from,
ii.

ii.

i.

267

175
522, 539

in,

28

i.

inscribed

pottery

tiles

from,

358, 361, 365

6X/xoy,

i.

145,

176
references to vases

Homer,

148,

potter's

wheel

ethnography,
vases,

i.

in,

i.

89, 132,

168, 172, 174, 180, 192; to

i.

i.

in,

264

335, 499,

ii.

207

on Cretan

subjects from, on

3ff, 126

ff.

INDEX
Homeric bowls, i. 134, 185, 499, ii. 2
Hopkinson on Melian vases, i. 302
OTr\iTo5po/j.ia,

Indented patterns on provincial wares,

ii. 514, 544
Individualities personified,

164

ii.

Hoppin on Euthymides,

Inftindibulum of lamp,
Inghirami, i. 18, 42

428

i.

Horace quoted, ii. 460, 463, 464, 469

Horae, ii. 84 ; and see Seasons
Horror vacui, i. 283, 313
Horse-race,

Inhumation,

164
taming, ii. 166
Horsemen, ii. 166

Human

ii.

i.

281

vases,

Gaulish pottery, ii. 507, 527

ware, ii. 544
Hut-urns in Italy, ii. 288

Hyades, ii. 81, 193

Hybla Heraea, vases from,
ii.

Hydria,

i.

ii.

359

197 ; on
on Castor

88

i.

98
372

ff.,

ff.,

348, 35 iff,
ii.
360 ff;
on
420 ff.

ii.

ff.

243
268 ff.

ii.

incised,

ii.

painted,

ff.

palaeoCorinthian,
;

graphy of, ii. 246 ff.,

"
i.
Corintho-Attic,
315 ff, ii. 250 ff. ;
i.
i.
Ionic,
325
336, 357, ii. 252
Naucratite,
Cyrenaic, i. 344, ii. 250
i. 345 ;
Attic, i. 378, 402, 418, 422, ii.
;

Boeotian,

255

ff.

ii.

253

Attic

411

tory,

538

ii.

261

ii.

ii.

252

Chalcidian,

ii.

403,
ff.

259

ii.

271

ii.

Italian,

257

265

ff-

ff.

artists'

explanatory on
ff. ;
exclama-

ii.
265, 524,
of vases (names and
239 ff. ; on Etruscan vases,
ff.

under

prices),

and see 158

Hypocausts, i. 103, ii. 332, 342, 346
Hypsis, vase-painter, i. 421, 429

i.

vases,

ii.

South

signatures,

165

ii.

ff.

236

ii.

149,

/taX<5s-names,

Hydrophoria, ii. 173

Hygiainon, painter, i. 396
Hygieia, ii. 76, 84

Hypnos,

237

107, 108,

i.

ii.

of,

101,

chronology

'

Hungary, inscribed tiles from,

Hunters on vases, ii. 165,

Hydra,

on Greek

i.

i.

tiles,

394

284

ii.

145,

on lamps,

3i4ff.

ff.,

35 8

357.

figures, introduction of,

vases,

i.

Inscriptions on

91

ii.

ii.

convivial,

feet

on terracotta moulds, ii.

310 ff.
382 ; on Arretine vases, ii. ^Soff. on

ii.

71, 84, 193,

ff.

Gaulish
531

pottery, ii. 504, 512, 517,

and see Graffiti, Signatures,

Stamps
lacchos,

27

ii.

i.

lapygians,
of,

ii.

323

270
323, 325 ; pottery

i.

58, 152,

ii.

172,

ff.

Ikaros on lamp,

ii.

on vase, ii. 141

Iliad and vases,

Ionia, art of,

i.

i.

i.

330

influence

4; scenes from,

ii.

Oriental

i.

art,

ii.

5,

133

382, 385, 388

i.

96,

ii.

341

ii.

396

ff.

ii.

285, 290, 295, 300

Incense-burner, i. 140
Incised lines, i. 311, 313, 314, 331
scriptions, ii. 237 ff., 271
see Graffiti, Inscriptions

on provincial wares,

ii.

on Etruria,

ii.

296, 299,

use of incised lines

ff.,
;

359,

Ionic alphabet,
;

in-

and

decoration

505, 515

in,
;

early painting of, i. 361 ff.

Ionian islands, pottery from,
see Corfu

i.

Italico,

Mycenaean

i.

311, 331, ii. 219

Imitations of vases (modern), i. 40 ff.

Imbrications,

of

i.

314; B.F. fabrics in, i. 353 ff.

arrangement of subjects on vases, ii.
206; ornamentation, ii. 212 ff, 233;

ff.

Illuminations, use of lamps in,

i.

294, 295, 300, 370, 374,

i.

308, 317, 320

'IXt'ou II^o-is,

vases,

of
277, 329 ff;
331 ff ; influence of, on

on,

Attic vases,
ii.

on

329, 332, 361 ; pottery

328 ff. ; various fabrics

62, 224,

civilisation

414; with Daidalos

subjects

ii.

of,

I26ff.

Impasto

21,

of,

lapys, eponymous hero, ii. 327

Ikarios (?), ii. 139, and see 369

Imbrex;

of

Interpretation

lalysos, vases from,

tions,
i.

68,

i.

345

ii.
ii.

357,
ff.

246, 253, 271

ii.

54

and

inscrip-

pottery in Egypt,
type of kylix, i. 357,

252

374
Iphigeneia,

i.

35, 124, 138

INDEX

572
ii.
76, 128, 193
Ischia, vases from, i.

Jumping on vases,
Juno Lanuvina, ii.

Iris,

Roman

Isidorus on

88
464, 469,

ii.

pottery,

475
Isis

Jupiter,

on lamps,

412; lamps used

403

ii.

ii.

of,

in

163

22, 103
i.

Capitoline,

ii.

116,

314, 371,

and see Zeus

Juvenal quoted on Roman pottery, ii. 455 ff.
372

worship

ii.

Isola Farnese, see Veii

"

Isolating" method of representation on

vases,

' '

10.

ii.

Italian

Megarian

Italy, vases

tions in,

found

bowls,

in,

i.

22,

ff.

col lec-

29; tombs, i. 37, ii. 284 ff. ;

porcelain and enamelled wares from,
i.
128, 129; Corinthian vases in, i.

294 ff.; imitations of

ii.

Ionic

pottery in, i.
modelled vases in,

wares

i.

in,

358,

494

i.

498,

496,

308

ii.

and

ff.,

terracotta architecture

315

ff.;

i.

in,
ii.

sculpture,

centres of lamp-manufacture
ii.

pottery-kilns,

Roman

pottery,

sigillata in,

vincial

ii.

fabrics

443, 451

475

ii.

495

98, 101,

313,
in,

371
ii.

ff.

427

centres for

end of terra

ff. ;

transition to pro-

ii.

in,

Gaulish pottery found

515 ff;

500,
in,

ii.

498, 522,

524, 526
;

of vase-painting in,
and moulded vases

502; local pottery

Italynski,

i.

in,
of,

ii.

i.

ff. ;

plastic

494,

323

498,

Kalais, see Boreades

i.

Ka\6s-names,

379, 402

list

ii.

ff,

ii.

265

221

in, 209

Kdvafios,

i.

Kanake,

ii.

141

i.

KdvvoLfios,

152

Kantharos,

410

187,

i.

88

i.

Karlsruhe, vase-collection at, i. 28

Karo on " affected" vases, i. 387

Karpathos, tombs
i.

i.

in,

34

pottery from,

58

Karystos, vase from,

55

i.

ii.

Keel-hauling,

Kekrops,

ii.

178

ii.

139

169

i.

164
Keos. fabric of.
ii.

vases,

i.

20, 23, 150

Jars used in architecture,

Jason,

ii.

ii.

457

ii.

Kephalos,

115

Jatta collection,

KT]p 6a.va.TOio,
i.

Javelin-throwing,

Kerameikos,

26, 29
ii.

163

Judgment of Paris, ii. 121

Juggler on lamps, ii. 418
Jugs, see Oinochoe, Olpe

i.

56, 357,

ff.

i.

Kepdfuov,
i.

364

Ke'pa/nos,

i.

Kerberos,

Kerkyon,

ii.

72, loo

ii.
i.

46, 89, 92, 231,

i.

97

136
89, IOO,
ii.

ii.

253

80, 140

Kpz/j.ides \eovroK^(f)a\OL.

Jewellery on vases, ii. 202

Joubin on Clazomenae sarcophagi,

96
Kalymnos, vases from, i. 58
Kamaraes, vases from, i. 59 ; fabric so
called, i. 264 ff.
Kamarina, vases from, i. 87
Kameiros, tombs at, i. 34 ; vases from
i. 59, 127
terracottas from, see Rhodes
i.

j,

Jahn on

ff.

66

s, i.

411, 434, 493

277

ii.

of,

i.

134
Kastor, see Dioskuri

69

ii.

145

Kalliades, potter,

Kassandra,

ff.

21

Ivy-leaf patterns,

Ixion,

487

i.

i.

and see Cadus

ii.

Kapxnviov,

vases
Southern, tombs in, i. 37
found in, i. 79 ff. R.F. vase-painting
in, i. 465 ff. ; fabrics of, i. 479 ff. ; end

of,

117

165

Kaineus,

vases from temple

159

ii.

ii.

i.

/cd5oj,

relief-

501

see Etruscan, Roman

early civilisation of, ii. 280 ff., and see Etruria ;

ii.

74

ii.

Kadmos,

490

ii.

69

i.

305(7., 318,

Kabeiri,

52, 391,

"

70,

ii.

455

99

109

or Ktpxvos,

i.

195, 201

280

INDEX
Kertch, vases from,

497

464,

tiles

amphorae from,
Keryneian

32, 60, 447, 451,

i.

from,

101

i.

wine-

97
upiov, see Ciborium
Kilns for Roman pottery, existing remains

443

ii.

of,

ii.

stag,

detailed

ff. ;

Kimon,

list of,

of, see

representations

i.

painter,

215

i.

451

ii.

ff. ;

statesman,

how

320, 397, 398,

408,

ii.

418

i.

represented on vasas,

ii.

97

80

i.

Kittos, potter,

ii.

ii.

257

on

on

/ca\6s-

Klytaemnestra,
from,

108,

i.

370, 379,

ii.

330

ii.

64,

amphora-handles from, i. 157

Knossos, excavations at, i. 60,
265 ff.
Knuckle-bone players,
Kodros, ii. 140

Koenen on German
Kolchos, potter,
Kolias, Cape,

Kopd\\ia,

at,

536

i.

ii.

179

74
i.

ii.

105,

171; and see

37,

i88ff.

i.

early types,

Athenian,

i.

272, 287,

373, 400, 409,

i.

422 ff., 457; compared with calix, ii.

468
Kymation, i. 97 ; as pattern on vases,
ii. 218
vases from,
Kypselos, chest of,

Kyme,

i.

i.

62, 356

315, 319, 320, 378,

i.

54,

ii.

31, 81,

315

370

i.

28, 286

Laconia, vases from, i. 52

Laertes and Antikleia (?),

139

i.

Kos, pottery from,

ii. 476
i.

i.

58,

i.

112

129; and see

i.

KOTvXlffKOS,

i.

188,

ii.

Lamps,
167, 181

393

184, 195

i.
135, 183, 212, 217
KovpoTpb<f>os types in terracottas,

386
Gaia

on vases,

ii.

ff.

30, 73

i.

123,

and see

164
106

ii.

Greek,
uses,

137

i.

395

ff. ;

Roman,

forms,

ii.

399 ff.
inscriptions, 420 ff.
ff.

406 ff.
Landscape on vases, i. 409, 470, ii. 204,
205 in scenes on lamps, ii. 418
subjects,

Kotyle,

ii.

Lagena, ii. 466

\dywos, i. 165
Lamia, ii. 149
\afj.Tra8r}Spofjda,

140, 187

Kottabos,

ii.

194
180

i.

i.

Kythera, vases from,

KOpOTT\adoi or KOpoirXaffTai,

Ka'tfwi',

ii.

U2ff.

i.

Kybele,

82, 109

236
Kyrene, goddess, i. 124, 343,
82 ; and see Cyrenaica

379

i.

ii.

ii.

46, 49, 205,

Kopenhagen, vases
Kopai,

152,

125

pottery,

140

ii.

182

ii.

KcD/xos,

i.

i.

150

313, 341

257

lamps
397, 418, 423, 427
i.

i.

Polyphemos
Kyknos, ii. 101

137, 138

ii.

Knidos, pottery from,

488,

167
86

i.
i.

Kyathos,

Kylix,
i.

local

73

ii.

Kyklopes,

105

i.

ii.

Kretschmer on vasa-inscriptions, ii. 237 ff.

Kroisos, brick used by, i. 91, 94; represented on vase, ii. 6, 150
Kroker on Geometrical vases, i. 281

KinreXXov,

266

Klitias, vase-painter,

22

464

ii.

Krause on shapes of vases,

Kvfuvodoxov,

517

Kleisophos, vas^-painter, i. 384

Kleonae, vases from, i. 52
K\ifiai>os,

and see

i.

482;

468,

326; Arretine,

ii.

Kreon, ii. 119

Kreousa and Ion,

KtipfiLov,

Kleanthes, painter, i. 320, 395, 396

Klein on R.F. cup-painting, i. 424 ff.
signatures of artists,

411,

ff.,

Italian,

Kpu<r<r6s,

379, 391

i.

Klagenfurt, vase from,

ii.

167

501, 520

Kronos,

Kitharoidos, see Apollo

names,

classification of vases,

i.

Krommyon,

136

vvfiiov,

Krater,

Krete, see Crete

ff.

430, 455

Kings,
Kirke,

Kramer's
South

158

i.

573

Lanx, ii. 468

Laokoon, ii. 134

INDEX

574

Libation-scenes,

Lararia, ii. 375

Lares on lamps, ii. 413
Larisa in Asia Minor, pottery from,

339
Larnaka, vases from,

62,

i.

66

i.

"Late

fine" style,

Laterariae^

i.

91,

478,

i.

272

ii.

Lateres,

Latium, vases from,

Laurel-wreaths, ii. 223

Lead used for glaze,

i.

/caX6s,

see

i.

221

ii.

re-

ff.

ii.

403, 425, 430,

152,

of,

i.

i.

199

and

86

i.

ii.

19, 120,

508

Legions,

stamps

of,

Lekythos,

on

146, 164, 176,

i.

ii.

tiles,

351,

i.

376; R.F.,

i.

i.

57

fabrics of,

i.

terracottas in,

i.

in,

no,

i.

ii.

13,

in,

ii.

in,

i.

107,

ii.

371

ff. ;

liefs

from,

120; white lekythi from,

i.

ii.
388
Loeschcke on " Corintho- Attic "

vases,

324
53

i.

found

tiles

ii.
348, 359, 363 ;
kilns found in, ii. 444 ; pottery from,
"
5 29
54; and see British

in,

30, 31
i.

of,

in

in Boeotia,

223

ii.

i.

Cyprus, i. 249, ii.

288 general history
;

ff.

176

i.

\ovrripiov,

142

i.

XouT/jo0<5/>os,

Louvre Museum, i. 25, 27

Love-scenes on vases, ii. 183
Lucania, vases from,
style of,

\i>Xvos,

397, 454,

Lezoux,

potteries
kilns at, ii. 525

ii.

481

i.

i.

83,

144,

172;

local pottery of,

ii.

of,
;

ii.

potter's

504,

ornamentation,

enamelled ware from,

525

ff. ;

wheel from,
440 ; moulds

stamps from, ii.

from, ii. 441 ; forms of vases
;

107

i.

Luckenbach on connection of vases and

320

501, 526

224

324, 328

339. 347

i.

at,

ii.

506, 527 ;
130 ; incised
ii.

443, 515? barbotine decoration, ii. 513; other fabrics, ii. 528 ff.;
termination of potteries, ii. 432, 526

vases,

lamps

i.

subjects from, on lamps, ii. 415

Litlington, vases in tombs at, ii. 351, 456
Locri, vases from, i. 86 ; terracotta re-

Lotos-ornament

177

438

ff. ;

ff.

vases,

pottery
of vases

Museum

469

195; B.F.,

Lesbos, vases from,

ii.

395

458

ii.

London,

412; white-ground, i. 48, 132, 143,

224, 456 ff., ii. 157
Lemnos personified, ii. 82
Lenormant on lapygian pottery, ii. 327
Lentini, vases from, i. 86
and see ii. 471
Xe7ra<r-n), i. 165, 469

ii.

ff,

names

ff- >

Lokris, vases from,

i.

Leto,

148

Roman

53

i.

\Kavofj.avTia,

Xeu/tw/Ad,

475

455>

and

classical,
i ff.

ii.

132,

i.

Lecce, vases from,

363
Lekane,

530,

Loculi,

242, 243

146, 174; yafjuicos,

Burgon

Leda,

ii.

i.458

Leather, imitations

Lebes,

130; vases

i.

paired with, i. 147

Leaf-patterns on vases,

Leagros
267

i.

79

i.

Libertus, potter, ii. 439, 521, 527, 542

Lincoln, vases from, ii. 546, 549

Literature,

485, 490 ;
see Literature

literature, references to,

ff.,

Lipari Islands, vases from, i. 88

Liquids, vases used for, i. i5off.

331

ii. 331, 335

Latin inscriptions on vases,

86

18, 31,

541

421, 4486.

i.

ii.

ii.

140,

Liniare, i, 396
Lion's head spouts, vases with,

\apva%, see Ossuarta

Lasimos, vase-painter,

i.

155

ii.

Libation-bowls, i. 140, 192,

Patera, Phiale

ii.

471

see

ii.

literature,

Luni,

ff.

terracotta

sculpture

from,

3i8
Luynes,

Due

de,

i.

18,

Lycia, pottery from,

i.

22

64

Lydian origin of Etruscans,

Lykaon, ii. 130
Lykourgos,

ii.

56, 141

169
Lyric poetry and vases,

Lyre-players,

Lyssa,

ii.

ii.

91, 194

ii.

ii.

281

ii.

INDEX
Mackenzie on Cretan pottery, i. 265 ff.
Macmillan lekythos, i. 309
Macrobius on the Sigillaria, ii. 376
Maeander-pattern, ii. 212 ff,; on R.F.
415
Maenads on vases, ii. 55 ff., 192; names
of, ii. 65 ; on lamps, ii. 411 ; on Arrevases,

i.

tine vases,

Malta, pottery from,

i.

99

bull of,

ii.

i.

49

tile

from,

ii.

vases,

ii.

272,

16,

36,

172
i.

69

art,

Martial quoted,

376, 395, 463,

Marzabotto, terracotta pipes from,

ii.

305

/zcwrfo,

Matt

>

imitation

use

i.

i.

of,

469,

ii.

350

104, 105, 123,

in Canopic jars,

of, for gutter-tiles,

ii.

344

86

colour,

463, 472
vases,

ii.

441,

530 ff.
Medeia, ii. 116
Medusa, see Gorgon

Megakles

i.

i.

12,

i.

92,

1 1 1

Megarian bowls,

103

temple
i.

49, 273

pottery of,

2; use

ii.

of,

ii.

Metapontum, vases from,

85

ii.

90

tile

from,

97

Metope
ii.

i.

style of decoration,

i.

282, 378,

208

Metopes of terracotta painted, i. 92

Mevania as pottery-centre, ii. 475, 490
144

ii.

i.

painter,

442

Milani on Canopic jars, ii. 304

Miletos as pottery-centre, i. 329, 336, 338
Military subjects on vases, ii. I75ff. ; on
lamps, ii. 417 uses of bricks and tiles,
;

332, 336, 363

Millin,

i.

ff-

17
i.

22,

ii.

i. 231 ; and see Minium, Rubrica

Mining, representations of, ii. 170
Minium, i. 118, 231 and see ii. 314
Minoan pottery, see Crete

/x/Xros,

Megalopolis, pottery from, i. 52

Megara, vases from, i. 53 ; statue of Zeus
at,

i.

Milonidas, vase-painter, i. 315, 317

Miltiades Ka\6s, i. 403, ii. 267

445

statesman,

129, 135

307 ; at Rome, ii. 433 ;

imitations of, in Greece, i. 385, 495 ff. ;
in Etruria, ii. 303, 307
in Italy and
Gaul, ii. 489, 528, 529, 552

Millingen,

428

i.

Kct\6s,

potter,

ii.

in Etruria,

ii-

on Gaulish

132
i.

Merope, ii. 141

Messapians on vases, ii. 151
ii.
323 ff.
Metal vases, i. 131 ff., 201,

Midas,

Maurion, potter, i. 445

Mayer on local Apulian pottery, ii. 323 ff.
Mazonomum, ii. 469
Measures, vases used as, i. 135, ii. 460,
Medallions

ii.

Menidi, pottery from,

Mikon,

246

i.

i.

amphorae, i. 301 ;
ii.
232
57, 262 ; and see

425
Menaidas, potter, i. 52, 301
Mending of vases, i. 39, 147
Menekrates, tomb of, i. 54

i.

terracotta,

Metaphysical ideas personified,

322

478, 479

Masks of
" 377

141

ii.

32
Martha on Etruscan
ii.

ii.

446

120

i.

reliefs,

Menelaos,
i.

incised pottery

Marseilles, pottery found at,

ii.

Melian

i.

Proitos,

114

ii.

Meleager,

Ka\6s,

"

Marsyas,

Melampus and

Memnon,

" Marbled
vases, ii. 523
Marine subjects (Mycenaean),
185 ; and see Sea-Deities
of,

100
Meidias, potter,

Melian

109

Marion, see Poli

Marne, Department
from, ii. 515
Marriage-scenes on

Roman pottery,
treasury at Olympia, i.'

prototypes of

475,489;

Melos, vases from,

539

361

Marathon, vases from,

i.

ii.

436
88

i.

i.

Mandrokles, painter,
Mania, ii. 91

as

their ornamentation,

492, 493
Mainz, inscribed vase from,
ii.

Makron, vase-painter,

2
ii.

575

at,

53, 134,

i.

94

185, 499,

Minor
Minos,

ii.

Artists,
ii.

Minotaur,

144
ii.

i.

374, 379, 383

thalassocracy

109, 148

of,

i.

264

INDEX

576

Mirrors, Etruscan, compared with vases,

ii.

Mylasa, pottery from,

Myres on Cypriote

307

"Mixed"

technique, Ionic, i. 331, 334,

346 ; B.F. and R.F., i. 379, 386, 401
Modelling, of vases, i. 208 ff., 492 ff. ; in
clay,

no,

6,

i.

372, 375, 378

ii.

114,

Modena, see Mutina

Moirae, ii. 84

Mommo,

522
388 ff.

ii.

Monochrome

Montans, pottery

of,

Moretum

ii.

quoted,

Morra, game
Mortariunii

ii.

South

ii.

386

and see 530, 541

and see Kovpo-

Naples,

106,

in,

105,

390 ff.

ii.

388

ii.

for coins,

for terracottas,

ii.

381

for bricks,

ii.

405

Arretine,

in

Roman

ii.

ii.

333

i.

114,

use

of,

(Roman),

white-ground vases,
Muses, ii. 83
23

ii.

ff.

i.

ii.

i.

27

ff.

i.

71,

i-5i
pottery,

168, 181, 190, 271

i.

i.

269

ff.

subjects

272, 276,

338, 341

i.

Naval

ii.

shapes,

i.

ii.

in

289
ii.

82

338

local

other pottery
connection with Etruria,
ff. ;

i.

285, 291,
i.

ii.

178

379, 383

ii.

179
82

283

Neoptolemos,

Nereids,

185, 206,

Nestor,

Geometrical, i. 277 ff. ;

294 ; Phaleron ware, i.,
:

ii.

133, 138

Neptune on Roman
and see Poseidon
Nereus,

i. 302 ; Ionian, i.
329 ff,
Southern Italy, ii. 324, 325

Melian,

80

ii. 91
Neolithic Age, i. 4, 5 ; pottery of, in
Crete, i. 265, 267 ; remains in Etruria,

ii.
ii.

roof-tiles,

ii.

345

>

26, 130, 133

25, 101, 189

ii. 124 ;
cup of, i. 148, 172,
Nether World, see Under-world

Network

338, 352

subjects,

on

299

ii.

68, 138,

i.

224, 345

Nearchos, potter,

Netherlands,

i.

at,

i.

at,

42

Nauplia, pottery from, i. 51

Nausikaa, ii. 136
Nautilus on vases, i. 272, ii. 185

and orna-

Proto- Attic,

41,

i.

298, 299

232 ; in Rhodes, i. 58 ; in Crete, i. 59,

265 ff. ; in Cyprus, i. 237, 239, 244 ff.
imitations of, i. 246, 280 ; influence of,
later pottery

at,

Nemesis,
at,

ii.
495 as centre for lamps, ii. 401,
427 ; for vases, ii. 477
;ui'6s (tnyxus), i. 107, ii. 395
Mycenae, tombs at, i. 33 ; pottery from,

mentation,

Nemea personified, ii.

Nemean lion, ii. 95

168, 182, 197

Mutina (Modena), vases found

Mycenaean

i.

of,

at,

Negroes on vases,

458, 461

list of,

pottery

ii.

i.

ii.

24, 26, 29, 80, 483,

i.

Narce, early settlement

at,

Murray on Clazomenae sarcophagus, i.

on
363; on R.F. painters, i. 423 ff.

Musicians,

12, 13,

i.

Nastterna, ii. 465

Natural products personified,

at,

365 ff. ; compared with Arretine ware, ii. 439, 493

Museums,

419

i.

vases found

made

Naukratis, finds

438, 440
of terracottas

ii. 379 ff.

Mourners, i. 285, 460, 476, ii. 157, 158
Munich, collection at, i. 26, 28

reliefs

of,

45

i.

imitations

i.

for lamps,

488, 494

ii.

pottery,

Moulins, manufacture

Mural

terra-

ff.;

Museum

and see
i.

339

474 types in terraon B.F. vases, i.

i.

123

i.

376 ff. ; on R.F.,

Mythology on vases,

7/>600J

Moulds,

Italian,

cottas,

ii.
525
395

470, 550

Mother- Goddess,

240 ff.

i.

62,

167

ii.

of,

i.

Myrtle -wreaths, ii. 223

Mysteries, see Eleusinian

395

i.

painting,

Myrina, pottery from,

cottas, i. 125, 126

Mythological subjects, introduced at

Athens, i. 296 ; at Corinth, i. 314,
317 ff.; on R.F. vases, i. 416; on

ii.

potter,

Money-boxes,

64, 340

i.

pottery,

Roman

ii.

pottery from,

ii.

539
patterns, ii. 215
121
i.

vevpoffiraffTa,

"

New

Attic

439, 49 2

".

reliefs,

493>

57

ii.

368, 407, 41

1,

INDEX

--

New

Forest ware,

ii.

vases used for,

547

Year lamps, ii. 398, 412, 420

York Museum, i. 26, 65
Newton, Sir Charles, i. 57, 58, 108
Nike (Victory) in terracottas, i. 125
on vases, i. 418, ii. 85 ff., 193; with
on Roman antefix,
Herakles, ii. 106
on mural reliefs, ii. 368, 369
ii. 343
on lamps, ii. 413
;

Nikias, potter,

259

ii.

446,

i.

Nikosthenes, potter, i. 1 70, 384, 393

Nile on vases, ii. 83 ; scenes on, in mural
reliefs,

Niobids,

ii.

371

ii.

33

Nisyros, vases from,

Poseidon,

ii.

58

i.

as

weapon of

13

Nola, vases from,

82

i.

varnish

i.

of,

"Nolan" amphorae,
imitations

of,

i.

82, 162, 219, 405

484

i.

Norfolk, kilns found

in. ii. 445, 449

terracottas from, ii. 384
Northamptonshire, kilns found in,

Normandy,
444, 543
ii.

ii.

and see Castor

135

5,

Nozzles of lamps,
classification,

Numa,

ii.

ii.
395
399 ff.

pottery in use under,

basis of

as

ii.

304, 455,

476, 477

Nursing-Mother type, see Koi/porpo^os

Nymphs, ii. 19, 31,

Nyx, ii. 79, 193

Oinochoe,

Oinomaos,

91, 194

Olla, ii. 389, 456, 457, 470, 529, 550

Olpe or olpis, i. 178 ; Corinthian, i. 311
used by Amasis, i. 382
Oltos, painter, i. 421, 429
Olympia, pottery found at, i. 52 ; terracotta architecture of, i. 92 ff. ; perscenes at, on vases, ii.
sonified, ii. 8 1
;

deities on vases, Chap. XII.

passim ; on lamps, ii. 414
Olympos, scenes in, ii. 15 ff., 107
Mount, personified as Satyr, ii. 64,
83
Onesimos, vase-painter, i. 421, 422, 434
&/os, i. 199
Opaque painting on black ground, i. 226,
393, 485, 488 ff.
Oppius Restitutus, C.. lamp maker, ii.
406, 425, 426

Olympian

Of us

ii. 472
Obrendarium,

ij

|!

ii.

ii.

use

of,

in

tile-stamps,

Roman

VOL.

II.

ii.

potters'

ii.

ff.;

258
other

ii.

73

i.

Orcio appulo, ii. 325

Orestes and his story,

ii.

353, 360

ii.

Orchomenos, pottery from,

53

i.

137

Oria, vases from, i. 86

Oriental influence in Cyprus, i. 239, 247
in Attica,

i.

295, 298

ii.

ff.

at Corinth,

i.

334;
304 ;

206

Orientals on vases, ii. 178, 195, 199, 200

Ormidhia, vase from, i. 253

Ornamental

461, 486. 509, 528, 535

Oikopheles, potter, i. 297, 379,

Oil, amphorae used for, i. 153

from,

ff.

motives on vases,

ii. 464
meaning of, on

356, 362

stamps,

338

medallions

311, 318; in Ionia, i. 331, 333,

in Etruria, ii. 292, 296, 299, 303,

4, I35ff.

117, 118

Oenophorurn,
Officina,

ii.

Gaulish

Orbiculus on tile-stamps,

456

Odyssey, subjects from,

ii.

337, 339

Orbetello, pottery from,

ii.

Odysseus on vases, ii. 128, 133, 136, 137;

on lamps, ii. 414
Oedipus,

330, 354, 361, 458

ii.

reticnlatum,

Occupations represented on vases, ii.

169 ff.
Ocriculum as pottery-centre, ii. 475, 490
Oculist's stamp on a vase, ii. 510

'5

ii.

doliare,

mixtum,

55, 82, 92, 143, 149

Obba,

25

Olbia, vases from, i. 6 1 ; tiles from, i.

101 ; wine-amphorae from, i. 157, 158

530

58, 91

ii.

Oistros,

ii.

469

113

ii.

Oinopion,

Okeanos,

making and

171, 262

ii.

177, 334, 412,

i.

ii.

ff.

195

i.

vases,

180

i.

obrftpvtnS)

Orange,

on

selling of,

H3

42, 46

NovTol,

577

rectilinear,

216

ff. ;

patterns, origin of,

ii.

21

iff.

vegetable and

ii.

210

curvilinear,

floral,

ii.

37

ii.

220 ff.

INDEX

578
treatment

in

of,

different fabrics,

ii.

metrical,

Mycenaean, i. 276 ; Geoi.

282
Boeotian, i. 288

Melian,

302

232

ff.

Rhodian,

334

i.

Caeretan,

Corinthian,

312

i.

Naucratite,

ff.

348

i.

Painting. Greek,

450; Ionic,

vases,

354 ; black-figured, i. 375

i.
South Italian, i.
412
468 on Clazomenae sarcophagi, i. 365
Ornamentation of Roman pottery, how
i.

red-figured,

ii. 438 ;
of Gaulish wares,
520, 521, 526; of barbotine wares,
514, 544; incised or indented, ii.

i.

361

ii.
203 ; on terracotta,
454; Etruscan, on terracotta,

272
Orthography of Attic

cotta sculpture at,

inscriptions,

377
Osco-Samnites,
Oscilla,

ff.,

268

ff.

krater from,

ii.

203

terra-

319

ii.
i.

ii.

103, 483,

ii.

273

483,

i.

ii.

ii.

180, 200, 324

285 j and see

Cinerary urn
i.

12,

ii.

345

Oundle, vase from,

Outline-drawing,

ii.

i.

i.

89

224, 320, 331, 334,

Owl-vases from Troy, i. 258

Owners' names on vases, ii. 241
Oxford, Ashmolean Museum,
i.

i.

136,

i.

27

171, 194,

ii.

239

of,

i.

202

ff.;

classification,

examples in Greece,
i.
239, 243, 260, 265 ; in Etruria, ii.
2 93? 36 ff.
Roman, ii. 442 ; termination of, in Greece and Italy, i. 487 ff.,
ii. 310,
431 ; and see Vase-paintings,
Vases
219 ff.

earliest

ff.

60, 389

422

379, 420,

i.

46,

69,

inscriptions on,

ii.

ff.,

132,

264,

i.
185,410 ; and see Kotyle
Pandareos, ii. 141
Pandion, sons of, ii. 139
" box "
Pandora, ii. 75
of, i. 152
Panels on vases, i. 160, 169, 221, 356,

Panofka, theories

2 S
of,

i.

149

21,

Rome, date

at

of brickwork,

ii.
338, 360
Panticapaeum, see Kertch

ff.,

127, 195

Judgment of, ii. 122

Paris, see Louvre
i.
194, ii. 469
stamped amphora-handles from,

Tra/oo^ts,

157

i.

Paestum, vases from, i. 82 ; fabric of, i.

479 ; inscriptions on vases of, ii. 272
HayKpaTiov, ii. 163
Painted vases, special uses of, i. 142 ff. ;
i.

i.

270

Paros,

manufacture

413

ff. ; on Boeotian
288; on B.F., i.

Papposeilenos, ii. 65, 192

Paris, son of Priam, ii. 121

239

ii.

194,

i.

Pan, ii. 58, 192

Panathenaic amphorae,

Pantheon

541

395, 455

6&pa<f>ov,

i.

369, 373, 375,

103

ScrrpaKOv, oarpaKiva Topetifj.a.Ta,

<5ts,

224

ii.

87

i.

133

Ostia, roof- tile from,

Ostracism,

on R.F.,

26, 189

ii.

Pamphaios, potter,
427, ii. 259

245

IlavaQTjval'Kd,

145, 272,

i.

of,

ii.

i62ff.

ii.

ii.

Geometrical vases,

145,

ii.

Ossuaria,

314,

Palmette-pattern,

264

92, 397,

299, 319

Palazzolo (Acrae), vases from,

375
vases,

dpOoarddiov, ii. 169, 197

Orvieto, vases from, i. 74
in Louvre, i. 409, 442,

Oscan

i.

Palladion, rape
i.

i.

ii.

Palaeography of vase-inscriptions,
of Attic inscriptions, ii. 268 ff.
Palaimon,

ff.,

on

of,

440^,450,455,

471,

Palaestra, scenes in,

Orpheus, ii. 68, 143, 195

Orsi, discoveries of, in Crete,

influence

14, 320, 394ff.,

ii.

SH. 546

223, 227,

394 ff., 440

14. 320,

i.

i.

produced,
ii.

i.

228

i.

Painters of vases represented,

primitive pottery from,

Parrhasios,

i.

i.

262

450

Parthenon sculptures, and vase-paintings,

i.
and lamps,
15, 450, 460, 464, 497
ii. 409
;

Pasiades, potter, i. 379

Pasiteles, use of clay models by,
.

i.

Ill,

375

Passeri, theories of,

lamps,

ii.

i.

21

collection of

408

Pastoral scenes on lamps,

see Tityrus

ii.

418

and

INDEX
Patera^

Phanagoria, vases from,

469

ii.

Patella,

471 ; imitating metal,

and see Phiale
ii.

Paternus, potter,

Patina,

ii.

ii.

529

Phiale,

games

for,

ii.
tomb of, ii. 131
131
Patroni on Italian vases, i. 467, 479, 483,
;

ii.

323

Ornamental

Pausanias on use of brick and terracotta

in Greece,

92, 98, 100

i.

of Kypselos,

ii.

ii.

Peleus,

ii.

i.

Pelvis,

421, 438

i.

games

i.

for,

319,

ii.

116

and

cf. ii.

239

Perseus,

51, 139,

26

483, 492, 494

ii.

67, 189

ff.,

Persians on vases,

i.

64

420,

ii.

on

vases,

Perspective, conventional,
i.

398

450, 470
Pile Cinq-Mars,

ii.
i.

Pinax,

151, 179

ii.

92,

77

260

bos,

ff.

Italian,

470
;

pottery

ii.

170,

i.

194

ii.

112

Phaleron ware,

i.

in-

ff. ;

i.

53

i.

215

i.

379, 384
i.

of,

57,

262
77

ff.,

vases,

ii.

409, 440

ff.,

of,

49,

298

ii.

i.

335,

i.

on

i.

51, 207, 216,

Rhodian,

i.

ii.
i.

vase-subjects,

139, 454,

ii.

comparison

ii.

156

of,

6
ii.

383

Pistoxenos, potter, i. 423

Pitane, vases from, i. 62, 339
Pitcher, see Hydria, Kalpis
ii.

217

335

and

249
132

Pipes of terracotta, i. 109,

Pisa, vases from, i. 72
Pisticci, vases from, i. 83

Ui6oiyta,

i.

with subject of Euphor-

Pindar quoted,

of,

337

ii.

votive,

Pistillus, potter,

Phaestos, pottery from, i. 60, 264

Phaethon on Arretine vase, ii. 483

Phaidra,

i.

249

see Pinakes

286, 312; on

on South

Perugia, vases from, i. 73

Peucetians on vases, i. 487

Ii

247

84

316,

Personal names on vases,

R.F. vases,

i.

ii.

102, 146

ii.

Pinakes, Corinthian,

ii.

Personifications

254; as

62, 64,

i,

354, 360

Physiognomy, treatment
202 ff.
Pictorial style on vases,

132

112, 195
Persia, vases from, i.

i.

i.

56, 142

ii.

i.

Phokis, pottery from,

Phylakopi, pottery

Perennius, M., potter,

Persephone,

259

on lamps,

Physical conceptions personified,

Penteskouphia, pinakes from,

ii.

90, 199

Cyprus,

Phosphoros, ii. 79
0o6s, meaning of,

Penelope, ii. 135

Pentathlon, ii. 163

Pentheus,

in

Phrynos, potter,
Phthonos, ii. 49

ii.

ii.

160

ii.

Pholos,

113, 195

Penthesileia,

ii.

vases,

421, 428,

i.

ii.

85, 473,

203

414,415, 421
Phoinix, ii. 126, 128

469

ii.

i.

<J>\va.Ks,

143; cup

115,
ii.

357,

Phintias, vase-painter,

500,

186, 391

ii.

Pelops,

81,

ii.
i.

296, 303
Phoenissae of Euripides, scenes from,

"Pelike,"i. 163,411

?rA\a,

139

fluence of, on Etruria,

120, 142

Pelias, funeral

ii.

Phoenicians,

49

42,

Philomela,

124

ii.

Philoktetes,

centre of fabric,

304, 369

i.

Peithinos, vase-painter,

Peitho,

207

ii.

in

ii.

Peirithoos,

and see

Patera

ii.

79, 114, 148

Peisistratos,

424

i.

191, 490, 502

140,

398
Phocaea, vases from,

350

ii.

in,

Pediment-style of composition,
Pegasos,

i.

Phobos on

236
used

ii.

tiles

Pavements,

on the chest

340

61,

Parthenon

Phineus, i. 136,
with subject of,

ff.

Patterns, see

i.

142

ii.

Pheidippos, vase-painter,

123, 126, 130;

ii.

Patroklos,

Phaon,

Pheiclias, see

527

456, 468

ii.

579

347

ff.

with

INDEX

5 8o

Pithos,

57, 147, 151

i.

i.

reliefs,

209, 216

ff.,

292

ii.

496,

with

Etruscan,

ii.

Pit- tombs of Etruria,

284

ii.

Plastic art,

i.

no

6,

267, 310, 491

vases

nature of clay,

ff.

and

i.

i.

238, 256, 257,

see Modelling of

ir\lv6os, i. 94, 95
Pliny, traditions recorded by,

Pothos,
i.

91, 92,

i.

ii.

80,

90

69,

i.

67, 250,

297

ii.

ff.

at Naukratis,

347

Pollentia, pottery of, i. 71, ii. 477

Pollux on names of vases, i. 149 ff.

Polydeukes, see Dioskuri

Polygnotos,
i.

painter,

459,

ff.,

ii.

i.

409, 421,
vases in style

15,

202, 209

Polykleitos,

i.

Polymestor,

ii.

Polyphemos,

112

ii.

at,

367

ii.

342 ff.

mural

reliefs

terracotta statues from,

458;
522, 524

ii.

ii.

441

and

i.

208, 209,

480 ff.

ii.

509

ff.,

522, 526

535

in Britain,

Gaulish,

in

ii.

i.

ii.

Germany,
542

ii.

504,
510,

on mortars,
206

551; wheel used by, i.

Pottery, invention of, i. 3 ff.

and Neolithic,

ii.
379 ff. ;
on Arretine

ff. ;

7,

Palaeolithic

characteristics of

Greek,

i.
9 ; primitive Greek, i. 64,
206, 237 ff., 256 ff.; Greek terms for,
i.
89 ; use of, in daily life, i. 135 ff. ;
shapes, i. 148 ff., ii. 4581!.; imitations

201, 488, 492, 495

i.

in,

manufacture, 202

Greek

i.

252,

vases,

i.

ii.

9,

548

ff.,

ff.

ff.

298. 305,

Pozzuoli, see Puteoli

ii.
374 ; statuettes, ii. 375, 378 ; miscellaneous terracotta objects, ii. 387 ;

echea,

406, 423

Praedia on tile-stamps,

222

ii.

ii.

Arezzo,
im;

533

308, 330, 367 on Etruscan, ii. 281,301

Pozzo- tombs in Etruria, ii. 284 ff.

Pompeii, wine -amphorae from, i. 158,

ii. 462
paintings of, relation to vases,
bricks used at, ii. 337 ;
i. 471, 485 ;
used

at

in,

170;

ii.

Pomegranate-patterns,

from,

ii.

ware,

Pettier on

136

Polyxena, i. 326, ii. 125, 135

Pomarico, vases from, i. 83

tiles

ff.,

504,

sites of,

unpainted domestic,

135

ii.

scenes

422, ii. 260; in sculpture,

of Greek, ii. 273 ff. ; names

ff.,

and see Metal

421, 445

i.

ff.

ii.
511 ; list
or stamps of, on terracottas,

of metal

443

vase- painter,

356
ii.

ii.

Polychrome painting, i. 224, 256, 449,

456 ; at Naukratis, i. 348 in Southern
in Etruria, ii. 299
Italy, i. 484

441

ii.

in Gaul,

on lamps,

Polledrara ware,

119

Kerameikos

213, 216

(Marion), vases from,

of,

tile-makers,

480 ff.

89, 233

i.

208, 213, 216

i.

Potters represented on vases,

467

ii.

176

255
i.

of
ii.

ii.

80

49
Greek,

vases,

see

i.

TroSavnrrrip,

Poinae,

ii.

Potteries,

on

i.

portance of fixing

85

ii.

Poculuni)

Poli

TTOT-/IPIOV,

475

ii-

Ploutos,

Post-Homerica, scenes from,

ff.

on early Greek painting, i.

320, 394 ff. ; on terracotta in Italy, ii.
313, 314, 371, 372; on Roman pottery,
10

on lamps, ii. 415

on tile-stamps, ii. 363
Poseidon on vases, ii. 22 ff., 188 in Gion Corinthian
gantomachia, ii. I3ff.
on lamps, ii.
pinakes, i. 317, ii. 23

409

Plautus quoted, ii. 456, 463, 476

Plicque on Lezoux pottery, ii. 525

ff.

Porttis

principle in pottery,

98,

490

ii.

26

i.

Portraits

ff.

96

i.

359

i.

vases,

Porcelain vases,

292, 300

Tr\al<riov,

"Pontic"

Popilius, C., potter,

Gaulish

pottery

at,

ii.

Praefericulum,

Praefumium^

ii.

ii.

355

471

466

Preimos, lamp-maker, i. 108

Pre - Mycenaean pottery in Greece,

i.

256 ff.
Priam, ii. 127, 131, 134
Priapos, potter,
Prices of vases,

the foot,

ii.

i.
i.

147

43

238 ff.

ff.

scratched under

INDEX
Primitive pottery in Cyprus,

Greece, 256

236 ff. ; in
284 ff.

i.

in Etruria,

ff. ;

ii.

167

i.

Processions,
of Paris
irpbxoos,

ii.

Prometheus,

ii.

TrpoTr\a.<TjJ.a.Ta,
ii.
i.

7i7>606<m,

i.

75

as potter,

ii.

ii.

Psiax, vase-painter,

i.

as

i,

wvpoppayris,

Purple, use

"

3",

i.

Pygmies and cranes,

ii.

ii.

221, 231,

478, 492

308,

Raimondi, restorer of vases,

i.

Reclining figures in terracotta,

Etruscan sarcophagi,

Glaze

vases,

Roman,

sites,

ii.

ii.

529

ii.

154

ff.

i.

from,

441

ii.

ii.

ii.

476,

at,

kilns at,

504, 535

ii.

ii.

Rheneia, vases from,

ii. 128

mould

potters'

names

i.

57,

302

272
and see

ii.

ii.

380, 383

498, 500 ff, 534 ff.

Rhodes, tombs of, i. 34, 121 ; vases found
terracottas from, i. 112, 121 ;
in, i. 58
ii.

of,

i. 152;
wine-amphorae and
stamps from, i. 155 typical oinochoe
of, i. 177; Mycenaean vases from, i.
274, 276; Corinthian, i. 311; B.F.
kylikes, i. 357 ; vases with reliefs, i. 497

7ri'0oi

from,

485, 523

Rhodian
tion,

i.

446, 450;

510

ii.

pottery

42

ii.

438 ff,
; and

ii.

pottery,

Rhineland, terracottas from,

ii.

Rasinius Pisanus, L., potter,

Rattles, vases used as, i. 137

glaze,

Roman

Rhesos,

149

254
Python, potter, i. 423, 434
vase-painter, i. 147, 478 ff.,
Pyxis, i. 198, 201, 412, 449 ;
Dodwell
i.

ff.,

Greek vases with,

ff. ;

potteries of,

Puteoli as vase-centre,

Greek

365

ii.

Rextugenos, potter, ii. 384

Rheinzabern, stamps from, ii. 440

for details,

300

Roman

119;

i.

ii.

315

ii.

98,

193
Restoration of vases, i. 40, 147
Revels on vases, ii. 182

37 1

Pyrrhos, potter,

i.

terracotta,

ducing, in

on

Pursuing" type on R.F. vases, i. 419

Puteals, terracotta used for, ii. 387

Red

345;

ptovTa,

215

of,

at Cervetri,

Religion of Greeks, i. 13, I38ff., ii. 155 ;

of Mycenaeans, i. 273
Religious uses of vases, i. 138 ; subjects

105
i.

tomb

architectural,

appliqu^ at Lezoux,
see Terra sigillata

129

i.

Etruscan imita-

309

ii.

505

Ptolemy Euergetes quoted, ii. 455

Ptoos, finds at Mount, i. 287
PultariuS) ii. 472
Punctured patterns, i. 242
Trijpavvos,

ii.

i.
412 ff., ii.
416 ff. ; arrangement
208 ; relation to B.F.,

254

130, 132
of,

369

496 ff. Etruscan vases with, ii. 292,

and see Bucchero ; method of pro-

421, 429

Ptolemies, representations

161, 221,

mural,

150, 172, 411

ii.

Roman,

157

Roman wares, ii. 497

illustrating Roman art, ii. 508, 521
ff.

i.

368, 386, 393, 400

i.

Provincial

Psychostasia,

of subjects on,

343>

157

Prothesis-amphorae, i. 142, 159,

Proto-Attic vases, i. 159, 292 ff.
Proto-Corinthian vases, i. 305 ff.,

\f/vKT-f)p, i.

i.

Reliefs,
ii.

ornamentation,

subjects,

Regulini-Galassi

26, 136

142, 459,

241, 251

i.

549

ff.;

tions of,

378

ii.

375, 378

ii.

Ill,

ii.

Red-figured vases, technique of, i. 221 ;

found in Cyprus, i. 255 ; chronology
of, i. 401 ; drawing, i. 406 ; shapes, i.

i.

109

ii.

wares, Cypriote,

plain,

409
234

493

i.

139

ii.

Prokrustes,

Proteus,

and see Judgment

178

i.

Prokles, potter,

Prokne,

155

Red

Red-bodied amphorae,

Prize-vases, see Panathenaic

jrpbapov,

581

124

on

317, 321

435 ff., 497 ; on

498; and see

pottery,

i.

334,

ii.

i.

333

ff.

ornamenta-

225, 231, 233;

" mixed"

found at Troy,
338
technique of,
i339 > compared with Naukratis, i.
i.

345

ff.

influence

294. 2 95

Rhoikos,

i.

10

on Proto-Attic,

i.

INDEX

5 82

Rhone

valley as pottery-centre,

ii.

Roofs and

440,

498, 503, 530, 533

Rhyton, i. 127, 192,201,211,410,493,494

Riegl on ornamentation of vases, ii.
223 ff. on Mycenaean, i. 276
;

Ripanus Tiberinus,
ii.

River-gods,
loos, Nile

194

551

50 8 529, 540, 542

Robert on Polygnotos,

Megarian bowls,

i.

147

pottery,

ii.

442, 445

i.

503,

on

499

i.

art, illustrated in pottery,

ii.

370; on lamps,

tiles in,

Wall, pottery from,

ii.

346,

540
compottery, uses of, ii. 387, 455 ff.
pared with Greek, ii. 430, 472 ; limits
of subject, ii. 430 ff. ; extent of use of,
ii- 431, 433, 455,
473. 496 ; development of, from earlier, ii. 43 1 432, 489 ff.
;

ii.

termination

ii.

processes,

432, 495

ii.

of,

433

437, 496, 547 ff

fesenque
Rutenus, potter (?), ii. 510
Ruvo, vases found at, i. 83

215
486

technical

plain wares,
kilns for, ii. 443

ff. ;

ii.
ff.

centres
shapes and names, ii. 458 ff.
of manufacture, ii. 474 ff ; transition
;

Sabinus, potter, ii. 508

Sacrifices, vases used in,
sentations of,

Saguntum

385, 516

clay

328
Salamis

Wroxeter,

ii.

i.

at,

terracotta

79,

at, for

at,

tiles

29

i.

sculpture,

ii.

tiles at,

from,

456, 461

ii.

use of bricks and

stamped

ii.

423,

from

553

collections

found

ii.

Romanensis, lamp-maker, i. 108,

427
Romano-British pottery, ii. 543 ff.

Rome,

ff.

ii.

Britain,

ii.

352

pottery
use of

314, 372
ii.

ff.

331 ff. ;
evidence

for dating buildings at, ii. 360 ; mural

reliefs from, ii. 365 ; statuettes of terra-

cotta in use at,

ii.

376

ff.

use of lamps

393, 396 ; as centre of lampfabric, ii. 427 ; echea found at, ii. 457; as
centre for pottery, ii. 477; Arretine
at,

ii.

stamps
at,

ii.

at,

ii.

481

498, 522

ff.

i.

provincial wares

140

repre-

ii.

396, 398, 421

ii.

of,

ii.

479, 499,

of,

ii.

382,

434

Sakonides, vase-painter, i. 379, 384

Sala Consilina, local pottery from, ii. 324,
(Attica),

lamp from,

496, 500

i.

540^
St.-Remy-en-Rollat, potteries

504, 510, 536, 552 ; in

540 ff. ; and see Arretine,
Gaul, Provincial wares

Germany,

at,

155

as pottery-centre,

vases from,

ii.

ii.

Saeculares on lamps,

in

to provincial wares,

furnace

as centre for Apulian vases,

407, 412, 416;

ii.

use of

villas in Britain,

i.
158; and see
Kertch, Olbia
Rutenian pottery and potters, see Grau-

i.

489,

494, 507, 508, 521, 544 ff.; porcelain

ware, i. 129; subjects on mural reliefs,

348

i.
205, ii. 404
vases from,
Russia, collections in, i. 28
i.
60 ; tiles from, i. 101 ; stamped

Rubrica,

wine amphorae from,

Roach-Smith on Roman

ii.

96 ff.,

i.

and see Ache-

Rivets for mending vases,

Roman

ii.

potter,

83,

roof-tiles of terracotta,

315, 344, 345

Rosettes on vases, i. 312, 334, ii. 230
Rottenburg, inscribed vases from, ii. 512
ii-

vases from,

(Cyprus),

Salmoneus,

ii.

personified,

ii.

82

66, 245

ii.

54

i.

i.

409

143

"Samian" ware, i. 57, 71, ii. 474 ff,

Samnium as pottery-centre, ii. 475

493

Samos, pottery of, i. 57, 336 ff, and

". 475
Sandwith on Cypriote pottery, i. 65,
<ravis,

i.

112, 122

Santa Agata dei Goti (Saticula),

from, i. 8 1, 484

\i

Sappho,

ii. 144, 151

Sarapis on lamps, ii. 402, 409, 412
Sarcophagi of terracotta, i. 104, ii. 457

from Clazomenae,

i.

Etruscan, ii. 317, 320

Sardinia, vases from,

62, 104, 362

ff.
i.

Tharros
Sardis, pottery from,

Sarpedon,

ii.

129

i.

64

88

and

ff.

NDEX
Sarteano, vases from,
Saticula, fabric of,

Proto- Attic, 1.293;

73

i.

484

81,

i.

R.F.,

376

Saturnus Balcaranensis, lamps from altar

397
Satyric drama, subjects from,

mask

of terracotta,

i.

ii.

161

names of, ii. 65

on R.F. vases, i.
Ionic, i. 353, 355
on
416, 417; on mural reliefs, ii. 369
54

ii.

Satyrs,

192

ff,

lamps, ii. 411

Saurias of Samos, painter,

218

ii.

Scale-patterns,

361
i.

i.

435,

no;

6,

168,

ii.

Etruscan,

313 ff.; at Rome, ii. 371; use of

clay models in, ii. 375 ; in relation to
ii.

i.

vase-paintings,

Scutra,

ii.

450

Scythians, on vases,

134, 185, 499.

ii.

179

ii.

i.

ii.

25,

314,

ii.

Seasons on mural
Arretine vases,

dialect of (?),

189

on Corinthian

26, 189
reliefs,

368, 370

ii.

488, 493

ii.

on

and see

Spring, Horae

ii.

78, 79, 193

on lamps,

ii.

tombs of, i. 37 ; vases from,

Selva la Rocca, vases from, i. 76

Selinus,

412
i.

87

C,

i.

461, 477,

ii.

ii.
511
with vases,

potter,

Sepulchral stelae compared

158; and see Funeral,

Tomb
"Severe"
422

style

of R.F. vases,

i.

420,

ff.

ii.

local

ii.

ff.

i.

37; vases from,

i.

i.

terracotta architecture of,

375
ii.

Sigillaria,

i.

61

of,

i.

ff.

376

ii.

511
forms

379, 422

Gaulish potters,

of

ff. ;

509; of German potters, ii.

ii.
423 ff., 427
Sikanos, potter, i. 420, 424

258 ;
271;

Sikelos, vase-painter,

i.

Sikyon, vases from,

51

at

Thera,

i.

261

Geometrical,

i.

ii.

321, 381,

252

i.

ii.

ff.,

ii.

381,
510; of

391

Mycenaean,
281,
287;

alphabet

395
ii.

522

Silhouette paintings on vases,

396j 455
i.

i.

of,

painters of school of,

Silchester, pottery from,

220, 285,

i.

on Clazomenae sarcophagi,

>

362
at

Kyrene,

i.

342
i.

74, 189, 501

Simonides quoted, i. 132

Simpulum^ simpuvium, ii. 471
Singing on vases, ii. 169, 182
tions denoting,
Sinis,

ii.

ii.

ii.

i.

i.

64

147, 196
ii.

68

165,

350
<7Kd<f>rj, i.

Skiron,

inscrip-

465

Sisyphos,
Situla,

261

109

ii.

Sipylos, pottery from,

Sirens,

of, on early vases, i.

317, 331 ; and see ii. 200
Shapes of vases, i. 13, 148 ff. ; at Troy,

i.

204

Sigeion, vases from,

Sigilla,

Sinus,

Sexes, distinction

i.

458 ff. ;
provincial, ii. 500 ff.,

Silver, vases coated with,

and see Assyrian, Oriental

Septimius Secundanus,
i.

302

ff.,

Roman,

100

Silphium

Semele, ii. 18, 56

Semitic nations, use of brick among,
91

in,

86, 307, 311

i-

Seianti Thanunia, sarcophagus of, ii. 322

Seileni, ii. 54 ff., 65, 161 ; and see Satyrs

6,

lamp-makers,

Sea-deities,

Selene,

tombs

257

256

vases,

ii.

scape, etc.,

Signatures,
i.

488

ii.

285

ii.

ff.

ii.
198
178; on Dipylon vases, i. 285,
291 on lamps, ii. 417
"
"
Short-hand system of indicating land-

Sigillarius,

470

Scyphi Homerici,
ii.

15,

325

ii.

Ships,

i.

i.

ii.

505, 520, 526

Shields, devices on,

256

i.

263"
Sculpture, in clay,

Etruscan,

Italian,

Sicily, history of, in relation to vases,

Ionic, i. 338, 352

311
Schliemann's excavations,

School-scenes on vases,

i.

Corinthian,

Proto-Corinthian,

i.
Corinthian,
313,
317;
i.
334 ; Attic B.F., i. 372 ff.

409 ff.; White-ground vases,

South Italian, i. 468, 481, 483,

Arretine,

377

ii.

104,

7,

i.

456

i.

485

ii.

of,

308;
Rhodian.

i.

Saturnalia, statuettes in connection with,

ii.

583

ii.

175

109

ii.

and

cf.

464

ii. 264
from Daphnae,

i.

INDEX

584

Stone Age, pottery

184

s, i.

Skylla,

Strabo quoted,

i.
198
Smikros, vase-painter,

<T/xT7jUaro0?7/c?7,

259

ii.

421, 440,

i.

Smith (Cecil) on Proto-Attic vases, i.

294 on R.F. vases, i. 407 ; on Polle;

drara ware, ii. 300

Smithy of Hephaistos,
Social advantages,

etc.,

ii.

personified,

Solygea, vase from,

i.

51

Sosias, potter,

457
Southern

191. 410,

i.

421, 445,

Campania,

Lucania, Italy
Spain,

Roman

Sparta personified,
i.

82

ii.
i.

i.

21,

Sporades, pottery from,

Theban,

ii.

of.

and see Seasons

Proto-Attic,

48

Stage, subjects from, see

ii.

Stag-hunts,

3Hff.

457

i.

Drama

483

301

Corinthian,

376

i.

ff.;

.White-ground,

474 ff.

i.

Italian,
;

i.

Etruscan,

Cam-

292, 302,

ii.

309 Arretine, ii. 492 ff.

provincial,
" 57> 521, 544 on lamps, ii. 408 ff.
on mural reliefs, ii. 368 ff.
;

i.

pottery,
i.

246

ii.

134,

ii. 512
Sun-dried bricks, i. 89 ff., ii. 33.1, 333
Susa (Persia), vase from, i. 64
ii.

185, 262
ii.

173

Syra, pottery from, i. 262

Syracuse, vases from, i. 86, 307

from Daphnae,

309

416 ff.

i.

South

panian,

Melian,

i.

Black-figured,

Red-figured,

Swimming-scenes,

165

163, 411

i.

cTci/wos,

296

i.

Proto-Corinthian,

Swallow-scene,

18, 42,

literature,

336
Sumlocene, vases from colony of,

439, 493

ii.

I ff.

Suetonius quoted,

217

ii.

57

i.

Sport on vases, ii. 165

Spring, stamp with figure
i.

loff.

292, 302, 375,

i.

341
i.

interpretation

8; relation to

ii.

Sub-Mycenaean

Spiral patterns,

i.

its uses,

417,

i6ff.

i.

history,

i.

vases,

49

147, 196

ii.

249,

Stackelberg,

50, 134

i.

arrangement of, ii. 206 ff.

Mycenaean, i. 272 ; Dipylon, i. 286

i.

479, 480, 540

ii.

pottery in,

Spata, pottery from,

Sphinx,
117

its

i.

see Apulia,

Italy,

and see

398

421
Studniczka on Cyrenaic vases,

ii.

421, 439

i.

potter,

4,

"Strong" period of R.F.

of,

Sophilos, vase-painter, i. 379, 380

Sorrento, vases from, i. 82

Sotades,

ii.

Stymphalian birds, ii. 98

Subjects on vases, i. 12 ff.

96

i.

Strenae,

Study of Greek vases,

37, 171

ii.

85, 91
<T<jj\TJve5 t

i.

of,

Neolithic

26, 148, 189

ii.

i.

35 2

Stamped patterns on Greek

Stamps on bricks and tiles,
the

363

provinces,
ff.

on

amphorae,

ii.

i.

357
ii.

dolia,

155

ff.,

vases,
ii.

ii.

ff.

military,

459
ii.

Taleides, potter,

461

ff.

438

ii.

Tamassos, vase from,

and

Statuettes of terracotta, Greek,

Roman,

ii.

ffTeyaffrrjpes,

ii.

Tanagra, vases from,

cottas from,

375 ff.
i.
96

Gaulish,

ii.

ff.

10

379

ff.

ii.

on

vases,

185

ii.

53, 451

terra-

144, 160

vases

from,

i.

85

moulds

from, i. 115; 0Xi/aKes at, i. 473; as

centre of pottery (?), i. 486, 488, ii. 324
Tarragona, Roman pottery from, ii. 479,
480, 540

ff.

272

249

i.

68

ii.

Taras,

ii.

i.

112, 116, 12\

Tarsus, lamps from,

Stelae with inscriptions

and see Sepulchral
'Still-life" subjects,

i.

i.

Tantalos,

Tarentum,

79

Stallones on tile-stamps, ii. 362

Statues of terracotta, i. 109, ii. 371

379, 380

Talos,

for

i.

116

in

on wine-

figures in Roman pottery, ii.

see Inscriptions, Signatures
Stars,

212

i.

352

wares from, i. 129

Tataie lekythos, i. 80,
Taygeta, ii. 19, 82

i.

ii.

108

242

enamelled

INDEX
Technical

H3ff.

for

processes,

Greek

for

i.

terracottas,

202

i.

vases,

for

ff. ;

405 for Roman pottery, 'ii.

Romano-British, ii. 545 ;
miscellaneous details, B.F., i. 370 ;
ii.

lamps,

433

ff.

R.F.,

455

South
\.

Tegulae,
;

351

405, 449;

i.

348

for

340

ii.

96,

ii.

332,

332, 337, 339, 346,

ii.

deliciares,

colliciares,

mammatae,

ii.

bessales,

341

341, 346; sesqtiipeclales,

ii.

332 ; and see Tiles

Telemachos, ii. 136
ii.

92

67

i.

i.

in Italy,

ff.;

i.

ii.

ii.

methods of manufacture,
378

use of colour for,

322

painted panels,

98,

314;

ii.

IOI,

i.

i.

H3ff,

116.

i.

ii.

92,

ii. 431, 455

Terramare civilisation,
Terranuova, see Gela

ii.

i.

i.

495

Thamyris, ii. 144

Thanatos, ii. 71, 84, 193
vases

Tharros,

ware from,

from,
128

i.

88

i.

porcelain

Tereus,

subjects on vases, see Drama

Thebes, vases from, i. 52, 286,

ii.
476, 498 ; provincial,
centres of fabric of, ii. 503

520

ii.

Lezoux,
in

at

barbotine,

ii.

525

at

termination

the

in

508, 526
Terracotta, use

ff.

Rutenian,

Germany, ii. 534

combined with
540

529

ii.

495

ii.

497

ii.
;

in

ii.

Britain,

Italy,

Banassac,

526

ii.

for

of,

for tiles,

of,

in

provinces,

ii.

bricks,

i.

ii.

7,

96 ff., ii. 341 ff. ; in

architecture, Greek, i. 92 ff. ; Etruscan,
ii.
314 ff.; at Rome and Pompeii, ii.

334 ff.

343

ff.;

tombs,
i.

i.

for pipes,
ii.

104,

i.

104, 362 ff,

coin-moulds,

106,

laneous uses,
Greek terms

119,
i.

97

ii.

sculpture
statues,

i.

89

for

for

for im-

models
miscel-

375;

105,

90,

for,

457;
;

387 ff.
invention of
ii.

i.

no;

reliefs,

i.

365 ff; antefixal ornaments,

ii.

ff,

i.

106
ii.

moulding,
118, 146, 201 ;

i.

of,

i.

ff.,

390 ff.

and

modelling
vases

for sarcophagi,

ii.

in,

i.

statues,

349; in

ii.

103,
;

317, 320

ii.

i.

pressions for seals,

for

i.

351

i.

315, 317, 343

in

Etruria,

109,

ii.

i.

alphabet of, i. 443, ii. 271

Theatrical treatment of subjects,

Terra sigillata, term explained, ii. 434

and see i. 503, ii. 474, 496 in Greece,

architectural

ii.

371 ff;

317,

318;

statuettes,

211

ii.

Thasos, amphora-stamps from,

139

ff,

19

lamps used in, ii. 397

Tenea, vases from, i. 51
Teos, pottery of, i. 64
ii.

321,

69

312, 333,

i.

283

ii.

Testa, ii. 331, cf. 350

Teucheira, vases from,

ii.

ii.

299, 319

as substitute for metal,

of,

Thaleia,

117, 119, ii. 321, 367

Temples, use of terracotta for, in Greece,
i.

Roman,

375 ff.; Boeotian, i. 290

313 ff. ; Gaulish, ii. 379 ff.
373 ff.; types, i. 121 ff.

ii.

Textiles, influence of,

Telephos, ii. 125

Tell-el-Amarna, pottery from,

Tempera painting,

H2ff,

Etruscan,

use

470

i.

Italian,

bipedales,

i.

White-ground,

i.

585

personified,
of, ii. ii6ff.

Themis,

ii.

ii.

and

82,

see 83

i.

157

470

390

legends

74

Theocritus quoted,
Theodoric, tiles of,

Theokosmos,

i.

ii.

355

ii.

in

92,

Theozotos, potter, i. 52, 301

Thera, finds in, i. 56 ; iridoi from, i. 153 ;
early pottery of, i. 260 ff. ; connection
with Crete, i. 264; Mycenaean vases
from, i. 270
Thericleian ky likes,
depfjLOLVT-fjp, i.

Thermon metopes,
i.

OepfAOirbris,

Thersites,

ii.

i.

189

175
i.

92

169. 175
126, 132;

and

see

i.

215

Theseus, on R.F. vases, i. 417, 432, 442 ;

with Minotaur, ii. 109, 298 ; labours
of,

ii.

108

in Crete,

ff. ;

ii.

in

10

Hades,
at

Thessaly, pottery from,

Thetis,

ii.

ii.

Athens,
i.

68,
ii.

ii.

Thracians,

54

120, 130

Thiersch on Tyrrhenian amphorae,

Thoas,

1 1 1

1 1 1

i.

324 ff.

143
ii.

143, 179, 200;

and

Thypheithides, potter, i. 147

Tickets of terracotta, ii. 388

seeii.

166

INDEX

586
Tigranes, potter,
Tiles, Greek,
1

02

i.

used for tombs,

Roman, used

335
ff.

ii.

warming,
ii-35o>
ii.

for,

341,

ii.

343

ii.

for

341

332,

for roofs,

342;

346 ff.

ii.

later use of,

for tombs,

for

Roman

in

332

ornamental,

331

ii.

of,

ii.

varieties

flanged,

342

341

ii.

101,

i.

104

i.

as bricks,

other purposes,
walls in Britain,

"

Trades on vases,

ii.
483
96 ff. ; inscribed,

ii.

used for

pavements,

351; potteries

ii.

356; inscriptions on,

ii.

351

ff.,

ii.

169

ff.

Tradition, literary and artistic, compared,

i.
13, ii. 3 ff.

Tragedy and vase-paintings,

i.

471,

ii.

193
Traits reserves, i. 362
Treasury of Gela at Olympia, terracotta
used in, i. 100
.

Trench-tombs

in Etruria,

Trier as pottery-centre,
1

i.

Tpir/prjs,

ii.

ii.

289

502, 534, 536

86

357 ff, 363 ff.; military, ii. 351, 363;

from Central Europe, ii. 357 ff. ; from

Triton,

ii.
342, 346, 348, 350, 359, 363
chronological evidence of, ii. 360 ff.

Triumphs, lamps used in, ii. 396

Troad, pottery from, i. 61, 153, 330, 339

Britain,

Tiryns, finds

at,

i.

ii.

ii.

480, 485

cult of,

on

vases,

i.

143

172,

ff.,

459

ff.,

477, "

158
Tombs, Greek, i. 33 ff.; Cypriote, i. 35.
2 37, 250, 255, 256
in Cyrenaica, i.
;

36
in

in Sicily, i. 37 ; in Italy,
at Athens, i.

Dipylon

i.

37

280

ff. ;

in

284 ff. ; a pozzo, ii. 284 ;

289 ; a camera, ii. 294 ; of
large size, ii. 300
arrangement of
vases in, i. 38 ; vases used in, i. 143 ff.,
ii.
456, 550; tiles used for, ii. 351;
lamps used in, ii. 397 ; forms of, as
Etruria,

a fossa,

ii.

ii.

depicted on vases,

157, 158

ii.

Tongue-pattern, i. 375, ii. 219

Tools used in painting vases,

by Roman

potters,

ii.

437

Torch-race, ii. 164

Toreutic work, influence

ware,

ii.

i.

227

ii.

107

i.

61, 256,

i.

at,

257

i.

of,

339 ; early
and see 491;

ff..

compared with Cypriote, i. 238, 240,

243 ; Sack of, on vases, ii. 133
Trua, trulla,

470

ii.

194
Tudot on Gaulish terracottas,
i.

rpv(3\iov,

Tuguria,

ii.

Tychios, potter,

R.F.,

187

380

ii.

ff.

288
i.

379, 383

Tydeus, ii. 118

Types on B.F. vases,
i.

418

ff.;

ii.

12,

149

i.

377, 388;

distinction?

of,

on
ii.

ff.

Typhon,

Tyrrhenian amphorae, i. 160, 324 ff.

Tyrrhenians, ii. 281
Tyszkiewicz on forgeries, i. 42 ; on vase
from Vulci, i. 77

Umbrian
of,

125

ff. ;

on Arretine

489

167

433,

ff.

Towneley, terracottas collected by, ii.

366, 373
Toys, of terracotta, i. 120; vases used
as, i. 137 representations of, on vases,
ii.

i.

pottery

173; and see Aphrodite, Helen

Tomb,

rpox^Aaros, of lamps,

Troy, finds
ii.

27, 189

25, 101, 189

Trojan subjects on vases, i. 322, 335, ii.

4, ngff. ; on mural reliefs, ii. 370;
on lamps, ii. 414

i.

Tityrus on lamps, ii. 416

Tleson, potter, i. 379, 383
Toilet-scenes on vases, i. 475,

ii.

Troilos,

51

17
Titius, A., Arretine potter,

ii.

Triptolemos,

and see Troy

Timagoras, potter, i. 379, 383

Timonidas, vase-painter, i. 315, 317,
251
Tischbein,

7,

162

civilisation,

Under-world on
159
see

282

ii.

vases,

i.

types of persons

476,

in,

ii.

Hades

Upchurch ware,
Urceus.

ii.

ii.

546

465

Urna, ii. 464

Ussing on vase-shapes,

i.

150

ff.

ii.

66 ff.,

192; and

INDEX
Vallisneria spiralis,

Varnish,

405

black,

Vindex, potter,
371,

369,

ff.,

219

i.

379

ff.,

405

ff.,

ff.,

ff.

Vase-paintings, early interpretations

i. 21 ;
technical aspects of, i. 219
later study of,

235

i.

239, 260, 265

i.

462 ff.,
drama,

ff. ;

ff.;

ii.

I59ff.

ff.

i.

i.

ii.

in

literature

320, 395 ff,

14,

exportations

of, to Italy,

467; early publications

collections

i.

of,

Etruscan origin

18

i.

of,

ff.

and
242

classi-

fication, i. 22, 219 ff.; discovery of,

and arrangement in tombs, i. 33 ff. ;
restorations and imitations, i. 39 ff. ;
i.
43 ff. found in Italy,
mention of, in literature, i.

prices paid for,

71

132

ff. ;

uses

ff. ;

antiquity,

i.

manufacture,

of,

i.

147

135

ff.

202

repair of, in

shapes

of,

i.

148

Votive lamps,

of,

ff.

457

ii.

Vechten, pottery found

at,

ii.

Veii
at,

(Isola
i.

38,

i.

312,

Farnese), Campana
320 ; vases from,

ii.

ii.

tomb
i.

75

sculptors in terracotta from, ii. 372

Velius Primus, Q., potter, ii. 377
Velleia as pottery-centre, ii. 477

Venice, forgeries
Venus, Gaulish,
wares,

ii.

made

Tomba

pinax,

41

Victors in contests,
Victory, see Nike

ii.

164, 169,

417

at,

i.

Villanuova civilisation in Etruria,

ii.

284

ff.

i.

292,

138,

287, 291, 294

ii.

tombs
and see

158; on painted

ii.

of,

on

vases,

i.

297

i.

?),

475, 483,

285,

ii. 218
Weddings, see Marriage

20, 41

i.

Westerndorf, pottery

of,

potters' stamps at,

Wheel, for cutting

ii.

potter's,

i.

made

on, in
ii.

ii.

504, 507, 535

ii.
441
437 ; earliest
Greece, i. 260, 266 ;

patterns,

ii.

290

paint used for details,

i.

294, 331,

355, 37 1 , 407, 470

White slip, use of, for painting,
and see XevKu/ma

White wares, Cypriote,

;

i.

Romano-British,
vases,

of lamps,

i.

i.

ii.

i.

ff.

395, 403

pottery,

16, 19,

397

553

224, 454

107,

i.

243, 244, 246,

ii.

Geometrical, i. 278 ff.

Wilisch on Corinthian vases,

Winckelmann,

520

206,

7,

Wide on Mycenaean
441, 530

i.

156,

397, 454

White-ground

28
ii.

vases,

156

Wave-pattern,

Wicks

Vienne as pottery-centre,

ii.

175 ff., 198; Italian, 1.475, 483,

180; Oriental, ii. 178, 179 race of,
armed, ii. 164 ; on lamps, ii. 417

251

30x3

ii.

139, 316, 454,

Warrior-vase (Mycenaean

White

ii.

i.

Warriors,

vases

385

early
del Duce at,

Vienna, collections

i.

ii.

37, 78,

in Etruria,

on provincial
;
and see Aphrodite
remains at, ii. 284

ii.

507, 508

Vetulonia,

at,

i.

Wedgwood,

522, 539

Vegetable ornament on vases,

221 ff.

400

ii.

offerings,

397

Pinax

Warrior, tomb

ii.

primitive,

ii.

51,

see

134

Polledrara

ii.

Vaults, use of jars for,

i.

ii.

314

at,

i.

ff. ;

echea^

Vourva vases, i. 50, 295, 299, 324

Vulci, excavations at, i. 19, 76 ff.

256 ff. ; influence of, in Etruria, ii.

289 ff., 296 ff, 307 ff., 320; compared
with Roman, ii. 430, 472

i.

on

45, 146, 438,

Volterra, vases from, i. 72

Volutes on nozzles of lamps,

n,

alleged

79

ff,

i.

tiles,

457

tablets,

i6ff.

i.

of,

23

17,

ii.

and

372;

371,

Volca of Veii,

loff.

ii.

sculpture,

Vivenzio vase,

Greek mythology,

456

ii.

331. 333, 335. 339; on terracotta

ii-

the

to

of,

440 ff, 471 to sculpture, i. 15, 450

Vases, Greek painted, value of study

i.

522

Viterbo, vases from, i. 74

Vitruvius quoted, on bricks

Greek,
decadence of, i.

to

of,

earliest

relations

487

general, ii. i ff. ; to

i.
13; to painting,

i.

383, 426

ii.

ii.

Vitalis, potter,

Vitellius, story of,

ff.

Vase-painters,

421

219

224

ii.

272,

i.

i.

587

79

i.

i.

276

304 ff.

on

INDEX

588
Winds, ii. 80, 194
Wine-amphorae, i. 154 ff.,

Winged
Witte

figures, $.460,
i.

(J. de),

169

as

of,

of, on vases,
200 ff.

Wrestlers,

ii.

ii.

72, 90, 193,

167

ii.

Dionysos,

35

of Athena,

ii.

40

of

60

ii.

194

ii.

as dancers.

174, 182 ;
1726. ; dress of,

jugglers,

life
ii.

460 ff.

23

Women, games
ii.

ii.

Artemis,
ii.

ii.

Yellow wares, plain Roman, ii. 548

ii.
439 ; pottery from,

York, stamp from,

ii. 443,
540

163

Writing materials, use of clay for, i. 7

Wroxeter, Romano-British pottery from,

" 553

Zagreus, ii. 74
Zakro, pottery from,
fripd,

i.

60,

268

179, 200

ii.

Zephyros,

ii.

80

Zetes, see Boreades

Xanten (Castra Vetera), pottery from,

ii. 500, 501, 522, 534
Xanthippos on ostrakon, i. 12, 103
Xenokles, potter,

i.
374, 379, 383
Xenophantos, potter, i. 61, 421, 447. 464
Xenotimos, potter, i. 421, 444
%6avov in terracotta, i. no,
122; of
Hera, ii. 21 ; of Apollo, ii. 34 ; of

Printed by Hazellt

IVfti&oti

&

Zethos,

ii.

117

Zeus on vases,
machia,

ii.

ii.

17

13, 14

ff.,
;

188

in

at birth of

GigantoAthena,

ii.
15 ; 'E/Hcetos, ii. 18 ; weighing souls
of heroes, ii. 130, 132 ; on mural reliefs,

ii.

369

on lamps,

ii.

408

441, 471
Zigzag patterns, see Chevrons

Zeuxis,

Viney, Let.,

i.

London and

Aylesbttry.

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